01_PLT_PressKit.indd

LUCASFILM LTD.

Production

JAMES MANGOLD

Film

Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES MANGOLD

Written by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEZ BUTTERWORTH

& JOHNHENRY BUTTERWORTH

and DAVID KOEPP

and JAMES MANGOLD

Based on Characters Created by . . . . . . . . . . . . . . . . . GEORGE LUCAS

and PHILIP KAUFMAN

Produced by . . . . . . . . . . . . . . . . . . . . . . . . . KATHLEEN KENNEDY, p.g.a.

FRANK MARSHALL, p.g.a.

SIMON EMANUEL, p.g.a.

Executive Producers . . . . . . . . . . . . . . . . . . . . . . . . . . STEVEN SPIELBERG

GEORGE LUCAS

Director of Photography . . . . . . PHEDON PAPAMICHAEL, ASC, GSC

Production Designer . . . . . . . . . . . . . . . . . . . . . .ADAM STOCKHAUSEN

Edited by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL MCCUSKER, ACE

ANDREW BUCKLAND, ACE

DIRK WESTERVELT, ACE

Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . JOANNA JOHNSTON

Music by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOHN WILLIAMS

Visual E ects Supervisor . . . . . . . . . . . . . . . . . ANDREW WHITEHURST

Visual E ects Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATHY SIEGEL

Co-Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CANDICE CAMPOS

ANTHONY DIXON

Casting by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NINA GOLD

Unit Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . MARTIN JOY

Unit Production Manager . . . . . . . . . . . . . . . . . . . . . SIMON EMANUEL

First Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID WEBB

Key Second Assistant Director . . . . . . . . . . . . . . . . . JAMES MANNING

Production Controller/Associate Producer . . . . . .NATHAN WOODS

Second Unit Director . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL BRADLEY

Second Unit Director of Photography/

Additional Second Unit Director . . . . . . . . . . . . PATRICK LOUNGWAY

Supervising Art Director . . . . . . . . . . . . . . . . . . . . . . . . . .MARTIN FOLEY

Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BLAKE SIMON

Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . SHEILA G. WALDRON

VFX Associate Producer . . . . . . . . . . . . . . . . . . . . . CLAYTON M. LYONS

Visual E ects & Animation by

INDUSTRIAL LIGHT & MAGIC

A LUCASFILM LTD. COMPANY

ILM Visual E ects Supervisor . . . . . . . . . . . . . . . . . . . ROBERT WEAVER

ILM Visual E ects Senior Producer . . . . . . . . . . . . . .MARISSA GOMES

ILM Animation Supervisor . . . . . . . . . . . . . . . . . MATTHEW SHUMWAY

Supervising Sound Editors . . . . . . . . . . . . . . . . . DONALD SYLVESTER

GARY RYDSTROM

Re-Recording Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL MASSEY

JUAN PERALTA

DAVID GIAMMARCO

Production Sound Mixer . . . . . . . . . . . . . . . . .STUART WILSON, AMPS

Music Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RAMIRO BELGARDT

TED CAPLAN

CAST

Indiana Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HARRISON FORD

Helena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHOEBE WALLER-BRIDGE

Renaldo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANTONIO BANDERAS

Marion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KAREN ALLEN

Sallah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN RHYS-DAVIES

Mason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHAUNETTE RENÉE WILSON

Colonel Weber . . . . . . . . . . . . . . . . . . . . . . . . .THOMAS KRETSCHMANN

Basil Shaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOBY JONES

Klaber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BOYD HOLBROOK

Hauke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLIVIER RICHTERS

Teddy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ETHANN ISIDORE

Dr. Voller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MADS MIKKELSEN

Durkin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARTIN MCDOUGALL

Rahim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAA SAFI

Young SS O cer . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRANCIS CHAPMAN

Italian Ticket Seller . . . . . . . . . . . . . . . . . ALFONSO ROSARIO MANDIA

Larry - Beat Poet Guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHASE BROWN

Archimedes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NASSER MEMARZIA

Milanese Suit Man . . . . . . . . . . . . . . . . . . . . . AMEDEO BIANCHIMANO

Mandy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANNA FRANCOLINI

Chinese Hat Bidder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GABBY WONG

Hector - Salty Diver . . . . . . . . . . . . . . . . . . . . . . . ADOLFO MARGIOTTA

Sirene Deck Hand . . . . . . . . . . . . . . . . . . . . . . . . NICCOLÒ CANCELLIERI

Popeye - Lead Scuba Diver . . . . . . . . . . . . . . . . . . . . . . ANTONIO IORIO

SS Stormtrooper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MANUEL KLEIN

Young Helena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HOLLY LAWTON

Prof. Plimpton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GUY PAUL

Fran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HARRIET SLATER

Hotel Porter. . . . . . . . . . . . . . . . . . . . . . . . . . ALTON FITZGERALD WHITE

Bob - Bartender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IAN PORTER

Kommando Commander . . . . . . . . . . . . . . . . . . . . DANIEL ANDERSON

Gov PR Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CORY PETERSON

Reporter - St Regis . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLES HAGERTY

Jabari - Sallah’s Grandson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ALI SALEH

Alia - Sallah’s Granddaughter . . . . . . . . . . . . . . . . . . . . . .AMARA KHAN

Pan Am Stewardess . . . . . . . . . . . . . . . . . . . . . . . . . . . . JILL WINTERNITZ

Prof. Donner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILLY POSTLETHWAITE

Italian Tour Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CLARA GRECO

Mounted Cop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOE GALLINA

Filthy Guitar Guys . . . . . . . . . . . . . . . . . . . . . . . . . . NICHOLAS BENDALL

THULANI STORM

Archimedes Servants . . . . . . . . . . . . . . . . . . . . . . . . .EDOARDO STRANO

ANGELO SPAGNOLETTI

Moroccan Policemen . . . . . . . . . . . . . . . . . . . . . . . . HICHAM OUARAQA

ADIL LOUCHGUI

TV Reporter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MILLS

Hippie Girl . . . . . . . . . . . . . . . . . . . . . . . . RHYANNA ALEXANDER-DAVIS

Armed Intelligence O cer . . . . . . . . . . . . . . . . . . . . . . . . GARY FANNIN

Pilot - Heinkel 111 . . . . . . . . . . . . . . . . . . . . . . . . . . GUNNAR CAUTHERY

Navigator - Heinkel 111 . . . . . . . . . . . . . . . . . . . .ARON VON ANDRIAN

SS Kommando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NIKOLA TRIFUNOVIC

Louis - Drunk Airline Pilot. . . . . . . . . . . . . . . . . . . . . . . HENRY GARRETT

Drunk Airline Stewardess . . . . . . . . . . . . . . . . . . . . . . . . . ELENA SAUREL

1944 Indiana Jones Double . . . . . . . . . . . . . . . . . . . . . . . . . MIKE MASSA

1944 Indiana Jones Double . . . . . . . . . . . . . . . . .ANTHONY INGRUBER

Rich Kid . . . . . . . . . . . . . . . . . . . . . . .CHRISTIAN SACHA MEHJA-STOKES

Hippie Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANGUS YELLOWLEES

SS Guard/Comms O cer . . . . . . . . . . . . . . . . . . . . . . MATTHEW STAITE

Luigi - Italian Engineer . . . . . . . . . . . . . . . . . . . .CORRADO INVERNIZZI

Gestapo O cer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOERG STADLER

Sta Car O cer . . . . . . . . . . . . . . . . . . . . . . . . THORSTON MANDERLAY

Sentries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BASIL EIDENBENZ

JOHANN HESKE

Overalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSHUA BROADSTONE

Screaming Cabbie . . . . . . . . . . . . . . . . . . . . . BRUCE LESTER JOHNSON

Drunk - Appliance Store . . . . . . . . . . . . . . . . . . . . . . MARTIN SHERMAN

L’Atlantique Maître D . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALLON SYLVAIN

Con Ed Van Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . WILLIAM MEREDITH

Basil’s Housekeeper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATE DOHERTY

Barricade Cop . . . . . . . . . . . . . . . . . . . . . . . . . . DURAN FULTON BROWN

Screaming Beauty Queen . . . . . . . . . . . . . . . . . . . . .ELIZA MAE KYFFIN

Dutch Prince - Bidder. . . . . . . . . . . . . . . . . . . . . . .ANTHONY INGRUBER

Maximus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAURO CARDINALI

Pontimus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK KILLEEN

Miss Ja rey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BHARATI DOSHI

Henchman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AÏSSAM BOUALI

Gunther . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DOUGLAS ROBSON

Hotel Security . . . . . . . . . . . . . . . . . . . . . . . . . . . .MOHAMMED R. KAMEL

Confused Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BRYONY MILLER

Bubblegum Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TIWA LADE

Sketching Student . . . . . . . . . . . . . . . . . . . . . . . . . . . BRODIE HUSBAND

Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HANNAH ONSLOW

Supervising Stunt Coordinator . . . . . . . . . . . . . . . . . . . . . . BEN COOKE

Stunt Coordinator/Stunt Double for Mr. Ford . . . . . . . . MIKE MASSA

Assistant Stunt Coordinator . . . . . MARLOW WARRINGTON-MATTEI

Stunt Performers

DAN ADAMS JOEL ADRIAN

ALEJANDRO BERTERO ALVAREZ RAMON ALVAREZ

RAMON MARTÍ APARICIO JAMES APPS

MARK ARCHER MIGUEL ARREGUI

MEHRZAD ASGI-KERMANI DANIEL AWDE

LUCIANO BACHETA HELEN BAILEY

RUSSELL BALOGH CHARLIE BARRETT

ADAM BASIL RACHELLE BEINART

MATTHEW BELL EVONNEE BENTLEY-HOLDER

ANNA BENTON DAVID BIRKBECK

JAMEL BLISSAT EMMA BRITTON

KATY BULLOCK ANDREW BURFORD

JON CALLAWAY MAURO CALO

BORIS MARTINEZ CASAL CARLOS CASTILLO

MATT CAWLEY YUSUF CHAUDHRI

JONATHAN COHEN MIKE COLLIN

DAVID COLLOM TOM COTTON

CHRIS COX JAKE COX

MARTIN CRAVEN NICHOLAS DAINES

ANDRIUS DAVIDENAS TIM DAVIES

WILL DEVILLE BEN DIMMOCK

HUNG DANTE DONG DOM DUMERESQ

JOSH DYER JAMIE EDGELL

PAUL EDMONTON RACHAEL EVEYLN

BRADLEY FARMER JONATHAN FEE

ADAM FRANCIS SOFIAN FRANCIS

MIGUEL VILLALBA GARCIA DAVID GARRICK

ÁLVARO GÓMEZ MARTIN GORDON

CLAYTON GROVER RICHARD HALL

GEORGE HARRIS TOM HATT

ELLIOT HAWKES ROBERT HLADIK

ROB HUNT EROL ISMAIL

MARTIN IVANOV JACK JAGODKA

JONNY JAMES MATHEW KAYE

ROBBIE KEANE BOGDAN KUMŠACKIJ

RICHARD LEGGETT TEA MARKOVA

JACOB MARTIN KAI MARTIN

FREDDIE MASON MIKE MASSA

KIM MCGARRITY ADRIAN MCGAW

THEO MORTON ELLIOT MURRAY

CHRIS NEWTON FERNANDO MARTIN-MAESTRO ORTEGA

MATT PAINE RYAN PALMER

IGNACIO HERRAEZ PEREIRA SARA LEAL PEREZ

ANSKO PITKÄNEN OLEG PODOBIN

JAKE POGSON JORIAN PONOMAREFF

TILLY POWELL MATT PROVOST

GABRIELE RAGUSA JOTA RAMOS

ANDREJ RIABOKON SHANE ROBERTS

DOUG ROBSON LUIS CROS RUIZ

LOUIS SAMMS MARTA MACHUCA SASTRE

HASIT SAVANI HAYLEY SAYWELL

DAVID HERNANDEZ SILVA ANTHONY SKRIMSHIRE

MARK SLAUGHTER JON SLAYER

ALFIE SMITH VENICE SMITH

MIKE SNOW JAMIE STANLEY

ANNA STEPHENSON GEORGE SURRY

LAURA SWIFT KAZU PATRICK TANG

KAREN TEOH EDWARD UPCOTT

ELMO WALKER CALVIN WARRINGTON-HEASMAN

MARLOW WARRINGTON-MATTEI NATHAN WHATTON

CHRISTOPHER WHITE STEVEN WHITLEY

MAXINE WHITTAKER ALISTAIR WHITTON

ELDREDD WOLF ANNABEL WOOD

JAKE YOUNG

Head Stunt Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JASON BROWN

Stunt Riggers

GAVIN COVENTRY ROMAN LAUMPAA

SIMON MAHONEY ULRICH RICHTER

LUCKY MCQUEEDE CHRIS NEWTON

CHARLIE RAMSAY

III

Stunt Department Coordinator . . . . . . . . . . . . . . . . . . . . . JOANNE FOX

Visualization Supervisor . . . . . . . . . . . . . . . . . . . . . . . CLINT G. REAGAN

Storyboard Artist. . . . . . . . . . . . . . . . . . . . . . . . . . . . GABRIEL HARDMAN

Chief Lighting Technician. . . . . . . . . . . . . . . . . . . . . . . . DAVID SINFIELD

Makeup, Hair & Prosthetics Designer . . . . . . . . . .FRANCES HANNON

Special E ects Supervisor . . . . . . . . . . . . . . . . . . . .ALISTAIR WILLIAMS

Unit Production Manager - Foreign Locations . . . . . . . MATT JONES

Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON MILLS

Production Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KELLY LEE

Set Decorator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANNA PINNOCK

Property Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN WILKINSON

Construction Manager . . . . . . . . . . . . . . . . . . . . . . . . . . DAN CRANDON

Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID APPLEBY

Supervising Location Manager . . . . . . . . . . . DUNCAN BROADFOOT

Second Unit Unit Production Manager . . . . . .SAMANTHA ARNOLD

Second Unit First Assistant Director . . . . . . . FRAZER FENNELL-BALL

Additional Director of Photography . . . . . . . . . . . . . . . . CORY GERYAK

Transport Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SIMON JONES

Producer - Morocco Unit . . . . . . . . . . . . . . . . . . . . . . .ZAKARIA ALAOUI

Line Producer - Sicily Unit . . . . . . . . . . . . . . .MARCO VALERIO PUGINI

Additional Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN BERRI

Additional Re-Recording Mixers . . . . . . . . . . . . . . . GARY RYDSTROM

LUKE SCHWARZWELLER

WARREN HENDRIKS

Sound Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KYRSTEN MATE

JOSH GOLD

WARREN HENDRIKS

ART

Concept Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KIM FREDERIKSEN

DOMINIC LAVERY

TOM WINGROVE

KATREN WOOD

Senior Art Directors . . . . . . . . . . . . . . . . . . . . . OLIVER VAN DER VIJVER

PETER DORME

Art Directors

TIM DUTTON ISONA RIGAU

OLIVER GOODIER CHARLOTTE MALYNN

QUINN ROBINSON KATE GRIMBLE

Standby Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HUW ARTHUR

Senior Draughtsperson . . . . . . . . . . . . . . . . . . . . . . . . . . DORRIE YOUNG

Assistant Art Directors

TERI FAIRHURST OLIVIA MUGGLETON

GARETH SPREY CHRIS VINCENT

HANNAH WIESSLER LEAS KATY SCHURR

ROSIE HARDWICK

Draughtspeople . . . . . . . . . . . . . . . . . . . . . . . . . . . .JASMIN BACKSHALL

EMILY CANNON

MAX PHILLIPS

Art Department Coordinator . . . . . . . . . . . . . . . . . . . . . . .VICKY RALPH

Junior Draughtspeople . . . . . . . . . . . . . . . . . . . . . . HELENA ANTHONY

KYLE STEPHEN-LETT

Art Department Trainees - BFI . . . . . . . . . . . . . . . . .ANGUS BENTHAM

LUCY CHARLESWORTH

Art Department Assistants . . . . . . . . . . . . . . . . . . . . . . . . . .WILL CAMM

JULIAN LEONEL

Universal Digital Asset Manager/Atris Support . . . . .KYLE WETTON

Digital Asset Coordinator . . . . . . . . . . . . . . . . .NAHIYAN MUHAYMEEN

Digital Asset Manager . . . . . . . . . . . . . . . . . . . . . . . GENEVIEVE FERRIER

SET DECORATION

Senior Assistant Set Decorators . . . . . . . . . . . . . . . . . . .PRUE HOWARD

SOPHIE NEWMAN

Set Decorator - Morocco . . . . . . . . . . . . . . . . . . . . . . . . . . TANYA BOWD

Set Dresser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JULIE GRAYSMARK

Senior Production Buyer . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL KING

Assistant Set Decorators . . . . . . . . . . . . . . . . . . . RAFFAELLA CUVIELLO

JO GRAYSMARK

Production Buyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL PITT

LAURA TWEED

Lead Graphic Designer . . . . . . . . . . . . . . . . . . . . . LAURA DISHINGTON

Assistant Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMMA FORD

Graphic Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NATASHA JONES

LAURA CORNUÉJOLS

Petty Cash Buyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUTHIE FALCONER

IMOGEN LLOYD

ANTHONY NOBLE

OLIVER TARLING

Junior Assistant Set Decorator . . . . . . . . . . . . . . . . JESSICA MEREDITH

Graphics Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATIE SHARPE

Set Dec Coordinator/Assistant Buyer . . . . . . . . . . . . . . .ALEX ASPDEN

Drapesmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CLETUS NETHERSOLE

Supervising Drapesman . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX LEWRY

Painters - Set Dec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CARL LANGLEY

PETER LE PARD

Drapesmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE CASHIN

DANIEL O’BRIEN

JACKIE RAY

AMANDA WARD

Set Dec Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . HAZEL SINGZON

EDITORIAL

Post Production Supervisor . . . . . . . . . . . . . . . . . . . . MATTHEW WELLS

VFX Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN BERRI

MATT BLOUIN

First Assistant Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SANDY GRUBB

DANIEL M. NUSSBAUM

Second Assistant Editors . . . . . . . . . . . . . . . . . . . . . . . . MORGAN KERN

DANA MADDOX

Assistant Editor . . . . . . . . . . . . . . . . . . . . . . . . .CHRISTOPHER RUCINSKI

First Assistant Editor (UK) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TOM DAVIS

Second Assistant Editor (UK). . . . . . . . . . . . . . . . . . . . . . . .BEN RENTON

Dialogue Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POLLY MCKINNON

Assistant Supervising Sound Editor . . . . . . . . . . . SKIP LONGFELLOW

Editorial Production Assistant . . . . . . . . . . . . . . . . CHRISTINA RENCIS

Mix Stage Production Assistant . . . . . . . . . . . . . . . . . . BEPPY GIETEMA

Post Production Coordinator . . . . . . . . . . . . . . . . . . .A. R. BJÖRKLUND

Editorial Production Assistant (UK) . . CHANELLE HENRY-EDWARDS

Stock Footage Researcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JODI TRIPI

Dailies Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WIL FLUCKEY

20th Century Studios - Avid Technicians . . . . . . SEAN YARBROUGH

ERIC LARSEN

ABRAXAS HICKS

Sound Engineers . . . . . . . . . . . . . . . . . . . . . . DR. ERIN MICHAEL RETTIG

GEORGE HART

20th Century Studios -

Executive of Prod. Tech . . . . . . . . . . . . . . . . . . . . . .MATTHEW SCHULER

20th Century Studios -

Sr. Image & Color Engineer . . . . . . . . . . . . . . . . . JOSHUA BERKOWITZ

20th Century Studios -

Sr. Systems Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DARIN DECUIR

VISUAL EFFECTS

VFX Additional Supervisors . . . . . . . . . . . . . . JASON VAN HAVERBEKE

NEIL IMPEY

VFX Lead Data Wranglers . . . . . . . . . . . . . . . . . . . . . . . . . DAN PEARSON

STEVEN BARHAM

VFX Data Wranglers . . . . . . . . . . . . . . . . . . . . . . . . . . .LORENZO ANTICO

TOM HOYLE

VFX Data Wranglers - Morocco . . . . . . . . . . . . . . . . . . .JOHN HACKNEY

BRADLEY B. MCGEE

BFI VFX Production Assistants . . . . . . . . . . . . . . . . . . TEHREEM FAISAL

TOSIN OGUNLEYE

VFX Lead Coordinators . . . . . . . . . . . . . . . . . . . . . . . . . EREN RAMADAN

DON GLOETZNER

VFX Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ASHLEY WILD

VFX Assistant Coordinators . . . . . . . . . . . . . . . . . . . . . . . . . . MAIA GOEL

JORDY SIEGEL

VFX Production Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . .KAAN SALIH

ELIJAH ZAVALA

In House Compositing Supervisor . . . . . . . . . FRANCESCO PANZIERI

In House Flame Artist/Designer . . . . . . . . . . . . . . . . . MARK P. RENTON

In House Lead Compositor . . . . . . . . . . . . . . . . . .CAITLIN V. CONTENT

In House Compositors . . . . . . . . . . . . . . . . . . . . . . . . . . BRIAN HANABLE

BEN CAMPANARO

TONY D’AGOSTINO

PHILIP SISK

CHRIS INGERSOLL

COSTUME

Costume Supervisor . . . . . . . . . . . . . . . . . . . . . . . . CHARLOTTE FINLAY

Associate Costume Designer . . . . . . . . . . . . . . . . . DAVID CROSSMAN

Assistant Costume Designer . . . . . . . . . . . . . . . . . . . . VIVIENNE JONES

Assistant Costume Designer - Military . . . . . . . . . .STELLA ATKINSON

Chief Costume Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JANE GOODAY

Senior Costume Buyer . . . . . . . . . . . . . . . . . . . . . . . . . .CAROLINE BRETT

Head Costume Cutters . . . . . . . . . . . . . . . . . . . . . . . .TIMOTHY PERKINS

Costume Buyer - Military . . . . . . . . . . . . . . . . . . . . . . . . CARA RANDELL

JENNIFER ALFORD

ALICE NESSLING-JESSUP

Costume Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . CRESSIDA CONNOLLY

Costume Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . ZOÉ LE MOULLEC

Phoebe Waller-Bridge Morocco Costume

Designed with Upcycled Fabrics by . . . . . . . . . STELLA MCCARTNEY

Costume Makers

HELEN BRAHAM ANNABEL DAVIES

MARIA ENDARA MATTHEW FINNEGAN

ELOISE GEFFREYS ANNA HUSSEIN

DECLAN JACKSON HILDEGUNN MEYER

INKA POLAKOVICOVA LISA ROBINSON

REBECCA SELLORS

Co-Head Textile Artists . . . . . . . . . . . . . . . . . . . . . . . . . . LAURA RENOUF

JESSICA SCOTT-REED

Senior Textile Artists . . . . . . . . . . . . . . . . . . . . . .SACHA CHANDISINGH

CHARLOTTE IVENS

STEPHANIE SZUMLAKOWSKI

Textile Artists . . . . . . . . . . . . . . . . . . . . . . . . FRAN JEGARAJASEGARAM

AISLING SMYTH

HENRIETTA THOMAS

Senior Dyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALICE FITZGERALD

LOUISA SORRENTINO

Head Costume Props Modeller . . . . . . . . . . . . . . . . . . . . . . . IAN JONES

Assistant Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . . . .KIM PICKERING

Military Crowd Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . NEIL MURPHY

Military Wardrobe Master . . . . . . . . . . . . . . . . . . . . .WILLIAM STEGGLE

Asst. Costume Designers - Crowd . . . . . . . . . . . . . . . . MARTIN CHITTY

TRACEY MILLAR

Crowd Supervisor - Glasgow . . . . . . . . . . . . . . . . . . .SHEENA WICHARY

Crowd Designers - Glasgow . . . . . . . . . . . . . . . . . . .GRAHAM HUNTER

FINLAY MCLAY

Crowd Mistress . . . . . . . . . . . . . . . . . . . . . STACEY RICHARDS-POWELL

Crowd Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GARY HYAMS

Principal Costumers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LAURA BAILEY

EMMA HEATH

SALLY JAMES

MARCO DE MAGALHAES

JAMES SHUTTLEWORTH

Crowd Costume Fitters

HARRIET KENDALL CHLOE MURPHY

CHARLIE SALMON RUPERT STEGGLE

JILL AVERY ADRIAN SIMMONS

YANNICK GONDRAN

Costume Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . RICHARD MERRITT

Junior Principal Costumer . . . . . . . . . . . . .HANNAH TUCKER WILSON

Junior Crowd Costumer . . . . . . . . . . . . . . . . . . . . . . . . . . .LEON MCGHIE

Junior Costume Maker . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH MILLS

Costume O ce Trainee . . . . . . . . . . . . . . . . . . . .CHARLES PIGEONNIER

Costume Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XANTHE JAFFE

Costume Trainees - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ABBIE HILLS

NERIAH MOONEEGAN

CLEO WEBSTER

Head of Crowd Alterations . . . . . . . . . . . . . . . . . . . . . . JENNY POWELL

Crowd Alterations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIZZIE DOUGLAS

Asset Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . ROSIE SMITH OLIVER

Costume Gangsman . . . . . . . . . . . . . . . . . . . . . . . . . . . .TOM APPLETON

Junior Costume Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IZZY ROOK

Junior Costume Coordinator . . . . . . . . . . . . . . . . . . . . . . . .ALEX BAKER

Junior Design Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . .EMILY CHUNG

LANA POWELL

Junior Textile Assistant . . . . . . . . . . . . . . . . . . . . . . . . . .SINEAD COCKER

HAIR & MAKEUP

Hair & Makeup Supervisor . . . . . . . . . . . . . . . . . . . . . . . . KAREN COHEN

Hair Stylist to Mr. Ford . . . . . . . . . . . . . . . . . . . . KAREN ASANO-MYERS

Key Hair, Makeup & Prosthetic Artist . . . . . . . . . . . .CHARLIE ROGERS

Hair & Makeup Junior . . . . . . . . . . . . . . . . . . . . . . . . CATHERINE GROVE

Hair & Makeup

Crowd Supervisor - Glasgow . . . . . . . . . . . . . . MARILYN MCDONALD

Hair & Makeup

Crowd Supervisors - Morocco . . . . . . . . . . . . . . . . . BELINDA PARRISH

HELEN BARRETT

Hair & Makeup Coordinator . . . . . . . . . . . . . . . . . . .CLAIRE CAMERON

Makeup Artist to Mr. Ford . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL CORSO

Hair, Makeup & Prosthetic Artists . . . . . . . . . . . . . . . . . . SARAH NUTH

ZOEY STONES

LORRAINE HILL

Hair & Makeup Trainees . . . . . . . . . . . . . . . . . . . . . . . BECKY SHERIDAN

SARAH BLAIR

Hair & Makeup Crowd Supervisor - Sicily . . . . . . . . .EMMA ROMANS

Hair & Makeup Supervisor . . . . . . . . . . . . . . . . . . . . . . . . ANGIE MUDGE

Daily Hair, Makeup & Prosthetic Artists

SALLY CROUCH GEMMA CALDER

ADRIAN RIGBY SOPHIE ASHWORTH

KIRI MELLALIEU LESLEY NOBLE

SARAH GRISPO DOREY CILIA

PAMELA FOSTER LESLEY ALTRINGHAM

VICTORIA PIPE KARI WOOD

PRODUCTION

Production Coordinator . . . . . . . . . . . . . . . . . . . . . . . . KIRSTY BARHAM

Key Assistant Production Coordinator . . . . . . . . . .HELEN OSBORNE

Assistant Production Coordinator . . . . . . . . . . . . . . . . . . . BOO SALTER

Travel & Accommodation Coordinator . . . . RACHEL JANE THOMAS

Accommodation Consultant . . . . . . . . . . . . . . . . . . . . . . JANIE NUGENT

Production Assistants - BFI . . . . . . . . . . . . GEORGIE PALMER MILTON

NNEKA OTIGBAH

Production Coordinator -

Foreign Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . STEFANIA MONETTI

Key Production Secretary . . . . . . . . . . . . . . . . . . . SOPHIE VAN VOORST

Production Secretaries . . . . . . . . . . . . . . . . . . . . . . . . . . GEMMA YIANNI

CHARLOTTE FRAMPTON

HAMISH CARMICHAEL

Shipping Coordinator . . . . . . . . . . . . . . . . . . . . . . MAXWELL BOULTON

Physical Asset Coordinator . . . . . . . . . . . . . . . . . . . LENNARD SILLEVIS

First Assistant Director . . . . . . . . . . . . . . . . . MATTHEW PENRY-DAVEY

C Camera - First Assistant Directors . . . . . . . . . . . . . . . . .TOM TURNER

NICK LAURENCE

Floor Second Assistant Director . . . . . . . . . . . . . . . . . . .EMILY THOMAS

Floor Third Assistant Director . . . . . . . . . . . . . . . . . . . DAVID SOWERBY

Stunts & Picture Vehicle

Third Assistant Director . . . . . . . . . . . . . . . . . . . . . . . .CHARLES OBARO

Key Set PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FINTAN O’BRIEN

Coordinator to James Mangold . . . . . . . . . . . . .RAPHAEL GONZALEZ

Assistant to James Mangold - UK . . . . . . . . BERTIE TUCKER HOUGH

O ce of Kathleen Kennedy . . . . . . . . . . . . . . . . . . . . ATHENA SAMMY

Assistant to Simon Emanuel . . . . . . . . . . . . . . . . . JASMIN MORADIAN

Production Datasat Engineers . . . . . . . . . . . . . . . . . . . .DAN WILLIAMS

LIAM SMITH

Key Crowd Second Assistant Directors . . . . . . . . . . . . DAISY BALDRY

MICHAEL MIDDLETON DOWNER

Base Third Assistant Director . . . . . . . . . . . . . . . . . . . . . .LUCIA SERPINI

Assistant Director Trainees - BFI . . . . . . . . . . . . . . . . . . . KELLY DRAPER

LEON PEART

Base/Cast PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRANK MACPHERSON

Set Production Assistants . . . . . . . . . . . . . . . . . . . . . . . AHMED AMARE

ELISABETH RICHARDSON

TINA VIDMAR

Producers’ Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TULSI BEHL

DANIELLE BAINS

Second Assistant Director . . . . . . . . . . . . . JOANN (JOJO) CONNOLLY

Assistant to Phoebe Waller-Bridge . . . . . . . . . . . MICHAEL KEOHANE

CAMERA

A Camera Operator/Steadicam . . . . . . . . . . . . . . . . .JULIAN MORSON

B Camera Operator/Steadicam . . . . . . . . . STAMOS TRIANTAFYLLOS

Additional B Camera Operator/Steadicam. . . . . . . . MATT POYNTER

A Camera Second Assistant Camera . . . . . . . . . . . . . . . . JACK SANDS

Central Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAHALIA JOHN

FLUX Focus Puller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN WEST

Assistant to DOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATERINA SARANTI

A Camera First Assistant Camera . . . . . . . . . . . . . . . . . . . OLLY TELLETT

B Camera First Assistant Camera . . . . . . . . . . . . . . . . . . . . LEIGH GOLD

C Camera First Assistant Camera . . . . . . . . . . . . . . . . . . . DAVE PEARCE

B Camera Second Assistant Camera . . . . . . . . . . . . . . . FILIPPO MASO

C Camera Second Assistant Camera . . . . . . . . . MAGGIE STANASZEK

Camera Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IONA GREAVES

APOLO WILSON

DIT

DIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN APPLETON

Data Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LILY ARCHBUTT

DIT Trainees - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CALVIN CAWOOD

PHOEBE RUSSELL

DIT Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARK DEMPSEY

KATE DRAZEK

SCRIPT

Additional Script Supervisors . . . . . . . . . . . . . . . . . . .NICOLETTA MANI

EMMA THOMAS

Script Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMMA SAWYER

Script Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANGELICA GAYLE

German Language Consultant . . . . . . . . . .THOMAS KRETSCHMANN

Assistant Script Supervisor/

C Camera Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . . KAYA MOORE

Dialect Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JILL MCCULLOUGH

Ancient Greek & Latin

Consultant/Researcher . . . . . . . . . . . . . . . .MATTHEW STOCKHAUSEN

Researcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMILY LUTYENS

Additional Language Translators. . . . . . . . . . . . . MARCUS PUNGETTI

ANOUAR SMAINE

DAVID CHEN

CHRISTOS VASILOPOULOS

ACCOUNTING

Production Accountant . . . . . . . . . . . . . . . . . . . . . . . . .SARAH TROWSE

Production Accountant (US) . . . . . . . . . . . . . . . . . . . . . . JOE BECKWITH

Key First Assistant Accountant . . . . . . . . . . . . . . . . . . . RACHEL WELCH

