Kinostart: 08. Oktober 2015

Kinostart: 08. Oktober 2015
Regisseur Joe Wright („Abbitte“, „Stolz und Vorurteil“) präsentiert den live-action Film
„Pan“, ein ganz neues Abenteuer über die Ursprünge der beliebten Figuren von J.M. Barrie.
Der spitzbübische 12-jährige Peter (Levi Miller) lehnt sich gegen alles auf – doch in dem
trostlosen Londoner Waisenhaus, wo er aufwächst, sind Rebellen nicht eingeplant. Eines
Nachts passiert dann das Unglaubliche: Peter wird aus dem Waisenhaus weggezaubert und
findet sich im fantastischen Neverland wieder, das von Piraten, indianischen Kriegern und Feen
bevölkert wird. Dort erlebt Peter unglaubliche Abenteuer, während er seinen Platz im
Zauberland behauptet – und er besteht lebensgefährliche Kämpfe, als er dem Geheimnis seiner
Mutter auf die Spur kommt, die ihn vor langer Zeit im Waisenhaus zurückgelassen hat.
Zusammen mit der kriegerischen Tiger Lily (Rooney Mara) und seinem neuen Freund James
Hook (Garrett Hedlund) muss Peter gegen den skrupellosen Piraten Blackbeard (Hugh
Jackman) antreten, um Neverland zu retten und sein eigenes Schicksal zu erfüllen: Er
entwickelt sich zu jenem Helden, der als Peter Pan eine Legende wird.
Wright inszeniert „Pan“ nach dem Drehbuch von Jason Fuchs. Greg Berlanti, Sarah
Schechter und Oscar®-Kandidat Paul Webster („Abbitte“) produzieren, als Executive Producer
ist Tim Lewis beteiligt.
Die Hauptrollen spielen Oscar-Kandidat Hugh Jackman („Les Misérables“) als
Blackbeard, Garrett Hedlund („Inside Llewyn Davis“) als James Hook, Oscar-Kandidatin Rooney
Mara („Verblendung“) als Tiger Lily, Newcomer Levi Miller als Peter und Amanda Seyfried
(„Les Misérables“) als Mary.
Mit dabei sind auch Adeel Akhtar („Der Diktator“) als Smee, Tae-joo Na („The Kick“) als
Kwahu, Nonso Anozie („Son of God“, „Abbitte“) als Bishop, Kathy Burke („Dame, König, As,
Spion“) als Mutter Barnabas, Kurt Egyiawan („James Bond 007 – Skyfall“) als Murray, Lewis
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MacDougall (britische TV-Serie „In the Name of the Children“) als Nibs und Jack Charles
(„Mystery Road“) als Häuptling.
Zu Wrights kreativem Team zählen die Kameramänner und Oscar-Kandidaten Seamus
McGarvey („Anna Karenina“, „Abbitte“) und John Mathieson („Das Phantom der Oper“,
„Gladiator“), die Produktionsdesignerin und Oscar-Kandidatin Aline Bonetto („Mathilde – eine
große Liebe“, „Die fabelhafte Welt der Amélie“), Cutter Paul Tothill („Abbitte“, „Stolz &
Vorurteil“) und William Hoy („Planet der Affen – Revolution“), die Oscar-preisgekrönte
Kostümdesignerin Jacqueline Durran („Anna Karenina“) sowie die für Make-up und Frisuren
verantwortliche Ivana Primorac („The Imitation Game – Ein streng geheimes Leben“, „Der Herr
der Ringe – Die Rückkehr des Königs“). Die Musik komponiert der Oscar-Kandidat John Powell
(„Drachenzähmen leicht gemacht“).
Warner Bros. Pictures präsentiert zusammen mit RatPac-Dune Entertainment eine
Berlanti-Produktion, einen Film von Joe Wright: „Pan“. Gedreht wurde „Pan“ in den Warner
Bros. Studios Leavesden. In Deutschland startet der Film am 08. Oktober 2015 in 3-D und 2-D
in den Kinos.
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From director Joe Wright comes “Pan,” a live-action feature presenting a wholly original
adventure about the beginnings of the beloved characters created by J.M. Barrie. The film stars
Oscar nominee Hugh Jackman (“Les Misérables”) as Blackbeard; Garrett Hedlund as James
Hook; Oscar nominee Rooney Mara (“The Girl with the Dragon Tattoo”) as Tiger Lily;
newcomer Levi Miller as Peter; and Amanda Seyfried as Mary.
Peter is a mischievous 12-year-old boy with an irrepressible rebellious streak, but in the
bleak London orphanage where he has lived his whole life those qualities do not exactly fly.
Then one incredible night, Peter is whisked away from the orphanage and spirited off to a
fantastical world of pirates, warriors and fairies called Neverland. There, he finds amazing
adventures and fights life-or-death battles while trying to uncover the secret of his mother,
who left him at the orphanage so long ago, and his rightful place in this magical land. Teamed
with the warrior Tiger Lily and a new friend named James Hook, Peter must defeat the ruthless
pirate Blackbeard to save Neverland and discover his true destiny—to become the hero who
will forever be known as Peter Pan.
Wright directed “Pan” from a screenplay written by Jason Fuchs. Greg Berlanti, Sarah
Schechter and Oscar nominee Paul Webster produced the film, with Tim Lewis serving as
executive producer.
Wright’s behind-the-scenes creative team includes Oscar-nominated directors of
photography Seamus McGarvey (“Anna Karenina,” “Atonement”) and John Mathieson (“The
Phantom of the Opera,” “Gladiator”); Oscar-nominated production designer Aline Bonetto (“A
Very Long Engagement,” “Amelie”); editors Paul Tothill and William Hoy; Oscar-winning
costume designer Jacqueline Durran (“Anna Karenina”); and makeup and hair designer Ivana
Primorac. The music is by Oscar-nominated composer John Powell (“How to Train Your
Dragon”).
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Warner Bros. Pictures Presents, in association with RatPac-Dune Entertainment, a
Berlanti Production, a Joe Wright film, “Pan.” Distributed by Warner Bros. Pictures, a Warner
Bros. Entertainment Company, it is set for a worldwide release in 2D and RealD 3D.
www.panmovie.net
For downloadable general press information, please visit: https://mediapass.warnerbros.com
ABOUT THE PRODUCTION
I’m going to tell you a story about a boy who would never grow up.
But this isn’t the story you’ve heard before… Sometimes, to truly understand
how things end, we must first know how they begin.
An 18th-century galleon, 100 feet long and manned by pirates, soars through London’s
night skies, pursued by World War II RAF spitfires spewing a hail of gunfire… A daring
swashbuckler mines for prized pixie dust, keen to escape from a brazen buccaneer desperate
for immortality… Wildly vibrant native warriors protect a secret, crystalline fairy land… And, at
the heart of it all, a mischievous young orphan on a quest to find his mother discovers his true
heritage—and his destiny—as the boy who could fly.
All of this and much more can be found in director Joe Wright’s epic, fun-filled family
adventure “Pan.” Though the character was created more than a century ago, Wright says,
“This is Peter Pan for 2015, a complete reframing of the story as we all know and love it. It’s
Peter’s origin story and a classic hero’s journey set in a big, beautiful, bold world.”
Starring as the larger-than-life villainous Blackbeard, Hugh Jackman states, “Joe Wright
is a true visionary, an adult who’s able to tap into a child’s mind and run wild, so audiences are
going to see Neverland like they never have before. This was one of the most fun experiences
I’ve ever had making a movie.”
“I really just wanted to make an exciting, entertaining film, and have as good a time as
possible doing it,” Wright conveys. “It’s a pleasure making a film for kids because you can free
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yourself of too much seriousness. It’s a mad world we’ve created, full of color and texture and
strange, wonderful images that hopefully feel like they’ve come from a child’s imagination.”
With author J.M. Barrie’s classic tale as the primary inspiration behind the story, Wright
says he embraced the author’s “sense of strangeness.
It’s a very odd book.
It doesn’t
underestimate children’s intelligence; there are no ‘goodies’ or ‘baddies,’ everyone is flawed,
even Peter. I loved the duplicity of all the characters.”
Taking on the iconic titular role is newcomer Levi Miller, who says, “The script was
magical, and to play Peter in a story telling the origin of Peter Pan was amazing, and really,
really cool.”
Jason Fuchs, who wrote the original screenplay, was taken by the character at an early
age—an enthrallment that never left him. “When I was nine years old, I was on a Peter Pan ride
with my dad and we got stuck in a flying pirate ship over a miniature London,” he recalls. “It
was literally the best 25 minutes of my life, up there with LED stars twinkling above us and
Peter and Wendy flying five feet away.”
Those moments engendered the youngster with questions he would spend years hoping
to answer. “At the time, I kept asking my dad, ‘How did Peter get to Neverland?’ ‘Why can he
fly?’ ‘How did he and Hook meet for the first time and why do they hate each other so much?’ I
read the original book in search of answers, but found only hints, and I always thought it would
be great to make a movie that told the full story, that answered at least some of the questions I
had that day.”
Greg Berlanti jumped on board to produce after meeting with Fuchs and hearing his
ideas for the character. “This was Jason’s passion project, to reintroduce Peter Pan and his
mythology to the world. Every generation deserves its own Peter Pan story; it was exciting to
me to reexamine what we think we know about Peter and Hook and Tiger Lily, and to twist and
turn those notions around. I think Jason and Joe executed it all brilliantly.”
“I’d never read a script like Jason’s, and I’ve read a lot of scripts,” Wright says. “But this
one had a heart to it that I hadn’t really found in others for movies of this scale. And I have a
son, so I really wanted to make this movie for him.”
Garrett Hedlund, who stars in the film as Hook—before the hook—relates, “When I first
talked to Joe about the project, he said his son was having nightmares, and that by making this
movie, he wanted to show him that nightmares, no matter how dark the fear, can always be
overcome.”
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Drawing on a line in the book about Hook training under Blackbeard, Fuchs expanded
the role of the infamous pirate, making him Peter’s prime nemesis in the script and Hook a
younger, two-handed adventurer looking for a way out of Neverland who realizes Peter might
just be the ticket.
Producer Sarah Schechter notes, “Garrett brings charisma and charm to the role of Hook
that we’ve never seen in that character, since we’ve only known him as a full-fledged villain out
to get Peter Pan. In our story, the two are buddies, up against Hugh’s deliciously malicious
Blackbeard.
But they’ve also got Tiger Lily on their side, played with a striking
otherworldliness by Rooney Mara. So, between Peter, Hook and Tiger Lily, there are great
heroes for boys and girls.”
Mara was eager to work with Wright when the project was presented to her. “Peter Pan
means a lot to me, and to most people, I think,” she says. “I loved the different movie versions
of it when I was growing up; it’s such a special story. Getting to play Tiger Lily was a dream
come true, and working with Joe was so special, and one of my favorite parts about being in the
movie.”
The story Fuchs devised is the untold tale of how a young orphan named Peter would
become the hero known forevermore as Peter Pan. A young woman, Mary—played by Amanda
Seyfried—deposits her infant son on the steps of an orphanage called the Lambeth Home for
Boys, leaving him with a note, a kiss, and a pan flute charm on a string about his neck. The
story picks up with Peter, now aged 12, still dreaming of his mother’s return.
Shades of the rascally Pan readers all know are evident in the rebellious young lad who,
along with his best friend, Nibs, revels in outsmarting the officious orphanage director, Mother
Barnabas. But what the boys soon learn is that her greed doesn’t stop with the Home’s war
rations. With her blessing and in the midst of the Blitz, Peter, along with several other boys, is
plucked from his bed by a band of pirates and whisked away to an extraordinary place…
Neverland.
However, it’s not the Neverland we’ve all come to know. Under Blackbeard’s rule, Peter
and his fellow orphans—along with thousands more—are thrown into a massive dirt pit and
forced to dig ceaselessly for the rarest of gems: pixum, from which pixie dust is extracted. But
when Peter comes face to face with Blackbeard, he proves himself to have an extraordinary gift,
and it becomes clear that the malevolent ruler may have even more to fear from Peter, and that
his fate, and the very fate of Neverland, may rest in this young boy’s hands.
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“The sheer breadth of imagination, the thoroughness and the attention to detail that Joe
brings to bear on his projects excites me each time I work with him,” says producer Paul
Webster.
“Pan” marks their fourth collaboration, and from the beginning, he says, “Joe
identified with the character of this lonely yet spirited boy. As soon as he read the script, it
struck just the right emotional chord with him, which he needs to get involved with anything.”
Berlanti adds, “Joe was at the top of our wish list. We felt he would bring the magic,
along with an elegance and sophistication, to make this enchanted world incredibly inviting.
He gave us all those things and blew us away with his ideas of how to make the story even
better and bring this world to life.”
“Joe’s passion and response to the material was exactly what the project needed,”
Schechter emphasizes. “He had a very clear vision of a fresh and original landscape and for
making a dynamic and exhilarating adventure for this universally loved character, not only for
the sake of his own son but everyone’s sons and daughters, and the child inside all of us—
exactly what makes Peter Pan such a timeless story.”
To create the landscape he envisioned, Wright opted to build much of the world of “Pan”
on practical sets, in order to provide not only a sense of realism for his actors, but, in an effort
to reaffirm the childlike environs of Neverland and give them an actual playground to, well,
play in. In England, the cavernous stages of Warner Bros. Studios Leavesden and hangars at
Cardington Studios provided enough space to service everything from the bleak London
orphanage to Blackbeard’s vast quarry to the Neverwood and the natives’ Tree Village, to two
full-size pirate ships, a mermaid lagoon, and more.
Wright offers, “The scale of our sets allowed Neverland to feel real and our incredible
cast to come to work every day ready to play pirates, warriors, adventurers—everything we do
as kids in our own minds, but in a physical setting that makes it a real adventure, in a kind of
3D, kaleidoscopic world of color.”
BLACKBEARD
Are you brave, Peter?
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PETER
I try to be.
In “Pan,” Peter is a smart and rebellious 12-year-old boy who has spent his entire life in
a dreary London orphanage called the Lambeth Home for Boys, a truly Dickensian dwelling run
by a heartless nun. That he still holds out hope that his mother will return for him speaks to
the strength of his spirit, and when he finds himself swept away to a fantastical world of
pirates, warriors and fairies, his determination to be reunited with her is only strengthened.
Due to the range of emotions and physical requirements of the character, the
filmmakers knew that casting Peter would be one of their most critical choices in making the
film, and therefore left no stone unturned.
“We sent out casting directors to every English-
speaking country in the world, and received thousands of tapes and held open castings as well,”
Wright recalls. “We whittled it down and whittled it down, and I met with probably a couple
hundred, myself. Then we were sent Levi’s reading, and there was instantly something sparkly
about him, something in his eyes that was hopeful and wondrous, open to possibilities. He was
just a normal kid in Australia who’d never done a big, dramatic role of this size before. He came
to L.A. to meet with us and he just shone. And he’s smart and a very good actor. He was our
guy.”
Miller couldn’t have been happier to get the news when Wright rung him up. “It was
crazy, something I never thought could have happened! I screamed, I laughed, I cried,” the
young actor effuses. “I couldn’t believe that I got the part and I just wanted to get started!”
Miller eagerly poured his boundless energy and extraordinary focus into rehearsals and
physical training to prepare for the immense demands required to play the title role. “Peter is
brave and adventurous,” he says of his character, “and even a bit selfish. But he has a good
reason for doing what he’s doing: the one thing he wants in his life is to be reunited with his
mother.”
Until the night Peter is taken away to Neverland, Lambeth is the only home he’s known,
and Mother Barnabas and the other nuns his only parental figures. “It’s a pretty sad place and
the headmistress, Mother Barnabas, is a monster, an absolutely terrible person,” Miller says,
quickly adding, “but the actress who plays her was lovely!”
Peter’s closest ally, Nibs, is played by Lewis MacDougall, who, Miller says, “is my best
friend in the film and in real life, which was pretty cool.”
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However, once he departs the confines of Lambeth—without Nibs—Peter is on his own
and soon under the control of a far more evil dictator: Blackbeard. “Blackbeard doesn’t like
Peter because he thinks Peter is in the way of him finding eternal youth; this is not good for
Blackbeard and, in return, that’s not good for Peter,” Miller relates.
“In just the blink of an eye, you could be dead with Blackbeard,” says Jackman, portrayer
of the pirate all other pirates fear. “Levi was really able to stand up to me in our scenes
together, and I was really proud of him. He’s just a natural and clearly too young to know how
hard it should be! You never catch him acting; he’s just completely present and relaxed playing
this character who is a fish out of water, and very frightened. But you feel the beginning of the
Peter Pan chutzpah, that mischievous, cheeky, playful Pan we know. Levi’s got that in spades.”
In the role of the self-appointed dictator of Neverland, Jackman tried to view his
character as Peter and the other boys might. “If you assume the imagery is all coming from a
child, adults should always be somewhat frightening and ridiculous at the same time,” he offers.
“When I first met with Joe,” Jackman continues, “we discussed why these stories exist in
the first place, the role they play in kids’ lives—and adults’ lives. Peter Pan is one of those
seminal stories that is known by all ages in all countries. It’s universal, and in creating an
origin for Peter, I think Jason and Joe really hooked into the inner child within all of us.”
“For Blackbeard, Jason expanded on just a grain of information from the book, and then
created this incredible bad guy, who is played by the nicest man in show business,” Wright
smiles.
