Hannah Montana

SHE HAS THE BEST OF BOTH WORLDS...

NOW, SHE HAS TO CHOOSE JUST ONE.

SHE HAS THE BEST OF BOTH WORLDS...

NOW, SHE HAS TO CHOOSE JUST ONE.

Disney.com/HannahMontanaMovie

WALT DISNEY PICTURES

Presents

HANNAH MONTANA

THE MOVIE

MILLAR/GOUGH INK

Production

PETER CHELSOM

Film

Directed by . . . . . . . . . . . . . PETER CHELSOM

Written by. . . . . . . . . . . . . . DAN BERENDSEN

Based on Characters

Created by. . . . . . . . . . . . . MICHAEL PORYES

and RICH CORRELL

& BARRY O’BRIEN

Produced by . . . . . . . . . . . . . ALFRED GOUGH

and MILES MILLAR

Executive Producers . . . . . . DAVID BLOCKER

MICHAEL PORYES

and STEVE PETERMAN

Director of

Photography. . . . . . . . . . . . DAVID HENNINGS

Production

Designer. . . . . . . . . . . . CAROLINE HANANIA

Film Editor . . . . . . . . . . . . . . . DAVID MORITZ

Costume

Designer . . . . . . CHRISTOPHER LAWRENCE

Music by . . . . . . . . . . . . . . . . . JOHN DEBNEY

Co-Producer . . . . . . . . . . . BILLY RAY CYRUS

Casting by. . . . . . . . . . . . LISA BEACH, C.S.A.

and SARAH KATZMAN, C.S.A.

CAST

Hannah/Miley. . . . . . . . . . . . . . MILEY CYRUS

Robby Ray . . . . . . . . . . . . BILLY RAY CYRUS

Lilly . . . . . . . . . . . . . . . . . . . . EMILY OSMENT

Jackson . . . . . . . . . . . . . . . . . . JASON EARLES

Oliver . . . . . . . . . . . . . . . . . MITCHEL MUSSO

Rico . . . . . . . . . . . . . . . . . . . . . MOISES ARIAS

Travis Brody. . . . . . . . . . . . . . . . . LUCAS TILL

Vita. . . . . . . . . . . . . . . . VANESSA WILLIAMS

Ruby . . . . . . . . . . . . . MARGO MARTINDALE

Oswald Granger . . . . . . . . . . . . . PETER GUNN

Lorelai . . . . . . . . . . . . . . . . MELORA HARDIN

Derrick . . . . . . . . . . . . . . . . . . JARED CARTER

Mr. Bradley. . . . . . . . . . . . BARRY BOSTWICK

Mayor. . . . . . . . . . . . . . . BEAU BILLINGSLEA

Mayor’s Wife. . . . KATRINA HAGGER SMITH

Cindy Lou. . . . . . . . . EMILY GRACE REAVES

Lucinda . . . . . . . . . . . . . . . . . . . . . JANE CARR

Taylor Swift . . . . . . . . . . . . . . . . . . . . HERSELF

Rascal Flatts. . . . . . . . . . . . . . . . GARY LEVOX

JAY DEMARCUS

JOE DON ROONEY

Store Manager . . . . . . . . . . . . . . JOSH CHILDS

Phoebe Granger . . . . . . . . . . RACHEL WOODS

Clarissa Granger . . . . . . . . . . . NATALIA DYER

Elderly Gentleman. . . . . . . . . . JERRY FOSTER

Drew . . . . . . . . . . . . . . . . . . ADAM GREGORY

Video

Director . . . . . . SHAWN CARTER PETERSON

Rodeo Drive Dancer . . . . . . . . . . JAMAL SIMS

Volleyball Captain . . . . . . . JOHN WILL CLAY

Coach . . . . . . . . . . . . . . DARRYL HAMMOND

Security Guard . . . . MICHAEL CORNACCHIA

Ticket Clerk . . . . . . . . . . VALORIE HUBBARD

Farmer’s Market Vendor . . . TOMMY BARNES

Distinguished Man . . . . . . GARY SCHLEIMER

Distinguished Woman . . . . . . . JACI CORDELL

Bowtie Jack . . . . . . . . . . . . . . . . . . JACK HOKE

Mother on the Pier . . . . . . . . . . . . . LISA DARR

Father on the Pier . . . . . . . . . . . . . PAUL PERRI

Beach Security Guard . . . . . . MARIO CARTER

Hannah Fans. . . . . . . . . . . . . AMBER HUBERT

ASHLEY SUNDBERG

Headset Flunkie . . . TRAVIS ALLEN ARCHER

PastryChef . . . . . . . . . . . . . . . . COLE MCKAY

Skateboarders. . . . . . . . . . . . . BEN HATCHELL

CHRIS O’REILLY

JAMES ALEXANDER

Limo Driver. . . . . . . . . SHANE T.ANDERSON

CREDITS

Stunt Coordinator . . . . . . . . . . . . STEVE HART

Stunts

JENNIFER S. BADGER CHUCK BORDEN

CARL CIARFALIO LAURA DASH

DANNY DOWNEY GEORGE FISHER

JUSTIN GANT ALLAN GRAF

ROSINE “ACE” HATEM LYN-Z ADAMS HAWKINS

SARA HOLDEN ANDY MACDONALD

DAVID OTT THOMAS ROSALES, JR.

