Sir Ridley Scott, the renowned filmmaker who reinvented the ...

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10 Δεκ 2013 (πριν από 3 χρόνια και 8 μήνες)

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.

Sir Ridley Scott, t
he renowned filmmaker who reinvented the science fiction film
genre


having helmed
Alien
, a groundbreaking mix of science fiction and horror,
followed by
Blade Runner,
one of the most revered and influential genre films of our
time


offers his signature brand of action, thrills, scares, and much, much more, when
Prometheus
is unleashed in theaters worldwide this June.

With
Prometheus
, Scott has created a new mythology,
in which a team of
explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling
journey, aboard the spaceship Prometheus, to the darkest corners of the universe. There,
they must fight a terrifying battle to save the future of
the human race.

Although he has not helmed a science f
iction picture in three decades,

Ridley
Scott’s interest in the genre never abated. Having
made two of the most revered genre
films of all tim
e, his return would only be triggered by a truly grand ide
a. “Over the past
few decades, we’ve been ‘action filmed
-
out’ and ‘monster filmed
-
out’ and almost
‘science fiction filmed
-
out,” says Scott. “So the baseline question is: how original are you
going to be?”

“The reason I haven’t made another sci
-
fi film in
so many years, apart from the
fact I’ve been busy making other films and exploring different genres, is because frankly
I haven’t come across anything worthwhile for me to do with enough truth, originality
and strength.
Prometheus
has all three.”

The not
ion for
Prometheus

began with a figure glimpsed only briefly in
Alien
, and
which seemed to be forgotten once the titular xenomorph burst, literally, onto the scene.

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But that mysterious being


a giant fossilized creature with a burst
-
open chest, which
cam
e to be known as the Space Jockey


was well remembered by the man who brought
it to life. “Something that had stayed with me ever since
Alien
, was the mystery behind
it,” says Scott. Who was he? Where was he from? What was his mission? What kind of
t
echnology would his kind possess? I thought those questions could provide a
springboard for even larger ideas.”

So, yes,
Prometheus
began life years ago as an
Alien
prequel before
becoming so
much more than that. As
Scott puts it,
the project “evolved
into another universe.”
Prometheus

is engaged and defined by new ideas and questions that captured the
filmmaker’s formidable imagination. Notes Scott: “Out of the creative process in
developing the picture
em
erged
a new, grand mythology, in which this o
riginal story
takes place.

The keen fan will recognize strands of
Alien
’s DNA, so to speak, but the
ideas tackled in this film are unique, far
-
reaching and provocative.

Prometheus
is the
singular genre tale I'd been searching for.”

Adds co
-
screenwriter J
on Spaihts: “The most difficult thing about writing this
story was that nothing was given. Everything had to be invented. In creating an entire
world with Ridley Scott, I had an enormous canvas to paint on.” And co
-
screenwriter/executive producer Damon
Lindelof says that he was “incredibly struck by
just how original Ridley's vision was for this movie. It's daring, visceral and hopefully,
the last thing anyone expects.”

As the script was developed, the story’s big ideas emerged: During a journey to
meet

what some of the scientist crew believe to be their “makers”


beings who may have
created life on our planet


the crew of the spaceship Prometheus and the mega
-
corporation funding its
trillion
-
dollar
mission, are in effect challenging the gods. And, as
experienced by the Greek mythological figure from which the ship takes its name,
challenging the gods can be a very, very bad idea.


We named the ship Prometheus because t
he film’s central metaphor is about the
Greek Titan Prometheus, who defies the gods b
y giving humans the gift of fire, for which
he is horribly punished,” Scott explains. “When you talk about the myth on which the
title is based, you’re dealing with humankind’s relationship with the gods


the beings
who created us


and what happens when

we defy them.”


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But ultimately, notes Lindelof,
Prometheus
is centered around… us. “It’s about
humanity in the future, challenging some of our most cherished scientific and philosophic
ideas.”

The team of scientists and explorers aboard the Prometheus ar
e on nothing less
than a journey to discover answers to some of life’s most profound questions. Two
brilliant young scientists, Shaw (Noomi Rapace) and Holloway (Logan Marshall
-
Green)
possessing contrasting motivations, lead the expedition. Shaw is a bel
iever: she wants to
meet these “gods” as a way of getting closer to her more traditional religious views, while
Holloway is looking to debunk these kinds of spiritual notions. In their work as
archeologists, they have discovered clues in cave pictograms f
rom ancient civilizations
across the world, all of which point to the same location in distant space, and have
persuaded a corporation, Weyland Industries, to fund the mission.

Neither scientist was prepared for the unimaginable terrors they would encounte
r.
“When Shaw and Holloway conceived the mission, their expectation was they would
discover a benevolent species that might provide answers to some of our greatest
mysteries,” says executive producer Michael Ellenberg. “In other words they were
hoping to
meet gods. But these beings prove to be anything but compassionate. They are
a dangerous race of superbeings.”

“The crew of the Prometheus thinks they’re headed to paradise to discover
answers to the ultimate questions. But what they find is a dark and
twisted and
frightening world


a way station for these beings,” adds Jon Spaihts. “The cold and
implacable environment is more like hell than heaven.”

In Ridley Scott’s films, including
Prometheus
, the protagonists’ discoveries often
defy expectations.
“That’s what makes good drama,” states the filmmaker. “Our story
circles the truth of what might be out there and therein lays its most frightening aspect.
Feasibility always creates the finest and most dangerous drama and the opportunity for
me to scare

the hell out of everyone.”

On the planet, the team meets a survivor of a civilization in control of some very
dangerous elements, including various forms of biology and biomechanics, which in a
heartbeat can eviscerate its victim, or worse. “This brings
us to the question,” says Scott,

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“what are the consequences of meeting a superior being, whose capabilities are
quantum
leaps beyond one’s own, and are

in effect god
-
like?”

Or
as famed astrophysicist Stephen Hawking claimed (on the television show
Into
t
he Universe with Stephen Hawking
):
"If aliens visit us, the outcome would be much as
when Columbus landed in America, which didn't turn out well for the Na
tive Americans.
We only have to look at ourselves to see how intelligent life might develop into
som
ething we wouldn't want to meet."


THE PROMETHEUS’ CREW

Strong female leads are a Ridley Scott hallmark: Sigourney Weaver as Ripley in
Alien,
Geena Davis and Susan Sarandon in
Thelma and Louise,
Demi Moore in
GI Jane
,
Eva Green in
Kingdom of Heaven
, and Connie Nielsen in
Gladiator
.
Prometheus

features
not one, but two formidable
distaff protagonists
who further Scott’s impressive tradition.
Noomi Rapace’s Elizabeth Shaw is a scientist filled with faith and hope, but who
transforms into a warrior wh
en faced with the danger she encounters at her destination;
Charlize Theron’s Vickers is a “suit” representing the interests of the mega
-
corporation
funding the journey to a distant, foreboding world.

Rapace’s powerful and unsettling performance in the o
riginal
The Girl with the
Dragon Tattoo,
the first in the trilogy of films based on
Stieg Larsson's Millennium
Trilogy, had captured worldwide attention


including Scott’s.

“Noomi combines a rare
intelligence and physicality,” says the filmmaker. “She o
wned that part in
The Girl with
the Dragon Tattoo
. It was so powerful that when Noomi and I met, I expected a tough,
hardened individual; instead, Noomi was lovely, kind and smart. It was a terrific mix that
would serve her well playing Shaw.”

