AVATAR takes us to a spectacular world beyond imagination, where a newcomer

from Earth embarks on an epic adventure, ultimately fighting to save the alien world he

has learned to call home. James Cameron, the Oscar®-winning director of “Titanic,”

first conceived of the film 15 years ago, when the means to realize his vision did not yet

exist. Now, after four years of production, AVATAR, a live action film with a new

generation of special effects, delivers a fully immersive cinematic experience of a new

kind, where the revolutionary technology invented to make the film disappears into the

emotion of the characters and the sweep of the story.

We enter the alien world through the eyes of Jake Sully, a former Marine

confined to a wheelchair. But despite his broken body, Jake is still a warrior at heart.

He is recruited to travel light years to the human outpost on Pandora, where a corporate

consortium is mining a rare mineral that is the key to solving Earth’s energy crisis.

Because Pandora’s atmosphere is toxic, they have created the Avatar Program, in which

human “drivers” have their consciousness linked to an avatar, a remotely-controlled

biological body that can survive in the lethal air. These avatars are genetically

engineered hybrids of human DNA mixed with DNA from the natives of Pandora… the

Na’vi.

Reborn in his avatar form, Jake can walk again. He is given a mission to infiltrate

the Na’vi, who have become a major obstacle to mining the precious ore. But a beautiful

Na’vi female, Neytiri, saves Jake’s life, and this changes everything. Jake is taken in by

her clan, and learns to become one of them, which involves many tests and adventures.

As Jake’s relationship with his reluctant teacher Neytiri deepens, he learns to respect the

Na’vi way and finally takes his place among them. Soon he will face the ultimate test as

he leads them in an epic battle that will decide the fate of an entire world.

BEGINNINGS

“AVATAR is the most challenging film I’ve ever made,” says writer-director

James Cameron. And that is a declaration with resonance, given Cameron’s global

renown as a master storyteller: his “Titanic,” “The Terminator,” “Terminator 2: Judgment

Day,” “Aliens,” “True Lies,” and “The Abyss” were groundbreaking films featuring a

mix of spectacle, compelling narratives and characters, and technical wizardry resolutely

in service of story and emotion.

AVATAR’s central figure, Jake Sully (Sam Worthington) is a relatable

everyman who unexpectedly rises to become a hero, as events draw him deeper into a

clash of civilizations, between the Earth corporations bent on “developing” Pandora and

the indigenous Na’vi. Jake is a former Marine who places honor and duty above all, but

he must eventually choose between his personal honor, in defense of what is right, and

his supposed duty to those who have tasked him with his mission.

“I wanted to create a familiar type of adventure in an unfamiliar environment, “

Cameron explains, “by setting the classic tale of a newcomer to a foreign land and culture

on an alien planet. The story is by design classic in its broad strokes, but we have plenty

of twists and turns in store for the audience. I’ve dreamed of creating a film like this, set

on another world of great danger and beauty, since I was a kid reading pulp science

fiction and comic books by the truckload, and sitting in math class drawing creatures and

aliens behind my propped up textbook. With AVATAR, I finally got my chance.”

WHERE AND WHEN AVATAR takes place on Pandora, a moon with an Earthlike environment that

orbits a gas-giant planet called Polyphemus in the Alpha Centauri-A star system. At 4.4

light years away, Alpha Centauri is our nearest stellar neighbor, and when it is discovered

that Pandora is rich in a rare-earth mineral called Unobtainium, the race is on to mine the

new world’s resources. Unobtainium does not exist in our solar system, but it is the key

to solving Earth’s energy crisis in the twenty second century, so the Resources

Development Administration (RDA) is spending hundreds of billions of dollars to mine

the distant world. Our story takes place in 2154, three decades after a mining colony was

established on Pandora. The encroachment by human activities into the territory of the

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indigenous Na’vi has created increasing tension between the two species and has set them

down a path to war.

By a twist of fate, the death of his twin brother, Jake Sully is thrust into the

middle of this tense situation. He is on Pandora to be the newest “driver” for the Avatar

Program, an attempt by human scientists to create a “bridge of trust” with the Na’vi by

using genetically engineered avatar bodies to walk among these alien giants in a familiar

form. But Jake is co-opted by Colonel Miles Quaritch, the head of security for the human

colony, to infiltrate the local clan and learn how to control them or defeat them. Quaritch

is the commander of Secops, the private security force that defends Hell’s Gate against

the fierce predators of Pandora and the equally fierce Na’vi. They are a scruffy but well

equipped mercenary army, complete with heavily armed tilt-rotor aircraft and “AMP

Suits”-- huge exeskeletal fighting suits.

Jake becomes the “wrong guy” to have placed in such a volatile position. When

he finds himself torn between the Na’vi and the RDA forces that are bent on destroying

their ancestral home of 10,000 years, Jake takes action. And all hell breaks loose.

HOW THEY DID IT

Cameron was not interested in using makeup to create his alien species.

Humanoid aliens have been played by actors in makeup for decades, since the B-movies

of the ’50s, and on through four decades of “Star Trek” spin offs and other science fiction

films and TV shows. Virtually every design and method for putting rubber onto actors’

faces has now been explored, and in addition it is inherently limiting. The size and the

spacing of the eyes can’t be changed. The proportions of the body can’t be changed, nor

can the overall size of the character. And rubber appliance makeup is limiting to the

actor’s performance, because it acts as a barrier between the actor and the lens.

With the performance capture method, none of these negatives apply. Though the

CG characters in AVATAR resemble the actors who play them, their fundamental

proportions are different. The Na’vi eyes are twice the diameter of human eyes, and they

are spaced farther apart. The Na’vi are much leaner than humans, with longer necks, and

they have different bone and muscle structures, including most obviously, their three-

fingered hands. As CG characters, the Na’vi and the avatars can be made much larger

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than human. Blue make-up would have made the skin opaque, but with CG the

characters can be given translucent skin which behaves like real skin, in which the

pigment at the surface does not mask the red glow of the blood beneath, such as when

strong sunlight hits the backs of the characters’ ears. All of these subtleties combine to

allow the creation of seemingly living creatures.

Cameron was looking for a way to take alien character creation into the 21st

century. In 1995 Cameron saw the rapid advances in CG characters, and thought that his

dream project set on another world might be possible to make. Having already created

CG milestone characters in “The Abyss” and “Terminator 2: Judgment Day,” Cameron

wanted to push the CG arts to new heights, and so the visually ambitious AVATAR was

written. But when the treatment was broken down by CG experts, Cameron realized that

the technologies required for photorealism were still years off, so the project was shelved.

When Cameron revived the project in 2005, it seemed the techniques required

were right around the corner. At that time there was still concern that the characters

would not appear quite real, and would suffer from the disturbing “dead eye” effect seen

in some early performance capture films. Cameron’s team sought to go far beyond prior

efforts, to ensure the complete reality of the characters. To do this, they developed a new

“image-based facial performance capture” system, using a head-rig camera to accurately

record the smallest nuances of the actors’ facial performances. Instead of using the

motion capture technique of placing reflective markers on the actors’ faces to capture

their expressions, the actors wore special headgear, not unlike a football helmet, to which

a tiny camera was attached. The rig faced towards the actors’ faces and the camera

recorded facial expression and muscle movements to a degree never before possible.

Most importantly, the camera recorded eye movement, which had not been the case with

prior systems.

The head-rig system allowed actors facial performances to be captured with

unprecedented clarity and precision. And since the head-rig system did not rely on the

motion capture cameras of the past, those cameras were now being used only to capture

body movement, so they could be moved much farther from the actors. This allowed the

AVATAR team to use a much larger capture environment, or “Volume,” than had ever

been used before. At six times the size of previous capture volumes, the Volume for

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AVATAR was used to capture live galloping horses, stunts requiring elaborate wire

rigging, and even aerial dogfights between aircraft and flying creatures. So the

revolutionary head-rigs were the key not only to the subtlest nuances of the characters’

emotions, but also to the film’s grandest spectacle.

Another innovation created especially for AVATAR was the Virtual Camera,

which allowed Cameron to shoot scenes within his computer-generated world, just as if

he were filming on a Hollywood soundstage. Through this virtual camera, the director

would see not Zoë Saldana, but her 10-foot tall blue-skinned character, Neytiri. Instead

of Sam Worthington and Sigourney Weaver, he would see their giant blue avatars,

complete with tails and huge golden eyes. And instead of the austere gray space of the

Volume, he would see the lush rainforest of Pandora, or perhaps the floating Hallelujah

Mountains, or the human colony at Hell’s Gate.

After working out the details of how to exactly capture the actor’s performances,

the next step was to enlist the aid of Peter Jackson’s Academy Award®-winning visual

effects powerhouse WETA Digital, in New Zealand. WETA’s groundbreaking photo-

real characters like Gollum in the “Lord of the Rings,” and the utterly real-seeming King

Kong, led Cameron to believe that they could breathe life into his Na’vi characters.

It was critical to Cameron from the beginning that every detail of the actors’

performances be preserved in the final CG character as they appear on the screen.

WETA assured him that their team of world-class animators would make it their mission

to convey one hundred percent of the actors’ performances to their Na’vi or avatar

characters. This involved insuring that highly accurate data be recorded at the moment

the scene was performed, and it also required over a year of work by the animation team

to create the “rigs” that allowed the CG characters to emote exactly like the actors whose

performance they were mirroring.

IS IT ANIMATION?

Ask the animators at WETA, and they’ll tell you that the avatars and Na’vi are

animated. Ask Jim Cameron, and he’ll say the characters were performed by the actors.

The truth is that both are right. It took great animation skill to ensure that the characters

performed exactly as the actors did. But at the same time, no liberties were taken with

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those performances. They were not embellished or exaggerated. The animators sought

to be utterly truthful to the actors’ work, doing no more and certainly no less than what

Sam, Zoë or Sigourney had done in the Volume. Of course the animators added a little

bit, with the movement of the tails and ears, which the actors could not do themselves.

But even here, the goal was to stay consistent with the emotions created by the actors

during the original capture. So when Neytiri’s tail lashes and her ears lower in fury, they

are merely further expressing the anger created by Zoë Saldana in the moment of acting

the scene.

“Actors ask me if we’re trying to replace them,” says Cameron, “On the contrary,

we’re trying to empower them, to give them new methods to express themselves and to

create characters, without limitation. I don’t want to replace actors; I love working with

actors. It’s what I do, as a director. What we’re trying to replace is the five hours in the

makeup chair, which is how you used to create characters like aliens, werewolves,

witches, demons and so on. Now you can be whoever or whatever you want, at any age,

even change gender, and without the time and discomfort of complex makeup.”

Saldana trained for months to create a physical reality for her character, so that

she could fully express Neytiri’s natural athletic grace. She knew that this was not just a

voice performance for a typical animated film, but instead a “total performance,” and that

every nuance of her facial expressiveness and her body movement would be captured.

Cameron and the actors worked together in the Volume for over a year, on and

off. It was every bit as intense a working relationship as on a photographic film set,

except that there were no lights, cameras or dolly track. It was pure acting. And this

allowed everyone to really focus on performance, and the emotional truth of each

moment, without all the distractions of photography. Director and actors alike were

enthralled by the process, and enjoyed the rapport and focus that performance capture

allowed. But it was not until Cameron and his cast saw the first finished scenes coming

back from WETA that they completely realized how revolutionary this movie was going

to be. Neytiri, Jake and Grace were alive.

With AVATAR it was critical to achieve an absolute authenticity of performance

for all the many characters. AVATAR’s CG characters would be, says Landau, “real,

soulful and emotional.” Adds Cameron: “Every nuance and bit of performance was

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created by the actors, who do all the things you see their CG characters do in the film,

down to the slightest hand gesture. These characters ARE precisely and only what the

actors created.”

AVATAR goes a step farther, by placing these photorealistic characters into a

world that is also computer generated but seems completely real. Every plant, every tree,

every rock is created and rendered in the computers of WETA Digital, in New Zealand.

Significant breakthroughs in lighting, shading and rendering allowed WETA to create a

photo-real world which was alien in its details, but which strikes the eye as completely

natural. Over a Petabyte (one thousand terabytes) of digital storage was required by

WETA for all the CG “assets” of the film… all the myriad plants and animals, insects,

rocks, mountains and clouds. To put this in perspective, “Titanic” required 2 terabytes to

create (and sink) the ship and its thousands of passengers, about 1/500th the amount used

for AVATAR.

In addition to all this complexity, AVATAR was made in stereoscopic 3D. So not

only did WETA need to work in 3D in creating their CG scenes (as did the other visual

effects vendors such as ILM), but the live action scenes would need to be shot in 3D as

well. For this Cameron used the Fusion Camera System, which he had co-developed

with Vince Pace. It took seven years of development to create the Fusion system, which

is the world’s most advanced stereoscopic camera system. The cameras performed

flawlessly on the set of AVATAR, allowing the live action scenes to merge smoothly

with the CG scenes into a unified whole.

Because of the many layers of technology developed specifically for this project,

AVATAR was by far the most challenging of all of Cameron’s films to date. The

filmmakers found themselves in uncharted territory, figuring out the answers as they

went along. Eighteen months were spent developing the performance capture “pipeline”

before a single scene was captured with the cast. “I’ve always tried to push the

envelope,” Cameron points out, “But this time it pushed back. So we had to push harder.

I liken the experience of making AVATAR to jumping off a cliff and knitting the

parachute on the way down.”

But these revolutionary technologies are just tools in the filmmaker’s “toolbox,”

and are always in the service of the story, emotion and characters. Says producer Jon

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Landau: “Ultimately, the audience’s reaction to AVATAR is not going to be about the

technology; it’s going to be about the characters and story Jim created. The technology

allows Jim to tell a story that otherwise couldn’t be told.” Adds Cameron: “It always

boils down to this question: Is it a good story? Ultimately the discussion is going to be

about the characters – alien and human – and their journeys.”

Landau compares Cameron’s use of these groundbreaking tools in AVATAR to

the way he used then-cutting-edge advances in his Best Picture Oscar-winning “Titanic.”

“On ‘Titanic’ Jim used visual effects to make people feel like a part of history; on

AVATAR, he is using new technology to transport people into the future to another

world.” Cameron notes, “The technology is at such a high level that it disappears, leaving

only the magic… the feeling that you’re really there, and that the story, the characters, the

emotions are real.”

THE ACTORS, CHARACTERS – AND THEIR JOURNEYS

AVATAR explores the hero’s journey of Jake Sully, a wounded former Marine

confined to a wheelchair, whose bravery and destiny help define a world he didn’t even

know existed. When Jake is recruited to travel to the moon Pandora to take on an

enormous challenge – the details of which he is initially unaware – he barely hesitates.

“Jake had joined the Marines for the hardship, to test himself,” says Cameron. “So when

he’s asked to travel to Pandora, he picks up his pack and, as the Marines would say,

‘grunts on.’”

Jake’s disability, hard-headedness and courage make him an immediately

recognizable and relatable figure. “He’s an everyman with an emotional resonance to

which audiences can relate,” says Landau.

Jake has been recruited to travel to Pandora by the RDA, to replace his genetically

identical twin brother, a young scientist who trained for the mission but died just before

shipping out from Earth. Jake is no scientist, but his DNA makes him uniquely qualified,

since his brother’s DNA was combined with that of Pandora’s indigenous Na’vi to create

a human-Na’vi hybrid…or avatar. Now only Jake can “drive,” or telepathically operate,

what was once his brother’s avatar. Through his avatar body, Jake is given a new

purpose, new challenges, and an adventure that will take him to his limits – and beyond.

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Says actor Sam Worthington: “Pandora gives Jake the opportunity to find himself, realize

his potential, and understand that through his choices, he can become a better man.”

Jake is a rich and complex character with a rare combination of passion, strength,

street smarts and soul. It’s a role requiring a lot from an actor – a fact that Cameron

acknowledged when he, Landau and casting director Margery Simkin began their search

to fill the part. “The trick about Jake was not writing the character,” says Cameron. “The

trick was finding the guy to play him.”

After spending months looking at actors in the U.S. and Europe, Simkin reported

to Cameron that she found a candidate…in Australia. Sam Worthington, Simkin told the

filmmaker, had a “visceral quality and would make audiences believe that people would

follow him. There was an intelligence and intensity in his eyes that never wavered.”

Intrigued, the filmmakers offered Worthington an audition, but he was initially

skeptical due to the secrecy surrounding the project and the scant details about the

character of Jake being offered to Worthington at that time. “I got a phone call to do this

audition, but they wouldn’t tell me anything about the script or even who the director

was,” Worthington recalls. “And I thought, ‘Well, here’s another waste of my time.’

Then, a week later, I got another phone call…’Look, Jim Cameron wants to fly you to

L.A. to audition for him.’ And I said, ‘Yes, but for what?’”

Of course, the audition was for AVATAR and a role Worthington would come to

embrace. But even after Cameron filled him in on the story and on the character of Jake,

adding an intriguing question to complete his pitch to the actor – “Are you ready to start

the adventure?” – Worthington had one earthbound priority to fulfill before beginning his

journey to Pandora. “I told Jim, yes, of course I’ll join him on the adventure – but first

I’ve got to get the brakes fixed on my car.”

For Cameron and Landau, Worthington was worth the wait. “I think one of the

hardest things to find in an actor of Sam’s age is a combination of sensitivity,

vulnerability and strength, and Sam has all of that,” says Landau.

Worthington’s innate fearlessness not only helped him capture Jake’s spirit and

courage, it stood him in good stead with his director, a bigger-than-life figure in his own

right. “I take my work seriously, just like Jim takes his work seriously,” says

Worthington. “We both come at the work wanting to give it everything we’ve got.”

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While many of the actors, including Worthington, received special physical and

weapons training, Worthington was more interested in the mental preparation to portray

Jake. “I didn’t want my prep to be like boot camp,” he says. “Anyone can do push-ups.

I hung out with Jim’s brother, John David, a former Marine. To me it was more about

capturing the way these Marines see the world – and how their training can make them

think they’re unstoppable.”

Jake’s first encounter with Pandora’s indigenous Na’vi is a fateful one, leading to

unexpected emotional resonances, as well as high-stakes action and adventure. While

exploring the moon’s lush rainforest, Jake is attacked by some of its deadliest animals.

As he faces certain death, Jake is rescued by Neytiri, a fearless and beautiful huntress,

and a member of the nearby Omaticaya Clan. Their meeting is charged with strong

emotions, both negative and positive, and ultimately a connection that neither could have

anticipated. “The first thing Jake notices about Neytiri is that she’s really hot,” laughs

Sam Worthington. “Then he starts to realize she’s a strong, independent woman who can

help him become a better person.”

Neytiri’s initial impression of Jake is not a favorable one; in fact, it’s

contemptuous. Even as an avatar, Jake represents to Neytiri the humans’ slash-and-burn

mentality, which threatens the Na’vi’s very existence. To save Jake’s life, she has had to

kill viperwolves, whose viciousness makes them no less an integral part of the planet’s

ecosystem, to which the Na’vi have a strong connection. “Neytiri, like all her people,

doesn’t understand the ways of the humans and their methods and mission of human

cruelty,” says Zoë Saldana, who portrays Neytiri. “The Na’vi also can’t understand how

the humans mistreat the environment, which is holy to the Na’vi.”

“In my mind, Neytiri and her people represent our better selves in how they live

in their world – in symbiosis, empathy and harmony,” adds Cameron. “This is something

to which we should all aspire. To that end, I think the story celebrates a connection to the

environment, maybe at a time when we’ve lost touch with it.”

Neytiri’s instinctual gifts allow her to see beyond Jake’s coarseness. “She sees

something about Jake to which she is attracted,” says Saldana. “Sure, at first, she

absolutely hates him, but her feelings become more complex, confusing her and forcing

her to make the most important decisions of her life.”

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The character of Neytiri points to Cameron’s interest in creating strong female

characters, and Neytiri joins such previous Cameron iconic heroines as “Aliens’s” Ellen

Ripley (played by Sigourney Weaver, whose performance became a template for action

heroines – and who reunites with Cameron on AVATAR after over twenty years since

their landmark collaboration), “The Terminator’s” (and “T2’s”) Sarah Connor,

“Titanic’s” Rose DeWitt Bukater, “The Abyss’s” Lindsay Brigman, and “True Lies’s”

Helen Tasker. None of these characters can be reduced to being simply a love interest,

and Neytiri follows that rich tradition, combining strength, grace, athleticism, beauty,

sexuality, vulnerability and emotional clarity. “Zoë captured every aspect of the character

I envisioned,” notes Cameron, who especially admired her “combination of delicacy and

fierceness and incredible physicality,” developed through years of professional dancing.

“Neytiri was the most physically demanding role I’ve ever done, and I trained for

months before production to capture the character’s grace and power,” says Saldana. “I

wanted to incorporate my body into a character, and AVATAR was an amazing

opportunity to do that.” Saldana’s reaction to the CG renderings of Neytiri? “I thanked

Jim. Neytiri is sexy and cut, long and lean. And the performance was all me!”

Saldana’s pre-production training regimen included riding, martial arts, archery,

and movement study and practice. In addition, she and other principal cast members

traveled with Cameron to Hawaii, which substituted for the environment he had

envisioned for Pandora. “We had to live without sophisticated technology, tools and

comforts,” Saldana recalls. “I was almost naked for three days, digging and climbing and

muddy like a dead rat,” she laughs. “I was missing creature comforts, and I was like, ‘I

can’t deal with this.’ And Jim said, ‘Oh come on, Neytiri, suck it up!’”