“I’ve played bad guys before, but I don’t think I’ve ever played one quite this bad,”
Jackman notes. “Not only is he dastardly, but he loves to hear himself talk, to make speeches
and use big words. He thinks he’s very important, and he is scary, but he’s having a good time
and that made him a fun character to play.”
Another reason the actor, who is also a celebrated stage performer, enjoyed the part
was that in making his entrance in the film, Blackbeard makes an entrance, one most Broadway
performers would envy. “I told Joe, I’ll never get to do this again, play a pirate that sees himself
almost as a rock star, and actually get to sing a rock song as a pirate. We—me, the other
pirates, the kids—we sang Nirvana, we sang some Ramones, all together, in unison. It was
quite spectacular.”
“Blackbeard is a troubled guy, in search of eternal youth and capricious in the extreme,”
Wright adds. “One minute, he’ll be charming and funny, the next he’s throwing someone off a
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plank. He was once in love and lost her, and ever since has been living in a kind of self-imposed
turmoil, taking it out on everybody around him, a terrifying and unpredictable force. So we
had to let him have a little fun.”
Apart from his lovelorn past, Blackbeard’s current woes stem from the shortage of
pixum being found in the quarry he floats over in his formidable ship. Even his alternating
threats of death and promises of sweets can’t motivate the diggers to find what is no longer
there. “The fairy dust is running out, he can’t find enough to fulfill his needs,” Wright explains,
“so he becomes ever more desperate. I think Hugh relished the opportunity to play this guy
who can turn on a dime, who is violent and horrifying and yet also quite funny. He brought a
lot of humor to Blackbeard, making him appear upset and even more threatening when the
others didn’t laugh at his jokes.”
“Joe made it easy to take this character to the extreme,” Jackman says. “Everything he
does has a creativity, a joy to it, and working with him you feel so supported. He’ll accept
anything, there are no mistakes. You can fall on your bum, you can fall on your face. You can
just go for it.”
Prior to shooting, both Wright and Jackman spent time with Miller, working out the
rapport between Peter and Blackbeard to make sure he would be equally comfortable once the
cameras rolled. “Hugh and I sat down with Joe in the rehearsal stages, talking over the
relationship and doing a bit of fake fighting, which was great,” Miller says. “The character of
Blackbeard was very frightening, but Hugh is an absolutely terrific guy, and it was pretty
amazing working with Wolverine.”
Though Blackbeard is Peter’s nemesis in the film, it’s Captain Hook who audiences
would expect to see him up against. However, the filmmakers decided to not only explore
Peter’s origins, but to give moviegoers a glimpse into Hook’s as well. “James Hook is an
enigma,” Wright says. “He comes from somewhere, but the longer you stay in Neverland, the
more you forget. He’s got this desire to get back to wherever he came from, but he can’t really
remember where that was. And he’s been in the mines under Blackbeard’s thumb for so long,
he’s become a survivor, and a self-centered, selfish one at that.”
Hedlund, who plays the destined-to-be Captain, offers, “Hook starts off in the film as a
prisoner digging for Blackbeard; he’s a demoted, deflated man who’s a bit mysterious and
seems quite lost. But when he sees Peter, and sees what he can do, Hook thinks he’s found his
golden ticket out of there.
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“That’s really where his journey begins,” Hedlund says, “right alongside Peter Pan,
instead of against him…and before he comes into conflict with any crocodiles.”
What the actor loved about playing Hook was the character’s selfish, weasely nature.
“He’s found his way to complete his objective, which is to get off this island called Neverland,
even if it means going back to a place he hardly remembers. If he has to convince this kid he’s
his new best friend and willing to help him find his mother, so be it.”
“Hook and Peter both want something from each other,” Miller adds. “Peter wants help
to get through the Neverwood jungle so he can find the Native Village and, hopefully, find his
mother there. Hook wants to go home and he thinks Peter can help him. So really they’re
helping each other, each for their own benefit.”
Though James Hook’s true origins remain a mystery, “We discussed how I would play
Hook, including whether he would be English or American or something else,” Hedlund says.
“Then Joe had this wonderful idea that he should be somebody that could have been plucked
out of an old John Ford film.”
“Garrett was brought up on a farm in Minnesota and has a very sweet-natured, rural
sensibility about him,” Wright observes. “He makes me feel the fresh air. He makes me feel the
wide open spaces. He has a kind of rural rhythm to his speech, but he’s very quick with his
humor. He’s almost old-fashioned in a way, and I found that fascinating about him and
encouraged him to use it.”
According to Wright, Hedlund took the description to heart off the set as well. “Often, if
we were working on a scene that didn’t involve Garrett, Levi and Adeel Akhtar, who plays
Smee, I’d find them all in Garrett’s trailer, and Garrett would be playing some old cowboy song
on guitar with Adeel accompanying him on banjo and Levi humming along.”
The more seasoned Hedlund says that it was easy to form an on-screen bond with
newcomer Miller, and a pleasure to spend down time with him as well. “Everyone spoke to
Levi as an adult and he responded back in the same mature manner, and is so smart and so
bold and willing to take chances, it was easy to forget that he was just 11 years old; I felt like I
was talking to a buddy. I think that this story, which is so dependent upon believing in the
fantasy that is Neverland, where ships fly and everything is ruled by pirates, required someone
with his intelligence and his ability to access his emotions, even at such a young age. Ironically,
to play a boy who will never grow up, it takes a fairly grown-up kid.”
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Peter and Hook—with one of Blackbeard’s minions, Smee, tagging along—commandeer
a vacant ship and head for the Neverwood, where they crash land among the trees and hope to
find their way to civilization…whatever that might be on this side of the island.
“They’ve gone through this immensely daring struggle to make it out of the mines, and
here they are, in the middle of nowhere,” Hedlund explains. “The next thing they know, they
are attacked by Neverbirds, which are insanely huge, incredibly dangerous and life-threatening.
Then, before they can even begin to defend themselves, they are saved by this girl who drops in
and does all these martial arts moves to rescue them.”
That girl is a beautiful native of Neverland called Tiger Lily, one of her tribe’s fiercest
warriors. “When we were thinking about this scene at the beginning of production, I asked Joe,
‘When do you think was the last time Hook even saw a lady?’” Hedlund laughs.
“Hook meets Tiger Lily and immediately objectifies her,” Wright conveys. “Of course,
she won’t let him.”
Before he knows it, Hook finds himself hanging upside down, surrounded by Tiger Lily
and the other Villagers, who suspect he’s a pirate and expect him to battle their greatest fighter.
“Tiger Lily is quite guarded and suffers no fools,” the director purports.
Though in Barrie’s work Tiger Lily is described as a woman of color, she has since often
been portrayed as a Native American. In truth, she is a native of Neverland, a fantasy world
created by Barrie which Wright, taking creative license, envisioned as a multi-cultural place
entirely the product of make-believe, devised in a way that a child might conceive in his or her
imagination. “This film being a work of fiction, based on another work of fiction, in the end I
decided that for our film, a tribe in Neverland could be made up of all peoples of the world, so
what you see on screen is a wide variety of different cultures,” the director says. “As for Tiger
Lily herself, I thought about all possibilities, and during our search, Rooney Mara came in. She
was hands down the best actress for the part. I found Rooney to have such poise about her that
it felt like she was something out of a fairy story. She’s quite regal and her performance is
finely calibrated.”
Mara says that as one of the few women to figure prominently in the film, “Tiger Lily is a
strong female because she has to be. Like her fellow villagers, she is just trying to live in peace
and protect their little oasis from these outsiders. But she also has a softer, nurturing side.”
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That side comes out when she tasks herself with defending Peter as the long-awaited
Pan, prophesized to come to the aid of the fairies living under Tiger Lily and the other natives’
protection and to save the world she loves.
“Peter shows up and is clearly part of the prophecy,” Mara continues. “But I think Tiger
Lily and the others expected someone a little taller, a little more capable, and he’s just this little
boy. Nevertheless, they’ve been waiting and waiting for this moment and it’s finally here, so
there’s a lot of excitement. And Tiger Lily feels responsible for Peter and wants to see him
fulfill his destiny.”
Throughout the course of Tiger Lily forming a bond with Peter on screen, Mara enjoyed
building a connection with Miller on set. “I loved working with Levi. He is so present and he
doesn’t have any cynicism; everything was new and exciting to him, like every day was the first
day. It was really lovely and infectious to be around.”
Mara’s shooting schedule brought her onto the set after Miller, Hedlund and Jackman
had already been working together for a time. “I was like the new guy in town, and those three
had already established a great dynamic; they were really funny together,” she says. “I think
Levi was lucky that Garrett and Hugh were the men in this movie because they’re both such
hardworking actors and very generous, and neither ever complains. They were great examples
for a young actor like Levi to look up to.”
Prior to filming, Mara and the others went through extensive fight training in order to
perform the various stunt work required of them. “Rooney had to do a lot of action sequences
in the film, probably more than the guys, but I quite liked the idea of the girl doing most of the
fighting. She worked really hard at it and got pretty tough. She gave Hugh a run for his money,
which is quite impressive, ‘cause he’s good,” Wright says.
“Rooney’s a tough girl,” Jackman attests. “We have a long fight sequence in the film and
spent two or three weeks together on it. You can get to know people in many ways, but when
you fight someone for three weeks, you really get to know them.”
“Blackbeard is the bad guy, the meanest, leanest pirate around,” Mara states. “But Hugh
is just the nicest man. His work ethic is like nothing I’ve ever seen. He showed up to training
every morning and worked so, so hard. He was just fantastic to work with.”
Fight consultant Jamie Goulding trained Jackman in swordplay, did kickboxing training
with Mara and Miller, and held martial arts boot camp sessions for any extras who needed it.
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Stunt coordinator Eunice Huthart and her team devised the numerous stunts to be performed
in the film.
“This was a very busy one for the stunt department,” Huthart says. “Everything was
character-related, which is great. Action is my thing, but even I get bored of action for action’s
sake. Fortunately, my work was all character-driven, which allows us to make the action a bit
more personal, and that’s ideal.”
“I love Eunice,” Mara says. “I’ve done some stunts before but nothing that had to be so
precise. My work on ‘Pan’ had to be as close to perfect as possible, not only because Tiger Lily
is a trained fighter, but because of the costume—so much of me was on display that every move
had to be right. I felt like I spent most of the film with the stunt department, which was a whole
new experience for me and I loved it.”
Mara and Jackman’s extended battle involved some particularly tricky choreography for
Huthart. It was complicated and intricate, and was shot over multiple days on multiple levels,
with the actors working on narrow beams and high rigs.
“Spikes! Joe’s ingenuity, his vision, it’s just amazing,” Huthart declares. “His idea was to
have these two characters fighting not only on the front of a ship, but out on these spikes that
are very narrow and go to a complete pinnacle, almost like a balance beam, where some of the
combat actually takes place. Rooney and Hugh worked extremely hard on it, and together we
pulled it off.”
In addition to getting her footwork down, Mara had to undergo weapons training as
well. “I’ve never used a weapon like this before, so I had Tiger Lily’s axes with me all the time,
even at home, so I could get comfortable with them,” she says. “I wanted them to feel like an
extension of my arms. It’s such a great prop, there are so many things you can do with them.”
The first day on the Tree Village set was also the beginning of the epic trampoline fight
sequence between Hook and the native’s great warrior, Kwahu. One of many standout action
sequences in the film, it showcased not only the extensive capabilities of Hedlund, but also the
extraordinary talents of South Korean actor/free-runner/gymnast/martial arts expert Taejoo
Na, who was able to do many of the required stunts without wires.
Hedlund elaborates, “Hook has a fight sequence with Kwahu, and it’s a situation where
Hook is meant to protect himself and Peter, and he thinks he can probably handle himself quite
well—he’s strong enough, he’s agile enough, generally. But all of a sudden he’s put on this
trampoline, something he’s never been on before. It turned out to involve a lot of stunts that
14
were quite hilarious to shoot and should be entertaining to watch, especially when Hook first
sees this Kwahu character. He’s expecting some insanely huge warrior who is eight feet tall
and looks like a WWF wrestler, but the guy’s 5’5”, barely bigger than Peter, and he’s still able to
throw him around like a ragdoll.”
As Peter, Miller also had a good deal of stunt work to accomplish, primarily learning to
fly. “Being on the wire and going up in the air, and down and forward and backwards, it was so
much fun,” he says. “Peter does a lot of falling before he gets the hang of it.”
Another challenging action sequence features a large number of pirates fighting the
natives, as they search for Peter on Blackbeard’s command, an extraordinary clash of fighting
styles as the natives display their agility, swinging from one place to another, fluid in their own
environment, against the pirates’ crash-wallop-bang style of fighting.
One of those pirates is Bishop. Played by Nonso Anozie, he’s a one-eyed, muscle-laden
thug who steers Blackbeard’s ship and, along with Kurt Egyiawan’s Murray, oversees their
leader’s numerous subordinates.
Jackman in particular enjoyed working with his crew. “One of my favorite things in the
film was the creation of the gang of pirates,” he says. “They couldn’t be more diverse, more
surprising, eccentric, frightening… As Joe says, ‘Neverland is really from a child’s creative
mind,’ so we all tried to go right along with it, and it was a good time.”
Hedlund concurs, “Joe really wanted them to have individuality, so he had the actors
playing the pirates give themselves pirate names and talk about their own attributes, what
made them different. It really felt like a theater rehearsal, and everyone had a lot of input,
which was amazing.”
One of the most memorable among the brigand’s staff is Sam Smiegel. Known as Mr.
Smee, he’s a bumbling cohort of Blackbeard’s whose uncommon knowledge of the mining
operations induces Peter and Hook to bring him along on their daring escape from the camp.
However, he’s not the brightest, or most trustworthy, ally.
A staple of British television, actor Adeel Akhtar plays the part, and describes him as
having a sort of “arrested development. He hasn’t grown up in a lot of ways, and he has a mixed
up sense of self-importance. If you notice, he has a little badge that he pins onto himself—that
he’s made himself—denoting him as a sort of self-appointed manager. But nobody’s given him
that position, he just decided that’s what he was going to do. So he carries around his little
clipboard and takes notes on what others are doing.”
15
“We know Smee as being Hook’s right-hand man in the original novel and play,” Wright
relates. “In our movie, he’s kind of middle management. He considers himself a supervisor in
the mines, but no one listens to him; he’s assumed an authority that no one else granted him.
Adeel’s a brilliant comedian for film because his comedy works best in close ups; you can see
everything his character is thinking on his face. In Smee’s case, you can see him over-thinking,
and even then coming up with the completely wrong thing.”
According to Wright, the wrong thing is precisely what Akhtar did not do. “When I have
a character in front of me on the page, I imagine it being done in one way. When Adeel came in,
he did something completely different and unexpected, and exactly what the part called for.”
Rounding out the cast are Kathy Burke as Mother Barnabas, the nun who rejoices in
making Peter’s life horribly difficult at the orphanage, and, in the Neverland Woods, Jack
Charles is Tiger Lily’s leader, the village chief. Cara Delevingne also appears in Neverland, as
three enchanting mermaids Peter encounters amidst crocodile-infested waters.
As the story’s main catalyst, Amanda Seyfried plays Mary, Peter’s mother, whose
mysterious fate spurs Peter on to discover his own. “I love Joe’s work, he’s one of my favorite
directors,” Seyfried says. “I told him I’d be an extra in this movie if he needed me to, but luckily
he offered me this wonderful opportunity to play the woman who gave life to Peter Pan.”
BLACKBEARD
Welcome to Neverland!
In a letter tucked inside his swaddling blanket as she leaves him on the steps of the
orphanage, Mary promises her infant son Peter that he will see her again, in this world… or
another. But even Peter couldn’t have imagined how different that other world might be.
Wright is well known as a filmmaker who enjoys intense prep work and active
collaboration with his crew, often recruiting the same talent behind the camera from film to
film. This creates a familiarity and the feeling of a “company” of players—an important
personal and professional link to the world of theatre he grew up in, and a vital part of his
moviemaking process.
Producer Paul Webster expounds, “Joe believes filmmaking should be as enjoyable as it
is artistically stimulating. He’s very detail-oriented, and when it comes to the design of his
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films, he works hand-in-glove with his crew, which frees the imagination and becomes a
creatively rewarding experience for everyone.”
Wright’s usual behind-the-scenes creative team includes director of photography
Seamus McGarvey, editor Paul Tothill, costume designer Jacqueline Durran and makeup and
hair designer Ivana Primorac. They were joined on this film by DP John Mathieson and editor
William Hoy and, for the first time on a feature with Wright, production designer Aline Bonetto,
who had worked with the director on his commercial vignettes for Chanel.
It was important for Wright to have physical sets on which to shoot, a rare treat for
members of the cast and crew who have worked on many productions that rely on huge green
screen stages. As one might imagine, on a story of this scale, the set pieces were massive.
Therefore, Bonetto and her team were given the enormous challenge of designing and building
the spectacular and sometimes surreal environments in which nearly all of the action takes
place.
The sets were created almost entirely on soundstages at Warner Bros. Studios
Leavesden and Cardington Studios, one of the largest indoor spaces in Europe.
The film offered an opportunity for Bonetto and her gifted team to run wild, and she
was excited by the scope of the job. “I love working with Joe because he is such a visual
director, and it was especially exciting to work with him on a film where we had to completely
create the world in which it is set. It was a huge task but nonetheless a thrilling one.”
From the get-go, Wright had a very clear vision for the film. “Because the story begins
in the late 1920s, and then jumps 12 years later to World War II, I was looking for a very Fritz
Lang-inspired aesthetic,” he says.
