Surrogates

TOUCHSTONE PICTURES

Presents

MANDEVILLE FILMS

Production

TOP SHELF

Production

JONATHAN MOSTOW

Film

SURROGATES

Directed by. . . . . . . . . . JONATHAN MOSTOW

Screenplay by . . . . . . . . . . . JOHN BRANCATO

& MICHAEL FERRIS

Based on the

Graphic Novel by . . . . . . . ROBERT VENDITTI

and BRETT WELDELE

Produced by. . . . . . . . . . . DAVID HOBERMAN

TODD LIEBERMAN

MAX HANDELMAN

Executive Producers . . . . . . . DAVID NICKSAY

ELIZABETH BANKS

Director of Photography . . . . . OLIVER WOOD

Production Designer . . . . . . . . . . . JEFF MANN

Visual Effects Supervisor . . . MARK STETSON

Edited by. . . . . . . . . . . . . KEVIN STITT, A.C.E.

Costume Designer . . . . . . . . . . . APRIL FERRY

Music by. . . . . . . . . . . . . . RICHARD MARVIN

Casting by . . . . . . . . . . JANE JENKINS, C.S.A.

JANET HIRSHENSON, C.S.A.

& MICHELLE LEWITT, C.S.A.

Unit Production Manager . . . . . TODD ARNOW

First Assistant Director . . . . . . . . NILO OTERO

Second Assistant

Director . . . . . . . . . . . . BRANDON LAMBDIN

CAST

Greer . . . . . . . . . . . . . . . . . . . . BRUCE WILLIS

Peters . . . . . . . . . . . . . . . . RADHA MITCHELL

Maggie . . . . . . . . . . . . . . . . ROSAMUND PIKE

Stone . . . . . . . . . . . . . . . . . . . . BORIS KODJOE

Canter . . . . . . . . . . . JAMES FRANCIS GINTY

Older Canter . . . . . . . . . . JAMES CROMWELL

The Prophet . . . . . . . . . . . . . . . VING RHAMES

Strickland . . . . . . . . . . . JACK NOSEWORTHY

Bobby. . . . . . . . . . . . . . . . . . . DEVIN RATRAY

Colonel Brendon . . . . . . . MICHAEL CUDLITZ

Armando. . . . . . . . . . JEFFREY DE SERRANO

JJ the Blonde. . . . . . . . . HELENA MATTSSON

Uniformed Cop . . . . . . . . . MICHAEL PHILLIP

Victim . . . . . . . . . . . . . . . . . . . DANNY SMITH

Hard Hat . . . . . . . . . . . . . . . . BRIAN PARRISH

Landlady. . . . . . . . . . . . . . . JENNIFER ALDEN

Jared Canter . . . . . . . . . . . . . . SHANE DZICEK

Undergrad #1 . . . . . . . . ANDREW HASERLAT

Undergrad #2 . . . . . . . . . . JUSTIN GOODRICH

Female Newscaster . . . . . . LISA HERNANDEZ

Male Newscaster . . . . . . . . . . KIRK HAWKINS

Assistant . . . . . . . . . . . . . RACHEL STERLING

Female Counsel. . . . . . . . . . . META GOLDING

Female Lawyer . . . . . . . . . . . . . TAYLOR COLE

Victor Welch . . . . . . . . . . . . . . JORDAN BELFI

Steinberg . . . . . . . . . . . . . . . . J.L. HIGHSMITH

Pulaski/Commando . . . NICHOLAS PURCELL

Captain. . . . . . . . . . . . . . . . . . . MAX MURPHY

Lopez. . . . . . . . . . . . . . . . . VICTOR WEBSTER

Cop. . . . . . . . . . . . . . . . . . . DAVID KLEFEKER

Female Dread . . . . . . DOROTHY BRODESSER

Bridget . . . . . . . . . . . . . . . . VALERIE AZLYNN

Hirosuke . . . . . . . . . . . . . MICHAEL O’TOOLE

Salesman. . . . . . . . . . . . . . . CHAD WILLIAMS

Hunk. . . . . . . . . . . . . . . . . . . . . . MIKE RANDY

40% Off . . . . . . . . . . . . . . . . . TYSON EBERLY

Gate Guard . . . . . . . . . . MICHAEL DEMELLO

Pedestrian . . . . . . . . . . . . . . . . . RON MURPHY

Older Woman. . . . . . . GENEVIEVE JOHNSON

Miller . . . . . . . . . . . . . . . . . . . DAVID CONLEY

Bud. . . . . . . . . . . . . . . . . . . . BRUCE SERAFIN

CREDITS

Boy Canter. . . . . . . . . . . . . CODY CHRISTIAN

Andre . . . . . . . . . . . . . . . . . . . . . . IAN NOVICK

Brian. . . . . . . . . . . . . . . . . . . . TODD CAHOON

Lisa . . . . . . . . . . . . . . . . . . . . . ELLA THOMAS

Agent #1. . . . . . . . . . . . . . . . . GABRIEL OLDS

Agent #2 . . . . . . . . . . . . . . . EAMON BROOKS

FBI Guard . . . . . . . . . . . . . . RODNEY WEBER

Commandos. . . . . . . . . . . . . . DE’LON GRANT

MATTHEW SOURIS

Surrie/Greer. . . . . . . . . . . TREVOR DONOVAN

Riot Agent. . . . . . . . . . . . . . . . BROCK GLOOR

Clerk. . . . . . . . . . . . . . . . . . RICK MALAMBRI

Human Sniper . . . . . . . . . . . . . . PAUL SHAFER

Big Woman . . . . . . . . . CHRISTINE MASCOTT

Kid #1. . . . . . . . . . . . . . . . . . . . . ARI MOSTOW

Kid #2. . . . . . . . . . . . . . . . NATHAN MOSTOW

Receptionist . . . . . . . . . . . . . . TAYLAR BUNTS

Controller/Commando . . . EDWARD MCCABE

Beautiful Woman . . . . . . . ANYA MONZIKOVA

Stunt Coordinator. . . . . . . . . . . . JERY HEWITT

Stunt Double for

Mr. Willis. . . . . . . . . . . . . . . STUART WILSON

Stunts . . . . . . . . . . . . . . . . . . . BILL ANAGNOS

JONATHAN ARTHUR

JAY M. BORYEA

TIM BUCHANAN

KEN CLARK

NORMAN DOUGLASS

JIM FORD

TIM GARRIS

MICKEY GIACOMAZZI

SEAN GRAHAM

DONALD J. HEWITT

BARBARA LEE

KATIE LETIEN

KURT LOTT

PAUL MARINI

LUIS C. MOCO

DECLAN MULVY

NAOMI PETERS

JODI MICHELLE PYNN

LOUIS PROVENZANO

DAVID SHUMBRIS

SHAWNNA THIBODEAU

Puppeteers. . . . . . . . . . . . . . . . . CAREY JONES

JAKE MCKINNON

Supervising Art Director. . . . . DAN WEBSTER

Art Director. . . . . . . . . . . . . . . . . . . TOM RETA

Assistant Art

Directors . . . . . . . . COSMAS A. DEMETRIOU

ANDREW M. CAHN

Art Department

Coordinator . . . . . . . JOURDAN HENDERSON

Senior Illustrator . . . . . . . . . . . . PETER RUBIN

Illustrators . . . . . . . . . TYRUBEN ELLINGSON

SCOTT LUKOWSKI

Graphic Designers. . . . . . . . . DAVID E. SCOTT

ELLEN LAMPL

Storyboard Artist. . . . . . . . . . . . . MARC VENA

Set Decorator . . . . . . FAINCHE MACCARTHY

Assistant Set Decorator . . PAIGE AUGUSTINE

Leadmen. . . . . . . . . . . CHRISTOPHER NEALY

BUTCH MCCARTHY

Assistant Costume

Designer. . . . . . . . . . . . . . . DONNA BERWICK

Costume

Supervisor . . . . . . . . . VIRGINIA B. JOHNSON

Key Costumer. . . . . . . . . . . . . . LIZ CLIFFORD

Key Set Costumer. . . . MICHAEL IAN BURKE

Costumers . . . . . . . . . . . . . . . . . LESLEY CASE

CARRIE DAVIS

NISA KELLNER

DAVID FERRY

Makeup Department Head. . . . . . . JEFF DAWN

Assistant Makeup

Department Head . . . . . . . . AMY LEDERMAN

Makeup Artists . . . . . . . MALINDA BENNETT

MARLENE ALTER

ROBERT FITZ

Hair Department Head . . . . . CANDACE NEAL

Hairstylists. . . . . . . . . . . . . . . . . DAVID BLAIR

PAULA DION

Camera Operator/Steadicam . . . . . JOE CHESS

Camera Operator. . . . . . . . . . . MIKE THOMAS

First Assistant

Camera . . . . . . . . . . . MARICELLA RAMIREZ

PATRICK QUINN

Second Assistant Camera . . TERRY WOLCOTT

JAMIE K. FITZPATRICK

Camera Loader. . . . . . . . . . . . JAMES BARELA

Script

Supervisor . . SHARRON REYNOLDS-ENRIQUEZ

Sound Mixer . . . . . . . TOM WILLIAMS, C.A.S.

Boom Operator. . . . . . . . . . . . . JOEL S. REIDY

Utility Sound . . . . . . . . . . . . . LENNY MANZO

Video Assist Operator. . . . . . PAUL MURPHEY

Video & Graphics

Supervisor. . . . . . . . . . . . . . RICK WHITFIELD

Digital Playback

Operators. . . . . . . . . . . . . . . . . JOSEPH DOYLE

MIKE SANCHEZ

Digital Playback

Coordinator . . . . . . . . . . . ZACHARY HOLMES

Digital Graphics

Animators. . . . . . . . . . . . . . . . CHRIS KEIFFER

VINCE PARKER

Digital Graphics

Designer . . . . . . . . . . . . . . . . GEOFF MANDEL

Location Manager. . . . . . . GREGORY ALPERT

Key Assistant

Location Manager . . . . . . . . PETER COSTELLI

Assistant

Location Managers . . . . . . . . . KAREN STARK

BENJAMIN DEWEY

BRIAN KETCHAM

Production

Coordinator . . . . . DANIEL A. MONDSCHAIN

Key Assistant Production

Coordinator . . . . . . . . . . . . . . ADRIAN CASAS

Post Production

Supervisor. . . . . . . . . . . . . . JILL BREITZMAN

Additional Film Editor . . . . . . BARRY ZETLIN

Visual Effects Editors . . . . . . . . JODY ROGERS

DERRICK MITCHELL

First Assistant

Editor. . . . . . . . . . STEPHEN M. RICKERT, JR.

Assistant Editor. . . . . . . . . . . . . . . . KRIS COLE

Apprentice

Film Editor . . . . . . . . . . MATTHEW KUBORN

Post Production Assistant . . . ROB BRANTNER

Supervising Sound Editor/

Sound Designer. . . . . JON JOHNSON, M.P.S.E.

Re-Recording

Mixers. . . . . . . . . . . . . DAVID E. FLUHR, CAS

MYRON NETTINGA

Sound Editors . . . . . . . . KEITH BILDERBECK

NOAH BLOUGH

SANDY GENDLER

BEN WILKINS

Assistant Sound Editors . . . . . . . BRAD SOKOL

DEVIN JOHNSON

Dialogue/ADR Supervisor. VANESSA LAPATO

Dialogue/ADR

Editors . . . . . . . . . . . BRUCE STUBBLEFIELD

ROBERT TROY

VAL KUKLOSKY

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

ADR Recordist . . . . JEANNETTE BROWNING

Recordists . . . . . . . . . . . . . . . BRIAN DINKINS

ERIK FLOCKOI

Engineers. . . . . . . . . . . . . EDDY HERNANDEZ

ANDY WINDERBAUM

FRANCISCO PAREDES

STEPHEN POTTER

Foley Supervisor . . . . . . . . . MIGUEL RIVERA

Foley Artists. . . . . . . . . . . . . . . GARY HECKER

MICHAEL J. BROOMBERG

VINCENT GUISETTI

PAMELA NEDD KAHN

Foley Recordists. . . . . . . . . . . . MIKE MARINO

KYLE ROCHLIN

ADR Voice Casting . . . . . . . TERRI DOUGLAS

Re-Recorded

at. . . . . . . . . . . THE WALT DISNEY STUDIOS

Chief Lighting

Technician . . . . . . . . . . FRANS WETERRINGS

Assistant Chief Lighting

Technician. . . . . . . . . . . . . . . . EVANS BROWN

Additional Best Boy Electric. . JIM MITCHELL

Key Grip . . . . . . . . . . . . . . . . DAVID J.LARUE

Best Boy Grip . . . . . . . . . . PETER D’ANGELO

Dolly Grip . . . . . . . . . . . . WILLIAM D. WYNN

Special Effects Supervisor. . . ALLEN L. HALL

Special Effects

Coordinator . . . . . . . . . . . ROBERT WILLIAMS

Special Effects Foremen . . . . . . . . MATT HALL

MARK T. NOEL

Property Master . . . . . . . . . RITCHIE KREMER

Assistant

Property Masters . . . . . . . . . CURTIS CORBITT

NOAH DUBREUIL

CREDITS

Armorer. . . . . . . . . . . . . . . . . . . DAVID FENCL

2nd 2nd Assistant

Director. . . . . . . . . . . . . . . GREGORY PAWLIK

Additional Second

Assistant Director . . . . . . . BRETT ROBINSON

Base Camp

Production Assistant. . . . . . . . . JILL K. PERNO

Key Production Assistant . . . . . . ZACK SMITH

Production Assistants. . . . . . . SEAN O’REILLY

JOHN A. WEST

SEAN TUFTS

MIKE SCHAUB

MICHAEL REILLY

JON CORTIZO

KATHERINE WOOD

Office Production

Assistants . . . . . . . . . . . . . . . . . . JEFF DIONNE

EDWARD H. OSTERMANN

ROSS TATELMAN

DAN RAFELD

ROB GOODRICH

MARY BOORAS

JONATHAN FOCIL

ELEANORE TEBBETTS

Assistants to

Mr. Hoberman . . . . . . . . . . KIM FERANDELLI

STEPHANIE NORTON

Assistants to

Mr. Lieberman. . . . . . . . REBECCA WINDSOR

JARED MARSHALL

Assistants to

Mr. Mostow . . . . . . . . . . . SERENITY FORBES

LEIGH ENOCH

Assistant to

Mr. Nicksay . . . . . . JONATHAN MONTEPARE

Cast Production Associate

for Bruce Willis . . . . . . . . . STEPHEN J.EADS

Set Designers. . . . . . . . . . . . . . . . . . AL HOBBS

STEPHEN CHRISTENSEN

LORRIE CAMPBELL

DOMENIC SILVESTRI

E. DAVID COSIER

Construction Coordinator . . . . C. JONAS KIRK

General Foreman. . . . . . . . . MARCEL WORCH

Surrogate Movement

Coach . . . . . . . . . . . . . . . . LORIN ERIC SALM

Production Accountant . . . . . GAIL SHERIDAN

First Assistant Accountant . . PAM ELLINGTON

Assistant

Accountants . . . . . . . . . NICK CONSTANTINO

CABERNET MURRAY

JENNIFER JACOBS

Construction

Accountant . . . . . . . . . . . ALISON HARSTEDT

Payroll Accountant . . . . . . . . . AMY WINFREY

Post Production

Accountant . . . . . . . . . . . . . NADIA BOMBINO

Unit Publicist. . . . . . . . . . . . . . . ERNIE MALIK

Still Photographer. . . . . . . STEPHEN VAUGHN

Transportation

Coordinators. . . . . . . . . . . . . AARON SKALKA

WILLIAM O’BRIEN

Transportation Captains . . . . . . KEITH FISHER

GILBERT EATHERTON

MA Casting . . . CAROLYN PICKMAN, C.S.A.

