THE CHRONICLES OF NARNIA: PRINCE CASPIAN
© DISNEY ENTERPRISES, INC. and WALDEN MEDIA, LLC. All rights reserved. THE CHRONICLES OF NARNIA, NARNIA, and
all book titles, characters and locales original thereto are trademarks of C.S. Lewis Pte Ltd. and are used with permission.
WALT DISNEY PICTURES
and
WALDEN MEDIA
Present
A
MARK JOHNSON/SILVERBELL FILMS
Production
An
ANDREW ADAMSON
Film
THE CHRONICLES
OF NARNIA:
PRINCE CASPIAN
Based on the Book by
C.S. LEWIS
Directed by . . . . . . . . . . ANDREW ADAMSON
Screenplay by . . . . . . . . ANDREW ADAMSON
& CHRISTOPHER MARKUS
& STEPHEN MCFEELY
Produced by . . . . . . . . . . . . . MARK JOHNSON
ANDREW ADAMSON
PHILIP STEUER
Executive
Producer. . . . . . . . . . . . . . . . . . PERRY MOORE
Co-Producer. . . . . . . . . DOUGLAS GRESHAM
Director of
Photography . . . KARL WALTER LINDENLAUB, ASC, bvk
Production Designer. . . . . . . . . . ROGER FORD
Edited by. . . . . . . . . SIM EVAN-JONES, A.C.E.
Visual Effects Supervisors . . . DEAN WRIGHT
WENDY ROGERS
Costume
Designer . . . . . . . . . . . . . . . . ISIS MUSSENDEN
Music by . . . . HARRY GREGSON-WILLIAMS
Unit Production
Managers . . . . . . . . . . . . . TIM CODDINGTON
PHILIP STEUER
First Assistant Director . . . K.C. HODENFIELD
Second Assistant
Director. . . . . . . . . . . . . . . JEFF OKABAYASHI
Special Makeup &
Creatures by. . . . . . . . . . . . HOWARD BERGER
& GREGORY NICOTERO
Co-Producer. . . . . . . . . . . . K.C. HODENFIELD
Associate Producers . . . . DAVID MINKOWSKI
MATTHEW STILLMAN
Second Unit Director. . . . . . JOHN MAHAFFIE
Film Editor . . . . . . . . . . . . . JOSH CAMPBELL
Stunt & Flight
Coordinator . . . . . . . . . . ALLAN POPPLETON
Production
Supervisor. . . . . . . RICHARD E. CHAPLA, JR.
Visual Effects Producer . . ANDREW FOWLER
Post Production
Supervisor . . . . JESSIE THIELE SCHROEDER
Associate Producer . . . . . . . . TOM WILLIAMS
Script Supervisor. . . . . . . . . . . ALEXA ALDEN
With
TILDA SWINTON
as “The White Witch”
CAST OF CHARACTERS
Prince Caspian . . . . . . . . . . . . . . BEN BARNES
Lucy Pevensie . . . . . . . . . . GEORGIE HENLEY
Edmund Pevensie . . . . . . SKANDAR KEYNES
Peter Pevensie . . . . . . . . WILLIAM MOSELEY
Susan Pevensie . . . . . . . ANNA POPPLEWELL
Miraz. . . . . . . . . . . . . SERGIO CASTELLITTO
Trumpkin. . . . . . . . . . . . . . PETER DINKLAGE
Nikabrik. . . . . . . . . . . . . . . . WARWICK DAVIS
Doctor Cornelius . . . . . . . . . VINCENT GRASS
General Glozelle . . . PIERFRANCESCO FAVINO
Glenstorm . . . . . . . . . . . . . CORNELL S. JOHN
Lord Sopespian . . . . . . . . DAMIAN ALCAZAR
Prunaprismia . . . . . . . ALICIA BORRACHERO
Lord Scythely . . . . . . . . . . . . SIMON ANDREU
Lord Donnon . . . . . . . . . . . . . . PEDJA BJELAC
Lord Gregoire. . . . . . . . . . . . . DAVID BOWLES
Lord Montoya . . JUAN DIEGO MONTOYA GARCIA
Telmarine Crier . . . . . . DOUGLAS GRESHAM
Geeky Boy . . . . . . . . . . . . . . . . . . . ASH JONES
Hag . . . . . . . . . . . . . . . . . . . . . KLARA ISSOVA
Asterius/Wer-Wolf . . . . . . . . . . SHANE RANGI
Faun . . . . . . . . . . . . . . . . . CURTIS MATTHEW
Telmarine Soldiers in Boat . . . . . MANA DAVIS
WINHAM HAMMOND
Midwife #1 . . . . . . . . . . . . . HANA FREJKOVA
Midwife #2. . . . . . KRISTYNA MADERICOVA
CREDITS
1
CREDITS
Midwife #3 . . . . . . . . . . . . LUCIE SOLAROVA
Midwife #4 . . . . . KAROLÍNA MATOUSKOVA
Midwife #5. . . . . . . . . . . . . . . ALINA PHELAN
Boy #1 . . . . . . . . . . . . . . . . . . JOSEPH MOORE
Boy #2 . . . . . . . . . . . . . . . . . . . . . ISAAC BELL
Glenstorm’s Wife . . . . . . . . LEJLA ABBASOVA
Glenstorm Son #1 . . . . . . . EPHRAIM GOLDIN
Glenstorm Son #2. . . . . . . . . . . . . . . YEMI A.D.
Glenstorm Son #3 . . . . . . . CARLOS DASILVA
Lightning Bolt Centaur . . GOMEZ SANDOVAL
Wimbleweather. . . . . . . . . . . JAN FILIPENSKY
Tyrus. . . . . . . . . . . . . . . . . . . . . DAVID MOTTL
MICHAELA DVORSKA
British Homeguard #1. . . . . . . . . . JOHN BACH
British Homeguard #2 . . . . . . . JACK WALLEY
Skeptical Telmarine . . MARCUS O’DONOVAN
Telmarine Soldier
Killed by Reepicheep . . . . . . . ADAM VALDEZ
With
LIAM NEESON
as “Aslan”
Voice of Trufflehunter . . . . . . . . . . KEN STOTT
Voice of Pattertwig
the Squirrel . . HARRY GREGSON-WILLIAMS
Voice of Peepiceek . . . . . . . SIM EVAN-JONES
Voice of Bulgy Bear . . . . . DAVID WALLIAMS
and
Voice of Reepicheep . . . . . . . . EDDIE IZZARD
Supervising Art Director. . . . . FRANK WALSH
Senior Art Director . . . . . . . . . . . JULES COOK
Art Directors
DAVID ALLDAY PHIL SIMS
STUART KEARNS JIRI STERNWALD
MATT GRAY
Special Effects
Supervisor. . . . . . . . . . . . . . GERD FEUCHTER
Art Director/Greens . . . ELAINE KUSMISHKO
Makeup Designer . . . . . . . . . . PAUL ENGELEN
Set Decorator. . . . . . . . . . . . . KERRIE BROWN
Supervising
Location Manager . . . . . . . . . PETA SINCLAIR
Hair Designer. . . . . . . . . KEVIN ALEXANDER
“A” Camera/
Steadicam Operator . . . GREG LUNDSGAARD
“A” Camera
1st Assistant Camera . . . . . . GREGORY IRWIN
“A” Camera
2nd Assistant Camera . . . MARTIN MARYSKA
“B” Camera Operator . . . . . JAKUB DVORSKY
“B” Camera 1st Assistant Camera . . . JAN CARDA
“B” Camera
2nd Assistant Camera . . . . . . . . PETR ZAVREL
“C” Camera Operator. . . . . . ERVIN SANDERS
“C” Camera
1st Assistant Camera . . . . . PETR MACHACEK
“C” Camera
2nd Assistant Camera . . . . . . PETR VLADYKA
Camera Loader . . . . . . . . . . . DUSTY MILLAR
Digital DOP/Preview
Technician . . . . . . . . . . . . . . . . JAN CABALKA
Stills Photographers . . . . . . . MURRAY CLOSE
PHIL BRAY
Video Assist Operators . . . . . VIKTOR LONEK
KAREL SCHNEIBERG
Aerial Director of Photography . . ADAM DALE
CZ Casting. . . . . . . . . . . . . . . NANCY BISHOP
UK Casting Associate . . . . . . . . WILL DAVIES
Production Sound Mixer . . . . TONY JOHNSON
Boom Operator . . . . . . . . . . . . . ROMAN RIGO
Sound Utility. . . . . . . . . . . . KELLY STEWART
Extras Casting. . . . . . . . . . . . . . . . JIRI JRSTKA
VFX Co-Producers . . . . . . . . . SHARON LARK
DAN BARROW
ARTHUR WINDUS
VFX Art Director. . . . . CHRISTIAN HUBAND
VFX Coordinator. . . . . . . . . . . SARAH SMITH
VFX Production
Manager . . . . . . . . . . LINDSAY MCFARLANE
VFX Data Coordinator. . . CHARLOTTE HAYES
VFX Asst. Coordinator . . . . . KAMILA OSTRA
VFX Set
Wranglers. . . . . . ZUZANA PRIBYLOVA-KUO
NIKOLA SUMBEROVA
ZACH WOLF
VFX Data Wranglers . . . . FELIX POMERANZ
MIKE WOODHEAD
VFX PAs
ALASDAIR KENNY BARBARA WILDOVA
RICH WILSON SAMANTHA TOWNEND
Pre-Visualization
Supervisor. . . . . . . . . . . . . RPIN SUWANNATH
Lead Pre-Visualization
Artists. . . . . . . . . . . . . . . MICHAEL MAKARA
SCOTT MEADOWS
Senior Previs Artist/
Postvis Supervisor . . . . . . . . ANDREAS HIKEL
2
Senior Previs Artists . . GERRARD SOUTHAM
JOSHUA WASSUNG
Previs Artists . . . . . . . . . . . JOHN W.MCINNIS
JOHN GRIFFITH
CHRIS GREET
Previs/Postvis Artists . . . . . . . . . JAKUB MARE
ONDREJ ZAJIC
Jr. Previs Animators . . . . . DENISA MRAKOVA
JINDIKA SKALOVA
Assistant Stunt
Coordinators. . . . . . . . . . . . . PAUL SHAPCOTT
STUART THORP
Head Stunt Rigger . . . . . . . . SHANE DAWSON
Stunt Facilitator . . . . . . . . . . . . . PAVEL CAJZL
Asst. to Stunt Coordinator . . . ERIKA TAKACS
Military Advisor . . . . . . . . . . . . . BILLY BUDD
Assistant Military Advisor . . PAUL HORNSBY
STUNTS
LUIS MIGUEL ARRANZ LOSA LUIS MIGUEL ARRANZ VILLAREAL
PAVEL BEZDEK PAVEL BOUSEK
PETR BOZDECH RADEK BRODIL
RADEK BRUNA SEAN BUTTON
BRONA CHALOUPKOVA BRETT CHAN
JONATHAN COSTELLOE FINTAN COSTELLOE
ANDREW COTTLE AUGIE DAVIS
SHANE DAWSON FRANTISEK DEAK
PETER DILLON ZUZANA DRDACKA
ZDENEK DVORACEK PAVEL DVORSCIK
HANA DVORSKA TOMAS EREMINAS
MORGAN EVANS JIRI FIRT
JAMES FLETCHER VLADIMIR FURDIK
PEDRO GARCIA GARCIA LUIS MANUEL GUTIERREZ
RENE HAJEK JAN HOLICEK
PETR HORACEK JIRI HORKY
SVATOPLUK IDLO JIRI IMBERSK
VLADIK JACUKEVICIUS MAREK JELINEK
PETR KADLEC LADISLAV LAHODA
THOMAS KIWI JINDICH KLAUS
ALES KOSNAR PAVEL KRATKY
MARTIN KRAUS JUJI LAZAROV
MIROSLAV LHOTKA DAVID LISTVAN
JAN LOUKOTA PAUL LOWE
IVAN MARES BRENT MARSHALL
BRANISLAV MARTINAK HANNAH MCMILLAN
DUNCAN MCNAUGHTON DOMINIC MELCHERS
JOAQUIN OLIAS MENA IVAN MICA
JOSE MARIA SERRANO MILANS DEL BOSCH
HIROO MINAMI ONDREJ MORAVEC
JOSEF MUDROCH EDUARDO GAGO MUNOZ
GIEDRIUS NAGYS PAVEL NOVOTNY
JON OSBORNE TOMAS PETERAC
MONIKA PODZIMKOVA JAROSLAV PSENICKA
ALES PUTIK PABLO CASILLAS QUIAN
HERNAN ORITZ REDONDO STANISLAV SAMUCHOVAS
PAUL SHAPCOTT ALLAN SMITH
JAMES SMITH ROMAN SPACIL
ZDENEK STADHERR ANDREW STEHLIN
ZOKIR SULTANOV STUART THORP
TOMAS TOBOLA TOMAS TOMAS
MAREK TOTH MARK TROTTER
NICOLAS TWOMEY MARTIN UHROVIK
MIROSLAV VALKA RAYCHO VASILEV
JAN VOSMIK LIBOR VRBA
RUDOLPH VRBA DWAYNE WILEY
MIN WINDLE TIM WONG
EUGENIO ALONSO YENES KAMILA ZENKEROVA
Assistant
Art Directors . . . . CHARLES LEATHERLAND
MARKETA KORINKOVA
On-Set Art Directors . . . . . . PETER KODICEK
KLARA HOLUBOVA
Art Department
Coordinators . . . . . . . . . . JENNIFER LEWICKI
BARA BAROVA
Concept Illustrators
DOROTKA SAPINSKA MICHELE MOEN
JUSTIN SWEET JOHN DICKINSON
NATHAN SCHROEDER VANCE KOVACS
HENRIK TAMM CHRIS ROSEWARNE
Storyboard Artists . . . . . . . . . MIKE VOSBURG
FEDERICO D’ALESSANDRO
TOM NELSON
Assistant Set Decorator. . . . . . MARIAN LONG
Assistant to
Set Decorator. . . . . . . . CHRISTINA NORMAN
Production Manager . . . . . . . JANA HRBKOVA
Unit Manager . . . . . . . . . SILVIA JANCULOVA
Production
Coordinator . . . . . . . LAUREN SWEARINGEN
Production Coordinator CZ. . . . KATKA SILNA
Assistant POCs . . . . . . VERONIKA LENCOVA
GORAN ULJANIC
Production Assistants
OLGA TROJANOVA RADKA VACHALOVA
KAREL MICHALEK MARGARETA VIZNEROVA
LUDEK KRAL DANIELA OLMOVA
Production Secretary. . . MARTINA BRODSKA
1st Assistant Director CZ . . . . MARTIN SEBIK
CREDITS
3
CREDITS
2nd Assistant Director CZ . . JAKUB DVORAK
Second 2nd AD. . . . . . . . . LUDEK VOMACKA
Additional
Second 2nd AD. . MARTINA GOTTHANSOVA
3rd Assistant
Directors . . . . . . . . DAVID STRANGMULLER
ROLAND SAFR
Set Production Assistants . . MIROSLAV MIKA
MARTIN CJ CIGLER
JUSTIN HAMILTON SALEM
Supervising Location Scout . JAMES CROWLEY
Location Manager . . . . . . . . . PAVEL MRKOUS
Location Assistant . . . . . . . . . . . . . JAN ADLER
Production Controller. . . . TOM UDELL, BHPA
Production Accountant . . KATHI DANIELSON
1st Assistant Accountant . . . JAMES LINVILLE
1st Assistant Accountant CZ. . . . . . PETR ZIAK
Payroll
Accountants CZ. . . . . . ZDENKA HOPJAKOVA
ANDREA PUSCHOVA
Payroll Accountant. . . . . . . . . . . . OGIE UDELL
Post Production Accountant . . . GUY BARKER
VFX Accountants. . . . . . . . . . . . . JOHN URIBE
ANNE MARIE GORMLEY
Assistant Accountants
CARLA MARTINESSI MANDALINA STANISICH
MAGDA CHYLKOVA MICHAELA SCHONBEKOVA
Pre-Production
Accountants. . . . . . . . . JOANNE WOODWARD
TIFFANY FRASER
Gaffers
VACLAV ENZO CERMAK EDDIE KNIGHT
Best Boys. . . . . . . . . . . STEWART MONTEITH
ZDENEK VODVARKA
Rigging Gaffers . . . . . . . . . RONNIE PHILLIPS
JAROSLAV HROMADKA
Rigging Best Boy . . . . . . . . . . . MARTIN RAIN
Key Grips . . . . . . . . . . . . . . . . BRIAN BOUMA
JAN REHANZL
Best Boy Grip . . . . . . . . . . . . . HYNEK JECHA
Dolly Grip. . . . . . . . . . . . . . KAREL CHARVAT
Key Rigging Grip . . . . . . . . JIRI CTVRTECKA
Prop Master. . . . . . . . . . . . . . . RICHIE DEHNE
Prop Master CZ . . . . . . . . . . . . . . . JIRI ZUCEK
Asst. Property Master . . . . . . . . . . DAN MICHL
HOD Propmaker. . . . . ROLAND STEVENSON
Key Greensman . . . . . . . . . . . . . JON MARSON
Greens Supervisors. . PETER JAMES HOOPER
SIMON LOWE
DANIEL KING
Greens Coordinator . . . . . . . . . . MAREK VANC
Standby Greens. . . . . . . . . . . . ROBBIE PENNY
JAROSLAV JANKO
RYAN LEGGATT
SFX Set Supervisor . . BERND RAUTENBERG
SFX Technical &
Crew Coordinator . . . . . . . . . KLAUS MIELICH
Associate Costume
Designer . . . KIMBERLY ADAMS GALLIGAN
Costume Supervisor . . . DIANNE FOOTHEAD
Costume Supervisor CZ . . HANKA KUCEROVA
Assistant Costume
Designers. . . . . . . . . . . . . ROSSANO MARCHI
KATKA MIROVA
Key Costumer. . . . . . . . . . . . . ANDREA HOOD
Costume Coordinators . . VERA TROUSILOVA
GABINA HORSKA
Standby Costumer. . . . SAMANTHA MORLEY
Stunt Costumer . . . . . . ZUZANA BURSIKOVA
Master Draper . . . . . . . . . . . JUDY NEWLAND
Costume Props . . . . . . . . . . ROBYN FORSTER
Textile Artist. . . . . . . . . . . SARAH SHEPHERD
Costume Illustrator . . OKSANA NEDAVNIAYA
Extras Coordinators . . . . . . . . . . . SIAN EVANS
ANNIE MILLER
Soldiers Coordinator . . . SARKA ZVOLENSKA
Armour Manufacturer . . . . . . . CRAZY HORSE
Sculptor. . . . . . . . . . . . . . . . HONZA LAVICKA
Cutters and Stitchers
DALE WIBBEN EMILY BARR
TOMAS SYKORA MILENA ADAMOVA
MEREK SOBOR LARYSA SRAMKOVA
HELENA VITOULOVA IVA KOTKOVA
GABRIELA KOLACKOVA HANA SUDOVA
ROMANA MARTINKOVA
Lead Breakdown
AMY WRIGHT JAMES ROGERS
STEVEN STARKEY KAREL VESELY
JAN HRUSA
Textile and Prop Makers
ROMANA BARTAKOVICOVA IVA BARTOVA
LUCIE FABEROVA HELINA KEILOVA
MARTIN HANUS MICHAELA ROUCKOVA
PAVEL JAHODA
4
Costumers
PETR PLUHAR JIRINA EISENHAMEROVA
PATRICIE SOPTENKOVA JANA MILEROVA
JITKA SVECOVA MARIA HUBACKOVA
Key Makeup
Artist . . . . . . . . . . . MELISSA LACKERSTEEN
Key Hairdresser. . . . . . . ROXIE HODENFIELD
Crowd Hairdresser
Supervisor. . . . . . . . . . . . . . CANDICE BANKS
Hairdresser . . . . . . . . . . . LINDA DVORAKOVA
Crowd Makeup Artists . . . . . . . NICOLA BUCK
HANA URKALOVA
Cast Liaison . . . . . . . . . . . VICTORIA ACOSTA
Executive Assistant to
Mr. Adamson . . . . . . . . . . . . . ALINA PHELAN
Assistants to
Mr. Adamson . . . . MARGARET E. WHITMAN
MARKETA TOM
Assistants to Mr. Johnson . . . . MARK CERYAK
EMILY ECKERT
Assistant to
Mr. Steuer . . . . . . . . . TATIANA VOMACKOVA
Dialect Coach . . . . . . . WILLIAM CONACHER
Supervising Tutor . . . . CARMELINA WRIGHT
Tutor. . . . . . . . . . . . . . . . . . . . . ESTHER DAVIS
Chaperones. . . . . . . . . . . . . . ZELFA HOURANI
HELEN HENLEY
Set Nurse . . . . . . . . . . . . . . EVA DVORAKOVA
Unit Publicist. . . . . . . . . . . . . . . ERNIE MALIK
Catering by. . . . . . . . . . . . . . . . . . EDA RABAN
Craft Service . . . . . . . . . . . . STEPAN COUFAL
IVAN NEMET
Transportation Coordinator . . . . . JIRI KOTLAS
Transport Assistant. . . . . . . . VACLAV HANKA
Mr. Adamson’s Drivers . . . . . DUSAN PELECH
JIMMY CARRUTHERS
Mr. Johnson’s Driver . . . . . . . . . KAREL JIRAN
Animal Coordinator . . . . . . . . MARK FORBES
Lead Horse
Trainer . . . . . . . . HERNAN ORTIZ REDONDO
Horsemaster . . . . . . RICARDO CRUZ MORAL
Grooms . . . . . . . . . . . . . . . HANA BLUCHOVA
JOLANA SVETLIKOVA
AHA Representative . . . . . . . . LAURA SWEET
Construction
Manager . . . . . . . . . . . . MALCOLM ROBERTS
Asst. Construction
Managers . . . . . . . MARTINA TER-AKOPOWA
ROBERT VOYSEY
Armour/Weapons
Coordinator . . . . . . . . . . . . . JENNY MORGAN
Key Armour/
Weapons Standby . . . . . . . . . JOE DUNCKLEY
Lead Standby Armourer . . . . . . . . . BEN PRICE
Extras Supervisor . . . . . . . . . . . . SIMON HALL
On-Set Coordinator . . . . . . . . . PETR RICHTER
Base Coordinator . . . . KAROL MARTINCOVA
Lead Standby Assistants . . . . . . . LAKI LABAN
NADIA ALBERT
GRANT BRYANT
Armour Asset Assistant . . . . . . . . . . DOT KYLE
Standby Armourers . . . . . . . . . JANA JANKOVA
JANA ODSTRCILIKOVA
MARTIN SOUKUP
Production Services
Provided by . . . . . . . . . . . . STILLKING FILMS
First Assistant Editor . . . . . . . TANIA CLARKE
VFX Editor . . . . . . . . ALASTAIR GRIMSHAW
Additional VFX Editor . . . . . . . . STEVE PANG
Assistant
VFX Editors. . . . . . . . FRANCISCO RAMIREZ
KATHRYN MOREY
Assistant Editors. . . CORAL D’ALESSANDRO
DEBORAH RICHARDSON
MARTIN HUBACEK
STEVE MATES
Editorial
Coordinator NZ . . . . . . . . GRANT KRONFELD
Editorial Trainees . . . . . . . . . . . MARK KEADY
MICHAL KRUMPAR
IT Tech Support . . . . . . . . . DUNCAN NIMMO
NIC BROWN
GARETH DALEY
Post Production
Coordinators . . . . . . . . . . CARA CHEESEMAN
LIZ RICHARDS
Sound Supervisor . . . . . . . . . JAMES MATHER
Re-Recording Mixers . . . . . . . TERRY PORTER
DEAN ZUPANCIC
Sound Designer . . . . . . . . . . . . JIMMY BOYLE
Sound Effects
Supervising Editor . . . . . . . . DOMINIC GIBBS
CREDITS
5
CREDITS
Sound Effects Editors . . . . . . JED LOUGHRAN
JOSEPH PARK STRACEY
Supervising
Dialogue Editor . . . BJØRN OLE SCHROEDER
Supervising ADR Editor . . . . . . . DAN LAURIE
ADR/Crowds Editor . . . . . . . . . . . TIM OWENS
ADR & Additional
Re-Recording Mixer . . . . . . . . . JAMIE RODEN
ADR Recordist London . . . . MARK APPLEBY
Supervising Foley Editor . . . . . DEREK TRIGG
Foley Editor . . . . . . . VANESA LORENA TATE
1st Assistant
Sound Editor . . . . . . . . . ALISTAIR HAWKINS
2nd Assistant Sound Editor . . . . ROB KILLICK
Sound Assistants . . . . . . . . . . . . AMY FELTON
LUKE O’CONNELL
Studio Assistant . . . . . . . DAFYDD ARCHARD
Mix Technicians . . . . . . . . . . . . JULIEN PEREZ
VINCENT COSSON
Foley Mixers. . . . . . . . . ROBYN MCFARLANE
EDWARD COLYER
Foley Artists
CAROLINE MCLAUGHLIN PAUL ACKERMAN
SUE HARDING RICCI BUTT
Score Produced
by . . . . . . . . . HARRY GREGSON-WILLIAMS
Score Recorded & Mixed by . . PETER COBBIN
Music Editors . . . . . . . . . . KIRSTY WHALLEY
JOHN WARHURST
MERI GAVIN
Orchestrations by . . . . . . . LADD MACINTOSH
GEOFF STRADLING
JENNIFER HAMMOND
LARRY RENCH
Music Preparation. . . . . . . . . . JILL STREATER
BOOKER WHITE
Featured
Musicians . . . . . . LISBETH SCOTT - VOCALS
HUGH MARSH - ELECTRIC VIOLIN
RICHARD HARVEY - ETHNIC WOODWINDS
HYBRID - PERCUSSION PROGRAMMING
Concertmaster . . . PERRY MONTAGUE-MASON
Orchestra Contractor . . . . ISOBEL GRIFFITHS
Asst. Contractor . . CHARLOTTE MATTHEWS
Song Consultant. . . . . . . . . CHRIS DOURIDAS
Choirs. . . . . . . . . . . . . . . . . THE BACH CHOIR
THE APOLLO VOICES
THE CROUCH END FESTIVAL CHORUS
Additional Music by . . . . . STEPHEN BARTON
HALLI CAUTHERY
Music Technical
Assistants. . . . . . . . . . . . . . COSTA KOTSELAS
JODY K. JENKINS
LEWIS JONES
PAUL PRITCHARD
Score Recorded & Mixed
at . . . . . . ABBEY ROAD STUDIOS, LONDON
DI by. . . . FRAMESTORE-CFC DIGITAL LAB
Senior DI Producer . . . . . . . . MARIA STROKA
Lead DI Colourist. . . . . . . . ADAM GLASMAN
Additional Colourists . . . BRIAN KRIJGSMAN
KEVIN LOWERY
Lead DI Conform
Editor . . . . . . . . . CHARLIE HABANANANDA
DI Conform Editors . . . . . HERBERT BUTLER
STUART NIPPARD
ANDREA PIRISI
DI Production Coordinators . . . . . ESME LONG
GAVIN ROUND
DI System Architect . . . . . . . JOHN LEEDHAM
Scanning &
Recording Manager . . . . . . . . ANDY BURROW
Sound Re-Recorded
at. . . . DELANE LEA POST PRODUCTION LTD.