Once the cast and filmmakers arrived at the Los Angeles performance capture

stage, Saldana was thankful to have experienced the Hawaii adventure. “On this bare

stage, which had no sets, we had to act as if we were in Pandora’s mud, water, humidity,

trees, elevation – everything,” Saldana says. “Being in Hawaii gave us a mental imprint

on which we could draw when we had to simulate an action on the virtual stage.”

Another female in Jake’s new life on Pandora is Grace Augustine, a scientist who

runs the Avatar Program. A trained botanist, Grace has lived on Pandora for fifteen

years, having long departed Earth because the overcrowded, ecologically devastated

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planet no longer has biodiversity worthy of study. On Pandora, Grace moves back and

forth between her scientific work on the human base, Hell’s Gate, and her fieldwork as an

avatar in the Pandoran rainforest. “Grace is trying to create a bridge of trust with the

Na’vi but she keeps getting sabotaged by the soldiers on the base,” says Sigourney

Weaver, who portrays Grace. “Grace loves Pandora and the Na’vi with all her heart, and

hopes she can somehow protect them from the forces of industrial Earth.”

Grace is not pleased by Jake’s arrival on Pandora to join the Avatar Program. She

sees him as ill prepared, if not totally unqualified to become part of an elite scientific

team. “Grace is livid about Jake becoming an avatar,” says Weaver. “She’s thinking,

‘He’s here because he fits the suit?!’” referring to his DNA match with the avatar’s

former “driver,” Jake’s deceased scientist brother.

Grace comes to have a change of heart about Jake, who impresses his new boss

with his burgeoning affection for and respect of the Na’vi. Weaver enjoyed playing the

Jake-Grace dynamic opposite Sam Worthington, whom she sees as a new action hero –

and more. And, Weaver – forever beloved for her role as Ellen Ripley from the “Alien”

film series – obviously knows a thing or two about action movie icons. “It’s hard to play

action heroes,” she explains. “You have to be very specific about your approach. People

think that action movies are all about physicality; they are not. You have to have the

other ‘lives’ going on at the same time. You have to endow the character with so much

specificity. I saw Sam do all of that on AVATAR.”

Augustine’s bête noir is Col. Miles Quaritch, head of security for the human base

on Pandora. Quaritch’s mission is to facilitate the RDA’s goal to mine Pandora – and not

to win the hearts and minds of the Na’vi. He has contempt for the Avatar Program

because it runs counter to his mission, which is to protect the humans who live and work

on Pandora.

Quaritch has qualities that are less than admirable, but actor Stephen Lang says he

found much to admire – and even pity – in the character. “Quaritch has a sense of

mission and discipline and that appealed to me,” says Lang, who earlier this year starred

as a Depression-era FBI agent in “Public Enemies.” “He’s an able frontline leader; no

one doubts his abilities.” But is he a villain? “Well, he’s certainly not a hypocrite. With

Quaritch, what you see is what you get.

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“I found Quaritch to be very moving for what he lacked – that his soul was in

such a state of chaos and decrepitude. It’s a sad thing for him to be in a veritable Eden

and yet be incapable of understanding it. I think he’s relatable to many people who’ve

experienced the trials and anguish of war.”

Another capable and tough human at Hell’s Gate is Trudy Chacon, a tilt-rotor

pilot who’s tasked with shuttling both humans and avatars from the base to science sites

out in the wilderness. But unlike Quaritch, Trudy is cool, laid back and definitely not like

the other soldiers. “Basically, Trudy takes care of the scientists in the Avatar Program,

flying them back and forth from the lab to their duties in country,” explains Michelle

Rodriguez, who takes on the role – another great James Cameron action heroine.

Rodriguez, who drew attention for her film-starring debut, the acclaimed

independent drama “Girlfight,” appreciates Cameron’s ability to write great female

characters, as well as his perceptions about acting and actors. “I think Jim really has the

ability see through people,” says Rodriguez. “He really understands people for what and

who they really are.”

Norm Spellman, another scientist/avatar in the Program, was the project’s golden

boy, having worked and studied for his journey to Pandora for five years. But that

changes when Jake arrives. “Norm is book-smart but he is no match for Jake’s innate

leadership skills,” says Joel David Moore, who plays Norm and whose many credits

include the comedy smash “Dodgeball: A True Underdog Story.” “Norm is resentful and

jealous of Jake, but like so many on Pandora, he comes to admire Jake and be inspired by

him.” Indeed, Jake’s arrival triggers a dramatic new journey for Norm.

Keeping a watchful eye on the mining operation, the scientists and all the

activities at Hell’s Gate is Parker Selfridge, the smart, forceful, charismatic station

administrator who is focused on the success of RDA’s operations on Pandora. Giovanni

Ribisi (“Public Enemies,” “Lost in Translation”) says that Selfridge is “calm and ruthless

in pursuit of his goals. He’s an administrator but has a lot of hubris and considers himself

more of a CEO or corporate president.” But even a hardened corporate type like

Selfridge, who notes that the “one thing the RDA stockholders hate worse than bad press,

is a bad quarterly statement,” can undergo life altering changes on Pandora.

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Other key roles in AVATAR are taken by CCH Pounder (“The Shield”) as the

Na’vi matriarch Mo’at, whose command and dignity holds the respect of her people; Wes

Studi (“Last of the Mohicans”) as Na’vi clan leader Eytukan, a stern, commanding

presence who provides for the Na’vi and protects them from harm; Laz Alonso as

Tsu’tey, the clan’s most accomplished hunter, who constantly challenges Jake throughout

the latter’s journey on Pandora; Dileep Rao (“Drag Me to Hell”) as Dr. Max Patel, a

scientist in the Avatar Program; and Matt Gerald (“Terminator 3: Rise of the Machines”)

as Corp. Lyle Wainfleet, a cruel Secops trooper who typifies the humans’ contempt for

the Na’vi.

Providing added dimensions to specific aspects of the actors’ performances are

noted linguist Paul Frommer, Ph.D., who worked with Cameron to devise an entire

language for the Na’vi; as well as Terry Notary, a former Cirque du Soleil performer, and

celebrated choreographer Lula Washington, who respectively helped the create Na’vi

movements and the choreography for the Na’vi dancers.

As with so many aspects of AVATAR, the Na’vi language brings together the

completely original with the familiar and relatable. Frommer, a professor at USC,

explains: “The Na’vi have similar sound limitations as humans, enabling the Avatar

scientists to actually learn and speak [the Na’vi tongue].”

Early in the process, Cameron provided Frommer with the kinds of sounds the

filmmaker had in mind for the Na’vi. Frommer then designed a linguistic palette. “It

was all about giving Jim possibilities and options,” says Frommer. “Some sounds he

liked; some not. Then we locked in the language’s structural properties, pronunciation

rules, and how the words were built.”

This complex work resulted in the creation of a vocabulary of over a thousand

words, as well as a specific structure and grammar, all of which the actors learned with

skill and speed. The cast also worked closely with dialect coach Carla Meyer to fine-tune

the dialect for the invented tongue.

Sam Worthington’s linguistic challenges were heightened by the fact that the

Australian native had to learn to speak not only a new language; he had to acquire an

American accent. “It was like learning two languages,” says Worthington. “And let me

tell you: the Na’vi [language] was easier than the American accent!”

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“I spent at least two hours a day working on the American accent and learning the

Na’vi language,” Worthington continues. “I worked to phonetically break the language

down, so it didn’t sound like I’m acting through gauze.” Worthington notes that Jake’s

grasp of the Na’vi language is a work-in-progress throughout the story, which allowed or

even necessitated the occasional linguistic slip-up.

Zoë Saldana and Laz Alonso, both fluent in Spanish, found it easier to learn the

Na’vi language, walking away from the AVATAR shoot as probably the only actor/ trilinguists

in the world fluent in….Na’vi. But perhaps the most fun with the invented

patois was had by the film’s crew, which adopted specific Na’vi words – skowng,

meaning “moron,” was a particular favorite – to playfully tease one another.

Dance and movement studies also enabled the actors to delve further into their

characters. Na’vi dance choreographer Lula Washington, artistic director of the Lula

Washington Dance Theater, notes that the Pandora natives celebrate themselves through

dance. “They’re an elegant, proud people who love their land. In that respect they’re

close to our aboriginal cultures.” The dancers from Lula’s troupe became part of the cast,

as members of the Omaticaya clan, and their graceful, feral movement can be seen

throughout the film.

Terry Notary created movements inspired by indigenous cultures as well as

animals like big cats and primates. Notary explains: “We worked to answer questions

like, How would the Na’vi touch? How would they reach? How would they move when

they’re happy? And how would they use their tail?”

CAPTURING EMOTION

With the actors working tirelessly to incorporate all these physical, linguistic, and

emotional nuances that were central to their characters and to Cameron’s vision, the

filmmaker was determined to capture it all in the actors’ computer generated incarnations

Worthington and the other actors found it liberating to be working on the bare

stage known as the Volume, while wearing special performance capture suits and

headgear. “We embraced the performance capture and had a lot of fun with it,” says

Worthington. “Even though Jake’s avatar is ten feet tall and blue, it has my personality

and soul. It’s spectacular that Jim can do that.

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“Performance capture is incredibly freeing,” Worthington continues. “You can’t

hide, so every take has to be truthful. At first it’s a little nerve-wracking, but you forget

you’re wearing headgear and a few hundred dots on your face.”

“You wonder if you’ll have the mental capacity to look at the gray, stark

[performance capture] stage, and see a humongous snake or a lush forest,” adds Laz

Alonso. “I mean, the Volume is as drab as you can get. But thanks to Jim’s direction,

performance capture and the virtual camera, something great starts happening – you

really start to see these animals and this incredible environment. You get so deep into this

world that you start seeing, smelling, hearing, and feeling Pandora.”

Joel David Moore says the way the Volume sparked the imagination reminded

him of a back-to-basics approach to acting. “Working on the performance capture stage

takes you back to the old theater days,” he explains. “All you’d have [on the theater

stage] is a wall, a table, and some chairs. You had to imagine everything else.”

Another revolutionary advance was the virtual camera, which not only made the

CG work director-centric and performance-centric, it created a new production paradigm

that gave Cameron the unprecedented ability to actually see an actor’s CG character –

and the CG environments – in camera, as he worked with the actors in the Volume. “The

virtual camera allowed Jim to direct actors in an immediacy never before possible. At the

same time, actors get a much better feel for their CG character because they get to see the

CG scene and environments almost immediately, instead of having to wait months– for

the effects house to deliver the shots,” explains Landau. The in-camera CG imagery had

only the resolution of a video game; but after Cameron completed filming and editing a

specific sequence, WETA would then work on it for months to create the final, high-

resolution photographic images. In effect, each shot was created twice; once with

Cameron in the Volume, and again after WETA completed its months-long work

finishing the shot.

The virtual camera, which resembles a videogame controller with a video monitor

attached, is not really a camera at all because it doesn’t even have a lens; instead, it

emulates a camera as it is “fed” the CG images by a bank of state-of-the-art computers

surrounding the Volume. A small screen on the device displays the CG image fed to it by

these computers.

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This allowed Cameron to shoot the action from any angle or approach, giving him

unprecedented spontaneity, flexibility and options on the virtual production stage. “For

example, Jim could tell us to create a five-to-one scale in vertical,” says WETA’s

Stephen Rosenbaum. “And when he moves the camera, instead of moving it three feet,

it’s a 15-foot crane move, in real time. In effect, Jim could turn the camera crew into a

team of 10-foot-tall Na’vi.”

“Long after the actors had gone home, I would still be in the Volume with the

virtual camera, shooting coverage on the scene,” says Cameron. “Just by playing back

the take, I can get the scene from different angles. We can re-light it. We can do all sorts

of things.”

“It’s filmmaking on a different level – like comparing grade school to a doctoral

program at M.I.T.,” says Laz Alonso.

Another groundbreaking tool in Cameron’s “toolbox” was the Simul-Cam, which

integrated, in real time, CG characters and environments into the film’s live action Fusion

camera eyepiece. The technology essentially treats a photographic camera like the virtual

camera, taking the virtual production toolset and superimposing it on the physical

production. “The ability to shoot on a live action set and see in your camera eyepiece CG

characters and environments that are not there, allowed Jim to shoot that scene with the

same sensibility he would a live action scene,” explains Landau.

CREATING PANDORA

Since all the action of AVATAR takes place on Pandora, whether within the

human base at Hell’s Gate or out in the wilds of the rainforest, every single thing that

went before the cameras or was rendered in CG had to be designed from scratch. In

parallel with the technology development, the design process took two years before

shooting began. The filmmakers enlisted a team of world-class artists to design every

character, creature, plant, costume, weapon, vehicle, and environment in AVATAR.

They created not one culture, but two: the highly technological human colony with all its

vehicles and weapons, and the Na’vi society.

As he did with the characters, Cameron created Pandora to be recognizable

without losing its exotic, never-before-experienced qualities. It is a world that merges the

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classic and familiar. “We wanted to remove the creatures and flora from being Earth-like,

just enough to remind you that you’re on another world, but at the same time, you’d find

them accessible,” says Cameron. Trees measuring over one thousand feet and mountains

that somehow float, are among the landmarks that inspire awe for their sheer imagination

and scope – but whose designs stem from structures familiar to everyone.

“James Cameron didn’t just create and make a motion picture set on a distant

world; it was if he had actually traveled there, taken copious notes, then returned and put

every detail he absorbed on paper, and then on film.” says production designer Rick

Carter.

That was the impression the world renowned filmmaker left on his department

heads, cast, and just about everyone who worked on AVATAR. Collaborating with many

of the industry’s top artists, Cameron oversaw the conceptual art, virtual sets, and

practical sets. He scrutinized very design detail of AVATAR – each creature, blade of

grass, tree, mountain, cloud, vehicle, and costume.

“I think Jim finished AVATAR a long time ago in his mind,” says co-production

designer Robert Stromberg, who oversaw much of the design of Pandora. “He brought it

to us to recreate.” Rick Carter adds, “It was tough to keep up with Jim because he was

presenting a world he had seen, and not just invented. He had seen it and was reporting

back to us. Jim would explain his design ideas in such detail that you would think these

fictional animals really existed. That’s how much thought he put into each and every

animal and insect. He knows what they eat, how they sleep, and how they interact with

one another.”

Cameron, Stromberg, Carter, and their teams would regularly pose a key question

– “Would that [design] work?” The filmmakers’ goal was to have audiences suspend

their belief, and recognize and relate to what they were seeing on screen.

Jake arrives at the human military and scientific base, Hell’s Gate, a scar carved

by the hand of man in the middle of this virgin world. As Jake soon discovers, the

rainforest outside Hell’s Gate is rich with exotic flora and fauna, as well as vicious

wildlife. Pandora is, as Cameron describes, “the Garden of Eden with teeth and claws.”

There are many Na’vi clans scattered around Pandora, but the one Jake comes to

know is the Omaticaya Clan, who have lived inside of the 1000 foot tall Hometree for

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10,000 years. The Omaticaya clan uses the different tiers of the tree’s interior structure

as their village. The social hierarchy of the Omaticaya is clearly defined, with Eytukan,

the “Olo’eyctan” or clan leader, at the top. Eytukan turns out to be Neytiri’s father, and

her mother Mo’at, shares power as the clan’s “Tsahik” or shaman. Tus’tey, a strong and

proud young hunter, is next in line for the position of Olo’eyctan, and is promised to

Neytiri in an arranged marriage.

Pandora’s many wonders include the world’s neural network, through which all

its plant and animal life are connected. Akin to a human nervous system, this network

enables all life on Pandora to function as a single harmonious system. The center of this

network – and the moon’s heart and brain –is a massive, gnarled and ancient willow tree

that is the Na’vi epicenter, an extension of their lifeblood, and a place of regeneration and

knowledge. This “Tree of Souls” is situated at the center of Pandora’s most powerful

magnetic field, the Flux Vortex. Eons ago the invisible field created the unusual

geological formations of arches that form rainbows of stone, above a deep caldera, with

the Tree of Souls at its center.

Living amidst these incredible environments are myriad creatures, some of which

were created by AVATAR’s in-house creature design team under Neville Page, with the

others designed by John Rosengrant’s team at Stan Winston Studios. The most fearsome

of Pandoran creatures is the Thanator. “The Thanator could eat a T-Rex and have the

Alien for dessert,” says the filmmaker. “It’s the panther from hell.” Then there are the

Viperwolves, which Cameron describes as “hairless with shiny skin that looks like

overlapped armor. Most disturbing are its paws, which are like leathery hands.”

A winged creature known as the Banshee is a key figure in Jake’s journey; in a

Na’vi rite of passage, Jake must dominate and ride a banshee to assume a rightful

position in the clan community. The test’s stakes are further heightened by the fact that

the banshee that most wants to kill him is the “chosen one” he must capture.

Pandora’s Direhorses, as the name suggests, resemble in some ways terrestrial

horses – but with several important flourishes as conceived and designed by Stan

Winston Studios and Cameron, the latter describing the animal as a “six-legged alien

Clydesdale with moth-like antennae.”

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Pandora’s diverse menagerie also includes the deer-like Hexapede; the ferocious

Hammerhead Titanothere, a rhinoceros-like herbivore with a bad attitude and a head like

a sledgehammer; and the Leonopteryx, a the king predator of the sky, striped scarlet,

yellow and black, with an 80-foot wingspan. A smaller and gentler Pandoran species is

the jellyfish-like Woodsprite, which waves silky tendrils to move gracefully through the

night air. Called Atokirina by the Na’vi, they are actually seeds of the sacred Utraya

Mokri “Tree of Voices,” and thus an important part of the “soul” of the rainforest. When

they land upon Jake, Neytiri interprets this as an important sign, and things take an

unexpected turn.

Academy Award winner Richard Taylor and his team at WETA Workshop

designed props and weapons for both the Na’vi and the heavily armed RDA. While

renowned artist TyRuben Ellingson designed many of the vehicles used by the military

forces based at Hell’s Gate –and which figure prominently in the an epic third-act battle

pitting machine against banshee, and hardened soldier against Na’vi warrior.

The AMP Suit (“AMP” is an acronym for “Amplified Mobility Platform”)

“amplifies” the movements of its human operator. The AMP Suits and their soldier

occupants are transported by what is perhaps the RDA’s deadliest aircraft – the C-21

Dragon Gunship. This giant rotorcraft resembles a predatory insect and has multiple

canopies. Almost as destructive is the AT-99 Scorpion Gunship, a high speed, highly

maneuverable military attack aircraft. And on a world with no landing strips, these tilt-

rotor aircraft have the important capability of vertical takeoffs and landings. While the

military aerial vehicles in AVATAR are futuristic rotorcraft, they were intended to seem

as familiar as the Huey gunships of the Vietnam era, to ground the audience in a strong

sense of reality.

AVATAR’s largest vehicle, over a kilometer in length, is the ISV Venture Star,

an interstellar ship that transports RDA personnel – including Jake –to Pandora. Its

antimatter engines propel it to seven tenths the speed of light, but the voyage to Pandora

still takes almost six years, during which time the passengers are frozen in cryogenic

suspended animation. To reach the planet’s surface from orbit, the newcomers board the

Valkyrie TAV (Trans-Atmospheric Vehicle), a distant descendant of the space shuttle.

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The costume designs by Mayes C. Rubeo and Deborah L. Scott provide yet

another gateway into the Na’vi culture. Although many of the costumes and accessories

are worn by CG creations, the items were created practically, to best communicate the

subtleties of the costume textures, the weaving styles, and the translucency of the jewelry.

Practicality and comfort define the Na’vi clothing, reflecting the grace and beauty of

Pandora’s indigenous people.

LIVE ACTION PHOTOGRAPHY

The work of director of photography Mauro Fiore, ASC was focused on creating

the gritty look of the industrial complex at Hell’s Gate. “What they were capturing in

performance capture and what I was creating in the live action sequences needed to

cohesively exist in one movie,” says Fiore, who also shot “The Kingdom” and “Smokin’

Aces.” Fiore embraced the 3D Fusion camera system, and after extensive testing, tackled

the live action shooting with style and precision. The resulting images blend seamlessly

with the CG created by WETA Digital and ILM.

Most of AVATAR’s live-action scenes were shot in Wellington, New Zealand,

where enormous sets were erected. This endeavor was an incredible undertaking; the

production created a huge sub-structure of over 150 contractors to build the sets. The

practical sets included the Link Room, which houses the sarcophagus-like link that

transports the humans’ consciousness into the avatar bodies, the Bio-Lab – a science

facility and home to the amnio tanks that house the avatar bodies that have grown to

adulthood during their six-year journey from Earth to Pandora; the Ops Center, which is

the central nervous system of the Hell’s Gate base; and the Armor Bay military

stronghold, which houses the AMP Suits and choppers.

In all of AVATAR’s environments, Cameron creates an immersive experience in

which audiences will feel like they’re alongside the characters on their adventures. He

and Landau have long been champions of 3-D cinema and have worked tirelessly to use

that format to enhance film’s immersive qualities. But they note that they intend

AVATAR to also be an immersive experience in 2-D, and the film will play widely in

that format.

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“Jim and I have been sharing our passion for 3-D with Distribution, Exhibition

and worldwide audiences,” says Landau. “We feel a 3-D renaissance is finally here. We

live our lives in 3-D, so why not experience movies that same way. That being said, in

either 2-D or 3-D, you will feel like you’ve been to a distant world and walked among its

inhabitants.”

Many 3-D films of an earlier era used the format as a “gag” or effect unto itself –

throwing objects at audiences or arranging characters or props that would appear to come

out of the screen and into the theater. For Cameron, 3-D is a window into a world, where

the format, instead of calling attention to itself, disappears into the narrative.