Extras Casting. . . . . . . . . . . . MEAGAN LEWIS

Casting Associate. . . . . . . . . . . WYNNE TSING

Casting Assistant . . . . . . . . . ALLISON BADER

First Aid/Medics. . . . . . . . . . . . . . . KIM QUAM

KENNETH D. FITZGIBBON

Catering . . . . . . . . . . . HAT TRICK CATERING

Craft Service . . . . . . . . . . . . . . TRACY R. FOX

ETHAN FOX

CHARLIE SCIMONE

Supervising

Music Editor. . . . . . . . . . . SCOTT STAMBLER

Music Editor . . . . . . . . . . . . . . . . RYAN RUBIN

Supervising Orchestrator . . . BRUCE FOWLER

Orchestrations by . . . . SUZETTE MORIARTY

KEVIN KASKA

WALT FOWLER

KEN THOME

Score Recorded and Mixed by. . . TOM VICARI

Digital Workstation

Operator . . . . . . . . . . . . . . . VINCENT CIRILLI

Mix Recordist . . . . . . . . . . . . TOM HARDISTY

Score Recorded at . . SONY SCORING STAGE

NEWMAN SCORING STAGE

Score Mixed at. . . . . RECORD ONE STUDIOS

Orchestra

Conducted by. . . . . . . NICK GLENNIE-SMITH

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

WALT DISNEY MUSIC LIBRARY

Orchestra Contractor . . . . . . REGGIE WILSON

Assistant

Orchestra Contractor. . . . . . CONNIE BOYLAN

Main Title Sequence

Designed and Produced by . . . . . . . . . . . . . . PIC

End Titles. . . . . . . . . . . . . SCARLET LETTERS

Digital Intermediate

Provided by. . . . . . . . . . . . . . . . . . COMPANY 3

Executive Producer for

Company 3 . . . . . . . . STEFAN SONNENFELD

Colorist . . . . . . . . . . . STEPHEN NAKAMURA

Digital Intermediate

Producer . . . . . . . . . . . . . . . . . NICK MONTON

On-Line Editor. . . . . . . . . . . ROB DOOLITTLE

Company 3

Producer . . . . . . . . . . . . MISSY PAPAGEORGE

Digital Intermediate Executive . . . JACKIE LEE

Digital Intermediate

Technologist . . . . . . . . . . . . . . . MIKE CHIADO

Scanning Manager . . . . . . . MICHAEL BOGGS

Negative

Cutter. . . . . . . . . . . . WALT DISNEY STUDIOS

NEGATIVE CUTTING,

MARY BETH SMITH

Color Timer. . . . . . . . . . . . . . . . CHRIS REGAN

Second Unit Director . . . . . . . . SIMON CRANE

Director of Photography . . . . . . IGOR MEGLIC

Unit Production Manager . . . ROBERT J. MINO

First Assistant Director. . . MATT REBENKOFF

Second Assistant

Director. . . . . . . . . . . . . MARK TRAPENBERG

Stunt Coordinator . . . . . . . WADE EASTWOOD

Make-Up

Department Head . . . . . . . . STEVE LA PORTE

Make-Up Artist . . . . . . . . . . . MARK LANDON

Hair Department Head. . . AUDREY ANZURES

Camera

Operator . . . . . . . . . ONOFRIO NINO PANSINI

First Assistant Camera. . . . . . GREG LUNTZEL

Second

Assistant Camera . . . . . . . . MATT FORTLAGE

Camera Loader . . . . . . . . MIKE KOWALCZYK

Aerial Coordinator . . . . . . . . . . ALAN PURWIN

Aerial Director of

Photography . . . . . . . . . . . . . . STEVE KOSTER

Helicopter Pilot. . . . . . . . . . . . . MIKE PEAVEY

Script Supervisor . . . . . . . . . . KELLY CRONIN

Sound Mixer . . . . . . . . . DAVID J.SCHWARTZ

Boom Operator. . . . . . . . . . . . . . RYAN BAKER

Location Manager . . . STUART A. NEUMANN

Chief Lighting Technician. . . . EVANS BROWN

Best Boy Electric. . . . . . . . . . . JIM MITCHELL

Key Grips. . . . . . . . . . . . . . . PETER CHRIMES

WILLIAM M. WEBERG

Best Boy Grip . . . . . . . WARREN A. WEBERG

Dolly Grip. . . . . . . . . . . . . . TONY CAMPENNI

Crane Dolly Grip . . . DARRYL RICHARDSON

Property Master . . . . . . . JENNIFER GERBINO

Production

Coordinator . . . . . . . . . DORIS DONNENBERG

Assistant Production

Coordinator. . . . . . . . . . . . ANGIE LEE COBBS

2nd 2nd

Assistant Director . . . . . . . . JESSICA FRANKS

Additional Second

Assistant Director . . . . . . . . . . . MATT RAWLS

Caterer . . . . . . . . . . . . . . . . . . . . IVAN KERUM

Make-Up

Effects by. . . . . . . . . . . GREGORY NICOTERO

and HOWARD BERGER

Special Makeup

Effects by . . . . . . . . . . KNB EFX GROUP, INC.

Key Prosthetic Makeup Artist . . . . TAMI LANE

Key Technician . . . . . . . . . . . . . CAREY JONES

Shop Supervisor . . . . . . . . . . MICHAEL DEAK

Art Department. . . . . . . ANDY SCHONEBERG

ALEX DIAZ

GRADY HOLDER

MIKE MCCARTY

JOEY OROSCO

JOHN WHEATON

JAVIER ZEPEDA

Mold Department . . . . . . . . . . . JIM LEONARD

CHRIS CERA

JOE GILES

BRIAN GOEHRING

A J VENUTO

Silicone Department . . . . . . . . DEREK KROUT

STEVE KATZ

CREDITS

Mechanical Department . . . JAKE MCKINNON

JEFF EDWARDS

GREG JEIN

WAYNE TOTH

DAVE WOGH

Hair Department. . . . . . . . . . . . MARK BOLEY

JACK BRICKER

KNB Production

Coordinator . . . . . . . . . . . VERONICA TORRES

Visual Effects

Producers . . . . . . . . . . . . . . MIKE CHAMBERS

ARTHUR WINDUS

Visual Effects

Coordinator. . . . . . . . . . LAUREL SCHNEIDER

Visual Effects

Assistant Coordinator . . . . . . KATIE STETSON

Visual Effects

Production Assistants . . . . . . . . . JOSEPH PAYO

CHAD LEMIEUX

Visual Effects On-Set

Data Wranglers. . . . . . . . . . . . NIELS NIELSEN

JOE WEHMEYER

Visual Effects by. . . . . . . . . . . . SANDBOX F/X

VFX Supervisor. . . . . . . . . . JOHN P. NUGENT

VFX Producer . . . . . . . . . . . ANN PODLOZNY

VFX Coordinator . . . . . . EILEEN O’CONNOR

Digital Supervisors . . . MONTELL BAIOCCHI

ASA HAMMOND

Digital Compositing Lead. . . . . . . . . TOM ZILS

Digital Compositors . . . . . . MANDA CHEUNG

CRAIG CRAWFORD

TIM FESCOE

JASON KNIGHT

JAY LALIME

LAURIE POWERS

Digital Artists . . . . . . . . . . . . . . JAMES GOING

NATALIE BAILEY

KIRSTIN BRADFIELD

CHRIS ENG

STEVE FERRERA

TRAVIS FIKE

AIDAN FRASER

JORDAN MCKAY

MELISSA MOSS

DEVORAH PETTY

DAVID PHILOGENE

Visual Effects by. . . . . . . . . . . . . . . . . . . . . MPC

VFX Supervisor. . . . . . . . . . . . . . DOUG ODDY

CG Supervisor . . . . . . . . . . . . . . . MAX WOOD

2D Supervisor . . . . . . . . . MATTHEW ADAMS

VFX Producer. . . . . . . . . . . . . . . LIZ ROBERTS

VFX Production Manager. . . . CABRAL ROCK

VFX Coordinator. . . . . . . . . . . RUSSELL LUM

R&D/Pipeline Lead. . . . . . . . . . . . . BEN COLE

Lead Modeler . . . . . . . RHYS CLARINGBULL

Modeler. . . . . . . . . . . . . . . . . . . CHRIS UYEDE

Lead Texture Painter . . . . . . . . . . JUSTIN HOLT

Rigging. . . . . . . . . . . . . . . . . STEPHEN MISEK

Environments . . . . . . . . . CLEMENT GERARD

Lead Matchmove Artist. . . . GEORGE TAYLOR

Lead Animator. . . . . . . . TOM GOODENOUGH

Animators. . . . . . . . . . . ANTHONY DI NINNO

BENSON SHUM

Lead Look Dev Artist . . . . . . GEOFF PEDDER

Lead Lighting TD . . . . . MICHAEL KENNEDY

Lighting TD. . . . . . . . . . . . . . . BRYAN LITSON

Lead FX TD. . . . . HARRY MUKHOPADHYAY

FX TDs. . . . . . . . . . . . . . . . DAVID STOPFORD

DEREK WOLFE

JEFF HIGGINS

Compositors . . . . . . . . . . . . . . . . . . . KEN LAM

LANDON BOOTSMA

MARK CURTIS

MATHEW KRENTZ

MATTHEW YEOMAN

MATTHIAS LOWRY

MICHAEL ADKISSON

MICHAEL STEWART

PATRICK THOMPSON

SCOTT CHAMBERS

SEAN O’HARA

Visual

Effects by . . . . . . . . SYNTHESPIAN STUDIOS

Visual Effects

Plate Supervisor . . . . . . . . JEFFREY KLEISER

Visual Effects

Supervisor. . . . . . . . . . . . . JEFFREY KALMUS

Visual Effects

Producers. . . . . MICHAEL VAN HIMBERGEN

CHRIS HOLMES

CG Supervisor . . . . . . . . . . BRIAN EMERSON

Compositors. . . . . . . . . . . . . . CHRIS DAWSON

ERIC DEINZER

DAVID FOGG

BRAD GAYO

LINDA HENRY

SOYOUN LEE

BRIAN SORBO

JUNKO SCHUGARDT

ED L. ANDERSON

MARIANA ACUÑA ACOSTA

BRUCE HARRIS

JERRY HALL

JAMES J. MONTALBANO

KEN BUSICK

ZIAD SEIRAFI

CG Artists. . . . . . . . . . . . . . . EDWARD QUIRK

HENRY PARKER

MARC LEIDY

TRAVIS PINSONNAULT

ALEX TIRASONGKRAN

JESSICA HEE

Visual Effects

Coordinator . . . . . . . . . . . . . . AMANDA ROTH

Visual

Effects by. . . . . . . BRICKYARD FILMWORKS

Additional Visual Effects

by . . . . . . . INDUSTRIAL LIGHT & MAGIC –

A LUCASFILM LTD. COMPANY

Additional Visual Effects

Compositing by . . . . . . . . . . . JOE DIVALERIO

DAVID LOCKWOOD

SONGS

“Goodies”

Written by Sean Holland

Performed by Debra Dolce

Courtesy of Manhattan Production Music and

Coco Machete

“Bach Air”

Written by Johann Sebastian Bach

Performed by Classical Masters

Courtesy of SmartSound Software, Inc.

“Election Campaign”

Written and performed by Jack Waldenmaier

Courtesy of SmartSound Software, Inc.

“Phase Three”

Written by Alexander Roeder

Performed by Eurobeat Club

Courtesy of SmartSound Software, Inc.

“HiJacker”

Written and performed by Deane Ogden

Courtesy of Deane Ogden Music

“Skin Trade”

Written and performed by Deane Ogden

Courtesy of Deane Ogden Music

“This Game Of Love”

Written by Rachel Lipman, Jonathan Mostow,

Jeff Pescetto

Performed by Robbyn Kirmsse

“Beethoven’s 9th”

Written by Ludwig Von Beethoven

Performed by Classical Masters

Courtesy of SmartSound Software, Inc.

“I Will Not Bow”

Written by Benjamin Burnley, Jasen Rauch

Performed by Breaking Benjamin

Courtesy of Hollywood Records

American Humane monitored the animal action.

No animals were harmed.

(AHAD 01484)

The Producers Wish to Thank:

Commonwealth of Massachusetts

H. Peter Nordstrand,

Deputy of Real Estate Services

City of Boston

Thomas M. Menino, Mayor

Patricia Papa, Director of Events & Film

CREDITS

Boston Police Department

Sergeant Michael P. O’Connor, Jr.

