Land Of The Lost
UNIVERSAL PICTURES Presents
In Association With RELATIVITY MEDIA
A SID & MARTY KROFFT / MOSAIC Production
A BRAD SILBERLING Film
WILL FERRELL
DANNY MCBRIDE
ANNA FRIEL
JORMA TACCONE
Executive Producers
DANIEL LUPI
JULIE WIXSON DARMODY
ADAM MCKAY
BRAD SILBERLING
RYAN KAVANAUGH
Produced by
JIMMY MILLER
SID & MARTY KROFFT
Based on
SID & MARTY KROFFT’S
LAND OF THE LOST
Written by
CHRIS HENCHY & DENNIS MCNICHOLAS
Directed by
BRAD SILBERLING
– 1
– 1– 1–
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CAST
Dr. Rick Marshall . . . . . . . . . . . . . . . . . . .WILL FERRELL
Holly Cantrell . . . . . . . . . . . . . . . . . . . . . . . .ANNA FRIEL
Will Stanton . . . . . . . . . . . . . . . . . . . . .DANNY MCBRIDE
Chaka . . . . . . . . . . . . . . . . . . . . . . . . .JORMA TACCONE
Enik . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOHN BOYLAN
Matt Lauer . . . . . . . . . . . . . . . . . . . . . . . . . . MATT LAUER
Tar Pits Kids . . . . . . . . . . . . . . . .BOBB’E J. THOMPSON
SIERRA MCCORMICK
SHANNON LEMKE
STEVEN WASH, JR.
Teacher . . . . . . . . . . . . . . . . . . . . . . . . . .BRIAN HUSKEY
Teenagers . . . . . . . . . . . . . . . . . . . . . .KEVIN BUITRAGO
NOAH CRAWFORD
JON KENT ETHRIDGE II
LOGAN MANUS
Ernie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN BEST
Elder Pakuni . . . . . . . . . . . . . . . . . . . . . . .SCOTT DOREL
SEAN MICHAEL GUESS
Ice Cream Man . . . . . . . . . . . . . .DENNIS MCNICHOLAS
Stage Manager . . . . . . . . . . . . . . . . . . .CHRIS HENCHY
Sleestak . . . . . . . . . . . . . . . . . . . . . . . . . .KURT CARLEY
TRAVIS SAMUEL CLARK
DANIEL GEORGE
TODD CHRISTIAN HUNTER
MARTI MATULIS
TIM SOERGEL
DOUGLAS TAIT
PATRICK WEDGE
Pakuni Women . . . . . . . . . . . . . . . . . . . ANA ALEXANDER
MORAN ATIAS
JESSE GOLDEN
EVE MAURO
POLLYANNA MCINTOSH
ANIA SPIERING
Voice of Astronaut . . . . . . . . . . . . . . . .PAUL ADELSTEIN
Voice of Library Skulls . . . . . . . . . . . . . . . . .ADAM BEHR
DAAMEN KRALL
The Zarn . . . . . . . . . . . . . . . . . . . . . . .LEONARD NIMOY
Stunt Coordinator . . . . . . . . . . . . . . . .DOUG COLEMAN
Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . . . TODD BRYANT
MEEGAN GODFREY
STEVE SCHRIVER
GREG ANTHONY
DANIEL W. BARRINGER
RICHARD L. BLACKWELL
ALEXANDER J. CAPUTO
HUGH AODH O’BRIEN
ALLEN ROBINSON
BRIAN J. WILLIAMS
JOEY ANAYA
JACOB CHAMBERS
KYLE DEREK
IAN EYRE
LEON LADERACH
BRIAN MACHLEIT
MICHAEL PAPAJOHN
CREW
Directed by . . . . . . . . . . . . . . . . . . . .BRAD SILBERLING
Written by . . . . . . . . . . . . . . . . . . . . . .CHRIS HENCHY &
DENNIS MCNICHOLAS
Produced by . . . . . . . . . . . . . . . . . . . . . .JIMMY MILLER
SID & MARTY KROFFT
Executive Producers . . . . . . . . . . . . . . . . . .DANIEL LUPI
JULIE WIXSON DARMODY
ADAM MCKAY
BRAD SILBERLING
RYAN KAVANAUGH
Director of Photography . . . . . . . . DION BEEBE ACS ASC
Production Designer . . . . . . . . . . . . . . . . . . .BO WELCH
Edited by . . . . . . . . . . . . . . . . . . . . . .PETER TESCHNER
Casting by . . . . . . . . . . . . . . . . . . . .AVY KAUFMAN CSA
Music by . . . . . . . . . . . . . . . . . . .MICHAEL GIACCHINO
Co-Producers . . . . . . . . . . . . . . . . . . .JOHN SWALLOW
JOSH CHURCH
Costume Designer . . . . . . . . . . . . . . . . .MARK BRIDGES
Visual Effects Supervisor . . . . . . . . BILL WESTENHOFER
Creature Design by . . . . . . . . . . . . .CRASH MCCREERY
Key Stunt Rigger . . . . . . . . . . . . . . . . . . . .JIM STEPHAN
Helicopter Pilot . . . . . . . . . . . . . . . . .PETER MCKERNAN
Helicopter Ground Coordinator . . . . . . . . . JOHN SAKAS
Creature and Makeup Effects Created by . . . . . . . . . . . . .
MIKE ELIZALDE
Associate Producer/Production Supervisor . . . . . . . . . . . .
WILL WEISKE
Associate Producers . . . . . MICHELE PANELLI-VENETIS
JESSICA ELBAUM
Supervising Art Director . . . . . . . . . . . . . .JOHN DEXTER
Art Director . . . . . . . . . . . . . . . . . . .MAYA SHIMOGUCHI
Assistant Art Directors . . . . . . . . . . . . KASRA FARAHANI
LAUREN POLIZZI
Set Designers . . . . . . . . . . . . . . . . . . . . . . . . .SAM PAGE
LUIS HOYOS
SARAH CONTANT
Model Makers . . . . . . . . . . . . . . . . . . .DANIEL R. ENGLE
CRAIG ABELE
JOSE LUIS MACIAS
Illustrators . . . . . . . . . . . . . . . . . .NATHAN SCHROEDER
MAURO BORELLI
Graphic Designer . . . . . . . . . . . . . . . .ZACHARY FANNIN
Storyboard Artist . . . . . . . . . . . . . .GABRIEL HARDMAN
Art Department Coordinator . . . . . . . . RICHARD BLOOM
Property Master . . . . . . . . . . . . . . . . .SCOTT MAGINNIS
Assistant Property Masters . . GLENN CHARLES FORBES
RACHEL A. FLORES
Set Decorator . . . . . . . . . . . . . . . . . . . . . .LAURI GAFFIN
– 2–
Leadman . . . . . . . . . . . . . . . . . . . . .ANTHONY CARLINO
Set Dressers . . . . . . . . . . . . . . . . . . . . . .MARK PALMER
MARCO LOPEZ
BRUCE LUIZZI
NICK RYMOND
RANDY SEVERINO
On-Set Dressers . . . . . . . . . . . . . . . . . . . .DANNY ROWE
PAUL E. PENLEY
Buyers . . . . . . . . . . . . . . . . . . . . .FLORENCE FELLMAN
KATHY ORLANDO
Set Dressing Assistant . . . . . . . . . . . . . .SHAUN YOUNG
Camera Operator . . . . . . . . . . . . . . . .SION MICHEL ACS
First Assistant “A” Camera . . . . . . . . . . EJ MISISCO, JR.
Second Assistant “A” Camera . . MICHAEL PAUL JONES
“B” Camera Operator . . . . . . . . . . . . . . .DARIN MORAN
First Assistant “B” Camera . . . . . . . . . . . PAUL SANTONI
Second Assistant “B” Camera . . . . . ANDREW DEGNAN
Camera Loader . . . . . . . . . . . . . . . . . .MICHAEL SVITAK
Still Photographer . . . . . . . . . . . . . . . . .RALPH NELSON
Production Sound Mixer . . . . . . . . . . PUD CUSACK CAS
Boom Operator . . . . . . . . . . . . . . . . . . .ROSS SIMPSON
Utility Sound Technician . . . . . . . . . . . . . . . .ROSS LEVY
Video Assist Operator . . . . . . . . . . . . . .BRAD RALSTON
Additional Editor . . . . . . . . . . . . . . . . . . .GREG HAYDEN
1stAssistant Editors . . . . . . . . . . . . . . .NINA KAWASAKI
ALLY GARRETT
Apprentice Editor . . . . . . . . . . . . . .LAUREN CONNELLY
Post-Production Assistant . . . . . . . CHRISTIAN TRUONG
Chief Lighting Technician . . . . . . . . . . . JOHN BUCKLEY
Assistant Chief Lighting Technician . . . . MICHAEL YOPE
Universal Best Boy Electric . . . . . . . . . . JOHN TRUJILLO
Lighting Board Technician . . . . . . . . . . . SCOTT BARNES
Lamp Operators . . . . . . . . . . . . . . . . . . . . .DAVE CHASE
JOHNNY FINE
K. ALLEN HARKER
DOUG KEEGAN
SCOTT SPRAGUE
BIFF THOMPSON
Rigging Gaffer . . . . . . . . . . . . . . . . . . . . .KEVIN J. LANG
Universal Rigging Gaffer . . . . . . . . . . . . . GLADE KNIGHT
Rigging Electric Best Boys . . . . . . . . . . . DAVID DUNBAR
MICHAEL S. ARVANITIS
Rigging Electricians . . . . . . . . . . . . . . . .TIM MARSHALL
RUBEN T. REYES
AARON RICHARDS
Key Grip . . . . . . . . . . . . . . . . . . . .DON REYNOLDS, JR.
Best Boy Grip . . . . . . . . . . . . . . . . ALFRED M. CASTILLO
Universal Best Boy Grip . . . . . . . . . . . . . . . . .RYAN KIRK
Dolly Grips . . . . . . . . . . . . . . . . . . . . . . . . . . .BRAD REA
DWAYNE BARR
Grips . . . . . . . . . . . . . . . . . . . . . .JEREMY L. BRUSSELL
GEORGE F. CACCAMISE
KEN CARCELLER
JOSE CRUZ
JACK DAVISON
COLEMAN HART
SCOTT HILLMAN
SEAN SHINNEMAN
Technocrane Operator . . . . . . . . . . . . . . .JOE RODMELL
Rigging Key Grip . . . . . . . . . . . . . . . . . . . . . .LES PERCY
Rigging Best Boy Grip . . . . . . . . . . . . . .WAYNE KOSKY
Universal Rigging Best Boy Grip . . . . . REID WHEATLEY
Rigging Grips . . . . . . . . . . . . . . . . . . . . . .DON BENNETT
TONY BOURA
ALAN DOWNS
WILLIAM KENT
THOMAS E. LEE
ROBERT LEITELT
ROBERT REILLY
CHARLES SMITH
Sound Mixing . . . . . . . . . . . . . . . . . . . . .ANDY NELSON
ANNA BEHLMER
Sound Designer & Supervision . . . . . . . . RICHARD KING
Special Effects Supervisor . . . . . . . . MICHAEL LANTIERI
SFX Shop Foreman . . . . . . . . . . . . . . . .MARIO VANILLO
SFX Set Foreman . . . . . . . . . . . . . . . . .JIMMY LORIMER
SFX Rigging Foreman . . . . . . . . . . . . . . .ROLAND LOEW
SFX Technicians . . . . . . . . . . . . . . . . . . . . .RYAN ARNDT
RON EPSTEIN
CHRISTIAN F. EUBANK
JAY B. KING
JOE LOVE
MATTHEW J. MCDONNALL
DANIEL OSELLO
ROBERT L. SLATER
JONATHAN THACKERY
SFX Assistant . . . . . . . . . . . . . . . .MANUELA HAHNLEIN
Makeup Department Head . . . . . . . . . STEVE ARTMONT
Key Makeup Artist . . . . . . . . SIMONE ALMEKIAS-SIEGL
Hair Department Head . . . . . . . . . . . BRIDGET M. COOK
Key Hairstylist . . . . . . . . . . . . . . . . . . . . .NANCI CASCIO
Assistant Costumer Designer . . . . . . . . . . . . . . . . . . . . . .
KIMBERLY ADAMS GALLIGAN
Costume Supervisor . . . . . . . . . . . . . . . . .LYNDA FOOTE
Key Costumer . . . . . . . . . . . . . . .JO KISSACK FOLSOM
Mr. Ferrell’s Costumer . . . . . . . . . . . . . . .MARYLOU LIM
Set Costumer . . . . . . . . . . . . . . . . . . .DAVID A. BUTLER
Location Manager . . . . . . . . . . . . . . .JONATHAN HOOK
Key Assistant Location Manager . . WILLIAM JORGENSON
Special Projects Supervisor . . . . . . . . . . . COREY SKLOV
Production Coordinator . . . . . . . . . . JENNIFER CONROY
Assistant Production Coordinator . . . . . ANNA WENGER
Production Secretaries . . . . . . . . . . . RYAN MININGHAM
RANDALL MAXWELL
Second Second Assistant Director . . TIMOTHY R. PRICE
DGA Trainee . . . . . . . . . . . . . . . . . . . . . . .ALICIA HAILEY
Production Accountant . . . . . . . . . . RACHEL PRENTISS
First Assistant Accountant . . . . . . . . . . . KRISTI MUJICA
Second Assistant Accountants . . . . . . . . . FALESHIA LO
ERIN ROSE
– 3–
ANDREW SCHARK
Payroll Accountant . . . . . . . . . KATY TATIAN-GENOVESE
Post-Production Accountant . . . . . . . JAMES O. MAULL
Accounting Clerk . . . . . . . . . . . . . . . . . . . .RYAN BIEGEL
Script Supervisor . . . . . . . . . . . . . . . . .CATE HARDMAN
Unit Publicist . . . . . . . . . . . . . . . . . .CLAIRE S. RASKIND
Key Craft Service . . . . . . . . . . . . . . .CHANCE TASSONE
COREY MINER
Assistant Craft Service . . . . . . . . . . . . . JOSEPH MILITO
TONY GOMEZ, JR.
Casting Associate . . . . . . . . . . . . . . . .LOIS J. DRABKIN
Casting Assistant . . . . . . . . . . . . . . .LEEBA ZAKHAROV
Extras Casting . . . . . . . . . . . . . . . . . . . . .CAROL GRANT
Assistant to Mr. Silberling . . . . . . . RACHEL FLEISCHER
Assistants to Mr. Miller . . . . . . . . . . . . . .CRISTIN ERTEL
ERIN CAPPICCIE
Assistants to Sid & Marty Krofft . . .CHRISTINE BEDOLLA
BILL TRACY
Assistant to Ms. Wixson Darmody . . . . . . . EMILY ROSE
Assistant to Mr. Henchy . . . . . . . . . . ELISABETH STONE
Assistant to Ms. Friel . . . . . . . . . . . . . .ANGEL BELLMER
Assistant to Mr. Ferrell . . . . . . . . . . . . . . .ARNE HOFSJO
Office Production Assistants . . . . . . . . . . BLAKE NABAVI
DESMOND SMITH
CHANEL DAWNEE
Key Set Production Assistant . . . . . . . . JASON KUMALO
Set Production Assistants . . . . . . . . . . . . WENDY GEARY
MICHELLE SCHRAUWERS
LISA BROWN
Camera Production Assistant . . . . . . . . . . . . .TIM COBB
Production Assistants . . . . . . . . . . . . . . .BARRY CURTIS
TROY PROFFITT
Art Department Assistants . . . . . . . . JAMES BRANAMAN
LILY PAHLOW
SARA GHAFFAR
Asset Representative . . . . . . . . . . . JUSTIN R. WILLIAMS
Stand-Ins . . . . . . . . . . . . . . . . . . . . . . . . .SEAN GRAHAM
RENEE RIESE
JASON CHICOINE
KRISTIAN STEELER
Background Sleestak . . . . . . . . . . ANDREAS ANDERSON
LANDON ASHWORTH
SETH BAUER
TREVOR BRUNSINK
DAVID CRAIG
BEN HANSEN
SHANE HUSEMAN
DANKO IORDANOV
KENNY JACKSON
MATT KAVANAUGH
DARREN KENDRICK
FREDERICK KEEVE
TERENCE LECLERE
NATHAN LUGINBILL
CHRISTIAN POGORZELSKI
TOMMY RUDDELL
DAVID SZABO
NATHAN UDALL
KYLE WEISHAAR
JOEY ZADWARNY
Construction Coordinator . . . . . . ROBERT BLACKBURN
Construction General Foreman . . WILLIAM H. PHEN, JR.