First Assistant Accountant . . . . . . . . .CHARLES LARCOMBE-FROUDE

Location Accountant - Morocco . . . . . . . . . . . . . . .MARK BEAUMONT

Second Unit Accountant . . . . . . . . . . . . . . . . . . . . . . . . .SEAN BROWNE

Supervising Payroll Accountant . . . . . . . . . . . . CIARAN (CIZ) MORAN

Key Payroll Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . LOUISE GREEN

Assistant Payroll Accountants . . . . . . . . . . . . . . . . . . . . . KRIS MENTOR

FRANCESCA PETRIE

FIONA TURNER

DANIELLE POINEN

Insurance Accountants . . . . . . . . . . . . . . . . . . . . . . . . .BECKY MAXWELL

SAMANTHA BEDDOE

Junior Payroll Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . LUCY HOEY

Assistant Accountants

LOUISA BRAMMER LISA DASH

NATHAN FRANCIS DANIEL HALL

JOSHUA HARD VIKETA KAMDAR

BETH MCCONNELL LAURA TRIBAUDINO

TOM BOARDMAN SHURAJ VEKARIA

Accounts Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HARRY OWEN

Accounts Trainees - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . RORY TASKER

CHARLOTTE QUASHIE-MCDONALD

Accounts Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUKE MCMILLAN

CASTING & CAST SUPPORT

Casting Associate (UK) . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARTIN WARE

Casting Assistant (UK) . . . . . . . . . . . . . . . . . . . . . . . . . MELODY GERARD

Assistant to Mr. Ford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEV WATACH

Security to Mr. Ford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN O’BRIEN

Cast Sports Therapist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RUTH MOSS

Cast Physiotherapists . . . . . . . . . . . . . . . . . . . . . . . . . FREDDIE MURRAY

CHRIS BULL

Cast Osteopath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM LOWES

Moroccan Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . SALAH BENCHEGRA

Child Casting Consultant . . . . . . . . . . . . . . . . MATHILDE SNODGRASS

Tutors to Mr. Isidore . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARGARET COX

YOLANDA SANGAREAU

Tutor to Mr. Isidore Double . . . . . . . . . . . . . . . . . . . . . . . . PETE SUTTON

Cast Trainers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON WATERSON

RICHARD PETERSON

Cast Physiotherapist - Clinical . . . . . . . . . . . . . . . . . . . . . JOE BADHAM

Stand Ins

RUPERT SHELBOURNE CAROLINE GREEN

GEORGE MONTAGUE RICHARD CURTIS

DEE GYASI HADLEY KARIMLOO

ROMAN KIEGERL CARL NORMAN

DOUGLAS UTTING TONY WILD

SOUND

Key First Assistants Sound . . . . . . . . . . . . . . . . . . . . . . . . . ORIN BEATON

EMMA CHILTON

First Assistants Sound . . . . . . . . . . . . . . . . . . CHRISTOPHER ATKINSON

LIBERO COLIMBERTI

Action Unit Sound Mixer . . . . . . . . . . . . . . . . . . . . . . . . .TOM WILLIAMS

Action Unit First Assistant Sound . . . . . . . . . . . . GWENDOLEN SENA

Action Unit Sound Trainee . . . . . . . . . . . . . . . . ALEXANDER LANGNER

Sound Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH MORRISON

Sound Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . .CHARLOTTE TOOLE

Additional Sound Recordist . . . . . . . . . . . . . . . . . . . . . . . . . MITCH LOW

Additional First Assistant Sound . . . . . . . . . . . . . . . . . . . . . JAMES GIBB

Additional Sound Utility . . . . . . . . . . . . . . . . . . . . . . . . NICHOLAS AGER

VIDEO ASSIST

Video Playback Operator . . . . . . . . . . . . . . . . . . . . . . . .ZOË WHITTAKER

Video Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PHOEBE CULLUM

Network Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ALEX MCCORMACK

Video Operator Assistant . . . . . . . . . . . . . . . . . . . SEAN IP FUNG CHUN

Additional Video Assistant . . . . . . . . . . . . . . . . . . . . . . CHRIS ATKINSON

LOCATIONS

Location Managers

LEX DONOVAN MATT CRAUFURD

ASHA SHARMA JASON NIGHTINGALE

CHRIS CAMERON PETE MURPHY

Locations Department

Coordinator . . . . . . . . . . . . . . . . . . . . . .CATERINA BOSELLI VESPIGNANI

Studio Unit Manager . . . . . . . . . . . . . . . . . . . . . . . . . . MITCHELL GREEN

Location Managers - Morocco . . . . . . . . . . . . . . . . . . . . . NIALL O’SHEA

DANNY KHOUDARY

Assistant Studio Unit Manager . . . . . . . . . . . . . . . . .JOSHUA BRADLEY

Unit Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLIE SIMPSON

TOBY BLYTHER

Studio Unit Coordinator . . . . . . . MATTHEW (TENNESSEE) GRAHAM

Asst. Location Managers . . . . . . . . . . . . . . . . . . . . . .TIMOTHY NOAKES

SAMMY TOMSON

LUCIA FEDELI

EVIE HARKINS

Unit Manager - Morocco . . . . . . . . . . . . . . . . . . . . . . . . . ZUHAIR SOUDI

Unit Manager - Sicily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM BATHER

Location Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM ELLIOTT

ZAK JARVIS

Location Scout - Morocco & New York . . . . . . . . . . . AARON HURVITZ

Locations Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . GIANLUCA GILES

Studio Assistants . . . . . . . . . . . . . . . . . . . . . . .ANTONY (GIGGLES) GIGLI

EMILEE SHAW

Environmental Marshall . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAZZ RASHID

Unit Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JACK HUGHES

Studio Marshalls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LLOYD STANNARD

MICAH HINCHLIFFE

ETIR VOGT

Studio Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AINE DONNELLY

INDUSTRIAL LIGHT & MAGIC

Additional ILM Visual E ects Supervisor . . . . . . . . . . . . .JOHN KNOLL

Associate Visual E ects Supervisors . . . . . . . . . . . . . . . . . .PAOLO ACRI

WILL REICHELT

Visual E ects Associate Producer . . . . . . . . . . . . . . . . . . . .ALICE KAHN

Visual E ects CG Supervisors . . . . . . . . . . . . . . . . . . . . .KARIN COOPER

GORAN KOCOV

NICK PITT-OWEN

Compositing Supervisors . . . . . . . . . . . . . . . . MICHAEL JAMES ALLEN

SHERRY HITCH

ANTON YRI

Asset & Environment Supervisors

JEAN BOLTE KEVIN GEORGE

PAUL GIACOPPO RYAN GILLIS

JUNG-SEUNG HONG TIM JONES

MICHAL KRIUKOW JOHANES KURNIA

DAVID MENY PATRICK T. MYERS

MASA NARITA NORBERTO IDIART RITTER SUNNY

LI-HSIEN WEI DAN WHEATON

ELVIN SIEW XIANGYOU

VII

Digital Artist Supervisors

JHON ALVARADO JOAKIM ARNESSON

CHRIS BENDING BETH D’AMATO

DAMIAN DOENNIG DAVID FISH

AARON GREY SAMUEL HEAD

ERIC LEVEN DOUGLAS MOORE

NAREN NAIDOO ELLIS PARRY

AMY SHEPARD SAM STEWART

PETER TAN HUAI YUAN TEH

NICK VAN DIEM KYLE WINKELMAN

FLORIAN WITZEL

Visual E ects Art Directors. . . . . . . . . . . . AMY CHRISTENSON SMITH

ALEX JAEGER

STEPHEN TAPPIN

Visual E ects Producer . . . . . . . . . . . . . . . . . . . . . . JOSIANE FRADETTE

Visual E ects Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM WILLING

Lead Digital Artists

TSAO MIN ADRIAN KIAN ANG

ASIER APARICIO MORAGOT BODHARAMIK

KIRSTIN BRADFIELD NICHOLAS CROSS

CHRISTOPHER DOERHOFF ALEX HALSTEAD

DAVID JAMES HENDERSON LINDSAY M. HOPPE

FELDER KWEK WEI SIANG YATEEN MAHAMBREY

JEBB NG DANNY POPOVIC

CHRIS UNG ADOM YIP

Digital Artists

FIRDAUS AB LATIF ABDUL RAHMAN ABDUL RAHIM

JUAN VALENZUELA ALCARAZ ANTONY ALLEN

TOM ALLEN RAMI ABDEL QADER ALRAMAHI

MARTIN ALVAREZ GARCIA ROSS ANDERSON

ARILD ANFINNSEN SIAU YENE ANG

NADIA ASCIONE NICOLE ASHFORD

MURAT AYASLI MOHD FAHMI B MOHD RAZAK

LIJO KURIAPPILLY BABY MARCUS BAIN

DEVENDRA BALLAL MARC BEAUJEAU-WEPPENAAR

DIPTI BEHERA CLEMENCE BELLIER

GREGORY BELLIS KHOO SHU CHOON BENEDICT

JAUME BERCH REIG PRASHANTH BHAGAVAN

TAN BI ADAM BLANK

JADE BLIESCHKE JORDAN BOOTH

DYLAN LEIF BRINSBURY-MAGEE ROMAIN BUIGNET

ALESSANDRO CAPONETTI JULIAN CERVANTES

EZEQUIEL CESANA KARHOE CHAN

FADRY DREW CHANDRA MATHIEU CHARDONNET

SUMIT CHATTERJEE SOHAN CHAUDHARI

GEORGIE CHEN JANE CHEN

YEN TING CHEN EUNICE CHEN YIAN LU

EUGENE MATTHEW CHEONG RICKY CHEUNG

UMESH CHIRMURE PRIYANKA CHITNIS

JULIAN CHONG SHEREE CHUANG

DIEGO COLLELL EMANUELE COMOTTI

GRANT CORDWELL DAVID COSTELLO

MICHAEL DEBEER SHRIPAD DESHMUKH

JOSH DOCHERTY AMY DUARTE

LISA DURAND KHALED ELMELIGY

MARK ELSASS DEVIN FAIRBAIRN

GREG FAIREY CONNY FAUSER

DAN FEINSTEIN JAKE FERRIS

ANDY FINLAYSON CARL FORSELL

JACK FRENCH JAMES GACZKOWSKI

NACHO GARCIA ANDY GARCIA, III

JASON GARDNER GOURAV GHOSH

ANGELA GIANNONI ERIN GOLDBERG

STEPHANIE GOLDBERG CHELSEA GOODCHILD

RAKESH SHRINIVAS GOWDA BRANKO GRUJCIC

BENJAMIN WOO GU MING K.S. HADDOCK

CHRISTIAN HALEY SHANIQUE HALLGREN

LUCY HARCUS NICHOLAS HARDING

COLLIN HEE BARBRA SEE WAI HO

LOK SANG HO YEU WING HONG

ANNALIESA HORNE JESSICA HSIEH

SACHIN ILAMKAR JACEK IRZYKOWSKI

JAFIN JACOB SWAPNIL JADHAV

TIM JARICK EVAN JENKINS

SEUNG RYONG JEON LAM JIA JUN

LEE JIA MIN RYAN L. JONES

GERMAINE PHOO HUI JUN SAMUEL CHEW JUNYAN

RAHUL KADATHARA RAJU TIMOTHY KELLY

ADRIANNA KER PRAJAKTA KHATAL

JINYOUNG KIM HARRY JAMES KIRBY

CHEANG KIT JEAN LE KOH

WOSING KOH GABRIEL TAN CHYE KOON

MATEUSZ KRZASTEK OSEONG KWON

YEOW KUANG LAI TEGAN LAING

NATHAN LANE ADAM LAU

EDISON LAU ASIER HERNAEZ LAVINA

ENRICO LEASA LENNY LEE

ALANA LENNIE ARTHUR LEUNG

KEITH LEUNG JOHN-HENRY LIENARD

BEE BEE LIM LOO KIM LIM

DESMOND LIN TANG LAI LIN

WILLIAM LIN JIAHUI BAK LIPING

MINJUN LOGAN KIM ANDREW LOVE

JESSICA LOW LO WAI LUN

BRIAN LUZZI THOMAS LINUS MAHER

KEITH MAK SURAJ MAKHIJA

ALISHA JOY MAKWANA MARK MARCIN

ROBERT MARINIC MARCEL MARTINEZ

GUY MASONWELLS MARIAN MAVROVIC

DARYL MC MAHON DEIRDRE MCCARTHY

JAROD MCLAREN ARIYAWAT MEECHOUI

DAVID LENNOX MEIKLE ADRIAN MILLINGTON

MEHERZAD MINBATTIWALA CHELSEA KHOO HUI MING

NATHAN MITCHELL PRITAM MODAK

DHARA MODHWADIA SRIJITH MOHANAKRISHNAN

SARAH MONAGHAN ALLISON MOON

TOM MORRISON JIUN YIING MOW

MELISSA MULLIN NICK MULREAN

IKUE NAGANO PRACHI

YUHON NG LUAN NGUYEN

PHUNG NHAT HUY MATTHEW TOBIT NICHOLS

BEN NICOLOFF BEN O’BRIEN

MONIQUE O’HALLORAN GURPREET PANNU

MINWOO PARK REBEKAH PILBROW

ANDREW PINSON DOMINIK PLATEN

PARIS PREMDAS LYNN TAN QIANLING

EDWARD QUAH KHALID ALI QURESHI

ABDUL HAFIZ RAMLI MATT ROE

ALESSIO ROSIO ARINDAM ROY

AZHAR SALIM POONNAWAT SANTIYOTHIN

VIII

SASHA SAZANOVICH RAMYANTH KUMAR SEEPANA

RENE SEGURA ANDRES SEMPRONII

ELHAM SENIN GINA PHOO HUI SHAN

MOHAMED IRFAN SYARIAL B SHARIF VINEET SHARMA

HUANG SHICONG MICHAEL SIEGEL

EDWARD LIM SIN YONG TAY CHIN SIONG

VINCENT SNG JASON SOCHIN

KARTHIHEYAN SOMU PAUL SULTAN

JONATHON SUMNER MICHAEL KING SUTANTO

CHRIS SUTHERLAND NICK SWARTZ

ALEX SZETO BINOD TALUKDAR

ELOHIM TAMPUS KEN TAN

LUCAS TAN YANNICK TAN

ALEX TANG DEBBIE TAY MEI TANN

SEOW TAI TEE GAIUS TEOH

JORDI COLLET TEXIDO DANIEL THOMSON

REKHA THORAT VARSHITHA THOTA

LESLY TIMMER THIAGO TIRAPELLE

GIULIA TIRELLI NUTCHA TIWTRAKUL

WOO YING TONG LEVI TRAPPEL

SARAH TROP LAZE TUTKOVSKI

LEWIS V TAYLOR RAM VERMA

SÖREN VOLZ CHUQIAO WANG

PAIGE WARNER DAVID WASHBURN

JIUN WEE PUAH JUN WEI

GREGORY WEINER PHAN WIANTRAKOON

NEHA WICKRAMASEKARAN BENJAMIN GEORGE WILSON

GRACE WILSON DAVID WORTLEY

GILLES WOUTERS BENJAMIN WRIGHT

RICK YANG ONN SEN YE

JACK YEUNG MAX MAK TSZ YEUNG

NICHOLAS YOON JOO KUANG LIN YUANJING

KANG YUNG HO HOSSEIN ZOLFAGHARI

Assistant Visual E ects Editors . . . . . . . . . . . . . . . . . .KATHY FREEMAN

COLIN LIM SHEN-MIN

ERIK PAMPEL

DANIEL RICHARDSON

Visual E ects Production Managers . . . . . . . . . . . . . . . .ASHLEY DOSS

LINLI LIM

KAROLINA O’BRIEN

EWA OTWINOWSKA

Visual E ects Associate Production Managers . . . . . . . .CELINE LAM

KATIE MITCHELL

SHELDON NEILL

Visual E ects Production Coordinators

SAM BUSH CHRIS DORAN

KYLEE FITTIPALDI ENG SZE JIA

CHRISSY KAVANAGH-COLE TANG KUAN HUI

KAYLA LANE NICOLE LIM SHEN-YI

JAMIE LOUISE LIPSHAM MOLLY MCLAREN

JACQUELYN MONTELLATO CHANEL OH FANG QI

MICKEY PUGLISI RUCHIKA RAWAT

JEAN KATHERINE SALVADOR SAPPHIRE SHEEDY

WONG SHI TENG SARAH SIMPSON

SHARANPREET SINGH ISABELLA STEVENSON

DANIEL TAN LIVIA TENG

RACHEL HO PUI YI

Visual E ects Production Assistants

ELISABETH BLANK AGNES CHAN

NGAH KE YU, EILEEN JADE FALZON

JAMES GUY LAQUISHA MONIQUE

JOE NIHAL KAROTAUA SHANKAR STACEY SUSS

Visual E ects Executive Producers . . . . . . . . . . . LAURENCE BERKANI

JILL BROOKS

KACY MCDONALD

Visual E ects Production Accounting . . . . . . . . . . . . CHOW YEW KAY

TEO CHAY TENG REBECCA

CAMILLE TORION

Software & Technology

JEANNINE ABIVA MARK ADAMS

LAURA ALDRIDGE SCOTT A. ALLEN

LISA ARON DAN BAILEY

STEVE BESSELMAN MOHAMED NOOR BIN RASHID

STEPHEN BOWLINE ZACK BUNKER

TOMMY BURNETTE MEGGIE CAPRI

MICHAEL CHAN DYLAN COATES

PAUL DEBAUN MICHAEL DICOMO

PHILIP ECCLES KYLE FAWCETT-SHELL

DADO FEIGENBLATT ADAM FERRALL-NUNGE

DAVID GALEANO CHEE JUN GHAI

SIRAK GHEBREMUSSE CHRIS GILMER

JOSE GOMEZ DIAZ STEPHANE GRABLI

ALEX GRANT STEFAN HABEL

ERIC HABER RICKY HERRERA

PAUL HOGBIN SAM HOLLOWAY

PETER HRICAK DARYLL JACOBSON

EDWARD JONES RICHARD JONES

FERIT TANKUT KALAYCIOGLU ANISHA KAUL

ZACH KENEMER ELVIN KORKUTI

FREDERICK LEMASTER PETER LORD

DAVID MARTE NICK MCCOMBER

MARTY MIRAMONTEZ BILLY MITCHELL

STEVEN MUNIZ JEFFREY NAGASUGA

JACEK NARUNIEC MATTHEW O’NEIL

HARRISON PARKER MAYUR PATEL

CARY PHILLIPS RATINDER PREET

NICK PROULX MEGAN REITAN

JOHN RELOSA BARNABY ROBSON

DANE ROCKINGHAM ROBERT SANTOS

MATTHIAS SCHARFENBERG JEROEN (J) SCHULTE

RANDY SEVERSON KIRK SHIMANO

TED SLOMINSKI MARIEL SONG

TIM STRAUBINGER JILL THOMAS

CHERYL JEAN (CJ) TOLLOLA JAMES TOMLINSON

SELIM TUVI MARVIN VASQUEZ

RENEE YANG JEFFERY YOST

GASPARD ZOSS

Studio Operations Support

MELISSA ABAD JOREN ANDERSON

GEMMA-LEA BARBELER TRACEY BAXTER

LORI BECK AMANDA BURNS

NATHAN CAMP CHELSEA CASTRO

CASSIDY CHAN JESSICA CHAN

SHEREEN CHATTUN FRANCESCA CHRISTOPHER

PAUL CHURCHILL LOGAN CRIST

JASMIN DANIC SAMANTHA DARK

DANIELLE DE LA TORRE MELISSA DE SANTIS

ROBBIE DERRY JESSICA DIGBY

MICHELLE EISENREICH JENNY ELY

CINDY ENSIGN RITA FLORES

KENT KEVIN GANNABAN DIEGO GARCIA

JESSICA GILLAN LAUREN GLOVER

ALEXANDER GUSTAVESON JUDITH GUZMAN RAMIREZ

ALLISTER HAIRE LYNDAL HEATHWOOD

JULIA JAMES MARY ROSE JANG

KYLE JOHNSON ELIZABETH LEE SHU JUN

PEI SAN KANG SIMRAN KHALSA

IAN KINTZLE DEIRDRE KRUPA

JEAN LI ALBERTO LOPEZ

MARGARET LYNCH JOE LYONS

GARY MARTINEZ WENDY MASHBURN VIZARD

KRISTY MCINTYRE JESSICA L. MCNAMARA

YVES METRAUX IAN MILHAM

AMY MOORCROFT MICHAEL MUELLER

CHERYL MURATA RACHEL NARTIA

FABIOLA NODAL MARGIT NOROM

DANIELLE O’HARE ERI OHKUBO

KIMBERLY PARIS SOPHIE PEAKE

DEANNA SEITZ MARIO SOTELO-HERRERA

MORGAN STILWELL KIMBERLY TEO

BERTHA DAHLIA TJAHYADI ANGELA SUK-MAN TO

MARK TUDO ELIZABETH TUFFIN

KIRA VAUGHN JESSICA VERRAN-LINGARD

LAUREN WALKER PATRICIA WALLACE

JAYNE WESTACOTT PAMELA YAMZON

ANDREA ZAVALA

ILM Executive Sta

DAN AMIN FRANCOIS CHARDAVOINE

ROB COLEMAN KHUYEN DANG

GREG GRUSBY LUKE HETHERINGTON

SPENCER KENT JEANIE KING

SUE LYSTER BEN MORRIS

LUKE O’BYRNE NIGEL SUMNER

JESSICA TEACH JEFF WHITE

AMBER WONG

In Memory of

MICHAEL DEBEER

Additional Visual E ects by

VIRTUOS

DUONG HUYNH CHAU HUYNH HOANG NHUT

MAI XUAN THANH NGUYEN QUOC VIET

NGUYEN THI NGOC MY

Additional Visual E ects by

YANNIX

NOINA WINSUTH JAMES P. NOON

DANNY TURNER JIK PUENGCHOMPOO

BIG SONGSANA

Additional Visual E ects by

SDFX STUDIOS

MARK SIMONE ADNAN SIDDIQUE

ARJUN PAWAR SAYALI PAWAR

POOJA BADEKAR SAIKAT GHOSAL

TARUN JOSHI VIVEK SONI

SKYE MORANDIN MARA SPENCE

Visual E ects by

RISING SUN PICTURES

Visual E ects Supervisor . . . . . . . . . . . . . . . . . . . . . JULIAN HUTCHENS

CG Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATHEW MACKERETH

Associate Visual E ects Producer . . . . . . . . . . . . . . . .BRENT ST. MARY

Visual E ects Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG FIELD

Senior Visual E ects Producer . . . . . . . . . . . . . . . . . . . . . . . . . IAN COPE

Compositing Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . TONY COLE

CHRISTOPHER JANSSEN

Senior Production Manager . . . . . . . . . . . . . . . . . . . . . . . .MARK STORY

Visual E ects Production Coordinators . . . . . . . . . . . ELOISE GROVER

GEORGIE BROWN

HEMA SAJNANI

MIKAELA PONTECORVO

STEPHANIE LOWRY

Lead Digital Artists

ALPHY ANTO ARUN RAJ KUMAR M

MATT CRUMP NATHAN ZEPPEL

RICHARD ALEC COLLIS SHAWN MCCARTEN

WAYNE HOWE

Digital Artists

ADAM PETTIGROVE ADARSH LANGTHASA

AKSHAY SACHDEVA ALBERT COEN

AMY THO NGUYEN ANDREW BURLES

ANDY PEEL ASHLEY MASON

ASHLEY MEARS BARBARA VALENTE

BATAILLE ZI-JIAN FOO-BRADY BENJAMIN COOKE

BHARGAVA A J BRADLEIGH MCKAY

BRADLEY PEACOCK BRIDGET DINNING

CAMERON BROWN CHARLES KIM

CHRIS CLOUGH CONNOR SULLIVAN

CRAIG BAXTER DALLY GARCIA ARREAZA

DANIEL CARLIN DANIEL GOODWIN

DANIEL NEES DANIEL VELIKOV

DAVID GURREA HERNANDEZ DAVID OZOLS

DOMINIC STEPHENSON DYLAN SHAW

EDWARD FOKKEMA EMMA SULLIVAN

ESWARAN MATHIYAZAKAN GABRIEL MANDALA

GANESH KUMAR SELVARAJAN GEORGE MANOLACHE

GIOVANNI MANILI GOURAV KUMAR

GUIDO WOLTER HOWIE LAUNDY-BEST

JACK FAULDS JACK WEST

JAMES DEAN JAMES KHOU

JAYMES RUFFIN JOEL AGUILAR

JOEL MICHAEL JONATHAN WENBERG

JOSH ELLEM JOSHUA RUGGIERO

JULIEN ROMEO JUSTIN GREENWOOD

KATE BERNAUER KATIE MCCABE-SORTINI

KAYLEE BODEN KAYLEE FORNAIS HAPTAS

KERRIE MOSS KONSTANTIN KOVALENKO

KRIS CARSON LALIT DESAI

LIAM GARE JESSICA LIN

LUIS CANCIO VILLALONGA LUKE VALE

MADDISON GREEN MANGESH KRISHNA GOSAVI

MARK TOMCZYK MARTIN KINDL

MASAHIRO YANAGIYA MATTHEW COOMBE

MATTHEW SHAW MAX KERR-HISLOP

MIKE RING MICHAELA DANBY

NARENDER KOSHIYARI NATHANIA NEMA

NATWAR SINGH NICHOLAS GLASSON

NIKHIL KAMBOJ NIMISHA SETHI

OLIVIA MITCHELL ORLANDO CAMIÑA DOMINGUEZ

OWEN WILLIAMS PAULA OLSZOWSKA

PETER KUMIC PRANEETH PATAKAM

PREETAM SAHA RANJITH BUDDOLLA

RENEE MARSLAND RENGANATH K

RINKI RAI ROBERT BEVERIDGE

ROHINI PARADKAR ROSELYN TAY

RYAN WOODCOCK SASKIA ELLIOTT

SHIVANGI SHRIVASTAVA SIJU MURUGAN

SOGO IWAI STEFANIA CANCEMI

STEVE MCGEE SUJEEN NEPALI

TAIGA ISHIBASHI THOMAS BAXTER

TOM MALCOLM THOMAS STEINER

VITTORIO DI TORO YOGESH P. BADHE

ZHIYONG LIU

Facility Support

ADAM POTTER ALESSIA LUNETTA

ALEX MEDDICK ANDREW PALMER

ANDREW RUTHERFORD ANDREW WILLIAMS

ANIL REDDY CH ANNA HODGE

ANTHONY WINTER BEN PASCHKE

BEN WARD BREE WHITFORD-SMITH

BRITTANY GRAHAM CRYSTEL NEWMAN

DANIELLE CARDELLA DARIA KOZLOVA

DAVID CAUNCE DILEN SHAH

ELYSHA DEKKER FABIAN HOLTZ

GABY VILLAR GREG WIEDER

HAO TRUONG JAMES FAULKNER

JASON QUINTANA JESS BURNHEIM

JOHN BASTIAN JULIA HALLORAN

JULIETTE CHRISTIE KRANTHI KUMAR K

LEIAH SEARS LOUIS CIANCIULLO

MALOU BRYAN MARK HONER

MORGAN PETRIE PATRICK NAGLE

PAUL SUEL SOBOLEWSKI PAUL TAYLOR

RAJBIR SINGH DHALLA RICHARD SAADÉ

SAM ASHFORD-ROWE SAMANTHA ABDA

SHANE BERRY THOMAS CANT

TRACY DAVIDSON TROY TOBIN

VAUGHN WHITE VICTOR GLUSHCHENKO

WENDY NETHERCOTT ZACCHARY PUCKERIDGE

Visual E ects by

SOHO VFX

Visual E ects Supervisors . . . . . . . . . . . . . . . . . . . . . . . BERJ BANNAYAN

KEITH SELLERS

CG Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JORGE RAZON

Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . HAKYUNG CHANG

Visual E ects Producers . . . . . . . . . . . . . . . . . . . . . . . KELLY MCCARTHY

ALLAN MAGLED

Compositing Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN POWER

Lead Digital Artists

JAMES ALBIEZ CHRISTOPHER BOZZETTO

MATTHEW D’ORAZIO WARREN DOUGLAS

INGYUN HWANG GRAHAM KARTNA

DANIEL LU VAMBERTO MADURO

DOMINIC PILEGGI VASISHT RAMACHANDRAN

RUBEN I. SALAZAR MIKE TERRIGNO

NATALIE THORSLEY SUNNY WONG

Digital Artists

NAO ADACHI BAKAR

CHRISTOPHER CABRAL DANIEL HUNYOUNG CHOI

DAVID CLAIR ROSELI AMORIM CRUZ AZEVEDO

SIDDHANT DHANDA KENNETH DIETRICH

JOSE DIMATERA SOPHIA FESEL

CIRIACO JULIAN GARCIA ANSHAJ GOYAL

ELEONORE GRACE GURSAHAJ SINGH GREWAL

DONG GUO PRASHI GUPTA

CAMERON HEALD-BROWN A RYANG HEO

LUKAS HEUVEL TURENNE HUANG

JOSHUA KIYOSHI HUESTIS AMELIA IM

KEN JUSTO VARUN KAMMANNI

JINHYUN KANG MANUEL KINAMBUTA

MINYOUNG KIM WEI LI

HAO-TING LIAO LUIS LIMA

QUANYUN LIN DEBO LIPEDE

DANGEE LO CHRIS MACKNEY

TARA MASON ANDREW MAYNARD

NOAH MCLAUGHLIN ARUN MIDHA

HARSHAL M. MISTRY JASON NUGENT

BENJAMIN PABLO DAKSH MUKESHKUMAR PANDYA

RISHABH PATEL SCOTT PATTON

JACOB PETRAKOS JANINE RAZON

ARTEM RUDZISH MICHAEL SANTIAGO

RUSHABH SHAH LINYI SHI

HYEWON SHIN JON SHIN

DANIEL ST-AMANT PHILIP SY

PETE THORNE JOSEPH TRIOLO

AHAD TUNIO MICHAEL WILSON

PAUL WOJDYLO RONG ZHOU

Production & Technical Support

YASMEEN TAYARA YIYI ISABELLE ZHANG

LINDSEY MARTIN JANEANE ARANAS

TIKU ROEMELLO FISHER JACQUELINE MANIVONG

M. TODD SMITH MAXIME BOURASSA

WILL CRANE INES ESPINOLA

WAYNE HOANG YVONNE JENSEN

DANIELLA HRABACHKO BECKY KRISTOFFERSEN

PETER MACDONALD JESSICA MARDYLA

COLE PHILLIPS DANIELLE SUKMAN

JUSTIN STEWART ANDREW WONG

JIALIN ZHANG LEON ZHU

Visual E ects by

IMPORTANT LOOKING PIRATES

Visual E ects Supervisor . . . . . . . . . . . . . . . . . .NICOLAS HERNANDEZ

VFX Production Manager . . . . . . . . . . . . . . . . . . . . . .BRADLEY JORDAN

Visual E ects Executive Producer . . . . . . . . . . . . . MÅNS BJÖRKLUND

Visual E ects Producer . . . . . . . . . . . . . . . . . . . . . . . . .EMMA CUMMINS

VFX Production Coordinators . . . . . . . . . . . . . . . REBECCA FORSMARK

ANDREA HED

Supervisors & Leads

MARTIN ENEROTH JOHAN GABRIELSSON

CORBIN MAYNE VIKTOR ANDERSSON

TIMO VON WITTKEN NORA HÄNSENBERGER

STEFAN ANDERSSON ADRIAN TSANG

NICOLAS GUIRAUD GUSTAV ALEXANDERSSON

MATTEO DI LENA CRAWFORD REILLY

SVEN SCHÖNMANN NIKLAS NYQVIST

MATTIAS SANDELIUS PER BERGSTÉN

ELIAS ATTO BILJANA TEMELKOVA

TOM BALOGH

Digital Artists

ANDREAS FRICKINGER ANDREAS KRIEG

ANTON STATTIN BASILISA CÁNOVAS RUBIO

BENJAMIN PHILIPPOVICH BIRGIT RANDBY KRISTENSEN

CHRISTOPH HETTICH CHRISTOPHER KARLBERG

DANIEL RODRIGUES DAS NEVES DANIEL SCHINDLER

DAVID ALLAN ELEONOR LINDVALL

ELIN LAVÉN EMMA HILDESTRAND

FREDRIK JALKER GUILLAUME DUPARCHY

GUSTAV AHRÉN HAKON LOBERG

HAMPUS ERIKSSON HECTOR FERNANDEZ

HEIKE KLUGER JANNES KREYENBERG

JASON MARTIN JED FISHER

JOSE ZEA NOMBELA JOSH PARKS

JURIAN WEERKAMP KARIN ENGSTRÖM

KIM LINDQVIST KONSTANTINOS PANAGIOTOPOULOS

KRISTIAN STRÖM LENA BELMONTE

LÉO COHEN LOKA VEGBORN

MARCUS RUHMKE MARGOT DE SMET

MATTEO GRASSI MAXIMILIAN GSELL

MELINA TANCHEVA CVETANOSKA NICKLAS ANDERSSON

NICOLAS HELUANI NIKLAS WALLEN

NIKLAS WÅNGGREN NIKO JUNGE

NILS LEMONNIER OLIVER SPINDLER

PATRICK TOPF PATRIK WEDINGER

PETER MARIN PETTER GUSTAFSON

PETUR ARNORSSON RIKARD HULTMAN

RODIONS JEPEJEV SILKE FINGER

SIMON DECOMBEL TERENCE FARLOT

THURE KOCH VALTER SVENSTEDT

WILL ELSDALE YOLAN GAILLARD

Visual E ects by

THE YARD VFX

Visual E ects Supervisors . . . . . . . . . . . . . . . . . . . LAURENS EHRMANN

JULIEN MARTINS

Visual E ects Producers . . . . . . . . . . . . . . . . . . . VIRGINIE WINTREBERT

DIEGO CORDIER-ROYER

Digital Artists

SANDRO BERTCHI TIPHAINE COURBO

STEPHAN DUMOULIN VIANNEY DURIEUX

ANTOINE GANDON PIERRE HERZIG

VICTOR JARNOUX PIERRE JURY

AURELIA LEBAIN RYOMA LENEUF

LANCELOT MAESTRINI GABRIEL MARTINEZ

HADRIEN PALANCA ROMAIN PERRIN

MATTHIEU RICHET BRUNO SERRE

MATHIEU TREVISAN

Production & Support

ALEXIS OBLET ARNAUD ORTMANN

CONSTANT BOURGON FABIAN NOWAK

GEORGES GLADYS GREGORY GINSBURGER

HARRY BARDAK JULIEN HAUDEGOND

LUCAS COULMANCE MADEN ROUBERT

MARIE AFRIAT NOEMIE CAUVIN

Additional Visual E ects by

MIDAS VFX

Visual E ects Supervisors . . . . . . . . . . . . . . . . . . . . . MARC HUTCHINGS

WILLIAM JONES

Visual E ects Producer . . . . . . . . . . . . . . . . . . . .ANDREY POLEZHAYEV

Digital Artists

ANTONIA PALMER COURTNEY PRYCE

DAVID ROSS EMILIANO ACUNA CARMONA

GABRIELLA KASSINOU JONNA ISOTALUS

JOSEP ANTONI RIBAS KOREN MORGAN

LIONEL HEATH MARIYA ANDRIICHUK

MATT CARTER MATT FOSTER

OLE-ALEKSANDER NORDBY PAOLO D’ARCO

Visual E ects Production Coordinators . . . . . . . HANNAH STARKINS

HELENA DU CROSS

LILY-MAY LICORISH

ANTONIA VLAD

Additional Visual E ects by

CRAFTY APES

Visual E ects Supervisor . . . . . . . . . . . . . . . . . . . . . . . . ALEX KNUDSEN

Visual E ects Producer . . . . . . . . . . . . . . . . . . .GEORGINA POUSHKINE

Digital Artists

YONGSOO JUNG YOUNG MIN KIM

ISH CAMARILLO CHIP BADEN

JANICE TSO NATE RODRIGUEZ

KATIA LEVY KEVIN CROWE

NICHOLAS DANIELS

Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JASON SANDFORD

SARA LOGAN HOFSTEIN

XII

Additional Visual E ects by

ONYX

JOHN STEWART CHAPEL FOLGER

JOHN WECKWORTH MARK ROBBEN

JOY TIERNAN MATTANIAH YIP

Additional Visual E ects by

CAPITAL T

JAMIE HALLETT LINDSAY HALLETT

H HADEN HAMMOND JACKIE K. MURPHY

Cyber & LiDAR Scanning by

CLEAR ANGLE STUDIOS LTD.