As he was developing AVATAR, Cameron set to work on a new digital 3-D

camera system, which he developed with partner Vince Pace of Pace Technologies, using

Sony and Fujinon HD technology. But before AVATAR became a reality, Cameron’s

goal with the new digital 3-D camera was to bring back the experience of deep ocean

exploration with unprecedented clarity to a global audience. His historic exploration of

the inside of the Titanic was the subject of Cameron’s 3-D IMAX film, “Ghosts of the

Abyss,” followed by “Aliens of the Deep.”

Cameron’s experiences on these films not only advanced his vision for

AVATAR’s three-dimensional presentation, it also informed one of the film’s signature

design and lighting elements: At the bottom of the ocean, Cameron had witnessed a

phenomenon in which certain life forms literally glowed with an almost otherworldly

light amid the relentless gloom. Cameron applied this “bioluminescence” to Pandora’s

environment, which comes to life at night via this affecting radiance.

FINISHING UP

AVATAR’s post-production process, like almost everything else about the film,

was decidedly atypical. On most films, editing begins in post-production, but on

AVATAR, Cameron and fellow editors Stephen Rivkin, A.C.E. and John Refoua, A.C.E.

began cutting initial captured sequences during pre-production. The editors and their

Avids were a regular presence on set during production, delivering to WETA sequences

on a monthly basis. “Before we ever shot a frame of live action film, we had probably

delivered seventy minutes of edited footage to WETA,” says Landau.

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A key part of the post-production period was composer James Horner’s score,

which combines classic symphonic elements that propel the film’s epic action, with

sounds that transport us to another world; the latter includes vocalists singing in the

film’s Na’vi language, as well as unusual acoustic and electronic instrumentalists.

Movie fans and music watchers have eagerly anticipated this new Cameron-

Horner collaboration; Horner’s work on 1986’s “Aliens,” yielded one of the cinema’s

finest action film scores, and 1997’s “Titanic” made movie and soundtrack history. For

AVATAR Horner reunited with “My Heart Will Go On” collaborator Simon Franglen to

create a new song. “I See You” is sung by international sensation Leon Lewis, and can

be heard in the end credits of the film. The song expresses the Na’vi idea of “seeing,”

when a person understands with their heart and spirit, not just with their mind.

As he entered the final stages of AVATAR, Cameron was eager to share his

vision with the world. He previewed extended scenes at key domestic and international

exhibitor gatherings, and at the massive Comic-Con pop culture enclave. Pleased with

the response to these early looks, Cameron continued to fine-tune the editing and review

the finished or near-finished visual effects work coming in daily from WETA Digital and

the other visual effects vendors (including ILM, Framestore, Prime Focus, Hybride and

hy*drau”lx), all to make AVATAR a one-of-a-kind experience for moviegoers. “Jim

doesn’t make movies for himself,” says Jon Landau. “He makes them for the audience.”

Adds Cameron: “I really want audiences to have a completely satisfying cinematic

experience. And I hope audiences will walk out of the theater saying, ‘I didn’t see a

movie; I experienced a movie.’”

* * *

RealD

RealD 3D is the new generation of entertainment, with crisp, bright, ultra-realistic images so

lifelike you feel like you've stepped inside the movie. RealD 3D adds depth that puts you in the

thick of the action, whether you're joining favorite characters in a new world or dodging objects

that seem to fly into the theatre. RealD pioneered today's digital 3D and is the world's most

widely used 3D cinema technology with over 9,000 screens under contract. RealD will have over

4,500 screens installed in 48 countries by the AVATAR release. And unlike the old days of paper

glasses, RealD 3D glasses look like sunglasses, are recyclable and designed to comfortably fit on

all moviegoers, and easily over prescription glasses. Don't just watch a movie, experience a new

dimension of entertainment with RealD 3D. (www.RealD.com)

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Avatar: An IMAX 3D Experience

Concurrently with the film's nationwide release in conventional theatres, Avatar: An IMAX 3D

Experience will be released in IMAX® theatres beginning December 18, 2009. Avatar has been

digitally re-mastered into the unparalleled image and sound quality of The IMAX Experience(r)

through proprietary IMAX DMR® technology. With crystal clear images, laser-aligned digital

sound and maximized field of view, IMAX provides the world's most immersive movie

experience.

* * *

ABOUT THE CAST

SAM WORTHINGTON (Jake Sully) graduated from Sydney’s prestigious

National Institute of Dramatic Art (NIDA) in 1998. Upon graduation, he appeared in the

stage production of “Judas Kiss,” directed by Neil Armfield, for Company B at the

Belvoir Street Theater.

With smaller roles in the international films “Hart’s War,” “The Great Raid” and

“Rogue” under his belt, Worthington screen tested opposite Daniel Craig for the role of

James Bond in “Casino Royale.” Although he did not land the much-coveted part, it

proved to be the perfect dress rehearsal for the following year. After an exhaustive

casting search, James Cameron hand-picked Worthington to star in AVATAR,

Cameron’s first narrative film since his 1997 Oscar-winning blockbuster, “Titanic.”

Worthington starred opposite Christian Bale in “Terminator Salvation,” which

grossed $370 million worldwide.

In addition, Worthington recently completed shooting two character-driven

dramas: “Last Night,” opposite Keira Knightley, and “The Debt,” with Helen Mirren.

The former revolves around a husband and wife, both of whose fidelity is tested over the

course of 36 hours. The latter, directed by John Madden, tells a post-World War II story

of three Mossad agents confronted years later by their scandal-ridden past.

Worthington also stars in “Clash of the Titans,” directed by Louis Leterrier. The

film is scheduled to release on March 26, 2010.

Worthington made his feature film debut with the Australian film, “Bootmen,” in

which he played Adam Garcia’s brooding older brother. His performance garnered him

an Australian Film Institute (AFI) Award Nomination for Best Performance by an Actor

in a Leading Role in 2000. Additional Australian film credits include “Dirty Deeds” with

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John Goodman, Toni Collette and Sam Neill; “Getting’ Square” with David Wenham;

and Geoffrey Wright’s contemporary adaptation of “Macbeth,” in which Worthington

played the title character.

He received numerous accolades for his layered performance in Cate Shortland’s

critically-acclaimed and commercially successful “Somersault.” Worthington earned an

AFI Award for Best Actor in a Leading Role and a Film Critics Circle of Australia

(FCCA) Nomination for Best Actor in 2004. The film made a clean sweep of the AFI

Awards, winning in all 13 film categories – the first time this had ever occurred in the

awards’ history.

Worthington’s television credits include the acclaimed Australian productions

“Love My Way,” which won an AFI for Best Television Drama Series; and “The

Surgeon,” which was nominated for an AFI for Best Telefeature or Miniseries. He also

starred in “Delivery Man,” one of the episodes of “Two Twisted,” a “Twilight Zone”-like

anthology series produced by Bryan Brown.

ZOË SALDANA (Neytiri) is a rising star in Hollywood. She has built her

reputation as a versatile and respected actress by choosing roles that she feels

passionately about.

Saldana is most recognized for her memorable performance as Eva, in the film

“Center Stage.” Saldana’s other film credits include “Vantage Point,” “Haven,” “Guess

Who,” “Pirates of the Caribbean: The Curse of the Black Pearl,” “The Terminal,” “Dirty

Deeds, “Temptation and Constellation,” “Get Over It,” “Crossroads,” “Snipes” and

“Drumline.” Her television credits include appearances on “Keeping It Real,” and “Law

& Order.”

In 2004, Saldana accepted the Young Hollywood One to Watch award presented

by Movieline magazine for her performance in “The Terminal.”

Saldana recently was seen in J.J. Abrams’ blockbuster film “Star Trek,” in which

she portrays Nyota Uhura opposite Chris Pine, Zachary Quinto, Eric Bana and Winona

Ryder. Saldana stars in the upcoming film “Death At A Funeral,” also starring James

Marsden and Martin Lawrence, and “The Losers,” alongside Chris Evans, Jeffrey Dean

Morgan and Jason Patric. An adaptation of the DC-Vertigo comic book, “The Losers” is

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about a Special Forces team betrayed by its handler and left for dead. The "losers"

regroup in the interest of revenge, for the opportunity to remove their names from a secret

CIA death list, and to conduct covert operations against the CIA and its interests.

Saldana was born and raised in New York. She currently resides in both New

York and Los Angeles.

SIGOURNEY WEAVER (Dr. Grace Augustine) has created a host of

memorable film characters, both dramatic and comic, from “Alien’s” Ellen Ripley to

“Gorillas in the Mist’s” Dian Fossey. She has captivated audiences and won acclaim as

one of the most esteemed actresses on both stage and screen.

Born and educated in New York City, Weaver graduated from Stanford

University and received a Masters degree from the Yale School of Drama. Her first

professional job was as an understudy in Sir John Gielgud’s production of “The Constant

Wife,” starring Ingrid Bergman.

Weaver made her motion picture debut in Ridley Scott’s blockbuster “Alien.”

She later reprised the role of Warrant Officer Ripley in James Cameron’s “Aliens,” which

earned her Academy Award and Golden Globe nominations for Best Actress. She again

brought Ripley back to life in David Fincher’s “Alien 3,” which she also co-produced,

and “Alien Resurrection” for director Jean-Pierre Jeunet.

Following “Alien,” Weaver had starring roles in three back to back hit movies:

“Gorillas in the Mist,” in which she portrayed primatologist Dian Fossey, the Mike

Nichols comedy “Working Girl,” and “Ghostbusters II.” Weaver received her second and

third Academy Award nominations and was awarded Golden Globes for her

performances in “Gorillas in the Mist” and “Working Girl.” Other films include the

thriller “Copycat,” Paul Rudnick’s comedy “Jeffrey,” Roman Polanski’s gripping film

adaptation of “Death and the Maiden,” “Half Moon Street” with Michael Caine, Ridley

Scott’s “1492,” “One Woman or Two” with Gerard Depardieu, “Eyewitness” with

William Hurt, and Showtime’s live-action film “Snow White,” based on the original

Grimm’s fairytale, which earned her an Emmy® nomination and a Screen Actors Guild

nomination.

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In 1997 Weaver joined the ensemble of Ang Lee’s critically acclaimed film “The

Ice Storm” playing alongside Kevin Kline, Joan Allen, Elijah Wood and Christina Ricci.

Her performance earned Weaver a BAFTA Award, a Golden Globe nomination and a

Screen Actors Guild nomination for Best Supporting Actress. She later gave a

galvanizing performance in “A Map of The World,” Scott Elliott’s powerful drama based

on the novel by Jane Hamilton, which earned Weaver critical praise and a Golden Globe

nomination for best actress. Alongside crewmates Tim Allen and Alan Rickman, she

delighted audiences with her flair for comedy in the science fiction comedy “Galaxy

Quest,” directed by Dean Parisot, which proved to be a hit of the 1999 holiday season.

She followed this with the popular comedy “Heartbreakers,” playing opposite Gene

Hackman and Jennifer Love Hewitt.

In 2003, Weaver played the cold-blooded, red-headed warden in the hit comedy

“Holes,” directed by Andy Davis, and starred in the film version of “The Guys,” with

Anthony LaPaglia, directed by Jim Simpson. Following this, Weaver appeared in M.

Night Shyamalan’s “The Village” and received rave reviews for her performance in

“Imaginary Heroes,” written and directed by Dan Harris.

In addition to her film credits, Weaver has also taken time to shine on the stage.

Weaver started out on Off-Off Broadway in Christopher Durang’s “The Nature and

Purpose of the Universe,” “Titanic” and “Das Lusitania Songspiel.” She and Durang cowrote

“Das Lusitania,” which earned them both Drama Desk nominations. She has

appeared in numerous Off-Broadway productions in New York, working with the

playwrights John Guare, Albert Innaurato, Richard Nelson and Len Jenkin. In regional

repertory, she has performed works by Pinter, Williams, Feydeau and Shakespeare.

Weaver received a Tony® Award nomination for her starring role in “Hurlyburly” on

Broadway, directed by Mike Nichols. She played Portia in the Classic Stage Company of

New York’s production of “The Merchant of Venice.” In 1996, Weaver returned to

Broadway in the Lincoln Center production of “Sex and Longing,” written by

Christopher Durang.

Weaver originated roles in two A.R. Gurney world premieres, “Crazy Mary,” at

Playwrights Horizons, and “Mrs. Farnsworth,” at the Flea Theater. She also starred in

Neil LaBute’s play “The Mercy Seat,” opposite Liev Schreiber. Weaver also originated

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the female lead in Anne Nelson's “The Guys at The Flea,” commissioned and directed by

Jim Simpson. The play tells the story of a fire captain dealing with the aftermath of 9/11.

Recent films include “Infamous” with Toby Jones and Sandra Bullock; Jake

Kasdan’s “The TV Set”; “Snow Cake,” opposite Alan Rickman; “The Girl in the Park,”

opposite Kate Bosworth; “Vantage Point” with Dennis Quaid and Forest Whitaker; and

the Tina Fey/Amy Poehler comedy “Baby Mama.” In 2008 Weaver lent her voice to

Pixar’s box office smash “Wall-E,” as well as to “The Tale of Despereaux” with Matthew

Broderick, Dustin Hoffman and Emma Watson.

Upcoming films include “Crazy on the Outside,” which marks Tim Allen’s

directorial debut; Universal Pictures and Working Title Film’s comedy “Paul,” starring

Simon Pegg and Nick Frost, as well as Seth Rogen and Jason Bateman; and Andy

Fickman’s comedy “You Again,” alongside Jamie Lee Curtis and Kristen Bell.

In TV, Weaver received an Emmy nomination for lead actress for her role as

Mary Griffith in Lifetime’s “Prayers for Bobby,” which was also nominated for

Outstanding Made for Television Movie.

STEPHEN LANG (Col. Miles Quaritch), an actor of uncommon transformative

power, has built a distinguished career on the stage and in film. Whether the role is

Hamlet or Babe Ruth, "Stonewall" Jackson or Vaslav Nijinsky, Ike Clanton or Charles

Winstead, Lang disappears into the part, creating indelible portraits of characters both

historical and imagined.

This year has been a banner one for Lang on screen. In addition to his role in

AVATAR, he portrayed Special Agent Charles Winstead in Michael Mann's “Public

Enemies,” and took on the key role of General Hopgood opposite George Clooney in

“The Men Who Stare at Goats.”

Lang’s theater credits are extensive on and off Broadway, as well as nationally

and internationally. Premieres include Aaron Sorkin's “A Few Good Men,” John Patrick

Shanley's “Defiance,” Steve Tesich’s “The Speed of Darkness,” and Arthur Miller’s

“Finishing the Picture.” He has performed leading roles in classics by Moliere, Williams,

O'Casey, Beckett, Shaw, Shepard, Sophocles and Shakespeare, at some of the nation's

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finest theatres, including The Goodman, The Guthrie, The New York Shakespeare

Festival, Circle in the Square, The Kennedy Center, BAM, and a host of others.

Lang has performed his solo play “Beyond Glory” around the world, including

101 performances at The Roundabout Theatre. He received the Chairman's Medal for

Distinguished Service from the NEA for bringing “Beyond Glory” to American troops

stationed across the globe.

Lang’s work in film has been no less varied and distinctive. For his performance

as General “Stonewall” Jackson in “Gods and Generals,” he received The Grace Prize.

Other films include “Last Exit to Brooklyn,” “Tombstone,” Gettysburg,” “The Hard

Way,” “Manhunter,” “Band of the Hand,” “Trixie” and “Fire Down Below.”

On television, he gave a popularly and critically acclaimed performance as the

titular baseball icon in “Babe Ruth.” He was a series regular on Michael Mann's classic

“Crime Story,” and was the elusive One-Armed Man in the latest television incarnation

of “The Fugitive.”

MICHELLE RODRIGUEZ (Trudy Chacon) is a versatile actress known for her

ability to combine a tough-girl physicality with a natural beauty and unforced sex appeal.

She was recently seen in the hit thriller “Fast & Furious,” as well as in “Battle in

Seattle,” co-starring with Charlize Theron. She will both star and co-produce her first

film, a historical drama, with her production company Cheshire Kat, entitled Trópico de

sangre.

Born Mayte Michelle Rodriguez in Bexar County, Texas, she worked as an extra

for two years, satisfying her curiosity about moviemaking. After that, she decided to

pursue acting and landed her first audition from an ad she spotted in Back Stage

newspaper, and was soon acting in the hit indie film “Girlfight.” The role garnered

Rodriguez numerous awards and much critical acclaim. This success quickly launched

her as a young star on the rise in Hollywood.

Still going strong off of the success of her acting debut, she went on to co-star

opposite Danny Glover in the Showtime network drama “3 A.M.,” and the adrenaline-

charged mega-hit “The Fast and the Furious,” starring opposite Vin Diesel and Paul

Walker. An avid video-game fan who has since lent her voice to various popular games,

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including “True Crime: Streets of LA,” “Driv3r” and “Halo 2,” Rodriguez jumped at the

opportunity to take a role in “Resident Evil,” an adaptation of the hit video-game series.

Her other feature film credits include “Blue Crush”; the summer blockbuster

“S.W.A.T.,” starring opposite Samuel L. Jackson and Colin Farrell; and “Control,” with

Ray Liotta.

In 2005, a new chapter of her career began when she took a starring role in ABC’s

hugely popular television series “Lost,” playing haunted and hardened ex-cop Ana-Lucia

Cortez, who was revealed during the show’s second season after making a brief

appearance at the end of the first.

Rodriguez is launching a clothing line called Ishkadada, from which a portion of

the profits will benefit various animal and children’s charities.

GIOVANNI RIBISI (Carter Selfridge), winner of the 1999 ShoWest Newcomer

of the Year award, has since established himself as a popular screen presence capable of

playing a wide variety of roles.

Earlier this year, he appeared in director Michael Mann’s “Public Enemies,”

starring opposite Johnny Depp. Upcoming is the independent film “The Rum Diary,”

opposite Johnny Depp, based on the Hunter S. Thompson novel.

Ribisi recently shot the independent film “Middle Men,” a comedy chronicling

the early days of the Internet porn business. The story centers on a straight-and-narrow

businessman brought into a world that would eventually turn into a multibillion-dollar

industry.

Ribisi was recently seen in “The Dead Girl” for director Karen Moncrieff. The

film, which was nominated for Best Feature at the 2007 Independent Spirit Awards, is a

quintet of stories about seemingly unrelated people whose lives converge around the

murder of a young woman. Ribisi plays the mysterious Rudy, who forms an unlikely

bond with a woman (Toni Collette) who finds the body.

Among his best-known films are Steven Spielberg’s “Saving Private Ryan,” Sofia

Coppola’s “The Virgin Suicides” and “Lost in Translation,” Anthony Minghella’s “Cold

Mountain” and David Lynch’s “Lost Highway.” Other credits include “Perfect

Stranger,” “Flight of the Phoenix,” “Boiler Room,” “Gone in Sixty Seconds,” “The Other

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Sister,” “Sky Captain and the World of Tomorrow,” “Suburbia,” “Heaven,” “First Love

Last Rites,” “That Thing You Do,” “The Mod Squad,” “Masked and Anonymous” and

“The Big White.” He received an Independent Spirit nomination for his performance in

Sam Raimi’s “The Gift.”

In addition to his numerous film credits, Ribisi also has an impressive list of

television guest starring roles. In 2007, he earned an Emmy nomination for Outstanding

Guest Actor in a Comedy Series for “My Name is Earl.” Ribisi also made guest

appearances on “The X-Files” and “Friends.”

Ribisi and his twin sister Marissa were born and raised in Los Angeles where he

still currently resides. Beginning his acting career at the age of nine, he studied theater

under the prestigious acting coach Milton Katselas.

JOEL DAVID MOORE (Norm) started his film career with the role of Owen in

the blockbuster Twentieth Century Fox feature “Dodgeball: A True Underdog Story,”

starring Ben Stiller and Vince Vaughn. Soon after, he starred in the Happy Madison

production ‘Grandma’s Boy” and was a critic's favorite in “Art School Confidential,”

starring John Malkovich and Anjelica Huston. Other film appearances include the recent

courtroom thriller “Nothing But the Truth” (opposite Jesse Metcalfe and Michael

Douglas), the horror film “Hatchet,” the drama/ fantasy “El Muerto” and the comedy

“Hottie and the Nottie,” starring opposite Paris Hilton.

More recently, Moore directed and starred in the dramatic comedy “Miles from

Home,” a short film following the mishaps of an awkward couple. In his feature

directorial debut, “Spiral,” Moore captures the introverted world of a disturbed artist. In

this project, Moore attained the rare feat of writing, directing and starring in a major

feature film.

CCH POUNDER (Mo’at) stars in the new FOX comedy series, “Brothers.”

Pounder also has a recurring role in the SyFy network series, “Warehouse 13.” Her most

recent film credits include “Orphan,” “The No. 1 Ladies Detective Agency” (for which

she received her fourth Emmy nomination) and “Rain,” which earned praise at the Los

Angeles Pan African Film Festival.

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For seven years, Pounder portrayed Claudette Wyms on the critically acclaimed

FX series “The Shield,” which earned her many accolades including an

Emmy nomination, NAACP Image Award nomination, the MIB Prism Award, two

Golden Satellite Awards, the Genii Excellence in TV Award from the Southern

California Chapter of the American Women in Radio & TV, and the LOOP Award from

Lupus LA.

Pounder’s other honors include an Emmy nomination for her role as Dr. Angela

Hicks on the NBC series “E.R,.” and an Emmy nomination for her work in an episode of

“The X-Files.” She received a Grammy® Award nomination for Best Spoken Word

Album for “Grow Old Along with Me, the Best is Yet to Come,” and won an “Audi” –

the Audio Publishers Association's top honor – for “Women in the Material World.”

