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

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10 déc. 2013 (il y a 7 années et 9 mois)

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

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

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

, 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,

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.
has all three.”

The not
ion for

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


But that mysterious being

a giant fossilized creature with a burst
open chest, which
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
, was the mystery behind
it,” says Scott. Who was he? Where was he from? What was his mission? What kind of
echnology would his kind possess? I thought those questions could provide a
springboard for even larger ideas.”

So, yes,
began life years ago as an
prequel before evolving, as
Scott puts it, “into another universe.” The film 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
a new, grand mythology, in which this
original story takes place.

The keen fan will r
ecognize strands of
’s DNA, so to
speak, but the ideas tackled in this film are unique, far
reaching and

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

Adds co
screenwriter Jon 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 s
ays 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
mission, are in effect challenging the gods. And, as
d by the Greek mythological figure from which the ship takes its name,
challenging the gods can be a very, very bad idea.

“The film’s central metaphor is about the Greek Titan Prometheus, who defies the
gods by 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.”


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

The team of scientists and explorers aboard the Prometheus are on nothing less
than a journey to discover an
swers to some of life’s most profound questions. Two
brilliant young scientists, Shaw (Noomi Rapace) and Holloway (Logan Marshall
possessing contrasting motivations, lead the expedition. Shaw is a believer: 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 from 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 encounter.
“When Shaw and Holloway conceived the missio
n, 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 anythi
ng 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 f
or these beings,” adds Jon Spaihts. “The cold and
implacable environment is more like hell than heaven.”

In Ridley Scott’s films, including
, the protagonists’ discoveries often
defy expectations. “That’s what makes good drama,” states the film
maker. “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,


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

in effect god

Or put another way: Maybe there are some things best left unexplored.


Strong female leads are a Ridley Sc
ott hallmark: Sigourney Weaver as Ripley in
Geena Davis and Susan Sarandon in
Thelma and Louise,
Demi Moore in
… the list goes on.

features not one, but two formidable
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 when faced with
the danger she encounters at her destination; Charlize Theron’s Vickers is a “suit”
representing the interests of the mega
on funding the journey to a distant,
foreboding world.

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

including Scott’s.

“Noomi combines a rare
intelligence and physicality,” says the filmmaker. “She owned 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 from Ridley Scott is a career defining moment for any actor, including
“After the meeting with Ridley, I thought even if I don’t end up working with
him on
, I’m happy because I’ve had this hour with him.” It turned out that
Shaw would be spending much more time than that with Scott, who cast her after a
screen tes
t he shot with
director of photography Dariusz Wol
, ASC. “We used a
Panavision storage room which production designer Arthur Max had dressed to give it an
industrial, creepy vibe, and Noomi just killed it,” says Ellenberg. “We were all blown
away by h
er 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 t
he role, Vickers took on intriguing


new dimensions.

Says Lindelof: “Charlize and I worked together to create a more
layered character. Vickers is someone the audience will love to hate, but there are
moments when we see her vulnerability and begin to u
nderstand 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 to explore the film’s epic themes from a
perspective at odds with the rest of the crew’s. “For Vi
ckers, 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 with so much else about the mission, there are deeper layers and mysteries
to Vickers’ ultimate goal
s. “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

Vickers’ cold efficiency might be characterized as machine
like, but another
crewmember, David,

portrayed by Michael Fassbender,

is, literally, a machine

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
basically the ship’s housekeeper, keeping an eye on everything while the human crew is
in suspende
d animation [necessitated by the two
year journey].”

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


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.”

The combination of David’s i
ntellect 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

but his playground is the Prometheus. “While the rest of the crew is
suspended animation, David is enjoy
ing 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. His cinema touchstone is David Lean’s epic masterpiece
of Arabia
; David, like Peter O’Too
le’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 humans,” 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 captain of the Prometheus, is describe

by Scott as an “old sea dog”

an officer in the classic tradit
ion, 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 Shaw and Holloway and the venal corporate interests of Vickers.

British actor Idris Elba, who por
trays Janek, reunites with Scott, with whom he
collaborated on the director’s award
American Gangster.
Elba’s formidable
presence and performance in that film left a strong impression on Scott, as did the actor’s
searing work as drug overlord Stri
nger Bell in the series
The Wire
and as a complicated
police officer in

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


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
important questions. Like Shaw, Holloway has a thirst for answers, but he thinks the end
of their s
earch will yield very different results from those Shaw expects.

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


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



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
relying heavily on CGI
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 pl
ayground 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 based 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 the only
way to go.”