ADR Recorded
at. . . . . . . GOLDCREST POST PRODUCTION
Visual Effects by
THE MOVING PICTURE COMPANY
VFX Supervisor. . . . . . . . . . . . GREG BUTLER
VFX Producer . . . . . CHRISTIAN ROBERTON
Animation Supervisor. . . . . . . ADAM VALDEZ
CG Supervisor. . . . . . . . . . CLWYD EDWARDS
Composite Supervisor . . CHARLEY HENLEY
Sequence Supervisor. . . RICHARD STAMMERS
Production Manager . . . STEVEN MCKENDRY
Sequence Coordinators. . . . . . GEMMA JAMES
STUART MESSINGER
JAMES PROSSER
6
Production Coordinators
HELEN CLARE JONNY DOIG
CLARE DOWNIE PAUL DRIVER
LORNA DUMBA GRACIE EDSCER
JANE ELLIS CHRISTINA GRAHAM
PHILIP GREENLOW SARAH MACKENZIE
TIM POUNDS-CORNISH KIRSTY WILSON
Compositing Production
Manager . . . . . . . . . . . . VICTORIA MOWLAM
Animation Supervisor . . . . . . . . GREG FISHER
Animation Production
Managers. . . . . . . . . . . . . . . . . ALLISON CAIN
FIONA FOSTER
Animation Leads
PETA BAYLEY ROBB DENOVAN
ELISABETH FRANKLIN DARYL SAWCHUK
JULIO DEL RIO HERNANDEZ JASON SNYMAN
Animators
DAVID ARMITAGE ISABEL AUPHAN
MARC BEAJEAU WEPPENAAR ANDREW BROOKS
TOM CARRICK PAUL CHARISSE
SANTIAGO COLOMO MARTINEZ TODD CONSTANTINE
DANIEL FOTHERINGHAM GEOFF HEMPHILL
ANDERS LOGSTRUP JENSEN GUILLAUME HERENT
JASON IVIMEY MATT KOWALISZYN
STEPHEN JOLLEY JASON KOTEY
MEDHI LEFFAD CHRIS MARSHALL
FLORENT LIMOUZIN SOMU MOHAPATRA
JOEL MEIRE CHRIS OLSEN
CATHERINE MULLAN JORDI ONATE
M. SYDNEY PADUA CHRISTOPH SCHINKO
DANIEL RAMSAY ALBERTO SANZ
EDUARDO LALO SCHMIDEK JOE SMITH
ALLISON RUTLAND GANG TRINH
GUILLAUME GLACHANT SANDY HESLOP
DANIELE MIELI SHERIN MAHBOOB
KARIN MATTSSON ASA MOVSHOVITZ
EMANUELE PAVAROTTI
Crowd Supervisor . . . . . . . . . . OLLIE RANKIN
Crowd TD
KEVIN BLOM MARCO CARBONI
EVANGELOS CHRISTOPOULUS ADAM DAVIS
ANDY FEERY FRANCESC IZQUIERDO
SIMON LEWIS CARLOS CALLE RAMOS
EDDY RICHARD TIM STRONZ RILEY
ADRIANO RINALDI SASCHA ROBITIZKI
Layout Lead. . . . . . . . STANLEY DELLIMORE
Layout
THOMAS DOW JAMI GIGOT
ELIZABETH GRAY JULIAN HOWARD
JAMES KELLY SANDRA MURTA
SALVADOR SIMÓ TIM TOWNSEND
SALLY WILSON
Technical
Animation Lead . . . . . . . . CEYLAN SHEVKET
Technical Animation . . . . ARAM BALAKJIAN
THOMAS BITTNER
BEN JONES
Mo Cap TD. . . . . . . . . . . . DUNCAN ROBSON
DEBBIE LANGFORD
Fur Groomer
Lead . . . . . . . . . . . . JEAN-PASCAL LEBLANC
Fur Groomers
GABRIEL ARNOLD VANESSA BOYCE
JESSICA GROOM MATT HICKS
DAMEON O’BOYLE CARL PRUD’HOMME
FX Lead . . . . . . . . . . . . . . . . . . . NIALL FLINN
FX TD
NIGEL ANKERS CIARAN DEVINE
RICHARD GOMES ROB HOPPER
KEVIN MANNENS HARRY MUKHOPADHYAY
MARK NEWPORT DAVID STOPFORD
OLIVER WINWOOD
Cloth and Hair Simulation
HOWARD MARGOLIUS CLAIRE PEGORIER
STEVEN SANDLES DANIEL WARDER
Environments . . MIKAEL GENACHTE-LE-BAIL
RICHARD NOSWORTHY
DOUG WINDER
Look Development
Lead . . . . . . . . . . . . . . ANDERS LANGLANDS
Lighting Supervisor . . . . . . . . . . PATRIC ROOS
Lighting Leads
MARK ANDREW DE LA GARZA DIEGO G. GUERRERO
KEVIN T. HAHN BJORN LILJEQUIST
DAVID MUCCI LARRY WEISS
Lighting TD
JON ATTENBOROUGH ANDREW BAGGARLEY
NIC BIRMINGHAM UROS CADEZ
RICHARD CLEGG ROBERTO CLOCHIATTI
HASLINA DASLEY BENOIT DE LONGLEE
JOE EVELEIGH CLEMENT GERARD
MARK HARRISON VLAD HOLST
BRYAN LITSON NAKIA MCGLYNN
PAUL MCWILLIAMS DAVID MENKES
MATTHEW MIDDLETON STEVE MONCUR
CREDITS
7
CREDITS
RAFAEL MORANT MARCELL NAGY
RICHARD SANDOVAL SHELDON STOPSACK
FREDRIK SUNDQVIST ADRIEN SAINT GIRONS
DANIELE TOSTI JOYCE YOUNG
FABIO ZANGLA MOHAND ZENNADI
Compositing Leads
ARUNDI ASREGADOO RICHARD W. BAKER
MARK CURTIS DOUG LARMOUR
STUART LASHLEY ANGELA BARSON
Compositors
MIODRAG COLOMBO PAOLO ACRI
TERENCE ALVARES HENRY BADGETT
SUSANNE BECKER MICHAEL BRAZELTON
KELLY BRUCE DANIEL BRYANT
IZET BUCO STUART BULLEN
IVAN BUSQUETS SCOTT CHAMBERS
HAYLEY COLLINS LUAN DAVIS
JAN DUBBERKE MARCO FIORANI PARENZI
IGOR FIORIENTINI ANDREW FLETCHER
JULIAN GNASS BEN GOODSON
ALEX GURI QIAN HAN
SIMON HASLETT JEREMY HEY
GREG HOWE-DAVIES RYAN HUTCHINGS
JONATHAN KNIGHT AREK KOMOROWSKI
BENJAMIN KREBS KIRSTY LAMB
PEDRO LARA ALASDAIR MCNEILL
DANIEL MILLER MATTHEW PACKHAM
ANTHONY PECK BENJAMIN PERROT
MARTIN RIEDEL STEVE J. SANCHEZ
FLORIAN SCHUCK MARTIN SIMCOCK
MALCOLM SOUTER GIUSEPPE TAGLIAVINI
SCOTT TAYLOR GAVIN TOOMEY
OSCAR TORNINCASA JON VAN HOEY SMITH
HENRY JEFFERSON SUSAN WEEKS
Modeling Leads
GILES DAVIES ANDREW MCDONALD
ELLIOT NEWMAN
Modelers
GUSTAV AHREN ALFONSO COTTIER
LISA GONZALEZ DIRK MAUCHE
DAVID MAYHEW SAM ROWAN
ASHLEY TILLEY JON CAPLETON
ADAM WALKER
Texture Leads . . . . . . . . . . . . . . ALWYN HUNT
ALBAN ORLHIAC
Texture Artists
MARTIN HESSION BENOIT JOUBERT
NERYS LINCOLN MARTIN NEWCOMBE
ADAM REDFORD PHIL YOUNG
Rigging Lead. . . . . . . . . . . . . . . . . . TOM REED
Riggers
DRAGO AVDALOVIC JAKUB KROMPOLC
ANGELA MAGRATH SIMON PAYNE
WAIKIT WAN DANIEL ZELCS
Roto Matchmove
Production Coordinator . . RACHAEL POTTER
Roto Supervisor . . . . . . . . . KIM HEADSTROM
Prep Supervisor . . CHRISTINE TROIANELLO
Match Move Supervisor . . . . . JIGESH GAJJAR
Match Move
ANTHONY ABEJURO OLIVER DALE
DREW FULCHER CHRISTOPH GAUDL
OWEN JONES MARC JONES
ALEX HISLOP JUSTIN LONG
JONATHAN MILLER RIKKI KNIGHT-TREMBATH
DAVID SUDD TAHIR PALALI
PUJA PARIKH NICK REED
STEPHEN WONG
Roto/Prep
RICHARD BAILLIE GRAHAM DAY
BENEDICT GILLINGHAM-SUTTON ANDREW HOGDEN
JONNA ISOTALUS HELEN JOHNSON
KEITH JONES PENG KE
ELLEN MIKI LEO NEELANDS
FANI VASSIADI ROB WILLIS
Shader Writers
MO SOBHY MATTHEW OVENS
PETER SEAGER
Digital Artist Leads
BEN COLE DAMIEN FAGNOU
HANNES RICKLEFS
Digital Artists
LUCY BAILEY TOM COWLAND
JAMES LEANING STEFANO GIORGETTI
ROB HUGHES PAUL-GEORGE H. ROBERTS
TOM MELSON DAVIDE PESARE
JAMES TURNER DANIELE FEDERICO
ANDREA INTERGUGLIELMI ROB PIEKE
JIMMI GRAVESEN JEFFREY HIGGINS
JONATHAN WILLS DANIEL BAILEY
DAVID GREGORY BABAK KHATAEE
ISKANDER MELLAKH PAUL NENDICK
ROBERT TOVELL CHRIS ARMSDEN
ANDREW BUNDAY PHILIP MCAULIFFE
VFX Editorial
ALED ROBINSON CHRIS COUPLAND
CAROLINE ROWLANDS
8
Visual Effects by FRAMESTORE-CFC
VFX Supervisor . . . . . . . . . . . . . . . JON THUM
VFX Producer. . . . . . . . . . . . . . ROBIN SAXEN
CG Supervisor . . . . . . . MIKE MULHOLLAND
Animation Supervisor. . . . . . . KEVIN SPRUCE
Compositing Supervisor . . MARK BAKOWSKI
Environment Supervisor . . . . KEVIN JENKINS
CG Effects Supervisor. . . . MARK HODGKINS
Rigging Supervisor . . . . . MATTHIAS ZELLER
Look Dev & Lighting
Supervisors . . . . . . . SHADI ALMASSIZADEH
PAUL BEILBY
IAN COMLEY
CG Leads
DANIELE BIGI ROBERT BYRNE
NICK EPSTEIN JOHN-PETER LI
ARON MAKKAI MARK OSBORNE
SAUL REID MARTIN TARDIF
CG Lighters
MARK BAILEY CARL BIANCO
JOHN CHATAWAY NOEL HOCQUET
RICKY KANG STEVEN KHOURY
PATRICK LOWRY LASZLO MATES
OLIVER MCCLUSKEY ALESSANDRO MOZZATO
CARLO CHRISTIAN NICKEL ROBERT O’NEIL
STEFAN PUTZ ANDREW ROWAN-ROBINSON
WILSON STOCKMAN RUPERT THORPE
Lead Animator . . . . . . . . . . . . PHILIP MORRIS
Animators
LAURENT BENHAMO ROSS BURGESS
FERRAN CASAS ARSLAN ELVER
CATHERINE ELVIDGE JAMES FARRINGTON
SAMY FECIH DANIEL GERHADT
JORDI GIRONES NICOLAS GUEROUX
SANTIAGO HURTADO NATHAN MCCONNEL
PHILIP NGUYEN TO RHIANNON NICHOLAS
KEVIN O’SULLIVAN CRAIG PENN
SIMON PICKARD MATHIEU POIREY
JURE PREK ALISON SANDERS
NICOLAS SECK BRAD SILBY
SIMON THISTLETHWAITE MATHIEU VIG
Environments. . . . . . . . . . DANNY GEURTSEN
DAREN HORLEY
HIROAKI MURAMOTO
Massive TDs BRIAN GOODWIN
BENJAMIN LOCH
ALAN WOODS
CG Effects
JAMES ATKINSON DAVID DEES JOHNSON
ALEXANDER HESSLER FLORIAN KRAFT
JOE THORNLEY
Modelers . . . . . . . . . . . . . . . MYLES ASSETER
IRFAN CELIK
SAMUEL REMFRY
Riggers . . . . . . . . . MAXIMILIAN MALLMAN
NICOLAS SCAPEL
SEBASTIEN POTET
Texture Artists. . . . . . . . . . . . . . SWEEKIM LAI
JEAN-DAVID SOLON
Fur Developers. . . . . . . . . . GEORGE HARKER
ALEXANDER ROTHWELL
OLIVIER SOARES
Fur
Groomers . . . OHKBA AMEZIANE-HASSANI
MATT BELL
NATALIE HOMEWOOD
Compositing Leads
SEAN DANISCHEVSKY CHRISTIAN KAESTNER
JEREMY SAWYER DENIS SCOLAN
DAVID SHERE ANTHONY SMITH
Compositors
AARON BARKLEY GIACOMO BARGELLESI SEVERI
TOM BASKAYA RONAN BROUDIN
WARWICK CAMPBELL JOSE FERNANDEZ DE CASTRO
JASON FLEMING JULIEN GOLDSBROUGH
BRYAN JONES ZOE LAMAERA
KIRSTY LAWLOR MARTIN MUELLER
BRUCE NELSON PER GUSTAF NILSON
STEVE PARSONS HOWARD PROTHEROE
THOMAS PEGG RAJAT ROY
MARKUS SCHNEIDER WENRUI SEDDON
MATT TWYFORD
Lead Avid Editor . . . . . . . . . TOM PARTRIDGE
Senior Production . . . . . . . LUCINDA KEELER
SARA TREZZI
VFX Editors . . . . . . . . . . . . . . . ILLONA BYTH
TUREA BLYTH
PETER FORSON
VFX Coordinators . . . . . MICHAEL CURRELL
CLAIR GALPIN
Paint & Roto Artists
REBECCA CLAY JAMES FLEMING
MARC HANKEL FREDERIC HEYMANS
SARAH JUNIPER PAVAN KUMAR
NICHA KUMKEAW AARON LEAR
PETER LOGARUSIC EPHRAIM MWAKANDU
CREDITS
9
CREDITS
CAROLINE PIRES JAMES ROBERTS
PRAGTI WADHWA MARGARET WALBY
MELISSA WIDUP
Match Movers
SABINA BEJASA-DIMMOCK ANDREW BRITTAIN
DANIEL BUHIGAS LEE DEXTER
JAMES LIU DANIEL LLOYD-WOOD
TOM MORTIMER RADHIKA PATEL
TOBY WINDER
Digital Artists
MATT BARNETT JAMES BRAID
DAIRE BYRNE NARDEEP CHANDER
LUCA DAMIANI DAVE ROBINSON
Visual Effects by
WETA DIGITAL LTD.
WELLINGTON, NEW ZEALAND
Executive Producer . . . . . . . . EILEEN MORAN
Supervising VFX Editor . . . . . MATT HOLMES
VFX Supervisor. . . . . . . . . . . GUY WILLIAMS
VFX Producer . . . . . . . . . REBECCA DOWNES
Rotoscope Supervisor . . . . SANDY HOUSTON
Paint Supervisor . . . . . . . . . . QUENTIN HEMA
Digital FX Supervisor . . . . . . . DAN LEMMON
2D Supervisor. . . . . . . . . . . . . . COLIN ALWAY
CG Supervisor. . . . . . . . . . . . . . . . . . JAKE LEE
Senior Production
Manager. . . . . . . . . . . . KEVIN L. SHERWOOD
Production Manager. . . . . . . STEPHEN NIXON
Pre-Production Manager . KATHRYN HORTON
Animation Supervisor . . . . . . . . . PAUL STORY
Animation Lead. . . . . . . . . DANIEL BARRETT
Production Coordinators. . . . JULIETTE DAVIS
SUSIE MAY KLEIS
Models Supervisor . . . . . MARCO REVELANT
Creatures Supervisor . . . . . . . . DANA PETERS
Camera Supervisor. . . . . . . . LEE BRAMWELL
VFX Art Director . . . MICHAEL PANGRAZIO
Digital Imaging Manager . . . PETE WILLIAMS
3D Department Manager . . KRISTINA FLACH
Senior Animators
GRAHAM BINDING RICHARD DEXTER
MARCHAND JOOSTE JALIL SADOOL
JOHN SORE JEE YOUNG PARK
3D Leads
FRANK DUERSCHINGER JANE O’CALLAGHAN
MARK GEE MIAE KANG
JEAN MATTHEWS
3D Lighting TDs
MICHAEL BALTAZAR HAMISH BELL
SAM BUI CHRISTOPHER EDWARDS
ZACHARY FRANKS ANNE HALL
KATHERINE HURST JASON LAZAROFF
MINGZHI LIN CHRISTOPH MATTHIESEN
JENNIFER NONA ALEX NOWOTNY
ANTON OGNYEV ALIREZA RAZMPOOSH
MAHRIA SANGSTER ALESSANDRO SAPONI
GLEN SHARAH GEOFF TOBIN
JEDRZEJ WOJTOWICZ KELLY BECHTLE WOODS
2D Sequence Leads . . . . . . . . . . . . LYSE BECK
HELEN PAUL
CHARLES TAIT
2D Production Manager . . . . . GAYLE MUNRO
Digital Colourist . . . . . . . . . JOERG BUNGERT
Lead Compositors
NORMAN CATES PAUL CONWAY
DAVID HOUGHTON LAURE LACROIX
ALFRED MURRLE MARK RICHARDSON
Senior Compositors
JOHAN ABERG GG HEITMANN
TIM HEY SIMON JUNG
MASAKI MITCHELL DAVID PHILLIPS
CATERINA SCHIFFERS CAMERON SMITH
HOLLY ACTON JEAN-LUC AZZIS
MARK BARBER DAVID BRUNETT
PETER CONNELLY STEVE CRONIN
BRETT DIX ERICH EDER
GEOFF HADFIELD ED HAWKINGS
SEAN HEUSTON MATT HOLLAND
MICHAEL LANZENSBERGER STEVE MCGEE
STEVE MCGILLEN BEN MORGAN
HANNAH PEIRCE PAUL REDICAN
KARIM SAHAI CHRISTOPH SALZMAN
HAMISH SCHUMACHER STEVE TIZZARD
Senior Modeler. . . . . . . . . MARCO DI LUCCA
Models Department
Manager. . . . . . . . . . . . JESSICA FERNANDES
Lead Modelers. . . . . . FLORIAN FERNANDEZ
PAUL JENNESS
JAMES OGLE
10
Digital Modelers
MATTHEW BULLOCK CEDRIC CANLAS
WILLIAM J. EARL NICHOLAS GAUL
ROJA HUCHEZ SUJIN PARK
JOSE SAMSON JOHN STEVENSON-GALVIN
MATSUNE SUZUKI SHANNON THOMAS
MICHAEL TODD JAMES WILLINGHAM III
CLARE WOODFORD-ROBINSON JAMES MOORE
Creatures Department
Manager . . . . . . KRISTIE BRESLIN-HUSSON
Lead Creature Supervisor . . ANDREA MERLO
Lead Creature TDs . . . . . . . . . JAMES JACOBS
ERIC TANG
PETER MEGOW
Creature TDs. . . . . STEPHEN CULLINGFORD
JAMES GAMBELL
JOHN HOMER
SUNNY TEICH
Senior Texture Painters. . . . . . . . . MIA ASKEW
PAUL CAMPION
LINA HUM
MEL JAMES
Texture Painters . . . . . . . . . . . . . . . MIKE BAIN
SHAR STEWART
Textures Coordinator . . JENNAH RASMUSSEN
Matte Painters/
Concept Art . . . . . . . . HOVIG ALAHAIDOYAN
PETER BAUSTAEDTER
YVONNE MUINDE
TODD O’SULLIVAN
Senior Camera TDs . . . . . . . MATT MUELLER
WOLFGANG NIEDERMEIER
STEPHAN REMSTEDT
ALBRECHT STEINMETZ
ALEX KRAMER
Senior On-Set
Camera TD. . . . . . . . . . . . . MICHAEL SARKIS
On-Set Camera TD . . . . . . . . . . . MIKE KELLY
Camera Production
Manager. . . . . . . . . . . SANDY COCO TAYLOR
Match Mover. . . . . . . . . . MARZENA ZAREBA
Senior Paint & Rotoscope Artists
PAULA BELL JIM CROASDALE
PAUL EVERITT CHRISTINE FEISTL
TROY RAMSEY BRAD SELKIRK
Rotoscope Artists
KATHLEEN BEELER ADAM BRADLEY
TIM CHENG EVAN CHRISTIE
DANNY JONES SETH MILLER
DAVID OWEN EMRYS PLAISTED
ROXANNE SUTHERLAND VALENTINE PHIL VAN DER REYDEN
VFX Editor. . . . . . . . . . . . . . LUCAS PUTNAM
Associate VFX Editor. . . . . . . . . BEN HATTON
Visual Effects by
SCANLINEVFX MUNICH – LOS ANGELES
VFX Supervisor . . . . STEPHAN TROJANSKY
2D VFX Supervisor . . . . . . . GABRIEL DEDIC
CG Supervisors . . . . . . . . . . . . . . . IVO KLAUS
JOHN HAN
VFX Producers . . . . . . . . . MICHAEL MIELKE
ISMAT ZAIDI
SARA LEE
Simulation
ROMAN SCHMIDT JULIA MURCZEK
KORBINIAN MEIER SEBASTIAN KUECHMEISTER
DANIELLE PLANTEC MASAKAZU MURAKAMI
Animation . . . . . . . . . . . . MASCHA JÜRGENS
CHRISTIAN KRATZERT
Shading . . . . . . . . . . . . . . . GEREON ZWOSTA
CHRISTIAN POKORNY
Modeling. . . . . . . . . . . . . . . CLAUDIA KNORR
MIN DUC TRAN
Tracking . . . . . . . . . . . . OLIVER KIRCHHOFF
THORSTEN ROLLE
Compositing Lead . . . . . . . . . . . KAI WOYTKE
TAMARA STONE
Compositing Artists
FINLAY HOGG STEPHAN SCHWEIZER
JOERG BAIER MARTIN ZWANZGER
MANDA CHEUNG
K.N.B. EFX GROUP, INC.