PAUL SHORT ROSE SIAS

MARK WARRACK

Lilly’s Birthday Band

STEVE RUSHTON MICHAH RICKS

JEREMY SMITH JONATHAN SMITH

Ruby’s House Musicians

KEVIN ADAMS CALVIN JEANSONNE

JIM RILEY AL WILSON

Fundraiser Band

JESSI ALEXANDER MARCEL CHAGNON

BUCKY COVINGTON ROB HAJACOS

JIMMY HAJACOS AMOS HELLER

SONYA ISSACS LISA RAMSEY-PERKINS

ERIC SILVER AL WILSON

Hannah Montana’s Concert Band

STACY JONES JAMES ARENTZEN

CANDICE ACCOLA JACO CARACO

KATHLEEN HANLEY VASHAN JOHNSON

MICHAEL SCHMID

Dancers

JAHAAN AMIN COREY ANDERSON

JEFFREY SCOTT BAILEY TUCKER BARKLEY

SEAN BANKHEAD CHASE BENZ

HEATHER BLAND SANDRA BLEVINS

ALEXIS BOYD SHAWN RODNEY BREATHWAITE

DERRELL BULLOCK JONATHAN SYLVAN CAREY

CHRISTINA CHANDLER CHRISTOPHER CHANDLER

MARIE COURCHINOUX SUSANNAH R. CRAWFORD

CRISCILLA CROSSLAND TERRICA DAVIS

JASON DUNCAN LAURA EDWARDS

ALEX FETBROTH ALLISON FORSLUND

REBECCA L. FUNK BRYAN GAW

MARY N. GENTRY LAUREN GOTTLIEB

CORY GRAVES CARLYE GUIDO

ASIEL HARDISON KIRSTIN HAWK

DANIELLE HAWKINS BRANDON HENSCHEL

REINA HILDALGO MOLLY HOEKSTRA

JEREMY HUDSON REGINALD JACKSON

IAN JAMESON AMY JOHNSON

DONDRAICO JOHNSON DOMINIQUE KELLEY

JAQUEL KNIGHT MATTHEW LARAWAY

JOY LIANI BROOKE LIPTON

CHANEL MALVAR MARISSA MARTINEZ

CHARLES W. MOTLEY, IV RYAN NOVAK

BRANDI OGLESBY JONATHAN LEGACY PEREZ

ELYSANDRA QUIÑONES SHELBY RABARA

GILBERT SALDIVAR CHRISTOPHER SCOTT

KYSA SIOVAN JOE SLAUGHTER

LORI STEGNER JEN TALARICO

DANNY TIDWELL ISAAC TUALAULELEI

NIKKI TUAZON DANA GARETH VAUGHNS, II

TYRELL WASHINGTON DARIUS WILLIS

SUSAN TAYLOR LIORA ZIV

Puppeteers MICHAEL RICHARDS

NEIL SMITH

Unit Production Manager

DAVID BLOCKER

First Assistant Director

JAMES ALAN HENSZ

Second Assistant Director

HEATHER GRIERSON

Associate Producers

JOHN ALBANIS

MATTHEW OKUMURA

TANYA YUSON

Consultant

TINKER LINDSAY

Choreographer

JAMAL SIMS

Production Supervisor. . . . . . . HALEY SWEET

Location Casting . . . . . . . . . . KIM PETROSKY

Art Director . . . . . . . . . . . . . . ELLIOTT GLICK

Set Decorator. . . . . . . . . . . . MARTHE PINEAU

Leadman. . . . . . . . . . . . . . . . . ROD ENGLAND

On-Set Decorator . . . . . . . . . ED FITZGERALD

Costume

Supervisor . . . . . . . STEPHEN K. RANDOLPH

Costumers . . . . . . . . . . KATHERINE WRIGHT

RHONDA KEATON

AMY PATTERSON

Makeup Dept. Head . . . . MICHELLE BUHLER

Key Makeup Artist. . ANNE MAREE HURLEY

Makeup for

Ms. Cyrus . . . MICHELLE VITTONE-MCNEIL

Makeup for Ms. Williams . . . . . . . KATE BEST

Makeup Artist . . . . . . . SANDY JO JOHNSTON

Hair Dept. Head. . . . . . . . . . . ADRUITHA LEE

Key Hairstylist. . . . . . . . . . . JOSE L. ZAMORA

Hair for Ms. Cyrus . . . . . . . . BRENDA BLATT

Hair Stylists . . . . . . . . . . . . . MELINDADUNN

BEKA WILSON

Camera Operator/

Steadicam. . . . . . . . . . . . . COLIN ANDERSON

Camera Operator . . . . . . . . . FRANK GODWIN

First Assistant Camera . . . . . . DON DUFFIELD

PATRICK BOROWIAK

Second Assistant

Camera . . . . . . . . . . . . . RODNEY SANDOVAL

S. BETH HORTON

Loader. . . . . . . . . . . . . . . . . . . ANDY KUGLER

Script Supervisor . . . . . . . PATRICIA RONTEN

Sound Mixer. . . . . . . . . . . . . . . . . GLEN TREW

Boom Operator. . . . . . . . . . . MARK ZIMBICKI

Sound Utility. . . . . . . . . . . . KEVIN CERCHIAI

Video Assist . . . . . . . . . . . . . JEB JOHENNING

Video Assist Assistants . CHRISTOPHER HILL

JIMMY JOHENNING

Aerial Coordinator. . . . . . . . . CLIFF FLEMING

Aerial Ground

Coordinator. . . . . . . . . . . . . COREY FLEMING

Aerial DPs. . . . . . . . . . . . . . . RON GOODMAN

DWAYNE MCCLINTOCK

Location Manager. . . . . . . . MARK RAGLAND

Key Assistant Location

Manager. . . . . . . . . . . . . . . . MADELINE BELL

Assistant

Location Manager . . . . . . . . . . SYDNEY LUNN

Additional Film Editor . . MICHAEL SCHULTZ

First Assistant Editor. . . . . . . . GINA ZAPPALA

Assistant Editors. . . . . . . . . . . . . . DAWN KING

IAN SLATER

Second Assistant Editor . . . AMANDA ZEMKE

Post Production P.A. . . BRANDON SHERMAN

Post Production Coordinator . . . LUMI DOCAN

Supervising Sound Editor. . . . . . . TODD TOON

Re-Recording Mixers . . . PATRICK CYCCONE

MYRON NETTINGA

Sound Editors. . . . . . . . . . . . . . . BRUCE TANIS

CHARLES W. RITTER

ARTHUR FARKAS

ERIC GILLINGHAM

G. W. BROWN

ODIN BENITEZ

Assistant

Sound Editor . . . . . . . . PERNELL L. SALINAS

Supervising Dialogue and ADR

Editor . . . . NANCY NUGENT TITLE, M.P.S.E.

Dialogue Editor . . . . . . JOHN KWIATKOWSKI

Foley Mixer. . . . . . . . . . . SHAWN KENNELLY

Foley Artists . . . . . . . . . . . . . LAURA MACIAS

VINCE NICASTRO

ADR . . . . . . . . . . . . . . . . . . . . . . . . DOC KANE

RON BEDROSIAN

JULIO CARMONA

TOMMY O’CONNELL

ADR Voice Casting . . . . CAITLIN MCKENNA

Re-Recorded at . . . . . . . . . . . . . . . . . . 424, INC.

Recordist . . . . . . . . KASPAR HUGENTOBLER

Supervising Music

Production Mixer . . . . . . . . . . JOSEPH MAGEE

Music Playback Engineer. . . . . . . . . TIM BOOT

On-Set Music Production

Assistants. . . . . . . . . . . CLARENCE CHARITY

JONMICHAEL BRADY

KYLE DRISKELL

Sound Image Crew. . . . . ANDREW DOWLING

PETE MCDONOUGH

Supervising Music Editor . . . . . . RYAN RUBIN

Music Editors. . . . . . . . . . . . . . . JEFF CARSON

JIM HARRISON

Score Recorded and

Mixed by. . . . . . . . . . . . . . . SHAWN MURPHY

Additional

Recording by . . . . . . WOLFGANG AMADEUS

Score Recorded at . . SONY SCORING STAGE

Orchestrations by . . . . . . . . . BRAD DECHTER

CREDITS

Orchestra Conducted by . . . . . JOHN DEBNEY

Music Preparation by . . . . . . BOOKER WHITE,

WALT DISNEY MUSIC LIBRARY

Featured Musicians . . . . . GEORGE DOERING

and JAY LEACH

Digital Workstation

Operator. . . . . . . . . . . . . . . . . ERIK SWANSON

Orchestra Contractors . . . . . . . PETER ROTTER

and SANDY DECRESCENT

Chief Lighting Technician . . . LESLIE KOVACS

Best Boy Electric . . . . . . . . . . . DALE BALANI

Rigging Gaffer . . . . . . . . . . . DAVID J.DUREN

Key Grip. . . . . . . . . . . . . . . CHARLES BUKEY

Best Boy Grip . . . . . . . . . . . DARRYL WILSON

Dolly Grips. . . . . . . . . . . . . . . . FRED COOPER

MICHAEL RODIA

Rigging Key Grip . . . . . . . . . . SEAN FICKERT

Property Master . . . . . . . STEVEN H. GEORGE

Assistant Property Master . . . . JAMIE BISHOP

2nd Assistant

Property Master . . . . . . . . . . . . BETH MORRIS

Special Effects

Coordinator . . . . . . . . . . EVERETT BYROM III

Special Effects Foreman . . . . . . BOB TREVINO

Production

Coordinator . . . . . . . . . NANCY HONEYCUTT

Assistant Production

Coordinators . . . . . . . . . . . . DAWN CLOUNCH

LYNN GLASER

2nd 2nd Assistant

Directors . . . . . . . . . . . . . . . BRINTON BRYAN

DAVE HALLS

VALERIE JOHNSON

DGA Trainee . . . . . . . . . . STEPHANIE KINCH

Assistants to Mr. Millar

and Mr. Gough . . . . . . . . . . . . . . NEIL SADHU

JULIAN MEIOJAS

CHRISTY FOARD

Assistants to Mr. Blocker . . . LAKEN LOVELY

CHRISTINE DEITNER

Assistants to Mr. Chelsom. . . . . . DAVID POAG

TYLER GOECKNER-ZOELLER

Production Liaison . . . . . . TERRY L. CHUPAK

Set Designer . . . . . . . . . . ALEX MCCARROLL

Construction

Coordinator. . . . . . RICHARD BLANKENSHIP

Construction

Foreman. . . . . . . . . . . JIMMY L. CARMICKLE

Construction

Gang Bosses . . . . . . . . DANDRO FRALINGER

JOE HARPER

Scenic Charge . . . . . . . . . RICHARD SALINAS

Scenic Foreman . . . . . . . . . . TODD HATFIELD

On-Set Scenic. . . . . . . . . . . SHEILA BARTLET

Greensman . . . . . . . . . . . MATTHEW BUTLER

Art Department

Coordinator . . . . . . . . . . . RACHEL BOULDEN

Set Production

Assistants . . . . . . . . TRAVIS ALLEN ARCHER

TIM ARNOLD

JENNIFER BURDGE

IAN C. CAMPBELL

Office Production

Assistants . . . . . . . . . . . . . . . . ALISON BAKER

TYLER SHELDON

JACK WU

Production Secretaries . . . . . . . . . BEN HARMS

RANDY WEISS

Storyboard Artist . . . . . . . . . . GARY THOMAS

Assistant

Choreographer . . . . . DONDRAICO JOHNSON

Production Accountant. . . . . . . . . MIKE LEWIS

First Assistant Accountant . . . . . GREG GABEL

Assistant Accountants . . . . . . . CURT INGRAM

JENNIFER HALLMARK

GREG BURKART

CAROLE HUMPHREYS

J.P. ARIAS

JENNIFER GOLDSMITH

Payroll

Accountant . . . . . . CHRISTOPHER CILLUFFO

Post Accounting . . . . . . . . . MARNICE WOLFE

Unit Publicist . . . . . . . JEANMARIE MURPHY

Still Photographer. . . . . . . . . . SAM EMERSON

Transportation Coordinator . . . MARTI WELLS

Transportation Captains . . . . RONNIE REEVES

DAVE HODGIN (TN)