Prop Maker Foremen . . . . . . . ERNEST A. DOTTLINGER
JOSEPH GRAY
JOHN HOLCOMBE
FRANK STEVER
MARK WEBER
Lead Paint Foreman . . . . CHRISTOPHER WOODWORTH
Paint Shop Foreman . . . . . . . . JEFFEREY ZUCKERMAN
Standby Painter . . . . . . . . . . . . . . .CHRIS ZIMMERMAN
Lead Plaster Foreman . . . . . . . . . . ALEXANDER SCUTTI
Plaster Foremen . . . . . . . . . . . . DAMACIO CORTEZ, JR.
MARED G. SCUTTI
RYAN JACOBY
ERIC GUNTHER
Lead Sculptor . . . . . . . . . . . . . . . . . . . .YANN DENOUAL
Sculptor Gang Bosses . . . . . . . . . . . . .TRAVIS CRAVEN
KEVIN MARKS
VAL DRAKE
Welding Foreman . . . . . . . . . . . . . . . . . . .DAVE BLEILER
Welding Gang Boss . . . . . . . . . . . .TERRY HAMBLETON
Labor Foreman . . . . . . . . . . . . MICHAEL A. CONTRERAZ
Greens Supervisor . . . . . . . . . . . . . . . .DAN ONDREJKO
Greens General Foreman . . . . . . . . RICHARD W. JONES
Greens Foremen . . . . . . . . . . . . . . . . . . .CARLO BASAIL
RICHARD J. BELL
VINCENT D’AQUINO
Greens Gang Bosses . . . . . . . . . RAUL M. PUENTES, JR.
TOM SAFRON
ANTHONY VATAGLIANO
S. FORD JONES
Standby Greens . . . . . . . . . . . . . . . . . . . .JEFF THOMAS
Transportation Coordinator . . . . . . . JOHN A. BRUBAKER
Transportation Captain . . . . . . . . . . . . . . . .KEN M. SALE
Transportation Co-Captain . . . . . . . . . . DINO BILLABER
Transportation Dispatcher . . . . . . . FRANK ANNUNZIATA
Picture Car Consultant . . . . . . . . . . . . . . .BILLY STABILE
1st Assistant Sound Editors . . . . . . . . . . . LINDA YEANEY
ANDREW BOCK
Sound Effects Editors . . . . . . . . MICHAEL W. MITCHELL
PAUL BEROLZHEIMER
ADR Supervisor . . . . . . . . . . . . . . . . . KIMBERLY HARRIS
Dialogue Editor . . . . . . . . . . . . . . . . . . . . . . HUGO WENG
Foley Supervisor . . . . . . . . . . . . . . CHRISTOPHER FLICK
Additional Sound Design . . . . . . . . . . . . .ROLAND THAI
Temp Dialogue Editor . . . . . . . . . . . . . .SUSAN DUDECK
Foley Artists . . . . . . . . . . . . . . . . . . . . . .ROBIN HARLAN
SARAH MONAT
Foley Mixer . . . . . . . . . . . . . . . . . . . . . . . RANDY SINGER
Voice Casting . . . . . . . . . . . . . . . . . . .BARBARA HARRIS
– 4–
ADR Mixers . . . . . . . . . . . . . . .THOMAS J. O’CONNELL
CHARLEEN STEEVES
ADR Recordists . . . . . . . . . . . . . . . . . . . .RICK CANELLI
DAVID LUCARELLI
Sound Effects Recordists . . . . . . . . . . . . . ERIC POTTER
JOHN PAUL FASAL
Exotic Animals Provided by . . . . . . . . . . . . . . . . . . . . . . . .
MILLER’S PREDATORS IN ACTION, INC.
Additional Sound Mixing . . . . . . . . . . . . . . . . . . JIM BOLT
Dub Stage Recordists . . . . . . . . MATTHEW PATTERSON
DENNIS ROGERS
RYAN COLE
Re-Recording Engineers . . . . . . . . . . . . . . .TOM LALLEY
PAUL PAVELKA
Re-Recorded at . . . . . . . . 20TH CENTURY FOX STUDIOS
Executive in Charge of Music for Universal Pictures . . . . .
KATHY NELSON
Music Editors . . . . . . . . . . . . . . . . . . . . .STEPHEN DAVIS
ALEX LEVY
JOE E. RAND
BILL BERNSTEIN
Assistant Music Editor . . . . . . . . . . . . . . . .MIKE ZAINER
Music Consultant . . . . . . . . . . . . . . . . . . .DAVE JORDAN
Orchestrators . . . . . . . . . . . . . . . . . . . . . .TIM SIMONEC
ANDREA DATZMAN
JACK HAYES
BRAD DECHTER
LARRY KENTON
CHAD SEITER
CAMERON PATRICK
PETER BOYER
Music Contractor . . . . . . . . . . . . . . . . .REGGIE WILSON
Score Coordinator . . . . . . . . . . . . . .ANDREA DATZMAN
Orchestra Conducted by . . . . . . . . . . . . . .TIM SIMONEC
Music Preparation . . . . . . . . . . . . . . . . .BOOKER WHITE
Music Recorded and Mixed by . . . . . . . DANNY WALLIN
Score Recorded and Mixed at . . . . . . . . . . . . . . . . . . . . . .
WARNER BROS. EASTWOOD SCORING STAGE
Scoring Crew . . . . . . . . . . . . . . . . . . . . .GREG DENNON
RYAN ROBINSON
RICH WHEELER
JAY SILVESTER
JAMIE OLVERA
Additional Scoring at . . . . . . THE VILLAGE RECORDERS
20TH CENTURY FOX
Scoring Crew . . . . . . . . . . . . . . . .DENNIS ST. ARMAND
TIM LAUBER
TOM STEEL
DOMINIC GONZALES
STACEY ROBINSON
Vocal Contractor . . . . . . . . . . . . . . . . . . . . .BOBBI PAGE
Main & End Title Design . . . . . . . . . . . . .AXIOM DESIGN
End Crawl . . . . . . . . . . . . . . . . . . . . .SCARLET LETTERS
Digital Intermediate . . . . . . . . . . . . . . . . . . . . . . . .EFILM
DI Colorist . . . . . . . . . . . . . . . . . . . . . . STEVEN J. SCOTT
DI Producer . . . . . . . . . . . . . . . . . . . . . . . . .LOAN PHAN
DI Editor . . . . . . . . . . . . . . . . . . .CURTIS LINDERSMITH
Negative Cutter . . . . . . . . . . . . .BV NEGATIVE CUTTING
Color Timer . . . . . . . . . . . . . . . . . . . . . . . . . .LEE WIMER
Camera Cranes & Dollies by . . . . . . . . . . . . . . . . . . . . . . .
CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
Visual Effects Producer . . . . . . . . . . . . . . .LIZ RALSTON
Visual Effects Coordinator . . . . . . . . . . . SARAH VINSON
Visual Effects Editor . . . . . . . . . . . . . PAMELA CHOULES
VFX Associate Coordinator . . . . . . . . . . . CURTIS KRICK
Visual Effects by . . . . . . . . . RHYTHM & HUES STUDIOS
Visual Effects Producer . . . . . . . . . . . KAREY MALTZAHN
Senior Animation Supervisor . . . . . . ERIK-JAN DE BOER
Art Director . . . . . . . . . . . . . . . . . . CHRISTOPHER GRUN
Digital Effects Supervisor . . . . . . . . . . . . . GREG STEELE
Digital Effects Producer . . . . . . . . TIM T. CUNNINGHAM
Look Development Supervisor . . . . . . . . MIKE SANDRIK
Visual Effects Production Manager . . . . . . KARL RUMPF
CG Production Managers . . . . . . . SANDY DELLAMARIE
ANTOINETTE PEREZ
Digital Effects Production Manager . . . . . GENE KOZICKI
Sequence Supervisors . . . . . . . . . . . PASCAL CHAPPUIS
BILL GEORGIOU
JIMMY JEWELL
DAVID LAUER
MATT LINDER
CG Environment Supervisor . . . . . . . . DARRIN WEHSER
Digital Coordinators . . . . . . . . . . . . . . BEVERLY ABBOTT
ASHWIN AGRAWAL
KIRSTIN BLYTHE
WILLIAM COVINGTON
JOSH FRITCHIE
WENDY GEARY
HARRISON GOLDSTEIN
LONNIE IANNAZZO II
SNEHAL KANCHAN
KIP LEWIS
MICHAEL MARLETT
MICHAEL O’DONNELL
KADI RODRIGUEZ
TIFFANY SCHMITTER
JAKRIS SMITTANT
CARLOS SOLORZANO
AASHIMA TANEJA
Visual Effects Editor . . . . . . . . . MICHAEL BACKAUSKAS
Assistant Visual Effects Editor . . . . . . . KENTON HULME
Assistant Digital Coordinator . . . . . . . DAVID GOEPPNER
On-Set Data Technician . . . . . . . . . . . . SAMUEL NUNEZ
Modeling Supervisor . . . . . . . . . . . . . . . .BRADLEY SICK
Modeling Leads . . . . . . . . . . . . . . . . . . . . .KENNY HUAN
RISHIKESH NANDLASKAR
MANOJ VANGALA
ANUZ MOHAMMED
JEREMY CHINN
JUNG YOON CHOI
– 5–
SANDESH CHONKAR
HECTOR DE LA TORRE
DIVAKAR GHODAKE
ANASTASIOS GIONIS
MABEL JOHN
CHAITALI PATEL
MAYURESH SALUNKHE
NICOLAS SIEVERS
SABRINA SILVER SAGARZADE
Rigging Supervisor . . . . . . . . . . . . . . . . . . . .JEN BAHAN
Rigging Artists . . . . . . . . . . . . . . . . . . . . . . . .TYLER FOX
JELENA ERCEG
JARED HROMIKA
SI-HYUNG KIM
M. GAVIN MCMILLAN
Texture Lead . . . . . . . . . . . . . . . . . . . . . . . .SARAH KYM
Texture Painters . . . . . . . . . . . . . . . . . .SAMUEL ALICEA
REILLY LOHR
WEI WONG
Look Development Lead . . . . . . . . . . . . .TOM BRADLEY
Pre-Lighters . . . . . . . . . . . . . . . . . . . . .RICHARD FALLAT
WES FRANKLIN
BETSY HALL
VISHAL PARIKH
VISHAL PAWAR
SHREYA SHETTY
Match Move Supervisor . . . . . . . . . . . . . .RICH ENDERS
Match Move Leads . . . . . . . . . . . . . . . . . .ADAM BLANK
ANAND BALASUBRAMANIAM
SACHIN BANGERA
Match Movers . . . . . . . . . . . . . . .SWAPNIL BORAWAKE
VINIT CHATURVEDANI
KEVIN COUTINHO
ASHUTOSH DESHMUKH
JEFF DOTSON
SILSUNNY D’SOUZA
SEAN FERNANDES
DENIL GEORGE
VIRENDRA JADHAV
BABUL JAIN
ABHIMANYU JOSHI
JAYRAJ KHARVADI
PRANAV GAUTAM KUMAR
VIKAS KURUP
RAHUL ROBERT LEWIS
KEVIN LIN
RYAN LORIE
DARSHANA MANE
SHAKIL NADKARNI
JAYARAMAN SABARISAN
DIKSHA SAGAR
DIVYESH SHAH
JEFF W. SMITH
MARC SMITH
GEETA THAPAR
GREG TSE
SHREYA UCHIL
Layout Supervisor . . . . . . . . . . . . . COLBERT FENNELLY
Layout Artists . . . . . . . . . . . . . . . . . . . . .JESSICA DIXON
MICHAEL GUTTMAN
PATRICIA KAVANAUGH
Animation Supervisors . . . . . . . . . . . SEAN MCCOMBER
C.J. SARACHENE
MATT SHUMWAY
Animation Leads . . . . . . . . . . . . . . . . .AUDIE HARRISON
REBECCA RUETHER
SACHIN SURYAWANSHI
Animators . . . . . . . . . . . . . . . .DEBAPRASAD BHOWMIK
DAVID BREAUX, JR.