The task, embraced and realized by his team, was to take the audience on an
extraordinary journey as much through his visual choices as the story itself, using a color
palette system which purposely changes from one environment to the next. It starts with the
noirish 1920s and shadowy 1940s London, then onto Neverland, which is at first as dreary as
the drudge work the children must do, before becoming a rainbow of color and vibrancy—an
opening of the imagination, the extraordinary and the fantastical, free of any seriousness
despite the importance of Peter’s mission to save the fairies from Blackbeard.
The film’s opening sequence was accomplished on location over one week, with
shooting taking place in such iconic locations as Kensington Gardens, the famous London Park,
full of wooded idylls and graceful gardens close to where author J.M. Barrie lived and which
provided him with the inspiration for Peter Pan; the Royal Albert Hall, one of Britain’s great
17
Victorian splendors; and Blythe House, Kensington, another Victorian building. From there, the
company settled in at Warner Bros. Studios, Leavesden and, six weeks later, moved to
Cardington Studios.
There were two primary builds at Leavesden.
For the bleak London orphanage,
Lambeth Home for Boys, Bonetto devised a dark, monochromatic, color scheme of blues and
grays to convey a world without imagination or hope. The design for the hellish world of
Blackbeard’s pixie dust mines was inspired both by Brazilian goldmines as depicted in
Sebastiao Salgado’s extraordinary photographs, and a microscopic image of the cell structure
within the human body: a vast labyrinthine structure of tunnels going in every direction,
seemingly never-ending, rendered in muted browns and oranges.
Moving to Cardington, the first day on the multi-colored Tree Village set was a
particular thrill for everyone since it was the first time the majority of the cast saw the finished
set, and with all the background artists dressed it was a spectacular sight. One of the two
hangars there provided the massive space for the trippy set, the original reference for which
had been a Brazilian favela, or shantytown. During the pre-production process, Wright felt the
Village should feel more multi-cultural in its design, though still transient in its nature, as if the
natives, fearing pirate invasion, could pack up and leave at a moment’s notice. So the team
went from designing wooden tree houses to making tents, a cultural mix, including Mongolian
yurts, Inuit tupiqs, Native American teepees, and even circus tents, as well as tribal shelters
from Papua New Guinea and Africa. For the various abodes, Bonetto sourced an array of
fabrics that could easily be dyed any color.
Set on platforms on various levels and linked by bridges and stairways, The Tree village
was built from rustic timber sourced from off-cut old oak planks from lumberyards throughout
the country. It took 13 weeks to build and measured a whopping 328 feet-by-164 feet along
the floor, and 147 feet high, and was structured around the village’s centerpiece trampoline—
which sees the fight with Hook and Kwahu take place. It was a liberating environment in which
Wright and his creative department heads could collaborate with freedom and extraordinary
attention to detail, resulting in the elaborate set decoration particular to each tent and every
section of the village.
Adjacent to the Tree Village, Bonetto and her team built the enchanted Neverwood, a
forest so big over the course of the shoot it developed its own eco system, becoming home to
many different spiders, crickets and other insects, along with birds and even the occasional
18
visiting bat. Wright wanted the flexibility to explore the forest with the camera rather than be
limited by the build, so the art department gave him a series of intricate passageways and runs,
which offered so many possibilities that cast and crew would actually get lost on set.
Amongst the sculpted fiberglass trees, some reaching up to dizzying heights of 50 feet,
the forest contained thousands of real tropical plants, between 20 and 30 different species.
They had been brought in from Italy, Belgium, Holland and Malaysia, where the art department
and their greens team had found plants available in sufficient quantity and which had an
otherworldly appearance, to dress amongst more familiar foliage. The tropical plants, which
needed temperatures of 80 degrees to thrive, were slowly dressed in as the finishing touches
were made, and grow lights were put in place so that the plants could survive in their new
environment. Eight dedicated greensmen tended to the forest.
“I loved building playgrounds for us all to play in,” Wright says of the expansive set, one
of the largest ever built in the UK and which many of the cast and crew described as their own
theme park.
The adjacent Hangar also offered a gigantic area in which to house Blackbeard’s ships,
The Queen Anne’s Revenge and The Ranger, as well as the vessel well-known to Peter Pan fans,
The Jolly Roger. Designs were informed by historical references found at the Maritime Museum
at Greenwich and the HMS Victory in Portsmouth, and took eight weeks to build and dress.
The two smaller ships were actually one build: The Ranger being the flying ship that
arrives at Lambeth to sweep away a cargo of orphans, and The Jolly Roger, an abandoned flying
ship from Blackbeard’s fleet that Hook discovers in Neverland’s Mermaid Lagoon.
Once
shooting was complete on The Ranger, it was revamped into the The Jolly Roger. Both looks
were modeled after 100-foot, eight-gun, 18th-century galleon-class ships, and the overall set
measured approximately 60 feet long-by-23 feet wide. Constructed from a steel framework
with timber decks and fiberglass cladding on the sides and corrugated railings, The Ranger was
dressed with frivolous items, such as a carousel horse, that the pirates—air gypsies and
scavengers of the skies—might have stolen in their travels. Bonetto’s team then used paint,
dressing and different rigging to turn it into The Jolly Roger.
The Queen Anne’s Revenge, Blackbeard’s floating command center, was meant to mirror
an 18th-century, 100-gun ship, and was in actuality almost 100 feet long-by-40 feet wide. The
giant galleon, the pride of the fleet, was dark and moody, pewter in color, and intended to
reflect the power of its captain. It was built only a third of its imagined size—the limit that
19
could be safely rocked on its gimbal—with different levels and walkways to allow Wright the
ability to move the camera and choreograph interesting sequences.
The real challenge was to get the boats rocking and rolling and, while moving like boats,
also appear to float like airplanes, since they are flying ships. To achieve that, and at the same
time provide a safe and efficient environment for cast and crew to work in, was a massive
undertaking. Special effects supervisor Mark Holt and his team devised the substructure that
allowed the pirate ships to appear as if in flight, while really rotating on gimbals operated by a
programmable robot arm system he developed and perfected on prior films.
Weight had to be kept to a minimum because of the engineering involved, so the
decision to build in fiberglass was made, with the plasterers and painters working wonders to
create an old and weathered, wood-like finish to the galleons. A team of nautical riggers was
brought in to rig the boats with working accuracy and authenticity.
“One of my main goals with all the sets, and a reason why I really wanted to do as much
practically as we could, was to give Levi a fully immersive environment that would help him
understand who Peter is and where he comes from,” Wright says. “Our teams were incredible
and I feel that what they accomplished made us all feel like we were truly in Neverland.”
TIGER LILY
If you don’t believe, Peter,
then neither will they.
Amidst the lush flora, the peaks, jungles and waters of Neverland are swarming with
fantastical creatures, including multihued Neverbirds, mammoth Never-Crocs and enchanting
Mermaids.
Peter, Hook and Smee encounter the Neverbirds almost immediately upon landing in
the Neverwood, when the 12-foot-tall winged predators, which resemble a rainbow-feathered
pterodactyl, swoop down on them.
“The Neverbirds are inspired by the novel,” Wright says. “They are big and quite
terrifying, and although they’re scary, they’re also very clumsy and uncoordinated, like a bag of
bones, which makes them even more unpredictable.”
These days, such feral fowl would ordinarily be conceived of in a computer. Though
ultimately realized by visual effects supervisor Chas Jarrett and his team, the Neverbirds were
designed by Wright’s sister, puppeteer Sarah Wright.
20
“I come from a family of puppeteers,” offers the director. “When we were trying to
come up with the right look for the Neverbirds, I just wasn’t finding it. I asked Sarah to come
up with something we could workshop.”
Sarah built a mock-up of the bird and used it to create its movement and characteristics.
“She put together a little model using a seagull-type skull attached to a long neck made of
several discs, a strange, skeletal ribcage, chicken feet and colorful feathers,” he continues. “She
started operating it for us, and it was brilliant, so that became the model for our Neverbirds.”
While the crocodile that made off with Captain Hook’s hand is well known from the
book, the Never-Crocs who lurk in the waters of Neverland in “Pan” are perhaps far more
vicious than anything Barrie imagined. The massive beasts inhabit the Mermaid Lagoon, and,
Wright describes, “They’re about 30 feet long, comparable to prehistoric crocs, albino, because
they live in the dark, scared of light and nearly blind. They are most unhappy creatures.”
Oddly enough, the Never-Crocs’ greatest foe is not man, but Mermaid. As Peter, Hook
and Tiger Lily seek out the mythic Fairyland, they arrive at the Mermaid Lagoon, where the
beautiful, luminescent Mermaids swim playfully.
And, luckily for our heroes, their
incandescence frightens away the monstrous crocs because they are also capable of stinging
the beasts with their electrified tails.
Playing the three Mermaids Peter encounters is just one actress, Cara Delevingne.
Wright had worked with her before, on “Anna Karenina,” and hoped to lure her back for the
pivotal cameo in “Pan.”
“I called her up and asked her if she’d like to come be a Mermaid,” he says, “but rather
than casting three different actresses, I thought Cara could just be all three.”
A relatively new arena for Wright, the director was excited to work with his visual
effects team, lead by visual effects supervisor Chas Jarrett, who, among many other feats,
turned Delevingne into three underwater sirens with long, swirling locks and glowing tails, and
created countless tiny fairies in the form of tiny specks of the brightest light.
The film also contains three unique animation sequences: the “Prologue,” “Memory
Tree” and “Underwater Flashback.” Wright remembers as a kid “being fascinated by the idea
that when you cross-section a big tree, the rings could be counted as years. I’d seen one tree
that had a pin in one of its rings that marked the Battle of Hastings, and when that happened in
that tree’s history.”
21
That memory gave him the idea to incorporate some of Peter’s family history in the
rings of a tree. “I was looking at some wonderful work by Andrew Huang, who did some music
videos for Bjork and Radiohead, as well as some amazing short films. So I called him up and
asked if he would come do some animated sequences for ‘Pan.’ He’s incredibly talented.”
While plunging Peter into his past, present and possible future, Wright also sought to
bring audiences into Peter’s world in as all-encompassing a manner as possible. With the help
of stereographer Chris Parks, Wright turned, for the first time as a filmmaker, to 3D technology.
“What we’ve tried to do with ‘Pan’ is to create a completely immersive world, for kids
and adults,” Wright asserts. “I’ve never worked with a better canvas for 3D than Neverland, so
I knew it was time to give it a go, and I think that audiences are going to experience this world
of wonder in ways they’ve never imagined.”
CHIEF
The little one, he wears the pan!
HOOK
Yes, he’s the boy who can fly!
Costume designer Jacqueline Durran and hair and makeup designer Ivana Primorac,
along with Julie Dartnell, who handled Jackman’s makeup and wig styling, had the mammoth
task of creating looks not only for the principals, but also for the hundreds of extras. They, too,
worked closely with Wright, embracing his vision of an explosive show of culture, color and
texture.
When Wright first met with Jackman about playing Blackbeard, the actor recalls, “He
showed me the image he had in mind for the character, and it was a picture of my face
superimposed on the body of Louis XIV, with a Marie Antoinette wig on, and I said, ‘I’m in!’”
Durran crafted a very specific look for each of the principal characters, savoring the
process of building character through costume. Former French monarchs aside, “there were
certain givens to Blackbeard’s costume, which evolved as we started the fitting process, one of
course that he would wear black,” she notes. “We also wanted to create a very interesting
silhouette for him.
“Another idea was that, because of his pixie dust-enhanced immortality, he has lived
over centuries,” Durran goes on to say, “so there are elements that make up his costume that
come from different periods. But he has decided that they’re his ‘look,’ and he’s carried them
22
on through the ages.” Feathers also figure into Blackbeard’s appearance, and wigs, which cover
his baldness and dreadful scalp marks and help to serve the youthful facade he strives for.
Jackman was thrilled with what Durran achieved for his character. “Jacqueline has an
incredible eye for detail, a great sense of humor, and eccentricity that, whilst elevated, is not
over the top,” he says.
Primorac says, “Joe and I had a great time amalgamating different elements from history
into this very scary pirate who we wanted to look very different from any other pirate we’d
seen before.”
For Durran, that excluded certain eras, mainly “the majority of the 17 th and 18th
centuries, because that’s been done so often and so well.”
The natives’ wildly original and playful looks are a merge of costumes from different
cultures from around the world. A great deal of work was involved in researching various
clothes of indigenous peoples and combining them in a multitude of different ways to create
unique looks. Wherever Durran came upon cross-cultural elements—for example, a similarity
in the way two different cultures would tie belts or sashes around their waists—she subverted
it, instead combining elements that didn’t go together and couldn’t be traced to any one
particular group.
Particularly influential were the costumes of the Yoruba people from West Africa, one of
the largest African ethnic groups south of the Sahara Desert. Their traditional clothing, still
worn on important occasions and in rural areas, is very colorful and elaborate, using block
prints with geometric designs. Sourcing a Yoruba costume from a gallery in the United States,
Durran says, “It was a representation of what we were aiming for. Two of our dancers wear the
costume during the ceremony and it was fantastic to have the foundational idea represented.”
For the natives’ hair and makeup, Primorac referenced Chinese and Indian makeups,
particularly the Kathakali makeup from Southern India, which she describes as “a binding
element” for the group. By bringing in makeup specialists versed in this ancient art, her team
learned how to apply it and how to adapt and design their own version of it. “We also decided
that, in order to have variation from character to character, we would have experts in those
fields work alongside us, which really enhanced the whole look of the tribe.”
Tiger Lily’s style is similar to her tribe’s garb, with elements taken from different
ethnicities and makeup influenced by Chinese Opera. Primorac offers, “Tiger Lily is a warrior
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who wouldn’t really be thinking about makeup, but I wanted a visage that would combine that
with her more feminine, ceremonial look.”
“I had my first fitting with Jacqueline and Ivana, and we talked about the wig,” Mara
recollects. “They knew what they wanted, but I had brought some pictures to give them some
input, and it was exactly what they’d been thinking. Usually, there’s a lot of back and forth and
finessing, but what we decided that first day is what made it into the movie.”
The team also approached the look for the pirates by subverting the conventional look
one expects, on the basis that they have come from different places in the real world, and
different times in history throughout hundreds of years, so their costumes cannot be attributed
to any particular time. Durran took inspiration from some early research Wright had done into
a maverick group of Sierra Leone rebels, known for their bizarre clothing, including women’s
makeup, and with a particular fondness for wearing wings. Thus, unconstrained by a period in
time, Durran was free to take the iconic elements of a pirate—belts, swords, boots, hats—and
mix them up. A pirate wearing a 16th-century hat also dons a pair of 20th-century pants.
“Neverland gave us the freedom to pick from 400 years of costumes, and the only rule
we were bound by was to avoid the 18th century, so we didn’t end up replicating pirates we’ve
seen so often before,” Durran states. She also used lots of tartan, a nod to an ideology that the
pirates were punk rockers of their time, refusing to live by society’s rule.
Wright expands, “The pirate crew are made up of a motley bunch of punks, really. I felt
that they needed a kind of toughness, so one day during rehearsals, we did a sort of pirate boot
camp. I encouraged them all to pick out colorful stuff to wear, while I was trying to find what
might be the music that they’d listen to. We listened to all these sea shanties, but they were all
too lyrical and lovely. I ended up putting on some old-fashioned punk music, and that seemed
to hit the spot.”
Hey!
MINERS
Ho! Let’s go!
Throughout production on “Pan,” Wright often played music on the set for the dedicated
cast and crew, adding to the congenial atmosphere as well as setting the tone for scenes. “We
all make these films together,” he says, “and I find that if people feel a sense of ownership of the
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film, they'll try and make the best thing they possibly can, because it's theirs. And we have a
laugh, really. It's important to enjoy yourself, isn't it?”
“There are so many ways in which Joe distinguishes himself as a director, and music on
the set is one of them,” Jackman says. “It not only creates a unique environment, but he realizes
that for the actors, it can really do so much to evoke the right mood for a scene, and it helps
provide a connection to what the final music in the film might be like.”
Levi Miller agrees. “He played dark music for the scenes in Blackbeard’s cabin, Reggae
music for the scenes in the jungle, and rock music when we were in the mines and on the pirate
ships. It definitely helped me get into the right vibe.”
“Joe plays music constantly,” Garrett Hedlund adds, “so the whole crew is relaxed,
dancing around even as they’re working as hard as they can. It’s an experience that I’ve never
had before, but it really helped me dive into the wonderful imaginary world of Neverland.”
Utilizing music even early on, in this case, changed the entire course of certain
sequences in the movie. Jackman surmises, “I think it’s due to his theatrical background, but
Joe really loves the process of developing characters through rehearsal. After about two weeks
improving with the pirates, he said, ‘You know, why don’t we play some music, and why don’t
we sing. Let’s all sing.’ And by the end of that day, we’d pretty much worked out the song and
the way we were going to have Blackbeard make his first appearance.”
And what a debut. The song—the first of two sung by Blackbeard, his pirates and the
children working in the mines—is Nirvana’s “Smells Like Teen Spirit.” It’s followed a bit later
by The Ramones’ “Blitzkrieg Bop.”
“In these awesome pirate costumes, on this unbelievably massive pirate ship, at the top
of our lungs, we all turned into rockers, every single one of us. It was a day I’ll never forget,”
Jackman smiles.
Artist Lily Allen also contributed two original songs for the film, written with Tim RiceOxley: “Something’s Not Right” and “Little Soldier.”