City of Worcester

Erin I. Williams, Cultural Development Office

City of Lynn

Andrea D. Scalise, Mayoral Aide

Lyman Whitaker

Thought Equity Motion

FootageBank

CNN

WGBH Media Library and Archives

BBC Motion Gallery

Stock footage courtesy of

Bill Mitchell/Blue Sky Stock Footage

GETTY IMAGES

©CORBIS

Paula Aguilera, MIT Media Lab

Cognitive Machines Group, MIT Media Lab

Robotics Research Corporation, Cincinnati, OH

Bionic Arm clip courtesy of Vanderbilt

University School of Engineering and Dr.

Michael Goldfarb

WCVB-TV/DT

Courtesy of Wired, Condê Nast Publications

Courtesy of Newsweek

Monkeys Unlimited

Color by Deluxe®

Domestic Prints by Deluxe®

International Prints by Technicolor®

Camera Cranes & Dollies by

Chapman/Leonard Studio Equipment, Inc.

MPAA # 45570

Filmed with PANAVISION®

Cameras and Lenses

For the purposes of United Kingdom

owner of copyright in this film immediately

after it was made.

Distributed by

WALT DISNEY STUDIOS

MOTION PICTURES

SURROGATES

Production Information

People are living their lives remotely from the safety of their own homes via robotic

surrogates—sexy, physically perfect mechanical representations of themselves. It’s an ideal

world where crime, pain, fear and consequences don’t exist. When the first murder in years

jolts this utopia, FBI agent Greer

(BRUCE WILLIS) discovers a vast

conspiracy behind the surrogate

phenomenon and must abandon his own

surrogate, risking his life to unravel the

mystery.

Touchstone Pictures presents

“SURROGATES,” a gripping action

thriller directed by Jonathan Mostow

(“Terminator 3: Rise of the Machines,”

“Breakdown”) which also stars RADHA

MITCHELL, ROSAMUND PIKE,

BORIS KODJOE, JAMES FRANCIS GINTY, MICHAEL CUDLITZ, JAMES CROMWELL

and VING RHAMES.

“SURROGATES” is produced by Mandeville Film’s David Hoberman and Todd Lieberman

(“The Proposal,” “Traitor,” “Wild Hogs”) along with Brownstone Productions’ Max

Handelman. Executive producers are David Nicksay (“Legally Blonde,” “The Negotiator,”

“Robin Hood: Prince of Thieves”) and Brownstone Productions’ Elizabeth Banks (acting

credits: “Zack and Miri Make a Porno,”

“W.,” “The 40-Year-Old Virgin”). The

screenplay is by John Brancato &

Michael Ferris (“Terminator 3: Rise of

the Machines,” “The Game”), based on

the popular and inventive Top Shelf

Comix graphic novel by Robert Venditti

and Brett Weldele.

The creative team includes production

designer Jeff Mann (“Terminator 3: Rise

of the Machines,” “Transformers,”

“Gone in Sixty Seconds”), Emmy

Award®-winning costume designer April Ferry (“Terminator 3: Rise of the Machines,” “U571,”

HBO’s “Rome”), veteran cinematographer Oliver Wood (“The Bourne” trilogy,

“Fantastic Four,” “U-571”), seasoned film editor Kevin Stitt (“The Kingdom,” “Cloverfield,”

PRODUCTION INFORMATION

THE BIRTH OF SURROGATES

“Breakdown”) and Oscar®-winning

visual effects supervisor Mark Stetson

(“Superman Returns,” “2010,” “Lord of

the Rings: The Fellowship of the Ring”).

The behind-the-scenes team includes

three additional Academy Award®

winners—makeup artist Howard Berger

(“The Chronicles of Narnia: The Lion,

the Witch and the Wardrobe,”

“Transformers,” “Grind House”),

makeup artist Jeff Dawn (“Terminator 2:

Judgment Day,” “Terminator 3: Rise of

the Machines,” “Batman & Robin”) and sound designer Jon Johnson (“U-571,”

“Breakdown”).

“SURROGATES” was filmed on location in Massachusetts, primarily in Boston and

surrounding suburbs.

THE BIRTH OF SURROGATES

The Future Is Now

First the computer. Then email, tiny cell phones and the Internet. Today, sexy robotic

surrogates fill in for their less attractive human counterparts—regular people who no longer

have to venture out into the real world themselves. In the world of “SURROGATES,” has

technology gone too far?

“The premise of the movie is that surrogacy has taken over the world like cell phones and

computers,” says director Jonathan Mostow. “Surrogates are new devices that offer users the

opportunity to experience life

vicariously from the comfort and safety

of their own homes. In our film,

surrogates represent the ultimate

freedom, from both physical harm and

the mental toll of everyday life. Pleasure

is achievable simply by plugging in.

“But for some, surrogacy feels like

the abandonment of humanity itself,”

Mostow continues. “In a world where

actual physical contact is increasingly

rare, does the very notion of love

threaten to lose its meaning? Those are some of the ideas we explore in our story.”

First-time author Robert Venditti came up with the unique premise while working at Top

Shelf Publications in their shipping warehouse in suburban Atlanta. Looking for a new spin

on the graphic novel, Venditti recalled a sociology book he had read for one of his graduate

school courses which depicted “an actual study of people who played one of those early

community-type online games,” says Venditti. “I was fascinated by how these people just

became so involved in this game, creating these alternate personas for themselves. They

became so identified with them that they would lose their jobs, their marriages, because they

just couldn’t separate their lives from this persona that they created. It was an idea that stuck

with me—the basic human desire to be something other than oneself.”

The author fleshed out his idea further by imagining various reasons people would have for

using a surrogate. “My idea was to create this persona that would go to work and earn money

for you, a practical reason for having a surrogate. I looked at the idea of self-improvement,

where these surrogates represent plastic

surgery to the extreme where you could

maintain yourself as forever young, or be

more muscular—look like your dream

self.”

“The story has always spoken to me

about technology versus humanity,”

producer Hoberman says. “I am someone

who has come very late to computers, the

Internet, email and iPhones. Until

recently, I knew nothing. This story

addressed, in a compelling manner, what

would happen if everybody basically lived inside a computer, and their lives were being lived

by someone else out there. It just spoke to where technology is going. I think it also spoke to

plastic surgery and things people do to their bodies. I thought it was an interesting idea to

explore in a film.”

Bruce Willis (“Die Hard,” “Twelve Monkeys,” “The Sixth Sense”) and Radha Mitchell

(“Man on Fire,” “Melinda and Melinda,” “Pitch Black”) star as FBI agents Thomas Greer and

Jennifer Peters, newly teamed partners charged with investigating a murder. It’s the first

murder in years for their utopian society, and one that triggers questions about the ethics of

surrogate technology and the future of society.

Says Mostow: “This movie is a mystery, a detective story, with Bruce Willis as an FBI agent

whose investigation into the mysterious murder of a surrogate finds the hero confronting a

conspiracy that calls into question the

very definition of humanity.”

“It’s a cautionary tale about how

people live their lives in this

technological world of today,” adds

Hoberman.

In the film, Dr. Lionel Canter is a

reclusive billionaire and M.I.T. genius

whose groundbreaking experiments have

led to the creation of the surrogate

population. Confined to a wheelchair,

Canter began experimenting with

prosthetic limbs while at M.I.T. His research led to a new technology for decoding brain

impulses, which he discovered could be transferred as signals to synthetic humans. These

remotely operated “surrogates” are distinguishable from their flesh-and-blood counterparts

primarily by their physical perfection. Each surrogate is linked directly to a human being,

THE BIRTH OF SURROGATES

TO THE BIG SCREEN

blocks or hundreds of miles away, who control their replicants neurally. Without a human mind

sending and receiving impulses while sitting in a special device called a “stim chair,” these

robotic doubles are completely inert.

So, the world of surrogacy was born—to the applause of millions—and the regret and

contempt of others. Ving Rhames (“Pulp

Fiction,” “Mission: Impossible,” “Con

Air”) portrays The Prophet, the self-

styled leader of a group of disaffected

citizens who passionately oppose the

inhumanity of this technological

lifestyle.

“The core idea of ‘Surrogates’ is how

we retain our humanity in this

increasingly, relentlessly technological

world that we live in,” says Mostow.

“Technology is great. The fantasy of

technology is that it frees us to be creative, productive and to do all these wonderful things.

The flip side to that is that we wind up being servants to it in a certain way. We’re tethered to

our cell phones, to our BlackBerries. It’s great to have email, but when you spend hours a day

returning emails, it becomes an obligation. So, these new opportunities and possibilities in life

also restrain us in certain ways.”

“Technology becomes a lifestyle,”

says producer Todd Lieberman. “That

seems to happen with a lot of

technology. It pervades society and

people then depend on it in their lives.

What would we do today without the

Internet? Without cell phones? It’s

hard to imagine. In this world, what

would they do without surrogates?”

“The story’s just meant to raise such questions,” Venditti concludes. “I don’t know the

answers to the questions. When I wrote the story, I wanted people to see the good uses

surrogates would present to society, as well as the bad ones. Ultimately, I wanted the readers

to make that determination for themselves.”

SENDING “SURROGATES” TO THE BIG SCREEN

A Graphic Novel Becomes a Movie

Producer Max Handelman, a lifelong comic book aficionado, optioned the graphic novel

from Venditti. He found the story’s themes compelling. “The story really moves along at a

great pace and allows you to imagine something that could impact our society someday. Are

we all going to have surrogates? Probably not. But it’s a metaphor for our society’s increasing

reliance on technology and increasingly virtual communication.”

Handelman brought the comic to a college friend, veteran producer Todd Lieberman, who

is partnered with longtime industry producer and studio executive David Hoberman at

Mandeville Films.

“I was looking for something with an edge, a film noir-type story and I found that in

Robert’s story,” says Lieberman. “The

movie starts with two really attractive

people outside of a club. All of the

sudden, some guy approaches and they

fall dead. You have no idea what’s going

on. In comes a detective, Bruce Willis’

character, and his partner. And you

realize pretty quickly that we’re living in

a world that’s not our world.

“The two people who’ve been killed

are actually surrogates,” continues

Lieberman. “Not only are the surrogates

getting destroyed, but the people controlling them at home have been murdered, which is

something that’s never happened in the history of surrogacy. The entire world of surrogates is

at risk because the fail-safe of not harming the user is the cornerstone of the technology.”

Jonathan Mostow agreed to direct the film; his longtime writing partners, John Brancato

and Michael Ferris (“Terminator 3: Rise of the Machines,” the 1991 telefilm, “Flight of Black

Angel”), were tapped to tackle the script, marking a professional reunion for the trio of

Harvard University alums.

“As soon as Mike and I read the graphic novel, we felt it could make a great film,” says

Brancato. “The concept of surrogacy speaks to the modern condition in ways direct and

oblique, a metaphor at once for the Internet, plastic surgery, addiction, role-playing games.

Not to mention outer versus inner

selves.”

To capture the flavor the writers

sought to depict in this present-day/nearfuture

universe populated almost

exclusively by robots, the pair began to

research the technology that reflected

Venditti’s ideas in the graphic novel.

Their studies led the scripters to a

Japanese scientist named Hiroshi

Ishiguro, who has been using a plastic

version of himself to lecture around the

world without leaving his Osaka office. They also uncovered a rhesus monkey in North

Carolina that has been wired to make a robot in Kyoto walk, merely by thinking. The

technology continues to improve with groundbreaking advances that are already benefiting

people with debilitating diseases.

TO THE BIG SCREEN

CASTING “SURROGATES”

Bruce Willis Takes the Lead

“SURROGATES’” roster of characters includes idealized robots as well as real-life

humans. Most cast members were asked to play both.

To bring “SURROGATES’” conflicted FBI agent to life, the filmmakers turned to global

superstar Bruce Willis. “He’s really one

of the great film actors of his

generation,” says Mostow. “It’s a very

specific skill to be able to pull off movies

that have a very high-concept idea

behind them. Here, it’s an alternative

reality, and yet he makes it credible.

That’s really his gift.”

“The thing about Bruce is he plays a

great cop, but he also plays a great

Everyman,” says producer Hoberman.

“Both from a philosophical and

theoretical perspective, that’s what this character is. As he goes through this journey, he

discovers what humanity versus surrogacy is, which leads his character to a great crisis. The

movie also has action and all the things you’d want to see in a Bruce Willis movie.”

“In the movie, the humanity comes through in Bruce’s character,” Mostow says. “Like

everyone else, he goes about his daily grind using this technology. He’s an FBI agent who stays

at home, in the safety of his apartment, and allows his robotic surrogate to go out and perform

all the dangerous tasks that are involved with his work. At a certain point, he loses his

surrogate and is forced to go out as

himself and experience life as a human

being again in a world that is completely

technological and robotic.

“At the same time, he discovers

feelings that have been building up

inside of him about his own

disconnection from his wife, who’s

addicted to using her surrogate,” the

director continues. “He’s a man who’s in

an existential crisis. As he begins to live

as a human being, he realizes how

warped the world is. He begins to see the world totally differently.”

“I see Greer as someone who has lived in and embraced the surrogate world for some time,”

adds producer David Hoberman. “Once his surrogate is destroyed and he can’t get another

one, he’s a man, a human, out there in the world. Eventually he has to make a choice.”

Filmmakers called on Australian actress Radha Mitchell for Greer’s FBI partner Jennifer

Peters. “Peters is an interesting character because she is actually three different people in the

movie,” says producer Lieberman. “She’s the Peters surrogate who is a slightly newer, naïve

cop, partnered up with Greer. There’s the real Peters character, a frumpier version of the

surrogate, a painter, more of an artistic person. And, there’s a third Peters that’s part of the

mystery. It’s a challenge for Radha because of the subtle changes that happen among these

three versions.”

“Radha’s casting was an interesting process,” Hoberman says. “She has a great pedigree.

We’ve seen her in ‘Finding Neverland,’ ‘Man on Fire’ and ‘Feast of Love,’ which Robert

Benton directed. She’s a really good actor and she’s beautiful. She fit the bill perfectly.”

“Through the character of Jennifer Peters, the whole concept of identity is constantly in

question,” says Mitchell. “It’s such an interesting character, or characters, to play. Who is

Jennifer Peters? She is a character who sits at home in her stim chair, one we never really get

to meet as a human. She has brown hair, bad skin, a big bum, funny teeth and stringy hair. She

never wants to leave this enclosed reality

that she lives in, so she experiences life

through this robot, who is an FBI agent.