A call fro
m Ridley Scott is a career defining moment for any actor, including
Rapace.
“After the meeting with Ridley, I thought even if I don’t end up working with
him on
Prometheus
, I’m happy because I’ve had this hour with him.” It turned out that
Shaw would be s
pending much more time than that with Scott, who cast her after a
screen test he shot with
director of photography Dariusz Wol
ski
, ASC. “We used a
Panavision storage room which production designer Arthur Max had dressed to give it an

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industrial, creepy vibe, and Noomi just killed it,” says Ellenberg. “We were all blown
away by her ferocity, power, and screen presence.”

A very different kind of power is demonstrated by Meredith Vickers, a Weyland
Industries executive who is onboard the

Prometheus to represent the corporation’s
mysterious interests. When Charlize Theron accepted the role, Vickers took on intriguing
new dimensions.

Says Lindelof: “Charlize and I worked together to create a more
layered character. Vickers is someone t
he audience will love to hate, but there are
moments when we see her vulnerability and begin to understand how and why she
became so mercenary and hardened. This makes her a much more interesting
counterpoint to Shaw.”

Theron was drawn to the opportunity t
o explore the film’s epic themes from a
perspective at odds with the rest of the crew’s. “For Vickers, this epic, two
-
year journey
to another world has been boiled down to economics. She has a bottom
-
line kind of
thinking,” says the actress.

But as wit
h so much else about the mission, there are deeper layers and mysteries
to Vickers’ ultimate goals. “She’s an enigma, and the mystery surrounding her was
something I really liked,” says Theron. “Vickers is pragmatic, and desperately wants to
control the
situation. She fights everything that everyone else is there to do, and it
becomes evident that she has either an alternative agenda or that she is hiding
something.”


Vickers’ cold efficiency might be characterized as machine
-
like, but another
crewmemb
er, David,

portrayed by Michael Fassbender,

is, literally, a machine


an
android creation of the corporation. While David possesses extraordinary intelligence and
other capabilities, his principal tasks on the Prometheus, says Scott, are servile. “He’s
b
asically the ship’s housekeeper, keeping an eye on everything while the human crew is
in suspended animation [necessitated by the two
-
year journey].”

David is however far more “human” than one might expect of a synthetic person.
Lindelof explains: “Davi
d is programmed to help the human crewmembers, but he thinks
the mission, in and of itself, is ridiculous because he’s in the company of his creators


humans


and he’s completely and totally unimpressed with them. I was driven by the
idea of having him
articulate his disdain in ways that his programming would allow.”


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The combination of David’s intellect and menial directives makes for some of the
film’s most unexpected moments of humor. When we meet David, he’s like a child in a
playground


but his
playground is the Prometheus. “While the rest of the crew is
suspended animation, David is enjoying himself, tinkering with the ship’s many technical
wonders,” says Fassbender. And like a child, David enjoys watching the same movie
over and over again. H
is cinema touchstone is David Lean’s epic masterpiece
Lawrence
of Arabia
; David, like Peter O’Toole’s T.E. Lawrence, is in many ways an idealized
construct of a man. Further, says Lindelof, “Lawrence was a stranger in a strange land.
He fancied himself a
liberator


and all these things are a part of David.”

Additionally, David’s views on the human crew are somewhat child
-
like. “He is
jealous and arrogant because he realizes that his knowledge is all
-
encompassing and
therefore he is superior to the human
s,” says Fassbender. “David wants to be
acknowledged and praised for his brilliance, yet nobody gives him the time of day. They
don’t accept David and that upsets him. And like a child, David can be very bold in the
decisions he makes.”

Janek, the captai
n of the Prometheus, is describe
d

by Scott as an “old sea dog”


an officer in the classic tradition, and an alpha male whose primary mission is to protect
the ship and its crew. His ambitions and vocation provide a sharp contrast to the heady
goals of Sh
aw and Holloway and the venal corporate interests of Vickers.

British actor Idris Elba, who portrays Janek, reunites with Scott, with whom he
collaborated on the director’s award
-
winning
American Gangster.
Elba’s formidable
presence and performance in t
hat film left a strong impression on Scott, as did the actor’s
searing work as drug overlord Stringer Bell in the series
The Wire
and as a complicated
police officer in
Luther.

Elba describes Janek as “a longshoreman and a sailor. It’s his life and the cre
w is
his responsibility. Ultimately, he makes a huge decision that sums him up as a man.”

Logan Marshall
-
Green takes on the role of Holloway, who is Shaw’s partner, both
personally and professionally, in a quest for answers to some of humanity’s most
imp
ortant questions. Like Shaw, Holloway has a thirst for answers, but he thinks the end
of their search will yield very different results from those Shaw expects.


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“Shaw is the heart of the search; Holloway is the guts,” adds Marshall
-
Green. “I
think Holl
oway is searching for answers to these huge questions because he’s always
pushing the envelope. He goes to

the

extreme in everything he does, sometimes for the
better, sometimes for the worse of the team. I think what drives him is the thrill of the
searc
h.”

Finally, there is Peter Weyland, the trillionaire head of the mega
-
corporation
Weyland Industries
, which is

funding the mission. Weyland, portrayed by Guy Pearce, is
introduced
, via a hologram,

as

an
aged figure, now deceased,
who welcomes the
members of the Prometheus crew

upon their

arrival at their destination. His agenda
is

mysterious


for now



but a man with his resources and vision must have
had
something
game
-
changing

in mind for the mission
.


ABOUT THE PRODUCTION

Al
though Ridley Scott has long embraced cinema’s “new tricks and toys,”
including computer
-
generated imagery, he is also known for his belief in filming what he
calls “the real thing,” i.e. practical sets. Indeed, with so many of today’s epic genre films
re
lying heavily on CGI
,
Prometheus
is a rarity: it presents a massive sci
-
fi world where
most of the sets, props and stunts are real. This provides an impressive tactile reality, with
one set being more stunning than the next.


As one production crew member

puts it:
“Ridley built the greatest alien playground in the world.”

The cast and crew were in awe of the efforts of production designer Arthur Max
and his team of artisans. “It is hard to overstate the impact of walking on those sets,” says
Ellenberg. “
It was inspiring on so many levels. There are so many understated,
instinctual things that happen when you are filming on real sets. Everyone behaves in a
more natural, organic fashion because it feels like a piece of reality. Every design detail
was ba
sed on real world reference points, real world ideas, and real world notions. Some
of these are fairly lofty notions, but they’re from our world. And if you are looking to
scare people and engage with them, viscerally and emotionally, practical sets are t
he only
way to go.”

The production filmed on five stages at Pinewood Studios in the U.K., including
the famed “007 Stage” (one of the biggest stages in Europe, at about 59,000 square feet).

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With studio space at a minimum, the filmmakers had to make five st
ages work for more
than 16 sets, as well as increasing the size of the 007 Stage by at least a third.
Principal
photography commenced in August 2010, although pr
eliminary work had begun much
earlier.

Arthur Max designed not only the spaceships and vehicle
s but also the landscape
of the planet to which the expedition travels, and the structures and spaceship they
discover there. For the ship Prometheus, Max says he wanted “to do something that was
state
-
of
-
the
-
art, which would represent a flagship spacecra
ft with every technology
required to probe into the deepest corners of the galaxy. We looked at a lot of NASA and
European Space Agency designs, and played around with those ideas in the context of
what space travel would be like a generation from now.” M
ax then worked out the ship’s
interior architecture and how it would play to the exterior form.