The songs blended seamlessly with
composer John Powell’s sweeping, adventurous score for the film.
Among the biggest highlights for Wright was the inclusion of world-class jazz drummer
Tony Allen, who came to set and performed a solo to accompany the fight between Hook and
Kwahu. The eclectic mix of musicians in the Tree Village scene also included a Brazilian
Carnival-style band of drummers creating a fantastically interesting mix of African and
Brazilian sound. They were joined by the African Children’s Choir, a large choir made up of
25
children from Uganda who travel the world performing and raising money to fund education
and relief efforts for African children affected by poverty and disease.
Music consultant Maggie Rodford, who has worked with the group for over 15 years
and who is another of Wright’s regular collaborators, brought them to Wright’s attention. “I
had seen one of their performances in South Africa, a dance called the Can Dance,” she says. “I
thought the choreography might spark an idea that Joe could use for the film and showed him a
clip of the kids, but he wanted to use the kids themselves.” They became the heart of the dance,
and the rhythm of the dance—both precise and electrifying—provided wonderful moments on
set for the week or so the children spent there.
“The group happened to be in the UK at the time,” Wright offers, “so they came to set
and got involved, and they were amazing. They created this really wonderful atmosphere. It
was nice to have a focus on set of who you’re doing this film for, and those days were definitely
for them.”
“There’s something about that limitless sense of optimism and joy that kids have, and
first and foremost, ‘Pan’ is an adventure story for kids—including the kid in all of us,” Jackman
states. “We’re taking them to a world beyond the imagination, where they’ll meet characters
steeped in great literature, but with a new light shed on them, and go places filled with
excitement and exploration.”
Wright closes by saying, “Neverland is a place of wonder, a dream where whatever is
required at that moment appears. If a tree is required for climbing, a tree will be there; if a
lagoon is needed for swimming, it will be there. For Peter, who needs a family, it’s where he
will find one. It’s as broad as the imagination that carries it, and what I hope we’ve done with
‘Pan’ is give moviegoers a visual and emotional experience that reminds them how much fun
dreams can be.”
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ABOUT THE CAST
HUGH JACKMAN (Blackbeard) 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 blockbuster “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 “XMen: 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. Audiences once again went to see Jackman in the popular role in the next
chapter titled “The Wolverine,” which grossed over $400 million worldwide. In 2014, Jackman
and the X-Men team reunited for “X-Men: Days of Future Past.”
Upcoming, Jackman returns to the role of Wolverine in “X-Men: Apocalypse,” due out in
2016. He also stars in “Eddie the Eagle” about Great Britain’s first Olympic ski jumper, who
didn’t win a medal but won the hearts of the world.
Jackman garnered his first Academy Award nomination, for Best Actor, for his
performance in Tom Hooper’s “Les Misérables,” based on popular stage show created from
Victor’s Hugo famous novel of the same name. Jackman’s standout performance as protagonist
Jean Valjean also 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, and a BAFTA Award nomination.
In 2009, Jackman took on host duties at the 81st Annual Academy Awards, earning an
Emmy Award nomination for his work. 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 the 2004 ceremony, and an Emmy nomination for
his appearance at the 2005 ceremony.
Jackman’s additional film credits include “Chappie,” “Prisoners,” Shawn Levy’s “Real
Steel,” Baz Luhrmann’s “Australia,” Christopher Nolan’s “The Prestige,” Darren Aronofsky’s
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“The Fountain,” Woody Allen’s “Scoop,” “Deception,” “Someone Like You,” “Swordfish,” “Van
Helsing,” and “Kate and Leopold,” for which he received a 2002 Golden Globe nomination. In
addition, he lent his voice to the animated features “Happy Feet,” “Flushed Away” and “Rise of
the Guardians.”
On Broadway, Jackman most recently received rave reviews for his performance as The
Man in the “The River.” In 2011, he made a splash on the Great White Way in his one-man
show, “Hugh Jackman – Back on Broadway.” Backed by an 18-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 2009, Broadway audiences could see Jackman in the Keith Huff-penned “A Steady
Rain,” in which he starred with Daniel Craig. 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 Australia’s prestigious ‘MO’ Award; and “Beauty and the
Beast,” for which he received a ‘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.
LEVI MILLER (Peter) was chosen in a worldwide search for the central role in “Pan.”
The film marks his major feature film debut.
Miller will next begin production on the film adaptation of Craig Silvey’s modern
Australian classic Jasper Jones, to be directed by Rachel Perkins. This coming-of-age film
revolves around the bookish 14-year-old Charlie Bucktin (Miller), who, over one eventful
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summer in 1965, navigates small-town racism and the trials of teenage love to discover what it
means to truly be courageous. Production will take place in Australia.
This past summer, Miller completed filming “Blue Dog,” a follow up to the 2011
Australian smash hit “Red Dog.” Separate from the first film, “Blue Dog” is the story of a young
boy (Miller) and his dog, growing up on a rural cattle station in the late 1960s. Prepared for a
life of dull hardship, the boy instead finds adventure and friendship with a one-of-a-kind pup.
Directed by Kriv Stenders, the film also stars Jason Isaacs.
On the small screen, Miller recently filmed an episode of the new CW show “Supergirl,”
which premieres later this fall.
Miller plays the role of Carter Grant, the son of Calista
Flockhart’s character, Cat Grant.
Some of Miller’s earlier work includes a guest role on FOX’s “Terra Nova,” alongside
Jason O’Mara, and a role in the Australian film “A Heartbeat Away,” with Sebastian Gregory and
Isabel Luca.
Outside of acting, Miller is the Global Ambassador for Polo Ralph Lauren’s Fall/Winter
2015 childrenswear campaign.
This ad campaign, inspired by Peter Pan, was shot by
photographer Matt Jones and will debut in advertising, window displays, in-store events and
videos this year. Miller also walked in the New York Fashion Show with Mr. Ralph Lauren at
the Central Park Zoo in August 2015.
GARRETT HEDLUND (Hook) next stars in Ang Lee’s drama “Billy Lynn’s Long Halftime
Walk,” based on Ben Fountain’s novel of the same name. Due out in Fall 2016, the film also
stars Vin Diesel, Steve Martin, Chris Tucker and Kristen Stewart.
He recently starred in three very different films: Angelina Jolie’s World War II drama
“Unbroken,” based on the Laura Hillenbrand bestseller about American hero Louis Zamperini;
the Coen brothers’ “Inside Llewyn Davis,” alongside Oscar Isaac, Carey Mulligan, Justin
Timberlake and John Goodman; and “Lullaby,” in which he starred as a young man whose
father wants to be taken off life support, alongside Richard Jenkins, Amy Adams and Terrence
Howard.
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Hedlund reunited with Oscar Isaac in the independent feature “Mojave,” written and
directed by William Monahan, which premiered at the 2015 Tribeca Film Festival. He also
received critical accolades for his performance in Walter Salles’ “On the Road,” based on the
novel by Jack Kerouac, in which he starred with Sam Riley and Kristen Stewart.
Hedlund was just 18 when he made an auspicious motion picture debut in Wolfgang
Petersen’s epic “Troy,” joining an all star cast, including Brad Pitt, Eric Bana, Orlando Bloom
and Diane Kruger. Hedlund portrayed Patroclus, the teenage cousin of Achilles, in the film
based on Homer’s classic The Iliad.
He has since worked alongside a number of noted actors and directors on such projects
as Peter Berg’s “Friday Night Lights,” co-starring with Billy Bob Thornton and Tim McGraw;
John Singleton’s “Four Brothers,” starring with Mark Wahlberg, Andre 3000 and Tyrese Gibson;
“Eragon,” with Djimon Honsou, Jeremy Irons and John Malkovich; Garry Marshall’s “Georgia
Rule,” opposite Lindsay Lohan and Jane Fonda; James Wan’s “Death Sentence,” with Kevin
Bacon, Kelly Preston and John Goodman; and “TRON: Legacy,” alongside Jeff Bridges and Olivia
Wilde. He also showcased his singing talents starring in “Country Strong,” with Gwyneth
Paltrow, Leighton Meester and Tim McGraw.
Born in northern Minnesota, Hedlund spent his high school years in Scottsdale, Arizona,
where he began taking private acting classes. Graduating from high school a semester early, he
immediately packed his bags and headed for Hollywood.
Hedlund has been honored with the Young Hollywood Film Actor of the Year Award, the
Glamour UK Man of the Year Award and the Maui Film Festival’s Rising Star Award.
ROONEY MARA (Tiger Lily) earned an Academy Award nomination for Best Actress for
her mesmerizing performance in “The Girl with the Dragon Tattoo,” David Fincher’s U.S. screen
adaptation of the popular Stieg Larsson book of the same name. Mara portrayed the female
lead, Lisbeth Salander, opposite Daniel Craig and Robin Wright. For her performance, Mara
was also recognized by the National Board of Review with the award for Breakthrough
Performance and earned a Golden Globe nomination for Best Actress - Drama.
Following “Pan,” Mara stars opposite Cate Blanchett in Todd Haynes’ romantic drama
“Carol,” which premiered at the 2015 Cannes Film Festival, where Mara was named Best
Actress for her performance in the film. Based on the controversial novel The Price of Salt,
about a forbidden romantic relationship between two women in 1950s New York, the film is
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slated for release in November 2015. She also stars in Stephen Daldry’s drama “Trash,”
scripted by Richard Curtis and set in the slums of Brazil, which screened internationally and
will have its U.S. debut in October. Her other upcoming films include Jim Sheridan’s “The Secret
Scripture”; an as-yet-untitled Terrence Malick project, with an all-star cast, including Christian
Bale, Natalie Portman, Ryan Gosling, Michael Fassbender and Cate Blanchett; “Lion,” with
Nicole Kidman and Dev Patel; and “Blackbird,” opposite Ben Mendelsohn.
In 2013, she starred in Spike Jonze’s award-winning feature “Her,” with Joaquin
Phoenix; the Sundance Film Festival competitive entry “Ain’t Them Bodies Saints,” with Casey
Affleck and Ben Foster for writer/director David Lowery; and Steven Soderbergh’s “Side
Effects,” opposite Channing Tatum and Jude Law.
Her earlier film credits include “Tanner Hall,” directed by Francesca Gregorini and
Tatiana von Furstenberg; David Fincher’s acclaimed drama “The Social Network”; “Youth in
Revolt”; and “The Winning Season,” opposite Sam Rockwell.
On the small screen, Mara’s credits include memorable guest-starring roles on “ER,”
“The Cleaner,” “Women’s Murder Club” and “Law & Order: SVU.”
Mara began her career shortly after enrolling as a student at New York University. It
was during her college years that she decided to explore her interest in acting, landing small
parts in independent films and eventually moving to Los Angeles to pursue it full-time.
Mara is the Founder of the non-profit organization Uweze, which provides critical care
and assistance to poverty-stricken orphans in Africa’s largest slum in Kibera, Kenya.
AMANDA SEYFRIED (Mary) has established herself as one of Hollywood’s most
captivating young leading actresses. Earlier this year, she added to her repertoire, starring
opposite Thomas Sadoski in the off-Broadway production of Neil LaBute’s new play “The Way
We Get By.” Directed by Leigh Silverman, the production opened on May 19 at the Second
Stage Theatre and marked Seyfried’s off-Broadway debut.
On the screen, her upcoming films include the independent drama “Fathers and
Daughters,” with Russell Crowe and Aaron Paul and directed by Gabriele Muccino, and Jessie
Nelson’s “Love the Coopers,” a holiday comedy set for release in November.
Seyfried has starred in the two most successful film musicals of all time. In 2012, she
played Cosette in the film adaptation of Victor Hugo’s “Les Misérables,” alongside Hugh
Jackman, Eddie Redmayne, Anne Hathaway and Russell Crowe. Tom Hooper directed the film,
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which was released on Christmas and went on to earn more than $440 million at the global box
office. Seyfried also shared in a Screen Actors Guild Award nomination for Best Motion Picture
Cast.
Seyfried had earlier starred in the 2008 smash hit “Mamma Mia!” highlighting her vocal
skills as Sophie, the daughter of Meryl Streep’s character, Donna. The film, directed by Phyllida
Lloyd, grossed more than $600 million worldwide, making it the top-grossing musical film of all
time.
In 2013, Seyfried starred in two very different films. She lent her voice to the animated
adventure “Epic,” with Beyoncé Knowles, Christoph Waltz and Colin Farrell. She also starred in
the title role of “Lovelace,” directed by Rob Epstein and Jeffrey Friedman, which tells the true
story of Linda Lovelace, the world’s first adult film superstar, who is abused by the industry
and her coercive husband.
In 2010, she starred alongside Channing Tatum in the box-office hit “Dear John,” Lasse
Hallström’s adaptation of the Nicholas Sparks bestseller. The romantic drama grossed more
than $100 million worldwide, and had the biggest opening to date for Sony Pictures’ Screen
Gems.
A Pennsylvania native, Seyfried started her career as a model at age 11. She soon
turned to acting and landed her first contract role in 2000 as Lucy Montgomery on “As the
World Turns.” However, her big break came in 2004 when she co-starred with Lindsay Lohan,
Rachel McAdams and Lacey Chabert as one of the titular “Mean Girls” in the mega hit directed
by Mark Waters from a screenplay by Tina Fey. Together, the four young stars won the Best
On-Screen Team Award at the 2005 MTV Movie Awards.
Seyfried’s additional film credits include Seth MacFarlane’s “Ted 2” and “A Million Ways
to Die in the West”; Andrew Niccol’s “In Time,” opposite Justin Timberlake; “Letters to Juliet”;
and the title role in Atom Egoyan’s “Chloe.”
Seyfried is Givenchy’s Very Irrésistible ambassador and the global spokesperson for the
luxury skin care and makeup brand Clé de Peau Beauté.
ADEEL AKHTAR (Sam Smiegel) has been seen in a number of movies and has also
worked extensively on television, primarily in England. He made his feature film debut in
“Traitor” and then appeared in the award-winning indie film “Four Lions,” playing the
memorably hapless Faisal. He was also featured in the comedy “The Dictator,” with Sacha
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Baron Cohen.
His other film credits include the independent releases “War Book” and
“Convenience.”
On the small screen, Akhtar received a BAFTA TV Award nomination for Best
Supporting Actor for his performance as Wilson Wilson on the series “Utopia.” He also recently
starred on the series “The Job Lot.” His other television credits include “Trollied,” “The
Tunnel,” “Coming Up,” “Conviction,” “River” and an episode of the series “Law & Order:
Criminal Intent.”
ABOUT THE FILMMAKERS
JOE WRIGHT (Director) was born in 1971 to a family of puppeteers, and grew up in the
theatre his parents founded, The Little Angel Theatre in Islington, London.
Wright studied Fine Art, Film and Video at Central St. Martin’s College of Art. After
college, he worked on music videos and short films until 1997, when he was commissioned to
direct “Nature Boy,” a four-part miniseries for BBC2. “Nature Boy” was awarded Best Drama
Serial by the Royal Television Society. This was followed by several other highly acclaimed,
nominated and awarded miniseries, including “Bob and Rose,” written by Russell T. Davies;
“Bodily Harm,” starring Timothy Spall, George Cole and Lesley Manville; and “Charles II: The
Power & the Passion” for the BBC1, starring Rufus Sewell, which won the BAFTA for Best
Drama Serial.
Wright made his feature film directorial debut in 2005 with “Pride & Prejudice,”
starring Keira Knightley, Matthew MacFadyen, Rosamund Pike, Donald Sutherland, Brenda
Blethyn, and Carey Mulligan in her first screen appearance. The film was critically acclaimed
and Wright won BAFTA’s Carl Foreman Award for Special Achievement by a British Director,
Writer or Producer in Their First Feature Film. He was also honored with the London Critics’
Circle Film Award for British Director of the Year and the Boston Society of Film Critics’ award
for Best New Filmmaker. “Pride & Prejudice” was nominated for five additional BAFTA
Awards, four Academy Awards and two Golden Globe Awards.
Wright’s second feature, “Atonement,” based on Ian McEwan’s novel and starring
Knightley, James McAvoy, Benedict Cumberbatch and Saoirse Ronan, received 13 BAFTA
Award nominations, and won for Best Film and Best Production Design. “Atonement” received
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seven Academy Award nominations, including Best Picture, ultimately winning the Oscar for
Best Original Score. It also received seven Golden Globe Award nominations, winning Globes
for Best Picture (Drama) and Best Original Score.
Wright went on to direct Robert Downey Jr. and Jamie Foxx in “The Soloist,” and Saoirse
Ronan and Cate Blanchett in the sleeper hit “Hanna,” with an electronic music score by The
Chemical Brothers.
In 2011, Wright directed “Anna Karenina,” starring Knightley, Aaron Taylor-Johnson,
Jude Law, Domnhall Gleeson, and Alicia Vikander in her first English-speaking role, from a
screenplay penned by Tom Stoppard. “Anna Karenina” was nominated for six BAFTA awards
and four Academy Awards, taking home both for Costume Design.
Wright made his debut in the theatre world in 2013 at the Donmar Warehouse
with “Trelawny of the Wells,” an Arthur Pinero play re-worked by Patrick Marber. This was
followed by the critically acclaimed “A Season in the Congo” at the Young Vic theatre, starring
Chiwetel Ejiofor.
Wright is a founder of Shoebox Films, a London-based film and television production
company which, among other works, produced Steve Knights’ critically acclaimed and multiaward winning thriller “Locke,” starring Tom Hardy.