Picture Car

Coordinator . . . . . . . . . JIMMY RAY PICKENS

Casting Associates . . . . CHARLA BOWERSOX

BETH LIPARI

Local Casting

Assistant . . . . . . . . . . BRENT MONTGOMERY

Extras Casting . . . . . . . . . . . . JONI TACKETTE

Studio Teachers . . . . . . LINDA STONE SHURE

STEVE ELSTER

Horse Wrangler. . . . . RUSTY HENDRICKSON

Animal Wrangler . . HOLLYWOOD ANIMALS,

WENDY DECOITO

Animal Handlers . . . . . . . . . . COLTD.BECHT

BETTINA BROWNE

JILL EDWARDS

SCOUT HENDRICKSON

VERONICA JAMERSON

REX PETERSON

Set Medics . . . . . . . . . . . . . . MARIE BLEVINS

SCOTTY BLEVINS

JEFFREY S. BUSH

Catering by. . . . . . . . . . . . . . . . . . . . TOMKATS

Craft Service . . . . . . . . . . LAUREN MORALES

TONY LEWIS

Title Design . . . . . . . . . . . ERIC FITZGERALD

Titles. . . . . . . . . . . . . . . . HOLLYWOOD TITLE

Digital Intermediate & Opticals by

TECHNICOLOR DIGITAL INTERMEDIATES,

A TECHNICOLOR® COMPANY

Digital Film Colorist . . . . . . TRENT JOHNSON

Digital Intermediate Producer. . CARL MOORE

Digital

Intermediate Editor . . . . . . . MARK SAHAGUN

Negative Cutter . . . . WALT DISNEY STUDIOS

NEGATIVE CUTTING, MARY BETH SMITH

LOS ANGELES UNIT

Unit Production

Manager. . . . . . . . . . . . GABRIELA VAZQUEZ

Art Director. . . . . . . . . . . . . . SUSAN K. CHAN

Set Decorator . . . . . BEAUCHAMP FONTAINE

Leadman . . . . . . . . . . . . WILLIAM BESSETTE

On-Set Dresser . . . . . MERDYCE MCCLARAN

Art Department

Coordinator . . . . . . . . REGINA HERMOSILLO

Camera Operators . . . . PHIL CARR-FORSTER

JASON ELLSON

First Assistant Camera. . . . BRAD PETERMAN

JORGE SANCHEZ

Second Assistant Camera . . . . JEFF STEWART

BRANDON PONTICELLE

Boom Operator. . . . . . . . . . . LINDA MURPHY

Location Manager . . . . . . . . . CHRIS BONNEM

Key Assistant

Location Manager . . . . . . . . . MATT MESSINA

Assistant

Location Manager . . . . . . JONATHAN LYNCH

Construction

Coordinator. . . . . . . . . . . . ROBERT CARLYLE

Construction Foreman . . . . . . JIMMY FLORES

Set Costumer. . . . . . . . . . . . . . LISA A. DOYLE

Costumer . . . . . . . . . . . . . . . . . . . . NIKI SPINA

Hair Stylist . . . . . . . . . . VIVIANE NORMAND

Best Boy Grip. . . . . . . . . . . . . PABLO SUAREZ

Dolly Grip. . . . . . . . . . . . . PAUL THRELKELD

Propmaster . . . . . . DAVID E. HARSHBARGER

Assistant Propmasters . . GERARD A. JORDAN

SCOTT L. LONDON

MARK PAPSON

Special Effects

Coordinator . . . . . . . . . . . COREY PRITCHETT

Production Coordinator . . . . MALIKA COHEN

2nd 2nd Assistant

Director . . . . . . . . . . MATTHEW HEFFERNAN

Production Assistants . . . . . . MORGAN ELAM

CAREY FIELD

CHELSEA PLACE

JUSTIN REYES

BREE YENALAVITCH

Craft Service. . . . . . . . NICK MESTRANDREA

STACEY KASUBOWSKI

Catering . . . . . ANN AND MARIO CATERING

Extras Casting. . . . . . . . . . . . . . . . . RICH KING

Extras Casting

Coordinator. . . . . . . . . . . MARC GESCHWIND

Set Medics. . . . . . . . . . . . . . . . THOM FOSTER

BERNIE GRANADOS, JR.

Transportation

Coordinator. . . . . . . . . . . . . JOHN ORLEBECK

Transportation Captain . . . . . . . . JEFF COUCH

CREDITS

SECOND UNIT

First Assistant Director . . . . DOUG METZGER

Second Assistant Director . . BRINTON BRYAN

Script Supervisor . . . . . . . . . . . . MERISSA IDE

Director of Photography. . . . . . . . KIM MARKS

First Assistant Camera . . . . . . . PETER GREEN

Second Assistant Camera. . . . BENNETT CERF

Gaffer. . . . . . . . . . . . . . . . . . . DREW FRAZIER

Key Grip. . . . . . . . . . . . . . . . KHRIS BENNETT

Best Boy Grip . . . . . . . . . . . CHUCK BOGARD

VISUAL EFFECTS

Visual

Effects by. . . . . . ASYLUM VISUAL EFFECTS

Visual Effects

Supervisor. . . . . . . . . . . . . JOHN FRAGOMENI

Digital Supervisor . . . . . . . . . PHIL BRENNAN

Visual Effects

Executive Producer . . . KATHY CHASEN-HAY

Visual Effects Producer . . . FRANK R. SPIZIRI

Compositing Artists. . . . . CAITLIN CONTENT

STEVE MAUNGMAN

ALI LAVENTHOL

JOHN STEWART

JOHN WECKWORTH

BILL HIGGINS

Rotoscope &

Digital Paint Supervisor. . . . . . ELISSA BELLO

Rotoscope Artist . . . . . . . . . . DANIEL LINGER

Matte Painting and

Texture Supervisor. . . . . . . . . . . . . TIM CLARK

Texture Artists . . . . . . . . . . . . . . ERIC CARTER

JOHN HART

CG Supervisor. . . . . . . . . . . . . . JEFF WERNER

Additional

Visual Effects by. . . . . . . . . CIS HOLLYWOOD

SONGS

“THE BEST OF BOTH WORLDS:

THE 2009 MOVIE MIX”

Written by Matthew Gerrard and Robbie Nevil

Produced by Matthew Gerrard

Performed by Hannah Montana

“TEA TIME IN OSAKA”

Written and Performed by Herman Beeftink

“THE GOOD LIFE”

Written by Matthew Gerrard and

Bridget Benenate

Produced by Matthew Gerrard

Performed by Hannah Montana

“GAME OVER”

Written by Steve Rushton, Antony Westgate

and Nigel Clark

Performed by Steve Rushton

Produced by Steve Rushton and Kai Mckenzie

Courtesy of Bam Media & Entertainment Ltd.

By arrangement with Ford Music Services

“EVERYTHING I WANT”

Written by Steve Rushton

Produced by Steve Rushton and Kai Mckenzie

Performed by Steve Rushton

“HAMPSTER DANCE SONG”

Written by Robert Deboer, Anthony Grace

and Roger Miller

Performed by Hampton The Hampster

Courtesy of Koch Records

“LET’S GET CRAZY”

Written by Colleen Fitzpatrick, Michael Kotch,

Dave Derby, Michael “Smidi” Smith,

Stefanie Ridel, Mim Nervo and Liv Nervo

Produced by The Collective and Smidi

Performed by Hannah Montana

“BACKWARDS”

Written by Marcel Chagnon and Tony Mullins

Produced by Dann Huff and Rascal Flatts

Performed by Rascal Flatts

Courtesy of Lyric Street Records

“BLESS THE BROKEN ROAD”

Written by Bobby Boyd, Jeff Hanna

and Marcus Hummon

Produced by Dann Huff and Rascal Flatts

Performed by Rascal Flatts

Courtesy of Lyric Street Records

“DON’T WALK AWAY”

Written by Miley Cyrus, John Shanks

and Hillary Lindsey

Produced by John Shanks

Performed by Miley Cyrus

“TELL HER I AM”

“HASTE TO THE WEDDING”

Arranged by Bill Verdier and Eric Darken

“OYE” from “THE MEXICAN”

Music by and Performed by Alan Silvestri

and Abe Laboriel

Courtesy of DreamWorks L.L.C.

“DREAM”

Written by John Shanks and Kara DioGuardi

Produced by John Shanks

Performed by Miley Cyrus

“BACK TO TENNESSEE”

Written by Billy Ray Cyrus, Tamara Dunn

and Matthew Wilder

Produced by Mark Bright

Performed by Billy Ray Cyrus

Courtesy of Hollywood Records/

Lyric Street Records

“CRAZIER”

Written by Taylor Swift and Robert Ellis Orrall

Produced by Nathan Chapman and Taylor Swift

Performed by Taylor Swift

Courtesy of Big Machine Records, LLC

“HOEDOWN THROWDOWN”

Written by Adam Anders and Nikki Hassman

Produced by Adam Anders, Nikki Hassman

and Raz

Performed by Miley Cyrus

“PUA LILIA”

Written by Alfred Alohikea

Performed by Joe Keawe

Courtesy of Cord International

“KU’U MILIMILI”

Written and Performed by Bill Ali’iloa Lincoln

Courtesy of Tantalus Records, Inc.

By arrangement with Cord International

“BRUSCHETTA”

“NIGHT IN FLORENCE”

“TANGO AMORE”

Written and Performed by Herman Beeftink

“BUTTERFLY FLY AWAY”

Written and Produced by Glen Ballard

and Alan Silvestri

Performed by Miley Cyrus and Billy Ray Cyrus

“BLESS THE BROKEN ROAD”

Written by Bobby Boyd, Jeff Hanna

and Marcus Hummon

Performed by

Williamson County Youth Orchestra

Musical Director Mark Johnson

“ROCKSTAR”

Written by Aristedis Archontis, Jeannie Lurie

and Chen Neeman

Performed by Hannah Montana

Courtesy of Hollywood Records

“THE CLIMB”

Written by Jessi Alexander and Jon Mabe

Produced by John Shanks

Performed by Miley Cyrus

“YOU’LL ALWAYS FIND

YOUR WAY BACK HOME”

Written by Taylor Swift and Martin Johnson

Produced by Matthew Gerrard

Performed by Hannah Montana

“LET’S DO THIS”

Written by Derek George, Tim Owens,

Adam Tefteller and Ali Theodore

Produced by Ali Dee Theodore, Jason Gleed

and Alana da Fonseca

Performed by Hannah Montana

“SPOTLIGHT”

Written and Produced by Scott Cutler

and Anne Preven

Performed by Hannah Montana

Soundtrack Available on

CREDITS

American Humane monitored the animal action.

No animals were harmed.

(AHAD 01257)

Special Thanks:

THE STATE OF TENNESSEE—

Phil Bredesen, Governor

TENNESSEE FILM, ENTERTAINMENT

AND MUSIC COMMISSION—

Executive Director - Perry Gibson

TENNESSEE DEPARTMENT

OF REVENUE—

Reagan Farr, Commissioner

Glen Page, Deputy Commissioner

THE CITIES OF NASHVILLE, FRANKLIN,

COLUMBIA & LEIPERS FORK, TN

TENNESSEE WILDLIFE

RESOURCES AGENCY

THE FORUM IN INGLEWOOD

FILMED IN THE STATE OF TENNESSEE

The Name, Image and Likeness of

Elvis Presley appear courtesy of

Elvis Presley Enterprises, Inc.—© EPE,

Artwork © Betty Harper

Getty Images

Images provided by CORBIS

MILEY CYRUS: MILES TO GO:

THE NEW BOOK ABOUT MILEY’S JOURNEY

TO STARDOM AND BEYOND.

AVAILABLE WHEREVER BOOKS ARE SOLD.

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MPAA # 45041

Filmed with PANAVISION®

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For the purposes of United Kingdom copyright,

Disney Enterprises, Inc. was the owner of copyright

in this film immediately after it was made.

Distributed By

WALT DISNEY STUDIOS

MOTION PICTURES

HANNAH MONTANA THE MOVIE

About the Production

Walt Disney Pictures takes the Disney Channel phenom to the big screen in the feature film

extravaganza HANNAH MONTANA THE MOVIE. Miley Stewart (Miley Cyrus) struggles to

juggle school, friends and her secret pop-star persona; when Hannah Montana’s soaring

popularity threatens to take over her life—she just might let it. So her father (Billy Ray Cyrus)

takes the teen home to Crowley

Corners, Tennessee, for a dose of

reality, kicking off an adventure filled

with the kind of fun, laughter and

romance even Hannah Montana

couldn’t imagine.

