ALIENS VS. PREDATOR – REQUIEM
In ALIENS VS. PREDATOR – REQUIEM (AVP-R), the iconic creatures from
two of the scariest film franchises in movie history wage their most brutal battle ever -- in
our own backyard.
The science fiction-action-thriller captures the magic of the “Alien vs. Predator”
comics, novels and videogames that established the “AVP” brand – while paying homage
to the hallmarks of the film series that preceded it: Ridley Scott’s seminal work of
science fiction and horror, “Alien”; James Cameron’s masterpiece of intense action,
“Aliens”; and John McTiernan’s thriller about an extra-terrestrial warrior wreaking havoc
in the jungle, “Predator.” At the same time AVP-R, introduces an intriguing element
new to the franchise, by having the Aliens and Predator wage war in a small American
town.
Bringing these elements together are directors The Brothers Strause, Colin and
Greg, whose visual effects house, Hydraulx, is renowned for its computer-generated
wizardry on films such as “300,” “X-Men: The Last Stand,” and “Fantastic Four.”
It’s no accident that the Strause brothers are making their feature film helming
debut on a story featuring Aliens and Predators – they’re unabashed fans of both film
series. “Colin and Greg live Aliens and Predators,” says John Davis, who produced this
film, as well as the original “Predator” and 2005’s “Alien vs. Predator.” “They’ve seen
the movies countless times, know the [AVP] comics and played the [AVP] videogames.
They really understand these characters.” Adds AVP-R screenwriter Shane Salerno:
“The Strause brothers live, eat and breathe these films. The specificity they’ve given
AVP-R is remarkable. They’re passionate about this material.”
The brothers’ passion extends to the film’s central notion of placing warring
creatures in the middle of a small American town. To them, this idea heightened the
stakes – and the scares. “What’s more frightening – a menace happening millions of
miles away, or a threat in your own backyard,” says Greg Strause. “Obviously, we
thought it was time to bring the Predator and Aliens into the thick of things here. It gets
very primal; you’ve never seen anything like it on film. No one is safe in this movie!”
“The creatures are literally on our streets,” adds John Davis: “The idea to set the
story in ‘Anywhere, U.S.A.’ – in a nice, recognizable town that is suddenly thrust into the
middle of an epic battle and mounting carnage they can’t begin to fathom.”
The town under siege is Gunnison, a real-life locale situated in the mountains of
central Colorado. “It’s small – but not too small,” says Shane Salerno who set the story in
Gunnison after searching a U.S. map for a fresh take on the warring creatures.
(Vancouver, British Colombia stood in for Gunnison.)
AVP-R exists in a familiar landscape – a town’s dark sewers, its rain-soaked
streets, the concrete jungle of its electrical plant, and a hospital maternity ward – that
become battlefields beyond the townspeople’s worst nightmares.
“While writing the script, I was constantly thinking about how regular people
respond to the most extreme situations,” Salerno continues. “I looked at things like
hurricanes and fires, where ordinary people – firefighters, police officers, teachers –
become heroes.”
“We wanted to explore the lengths to which people would go to protect their
families,” elaborates Colin Strause. “Who would they fight for… and die for?”
Another element new to the long-running franchise is the Predalien. The
Predalien’s film debut in AVP-R, along with its look, had been the subject of much fan
speculation, and tight security surrounded the creature’s concept and design. The
creature is not really a Predator/Alien hybrid. It is an Alien that incubated inside a
Predator, taking on some characteristics of the host body. (It’s about 80 percent Alien, 20
percent Predator.) It has the Alien’s exoskeleton, acid blood, scorpion-like tail and inner
tongue/striking mouth. On the Predator side, it has an additional Predator-like mandible,
and an Alien-ized version of Predator “dreadlocks.”
More significantly, its Predator DNA has changed the Alien’s method of
procreation. Forgoing the creature’s traditional Queen – egg – face-hugger – chest-
burster – adult cycle, the Predalien has an even more aggressive and efficient breeding
system.
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The only thing stopping the onslaught of the Aliens and Predalien is a sole
Predator. Unlike the hunter Predators seen in previous films, the AVP-R version is a
“cleaner” whose sole purpose is to erase any signs of an Alien or Predator presence on
Earth.
In a way, the Predator becomes a kind of eco-warrior. “He doesn’t want to leave
any carnage behind on Earth that could upset the planet’s balance,” says Davis. “That
gives the character a certain dignity.” But this is not a kindler, gentler Predator; in fact,
he is the most ruthless of that species. Unlike the cleaner’s predecessors, it does not
follow the Predator’s hunter’s code of pursuing only armed prey; in AVP-R, many
innocents fall victim to its relentless pursuit of the Aliens that have overrun Gunnison.
The Predator also differs physically from previous screen incarnations. “It has a
very different life experience from the hunter Predators,” says Greg Strause. “It’s leaner
and meaner.” Creature effects creator and designer Alec Gillis, who with his partner
Tom Woodruff, Jr. worked on several previous “Alien” and “Predator” films, elaborates:
“Our idea was that this Predator is a battle-scarred veteran who uses his brains more than
his brawn. He carries scars of previous campaigns [of ‘cleaning’] – one of his mandibles
has melted off from a previous encounter with an acid-blooded Alien.”
Adds Colin Strause: “You can tell he’s been through a lifetime of battles. And he
wears no armor – he doesn’t need it!”
The Predator’s cleaning tasks require an arsenal that surpasses that of its hunter
predecessors. He carries not one, but two shoulder cannons; an implosion bomb that can
disintegrate a crashed Predator spaceship; a canister of dissolving fluid that in seconds
can turn an Alien into dust; and a bullwhip made from pieces of an Alien tail, with ultra-
sharp serrated edges.
Working within the fresh setting of Gunnison, while adding intriguing variations
on Aliens and Predators long familiar to fans of the series, The Brothers Strause strove to
return to the gritty, horror roots of “Alien,” “Aliens” and “Predator.” Moreover, they
were determined to respect the timeline established in the previous “Alien” and
“Predator” films. “AVP-R serves as a bridge from the Predator franchise to the Alien
films,” says Colin Strause. “It’s set after ‘Predator’ and ‘Predator 2,’ and before the
events of ‘Alien.’” Strause promises that the story’s timeframe will pay dividends to the
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enthusiasts of the film series. “There are a few treats in AVP-R that will tip off hardcore
fans how we get to ‘Alien.’”
The brothers’ love of “Aliens” led them to ask Twentieth Century Fox to digitally
remaster the original tracks of the creatures from James Cameron’s classic film. The
directors used the remastered tracks for their Alien sounds in AVP-R.
Similarly, Alec Gillis and Tom Woodruff, Jr. saw themselves being what Gillis
calls “caretakers” of the franchises, preserving key traits of the original Alien, designed
by the legendary H.R. Giger for Ridley Scott’s 1979 film, as well as some of James
Cameron and Stan Winston’s creature design work on “Aliens,” and Winston’s work on
“Predator.” The Strauses also integrated into the film some aspects from the comics’ and
videogames’ incarnations of the creatures. “We’re standing on the shoulders of giants,”
Gillis notes.
The shared vision of the Strause brothers and Woodruff and Gillis was evident as
early as their first meeting. “When we heard that Colin and Greg were directing – we
hadn’t met them yet – our first thought was, ‘Oh, it’s going to be all-digital creatures, all
the time,’” Gillis acknowledges, referring to the brothers’ formidable reputation as visual
effects specialists. “We were concerned that the creatures wouldn’t be as tactile as they
needed to be.”
The fears of the creature creators-designers were quickly assuaged when the
Strause brothers visited their shop, Amalgamated Dynamics, Inc. “We were thrilled
when Colin and Greg came to our shop, and we saw how much they appreciated the
previous versions of the characters. We all agreed that merging practical effects and
digital technology made for better creatures.”