We see her surrogate, who is also

Jennifer Peters.

“It’s a little confusing, fascinating and

it can be tricky to play a robot with the

same voice and the same movement as

your human character, even though the

intent and motivation of that robot

changes the characterization,” Mitchell

continues.

“Your surrogate can look like whatever you desire,” director Mostow says. “For the sake of

psychological continuity, most users choose surrogates which resemble their real selves in

some way, albeit trimmer and better looking. The more adventurous may opt for completely

different bodies—a new race or gender. Those with less money to spend can operate generic

surries, which lack the facial detail and expressiveness of more expensive units.”

Rosamund Pike was tapped to portray Maggie, Greer’s surrogate-obsessed wife. “Maggie

is beautiful, but sees only imperfections,”

says Hoberman. “She wants to look in

the mirror and see only beauty. For

Greer, beauty is about what’s on the

inside, not what’s on the outside. He fell

in love with her for who she was, not for

what she looked like.”

“Greer and Maggie are a very real

couple who’ve lost a child, which he

deals with by immersing himself in

work, so she has to deal with it all on her

own,” says Pike. “Because she feels so

inadequate, her surrogate offers her perfection. Their interactions become all about two robots

meeting, not the two real people.”

“Their relationship is the soul of the movie,” Hoberman adds. “We start off with two people

who have gone separate ways in dealing with the death of a child—all during the advent of

surrogacy.”

CASTING “SURROGATES”

“The whole idea of surrogacy makes for a kind of kooky and original world,” says Pike. “It

speaks on many levels about peculiar addictions and paranoia regarding self-image. On

another level, it’s a very human story. Maggie and Greer’s relationship is at the heart of that

struggle between perfection and reality.”

Pike says she saw Maggie’s surrogate as a “1950s air hostess—you know, Pan Am at its

height with those little suits.” Her human counterpart was far less put-together. “You feel

pretty vulnerable when you strip it all

away to bring out all the imperfections.”

To embody the role of Canter, the

mastermind behind the groundbreaking

surrogate phenomenon, the filmmakers

turned to two actors: James Francis

Ginty portrays the youthful version of

Canter, while James Cromwell serves as

the older Canter.

“The whole idea for Canter is this

aging guy with a debilitating disease who

lives in a wheelchair, which also doubles

as his stim chair,” director Mostow says. “And, the basic story is that Canter, who created

surrogacy, believes it has gone beyond his original intentions.”

“Canter is not a messiah,” says Ginty. “In fact, I think his overriding motive was very

selfless. Early in his life, he was afflicted with a dreadful condition. From that experience, he

focused his energy towards bettering the world. So, he created surrogates to help people who

were sick.”

“What an amazing thing to be able to give that gift to people that can’t live life like

everyone else,” says producer

Hoberman. “Canter thought it would

help law enforcement and our soldiers so

they wouldn’t have to die—they’d be safe

while their surrogates got blown up in

battle. But the technology got exploited

when a big conglomerate took it over and

made it for everyone. Canter feels the

surrogacy technology has gotten out of

hand.”

On the other side of the surrogate

controversy is the mad seer who calls

himself The Prophet. “He’s a fascinating character because he’s meant to be this kind of

mythological figure that all these human beings follow,” producer Lieberman says. “He

preaches pro-humanity, anti-technology, anti-surrogacy.”

The filmmakers called on Ving Rhames to portray the passionate character. “Ving Rhames

is such a phenomenal actor and strong presence that he was perfect for the role,” says

Lieberman. “He just emotes strength and leadership.”

Adds Hoberman, “Ving is powerful with a great voice. We also thought he would be a good

foil for Bruce, too.”

“The Prophet is a cult leader who

represents this faction of people who

object to the use of surrogates, be it for

religious or maybe even economic

reasons,” says author Venditti. “These

disenfranchised citizens don’t take part

in the surrogate culture, so they live on

the fringe in a place called ‘The

Reservation’ where humans who’ve

decided to disconnect from this

technological world live.”

Rounding out the cast are Boris

Kodjoe as FBI supervisor Andrew Stone, Michael Cudlitz as Colonel Brendon, and Jack

Noseworthy as a local thug named Strickland who helps jump-start the story.

“In this fast-changing 21st century, where the technological changes of the Internet and all

these things are happening at warp speed, there’s this generalized anxiety in people as to how

to adapt in that environment,” Mostow says. “And this story about surrogates speaks to that. It

becomes an allegory for life in the technological age. People identify with different aspects of

the story immediately because they see it in their own lives.”

MAKING “SURROGATES” A REALITY

On Location with Veteran Behind-the-Scenes Talent

“SURROGATES” marked a homecoming of sorts for director Mostow, a Connecticut

native who graduated from Harvard University 25 years ago.

In addition to mounting the film in several neighborhoods around Boston—the Leather

District, the Financial District, the South End, Chestnut Hill, and the home of his alma mater,

Cambridge, among them—Mostow also filmed in such Boston suburbs as Worcester, home to

the FBI headquarters in the city’s shuttered downtown courthouse; Taunton—its abandoned

Dever State Hospital mental institution doubled for The Prophet’s Reservation commune; and

Hopedale, where the former Draper Mill

loom factory was the site for the film’s

more climactic moments.

Says producer Hoberman, “The

interesting thing about Boston, from a

filmmaker’s point of view, are these

historic structures and buildings that

were built in the 1800s. It has this classic

American brick-and-stone architecture

alongside these glass monoliths. And the

one thing Boston’s done better than any

city in the country is have it fit together.

Our story is not really futuristic, but sort of in the present. And Boston, in its architecture,

gives you that sense of both past and future, and we rode that line with it.”

To create this imaginative world pitting technology against humanity, Mostow recruited top

ON LOCATION

filmmaking veterans, including production designer Jeff Mann and his art department, notably

set decorator Fainche MacCarthy.

“One of the things I really liked about

this movie was the wide range of looks

and sets and locations and environments

that we created and visited,” Mostow

says. “In terms of all the looks and

designs, we spent six months before we

ever started building, just talking and

conceptualizing, making sure that things

were based in logic, which was satisfying

both for myself and for our production

designer, Jeff Mann. A lot of thought

went into this, and a lot of really talented

people did some great work.”

“This world is thrilling and interesting and visceral,” says Mann. “The graphic novel is a

very moody, dark story set in this futuristic environment. In the movie, we set the story in a

kind of parallel world. This technology of surrogacy is extremely advanced, but the surrogates

in our story are tools. Their operators are absolutely responsible for the actions of this

machine, just like you would do to any other machine.”

Mann designed several large set builds for the film, notably the DMZ habitat where a

renegade band of humans have taken refuge from this technological world devoid of humanity

and sensitivity.

There, one of the story’s central action

sequences takes place in a mammoth

maze of rusted, rotting shipping

containers piled atop each other like

huge building blocks rattled in a massive

earthquake. An apocalyptic wasteland

framed against a rotting loom factory

abandoned three decades ago that

provided a stark backdrop to a society

that Mann calls “extremely bleak.”

“The DMZ zone is a trashladen slum,”

says Mann. “It’s a kind of commerce area for the Dreads, where they’re recycling or stripping

copper wire. They use these things to barter with in the surrogate world for the necessities they

can’t manifest for themselves in order to live in their isolated state.”

“The DMZ is this kind of war zone that surrounds the Reservation where the Dreads live

and disconnect from society,” says Mostow. “It was full of burned-out vehicles and parts

where these people try to make their living by manufacturing items that they can live on. This,

along with the Reservation, were two sets in the movie that help make for a different

experience for the audience.”

In stark contrast to this post-apocalyptic backdrop was the serenity of the Dever State

Hospital, a sprawling, abandoned medical campus in far south-suburban Taunton that became

the perfect setting for The Prophet’s isolated Reservation commune where the Dreads “sort of

live life the way we probably did in the ’30s and ’40s,” says Hoberman. “A simpler life,

without any technology, where humans farm their own food.”

“It had this urban quality to it that felt kind of city adjacent,” adds Mann. “It had an

overgrown feeling as if reclaimed by nature. We put solar cells on the roofs and created these

cisterns to affect the reclaiming of rainwater. We also planted vegetable gardens like public

green spaces.”

The place where surrogates actually

went for their own robotic facelifts was

fabricated in Boston’s downtown Leather

District in a chair manufacturing plant

that became Maggie’s beauty salon in the

film.

“Maggie is a beautician and the

beauty in this world involves

technology,” Rosamund Pike says about

her character. “My beauty shop is almost

like an auto-body shop. We’re doing

blasting and sanding—industrial beauty is what we call it.”

Fainche MacCarthy’s crew dressed the set with power tools and belt sanders—all with

dainty pink flowered handles.

“There’s a scene where Rosamund has this beautiful woman who’s come in to get a face

replacement,” prosthetic makeup artist Howard Berger says. “We built a replica of the actress

that had a face that you could peel off. It was a very thin silicone face that fit over an endoskull

over this upper torso of the actress. It’s a seamless blend of the actress talking, while the

face is being pulled off, revealing the robot’s endo-skull underneath. Mark Stetson’s visual

effects department pulled it all together.”

One of Mann’s eye-catching creations included the “stim chair,” the device from which

humans neurally operate their robotic doubles. “The stim chairs were a challenge because I

didn’t want them to look too dental,”

Mann says. “It’s a comfortable, exposed

lounge chair with these sensor devices

that are supposed to articulate nerve

reactions and other muscle stimulus.”

“The initial concept in the script for

the stim chair was this very comfortable

seat where you were attached to wires

and electrodes,” Mostow adds. “We

didn’t want something that felt

claustrophobic, so I came up with the

idea that essentially you are in something

like a massage chair—which already creates a sense of relaxation. And there are lasers reading

your skin temperature and reading your body movements and neural impulses. The only thing

you have to wear is a very light headset that’s modeled on something like a Bluetooth. The

idea was to create something one wouldn’t mind sitting in for 16 hours a day.”

To complement the stim chair, Mann also fabricated another key set piece—the charging

ON LOCATION

cradle. “When you buy your surrogate, it’s shipped to you in this dual-purpose container that’s

both the shipping container and the charging cradle for it,” Mostow says. “So, at the end of the

day, you come home and you back into your charging cradle and plug in to recharge.”

The actual robotic look of the main cast and hundreds of extras appearing in the film came

to life through the combined efforts of the film’s two makeup departments—the key makeup

under the guidance of

Oscar®-winner Jeff Dawn

(“Terminator 2: Judgment

Day”), and the special

prosthetic designs courtesy

of another Oscar winner,

Berger (“The Chronicles

of Narnia: The Lion, the

Witch and the Wardrobe”).

Because most of the main cast portrays two or more versions of their characters, Dawn and

Berger utilized their many years of trickery to distinguish between the perfect surrogates and

their rather imperfect human counterparts.

“The challenge for makeup and hair on this film from day one was determining what

differentiates a human from a surrogate,” says Dawn. “Surrogates—are they plastic? Are they

hyper real? Are they better looking than normal attractive people? The challenge was to make

people who are already good looking look spectacular in every shot.

“The idea of surrogates touches on vanity that we all have, especially in this industry,”

continues Dawn. “It touches on the technological advancements that we’ve made in the last

few decades. You combine the two and you come up with a seemingly wonderful idea—the

perfect man. I’ll make myself younger or taller or better looking.”

Dawn says that Willis had no trouble accepting himself in his own skin—even when the

artisans added less-than-ideal details. “The human Greer character is a little older, a little

rougher, a little more wrinkled,” says Dawn. “And Bruce was very good about that. When I

needed to add a little age, some wrinkles, a salt-and-pepper beard, he was game for all of that.

Now the surrogate Bruce had to be perfect, which we accomplished using a full head of blonde

hair and these blonde eyebrows.”

Prosthetic makeup creator Berger needed to decipher the evolution of surrogates in his

approach to designing a wide assortment of makeup applications and animatronic puppets for

the film.

“There were a tremendous amount of challenges in trying to figure out how surrogates

evolved,” he says. “I sat down with Jeff Mann and Jonathan to work out ideas, which presented

us with many questions. Are they more robotic? Are they made of plastic or metal? Are their

skins silicone? Are they something organic? Are they carbon fiber? The most important thing

was what their endoskeletons were like. What’s inside of a surrogate? They’re all synthetic,

made out of plastics and carbon fiber. Completely mechanical. Robots.”

Some of Berger’s unique designs included the crucified corpse of the surrogate Greer after

it’s destroyed; shotgun wounds that graphically reveal the mechanical innards of the robotic

doubles—KY jelly and green food coloring worked well as the hydraulic fluid that circulates

through the surrogates; and eight animatronic “drone” puppets that operate the surveillance

monitors inside FBI headquarters.

Casting Boston as the locale of this parallel reality created a challenge for the film’s visual

effects gurus, here under the supervision of Oscar® winner (and three-time nominee) Mark

Stetson. The film marked a homecoming for Stetson (honored in 2006 as one of Hollywood’s

“Digital 50” content creators by the Hollywood Reporter and the P.G.A.), another

Massachusetts native among the crew.

Stetson, who began his career 30 years ago, calls his role on “SURROGATES” a

supporting one. “Our job was to help integrate the concept of surrogates into the everyday

reality portrayed in the film. Because the movie takes place in the present, we tried to integrate

some of the more advanced technologies in the story into everyday scenes to make everything

look real.”

Making a perfect robotic version of a high-profile actor was a tricky business, he says. “The

differences between the surrogate and its human owner/operator were established primarily

with costume and makeup, live on the set,” Stetson says. “We enhanced those differences with

VFX technologies beyond the limit of practical stage techniques by using a combination of 2D

compositing and 3D CG techniques.”

Mostow also called on veteran cinematographer Oliver Wood (“The Bourne” trilogy), the

longtime journeyman whose lighting and camera work enhanced the claustrophobic

atmosphere of Mostow’s 2000 Oscar®-winning WWII thriller, “U-571.” Emmy®-winning

costume designer April Ferry (HBO’s “Rome”) returned for her third project with the director,

one in which she created dual worlds as illustrated by a combination of store-bought threads

and custom-made clothing which vividly distinguished the state of surrogates versus that of

humans among the film’s cast. The director also tapped veteran film editor Kevin Stitt, who

cut Mostow’s big screen debut, “Breakdown,” over a decade ago.