Filmed entirely on location in

and around Nashville, Tennessee, and

Los Angeles, California, “Hannah

Montana The Movie” stars Miley

Cyrus, Emily Osment, Jason Earles,

Mitchel Musso, Moises Arias and

Billy Ray Cyrus. Also starring are Melora Hardin, Margo Martindale, Barry Bostwick, Peter

Gunn, Lucas Till and Vanessa Williams. Guest stars include Tyra Banks, Taylor Swift and

country music trio Rascal Flatts.

Walt Disney Pictures presents “Hannah Montana The Movie,” directed by Peter Chelsom

(“Serendipity,” “Shall We Dance?”) and written by Dan Berendsen (“Twitches,” “The

Initiation of Sarah”) based on characters created by Michael Poryes and Rich Correll & Barry

O’Brien. Alfred Gough and Miles Millar, whose film screenwriting credits include “The

Mummy: Tomb of the Dragon Emperor,” “Spider-Man 2” and “Shanghai Noon,” are

producing the film, marking the duo’s first feature under their Walt Disney-based production

company, Millar/Gough Ink. The film is executive produced by David Blocker (“Into the

Wild,” “Don King: Only in America”) and the team of Michael Poryes and Steve Peterman

(“Hannah Montana”).

Director of photography is David Hennings (“Blue Crush”), and the production designer is

Caroline Hanania (“Serendipity,” “Shall We Dance?”). The editor is David Moritz (“P.S. I

Love You,” “Town & Country”), and the costume designer is Christopher Lawrence

(“Cellular,” “The Alibi”). The music is by John Debney (“Meet Dave,” “The Passion of the

Christ”), and the choreographer is Jamal Sims (“Hairspray,” “Step Up,” “Step Up 2: The

Streets”).

Miley Cyrus’ top-rated Emmy®-nominated television series, “Hannah Montana,” sold-out

70-city concert tour and third consecutive top-selling album (“Breakout”) in less than two

ABOUT THE PRODUCTION

years have propelled the young actress-singer-songwriter to international stardom. Following

the series’ sensational debut in March 2006 (5.4 million viewed its premiere), Cyrus became

an immediate hit with audiences, and

her own exploding popularity has

mirrored those of her increasingly

famous television alter egos, Hannah

Montana and Miley Stewart.

“Miley is one of those rare,

incredible talents. She can sing, she

can dance, she can act—and she’s

funny,” says the film’s producer Al

Gough. “To be natural on film is the

hardest thing in the world, and she

does it without any effort, her

instincts are so good. To watch her grow as an actor over the course of making this film has

been amazing.”

Bringing “Hannah Montana” to the big screen was a natural step in the evolution of Cyrus’

multiple talents and the audience’s rabid desire to know more about their beloved heroines,

Miley Stewart and Hannah Montana.

In the movie, Miley sings, dances and performs 13 songs and musical numbers, many as

Hannah Montana, some as Miley Stewart. It’s when her Hannah Montana persona begins to

take over the responsibilities and commitments of Miley Stewart’s life that her father, Robby

Ray, decides to intervene and try to set things right.

“As the film starts in Los Angeles, the pressure is building on Miley with the demands of

being Hannah Montana,” says Billy

Ray Cyrus, who portrays Miley/

Hannah’s father, Robby Ray Stewart,

and is Miley’s real-life father. “She’s

kind of lost herself, the little girl from

Tennessee. Robby Ray decides the

best medicine would be to go home.

In real life, my dad always says it is

important to be aware of your

surroundings and where you’re at.

Always be looking forward and know

where you want to go but, most

importantly, never forget where you come from. That’s what this story is about.”

Miley says: “The story shows how you need to be able to take the time to realize who you

are and where you’ve come from. I know I have to do that in my life sometimes. It feels great

to come home to Nashville and be comfortable with who I am. Where you’re from reflects a

lot of who you are and who you’ll become as you get older. Like what happens in the movie,

you have to take it back down to the real world.”

When Miley returns home for her Grandma Ruby’s (Margo Martindale) birthday party,

she’s not just returning to Tennessee after a long absence, she’s also rediscovering how much

her family, friends and home mean to her after her emerging success as a pop star. In “Hannah

Montana The Movie” the audience gets to travel back home with Miley Stewart and see where

it all began and how she became Hannah Montana.

“On the TV show, you never got to see the origins,” screenwriter Dan Berendsen says. “This

movie takes you full circle to how she became Hannah Montana without being a flashback.”

As Miley Stewart finds in the course of the movie, you can go home again.

ABOUT HANNAH MONTANA’S ROOTS

Since its 2006 debut, the series “Hannah Montana” has become a pop culture phenomenon,

garnering Emmy® nominations, No. 1 ratings and an ever-expanding, loyal fan base. The idea

of a young pop star who wants to live an ordinary life

unaffected by her stardom found wide appeal with family

audiences and placed the series at the No. 1 spot for series

among children 6-14 on U.S. cable television during its

first two years on the air.

“With ‘Hannah Montana,’ the character is the concept,

so it easily translates to film,” says producer Gough. “It’s

basically a superhero movie for girls. She’s a normal high

school student by day and pop star by night. So, she’s

dealing with identity issues, family issues, relationship

issues. Most kids and adolescents who deal with the same

issues feel as if they don’t have any power, so the idea of

putting on a wig and a costume and being a powerful

superhero is teen wish fulfillment.”

The Disney Channel and “Hannah Montana” series

creators and executive producers, Michael Poryes and

Steve Peterman, structured a strong ensemble cast around

the charismatic star and lead character, played by a then13-

year-old unknown named Miley Cyrus, grounding her

character in family and friendships while exploring the

adventures of her secret double life. This included an

easy-going but wise widower father (Billy Ray Cyrus), an

older, but not exactly wiser brother, Jackson (Jason

Earles), and a trusted and true best friend, Lilly (Emily

Osment).

Once Miley and Billy Ray were cast, Poryes and

Peterman took the basic premise and tweaked it to fit the

realities of the Cyrus father-daughter relationship. So the

father and daughter now come from a small town in

Tennessee and have recently moved to Los Angeles. The

characters are both singer-songwriters, and their

homespun conversations are filled with southern sayings

and recollections. With their exceptional chemistry, the father-daughter dynamic easily

translated into an accessible blend of music and comedy. Miley and Billy Ray and Miley and

Robby Ray had become inspiredly intertwined.

HANNAH MONTANA’S ROOTS

BACK TO TENNESSEE

“It’s pretty much art imitating life imitating art,” says Billy Ray Cyrus about their onscreen

counterparts. “We never planned it, but once it happened, Miley and I worked hard to make it

and keep it real.”

MILEY AND ROBBY RAY: BACK TO TENNESSEE

When the idea for a feature film based on the series was discussed, returning Miley and her

father to Tennessee seemed an ideal and natural extension of the characters’ storylines to the

big screen.

“We wanted to open it up, get it

outside and let it breathe,” says

Gough about the “Hannah Montana”

story. “As we developed the

screenplay, we had a couple of rules

up front. One was we were not going

to use any of the sets on the television

show. And secondly, we wanted it to

be filmed in real places, actual

locations: Nashville, Malibu, the

Santa Monica Pier, Beverly Hills.”

Gough’s producing partner Millar adds: “Our goal as the producers was always to make a

movie that would surprise people. I think people have an expectation based on the sitcom of

a goofy, very broad comedy. But we wanted this movie to have incredible heart, vistas,

landscapes, beautiful photography, great dance numbers, phenomenal music and a big scope.

And this movie is all of that.”

Another change from the ensemble sitcom format was the film’s focus on Miley rather than

on a group adventure or road movie with her series co-stars. Screenwriter Berendsen says:

“One of the things that sets this movie apart from the show is that in a good part of the film

Miley is on her own. This is about her character, it’s her adventure. It’s something she and her

father have to go through together.”

As the film opens, Miley Stewart’s life is out of balance. Taken under the wing of a gung-

ho and glamorous publicist, Vita (Vanessa Williams), Miley’s letting Hannah begin to

dominate her life. When she keeps choosing Hannah over her commitments to family

members—to say goodbye to Jackson as he leaves for college, to attend Lilly’s (Emily

Osment) long-anticipated sweet-16 party or her grandmother’s birthday celebration—it is

clear Miley’s beginning to forget why the Hannah Montana secret was created in the first

place.

When Hannah Montana ends up in a paparazzi-captured fight with Tyra Banks over a pair

of designer shoes, Miley’s father quietly takes control. Having attempted to reason with her to

no avail, Robby Ray tricks Miley into thinking she’s going to New York as Hannah to perform

when he’s really taking her from Los Angeles back home to Crowley Corners, Tennessee.

Miley’s double life becomes even more complicated when she returns to Crowley Corners.

She discovers that a reporter (Peter Gunn) has somehow managed to track Hannah Montana

to her hometown and is asking lots of questions of the locals. She also meets up with an old

childhood friend, Travis Brody (Lucas Till), and soon finds herself in her first serious

romance. When Miley tries to impress Travis by telling him about her friend Hannah Montana,

she suddenly finds her alter ego enlisted in a concert fundraiser to help save her hometown’s

pristine Crowley Meadows from developers. Once again, having taken on more than she can

handle, Miley has to call on her best friend, Lilly, and ask her for help. When Lilly finally

arrives in Crowley Corners pretending to be Hannah Montana, events really spin out of

control.

FINDING THE RIGHT DIRECTOR

In telling a feature-film-length “Hannah Montana” story, the producers wanted to find a

director who would knock down the confines of the sitcom walls and bring Miley/Hannah’s

world to a big-screen reality. Producers Millar and Gough needed a performance-oriented

director with the breadth of

experience to take the film’s wide

range of music, comedy and drama

and craft a simple, genuine story of a

teenage girl searching for her true

self.