ALEXANDRA BRYMAN
NIKHIL DESHMUKH
RACHEL FLOWERS
JOHN K. GOODMAN
TIM GRANBERG
GAEL HARLOW
KEVIN JACKSON
MACK KABLAN
CHANSOO KIM
KEVIN LAN
RICHARD LIAO
DAVID LINSEY
AMY LU
PRAJAKTA NANDLASKAR
HARISH PAWAR
TREY ROANE IV
JUAN SANCHEZ
GEORGE SCHERMER
BINAL SHAH
CHRISTOPHER WALSH
BRIAN WELLS
KENT YOSHIDA
Technical Animation Supervisor . . . . . . JIMMY GORDON
Technical Animation Lead . . . . . . . . . . . PHILIP DUNCAN
Technical Animators . . . . . . . . . . . . . . . . . . .GERRY HSU
HANNAH LEES
KEN PARIS
MARC THYNG
HELEN TSE
NEHA WICKRAMASEKARAN
KEITH WILSON
MICHAEL WOODSIDE
Crowd Animation Supervisor . . . . . . . JASON QUINTANA
Crowd Animation Artists . . . . . . . . NICHOLAS AUGELLO
ANDERS ERICSON
D’LUN WONG
Lighting Supervisor . . . . . . . . . . . . . . . . .TONY ETIENNE
Lighting Leads . . . . . . . . . . . . . . . . . . . . . . . . . . . ROB AU
HARRY RUSSELL BRUTSCHE
UMESH DALVI
ADAM KING
– 6–
ROHIT LAD
ADAM MOURA
STEPHEN NULL
Lighting Artists . . . . . . . . . . . . . . . . .LAIDE AGUNBIADE
KUNAL ARORA
RONALD ARREDONDO
TIFFANY BORCHARDT
JEANNIE CHEN
RADHA DESAI
PAUL GIMM
LOGAN GLOOR
CASEY GORTON
HARRY GUNDERSEN
KENNETH KURRAS
TU LE
JANE LEE
TIM LLEWELLYN
BRANDON MARTIN
GAELLE MORAND
IRV MOY
DAN SANTONI
YOGESH SAWANT
NIC SPIER
DIGANT SUTAR
CHIKAKO TERASHITA
KIRTISH THARTHARE
HUAN TRAN
PRIYANSHU UNIYAL
JIMMY VALLADAO
ANIL VERMA
CHI-MIN YANG
GEE YEUNG
Conceptual Artists . . . . . . . . . . . . . . . . . . .DYLAN COLE
EDWARD LEE
CRAIG MULLINS
ADRIAN PALADINI
ROBERT STROMBERG
Lead Matte Painter . . . . . . . . . . . . . . .MARTA KNUDSEN
Matte Painters . . . . . . . . . . . . . . . . . . . . . . .ALINA ANON
LAURENT BEN-MIMOUN
SCOTT BRISBANE
VANESSA CHEUNG
NICOLAS DONEL
THOMAS ESMERALDA
JOHN FRASER
BRANDON KACHEL
MICHAEL LLOYD
ZACH MANDT
MAYUMI SHIMOKAWA
FX Supervisor . . . . . . . . . . . . . . . . . . . .DAVID HORSLEY
FX Leads . . . . . . . . . . . . . . . . . . . . . . . . .MARC BRYANT
ROB STAUFFER
FX Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MIR ALI
PAUL CARMAN
CHRYSTA DIETERLY
MICHAEL EDLAND
LUCIO FLORES
HIDEKI OKANO
SIEGFRIED OSTERTAG
ALLEN ROSE
CHRISTOPHER WACHTER
2-D Supervisor . . . . . . . . . . . . . . . . . . . . . .CRAIG SEITZ
BG Prep Leads . . . . . . . . . . . . . . . .JENNIFER BOURNE
MUKESH KUMAR
PRABHAKAR PUTTA
KAMAL VAIRAKKANNU
BG Prep Artists . . . . . . . . . . CYNDY ARAGON-TREVINO
AVINASH BHANDARY
JOHN BRITTO
JEFFREY CASTEL DE ORO
SIBI CHAKRAVARTHIBALACHANDAR CHANDRASEKARAN
MIKE FREVERT
SCOTT FRITZSHALL
VIVEK GANESH
MARK HOPPER
SIMRAT KAUR
TRAVIS NELSON
SAGAR PATIL
RAKESH PUSULURI
DANIEL RAFFEL
JOSE ROVIROSA
TILAK SARAVANAN
ARJUN SINGH
DHRUV SINGH
RADHAKRISHNAN SUNDARARAJ
CHRIS SUTHERLAND
Compositing Leads . . . . . . . . . . . . . . . . . . .JEFF ALLEN
MICHAEL CRANE
SANDHYA JADHAV
CHRIS J. KENNY
SHAWN MONAGHAN
PETER SIDORIAK
JATEEN THAKKAR
Compositors . . . . . . . . . . . . . . . . . . . . .SEAN AMLANER
ASHLEIGH ANDERSON
ALANA ARANKI
BEVERLY BERNACKI
CHAD BUEHLER
CHIH-JEN ANDY CHANG
KUNAL CHINDARKAR
JIYEON CHO
DOUG CRAM
RAJDEEP DANDEKAR
SAEED FARIDZADEH
JOHN HARVEY
SHWETA HIRANI
SEAN KENNEDY
SAM KIM
ROBYN KRALIK
MICHEL KREISEL
– 7–
PRINCE KURIAN
JAY LALIME
MARTIN LARRIVEE
JAY MEHTA
DANIEL MEJIA
MARKO MILICEVIC
MAURICIO MONROY
CEDRIC PEREIRA
JOE REESE
BRETT REYENGER
ROBERT ROWLES
MARC RUBONE
DONNA SEGAL
AMIT SHARMA
TOMOKO SHIN
DEVIN UZAN
CHRIS WOOD
ROBERT YOUNG
BRANDY ZUMKLEY
Pipeline Supervisor . . . . . . . . . . . . . . . . . . .WIL WHALEY
Pipeline TDs . . . . . . . . . . . . . . . . . .NIKHIL BHATNAGAR
RACHEL DREWS
NICOLE GALAZ
MICHAEL KESSLER
SIJO PAPPACHAN
Production and Technical Support . . . . . . . AMOL DIGHE
PHIL HOLLAND
LANCE KIMES
WILL MCCOWN
CHIBUEZE OGAMBA
Software and Technology . . . . . . . . WALID HARMOUSH
MICHAEL KOWALSKI
HANS RIJPKEMA
Visual Effects by . . HAMMERHEAD PRODUCTIONS, INC
Visual Effects Supervisor . . . . . . . . . . THOMAS DADRAS
Visual Effects Producer . . . . . . . . . . . . . . . . LES HUNTER
Executive Producer . . . . . . . . . . . . . . . . . . .DAN CHUBA
Compositing Supervisor . . . . . . . . . . . . . . DAN LEVITAN
Visual Effects Art Director . . . . . . . . . . REBECCA MARIE
Visual Effects Coordinator . . . . . . . . . KELLY RAE KENAN
Animation & Lighting . . . . . . . . . . . . . . . .MANNY WONG
AUNG MIN
DIDIER LEVY
Compositing . . . . . . . . . . . . . . . . . . . . . . . . .JON DOYLE
ROBERT CRIBBETT
OZZIE CARMONA
GILBERT GONZALES
DANIEL MELLITZ
JOEL MERRITT
ALIZA CORSON CHAMEIDES
JUSTIN JONES
Match Moving . . . . . . . . . . . . . CHRISTOPHER HOPKINS
Rotoscoping & Prep . . . . . . . . . . . . . . . .SHIRA MANDEL
DEBORAH HINER
DERICK DRESSEL
Animation Supervisor . . . . . . . . . . . . . MARK A.Z. DIPPÉ
VFX Executive Producer . . . . . . . . . . . . . .YOUNG-KI LEE
VFX Supervisor . . . . . . . . . . . . . . . . . . . . . .MINSU PARK
Co-VFX Supervisor . . . . . . . . . . . . . . .SEUNGYONG LEE
VFX Producer . . . . . . . . . . . . . . . . .JUNSHIK-RAUL YUN
VFX Coordinator . . . . . . . . . . . . . . . . . . . . .TRACY PARK
Lead Modeler & Compositor . . . . . . . . . MANHONG HAN
Lead Compositor . . . . . . . . . . . . . . . . . . . . .MINHEE LEE
Lead Animator . . . . . . . . . . . . . . . . . . .SUNGOH MOON
Production Support . . . . . . . . . . . . FATIMA MOJADDIDY
CHRIS RAISKUP
ISAAC LIPSTADT
Visual Effects by . . . . . . . . . . . . . . . . . . . . . . . . .CAFEFX
Visual Effects Supervisor . . . . . . . . . . BEN GROSSMANN
Visual Effects Producer . . . . . . . . . . . . . ROBERT EVANS
Compositors . . . . . . . . . . . . . . . .VERDI SEVENHUYSEN
MIKE EK
FX Animator . . . . . . . . . . . . . . . . . . . . .BRANDON DAVIS
Rotoscope Artist . . . . . . . . . . . . . . . .KEVIN MCDONALD
Additional Visual Effects by . . . . . . . . . . . . . . . . . . . . . . .
PERPETUAL MOTION PICTURES
Visual Effects Supervisor . . . . . . . . RICHARD MALZAHN
Additional Visual Effects by . . . . VFX COLLECTIVE, INC.
Creature Effects by . . . . . . . . . . . . .SPECTRAL MOTION
Creative Consultant . . . . . . . . . . . . . . . . MARY ELIZALDE
Production Supervisor . . . . . . . . . . . . . . .BRIAN WALSH
Illustrators . . . . . . . . . . . . . . . .CONSTANTINE SEKERIS
CHET ZAR
Chaka Lead Makeup Artist . . . . . . . . . . . .THOM FLOUTZ
Sleestak/Enik Sculptors . . . . . . . . . . . RUSSELL LUKICH
TASHIRO KIYA
JIM HOGUE
Sleestak/Dinosaur Sculptor . . . . . . . . . . . DAVE GRASSO
Sleestak Sculptors . . . . . . . . . . . . . . . . .MARIO TORRES
TRISTAN SHANE
Chaka/Pakuni Sculptor . . . . . . . . . . . . . . MITCH DEVANE
Enik Mechanical Department . . . . . . . MARK SETRAKIAN
BUD MCGREW
Sleestak Mechanical Department . . . JURGEN HEIMANN
SCOTT MILLENBAUGH
HIROSHI IKEUCHI
KYLE MARTIN
JUNKO KOMORI
Creature Fabrication Department . . . . . . . . . . . . . . . . . . .
LINDA BENAVENTE-NOTARO
CLAUDIA HARDY
CAROL JONES
FRED FRALEIGH
BRENDA SCAGLIONE
AMBER SKOWRONSKI
JASMINE JONES
DOROTHY BULAC-ERIKSEN
On-Set Technician . . . . . . . . . . . . . . . .CHRIS GARNAAS
Seaming . . . . . . . . . . . . . . . . . . . . . . . . .STEVE KUZELA
Chaka/Pakuni Hair Department . . DIANA YUNSOO CHOI
– 8–
SYLVIA NAVA
GUADALUPE VILLEGAS
URSULA HAWKS
Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . .TIM LARSEN
NEIL WINN
Prosthetic Teeth . . . . . . . . . . . . . . . . . .ART SAKAMOTO
Enik Eyes . . . . . . . . . . . . . . . . . . . . . . .KAZUHIRO TSUJI
Creature Foam Department Head . . . . . . . . . . . . . . . . . . .
ROLAND BLANCAFLOR
Creature Foam Department . . . . . . . . . CASS MCCLURE
WILLIAM FESH
MILES SABATINI
TIM PHOENIX
GARY DARAKJIAN
LOUIS KISS
CLAY MARTINEZ
Molding/Lifecasting Department Head . . . BRENT BAKER
Molding/Lifecasting Department . . . . . . HIRSOSHI YADA
DARIN BOUYSSOU
DAVE PERTEET
BRIAN RAE
GREG SOLOMON
On-Set Costuming . . . . . . . . . . . . . . . . . .LAURA BAKER
FRED CERVANTES III
On-Set Makeup Artist . . . . . . . ELIZABETH VILLAMARIN
Creature Technician Staff . . . JAMES ADAM PATTERSON
MARIA KRUSE
ROBIN MYRIAH HATCHER
MATT ULLMAN
JILL WARNER
SOUNDTRACK ON VARÈSE SARABANDE
“THE MISSION THEME” (FROM NBC NEWS)
Written by John Williams
“ALSO SPRACH ZARATHUSTRA”
Written by Richard Strauss
Performed by The Wiener Philharmoniker
Conducted by Herbert von Karajan
Courtesy of The Decca Music Group Limited
Under license from Universal Music Enterprises
“I HOPE I GET IT” (FROM A CHORUS LINE)
Written by Marvin Hamlisch, Edward Kleban
Performed by The Original Broadway Cast of
A Chorus Line
Courtesy of Sony Music Masterworks
By arrangement with Sony Music Entertainment
“BOOGIE WOOGIE BUGLE BOY”
Written by Hughie Prince, Don Raye
Performed by The Andrews Sisters
Courtesy of Geffen Records
Under license from Universal Music Enterprises
“DIE KLEINE STADT WILL SCHLAFEN GEH’N”
Written by Werner Bochmann, Martha Bergner
Performed by Ilse Werner
Courtesy of M.A.T. Music Theme Licensing Ltd.
“BELIEVE”
Written by Paul Michael Barry, Brian Higgins,
Steve Torch, Matthew Gray, Stuart McLennan,
Timothy Powell
Performed by Will Ferrell, Danny McBride
“GOODIES”
Written by Sean Garrett, Ciara Harris,
La Marquis Jefferson, Craig Love,
Jonathan H. Smith, Zachary Wallace, Petey Pablo
Performed by Ciara featuring Petey Pablo
Courtesy of La Face Records and The RCA/Jive Label
Group, A Unit Of Sony Music Entertainment
By arrangement with Sony Music Entertainment
“LAND OF THE LOST THEME”
Written by Linda Laurie
Performed by Will Ferrell
“I JUST WANT TO CELEBRATE”
Written by Nick Zesses, Dino Fekaris
Performed by Rare Earth
Courtesy of Motown Records
Under license from Universal Music Enterprises
“ALL ALONG THE WATCHTOWER”
Written by Bob Dylan
Performed by Jimi Hendrix
Courtesy of Experience Hendrix, LLC/Geffen Records
Under license from Universal Music Enterprises
“SUMMER BREEZE”
Written by Jimmy Seals, Darrell Crofts
Performed by Seals & Crofts
Courtesy of Warner Bros. Records Inc.
By arrangement with Warner Music Group Film
& TV Licensing
Additional Guitar—Dave Mustaine
Dave Mustaine appears courtesy of Megadeth
and Roadrunner Records
In association with Dentsu Inc.
Bantam Books and logo were used by permission of
Bantam Books, a division of Random House, Inc.
Tattoos courtesy of Studio City Tattoo.
Stock photography courtesy of Corbis Corporation.
– 9–
Document technology and service provided by
Xerox Corporation.
Special Thanks to
Jon Poll
Michael Kahn
Film LA—Jodi Strong
Antelope Valley Film Office—Pauline East
Ridgecrest BLM—Elaine Hanson
Barstow BLM—Larry Blaine
Ridgecrest Regional Film Office—
Douglas Lueck & Virginia Sanders
The Page Museum
This motion picture used sustainability strategies to
reduce its carbon emissions and environmental impact.
(Logo)
NO. 45364
MOTION PICTURE ASSOCIATION OF AMERICA
© 2009 UNIVERSAL STUDIOS
All Rights Reserved.
ANIMATED UNIVERSAL STUDIOS LOGO © 1997
UNIVERSAL STUDIOS
Country of First Publication: United States of America.
Universal Studios is the author of this motion picture for
purposes of the Berne Convention and all national laws
giving effect thereto.
The depictions of tobacco smoking contained in this
film are based solely on artistic consideration and are
not intended to promote tobacco consumption. The
U.S. surgeon general has determined that there are
serious health risks associated with smoking and
secondhand smoke.
The characters and events depicted in this photoplay
are fictitious. Any similarity to actual persons, living or
dead, is purely coincidental.
This motion picture is protected under the laws of
the United States and other countries. Unauthorized
duplication, distribution or exhibition may result in
civil liability and criminal prosecution.
Credits as of May 15, 2009
– 10 –
(L to R) Will Stanton (DANNY MCBRIDE), Dr. Rick Marshall (WILL FERRELL) and Holly Cantrell (ANNA FRIEL)
are surrounded by painfully slow Sleestak in Land of the Lost.
WILL FERRELL (Step Brothers, Talladega Nights:
The Ballad of Ricky Bobby) stars as has-been scientist
Dr. Rick Marshall, a man with no weapons, few skills
and questionable smarts who must survive an alternate
universe full of marauding dinosaurs and
fantastic creatures from beyond our world. Marshall
has been sucked through a space-time vortex to a
place of spectacular sights and super-scaled comedy
known as the Land of the Lost.
Coming along with him for the adventure are
crack-smart research assistant Holly (ANNA FRIEL,
television’s Pushing Daisies, Timeline) and a redneck
souvenirist (DANNY MCBRIDE, Tropic Thunder,
Pineapple Express) named Will. Chased by T. rex and
stalked by painfully slow reptiles known as Sleestak,
Marshall, Will and Holly must rely on their only
ally—a primate called Chaka (JORMA TACCONE,
television’s Saturday Night Live)—to navigate out of
the hybrid dimension. Escape from this routine expedition
gone awry and they’re heroes. Get stuck, and
they’ll be permanent refugees in the Land of the Lost.
Based on the classic series created by television
icons SID & MARTY KROFFT, Land of the Lost is
directed by BRAD SILBERLING (Lemony Snicket’s A
– 11 –
Rick, Holly, Will and primate Chaka (JORMA TACCONE) explore the surreal area.
Series of Unfortunate Events, Casper) and produced by
JIMMY MILLER (Talladega Nights: The Ballad of
Ricky Bobby, Step Brothers) and Sid & Marty Krofft.
The comedy adventure is written by CHRIS HENCHY
(television’s I’m With Her, upcoming The Last Janitor)
& DENNIS MCNICHOLAS (The Ladies Man,
upcoming The Last Janitor).
To imagine this mythical world, director
Silberling brings an accomplished behind-thescenes
crew to the project, including Oscar®winning
director of photography DION BEEBE
(Memoirs of a Geisha, Chicago); editor PETER
TESCHNER (Borat, Dodgeball: A True Underdog
Story); production designer BO WELCH (Men in
Black series, Beetle Juice); composer MICHAEL
GIACCHINO (Star Trek, Up); costume designer
MARK BRIDGES (There Will Be Blood, Yes Man);
and Oscar®-winning VFX supervisor BILL WESTENHOFER
(Elf, The Chronicles of Narnia: The
Lion, the Witch and the Wardrobe). Creature and
makeup effects are created by Spectral Motion’s
MIKE ELIZALDE (Hellboy II: The Golden Army,
Pan’s Labyrinth), while creatures are designed by
CRASH MCCREERY (Lady in the Water, Enchanted).
The film’s executive producers are DANIEL LUPI
(50 First Dates), JULIE WIXSON DARMODY (Elf ),
ADAM MCKAY (Talladega Nights: The Ballad of Ricky
Bobby), Silberling and RYAN KAVANAUGH (Fighting).
ABOUT THE
PRODUCTION
Lost Is Found:
Greenlighting the Project
In 1940, producer Sid Krofft’s father snuck his
young son into a movie theater to see the Hal Roach
classic adventure One Million B.C. His life would
never be the same. “This made such a huge impression
on me, and ever since then I wanted to do a show
with dinosaurs,” recalls Krofft. “That is where we got
the idea for Land of the Lost.”
– 12 –
The television series Land of the Lost—the fifth
show from creators Sid & Marty Krofft—debuted in
1974. Over three years and 43 episodes, young audiences
grabbed their cereal bowls and eagerly followed
the adventures of Rick Marshall and his children, Will
and Holly. The park ranger, while on a routine
canoeing expedition with his kids, fell over a waterfall
and crossed a time portal…arriving in a land
unlike anything television viewers had ever seen
before. Dinosaurs, aliens and all things past, present
and future collided to keep children glued to their sets
every Saturday morning.