Wright lives in London with his wife, classical sitarist Anoushka Shankar, and their two
young sons.
JASON FUCHS (Written by) is an American film and television screenwriter and actor.
His live-action feature screenwriting debut is “Pan,” an epic original Peter Pan prequel.
Fuchs made his feature screenwriting debut in 2012 with the animated “Ice Age:
Continental Drift.” The film grossed $881 million worldwide, becoming one of the most
successful animated films of all time. As a result, at age 26, Fuchs became the youngest
screenwriter in film history to pen a film that grossed over $226 million, the worldwide box
office mark set in 1997 by Matt Damon and Ben Affleck with their screenplay for “Good Will
Hunting.”
Currently, Fuchs is developing several feature film projects, including the sci-fi
adventure “The Magic Catalogue,” for Robert Zemeckis’ ImageMovers, and the supernatural
thriller “Break My Heart 1,000 Times,” starring Hailee Steinfeld, which he will write and
executive produce.
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On the television side, Fuchs is currently scripting a conspiracy thriller drama entitled
“Black Box,” for Steven Spielberg’s Amblin TV and the U.S. basic cable network TNT; Fuchs will
also executive produce in addition to creating.
The show revolves around the allegedly
accidental crash of a civilian airliner.
A two-time Young Artist Award-nominated actor, Fuchs has been featured on stage as
well as screen for over two decades. His next acting project will be a supporting role opposite
Emma Stone in Damien Chazelle’s romantic comedy “La La Land.” He recently played a young
version of Matthew Broderick’s character in “Look Away.”
Most notably, Fuchs starred
opposite Jesse Eisenberg and Justin Bartha in the indie film hit “Holy Rollers,” an official
competition selection of the Sundance Film Festival. Fuchs also received rave reviews in the
Roundabout Theater Company’s world premiere play “Speech & Debate,” helmed by Tonynominated director Jason Moore (“Avenue Q”), which played to a sold out, twice-extended offBroadway run.
Fuchs graduated from Columbia University in 2009 with a B.A. in Film.
GREG BERLANTI (Producer) is a WGA-, DGA-, Golden Globe- and Emmy Awardnominated writer, director and producer, and the force behind several of the most inventive
and acclaimed works on film and television, including ABC’s “Brothers & Sisters”; “Eli Stone,”
for which he was nominated for a WGA Award; CBS’s “Golden Boy”; and “Political Animals,” the
USA Network miniseries for which he received WGA, DGA, Golden Globe and Emmy Award
nominations.
Berlanti started in television as a writer and executive producer on “Dawson’s Creek”
before going on to create and executive produce two of the WB’s most critically acclaimed
dramas, “Everwood” and “Jack & Bobby.”
Berlanti co-wrote and produced the action film “Green Lantern.” He also directed “Life
as We Know It,” starring Katherine Heigl and Josh Duhamel, which grossed over $100 million
worldwide. In 2000, Berlanti made his film directorial debut with “The Broken Hearts Club.”
Currently in TV he is executive producing both The CW’s “Arrow” and “The Flash,” as
well as the NBC series “The Mysteries of Laura.”
Berlanti resides in Los Angeles.
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SARAH SCHECHTER (Producer) serves as executive producer on the DC Super Hero
shows “Supergirl,” “Arrow,” “The Flash” and the upcoming “Legends of Tomorrow,” as well as
this fall’s “Blindspot,” and NBC’s “The Mysteries of Laura.”
Before joining Berlanti Productions, Schechter spent nine years at Warner Bros.
Pictures, most recently serving as Senior Vice President of Production. During her tenure at
Warner Bros., she oversaw a myriad of films, from Spike Jonze’s “Her” to Clint Eastwood’s
“Gran Torino.” Her other projects include Tim Burton’s “Dark Shadows,” Eastwood’s “Invictus”
and “J. Edgar,” Greg Berlanti’s “Life as We Know It,” “I Am Legend,” and the sequel to “300,”
“300: Rise of an Empire.”
Schechter joined Warner Bros. as a Creative Executive in June of 2005, ascended to Vice
President in 2007 and then to Senior Vice President in 2009. Prior to joining Warner Bros.
Pictures, Schechter was an executive at Barry Mendel Productions at Universal Pictures for
several years. While there, she oversaw “The Life Aquatic with Steve Zissou” and worked on
“Munich” and “The Royal Tenenbaums,” among others. She began her career working for
Academy Award-winning filmmaker Barbara Kopple.
Schechter graduated with Honors with a degree in Film Theory from the University of
California at Santa Cruz.
PAUL WEBSTER (Producer) is an Oscar-nominated, BAFTA- and Golden Globe Awardwinning producer. In a career spanning 40 years, he has made over 100 films as a producer
and executive, including some of the UK’s most commercially and critically successful features,
such as “The English Patient,” “Shakespeare in Love,” “Sexy Beast,” “Pride & Prejudice” and
“Atonement.”
In partnership with Joe Wright and fellow producer Guy Heeley, he owns Shoebox
Films, with whom he produced the critically acclaimed “Locke,” starring Tom Hardy.
TIM LEWIS (Executive Producer) is currently in production as executive producer on
David Yates’ “Fantastic Beasts and Where to Find Them,” scripted by Harry Potter creator Jo
Rowling and inspired by her character Newt Scamander’s Hogwarts textbook of the same
name. Lewis served as unit production manager on five “Harry Potter” films, “The Prisoner of
Azkaban,” “The Goblet of Fire,” “The Order of the Phoenix,” “The Half-Blood Prince” and “The
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Deathly Hallows – Part 2,” also co-producing the “The Deathly Hallows” parts 1 and 2 and
associate producing “The Order of the Phoenix” and “The Half-Blood Prince.”
Lewis most recently executive produced Kenneth Branagh’s “Cinderella,” starring Cate
Blanchett, and also served as UPM and co-producer on Doug Liman’s actioner “Edge of
Tomorrow,” starring Tom Cruise and Emily Blunt.
He began his feature film career as an assistant director, working on such films as
Steven Spielberg’s “Empire of the Sun,” Michael Apted’s “Gorilla’s in the Mist,” Neil Jordan’s
“High Spirits,” Clint Eastwood’s “White Hunter Black Heart,” James Dearden’s “A Kiss Before
Dying,” John Irvin’s “Robin Hood” and Philip Noyce’s “Patriot Games,” among others. Lewis also
worked on several Bond films, including “GoldenEye,” as an AD, and “Tomorrow Never Dies,”
“The World Is Not Enough” and “Die Another Day,” the last three in varying production
manager positions.
SEAMUS McGARVEY (Director of Photography) has collected two Academy Award
nominations for his cinematography: on Joe Wright’s 2007 WWI drama “Atonement,” and his
2012 adaptation of Tolstoy’s classic, “Anna Karenina.”
In addition to the Oscar nominations, McGarvey won the British Society of
Cinematographers (B.S.C.) award for “Anna Karenina,” as well as a nomination for “Atonement,”
and also earned BAFTA and A.S.C. nods for both projects. “Atonement” also earned him
nominations for the British Independent Film Award, the Chicago Film Critics Association and
the Online Film Critics Society, while walking off with the top honor from the Phoenix Film
Critics Society.
McGarvey has also won three Evening Standard British Film Awards, for “Atonement,”
“Anna Karenina” and Stephen Daldry’s “The Hours”; and a quartet of Irish Film & Television
Awards, for “Atonement,” “Anna Karenina,” “Sahara” and “We Need to Talk About Kevin.” In
2004, he was awarded the Royal Photographic Society's prestigious Lumière medal, sharing the
company of such pioneers as Jack Cardiff, Freddie Francis, Roger Deakins and Sir Ridley Scott,
for contributions to the art of cinematography.
McGarvey hails from Armagh, Northern Ireland, and began his career as a stills
photographer before attending film school at the University of Westminster in London. Upon
graduating in 1988, he began shooting short films and documentaries, including “Skin,” which
was nominated for a Royal Television Society Cinematography Award, and “Atlantic,” directed
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by Sam Taylor-Wood. The latter project, an experimental, three-screen projected film created
in 1997, earned Taylor-Wood a nomination for the 1998 Turner Prize, and would lead to an
ongoing collaboration between McGarvey and the director.
His four dozen credits as director of photography include Joss Whedon’s superhero epic
“Marvel’s The Avengers,” the industry record holder for highest opening weekend box office
upon its release in May 2012, and the fourth highest-grossing film of all time; Lynne Ramsay’s
“We Need to Talk About Kevin”; Oliver Stone’s “World Trade Center,” which earned an IFTA
nomination; Gary Winick’s “Charlotte’s Web”; John Hamburg’s “Along Came Polly”; Stephen
Frears’ “High Fidelity”; Mike Nichols’ “Wit”; Michael Apted’s “Enigma”; Michael Winterbottom’s
“Butterfly Kiss,” McGarvey’s first feature film credit; and two projects marking actors’
directorial debuts: Tim Roth’s “The War Zone” and Alan Rickman’s “The Winter Guest.” He also
served as cinematographer on the pilot for the BBC/HBO TV series “The No. 1 Ladies Detective
Agency,” directed by Anthony Minghella.
He reunited with director Wright for his 2009 drama “The Soloist,” and filmmaker Sam
Taylor-Wood (now Sam Taylor-Johnson) on her acclaimed 2008 drama, “Nowhere Boy,” her
2011 short, “James Bond Supports International Women’s Day” and the “Death Valley” segment
of the 2006 erotic drama “Destricted.” Following his work on “Godzilla,” he reteamed with
Taylor-Johnson on her big screen adaptation and Hollywood directorial debut of the bestselling
phenomenon “Fifty Shades of Grey.” His work will next be seen in 2016’s fall release “The
Accountant,” from director Gavin O’Connor.
His documentary work includes “Lost Angels: Skid Row Is My Home,” which followed
his work on Wright’s “The Soloist,” and filmed in the same locales; “Harry Dean Stanton: Partly
Fiction”; “Rolling Stones: Tip of the Tongue”; and “The Name of This Film Is Dogme95.”
Supplementing his work on features and telefilms, McGarvey has also photographed
and directed over 100 music videos, for such artists as Coldplay, Paul McCartney, Dusty
Springfield, The Rolling Stones, U2, and Robbie Williams.
JOHN MATHIESON (Director of Photography) is one of a group of filmmakers who
emerged out of the music video industry of the late ‘80s and ‘90s. He came up through the
traditional camera ranks and worked as a camera assistant to Gabriel Beristáin for several
years.
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Mathieson was first recognized in 1998 for his work on the music video “Peek-A-Boo,”
by Siouxsie and the Banshees.
Mathieson honed his craft through the 1990s, shooting
numerous television commercials and music videos for artists including Madonna, Prince and
Massive Attack. He collaborated with John Maybury, director of Sinead O’Connor’s music video
“Nothing Compares 2 U,” going on to photograph Maybury’s award-winning film “Love Is the
Devil: Study for a Portrait of Francis Bacon,” in 1998.
In the mid ‘90s, Mathieson photographed two feature films for director Karim Dridi, for
which he later received the Legion of Honor’s Chevalier by the French government. He came to
the attention of Tony Scott while shooting television commercials for the London-based
company RSA Films. After working as visual effects cinematographer on “Enemy of the State”
for Tony Scott in 1998, Mathieson photographed the film “Plunkett & Macleane” in 1999 for
Jake Scott. Having seen Mathieson’s work on “Plunkett,” Ridley Scott invited him to work on his
next project, beginning a regular collaboration between the two. Mathieson has photographed
four films for Ridley Scott: “Gladiator,” “Hannibal,” “Kingdom of Heaven” and “Robin Hood.”
In 2001, he was nominated for an Academy Award for his work on “Gladiator” and won
the BAFTA Award for Best Cinematography in the same year. His second Oscar nomination
came in 2004, for “The Phantom of the Opera,” directed by Joel Schumacher. Mathieson’s other
feature film credits include Marc Evans’ “Trauma,” Stephen Woolley’s “Stoned,” “K-Pax,”
“Brighton Rock,” “Burke and Hare,” “X-Men: First Class,” Mike Newell’s “Great Expectations,”
and “47 Ronin.”
Mathieson most recently teamed with Guy Ritchie on the director’s stylish summer
2015 release “The Man from U.N.C.L.E.,” and is currently lensing Ritchie’s original King Arthur
epic, set for a July 22, 2016 release.
Mathieson is a member of the British Society of Cinematographers.
ALINE BONETTO (Production Designer) is best known for her work with Jean-Pierre
Jeunet on films including “Amelie,” “A Very Long Engagement” and “Micmacs.” Her work on the
first two of those films each won her a Cesar Award for Best Production Design, as well as
nominations for the Academy Award for Best Art Direction. She also won the BAFTA Best
Production Design and the Art Director’s Guild Excellence in Production Design awards for
“Amelie” and a European Film Award for “A Very Long Engagement.”
39
She most recently worked on the biopic “Yves Saint Laurent,” for director Jalil Lespert,
and on Jeunet’s “The Young and Prodigious T.S. Spivet,” and was nominated for a Cesar Award
for both.
She also worked as set decorator on such films as Jonathan Demme’s “The Truth About
Charlie,” Daisy von Scherler Mayer’s “Madeline,” and “The City of Lost Children” and
“Delicatessen,” for directors Marc Caro and Jeunet.
Bonetto has also designed over 70 commercials for clients, including Chanel No 5,
Chanel Coco Mademoiselle, Versace, Etro, L’Oreal, EDF, Ford, and Peugeot, with such directors
as Joe Wright, Jean-Pierre Jeunet, Mario Testino, and Emir Kusturica.
PAUL TOTHILL (Editor) first worked with director Joe Wright on the miniseries
“Charles II: The Power & the Passion.” Their collaboration has continued ever since, on the
features “Pride & Prejudice,” “Atonement,” “The Soloist,” “Hanna,” and now “Pan.”
Tothill’s editing work on “Pride & Prejudice” earned him an American Cinema
Editors (ACE) Eddie Award nomination in the Best-Edited Feature Film (Comedy or Musical)
category; for his work on “Atonement,” he received a BAFTA Award nomination and was
named Best Editor by the San Diego Film Critics Society.
He started his editing career at The BBC. In addition to several Royal Television Society
Award nominations, he has received five BAFTA Award nominations, for his work on the
following television miniseries: Bille Eltringham’s “The Long Firm”; Stephen Poliakoff’s “Perfect
Strangers”; Andy Wilson’s “Gormenghast”; Metin Hüseyin’s “The History of Tom Jones, a
Foundling”; and Anthony Page’s “Middlemarch.”
Tothill’s upcoming film credits include Kranti Kanade’s “Gandhi of the Month” and Ilya
Khrzhanovskiy’s “Dau.” His other film credits include “Good People,” from Henrik Ruben
Genz”; Charlie Stratton’s “In Secret”; Michael Hoffman’s “Gambit”; Paul Weiland’s “Sixty Six”;
and Shane Meadows’ “A Room for Romeo Brass.” His other television credits include Stephen
Poliakoff’s miniseries “Shooting the Past,” Beeban Kidron’s “Murder,” and Simon Cellan-Jones’
segments of the epic miniseries “Our Friends in the North.”
WILLIAM HOY (Editor) edited Zack Snyder’s worldwide hit “300,” his acclaimed comic
book adaptation “Watchmen,” and the action fantasy “Sucker Punch,” having first worked with
the director as an additional editor on “Dawn of the Dead.”
40
Hoy most recently cut Matt Reeves’ blockbuster “Dawn of the Planet of the Apes,” which
garnered him a Satellite Award for Best Film Editing, and Timur Bekmambetov’s “Abraham
Lincoln: Vampire Hunter.” He has also edited such films as Tim Story’s “Fantastic Four” and its
sequel, “Fantastic 4: Rise of the Silver Surfer”; Alex Proyas’ “I, Robot”; F. Gary Gray’s “A Man
Apart”; and Randall Wallace’s “We Were Soldiers” and “The Man in the Iron Mask.” He has
collaborated with filmmaker Phillip Noyce on three films: “The Bone Collector,” “Sliver” and
“Patriot Games.”
Hoy’s additional credits include editing work on “Se7en,” “Outbreak,” “Star Trek VI: The
Undiscovered Country” and “Dances with Wolves.”
For television, he has edited “Houdini” for TNT, “Shattered Mind,” and the series “Star
Trek: The Next Generation.”
JACQUELINE DURRAN (Costume Designer) won the Academy Award for Best
Achievement in Costume Design for Joe Wright’s “Anna Karenina,” starring Keira Knightley and
Jude Law, as well as the BAFTA Film Award for Best Costume Design, the Costume Designers
Guild Award, and the Evening Standard British Film Award for Best Technical Achievement,
shared with Sarah Greenwood and Seamus McGarvey. Her previous collaborations with Joe
Wright include “Pride & Prejudice,” “Atonement,” both earning Durran Academy Award and
BAFTA Film Award nominations, “Hanna” and “The Soloist.” “Pride & Prejudice” additionally
brought Durran a Satellite Award, and “Atonement” a Costume Designers Guild Award
nomination, and an Evening Standard British Film Award for technical achievement (shared
with the film’s cinematographer and production designer).
Durran has also enjoyed a long collaboration with Mike Leigh on such films as “All Or
Nothing,” her first feature as costume designer, “Vera Drake,” for which Durran won the BAFTA
Award for Best Costume Design, “Happy-Go-Lucky,” “Another Year,” and his latest opus, “Mr.