Shop Foremen. . . . . . . . . . . . MICHAEL DEAK
SHANNON SHEA
Art Department Supervisor . . . . . . ALEX DIAZ
Art Department Crew
GINO ACEVEDO JAREMY AIELLO
JAMIE GROVE AKIHITO IKEDA
JORDUE SCHELL AARON SIMMS
ANDY SCHONEBERG JOHN WHEATON
EDDIE YANG JAVIER ZEPEDA
Mold & Lab
Department Supervisor. . . . JAMES LEONARD
CREDITS
11
CREDITS
Mold & Lab Department Crew
CHRIS CERA BARRY CRANE
JEFF DEIST ROB FREITAS
JOE GILES BRIAN GOEHRING
JOHN HALFMAN GRADY HOLDER
CARI JONES TIM LEACH
GILBERT LIBERO STEVE MUNSON
GARY PAWLOWSKI DIRK ROGERS
FRANK RYBERG CALEB SCHNEIDER
LINO STAVOLE AJ VENUTO
BRANDON WHYNAUCHT CHRIS ZEGA
Fabrication Department
Supervisor . . . . . . . . . . . . . BETH HATHAWAY
Fabrication Department
FRANCISCA CAMPOS VALERIE CRAWFORD
CONSUELO DURAN JON FEDELE
TERRI FLUKER PENNY MACKIE
KAREN MASON BRUCE MITCHELL
LYNETTE ROY JOHN SHEA
KATHERINE SULLY
On-Set Fabrication Crew . . SERENA HIGGINS
VIRGINIE LEBRUN
Foam Department
Supervisor. . . . . . . . . . . . BEN RITTENHOUSE
Foam Department Crew. . . . . . . . STEVE KATZ
DEREK KROUT
JASON PINSKER
PATRICIA URIAS
CHRIS WALKER
DERIK WINGO
Monster Makers
Foam System . . . . . . . . . ARNOLD GOLDMAN
Seaming Department
Supervisor . . . . . . . . . . . . TONY MATIJEVICH
Seaming Department
Crew . . . . . . . . . . . . . . . CHRISTINA PRESTIA
Hair Department Supervisor. . . MARK BOLEY
Hair Department Crew
JERI BAKER TODD BATES
ANNELIESE BOIES JACK BRICKER
CONSTANCE CRISWELL KARIN HANSON
PHANNIN JIAVILAIVUI NICOLE MICHAUD
PAUL MOLAR RON PIPES
RAPEEPORN RODCHOMPU KHAN TRAN
DOMANIQUE TROIAN
Mechanical Department
Supervisor. . . . . . . . . . . . . . . . . . . ROB DERRY
Mechanical Department
DAVE WOGH CHAD ATKINSON
JEFF EDWARDS ERIC FIELDER
HARRISON LORENZANA LON MUCKLEY
MARK RAPPAPORT LEONARD MACDONALD
DWIGHT ROBERTS
KNB Production
Coordinator . . . . . . . . . . . VERONICA TORRES
KNB Production
Manager/Accountant . . . . . . . . . RANDY BALL
Purchasing. . . . . . . . . . . . . . LINDSAY VIVIAN
KNB Assistant
Coordinator . . . . . . . . . . . JACKIE KOLOMPAR
KNB On-Set Coordinator. . . . MARK BALLOU
Assistant On-Set
Coordinator . . . . . . . . . . . ELISKA MALIKOVA
Key Prosthetic Makeup Artist . . . . TAMI LANE
Prosthetic Makeup Artist . . . SARAH RUBANO
On-Set Makeup Artists
ADRIAN ATWOOD ARTURO BALSERIO
LIBA BARLOVA KATHERINE BROWN
LISA BUSCHER VINCENZA CELENTANO
MEGAN CHASSAY JANA DOPITOVA
MICHAEL FIELDS LISA FOOTHEAD
VASEK FRANK KRISTELLE GARDINER
JO GROVER KERRIN JACKSON
DAVID JONES PAUL KATTE
TOMAS KUCHTA JENNIFER LATOUR
GORAN LUNDSTROM VIVIAN BLISS MACGILLICUDDY
ANDREA MCDONALD ANGELA MOOAR
CLARE MULROY RUZENA NOVOTNA
GABINA POLAKOVA JANE OKANE
LUKE POLTI CLARE RAMSEY
TRACEY REEBY JESS REEDY
IVO STRANGMULLER TRISTAN VERSLUIS
ELKA WARDEGA KEVIN WASNER
Aslan Supervisor. . . . . . . . . . . . JEFF HIMMEL
Satyr Supervisor . . . . . . . . . DAWN DININGER
Specialty Wardrobe, Armour & Weapons by
RICHARD TAYLOR
WETA WORKSHOP, NEW ZEALAND
Workshop Manager . . . . . . . . TANIA RODGER
Workshop Supervisor . . . . . GARETH MCGHIE
Business Manager . . . . . . . . ANDREW SMITH
Production Manager . . . . . . GRANT BENSLEY
Accounts . . . . . . WENDY BAMBRO-TILYARD
12
Purchasing Officer . . . . . . . JONATHAN EWEN
Assistants to Richard Taylor. . . . RI STREETER
LINDA HUGHES
Production
Assistants . . . . . . . . EMILY-JANE STURROCK
SHERRYN MATTHEWS
TRACEY MORGAN
Runner . . . . . . . . . . . . . . . . . ROSS COLLINGE
Design Department
Coordinator. . . . . . . . . . . . KATE JORGENSEN
Stills & Videographer. . . . . . . . STEVE UNWIN
Designers
GUS HUNTER PAUL TOBIN
NICHOLAS KELLER BRAD GOFF
BEN WOOTTEN DANIEL FALCONER
STEPHEN CROWE STEPHEN LAMBERT
WARREN MAHY CHRISTIAN PEARCE
JOHNNY FRASER ALLEN
3D Modeling Supervisor . . CHARLOTTE KEY
3D Milling Supervisor . . JORDAN THOMSON
3D Modeling . . . . . . . ULI BECK SCHNEIDER
LUCY CANT
RUSSELL BROWNING
ED DENTON
TIM GIBSON
3D Model Support. . . . . . . JOHN MCMULLEN
AKSAHY PARBHU
Weta Costume/Armour
Supervisor . . . . . . . . . . . . . . MATT APPLETON
Costumes & Armour
MIKE GREALISH DARIN GORDINE
CARL PAYNE TREE HARRIS
NADINE JAGGI RUPERT GROBBEN
GABRIELLE BERTOGG PRANEE MCKINLAY
TIRA O’DALY CLAIRE PREBBLE
JASMIN VAN LITH
Specialty Weapons & Props
Supervisor . . . . . . . . . . . . . . . . JOHN HARVEY
Weta/Tenzan Supervisors. . . . . . . . FRED TANG
GRANT WALLIS
Specialty Weapons & Props
MICHAEL REITTERER CALLUM LINGARD
DANIEL BENNETT NIKO KAYE
ALEX FALKNER VIBOL MOEUNG
DALLAS POLL GARETH JENSEN
COLIN JACKMAN KRISTOS FOCAS
MATT WARD JOE PAICE
RICHARD THURSTON CARLOS SLATER
STEPHEN EDWARDS ANDREW MOYES
DAVID MACLURE RICHARD MATTHEWS
NICHOLAS ANTUNOVIC DANIEL COCKERSELL
BRYCE CURTIS CHRIS COVICH
NEIL SCHRADER PIETRO MARSON
DAVID MENG ERIN PALMER
DARREN MOSHER CLAIRE MIDDLETON
DAVID TREMONT FRANCES RICHARDSON
Armoury/Swordsmith
Supervisor . . . . . . . . . . . . . . . . . . PETER LYON
Swordsmiths . . . . . . . . . . . . WAYNE DAWSON
STUART JOHNSON
Sculptors . . . . . . . . . . . . . . . . . . . . MAX PATTE
BEN HAWKER
BILL HUNT
GREG TOZER
GARY HUNT
Mold Making
Supervisor . . . . . . . . . . . MICHAEL WALLACE
Mold Makers . . . . . . . . BRIAN STENDEBACH
MASAYASU MINOURA
SIMON GODSIFF
Paint Department
Supervisor . . . . . SOURISAK CHANPASEUTH
Painters
LES NAIRN JOHNNY BROUGH
DORDI MOEN ANDREW GORDON
PAUL HAMBLETON CHARLOTTE BOWIE
GENEVIEVE COOPER
Engineering Supervisor . . . . . . . . DAVE IRONS
Engineer. . . . . . . . . . . . . . . . PETER OSBORNE
Miniatures Supervisor . . . . . . GREG ALLISON
Miniatures
JOHN BASTER PAUL VAN OMMEN
REBECCA ASQUITH DON BROOKER
DAN HORTON SUZI DYKES-SMITH
MARCO WUEST MARY PIKE
MELISSA BRINSDIN FRAZER ANDERSON
SHARI FINN DUNCAN BROWN
NEIL MARNANE ISAAC MAYES
JAMES FRENCH NATHAN MITCHELL
RYK FORTUNA HIROSHI TANG
Visual Effects by
STUDIO C
VFX Supervisor . . . . . . CARLOS ARGUELLO
Additional Visual Effects by
RISING SUN PICTURES
CREDITS
13
CREDITS
SECOND UNIT
Director of Photography. . . MILAN CHADIMA
1st Assistant Director . . . . . . . . . . PHIL JONES
Production Manager . . MARTINA BURGETOVA
Unit Manager. . . . . . . . . . . . . . . . . JIRI HUSAK
“A” Camera/Steadicam . . CAMERON MCLEAN
“A” Camera 1st Assistant
Camera . . . . . . . . . . . . . . FRANTISEK NOVAK
“A” Camera 2nd Assistant
Camera. . . . . . . . . . . . . . . . . . . . JAN VOJTECH
“B” Camera Operator . . . . . . . . . . JIRI MALEK
“B” Camera 1st Assistant
Camera . . . . . . . . . . . . . . . . . . . LIBOR BRUHA
“B” Camera 2nd Assistant
Camera. . . . . . . . . . . . . . . HYNEK PANTUCEK
1st Assistant
Directors CZ . . . . . . . . . . FRANTISEK REZEK
MICHAELA STRNADOVA
2nd Assistant Director CZ . . JAKUB ELIASEK
Second 2nd Assistant
Director . . . . . . . . . . . . . . MAREK SEDLARIK
3rd Assistant
Directors . . . . . . . . . . . VLASTA KARERABEK
JIRI KOLARSKY
Set Production Assistants . . . . . . . JIRI SPACEK
ANTONIN ZOUBEK
Art Director/
Standby . . . . . . . . . JASON KNOX-JOHNSTON
Video Operator . . . . . . . . . . . . . . . . . . . JIRI SÍP
Cable Guy. . . . . . . . . . . . . . . MARTIN MECKO
Key Grip/“A” Dolly Grip . . ROBERT KODERA
Best Boy Grip . . . . . . . . . . . . . . . JAN HLADIK
Gaffer. . . . . . . . . . . . . . . . . . . . PETR KONRAD
Best Boy. . . . . . . . . . . . . . . . . . . . . PETR SULC
Extras Coordinator . . . . . DUSAN ROBOVSK_
Set Nurses. . . . . . . . . . . . . . ONDREJ DVORAK
HANA POKORNA
Accountant . . . . . . . . . . . . . . . JIRL TICHACEK
Assistant Accountant . . . . KAROLINA CERNA
Payroll Accountant . . . KRISTINA LUKASOVA
Costumers . . . . . . . . . . . . PHILLIPPA O’BRIEN
JENNY RUSHTON
Standby Costumer. . . . . ELISKA PETROVSKA
Production Coordinator. . . . . . . JANA VESELA
Assistant Production
Coordinators. . . . . . . . . . LENKA PAVLAKOVA
MARTINA VLASAKOVA
Production Assistant . . GEORGIA MAHAFFIE
SFX Floor
Supervisor . . . ALBRECHT VON BETHMANN
SFX Foreman . . . . . . . . . MICHAEL LUPPINO
Script Supervisor . . . . . . . . . . KAZI KOPECKA
Key Hair &
Makeup Artist . . . . . . . . . . KAREN EDWARDS
Hair & Makeup Artists. . . . . LUCIE KUPROVA
RADEK PETR
Key Armour/Weapons Standby. . ROB GILLIES
Extras Supervisor. . . . . . . . . . . . . . TIM TOZER
Lead Standby Armourer. . . . . . . SIMON WARD
Production Sound Mixer . . . . ROBERT DUFEK
Boom Operator. . . . . . . . . . MARK WILLIAMS
2nd Boom Operator. . . . . TOMAS CERVENKA
VFX Production
Manager . . . . . . . . . . VICTORIA MCDOWELL
VFX Data Wranglers . . . . . . . . . . JON BROWN
FILIP SANDERS
VFX Set Wranglers. . . . . ALICE KOSNAROVA
EWA SZCZEPANIAK
VERONICA ZVOLSKA
VFX
Coordinator . . TEREZA MANDIC LISTIKOVA
Transport Coordinator. . . . LENKA LIKAROVA
NEW ZEALAND UNIT
2nd Assistant Director . . . . . . EMMA HINTON
3rd Assistant Directors. . . ARMAND WEAVER
GABRIEL REID
Production Coordinator . . . . . . . . . JUDY DALE
Location Manager. . . . . . . . . . . . ERIC NAPIER
Art Directors. . . . . . . . . . . . . . JILL CORMACK
DAVE COOKE
Assistant Art Director NZ . . TONY WILLIAMS
“A” Camera 2nd Assistant
Camera. . . . . . . . . . . . . . . . . . . . PHILIP SMITH
“B” Camera Operator . . . . . RICHARD BLUCK
“B” Camera 1st Assistant
Camera . . . . . . . . . . . . . . DEAN MCCARROLL
“B” Camera 2nd Assistant
Camera . . . . . . . . . . . . . . . . GARTH MICHAEL
“C” Camera 1st Assistant
Camera. . . . . . . . . . . . . . . . ULRIC RAYMOND
“C” Camera 2nd Asst Camera . . SAM BAILEY
Digital Preview Technician . . NISHA SAMUEL
Set Production
Assistants. . . . . . . . . . KENDALL FINLAYSON
SIOBHAN NOLAN
VFX Production
Manager NZ. . . . . . . . . . . . . . AARON COWAN
Digital Video Assist
Operator . . . . . . . . . . . . . . . . . NIGEL BURTON
14
Video Assist Assistant . . . . . VANESSA WOOD
Key Grip . . . . . . . . . . . . . . . . . . . . JAY MUNRO
Best Boy Grip. . . . . . . . . . . . . . . BAZ MCGINN
Dolly Grip “A” Camera . . . . . . . MICK VIVIAN
Dolly Grip “B” Camera. . . . . . . SIMON JONES
Rigging Grip . . . . . KARL RICKARD-WORTH
On-Set Best Boy. . . . . . . . . . . . . LEIGH MEAR
Best Boy. . . . . . . . . . . . . . . . . REAGAN JONES
Best Girl Grip . . . . . . . . . . MELISSA RIRINUL
Key Grip. . . . . . . . . . . . . . . LUKE SAULBREY
Gaffer NZ. . . . . . . . . . . . . . . . . SEAN O’NEILL
Best Boy Electrics Off-Set . MIKE LOUGHEED
Best Boy Electrics On-Set . . . JOHN ENRIGHT
Rigging Gaffer. . . . . . . . . . . MARK GILLINGS
Best Boy Rigging Electrics. . . HENARE MATO
Casting . . . . . . . . . . . . . . . . . . . LIZ MULLANE
Extras Casting
Coordinator. . . . . . . . . . . VICTORIA BEYNON
Cast Liaison . . . . . . . SALLY-ANN LOUISSON
South Island
Location Manager . . . . . . . CARL BEAUMONT
Production Accountant NZ . . DAVID ROWELL
Horse Trainer . . . . . . . WAYNE MCCORMACK
Leadman . . . . . . . . . . . . . . . . PHRED PALMER
Assistant Propsmaster . . . . KARMA RUSSELL
Props Buyer . . . . . . . . . . . . ANGELA DURBIN
Standby Props . . . . . . . . . . . . NYREE WINTER
Costume Supervisor. . . . . . . . NICOLA CLEGG
Set Costumers . . . . . . . . . . . . . . . . . SUZ DECK
JASMINE EDGAR
Assistant Production
Coordinators . . . . . . . . . . . KARLA WALLACE
KELVIN J. PADFIELD
Preproduction Office
Coordinator. . . . . . . . . . . . ANGELA THOMAS
Production Assistants . . . . . . . . EVE PETCHER
FIONA WADMAN
Key Makeup. . . . . . . . . . . . . . ANITA AGGREY
Paramedic . . . . . . . . . . . . . . . MARK GABITES
SFX Supervisor . . . . . . . . . . . . JASON DUREY
Workshop Supervisor . . . . . . . DEAN CLARKE
Construction Manager . . . . . . . . PHIL CHITTY
Construction Coordinator . . . . TANYA BIDOIS
Construction Foremen . . . . . . . . JED HOOKER
FRANCIS ASKWITH
HOD Greens . . . . . . . . . RUSSELL HOFFMAN
Greens Leading Hands. . . . . . DAVE WISHART
TIM BUTT
Standby Greensman . . . . . . . CHRISTIAN PICK
Transport Manager . . . . . . . . . . . REG GIBSON
Transport Captain . . . . . . . . . AARON GIBSON
Transport Coordinator. . . . . . . . . KAY TAYLOR
On-Set Transport Coordinator . . . ISAAC LANE
Aerial 1st Assistant
Director . . . . . . . . . . . . . JENNIFER BUTCHER
Aerial Director of
Photography . . . . . . . . . . . . . . STEVE KOSTER
Drivers
ALLENE GIBSON SCOTTY CHIPLIN
DONNA HARVEY ESTHER CLEWLOW
ELIZABETH LANE CAMERON LOGAN
JULIE GUNSON GRAHAM HUGHES
Aerial Unit Shoot
Manager. . . . . . . . . . . . . . . . ANNIE DODMAN
Locations
Coordinator . . . . . . . . . MEIGHAN DESMOND
NEW ZEALAND SECOND UNIT
Director of Photography . . BRAD SHIELD, ACS
Unit Production
Manager . . . . . . . . . . . . . . SIMON AMBRIDGE
Production
Coordinator . . . . . . . . . ANDREW COCHRANE
Assistant Production
Coordinator. . . . . . . . . . . . . . . KYLIE GAUDIN
Production Assistants . . ALANA MARTINERO
STEVE BROWN
DEAN JOHNSTON
Unit Accountant. . . . RACHAEL CAMPBELLO
2nd Assistant
Director . . . . . . . . . . STEPHANIE WESTRATE
Additional Assistant
Director . . . . . . . . . . . RICHARD MATTHEWS
Set Production Assistant. . . . RICHARD MILLS
“A” Camera 1st Assistant
Camera. . . . . . . . . . . . . . BRENDEN HOLSTER
“A” Camera 2nd Assistant
Camera. . . . . . . . . . . . . . . . . . . BEN ROWSELL
Costumer. . . . . . . . . . . . . . . . CHRIS PICKARD
Greens Foreman. . . . . . . . . . . . DREW FRASER
Gaffer. . . . . . . . . . . . . . . . . . MARK GILLINGS
Best Boy Electrics . . . . . . DAVID SARGINSON
Key Grip . . . . . . . . . . . . . . . . . . . SAM STRAIN
Best Boy Grip . . . . . . . . . . . . . . . . JOSH DUNN
Dolly Grip . . . . . . . . . . . . . . . . . SIMON JONES
Makeup Artist. . . . . . . . . . . MICHAEL KREHL
Hairdresser . . . . . . . . . . . . . . . STEPHEN ROSE
Set Nurse . . . . . . . . . . . . . . . . . CATH BEATTIE
Water Safety . . . . . . . . . STEFAN CRAWFORD
Script Supervisor . . . . . . . . . . . SARAH HINCH
CREDITS
15
CREDITS
Sound Mixer . . . . . . . . . . . . MIKE WESTGATE
Boom Operator . . . . . . . . . . . . . . MATT CUIRC
MINIATURES UNIT
Director of
VFX Photography. . . . . . . ALEX FUNKE, ASC
Production Manager . . . . BELINDALEE HOPE
Production Coordinator . . NAOMI WALLWORK
1st Camera Assistant . . . . . . HARRY SLOWEY
Focus Puller. . . . . . . . . . . . . . MIKE KNUDSEN
1st Assistant Director. . . . . . . . . . . ROD SMITH
Gaffer. . . . . . . . . . . . . . . . . . . . . . . . ROB KERR
Script Supervisor . . . . . . . . . . . MERRIN RUCK
Motion Control Operators . . . . . HUGH SMITH
HENK PRINS
OLLY COLEMAN
Lead Model
Technician. . . . . . . . . . . FRASER WILKINSON
Model Shop Coordinator . . . . . . IVAN ROODA
Model Technicians . . . . . NICOLE COSGROVE
KATE COSGROVE
NICK MOORE
SFX Assistant/Stage Hand. . . . . ANDY SOUTH
Mocon/Camera Engineer . . . . . MARTIN JAGO
Model Assistant . . . . . . . . ALEKS SAKOWSKI
Motion Control Technician . . . . . . TONY REED
POLAND UNIT
Line Producer for
Ozumi Films . . . . . . MARIANNA ROWINSKA
Production Manager. . . . . . JANUSZ B. CZECH
Production
Coordinator . . . . . . . MAGDALENA GENSLER
Production
Assistants . . . . . . . . . . KRZYSZTOF WARWAS
FILIP JACOBSON
MARTA KOMOROWSKA
Location Manager . . . MIKOLAJ POKROMSKI
PA Location. . . . . . . . . . . . . . . MAREK CZPAK
Accountant . . . . . . . . . . . PATRYCJA ZLOMEK
Production Services in Poland
Provided by . . . . . . . . . . . . . . . . OZUMI FILMS
Production Coordinator/
Accommodation . . . . . . . . . . PAULINA CZECH
SLOVENIA UNIT
Line Producer for
Propeler Films . . . . . . . . . . . . . DIEGO ZANCO
Production Coordinator . . . . . . . . . . IRA CECIC
Assistant Production
Coordinator . . . . . . . . . . . . . . . NINA MAJCAN
Unit Production Manager . . . FRENK CELARC
Location
Manager . . . . . . . . ZDRAVKO MADZAREVIC
Accountant . . . . . . . . . . . . . . . MARKO KOPAC
Payroll Accountant . . . . . . MAJA SLATENSEK
Art Director . . . . . . . . . . . . . . . KATJA SOLTES
Assistant Art Director . . . . . . . JANEZ STUCIN
Assistant Location Manager . . . . MATEJ FELC
Construction Services. . . . . GORAZD HUMAR
PRIMORJE GROUP
Services in Slovenia Provided by
PROPELER FILMS
American Humane Association monitored
the animal action. No animal was harmed
in the making of this film.
(AHA 01786)
SPECIAL THANKS TO:
CITY OF PRAGUE, CZECH REPUBLIC,
MAYOR MUDR. PAVEL BEM
CITY OF USTI NAD LABEM,
CZECH REPUBLIC,
MAYOR MGR. JAN KUBATA
STOLOWE MOUNTAINS NATIONAL PARK,
POLAND
KARKONOSKI NATIONAL PARK, POLAND
MINISTER OF DEFENCE, POLAND
TOWN OF KUDOWA ZDROJ, POLAND
TOWN OF SZKLARSKA PREBA, POLAND
FIRE BRIGADE, RADKOW, POLAND
MUNICIPALITY OF BOVEC, SLOVENIA,
MAYOR DANIJEL KRIVEC
THE DEPARTMENT OF CONSERVATION,
NEW ZEALAND
THE OTAGO REGIONAL COUNCIL,
NEW ZEALAND
16
The Steinway grand piano used by
Walt Disney Pictures & Walden Media
for this production is supplied & maintained by
STEINWAY & SONS, LONDON
Titles by . . . . . . . . . . . . . . FRAMESTORE-CFC
Additional Titles & Opticals
by . . . . . . PACIFIC TITLE AND ART STUDIO
FUGITIVE STUDIOS (LONDON)
Color Timer. . . . . . . . . . . . . . . . . JOHN ENSBY
HARRY MULLER
Avids Supplied and
Maintained by. . . . . . . . . . . . . ORBIT DIGITAL
Rights & Clearances
by. . ENTERTAINMENT CLEARANCES, INC.
LAURA SEVIER
CASSANDRA BARBOUR
UK Financial Services. . . . . . . TENON MEDIA
SONGS
“The Call”
Written by Regina Spektor
Arranged and Produced by
Harry Gregson-Williams
Recorded and Mixed by Peter Cobbin
Performed by Regina Spektor
Courtesy of Sire Records
“A Dance ‘Round The Memory Tree”
Written by Oren Lavie
Produced by Valgeir Sigurdsson and Oren Lavie
Recorded and Mixed by Valgeir Sigurdsson
Performed by Oren Lavie
“This Is Home”
Written by Jonathan Foreman, Andy Dodd
and Adam Watts
Produced by Jonathan Foreman and
Brian Malouf
Additional Production by Adam Watts and
Andy Dodd
Mixed by Brian Malouf
Performed by Switchfoot
Courtesy of lowercase people records/
Credential Recordings
Soundtrack Available on
Cameras, Lighting & Grip Equipment
Provided by
ARRI RENTAL
Color by DELUXE
(DOMESTIC)
Color by TECHNICOLOR®
(INTERNATIONAL)
MPAA # 44320
Filmed on location in Czech Republic,
New Zealand, Poland, Slovenia and at
Barrandov Studios, Prague.
The events, characters & firms depicted in
this motion picture are fictitious.
Any similarity to actual persons, living or dead,
or to actual firms is purely coincidental.
© Copyright 2008 Disney Enterprises, Inc.
& Walden Media, LLC.
ALL RIGHTS RESERVED.
CREDITS
17
CREDITS
Disney Enterprises, Inc. & Walden Media, LLC
are the authors & creators of this motion picture
for the purposes of U.S. copyright law & the
Berne Convention & all national laws giving
effect thereto.
This motion picture is protected under the laws
of the United States & other countries.
Unauthorized duplication, distribution or
exhibition may result in civil liability &
criminal prosecution.
Walden Media & the Walden
skipping stone logo are registered trademarks
of Walden Media, LLC.
ALL RIGHTS RESERVED
DISTRIBUTED BY
Walt Disney Studios Motion Pictures
THE CHRONICLES OF NARNIA:
PRINCE CASPIAN
PRODUCTION INFORMATION
The wardrobe is gone…the White
Witch is dead…and Aslan has been
missing for over 1,000 years.
Now, Peter, Susan, Edmund and Lucy
Pevensie are beckoned back to Narnia to
find a vastly different world, where a new
enemy stalks the battlefield and the land’s
kindly creatures find themselves on the
brink of extinction.
Walt Disney Pictures and Walden
Media present THE CHRONICLES OF
NARNIA: PRINCE CASPIAN, the second motion picture based on C.S. Lewis’ beloved
series of literary classics. The film continues the spectacular story that began with the Oscar®winning
2005 release, “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,”
which earned over $745 million in its worldwide theatrical release, making it one of the most
successful movies ever made, and one of
the biggest successes in the annals of the
Walt Disney Studios.
Acclaimed director Andrew Adamson
(the Oscar®-winning “Shrek,” “Shrek 2”)
embarks on his second Narnian film
adventure from a screenplay he co-wrote
with Emmy® Award-winning writing
partners Christopher Markus & Stephen
McFeely (HBO’s “The Life and Death of
Peter Sellers”), who also co-scripted the
first film. Adamson also reunites with the producers of the first Narnia movie—Academy
Award® winner Mark Johnson (“Rain Man,” “Bugsy,” “The Notebook”) and Philip Steuer
(“The Rookie,” “The Alamo”). Also reprising their roles are executive producer and former
Walden Media executive Perry Moore and co-producer Douglas Gresham, author Lewis’
stepson.
Once again toplining as the Pevensie children are the four young British talents discovered
by Adamson for the first film: 12-year-old Georgie Henley as Lucy, the youngest and the first
to encounter the great Aslan on their new journey through Narnia; 16-year-old Skandar
PRODUCTION INFORMATION
19
PRODUCTION INFORMATION
Keynes as Edmund, the younger boy who betrayed his siblings for his own selfish gain in the
first adventure; 19-year-old Anna Popplewell as Susan, the cautious and practical older sister;
and 21-year-old William Moseley as Peter, the eldest of the siblings and now High King of
Narnia who valiantly leads the battle to save his realm from the tyrannical reign of the evil
King Miraz.
The film’s title character is played by
Ben Barnes, a 26-year-old British stage
actor best known for his role in the drama
“The History Boys” for London’s
National Theatre Company, the first West
End staging of Alan Bennett’s award-
winning play. He recently completed the
film adaptation of Noel Coward’s “Easy
Virtue” opposite Jessica Biel and Colin
Firth, starred in the independent feature
“Bigga than Ben” and had a featured role in Matthew Vaughn’s fantasy film “Stardust.”
Also co-starring in the new film are Peter Dinklage (“The Station Agent,” “Death at a
Funeral,” “Elf ”) as Trumpkin the Red Dwarf, who accompanies the Pevensie children on their
new journey, and Warwick Davis (“Willow,” “The Hitchhiker’s Guide to the Galaxy,” “Return
of the Jedi”) as the suspicious Black Dwarf, Nikabrik.
Veteran Kiwi actor Shane Rangi (“Lord of the Rings” trilogy, “The Lion, the Witch and the
Wardrobe”) plays Asterius, the aging minotaur, and British musical theater star Cornell S.
John (Sir Trevor Nunn’s “Gershwin’s Porgy and Bess,” Julie Taymor’s “The Lion King”) is
Glenstorm, the leader of the centaurs.
The film’s international cast includes
acclaimed Italian actor-director Sergio
Castellitto (“The Big Blue,” “Mostly
Martha,” “Don’t Move”) as the villainous
King Miraz; fellow Italian performer
Pierfrancesco Favino (“Night at the
Museum,” “Romanzo Criminale”) as the
leader of the Telmarine army, General
Glozelle; Mexican star Damián Alcázar
(“Men with Guns,” “And Starring Pancho
Villa as Himself ”) as Lord Sopespian,
another high-ranking soldier in Miraz’s army; Spanish actress Alicia Borrachero
(“Periodistas,” TV’s “Hospital Central,” “Love in the Time of Cholera”) as Miraz’s loyal wife,
Queen Prunaprismia; and veteran French-Flemish actor Vincent Grass (“Vatel,” “Ma Vie en
Rose”) as the wise old sage, Doctor Cornelius.
Scottish actor Ken Stott (“Casanova,” “King Arthur,” “The Boxer”) lends his vocal talents
to the CGI character of Trufflehunter, the faithful badger. Academy Award® nominee Liam
Neeson (“Schindler’s List”) returns as the voice of Aslan the Lion, and veteran English comic
Eddie Izzard (TV’s “The Riches”) voices Reepicheep, the swashbuckling mouse.
Inspired by Lewis’ imaginative creations, the story’s human cast will once again be
complemented by a gallery of original creatures portrayed onscreen in the combined efforts of
20
live action and CGI animation under the supervision of returning visual effects co-supervisor
and Oscar® nominee Dean Wright (“The Lord of the Rings: The Return of the King,”
“Titanic”), who will collaborate this time with VFX veteran and longtime Adamson ally
Wendy Rogers (“Shrek,” “Flushed Away”).
The pair, who supervised over 1,600 CGI shots for the film, teamed with the movie
magicians at London’s Moving Picture Company (all five “Harry Potter” films, “Wallace and
Gromit: Curse of the Were-Rabbit”), the Oscar®-winning Framestore-CFC (“Superman
Returns,” “Children of Men,” all five “Harry Potter” films) and Weta Digital in New Zealand.
Five-time Academy Award®-winning visualist Richard Taylor (“Lord of the Rings” trilogy,
“King Kong”) and the wizards from his Weta Workshop designed the film’s armor and
weaponry for Narnia’s new inhabitants,
the Telmarines.
Oscar® winners Howard Berger,
Gregory Nicotero and Tami Lane also
return to design and apply the film’s
special makeup effects, manufacturing
hundreds of creature prosthetics for many
of the unique characters in the story. KNB
EFX Group, Berger’s award-winning
design house in Los Angeles, fabricated
several full-scale animatronic suits for the
story’s unique Narnian beasts, which include minotaurs, satyrs and centaurs.