While Gillis and Woodruff finalized their creature designs, the Strause brothers,
producer John Davis, and the studio began the casting process – and populating their
version of a besieged Gunnison, Colorado. The townspeople are working class
characters, unlike the millionaires, explorers and adventurers of the first “Alien vs.
Predator.” “You care when something happens to them,” says John Davis.
John Ortiz (“American Gangster”), who portrays Morales, the town’s sheriff,
notes that the human characters, even in the midst of fantastical and horrific situations,
remain recognizable and relatable. “What drew me to Morales is that although he’s an
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authority figure, he doesn’t have all the answers. And though the stakes are extreme for
him and everyone in town, at their core, the characters’ struggles are ones known to
everyone – survival and family.”
Still, Ortiz wasn’t immune to the otherworldly designs surrounding him every day
on the set. “I remember the first time we shot a scene with an Alien. It was on top of a
car, and I’m watching it and thinking, ‘What the hell!’ And my mouth just dropped open.
I thought, ‘Holy s**t, I’m in an ‘Alien’ movie!’”
For Steven Pasquale (“Rescue Me”), sharing the spotlight with the cinema’s most
famous xenomorph was the fulfillment of a longtime goal. “The original ‘Alien’ was my
father’s favorite film,” he explains. “One of the reasons I wanted to appear in AVP-R
was because I knew he’d be over the moon about it.”
Pasquale portrays Dallas, an ex-con just out of prison. His reunion with younger
brother Ricky, played by Johnny Lewis, is interrupted by the catastrophe shattering their
town. “Dallas sees right away that Ricky is headed down the same path that he was,”
says Pasquale, “and he tries to turn that around. He’s always trying to protect his
brother.”
Dallas, like Morales, is capable and tough, but no amount of street smarts and
inner strength can measure up to the threat posed by the warring Aliens and Predator.
“What I like about the characters is that they have no training that could prepare them for
this phenomenon,” Pasquale adds.
Pasquale’s on-screen sibling, Johnny Lewis, expects his role as a troubled high
school student who battles and, at least for a moment, triumphs over an Alien, to be one
of the more memorable of his career. “No matter what I do in my life, the fact that I got
to kill some of those creatures will be my little claim to history,” he laughs. “Not many
people can make that claim.”
Another family in crisis is a mother, Kelly, and her daughter Molly. Kelly has
just returned to Gunnison from a tour of duty in Iraq. “She’s trying to reestablish a
relationship with Molly and must re-learn how to be mother,” says Reiko Aylesworth
(“24,” “E.R.”), who portrays the warrior-mom. But as she’s trying to reconnect with
Molly (Ariel Gade), Kelly must also return to combat-mode to deal with the escalating
Aliens and Predator horrors. “Kelly gets very ‘Ripley-esque,’” says Aylesworth, referring
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to Sigourney Weaver’s heroic Ellen Ripley, the central character of the Alien film
franchise.
“We’re paying homage to Ripley in that sense that both she and Kelly are strong
female characters,” Aylesworth elaborates. “What I loved about Sigourney’s work in
those films is that she wasn’t trying to emulate a male action hero. She was very female
and very maternal. Molly shares those traits.”
As if battling Aliens and a Predator cleaner weren’t challenge enough, the actors
did so during six weeks of freezing nights and rain on the AVP-R set. Steven Pasquale
sums up the experience of working in daily torrential downpours: “In the first week or so
of production, I was excited to shoot at night, in the rain, and battle Aliens. When we
arrived on the set and got soaking wet for the first time, it was exhilarating and fun; we
were laughing and having a good time. By two weeks into the filming, all that remained
was complete misery – and a brutal and constant struggle to stay warm.” Pasquale
celebrated his thirtieth birthday on-set with a case of hypothermia.
While posing challenges to the actors, the weather was a boon to the directors’
vision for the film. “The grittiness, steam, rain, haze fog – it all enhances the action,”
says Greg Strause. “These elements reflect our philosophy of ‘less is more.’ We didn’t
want to show too much of the creatures, so we hid them in the shadows and in the rain,” a
strategy employed by two of the brothers’ cinematic touchstones, “Alien” and “Aliens.”
Additionally, the Strause brothers sprinkled subliminal elements throughout the film to
amp up the scares. In their Gunnison, even a small pizza shop can look as threatening as a
desolate planet.
After wrapping principal photography, the Strause brothers set up post-production
headquarters at their Santa Monica, California–based effects house, Hydraulx. There,
they worked on not only the film’s digital magic, but also on other critical post work. At
the same time, Brian Tyler composed the film’s score, creating what he calls “gritty,
scary, adrenaline-pumping” music that reflects the mood of scores from the previous
films in the franchise.
“The Alien themes use screeching strings, atonal furor, and wailing brass,”
explains Tyler. “When I conducted the Aliens themes, the sound wave created by the
orchestra nearly knocked me on my [behind].” Tyler contrasts these with the Predator
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themes: “The Predators have an intelligence lacking in the Aliens, but they’re equally as
brutal. For them, I merged tribal-style percussion and stern brass.
“It was important to have the music sound epic and true to its science fiction
roots,” Tyler concludes.
ALIENS VS. PREDATOR – REQUIEM is in theaters everywhere December
25.
ABOUT THE CAST
STEVEN PASQUALE (Dallas) stars as Sean Garrity, the smart-mouthed, notso-
bright firefighter in the critically acclaimed FX series, “Rescue Me.” The series
begins its new season next year.
On the big screen, Pasquale starred opposite Donald Sutherland and Juliette Lewis
in “Aurora Borealis” which premiered at the 2005 Tribeca Film Festival. He also starred
in Jonathan Segal’s “The Last Run.”
A regular on the theater scene, Pasquale appeared as Archibald Craven in “The
Secret Garden,” Captain Taylor in the Second Stage production of “A Soldier’s Play,”
and in the Neil LaBute off-Broadway hit “Fat Pig.” His other notable theater work
includes “A Man of No Importance” a Drama Desk and Outer Critics Circle nominee, at
Lincoln Center; “Beautiful Child” at The Vineyard Theater; “Spitfire Grill” at
Playwrights Horizon; “Spinning Into Butter” at Lincoln Center Theater; and “The Wild
Party” at Manhattan Theater Club. He created the role of Fabrizio in Adam Guettel and
Craig Lucas’ “The Light in the Piazza” at the Sundance Theatre Lab and the Intiman
Theatre.
Pasquale’s television credits include a recurring role on HBO’s Emmy® and
Golden Globeà Award winning drama “Six Feet Under,” and in Sofia Coppola’s
“Platinum.”
REIKO AYLESWORTH (Kelly) gained a large following from her three
seasons as Counter Terrorist Unit agent Michelle Dessler on the FOX hit television show
“24.” This season, Aylesworth joined the cast of “ER” as county chaplain Julia Dupree.
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Aylesworth was recently seen opposite Kevin Costner and Demi Moore in the
MGM film “Mr. Brooks,” and in “The Killing Floor.”
Aylesworth began her career in theater, starring in the off-Broadway plays
“Robbers,” directed by Marshall Mason; “Missing-Kissing,” directed by John Patrick
Shanley; and “One Hundred Gates,” directed by Howard Rossen. She also starred in
regional theater productions of “Humpty Dumpty,” directed by Joe Bonney; and “Cheap
Sentiment,” directed by Tom Bullard. Additionally, she appeared onstage at the
Williamstown Theatre Festival in Caryl Churchill’s “Top Girls,” directed by Jo Bonney.
Aylesworth’s television credits include “Ed,” “The West Wing,” and “The Dead
Zone.” She also had a recurring role on the hit NBC drama “Law & Order: SVU.”
Aylesworth’s feature film credits include “Random Hearts,” “Fathers and Sons,”
and the independent feature “Crazy Love,” which premiered at the 2004 Hollywood
International Film Festival.
JOHN ORTIZ (Morales) is an award-winning actor who honed his craft on the
New York stage. He won the Obie Award for Best Actor in the off-Broadway production
of “References to Salvador Dali Make Me Hot.”