Turner,” an exploration of the artist Turner’s life, nominated for the Palme D’Or at 2014 Cannes
Film Festival.
Her other credits include the upcoming “Macbeth,” starring Michael Fassbender and
Marion Cotillard; Richard Ayoade’s “The Double”; Tomas Alfredson’s “Tinker Tailor Soldier
Spy,” for which Durran received a BAFTA Film Award nomination; and Susanna White’s “Nanny
McPhee Returns.” Her earlier credits include David Mackenzie’s “Young Adam” and Sally
Potter’s “Yes” and, prior to those, as assistant costume designer, Mike Leigh’s Academy Award-
41
winning “Topsy-Turvy,” Simon West’s “Lara Croft: Tomb Raider,” George Lucas’ “Star Wars:
Episode II – Attack of the Clones,” and Lee Tamahori’s “Die Another Day.”
IVANA PRIMORAC (Makeup & Hair Designer) has been BAFTA Award-nominated for
Best Makeup and Hair six times, for her work on Tim Burton’s “Charlie and the Chocolate
Factory” and “Sweeney Todd,” both starring Johnny Depp and Helena Bonham Carter; Anthony
Minghella’s “Cold Mountain,” starring Jude Law, Nicole Kidman and Academy Award winner
Renée Zellweger; Stephen Daldry’s “The Hours,” starring Academy Award winner Nicole
Kidman; and “Atonement” and “Anna Karenina,” both for director, Joe Wright. She also worked
with Wright on the action thriller “Hanna.”
Her work will next be seen in the Danny Boyle-directed biopic, “Steve Jobs,” starring
Michael Fassbender, and was most recently seen in “The Imitation Game,” starring Benedict
Cumberbatch. Other films for which Primorac has been the hair and make-up designer include
Jason Reitman’s “Labor Day,” starring Kate Winslet and Josh Brolin; Lone Scherfig’s “One Day,”
starring Anne Hathaway opposite Jim Sturgess; Rowan Joffe’s “Brighton Rock”; Stephen
Daldry’s “Extremely Loud & Incredibly Close” and “The Reader,” the latter starring Academy
Award winner Winslet; Justin Chadwick’s “The Other Boleyn Girl”; Anthony Minghella’s
“Breaking and Entering”; M. Night Shyamalan’s “The Last Airbender”; and Milos Forman’s
“Goya’s Ghosts,” starring Natalie Portman and Javier Bardem. The latter earned her a Goya
Award nomination.
She has also worked on such films as Peter Jackson’s Academy Award-winning “The
Lord of the Rings: The Return of the King”; Laurence Dunmore’s “The Libertine,” starring
Johnny Depp; Shyamalan’s “The Village”; Patrice Chéreau’s “Intimacy”; Daldry’s “Billy Elliot”;
Ridley Scott’s Academy Award-winning “Gladiator”; Tim Roth’s “The War Zone”; Shekhar
Kapur’s “Elizabeth”; Kenneth Branagh’s “A Midwinter’s Tale”; Nancy Meckler’s “Sister My
Sister”; Chris Menges’ “Second Best”; and “Rosencrantz & Guildenstern Are Dead,” written and
directed by “Anna Karenina” screenwriter Tom Stoppard.
Her recent work on the stage includes designing the makeup for the Tony Awardwinning revival of Arthur Miller’s “Death of a Salesman,” directed by Mike Nichols and starring
Philip Seymour Hoffman.
42
JOHN POWELL (Composer) was catapulted into the realm of A-list composers by
displaying an entirely original voice with his oft-referenced scores to the Matt
Damon/“Bourne” film trilogy. He has become the go-to writer for family animated films,
scoring such hits as “Shrek,” “Chicken Run,” “Ice Age: The Meltdown,” “Ice Age: Dawn of the
Dinosaurs,” “Bolt,” “Rio,” “Happy Feet,” “Happy Feet 2,” “Kung Fu Panda,” “Kung Fu Panda 2,”
“Dr. Seuss’ The Lorax,” “Ice Age: Continental Drift,” “How to Train Your Dragon” and “How to
Train Your Dragon 2.”
His pulsating action music has provided the fuel for “Hancock,” “Green Zone,” “Stop
Loss,” “Mr. and Mrs. Smith” and “The Italian Job.” Powell’s music has also sweetened the
romance of “Two Weeks Notice” and “P.S. I Love You,” empowered “X-Men: The Last Stand,”
lent tenderness to “I Am Sam” and gripping drama to “United 93.”
Powell’s infectious score for “How to Train Your Dragon” earned him an Academy
Award nomination, and his work on the sequel, “How to Train Your Dragon 2” garnered him an
Annie Award. He received BAFTA nominations for “How to Train Your Dragon,” “Happy Feet”
and “Shrek” and was nominated for a Grammy in 2008 for his work on “Happy Feet.” Powell is
the recipient of five Ivor Novello Awards for Best Original Film Score from the British Academy
of Composers and Songwriters, for “Shrek,” “Ice Age: The Meltdown,” “Ice Age: Dawn of the
Dinosaurs,” “How to Train Your Dragon” and “How to Train Your Dragon 2.”
A native of London, Powell was an accomplished violinist as a child, wrote music for
commercials out of school, and assisted composer Patrick Doyle in the early 1990s. He moved
to the U.S. in 1997, scored the film “Face-Off,” co-wrote the score for “Antz,” and quickly
became one of the most desirable, versatile and exciting composers in town.
43
A WARNER BROS. PICTURES Presentation
In Association with RATPAC-DUNE ENTERTAINMENT
A BERLANTI Production
A JOE WRIGHT Film
CAST
Blackbeard .................................................................................................................................HUGH JACKMAN
Peter ..................................................................................................................................................LEVI MILLER
Hook.................................................................................................................................... GARRETT HEDLUND
Tiger Lily ..................................................................................................................................... ROONEY MARA
Sam Smiegel ............................................................................................................................... ADEEL AKHTAR
Bishop .......................................................................................................................................... NONSO ANOZIE
Mary .................................................................................................................................... AMANDA SEYFRIED
Mother Barnabas ........................................................................................................................... KATHY BURKE
Nibs .................................................................................................................................. LEWIS MACDOUGALL
Mermaids ............................................................................................................................. CARA DELEVINGNE
Kwahu .................................................................................................................................................. TAEJOO NA
Chief............................................................................................................................................. JACK CHARLES
Steps ........................................................................................................................................... BRONSON WEBB
Fernley Trebilcock .....................................................................................................................MIKE SHEPHERD
Long John Standing ..................................................................................................................... BRIAN BOVELL
Murray......................................................................................................................................KURT EGYIAWAN
Lofty..................................................................................................................................................... JIMMY VEE
Daisy .............................................................................................................................................. PAUL HUNTER
Growler ................................................................................................................................. SPENCER WILDING
Peanut .............................................................................................................................................. DEAN NOLAN
Michelangelo........................................................................................................................ GIACOMO MANCINI
Baggy .................................................................................................................................................... NEIL BELL
Goliath........................................................................................................................................... PHILL MARTIN
Matador ...................................................................................................................................GABRIEL ANDREU
Silverman .................................................................................................................................... MICHAEL RYAN
Skinny Orphan ................................................................................................................. KAVERN BATCHELOR
Yung............................................................................................................................. ORLANDO LOO ALFORD
Sister Thomas................................................................................................................................. AMI METCALF
Sister Joseph..................................................................................................................... AMANDA LAWRENCE
Tribesman 1 ..................................................................................................................................... TUNJI LUCAS
Tribesman 2 ........................................................................................................................ TOMISLAV ENGLISH
Robbins ...............................................................................................................................AARON MONAGHAN
Commander ......................................................................................................................... EMERALD FENNELL
Operator ........................................................................................................................................ AMY MORGAN
Pilot Parker.......................................................................................................................HARRY LISTER SMITH
Pilot Primrose........................................................................................................................ NICHOLAS AGNEW
Older Blackbeard ........................................................................................................................ SALO GARDNER
Not-Dobkins ................................................................................................................................ JAMIE BEAMISH
Tony Allen ............................................................................................................................................... HIMSELF
Stunt Coordinator .................................................................................................................... EUNICE HUTHART
Assistant Stunt Coordinator ........................................................................................................ MARC MAILLEY
Fight Consultant .......................................................................................................................JAMIE GOULDING
TALILA CRAIG
DAVID FORMAN
TOLGA KENAN
WILLIAM RAMSAY
DAVID ANDERS
LEE BAGLEY
NELLIE BURROUGHES
NICK CHOPPING
CHRISTOPHER CORDELL
KELLY J DENT
PHILIP D’ORLÉANS
NEIL FINNIGHAN
ANDREW FOX
RICHARD HANSEN
MATT HERMISTON
ROB HUNT
IAN KAY
SARAH LOCHLAN
FREDDIE MASON
CARLY MICHAELS
THEO MORTON
BRIAN SONNY NICKELS
JAMES PAVEY
IAN PEAD
LAURENT PLANCEL
DANIEL RAWLINS
HASIT SAVANI
MARK STANTON-KELLY
LEON STRANSKY
ROY TAYLOR
TONY VAN SILVA
STEPHEN WALSH
CALVIN WARRINGTON-HEASMAN
LOU WONG
LEWIS YOUNG
Stunt Performers
MATT DA SILVA
ALDONIO FREITAS
PAUL VINCENT LOWE
DANIEL STEVENS
MARK ARCHER
SHELLY BENISON
MICHAEL BYRCH
TONY CHRISTIAN
DANIELLE DA COSTA
BEN DIMMOCK
BRADLEY FARMER
PETE FORD
TOBY FULLER
JAMES HARRIS
JAN HOLICEK
JEAN-PAUL JESSTIECE
GEORGE KIRBY
LEIGH MADDERN
KIM McGARRITY
CASEY MICHAELS
RORY MULROE
SAM PARHAM
ROBERT PAVEY
MARTIN PEMBERTON
OLEG PODOBIN
PETER ROBINSON
NICHOLAS SCHODEL
JAMES STEWART
RYAN STUART
KAREN TEOH
PABLO VERDEJO
VINCENT WANG
GRANT WIESINGER
LEO WOODRUFF
DAVID FISHER
ELLIOT HAWKES
CHARLES RAMSAY
MARTIN WILDE
COLE ARMITAGE
RICHARD BRADSHAW
MARVIN STEWART-CAMPBELL
DAVID COLLOM
NICHOLAS DAINES
LEVAN DORAN
MARK FELIX
AMANDA FOSTER
LUKE GOMES
DEE HARROP
PAUL HOWELL
GARY KANE
CRISTIAN KNIGHT
TINA MASKELL
ANDY MERCHANT
SIAN MILNE
DAVID NEWTON
BONNIE PARKER
CHARLIE PAWLETT
RASHID PHOENIX
CHRIS POLLARD
TOM RODGERS
MATT SHERREN
NEIL STODDART
MENS-SANA TAMAKLOE
GREG TOWNLEY
KIERRON QUEST
ANDY WAREHAM
JAMIE WILSON
LIANG YANG
STEEN YOUNG
FILMMAKERS
Directed by ......................................................................................................................................... JOE WRIGHT
Written by ....................................................................................................................................... JASON FUCHS
Produced by ..................................................................................................................... GREG BERLANTI p.g.a.
SARAH SCHECHTER p.g.a.
PAUL WEBSTER p.g.a.
Based on characters introduced by ..................................................................................................... J.M. BARRIE
Executive Producers.............................................................................................................................. TIM LEWIS
STEVEN MNUCHIN
Directors of Photography ............................................................................ SEAMUS McGARVEY A.S.C. B.S.C.
JOHN MATHIESON B.S.C.
Production Designer................................................................................................................... ALINE BONETTO
Edited by .............................................................................................................................. PAUL TOTHILL ACE
WILLIAM HOY ACE
Casting by .................................................................................................................................................JINA JAY
DIXIE CHASSAY
Costume Designer ........................................................................................................... JACQUELINE DURRAN
Music by......................................................................................................................................... JOHN POWELL
Visual Effects Supervisor ............................................................................................................. CHAS JARRETT
Unit Production Managers ....................................................................................................... BRIAN DONOVAN
TIM LEWIS
First Assistant Director ..................................................................................................................... WILL DODDS
Key Second Assistant Director ................................................................................................................ TOM RYE
Second Unit Director ............................................................................................................... THOMAS NAPPER
Second Unit Director of Photography.........................................................................................ALAN STEWART
Stunt Rigging Coordinator .............................................................................................................. KEVIN LYONS
Supervising Art Director ............................................................................................................. PETER RUSSELL
Art Directors ........................................................................................................................ RODERICK McLEAN
PHILIP HARVEY
MARK SCRUTON
BERTRAND CLERCQ-ROQUES
GAVIN FITCH
ARWEL EVANS
Assistant Art Directors .................................................................................................................. DAVID DORAN
TOM WHITEHEAD
Art Department Coordinator ..................................................................................................... SOPHIE WORLEY
ELIZABETH LOACH
DANIEL SWINGLER
Draughtspersons
TOM GOODWIN
SARAH STUART
BETHAN JONES
LOTTA WOLGERS
DOMINIC LAVERY
NORMAN WALSHE
Concept Artists
PETER McKINSTRY
THOMAS WINGROVE
HOWARD SWINDELL
SCOTT McINNES
Illustrators ................................................................................................................................. DAVID ALLCOCK
STEPHEN FORREST-SMITH
NICK PELHAM
Neverbird Design & Character ................................................................................................... SARAH WRIGHT
Concept Modeller........................................................................................................................ MICHAEL KELM
3D Modeller ............................................................................................................................................... B JONES
A Camera Operator/Steadicam Operator .................................................................... PETER ROBERTSON ACO
B Camera Operator ..............................................................................................................SIMON FINNEY ACO
A Camera First Assistant .......................................................................................................... IAIN STRUTHERS
B Camera First Assistants ................................................................................................................. JOHN EVANS
OLLY TELLETT
A Camera Second Assistant ................................................................................................................ RYAN KING
B Camera Second Assistant ............................................................................................................... PAUL SNELL
Central Loader .................................................................................................................................. JACK SANDS
Digital Imaging Technician .......................................................................... FRANCESCO LUIGI GIARDIELLO
Video Playback Operator ................................................................................................................DYLAN JONES
Video Assist Operator ........................................................................................................................ JOE COFFEY
Production Sound Mixer ...................................................................................................... JOHN CASALI AMPS
Boom Operator.............................................................................................................................CHRIS MURPHY
Sound Utility .............................................................................................................................. ALAN MacFEELY
Script Supervisor ............................................................................................................................. ZOE MORGAN
Post Production Executive .................................................................................................. MARIANNE JENKINS
Post Production Supervisor ............................................................................................................... TIM GROVER
Additional Editor ...........................................................................................................................STRUAN CLAY
Visual Effects Editors ....................................................................................................................... STEVE PANG
ADAM GOUGH
LAURA JENNINGS
ALEX BLATT
First Assistant Editors ........................................................................................................... TONY TROMPETTO
