Clash of the Titans

In “Clash of the Titans,” the ultimate struggle for power pits men against kings and

kings against gods. But the war between the gods themselves could destroy the world. Born

of a god but raised as a man, Perseus (Sam Worthington) is helpless to save his family from

Hades (Ralph Fiennes), vengeful god of the underworld. With nothing left to lose, Perseus

volunteers to lead a dangerous mission to defeat Hades before he can seize power from Zeus

(Liam Neeson) and unleash hell on earth.

Perseus sets off on a perilous journey deep into forbidden worlds, leading a daring

band of warriors, including Draco (Mads Mikkelsen), an experienced soldier who encourages

the defiant Perseus to make use of his god-given abilities. Battling unholy demons and

fearsome beasts, they will only survive if Perseus can accept his power as a god, defy his fate

and create his own destiny.

Propelling audiences into a mythological world of epic action and adventure, “Clash

of the Titans” will be presented in 3D, making the gods even more formidable, the creatures

even more fearsome, and taking audiences even deeper into the mythological realm of

Perseus’ quest.

“Clash of the Titans” is being directed by Louis Leterrier. Leading the international

cast is Australian actor Sam Worthington (“Avatar”) as Perseus, the mortal son of Zeus, king

of the gods. Academy Award® nominee Liam Neeson (“Schindler’s List”) takes on the role

of the mighty Zeus, and Academy Award® nominee Ralph Fiennes (“The English Patient”)

plays the role of Hades, god of the underworld, who feeds on human fear. Rounding out the

cast is Gemma Arterton as Io, Perseus’ mysterious spiritual guide throughout his journey;

Mads Mikkelsen as Draco, who takes up his sword to join Perseus’ quest; Jason Flemyng as

Acrisius, a one-time king turned hideous beast; Danny Huston as Poseidon, god of the seas;

and Alexa Davalos as Andromeda, a princess doomed to lose her life if Perseus does not

succeed.

Louis Leterrier directs “Clash of the Titans” from a screenplay by Travis Beacham

and Phil Hay & Matt Manfredi, based on the motion picture “Clash of the Titans,” directed

by Desmond Davis and written by Beverley Cross. The film is produced by Basil Iwanyk

and Kevin De La Noy. The executive producers are Academy Award® winner Richard D.

Zanuck (“Driving Miss Daisy”) and Legendary Pictures’ Thomas Tull, Jon Jashni and

William Fay.

The behind-the-scenes team includes director of photography Peter Menzies, Jr.,

production designer Martin Laing, editor Martin Walsh, editor Vincent Tabaillon, Academy

Award®-winning costume designer Lindy Hemming (“Topsy-Turvy”) and composer Ramin

Djawadi.

Also serving on the creative team are Oscar®-nominated visual effects supervisor

Nick Davis (“The Dark Knight”); Oscar®-nominated prosthetics supervisor Conor O’Sullivan

(“The Dark Knight,” “Saving Private Ryan”); Academy Award®-winning special effects and

animatronics supervisor Neil Corbould (“Gladiator”); Academy Award®-winning makeup

and hair designer Jenny Shircore (“Elizabeth”); and Academy Award®-winning production

sound mixer Ivan Sharrock (“The Last Emperor”).

Warner Bros. Pictures presents, in association with Legendary Pictures, a Thunder

Road Film/Zanuck Company Production, a Louis Leterrier Film, “Clash of the Titans.” The

film will be presented in RealD 3D where available, and will be distributed worldwide by

Warner Bros. Pictures, a Warner Bros. Entertainment Company.

The film has been rated PG-13 by the MPAA for fantasy action violence, some

frightening images and brief sensuality.

www.clash-of-the-titans.com

For downloadable general press information and photos,

please visit: http://press.warnerbros.com

ABOUT THE PRODUCTION

“Release the Kraken!”

With larger-than-life mythical beasts, breathtaking vistas spanning the depths of hell

to the heights of Mt. Olympus, and battles to-the-death between man and the gods, “Clash of

the Titans” is a mammoth spectacle that will grab audiences from the first scene and take

them on a wild, 3D ride through an ancient Greece only imaginable in the 21st century.

“It’s a big, fun adventure, a big escapist movie, and I love escapist movies,” director

Louis Leterrier says. “The story is heroic, it’s mythic, it’s romantic, it’s about fulfilling your

destiny. There’s fantasy and fun, and it’s a bit scary, too. Add to that an unbelievable cast

like Sam Worthington, Ralph Fiennes and Liam Neeson, and it was truly an exhilarating

experience.”

With Leterrier at the helm, the stars of the film were eager to step into the mythical

world. “I am always a fan of a director who is willing to take risks,” says Sam Worthington,

who plays the film’s central character, Perseus. “Louis’ vision for the film was big, bold and

heroic. He wanted it to be a thrilling kind of popcorn ride, and I thought, ‘Well, that’s a good

director to go into battle with. I want to be a part of that.’”

Close friends Liam Neeson and Ralph Fiennes, who play the roles of Zeus and

Hades, respectively, agreed. “My kids encouraged me to do it,” Neeson says, “and I knew

that with Louis and all the incredible computer wizards and technicians they had on the crew,

they were going to make this thing just jump off the screen.”

“I’ve always loved the Greek myths and the wealth of things they can do to make

special effects really kick ass now, I think, is extraordinary,” Fiennes allows. “I also thought

the script had a vividness and an epic quality that was really appealing.”

A real fan of the original film, Leterrier felt a bit like a kid in a candy store during

filming. “1981’s ‘Clash of the Titans’ was one of my favorite movies—it was actually one of

the first magical movies I ever saw. I was wowed by it. I jumped at the chance to do my

own version.”

The director’s enthusiasm for the material showed. Producer Kevin De La Noy

observes, “Louis has a love of filmmaking and storytelling, and he approached every

challenge with humor and a determination to make it work. His tireless energy was an

inspiration to us all. He got engrossed in each and every shot; he could see it clearly and he

wanted to impart that to everyone. And he got the desired results.”

Leterrier wasn’t the only filmmaker energized by the subject matter. States producer

Basil Iwanyk, “I remember waiting in line for two hours when I was 11 years old—one of the

best movie weekends in my life—and seeing “Clash of the Titans” with all of its monsters

and battles and princesses and people with swords...things I’d never seen before.”

Taking on the task of bringing the cult classic into the 21st century were screenwriters

Travis Beacham, Phil Hay and Matt Manfredi.

“I was so happy with what the screenwriters did,” recalls Leterrier. “It wasn’t just a

shot-for-shot remake to be done with modern technology. It maintained the integrity of the

original, but it was completely different.”

“I loved the original, so this was an irresistible, if intimidating, proposition,” says

Beacham. “One of the things I loved about it, and myths in general, is that they put

familiar human struggles in the context of impossible circumstances, to express things

that couldn't otherwise be expressed. Want to save the girl? How bad? Because you'll

have to fight this unstoppable monster to get to her. Want to find yourself? You'll have

to journey to the edge of the world and back again. Want to rebel against your parents?

Well, your dad's a god, so let's see what you're made of.”

“We talked a lot about the tone we were going for, trying to make it a fun adventure

with a great sense of momentum but with the action rooted in the characters and what they

were going through,” Hay says.

Manfredi adds, “To us, action only works if it’s about emotion. We wanted to use

every action beat to reveal who Perseus is in that moment—the action is the proving ground

that forges his character and his relationships. It has to have consequences to people we care

about.”

“It’s classic storytelling—literally,” says Iwanyk. “It’s life and death, betrayal and

courage...all played out by and humans and monsters and gods. My goal in reinventing this

movie was to give people that same feeling I had as a kid, but with all the advanced

technology available today.”

Helping to achieve that goal, a new dimension—3D—was added to 2010’s “Clash of

the Titans.” It fit perfectly with the filmmakers’ vision. “Even though we weren’t shooting

in 3D, I designed a lot of the shots with that visual style in mind—stepping into new worlds,

big creatures coming at you, fantastic images,” attests Leterrier, whose foresight turned out to

be quite fortunate. “The conversion to 3D adds incredible depth to each scene, enhancing the

story and providing an all-encompassing ‘Clash’ experience.”

A Hero’s Journey

In the mythology of “Clash of the Titans,” man was created by the gods, and in turn

his prayers provided the deities with immortality and strength. And, thanks to man’s

worship, the gods could rule over him. “It’s a little bit of the carrot and the stick,” explains

Leterrier, “but there’s a little too much stick and not enough carrot. The humans are starting

to rebel, so there’s tension. They need each other, but at the same time, they are at odds.”

The hero of the film, Perseus, having just lost the only family he’s ever known, is

torn between the two worlds: that of man, in which he was raised, and the world of the gods,

where many believe he belongs. Sam Worthington portrays the demigod who is reluctant to

embrace, or even accept, his birthright as the son of Zeus.

“The actor playing Perseus had to have that rare combination of a great heart and a

strong exterior,” asserts Leterrier. “Sam is one of the most wonderfully explosive actors I

know, but what was most important to me is what he wanted to say through the character. He

gave us a robust, determined, yet questioning Perseus, which is exactly what I felt the role

required.”

Iwanyk offers, “When Sam walked into the room, we knew he was Perseus. We

immediately liked him, and we liked the fact that he wanted to work hard as an actor, and

understood what the role would require of him. There’s both an intensity and a youthfulness

to Sam. He’s tough and he has an incredible physicality. You believe he has a god in him.”

“Perseus is a simple fisherman when you first meet him, he leads a simple life,” notes

Worthington. “But circumstances throw him on this quest to avenge his family’s death at the

hands of the gods. Apart from the epic nature of the film, what really appealed to me was the

idea of family—of fathers trying to reacquaint themselves with sons, sons wanting to know

why fathers don’t love them or why they rejected them, as well as brothers of a sort bonding

on different levels.”

Iwanyk states, “Perseus is essentially collateral damage in the war between man and

the gods. He stumbles into Argos, the cradle of civilization in ancient Greece, which is

crumbling at the hands of the very gods who killed his family. And that’s where he discovers

who he really is.”

Perseus’ refusal to acknowledge his Olympian side was an important factor for

Worthington, who says he “didn’t want Perseus to have to be a god in order to succeed.

think the fact that he rejects it, that he wants to do everything as a man, is a good message.

He doesn’t like bullies, which is how he sees the gods, and he thinks enough’s enough;

someone’s got to take a stand and it may as well be him. He starts off quite petulant and

bombastic of course, but he’ll have to grow up and learn to accept his birthright if he’s going

to survive.”

One character who doesn’t appreciate Perseus’ independence is his natural father and

king of the gods, Zeus, who feels that Perseus should not only want, but should ask for, his

help. Having been accustomed to unquestioning love from his own creation—humanity—

Zeus is uncertain as to how to deal with its wavering devotion and mounting uprisings.

“Zeus, more than any other god, loves humans,” says Leterrier. “He created them,

and he is torn because he loves them so much he doesn’t want to strike them with all his

might and destroy entire armies. So he has found cunning ways to get them to obey…but the

times are changing.”

It doesn’t help that his brother Hades, lord of the underworld, is pressing Zeus to

allow him to handle things in his own way. Esteemed actor Liam Neeson, who took on the

role of the conflicted king of Olympus, explains the delicate relationship. “Eons ago, Zeus,

Hades and their brother, Poseidon, took control of the universe from their parents, the

Titans,” says Neeson. “Zeus took over the heavens and Poseidon got the oceans, but Zeus

tricked Hades into ruling the underworld. So Hades now sees his chance for revenge by

tricking Zeus into starting a war with the humans. Initially fooled by Hades’ brotherly pleas,

Zeus thinks maybe Hades is right…maybe they’ve got to teach humanity a lesson.”

“We could have gone two routes with Zeus,” observes Leterrier. “We could’ve gone

with the white hair, white beard, toga, throne-sitting Zeus. But that’s not what I wanted.

This Zeus leads a war; he’s active, he’s tough. His weakness is that he loves mortals—

especially mortal women.”

“Liam’s physicality was perfect for the part,” Iwanyk states of the actor. “He’s big,

he’s strong, he has that great, authoritative voice, but he has a very sweet face and very

emotional eyes. The Zeus that we conceived is king of the gods and very powerful, but he’s

also hurt; he’s thrown, he’s confused, he’s gone soft. Liam’s a very intense, imposing figure,

but he can play that softness, that emotion in his face.”

Preying on his brother’s pain at the loss of mortal devotion, Hades convinces Zeus to

let him put fear into the hearts of men, saying that fear will bring their prayers back to Zeus

and, along with them, Zeus’ power over them. But in reality, human fear makes Hades

stronger, not Zeus. Acclaimed actor Ralph Fiennes plays the part of the cunning underworld

ruler eager to take his rightful place in the heavens.

“Ralph is not what you would consider a physically imposing man,” Iwanyk says,

“but he has an ability to convey tremendous intensity, rage and strength. He wanted to bring

this incredibly terrifying, unique character to the screen, and he did.” The producer also

appreciated what Fiennes real-life friendship with Neeson added to the mix. “Hades and

Zeus have a very complicated relationship onscreen, because they are not just adversaries,

they are brothers. Ralph and Liam’s friendship really added to that dynamic.”

“The gods are in a state of emergency,” states Fiennes, “and Hades walks onto

Olympus, with its vast marble hall set up high in the clouds, and sees what he has been

missing being down below with the damned and the dead for so long. And he isn’t a god of

compassion. He’s been betrayed by Zeus, and he figures it’s his turn now. So he goes to the

city of Argos and demonstrates his wrath and his power over them. He demands the sacrifice

that ultimately sends Perseus on his expedition.”

The sacrifice Hades demands is a heavy one indeed—the life of Argos’ princess,

Andromeda, to be fed to his monstrous spawn, the Kraken, at the coming eclipse. Alexa

Davalos plays the fated royal, a kind and generous young woman who is prepared to give her

life if it will save the people of Argos.

“Andromeda is definitely headstrong and rebellious,” says Davalos. “But there’s a

vulnerability that goes along with those qualities. She’s fighting the history and the royalty

of her family and forging her own way; she’s truly connected to the people in a way her

parents aren’t.” Despite Andromeda’s willingness to sacrifice her life, Perseus is not willing

to let her die without a fight, which becomes the impetus for his heroic mission.

Accompanying Perseus on his quest is Io, whose destiny is tied to his, and who is

something of a guardian angel to him. Actress Gemma Arterton portrays the mystical

guide—neither mortal nor god—who shadows Perseus on his travels. Like many in the cast

and crew, Arterton was a fan of the original film.

“I watched it about 50 times as a kid, so when I learned I had a role in the new

version, I was over the moon,” she relates. “I pretended that I wasn’t fazed by it, but I

quickly phoned my mum and my sister.” Ironically, the character she plays wasn’t in the

original movie. “That was even more exciting because I got to be involved, but also do

something new and different to me.”

Leterrier describes the contrast between the two women in Perseus’ story. “To me,

they represent the two worlds that he is torn between—the world of man that he was raised

into and the world of the gods that he belongs in—and he will have to make a choice.” The

director couldn’t have been more pleased with the casting of both women. “Alexa and

Gemma are wonderful actresses. Like the princess, Alexa is extremely grounded and

extremely human, whereas Gemma is very ethereal, with porcelain skin that can look almost

transparent…like you could go through her if you were to touch her face.”

Neither actress was too delicate, however, for the physical demands of their roles.

“They were both part of the adventure, so like the boys it was, ‘Come on, let’s go girls,’ and

they did, and it was great,” the director says.

While saving Andromeda’s life is the catalyst for Perseus’ journey, and Io acts as his

spiritual guide, Draco, a world-weary soldier, is the first to take up his sword and join the

quest. He becomes something of a mentor, endeavoring to impart some knowledge of

swordplay and battle strategy to the stubborn demigod along the way.

“Draco is a body man to the princess and a former warrior who’s heading toward

retirement,” says Mads Mikkelsen, who plays the part. “He knows the Kraken can’t be

killed, so when he gets this final task to go with Perseus, he’s not happy about it, but his

training makes him the best man for the job.” Fortunately, the actor and former gymnast felt

differently. “When they said they wanted me to swing around on a rope with a sword, it

reminded me of what I used to dream about as a kid, so that was very cool.”

One of the characters Perseus, Draco and their fellow journeymen come up against is

half-man, half-monster Calibos. A former king, Acrisius, he became a beast when Zeus

struck him with a lightning bolt. Veteran actor Jason Flemyng plays the dual role. “I’ve

known Jason for years and he’s a terrific actor,” remarks Leterrier. “He really wanted to play

Calibos, and he’s played Jekyll and Hyde before, so I thought it would be perfect for him.”

“When you’ve got four hours of prosthetics to apply, they say, ‘Let’s get Flemyng!’”

jokes the actor. “But I was eager to work with Louis again. And any day you walk onto a set

and Liam Neeson and Ralph Fiennes are there is a great day’s filming.”

Also among the many talented actors from around the globe in the film’s cast are

Danny Huston as Poseidon, god of the sea; Pete Postlethwaite as Spyros and Elizabeth

McGovern as Marmara, Perseus’ adoptive parents; Luke Treadway as Prokopion, Argos’

vociferous prophet of Hades who continually calls for Princess Andromeda’s death; and

Liam Cunningham, Nicholas Hoult and Hans Matheson as Solon, Eusebios and Ixas, three of

the memorable journeyman who aid Perseus in his quest.

The impressive cast made up something of a “United Nations” on the set, with

representation from America, Australia, Denmark, Ireland, Israel, France, England, Poland,

Scotland and more.

A Frenchman himself, Leterrier recalls asking several of his actors at the start of

filming if they were “‘ready to be wet, dirty, miserable, hot, hungry and in pain for the next

six months?’ Each person said ‘yes.’ And they regretted it every day!” he laughs.

Gods and Monsters

Apart from the human characters and in keeping with the mythology of the story,

“Clash of the Titans” is filled with mythical beasts and creatures—from the winged Pegasus

to the deadly Medusa to the giant, scorpion-like scorpiochs and the ultimate monster, the

fearsome Kraken. Creating these creatures involved a blend of practical and visual effects

elements.

Visual effects supervisor Nick Davis notes, “We were dealing with Olympus and

with Hades, so we had heaven and hell, and we had gods and monsters; there were aspects of

the fantastical inherent in the story. But at the same time, we wanted it to be photo-realistic.

We want people to believe a horse is flying and that harpies are real within the realistic

grounding we’ve given the movie.”

For the scorpiochs fight, Davis’ team began by blocking out what characters would

be in the massive battle. They worked with the director to determine the scale of each

scorpioch, which was approximately 25 to 30 feet, from claw-to-tail.

The special effects team, led by special effects and animatronics supervisor Neil

Corbould—who, as a teenager, worked on the original “Clash of the Titans,” adding feathers

onto Bubo the owl—built a full-scale rig to act as a makeshift scorpioch, in order to give the

actors something with which to interact during the fight sequence. “The crossover between

special and visual effects was close on that rig,” says Corbould. “Nick designed this fantastic

3D scorpion, which we used as the design for a physical model for the rig.” The effects team

then used a remote system to operate the rig via joystick controls.

“We also had a ride-rig, which was a computer-programmed gimbal, with the shell of

a scorpioch on top of it,” says Davis. “The character Draco leaps onto the back of it and goes

on a wild, spinning ride.”

“It was a very technical rodeo ride,” adds Corbould. “It was capable of moving a

meter a second in every direction—up, down, and with a complete 360-degree rotation as

well. Plus we had 30 feet of track that could go up and down. It was quite difficult to stay

on; it really threw you around.”

Their most difficult challenge with the rig itself was the speed. “Scorpions really

move quickly, so we tried to attain that level of speed,” says Corbould. “But we had to slow

it down a bit. Even a stuntman couldn’t have stayed on it at its top speed.”

Just getting the rig up to the location was an incredible undertaking, as filming in a

national park in Tenerife—Teide, the third tallest volcano in the world—meant strict

guidelines had to be followed. The crew could not take any vehicles off the path up to the

set. This meant taking the hefty scorpioch rig as far up as they could go by truck, and then

physically hand-carrying it in sections over the rocks to the set. The final rig took four days

to build, with the full rig, computer and operating equipment having to remain at the

elevation, in the elements, across the four days. The team could only hope that it wouldn’t

blow away each night.

Davis’ team also used a combination of CGI and motion capture to bring to life the

Medusa, the Kraken, the harpies, and Pegasus, among others. Unlike any incarnation of

Medusa before, this version of the lethal character not only has a head crowned by snakes,

but also a body that is half-human, half-snake, and able to hunt her unwanted visitors with

stealth and steel. Digital effects turned Russian supermodel Natalia Vodianova into the

gorgon whose looks do kill.

Perhaps the mythical creature most critical to the story was the flying horse Pegasus,

a truly majestic animal. Leterrier offers, “Pegasus is a winged horse, he’s the companion of

the gods, and no human has ever ridden one. He initially fights Perseus, which is yet another

obstacle for our hero to overcome.”

“The problem with flying horses is that horses don’t fly,” Davis says. “So you’re

immediately overcoming a lot of aerodynamic problems in order to make it look natural.”

Two Friesian stallions—a large, black breed of horse originating in the

Netherlands—were used for the role: Bonce worked as the main Pegasus, with the stunt rider

riding Gallo.

The visual effects team developed a complex system of putting tracking markers on

the horses and using special cameras to track the motion very carefully. Completing the

illusion, wings were placed on afterward, via digital imaging.

In addition to the two horses, the cast and crew also worked with a menagerie of

other animals including four camels, a seven-foot, 44-pound Burmese albino python, two

young oxen and a number of dogs. As befitting his owner, Zeus, perhaps the most majestic

of the animals was an American Bald Eagle, who became an instant hit on the set; at the end

of filming, most of the cast and crew had their picture taken with it. Not only did everyone

involved enjoy working with their live animal “cast,” the production also garnered the

American Humane Assocations’ highest rating for their care and treatment of the animals.

The design phase for the Kraken—the most feared beast in all of Argos—took a

period of approximately five months. Davis relates, “Aaron Sims, our character designer,

worked with Louis and me and the art team until we had something everyone was happy

with, and then the people at MPC (Moving Picture Company) took over to work through the

texture, and so on. The water was also a huge element. The Kraken rises out of the sea, so

it’s got water cascading off of it on a massive scale, but part of it is always in the water,

thrashing around. It was quite a challenge.”

“The Kraken is mysterious, it’s a legend,” says Leterrier, “so we didn’t want to reveal

it right away. Nick, Aaron and MPC did an amazing job creating this unfolding sea monster.

There is transparency in the scales, because this is a monster that hasn't lived in the sun for

thousands of years, so there would be subsurface transparency and light would come in and

bounce into the shell.”

In addition to the creatures, the special effects unit regularly incorporated a good deal

of nature’s elements into the scenes, including wind and water machines, fire and steam.

“Neil was supplying us with as much interaction on the set as we could get, be it objects

blowing up or falling over, the gimbals and the rig, the explosions and flames and dust hits.

We worked together to figure out all the logistics,” Davis says.

With locations in Tenerife, Wales and Ethiopia, the visual effects team had a vast

canvas from which to work. Davis continues, “We were building off of those places, so we

wanted the city of Argos to look like it really belonged in the cliffs and mountains that we

shot whole sequences around. Everything was based on that, and it was a wonderful starting

place.”

