Prisoners

Production Notes

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PR Works Contacts

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From Alcon Entertainment comes “Prisoners,” a Warner Bros. Pictures release starring

Oscar® nominees Hugh Jackman (“Les Misérables”) and Jake Gyllenhaal (“Brokeback

Mountain”), under the direction of Denis Villeneuve, who helmed the Oscar®-nominated foreign

language film “Incendies.”

How far would you go to protect your family?  Keller Dover (Hugh Jackman) is facing

every parent’s worst nightmare.  His six-year-old daughter, Anna, is missing, together with her

young friend, Joy, and as minutes turn to hours, panic sets in.  The best lead is a dilapidated RV

that had earlier been parked on their street.  Heading the investigation, Detective Loki (Jake

Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release.  

As the police pursue multiple leads and pressure mounts, knowing his child’s life is at

stake, the frantic Dover decides he has no choice but to take matters into his own hands.  But just

how far will this desperate father go to protect his family?

Led by Jackman and Gyllenhaal, the dramatic thriller “Prisoners” features an all-star cast,

including Oscar® nominee Viola Davis (“The Help,” “Doubt”), Golden Globe Award nominee

Maria Bello (“A History of Violence,” “The Cooler”) and Oscar® nominee Terrence Howard

(“Hustle & Flow”), with Academy Award® winner Melissa Leo (“The Fighter”) and Paul Dano.

Denis Villeneuve directs the film from an original screenplay by Aaron Guzikowski.

Oscar® nominee Broderick Johnson (“The Blind Side”), Kira Davis, Oscar® nominee Andrew A.

Kosove (“The Blind Side”), and Adam Kolbrenner are the producers, with Edward L.

McDonnell, John H. Starke, Robyn Meisinger, Mark Wahlberg and Stephen Levinson serving as

executive producers.

Villeneuve is supported by a stellar creative team that includes ten-time Oscar®-

nominated cinematographer Roger A. Deakins (“Skyfall”), Oscar®-nominated production

designer Patrice Vermette (“The Young Victoria”), Oscar®-winning editor Joel Cox

(“Unforgiven”), editor Gary Roach, and costume designer Renée April. The music is by Jóhann

Jóhannsson.

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Alcon Entertainment presents, an 8:38 Productions/Madhouse Entertainment production,

“Prisoners.” The film will be distributed domestically and in select international territories by

Warner Bros. Pictures, a Warner Bros. Entertainment Company.

prisonersmovie.com

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ABOUT THE PRODUCTION

KELLER DOVERKids gone for more than a week have half as good a chance

of being found, and after a month almost none are, not alive.So forgive me for doing everything I can!

It’s a cold, cloudy Thanksgiving Day in a modest Pennsylvania suburb, the kind of town

where kids ride their bikes and play in the streets every day. Inside a warm and welcoming

home, the hardworking Dovers and Birches, the closest of friends and neighbors, share the

traditional holiday meal together, relaxed, laughing, entirely at ease. All is right with the world.

And then it’s not.

In the blink of an eye, the two youngest girls, just six and seven years old, are nowhere to

be found. It is perhaps the worst thing that any parent, any family, can imagine, and for the

Dovers and Birches it begins a traumatic nightmare from which they cannot seem to escape.

Director Denis Villeneuve states, “‘Prisoners’ deals with one of the most difficult

subjects in life—missing children. The mere thought of it makes us uncomfortable, we are

instantly overcome with fear. Having to think, ‘What would I do if this happened to me?’ is

truly unthinkable. You ask yourself how far you would go to find your child before time runs

out and it’s too late. Or what you would do to the person you knew in your heart was

responsible, if given the chance. And what if you didn’t take that chance, and it would’ve made

a difference? Fear drives these thoughts and influences the answers. Even from the safety of a

seat in a movie theater, the complex moral conflicts that can arise from our reaction to that

singular emotion are fascinating. For me, as a filmmaker, to examine it and to look at our

humanity through these richly drawn characters was so compelling that I was willing to face my

own fears.”

In the film, the police are called in and the girls’ safe return becomes a race against the

clock; everyone knows that the longer it takes to find them, the less likely it is they’ll be found

safe. When a suspect is apprehended by the police rather quickly, but released due to a lack of

evidence, one father cannot bear their perceived blunder, or their calm and meaningless

assurances. Feeling he has no choice, he will do whatever it takes to find the girls, no matter the

consequences.

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Hugh Jackman, who plays Keller Dover, father of missing Anna Dover, says, “It is a

classic ticking clock type of suspense thriller that keeps you on the edge of your seat, and really

beautifully written, with great twists and turns. But it’s also truly heartbreaking in its

consideration of what happens to the human spirit, the psyche, the soul, under that kind of

strain.”

The story dives into the depths of the situation as it affects both families, as well as the

community in which they live, and the policeman fighting time to solve the case before it’s too

late.

Jake Gyllenhaal, who portrays the lead detective on the case, appreciated the way the

script examined the matter from both inside and outside of the families involved. “It posed some

really hard questions about how far you would go for the people that you love, while also taking

a close-up look at the various interpersonal relationships in a small town when something like

this happens, including the perspective of a cop, who is seen by some as part of the solution, and

by others as part of the problem.”

Producer Kira Davis, recalling her first reading of the script, notes, “Even though, as a

parent, it was so painful to even imagine going through something like this, I was taken by the

intensity of the material, how much of a page-turner it was, and that I couldn’t guess what was

going to happen next. I liked that the story was told from the point of view of various characters,

and that you see each of them having a very different emotional journey.”

“Prisoners” was written by Aaron Guzikowski, who says his initial inspiration was

something much less foreboding than it eventually became. “What first came to me was just a

feeling, the one you get when you misplace something as trivial as your car keys or cellphone,”

he remembers. “That slight panic you feel when you reach for something where you knew it

was, and it’s not there anymore.”

But that was before Guzikowski had children. “Once I had kids, and tried to imagine that

same sensation—but instead it’s my child—it became something completely different. What

does that do to a person’s mind? How does it change him, what does it drive him to do that he

would never normally do?”

Helping to guide Guzikowski through the scripting process was producer Adam

Kolbrenner. “Aaron never wavered in his commitment to the story and these incredible

characters, from start to finish,” he says. “What was most important to him was how they each

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deal with this tragedy in their own way, and that it all start with something so innocent: the

decision by the parents to let their little girls go outside. It’s such a common occurrence, a

choice that moms and dads make every single day.”

Producer Broderick Johnson offers, “Aaron’s screenplay gripped you from the beginning.

You met these lovely characters who suddenly had this unthinkable situation to deal with, and as

it went along, the tension mounted and it became this dark, heart-pounding thriller that was both

frightening and thought-provoking at the same time.”

Acknowledging that the project poses hard questions with even harder answers, Johnson

notes that the key for Alcon and the other producers was finding a director who could not only

embrace such a difficult subject, but also bring it to the screen in such a way that the raw,

underlying emotions were exposed for the audience to experience along with the characters on

screen. “If you look at Denis’ work, one of the common threads you’ll find is the absolute

humanity, the grounded nature of the emotional conflicts. We knew the story would be in the

best of hands with him.”

Villeneuve states, “Right away, I was impressed with the way Aaron depicted what a

parent will be ready to do to protect his or her child in such extraordinary circumstances, but also

the way this violation of a family spread inside them and among them, destroying a part of their

intimacy, and what each of them had to do to survive that. I was deeply moved.”

“Denis came in and said, ‘I understand who these characters are, I understand what their

journey is. I know how to relate to them and how I want to express that cinematically,’”

Kolbrenner says. “And that’s exactly what he did. In a film that goes to the darkest places, the

characters were in the hands of a filmmaker who brought passion and creativity to them every

day.”

“From the start, I felt I could approach the story in different ways,” Villeneuve relates.

“It is dark, it is a tough subject, but it’s also very profound, and I knew it would be interesting for

audiences if the characters could feel alive to them, if they could truly connect with them.”

Guzikowski’s story and Villeneuve’s approach to it attracted a top-flight roster of actors,

including Jackman and Gyllenhaal, along with Viola Davis, Maria Bello, Terrence Howard,

Melissa Leo and Paul Dano. And behind the camera, helping Villeneuve to capture the story was

legendary cinematographer Roger Deakins.

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“Beginning with Denis and Roger, and then our phenomenal cast, it really has been an

embarrassment of riches on this movie, from top to bottom,” Davis acknowledges.

KELLERHe stays in custody until my daughter’s found, right?

LOKIWe have a 48-hour hold on him. It ends tomorrow unless we bring charges.

KELLERWell charge him with something!

Cast & Characters

The terrifying events that unfold in “Prisoners,” beginning with Anna Dover and Joy

Birch’s disappearance, cause each character to react in a manner he or she likely never would

have thought possible. Especially Keller Dover. Hugh Jackman states, “People don’t behave

politely under these extremes. People don’t behave as though they care what anyone else thinks.

Behavior becomes elemental, guttural. Whether they fall down and collapse, or get violent and

angry, or disillusioned…whatever it is, it’s honest. It’s what they need to do at the time just to

get through it.”

Villeneuve concurs. “Each character in the film is, in one way or another, a prisoner—of

circumstances, of his own neuroses, of fear. Each individual has to struggle with his own

imprisonment, each one will have to fight their way out.”

Dover is a blue collar carpenter and self-proclaimed survivalist, with a fully stocked

basement to show for it. The loving husband and father of two is ready for anything. Or so he

thought. “My character has a line which I love, which is ‘Pray for the best, prepare for the

worst,’” Jackman says. “He has a contingency plan for everything…but not this. When his six-

year-old daughter is gone, and he loses faith in the police to find her, he figures he is the one who

will save her. He has a primal need to protect his family, and right now that means finding

Anna.”

“Keller has a lot of gear in his basement; in case something goes wrong in the world, he’s

ready,” Villeneuve adds. “It’s another extreme side to his personality that, on an ordinary day,

wouldn’t signify much, but now we see he doesn’t trust society to take care of things, believing

that only he can make sure his family survives. That carries over into his search for the girls.”

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Jackman did research into survivalist behavior. His character is also a recovering

alcoholic, which comes into play at a critical juncture in the story, so the actor studied that as

well, along with the effects of sleep deprivation over the course of several days. He combined

those findings with what he learned often happens to family dynamics in these situations. He

explains that Dover, in his self-appointed role as detective and with his desperate need to control

the outcome, “absolutely has to know what the police are doing, and that includes their methods,

as well as all the statistics about missing children cases and how those numbers get worse with

each day that passes.”

The actor continues, “Keller does not believe himself to be a vigilante. He’s not just

being emotional. He feels he has concrete evidence that the police are not listening to, and that

maddens him even more, and also justifies his determination to track down this suspect and

interrogate him himself.”

Davis offers, “I think any parent who had a child go missing and didn’t feel that the

proper steps were being taken by the police would start to panic. In fact, Keller very quickly

starts to panic, thinking that if the police aren’t doing enough, he has to do something. He

believes he has a clue that no one is following up on, and that the authorities think he’s just a

hysterical father and don’t believe him. Again, from the perspective of a parent, it’s late fall, it’s

getting colder, and the chances of finding the girls are diminishing with every minute, so Keller

feels he has no choice but to take things into his own hands.”

“Hugh brought so much strength and humanity to Keller,” Villeneuve says. “He’s an

unexpectedly emotional character driven to dark places that we, as human beings, know are

inside of us, but don’t want to look at. Keller shows us that dark side, so he had to be played by

an actor who was willing to go there, to give everything of himself, and to explore both his

desperation and vulnerability at the same time. Hugh’s generosity to the character and his fellow

actors was boundless.”

Dover refuses to feel powerless, but he does feel betrayed by the police, particularly

Detective Loki, lead investigator on the case. He asked just one thing of Loki, to keep their

initial suspect in custody for more than 48 hours, and while it’s not Loki’s decision to let the man

go, it’s Loki who bears the brunt of Dover’s anger and frustration.

“Keller immediately distrusts Loki,” Kolbrenner observes. “He sees him as young and

inexperienced, and because Loki has no children of his own, Keller doesn’t feel Loki can relate

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to what the families are going through and therefore isn’t zealous enough in his quest to find the

girls.”

It was while Villeneuve and Jake Gyllenhaal were working on their first film together,

“Enemy,” that the script for “Prisoners” came to the director. Villeneuve immediately thought of

Gyllenhaal for the role of Detective Loki.

“Jake is a fantastic actor and a strong artist, and also a friend,” Villeneuve says. “I was

so happy that he agreed to play the part and take this journey with me.”