RICK HARRIS STUART GARDINER

MARCO LEE JOERG GEIDEL

DAN HAZELTINE REETU AGGARWAL

ALEX KRON GEORGE MANTON

MAX HICKS ALEX STILLINGFLEET

Visualization Services by

PROOF, INC.

Visualization Supervisors . . . . . . . . . . . . . . . . . . . . CRAIG MCPHERSON

JOHNATHON RANDALL CORMIER

MICHAEL SOLORZANO

STUART ALLAN

ERIC BENEDICT

Visualization Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . PATRICE AVERY

Lead Visualization Artists . . . . . . . . . . . . . . . . . . . . . . . .AARON ARENDT

JEREMIAH FORKKIO

BAO ER HO (FIONA)

JAIME E. RIVEROS

Technical Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANNA LEE

Visualization Production Manager . . . . . . . ALEXANDRIA JOHNSON

Visualization Production Coordinator . . . . . . . . . . TAYLOR AREVALO

Visualization Artists

MIKKO EUSTAQUIO ALEJANDRO J. CASTRO

JIAMIN (KINO) WU AUSTIN TAYLOR

JOEY FILIPIAK AISON KING

MOSES HOOD BEN BRIGHAM

ZIYANG PAN ANDREW MCDONELL

KAUSHAL MAGODIA MATT BAUER

DAVID DRURY ALLEN HERBERT SAMSON

LAWSON JIANG NICOLA RINCIARI

PHILIP BALLARD LEONARD (LEO) NICOLAS

MICHAEL GRAWERT RANKO TADIC

JORDAN NOUNNAN

Lead Asset Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BENNY VARGAS

STEFANO ABAD

Postvis Trackers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEFF W. SMITH

KEVIN BOLIVAR

Asset Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CARL VAZQUEZ

JASON TAYLOR

LUIS ZULETA

Postvis Compositors

DARYL W. KLEIN SEBASTIAN BROWN

MEGAN OMI ZACHARY GOODSON

LINDA HENRY NATHAN KOGA

ARJUN CHADHA

Medusa Performance Capture by . . . .INDUSTRIAL LIGHT & MAGIC

DISNEYRESEARCH|STUDIOS

S. M. DANGLER

LAURA MILLAR

TOM SZENHER

POST SOUND

Post Production Sound Services by

SKYWALKER SOUND

A LUCASFILM LTD. COMPANY

MARIN COUNTY, CALIFORNIA

Sound E ects Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ERIC A. NORRIS

LEE GILMORE

SAMSON NESLUND

DAVID CHRASTKA

RICH DANHAKL

Assistant Supervising Sound Editor . . . ANTHONY DE FRANCESCO

Foley Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JANA VANCE

RONNI BROWN

Foley Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICHARD DUARTE

Engineering Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DONNIE LITTLE

Post Production Sound Accountant . . . . . . . . . . . . . . .JESSICA ENGEL

Senior Studio Capacity Manager . . . . . . . . . . . . . . . . . . .CARRIE PERRY

Head of Engineering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE MORRIS

Foley Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BRIAN CHUMNEY

Foley Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS MANNING

GREG PETERSON

Assistant Re-Recording Mixers . . . . . . . . . . . . . . . . . DANIELLE ADAMS

TERAH (BISHOP) WOODLEY II

Digital Editorial Support . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID PEIFER

Client Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRAYNOR KATZER

Head of Production Finance & Planning . . . . . . . . . . . . . MIKE PETERS

Head of Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JON NULL

General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSH LOWDEN

Post Sound Services Provided by . . . . . JOHN FORD MIXING STAGE

CENTURY CITY, CA

Recordist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TIM GOMILLION

ADR Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID BETANCOURT

ADR Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE TOURKOW

Sound Operations Coordinator . . . . . . . . . . . . . . . . ANA HERNÁNDEZ

Re-Recording Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL STEIN

ADR Recordist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTINE SIROIS

VP, Post Sound Operations . . . . . . . . . . . . . . . . . . . STACEY ROBINSON

XIII

Post Sound Services Provided by

GOLDCREST POST PRODUCTION

Head of Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON RAY

ADR Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK APPLEBY

SIMON DIGGINS

MIKE TEHRANI

Audio Producers . . . . . . . . . . . . . . . . . . . . . . . . LIZZIE CAMPBELL-KELLY

LILIAN CROCK

ADR Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX STYLIANOU

SEAN MILLER

Additional Post Sound Services Provided by

PALMA MUSIC STUDIOS (MALLORCA)

DUBBING BROTHERS (PARIS)

TOMI GRAN ENTERTAINMENT (SHREVEPORT)

SOUND ART 23 (ROME)

DALLAS AUDIO POST (CARROLLTON)

TONEWORK PRODUCTIONS (HILVERSUM)

BIGMOUTH ELBA (GLASGOW)

BAM STUDIOS (CHICAGO)

THE AUDIO CAFE (WREXHAM)

PARABOLIC (NEW YORK)

MOBY DICK (MALAGA)

ADR Voice Casting . . . . . . . . . . . . . . . . . . . . . . . .R.A.W. VOICE CASTING

ASHLEY LAMBERT

RANJANI BROW

ARIANNA TRAMES

Additional Voices

PETER ARPESELLA SITARA ATTAIE

MONIA AYACHI ANTHONY BATARSE

ANDREAS BECKETT DAVID BERÓN

A.R. BJÖRKLUND JIM BOEVEN

RANJANI BROW HÉLÈNE CARDONA

EMILY DEBINIE FRANCESCA FANTI

CHASE FEIN BRIDGET HOFFMAN

MARK IVANIR ASHLEY LAMBERT

KURT LEITNER MATT LINDQUIST

TERRY MARATOS TERENCE MATHEWS

JAYLEN MOORE DINA MORRONE

CHRISTIAN OLIVER JOEY NABER

CHRISTOPHER PALLE DEVIKA PARIKH

ARIANNA QUINCY GIUSEPPE RUSSO

CLAY SAVAGE HANS SCHOEBER

KEVIN SINIC ANOUAR SMAINE

SHANE SWEET JAQUITA TA’LE

KIRK THORNTON CHRISTOS VASILOPOULOS

TOMM VOSS FILIP WATERMANN

SCOTT WHYTE MATT WOLF

KAI WULFF RUTH ZALDUONDO

MUSIC

Music Orchestrated and Conducted by . . . . . . . . . .JOHN WILLIAMS

WILLIAM ROSS

Music Contractors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TIMOTHY LOO

SANDY DE CRESCENT

Music Librarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK GRAHAM

Music Preparation . . . . . . . . . . . . . . . . . .JOANN KANE MUSIC SERVICE

Scoring Coordinator for William Ross . . . . . . . . . . . . MARY WEBSTER

Assistants to William Ross . . . . . . . . . . . . . . . . . . . . . ZACHARIAH ROSE

ANNA KENNEDY

Score Recorded & Mixed by . . . . . . . . . . . . . . . . . . . .SHAWN MURPHY

Additional Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRED VOGLER

Scoring Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERT WOLFF

DAVID CHANNING

Mixing Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ERIK SWANSON

Concertmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ROGER WILKIE

Music Recorded at

STREISAND SCORING STAGE, SONY PICTURES

JULIANNE MCCORMACK GREG DENNEN

DAMON TEDESCO KEITH UKRISNA

RYAN NELSON BRIAN VAN LEER

Music Mixed at . . . . . . . . . . . . . . . . BARBARA MCLEAN MIXING STAGE

& ROBERT WISE MIXING STAGE, CENTURY CITY, CA

Musicians

NICO ABONDOLO MARK ADAMS

EUN-MEE AHN ALLISON ALLPORT

TED ATKATZ STEVEN BECKNELL

CHARLIE BISHARAT WILLIAM BOOTH

JOHANNA BORENSTEIN JACQUELINE BRAND

JACOB BRAUN LAURA BRENES

ROBERT BROPHY CAROLINE BUCKMAN

ROBERTO CANI GLORIA CHENG

STUART CLARK HEATHER CLARK

GIOVANNA CLAYTON ROSE CORRIGAN

MEREDITH CRAWFORD WADE CULBREATH

VICTOR DE ALMEIDA ZACH DELLINGER

DREW DEMBOWSKI MARCIA DICKSTEIN

GEORGE DOERING STEVE DRESS

BRUCE DUKOV STEVE ERDODY

PETER ERSKINE NINA EVTUHOV

KATELYN FARAUDO JUDITH FARMER

ALMA FERNANDEZ ALLEN FOGLE

DON FOSTER VANESSA FREEBAIRN-SMITH

MATTHEW FUNES JUAN GALLEGOS JR.

LORENZ GAMMA ROSS GASWORTH

GREGORY GOODALL MARVIN GORDY III

JESSICA GUIDERI NEEL HAMMOND

TREVOR HANDY DYLAN HART

THOMAS HARTE TAMARA HATWAN

CHRISTIAN HEBEL DANIEL HIGGINS

STEVEN HOLTMAN LUANNE HOMZY

MATTHEW HOWARD ALEX ILES

BENJAMIN JACOBSON MAIA JASPER-WHITE

JULIE JUNG DENNIS KARMAZYN

MICHAEL KAUFMAN PHILLIP KEEN

BRIAN KILGORE CHRISTIAN KOLLGAARD

KEVIN KUMAR MARISA KUNEY

ANA LANDAUER BENJAMIN LASH

SONGA LEE NATALIE LEGGETT

PHILLIP LEVY JON LEWIS

JASON LIPPMAN DANE LITTLE

LORAND LOKUSZTA SHAWN MANN

XIV

JOANNE PEARCE MARTIN LUKE MAURER

WILLIAM MAY KENNETH MCGRATH

EDWARD MEARES EDUARDO MENESES

JONATHAN MOERSCHEL DAMIAN MONTANO

HELEN NIGHTENGALE GRACE OH

JENNIFER OLSON-STACK GEOFF OSIKA

ALYSSA PARK SARA PARKINS

ANTHONY PARNTHER JESSICA PEARLMAN

BARRY PERKINS STEPHEN PFEIFER

RADU PIEPTEA CAROL POOL

ADRIANNE POPE LINNEA POWELL

THOMAS RANIER JOSHUA RANZ

TEAG REAVES WILLIAM REICHENBACH

LELIE RESNICK RAFAEL RISHIK

MARK ROBERTSON DANIEL ROSENBOOM

GERALDINE ROTELLA ERIK RYNEARSON

ROBERT SCHAER JAMES SELF

ERIC SHETZEN STEFAN SMITH

BEN SMOLEN TEREZA STANISLAV

JONATHAN STEHNEY TED SUGATA

SCOTT SUTHERLAND LISA SUTTON

NIALL TARO FERGUSON GAVIN TEMPLETON

ROBERT THIES SARAH THORNBLADE

DOUGLAS TORNQUIST CECILIA TSAN

JOANN TUROVSKY CHARLES TYLER

MICHAEL VALERIO INA VELI

SHALINI VIJAYAN IRINA VOLOSHINA

DIANA WADE DAVID WALTHER

BING WANG LARA WICKES

DON WILLIAMS SARAH WILLIS

ELECTRICAL

Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE BRENNAN

Floor Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IAN SINFIELD

HOD Electrical Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL HEATH

Electrical Rigging Supervisor . . . . . . . . . . . . GEORGE BIGGERESTAFF

HOD Practical Electrician . . . . . . . . . . . . . . . . . . . . . . GARY THORNHILL

Chargehand Electrical Riggers . . . . . . . . . . . . . . . . . . . ANTON MARTIN

RICHARD HAYDEN

GARY THOM

Standby Electrical Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . .STEVE READ

Rigging Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TOM O’SULLIVAN

Supervising Rigging Electrician . . . . . . . . . . . . . . . . . . . . FRED BROWN

Chargehand Rigging Electricians . . . . . . . . . . . . . . . . .BOBBY BROWN

DAN O’DONNELL

HOD Lighting Programmer . . . . . . . . . . . . . . . . . . . . . . . . ADAM BAKER

Supervising Practical Electrician . . . . . . . . . . . . . . . BILLY THORNHILL

Chargehand Practical Electrician . . . . . . . . . . . . . . . RYAN THORNHILL

Rigging Lighting Programmers . . . . . . . . . . . . . . . . . . . . .MATT HICKIN

RYAN NIXON

JANE GODBOLD

Floor Electricians

ANDY PURDY CONOR FINLAY

CHARLIE BELL SAM CHAPMAN

JOE CHAPMAN MARK JOINER

TRACY-JOE KARAM HARRY COLEMAN

STUART HURLEY

Rigging Electricians

NICK REID DAN MARTIN

STEVE FUSCO LAURENTIU MARIA

JACK ROSIER SEAN TIMLIN

HARRY COLEMAN

Practical Electricians

KEN MONGER CLIFF JONES

OLIVER WHISKIN LEWIS HAYWARD

JACK MAKEPEACE SIMON SMITH

DEREK MAYLE LUKE FIELD

MARK FARROW

Electrical Riggers

ANTON OSBORNE SAM PATIENCE

MICHAEL GARDNER PAUL BARKER

TONY O’DONNELL CHARLIE GRAVES

KENNY RICHARDS RYAN FALLON

SONNY RODGERS TOM BUTLER

JOHN HANKS LLOYD PELLING

GRIPS

Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JIM CROWTHER

Grip Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JACOB CRIDLIN

JOSH HARRISON

Libra Head Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOSH MILNE

Crane Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KURT KEMBLE

Standby Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GARRY MOORE

Standby Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH CONNOLLY

Standby Green & Blue Screens . . . . . . . . . . . . . . . . . . . BEN HENSHALL

Green & Blue Screens Stagehand . . . . . . . . . . . . . . . . .DAVE ROBERTS

A Camera Dolly Grip. . . . . . . . . . . . . . . . . . . . . . . . . . . . JACK FLEMMING

B Camera Dolly Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG SHIELS

C Camera Dolly Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GARY ROMAINE

Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BENJAMIN GOODE

Standby Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . BRENDAN FITZGERALD

Standby Stagehands . . . . . . . . . . . . . . . . . . . . . . . .GERARD O’CONNOR

WESTLEIGH BUSHELL

Grip Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RAJAB MAHMOOD

PROPS

Assistant Prop Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT COOKE

Props Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER BIGG

PETER WATSON

Action Prop Supervisor . . . . . . . . . . . . . . . . . . . . . . SONNY MERCHANT

Supervising Standby Props . . . . . . . . . . . . . . . . . . . . . .JASON TORBETT

Standby Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBBIN CHIU

Supervising Armourers . . . . . . . . . . . . . . . . . . . . . . . . . JOSS SKOTTOWE

STEVE WILKERSON

Technical Armourer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE EVANS

Prop Store Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . .TOM GARDNER

Action Prop Buyer . . . . . . . . . . . . . . . . . . . . . . . . .JONATHAN DOWNING

Chargehand Prophands . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN BOOTH

PAUL BURGESS

STACEY WATTS

JAKE WELLS

TONY PRICE

Workshop Supervisor . . . . . . . . . . . . . . . . . . . . . . . . .CHRISTIAN SHORT

Workshop Chargehands . . . . . . . . . . . . . . . . . . . . . . . . JACK FERGUSON

TERRY WHITEHOUSE

Workshop Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . . . .LUKE DANIELS

Workshop Prophand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY ROLFE

Prop Painters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEAN HAWLEY

STUART HALL

Dressing Props

MICHAEL FLEMING ROSS WILLIAMSON

LAUREN CONLON GARY IXER

DANNY IRVINE PAUL COLBURN

MANU VILESCA VAYA STUART DANIELS

RYAN DYER DAVID FORSYTH

RUPERT HANCOCK KEVIN HERBERT

LUCIEN SANDS MARK TIMSON

JAK LAWSON-WELLS HARLEY WILKINSON

SIMON WILKINSON LAIRD GALLOWAY

RICHARD PRESTON

Props Petty Cash Buyer . . . . . . . . . . . . . . . . . . . . . . . NATALIE MARQUIS

Props Concept Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL GERRARD

Props Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MEGAN ARMITT

Junior Dressing Props . . . . . . . . . . . . . . . . . . . . . . . . . . .AUSTIN TIMSON

JAKE CHANCELLOR

SEBASTIAN DIMITROFF

Archive Storeman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES COOKE

Location Storeman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL PYE

Junior Floorman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NATHAN HARP

Stores Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JESSICA PEARSON

NATALIE ANDERSON

SASKIA LANE

Senior Prop Modellers . . . . . . . . . . . . . . . . . . . . . . . . . CLEMENCY BUNN

NICHOLA GIRARD

STEVE HAGON

ROB HAYWARD

Senior 3D Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . .STEPHEN DRING

HOD Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG NARRAMORE

Assistant HOD Prop Modellers . . . . . . . . . . . . . . . ANDREW AINSCOW

CLINT WHELAN

Prop Making Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VICKY RHODES

Prop Making Coordinators . . . . . . . . . . . . . . . . . . . . . . . .SAM CONNOR

SUZY FINK

Senior 3D Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . .STEPHEN DRING

3D Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATIE HYATT

Prop Modellers

SEAN BIRKBY SIMON FLINTOFF

TOM HADDON STEVE HAYWARD

JAMIE KNIGHT LESLIE LOVELACE

LORNA MOON EMILY PARKER

MARIA SLATER CODRINA SPATARU

SEAN TOBIN-DOUGAN AILISH UNDERWOOD

Junior Prop Modellers . . . . . . . . . . . . . . . . . . . . . . . . . . .MARCUS DANTE

AMELIA HALL

Trainee Prop Modeller . . . . . . . . . . . . . . . . . . . . . . . . . EMILY SHOEMARK

Prop Modelling Trainees - BFI . . . . . . . . . . . . . . . . . . . . . . PAUL BRISLEY

ELKIE MCCRIMMON

PICTURE VEHICLES

Action Vehicles Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX KING

Action Vehicles Floor Supervisor . . . . . . . . . . . . . . . . . .SEAN HASKETT

Action Vehicles Workshop Supervisor . . . . . . . . . . . . . . GEOFF FORTY

Action Vehicles Department Coordinator . . . . . . LILLY BLAZEWICZ

Action Vehicles CAD Engineer . . . . . . . . . . . . . . . . . . . MATTHEW SALE

Action Vehicles Coordinator . . . . . . . . . . . . . . . . . . . . . . ALEX BARRETT

Supervising Fabricator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JON HOAR

Action Vehicle Assistant Coordinators . . . . . . . . . . . . . . . .BETH SMITH

MATT BISHTON

Action Vehicles Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . RICKY CAMERON

Action Vehicles CAD Engineer . . . . . . . . . . . . . . . . . . . . . JON ALLISON

Senior Action Vehicles Technicians

NICK BASS ROB CAMPBELL

JASON HILL TOM KERSLAKE

ROB STONER MIKE SHUTTLEWORTH

WITOLD WAWROWSKI

Action Vehicles Lead Technicians

NICK D’SOUZA MARC HOLLENS

MARK LEE CHRIS PACKMAN

Senior Action Vehicles Fabricators

MARCUS BENNETT ANTHONY BUSH

STEVE CHILDS LUKE DEON

MATT RICHARDSON ANTHONY SPARROW

Action Vehicles Storeman/Technician . . . . . . . .WAYNE PARKHOUSE

Action Vehicles Graphics/Ageing . . . . . . . . . . . . . . . . . . . . PHILIP REID

Action Vehicles Senior Painter . . . . . . . . . . . . . . . . . MATT HAYWOOD

Action Vehicles Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLLIE FORTY

Second Unit - Morocco Assistant

Stunt Vehicle Supervisor . . . . . . . . . . . . . . . . . . . . . . . . GRAHAM KELLY

Action Vehicles Technicians - Morocco

DAVE ATKINSON DAVE CLARK

DUNCAN JARVIS ROBERT JONES

SIMON LORENZO RALPH WILCOX

JAMES WILSON

SPECIAL EFFECTS

SFX Lead Workshop Supervisor . . . . . . . . . . . . . . . . . . . JASON MARSH

SFX Floor Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK JOSCELYNE

SFX Prep Supervisor . . . . . . . . . . . . . . . . . . . . . . . .GEORGE BUCKLETON

SFX Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATIE GABRIEL

SFX Assistant Workshop Supervisors . . . . . . . . . . . . . .PETER BRITTEN

JULIAN BUTTERFIELD

SFX Health, Safety & Training Manager . . . . . . . . . . . . .KEVIN MCGILL

SFX Assistant Prep Supervisor . . . . . . . . . . . . . . . . . . . . . JAKE DIMMER

SFX Coordinators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FIONA COUSINS

JANNIE HOEKMAN

SFX Co-Design Leads . . . . . . . . . . . . . . . . . . . . . . . . .ALEXANDER FABRE

SIMON RAFFERTY

SFX Breakaways Lead Senior Technician . . . . ROBIN SCHOONRAAD

SFX Breakaway Senior Technician . . . . . . . . . . . . . . . . CHARLES TYCER

SFX Lead Senior Technicians . . . . . . . . . . . . . . . . . . . . . . . . .PAUL DUNN

PETE HARAN

CURTIS IGGULDEN

DAVID POOLE

SFX Senior Technicians

SEAN CLARKE PAUL DAVIN

NICK MARTIN HUW MILLAR

DARREN SHEARWOOD MARCUS TAYLOR

PAUL TAYLOR JONATHON TIMLIN

BARRY WHITE

XVI

SFX Technicians

SAM BATCHELOR MATT BLACKLER

NICK CHURCHILL JOSH CROCKETT

JOSH DOOLEY BEN EMBER

ROBERT EVES DANIEL FRANKLIN

JAN KURMANOWSKI LUKE LALLY

DAVID PASZKOWSKI OLIVER THOMAS

CHRIS WELLS TOM WHEELER

CHARLIE WHITE

SFX Engineers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK BASSIL

KARL LIZAITIS

LEON VAN DER WALT

GREG PYMM

SFX Head Workshop Technician . . . . . . . . . . . . . . . . ROSS CRAWFORD

Modellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RONNIE DAVIS

EDDIE TYCER

BEN BUTCHER

SFX Driver/Assistant Technician . . . . . . . . . . . . . . . . .DARREN ANDREE

SFX O ce Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KERI FOSTER

MEGAN WILLIAMS

SFX Trainee - BFI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ETHAN WILLIS

SFX Motion Control Technician . . . . . . . . . . . . . . . . . . AARON CROWE

SFX Lead Senior Wireman . . . . . . . . . . . . . . . . . . . . . SCOTT STEPHENS

SFX Design Technician . . . . . . . . . . . . . . . . . . . . . . . . .CALUM SINCLAIR

SFX Design Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AARON STREET

SFX Design Junior . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL CALVERT

SFX Trainees

JACQUES CLEMSON SUSANNAH COLLINS

HAMISH FARRANT AILBHE FRAZER

LUKE HAMMOND TOM HARDWICK

CAI RICHARDS KAI SCHOONRAAD

LOGAN SCHOONRAAD

Fire Safety Vehicles & Technicians Provided by

CINIFIRE TECH LTD.

Fire O cers

PETE MAWHOOD STEVE BAILEY

BILL LAMBRICH SCOTT MAGDALANI

JAMIE TIMMS JOHN WINWOOD

SIMON KNELLER ISAAC WILKINS

CHRIS CATON DAMIAN FINDLOW

JON FRANKLIN NAT PURCELL

SECURITY

Executive, Lucas lm Security . . . . . . . . . . . . . . . . . . .JOHN CALDWELL

Senior Manager, Lucas lm Security . . . . . . . . . . . . CRAIG ETHERTON

Manager, Lucas lm Security . . . . . . . . . . . . . . . . . MATTHEW THORNE

Security Coordinator . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER DAVIES

Security Access Administrators . . . . . . . . . . . . . . . . . . . ISABEL JOINER

KIERAN KAVANAGH

ATL Security Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GARY DYKE

Studio Hub Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . MALWINA PALUS

Technology Support

VLADIMIR BOGAK ZACK BUNKER

ADRIAN DIACONU TIM FOGARTY

GREG GARSON JASON GEIGER

CHRIS GILMER ERIC HABER

JOHN HANNON DAVID HIGGINS

JAY KASHIWABARA MATT MARTINIS

JEFF ODELL CHARLIE SMITH

CAITLIN TORSNEY

HEALTH & SAFETY

Production Safety Head of Department . . . . . . . . . . . . . DREW COOK

Production Main Unit Safety Advisor . . . . . . . . . . . . . . . BOB HUDSON

Unit Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FAYE CARNEY

Cast Testing Technician . . . . . . . . . . . . . . . . . . . . . . KEVIN AKINTOMIDE

COVID Production Manager . . . . . . . . . . . . . . . . . . . . . .MARK SOMNER

COVID Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TIAN BOYCE

COVID Coordinators/Storemen . . . . . . . . . . . . . . . . . . . .LIZ D’ESTERRE

IVAN GERMANO

SIMON PHIPPS

COVID Secretaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MILENA BOLOURI

LAUREN LEIGH

CHARLIE MCDONNELL

ELODIE TAYLOR

Production Safety Coordinator . . . . . . . . . . . . .HAFIZA MUSAMMAD

Production Construction Safety Advisor . . . . . . . DAVID DOWNING

Construction Nurses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ERIC MCGILL

MICHELLE KIRTON

ANDY ATKINS

COVID Unit Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ARIEL MURRAY

Compliance O cer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ADAM LEWIS

Key COVID Production Assistants . . . . . . . . . . . . . . . . . . FABIAN ROOS

CHARLIE HARRIS

COVID Production Assistant - BFI . . . . . . . . . . .MATTHEW MULCAHY

COVID Production Assistants . . . . . . . . . . . . . . . . . .CAMERON DAVIES

JÁNOUX GERBER

JAKE HOBDEN

ISABELLA SCHEMBRI

Prenetics Senior Site Manager . . . . . . . . . . . . . . . . . . . . . JULIE IMPENS

Prenetics Senior Lab Technician . . . . . . . . . . . . . DAVID DE LORENZO

Prenetics HGV Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL BUSHELL

Disney - EMEA Regional Executive . . . . . . . . . . . . . . . . . LAURA REECE

Disney - Health & Safety Supervisors . . . . . . . . . . . .RICHARD TAYLOR

DAVID FREEDMAN

Disney - Health & Safety Managers . . . . . . . . . . .JIMMY MCSPARRON

DAVID BAUM

XVII

ANIMALS

Animals & Insects Provided by . . . . . . . . . . . . . . . . . BIRDS & ANIMALS

AHA Representative . . . . . . . . . . . . . . . . . . . . . . . . . . .NATALIA SLONINA

Veterinarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAMANTHA CASTLE

Horses Provided by . . . . . . . . . . . . . . . . . . . . . THE DEVIL’S HORSEMEN

Horse Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAN NAPROUS

CAMILLA NAPROUS

Asst. Horse Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . .REBECCA HORAN

Horse Riders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLIVER GILES

LOUIS ALBIN

LEIA MCDADE

JESSICA WHITNEY

HUW WHITNEY

CATERING & CRAFT SERVICES

Catering Provided by . . . . . . . . . . . . . . . . . . . . . . . . .RED CHUTNEY LTD.