Known for creating beloved series such as H.R.
Pufnstuf, Lidsville, Sigmund and the Sea Monsters,
The Bugaloos, Dr. Shrinker and Electra Woman and
Dyna Girl, Sid & Marty Krofft attribute the success
of their many shows, especially Land of the Lost, to
one adage: Keep your concept simple.
Producer Marty Krofft explains: “We had ordinary
people caught in this extraordinary land of creatures
and three moons. We never lost track of how
important the story was, and it was really important to
us to give names and personalities to the dinosaurs—
the first time dinosaurs were ever on television.”
Land of the Lost began its journey from small to big
screen several years ago. Producer
Jimmy Miller approached the writing
team of Dennis McNicholas and
Chris Henchy about translating Sid &
Marty Krofft’s classic show into a
feature film, with an eye for Will
Ferrell to star in the project. Miller,
who manages Ferrell and Henchy—
as well as the Kroffts—knew that
McNicholas and Henchy had the
comic sensibility to make the
project work as a comedy adventure.
For more than a decade during
their time together on Saturday Night
Live, McNicholas had written for and
with Ferrell, and the Krofft brothers were invaluable
contributors in elaborating upon the intricate back-story
as the team reimagined the world of Land of the Lost.
Remembers McNicholas: “I’d been jockeying for
this job for the last 18 years. I had the Land of the Lost
lunch box when I was in kindergarten. When Adam
McKay, Will and I were at Saturday Night Live, we
made Sleestak jokes as frequently as possible. I jumped
at the chance to work on this.”
His writing partner has similar fond memories of the
show. Says Henchy: “I watched it as a child. My parents
constantly told me on Saturday mornings to turn the
television off, so it’s been brewing for years as well.”
Die-hard fans of the property, the writers were
adamant about respecting the series, but also updating
Land of the Lost so it wasn’t a paint-by-numbers interpretation.
They reintroduced Marshall, Will and Holly
as three unlikely adventurers who must band together to
survive in a surreal world.
“Using our childhood Land of the Lost memories as
our guide, we tried to have fun with the full cosmic
complexity of the series and not limit ourselves to just
dinosaur jokes,” provides McNicholas. Knowing that
Ferrell would be the film’s lead allowed them to push the
comedy limits.
Holly and Rick are shocked at what they find.
– 13 –
Rick, Holly and Will introduce themselves to Chaka.
Not only did the partners believe it would open up the
comedy to change the characters from a family to three
strangers forced to work together, they knew that the film
needed to have all the constructs of an exciting action
adventure. Says Henchy: “Our mantra was that if you
stripped away the comedy, it would still be a good adventure
and vice versa. That was very important to us.”
After initial discussions with his team, Ferrell was
certain he wanted to be a part of the project. He
explains: “Hands down, Land of the Lost was one of
my favorite shows as a kid. When you think back to
Saturday morning television in the ’70s, it was mostly
Bugs Bunny and crazy cartoons. Then you had this
realistic live-action show with a dad and two kids and
dinosaurs and all this crazy stuff that was played as
real. Of course, the effects looked amazing to my
nine-year-old eyes.”
“The big question was,” continues Ferrell, “Did
we go the route of the television series and show
Sleestak where you can see the zippers up their backs,
or do we take Jurassic Park and thrust comedy into
it?” Fortunately, a meeting with a longtime colleague
would resolve that question.
In spring 2007, old friends Ferrell and filmmaker
Brad Silberling sat down for lunch. Ferrell told Silber
ling he was attached to
Land of the Lost and
wanted him to be involved.
The director,
who had several years
earlier completed another
large-scale adventure
with Lemony
Snicket’s A Series of
Unfortunate Events,
had his own fond
memories of Marshall,
Will, Holly, Chaka
and the Sleestak.
“I’m the age where
I watched Land of the Lost on television in my pajamas
every Saturday morning,” says Silberling. “It sounded
like a completely brilliant idea to make it into a movie.
That you could be ballsy and go for it, taking the things
you love and combining them with humor, were just the
right ingredients.”
The director felt it was important to respect the
original property while writing a new chapter for the
world of Land of the Lost. “You have to venture
bravely into an undertaking like this. I was a dedicated
viewer of the series as a child, and I had my own
emotional response, so I feel I am a good ambassador,”
Silberling notes. He knew if he were to agree
to the film, the cast and crew needed to share “a sense
of humor about what the experience of the original
show was” and understand that “Saturday morning
television had its limitations,” as he recalls Sid &
Marty Krofft saying.
Silberling met with Universal executives about
helming the film and noted that if he was going to
be involved, he wanted to use practical sets for as
much of Land of the Lost as possible. The deal was
signed, and stages on the Universal Studios lot were
immediately reserved. By summer 2007, four-time
Oscar®-nominated production designer Bo Welch
– 14 –
came aboard and set construction was soon in full
swing on six sound stages.
As was Ferrell, Marty Krofft was quite pleased
with the choice of director. He commends: “Brad
Silberling has a very large heart. He has passion; he’s
a pro and a stickler for detail. He was into every little
corner of this thing…every nook and cranny. He’s
just calm; he’s got a great attitude.”
The filmmaker worked with the screenwriting partners
to hone a Wizard of Oz-like model for the story in
which audiences would be whisked away with
Marshall, Will and Holly to a faraway land. They
blended that concept with elements of a Swiss Family
Robinson experience in which the characters are forced
to make their new home in another world. So what
makes that funny? Says Henchy: “You can’t lose with
comedy versus jeopardy…when you layer that with
adventure.”
Recasting Marshall as a discredited “quantum paleontologist”—
an imaginary discipline that blends
particle physics with the study of dinosaurs—lent itself
to the sci-fi bend of the show. Many of the writers from
the original series also had written for Star Trek in the
’60s and went on to become successful sci-fi novelists.
Says Ferrell: “Our characters think aloud with the audience
as they are stuck in these absurd
situations, and that is what makes it so
fun. The scale is just tremendous in
every way, from the sets to the visual
effects. Marshall is a fun character to
play because he is the take-charge
leader of the group…whether he is
capable or not.”
Subtle nods to the series are seen
throughout the story. Shares Silberling:
“To play and enjoy with key elements
of the series, that is what made it interesting
to me. To be able to access this
world via Will and the other outrageously
talented cast, that was reason
enough for me to go through the war that it is to create
a big production. I wanted to be in that world.”
Chaka, Will and Holly:
Casting the Routine Expedition
Production greenlit, it was time to cast the additional
roles that would allow Dr. Rick Marshall to
embark upon his epic adventure. To move the comedy
adventure along, Silberling believed the script needed
to show conflict among our trio of adventurers as they
fumbled their way through the foreign land. “We
created a group of characters much more impaired
than the television series,” he says. “We have three
misfits needing to prove themselves and, in the
process, they have to save the Earth.”
Holly would no longer be a little American girl
with blonde pigtails, but a British expatriate who has
been educated at Cambridge and moved to Los
Angeles for work. She has been hired as a research
assistant at La Brea Tar Pits, and her decision to seek
employment there is more than coincidentally based
on her attraction to Dr. Rick Marshall and (what she
considers) his brilliant mind.
Holly and Will try to come up with a plan of survival.
– 15 –
A T. rex named Grumpy approaches Rick, Will, Chaka and Holly.
Explains Ferrell of his character’s relationship
with the fellow scientist: “Marshall is misunderstood
and considered a joke in the scientific community,
since he thinks there is an alternate universe. We see
him down and out working at La Brea Tar Pits…until
he meets Holly, who believes in him and his work.”
Silberling and Ferrell were determined that a
British actor would play Holly Cantrell in the film. In
fact, when actor Anna Friel was cast, Silberling insisted
that she speak in her distinct Manchester accent. “On
Pushing Daisies I had an American accent, and most
other projects I have had to speak with a posh English
accent,” explains Friel. “This is the first time I have
used my own voice since I was 20.”
The performer enjoyed portraying the only person
on Earth who still believed enough in Dr. Marshall to
focus her graduate work on his theories of quantum
paleontology. Friel continues: “She has a huge crush
on Marshall and his mind, and he doesn’t realize she
is totally in love with him.”
When she was cast, Friel wasn’t familiar with the Land
of the Lost television series. Silberling liked the fact she had
a fresh take on the character from the first table read. “Anna
just commits,” he compliments. “You believe her belief
in Marshall, and she goes for it. She has a great spirit.”
It helped matters that Friel was trained in classical
dramatic improv. Per Silberling’s direction, she had no
problem jumping into improv mode with her three costars.
One of her biggest challenges on the set was
controlling her laughter. She says, “I had to practice
not laughing during a take. The boys would go off on
a tangent, and I would do everything in my power not
to laugh—including practicing my yoga breathing.”
When casting the part of redneck huckster Will
Stanton—a constant thorn in Dr. Marshall’s side—the
filmmakers looked to a performer with whom two of
them had previously worked. In 2006, Ferrell and Land
of the Lost executive producer Adam McKay saw comic
actor Danny McBride in Jody Hill’s dark comedy The
Foot Fist Way at Sundance. It was a small independent
– 16 –
film that immediately resonated with Ferrell and
McKay, and they signed on to release it theatrically
through their company, Gary Sanchez Productions.
Prior to beginning photography on Land of the Lost,
McBride had also locked in scene-stealing roles in
Pineapple Express and Tropic Thunder and agreed to
star in the HBO television series Eastbound & Down.
Silberling found an everyman quality to
McBride—a trait he shares with Ferrell—that allowed
the actor to be coarse, yet still charming, as the
manager of Devil’s Canyon Mystery Cave. He felt
that McBride could do most anything on screen and
audiences would still find him sympathetic…and love
going along for the ride. Commends the director:
“Danny is unbelievable; he feels like a found object.
He does not seem like a guy that just walked out of a
comedy club in Hollywood…more like a guy that just
dropped in from North Carolina who happens to be
incredibly funny.”
Ferrell is used to having others be the straight man
for his wild antics on camera, but he found it refreshing
to work with an actor who allowed him to occasionally
switch roles. Says Ferrell: “We trade off in this film. I
go between competent scientist and bumbling scientist,
and Danny and I pass the ball back and forth.”
McBride jokingly says of the film’s star:
“Audiences like a sexpot. They like somebody who
exudes sexuality, and that’s definitely what Will does.
Everything from the socks hiked up to his knees to
the vest that’s littered with trinkets and trophies from
past conquests in quantum paleontology. This is what
the ladies are looking for.”
The team knew there could be no Land of the Lost
film without a certain ape-boy named Chaka creating
mischief in the fantastic world. Laughs Silberling:
“Chaka freaked me out as a kid. It was a combination
of the makeup and the fact that there was a kid under
there.” Drawing from those memories, Silberling’s
makeup and prosthetics team created what he refers
to as “a character who is sketchy but loveable. He is a
con man with heart.”
Cast as the Pakuni missing link was fellow Saturday
Night Live writer and performer Jorma Taccone. It was
a role Taccone had been unknowingly preparing to
The Sleestak descend upon their prey.
– 17 –
Chaka comes out of hiding.
tackle for years. “When I was a kid,” the actor explains,
“we used to role-play Land of the Lost. I always ended
up playing Chaka because I was the shortest. Plus, I
looked like a freakish monkey-boy; that was the other
reason. I’ve been preparing for this role my entire life.”
McNicholas and Henchy had written Chaka as a
devious ape-boy, an opportunist who will do anything to
survive…including putting Marshall in harm’s way. In
addition to McBride, Ferrell would need to juggle
another comedy antagonist. About working opposite his
co-star, Taccone says: “Will and I had never met at SNL,
but just knowing he had worked on the show, I figured
we would get along. There is nothing in the world like
working on Saturday Night Live…not one single thing.”
“Chaka is a bit of a rascal throughout the film, but
in the end we come to an understanding,” adds
Ferrell. “Marshall wants to think it is a master and
servant relationship, but that is the farthest thing from
Chaka’s mind.”
Silberling liked the idea of throwing McBride’s
character into the trenches with Chaka and upping
the comedy as the two of them ganged up on
Ferrell’s Marshall. “The trick was to get a guy who is
the opposite of Marshall and Holly—a man with no
science skills who is also a companion for Chaka,”
he says. “Will and Chaka become a
team in this movie.”
To get ready for filming, every day
he was on camera Taccone spent threeand-
a-half hours in makeup and wardrobe
with Spectral Motion artists, who
created the suit and prosthetics. First, his
facial makeup prosthetics would be
applied, and then he would slip into the
hairy suit made from a combination of
yak, angora and human hair—all sewn in
strand by strand to a spandex liner.
Finishing touches included latex hands
and feet, as well as custom-made buck
tooth dentures. A team of five Spectral
Motion artists made two suits—custom fit to Taccone’s
slim physique—that were used during the duration of
filming. Each suit took six weeks to construct.
Chaka speaks his native Pakuni language in the
film. During shooting of the Land of the Lost television
show, brilliant UCLA linguist DR. VICTORIA
FROMKIN created the Pakuni language especially
for Chaka. She designed a 400-word dictionary as a
guide with which the original Chaka could work.
At the time Taccone was cast in the role, there was
no written dialogue for him in the script. Whenever
Chaka appeared, the script would read, for instance,
“Chaka grunts.” The performer decided to take it a
step further. “I tried to be super strict about using only
Pakuni words from the original series, but I still had
to make up a bunch of stuff. At the first table read, no
one knew what I was saying but me. It kind of freaked
people out, but we ended up using all of it.”
Sums Marty Krofft of the experience working
with this talented cast and crew and his hopes for fans
new and old: “This project came together with a lot of
love. We are very lucky our fans are still with us after
all these years. We hope they are as proud of the film
as we are and that a whole new generation will too
learn about Land of the Lost.”
– 18 –
Sleestak and Altrusians:
Humanoids in Land of the Lost
Just as important as Chaka’s role was the appearance
of another series favorite: the Sleestak. In the ’70s, children
across the country were haunted by the serpentine
sounds and deathly slow marches of these reptilian
humanoids. Recalls McBride: “I was afraid of the Sleestak
as a kid, and how they moved and hissed. It was wild to
see them in person after those childhood memories.”
In the television show, Sid & Marty Krofft had
the Sleestak played by three extremely tall performers
who were actually USC basketball players. They
were dressed in pajama-like jumpsuits with visible
zippers that went up the backs of their costumes.
Constantly on the hunt for Marshall, Will, Holly and
Chaka, the Sleestak were always prepared to strike.
For the filmmakers, it was important that the
Sleestak not be CGI characters, but actual actors
in costumes. Like McBride, Silberling admits,
“As a kid, they freaked me out when they moved
so slow.” That sense memory proved to be good
training for the future director. He offers: “Doing
the Sleestak practically is a wink and an acknowledgement
to the series. Sid & Marty had no room
for the villains to chase on the small 30-foot
stage at Warner Hollywood back in the ’70s.”
Sid Krofft extrapolates: “We didn’t have
much money to work with back then, and there
were only three Sleestak in the series because we
were just on one soundstage. The impression to
the viewer was that there were many more. We
want the Sleestak to scare the hell out of audiences
in the movie…just like they did in the television
show.”
Rick and Will prepare to battle two Sleestak.
– 19 –
Rick, Holly Will and Chaka discuss their predicament.
Four months prior to principal photography on
Land of the Lost, Spectral Motion built 30 custom
Sleestak suits from foam latex. Each skintight suit
weighed approximately 30 pounds and was slipped
onto the actors only after they were coated with K-Y
lubricant. The performers are tall to begin with, but
the five-inch-heeled boot inside the Sleestak suits
elevated them to seven feet. To add to the individuality
of each member of the collective, every Sleestak
head was made from a custom cast of his performer’s
head. The finishing touch to their look is the signature
dark, dome-shaped and bulging eyes.
Sleestak are known for their pinching webbed
claws, complete with vein and membrane detail. The
grotesque, snap-on toenails added another 12 inches
to the length of the performers’ feet. To compensate,
production designer Welch had to lengthen the staircase
treads in the oddly shaped Pylon Plaza (where
transportation to other worlds can occur) and
Sleestak Temple Plaza sets.