Pounder’s other film credits include “Bagdad Café,” “Prizzi’s Honor,” “Postcards

from the Edge,” “Robocop 3,” “Sliver,” “Tales from the Crypt,” “Face/Off” and “End of

Days.”

WES STUDI (Eytukan) is a native Oklahoman, Vietnam veteran, sculptor,

musician, author, activist, full-blooded Cherokee, and legendary actor. Best known for

his roles in “Dances with Wolves,” “The Last of the Mohicans” and “Heat,” Studi

discovered his true calling in life much later than most actors.

Born in Nofire Hollow, Oklahoma in 1946, Studi is the eldest son of a ranch hand.

He spoke only the Cherokee language until he was five years old, when he was sent to

Chilocco Indian Boarding School in Northern Oklahoma, where he remained until high

school graduation. Unlike many young Native American boarding school students, he did

not forget his native tongue.

Studi graduated high school and in 1967 was drafted into the Army, serving 18

months in South Vietnam with the 9th Infantry Division in the Mekong Delta. At one

point, his company was pinned down – and nearly killed – by friendly fire.

After an honorable military discharge, Studi became involved with Native

American politics. He joined the American Indian Movement and participated in the Trail

of Broken Treaties protest march in 1972, where hundreds of Native American activists

marched on Washington, D.C. He was one of a group of protesters who briefly occupied

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the Bureau of Indian Affairs Building. In 1973, Studi participated in the occupation of

Wounded Knee, South Dakota, for which he was arrested and later released from jail on

the condition that he would depart the state.

Shortly thereafter, Studi moved to the Cherokee reservation in Oklahoma. He

enrolled at Tulsa Junior College on the G.I. Bill, where he helped start a Cherokee

newspaper. During his college years, Studi began teaching the Cherokee language

professionally. Later attending Tahlequah University, Studi continued his work to benefit

the Cherokee Nation.

After college, Studi shifted his attention to running his own horse ranch and

became a professional horse trainer. At the same time, he began acting at The American

Indian Theatre Company in Tulsa. In 1988, he landed his first film role, in “Powwow

Highway,” and made his TV debut in a small role in the ABC TV-movie “Longarm.”

In 1990, he landed the role of a Pawnee warrior in “Dances with Wolves.” Two

years later Studi was cast in the role he is most-famous for, as the vengeful Magua in

Michael Mann’s “The Last of the Mohicans.”

Studi played the title character in Walter Hill’s “Geronimo: An American

Legend,” alongside veteran actors Gene Hackman and Robert Duvall; Studi won a

Western Heritage Award (shared with cast and crew). He also made memorable

appearances in the film’s “Heat” (as Al Pacino's partner), “Crazy Horse” and “Deep

Rising.” In 2002, Studi brought to life the legendary character Lt. Joe Leaphorn, for a

series of PBS movies produced by Robert Redford, based on Tony Hillerman's books

Skinwalkers, A Thief of Time and Coyote Waits.

In 2005, he portrayed a character inspired by the Powhatan warrior

Opechancanough in the 2005 Academy Award-nominated film “The New World,”

directed by Terrence Malick. Studi's other film credits include: “500 Nations,” “Big Guns

Talk,” “Broken Chains,” “The Doors,” “Highlander,” “Ice Planet,” “The Killing Jar,”

“Lone Justice 2,” “Mystery Men,” “Ned Blessings,” “Seraphim Falls,” and the acclaimed

television films “Comanche Moon,” “Streets of Laredo” and “Bury My Heart at

Wounded Knee.” His recent projects include “The Only Good Indian,” which premiered

at the 2009 Sundance Film Festival, as well as the television series “Kings,” which aired

earlier this year.

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In addition to acting, Studi has many interests in which he is prolific including

sculpture, tennis and jazz guitar. He is an internationally recognized expert in indigenous

languages and has worked as a language consultant on several films. He is a stone carver

working in soapstone and other soft stones, and author of two children's books, The

Adventures of Billy Bean and The Further Adventures of Billy Bean, both written for the

Cherokee Bilingual/Cross Cultural Education Center. In 2006, Wes was honored with the

Golden Boot Award.

LAZ ALONSO (Tsu’Tey) portrayed the lead villain role of Fenin in “Fast &

Furious,” the fourth installment of the film franchise. He also had lead role in Spike Lee’s

movie “Miracle at St. Anna.” Another recent film credit is the independent feature “Por

Vida,” also starring Danny Glover and Snoop Dogg.

Born and raised in Washington D.C., Alonso graduated from the prestigious

Howard University School of Business with a Bachelors Degree in Business

Administration with a Concentration in Marketing. After college, he worked on Wall

Street as an investment banker. Alonso eventually started his own marketing business

with some partners. The company promoted mainstream products to the

urban/trendsetting market. Owning and operating a successful business allowed Alonso

to explore his burgeoning passion for acting. He began taking classes in the evening to

hone his craft, and it didn’t take him long to begin landing roles in commercials and

videos. Alonso moved to New York City to further his acting work.

His past movie credits include lead roles in the hits “Stomp The Yard” and “This

Christmas,” a lead role in 2006 Roland Joffe psychological thriller “Captivity,” and an

ensemble lead role in the 2005 film “Jarhead,” directed by Sam Mendes. His television

work includes guest-starring roles on “The Unit,” “Bones,” “CSI: Miami,” “The

Practice,” “NCIS” and “Eyes.”

ABOUT THE FILMMAKERS

JAMES CAMERON (Director-Writer-Producer-Editor) was born in

Kapuskasing, Ontario, Canada, and grew up near Niagara Falls. In 1971, he moved to

Brea, California where he studied physics at Fullerton Junior College while working as a

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machinist and, later, a truck driver. Setting his sights on a career in film, Cameron quit

his trucking job in 1978 and raised money from a consortium of local dentists to produce

a 35mm short film.

The visual effects in this film led to work on Roger Corman’s “Battle Beyond the

Stars” (1980), on which he served as production designer, matte artist and visual effects

director of photography. Next, he became second unit director on Corman’s subsequent

sci-fi thriller, “Galaxy of Terror” (1981).

In 1983 Cameron wrote three scripts: “Rambo: First Blood Part 2,” “Aliens” and

“The Terminator.” He directed “The Terminator,” starring Arnold Schwarzenegger, in

1984. It became an unexpected box office hit and made Time magazine’s ten best films

of the year list.

Cameron subsequently directed “Aliens” (1986), then wrote and directed “The

Abyss” (1989). Following that, he wrote, produced and directed “Terminator 2:

Judgment Day” (1991), “True Lies” (1994), and “Titanic” (1997). He also co-wrote and

produced “Point Break” (1991) and “Strange Days” (1994), and produced “Solaris”

(2003).

His films have blazed new trails in visual effects and set numerous performance

records both domestically and abroad. “Titanic” currently holds both the domestic and

worldwide box office records having grossed over $1.8 billion at the global box office.

Cameron’s films have also earned numerous nominations and awards from a variety of

organizations, culminating in “Titanic’s” fourteen Academy Award nominations (a

record) and eleven Oscars, including Cameron’s three Oscars for Best Picture, Best

Direction and Best Editing.

In 1999, Cameron co-created the one-hour television series “Dark Angel.” The

show ran for two seasons on the Fox Network and gained a loyal following and a number

of prestigious nominations and awards, including the People’s Choice Award for Best

New Television Drama. It also launched a new star: Jessica Alba.

Cameron also set to work on a digital 3-D camera system, which he developed

with partner Vince Pace. The goal was to bring back the experience of deep ocean

exploration with unprecedented clarity to a global audience.

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Using this new camera system, Cameron proceeded to make underwater documentaries

with his company, Earthship Productions. His team’s historic exploration of the inside of

Titanic was the subject of Cameron’s 3-D IMAX film, “Ghosts of the Abyss.” In May

2002, Cameron guided his robotic cameras inside the wreck of Bismarck, which resulted

in groundbreaking discoveries about the sinking of the legendary German battleship, and

the Discovery Channel documentary, “James Cameron’s Expedition: Bismarck.

Cameron’s team then made three expeditions to deep hydrothermal vent sites in the

Atlantic, Pacific and Sea of Cortez over a two-year period, which became the subject of

“Aliens of the Deep,” also released in 3-D IMAX. He was joined in his exploration of

these extreme environments by a team of young scientists and marine biologists to study

how life forms discovered there represent life we may one day find on other planets and

moons in our solar system. Most recently, Cameron returned again to the Titanic to

complete his interior exploration of the ship, which was showcased in the Discovery

Channel's program, “Last Mysteries of the Titanic.”

Cameron continues to work with his engineering partner, Vince Pace, to develop

camera systems and tools for 3D photography, for movies, documentaries, sports and

special events. Their Fusion Camera System is the world's leading stereoscopic camera

system, and has been used on AVATAR, “Journey to the Center of the Earth,” “Hannah

Montana: Best of Both Worlds,” “U2:3D,” “Tron: Legacy,” and “The Final Destination,”

as well as numerous special event projects, such as the NBA All Star Game.

Cameron is also continuing to develop a number of ocean projects, and other

environmentally themed documentaries.

JON LANDAU (Producer), an Academy Award winner, has repeatedly

demonstrated an ability to oversee and deliver major motion pictures. The combination

of Landau's thorough understanding of the most complex state-of-the-art visual effects

technologies, his ability to work hand-in-hand with the highest caliber creative talent, and

his motivational ability with crews of all sizes has enabled him to play a significant role

in numerous major motion pictures.

As a part of Lightstorm Entertainment, Inc., Landau, along with director James

Cameron, has been developing digital production tools that will enable filming and mass

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digital distribution of 3-D films. Landau is also working in close collaboration with

Microsoft and its partners to streamline the production and visual effect process through

the use of cutting-edge "Virtual Production" technologies.

Under the Lightstorm Entertainment banner, Landau has also produced such films

as James Cameron's “Titanic” and Steven Soderbergh’s “Solaris.” Previously, Landau

co-produced Warren Beatty's “Dick Tracy” and the family comedy hit “Honey, I Shrunk

the Kids.” Throughout the early '90s, Landau was executive vice president of feature film

production at Twentieth Century Fox.

MAURO FIORE, ASC (Director of Photography) is currently guiding the

camera work on Joe Carnahan’s “The A-Team,” out next summer from Twentieth

Century Fox. Previously, he shot Peter Berg’s “The Kingdom,” Michael Bay’s sci-fi epic

“The Island,” as well as Joe Carnahan’s black comedy “Smokin’ Aces.” He has also

collaborated with director Antoine Fuqua on two feature projects—his Oscar-winning

urban thriller, “Training Day” (for which Denzel Washington earned a best actor trophy),

and the African war drama “Tears of the Sun,” starring Bruce Willis.

A native of Calabria, Italy, Fiore immigrated to the U.S. as a child, settling with

his family in suburban Chicago. He studied his craft at the city’s renowned Columbia

College, where he first met another budding cinematographer, future Oscar® winner

Janusz Kaminski. The pair would become fast friends during college and, later, reunite

when Kaminski relocated to California to attend the American Film Institute. After

Kaminski began working as a gaffer for B-movie maven Roger Corman, a phone call

beckoned Fiore back from Europe to join Kaminski in Hollywood as his key grip on

Corman’s low-budget productions.

When Kaminski commenced his collaboration with Steven Spielberg, Fiore

proceeded to assist him as gaffer and second-unit cameraman on “Schindler’s List” (for

which Kaminski scored his first Academy Award), “Amistad” and “The Lost World:

Jurassic Park.”

His first credit as director of photography was on Kaminski’s directorial debut,

“Lost Souls.” He followed with “Driven” and “The Center of the World.” His big

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screen credits also include “Get Carter,” “Highway,” “Love From Ground Zero,” “An

Occasional Hell,” “Breaking Up,” “Soldier Boyz” and “Dominion.”

He has also directed second-unit photography on such projects as “The Rock” and

“Armageddon” (both for director Michael Bay and cinematographer John Schwartzman)

and worked in various capacities on “The Adventures of Huck Finn,” “Vida Loca” and

“One False Move.”

Fiore maintains an active profile in the advertising commercial world, where he

has collaborated with director Antoine Fuqua on the Pirelli Tires spot “The Call,”

featuring Naomi Campbell and John Malkovich, and one of the famous BMW spots,

“Ticker,’ starring Clive Owen.

RICK CARTER (Production Designer) has been designing sets for the world of

film and television for over 25 years. He collaborated with director Steven Spielberg on

“War of the Worlds,” “Munich,” “Artificial Intelligence: A.I.” (for which he was

nominated for both the AFI Production Designer of the Year and the Art Directors Guild

Award); “Jurassic Park,” “The Lost World: Jurassic Park,” and “Amistad” (which earned

another Art Directors Guild Award nomination), as well as the Spielberg-produced series

Amazing Stories.

Carter joined director Robert Zemeckis on “Polar Express,” “Cast Away,” “What

Lies Beneath,” “Death Becomes Her,” “Back to the Future Part II” and Part III, and

“Forrest Gump,” for which Carter earned an Academy Award nomination. Upcoming

for Carter is the action-thriller “Sucker Punch,” directed by Zack Snyder.

ROBERT STROMBERG (Production Designer) recently collaborated with

director Tim Burton on the 3-D film “Alice in Wonderland.” Stromberg has worked

extensively in various visual effects capacities, on the films “G.I. Joe: The Rise of

Cobra,” “There Will Be Blood,” “Tropic Thunder,” “The Golden Compass,” “3:10 to

Yuma,” “Pirates of the Caribbean: At World’s End,” “Ghost Rider,” Walk the Line,”

“Sky Captain and the World of Tomorrow,” “Master and Commander: The Far Side of

the World,” and many others.

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He was nominated for an Oscar (shared) for Best Visual Effects for his work on

“Master and Commander: The Far Side of the World,” and in 2008 won an Emmy

(shared) for his work on the HBO mini-series “John Adams.” He also won Emmys

(shared) for his work on “Star Trek: The Next Generation” and “Star Trek: Voyager.”

JOHN REFOUA, A.C.E. (Editor) previously collaborated with James Cameron

on the 3-D documentary “Ghosts of the Abyss.” His other feature credits include the

comedies “Reno 911!: Miami” and “Balls of Fury.” Refoua has worked extensively in

television, on series including “Reno 911!,” “CSI: Miami,” and “Dark Angel,” the latter

co-created and executive produced by James Cameron.

STEPHEN RIVKIN, A.C.E. (Editor) won the American Cinema Editors’ Eddie

Award (shared) for his work on “Pirates of the Caribbean: Curse of the Black Pearl,” and

was nominated for an Eddie for “Pirates of the Caribbean: Dead Man’s Chest” and

“Pirates of the Caribbean: At World’s End.”

JOE LETTERI (Senior Visual Effects Supervisor) is a three-time Oscar winner

– for his visual effects work on the last two “Lord of the Rings” films and “King Kong.”

He was nominated for “I, Robot.” Letteri is a partner in the New Zealand-based digital

effects house WETA Digital. Prior to joining WETA, he worked at ILM. Letteri’s other

credits include “X-Men: The Last Stand,” “The Day the Earth Stood Still,” “Van

Helsing” and “The Water Horse.”

JAMES HORNER (Music), whose most recent work is “The Spiderwick

Chronicles” and Mel Gibson's “Apocalypto,“ is one of the most celebrated of modern

film composers. Having created the music for dozens of the most memorable and

successful films of the past two decades, Horner was honored with two Academy Awards

and two Golden Globes for James Cameron's “Titanic.“ In addition, he has earned

Academy Award nominations for his Original Scores for “House of Sand and Fog,“ “A

Beautiful Mind,“ “Braveheart,“ “Apollo 13,“ “Field of Dreams“ and “Aliens,“ and for the

Original Song “Somewhere Out There“ from “An American Tale.“ He has also garnered

39

five more Golden Globe nominations and has won six Grammy Awards, including Song

of the Year in both 1987 (“Somewhere Out There“) and 1998 (“My Heart Will Go On“).

In April 1998, Horner's “Titanic“ soundtrack completed an unprecedented run of

16 weeks at #1 on Billboard's Top 200 Album Chart, setting a new record for the most

consecutive weeks at #1 for a score album.

Known for his stylistic diversity, Horner's most recent film credits include “All

The King's Men,“ “The New World,“ “The Legend of Zorro,“ “The Chumscrubber,“

“Flightplan,” “The Forgotten,” “Troy,” “The Missing,” “Bobby Jones, Stroke of Genius,”

“Radio,” “Beyond Borders,” “Enemy at the Gates,” “Dr. Seuss' How the Grinch Stole

Christmas,” “The Four Feathers,” “The Perfect Storm,” “Freedom Song,” “Bicentennial

Man,” “Mighty Joe Young,” “The Mask of Zorro,” “Deep Impact,” “The Devil's Own,”

“Ransom,” “Courage Under Fire,” “To Gillian on Her 37th Birthday,” “The Spitfire

Grill,” “Casper,” “Legends of the Fall,” “Clear and Present Danger,” “The Pagemaster,”

“Bopha!,” “The Pelican Brief,” “The Man Without a Face,” “Patriot Games,”

“Thunderheart,” “Sneakers,” “The Rocketeer,” “Glory,” “In Country,” “Field of

Dreams,” “Honey, I Shrunk the Kids,” “The Land Before Time,” “Willow,” “An

American Tail,” “The Name of the Rose,” “Cocoon” and “Cocoon: The Return,” “Gorky

Park,” “48 Hrs.” and “Another 48 Hrs.,” “Star Trek II” and “Star Trek III.” He also

wrote the score for the 2006 film “The Good Shepherd.”

MAYES C. RUBEO (Costume Designer) was the costume designer on

“Dragonball: Evolution,” “Apocalypto,” “Sunshine State,” and “The Arrival,” among

other feature films. Her television credits include the film “Fidel,” for which Rubeo was

nominated for a Costume Designers Guild Award, and “The Librarian: Quest for the

Spear.”

DEBORAH L. SCOTT (Costume Designer) was honored with an Academy

Award for Best Costume Design in 1998, as well as a BAFTA Award nomination, for her

work on James Cameron’s record-breaking blockbuster “Titanic.”

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Scott collaborated with director Michael Bay on “Transformers: Revenge of the

Fallen,” “Transformers,” “The Island” and “Bad Boys II”; and for with Steven Spielberg

on his science fiction thriller “Minority Report.”

She also designed the costumes for “Get Smart,” starring Steve Carell and Anne

Hathaway, “Reign Over Me,” starring Adam Sandler, Don Cheadle and Jada Pinkett

Smith; “Seraphim Falls,” with Liam Neeson and Pierce Brosnan; and Andy Garcia’s

directorial debut, “The Lost City.” Scott’s other feature film credits include “The Upside

of Anger,” “The Patriot,” “Wild Wild West,” “Heat,” “The Indian in the Cupboard,”

“Legends of the Fall,” “Sliver,” “Jack the Bear,” “Hoffa,” “Defending Your Life” and

“Back to the Future.”

.2009 Twentieth Century Fox Film Corporation. 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.

41

Written and Directed by

JAMES CAMERON

Produced by

JAMES CAMERON

JON LANDAU

A TWENTIETH CENTURY FOX

Presentation

In Association with

DUNE ENTERTAINMENT

And

INGENIOUS FILM PARTNERS

Director of Photography

MAURO FIORE, ASC

Production Designers

RICK CARTER

ROBERT STROMBERG

Edited by

STEPHEN RIVKIN, A.C.

E

JOHN REFOUA, A.C.E.

JAMES CAMERON, A.C.E.

Senior Visual Effects Supervisor

JOE LETTERI

Animation Supervisors

RICHARD BANEHAM

ANDREW R. JONES

Costume Designers

MAYES C. RUBEO

DEBORAH L. SCOTT

Executive Producers

COLIN WILSON

LAETA KALOGRIDIS

Music Composed by

JAMES HORNER

Casting by

MARGERY SIMKIN

SAM WORTHINGTON

ZOË SALDANA

STEPHEN LANG

MICHELLE RODRIGUEZ

GIOVANNI RIBISI

JOEL DAVID MOORE

CCH POUNDER

WES STUDI

LAZ ALONSO

and SIGOURNEY WEAVER

WETA Producer

EILEEN MORAN

WETA Visual Effects Supervisors

STEPHEN ROSENBAUM

ERIC SAINDON

DAN LEMMON

GUY WILLIAMS

Conceptual Design,

Costume and Specialty Props by

RICHARD TAYLOR

Unit Production Manager COLIN WILSON

First Assistant Director JOSH McLAGLEN

Second Assistant Director/Additional Unit First Assistant Director MARIA BATTLE CAMPBELL

Virtual Production Supervisor GLENN DERRY

Visual Effects Producer JOYCE COX

ILM Visual Effects Supervisor JOHN KNOLL

ILM Animation Supervisor PAUL KAVANAGH

Visual Effects Supervisors JOHN BRUNO

STEVEN QUALE

Stan Winston Character Design Supervisor JOHN ROSENGRANT

Supervising Virtual Art Director YURI BARTOLI

Lead Creature Designer NEVILLE PAGE

Vehicle Designer TYRUBEN ELLINGSON

Initial Creature Concepts by WAYNE BARLOWE

Initial Casting by MALI FINN

Associate Producer/Post Production Supervisor JANACE TASHJIAN

Supervising Sound Editor & Sound Designer CHRISTOPHER BOYES

1st Assistant Editor JASON GAUDIO

Digital Effects Supervisor NOLAN MURTHA

Technical Supervisor DAN NEUFELDT

Giant Studios Performance Capture Supervisor MATTHEW MADDEN

Virtual Environment Supervisor ROB POWERS

Chief Technology Officer TIM BICIO

Na’vi Language Created by PAUL FROMMER, Ph.D.