Catering Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HUGO SOARES

Catering HOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FIONA GILBERT

Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHELLE POKOATI

LUKE HESTER

GRANT CUNNINGHAM

ALICE TAYLOR

COLIN STREDWICK

Head Chefs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN PARKER

MARK ROBINSON

Front of House

BERNADETTE MCKEOWN SKY RYAN

WESLEY RODRIGUES CHLOE KNAGGS

LINDSAY DEAN JOSIE KEMP

KATHLEEN DE LA CRUZ ANNA KUPCHENKO

CALLUM CLARK-DILLON

Chefs

JACK LAMMING DAVINA THOMPSON

YILD MUSTAFA MARK WORBEY

JACK SNEATH DAVE MOORE

SALAH BOULEBANE DANIEL BRUNDLE

MICHAEL FORD

Above The Line Catering Provided by . . . . . . . .BONDI KITCHEN LTD

Cast Chef Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FENELLA BLAG

ZARA GAMBIER

ATLANTA THOMPSON

Cast Chef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SARAH SUGDEN

Craft Services Manager . . . . . . . . . . . . . . . . . . . . . . MELISSA EDWARDS

Craft Services Assistants . . . . . . . . . . . . . . . .SANDRA MUTUSZEWSKA

ALICIA GILES

MILLIE BRAZIER

CONSTRUCTION

Construction Coordinator . . . . . . . . . . . . . . . . . . . . . . SIOBHAN WALSH

Construction Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . ORLA DORAN

HOD Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE WILSON

HOD Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUSSELL OXLEY

Construction Storeman . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL KELLY

Assistant Construction Manager . . . . . . . CARADOC CURTIS-ROUSE

Financial Administrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SARJ MAHIL

Construction Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . USHA CHAMAN

Accounts Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LARA DAVEY

DANIELLE HOWARD

Supervising Carpenters

STEVE DEANE RHYS GRIFFITHS

CLINT HELLYER GARY JOBBER

GARY PLEDGER ALEX WELLS

Chargehand Carpenters

BEN CARTY LEE DEANE

TERRY KELLY DANNY PITON

ED SALISBURY KEVIN SWABEY

HARRY TRUDGILL

Carpenters

GRAHAM ANSELL SIMON ATKINSON

RANJITH AVUTHIYANDE DANNY BRYANT

JAMES BURLAK DANIEL BYRNE

FERGUS CAMPBELL CALLUM CHERRY

JACK CHURCHILL JOHN CONROY

GARY DARWOOD ROY DAVIS

ROSS DEVINE SCOTT ELMS

ARRIAN FERNEE XAVIER FOX

GREGORY FOX BRIAN FRANEY

CHRISTOPHER FRASER LEE GAWTHROP

LAURIE GRIFFITHS GRAHAM GURNEY

CASEY LEE HARRIS SIMON HARVERSON

CHRISTOPHER HAWKSWORTH DANIEL HOCKMAN

EDDIE HOLDBROOK PAUL HOUSTON

DAVE HOWARD AARON JENNER

JOSH KEENE SAM KEENE

CHAD KING NATHAN LAWRENCE

TIM LEE TOM MAKEN

SIMON MALLINSON MATTHEW MASON

ANDREW MCCREADY DAYNE MOIR MULLAN

ROBERT NOBLE ALEXIS O’BRIEN

DAN O’BRIEN MICHAEL O’CONNOR

TIM PEARSON CHARLIE PENDRY-PETERS

ALEX RAINE LEE REGAN

LUKE RICHES PAUL RIGBY

ANTHONY ROXAS GEORGE RUDELHOFF

MARTYN RUSSELL JON SANDERS

MARK SARSFIELD NICK SMITH

PETER SQUIRES CRAIG STANTON

JOSEPH SWABEY OLLIE TAPLIN

CHRIS WHITE PAUL WHITE

MARTIN WILLIAMS KEVIN WILLIAMS

JOSEPH WILLMOTT LESLIE WYLIE

Carpenter First Year Improvers . . . . . . . . . . . . . . . . . . DERMOT HARDY

JOSEPH SOWTER-MARTIN

OLIVER TOSSELL

Carpenter Second Year Apprentice . . . . . . . . . . . . . . . . . .LEE BYFORD

Carpenter First Year Apprentice . . . . . . . . . . . . . . . . . . . . . . MAX JONES

HOD Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BRUCE GALLUP

Supervising Painters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RHYS COURT

MARK HARRIS

JOHN PINKERTON

TONY POWER

XVIII

Chargehand Painters . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAI BATTERHAM

LAURA BENSON

LIAM GOOCH

Chargehand Painter’s Labourer . . . . . . . . . . . . . . . . . . . . . . IAN TANSEY

Painters

RICHARD BARCOCK SEBASTIAN BARSZCZ

JAMIE DAVIES-EVANS PHILIPPE DELESTRE

LEE EDWARDS ALAN EDWARDS

CHRIS FRENCH LLOYD GENTLES

LARRY GOOCH ALAN GOOCH

BILLY HANCOX IAN HAZLEWOOD

CHAZ MARLOW JOHN MCALEES

JOSEPH NORTON ANTHONY O’CALLAGHAN

NATALIE ANN PERKINS STACEY PERKINS GRANT

KATIE RAMSDEN MICHAEL REGAN

THOMAS SAVERY FRANCIS SEARLESS

PHIL WHEELER

Painter’s Labourers . . . . . . . . . . . . . . . . . . . . . . . . . . . .NATHAN BARRETT

JOHN FRANEY

SEAN GANNON

STEVEN PARTRIDGE

STEWART WESTERN

Scenic Artists . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW BROTHERHOOD

SEAN CUNNINGHAM

Painter Second Year Improver . . . . . . . . . . . . . . . SATI JHUTTI WALLIS

Painter First Year Improvers . . . . . . . . . . . . . . . . . AARON BATTERHAM

HARRIET HICKMAN

Glaziers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MURRAY JONES

TODD JONES

HOD Metal Worker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER BUCKLEY

Supervising Metal Worker . . . . . . . . . . . . . . . . . . . . . . . . . . . .JIM WALLIS

Metal Workers

JAMES ASHBY HARRY ASHMORE

ALEX BYNOTH ANNIE CHAPTER

JAMES COOMBER ROB FITZGIBBON

TOM PATTULLO

Chargehand Machinist . . . . . . . . . . . . . . . . . . . . . . .STEPHEN WESTERN

Machinist First Year Improver . . . . . . . . . . . . . . . . . . . . . . . . TOM WELLS

HOD Plasterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK BEWLEY

Supervising Plasterers . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEOFF LOWEN

SHAUN NORCOTT SNR

SHAUN NORCOTT JNR

ANDREW WESCOTT

Supervising Plasterer’s Labourer . . . . . . . . . . .ANTHONY MCCREARY

Plasterers

LUKE BAGNALL ANDREW BEANGE

DENHOLM BEWLEY CHARLIE CHANT

PAUL COLEMAN EDRIC COVE

KEITH EDWARDS DAVID EYLES

DAVID GILES MELLONEY HARVEY

STEPHEN HOLLINGWORTH ADAM HOLTON

LIAM JAMES MICHAEL JAMES

BRETT JANES ALEX KING

TERRY KIRKUM STEWART LOBB

PETER MCALLISTER CRAIG MORAN

TOM MORRISON SEAN MURRAY

SCOTT MYERS CHRISTOPHER NICOLS

DAVID PAGE OLIVER PELLOWE

EDDIE QUAYLE JAN REHDERS

KEVON RICHARDS MARK RIDING

PAUL ROBERY JOHN ROBERY

JOE ROSS BILLY ROWBOTHOM

RYAN TARIN RICHARD WARD

JOE WEBB IAN WILSON

Plasterer Second Year Apprentice . . . . . . . . . . . . . . . . .GEORGE BOWE

Plasterer First Year Apprentices . . . . . . . . . . . . . . . . . . . JAKE BUCKLEY

GEORGE SAMPSON

Plasterer’s Labourers

JOE DAVIES DAVID HOPKIN

CHARLIE MCCEARY BARRY MCDONALD

JAMES RUMSEY BARRIE WHITE JNR

HOD Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EMMA HANSON

Supervising Sculptors . . . . . . . . . . . . . . . . . . . CHRISTOPHER BARNETT

MARK CRUISE

FRANCIS POIRIER

Chargehand Sculptors

JAMES ANTHONY FRANCIS BECK

MERLE FARMER EDWIN FEREDAY

DARREN FITZSIMONS RUTH HARRISON

KEITH MALLINSON MATTHEW O’DONOVAN

MARK STOWE JOHN DARREN SUTTON

Sculptors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW CURRIER

LIAM HARRISON

RIA KNOWLES

Modellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEFAN CORDIOLI

NATALIE HUTTON

BEN O’SHAUGHNESSY

Advanced Improver Sculptor . . . . . . . . . . . . . . .DAVID MOHAMMADI

Sculptor First Year Improvers . . . . . . . . . . . . . . . . . STEFANO FERRARA

SIMON MARTIN

KATHRYN NEWMAN

VERITY POWELL

FRED RILEY

Trainee Sculptors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH AKBAR

JACK ALLEN

JOSH HENDERSON

LAWRENCE MCMILLAN

Sculptor Second Year Apprentices . . . . . . . . . . . . . .GUSTAV BOGACZ

SAM JONES

MARC MATTA

ELLIE SEABOURNE

Tilers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL FLAHERTY

VINCENT WAHLERS

HOD Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DARREN FLINDALL

Supervising Riggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BARRY BROWN

IAN NORGATE

Rigging Labourers . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL TATTERSFIELD

JIM TUCK

Riggers

BILLY BROWN JOHN BURNS

SEAN CHAPPLE NICK CURRY

PERRIE FARMER MITCHELL FERN

DANNY GOODE TONY HINGERTON

RICHARD RYAN INNS MARTIN LANT

DAVID LAWRENCE LUKE LIVESEY

KYLE LUKE MARK NORRIS

ALFIE SMITH JIMI WELSH

MATTHEW WHITFIELD

XIX

HOD Stagehand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM MORONEY

Supervising Stagehands . . . . . . . . . . . . DAVID CHRISTOPHER CARLO

PAUL DAVIES

Stagehands NVQ

MARK ANDREWS KARL BEAVIS

CHARLIE BELLCHAMBERS ROBERT FAHERTY

REECE KING JESS MCAVOY

LENTSE MEALIN CAMERON NEALON

CHARLIE ORSMOND WILLIAM THOMPSON

Stagehand Labourers

DANIEL HINGERTON BILLY LEE KNOWLES

LIAM MCALLISTER SCOTT MCNALLY

ANDREW MORONEY SONNY NELIS

BOBBY TOSSELL

HOD Greensman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PETER HOOPER

Greens Standbys . . . . . . . . . . . . . . . . . . . . . . . . . . . .BENITO CAVALLARO

GEORGE BENNETT

ROBBIE FLETCHER

Greens Level 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CONNOR STEPHENS

Greens Level 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CAMERON CLARK

GEORGIO PITSIALIS

Greens Level 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BIANCA POARA

DANIEL MORRIS

JACOB KNIGHT

MATTHEW HAYES

Greens Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERTO OLIVIERI

Greens Coordinator/Buyer . . . . . . . . . . . . . . . . . . . . .KRISTINA O’REILLY

Supervising Chargehands . . . . . . . . . . . . . . . . . . . . ZEPHYR DOUGLAS

STEVEN MURPHY

JAMIE CLARKE

Lead Dressers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GEORGIE WHETSTONE

LYDIA MATTHEWS

Greens Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANDREA MARSDEN

Chargehand Carpenter (Glasgow) . . . . . . . . . . . . JAMIE MCCALLUM

Carpenters (Glasgow)

CHRIS FRANCHI JOHN HOWLEY

NEIL MACINNES NIALL SCOTT-MARTIN

FRANK CAMERON NICK SMITH

Chargehand Stagehand (Glasgow). . . . . . . . . . . . NATHAN SIMPSON

Stagehand Labourers (Glasgow) . . . . . . . . . . . . . . . .DARREN GILBERT

MICHAEL COLLIER-PRICKETT

DAVID NELSON

JADEN LEMAY

CRAIG ROSS

Supervising Painter (Glasgow) . . . . . . . . . . . . . . . LYNSEY SINNAMON

Stagehand Labourers (Glasgow) . . . . . . . . . . . . . . . . . . . .ROSIE JACOB

ROSIE SIMS

HARRIET TRITTON

AMY HASTIE

ROBERT GEE

Supervising Rigger (Glasgow) . . . . . . . . . . . . . . . . . . . ROSS PEARSON

Riggers (Glasgow) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHEN KEOGH

JORDAN PELGRIN

FRANK MURRAY

Painter’s Labourer (Glasgow) . . . . . . . . . . . . . . . . . .STUART WILEMAN

FRANCHISE & PUBLICITY

Stills Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . .JONATHAN OLLEY

Unit Publicist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOIRA HOULIHAN

Franchise Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LAURA EVANS

Physical Assets Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANNA HALL

ANDY SCOTT

MAUDIE MERCHANT

Franchise Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . POLLY FLETCHER

Behind-the-Scenes Filmmaker . . . . . . . . . . . . . . . . . . . .IAN BUCKNOLE

Behind-the-Scenes Camera . . . . . . . . . . . . . . . . . . .CALLUM JOHNSON

Additional Behind-the-Scenes Camera . . . . . . . HANNAH MITCHELL

Behind-the-Scenes Trainee - BFI . . . . . . . . . . . . . . ANNISHAH RAZAQ

Portrait Gallery & Second Unit Photographer . . . . . . . . . . ED MILLER

Portrait Gallery Photographer . . . . . . . . . . . . . . . . . . . HAYLEY BENOIT

Franchise Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . .DIANE POGNAN

Lead Photo Editor/Retoucher . . . . . . . . . . . . . . . . . . . . .BARRY HURLEY

Show Photo Editors . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL MCCONNELL

ROBIN YOUNG

Clearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FINOLA MOORE

Lucas lm Stills & Physical Assets

VP, Franchise Assets & Publicity . . . . . . . . . . CHRIS ARGYROPOULOS

Supervisor, Digital Asset Management . . . . .GABRIELLE LEVENSON

KATHERINE BELL ALLISON BIRD

JACKEY CABRERA ELINOR DE LA TORRE

PORTIA FONTES NICK MIANO

BRYCE PINKOS ERIK SANCHEZ

MICHAEL TROBIANI SARAH WILLIAMS

Rights & Clearances by . . . . . . . . . . . . . . . . . . . BARBOUR & COMPANY

CASSANDRA BARBOUR

TRANSPORTATION

Transport Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS NUTTALL

Transport O ce Coordinator . . . . . . . . . . . . . . . . . . . . . . GRACE JONES

Unit Drivers

ALAN CANTY MIKE CURRAN

DEREK DUSSARD DARREN FOSTER

NATHAN GILES KASH HAMEED

DANE HEAVENS MARC HICKMER

DAVE IVES MOHAMMED KHAN

MASON MCQUEEN RICHARD MILES

GIDEON MULLINS JAMES OTT

JOHN SCHOLEY GAVIN SHEPHERD

JOE SHEPHERD BILLY WEST

PAUL ZANELLI

Mini Bus Drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL MUNCEY

KELSEY JENKINS

GEORGE MUNCEY

TERRY READ

Facilities Vehicles Provided by . . . . . . . TRANSLUX INTERNATIONAL

Standby Vehicles Provided by . . . . . . . . . . . . . LAYS INTERNATIONAL

Facilities HOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LAURENTUI NEASCU

LAYS HOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BARRY COYLE

LAYS Baseman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY HAWKINS

Main-On-End Design by . . . . . . . . . . . PICTUREMILL & F. RON MILLER

End Credits Design by . . . . . . . . . . . . . . . . . . . . . . . . . SCARLET LETTERS

Digital Opticals by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OUTBACK POST

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RON BARR

VFX Pulls by

COMPANY3

Portal Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN KRASSNER

Portal Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARTIN AVITIA

Portal Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KEVIN BEIER

Portal Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARY QUAN

Dailies Processing by

COMPANY3

Dailies Colourist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES SLATTERY

Additional Colourist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRETT RAYNER

Dailies Technical Supervisor . . . . . . . . . . . . . . . . . . . . . .TOM MITCHELL

Mobile Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LIAM DONAGHY

Technologists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN JONES

WARREN INCE

CALEB JOHNSON

PAUL DOOGAN

Dailies Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEMMA SAUNDERS

Dailies Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LULU LADD

PATRICK COAKLEY

SEAN OLDING

Head of Dailies Operations . . . . . . . . . . . . . . . . . . . . . . . . . JAMES LONG

Account Executive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JON GRAY

Operations Manager . . . . . . . . . . . . . . . . . . . . . . . . . . CLAIRE MCGRANE

Color & Finish by

COMPANY3

Supervising Colorist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SKIP KIMBALL

Finishing Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . JARED ARKULARY

Finishing Production Coordinator . . . . . . . . . . . . . . . .JACK MOLITOR

Sales Executive . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHERYL GOODHEAD

Finishing Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG C. PRICE

Image Scientist . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL KANNARD

CO3 Executive Producer . . . . . . . . . . . . . . . . . . . STEFAN SONNENFELD

SECOND UNIT

Production Supervisor . . . . . . . . . . . . . . . . . . . . RHYS SUMMERHAYES

Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . . .KODOU WILLIAMS

Second Assistant Director . . . . . . . . . . . . . . . . . . . . . . . JOSIE MORGAN

Second Assistant Director - Morocco . . . . . . . . . . . . . . . . .LUKE TOLEN

Assistant to Second Unit Filmmaker . . . . . . . . . . . . . JENNIFER EDDY

Production Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN KOZEL

Assistant Production Coordinator . . . . . . . . . . . . . JORDAN BARBOUR

Second Second Assistant Director . . . . . . . . . . .LIBERTY CHEESMAN

Standby Art Director . . . . . . . . . . . . . . . . . . . . . . . .CASSANDRA VIRDEE

Third Assistant Directors . . . . . . . . . . . . . . . . . . . . . .EMMA REYNOLDS

JULIET KIRBY

CHESSIE WILTON

CAMERON LAWTHER

Set Production Assistants

BILLIE MAK BEN ROBLES-ACOSTA

JOEY HISCOCKS AARON GORDON

NICOLE ABLOTT DEBBIE BELLO

Hair, Makeup & Prosthetic Supervisor . . . . . . . . . . . JENNIFER HARTY

Key Hair, Makeup & Prosthetic Artist . . . . . . . . . . .LORNA STIMPSON

Hair & Makeup Junior . . . . . . . . . . . . . . . . . . . . . . . . . JADE WINTERTON

Hair & Makeup Trainee . . . . . . . . . . . . . . . . . . . . . . . . .LAUREN HUGHES

Armourers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NIK WILKERSON

DAVID SILLERY

Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LAURAJANE MILES

A Camera Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICK FROEHLICH

B Camera Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM WADE

Addtl. Camera - First Assistant Camera . . . . . . . . . . . RICHARD DAVIS

Addtl. Camera - Second Assistant Camera . . . BRUCE CARMICHAEL

Addtl. Camera - First Second Camera . . . . . . . . . . . . . . JACK CARTER

DIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL DEANE

DANIEL ALEXANDER

DIT Data Manager . . . . . . . . . . . . . . . . . . . . . . . . . . .DIMITER DIMITROFF

Second Unit Wardrobe Supervisor . . . . . . . . . . . . AARON TIMPERLEY

Principal Costumers . . . . . . . . . . . . . . . . . . . . . . . . . .BENJAMIN ALLARD

GEMMA BATES

Junior Principal Costumer . . . . . . . . . . . . . . . . . . . . . GIORGIA MUSHET

Supervising Standby Props . . . . . . . . . . . . . . . . . . BUDDIE WILKINSON

Standby Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL VALENTINE

Assistant Script Supervisor . . . . . . . . . . . . . . . . . .EMILY RICHARDSON

A Camera First Assistant Camera . . . . . . . . . . . . . . . OLIVER DRISCOLL

B Camera First Assistant Camera . . . . . . . . . . . . . . . . . . . LUKE SELWAY

A Camera Second Assistant Camera . . . . . . . . . . . . . . . . . .BEN JONES

B Camera Second Assistant Camera . . . . . . . . . . . . . . . . . . . DAN LILLIE

Central Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAFYDD BATES

Camera Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CONOR SPENCER

LUCIEN FRANK

ROSAMUND FREEMAN

Video Playback Operator . . . . . . . . . . . . . . . . . . CAMERON DAVIDSON

Video Assist Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JACK KELLY

DIT Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FINN SHERITON

KATE DRAZEK

CARRIE COOKSLEY

Production Sound Mixer . . . . . . . . . . . . . . . . . . TOM WILLIAMS, AMPS

Production Safety Advisor . . . . . . . . . . . . . . . . . . . . . . . .DAN WILLIAMS

Security Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHAS CHARLTON

Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JIM TAMBLING

DEBS BREAM

SIMON HALLIDAY

Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX MOTT

Electrical Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOBY TYLER

Electrical Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID TYLER

Electrical Lighting Desk Operator . . . . . . . . . . . . . . . .RICHARD ALLEN

First Assistant Sound . . . . . . . . . . . . . . . . . . . . . . . . .GWENDELON SENA

Sound Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEXANDER LANGNER

COVID Compliance O cer. . . . . . . . . . . . . . . . . . . . . . . .NATHAN LONG

COVID Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . LUKE ROSS

Grip Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICK RICH

Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANNY BRENNAN

NIC CUPAC

TOM GRAHAM

XXI

Electrical Floor Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL TYLER

Standby Electrical Rigger . . . . . . . . . . . . . . . . . . . . . TOM BIGGERSTAFF

Lighting Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . DEAN CHAMBERS

AARON DUNNING

BEN SUTER

BRADLEY WILSON

JAMIE HUNT

Key Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE CROSS

Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GARY JAMES

Grip Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAKE LAVAN

Crane Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NEIL FOLLY

Crane Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEORGE POCOCK

Libra Head Techs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SEAN ROGERS

JAMIE TOCHER

NEIL (MUNKEH) TOMLIN

Precision Drivers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROB HERRING

LEO FORSTER

E-Bike Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .REGIS HARRINGTON

Crane Arm Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . DUNCAN MORE

Stabilised Head Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS DAWSON

SFX Lead Senior Technician . . . . . . . . . . . . . . . . . . . . .ANDREW AITKEN

SFX Floor Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHRIS GILES

SFX Senior Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . BARRY WHITE

JON TIMLIN

SFX Assistant Technicians . . . . . . . . . . . . . . . . . . . . . . JOSH CROCKETT

DAVID PASZKOWSKI

Standby Stagehands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DERRY FURR

STEVE MATTHEWS

Standby Carpenter . . . . . . . . . . . . . . . . . . . . . . . . PETE (SMITHY) SMITH

Standby Painters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DARYL KING

JAY SOTHERAN

Standby Riggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GARY FROST

JACK ROBERTS

Unit Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELSPETH DYKSTRA

PINEWOOD - UNDERWATER UNIT

Underwater Director of Photography . . . . . . . . . . . . .IAN SEABROOK

Underwater First Assistant Camera . . . . . . . . . . . . . . . MATT WESSON

Underwater Housing Technician . . . . . . . . . . . . . . . . . . . . . BEN PARISH

Underwater DIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOE STEEL

Underwater Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AARON KEATING

Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY PURDY

Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TOM LAMOTTE

Electrical Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AARON DUNCAN

Underwater Electricians . . . . . . . . . . . . . . . . . . . . . . . MATT DICKINSON

CHRIS BROOMFIELD

RYAN HUFFER

Diving Doubles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON ANDREWS

JESS GAMBLE

Diving Team Provided by . . . . . . . . . . . . . . . DIVING SERVICES UK LTD

Diving Coordinators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE GREEN

LISA BIRCH

Diving Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK VARGASSOFF

DAVID REES

Lead Diver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PETER HARCOURT

Dive Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IMOGEN DANKS

Divers

JOSH TUERSLEY JOE BOURNE

PAUL DANIELS JONATHON DOLAN

SIMON OCKENDEN ADRIAN GORST

LIZ COURT SAM PURNELL

LUCASFILM LTD.

EVP/General Manager . . . . . . . . . . . . . . . . . . . LYNWEN BRENNAN, CBE

EVP, Physical Production . . . . . . . . . . . . . . . . . . . . . MOMITA SENGUPTA

SVP, Post Production . . . . . . . . . . . . . . . . . . . . . . . . . . PIPPA ANDERSON

SVP, Lucas lm VFX/General Manager, ILM . . . . . . . . . . JANET LEWIN

SVP, Creative Innovation/

Chief Creative O cer, ILM . . . . . . . . . . . . . . . . . . . . . . . . . ROB BREDOW

SVP, Business A airs & Legal Counsel . . . . . . . . . . . .RHONDA HJORT

SVP, Licensing & Franchise . . . . . . . . . . . . . . . . . . . . . PAUL SOUTHERN

SVP, Franchise Content & Strategy . . . . . . . . . . . . . . . .JAMES WAUGH

Assistant Chief Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN AMIN

VP, Finance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LORI AULTMAN

VP, Immersive Content Innovation . . . . . . . . . . . . VICKI DOBBS BECK

VP, Post Production . . . . . . . . . . . . . . . . . . . . . . . . . . .MIKE BLANCHARD

VP, Human Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . BLAIRE CHAPUT

VP & Executive Creative Supervisor . . . . . . . . . . . . . . .DOUG CHIANG

VP, Production Finance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSEPH CHO

VP, Publicity & Communications . . . . . . . . . . . . . . . . . . CHRIS COXALL

VP, Franchise Marketing . . . . . . . . . . . . . . . . . . .MEGAN CRUMPACKER

VP, Lucas lm VFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TJ FALLS

VP, Production Technology . . . . . . . . . . . . . . . . . . . . . . . .LORI GIANINO

VP, Social & Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . THERESA HELMER

VP, Business A airs & Legal Counsel . . . . . . . . . . . . . . . . . KENSIE KIM

VP, Lucas lm Games . . . . . . . . . . . . . . . . . . . . . . . . . . . .DOUGLAS REILLY

VP, Marketing & Franchise Creative. . . . . . . . . . . . . . . . ANNA YEAGER

Lucas lm Production & Development

ROMEO ALBANO RUBY AVARDS

VIMANI BAXTER SAMANTHA BLOOMFIELD

VICTORIA CADIOU JOANNE KAWASAKI

MICHAEL KOHN MATTHEW MCGUIRE

BIOLA OLAGBEGI MARRO PARK

ANNA RINGUET-BROWN ADAM TEEUW

CODY VANDENBERG ANINA WALAS

SAMANTHA WALLACE

Lucas lm Business A airs & Legal Counsel

LUXIE AQUINO ALISON DAHER

ALEXIS DONOGHOE SHARRON DRAKE

BRIAN G. FARRAR SARAH GARCIA

JASON GEE CHRISTOPHER HOLM

NAUREEN Z. HOQUE NICHOLAS KANE

DAVID MENDENHALL JULIA PORTER

CHRISTINE TALARIDES

Lucas lm Studio & Franchise

TROY ALDERS ALEXA ALYESHMERNI

STEVE BLANK DOUGLAS BOETHLING

TRISH BRUNNER ANNIE BUKOWSKI

MICKEY CAPOFERRI LELAND CHEE

LYN COWAN JANET DAY

QUEEN DENCHUKWU CRAIG DERRICK

MELCHER FABI MATTHEW FILLBRANDT

ALISON FISKER BARBARA GAMLEN

CHRIS GOLLAHER PABLO HILDAGO

XXII

COLE HORTON AMIR HOSSEINZADEH

CARL JORDAN CONNIE KANG

JAROD KEEL AKASH KUMAR

GRACE LEE BRUCE MARCHANT

KERRI MARTIN MATT MARTIN

CORINNE MEDEIROS JOHN NEIRA

EMILY NERVIANI DANIELLE O’HARE

LAUREN OLSEN SABRINA ORTIZ

KEVIN PARKER LACEY PRINCE

ANTHONY RODRIGUEZ LUCAS SEASTROM

KELSEY SHARPE EMILY SHKOUKANI

NICHOLAS SNELL DEREK STOTHARD

JEFF TERRA LEANDRE THOMAS

KIM TRINH PETE VILMUR

DAVID YEE LAUREN YENOKIDA

ROLANDO ZEGARRA

Lucas lm Technology Support & Systems

RYAN BUTTS DANNY DAO

PAUL DENTON ABIGAIL DUNCAN

AKIL HIGGINS DARYLL JACOBSON

ELEFTHERIA KARAPIPERI JENNIFER LEWICKI

TIM VOLKER ALEXANDER WEBB

NIK WOODLEY

WALT DISNEY STUDIOS

President, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ASAD AYAZ

EVP, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRANK CHIOCCHI

EVP, Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHELLE SEWELL

SVP, Promotions & Special Events . . . . . . . . . . . . . . . . . . .LYLLE BREIER

SVP, Digital Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . JESSICA INTIHAR

SVP, Business A airs . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID TRYGSTAD

VP, Production Finance . . . . . . . . . . . . . . . . . . . . . . . . JOHN ALEXIADES

VP, Creative Advertising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ELY ORIAS

Executive, Credit & Title Administration . . . . . . . . . . KIRK RINGBERG

EVP, Business A airs . . . . . . . . . . . . . . . . . . . . . . BERNARDINE BRANDIS

EVP, Media Planning & Strategy . . . . . . . . . . . . . . . KIMBERLY FLASTER

Chief Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAIGE OLSON

SVP, Creative Advertising . . . . . . . . . . . . . . ARNALDO D’ALFONSO JR.

SVP, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RYAN STANKEVICH

SVP, Media Planning & Strategy . . . . . . . . . . . . . ALLYSON WHITFIELD

VP, Creative Print Services . . . . . . . . . . . . . . . . . . . . . . STEVE NUCHOLS

VP, Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MELISSA STONE

LOCATION UNITS

SICILY UNIT

Unit Production Manager . . . . . . . . . . . . . . . . . . . .FILIPPO BALDASSO

Production Supervisor . . . . . . . . . . . . . . . . . . . . . . . . SABRINA MANNA

First Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . GWEN SANNIA

Second Assistant Director . . . . . . . . . . . . . . . . . . . . . YVONNE OLIVIERI

Floor Second Assistant Director . . . . . . . . . . . GIANMARCO FORMICA

Third Assistant Director . . . . . . . . . . . . . . . . . . . . . GIANLUCA LA ROSA

Stunt Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRANCO SALAMON

Assistant Stunt Coordinator . . . . . . . . . . . . . . . . . . GABRIELE RAGUSA

Production Accountant . . . . . . . . . . . . . . . . . MARILENA LA FERRARA

Production Coordinators . . . . . . . . . . . . . . . . . . . . . . . CLARA O’KEEFFE

MONA BERNAL

Assistant Production Coordinator . . . . . . . .ELVIRA ELISABET VERON

Crowd Assistant Director . . . . . . . . . . . . . . . . . . . .GIORGIA GEMINIANI

Crowd Production Assistant . . . . . . . . . . . . . . . . . . . . . ATHENA CESARI

Stunt Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . GIORGIO ANTONINI

Stunt Performers

AGOSTINO DE CESARIS ALESSANDRO XAVIER DE SILVA

EDUARDO XAVIER DE SILVA CRISTIAN DOMENIGHINI

GABRIELE DOMENIGHINI STEFANO DOMENIGHINI

LORENZO FARAGLIA ROCCO MARIA FRANCO

EMANUELE FREDDO ANDREA GIGLIO

FEDERICO GRILLO ANDREI JDANOV

PATRIZIO LICATA DANIELE NGUYEN

SIMONE RANIERI FEDERICO REGAZZO

DANILO REGINI EMANUELE ROMANO

ENRICO SALAMON STEFANO SAVERIANO

GABRIELE SCILLA GIANLUIGI SCILLA

ROBERTO SGARBI MASSIMO TARTAGLIA

ALESSANDRO UBALDI MASSIMILIANO UBALDI

BRUNO VERDIROSI VITTORIO VERDIROSI

MAJCOL VINANTE

Italian Casting by . . . . . . . . . . . . . . . . . . . . . . . . FRANCESCO VEDOVATI

Featured Puppeteers . . . . . . . . . . . . . . . . . . . . . . VINCENZO MANCUSO

ANTONIO GUARINO

GIOVANNI BATTISTA RAPPA

Stand-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . DESIRÉE ANNA D’AGUANNO

FABIO LO MEO

GIADA LA BARBERA

EMANUELE GERACI

ANTONINO BERTOLINO

Featured Musicians - Pintorno & Wedding Bands

VINCENZO BARRACO VINCENZO CANGELOSI

GIOELE CORSO PIETRO CORSO

CLAUDIO CURRERI MARIO FIDUCCIA

SEBASTIANO DI GESARE SALVATORE GRAZIANO

FRANCESCO GUGLIUZZA PIETRO PETTA

DOMENICO PORTERA FRANCESCO PRISINZANO

Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERTA FEDERICO

Assistant Art Director . . . . . . . . . . . . . . . . . . . . . . COSTANZA GELARDI

Art Department Coordinator . . . . . . . . . . . . . . . . . . . . CLAUDIA LUZZI

Art Department Assistant . . . . . . . . . . . . . . .TOMMASO BARAZZUTTI

Assistant Set Decorator. . . . . . . . . . . . . . . . . . . . RAFFAELLA CUVIELLO

Set Dec Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SIVIA MAIMONE

EMANUELE MICARI

Greens Labourer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SEBASTIANO ALIA

Greenery PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUDOVICO MUSCO

Associate Costume Designer . . . . . . . . . . . . . . . STEFANO DE NARDIS

Costume Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . ELENA ROTATORI

Costume Buyer . . . . . . . . . . . . . . . . . . . . . . . . . EMANUELA NACCARATI

Key Fitters - Assistants . . . . . . . . . . . . . . . . . . . . . . . . CLAUDIO LAGANÀ

PRISCILLA MINNITI

Costume Assistants . . . . . . . . . . . . . . . . . . . . . . . .ALESSIA ROMANAZZI

SAVERIO CICALA

EIRINI PANDI

Senior Fitters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LAURA GIUSTINI

GIOVANNI PARIS

Senior Breakdown Artist . . . . . . . . . . . . . . . . . . . . . . . . PAMELA PAOLINI

Cutter/Head Seamstress . . . . . . . . . . . . . . . . . GIULIA ORSACCHIOTTO

Breakdown Artist . . . . . . . . . . . . . . . . . . . . . . . . AMBRA SCHUMACHER