It was challenging for the director to work with the
Sleestak on set. As it was so physically taxing for the
performers inside the suits, the filmmaking pace was
slow. It required two techs to be on set with each
Sleestak during their workday; the assistants had to suit
them up, hydrate the actors and tend to them during
filming. The performers had little to no vision while
they worked, and the temperatures inside the suit—
especially under the lights—were difficult to grow
accustomed to. In fact, the heads couldn’t be left on the
Sleestak talent for more than 10 minutes at a time.
It was especially a challenge for stunt coordinator
DOUG COLEMAN to choreograph fight
sequences involving the Sleestak. Says Coleman: “It
was challenging to work with the Sleestak in their
costumes. Their visibility was nil, so when they were
– 20 –
reacting to punches, it was very much like looking
through wax paper. But we made it work.”
Most of the Sleestak movements—such as
opening and closing their mouths, walking and claw
pinching—are all actor-driven. However, such
motions as spines rising up and toenails clicking were
remote-controlled and puppeteered off screen.
Spectral Motion artists were also responsible for
creating the suit for Enik the Altrusian, an intelligent,
English-speaking Sleestak who first appeared
in the third episode of the television series. As
Enik’s head was filled with animatronic motors that
were controlled by a dedicated puppeteer, his head
alone weighed more than 13 pounds.
The core of this head was made of fiberglass
taken from a head mold of actor JOHN BOYLAN,
who portrays Enik. Foam latex was then applied
over the fiberglass and intricately painted to
achieve a lifelike effect. Inside the fiberglass
encasement is an aluminum frame that houses the
requisite motors.
Since Enik is more evolved than the other Sleestak,
his animatronic head expresses much more emotion. He
comes complete with a furling brow, ability to squint
and lips that move intricately. His head also had a built-
in fan located in the mouth that cooled off all the
mechanical working parts…as well as Boylan inside.
Enik’s large dome eyes are four inches in diameter
and coated with a holographic reflective film in the
center that creates an open-cell membranous look.
Notes Silberling of this interloper: “Enik was incredibly
selfish in the television series. We have run with
that and then some. I think fans will love the direction
and leap we took with him.”
Building custom suits for the Sleestak and Enik
was a pricey endeavor. “It is no different than
building a couture gown,” says Spectral Motion
owner Mike Elizalde.
As Enik is the only Sleestak who wears clothes,
costume designer Mark Bridges designed a multilayered
tunic for him. Says Bridges: “The first layer is
painted and foil-leafed, and then a fabric is under-
Rick, Holly and Will try to climb to safety.
– 21 –
Rick strums a tune on his banjo.
neath, and then a black netting is over that. What you
get is a look that is constantly changing.”
All the Lost World’s a Stage:
Film Design
Production designer Bo Welch had long been
fascinated with the source material for Land of the
Lost. When he signed on to conceptualize multiple
worlds that had crashed together, he knew a massive
design challenge lay ahead. Says Welch: “The fact
that it was another dimension was always in my brain.
Even though a tree was a tree or a cave was a cave, I
knew I would exaggerate it slightly and stylize it so
that it had its own flavor.”
At the height of production, Welch and his art
department team occupied six soundstages on the
Universal Studios lot, making the film the largest
Universal Pictures production ever to be filmed there.
The size of the task at hand, however, didn’t intimidate
the fastidious director. Notes Silberling: “Things
still feel very much homemade on Land of the Lost,
just on a much bigger scale.” Fans of the series will
notice sets such as the Home Cave and the Stone
Crevasse Bridge look similar to
the landmarks of the series.
Silberling and Welch took some
of the more interesting earthly elements
and mixed them up in strange
ways. While infusing enormous scope
and scale into the production, they
had to take into account CGI
dinosaurs would be traipsing through
their sets. “There is nothing funny
about these sets,” says Welch. “The
more real you make them, the more
seriously you take it, and the more
grounded you are in the story.”
One of the reasons Silberling
wanted to shoot so much on stage was to allow Oscar®winning
cinematographer Dion Beebe tight control of the
lighting. Says Beebe: “Practical sets ground the storytelling.
It’s an interesting choice that Brad made, because
we’re in a day and age where environments can be created
completely artificially. Yet Brad went the completely
other direction—to not rely completely on the fabricated
post environment. It’s a little bit old-fashioned. There
were big sets and big lighting setups every day.”
To accommodate the production schedule, Land of
the Lost sets turned over quickly, which proved to be a
timing challenge for all involved. Offers Welch: “If we
didn’t finish a scene and move off a stage, then we
couldn’t turn the set around to the next design…and that
would affect the next set being built, and the next one.
It was nerve-wracking to say the least.”
Veterans on both sides of the camera were
impressed. “It was a first for me to work on a movie with
such massive sets,” recalls Ferrell. “In a way, it is a
throwback to the old Hollywood stage movies. I loved
every second of it. Every few days we would move to a
new set that was even bigger and better than the last.”
Welch and his art department worked around the
clock to create the worlds. It was constantly on their
minds to embrace iconic images from the show, but
– 22 –
update them as a 2009 translation. “It was endearing
when you look at the television series and how they
would take these big concepts and execute them with
the budget and technology they had available at the
time,” commends the production designer. “That is
what gave the series its quirky charm.”
On Stage 27 on the Universal Studios lot, the art
and construction department repurposed rock faces,
trees and mossy surfaces to create three distinct huge
set pieces: the Forest, the Pylon Plaza and the
Sleestak Temple Plaza. These three sets were the
largest in scale that were built for the film.
Working with only a month of prep time in
between each of the three sets, the team constructed
rock walls, 40-foot-tall trees, stone floors and gnarled
roots—only to recycle and rearrange them to create a
new look for a new set.
The Pylon Plaza stone set was created to resemble
ancient temple ruins. With steep staircases and exposed
moss and tree roots, the Plaza was surrounded by
imposing columns and mystical archways that allow audiences
to imagine what might be lurking among the decay.
Fifteen-foot-high Sleestak head sculptures rested like
bookends on the ground floor, and hand-painted beneath
them is: “Beware of Sleestak.” Silberling remembered
that detail from the series and couldn’t
resist including it in the film.
The Sleestak Temple Plaza houses
the Library of Skulls, a public forum
where Sleestak elders of days gone by
could speak their wisdom. A similar
concept to this set existed in the television
series. Nine smooth, whitish-gray
pods hold the imposing Sleestak
skulls—heads that are illuminated with
flaming red eyes set against a bright
green background. This visual, when
paired with a caged Holly swinging
over a flaming bottomless pit, makes
for an exciting and comical stunt.
Stage 12, the largest on the Universal lot, was the
setting for the Home Cave set where Marshall, Will,
Holly and Chaka seek refuge from a T. rex named
Grumpy. Reminiscent of the Home Cave of the series,
with red rock walls and an opening just large enough
for Grumpy to get a peek inside at his prey, this cave
morphed into the sparkling mossy Crystal Cave
where Marshall and Will spy on a more intimate side
to Sleestak existence. Also shot on Stage 12 was the
Feeding Station where Grumpy waited for his next
meal, and the Crevasse set where baguette-shaped
rocks serve as escape bridges from Grumpy—who
keeps hot on the heels of our unlikely heroes.
On Stage 12, enormous 32-foot red rock walls
were constructed for the cliff face. The 28 sculptors
working on the film handcrafted each nook and
cranny in the rock. Using saws, picks and thick, hot
gauge wire, these sculptors took large rectangular
blocks of Styrofoam and shaped and sanded them
until they achieved the desired results. The Styrofoam
was then sprayed with a thin layer of plaster and
painted in various mixed earth tones. When finished,
they created an environment that makes the visitor
feel as if he or she is walking through the Grand
Canyon or hiking around ancient ruins.
Rick is covered in alien spiders.
– 23 –
Rick gets ready for action.
The interior of the Devil’s Canyon Mystery Cave
was constructed on Stage 29 on the backlot. This is
where Marshall, Will and Holly take a raft ride
through Will Stanton’s cheesy tourist attraction when
the greatest earthquake ever known hits. As they fly
over the rapids, they are pummeled over the cataract
into the Land of the Lost.
The Devil’s Canyon Mystery Cave tunnel was
built to stretch across 200 feet; upon completion, it
was filled with 40,000 gallons of milky water. This
winding cave—complete with ceilings that were 13
feet high—housed three-and-a-half feet of water.
To make it waterproof, the floor of the set was
sprayed with rubber coating known as a Rhino
liner, and a track was built on top of that to carry
the raft. As the earthquake hit, MICHAEL
LANTIERI and his SFX team pumped water
through at 10,000 gallons a minute to create fierce
Class 5 rapids. Says Lantieri: “The pumps we used
were so powerful they could empty a swimming
pool in one minute flat.”
Wearing rubber boots and waders, the crew was
right alongside the cast in the waist-deep water. But it
was our heroes who got the full brunt of the aquatic
blast. Laughs Friel, “It was a challenge for Will, Danny
and I to stay inside the raft when the rapids were going
full force…not to mention our getting soaking wet.”
To take full advantage of this set and extend the
travel distance, the crew shot in one direction of the cave
during the day, and then LAURI GAFFIN and her set
decorating crew came in to switch things up. Overnight,
her team redressed the cave so Silberling and Beebe
could shoot the raft as it traveled in the opposite direction
the next day.
The Caldera (large crater formed by a volcanic
explosion) set was built as a 360-degree circular set on
Stage 28, complete with removable walls. The illuminated
floor was coated with yellow molten lava that
housed 100-plus handcrafted dinosaur eggs on
pedestals. The set was filled with smoke, as well as
eggs ready to hatch at any time…while Marshall makes
some curious music with his Tachyon Meter.
– 24 –
On Stage 42, the interior Pylon set was built. While
during the television show’s run the cast would walk
inside a gold foil box to enter the Pylon, Welch knew he
would have to design something a little more, erm, state
of the art, for this iteration.
A black-box set was designed to showcase the
crystal console and control board—an intricate setup
that is the only hope for Marshall, Will and Holly’s
escape to their home dimension. To create, Welch’s
team blacked out the room in dark cloth and raised the
set on a two-ply Plexiglas platform that was five feet
in height and illuminated underneath by 800 bright
lights. To achieve the desired mystical effect of the
console, one layer of the Plexiglas was solid and one
was cracked. The lights created such a large quantity
of heat that big fans were used to keep the area underneath
the platform cool.
“All the other sets on stage were very textured with
trees, rock and vines—very bristling and alive, rippling
with presence,” offers Welch. “The Pylon was just the opposite.
It’s serene, clean and minimalist with crystals. We gave
it a deliberate contrast, so you feel like you are in limbo.”
In Land of the Lost, Marshall works at the world
famous La Brea Tar Pits in the Miracle Mile section of
Los Angeles. The storied
Page Museum at the La
Brea Tar Pits represents the
only active urban paleontological
excavation site in the
United States.
On the Universal back-
lot, the art department recreated
an office for our
discredited scientist that
was set under the Page
Museum. This cluttered
environment contained
dinosaur bones, trophies,
diplomas and magazine
covers that feature Marshall
in his heyday as a paleontologist. The set decorating
department worked closely with La Brea Tar Pits staffers
so that his office looked authentic and paleontologist
references were realistic. Sticklers for accuracy, it even
ordered the production’s bone replicas from the same
place that La Brea Tar Pits does business.
Sid & Marty Krofft were amazed to see the world
they imagined more than three decades ago come to
life as an enormous production. Reflects Silberling:
“I have truly loved having the Kroffts on set every
day. They are like the fairy godfathers of the project. I
love to see the look on their faces when they are
seeing these ideas realized, especially using technology
they didn’t have then. Having them around
makes me feel connected to the show—one that blew
my imagination open as a nine-year-old.”
Pinnacles, Dunes
and Tar Pits:
Shooting Off the Lot
Though a lion’s share of Land of the Lost was
lensed on the Universal backlot, it was important to
Holly, Chaka and Will stare in disgust as a giant mosquito bites Rick.
– 25 –
Rick, Will and Chaka greet an unwelcome visitor.
the filmmakers that they capture scenes on location
wherever it made the most logical sense. Offers
designer Welch: “It’s important on a movie like this,
when there is so much stage work, to sprinkle a bit
of location so that you have a sense of wide open
spaces and air.”
Land of the Lost was fortunate to be granted
access to film exteriors at La Brea Tar Pits and its
Page Museum. These locations included the famous
black bubbling tar lake on Wilshire Boulevard at
Curson Avenue, which had never before lifted its
fence for a film crew.
As dynamic as the interior of the Devil’s Canyon
Mystery Cave set was on stage, equally interesting was
the “exterior” of the cave that was shot on location in
the desolate flat fields of Lancaster, California, at
Avenue I West and 110th Street West. Devil’s Canyon is
where we meet Will for the first time, and we find
him running a cheesy roadside tourist attraction and
gift shop.
It took the production design team a month and a
half to construct the exterior opening of the cave, in
which the curious adventurer enters via raft through the
devil’s head, complete with red, bug eyes and jagged
teeth. Also built at this location were the tacky gift
shop—selling everything from T-shirts
to gemstones—and trailer that Will
called home. With 60-mph winds
sweeping through the plains on a
regular basis during construction, this
build was not as easy as it might look.
North of Baker, California, on
Highway 127, Dumont Dunes—
known for its beautiful white sands,
blue sky and off-road recreation—
was where the crew filmed next. To
depict Marshall, Will and Holly’s
extreme arrival in the Land of the
Lost, the production team lensed in
the middle of the dunes in extreme
heat. From the base camp of trucks and trailers, cast
and crew were given the rides of their lives as they
were transported to set in dune buggies.
Treacherous winds that create the amazing
shifting sands and 400-foot high dunes reach up to
50 miles per hour at Dumont Dunes. And though
the visual effects department removed all traces of
the crew in the final product, during filming the
greens department was tasked to cover up non-
Marshall, Will and Holly foot traffic by using rakes
and leaf blowers.
Equally challenging was filming on location in
the unearthly Trona Pinnacles, in the California
Desert National Conservation Area, where massive
sharp rock formations are most unusual. Upon
arriving in the Dumping Ground in the Land of the
Lost, the reluctant visitor finds everything from the
storefront of an Urban Outfitters and a bust of Bob’s
Big Boy to a red English phone booth and a Hummer
limousine. This rough and rugged terrain became the
stage for a very rowdy dinosaur chase.
Trona Pinnacles can be found on special national
park land supervised by the Bureau of Land
Management (BLM). The BLM monitored crew
activity closely to make sure the production followed
– 26 –
strict environmentally safe guidelines and left nothing
behind but footprints. One of its conditions of filming
was that if the endangered desert turtle happened to
roam into the area during shooting, all filming would
have to cease. Fortunately for the case of production,
that never happened.
On the salt flats near Trona Pinnacles, the team
built one of the most amazing sights seen during a
production that was full of them. A retro motel was
constructed, complete with neon signs and a 40' X
15' X 7' swimming pool; the structure was half
sticking out of the ground in the middle of nowhere.
While the intention was for the pool to be half-
buried in the ground, that was not so simple to
execute. The construction crew found that when it
dug into the salt flats, water with a high salt content
was bubbling just below the surface. Even when the
swimming pool was filled with fresh water and
stuck in the ground, it had a tendency to pop
up…due to the high levels of brine.
Getting Grumpy:
VFX in Land of the Lost
For the Land of the Lost series, the Kroffts created
40 minutes of stop-action dinosaur animation that was
repurposed over the three-year run and used many times.
That was the first time video and stop-motion were
combined and used on television.
Much to the pride of this team, the film is also
using groundbreaking technology to create visual
effects; as always, photorealism is the goal. “This is not
‘a routine expedition’ for us in VFX,” puns Oscar®winning
VFX supervisor Bill Westenhofer. “We are
responsible for many things in this film…from
creating key characters like dinosaurs Grumpy and
Alice to extending the sets and Sleestak armies.”
Naturally, Westenhofer and his team at Rhythm &
Hues were heavily influenced by Jurassic Park and
the benchmarks set 16 years ago for dinosaur design.
Rick faces off against Grumpy.
– 27 –
Director BRAD SILBERLING on the set of Land of the Lost.
With the tools they had in front of them, however,
they were determined to take the Land of the Lost
dinosaurs to a whole new level…especially for
Marshall’s cunning antagonist, Grumpy. Explains
Silberling of the T. rex’s motivation: “It’s Moby Dick.