Ortiz is the co-founder, along with Philip Seymour Hoffman, of the LAByrinth
Theatre Company, where he has produced and performed in many productions including
“Jesus Iscariot,” directed by Hoffman; “Jesus Hopped The ‘A’ Train,” for which he was
awarded a Drama Desk nomination; “Guinea Pig Solo” and most recently “Jack Goes
Boating.” These productions were staged at the Public Theatre.
Other New York theatre credits include the Broadway production of “Anna in the
Tropics”; “The Skin of our Teeth,” with Jon Goodman at the Public Theatre; “Clouds
Tectonics” at Playwrights Horizon; and “The Persian” and “Merchants of Venice,” both
directed by Peter Sellars and performed in Paris, London, Berlin and Edinburgh.
Regionally, he has performed at the Mark Taper Forum, The Goodman, Hartford Stage,
Arena Stage, Yale Repertory, South Coast Repertory and Cincinnati Playhouse.
On the big screen, Ortiz can currently be seen in Ridley Scott’s “American
Gangster” starring Russell Crowe and Denzel Washington. He starred in Michael
Mann’s “Miami Vice” opposite Colin Farrell and Jamie Foxx, and in the biopic “El
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Cantante” with Jennifer Lopez and Marc Anthony. Upcoming is “Pride and Glory” with
Edward Norton and Colin Farrell.
Other motion picture credits include “Amistad,” “Carlito’s Way, “Narc,”
“Ransom,” “Riot,” “Side Streets,” “Sgt. Bilko,” “Before Night Falls,” “The
Opportunists” and “The Last Marshall.”
On television, Ortiz was the lead in CBS’ “Clubhouse.” He spent two seasons
playing Ruben Sommariba in the ABC series “The Job” with Denis Leary. He was also a
series regular on FOX’s “Lush Life,” and he had a recurring role on CBS’s “The
Handler.” He recently shot a pilot for HBO, “Hope Against Hope,” written and directed
by J.J. Abrams.
JOHNNY LEWIS (Ricky) was born Jonathan Kendrick Lewis in Los Angeles.
He began his acting career in his early teens, making television appearances on various
network series and pilots, and in several major feature films. His latest film credits are
“One Missed Call” and “Tucker Tooley’s Felon.”
ARIEL GADE (Molly) began her career at the age of four when she starred as Ben
Stiller’s daughter in “Envy.” Gade then portrayed Melissa Gilbert’s daughter in the
television pilot “Then Came Jones.” She starred in the feature thriller “Dark Water,”
opposite Jennifer Connelly, which earned Gade significant recognition. She also starred in
the ABC drama “Invasion.”
Gade has made notable appearances on “The Tonight Show with Jay Leno,” “Last
Call with Carson Daly,” “The View,” and “Good Day L.A.” In addition to continuing her
acting pursuits, Gade aspires to write and direct.
ABOUT THE FILMMAKERS
THE BROTHERS STRAUSE (Directors), Greg and Colin, make their feature
film debut on AVP-R. Since 1996, they have run their own visual effects company,
Hydraulx, creating groundbreaking work on over forty films including “300,” “X-Men:
The Last Stand,” “Superman Returns,” “Poseidon,” “Mission: Impossible III,” and “The
Day After Tomorrow,” the latter bringing a BAFTA award for best achievement.
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Greg and Colin were influenced by the mix of action spectacle and heartfelt story
in films like “Aliens,” “The Abyss” and “Terminator 2: Judgment Day.” Their work
aims for both the visceral and emotional, adding layers and relevance to each piece.
They began their careers working on “The X-Files” in 1995, creating the visual
effects for the landmark series. They moved to feature films shortly thereafter, on “The
Nutty Professor” and “Volcano.” In 1996, they worked with director James Cameron on
his seminal blockbuster “Titanic.”
The Brothers Strause began directing music videos in 2000, bursting onto the
scene with productions heavy on special effects. Initially, their style was clean and slick,
showing polish and professionalism. Their videos were the epitome of the new digital
age aesthetic, helping launch the careers of Linkin Park and Nickelback. In 2002, they
directed Dwayne “The Rock” Johnson and Kelly Hu for the Godsmack’s music video, “I
Stand Alone,” featured on “The Scorpion King” soundtrack. Their videos for Staind,
Taproot, and A Perfect Circle took their visual style into a grittier realm. Their use of
effects became more about what served the piece best and not what simply looked cool.
In 2001, Greg and Colin made their commercial directorial debut with a stunning
campaign for Toyota. Their spots for Universal Studios, Playstation’s “God of War,”
Coca-Cola, and Ford gained attention for their dark tone and cinematic quality. Their
United States Marine Corps campaign was a visual metaphor comparing the process a
rock undergoes in becoming a diamond to the formative journey a recruit undergoes in
becoming a polished marine. Along with their two short films, “Mute” and “16mm
Mystery,” the Brothers Strause created atmosphere with a unique style.
With AVP-R, their goal is to return the franchise to its origins and ground the film
in a compelling human drama. Colin and Greg plan on reminding everyone just how
scary these monsters can be when they lurk in the shadows, threatening human characters
that we actually care about.
SHANE SALERNO (Writer) earned his first credit at age 24 as the coscreenwriter
of the global blockbuster “Armageddon,” starring Bruce Willis, and
followed it one year later with the critically acclaimed box office hit “Shaft,” starring
Samuel L. Jackson, Christian Bale and Jeffrey Wright.
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Additionally he has rewritten a number of successful films including the
acclaimed Paramount thriller “Breakdown,” starring Kurt Russell and the box office hits
“Alien vs. Predator” and “Ghost Rider.” He was the co-creator (with noted crime
novelist Don Winslow), executive producer and showrunner of the NBC series “UC:
Undercover.”
Salerno first came to the national spotlight as an 18 year old high school student
when he wrote, produced and directed the award winning documentary short “Sundown:
The Future of Children and Drugs,” which had its world premiere on “Larry King Live,”
won numerous awards, and was honored in both houses of Congress.
JOHN DAVIS (Producer), chairman of Davis Entertainment Company, is one of
Hollywood’s most prolific producers of major motion pictures and movies for television.
His sixty-plus film and television productions have earned more than two billion dollars
worldwide.
Davis Entertainment’s three divisions - feature film, independent film and
television - develop and produce projects for major studios, independent distributors,
networks and cable broadcasters. The company currently has a first-look production deal
at Twentieth Century Fox, and has over 30 projects in development at various major
studios.
The hallmark of Davis’ success is his ability to continually attract the industry’s
most successful actors, directors, writers and other creative talent to his productions. His
proven ability to find and develop commercial projects coupled with his long-standing
creative relationships account for his consistency in producing both large and modest
scaled theatrical productions, as well as major telefilms and specialized cable
programming.
Davis’ most recently released films are “The Heartbreak Kid,” starring Ben
Stiller, directed by the Farrelly brothers; “Eragon,” an epic fantasy-adventure based on
the best-selling novel; the hit Eddie Murphy comedy “Norbit”; “Dr. Dolittle 3,” and
“When A Stranger Calls,” a Screen Gems/Davis production starring Camilla Belle; and
“Garfield: A Tail of Two Kitties,” the Fox/Davis sequel to 2004’s “Garfield The Movie”
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starring Jennifer Love Hewitt, Breckin Meyer and with Bill Murray as the voice of
Garfield.
Also in 2004 came the feature adaptation of Bill Cosby’s beloved “Fat Albert,” a
live-action family comedy starring Kenan Thompson and directed by Joel Zwick; a
remake of “Flight of the Phoenix,” starring Dennis Quaid, Giovanni Ribisi and directed
by John Moore; the romantic comedy “First Daughter,” starring Katie Holmes and
directed by Forest Whitaker; the long-anticipated meeting of two of cinema’s most
fearsome adversaries in “Alien vs. Predator”; the sci-fi thriller “I Robot,” starring Will
Smith, directed by Alex Proyas; and “Garfield,” a live-action/CGI feature that appealed
to kids and adults alike.