Dialect Coach CARLA MEYER

New Zealand Production Manager BRIGITTE YORKE

Los Angeles Unit Director of Photography VINCE PACE

Stunt Coordinator U.S. GARRETT WARREN

Co-Producers BROOKE BRETON

JOSH McLAGLEN

CAST

Jake Sully SAM WORTHINGTON

Neytiri ZOË SALDANA

Grace SIGOURNEY WEAVER

Colonel Miles Quaritch STEPHEN LANG

Trudy Chacon MICHELLE RODRIGUEZ

Parker Selfridge GIOVANNI RIBISI

Norm Spellman JOEL DAVID MOORE

Moat CCH POUNDER

Eytukan WES STUDI

Tsu’tey LAZ ALONSO

Dr. Max Patel DILEEP RAO

Corporal Lyle Wainfleet MATT GERALD

Private Fike SEAN ANTHONY MORAN

Cryo Vault Med Tech JASON WHYTE

Venture Star Crew Chief SCOTT LAWRENCE

Lock Up Trooper KELLY KILGOUR

Shuttle Pilot JAMES PITT

Shuttle Co-Pilot SEAN PATRICK MURPHY

Shuttle Crew Chief PETER DILLON

Tractor Operator KEVIN DORMAN

Dragon Gunship Pilot KELSON HENDERSON

Dragon Gunship Gunner DAVID VAN HORN

Dragon Gunship Navigator JACOB TOMURI

Suit #1 MICHAEL BLAIN-ROZGAY

Suit #2 JON CURRY

Ambient Room Techs JULENE RENÉE • LUKE HAWKER • WOODY SCHULTZ

Horse Clan Leader PETER MENSAH

Link Room Tech SONIA YEE

Basketball Avatars JAHNEL CURFMAN • ILRAM CHOI

Na’vi Child KYLA WARREN

Stunt Coordinators New Zealand STU THORPE • ALLAN POPPLETON

Troupe

KEVIN DORMAN JULENE RENÉE JAHNEL CURFMAN WOODY SCHULTZ

LISA ROUMAIN DEBRA SKELTON TAYLOR KIBBY JODIE LANDAU

CHRIS MALA JULIE LAMM CULLEN B. MADDEN JOSEPH BRADY MADDEN

FRANKIE TORRES AUSTIN WILSON SARA WILSON TAMICA WASHINGTON-MILLER

Op Center Staff

LUCY BRIANT NATHAN MEISTER GERRY BLAIR MATT CHAMBERLAIN

PAUL YATES WRAY WILSON JAMES GAYLYN

Stunts

ILRAM CHOI ALICIA VELA-BAILEY MARK GINTHER FRANK TORRES

REUBEN LANGDON STELLA ANGELOVA SIMONE BARGETZE RYAN BROWN

J.J. DASHNAW NITO LARIOZA JASON RODRIGUEZ DAVID SCHULTZ

COLIN FOLLENWEIDER STEVE UPTON RICHARD EPPER SHANE DAWSON

ANTONIO MARSH VINNIE ROXBURGH MIN WINDLE ROB YOUNG

ALBERT HELMISLI JUSTIN CARTER RODNEY COOK RAYNER JAHNKE

SIAOSI FONUA RYAN CAREY HANK AMOS

Dancers

MELVIN LENO CLARK, III CARVON FUTRELL BRANDON JELKES SARA ROSE MEDINA

MICAH MOCH HANNIYAH MUHAMMAD CHRISTOPHER NOLEN CHRISTA OLIVER

APRIL THOMAS BRAVITA A. THREATT

Character Designs by

STAN WINSTON STUDIO

Key Character Designers SCOTT PATTON, JOSEPH C. PEPE, JOEY OROSCO,

CHRISTOPHER SWIFT, JASON MATTHEWS, MICHAEL ORNELAZ, JIM CHARMATZ

ART DEPARTMENT

Lead Character Sculptor JORDU SCHELL • Concept Art Directors BEN PROCTER, SETH ENGSTROM, DYLAN COLE

Concept Illustrators RYAN CHURCH, JAMES CLYNE, STEVEN MESSING, VICTOR MARTINEZ, CRAIG SHOJI, DAPHNE YAP, BARRY HOWELL,

DORIAN BUSTAMANTE • Lead Supervising Art Director KIM SINCLAIR • Supervising Art Directors KEVIN ISHIOKA, STEFAN DECHANT,

TODD CHERNIAWSKY • Virtual Production Art Directors ANDREW L. JONES, NORM NEWBERRY • Art Directors NICK BASSETT,

ROB BAVIN, SIMON BRIGHT, JILL CORMACK, SEAN HAWORTH, ANDREW MENZIES, ANDY McLAREN • Assistant

Art Directors MICHAEL STASSI, JEFFREY WISNIEWSKI • Property Master ANDREW M. SIEGEL • Asset Manager REYMUNDO PEREZ

Creature Artists TULLY SUMMERS, ALEX ALVAREZ • Coordinator ANDREA CARTER • Archivist ZACK BUNKER

Administrators JASON BEALE, MARTHA MITCHELL • Assistant HOLLY JETER • Costume Illustrator RAFAEL BUGOS

VIRTUAL PRODUCTION

Virtual Production Conceived by ROB LEGATO • Virtual Production Line Producer PETER M. TOBYANSEN

Virtual Production Manager HEIDE WALDBAUM • CG Supervisors BRADLEY ALEXANDER, JERRY K. KUNG, ALBERT HASTINGS

Simulcam Supervisor CASEY SCHATZ • Lead Virtual Stage Operators DAN FOWLER, DAVID STRIPINIS, IGNACIO PENA, TYLER THOMSON

Virtual Stage Operators PAOLO ZIEMBA, JERRY ZIGOUNAKIS • Lead Virtual Cinema Artists A.J. BRIONES, ANDREW GREENLEE,

ANDREW MOFFETT, EVELYN COVER, IAN ADAMS, STEPHEN DEANE, STEPHEN J. PAVELSKI, THOMAS BLAND • Virtual Cinema Artists

ANDREW ROSE, BEN SHUPE, BUFFY BAILEY, ED KNIGHT, ERIC OLIVER, GEOFF LOU, JASON STELLWAG, JEREMY AGAMATA,

JESSICA WU, JOHN BUCHOLTZ, JUSTIN STOCKTON, KIRSTEN JELLIFFE, MARGARET LANGLEY, NICHOLAS BROWN, SHANE KEMP,

STEVEN LO, STEVEN TOM, STEPHEN GREENBERG • Virtual Camera Operator ANTHONY ARENDT • VAD Leads BRIAN PACE,

LEONARD BARRIT, DEAN LEWANDOWSKI, MOTOKI NISHII, PATRICK PETERSON, APRIL WARREN • VAD Artists JEFFREY APCZYNSKI,

JOSE ASTACIO JR., BRYAN BURRIGHT, ANTHONY JACOB • 3D TDs ERIC LALUMIERE, FRANK BONNIWELL

Lead Compositors NATE HOPKINS, LLOYD LEE BARNETT • Compositors AARON SINGER, ADAM GHERING, CHRISTOPHER IVINS

Tracking DARYL BARTLEY, DON L. McCOY • Virtual Lab Coordinators FERDINAND TORRES, HELEN JEN • Lab Asst. Coordinator VAL KELLER

Virtual Environment Administrators SAUL SANTELL, KATRINA KAUFMAN • Virtual Production Assistant SVETLANA TESNES

Render Department MICHELLE HALL, BEN LOVE, DUSTIN HARRISON, CHRIS BLAZICK, MEGAN GOLDBECK • Digital Save

Operators STEPHEN SUETTINGER, JASON CHEN, JAMES LU, TRENT JONES, PEDRO HONESS • Prototype Line Producer RON AMES

PRODUCTION

Production Supervisor JENNIFER TEVES • Lightstorm VP Production Services & Technology GEOFF BURDICK

Lightstorm Chief Financial Officer CAROL HENRY • Lightstorm VP Finance & Administration KATHY GRANT

Lightstorm Technology JOE HAGG, CHARLIE PALAFOX, JOHN CLISHAM • Assistants to James Cameron TERRI DEPAOLO,

KRISTIN BERBAE, TED CAHN • Assistant to Jon Landau NICOLE PITESA • Still Photographer MARK FELLMAN

Lead Systems Administrator MIKE REED • Production Controller NOUR DARDARI • Assistant Accountants TROY McGATLIN,

MICHAEL LING, DANIEL GONZALEZ, VALERIE SUAREZ, ANNETTE ENCINAS • Post Production Controller KEVIN BUXBAUM

Post Production Accountant MAUREEN CRUTCHFIELD • Post Production Assistant Accountants HELEN SIDERIS, BRANDON LINVILLE

Post Production Payroll Accountants BOYSIE JEREZA, DAVID HICKEY • Casting Associate JUSTINE HEMPE

Casting Assistant ASHLEY SLATER • Digital Assets Manager BILLY BARNHART • Digital Assets Assistant DAVID LO

System Technician RYAN ROMANSKI • Licensing Liaison MARIA WILHELM • Lightstorm Runner NICK PHAD

Lightstorm Receptionist MIKE SANTOS • Botany Consultant DR. JODIE S. HOLT • Ethnomusicologist DR. WANDA BRYANT

Anthropological Consultant DR. NANCY LUTKEHAUS • Military Training by JOHN DAVID CAMERON

Military Dialogue Advisor CAPT. BARRY EDWARDS USMC • Behind The Scenes by MOB SCENE

EDITORIAL

Assistant Editors CLAUDIA HUERTA, JUSTIN SHAW• VFX Editors CRAIG TANNER, CHRIS MARINO

Assistant VFX Editors ROXANNE DORMAN, WILLIAM PALEY • Performance Capture Assistant Editors KRISTEN YOUNG, DAWN MARQUETTE

Performance Capture Sound Editor NOAH KATZ • Post Production Coordinator WENDY CHESEBROUGH LOWE

Post Production Assistant DANIEL MEI-TAL • Post Wrangler ROB YAMAMOTO • AVID Support Provided by WEXLER VIDEO

PERFORMANCE CAPTURE UNIT

Production Coordinators JAMIE R. ROBINSON, SUSAN DUKOW • Na’vi Movement Coach TERRY NOTARY

Systems Engineer STEVE MADONNA • Production Secretary EDITH VIRAMONTES • Assistant Prop Master BENSEN HO

Video Engineering Supervisor IAN KELLY • Video Assist DANIEL HERNANDEZ, DANIEL F. MOORE • Head Rig Supervisor GARY MARTINEZ

Lead RF Technician PAUL TOBYANSEN • Facial Capture Technicians TIMOTHY A. BRUNS, KURT HERBEL, ROBERT DERRY

Virtual Camera Assistant TIMOTHY STUTTS • Senior Pipeline Development STEVE ROSENBLUTH • Software Developers BOB NOLTY,

ZEKE BURGESS, HERMANN CHONG • Systems Administrators JOSHUA OWENS, MATT NELSON

Additional 2nd Assistant Director MICHAEL J. MUSTERIC • Script Supervisor LUCA KOUIMELIS • Reference Camera Technicians

MARK BROWN, AJ RAITANO, KIRBY WASHINGTON, KEVIN McGILL, VERNON KIFER • Key Grips DENNIS HOERTER, PAUL FARLEY

Production Sound Mixers JIM TANENBAUM, WILLIAM B. KAPLAN • Boom Persons JESSE KAPLAN, THOMAS GIORDANO

Costume Supervisor ANTONIO ALMARAZ • Assistant Costume Designer JEANNIE FLYNN • Set Costumers ALEJANDRO HERNANDEZ,

LILIA ACEVEDO • Seamstress PATRICIA LOPEZ-PADILLA • Make-up TEGAN TAYLOR • Additional Make-up Artist NADEGE SCHOENFELD

Construction Coordinator JOHN VILLARINO • General Foreman BOBBY MARA • Labor Foreman EDDIE CALDERON • Welding Foreman

JOSHUA KING • Paint Foreman TOM HRUPCHO • Welding Gang Boss AL DROEGER • Prop Maker Gang Bosses FRED O’CONNOR,

BRUCE RICHTER, MARK RIGGS, OLY SUNDT, DARIN WOLDMAN • Prop Maker JACK CORNELIUS • Standby Painter AJ LEONARDI

Na’vi Dance Choreography by LULA WASHINGTON • Transportation Coordinators JAMES WAITKUS, DENNY CAIRA

Transportation Dispatchers KAREN CHANG, JAYSON CHANG • Drivers CHRIS ALVIANI, VAUGHN R. BLADEN, CODY FLEMING,

VICTOR YBIERNAS • Craft Service NICK MESTRANDREA, STACY KASUBOWSKI • On Set Medic CHRIS LUM

Assistant to Ms. Saldana ALEXIS ALEXANDER • Production Assistants MEGAN FISCHER, TIM PATTERSON, ANDREW DECESARE,

SARA DOCKSEY, JASON BROWN, SARAH GOLLER, MIKE WEAVER, JAMIE LANDAU, ALEXANDER HAMILTON WESTMORE,

BILL WHIRITY, JENNA PITULA, MORGAN ELAM, JOHN MEYERS • Animal Trainer Coordinator TITUS REYNOLDS • Playa Vista

Studio Support WILLI SCHMIDT, GERARDO DE SANTOS • Payroll Services by CAST & CREW ENTERTAINMENT SERVICES

Performance Capture Technology

and Production Services Provided by

GIANT STUDIOS, INC.

Performance Capture Producer CANDICE ALGER • Performance Capture Project Manager JAMES G. H. KNIGHT

Lead Capture TD ADDISON BATH • Simulcam TD RYAN CHAMPNEY • Pipeline TD VAUGHN CATO • Stage Managers GREG ALLEN,

ELLIOT PERRIGO • Real-Time Operators SCOTT OWEN, MICHAEL SPENCE • Character TDs FRANCOIS LAROCHE, KEVIN CUSHING

Integration TDs XIAHONG LIU, SARAH MATTES • Lead Motion Editor DON DE CASTRO • Co-Lead Motion Editor LENNON MONTEJO

Senior Motion Editors STEVE GUEVARA, THOMAS SHIN • Motion Editors XOU FANG, DAVID PRECIADO, CRYSTAL RAINONE,

CHRIS STARWALT, MICHAEL WALSH, KEVIN WANG, ERICK WARD, MICHAEL VAVERKA, JASON TONG, JIM ORLIK, ANTHONY PINTOR

Software Engineer BILL LORTON • Lead Studio Tech RYAN ADAMS • Studio Technicians CONNOR MURPHY, CHRIS GAEDE,

ANDREW HEPP, RYAN QUINLAN, JUAN RODRIGUEZ • Motion Processing Lead KEN MURANO • Motion Processors CAROL MADRIGAL,

ERIC LEIDENROTH, ALAN HODGES, JUSTIN LOUIS

POST PRODUCTION SOUND

Re-recording Mixers CHRISTOPHER BOYES, GARY SUMMERS, ANDY NELSON

Additional Re-recording Mixer JUAN PERALTA • Sound Mixing at HOWARD HAWKS STAGE, TWENTIETH CENTURY FOX

Recordists RYAN COLE, TIM GOMILLION • Re-recording Engineers TOM LALLEY, BILL STEIN, PAUL PAVELKA

Post-Production Sound Services by

SKYWALKER SOUND

Supervising Sound Editor GWENDOLYN YATES WHITTLE • Supervising Sound Editor & Addl. Sound Design ADDISON TEAGUE

Sound Effects Editors KEN FISCHER, SHANNON MILLS, TIM NIELSEN, CHRISTOPHER SCARABOSIO • Dialogue Editors CHERYL NARDI,

KIM FOSCATO, MARSHALL WINN • ADR Editors STEVE SLANEC, STUART McCOWAN, RICHARD HYMNS

Foley Editors LUKE DUNN GIELMUDA, JIM LIKOWSKI • Sound Effects Assistant FRANK CLARY • Foley Artists JANA VANCE,

DENNIE THORPE • Foley Mixer FRANK RINELLA • Foley Recordist SEAN ENGLAND • Field Recordist DEE SELBY • Mix Technician

TONY SERENO • Digital Transfer JOHN COUNTRYMAN, MARCO ALICEA • Recordist JAMES SPENCER • Video Services JOHN TORRIJOS

Chief Engineer & Facility Design STEVE MORRIS • Engineering Services HOWIE HAMMERMANN • Digital Editorial Services TIM BURBY,

DAVE HUNTER • Post-Production Sound Accountant RENÉE RUSSO • Client Services EVA PORTER, MIKE LANE, GORDON NG

MUSIC

Supervising Music Editor JIM HENRIKSON • Music Editor DICK BERNSTEIN • Additional Music Editing by MICHAEL BAUER

Music Recorded and Mixed by SIMON RHODES • Electronic Music Arranger SIMON FRANGLEN • Synthesizer Programming IAN UNDERWOOD,

AARON MARTIN • Score Conducted by JAMES HORNER • Orchestrations JAMES HORNER, J.A.C. REDFORD, JON KULL,

NICHOLAS DODD • Digital Score Recordist KEVIN GLOBERMAN • Recorded at THE NEWMAN SCORING STAGE,

TWENTIETH CENTURY FOX STUDIOS • Recordist TIM LAUBER • Stage Managers TOM STEEL, DOMINIC GONZALES

Engineer DENIS ST. AMAND • Score Mixed at RECORD ONE RECORDING STUDIOS • Music Preparation BOB BORNSTEIN,

EMMETT ESTREN, DAVID WELLS • Music Contractor PETER ROTTER, SANDY DeCRESCENT • Choir Contractor JASPER RANDALL

Music Scoring Coordinator SYLVIA WELLS • CueTime Software Product Manager DAN BROCK • CueTime Software Engineer DAVID LANDON

VISUAL EFFECTS

Visual Effects Producer MARICEL PAGULAYAN • Visual Effects Production Managers BRUCE FRANKLIN, KIMBERLY JASE

Additional Visual Effects Producers TONI PACE-CARSTENSEN, JODY ECHEGARAY • NZ Visual Effects Producer CYNDI OCHS

3D Visual Effects Specialist CHUCK COMISKY • Visual Effects Coordinators STEVE RIERA, BRYAN SEARING, KMARIE WALTERS,

BRICE LIESVELD • Assistant Visual Effects Coordinators MANASI ASHISH, MIKE ZAVALA • Asset & Database Coordinators RON POGUE,

ANDREW TURNER • Assistant Coordinator TOVA WEINBERG • Animation Coordinator LUIS PAZOS

Visual Effects

&

Animation Created by

WETA DIGITAL LTD.,

Wellington, New Zealand

VFX Supervisor WAYNE STABLES

VFX Supervisor R. CHRISTOPHER WHITE

VFX Supervisor ERIK WINQUIST

Animation Supervisor DAVID CLAYTON

Motion Capture Supervisor DEJAN MOMCILOVIC

Digital Effects Producer MARVYN YOUNG

Models Supervisor MARCO REVELANT Supervising VFX Editor MATT HOLMES

Creatures CG Supervisor DANA PETERS VFX Editor LUCAS PUTNAM

Creature Art Director GINO ACEVEDO Associate VFX Editor AARON CUBIS

Shaders Supervisor MARTIN HILL Head of Digital Imaging PETE WILLIAMS

Head of Layout/Animation Tech SHAWN DUNN Digital Imaging Supervisor NICK BOOTH

Massive Supervisor JON ALLITT Rotoscope Supervisor SANDY HOUSTON

Textures Supervisor TOM MIKOTA Paint Supervisor QUENTIN HEMA

Shots R&D Supervisor NICK McKENZIE Chief Technology Officer PAUL RYAN

Compositing HOD MATT WELFORD VFX Executive ROBIN PRYBIL

FX Supervisor KEVIN ROMOND Head of Research and Development SEBASTIAN SYLWAN

Camera Supervisor LEE BRAMWELL Senior R&D Software Developer LUCA FASCIONE

On-Set Production Manager HANNAH BIANCHINI Lead On-Set VFX TD MATT SLOAN

Pre-Production CG Supervisor MATT AITKEN On-Set Surveyor BRIAN McMILLIN

Pre-Production Manager MARA BRYAN Motion Capture Pipeline Supervisor PHILIP BOLTT

Senior Production Manager CLARE BURGESS Creature Simulation Supervisor ANDREA MERLO

Senior Production Manager ANNETTE WULLEMS Facial Team Lead JEFF UNAY

Senior Production Manager KEVIN L. SHERWOOD Water Team Lead CHRISTOPH SPRENGER

Shots Production Manager KRISTINA FLACH Digital Colourist JOERG W. BUNGERT

Animation Production Manager NICKY MUIR Special Projects Supervisor MARK SAGAR

ANIMATION DEPARTMENT

Lead Animators DANIEL BARRETT, ALEXANDER BURT, MICHAEL COZENS, JAN PHILIP CRAMER, BEN FORSTER, ROBYN LUCKHAM

Senior Animators ALVISE AVATI, GRAHAM BINDING, ANDREW CALDER, NICK CRAVEN, SCOTT DACE, TOM DEL CAMPO, RICHARD DEXTER,

KEVIN ESTEY, OLIVER EXMUNDO, AARON GILMAN, VICTOR HUANG, TODD LABONTE, SHAHAR LEVAVI, GREG LEWIS, JEE YOUNG PARK,

ERIC REYNOLDS, MATTHEW RIORDAN, JALIL SADOOL, JASON SNYMAN, JOHN SORE, MIKE STEVENS, PAUL STORY, DENNIS YOO

Animators MICHAEL AERNI, JAMES BENNETT, PETER CHEN, GERALD CLEVY, SIMEON DUNCOMBE, AUSTIN EDDY, NEIL GLASBEY,

TOBY M. HARUNO, MARCHAND JOOSTE, PATRICK KALYN, ANTHONY McINDOE, ROBERT McINTOSH, JONATHAN PAQUIN, BRETT PURMAL,

JANCE RUBINCHIK, BEN SANDERS, ANDREW SILKE, MARK STANGER, TIMOTHY STEVENSON, DANNY TESTANI, LINDSAY THOMPSON,

DANIEL ZETTL • Senior Animation TD KEITH LACKEY • Animation TDs JUAN ANTONIO AMBLES, DERRICK AUYOUNG,

REGINA PAULA CACHUELA, TAYLOR J. CARRASCO, JEREMY HOLLOBON, ORLANDO MEUNIER, LORI SMALLWOOD, TAISUKE TANIMURA

CG SUPERVISORS

SHADI ALMASSIZADEH, SIMON CLUTTERBUCK, DAN COX, ERIC ADRIAN FERNANDES, GRAEME DEMMOCKS,

ALLEN HEMBERGER, SEBASTIAN MARINO, MATTHIAS MENZ, KEITH F. MILLER, SERGEI NEVSHUPOV, MIKE PERRY,

THRAIN SHADBOLT, ROGER SHORTT, KEVIN ANDREW SMITH, MARK TAIT

LEAD TDs

PHIL BARRENGER, DAVID BASALLA, THELVIN TICO CABEZAS, JEFF CAPOGRECO, FRANK DÜRSCHINGER, NICK EPSTEIN,

MARK GEE, CHRISTOPHER GEORGE, KENNETH C. GIMPELSON, ALEX HESSLER, CHANGEUI IM, BALAZS KISS, MIAE KANG,

JEAN MATTHEWS, JANE S. O’CALLAGHAN, JEREMY PICKETT, FRANK ANTHONY SABIA JR., GAKU TADA, ALAN WOODS

SENIOR TDs

MIKAEL HAKANSSON, SANDIP KALSY, RYAN LEASHER, HIROAKI MURAMOTO, DANIELE TOSTI

LIGHTING TDs

ADEL ABADA, JOHAN ABERG, IMRAN AHMED, TONY ALEXANDER, ROMAIN ARNOUX, MICHAEL BALTAZAR, MARK BARBER,

KELLY BECHTLE-WOODS, CORY BEDWELL, HAMISH BELL, HITESH BHARADIA, BRIAN BLASIAK, JORGE BOBADILLA JR.