MARK BURTON
MELISSA REMENARICH-APERLO
Second Assistant Editor ..................................................................................................... DANIELLE EL-HENDI
Apprentice Editors ................................................................................................. BEAUMONT LOEWENTHAL
KELLY KIYOON CHANG
Visual Effects Assistant Editor ....................................................................................................... KATE McCOID
Visual Effects Producer ................................................................................................................. DAN BARROW
Visual Effects Production Supervisor ....................................................................................... JOSIE HENWOOD
Visual Effects Coordinators ............................................................................................................JOE CARHART
KATRINA BARTON
Visual Effects Assistant Coordinators .....................................................................................LILA SARA TAHRI
LISA WAKELEY
Visual Effects Data Manager ....................................................................................................BENJAMIN RIEHL
Visual Effects Data Wranglers.......................................................................................................... JUSTIN PEER
JON GOWER
FARRAH YIP
Supervising Sound Editors ........................................................................................................... CRAIG BERKEY
BECKI PONTING
Re-Recording Mixers ................................................................................................................... CRAIG BERKEY
CHRIS BURDON
Sound Designers ............................................................................................................................ PAUL CARTER
MATT COLLINGE
Sound Effects Editor ........................................................................................................... MARTIN CANTWELL
Dialogue Editors ..................................................................................................................... DANNY SHEEHAN
STEVE LITTLE
Supervising Foley Editor ........................................................................................................ DANNY SHEEHAN
Foley Editor ....................................................................................................................................MATT DAVIES
Assistant Sound Editor...................................................................................................................... GAVIN ROSE
Costume Supervisor .................................................................................................................. CLARE SPRAGGE
Assistant Costume Designers ......................................................................................................ANDREA CRIPPS
ANTHONY BROOKMAN
SINEAD O’SULLIVAN
Assistant Costume Supervisor ........................................................................................... JOSEF KOWALEWSKI
Costume Coordinator ......................................................................................................MARTIN MANDEVILLE
Wardrobe Master ....................................................................................................................... ROBERT BROWN
Wardrobe Mistress ............................................................................................................... HARRIET KENDALL
Key Textile Artist ................................................................................................................. JOANNA WEAVING
Key Costumers .......................................................................................................................... MAURIZIO TORTI
KATE LAVER
DAVID OTZEN
VICTORIA TAYLOR
CLARE BANET
NICOLA BELTON
SACHA CHANDISINGH
VICKY GARSIDE
REBECCA HARTNOLL
ANDREW JOSLIN
LAURA RENOUF
ROBERT SUTHERLAND
Costumers
FIONA BARTY
SONIA BOOTH
KIRSTEN FLETCHER
ANNA HAGMANN
CLAIRE HERDMAN
LORENZO MANCIANTI
LINEA STENFORS
RUSSELL BARNETT
SOPHIE CANALE
ALICE FITZGERALD
CLAIRE HARDAKER
WARREN HOLDER
ADEDOYIN OLUSHONDE
LOUISA SORRENTINO
SEKOU TRAORE
Makeup & Hair Designer ........................................................................................................ IVANA PRIMORAC
Makeup & Wig Styling for Hugh Jackman .............................................................................. JULIE DARTNELL
Crowd Make-Up & Hair Artist ......................................................................................... CHRISTINE WHITNEY
ZOE CLARE BROWN
DENISE KUM
EVA MARIEGES
Makeup & Hair Artists
KAREN COHEN
MAUREEN HETHERINGTON
LIZZI LAWSON ZEISS
ANTONY LILLEY
ANGIE MUDGE
SARAH NUTH
CHARLOTTE LUCY ROGERS
Make Up Artist .................................................................................................................. CAROL GREENFIELD
Set Decorator ............................................................................................................................ DOMINIC CAPON
Production Buyer ......................................................................................................................... CORINA FLOYD
Assistant Set Decorators ............................................................................................................. KATHRYN PYLE
PRUE HOWARD
HELEN PLAYER
RACHEL CUTLER
Graphics Artists .......................................................................................................................... KATHY HEASER
ANITA DHILLON
Drapesmaster.....................................................................................................................GRAHAM CAULFIELD
Production Manager ........................................................................................................ KATHERINE TIBBETTS
Production Coordinators ......................................................................................................... MIRANDA MARKS
DAN TURNER
Assistant Production Coordinators ............................................................................................. ANETA CHALAS
CHLOE WARREN
Post Production Coordinators ....................................................................................................... JANE WINKLES
DIARMUID HUGHES
Stunt Department Coordinator .................................................................................................... EMMA SAWYER
Assistant to Mr. Wright..................................................................................................... PHOEBE BILLINGTON
Assistants to Mr. Berlanti .......................................................................................................... JIMMY GIBBONS
ALLISON WEINTRAUB
Assistant to Ms. Schechter ..................................................................................... MICHAEL RILEY McGRATH
Assistants to Mr. Webster ......................................................................................................KIRSTY ROBINSON
MANON ARDISSON
COLLIE McCARTHY
Assistant to Mr. Lewis .................................................................................................................... ROSIE COKER
Environmental Steward ...............................................................................................................JIMMY KEEPING
Production Secretary ...................................................................................................... FRANCESCA SARDONE
Physical Trainer ................................................................................................................... DAVID KINGSBURY
Casting Associate ............................................................................................................................. JESSIE FROST
Casting Assistant ................................................................................................................. LAURA MacFADDEN
Second Assistant Directors ....................................................................................................... SARAH MOONEY
TOM MULBERGE
Second Second Assistant Directors ................................................................................................ SARAH HOOD
SUSAN LAWRENCE
Third Assistant Directors ....................................................................................................... AMANDA DUDLEY
ROBERT MADDEN
Supervising Location Manager (UK)........................................................................................ JASON WHEELER
Supervising Location Manager (Foreign Locations) ........................................................ STEVEN MORTIMORE
Location Managers........................................................................................................................... NICK OLIVER
STEVE HARVEY
Studio Unit Managers ..................................................................................................JOSEPH JAYAWARDENA
PATRICK CROWLEY
Assistant Location Managers ...................................................................................................... JAMES BUXTON
ELEANOR DOWNEY
CHARLOTTE MASON
Financial Controller ................................................................................................................. ANDY HENNIGAN
FRANCES RICHARDSON
CLAIR HANSON
HARRIET EASTGATE
ANDREW NEW
KIRSTY LEA
Assistant Accountants
SAMMY HORTON
DANIEL HANDS
JAYNE BARTON
TANYA MELLOTTE
SOPHIE SPRINGFIELD
YASMINE JADE
ANDREW PYKE
TONY FLINT
MARK JACKSON
NICHOLA JOHN
Chief Lighting Technician ..............................................................................................................CHUCK FINCH
Assistant Chief Lighting Technician ......................................................................................... BILLY MERRELL
Rigging Gaffer .............................................................................................................................. TOMMY FINCH
BEN CALDWELL
RICHARD MERRELL
Lighting Technicians
PERRY CULLEN
SCOTT PARKER
WILLIAM FINCH
STEVEN WOOD
Key Grip................................................................................................................................. GARY HUTCHINGS
Best Boy Grip .............................................................................................................................. NICHOLAS RAY
Dolly Grips..................................................................................................................................... DEAN MORRIS
SIMON MUIR
LUKE CHISHOLM
Crane Technicians ...........................................................................................................................PAUL LEGALL
JIM FOLLY
JOE BUXTON
Special Effects Supervisor ................................................................................................................. MARK HOLT
Special Effects Assistant Supervisor ............................................................................................ MIKE DAWSON
Special Effects Coordinator .................................................................................................. CARMILA GITTENS
Special Effects Designers ..................................................................................................... DICKON MITCHELL
STEVE MOSLEY
Special Effects Senior Technicians
PAUL CLARK
JAMES DAVIS
MANEX EFREM
ANDY FRASER
DAVID HOLT
PETER KERSEY
GLENN MARSH
BRUCE MAYHEW
NEIL REYNOLDS
JON SAVAGE
MIKE TILLEY
MARK VANSTONE
MARK WEATHERBE
DAVID WOODS
Special Effects Technicians
STEVEN AMOS
DAVID AMOS
LIZ BARRON
BEN BROADBRIDGE
PAUL DANE
RUSSELL FARNS
LEE HALES
PAUL HODGES
BEN JAMES
JAY MALLET
RICHARD MARR
STUART MAY
PHIL McLAREN
TONY SMART
ROBERT SPARKS
SEBASTIAN SUE
NEIL TODD
ANDY VERHOEVEN
MARK WHEELER
Property Master ......................................................................................................................DAVID CHEESMAN
Prop Storemen ..............................................................................................................................GARY DAWSON
DEREK IXER
ALEX BOSWELL
MITCHELL HOLDER
MARK KIMBER
OLIVER WALPOLE
BRUCE CHEESMAN
SHANE HARFORD
MITCH POLLEY
Props
STEVEN FOX
AMY MEAKIN
MARK SINDALL
ALISON WASS
Dressing Propmen
IAN COOPER
JONATHAN NORMAN
JAMES GIBSON
CHRIS MILLER
BRADLEY TORBETT
DAVID YOUNG
BRADLEY JAMES GODWIN
ROSS PASSFIELD
JOSH POLLEY
Supervising Prop Maker ..........................................................................................................JAMES McKEOWN
Senior Prop Makers............................................................................................................... NICK RICHARDSON
NICHOLAS DAVIS
Concept Artist ................................................................................................................................ MAX BERMAN
MARK BEVERTON
JENI DAVIS
KATIE HYATT
JASON McCABE
PAUL SCOTSON
Prop Modellers
ANTHONY BRUTON
SIMON GOSLING
SAMANTHA KELM
SOFIA PEREIRA
PETER SELLARS
ROLAND TRAYNOR
JIM BUCHAN
MIGUEL GRANELL
KATIE LODGE
DEMETRIS ROBINSON
CODRINA SPATARU
Unit Publicist .................................................................................................................................. STACY MANN
Stills Photographer ..................................................................................................................LAURIE SPARHAM
Dialect Coach ..................................................................................................................................... NEIL SWAIN
Movement Artist ....................................................................................................................... RONNIE LEDREW
Choreographer.............................................................................................................. SIDI LARBI CHERKAOUI
Construction Manager ...................................................................................................................... ANDY EVANS
Assistant Construction Manager .......................................................................................................... IAN GREEN
Construction Coordinator..............................................................................................................EMMA LOVELL
HOD Carpenter ......................................................................................................................... ROBERT SUTTON
Supervising Carpenters ...........................................................................................................ROBERT WISHART
MARK WILLIAMS
PAUL NASH
HOD Plasterer .................................................................................................................................. KEN POWELL
Supervising Plasterers ..................................................................................................... CLIFFORD ETHERIDGE
JOHN HARRIS
HOD Scenic Painter .................................................................................................................... GARY GLEESON
Supervising Scenic Painters ............................................................................................. NATHAN MIDDLETON
ADAM CAMPBELL
GLYNN EVANS
HOD Stagehand ................................................................................................ CLIFFORD JOHN RASHBROOK
Supervising Stagehands .......................................................................................................ADAM RASHBROOK
ROBERT FLINT
LEE KEARY
HOD Rigger ........................................................................................................................... PETER GRAFFHAM
Supervising Rigger.................................................................................................................... WILLIAM NOLAN
HOD Sculptor ........................................................................................................................... JOHN BLAKELEY
Supervising Sculptors .................................................................................................................. JOEL BELSHAM
GIDEON HOWARTH
Standby Carpenter ..................................................................................................................... STEVEN ROGERS
Standby Painter .................................................................................................................TERENCE HEGGARTY
Standby Rigger....................................................................................................................... ANDREW CHALLIS
Standby Plasterer .............................................................................................................................. MARK BUCK
Standby Stagehand ......................................................................................................................... TYRONE REED
Standby Wiremen........................................................................................................................ PAUL HARFORD
SAM TRIMMING
HOD Greensman .......................................................................................................................... PETER HOOPER
Greensmen ....................................................................................................................................... JON MARSON
GABOR BIRO
STEVEN BURDETT
JUSTIN RICHARDS
JEREMY GAVIN
STEVEN MURPHY
VLADIMIR PAVLU
POPPY LLOYD
Marine Coordinator ......................................................................................................................... JASON VIROK
Transport Manager ...................................................................................................................... GERRY TURNER
Medics ............................................................................................................................................ JOSEPH BIGGS
CLAIRE HALL
DAVIS PAUL
Osteopath ................................................................................................................................................. RUBI ALI
Health & Safety Advisor ............................................................................................................. JAKE EDMONDS
Extras Casting ....................................................................................................... CASTING COLLECTIVE LTD.
Caterer .............................................................................................................................FIRST UNIT CATERERS
Craft Service ................................................................................................................................. RED CHUTNEY
Chef ................................................................................................................................................. SUKI TAYLOR
ISOBEL DUNHILL
EVA ONSRUD
Art Department Assistants
GEMMA KINGSLEY
CELENE McDOWELL
RORY O’SULLIVAN
CANDICE WHITE
LUCY YATES
DAISY BALDRY
LUCY COVER
ALICE DOUGHTY
BRADY HOOD
MARK JOHNSTONE
SUSSANAH MADDEN
ANDY REEVE
LUKE SCOTT
Set Production Assistants
JOANNE BATTEN
NAOMI DILIELLO
JAMES DOYLE
LOUISE HORSLEY
LEE EDWARD JONES
IAN MITCHELL
JAMES REID
ABBIE SHERIDAN
VICTORIA WILSON
GIULIA CHINI
CALUM FIRTH
STEPHANIE GIBBINS
FRAN JEGAR
BEN LOVETT
JESS METCALF
POONAM SHUKLA
LILLES WHITBY
Production Assistants
MICHELLE CHONG
GAVIN FODEN
ALICE HERRING
NATALIE KHOO
ANA McKILLOP
NURIA PASCUAL-ANDUJAR
ALEX SIMMONDS
KIMBERLEY WHITE
JOEL COURT
MATTHEW DILIELLO
DANIEL ESSONGO
JASON HORWOOD
DAVID LITTLE
LAURA MOLONEY
BEN SANDERSON
FRED TILBY-JONES
OLIVER DOHERTY
JOANNE FOX
MARIANNE HUET
HARRIET LOVELL
JAMES METCALFE
CHLOE REYNOLDS
EMMA STOKES
MICHAEL WILSON
SECOND UNIT