On Christmas Day 2003 came John Woo’s action film “Paycheck,” starring Ben
Affleck, Aaron Eckhart and Uma Thurman. Earlier that summer, the Eddie Murphy
family comedy “Daddy Day Care,” also starring Steve Zahn, Jeff Garlin and Angelica
Houston, was released in theaters. Produced in conjunction with Revolution Studios, the
film grossed over $100 million at the box office.
Prior releases include “Life or Something Like It,” starring Angelina Jolie and
Edward Burns; “Behind Enemy Lines,” starring Owen Wilson and Gene Hackman; “Dr.
Dolittle 2,” starring Eddie Murphy (grossing over $112 million domestically);
“Heartbreakers,” which opened as the number-one film in the country, and starred
Sigourney Weaver, Gene Hackman and Jennifer Love Hewitt.
Davis produced an impressive slate of motion pictures in the ‘90s, including “Dr.
Dolittle,” starring Eddie Murphy; “Out to Sea,” starring the venerable comedic pair of
Walter Matthau and Jack Lemmon; the blockbuster “The Firm,” which starred Tom
Cruise and won a People’s Choice Award for Best Dramatic Film; “Grumpy Old Men,”
which was a People’s Choice Award winner for Best Comedic Film; “Grumpier Old
Men,” the re-pairing of Matthau and Lemmon; “Courage Under Fire,” starring Denzel
Washington and Meg Ryan; “The Chamber,” John Grisham’s bestseller starring Gene
Hackman and Chris O’Donnell; “Daylight,” starring Sylvester Stallone; “Waterworld,”
starring Kevin Costner; and “Richie Rich,” starring Macaulay Culkin.
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Davis’ other feature credits include: “Predator,” “Predator 2,” “The Thing Called
Love,” “Fortress, Gunmen,” “Storyville,” “Shattered,” “Little Monsters,” “The Last of
the Finest,” “License to Drive,” “Three O’clock High” and “The Hunted”.
For the small screen, Davis produced the made-for-television movies “The Jessie
Ventura Story” and “Little Richard,” as well as the made-for-television movie “Miracle
at Midnight,” starring Sam Waterston for the “Wonderful World of Disney” franchise.
Other films he produced for television include “Asteroid,” an NBC mini-series
that received the highest ratings for a mini-series, made-for-television movie or feature
film presentation on television during the 1996-1997 season; “Volcano: Fire on the
Mountain”; “Truman Capote’s One Christmas,” a highly-rated movie starring Katherine
Hepburn; and the popular movie “This Can’t Be Love,” starring Katherine Hepburn and
Anthony Quinn.
Davis’ other television and cable credits include “Tears and Laughter,” “The Last
Outlaw,” “Silhouette, “Voyage,” “Irresistible Force,” “Wild Card,” “Dangerous Passion,”
“Curiosity Kills” and “Caught in the Act.” Davis Entertainment Television is currently
developing numerous series and event movies for network and cable outlets.
Davis is a graduate of Bowdoin College, attended Amherst College and received
an M.B.A. from the Harvard Business School.
DAVID GILER (Producer) is a prominent screenwriter and producer who has
worked extensively in film and television. He was a producer on “Alien vs. Predator,”
and on the landmark film “Alien.” Before that, he wrote the features “Myra
Breckinridge,” “The Parallax View,” and “The Black Bird” (which he directed).
He was a producer/writer on the drama “Southern Comfort,” co-written and
directed by frequent collaborator Walter Hill, who also produced “Alien” with Giler and
Gordon Carroll. Giler produced the western “Rustler’s Rhapsody” and executive
produced and wrote the Tom Hanks comedy “The Money Pit.” Giler and Walter Hill
received story credit on James Cameron’s “Aliens.” Other film credits include “Let It
Ride” and the recent prison drama “Undisputed.”
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Giler was an executive producer on the hit HBO series “Tales from the Crypt,”
and wrote several episodes. He was executive producer on a feature film based on the
series, “Bordello of Blood” and producer on “Tales from the Crypt Presents: Revelation.”
WALTER HILL (Producer) was called, by the International Dictionary of
Films and Filmmakers, “one of the premiere action filmmakers of the contemporary
cinema, a skilled visual stylist whose narrative use of chase and confrontation has
produced a gallery of both commercial and critically acclaimed motion pictures over the
past three decades.”
In 2006, Hill won a DGA Award for directing the acclaimed television film
“Broken Trail”; the Western won Emmy Awards and received Golden Globe
nominations.
At the end of 2005, Walter Hill’s work was honored at the Turin Film Festival
and at the Paris Cinematheque.
During a retrospective of his work at London’s National Film Theatre, Observer
film critic Philip French wrote: “Hill’s mentors are Hawks, Walsh and Ford, and he
belongs in their tradition of narrative cinema. His movies are pared-down fables,
centering on mysterious loners who live by private codes on the margins and in the
interstices of American life… There is a romantic wistfulness about most of his
characters and his films have an astonishing, painterly beauty, and their scores, redolent
of the blues and folk music, contribute to the feeling of visual balladry.”
Hill won an Emmy and a DGA Award for directing the pilot of “Deadwood.”
His credits as a director include "Hard Times," "The Driver," "The Warriors," "The Long
Riders," "Southern Comfort," "48 Hrs.," "Streets of Fire," "Brewster’s Millions,"
"Crossroads," "Extreme Prejudice," "Red Heat," "Johnny Handsome," "Another 48 Hrs.,"
"Trespass," "Geronimo: An American Legend," "Wild Bill," "Last Man Standing" and
"Undisputed."
Hill began as a screenwriter with "The Getaway" and "The Drowning Pool," and
receives a screenplay credit, in collaboration with other writers, on many of his films as a
director. He produced the box office hit “Alien,” co-wrote the story for its sequel and
received a producer credit on all the subsequent films in the Alien series.
14
PAUL DEASON (Executive Producer) was executive producer on the Martin
Lawrence comedy “Rebound.” Previously, he held the dual posts of co-producer/unit
production manager on “Evolution,” “Thirteen Days," "End of Days" and “Small
Soldiers.” His film work also includes stints as Associate Producer/Unit Production
Manager on “Amistad,” “Mars Attacks!,” “Congo” and “Casper,” and as a Unit
Production Manager on the hit films “Jurassic Park,” “Father of the Bride,” “The
Flintstones” and “Three Men and a Little Lady.” In addition, he was an Assistant
Director on the films “The Big Picture,” “An Innocent Man” and “Weeds.”
Deason attended film school at UCLA, and spent ten years adventuring around
the globe as a documentary technician for “National Geographic” and “Survival Anglia.”
Segueing to television, he worked as a Unit Production Manager or First Assistant
Director on the series “Beauty and the Beast,” “Hill Street Blues” and “The Twilight
Zone,” as well as the longform projects “First and Ten,” “Foreign Exchange,” “Ask Max”
and “Me and Mom.”
DANIEL C. PEARL, ASC (Director of Photography), within months of
receiving his Master of Arts degree from the University of Texas in 1973, lensed the
original “The Texas Chainsaw Massacre,” a legendary independent feature which is part
of the permanent film collection of the New York Museum of Modern Art. His feature
credits also include Marcus Nispel’s remake of “The Texas Chainsaw Massacre” and
Nispel’s “Pathfinder,” and “Captivity” for director Roland Joffe.
Over a thirty-year career, Pearl has worked on a multitude of projects ranging
from independent feature films to music videos to commercials. He has won two MTV
awards for Best Cinematography. In 1996 Pearl was the first cinematographer to receive
the MVPA Lifetime Achievement Award and the following year was the first inductee
into the Kodak Vision Hall of Fame for Music Video Cinematography.