Gyllenhaal reveals, “Denis knows my strengths, he knows where he can push me, where I

get frustrated and where I find comfort in my work,” Gyllenhaal says. “I’ve never worked with a

director on two consecutive films before, but we were having such an amazing creative

experience on the first film that I was excited about this one before I even read the script. And,

when I did, I found the character really fascinating.”

The director and actor spent time discussing the story and the conflict between Loki and

Dover, evolving the depth and dimension of Gyllenhaal’s character even further. They

established Loki’s background as an orphan and a juvenile delinquent, shuffled in and out of

foster homes, which may not be openly discussed in the movie, but comes through in the

character we see on screen. “After finding himself in the juvenile detention system, he

eventually found his way into another institution, the police department. I think that’s what

makes him unafraid of getting into that world: he’s seen it all before; it’s familiar territory to

him,” Gyllenhaal reasons.

The actor also believes that the hints of Loki’s internal demons and the influences of his

youth that we do see on screen say a lot about what makes him good at his job. “He hides his

history, particularly in the way that he dresses, though you see glimpses of his tattoos. He also

spends a lot of time alone, observing others, keeping to himself rather than conversing with

others apart from work. He’s willing to get into the mindset of a suspect, to seek out the darkest

recesses of the criminal psyche. He has focus, reserve, and intensity, but a boiling anger

underneath, all of which make him very persistent, and a real skeptic at times, and very good at

his job. And he knows it.”

Loki’s preference for working alone lowers his tolerance for Dover’s interference in the

search. “From my character’s side of things, what a parent goes through in a situation like this is

incomprehensible,” Gyllenhaal continues. “But there’s a real naïveté in the way that Keller deals

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with it; he has no experience in solving a case or knowing what details to pay attention to. We

have the same goal, which is to find his daughter, but there’s something to be said for

experience.”

“Detective Loki is a dedicated, astute policeman,” Johnson allows, “but he’s a little

arrogant, and he believes that Keller’s intuition, his absolute certainty that a particular suspect is

guilty, is due to his own anxiety. Loki respects the position he’s in as a father, but he doesn’t

take Keller’s accusations that seriously. Keller is too aggressive for him; Loki needs to go about

things meticulously and not cross anybody off the list.”

“Loki has solved pretty much every case he’s ever been assigned to,” Jackman adds, “and

now he finds himself caught in this labyrinth. He thinks it’s going one way and then something

takes it in another direction. And the more strange and erratic Keller’s behavior becomes, the

more he’s on his radar.”

“I think that someone who impulsively takes matters into his own hands is frequently

going to really suffer for it,” Gyllenhaal says. “Keller is trapped by his animal instincts,

following his gut, and it’s leading him down a very bad path. Loki is just watching and waiting

to see where it goes. Especially with regard to Alex Jones.”

Alex Jones is a young man that the police initially suspect is behind the sudden

disappearance of the two little girls. He is taken into custody and questioned, but ultimately

released without being charged.

“Loki doesn’t necessarily think that Alex Jones is the person who has done this, but

there’s something very questionable about him,” Gyllenhaal conveys. “There are other things

that allow Loki’s focus to go other places, but he never really discounts Jones entirely, either.”

On the other hand, Dover is absolutely convinced. The briefest whisper in his ear gives

him all the evidence he needs, and if the police can’t get answers out of him then—for the love

and life of his daughter—Dover is ready to do anything to get Alex Jones to talk. Of course, the

irony is, the more he pushes Alex, the less Alex tells him.

Paul Dano plays the enigma that is Alex Jones. Drawn to outside-the-box roles, Dano

says, “Alex is a complicated guy. He comes off as both a bad guy and a victim, so he’s sort of

mysterious, which, for an actor, provides a lot of options to explore.”

Johnson agrees, “Alex is a very difficult role to play because he projects both an element

of danger, which is what Keller sees, and a kind of innocence to him. He’s older on the outside,

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but inside his maturity and intellect are much younger, so it’s hard to know just what he’s

capable of.”

“In some ways, Alex simply wants to help, and in a moment of panic, says something to

comfort Keller, something he thinks he wants to hear,” Villeneuve shares. “But that just makes

things worse, for Keller and for him. Alex has a disturbing relationship with reality, and that is

part of what makes his journey so horrific.”

Villeneuve knew upon reading the script that he would offer the part to Dano. “I said to

myself, ‘I need Paul Dano.’ Paul is one of my favorite actors, and I needed someone with a very

strong presence, so that the audience would feel that presence even when they weren’t seeing

him on screen. Paul brought a beautiful childlike dimension—like a child that didn’t grow up or

is stuck in time—to the character.”

Though their scenes together are among the movie’s most harrowing, Dano and Jackman

had a very collaborative relationship on set. “Hugh is a really giving and gracious person,” Dano

remarks. “We had some difficult scenes alone together and they were very intense and intimate,

but I think we got where we needed to go.”

While Dover’s neighbor, Franklin Birch, is equally distressed by his own daughter’s

disappearance, he is not comfortable with the lengths to which Keller is willing to go to find the

girls. It’s eating at both of them emotionally, but Franklin responds in a more internalized way.

Terrence Howard, who plays Birch, says that when he first read the screenplay, “I felt

very emotional. It took me into the very crevasses of these completely human characters. We’ve

all watched the news and wondered what we would do if someone hurt our family, hurt our

children, in this way. Do I take the law into my own hands, or do I trust the authorities to work

as hard as I would? Because, at the end of the day, they go home from work while my daughter

is still gone. So, watching the film makes you ask yourself which character you would be?

Whose actions you would mirror? Because they all resonate with the very nature of humanity.”

Despite their close friendship, Birch, a music teacher, is a very different sort of man from

Dover. When the girls first go missing, he is of the mind to let the police do their job. Later, he

reluctantly goes along with Keller’s harsh methods, but only up to a certain point, and this

creates a wedge between them.

Howard says that Villeneuve created a safe, trusting environment that allowed for the cast

to safely ride the difficult emotional rollercoaster they were on. “Even though the subject matter

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is so heavily laden, it was probably the most stress-free set I’ve ever been on. Knowing we had

to convey some of the worst things a person could go through, we were free of insecurities

thanks to Denis. We could all dive as deeply as we wanted to into our characters, knowing he

was there to catch us.”

“Franklin has a terrible moral struggle with Keller’s actions regarding Alex Jones.

Keller’s detention of Alex, and Franklin’s part in it, creates a war inside of him,” Villeneuve

says. “In some ways, I think Franklin is the character that represents the audience’s point of

view, and Terrence did a terrific job conveying that.”

Franklin’s wife, Nancy Birch, is played by Viola Davis, who says that she and Howard

enjoyed an easy partnership on set. “I love Terrence,” she says. “He’s the sweetest, kindest,

most sensitive man. He has a wealth of emotions, which is very helpful with a story like this,

and he’s a great partner.”

In turn, director Villeneuve has nothing but praise for Davis herself. “Viola was just

wonderful. She was able to show her character’s strength as a weakness, allowing Nancy to

retreat from her own compassion, to look the other way. Not everyone could manage that with

such great subtlety.”

Putting herself in the viewer’s place, Davis offers, “All of our characters go down this

road together but separately. There are times when the audience is going to want to shout at the

screen, ‘Why don’t you just sit and talk, share and bond and just release these feelings together

instead of veering off and folding under the weight of all the grief?’ But they just can’t do it.

It’s just too much.”

While Nancy’s reaction is to hold vigil in her home, a quiet pillar of strength willing

herself not to crumble, Grace Dover’s is to withdraw completely, crawling into bed and

anesthetizing herself to keep the pain of her loss at bay.

“Grace completely falls apart,” says Maria Bello, who plays the wife and mother who

becomes a mere shell of her former self. “She takes medication to calm herself, because

otherwise she’d be hysterical. And her husband is out dealing with things in his own way, so

he’s not home to comfort her.”

Though she is aware Keller is out looking for Anna and Joy, Grace nonetheless can’t help

but blame him a little, too. Bello emphasizes, “He’s prepared for the end of the world, so why

can’t he save our daughter? She begins to unravel, and so does their relationship to a certain

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extent. She’s so angry with him and with the entire situation, that she just has to check out, or

she’ll die.”

“Grace’s reaction to the pain is to fade away, to disappear,” Villeneuve affirms. “We

needed an actress who, at the beginning of the film, could display a lot of life and happiness, and

then slowly shut it down and become almost like a ghost. For a woman of her innate beauty,

Maria allowed the character’s anguish to come through—no makeup, just looking tired, more

and more like a shadow—so you completely feel the pain Grace is trying so hard to escape

from.”

Adding his own praise, Jackman says of his on-screen wife, “Maria, who is an incredibly

strong, courageous woman herself, managed to flood her character with vulnerability, and to

show that people under this kind of pressure can actually break.”

Another woman who has gone through a similar tragedy—losing both her child and

husband, and now possibly her nephew—is Holly Jones, Alex Jones’s aunt. Holly’s husband

deserted her some years back without any warning, leaving her alone to raise Alex, now a

suspect in the disappearance of Anna and Joy. And when, after he is released from custody, he

also disappears, Holly suspects he, too, is the victim of foul play.

Melissa Leo is almost unrecognizable in the role of Holly. “She’s a very lonely woman,

living with just her dog and her nephew, having lost her family, an irreparable ache in anyone’s

life,” Leo attests. “She doesn’t want to engage with the world, or want the world to engage with

her. I think she relied greatly on her husband, who’s been gone for more than five years, she

doesn’t even know where. Now she’s left with Alex, a fragile young man to begin with, but he’s

all she’s got and she wants to protect him.”

Dano adds, “I think Alex and Holly have an interesting relationship. He’s been with her

for a long time, so he definitely is dependent on her as more of a mother than an aunt, really. But

at the same time, he keeps to himself a lot, so he’s not exactly good company for her.”

Vital to the story of “Prisoners” is an examination of the crisis from different points of

view, how it affects the fathers, mothers and siblings of the missing girls, as well as those

involved in the investigation and, to some degree, the community at large. That is why, as

Villeneuve puts it, “All of the characters have important moments, and the performances had to

be completely authentic in order to achieve the level of realism we were looking for. We needed

great actors for every part, and we found them.”

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Rounding out the cast are Dylan Minnette as Keller and Grace’s teenaged son, Ralph, and

Zoë Soul as Franklin and Nancy’s teen daughter, Eliza; Erin Gerasimovich and Kyla-Drew

Simmons as the missing girls, Anna Dover and Joy Birch; Wayne Duvall as Loki’s boss, Captain

Richard O’Malley; David Dastmalchian as Bob Taylor, an alternate suspect that Loki takes an

interest in; and veteran actor Len Cariou as a local priest, Father Patrick Dunn.

KELLERDay Six. And every day, she’s wondering why I’m not there.

Creating the Atmosphere of Fear

“Prisoners” is set Pennsylvania, but was shot entirely in and around Stone Mountain and

other eastern suburbs of Atlanta, Georgia. The filmmakers settled on Stanton Woods, a

neighborhood near Conyers, which became the fictional Conyers in the movie. Shooting was to

commence in the month of January, which also pleased Villeneuve, who recalls, “The forecast

was for three months of Thanksgiving-like weather, meaning rain, cold, but not three feet of

snow falling from the sky like you’d get up north. The locals said it was the worst winter they

could remember, but for us, it was perfect.”

To create the look and feel of a Northeastern town as winter approaches and a chilly pall

literally and figuratively hangs over the streets, homes and residents, the director turned to

production designer Patrice Vermette, costume designer Renée April, and venerable director of

photography Roger Deakins.

“For me, this was a chance to fulfill one of my biggest dreams as a filmmaker: to work

with a master cinematographer like Roger. He is one of my contemporary heroes,” Villeneuve

declares.

The director had worked with both Vermette and April before. “Patrice and Renée were

on my first film, and they are both great artists. Renée is totally committed to helping the actors

bring their characters to life, and Patrice is all about the details—behind each door, each curtain,

everything conveys real life, and I think that’s so important.”

Vermette’s early inspiration for “Prisoners” came from photos, particularly some of

photographer Gregory Crewdson’s less surreal work. “When I read a script, it’s like reading a

book for me. I see images in my mind. I then start collecting imagery from personal photos and

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sketches, books and the internet,” he relates. “I also enjoy going on the road and taking pictures

of what I feel should be the right mood for the storytelling of the film. I make a virtual

scrapbook of what I think the movie’s mood should be for each set. The mood board grows and

grows and it becomes the reference and guideline that you can always refer to in prep and

production. I think it’s a helpful tool for everyone.”

He then presented his material to Villeneuve, and they were on the same page. The two

went to Atlanta, scouring the neighborhoods to find the kind of locales that could fit what they

had in mind for a story that takes place in Pennsylvania.