Production Manager .......................................................................................................................... TONY DAVIS
First Assistant Director ..........................................................................................DAN CHANNING WILLIAMS
Production Coordinator ..................................................................................................... SAMANTHA ARNOLD
Second Assistant Director ........................................................................................................... JONNY BENSON
Second Second Assistant Director ...............................................................................................SAMUEL SMITH
Art Director ...................................................................................................................................PAUL LAUGIER
A Camera Operator .................................................................................................RODRIGO GUTIERREZ ACO
A Camera First Assistant .......................................................................................................... ANDY BANWELL
A Camera Second Assistants .......................................................................................... DORA KROLIKOWSKA
DEAN MURRAY
Digital Imaging Technician ............................................................................................ MUSTAFA TYEBKHAN
Video Playback Operator ........................................................................................................... THOMAS ELGAR
Production Sound Mixer ............................................................................................................... GARY DODKIN
Boom Operator............................................................................................................................LLOYD DUDLEY
Script Supervisor ................................................................................................................................ JO BECKETT
Visual Effects Supervisor .......................................................................................................SEAN MATHIESON
Costume Supervisors .................................................................................................................. PAUL COLFORD
KAREN BEALE
Makeup Artist ................................................................................................................................ ANGIE NUDGE
Makeup & Hair Artists............................................................................................................. JENNIFER HARTY
JESSICA NEEDHAM
Chief Lighting Technician ................................................................................................................. WICK FINCH
Assistant Chief Lighting Technician ...................................................................................... TOM O’SULLIVAN
FRED BROWN
ELVIS PASQUAL
Lighting Technicians
ALAN GRAYLEY
CHRIS CRAIG
WAYNE LEACH
LEE MILLS
Key Grip.......................................................................................................................... STEVE ELLINGWORTH
Best Boy Grip .................................................................................................................................. DAVE WELLS
Dolly Grip ....................................................................................................................................... JODY KNIGHT
Crane Technicians ............................................................................................................................ NEIL TOMLIN
CLIVE TOCHER
DAVE TULETT
Production Assistant ............................................................................................................ HEPHZIBAH CRAEN
Set Production Assistants................................................................................................................SOPHIE HIGEL
GAIL GOSTICK
LUKE KIMBLE
LAURA WOOTON
Stereoscopic Supervisor ................................................................................................................... CHRIS PARKS
Stereo 3D Production Supervisor................................................................................................ DAVID FOWLER
Stereo 3D Senior Coordinator ........................................................................................................... JAMES LONG
Stereo 3D Coordinator .............................................................................................................. GARETH PEARCE
Stereo 3D Editor ...................................................................................................................................BEN MILLS
Stereo 3D Conform Editor ...................................................................................................... DAVID JOHNSTON
Stereo 3D Technical Manager .......................................................................................... SIMON HARGREAVES
Vision 3D Producer............................................................................................................................. ADAM MAY
ADR Mixers ...................................................................................................................... ANDY STALLABRASS
DAVE CHAMPION
Foley Mixer ................................................................................................................................ GLEN GATHARD
Foley Artists ......................................................................................................................................... JACK STEW
BARNABY SMYTH
Music Consultant .................................................................................................................. MAGGIE RODFORD
Music Editors ................................................................................................................................ TOM CARLSON
JAMES BELLAMY
JASON RUDER
Score Produced by ......................................................................................................................... JOHN POWELL
Additional Score Producer ............................................................................................. MATTHEW MARGESON
Additional Music by ............................................................................................................... ANTHONY WILLIS
PAUL MOUNSEY
BATU SENER
Score Recorded by ...................................................................................................................... NICK WOLLAGE
Additional Recording & Song Mixes .................................................................................... RUPERT COULSON
Pro Tools Operators ....................................................................................................................CHRIS BARRETT
ADAM MILLER
ERIK SWANSON
TOM BAILEY
Score Mixed by ......................................................................................................................... SHAWN MURPHY
Assistant Mix Engineer ......................................................................................................JOHN TRAUNWIESER
Score Recorded at .......................................................................................................... AIR STUDIOS, LONDON
Digital Score Editor ............................................................................................................... DAVID CHANNING
Orchestrations by ......................................................................................................... JOHN ASHTON THOMAS
RICK GIOVINAZZO
MARK GRAHAM
ANDREW KINNEY
JON KULL
Orchestra Conducted by..................................................................................................... GAVIN GREENAWAY
Choirs ........................................................................................................................................... METRO VOICES
CAPITOL CHILDREN’S CHOIR
Drummers ........................................................................................................ PARAISO DRUMMING SCHOOL
Music Preparation ....................................................................................................................... MARK GRAHAM
Score Coordinator ................................................................................................................... BECKY BENTHAM
Music Clearances ....................................................................................................................... KAREN ELLIOTT
Digital Intermediate by .............................................................. TECHNICOLOR CREATIVE SERVICES LONDON
Supervising DI Colourist ................................................................................................................ PETER DOYLE
Digital Intermediate Producer ..................................................................................................... BEGOÑA LOPEZ
Digital Intermediate Editors ................................................................................................. KATIE McCULLOCH
GRACE LAN
End Titles by ......................................................................................................................... HINGSTON STUDIO
End Credits Coordinator .....................................................................................................HELEN BEUSELINCK
Visual Effects Supervisor
Additional Visual Effects Supervisor
Visual Effects Producer
Visual Effects Associate Producer
CG Supervisors
Layout Supervisor
Animation Supervisor
Compositing Supervisor
Sequence Supervisors
Visual Effects by SCANLINE
DANIELLE PLANTEC
THOMAS H. SCHELESNY
PAUL KOLSANOFF
MARCUS GOODWIN
ABHISHEK JOSHI
RYO SAKAGUCHI
FRANK BELINA
ERIC PETEY
JESSICA HARRIS
CLAAS HENKE
STEFANO TRIVELLI
DAN KNIGHT
DEVAN MUSSATO
GORAN PAVLES
LÁSZLÓ SEBÖ
MATTHEW M. ROBINSON
NICOLE SMITH
Digital Leads
DANIEL LORENZO ALVAREZ
ETHAN LEE
JIM SU
LEE ALEXANDER
MICHAEL PORTERFIELD
SUNGHWAN HONG
DANIEL WAROM
EVAN FRASER
JOEL KITTLE
MAGNUS SKAGERLUND
NATHAN SRIGLEY
TIM LLEWELLYN
NATHANIEL HOLROYD
BRYAN BURGER
ISAAC LIPSTADT
KATE CHAPPELL
MEGAN GALBRAITH
SCOTT MILLER
Production Management
JOEL MENDIAS
EVA ABRAMYCHEVA
IVAN MICKOVIC
KELSEY PRIMAR
RYAN FLICK
SYED ARAFATH APSAR
CINDY KHOO
EVAN SALUSBURY
JANELLE DAY
LUKE HIPPELY
RYAN VALADE
VAN LE DO
Digital Artists
ADAM MATIS
ADAM STERN
ALEX BRANTON
ALON ZASLAVSKY
ANDY MARTINEZ CALZADILLA ASHLEY BLYTH
BARTEK OPATOWIECKI
BEE JIN TAN
BILL BRIDGES
BIREN VENKATRAMAN
BRIAN BEGUN
BRODY McILVEEN
CARLOS PATRICK DE LEON CHRIS McILVEEN
CHRIS PEMBER
CHRISTINE LO
CHUN-PING CHAO
CLIFFORD OTOMI GREEN
ALDO MARTINEX CALZADILLA
AMANDA ROOP
BABAK BINA
BEN FUNK
BOGDAN DUBOVYK
BRYAN DAVIES
CHRIS MULCASTER
CHRISTINE PETERSON
DAN FEINSTEIN
DANIEL PEREZ BASTIDAS
DAVY NETHERCUTT
DOUG CAMPBELL
ED WOU
FLORENT REVEL
GEOFF DUQUETTE
JAMI GIGOT-WORTH
JESSICA CLIFTON
JONGJUN AN
JUNGYEON JANE MIN
KEN MEYER
KEVIN KOHRI
KORNEL FARKAS
MARCO CHECA GARCIA
MATTIAS BRUNOSSON
MICHAEL HUBBARD
NEIL GHAZNAVI
PABLOVSKY RAMOS-NIEVES
PRAVEEN MATHEW
SALLY SLADE
SATBIR SINGH KUKREJA
SHANNON HOWALD
SOYOUN LEE
STEPHEN KELLOWAY
TATJANA BOZINOVSKI
TOBY WATSON
TUBA YALCIN
WANDA KWOK
YOUNGBIN EUN
VFX Supervisors
CG Supervisors
Compositing Supervisors
Animation Supervisors
DAVID ROSE
DEREK BIRD
DOUG WRIGHT
ELOI ANDALUZ FULLÀ
GABRIELA MEJIA
J. CHRISTOPHER BOUE
JASON PHONG NGUYEN
JOE MANGIONE
JORDAN ALAEDDINE
JUSTIN MITCHELL
KEN SATCHEL KING
KIRAN MENON
LEANNA SCOTT
MARK WONG
MAXX LEE
MICHELLE KORCZAK
NEIL RUSSELL TAN
PAUL FEDOR
RANDY UI
SALMAN RIZVI
SCOTT VOSBURY
SHINICHI REMBUTSU
STEFANIE BLATT
STEPHEN WILSON
THOMAS HARTMANN
TONG ZHOU
VASILIS ANTIPAS
WOOHYUCK LEE
YOUNGBIN PARK
DARREN QUAH
DEVIN UZAN
DYLAN DUNFORD
FERNANDO BORGES PACHECO
GABRIELLA KALAITZIDIS
JAKUB JEZIORSKI
JEFFREY J. JOHNSON
JOHN BRUBAKER
JOSIAH HOLMES HOWISON
KELVIN KO
KENNETH SALES
KODEESWARAN SHENBAGARAM
MARCELA A SILVA
MARTIN SEU
MICAH GALLAGHER
MINJEONG SHIN
NOAH SCHNAPP
PEDRO PAULOS BELLINI
RICARDO BONISOLI
SANTHOSHI BALASUBRAMANIAN
SEONG JIN PARK
SOPHIA LO
STEPHANIE ALVARADO
SUNNY HJ KIM
TILO SPALKE
TRAVIS WADE IVY
VIV JIM
WU CHIEN KEN LEE
YUSONG LEE
Visual Effects by FRAMESTORE
KYLE McCULLOCH
STEPHANE NAZÉ
STUART PENN
BENJAMIN MAGANA
CHRIS ZEH
VLADISLAV AKHTYRSKIY
DALE NEWTON
BERND ANGERER
ANNETTE WULLEMS
AYSHA LEY
NATALIE MILLER
TALIA FELBER
BARNES WHEELER
Visual Effects Production
DANIEL BOOTY
JEANNE-ÉLISE PRÉVOST
AMY TINKER
WARWICK HEWETT
TOM PARTRIDGE
DANIELLE MORLEY
RACHEL COHEN
CATHERINE WESTGATE
JOHN SZEBEGYINSZKI
ALEKSANDRA BJELICA
AARON LEAR
ALEX CUMMING
ALEXANDRE CANNICCIONI
ANDREW PINSON
ANTONIO COVELO
BASTIEN MULLER
BROOKE McGOWAN
CHIRAG MISTRY
Visual Effects Artists
ADAM AZMY
ALEX JADFARD
ANDREA PEVERELLI
ANTHONY GRECO
ATTILA SZAPEK
BILLY BUTLER
BRUNO LAFLAMME
CLAIRE MICHAUD
ADRIAN NURSE
ALEXANDER ANTONIADES
ANDREW BARRY
ANTOINE SEIGLE
BASTIAN KLUCKER
BJOERN GOTTWALD
CASPAR TRENCHARD-TURNER
DAN LIM
DANNY LÉVESQUE
DENNIS PETKOV
ERIC SO
FEDERICO FAVARO
GEOFF WIGMORE
HIROAKI MURAMOTO
JAMES WILSON
JEAN-BAPTISTE GODIN
JERRY TUNG
JOSHUA TELEKI
KEVIN COUTURE
LEILA GAED
LISA FUNKEL
MARTIN BELLEAU
MAXWELL SMITH
MICHAEL BORHI
MILES SOUTHAN
PATRICIA LLAGUNO
PENN STEVENS
PHILIP MELANCON
PHOENIX WOUNG-BI LEE
RAUL PEREZ
ROB GARNER
SAM SALEK
SHARON JOHNSON
CHING-YI CHEN
TIM STEVENSON
TOM CARTER
UZMA CURTIS
VFX Supervisor
VFX Producer
2D Supervisor
2D Supervisor
CG Supervisor
Animation Supervisor
VFX Production Manager
DAVE GAGNON
DIDIER MUANZA
ERWANN BAUDET
FELIX MARQUIS POULIN
GEORGE FRONIMADIS
JAMES KASAPIS
JASON QUINTANA
JEREMY SEGUIN
JHON ALVARADO
JP LI
KYE DORRICOTT
LIAM RUSSELL
LUKE DRUMMOND-HAY
MARTIN PELISSIER
MÉLISSA LAFRAMBOISE-MAILLÉ
MICHAEL BOVBERG
MIKE ELDER
PATRICK COMTOIS
PETE ASHFORD
PHILIPPE MONGEAU
QUENTIN DELSART
REBECCA HUNG HAN YUN
ROMAIN RICO
SCOTT DAWKINS
SIMON DIEBOLD
STEVEN MOORE
THOMAS MARTIN
TOM FONVILLARS
VALENTIN PETROV
DEAN O’KEEFFE
EDWIN SCHAAP
FABRIZIO MONTANARI
GABRIEL LECLERC
HARUKA SUGIMURA
JASON WALMSLEY
JAVIER GARCIA
JEROME MARTINEZ
JONATHAN DESAULNIERS
KAT SEALE
LARS ERIK ERIKSEN
LIANNE FORBES
MAIK PHAM QUANG
MASAYA SUGIMURA
MICHAEL BAKER
MIGUEL GARCAO
NIÑA LAURELES
PAUL INGRAM
PETRA SCHWANE
PIERRE-LOÏC HAMON
RAN SIERADZKI
REZA GHOBADINIC
RUSSELL LLOYD
SCOTT ROBERTSON
SLAV KRAVCHENKO
STUART MUNRO
THOMAS RICH
TOMAS LEFEBVRE
YIFAN HU
Visual Effects by MPC
CHRISTIAN IRLES
LAURA FITZPATRICK
MATT PACKHAM
JEREMY SAWYER
JAMES RUSTAD
MARCO FOGLIA
LUCILE ABIVEN
MARGARET CARDELL
DIANA ROLDAN
VFX Production
CONSTANCE LEVESQUE
BARANSEL SONMEZ
MARI LEVITAN
ANDREAS WIELAND
ADRIEN ANNESLEY
SANJAY BALIGA
MARILYNE FLEURY
NILE HYLTON
SENTHIL MURUGAN
THOMAS STOELZLE
Lead Digital Artists
CHRISTOPHER ANTONIOU
AVIJIT BISWAS
BRIAN GOSSART
KEITH JONES
RAMANA REDDY
PATRICK TASSE
RUTH ASENSIO
STEFAN ERENHAUS
SHWETAA HIRANI
ANTONIOS MAGDALINIDIS
SAJITH SETHUMADHAVAN
JOSSELIN TONNELLIER
ILLIA AFANSIEV
SHAIK AZAM
ANNA CARLSSON
MAHESH D
SUSAN DEHDARI
GUILLAUME DUCHAUSSOY
JEAN-SEBASTIEN FORTIN
JON GOWER
SHARAN KUMAR H
JAGADISH BABU K
SENDIL KUMAR
SYLVAIN LORGEOU
ALEXEY MAZURENKO
NADIA MOGILEV
ARUN RAJ KUMAR
SRINIVASA RAJU T
CHRIS SEMENOFF
PRAVEEN SUBBARAMAN
DAVID VANDENBROECKE
Digital Artists
TOSIN AKINWOYE
RAJA BOSE A
SEBASTIEN CATRILLO
FRANCOIS De VILLIERS
AARON DENNIS
BHARATH EDIGA
SHIZUKA FUKUDA
MARTINE GUAY
ERIC AUBRY
GIULIA CADEDDU
PARICHOY CHOUDHURY
ELISE DEGLAU
REGINA DONOVAN
DENNY ERTANTO
JEREMY GIRAUDEAU
DARPAN GUPTA
ALFONSO HERNANDEZ HARO MERRIET JERO J
JULIAN KARAM
RAJANEEKAR REDDY KONYALA
ARTIOM KUSCI
STEPHANIE LAWRENCE
RAJESH M
FREDRIK MANNERFELT
GEORGE McLAY
ANKUR MISHRA
MARTIN MOUSSEAU
LUKAS NIKLAUS
VELMURUGAN RAJAMANI BALAJI RAJENDRAN
MARGAUX REVOL
DARREN RUSSELL
SAMUEL SIMANJUNTAK
NICK SPARKS
MAXX TAGA
LEIGH VAN DER BYL
TOM WILLEKENS
ALEXANDAR YOCHKOLOVSKI
GIANPAOLO MARCOGLIESE
Production Support
JODI SCANLAN
EDUARDO SERNA ALONSO
Visual Effects by RISING SUN PICTURES
IAN COPE
BRIAN KRANZ
GEMMA WOOD
SHANE AHERNE
DAMIEN THALLER
MICHAEL BAIN
BENJAMIN PASCHKE
STEVE CYPREOS
JARED EMBLEY
JESSE BALODIS
NICOLA ATKINSON
VICTOR GLUSHCHENKO
DANIEL WILLS
ALVIN YAP
RYAN KIRBY
CLAIRE KEARTON
MATTHEW SHAW
SIMON HERDEN
ZOE LAMAERA
PHILIP FRASCHETTI
ADAM POTTER
SHAWN McCARTEN
MARC VARISCO
ALANA NEWELL
HANNAH MURDOCH
SHAMUS BAKER
EMMA HILDESTRAND
DANIEL COPPING
SAM HANCOCK
THOMAS CANT
BRADEY STRONG
AUSTIN RONALD
CRAIG FIELD
Visual Effects by WOLF & CROW
MATTHEW BERENTY
ADAM SWAAB
KEVIN SHAPIRO
KATE BERRY
MITCH GONZALEZ
CHRISTINA SIDOTI
WIM BIEN
STEVE HORROCKS
JOEL FLETCHER
ALON HELMAN
SHAUN SEWTER
SAMUEL BAESE
‘Prologue,’ ‘Memory Tree’ & ‘Underwater Flashback’ Animations Supervised by ANDREW HUANG
Visual Effects by THE MAGIC CAMERA COMPANY LTD
Model Unit Supervisor
JOSE GRANELL
Visual Effects by FILAMENT POST PRODUCTION
PAWL FULKER
Pre-Visualization by PROOF
MATT GIBSON
JON ALLEN
3D Conversion by GENER8 DIGITAL MEDIA SERVICES
MARISA AHN
MAURICIO AMEZCUA
DANIEL AVERY
AUSTIN BAERG
PAUL BECKER
FRANK BENTON
MELISSA BEST
CALEB BOMYSOAD
JARED BONIN
JASON BOWERS
BEN BRECKENRIDGE
TASHA BROTHERTON
MEAGAN BYRT
DANIEL CARNEGIE
DAN CARPENTER
ETHAN CASPER
GERARDO CASTRO
CORY CLARKSON
JOSEPH CONNERY
JOSHUA DaSILVA
GAYANATH DAYASUNDARA
ELDON DERKSEN
JAN PAUL DORR
ROBIN DUTTA
JOSEPHINE DWYER
RAFAEL ECHEGARAY
MARLON ENGEL
EILEEN GALLAGHER
VIKAS GANER
SUSAN GAO
RINO GEORGE
SOOMAN GINZE
ALVIN GRADO
CODY GRAHAM
EMMANUEL GUEVARRA
RYAN HAMAR
ALEKSANDER HARDI
CRAIG HOUSTON
MANI HRAFNSSON
HEATHER HUGHSON
TIFANNIE JACOUBSEN
JAEYOUNG JANG
MICHAEL JIMENEZ
JoANNA JOHNSON
DAMIAN KARWOWSKI
CHANDRASEKHAR KRISHNAN DAVE LADNER
BRENDAN LLAVE
FRANCISCO MASSANET
BRIAN McCANN
ZACHARY NG
BRIAN NGUY
CARLOS ALBERTO OCEGUERA SIERRA JOSHIL PATEL
PETER PELISEK
SAMI OMS
IPYANA PONDER
JOHANNA RAMOS
ALEXANDER REID
JOHN RIX
FAOZAN SALMAN
ABRAHAM SANCHEZ
NIRMAL SHIVAKUMAR
DANIEL STEIN
RANDY TECSON
BRIAN THOMASON
JOSEPH VILLA
IAN WHITE
DAVID WILLINSKY
MARGARET YING
SARAH YOUNG
COBOL YU
JEFF YU
ASLAN ZAMAEV
DONAJI ZUNIGA ROJAS
Soundtrack Album on WaterTower Music
“Smells Like Teen Spirit”
Written by Kurt Cobain, David Grohl, Krist Novoselic
Produced by John Powell, Matthew Margeson & Dario Marianelli
Performed by Hugh Jackman and Cast
“Blitzkrieg Bop”
Written by Joey Ramone, Dee Dee Ramone, Johnny Ramone, Tommy Ramone
Produced by John Powell, Matthew Margeson & Dario Marianelli
Performed by Hugh Jackman and Cast
“Short Change Hero”
Written by Kelvin Swaby, Dan Taylor, Chris Ellul, Spencer Page
Performed by Capitol Children’s Choir & Metro Voices
“Something’s Not Right”
Written by Lily Allen & Tim Rice-Oxley
Produced by Matthew Margeson & John Powell
Performed by Lily Allen
Licensed Courtesy of Warner Music UK Limited
“Little Soldier”
Written by Lily Allen & Tim Rice-Oxley
Produced by Karma Kid & Tim Rice-Oxley
Performed by Lily Allen
Licensed Courtesy of Warner Music UK Limited
‘Irish Blessing’
Performed and Arranged by The African Children’s Choir
Filmed at Warner Bros. Studios, Leavesden and Cardington Studios, England
and on location in England and Vietnam
Special thank you to all who participated as villagers, miners, pirates and orphans.
This film is dedicated to Zubin, Mohan and Ossian and To the Memory of Danny Schechter
(Québec)
With the participation of the Province of British Columbia Production Services Tax Credit
With the participation of the Canadian Film or Video Production Services Tax Credit
Daily Mail, Daily Sketch, News Chronicle/Solo Syndication
Royal Albert Hall
Camera Equipment by PANAVISION
KODAK Motion Picture Products
Color and Prints by TECHNICOLOR®
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.
DOLBY Atmos
Approved #49861
(IATSE)
Motion Picture Association of America
© 2015 Warner Bros. Entertainment Inc., RatPac-Dune Entertainment LLC and RatPac Pan Holdings, LLC
All Rights Reserved
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.
PAN
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