ANDREW NESKOROMNY (Production Designer) was the production
designer on “Slither,” “Dawn of the Dead,” “White Noise 2: The Light” and “Replicant.”
In 2004, he was nominated for an Art Directors Guild Award (shared) for “Seabiscuit,”
15
and in 1994 he was nominated for an Emmy for outstanding individual achievement in art
direction for a series (shared) for “Star Trek: The Next Generation.”
Other credits as art director include “Meet the Fockers,” “The Core,” “The Sum
of All Fears,” “Alien Resurrection,” “Deep Impact” and the television series “Masters of
Science Fiction.”
DAN ZIMMERMAN (Film Editor) edited “The Omen” (2006). Before that he
was visual effects editor on “Fun with Dick and Jane” and “Flight of the Phoenix.”
Zimmerman was assistant editor to his father, Don Zimmerman on the films “Cat in the
Hat,” “Just Married,” “Galaxy Quest,” “Patch Adams” and “Liar, Liar.”
ALEC GILLIS and TOM WOODRUFF, JR. (Creature Effects Designers
and Creators) are the principals of Amalgamated Dynamics, Inc. (ADI), one of the
industry’s leading creature effects houses.
Gillis was raised on his father’s stories of makeup great Dick Smith and effects
wizard Gene Warren, Sr. With a burning curiosity about the tricks of filmmaking, Alec
decided, at age thirteen, to pursue a career in creature effects. The original “Planet of the
Apes” and the movies of Ray Harryhausen inspired him to make his own amateur film
projects. Gillis earned the basics of monster-making by reading books and setting up
shop in his mother’s garage. He teamed up with then truck- driver and hopeful
filmmaker James Cameron, building a stop-motion puppet in Cameron’s kitchen. Later
the two would land jobs at Roger Corman’s New World Pictures, participating in a
variety of tasks, from model building to effects camera operating.
Gillis’ stint at New World (“Battle Beyond the Stars,” “Galaxy of Terror,”
“Android”) allowed him to work with future film notables such as Gale Anne Hurd
(“Terminator,” “Aliens,” “The Hulk”), Robert and Dennis Skotak (visual effects Oscar
winners for “Aliens,” “The Abyss”), and visual effects supervisor Pat McClung
(“Armageddon,” “Dante’s Peak,” “Charlie’s Angels”). Many of the relationships forged
in those early years continue to this day.
While still a novice in the world of visual effects, Gillis began attending UCLA’s
film school. It has always served him well as an effects artist to also be a filmmaker.
16
Indeed, the worlds are one and the same; an effects-heavy film without story or character
development is nothing more than a series of sequences.
After film school, Gillis worked for many of Hollywood’s top makeup and
creature effects artists, including Stan Winston. It was here that he was given the
responsibility of helping manage the foremost creature shop in the industry. Gillis was
also one of Winston’s key designers on films such as “Aliens,” “Alien Nation” and
“Leviathan”. It was also during this time that he met Tom Woodruff, Jr., with whom he
would later form a new creature effects studio.
Tom Woodruff was born in Williamsport, Pennsylvania in 1959 and developed an
early interest in movies and monsters as a result of late-night broadcasts of the now
classic Universal Studios monster movies and the stop-motion effects of Ray
Harryhausen. Watching one of the “Planet of the Apes” films in a theater focused his
attention on the craft of make-up, while getting his hands on his father's 8mm home
movie camera at 13 years of age encouraged his interest in filmmaking.
Living so far from Hollywood, Woodruff’s only professional contact was through
writing letters to the artists whose work he admired most, like John Chambers, who
created the “Planet of the Apes” make-up. Early in high school, he began to crank out
Super 8 movies, using friends as cast members and saving money for his own camera
equipment. In college, Woodruff was allowed to adapt an independent studies
curriculum in Theater to focus on filmmaking and writing and continued to work on his
own make-up creations and film work, story ideas, and screenplays.
Woodruff moved to Los Angeles in 1982. After a year of working with small
make-up effects houses, he joined Stan Winston's team on “Terminator.” That was the
beginning of a five-year period that saw Woodruff become a key coordinator under
Winston, working on such features as “Aliens” and “Predator,” as well as on the TV
show “Amazing Stories.” During this time, he began wearing the complicated make-up
and costumes of the creatures designed at the studio. His physical build and tolerance, as
well as his ability to perform as an actor, led to his portraying the title characters in the
movies “Monster Squad,” “Pumpkinhead,” and “Leviathan”.
Woodruff continued to write, ultimately teaming up with another of Winston’s
designer-technicians, Alec Gillis, to co-produce, write, and direct “The Demon with
17
Three Tales,” a promotional piece designed to sell a feature anthology project. Woodruff
and Gillis then formed Amalgamated Dynamics, Inc., primarily as an imposing-sounding
source from which to pursue their own make-up and effects projects, but with the intent
to use the company as an umbrella under which their own film productions could
eventually grow.
Woodruff and Gillis became two of the major character effects talents in the
business today, with their work gathering numerous accolades and awards including an
Academy Award for “Death Becomes Her” and multiple Academy Award nominations
for “Starship Troopers” and “Alien 3.”
Gillis and Woodruff continue to be personally involved in the visual realization
and performances of their characters. Woodruff continues to perform in a variety of
creature and animal rolls, as lead characters in the features “AVP: Alien Vs. Predator,”
“Scary Movie 3,” “Looney Tunes - Back in Action,” “Evolution,” “Bedazzled,” “The
Hollow Man,” “Alien Resurrection,” “Alien3,” “Jumanji,” “The X-Files,” as well as on
the television series “nip/tuck,” “Chicago Hope” and “Seven Days.”
Woodruff joined the Director's Guild in 1998, directing a number of segments for
the Dick Clark series, “Beyond Belief.” He continues to create his own in-house projects
with Gillis, and write, produce and direct his own short films.
Woodruff and Gillis wrote, AVP: The Creature Effects of ADI, a book which
documents the entire creative process behind creating the huge cast of creatures for the
hit film. He is also a regular contributing writer to MakeUp Artist, a magazine directed to
the professional make-up artist.
Woodruff is developing additional properties with new writers to create a slate of
productions that will see Woodruff and Gillis continue their growth not only as character
effects and make-up artists, but as filmmakers.
BRIAN TYLER (Music) received his bachelor's degree from UCLA and his
master's degree from Harvard University. His love of film was greatly inspired by his
Academy Award winning art director grandfather Walter Tyler, who received ten
Academy Award nominations.
18
Brian Tyler began composing music at an early age, and by his mid-teens he was
performing his own concert pieces around the United States and Russia. Tyler played
piano, classical percussion, guitar, bass, and drums in various orchestras, music
ensembles, choirs, and bands, before deciding to enter the world of film scoring.
His most recent projects are “Rambo,” the new installment of Sylvester Stallone’s
film franchise; “The Fast and The Furious: Tokyo Drift”; and the historical epic
“Partition,” a romance set against the violent struggle between Pakistan and India in the
1940s. He also recently scored the Cannes Award winning film “Bug” for Academy
Award winning director William Friedkin.
In 2005 Tyler scored three films: “Constantine,” starring Keanu Reeves, based on
the DC/Vertigo comic Hellblazer; director Bill Paxton's “The Greatest Game Ever
Played” and director Justin Lin’s “Annapolis.”
Over the past six years, Tyler has composed over 35 scores, and has been awarded
Cinemusic's designation as Best New Film Composer of the Year in 2001. In 2002, he
received an Emmy nomination for his score for “The Last Call.” In 2006 he received an
ASCAP Award for “Constantine.”
Other credits include “Panic,” “Los Muertos,” “Jane Doe,” “Bubba Ho-Tep,”
‘Timeline,” “Frailty,” “The Hunted,” “The 4th Floor,” “A Piece of My Heart,” “Darkness
Falls,” “Children Of Dune” (for which Tyler produced a best selling soundtrack album),
“The Big Empty,” “Thought Crimes” and two episodes of the second season of the series
“Star Trek: Enterprise.”