“If you look at Peter Chelsom’s

films, all the ingredients for this

movie are in those movies—comedy,

family, melody and emotion. Peter

covers the gamut in his films,” says

Gough. “Peter always gets the

performance, it always comes first, and we needed a director to take most of these kids

through their first film, especially Miley. Peter was an actor for 10 years working with The

Royal Shakespeare Company, The Royal National Theatre and in TV and film, so to have a

director who can actually speak to the actors and bring a range of vision and an experienced

hand is exactly what we wanted.”

In addition to his strengths as a visualist and performance-oriented director, Chelsom also

brought a couple of other highly

desirable attributes, including a

complete lack of knowledge about the

secret pop-star sensation.

“He had never heard of Hannah

Montana, which made it even better

because we wanted fresh eyes on the

material,” says Millar. “We wanted

the script to work without knowledge

of the show or the characters, and it

did. After Peter became involved, of

course, he became completely

engrossed in watching all the episodes and became a Hannah expert.”

“This film reminded me of the Disney films of the ’60s that felt like real five-course meals

the whole family could go and enjoy,” says Chelsom. “Disney let me make the film I wanted.

FINDING THE RIGHT DIRECTOR

MUSIC AS A SECOND LANGUAGE

Now a film about Hannah Montana is going to have certain elements—shopping, partying,

music—but we really worked hard to incorporate a lot of substance in it, to make it genuinely

a family movie with range, with a richness and beauty that reminds people of those classic

Disney family films.”

MUSIC AS A SECOND LANGUAGE

While “Hannah Montana” has always had music, the film takes the music to another level.

As the Stewarts travel from Los Angeles to Tennessee, the audience discovers how deeply the

family’s lives are rooted in music.

“Peter Chelsom describes the Stewart family as a bilingual family whose second language

is music, and that’s very true in this movie,” says Gough.

Chelsom says the film’s numerous songs are tightly woven into the fabric of the story and

the characters, which is why he believes the film will feel

like a musical without being one. “We continuously

dance very close to the convention of a musical but are

more integrated. Songs are going to sit within the film,

not apart from the film. At times, you won’t notice the

music is happening; it’ll just move the story along.”

An example is the song “The Climb.” After troubles

with Lilly, her brother, her father, her grandmother and

Travis, Miley begins to realize how much her secret

impacts the relationships with the people whom she

loves. Confused and contrite, she ends up expressing her

emotions by writing a song, “The Climb.”

“The song is her journey, the lessons she’s learned in

the movie,” says Gough. “It’s an epic song, written by a

Nashville songwriter named Jessi Alexander with her

partner, Jon Mabe. It’s a power ballad that encapsulates

Miley’s journey and the message of the film.”

In total, Miley/Hannah performs 12 new songs in the film, including “Let’s Get Crazy,”

“Butterfly Fly Away” and “You’ll Always Find Your Way Back Home.”

The innovative mix of music in the film includes pop, rock, country, hip hop and even a

familiar Hawaiian-themed melody. “We realized this was an opportunity to move forward with

the music, to update it and make it more sophisticated, to move with Miley’s age,” says

Chelsom. “I’ve never had a better musical experience on any film.”

Another musical highpoint comes when Billy Ray Cyrus (as Robby Ray Stewart) performs

“Back to Tennessee”—the title song of his latest album—at a fundraiser to save Crowley

Meadows from developers. Written by Cyrus, Tamara Dunn and Matthew Wilder, it has as its

inspiration Billy Ray’s longing to return to his roots and breathe the sweet southern air of his

home state.

Hit singer-songwriter Taylor Swift became involved when the filmmakers approached her

about using her music in the film. Swift not only said the filmmakers could use her music, but

she’d be happy to perform a song in the movie.

“When I got an email from Disney saying they wanted a song that was perfect to fall in love

to and sort of a country waltz, I sent them ‘Crazier’ and they loved it,” Swift says.

Swift also co-wrote the film’s closing musical number, “You’ll Always Find Your Way Back

Home.”

Another song sure to inspire dancing is the “Hoedown Throwdown,” nicknamed “Miley’s

Macarena” by the filmmakers, a hip-

hop country fusion number in which

Miley Stewart gets up on stage and

teaches the dance steps to the

audience with the song’s lyrics.

“We called it ‘The Project’ for the

longest time,” says Chelsom. “I

wanted a song that taught a dance in

the lyrics of the song like the

‘Macarena’ or the ‘Funky Chicken.’ I

wanted to maximize Miley’s real

silliness physically. She’s physically

funny and has great abandon, and I wanted to capture all of that.”

Because the dance steps are the song and the song is the dance steps, creating the musical

number became an ongoing collaboration among the songwriters, the choreographer (Jamal

Sims), Miley and the filmmakers. Chelsom’s determination to combine Miley Stewart’s L.A.

hip-hop/pop style with her country roots in a seemingly improvised dance number eventually

produced the show-stopping “Hoedown Throwdown.”

TRANSCENDING THE LINE BETWEEN FICTION AND REALITY

While characters returning home to find themselves again are a staple in classic

storytelling, “Hannah Montana The Movie” transcends the line between fiction and reality. In

taking Miley Stewart and Hannah Montana back to Crowley Corners, Tennessee, the film

transported Miley Cyrus, her father and co-stars back to the Cyruses’ real-life hometown,

Nashville, giving the young actress a

chance to be home again following

her meteoric two-year rise to stardom.

“It’s super important to stay true to

yourself and your family and stay in

touch with who you are,” says Miley.

“When audiences walk away from the

movie, I hope they feel like they’ve

been to my home. I hope they feel like

they understand Nashville because

Nashville is my everything. Nashville

is who I am.”

With Tennessee being so much a part of the Hannah Montana story—and the Cyrus’ family

roots—filming on location there became essential. In fact, Tennessee, like Los Angeles, soon

became a character in the film, representing Miley and Hannah’s both real and fictional roots.

For Billy Ray, having the chance to return to Tennessee to shoot the film and be at the family’s

BETWEEN FICTION AND REALITY

FIRST LOVE INTEREST

farm, where Miley lived until age 13, was truly having the best of both worlds. “In the

evenings, after work, she’s out climbing trees, riding horses, she’s that little girl again. She’s

Miley,” he says.

Watching and working with his talented daughter is a

remarkable experience for Billy Ray. “I’m so proud of

her, not only as a daddy in her personal life, but as a

musician to see the kinds of songs she writes,” he says.

“Then, as an actress to see her evolve from a Lucille Ball-

inspired comedienne to a role with some real depth is

amazing. I think she brings inspiration to a lot of kids out

there to follow your dreams, to pursue what you love and

never give up.”

For all the confidence she inspires in others, Miley

admits she was nervous about the film role and grateful

she’d had the opportunity to develop these characters over

time on a series.

“What’s been really cool in making the movie is to

already understand the characters because of the

television show. I was scared out of my mind for half the movie. Making a film is like learning

the ropes all over again,” says Miley. “Director Peter Chelsom would say, ‘OK, I believed that,’

and I thought, ‘What does that mean?’ Soon, I understood. Our television show can be a little

more unrealistic because it’s supposed to be crazy and fun, that’s part of a kid sitcom. But a

movie is different. Peter was always saying, ‘Make it small, very little, you don’t have to do

much at all.’”

FIRST LOVE INTEREST

In the film, Miley experiences her first serious romance with a former childhood friend,

Travis (Lucas Till). Insecure and attracted to the blond-haired, blue-eyed cowboy, Miley drops

Hannah Montana’s name thinking

Travis will be impressed and possibly

be more interested in her. After trying

to hide her dual personas from Travis,

Miley learns that he actually prefers

her—not Hannah—and he feels

betrayed when he discovers that she’s

been fooling him.

Filmmakers say the role of Travis

was the hardest one to cast. Once

again, they passed on the idea of stunt

or star casting in favor of finding the

most real actor for the role of a young southern kid on his way to becoming a man.

“We were basically looking for that young Brad Pitt from ‘Thelma & Louise,’ and lo and

behold, in from Atlanta, Georgia, on this tape comes Lucas Till. When we brought him in to

screen test with Miley, they clicked, and we knew we had our guy,” says Gough.

Till says: “There are a lot of similarities between me and Travis, which really attracted me

to this role. Like a lot of southern guys, he’s reserved, and I’m from the South, and I’m a

reserved guy. I don’t really like to show my emotions too much, and Travis kind of holds his

feelings back. He loves riding horses, and I found out I really love riding horses. So Travis and

I, we have a lot in common.”

In creating a romance for

Miley/Hannah, the filmmakers

wanted to explore the excitement and

innocence of a teenage girl’s first

serious case of infatuation. “This

wasn’t about riding off into the sunset

together and everything is happy and

done,” says Chelsom. “In this

instance, we wanted the two halves of

the interest to move in a certain

direction and affect each other,

particularly Miley. The character of Travis is not just a hunk. It’s about what he represents and

how he brings her down to earth.”

For his role as Travis, Till took guitar and piano lessons and began horseback riding a

couple of hours a day for a few weeks before shooting began. Till, who had never ridden a

horse before beginning rehearsals on the movie, was hooked.

“It felt so good and natural, I should have been on a horse my entire life,” Till says. “I fell

in love with riding. It’s an awesome, awesome experience to be able to learn that as part of my

job.”

His four-legged co-star, Seabiscuit, was the horse that played the title character in the 2003

film “Seabiscuit,” a true story about a Depression-era race horse that beat the odds.

FILMING ON LOCATION

The production was divided into shoots in the Nashville and Los Angeles areas. Near

Nashville, they created the fictional Crowley Corners, an idyllic small American town. In Los

Angeles, they wanted to show off the California dream—the beaches of Malibu and Santa

Monica, the glitz of Beverly Hills, a stadium concert at the Forum.