The bridge of the Prometheus is a two tiered set marked by extraordinary
attention to detail and dazzling technology, including a gigantic wraparound jewel
-
lik
e
and faceted windscreen fronting the structure. Perhaps the most elaborate set on the
Prometheus is Vickers’ quarters, which are more akin to a plush Fifth Avenue apartment
than a cabin on an interstellar vehicle. The space is resplendent with designer f
urnishings
both old and new, including a Fazoili piano, Swarovski chandeliers


and a high
-
tech
medical facility featuring a robotic medical pod (Med
-
pod) that can treat any medical
need…or surgical emergency. The translucent casket
-
like pod figures in on
e of the film’s
defining sequences, which mixes action, terror and horror in a way never before
experienced on film. “What goes on there is simply the worst thing you can (or probably
cannot) imagine,” says Rapace.

Other interior sets on the Prometheus include a laboratory, where the crew bring
their findings for inspection; the ready room, where the crew get suited up in preparation
for their mission; the hyper
-
sleep barracks, where David monitors the crew during th
eir
two year journey to the planet; the mess room, with an amazing array of high
-
tech
equipment; and the space crew’s quarters.

Max’s epic sets that bring to life the alien planet include a Pyramid, which
contains the Juggernaut, a ship similar to the cr
ashed crescent shaped ship seen in
Alien.
Using a series of chambers, corridors and tunnels connecting the larger spaces to each

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other, and after post
-
production enhancement, the space is as enormous as the Empire
State building. It was so cavernous that
some crew lost their bearings.

Outside, on Pinewood’s backlot, Max and his team built the Prometheus Garage,
one of three sets that sit beneath the main body of the ship. The enormous set houses the
crew’s vehicles, which the production built from scratch
. “We had to create vehicles that
could actually be driven on a hostile surface, which is undulating and rocky,” says Max.
“We needed transportation that would be industrial enough to deal with these
environments but at the same time give us a futuristic c
haracteristic.” It took eleven
weeks to create these robust vehicles, complete with state
-
of
-
the
-
art technology, LED
lighting, and padded seats, all presented in a dazzling metallic finish.

After 15 weeks at Pinewood, cast and crew relocated to Iceland
to shoot the
climactic sequences as well as the prologue. In the town of Hekla, the production
captured epic action and thrills


while one of Iceland’s most active volcanoes threatened
to erupt. Additional scenes were shot at a spectacular waterfall in
Dettifoss.

Facing challenges every bit as demanding as those confronting Max was another
of Scott’s frequent collaborators, Academy Award®
-
winning costume designer Janty
Yates. “Ridley was adamant about avoiding the puffy, NASA
-
style spacesuit audiences
know so well,” says Yates
.

“He loved the linear look so we went with

a novel approach
to spacesuit design that uses biomedical breakthroughs in skin replacement and materials
to create a suit that could believably provide lightweight flexibility and comfor
t in any
extraterrestrial environment. Each costume consisted of the outer spacesuit and a
Neoprene under suit, a yoke to which a helmet was attached, and a backpack. Scott
mandated a globe
-
shaped helmet with no blind spots. Each helmet had nine working

video screens, lighting, an oxygen supply run on two fans with battery packs within the
backpack. The exterior of the helmet features a fully functioning torch and HD cameras
with a transmitter and recorder.

David’s onboard costume conforms to the human
apparel, but with fine lines to
provide a more linear look. Theron wears a beautiful silk mohair suit in ice silver.
“Vickers is the ice queen. It was always our vision to make her look as sculptural as
possible,” explains Yates. Keeping the naval simile

in mind for Janek, Janty gave Elba a
canvas
-
greased jacket giving the appearance that he’s been at the helm of a ship for many

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years. Marshall
-
Green as Holloway exudes a casual comfortable timeless look, in his
hoodies, Thai fisherman pants and flip
-
flops
.

The film’s new creatures are the work of Creative Supervisor for Creature Effects
and Special Make
-
Up Effects Neal Scanlan and Prosthetic Supervisor Conor O’Sullivan.
“We present the evolution of these nasty bits and pieces of creature evolution in a l
ogical
and biological fashion,” says Scott. Adds Scanlan: “Each stage of a creature’s life cycle
has a distinctive purpose. For our xenobiology, we brought in new elements that are not
necessarily backward from those in
Alien,
but are of a similar DNA.

Many of Ridley’s
references are derived from nature


plants, vegetables, sea creatures and other animals.
Nothing is invented.”

Prometheus
marks Scott’s first film shot digitally and in 3D, a format whose
technical challenges and aesthetic opportuniti
es were embraced by the filmmaker. Scott
and Wolski used the technology to enhance the action and thrills in small confined
spaces, as well within epic vistas.

In returning to the genre he helped define, Ridley Scott continues to push the
boundaries of s
torytelling, both visually and thematically. As he notes, he’s all about the
“everything”


from story structure to casting, from sets and costumes to new ways of
telling a story. And while the renowned filmmaker is scaring the shit out of you, he
never
loses sight of the big picture. “After you’ve seen
Prometheus
,” Scott concludes,
“you will have experienced something completely unexpected.”


ABOUT THE CAST

NOOMI RAPACE
(Elizabeth Shaw)

captured the eyes of the international
entertainment community with her commanding, unnerving and critically acclaimed
portrayal of Lisbeth Salander in the film adaptations of Stieg Larsson's

Millennium
Trilogy: The Girl With the Dragon Tattoo, The Girl Wh
o Played With Fire,

and

The Girl
Who Kicked The Hornet's Nest
.



Rapace was recently seen opposite Robert Downey Jr. and Jude Law in Guy
Ritchie's sequel,
Sherlock Holmes: A Game of Shadows
, portraying gypsy fortuneteller,
Sim, who sees more than she is te
lling.


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11
]


Currently, Rapace is

in production on director Brian de Palma's
Passion
, opposite
Rachel McAdams. She plays the role of Isabelle, an ambitious advertising executive who
plots revenge after her boss and mentor steal her idea. Following this, Rapace i
s

slated to
begin the action thriller
Dead Man Down
, in which she reunites with director Niels Arden
Oplev and stars opposite Colin Farrell. Rapace will portray Beatrice, a crime victim
seeking retribution.



Rapace began her acting career at the age of se
ven, in Iceland's
In the Shadow of
the Raven
. She has since gone to appear in over twenty films and television shows. In
2007, she made her mark on the big screen with a breakthrough performance in the 2007
Danish film,
Daisy Diamond
. In the film, Rapace p
ortrays a troubled teen
-
mother who
leaves her home to pursue a dream, ultimately failing and having a breakdown with fatal
consequences. For her performance, she was honored with the Bodil Award (Danish
Critics Award) and a Robert Award (Denmark's Academy
Award) for Best Actress.



Rapace garnered high praise for her breakthrough performance in
The Girl with
the Dragon Tattoo
, the first installment of the Millennium Trilogy which opened in
February 2009 in Sweden. She won the Best Actress Guldbagge Award (S
wedish
Academy Award) and the Best Actress International Jupiter Award (Germany)
,

in
addition to being nominated for an Orange British Academy Film Award for Lead
Actress and a Best Actress European Film Award for her role. Rapace garnered
subsequent prais
e for her performances in the second and third installments,
The Girl
Who Played With Fire
, and
The Girl Who Kicked The Hornet's Nest
.



Additional credits include

Pernilla August's directorial debut
, Beyond

(
Svinalägorna
), in Sweden. The film screened at
the 2010 Venice Film Festival and won
the Venice Critic's Week prize. Based on the best
-
selling novel, the film is a poignant
story about a young girl's dramatic childhood growing up in a home plagued by abuse
and alcoholism. Following
Beyond
, Rapace

was seen in Pål Sletaune's Norwegian thriller
Babycall
, about a young mother who believes she overhears a murder. For her
performance, Rapace received the Best Actress honor at the 2011 Rome Film Festival.