Seamstress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUISA CORDA

XXIII

Crowd Fitting Junior Hair & Makeup Artist FEDERICA RUTIGLIANO

Breakdown Artist Junior . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATIA FOLCO

Production Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . DARIA SANTILLI

Travel Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAYNE JOHNSON

Assistants to Production Managers . . . . . . . . . . . . . CAMILLA PUGINI

MATTEO PLUCHINO

Assistant Travel Coordinator . . . . . . . . . . . . . . . . . . . . . ILARIA PROSCIA

Accommodation Coordinator . . . . . . . . . . . . . . . . . . . . GIULIA NENNA

Key Set Production Assistant . . . . . . . . . . . . . . MARCO DELLA TORRE

Assistant Accommodation Coordinators . . . . . . . . SIMONE GRUSSU

CHIARA PROCACCI

Key O ce Production Assistant . . . . . . . FILIPPOAMATO AGOSTINO

Production Assistants

CARLA COPIA FRANCESCO PANSINI

EMILIANO COMPOSTA LUCA ESPOSITO

FEDERICA GENOVESE LORENZO AMADIO

ANGELO PINCO

Production Assistant to Producers . . . . . . . . . . . . . . DANIELLE BAINS

Unit Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALBERTO SCUDERI

Production Runner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GIULIO PENNA

Unit Assistant/Crew Labour Hire . . . . . . . . . . . . . STEFANO POMARICI

Cast Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LIAM TESTASECCA

Assistant to Marco Valerio Pugini . . . . . . . . . . . . ISABELLA ROBERTO

Assistant to Producers . . . . . . . . . . . . . . . . . . . . . . . . . .FEDERICA RUSSO

Legal Assistant (Intern) . . . . . . . . . . . . . . . . . . . . . . . . ANGELICA ZAZZA

Extras Casting Coordinator . . . . . . . .ANTONINO (NINNI) TARTAGLIA

Extras Assistants/Marshalls . . . . . . . . . . . . . . . . . . . INGRID TARTAGLIA

FRANCESCO PAOLO TARTAGLIA

PASQUALE DI GIOVANNI

Extras Assistants . . . . . . . . . . . . . . . . . . . . . . . . .CATERINA MAGLIOZZO

GIUSEPPA DI MAIO

ILENIA MAGLIOZZO

Extras Dept Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . UMBERTO LEPRE

First Assistant Accountant . . . . . . . . . . . . . . . . . . . . . .RAFFAELLA RICCI

Second Assistant Accountant . . . . . . . . . . . . . . . . . . DANIELA BUCONI

Head Payroll Accountant . . . . . . . . . . . . . . . . . . . .GIAMPAOLO NUSCA

Payroll Accountant . . . . . . . . . . . . . . . . . . . . . . . . . MARZIA GIAMBERINI

Tax Credit Accountant . . . . . . . . . . . . . . . . . . . .MARINELLA MARINELLI

Assistant Payroll Accountants . . . . . . . . . . . . . . . . . .MARCO MOSOLO

LORENZO CINTIO

Data Entry Accountants . . . . . . . . . . . . . . . . . . . . . . . . . . . .ELENA TIBERI

TULLIA PALMA RAMBAUD

Panorama Films Accountant . . . . . . . . . . . . . . . . . . . . PATRIZIA PIZZINI

Accounts Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . .LAURA TRIBAUDINO

Cashier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IRENE TARTAGLIA

Tax Credit Consultant . . . . . . . . . . . . . . SMART CONSULTING GROUP

Key Location Manager . . . . . . . . . . . . . . . . .MAURIZIO LICCIARDELLO

Location Manager . . . . . . . . . . . . . . . . . . . . . . . . ELISABETTA TOMASSO

Assistant Location Manager . . . . . . . . . . . . . . . . . . . . . DAFNE GRASSO

Locations Coordinator. . . . . . . . . . . . . . . . . . . . . MARZIA COLTELLACCI

Key Assistant Location Manager - Sicily . . . . . . . . .DAVIDE DE CARO

Assistant Locations Coordinator . . . . . . . . . . GIORGIA BOTTIGLIERO

Junior Location Managers . . . . . . . . . . . . . . . . . . . . . . . MICHELA SESSA

GIULIA ODOARDI

ANTONIO SCIMENI

Assistant Location Managers . . . . . . . . . . . . . . . SERGIO ANDRIANOV

SERENA ROMANO

MARGHERITA DI PAOLA

Location Production Assistants

CHRISTIAN DI MAURO VINCENZO LOMBARDO

GIOVANNI DI NATALE VALERIO TODARO

GIOVANNI NAVARRA COSIMO LIPPARINI

First Assistant Camera - D Cam . . . . . . . . . . . . . . . . .GIANNIS ROZEAS

DIT Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GUIDO NOVARA

FRANCESCO ROMANO

Video Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELVIS FRASCA

Boom Operator - C Cam . . . . . . . . . . . . . . . . . . ANDREA PASQUALETTI

Video Assist - C Cam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELENA SANI

Marine Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . LORENZO PUCCINI

Marine Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVIDE UNICH

Trireme Boat Captain . . . . . . . . . . . . . . . . . . . . . . . . .GIOVANNI LI CAUSI

Underwater Unit Electrician . . . . . . . . . . . . . . . . .MAURIZIO MATANIA

Helicopter Pilot . . . . . . . . . . . . . . . . . . . . . . . .FRANCESCO COMENSOLI

Helicopter Techs . . . . . . . . . . . . . . . . . . . . . . . . . GIULIANO COMENSOLI

GIUSEPPE BLANDINO

Props Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MASSIMO ELEONORI

Prop Storeman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEFANO NAGNI

Props Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LAURA NINNI

Prop Maker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTONIO MURER

Props Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . BRUNELLO TERRACCIANO

Standby Set Dressers . . . . . . . . . . . . . . . . . . . . . . . . . GIOMARIA CHESSA

FABIO BONDÌ

Armourer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MASSIMO CARDAJOLI

Armoury Labourers . . . . . . . . . . . . . . . . . . . . . . . . . . MARCELLO D’ALBA

FRANCESCO SALERNO

Chargehand Dressing Props . . . . . . . . . . . . . . . . COSIMO GIANNUZZI

DIEGO MARIA MARAZZI

Props Head Painter . . . . . . . . . . . . . . . . . . . . . . . .VALERIO CAPPELLETTI

Props Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JACOPO DUBLA

Dressing Props

DANIELE BRAIDA GIULIANO MIGNACCA

ADRIANO MAGGI PAOLO D’ANGELI

ALESSIO DI CICCO ANDREA VENTURA VITETTA

SALVATORE BRIOLA

Animal Handlers

EDOARDO MARTINO ANNA EWA SMALARZ

MARTINA BUONAVENTURA PIETRO LO PINTO

Picture Vehicles Coordinator . . . . . . . . . . . . . . . . . . SIMONE CENTIONI

Picture Vehicles Floor Coordinator . . . . . . . . . . . ADRIANO MONETTI

Picture Vehicles O ce Coordinator . . . . . . . . . . . SUSY ANN BIANCO

Picture Vehicles -

O ce Production Assistant . . . . . . . . . . . . . . . . .MATTIA PIETRANGELI

SFX Workshop Supervisor . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL ACON

SFX Senior Technician . . . . . . . . . . . . . . . . . . . . . SILVANO SCASSEDDU

SFX Labourer Technician . . . . . . . . . . . . . . . . . .MARCO FIACCAVENTO

Set Mechanic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GIUSEPPE MARSELLA

Tow Truck Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVIDE COLANERA

Truck Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . MASSIMILIANO NOVALDI

SFX Production Buyer . . . . . . . . . . . . . . . . . . . . . . . . ANDREA PIGRUCCI

SFX Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . .FERNANDO CESARITTI

EUGENIO GUALTIERI

Pyro Supplier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUCIANO RAFFAELE

XXIV

Catering Provided by . . . . . . . . . . . . . . . . . . . . . . . .C.L.I.C. SERVICE S.R.L

MAURO BIANCHETTI

CRISTINA LEURINI

DAVIDE MELCHIORRE

Transport Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MELINA FRIAS

GIUSEPPE (PEPPE) SANTONI

Transport Captains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN LINES

FILIPPO DEL BELLO

MARCO FERRERI

ALESSANDRO PANTANO

Transport Coordinators . . . . . . . . . . . . . . . . . . . . . . . . CARLA PURRINOS

SIMONE OLIVIERI

Transport Co-Captain/Crew Van Driver . . . . . . . . . MARCO TAGLIONI

Transport Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . ANTONIO SANCHEZ

Unit Drivers

LORENZO LUZZI CONTI PIERFRANCESCO ANCILLAI

SACHA PLATEO STEFANO PIOVESAN

ANTONINO SANTORO ANGELO RINAUDO

GIULIA FRITTELLINI ANGELO ARANCIO

GIULIO BOEMO FRANCESCO BARRECA

ANDREA FEDELI NINO ROMANO

LUIGI GRASSADONIA ALESSANDRO CARPINETA

ANGELO BOTTARO FRANCESCO CAROLLO

IAN BIANCHI MAURO CECCHINI

MARCELLO SEREGNI ALFIO GUERCIO

MASSIMO BENEDETTO EZIO FIORAVANTI

Truck Drivers

CARMINE DI STEFANO FABIO SALSICCIA

MASSIMO VERGARI MAURO FIORI

RINO RASPANTI IVAN SALATINO

CARLO PUCCIARMATI LUCIANO MARINO

MAURIZIO SPERATI EDOARDO PECHISOLIDO

RENATO MARANO MAX CARDILLO

DANIELE GENCO LUCIANO IEVA

ANTONIO NIGRO

Facilities HOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RENATO LATELLA

Facilities Labourers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IVAN SANSICA

VINCENZO SPANÒ

Facilities Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRIMO SETTEMBRINI

ANGELO BERLINI

DANIELE FORNACIARI

GIUSEPPE ERCOLANO

DIEGO FANINGER

Security Team

VIRÁG KACZIBA RAFFAELE SEPE

ANTONINO CLAUDIO ALESTRA GIOSUÉ ARCURI

AIMAN SABER UBEL GONZALEZ GOMEZ

Health & Safety Supervisor . . . . . . . . . . . . . . . . . .VALENTINA CESTARI

Health & Safety O cer . . . . . . . . . . . . . . . . . . . . . . . . . . .MARCO CONTE

COVID Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VALERIA CORREALE

COVID O ce Coordinator . . . . . . . . . . . . . . . . . . . . LAURETTA PILOZZI

Crew COVID Test Loggers . . . . . . . . . . . . . . . FRANCESCO DI STEFANO

ROSITA MARCHESANO

LISA ROMANO

Occupational Physician . . . . . . . . . . . . . . . . . . . . . ERNESTO CARBONE

On Set Medic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GIULIO TURCO

Key Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MASSIMO DI GREGORIO

COVID O ce Assistant . . . . . . . . . . . . . . . . . . . . . ELISABETTA IULIANO

COVID Extras Test Loggers . . . . . . . . . . . . . . . . . GIOVANNI MARCHESE

SABRINA CUSENZA

MILENA BLUNDA

COVID Facilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FABRIZIO RAPEZZI

DARIO MALUSARDI

GIUSEPPE CINQUEGRANI

Key COVID PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GIULIO RIVELLI

Checkpoint Production Assistants

ALESSANDRO SIGNORINI LAURA GIANNATIEMPO

GIANCARLO SCORSONE FABIO MESSINA

ANGELO APRILE GAVINO COSSU

TIZIANA CANDINO VALENTINA INGRASSIA

GIOVANNA COLOMBO CRISTINA CIVILETTI

GIANCARLO BARBATA ROCCO FODALE

ERIKA NATALE PIETRO MACAIONE

COVID Production Assistants

UMBERTO CALAIÒ PIETRO MACELI

MANFREDI PIPITONE FAUSTO RUSSO

LENA DE ECCHER ANTONINO BRUNO

MAURO TODARO MARIA ANGELA GENOVA

Legal Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STUDIO PONTI

Labor Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . .STUDIO PANTANO

Fiscal Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STUDIO SFORZINI

Italian Insurances . . . . . . . . . . . . . . . . .CINESICURTÀ INTERNATIONAL

SICILY - MARINE UNIT

Marine Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN CREED

Assistant Marine Coordinator . . . . . . . . . . . . . . . . . LORENZO PUCCINI

Diving Tech Specialist . . . . . . . . . . . . . . . . . . . . . . . . . NICK HARINGTON

Dive Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EAMON FULLEN

Marine O ce Supervisor . . . . . . . . . . . . . . . . . . . . . . . . ALISTAIR EALES

Marine Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SEDRIK SCIACCA

Marine Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAX FINZI

ROD MCKENZIE

DAVIDE UNICH

PHIL ANDERSON-HANNEY

PAUL JACKSON

Marine Supervisor - Background Boats . . . . . . . . . . ZELJKO RADOLA

Trireme Boat Supervisor . . . . . . . . . . . . . . . . . . . .CHARLIE CHETWODE

Junior Marine Technician . . . . . . . . . . . . . . . . . .STEPHEN BAINBRIDGE

Safety Divers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VASIL TERZIEV

IVAN PAVLOV

ROBERTO FERMO

SIMONE BELLASSAI

Diving Doubles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MISHA RICHARDS

PHIL ANDERSON-HANNEY

ROD MCKENZIE

Marine Engineer Mechanic . . . . . . . . . . . . . . . . . . . . . . . .DEAN OMARA

SICILY - AERIAL UNIT

Helicopter Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GILES DUMPER

Aerial Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY STEPHENS

Aerial DOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEREMY BRABEN

Aerial Camera System Tech . . . . . . . . . . . . . . . . . . . . . .SAM THURSTON

Mount Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLIVER WARD

Helicopter & Equipment

Supplied by . . . . . . . . . . . . . . . . . . . . . . . . . HELICOPTER FILM SERVICES

XXV

MOROCCO UNIT

First Assistant Director . . . . . . . . . . . . . . . . . . . . . .AHMED ERIC HATIMI

Second Assistant Directors . . . . . . . . . . . . . . . . . . . YANN-MARI FAGET

HAMZA REGRAGUL

Crowd Second Assistant Directors . . . . . . . . . . . . . DALLAN SHOVLIN

KATHARINA HOFMANN

Production Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . DRISS GALDI

MARK LAYTON

Production Coordinators . . . . . . . . . . . . . . . . . . . . REBECCA IOANNOU

KHADIJA KOULLA

Assistant Production Coordinator . . . . . . . . . . . BOUCHRA BENTAYEB

Third Assistant Directors . . . . . . . . . . . . . . . . . . . MOHAMED AABACH

OUMAIMA ELACHGAR

Stunt Performers

ABDELAZIZ ATTOUGUI ESSADIK SAMALI

AIMAD MGHAR YOUSSEF MARCHOUKI

TARIK NBEZARI

Crowd Marshalls

YOUSSEF TAKI MOHAMMED AMINE CHTAIBI

TOUYER JANNA MOHAMMED BRAHIM BENKHADA

KHALID EL ADNANI FARES MOHAMED

MOHAMED AKRAM OUCHATER

Production Assistants

MEHDI AANDAM ADAM FASSI-FIHRI

CHALMAE HNAYNOUCH KARIM EL KORCHI

FATIMA MOTOUSSE SALAH RAKOUCH

YOUSSEF TANAJI

Head of Crowd Casting . . . . . . . . . . . . . . . . . . . . . . . . . MOUNIR SAGUIA

Key Assistant Casting . . . . . . . . . . . . . . . . . . . . . MOHAMED AGHROUD

Casting Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . REDOUANE MIFTAH

Shipping Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WIDAD TAHA

Production Accountant . . . . . . . . . . . . . . . . . . . . . . . . MYRIAM LOUKILI

Assistant Shipping Coordinator . . . . . . . . . . . . . . . . . . RAJA KHEZRAJI

First Assistant Accountant . . . . . . . . . . ABDESALLAM AIT ABDELLAH

Assistant Art Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISSAM JABIR

ABDELLAH BAADIL

Second Assistant Accountant . . . . . . . . ANIS EL MOUBARIK ALAOUI

Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TARIK EL ASMAR

Assistant Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BRAHIM KODSI

Sign Writer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HAMID RAFIQ

Costume Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . .ZINEB EL IDRISSI

Crowd Costume Supervisor . . . . . . . . . . . . . . . . . . . KARIM AKKELACH

Costume Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARA KHABIR

Costume Assistant . . . . . . . . . . . . . . . . . . . . . . . . . ADAM BELMEJDOUB

Costume Dyers/Agers . . . . . . . . . . . . . . . . . . . . . . .MUSTAPHA BELLARI

ISMAIL BAMOUH

ADIL EL FATA

ZOUBAIR AJEDIGUE

Costume Tailors/Cutters

MALIKA BLENZAR RACHID ETTALIBI

CHAFIKA KHANOUS M’HAMED ABRAM

Costumers

MOHAMED FALAHI FATIMA MADDOUN

MOHAMED IMIDDIOUEN KHALID DJAIJI

MOHAMED BOUKHOUIMA AFIFA TAMLI

MOUHCIN MOJATI SELAMA EL HOUSSAINE DIMRI

Head of Makeup Department . . . . . . . . . . . HAYAT OULED DAHHOU

Makeup Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . AMINA AL HALHOU

ORLANDO PIERRE

PHILIP GARSARD

MOR Head of Hair Department . . . . . . . . .SALIAM OULED DAHHOU

Hair Stylists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HIAD ADIL

TRIBAK MECHICHI SOUAD

Construction Manager . . . . . . . . . . . . . . . . . . . . . . . . LAHCEN EL OURTI

Lead Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RASHAD ZEIDAN

Painters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .AHMED LEMTAAD

NOUH OURTI

ABDELLAH KARKASSE

MARZOUG MOHAMED

Carpenters

ABDELLAH KABOUS MOHAMED ZAHIR

LAHCEN EL OURTI BARTAL ISMAIL

AHMED ZAOUAL REDOUAN BOURIK

Best Boy Electrician . . . . . . . . . . . . . . . . . . . . . MOHAMED CHANTOUFI

Electricians . . . . . . . . . . . . . . . . . . . . . . . . . . ALAMI MOHAMED SAHOUI

IBRAHIM BOUAA

COVID Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RACHID GAIDI

COVID Unit Manager . . . . . . . . . . . . . . . . . . . . . . . OTHMANE BADAOUI

COVID Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BADR LARAQUI

COVID Testing Coordinator . . . . . . . . . . . . . . . . . . . .OUMAIMA WAHID

COVID Compliance O cer. . . . . . . . . . . . . . . . . . . . . . . . .SAID ERRIFAAI

COVID Testing Secretaries . . . . . . . . . . . . . . . . . . . . . . . . . . . ALI HAKAM

EL MAHDI KORCHYOU

Unit Doctor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MUSTAPHA OIKIL

Unit Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GHITA OURDA

Nurses

HAJAR MAZOUZ FATIHA ZAYYOU

SAFAE ELYARMANI GHITA ALT HAMMOU

SAMIA EZ ZHARL OUMAIMA FILALI

COVID Production Assistants

ZOUBIR CHARKAOUI MOHAMED KHABIR

YASSINE AFRACHE IBRAHIM ERRAQI

WIAM RACHIDI KENZA SALAH EDDINE

GHARMILI ILIAS LAMIAE BENMADANI

Veterinarian . . . . . . . . . . . . . . . . . . . . . . . . .ABDELGHAFOUR BELARABI

Animal Wrangler . . . . . . . . . . . . . . . . . . . . . . . . . YOUNESS BEN BAKRIM

Key Location Manager . . . . . . . . . . . . . . . . . . . . . . . . OMAR DRIOUCHE

Key Unit Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FAICAL HAJJI

Location Manager . . . . . . . . . . . . . . . . . . . . . . . . . . .KHALID BOUSLAMTI

Unit Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IMAD EL GHAZI

Assistant Location Managers

REDOUANE FIHI MOULAY AHMED EL BILK

MOULAY AHMED EL BILK YASSINE SOUMANI

AZIZ AJALAH MOHSSINE MANNAN

ADIL HAJJI MHAMED DOUHA

YOUSSEF HAJJI NASSIM DRIOUCHE

RACHID DERROUICH

Location Coordinator . . . . . . . . . . . . . . . . . . . MOHAMED MAHMOUD

Base Camp Manager . . . . . . . . . . . . . . . . . . . . . . . AHMED AIT M’BAREK

Location Electricians . . . . . . . . . . . . . . . . . . . . . . . ABDELHAKIM OUISKI

ABDELLATIF EDARRAZ

Assistant Base Camp Manager . . . . . . . . . . . . . ABDERRHIM AMIRATE

Security Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHAS CHARLTON

On Set Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAMIR BENAYYAD

XXVI

Location Lock-o Assistants

RACHID CHOUTRIK MOHAMMED OUISKANE

ISMAIL BADDOU MLY HICHAM LAHBIBI

KARIM MOUJANE ABDELAZIZ BOUKDAM

ABDELALI BAHADI ABDELLAH MOUDNIB

ALI AKAJJAJ ABDENNOUR EL MORO

Picture Vehicles Coordinator . . . . . . . . . . . . . . . . . . . . . MOUNIR BADIA

Picture Vehicles Assistants . . . . . . . . . . . . . . . . MOHAMED ELBAKKALI

LABCHIR YOUNESS

HASSAN BOUKHARI

Picture Vehicles Car Technician . . . . . . . . . . . . . . . . . . . .JILALI ESSAQY

Action Vehicles Mechanic . . . . . . . . . . . . . . . . . . . . . . .SAID CHAGDALI

Action Vehicles Welder . . . . . . . . . . . . . . . . . . . . . . . . . . . . AZIZ LAAFOU

Assistant Props Master . . . . . . . . . . . . . . . . . . . . . . . . . . . AMIN RHARDA

Chargehand Props . . . . . . . . . . . . . . . . . . . . . . . . . . ABDELGHANI DARIF

MOHAMED MEZOUARI

Props Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MOHAMED BOUHFID

Stand-by Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANASS LFNATSA

YOUSSEF BARIGOU

Dressing Props

MOHAMED ABDECHAFFY RADOUANE EZZAHIR

MOHAMED ZARZAR HAMID BOUGTIFA

ABDELAH BOUGHTIFA ABDELGHANI DARIF

SAID RASSOURANCE MOHAMED EL BARJ

Props Maker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOHAMED CHATMA

Props Storekeeper . . . . . . . . . . . . . . . . . . . . . . . . . RAJA ACHOUKHANE

Props Agers/Painters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HAFSA RAADA

ISMAEL KARMOUN

QASSEM BENHAYOUN SADAFI

Set Dec Swing Gang . . . . . . . . . . . . . . . . . . . . . . . . . .HAMD AGOURAM

MOHAMED MEZOUARI

Set Decorator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ABDENBI IZLAGUEN

Set Dec Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IMAD QUASI

Transport Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MIKE O’SHEA

Assistant Transport Manager . . . . . . . . . . . . . . . . . . . . .COLM LAWLOR

Transport Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NABIL JALIL

MOR Second Unit Driver . . . . . . . . . . . . . . . . . . . ABDERRAHIM TAHIRI

Transport Captain . . . . . . . . . . . . . . . . . . . . . NAOUFAL AIT MOUDOUD

MOR Fuel Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . REDOUAN ZIDANI

Transport O ce Coordinators . . . . . . . . . . . . . . . . . .KATY ANDERSON

SANAE AMZAZ

MOR Base Camp Transport Assistant . . . . . . . . . . . . AMINE BOUZIAN

Transport Assistants

IAN BROWN DAVID GLEESON

BERNARD LUCAS AZIZ JALAL

JAMAL MACHICHI JAOUAD TAKHCHI

SFX Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HANIN OUIDDER

SFX Workshop Welders . . . . . . . . . . . . . . . . . . . . . . . . .TIP ABDERRAHIM

AIT ABDERRAHMEN ABDELLAH

SFX Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISMAIL AIT LAHCEN MOR

SFX Floor Technician . . . . . . . . . . . . . . . . . . . . . . BELAID AIT FOUGDAL

AUSTRIA PLATE UNIT

Production Services - LEON Films . . . . . . . . . . . . . . . . . . ERNST VOGEL

Insert Car Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ROMAN SCHNELLER

KRZYSZTOF CHEBLINSKI

Location Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PEREGRIN RAMML

Production Drivers . . . . . . . . . . . . . . . . . . . . . . . MARIAN STEMSCHEGG

STEFAN CHRISTANDL

Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JULIA PROSCH

Helicopter Services . . . . . . . . . . . . . . . . . . . . . . . . . HELI AUSTRIA GMBH

SONGS

“LILI MARLEEN”

Written by HANS LEIP and NORBERT SCHULTZE

“MAGICAL MYSTERY TOUR”

Written by JOHN LENNON and PAUL MCCARTNEY

Performed by THE BEATLES

Courtesy of CALDERSTONE PRODUCTIONS LIMITED

(A DIVISION OF UNIVERSAL MUSIC GROUP)

and APPLE CORPS LIMITED

Under license from UNIVERSAL MUSIC ENTERPRISES

“SPACE ODDITY”

Written and Performed by DAVID BOWIE

Courtesy of RZO MUSIC

“THE GIRL FROM IPANEMA”

Written by ANTÔNIO CARLOS JOBIM,

VINÍCIUS DE MORAES and NORMAN GIMBEL

Performed by STAN GETZ and JOÃO GILBERTO

featuring ASTRUD GILBERTO

Courtesy of THE VERVE MUSIC GROUP

Under license from UNIVERSAL MUSIC ENTERPRISES

“PULSE OF THE CITY”

Written by WILLIAM ROSS

“FLY ME TO THE MOON”

Written by BART HOWARD

Performed by TOM JONES

Courtesy of CHRYSALIS COPYRIGHTS LTD.

Under license from BMG RIGHTS MANAGEMENT (US) LLC

“CHOMBO MERINGUE”

Written by RAYMOND CELINI and MICHEL NERPLAT

Performed by LES AIGLONS DE BASSE TERRE

Courtesy of SOUNDWAY RECORDS

“LA FOGARACCIA”

Written by GIOVANNI ROTA

Performed by NINO ROTA

Courtesy of CREAZIONI ARTISTICHE MUSICALI C.A.M. S.R.L.

and DECCA MUSIC GROUP LTD.

Under license from UNIVERSAL MUSIC ENTERPRISES

“I SCREAM, YOU SCREAM, WE ALL SCREAM FOR ICE CREAM”

Written by HOWARD JOHNSON, ROBERT KING and BILLY MOLL

Soundtrack Available on

XXVII

Footage Provided by

CBS/VERITONE

Footage Provided by

SID & MARTY KROFFT PICTURES

Images Provided by

DAVID RUMSEY MAP COLLECTION

DAVID RUMSEY MAP CENTER, STANFORD LIBRARIES

Images Provided by

ROB LLOYD, BRIDGEMAN IMAGES

The Filmmaker wishes to express his gratitude to

ERIKO NAKAMURA

for Wisdom and Creative Counsel

The Filmmaker also wishes to express profound thanks to

ALEXANDER MACKENDRICK

MILOS FORMAN

CONNOR MANGOLD

HUDSON MANGOLD

Special Thanks to

DR. FREDRIK HIEBERT

SAFFERY CHAMPNESS

JOHN GRAYDON

NIGEL WALDE

ISLA MACGILLIVRAY

and

THE FAMILIES OF OUR CREW AND CAST FOR

THEIR PATIENCE AND GENEROSITY

In Memory of

NIC CUPAC

American Humane monitored some of the animal action.

No animals were harmed® in those scenes. (AH 11541)

Specially formatted in

MPA #54321

Filmed at PINEWOOD STUDIOS, LONDON, ENGLAND

Produced with the support of the British Film Commission

and the UK Government’s Film Tax Relief.

This  lm has bene tted from production support

from the Kingdom of Morocco

XXVIII

With the participation of the

Film or Video Production Services Tax Credit

With the participation of the Province of British Columbia

Production Services Tax Credit

Supported by the Australian Government

through the PDV O set

VFX Produced in part in Sydney, New South Wales, Australia

with the assistance of the New South Wales Government

Digital and Visual E ects work undertaken in South Australia

with the support of the South Australian Film Corporation

The  lm bene ted from the French Tax Rebate

for International Production

For the purposes of United Kingdom copyright,

Lucas lm Ltd. was the owner of copyright in this  lm

immediately after it was made.

Distributed by

WALT DISNEY STUDIOS MOTION PICTURES

From acclaimed writer-director James Mangold comes the ﬁ nal chapter in the saga of one of cinema’s greatest

heroes. Indiana Jones and the Dial of DesƟ ny sees Academy Award®–nominated actor Harrison Ford reprise his

iconic role as the whip-smart archaeologist one last  me for a thrilling, globe-tro ng adventure.

It’s 1969, and Indiana Jones is ready to call

it quits. Having spent more than a decade

teaching at New York’s Hunter College,

the esteemed professor of archaeology is

preparing to re re to his modest apartment

where, these days, he lives alone. Things

change a er a surprise visit from his estranged

goddaughter Helena Shaw (Phoebe Waller-

Bridge), who is seeking a rare ar fact that her

father entrusted to Indy years earlier—the

infamous Archimedes Dial, a device that purportedly holds the power to locate ﬁ ssures in  me.

An accomplished con-ar st, Helena steals the Dial and swi ly departs the country to sell the ar fact to the

highest bidder. Le with no choice but to go a er her, Indy dusts oﬀ his fedora and leather jacket for one ﬁ nal

ride. Meanwhile, Indy’s old nemesis, Jürgen Voller, a former Nazi now working as a physicist in the U.S. space

program, has his own plans for the Dial, a horrifying scheme that could change the course of world history.

Starring alongside Harrison Ford are Phoebe Waller-Bridge (“Fleabag”), Antonio Banderas (“Pain and Glory”),

Karen Allen (Raiders of the Lost Ark), John Rhys-Davies (Raiders of the Lost Ark), Shaune e Renée Wilson (“Black

Panther”), Thomas Kretschmann (“Das Boot”), Toby Jones (“Tinker Tailor Soldier Spy”), Boyd Holbrook (“Logan”),

Olivier Richters (“Black Widow”), Ethann Isidore (“Mortel”) and Mads Mikkelsen (“Another Round”).

Directed by James Mangold (“Ford v Ferrari,” “Logan”), the ﬁ lm was wri en by Jez Bu erworth & John-Henry

Bu erworth and David Koepp and Mangold, based on characters created by George Lucas and Philip Kaufman.

Kathleen Kennedy, Frank Marshall and Simon Emanuel served as the ﬁ lm’s producers, with Steven Spielberg and

George Lucas as execu ve producers.

John Williams, who has scored each Indy adventure since 1981’s Raiders of the Lost Ark, composed the score.

The produc on’s below-the-line talent includes director of photography Phedon Papamichael (“Ford v Ferrari”);

produc on designer Adam Stockhausen (“West Side Story”); ﬁ lm editors Michael McCusker, Andrew Buckland

and Dirk Westervelt (“Ford v Ferrari”); costume designer Joanna Johnston (“Lincoln”); visual eﬀ ects supervisor

Andrew Whitehurst (“Ex Machina”); and visual eﬀ ects producer Kathy Siegel.

Indiana Jones and the Dial of DesƟ ny races into theaters June 30, 2023.

IF ADVENTURE HAS A NAME ... IT’S INDIANA JONES

There’s no ques on that Indiana Jones remains one of the most beloved characters ever brought to the screen: the

American Film Ins tute ranked the adventurer as the second greatest movie hero of all  me—only Gregory Peck

as A cus Finch in “To Kill a Mockingbird” could top him. Yet it’s simply hard to imagine Indy would have enjoyed

the same staying power in the cultural consciousness without Harrison Ford in the ba ered brown fedora.

The moment Indy appeared on screen for the ﬁ rst  me in Steven Spielberg’s 1981 landmark Raiders of the

Lost Ark, it was obviously the perfect marriage of character and star. With his rugged, rough-around-the-edges

masculinity, Ford was undeniably charisma c yet also deeply, endearingly charming. He deployed a knowing

smirk at all the right moments and escaped seemingly impossible scrapes through some combina on of ingenuity,

resourcefulness and just plain luck.

Of all the indelible characters Ford has portrayed, he’s

always felt a special aﬃ nity for Indiana Jones, and the

actor would periodically ask producers Kathleen Kennedy

and Frank Marshall about poten ally reprising the role

one last  me. “Harrison loves this character as much as

the audience, and he didn’t want to see it end,” Kennedy

says. “He kept asking ‘Is there another story?’”

To ﬁ nd the answer, Kennedy, Ford and Spielberg turned

to James Mangold, the masterful storyteller behind

such cri cally acclaimed, commercially successful ﬁ lms

as “Walk the Line,” “Logan,” and “Ford v Ferrari.” A two-

 me Academy Award® nominee, Mangold had extensive

experience telling emo onally sa sfying stories about

historical ﬁ gures from Johnny Cash to Carroll Shelby, and

he was equally adept with drama c tales about outsider

ﬁ gures. His movies, which o en centered on cap va ng,

conﬂ icted protagonists, were always expertly cra ed,

uniquely thought-provoking, and keenly entertaining.