The production filmed on f
ive 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).
With studio space at a minimum, the filmmakers had to make five stages work for more
than 16 sets, as well as in
creasing the size of the 007 Stage by at least a third.
photography commenced in August 2010, although pr
eliminary work had begun much

Arthur Max designed not only the spaceships and vehicles but also the landscape
of the planet to whic
h the expedition travels, and the structures and spaceship they
discover there. For the ship Prometheus, Max says he wanted “to do something that was
art, which would represent a flagship spacecraft with every technology
required to probe int
o 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.” Max then worked out the ship’s
interior archite
cture 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
and faceted windscreen fronting the structur
e. 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 furnishings
both old and new, including a Fazoi
li piano, Swarovski chandeliers

and a high
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 one of the film’s
defining sequences, which mixe
s 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
ir 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 their
two year journey to the planet; the mess room, with an amazing array of high
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 crashed crescent shaped ship seen in
Using a series of chambers, corridors and

tunnels connecting the larger spaces to each
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 buil
t 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, whi
ch 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 characteristic.” It took eleven
weeks to create these robust vehicles, complete with

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



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

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 appr
to spacesuit design that uses biomedical breakthroughs in skin replacement and materials
to create a suit that could believably provide lightweight flexibility and comfort in any
extraterrestrial environment. Each costume consisted of the outer space
suit 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 wit
hin 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 beauti
ful 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
greased jacket giving the appearance

that he’s been at the helm of a ship for many
years. Marshall
Green as Holloway exudes a casual comfortable timeless look, in his
hoodies, Thai fisherman pants and flip

The film’s new creatures are the work of Creative Supervisor for Creature Effe
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 logical
and biological fashion,” says Scott. Adds Scanlan: “Each stage of a crea
ture’s life cycle
has a distinctive purpose. For our xenobiology, we brought in new elements that are not
necessarily backward from those in
but are of a similar DNA. Many of Ridley’s
references are derived from nature

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

marks Scott’s first film shot digitally and in 3D, a format whose
technical challenges and aesthetic opportunities were embraced by the filmmaker. Scott


and Wolski used the technology to enhanc
e 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 storytelling, both visually and thematically. As he notes, he’s all about the

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
,” Scott concludes,

“you will have experienced something completely unexpected.”


(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

Trilogy: The Girl With the Dragon Tattoo, The Girl Who Played With Fire,


The Girl
Who Kicked The Hornet's Nest

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

Currently, Rapace is

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

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 seven, 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 portrays a troubled teen
mother who
leaves he
r 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 h
igh 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 (Swedish
Academy Award) and the Best Actress I
nternational Jupiter Award (Germany)

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 praise for her performances in the second and thi
rd 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

), in Sweden. The film screened at the 2010 Venice Film Festival and won
the Ve
nice 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
, Rapace was seen in Pål Sletaune's Norwegian thriller
, 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,
enjoyed a phenomenal run of critically acclaimed performances in 2011 and
2012, garnering numerous accolades and awards

including the Best Actor award at the
2011 Venice Film Fes
tival and Irish Film and Television Award (IFTAs)

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

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

Davide Cronenberg’s drama
A Dangerous Method
, in which

plays Carl Jung
opposite Keira Knightley and Viggo Mortensen.

Fassbender was also recently seen in
Matthew Vaughn’s

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

Jane Eyre

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


starred in Quentin Tarantino's 2009 blockbuster
, sharing with his fellow actors the Screen Actors Guild Award



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

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

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.

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, a
s well as his second London Film Critics Circle Award.

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

Born in Germany and raised in Ireland, Fassbender is a graduate of London's
prestigious 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
, Fassbender
appeared in

Joel Schumacher's
Blood Creek
, James Watki
Eden Late
, Jimmy
Jonah Hex
, Francois Ozon's
, and Neil Marshall's


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

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


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

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

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

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 Academy Aw
ard 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
Animal Kingdom
; the thriller
Seeking Justice
, alongside Nicolas Cage;
the horror
Don’t Be Afraid of the Dark
, produced and written by Guillermo del Toro; the drama
; and the sci
fi action
, written by Luc Besson. Upcoming is
also starring Tom Hardy.

Pearce won an Emmy

Award f
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
(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
performances in high
profile films an
d multiple television series.

Idris started his career in his native

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

. I
n 2000,

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

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

Around the same time, David Simon, creator of HBO’s award winning series
cast Idris in the role of Stringer
Bell, the lieutenant of a Baltimore drug empire on
Idris’s portrayal of the complex but deadly Bell is arguably one of the most
ing in TV history. As the show

flourished throughout the world, critics and
audience members began to appreci
ate Idris’ talent. In 2005, he received an NAACP


Image Award nomination for Outstanding Supporting Actor in a Drama Series for his
work on
The Wire.