While they scouted, Vermette recounts, “We discussed the visual environments: colors,

textures, reflective surfaces, everything that makes up the ambiance. We visited several homes

and realized that people often had a lot of things from the `70s and `80s. Not antiques, but a real

eclectic mix of textures that, for our purposes, I found to be more interesting than some of the

contemporary things we see today.”

Fortunately there were outdoor sites that worked equally well for the production, with

architecture and foliage that resembled a typical northeastern neighborhood. “Fairmount Circle

could easily be in New York state or Pennsylvania,” the designer continues. “We all felt that it

was important for the film that it feel like it could happen anywhere, to anybody. So, instead of

needing the town to be a real suburb or small town, we planted the story in what we called the

‘exurb.’ I think that’s what North America is becoming: all these small villages that are united

by highways and strip malls eventually become one. In fact, if you look at aerial pictures of a lot

of these ‘exurbs,’ it’s like a maze, there are no reference points. Mazes also happen to be an

important visual element of the film and one which we discreetly introduced in some of the sets.”

One of the sets Vermette references is the dilapidated, abandoned apartment complex

where Dover takes Jones. The designer’s team built the interior on a stage; its exterior was a

location near Midtown Atlanta, which they built an extension onto and turned it into an

abandoned apartment building. They also remodeled the interiors of the houses they filmed in

for the Birches’ and Dovers’ homes—transformations welcomed by the real owners—effectively

turning practical locations into stage sets with sliding walls. Different houses were used for their

exteriors.

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In keeping with the foreboding tone of the drama, Vermette went for muted hues rather

than a bright color scheme. “We stayed with soft blues and grays and greens for the Birches,”

Vermette says, “and browns, ochers and burnt reds for the Dovers.”

Similarly, costume designer Renée April sought to subdue her color palette. “I took

every piece of wardrobe and dipped it in light gray, just to take it down a bit. I favored grays,

maroon, purples…just melancholy colors in general.” She shopped for costumes at such stores

as Sears, Wal-Mart and Target, and even Goodwill, places she felt the working-class characters

would actually buy their clothes.

The only exception to the muted color palette was the focus of the entire story, the

missing little girls. “For Anna and Joy, Denis said he wanted ‘all pink,’ and I agreed that that

was exactly what they should wear,” April relates.

“Their daughters are the bright lights in their parents’ lives, so we wanted to reflect that

in the colors they wear,” Villeneuve says.

Roger Deakins also utilized color, along with light and shadow, to amplify the

atmosphere around the story. He says that most of the time he went for a monochromatic feel.

“There were a couple of scenes with color, but not a big variety, so it was quite austere. The

look up table was amusing, slightly de-saturated, with a little added contrast so the images were a

bit heightened.”

Villeneuve’s goal was to be as realistic and authentic as possible throughout. “I wanted

people to feel the rain and the dust surrounding the pain of these characters.” To that end, he and

Deakins worked with as much natural, or practical, light as possible—and with as little as

possible—employing slow camera movements to increase the tension.

“Roger created a claustrophobic element that was very suitable for the story,” Villeneuve

says. “The darkness is so important in the film—the days are gloomy and overcast, and the

nights, largely because of Roger’s work, are very poetic.”

One particularly tricky lighting challenge was a nighttime scene that takes place at the

edge of the woods, when the cops first come across Alex Jones in his RV.

Deakins recalls, “There was a gas station in the background, with mercury vapor lights.

The police cars have blue flashing lights, and you don’t want to overpower them, so you tend to

work wide and open. I used an ARRI ALEXA, ASA at 1280 for low light, which is a lot more

than I would get out of film. We were basically shooting the action with the high-powered

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flashlights in the hands of the actors so we could get a decent beam and a good, hot image out of

them.”

Broderick Johnson says, “Watching Roger Deakins light and shoot a film was one of the

highlights of my career. He uses natural light in ways that are not obvious, and even in a film

like this one, with so much darkness, the choices he makes are always interesting. When you see

him start to conceive a shot, there are always so many layers to it.”

Deakins says, “I come from a documentary background and I still love being hands on,

being totally involved, operating the camera and moving the lights myself.”

The cinematographer shot the film digitally, which he thoroughly enjoyed. “I can sleep

at night because I can see what I’m doing!” he jokes. “I’ve really gotten to like digital because

of the immediacy of it. The director can see what I’m doing; I can see what I’m doing. It’s nice

to be able to look at a calibrated monitor and see exactly what the image is you’re going after

and talk to the director about it. It’s a big advantage.”

Because of the number of practical lights he used on ‘Prisoners,’ Deakins found shooting

digitally even more to his benefit. “A lot of the work is about the choice of the lights in the shot,

such as using the practical lights that sit on a desk or illuminate a room rather than film lights to

create the look. It’s easier to do that digitally, I had more dynamic range to play with.”

With principal photography complete, Villeneuve was thrilled to work with experienced

editors Joel Cox and Gary Roach. “I knew from their past work that both Joel and Gary have

very strong instincts about the human condition. The way they cut their movies is always deeply

rooted in the exploration of the characters’ journeys, which is precisely what I needed to tell this

story.”

FRANKLIN BIRCHWhat in the world did you do?

KELLER DOVERSomeone has to make him talk, or they’re gonna die.

Setting the Tone

To create the score for the emotional journey in “Prisoners,” Villeneuve turned to

Icelandic composer Jóhann Jóhannsson. His particular type of dissonant electronic music

appealed to the director, who asked Jóhannsson to create something stark, rather than symphonic.

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The composer approached the score by combining an orchestra, with a large string and

woodwind section, with two lesser-known instruments: the Ondes Martenot, which is an early

type of synthesizer; and the Cristal Baschet, which produces sound with oscillating glass

cylinders. The blend of sounds generated what Johannsson describes as “music with a delicate,

glassy surface, heightening the tension of the film.

“I wanted the score to be a voice that worked in counterpoint to the action on screen,” he

continues. “Even though the movie is a very suspenseful thriller, the music is often lyrical.”

The director felt that the music enhanced the emotional resonance of the film throughout.

“Jóhann’s work is beautiful and powerful, very graceful, classical but with its own identity,”

Villeneuve states. “He did a wonderful job composing something that would elevate the human

spirit amidst the melancholy of the story, giving the audience comfort even as it evokes feelings

of sadness and desperation.”

As desperation causes the characters in the film to unravel—each in his or her own way

—the filmmakers hope that “Prisoners” will provoke moviegoers to question their own behavior

when confronted with the unthinkable. The answers the film provides are not easy, but it is the

cast and filmmakers’ desire that they will elicit self-reflection and conversation.

Jackman allows, “There is rage inside of a man forced to protect his family. It is a rage

you hope you’ll never have to face, but once it arises, you have no idea how far you’ll go to save

your child. Would I go as far as Keller does? I don’t know. That is the point, and the power, of

this film.”

For Villeneuve, the movie examines how extraordinary events in life can come out of

nowhere and tear the fabric of a family to shreds in an instant. “It happens to people we love

most in life, the sources of our heart and our safety,” he says. “I think that this story, told in a

beautiful script and interpreted by the most skillful actors, comes from a very human point of

view. I hope audiences will see a powerful, complex drama told in a very exciting, intriguing

way, and that they will continue to think about it, and to talk about it, long after they leave the

theater.”

GRACEYou made me feel so safe. You told us that

you could protect us from everything…

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ABOUT THE CAST

HUGH JACKMAN (Keller Dover) is an Academy Award® nominated, Golden Globe-

and Tony Award-winning performer who has made an impression on audiences of all ages with

his multi-hyphenate career persona, as successful on stage in front of live crowds as he is on

film. From his award-winning turn on Broadway as the 1970s singer/songwriter Peter Allen, to

his metal claw-wielding Wolverine in the lucrative “X-Men” franchise, Jackman has proven to

be one of the most versatile actors of our time.

The Australian native made his first major U.S. film appearance as Wolverine in the first

installment of the “X-Men” series, a role he reprised in the enormously successful “X2” and “X-

Men: The Last Stand.” He then starred as the title character in “X-Men Origins: Wolverine,” a

prequel to the popular series which grossed an outstanding $85 million domestically in its first

weekend of release. This summer, audiences once again went to see Jackman in the popular role

in the next chapter titled “The Wolverine,” which was number one at the box office in its

opening weekend and which has, to date, grossed over $300 million worldwide. In 2014,

Jackman and the X-Men team will reunite once more for “X-Men: Days of Future Past,” which

is currently in production.

Late last fall, Jackman starred in the much-anticipated film adaptation of Les Misérables,

directed by Tom Hooper and co-starring Anne Hathaway and Russell Crowe, based on the

popular stage show originally created from Victor’s Hugo famous novel of the same name.

Jackman’s standout performance as protagonist Jean Valjean earned him a Golden Globe Award

for Best Actor in a Comedy/Musical, as well as Screen Actors Guild (SAG) Award® nominations

for both Best Ensemble and Best Male Actor in a Leading Role. The film also garnered him his

first Academy Award® nomination for Best Actor.

On February 22, 2009, Jackman took on the prestigious role of hosting the 81st Annual

Academy Awards, earning an Emmy Award nomination. Live from the Kodak Theater in

Hollywood, he wowed those in attendance and helped ABC score a 13% increase in viewership

from the previous year. This wasn’t, however, Jackman’s first foray into awards show hosting.

Previously, he served as host of the Tony Awards three years in a row, from 2003 to 2005,

earning an Emmy Award for his 2004 duties at the 58th annual ceremony, and an Emmy

nomination for his 2005 appearance at the 59th annual ceremony.

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Jackman’s additional film roles include Shawn Levy’s “Real Steel,” Baz Luhrmann’s

“Australia,” Christopher Nolan’s “The Prestige,” Darren Aronofsky’s “The Fountain,” and

Woody Allen’s “Scoop.” In addition, he lent his voice to the animated features “Happy Feet”

and “Flushed Away.” Other films in which he has had leading roles include “Deception,”

“Someone Like You,” “Swordfish,” “Van Helsing,” and “Kate and Leopold,” for which he

received a 2002 Golden Globe nomination. He also lent his vocal talents to the animated family

holiday adventure “Rise of the Guardians.”

In the fall of 2011, Jackman made a splash on the Big White Way in his one-man show,

“Hugh Jackman – Back on Broadway.” Backed by an eighteen-piece orchestra, the revue, which

previously opened to rave reviews during its limited engagements in San Francisco and Toronto

earlier that year, was comprised of both Broadway hits and a selection of some of his personal

favorite standards. Jackman’s continued dedication to the Broadway community was fêted at the

2012 Tony Awards, where he received a Special Award from the Tony Awards Administration

Committee, recognizing his accomplishments both as a performer as well as a humanitarian.

In the fall of 2009, Broadway-goers could see Jackman in the Keith Huff-penned “A

Steady Rain.” Co-starring Daniel Craig, the play tells the story of two Chicago cops who are

lifelong friends and whose differing accounts of a few traumatic days change their lives forever.

For his portrayal of the 1970s singer-songwriter Peter Allen in “The Boy From Oz,” Jackman

received the 2004 Tony Award for Best Actor in a musical as well as Drama Desk, Drama

League, Outer Critics Circle and Theatre World awards.

His additional theater credits include “Carousel” at Carnegie Hall; “Oklahoma!” at the

National Theater in London, for which he received an Olivier Award nomination; “Sunset

Boulevard,” for which he garnered the MO Award, Australia’s Tony Award; and “Beauty and

the Beast,” for which he received an MO Award nomination.

Jackman’s career began in Australia in the independent films “Paperback Hero” and

“Erskineville Kings.” His performance in the latter earned him an Australian Film Critics’

Circle Best Actor award and The Australian Film Institute Best Actor nomination. In 1999, he

was named Australian Star of the Year at the Australian Movie Convention.

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JAKE GYLLENHAAL (Detective Loki) is an Academy Award®, Golden Globe and

Screen Actors Guild (SAG) Award® nominee who has won BAFTA and National Board of

Review (NBR) awards for his work. 

Gyllenhaal most recently starred in David Ayer's “End of Watch,” a gritty drama shot on

the streets of South Central Los Angeles.  The film, which premiered at the 2012 Toronto Film

Festival, opened to both critical and box office success, and placed in several critics’ Top 10

Films of 2012, including the National Board of Review’s Top Ten Independent Films. 

Coinciding with the fall opening of “End of Watch,” Gyllenhaal made his New York

stage debut, starring in “If There Is I Haven’t Found It Yet,” for the Roundabout Theater

Company, for which he received rave reviews.  It was his first theatre performance since 2002,

when he starred in Kenneth Lonergan’s revival of “This is Our Youth,” on London’s West End,

for which he won an Evening Standard Theatre Award.