“We wanted to have some beautiful photography in this movie and really let the locations

set the action up,” says Chelsom. “In the first act, it rushes, rushes, rushes, there’s no chance

to stop and breathe because that’s the nature of Miley’s life as Hannah and Miley Stewart in

L.A. It is frenetic, crazy. Then you get to Tennessee and the pulse completely changes, the

style of photography changes and you have this expanse. You can see the horizon, the sky and

the landscape. It all opens up.”

For the cast members, taking the characters out of the studio and on to location made all

the difference in terms of getting into their roles and understanding the story.

“This movie takes ‘Hannah Montana’ to another level, a different scale,” says Jason Earles,

who co-stars as Miley’s brother in the film and the TV show. “Obviously us being out in the

real world in beautiful locations with thousands of extras is not something that you can

accomplish on a sound stage when you’re shooting a sitcom. The film is grand in scope, but

FILMING ON LOCATION

it all comes back to this real place: family and friendships and relationships we’ve created and

stayed true to.”

Numerous locations in and around Nashville were used in the film, including the

Hermitage Hotel, Maury Airport, Franklin High School, Vanderbilt University, Rutledge Falls,

Smiley Hollow, Leiper’s Fork and the Belks Department Store in Cool Springs.

One of the main locations, Grandma Ruby’s farm, was

on a 200-acre ranch south of Nashville, just a few miles

from the Cyrus family farm. When filmmakers first

scouted the location that became Ruby’s farm, the main

house was empty and in disrepair, needing both

construction and decor. Production designer Caroline

Hanania transformed the nearly 100-year-old house into a

warm, inviting home in the beautiful Tennessee

countryside. Margo Martindale, who plays Ruby, said the

details inspired and informed her performance.

“When I first saw this house it was empty and Caroline

had just put up some vintage wallpaper,” says Martindale.

“When I arrive days later to film, stepping into Ruby’s

house was like stepping into my grandmother’s house.

Beautifully done, every little detail, even the cabinets the

camera never sees. There’s a sewing room all set up, a

room where I pot plants. All I had to do was walk around this house and I knew everything

about my character.”

Cast and crew also shot in the nearby town of Columbia, Tennessee, where the Stewart’s

fictional hometown of Crowley Corners was re-created on the city’s historic town square. With

Columbia’s courthouse serving as Crowley Corners’ town hall, one of the film’s most

elaborate slapstick sequences takes place as Miley dashes between her dinner with the mayor,

dressed as Hannah Montana, and a date she has with Lucas, dressed as Miley, in a romantic

Italian restaurant down the street.

Columbia’s town square also serves as a backdrop to the sequence where Miley and her

grandmother travel to town to sell Ruby’s watermelons, squashes and jams at the farmer’s

market. When Miley spots Oswald, the British reporter she last saw in Los Angeles, and

realizes he’s followed her to Crowley Corners, she decides to sabotage him. The extensive

stunt-and-effects sequence that follows involves some devilish hot sauce, a 3-D architectural

model, 700 pounds of cascading walnuts and an Irish jig.

Another key location in Tennessee was Smiley Hollow, a rustic corporate retreat and

working farm located north of downtown Nashville. Nestled in the rolling hills of

Goodlettsville, Smiley Hollow provided the perfect location to create the film’s exterior

concert sequences as well as the supper club musical performances and dance numbers.

Production designer Hanania and her crew worked for weeks to transform the retreat’s two key

locations for the film. This included the retreat’s wooden meeting hall to serve as the Meadows

Hall supper club where Robby Ray, Miley and Taylor Swift perform during an open mic

fundraiser to save Crowley Meadows from a developer (Barry Bostwick).

Outside the Meadows Hall location was the tree-lined expanse of fields where Hanania and

her team created the Crowley Meadows farm and site of the “Save the Meadows” fundraiser.

Her team constructed a barn, waterwheel, concert stage, carnival booths and rides. More than

2,000 extras filled the Smiley Hollow location, where both Hannah Montana and Miley

Stewart perform several of the film’s musical numbers, including “Rock Star,” “The Climb”

and “You’ll Always Find Your Way Back Home.”

The farthest location in Tennessee was Rutledge Falls. After a two-hour drive, cast and crew

then hiked to the remote waterfalls where Miley and Travis go for a picnic and swim. “There

were a lot of unhappy faces on the crew when they realized how far they had to climb down

the rocks with the equipment to get to the bottom where we were filming,” says Chelsom. “But

when you look at the scene, I think they’d agree it was so worth it. It’s spectacularly gorgeous.”

MILEY’S LOS ANGELES

After 10 weeks of shooting in Tennessee, cast and crew

moved to Los Angeles in July 2008 to film exterior scenes

in Beverly Hills, Paradise Cove, the Santa Monica Pier

and the Forum stadium.

Paradise Cove, a private beach at the northern end of

Malibu, served as the backdrop for filming a music video

and dream sequence within the film. Hanania and

costume designer Christopher Lawrence created a playful

retro look in the sequences, filling them with colorful

vintage swimsuits and surfboards, a classic woodie surf

wagon and a chiseled lifeguard surveying the beach party

from his lifeguard perch.

In another example of reality blurring fiction in the

film, while Los Angeles-based paparazzi clamored at the

perimeter to get shots of Miley, dressed as Hannah

Montana, a group of extras, pretending to be paparazzi,

chased and shot the pop star for the scene.

In Beverly Hills, cast and crew literally stopped traffic when Miley and Vanessa Williams

walked down Rodeo Drive to film the exterior location for the film’s shoe-fight sequence with

Tyra Banks (the interior of the store,

where the fight ensues, was shot

previously in a department store in

Tennessee). Stopping traffic in

Beverly Hills was nothing when

compared to the anticipated

challenges of filming on the Santa

Monica Pier. Filmmakers admit it was

the location they were most

concerned about in terms of media

and crowds. The pier was also

challenging because there was a lot to

be filmed in a short period of time, including a skateboard stunt sequence with Lilly, a special

effects-rigged exploding birthday cake, Miley’s late entrance dressed as Hannah, several live

MILEY’S LOS ANGELES

ABOUT THE CAST

musical numbers and coverage of all

the main cast. However, when the

days actually arrived, filming went

very well and the crowds of fans and

onlookers presented no problems.

Production on the film

concluded with several days of

shooting at the Forum in Inglewood,

California, the former home of the

Los Angeles Lakers and L.A. Kings

as well as the location of hundreds

of concerts. There, the movie’s

opening concert sequence was filmed with Hannah Montana performing a couple of her

revamped biggest hits for the 1,000 extras on hand. It was also the site for Miley and Lilly’s

mad dash on a golf cart, with security guard in pursuit, when Hannah Montana is almost late

for her own concert.

In conclusion, Millar says: “Fans who see the movie will know that Hannah is growing up,

her music is growing up. This is not the same girl who began on the TV show. Like her

character, Miley is a girl from a small town who gets to follow her dream and make it happen.

In this film, you’ll see how she’s matured and how she’s growing up, much like her fans.”

ABOUT THE CAST

Born November 23, 1992, in Nashville, MILEY CYRUS

(Hannah Montana/Miley Stewart) grew up watching her father—

country music superstar/actor Billy Ray Cyrus—perform. Soon, she

caught the acting bug herself. After gaining experience as an extra

in her dad’s television projects, Miley acted opposite him in a

recurring role on his television series, “Doc.” She then went on to

appear in the Tim Burton film “Big Fish.”

When a 12-year-old Miley first auditioned for the title role of the

Disney Channel’s “Hannah Montana,” she was considered too

young for the part, but that didn’t stop her from pressing ahead. Two

years later Miley won the part she had worked so hard for, and her ascent to superstardom

began. “Hannah Montana’s” first season raked in some of the highest ratings ever for a Disney

Channel original series.

In November 2006, the first “Hannah Montana” soundtrack came out on Walt Disney

Records, featuring eight songs performed by Miley as Hannah Montana. The album shot to

the top of the charts and became the first TV soundtrack to debut at No. 1 on the Billboard

Top 200. The set finished the year as the No. 8 best-selling album and is now certified triple

platinum.

Then came her 2007 two-disc set, “Hannah Montana 2: Meet Miley Cyrus.” She co-wrote

eight tracks on that triple-platinum debut CD, setting the stage for her record-shattering box-

office take on her 2007 “Best of Both Worlds” tour. She also had the No. 1 film in the country

with the Walt Disney Pictures 3D release, “Hannah Montana & Miley Cyrus: Best of Both

Worlds Concert.” This past summer she released her “Breakout” album, for which she cowrote

eight of the 13 tracks. Unlike her previous CD, half of which was performed as Hannah

Montana, “Breakout” is 100 percent Miley Cyrus, and it has already reached platinum status.

Recently she starred as one of the voices in Walt Disney Pictures’ animated feature “Bolt,” and

currently she is in the third season of her hit television series “Hannah Montana.” This spring,

Miley released her first book, “Miles to Go,” sharing her inspiring story, spanning from her

southern roots in Tennessee to the excitement of her record-setting triumphs in TV, music

and film.

BILLY RAY CYRUS, continues his role as Robby Ray Stewart,

the father of Miley’s fictional character on the series “Hannah

Montana.” The multi-platinum recording artist has sold more than

25 million albums worldwide, and earned nearly 30 chart singles,

including 15 Top 40 chart hits; while at the same time establishing

himself as a successful and respected actor in film and television.

His debut album, “Some Gave All,” was a blockbuster success

and is the longest-running No. 1 country album ever, spending 34

weeks on Billboard’s Top Country Albums chart. Cyrus’ most recent

album—2007’s “Home At Last”—entered in the Top 20 on the

Billboard 200, hitting No. 3 on the Top Country Album chart, while “Ready, Set, Don’t Go”—

the moving duet with daughter Miley Cyrus—became a Top 5 country smash. This April he

releases his 11th album, “Back to Tennessee,” which combines his passion for blues, southern

rock, bluegrass, gospel and country. The title track is currently climbing the country charts and

is also featured on the movie’s soundtrack.