Oscar®-nominated production designer Roger Ford (“Babe,” “Peter Pan,” “The Quiet
American”), award-winning costume designer Isis Mussenden (“Shrek,” “Shrek 2,” “10 Items
or Less”), film editor Sim Evan-Jones (“Shrek,” “Shrek 2”) and Grammy®-nominated
composer Harry Gregson-Williams (“Shrek,” “Shrek 2,” “Flushed Away”) all repeat their roles
from “The Lion, the Witch and the Wardrobe.” Karl Walter Lindenlaub, ASC, bvk
(“Independence Day,” “Stargate”) joins Adamson’s technical team as director of photography.
In addition to its commercial success,
“The Lion, the Witch and the Wardrobe”
also earned numerous awards, including
the Oscar® for Best Achievement in
Makeup, as well as nominations for visual
effects and sound; the British Academy
(BAFTA) Award for Best Makeup, along
with nominations for visual effects and
costumes; Golden Globe® nominations
for Best Movie Score and Alanis
Morissette’s original song “Wunderkind”;
and a pair of Grammy® nominations for score and Imogen Heap’s original composition “Can’t
Take It In.”
THE CHRONICLES OF NARNIA: PRINCE CASPIAN began filming on February 12,
2007, for six weeks on both the North and South Islands of New Zealand, where locations
again included Henderson Studios’ soundstages as well as brand-new sites on the country’s
alluring Coromandel Peninsula on the North Island. South Island locales included the isolated
PRODUCTION INFORMATION
21
THE RETURN TO NARNIA
Haast River Valley bordering the Tasman Sea on the country’s verdant South Westland coast,
and forests near Paradise Valley and Glenorchy outside of Queenstown.
After concluding the New Zealand portion of the schedule in late March, the company
relocated to Eastern Europe and the legendary soundstages at Prague’s Barrandov and
Modrany Studios. Key exterior locations in the Czech Republic included the Northern
Bohemian city of Usti, the primary site of the film’s epic climactic battle, and locales in
Poland and Slovenia.
THE RETURN TO NARNIA: THE STORY OF PRINCE CASPIAN
The enchanting characters of C.S. Lewis’ timeless fantasy come to dazzling life again in
THE CHRONICLES OF NARNIA: PRINCE CASPIAN. This time out, the Pevensie
siblings—Peter, Susan, Edmund and
Lucy—are magically transported from
World War II-era England to Narnia
through a tube station near London’s
Trafalgar Square, embarking on a perilous
new adventure and an even greater test of
their faith and courage.
One year after the incredible events of
“The Lion, the Witch and the Wardrobe,”
the former kings and queens of Narnia
find themselves back in that faraway
realm, only to discover that more than 1,300 years have passed in Narnian time. During their
absence, the Golden Age of Narnia has faded into legend. The land’s magical talking animals
and mythical creatures exist as little more than folktales to the Telmarines, a race of humans
led by the merciless Lord Miraz. The mighty lion Aslan has not been seen in 1,000 years.
The four children have been summoned back to Narnia by Caspian, the young heir to the
Telmarine throne, to combat his evil
uncle, Miraz. With the help of a crusty,
valiant dwarf (Trumpkin), a courageous
talking mouse named Reepicheep and a
mistrustful Black Dwarf (Nikabrik), they
lead the Narnians on a remarkable
journey to restore magic and glory to the
land.
Prince Caspian is the second of Lewis’
seven-book Chronicles of Narnia series,
which includes The Voyage of the Dawn
Treader, The Silver Chair, The Horse and His Boy, The Magician’s Nephew, The Last Battle
and the story that launched the series, The Lion, the Witch and the Wardrobe. Published
between 1950 and 1956 and long regarded as one of literature’s most enduring and imaginative
classics, Lewis’ books have sold over 100,000,000 copies in more than 35 languages, making
it one of the biggest book series the world over.
As the creative and artistic director of Lewis’ estate and the C.S. Lewis Company, Douglas
22
Gresham (the son of Lewis’ wife, Joy
Davidman Gresham, and her first
husband, novelist William Lindsay
Gresham) worked for over 20 years to
bring Lewis’ books to the big screen.
Following the resounding success of “The
Lion, the Witch and the Wardrobe,”
Gresham is embarking on what he calls
“the second chapter in a lifelong dream.”
“I watched that dream come true when
‘The Lion, the Witch and the Wardrobe’
exploded onto movie screens around the world in 2005,” Gresham exclaims. “I always
expected the movie to be a delight and a joy to world audiences, but I have been somewhat
humbled by its level of success.”
Producer Mark Johnson believes the second film has surpassed the original in many
respects. “This movie is bigger than ‘The Lion, the Witch and the Wardrobe,’” he says. “It’s
bigger in terms of the number of people behind the camera. It’s bigger in terms of the number
of people in front of the camera and, most importantly, it’s bigger dramatically. The themes
that we’re playing out here, and the relationships, are much bigger and a bit darker than they
were in the first film.”
Director Adamson explains: “PRINCE CASPIAN tells the story of Narnia 1,300 years after
the Pevensies left. The Telmarines have taken over Narnia and driven all the creatures into the
forest. Prince Caspian, the rightful heir to the throne, has been ousted by his uncle, Miraz.
Caspian blows Susan’s horn to bring the Pevensie children back to Narnia to save the land
from Miraz, this unrightful king.”
The story reminds Johnson of the films
he loved as a kid. “It harkens back to some
of those movies that were full of adventure
and swashbuckling and brave characters.
We even have a castle and a moat! On top
of that, it takes place in Narnia, so it
involves C.S. Lewis’ imagination.”
Unlike the first movie, which
deliberately started small and built to the
epic battle scene, PRINCE CASPIAN
starts big and gets even bigger. “We’ve seen that epic world now,” notes Adamson. “So, at the
beginning of this movie, we had to start epic and then get more epic. We had a lot more
exterior locations. We had castles and kingdoms created by a new race of men, the Telmarines.
So there was this whole new world to design. Also, this film is probably a little darker and
grittier than the last one, partly because the children are older, making the story more adult
in nature.
“In the last film, I think we went to some pretty dark places,” he adds. “Aslan’s death,
certainly, is one of the darkest moments in the film. I think this movie has the potential to be
even more sinister. Miraz is potentially someone that we might actually see in real life, which
makes him and the story that much darker.
THE RETURN TO NARNIA
23
CHARACTERS OLD AND NEW
“‘The Lion, the Witch and the
Wardrobe’ is a very emotional story about
sacrifice and forgiveness,” Adamson says.
“In some ways, this is a more personal
story, a story of these kids returning to a
place that they love but that no longer
exists. This is more about coming to
adulthood, about growth and adventure.”
That idea resonated with the director
on a personal level. Although born in New
Zealand, Adamson spent his formative
teen years in Papua New Guinea, “which no longer exists as I remember it growing up. For
me, it’s a similar experience for these four children as they venture back to Narnia, a world
that is not the same as when they first went there.”
“When I read The Lion, the Witch and the Wardrobe as a child, I remember getting to the
end of it and thinking, ‘Well, hang on a sec,’” Adamson recalls. “These guys were kings and
queens. They ruled Narnia for 15 years. They fought battles. They won wars against giants and
now they have to go back to school? I wanted to see what happened next.”
“PRINCE CASPIAN is a completely different story from ‘The Lion, the Witch and the
Wardrobe,’” producer Johnson explains. “The children have adjusted to a varying degree to
being British school kids again. All of a sudden, they’re brought back to Narnia because they
are needed to help save the land once again.”
THE CHARACTERS OF PRINCE CASPIAN—OLD AND NEW
“It’s a wonderfully nostalgic story,” adds Adamson. “Basically, the children have come back
to a place that they’ve longed to be, the place they ruled for 15 years. Everything has changed.
Cair Paravel is in ruins. The people they know have been driven into the wild. Aslan hasn’t
been seen for 1,000 years. They’ve got to come to terms with that, and at the same time, try
to restore Narnia as they know it.”
That theme intrigued the screenwriters
as well. “It’s an area Lewis left mostly
untouched,” offers screenwriter Markus.
“Lewis memorably examined what it
would be like for a 1940s school kid to
become King of Narnia. However, he
didn’t much consider what it would be
like for a King of Narnia to return to
being a 1940s school kid.”
“Their year back in London must have
been awkward at best,” adds writing partner McFeely. “Given their different personalities,
each Pevensie handles the situation with varying levels of success. Their sudden return to
Narnia pushes different buttons in each.”
And, how do the experiences of the four young British actors compare to what their screen
counterparts encountered in the new story?
24
The eldest of the foursome, 21-yearold
William Moseley, says his anticipation
and anxiety to get back in front of the
movie cameras echoed what his character
Peter endured in the time between his 15year
reign of Narnia and his return to the
kingdom in the new story. Just like his
character, the handsome British native
returned to secondary school.
“Finishing the first film was an
amazing experience,” he says. “Then it
was all taken away. Even though I didn’t react the same way Peter does, I can really understand
how he feels.”
Once the senior sibling returns to Narnia, “he becomes slightly arrogant,” the actor notes
of his character. “There’s fighting within the group. Peter cannot accept Caspian. His plans are
not set from his heart, but from his ego. Even when he doubts himself, he still is too stubborn
to back down and accept that he might be wrong. And ultimately, he pays the highest price.”
In the process, Moseley says, his character becomes a man. “When he gets back to Narnia,
it’s 1,300 years later and people don’t know he’s a high king. They just see a boy. Peter has to
prove who he is to the Narnians.”
“When we cast William as Peter, he was just 15 and had never done anything like this
before,” Adamson notes. “William’s transformation was not dissimilar to that of his character,
Peter, in the story, from this 17-year-old boy into a young man. I don’t think he’d even been
on a movie set before. He was just this really great kid you wanted to be your big brother. And
now, William has turned out to be a handsome and capable young man.”
Adds co-star Anna Popplewell, “Although William is 21, he’s playing a 16- or 17-year-old.
But he’s an adult now. I had my first audition with him when I was 13. And we really have sort
of grown up together. Everyone has grown up a little bit, and changed a little bit,” she
observes.
However, Popplewell did notice how the character of Susan had changed when she read
through the script. “Susan gets to be involved in a bit more action this time,” the actress
enthuses. “I loved doing the fighting scenes. I loved being in the raid and the battle and getting
my teeth into some of the stunts. I didn’t get to do much of that in the first movie.”
The film marks the end of Narnia’s road for the eldest Pevensies, Susan and Peter.
Popplewell admits, “I feel incredibly lucky to have had this experience, a fantastic time. And
I’d so much rather have been here than not been here. But, at the same time, it’s really sad that
I won’t be coming back.”
After finishing “The Lion, the Witch and the Wardrobe,” Popplewell concentrated on her
secondary school studies and landed a coveted spot at Oxford’s Magdalen College, the same
school where author C.S. Lewis served a three-decade tenure from 1925-54, although she did
not know of Lewis’ longtime connection to the college until she read a biography of the famed
author.
Co-star Georgie Henley has grown into a bright and studious 12-year-old who has written
two of her own stories, The Snow Stag and A Pillar of Secrets.
About Lewis’ imaginary world, its story and its characters, Henley says, “They’re just
25
CHARACTERS OLD AND NEW
CHARACTERS OLD AND NEW CHARACTERS OLD AND NEW
brilliant because of the way C.S. Lewis
wrote them. He didn’t put too much
description in, so Narnia is almost our
complete imagination. We can interpret it
however we like. I think that most people
have their own interpretation of these
books and these characters.”
Henley acknowledges two changes in
her character in the second film. “In the
last film, I was sweet little Lucy, and now
I’m a bit more ‘actiony,’ which was quite
fun,” she says, adding that she spent time learning to ride a horse and wield a dagger for her
role. “Also, Lucy stands up for what she believes in more than in the last film—her faith in
Aslan. She’s braver and she has her own view about what she thinks is right. She sees Aslan
before her siblings do, which I think shows Lucy’s trust in Aslan more than the others.”
Producer Mark Johnson describes Lucy Pevensie’s dilemma as a fundamental question of
faith. “She’s asking, ‘Who am I? What is the right thing to do?’ Her conscience dictated a lot
of what she did on the last film. In this one, it’s put to some pretty severe tests.”
Skandar Keynes, who plays Edmund, was 12 when he started shooting the first movie. By
the end of PRINCE CASPIAN, he had turned 16. Despite his being five years younger than
his co-star Moseley, Keynes sees his character as taking the role of the older brother in his
relationship with the elder sibling Peter this time out.
“Edmund is always looking out for Peter,” says the young actor. “He always helps him, but
never gets the credit he deserves and that gets to him a bit. It’s one of the recurring themes—
how Edmund’s always helping Peter out. You know, there was even a day on the call sheet
where the scene description was ‘Edmund
saves the day.’ I didn’t let anyone forget it.
I walked around with a call sheet in my
hands all day saying, ‘Edmund saves the
day.’ That was really cool.”
Co-star Moseley believes moviegoers
will see the Pevensies in a new light in
PRINCE CASPIAN. “Peter and Susan
especially. These two had challenges in
the first film, but nothing on this level. I
think audiences will be surprised and
engaged by both the physical battles and the emotional battles endured by our characters.”
“They’ve all grown up really well,” director Adamson says, sounding like a proud parent of
the young actors portraying the Pevensie clan. “A large reason for me to do this again was
working with the same children. There is this wonderful relationship between the kids, how
they became a family and how they let us become a part of that family. There’s change in very
positive ways in growing up, but I’d like to say the movie didn’t change who they are, which
I’m really happy about.”
26
THE NEW CHARACTERS
The characters battling for control of the vastly altered Narnia are played by two new faces
on the Hollywood movie scene—the young, charismatic British stage actor Ben Barnes as the
film’s title character and seasoned Italian movie star Sergio Castellitto, who embodies pure
evil as King Miraz.
Barnes was no stranger to the C.S. Lewis literary series. “I was a massive Narnia fan as a
kid,” Barnes exclaims with the exuberance of an eight-year-old boy delving into the novels for
the first time. “I definitely remember the books being a big part of my childhood. When I found
out I got the part, I looked through my bookshelves and found this copy of Prince Caspian with
a 1989 copyright, when I
was eight.”
“We took a long time to
find Ben and saw many
actors for this role,”
Johnson says. “We needed
a young man who could
be heroic, but who also
had something in his
personality that reflected what the character learns through the journey in this film.”
English casting veteran Gail Stevens had an assistant who had seen Barnes in the recent
West End staging of the award-winning drama “The History Boys.” When she contacted his
agent, the actor taped an audition reading for Adamson.
That video introduction led to a personal audition where the director crowned him the star
of his new movie. “When we finally met Ben in person, we found him charming and fun and
comfortable. He won us over,” Adamson recalls. “You could see from his effort and
enthusiasm how much he wanted the role. I admired his work ethic.”
Barnes’ whirlwind adventure began almost immediately. Costume fittings, horseback-
riding practice, dialect lessons, fencing and stunt rehearsals consumed his early days and
weeks on location in New Zealand.
In addition to immersing himself in the
role, he also had to find a place for
himself in a tight-knit film family. All
four Pevensies were anxious to meet
Barnes and see how he would fit in when
he first arrived in New Zealand.
“He became an honorary Pevensie,”
jokes Keynes. “And the fact that he was
25 when we made the movie made
everyone else act a bit more mature.”
“Ben had a lot to live up to before we’d
even met him,” says Popplewell. “Especially for William and me, because we knew that we
were not in the next story. We were, in a sense, passing the films onto someone whom we
really liked. He had that something that we very much connected with.”
Before he meets the Pevensies in Narnia, Caspian is rallying support among the Narnians
THE NEW CHARACTERS
27
THE NEW CHARACTERS
for a campaign against his own people, the Telmarines. “They’re trying to kill him,” Barnes
explains. “I blow the magic horn and summon the Pevensies back to Narnia. Peter, as the High
King, rightfully assumes that he’s in charge. We both have different ideas about how we should
go about defeating my evil uncle, which leads to this conflict between us.
“Even though the story takes place in a fantasy world, you have to play every moment as
truth,” says Barnes. “I hope those moments translate into something that the audience can
really become involved with. If so, they will get behind Caspian and see him through from the
beginning to the end of his journey.”
“The adult characters are much more scary in this film,” says Moseley. “The White Witch
was scary, but you’ve seen nothing until you’ve seen Miraz. I fought both of them one-on-one,
and Miraz took my breath away. It was really interesting watching Sergio change into Miraz.
He takes on a whole new persona!”
During the casting process for the evil Miraz, the filmmakers were immediately intrigued
with Castellitto. “Sergio is one of the most accomplished and well-regarded European actors
around today,” says producer Johnson about his screen villain. “As soon as we saw his audition
tape, we said, ‘Let’s explore this further.’”
Castellitto’s lengthy acting resume includes some of Italy’s best-known movies over the last
quarter century. He is well known for roles in Luc Besson’s “The Big Blue” and Best Foreign
Film Oscar® nominees from Italy such as “La Familia” and “L’Uomo delle stele.”
“I have a lot of admiration for Andrew Adamson because he pays attention to the
psychological aspect of the performance and character,” Castellitto says. “We spoke about the
character as a human being. We spoke about the battle between youth and age. The good and
evil is evident in that dichotomy between Miraz and Caspian.”
Once actor and director had established Miraz’s psychological profile, they next turned to
his physicality. The physical look of the
film’s human cast fell to a team of
makeup magicians led by two-time
Academy Award® nominee Paul Engelen
(“Greystoke: The Legend of Tarzan,”
“Lord of the Apes,” “Casino Royale”) and
hair designer Kevin Alexander (“Casino
Royale”).
Engelen, a 40-year industry veteran
with one of his craft’s best professional
resumes, in collaboration with Adamson,
created a Mediterranean look for the Telmarine characters. The longtime makeup artist felt
immediately that Miraz should have some kind of beard. “The character of Miraz demanded
that he be very forceful and intimidating for the part to succeed, and I very soon arrived at the
triangular design we decided to use,” Engelen says. “I enlarged the chin area with an extension
piece. With the addition of extended eyebrows, some darker color in and around the eyes, and
the character’s trademark earring, we ended up with a good character look for Sergio.”
Add to this a wardrobe that costumer Mussenden describes as “a bit pirate, barbaric in
character, but sophisticated in style and all inspired by images of 15th-century Spanish soldiers,”
plus Weta’s magnificent armor and weapons, and Miraz came to vivid and terrifying life.
28
THE CREATURES
Howard Berger and his award-winning makeup magicians had been waiting two years to
return to Narnia. “We were chomping at the bit to go back for the next film and get a chance
to revisit all the Narnian inhabitants we helped create for the first film,” Berger says.
Berger was eager to create the new,
wilder look of the creatures of Narnia,
who have been living in hiding for
centuries when the film begins. “In
PRINCE CASPIAN, we had heavyset
fauns, old-age fauns, female dwarves,
African-Narnian centaurs and their
families. The minotaurs are now on the
side of good. We have a new hag, a
werewolf and the satyrs are back, but all
redesigned to be more animal-like.”
The task would require a large staff of experts ranging from concept artists to creature-suit
fabricators, from hair designers to latex-piece manufacturers. “We estimated close to 3,000
makeups on the film, which would keep the foam department busy almost 24/7 for the next
nine months. We ended up applying 4,600 makeups by the end of the shoot, which is, I believe,
a world record,” Berger reports.
Berger and a team of more than 40 special makeup artists gave birth to the film’s more
fantastical creatures. “My favorite Narnians are the dwarves,” Berger says. “We had two
fantastic dwarf characters in the film: Trumpkin, played by Peter Dinklage, and Nikabrik,
played by Warwick Davis. We designed some very intricate makeup applications to transform
them into Narnians.”
When the role of Trumpkin was being conceived, director Adamson knew that Dinklage
was his first choice to play the role. “I knew when I saw ‘The Station Agent’ that I wanted to
cast him,” the filmmaker says.
“He’s the first actor we cast for this movie,” exclaims Johnson about Dinklage. “He’s just
phenomenal.”
Once signed on, Dinklage turned to the books—which he did not read as a youth—for
research and inspiration. He describes his character as “curmudgeonly” but adds “too much
of that and you’re not going to want to spend time with him on the journey. Let’s just say that
the Pevensies annoy him, and he’d rather have a glass of wine back in his tree.”
Before agreeing to take the role, Dinklage caught a glimpse of what Trumpkin might look
like when he visited with Adamson in Los Angeles for an introductory meeting. The
filmmaker showed Dinklage some of the pre-visualization materials, “some computer
animation of what appeared to be these big battle sequences,” the actor remembers.
“I sat there in this room filled with computers and watched as my likeness came up in these
computer images,” he continues. “I had never seen anything like that before. It was weird,
really, but I felt like I couldn’t say no at that point.”
Even with this unexpected peek at Trumpkin’s appearance, Dinklage had no notion as to
what Berger and his team would devise to transform the blue-eyed actor into a vivid Narnian
creature. Berger and Tami Lane, who both earned Oscars® for the first movie, rendered him
THE CREATURES
29
THE CREATURES
unrecognizable, except for his piercing eyes.
Working from a concept painting of what Berger envisioned for the character, Lane began
the daily two-and-a-half-hour transformation by shaving Dinklage’s head completely and
painting it. She dyed his eyebrows before gluing on latex face pieces. Finally, the makeup
artist tacked on the intricate hair work that turned Dinklage into a fantastical, otherworldly
creature.
“The last thing was a really long, red beard and wig made of yak hair,” Dinklage says. “And
somewhere there’s a yak on top of a mountain who’s very cold. And I’m sorry. However,
because we filmed in the summer in Prague, it was not the coolest of makeups for me.
“With a lot of makeups, you can lose the actor underneath them,” the actor continues.
“Howard and Tami really managed to make me look completely different and still allowed my
expressions, my emotions, to come through.”
“Peter brought so much life to the character,” says Berger. “I always say that a makeup is
half successful if we do our jobs right. That, plus the performance, made Trumpkin truly alive
and believable. We gave Trumpkin his look. Peter gave him his heart.”
While Lane concentrated her daily efforts on actor Dinklage, fellow makeup artist Sarah
Rubano won the assignment to metamorphose Warwick Davis into a character the actor
himself calls “sour inside.”
“Howard’s makeup was loads of help for me in understanding the character,” says Davis.
“Then you find the character’s voice. Then Isis’ costume, which was such an immaculate piece
of workmanship…while the detail may not come across for audiences, subliminally, it’s all
there. As an actor, it makes you feel so at home in the character. I lived, worked and fought in
those clothes. You are then placed in the surroundings, the sets, and magically, you are in
Narnia.”
“Warwick is an actor who has been able to imbue all of his characters with something
different,” notes producer Johnson.
“That’s what I prize most in an actor—
surprises. I think his Nikabrik character is
very surprising because he is irascible, yet
speaks real logic. Nikabrik has really paid
for the fact that Narnia has been under the
thumb of the Telmarines. So he has some
real surprises as a character up his
sleeve.”
Davis was intrigued by a clever
illustration of the character done by one
of Berger’s associates at KNB, John Wheaton. “It was brilliant, because it was me, but as an
old man. It was my photograph over which he painted the character concept. It captured
Nikabrik perfectly.”
When Davis looked in the mirror after the marathon session, “What I saw was the character
in three dimensions that Howard’s artist had portrayed in two dimensions,” the actor notes. “It
was astounding.”
Another daily visitor to Berger’s trailer camp was English musical-theater star Cornell S.
John, who plays Glenstorm, the powerful Afro-Narnian centaur who aids Prince Caspian and
the Pevensies in their fight against Miraz.
30
“For Glenstorm, Andrew wanted a tall and imposing actor of African descent,” casting
director Stevens remembers. “Glenstorm is a wise, spiritual character who is also a great
warrior, so he needed to move with grace and dignity. We did a global search that went as far
afield as Africa and found Cornell in London. We had known and admired him in many
leading roles in musical theater and opera, from ‘The Lion King’ to ‘Porgy and Bess.’”
John endured a lengthy makeup process that transformed the actor into one of mythology’s
quintessential creatures, the centaur—half man and half horse. Latex face appliances
combined with green-screen tights over which the VFX magicians superimposed the body and
legs of a horse turned the soft-spoken actor into one of the film’s most imposing creations.
“I’m 160-percent Mike Fields, the guy who did my makeup,” John states. “In the
beginning, I had no idea what I should look like. I was hoping for something that expressed
honor, pride and tradition. Because centaurs can live for hundreds of years, there’s no age limit
on this. I put myself at 170 Earth years. This face of Glenstorm is the face of time.”
And, as they did on the first film, KNB created life-sized animatronic puppets and suits for
the CGI character of Aslan for use on the set during filming.
“Andrew wanted him to be 15 percent larger,” says Berger. “We were able to utilize the
digital scanning information from the first film and have Cyber FX mill out a new sculpture
15 percent larger than the first. We ended up with a very large lion in the shop.”
The face of Reepicheep, the swashbuckling mouse, did not come from the brush of one of
Berger’s talented artists. Instead, the rodent was born from the strokes of a keyboard mouse,
through computer software under the control of VFX co-supervisor Wendy Rogers.
“I grew up on the Narnia books and Reepicheep was definitely one of my favorite
characters,” director Adamson says of the gallant, honorable and noble mouse who wields “a
tiny little rapier,” in author Lewis’ description of the character. “He was ingrained in my
imagination. The trick here was finding the right voice. He was difficult to find, but we finally
cast Eddie Izzard for the part.”
The filmmakers auditioned over 100 voices to find the right actor to bring the character to
life, says producer Mark Johnson. “Eddie Izzard’s voice came closest to the seriousness of the
character and yet didn’t in any way repel us or not let us have immediate affection for
Reepicheep.”
Once the filmmakers chose Izzard, Rogers focused on physicalizing the character.
“Reepicheep is a big mouse, some 22 inches tall,” Rogers explains. “That will take some
suspension of disbelief. At that size, we still have to make him feel like he’s a mouse. We have
to find the correct balance between anthropomorphizing Reepicheep and maintaining the fact
that he is a real animal—a mouse.
“The voice actor plays such a big part in defining the character,” Rogers continues. “It’s not
the fact that the animated character resembles the actor playing him. The actor may do some
mannerisms or a physical flourish, like wave a sword. We have lipstick cams at these recording
sessions to capture that. That helps our exploration of who the character is.”
Of all the Narnian characters London-based visual effects house The Moving Picture
Company (MPC) had to create for PRINCE CASPIAN, Reepicheep was the one requiring the
most art direction and overall attention to detail, says MPC’s Greg Butler. “One of the first
challenges was that a very big mouse would be hard to keep looking ‘mousey.’ We wanted to
make sure Reepicheep didn’t end up looking like a rat. We also had to work out an anatomy
that was based on a mouse, but still allowed him to sword-fight, wear armor and walk on two
THE CREATURES
31
RECREATING NARNIA
as well as four legs.”
“This story is Reepicheep’s introduction,” says Adamson. “Dawn Treader will be his story.
What we’ve done is establish him for the next Narnia adventure. I didn’t really get to exploit
him like so many other characters. But he is so worthwhile and interesting.”
THE PRODUCTION: RECREATING NARNIA
C.S. Lewis began Prince Caspian with the following passage:
Once there were four children whose names were Peter, Susan, Edmund and Lucy,
and it has been told in another book called The Lion, the Witch and the Wardrobe
how they had a remarkable adventure.