ABOUT THE CAST

BRUCE WILLIS (FBI Agent Greer) has demonstrated

incredible versatility in a career that has included such diverse

characterizations as the prizefighter in Quentin Tarantino’s “Pulp

Fiction” (1994 Palme D’Or winner at Cannes), the philandering

contractor in Robert Benton’s “Nobody’s Fool,” the heroic time

traveler in Terry Gilliam’s “12 Monkeys,” the traumatized Vietnam

veteran in Norman Jewison’s “In Country,” the compassionate child

psychologist in M. Night Shyamalan’s Oscar®-nominated “The Sixth

Sense” (for which he won the People’s Choice Award) and his

signature role, Detective John McClane, in the “Die Hard” series.

Following studies at Montclair State College’s prestigious theater program, the New Jersey

native honed his craft in several stage plays and countless television commercials, before

landing the lead role in Sam Shepard’s 1984 stage drama “Fool for Love,” a run which lasted

for 100 performances off-Broadway.

Willis next won international stardom and several acting awards, including Emmy® and

Golden Globe® honors, for his starring role as private eye David Addison in the hit TV series

“Moonlighting,” winning the role over 3,000 other contenders. At the same time, he made his

motion picture debut opposite Kim Basinger in Blake Edwards’ romantic comedy “Blind

Date.”

ABOUT THE CAST

In 1988, he originated the role of John McClane in the blockbuster film “Die Hard,” one of

the highest-grossing releases of the year. He later reprised the character in three sequels: “Die

Hard: Die Harder” (1990), “Die Hard: With a Vengeance” (1995’s global box-office champ)

and “Live Free, Die Hard” (one of the box-office hits of summer 2007).

His wide array of film roles includes collaborations with such respected filmmakers as

Michael Bay (“Armageddon”), M. Night Shyamalan (“The Sixth Sense” and “Unbreakable”),

Alan Rudolph (“Mortal Thoughts,” “Breakfast of Champions”), Walter Hill (“Last Man

Standing”), Robert Benton (“Billy Bathgate,” “Nobody’s Fool,”), Rob Reiner (“The Story of

Us”), Ed Zwick (“The Siege”), Luc Besson (“The Fifth Element”), Barry Levinson

(“Bandits,” “What Just Happened”), Robert Zemeckis (“Death Becomes Her”) and Robert

Rodriguez (“Sin City,” “Grind House”) .

Other motion picture credits include “The Jackal,” “Mercury Rising,” “Hart’s War,” “The

Whole Nine Yards” (and its sequel “The Whole Ten Yards”), “The Kid,” “Tears of the Sun,”

“Hostage,” “16 Blocks,” “Alpha Dog,” “Lucky Number Slevin” and “Perfect Stranger.” He

also voiced the character of the wise-cracking infant, Mikey, in “Look Who’s Talking” and

“Look Who’s Talking Too” as well as the lead characters RJ & Spike in the animated hit

features “Over the Hedge” and “Rugrats Go Wild!”

Willis most recently completed work opposite Tracey Morgan in the Kevin Smith directed

action/comedy feature “A Couple of Dicks.”

In addition to his work before the cameras, Willis produced “Hostage” and “The Whole

Nine Yards” and executive produced “Breakfast of Champions,” adapted from Kurt Vonnegut’s

best-selling novel. With brother David Willis and business partner Stephen Eads, he cofounded

Willis Brothers Films, a film production company based in Los Angeles.

Willis also maintains a hand in the theater. In 1997, he co-founded A Company of Fools, a

non-profit theater troupe committed to developing and sustaining stage work in the Wood

River Valley of Idaho, and throughout the U.S. He starred in and directed a staging of Sam

Shepard’s dark comedy “True West” at the Liberty Theater in Hailey, Idaho. The play, which

depicts the troubled relationship between two brothers, was aired on Showtime and dedicated

to Willis’ late brother Robert.

An accomplished musician as well, Willis recorded the 1986 Motown album “The Return

of Bruno,” which went platinum and contained the No. 5 Billboard hit “Respect Yourself.”

Three years later, he recorded a second album “If It Don’t Kill You, It Just Makes You

Stronger.” In 2002, he launched a U.S. club tour with his musical group, Bruce Willis and the

Blues Band and he traveled to Iraq to play for U.S. servicemen.

RADHA MITCHELL (FBI agent Peters) recently starred in

Sony Pictures Classics’ “The Children of Huang Shi,” opposite

Jonathan Rhys Meyers and Chow Yun-Fat, as well as “Henry Poole

Is Here” for director Mark Pellington. She starred in the Lakeshore

Entertainment romantic comedy “Feast of Love” alongside Morgan

Freeman and Greg Kinnear. Mitchell has also been seen in films

such as the lead role in “Silent Hill” with Sean Bean; “Finding

Neverland,” starring opposite Johnny Depp, Kate Winslet and

Dustin Hoffman; “Man on Fire” with Denzel Washington; the

innovative feature film “Phone Booth,” opposite Colin Farrell; and

“Pitch Black,” starring Vin Diesel. Mitchell will be seen in “The Crazies” with Timothy

Olyphant, opening February 26, 2010.

Other recent film credits include “When Strangers Appear” with Josh Lucas; the

independent feature “Dead Heat,” opposite Kiefer Sutherland and Anthony LaPaglia; Woody

Allen’s “Melinda and Melinda”; “Nobody’s Baby” with Gary Oldman and Skeet Ulrich;

Rodrigo Garcia’s “Ten Tiny Love Stories”; and “Mozart and the Whale,” opposite Josh

Hartnett. On television, she starred with Hank Azaria and Donald Sutherland in NBC’s

critically acclaimed mini-series “Uprising” for director Jon Avnet. Mitchell gave a memorable

performance as Syd, the young editorial assistant who falls in love with Ally Sheedy’s heroin-

addicted photographer character in Lisa Cholodenko’s critically acclaimed drama “High Art.”

Her role in Emma-Kate Croghan’s romantic comedy “Love and Other Catastrophes” was

highly praised at both the Cannes and Sundance film festivals.

Originally hailing from Australia, Mitchell currently resides in Santa Monica, Calif.

ROSAMUND PIKE (Maggie Greer) began her career at the

age of 16 when she discovered her love of the stage while starring

as “Juliet” in “Romeo and Juliet.” After starring in many other stage

productions such as “The Taming of the Shrew” and “The

Libertine,” she eventually found herself starring in her first BBC

production “Wives and Daughters,” opposite Michael Gambon, in

which she received critical acclaim for her performance.

Pike’s first blockbuster appearance was in the MGM / James

Bond film “Die Another Day,” alongside Halle Berry and Pierce

Brosnan. After Bond, Pike returned to the London stage starring in

the Royal Court Theatre production of “Hitchcock Blonde,” directed by Terry Johnson. Due

to its enormous success, the play eventually moved to the Lyric Theater in the West End, which

was quite an achievement.

In 2004, she began work on Laurence Dunmore’s film version of “The Libertine,” opposite

Johnny Depp. She portrayed Elizabeth Malet, wife to Depp’s Earl of Rochester. The film also

starred John Malkovich and Samantha Morton. Pike was rewarded for her extraordinary

performance in this film with a 2005 British Independent Film Award for Best Supporting

Actor/Actress.

Pike then starred alongside Keira Knightley, Brenda Blethyn and Judi Dench in the Focus

Features’ film adaptation of the classic Jane Austen novel, “Pride & Prejudice,” directed by

Joe Wright. Pike earned rave reviews as well as a 2006 London Film Critics Circle Award for

her portrayal of Jane Bennett.

In 2007, Pike was seen opposite Ryan Gosling and Anthony Hopkins in the New Line legal

thriller “Fracture,” directed by Gregory Hoblit. She also starred in the Jeremy Podeswadirected

independent film “Fugitive Pieces,” which opened the 2007 Toronto Film Festival.

She then starred in the independent film “Devil You Know,” directed by James Oakley and costarring

Lena Olin.

Pike returned to the theater, starring at the Old Vic Theater in Patrick Hamilton’s Victorian

thriller “Gaslight,” directed by Peter Gill. She followed that performance by starring in the

independent film “An Education,”directed by Lone Scherfig, which was well-received at the

Sundance Film Festival in 2009. Pike was also featured in the independent film “Burning

ABOUT THE CAST

Palms,” directed by Christopher Landon, about five vignettes of life in Los Angeles.

Pike then starred at The Wyndham Theater’s “Madame de Sade,” opposite Judi Dench.

Shortly after completing this production, she began pre-production on the independent film

“Dagenham Girls,” opposite Sally Hawkins and directed by Nigel Cole.

Next up for Pike is the independent film “Barney’s Version,” opposite Paul Giamatti and

Dustin Hoffman.

BORIS KODJOE (FBI Supervisor Andrew Stone) was born

in Vienna, Austria, and raised in Freiburg, Germany. The handsome

performer, born to a German mother (a psychologist) and African

father (a physician from Ghana), came to America in 1992 on a

tennis scholarship to Virginia Commonwealth University in

Richmond, where his aspirations to play professionally were

derailed by a back injury. Before earning a marketing degree in

1996, he was approached by an agent of the Ford Modeling agency

in New York, which he joined right after college graduation. He

worked with renowned photographers like Bruce Weber, Herb Ritts,

and Mathew Rolston, and his impressive track record brought him a Supermodel Award at the

Fall ’98 fashion shows. Kodjoe graced the pages of some of the globe’s most popular men’s

magazines while capturing the attention of Hollywood casting agents in search of a fresh, new

face.

Kodjoe made his movie debut in the Spike Lee production “Love and Basketball,” costarring

opposite Sanaa Lathan and Omar Epps. He guest-starred on such TV shows as “The

Steve Harvey Show,” “Boston Public” and “Eve” before landing his biggest role at the time—

Damon Carter, the delivery man who falls for one of three African-American sisters (Nicole

Ari Parker) on Showtime’s “Soul Food.” Based on the hit 1997 film, Kodjoe starred in the

ensemble drama for five seasons.

Kodjoe and Parker (who married in 2005 and have two children) next co-starred together

in the film “Brown Sugar” alongside Taye Diggs and Sanaa Lathan. The real-life couple next

reunited onscreen as a divorced and remarried couple on the UPN show “Second Time

Around.” Kodjoe has also done guest roles on “Nip/Tuck” and “Crossing Jordan.” Other

movie credits include “Doing Hard Time,” “The Gospel,” “Madea’s Family Reunion,” “All

About Us” alongside Oscar® winner Morgan Freeman and Oscar® nominee Ruby Dee, and two

recently completed projects—“Starship Troopers 3: Marauder” and “The Confidant.”

For his screen work, Kodjoe has received four NAACP Image Award Nominations -- three

as Outstanding Supporting Actor in a Drama for “Soul Food” and the other for his supporting

performance in “Brown Sugar.”

In addition to his career in front of the cameras, Kodjoe has also recently triumphed

onstage. In April 2008, he made his Broadway debut when he took on the role of Brick in

Tennessee William’s classic drama, “Cat on a Hot Tin Roof,” starring opposite James Earl

Jones, Phylicia Rashad and Anika Noni Rose.

But Boris’ true passion and his lifetime mission is to raise awareness about Spina Bifida.

He and his wife Nicole established the Sophie’s Voice Foundation

(www.sophiesvoicefoundation.org) in honor of their daughter Sophie who was diagnosed at

birth. Their efforts include prevention, care, and surgical studies, and they are committed to

improving the lives of children and adults with Spina Bifida as well as finding a cure for the

most preventable of all birth defects.

JAMES FRANCIS GINTY (Canter) is a second-generation

performer following in the footsteps of his parents, actor-writerdirector

Robert Ginty and actress Francine Tacker.

Ginty is currently workshopping the Bill C. Davis play “Mass

Appeal” for off-Broadway and heads back to UCLA in the fall to

finish his degree in history. Last year, he worked on the campaign

for Barack Obama and recently completed a college internship at the

DSCC (Democratic Senatorial Campaign Committee) in

Washington, D.C.

Born in Los Angeles, Ginty grew up in D.C. Destined for the

performing-arts arena, he attended high school at the famed Interlochen Arts Academy in

Interlochen, Mich. (after a stint at Valley Forge Military Academy in Pennsylvania), then

enrolled in The Juilliard School in New York City, where he concentrated his studies in acting

and ballet. He also studied classical ballet for seven years at several different schools,

including The American Ballet Theatre, The Royal Ballet and The National Ballet of Canada.

He formally began acting while in high school, later attending such renowned programs as the

British American Drama Academy and The Royal Academy of Dramatic Art before entering

Juilliard.

Ginty left Juilliard early to make his motion picture debut opposite Harrison Ford and Liam

Neeson in “K-19: The Widowmaker.” While future roles would include guest spots on “ER”

and “Private Practice,” Ginty next pursued work in the theatre, with credits such as Tom

Stoppard’s “Night and Day” at Philadelphia’s Wilma Theater, Romeo in the Shakespeare

classic at the Seattle Rep, and another work by The Bard, “All’s Well That Ends Well,” at the

Folger Shakespeare Theater in Washington, D.C.

JAMES CROMWELL (Older Canter) received a Best

Supporting Actor Oscar® nomination for his memorable

performance as Farmer Hoggett in the smash-hit, “Babe.”

Cromwell’s recent motion picture work includes Oliver Stone’s

“W.,” Stephen Frears’ “The Queen,” Clint Eastwood’s “Space

Cowboys,” Frank Darabont’s critically acclaimed “The Green Mile,”

“The General’s Daughter,” “Snow Falling on Cedars,” “The

Bachelor,” “The Sum of All Fears,” DreamWorks SKG’s “Spirit:

Stallion of the Cimarron,” “Star Trek: First Contact,” “The People

vs. Larry Flynt,” “Becoming Jane” and “Spider-Man 3.”

He starred as Grandpa in “The Education of Little Tree,” and Police Captain Dudley Smith

in “L.A. Confidential.”

Cromwell has earned Emmy® nominations for his work on the HBO original series “Six

Feet Under,” the HBO movie “RKO 281,” and the NBC drama “ER.” His body of work

encompasses dozens of miniseries and movies-of-the-week, including a starring role in TNT’s

“A Slight Case of Murder,” a cameo appearance in HBO’s “Angels in America,” “West Wing,”

“Picket Fences,” “Home Improvement,” “L.A. Law” and “Star Trek: The Next Generation.”