                Working with some of Hollywood’s greatest filmmakers in both independent and

studio films, Gyllenhaal starred in Ang Lee’s classic “Brokeback Mountain,” for which he

received Oscar® and SAG Award® nominations and won the BAFTA and NBR Awards; Richard

Kelly’s cult hit “Donnie Darko”; Sam Mendes’ “Jarhead”; Jim Sheridan’s “Brothers”; David

Fincher’s “Zodiac”; John Madden’s “Proof”; Miguel Arteta’s “The Good Girl”; Brad

Silberling’s “Moonlight Mile”; Nicole Holofcener’s “Lovely and Amazing”; and Joe Johnston’s

“October Sky.”  Gyllenhaal also starred in Duncan Jones’s critically acclaimed sci-fi thriller

“Source Code,” as well as in Ed Zwick’s “Love and Other Drugs,” for which he received a

Golden Globe nomination for Best Performance by an Actor in a Motion Picture Comedy or

Musical. 

Prior to starring in “Prisoners,” Gyllenhaal worked on Denis Villeneuve’s independent

feature “Enemy”; both films will premiere at the 2013 Toronto International Film Festival.  

Gyllenhaal will next star in and produce “Nightcrawler,” written and directed by Dan

Gilroy.

VIOLA DAVIS (Nancy Birch) is a critically acclaimed, award-winning actress who

garnered her first Academy Award® nomination, as well as Golden Globe, BAFTA and Screen

Actors Guild (SAG) Award® nominations for Best Supporting Actress for her performance in

John Patrick Shanley’s “Doubt,” based on his play and starring Meryl Streep, Philip Seymour

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Hoffman and Amy Adams. She was also recognized by The National Board of Review with

their Breakthrough Award, and was honored by the Santa Barbara Film Festival as a Virtuoso.

She recently received her second Oscar® nomination, along with a Golden Globe Award

nomination, this time in the category of Best Actress in a Leading Role, for her portrayal of

Aibileen, in Tate Taylor’s Oscar®-nominated film “The Help,” based on Kathryn Stockett’s best-

selling novel. Davis also received the SAG Award® for Outstanding Performance in a Leading

Role and was honored with numerous Critics Association nominations as well as an Image

Award for Outstanding Actress.

Davis will next be seen in the sci-fi action adventure “Ender’s Game,” with Harrison

Ford, releasing in late fall; as well as the two-part drama “The Disappearance of Eleanor Rigby,”

told from the point of view of two different characters, alongside Jessica Chastain, James

McAvoy and William Hurt.

Her other feature film credits include “Won’t Back Down,” starring Maggie Gyllenhaal,

Holly Hunter and Rosie Perez; “Extremely Loud & Incredibly Close,” with Tom Hanks and

Sandra Bullock; “It’s Kind of a Funny Story,” with Emma Roberts, Lauren Graham and Zach

Galifianakis; “Eat Pray Love,” starring Julia Roberts; “Knight and Day,” with Tom Cruise and

Cameron Diaz; “Law Abiding Citizen,” with Jamie Foxx and Gerard Butler; George C. Wolfe’s

“Nights in Rodanthe,” based on the Nicholas Sparks novel and starring Diane Lane and Richard

Gere; “Madea Goes to Jail”; “State of Play”; “Disturbia”; the independent film “The Architect”;

Jim Sheridan’s “Get Rich or Die Tryin’,” opposite 50 Cent; Stephen Gaghan’s “Syriana,”

starring George Clooney and produced by Steven Soderbergh; the Denzel Washington-directed

“Antwone Fisher,” for which Davis received an Independent Spirit Award nomination; “Far

from Heaven,” with Dennis Quaid and Julianne Moore; and the Soderbergh-directed films

“Solaris,” “Traffic” and “Out of Sight.”

On the small screen, Davis was most recently seen in a six-episode arc in Showtime’s hit

series “United States of Tara.” Prior to that, she appeared opposite Benjamin Bratt, Eric

McCormack and Rick Schroeder in the miniseries “The Andromeda Strain.” Her extensive

television credits also include a recurring role on “Law & Order: SVU”; a recurring role in the

CBS franchise “Jesse Stone,” opposite Tom Selleck; a starring role as Diane Barrino in

Lifetime’s “Life is Not a Fairytale: The Fantasia Barrino Story”; a starring role in ABC’s

“Traveler,” as Agent Jan Marlow; CBS’ “Century City”; “Lefty”; the Steven Bochco series “City

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of Angels”; Oprah Winfrey’s “Amy and Isabelle”; and Hallmark Hall of Fame’s “Grace and

Glorie.”

Davis is also a veteran of the stage. In 2010, she returned to Broadway in the highly

anticipated revival of August Wilson’s “Fences,” alongside Denzel Washington. Her

performance in the 1987 Pulitzer Prize- and Tony Award-winning play earned her a Tony

Award, as well as the Drama Critics’ Circle Award, Outer Critics Circle Award and Drama Desk

Award. “Fences” was also honored with the Tony Award for Best Play Revival and was the

most profitable theatre production of the year. In 2004, Davis lit up the stage in the Roundabout

Theatre Company’s production of Lynn Nottage’s play “Intimate Apparel,” directed by Tony

Award-winning director Daniel Sullivan. Her performance earned her the highest honors for an

off-Broadway play, including Best Actress Awards from Drama Desk and the Drama League, as

well as an Obie and the Audelco Award and a nomination for the Lucille Lortel Award. She

reprised her role at the Mark Taper Forum in Los Angeles, where she was recognized with the

Ovation, Los Angeles Drama Critics and the Garland Awards. In 2001, Davis was awarded a

Tony for Best Performance by a Featured Actress in a Play for her portrayal of Tonya in “King

Hedley II.” She also received a Drama Desk Award in recognition of her work.

A graduate of The Juilliard School, Davis also holds an Honorary Doctorate of Fine Arts

Degree from her alma mater, Rhode Island College’s Brown University.

MARIA BELLO (Grace Dover) has captivated audiences with her many diverse roles in

such films as “The Cooler,” with William H. Macy, for which she garnered Golden Globe and

Screen Actors Guild (SAG) Award® nominations; David Cronenberg’s “A History of Violence,”

opposite Viggo Mortensen and Ed Harris, for which she won a New York Film Critics Circle

Award and received a Golden Globe Award nomination; Oliver Stone’s “World Trade Center”;

Jason Reitman’s “Thank You For Smoking”; “The Jane Austen Book Club”; “The Mummy 3:

Tomb of the Dragon Emperor,” with Brendan Fraser; in Alan Ball’s controversial “Towelhead”;

and “The Yellow Handkerchief,” opposite William Hurt.

She most recently appeared in the hit summer comedy “Grown Ups 2,” with Adam

Sandler, Kevin James, Chris Rock and David Spade, as well as its predecessor, “Grown Ups.”

Her other recent films include the thriller “Carjacked”; John Singleton’s “Abduction”; the

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critically acclaimed drama “Beautiful Boy,” opposite Michael Sheen; and John Wells’ “The

Company Men,” starring Ben Affleck and Tommy Lee Jones.

Bello’s previous feature credits include “Auto Focus,”  with Greg Kinnear; “Permanent

Midnight” with Ben Stiller; “Payback,” with Mel Gibson; “Flicka,” opposite Tim McGraw;

Bruce Paltrow’s “Duets”; producer Jerry Bruckheimer’s “Coyote Ugly”; “Secret Window,” with

Johnny Depp; “Silver City,” with Chris Cooper; and “Assault on Precinct 13,” with Ethan

Hawke.

Bello made her television debut as a series regular opposite Scott Bakula in “Mr. & Mrs.

Smith.”  In addition, she starred for one season in the role of passionate and headstrong

pediatrician Dr. Anna Del Amico in NBC’s critically acclaimed series “ER,” for which she won

a SAG Award® as part of the ensemble cast. Bello was recently seen in the series “Touch,” with

Kiefer Sutherland, and previously starred in “Prime Suspect,” as the iconoclastic detective Jane

Timoney.

Off screen, Bello is devoted to improving the lives of Haitian Women and has created

WE ADVANCE, an organization that aims to empower Haitian women to collaborate together

toward making healthcare a priority and putting an end to gender based violence within their

communities. Other organizations she staunchly supports include Artists for Peace and Justice

(APJ), Save Darfur and Vital Voices.

TERRENCE HOWARD (Franklin Birch) is currently on screens starring in “Lee

Daniels’ The Butler,” alongside Forest Whitaker, Oprah Winfrey and Melissa Leo. Howard is

perhaps best known for his Golden Globe- and Academy Award®-nominated work in “Hustle &

Flow.” For the movie, Howard, a self-taught musician who plays both piano and guitar,

performed all the tracks for his character, including “It's Hard Out Here For a Pimp,” which won

the Academy Award® for Best Original Song. Howard also garnered numerous accolades for his

supporting role in “Crash,” receiving a National Board of Review Award for Best Breakthrough

Performance.

Howard made his film debut in 1993 in “Who’s the Man?,” which he followed with a

role in the period saga “Dead Presidents.” Howard was next noticed for his role as a star high

school athlete in “Mr. Holland’s Opus,” and in 1999, for his performance in “The Best Man,” he

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was honored with the NAACP Image Award for Outstanding Supporting Actor, an Independent

Spirit Award nomination and a Chicago Film Critics Association Award nomination.

Howard’s additional feature film credits include such diverse roles as Ray Charles’ one-

time guitarist Gossie McKee in the Academy Award®-nominated “Ray,” as well as “Pride,” “The

Brave One,” “August Rush” and “Ironman.”

Howard took on another real-life figure, playing Nelson Mandela alongside Jennifer

Hudson in the film “Winnie Mandela,” which premiered at the Toronto International Film

Festival in 2011. He also starred alongside Cuba Gooding Jr. and Bryan Cranston in executive

producer George Lucas’ “Red Tails,” appeared in “On the Road,” with Garrett Hedlund and

Viggo Mortensen, played an FBI agent in Robert Redford’s “The Company You Keep,” and was

in the thriller “Dead Man Down,” with Colin Farrell. He recently completed filming the sequel

to the hit film “The Best Man,” entitled “The Best Man Holiday,” which reunites the original

cast.

Born in Chicago, Illinois, Howard began his acting career on the small screen as Jackie

Jackson in the ABC miniseries “The Jacksons: An American Dream,” which was quickly

followed by several notable TV appearances on series such as “Living Single” and “NYPD

Blue.” Soon after, he was offered a lead role in the series “Sparks.” Howard was more recently

seen in “Law and Order: Los Angeles,” a role for which he won an NAACP award for Best

Supporting Actor in a Drama Series.

In 2008, Howard made his Broadway debut in an all-African-American production of

Tennessee Williams’ “Cat on a Hot Tin Roof.”

When not acting, the philanthropist and father of three has involved himself in a great

deal of other projects, including becoming an ambassador for Entertainment Industry Foundation

(EIF) and Stand Up To Cancer. Very involved in cancer research, Howard has done many public

service announcements for the cause.

MELISSA LEO (Holly Jones) received an Academy Award®, a Golden Globe Award, a

Screen Actors Guild (SAG) Award® and a Broadcast Film Critics Association Award for her tour

de force performance in “The Fighter.” She also received Oscar® and SAG Award® nominations

for her starring role in “Frozen River,” for which she won an Independent Spirit Award for Best

25

Female Lead and a Spotlight Award from the National Board of Review, among countless other

accolades.

Her most recent films include “Oblivion,” opposite Tom Cruise and Morgan Freeman,

and the blockbuster “Olympus Has Fallen,” directed by Antoine Fuqua and starring Freeman and

Aaron Eckhart. She also appeared in Robert Zemeckis’s critically acclaimed drama “Flight,”

with Denzel Washington.

Leo’s other notable film work includes “Conviction,” with Hilary Swank; “The Three

Burials of Melquiades Estrada,” in which she starred opposite Dwight Yoakam and Tommy Lee

Jones, with Jones directing; and “Hide and Seek,” starring Robert De Niro. Leo also shared a

Best Ensemble acting award from the Phoenix Film Critics Society for her outstanding work in

“21 Grams,” opposite Benicio del Toro and Sean Penn.

On the small screen, Leo was nominated for an Emmy Award for her work in “Mildred

Pierce,” the HBO miniseries directed by Todd Haynes in which she starred with Kate Winslet.

Leo is also known for her groundbreaking portrayal of Detective Kay Howard on “Homicide:

Life on the Streets.” Her other television credits include the current HBO series “Treme,” from

executive producer David Simon, and a guest starring turn on Louie CK’s F/X comedy “Louie,”

in which she gave a hilarious and outrageous performance, which has recently earned her a

second Emmy nod.

Leo studied drama at Mount View Theatre School in London, England, and later at the

SUNY Purchase Acting Program.