The second remarkable journey for Adamson and his team of artisans and actors (which
numbered about 2,000 by the time filming ended) began while the first project was still in
post-production. While screenwriters
Markus and McFeely toiled on the script,
pre-visualization artist Rpin Suwannath
coordinated a staff of 12 artists and
started visualizing the movie in a
computer.
“Pre-visualization is the process of
creating computer-generated animatics
that serve as a creative, technical and
useful tool for budgeting the movie and
let Andrew visualize his scenes months
before he shoots them,” explains Suwannath, who oversaw the same responsibilities on the
first movie.
The process was vital to Adamson’s ability to mount a film of this magnitude. “It helps you
see pieces of the puzzle that aren’t there on the day you direct these huge scenes,” the director
says. “I can’t imagine not using pre-vis for a movie like this.”
While Suwannath and his team began to visualize the world of Narnia inside their
computers, the filmmakers began their lengthy, global search to find locations that would
evoke a vastly different realm than the winter landscape depicted in “The Lion, the Witch and
the Wardrobe.”
“Narnia doesn’t exist,” says Mark Johnson. “Except in C.S. Lewis’ imagination. And in
Andrew Adamson’s vision. In putting together this physical Narnia, we had location scouts all
over the world for almost a year before filming began, trying to find places we could use to
portray Narnia.”
James Crowley, who served as location manager on the first film, along with a team of
regional scouts, went to 20 countries, spanning six continents.
“There was a predetermined feeling about New Zealand,” Crowley says. “Europe was also
discussed, but not where specifically. Part of this was due to the seasons. For this story, we
needed an endless summer, so the seasons and the hemisphere played a huge factor in
determining the final locations for the movie.”
The filmmakers ultimately chose to shoot in the Czech Republic (including Prague, Usti
32
and the Brdo region near Dobris), Poland (Stolowe National Park near Kudowa-Zdrój; the
Kamiencyka Gorge in Szklarska Poreba), Slovenia (the River Soca in Bovec near the country’s
only national park, Triglavski Narodni Park) and New Zealand.
“The thing that New Zealand offers that a lot of places don’t is a proliferation of old-growth
forests,” Adamson says, explaining what drew him back to his native country. “There’s not an
area of Europe that hasn’t been felled and regrown at some point, so finding an old-growth
forest is very difficult. In New Zealand, the whole west coast of the South Island is covered
with ancient forests.”
Shooting began at two breathtaking sites on the Coromandel Peninsula’s Mercury Bay,
which served as the settings for scenes in which the Pevensie children take their first steps
back into Narnia: Cathedral Cove, a spectacular beach on the eastern shore of the peninsula,
and a majestic bluff rising several hundred feet above the ocean where the siblings discover
the ruins of Cair Paravel.
The company then departed for the country’s South Island, a magical place offering some
of the planet’s most glorious scenery. Three sites were chosen for the two-week trip south. The
first two, spectacular rivers in the country’s South Westland area have been given aliases to
prevent them from being overrun by tourists—the “Westland River,” a scenic site which
dramatically empties out to the Tasman Sea, and “Glasswater River.”
This second locale is defined by a dramatic river chasm bookended by cascading waterfalls
that plunge 200 feet into the glassy waters. The water shimmered so clearly, actress Popplewell
says, “Audiences won’t believe it’s real water because it appears to be an optical illusion
created by VFX in post-production.”
The third South Island site chosen for filming was Paradise, a privately owned horse ranch
about an hour’s drive from Queenstown. “There were a couple of locations that were perfect
for this movie that only New Zealand could offer,” says Johnson. “In many ways, it is a
fairytale country with the kind of locations that make your jaw drop. New Zealand gave us the
magic of Narnia.”
After a ten-day break in production to relocate scores of crew members and the film
equipment literally halfway around the world, PRINCE CASPIAN resumed filming in Prague,
also known as “the City of 100 Spires” because of the plethora of church and castle towers
that dot its skyline.
“Prague is a popular place for film
shoots,” says Johnson, “for a number of
reasons. They have very good film crews;
all the necessary equipment and
soundstages are available here; and it’s a
relatively inexpensive place to shoot,
which is a real factor these days.”
The location was also an advantage for
the cast. “It was really difficult on the
children and their families to spend six or
seven months in New Zealand on the last film,” he says. “From central Europe, they could be
back home in England in a couple of hours. That was really important for them.”
The capital of the Czech Republic doubled for World War II England with the collective
help of the art department, costumes and transportation. The road in front of the Praha
RECREATING NARNIA
33
RECREATING NARNIA
Rudolfinum, one of the city’s grand
concert halls, was transformed into
Trafalgar Square circa 1941, with a bit of
help from VFX supervisor Wright, who
rotoscoped in footage from that era.
Prague is also the home of legendary
Barrandov Studios, which has attracted
plenty of large-scale productions over the
last decade, of which this film is
reportedly the biggest. Since its
beginnings in 1931, Barrandov has
launched the careers of cinema giants including Milos Forman, Jirí Menzel and the late Ján
Kadár. In recent years, Hollywood has brought in productions including “Casino Royale,”
“The Brothers Grimm” and “The Bourne Identity,” as well as “The Lion, the Witch and the
Wardrobe.”
The studios are large enough to house a small forest. In fact, Barrandov’s brand-new “Max”
Stage 8 became C.S. Lewis’ Dancing Lawn, an indoor forest complete with a sophisticated
sprinkling system to feed the living set. “Dancing Lawn is a place so deep in the forest that
the Telmarines have never found it,” production designer Roger Ford explains. “In the book,
it’s a place where the fauns and other Narnian creatures go to dance in the night. In the film,
it’s the place the Narnians gather to plan their campaign with Caspian.”
The designer used Lewis’ scant descriptive phrases as the inspiration for his vivid
interpretations of the film’s settings. He did not take his obligations lightly, understanding that
his interpretations would be closely scrutinized by fans.
Ford’s signature set piece was the mammoth castle courtyard built on the studio’s backlot.
The set, which he calls a character in the story, began with Lewis’ simple phrase: “Caspian
lived in a great castle…” Six stories high, the castle shoots some 200 feet into the sky,
courtesy of VFX augmentation, and contains more than 20,000 square feet of interior space.
The magnificent design took 200 carpenters, painters, sculptors and other craftspeople 15
weeks to build.
Two symbols were chosen to emphasize that the Telmarines “are warlike, and not a very
nice bunch of chaps,” according to Ford. Much of the Telmarine world is adorned with the
head of an eagle, which embellishes not only the castle courtyard on the backlot and the
crossbows used by the Telmarines, but the arms of the various thrones scattered throughout
Miraz’s Great Hall.
In addition, Ford was inspired by the Telmarines’ origins as a pirate culture to use the
compass on the soldiers’ shields in the architecture of the Great Hall and in the banners
fabricated for each of the 21 lords under Miraz’s rule.
Equally impressive in scope and detail are the ruins of the Stone Table in the How, where
Aslan the Lion was sacrificed in the first story. The crypt-like, circular structure was carved
out of plaster and polystyrene, with pillars reaching dozens of feet towards the stage’s towering
ceiling. It contains a series of detailed plaster carvings that depict the history of the Narnians
over the past 1,300 years.
“The How was such an important storytelling piece because of the Stone Table,” explains
supervising art director Frank Walsh. “We had to develop and tell the story of what happened
34
during those missing hundreds of years. These carved stone panels are all very important
images.”
Adamson came up with the idea of “a channel or trough around the How directly beneath
the wall carvings,” Ford says. “It is a well of oil that Caspian lights with a torch. The flames
encircle the room, lighting up the panels.”
“We couldn’t use real oil or burning liquid because it’s hard to control,” explains
mechanical effects supervisor and designer Gerd Feuchter. “We had to create a special
propane burner which we then placed underneath a level of colored water.” The grid of
propane valves sat underwater in the circular trough, which baffled set visitors, who had no
idea that propane could burn underwater.
Ford’s crew spent over two months in the Bovec region of Slovenia erecting a massive
bridge over the River Soca and its tributary Gljun for the setting of what may be the most
memorable moment in the film, the River God sequence.
“In the book, the Bridge at Beruna is built by the Telmarines hundreds of years earlier,” says
the designer. “When the Narnians are finally victorious, Aslan calls on the River God to
destroy the bridge and free the river.”
Industrial engineers were called in to reroute the river’s flow to accommodate Ford’s set
designs for the scene. The film’s bridge was constructed out of oversized pine logs lashed
together with massive ropes. It had to be a practical bridge that could hold 200 soldiers (and
dozens of crew members and heavy equipment) charging across it. “It was really quite
extraordinary,” Ford says, referring to the engineering and the machinery involved.
“It required a real piece of civil engineering,” adds supervising art director Frank Walsh.
“We were introduced to the biggest bridge builder in Slovenia, the Primorje Group, and they
didn’t even bat an eye. They adapted their operation and approach to what we wanted, came
on board and were fantastic.”
One of Ford’s more whimsical designs for the film is Trufflehunter’s Den, an octagonal
structure built on wheels so that pieces of the set could be dismantled to allow intricate camera
angles. Director Adamson mounted a still-photo camera on a pole and used it to photograph
an actual badger’s den inside the hollow of an oak tree. Those photos inspired Ford’s set design
and Kerrie Brown’s set dressing, which added a touch of verisimilitude to Lewis’ imaginary
world.
At New Zealand’s Henderson Studios outside of Auckland, Ford’s crew built the Treasure
Chamber, a decaying, two-story subterranean cavern. For inspiration in creating the massive
treasure collection, Brown visited several museums in London and Paris and took photographs
of lavish gifts that had been presented to the nobility of various countries. “We wanted the
room to show that Peter and Edmund and Susan and Lucy, when they were kings and queens
in Narnia, had been presented with treasures from people from different lands,” she says.
Brown next scoured prop stores in Australia and New Zealand to rent chalices, urns, armor
and such, “but there wasn’t enough to fill up this huge room.” She added over 2,000 props
designed, molded and sculpted by her prop department. That busy department, headed by
Roland Stevenson, kept a staff of 35 working around the clock to manufacture over 7,000 prop
pieces for the entire film.
Costume designer Isis Mussenden engineered the creation of hundreds of original
wardrobe designs to clothe the Telmarines. Supervising a staff of over 70 artisans in both
Prague and Auckland, Mussenden drew upon two sources for her vivid designs—folk dress of
RECREATING NARNIA
35
RECREATING NARNIA
Sardinia and the paintings of the Cretan artist and Byzantine Mannerist, El Greco. “There are
images in Pauline Baynes’ illustrations for the book that stay with one forever,” Mussenden
recalls. “We never intended to ignore them. At the same time, I could not be bound by her
illustrations either, because we are designing three-dimensional costumes.
“I like to start with a color palette,” she
notes about the cool silver and gray
shadings of the Telmarine army. “We
already had the palette of the Narnians,
but we needed to create one for the
Telmarines. We didn’t want to use red and
gold. Those are Narnian colors. I
eventually chose several paintings of El
Greco. They are gruesome images, acidic
and cool, and were perfect for our needs.”
The next piece of the puzzle was taken
from a book about the Sardinian cultural dress she found on a shopping trip to Italy. “Sardinia
is a notorious rough-and-tough island which sported the new look I was after,” Mussenden
says. “Skirts, vests, wide belts, garters and jackets…no capes! We went for the Mediterranean
feel, which was a call by Andrew, to get ourselves in a different culture, a little different skin
tone, a little different flavor.”
She also visited the curator of one of the world’s foremost armor collections, Stuart Pyhrr
of New York’s Metropolitan Museum of Art. A private tour and an afternoon in the archives
provided the spark for what would become the Telmarines’ battle gear.
“The scope of this film for us in the wardrobe department was ten times bigger than the
first one,” she exclaims. “Not only in the actual count of how many characters and extras for
whom we had to make costumes, but also the number of multiple costumes we had to make
to cover stunt doubles, photo doubles, actors’ growth and just wear and tear over six months
of shooting.”
“I designed and manufactured an army, which I have never done before,” Mussenden says.
“While it was fascinating and interesting, it was also more work than I could have ever
imagined.” Mussenden and associate designer Kimberly Adams, her longtime colleague and
friend, estimate they built 262 cast outfits, 3,722 individual items for the Telmarine army
(including helmets, masks, brigandines, underbrigs, shirts, pants, boots, gloves and grieves),
1,003 Telmarine villager stock items and 2,184 metal rivets per brigandine (for a total of
almost 1,000,000 rivets).
Mussenden closely collaborated with Weta’s Richard Taylor in the design of the weapons
and armor for both Telmarines and Narnians. “We also had a wonderful team of armorists in
the Czech Republic who fabricated everything for the Telmarines’ soldiers and lords using
Richard’s prototypes for the helmets and etching motifs,” she continues. “It was an interesting
contrast of old-world techniques and the high-tech new design world of Weta.”
“Miraz and his lords needed special weaponry,” Taylor says. “Weta created individual
swords, scabbards and sculpted faceplate helmets for the featured lords, including Glozelle,
who also has a beautiful dagger. Miraz himself has a special shield, sword, scabbard, full plate
armor and an ornate faceplate helmet.”
“Miraz’s helmet and facial mask represent the manner in which he commands his forces,”
36
Taylor says about the unique designs. “The idea that it’s a faceless army hidden behind these
masks, not showing their emotions or their faces, is captured in these very stylistic Italian
ceremonial masks they wear.”
Taylor felt strongly that the sword defines the Telmarine culture. For Miraz and his fierce
army of soldiers, he chose rapiers and falchions. “The rapier is a sophisticated weapon with a
very long blade and a basketed hilt. It is used in a much more refined and subtle motion than
the hack-and-slash motion of some of the weapons in the first film,” he says. “There’s a lot of
ceremony in these various pieces, as well as an ornamentation that illustrates the pomp and
ceremony of Miraz and his people.”
Taylor’s team manufactured 200 polearms in two different styles, 200 rapiers of varying
design, over 100 falchions, 250 shields and 55 crossbows, including the handsome and deadly
weapon wielded by Miraz’s queen, Prunaprismia. The Telmarine cavalry was equipped with
soft shields and stunt gear, which included stunt-safe horse faceplates for the warhorses and
unusual, sculpted faceplate helmets for the soldiers.
“The Telmarines were a very exciting race of people to design,” Taylor concludes. “They
are almost feudal. Their armor is resplendent and rich and beautiful, complemented by some
very fine weaponry. They are a very fierce fighting force, so quite an adversary for the
Narnian creatures.”
The world of Narnia was magically enriched through the collective talents and efforts of
the production’s visual effects artists, once again headed by Oscar® nominee Dean Wright.
Wright and longtime Adamson ally Wendy Rogers collaborated with a whole new group of
computer wizards for PRINCE CASPIAN.
Wright and Rogers drafted three of the industry’s top VFX designers to bring the world of
Narnia to the screen in this new chapter. Two London firms, The Moving Picture Company
and the Oscar®-winning Framestore-CFC,
joined the Oscar® winners from Weta
Digital in New Zealand to digitally
enhance the world of Narnia and envision
CGI creatures the River God, Jadis the
White Witch, Trufflehunter the faithful
badger, Aslan the Lion and the valiant,
swashbuckling rodent, Reepicheep.
As in the first film, virtually every
moment and scene in the film has been
touched by a VFX shot of some sort.
“This is one of the biggest visual effects films ever made,” claims Wright. “Andrew was bound
and determined to up the ante this time. We started off with at least twice the number of VFX
shots as ‘The Lion, the Witch and the Wardrobe.’”
For the castle-raid sequence, the movie’s epic action set piece, Wright partnered with two
colleagues—The Moving Picture Company’s Greg Butler, whose team oversaw the action and
character effects created for this sequence, and Guy Williams from Weta Digital in New
Zealand, who created the environments for the scene.
A virtual glossary of VFX practices were used to bring together all the elements to
complete the film’s first big action scene. Wright estimates that at least 300 VFX shots have
been incorporated into this single scene.
RECREATING NARNIA
37
RECREATING NARNIA
Adamson also wanted to break the CGI
barrier by merging real people
realistically with the CG characters. Lucy
hugging Aslan, Susan riding on the back
of Glenstorm the centaur during their
escape from the castle raid and the
Pevensies and Caspian being carried into
the castle by gryphons all are prime
examples of the intricacy of the film’s
VFX work.
The decision to have gryphons carry
the children, Caspian and Trumpkin into the castle meant months of technical design, research
and development with the assistance of motion-control expert Ian Menzies. The VFX teams
all over the world had to work in perfect synchronicity in order to pull off this eye-popping
effect perfectly.
Animators at MPC in London plotted the path the children would fly and supervised the
intricate moves on-set in Prague. The digital files for the shots were sent to Weta Digital in
New Zealand, where “matchmakers” converted them for Alex Funke’s miniature crew to use
in a camera test on the 1/24th-scale castle model. Any changes required were then passed on
to the on-set animators, who incorporated the new camera moves into their animation before
finally sharing it with Menzies’ team. He took the information and fed it into the computer-
control “gryphon rigs” connected to the motion-control cameras to shoot the blue-screen
photography of the actors.
Months after the actual castle-raid sequence was
completed on location in Prague, Wright returned to New
Zealand where he and Funke, one of the industry’s best
miniature effects directors, shot footage on various
miniature versions of the castle built at different scales.
“Andrew is a big fan of trying to put whatever is real in
the frame,” Wright says. “Miniature sets make it seem
more organic within the frame and the story. When you
have a well-lit miniature, you again fall into this world of
believing everything you’re seeing, and that’s what we
wanted to do.”
“Having Andrew in the director’s chair is a godsend for
us,” Dean Wright says. “As visual effects professionals, we
want to be pushed. I think all the innovation that comes
from visual effects comes from a director pushing you
farther than you ever thought you could go.
“Andrew wanted to make this film bigger than the last, which meant throwing more
complicated stuff at VFX,” the effects supervisor continues. “When kudos go out for visual
effects, there should be an honorary place for the director. He’s the one that comes up with 95
percent of the vision of what you’re going to create. We’re there to help it and enhance it.”
Adamson says his goal was to give the audience something they hadn’t seen before. “And
I think we’ve done that. There are a lot of things technique-wise that we developed and
38
experimented with that we can take advantage of in the future. How do you do a centaur? How
do you do a minotaur? We’ve got a forest of trees that join the battles this time, and we’ve
generated trees that can move and wade through the earth. Now that we know how to do it, we
don’t have to spend that money again.”
The biggest challenge for the film, according to Johnson, is living up to the standards
created by “The Lion, the Witch and the Wardrobe.” “People have seen the first movie and
enjoyed it throughout the world,” he points out. “Their expectations are even higher. So we
cannot be as good as ‘The Lion, the Witch and the Wardrobe.’ We have to be even better.”
Adamson says directing The Chronicles of Narnia films has been one of the most satisfying
projects of his career. “I have been given the opportunity to take a hugely important childhood
memory and show people something that had previously only existed in our collective
imaginings. I’ve approached these films by setting out to make movies inspired by my
memory of the books as an eight-year-old. You’re very lucky if that happens once in your
lifetime…but for me, it has happened again.”
THE CAST
BEN BARNES’ (Prince Caspian) first Hollywood motion-
picture starring role is the title character of C.S. Lewis’ second
adventure in the land of Narnia.
Barnes is a veteran of the British stage. The 26-year-old U.K.
native studied drama at Kingston University and was a member of
the National Youth Music Theatre, where he debuted in “The Ballad
of Salomon Pavey” at the age of 15. His other credits with NYMT
include “The Ragged Child,” “Bugsy Malone” at the Queen’s
Theatre, “The Dreaming” and “Andrew Lloyd Webber’s 50th
Birthday” at the Royal Albert Hall.
Most recently, Barnes triumphed onstage again, winning rave reviews for his role of the
charming, manipulative predator, Dakin, in Alan Bennett’s award-winning play, “The History
Boys,” which had its West End premiere at London’s Wyndham’s Theatre.
Other British stagings include “Sex, Chips & Rock n’ Roll” at the Royal Exchange in
Manchester, “Loving Ophelia” at the Pleasance Theatre, “Judi Dench & Friends” gala at the
Kingston Rose Theatre, as well as the workshop productions of “Blag” and “Talking to Mr.
Warner” at the Chocolate Factory.
His recent film roles include the lead character of Cobbakka, a Russian delinquent who
runs riot in London, in the independent feature “Bigga than Ben,” and a featured role in
Matthew Vaughn’s (“Layer Cake”) recent big-screen fantasy, “Stardust.” He also co-starred for
director Simon West (“Lara Croft: Tomb Raider”) in his recent CW network telefilm, “Split
Decision” and just completed a co-starring role opposite Jessica Biel and Colin Firth in
Stephan Elliott’s romantic comedy, “Easy Virtue.”
39
THE CAST
WILLIAM MOSELEY (Peter) reprises his role as Narnia’s
High King, who returns to the enchanted land with his three
siblings, not to replace Caspian but to help the young prince save
Narnia from tyranny under the reign of the evil Miraz. Prince
Caspian represents Peter’s final appearance in the series.
Moseley (now 21 years old) had his first motion-picture starring
role in the first “Narnia” film, for which he earned nominations for
the Saturn and Young Artists Awards.
The son of English cinematographer Peter Moseley, Moseley is
a native of Gloucestershire in the Cotswolds area of England. He
was first spotted by casting director Pippa Hall almost a decade ago (while in primary school)
when she was casting the 1998 English TV movie “Cider with Rosie,” based on Laurie Lee’s
memoirs about his childhood in the Cotswold Valley (coincidentally, the village next to the
young actor’s own). Hall kept her eye on the budding talent over the ensuing years, which led
to his first audition for “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” 18
months before filming commenced in June 2004. Hall’s casting partner, Gail Stevens, cast him
in the 2002 SMG telefilm “Goodbye, Mr. Chips,” his first professional role.
ANNA POPPLEWELL (Susan) returns to the land of Narnia
as older sister Susan, this time showing a softer, more emotional
side (unlike her pragmatic persona in the previous adventure). In the
midst of the forming battle, she finds herself falling for the young,
handsome Prince Caspian. The film represents the teenage Susan’s
final appearance in the series.
Popplewell made her professional acting debut in the 1998
television adaptation of du Maurier’s novel, “Frenchman’s Creek.”
She has appeared in such other feature films as “The Little
Vampire,” “Me Without You” and “Mansfield Park.” Her television
roles include “Dirty Tricks” and the BBC costume dramas “Love in a Cold Climate” and
“Daniel Deronda.” Prior to her role in “The Lion, the Witch and the Wardrobe,” the 19-yearold
beauty appeared as Vermeer’s eldest daughter in Peter Webber’s globally acclaimed drama,
“Girl with a Pearl Earring.”
Born and raised in London (the daughter of a barrister father and doctor mother), she is the
eldest of three siblings, all of whom have attended Allsorts, a children’s drama class. Her sister
Lulu appeared in Richard Curtis’ “Love, Actually,” and her brother Freddie was Michael
Darling in P.J. Hogan’s 2003 film, “Peter Pan.” Following her work on PRINCE CASPIAN,
Popplewell began her studies in English Literature at Magdalen College, Oxford, where author
Lewis spent much of his academic career.
THE CAST
40
SKANDAR KEYNES returns in the role of Edmund Pevensie,
the younger brother who, after betraying his siblings for his own
selfish gain during the Pevensie’s first journey through Narnia,
redeems himself by fighting on the side of good against evil.
Though still a boy, he has gained in wisdom and his courage has
strengthened as the four Pevensies embark on this new adventure to
assist the young Prince Caspian in overthrowing his evil uncle,
Miraz, who has usurped his throne.
Keynes is a 16-year-old actor who first appeared at the age of
nine in the Royal Shakespeare Company’s production of “Macbeth”
for TV. He immediately followed with another TV part as a Victorian waif in Jonathan Meade’s
docudrama for BB2, “The Victorians.”
In 2001, Keynes played the world-famous Italian racing driver Enzo Ferrari as a child in
Duemila Productions’biopic “Ferrari.” It was in 2004, shortly before the start of filming, that
Keynes was cast as Edmund Pevensie in “The Chronicles of Narnia: The Lion, the Witch and
the Wardrobe.”
GEORGIE HENLEY (Lucy) returns as the youngest of the
Pevensie siblings. With her memory of Aslan resonating strongly
with her, Lucy remains a child at heart in the second story. It is her
gift for insight, understanding and relentless faith that helps her
family and companions overcome Miraz’s reign and restore Narnia
to its former glory.
Henley made her professional acting debut in “The Lion, the
Witch and the Wardrobe.” The 12-year-old from Ilkley, W. Yorkshire,
in the north of England, was already a member of a local drama club
called Upstagers, where she was discovered by casting director
Pippa Hall in a countrywide casting call for the film launched in June 2003. Henley won the
role over 2,000 other hopefuls.
For her work in the first film, Henley collected numerous awards and nominations from
organizations around the world. She won the Phoenix Film Critics Award (Best Performance
by a Youth in a Support or Lead Role, Female), the Michael Eliot Trust Award (Child Star of
the Year), the Total Film Award (the Dakota Fanning prize for Best Child Actor) and theYoung
Artists Award (Best Performance/Feature Film—ages ten and under).
Additionally, Henley earned nominations as Best Young Actress from the Broadcast Film
Critics Association, Most Promising Newcomer for the United Kingdom’s Empire Awards,
Best Breakthrough Performance from the Online Film Critics Society and Best Newcomer
from the Chicago Film Critics Circle.
Since her debut in the first “Narnia” film, Henley played the young Jane Eyre in last year’s
BBC production of “Jane Eyre.”
THE CAST
41
THE CAST THE CAST
PETER DINKLAGE (Trumpkin the Red Dwarf) is well known
to movie audiences as Finbar McBride, the despondent loner who
moves into an abandoned train depot after the unexpected death of
a friend, in Thomas McCarthy’s acclaimed comedy-drama, “The
Station Agent.” For his performance in the endearing film, Dinklage
was nominated for the Independent Spirit Award, the Screen Actors
Guild Award (as Best Actor and as part of the film’s Best Ensemble
Cast) and the Online Film Critics Association Award.
Dinklage, a New Jersey native, studied his craft at Vermont’s
Bennington College before furthering his studies at the Royal
Academy of Dramatic Arts in London and the Welsh School of Music and Drama in Wales.
He made his film debut in Tom DiCillo’s 1995 independent comedy, “Living in Oblivion.”
He followed with appearances in John Hamberg’s “Safe Men” (opposite Sam Rockwell, Steve
Zahn and Paul Giamatti), Michel Gondry’s “Human Nature” (written by future Oscar® winner
Charlie Kaufman), Alexandre Rockwell’s “13 Moons” (reuniting with co-star Steve Buscemi)
and the romantic comedies “Never Again” and “Just a Kiss” before triumphing in “The Station
Agent,” which won acclaim at the 2003 Sundance Film Festival.
Since that auspicious big-screen starring debut, Dinklage has worked on over two dozen
projects, most notably in Jon Favreau’s popular holiday classic, “Elf ”; Sidney Lumet’s
courtroom drama, “Find Me Guilty”; the acclaimed FX series, “Nip/Tuck”; “Lassie” opposite
Peter O’Toole; “Tiptoes” with Gary Oldman; “The Baxter”; and the recently completed
features “Penelope” (with Reese Witherspoon), “Death at a Funeral” (directed by Frank Oz),
“3/5 of a Man” and “Underdog.”
On the small screen, he guest-starred on “Third Watch,” “I’m with Her,” “Life as We Know
It” and co-starred opposite Brent Spiner on the CBS series “Threshold.”