In Search Of: Greece, 200 B.C.

“We brought a cast and crew of more than 800 people around the globe to capture a

real-world scale,” states Leterrier, referring to the far-flung and varying locations utilized for

“Clash of the Titans.”

De La Noy notes, “Louis had a pretty clear vision right from the outset. He didn't

want to go entirely into the realm of the digital universe in terms of our world; we clearly had

to have digital mythological creatures, but the world the characters inhabited, we wanted to

be largely real whenever possible.”

“Clash of the Titans” did indeed shoot around the world, including some sites rarely

seen on film before. The Canary Islands’ Tenerife, a tourist destination off the coast of

Africa, hadn’t seen a major film production in over four decades.

“Unlike locations I’ve seen many times in movies,” says Leterrier, “this was brand

new, with black and white lava, and green trees, and strange cloud formations. It felt like we

were above the world, in a place that hadn’t been touched by human hands.”

“The movie is set in ancient times, so we needed a virgin landscape,” asserts De La

Noy who, in his earlier days as a location manager, earned the nickname “Fresh Tracks.” “I

always liked that,” he continues. “I always got great satisfaction out of going someplace

where no one else had been.”

Tenerife provided the production with a great variety of settings, as well as unique

opportunities. De La Noy offers, “In the sequence where the statue of Zeus collapses at

Argos, we were at 7,000 feet, with the helicopters flying over the top of the volcano. It was

the first time that helicopters have flown over there. Our landscapes were all petrified lava

streams.”

The production also utilized the surrounding ocean, most notably when the gods

unleash their wrath on Argos. It is there that Perseus’ family is killed while on their fishing

boat. The vessel used in the film was built in England and brought to Tenerife for shooting;

however, it sank when it was first put in the water. After being recovered, it had to be re-

corked before it was seaworthy—only to be sunk again, this time on purpose.

In the Canaries, they also shot on Gran Canaria and Lanzarote because those islands

offer different backdrops. “The Canary Islands as a whole are a very important and

substantial part of this movie—we got a continent's worth of looks out of a few tiny islands,”

says De La Noy. One of the most dynamic features of the islands was a sea of clouds. “We

were actually above the clouds. This isn’t going to feel like a claustrophobic movie,” he

attests.

The producer calls the cliffs of Los Gigantes a “slam-dunk” for Argos. “There was

nothing quite as gratifying as my first trip down there, coming around the corner on a Zodiac,

and just looking up to the heavens where these great vertical cliffs rose 300 or 400 meters out

of the water. It was exactly what we had aspired to, and there it was, and I could touch it and

feel it. It was just fantastic.”

Moving to the very different location of Wales, the production also shot several

critical sequences, including scenes at the entrance to Hades, a confrontation between Perseus

and Calibos, and the exteriors of the journeymen’s visit with the Stygian Witches. Of the

last, production designer Martin Laing states, “In our mythology, when the earth was created

by the battling Titans, one of them died and his hand stuck out of the ground and created the

environment where our witches live, up in the fingers. They spend their time patrolling the

palm of the hand, so that was the look we developed.

“My idea was based on the Wales exterior and it was very dark, very slatey, with lots

of misty smoke coming in,” Laing continues. He then showed his designs to Leterrier. “Out

of that conversation came the idea of the hand; it grew out of the smoke. It was a great

collaboration.”

“Martin came in with this bigger-than-life vision, and I fell in love with it,” Leterrier

says.

Laing says that both he and his director are also big fans of texture. “In Wales, we

found this wonderful slate quarry, with all this slag falling down the side of a hill. We took

those textures, the gritty reality of those elements, and brought them to our set.”

Though the production made extensive use of its numerous outdoor locales, not

everything could be shot on location, so several elaborate sets were built to accommodate the

rest. Sets created at Shepperton Studios included the Stygian Witches’ home; the ethereal

home of the gods, Mount Olympus; and parts of Argos and its Basilica.

At Pinewood Studios in Buckinghamshire, a tank was utilized for underwater scenes

and close-ups of the dead souls pulling Charon’s ferry on the River Styx, among other things.

Longcross—a former military testing area for the British government and now both a film

studio and an automotive testing facility—housed the city of Argos.

“For Argos, we could have gone to places with real walls and so on, but the problem

was I wanted massive destruction, and the best way to destroy is to build,” says Leterrier.

“So we built this huge city over 40,000 square feet, and I was so excited because I was going

to destroy it all. I was like a kid playing with my Legos...on a huge scale.”

Longcross also held Charon’s ferryboat, the sacrificial rig for the Kraken, Queen

Danae’s bedroom, the armory, the catacombs where Hades and Calibos meet, and Medusa’s

Lair, the first set utilized on the shoot.

“The fair thing to say about this movie is that it’s based on Greek mythology, not

Greek history, so I got to play a little bit, within the bounds of the architecture of the time,”

says Laing. “Medusa’s Lair was designed around Athena’s Temple. Athena was a

wonderful goddess when Medusa entered her temple seeking her help. But Athena got angry

with Medusa, crumpled the temple and threw it into the barren wasteland. So I made a quick

paper model of Athena’s temple, then crushed it and bent it, looking for camera angles to

create. When it was built, it gave us a wonderful playground that we could film in. The

scene is really a cat and mouse chase, with lots of places to hide, almost like a jungle gym.”

The lair was set inside a huge cavern in order to facilitate darkness and interesting textures as

the camera moved throughout.

“It was an interesting way to start the movie,” considers director of photography Peter

Menzies, Jr. “We wanted it to look and feel as close to hell as we could make it—steam, fire,

explosions. The temple was three layers high, plummeting down into a lava pit below. We

knew that every shot needed to have as much depth and layering as possible, not only in

Medusa’s lair, but throughout. Louis and I really pushed for the moving camera, so we’d

really feel we were with Perseus on this journey. We used technocranes nearly every day, as

well as steadicam and cablecam, for really fluid storytelling, because there’s a lot of story to

tell.”

“When we finished the first week of principal photography in Medusa’s lair, we were

all sitting down exhausted, sweating, deaf from these explosions that were blasting, burnt

because of all the fire,” recalls Leterrier. “And we loved it. We looked at each other, out of

breath, and just smiled and exploded into laughter. We all said, ‘Making this movie is going

to be a great ride.’”

Springing Into Action

“Clash of the Titans” is packed with big-scale, epic action, and to work out the

logistics of so many battles, Leterrier turned to stunt supervisor Paul Jennings. “He’s an

amazing man,” says the director. “He assembled this remarkable team of stunt men and

came up with fantastic fight choreography. You can tell him you want to see a sword fight

like nothing you’ve ever seen before, and he will come back to you with it.”

Leterrier quickly learned how to foster a sense of friendly rivalry among his cast,

while enabling them to learn the basics that they would need to know to perform. “I

encouraged a bit of one-upsmanship,” he says. “As the guys were learning swordplay, there

was an unspoken contest as to who could be the best. Sam was a great leader, and so was

Mads, and soon the rivalry became more like a brotherhood. It was great fun.”

“I think audiences want to see the characters really going for it,” says Worthington.

“I loved learning the sword fighting…and putting on a harness and jumping off into a bag of

beans is kind of cool.”

The men weren’t the only ones to dive in head first, so to speak. According to

Leterrier, the women were just as eager to take on the action. “Alexa is like a fish. She can

stay underwater for three minutes and remain very comfortable while acting, and she really

needed to for this movie.”

The armory of weapons for “Clash of the Titans” was extensive. Sixteen hundred

weapons were created, all made from scratch. The swords were crafted from different

materials, depending on how they were to be used in filming: bronze for the best look;

aluminum for the lighter weight; rubber to prevent injury; and even some made out of biscuit

foam, which crumbles easily.

Supervising armorer Nick Komornicki had the most fun creating arms for Ozal and

Kucuk, Turkish brothers who join in the quest. Ozal, played by Ashraf Barhom, carried four

daggers, a blow pipe and darts, a slingshot, a bow and arrow and a rock. The actor wanted

more, but the collection was already a bit heavy for him to carry all at once.

Transcending the Toga

When discussing the costumes for “Clash of the Titans,” Letterier told costume

designer Lindy Hemming that he was concerned that Perseus and his entourage of warriors

from the City of Argos would have a look which reflected their toughness and strength, and

that their limbs, especially their legs, would not be too bare. “I designed several different

styles of armor, and most importantly very sturdy leg and arm guards,” Hemming says. “All

of the armor, both metal and leather, was intended to look as though it had been used

extensively in the wars preceding the beginning of the story, so lots of costume distressing

and painting was essential, and when we were having the metal armor sculpted, we made

sure that there were lots of bumps and sword marks in the molds.”

When deciding on a look for the gods on Mount Olympus, Letterier was equally

certain that he did not want to have gods and goddesses in togas. Hemming recalls that “he

wanted them in armor because they are at war, and they are fighting the people down on

earth. They must look superhuman.” So Hemming designed each god an individual armor

inspired by the creature or plant motif attributed to them in mythology—Zeus was “eagle

like,” for example—then the sculptress Emma Hanson sculpted a life-sized version of the

design, which was then molded and made in metal. All the armor needed to be made to look

as though it was made of different precious metals and to have the ability to be made almost

“light emitting” by the visual effects department.

Zeus, played by Neeson, looked particularly regal and shone brightly, causing an

awed silence to fall on set when he arrived in his 15-foot-long cloak. He was, however, in

much discomfort, as the armor and the scale metal undersuit weighed so much that the

carpenters had to make him a special leaning board and chair to take some of the weight.

In determining the look and color palette, Hemming researched as extensively as

possible the history of ancient Greek life and clothing, and looked hard at the very extreme

locations. “I chose a dramatic, dirty, plant-dyed, madder red and a lovely burnt orange for

the soldiers’ roughly woven capes,” she offers, “and for the desert-dwelling Djinn who join

Perseus on his journey, I used a very strong Indigo blue and lots of African, hand-printed

mud cloth.”

For the interior of the town and palace of Argos, Hemming says, “The people are

living a very decadent life, so I decided it should look like a Versace party. I used all natural

silks and cottons, hand-pleated and dyed to pale apricots, creams, peaches, yellows and pinky

terracottas, with lots of handmade gold jewelry.”

One of Leterrier’s favorite looks that Hemming created was for Hades. “Hades has

worn armor ever since he was sent to the underworld, right after the battle with the Titans,”

the director notes. “But his armor has been corroded, eaten away by sulfur, so it’s in pieces,

but he still wears it. And his cape is infused with the cries of a thousand souls. It’s made out

of pure smoke and dust and pain and blood.”

Another adjustment the designer had to make was to some of the footwear; the

journeymen and many other actors wore sandals, but during action scenes, where the risk of

injury was greater, they wore special, enclosed sandals with the tops painted to look like toes.

Headed by prosthetic supervisor Conor O’Sullivan, prosthetics makeup completed

the look of many of the characters. Life casts had to be made for several of the actors,

including Jason Flemyng, who spent about three hours each day becoming Calibos. Flemyng

had a particularly good time as Calibos when, being driven to set, he would often ask the

driver to stop so he could roll down the window and ask passersby for directions, getting a

kick out of their reactions to his monstrous makeup.

The Stygian Witches each had three sets of body parts, five sets of heads, and were

almost completely blind during filming. To create the all-seeing Eye, 25 prototypes were

required. Three final eyes were made—one as the main eye, one which was more durable

and could be tossed around, and a green one for use in CGI effects.

Sheikh Suleiman, the Chief of the wooden Djinn, required 40 face sets with

replaceable hard shells, 40 necks, and 15 pairs of animatronic arms.

Under the purview of hair and makeup designer Jenny Shircore, most of the actors, if

not covered in prosthetics, had to be spray-tanned regularly to maintain their golden, Grecian

appearance. Makeup was then applied on top of their “tan.” And while most of the men and

women of “Clash of the Titans” had long locks requiring wigs or extensions, Sam

Worthington’s Perseus sported a buzz cut. “They may not have had electric razors in ancient

Greece, but they didn’t really have Krakens or flying horses, either!” he deadpans.

“This ‘Clash of the Titans’ is a take on Greek mythology for 2010,” states director

Louis Leterrier. “It’s a huge adventure movie, it’s a movie about family and loyalty and

destiny. And it’s big, because the world of Greek mythology is big; there was no holding

back. The monsters are the biggest things you’ve ever seen, and there aren’t just two or three

of them, there are 12 different creatures. It’s a new world, a world we haven’t seen before,

and I think audiences will have a truly memorable experience.”

OO.

ABOUT THE CAST

SAM WORTHINGTON (Perseus) is currently starring in James Cameron’s mega

blockbuster “Avatar.” The director handpicked Worthington to star in the groundbreaking

3D science fiction feature following an exhaustive international casting search. “Avatar” has

now earned more than $2.35 billion at the worldwide box office, making it the top-grossing

film of all time, surpassing Cameron’s own “Titanic” after a 12-year reign. Among its

numerous honors, “Avatar” won the Golden Globe for Best Motion Picture – Drama, and

earned nine Academy Award® nominations, including Best Picture and Best Director, and

winning three. Earlier in 2009, Worthington starred with Christian Bale in the McG-directed

sci-fi action hit “Terminator Salvation,” which grossed more than $370 million worldwide.

In addition, Worthington stars in two very different upcoming independent features:

the romantic drama “Last Night,” opposite Keira Knightley and Eva Mendes; and the post-

World War II dramatic thriller “The Debt,” directed by John Madden and also starring Helen

Mirren. He will soon begin shooting director Ami Canaan Mann’s “The Fields,” produced

by Michael Mann.

A native of Australia, Worthington graduated from Sydney’s prestigious National

Institute of Dramatic Art (NIDA) in 1998. Upon graduation, he continued to act on the stage,

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

Belvoir Street Theatre.

In 2000, Worthington made his feature film debut with a starring role in the

Australian film “Bootmen,” in the role of Adam Garcia’s brooding older brother. His

performance garnered him an Australian Film Institute (AFI) Award nomination for Best

Performance by an Actor in a Leading Role. His subsequent Australian film credits include

“Dirty Deeds,” with John Goodman, Toni Collette and Sam Neill, for which he earned a Film

Critics Circle of Australia (FCCA) Award nomination for Best Supporting Actor; and

“Gettin’ Square,” with David Wenham. He also had a small role in the World War II drama

“Hart’s War,” starring Bruce Willis.

However, it was his layered performance in Cate Shortland’s critically acclaimed and

commercially successful 2004 film “Somersault” that brought Worthington international

attention. He won an AFI Award for Best Actor in a Leading Role and earned his second

FCCA Award nomination. In addition, the film made a clean sweep of the year’s AFI

Awards, winning in all 13 film categories—a first in the awards’ history.

Worthington went on to star in the title role of Geoffrey Wright’s 2006 contemporary

adaptation of Shakespeare’s “Macbeth.” He has also been seen in John Dahl’s “The Great

Raid” and the horror thriller “Rogue.”

Worthington’s Australian television credits include starring roles in two award-

winning projects: “Love My Way,” which has won three AFI Awards for Best Television

Drama Series; and “The Surgeon,” which was nominated for an AFI Award for Best

Telefeature or Miniseries. He also starred in the “Delivery Man” episode of “Two Twisted,”

a “Twilight Zone”-like anthology series produced by Bryan Brown.

GEMMA ARTERTON (Io) graduated from The Royal Academy of Dramatic Art in

the summer of 2007 and has fast become one of Hollywood’s most promising stars. She can

be seen this summer in the lead female role of Princess Tamina in “Prince of Persia: The

Sands of Time.” Directed by Mike Newell, Arterton stars opposite Jake Gyllenhaal, Alfred

Molina and Ben Kingsley. Her upcoming films include Stephen Frears’ “Tamara Drewe,” in

which she will play the title character, and J Blakeson’s “The Disappearance of Alice Creed,”

a thrilling tale of kidnapping and intrigue in which she played the title role alongside Martin

Compston and Eddie Marsan.

Arterton was recently seen in Richard Curtis’ recent “Pirate Radio,” co-starring with

a host of greats such as Philip Seymour Hoffman, Kenneth Branagh, Bill Nighy and Emma

Thompson, and played a Bond Girl in “Quantum of Solace,” a blockbuster directed by Marc

Forster and starring Daniel Craig and Dame Judi Dench. Her other film credits include Guy

Ritchie’s gangster film “RocknRolla,” “A Deal Is a Deal,” directed by Jonathan Gershfield,

and “St. Trinian’s 2: The Legend of Fritton’s Gold,” directed by Oliver Parker and Barnaby

Thompson, in which she reprised her role from the earlier film, “St. Trinian’s.”

Arterton has also starred in some of television’s best dramas. Her heartrending

portrayal of the heroic Tess in the BBC adaptation of Thomas Hardy’s novel Tess of the

D’Urbervilles, co-starring Eddie Redmayne, Ruth Jones and Hans Matheson, earned her rave

reviews. She also played the role of Elizabeth Bennet in ITV’s costume drama “Lost in

Austen,” and starred in BBC’s “Capturing Mary,” directed by Stephen Poliakoff, with

Maggie Smith, David Walliams and Ruth Wilson.

Arterton made her stage debut in the role of Rosaline at Shakespeare’s Globe Theatre

in “Love’s Labour’s Lost,” directed by Dominic Dromgoole. She gained a full scholarship to

the RADA, where she took lead roles in productions such as “An Ideal Husband,” “Titus

Andronicus” and “The Beggar’s Opera.” She is currently making her West End stage debut

at the Garrick Theatre in London in Douglas Carter Beane’s “The Little Dog Laughed.”

MADS MIKKELSEN (Draco) was most recently seen as the male lead in “Coco

Chanel & Igor Stravinsky,” from Dutch director Jan Kounen, in the BBC Films action

adventure “Valhalla Rising,” and in the German thriller “The Door.” Mikkelsen previously

starred in the blockbuster Bond film “Casino Royale,” opposite Daniel Craig and Eva Green,

in the role of Bond’s nemesis. He also starred in “Flame and Citron,” for which he was

nominated for a Robert Award (Danish Academy Award) for Best Supporting Actor.

Mikkelsen began his professional career as a gymnast and dancer and has worked

steadily in theatre, television and film to become the top male star in Denmark and

Scandinavia. A graduate of Århus Theatre School, Mikkelsen has subsequently appeared

onstage in several productions, including as Romeo in “Romeo and Juliet,” directed by Lars

Kaalund. Mikkelsen also starred in the police series “Unit 1,” which garnered an

International Emmy Award for Best Drama Series.

Among his many distinguished and varied film roles, Mikkelsen is perhaps best

known for his starring role in Susanne Bier’s “Open Hearts,” for which he was nominated for

Best Actor for the Robert and Bodil (Danish Film Critics’ Award) in 2003 and won the Best

Actor Zulu Award in 2002. His other film credits include “I Am Dina,” opposite Gérard

Depardieu; “Shake it all About”; “Flickering Lights”; “Wilbur Wants to Kill Himself”; and

“The Green Butchers,” for which he was nominated for a Bodil for Best Actor in 2004.

Mikkelsen’s lead performance in “With Blood on My Hands: Pusher II,” in which he reprised

his role as a low-life pusher/junkie in the much-anticipated follow-up to the 1996 success

“Pusher,” garnered him a Robert and Bodil for Best Actor in 2005.

Mikkelsen made his American debut opposite Clive Owen and Keira Knightley in

“King Arthur,” directed by Antoine Fuqua and produced by Jerry Bruckheimer. Soon after,

Mikkelsen appeared as a delusional priest in “Adam’s Apples,” which premiered at the

Toronto Film Festival and screened in the Spectrum program at the Sundance Film Festival.

The film was the Danish selection for Best Foreign Language Film for that year’s Academy

Awards® and Mikkelsen’s performance garnered him a Best Actor Zulu Award. In addition,

Mikkelsen played the lead in Susanne Bier’s film “After the Wedding,” which was

nominated for an Academy Award® for Best Foreign Film. He also starred in the Swedish

thriller “Exit,” directed by Peter Lindmark.

ALEXA DAVALOS (Andromeda) was most recently seen in Academy Award®

winner Ed Zwick’s Holocaust film “Defiance,” starring as the love interest to Daniel Craig’s

character. She also received rave reviews for her performance in “Feast of Love,” opposite

Morgan Freeman and Greg Kinnear. The film, directed by multiple Academy Award®

winner Robert Benton, revolves around a community of friends in Oregon exploring the

magical, mysterious and sometimes painful incarnations of love. In the same year, she was

also seen in “The Mist,” a collaboration between director Frank Darabont and Stephen King.

In 2004, Davalos starred opposite Vin Diesel in “The Chronicles of Riddick,” costarring

Thandie Newton, Judi Dench and Colm Feore. In 2003, Davalos made her television

feature debut in Larry Gelbart’s “And Starring Pancho Villa as Himself,” directed by Bruce

Beresford for HBO Films and starring Antonio Banderas. Her other credits include the ABC

pilot “Raines,” directed by Frank Darabont and starring Jeff Goldblum, as well as a starring

role as Diane Keaton’s daughter in “Surrender Dorothy” for CBS.

JASON FLEMYNG (Calibos / King Acrisius) recently starred in the first global

feature film from Dubai, “City of Life,” directed by Ali Mustafa and costarring Natalie

Dormer. Flemyng also costarred in David Fincher’s “The Curious Case of Benjamin

Button,” opposite Brad Pitt and Cate Blanchett. Known for creating distinct characters,

Flemyng brought his talent to “The League of Extraordinary Gentlemen,” opposite Sean

Connery, “Rock Star,” opposite Mark Wahlberg and Jennifer Aniston, The Hughes Brothers’

“From Hell,” opposite Johnny Depp, and Bernardo Bertolucci’s “Stealing Beauty,” opposite

Liv Tyler.

Earlier in his career, Flemyng starred in Guy Ritchie’s directorial debut, “Lock, Stock

and Two Smoking Barrels,” which earned him international recognition and critical praise.

He worked again with director Ritchie and producer Matthew Vaughn on the follow-up,

“Snatch,” in which he starred opposite Brad Pitt. Flemyng collaborated three more times

with Vaughn: on Vaughn’s directorial debut, “Layer Cake,” starring Daniel Craig; on

“Stardust,” opposite Robert De Niro, Michelle Pfeiffer and Claire Danes; and on the

upcoming “Kick-Ass,” starring Nicolas Cage and Mark Strong. Flemyng’s other feature film

credits include “Below”; “The Red Violin”; “Deep Rising”; “The Hollow Reed”; and “Alive

and Kicking.”

Flemyng’s television work includes roles in the popular BBC series “Primeval”; the

BBC production “Screen One” episode “A Question of Attribution,” directed by John

Schlesinger; and the BBC’s “The Man-Eating Leopard of Rudraprayag.”

His theatre credits include several Royal Shakespeare Company (Barbican)

productions, including “Coriolanus,” “As You Like It,” “Moscow Gold,” “Barbarians,” and

“All’s Well That End’s Well.”

RALPH FIENNES (Hades) has been honored for his work on the stage and screen.