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

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 starred in Ridley Scott’s Golden Globe nominated
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 Picture. That same year, Idris returned to London to
film Guy Ritchie’s
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
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

$28.5 million on its opening weekend, storming to # 1 in the box office and
became the
sing opening on record for the stalker

genre movie

In 2009, Id
ris showed off his comedic chops

NBC’s hit television show
, 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.


next projects were
The Losers
, in wh
ich he shared the screen with Zoe
Saldana, Chris Evans and Jeffrey Dean Morgan; and box office hit
, 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
. Along 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 Tribec
a Film Festival in April
2010 commended
with great critical acclaim


Idris was next seen in the BBC crime drama series
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
, Idris received
a Best Actor nomination at the 2011 Golden Globe Awards and
won an NAACP Image Award for Outstanding Actor in a Television Mov
ie, Mini
or Dramatic Special. In 2012, he took home the Golden Globe for Best Actor in a Mini
Series or Motion Picture Made for Television.


in the highly anticipated Marvel comic book adaptation,
directed by Kenneth Branagh, al
ongside Natalie Portman, Anthony Hopkins and Samuel
L Jackson. He can be currently seen in
Ghost Rider
Spirit of Vengeance,
with Nicolas

In addition to
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.


appeared on the big screen in
, 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


Brooklyn’s Finest

The Kindness of Strangers


The Great Raid

Green appeared in the television series
Dark Blue.

His other television
work includes roles on
Traveler, 24

Law & Order

Law & Order: Special Victims


The OC.

A graduate of New York University’s Tisch Graduate Acting Program and a
fic stage actor, Marshall
Green earned a Drama League nomination for his work

King Lear
with Kevin Klein

at the Public Theatre, and Greg Kotis'
Pig Farm

at the
Roundabout Theatre

Broadway. He earned Lortel Award nominations for his
performances in

Dog Sees God


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


Green’s other off
Broadway productions include


Swimming in
the Shallows,




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

Bus Stop

Street Scene

Skin of Our Teeth

The Blue

Light Up the Sky
Tonight at 8:30

The Hour We Knew Nothing of Each

Servant of Two Masters



winning actress

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 prais
ed and admired for her inspiring and powerful

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

Theron received the Independent Spirit Award & the National
Broadcast Film Critics Association a
s 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 Breakthrough Performance Award from the Nation

Board of

and the Academy Award, all

for her emotionally devastating performance in

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

her a 2012 Golden Globe nomination for Best Performance by an Actress in a Motion

Snow W
hite and the Huntsman

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

Mad Max: Fury Road,
directed by
George Miller.

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


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

highest grossing film of the year.

Charlize was in the drama
North Country

opposite Frances McDormand and Sissy
Spacek for director Ni
ki 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 praise. Her incredible performance as Josey Aimes garnered her Golden
Globe, SAG

, 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 Supporting 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
Mind Hunter
, with director David Lynch


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

She’s also been seen starring alongside Al Pacino
and Keanu Reeves in
Advocate; with Tom Hanks in
That Thing You Do!
; and
in Jonathan Lynn’s
Trial and Error
. Theron starred
in Woody Allen’s
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

with Johnny Depp. In 2000, Theron tackled roles in Robe
rt 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 Frankenheimer’s
Reindeer Games
with Ben
Affleck, and Miramax’s
The Yards
starring Mark Wahlberg, Joaquin Phoen
ix, James
Caan and Faye Dunaway.

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

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 The
ron starred opposite
Patrick Swayze, Natasha Richardson and Billy Bob Thornton in
Waking Up in Reno
, and
opposite Kevin Bacon, Courtney Love, Stuart Townsend, Pruitt Taylor Vince and Dakota
Fanning in the feature film
directed by Luis Mandoki.



(Director, Producer)
has been honored with Academy Award
nominations for Best Director for his work on
Black Hawk Down
, and
& 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
for 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

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
, which catapulted Si
gourney Weaver to
stardom and launched a successful franchise. In 1982, Scott directed the landmark 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 1993 and again in

Scott’s additional film directing credits include
, starring Tom Cruise;
Someone to Watch Over Me
Black Rain
, starring Michael Do
uglas and Andy Garcia;
1492: Conquest of Paradise
White Squall
, starring Jeff Bridges;
G.I. Jane
, starring Demi
Moore and Viggo Mortensen;
, starring Anthony Hopkins and Julianne Moore;
Body of Lies
, starring Russell Crowe and Leonardo DiCaprio;

Good Year
, starring
Russell Crowe and Albert Finney; the epic
Kingdom of Heaven
, with Orlando Bloom 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
commercial and advertising production
company RSA in 1967. RSA has an established reputation for creating in
novating 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
The A

and the Academy Award
The Assassination of
Jesse 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,
, 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
Andromeda Strain
, based on the book by Michael Crichton; the TNT miniseries
; and the award
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
gnition of his contributions to the arts.

a graduate from Princeton University, moved to New
York City to become a novelist but quickly changed his career path to become a dot
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
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.