Dinklage’s stage work includes the title role in The Public Theatre’s production of “Richard
III,” “I Wanna Be Adored,” “Hollywood,” “Imperfect Love” and Charles Sturridge’s
production of Beckett’s “Endgame” at the Gate Theatre in Dublin and The Barbican Theatre
in London. Following his work on the film, he returned to the stage at the Acorn Theatre’s
“Things We Want,” which marked the Off-Broadway directorial debut of actor Ethan Hawke.
WARWICK DAVIS’ (Nikabrik the Black Dwarf) roles have
taken the veteran actor from his roots in Surrey, England, to galaxies
far, far away, to the magical world of J.K. Rowling’s Hogwarts, and
to C.S. Lewis’ fantastical land of Narnia in a career spanning over
two decades.
Davis began his career purely by chance as a boy in 1981. His
grandmother heard a radio announcement calling for people under
four feet tall to appear in the new “Star Wars” film, “Return of the
Jedi.” Originally cast as a background player, Davis’ gestures were
so characteristic of George Lucas’ vision of an Ewok that he was
recast as Wicket, who became one of the film’s lead creature characters. After the huge success
of the third “Star Wars” epic, Lucas made two Ewok movies for ABC television, “The Ewok
Adventure” and “Ewoks: Battle for Endor,” with Davis reprising his role as Wicket in both
projects.
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Two years later, the 3'6" talent was called to Elstree Studios in London for a meeting with
producer George Lucas and director Ron Howard about a new project called “Willow,” with
the title role written specifically with the actor in mind. The project, in which he co-starred
alongside Val Kilmer, allowed Davis to showcase his acting talent beyond the portrayal of
strange creatures hidden behind special makeup, earning him a Saturn Award nomination from
the Academy of Science Fiction, Fantasy and Horror.
Following that big-screen success, the teenage Davis was immediately back in front of the
camera, this time for the small screen, in yet another fantasy epic. He was cast in two series
for the BBC—playing the swashbuckling mouse, Reepicheep, in the Narnian adventure
“Prince Caspian and the Voyage of the Dawn Treader,” then returning to C.S. Lewis’ wondrous
world as Glimfeather the Owl in “The Silver Chair.” He next followed with his first villainous
role in the cult horror classic, “Leprechaun,” whose success spawned no less than five sequels
over the years, with Davis returning to the title role in each.
In 1997, he returned to filmmaker Lucas’ famous galaxy far, far away in “Star Wars:
Episode I—The Phantom Menace,” in which he essayed three roles in the film. In addition to
the characters of Wald and Weazel, he also played the famous Jedi Master, Yoda, for scenes
where the character was required to walk.
In 2001, the literary phenomenon Harry Potter became a cinematic one, with Davis playing
two characters (Professor Flitwick and the Goblin Bank Teller) in “Harry Potter and the
Sorcerer’s Stone” for director Chris Columbus. He reprised the role of Flitwick in the next four
sequels, “Harry Potter and the Chamber of Secrets” (again for Columbus), “Harry Potter and
the Prisoner of Azkaban,” “Harry Potter and the Goblet of Fire,” “Harry Potter and the Order
of the Phoenix” and the sixth in the series, “Harry Potter and the Half Blood Prince.”
The career next launched him back into space, this time hitching a ride as Marvin the
Paranoid Android in “The Hitchhiker’s Guide to the Galaxy,” the big-screen adaptation of
Douglas Adams’ beloved novel. He also recently played the supporting role of Oberon, the
jazz club MC who introduces singer Ray Charles to the performing world in Taylor Hackford’s
Oscar®-winning “Ray.”
His other credits over the years include “Labyrinth” (alongside David Bowie), the NBC
telefilm “Gulliver’s Travels (co-starring opposite Ted Danson), “Prince Valiant,” “A Very
Unlucky Leprechaun,” “The New Adventures of Pinocchio,” “The White Pony,” the
groundbreaking NBC miniseries “The 10th Kingdom,” the BBC sitcom “The Fitz,” the ABC
telefilm “Snow White,” the gangster caper “Al’s Lads” and two BBC productions, “Dr.
Terrible’s House of Horrible” and “Murder Rooms: The Kingdom of Bones.” He recently
completed a role in “Small Town Folk,” played himself in an episode of Ricky Gervais’ wicked
industry satire, “Extras,” and will next write, produce and star in the action film “Agent One-
Half.”
As well as the many roles on the big and small screen, Davis has trodden the boards of
theaters throughout the United Kingdom. In addition to numerous appearances in “Snow
White,” he has appeared as Smee in “Peter Pan” and as the Genie in “Aladdin.”
Davis also maintains his own website—www.warwickdavis.co.uk.
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THE CAST
SERGIO CASTELLITTO (King Miraz) has been called “one
of the most popular Italian actors for international audiences since
the heady days of Mastroianni and Gassman.” In addition to his
lengthy acting career encompassing work in films, in television and
on the Italian stage, Castellitto is also a noted writer-director, with
his most recent directorial achievement, “Don’t Move,” in which he
starred opposite Penelope Cruz, triumphing as one of Italy’s biggest
critical and commercial successes of 2004.
Castellitto and Cruz won Italy’s David di Donatello honors for
their respective leading performances, with the film (based on the
Strega-winning and bestselling novel by his wife, the acclaimed Italian writer Margaret
Mazzantini) earning nine other nominations, including Best Film and writing and director
nods for Castellitto. The film was also showcased in 2004 as part of a retrospective of the
actor-director’s work by the Film Society of Lincoln Center.
Born in Rome, Castellitto graduated from the Silvio D’Amico National Academy of
Dramatic Art in 1978. He began his theatrical career in Italian public theater with
Shakespeare’s “Measure for Measure” at the Teatro di Roma and with roles in other plays such
as “La Madre” by Brecht, “Merchant of Venice” and “Candelaio” by Giordano Bruno. He next
starred at the Teatro di Genova in the roles of Tuzenbach in Chekhov’s “Three Sisters” and
Jean in Strindberg’s “Miss Julie,” both under the direction of Otomar Krejka. Over the ensuing
years, he also starred in such theatrical productions as “L’Infelicita Senza Desideri” and
“Piccoli Equivoci” at the Festival Dei Due Mondi in Spoleto, as well as “Barefoot in the Park”
by Neil Simon and “Zorro,” a monologue written for him by his wife, Margaret. He also
directed her in her own original comedy, “Manola.”
While continuing a successful career on the stage, the actor made his film debut in 1982
alongside Marcello Mastroianni, Michel Piccoli and Anouk Aimée in “L’Armata ritorna”
(“The General of the Dead Army”), directed by Luciano Tovoli, then followed the next year
with Stefania Sandrelli in the feature “Il Momento magico” (“Magic Moments”).
He continued working in Italian cinema with some of the industry’s finest young auteur
directors, such as Marco Colli (“Giovanni Senzapensieri”) and Felice Farina (“Sembra Morto
Ma E’ Solo Svenutoi”), for which Castellitto also served as the subject and screenwriter. In
1986, he co-starred with Vittorio Gassman and Fanny Ardant in Ettore Scola’s epic saga, “La
Famiglia” (“The Family”), which earned an Oscar® nomination as Best Foreign Film and won
five David di Donatello awards, including Best Film.
He next reunited with actress Fanny Ardant in Margarethe von Trotta’s “Paura e amore”
(“Love and Fear”), then co-starred alongside Jean Reno and Rosanna Arquette in Luc Besson’s
acclaimed drama “Le Grand Bleu” (“The Big Blue”), which earned a Cesar nomination as
Best Film. He won his very first David di Donatello prize (as Best Supporting Actor) for his
role alongside Gian Maria Volonte in “Tre colonne in cronaca.”
As a new decade approached, Castellitto graduated to leading roles in the film adaptation
of Claudio Bigagli’s play “Piccoli Equivoci” (reprising his stage role of Paolo), “La Carne”
(“The Flesh”), Mario Monicelli’s “Rossini! Rossini!,” Giuseppe Tornatore’s “L’Uomo delle
stelle” (“The Star Maker,” a Best Foreign Film Oscar® nominee in 1996, for which he won the
Nastro d’Argento Critics Award) and Francesca Archibugi’s “Il Grande Cocomero” (“The
Great Pumpkin”), winning his second David di Donatello award and first as Best Actor. As the
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1990s grew to a close, the actor turned his talents to directing his first feature, “Libero Burro,”
also co-writing the screenplay with his wife, Margaret Mazzantini, his co-star in the film. The
production earned Best Film honors from the Los Angeles Italian Film Awards.
In addition to his busy career in Italy, Castellitto spent much time in Paris, where his
popularity soared in such films as “Alberto Express” and “Ne Quittez Pas” by Arthur Joffe,
Laetitia Masson’s “A’Vendre” and “Le Cri De La Soie” by Yvon Marciano.
In 2001, he reteamed with director Ettore Scola in his acclaimed drama, “Concorrenza
sleale” (“Unfair Competition”), then gained international acclaim as Ugo, the artistic director
of an Italian theater troupe visiting Paris, in Jacques Rivette’s “Va savoir.” He next starred as
the temperamental chef in the acclaimed international comedy “Bella Martha” (“Mostly
Martha,” Best Actor—European Film Award), then triumphed again in the bittersweet Italian
comedy “Caterina va in città” (“Caterina in the Big City”), winning his second Nastro
d’Argento Critics Award. He earned another Donatello nomination (his third) for Marco
Bellocchio’s award-winning drama “L’Ora di religione” (“My Mother’s Smile”). He most
recently reunited with Bellocchio in “Il registra dei matrimoni” (“The Wedding Director”) and
also starred in the Italian drama “La Stella che non c’E” (“The Missing Star”), directed by
Gianni Amelio, and provided one of the voices for the French version of “Arthur and the
Invisibles.” He is the only Italian actor to star in the French homage to Paris, “Paris Je
T’Aime,” in an episode directed by Isabel Coixet.
His television work includes the miniseries “Cinema” with Alain Delon, the great Italian
biopics “Don Milani-Il Priore di Barbiana,” “Il Grande Fausto” (the life of Fausto Coppi),
Carlo Carlei’s “Padre Pio” and “Enzo Ferrari,” “Victoire ou la vie des femmes” directed by
Nadine Trintignant and two projects he also co-wrote, “Il Commissario Maigret: L’ombra
cinese” and “Il commissario Maigret: La trappola di Maigret,” both starring Margherita Buy.
His most recent TV project was “O’Professore,” written by Stefano Rulli and Sandro Petraglia,
director Maurizio Zaccaro.
In addition to co-writing a new film (which he will also direct) with wife Margaret
Mazzantini, Castellitto will also return to the theater to direct John Patrick Shanley’s award-
winning play “Doubt.”
PIERFRANCESCO FAVINO (General Glozelle) most
recently co-starred as Christopher Columbus in the megahit
American comedy “Night at the Museum.”
A native of Rome, Italy, Favino graduated from the Silvio
d’Amico National Drama Academy before honing his craft at the
Teatro di Roma under the direction of Luca Ronconi. He started his
career in the theater (directed by such renowned Italian artists as
Ronconi and Gigi Proietti) before making his film debut in the 1995
boxing drama “Pugili,” directed by Lino Capolicchio.
Over the past decade, Favino has showcased his versatility in
both drama and comedy in films directed by a host of new, young Italian filmmakers,
including Luigi Magni (“La Carbonara”), Marco Bellocchio (“Il Principe di Homburg,” a
Cannes Film Festival Palme d’Or nominee), Gabriele Muccino (“L’Ultimo bacio,” Audience
Award, 2002 Sundance Film Festival; David di Donatello nominee, Best Film), Giuseppe
Tornatore (“La Sconosciuta”), Francesco Apolloni (“La Verità, vi prego, sull’amore”), Gianni
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THE CAST
Amelio (“Le Chiavi di casa,” Pasinetti Award, 2004 Venice Film Festival) and Michele Placido
(“Romanzo criminale”). He followed his work on the Narnia film with a featured role in Spike
Lee’s WWII drama, “Miracle at St. Anna.”
He won the David di Donatello Award for his supporting turn as The Lebanese, a ruthless
gangster bent on conquering Rome’s crime world, in “Romanzo criminale,” which received 14
total nominations, including one for Best Film. Favino also won the Nastro d’Argento Award
as Best Actor for his performance and earned another nomination as Best Supporting Actor
for his work in “Le chiavi di casa.” He collected his first nomination for Italy’s prestigious
Donatello prize for his supporting role of a World War II soldier fighting in Africa in “El
Alamein,” directed by Enzo Monteleone.
DAMIÁN ALCÁZAR (Lord Sopespian) is one of Mexico’s
most prominent acting talents. In addition to his award-winning
career in film and television, Alcázar is also a dedicated acting
teacher and founding member of the Veracruzano Theatre Forum at
Veracruzana University (where he served on the faculty) and the
Center for Experimental Theatre.
A native of Jiquilpan, Michoacán, on Mexico’s west coast,
Alcázar has starred in numerous Mexican films, including “B.C., El
Limite del Tiempo,” “El Anzuelo,” “Katuwira,” “Tres Minutos en la
Oscuridad,” “Dos crímenes” (Best Actor, Cartagena Film Festival),
“No Juegues con el Amor,” Arturo Ripstein’s “La Mujer del Puerto,” “Abuelito de Batman,”
“La Leyenda de una Mascara,” “Un Mundo Maravilloso” (Best Actor, Los Angeles Latino
Film Festival), “La Ciudad al Desnudo,” John Sayles’ Spanish-language drama “Men with
Guns” and Sebastian Cordero’s “Crónicas,” for which he won his seventh Ariel Award
(Mexico’s equivalent of the Oscar®) and Best Actor honors at the Cartegna and San Sebastian
International Film Festivals.
He was also awarded Ariel prizes for “Las Vueltas del citrillo” (Best Actor, 2006; also Best
Actor, La Havanna, Cuba), “El crimen del padre Amaro” (Best Supporting Actor, 2002; also
Best Actor, Muestra Internacional de Cine de Guadalajara), “La Ley de Herodes” (Best Actor,
1999; also Best Actor, Valladolid, Spain), “Baja, California: El limite del tiempo” (Best Actor,
1998), “El Anzuelo” (Best Supporting Actor, 1996) and “Lolo” (Best Supporting Actor,
1994). He collected three additional nominations for Mexico’s prestigious acting honor,
including “Dos crimines” (1995), “Pachito Rex: Me voy pero no del todo” (2001) and “La
Habitacion azul” (2002). He also won the Best Actor honor at the Miami International Film
Festival for “Crónicas.”
He has also co-starred in such English-language films as John Duigan’s “Romero,” Alex
Cox’s “Highway Patrolman,” Bruce Bereford’s HBO feature “And Starring Pancho Villa as
Himself,” Cruz Angeles’ upcoming “Don’t Let Me Drown” and the TV movie “Nurses on the
Line: The Crash of Flight 7.”
Upcoming projects include “El Camino del diablo,” “El Viaje de Teo,” “Mordidas,”
“Satanás” and “El Soldado Perez.”
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VINCENT GRASS (Doctor Cornelius) is a native of Belgium
who began his acting studies as a boy growing up in Brussels. Born
into a classically trained musical family (his father was a conductor,
his mother a classical singer), Grass opted to pursue his love of
acting, attending the Conservatoire Royal de Bruxelles, where he
made his stage debut in a dozen or so plays. Because of his musical
heritage, he also fronted a local cover band called Crash, where he
learned to speak English by memorizing the lyrics to some of the
most popular rock songs of the 1960s.
After completing his studies in Brussels, he headed to England,
where he honed his craft at the London Academy of Music and Dramatic Art (LAMDA),
starring in several LAMDA Theatre Club productions, including “The Plain Dealer,” directed
by Norman Ayrton.
Grass maintains a very busy career (in both English and French) on the stage, in television
and in motion pictures from his home base in Paris, where he has been living for 30 years. He
has worked for such directors as Roland Joffe (“Vatel”), Mike Binder (“Four Play”), Agneska
Holland (“To Kill a Priest,” the French telefilm “Largo Desolato”), Jacques Demy (“Lady
Oscar”) and Peter Greenaway (“The Tulse Luper Suitcases II”).
His list of French movie credits includes Valerie Lemercier’s “Palais Royal,” Chris Nahon’s
“Empire of the Wolves” (“L’Empire des loups”), Gerard Corbiau’s “The King Is Dancing”
(“Le Roi danse”), Claude Berri’s “Uranus,” Michel Blanc’s “Dead Tired” (“Grosse fatigue”),
Catherine Corsini’s “Les Amoureux,” the Dardenne’s “Je Pense a vous,” Bertrand Blier’s
“Thank You Life” (“Merci la vie”) and Alain Berliner’s “My Life in Pink” (“Ma Vie en rose,”
a film-festival favorite in 1997 and winner of the Golden Globe® as Best Foreign Film). He
has also appeared in several short films, most notably “La Carte postale,” directed by Vivian
Goffette, which earned an Oscar® nomination in 1999 as Best Live Action Short. Following
his role in Narnia, he joined actress Isabelle Huppert in Rithy Panh’s film “Un barrage contre
le Pacifique” on location in Cambodia.
For French television, Grass has appeared in dozens of series and telefilms, including
“David Nolande,” “Louis La Brocante,” “Police District,” “Le Frère Irlandais,” “Julie
Lescaut,” “Theo et Marie,” “L’Enfant de L’Absente,” “Jeunesse sans Dieu,” “Les Vacances de
Maigret” and “Maigret ches les Flamands,” “Les Colonnes du ciel” and “Saint-Germain ou La
négociation.” His English-language TV projects encompass Yves Simoneau’s “Napoleon,” the
Emmy® Award-winning “Horatio Hornblower,” “Sharpe’s Enemy,” “Memories of Midnight,”
“Murder, Inc.” and “Night of the Fox.”
On the Paris stage, Grass has starred in three plays mounted at the Theatre Silvia
Montfort—“Masterclass” (“Staline Melodie”), “La Question D’Argent” and Miller’s “Death
of a Salesman.” He appeared in Genet’s “High Surveillance” at the Theatre Le Lucernaire and
has appeared in many productions staged throughout Belgium, including “Mistero Buffo” at
the Brussels National Opera, Kafka’s “The Castle” on a national tour, “Murder in the
Cathedral” at the Flobecq Festival, Moliere’s “The Bourgeois Gentilhomme” at the National
Theatre, Ionesco’s “The Killer” (“Tueur sans gages”) at Compagnie de Bruxelles, Hampton’s
“Total Eclipse” (“Les Fils du Soleil”) at the Rideau de Bruxelles, Chekov’s “The Seagull” at
the Theatre Royal de Namur and “The Knack, or How to Get It” at the Waltra Theatre in
Brussels.
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He also enjoys a lucrative voice-over career in which he has dubbed the French dialogue
for such projects as “The Matrix” (Hugo Weaving’s Agent Smith), “Lord of the Rings” trilogy
(John Rhys-Davies’ Gimli and Treebeard), Peter Firth (the British TV series “Spooks”) and
George Miller’s recent Oscar®-winning animated feature, “Happy Feet” (again, Hugo
Weaving’s Noah the Elder), among many others.
ALICIA BORRACHERO (Queen Prunaprismia), a Madrid
native, earned her B.A. in Drama from Nazareth University in
Rochester, New York. She returned to her homeland to pursue her
career, which encompasses work in films, television and the theater.
On the big screen, she most recently completed a co-starring
role in Mike Newell’s “Love in the Time of Cholera,” based on the
novel by Gabriel Garcia Marquez. She appeared in Peter Yates’
Hallmark Entertainment adventure “Don Quixote” and was named
Best Actress at the Benaldamena Film Festival for Fidel Cordero’s
drama “The Fabulous Story of Diego Marin” (“La Fabulosa historia
de Diego Marin”).
Other motion-picture credits include the starring role in “Vidas pequeñas,” “Things I
Forgot to Remember” (“Cosas que olvidé recordar”), “Death in Granada” (“Muerte en
Granada”), “Blind Blood,” “The Killer Tongue” (“La lenga asesina”), “Three Words” (“Tres
Palabras”) and “Shooting Elizabeth.”
Her television work includes such programs and specials as “Tres Años en el Paraiso,” “Las
Hijas de Mohamed,” “Un Lugar en el Mundo,” “Comedian’s Club” (for Canal Plus+), “7
Vidas,” “Medico de Familia,” “El Rinoceronte,” “Hermanos de Leche,” “Farmacia de
Guardia,” the miniseries “Delantero,” “Kinsey II” (for BBC Television) and “Oxigeno.”
On the Spanish stage, her credits include Strindberg’s “Miss Julie” (Cope Best Actress
Award), Shakespeare’s “Much Ado About Nothing,” “Cambio de Marea,” Beth Henley’s
“Crimes of the Heart,” “Untimely Death,” “Pack of Lies,” “The Lover,” the musical “The
Robber Bridegroom” and Wilder’s “Our Town.”
Borrachero starred in two of Spain’s most popular television series—“Periodistas,” the
long-running drama set inside the newsroom of a major metropolitan newspaper, and
“Hospital Central,” the current weekly serial (equates to a Spanish-language version of “ER”)
in which she plays Dr. Cruz Gándara.
For her work on both series, Borrachero won the Spanish Actors Guild prize for Lead
Performance in “Periodistas” and was nominated in the same category for “Hospital Central.”
She also collected an ATV Award and TP de Oro nomination for her work on “Periodistas.”
THE CAST
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SHANE RANGI (Asterius the Minotaur) returns to the world of
Narnia after portraying General Otmin, the fierce minotaur and
leader of the White Witch’s army, in “The Lion, the Witch and the
Wardrobe.”
Rangi is well known among fantasy-film enthusiasts for his role
of the Witch King of Angmar in Peter Jackson’s Oscar®-winning
“The Lord of the Rings: The Fellowship of the Ring.” He returned
in the series’ second chapter, “The Two Towers,” as the Easterling
NCO and portrayed a Harad Leader in “Return of the King.” In
addition to his character roles, Rangi also doubled for Lawrence
Makaore as Gothmog and the Black Witch King and for Paul Norell as the King of the Dead,
not to mention was also a utility stunt performer in all three titles of Jackson’s landmark movie
trilogy.
When not portraying specific characters before the cameras, the New Zealander keeps busy
as a stuntman based out of Wellington. His stunt credits include Jackson’s “King Kong,” “X-
Men: The Last Stand,” Vincent Ward’s “River Queen,” Jay Russell’s family film “The Water
Horse” and Patrick Tatopoulos’ up-and-coming fantasy film “Underworld 3: The Rise of the
Lycans.”
Between film assignments, Rangi can be found at Weta Digital, which is Peter Jackson,
Jamie Selkirk and Richard Taylor’s award-winning VFX house in New Zealand that creates a
wide variety of computer-graphic images for film, television and game projects.
Rangi was raised in New Zealand’s North Island but hails from the east-coast village of Tiki
Tiki, near Gisborne. The imposing, 6'4" Maori began his performing career during his
secondary school years, first with a local operatic company before winning entry into the New
Zealand Drama School, one of only twelve applicants awarded a position out of 600 potential
candidates. He began his professional career doing local theater before breaking into the
feature-film arena.
CORNELL S. JOHN (Glenstorm the Centaur) was born in
Birmingham, England. He maintains a very high profile on the
British stage, where he has triumphed in such musical productions
as “The Gershwin’s Porgy and Bess” (directed by Sir Trevor Nunn),
“Les Misérables,” “The Full Monty” and Disney’s “The Lion King,”
in which he originated the West End role of King Musafa (the
character vocalized in the 1994 animated classic by James Earl
Jones) for director Julie Taymor.
His lengthy list of theater credits also includes Sondheim’s
“Pacific Overtures,” “You Don’t Kiss,” Satan in the European tour
of Steven Berkoff’s “Messiah,” Rodgers and Hammerstein’s “South Pacific,” “Brother to
Brother,” “Rum Shop Opera,” “Romeo and Juliet,” “Heavenly Bodies,” Medgar Evers in
“JFK,” the Japan/UK tour of “Carmen Jones” (directed by Simon Callow), “Dutchman,”
“Buddy,” “Kiss Me, Kate,” Leonard Bernstein’s “Trouble in Tahiti,” Steinbeck’s “Of Mice and
Men,” “Bad Boy Johnny,” “Scratches,” “Damn Yankees” and Kander and Ebb’s “Chicago.” He
credits his role as Oscar Lindquist, the shy tax accountant in the West End production of
“Sweet Charity,” directed by Carole Metcalf, as the turning point in his career.
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THE CAST
Television credits include the popular BBC series “EastEnders,” “Holby City,” “Doctors,”
“The Block,” “‘Orrible, Maise Raine” and “3 Minute Heroes,” as well as “Revolver,” “Final
Passage,” “The Farm” on C4, “Lenny Henry in Pieces,” “The Knock,” “Thief Takers,” “The
Milkman” and ITV’s “The Upper Hand.” His roles on the big screen include “Kidulthood”
and the upcoming sequel, “Adulthood,” “Rottweiler,” “Red Mercury,” “Hush Your Mouth” and
“Rage.”
John has enjoyed recent success making his directorial debut with the plays “Dutchman”
and “Birth of a Blues” for Bush Boy Productions in London and is blessed with the continued
love and support of Jane Elizabeth and his daughter, Kaiya.
LIAM NEESON (voice of Aslan the Lion) has become one of the leading international
motion-picture actors today. Whether it is his Academy Award®-nominated role of Oskar
Schindler in Steven Spielberg’s highly acclaimed “Schindler’s List” (1993), his award-winning
portrayal of legendary Irish Republican hero in “Michael Collins” (1996) or his role as
controversial sex therapist Alfred Kinsey in the critically acclaimed “Kinsey” (2004), Neeson
continues to display an acting range matched by few.
In 2007, Neeson completed production on Pierre Morel’s “Taken,” which is due out in the
U.S. later this year. Neeson stars as an ex-soldier trying to track down the Albanian slave
masters who have kidnapped his daughter. Currently, Neeson is filming Richard Eyre’s “The
Other Man” opposite Laura Linney, and he recently completed production on THE
CHRONICLES OF NARNIA: PRINCE CASPIAN, where he reprised his role as the voice of
the lion, Aslan, in the sequel to the 2005 box-office success “The Chronicles of Narnia: The
Lion, the Witch and the Wardrobe.”
In 2006, Neeson graced the screen in the classic revenge drama “Seraphim Falls” opposite
Pierce Brosnan. In 2005, he appeared in Ridley Scott’s crusades epic “Kingdom of Heaven.”
He also co-starred that year in “Batman Begins,” directed by Christopher Nolan.
Neeson’s portrayal of Alfred Kinsey in Bill Condon’s “Kinsey,” co-starring Laura Linney,
garnered him a Best Actor award from the Los Angeles Film Critics Association. Prior to that,
Neeson co-starred with Hugh Grant, Emma Thompson and Keira Knightley in the Working
Title film “Love Actually” (2003), written and directed by Richard Curtis.
Neeson returned to Broadway in 2002, co-starring with his friend Laura Linney in Arthur
Miller’s classic “The Crucible.” Mr. Neeson’s performance as John Proctor earned both him
and Linney a Tony® award nomination.
In 2001, he starred opposite Harrison Ford in the true story of Russia’s nuclear submarine
tragedy entitled “K-19: The Widowmaker” and starred opposite Sandra Bullock in the black
comedy “Gun Shy” (2000).