PAUL DANO (Alex Jones) is currently in production playing the young Brian Wilson in

“Love & Mercy,” a forthcoming independent feature directed by producer Bill Pohlad in his

directorial debut.  The film follows the reclusive, legendary Beach Boys musician from his

successes with highly influential orchestral pop albums to his nervous breakdown and

subsequent encounter with controversial therapist Dr. Eugene Land, and also stars John Cusack

as the older Wilson, Elizabeth Banks and Paul Giamatti.

In addition to this fall’s “Prisoners,” Dano plays a pivotal role in another highly

anticipated film that will premiere at the Toronto International Film Festival, Steve McQueen’s

“12 Years a Slave,” which also stars Brad Pitt, Michael Fassbender and Chiwetel Ejiofor.

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Last year, Dano reteamed with Jonathan Dayton and Valerie Faris, his directors on “Little

Miss Sunshine,” for the critically acclaimed “Ruby Sparks,” written by and co-starring Zoe

Kazan.  Dano also garnered positive reviews for his performance as an aspiring rock star and

young father in So Yong Kim’s “For Ellen,” and served as an executive producer on both films. 

He also starred opposite Robert De Niro in “Being Flynn,” Paul Weitz's adaptation of Nick

Flynn's celebrated memoir, Another Bullshit Night in Suck City, and made a pivotal appearance

alongside Joseph Gordon-Levitt in Rian Johnson’s sci-fi thriller “Looper.”

Dano earned an Independent Spirit Award for Best Debut Performance for his work

opposite Brian Cox in Michel Cuesta’s “L.I.E.,” and for “Little Miss Sunshine” he garnered a

second Spirit Award nomination, a Broadcast Film Critics Association Award for Best Young

Actor and a Screen Actors Guild (SAG) Award® as part of the ensemble, shared with cast mates

Alan Arkin, Abigail Breslin, Steve Carell, Toni Collette and Greg Kinnear. The following year,

Dano earned a BAFTA Award nomination for Best Supporting Actor opposite Daniel Day-Lewis

in Paul Thomas Anderson’s “There Will Be Blood.”

Dano’s other film credits also include Kelly Reichardt’s “Meek’s Cutoff”; Jon Favreau’s

“Cowboys & Aliens”; Spike Jonze’s “Where the Wild Things Are”; James Mangold’s “Knight

and Day”; Dagur Kári’s “The Good Heart”; Matt Aselton’s “Gigantic,” opposite Zooey

Deschanel, which marked Dano’s first executive producer credit; Ang Lee’s “Taking

Woodstock”; Richard Linklater’s “Fast Food Nation”; James Marsh’s “The King”; Rebecca

Miller’s “The Ballad of Jack and Rose,” with Daniel Day-Lewis; D.J. Caruso’s “Taking Lives”;

Luke Greenfield’s “The Girl Next Door”; Michael Hoffman’s “The Emperor’s Club,” starring

Kevin Kline; and Shari Springer Berman and Robert Pulcini’s “The Extra Man,” also with Kline.

Growing up in Manhattan and Connecticut, Dano began his career on the New York

stage just before his eleventh birthday, as an understudy in the 1995 production of “A Month in

the Country,” with F. Murray Abraham and Helen Mirren. He went on to win roles in Broadway

productions of “Inherit the Wind,” opposite George C. Scott and Charles Durning, and “A

Christmas Carol,” with Ben Vereen and Terrence Mann.  In 2007, Dano returned to the stage in

The New Group’s off-Broadway production of Jonathan Marc Sherman’s “Things We Want,”

directed by Ethan Hawke and starring Peter Dinklage, Josh Hamilton, and Zoe Kazan. In late

2010, he appeared with Jeffrey Wright and Mos Def in the world premiere of John Guare’s “A

Free Man of Color,” directed by George C. Wolfe at Lincoln Center Theatre.

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ABOUT THE FILMMAKERS

DENIS VILLENEUVE (Director) is a Canadian filmmaker born in 1967. His last

feature film, “Incendies,” was nominated for Best Foreign Language Film at the 83rd Academy

Awards®, and is considered by the New York Times as one of the 10 best movies of 2011. His

next independent feature, “Enemy,” starring Jake Gyllenhaal, is in theaters this September.

Villeneuve’s other work includes the films “Polytechnique,” “Next Floor,” “Maelström,”

and “August 32nd on Earth.”

AARON GUZIKOWSKI (Writer) co-wrote the upcoming fantasy action adventure film

“Seventh Son,” directed by Sergei Bodrov and starring Jeff Bridges, Julianne Moore and Ben

Barnes. The writer’s original script for “Prisoners” was listed as one of the best screenplays of

the year on the 2009 Black List.

Guzikowski wrote the 2012 action thriller “Contraband,” which starred Mark Wahlberg,

Kate Beckinsale, Ben Foster and Giovanni Ribisi. He currently has several films in

development.

On television, Guzikowski is creator and executive producer of the Sundance Channel’s

new series “Red Road,” which was ordered straight to series based on his pilot script.

Born and raised in Boston, Massachusetts, Guzikowski studied at the prestigious Pratt

Institute in Brooklyn, New York, where he majored in Art and Film.

BRODERICK JOHNSON and ANDREW A. KOSOVE (Producers) are Oscar®-

nominated producers as well as co-founders and co-CEOs of Alcon Entertainment. One of the

longest running independent film finance and production companies in the world, the Los

Angeles-based, wholly independent company develops, finances, produces and markets

theatrical motion pictures. They are currently in post-production on Wally Pfister’s directorial

debut, “Transcendence,” starring Johnny Depp, and are working with Ridley Scott to develop a

follow up to the iconic sci-fi thriller “Blade Runner.” Alcon’s next film to hit theaters is the

Black Label Media-produced drama “The Good Lie,” starring Reese Witherspoon.

Included among Alcon’s more than 20 films are this year’s supernatural love story

“Beautiful Creatures,” directed by Richard LaGravenese and starring Jeremy Irons, Viola Davis

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and Emma Thompson; the comedy “Joyful Noise,” starring Dolly Parton and Queen Latifah; and

the family hit “Dolphin Tale,” starring Harry Connick, Jr., Ashley Judd and Morgan Freeman,

inspired by the amazing true story of Winter, the dolphin who was rescued and learned to swim

again after losing her tail.

Kosove and Johnson received an Academy Award® nomination as producers of the 2009

Best Picture nominee “The Blind Side,” which earned more than $300 million at the worldwide

box office.  Based on a true story, the film was written and directed by John Lee Hancock and

starred Sandra Bullock, who received a number of Best Actress honors for her performance,

culminating in an Academy Award®.

Alcon’s previous projects also include the post-apocalyptic action drama “The Book of

Eli,” directed by the Hughes brothers and starring Denzel Washington, Gary Oldman and Mila

Kunis; Richard LaGravenese’s romantic sleeper hit “P.S. I Love You,” starring Hilary Swank,

Gerard Butler, Kathy Bates, Lisa Kudrow and Harry Connick, Jr.; Ken Kwapis’ ensemble hit

“The Sisterhood of the Traveling Pants” and its sequel, “The Sisterhood of the Traveling Pants

2”; the Richard Donner-directed action thriller “16 Blocks,” starring Bruce Willis; the family

film “Racing Stripes,” which blended animation and live action; Christopher Nolan’s thriller

“Insomnia,” starring Al Pacino, Robin Williams, and Hilary Swank; the hit comedy “Dude,

Where’s My Car?,” starring Ashton Kutcher; and Jay Russell’s acclaimed family film “My Dog

Skip,” starring Diane Lane and Kevin Bacon.

KIRA DAVIS (Producer) began her film career in 1994 on a small film called “Love Is

All There Is,” starring Angelina Jolie. It was on this production that she met the two co-

presidents of Alcon Entertainment, Andrew A. Kosove and Broderick Johnson, and began

working with them as an assistant in 1997.

After nearly a decade with Alcon Entertainment, Davis left her post as Senior Vice

President of Production and Marketing in 2006. During her tenure at Alcon, she oversaw the

production and marketing of “My Dog Skip,” “The Affair of the Necklace,” “Insomnia,” “Love

Don’t Cost a Thing,” “Racing Stripes,” “The Sisterhood of the Traveling Pants” and “16

Blocks.”

In 2007, Davis entered into a long-term, first-look producing deal with Alcon

Entertainment and formed 8:38 Productions, named after the time her first son was born. Her

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first produced film under this deal was the successful sequel “The Sisterhood of the Traveling

Pants 2.” Davis is currently producing the action thriller “Nagasaki Deadline,” with Jim

Cameron’s Lightstorm Entertainment.

Davis is a native of Santa Fe, New Mexico. She studied theatre, with an emphasis in

directing, and graduated magna cum laude from New Mexico State University. After graduating,

she worked in a series of professional theatres, including La Jolla Playhouse and the Mark Taper

Forum, before becoming Alcon’s first official employee. In 2006, Davis was presented with the

Distinguished Alumni Award from the College of Arts and Sciences at New Mexico State

University.

Davis lives in Los Angeles and is mother to two young children. She is also an award-

winning baker, having recently won Second Place for her Peach and Blackberry Italian Crostata.

ADAM KOLBRENNER (Producer) is a co-founder of Madhouse Entertainment, a

literary management and production company based in Century City, California.  Madhouse was

established in 2006 and represents writers and writer/directors for feature film and network and

cable television.

On the bigscreen, Kolbrenner served as executive producer on the Madhouse

Entertainment-produced “Deadfall,” which stars Charlie Hunnam, Eric Bana, Olivia Wilde and

Sissy Spacek, and was written by Madhouse client Zach Dean.  Madhouse is currently in post-

production on the comedy “Murder of a Cat,” which Sam Raimi is producing along with

Madhouse, and which stars Fran Kranz, Greg Kinnear, and Nikki Reed; it was written by

Madhouse clients Christian Magalhaes and Robert Snow.  Madhouse is in pre-production on the

time-travel movie “Glimmer,” written by client Carter Blanchard, and on the action thriller

“Black Box,” written by client David Guggenheim.

On the literary management side, Madhouse Entertainment’s clients are among the

preeminent creators, writers and storytellers working in feature film and television today. 

Clients have produced thousands of hours of television for both network and cable as writers,

producers, and directors.  Madhouse clients have produced dozens of award-winning feature

films that have been in cinemas around the world.

Kolbrenner began his career in the William Morris Agency mailroom at 18 years old, and

has been a personal manager and producer since 2000.

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EDWARD L. McDONNELL (Executive Producer) is president of Maple Shade Films,

the production company he formed in 2001. He has since produced such films as “Original Sin,”

starring Angelina Jolie; “A Walk to Remember,” based on the bestselling Nicholas Sparks novel;

“Shanghai Knights,” starring Jackie Chan; and “Catwoman,” starring Halle Berry.

McDonnell began his career in entertainment as a secretary at United Artists and MGM,

then moved on to Paramount, where he was an executive for nine years. Working with Henry

Winkler, he was involved in such pictures as “Young Sherlock Holmes” before leaving to work

on several films with Steven Segal, including “Under Siege” and “Under Siege 2,” “Dark

Territory,” “On Deadly Ground” and “Glimmer Man.”

After six years with Segal, McDonnell then joined Paul Junger Witt at Warner Bros.,

where he produced such movies as David O. Russell’s “Three Kings” and Christopher Nolan’s

“Insomnia.” He most recently served as producer on the family film “Racing Stripes,” and as

executive producer on the thriller “Eagle Eye.”

JOHN H. STARKE (Executive Producer) has had a distinguished career as a producer,

most recently executive producing the romantic drama “P.S. I Love You,” from director Richard

LaGravanese.

He served as a producer on “I’m Not Rappaport”; an executive producer on “Step Up,”

“The Punisher” and “Made”; the co-producer on “Just The Ticket” and “Night Falls on

Manhattan”; and an associate producer on “Immediate Family,” “Orphans,” “Highlander” and

“Winter Kills.” In 1994, Starke was nominated for an Emmy Award as one of the producers of

the television special “Tracey Takes on New York,” starring Tracey Ullman.

As a production manager, Starke’s credits include “Bad Boys II,” “Entrapment,” “A

Stranger Among Us,” “Q&A,” “Legal Eagles,” “The World According to Garp” and “One Trick

Pony.”

ROBYN MEISINGER (Executive Producer) is a co-founder of Madhouse

Entertainment, a literary management and production company based in Century City,

California.  Madhouse was established in 2006 and represents writers and writer/directors for

feature film and network and cable television.