ABOUT THE CAST

Cromwell has also performed in many revered plays, including “Hamlet,” “The Iceman

Cometh,” “Devil’s Disciple,” “All’s Well That Ends Well,” “Beckett” and “Othello” in many of

the country’s most distinguished theatres, including the South Coast Repertory, the Goodman

Theatre, the Mark Taper Forum, the American Shakespeare Festival, Center Stage, the Long

Wharf Theatre and the Old Globe. He recently played A. E. Houseman in the American

premiere of Tom Stoppard’s “The Invention of Love” at A.C.T. in San Francisco. He is

currently working on a production of King Lear.

Cromwell has directed at resident theatres across the country and was the founder and

Artistic Director of his own company, Stage West, in Springfield, Mass. He also co-directed

a short film, which was shown at the London Film Festival.

Born in Los Angeles, Cromwell grew up in New York and Waterford, Conn., and studied at

Carnegie Mellon University (then Carnegie Tech). His father, John Cromwell, an acclaimed

actor and director, was one of the first presidents of the Screen Directors Guild. His mother,

Kay Johnson, was a stage and film actress.

VING RHAMES (The Prophet) reunites with actor Bruce

Willis for the first time since their appearance together in Quentin

Tarantino’s 1994 Oscar® winner, “Pulp Fiction.”

Rhames hails from Harlem, New York, where he began his career

studies at the New York High School for Performing Arts and the

Juilliard School of Drama. After earning his B.F.A. degree from

Juilliard in 1983, Rhames made his professional debut in Joe Papp’s

acclaimed Shakespeare in the Park production of “King Richard

III.”

In 1984, he made his screen debut in the PBS telefilm “Go Tell

It on the Mountain,” which led to small guest spots on such TV series as “Miami Vice,” “Tour

of Duty,” “Spencer: For Hire,” “The Equalizer” and “Crime Story.” In ensuing years, Rhames

has had recurring roles on such popular TV series as “ER” (eight episodes between 1994-96),

“UC: Undercover” and “The District” (as Attorney General Troy Hatcher on five episodes

over two seasons).

On the motion picture screen, Rhames debuted in “Native Son” in 1986, then won attention

and acclaim as S.L.A. leader Cinque whose gang of militants kidnaps the famous heiress in

Paul Schrader’s “Patty Hearst.” After supporting roles in such projects as Brian De Palma’s

“Casualties of War,” Adrian Lyne’s “Jacob’s Ladder,” David Mamet’s “Homicide,” Ivan

Reitman’s “Dave” and John Milius’ “Flight of the Intruder,” Rhames co-starred as the thug

Little Leroy in the drama “The Saint of Fort Washington,” which vividly depicted the plight

of homeless men on the streets of New York City.

In 1994, Rhames embodied the role of the merciless drug dealer, Marsellus “Big Man”

Wallace, in Tarantino’s acclaimed, award-winning “Pulp Fiction.” Not long after, he reteamed

with director De Palma as the crafty computer hacker, Luther Stickell, in “Mission:

Impossible,” a role he reprised in the franchise’s two sequels, “M:I-2” and “M:I-3.”

His big screen credits also include Steven Soderbergh’s “Out of Sight,” Martin Scorsese’s

“Bringing Out the Dead,” the Jerry Bruckheimer production “Con Air,” John Singleton’s

“Rosewood” and “Envy,” “I Now Pronounce You Chuck and Larry,” “Dawn of the Dead,”

“Kiss of Death,” “Striptease,” “Entrapment,” and the voice of the animated character Cobra

Bubbles in Disney’s “Lilo & Stitch” (reprising the role in the video sequel, “Stitch: The

Movie”).

His upcoming projects include “The Goods: Live Hard Sell Hard” and “Master

Harold…and the Boys.”

Another career highlight for Rhames came in his performance as the world’s most infamous

boxing promoter in the HBO production “Don King: Only in America.” The actor was honored

with the Golden Globe as Best Actor in a Miniseries (as well as SAG and Emmy nominations)

for his work in the film. At the 1998 Globe ceremonies, he surprised audiences by giving his

award to fellow nominee Jack Lemmon live on the stage, as a tribute to Lemmon, whom he

felt was a more deserving winner.

During his career, Rhames has also been honored as the Showest Supporting Actor of the

Year in 2000 by the National Association of Theater Owners (NATO) and has earned seven

NAACP Image Award nominations for his film and TV work over the years.

MICHAEL CUDLITZ (Colonel Brendon) stars in the highly

acclaimed new NBC series “Southland,” which is executive

produced by John Wells, who also produced “ER.” Cudlitz portrays

Senior Officer John Cooper in this new spin on a police drama set

in Los Angeles, where he plays an experienced 20-year veteran

assigned to train a young rookie, Ben McKenzie’s Officer Ben

Sherman.

Born and raised on the east coast, Cudlitz graduated from the

California Institute of the Arts Theatre program and has established

himself as a versatile actor in both television and film. Although his

first love was the stage, Cudlitz found early success working in front of the camera.

Since then, Cudlitz has appeared in more than 20 films, including “A River Runs Through

It,” “Gross Point Blank,” “Running Scared,” “The Mighty Ducks: 3,” “The Liars Club,” “The

Negotiator” and “Crossing Over,” starring Harrison Ford and directed, written and produced

by Wayne Kramer. Some of his notable television credits include roles on “Life,” “Lost,”

“Prison Break,” “24,” “Without a Trace,” “Standoff ” and “Beverly Hills, 90210.” He is most

known for his role as Sgt. Denver “Bull” Randleman on HBO’s Emmy Award®-winning

miniseries “Band of Brothers.”

Cudlitz will next be seen in “Tenure,” a comedy with Luke Wilson and directed by Mike

Million.

JACK NOSEWORTHY (Miles Strickland) reunites with

director Jonathan Mostow for the fifth time in his career, having

worked with the fellow New Englander on his features

“Breakdown,” “U-571,” the FOX Network’s extraterrestrial thriller

“Them” and his cameo in “Terminator 3: Rise of the Machines”

(which was excised from the film’s theatrical release but restored for

the DVD cut).

Born and raised in Massachusetts, Noseworthy graduated from

The Boston Conservatory. A triple threat, Noseworthy has starred in

films, television and Broadway. He began his career on stage in the

ABOUT THE CAST

ABOUT THE FILMMAKERS

national tour of the musical “Cats.” He made his Broadway debut in the original company of

“Jerome Robbins Broadway,” was the final actor to be cast in the recent revival of “A Chorus

Line,” and most recently played opposite John Lithgow in the Broadway musical “Sweet Smell

of Success.” In addition to his New York stage work, he received the Los Angeles Drama

Critics prize and a Drama-Logue Award as Best Actor for his starring role as Alan Strang in

the critically acclaimed Los Angeles production of “Equus.”

In the motion picture arena, his credits include the upcoming release “Pretty Ugly People”

as well as “Phat Girlz,” “Undercover Brother,” “Poster Boy,” “Unconditional Love,” “Event

Horizon,” “The Brady Bunch Movie,” “Barb Wire,” “Trigger Effect,” “Cecil B. DeMented,”

“Alive” and “Encino Man,” his movie debut. In addition to his longtime association with

Mostow, Noseworthy’s resume also boasts affiliations with directors such as P.J. Hogan, Paul

Anderson, Betty Thomas, David Koepp and John Waters.

On television, Noseworthy recently starred in the Hallmark-Hall-Of-Fame western “Aces

‘N Eights” and appeared opposite Jonathan Rhys Meyers in the CBS miniseries “Elvis.” Other

television credits include guest spots on such hit shows as “CSI,” “The District,” “Law &

Order,” “Law & Order: SVU,” “Crossing Jordan” and “Judging Amy” (four episodes). He also

has the distinction of being the series lead on MTV’s first scripted series, “Dead at 21.”

ABOUT THE FILMMAKERS

JONATHAN MOSTOW (Director) made his motion picture debut as writer and director

on 1997’s “Breakdown,” the taut thriller starring Kurt Russell as a man whose wife

mysteriously vanishes in the desert after their car breaks down. The critically acclaimed film

debuted atop the U.S. box office its opening weekend.

He followed with another No. 1 box office success—the WWII submarine action-thriller

“U-571,” starring Matthew McConaughey and Harvey Keitel. The film, which he also wrote,

garnered two Academy Award® nominations, winning an Oscar® for Best Sound Editing.

Mostow next directed “Terminator 3: Rise of the Machines,” starring Arnold

Schwarzenegger, which earned $450 million in global receipts in the continuation of one of

Hollywood’s most fruitful franchises.

He executive produced David Fincher’s 1997 thriller “The Game” (on which he also

developed the script with longtime collaborators and Harvard classmates John Brancato and

Michael Ferris), then returned to the director’s chair for the Emmy award-winning HBO

miniseries, “From the Earth to the Moon,” directing Tom Hanks in the finale segment entitled

“La Voyage Dans La Lune.”

In 2004, Mostow was voted “Action Director of the Year” by the World Stunt Association.

Most recently, he served as executive producer on the blockbuster Will Smith superhero

drama, “Hancock.”

Mostow began his filmmaking career as a student at Harvard University, where he directed

numerous award-winning shorts and documentaries. His first writing and directing

breakthrough was the 1991 Showtime television thriller “Flight of Black Angel,” which earned

him a Cable ACE nomination for Best International Movie or Special.

In addition to his film and television work, Mostow also recently created, for Virgin

Comics, The Megas, a four-issue graphic novel series set in an alternative reality, in which the

United States is ruled by a monarchy.

DAVID HOBERMAN (Producer) is one of the leading producers in the entertainment

industry today, having made his mark on more than 100 movies. In 2002, after three years at

MGM, Hoberman re-formed Mandeville Films and Television at The Walt Disney Studios.

Hoberman produced the recent hit film “The Proposal,” starring Sandra Bullock and Ryan

Reynolds.

n 2008, Hoberman released the popular family adventure film “Beverly Hills Chihuahua”

and international spy thriller “Traitor,” starring Don Cheadle. “Kill Point,” a TV series starring

John Leguizamo and Donnie Wahlberg, premiered in summer 2007 for Spike TV. In 2006,

Hoberman released the arctic adventure “Eight Below,” starring Paul Walker, and “The

Shaggy Dog,” starring Tim Allen.

In 2005, “Beauty Shop” starring Queen Latifah was released. In 2003, Mandeville released

the box-office hits “Bringing Down the House,” “Raising Helen,” starring Kate Hudson, “The

Last Shot,” starring Matthew Broderick and Alec Baldwin, and “Walking Tall,” starring The

Rock at MGM.

The award-winning “Monk,” a one-hour series for USA Network, is currently shooting its

eighth and final season.

In 1999, while at MGM, Hoberman co-financed and produced “Antitrust,” “What’s the

Worst That Could Happen?,” and the critically acclaimed “Bandits.” Prior to this, Hoberman

was the founder and president of Mandeville Films, where he produced “The Negotiator,” and

signed an exclusive five-year pact with The Walt Disney Studios. During this time, Hoberman

produced “George of the Jungle,” “I’ll Be Home for Christmas,” “Senseless,” “The Other

Sister,” “Mr. Wrong” and “The Sixth Man.”

Prior to forming Mandeville Films, Hoberman served as president of the Motion Picture

Group of Walt Disney Studios, where he was responsible for overseeing development and

production for all feature films for Walt Disney Pictures, Touchstone and Hollywood Pictures.

During Hoberman’s tenure, Disney was the No. 1 studio, “Pretty Woman” was the No. 1

picture and the studio released the No. 1 soundtrack of the year. Hoberman was also behind

the releasing of major blockbusters including “Who Framed Roger Rabbit,” “Father of the

Bride,” “What About Bob?,” “Good Morning, Vietnam,” “Dead Poets Society,” “Crimson

Tide,” “The Jungle Book,” “Ed Wood,” “Dangerous Minds,” “Ruthless People,” “Beaches,”

“The Rocketeer,” “The Doctor,” “Sister Act,” “Alive,” “What’s Love Got to Do with It,” “Cool

Runnings,” “Three Musketeers,” “Tin Men,” “Stakeout,” “When a Man Loves a Woman,”

“Cocktail,” and “Three Men and a Baby.” He broke through the Disney live-action ceiling with

“Honey, I Shrunk the Kids” and championed the first-ever stop-motion-animated full-length

feature, Tim Burton’s “The Nightmare Before Christmas.”

Today, Hoberman is also a professor with UCLA’s Graduate School in the Producers

Program. He’s been a member of the Board of the Starlight Starbright Foundation for more

than 10 years, is a member of the Board of the Anxiety Disorders Association of America, and

sat on the Board of the Los Angeles Free Clinic for six years. He is also a member of the

Academy of Motion Picture Arts & Sciences and the Academy of Television Arts & Sciences.

Hoberman began his career in the mailroom at ABC and quickly ascended in the

entertainment business, working for Norman Lear’s Tandem/T.A.T. in television and film. He

worked as a talent agent at ICM before joining Disney as a film executive in 1985.

ABOUT THE FILMMAKERS

TODD LIEBERMAN (Producer) oversees more than 30 film and television projects for

Mandeville’s ever-growing slate. He recently produced hit films “The Proposal,” starring

Sandra Bullock and Ryan Reynolds; “Beverly Hills Chihuahua,” directed by Raja Gosnell and

starring Piper Perabo and the voices of Drew Barrymore, Andy Garcia and George Lopez;

“Traitor,” starring Don Cheadle and Guy Pearce; “The Lazarus Project,” starring Paul Walker;

“Wild Hogs,” starring Tim Allen, John Travolta, Martin Lawrence and William H. Macy (the

film generated more than $250 million worldwide); and Spike TV’s hit show “The Kill Point,”

starring John Leguizamo and Donnie Wahlberg. Lieberman also executive produced “The

Shaggy Dog” with Tim Allen, Robert Downey Jr. and Kristin Davis and directed by Brian

Robbins, “Eight Below,” starring Paul Walker and directed by Frank Marshall, and the

independent political thriller “Five Fingers,” written by Laurence Malkin and Chad Thumann,

directed by Malkin and starring Laurence Fishburne and Ryan Phillipe.