Born in Sweden,

Rapace

is the daughter of Flamenco singer Rogelio Duran.



Born in Germany and raised in Killarney, Ireland,
MICHAEL FASSBENDER

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12
]


(David)
enjoyed a phenomenal run of critically acclaimed performances in 2011 and
2012, garnering numerous accolades and awards
,

inclu
ding the Best Actor award at the
2011 Venice Film Festival and Irish Film and Television Award (IFTAs)
,

as well as a
Golden Globe and BAFTA nomination for Best Actor for Steve McQueen's
Shame
.

The
National Board of Review awarded Fassbender the Spotlight
Award and the Los Angeles
Film Critics Association named him Best Actor for his performances in
Shame

and
Davide Cronenberg’s drama
A Dangerous Method
, in which
Fassbender

plays Carl Jung
opposite Keira Knightley and Viggo Mortensen.

Fassbender was also r
ecently seen in
Matthew Vaughn’s

X
-
Men: First Class
, as Erik Lehnsherr, better known as super
-
villain
Magneto; as Rochester in Cary Joji Fukunaga’s

Jane Eyre
;

and as an assassin opposite
Ewan McGregor and Gina Carano in Steven Soderbergh’s
Haywire.



Fassb
ender co
-
starred in Quentin Tarantino's 2009 blockbuster
Inglourious
Basterds
, sharing with his fellow actors the Screen Actors Guild Award
®

for
Outstanding Performance by a Cast in a Motion Picture, as well as the Critics' Choice
Award for Best Acting Ens
emble.



Fassbender starred as the late hunger striker Bobby Sands in Steve McQueen's
true
-
life drama
Hunger
.

The performance earned him the British Independent Film
Award (BIFA) and IFTA for Best Actor, a London Film Critics Award, and Best Actor
honors

from the 2008 Stockholm and Chicago International Film Festivals.

The
following year, he
was honored at the latter festival, as Best Supporting Actor, for his
performance in Andrea Arnold's
Fish Tank
.

This performance brought him BIFA and
IFTA
nominations, as well as his second London Film Critics Circle Award.

Fassbender
was an IFTA nominee for his performance in Marc Munden's miniseries “The Devil's
Whore.”

Born in Germany and raised in Ireland, Fassbender is a graduate of London's
prestigiou
s Drama Centre.

His breakthrough role came as Sgt. Burton "Pat" Christenson
in HBO's epic, award
-
winning miniseries
Band of Brothers
.

After making his feature film debut in Zack Snyder's blockbuster
300
, Fassbender
appeared in

Joel Schumacher's
Blood Cree
k
, James Watkins’
Eden Late
, Jimmy
Hayward's
Jonah Hex
, Francois Ozon's
Angel
, and Neil Marshall's
Centurion
.



[
13
]


GUY PEARCE
(Weyland)

was born in England, and raised in Australia from the
age of three. Always interested in performing, with a particular talen
t for mimicking
accents, he starred in several plays when he was young, and graduated to television when
he was cast in the Australian soap opera
Neighbours

in 1985, playing the role of Mike
Young for several years. Pearce also found roles in other televis
ion series such as
Home
and Away
(1988) and
Snowy River: The McGregor Saga

(1993).

Pearce’s breakthrough into film came with his role as a drag queen in Stefan
Elliott’s
Priscilla, Queen of the Desert
in 1994. Since then, he has appeared in many
American
productions including
L
.
A
.

Confidential, Rules Of Engagement, The Count of
Monte Cristo, The Time Machine,
a
nd notably in Christopher Nolan’
s
Momento.


More recently, Pearce starred in the critically lauded
The Proposition
(2005),
directed by John
Hillcoat, with whom he worked again on
The Road.
Pearce

gained
critical acclaim for his portrayal of pop artist Andy Warhol in
Factory Girl,
played Harry
Houdini in Gillian Armstrong's
Death Defying Acts,
and had a cameo appearance in
Kathryn Bigelow's Ac
ademy Award winning
The Hurt Locker.


He was seen as Edward VIII in Tom Hooper’s multi
-
Academy Award winning
The King’s Speech.
Pearce’s recent film credits include the acclaimed crime
-
drama
Animal Kingdom
; the thriller
Seeking Justice
, alongside Nicola
s Cage; the horror
-
thriller
Don’t Be Afraid of the Dark
, produced and written by Guillermo del Toro; the drama
33
Postcards
; and the sci
-
fi action
-
adventure
Lockout
, written by Luc Besson. Upcoming is
Lawless
,
also starring Tom Hardy.

Pearce won an Emmy
®

Award for
Outstanding Supporting Actor in a Miniseries
or Movie
, for HBO’s
Mildred Pierce
, for which he also received Golden Globes and
Screen Actors Guild Award
®

nomination. The mini
-
series starred Kate Winslet, and was
directed by Todd Haynes.


British

actor
IDRIS ELBA
(Janek) captivated American audiences as the
infamous Stringer Bell in HBO’s critically acclaimed series,
The Wire.

He continues to
make his mark as one to watch in Hollywood, with a string of well
-
received
performances in high
-
profile films and multiple television series.


[
14
]


Idris started his career in his native
city

of London, where he had a mainstay role
on British
television by his mid
-
twenties. He starred in some of the UK’s top rated
shows, including
Dangerfield
,
Bramwell

and
Ultraviolet
. In 2000,
Ultraviolet

was
purchased by Fox in the United States, offering Idris a break into the American
marketplace. After mov
ing to New York, Idris received rave reviews for his portrayal of
Achilles in Sir Peter Hall’s off
-
Broadway production of one of Shakespeare’s more
complicated plays,

Troilus and Cressida
. Shortly thereafter he landed a part on the
acclaimed television se
ries
Law & Order
.

Around the same time, David Simon, creator of HBO’s award winning series
Oz
,
cast Idris in the role of Stringer Bell, the lieutenant of a Baltimore drug empire on
The
Wire.
Idris’s portrayal of the complex but deadly Bell is arguably one

of the most
compell
ing in TV history. As the show

flourished throughout the world, critics and
audience members began to appreciate Idris’ talent. In 2005, he received an NAACP
Image Award nomination for Outstanding Supporting Actor in a Drama Series fo
r his
work on
The Wire.

Idris landed his first leading role in the HBO Original Film,
Sometimes in April
,
for which he received his second Image Award nomination, this time for Outstanding
Actor in a TV Movie, Mini
-
Series or Dramatic Special. A prolific r
u
n of leading roles
followed
--

in Tyler Perry’s dramatic feature
Daddy’s Little Girls,
for which Idris
received a BET nomination for Best Actor; the thriller
The Reaping
, also starring Hilary
Swank; and the horror thriller
28 Weeks Later.

In 2007, Idris s
tarred in Ridley Scott’s Golden Globe nominated
American
Gangster
with Denzel Washington, Russell Crowe, Ruby Dee and Josh Brolin. The
ensemble went on to receive a Screen Actors Guild Award nomination for Outstanding
Performance by a Cast in a Motion Pic
ture. That same year, Idris returned to London to
film Guy Ritchie’s
RocknRolla
alongside Gerard Butler, Thandie Newton and Tom
Wilkinson. The film went straight to #1 in the UK box office in its first week of release.