©2007 Twentieth Century Fox. All rights reserved. Property of Fox.
Permission is hereby granted to newspapers and periodicals to reproduce this
text in articles publicizing the distribution of the Motion Picture.
All other use is strictly prohibited, including sale, duplication, or other transfers of this material.
This press kit, in whole or in part, must not be leased, sold, or given away.
19
TWENTIETH CENTURY FOX Presents
“ALIENS VS. PREDATOR – REQUIEM”
Directed by.................................THE BROTHERS STRAUSE
Written by ................................................. SHANE SALERNO
Based on the “Alien” characters created
By DAN O’BANNON and RON SHUSETT
And the “Predator” characters created by
JIM THOMAS & JOHN THOMAS
Produced by .......................................................JOHN DAVIS
Produced by ................... DAVID GILER and WALTER HILL
Executive Producer........................................ PAUL DEASON
.................................................................ROBBIE BRENNER
Director of Photography ................. DANIEL C. PEARL, ASC
Production Designer.................... ANDREW NESKOROMNY
Film Editor..............................................DAN ZIMMERMAN
Creature Effects Designed and Created by ................................
............................ALEC GILLIS and TOM WOODRUFF, JR.
Original Alien Creatures Designed by..................H.R. GIGER
Music Composed by ........................................BRIAN TYLER
Costume Designer....................................ANGUS STRATHIE
STEVEN PASQUALE
REIKO AYLESWORTH
JOHN ORTIZ
JOHNNY LEWIS
ARIEL GADE
KRISTEN HAGER
SAM TRAMMELL
ROBERT JOY
DAVID PAETKAU
TOM WOODRUFF, JR.
IAN WHYTE
U.S. Casting by .................................... MINDY MARIN, CSA
Canadian Casting by ......................... COREEN MAYRS, CSA
.............................................HEIKE BRANDSTATTER, CSA
A JOHN DAVIS / BRANDYWINE Production
Unit Production Manager............................... PAUL DEASON
Unit Production Manager..............................WARREN CARR
First Assistant Director ................................ LARS WINTHER
Second Assistant Director.................... KATHY HOUGHTON
Made in Association with DUNE ENTERTAINMENT LLC
CAST
Dallas....................................................STEVEN PASQUALE
Kelly ................................................. REIKO AYLESWORTH
Morales...............................................................JOHN ORTIZ
Ricky.............................................................JOHNNY LEWIS
Molly.................................................................. ARIEL GADE
Jesse............................................................KRISTEN HAGER
Tim ............................................................ SAM TRAMMELL
Col. Stevens.......................................................ROBERT JOY
Dale ...........................................................DAVID PAETKAU
Alien...................................................TOM WOODRUFF, JR.
Predator ...............................................................IAN WHYTE
Darcy ..................................................... CHELAH HORSDAL
Curtis ...................................................... MESHACH PETERS
Mark ..................................................................MATT WARD
Nick.....................................................MICHAL SUCHANEK
Drew ......................................................... DAVID HORNSBY
Deputy Ray.................................CHRIS WILLIAM MARTIN
Deputy Joe.................................................JAMES CHUTTER
Deputies........................ PHIL BUHLER, KEVIN HAALAND
Carrie .............................................................GINA HOLDEN
Buddy .....................................................KURT MAX RUNTE
Sam.................................................................... LIAM JAMES
Dr. Lennon........................................................... TIM HENRY
Karl................................................................TOM McBEATH
Nathan ................................................................. TY OLSSON
Ritchie .............................................. ANTHONY HARRISON
Homeless Harry ............................................. LLOYD BERRY
Nurse Helen............................................... REKHA SHARMA
Tina...............................CATHERINE LOUGH HAGGQUIST
Pregnant Sue......................................VICTORIA BIDEWELL
Lt. Wood....................................................... DALIAS BLAKE
Mr. Thomas ...........................................................TIM PEREZ
Earl .............................................RAINBOW SUN FRANCKS
Scotty.........................................................JUAN RIEDINGER
Broadcaster.............................................................VAL COLE
Tank Driver ............................................... ANDREW HEDGE
Truck Driver .................................................RYAN ROBBINS
Special Forces Commander ............. CURTIS CARAVAGGIO
Ms. Y............................................................FRANÇOISE YIP
Homeless Guy ...........................................JOHN WARDLOW
Homeless Lady ........................................ NESTA CHAPMAN
Additional Predators...IAN FEUER,BOBBY "SLIM" JONES
National Guard ................................................GLEN BRKICH
Pregnant Women ..................JAY-LYN GREEN, LILI WEXU
ER Resident Doc ........................................ ADRIAN HOUGH
ER Doctor #2............................KAREN van BLANKENSTIN
Lead Canadian Puppeteer .................................. ADAM BEHR
Puppeteers.....................................................JENY CASSADY
........................ MORRIS CHAPDELAINE, YURI EVERSON
.................. MIKE FIELDS, STEVE FRAKES, ALEC GILLIS
...................................... GEORGE GROVE, PAUL HOOSON
...........................HIROSHI “KAN” IKEUCHI, MARC IRVIN
........................ FRANK MESCHKULEIT, DAVID PENIKAS
.................................. GEOFF REDKNAP, JAMES ROWLEY
................................................................ GARTH WINKLESS
Stunt Coordinator ................................................ JJ MAKARO
2nd Unit Stunt Coordinator ............................ DAVE HOSPES
Whip Coach...................................................... ALEX GREEN
Key Stunt Rigger .........................................JAKE LOMBARD
Stunt Safety .......................................MITCHELL LEE YUEN
Wire Technicians............... DARRYL QUON, BRAD KELLY
I
Stunts ............................LLOYD ADAMS, TREVOR ADDIE
......................CAROLYN ANDERSON, JAMES BAMFORD
........ LOYD BATEMAN, ROB BOYCE, SIMON BURNETT
..........................YVES CAMERON, MAIRA CARRICONDE
........................ DOUG CHAPMAN, COLBY CHARTRAND,
...............................MIKE CHING, LAURA LEE CONNERY
............................ DANIEL CUDMORE, MIKE DESABRAIS
............................. JOHN De SANTIS, DUANE DICKINSON
............ AUSTIN DUNN, MARNY ENG, CAROLYN FIELD
........................................... LANI GELERA, CORRY GLASS
........................ANDREW MICHAEL HILL, DEVON JONES
..... JON KRALT, MICHAEL LANGLOIS, CODY LAUDAN
..REG MILNE, GERALD PAETZ, JEFFREY C. ROBINSON
JUSTIN SAIN, RAYMOND SAMMEL, MELISSA STUBBS
................................ RHYS WILLIAMS, ELI ZAGOUDAKIS
Supervising Art Director................................ HELEN JARVIS
Assistant Art Directors.........................................ANDREW LI
..........................................................MARTINA JAVOROVA
Set Decorator .................................SHANE “PERRO” VIAEU
Set Designer.....................................................CHRIS BEACH
Assistant Decorator........................... DALE ANN CONNERY
Buyer......................................................... SERGIO LAVILLA
Lead Dresser .....................MICHAEL "JOJO" JOVANOVSKI
On Set Dressers............SPENCER WEST, CHRIS WISHART
Dressers.................................................. MICHAEL CHURCH
............................ANTONY CHRUSZCZ, MIKE MARSTON
.............................. KAREN LISTER, KATHARINA BRAND
Illustrator............................................................ ROB JENSEN
Graphics Designer....................................... SALLY HUDSON
Art Department Coordinator ...............SHARON THOMPSON
Art Department Assistant......................................LORI WEST
3rd Assistant Directors..........TARNYA COOK, JODY RYAN
AD Production Assistant......................HAYLEE HUBSCHER
Camera Operators ...............................................DON REDDY
....................................................... WAYNE MACCONNELL
First Assistant Camera ................... SIMON JORI, REG GOLE
Second Assistant Camera......................RICHARD SINCLAIR
.............................................................. THOMAS YARDLEY
Still Photographer......................................JAMES DITTIGER
Video Assist Operator..............................DAVID McKNIGHT
Video Assistant................................................JAMES WONG
Sound Mixer ...........................................PATRICK RAMSAY
Boom Person............................................DAVID GRIFFITHS
Cable Person.....................................................NAAN SPIESS
Property Master...........................................TERRY WEAVER