Lieberman executive produced “Beauty Shop,” starring Queen Latifah, Djimon Hounsou,

Kevin Bacon and Alicia Silverstone, and Jeff Nathanson’s directorial debut “The Last Shot,”

starring Matthew Broderick and Alec Baldwin. He co-produced “Bringing Down the House,”

starring Steve Martin and Queen Latifah, and “Raising Helen,” starring Kate Hudson and

directed by Garry Marshall.

Lieberman is currently producing “The Fighter,” starring Mark Wahlberg and Christian

Bale and directed by David O. Russell for Paramount Pictures.

Prior to joining Mandeville, Lieberman acted as senior vice president for international

finance and production company Hyde Park Entertainment, which produced and co-financed

such films as “Antitrust,” “Bandits” and “Moonlight Mile.”

Lieberman established himself at international sales and distribution giant Summit

Entertainment, where he moved quickly up the ranks after pushing indie sensation “Memento”

into production and acquiring the Universal box-office smash “American Pie.”

In 2001, Lieberman was named one of the “35 under 35” people to watch in the business

by The Hollywood Reporter. He holds a B.A. from the University of Pennsylvania.

MAX HANDELMAN (Producer) holds a B.A. from the University of Pennsylvania and

earned his Masters degree from UCLA’s Anderson School of Management.

Before switching gears to become a movie producer (“Surrogates” marks his Hollywood

debut), the Portland, Oregon native worked as an investment banking analyst at Salomon

Smith Barney. Later, he helped launch Fox Sports’ fantasy sports division while an associate

at News Corporation in the company’s News Digital Ventures group. The group conducted

investments and acquisitions in the digital arena as well as business development for Fox’s

websites—Foxsports.com, Fox.com, and Foxnews.com.

As an avid fantasy player himself, Handelman co-authored “Why Fantasy Football

Matters—And Our Lives Do Not.” The book, released in 2006 by Simon & Schuster, is in its

second printing.

Handelman is currently partnered in the motion picture production company, Brownstone

Productions, with his wife, actress Elizabeth Banks.

Brownstone is developing a slate of projects that includes the collegiate competitive a

cappella comedy “Pitch Perfect” for Universal, action-adventure “Expedition Six,” the true-

story account of three astronauts stranded in space following the 2003 space shuttle disaster

for Universal, and the romantic comedy “Forever 21” for DreamWorks.

JOHN BRANCATO and MICHAEL FERRIS (Screenplay) reteam with director

Jonathan Mostow after having penned the original screenplay for the filmmakers’ last big-

screen hit, “Terminator 3: Rise of the Machines.” The pair first worked with Mostow (a fellow

Harvard classmate) on his 1991 telefilm, “Flight of Black Angel.”

Although the budding writers first met at Harvard University in the early 1980s (both

edited the esteemed Harvard Lampoon), they come from diverse backgrounds and opposite

coasts. Brancato was born and raised in New York, working as a cartoonist and journalist after

college before eventually finding his way to Los Angeles. Ferris is a native of Southern

California, returning home after his Harvard film studies to team up with his college

classmate.

They began earning a living as screenwriters on several successful low-budget films,

working with such legends as Roger Corman, Oliver Reed and Bruce Campbell. In 1991, the

pair wrote a spec script called “The Game,” which resulted in a high-profile sale to MGM at

the time. Six years later, David Fincher directed the clever thriller starring Michael Douglas

and Sean Penn. Meanwhile, their high-tech thriller “The Net,” which starred Sandra Bullock,

was produced at Columbia.

Brancato and Ferris created and executive produced the NBC series “The Others.” They

were among the 26 writers on the comicbook actioner “Catwoman,” and penned the monster

movie “Primeval.” They have also written the next installment in “The Terminator” series—

“Terminator Salvation: The Future Begins,” starring Christian Bale under the direction of

McG.

ROBERT VENDITTI (Graphic Novel Author), a native of Hollywood, Florida, received

a B.A. in Political Science and English from the University of Florida in Gainesville and an

M.A. in Creative Writing from the University of Central Florida in Orlando.

Aspiring to be a novelist, he published a short story in 2002 (in the Berkeley Fiction

Review) before getting hooked on comic books and changing his focus to graphic novels. With

the help and guidance of his employer, Top Shelf Publications, he hoped to submit story ideas

to the industry when publishers Chris Staros and Brett Warnock chose to retain the rights to

The Surrogates (his first long-form publication) for their own company.

Venditti recently finished work on the prequel to the book (set 15 years earlier), which will

be released in the Summer of 2009. He also envisions a third tome, which will be set 15 years

after the initial story.

BRETT WELDELE (Graphic Novel Illustrator) has worked in a wide range of comic

book genres since bursting onto the scene in 2000. His work has been published by Oni Press,

Image, Marvel and AIT. His unique fusion of pen-and-ink and toner-and-paint has been

acclaimed by fans and critics alike.

The Montana native now resides near Sacramento, California, where he completed his most

recent project, Southland Tales, with author/filmmaker Richard Kelly. Other graphic novel

publications include Couscous Express (authored by Brian Wood), Shot Callerz (written by

Garry Phillips) and Julius (with Anton Johnston). The Surrogates represents his first work in

color.

Weldele began pursuing his interest in illustration while in high school, later earning a

bachelor’s degree in “sequential art” from the Savannah College of Art and Design.

ABOUT THE FILMMAKERS

DAVID NICKSAY (Executive Producer) has served in a variety of production capacities

(independent producer, studio production exec, executive producer, assistant director) in his

three decades in the entertainment arena.

A native of Massachusetts, Nicksay graduated from Hampshire College in Amherst, where

he was a performing arts major. Following an affiliation with one of America’s oldest

entertainment institutions, Ringling Bros. Barnum and Bailey Circus, he began his career in

Hollywood as part of the Director’s Guild of America training program. As an assistant

director, he honed his skills on such projects as “Raid on Entebbe,” “Rich Man, Poor Man,”

“Oh God!,” “The Bad News Bears in Breaking Training” and the TV series “How the West

Was Won,” among others, quickly moving up to unit production manager.

In 1986, Nicksay joined Paramount Pictures as Vice President of Production, graduating to

Senior V.P. the following year. During his tenure at Paramount, he oversaw a diverse slate of

films including “Scrooged,” “Coming to America,” “Ghost,” “The Two Jakes,” “The

Untouchables” and “Star Trek V: The Final Frontier.”

Three years later, he joined Morgan Creek Productions as President and Head of

Production, departing the company three years later to return to the freelance production

ranks. His affiliation with Morgan Creek resulted in executive producer duties on “Robin

Hood: Prince of Thieves” starring Kevin Costner and Morgan Freeman, “Pacific Heights”

with Michael Keaton, Matthew Modine and Melanie Griffith, “Young Guns II,” “Freejack,”

“Stay Tuned” and “White Sands.”

On the big screen, Nicksay produced the coming-of-age film, “Lucas,” the drama “Up

Close and Personal” starring Robert Redford and Michelle Pfeiffer, the true-life period drama,

“Mrs. Soffel,” with Diane Keaton and Mel Gibson, the contemporary thriller “Antitrust”

starring Tim Robbins and Ryan Phillippe, the romantic comedy, “A Guy Thing,” the hit sequel,

“Legally Blonde 2: Red, White and Blonde,” and “Agent Cody Banks” and the sequel “Agent

Cody Banks: Destination London.”

As executive producer, his credits include “The Addams Family Values,” “Legally Blonde,”

the Robin Williams hit comedy, “Flubber,” the highly acclaimed police thriller “The

Negotiator” with Samuel L. Jackson and Kevin Spacey, “The Adventures of Rocky &

Bullwinkle,” “What’s the Worst That Can Happen?,” the recent thriller “Married Life” with

Pierce Brosnan and Chris Cooper, and the recent hit sequel, “Step Up 2: The Streets.”

ELIZABETH BANKS (Executive Producer) marks her first foray into the production

ranks with “Surrogates,” which she developed with her husband, producer Max Handelman,

who optioned the graphic novel after discovering it on the Internet.

Together, Banks and Handelman head Brownstone Productions, whose current slate of

projects includes the film adaptation of Ann Rowe Seaman’s nonfiction book, “America’s

Most Hated Woman: The Life and Gruesome Death of Madalyn Murray O’Hair”; “Expedition

Six,” which is based on Chris Jones’ book about a trio of astronauts stranded on the

International Space Station following the Space Shuttle Columbia explosion in 2003; the

romantic comedy “What About Barb,” which is about a socialite who allows her cousin to be

her maid-of-honor so her wealthy uncle will pay for the wedding; and “Pitch Perfect,” a

comedy set in the world of competitive collegiate a cappella singing. Most recently, they

began work on “Forever 21,” a film developed for Banks at DreamWorks.

In addition to her role as film producer, Banks’ career in front of the cameras over the past

few years has marked her as one of Hollywood’s emerging talents. She first won acclaim for

her starring role of Marcela Howard opposite Jeff Bridges and Toby Maguire in the Oscar®nominated

“Seabiscuit” (sharing a Screen Actors Guild Award® nomination for Best Ensemble

Cast).

The year prior, she appeared opposite Leonardo DiCaprio in Steven Spielberg’s “Catch Me

If You Can,” which followed on the heels of her performance as journalist Betty Brant in Sam

Raimi’s record-setting blockbuster, “Spider-Man.” Raimi created the role specifically for the

actress, who reprised the character in his two hit sequels, “Spider-Man 2” and “Spider-Man

3.” She continued to score at the box office as a playful bookstore employee who seduces

Steve Carell’s “40-Year-Old Virgin,” the Judd Apatow comedy hit of 2005.

More recently, Banks starred along with Ryan Reynolds and Rachel Weisz in the romantic

comedy “Definitely, Maybe,” Vince Vaughn and Paul Giamatti in the holiday comedy “Fred

Claus,” Eddie Murphy in the sci-fi comedy “Meet Dave,” David Strathairn in “The Uninvited,”

a remake of the cult Korean horror film, the holiday fable “Lovely, Still” with Oscar® winners

Martin Landau and Ellen Burstyn, Kevin Smith’s new comedy “Zack and Miri Make a Porno”

with Seth Rogen; and the romantic comedy “Mentors,” reuniting with co-star Paul Rudd. She

most recently won acclaim as First Lady Laura Bush opposite Josh Brolin in Oliver Stone’s

new biopic, “W.”

Other motion picture credits include the inspirational football drama “Invincible,” the

horror/comedy “Slither,” the Merchant/Ivory drama “Heights,” “The Baxter” with Rudd and

Peter Dinklage, “The Sisters” (from Anton Chekov’s “Three Sisters”) with Maria Bello and

Erica Christensen, and Guy Ritchie’s remake of “Swept Away.”

Equally busy on the small screen, Banks continues her recurring role of Dr. Kim Griggs,

physician J.D.’s (Zach Braff) love interest, on NBC’s quirky hit comedy, “Scrubs.” She recently

co-starred opposite Val Kilmer and Steve Zahn in the CBS miniseries “Comanche Moon” (the

prequel to “Lonesome Dove”) and has also guest-starred on such series as “Third Watch,”

“Sex and the City,” “Law & Order: SVU” and “Without a Trace.”

The Pittsfield, Massachusetts native is a magna cum laude graduate of the University of

Pennsylvania who later received her M.F.A. from the American Conservatory Theater in San

Francisco. Her stage career includes two famous regional playhouses—Minneapolis’

renowned Guthrie Theater, where she appeared in Williams’ “Summer and Smoke,” and the

Williamstown Theatre Festival (in her home state) in Inge’s memorable drama “Bus Stop.”

OLIVER WOOD (Director of Photography) reteams with director Jonathan Mostow

following their collaboration on the WWII thriller, “U-571.”

Born in England, Wood began his motion picture career as a camera assistant in British

television series, commercials, documentaries and feature films. After moving up to

cinematographer on a small 1967 English satire, “Popover,” he relocated to the U.S. and

entered the American film industry on the 1970 cult classic, “The Honeymoon Killers,” and

followed early in his career a variety of small features such as “Alphabet City,” “Don’t Go in

the House” and “The White Slave.”

In addition to his early feature film credits, Wood’s camera work as director of photography

for three seasons on Michael Mann’s innovative NBC television series “Miami Vice” helped

define the groundbreaking show’s acclaimed visual style.

Over the past two decades, Wood has compiled over 30 motion picture credits, most

ABOUT THE FILMMAKERS

recently earning a BAFTA nomination for his camera work on “The Bourne Ultimatum” (for

the record, Wood also directed the photography on all three “Bourne” titles, including “The

Bourne Identity” for director Doug Liman and “The Bourne Supremacy,” his first

collaboration with filmmaker Paul Greengrass).

He worked with director Renny Harlin on two projects (“Die Hard 2: Die Harder” and “The

Adventures of Ford Fairlane”) and also counts among his big-screen credits such films as

“Rudy,” “2 Days in the Valley,” “Bill & Ted’s Bogus Journey,” “Mr. Holland’s Opus,”

“Face/Off,” “Switchback,” “Mighty Joe Young,” “I Spy,” “National Security,” “Fantastic Four,”

“Talladega Nights: The Ballad of Ricky Bobby,” “Scooby Doo 2” and the recently completed

“Step Brothers.”

JEFF MANN (Production Designer) reunites with director Jonathan Mostow after having

designed his previous feature film, “Terminator 3: Rise of the Machines.”

The San Diego, California, native traveled the globe following school, making contacts in

the music and art scenes that led to work in the art departments on a variety of music videos

and television commercials.

By 1995, at the young age of 30, he had achieved a reputation as one of the top commercial

designers in the industry, with a weighty resume of award-winning ads for such diverse

directors as Michael Bay, Antoine Fuqua, Dominic Sena, Lance Acord, Jonathan Glazer and

the late Herb Ritts, to name a few. His client roster included such brand names as Kodak, Nike,

Chevrolet, Coca-Cola, American Express and more.

Having established a relationship with director Sena on the eerie 1994 thriller, “Kalifornia”

(serving as the film’s art director), he graduated to production designer on Sena’s hit actioner,

“Gone in Sixty Seconds” and reteamed with Sena again on the technological thriller

“Swordfish.” More recently, he designed Michael Bay’s sci-fi blockbuster, “Transformers,”

Doug Liman’s blockbuster adventure, “Mr. & Mrs. Smith,” and Ben Stiller’s forthcoming

action-comedy, “Tropic Thunder.”