Neeson starred in the box-office phenomenon “Star Wars: Episode I—The Phantom
Menace” (1999) in the role of Qui-Gon Jinn, the Master Jedi Knight who bestows his Forceful
wisdom upon Obi-Wan Kenobi and the young Anakin Skywalker. In the same year, he
starred opposite Catherine Zeta-Jones in Jan De Bont’s “The Haunting” (1999).
In addition, he starred in the screen adaptation of Victor Hugo’s “Les Misérables” in the
role of Jean Valjean, co-starring Geoffrey Rush, Uma Thurman and Claire Danes. Also that
year, Neeson played Oscar Wilde in David Hare’s new play, “The Judas Kiss,” which opened
in London’s West End and subsequently on Broadway.
Neeson starred in the title role in Neil Jordan’s “Michael Collins” (1996) for which he
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received Best Actor honors at the Venice Film Festival, a Golden Globe® Best Actor
nomination and London’s prestigious Evening Standard Award for Best Actor. The film also
received the highest honor in Venice—The Golden Lion Award.
It was in 1993 when Neeson received worldwide attention for his starring role in the
Academy Award®-winning film “Schindler’s List.” In addition to winning an Academy Award®
nomination for Best Actor, he was nominated for a Golden Globe® and BAFTA Award.
The Irish-born actor had originally sought a career as a teacher after attending Queens
University, Belfast, and majoring in physics, computer science and math. Neeson set teaching
aside and, in 1976, joined the prestigious Lyric Players Theatre in Belfast (“The best training
any actor could have”), making his professional acting debut in Joseph Plunkett’s “The Risen
People.” After two years with the Lyric Players, he joined the famed National Theatre of
Ireland, the Abbey Theatre in Dublin. Neeson appeared in the Abbey Theatre Festival’s
production of Brian Friel’s “Translations” and a production of Sean O’Casey’s “The Plough
and the Stars” for the Royal Exchange Theatre in Manchester, England, where he received a
Best Actor Award.
KEN STOTT (voice of Trufflehunter) is a triple threat in the English performance world,
an Olivier Award-winning veteran of the British stage, television and films.
Born in Edinburgh in 1955, Stott was educated at George Heriot’s School, where his father
was Dean of the English Department. He next trained at Mountview Theatre School and began
his acting career at the age of 18 at the Lyric Theatre in Belfast, Ireland.
He spent the next ten years doing repertory (in places like Belfast, Ipswich, Manchester and
Plymouth) before landing his first lead role in “Through the Leaves” at the Traverse Theatre in
Edinburgh. When the play transferred to London, the 30-year-old actor began attracting notice
and, a year later, was performing at the Royal National Theatre. Over the next few years, the Scot
established his reputation as one of Britain’s finest performers, garnering numerous nominations
and awards, including an Olivier Award as Best Supporting Actor for “Broken Glass” in 1994.
He earned a second nomination for “The Recruiting Officer” at the National Theatre.
His early stage work includes The Royal Shakespeare Company productions of “Henry V,”
“Henry IV, Parts 1 and 2” and “The Merry Wives of Windsor,” before winning larger roles in
Tennessee Williams’ “The Rose Tattoo,” Moliere’s “The Misanthrope” and Arthur Miller’s
“Death of a Salesman,” in which he starred as Willy Loman opposite Jude Law as his son,
Happy.
But it was his part in the initial cast of the West End hit “Art” (earning his third Olivier
nomination) with Albert Finney and Tom Courtenay at Wyndham’s that really brought him into
the limelight. With his stage career on hold while winning acclaim on British television in the
late 1990s, he returned to the West End boards in 2001 in Brian Friel’s “Faith Healer” at the
Almeida Theatre in King’s Cross. More recently, he starred opposite Richard Griffiths and
John Hurt in the drama “Heroes,” returning to the Wyndham’s in London’s West End in 2006.
While working to establish his name in the repertory theater world, Stott debuted on
English TV with a role in “The Secret Army” in 1977. Although small roles ensued over the
next two decades in a variety of programs like “Your Cheatin’ Heart” and Dennis Potter’s “The
Singing Detective” on the BBC, he won acclaim as the alcoholic hospital deejay in the BBC
black-comedy miniseries “Taking Over the Asylum,” which won the BAFTA award as Best
Drama Series.
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THE CAST
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He became a familiar face on the BBC in such series and programs as “Mug’s Game,”
“Rhodes,” “Stone, Scissors, Paper,” “Messiah,” “Vicious Circle” and a mainstay on ITV in the
five seasons of “The Vice,” starring as Det. Inspector Pat Chappel (BAFTA-nominated for his
work in 1999). That show, one of the U.K.’s most popular series, drew an estimated 10 million
viewers weekly. He most recently won praise over two seasons in the title role as Scotland’s
favorite anti-hero cop in another ITV series, “Rebus.”
While establishing his profile on the stage and television, Stott also found his way into
motion pictures, making a dramatic debut in a brief (30-second) appearance as a 16th-century
Spaniard in 1983’s “Being Human.” He later had supporting roles in a wide variety of films,
from the Oscar®-winning short film “Franz Kafka’s It’s a Wonderful Life” (with Richard E.
Grant) to the musical spectacle “A Beggar’s Opera.”
He won his first major film role as the alcoholic coach Ike Weir in Jim Sheridan’s “The
Boxer” (after co-star Daniel Day-Lewis saw his performance onstage in “Art” and suggested
him for the part) and, two years later, starred in his first lead role opposite Billy Connolly in
the dark thriller “The Debt Collector,” a part written expressly for him. He played the sadistic
Chance in Jake Scott’s “Plunkett & Macleane” (alongside Liv Tyler, Robert Carlyle and Jonny
Lee Miller) and also co-starred in such motion pictures as Danny Boyle’s “Shallow Grave,”
Antoine Fuqua’s “King Arthur,” Lasse Hallstrom’s “Casanova,” Mike Hodges’ “I’ll Sleep
When I’m Dead” and Bill Forsyth’s “Being Human.”
Stott’s most recent screen work includes his role as Zvi Rafiah in Mike Nichol’s film
“Charlie Wilson’s War,” and he is currently starring in Yazmina Reza’s new play “God of
Carnage” at the Gielgud Theatre, with Ralph Fiennes, Tamsin Greig and Janet McTeer.
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ANDREW ADAMSON (director/co-producer/co-screenwriter) returns to the land of
Narnia after directing and co-writing the extraordinarily successful “The Chronicles of
Narnia: The Lion, the Witch and the Wardrobe” with THE CHRONICLES OF NARNIA:
PRINCE CASPIAN. He has quickly made a name for himself as a forerunner in the art of
directing and producing visual effects, as well as a unique skill for writing fantasy and
adventure, creating films that appeal to filmgoers of all ages and is taking his next turn on a
similarly epic story.
Based on the second novel in C.S. Lewis’ children’s fantasy franchise, The Chronicles of
Narnia, PRINCE CASPIAN is the second film from the Walt Disney Pictures and Walden
Media series. In this film, the Pevensie siblings are pulled back into the land of Narnia, where
1,000 years have passed since they left. The children are once again enlisted to join the
colorful creatures of Narnia in combating an evil villain who prevents the rightful prince from
ruling the land. THE CHRONICLES OF NARNIA: PRINCE CASPIAN is scheduled to be
released in theaters on May 16, 2008.
Adamson’s directorial debut with 2001’s “Shrek” made history winning the first Academy
Award® ever presented for Best Animated Feature. Three years later, he followed up that
incredible success with the triumphant sequel, “Shrek 2,” a film he both directed and co-wrote
the screenplay for. “Shrek 2” went on to become the highest-earning animated feature film to
date in Hollywood. It earned Academy Award® nominations for Best Animated Feature and for
Best Original Song.
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Following those great accomplishments, Adamson directed and co-wrote his first live-
action feature, “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” which, in
addition to its commercial success, won the Academy Award® for Best Makeup and collected
two additional nominations for Visual Effects and Sound. Most recently, he served as
executive producer on “Shrek the Third.”
Adamson began his career in computer graphics 20 years ago in his native New Zealand,
working as a computer animator and a design director and animator. He first joined
PDI/DreamWorks (formerly Pacific Design Graphics) in 1991 as a visual effects supervisor
on films including “Angels in the Outfield” and “Double Dragon.” He has also worked on the
visual effects for such films as “True Lies,” “Heart and Souls” and Barry Levinson’s “Toys.”
Adamson served as a key member of PDI/DreamWorks’ commercial division on numerous
award-winning spots, including Converse’s “Planet Kevin,” Dow’s “Scrubbing Bubbles
Greatest Show” and Miller Genuine Draft’s “Juke Box.” Apart from PDI/DreamWorks,
Adamson’s work as a visual effects supervisor includes the features “Batman Forever,” “A
Time to Kill” and “Batman & Robin.”
Additional honors include an Annie (Achievements in Animation) and BAFTA Children’s
Award for “Shrek,” a Grammy® nomination for “Shrek 2” and two nominations for the Cannes
Film Festival’s Palme D’Or for both “Shrek” features.
CHRISTOPHER MARKUS and STEPHEN McFEELY (screenwriters) return to the
land of Narnia having co-written the adaptation of the first project, the global box-office hit
“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.” Their work on that film
earned them nominations for the Saturn, Hugo and Humanitas Awards.
Markus and McFeely, born in Buffalo and San Francisco, respectively, have been writing
together since 1995. Chris (Rutgers University) and Steve (University of Notre Dame) met
while attending the Graduate Writing Program at UC Davis.
Prior to their success with the C.S. Lewis project, Markus and McFeely penned the original
screenplay for the critically acclaimed HBO feature “The Life and Death of Peter Sellers,”
starring Academy Award® winner Geoffrey Rush. Their first produced film premiered in
competition at the 2004 Cannes Film Festival and went on to earn numerous honors, including
nine Emmy® Awards. Markus and McFeely themselves won the Emmy® for Outstanding
Writing for a Miniseries, Movie or Dramatic Special as well as a Writers Guild Award.
“You Kill Me,” based on their original screenplay and directed by John Dahl, was released
last year. Their latest project is “The Chronicles of Narnia: The Voyage of the Dawn Treader.”
C.S. LEWIS (author), one of the 20th century’s most respected and prolific authors,
produced fiction ranging from children’s books to fantasy, science fiction and novels. His
scholarly work, from medieval and Renaissance literature to literary theory, and his witty and
imaginative exposition of Christian belief have made him an intellectual and spiritual mentor
to millions.
Born in Belfast, Ireland, on November 29, 1898, Clive Staples Lewis was educated in
various secondary schools before entering Oxford University in 1917. His college education
was interrupted by his service in World War I as a second lieutenant with the Somerset Light
Infantry. Wounded and hospitalized in 1918, he returned to Oxford in 1919, graduated with
honors in 1923 and became a lecturer in philosophy at University College, Oxford, a year later.
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In 1925, Lewis began a three-decade tenure at Oxford when he was named fellow and tutor
at Magdalen College, Oxford. He retained the post until 1954, when he was elected professor
of Medieval and Renaissance Literature at Magdalene College, Cambridge, an appointment he
held until his death in 1963.
He is the author of over 40 books, which includes virtually every genre except biography
and drama. Lewis first expressed interest in becoming a poet with the publication of his first
two volumes of verse, Spirits in Bondage (1919) and Dymer (1926), both written under the
pseudonym of Clive Hamilton (his own first name plus his mother’s maiden name).
His reputation as a scholar was established with his 1936 tome, The Allegory of Love: A
Study in Medieval Tradition, which earned the Gollancz Memorial Prize for literature. He
ventured into fiction with his 1938 novel, Out of the Silent Planet, the first of his science-
fiction trilogy that included Perelandra (1943) and That Hideous Strength (1945), fiction
dealing with the cosmic struggle between good and evil.
Lewis’ broader reputation rests with his scholarly interpretation of Christianity, a subject
the former atheist explored in such original works as The Screwtape Letters (1942), a unique
look at life on Earth as seen from the viewpoint of the Devil, which became one of his most
popular books; The Great Divorce (1946), a first-person narrative depicting a busload of souls
from hell who travel to heaven to repent their sins; and Mere Christianity (1952), a collection
of lectures on the basics of Christian faith broadcast by the BBC during World War II.
In 1950, Lewis turned to the world of fantasy and fairy tales with the first of seven
children’s books, collectively entitled The Chronicles of Narnia. The Lion, the Witch and the
Wardrobe, the first book published, introduces the reader to the imaginative land of Narnia, an
enchanting world of talking animals ruled by a noble lion, Aslan, which is discovered by a
quartet of siblings in a magical wardrobe in an English country house.
Lewis published six more volumes, one annually, continuing with Prince Caspian (1951),
The Voyage of the Dawn Treader (1952), The Silver Chair (1953), The Horse and His Boy
(1954), The Magician’s Nephew (1955, and the prequel to the first book) and concluded his
adventures in Narnia with The Last Battle (1956), the latter honored with the prestigious
Carnegie Award, the highest mark of excellence in children’s literature. To date, the series has
sold over 85,000,000 copies.
Lewis’ other works of note include The Pilgrim’s Regress: An Allegorical Apology for
Christianity, Reason and Romanticism (1933), The Problem of Pain (1940), Reflections on the
Psalms (1958), Till We Have Faces: A Myth Retold (1956) and two autobiographical works—
Surprised by Joy: The Shape of My Early Life (1955) and A Grief Observed (1961), the former
his spiritual journey from atheism to Christianity and the latter a response to his wife’s
untimely death from cancer in 1960. Lewis himself died on November 22, 1963, the same day
as author Aldous Huxley and assassinated President John F. Kennedy. Three years after his
death, his letters, edited and with a memoir by his older brother, W.H. Lewis, were published.
With translation of dozens of books into scores of languages and foreign sales in multiple
millions, Lewis has become a thinker of international importance.
MARK JOHNSON (producer), one of the industry’s most accomplished producers,
returns to the world of Narnia following the global box-office hit “The Chronicles of Narnia:
The Lion, the Witch and the Wardrobe,” which earned over $745 million in its worldwide
theatrical release and collected numerous awards, including the Oscar® for Best Achievement
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in Makeup (as well as nominations for visual effects and sound).
Johnson is no stranger to the podium at the Academy Awards®—he won the Best Picture
honor for Barry Levinson’s poignant 1988 drama, “Rain Man,” starring Dustin Hoffman (Best
Actor Oscar®) and Tom Cruise. One of several films Johnson made with Levinson during a 12year
span, the movie (winner of four Oscars®) also captured a Golden Globe® as Best Picture.
Three years later, Johnson returned to the Oscar® ceremonies as a nominee for Levinson’s epic
biopic “Bugsy,” which earned ten nominations, including Best Picture and Director.
Born in Maryland, Johnson spent ten years of his youth in Spain. Before commencing his
career in feature films, he earned his undergraduate degree in drama from the University of
Virginia and his M.A. in Film Scholarship from the University of Iowa. From there, he moved
to New York and entered the Director’s Guild Training Program, where one of his first projects
was Paul Mazursky’s touching autobiographical drama “Next Stop, Greenwich Village.” He
subsequently relocated to Los Angeles and moved up from production assistant to assistant
director on such projects as “Movie, Movie,” “The Brinks Job,” “Escape from Alcatraz” and
Mel Brooks’ “High Anxiety,” which was co-written by future business partner Barry Levinson.
In his successful partnership with Levinson, Johnson produced all of the writer-director’s
films from 1982-94. In addition to “Rain Man,” their diverse slate of acclaimed features
includes “Good Morning, Vietnam,” “The Natural,” “Tin Men,” “Toys,” “Young Sherlock
Holmes,” “Avalon,” “Diner” (their 1982 debut project, for which Levinson earned an Oscar®
nomination for his screenplay) and “Bugsy,” which also captured a Best Picture Golden
Globe® in addition to its ten Oscar® nominations.
In 1994, Johnson established his own independent production company and won the Los
Angeles Film Critics New Generation Award for his very first effort—“A Little Princess,”
directed by Alfonso Cuaron. Johnson, under his new banner, also produced the comedy
“Home Fries” with Drew Barrymore, and the dramatic thriller “Donnie Brasco,” starring Al
Pacino and Johnny Depp. He served as executive producer for CBS-TV’s “L.A. Doctors” and
“Falcone” and also executive-produced the hit CBS drama “The Guardian.” He currently
serves as executive producer on the AMC episodic drama, “Breaking Bad.”
He most recently produced Nick Cassavettes’ hit drama, “The Notebook,” based on
Nicholas Sparks’ bestseller, The Wendell Baker Story, which marked the directorial debuts of
filmmaking brothers Luke and Andrew Wilson, and reunited with Walden Media on the film
adaptation of Thomas Rockwell’s children’s book, How to Eat Fried Worms. He just completed
two more feature films—the independent drama “Ballast” (as executive producer) and
Richard Shepard’s “The Hunting Party,” starring Richard Gere and Terrence Howard.
Other recent motion pictures include “The Alamo” and “The Rookie,” both directed by
John Lee Hancock; “The Banger Sisters,” with Susan Sarandon and Goldie Hawn; Brad
Silberling’s drama, “Moonlight Mile,” with Sarandon and Dustin Hoffman; Tom Shadyac’s
supernatural thriller, “Dragonfly,” with Kevin Costner and Kathy Bates; Levinson’s Irish satire
“An Everlasting Piece”; Robert Zemeckis’ spooky thriller “What Lies Beneath,” starring
Harrison Ford and Michelle Pfeiffer; the hit comedy “Galaxy Quest” with Tim Allen and
Sigourney Weaver; and “My Dog Skip,” the acclaimed family drama (co-produced with John
Lee Hancock) starring Frankie Muniz, Diane Lane and Kevin Bacon.
Additionally, Johnson has either presented or executive-produced Luis Llosa’s directorial
debut, “Sniper,” Tim Robbins’ directorial debut, “Bob Roberts,” Steven Soderbergh’s “Kafka”
and Robert Redford’s Oscar®-nominated “Quiz Show.” He serves as the chairman of the
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Academy of Motion Picture Arts and Sciences’ Foreign Language Film award selection
committee and is a member of the Board of Governors of the Academy (Producers Branch).
PHILIP STEUER (producer) reunites with producer Mark Johnson for their fifth project
together. In addition to the first “Narnia” project, Steuer first executive-produced two John
Lee Hancock movies—“The Rookie,” one of 2002’s critical and commercial hits, and his epic
retelling of the battle for Texas independence, “The Alamo.” He and Johnson also produced
the Walden Media adaptation of Thomas Rockwell’s popular children’s book How to Eat Fried
Worms.
The son of Robert Steuer, a film production/distribution executive at American
International Pictures, Steuer spent summers as an intern on several of AIP’s productions.
Those apprenticeships imbued the future producer with a thorough education of all aspects of
filmmaking.
He became a top property master in the feature-film arena (working with such respected
filmmakers as Mike Nichols, Neil Jordan, Ken Russell and Bruce Beresford) before
graduating to production supervisor on Peter Weir’s award-winning “The Truman Show,”
David Mirkin’s comedy, “Romy and Michele’s High School Reunion,” and Beresford’s prison
drama, “Last Dance.”
Steuer next established an ongoing collaboration with respected filmmaker Neil LaBute.
The pair joined forces for Propaganda Films and produced “Your Friends and Neighbors,” the
biting romantic satire starring Ben Stiller, Aaron Eckhardt and Jason Patric. They collaborated
again on the critically acclaimed, offbeat comedy “Nurse Betty,” with Renée Zellweger,
Morgan Freeman and Chris Rock, which was nominated for the prestigious Palme d’Or at the
2000 Cannes Film Festival. He again reunited with LaBute on “The Shape of Things,” a quirky
romantic story starring Paul Rudd and Rachel Weisz.
In addition to his stellar film resume, Steuer has also lent his talents to the advertising
world, executive-producing the second series of memorable BMW Internet short features. The
followup trilogy, “Hire: The Hostage,” once again starred Clive Owen in spots directed by
John Woo, Joe Carnahan and Tony Scott. Additionally, he has produced over 40 national
commercial campaigns with such notable production companies as RSA, Propaganda and
Anonymous Content, among others.
PERRY MOORE (executive producer) was a longtime production executive for Walden
Media who was instrumental in bringing the “Narnia” franchise to the company (the first film
represented his debut as a motion-picture executive producer). After landing the rights to the
C.S. Lewis series, he segued into a production deal with his former employer. In addition to
his work in production and development, Moore also wrote the film’s official “making of”
book for HarperCollins, titled The Chronicles of Narnia—The Lion, the Witch, and the
Wardrobe Official Illustrated Movie Companion, which became a New York Times bestseller.
Moore hails from Virginia Beach, Virginia. He majored in English at the University of
Virginia (where he was an Echols Scholar) and later served as an intern in the White House
before launching his entertainment career in talent and development at Viacom’s premier
music networks, MTV and VH1.
He followed that experience as one of the original segment producers for the upstart “Rosie
O’Donnell Show,” one of daytime television’s most popular recent hits. Changing arenas, he
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segued into the motion-picture world as a development executive for the late filmmaker Ted
Demme (“Blow”) and producer Joel Stillman (co-writer on “Shrek,” “Shrek 2”) before joining
Walden Media, where he developed and oversaw such film projects as the upcoming “I Am
David,” the big-screen adaptation of Anne Holm’s acclaimed novel “North to Freedom.”
During his tenure with Walden, Moore also obtained and developed such forthcoming
Walden projects as “The Giver,” “Bridge to Terabithia” and “Manhunt.” Most recently, he
made his feature-film writing-and-directing debut (with co-writer/director Hunter Hill) on the
independent drama “Lake City,” starring Sissy Spacek, Rebecca Romijn, Dave Matthews,
Keith Carradine, Drea De Matteo and Troy Garity.
In addition to his work in the film arena, Moore just completed a new novel, Hero,
published by Hyperion last August, the first in a multiple-book deal with the publisher.
DOUGLAS GRESHAM (co-producer), who served in the same capacity on “The Lion,
the Witch and the Wardrobe,” is the son of Joy Davidman Gresham and William Lindsay
Gresham and stepson of C.S. Lewis.
Gresham was born in 1946, the second son of novelist William Lindsay Gresham (190962),
and the poet/novelist, Helen Joy Davidman Gresham (1915-60). After the publication of
his father’s novel, Nightmare Alley, in 1946, the family moved to Ossining, New York, and then
to Staatsburg. It was not long afterwards, however, that marital problems began, and in 1952,
his mother spent several months in England completing her book Smoke on the Mountain
(1953). While there, she became friends with C.S. Lewis and spent Christmas with the Lewis
brothers in Oxford. After breaking with William Gresham, his mother returned to England
(London) in 1953 with her sons.
Following his parents’ divorce in 1954, the young Gresham went to school in Surrey. The
next year, the family moved to Headington, Oxford. In 1956, his mother and Lewis were
married in a civil ceremony, which was shortly followed, after the discovery of her terminal
cancer condition, by a Christian marriage. After his mother died of cancer in 1960, Douglas
continued to live with Lewis in their Headington Quarry home until Lewis’ death in 1963 (the
year after the death of his own father).
For the next few years, Gresham studied agriculture and worked on farms. During this time,
he met and fell in love with Meredith (“Merrie”) Conan-Davies, with the couple marrying in
1967. Shortly after the wedding, he and his new wife sailed for Australia. Over the many and
eventful years they spent in Australia, he was a farmer, a radio and television broadcaster, a
restauranteur and many other things between. It was there in Australia that their children were
born—James in 1968, Timothy in 1969, Dominick in 1971 and Lucinda in 1976. In 1990, they
adopted Melody, then five years old, from Korea. They now have nine grandchildren.
Since 1973, Gresham has worked with all aspects of the Estate of C.S. Lewis, and in 1993,
the family moved to Ireland so that he could give it more of his attention. He and his wife (both
committed Christians who recently relocated to Malta) previously made their home in County
Carlow Ireland, a multifaceted non-denominational Christian House Ministry, which
specializes in counseling ministry and seminar-hosting.
In 1988 he published his autobiographical book Lenten Lands (HarperCollins). His new
book, Jack’s Life: The Life Story of C.S. Lewis, was published by Broadman and Holman in
October 2005. He now works full-time for the C.S. Lewis Company and devotes his spare time
to a variety of Christian work.
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KARL WALTER LINDENLAUB, ASC, bvk (director of photography) was born in
Bremen, Germany, and raised in Hamburg. The award-winning cameraman studied his craft
at the Hochschule für Fernsehen und Film (Academy of Television & Film in Munich, or HFF,
one of Germany’s two original film schools) before earning a scholarship to further his studies
at England’s renowned National Film and Television School.
Following early cinematography credits on student films made at HFF and in the European
cinema, Lindenlaub established ongoing associations with such filmmakers as Michael
Caton-Jones (“City by the Sea,” “Rob Roy,” “The Jackal”), Wayne Wang (“Maid in
Manhattan,” “Because of Winn-Dixie”), Garry Marshall (“The Princess Diaries,” “Georgia
Rule”), Jon Avnet (“Red Corner,” “Up Close and Personal”) and fellow German Roland
Emmerich, with whom he has collaborated seven times.
His work with Emmerich includes the sci-fi epics “Independence Day” and “Stargate,” as
well as “Universal Soldier,” “Moon 44” (winning the German Camera Award for his
cinematography), “Hollywood-Monster” (aka “Ghost Chase”), “Eye of the Storm” (which
Emmerich executive-produced) and his very first feature, “Altosax,” which he co-wrote with
Emmerich in 1980 while a student at the Munich academy.
Lindenlaub has also worked with such directors as Jan de Bont (“The Haunting”), Bob
Dolman (“The Banger Sisters”) and, most recently, Paul Verhoeven (on the upcoming release
“Black Book”).
ROGER FORD (production designer) is one of Australia’s most distinguished film artists
whose work (in both art direction and costume design) has been honored with several awards
and nominations, most notably an Academy Award® nomination for his production design on
Chris Noonan’s endearing classic “Babe.” He returns to the world of Narnia after having
designed several dozen dazzling sets for the first film, “The Lion, the Witch and the
Wardrobe.”
Ford won the Australian Film Institute (AFI) Award for production design on Peter
Duncan’s “Children of the Revolution,” John Duigan’s “Flirting” and AFI’s Open Craft
Category for Russell Mulcahy’s miniseries, “On the Beach.” He has collected six additional
AFI nominations, for production design on “Doing Time for Patsy Cline” and Mulcahy’s
“Swimming Upstream,” for costume design on “The Nostradamus Kid” and his debut feature,
“Those Dear Departed,” and dual nominations (costume and production design) for Philip
Noyce’s acclaimed docudrama, “Rabbit-Proof Fence.”
Ford also worked with Noyce on the Oscar®-nominated drama “The Quiet American” and
collaborated with Aussie filmmaker Duigan on two additional titles—“Romero” and “Sirens.”
He joined director George Miller, who produced “Babe,” on the acclaimed sequel, “Babe: Pig
in the City,” and also designed the films “Lilian’s Story,” the IMAX film “Sydney—Story of
a City” and P.J. Hogan’s recent version of “Peter Pan.”
A native of England, Ford attended the Leicester College of Art before working at the BBC,
where his earliest projects in production design included “The Cliff Richard Show,” “The
Cillia Black Show,” “The Spike Milligan Show,” “The Dave Allen Show” and the cult classic
“Dr. Who.” After a six-year stint at the BBC, Ford visited Australia with the intent of staying
for two years. His initial assignment with the Australian Broadcasting Corporation (ABC) led
to becoming design department head, and those two years have turned into three decades for
the adopted Aussie.