“I think all of us involved have recognized for a long  me that Jim is an excep onal ﬁ lmmaker,” says Kennedy.

“He’s also one of those rare ﬁ lmmakers who really studies movies. He is a scholar when it comes to talking about

movies. The minute Jim’s name came up, Harrison was already 100 percent on board. That meant a lot to me. It

meant a lot to Steven. It meant a lot to Frank [Marshall].”

Already personally acquainted with Mangold, Ford says it was the writer-director’s body of work that underlined

why he was the right person to take the reins from Spielberg on the ﬁ nal Indiana Jones adventure. “There are a

lot of aspects of Jim Mangold’s ﬁ lmmaking skill that I admire,” Ford says. “But as a storyteller, he’s got a par cular

percep on, born of his own experience, understanding, and his ambi

on is consistent with the ambi on that

we’ve had all the way through this series of ﬁ lms to create large-scale entertainment with a kind of wry humor

and an emo onal reality that engages the audience.”

Says Spielberg: “He was a director who shared my sensibili es about edi ng, pacing, character development,

balancing scenes. I thought, If I don’t do another Indiana Jones movie, James Mangold should.”

Echoed Marshall, “Jim was so knowledgeable about the character of Indiana Jones and the series and what

makes it work. Based on the work he had already done and the movies he had made, we really felt conﬁ dent

that he was the right person to do this.”

For Mangold, the experience of watching Raiders as a 17-year-old at the Orange County Mall in upstate New York

on opening day—June 12, 1981—is one he’s never forgo en. He was riveted by the rollicking spirit of the classic

adventure, which borrowed styles and techniques from the early decades of the cinema c ar orm. It was an

equal mix of chases, cli angers, ﬁ s cuﬀ s, romance, and wit, with a uniquely modern sensibility.

However, Mangold’s abiding love and respect

for what Spielberg had created was exactly

why he was ini ally hesitant to sign on. He

only agreed to step behind the camera once

he knew he would have the  me to cra a

compelling adventure worthy of the Indiana

Jones series: Raiders, 1984’s Indiana Jones

and the Temple of Doom, 1989’s Indiana Jones

and the Last Crusade and 2008’s Indiana

Jones and the Kingdom of the Crystal Skull, all

of which were directed by Spielberg.

Se ng to work on a script, he reunited with “Ford v Ferrari” screenwriters Jez and John-Henry Bu erworth,

the acclaimed duo whose ﬁ lmography also includes “Fair Game,” “Get on Up,” and “Edge of Tomorrow.” In

conceptualizing the story, they understood it was vitally important to preserve all the quali es that made Indy

such a ﬂ ashpoint for genera ons of moviegoers.

“Indiana Jones is a character that always surprises us,” Mangold says. “He can be selﬁ sh, he can be empathic, he

can be brave, he can be a coward. And Harrison holds all these contradictory elements together. Indiana Jones is

not a Greek hero on Mount Olympus, he’s a very human character. I think all his eccentrici es and anxie es and

neuroses and foibles are part of his appeal. But he does have a superpower, and it’s that he’s incredibly lucky.”

While they sought to honor the character, they also felt it was important to oﬀ er audiences something exci ng

and new. Addi onally, they wanted to acknowledge the character’s age, given that Ford would be (an admi edly

spry) 79 during the shoot. So, they set the movie at the end of the 1960s, an era when an adventurous Greatest

Genera on hero inspired by the classic movie serials of the 1930s and ’40s would feel like a bit of a relic himself.

“The obvious challenge is that you’re

returning to a genre without re-cas ng,” says

Jez Bu erworth. “You’ve got the same actor

who was playing this in his thir es playing it in

his late seven es. I think that what had been

perceived perhaps as a disadvantage was all

the advantage. You had to absolutely run with

the idea that what happens toward the end

of people’s stories [can be just as fascina ng]

as what happens at the beginning of them. It

started to feel authen c, and it gained a reality that was playable. If you embrace the opportunity, all sorts of

storytelling doors open up.”

The approach strongly resonated with Ford, who felt it aligned with his innate understanding of the character.

“We haven’t avoided the fact that Indy has aged 40 years over the period we’ve been telling his story—we’ve

embraced it,” Ford says. “We faced the challenges he faced, and we’ve brought a real humanity and warmth to

the story. It’s a remarkable job of imagina on that’s been performed to conceive the context that the story takes

place in. Very bold. Very exci ng. Very courageous.”

When the ﬁ lm opens, it’s the end of the line

for Indiana Jones. As he prepares to re re from

teaching, he ﬁ nds himself spending his nights

alone in a modest New York apartment. “The

Indiana Jones we meet in 1969 is the result

of the experience that we’ve had with him

throughout the other ﬁ lms,” Ford explains.

“This is what happens when you’re a broken-

down archaeologist/professor and you’re

frustrated in your career and it’s your last day

on the job before re rement and you maybe occasionally have a drink in the middle of the day. He’s dispirited,

he’s cynical, he’s hurt, but the circumstances that are about to befall him lead to a great adventure in which

there is a degree of redemp on but renewal as well.”

Explains Mangold, “I wanted to start Harrison’s character as far from being Indy as we could, so that the audience

would feel the ela on when circumstances force him to pull that hat on again. 1969 is a  me where no one really

believes in heroes like Indiana Jones anymore. In many ways, the adventure we’ve concocted is a reckoning

between an old-school hero and an ambivalent and ever more cynical modern world.”

The sought-a er ar fact that drives the narra ve, the Archimedes Dial, was inspired by a real-world ar fact,

the An kythera mechanism. A mechanical device thought to be used in ancient Greece to calculate and display

informa on about astronomical phenomena, it’s been described as the oldest known example of an analog

computer.

“The moment I knew the movie was about  me, opportuni es missed, opportuni es lost, choices made,

irrevocable mistakes, then the ques on [became], ‘What would be the only thing that would allow me to ﬁ x

 me itself?’” explains Mangold. “The research that I found about the An kythera, rumored to be an inven on

by Archimedes, has been speculated to be a kind of  me compass.”

The writers did take the liberty of inves ng their version of the An kythera mechanism with a li le extra magic

to make it the perfect MacGuﬃ n for the story. “Archimedes’ Dial, big, bold concept,” Ford says. “I think it was a

genius choice. Other items that we’ve used in the other ﬁ lms always had a religious aspect to them—Sankara

Stones, the Holy Grail, Ark of the Covenant. But this was fooling with the nature of science.”

Resolving to retrieve the item, Indy leaves New York behind to recapture the Dial, but he’s not the only party

pursuing Helena. Indy’s old nemesis, Jürgen Voller, is a er her too, in the hopes of intercep ng the Dial. “The best

villains in Indy movies are Nazis,” says John-Henry Bu erworth. “If you write down a wish list of what you want

to see in an Indy ﬁ lm, it’s Indy slugging it out with Nazis, and eventually prevailing. It was kind of like a crossword

clue to try to work out how to

ﬁ t that into the  me frame that we wanted the main story to take place in.”

To that end, the ﬁ lmmakers created an ac on-packed prologue set in 1944 in which a younger Indy does ba le

with Nazi enemies. “In this case doing a sequence—and a really elaborate one—with Indiana at his prime ﬁ gh ng

Nazis would be a kind of miracle,” Mangold

says of the writers’ thinking. “It would allow

the audience to remember something they

might not have seen for a while. I felt like I

wanted the chance to make a movie with a

young Harrison. The ambi on in me wanted

a crack at it, so we wrote a sequence, a kind

of elaborate adventure that opens the ﬁ lm.”

As Indiana Jones and the Dial of DesƟ ny

was coming together, Mangold frequently consulted with execu ve producer Spielberg, who was working on

his own directorial pursuits, including 2022’s intensely personal family drama, “The Fabelmans.” Alongside

producers Kennedy, Marshall, and Simon Emanuel (Rogue One: A Star Wars Story, Solo: A Star Wars Story) and

fellow execu ve producer George Lucas, Spielberg shared crea ve ideas for the adventure with Mangold, who

welcomed his input on all aspects of the produc on.

“His ins ncts and eye for story and staging are incredible,” Mangold says of Spielberg, adding, “The biggest thing

Steven said that resonated with me every day was about pace—that eﬀ ec vely making an Indiana Jones movie

is like making a feature-length trailer. The movie can only stop so long because the whole movie itself is almost

like a coming a rac on trailer that just goes for two hours. And that simple aphorism, that simple idea stayed

with me.”

CASTING ‘DESTINY’

From the start, there was never any doubt that it would be Ford returning as Indiana Jones. That fact enabled

the ﬁ lmmakers to assemble a gi ed ensemble of suppor ng players who would match the actor’s consummate

professionalism and skill, and who would be great scene partners for the vaunted performer.

“There’s always been this unique charisma

to Harrison,” says Kennedy, who, along with

Marshall, has produced every installment in

the Indiana Jones franchise. “No one’s like

him. Everything he does is a part of who he is.

I don’t think there’s ar ﬁ ce around much of

what he does. Clearly, he’s performing, but,

as he would say himself, he’s playing. He’s

pretending. He’s doing something that I think

he did long before he even became an actor.

I think that that’s always been at the core of

his performances and why he’s so relatable.”

The pivotal role of Helena Shaw went to

Phoebe Waller-Bridge, the three- me Emmy®

Award–winning writer and actress famed for

her highly acclaimed comedy “Fleabag.” The character demanded someone who could believably go toe-to-toe

with Indy, and Waller-Bridge, whose credits also include a memorable turn as ac vist droid L3-37 in Solo: A Star

Wars Story, was an ideal ﬁ t for the part.

Intelligent, charming yet dangerously

unpredictable, Helena has been estranged

from her godfather for years. “She’s ﬁ ercely

independent, knows what she needs to

survive, and she’s going to go and get it,”

Waller-Bridge says. “All while she’s being very

wiƩ y and funny.”

Mangold likens Waller-Bridge to great stars

of Hollywood’s Golden Age like Katharine

Hepburn and Barbara Stanwyck. “I think that she’s unlimited,” says the director. “You know there’s a preƩ y damn

clever Swiss watch operaƟ ng behind those eyes, and you beƩ er be careful. She’s sharp and fast. So, who beƩ er

to have Harrison jockeying with than someone with all that skill? One of the hopes you have for every movie

is that there’s a kind of chemistry, a kind of music between your actors, and Harrison and Phoebe had a great

dynamism together.”

Of Ford, Waller-Bridge says, “He is one of the most vibrant human beings I’ve ever met. He’s incredibly smart and

very, very funny, makes excepƟ onal acƟ ng choices and brings such a glorious energy to the set. He’s incredibly

generous and kind and lovely. Whenever he’s around, everyone has a smile on their face.” Adds Ford, “Phoebe

brings her rich comedic skills as well as her genuine warmth and humanity to the part. She’s an incredible actress.”

As Jürgen Voller, the ﬁ lmmakers cast veteran Danish actor Mads

Mikkelsen. Widely known for his work in blockbusters including

“FantasƟ c Beasts: The Secrets of Dumbledore,” Rogue One: A Star

Wars Story, “Doctor Strange” and “Casino Royale,” as well as the

TV series “Hannibal,” Mikkelsen has also delivered memorable

performances in such dramas as the Oscar®-winning “Another

Round,” which featured the actor as a high school teacher in the

grips of alcoholism. Mangold lauds Mikkelsen as “an extremely

powerful, tenacious actor who commiƩ ed to the role 100 percent.”

Although he’s clearly the villain of the piece, neither Mangold

nor Mikkelsen ever wanted Voller to feel overly caricatured.

“We tried to avoid the cliché of the German or the Nazi with the extreme accent and the extreme madness,”

Mikkelsen explains. “We wanted him to be a man who kind of blended in once he moved to America because

he’s predominantly a scienƟ st. Voller’s pragmaƟ c. He’s a restrained character. He’s a man you would pass on the

street.” Notes Ford, “Mads is an actor that I have tremendous admiraƟ on for, both for his energy and investment

in the process.”

Stepping into the role of Voller’s neo-Nazi lackey

Klaber was actor Boyd Holbrook, who previously

worked with Mangold on “Logan” and has

appeared in such ﬁ lms as “The Predator”

and “Gone Girl” and TV series including “The

Sandman,” “The FugiƟ ve,” and “Narcos.” “He

becomes Voller’s lapdog, but he’s also a bit of

an opportunist, wanƟ ng to get in on the ground

ﬂ oor of this great enterprise that Voller is starƟ ng

up,” Holbrook says. “Klaber is there to serve those purposes.”

But Indy has some key allies on his side as well. Notes Mangold: “Part of what we expect in an Indiana Jones ﬁ lm

is a tumbling menagerie of characters coming at us while they travel the world.”

Respected Spanish actor Antonio Banderas, a

2020 Academy Award® nominee for his role

in Pedro Almodóvar’s “Pain and Glory,” plays

Renaldo, a sailor friend of Indy’s to whom he

turns when he needs the services of an expert

diver in Greece. “Renaldo is a ﬁ sherman now,

but he was probably a par san who fought for

freedom, maybe in the Spanish Civil War, maybe

later in the Second World War,” says Banderas.

“Renaldo is a courageous man, a li le bit crazy

but in a good way. And he’s a loyal friend to Indy. I think at this par cular  me in history, Indy needs that.”

John Rhys-Davies (“The Lord of the Rings” trilogy) returned to reprise his signature role as Indy’s long me

companion Sallah, the loyal and good-natured excavator from Raiders of the Lost Ark and Indiana Jones and the

Last Crusade. When we meet him in Dial of DesƟ ny, he’s made a home in the United States, earning a living as a

New York City cab driver.

As warm and though ul as his character, Rhys-Davies was delighted to see Sallah ride with Indy once more. “It

is wonderful being back, wonderful being in the orbit of that great sun,” he says, adding, “Indiana Jones didn’t

just change my life—it actually changed the nature of ﬁ lm.” Notes Mangold of Rhys-Davies “He’s an actor of

incredible gravity, yet he has this beau ful laugh and this sense of levity. And he’s a great foil for Harrison.”

Helena has her own helpful associate in Teddy, played by 16-year-old French actor Ethann Isidore in his feature ﬁ lm

debut. Isidore, who was 14 during produc on,

describes his character as “resourceful and

kind of cool, and he knows how to act and

how to be in every situa on. He thinks he’s an

adult and that he’s the best guy in the world,

which is real. He doesn’t like Indiana Jones at

ﬁ rst because he’s best friends with Helena. I

think he has a crush on her.”

Helena’s father, Basil Shaw, who appears in

the ﬁ lm’s nail-bi ng opening sequence, is

played by Bri sh actor Toby Jones, known for his work in “Tinker Tailor Soldier Spy,” “The Hunger Games,”

“Captain America: The First Avenger” and “Jurassic World: Fallen Kingdom,” among many other ﬁ lms.

Although the character has never before been depicted on screen, Basil is an archaeologist and an academic

who taught at Oxford and is also one of Indy’s oldest and dearest friends—a man who was his “partner in crime”

for decades. “There’s genuine aﬀ ec on between them,” says Jones of Basil and Indy’s rapport. “They obviously

share a fascina on with the past but also there’s enough emo on in the scenes that I have to show that he has

great concern for me.”

That concern, however, is not necessarily enough to protect Shaw from Thomas Kretschmann’s Colonel Weber,

the man overseeing Hitler’s opera on to loot art and ar facts from Nazi-occupied territories and ship them to

Germany. Although he was playing a formidable ﬁ gure, the East German–born actor (“King Kong,” “The Pianist,”

“U-571”) found himself a bit cowed in his ﬁ rst scenes opposite Ford.

“Harrison’s like my size, my height, he’s very lean,” says Kretschmann. “And he was si ng in front of me, and I

was thinking, ‘He’s so big!’ I felt like a child standing there with my Nazi uniform. It was almost a bit in mida ng.

He didn’t do anything in mida ng, but just, you know, his presence, that was awesome.”

Comple ng the principal cast are Shaune e Renée Wilson (“Black Panther,” “Billions”) as Agent Mason, a CIA

agent hun ng for Indy; and Olivier Richters (“Black Widow,” “The King’s Man”) as Voller’s henchman Hauke.

about the productIon

Indiana Jones and the Dial of DesƟ ny was ﬁ lmed on loca on in Morocco, Sicily, Scotland, and England, in addi on

to stages at Pinewood Studios just outside of central London. To work with him on the ﬁ lm, Mangold recruited

an exemplary team of behind-the-scenes crea ve talent, a group that included produc on designer Adam

Stockhausen, director of photography Phedon Papamichael, costume designer Joanna Johnston, special eﬀ ects

supervisor Alistair Williams and visual eﬀ ects supervisor Andrew Whitehurst.

Together, they developed the movie’s awe-inspiring visuals and its incredible ac on sequences, including

the ﬁ lm’s largest set-pieces: the 1944 train sequence; the horseback chase through a  cker tape parade that

leads into New York’s subway system; a frenzied tuk tuk chase through the streets of Tangier; a tension-ﬁ lled

underwater dive in Greece; and the ﬁ lm’s spectacular climac c sequence.

To remain true to the feeling of an

Indiana Jones ﬁ lm, the produc on

visited North Africa, Sicily, and sites

across the United Kingdom to capture

the spectacular vistas as a backdrop

for the transpor ng adventure. “It’s

cri cal,” says Harrison Ford. “You

want to go to many places around the

world. You want to feel these places,

you want to smell them, as it were.

And so, we want as much as possible

to have prac cal sets, prac cal loca ons where there’s a diﬀ erent culture, where there’s a diﬀ erent feeling to

the place.”

Adds produc on designer Stockhausen, an Oscar® winner known for his long me partnerships with both Wes

Anderson (“The Grand Budapest Hotel,” “Moonrise Kingdom,” “The French Dispatch”) and Steven Spielberg

(“West Side Story,” “Ready Player One,” “Bridge of Spies”), “I think that is core to what makes these movies

special; it’s diﬀ erent to be in a place than to pretend you’re in a place. Being in a place brings all the authen city

of the real thing, and it brings all the surprises of being able to twist and turn around corners that you wouldn’t

have imagined to build into a set.”

S ll, Stockhausen strove to match the visual grandeur of the real-world loca ons with the massive and richly

detailed sets he constructed at Pinewood. The explosive opening sequence was a prime example of the way

the ﬁ lm smartly married impressive loca ons—including England’s Bamburgh Castle and the North Yorkshire

Moors Railway sta on—with Stockhausen’s inven ve designs. The nigh me set piece sees the younger Indy

a emp ng to rescue his friend Basil Shaw from Nazi captors while on board a moving train. “I wanted to give the

audience what they want right up front so we indulge in this Indiana Jones classic experience,” Mangold says.

Stockhausen did exhaus ve research into trains of the period, drawing inspira on from archival photographs for

the individual cars. The commander’s communica ons carriage features walnut paneling and high-end ﬁ xtures

and ﬁ  ngs, all inspired by Hitler’s war me train, the Führersonderzug. The treasure carriage is a wooden freight

wagon with reinforced windows and doors and contains a stash of rare objects that includes copies of some of

the real art and an qui es plundered by the Nazis.

Among the items are recrea ons of the Lance of Longinus or the Spear of Des ny, which is believed to be

the weapon that pierced the side of a cruciﬁ ed Jesus at Golgotha; there was also the Imperial Regalia of the

Holy Roman Empire, which were stolen in 1938 and hidden in the tunnels under Nuremberg Castle un l being

recovered a er World War II.

Of course, one of the most challenging aspects

of the tremendously complex sequence

involved de-aging the then 79-year-old Ford to

appear as though he was age 37. Visual eﬀ ects

supervisor Andrew Whitehurst from Industrial

Light & Magic (ILM) joined the ﬁ lmmakers in

early pre-produc on to help design all of the

visual eﬀ ects in the ﬁ lm; his goal being to

bring exactly what was needed to serve the

story without drawing undo a en on to the

computer graphics (CG) elements, which included en re digital environments, mul ple CG extensions to set

builds and loca ons, complex creature anima on, and simula ons of natural weather phenomena.

S ll, turning back the clock on Indiana Jones himself was arguably the most challenging job for the visual eﬀ ects

team at ILM. If the end result didn’t look credible, the en re opening would fall ﬂ at. Fortunately, the eﬀ ect was

seamless.

To accomplish this, ILM u lized a combina on of proprietary techniques that involved cu ng-edge face

replacement technology (ILM FaceSwap), which leverages every nuance of an actor’s performance. Through a

combina on of ar s c skill and the use of ar st-driven machine-learning tools, the facial performances made by

Ford on set were mapped onto a digital version of the star’s face.

The ar sts at ILM had access to Lucasﬁ lm’s vast archive of Harrison Ford footage from his starring turns in previous

Indiana Jones movies, and by using the new technology and the catalog of archival imagery, they delivered a

convincingly youthful Indiana Jones.

“ILM went about crea ng a system by which every day when I wrapped shoo ng this opening sequence, two

days later, I already had in my cu ng room, young Harrison,” Mangold says. “You could see that it was ge ng

what he was doing, meaning it was coming from his soul. He was driving the expressions, the intensity, the

passion of the character.”

Following the prologue, the ﬁ lm

jumps in Ɵ me to August 1969, when

an esƟ mated 4 million people lined

the streets of ManhaƩ an to fete

NASA astronauts Neil Armstrong, Buzz

Aldrin, and Mike Collins and celebrate

the success of the Apollo 11 mission to

the moon. Staging the parade and the

chase that follows was an enormous

challenge that required considerable

on-the-ground preparaƟ on in

Glasgow, Scotland, which doubled for ManhaƩ an. “We needed a locaƟ on for the chase and parade sequence

through Midtown east and up towards Hunter College, and the scale of the buildings in Glasgow were really

great for that,” Stockhausen says.

Stockhausen looked at period footage and photos, especially photographer Stephen Shore’s images of 1970s

America, for inspiraƟ on on how to dress the streets and what vehicles to include in the parade. “We saw some

really fun things in the photographs and footage that we ended up including in the scene,” he says. “Like a staƟ on

wagon with the rear gate down and a camera crew—that kind of detail is a really fun thing to grab because it’s

really speciﬁ c, really authenƟ c. It is the real thing. We added a few of our own things, parade ﬂ oats and pieces

that weren’t in the original, but the skeleton of it is really from the actual parade.”

AcƟ on vehicles supervisor Alex King was keen to include the 1952 Chrysler Imperial Parade Phaeton, which

carried Armstrong, Aldrin and Collins through the Ɵ cker tape parade up Broadway. But only three versions of the

car were ever made, so King was forced to procure a similar Chrysler, remove the roof, and paint it black.

The team spent three weeks dressing

Glasgow’s main artery, St. Vincent Street,

which was then closed to the public for seven

days as ﬁ lming took place. “You can’t walk into

a downtown metropolitan area and just take

it over for three months,” Stockhausen says.

“You have to do your work in as compressed a

period of Ɵ me as you can possibly manage and

then get out and let people get back to their

lives. So, there was an incredible intensity for

everyone to rush in and do all this dressing,

put up all these signs, put up all this bunƟ ng.

It was go-go-go.”

Fortunately, the weather cooperated. The shooƟ ng days—which employed up to 1,000 background actors as

parade-goers and Vietnam War protestors—were bathed in blue skies and sunshine, a godsend for Papamichael,

who felt that the sequence should be colorful and vibrant to contrast with the 1944 prologue. The shiŌ ing

paleƩ e indicated how much the world had changed around Indy.

“Although it was all shot in Glasgow, it felt like we were really in New York in the late ’60s—the scale of it, the colors,

the hippies, the pipers, the big band, the cheerleaders and the cars and police on horses,” Papamichael says. “The

contrast couldn’t be greater than the sequence that precedes it. You explode from the night and the Nazis into

this whole new visual bouquet of colors and

tone. It worked as a great visual device for a

transi on of  me.”

A two- me Academy Award® nominee for

his work on “The Trial of the Chicago 7” and

“Nebraska,” Papamichael has collaborated

with James Mangold on six ﬁ lms, including

“Ford v Ferrari” and “Walk the Line.”

Filmmaking is clearly in Papamichael’s DNA.

His father was a gaﬀ er on the classic MGM musical “Singin’ in the Rain”; his grandfather, a prop man on John

Huston’s “The African Queen.”

In both the ﬁ lm’s grandest moments and its most emo onal scenes, Mangold and Papamichael were keen to

pay homage to the work of Oscar®-winning Bri sh cinematographer Douglas Slocombe, who served as director

of photography on the ﬁ rst three Indiana Jones ﬁ lms. “This movie has such a wide arc of visuals, which is the

most fascina ng part for me as a cinematographer,” Papamichael says. “What’s amazing about this is we enter

all these diﬀ erent visual environments—from Morocco to Sicily to underwater—that all allow for their very own

speciﬁ c ligh ng and pale e. There’s so much variety.”

The parade sequence itself required more than one approach. As the chase progresses, Indy ﬁ nds himself, on

horseback, riding underground through Manha an’s subway tunnels, racing an oncoming train. For those scenes,

Stockhausen created a full-scale replica of a subway sta on on Pinewood’s 007 Stage, the largest soundstage in

the world, complete with paint and  le work that was aged to make the set feel as authen c as possible.

For that por on of the sequence, Papamichael developed a “gri er” approach to the ligh ng. “There’s less with

the cinema c theatrical pale e,” the cinematographer says. “It’s dialed back a bit, with a touch of ‘Taxi Driver’

or ‘The Conversa on.’” (Notably, the la er ﬁ lm, directed by Francis Ford Coppola in 1974, featured Harrison Ford

in a small yet memorable suppor ng role.)

“Gri y” was a word that was also used by

costume designer Joanna Johnston to describe

the brief she received from Mangold about

how she should approach the characters’

wardrobe. “Jim wanted the designs to reﬂ ect

a gri y realism,” Johnston says. “It was a less

glamorous  me. Because we’re now in the

late ’60s, it wasn’t about styliza on.”

Johnston, a two- me Academy Award®

nominee (“Allied,” “Lincoln”), also wanted

to honor the legacy of her former mentor,

revered costume designer Anthony Powell.

Johnston had worked under the three-

Oscar® winner (“Travels with My Aunt,” “Tess,” “Death on the Nile”) on Indiana Jones and the Temple of Doom,

and she co-designed the costumes for Indiana Jones and the Last Crusade with him. “I felt strongly that I wanted

to hold his torch through the ﬁ lm,” Johnston says of Powell, who died only a few days before Dial of DesƟ ny

began shoo ng.

Johnston hewed closely to the spirit

of Indy’s established wardrobe—the

fedora and leather jacket were non-

nego able, of course. When Ford

arrived to try on the old costume, he

found he was able to slip right back

into the character’s signature look. “It’s

a short story,” Ford says. “It ﬁ t.” Adds

Frank Marshall, “It was unbelievable.

There we were standing around and

suddenly, there’s Indy.”

Johnston developed complementary costumes for the other principal characters, including Waller-Bridge’s

savvy Helena and Mikkelsen’s understated yet ﬁ endish Voller. For Helena, Johnston created looks that were

prac cal, mostly jackets and trousers, with a li le bit of extra ﬂ air. When Helena’s in ac on mode, she wears

baggy masculine shirts, jodhpur-like trousers and boots.

“That was my favorite costume—I could basically live in

that all the  me,” says Waller-Bridge, adding, “Helena’s so

many diﬀ erent things, but that’s what created the challenge.

Joanna really threaded it all the way through so brilliantly to

make it feel like there is somebody who knows who she is

and that comes through the clothes.”

For Voller, Mikkelsen says that he and Johnston avoided

anything that might appear too ﬂ ashy. “We didn’t want him

to stand out,” says Mikkelsen. “He’s not in it for the vanity.

But like Indiana Jones, he’s a man of his  me, so when we

see him in the ’60s, his look is reminiscent of him s ll being

from the ’40s.”

When the story’s ac on moves to Morocco, exteriors were

shot on loca on in the city of Fez, while the lavish interiors

of the Hotel L’Atlan que—where Helena goes to auc on oﬀ her ill-go en loot—were again built at Pinewood.

Knowing that the hotel would be the site of a big, chao c brawl, Stockhausen designed the space to accommodate

the ambi ous ac on. “The star ng point for that was the nightclub sequence at the beginning of the second ﬁ lm

[Temple of Doom], how beau ful that sequence was,” explains the produc on designer.

The hotel brawl aﬀ orded Ford some classic Indy moments, with only quick-thinking and dumb luck saving his

hide. “Harrison can play with your expecta ons of an ac on hero and undermine them, defeat the kind of macho

tropes,” Mangold says. “He ﬁ nds more delight as an actor failing than succeeding.”

As the ﬁ lmmakers developed an approach to the physical ac on with stunt coordinator Ben Cooke (“Jurassic

World: Dominion,” “Casino Royale”), they wanted as many of the stunts as possible to be performed for real and

to keep the feats of derring-do from straying too far over the top. That approach extended even to the breakneck

tuk tuk chase, with the  ny vehicles, essen ally motorized rickshaws, careening through the winding streets

with motorcycles trailing behind.

Roughly a dozen tuk tuks were employed for the sequence, which culminates with Indy and company plumme ng

down a set of steep stairs, the vehicle miraculously coming to a rest with its occupants ra led but s ll alive.

“Almost all the human ac on in the movie is for real,” Mangold says, with Ford adding, “I think it’s very important

to maintain a human scale to ac on. Too much of something is too much. When you’re able to keep it to a

physical reality with some embellishments, that feels real and more visceral for the audience.”

Sicily stood in for Greece, where Indy

and Helena meet up with Indy’s old pal

Renaldo and undertake a dangerous

dive into vast caverns as they follow

the trail of Archimedes. “You’re almost

trying to think mathema cally, what

kind of arrangement have I not seen

in an Indiana Jones movie?” Mangold

says. “One kind of treasure hun ng I

felt I had never seen was underwater

in a wreck. Just like in a cave, you could

have underwater catacombs, treasure, traps, underwater animals.” (And naturally, those animals are eels, the

closest possible creature to Indy’s mortal enemy, snakes.)

“These were all, without fail, inspiring experiences,” Mangold says. “And everyone had so much fun.”

Perhaps Ford most of all—his joy was exci ng for the ﬁ lmmaker to behold. “He is the deﬁ ni on of a movie star,”

Mangold says of the legendary performer. “He knows the camera, he knows  ming, he knows how cuts work.

And that’s one of the real posi ves, beyond his incredible charm and his ins ncts. He’s a great actor, but he also

understands what a movie is and how to make one.”

And how did Harrison Ford feel on the

very last day of ﬁ lming, saying goodbye

to his truly iconic character some 40

years a er he ﬁ rst donned the fedora

and cracked the whip? “I was thrilled!”

Ford says with a laugh. “I was really

happy.”

“I’ll miss the people who I’ve worked

with on the ﬁ lm—everyone at

Lucasﬁ lm, at Disney, Jim Mangold, and

the actors,” Ford con nues. “But I’m not going to miss Indy because he’s fulﬁ lled his purpose, and I’m really

happy to have seen it come around to the end. I felt good. I felt that we had made a ﬁ lm that the audience

deserved. For those people who had been fans of the earlier ﬁ lms, had enjoyed seeing them, had shared them

with their families, I feel conﬁ dent that we’re going to knock their socks oﬀ with this one.”

THE SCORE

The most revered living ﬁ lm composer in the world, John Williams again leant his genius to the Indiana Jones

franchise, composing the score for Indiana Jones and the Dial of Des ny as he has for every installment in the

series da ng to Raiders of the Lost Ark.

“John Williams brings the special sauce to the movie—the music,” says producer Frank Marshall. “The themes

that he writes for these movies are so recognizable and so iden ﬁ able with the movie, it’s just an amazing thing.”

Adds Mangold, “John Williams is a

legend. He came up in the Golden

Age of soundtracks. He played in the

orchestras of Franz Waxman. He was

a jazz musician in his 20s. He’s run the

Boston Pops. He’s played around the

world as a concert master. He’s one of

my real ar s c heroes in ﬁ lmmaking,

and he’s had such a profound and

inspiring eﬀ ect on so many careers

and ﬁ lms.”

The ﬁ ve- me Academy Award® winner and 53- me nominee John Williams (“Jaws,” Star Wars, “E.T. the Extra-

Terrestrial”) was excited to write music that would not only amplify the excitement of Indy’s last adventure, but

would also underscore its most moving, deeply resonant emo onal moments, including those at the very end

of the ﬁ lm.