ALBERT BONNEFOUS, MATTHEW T. BOUCHARD, ANDRÉ BRAITHWAITE, JESSICA BRAUN, LOREN BROOKES, SIMON BROWN,

DHYANA BRUMMEL, ROBERT BYRNE, BEN CAMPBELL, KEANAN CANTRELL, TIM CATCHPOLE, AMY CHRISTENSEN, RHYS CLAPCOTT,

ROBERTO CLOCHIATTI, PETER CONNELLY, GRAHAM CRISTIE, ALEXIA CUI, JOANNA DAVISON, TAMIR SAMMY DIAB, MARCO DI LUCCA,

COLIN DONCASTER, CURTIS EDWARDS, SAMUEL EDWARDS, HASSAN EL YOUBI, STEVE EVANS, JASON FLEMING, NICOLA FONTANA,

ROBERT A.D. FRICK, JASON GALEON, STEFAN GALLEITHNER, FRANCOIS GENDRON, MARNIE GOODMAN, BRIAN GOODWIN, NICK GRACE,

ANNE HALL, JASON HANNEN-WILLIAMS, NILES HECKMAN, GG HEITMANN, SAM HODGE, DANIEL HORNICK, NICKIE HUAI,

MYLES ELLIOTT JACKSON, NATHAN JOHNSON, AMANDA JOHNSTONE, SAMSON KAO, MICHAEL KENNEDY, STEVEN ANTHONY KHOURY,

ADAM KING, SUSIE MAY KLEIS, MANFRED KRAEMER, KATHERINE HURST, DONNA LANASA, PHILLIP LEONHARDT, LANCE LONES,

JAKE LEE, MINGZHI VICTOR LIN, KIMBERLEY LIPTRAP, CHISHAN LIU, BRETT McCONNELL, DANIEL MACARIN, ARON MAKKAI,

CHRISTOPH MATTHIESEN, LUKE MILLAR, RICHARD JOHN MOORE, GIUSEPPE MOTTA, ALESSANDRO MOZZATO, DARYL MUNTON,

ALFRED MÜRRLE, MARCELL NAGY, SERENA RAINBOW NARAMORE, JENNIFER NONA, MARK NORRIE, HELEN PAUL, GEOFF PEDDER,

NICOLAS PETIT, OLIVIER PINOL, ARUN RAM-MOHAN, PAVANI RAO, SAUL REID, ARKADIUSZ REKITA, JOHN ROBERTS-COX,

DYLAN ROBINSON, ALAN ROSENFELD, AI SAIMOTO, ALESSANDRO SAPONI, B. DURANT SCHOON, MICHAEL SLATER, DANIEL SMITH,

FREDERIC SOUMAGNAS, BILL SPRADLIN, RAINER STOLLE, PRAPANCH SWAMY, JONATHAN S. SWARTZ, RAQI SYED, PETER SZEWCZYK,

BEN THOMPSON, OLIVIER VAN ZEVEREN, DAN WADE, SEAN NOEL WALKER, TIM WARD, MALCOLM WRIGHT, CHRIS YOUNG, JOYCE YOUNG,

FABIO ZANGLA, MOHAND ZENNADI

SHADER WRITERS

MARC COOPER, RÉMI FONTAN, NIKOLAY GABCHENKO, DMITRI KRASNOKOUTSKI, MATHIAS LARSERUD, NIC MARRISON,

RAPHAEL MATTO, MIKE O’NEILL, HUNTER PARKS, OLEKSIY PUZIKOV, AMIR SHACHAR, GLEN SHARAH, TOSHI SHIOZAWA,

ROBERT SHRIDER, ANDREW WHITTOCK, JEDRZEJ WOJTOWICZ

FX TDs

Senior FX TDs SAM BUI, MARK DAVIES, CHRIS EDWARDS, ZACHARY FRANKS, CHRISTIAN HIPP, JASON LAZAROFF, ALEX NOWOTNY,

OLIVIER SOARES • FX TDs MARIANO BLANC, DAVID CAEIRO CEBRIAN, JAYANDERA DANAPPAL, WILL ELSDALE, PIERRE GRAGE,

MARTIN HALLÉ, FLORIAN HU, AYAKO KURODA, RONNIE MENAHEM, JOHN A. PATTERSON, GARRY RUNKE, KAWALDEEP SINGH,

FRANCOIS SUGNY, ANDREAS VRHOVSEK

WATER TDs

ROBERT MARSHALL CHEATHAM, RAHUL DESHPRABHU, TIM EBLING, ERIC GRIMENSTEIN, MARCUS NORDENSTAM,

ANTON OGNYEV, LUIS PAGES, HERIBERT RAAB, JULIA RETSON, DIEGO TRAZZI

MASSIVE DEPARTMENT

Lead Massive TD GEOFF TOBIN • Massive TDs REZA GHOBADINIC, GREGORY N. WILTON

ASSISTANT TDs

KATE ADAMS, REBECCA ASQUITH, SIMON BAKER, BRYN BAYLISS, HAMISH BEACHMAN, BRITTANY BELL, PAULA BELL, DUDLEY BIRCH,

HELEN BLAKE, ANDREW D.W. BROWN, YI-HSUAN KENT CHIU, ANDREA CHRISTIE, ALESSANDRO COSTA, NATHAN DAWSON, TIM DOUGLAS,

JAMES DOYLE, OLIVER FERGUSON, NIKOLAS FILER, JEREMY FORT, KENNETH GARCIA, ALESSANDRO GOBBETTI, JAIMEE GODINET,

DEEPAK GUPTA, YOSHIHIRO HARIMOTO, MATTHEW HICKS, JULIE HOLMES, CHRIS HUSSON, ALEXANDRA LANZENSBERGER, CHET LEAVAI,

SEONG KYUN LEE, JIM LONGHURST, DANIEL LYNCH, KEITH MacGOWAN, GREG McKINLEY, DAISUKE MAKI, RICHARD MASON,

HITESH KUMAR MEHRA, DANIEL MEIGHAN, NIKORA NGAROPO, GREG NOTZELMAN, JOHNNY PARSONS, SAM PREBBLE, EDDY PURNOMO,

TIMOTHY SCOLLARD, CAM BARRETT SMITH, KIERAN SMITH, ROSALIND STRATTON, ANDREW R.E. TAYLOR, XIAO TIAN,

RIAAN UNDERWOOD, CHRIS WALKER, ED WILKIE, FRASER JOHN WILKINSON

COMPOSITING DEPARTMENT

Lead Compositors NORMAN CATES, PAUL CONWAY, AREITO ECHEVARRIA, TIMOTHY HEY, MATT HOLLAND, ROBIN HOLLANDER,

DAVID HOUGHTON WILLIAMS, BEN MORGAN, STEVE McGEE, STEVE McGILLEN, DAVID PHILLIPS, PAUL REDICAN, MARK RICHARDSON,

KARIM SAHAI, CHRISTOPH SALZMANN, CATERINA SCHIFFERS • Senior Compositors COLIN ALWAY, SIMON JUNG, SAKI MITCHELL,

CAMERON SMITH, CHARLES TAIT • Compositors HOLLY ACTON, SERGIO AYROSA, NIKI BERN, JULIAN BRYANT, SONIA CALVERT, EAN CARR,

SCOTT CHAMBERS, GEMMA COOPER, STEVE CRONIN, PETER DEMAREST, GARETH DINNEEN, BRETT DIX, ERICH EDER, GEOFF HADFIELD,

ED HAWKINS, KORY MARTIN JUUL, MICHAEL LANZENSBERGER, RICH McBRIDE, ALBERTO MONTAÑÉS, SALIMA NEEDHAM,

GIUSEPPE TAGLIAVINI, MARK VAN DEN BERGEN

MATTE PAINTING DEPARTMENT

Department Lead Matte Painter YVONNE MUINDE • Lead Matte Painter BRENTON COTTMAN

Senior Matte Painters PETER BAUSTAEDTER, SCOTT BRISBANE • Matte Painters HEATHER ABELS, BELINDA ALLEN, JEAN-LUC AZZIS,

LYSE BECK, FEDERICO BOZZANO, ADAM J. ELY, MICHAEL LLOYD, NICOLE MATHER, KRISTI VALK

PRODUCTION DEPARTMENT

Sequence Production Managers AARON COWAN, ERIN HORTON, PADDY KELLY, FRANK MACFARLANE, JANET SHARPE

Sequence Production Coordinators MALCOLM ANGELL, DAVID HAMPTON, JENNIFER LOUGHNAN, SARAH WILSON

Creatures Dept Manager KRISTIE BRESLIN HUSSON • Compositing Dept Manager GAYLE MUNRO

Continuity/Publicity Image Manager MAHRIA SANGSTER • 2D Sequence Mgr/Layout Coord. CHERYL KERR

Camera Dept Manager SANDY COCO TAYLOR • CG Code Dept Manager HOLGER SPILL • Motion Edit Dept Coordinator ANNE TAUNGA

Models Dept Coordinator ASTRID SCHOLTE • Textures Dept Coordinator NIGE McKISSOCK • Layout Dept Coordinator ARWEN MUNRO

Matte Painting Dept Coordinator STEPHEN NIXON • PA to VFX Supervisor/Producer JAZ RONGOKEA • Reference Photographer IVA LENARD

Digital Setup Production Manager KATHRYN HORTON • Previs Production Manager MARION DAVEY • Models Dept Manager JESSICA FERNANDES

FX Dept Manager MARIE-CECILE DAHAN • Animation Dept Coordinator JAROM SALVATORE SIDWELL • Asst TDs Dept Coordinator KATIE HOUSTON

Digital Reference Performer SHANE RANGI • VFX Production Coordinator FENELLA STRATTON • I/O Production Coordinators COLE SMITH,

PAUL MARCUS WONG • Production Coordinators SAM BUYS, HELEN CLARE, MARCUS GOODWIN, PETI NOHOTIMA, JESSICA PONTE,

JENNAH RASMUSSEN, N’CEE VAN HEERDEN • Production Assistants SEB BAST, TOM GREENE, CHARLOTTE LANEY,

GEORGINA LOVERING, POPPY SINCLAIR-LOCKHART

MODELS DEPARTMENT

Lead Modelers FLORIAN FERNANDEZ, PAUL JENNESS, JAMES OGLE, PASCAL RAIMBAULT, RAINER ZOETTL

Senior Modelers JUNG MIN CHANG, SIMON CHEUNG, NICHOLAS GAUL, RICHARD RAIMBAULT, JOHN STEVENSON-GALVIN

Modelers MATT BULLOCK, KURT BUTLER, HAMZA BUTT, DJORDJE CAKOVAN, CEDRIC ENRIQUEZ CANLAS, ADRIAN CHAN, LESLIE CHAN,

ANDREI COVAL, NATHAN FARQUHAR, MATT FITZGERALD, MAKIKO HANDA, CAJUN HYLTON, YASMIN KHUDARI, BROOK KIEVIT,

SUN JIN LEE, EUNG HO LO, THOMAS LO, ANDREAS MAANINKA, KAORI MIYAZAWA, JAMES MOORE, BO MOSLEY, DANIEL GONCALVES MOY,

ANDREAS TANDY NEHLS, NIKLAS PRESTON, JAY RENNER, JOSE SAMSON, SAM SHARPLIN, GERSHOM SISSING, JUSTIN STEEL,

MATTEO STIRATI, MATSUNE SUZUKI, SHANNON THOMAS, PÄR TINGSTRÖM, MICHAEL TODD, ROBERT VIGNONE, ANDREJA VUCKOVIC,

JAMES WILLINGHAM III, NICHOLAS WILSON, CLARE WOODFORD-ROBINSON, PABLO ANGELES ZUMAN

Senior Facial Modelers JINWOO LEE, PETER SYOMKA • Facial Modelers GUSTAV AHREN, ALESSANDRO BONORA, RAMAHAN FAULK,

MARK HAENGA, ROJA HUCHEZ, MAURIZIO MEMOLI, HOWARD SLY

CREATURE DEPARTMENT

Lead Creature Code Developer JAMES JACOBS • Creatures Facial Lead TD STEPHEN CULLINGFORD • Lead Creature TDs JULIAN BUTLER,

GLEN CHRISTIE, MATTHEW MUNTEAN, ERIC TANG • Senior Creature TDs CHRISTINE ARBOIT, FELIX BALBAS, AARON HOLLY, JOHN HOMER,

JENS SCHWARZ, DAVID SHORT • Creature TDs MARCO BARBATI, LORENZO BASURTO, RUFUS BLOW, ADAM COBABE,

JOHANN FRANCOIS COETZEE, DAVID FEUILLATRE, JAMES GAMBELL, EDUARDO GRAÑA, NICK HAMILTON, RADFORD HURN,

GIOS JOHNSTON, LONNIE KRAATZ, JON LEMMON, LAURA LUMPUY NICOLAS, OLEG MAGRISSO, PETER MEGOW,

CHRISTOPH DANIEL MEYER, RON E.J. MILLER, SUNNY TEICH, MALCOLM THOMAS-GUSTAVE, ELI TUCKER, RENÉ VAN DE POEL,

MARCO VIDAURRE, ROGER WONG, VINCENT YAN, MATTHIAS ZELLER

TEXTURE DEPARTMENT

Lead Texture Artists DAVID ABBOTT, JESSICA COWLEY, MICHAEL COX, KEVEN NORRIS, ULA RADEMEYER, HILLARY YEO TZE ANN

Senior Textures Artists MIA ASKEW, MYRIAM CATRIN, BRADFORD DECAUSSIN, LINA TOY LINE HUM, MEL JAMES, RAINE REEN,

ANNE RITTER, MASAYA SUZUKI, CHRISTOPHER WELCH • Texture Artists RAINE ANDERSON, JANE APTHORP, GEORGY AREVSHATOV,

ELISABETH ARKO, ROBERT BALDWIN, NED BARRAUD, KATHLEEN BEELER, JENNIFER BLOOMFIELD, KATREENA ERIN BOWELL,

DAVID BRUNETTE, SAMUEL DOYLE, RYAN DUNCAN, ALISON FARMER, JAMES FURLONG, LAUREN MANUEL GARCIA CARRO,

DANNY GEURTSEN, BELINDA GRIFFITHS, NIKKI HAYLEY-HUGHES, NGOC HENG, RICHARD HOPKINS, GARETH J JENSEN, BYUNGGUN JUNG,

LAURE LACROIX, PO YUEN KENNY LAM, ZOE LORD, BEN NIGHTINGALE, TORBJÖRN OLSSON, DAVID OWEN, JUSTINE SAGAR,

GRACE STEPHENS, SHAR STEWART, PETRA STUEBEN, NATALIYA TSYGANOK, KARA VANDELEUR, SARAH E. WILSON, JASMINE WONG,

PIOTR FOX WYSOCKI, MARK YOUNG • Textures Pipeline TDs JOHN WILLIAM HARNAGEL, COLLIN MAXFIELD PARRISH, ADAM SHELTON

LAYOUT DEPARTMENT

Layout Lead TDs BARBARA BUSCH, WILLIAM DWELLY • Senior Layout TDs SHWETA BHATNAGAR, SCOTT EADE, MARK PULLYBLANK,

JACOB STEPHENS • Layout TDs RYAN ARCUS, GLEN BRAMLEY, SHAUN FRIEDBERG, PETER GODDEN, MARTIN GRÖZINGER,

DEBBIE LANGFORD, SIMON LEGRAND, RUTH-ANNE LOVERIDGE, SARATH BABU MADHAVAN, SIMON MILLANTA, CHRISTOPHER MILLS,

GEORGE EDWIN OLIVER JR., ROB ORMOND, STEPHEN PAINTER, VIDYA RAMAN, JENNIFER SCHEER, OLAF SKJENNA, ADAM SLATER,

JONAS SPERL, WAYNE TRAUDT, ROB ZOHRAB • Assistant Layout TDs JACOB BARROW, MICHAEL JOHN BRIDEN, EVAN CHRISTIE,

CRAIG D. CLARKE, JAMES DEE, RACHEL E. HERBERT, TERESA L. HOOPER, JEREMY McKENZIE, JOHN McMECHAN, GARRETT WINTERS

CAMERA DEPARTMENT

On Set Surveyors STAN ALLEY, ADAM HARRIMAN, FELIX POMERANZ, EWA SZCZEPANIAK • Senior Camera TDs SERGEI KOUDRIAVTSEV,

ALEX KRAMER, MATT MUELLER, WOLFGANG NIEDERMEIER, STEPHAN REMSTEDT, MICHAEL SARKIS, ALBRECHT STEINMETZ

Camera TDs OLIVER ASKEW, ERIK BIERENS, LARS KRAMER, LUC LONGIN, KADE RAMSEY, MARZENA ZAREBA

PAINT AND ROTOSCOPE DEPARTMENT

Senior Artists ADAM BRADLEY, TIM CHENG, JIM CROASDALE, PAUL EVERITT, CHRISTINE FEISTL, DANNY JONES,

SETH F. MILLER, TROY RAMSEY, BRAD SELKIRK, PHIL VAN DER REYDEN

MOTION CAPTURE DEPARTMENT

Motion Capture Pipeline Engineer JOHN CURTIS • Motion Capture Production Manager LISA WILDERMOTH

Motion Capture Stage Manager JAKE BOTTING • On-Set Facial Technician RAYMOND L. MASSA • Motion Capture Stage Assistant TIM HAIGH

Motion Capture Software Developer NEBOJSA DRAGOSAVAC • Motion Capture Engineer SEAN SNYDERS • Motion Capture Pipeline TD BEN MURRAY

Motion Capture TD GARY MARSHALL • Production Assistants CLINT SPILLERS, JASON CHEN • Senior Motion Capture TD BENNY EDLUND

Motion Capture Pipeline Manager JOHN ABERDEIN • Motion Capture Studio TD JAMES VAN DER REYDEN

Motion Capture Editor CORRADO IANIRI • Facial Motion Capture AD MARC ASHTON • Facial Alignment Station Operator ADAM HAGGIAG

Motion Capture Software Developer J.P. LEWIS • Code Facial Set-up IAIN MATTHEWS • Motion Capture Control Technician CHARLES POTTIER

Lightstage Facial Scanning PAUL DEBEVECK, WAN-CHUN “ALEX” MA, ABHIJEET GHOSH

MOTION EDIT DEPARTMENT

Lead Motion Editors BASSIM HADDAD, TOM HOLZINGER • Facial Motion Editor Manager DAVID BENNETT

Senior Motion Editors HANS BUTLER, LUISMA LAVIN PEREDO, JACOB LUAMANUVAE-SU’A, JONATHON TYLER