In 2008, he earned dual British Independent Film (BIF) Award nominations, both for Best

Supporting Actor, for his roles in “The Duchess,” opposite Keira Knightley, for which he

also received a Golden Globe nomination, and “In Bruges,” with Colin Farrell. Also in 2008,

Fiennes starred in the acclaimed dramas “The Reader,” with Kate Winslet, and in the nine-

time Academy Award®-nominated “The Hurt Locker,” directed by Kathryn Bigelow. The

same year, he received Golden Globe and Screen Actors Guild (SAG) Award® nominations

for his performance in the HBO movie “Bernard and Doris,” opposite Susan Sarandon.

Fiennes has a wide range of films upcoming, including Ricky Gervais’ comedy-

drama “Cemetery Junction”; the fantasy “Nanny McPhee and the Big Bang,” with Emma

Thompson; and a film adaptation of Shakespeare’s “Coriolanus,” with Gerard Butler and

Vanessa Redgrave, which will also mark his directorial debut. In addition, Fiennes will

reprise the role of the evil Lord Voldemort in the two-part “Harry Potter and the Deathly

Hallows.” He first appeared as Voldemort in 2005’s “Harry Potter and the Goblet of Fire”

and returned to the role in the 2007 blockbuster “Harry Potter and the Order of the Phoenix.”

A two-time Academy Award® nominee, Fiennes received his first nomination in 1994

for his performance in Steven Spielberg’s Oscar®-winning Best Picture, “Schindler’s List.”

His chilling portrayal of Nazi Commandant Amon Goeth also brought him a Golden Globe

nomination and a BAFTA Award, as well as Best Supporting Actor honors from numerous

critics groups, including the National Society of Film Critics, and the New York, Chicago,

Boston and London Film Critics.

Fiennes earned his second Oscar® nomination in 1997 for the title role in another Best

Picture winner, Anthony Minghella’s “The English Patient.” He also garnered Golden Globe

and BAFTA Award nominations, as well as two SAG Award® nominations, one for Best

Actor and another shared with the cast. He later won a British Independent Film Award, an

Evening Standard British Film Award and a London Film Critics Circle Award, and earned a

BAFTA Award nomination, for his work in the acclaimed 2005 drama “The Constant

Gardener,” directed by Fernando Meirelles.

His additional film credits include James Ivory’s “The White Countess”; Aardman’s

Oscar®-winning animated film “Wallace & Gromit in The Curse of the Were-Rabbit”; “Red

Dragon”; the Neil Jordan films “The End of the Affair” and “The Good Thief”; David

Cronenberg’s “Spider”; Martha Fiennes’ “Chromophobia” and “Onegin”; Istvan Szabo’s

“Sunshine”; “Maid in Manhattan,” opposite Jennifer Lopez; the animated musical “The

Prince of Egypt”; “The Avengers”; “Oscar and Lucinda,” opposite Cate Blanchett; Kathryn

Bigelow’s “Strange Days”; “Quiz Show,” directed by Robert Redford; and “Wuthering

Heights,” in which he made his film debut.

A graduate of the Royal Academy of Dramatic Art, Fiennes began his career on the

London stage. He joined Michael Rudman’s company at the Royal National Theatre and

later spent two seasons with the Royal Shakespeare Company (RSC). In 1995, Fiennes

opened as Hamlet in Jonathan Kent’s production of the play, winning a Tony Award for his

performance when the production moved to Broadway. He reunited with Kent in the London

production of “Ivanov,” later taking the play to Moscow.

In 2000, Fiennes returned to the London stage in the title roles of “Richard II” and

“Coriolanus.” In 2002, he originated the role of Carl Jung in Christopher Hampton’s “The

Talking Cure” at the Royal National Theatre and, the following year, played the title role in

Ibsen’s “Brand” at the RSC. Fiennes played Mark Anthony in Deborah Warner’s 2005

production of “Julius Caesar,” before reuniting with director Jonathan Kent to star in Brian

Friels’ “Faith Healer.” The play opened in 2006 in Dublin and later went to Broadway,

where Fiennes earned a Tony Award nomination for his performance.

In March of last year, Fiennes opened in the Yasmina Reza play “God of Carnage” in

London’s West End and then starred in Kent’s production of “Oedipus” at the National

Theatre.

LIAM NEESON (Zeus) is an award-winning actor, who has been internationally

recognized for his work in both major studio blockbusters and acclaimed independent

features.

He has been honored for his depictions of three very different real-life figures.

Neeson received Academy Award®, Golden Globe and BAFTA Award nominations for his

performance as Oskar Schindler in Steven Spielberg’s 1993 Oscar®-winning Best Picture

“Schindler’s List.” Three years later, he played the title role in Neil Jordan’s biopic “Michael

Collins,” earning another Golden Globe nomination and winning an Evening Standard British

Film Award and the 1996 Venice Film Festival’s Volpi Cup for his impassioned portrayal of

the Irish Republican hero. In 2004, Neeson starred as controversial sex researcher Alfred

Kinsey in Bill Condon’s “Kinsey,” for which he garnered his third Golden Globe nomination

and an Independent Spirit Award nomination, and won a Los Angeles Film Critics Award.

More recently, Neeson starred in the hit thriller “Taken,” the independent film

“Chloe,” directed by Atom Egoyan. He next stars in the indie “After.Life,” followed by the

much-anticipated summer actioner “The A-Team.” His upcoming films also include Paul

Haggis’ romantic thriller “The Next Three Days” and Jaume Collet-Sera’s action thriller

“Unknown White Male.” In addition, his distinctive voice will be heard in “The Chronicles

of Narnia: The Voyage of the Dawn Treader,” reprising the role of Aslan, which he

previously played in the “Chronicles of Narnia” films, “The Lion, the Witch and the

Wardrobe” and “Prince Caspian.”

Neeson is also well known to film fans for his work in two blockbuster film

franchises: playing the role of Jedi Master Qui-Gon Jinn in “Star Wars: Episode 1 – The

Phantom Menace,” and the enigmatic Henri Ducard in Christopher Nolan’s “Batman

Begins.”

Born in Ireland, Neeson began acting in 1976 with the Lyric Players Theatre in

Belfast, and made his professional debut in Joseph Plunkett’s “The Risen People.” After two

years, he joined the famed repertory company of Dublin’s Abbey Theatre, appearing in their

production of Brian Friel’s “Translations.” He later won a Best Actor award for his

performance in Sean O’Casey’s “The Plough and the Stars” at the Royal Exchange Theatre in

Manchester, England.

In 1980, director John Boorman spotted Neeson playing Lennie in John Steinbeck’s

“Of Mice and Men,” and cast him in the Arthurian epic feature “Excalibur.” During that

decade, Neeson played a wide range of characters in such films as Roger Donaldson’s “The

Bounty”; Roland Joffe’s “The Mission”; “Lamb,” in the title role; Andrei Konchalovsky’s

“Duet for One”; “A Prayer for the Dying”; Peter Yates’ “Suspect”; “The Good Mother”; and

“High Spirits,” which marked his first collaboration with director Neil Jordan.

Neeson’s later film work includes starring roles in a long list of titles, including Sam

Raimi’s “Darkman”; “Crossing the Line”; “Under Suspicion”; Woody Allen’s “Husbands

and Wives”; John Madden’s “Ethan Frome,” playing the title role; Michael Apted’s “Nell,”

with Jodie Foster and Natasha Richardson; “Rob Roy,” portraying the title character; Barbet

Schroeder’s “Before and After,” opposite Meryl Streep; “Les Miserables”; Kathryn

Bigelow’s “K-19: The Widowmaker”; Martin Scorsese’s “Gangs of New York”; Richard

Curtis’ ensemble hit “Love Actually”; Ridley Scott’s “Kingdom of Heaven”; and Neil

Jordan’s “Breakfast on Pluto.”

Throughout his career, Neeson has returned to the stage. He made his Broadway

debut in the 1993 revival of Eugene O’Neill’s “Anna Christie,” for which he garnered a Tony

Award nomination. In 1998, he played Oscar Wilde in David Hare’s play “The Judas Kiss,”

which opened in London’s West End and subsequently moved to Broadway. He returned to

Broadway in 2002 to play Proctor in Sir Richard Eyre’s acclaimed production of Arthur

Miller’s “The Crucible,” opposite Laura Linney, earning a second Tony Award nomination

and a Drama Desk Award nomination. Neeson most recently starred in the 2008 Lincoln

Center Festival presentation of Samuel Beckett’s “Eh Joe,” directed by Atom Egoyan and

produced by Dublin’s Gate Theatre.

ABOUT THE FILMMAKERS

LOUIS LETERRIER (Director) most recently directed the blockbuster “The

Incredible Hulk,” based on the Marvel comic and starring Edward Norton, Tim Roth, Liv

Tyler and William Hurt. Leterrier previously directed the high-octane actioner “Transporter

2,” co-written and produced by Luc Besson and starring Jason Statham in the title role.

Leterrier also helmed “Unleashed,” starring Jet Li, Morgan Freeman and Bob Hoskins.

A native of Paris, Leterrier developed a love for cinema at an early age, winning

several awards for short films before turning 18 and leaving France to study film at New

York University’s prestigious Tisch School of the Arts. He worked as a production assistant

or second assistant director on such films as “Alien: Resurrection,” directed by fellow

countryman Jean-Pierre Jeunet; Luc Besson’s historical epic “The Messenger: The Story of

Joan of Arc”; and “Asterix & Obelix Meet Cleopatra,” adapted from the comic books and

directed by Alain Chabat.

TRAVIS BEACHAM (Screenwriter) wrote the screenplay for director Mark

Freiburger’s 2005 short drama “Booth,” about John Wilkes Booth and the assassination of

President Lincoln. He next wrote “A Killing on Carnival Row,” with Arnold Kopelson

producing.

Beacham is currently working on several film projects, including the science fiction

feature "The Black Hole," for director Joseph Kosinski.

PHIL HAY & MATT MANFREDI (Screenwriters) previously wrote the screenplay

for the 2005 sci-fi thriller “Aeon Flux,” starring Charlize Theron.

The writing partners made their screenwriting debut in 2001 with the critically

acclaimed drama “Crazy/Beautiful,” starring Kirsten Dunst. Manfredi also wrote and codirected

with Hay the independent feature “Bug,” starring John Carroll Lynch, which

garnered multiple film festival awards in 2002.

Upcoming projects for Hay and Manfredi include the comic book adaptations

“R.I.P.D.,” and “The Boys” for producer Neal H. Moritz.

BASIL IWANYK (Producer) recently produced the Antoine Fuqua crime saga

“Brooklyn’s Finest,” under the banner of Iwanyk’s production company, Thunder Road

Pictures. Other recent Thunder Road projects include the drama “We Are Marshall,” from

director McG, and the Harrison Ford thriller “Firewall,” directed by Richard Loncraine.

Iwanyk will next serve as an executive producer on the action adventure “The

Expendables,” starring and directed by Sylvester Stallone, and as a producer on the crime

drama “The Town,” directed by and starring Ben Affleck. Both films are scheduled for

release in 2010.

Iwanyk began his film industry career as an agent trainee at United Talent Agency. He

joined Warner Bros. Pictures in 1995 as a creative executive, and was promoted to vice

president of production two years later. During his tenure at the studio, Iwanyk was involved

with several films, including the Oscar®-winning “Training Day,” “Ocean’s Eleven,”

“Batman & Robin” and the Christopher Nolan thriller “Insomnia.”

In 2000, Iwanyk became president of worldwide production at Intermedia Films,

overseeing a wide variety of projects, such as “K-19: The Widowmaker,” “Basic,”

“Terminator 3: Rise of the Machines,” Spike Jonze’s Oscar®-winning “Adaptation,” “Dark

Blue,” “National Security,” “The Life of David Gale,” “Welcome to Mooseport,” “Laws of

Attraction,” Renny Harlin’s thriller “Mindhunters,” and the Oscar®-nominated drama “The

Quiet American.”

KEVIN DE LA NOY (Producer) was an executive producer on director Christopher

Nolan’s worldwide blockbuster “The Dark Knight,” featuring an all-star cast led by Christian

Bale and Heath Ledger. More recently he co-produced Michael Mann’s biographical crime

drama “Public Enemies,” which starred Johnny Depp as legendary outlaw John Dillinger.

De La Noy’s other recent producing credits include serving as executive producer on

“Blood Diamond,” starring Leonardo DiCaprio, Jennifer Connelly and Djimon Hounsou,

under the direction of Edward Zwick. He had earlier collaborated with Zwick as the unit

production manager on “The Last Samurai.” De La Noy also co-produced Richard Donner’s

sci-fi thriller “Timeline,” and was an associate producer on Steven Spielberg’s award-

winning World War II drama “Saving Private Ryan.”

In addition, he has been the unit production manager on such hits as “Ali,” “Titanic,”

“Braveheart,” “Mission: Impossible” and “Mission: Impossible II.” His film work also

includes serving as the production supervisor on “The Power of One” and as the location

manager on such films as “The Ghost and the Darkness,” “Black Beauty,” “The Secret

Garden” and “1492: Conquest of Paradise.” He has also worked as an assistant director on a

wide range of features.

RICHARD D. ZANUCK (Executive Producer) is an Academy Award®-winning

producer as well as one of the motion picture industry’s most progressive and honored

leaders.

Pre-eminent as an independent producer and former studio head, Zanuck has earned

numerous awards and citations for his achievements in his more than 40 years of filmmaking.

Among them, the Irving G. Thalberg Memorial Award, which was bestowed upon him and

longtime associate David Brown in 1991, recognized Zanuck as a creative producer whose

body of work reflects a consistently high quality of motion picture production. A precedent-

setting honor and personal milestone as well, this particular Thalberg Award makes Zanuck

the only second-generation recipient ever, in company with his father, Darryl F. Zanuck.

Only one year prior, Zanuck, along with wife Lili Fini Zanuck, took home an Oscar

as producer of the Academy Award®-winning Best Picture of 1989, “Driving Miss Daisy,”

for which he also received a Golden Globe Award®, The National Board of Review Award

and Producer of the Year honors from the Producers Guild of America. His award for

“Driving Miss Daisy” set another industry precedent, making Richard and Darryl the only

father and son in motion picture history to both win Best Picture Oscars®.

As head of his own production entity, The Zanuck Company, in which he is partnered

with Fini Zanuck, Zanuck continues a successful career forged on a solid foundation.

Upon graduation from Stanford University and military service as an army lieutenant,

Zanuck joined his father as a story and production assistant on two films, “Island in the Sun”

and “The Sun Also Rises.” At 24, he made his debut as a full-fledged producer with the

feature film “Compulsion,” which went on to win the Best Actor award at the Cannes Film

Festival for the ensemble work of its stars Orson Welles, Dean Stockwell and Bradford

Dillman. He followed that with “Sanctuary,” based on the William Faulkner novel, and with

“The Chapman Report,” directed by George Cukor.

At 28, Zanuck was named president in charge of production of 20th Century Fox and

became the then-youngest corporate head in the Hollywood annals. During his eight years at

the helm, the studio recaptured the luster of its heyday and received an unprecedented 159

Oscar® nominations. Three of the films, “The Sound of Music,” “Patton” and “The French

Connection,” went on to win Best Picture Oscars®. Among his other successes at Fox were

the “Planet of the Apes” series, “Butch Cassidy and the Sundance Kid” and “M*A*S*H.”

Zanuck subsequently moved from Fox to become senior executive vice president at

Warner Bros., where he and soon-to-be partner David Brown oversaw production of such

box office hits as “The Exorcist” and “Blazing Saddles.”

With the formation of the Zanuck/Brown Co. in 1971, one of the motion picture

industry’s most distinguished and successful independent production entities was born. Over

the ensuing decade-and-a-half, Zanuck/Brown was responsible for such critical and box-

office hits as “Jaws,” a triple-Oscar® winner and Best Picture nominee; “Jaws II”; “The

Sugarland Express,” Best Screenplay winner at the Cannes Film Festival and Steven

Spielberg’s first feature directorial effort; “The Sting,” winner of seven Academy Awards®

including Best Picture; and “The Verdict,” nominated for five Academy Awards®. Along

with Fini Zanuck, Zanuck/Brown also produced the double-Oscar® winner “Cocoon” and its

sequel, “Cocoon: The Return.”

The Zanuck Company, formed in 1988, scored a phenomenal success with its debut

production, “Driving Miss Daisy.” Nominated for nine Academy Awards® and winner of

four, including Best Picture, the Pulitzer Prize-winning play-turned-feature film grossed in

excess of $100 million at the domestic box office; with its cost of $5 million, it ranks as one

of the most profitable releases in Warner Bros. history.

Zanuck followed up the major success of “Driving Miss Daisy” with the critically

acclaimed “Rush,” starring Jennifer Jason Leigh and Jason Patric, based on the best-selling

book by Kim Wozencraft. The film represented the directorial debut of Fini Zanuck.

Other producing credits with Fini Zanuck include “Rich In Love,” which reunited the

“Driving Miss Daisy” Zanuck creative team with director Bruce Beresford and writer Alfred

Uhry, as well as “Wild Bill,” Walter Hill’s fact-based look at the legendary frontiersman

Wild Bill Hickok, and “Mulholland Falls,” a drama set in the fifties about a team of elite L.A.

police officers, with an all-star cast including Nick Nolte, Melanie Griffith and John

Malkovich.

“Deep Impact” grossed $350 million in the worldwide market place, while “Rules Of

Engagement,” which Zanuck produced with Scott Rudin, starring Tommy Lee Jones, Samuel

Jackson, Guy Pearce and Ben Kingsley, was also enormously successful.

In 1999, The Zanuck Company joined forces with Academy Award®-winner Clint

Eastwood to produce “True Crime,” a suspense thriller based on Andrew Klavan’s bestselling

novel which Eastwood also starred in and directed.

In March of 2000, the Zanucks produced the 72nd annual Oscar® presentation, which

garnered nine Emmy nominations and earned the highest network ratings of the previous six

years.

It was on 2001’s “Planet of the Apes” that Zanuck first met Tim Burton, beginning a

partnership between producer and director that continues to this day. “Planet of the Apes”

was released in July 2001 and became one of the top-grossing films of that year in both

domestic and international markets.

Other projects from the Zanuck Company include the critically acclaimed “Road to

Perdition,” directed by Sam Mendes and starring Tom Hanks, Paul Newman and Jude Law;

Rob Bowman’s “Reign of Fire” with Christian Bale and Matthew McConaughey; and

Burton’s star-studded “Big Fish,” featuring Ewan McGregor, Albert Finney, Billy Crudup,

Jessica Lange and Alison Lohman; and Peyton Reed’s “Yes Man,” starring Jim Carrey.

In 2005, Zanuck and Burton’s third collaboration together, “Charlie and the

Chocolate Factory,” based on Roald Dahl’s classic novel starring Johnny Depp, grossed more

than $600 million worldwide.

In 2007, Zanuck produced Burton’s adaptation of Stephen Sondheim’s horror musical

“Sweeney Todd: The Demon Barber Of Fleet Street,” starring Johnny Depp and Helena

Bonham Carter, which won an Academy Award® for Best Art Direction as well as

nominations for Costume Design and Actor (Depp).

Zanuck most recently produced “Alice in Wonderland,” Tim Burton’s epic 3D

fantasy adventure. The film marks Zanuck’s fifth collaboration with Burton and stars Johnny

Depp, Helena Bonham Carter, Anne Hathaway and Mia Wasikowska.

THOMAS TULL (Executive Producer) has combined his entrepreneurial acumen,

deep understanding of film finance and true passion for movies, comic books, video games

and fantasy fare to achieve great success in the co-production and co-financing of event

movies with Warner Bros. Pictures. Since its inception in 2004, Legendary Pictures has

teamed with the studio on hits such as “Superman Returns,” “Batman Begins,” “Watchmen,”

the blockbuster “300” and the record-breaking, award-winning film phenomenon “The Dark

Knight,” which earned in excess of $1 billion worldwide.

More recently, this highly successful partnership produced the runaway hit comedy

“The Hangover” and Spike Jonze’s “Where the Wild Things Are,” considered by many an

instant classic. Upcoming releases for 2010 include “Jonah Hex,” “The Town” and “Due

Date.” On deck for 2011 are Bryan Singer’s “Jack the Giant Killer,” Todd Phillips’ “The

Hangover” sequel and Zack Snyder’s “Sucker Punch.” Tull’s company is also developing a

number of promising film projects in-house, including “Warcraft,” Warren Ellis’ “Gravel,”

“Paradise Lost,” “Hendrix” and a sequel to “300.”

Prior to forming Legendary, Tull was President of The Convex Group, a media and

entertainment holding company headquartered in Atlanta, on whose Board of Directors he

also served.

Tull conceived and is a producer of the renowned music documentary “It Might Get

Loud,” featuring guitarists The Edge (U2), Jimmy Page (Led Zeppelin) and Jack White (The

White Stripes). Directed by Oscar® winner Davis Guggenheim (“An Inconvenient Truth”),

the film made its world premiere at the 2008 Toronto Film Festival.

Tull is a member of the Board of Trustees of the American Film Institute (AFI) and

the Board of Directors of Hamilton College, his alma mater. He also serves on the boards of

the Fulfillment Fund and the San Diego Zoo and is a minority partner in the six-time Super

Bowl champion Pittsburgh Steelers.

JON JASHNI (Executive Producer) oversees the development and production of

Legendary film projects including “Warcraft,” “Akira” and “Paradise Lost.” He recently

served as executive producer on Todd Phillips’ blockbuster comedy “The Hangover” and

Spike Jonze’s “Where the Wild Things Are.”

Prior to joining Legendary, Jashni was President of Hyde Park Entertainment, a

production and financing company with overall deals at 20th Century Fox, Disney and

MGM. While there, he oversaw the development and production of “Shopgirl,” “Dreamer,”

“Walking Tall” and “Premonition.”

Before joining Hyde Park, Jashni was a producer on director Andy Tennant’s

romantic comedy smash “Sweet Home Alabama,” which grossed over $175 million

worldwide. Jashni’s collaboration with Tennant began with the $90 million-grossing

fairytale “Ever After,” for which Jashni oversaw development and production as a senior

production executive at 20th Century Fox.

Jashni also co-produced two films which received a total of three Academy Award®

nominations: critically acclaimed drama “The Hurricane,” which garnered a Best Actor nod

for star Denzel Washington; and a non-musical reinterpretation of “Anna and the King,”

which starred Jodie Foster, earned two Oscar® nominations and grossed $110 million

worldwide.

Jashni was earlier partnered with industry powerbroker Irving Azoff at the Warner

Bros.-based Giant Pictures. Together they produced “The Hurricane,” “Jack Frost” and “The

Inkwell.” Jashni joined Azoff after a stint as a production executive at Columbia Pictures,

where he was involved in the development and production of such films as “Groundhog

Day,” “Bram Stoker's Dracula” and “Stephen King’s Sleepwalkers.” Jashni began his career

at Daniel Melnick’s The IndieProd Company, where he was involved in the production of

“Air America,” “Mountains of the Moon,” “Roxanne” and “Punchline.”

Jashni is a member of the American Film Institute and the Producers Guild of

America. He holds a BS from the University of Southern California and an MBA from

UCLA’s Anderson School of Management.