Idris next starred opposite Beyonce

Knowles in the crime thriller
Obsessed,
directed by Steve Shill. Idris received a BET Best Actor nomination, as well as a NAACP
Image Award nomination for Outstanding Actor in a Motion Picture. The movie took

in

[
15
]


$28.5 million on its opening weekend, storm
ing to # 1 in the box office and
became the
highest
-
gros
sing opening on record for the stalker
-
thriller

genre movie
.

In 2009, Idris showed off his comedic chops
on

NBC’s hit television show
The
Office
, as Michael Scott’s less than amused boss Charles Minor. He later appeared as
Laura Linney’s love interest in the Showtime comedy
The Big C.

His

next projects were
The Losers
, in which he shared the screen with Zoe
Saldana, Chris Evans and Jeffrey Dean
Morgan; and box office hit
Takers
, alongside
Matt Dillon, T.I. and Hayden Christensen, for which Idris received a 2011 NAACP
Image Award nomination for Outstanding Supporting Actor in a Motion Picture. In May
2009, Idris moved to Glasgow to film
Legacy
. Al
ong with playing the part of a Black
Operations operative, Idris was an Executive Producer on the film, which was chosen to
close The Glasgow Film Festival in February 2010. The Tribeca Film Festival in April
2010 commended
Legacy
with great critical accla
im
.


Idris was next seen in the BBC crime drama series
Luther,
playing the title role of
John Luther, a complex detective struggling with his own demons. The six episodes were
shown on BBC 1 in April 2010 and audiences and critics alike responded to Idris

portrayal of the tormented detective. The series was picked up by BBC America and was
broadcast in October 2010, earning Idris rave reviews once again. For his work on
Luther
, Idris received
a Best Actor nomination at the 2011 Golden Globe Awards and
wo
n an NAACP Image Award for Outstanding Actor in a Television Movie, Mini
-
Series
or Dramatic Special. In 2012, he took home the Golden Globe for Best Actor in a Mini
-
Series or Motion Picture Made for Television.

Idris
starred

in the highly anticipated Mar
vel comic book adaptation,
Thor
,
directed by Kenneth Branagh, alongside Natalie Portman, Anthony Hopkins and Samuel
L Jackson. He can be currently seen in
Ghost Rider
:
Spirit of Vengeance,
with Nicolas
Cage.

In addition to
Luther
returning to the small screen for its third season, Idris will
next hit the big screen in Guillermo del Toro’s
Pacific Rim,

and will take on the role of
Nelson Mandela this summer when he begins production on the autobiographical film,
Long Walk to Freedom
.



[
16
]


LOGAN MARSHALL
-
GREEN
(Holloway)

appeared on the big screen in
Devil
, produced by M. Night Shyamalan. He is best
-
known to film audiences for playing
radical activist Paco in Julie Taymor’s

Across the Universe
. He has also co
-
starred in

the
films

Brookly
n’s Finest
,

The Kindness of Strangers

and

The Great Raid
.



Marshall
-
Green appeared in the television series
Dark Blue.

His other television
work includes roles on
Traveler, 24
,

Law & Order
,

Law & Order: Special Victims
Unit

and

The OC.

A graduate of New

York University’s Tisch Graduate Acting Program and a
prolific stage actor, Marshall
-
Green earned a Drama League nomination for his work
in

King Lear
with Kevin Klein

at the Public Theatre, and Greg Kotis'
Pig Farm

at the
Roundabout Theatre

off
-
Broadway.

He earned Lortel Award nominations for his
performances in

Dog Sees God

and

Neil LaBute's
The Distance from Here
, the latter also
earning him a Drama Desk Ensemble Award.

Marshall
-
Green’s other off
-
Broadway productions include

B
east
,

Swimming in
the
Shallows,

U
.
S
.

Drag

and

Turn of the Screw
. He is a regular at the Williamstown
Theatre, appearing in such shows as

Bus Stop
,

Street Scene
,

Skin of Our Teeth
,

The Blue
Bird
,

Light Up the Sky
,
Tonight at 8:30
,

The Hour We Knew Nothing of Each
Other
,

Servant
of Two Masters

and

Xanadu
.



Oscar
®
-
winning actress
CHARLIZE THERON

(Vickers)
is one of the great
actresses of our time. With her ability to capture a plethora of characters, she relentlessly
demands the audience’s full attention as soon as she appears on
screen. This South
African native is continuously being praised and admired for her inspiring and powerful
performances.

Theron captivated audiences as female serial killer Aileen Wuornos in the
independent gem
Monster.

Theron

received the Independent Spirit Award & the National
Broadcast Film Critics Association as well as winning the Golden Globe, Screen Actors
Guild, San Francisco Film Critics Circle, New York Film Critics Online and Southeastern
Film Critics’ awards, the Br
eakthrough Performance Award from the Nation
al

Board of
Review
,

and the Academy Award, all for her emotionally devastating performance in
Monster.




[
17
]


Recently, Charlize starred in Jason Reitman’s dark comedy,
Young Adult,

earning
her a 2012 Golden Globe nom
ination for Best Performance by an Actress in a Motion
Picture
-
Drama.
She
star
s

in
Snow White and the Huntsman

alongside Kristen Stewart.
This summer, she will begin shooting Warner Bro
s.’s

Mad Max: Fury Road,
directed by
George Miller.

In November 2008
, she starred in
Guillermo Arriaga
’s directorial debut
The
Burning Plain
, in which she plays Sylvia, a woman who is forced to take an emotional
journey to rid hers
elf of a sin from her past. Theron starred alongside Kim Basinger in
this drama
,

which
Theron
produced.



In 2008, Theron starred in
Hancock
starring alongside Will Smith and Jason
Bateman, which was the
third

highest grossing film of the year.

Charlize
was in the drama
North Country

opposite Frances McDormand and Sissy
Spacek for director Niki Caro.


Based on the real life story of a group of women coal
miners and the hostile work environment they faced on a daily basis,
North Country
received much prais
e. Her incredible performance as Josey Aimes garnered her Golden
Globe, SAG

Awards™
, Critics Choice, and Oscar nominations.



Theron captivated audiences in HBO’s
The Life And Death Of Peter Sellers

opposite Geoffery Rush, for which she received a Best Sup
porting Actress nomination
from the Golden Globes, Screen Actors Guild Awards, and the Emmys.

In addition to producing the Burning Plain through her production company
Denver and Delilah, Charlize is developing and executive producing an HBO series
called

Mind Hunter
, with director David Lynch

Charlize
’s

feature film debut was MGM’s
2 Days in the Valley
, with James
Spader, Eric Stoltz, and Jeff Daniels.


She’s also been seen starring alongside Al Pacino
and Keanu Reeves in
The
Devil’s
Advocate; with Tom Ha
nks in
That Thing You Do!
; and
in Jonathan Lynn’s
Trial and Error
. Theron starred in Woody Allen’s
Celebrity
,
which
she followed with
Mighty Joe Young

with Bill Paxton. In 1999 Theron starred in the
Oscar nominated
The Cider House Rules
and in New Line Cinema’s
The Astronaut’s
Wife

with Johnny Depp. In 2000, Theron tackled roles in Robert Redford’s
The Legend of
Bagger Vance
with Will Smith and Matt Damon, Fox 2000’s
Men of Honor

with Robert
DeNiro and Cuba Gooding, Jr., John Frankenheime
r’s
Reindeer Games
with Ben

[
18
]


Affleck, and Miramax’s
The Yards
co
-
starring Mark Wahlberg, Joaquin Phoenix, James
Caan and Faye Dunaway.