Grumpy is obsessed with Marshall and will stop at
nothing to track him down.”
Logically, the Rhythm & Hues team began
designing Grumpy by using existing illustrations of T.
rex. Combining some of these characteristics with
nontraditional ones separated Grumpy from the pack.
For example, little horns were added on the back of
his head. A 3-D model of Grumpy was then sculpted
and scanned into the computer. Creating movements
such as arm placement that will show actual wrinkling,
the animators began working on the endless
details it took to make him photorealistic.
Grumpy is a fully functioning character in the
movie that interacts with the other actors, so he has to
have a personality. Laughs Ferrell: “Outside of The
Flintsones, I think this is the first time you see a
dinosaur vindictively pursuing a character.”
Ferrell, Friel, McBride and Taccone found their
imaginations put to the test when they shared scenes
with Grumpy. In place of the carnivore, one of the
digital technicians would hold a 16-foot pole to serve
as a marker for the performers. Nicknamed “Grumpy
on a Stick” by the crew, the setup had a brightly colored
ball on the end that allowed actors to find their eye line.
Shooting in the Land of the Lost Dumping Ground
while they were on location in the vast Trona Pinnacles
near Death Valley, California, also proved difficult for
the VFX team. This set is where the dinosaurs come to
feed and where the Grumpy chase sequence begins.
“The Grumpy chase, when he is in active pursuit of
Marshall, is huge and was a really hard challenge for
Rhythm & Hues,” notes the director.
Continues screenwriter McNicholas: “This chase
is a huge chunk of the script. When I went to the
desert and saw how Brad had set this up, I was
amazed. It was incredibly elaborate, packed with
jokes and information.”
From shot to shot, it was a constant concern for
Silberling, Beebe and VFX supervisor Westenhofer to
make sure there was enough room on the screen for
the dinosaurs. “It’s challenging to make sure you have
space in the frame when you have a 40-foot-long
animal,” notes Westenhofer.
Improv on Land of the Lost didn’t exist only on
stages and locations. It also happened in the digital
world. Recalls Westenhofer: “One of my favorite
moments is when Will Ferrell chose, on the fly, to fist
bump Grumpy. This will be the first time on the screen
you shall see a person do this. It will be hysterical.”
Throughout the story, the cast interacts with
dinosaurs. Both on land and on wires, it proved a
tremendous challenge for VFX to marry images of
real people interacting with CGI characters. To ensure
authenticity of look, Westenhofer worked closely
throughout production with DOUG COLEMAN and
– 28 –
his stunt team to get the exact angles he needed.
When a stunt using people was taken as far as it
could be taken, the VFX team jumped in to extend
the action.
At one point in the film, Marshall must hop onto
Grumpy’s back and take a ride. As this visual effect
combines both stop-motion and motion-control rigs,
the scene was quite complicated to pull off. Prep for
this sequence began a month before shooting, with a
nine-person crew from Rhythm & Hues operating the
high-tech computer and camera gear on set.
To capture the motions of a prehistoric ride,
Ferrell was placed on a mechanical saddle that was
programmed to move in different directions. So the
filmmakers could get a rough sense of the scale of the
final product—and see what was happening on the
spot—the computerized pre-viz image of Grumpy
was laid on top of the live visual feed.
The dinosaur and creature action in Land of the
Lost does not stop with Grumpy. From showtune
loving baby pterodactyls that hatch out of eggs and
thousands of spiders that crawl out of fruit given to
Marshall by Chaka, to a giant crab that gets
cooked, the VFX team had more than enough work
on its hands.
Signature action pieces, such as the raft falling over
the Devil’s Canyon waterfall when the earthquake hits
and Marshall, Will and Holly passing through time and
space into another universe, were handed to Rhythm &
Hues to create digitally. Even more challenging, they
had to seamlessly retain the comic elements of the
film as they designed the environments.
Indeed, an entire world—from the dirt on the
ground to the three moons of the sky—was created
from the bottom up. Extending backgrounds where
the sets end and creating a landscape for the Land of
the Lost flora and fauna took much creativity and
manpower from all involved in the project.
During an 84-day shooting schedule, one week of
shooting in which the VFX department was in total
Will Ferrell as Dr. Rick Marshall, Anna Friel as Holly, Danny McBride as Will and director Brad Silberling on the set.
– 29 –
(L to R) Land of the Lost producers SID & MARTY KROFFT on the set.
control took place on a blue-screen stage. When principal
photography wrapped, Rhythm & Hues
switched gears to full throttle as 150 artists were
brought on board to finish environments, imagine
dinosaurs and add the most intricate of details for the
world that time forgot.
Butt-Molds and Fast Punches:
Stunts of the Action-Comedy
This constant pursuit of our heroes by Grumpy led
to some physically demanding days for the cast. The
principal players wore harnesses for a week and were
hoisted 30 feet into the air as they were snapped up by
man-eating vines inside Grumpy’s feeding station. Take
after take, they dangled over a pile of more than 300
handmade bones, gaining momentum (and soreness)
when they joined hands and swung back and forth.
To add to the glamour, prior to shooting on location
in Dumont Dunes, the cast was fitted with butt molds.
These molds were crafted in plastic and hidden under
their costumes so they could easily (and rapidly) slide
down the steep 45-degree-angled sandy hills without
hurting their respective posteriors in the process.
As Dr. Rick Marshall, Ferrell was
required to engage in multiple stunts. From
saving Holly by jumping onto a swinging
cage raised above a deep pit to being thrown
aloft by Grumpy, the maneuvers were challenging
for the comic performer. Even
though he was harnessed and had rehearsed
with the stunt team, it was still a bit scary.
“Out in the desert at Trona Pinnacles, they
rigged this crane and pulleys that hoisted
me 30 feet into the air…as if I was being
picked up by my backpack with Grumpy’s
teeth,” says Ferrell. “Fortunately, we got it
in one take, because it would have taken a
lot of psyching up to do that again.”
As his character was scripted to fight Enik the
Altrusian while on high wires, Danny McBride learned
to get comfortable above ground as well. This was also the
first big action-movie experience for Anna Friel who,
among other things, became skilled at swinging Holly’s
leather belt as a weapon against the Sleestak.
Jorma Taccone had his share of physical challenges.
He had to learn primate mannerisms that
included walking while staying hunched over and
running while using his hands as well as his feet. To get
into character, Taccone watched National Geographic
Channel DVDs. When it came time to suit up, however,
he realized he had no idea how tough it would be to
maneuver in that posture.
While Holly and Will are not brother and sister in
the film, they bicker just as much as they did on the
show. Though McBride and Friel had it down to a
science, sometimes the play fights got a little out of
hand. Recalls Friel: “Danny would joke that during the
fight sequences I was dangerously close to clocking him
in the eye. During one take, I did hit him a bit, but he said
he was fine. Unbeknownst to me, he went to his makeup
trailer and came out with a big black eye and bleeding.
I never felt so bad. He milked it for all it was worth, and
good on him.”
– 30 –
Contests McBride, who says he was indeed
walloped by his co-star: “Anna will say that clocking me
was an accident. She will say that I was in her way. But
if you review the tape, you’ll see that she is lying through
her teeth. And it was a hard hit. I’m not going to lie.
Almost brought a tear to my eye, but I had to keep cool
and act like it didn’t hurt.”
The 2nd Greatest
Earthquake Ever Known:
Props and Effects
Michael Lantieri and his special effects team of 25plus
were handed the arduous task of simulating a major
earthquake at the Sleestak Temple Plaza that threatens
to annihilate the Land of the Lost and all its denizens.
The effects included having tons of simulated heavy
debris fall about our heroes.
One of the big-ticket items used was nicknamed the
“Weber Pod” (as it resembles a Weber barbecue) by the
crew and required five cameras to capture every angle.
Explains Lantieri: “It’s a giant egg-shaped pod on the
end of the stage that weighs 18,000 pounds. We knocked
the legs out from underneath it and tumbled it down the
stairs into the temple. It is always a challenge to be safe
and get it to do what you want it to do, but it worked.”
By allowing debris to fall and shaking the cameras
and sets with giant motors and concentric cams, the
team simulated the quake with a combination of maneuvers.
Continues Lantieri: “We built extra lighter-weight
debris that we put on trips and releases so that we could
drop them into the set on cue…as we moved the camera
through. We took existing pieces of the set, split them
and used hydraulics to split the 15-foot Sleestak head
sculptures open.”
It was an intricate game of rigging to re-create the
earthquake and tumble huge boulders across the set.
Lantieri and his team took pieces of the set rock walls
and cut them apart in giant pieces that measured 20 feet
by 30 feet. They then attached motors and hinges to the
pieces so that they would shake and loosen up. Much
like the shifts that would occur in an actual earthquake,
the parts moved out of sync.
The prop department joined the SFX department
in creating items for Land of the Lost that weren’t par
for the course of a typical film. At one point, the cast
is slimed with Grumpy’s T. rex snot, which the SFX
team designed from a coagulated methylcellulose.
Ever the fringe scientist, Marshall even dowses
himself with dinosaur urine that looks quite real but
was actually green tea.
One of the key props for the film was the Tachyon
Meter, Marshall’s homemade invention that enables
his crew to transport to other dimensions. The prop
department, helmed by SCOTT MAGINNIS, worked
with production designer Welch and rendered a
drawing that included flashing lights, see-through
pumps and electronic readings. From a hodgepodge of
objects, including an old iPod, they made by hand four
identical versions of this measurement tool to be used
throughout production.
Explains Welch: “The cumbersome strap-on
Tachyon Meter is the kind of cobbled-together technology
that you look at and think, ‘This guy is out of
his mind.’ But at the same time, you think, ‘Maybe this
actually works…’”
In addition to the Tachyon Meter, the props department
souped up a vintage Toyota Land Cruiser for
Marshall’s road adventures. The roof housed all manner
of scientific gadgetry to allow him to stay mobile and
prepare for anything that could possibly happen to a
rogue scientist.
Deliverance to Cher:
Music of the Film
When Brad Silberling was in preproduction on Land
of the Lost, he ran into another longtime friend,
– 31 –
WILL FERRELL, ANNA FRIEL, DANNY MCBRIDE and director BRAD SILBERLING on set.
composer Michael Giacchino. A frequent collaborator
of J.J. Abrams, Giacchino has scored such memorable
television shows as Alias and Lost for the director, as
well as creating the signature sounds for Abrams’filmic
efforts, Mission: Impossible III and Star Trek. Just as
well known for his work with Pixar, the composer also
imagined the compositions for The Incredibles,
Ratatouille and Up.
Much like Silberling, Giacchino was a big fan of the
television series as a boy; he has fond memories of
following Marshall, Will and Holly on their wild adventures
every Saturday morning with his brother. As
Silberling began to discuss the film with the composer,
he knew he’d found the person he wanted to score it.
“When we started talking, I realized Michael and I were
on the same page with our musical ideas,” recalls
Silberling. “We are both huge fans of Jerry Goldsmith’s
work, especially the period of ’68 to ’71 where he
managed to create unique and unusual textures for
adventure…all the while keeping a bit of groove going.
The Planet of the Apes series, in particular, was a great
touchstone. Jerry brought musical elements to sci-fi that
were unparalleled. We wanted to honor that discipline
and loved the idea of
composing each scene to
elicit unexpected emotions
from the audience.”
Perhaps the most curious
musical choice in the
franchise’s history is the
origin of the opening
sequence to the show. During
the development, Sid
& Marty Krofft selected
the banjo as the instrument
that guided us down
the waterfall with our trio
of explorers. Silberling recounts
the story that Sid
Krofft shared: “Sid told
me that they got the idea to use the banjo after
attending the premiere of Deliverance. They loved
how those strings are so jarring and surreal and
wanted to incorporate the sound into the show.
Michael and I agreed we had to follow suit…and add
in a bit of percussion.”
Composing for the film came with its share of challenges.
To navigate, Silberling and Giacchino went with
a singular rule: Don’t force laughs into a score, or it will
equal comedy death. Explains the director: “Marshall,
Will and Holly have made some dangerous choices to
get to the Land of the Lost, but those come with a
number of funny moments. With the score, Michael
and I wanted to give the audience a smile—a wink and
a nod with levity—but never hammer it home to say,
‘Pay attention! The music is forcing you to laugh now!’”
Silberling and Giacchino wouldn’t only look to
soundtracks from their childhood for inspiration.
Music from many decades courses through the film.
Dr. Rick Marshall’s passion for musicals is
evidenced by the uplifting “I Hope I Get It” from A
Chorus Line, while The Andrews Sisters’ love letter
to America’s doughboys can be heard when Chaka
– 32 –
dances and mugs to the camera during a choreographed
“Boogie Woogie Bugle Boy.”
No artist represents the ability to span time and space
better than, well, Cher. While approaching the infamous
pylon for the first time, Will—followed in due course by
Marshall—is inspired by the pylon vibrations to jump
into a makeshift rendition of the diva’s infectious pop
anthem “Believe.” “A particularly proud moment for
Danny McBride, I am sure,” laughs Silberling. “Watching
him on the pylon singing Cher’s call to action…it just
doesn’t get much more bizarre.”
Prêt-à-Portal:
Costumes of Lost
The Land of the Lost collaboration continued with
costume designer Mark Bridges working with
Silberling and the cast to find their characters’
wardrobes. The khaki-clad Ferrell thought it would
add to the comedy if, during the expedition,
Marshall—because he’d forgotten his camping
shoes—wore Florsheim zipper dress boots. Ferrell
laughs: “I knew it was going to be hell on my feet and
ankles, but I committed to it. So I wear the dress shoes
the whole movie. Hopefully people will find it funny.”
For the character of Holly, designer Bridges
included a nod to the classic nostalgic plaid shirt and
braids her namesake wore in the show, as well as the
’70s-style rust-colored pants. As the action revs up,
however, so does Holly’s wardrobe. Her long pants get
ripped into short shorts, and she wears a tank top.
“Holly was known for her plaid shirt, so we wanted
to use the DNA of the original show and have a connection,”
states Bridges. Finding the right plaid turned out to
be a challenge. His team tried to match fabric from New
York, L.A. and Europe but found nothing that worked. In
the end, they created a custom plaid from scratch.
Friel was more than happy to don action wear.
“What a change this has been from the fancy girl dresses
I wore on Pushing Daisies,” she admits. “It has been
great coming to work and pulling on shorts and a tank
top and you are ready to go.”
Will has a costume that is a study in denim. Says
Bridges: “Danny had seen an image of Chuck Norris in
a film with the sleeves cut off a shirt and two tones of
denim and said those clothes yelled Will Stanton.” With
a few temporary tattoos—one of a naked woman whom
McBride claims is his character’s mother—and a garish
belt buckle depicting the Devil’s Canyon Mystery Cave
logo, the actor transformed into Stanton and showed his
character’s redneck roots.
The Pakuni women make a brief appearance in the
film, and Bridges’ team had fun making their scanty
bikini cloths—reminiscent of Raquel Welch in One
Million Years B.C. In keeping with the film’s theme,
Bridges adorned the Pakuni women’s costumes with
handmade jewelry from the Amazon, made of seeds
and feathers fashioned together with gum resin. As
was the rest of the cast and crew, Bridges was
painstaking when it came to every detail in his corner
of the film’s production.
****
Universal Pictures Presents—In Association with
Relativity Media—A Sid & Marty Krofft/Mosaic
Production of a Brad Silberling Film—Will Ferrell in
Land of the Lost, starring Danny McBride, Anna
Friel, Jorma Taccone. The music is by Michael
Giacchino; the costume designer is Mark Bridges.
The film is edited by Peter Teschner; the production
designer is Bo Welch. Land of the Lost’s director of
photography is Dion Beebe, ACS, ASC. The film’s
executive producers are Daniel Lupi, Julie Wixson
Darmody, Adam McKay, Brad Silberling and Ryan
Kavanaugh. The film is produced by Jimmy Miller
and Sid & Marty Krofft. It is based on Sid & Marty
Krofft’s Land of the Lost and written by Chris Henchy
& Dennis McNicholas. Land of the Lost is
directed by Brad Silberling. © 2009 Universal Studios.
www.landofthelost.net
– 33 –
ABOUT THE
CAST
WILL FERRELL (Dr. Rick Marshall) has come
a long way since his days on
Saturday Night Live, crossing
over from television icon to
motion picture star.