Motion Editors JEFFREY BAKER, BENJAMIN BRENNEUR, MARIO DE DIOS BARBERO, ROD FRANSHAM, JOHAN FRÖJD, SERGIO GONZALEZ,

MARK L. HOLMES, MALIK JAYAWARDENA, SIGTOR KILDAL, KI-HYUN KIM, MATTIAS LINDKVIST, SIMON QUACH, NICHOLAS RICHTER,

CHRYSTIA SIOLKOWSKY, GAVIN WILLIAMS • Lead Facial Motion Editors TERESA BARSALI, GORAN MILIC

Facial Motion Editors CLARE ASHTON, TAMARA BOGDANOVIC, COREY DIMOND, JADE LORIER, CHRIS MOSS, ELLEN RAPPENECKER,

NANDO SANTANA, ADAM SMITH, ILEANA STRAVOSKIADI, MALINO SUZUKI • Facial Motion Edit Assistants JOHNNY CHAN, RACHEL HYDES,

DAVID LUKE, CHLOE McLEAN, EMILY PEARCE, PAUL SEYB, ETEUATI TEMA

SOFTWARE DEVELOPMENT

Senior Software Developers & Engineers RICHARD ADDISON-WOOD, OLIVER CASTLE, SHANE COOPER, ALASDAIR COULL, LIANA FLEMING,

JACK GREASLEY, PETER HILLMAN, PHILIP HUNTER, ANASTASIO G. RODRIGUEZ • Software Developers & Engineers KEVIN ATKINSON,

ANTOINE BOUTHORS, PRAVIN BHAT, JACK ELDER, JON HERTZIG, SUSAN HOWARD, DANIEL LOND, WENDY LLOYD, BOON HEAN LOW,

JADE MANSUETO, CARLA MORRIS, KIYOYUKI NAKAGAKI, JACOPO PANTALEONI, PAUL-GEORGE H. ROBERTS, MARCUS SCHOO,

PAOLO EMILIO SELVA, KIM SLATTERY, ERIC A. SOULVIE, MICHAEL TANDECKI, XIAO XIAN

EDITORIAL DEPARTMENT

Assistant VFX Editors BEN HATTON, JAMES MEIKLE, BRETT SKINNER

I/O & DATA RESOURCE

Film Recording Technicians DANIEL ASHTON, STEPHEN ROUCHER • Projection Engineer TAM WEBSTER

Data Resource Manager ADRIAN SAMUELS • Data Resource Coordinator PHILLIP REED

SUPPORT SERVICES

Senior Staff General Manager TOM GREALLY • Finance Manager DAVID WRIGHT

Recruitment Manager TANYA BUCHANAN • Senior Publicist JUDY ALLEY • Contracts Manager ANGE WALLER

Relocations Managers JEANNE STUART, ALICIA WILLIAMS • Accounts Supervisor STEVE BAYLISS • Accountant IAN JACK

Recruitment Asst SHERRYN MATTHEWS • Publicists HANNAH CLARKE, ROBYN ISAACS • Contracts Asst SALLY SHANAHAN

Travel Coordinator INGE RADEMEYER • Housing Coordinators MARILYN RYDER, MATTY WEBLING • Accounts Assistant HEATHER KINASTON-SMITH

Production Support Team JO HARVELL, CHARLOTTE LOUGHNANE, CHLOE ELISE REILLY, YADANA SAW, NATASHA TURNER

FACILITY DEPARTMENT

Facilities Manager MIKE GUNN • Maintenance Coordinator DANIEL MARWICK • Facilities Coordinator LUAAN RUAINE

Asst Facilities Coordinator ERINA HARDING • Facility Team TRENT B.P. BAKER, AMY BRODIE, KIMBERLY BROWN, RAYMOND CLARKE,

WARNER EMERY, SALLY FORD, MICHAEL HARDEN, CHLOE HOLBROOK, CLAIRE N. JAMES, WILLIAM JONES, JENNY KESS, VIRGINIE LIN,

CRAIG DANIEL MILDENHALL, SASHA MOHELNITZKY, DARREN A. MOSHER, CRAIG RATTRAY, PENELOPE SCOTT, TOM SOUTHALL,

MICHAEL TAKARANGI, KATE TRAFFORD, WIKI WAITAI, ALEXANDER WREGG

IT DEPARTMENT

Systems Manager ADAM SHAND • Tech Support Manager CAMPBELL TAYLOR-FAIRWEATHER • Lead Engineer PETER CAPELLUTO

Senior Production Engineer TOMEK PIATEK • Data Center Facilities Manager TIM ALEXANDER • Wrangler Manager JOE WILKIE

Information Systems Lead REBECCA DOWNES • IT Coordinator AMY SHAND • IT Purchasing Officer DAVE JONES

Assistant Purchasing Officer ARI WHEOKI • Data/Render Wranglers STEPHEN ALLISON, KRIS BIERINGA, SAMUEL J. DUNCAN,

RICHARD McKENZIE, RENTON McNEILL, FILIPPO PAGANONI, ABHISHEK PANDIAN, ROB SCLATER, NAVINSK, LAYNE SMALL,

STEPHEN SMART, BRETT WILKINS • Information Systems SVEND ANDERSEN, GLENN ANDERSON, PETER JAMES McGRATTAN,

TIMOTHY PICK, THOMAS PREBBLE, JENNIFER SCHOO • Systems ANDREW ATKINSON, LUKE CHAMBERLAIN, REBS GUARINA, PAUL GUNN,

BEN HALL, TRISTAN McMAHON, BRENDAN MURRAY, TIM NICHOLAS, MATTHEW PROVOST, CHRIS REECE, BILL RYDER, CHRIS WINTER,

ELLIOTT YOUNG • Tech Support Lead MALCOLM AITCHISON, JASON GRINDLAY, ANDREW LAMBERT, JOHN YOUNG

Tech Support LAURENT ALIBO, HAMISH CHARLESON, JAMES DINSDALE, REECE GERAGHTY, RENÉ KUYS, DAVID LEACH, NICK LONG,

JOHN NUGENT JR., BENJAMIN ORANGE, KENNETH WELLS • Production Engineering SINDHARMAWAN BACHTIAR, JASON CHEUNG,

NOAH GIFT, TEIJO HOLZER, DAVE KUJAWSKI, SNOWY LEO, DONAL McMULLAN, SIMON MORLEY, AARON MORTON, JOHN VAN LEEUWEN

Visual Effects & Animation by

INDUSTRIAL LIGHT & MAGIC

A Lucasfilm Ltd. Company

ILM Visual Effects Producer JILL BROOKS

Digital Production Supervisor MICHAEL DICOMO

Compositing Supervisor EDDIE PASQUARELLO

CG Supervisors PAT CONRAN

PHILIPPE REBOURS

DAVID WEITZBERG

Digital Matte Supervisor RICHARD BLUFF

Digital Model Supervisor DAVE FOGLER

BRUCE HOLCOMB

Viewpaint Supervisor RON WOODALL

Creature Supervisor KARIN COOPER

Layout Supervisor JOHN LEVIN

Roto and Paint Supervisor BETH D’AMATO

Sequence Supervisors JAY COOPER, THOMAS FEJES, JEN HOWARD, TORY MERCER, MARK NETTLETON, GREG SALTER, ROBERT WEAVER

Digital Artists Leads FRANCOIS ANTOINE, JASON BILLINGTON, YANICK DUSSEAULT, CHRIS FOREMAN,

CHRISTOPHER HORVATH, FRANK LOSASSO PETTERSON, JOHN SIGURDSON, JIM SOUKUP, TODD VAZIRI, DAN WHEATON

Digital Artists JOAKIM ARNESSON, JEREMY BLOCH, TRIPP BROWN, CATHERINE BURROW, KELA CABRALES, MICHAELA CALANCHINI CARTER,

JEREMY CANTOR, TAMI CARTER, LANNY CERMAK, GRADY COFER, MIKE CONTE, MICHAEL CORDOVA, TIM DOBBERT, SELWYN EDDY III,

CONNY FAUSER, SIMON FILLAT, SHINE FITZNER, BRIAN FLYNN, TIM FORTENBERRY, MARIA GOODALE, DAVID GOTTLIEB, GILES HANCOCK,

TREVOR HAZEL, SHERRY HITCH, PEG HUNTER, JIRI JACKNOWITZ, PATRICK JARVIS, RYAN L. JONES, KIMBERLY LASHBROOK,

ASIER LAVINA, HILMAR KOCH, MARSHALL KRASSER, DAVID MARSH, TIA MARSHALL, MARCEL MARTINEZ, KENT MATHESON,

JOSEPH METTEN, CARLOS MONZON, DAVID MORRIS, TIM MUELLER, MYLES MURPHY, DAVID NAKABAYASHI, MARLA NEWALL,

BEN O’BRIEN, AKIRA ORIKASA, COS¸ KU ÖZDEMIR, SCOTT PRIOR, EDWARD QUINTERO, MICHAEL RICH, ANTHONY RISPOLI,

SHANE ROBERTS, ELSA RODRIGUEZ, BARRY SAFLEY, JEFF SALTZMAN, STEVE SAUERS, JERRY SELLS, JOE STEVENSON,

FLORIAN STROBL, ALAN TRAVIS, YUSEI UESUGI, NOAH VICE, KELLY WALSH, DAVID WASHBURN, TALMAGE WATSON, SCOTT YOUNKIN,

DEAN YÜRKE, RITA ZIMMERMAN • Animators JEREMY CANTOR, JEAN-DENIS HAAS, ALEX LEE, ERIK MORGANSEN, STEVE RAWLINS,

GREG TOWNER, TIM WADDY, ANDY WONG, JOHN ZDANKIEWICZ • Digital Models and Simulation LEIGH BARBIER, ANDY BUECKER,

DAVID DEUBER, KALENE DUNSMOOR, CHRIS EVANS, CHRIS HAVREBERG, KELVIN LAU, SEUNGHUN LEE, GREG MAGUIRE, SCOTT MAY,

STEVE SAUERS, AARON WILSON • Visual Effects Editor JIM MILTON • Production Coordinators STACY BISSELL, MARISSA GOMES

Production Assistants KAT BACHERT, LEE BRIGGS • Production Support MELISSA DE SANTIS, PETER LEBER, MIKE McCABE, PETER NICOLAI,

JULIAN SALVADOR, JEROME SOLOMON, MARCI VELANDO, KEVIN WONG • Technical Support SEAN BITTINGER, CHANTELL BROWN,

KAI CHANG, RAYMOND CHOU, GEORGE GAMBETTA, SHAHZAD KHAN, FRANKIE KWAK, SAM PENROSE, JESSICA RIEWE

Research & Development AARON ELDER, RONALD MALLET, ROBERT MOLHOLM, JOHN OLMSTEAD, POITR STANCZYK, STEVE SULLIVAN

ILM Executive Producer GRETCHEN LIBBY • ILM Senior Staff LYNWEN BRENNAN, CHRISSIE ENGLAND, CURT MIYASHIRO

Visual Effects by

FRAMESTORE

VFX Supervisors JONATHAN FAWKNER

TIM WEBBER

CG Supervisors ANDY LOMAS

ANDY MORLEY

MIKE MULHOLLAND

BEN WHITE

Compositing Supervisor CHRISTIAN KAESTNER

CG Environment Supervisor MARTIN MACRAE

Executive VFX Producer TIM KEENE

VFX Producer TRIPP HUDSON

VFX Line Producer REBECCA BARBOUR

Assistant VFX Producers LIZI BEDFORD, SARA TREZZI • VFX Coordinators LAIA ALOMAR, CARA TALLULHA DAVIES, MIKAEL JAEGER JENSEN

Layout Artists BRAD BLACKBOURN, DANIEL BUHIGAS, SIMON CARLILE, STEVE HARDY, JAMES HARMER, KEIR LONGDEN, JORGE PIMENTEL,

MELVYN POLAYAH • Modellers MYLES ASSETER, ATANAS ATANASOV, MATTHEW BEALE, JEREMY BERRUEL, JAKOB KOUSHOLT,

BEN LAMBERT, STUART PENN, ROMAIN SEGURADO, JAMES SUTTON, MARY SWINNERTON • Riggers MATTHIEU GOUTTE, JAMES NICHOLL,

ANDY PHILLIPS • Texture Artists MIKE BAIN, RON BOWMAN, VIRGINIE DEGORGUE, DAVID EDWARDS, CHRISTIAN FURR, DAVID SWIFT

Digital Matte Painters RENE BORST, PAUL CHANDLER, CHRISTIAN KESLER, DAMIEN MACE • Lead Animator ALDO GAGLIARDI

Animators ANDREA CASTAGNOLI, PAUL CLAESSENS, SAMY FECIH, LINA KOUZNETSOVA, LAURENT LABAN, AMBRE MAURIN,

KEVIN O’SULLIVAN, LIAM RUSSELL • Lead TDs DAVID FISH, ANTOINE MOLINEAU, PAUL OAKLEY, IAN WARD

Lighting TDs WILLIAM ALEXANDER, ANUJ ANAND, CHARLIE BATHO, CHRISTOPHE BREJON, BERTRAND BRY-MARFAING,

NICOLAS CHOMBART, JOANNA DAVISON, UMMI GUDJONSSON, VOLODYMYR KAZANTSEV, STEVEN MOOR, DAVID MUCCI, JEFF NEWTON,

CHRIS NICKELS, GARY NOBLE, ROB O’NEILL, MARK OSBORNE, FLORIAN SALANOVA, LAURENT SOLIGNAC, WILSON STOCKMAN,

RUPERT THORPE, CAROLINE THOUMIRE, MARK WAINWRIGHT, RACHEL WILLIAMS, MARK WILSON • FX TDs THOMAS BOLT,

GUILLAUME FRADIN, BEN FROST, GUNNAR RADELOFF, ADRIEN CAYUS TOUPET • Pipeline TDs LORENZO ANGELI, FELIPE BOHORQUEZ,

KARL ERLANDSEN, LEO HILLS, JAMES LIU, JOÃO MONTENEGRO, ROBIN REYER, ANDREAS ROHR • Lead Compositors TOM BASKAYA,

JAN DUBBERKE, THEODOR GROENEBOOM, DAVID SHERE • Compositors ADAM AZMY, JARNAIL BHACHU, STEVE CHO, JAMES D. FLEMING,

RUDI HOLZAPFEL, NICHA KUMKEAW, RICK LEACH, REBECCA MANNING, JESSE PARKHILL, STEVE PARSONS, TOM PEGG,

ANGELO PERROTTA, ALED PROSSER, HOWARD PROTHEROE, MICHAEL RALLA, RAJAT ROY, JUAN SALZAR, FOAD SHAH, BEN TURNER,

GIULIANO VIGANO, TIM YOUNG • Motion Trackers MATTHEW BOYER, DANIELA CAMPOS LITTLE, CHRIS COOPER, KATE ELLIS,

CHRIS HARDMAN, RYAN PILCHER, PETR ROHR, GRAHAM WOOD • Digitial Paint Artists KATARZYNA ANCUTA,

THOMAS MONTMINY BRODEUR, HELEN CARR, RONAN CARR, RICHARD FRAZER, AARON LEAR, CONRAD OLSON, MARC RICE,

LAURENCE SMITH, MARGARET WALBY • Avid Editors LUKASZ BUKOWIECKI, ROB WOIWOD

Visual Effects And Animation by

PRIME FOCUS

Senior Visual Effects Supervisor CHRIS BOND

Visual Effects Producer CHRIS DEL CONTE

Visual Effects Digital Producer TRICIA PIFER • Compositing Supervisor JANE SHARVINA • Graphics Supervisor NEIL HUXLEY

CG Supervisor MITCH GATES • Matte Painting Supervisor KENNETH NAKADA • Roto/Paint Supervisor TAMMY SUTTON-WALKER

Tracking Supervisor PHI TRAN • Animation Supervisor DANIEL LOEB • Visual Effects Editor STEVE MOORE

Visual Effects Coordinators CHRIS McCLINTOCK, CHARLYN GO, MATTHEW SABOURIN, MOLLY PABIAN, CRYSTAL CHOO

Production Assistant NICOLE BOSSIER • Compositing Sequence Supervisor CHRISTINE ALBERS • Compositors TATJANA BOZINOVSKI,

TODD CARSON, TIM CHRISTENSEN, ANTHONY DAVIS, AURORE DE BLOIS, BRIAN FISHER, JUSTIN JONES, PATRICK KAVANAUGH,

JIWOON KIM, WING KWOK, LORI MILLER, PATRICK MURPHY, BOBBY SILMAN, RYAN SMOLAREK, JERRY WHITAKER, WADE IVY,

RONY SOUSSAN • Matte Painters MANNIX BENNETT, ELIAS GONZALEZ • Matte Painting Intern RUTUL PATEL • CG Artists AYMERIC AUTE,

CHARLEY CARLAT, NICK DAMICO, ROBERT DIAZ, CONRAD DUECK, FRED HARO, MICHAEL JAHNKE, BRETT McGLAUGHLIN,

NATHAN MILLSAP, JON MITCHELL, JOHN LINDSTEIN, JONATHAN REYNOLDS, ANDREW ROBERTS, GAVYN THOMPSON, TONG TRAN,

THARYN VALAVANIS, ANSLEM VON SEHERR, MIKE WALLS, ROB WARD • Graphics Artists PAUL BEAUDRY, SHANE JACKSON, TOM LEPP,

BEN MYERS, RICK RAVENELL, KYLE SPIKER • Roto Lead SHANE DAVIDSON • Roto Artists ALEX CARNEY, ALEX BARKER, BRIAN REIMER,

MIKE BODEN, MATT GIAMPA, TIM JONES • Tracking Lead DEVIN FAIRBAIRN • Trackers IDO BANAI, IAN NORTHROP, NICK SINNOTT,

PHILIP ROSADO, WINFIELD SCOTT O’BRIEN, JAMES SWEENEY, GENEVIEVE YEE • Senior Pipeline Developers BORISLAV “BOBO” PETROV,

LASZLO SEBO • Rigging TDs JASON LABBE, ERIC LEGARE, PAUL HORMIS • Editors ALLEN TRACY, TYLER HOCKETT, DARRYL DOHERTY

Pipeline Designer TRINA ESPINOZA • Pipelines MATTHEW MACHNEE, MICHAEL REMPEL • Systems SEAN CODY, SHAWN WALLBRIDGE

Prime Focus Senior Executive MICHAEL FINK • Prime Focus Senior Executive TERRY CLOTIAUX

Visual Effects by

HYBRIDE

Visual Effects Supervisor & Producer DANIEL LEDUC

Visual Effects Supervisor RICHARD MARTIN

Visual Effects Executive Producer PIERRE RAYMOND • Visual Effects Financial Controller MICHEL MURDOCK

Computer Graphics Supervisors PHILIPPE THÉROUX, JOSEPH KASPARIAN, LAFLÈCHE DUMAIS, NICOLAS ALEXANDRE NOËL

Compositing Supervisors THIERRY DELATTRE, MICHEL BARRIÈRE, JEAN-PIERRE FLAYEUX • Visual Effects Coordinators NANCY LAMONTAGNE,

ANOUK L’HEUREUX, MYLÈNE GUÉRIN, LOUISE BERTRAND • Digital Artists OLIVIER BEAULIEU, MICHAËL BENTITOU, DIDIER BERTRAND,

RAPHAËLE BLANCHARD, MARYSE BOUCHARD, FRANÇOIS CHANCRIN, JOANIE CROTEAU, CHRISTOPHE DAMIANO, MATHIEU DUPUIS,

YANICK GAUDREAU, NADINE HOMIER, ANNE KIM, ALAIN LACROIX, MATHIEU LALONDE, VASSILLIOS LANARIS, MATHIEU LECLAIRE,

FRANÇOIS LEDUC, STEPHANE MAILLET, FRÉDÉRIC MEDIONI, FRANÇOIS MÉTIVIER, MARTIN MOUSSEAU, SEAN O’CONNOR,

STEVE PELCHAT, PATRICK PICHÉ, SONIA PRONOVOST, JOAO SITA, GUILLAUME ST-AUBIN-SEERS, MARCO TREMBLAY,

VÉRONIQUE TREMBLAY, CONAL WENN, HUBERT ZAPALOWICZ

Visual Effects by

[hy*drau"lx]

COLIN STRAUSE, GREG STRAUSE, SAM EDWARDS, JOSEPH M. HARKINS, JOSHUA CORDES, CHRIS HANEY, SHIGEHARU TOMOTOSHI,

TONY MEAGHER, DANIEL CHAVEZ, KIM LEBRANE, KENNETH BROWN, LOENG-WONG SAVUN, LAURA SEVILLA, GIZMO RIVERA,

CHRIS PAYNE, CHRIS FREGOSO, JEROME WILLIAMS, BRUNO PARENTI, CAMERON COOMBS, YORK N. SCHUELLER, TJ BURKE,

MARCO CAPPARELLI, BILLY VU LAM, NANDO MARTINEZ, TULIO HERNANDEZ, ROB HUBBARD, MARCUS ERBAR, CHRIS RADCLIFFE,

MIGUEL GUERRERO, DAVID MICHAELS, KRYSTAL SAE EUA, CHUN SEONG NG, TAMER ELDIB, JARROD AVALOS, ANDREW COLLINS

Visual Effects by

BUF

Visual Effects Supervisors PIERRE BUFFIN, MATHILDE TOLLEC, ANTHOINE DESCHAMPS, LUCAS SALTON

Visual Effects Producer ALAIN LALANNE • Digital Artists DAVID ROUXEL, AUDREY FERRARA, LAURENT LAUNES, OLIVIER LOURRY

Visual Effects by BLUR STUDIO

Visual Effects Supervisor DAVID STINNETT • Visual Effects Executive Producer AL SHIER • Lead Matte Painter JAIME JASSO