In 2001, Theron starred in the Warner Bros. tearjerker
Sweet November

alongside
Keanu Reeves, as well as in Woody Allen’s
Curse of the Jade Scorpion,

also starring
Helen Hunt, Dan Aykroyd and David Ogden Stiers. In 2002 Theron starred opposite
Patrick Swayze, Natasha Richardson and Billy Bob Thornton in
Waking Up in Reno
, and
opposite Kevin Bacon, Courtney Love, Stuart Townse
nd, Pruitt Taylor Vince and Dakota
Fanning in the feature film
Trapped,
directed by Luis Mandoki.




ABOUT THE FILMMAKERS

RIDLEY SCOTT
(Director, Producer)
has been honored with Academy Award
nominations for Best Director for his work on
Black Hawk Down
,
Gladiator
, and
Thelma
& Louise
. All three films also earned him DGA Award nominations.

Scott has garnered multiple nominations over his illustrious career. In addition to
his Academy Award and DGA nominations, he also earned a Golden Globe nomination
f
or Best Director for
American Gangster
, starring Denzel Washington and Russell
Crowe. As he also served as a producer on the true
-
life drama, Scott received a BAFTA
nomination for Best Film. Scott also received Golden Globe and BAFTA nominations
for Best

Director for his epic
Gladiator
.

The film won the Academy Award
, Golden
Globe, and BAFTA awards for Best Picture.

In 1977, Scott made his feature film directorial debut with
The Duellists
, for
which he won the Best First Film Award at the Cannes Film Festival. He followed with
the blockbuster science
-
fiction thriller
Alien
, which catapulted Sigourney Weaver to
stardom and launched a successful franchise. In 1982, Scott directed the landmar
k film
Blade Runner
, starring Harrison Ford. Considered a science
-
fiction classic, the futuristic
thriller was added to the U.S. Library of Congress’ National Film Registry in 1993, and a
director’s cut of
Blade Runner

was released to renewed acclaim in 19
93 and again in
2007.


[
19
]


Scott’s additional film directing credits include
Legend
, starring Tom Cruise;
Someone to Watch Over Me
;
Black Rain
, starring Michael Douglas and Andy Garcia;
1492: Conquest of Paradise
;
White Squall
, starring Jeff Bridges;
G.I. Jane
, starring Demi
Moore and Viggo Mortensen;
Hannibal
, starring Anthony Hopkins and Julianne Moore;
Body of Lies
, starring Russell Crowe and Leonardo DiCaprio;
A Good Year
, starring
Russell Crowe and Albert Finney; the epic
Kingdom of Heaven
, with Orlando Bl
oom and
Jeremy Irons; and
Matchstick Men
, starring Nicolas Cage and Sam Rockwell. Scott’s
latest directorial effort was the hit version of the timeless tale of
Robin Hood
,
marking his
fifth collabo
ration with star Russell Crowe; the film also starred
Cate
Blanchett.

Ridley and his brother Tony formed
the
commercial and advertising production
company RSA in 1967. RSA has an established reputation for creating innovating and
groundbreaking co
mmercials for some of the world’
s most recognized corporate brands.

In 1995, Ridley and Tony formed the film and television production company Scott Free.
With offices in Lo
s Angeles and London, the Scott
s have produced such films as
In Her
Shoes
,
The A
-
Team
,
Cyrus

and the Academy Award
-
nominated
The Assassination of
Jes
se James

by the Coward Robert Ford
. They also executive produced the Emmy,
Peabody, and Golden Globe winning hit TV show
The Good Wife

for CBS, as well as the
hit long
-
running series,
Numbers
, which ran for six seasons,
also on CBS. In addition,
Ridley
and Tony served as executive producers on the company’s long
-
form projects
including the Starz miniseries
The Pillars of The Earth
; the A&E miniseries
The
Andromeda Strain
, based on the book by Michael Crichton; the TNT miniseries
The
Company
; and the awar
d
-
winning HBO movies
RKO 281
,
The Gathering Storm
,
and Into
the Storm
.

In 2003, Scott was awarded a knighthood from the Order of the British Empire in
recognition of his contributions to the arts.


JON SPAIHTS
(Writer)
,
a graduate from Princeton University, moved to New
York City to become a novelist but quickly changed his career path to become a dot
-
com
executive for the New York based educational tech company Teachscape.
It was his work
in New York that turned Spaihts
toward film. He founded a production company with a
college friend, and together they made documentary videos and multimedia for the New

[
20
]


York Museum of Natural History, the National Civil Rights Museum, and the Richmond
Civil War Museum. As part of that wo
rk, he shot, directed, and edited video, and for the
first time began to think seriously about film as a storytelling medium. Just like that, the
aspiring novelist became an aspiring screenwriter.

After taking a year off from his day job, Spaihts spent one

year writing and
rewriting the film
Shadow 19
. The script launched his writing career as it sold to Warner
Bros., and Keanu Reeves was attached to star.

When

Shadow 19

stalled in development, Reeves pressed Spaihts to create a
project for him. As a resu
lt, he wrote another original script,

Passengers
, which topped
the Black List at the #3 position and became one of Hollywood’s most widely circulated
screenplays, leading to a string of studio assignments.

A meeting at Ridley Scott’s Scott Free Productions

drew Spaihts into a
conversation about returning to the universe of Ridley’s seminal film

Alien
. Spaihts
offered a take that landed him in a meeting with Fox studio heads just days later and
inspired Ridley Scott to go from producing the film to directing

it personally. Spaihts and
Scott worked closely together for many months to produce what became

Prometheus.

Spaihts, who appeared on Variety’s list of
10 Screenwriters to Watch in 2012
, is
on a roll and

quickly becoming the go to guy for space thrillers.
He scripted
New
Regency
-
Summit's
The Darkest Hour

and
is currently writing
Children of Mars

for
Disney and Scott Rudin, and will follow by rewriting
St. George and the Dragon

for
Sony and Red Wagon.

Additionally, Spaihts

is contracted to Bruckheimer Films for back
-
to
-
back sci
-
fi scripts: an adaptation of the graphic novel

World War Robot
, and an
untitled original that will once again combine the themes of true love and interstellar
space.

Most recently, Universal Pictures

also just tapped Spaihts to pen a feature reboot
of
The Mummy

franchise, which Sean Daniel will return to produce.

Spaihts resides in Venice, CA with his wife, actress Johanna Watts and is an avid
photographer who loves to shoot portraits and landscapes.



Despite being advised that his brain would rot,

DAMON LINDELOF
(Writer,
Executive Producer) spent the majority of his childhood watching television. After a brief

[
21
]


flirtation with movies by way of a film degree from New York University’s Tisch School
of
the Arts, Lindelof hopped in his car and traveled west. Treating Los Angeles as a de
facto grad school, Lindelof worked for a literary agency, Paramount Studios and, finally,
as a creative executive for producer Alan Ladd Jr., before reminding himself that

his true
passion was television. Shedding his suit and tie for a T
-
shirt and Birkenstocks, Lindelof
took a job as a writer’s assistant on Kevin Williamson’s ABC drama
Wasteland
. Shortly
thereafter, fortune smiled upon him and he was made a staff writer.
Shortly after that,
misfortune smiled upon him and the show was cancelled.

Lindelof went on to write for the CBS staple
Nash Bridges
, for its final season
(coincidence?), and then moved on to NBC’s new drama
Crossing Jordan
, where he
wrote and produced for

three seasons. Then Lindelof got
Lost
. Within 12 weeks of
complete insanity, he and co
-
creator JJ Abrams managed to make a completely weird,
ridiculously untenable and vastly expensive pilot for ABC that centered on the survivors
of a plane crash in the S
outh Pacific. Despite this,
Lost
won Golden Globe and Emmy
awards for Outstanding Drama Series in its freshman season. Lindelof concluded
Lost
after six seasons and still doesn’t quite understand what it all meant.