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SIM EVAN-JONES, A.C.E. (film editor) reunites with director Andrew Adamson after
having previously served as his editor on “Shrek” (for which he earned an American Cinema
Editors Eddie Award nomination), the blockbuster sequel, “Shrek 2,” and “The Chronicles of
Narnia: The Lion, the Witch and the Wardrobe.”
A native of Great Britain, Evan-Jones received a degree in Film and Communication from
the University of London, Goldsmiths College. He joined DreamWorks SKG in 1995 after
working at Steven Spielberg’s Amblimation studio in London. His credits there included the
posts of assistant editor on “An American Tail” and co-editor on “We’re Back! A Dinosaur’s
Story” and “Balto.” He also served as associate editor on DreamWorks’ 1998 animated
musical “The Prince of Egypt,” then a visual effects supervisor.
ISIS MUSSENDEN (costume designer) reunites with director Andrew Adamson after
designing the wardrobes for his two animated classics, “Shrek” and “Shrek 2,” and “The
Chronicles of Narnia: The Lion, the Witch and the Wardrobe.” For her work on the latter
project, Mussenden won the Costume Designers Guild honor and the Academy of Science
Fiction, Fantasy and Horror Saturn Award and received a nomination for the British Academy
Award (BAFTA).
In a career spanning two decades, the California native has created costumes for a wide
range of stage and screen projects, including such diverse films as “Jay and Silent Bob Strike
Back,” “Thirteen Days,” “Life of the Party,” “American Psycho,” “The Astronaut’s Wife,”
“Some Girl,” “Dante’s Peak,” “Daylight,” “Albino Alligator,” “White Man’s Burden,” “Ghost
in the Machine,” “Shocker,” “Bodies, Rest & Motion,” “Matinee,” “The Waterdance,” “Dirty
Dancing: Havana Nights,” “Breakin’All the Rules” and Brad Silberling’s offbeat dramedy, “10
Items or Less.”
She made her feature debut in 1986 with the romantic comedy “The Allnighter” and earlier
served as an assistant designer on “Crocodile Dundee” and “Falling in Love” and a costume
assistant on Robert Benton’s Oscar®-winning “Places in the Heart” and Woody Allen’s “The
Purple Rose of Cairo.”
She has also worked on a number of long-form television projects, including HBO’s “A
Private Matter,” Lifetime’s “Storm and Sorrow,” CBS’ “Taken Away” and Turner Pictures’
“Memphis,” for which she earned a CableACE nomination for her designs. She also served as
a costume assistant on the miniseries “Kennedy,” starring Martin Sheen in the title role.
Mussenden attended the University of California at Santa Barbara as an art major and later
graduated from New York’s prestigious Parson School of Design, earning her Bachelor of Fine
Arts degree in fashion design. She began her career with two seasons at Joseph Papp’s
renowned New York Shakespeare Festival and cut her teeth in the theater world on dozens of
plays, including “Been Taken,” “The Crate,” “At Home” and Roger Hedden’s “Bodies, Rest &
Motion” at Lincoln Center. She also designed the wardrobes for the “Marathons” festival of
one-act plays (by such playwrights as Hedden, David Mamet and Shel Silverstein) at New
York’s Ensemble Studio Theater. She is currently working with Sam Raimi on his upcoming
horror film titled “Drag Me to Hell.”
HARRY GREGSON-WILLIAMS (composer) is one of Hollywood’s most sought-after
composers, working on a variety of high-profile projects, both animated and live action. Over
the last few years, Harry has scored some of the industry’s biggest blockbusters, including
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“Shrek the Third,” “The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe” (for
which he received nominations for a Golden Globe® and Grammy®), “Shrek” (for which he
received a BAFTA nomination), “Shrek 2” and “Chicken Run.” He most recently wrote the
score for “Gone Baby Gone,” which marked the directorial debut of Ben Affleck.
Gregson-Williams has collaborated on several movies with director Tony Scott, including
“Man on Fire,” “Domino,” “Spy Game” and “Déjà Vu,” as well as three films with Joel
Schumacher, the thriller “Phone Booth,” “Veronica Guerin” and the recent film “The Number
23,” starring Jim Carrey. His other film credits include “Seraphim Falls,” “Kingdom of
Heaven” (nominee for a Classical Brit award and winner of a Golden Satellite award),
“Bridget Jones: The Edge of Reason,” “Enemy of the State,” “The Replacement Killers,”
“Smilla’s Sense of Snow” and “Antz,” among others. Born in England to a musical family,
Gregson-Williams earned a scholarship from the music school of St. John’s College in
Cambridge at the age of seven.
By age 13, his singing had been featured on over a dozen records, and he subsequently
earned a coveted spot at the Guildhall School of Music and Drama in London. He started his
film career as an orchestrator and arranger for composer Stanley Myers and went on to
compose his first scores for the veteran English director Nicolas Roeg. Gregson-Williams’
initiation into Hollywood film scoring was then facilitated by his collaboration and friendship
with Oscar®-winning composer Hans Zimmer. This resulted in Gregson-Williams providing
music for such films as “The Rock,” “Broken Arrow,” “The Fan,” “Muppet Treasure Island,”
“Armageddon,” “As Good as It Gets” and “The Prince of Egypt.” Gregson-Williams has
conducted acclaimed concerts of his music from “The Chronicles of Narnia: The Lion, the
Witch and the Wardrobe” in Madrid in 2006 and in Denver in 2007.
Upcoming projects include “The Taking of Pelham 123,” directed by Tony Scott; “G-Force”
from Jerry Bruckheimer Films and Disney; and “X-Men Origins: Wolverine,” directed by
Gavin Hood.
DEAN WRIGHT (visual effects supervisor) earned nominations for the Oscar®, BAFTA,
Saturn and Visual Effects Society awards for his work as visual effects supervisor on “The
Chronicles of Narnia: The Lion, the Witch and the Wardrobe” (sharing the nominations with
fellow VFX wizards Jim Berney, Scott Farrar and Bill Westenhofer).
Prior to his achievement on “The Chronicles of Narnia,” Wright had been involved with
motion-picture visual effects for over a decade on such prestigious projects as “Titanic,”
“What Dreams May Come,” “Lord of the Rings: The Two Towers” and “Lord of the Rings:
The Return of the King”—all Academy Award® winners for their innovative effects works.
Wright, a Michigan native, enrolled in the University of Arizona film school to pursue a
career as a filmmaker. After completing his studies in 1986, he secured his first job on a
Western movie-of-the-week for NBC entitled “Desperado.” Relocating to Los Angeles in
1989, he soon landed work with one of the industry’s most prominent directors, James
Cameron, on the groundbreaking project “Terminator 2: Judgment Day,” which went on to win
the Academy Award® for Best Visual Effects.
This project propelled Wright into larger production roles in a variety of capacities—
production coordinator, post-production coordinator and, ultimately, production manager for
such acclaimed filmmakers as Wes Craven (“Scream”), Christopher Guest (“Almost Heroes”),
Ron Underwood (“Heart & Souls,” “Speechless”), Glenn Jordan (“Neil Simon’s Jake’s
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Women”), Diane Keaton (“Wildflower”) and Danny DeVito (“Sunset Park”).
Wright was again presented with an opportunity to work in the visual effects arena as the
VFX Production Manager for Cameron’s own VFX house, Digital Domain. Collaborating
with Visual Effects Supervisor Rob Legato, Wright dove into what would prove to be the most
popular movie of all time, “Titanic,” which captured 11 Academy Awards® in 1997, including
the Oscar® for Best Visual Effects.
Following this triumph, Wright was promoted to visual effects producer and helped land
the facility’s next landmark project, “What Dreams May Come.” Working with director
Vincent Ward and visual effects supervisor Kevin Scott Mack, Wright and Digital Domain
again helped create cutting-edge work, and the film earned the Academy Award® for Best
Visual Effects for 1998.
After producing the VFX for several other projects, he joined Dream Quest Images. During
his four-year tenure there (1998-2002), Wright was responsible for the production of all VFX
at the facility, overseeing more than 30 feature films, theme-park attractions and animation
projects, including “Kangaroo Jack,” “Reign of Fire,” “102 Dalmatians,” “Mission to Mars,”
“Inspector Gadget,” “Mighty Joe Young” (Oscar® nominee), “Unbreakable,” “Gone in 60
Seconds,” “The Sixth Sense,” “Bicentennial Man” and “Shanghai Noon,” to name a few.
In early 2002, filmmaker Peter Jackson called upon Wright to fill the role of visual effects
producer for the final two chapters in the “Lord of the Rings” trilogy—“The Two Towers” and
“The Return of the King,” teaming with Oscar®-winning VFX supervisor Jim Rygiel. In 2003,
“The Two Towers” would be recognized for its revolutionary achievements in visual effects
with an astounding eight Visual Effects Society Awards, the BAFTA Award, as well as the
Academy Award® for Visual Effects.
“The Return of the King,” proving to be the ultimate jewel in Jackson’s triple crown,
shattered box-office records worldwide to become the second-highest-grossing film of all
time and the second film to cross the $1 billion mark (both behind “Titanic”). “The Return of
the King” would also triumph at the 2004 Academy Awards®, sweeping all 11 categories in
which it was nominated, including Best Picture, Director and Visual Effects. Wright himself
picked up the top Visual Effects Society Award in recognition for his work on the project.
WENDY ROGERS (visual effects supervisor) reteams with director Andrew Adamson,
with whom she collaborated on visual effects for his Oscar®-winning animated hit, “Shrek,”
and Joel Schumacher’s “Batman” films—“Batman & Robin” and “Batman Forever” (on
which she served as technical director for the exciting “Luge” sequence).
A native of Melbourne, Australia, Rogers majored in business studies as a student in
Brisbane. She began her career in computer programming before segueing into graphic design
and visual effects.
She moved to the U.S. in 1991 and worked as a senior animator at Pacific Data Images
(now PDI/DreamWorks), where she met another rising visual effects talent, Andrew Adamson
(first working with him on Barry Levinson’s film “Toys”).
Her early animation and CG work include such live-action credits as Oliver Stone’s
“Natural Born Killers” and Brian de Palma’s “Carlito’s Way,” as CG supervisor on the epic
“Waterworld” and as digital artist on Peter Jackson’s 1996 horror film, “The Frighteners.”
In 1997, she joined DreamWorks, initially as a CG visual development artist on Adamson’s
“Shrek.” She followed as digital effects supervisor on the animated film “Spirit: Stallion of
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the Cimarron,” then as the lead effects artist on “Sinbad: Legend of the Seven Seas.” Most
recently, she supervised the visual effects on the computer-animated hit film “Flushed Away.”
THE MOVING PICTURE COMPANY/MPC (visual effects) creates world-leading
digital visual effects and computer animation for feature films, advertising, music videos and
television. Based in Soho, London, MPC is a purpose-built facility boasting a dedicated
digital infrastructure to ensure the most efficient VFX pipeline is utilized by 550 of the most
talented visual effects artists and production staff.
In addition to PRINCE CASPIAN, the team again executed VFX for high-profile projects,
including sole vendor handling all the VFX for the newly released “Sweeney Todd” musical
film directed by Tim Burton. Other projects encompass “10,000 B.C.” (Roland Emmerich),
“Golden Age” (Shekhar Kapur), “The Other Boleyn Girl” (Justin Chadwick) and “Fred Claus”
(David Dobkin). MPC is also excited to have completed shots for its fifth movie in the “Harry
Potter” franchise, entitled “The Order of the Phoenix,” directed by David Yates.
MPC was proud to work on international feature films including Wolfgang Petersen’s
Academy Award® VFX nominee “Poseidon,” Ron Howard’s “The Da Vinci Code,” Brett
Ratner’s “X-Men 3: The Last Stand” and Danny Boyle’s space feature “Sunshine,” for which
it created all the visual effects.
In the last couple of years, the crew has successfully matched stylized CG work to
internationally renowned stop-motion projects, including creating CG bunnies for the Oscar®winning
“Wallace and Gromit: Curse of the Were-Rabbit” and the floating veil, birds and
spiders for Burton’s acclaimed animated feature “The Corpse Bride.”
MPC also won the VES (Visual Effects Society) Award for Ridley Scott’s “Kingdom of
Heaven.” The company picked up two additional nominations for the TV program “Hogfather”
and for The Killer’s music video “Bones.” It also won an Emmy® for “Virtual History: The
Secret Plot to Kill Hitler” (Outstanding Individual Achievement in a Craft: Graphic and
Artistic Design) and an Annie Award for its animated effects on “Wallace and Gromit: The
Curse of the Were-Rabbit.”
London’s bespoke Digital Lab has digitally color-graded high-profile movies, including Joe
Wright’s “Pride and Prejudice,” Burton’s “The Corpse Bride” and Nick Park and Steve Box’s
“Wallace and Gromit: Curse of the Were-Rabbit.” Other features to have been graded at MPC
include Paul Weiland’s “Sixty Six,” Wolfgang Petersen’s epic “Troy,” the runaway “zomcom”
“Shaun of the Dead” (Edgar Wright) and “Sunshine,” “28 Days Later” and “Millions,” all
directed by Danny Boyle.
The other side of MPC works on some of the most exciting commercials in the world today.
By mixing fresh talent from different cultures, they’ve built a dynamic team of artists and a
diverse creative portfolio. Recent work has included spots such as the BTAA Ad of the Year
2006, Jonathan Glazer’s Sony Bravia “Paint”; Johnny Green’s Audi, “Satellite”; and Lynn
Fox’s Ballantines, “Underground.” The team was also instrumental in contemporary classics
such as Anthony Minghella’s Guinness, “Redemption”; Volkswagen Golf GTi, “Singin’ in the
Rain” (N-eo); and the BTAA ad of the year 2005, Stella Artois, “Ice Skating Priests”
(Jonathan Glazer) as well as new campaigns for high profile brands such as Levi’s,
“Moonbathe” (Anthony Atanasio); Orange, “Illuminations” (Nicolai Fuglsig) Vodafone
“Work and Play” (Dougal Wilson); and many of the “Planet 3” (Traktor) series.
MPC also has a department dedicated to developing CG for TV programs, currently in pre
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production for Sky One’s “Hogfather.” Recently completed TV work includes the development
of the new Channel 4 screen idents, BBC One’s “The Truth About Killer Dinosaurs” and
“Auschwitz: The Nazis and the Final Solution” for BBC History. The team completed award-
winning effects for “Virtual History: The Secret Plot to Kill Hitler” through Tiger Aspect for
The Discovery Channel. This ground-breaking documentary sees accurate face replacement
(CG mapped onto the faces of real actors to recreate accurate archive footage of Adolf Hitler,
Sir Winston Churchill and Franklin D Roosevelt) for the first time on television.
For PRINCE CASPIAN, MPC has assigned two of its creative wizards to serve as VFX
supervisors on the film—Tom Wood and Greg Butler.
Coming from a fine art and graphic design background, Tom Wood brings a nonconformist
approach to the visual effects branch of the company. With 11 years of experience supervising
digital effects in London and five years as a visual effects supervisor, Tom has built a reputation
for quality image-making for some of the world’s most influential directors.
He has served as VFX supervisor on three projects—“Sunshine,” “Sylvia” and Ridley
Scott’s “Kingdom of Heaven,” for which he shared a VES Award for Best Supporting Visual
Effects in a Motion Picture. His other work for MPC (in digital effects, compositing and title
design) include two 007 thrillers, “Tomorrow Never Dies” and “The World Is Not Enough,”
“Lost in Space,” “Event Horizon,” “Enemy at the Gates,” “Harry Potter and the Chamber of
Secrets” and “Snatch.”
Greg Butler has a long history in creature- and character-dominated visual effects. After an
early introduction to large-scale CG production at ILM, the Connecticut native joined a small
team at Tippett Studio as they transitioned from a traditional stop-motion creature shop to
create the bugs for Paul Verhoeven’s “Starship Troopers.”
Prior to joining The Moving Picture Company for the final stages of “Charlie and the
Chocolate Factory,” Butler spent six years in New Zealand, first building Weta Digital’s Creature
Department, then supervising sequences on all the “Lord of the Rings” films. He shared a VES
Award for Outstanding Character Animation for the final chapter, “Return of the King.”
With an academic background in film, television and theater design, the Hampshire
College graduate approaches visual effects work with an emphasis on blending traditional
rules of these older crafts with emerging visual technologies.
His other motion-picture credits include CG supervisor on all three of Peter Jackson’s
“LOTR” films as well as “King Kong,” “I, Robot” and “My Favorite Martian” before jumping
up to VFX supervisor on “Harry Potter and the Order of the Phoenix” and Michael Apted’s
historical drama, “Amazing Grace.”
Additionally, he worked in various capacities on such films as “Baby’s Day Out,” “The
Mask,” “Practical Magic,” “The Flintstones” and “Forrest Gump,” which earned the 1994
Oscar® for Best Visual Effects.
You can learn more about the company at its website—www.moving-picture.com.
FRAMESTORE-CFC (visual effects) is the largest visual effects and computer animation
studio in Europe, with over 20 years’ experience in digital film and video technology.
The company has won numerous international awards, including two Technical Academy
Awards® from the Academy of Motion Picture Arts and Sciences, three BAFTA Craft Awards
and thirteen Primetime Emmy® Awards.
Work in the pipeline for 2007/2008 includes “Harry Potter and the Order of the Phoenix,”
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“His Dark Materials: The Golden Compass” and Christopher Nolan’s Batman sequel, “The
Dark Knight.” Work continues on the company’s first animated feature project, “The Tale of
Despereaux” and, for television, “Primeval 2.”
The company’s movie portfolio includes work on such films as “Children of Men,”
“Superman Returns,” “X-Men: The Last Stand,” “Charlie and the Chocolate Factory” and the
four previous “Harry Potter” films. Recent Digital Intermediate projects include “Mr. Bean’s
Holiday,” “Hot Fuzz,” “Hannibal’s Rising,” “United 93,” “The Queen,” “The Last King of
Scotland” and “Casino Royale.”
Recent television work includes “Primeval,” “Prehistoric Park,” “Ocean Odyssey,” “Space
Odyssey: Voyage to the Planets” and all the episodes of the “Walking With…” series.
Among Framestore-CFC’s notable commercial credits are Casino Royale (title sequence),
Vauxhall (“C’mon”), Sure (“Go Wild”), Guinness (“noitulovE” and “Surfer”), Dairy Crest
(“Cityside”), Johnnie Walker (“Fish”) and Levi’s (“Odyssey”).
Oscar®-winning VFX supervisor Jon Thum will oversee the company’s visual effects
creations for the film. Thum collected Hollywood’s highest honor for his work on the
Wachowski Bros.’ 1999 sci-fi classic, “The Matrix.” Most recently, he earned his second
Academy Award® nomination for “Superman Returns,” for which he also was cited for his
third BAFTA nomination (he won the BAFTA Award for “The Matrix” and picked up a second
nod for Tim Burton’s magical “Charlie and the Chocolate Factory”). He began his association
with the company as a compositing artist on such projects as “What Lies Beneath,” “Chicken
Run” and “Mission: Impossible II” before graduating to VFX supervisor on two historical
epics—Wolfgang Petersen’s “Troy” and Ridley Scott’s “Kingdom of Heaven.”
WETA WORKSHOP (armor/weapon designs and fabrication) is a multifaceted effects
company based in Wellington, New Zealand, which produces effects for television and film.
Founded in 1986 by five-time Academy Award® winner Richard Taylor and partner Tania
Rodger, Weta has produced creature and makeup effects for all of Peter Jackson’s films,
including his Oscar®-winning “Lord of the Rings” trilogy, “Meet the Feebles,” “The
Frighteners,” “Braindead,” “King Kong” and “Heavenly Creatures.”
In 1993, Taylor and partners, working with just one computer, created Weta Digital to
produce the digital effects for Jackson’s Oscar®-nominated (Original Screenplay) fantasy,
“Heavenly Creatures.”
Weta continued its collaboration with Jackson on his “Lord of the Rings” trilogy, which
brought the effects company worldwide prominence. For the landmark “Rings” trilogy, Weta
manufactured over 1,200 suits of armor, 2,000 weapons, 68 miniatures, a dozen major
creatures, all of the special makeup effects and prosthetic suits servicing seven shooting units
and two miniatures units.
Taylor, along with the firm’s innovative co-founder and partner, Rodger, won four Academy
Awards® for his contributions to “Lord of the Rings”—Best Visual Effects and Best Makeup
for “Fellowship of the Ring” (in addition to a nomination for Best Costume Design) and Best
Costume Design and Best Makeup on “Return of the King.” He won British Academy
(BAFTA) Awards for Best Costume Design on “The Two Towers” and Best Visual Effects and
Best Makeup on “The Fellowship of the Ring” and earned additional nominations for Best
Makeup on “The Two Towers” and “Return of the King” and Best Costume Design on “Return
of the King.”
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On his most recent collaboration with Jackson, Taylor won his fifth Oscar® and another
BAFTA honor for Best Visual Effects on “King Kong,” Jackson’s epic retelling of the 1933
horror classic.
In addition to his ongoing association with Jackson, he also served as miniature effects
supervisor on Peter Weir’s “Master & Commander,” produced 1,700 weapons for Ed Zwick’s
“The Last Samurai,” designed the guns for “Hellboy” and collaborated with Jackson on his
earlier efforts, “Braindead” and “The Frighteners,” the TV miniseries “The Tommyknockers,”
the Kiwi-based TV series “Hercules: The Legendary Journeys” and “Xena: Warrior Princess,”
and effects for Lee Tamahori’s “Once Were Warriors.” He most recently completed work on
Jonathan King’s Kiwi horror-comedy, “Black Sheep.”
Taylor has also developed a merchandising business and has created high-end collectibles
for “The Lord of the Rings,” “King Kong,” “The Lion, the Witch and the Wardrobe,”
“Superman,” “Hellgate” and Jim Henson’s Muppets.
Weta Digital VFX supervisor Guy Williams has more than 14 years’ experience in the
visual effects industry, with a specialty in photo-real effects and creatures for live-action film.
Born in Jackson, Mississippi, Williams intended to study aerospace engineering at
Mississippi State University. During his college years, he turned his interests to CG effects and
moved into the computer arts program.
After leaving the university to work at Boss Films, Williams worked at Warner Bros.,
Rhythm and Hues, Rainmaker LA, Cinesite and Pacific Title before relocating to New
Zealand in 1999 to work on the “Lord of the Rings” trilogy. He has had broad experience in
both 2D and 3D work, on projects including feature films, television, commercials and ride
films.
Since joining Weta Digital, he has also worked on “I, Robot,” “King Kong” (VES Award),
“X-Men: The Last Stand” and “Eragon,” on which he served as co-VFX supervisor. Earlier in
his career, Williams worked as a digital artist and compositor on such films as “Eraser,” “True
Lies,” “Drop Zone” and “Batman Forever.” His industry experience also includes such titles
as “Mars Attacks!” (digital effects supervisor) and “Harry Potter and the Goblet of Fire.”
KNB EFX GROUP (special makeup/creature/character prosthetics) founding partner
Howard Berger won the 2005 Academy Award® for Best Achievement in Makeup (shared with
Tami Lane) for his innovative character creations, animatronics and creature prosthetics on
Andrew Adamson’s “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.” With
partner Greg Nicotero, the pair also shared the BAFTA Award for the film’s makeup as well
as a Saturn Award from the Academy of Science Fiction, Fantasy and Horror.
KNB EFX Group was formed in 1988 by partners Nicotero and Berger and has become the
industry’s effects house of choice for cutting-edge directors such as Quentin Tarantino (“Kill
Bill, Vol. 1” and “2”), Robert Rodriguez (“Spy Kids” trilogy, “Once Upon a Time in Mexico,”
“Sin City”), Steven Spielberg (“Amistad,” “Minority Report”) and Jay Roach (“Austin Powers
in Goldmember,” “Meet the Fockers”), among many other filmmakers.
The pair formed their partnership after collectively working on Sam Raimi’s “Evil Dead II.”
They continued their affiliation with Raimi on such projects as “Army of Darkness,” “A
Simple Plan” and, most recently, “Spider-Man 3” and have also maintained an ongoing
association with director Tarantino that began with “Reservoir Dogs.” They supplied the
creature and special makeup effects on the Tarantino-scripted vampire thriller, “From Dusk ’til
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Dawn,” directed by Robert Rodriguez, which led to their continued association with both
filmmakers, culminating most recently with their shared directorial effort, “Grindhouse.”
KNB recently completed work on the current remake of the 1986 thriller “The Hitcher”;
the Jim Carrey starrer, “Lemony Snicket’s Series of Unfortunate Events” (an Oscar® winner
for makeup); “House of Wax” for producer Joel Silver; “Serenity” for director Joss Wheadon;
Michael Bay’s “The Island” and “Transformers”; George Romero’s “Land of the Dead” and
“Diary of the Dead”; Wolfgang Petersen’s “Poseidon,” “Hostel” and the upcoming sequel for
director Eli Roth,; and the remake of the 1977 Wes Craven cult classic, “The Hills Have Eyes.”
The company also designed and applied the character makeup on Jamie Foxx, transforming
the actor into singer Ray Charles in Taylor Hackford’s biopic, “Ray.”
Its innovative makeup effects are also on display in Paul Thomas Anderson’s “Boogie
Nights” and “Magnolia,” Martin Scorsese’s “Casino,” Frank Darabont’s “The Green Mile” and
his current project, “The Mist,” Rob Reinder’s “Misery,” Eli Roth’s horror hit, “Cabin Fever,”
David Lynch’s “Mulholland Drive,” Kevin Costner’s “Dances with Wolves” and Simon Wells’
“The Time Machine,” which earned an Academy Award® nomination for Best Makeup. KNB
also worked on “The Cell,” another Best Makeup Oscar® nominee.
KNB also devised both the superhero and the supervillain appliances for “Spawn,” an
ambitious adaptation of Todd McFarlane’s bestselling comic book, which included the
prosthetic makeup and body suits for John Leguizamo’s Clown character and a 12-foot
hydraulic puppet of the Violator, Spawn’s demonic arch nemesis.
Although most of its work (600 titles) is in the feature-film arena, KNB has also excelled
in the television arena, lending its talents not only to “Hercules: The Legendary Journeys” and
“Xena: Warrior Princess,” but Showtime’s “The Outer Limits,” FOX’s cult favorite “The X-
Files” and “24,” NBC’s “Law and Order,” HBO’s “Deadwood” and the telefilm “Desperation”
based on the Stephen King novel. Nicotero and Berger won an Emmy® for their work on the
Sci-Fi Channel’s “Dune.”
KNB’s partners come from disparate backgrounds. Nicotero hails from Pittsburgh, where
he began his career under the tutelage of acclaimed horror director George Romero and
makeup effects master Tom Savini. He most recently continued his ongoing affiliation with
Romero on “Land of the Dead,” serving as 2nd unit director and animatronic and creature
makeup supervisor.
Berger grew up in Los Angeles (the son of a post-production sound mixer) and spent his
younger years visiting the studios of Oscar® winners Stan Winston and Rick Baker, the
renowned animatronic and makeup effects innovators, with whom he would later collaborate
on “Aliens,” “Pumpkinhead,” “Predator,” “Harry and the Hendersons” and “Men in Black.”
The company currently resides in a 22,000-square-foot studio in Van Nuys, California, with a
staff of 82 artists.
Information contained within as of May 1, 2008.
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©Disney Enterprises, Inc. and Walden Media, LLC. All rights reserved.
(C) MBN 2008