WILLIAM FAY (Executive Producer) has been a successful producer and executive

producer for over 20 years. He is currently president of production at Legendary Pictures

which, since its inception in 2005, has joined with Warner Bros. to make such successful

films as “Batman Begins,” “Superman Returns,” “300,” “Watchmen” and “The Dark

Knight,” which grossed over $1 billion at the box office, was nominated for eight Academy

Awards® and won two. Fay also served as executive producer on Todd Phillips’ smash hit

comedy “The Hangover,” which earned $469 million worldwide and quickly became the

highest grossing R-rated comedy of all time.

Prior to his work at Legendary, Fay was president of Centropolis Entertainment, one

of the most successful production companies in Hollywood. During his tenure, Centropolis

produced films that totaled nearly $1.5 billion in worldwide box office, including “The

Patriot,” starring Mel Gibson, and the blockbuster “Independence Day,” which, at the time of

its release, was the second-highest-grossing motion picture of all time, taking in more than

$800 million worldwide. Under his leadership, the company also successfully developed

digital entertainment ventures such as Centropolis Effects, a top-tier visual effects house, and

mothership.com, a leading sci-fi online vertical sold to USA Networks in June 2000.

PETER MENZIES, JR. (Director of Photography) rejoins director Louis Leterrier

on “Clash of the Titans,” following their successful collaboration on “The Incredible Hulk”

in 2008.

Menzies’ cinematography credits include the action dramas “Shooter,” for director

Antoine Fuqua; John Singleton’s “Four Brothers”; and “Die Hard with a Vengeance” and

“The Thirteenth Warrior,” for director John McTiernan. He has photographed three of

director Simon West’s films: “Lara Croft: Tomb Raider,” “The General’s Daughter” and

“When a Stranger Calls.” He also shot the Mikael Salomon thriller “Hard Rain”; Joel

Schumacher’s “A Time to Kill”; both “The Getaway” and “White Sands” for director Roger

Donaldson; and John Dahl’s historically based WWII POW drama “The Great Raid.”

Menzies also served as director of photography on the comedies “Miss Congeniality

2: Armed and Fabulous” for John Pasquin; Jerry Bruckheimer’s “Kangaroo Jack,” directed

by David McNally; Stephen Herek’s “Man of the House”; and “The Kid,” directed by Jon

Turteltaub.

Menzies was born in Sydney, Australia. He was introduced to the film industry by

his father, Australian cinematographer Peter Menzies. He first established himself as a

commercial director of photography in the 1980s and continues to film commercials between

feature film commitments. His commercial work has earned several awards, including the

Australian Television Award, the New York One Show Prize, the London International

Advertising Award and the Cannes Advertising Film Festival Award. Menzies also served as

director of photography for the television pilots “Traveler,” directed by David Nutter, and

Mikael Salomon’s “Hawthorne,” starring Jada Pinkett-Smith.

A member of the Australian Cinematographers Society and the Academy of Motion

Picture Arts and Sciences, Menzies is married to former commercial producer Denise Heffley

Menzies, and divides his time between Sydney and Lake Tahoe, Nevada.

MARTIN LAING (Production Designer) most recently worked on the fourth

installment of the “Terminator” film franchise, “Terminator Salvation,” directed by McG.

As production designer, his previous credits include two projects with filmmaker

James Cameron: the acclaimed documentary short “Ghosts of the Abyss” and the upcoming

sci-fi thriller “Battle Angel.” Laing was also the production designer on Gil Kenan’s fantasy

adventure film “City of Ember,” for which he won the 2008 Hamilton Behind the Camera

Award.

As an art director, Laing has worked with some of the film industry’s top directors on

such films as “Pearl Harbor,” directed by Michael Bay; Jan de Bont’s “The Haunting”; Neil

Jordan’s “In Dreams”; and Cameron’s top-grossing blockbuster “Titanic,” which won the

Oscar® for Best Art Direction and for which Laing won the Art Directors Guild Award for

Excellence in Production Design.

Laing’s additional art department feature credits include Cameron’s “True Lies,” Tim

Burton’s “Batman” and George Miller’s “The NeverEnding Story II: The Next Chapter.”

MARTIN WALSH (Editor) won an Academy Award® and an American Cinema

Editors Eddie Award for his work on the 2002 smash hit adaptation of the Broadway musical

“Chicago,” directed by Rob Marshall and starring Renée Zellweger, Catherine Zeta-Jones

and Richard Gere.

Walsh has collaborated three times with director Iain Softley, most recently on

“Inkheart,” following their work together on “Hackers” and the Beatles biopic “Backbeat.”

Walsh also edited three films for director Peter Chelsom: “The Mighty,” “Funny Bones” and

“Hear My Song.”

Walsh’s additional credits include James McTeigue’s action thriller “V for

Vendetta,” produced by the Wachowski Brothers; Julian Fellowes’ “Separate Lies”;

“Thunderbirds”; “Iris,” for director Richard Eyre; “Strictly Sinatra”; “Bridget Jones’s Diary”;

“Mansfield Park”; “Hilary and Jackie”; “Welcome to Woop Woop”; “For Roseanna”; and

“Feeling Minnesota.”

His work can next be seen in the upcoming “Prince of Persia: The Sands of Time,”

directed by Mike Newell and produced by Jerry Bruckheimer.

VINCENT TABAILLON (Editor) marks his third collaboration with director Louis

Leterrier on “Clash of the Titans.” The two first teamed on the action adventure “Transporter

2” in 2005 and, more recently, on the blockbuster hit “The Incredible Hulk.”

Tabaillon’s recent credits include Luc Besson’s family adventure “Arthur and the

Invisibles,” starring Freddie Highmore and Mia Farrow, and the French films “Dikkenek”

and “Camping.” He was also on the editing team of the film “Asterix at the Olympic

Games,” based on the series of Astérix comic books and featuring the voice of Gérard

Depardieu. He is currently at work in France on the science fiction thriller “The Prodigies.”

Tabaillon’s additional film credits include “Bandidas,” starring Penélope Cruz and

Salma Hayek; “The Story of Marie and Julien,” starring Emmanuelle Béart; “Don’t Worry,

Be Happy”; “Shooting Stars”; “Va Savoir (Who Knows?)”, which was nominated for the

Golden Palm Award at the Cannes Film Festival; “Great Idea”; and “The Bridge,” directed

by Depardieu.

He has also edited several award-winning short films, including “Final Sentence,”

“Novice,” “Pas bouger!,” “Majorité,” “La Vache qui pleure,” “Mon meilleur amour,”

“Suspendu,” and “Squash,” which earned an Oscar® nomination for Best Short Film, Live

Action.

LINDY HEMMING (Costume Designer) won an Academy Award® for her Gilbert

& Sullivan-era costume designs for “Topsy-Turvy,” directed by Mike Leigh. She has also

been Leigh’s costume designer of choice on the films “Meantime,” “Naked,” “Life is Sweet”

and “High Hopes.”

Hemming designed the costumes for the international blockbuster “The Dark Knight”

and its predecessor hit, “Batman Begins,” both directed by Christopher Nolan. She served as

the costume designer on several James Bond films, beginning in 1995 with “GoldenEye,”

directed by Martin Campbell, and continuing with Roger Spottiswoode’s “Tomorrow Never

Dies,” Michael Apted’s “The World is Not Enough,” Lee Tamahori’s “Die Another Day”

and Campbell’s “Casino Royale.” She most recently teamed with Campbell a third time for

the action thriller “Edge of Darkness.”

Hemming’s extensive film credits also include “Lara Croft: Tomb Raider” and its

sequel, “Lara Croft Tomb Raider: The Cradle of Life”; “Harry Potter and the Chamber of

Secrets,” directed by Chris Columbus; Sally Potter’s “The Man Who Cried”; “The Trench,”

starring Daniel Craig; Mark Herman’s “Little Voice” and “Blame It on the Bellboy”; “The

Brave,” directed by and starring Johnny Depp; Bob Rafelson’s “Blood & Wine”; Peter

Chelsom’s “Funny Bones” and “Hear My Song”; Mike Newell’s “Four Weddings and a

Funeral,” for which she was nominated for a BAFTA Award; Stephen Gyllenhaal’s

“Waterland”; Peter Medak’s “The Krays”; Jon Amiel’s “Queen of Hearts”; Stephen Frears’

“My Beautiful Laundrette”; David Hare’s “Wetherby”; Richard Eyre’s “Laughterhouse”; and

Bill Forsyth’s “Comfort & Joy.”

Hemming was nominated for a BAFTA TV Award for her work on the telefilm

“Porterhouse Blue.” Her television credits also include the longform projects “Running

Late,” “Dancing Queen” and “All Things Bright and Beautiful.”

Prior to designing costumes for the screen, Hemming was a costume designer in the

theatre. She worked with the Royal Shakespeare Company and the National Theatre of Great

Britain, and on many productions in London’s West End.

RAMIN DJAWADI (Composer) may be best known for his Grammy-nominated,

guitar-driven score for “Iron Man,” but his repertoire covers a wide variety of film genres.

After graduating summa cum laude from Berklee School of Music in 1998, the

German-born film composer garnered the attention of Hans Zimmer, who recruited him to

Remote Control Productions. After moving to Los Angeles, Djawadi wrote additional music

on “The Time Machine,” “Basic,” “The Recruit” and the blockbuster “Pirates of

the Caribbean: The Curse of the Black Pearl.” He then collaborated with Zimmer, cocomposing

and producing the score for “Thunderbirds” and collaborating on “Something’s

Gotta Give” and “Batman Begins.”

Djawadi then went out on his own with “Blade: Trinity,” collaborating with The RZA

for director David Goyer. This was the beginning of his relationship with Goyer for both

film and television. Djawadi wrote the score for Goyer’s horror thriller “The Unborn,” which

was produced by Michael Bay.

Another collaboration with Goyer is the hit television show “Flash Forward,” which

showcases Djawadi’s signature sound. The composer has also had success in television with

his Emmy-nominated main title theme music for “Prison Break,” which aired for four

seasons.

Demonstrating his diversity, Djawadi also created an ethereal score for the film “Mr.

Brooks,” starring Kevin Costner and William Hurt. The score earned him a World

Soundtrack Awards “Discovery of the Year” nomination. Other sonically diverse scores

include “Deception,” starring Hugh Jackman and Ewan McGregor, and Academy

Award® winner Robert Towne’s “Ask the Dust.”

Animation has been another facet of Djawadi’s career; he scored the first Sony

Animation project, “Open Season,” followed by the sequel, “Open Season 2.” Additional

animation scores include “The Chubbchubbs Save Xmas.” Djawadi’s work in these films

attracted the filmmakers of the Belgium-based NWave, who created one of the first animated

movies in 3D, “Fly Me to the Moon.” Djawadi recently completed their 3D follow up,

“Around the World in 50 Years.”

NICK DAVIS (Visual Effects Supervisor) earned an Academy Award® nomination

and a BAFTA nomination in 2008 for his most recent work on the acclaimed box office

powerhouse “The Dark Knight,” for director Christopher Nolan.

Davis also received a BAFTA nomination for the visual effects on Tim Burton’s

“Charlie and the Chocolate Factory” and, prior to that, a BAFTA nomination for “Harry

Potter and the Chamber of Secrets.” He received his first BAFTA nomination plus an AFI

Award nomination for his work on the first Potter film, “Harry Potter and the Sorcerer’s

Stone.”

Davis served as visual effects supervisor on the Wolfgang Petersen epic “Troy,” Jon

Amiel’s “Entrapment” and Jeremiah Chechnik’s “The Avengers,” and as post production

supervisor for visual effects on Joel Schumacher’s “Batman & Robin” and “Batman

Forever,” and on Andrew Davis’ “Chain Reaction.” He teamed with director Davis on two

other films, as visual effects producer on “The Fugitive” and technical supervisor on “Under

Siege.” His feature credits as a visual effects producer also include Wes Craven’s “A New

Nightmare” and Sam Raimi’s “Army of Darkness.” He was also technical supervisor on

Peter Weir’s “Fearless.”

Davis graduated with a Bachelor of Arts in English and Politics from Oxford Brooks

University. He is a member of the Academy of Motion Picture Arts and Sciences and

BAFTA and has served on the BAFTA Visual Effects Nomination Committee.

NEIL CORBOULD (Special Effects and Animatronics Supervisor) is an Academy

Award® and BAFTA Award-winning artist with a wide range of feature film credits. He

earned an Oscar® for his work on “Gladiator,” which also earned him a BAFTA nomination.

He received his first BAFTA Award for his work on “The Fifth Element,” the first film for

which he was an effects supervisor. He went on to supervise on such films as “Event

Horizon”; “Saving Private Ryan,” for which he received his second BAFTA Award;

“Entrapment”; and “The Vertical Limit,” for which he earned another BAFTA Award

nomination.

In 2002, Corbould served as special effects director for Roland Emmerich on “The

Day After Tomorrow,” which earned him a third BAFTA Award. “King Arthur” and

“Kingdom of Heaven” followed, and for his work on 2005’s “Superman Returns,” Corbould

and the special effects team received both Oscar® and BAFTA Award nominations.

Most recently, Corbould collaborated with filmmaker Edward Zwick on “Blood

Diamond” and “Defiance,” and with Jon Turtletaub on “National Treasure: Book of Secrets.”

He is currently in production on the action thriller “The Devil’s Double,” for director Lee

Tamahori. His additional credits include the hit action films “The Mummy Returns” and

“Black Hawk Down.”

Corbould was still in his teens when he began his career in special effects, gaining

experience on Richard Donner’s “Superman” and working for Martin Gutteridge on such

films as “The Elephant Man,” “An American Werewolf in London,” “Superman III,” “Little

Shop of Horrors” and “Amadeus.” He worked on three James Bond films: “A View to a

Kill,” “The Living Daylights” and “License to Kill,”; he also worked on “Pink Floyd The

Wall,” “Highlander 2,” “City of Joy,” “Far and Away” and “Cliffhanger.”

CONOR O’SULLIVAN (Prosthetics Supervisor) earned an Academy Award®

nomination for his prosthetics design that helped transform Heath Ledger into The Joker in

Christopher Nolan’s 2008 blockbuster “The Dark Knight.” He was previously nominated for

an Academy Award® for his work on “Saving Private Ryan” in 1999, and in 1994 worked on

his first film, “Braveheart,” gaining experience under the Oscar®-winning team of Lois

Burwell and Peter Frampton.

O’Sullivan has created and applied prosthetics for numerous feature films, including

“The Hours,” “Quills” and “The Last Samurai.” A chance discovery on “The Last Samurai”

led him to investigate the possibilities of a 3D prosthetic transfer system and, after three years

of development and testing, the idea bore fruit. Using this system, prosthetics could be

applied in a fraction of the standard time, with perfect results. They were smaller and more

refined, allowing actors greater freedom and expression. After using O’Sullivan’s system on

the Werner Herzog film “Rescue Dawn,” Christian Bale recommended him to Nolan.

O’Sullivan first began sculpting in his mother’s pottery studio at the age of three. He

continued sculpting and painting, even attending art school, while earning a degree in Marine

Biology and Oceanography. After working for NASA at the Scripps Institute of

Oceanography in San Diego, California, he decided to pursue his love of art, but with a

certain degree of applied science. He discovered the world of film and began sculpting

professionally and learning basic prosthetics in 1990.

JENNY SHIRCORE (Make Up and Hair Designer) earned both an Academy

Award® and a BAFTA Award for Best Make Up and Hair for her exceptional work on

Shekhar Kapur’s 1998 biographical drama “Elizabeth.” She was nominated again for an

Oscar® and won the BAFTA for her work with director Jean-Marc Vallée on 2009’s “The

Young Victoria.” Shircore also received BAFTA nominations for “Elizabeth: The Golden

Age,” for which she reunited with Kapur, “Girl with a Pearl Earring” and “Dreamchild.”

In a career spanning more than 20 years, Shircore has designed for some of the

industry’s most respected directors, including Kapur, David Leland, Mike Figgis, Michael

Apted, Stephen Frears, Neil Jordan and Mira Nair. Her credits include “Land Girls,”

“Notting Hill,” “Enigma,” “Dirty Pretty Things,” “The Four Feathers,” and “Vanity Fair.”

She has worked with such stars as Cate Blanchett, Geoffrey Rush, Colin Firth, Alan

Rickman, Hugh Grant, Reese Witherspoon and Heath Ledger.

Shircore designed make up and hair for director Joel Schumacher’s “The Phantom of

the Opera,” Frears’ “Mrs. Henderson Presents,” Kenneth Branagh’s “As You Like It,” Tom

Vaughn’s “Starter for 10,” and Apted’s “Amazing Grace.”

Her recent work also includes “Inkheart,” for Iain Softley and “Glorious 39,” for

Stephen Poliakoff. She is currently in production on the drama “Bel Ami,” for directors

Declan Donnellan and Nick Ormerod, starring Robert Pattinson, Uma Thurman, Kristin Scott

Thomas and Christina Ricci.

OO.

WARNER BROS. PICTURES Presents

in association with LEGENDARY PICTURES

A THUNDER ROAD/ZANUCK COMPANY Production

A LOUIS LETERRIER Film

CAST

Perseus..........................................................................................SAM WORTHINGTON

Zeus...............................................................................................LIAM NEESON

Hades............................................................................................RALPH FIENNES

Calibos/Acrisius.............................................................................JASON FLEMYNG

Io…………………………………………………………………………GEMMA ARTERTON

Andromeda....................................................................................ALEXA DAVALOS

Danae............................................................................................TINE STAPELFELDT

Draco.............................................................................................MADS MIKKELSEN

Apollo.............................................................................................LUKE EVANS

Athena...........................................................................................IZABELLA MIKO

Solon..............................................................................................LIAM CUNNINGHAM

Ixas................................................................................................HANS MATHESON

Ozal...............................................................................................ASHRAF BARHOM

Kucuk.............................................................................................MOULOUD ACHOUR

Sheikh Sulieman............................................................................IAN WHYTE

Eusebios........................................................................................NICHOLAS HOULT

Kepheus.........................................................................................VINCENT REGAN

Cassiopeia.....................................................................................POLLY WALKER

Aged Cassiopeia............................................................................KATHERINE LOEPPKY

Prokopion.......................................................................................LUKE TREADAWAY

Spyros............................................................................................PETE POSTLETHWAITE

Marmara........................................................................................ELIZABETH McGOVERN

Tekla..............................................................................................SINEAD MICHAEL

Pemphredo....................................................................................ROSS MULLAN

Enyo...............................................................................................ROBIN BERRY

Deino.............................................................................................GRAHAM HUGHES

Phaedrus.......................................................................................MARTIN McCANN

Belo................................................................................................RORY McCANN

Peshet............................................................................................KAYA SCODELARIO

Hermes..........................................................................................ALEXANDER SIDDIG

Ares...............................................................................................TAMER HASSAN

Poseidon........................................................................................DANNY HUSTON

Ammon..........................................................................................WILLIAM HOUSTON

Captain..........................................................................................JAMIE SIVES

Harbourmaster...............................................................................PHIL McKEE

Noble (Basilica)..............................................................................GEOFFREY BEEVERS

Citizen 1 (Argos)............................................................................MICHAEL GRADY-HALL

Citizen 2 (Argos)............................................................................LAURA KACHERGUS

Soldier (Zeus Statue).....................................................................ADRIAN BOUCHET

Kepheus' General..........................................................................DAVID KENNEDY

Hera...............................................................................................NINA YOUNG

Hestia.............................................................................................JANE MARCH

Artemis...........................................................................................NATHALIE COX

Aphrodite.......................................................................................AGYNESS DEYN

Hephaestus....................................................................................PAUL KYNMAN

Medusa..........................................................................................NATALIA VODIANOVA

Demeter.........................................................................................CHARLOTTE COMER

Stunt Coordinator...........................................................................PAUL JENNINGS

Assistant Stunt Coordinator...........................................................DAVID FORMAN

Fight Coordinator...........................................................................BUSTER REEVES

Stunt Performers............................................................................MARK MOTTRAM

ROB COOPER

DAVID CRONNELLY

JUSTO DIEGUEZ

DAVE FISHER

GLENN FOSTER

SARAH FRANZL

NIC GOODEY

JAMES GROGAN

RICHARD HANSEN

ADAM KIRLEY

MIKE LAMBERT

TINA MASKELL

NICK McKINLESS

JO McLAREN

LEE MORRISON

RAY NICHOLAS

DOMONKOS PARDANYI

MAXINE WHITTAKER

SPENCER WILDING

DONNA C. WILLIAMS

BEN WRIGHT

FILMMAKERS

Directed by.....................................................................................LOUIS LETERRIER

Screenplay by................................................................................TRAVIS BEACHAM and

PHIL HAY & MATT MANFREDI

Produced by...................................................................................BASIL IWANYK

KEVIN DE LA NOY

Executive Producer.......................................................................RICHARD D. ZANUCK

Executive Producers......................................................................THOMAS TULL

JON JASHNI

WILLIAM FAY

Directory of Photography...............................................................PETER MENZIES, JR. ACS

Production Designed by……………………………………………….MARTIN LAING

Editors............................................................................................MARTIN WALSH, A.C.E.