On April 18th, Cyrus stars opposite Heather Locklear in “Flying By” on Lifetime. Soon,

Cyrus can be seen in the action-comedy film “The Spy Next Door” alongside Jackie Chan. In

addition to his role on “Hannah Montana,” Cyrus hosted NBC’s “Nashville Star.” His other

television and film credits include the acclaimed movie “Mulholland Dr.,” the title character

in the PAX series “Doc,” and the runaway ABC hit “Dancing with the Stars.”

VANESSA WILLIAMS (Vita) currently stars in ABC’s

critically acclaimed hit series “Ugly Betty,” for which she has either

won or been nominated for the Emmy®, SAG®, Golden Globe® and

NAACP Image awards. A multi-faceted performer, Williams has

sold millions of albums worldwide and has achieved critical acclaim

as an actress on stage and in movies and television.

Her film credits include “Eraser,” “Hoodlum,” “Shaft,” “Dance

with Me,” “My Brother” and “Johnson Family Vacation.” She has

also starred in the TV musicals “Bye Bye Birdie” and “A Diva’s

Christmas Carol.” Her albums “The Right Stuff,” “The Comfort

Zone” and “The Sweetest Days” earned multiple Grammy® nominations and yielded several

No. 1 singles on their way to multi-platinum status. Williams’ new album, “The Real Thing,”

will be released by Concord Records on May 5.

Her Broadway credits include “Kiss of the Spider Woman” and her Tony®-nominated

performance in “Into the Woods.” Her hit single, “Colors of the Wind,” the theme song from

ABOUT THE CAST

the blockbuster Disney animated feature “Pocahontas,” won an Academy Award®, Golden

Globe Award® and a Grammy® for best song in a motion picture.

EMILY OSMENT (Lilly Truscott) reprises her role as Hannah’s

BFF on the Disney Channel show “Hannah Montana” for the film.

She is currently starring in the Disney Channel original movie

“Dadnapped” playing Melissa the reluctant hero, and previously

battled a mystical monster when she starred in R.L. Stine’s

“Haunting Hour—Don't Think About it.” She showed her voice

talents by singing the theme song for both films.

Osment made her film debut at age 7 in “The Secret Life of

Girls” and went on to an acclaimed performance as the daughter of

Glenn Close and Christopher Walken in “Sarah, Plain and Tall:

Winter’s End,” then as Gerti Giggles in the blockbuster films “Spy Kids 2: Island of Lost

Dreams” and its sequel, “Spy Kids 3D: Game Over.”

Her television credits include roles on “3rd Rock from the Sun,” “Friends” and “Touched

by an Angel.” Her voice credits include “Holidaze, The Christmas That Almost Didn’t

Happen,” “Lilo & Stitch II,” “Rugrats,” “Edward Fudwupper Fibbed Big,” “Jungle Book 2”

and “Hunchback of Notre Dame Deux.”

JASON EARLES (Jackson Stewart) portrays the older but not

exactly wiser brother of Miley Stewart on the Disney Channel show

and in the film. Earles has appeared in numerous television series

and films, including the movies “National Treasure,” “American Pie:

Band Camp,” “Special Ed,” “Gordon Glass” and “Space Buddies.”

He has also starred in Disney Channel’s original TV movie

“Dadnapped” opposite Emily Osment; guest starred on the television

series “Aaron Stone,” “Boston Legal,” “The Shield,” “One on One”

and “Still Standing”; and was a recurring character on “Phil of the

Future.”

British actor PETER GUNN portrays Oswald, a relentless

reporter who’s determined to find out Hannah Montana’s secret in

the film. Gunn worked previously with director Peter Chelsom on

the features “Funny Bones” and “Treacle” and has appeared in the

films “Ever After,” “Twelfth Night,” “Blue Juice” and “A Bunch of

Amateurs.”

On television in his native England, Gunn is well known as the

lead character, Len Cosgrove, in the BBC series “Born and Bred” as

well as for dozens of guest-starring and recurring roles in other

television series and movies such as “Frost,” “Heartburn Hotel,”

“The Russ Abbot Show” and “Sunshine.”

MELORA HARDIN is Lorelai, a beautiful young woman who

is the foreman at Ruby’s farm in Crowley Creek. Hardin is known

for playing Jan Levinson on the hit television series “The Office”

and Tony Shalhoub’s dead wife in the series “Monk.” She stars in the

upcoming film “17 Again” and has appeared in the films “Thank

You for Smoking,” “Absolute Power” and “27 Dresses.” She

recently made her directorial debut with the independent

feature entitled, “You,” which will be released later this year

(www.YouTheFilm.com).

In August 2008 she played the lead part of Fantine in the

Hollywood Bowl rendition of “Les Miserables in Concert,” and most recently she starred as

Roxie Hart in “Chicago” on Broadway.

MITCHEL MUSSO continues his role as Oliver Oken, one of

Hannah’s closest friends. Musso appeared in “Secondhand Lions”

and starred in “Monster House.” His TV credits include guest-

starring roles on “Stacked” and “Oliver Beane,” the TV movie “Trial

by Fire,” the Disney Channel Original Movies “Life Is Ruff,” the

forthcoming “Hatching Pete,” plus the 2008 Disney Channel

Games. Musso is also the voice of Jeremy on the animated series

“Phineas and Ferb.”

A musician, Musso recently had two Top 10 hits on Radio

Disney’s Top 30 chart. Last summer Musso toured with his band and

dancers, and started recording his debut album, which will feature four songs co-written by

Musso, plus a collaboration with his brother Mason from Metro Station. Musso was recently

tapped Male Pop Rookie of 2009 during MTV News’ special feature “Pop Week.”

LUCAS TILL heats up the screen starring opposite Miley Cyrus

as Travis, a former schoolmate of Miley Stewart who befriends her

when she returns to Crowley Corners, Tennessee.

Till has just finished shooting his next feature film, “The Spy

Next Door,” where he plays a young Russian spy opposite action star

Jackie Chan. Till starred as young Jack Cash in the Oscar Award®winning

film “Walk the Line.” Recently, Lucas guest starred on the

primetime series “House,” with Hugh Laurie.

Lucas is originally from Atlanta and now resides in Los Angeles.

ABOUT THE CAST

Golden Globe®- and Tony Award®-winning actor BARRY

BOSTWICK plays Mr. Bradley, an ambitious builder who plans on

developing the pristine Crowley Meadows. Bostwick boasts nearly

100 roles in television, film and theater to his credit, including six

seasons as Mayor Randall M. Winston, Jr. on the hit series “Spin

City.” Among film fans, Bostwick will always be Brad Majors in the

cult classic film phenomenon, “The Rocky Horror Picture Show.”

MOISES ARIAS (Rico) can be seen in films such as “Nacho

Libre,” “Beethoven: The Reel Story” and “Dadnapped” and voices a

character in the upcoming animated film “Astroboy.” He returns in

his role of Rico from the Disney series “Hannah Montana.”

MARGO MARTINDALE, an accomplished Tony®-nominated

theater, film and television actress, plays Miley’s grandmother,

Ruby. Martindale, who stars in the television series “The Riches,”

counts among her dozens of films credits “The Winning Season,”

“Million Dollar Baby,” Alexander Payne’s 14th arrondissement

segment of “Paris Je T’Aime,” “The Savages,” “The Hours,” “Dead

Man Walking,” “Orphan” and “Management.”

Born and raised in Jacksonville, Texas, Martindale’s extensive

television work includes regular and recurring roles on the award-

winning series “Dexter,” “Medium” and “100 Centre Street.” Other

motion pictures include “The Human Stain,” “Proof of Life,” “Practical Magic,” “Twilight,”

“Ghosts of Mississippi,” “Marvin’s Room” and “Nobody’s Fool.”

TYRA BANKS first came to the public’s attention as a

groundbreaking international supermodel before moving into

entertainment. Banks created Bankable Productions in 2003 to

handle her burgeoning television development and production

activities; and in 2007 founded Bankable Enterprises to anchor her

expansion into business ventures outside of filmed entertainment.

Banks became a true pioneer in reality TV as the creator, executive

producer and host of the tremendously successful “America’s Next

Top Model,” which appears in over 100 countries, with an additional

20 countries adapting their own version. Banks is also the executive

producer and host of her own daytime talk show, the Emmy Award®-winning “The Tyra Banks

Show.” Banks introduced another hit reality show in January 2009 with “True Beauty,” a

primetime series airing on ABC, which she executive produced alongside Ashton Kutcher.

With album sales exceeding 4 million copies in 2008, 19-year-old

TAYLOR SWIFT was the best-selling artist across all genres of

music last year. Her sophomore release, “Fearless,” reached double

platinum in just four weeks and was the year’s biggest debut for any

female artist and the fourth highest debut of 2008 overall. Taylor,

who is signed to Big Machine Records, currently holds the

Billboard all-genre record for most Top 20 debuts in a calendar year.

Among her many awards, Taylor was named 2008’s Favorite

Female Country Artist at the American Music Awards and Top New

Female Vocalist by the Academy of Country Music. She also won

the 2008 Teen Choice Award for Choice Breakout Artist and 2008 CMT Music Awards for

Video of the Year and Female Video of the Year. She was also named the 2008 Superstar of

Tomorrow at the 10th Annual Young Hollywood Awards, making her the first musician to ever

receive this prestigious award. In 2007 she won the CMA Horizon Award as well as the

Nashville Songwriters Association International’s Songwriter/Artist of the Year, and she

received a Grammy® nomination for best new artist. Taylor has been featured on the covers of

Rolling Stone, Billboard, Seventeen and numerous other magazines.

RASCAL FLATTS—Gary LeVox, Jay

DeMarcus and Joe Don Rooney—has sold over

18 million albums, scored 10 No. 1 singles,

with five of their albums being multi-platinum

sellers since making their debuts in 2000.