Shadow 19

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

, 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

. 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


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
The Darkest Hour

is currently writing
Children of Mars

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

Sony and Red Wagon.

tionally, Spaihts is contracted to Bruckheimer Films for back
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

Most recently, U
niversal Pictures also just tapped Spaihts to pen a feature reboot
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 portrait
s and landscapes.

Despite being advised that his brain would rot,

Executive Producer) spent the majority of his childhood watching television. After a brief
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 remin
ding 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
. 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
. 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 su


of a plane crash in the South Pacific. Despite this,
won Golden Globe and Emmy
awards for Outstanding Drama Series in its freshman season. Lindelof concluded
after six seasons and still doesn’t quite understand what it all meant.

A lifel
ong Trekker, Lindelof also produced 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 t
his bio.

(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,
ected by Paul Weitz; and
, 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 an
d Cate Blanchett;
Body of Lies
, 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
hour minise
ries chronicling the history of the CIA for TNT.

Costigan has developed many projects during his tenure at Scott Free, including
, starring Keira Knightley;
A Good Year
, the romantic comedy starring Russell
Crowe; Curtis Hanson’s romantic drama
In He
r Shoes
, with Cameron Diaz, Toni Collette
and Shirley MacLaine; and the hit CBS television series,
. 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

. 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
Smart People
, and the holiday comedy
Deck the Halls


Before segueing into production, Costigan spent over a decade in the studio ranks,
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
Girl, Interrupted
, directed by James Mangold; Milos

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

and Wes Anderson’s


(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 a
, 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 Cr

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 ro
le 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 (B
ritish 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

in 2004.

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

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 and 2006, Huffam was involved in the highly successful

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
the film version of the popular 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 established Generator Entertainment with Simon Bosanquet, to
develop and produce a slate of genre films. Generator films to date include the horror
Red Mist,
coming of age drama

with Rupert Grint, and
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 o
f Thrones
, based on the first
volume 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 star
red Ben Barnes,
Irish actor Robert 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 Mo

(Executive Producer)

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


), as well as development and
production on upcoming s

Previously, he served as Senior Vice President at Scott
Free Productions, and was a producer on
Robin Hood


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


or of Photography)

recently served 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
Dead Man’s Chest

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

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

Wolski has collaborated with several notab
le directors, including Gore Verbinski
The Mexican

(preceding Verbinksi’s three
Pirates of the Caribbean

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

and the
cult favorite
The Crow;

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

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

n 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
when he
was asked to repl
ace the cinematographer who
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
Scott and Jake Scott.

He went on to work on the Roger Corman
produced feature

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

(Production Designer) began his collaboration with director
Ridley Scott in the TV commercial arena two deca
des ago. Max has received Academy
Award nominations for his work on two Scott
directed films: Best Picture Oscar winner
, on which

brought ancient Rome to vivid life, and
American Gangster
, for
which he recreated 1970s Harlem. For
, 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
, and on

claustrophobic thriller
, 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
stoke: The Legend of Tarzan, Lord of the

, and Asshetton Gorton on
. Max subsequently shifted his career
focus to television commercials and, for a decade, designing for such clients as Pepsi,
Nike, Jeep, Coke and Levi’s, which led to

his associations with filmmakers Ridley Scott
and David Fincher.


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

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
Will Hunting
, and an Oscar nomination, an ACE Eddie Award

and a BAFTA for Scott’s


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


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

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

Earlier, Scalia collaborated with Bernardo Bertolucci on
Little Buddha

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


Larry Charles on
Masked and Anonymous.

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

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.



has written the music for

consecutive Ridley Scott films, which include


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

Matchstick Men
, as music editor on
Black Hawk Down

, and as technical
score advisor on the Oscar
nominated soundtrack to

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.

(Costume Designer)

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

feature film
collaborations with the director, which also include

for which Yates
received both Saturn and Satellite nominations for Best Costume Design,
Body of Lies,


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

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

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

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
. 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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