VINCENT TABAILLON

Music by.........................................................................................RAMIN DJAWADI

Visual Effects Supervisor...............................................................NICK DAVIS

Costumes Designed by.................................................................LINDY HEMMING

Casting by......................................................................................LUCINDA SYSON C.D.G. and

ELAINE GRAINGER C.D.G

Unit Production Managers.............................................................KEVIN DE LA NOY

SUSAN TOWNER

First Assistant Director..................................................................TERRY NEEDHAM

Second Assistant Director.............................................................EMMA HORTON

Second Unit Director & Director of Photography...........................MARTIN KENZIE

Visual Effects Producer.................................................................NIKKI PENNY

Based on the motion picture "Clash Of The Titans"

Directed by DESMOND DAVIS and Written by BEVERLEY CROSS

Associate Producers......................................................................KARL McMILLAN

BRENDA BERRISFORD

Executive Music Producer.............................................................MIKE HIGHAM

Special Effects & Animatronics Supervisor...................................NEIL CORBOULD

Additional Editing by......................................................................ANDREW MacRITCHIE

Production Manager - Canary Islands & Wales............................MICHAEL SHARP

Production Manager - Longcross..................................................ANGUS MORE GORDON

Production Supervisor - Longcross...............................................LIL HEYMAN

Senior Post Production Supervisor................................................MARIANNE JENKINS

Post Production Supervisor...........................................................TIM GROVER

Makeup & Hair Designer...............................................................JENNY SHIRCORE

Prosthetics Designer & Supervisor................................................CONOR O'SULLIVAN

Set Decorator.................................................................................ANNA PINNOCK

Prop Master...................................................................................JAMIE WILKINSON

Armourer........................................................................................NICK KOMORNICKI

Chief Lighting Technician..............................................................PERRY EVANS

Key Grip.........................................................................................DAVID APPLEBY

Creature Designs by......................................................................AARON SIMS

Lead Character Designer..............................................................JERAD S. MARANTZ

Concept Artist................................................................................STEFFEN REICHSTADT

3D Artists………………………………………………………………..DIEGO MAYA

TSVETOMIR GEORGIEV

JULIANNA KOLAKIS

Supervising Art Directors...............................................................TROY SIZEMORE

GARY FREEMAN

Art Directors...................................................................................ROSS BRADSHAW

JAMES FOSTER

CHRISTOPHER LOWE

PATRICIO FARRELL

PETER JAMES

Art Department Coordinator..........................................................JENNIFER BOWES

Assistant Art Directors...................................................................CHARLES LEATHERLAND

HELEN XENOPOULOS

Set Designers................................................................................ANDREW BENNETT

DEAN CLEGG

SANDRA PHILLIPS

THOMAS WHITEHEAD

Storyboard Artists..........................................................................JULIAN CALDOW

TONY WRIGHT

Graphic Artist.................................................................................KATHY HEASER

Modeller.........................................................................................ROBERT JOSE

Art Department Researchers.........................................................SUI ANUKKA

CHARLES EDWARDS

Art Department Assistants.............................................................TARA ILSLEY

CHARLOTTE MALYNN

A Camera Operator & Steadicam Operator..................................GEORGE RICHMOND

A Camera First Assistant...............................................................JONATHAN RICHMOND

A Camera Second Assistants........................................................WILL HUMPHRIS

SEBASTIAN BARRACLOUGH

B Camera Operator.......................................................................CHAS BAIN

B Camera First Assistant...............................................................CHRIS BAIN

B Camera Second Assistant..........................................................ALICE HOBDEN

Central Loader...............................................................................TASH GAMPER

Video Playback Operator...............................................................JOHN BOWMAN

Videographer.................................................................................KARL McMILLAN

Production Sound Mixer................................................................IVAN SHARROCK

Boom Operator..............................................................................BARRY O'SULLIVAN

Cable Person.................................................................................TOM HARRISON

Script Supervisor...........................................................................LISA VICK

Editor.............................................................................................DAVID FREEMAN

First Assistant Editors....................................................................JANE WINKLES

MATTHEW TUCKER

Visual Effects Editor......................................................................IAN DIFFER

Assistant Editors............................................................................JAMES WINNIFRITH

MARK BURTON

Visual Effects Assistant Editor.......................................................TINA RICHARDSON

Third Assistant Editor....................................................................MAX MALAGONI

3D Assistant Editor........................................................................ED HALL

Visual Effects Production Supervisor............................................LAYA ARMIAN

Visual Effects Production Manager...............................................HELEN JUDD

Visual Effects Coordinator.............................................................NATALIE LOVATT

Visual Effects Matchmovers..........................................................GILES HARDING

ADRIAN RATLEY

Visual Effects Assistant.................................................................JACK HAWKES

3D Visual Effects Coordinator.......................................................ANNA PANTON

Supervising Sound Editor..............................................................JAMES MATHER

Re-Recording Mixers.....................................................................MIKE PRESTWOOD-SMITH

MARK TAYLOR

ADR Editor.....................................................................................BJØRN SCHROEDER

Dialogue Editor..............................................................................STEVE LITTLE

Sound Effects Editors....................................................................MICHAEL FENTUM

DOM GIBBS

JED LOUGHRAN

Assistant Sound Effects Editors....................................................ALI HAWKINS

ROB KILLICK

LEIGH HUMBERDROSS

LUKE O'CONNELL

3D Consultant................................................................................JEFF OKUN

Aerial Director of Photography......................................................HANS BJERNO

Aerial Coordinator/Pilot..................................................................FRED NORTH

Aerial Ground Coordinator.............................................................PEGGY NORTH

Helicopter Pilot-Ethiopia................................................................DAVID PARIS

Aerial Eclipse Technician..............................................................PETER GRAF

Aerial Second Assistant Camera...................................................EDWARD JONES

Aerial First Assistant Director........................................................TOBY HEFFERMAN

Costume Supervisor......................................................................DAN GRACE

First Assistant Costume Designer.................................................GRAHAM CHURCHYARD

Assistant Costume Designer.........................................................GUY SPERANZA

Costume Coordinator....................................................................SHEENA WICHARY

Key Set Costumer.........................................................................NICK ROCHE-GORDON

Key Crowd Costumer....................................................................BRENDAN HANDSCOMBE

Costume Buyer..............................................................................ROS WARD

Chief Costume Cutter....................................................................ANN MASKREY

Costume Cutter..............................................................................JOCHINE VAN SCHUPPEN

Assistant Costume Cutter..............................................................JOAN STALEY

Costumer Makers..........................................................................LORRAINE BURN

NICOLA FOY

HARRIET JOHNSON

TRETHANNA TREVARTHEN

Key Textile Artist............................................................................STEVE GELL

Assistant Textile Artists.................................................................HENRIETTA THOMAS

SARAH PASRICHA

BENJAMIN PALMER

Armour Makers..............................................................................KEIR MALEM

PATRICK WHITAKER

Costume Assistants.......................................................................ROBERT BYE

JAMIE HARVEY

WYN VAUGHAN-HUMPHREYS

JUSTINE WARHURST

Costume Sculptor..........................................................................EMMA JACKSON

Costume Concept Artist.................................................................SIMON McGUIRE

Costume Production Assistants.....................................................PERRY GOYEN

CHARLIE SALMON

SCOTT WALKER

Makeup & Hair Artists....................................................................KATE BENTON

JON HENRY GORDON

JOANNE HOPKER

MARALYN SHERMAN

JO GROVER

ZOE BROWN

ANN McEWAN

CHERYL MITCHELL

JACQUIE BHAVNANI

LOIS McINTOSH

SHARON COLLEY

JULIE KENDRICK

Makeup & Hair Artist to Mr. Fiennes..............................................SARAH MONZANI

Makeup & Hair Artist to Mr. Neeson..............................................NORIKO WATANABE

Crowd Makeup & Hair Supervisor.................................................JULIA VERNON

Crowd Makeup & Hair Artists........................................................LIZ MITCHIE

CHARMAINE FULLER

LIZZE LAWSON

Wig Makers....................................................................................TERRY JARVIS

SARAH WEATHERBURN

RAY MARSTON

PETER OWEN

Prosthetics Makeup Artists............................................................ROBERT TRENTON

AUDREY DOYLE

Prosthetics Sculptors.....................................................................DAVID DARBY

SEAN HEDGES-QUINN

ANDREW HUNT

REZA KARIM

GORAN LUNDSTROM

GARY POLLARD

COLIN SHULVER

VALTER CASOTTO

JOSH WESTON

Prosthetics Modellers....................................................................HENRIK SVENSSON

ALEX WALKLATE

BRIAN BEST

BARRY BEST

ELAINE BEST

ANDRE GILBERT

DANIEL FRYE

CHARLENE SANT

FIONA BARTY

MATTHEW BAKER

JENI WALKER

CLAIRE FOLKARD

VALENTINA VISINTIN

AISLING NAIRN

Production Buyer...........................................................................JOHN O'SHAUGHNESSY

Assistant Set Decorators...............................................................FERGUS CLEGG

JACKIE YAU

Drapes Master...............................................................................CLEO NETHERSOLE

Drapesman....................................................................................COLIN PEARCE

Illustrator........................................................................................TOM BROWNING

Production Coordinator..................................................................VICTORIA MORGAN

Assistant Production Coordinators................................................DAVID ZEALEY

CHARLOTTE PIDDINGTON

Assistant Production Coordinator - Wales.....................................FIONA GARLAND

Stunt Department Coordinator.......................................................AMIE STEPHENSON

Post Production Coordinator.........................................................JO HARROP

Titles Coordinator..........................................................................HELEN BEUSELINCK

Assistant to Mr. Leterrier...............................................................AMANDA KIRCHHOFF

Assistant to Mr. Iwanyk..................................................................VALENTINA BORFECCHIA

Production Secretary.....................................................................LUKE STEVENSON

Production Assistants

CHRIS CAVANAGH JULIA CHIAVETTA MARTIN CHILD

TOM ELGAR ASHLEY HILL SARAH KELLY

ANTHONY LE BRETON KATIE LEE CHRIS MOTJUOADI

GRAHAM POOLE MARIA PUDLOWSKA KEVIN SKEHAN

MARLENE SUTER MICHAL WHITTY

Casting Assistant...........................................................................ROSE WICKSTEED

Second Assistant Director.............................................................MICHAEL STEVENSON

Second Second Assistant Director................................................SAMAR POLLITT

Third Assistant Director.................................................................ANDY MADDEN

DGA Intern.....................................................................................CELIA GALAN

Location Manager - Canary Islands...............................................ROBIN HIGGS

Location Managers........................................................................TERRY BLYTHER

SIMON CROOK

PHIL HOUNAM

Site Location Manager - Longcross...............................................GEOFF DIBBEN

Assistant Location Managers........................................................LINZI BALTRUNAS

TOM ASQUITH

Unit Manager.................................................................................EDDIE FOLCARELLI

Set Production Assistants

LUCY COVER GAYLE DICKIE OLIVER HAZELL

CAROLINE KAEMPFER CHRISTIAN LA ARTA

KEIRAN MAHON

NATASHA PHELAN GARY RICHENS

TOBY SPANTON CRAIG TOPHAM

Financial Controller........................................................................DOROTHY PRECIOUS

Production Accountant..................................................................BETTY WILLIAMS

Location Accountant......................................................................CAROL ROTHEL

First Assistant Accountant.............................................................GEMMA SMITHERS

Second Assistant Accountants......................................................HOLLY BATES

DEBBIE LEAKEY

ANDREW PYKE

CRISTIANO D'URSO

ANN ORMESHER

Unit Publicist..................................................................................MIRA HUSSEINI

Stills Photographer........................................................................JAY MAIDMENT

Assistant Chief Lighting Technician...............................................RICKY PATTENDEN

Rigging Gaffer................................................................................RAYMOND MILLS

Location Rigging Gaffer.................................................................WARREN EVANS

Lamp Operators

MARK CLARK ALAN GROSCH MARK HUTTON

JAMIE MILLS DAVE MOSS DAVE SINFIELD

JAMES SMART DAVE TAYLOR MARTYN WELLAND

GEORGE WORLEY

HOD Electrical Rigger...................................................................IAIN LOWE

Rigging Electrics

JIM BUSBY JEREMIAH DELANEY MARK EVANS

PAUL GARRATT NEIL MUNRO TONY ROBERTS

JOHN ROBERTSON RON SHANE

Best Boy Grip.................................................................................JAMES CROWTHER

Crane Technician...........................................................................LAURENCE EDWARDS

Dolly Grips.....................................................................................GARY ROMAINE

PHIL MURRAY

Libra Head Technician...................................................................TIM DEAN

ATV Crane Technician..................................................................KARL JONES

Standby Painter.............................................................................EDDIE WOLSTENCROFT

Standby Rigger..............................................................................COLIN SMITH

Standby Carpenter........................................................................LEE GOOCH

Standby Stagehand.......................................................................MARK GOODMAN

Standby Plasterer..........................................................................DAVID BAYNHAM

Standby Wireman..........................................................................KEVIN MATTHEWS

Special Effects Assistant Supervisor.............................................DAVID BRIGHTON

Special Effects Workshop Supervisors.........................................RAY FERGUSON

ALAN YOUNG

Special Effects Floor Supervisor...................................................STEVEN WARNER

Special Effects Wire Supervisor....................................................STEVE CRAWLEY

Special Effects Coordinators.........................................................CORINA ROSCA

BEVERLY YOUNG

Special Effects Lead Senior Technicians......................................CLIVE BEARD

IAN CORBOULD

MICHAEL DAWSON

STUART HEATH

DAVID POOLE

COLIN UMPELBY

Special Effects Senior Technicians...............................................MIKE DURKAN

LEE RIDER

KEVIN ROGAN

TIM STRACEY

ANNE MARIE WALTERS

ANDY WARNER

BRUCE ARMSTRONG

ROBIN BEAVIS

STEVE BENELISHA

CLIFF CORBOULD

Animatronics Additional Supervisor...............................................DARREN ROBINSON

Animatronics Workshop Supervisor..............................................CLIFF WALLACE

Animatronics Senior Floor Manager..............................................STEVE PAINTER

Animatronics Senior Technicians..................................................DAVID BONNEYWELL

ANDREW GARNER

PETER HAWKINS

JOHN NOLAN

MATT O'TOOLE

ANTHONY PARKER

TRISTAN SCHOONRAAD

BILL TURPIN

Animatronics Model Designers......................................................GUSTAV HOEGEN

TERRY JONES

Animatronics Technicians..............................................................VINCENT ABBOTT

VICTORIA ELLIS

Animatronics Mould Designer........................................................ROBIN SCHOONRAAD

Animatronics Mould Maker............................................................KEVIN WALKER

Animatronics Modeller...................................................................IAN MORSE

Animatronics Assistant Technician................................................JESSICA MOORE

Animatronics Assistant..................................................................JILL REEVES

Assistant Prop Master...................................................................JOHN FOX

Props Supervisor...........................................................................WESLEY PEPPIATT

Props Storeman.............................................................................QUENTIN DAVIES

Propmaker/Dresser.......................................................................RICHARD CHEAL

Chargehand Dressing Propmen....................................................JACK GARWOOD

ANDREW SKIPSEY

Dressing Propmen.........................................................................JONATHAN NORMAN

STUART WALPOLE

Chargehand Standby Propman.....................................................DAREN REYNOLDS

Standby Propman..........................................................................JONATHAN DOWNING

Propmaker.....................................................................................EDWARD GRIFFITHS

Propman........................................................................................ALAN JONES

Armourers......................................................................................SIMON ATHERTON

RYAN PHILLIPS

GREG CORKE

Armoury.........................................................................................TIM WILDGOOSE

GRAHAM BOWEN

VICKY BALL

WILLIAM DRAPER

AMANDA CARTER

Construction Managers.................................................................ANDY EVANS

JOHN KIRSOP

Assistant Construction Manager....................................................IAN GREEN

Construction Department Coordinator/Buyer................................NICOLA SHORT

HOD Carpenter..............................................................................ROBERT SUTTON

Supervising Carpenter...................................................................DAVID PERSCHKY

HOD Painter..................................................................................DAVID HABERFIELD

Supervising Painter.......................................................................TREVOR EVE

HOD Plasterer...............................................................................KEN WILSON

Chargehand Plasterers..................................................................CHRISTOPHER GREENWOOD

ANTHONY VICE

HOD Rigger...................................................................................SIMON DUTTON

Supervising Rigger........................................................................NEIL CARR

HOD Stagehand............................................................................JOHN KEENAN

Construction Storeman..................................................................JERRY CHANCHEONG

Sculptor..........................................................................................EMMA HANSON

HOD Greensman...........................................................................ROGER HOLDEN

Chargehand Greensmen...............................................................WILLIAM AYRES

JOHN SIMPSON

Horsemaster..................................................................................PETE WHITE

Horse Coordinator.........................................................................STEVE OLD

Animal Coordinator........................................................................GILL RADDINGS

Dialogue Coach.............................................................................CLIFFORD DE SPENSER

Choreographer...............................................................................FRAN JAYNES

Transportation Coordinator............................................................GERRY TURNER

Transportation Captains................................................................STEVE BRIGDEN

STEVE FENNY

Transportation Department Coordinator........................................CELINE COULSON

Marine Coordinator........................................................................ROBIN DAVIES

Marine Assistant............................................................................NAOMI STONE

Unit Nurse......................................................................................ROSIE BEDFORD-STRADLING

Extras Casting...............................................................................THE CASTING COLLECTIVE

Catering & Craft Service................................................................FIRST UNIT CATERERS

SECOND UNIT

First Assistant Director..................................................................WILLIAM BOOKER

Second Assistant Director.............................................................KIM WHITTAKER

Third Assistant Director.................................................................FRAZER FENNELL-BALL

Set Production Assistants..............................................................TANIA GORDON

JOSH MUZAFFER

Production Coordinator..................................................................SAM BLACK

Assistant Production Coordinator..................................................MATT JENKINS

Production Assistant......................................................................ADRIAN HUBBARD

A Camera Operator.......................................................................BEN WILSON

A Camera First Assistant...............................................................DAVID COZENS

A Camera Second Assistant..........................................................CHRIS CLARKE

B Camera Operator.......................................................................SEAN SAVAGE

B Camera First Assistant...............................................................MILES PROUDFOOT

B Camera Second Assistant..........................................................MAX GLICKMAN

Underwater Director of Photography & Camera Operator............MARK SILK

Underwater Gaffer.........................................................................BERNIE PRENTICE

Sound Mixer...................................................................................TIM FRASER

Boom Operators............................................................................STEPHEN FINN

WILL TOWERS

Cable Person.................................................................................THOMAS BARROW

Video Playback Operator...............................................................DYLAN JONES

Script Supervisors..........................................................................LAURAJANE MILES

LOU WADE

Set Costumers...............................................................................JILL AVERY

ADRIAN SIMMONS

Chief Lighting Technician..............................................................MARK EVANS

Assistant Chief Lighting Technician...............................................BILLY GAMBLE

Key Grip.........................................................................................GARY HUTCHINGS

Best Boy Grip.................................................................................DEAN MORRIS

Electrical Rigger.............................................................................SIMON CULLEN

Crane Technician...........................................................................BEN EDWARDS

Libra Head Technician...................................................................MARIO SPANNA

Standby Painter.............................................................................BRADLEY WOODBRIDGE

Standby Carpenter........................................................................GARY HOWARD

Standby Rigger..............................................................................GUY COPE

Standby Stagehand.......................................................................JIM STACHINI

Standby Plasterer..........................................................................ERIC NASH

Chargehand Standby Propman.....................................................PAUL HEARN

Standby Propman..........................................................................PIP FOX

Special Effects Floor Supervisor...................................................DAVID WATKINS

Senior Special Effects Technician.................................................PETER HARAN

TENERIFE UNIT

Production Services in Tenerife by………...........SUR-FILM PRODUCTION & SERVICES S.L.

Sur Film Production Managers......................................................ANDREAS WENTZ

JUAN CANO TRUJILLO

Production Coordinator..................................................................PAMELA JOYCE

Assistant Production Coordinator..................................................PATRICIA ESTEVEZ

Translator/Production Assistant.....................................................BIBIANA OMAR ZAJTAI

Production Assistants

YURENA ACOSTA LEJANDRO NAVARRO CAROLYN O'REILLY

EVELYN ROCHA

Accountant.....................................................................................DEBORA LOPEZ

Art Department Assistant...............................................................IMOBACH RAMIREZ

Third Assistant Director.................................................................KATHARINA HOFMANN

Assistant Location Manager..........................................................ELLEN PARKES

Location Assistants

JOSE AYRA YANIRA DE ARMAS SOLEDAD OROZCO

JORGE ROJAS

Assistant Unit Managers

CARLOS BAROJA TINERFE MARTIN RAMON JESUS RODRIGUEZ

JAVIER SANTANA ALBERTO VALL

Assistant Marine Coordinator........................................................IGNACIO DOMINGUEZ

ETHIOPIAN UNIT

Production Services by..................................................................GINGER INK

Production Manager......................................................................KARL McMILLAN

Security Consultant.......................................................................GARETH JONES

Ground Coordinator.......................................................................TONY HICKEY

Ginger Ink Producer......................................................................GUY WILSON

Foley Editor....................................................................................DEREK TRIGG

Foley Mixer....................................................................................EDWARD COLYER, AMPS

GLEN GATHARD

ADR Mixers....................................................................................MARK APPLEBY

ANTONY BAYMAN

NICK FOLEY

ROBERT EDWARDS

PETER GLEAVES

Foley Artists...................................................................................PETER BURGIS

ANDI DERRICK

ANDREA KING

Mix Technicians.............................................................................ROB WEATHERALL

JAMES GLENTON

JONATHAN RUSH

Music Editors.................................................................................MIKE HIGHAM

CHRIS BENSTEAD

PETER OSO SNELL

Additional Music by........................................................................NEIL DAVIDGE

GEOFF ZANELLI

DOMINIC LEWIS

NOAH SOROTA

BOBBY TAHOUIR

Synth Programming.......................................................................RAMIN DJAWADI

Music Production Services............................................................STEVE KOFSKY

Orchestrators.................................................................................STEPHEN COLEMAN

MATT DUNKLEY

Orchestra Conducted by................................................................GAVIN GREENAWAY

Score Recorded by........................................................................GEOFF FOSTER

Score Mixed by..............................................................................ALAN MEYERSON

Technical Score Engineers............................................................BRYCE JACOBS

.... MARLENE TOPKA

Visual Effects Plate Unit in Tenerife & Element Shoot in UK

Director of Photography.................................................................STEVEN HALL

First Assistant Camera..................................................................BARNEY PIERCY

IAN COFFEY

Second Assistant Camera.............................................................JASON DULLEY

Video Assistant..............................................................................IAN DOBBS

Chief Lighting Technician..............................................................DAVID SINFIELD

Assistant Chief Lighting Technician...............................................COLIN TOWNSEND

Standby Rigger..............................................................................TERRY RICHARDS

Standby Stagehand.......................................................................STEVE AGNEW

Standby Carpenter........................................................................TERRY LAW

Key Grip.........................................................................................ANDY EDRIDGE

First Assistant Director..................................................................MARTIN KRAUKA

Set Production Assistant...............................................................NICK STARR

Special Effects Supervisor.............................................................CLIVE BEARD

Special Effects Technicians...........................................................KEVIN ROGAN

SAM CONWAY

NEIL McKELVEY

Motion Control by…………………………………..VISUAL EFFECTS COMPANY LTD.