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In features, Meisinger served as executive producer on “The Bounty Hunter,” starring

Gerard Butler and Jennifer Aniston and written by Madhouse client Sarah Thorp.  In television,

Madhouse recently wrapped season four of “Call Me Fitz,” winner of seven Gemini Awards and

four Canadian Screen Awards, for HBO Canada. The series was created by Madhouse client

Sheri Elwood.

On the literary management side, Madhouse Entertainment’s clients are among the most

preeminent creators, writers and storytellers working in feature film and television today.  Their

clients have produced thousands of hours of television for both network and cable as writers,

producers, and directors.  Madhouse clients have also produced dozens of award-winning feature

films that have been released in cinemas around the world.

Meisinger began her career at TriStar Pictures before joining Barry Mendel Productions

in 1996 as a development executive and manager. After two years, she left to become a full-time

manager.

MARK WAHLBERG (Executive Producer) earned both Academy Award® and Golden

Globe nominations for his standout work in Martin Scorsese’s acclaimed drama “The Departed.”

Wahlberg has enjoyed playing diverse characters for such visionary directors as David O.

Russell, Tim Burton and Paul Thomas Anderson. His breakout role in 1997’s “Boogie Nights”

established Wahlberg as one of Hollywood’s most sought-after talents.

As an accomplished film and television producer, Wahlberg has won many awards,

among them a Golden Globe, a Peabody and a BAFTA, and was nominated for an Oscar® for the

family boxing film “The Fighter.” He has also been nominated for three Golden Globes and

seven Emmy Awards.

In addition to “Broken City,” “Contraband,” “The Fighter” and “We Own the Night,”

Wahlberg is executive producer of the HBO series “Boardwalk Empire.” He also executive

produced HBO’s “Entourage,” “In Treatment” and “How to Make It in America.”

A committed philanthropist, Walhberg founded The Mark Wahlberg Youth Foundation

in 2001 to benefit inner-city children and teens.

STEPHEN LEVINSON (Executive Producer) is an American film and television

producer. He is the recipient of a Producers Guild of America Award, a BAFTA Award, two

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Peabody Awards, and a Golden Globe Award. Mr. Levinson has been Mark Wahlberg’s

longtime manager and producing partner. They have executive produced such acclaimed HBO

television series as “Entourage,” “In Treatment,” “How To Make It In America” and “Boardwalk

Empire,” as well as the films “Contraband,” “Broken City” and the upcoming “Lone Survivor.”

ROGER A. DEAKINS (Director of Photography) is a ten-time Academy Award®

nominee for Best Cinematography, for his work on Joel and Ethan Coen’s “Fargo,” “The Man

Who Wasn’t There,” “O Brother, Where Art Thou?,” “No Country for Old Men” and “True

Grit”; Frank Darabont’s “The Shawshank Redemption”; Martin Scorsese’s “Kundun”; Andrew

Dominik’s “The Assassination of Jesse James by the Coward Robert Ford”; Stephen Daldry’s

“The Reader,” which he shared with Chris Menges; and, most recently, Sam Mendes’ “Skyfall.”

Deakins has been nominated eleven times for the American Society of Cinematographers

(ASC) Award and won three, for “Shawshank Redemption,” “The Man who Wasn’t There” and

“Skyfall.” Cited was his work on the ten features listed above, as well as on Sam Mendes’

“Revolutionary Road.” He received the ASC’s Lifetime Achievement award in 2011.

Nominated seven times for the BAFTA Award, Deakins has won three: for “The Man

Who Wasn’t There,” “No Country for Old Men” and “True Grit.” His work has also garnered

him eight nominations for the British Society of Cinematographers (BSC) Best Cinematography

Award, with five wins, and two Independent Spirit Awards, with an additional nomination. In

2008, he received the National Board of Review’s Career Achievement Award, and in 2013,

Deakins was made a Commander of the Order of the British Empire (CBE) in the UK, the only

cinematographer to have been given this high honor.

Deakins was born in Torquay, Devon, England, attended art college and the National

Film School, and began his career by working in the medium of still photography. Many of his

first cinematographic projects were documentaries, often shooting in Africa. He also covered the

Whitbread Round the World Yacht Race, which required him to work for more than nine months

as a crew member while filming and directing the documentary. He then moved on to feature

film cinematography, starting in England and later in the United States.

Deakins’ numerous additional credits include such diverse films as “Sid & Nancy,”

“Barton Fink,” “The Hudsucker Proxy,” “Courage Under Fire,” “The Big Lebowski,” “A

Beautiful Mind” and “Doubt.” He has also served as visual consultant for several animated

33

features, including “WALL•E,” “How to Train Your Dragon,” “Rango,” “The Guardians” and

“The Croods,” and is currently consulting on “How to Train Your Dragon 2.”

PATRICE VERMETTE (Production Designer) received an Oscar® nomination for his

work on the historical drama “The Young Victoria,” from director Jean-Marc Vallée. Elements

of his designs for the film have been displayed in the exhibit De Fil en Aiguilles at Le Musee de

L’Amerique Francaise in Quebec City, Canada.

Over the past 22 years, Vermette has art directed over 600 television commercials in

Canada and abroad, and served as production designer on 11 feature films and more than 40

music videos.

“Prisoners” marks Vermette’s second collaboration in a row with Denis Villeneuve,

having also recently designed for the director’s upcoming release “Enemy,” due out later this

year. Vermette’s other movie work includes Jean-Marc Vallée’s “Café de Flore” and

“C.R.A.Z.Y.” For the former, Vermette received Genie Award, Directors Guild of Canada

Award nominations and won the Jutra Award. Vermette’s work from “C.R.A.Z.Y.” has been

showcased in an exhibit at the Museum of Civilisation, celebrating 100 years of Quebec’s

filmmaking, including a full-scale rebuild of a bedroom set from the movie; the designs also

garnered Vermette a Genie Award from the Canadian Film Academy, the Jutra Award from the

Quebec Film Academy, and an award at Spain’s Gijon Film Festival.

He also designed two films for Ricardo Trogi, the upcoming “1987” and, earning

Vermette another Genie Award nomination and a Directors Guild of Canada Award, “1981”;

Fernando Colomo’s “La Banda Picasso”; and Kim Nugyen’s “La Cité,” for which Vermette

received a Jutra Award and Directors Guild of Canada Award nominations.

JOEL COX (Editor) has worked with Clint Eastwood for more than 35 years. He won

an Academy Award® for Best Editing for the director’s “Unforgiven,” also winning an Eddie

Award from his peers for his work on the film. He received another Oscar® nomination for his

editing work on Eastwood’s “Million Dollar Baby,” and earned a BAFTA Award nomination for

his work on “Changeling.” His recent collaborations with Eastwood include “J. Edgar,”

“Hereafter,” “Invictus,” “Gran Torino” and the companion World War II dramas “Flags of Our

Fathers” and “Letters from Iwo Jima.”

34

He is currently working on Eastwood’s film version of the Tony Award-winning musical

“Jersey Boys.” In addition, Cox was the editor on the Eastwood-directed films “Mystic River,”

“Blood Work,” “Space Cowboys,” “True Crime,” “Midnight in the Garden of Good and Evil,”

“Absolute Power,” “The Bridges of Madison County,” “A Perfect World,” “The Rookie,”

“White Hunter Black Heart,” “Bird,” “Heartbreak Ridge,” “Pale Rider” and “Sudden Impact.”

Their relationship began in 1975 when Cox worked as an assistant editor on “The Outlaw

Josey Wales.” Since then, Cox has worked in the editing room on more than 30 films that have,

in some combination, been directed or produced by, or starred Eastwood.

Early in his career, Cox worked alongside his mentor, editor Ferris Webster, as a co-

editor on such films as “The Enforcer,” “The Gauntlet,” “Every Which Way But Loose,”

“Bronco Billy” and “Honkytonk Man.” His other credits as an editor include “Tightrope,” “Pink

Cadillac,” “The Stars Fell on Henrietta” and, more recently, Rob Lorenz’s directorial debut,

“Trouble with the Curve,” starring Eastwood.

GARY D. ROACH (Editor) has worked primarily with Clint Eastwood since 1996,

beginning as an apprentice editor on “Absolute Power.” Roach quickly moved up to assistant

editor on the films “Midnight in the Garden of Good and Evil,” “True Crime,” “Space

Cowboys,” “Blood Work,” “Mystic River,” “Million Dollar Baby” and “Flags of Our Fathers.”

He is currently at work on Eastwood’s film version of the Tony Award-winning musical “Jersey

Boys.”

The award-winning World War II drama “Letters from Iwo Jima” marked Roach’s first

full editor credit, shared with longtime Eastwood collaborator Joel Cox. Roach gained his first

solo editor credit on Alison Eastwood’s directorial debut film, “Rails & Ties.” He continued his

collaboration with Clint Eastwood and Joel Cox on “Changeling,” for which he earned a BAFTA

Award nomination for Best Editing. “Divorce Invitation,” “Trouble with the Curve”—Rob

Lorenz’s directorial debut starring Eastwood”—“Gran Torino,” “Invictus,” “Hereafter” and “J.

Edgar” are Roach’s latest editing accomplishments.

In addition, Roach was a co-editor on the Eastwood-directed “Piano Blues,” a segment

of the documentary series “The Blues,” produced by Martin Scorsese. Continuing his

documentary work, Roach went on to co-edit a film about Tony Bennett called “Tony Bennett:

35

The Music Never Ends,” and a documentary on the life of Dave Brubeck called “In His Own

Sweet Way.”

RENÉE APRIL (Costume Designer) most recently worked with director Denis

Villeneuve on the upcoming feature film “Enemy,” starring Jake Gyllenhaal. She designed the

wardrobes for “Percy Jackson & The Olympians: The Lightning Thief,” and the 2006

blockbuster comedy “Night at the Museum.” Prior to that, April earned a Costume Designer's

Guild Award nomination for her wardrobe on Darren Aronofsky’s “The Fountain.”

            Throughout a career encompassing four dozen credits as designer and costumer, April

has collaborated with directors as diverse as Roland Emmerich on “10,000 B.C. and “The Day

After Tomorrow”; George Clooney on “Confessions of A Dangerous Mind”; Alan Rudolph on

“The Moderns” and “Mrs. Parker and the Vicious Circle”; Norman Jewison on Agnes of God”;

Bruce Beresford on “Black Robe,” for which she received an Australian Film Institute

nomination for costume design; Randa Haines on “Children of A Lesser God”; David Mamet on

“Heist”; Billy Ray on “Shattered Glass”; Sir Richard Attenborough on “Grey Owl”; and Vincent

Ward on “Map of the Human Heart.”

            April also designed the wardrobes for Marcus Nispel’s “Pathfinder”; Fernando Meirelles’

Cannes’ Palme d’Or nominee, “Blindness”; Bill Paxton’s period sports drama, “The Greatest

Game Ever Played”; Chazz Palminteri’s fantasy “Noel”; Keith Gordon’s thriller “Waking the

Dead”; “The Education of Little Tree”; and the award-winning telefilm “Million Dollar Babies,”

the true story of a 1930s Canadian family who gives birth to quintuplets. For her work on the

TV movie, April shared a Gemini Award for Best Costumes. She has won two additional

Gemini Awards, for her designs for the TV series “Tales from the Neverending Story” and the

TV movie “The Hound of the Baskervilles.” She was also nominated for her work on “Revenge

of the Land.”

            April is a native of Montreal. In addition to her Gemini Awards, her work in her native

country has garnered her three Genie Awards: for “The Red Violin,” the aforementioned “Grey

Owl,” and “The Bay Boy.” She earned two additional Genie nominations, for Pen Densham’s

“The Kiss” and Beresford’s “Black Robe.”

            In her addition to her work in film and television, April designed the wardrobe for Cirque

du Soleil’s final show in Japan.

36

JÓHANN JÓHANNSSON (Composer) is an Icelandic composer who began studying

piano and trombone when he was 11, but stopped formal musical studies in high school, feeling

hampered by the constraints of academic music. After studying literature and languages at

university, he spent ten years playing his music in indie rock bands, concentrating on feedback-

drenched compositions using layers of guitars to sculpt interesting, multi-layered soundscapes.

By manipulating the resonances of acoustic instruments with digital processing, Jóhannsson

created music that integrated acoustic and electronic sounds into something unique and new.

Reykjavik’s fertile creative community was small and collaborations between musicians,

artists, actors and dancers were common. In 1999, Jóhannsson became a founding member of

Kitchen Motors, an art organization/think tank/record label that encouraged interdisciplinary

collaborations, pulling together people from the worlds of jazz, classical, electronic music, punk

and metal to encourage new hybrids. His own music grew out of those experiments.

Jóhannsson’s first solo album, Englabörn (Touch, 2002), was a suite based on the music written

for the theater piece of the same name, a meeting of classical strings and electronics.