“What I tried to do is bring an aspect of nostalgia into this piece,” Williams says. “Indiana Jones is wonderful

because Harrison Ford has this ability to do the most drama c scenes with a slight tongue in his cheek or a

twinkle in his eye. He does ac on-comedy dialogue as well as anybody ever could.”

Although Williams ini ally agreed to

write just a few themes for the new ﬁ lm,

once he began composing the individual

pieces, he soon decided to write the

en rety of the score. “I didn’t know if

John would do the whole movie when

I jumped on,” Mangold says. “I only

prayed.”

Of all the new material he composed,

Williams’ theme for Helena is a stand-out,

featuring the outstanding contribu ons

of violin soloist Anne-Sophie Mu er.

“Jim Mangold said to me, write a theme

for Helena that’s like some woman from

the ’40s or the ’30s,” Williams says.

“She’s adventurous with lovers here and

there—all the while doing all these things looking ravishingly beau ful.”

Notes Mangold of Williams’ tradi onal, and excep onal, approach to his ar stry, “John creates melodic themes for

the characters all wri en with a pencil, all wri en with notes. So many composers now have the ﬁ lm on a video,

and they use a synthesizer, and the midi on the synthesizer turns it into notes. Then they hand it to an arranger

who turns that into an arranged piece for orchestra. It all sounds really good—but John’s way sounds be er.”

about the cast

HARRISON FORD (Indiana Jones) has starred in some of the most successful and acclaimed ﬁ lms in cinema

history, including the landmark Star Wars and Indiana Jones franchises and a total of eight Best Picture Oscar®–

nominated movies. Ford has garnered a number of Best Actor award nomina ons including one Academy

Award®, three Golden Globe® Awards and one BAFTA® Award.

Over the course of his illustrious career, Ford has also been repeatedly honored for his contribu ons to the

ﬁ lm industry, including the Bri sh Academy of Film and Television Arts’ Albert R. Broccoli Britannia Award,

the Hollywood Foreign Press Associa on’s Cecil B. DeMille Award, and the American Film Ins tute’s Life me

Achievement Award, in 2000. In 1994, the Na onal Associa on of Theater Owners named him the Box Oﬃ ce

Star of the Century.

Ford execu ve produced Annapurna’s drama series, “The Staircase,” a docuseries following the murder trial of

Michael Peterson. Antonio Campos also served as an execu ve producer.

Ford can be seen starring in the AppleTV+ series “Shrinking,” co-starring Jason Segel and Jessica Williams, and

opposite Helen Mirren in the Paramount+ series “1923.”

In 2020, Ford starred in the family adventure ﬁ lm “The Call of the Wild.” Prior to that, in his ﬁ rst animated role,

Ford voiced the no-nonsense farm dog Rooster in “The Secret Life of Pets 2” with Kevin Hart and Tiﬀ any Haddish.

Ford was also seen alongside Ryan Gosling in “Blade Runner 2049,” the sequel to Ridley Sco ’s 1982 science

ﬁ c on classic “Blade Runner,” in which he starred. He reprised his role as Han Solo in Disney’s Star Wars: Episode

VII–The Force Awakens, directed by J.J. Abrams. The ﬁ lm broke mul ple box oﬃ ce records including highest-

grossing domes c ﬁ lm of all  me.

A na ve of Chicago, Ford launched his ﬁ lm career in 1973 with the breakthrough role of hot-rodder Bob Falfa

in George Lucas’ seminal hit, “American Graﬃ  .” Four years later, he reunited with Lucas to play the iconic role

of Han Solo in Star Wars: Episode IV–A New Hope. The sci-ﬁ epic earned 12 Oscar® nomina ons, including Best

Picture, and went on to become the top-grossing ﬁ lm in history, a record it held for 20 years. Ford reprised the

role of Han Solo in the sequels The Empire Strikes Back and Return of the Jedi.

In 1981, Ford created another legendary screen character, Indiana Jones, in Steven Spielberg’s Oscar®-nominated

mega-hit Raiders of the Lost Ark. During the 1980s, he starred in the blockbuster sequels Indiana Jones and the

Temple of Doom and Indiana Jones and the Last Crusade. In 2008, he returned to the  tle role in the hugely

successful Indiana Jones and the Kingdom of the Crystal Skull.

Ford’s many other ﬁ lm credits include Francis Ford Coppola’s Oscar®-nominated features “The Conversa on”

and “Apocalypse Now”; Mike Nichols’ Oscar-nominated roman c comedy “Working Girl”; the  tle role in the

Nichols-directed drama “Regarding Henry”; Alan J. Pakula’s “Presumed Innocent” and “The Devil’s Own”; Phillip

Noyce’s “Patriot Games” and “Clear and Present Danger,” both based on the Tom Clancy bestsellers; Wolfgang

Petersen’s “Air Force One”; Robert Zemeckis’s “What Lies Beneath”; Kathryn Bigelow’s “K-19: The Widowmaker,”

which he also execu ve produced; Roger Michell’s “Morning Glory”; Jon Favreau’s “Cowboys & Aliens”; Robert

Luke c’s “Paranoia”; Brian Helgeland’s “42”; Lee Toland Krieger’s “The Age of Adeline”; and Gavin Hood’s

“Ender’s Game.”

Ford currently serves as vice chair of the board of directors for Conserva on Interna onal, a nonproﬁ t group that

protects biodiversity in trouble spots interna onally. He has been a member for over 25 years.

PHOEBE WALLER-BRIDGE (Helena) is a mul -award–winning writer and actor, known for the BBC Three/Amazon

series “Fleabag,” which she starred in, created and produced. Waller-Bridge won three Prime me Emmy®

Awards for the second season, including Best Comedy Series, Outstanding Lead Actress in a Comedy Series and

Outstanding Wri ng for a Comedy Series. She also won two Golden Globe® Awards (Best Actress—Television

Series Musical or Comedy and Best Television Series—Musical or Comedy), two Cri cs Choice Awards (Best

Actress in a Comedy Series and Best Comedy Series) and a Screen Actors Guild Award® (Outstanding Performance

by a Female Actor in a Comedy Series), in addi on to a BAFTA Television Award for Best Female Performance in

a Comedy Program.

Waller-Bridge is currently wri ng and developing a new series for Amazon Prime Video based on the popular

video game turned ac on movie “Tomb Raider.”

As a writer and producer, Waller-Bridge is known for her work on season one of the cri cally acclaimed BBC

America series “Killing Eve.” She contributed to the script of the latest James Bond ﬁ lm, “No Time to Die,” which

released in October 2021 and was the fourth-highest grossing ﬁ lm of that year. It earned a BAFTA nomina on for

Outstanding Bri sh Film. On television, she has been seen in “Crashing,” which she also wrote; “Broadchurch”;

and “Run,” which she execu ve produced with Vicky Jones. On ﬁ lm, Waller-Bridge has appeared in Solo: A Star

Wars Story, “Goodbye Christopher Robin” and “The Iron Lady.”

A graduate of the Royal Academy of Drama c Arts, her debut play “Fleabag” earned a 2014 Olivier Award

nomina on and a Special Commenda on from the Susan Smith Blackburn Prize for 2013-2014. In addi on

to the hit television series, the play spurred celebrated Oﬀ -Broadway and West End runs of the produc on

(Lucille Lortel, Drama League, Drama Desk and Olivier Award nomina ons), and the publica on of “Fleabag: The

Scriptures.” Waller-Bridge has established her own produc on company, Wells Street Films, and serves as the

co-ar s c director of DryWrite Theatre Company.

MADS MIKKELSEN (Jürgen Voller) has had great success in ﬁ lm in both his na ve Denmark and in Hollywood

with leading roles in a wide range of ﬁ lms.

Most recently, Mikkelsen starred in the Warner Bros. ﬁ lm “Fantas c Beasts: The Secrets of Dumbledore” (2022).

Prior he starred in the Academy Award®–winning ﬁ lm “Another Round” (2020). Mikkelsen received a BAFTA

Award nomina on and a European Film Award for the ﬁ lm, which marked Mikkelsen’s return to Danish cinema.

This was his second ﬁ lm with director Thomas Vinterberg, following his searing lead performance in the award-

winning “The Hunt” (2013), which won him the prize for Best Actor at the Cannes Film Fes val.

Mikkelsen also starred in in Anders Thomas Jensen’s “Riders of Jus ce” (2020) which reunited Mikkelsen with

Jensen, with whom he has worked several  mes. Mikkelsen received the Life me Achievement Honorary Heart

of Sarajevo Award at the 26th Sarajevo Film Fes val the same year.

Mikkelsen’s addi onal ﬁ lm credits include “Arc c” (2019), “Polar” (2019), “Doctor Strange” (2016), Rogue One:

A Star Wars Story (2016), “Casino Royale” (2006), “King Arthur” (2004), as well as the  tle role in the celebrated

TV series “Hannibal” (2013-2015). In 2011, Mikkelsen received the European Film Award for his contribu on to

World Cinema and presided on the 2016 Cannes jury.

Mikkelsen was also seen in the ac on video game “Death Stranding” (2019) from game designer Hideo Kojima,

where he provided the voice, appearance, and mo on capture for the character Cliﬀ ord Unger. His work earned

him the award for Best Performance at The Game Awards in 2019.

Upcoming, Mikkelsen will star in “The Bastard” for director Nikolaj Arcel.

Mikkelsen has had prominent roles in Danish ﬁ lms such as “Men & Chicken” (2015), the interna onal smash hit

and Oscar®-nominated “A Royal Aﬀ air” (2012), and Susanne Bier’s “A er the Wedding” (2006), which was also

nominated for an Academy Award®. He has also headlined several of Anders Thomas Jensen’s modern classics,

including “Adam’s Apples” (2005), “The Green Butchers” (2003), and “Flickering Lights” (2000). Apart from his

cinema career, Mikkelsen also appeared in the Emmy® Award–winning series “Unit One” (2000-2004).

Mikkelsen trained at Aarhus Teater’s Drama School, gradua ng in 1996, and received his breakthrough in Nicolas

Winding Refn’s debut ﬁ lm, “Pusher” (1996). Their collabora on con nued through “Bleeder” (1999), “Pusher II”

(2004) and “Valhalla Rising” (2009).

Next Mikkelsen will reunite with “Hannibal” creator Bryan Fuller in the horror ﬁ lm “Dust Bunny.”

Since his introduc on to American cinema, ANTONIO BANDERAS (Renaldo) has become one of the leading

interna onal actors of his genera on. He has received cri cal praise for his performances in ﬁ lm, television and

theater, as well as behind the scenes as a director. In 2005, he was honored with a Star on the Hollywood Walk

of Fame.

In 2020 Banderas received Academy Award® and Golden Globe® nomina ons for Best Actor for his compelling

portrayal of Salvador Mallo in Pedro Almodóvar’s autobiographical drama “Pain & Glory.” He also won Best Actor

at the 2019 Cannes Film Fes val and Best Actor at The New York Film Cri cs Circle Awards for this incredible

performance, as well as the Spanish Academy Goya award for Best Actor.

In 2019 Banderas launched Teatro del Soho CaixaBank with the Spanish language produc on of the classic

musical “A Chorus Line,” in which he directed and starred. In 2021, he directed, produced, wrote and co-hosted

the 35th Goya Awards in a live-streamed ceremony from his theater, and in 2022, he directed and starred in the

Spanish language produc on of “Company.”

In 2018 he starred in Na onal Geographic’s limited series “Genius: Picasso,” for which he received Emmy®,

Golden Globe®, Cri cs Choice and SAG Award® nomina ons for Lead Actor in a Limited Series.

Banderas recently voiced the sequel to the animated ﬁ lm “Puss in Boots,” “Puss in Boots: The Last Wish,” which

garnered an Oscar® nomina on for Best Animated Feature.

His most recent ﬁ lms include the Spanish comedy/drama “Oﬃ cial Compe  on,” opposite Penélope Cruz and

Oscar Mar nez; “The Enforcer” for Millennium Media; the ac on adventure ﬁ lm “Uncharted” starring opposite

Tom Holland and Mark Wahlberg; Steven Soderbergh’s “The Laundromat,” opposite Meryl Streep and Gary

Oldman; “Doli le,” alongside Robert Downey Jr., Emma Thompson and Rami Malek; and “Hitman’s Wife’s

Bodyguard,” alongside Ryan Reynolds, Salma Hayek and Samuel L. Jackson.

In 1982, Banderas was cast by writer/director Pedro Almodóvar in “Labyrinth of Passion.” It was the ﬁ rst of eight

ﬁ lms he would do with Almodóvar, some of the others being “Matador,” “Law of Desire,” “Women on the Verge of

a Nervous Breakdown” and “Tie Me Up! Tie Me Down!” The interna onal success of these ﬁ lms introduced him

to Hollywood. He later starred in “The Skin I Live In” and “I’m So Excited,” both wri en and directed by Almodóvar.

Banderas has worked with some of Hollywood’s best directors and leading actors in ﬁ lms including: Alan

Parker’s “Evita” opposite Madonna, for which he received his ﬁ rst Best Actor Golden Globe® nomina on; Robert

Rodriguez’s “Desperado,” opposite Salma Hayek, and its sequel “Once Upon a Time in Mexico,” opposite Johnny

Depp; “Original Sin” opposite Angelina Jolie; Mar n Campbell’s “The Mask of Zorro” opposite Catherine Zeta-

Jones, for which he received his second Best Actor Golden Globe® nomina on, and its sequel “The Legend of

Zorro”; Brian de Palma’s “Femme Fatale”; Neil Jordan’s “Interview with the Vampire: The Vampire Chronicles”

with Tom Cruise and Brad Pi ; Bille August’s “The House of the Spirits” with Meryl Streep and Glenn Close; and

Jonathan Demme’s “Philadelphia,” opposite Tom Hanks and Denzel Washington. He was nominated for his third

Best Actor Golden Globe® for his performance as the infamous Pancho Villa in HBO’s “And Starring Pancho Villa

as Himself.”

In 2003, Banderas earned a Tony® nomina on for Best Actor in a Musical for his Broadway debut in the

Roundabout Theater Company produc on of “Nine,” a musical inspired by Fellini’s “8 ½ .” He also received a Best

Actor Drama Desk Award, Outer Cri cs Circle Award, Drama League Award and Theatre World Award. “Nine,”

directed by David Leveaux, also starred Chita Rivera.

He made his directorial debut with “Crazy in Alabama” starring Melanie Griﬃ th. His second directorial feature

was the Spanish ﬁ lm “El camino de los ingleses” ( tled “Summer Rain” in the U.S.), a coming-of-age story that

follows the ﬁ rst loves, lusts and obsessions of friends on vaca on at the end of the 1970s.

Other ﬁ lm credits include: “Life Itself,” “Beyond the Edge,” “The Music of Silence,” “Security,” “Black Bu erﬂ y,”

“The 33,” “Automata,” “Knights of Cups,” “The Expendables 3,” “The SpongeBob Movie: Sponge Out Of Water,”

“Machete Kills,” “Jus n and the Knights of Valour,” “Ruby Sparks,” “Haywire,” “Day of the Falcon,” “You Will Meet

a Tall Dark Stranger,” “The Big Bang,” “The Other Man,” “Shrek 2,” “Shrek the Third,” “Shrek Forever A er,” “Take

the Lead,” the “Spy Kids” trilogy, “Miami Rhapsody,” “Four Rooms,” “Assassins,” “Never Talk to Strangers,” “Two

Much,” “The 13th Warrior,” “Play It to the Bone” and “Ballis c: Ecks vs. Sever.”

Born in Málaga, Spain, Banderas a ended the School of Drama c Art in his hometown, and upon gradua on he

began his ac ng career working in a small theater company based there. He later moved to Madrid and became

an ensemble member of the pres gious Na onal Theatre of Spain.

KAREN ALLEN (Marion) is an award-winning actor and director. A er making her ﬁ lm debut in “Na onal

Lampoon’s Animal House,” she became widely known for her portrayal of Marion Ravenwood in Raiders of the

Lost Ark opposite Harrison Ford. She would later reprise this role in Indiana Jones and the Kingdom of the Crystal

Skull. She has starred in over 50 ﬁ lms and done many roles in television projects as well. Select ﬁ lm credits

include “Starman” opposite Jeﬀ Bridges; “Scrooged” opposite Bill Murray; “The Perfect Storm” with George

Clooney; “The Glass Menagerie” opposite Joanne Woodward and John Malkovich; “The Wanderers”; “Shoot the

Moon” opposite Albert Finney; “Un l September” opposite French actor Thierry Lhermi e; “A Small Circle of

Friends”; “White Irish Drinkers”; “Bad Hurt”; “Year by the Sea”; and Ne lix’s “Things Heard & Seen.”

In 2020, she was nominated for an Independent Spirit Award for Best Actress for her performance in “Colewell.”

The ﬁ lm was also nominated for the Independent Spirit John Cassavetes Award.

Karen has starred in numerous plays both on and oﬀ Broadway.

She also directs, having most recently directed John Patrick Shanley’s play “Outside Mullingar” with Jeﬀ rey

DeMunn, and an award-winning ﬁ lm version of Carson McCullers’ short story “A Tree. A Rock. A Cloud.”

She is a lifeƟ me member of the Actors Studio.

JOHN RHYS-DAVIES (Sallah) is one of modern cinema’s most recognizable character actors. While best known as

Gimli in “The Lord of the Rings,” or as Indiana Jones’ comic sidekick Sallah in three of Lucasﬁ lm’s Indiana Jones

adventure ﬁ lms, Rhys-Davies has appeared in over 150 television shows and ﬁ lms since the early ’70s.

Rhys-Davies made his ﬁ rst regular television series appearance in 1972 in the BBC’s “Budgie.” In 1975, he joined

John Hurt in the television ﬁ lm “The Naked Civil Servant,” and re-teamed with Hurt, as well as Derek Jacobi

and Patrick Stewart, for the BBC’s highly acclaimed miniseries “I, Claudius,” which aired in the U.S. on PBS’s

Masterpiece Theater. He subsequently starred in NBC’s “Shogun,” which earned him both an Emmy® nominaƟ on

and the aƩ enƟ on of directors Blake Edwards and Steven Spielberg. Edwards cast him in “Victor/Victoria” with

Julie Andrews, and Spielberg cast him as Sallah in Raiders of the Lost Ark, the ﬁ rst installment of the Indiana

Jones movies.

For the next two decades, the actor worked on numerous ﬁ lms and television shows, including “Murder, She

Wrote,” “Star Trek: Voyager,” “Ivanhoe,” “King Solomon’s Mines,” “The Living Daylights,” “War and Remembrance”

and Indiana Jones and the Last Crusade once again as Sallah.

Beginning in 1995 Rhys-Davies starred in the U.S. television series “Sliders” for three seasons. He recorded voice

work for such animated ﬁ lms and series as “Aladdin and the King of Thieves,” “Cats Don’t Dance,” “Animaniacs,”

“Batman: The Animated Series,” “Gargoyles,” “Pinky and the Brain,” “FantasƟ c Four” and “The Incredible Hulk.”

Rhys-Davies also starred in such video games as “Wing Commander III: Heart of the Tiger,” “Dune 2000,” “Baldur’s

Gate: Dark Alliance” “Quest for Glory IV: Shadows of Darkness” and the upcoming “Squadron 42.”

He portrayed the warrior dwarf Gimli in all three ﬁ lms of Peter Jackson’s “The Lord of the Rings” trilogy and also

voiced Treebeard, a computer-generated character in the second installment.

In 2004, Rhys-Davies returned toU.S. television in “The Lady Musketeer” opposite Gérard Depardieu. Shot in

CroaƟ a in 2002, this ﬁ lm nearly ended his life when a 55’ long and 12’ high wall and roof blew over onto him,

breaking his back in ﬁ ve places.

He has narrated for the Nova ScoƟ a Symphony Orchestra, the German heavy metal group Van Canto, and co-

starred with the opera singer Deborah Voight in the 2013 Mormon Tabernacle Choir producƟ on of A Dickens

Christmas. He serves as narrator in “King James Bible: The Book That Changed the World.”

Recently, Rhys-Davies starred in “Aquaman” as the Brine King; the sci-ﬁ acƟ oner “G-Loc” starring opposite

Stephen Moyer and Casper Van Dien; the Victorian horror thriller “The Gates”; and next will be seen in the

upcoming Terrence Malick ﬁ lm “The Last Planet.”

SHAUNETTE RENÉE WILSON (Agent Mason) will next be seen in Kahlil Joseph’s upcoming feature, “BLKNWS” for

A24. On the TV side, she will next be seen in Hulu’s highly anƟ cipated limited series “Washington Black” opposite

Sterling K. Brown. She was most recently seen in the role of Mina Okafor in Antoine Fuqua’s Fox medical drama

“The Resident.”

Wilson graduated from the Yale School of Drama and was awarded the presƟ gious Princess Grace Award in

theater while in her ﬁ nal year. Immediately upon gradua ng, she booked a seven-episode arc on season two of

“Billions” for Show me opposite Damian Lewis and Paul Giama , and a small role in Marvel’s “Black Panther”

right a er. She also appeared in an episode of “Into the Dark” for Blumhouse/Hulu. Originally from Guyana,

Wilson is typically based out of New York City.

THOMAS KRETSCHMANN (Colonel Weber) most recently wrapped a co-starring role in the Amazon Studios

feature ﬁ lm, “Upgraded,” opposite Marisa Tomei and the recently released “Last Sen nel,” opposite Kate

Bosworth. Kretschmann will also soon be seen in the independent feature ﬁ lm “Kill the Child.” He recently starred

in Michael Samuels’ BAFTA-nominated independent feature “The Windermere Children” where he played the

lead role of Oscar Friedmann; and was recently seen in the Show me series “Penny Dreadful: City of Angels” and

HBO’s tentpole series “Westworld.”

On the feature side, Kretschmann appeared in “American Traitor: The Trial of Axis Sally,” the Michael Polish

ﬁ lm featuring Al Pacino. Previously, he starred opposite Daniel Radcliﬀ e in Greg McLean’s independent feature

“Jungle,” and appeared in the EPIX series “Berlin Sta on”. Kretschmann starred opposite Emily Blunt in 2009’s

“The Young Victoria.” Addi onal memorable performances in features include “Avengers: Age of Ultron,” “U-

571,” “Central Intelligence,” “King Kong,” “Valkyrie,” “Wanted,” “Transsiberian,” “Eichmann,” “Grimm Love,”

“Blade II” and the Oscar®-winning ﬁ lm “The Pianist.” A gi ed voice actor as well, Kretschmann lent his voice to

the role of Professor Zündapp in Disney•Pixar’s “Cars 2.”

He has had an extensive career in Europe, starring in mul ple ﬁ lms and TV series for the last four decades. Most

recently, he can be seen in the German television series “Biohackers” and “Das Boot.” His ﬁ lm “Stalingrad” was

one of the highest grossing Russian ﬁ lms ever. He can also be seen opposite Daniel Brühl, Vera Farmiga and

John Malkovich in the Russian-Bri sh drama “In Transit.” Addi onal European ﬁ lm credits include “Balloon,”

“Mogadischu,” “Downfall,” “Immortal” and “My Father.”

He is interna onally renowned and has worked with iconic directors including Peter Jackson, Roman Polanski,

and Guillermo del Toro.

TOBY JONES (Basil Shaw) is a BAFTA Award–winning actor, whose work can be seen in two of last year’s leading

ﬁ lms, Sam Mendes’ “Empire of Light” and Ne lix’s “The Wonder.” With a huge collec on of cri cally acclaimed

work, along with being a BAFTA and London Film Cri cs Circle winner, he is also Golden Globe® and Emmy®

nominated, with roles in projects like “Infamous” (2006), where Jones played Truman Capote; in the Oscar®-

nominated adapta on of John le Carre’s classic crime novel “Tinker Tailor Soldier Spy” (2011); as Alfred Hitchcock

in the HBO/BBC television movie “The Girl”(2012); as well as on stage in produc ons such as “Uncle Vanya”

(2020) and “The Birthday Party.”

Jones can also currently be seen in Sco Cooper’s ﬁ lm “The Pale Blue Eye” on Ne lix, as well as the joyous return

to our screens over Christmas alongside Mackenzie Crook in the iconic television series, “Detectorists.” 2023 will

see him play Robert Stein in Apple’s upcoming feature ﬁ lm “Tetris.”

BOYD HOLBROOK (Klaber) has amassed an impressive resume of meaningful, challenging, and varied roles

starring alongside some of Hollywood’s most well-respected actors and working with the industry’s most

visionary ﬁ lmmakers, proving to be one of the industry’s most engaging and though ul ar

 sts.

Holbrook was recently seen in BJ Novak’s ﬁ sh-out-of-water black comedy “Vengeance” for Focus Features. He

was also seen in the adapta on of Neil Gaiman’s graphic novel “The Sandman” that premiered on Ne lix in

August. He stars as the Corinthian, who is the Dreaming World’s biggest nightmare. In Summer 2023, Holbrook

will be seen in FX’s “Jus ﬁ ed: City Primeval”, the limited series inspired by Elmore Leonard’s “City Primeval: High

Noon in Detroit.” Co-starring Timothy Olyphant, Aunjanue Ellis, and Norbert Leo Butz, the limited series returns

to U.S. Marshal Raylan Givens’ story seven years following the end of FX’s “Jus ﬁ ed.” In the fall, he will be seen

opposite Tom Hardy and Aus n Butler in Jeﬀ Nichols’ next movie, “The Bikeriders.”

His other recent theatrical projects include the lead role in Sam Ellis’ fantasy-horror ﬁ lm “The Cursed” opposite

Kelly Reilly; the lead in Shane Black’s “Predator” reboot, “The Predator”; James Mangold’s Oscar®-nominated

ﬁ lm “Logan” opposite Hugh Jackman; Jason Lew’s “The Free World” opposite Elisabeth Moss and Octavia

Spencer; 20th Century Fox’s sci-ﬁ thriller “Morgan” with Kate Mara and Paul Giama ; Gavin O’Connor’s “Jane

Got A Gun” with Natalie Portman and Ewan McGregor; and Warner Bros.’ “Run All Night” with Liam Neeson

and Ed Harris. His early projects included scene stealing roles in David Fincher’s adapta on of Gillian Flynn’s

novel “Gone Girl” and Craig Johnson’s character-driven indie “The Skeleton Twins” starring Kristen Wiig and

Bill Hader. Preceding this success, Holbrook had a proliﬁ c role in Gus Van Sant’s Academy Award®–nominated

drama “Milk.” His streaming debut was in the cri cally acclaimed Ne lix original series “Narcos” which received

a 2016 Golden Globe® nomina on for Best TV Series—Drama. For two seasons he starred opposite Pedro Pascal

portraying real-life DEA agent Steve Murphy who helped Colombian authori es track down Pablo Escobar.

OLIVIER RICHTERS (Hauke) is a Dutch-born actor, professional bodybuilder and entrepreneur known around the

world as “The Dutch Giant.” At 7’2” (2.18 meters) and 342 pounds (155 kilograms) he holds the Guinness World

Record as the tallest actor and bodybuilder currently ac ve.

Having started weightli ing at age 19, Richters has used his unique stature to make a name for himself in the

Netherlands and was fortunate enough to gain a worldwide audience by having cameos in the feature ﬁ lms “The

King’s Man” and Marvel’s “Black Widow.”

Later this year, Richters will be seen in a suppor ng role in “Borderlands” starring Cate Blanche and Jamie Lee

Cur s.

Not just pure brawn, Richters is also a hugely successful entrepreneur, having founded three companies thus

far: the online sports supermarket Muscle Meat; his supplement brand Dutch Giant Nutri on; and the online

clothing store Tall Origin, for people of excep onal height.

Though he is mainly known on screen as the big baddie, Richters is loved for his down-to-earth demeanor and

infec ous personality. Combining those characteris cs with his bigger than life stature makes Richters truly one

of a kind.

ETHANN ISIDORE (Teddy) was born on January 25, 2007, in Le Chesnay, Yvelines, France. He is a French actor of

Franco-Mauri an-Brazilian descent. At the age of 6, two years early, he joined the Theater Arts on Stage course

in Chatou, Yvelines, France. From the age of 11, passionate about cinema, he acted in various short ﬁ lms.

In 2018, he played the character of Nadir in “Au revoir Tom Selleck” by Ridwane Bellawell, which won the Grand

Prix CinéBanlieue 2019. The young actor was awarded the special men on ‘best male interpreta on’ by the Jury.

In 2019, he starred, in mo on-capture, as the child in the Franco-Canadian interac

ve virtual reality experience

“Les Passagers” by Ziad Touma, (Canadian Screen Prize Best Immersive Work 2022). He was then noƟ ced by the

arƟ sts’ agency Noma Talents and has since appeared in the television series “Sam” (seasons 4 and 5, Neƞ lix and

AMC+) and “Mortel.”

Isidore learned English by watching American movies and TV shows.

At the beginning of 2023, he began his seventh year at the Orléans Conservatory, studying theatre and dramaƟ c art.

about the fIlmmakers

JAMES MANGOLD (Director/Writer) is an Oscar®-nominated writer-director whose body of work resists easy

categorizaƟ on; that challenges us to consider that a ﬁ lmmaker’s voice is not merely deﬁ ned by genre or repeated

moƟ f, but rather by how their ﬁ lms make us feel. Mangold has moved from Sundance Independent to a superstar

cop noir, from mental insƟ tuƟ on drama to romanƟ c fantasy, and from pulp horror to musical biopic. He oscillates

through tradiƟ onal westerns to round-the-world capers, from two ﬁ lms about a beloved comic book hero to a

period car racing ﬁ lm which was nominated for Best Picture.

Some award-winning ﬁ lms Mangold has wriƩ en and directed include “Heavy,” “Cop Land,” “Girl, Interrupted,”

“Walk the Line,” “3:10 to Yuma,” “Logan” and “Ford v Ferrari.”

The son of renowned painters Robert Mangold and Sylvia Plimack Mangold, James was raised in New York’s

Hudson Valley. He graduated in ﬁ lm and acƟ ng from The California InsƟ tute of the Arts, where he studied under

Alexander Mackendrick (“Sweet Smell of Success,” “The Ladykillers”). He broke into the ﬁ lm business at the age

of 21, the recipient of a presƟ gious writer-director deal with Disney Studios. AŌ er a few years in Hollywood, he

decided to go to Columbia University’s ﬁ lm school, where he began wriƟ ng a feature, “Heavy” (1995), while

studying under Oscar®-winning director Miloš Forman. That ﬁ lm went on to win Special Jury RecogniƟ on for

DirecƟ ng at the 1995 Sundance Film FesƟ val and was selected to represent the United States at Director’s

Fortnight in Cannes.

Following the criƟ cal success of “Heavy,” Mangold began producƟ on on his second ﬁ lm “Cop Land” (1997), an

urban Western which was set in modern-day New Jersey starring Sylvester Stallone, Harvey Keitel, Robert De

Niro, Ray LioƩ a and Janeane Garofalo. The ﬁ lm premiered at the Venice Film FesƟ val and played in the U.S. to

strong reviews.

Mangold followed his all-male police thriller with a period psychological drama starring an enƟ rely female cast,

adapƟ ng Susanna Kaysen’s “Girl, Interrupted” (1999). Angelina Jolie went on to win a Best SupporƟ ng Actress

Golden Globe® and Oscar® for her performance as Lisa, the charming sociopath who befriends the protagonist

played by Winona Ryder. Mangold then went on to make the fantasy/romanƟ c comedy “Kate & Leopold” (2001),

starring Meg Ryan and Hugh Jackman, followed by the mind-bending thriller “IdenƟ ty” (2003), starring John

Cusack and Ray LioƩ a.

In 2005, “Walk the Line” was a breakthrough ﬁ

lm for Mangold as a co-writer and director. It was an enormous

success with criƟ cs and audiences alike, starring Joaquin Phoenix and Reese Witherspoon as the legendary

musical couple Johnny Cash and June Carter Cash. Both actors performed their own vocals and took home

Golden Globes® for their performances. The ﬁ lm also won the Golden Globe® for Best MoƟ on Picture—Musical

or Comedy. At the Oscars®, the ﬁ lm received ﬁ ve nominaƟ ons and Witherspoon won Best Performance by an

Actress. A project Mangold had in the works for years, “Walk the Line” was developed with the assistance and

collabora on of John and June Carter Cash.

Next, Mangold co-wrote and directed a remake of the classic western, “3:10 to Yuma” (2007), based on the

Elmore Leonard short story, which showcased Oscar®-winning actors Chris an Bale and Russell Crowe. The ﬁ lm

was released by Lionsgate and was met with much cri cal acclaim.

In 2010, Mangold directed Twen eth Century Fox’s ac on ﬁ lm “Knight and Day,” which proved to be an interna onal

box oﬃ ce success, grossing over $250 million worldwide. The ﬁ lm starred Tom Cruise and Cameron Diaz.