Motion Control Cameraman..........................................................JAY MALLET

Motion Control Operator................................................................DANNY MURPHY

Motion Control 3D Supervisor.......................................................ANDY BULL

Cyberscanning by…………………………………..PLOWMAN CRAVEN ASSOCIATES

Technical Manager........................................................................HUSEYIN CANER

Project Manager............................................................................LAURENCE HARDWICK

Lidar Services by...........................................................................LIDAR VFX

Lidar Supervisor.............................................................................PAUL MAURICE

Lidar Producer...............................................................................IAN NICHOLS

Model Supervisor...........................................................................BRANDON HARR

Motion Capture by.........................................................................AUDIOMOTION STUDIOS

Previsualisation by.........................................................................NVIZAGE

Previs Supervisor...........................................................................MARTIN CHAMNEY

Previs Artists..................................................................................MICHELLE BLOK

JOHN KAY

ALBERTO LARA

JASON McDONALD

Visual Effects by FRAMESTORE

Visual Effects Supervisor...............................................................TIM WEBBER

Visual Effects Producer.................................................................DUNCAN BURBIDGE

CG Supervisor...............................................................................MIKE MULHOLLAND

Animation Supervisor....................................................................MAX SOLOMON

Environment Supervisor................................................................KEVIN JENKINS

Compositing Supervisor................................................................SIRIO QUINTAVALLE

CG Effects Supervisor...................................................................LAURENT HUGUENIOT

Lead Animators..............................................................................ARSLAN ELVER

MATHIEU VIG

CG Lighting Supervisor.................................................................PAUL BEILBY

Lead CG Lighting Artists................................................................HARRY BARDAK

JOHN-PETER LI

Character Supervisors...................................................................LAURIE BRUGGER

SCOTT EATON

Lead Compositors..........................................................................JULIEN GOLDSBROUGH

KYLE McCULLOCH

JESSE PARKHILL

PETRA SCHWANE

Visual Effects Production Supervisors..........................................LUCINDA KEELER

DANIELLE MORLEY

Visual Effects Coordinators...........................................................CARA DAVIES

RICHARD DEEB

MIKAEL JAEGER JENSEN

ESME LONG

Visual Effects Editors.....................................................................LARS VINTHER

ILONA BLYTH

Digital Artists

BEN AICKIN WILLIAM ALEXANDER ROB ALLMAN

KATARZYNA ANCUTA ANUJ ANAND DAVID AULDS

VINCENT AUPETIT ADAM AZMY HEATH BAKER

GIACOMO BARGELLESI MATT BEALE LAURENT BENHAMO

CARL BIANCO THOMAS BILLER FERNANDO BORGES-PACHECO

MICHAEL BORHI RENE BORST BEN BROWN

DANIEL BUHIGAS WILL BURDETT DANIEL CANFORA

KEANAN CANTRELL SIMON CARLILE ANDREA CASTAGNOLI

PAUL CHANDLER NICOLAS CHOMBART REBECCA CLAY

JACOB CLARK CARLOS CIDRAIS EOGHAN CUNNEEN

JAMES D. FLEMING DEXTER DAVEY AMY DAVIS

LUBOS DE GERARDO SURZIN SYLVAIN DEGROTTE BERT DERUYCK

FERNANDO DOMINGUEZ LUKE DRUMMOND KATHERINE DURANT

DAVE EARLY VINCENT EHRHART-DEVAY ELCUK ERGEN

KARL ERLANDSEN DANIEL EVANS OLIVER FERGUSSON-TAYLOR

BEN FROST DIEGO GARCIA MAURO GIACOMAZZO

JORDI GIRONES MARCO GODINHO JOSE GOMEZ

KYLE GOODSELL RICHARD GRAHAM THEO GROENEBOOM

NICOLAS GUEROUX DANNY GEURTSEN CHARLIE HABANANANDA

STEVE HARDY FREDERIC HEYMANS ANDREW HOGDEN

DAREN HORLEY RUDI HOLZAPFEL MICHAEL HUNAULT

JULIAN HUTCHENS NIK ILLINGWORTH RICKY KANG

LINA KOUZNETSOVA NICHA KUMKEAW HELGI LAXDAL

RICK LEACH AARON LEAR CLAUDIA LECHEN

YANNICK LECOFFRE CHI-KWONG LO BENJAMIN LOCH

BEATRIZ LORENZO CHARLIE LOVETT LUKE MASSINGBERD

JOSEPH McLAMB DAN MCRAE HORACIO MENDOZA

JAYMIE MIGUEL ANTOINE MOLINEAU LASZLO MOLNAR

STEVEN MOOR RAFAEL MORANT RYAN MULLANY

BRUCE NELSON TOM NIXON GARY NOBLE

ROB O'NEIL MARK OSBORNE OLEKSANDR PANASKEVYCH

ADAM PARKER STEVE PARSONS JOE PAVLO

ALEX PAYMAN JOHN PECK TOM PEGG

STUART PENN MIRIAM PEPPER MANUEL PEREZ

ANGELO PERROTTA JORGE PIMENTEL DIEGO PRILUSKY

ALED PROSSER HOWARD PROTHEROE JOHN PURDIE

MICHAEL RALLA ADAM REDFORD PAULO REGO

SAM REMFRY BJARNI ROBERT BRAGASON ALEX ROTHWELL

JUSTIN ROTOLO RAJAT ROY LIAM RUSSELL

FREDDY SALAZAR SEAN SAMUELS MARTIN SAWTELL

ALFONSO SICILIA JUNAID SYED NICOLAS SECK

EMMANUEL SEYNAEVE FOAD SHAH DAVID SHERE

MIKE SHIRRA LAURENT SOLIGNAC JEAN-DAVID SOLON

PENN STEVENS ELWALEED SULIMAN PAUL SULLIVAN

SANDY SUTHERLAND JAMES SUTTON MARK TAYLOR

VINCENT TECHNER SIMON THISTLETHWAITE MICHAEL THOMPSON

RUPERT THORPE THANOS TOPOUZIS OSCAR TORNINCASA

MARK TUDOR-WILLIAMS BEN TURNER ALEXANDER TURUSOV

ROMAIN VACHER LARS VAN DER BIJL DAN VICTOIRE

DANIEL WARDER NEIL WEATHERLY NICK WHITELEY

MARK WILSON KATE WINDIBANK FABIO ZAVET

Visual Effects by THE MOVING PICTURE COMPANY

Visual Effects Supervisor

Visual Effects Producer

GARY BROZENICH

EMMA PHILLIPS

CG Supervisor

Animation Supervisor

Compositing Supervisor

PATRIC ROOS

GREG FISHER

RICHARD BAKER

VFX Production Manager

VFX Production Co-ordinator

VFX Production Assistant

MELANIE BYRNE

CHRISTINA GRAHAM

BAYLY HEPTINSTALL

VFX EDITOR

RICHARD PRING

Lead Digital Artists

NIGEL ANKERS

DIEGO GUERRERO

ADRIANO RINALDI

PAUL ARION

BEN JONES

STEVE SANDLES

RICHARD BAILLIE

OWEN JONES

CEYLAN SHEVKET

YANICK BOURGIE

STUART LASHLEY

SHELDON STOPSACK

GILES DAVIES

JAVAD MATOORIAN-POUR

ARNAUD VALETTE

ROBB DENOVAN

MATT PACKHAM

ADAM WALKER

Lead Digital Supervisors

ADAM DAVIS

ANDERS LANGLANDS

OLIVIER PRON

STANLEY DELLIMORE

ELLIOT NEWMAN

TOM REED

JIGESH GAJJAR

ROB PIEKE

HANNES RICKLEFS

Digital Effects Production Managers

GRACIE EDSCER

PHILIP GREENLOW

LENA SCANLAN

JENNAH RASMUSSEN

VFX Co-ordinators

LUCILE ABIVEN

SAMANTHA HAINES

JIGNESH MEHTA

LORNA DUMBA

CHRIS JESTICO

TIM POUNDS-CORNISH

Digital Artists

ANTHONY ABEJURO

SARAH FULLER

SANDRA MURTA

GABRIEL ARNOLD

THIBAULT GAURIAU

GARY NEWMAN

SUZIE ASKHAM

MARCO GENOVESI

ANTONY NGUYEN

ANDREW BAGGARLEY

DAVE GRIFFITHS

JOHN NIFOROS

PETA BAYLEY

QIAN HAN

STEFANO OGGERI

MICHAEL BECKI

MARK HARRISON

OLE OLSEN BOLSONES

KIERAN BELSHAW

MICHEAL HAVART

JORDI ONATE ISAL

SOEREN BENDT PEDERSEN

JOSHUA HERRIG

PETER PANTON

THOMAS BITTNER

LAURENT HERVEIC

SCOTT PATTON

DAN BLACKER

ALEX HISLOP

EMANUELE PAVAROTTI

JULIEN BOLBACH

KAY HODDY

ANTHONY PECK

ZAKARIA BOUMEDIANE

JULIAN HOWARD

JEAN-COLAS PRUNIER

VIRGINIE BOURDIN

RICHIE HOYLE

MARK PRUSTEN

DAVID BOWMAN

ALEX HUGUET

CHRISTOPHER PUCHTA

MICHAEL BRAZELTON

MATTHEW HUNT

CARLOS RAMOS

DAN BRECKWOLDT

HELEN JOHNSON

ADAM REDFORD

SIMON BRITNELL

MARC JONES

MARKUS REITHOFFER

MATHIEU CHARDONNET

PENG KE

DUNCAN ROBSON

RHYS CLARINGBULL

JAMES KELLY

ISABELLE ROUSSELLE

OLI CLARKE

KWOK KEUNG YEUNG

SAM ROWAN

RICHARD CLEGG

LEV KOLOBOV

ADRIEN SAINT GIRONS

HAYLEY COLLINS

AREK KOMOROWSKI

JEREMY SAWYER

SANTI COLOMO MARTINEZ

MICHAL KRIUKOW

GEOFF SAYER

SEBASTIEN CORNE

JAKUB KROMPOLC

PETER SEAGER

CHRISTOPHER CROWELL

VIKRAM KULKARNI

SCOTT SEUNGPIL JUNG

OLIVER DALE

ALEXEY KUZNETSOV

DAVIDE SIBILIA

HASLINA DASLEY

PAUL LADA

JOE SMITH

CHRISTOPHER DAVIES

LORENZO LAVATELLI

PHILLIP SMITH

JULIO DEL RIO HERNANDEZ

FLORENT LIMOUZIN

SEPP SONNTAG

DAMIEN DELAUNAY

STEVEN LOVELL

HENRY SOUTH

CAROLINE DELEN

CHARLIE LOVETT

MICHELE STOCCO

THOMAS DEVORSINE

REBECCA MANNING

LLEANA STRAVOSKIADI

GEORGE DOUGLAS

SOPHIE MARFLEET

SCOTT TAYLOR

THOMAS DOW

ABNER MARIN

ANDREW THOMPSON

BENOIT DUBUC

MINCHO MARINOV

RAYMOND TJERNSTROM

JULIEN DUCENNE

KARIN MATTSSON

GANG TRINH

TSWALA DUNCAN

DAVID MAYHEW

GIANFRANCO VALLE

MARCO EDEL ROLANDI

ALAN MCCABE

LEIGH VAN DER BYL

CESAR EIJI NUNES

ANTONIO MEAZZINI

JON VAN HOEY SMITH

DANIEL FERNANDEZ

TOBIAS MEIER

JESSE VICKERY

GUILLAUME FRANCOIS

ELLEN MIKI

SALLY WILSON

NIHAL FRIEDEL

STEPHEN MOLYNEAUX

STEPHEN WONG

DREW FULCHER

DAFYDD MORRIS

RORY WOODFORD

PAWL FULKER

CATHERINE MULLAN

DAN ZELCS

Software Development

LUCY BAILEY

JAMES LEANING

MATTHEW OVENS

DAMIEN FAGNOU

PHILIP MCAULIFFE

JONATHAN PEEL

BABAK KHATAEE

DOUGLAS MCHALE

MICHAEL STEIN

ALEX KIM

GREG MEERES-YOUNG

SEBASTIAN THINNES

DAVID KOERNER

TOM MELSON

ROBERT TOVELL

Production Supervisor

Digital Effect Supervisor

STEVE MCKENDRY

CLWYD EDWARDS

Visual Effects by CINESITE

Visual Effects Supervisor

SIMON STANLEY-CLAMP

Visual Effects Producers

KEN DAILEY

CARRIE RISCHEL

Digital Effects Supervisors

CHRISTIAN IRLES

STEPHANE PARIS

Animation Supervisors

QUENTIN MILES

PETER CLAYTON

Digital Artists

DAN AYLING

RICHARD BELL

MICHELE BENIGNA

MOTI BIRAN

NIC BIRMINGHAM

AMANDA BONE

ANDRE BRIZARD

WARWICK CAMPBELL

DON CRAWFORD

MATT D'ANGIBAU

ADAM DEWHIRST

ANDREW FENSOM

JEM GRIMSHAW

SANDRA GUARDA

JOEY HARRIS

ALLAN TORP JENSEN

ALEX JENYON

PAUL LEE

ADAM LUCAS

DAN MASON

DIDIER MUANZA

PAUL MURPHY

GUSTAF NILSSON

JIM PARSONS

SYDNEY PADUA

ARNAUD PECQUEUR

GREGORY PECZINKA

CLAIRE PEGORIER

IAN PLUMB

MATTHIEU POIREY

JEAN-PAUL ROVELA

CLAUDE SCHITTER

JAMES STONE

MARK STEPANEK

ANDREW STEVENS

JAMIE STEWART

DAVID SWIFT

ADRIEN TOUPET

ANDY WHEATER

KIM WORRALL

RACHEL WRIGHT

AVIV YARON

Visual Effects by FLASH FILM WORKS

Super 2K VFX Scanning by CINESITE (EUROPE) LIMITED

View-DTM Stereo Creation by PRIME FOCUS

CHRIS BOND CHRIS Del CONTE TIM CHRISTENSEN

JEREMY NICOLAIDES MITCH GATES TRICIA PIFER

TAMMY SUTTON-WALKER WING KWOK JUSTIN JONES

LEANDRO VISCONTI SUSAN WEEKS THERESA RYGIEL

SEAN KONRAD GRAEME LOWRY TYLER HOCKETT

Prologue Design by…………………………………LOLA POST PRODUCTION, London

Titles by.........................................................................................SMOKE & MIRRORS

Colourist.........................................................................................JOHN ENSBY

DI Colourist....................................................................................ASA SHOUL

DI Editor.........................................................................................DOM THOMSON

DI Producer....................................................................................TODD KLEPARSKI

Soundtrack Album on WATERTOWER MUSIC

"Io's Theme"

Composed by Craig Armstrong

The Producers Would Like To Thank

The Island of Tenerife and its Institutions (logo)

Government and Film Commission of Tenerife and Canary Islands

Ministry of Environmental and Territorial Planning of the Government of the Canary Islands and

the Autonomous Body of the National Parks

Mount Teide National Park, Tenerife, Canary Islands

Timanfaya National Park, Lanzarote, Canary Islands

The Government of Ethiopia

Dinorwig Quarry, Wales, England

Filmed at Longcross Studios, Shepperton Studios, Pinewood Studios-London, England

Tenerife, Lanzarote & Gran Canaria, Canary Islands, Spain

Llanberis, Wales, England

Danakil Depression, Ethiopia

Camera Equipment supplied by PANAVISION UK

Camera Cranes supplied by ALPHA GRIP

Color and Prints by TECHNICOLOR ®

American Humane monitored the animal action.

No animals were harmed®. AHAD 01775 (logo)

No person or entity associated with this film received payment or anything of value, or entered

into any agreement, in connection with the depiction of tobacco products.

KODAK Motion Picture Products

FUJIFILM Motion Picture Products

DOLBY Digital (logo) DTS Digital (logo) SDDS (logo)

Approved #45772 (emblem) (IATSE LABEL)

Motion Picture Association of America

This motion picture

. 2010 Warner Bros. Entertainment Inc. and Legendary Pictures

Screenplay

. 2010 Warner Bros. Entertainment Inc.

Original Score

Warner Bros. Distribution Closing Cloud Shield Logo

En “Clash of the Titans”, la más grande lucha por el poder pone a hombres contra

reyes, y a reyes contra dioses. Pero si hubiera una guerra entre los dioses mismos podría

llegar a destruir el mundo. Perseo (Sam Worthington) es un dios por nacimiento pero se crió

entre los hombres. El trata desesperadamente de salvar a su familia de las manos de Hades

(Ralph Fiennes), el vengador dios del inframundo. Como no tiene nada que perder, Perseo se

ofrece a liderar una peligrosa misión para vencer a Hades, antes de que llegue a arrebatarle el

poder a Zeus (Liam Neeson), y así desatar el infierno en la tierra.

Liderando una audaz banda de guerreros, Perseo se lanza a una peligrosa odisea a

través de mundos prohibidos. Entre sus guerreros está Draco (Mads Mikkelsen), un soldado

con mucha experiencia que empuja al desafiante Perseo a utilizar sus cualidades de semi –

dios. Juntos combaten impíos demonios y bestias temibles, pero sólo podrán sobrevivir si

Perseo acepta su poder de dios, y desafía su suerte creando su propio destino.

“Clash of the Titans” transporta al público a un mundo mitológico de acción y

aventuras épicas. El filme, presentado en imágenes tridimensionales, muestra dioses

increíblemente formidables, las criaturas monstruosas causan impresionante pavura, y lleva a

los espectadores a las profundidades del mundo mitológico de las aventuras de Perseo.

Liderando un reparto internacional de actores, está el actor australiano Sam

Worthington (“Avatar”) en el papel de Perseo, el hijo mortal del rey de los dioses, Zeus.

Liam Neeson (“Schindler’s List”), actor postulado al premio de la Academia® hace las veces

del poderoso Zeus; y Ralph Fiennes (“The English Patient”) candidato también al premio de

la Academia® es Hades, el dios del inframundo, que se alimenta del miedo de los hombres.

Completando el reparto están: Gemma Arterton como Io, la misteriosa guía espiritual de

Perseo a lo largo del su viaje; Mads Mikkelsen como Draco, quien en la aventura junta su

espada a la de Perseo; Jason Flemyng en el papel de Acrisios, una bestia que alguna vez fue

un rey; Danny Huston como Poseidón, el dios de los mares; y Alexa Dávalos encarnando a

Andrómeda, la princesa que perderá su vida si Perseo no logra vencer.

Perseo; Jason Flemyng en el papel de Acrisios, una bestia que alguna vez fue

un rey; Danny Huston como Poseidón, el dios de los mares; y Alexa Dávalos encarnando a

Andrómeda, la princesa que perderá su vida si Perseo no logra vencer.

“Clash of the Titans”está dirigida por Louis Leterrier, a partir de un guión de Travis

Beacham y Phil Hay & Matt Manfredi, basado en la película “Clash of the Titans” anterior,

dirigida por Desmond Davis y escrita por Beverley Cross. El nuevo filme fue producido por

Basil Iwanyk y por Kevin De La Noy. Los productores ejecutivos fueron: Richard D.

Zanuck ganador del Premio de la Academia®, y Thomas Tull, Jon Jashni y William Fay, de

Legendary Pictures.

Tras las imágenes, el equipo creativo estuvo compuesto por: el director de fotografía

Peter Menzies, Jr., el diseñador de producción Martin Laing, el editor Martin Walsh, el editor

Vincent Tabaillon, la diseñadora de vestuario ganadora del Premio de la Academia® Lindy

Hemming (“Topsy-Turvy”) y el compositor Ramin Djawadi.

También fueron parte del equipo creativo: el supervisor de efectos visuales postulado

para el Oscar® Nick Davis (“The Dark Knight”); el supervisor de prótesis candidato al

Oscar® Conor O’Sullivan (“The Dark Knight”, “Saving Private Ryan”); el supervisor de

efectos especiales y marionetas animatronics ganador del Premio de la Academia® Neil

Corbould (“Gladiator”); y la maquilladora y estilista ganadora del Premio de la Academia®

Jenny Shircore (“Elizabeth”).

Warner Bros. Pictures en sociedad con Legendary Pictures, presentan una producción

de Thunder Road Film y la compañía Zanuck, la película de Louis Leterrier “Clash of the

Titans”. El filme podrá verse con tecnología tridimensional RealD 3D en los cines que

dispongan del sistema, y será distribuida mundialmente por Warner Bros. Pictures, una

compañîa Warner Bros. Entertainment.

Esta película ha sido clasificada PG-13 -Parents Strongly Cautioned= Advertencia Especial

para Padres-por la asociación MPAA (Motion Picture Association of America). Parte del

material puede ser poco adecuado para menores de 13 años dada la violenta acción de su

fantasía, algunas imágenes que dan miedo, y partes sensuales.

www.clash-of-the-titans.com

Para descargar información general de prensa y fotos

del Internet, por favor visite: http://press.warnerbros.com

ACERCA DE LA PRODUCCIÓN

“¡Suelten al Kraken!”

Las impresionantes bestias mitológicas, los panoramas espectaculares que muestran

las profundidades del infierno y las alturas del monte Olimpo, sumado todo a las batallas a

muerte entre hombres y dioses, hacen de la nueva película “Clash of the Titans” un

epectáculo fuera de serie, que atrapará a los espectadores llevándolos en un viaje

tridimensional por la antigua Grecia, de una manera sólo imaginable en el Siglo XXI.

-“Esta es una aventura divertida, un filme escapista, y a mí me encantan las películas

escapistas”-dice el director Louis Leterrier -“La historia es heroica, mítica, romántica y trata

de cómo uno cumple su destino. Tiene fantasía, diversión, y también da un poco de miedo.

Agregado a eso, tiene un reparto de actores increíble, con artistas como Sam Worthington,

Ralph Fiennes y Liam Neeson. Verla, es una experiencia verdaderamente estimulante”.

Con Leterrier al mando, las estrellas del filme estaban bien predispuestas a entrar en

el mundo mitológioco. -“Siempre admiro a un director que está dispuesto a tomar riesgos”dice

Sam Worthington, quien interpreta al personaje principal del filme, Perseo -“Louis tenía

una gran visión para el filme, audaz y heroica. El quería que fuera como un paseo

emocionante lleno de sobresaltos, y yo pensé Bueno, es un buen director para acompañarlo

a una batalla. Quiero participar en esto”.

Los amigos Liam Neeson y Ralph Fiennes, quienes dan vida respectivamente a Zeus

y a Hades, están de acuerdo y comentan: -“Mis hijos querían que acepte el papel” -dice

Neeson -“y yo sabía que con Louis, todos los magos de los ordenadores y todos los técnicos

especializados con que contaba, iban a lograr que esta historia saltara fuera de la pantalla”.

-“Siempre me encantó la mitología griega y la cantidad de cosas que ahora se pueden

hacer para que los efectos especiales sean fuera serie. Me parece algo extraordinario” -opina

Fiennes -“Me pareció que el guión era vivo y tenía una calidad épica muy atractiva”.

Leterrier es un fanático de la película original y al filmar esta nueva versión se sintió

como un niño en una tienda de dulces. “El filme “Clash of the Titans” de 1981 era uno de

mis favoritos. En realidad fue una de las primeras películas mágicas que ví. Me fascinaba.

No pude menos que brincar como un loco ante la oportunidad de poder realizar una nueva

versión de ella”.

El entusiasmo que el director tenía por el material se nota en cada detalle del filme.

El productor Kevin De La Noy cuenta: -“Louis ama hacer cine y contar historias. Cada reto

que presentó el filme lo tomó con humor y determinación: quería que todo funcionara y

saliera bien. Su energía inacabable inspiró a todos los que trabajaron con él. Se concentraba

profundamente en todas y cada una de las tomas, tenía una idea muy clara de lo que quería y

la impartió a todos. Así consiguió el resultado que se había propuesto”.

director tenía por el material se nota en cada detalle del filme.

El productor Kevin De La Noy cuenta: -“Louis ama hacer cine y contar historias. Cada reto

que presentó el filme lo tomó con humor y determinación: quería que todo funcionara y

saliera bien. Su energía inacabable inspiró a todos los que trabajaron con él. Se concentraba

profundamente en todas y cada una de las tomas, tenía una idea muy clara de lo que quería y

la impartió a todos. Así consiguió el resultado que se había propuesto”.

Leterrier no fue el único apasionado con el filme. El productor Basil Iwanyk, dice: “

Recuerdo que yo hice una larga cola por más de dos horas cuando tenía 11 años de edad,

para ver uno de los mejores filmes que ví en mi vida: “Clash of the Titans” con monstruos,

batallas, princesas, y gente con espadas…cosas que yo nunca había visto antes”.

Los guionistas Travis Beacham, Phil Hay y Matt Manfredi, estuvieron a cargo de

llevar el gran clásico de culto al siglo XXI.

-“Estoy muy contento con el trabajo de los guionistas”-dice Leterrier -“Esta no era

una nueva versión toma por toma pero con novedades teconológicas. Si bien el filme

mantiene la integridad del original, es completamente distinto”.