Assistant Property Master......................................BRIAN EPP
Props Buyer ....................................... DOUGLAS FOREMAN
Assistant Props............................................GAVIN DE WEST
Script Supervisor..............................................KELLY MOON
Research Consultant ...............................PETER CUMMINGS
Gaffer...................................................STUART HAGGERTY
Best Boy Electric...........................................NIALL FRASER
Genny Operator.............................................ROGER BAILEY
Key Rigging Gaffer.................................. SEAN OXENBURY
Rigging Electrics Best Boys .......................... KURT ZELMER
.............................................................ANDREW MACLEOD
Company Lamp Operators...................... CEDAR O’ROURKE
........... PAUL MARTINS, BENN HARRISON, NINA JONES
Key Grip .................................................. TONY WHITESIDE
Best Boy Grip..................................................MATT ALMAS
Dolly Grips .................. RUSSELL HAWKS, NEIL McBRIDE
Key Rigging Grip ......................................... PETER PACULA
Best Boy Rigging Grip ................................ SCOTT BONNER
Lead Man............................................................ BOB LITTLE
Company Grips................. DEAN RECA, CHRIS BAMFORD
......................SCOTT VERE, SHANE KJAR, DREW DAVID
Costume Coordinator........................... SANDRA J. BLACKIE
Set Costume Supervisors..................... ALLISON CHRETIEN
.....................................................................KURTIS REEVES
Truck Costumer .............................................JOHN DENISON
Lead Creature Dressers............................... SCOTT BLACKIE
........................................................................... MAYA MANI
Creature Costumers ...................SAMANTHA MACKINNON
..........................SUMMER EVES, VALERIE FAWKES-KIM
...........................COURTNEY ANDERSON, NANCY HARE
..............................KAREN DURANT, TATIANA HUTINEC
................................................................... MARY WISEMAN
Costumers...........PETRA BERGHOLZ, HEATHER RUPERT
.......................... CHARIS TILLSON, SARAH HADDLETON
Seamstresses...................................................KIEU NGUYEN
......................... CHRISTINA RICHARDS, PETRA WRIGHT
...................................... NORA BAUTISTA, GLORIA CHAN
Key Make-up Artist...................................JAYNE DANCOSE
1st Assistant Make-up ....................................BETH BOXALL
Key Hair Stylist................................................LINDA JONES
1st Assistant Hair............................................ IAN BALLARD
Creature Technicians ..................MICHAEL HEINTZELMAN
............ GIDEON HAY, J.P. MASS, MAIKO “MO” GOMYO
Location Manager....................................... S. STEVEN SACH
Production Coordinator ............................... JENA NIQUIDET
1st Assistant Production Coordinator ......SIMON CARRIGAN
Animal Trainers.....................DANA DUBE, MARC DUMAS
Special Effects Coordinator................ TONY LAZAROWICH
Special Effects Best Boy ...........................SCOT TRELIVING
Special Effects Foreman.........W.A. ANDREW SCULTHORP
Special Effects Buyer ................CAILA MARIE ANDERSON
Special Effects.................GARY HEIDRICK, RAE REEDYK
....................... PHILLIP DAVIS, RANDY WARREN PARKS
..........KURT JACKSONk, PAUL BENJAMIN, CHRIS LINK
................................MARK OBEDZINSKI, DALE SHIPPAM
...........................VANCE SALVALGGIO, STEVE COLLINS
.....................CHRIS FLEMMINGTON, CHRIS SCHREIBER
SPFX Rigging.................. PERRY BECKHAM, CHRIS LINK
...........................KATHERINE FRASER, DUSTIN BROOKS
.................................... CHRIS GEISLER, NEIL CALDWELL
........................................DEAN HART, MIKE CARPENTER
Construction Coordinator .............JOHN WILLIAM BEATTY
Construction Foreman .................................. DALE MENZIES
Construction Buyer....................................KEVIN TOMECEK
Lead Carpenters..........................................CHRIS RODGERS
...........................CAMERON SENUM, KENNETH LATOUR
............................. PETER LACROIX, MARKE K. WALKER
II
Lead Hand........................................................... DESI BRETT
Lead Labourers.......................................JOSHGREENFIELD
...................... JEREMY C. DEIGHTON, ROBERTO PINONI
Shop Coordinator..............................RICHARD TREMBLAY
Lead Metal Fabricator............................. GARY LAWRENCE
Head Sculptor ...........................................JACK GAUVREAU
Paint Coordinator............................... VAUGHAN X. BAKER
Paint Foreman........................................MICHAEL DUNDAS
Lead Painter......................................................SEAN WYNIA
Lead Hand....................................... EILEEN CUNNINGHAM
Scenic Artists ........................NIKI CHARALAMBOPOULOS
................................ JANETTE HYLAND, RYAN OSTIGUY
...........................ROD MACDONALD, CAMAC STERLING
...........................................GIO PASQUA, RENEE DUNDAS
Head Greensman...................................JOHNNY McINTOSH
Lead Greensmen..............DILLON DOUD, DORIAN REESE
Assistant to The Brothers Strause ................MARIE TONGOL
Assistants to Mr. Davis............................ BROOKE BROOKS
.........................................................ALEX DEAS-HAMRICK
Production Accountant.................................JASON BOGARD
Production Secretaries ................................... ALI POUNDER
.................................................................. FLEUR WESTERN
Assistant Location Managers........................PETER MUNRO
............................................................................... LINDA YIP
Key Production Assistants ...................... CANDICE PREDDY
.....................................PHILIP LYALL, OLIVER RAPPARD
Production Assistants..................................ALEX MACLEOD
..............................CONRAD SYLVIA, SHANNON CORRIE
........................... DAMON EVANS, DARIUS DEANDRADE
..............HOLLY PINDER, JASON MOSKIE, JAY KOENIG
...... KAREN MAJOR, NICK FLETCHER, SHAUN MOSKIE
...............................................................JONATHAN COHEN
1st Assistant Accountants ................... REBECCA FELDMAN
.............................................................. BARBARA MERCER
Payroll Accountants......................................CAROL JENSEN
.................................................................... JILL ANDERSON
2nd Assistant Accountant ........JACQUELINE DALLAMORE
Post Production Accountant........................JOHN FLETCHER
Assistant Post Production Accountants..DEBBIE CHESEBRO
.............................................................CHARLES SALDANA
Accounting Clerks ............ JULIE BYGRAVE, JANET LANE
US Casting Associate.......................................KARA LIPSON
Vancouver Casting Assistant .................. TRICA THOMPSON
Unit Publicist ..................................................DIXIE CUTLER
Extras Casting .......................................... ANDREA BROWN
Catering...............................DAVID LEE, NATHAN JENSEN
...............................................AMANDA DOBSON, NIN RAI
Tutors.............GENE STEPHENSON, DANIKA DINSMORE
Trainer for Ms Aylesworth ....................... MONIKA MAJNIK
Wescam System provided by.........................PICTORVISION
Wescam Operator .......................................PHIL PASTUHOV
Wescam Technician...................................TIM ARASHEBEN
First Aid Craft Service.................LOUISE HETHERINGTON
Assistant First Aid Craft Service .................... LUCIE BOLAN
Transportation Coordinator...........................SYLVIA NABLO
Transportation Captains... CLIFF BROWN, BERT PREVOST
Picture Car Coordinator..........................NORMAN HUNGER
Aerial Coordinator..........................................JIM FILLIPONE
Helicopter Technical Advisors ......................DALE CARTIER
.........................................................................TIM DAVISON
Aerial Director of Photography ...................... HANS BJERNO
Visual Effects Producer....................KENDRICK WALLACE
Visual Effects Co-Ordinator............... BRYCE BRECHEISEN
Post Production Supervisors.........CHRISTOPHER DOWELL
.................................................................DAVID McKIMMIE
First Assistant Editor................................IAN SILVERSTEIN
VFX Editor ....................................................RYAN CHAVEZ
Additional VFX Editor ...................................... RON STANIK
Editorial PA's.................................................TRINH T. TRAN
........................................................STEPHANIE DeNATALE
First Assistant Editor (CAN) ............................. KIRK MOSES
Editorial PA (CAN)....................................STEVEN FLEGEL
Supervising Sound Editors ......................... JAY WILKINSON
.................................................................. JIM BROOKSHIRE
Re-Recording Mixers .................................. RON BARTLETT
......................................................................D.M. HEMPHILL
Recordist.................................................. ERIC FLICKINGER
Sound Editorial and Re-Recording by.......................................