APRIL FERRY (Costume Designer) teams up with director Jonathan Mostow for the

third time following their collaborations on “Terminator 3: Rise of the Machines” and “U571.”

The North Carolina native (raised in New Orleans) debuted as costume designer on John

Carpenter’s 1986 actioner, “Big Trouble in Little China,” and followed with Alan Rudolph’s

romantic drama, “Made in Heaven.” A favorite of director Richard Donner, Ferry has designed

the wardrobes for four of his projects, including “Radio Flyer,” “Free Willy,” “Maverick”

(earning an Oscar® nomination as well as an Apex Award nomination) and “The Shadow

Conspiracy.”

Other big-screen credits include three projects with John Hughes—“Planes, Trains and

Automobiles,” “She’s Having a Baby” and his production of “Flubber”—and three features

with Jonathan Kaplan—“Immediate Family,” “Unlawful Entry” and “Brokedown Palace.”

She has also worked on Arthur Hiller’s biopic “The Babe,” Peter Bogdanovich’s “The

Mask” and “Child’s Play,” “Three Fugitives,” Bill Paxton’s directorial debut, “Frailty,” “15

Minutes,” “National Security” and “Playing By Heart.” She collaborated with filmmaker

Richard Kelly on three projects—the cult favorite “Donnie Darko,” the big-screen adaptation

of his own graphic novel, “Southland Tales,” and his upcoming sci-fi thriller “The Box.” She

also designed the period wear for the WWII romantic drama “Edge of Love” starring Keira

Knightley and Sienna Miller.

On the small screen, Ferry designed the wardrobe for the TV miniseries “The Sophisticated

Gents,” received an Emmy nomination for the CBS/Hallmark Hall of Fame presentation, “My

Name Is Bill W,” designed two “Rockford Files” telefilms (1995’s “Punishment and Crime”

and 1996’s “A Blessing in Disguise”) and the HBO biopic “Don King: Only in America.”

More recently, she spent four years on location in Italy for the HBO series “Rome” for

which she won the 2006 Emmy Award and earned another nomination the following year. She

was also twice honored for the series by the Costume Designers Guild for her period creations,

with a third nomination in 2007.

KEVIN STITT, A.C.E. (Film Editor) reunites with director Jonathan Mostow after

editing his acclaimed 1997 thriller “Breakdown.”

Stitt, who has compiled over 20 years in the editing room, has also collaborated with such

filmmakers as Mel Gibson (“Apocalypto”), John Badham (“Drop Zone,” “Nick of Time,”

“Another Stakeout”), Brian Helgeland (“A Knight’s Tale,” “The Order,” “Payback”), John Woo

(“Paycheck”), Richard Donner (“Lethal Weapon 4,” “Conspiracy Theory”), Brian Singer (“X-

Men”) and Peter Berg (“The Kingdom”).

Over the past decade, Stitt has also edited such feature films as Renny Harlin’s “Deep Blue

Sea” (additional editor), Rod Lurie’s “The Last Castle,” Rob Bowman’s

“Elektra” and former editor (and mentor) Stuart Baird’s directorial debut, “Executive

Decision,” which marked his first collaboration with longtime editor Frank Urioste. He most

recently completed work on the hit horror film, “Cloverfield.”

The Los Angeles native majored in communications at Cal State Northridge before

beginning his career in the 1980s (“Twilight Zone: The Movie”) in an era he calls “the golden

age of Hollywood action movies.” He cut his teeth as an assistant editor, apprenticing with the

likes of Frank Morriss (“Romancing the Stone,” “Short Circuit,” “Point of No Return”), Donn

Cambern (“Big Trouble,” “Harry and the Hendersons”) and Stuart Baird (“Lethal Weapon 2,”

“Maverick,” “The Last Boy Scout”).

MARK STETSON (VFX Supervisor) won the Academy Award® for Visual Effects for

Peter Jackson’s “Lord of the Rings: The Fellowship of the Ring,” the first of the filmmaker’s

landmark trilogy. He earned his first Oscar® nomination for Peter Hyams’ 1984 sequel,

“2010,” and collected his most recent nod for Bryan Singer’s reimaging of the Marvel Comic

classic, “Superman Returns.”

In addition to his Oscar® win and nominations, Stetson has garnered two British Academy

(BAFTA) Awards—for “Lord of the Rings: The Fellowship of the Ring” and Luc Besson’s

futuristic thriller “The Fifth Element” (his first credit as Visual Effects Supervisor), with a

third nomination for “Superman Returns.”

Stetson began his career in the visual effects arena in 1978 as a model maker on “Star Trek:

The Motion Picture,” learning the arts and techniques of VFX as the industry transitioned

from the triumphs of clever mechanical gizmos and photochemical alchemy into the digital

age. He first gained international recognition for his landmark miniature work on Ridley

Scott’s 1982 classic, “Blade Runner.” Later, he founded his own miniature effects studio,

Stetson Visual Services, Inc., with partner Robert Spurlock, which he operated from 1989-94.

ABOUT THE FILMMAKERS

He has worked on over 50 films as a model shop/prop shop/creature shop supervisor, a

designer/illustrator, an effects facility founder, and an art director (under the tutelage of such

VFX giants as Douglas Trumbull, Richard Edlund and Robert Abel) before becoming a visual

effects supervisor in 1995 on Besson’s “The Fifth Element” at Digital Domain. Other VFX

supervisor credits include Walter Hill’s “Supernova” (also at Digital Domain), “Charlie’s

Angels: Full Throttle” and P.J. Hogan’s “Peter Pan,” both at Sony Pictures Imageworks, and,

most recently, the comedy “Meet Dave.” He also spent a year and a half in New Zealand,

supervising effects during pre-production and production for Peter Jackson’s “The Lord of the

Rings” trilogy.

In the miniature effects world, Stetson’s credits include such films as Trumbull’s

“Brainstorm,” “Poltergeist II: The Other Side,” “Masters of the Universe,” “Die Hard,” “Total

Recall” (Saturn Award nomination), “Dick Tracy,” Tim Burton’s “Batman Returns,”

“Ghostbusters,” “Honey I Blew Up the Kids,” the Coen Brothers’ “The Hudsucker Proxy,”

James Cameron’s “True Lies” and “Waterworld.”

Born and raised in Massachusetts, Stetson studied industrial design at Connecticut’s

University of Bridgeport from 1972-74. He then relocated to California to continue his studies

at the renowned Art Center College of Design in Pasadena. Complementing his numerous

industry awards, Stetson was elected to a place on the Hollywood Reporter/PGA’s first annual

“Digital 50” list of digital content creators in 2006.

JEFF DAWN (Makeup Artist) is a third-generation Hollywood makeup artist. Dawn

follows in the footsteps of his grandfather, Jack Dawn, whose 35-year career included

overseeing MGM Studios’ makeup department from 1935 to 1950 (his 100+ films include the

landmark “The Wizard of Oz”) and his father, Robert Dawn (“Missouri Breaks,” “Christine,”

TV’s “Mission: Impossible”), an Emmy-winning® film and TV veteran of over 35 years.

His industry lineage also includes an uncle, Wes Dawn, also a 35-year industry makeup

veteran. In the fall of 2007, Dawn’s own son, Patrick, started film school at Chapman

University in Los Angeles, and will likely become a fourth-generation filmmaker in the family

empire.

Dawn himself has served as makeup department head on more than 40 films in a busy

career spanning 25+ years and four dozen films. Specializing in action/adventure,

futuristic/fantasy, war and period films, his longtime industry collaborations encompass seven

films with the actor Dwayne “The Rock” Johnson and 19 features with Arnold

Schwarzenegger, which includes an Oscar® for his work with Stan Winston on “Terminator 2:

Judgment Day.”

He began with California’s current Governor on the first “Terminator” in 1984 and also

completed the trilogy on “Terminator 3: Rise of the Machines,” his first collaboration with

“Surrogates” director Jonathan Mostow. Other Schwarzenegger projects include “Total

Recall,” “Predator,” “The Running Man,” “The 6th Day,” “Collateral Damage,” “End of Days,”

“Batman & Robin” (the “Mr. Freeze” character), “End of Days,” “Red Heat,” “Twins,”

“Kindergarten Cop,” “Eraser,” “Last Action Hero,” “True Lies,” “Jingle All the Way” and

Schwarzenegger’s director debut, the telefilm “Christmas in Connecticut.”

Dawn also counts among his credits William Friedkin’s 1985 thriller “To Live and Die in

L.A.,” “Star Trek IV: Voyage Home,” “Star Trek V: The Final Frontier,” Renny Harlin’s “Deep

Blue Sea” and “Cliffhanger,” “Teen Wolf,” Dennis Hopper’s “Colors” and “Let’s Get Harry.”

With actor Johnson, he created his makeup for “The Scorpion King,” “Walking Tall,” “The

Rundown,” “The Game Plan,” “Gridiron Gang,” “Be Cool” and “Doom.”

For his innovative makeup designs, Dawn has also been nominated for six Saturn Awards

(“T2: Judgment Day,” “T3: Rise of the Machines,” “The 6th Day,” “Batman & Robin,” “Total

Recall,” “Star Trek IV: The Voyage Home”), handed out by the Academy of Science Fiction,

Fantasy and Horror Films, USA.

KNB EFX Group founding partner HOWARD BERGER (Special Makeup Prosthetics)

won the 2005 Academy Award® for Best Achievement in Makeup (shared with Tami Lane) for

his innovative character creations, animatronics and creature prosthetics on Andrew

Adamson’s “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.” With partner

Greg Nicotero, the pair also shared the BAFTA Award for the film’s makeup as well as a

Saturn Award from the Academy of Science Fiction, Fantasy and Horror. Berger most recently

returned to C.S. Lewis’ world of Narnia for the highly anticipated second chapter, “Prince

Caspian.”

KNB EFX Group was formed in 1988 by partners Nicotero and Berger, and has become

the industry’s effects house of choice for cutting-edge directors such as Quentin Tarantino

(“Kill Bill, Vol. 1 and 2”), Robert Rodriguez (“Spy Kids” trilogy, “Once Upon a Time in

Mexico,” “Sin City”), Steven Spielberg (“Amistad,” “Minority Report”) and Jay Roach

(“Austin Powers in Goldmember,” “Meet the Fockers”), among many other filmmakers.

The pair formed their partnership after collectively working on Sam Raimi’s “Evil Dead II.”

They continued their affiliation with Raimi on such projects as “Army of Darkness,” “A

Simple Plan” and, most recently, “Spider-Man 3” and have also maintained an ongoing

association with director Tarantino that began with “Reservoir Dogs.” They supplied the

creature and special makeup effects on the Tarantino-scripted vampire thriller, “From Dusk

Till Dawn,” directed by Robert Rodriguez, which led to their continued association with both

filmmakers, culminating most recently with their shared directorial effort, “Grindhouse.”

KNB recently completed work on the current remake of the 1986 thriller “The Hitcher,” the

Jim Carrey starrer, “Lemony Snicket’s A Series of Unfortunate Events” (an Oscar® winner for

makeup), “House of Wax” for producer Joel Silver, “Serenity” for director Joss Whedon,

Michael Bay’s “The Island” and “Transformers,” George Romero’s “Land of the Dead” and

“Diary of the Dead,” Wolfgang Petersen’s “Poseidon,” Eli Roth’s “Hostel” and the sequel,

“Hostel II,” and the remake of the 1977 Wes Craven cult classic, “The Hills Have Eyes.” The

company also designed and applied the character makeup on Jamie Foxx, transforming the

actor into singer Ray Charles in Taylor Hackford’s Oscar®-winning biopic, “Ray.”

Their innovative makeup effects are also on display in Paul Thomas Anderson’s “Boogie

Nights” and “Magnolia,” Martin Scorsese’s “Casino,” Frank Darabont’s “The Green Mile” and

his most recent project, “The Mist,” Rob Reiner’s “Misery,” Eli Roth’s horror hit, “Cabin

Fever,” David Lynch’s “Mulholland Drive,” Kevin Costner’s “Dances with Wolves” and Simon

Wells’ “The Time Machine,” which earned an Academy Award® nomination for Best Makeup.

KNB also worked on “The Cell,” another Best Makeup Oscar® nominee. KNB also devised

both the superhero and the super villain appliances for “Spawn,” an ambitious adaptation of

Todd McFarlane’s bestselling comic book, which included the prosthetic makeup and body

suits for John Leguizamo’s Clown character and a 12-foot hydraulic puppet of the Violator,

Spawn’s demonic arch nemesis.

ABOUT THE FILMMAKERS

Although most of their work (600 titles and counting) is on the big screen, KNB has also

excelled in the television arena, lending their talents not only to “Hercules: The Legendary

Journeys” and “Xena: Warrior Princess,” but Showtime’s “The Outer Limits,” FOX-TV’s cult

favorites, “The X-Files” and “24,” NBC’s “Law & Order,” HBO’s “Deadwood” and the

telefilm “Desperation” based on the Stephen King novel. The pair won an Emmy for their

work on the Sci-Fi Channel’s “Dune.”

KNB’s partners come from disparate backgrounds. Berger grew up in Los Angeles (the son

of a post-production sound mixer) and spent his younger years visiting the studios of Oscar

winners Stan Winston and Rick Baker, the renowned animatronic and makeup effects

innovators, with whom he would later collaborate on “Aliens,” “Pumpkinhead,” “Predator,”

“Harry and the Hendersons” and “Men in Black.” The company currently resides in a 22,000

sq. ft. studio in Van Nuys, California, with a staff of 82 artists.

Nicotero hails from Pittsburgh, where he began his career under the tutelage of acclaimed

horror director George Romero and makeup effects master Tom Savini. He most recently

continued his ongoing affiliation with Romero on “Land of the Dead,” serving as 2nd unit

director and animatronic and creature makeup supervisor.

Information contained within as of August 26, 2009.

OSCAR® and ACADEMY AWARD® are the registered trademarks and service marks of the Academy of Motion Picture Arts and

Sciences.

SCREEN ACTORS GUILD AWARD® and SAG AWARD® are the registered trademarks and service marks of Screen Actors

Guild.

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