Most recently, Ferrell
debuted on Broadway by
headlining the sold-out, one-
man comedy show You’re
Welcome America. A Final
Night With George W. Bush,
and received a Tony Award nomination for Best
Special Theatrical Event. Directed by longtime
collaborator Adam McKay, Ferrell perfected his infamous
Saturday Night Live portrayal of President
George W. Bush in what Daily Variety called “consistently
funny.” At the end of its Broadway run, HBO
aired the show in its entirety on its network.
Last year, Ferrell reunited with John C. Reilly in
the comedy Step Brothers. Ferrell co-wrote the
screenplay with writer/director McKay. Released in
July 2008, Step Brothers earned more than $100
million domestically.
Demonstrating that his dramatic gifts equal his
comedic talents, Ferrell earned his second Golden
Globe Award nomination (Best Performance by an
Actor in a Motion Picture—Musical or Comedy) for
his portrayal of IRS agent Harold Crick in 2006’s
Stranger Than Fiction, in which he starred opposite
Emma Thompson, Dustin Hoffman, Queen Latifah
and Maggie Gyllenhaal, for director Marc Forster.
That same year, Ferrell starred in the hit comedy
Talladega Nights: The Ballad of Ricky Bobby, with
co-stars Reilly and Sacha Baron Cohen. Earning
nearly $150 million at the U.S. box office, the film
became the season’s No. 1 comedy (non-animated)
and continues to set records on DVD.
In summer 2004, Ferrell starred in the comedy
Anchorman: The Legend of Ron Burgundy for
DreamWorks, which grossed more than $85 million
domestically. Ferrell co-wrote the script with SNL
writer McKay. Judd Apatow produced and David O.
Russell (Three Kings) executive produced the film.
Ferrell portrayed Ron Burgundy, a 1970s anchorman
with an inflated ego threatened by the arrival of an
ambitious female newscaster who, unlike him, has
mastered journalism. Ferrell and McKay plan to team
up again to release a sequel in 2010.
Ferrell completed his seventh and final season on
the legendary NBC late-night hit Saturday Night Live
in 2002, having taken the nation by storm during
“Indecision 2000” by impersonating President
George W. Bush on the show. Some of his most
memorable SNL characters include Craig the Spartan
Cheerleader, musical middle-school teacher Marty
Culp and Tom Wilkins, the hyperactive co-host of
“Morning Latte.” Among his many cross-gender
impressions are Janet Reno, Alex Trebek, Neil
Diamond and the late, great Chicago Cubs sportscaster
Harry Caray. His work on SNL earned two
Emmy Award nominations in 2001 (Outstanding
Individual Performance in a Variety or Music
Program and Outstanding Writing for a Variety,
Music or Comedy Program).
Ferrell’s previous film credits include Zoolander;
Elf; the Woody Allen feature Melinda and Melinda;
the comedies Semi-Pro, Bewitched and Old School;
and the screen adaptation of The Producers, which
earned Ferrell his first Golden Globe Award nomination
in 2006, for Best Performance by an Actor in a
Supporting Role in a Motion Picture.
In 2007, Ferrell and McKay founded the video
website Funnyordie.com. The comedy video website
– 34 –
contains exclusive material from a number of famous
contributors such as Apatow and Jack Black, and has
its own Funny or Die Team (FOD Team), which
creates original material for the site. The site’s first
video, “The Landlord,” has received more than 55
million views and features Ferrell confronted by a
swearing, beer-drinking two-year-old landlord. In
June 2008, the site announced a partnership with
HBO to develop television projects.
Following their website success, Ferrell and
McKay reteamed to open their own production
company, Gary Sanchez Productions. So far, they
have supported the 2006 Sundance hit The Foot Fist
Way, which starred Danny McBride (Tropic Thunder),
who also co-wrote with director Jody Hill. The film
was released May 2008 by Paramount Vantage.
Currently, Gary Sanchez is in production with the
dark comedy HBO series Eastbound & Down, which
was recently picked up for a second season, and stars
McBride, who will be co-writing with director Hill.
Raised in Irvine, California, Ferrell attended USC
and graduated with a degree in sports information.
Upon graduation, he worked as a sportscaster on a
weekly show broadcast over a local cable channel.
Soon after, he enrolled in acting classes and stand-up
comedy workshops at a nearby community college
and was eventually asked to join the esteemed
comedy/improv group The Groundlings after just one
year of training. It was while performing with The
Groundlings that Ferrell was discovered for Saturday
Night Live.
DANNY MCBRIDE (Will Stanton) first gained
industry awareness with his
starring role in David Gordon
Green’s All the Real Girls,
winner of the 2003 Special
Jury Prize at the Sundance
Film Festival. However, it
was when he returned in 2006
with Sundance Film Festival’s
smash-hit comedy The Foot
Fist Way, that he became a
known name in Hollywood and desired by its top
producers and directors. McBride, who starred in and
co-wrote the film with longtime friends and college
classmates Jody Hill (Observe and Report) and Ben
Best (Superbad), caught the attention of Will Ferrell
and Adam McKay after it debuted at Sundance. The
film was supported by Ferrell and McKay’s banner,
Gary Sanchez Productions, and released by
Paramount Vantage in May 2008. The Los Angeles
Times proclaimed the film “the sort of nimble oddball
discovery that one wishes would come along more
often,” while USA Today remarked that “Foot Fist is
more original and comical than such low-budget
sleeper hits as Napoleon Dynamite and Hot Fuzz.”
Austin Film Critics Association bestowed McBride
with its 2008 Breakthrough Artist Award for his role
in this film.
McBride continued his success in 2008, starring
opposite Seth Rogen (Knocked Up) and James Franco
in Pineapple Express. The film, which was directed by
Green and co-written by Rogen and Evan Goldberg
(Superbad), centered on two buddies who get mixed
up with a drug gang. The members of the Detroit Film
Critics Society nominated McBride for Best
Newcomer for his role as Red. Sony Pictures released
the film in August and it opened No. 1 at the box
office, earning more than $100 million worldwide.
Immediately following the success of Pineapple
Express, McBride was back on top of the box office a
– 35 –
week later with the Paramount Pictures release of Tropic
Thunder. Directed and written by Ben Stiller, the film
was No. 1 for two weeks in a row and earned more than
$100 million domestically. A star-studded cast joined
McBride, including Stiller, Robert Downey, Jr., Jack
Black, Tom Cruise and Matthew McConaughey.
McBride has starred in such comedies as Hot
Rod, The Heartbreak Kid and will next begin production
on Universal Pictures’ comedy Your Highness.
McBride co-wrote the script and it will be directed by
longtime collaborator David Gordon Green.
McBride is currently starring in HBO’s
Eastbound & Down, which he wrote and executive
produced with Hill and Best, along with executive-
producing partners Will Ferrell, Adam McKay and
Chris Henchy. The show features McBride as Kenny
Powers, a star pitcher whose self-destructive behavior
knocks him out of major league baseball and back
home to North Carolina, where he ends up teaching
physical education at the middle school he once
attended. The six-episode season premiered on the
network on February 15, 2009 and was recently
picked up for a second season. Eastbound & Down
also stars Katy Mixon (Four Christmases), John
Hawkes (Me and You and Everyone We Know, HBO’s
Deadwood), Jennifer Irwin (Still Standing), Andrew
Daly (Semi-Pro), Steve Little (The Ugly Truth),
Sylvia Jefferies (The Notebook) and Best.
Born in Statesboro, Georgia, McBride grew up in
Virginia. He attended the North Carolina School of
the Arts, where he received a BFA in filmmaking.
ANNA FRIEL (Holly Cantrell) recently starred
on ABC’s critically acclaimed
series Pushing Daisies, for
which she received a Golden
Globe Award nomination for
Best Performance by an
Actress in a Television
Series—Musical or Comedy
in 2008. Pushing Daisies was
also nominated for a Golden
Globe Award for Best Television
Series—Musical or Comedy and a People’s
Choice Award for Favorite New Television Comedy.
Friel will soon begin production on William
Monahan’s London Boulevard, in which she will star
opposite Colin Farrell and Keira Knightley. The
drama revolves around a freshly paroled London
criminal (Farrell), who becomes involved with a
reclusive young actress (Knightley). Friel will play
Farrell’s sister and production will begin this summer
in London.
Born in northwest England, Friel joined the
Oldham Theatre Workshop in 1989, and performed
in numerous theater productions throughout
England. Friel made her Broadway debut in Patrick
Marber’s Closer, alongside Ciarán Hinds, Rupert
Graves and Natasha Richardson. Her performance
garnered a Drama Desk Award for Outstanding
Featured Actress in a Play and a Special Achievement
Award for an Ensemble Performance from the Outer
Critics Circle. Friel also starred in the Almeida
Theatre’s productions of Look Europe! and Lulu, for
which she received the Helen Hayes Award for
Outstanding Lead Actress in 2002.
Friel’s other film credits include Bathory; Goal!;
Goal II: Living the Dream; Rubbish; Niagara Motel;
Irish Jam; Timeline; Me Without You; The War Bride,
for which she was nominated for a Genie Award for
Best Performance by an Actress in a Leading Role;
An Everlasting Piece; Sunset Strip; Rogue Trader,
– 36 –
opposite Ewan McGregor; A Midsummer Night’s
Dream, opposite Kevin Kline and Michelle Pfeiffer;
The Tribe, opposite Joely Richardson and Jeremy
Northam; The Stringer; and The Land Girls, opposite
Rachel Weisz and Catherine McCormack.
Friel began her television career after being cast
on the BBC series In Their Shoes. She went on to star
in Alan Bleasdale’s critically acclaimed miniseries
G.B.H. and received the National Television Award
for Most Popular Actress for her role as Beth
Jordache on the popular series Brookside.
Additionally, her depiction of Bella Wilfer, opposite
Steven Mackintosh in the Charles Dickens’ U.K.
miniseries Our Mutual Friend, was well received.
Friel’s other television credits include a starring role
on Barry Levinson’s courtroom drama The Jury
(FOX), the romantic comedy telefilm Perfect
Strangers (CBS), opposite Rob Lowe, and the U.K.
series Watermelon and Fields of Gold.
Friel was also featured in a highly successful
campaign for Pantene Pro-V in the U.K.
A versatile and creative literary talent,
JORMA TACCONE (Chaka)
is also an engaging and
appealing performer, who
made his feature-acting debut
in Paramount Pictures’ 2007
summer release Hot Rod. He
appeared opposite Andy
Samberg, Ian McShane, Sissy
Spacek, Isla Fisher and Bill
Hader as Samberg’s geeky
and lovable half-brother Kevin.
Currently, Taccone is a writer, composer and
director for Saturday Night Live. Along with his
writing partners Andy Samberg and Akiva Schaffer,
Taccone is responsible for creating the popular “SNL
Digital Shorts,” which have reinvigorated the series
and spurred many watercooler moments over the past
two seasons. Some of the most notable shorts include
“D*ck in a Box” (with Justin Timberlake), “Lazy
Sunday” (a rap about The Chronicles of Narnia) and
“The Natalie Portman Rap”—all of which Taccone
co-wrote and composed music for with the help of his
brother, Asa. Taccone has also directed several digital
shorts including “MacGruber” (with Jeremy Piven),
“Business Meeting” (with Rainn Wilson and Arcade
Fire), “Roy Rules” and “Sloths,” and he was honored
with a Writers Guild Award for his work on the
2005/2006 season of the show.
Taccone, Samberg and Schaffer, collectively
known as The Lonely Island, have been friends since
junior high school in Berkeley, California. In 2000,
the trio began writing, directing and producing their
own brand of comedy and showcasing it on their
website TheLonelyIsland.com. The Lonely Island’s
debut album “Incredibad” was released by Universal
Republic in February 2009 and is the first comedy
album to reach No. 1 on iTunes.
Taccone is the son of accomplished theater
director Anthony Taccone and a graduate of the
UCLA theater department where he studied acting.
He currently resides in New York City.
– 37 –
ABOUT THE
FILMMAKERS
BRAD SILBERLING (Directed by/Executive
Producer) most recently
wrote, directed and
produced the critically
acclaimed independent
feature 10 Items or Less,
which starred Morgan
Freeman and Paz Vega.
He also directed the
Academy Award®-winning box-office smash Lemony
Snicket’s A Series of Unfortunate Events, which starred
Jim Carrey and Meryl Streep; wrote, directed and
produced the critically acclaimed Moonlight Mile, which
starred Dustin Hoffman, Susan Sarandon, Jake
Gyllenhaal and Holly Hunter; and directed the much-
lauded box-office hit City of Angels, which starred Meg
Ryan and Nicolas Cage. His first film, for producer
Steven Spielberg, was the classic family comedy Casper.
Silberling graduated from the University of
California, Santa Barbara in 1984, with a BA in
English. He then went on to earn a master of fine arts
degree from UCLA in 1987. At UCLA, he directed
his thesis short, Repairs, which landed him a contract
from Universal Studios to direct and write for film
and television.
Silberling’s production company, Reveal
Entertainment, is actively developing a slate of projects
for him to produce and direct. He is an active
member of the Directors Guild of America, for which
he sits on the Western Directors Council, New
Technologies Committee, Creative Rights Committee
and the Social Responsibility Task Force.
A native Californian, Silberling resides in Los
Angeles with his wife, actress Amy Brenneman, and
their two children.
CHRIS HENCHY (Written by) runs Gary
Sanchez Productions, a production company cofounded
by comedians Will Ferrell and Adam McKay.
This summer, Paramount Pictures will release Gary
Sanchez’s first feature film, The Goods: Live Hard,
Sell Hard, which stars Jeremy Piven and Ving
Rhames. In 2007, Gary Sanchez Productions partnered
with Sequoia Capital to launch FunnyorDie.com.
Henchy was involved in the creation of the website and
is integral to its ongoing commitment to showcase the
best comedy on the Internet.
Henchy has been a writer and producer on such
shows as Entourage and Spin City. He created ABC’s
I’m With Her and most recently produced the comedy
series Eastbound & Down for HBO. He is currently
writing an untitled feature for Sony Pictures with
Adam McKay, to star Will Ferrell and Mark Wahlberg.
Born in New York City, Henchy resides in Los
Angeles with his wife, actress Brooke Shields, and
their two daughters.
DENNIS MCNICHOLAS (Written by) has been
a writer for The Daily Show With Jon Stewart and
Saturday Night Live. From 2001 to 2004, McNicholas
served as head writer of SNL and was awarded an
Emmy for Outstanding Writing for a Variety, Music
or Comedy Program in 2002. He wrote The Party
(with Adam McKay) for DreamWorks and is
currently working on a feature adaptation of H.R.
Pufnstuf for Sony Pictures.
McNicholas lives in Los Angeles.
JIMMY MILLER’s (Produced by) film producing
credits include Talladega Nights: The Ballad of Ricky
Bobby, Elf, Semi-Pro, Get Smart and Step Brothers,
which starred Will Ferrell and John C. Reilly.
Miller manages some of the most sought-after
comedy talent in the industry, including actors Jim
Carrey, Will Ferrell and Sacha Baron Cohen. He has
also helped shape the careers of some of the most
– 38 –
talented writers and directors in the comedy genre,
including Jay Roach (Austin Powers franchise, Meet
the Parents, Meet the Fockers), Judd Apatow (The 40Year-
Old Virgin, Knocked Up), Adam McKay
(Talladega Nights: The Ballad of Ricky Bobby,
Anchorman: The Legend of Ron Burgundy) and Steve
Rudnick and Leo Benvenuti (The Santa Clause
trilogy, Kicking & Screaming).
Many of the most colorful and fondly remembered
children’s television series of the 1970s and 1980s
sprang from the imaginations of SID & MARTY
KROFFT (Produced by). Their groundbreaking, live-
action fantasy shows were mainstays of the Saturday
morning airwaves, which had previously been exclusively
the domain of cartoons. To this day, DVD box
sets of beloved Krofft creations H.R. Pufnstuf,
Lidsville, Sigmund and the Sea Monsters and Land of
the Lost are brisk sellers, a testament to the artistry
and charm of the Krofft brothers and the magical spell
they cast on generations of television viewers.