.................................WARNER BROS STUDIO FACILITIES
Dialogue Editor .......................... BENJAMIN BEARDWOOD
FX Editor.......................................................... SIMON COKE
Foley Supervisor.................................... FRANK SMATHERS
First Assistant Sound Editor ................. SKIP LONGFELLOW
Assistant Sound Editor .................................. JASON P. DASS
Music Editor.......................................................JOE LISANTI
Assistant Music Editor................................. KYLE CLAUSEN
ADR Voice Casting . CAITLIN A. McKENNA-WILKINSON
Voice Actors...........................................STEVE ALTERMAN
... STEVE APOSTOLINA, KIRK BAILY, DEREK BARTON
...............................DAVID COWGILL, JAMES D. DENVER
.................ROBIN ATKIN DOWNES, KERRY GUTIERREZ
..........................BRIDGET HOFFMAN, ANNE LOCKHART
..... JESSIE MARION, JONATHAN NICHOLS, PAUL PAPE
... JAUN POPE, MICHELLE RUFF, MATTHEW SANTORO
.........................DENNIS SINGLETARY, WARREN SROKA
....KELLY STABLES, PEPPER SWEENEY, PAUL TUERPE
Foley by...................................................ONE STEP UP, INC.
Foley Artists ..................... DAN O'CONNELL, JOHN CUCCI
Foley Mixers..........JAMES ASHWILL, RICHARD DUARTE
Color Timer .................................................KENNY BECKER
Negative Cutter.............................................GARY BURRITT
Main and End Titles By..................................PACIFIC TITLE
Digital Intermediate and Opticals by.............................EFILM
Colorist................................................NATASHA LEONNET
Digital Intermediate Producer............................. LOAN PHAN
Digital Intermediate Editor..............CURTIS LINDERSMITH
Color Timing Assistant...................................MARC LULKIN
Digital Intermediate Assistant Producer....................................
..........................................................PHILIPPE MAJDALANI
Score Conducted by ........................................BRIAN TYLER
Score Orchestrated by ............. ROBERT ELHAI, DANA NIU
... BRAD WARNAAR, ANDREW KINNEY, BILL BOSTON
III
Orchestra Contracted by .............................. PETER ROTTER
Music Preparations by .............................ERIC STONEROOK
Score Recorded and Mixed by ...................... JOEL IWATAKI
.........................................................................BRIAN TYLER
Digital Recording by...........................................BOB WOLFE
Scoring Session Preparations by............... GARY L. KRAUSE
Score Recorded at ..........THE NEWMAN SCORING STAGE,
............................................... TWENTIETH CENTURY FOX
Score Recordist..................................................TIM LAUBER
Scoring Stage Engineer........................... DENIS ST. AMAND
Assistant to Brian Tyler..........................................PAKK HUI
Stage Managers.................................................... TOM STEEL
..................................................FRANCESCO PERLANGELI
Score Mixed at..............WARNER BROS SCORING STAGE
Visual Effects by
[hy*drau"lx]
VFX Supervisor ............................................ ROB HODGSON
Executive Producer ............................... SCOTT MICHELSON
Senior VFX Producer................................. TONY MEAGHER
Creatures by Amalgamated Dynamics, Inc.
Shop Supervisor............................................YURI EVERSON
Assistant Shop Supervisor ...................... GARTH WINKLESS
Mold Shop Supervisor .................................. STEVE FRAKES
Animatronics Supervisor ..............................DAVE PENIKAS
SECOND UNIT
Second Unit Director .............................JEFF HABBERSTAD
Unit Manager...................................................DREW LOCKE
Director of Photography / Operator ................JOEL RANSOM
First Assistant Director ....................................... KEN SHANE
2nd Assistant Director........................................JANINE LAW
Camera Operator..............................................PETER WILKE
First Assistant Camera...........SEAN ELLIOT, SANDE ASHE
2nd Assistant Camera ............................... SASHA PROCTOR
......................................................................LEIGH JENKINS
Video Assist Operator........................... CASEY McKINTYRE
Gaffer..........................................................DAVID WARNER
Best Boy Electrics....................................... JAMES WARNER
Genny Operator.............................................MONTY BLACK
Lamp Operators ....... DARREN SINCLAIR, DAVE PALMER
Key Grip ........................................................... JOHN LEROY
Best Boy Grip .....................................................LEE GIBEAU
Dolly Grip......................................................... TODD HLAGI
Grips ......................................................... CARLOS AVILILA
.............................. WALLY NYGREN, KEITH FLANAGAN
On Set Dresser..........................................SHANE WANLESS
Property Master......................................DAVID VALENTINE
Costume Set Supervisor.........................STEVE HOLLOWAY
Truck Costumer .......................................... MARNIE ANDER
Key Make-Up ............................................. SALLY HUDSON
Key Hair..........................................................DEBRA WIEBE
Set Supervisor........................................STEVE HOLLOWAY
3rd Assistant Director.............................JENNIFER NELSON
Assistant Location Manager .................... NICK BERGSTEDT
Production Assistants .................................. TREVOR RALPH
........................................................... MAUVE O’SULLIVAN
Special Effects Coordinator............................RORY CUTLER
Special Effects.......................JOHN SLEEP, NICK LAWSON
..............................................MATT SLEEP, ATTILA VASKI
Visual Effects Supervisor ............ ERIC MISES-ROSENFELD
Visual Effects Assistant......................PATRICK FLANNERY
2nd Unit Transport Captain ................... GARY J. MORNEAU
Cranes and Dollies by................................................................
......................TELESCOPIC CAMERA CRANES (CRANES)
......................................... WILLIAM F. WHITES (DOLLIES)
SONGS
"The Chopper" and "Grim Discovery"
Composed by Alan Silvestri
Courtesy of Twentieth Century Fox Film Corporation
SOUNDTRACK AVAILABLE ON
Prints by DELUXE
KODAK
FILM STOCK
DOLBY (logo) In Selected Theatres
DTS
Filmed with
PANAVISION ®
Cameras & Lenses
Approved No 43617
IV
© 2007 Twentieth Century Fox Film Corporation and Dune
Entertainment LLC in all territories except Brazil, Italy, Japan,
Korea and Spain.
© 2007 TCF Hungary Film Rights Exploitation Limited
Liability Company, Twentieth Century Fox Film Corporation
and Dune Entertainment LLC in Brazil, Italy, Japan, Korea
and Spain.
Twentieth Century Fox Film Corporation is the author of this
motion picture for purposes of copyright and other laws.
The events, characters and firms depicted in this photoplay are
fictitious. Any similarity to actual persons, living or dead, or
to actual events or firms is purely coincidental.
Ownership of this motion picture is protected by copyright and
other applicable laws, and any unauthorized duplication,
distribution or exhibition of this motion picture could result in
criminal prosecution as well as civil liability.
(C) MBN 2007