-“Me encantó el original, por eso esta propuesta fue irresistible, aunque un poco

intimidante” -dice Beacham -“Una de las cosas que más me gusta del filme, y de los mitos

en general, es que pone los problemas humanos familiares en un contexto de circunstancias

imposibles, para expresar cosas que de otra forma no podrían ser expresadas. ¿Quieres salvar

a la muchacha? ¿En verdad quieres hacerlo? Porque de ser así tendrás que luchar contra ese

monstruo imparable para rescatarla. ¿Quieres encontrarte a ti mismo? Tendrás que ir al fin

del mundo ida y vuelta. ¿Quieres rebelarte contra tus padres? Pues tu padre es un dios, así

que tendrás que pensar con qué y cómo lo harás”.

-“Hablamos mucho sobre qué tono tendría el filme, si sería una aventura divertida,

pero con mucho sentido en los momentos especiales, y con personajes cuya acción depende

de la situación que atraviesan”-dice Hay.

Manfredi agrega: -“Para nosotros, la acción sólo funciona si tiene que ver con la

emoción. Quisimos que cada minuto de acción revelara quién es Perseo en ese momento. La

acción es el campo de pruebas que forja su carácter y sus relaciones. Tiene que tener

consecuencias en las personas que él ama”.

-“Este es un relato clásico, literlamente”-dice Iwanyk -“Es de vida o muerte, de

traición y valentía…todo actuado por humanos, monstruos y dioses. Mi meta al re-inventar

esta película, fue darle a la gente lo mismo que yo sentí cuando era niño, pero con todo el

avance de la tecnología disponible hoy”.

fue darle a la gente lo mismo que yo sentí cuando era niño, pero con todo el

avance de la tecnología disponible hoy”.

Para ayudar a cumplir ese objetivo, se agregó una nueva dimensión a “Clash of the

Titans” del año 2010, y se presenta ahora en tridimensional. El detalle iba perfecto con la

idea que tenían los cineastas para el filme. -“Si bien no estábamos filmando en

tridimensionmal, diseñé muchas escenas con ese estilo visual en mente: al entrar en los

nuevos mundos, enormes criaturas que vienen hacia uno, imágenes fantásticas” – detalla

Leterrier, cuya visión fue muy acertada -“La conversión a tridimensional agrega gran

profundidad a cada escena, mejora la historia y brinda una experiencia realista”.

El Viaje de un Héroe

En la mitología de “Clash of the Titans”, el hombre es creado por los dioses, a

cambio de ello sus plegarias proveen a las deidades inmortalidad y fuerza. Gracias a la

adoración de los hombres, los dioses pueden regirlos. -“Los premiaban si hacían lo que los

dioses les decían o eran castigados si no lo hacían” -explica Leterrier -“Pero había más

castigos que premios. Los humanos empiezan a rebelarse, y se crea tensión. Se necesitan los

unos a los otros, pero al mismo tiempo están en conflicto”.

El héroe del filme, Perseo, acaba de perder la única familia que había conocido.

Ahora se debate entre dos mundos: el de los hombres, en el cual creció, y el de los dioses,

mundo al cual muchos piensan que pertenece. Sam Worthington da vida al semi-dios que no

está muy seguro de querer serlo o de reconocer que es el hijo de Zeus.

-“El actor que interpretara a Perseo tenía que tener aspecto de duro, pero de corazón

bueno” – explica Leterrier -“Sam es uno de los actores más maravillosamente explosivo que

conozco, pero lo más importante para mí, es lo que él quería expresar a través de su

personaje. Nos brindó un Perseo robusto, determinado, y que cuestiona las cosas, que es

exactamente lo que yo sentía que ese papel requería”.

Iwanyk comenta: -“Ni bien Sam entró en la habitación, supimos que él era nuestro

Perseo. Nos gustó inmediatamente, también nos gustó saber que él quería trabajar duro como

actor, y que entendía lo que su papel requería. Sam tiene intensidad y juventud. El es muy

fuerte y tiene un físico increíble. Uno pude creer que él es un dios”.

-“Cuando vemos a Perseo por primera vez, no es más que un pescador, y lleva una

vida muy simple”-dice Worthington -“pero las circunstancias lo arrojan a una búsqueda de

venganza, cuando los dioses matan a toda su familia. Al margen de la naturaleza épica del

filme, lo que más me atrajo de esta historia es la idea de familia. Padres tratando de re, cuando los dioses matan a toda su familia. Al margen de la naturaleza épica del

filme, lo que más me atrajo de esta historia es la idea de familia. Padres tratando de reconectarse

con sus hijos, hijos que quieren saber por qué sus padres no los quieren o por qué

los rechazan, y hermanos unidos por lazos a distintos niveles”.

Iwanyk dice: -“Perseo es en esencia el daño colateral causado por la guerra entre

hombres y dioses. Se encuentra en Argos, la cuna de la civilización de Grecia antigua, que se

está destruyendo a manos de los mismos dioses que mataron a su familia. Allí es cuando

Perseo descubre quién es él en verdad”.

Perseo se niega a aceptar su ascendencia en el Olimpo, lo cual era un factor muy

importante para Worthington, quien dice: -“Perseo no quería tener que ser un dios para poder

triunfar. Pienso que él rechaza su parte de dios, porque quiere hacer todo como hombre, es

un buen mensaje. A él no le gustan los matones, pues así vé a los dioses. Está harto de ellos,

y si alguien tiene que detenerlos, bien podría ser él. Comienza a ser petulante y explosivo,

claro, pero tendrá que crecer y aceptar quién es él por nacimiento, si quiere sobrevivir”.

Uno de los personajes al que no le gusta la independencia de Perseo, es a su padre

natural, el rey de los dioses, Zeus. El piensa que Perseo debería querer y pedir su ayuda.

Como Zeus está acostumbrado a nunca ser cuestionado por su propia creación – la

humanidad-no sabe bien cómo manejarse ante su dudosa devoción y cada vez mayores actos

de rebeldía.

-“Zeus, más que ningún otro dios, ama a los humanos”-dice Leterrier -“El los creó y

se siente desgarrado porque los ama y nos quiere golpearlos con todo su poder y destruir

ejércitos completos. Ha encontrado astutas maneras de que lo obedezcan… pero los tiempos

están cambiando”.

En ese sentido, no ayuda mucho el hecho de que Hades, el señor del submundo,

presione a Zeus para que lo deje tomar cargo y arreglar todo a su manera. El estimado actor

Liam Neeson, encarna al rey del Olimpo, y explica esta delicada relación familiar: “Miles de

años atrás Zeus, Hades y su hermano, Poseidón, tenían el control del universo, que les habían

dado sus padres, los Titanes” –dice Neeson -“Zeus se hizo cargo de los cielos, y Poseidón de

los mares, pero Zeus engañó a Hades para que rigiera el mundo subterráneo. Es por eso que

Hades ahora, viendo su oportunidad de revancha, quiere engañar a Zeus para que comience

una guerra contra los humanos. Al principio Zeus cae en los engaños de su hermano pues

piensa que tal vez Hades tiene razón… los humanos deberían aprender una lección”.

-“Con Zeus teníamos dos opciones”-detalla Leterrier -“Podíamos ponerle el pelo

blanco, una barba blanca, un toga, y darle un trono de Zeus, pero eso no es lo que yo quería

hacer. Este Zeus lidera una guerra, es activo, y es un duro. Su debilidad es que ama a la

humanidad, y especialmente a las mujeres mortales”.

“Con Zeus teníamos dos opciones”-detalla Leterrier -“Podíamos ponerle el pelo

blanco, una barba blanca, un toga, y darle un trono de Zeus, pero eso no es lo que yo quería

hacer. Este Zeus lidera una guerra, es activo, y es un duro. Su debilidad es que ama a la

humanidad, y especialmente a las mujeres mortales”.

-“El físico de Liam era perfecto para su papel” –dice Iwanyk sobre el actor -“Es

grande, es fuerte, tiene una gran voz autoritaria, pero tiene una cara muy dulce y ojos que

expresan mucha emoción. El Zeus que concebimos es el rey de los dioses y es muy

poderoso. Al mismo tiempo está herido, derrocado, confundido, y eso lo ablanda. Liam es

una figura muy intensa que se impone, pero él puede darle suavidad y emoción a su cara”.

Aprovechando el dolor de su hermano por la pérdida de la devoción de los mortales,

Hades convence a Zeus que le deje meter miedo en el corazón de los hombres, ya que el

miedo les haría volver a adorar a Zeus y con ello, Zeus volvería a tener poder sobre ellos.

Pero en realidad, el miedo humano hace a Hades sea más fuerte, no Zeus. El aclamado actor

Ralph Fiennes es quien encarna al astuto rey del mundo subterráneo, quien está my ansioso

por recuperar su legítimo lugar en el cielo.

-“El físico de Ralph no es realmente imponente”-dice Iwanyk -“pero él tiene la

habilidad de transmitir tremenda intensidad, rabia y fuerza. El quiso llevar este

increíblemente terrible y único personaje a la pantalla, y sin duda alguna lo logró” -El

productor piensa que la amistad en la vida real que existe entre Fiennes y Neeson enriqueció

sus personajes en la pantalla -“Hades y Zeus tienen en la pantalla una relación muy

complicada, porque no sólo son adversarios, son hermanos. La amistad entre Ralph y Liam

les dio mucha dinámica”.

-“Los dioses están en estado de emergencia”-declara Fiennes -“Hades va al Olimpo –

un palacio de mármol muy alto entre las nubes – y se da cuenta lo que se ha perdido por tanto

tiempo estando en el mundo subterráneo, con los condenados y los muertos. El no es un dios

compasivo. Zeus lo traicionó y en su opinión, ahora es su turno. Así va a la ciudad de Argos

y descarga su furia y su poder en ellos. Exige el sacrificio que en última instancia va a poner

a Perseo en camino a su expedición”.

El sacrificio que Hades exige es en verdad sombrío: Hades quiere la vida de la

princesa de Argos, Andrómeda. Quiere que se la den de comer al monstruoso hijo del

Kraken, en el siguiente eclipse. Alexa Dávalos actúa en el papel de la desafortunada

princesa, una joven amable y generosa que está dispuesta a dar su vida para salvar a la gente

de Argos.

-“Definitivamente Andrómeda es cabeza dura y rebelde”-dice Dávalos -“Pero tiene

una vulnerabilidad que va con esas cualidades. Ella pelea por la historia y la realeza de su

familia, y por forjar su propio camino. Está verdaderamente conectada con la gente, de una

manera en que sus padres no lo están”. Aunque Andrómeda quiere sacrificarse por su gente,

Perseo no la va a dejar morir sin pelear, lo cual se vuelve el motor de su heroica misión.

“Definitivamente Andrómeda es cabeza dura y rebelde”-dice Dávalos -“Pero tiene

una vulnerabilidad que va con esas cualidades. Ella pelea por la historia y la realeza de su

familia, y por forjar su propio camino. Está verdaderamente conectada con la gente, de una

manera en que sus padres no lo están”. Aunque Andrómeda quiere sacrificarse por su gente,

Perseo no la va a dejar morir sin pelear, lo cual se vuelve el motor de su heroica misión.

Junto a Perseo a través de su búsqueda está Io, cuyo destino está ligado al de él,. De

cierta forma ella es su ángel guardán. La actriz Gemma Arterton encarna a la mítica guía – ni

diosa ni mortal-que sigue a Perseo en todos sus viajes. Al igual que muchos de los actores

del reparto, Arterton era fanática de la película original.

-“Cuando era chica la habré visto unas 50 veces, por eso, cuando supe que me habían

dado el papel en la nueva versión, saltaba hasta el techo”-cuenta Arterton -“Yo hacía como

que no me importaba mucho, pero me moría por llamar a mi mamá y a mi hermana”.

Irónicamente, su personaje no estaba en la película original. “Para mí eso era todavía más

emocionante, no sólo por poder participar en el filme, sino también por hacer algo nuevo y

diferente”.

Leterrier describe el contraste entre las dos nujeres en la historia de Perseo. -“Para

mí, representan los dos mundos entre los que él se debate-el mundo de los hombres, donde

se crió, y el mundo de los dioses, al que pertenece. El deberá tomar una decisión”: El

director estaba muy contento con la elección de las actrices para dichos papeles. -“Alexa y

Gemma son muy buenas actrices. Al igual que la princesa, Alexa tiene los pies sobre la tierra

y es muy humana. Gemma por su lado, es muy etérea, tiene una piel de porcelana, casi

transparente… como si uno pudiera atravesarla simplemente tocándole el rostro”.

Ninguna de las actrices era demasiado delicada y pudieron desempeñar muy bien los

rigores de sus papeles. -“Ambas son parte de la aventura, y estuvieron estupendas en sus

personajes”-dice el director.

Salvar a Andrómeda es un catalizador en el viaje de Perseo. Io es su guía espiritual.

Draco, es un soldado cansado de andar por el mundo, pero es el primero en agarrar la espada

y comenzar la búsqueda. Se convierte en una especie de protector del terco semi-dios Perseo,

a quien trata de enseñarle a usar la espada y algunas estrategias para pelear.

-“Draco es una especie de guarda espaldas de la princesa, un ex guerrero en camino a

retirarse” -dice Mads Mikkelsen, quien encarna el papel -“Sabe que al Kraken no se lo puede

matar, por eso, en esta última misión con Perseo, no va contento, si bien su entrenamiento lo

convierte en el mejor hombre para realizar esa tarea”. Por suerte, el actor y ex gimnasta

piensa distinto. -“Cuando me dijeron que querían que me balanceara en una soga con una

espada, me hizo acordar a lo que yo soñaba hacer cuando era chico, y me pareció genial”.

-“Cuando me dijeron que querían que me balanceara en una soga con una

espada, me hizo acordar a lo que yo soñaba hacer cuando era chico, y me pareció genial”.

Perseo, Draco y los otros hombres que los acompañaban, deben enfrentarse a un ser

medio hombre, medio monstruo: Calibos. Acrisios, alguna vez había sido un rey, pero se

convirtió en bestia cuando Zeus le pegó con uno de sus rayos. El actor veterano Jason

Flemyng interpreta el doble papel. -“Conozco a Jason desde hace años, y es un excelente

actor”-dice Leterrier -“A toda costa quería ser Calibos, ya que él interpretó al Dr Jekyll y

Mr. Hyde antes. Me pareció que el papel de Calibos sería justo para él”.

-“Cuando uno tiene que ponerse prótesis que llevan cuatro horas aplicarlas, no queda

más que decir ¡Aguante Flemyng!”--dice bromeando el actor -“Pero yo quería volver a

trabajar con Louis otra vez. Al entrar en el set de filmación me encontré nada menos que con

Liam Neeson y Ralph Fiennes, entonces supe va iba a ser un muy buen día de filmación”.

Entre los muchos talentosos actores de todo el mundo que componen el reparto, está

Danny Huston como Poseidón, el rey del océano; Pete Postlethwaite como Spyros y

Elizabeth McGovern como Marmara, los padres adoptivos de Perseo; Luke Treadway es

Prokopion, el oráculo de gran voz de Hades en Argos. El continuamente pide que muera la

pincesa Andrómeda; y Liam Cunningham, Nicholas Hoult y Hans Matheson son

respectivamente Solon, Eusebios e Ixas, tres memorables viajeros que ayudan a Perseo en su

búsqueda.

El impresionante reparto era una especie de “Naciones Unidas” en el set. Había

gente que representaba Norteamérica, Australia, Dinamarca, Irlanda, Israel, Francia,

Inglaterra, Polonia, Escocia y aún más países. Leterrier mismo es francés.

El director recuerda que al principio del rodaje les preguntó a sus actores si estaban

listos para quedar mojados, sucios, ser miserables, tener calor, estar hambrientos y doloridos

por los siguientes seis meses. Todos dijeron que sí, y lo lamentaron cada día”-dice el director

riendo.

Dioses y Monstruos

Además de tener personajes humanos, para mantener el costado mitológico de la

historia “Clash of the Titans” está llena de criaturas y bestias míticas, como Pegaso o la

mortal Medusa, como los scorpiocs parecidos a los escorpiones, y el monstruo por

excelencia: el temible Kraken. Para crear estas criaturas se necesitó una mezcla de elementos

de efectos visuales y maquinarias.

el temible Kraken. Para crear estas criaturas se necesitó una mezcla de elementos

de efectos visuales y maquinarias.

El supervisor de efectos visuales Nick Davis dice: -“Aquí tenemos el Olimpo y el

Hades, el paraíso y el infierno, dioses y monstruos; había aspectos fantásticos inherentes a la

historia. Al mismo tiempo, nuestra intención era que todo tuviera un aspecto foto-realista.

Queríamos que la gente creyera que un caballo vuela y que las Arpías son reales, dentro del

entorno que le dimos a la película”.

Para la pelea de los scorpiocs, la gente del equipo de Davis comenzó por los

personajes que estarían en la masiva batalla. Trabajaron con el director para determinar la

escala de cada scorpioc, que aproximadamente tendrían entre 6 y 10 metros, desde las garras

a la cola.

La gente del equipo de efectos especiales estaba liderada por el supervisor de efectos

especiales y animatronics Neil Corbould. Siendo adolescente, él había trabajado en la

película original “Clash of the Titans”, había puesto las plumas al búho Bubo. Ahora, junto

con su equipo, Corbould construyó una plataforma en escala a manera de un scorpioc

improvisado, para que los actores tuvieran algo con lo que interactuar en la escena de la

pelea. -“El cruce entre los efectos visuales y los efectos especiales pasaba muy de cerca en

esa plataforma” – dice Corbould -“Nick diseñó este fantástico escorpión tridimensional, que

usamos para el diseño de un modelo físico de la plataforma”. El equipo de efectos entonces

utilizó un sistema con control remoto para operar la plataforma”.

-“También teníamos una plataforma en la que uno podía montarse. Tenía

movimientos programados por ordenador, y tenía la carcaza de un scorpioc encima”-explica

Davis -“El personaje Draco salta en el lomo de la criatura que comienza a correr

salvajemente”.

-“Fue un rodeo muy técnico”-agrega Corbould -“La plataforma podía moverse a un

metro por segundo en todas las direcciones: hacia arriba, abajo, o rotar en 360°

completamente. Además teníamos unos 10 metros de rieles por los que podía ir para arriba o

para abajo. No era fácil quedarse encima de la plataforma, porque arrojaba a quien la

montaba”.

La dificultad más grande con la plataforma, era la velocidad. –“Los escorpiones se

movían muy rápido, entonces tratamos de alcanzar ese nivel de velocidad”-explica Corbould

-“Pero tuvimos que aminorar la velocidad un poco, porque ni siquiera un doble de acción

podía quedarse montado en la plataforma funcionando a toda velocidad”.

Simplemente llevar la plataforma hasta el lugar de filmación fue todo un logro.

Estaban filmando en el parque nacional Teide de Tenerife, el tercer volcán más alto del

mundo. Eso significaba que debían seguir estrictas instrucciones. La gente del equipo de

filmación no podía sacar ningún vehículo del camino y llevarlo hasta el set. Eso significaba

que debían llevar la masiva plataforma del scorpioc tan lejos como pudieran con un camión,

luego debían llevarla cargando de a secciones, por sobre los riscos hasta el set de filmación.

Construír la plataforma final tomó cuatro días: la plataforma completa y los equipos para

operarla debían quedar a la intemperie durante los cuatro días. La gente del equipo de

filmación rezaba para que no explotara todo cada noche”.

Estaban filmando en el parque nacional Teide de Tenerife, el tercer volcán más alto del

mundo. Eso significaba que debían seguir estrictas instrucciones. La gente del equipo de

filmación no podía sacar ningún vehículo del camino y llevarlo hasta el set. Eso significaba

que debían llevar la masiva plataforma del scorpioc tan lejos como pudieran con un camión,

luego debían llevarla cargando de a secciones, por sobre los riscos hasta el set de filmación.

Construír la plataforma final tomó cuatro días: la plataforma completa y los equipos para

operarla debían quedar a la intemperie durante los cuatro días. La gente del equipo de

filmación rezaba para que no explotara todo cada noche”.

El equipo de Davis utilizó también una combinación de imágenes creadas por

ordenador y sistema de captura de movimientos para dar vida a la Medusa, al Kraken, a las

Arpías, a Pegaso y a muchas otras criaturas. A diferencia de todas las representaciones

anteriores de la Medusa, esta versión del letal personaje no sólo tiene su cabeza coronada de

víboras, sino que tiene un cuerpo que es medio humano, medio serpiente. La Medusa puede

cazar a los visitantes indeseables con sigilo y acero. Por medio de efectos digitales se

transformó a la súper modelo rusa Natalia Vodianova en una Gorgona cuyo aspecto era

mortífero.

Tal vez la criatura mítica principal de la historia sea el caballo volador Pegaso, un

animal majestuoso. Leterrier cuenta: -“Pegaso, el caballo alado es el compañero de los

dioses. Ningún humano lo montó jamás. Al principio pelea con Perseo, esa es una de las

misiones a cumplir por el héroe”.

-“El problema con los caballos voladores es que los caballos no vuelan” – dice Davis

-“Hay que superar muchos problemas de aerodinámica para hacer que su vuelo parezca

natural”.

Para el papel de Pegaso se utilizaron dos sementales Frisones. Los Frisones son

grandes caballos negros que provienen de los Países Bajos. Bonce fue el Pegaso principal, y

su jinete, el doble de acción Gallo.

El equipo de efectos visuales desarrolló un complejo sistema de marcadores

reflectivos que seguirían cuidadosamente los movimientos de los caballos, y utilizando

cámaras especiales realizarían la captura de movimientos. Para completar la ilusión, se

agregaron alas a los caballos por medio de imágenes digitales.

Además de trabajar con los caballos Frisones, los actores y la gente del equipo de

filmación también lo hicieron con muchos otros animales, entre ellos cuatro camellos; una

víbora pitón albina de Burma de más de dos metros de largo, y 20kg de peso; dos jóvenes

bueyes y una gran cantidad de perros. Digna de su dueño, Zeus, el animal tal vez más

majestuoso de la película haya sido un águila real calva, que inmediatamente se volvió

popular en el set. Al final del rodaje, la mayoría de los actores se habían sacado una foto con

ella. A todos los que estuvieron involucrados en la película les gustó trabajar con animales

en vivo. La sociedad protectora de animales norteamericana (American Humane Society) dio

al equipo de producción la más alta calificación por el cuidado y el tratamiento que les dieron

a los animales.

Burma de más de dos metros de largo, y 20kg de peso; dos jóvenes

bueyes y una gran cantidad de perros. Digna de su dueño, Zeus, el animal tal vez más

majestuoso de la película haya sido un águila real calva, que inmediatamente se volvió

popular en el set. Al final del rodaje, la mayoría de los actores se habían sacado una foto con

ella. A todos los que estuvieron involucrados en la película les gustó trabajar con animales

en vivo. La sociedad protectora de animales norteamericana (American Humane Society) dio

al equipo de producción la más alta calificación por el cuidado y el tratamiento que les dieron

a los animales.

Diseñar a la bestia más temible de todas las bestias de Argos, el Kraken, tomó un

largo tiempo: aproximadamente cinco meses. Davis cuenta: -“Aaron Sims, nuestro diseñador

de personajes, trabajó con Louis, conmigo y con la gente del equipo de arte, hasta obtener

algo con lo que todos estuviéramos contentos. Luego la gente de MPC (Moving Picture

Company) se hizo cargo de trabajar en la textura y demás detalles. El agua era uno de los

elementos muy importantes. El Kraken sale del mar, el agua cae de su cuerpo en grandes

cascadas, pero parte del monstruo está siempre en el agua, chapoteando y moviéndose. Fue

un gran reto”.