The Kroffts made their television debut in 1969
with NBC’s H.R. Pufnstuf, which centered on the
magical adventures of a boy named Jimmy, a talking
flute, a kooky witch and a six-foot dragon. The series,
which introduced the brothers’ innovative mix of live-
action and puppetry, was made into a Universal
Pictures feature in 1970. The show continues to be
broadcast around the world. H.R. Pufnstuf was
quickly followed by NBC’s The Bugaloos (1970) and
ABC’s Lidsville (1971). Sigmund and the Sea
Monsters and Land of the Lost premiered on NBC in
1973 and 1974, respectively. Later kids shows
included Far Out Space Nuts, The Lost Saucer and
The Krofft Supershow, which included installments of
Wonderbug, Bigfoot and Wildboy, Electra Woman and
Dyna Girl, Dr. Shrinker and Kaptain Kool and the
Kongs Present ABC All-Star Saturday.
In the 1970s and 1980s, the Kroffts also found
success as producers of popular primetime variety
series, such as Donny and Marie, The Brady Bunch
Hour, Pink Lady and Jeff and the top-rated Barbara
Mandrell and the Mandrell Sisters. Krofft puppets
were also regular characters on other variety shows of
the period.
In 1984, the Kroffts made the bold move of giving
comedian Richard Pryor his own Saturday morning
children’s series on CBS, Pryor’s Place. In addition to
capitalizing on Pryor’s irreverent humor, the show
explored important social issues, such as child abuse,
divorce and the importance of reading. The Kroffts
got political in 1987 with D.C. Follies, a satirical
show hosted by Fred Willard, who lampooned current
events with amazing, larger-than-life puppets of
celebrities, politicians and newsmakers.
Proof that the appeal of the Kroffts’ iconic characters
and timeless stories has not diminished can be
found in the growing number of new online fan sites,
strong sales of DVD collections and continuing
enthusiasm for marathons on Nickelodeon’s Nick at
Nite. With the upcoming release of Land of the Lost,
millions of fans and a whole new generation of kids
will have a chance to step into the ingenious world of
Sid and Marty Krofft.
DANIEL LUPI (Executive Producer) has served
in various producing capacities on a wide range of
critically acclaimed motion pictures.
Lupi produced Paul Thomas Anderson’s Academy
Award®-, Golden Globe- and BAFTA-winning There
Will Be Blood, and also collaborated with Anderson
on Punch-Drunk Love, Magnolia, Boogie Nights and
Hard Eight.
Lupi executive produced Robert Redford’s Lions
for Lambs, Jim Sheridan’s Get Rich or Die Tryin’ and
Steven Spielberg’s Catch Me If You Can.
JULIE WIXSON DARMODY (Executive
Producer) began her career 16 years ago as an assistant
at Messina Baker Miller, where Jimmy Miller
– 39 –
was a partner. A year later, Darmody left with Miller
to help form Gold/Miller, which later became Mosaic
Media Group. She has now been a manager with the
company for more than 14 years. Darmody continues
to work closely with Miller, managing Will Ferrell
and having served as executive producer on his 2003
family holiday blockbuster Elf.
Darmody also represents Sid & Marty Krofft and
the Krofft library. In addition to Land of the Lost, other
Krofft properties currently set up as feature-film projects
include Sigmund and the Sea Monsters (Universal
Pictures) and H.R. Pufnstuf (Sony Pictures). Chris
Henchy and Dennis McNicholas, her longtime clients,
wrote the screenplay for Land of the Lost.
Darmody’s client roster also includes Jorma
Taccone and his partners in The Lonely Island, Andy
Samberg and Akiva Schaffer (Saturday Night Live
and the “Incredibad” album). She also currently
represents Isla Fisher (Confessions of a Shopaholic),
Will Forte (SNL), Jon Heder (Napoleon Dynamite,
Blades of Glory), Rob Schrab (The Sarah Silverman
Program), Chris Pratt (Parks and Recreation), Linda
Cardellini (Freaks and Geeks, ER) and Romany
Malco (Weeds, Baby Mama).
ADAM MCKAY (Executive Producer) is a writer,
director and producer whose credits include
Anchorman: The Legend of Ron Burgundy, Talladega
Nights: The Ballad of Ricky Bobby and, most recently,
Step Brothers, all of which he co-wrote with Will
Ferrell. He is a former head writer of Saturday Night
Live and one of the founding members of the Upright
Citizens Brigade. Other past credits include writing
for Michael Moore’s show The Awful Truth, and he is
a co-founder of the comedy website FunnyorDie.com.
Most recently, he produced and directed an episode
of HBO’s hit comedy series Eastbound & Down and
finished production on the movie The Goods: Live
Hard, Sell Hard through Gary Sanchez Productions, his
production company with Will Ferrell.
RYAN KAVANAUGH (Executive Producer) is a
principal of Relativity Media, LLC, a financing,
consulting and production company that structures
slate financing for both major studios and independent
production entities.
Kavanaugh, along with his Relativity partner,
Lynwood Spinks, creates business and financial
structures for a number of studios, production companies
and producers, and has introduced more than
$3.2 billion of capital to such structures. Clients and
deals include Marvel, Atmosphere Entertainment
MM and French distributor/sales agent Exception
Wild Bunch, among others.
Kavanaugh recently created a unique financing
package, Gun Hill Road, LLC, which provides
discrete and separate funds for both Sony Pictures
Entertainment and Universal Pictures, marking the
first time two studios have received funds from the
same funding source and providing production
funding for a total of 22 films in various stages of
production and release. He facilitated a $528-million
multipicture co-financing arrangement for Warner
Bros. Pictures, as well as a $525-million financing
deal for Marvel Enterprises, and structured and raised
a 120-million Euro acquisition, production and distribution
fund for Exception Wild Bunch S.A., the
French distribution and sales company founded by
former StudioCanal management.
Through its partnership with Virtual Studios,
Relativity finances two to three pictures per month.
Kavanaugh recently arranged the financing for and
will be executive producer of Conquistador, to be
directed by Cannes and Sundance award winner
Andrucha Waddington and star Emmy- and three-
time Golden Globe-nominated actor Antonio
Banderas; Morgan’s Summit, written and to be
directed by Academy Award® winner Tom Schulman;
and The Great Pretender, starring Emmy- and Golden
Globe-nominated actor Ewan McGregor. In addition,
Kavanaugh arranged the financing to bring Top Cow
– 40 –
Productions’ Witchblade to the big screen, with
production beginning last year on two feature films to
be shot back-to-back. The films are based on the bestselling
action-fantasy comic book, which also earned
a loyal following as a TNT television series.
Kavanaugh also arranged the financing for and
was executive producer of two films for Mark
Canton’s Atmosphere Entertainment MM: Full of It
and George A. Romero’s Land of the Dead. Recently,
he has executive produced films including Duplicity,
The International, The Tale of Despereaux, Death
Race, 21, The Bank Job, Charlie Wilson’s War, 3:10 to
Yuma, Gridiron Gang, I Now Pronounce You Chuck &
Larry and The Kingdom.
Prior to his work with Relativity, Kavanaugh
started a venture capital company at the age of 22,
and during that time he raised and invested more than
$400 million in equity for a number of venture and
private-equity transactions.
DION BEEBE, ACS, ASC (Director of Photography)
was born in Australia and grew up in Cape
Town, South Africa. He explored the possibilities of
still photography in high school, but his interest
shifted to cinema. Beebe spent at year at Pretoria
Technical College before moving back to Australia,
where he was accepted into the prestigious Australian
Film Television and Radio School. He not only graduated
with a BA in film and television, but was also
awarded two of Australia’s top cinematography accolades
during his years as a student: the Australian
Film Institute Award and the Australian
Cinematographers Society’s Golden Tripod Award.
After graduating from college, Beebe spent a year
successfully directing music videos before earning
his first narrative feature credit in 1992, for the critically
acclaimed film Crush, which was selected for
competition at the Cannes International Film Festival.
For the next six years, Beebe compiled a dozen documentary
and feature film credits, was nominated for
several more Australian Film Institute Awards (for the
films Praise and What I Have Written) and won an
AFI Award for Eternity. He was again awarded
Golden Tripods at the Australian Cinematographers
Society Awards for the short film Down Rusty Down
and the feature documentary The Journey.
After winning a green card in the U.S. lottery,
Beebe and his wife, Unjoo Moon, took it as a sign
that it was time to make the move to Los Angeles.
His early U.S. film credits include Mira Nair’s My
Own Country, for Showtime Networks, Jane
Campion’s Holy Smoke and Gillian Armstrong’s
Charlotte Gray.
In 2003, Beebe earned his first Oscar® nomination
for Best Cinematography for Rob Marshall’s
Chicago and was also nominated for a BAFTA. That
same year, he was presented with the Australian Film
Institute’s Byron Kennedy Award for outstanding
creative enterprise within the film or television
industry. The following year, Beebe received another
Golden Tripod Award for In the Cut. In 2005, he was
nominated for an American Society of Cinematographers
Award and received top honors from the Los
Angeles Film Critics Association and the BAFTAs for
Michael Mann’s Collateral.
In 2006, Beebe won his first Oscar® for Memoirs
of a Geisha. For his work on the film, he also won the
ASC Award, the BAFTA and the Australian Film
Institute’s inaugural International Award.
In 2006, Beebe continued his collaboration with
Mann on Miami Vice and with Marshall on the Emmy
Award-nominated television special Tony Bennett: An
American Classic. In 2007, he collaborated with South
African director Gavin Hood on the film Rendition.
Most recently, Beebe collaborated with director
Marshall on The Weinstein Company’s film adaptation
of the musical Nine.
BO WELCH (Production Designer) is one of the
most gifted and versatile production designers in
– 41 –
contemporary cinema. He has forged significant
collaborations with top directors, earning four Oscar®
nominations along the way and also earning his own
turns behind the camera.
A graduate of the University of Arizona College
of Architecture, Welch began a promising career as an
architect in Los Angeles. Excited to try something
new, Welch then found work at Universal Studios as a
set designer. Welch gained his first screen credits for
his efforts on Robert Zemeckis’ Used Cars and
Walter Hill’s period western The Long Riders.
After further work as a set designer on films such
as Mommie Dearest and Mel Brooks’ History of the
World: Part I, Welch graduated to art director on
Jonathan Demme’s Swing Shift.
Welch received an Oscar® nomination for his
contribution to Steven Spielberg’s The Color Purple
as art director. He went on to production design Joel
Schumacher’s slick vampire tale The Lost Boys and
began a fruitful collaboration with Tim Burton on
Beetle Juice, Edward Scissorhands (for which he
garnered a BAFTA) and Batman Returns.
Welch earned his second Oscar® nomination for
Alfonso Cuarón’s version of A Little Princess. Welch
was tapped by the Academy, receiving Oscar® nominations
for Mike Nichols’ The Birdcage and the sci-fi
comedy Men in Black. Other film credits include The
Accidental Tourist, Ghostbusters II, Grand Canyon,
Men in Black II, Primary Colors, Wild Wild West and
What Planet Are You From?, among many others.
With a litany of design triumphs to his credit,
Welch ventured into a second career as a director,
making his television directorial debut on an episode
of the Barry Josephson/Barry Sonnenfeld spy-spoof
television series Secret Agent Man, followed by
episodes for another Josephson/Sonnenfeld effort, the
comic book satire The Tick, for which Welch also
created the pilot’s production design.
His feature directorial debut came with the live-
action adaptation of Dr. Seuss’ “The Cat in the Hat.”
PETER TESCHNER (Edited by) previously
worked with Will Ferrell on Jesse Dylan’s Kicking &
Screaming. He has also cut such comedies as the
box-office smash Borat: Cultural Learnings of
America for Make Benefit Glorious Nation of
Kazakhstan and the Universal Pictures/Working Title
film Definitely, Maybe.
Other film credits include Dodgeball: A True
Underdog Story; Legally Blonde 2: Red, White &
Blonde; Charlie’s Angels; Private Parts; The Brady
Bunch Movie; Doctor Dolittle; The Muse; 28 Days;
and Road Trip.
Born and raised in Niagara Falls, New York,
MARK BRIDGES (Costume Designer) received a
bachelor of arts degree in theater arts from Stony
Brook University. He then worked as a shopper at the
legendary Barbara Matera Ltd. in New York for a
wide range of Broadway, dance and film projects.
Following his time at Matera’s, Bridges studied
for three years at New York University’s Tisch School
of the Arts and received a master of fine arts degree in
costume design. After New York University, Bridges
began working in film whenever possible and was
assistant costume designer on the film In the Spirit
(1990), which starred Marlo Thomas and Elaine May,
and was a design assistant to Colleen Atwood on the
Jonathan Demme film Married to the Mob (1988).
In 1988, Bridges worked as design assistant to
designer Richard Hornung on the film Miller’s
Crossing (1990), in a collaboration that would
continue for eight more films. In 1989, Bridges relocated
to Los Angeles to be assistant costume designer
to Richard Hornung on The Grifters (1990), Barton
Fink (1991), Doc Hollywood (1991), Hero (1992),
Dave (1993), The Hudsucker Proxy (1994), Natural
Born Killers (1994) and Nixon (1995).
In 1995, Bridges began his costume design
collaboration with Paul Thomas Anderson, designing
Hard Eight (aka Sydney, 1996). They next worked
– 42 –
together on the critically acclaimed Boogie Nights
(1997), followed by Magnolia (1999), Punch-Drunk
Love (2002) and There Will Be Blood (2008), which
starred Daniel Day-Lewis.
Bridges’ other film designs include Yes Man
(2008), which starred Jim Carrey; Fur: An Imaginary
Portrait of Diane Arbus (2006), which starred Nicole
Kidman and Robert Downey, Jr.; Be Cool (2005),
which starred John Travolta; I Heart Huckabees
(2004), which starred Dustin Hoffman and Isabelle
Huppert; The Italian Job (2003); 8 Mile (2002),
which starred Eminem; Blow (2001), which starred
Johnny Depp; Deep Blue Sea (1999); Blast From the
Past (1999); and Can’t Hardly Wait (1998).
Bridges’ costume designs were part of the
Biennale di Firenze Fashion/Cinema exhibit at the
Academy of Motion Picture Arts and Sciences in
1998 and “50 Designers/50 Costumes: Concept to
Character,” shown in Los Angeles and Tokyo in 2002.
In summer 2007, Bridges was one of the film artists
included in On Otto, an installation at the Fondazione
Prada in Milan.
Bridges’ design work has appeared in publications
as diverse as Australian Harper’s Bazaar, Vogue, New
York Post, The Hollywood Reporter, “Dressing in the
Dark: Lessons in Men’s Style From the Movies” (by
Marion Maneker) and “Dressed: A Century of
Hollywood Costume Design” (by Deborah
Nadoolman Landis).
MICHAEL GIACCHINO (Music by) was nominated
for an Academy Award® for his score for the
animated blockbuster Ratatouille, which went on to
win the Oscar® for Best Animated Film. He made his
feature-film composing breakthrough with his
acclaimed score for The Incredibles, and went on to
compose music for the live-action superhero film Sky
High, the comedy-drama The Family Stone, Albert
Brooks’ Looking for Comedy in the Muslim World, the
thriller Mission: Impossible III and Speed Racer. He
recently composed the score for Pixar’s Up and
Paramount Pictures’ Star Trek, and served as music
director for the 81st Annual Academy Awards®.
Giacchino has composed for many genres in other
media, including television shows, animated shorts,
video games and stand-alone symphonies, with
themes running the gamut from driving and melancholic
to suspenseful and serene. Fans of the hit ABC
shows Lost and Alias have enjoyed his compositions
for several seasons.
Previously, Giacchino scored the PlayStation
video game based on Steven Spielberg’s box-office
hit The Lost World: Jurassic Park, featuring the first
live original orchestral score written for a PlayStation
console game, recorded with the Seattle Symphony
Orchestra. He went on to compose many orchestral
scores for interactive media, including the highly
successful Medal of Honor series, a World War II
simulation game created by Spielberg.
On May 13, 2000, the Haddonfield Symphony
premiered Giacchino’s first symphony, “Camden
2000.” The concert took place at the Sony E-Center in
Camden, New Jersey, with proceeds benefiting the
Heart of Camden Housing Corporation, an organization
dedicated to rebuilding inner-city housing.
Giacchino studied film production at the School
of Visual Arts in New York City and subsequently
pursued composition and music studies at both The
Juilliard School at Lincoln Center and UCLA.
—land of the lost—
– 43 –
(C) MBN 2009