Visual Effects by PIXEL LIBERATION FRONT

Creative Supervisor STEPHEN LAWES • Executive Producer SEAN CUSHING • VFX Producer LAURA ZENTIL

Compositors DAN BLANK, VENTI HRISTOVA, SARAH BLANK

Screen Graphics Design by SPY POST

Visual Effects Supervisor JONATHAN ROTHBART • Senior Visual Effects Producer AMY HOLLYWOOD WIXSON • Lead Designer DAV RAUCH

Motion Graphics Designer HEATH KRAYNAK • Graphics Designers BEE JIN TAN, MARK CHRISTIANSEN • Stereoscopic Supervisor

MICHAEL LESTER • Match Move Artist BRIAN TOLLE • Rotoscope Artist HEATHER HAN • Production Coordinator SCHUYLER PAPPAS

ADDITIONAL VISUAL EFFECTS

LOLA VISUAL EFFECTS • Visual Effects Supervisor EDSON WILLIAMS • Visual Effects Producer THOMAS NITTMANN

LOOK EFFECTS, INC. • Visual Effects Supervisor MAX IVINS • Visual Effects Producer JENNY FOSTER

STEREO D • GERONIMO MORALEZ, NICK STEVENS, WILLIAM MORRISON, ARTHUR VAIL, BRIAN TABOR, SARAH REESE-EDWARDS

NEW ZEALAND LIVE ACTION UNIT

Production Coordinator ANDREW COCHRANE • Assistant Production Coordinators THEA GOVORKO, HELENE TAKACS

Production Office Assistants CALE HETARIKI, GEORGIA MAHAFFIE • Production Office Runners ADAM MILNES, MIKE MINOGUE

New Zealand Casting MIRANDA RIVERS • Script Supervisor SARAH HINCH • Production Accountant AVERIL MAWHINNEY

First Assistant Accountant LINUS MURPHY • Payroll Accountant SEBASTIAN MARR • Second Assistant Accountant ANNE DAVENPORT

Second Second Assistant Accountants FA SULUVAVE, MARC TYRON • Accounts Assistants DANIEL CHEN, WILL MAWHINNEY

Location Manager JOCK FYFE • Locations Assistant KEVIN MAGILL • Unit Managers BORIS KUNAC, CHRIS WALKER

Unit Assistants SIMON NOAKES, GABE PAGE • Catering BILLIONAIRES CATERING, CHRIS BOSWELL

Second Assistant Directors STEPHANIE WESTSTRATE, RICHARD MATTHEWS • Second Second Assistant Director DARREN MACKIE

Third Assistant Directors BYRON DARLING, JACQUI PRYOR, DEL CHATTERTON, JUDITH WAYERS • On Set Production Assistants

DANIELLE BANEHAM, KENDALL FINLAYSON, SIMON GARRATT, BRUNO DU BOIS • Cast Assistants BRENNA TOWNSHEND,

SEAMUS KAVANAGH, PHILIP NIXEY, SOPHIE HARRIS, NINA GRIFFITH, NIKKI LATHAM • Assistants to Mr. Cameron JAMIE LAWRENCE,

GRANT ROA • Extras Casting Coordinator SEAN ALLAN • Extras Casting Assistants GILLIAN DAVIES, YVETTE REID

Medical Advisor DR. JONATHAN ADLER • Health and Safety Coordinator ANDY BUCKLEY • Medics SIDELINE SAFETY, KEITH RAYMOND

Cast Stand-ins LAUREL DEVENIE, FRANCIS BIGGS, CARLY NEEMIA, JAIME HARRISON, LUKE HAWKER

Transportation Captain GLENN SHAW • Transport & Locations Coordinator KYLIE GAUDIN • Drivers TIM HARRIS, BRUCE BARTLEY,

KOSTA VATSELIAS • IT Systems REECE GERAGHTY • Assistant Editors New Zealand JAMES MEIKLE, MARK HAWTHORNE

Second Unit Director STEVEN QUALE • Second Unit Director of Photography RICHARD BLUCK • Studio Facility Provided by STONE STREET STUDIOS

CAMERA

Steadicam Operators DAVID EMMERICHS, ROBERTO DE ANGELIS • Camera Operator RICHARD BLUCK

Camera First Assistants LAWRENCE W. NIELSEN, DEAN McCARROLL, ROGER FEENSTRA • Camera I.O. Pullers BRENDEN HOLSTER,

SEAN KELLY • Camera Second Assistants PHIL SMITH, GARTH MICHAEL, JESSE NEVILLE • 3D Camera Supervisors FRANK FISHER,

MANNING TILLMAN • 3D HD Camera Engineer ROBERT BRUNELLE • DIT RYAN SHERIDAN • HD Camera Playback MICHAEL TAYLOR,

DANNY HERNADEZ • Video Playback Operator NIGEL BURTON • Video Assistants SIMON WARD, JASON NARAN, ROHAN SATYANAND

ART DEPARTMENT

Set Decorator KIM SINCLAIR • Assistant Art Directors JACQUI ALLEN, VANESSA COLE • Set Designers PAUL OZZIMO, SCOTT BAKER,

ANDREW CHAN, DAVID CHOW, SCOTT HERBERTSON, JOSEPH HIURA, ROBERT JOHNSON, TEX KADONAGA, TAMMI LEE,

DARRYL LONGSTAFFE, KARL MARTIN, RICHARD MAYS, SAM PAGE, ANDREW REEDER, MICHAEL SMALE, JOHN LOTT, LUKE CASKA,

JONATHAN DYER • Lead Props MELISSA SPICER • Props Buyers PHRED PALMER, SVEN WIIG • Standby Props JOSH BARRAUD,

BEJAMIN MILSOM • Standby Props Assistant CHRISD ULUSELE • Props Assistants NICOLE SPACKMAN, PIERCE CLARKE

Weapons Handlers PETER ASHFORD, MIKE CAHILL • Screens Standby KATE PILOT • Props Designers ADAM ELLIS, MARK STEPHEN

Props Fabrication Companies HUMAN DYNAMO, IZZAT • Lead Set Dresser TANEA CHAPMAN • Set Dressers AMBER RICHARDS,

GILLIAN WEST WALKER, BEN WHALE, ELIZA MELDRUM, MILTON CANDISH, DAVID KOLFF, DANIEL BIRT • Art Department

Electrician TONY SLACK • Assistant Set Dressers RUBEN ALLEN, SHAUN BOLTON, ANDREW DRIVER, RUPERT GROBBEN, ANTHONY RUSSELL,

DEAN HUDSON, DARRYN SIGLEY • Construction Supervisor NEIL KIRKLAND • Greens Supervisor JOSH PATTERSON

Construction Managers NIK NOVIS, ED MULHOLLAND • Lead Scenic ALISTAIR MAHER • Lead Fabricator GRAHAM ASTON

Lead Metal Worker MICHAEL PLANT • Construction Auditor KAT STEPHENS • Construction Office Manager ALICE TAYLOR

Construction Buyer NORM WILLERTON • Assistant Construction Buyer JOANNE WILLIAMS • Graphic Artist CAMPBELL READ

Graphics Assistant MARK WILLIAMS • Screens Assistant JOE HITCHCOCK • Model Makers GREG JEIN, JASON MAHAKIAN

Coordinators JANELLE HOPE, REBECCA JELLIE • PAs DANIEL HORTON, FRANCIE McGIRR, TASHA LANG, SALLY FORD

HAIR/MAKE-UP

Hair and Make-up Supervisor RICK FINDLATER • Make-up Artists GEORGIA LOCKHART-ADAMS, ANGELA MOOAR, FRANKIE KARENA,

MICHELE BARBER, MICHAL BIGGER • Sigourney Weaver Make-up & Hair LINDA DEVETTA

GRIPS & ELECTRIC

Gaffer CHRIS CULLITON • Best Boy Electric GILES COBURN • Key Grip RICHARD MALL • Key Grip TONY KEDDY

Board Operator RUEBEN MORRISON • Electricians JAMIE COUPER, ANTONY FARRELL, RYAN O’DONNELL, BYRON SPARROW,

ANTONY WATERHOUSE, CHRIS CHANDLER, CHRIS SMAILES, EDDIE TYRIE, ALAN WILSON, LEE SCOTT, MATT SHARPE,

TAIPUA ADAMS • Rigging Gaffers DAVE BROWN, MATT ANDREWS • Rigging Best Boys ANDY AYRTON, STEPHEN RENWICK

Rigging Electricians GLEN AYRTON, CHRIS PERT, JAMES KEARNEY, RICHARD SAXON, IAN WORTHINGTON, GLEN WATTS,

WILL HUTCHISON • CAD Board Operator NIGEL PERCY • Generator Operator HANSEL VERKERK • Lighting Coordinator PETER MANSELL

Practical Electrician WARWICK PEACE • Practical Lighting Technicians DAVE ANDERSON, SAM FORDHAM, BRENDON FRANK,

GERALD MORSE, CHRIS MURPHY, MARK NEWNHAM, DAMON SELKIRK, BEN THURSTON • Best Boy Grip HUW GRIFFITHS

Dolly Grips KAYNE ASHER, DAVID SHAW • Company Grips DANIEL WILSON, DARREN BRADNOCK, CONRAD HAWKINS, GRANT HARVEY,

ANTHONY WEINBERG, ANTHONY GUS SALLA, HENARE MATO • Techno Crane Technician DAIMON WRIGHT

Remote Head Technician MICHAEL PAGEN • Lead Rigger WARREN JONES • Rigging Lead Hand JASON ROBERTSON

Rigging Grips ROSS JONES, JASON REI, MICHAEL BRAID, BEN VERE JONES, KEITH WATKINS

SOUND

Production Sound Mixers TONY JOHNSON, DAVIS LEE • Boom Operators MARK WILLIAMS, SAM SPICER

Cable Operators KYLE GRIFFITHS, STACEY PARISH

SPECIAL EFFECTS

Special Effects Coordinator STEVE INGRAM • Special Effects Technicians KARL CHISHOLM, DAVE BOOTH, SCOTT HARENS, ROSS ANDERSON,

DOUG FALCONER, ROD FORD, SVEN HARENS, IAIN HUTTON, MIKE McDONALD, PHIL McLAREN, MARK ROBSON, PETE ZIVKOVIC,

DEAN BUSHBY, SARAH BAILEY HARPER, AMY INGRAM, PAUL DAVENPORT, JOHNNY GRINDLEY

COSTUMES

New Zealand Costume Designer JOHN HARDING • Costume Supervisor CARO FENTON • Costume Design Assistant LESLEY BURKES-HARDING

Head Costume Standby EMMA HARRE • Lead Costume Standby JENNY RUSHTON • Costume Standby ANDREA PLESTED, CHANTELLE BOWKETT

Extras Costume Standby SOPHIE MILLS, MAJA NEUMANN • Costume Coordinators CILLA LECKIE, WANDA LEPIONKA STRONG

Costume Buyers AMANDA NEALE, REBEKAH EDWARDS, SARAH MILNE, KATE TRAFFORD • Lead Textile Artist LOIS GIRDWOOD • Dye Room

Assistant SONIA MURRAY • Extras Coordinators PAUL BOOTH, REBECCA JOHNSTON • Head Cutter PAULINE LAWS • Cutter MIRIAM CHRISTIE

Head Machinist JULIE ZAVALA RON-JACKETT • Machinists LACHLAN MAYCLAIR, MELISSA MUNDT, ALICE PATON, SHAREE ROUD,

AMY JANSEN LEEN, LORRAINE WILLIS • Breakdown Artists TOM CADDY, HAMISH BROWN, GRANT GEBBIE, BEN PRICE

Na’vi Textiles CLAIRE PREBBLE • Costume Assistants SHEILA HORTON, HANNAH GOLDBLATT, YVONNE AUTRIDGE, ZOE FOX,

SALLY GRAY, RACHEL CALLINAN, KERSTIN KARY

Additional Conceptual Design, Weapons, Costumes

and Specialty Props by

WETA WORKSHOP LTD.

New Zealand

Workshop Manager TANIA RODGER • Workshop Supervisor GARETH McGHIE • Business Manager ANDREW SMITH

Business Affairs MICHAEL McNEIL • Production Managers MICHELLE TURNER, GRANT BENSLEY, ANNETTE WULLEMS

Accounts WENDY BAMBRO-TILYARD, NICK CLEVERLEY, SANDY DAYAL • Production Assistants MELISSA DODDS, EMILY-JANE STURROCK,

SHERRYN MATTHEWS • Office Coordinator TRACEY MORGAN • Purchasing Officer JONATHAN EWEN

Assistants to Richard Taylor RI STREETER, LINDA HUGHES • Runner ROSS COLLINGE • Design Department Coordinator KATE JORGENSEN

Stills and Videographer STEVE UNWIN • Designers AARON BECK, GUS HUNTER, LERI GREER, STEPHEN LAMBERT, STEPHEN CROWE,

CHRISTIAN PEARCE, DANIEL FALCONER, BRAD GOFF, NICHOLAS KELLER, PAUL TOBIN, GREG BROADMORE, HEATH TODD

3D Modeling Supervisor CHARLOTTE KEY • 3D Milling Supervisor JORDAN THOMSON • 3D Model Support JOHN McMULLEN, AKSHAY PARBHU

3D Modellers CLAIRE PREBBLE, RUPERT GROBBEN, CATHY HARRIS, NADINE JAGGI, JASMIN VAN LITH, MIKE GREALISH,

PRANEE McKINLAY, DARIN GORDINE, SIMON HALL, HALEY MAY, GABRIELLE BERTOGG, TIRA O’DALY, SAMANTHA MORLEY

Specialty Weapons and Props Supervisor JOHN HARVEY • WETA/Tenzan Supervisors FRED TANG, GRANT WALLIS

Fiberglass Supervisor MICHAEL REITTERER • Engineering Supervisor DAVE IRONS • Prop Makers DUNCAN BROWN, CALLUM LINGARD,

DAVID TREMONT, WAYNE DAWSON, PETER LYON, BRYCE CURTIS, ALEX FALKNER, RICHARD THURSTON, NIKO KAYE, KRISTOS FOCAS,

JAMES FRENCH, CARLOS SLATER, IAN RUXTON, NEIL MARNANE, JOE PAICE, ERIN PALMER, VIBOL MOEUNG, PETER OSBORNE,

DALLAS POLL, LINDSEY CRUMMETT, BILL THOMSON, DANIEL COCKERSELL, DANIEL WICKHAM, PAUL WICKHAM, ROBERT JU,

HECTOR MORALES, JOHNNY FRASER ALLEN, SHARI FINN, NEIL SHRADER, DANIEL BENNETT, PAUL HAMBLETON, JOBEEN TSE,

JAMIE BESWARICK, DON BROOKER, HIROSHI TANGE, DOROTHY HSU, COLIN JACKMAN, RICHARD MATTHEWS, GARY HUNT,

ANDREW GILLESPIE, ANDREW GORDON, ANDREW MOYES, RYK FORTUNA, BEN HAWKER, GREG TOZER, BILL HUNT, CHARLOTTE BOWIE,

CHRIS COVICH, DARREN MOSHER, DAVID MENG, MATT WARD, EDEN SMALL, ERIC BON, ROBERT IRONS, GARETH JENSEN, MIN WINDLE,

NICHOLAS ANTUNOVIC, WAYNE THOMAS, STEPHEN EDWARDS, DAVID MACCLURE, DANIEL KELLY, MARC DUTILLOY, CLAIRE MIDDLETON,

ALEX KEEGAN, KANE LOCKHEAD, TRISTAN McCALLUM, FRANCES RICHARDSON, GREG ALLISON

Mold Making Supervisor MICHAEL WALLACE • Mold Makers SIMON GODSIFF, BRIAN STENDEBACH, PIETRO MARSON, MASAYASU MINOURA

Painting Department Supervisor SOURISAK CHANPASEUTH • Painters LES NAIRN, JOHNNY BROUGH, DORDI MOEN

On Set Weapons and Props Supervisor JOE DUNCKLEY • On Set Link Unit Supervisor ROB GILLIES • On Set Amnio Tank Supervisor

PHILIP SHARPE • On Set Technicians BILL THOMPSON, TIM TOZER, SIMON HALL, PETER OSBOURNE, ALEXANDER FALKNER

Character Designs and Specialty Props Manufacturing by

STAN WINSTON STUDIO AND LEGACY EFFECTS

Model Shop Supervisor DAVE MERRITT • Key Model Makers KENNETH CORNETT, EDWARD LAWTON, JOHN ERIC TUCKER, JEFFREY PYLE,

NICK SELDON, JAMES SPRINGHAM, RAYMOND MOORE, DANIEL FREY, MICHAEL POSSERT, GREG APRAHAMIAN, KEITH MARBORY

Key Artists TREVOR HENSLEY, JOHN CHEREVKA, MIKE MANZEL, EDDIE YANG, GREGORY SMITH • Art & Mold Mechanical

Technicians TIM NORDELLA, BRIAN NAMANNY, RODRICK KHACHATOORIAN, SPENCER WHYNAUCHT, DAVE COVARRUBIAS, CORY CZEKAJ,

BODIN SERBA, THEODORE HAINES, DAMIAN FISHER, DARNELL ISOM, CHRISTINE MANSFIELD, GARY YEE, KEN CULVER, IAN STEVENSON,

JAVIER CONTRERAS, CAROLYN FINKEN, LOUIS DIAZ, CHRISTOPHER BURKE, MARK MAITRE, CHRISTOPHER CHEATHAM, ALYSSA TSCHANN,

JAMIE GROVE, JUSTIN DITTER, BRIAN CLAUS, CHRISTOPHER GROSSNICKLE, AIMEE MACABEO, PAUL STEEVES,

TAMARA CARLSON WOODARD, ALFRED KUAN, ROB RAMSDELL, GUSTAVO FERREYRA • Digital System Administrator JASON LOPES

LOS ANGELES LIVE ACTION

Production Supervisor MIKA SAITO • Script Supervisor ANA MARIA QUINTANA • HD Engineer BRITT CYRUS • Gaffer JOHN BUCKLEY

Key Grip DON REYNOLDS • Make-up Department Head MIKE SMITHSON • Make-up Artist RICHIE ALONSO

Hair Department Head ROXANNE GRIFFIN • Motion Control System CAMERA CONTROL • Motion Control Technicians CHRIS TOTH, JASON RAU

Motion Control Operators SIMON WACKLEY, TIM DONLEVY • Costume Supervisors BETH KOENIGSBERG, LISA LOVASS • Cutter Fitter JON ATROUNI

ADDITIONAL POST PRODUCTION SERVICES

ADR Casting LOOP DE LOOP: JOHNNY GIDCOMB, HOLLY DORFF • Negative Cutter GARY BURRITT • Lab Color Timer JIM PASSON

Film Recording Services Provided by EFILM • End Titles by SCARLET LETTERS, BEN SCHOEN

Image Processing by LOWRY DIGITAL

R. PATRICK COOPER, IAN GODIN, MICHAEL INCHALIK, ELAINE NASPO, MARINO PASCUAL, KEILA N. RAMOS,

MORNING STAR SCHOTT, KIMBALL THURSTON, ANDRES URIBE

Digital Intermediate by

MODERN VIDEOFILM, INC.

Senior DI Colorist SKIP KIMBALL • Additional Color ERIC BIDINGER • Senior IQ Artist ROGER BERGER • IQ Artists MANNY DUBON, CHAD COLE,

CRAIG PRICE • IQ Assistants KARLO BABAKHANIAN, VAHE GIRAGOL • DI Producers ZARA ROBERTS, CHRISTINE CARR

DI Coordinator ALEX CHEN • DI Technologist MARVIN HALL • Color Science and Technology SAM GALL, WALT BIGELOW, STAN LEHMAN

Data Management I/O Lead ED THOMPSON • Data Management I/O DANIEL HAWLEY, KRIS GREGG, RENE CLARK, CARL JACOBSON,

PETER MOC, STEVE DANHIEUX, EDUARDO CISNEROS • Digital Cinema Imaging JORGE ZEPEDA, CHRIS KIRKPATRICK

Digital Cinema Technology COLIN O’REILLY • DI Quality Assurance JASON MODICA • Additional QC ISMAEL SALAS

Electronic Graphics CASEY LEMING, MARC DECASTRO, RAFI POGOSYAN, CORINA ZUNIGA • 3D Visualization and Optimizing DAVID CARRIKER,

EROC MORALLS, MARK INTRAVARTOLO, MILES DELONG

Special Thanks to

THE GOVERNMENT OF NEW ZEALAND, PANASONIC CORPORATION, MICROSOFT,

THE THIRD FLOOR, HALON ENTERTAINMENT, REAL D, DOLBY 3D, IMAX® CORPORATION, AND VEECO INSTRUMENTS

A

LIGHTSTORM ENTERTAINMENT

PRODUCTION

“I SEE YOU (THEME FROM AVATAR)

”

Performed by LEONA LEWIS

Music by JAMES HORNER and SIMON FRANGLEN • Lyrics by SIMON FRANGLEN, KUK HARRELL and JAMES HORNER

Produced by SIMON FRANGLEN and JAMES HORNER • LEONA LEWIS performs courtesy of SYCO MUSIC

SOUNDTRACK AVAILABLE ON ATLANTIC RECORDS

Specialty High Definition Equipment

Provided by

PACE

Imaged in 3D

with the

PACE/CAMERON

Fusion Camera System

Color and Prints

by

DELUXE

®

©2009 Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in all territories

except Brazil, Italy, Japan, Korea and Spain.

©2009 TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth Century Fox Film Corporation

and Dune Entertainment III LLC in Brazil, Italy, Japan, Korea and Spain.

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.

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(C) MBN 2009