A lifelong Trekker, Lindelof also produc
ed Abrams’
Star Trek
reboot, which was
released in May 2009, and co
-
wrote Jon Favreau’s
Cowboys & Aliens,
released in 2011.
He co
-
wrote and is producing the sequel to
Star Trek
and, in his spare time, Lindelof also
wrote this bio.


MICHAEL COSTIGAN
(Executive Producer)
has served as president of Scott
Free Productions, Ridley and Tony Scott’s company, since 2005. Under the Scott Free
banner, he most recently produced
Being Flynn
, starring Robert De Niro and Paul Dano,
directed by Paul Weitz; and
Cyr
us
, starring John C. Reilly, Jonah Hill, and Marisa
Tomei, directed by Mark Duplass and Jay Duplass, and released by Fox Searchlight
Pictures. He executive produced
Robin Hood
, directed by Ridley Scott, starring Russell
Crowe and Cate Blanchett;
Body of Li
es
, directed by Ridley Scott and starring Leonardo
DiCaprio and Russell Crowe; and
American Gangster
, directed by Ridley Scott and
starring Denzel Washington and Russell Crowe. Scott Free produced
The Company
, a
six
-
hour miniseries chronicling the history

of the CIA for TNT.


[
22
]


Costigan has developed many projects during his tenure at Scott Free, including
Domino
, starring Keira Knightley;
A Good Year
, the romantic comedy starring Russell
Crowe; Curtis Hanson’s romantic drama
In Her Shoes
, with Cameron Diaz,
Toni Collette
and Shirley MacLaine; and the hit CBS television series,
Numbe
rs
. His upcoming
projects under the Scott Free banner include the feature
Factor X
, the story of the
infamous BTK killer in Kansas.

Costigan served as executive producer on the
gr
ound
-
breaking

drama
Brokeback
Mountain
. Directed by Ang Lee from a screenplay by Larry McMurtry and Diana
Ossana, based on the Annie Proulx short story, the film was nominated for
an Acadmey
Award for
Best Picture and won Oscars for Best Director and Best Adapted Screenplay.
He also

produced the romantic comedy
-
drama
Smart People
, and the holiday comedy
Deck the Halls
.

Before segueing into production, Costigan spent over a decade in the studio ranks,
s
erving for nine years as executive vice president of production at Sony Pictures. He
oversaw the acquisition, development and production of dozens of motion pictures,
including the Oscar
-
winning
Girl, Interrupted
, directed by James Mangold; Milos
Forman’s

Oscar
-
nominated
The People vs. Larry Flynt
; McG’s blockbuster
Charlie’s
Angels
; the acclaimed black comedy
To Die For
, directed by Gus Van Sant; and two
high
-
profile directorial debuts: Andrew Niccol’s
Gattaca
,

and Wes Anderson’s
Bottle
Rocket
.


MARK HU
FFAM

(Executive Producer)

has been active in the film industry
since 1983 and has been working as a producer for the last ten years. Huffam’s first
major producing credit was Steven Spielberg’s
Saving Private Ryan
, starring Tom Hanks,
which went on to win
five Oscars. In recognition of his own contribution to the film,
Huffam was presented with the Directors Guild of America (DGA) award for Best
Production Team that year.



In 2000, Huffam co
-
produced the highly acclaimed
Quills
, starring Geoffrey Rush
and

Kate Winslet, which was nominated for three Oscars and five BAFTA Awards. In
2001, he produced
Captain Corelli’s Mandolin

for Working Title Films. Directed by
John Madden, it starred Nicolas Cage and Penelope Cruz.


[
23
]




In 2002 Huffam teamed up with Scott
Rudin to produce
The Hours,

directed by
Stephen Daldry, starring Nicole Kidman, Julianne Moore and Meryl Streep.


The film
received eight Academy Award nominations, and Kidman went on to win Best Actress
for her role as Virginia Woolf.



Huffam

produced the highly successful
Johnny English

in 2003, again for
Working Title. The film, starring Rowan Atkinson, grossed $147 million at the box office
worldwide, and picked up a number of nominations including Best Film (British Comedy
Awards 2003) and

Best British Film (Empire Awards 2004). He joined forces with Tim
Bevan and Eric Fellner to produce the film version of the popular 1960s television series
Thunderbirds

in 2004.





Also in 2004, with Stephen Daldry on board as executive producer, Huffam
produced
Mickybo and Me
, a project
Huffam

developed with the writer
-
director Terry
Loane. Filmed in Northern Ireland, starring Julie Walters, it won awards and acclaim at
the Irish Film Festival in 2005 and at other festivals around the world.



In 2005 an
d 2006, Huffam was involved in the highly successful
GOAL!

series set
in the world of international soccer, producing the first two films of the trilogy for
Milkshake Films and Buena Vista Pictures.

In 2007 he produced
Mamma Mia!,
the film version of the p
opular stage musical,
starring Meryl Streep, Pierce Brosnan and Colin Firth. It was a worldwide smash hit,
accumulating more than $600 million at the box office

to become one of Universal’s top
grossing and most profitable movies ever
.

In 2008 Huffam e
stablished Generator Entertainment with Simon Bosanquet, to
develop and produce a slate of genre films. Generator films to date include the horror
thriller
Red Mist,
the
coming of age drama
Cherrybomb

with Rupert Grint, and the
supernatural thriller
Ghost

Machine
.

In 2009 Huffam produced the feature film
Your Highness

for Universal Pictures,
starring Danny McBride, James Franco, Natalie Portman and Zooey Deschanel. That
same year, he produced the HBO television pilot,

Game of Thrones
, based on the first
v
olume of the fantasy book series’
A Song of Fire and Ice
, by George RR Martin.

In 2010, Huffam produced Nick Hamm’s
Killing Bono
under the Generator slate
in conjunction with Salt Company and Greenroom Entertainment. It starred Ben Barnes,

[
24
]


Irish actor Rob
ert Sheehan, and the late Pete Postlethwaite. Later in 2010, Huffam
teamed up with HBO to produce the television series of
Game of Thrones.

It shot in
Northern Ireland and Malta and starred Sean Bean, Lena Headey and Jason Momoa.


MICHAEL ELLENBERG
(Execu
tive Producer)

is currently the Senior Vice
President at HBO, overseeing
dramatic s
eries for the network (including
Boardwalk
Empire
,
Game of Thrones
,
True Blood

and

Treme
), as well as development and
production on upcoming series.

Previously, he served as

Senior Vice President at Scott
Free Productions, and was a producer on
Robin Hood

and
Cyrus
.

Prior to that, he served
as Vice President of Production and Development at Scott Rudin Productions.




DARIUSZ WOLSKI, ASC
(Director of Photography)

recently ser
ved as director
of photography on
Pirates of the Caribbean: On Stranger Tides
, following his acclaimed
work on both
Pirates of the Caribbean:
The Curse of the Black Pearl
,
Pirates of the
Caribbean:
Dead Man’s Chest

and
Pirates of the Caribbean:
At World’s
End
. Wolski
also worked with Johnny Depp on Tim Burton’s
Sweeney Todd: The Demon Barber of
Fleet Street

and
Alice in Wonderland
, as well as on Bruce Robinson’s
The Rum Diary
.