Rascal Flatts has also become one of the most

consistently awarded acts in history, with their

2008 ACM Vocal Group of the Year award, their

sixth, tying them with all-time super-group

Alabama for most consecutive wins in that

category. The band is also the reigning CMA and CMT Vocal Group of the Year. They were

honored as the 2008 Academy of Country Music/The Home Depot® Humanitarian Award

recipients during the ACM Awards show this past May. This honor is in part due to their

dedication to raising funds for the Monroe Carell Jr. Children’s Hospital at Vanderbilt, where

in the past four years they have donated $3 million, as well as their work on the American Red

Cross Celebrity Cabinet board. Rascal Flatts will launch their next CD, “Unstoppable,” on

April 7, 2009.

ABOUT THE FILMMAKERS

Director PETER CHELSOM, whose feature film credits include the acclaimed

international blockbuster, “Shall We Dance?” ($170 million) and “Serendipity,” helms this

music-filled comedy adventure based on the Disney Channel’s series “Hannah Montana.”

ABOUT THE CAST

ABOUT THE FILMMAKERS

Since his first film, “Treacle” (which he also wrote), debuted to critical acclaim and a British

Academy of Film and Television Arts Award for Best Short, Chelsom has used his training as

a Royal Shakespearean actor and love of photography, stories and music to write and direct a

variety of popular and honored films.

Chelsom’s first full-length feature film, “Hear My Song,” was honored as Best British

Newcomer by the London Film Critics Circle and the Evening Standard British Film Awards.

In addition to receiving a BAFTA nomination for Best Original Screenplay, Chelsom’s

romantic comedy starring Ned Beatty was a crowd-pleasing favorite, earning a Golden Globe®

nomination for Beatty and a Writers Guild nomination for Chelsom.

Chelsom’s second feature, “Funny Bones,” won best picture honors at five European film

festivals and the Peter Sellers Award for Comedy at the Evening Standard British Film Awards.

It was also nominated for best screenplay by the Writers’ Guild of Great Britain and won the

London Critics Circle Film Awards’ British Producer of the Year Award. His third film, “The

Mighty,” received two Golden Globe® nominations.

Born in Blackpool in Northern England, Chelsom trained as a photographer, then won a

place at London’s Central School of Drama where he trained for three years. For the next 10

years, Chelsom worked as an actor at the Royal Shakespeare Company and the Royal National

and Royal Court theaters, taught at the Central School of Drama and the Actor’s Institute, and

ran an actors’ course at Cornell University for The Royal National Theatre.

Producers MILES MILLAR and ALFRED GOUGH, whose film screenwriting credits

include the “The Mummy: Tomb of the Dragon Emperor,” “Spider-Man 2” and “Shanghai

Noon,” produced the film, marking the duo’s first feature under their Walt Disney-based

production company, Millar/Gough Ink.

The two have also created and served as executive producers of the critically acclaimed

action-adventure series “Smallville,” which is now in its eighth season, making it the longest-

running comic book-based series of all time and the No. 1 show in the history of the WB

Network.

Executive producer DAVID BLOCKER, who won an Emmy Award®, Peabody Award and

numerous other honors for producing “Don King: Only in America,” executive produced the

critically acclaimed, award-winning film, “Into the Wild,” directed by Sean Penn, and

produced “The Greatest Game Ever Played,” based on the true story of the unprecedented

upset at the 1913 U.S. Open.

Blocker also produced the films “Frailty,” “15 Minutes,” “Dark Blue,” “Tyson” and

“Traveller.” He has served as a producer on many of writer-director Alan Rudolph’s films such

as “Choose Me,” “The Moderns,” “Breakfast of Champions,” “Equinox,” “Love at Large,”

“Made in Heaven,” “Trouble in Mind” and “Return Engagement.”

Executive producer MICHAEL PORYES is co-creator and executive producer on Disney

Channel’s Emmy®-nominated series “Hannah Montana.”

Poryes is co-creator and served as executive producer of another Disney Channel Emmy®nominated

series, “That’s So Raven.” He also served as co-executive producer on “Veronica’s

Closet” as well as co-executive producer on “Cybill.” Poryes first started out in the

entertainment business as a stand-up comedian, then became a writer for the television series

“The Facts of Life,” “Who’s the Boss?” and “Saved by the Bell,” among others.

Poryes attended the University of California Berkley. He lives in Los Angeles with his wife,

Diane, and son, Ethan.

Executive producer STEVE PETERMAN serves as executive producer on the Disney

Channel original series “Hannah Montana” for which he co-wrote the pilot episode.

A three-time Emmy Award®-winning writer/producer, Peterman was part of the original

writing staff of “Murphy Brown” with his long-time writing partner, Gary Dontzig, and served

as executive producer for the fifth and sixth seasons of that series. During their tenure, he and

Dontzig received six Emmy® nominations, winning two for producing and one for writing. In

addition, an episode he executive produced won a Humanitas prize. Peterman was executive

producer of “Suddenly Susan” for three seasons, earning the Alma and Prism awards. With

Dontzig, Peterman was a consulting producer for two years on “State of Grace,” where he

received a second Humanitas nomination, and a co-executive producer on the final season of

“Becker.”

Peterman received his undergraduate degree from Harvard University and has taught

classes at UCLA, AFI, Loyola Marymount and the Warner Bros. Intern program. He lives in

Los Angeles with his wife, Susan, and their son, Will.

Writer DAN BERENDSEN has worked extensively in the teen and young adult genre

having written many popular Disney Channel movies, including “Twitches” (I and Too),

“Halloweentown High,” “Cheetah Girls: One World” and “Up, Up and Away.” He wrote

several original movies for the “Wonderful World of Disney” (“Sabrina Goes to Rome,”

“Sabrina Down Under”) franchise on ABC and “Cinderella III: Stitch in Time” for Disney

Home Animation. Berendsen also wrote the films “The Cutting Edge II,” “The Initiation of

Sarah” and “Pop Rocks” for ABC Family. For several years, Berendsen worked on the hit

television series “Sabrina, the Teenage Witch,” ultimately serving as head writer and executive

producer. “Hannah Montana The Movie” is Berendsen’s first feature.

Berendsen was born in Green Bay, Wisconsin, and raised in Huntington Beach, California.

He is married and currently lives in Los Angeles.

Director of photography DAVID HENNINGS was raised in Athens, Georgia. He attended

the University of Miami (Florida) in film studies and was permanently afflicted with a desire

to tell stories with a camera. A move to Los Angeles brought a fellowship at the American

Film Institute.

As a cinematographer, Hennings’ first opportunity came on the Disney film “D3: The

Mighty Ducks,” directed by Robert Lieberman. Hennings went on to shoot Peter Berg’s

directorial debut, “Very Bad Things.” He also brought the sport of surfing to the big screen

with the hit film “Blue Crush,” directed by John Stockwell, and has since shot many studio

and independent films such as “Ice Princess,” “You Got Served,” “Strange Wilderness,” “The

Underclassman” and “Breakin’ All the Rules.”

Among his television credits are the recent series “K-Ville,” the critically acclaimed and

award winning TV films “Cheaters” and “Boycott,” and the pilot episode for the hit series

“Stephen King’s The Dead Zone.”

ABOUT THE FILMMAKERS

Production designer CAROLINE HANANIA has enjoyed a long-standing working

relationship with director Peter Chelsom, having worked with him since his first feature,

“Hear My Song.” Hanania’s other films with Chelsom include “Funny Bones,” “The Mighty,”

“Town & Country,” “Serendipity” and “Shall We Dance?” She has also worked as production

designer on films “Evening,” “Surviving Christmas,” “Moll Flanders,” “Wild West” and

“Auggie Rose.” She began her career as a theater designer and art director in Great Britain,

including working on the independent classic “Sid and Nancy.”

Editor DAVID MORITZ previously worked with director Peter Chelsom on “Town &

Country.” Among his other credits are “Imagine That,” “P.S. I Love You,” “Freedom Writers,”

“Elizabethtown,” “The Life Aquatic with Steve Zissou,” “Secondhand Lions,” “Rushmore”

and “Bottle Rocket.”

Choreographer JAMAL SIMS has become one of the most popular and prolific of film

choreographers with numerous feature film musicals to his credit, including “Step Up,” “Step

Up 2: The Streets,” “Garfield” and “Garfield: A Tail of Two Kitties.” His other films include

“Year One,” “Soul Men,” “Get Smart,” “Seventeen Again” and “Beauty Shop.” He was the

associate choreographer on the award-winning “Hairspray.”

Composer JOHN DEBNEY’s history with Disney began even before his career. As the son

of a Disney producer, Debney grew up around the studio. He scored his first major studio

film, “Hocus Pocus,” for Disney, and since then has scored several other Disney films,

including “The Princess Diaries 1 & 2,” “Chicken Little,” “The Emperor’s New Groove” and

the comedy “Old Dogs,” opening later this year.

Debney has built a reputation for his ability to score across a wide range of genres. His

credits include his Academy Award®-nominated score to “The Passion of the Christ,” the

drama “The Stoning of Soraya M.,” the comedies “Elf ” and “My Best Friend’s Girl,” the

comic-based “Sin City,” the videogame “Lair” and the recent family film “Hotel for Dogs.” In

addition to his Academy Award nomination, he has won several Emmy® and ASCAP awards

and the prestigious Henry Mancini Lifetime Achievement Award. In March 2009, Debney was

honored with the Career Achievement Award at the Burbank International Film Festival. In

2010, Debney’s “Passion Symphony” will be performed in Saint Peter’s Square (the Vatican),

with a 500-voice choir and a full orchestra.

Costume designer CHRISTOPHER LAWRENCE personally designed all the costumes

for Miley Cyrus/Hannah Montana in “Hannah Montana The Movie. Lawrence started his

design career as associate designer for Michael Mann’s “The Insider.” Other credits include

“The Anniversary Party,” “Bubble Boy,” “S.W.A.T.,” “Crank,” “Hoot” and Jennifer Aniston’s

next film, “Management.”

Information contained within as of March 17, 2009.

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