THE CHRONICLES OF NARNIA

THE CHRONICLES OF NARNIA: PRINCE CASPIAN

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

MARK JOHNSON/SILVERBELL FILMS

Production

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

& Walden Media, LLC.

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.

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

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

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

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

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

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?

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

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.”

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

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

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.

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

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.

“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

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

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

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

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

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 time