Wolski has collaborated with several notable directors, including Gore Verbinsk
i
on
The Mexican

(preceding Verbinksi’s three
Pirates of the Caribbean

films); DJ Caruso
on
Eagle Eye
; Andrew Davis on
A Perfect Murder
; Alex Proyas on
Dark City

and the
cult favorite
The Crow;

Peter Medak’s
Romeo is Bleeding
; John Polson’s
Hide and Seek
;
as well as with Tony Scott on
The Fan
, and the Don Simpson

Jerry Bruckheimer
production
Crimson Tide
. For his work on
Crimson Tide
, he garnered an ASC Award
nomination for Outstanding Achievement in Cinematography.

Born in Warsaw, Poland, Wolski attended
the Film School in Lodz. After
immigrating to the United States in 1979, he worked on documentaries, corporate and
smaller independent films. His first big break came in 1986 on the film
Heart
,
when he
was asked to replace the cinematographer who
had
moved

on to another project. Soon
after, Wolski moved to Los Angeles
,

where he worked as a director of photography on
music videos and commercials for such directors as Alex Proyas, David Fincher, Tony

[
25
]


Scott and Jake Scott. He went on to work on the Roger Corm
an
-
produced feature
Nightfall

and on the PBS American Playhouse production of
Land of Little Rain
.


ARTHUR MAX
(Production Designer) began his collaboration with director
Ridley Scott in the TV commercial arena two decades ago. Max has received Academy
Awa
rd nominations for his work on two Scott
-
directed films: Best Picture Oscar winner
Gladiator
, on which
Max

brought ancient Rome to vivid life, and
American Gangster
, for
which he recreated 1970s Harlem. For
Gladiator
, Max also won a BAFTA, a National
Board of Review award, a Broadcast Film Critics award and an Excellence in Production
Design award from the Art Directors Guild. He received his fourth Art Directors Guild
nomination for
American Gangster
.

Max’s collabor
ations with Scott also include
Robin Hood,
for which Max
received his fifth Art Directors Guild nomination
, Body of Lies, Kingdom of Heaven,
Black Hawk Down
, for which he received his second Art Directors Guild nomination, as
well as an American Film Insti
tute award nomination, and
GI Jane
. Max has twice
collaborated with director David Fincher, serving as production designer on the
filmmaker’s dark 1995 crime drama
Sev
en
, and on
Fincher’s

claustrophobic thriller
Panic
Room
, for which Max received his third

Art Directors Guild nomination.

A native New Yorker, Max graduated from New York University in the late
1960s and began his career as a stage lighting designer in the music industry. His early
work included the historic 1969 Woodstock Festival and proje
cts at Bill Graham’s
famous venue Fillmore East in New York’s East Village. During the following decade,
he designed concert stages for such legendary musical artists as T
-
Rex and Pink Floyd.
After studying architecture in England, earning degrees in the e
arly ’80s from
Polytechnic of Central London and the Royal College of Art, Max worked on several
architectural design projects in London.

He worked in the British film industry as an assistant to such prominent
production designers as Stuart Craig on
Grey
stoke: The Legend of Tarzan, Lord of the
Apes

and
Cal
, and Asshetton Gorton on
Revolution
. Max subsequently shifted his career
focus to television commercials and, for a decade, designing for such clients as Pepsi,

[
26
]


Nike, Jeep, Coke and Levi’s, which led to

his associations with filmmakers Ridley Scott
and David Fincher.



PIETRO SCALIA, A.C.E.
(Editor)

has been honored twice with an Academy
Award for Best Film Editing: for Oliver Stone’s controversial 1991 conspiracy theory
drama
JFK,

on which Scalia share
d the honor with co
-
editor Joe Hutshing and also took
home a BAFTA and the American Cinema Editors’ (ACE) Eddie Award; and for his
work on Ridley Scott’s acclaimed 2001 war drama
Black Hawk Down
, for which Scalia
also received an ACE Eddie Award and a BAFT
A nomination. In addition, Scalia
received nominations for an Oscar and an ACE Eddie Award for Gus Van Sant’s
Good
Will Hunting
, and an Oscar nomination, an ACE Eddie Award
,

and a BAFTA for Scott’s
Oscar
-
winning film
Gladiator
. Scalia also edited Scott’s
R
obin Hood
,
Body of Lies,
American Gangster
, for which he received a BAFTA nomination,
GI Jane
, and
Hannibal.

Scalia

served as editor on actor
-
producer Leonardo DiCaprio’s acclaimed 2007
documentary
The 11th Hour

and on director Matthew Vaughn’s
Kick
-
Ass
. M
ost recently,
Scalia edited Marc Webb’s
The Amazing Spider
-
Man.

Earlier, Scalia collaborated with Bernardo Bertolucci on
Little Buddha

and
Stealing Beauty
. He worked with Sam Raimi on
The Quick and the Dead
,
with
Rob
Marshall on
Memoirs of a Geisha
, and

wi
th

Larry Charles on
Masked and Anonymous.

Scalia began his career by collaborating with Oliver Stone, as assistant editor on
the filmmaker’s
Wall Street

and
Talk Radio
. He went on to serve as associate editor on
Born on the Fourth of July
, which won an Oscar for Best Film Editing, and as an
additional editor on
The Doors
.

Born in Sicily, Scalia was raised in Switzerland. He came to the U.S. to attend
college, earning his MFA in film and theater arts from UCLA in 1985.




MARC STREITENFELD

(Composer)

has written the music for
five

consecutive Ridley Scott films, which include

Prometheus
,

Robin Hood, Body of Lies
, the
BAFTA
-
nominated score for
American Gangster
, and the director’s romantic comedy
A
Good Year
. He also worked with Scott as mu
sic supervisor on
Kingdom of Heaven

and

[
27
]


Matchstick Men
, as music editor on
Black Hawk Down

and
Hannibal
, and as technical
score advisor on the Oscar
-
nominated soundtrack to
Gladiator
.

Born in Munich, Germany, Streitenfeld relocated to Los Angeles at the ag
e of 19.
He first worked for composer Hans Zimmer as his assistant, then as a freelance music
editor and music supervisor on numerous high
-
profile films.



JANTY YATES
(Costume Designer)

won the 2000 Academy Award and earned
a BAFTA nomination for her cost
umes evoking ancient Rome in Ridley Scott’s Best
Picture Oscar winner
Gladiator
. The film marked the first of
seven

feature film
collaborations with the director, which also include
Robin Hood,
for which Yates
received both Saturn and Satellite nominations

for Best Costume Design,
Body of Lies,
American Gangster, Hannibal
and
Kingdom of Heaven
, for which she received a Goya
Award nomination for Best Costume Design.

Yates’ list of notable filmmaker collaborations also includes the Michael
Winterbottom films
Welcome to Sarajevo, Jude

and
With or Without You
, Michael
Mann’s
Miami Vice
, Jean
-
Jacques Annaud’s
Enemy at the Gates
, Christopher Monger’s
The Englishman Who Went Up a Hill But Came Down a Mountain
, Jon Amiel’s
The Man
Who Knew Too Little
, Gillian Armstr
ong’s
Charlotte Gray
, and Irwin Winkler’s Cole
Porter biographical drama
De
-
Lovely
, for which Yates’ designs of post
-
Depression
elegance earned her a Costume Designers Guild Award nomination.

Yates began her career in the fashion world, and then segued to

the film industry
as a costume assistant on Jean
-
Jacques Annaud’s
Quest for Fire
. She subsequently
worked on two Mike Newell films: the 1985 thriller
Dance with a Stranger
and the 1988
drama
Soursweet
. Yates served as wardrobe supervisor on Alan Parker’s acclaimed Irish
music tale
The Commitments
, and then made her debut as a feature film costume designer
with the 1993 British comedy drama
Bad Behaviour
.



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