Writing music for plays, dance and theatrical performances led to work on film

soundtracks. Jóhannsson scored more than a dozen movies, including Eva Mulvad’s Danish film

“The Good Life,” Marc Craste’s British film “Varmints,” and the American film “For Ellen,” for

director So Yong Kim, before his recent work with Josh C. Waller on “McCanick.” His music

has also found a home in art house films across the globe, from Lou Ye’s Canadian “Mystery” to

Janos Szazs’s recent prize-winning Hungarian drama “Le Grand Cahier.”

Jóhannsson’s approach to film music is informed by influences as diverse as Kraftwerk,

Steve Reich, Einstürzende Neubauten, Swans, Arvo Part, Ennio Morricone, Morton Feldman and

Bernard Herrmann. Jóhannsson grew up in the suburbs of Reykjavik. His father was the chief

maintenance engineer for IBM and one of Iceland’s first computer programmers. In his

downtime at work, he’d compose melodies and sounds on the IBM 1401, a prehistoric computer,

which inspired his son’s “IBM 1401 - A User’s Manual.”

The composer’s interest in modular synthesizers and ancient electronic instruments found

an outlet in his all-analogue side project Apparat Organ Quartet, a band he formed in 1999 with

three fellow synth and keyboard enthusiasts. After two albums, he left the band in 2012 to

concentrate on his solo work. His varied discography includes 2004’s Virthulegu Forsetar, a

37

drone heavy hour-long fanfare for pipe organ and brass; Fordlandia, released in 2008, a

cinematic ode to the city Henry Ford tried to build in the Amazon jungle; and 2010’s

Copenhagen Dreams, a visual and musical tribute to his current hometown and its people. His

soundtrack for “Free the Mind,” a film that shows how meditation helps people suffering from

PTSD and ADHD, is now available on iTunes.

Jóhannsson is also working on two ambitious multimedia projects with American

filmmaker Bill Morrison. From his earlier “IBM 1401 - A User’s Manual,” a new, expanded

score will be played by the Calder Quartet in front of projections of archival film material

composed by Morrison. It will see release as an album, film and DVD. And “The Miners’

Hymns,” a melancholy tribute to the coal-mining culture in Durham, England, features

Morrison’s heartrending collage of archival footage and Jóhannsson’s brooding music, full of

low sustained notes played by brass instruments that pay homage to the brass bands the coal

miners once played in. Jóhannsson will be performing “The Miners’ Hymns” with the American

Contemporary Music Ensemble at selected venues in the United States in early 2014, bringing in

local brass bands to play the score.

In addition, Jóhannsson has collaborated with such pop artists as Marc Almond, Barry

Adamson, Finnish electro band Pan Sonic, The Hafler Trio, the nom de musique of English

avant-garde composer Andrew M. McKenzie, CAN drummer Jaki Liebezeit, Stephen O'Malley

of the dark metal band Sunn O))), and many others.

38

END CREDITS

UNIT PRODUCTION MANAGER Gregor Wilson

UNIT PRODUCTION MANAGER John H. Starke

FIRST ASSISTANT DIRECTOR Donald L. Sparks

SECOND ASSISTANT DIRECTOR Karen Davis

Cast

KELLER DOVER Hugh Jackman

DETECTIVE LOKI Jake Gyllenhaal

NANCY BIRCH Viola Davis

GRACE DOVER Maria Bello

FRANKLIN BIRCH Terrence Howard

HOLLY JONES Melissa Leo

ALEX JONES Paul Dano

RALPH DOVER Dylan Minnette

ELIZA BIRCH Zoë Soul

ANNA DOVER Erin Gerasimovich

JOY BIRCH Kyla-Drew Simmons

CAPTAIN RICHARD O'MALLEY Wayne Duvall

FATHER PATRICK DUNN Len Cariou

BOB TAYLOR David Dastmalchian

OFFICER CARTER Brad James

OFFICER WEDGE Anthony Reynolds

39

FORENSICS GUY Robert Treveiler

MRS. MILLAND Sandra Ellis Lafferty

CHECK OUT GIRL Victoria Staley

DETECTIVE CHEMELINSKI Todd Truley

DESK SERGEANT Brian Daye

POLICE CLERK Alisa Harris

ROGER Robert Mello

SEX OFFENDER #1 Jeff PopeSEX OFFENDER #2 Rodrick Goins

SEX OFFENDER #3 Mark Drum

CHINESE WAITRESS Lana Yoo

POLICE STATION REPORTER #1 Pam Smith

POLICE STATION REPORTER #2 Gloria Webber

WOMAN AT VIGIL Michelle Keller

NEWSCASTER John Atwood

WOMAN MOTORIST Stacy MelichCOP IN HOSPITAL J. Omar Castro

NURSE Jane McNeill

STUNTSSTUNT COORDINATOR Steven Ritzi

KELLER DOVER STUNT DOUBLE Erik SchultzDETECTIVE LOKI STUNT DOUBLE Justin T. WoodsDETECTIVE LOKI STUNT DRIVING

DOUBLE Kurt HockenberryHOLLY JONES STUNT DOUBLE JoAnn Bernat

FATHER PATRICK DUNN STUNT DOUBLE Andy Dylan

BOB TAYLOR STUNT DOUBLE Eric La Rocca MainadeJOY BIRCH STUNT DOUBLE Naiomi Partridge

WOMAN MOTORIST STUNT DOUBLE Elizabeth DavidovichSTUNTS Raven-Danielle Baker

Bob Fisher

40

Christian J. FletcherJermaine Tamaze Holt

STUNT DRIVERS Jay AmorAlan D' AntoniTim BellBrent BernhardTrent BryaMax CalderJwaundace CandeceEric ChambersAlex DukeEllis EdwardsLex D. GeddingThirl Ray HastonAndy MartinDavid M. MorizotMatthew Austin MurrayRobert Patrick NaglePaul O'ConnorAllan PadelfordCharles PicerniChuck PicerniIan QuinnSarah ReaginLonnie R. Smith Jr.Ashley Rae TrislerWill WagnerGuss G. Williams

Made with assistance from:The Georgia Film, Music & Digital Entertainment Office,

a division of the Georgia Department of Economic Development

41

LA CASTING ASSOCIATE Rich Delia

NY CASTING ASSOCIATE Allison Estrin

CASTING ASSISTANT Adam Richards

ATLANTA CASTING BY Tracy Kilpatrick

ATLANTA CASTING ASSISTANTS Edie Allen

Kendra Holloway

SCRIPT SUPERVISOR Gail Hunter

PRODUCTION OFFICE COORDINATOR Heath M. HowardASSISTANT PRODUCTION OFFICE

COORDINATOR Chip Clanton

TRAVEL COORDINATOR Kelli Parsons

PRODUCTION SECRETARY Stephanie Fraser

ART DIRECTOR Paul Kelly

ASSISTANT ART DIRECTOR Justin O'neal Miller

SET DESIGNERS Mayumi Konishi-Valentine

Aaron Linker

ART DEPARTMENT COORDINATOR Jaclyn BehringerASSISTANT ART DEPARTMENT

COORDINATOR Amelia Roberta Ramirez

GRAPHIC DESIGNER Derrick KardosART DEPARTMENT PRODUCTION

ASSISTANT Steven "Denver" Tolbert

42

SET DECORATOR Frank Galline, SDSA

LEADMAN Dan Post

BUYER Kathleen M. Denson

ON SET DRESSER Konrad Q. Lewis

SWING GANG / GANG BOSS Kenneth Nelson

SET DRESSERS Deborah A. Croswell

Blake Myers

Ky H. NguyenSET DECORATION PRODUCTION

ASSISTANT Vanessa Rogers

PROPERTY MASTER Shawn M. Gray

ASSISTANT PROPERTY MASTERS Eliot Levin

Beth Morris

ARMOURER Derrick Vener

ANIMAL WRANGLER Greg Tresan

A CAMERA OPERATOR Roger A. Deakins ASC, BSC

STEADICAM OPERATOR Bela Trutz

A CAMERA FIRST ASSISTANT Andy Harris

B CAMERA FIRST ASSISTANT Lee Blasingame

A CAMERA SECOND ASSISTANT Hugh Braselton

DIT Joshua Gollish

CAMERA LOADER Ryan Abrams

CAMERA PA Stephen Stumberg

SOUND MIXER Mary H. Ellis

BOOM OPERATOR James Peterson

SOUND UTILITY Thomas J. Doolittle

Paul Sorohan

43

VIDEO ASSIST Bob Branam

VIDEO ASSIST UTILITY Cristen Clark

24 FRAME VIDEO PLAYBACK Greg Morse

FIRST ASSISTANT EDITOR/VISUAL EFFECTS EDITOR Nathan Godley

SECOND ASSISTANT EDITOR David CoxEDITORIAL PRODUCTION

ASSISTANTS Daniel Guerrero

Lily Sassone

GAFFER Chris Napolitano

BEST BOY ELECTRIC Michael Tyson

RIGGING GAFFER Kevin J. Lang

BEST BOY RIGGER Donny Fowler

GENNY OPERATOR Reid Andrews

ELECTRICIANS Tom "Crusher" Burke

Cat Cravens-Penrod

Dirk Jenkins

Shane McGeehin

Steve Sudge

RIGGING ELECTRICIANS Gregory Davis

William Frazier

Robert Holcomb

Ryan Naylor

Michael D. Patterson

Robert Russell

Leon P. Wilson

KEY GRIP Mitch Lillian

44

BEST BOY GRIP Paul CandrilliKEY RIGGING GRIP Jeff Kluttz

BEST BOY RIGGING GRIP Jacob Ross

DOLLY GRIPS Bruce Hamme

Darryl Humber

GRIPS Patrick Field

Jimmy M. Hendrix

Sunny Lee

RIGGING GRIPS Chris Lumpkin

Craig R. Owens

Justyn W. Plath

Zachary Saville

LIBRA HEAD OPERATOR Michael Henry Howell

Kenny J. Rivenbark

PHOENIX CRANE TECH Lane Leagans

BISCUIT TECH Gary Dionne

EDGE HEAD TECH Darrick C. Akey

EDGE CRANE OPERATOR Michael Barnett

SET MEDIC Stan Swofford

CONSTRUCTION MEDIC Cindy Huggins R.N.

LOCATION CONSTRUCTION MEDICS Joshua Dinsmore

Samuel L. Gable

ASSISTANT COSTUME DESIGNER Margaret Robbs

COSTUME SUPERVISOR Joulles Wright

KEY COSTUMER Melanie Mascioli

HUGH JACKMAN COSTUMER Barnaby Smith

COSTUMERS Dustin Angus

Anna Purifoy Bourne

Raiyonda Vereen

TEXTILE ARTISTS Keith Hudson

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Esther M. Marquis

COSTUME BUYER Jessy Jamison

SEAMSTRESSES Cylinda Nesmith Davison

Diane J. Harriday

COSTUME PRODUCTION ASSISTANTS Virginia Grant

Emily Kramer

MAKE-UP DEPARTMENT HEAD Donald Mowat

KEY MAKE-UP ARTIST Amber Crowe

HUGH JACKMAN MAKE-UP Pamela Westmore

ADDITIONAL MAKE-UP ARTISTS Carol Rasheed

HAIR DEPARTMENT HEAD Peter Tothpal

KEY HAIRSTYLISTS Vincent Gideon

Taylor Knight

Elizabeth "Shawna" Robinson

PRODUCTION ACCOUNTANT Anne Wilson

FIRST ASSISTANT ACCOUNTANT Jim Dunlap

SECOND ASSISTANT ACCOUNTANT John WeberADD'L SECOND ASSISTANT

ACCOUNTANT Anthony J. Davis

ACCOUNTING CLERK Kaity Warnock

PAYROLL ACCOUNTANT Maggie Martin

PAYROLL ASSISTANT Gary Ebron

POST PRODUCTION ACCOUNTANT Chad Clark

LOCATION MANAGER Maida N. MorganKEY ASSISTANT LOCATION

MANAGERS Stephen Dirkes

Kyle Hinshaw

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LOCATION COORDINATOR Haley Billue