-“El Kraken es un misterio, una leyenda” – dice Leterrier -“pero no quisimos

revelarlo inmediatamente. Nick, Aaron y MPC, juntos realizaron un trabajo extraordinario al

crear ese monstruo marino. Sus escamas son medio transparentes, porque el monstruo no ha

visto la luz de sol durante miles de años, entonces existe una transparencia bajo su superficie

y la luz rebota en su coraza”.

El equipo de efectos especiales, además de las criaturas, incorporó una gran cantidad

de elementos naturales en cada escena, como máquinas de viento y de agua, fuego y vapor. “

Neil nos puso toda la interacción posible en el set, ya sea objetos que se volaban o se caían,

plataformas móviles y a control remoto, explosiones, llamas y nubes de polvo. Juntos

resolvimos todos los detalles de logística”-cuenta Davis.

El equipo de efectos visuales tuvo que utilizar grandes telad, ya que se usaron lugares

ubicados en Tenerife, Gales y Etiopía. Davis continúa detallando: -“Construimos todos esos

lugares. Queríamos dar la impresión que la ciudad de Argos realmente estaba en los

acantilados, así que filmamos grandes tramos de los alrededores. Todo se basaba en eso, y

era el punto de partida ideal”.

En Búsqueda de: Grecia, año 200 a.C. : Grecia, año 200 a.C.

-“Llevamos a más de 800 personas por todo el mundo, entre los actores y el equipo

de filmación para capturar el mundo real en gran escala” – dice Leterrier, refiriéndose a los

lejanos y distintos lugares que se utilizaron para filmar “Clash of the Titans”.

De La Noy aclara: -“Louis tenía una visión muy clara desde el principio. No quería

que todo fuera realizado en el universo digital al tratarse de nuestro mundo. Sin duda íbamos

a tener que tener criaturas mitológicas digitales, pero el mundo en el que ellas habitaban, en

todo lo posible, queríamos que fuera real”.

“Clash of the Titans” en realidad se filmó por todo el mundo, inclusive en algunos

lugares nunca antes vistos en películas. En las Islas Canarias, en Tenerife, un punto clave de

turismo en la costa Africana, no se han realizado grandes filmaciones por más de cuatro

década”.

-“A diferencia de otros lugares que he visto en cine muchas veces”-dice Leterrier –

“esto era nuevo, con lava blanca y negra, árboles verdes y extrañas formaciones de nubes.

Daba la impresión de estar por encima del mundo, en un lugar jamás tocado por manos

humanas”.

-“La historia de la película sucede en tiempos antiguos, por eso necesitábamos un

panorama virgen”-explica De La Noy a quien, durante el tiempo en que trabajó como jefe de

lugares de filmación le pusieron el apodo “Fresh Tracks” (Huellas Frescas) -“Siempre me

gustó eso”-continúa diciendo-“Siempre me gusta ir a lugares en donde nadie estuvo jamás”.

Tenerife ofreció una gran variedad de lugares para filmar, y también oportunidades

únicas. Dice De La Noy: “En la escena en que la estatua de Zeus se cae en Argos, estábamos

a unos dos mil metros de altura. Había helicópteros volando encima del cráter del volcán.

Fue a primera vez que un helicóptero voló por ahí. Nuestros paisajes eran corrientes de lava

petrificadas”.

El equipo de filmación también utilizó el océano que los rodeaba, especialmente

cuando los dioses desatan su furia sobre Argos. Allí matan a la familia de Perseo en su

primer barco de pesca. La embarcación utilizada en la filmación se construyó en Inglaterra y

se llevó a Tenerife para filmar; pero se hundió la primera vez que la pusieron en el agua.

Tras recuperarla, tuvo que ser recubierta con corcho para poder usarla en el mar, pero se

hundió de nuevo, esta vez a propósito.

En las islas Canarias, filmaron en la Gran Canaria y en Lanzarote, porque las islas

ofrecen diferentes fondos. -“Las Islas Canarias como un todo son una parte muy importante

y sustancial de esta película. Tuvimos un continente de hermosas vistas, y lo sacamos de las

pequeñas islas”-dice De La Noy. Una de las cosas más dinámicas de las islas era el mar de

nubes. -“En verdad estábamos por encima de las nubes. Sin duda alguna, este filme no va a

dar sensación claustrofóbica”.

, filmaron en la Gran Canaria y en Lanzarote, porque las islas

ofrecen diferentes fondos. -“Las Islas Canarias como un todo son una parte muy importante

y sustancial de esta película. Tuvimos un continente de hermosas vistas, y lo sacamos de las

pequeñas islas”-dice De La Noy. Una de las cosas más dinámicas de las islas era el mar de

nubes. -“En verdad estábamos por encima de las nubes. Sin duda alguna, este filme no va a

dar sensación claustrofóbica”.

El productor llama a los acantilados Los Gigantes un “golazo” para Argos. -“Mi

primer viaje allí fue muy gratificante. Fuimos en un bote de goma inflable a dar una vuelta y

era un paraíso mirar hacia el cielo y a los acantilados verticales, que se levantaban unos 300 ó

400 metros desde el agua. Era exactamente lo que yo quería, y ahí estaba. Podía tocarlo y

sentirlo. Fue fantástico”.

En otro lugar de Gales, el equipo de filmación filmó varias escenas principales, entre

ellas la entrada al Hades, el enfrentamiento entre Perseo y Calibos, y los exteriores del lugar

que visitan los viajeros al encontrarse con las Brujas de Estigia. Martin Laing, el diseñador

de producción comenta: “En nuestra mitología, cuando la tierra fue creada por las luchas

entre los Titanes, uno de ellos muere. Su mano sobresalía de la tierra y eso creó el entorno

donde viven nuestras brujas, arriba, en los dedos. Se pasan el tiempo patrullando la palma de

la mano, y ese fue el escenario que creamos”.

-“Mi idea arrancaba en los exteriores de Gales: muy oscura, color pizarra, con mucho

humo y niebla por todos lados”-describe Laing. Le mostró esos diseños a Leterrier –

“Conversamos mucho y de allí salió la idea de la mano, que aparecía entre el humo. Fue un

gran trabajo en conjunto”.

-“Martin vino con esta gran idea y a mí me encantó”-dice Leterrier.

Laing cuenta que tanto él como el director son grandes fanáticos de la textura. “En

Gales, encontramos una maravillosa cantera de pizarra, con toda una parte roca destruída que

caía por la ladera de la montaña. Tomamos esa textura, la dura realidad de esos elementos, y

las pusimos en nuestro set”.

Aunque el equipo de filmación usó en todo lo posible lugares exteriores existentes,

no todo podía filmarse allí. Se construyeron varios escenarios para filmar todo el resto. Se

crearon sets en los Estudios Shepperton, entre ellos la casa de las brujas de Estigia, el monte

Olimpo, el etéreo hogar de los dioses, partes de Argos y su Basilica.

En los Estudios Pinewood en Buckinghamshire, se utilizó un tanque de agua para

filmar las escenas submarinas, y para los primeros planos de las almas de los muertos que

tiran la barca de Caronte por el río Styx, y luego para algunas otras escenas. Longcross, un

área que antes servía para pruebas militares del gobierno británico, se convirtió ahora en un

estudio de filmación y en una pista de pruebas para automóviles. El lugar se utilizó para

crear la ciudad de Argos.

Styx, y luego para algunas otras escenas. Longcross, un

área que antes servía para pruebas militares del gobierno británico, se convirtió ahora en un

estudio de filmación y en una pista de pruebas para automóviles. El lugar se utilizó para

crear la ciudad de Argos.

-“Para Argos, podríamos haber ido a un lugar con verdaderas paredes y demás, pero

el problema era que yo quería una gran destrucción, y la mejor manera de destruir es

construir” – explica Leterrier -“Por eso construimos una enorme ciudad de unos 3.700 metros

cuadrados. Me entusiasmaba la idea de destruirla, como si fuera un niño jugando con

Legos… pero en gran escala”.

En Longcross también se construyó la barca de Caronte, la plataforma de sacrificios

para el Kraken, el dormitorio de la Reina Danae, el arsenal, las catacumbas en donde se

encuentran Hades y Calibos, y la guarida de la Medusa, que fue el primer set que se utilizó en

el rodaje.

-“Hay que aclarar que esta película se basa en la mitología griega, no en la historia

griega, por eso tuve cierta flexibilidad, dentro de los límites que impone la arquitectura de esa

época”-dice Laing -“La guarida de la Medusa se diseñó en los alrededores del templo de

Atenea. Atenea era una diosa maravillosa cuando Medusa entró a su templo a pedir su

ayuda. En cambio, Atenea se enfadó con Medusa, destruyó el templo y lo arrojó a un

descampado. Construí un modelo en papel del templo de Atenea, luego lo estrujé y lo doblé,

para buscar ángulos de cámara creativos. Cuando lo construimos, nos ofreció un maravilloso

lugar para filmar. La escena es en realidad una persecución del gato y el ratón, y tuvimos

montones de lugares para esconderse”. La guarida estaba dentro de una enorme caverna,

para facilitar la oscuridad y darle interesantes texturas a medida que movíamos las cámaras”.

-“Fue una manera interesante de comenzar la película”-opina el director de fotografía

Peter Menzies Jr. -“Queríamos que se viera y se sintiera lo más parecido al infierno posiblevapor,

fuego, explosiones. El templo tenía tres niveles de altura, que van cayendo en el pozo

de lava. Sabíamos que cada toma debía tener tantas capas y profundidad como fuera posible

darle, no sólo en la guarida de la Medusa, sino a lo largo de toda la película. Louis y yo

presionamos para tener una cámara móvil, para poder transmitir la sensación de estar junto a

Perseo en su viaje. Utilizamos technocranes, steadicam y cablecam casi todos los días, para

ofrecer una historia fluida, y porque hay mucha historia que contar”.

-“Al finalizar la primera semana del rodaje principal en la guarida de la Medusa,

estábamos todos sentados, exhaustos, transpirados, sordos de tantas explosiones,

chamuscados de tanto fuego”-recuerda Leterrier -“pero estábamos encantados. Nos miramos

los unos a los otros, casi sin aliento, sonreímos y explotamos en risas. Todos dijimos

Realizar esta película es sensacional”.

-recuerda Leterrier -“pero estábamos encantados. Nos miramos

los unos a los otros, casi sin aliento, sonreímos y explotamos en risas. Todos dijimos

Realizar esta película es sensacional”.

Entrando en Acción

“Clash of the Titans” está llena de acción en gran escala. Para crear la logística de

tantas batallas, Leterrier contó con el supervisor de dobles de acción Paul Jennings. -“Es un

hombre extraordinario”-dice el director -“Reunió un grupo de dobles de acción fuera de

serie, y les marcó una coreografía de lucha fantástica. Si uno le pide una pelea de espadas

jamás vista antes, eso es lo que él va a entregar”.

Leterrier aprendió rápidamente a crear un sentido de amistosa rivalidad entre los

actores del reparto. Además los preparó con los conocimientos básicos necesarios para saber

cómo actuar. -“Mientras que los actores estaban aprendiendo esgrima, alenté cierto nivel de

competencia entre ellos”-cuenta el director -“Había una especie de concurso tácito para ver

quién era el mejor. Sam era un gran líder, y también lo era Mads. La rivalidad pronto se

convirtió en camaradería. Fue muy divertido”.

-“Pienso que al público le gusta ver que los personajes se pelean en verdad”-dice

Worthington –“Me encantó aprender a pelear con espada…o a ponerme un arnés y saltar en

una bolsa de frijoles. Es algo genial”.

Los hombres no fueron los únicos en tirarse de cabeza a la acción. Según Leterrier,

las mujeres estaban tan dispuestas como ellos para actuar. -“Alexa es como un pez. Se

puede quedar bajo el agua muy calma por tres minutos, sintiéndose muy cómoda para actuar

así, y eso era lo que necesitábamos para esta película”.

El arsenal de “Clash of the Titans” estaba muy bien provisto. Para el filme se crearon

mil seiscientas armas. Las espadas se construyeron con distintos materiales, dependiendo

cuál sería su uso durante el rodaje: las de bronce eran las de mejor aspecto, las de aluminio

eran las más livianas, las de goma para evitar heridas, y algunas se hicieron de espuma de

goma, porque se rompe fácilmente.

El supervisor del arsenal, Nick Komornicki se divirtió mucho creando armas para

Ozal y Kucuk, dos hermanos turcos que se suman a los viajeros. Ozal, interpretado por

Ashraf Barhom, llevaba cuatro dagas, una cerbatana con dardos, una honda, arco y flechas y

una piedra. El actor quería llevar más, pero esa colección era ya demasiado pesada como para

que pudiera llevar todo junto.

El actor quería llevar más, pero esa colección era ya demasiado pesada como para

que pudiera llevar todo junto.

Más allá de la Toga

Al discutir el vestuario para “Clash of the Titans”, Leterrier le dijo a su vestuarista

Lindy Hemming, que quería que Perseo y los guerreros que lo acompañaban desde la ciudad

de Argos, tuvieran un aspecto que reflejara su dureza y su fuerza. Quería que sus

extremidades, especialmente las piernas, no quedaran demasiado desnudas. -“Diseñé varios

estilos diferentes de armadura, con buenos protectores de piernas y brazos”-explica

Hemming -“Todas las armadura, tanto de metal como de cuero, tenían el aspecto de haber

sido muy usadas en las guerras anteriores a esta historia. Fue esencial desgastar y pintar las

prendas. Al fabricar las armaduras se crearon con marcas de golpes y hundimientos, y se

hicieron marcas de golpes de espadas en los mismos moldes”.

En el momento de decidir el aspecto de los dioses del monte Olimpo, Leterrier estaba

seguro de que no quería que los dioses y las diosas usaran togas. Hemming cuenta que –

“quería armaduras, porque están en guerra, y están peleando con la gente de la tierra. Su

aspecto debe ser sobrehumano”. Hemming diseñó una armadura individual para cada dios,

inspirándose en la criatura o el motivo de la planta que se le atribuye a cada uno en la

mitología. Para Zeus su armadura era “tipo águila” por ejemplo. La escultora Emma Hanson

esculpió versiones a tamaño real del diseño. Luego sacó un molde y lo vació en metal.

Todas las armaduras debían aparentar estar hechas con diferentes metales preciosos, y

también debían poder “emitir rayos”, trabajo que estuvo a cargo del departamento de efectos

visuales.

Neeson, que interpretaba a Zeus, se veía particularmente como un rey, y emitía una

luz brillante que causaba silencio de tanto asombro que causaba, al llegar con su capa de casi

5 metros al set. El en realidad se sentía súper incómodo, porque la armadura y el traje de

mallas de metal pesaba tanto, que los carpinteros debieron construirle una plancha para

recostarse y una silla, para que ambas soportaran parte del peso.

Para decidirse por el aspecto y por la paleta de colores que debía tener el vestuario,

Hemming investigó todo lo posible, hasta en lugares extremos, sobre la vida en la antigua

Grecia, la historia y la ropa. “Me decidí por un rojo dramático, sucio, creado por esencias

vegetales, un rojo loco y un naranja tostado para las capas rústicamente tejidas de los

soldados”-dice la diseñadora –“Para el Djinn que vive en el desierto y se junta a Perseo

durante su viaje, utilicé azul índigo, y muchas telas africanas decoradas a mano”.

-dice la diseñadora –“Para el Djinn que vive en el desierto y se junta a Perseo

durante su viaje, utilicé azul índigo, y muchas telas africanas decoradas a mano”.

En cuanto a los interiores de la ciudad y al palacio de Argos, Hemming cuenta: -“La

gente vive una vida muy decadente, por eso decidí que debía verse como un fiesta de

Versace. Utilicé sedas y algodones naturales, plisados a mano, color damasco pálido,

cremas, color durazno, amarillos y terracotas rosadas, con gran cantidad de joyas de oro

hechas a mano”.

Uno de los vestuarios favoritos de Leterrier, creado por Hemming, fue el de Hades. “

Hades usa armadura desde el momento en que es enviado al inframundo, inmediatamente

tras la batalla de los Titanes”-explica el director -“Su armadura ya está corroída, carcomida

por el sulfuro, o sea que está partida en muchas partes. Pero él la sigue usando. Su capa está

impregnada de los gritos de miles de almas. Está hecha de puro humo, dolor y sangre”.

La diseñadora también se encargó de darle el aspecto indicado al calzado. Los

viajeros y muchos otros actores usaban sandalias, pero durante las escenas de acción, en

donde el riesgo de lastimarse aumentaba, usaban zapatos cerrados, que estaban pintados para

que pareciera que los dedos de los pies estaban descubiertos.

El supervisor de prótesis Conor O’Sullivan, completó el aspecto de muchos de los

personajes por medio de maquillaje con prótesis. Se debió sacar moldes a las caras y cuerpos

de varios actores, entre ellos Jason Flemyng. Cada día el actor debía pasar tres horas en el

camarín de maquillaje para convertirse en Calibos. Flemyng se divirtió mucho durante la

filmación, cuando disfrazado ya de Calibos lo llevaban al set de filmación en auto, entonces

le pedía al chofer que pare frecuentemente, y con la ventana baja, le pedía direcciones a la

gente que pasaba. Se moría de risa con sus reacciones al ver su monstruoso maquillaje.

Las brujas de Estigia, tenía cada una tres pares de extremidades, cinco cabezas y

durante casi toda la filmación eran ciegas. Para crear el Ojo que Todo lo Vé, fabricaron 25

prototipos. Finalmente se fabricaron tres ojos: uno era el principal, otro era más durable y

podía arrojarse sin cuidado, y se creó un tercero color verde para ser usado para realizar las

imágenes digitales creadas por ordenador.

El Sheik Suleiman, Jefe del Djinn del bosque, requirió 40 caras con corazas duras

reemplazables, 40 cuellos, y 15 pares de brazos realizados con animatronics.

Bajo la supervisión de la maquilladora y estilista de peinados Jenny Shircore, la

mayoría de los actores, si nos estaban cubiertos con prótesis, tenían que ser bronceados con

aerosol cada día, para mantener la apariencia dorada de los griegos. Luego se aplicaba

maquillaje sobre el “bronceado”. La mayoría de los hombres y mujeres de “Clash of the

Titans” tenían largos bucles en sus cabezas, que requirieron pelucas o extensiones de pelo.

El Perseo de Sam Worthington sin embargo llevaba el pelo corto. -“No tenían afeitadoras

eléctricas en la antigua Grecia, ¡pero tampoco tenían Krakens ni caballos voladores!,-dice al

actor con cara impasible.

onceado”. La mayoría de los hombres y mujeres de “Clash of the

Titans” tenían largos bucles en sus cabezas, que requirieron pelucas o extensiones de pelo.

El Perseo de Sam Worthington sin embargo llevaba el pelo corto. -“No tenían afeitadoras

eléctricas en la antigua Grecia, ¡pero tampoco tenían Krakens ni caballos voladores!,-dice al

actor con cara impasible.

-“Esta película “Clash of the Titans” es una versión del año 2010 de la mitología

griega”-dice el director Louis Leterrier -“Es un filme de grandes aventuras, una película

sobre la familia, sobre la lealtad y sobre el destino. Es grande porque el mundo de la

mitología griega es grande, no nos achicamos en ese sentido. Los monstruos son los más

grandes que jamás se hayan visto, y no son sólo dos o tres, hay más de 12 criaturas

diferentes. Es un mundo nuevo, un mundo jamás visto antes, y realmente pienso que los

espectadores al verla tendrán una experiencia que siempre recordarán”.

OOO

ACERCA DE LOS ACTORES DEL REPARTO

SAM WORTHINGTON (Perseo) ahora se lo puede ver como protagonista de la

súper exitosa película de James Cameron “Avatar”. El director eligió él mismo a

Worthington para el innovador filme tridimensional, tras una exhaustiva búsqueda

internacional de actores. “Avatar” ya ha recaudado más de $2 mil millones de dólares en

taquillas mundiales, convirtiéndose así en el filme que más ganancias hizo en todos los

tiempos. Las recaudaciones sobrepasan las del filme “Titanic” del mismo Cameron, tras

doce años de reinado. Entre los muchos honores recibidos, “Avatar” ganó al Globo de Oro a

la Mejor Película Dramática, fue postulada a nueve premios de la Academia ® -entre ella a la

Mejor Película y al Mejor Director-y ganó tres Oscar.

Al principio del año 2009, Worthington actuó junto a Christian Bale en la exitosa

película de ciencia-ficción “Terminator Salvation”, dirigida por McG. El filme recaudó más

de $370 millones de dólares en taquillas mundiales.

Worthington actúa también en dos nuevas películas independientes muy diferentes

una de la otra: el drama romántico “Last Night”, junto a Keira Knightley y Eva Mendes; y la

película de postguerra de la Segunda Guerra Mundial, el drama de suspenso “The Debt”,

dirigido por John Madden. En el filme también actúa Helen Mirren. Pronto comenzará el

rodaje de “The Fields”, bajo la dirección de Ami Canaan Mann. El filme está producido por

Michael Mann.

Worthington nació en Australia, y se graduó en el año 1998 del prestigioso Instituto

Nacional de Artes Dramáticas de Sydney (NIDA). Tras ello, continuó actuando en teatro, y

se lo pudo ver en la producción de “Judas Kiss”, dirigida por Neil Armfield, para “Company

B” en el teatro de la Calle Belvoir.

En el año 2000, Worthington debutó en cine, con un papel principal en el filme

australiano, “Bootmen”. En él hacía las veces del siniestro hermano mayor de Adam Garcia.

Por ello fue candidato al premio del Instituto de Cine Australiano a la Mejor Actuación de un

Actor en un Papel Principal. Entre las siguientes películas australianas que siguieron a eso,

se destacan: “Dirty Deeds”, con John Goodman, Toni Collette y Sam Neill, con cuyo papel

fue candidato al premio del Círculo de Críticos de Cine de Australia (FCCA) al Mejor Actor

Secundario; y “Gettin’ Square”, con David Wenham. Asimismo tuvo un pequeño papel en el

drama sobre la Segunda Guerra Mundial, “Hart’s War”, protagonizada por Bruce Willis.

Worthington comenzó a ser notorio internacionalmente, por su actuación en el filme

del año 2004, “Somersault” de Cate Shortland, aclamado por la crítica y comercialmente

exitoso. Por su trabajo en el mismo, el Instituto de Cine Australiano lo premió como Mejor

Actor en un Papel Principal, y fue nuevamente postulado al premio de Círculo de Críticos de

Cine de Australia. Ese año, la película arrasó con los premios otorgados por el Instituto de

Cine Australiano al ganar en 13 categorías, el primer filme en lograrlo en la historia del cine.

Tras ello, en el año 2006, Worthington interpretó el papel principal de la adaptación

contemporánea de la obra de Shakespeare “Macbeth”, de Geoffrey Wright. Asimismo se lo

pudo ver en “The Great Raid” de John Dahl, y en la película de terror y suspenso “Rogue”.