ASSISTANT LOCATION MANAGERS David R. Latham

Dodd Vickers

LOCATION ASSISTANTS Mary Louise Freeman

David S. Luse

CONSTRUCTION COORDINATOR Curtis Crowe

CONSTRUCTION FOREMAN S.J. Vana

CONSTRUCTION BUYER Nichola Lafferty

SCENIC CHARGE Joey Haase

PAINT FOREMAN Gaville Haughton

SCENIC FOREMAN Nancy E. Ballew

LOCATION FOREMAN Paul Stanzi

GANG BOSSES Jason Jackson

Mike Kimble

Jessie McMillion

William Wayne Stephens

Tommy Taylor

SCENICS Faith Farrell

Sunny Hahlen

John Greg Moncrief

Heath L. Sewell

PAINTERS Michael C. Brown

Jeremy Frick

UTILITY Kurt Stumpf II

TOOLMAN Christopher C. Anthony

PROPMAKERS Rick Fields

Jef Harris

Julia Hill

James McMillion

Dan Mott

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Pat Patterson

Seth Roesch

WELDER Devil Bob Bateman

ON SET PAINTER Mary Shea Soutar

KEY GREENSMAN Matthew Butler

GREENS FOREMAN Brandon Pope

GREENSMAN Larry E. Scott

ON SET GREENSMAN John Hair

SPECIAL EFFECTS COORDINATOR David Fletcher

SPECIAL EFFECTS FOREMEN Ken Gorrell

Thomas Kittle

Jeffrey D. Knott

Tim Walkey

SPECIAL EFFECTS TECHNICIANS Edward S. Backus

Paul Causey

Nick Coleman

Justin Crump

Michael Dzenowagis

Jeremy Farlow

Matthew James

Andrew Maddox

Vance Manley

Brendan McHale

Randy Moore

Brian Peterson

Matthew Scurry

Brian Tinsley

Eric Van Hull

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Larry ZelenaySPECIAL EFFECTS PRODUCTION

ASSISTANT Sarah Vongsavath

TRANSPORTATION COORDINATOR Keith N. Collis

TRANSPORTATION CAPTAIN Ronnie J. Winslette

DOT COMPLIANCE Sandy Davis

PICTURE CAR COORDINATOR Stephen E. Austin

HUGH JACKMAN DRIVER Noah J. Wuellner

JAKE GYLLENHAAL DRIVER Sean E. Marshall

DRIVERS Marc Anton

Jeff Becker

Samuel Wayne Beitz

Jennifer M. Blackman

William W. Brown III

Sue Busard-Egalite

Reneè Call

Myra Carter

Charles A. Claborn

Tracy L. Coker

Tim Collis

Billy Gillespie

James Grantham

Charles Graydon

Brad Howard

Charles S. Knight

Bart Maddox

Peter C. McGoran

Michael A. Morris

Tony Morris

Matt E. Neel

David Pittman

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Michael R. Purvis

John W.C. Scott

Stanley Dean Stephens

William Stradford Jr

Willie Stringer

Vince Thrift

Susan Van Apeldoorn

Thomas Vanschaick

Roger Watson

David Carlton White

Robert Darrell Wilder

MECHANIC James Padgett

UNIT PUBLICIST David Linck

STILL PHOTOGRAPHER Wilson R. Webb

PHYSICAL PRODUCTION LEAD Shirley Davis

PHYSICAL PRODUCTION MANAGER Allison Ewart

PRODUCTION CONTROLLER Michael "Scotty" Scott

HEAD OF OPERATIONS & FINANCE Scott ParishGENERAL COUNSEL, HEAD OF

BUSINESS AFFAIRS Dave FiersonSENIOR VICE PRESIDENT, LEGAL &

BUSINESS AFFAIRS Jeannette Hill-YonisCOUNSEL, LEGAL & BUSINESS

AFFAIRS Camille Rustia

DETECTIVE/POLICE CONSULTANT Jaime FitzSimons

DIALECT COACH Jess Platt

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STUDIO TEACHER Stephanie Fowler Adams

EXTRAS CASTING Tammy Smith Casting

EXTRAS CASTING ASSISTANT Taylor Mosbey

ASSISTANT TO MR. VILLENEUVE Jordan M. Sloane

ASSISTANTS TO MS. DAVIS Jessica A. Watson

James Luckard

ASSISTANT TO MR. STARKE Kenyea JohnsonASSISTANTS TO MR. JOHNSON & MR.

KOSOVE Matthew Rasmussen

David Applebee

ASSISTANT TO MR. KOLBRENNER Kendrick Tan

ASSISTANT TO MS. MEISINGER Patrick Okamura

ASSISTANT TO MR. JACKMAN Irving Milgrom

HUGH JACKMAN TRAINER David Kingsbury

ASSISTANT TO MR. GYLLENHAAL Juliana Guedes

CAST ASSISTANT Duffy Astriab

SECOND SECOND ASSISTANT DIRECTOR Michael E. Saunders

KEY SET PRODUCTION ASSISTANT Christopher Blackmore

SET PRODUCTION ASSISTANTS Angel Cook

Brandon Folsom

Jacob Garrison

Jason Scott

Freddy Turner

OFFICE PRODUCTION ASSISTANTS Blake H. Hughes

Jamie MacDonald

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CATERING Mario's Catering

OWNER Mario Z. Gonzalez

CHEF Arturo Padilla

FIRST ASSISTANT CHEF Manuel De La Torre

CHEF ASSISTANTS Pedro Flores

Javier Ramirez

Jose Trujillo

CHEF DRIVER Jaime Ramirez Garcia

CRAFT SERVICE Stephanie BemanCRAFT SERVICE ASSISTANTS Britney Lozano

Mary E. Martin

CHIEF METEOROLOGIST Spot-on-Weather

Brett Zweiback

POST PRODUCTION

POST PRODUCTION SUPERVISOR Brad ArensmanPOST PRODUCTION COORDINATOR Christina Kremer

VISUAL EFFECTS PRODUCER Tony Meagher

DIGITAL WORK FLOW CONSULTANT James Ellis Deakins

SOUND SERVICES AND RE-RECORDING BY WARNER BROS. SOUND

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SUPERVISING SOUND EDITOR Alan Robert MurraySUPERVISING ADR/DIALOGUE

EDITOR Katy WoodSUPERVISING FOLEY EDITOR Michael Dressel

SOUND EFFECTS EDITORS Bub AsmanJason KingMark Larry

SOUND DESIGNER Tom OzanichDIALOGUE EDITORS Paul Apted

Hugo Weng

FOLEY EDITOR Christopher Flick ASSISTANT SOUND EDITOR Kevin R.W. Murray

RE-RECORDING MIXERS John ReitzGregg Rudloff

ADDITIONAL RE-RECORDING MIXER Matthew LadarolaMIX TECHNICIAN Ryan Murphy

MIX STAGE ENGINEER Tony PilkingtonADR MIXER Thomas J. O’Connell

ADR RECORDIST Ryan Young

FOLEY BY ONE STEP UPFOLEY ARTISTS John Cucci

Dan O’ConnellFOLEY MIXERS James Ashwill

Richard DuarteJohn Guentner

ADR VOICE CASTING Barbara Harris

MUSIC EDITOR Joseph S. DeBeasi

SCORE ORCHESTRATED BY Dana NiuRossano Galante

SCORE CONDUCTED BY Ben FosterORCHESTRA CONTRACTOR Isobel Griffiths

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ASSISTANT ORCHESTRA CONTRACTOR Lucy Whalley

MUSIC LIBRARIAN Dave FosterSCORE RECORDED BY Geoff Foster

SCORE MIXED BY Daniel KrescoSCORE RECORDED AT Air Studios, London

SCORE MIXED AT Studio B at Remote ControlSCORE RECORDING ASSISTANT Tom Bailey

SCORE MIX ASSISTANT John ChapmanCRISTAL BASCHET, ONDES

MARTENOT Thomas BlochDOUBLE BASS, CELLO, GUITAR,

ELECTRONICS Erik SkodvinSOLO VIOLIN Thomas BowesSOLO CELLO Caroline Dale

Hildur GuðnadóttirELECTRONICS, PERCUSSION, PIPE

ORGAN, GUITAR Jóhann JóhannssonADDITIONAL RECORDING Francesco Donadello

ORGAN RECORDED AT Marble Church, Copenhagen

MUSIC AND LEGAL CLEARANCE Christine Bergren

VISUAL EFFECTS BY PACIFIC TITLE & ART STUDIO

VISUAL EFFECTS PRODUCER Darin MillettVISUAL EFFECTS SUPERVISOR Phil Feiner

LEAD COMPOSITOR Matt SeckmanCOMPOSITORS Roy Chang

Tom LambCOORDINATOR Daniela Williams-Fontanez

VISUAL EFFECTS BY LUMA PICTURES

EXECUTIVE SUPERVISOR Payam ShohadaiSENIOR VFX SUPERVISOR Vincent Cirelli

SENIOR VFX PRODUCER Steven SwansonDIGITAL FX SUPERVISOR Justin Johnson

DIGITAL PRODUCTION MANAGER Michael PerdewCG SUPERVISORS Oliver Arnold

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Pavel PranevskySEQUENCE SUPERVISOR H Haden Hammond

ANIMATION SUPERVISOR Raphael A. Pimentel2D SUPERVISOR Alexandre Cancado

ROTO/PAINT SUPERVISOR Glenn MorrisLEAD DIGITAL COORDINATOR Catherine Hughes

DIGITAL COORDINATORS Katryna ShattuckDerek Weil

I/O COORDINATOR Daniel KeplerTECHNICAL COORDINATOR Sam Bourne

LIGHTER/COMPOSITORS Tim FleurChris FungJennifer GutierrezSatoshi HaradaAlex KhanJoey SilaJames WatersonSonia Yu

JR. COMPOSITOR Chris MillerANIMATORS Marcos D. Romero

Elaine WuLEAD ROTO/PAINT Jessica Bakke

ROTO/PAINT ARTISTS Davide CurlettiKevin CurtinChelsea GoodchildMarcel Caue MartinsPrin NimminnityaViviana TorrellasGarrett Wycoff

TRACKING/MATCHMOVE ARTISTS Ruy DelgadoLenny Gordon

FX ARTISTS Jesse NicodemusKarl Rogovin

FX TD John CassellaMODEL/TEXTURE ARTISTS Cory Cosper

Anthony GrantCosmin HrincuSafari Sosebee

CONCEPT ARTIST Loïc "e338" Zimmermann

DIGITAL INTERMEDIATE PROVIDED BY EFILM

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DIGITAL COLORIST Mitch PaulsonDIGITAL COLORIST ASSISTANT Jake King

DIGITAL INTERMEDIATE PRODUCER Loan PhanDIGITAL INTERMEDIATE ASSISTANT

PRODUCER Lesley NicolucciVFX PROJECT MANAGER Brian Han

DIGITAL OPTICALS Pat ClanceyDIGITAL INTERMEDIATE EDITOR Lisa Tutunjian

DATA MANAGEMENT Angie AlavezAndy Chung

PREVIEW COLORIST Zachary Meadow

MAIN AND END TITLES BY Pacific Title & Art Studio

OPTICAL SOUNDTRACK NEGATIVE CREATED BY NT AUDIO

DAILIES BY EFILMCOLOR BY Deluxe

COLOR TIMER George Chavez

Avid Editing Systems Provided by EPS-CineworksNegative Management by MO HENRY

FINANCE LEGAL PROVIDED BY Loeb & Loeb LLPPRODUCTION LEGAL PROVIDED BY Eric Spiegelman

INSURANCE PROVIDED BYAON/Albert G. Ruben Insurance Services, INC

COMPLETION GUARANTEE PROVIDED BY International Film Guarantors, INC.

STOCK FOOTAGE PROVIDED BY Getty Images

"Put Your Hand in the Hand"Written by Gene MacLellan

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Performed by OceanCourtesy of Buddah Records

By arrangement with Sony Licensing

"Escape"Written and performed by Jóhann Jóhannsson

"CODEX"Written by Thomas Yorke, Jonathan Greenwood, Colin Greenwood,

Edward O'Brien and Philip SelwayPerformed by Radiohead

Courtesy of Xurbia Xendless Ltd by arrangement with Warner/Chappell Music

"E.T. the Extra-Terrestrial" merchandise provided Courtesy of Universal Studios Licensing LLC

Prints by Deluxe

KODAK Motion Picture Products

American Humane Association monitored some of the animal action.

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No animals were harmed in those scenes.TM AHAD 03890

DOLBY Digital (logo) DTS Digital (logo) (IATSE LABEL)Teamster Logo SAG LogoApproved #48518 (emblem)Motion Picture Association of America

No person or entity associated with this film received payment or anything of value, or entered into any agreement, in connection with the depiction of tobacco products.

All material is protected by Copyright Laws of the United States and all countries throughout the world. All rights reserved. Country of First Publication: United States of America. Alcon

Entertainment, LLC is the author of this motion picture for purposes of copyright and other laws. Any unauthorized exhibition, distribution or copying of this film or any part thereof (including soundtrack) is an infringement of the relevant copyright and will subject the infringer to severe

civil and criminal penalties.

The story, all names, characters and incidents portrayed in this production are fictitious. No identification with actual persons, places, buildings and products is intended or should be inferred.

© 2013 Alcon Entertainment, LLC

END OF END CRAWL

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