2013 saw the release of Mangold’s ac on/adventure/sci-ﬁ fantasy “The Wolverine,” starring Hugh Jackman,

based on the popular Marvel Comics character. The ﬁ lm was produced by Twen eth Century Fox and Marvel

Entertainment.

The character of Wolverine was laid to rest in the landmark 2017 ﬁ lm “Logan,” which Mangold directed and co-

wrote. Set in the near future, the ﬁ lm co-starred Patrick Stewart (returning as a nonagenarian Charles Xavier)

and 11-year-old Spanish-Bri sh actress Dafne Keen in her feature ﬁ lm debut as young mutant X-23. The ﬁ lm

received enormous cri cal acclaim, becoming the best-reviewed ﬁ lm of the “X-Men” franchise. The script (which

Mangold co-wrote) was nominated for Best Adapted Screenplay at the Oscars®, and the ﬁ lm was one of the

highest grossing ﬁ lms of 2017 and is widely considered one of the best ﬁ lms of the genre.

His next ﬁ lm was the cri cally acclaimed “Ford v Ferrari” (2019), Oscar®-nominated for Best Picture, starring

Ma Damon as legendary car racer and sports car builder Carroll Shelby opposite Chris an Bale as renegade

driver Ken Miles. A triumphant yet bi ersweet story straight out of history, the ﬁ lm follows Shelby, Miles, and

their ragtag crew as they a empt to defeat the indomitable Enzo Ferrari at 1966’s 24 Hours of Le Mans while

ba ling corporate interference from Henry Ford II’s  tle-hungry Ford Motor Co. Wri en by Jez Bu erworth,

John-Henry Bu erworth, and Jason Keller, “Ford v Ferrari” marks Mangold’s second collabora on with Bale and

ﬁ rst with Damon.

Mangold is currently in ac ve prep on “A Complete Unknown,” an adapta on of “Dylan Goes Electric!” by Elijah

Wald. The ﬁ lm (co-wri en by Mangold and Jay Cocks) chronicles young Bob Dylan’s arrival in New York City in

the early six es and his rela onships with Pete Seeger, Woody Guthrie, Joan Baez and the turbulent folk music

scene, culmina ng with Dylan ‘going electric’ at the Newport Folk Fes val of 1965. Timothée Chalamet will star.

The ﬁ lm starts shoo ng for Searchlight in August 2023.

Mangold’s ﬁ lms have been recognized with Academy Award®, Golden Globe®, SAG, BAFTA, Sundance Film

Fes val and various guilds’ and cri cs’ wins and nomina ons.

JOHN-HENRY BUTTERWORTH (Writer), born in London in 1976, went to school in St. Albans and university at

Cambridge.

John-Henry’s screen credits include “Fair Game,” directed by Doug Liman and starring Sean Penn and Naomi

Wa s; “Get on Up,” directed by Tate Taylor and starring Chadwick Boseman and Octavia Spencer; “Edge of

Tomorrow,” directed by Doug Liman and starring Tom Cruise and Emily Blunt; French language cult movie

“Malgré la nuit,” directed by Philippe Grandrieux; and “Ford v Ferrari,” directed by James Mangold and starring

Ma Damon and Chris an Bale.

For television he wrote an adapta on of Liane Moriarty’s novel “Nine Perfect Strangers” together with David E.

Kelley and Samantha Strauss for Hulu, starring Nicole Kidman and Melissa McCarthy and directed by Jonathan

Levine, and he’s currently wri ng climate change drama “Endgame” with Georgia Lee for AMC starring Andrew

Lincoln.

JEZ BUTTERWORTH (Writer) was born in London in 1969 and studied English at St. Johns College, Cambridge.

His ﬁ rst play, “Mojo” (Royal Court Theatre, 1995), won seven major awards, including the Olivier Award for

Best Comedy. Other plays include “The Night Heron” (2002), “The Winterling,” (2006), “Parlour Song” (2008),

“Jerusalem” (2009), “The River” (2012) and “The Ferryman” (2017).

“Jerusalem” transferred from the Royal Court to the West End, breaking box oﬃ ce records for a new play. It

won Best Play at the Evening Standard Theatre Awards 2009, and the UK Cri cs’ Circle Theatre Award for Best

Play 2009, before travelling to Broadway where it won Best Foreign Play at the New York Drama Cri cs’ Circle

Awards 2011. It received six Tony® nomina ons, winning two, including Best Actor for Mark Rylance. “The River”

transferred to Broadway in 2014, starring Hugh Jackman.

His sixth play for the Royal Court, “The Ferryman,” directed by Sam Mendes, was extended during its transfer

to the West End. It received 15 ﬁ ve-star reviews in the UK daily press and won Best Play and Best Director at

the Evening Standard Theatre Awards in 2017, the UK Cri cs’ Circle Award for Best Play, and 3 Olivier Awards

for Best Play, Best Director and Best Actress in 2018. In 2018 “The Ferryman” transferred to Broadway and was

nominated for nine Tony® Awards, winning four including the award for Best Play 2019.

Jez’s screenwri ng credits include “Fair Game” (2010), directed by Doug Liman and starring Sean Penn and

Naomi Wa s; “Get on Up” (2014), directed by Tate Taylor and starring Chadwick Boseman and Octavia Spencer;

“Edge Of Tomorrow” (2014), directed by Doug Liman and starring Tom Cruise and Emily Blunt; “Black Mass”

(2015), directed by Sco Cooper and starring Johnny Depp and Dakota Johnson; “Spectre” (2015), directed

by Sam Mendes and starring Daniel Craig and Naomie Harris; and “Ford v Ferrari” (2019), directed by James

Mangold and starring Ma Damon and Chris an Bale.

For TV, Jez has created and wri en the comedy series “Mammals” for Amazon Studios starring James Corden,

Sally Hawkins, Melia Kreiling and Colin Morgan. Jez also created the historical fantasy drama “Britannia,” which

was the ﬁ rst co-produc on between Sky and Amazon Prime. It stars David Morrissey, Zoë Wanamaker and

Mackenzie Crook and ran for three seasons.

In 2007, Jez won the E. M. Forster Award from the American Academy of Arts and Le ers. In 2019 he was elected

as a Fellow of the Royal Society of Literature.

DAVID KOEPP (Writer) has wri en or co-wri en the screenplays for more than 30 ﬁ lms, including “Apartment

Zero” (1988), “Bad Inﬂ uence” (1990), “Death Becomes Her” (1992), “Carlito’s Way” (1993), “Jurassic Park”

(1993), “The Paper” (1994), “Mission: Impossible” (1996), “The Lost World: Jurassic Park” (1997), “Snake Eyes”

(1998), “Panic Room” (2002), “Spider-Man” (2002), “War of the Worlds” (2005), Indiana Jones and the Kingdom

of the Crystal Skull (2008), “Angels & Demons” (2009), “Inferno” (2016) and “Kimi” (2022).

“Cold Storage,” which Koepp adapted from his debut novel, is currently in produc on with StudioCanal. His

second novel, “Aurora,” was published by HarperCollins in 2022. His story “Yard Work,” narrated by Kevin Bacon,

was released by Audible Originals in 2020.

As a director, his work includes the ﬁ lms “The Trigger Eﬀ ect” (1996), “S r of Echoes” (1999), “Secret Window”

(2004), “Ghost Town” (2008), “Premium Rush” (2012), and “You Should Have Le ” (2020). “Ghost Town” and

“Premium Rush” were co-wri en with the enigma c John Kamps.

He was born in Pewaukee, Wisconsin, and graduated from UCLA’s ﬁ lm school in 1986. He lives in New York City

with his wife and children.

Recipient of the Academy’s pres gious 2018 Irving G. Thalberg Memorial Award, the Producers Guild of America

Milestone Award, and an eight- me Academy Award® nominee, KATHLEEN KENNEDY (Producer) is one of the

most successful and respected producers in the ﬁ lm industry today. As president of Lucasﬁ lm, she oversees the

company’s three divisions: Lucasﬁ lm, Industrial Light & Magic and Skywalker Sound. Kennedy was the producer

of Star Wars: Episode VII–The Force Awakens (2015), which broke the record for the biggest domes c opening

of all  me that year, and Rogue One: A Star Wars Story, the number one grossing movie in 2016. She went on

to produce Star Wars: Episode VIII–The Last Jedi (2017), the highest grossing movie worldwide in 2017, as well

as Solo: A Star Wars Story (2018) and Star Wars: Episode IX–The Rise of Skywalker (2019). Kennedy has recently

execu ve produced the Emmy® Award–winning series The Mandalorian (2019-present), as well as The Book of

Boba FeƩ (2021), Obi-Wan Kenobi (2022), “Willow” (2022) and Andor (2022), which has been roundly praised by

fans and cri cs alike. She is currently producing all of Lucasﬁ lm’s live ac on  tles in produc on, including Andor

Season 2 and more.

Kennedy has produced or execu ve produced more than 70 feature ﬁ lms, which have collec vely garnered

120 Academy Award® nomina ons and 25 wins. Among her credits: “Jurassic Park,” “E.T. the Extra-Terrestrial,”

“The Sixth Sense,” the “Back to the Future” trilogy, “Who Framed Roger Rabbit,” “Gremlins,” “The Goonies,”

“Poltergeist,” “Empire of the Sun,” “Lincoln,” “War Horse,” “The Curious Case of Benjamin Bu on,” “The Diving

Bell and the Bu erﬂ y,” “Schindler’s List,” “The Color Purple” and “The Adventures of Tin n.”

Kennedy has produced the ﬁ lms of such directors as Steven Spielberg, David Fincher, Mar n Scorsese, Clint

Eastwood, Robert Zemeckis, J.J. Abrams, Julian Schnabel, Marjane Satrapi, M. Night Shyamalan, Frank Oz, Peter

Bogdanovich and Richard Donner.

Kennedy recently received the Fellowship Award, the highest honor that the Bri sh Academy of Film and

Television Arts can bestow. She is also the recipient of the dis nguished CBE award (Commander of the Most

Excellent Order of the Bri sh Empire) and was elected Chair of the AFI Board of Trustees. Aside from her execu ve

and producer roles, she was one of the founding Council Members of Hollywood Commission to Eliminate Sexual

Harassment and Advance Equality and is currently on the board of the LA Promise Fund, Library of America, and

USC’s School of Cinema c Arts.

Prior to joining Lucasﬁ lm in 2012, Kennedy headed the Kennedy/Marshall Company, which she founded in

1991 with director/producer Frank Marshall. In 1980 she co-founded the phenomenally successful Amblin

Entertainment with Marshall and Steven Spielberg.

With a career spanning over 50 years and more than 80 ﬁ lms, FRANK MARSHALL (Producer) has helped shape

American cinema, producing some of the most successful and enduring ﬁ lms of all  me. Star ng in 1967 as an

assistant to Peter Bogdanovich on their ﬁ rst ﬁ lm, “Targets,” and then as loca on manager on “The Last Picture

Show,” Marshall worked closely with Bogdanovich for years, eventually making ten pictures together. By 1980,

Marshall was working as a producer on Raiders of the Lost Ark with Steven Spielberg and future wife Kathleen

Kennedy. Shortly therea er, the trio formed industry powerhouse Amblin Entertainment and together produced

movies such as “E.T. the Extra-Terrestrial,” “Gremlins,” the “Back to the Future” trilogy, “Who Framed Roger

Rabbit,” “The Goonies, “Empire of the Sun” and the Indiana Jones trilogy.

In 1991, Marshall and Kennedy le Amblin to form their own produc on company, the Kennedy/Marshall

Company, where, from 1991 to 2012, they produced over 25 ﬁ lms, including “The Sixth Sense,” “Signs,”

“Seabiscuit,” “The Curious Case of Benjamin Bu on,” “War Horse,” “Lincoln,” all ﬁ ve ﬁ lms in the “Jason Bourne”

series and the feature documentaries “The Armstrong Lie” and “Sinatra: All or Nothing at All.” In 2012, Marshall

took over as sole principal of the company when partner Kathleen Kennedy became president of Lucasﬁ lm. Since

then, Marshall has broadened its slate beyond feature ﬁ lms to include television, documentaries and Broadway

musicals. Most recently, he produced the Tony®-winning musical “A Strange Loop” and the GRAMMY®-winning

documentary “Jazz Fest: A New Orleans Story.”

Along with ﬁ ve Academy Award® nomina ons for Best Picture, Marshall and Kennedy received the Irving G.

Thalberg Award in 2018, awarded to “crea ve producers, whose bodies of work reﬂ ect a consistently high quality

of mo on picture produc on.” In addi on to his proliﬁ c producing career, Marshall is also an accomplished

director, having helmed “Arachnophobia,” “Eight Below,” “Alive,” “Congo” and the HBO documentary “The Bee

Gees: How Can You Mend A Broken Heart,” which was nominated for six Emmys®.

His most recent project, “Good Night, Oscar,” is currently running on Broadway at the Belasco Theater.

SIMON EMANUEL (Producer) is a respected member of the interna onal ﬁ lm industry for over 30 years, having

worked with some of the biggest directors on the largest produc ons, including several of the “Batman,” “James

Bond” and “Harry Po er” ﬁ lms.

He is currently an execu ve producer on Lucasﬁ lm’s Disney+ series The Acolyte. Prior to this, he served as execu ve

producer on Ma Reeves’ “The Batman” for Warner Bros., execu ve producer on season one of Ne lix’s global

hit “The Witcher,” and produced both Solo: A Star Wars Story and Rogue One: A Star Wars Story for Lucasﬁ lm.

Addi onally, Emanuel was unit produc on manager on Lucasﬁ lm’s and J.J. Abrams’ Star Wars: Episode VII–The

Force Awakens, Jus n Lin’s “Fast & Furious 6” and Christopher Nolan’s “The Dark Knight Rises,” and served as

produc on manager on David Yates’ “Harry Po er and the Deathly Hallows: Part 1” and “Part 2,” “Harry Po

 er

and the Half-Blood Prince” and “Harry Po er and the Order of the Phoenix.”

Having worked his way up the ranks from third to ﬁ rst assistant director, Emanuel’s other major credits include

Michael Apted’s “The World is Not Enough” and “Enigma”; Roger Spo swoode’s “Tomorrow Never Dies”; Taylor

Hackford’s “Proof of Life”; Len Wiseman’s “Underworld”; Michael Hoﬀ man’s “A Midsummer Night’s Dream”;

Stefan Fangmeier’s “Eragon”; Paul W.S. Anderson’s “Resident Evil” and “AVP: Alien vs. Predator”; Stephen

Daldry’s “The Hours”; and Jane Campion’s “The Portrait of a Lady.”

Emanuel also worked with Alfonso Cuarón and Chris Columbus on “Harry Po er and the Prisoner of Azkaban”

and “Harry Po er and the Chamber of Secrets,” respec vely.

STEVEN SPIELBERG (ExecuƟ ve Producer) is one of the world’s most successful and inﬂ uen al ﬁ lmmakers, and

is currently chairman of Amblin Partners, a corporate descendent of DreamWorks, SKG, which he co-founded in

1994. Among a host of career accolades, he is a three- me Academy Award® winner, a Kennedy Center Honoree,

a recipient of the Irving G. Thalberg Award from the Academy of MoƟ on Picture Arts and Sciences and received

the PresidenƟ al Medal of Freedom in 2015 from President Barack Obama.

Spielberg is the top-grossing director of all Ɵ me, having helmed such blockbusters as “Jaws,” “E.T. the Extra-

Terrestrial,” the Indiana Jones franchise and “Jurassic Park.” He took home his ﬁ rst two Oscars®—Best Director

and Best Picture—for the internaƟ onally lauded “Schindler’s List,” which received a total of seven Oscars. The

ﬁ lm was also named the Best Picture of 1993 by many of the major criƟ cs’ organizaƟ ons, in addiƟ on to winning

seven BAFTA Awards and three Golden Globe® Awards, both including Best Picture and Director. Spielberg also

won the Directors Guild of America (DGA) Award for his work on the ﬁ lm.

Spielberg won his third Academy Award®—Best Director—for the World War II drama “Saving Private Ryan,”

which was the highest-grossing release (domesƟ cally) of 1998. It was also one of the year’s most honored

ﬁ lms, earning four addiƟ onal Oscars®, as well as two Golden Globe® Awards, for Best Picture—Drama and Best

Director, and numerous criƟ cs’ groups awards in the same categories. Spielberg also won another DGA Award

and shared a Producers Guild of America (PGA) Award with the ﬁ lm’s other producers. That same year, the PGA

also presented Spielberg with the presƟ gious Milestone Award for his historic contribuƟ on to the moƟ on picture

industry.

He has also earned Academy Award® nominaƟ ons for Best Director for “The Fabelmans,” “West Side Story,”

“Lincoln,” “Munich,” “E.T. the Extra-Terrestrial,” Raiders of the Lost Ark and “Close Encounters of the Third Kind.”

AddiƟ onally, he earned DGA Award nominaƟ ons for those ﬁ lms, as well as “Amistad,” “Empire of the Sun,” “The

Color Purple” and “Jaws.” With 13 to date, Spielberg has been honored by his peers with more DGA Award

nominaƟ ons than any other director. In 2000, he received the DGA’s LifeƟ me Achievement Award. He is also the

recipient of the Hollywood Foreign Press’s Cecil B. DeMille Award, the Kennedy Center Honor and numerous

other career tributes.

In 2012, Spielberg directed “Lincoln,” based in part on author Doris Kearns Goodwin’s “Team of Rivals.” The ﬁ lm

garnered 12 Academy Award® nominaƟ ons, winning two Oscars®, for Best Actor for Daniel Day-Lewis’ portrayal

of the iconic 16th President and for Best ProducƟ on Design.

Spielberg’s 2015 dramaƟ c thriller “Bridge of Spies,” starring Tom Hanks, received six Academy Award® nominaƟ ons

including Best Picture, with Mark Rylance winning the Oscar® for Best SupporƟ ng Actor. That same year, he was

also an execuƟ ve producer on “Jurassic World,” which earned over $1.6 billion worldwide. Directed by Colin

Trevorrow and starring Chris PraƩ and Bryce Dallas Howard, it was the fourth ﬁ lm in the “Jurassic” series. A

follow-up to the blockbuster, “Jurassic World: Fallen Kingdom,” directed by J.A. Bayona, was released in 2018,

with a sixth ﬁ lm, “Jurassic World: Dominion,” released in 2022.

Spielberg directed and produced the 2017 drama “The Post,” starring Meryl Streep and Tom Hanks. The ﬁ lm

earned two Academy Award® nominaƟ ons, one for Best Picture, as well as Meryl Streep’s 21st nod for Best

Actress. He also directed the 2018 ﬁ lm “Ready Player One,” based on the science ﬁ cƟ on novel by Ernest Cline,

which became an instant blockbuster and would go on to earn over $580 million worldwide.

His 2021 ﬁ lm “West Side Story”—a reimagining of the classic Broadway show from Jerome Robbins, Leonard

Bernstein, Stephen Sondheim and Arthur Laurents—earned seven Academy Award® nominaƟ ons, including Best

Picture, and won the Best SupporƟ ng Actress Oscar® for Ariana DeBose.

In 2022, Spielberg’s “The Fabelmans” debuted at the Toronto InternaƟ onal Film FesƟ val, where it won the coveted

People’s Choice audience award. The ﬁ lm, a deeply personal portrait of a 20th century American childhood,

and a cinema c memory of the forces, and family, that shaped the ﬁ lmmaker’s life and career, would go on to

win Golden Globe® Awards for Best Director and Best Picture—Drama. “The Fabelmans” was nominated by

the Producers Guild of America, the Directors Guild of America, the Screen Actors Guild of America for Best

Ensemble and by the Writers Guild of America for Spielberg’s original screenplay with Tony Kushner. In early

2023, “The Fabelmans” received seven Academy Award® nomina ons, including Best Director, Best Original

Screenplay, Best Actress and Best Picture.

Spielberg’s career began with the 1968 short ﬁ lm “Amblin’,” which led to him becoming the youngest director

ever signed to a long-term studio deal. He directed episodes of such TV shows as “Night Gallery,” “Marcus Welby,

M.D.” and “Columbo,” and gained special a en on for his 1971 teleﬁ lm “Duel.” Three years later, he made his

feature ﬁ lm directorial debut on “The Sugarland Express,” from a screenplay he co-wrote. His next ﬁ lm was

“Jaws,” which was the ﬁ rst ﬁ lm to break the $100 million mark at the box oﬃ ce.

In 1980, Spielberg formed his own produc on company, Amblin Entertainment. Under the Amblin Entertainment

banner, he served as producer or execu ve producer on such hits as “Gremlins,” “Goonies,” the “Back to the

Future” trilogy, “Who Framed Roger Rabbit,” “An American Tail,” “Twister,” “The Mask of Zorro” and the “Men

in Black” ﬁ lms.

Ten years later, Spielberg partnered with Jeﬀ rey Katzenberg and David Geﬀ en to form the original DreamWorks

Studios. The studio enjoyed both cri cal and commercial successes, including three consecu ve Best Picture

Academy Award® winners: “American Beauty,” “Gladiator” and “A Beau ful Mind.” In its history, DreamWorks

also produced or co-produced a wide range of features, including the “Transformers” blockbusters; Clint

Eastwood’s World War II dramas “Flags of Our Fathers” and “Le ers from Iwo Jima,” the la er earning a Best

Picture Oscar® nomina on; “Meet the Parents” and “Meet the Fockers”; and “The Ring,” to name only a few.

Under the DreamWorks banner, Spielberg also directed such ﬁ lms as “War of the Worlds,” “Minority Report,”

“Catch Me If You Can” and “A.I. Ar ﬁ cial Intelligence.”

Spielberg founded Amblin Partners in 2015 with investment partners Reliance Entertainment, Entertainment

One, Alibaba Pictures, Par cipant Media and Universal Pictures. The company’s recent theatrical releases include

“1917,” which won three Academy Awards® and grossed $385 million at the global box oﬃ ce, and “Green Book,”

which won three Academy Awards®, including Best Picture, and grossed more than $320 million worldwide.

Spielberg has not limited his success to the big screen. He was an execu ve producer on the long-running

Emmy®-winning NBC TV drama “E.R.” On the heels of their experience on “Saving Private Ryan,” he and Tom

Hanks teamed to execu ve produce the 2001 HBO miniseries “Band of Brothers,” based on Stephen Ambrose’s

book about a U.S. Army unit in Europe in World War II.

Among its many awards, the project won both Emmy® and Golden Globe® Awards for Outstanding Miniseries.

He and Hanks then reunited to execu ve produce the acclaimed 2010 HBO miniseries “The Paciﬁ c,” this  me

focusing on the Marines in WWII’s Paciﬁ c theater. “The Paciﬁ c” won eight Emmy Awards, including Outstanding

Miniseries. A third series, “Masters of the Air,” is currently in post-produc on for Apple TV+.

Among the shows Spielberg also execu

 ve produced were the Emmy®-winning Syfy Channel miniseries “Taken,”

the TNT miniseries “Into the West,” the Show me series “United States of Tara,” NBC’s “Smash,” TNT’s “Falling

Skies,” as well as CBS’s “Under the Dome” and “Extant.” He was also an execu ve producer on the HBO Films

movie “All the Way,” starring Emmy® winner Bryan Cranston, and the Ne lix docuseries “Five Came Back.”

Amblin Television was a producer of FX’s “The Americans,” which earned four Emmy® wins, including two wins

for Margo Mar ndale for Outstanding Guest Actress in a Drama Series. The series also won Peabody Awards in

2015 and 2019 and was a perennial recipient of the AFI Award for TV Program of the Year.

Spielberg also execu ve produced the 2021 ﬁ lm “Oslo” for HBO, which received two Emmy® nomina ons,

including Outstanding Television Movie, for its recoun ng of the previously secret true story of the back-channel

nego a ons in the development of the pivotal Oslo Peace Accords between Israel and the Pales nian Libera on

Organiza on.

Spielberg has devoted much of his  me and resources to many philanthropic causes. He formed the Righteous

Persons Founda on by using all his proﬁ ts from the release of “Schindler’s List,” and soon therea er founded

the Survivors of the Shoah Visual History Founda on, which in 2006 became the USC Shoah Founda on—The

Ins tute for Visual History and Educa on. The Ins tute has recorded more than 55,000 video tes monies with

survivors and other witnesses of the Holocaust and other genocides and is dedicated to making the tes monies

a compelling voice for educa on and ac on.

In 2019, Spielberg and Kate Capshaw formally launched The Hearthland Founda on, a philanthropic fund to help

build a more just, equitable, and connected America. Inspired by the words of the poet Langston Hughes, “O,

let America be America again—The land that never has been yet—And yet must be,” Hearthland is founded on

the belief that crea ng a be er shared future for our country calls for rela onships that cross divides and the

moral imagina on for what is possible. To that end, the founda on has three overlapping areas of focus: building

a shared democracy; telling an honest and genera ve narra ve about this country; and fostering a culture of

accompaniment.

GEORGE LUCAS’ (ExecuƟ ve Producer) devo on to  meless storytelling and cu ng-edge innova on has resulted

in some of the most successful and beloved ﬁ lms of all  me. The creator of Star Wars and Indiana Jones, Lucas

brought to life characters who have become bedrocks of worldwide popular culture, entertaining genera ons of

ﬁ lmgoers and inspiring young people to look to the stars and follow their imagina ons and dreams.

Lucas pioneered new standards for visual and aural sophis ca on, revolu onizing the ﬁ lm industry by forming

Industrial Light & Magic to create the visual eﬀ ects for Star Wars and furthering innova on in ﬁ lm and television

sound via the founding of Skywalker Sound. His ongoing research and development led to the ﬁ rst digital edi ng

system (later becoming AVID) and the Pixar Image Computer, which eventually led to Pixar Anima on Studios.

Lucas received the pres gious Irving G. Thalberg Memorial Award from the Academy of Mo on Picture Arts and

Sciences for his body of cinema c work, and two Emmy® Awards from the Academy of Television Arts & Sciences

for his work in anima on.

He has been honored with the na on’s highest award for technological achievement, the Na onal Medal of

Technology, presented by the President of the United States for over three decades of innova on at Industrial

Light & Magic. In 2013, Lucas was awarded the Na onal Medal of Arts, the highest award presented to ar sts

and patrons of the arts by the United States Government, bestowed upon him by the President in recogni on of

life me achievement in the crea on and produc on of the arts in the United States.

He received the pres gious NAACP Vanguard Award, given to persons whose groundbreaking work increases

understanding and awareness of racial and social issues. Lucas was also presented with the James Smithson

Bicentennial Medal for dis nguished contribu ons to the advancement of areas of interest to the Smithsonian

Ins tu on.

Taking a philanthropic leadership role in applying his technical and storytelling exper se to the classroom, Lucas

founded the George Lucas Educa onal Founda on in 1991 to highlight proven strategies, tools and resources for

crea ng lifelong learners.

Lucas serves on the Board of Directors of the Film Founda on, the USC School of Cinema c Arts Board of

Councilors and is currently building the Lucas Museum of Narra ve Art, emphasizing American illustra ve,

digital, comic, cinema c and anima on art as an avenue for the explora on of the great storytelling history,

populist works and ar s c innova on of the past 150 years.

PHEDON PAPAMICHAEL, ASC, GSC (Director of Photography) is a versa le Oscar® and BAFTA-nominated

cinematographer whose work spans more than three decades, ranging from feature ﬁ lms to television series,

commercials and music videos. Indiana Jones and the Dial of DesƟ ny is Papamichael’s sixth ﬁ lm with director

James Mangold, whose previous joint eﬀ orts include “Ford v Ferrari,” “Iden ty,” “Walk the Line,” “3:10 to Yuma”

and “Knight and Day.”

In 2020 Papamichael ﬁ lmed “The Trial of the Chicago 7,” directed by Aaron Sorkin. Based on the true story of the

Chicago Seven, the ﬁ lm follows a group of defendants charged by theU.S. federal government with conspiracy

rela ng to an -Vietnam War protests. The ﬁ lm earned several Oscar® nomina ons, including one for Best

Cinematography for Papamichael.

His prior ﬁ lm, “Ford v Ferrari,” focused on the true story of a determined group of American and Bri sh

engineers who are tasked with building a car for Ford to beat rivals, Ferrari, in the 1966 24 Hours of Le Mans

race. Papamichael earned a BAFTA nomina on for Best Cinematography for “Ford v Ferrari.”

He is perhaps best known for his Oscar® and BAFTA-nominated work on “Nebraska.” Directed by Alexander

Payne, the ﬁ lm follows an estranged father and son on a road trip from Montana to Nebraska in an a empt to

claim a million-dollar sweepstakes prize. “Nebraska” debuted at the Cannes Film Fes val where it was nominated

for the Palme d’Or.

Papamichael has worked on more than 100 commercials, including the iconic George Clooney Nespresso

commercials. He also collaborates with Mangold in this space, shoo ng commercials for both Samsung and

Duralast. His other credits include spots for Apple, Mountain Dew, Cigna, Aegean Airlines, Milco and Calzedonia.

Con nuing his work with Clooney, Papamichael also lensed several features directed by the ﬁ lmmaker: “The

Monuments Men” and “The Ides of March,” the la er of which debuted at the Venice Film Fes val. Clooney

and Papamichael also worked together on Alexander Payne’s “The Descendants,” which debuted at the Toronto

Interna onal Film Fes val.

Papamichael now counts more than 46 feature ﬁ lms to his credit, including: “While You Were Sleeping,” “Cool

Runnings” and “Phenomenon,” all directed by Jon Turteltaub; “The Pursuit of Happyness,” starring Will Smith

and directed by Gabriele Muccino; the cri cally acclaimed “Unstrung Heroes,” directed by Diane Keaton; and “27

Missing Kisses,” directed by Nana Djordjadze.

Award-winning ProducƟ on Designer ADAM STOCKHAUSEN has worked with directors such as Steven Spielberg,

Wes Anderson, Steve McQueen, and with Wes Craven on the ﬁ lms “Scream 4” and “My Soul to Take.”

Stockhausen ﬁ rst worked with Steve McQueen on “12 Years a Slave,” for which he received his ﬁ rst nomina ons

for an Academy Award®, a BAFTA Award and an ADG Award. Subsequently they made “Widows” together and

are currently working on the World War II ﬁ lm “Blitz.”

Stockhausen received an Academy Award®, a BAFTA Award, and an ADG Award for his work with Wes Anderson

on “The Grand Budapest Hotel,” as well as a second ADG Award for his work on “Isle of Dogs.” They also worked

together on “Moonrise Kingdom,” “The French Dispatch” (for which he received nomina ons for a BAFTA and

an ADG Award), “Asteroid City,” which premiered at Cannes in May, and the upcoming “The Wonderful Story of

Henry Sugar.”

Stockhausen’s collabora ons with Steven Spielberg include Ernest Cline’s “Ready Player One,” as well as “Bridge

of Spies” and “West Side Story,” which both received nomina ons for an Academy Award®, a BAFTA Award and

an ADG Award.

MICHAEL McCUSKER, ACE (Editor) is an accomplished ﬁ lm editor, having begun his career under the mentorship

of the proliﬁ c David Brenner. He was nominated for an Academy Award® for Best Edi ng in 2006 for “Walk the

Line” and won the Oscar® in 2020 for “Ford v Ferrari.” McCusker is a frequent collaborator of ﬁ lmmaker James

Mangold and has worked across several genres, including ac on, drama, superhero, and musical, as well as on

major franchises for Marvel and Disney.

ANDREW BUCKLAND, ACE (Editor) is an Academy Award®–winning ﬁ lm editor who won the Oscar® for his work

on “Ford v Ferrari” alongside Michael McCusker, ACE.

He received his B.F.A. in Film Direc ng from Purchase College and began his career working in loca ons on

“Seinfeld” before transi oning into edi ng. Landing his ﬁ rst job on Alan J. Pakula’s “The Devil’s Own,” Buckland

was fortunate to have been a part of the editorial teams on many high-proﬁ le ﬁ lms including Mike Nichols’

“Closer” and “Charlie Wilson’s War.”

Buckland subsequently directed two documentary ﬁ lms, “The Long Walk Home” and “Somos Wichi,” which won

the 2012 Documentary Expose Award at Chicago’s The Peace on Earth Film Fes val.

Buckland ﬁ rst collaborated with James Mangold on “The Wolverine” as an addi onal editor. Other credits include

co-edi ng Tate Taylor’s “The Girl on the Train” and addi onal edi ng on “Get on Up.”

DIRK WESTERVELT, ACE (Editor) has worked in many diﬀ erent ﬁ lm genres, including ac on, drama, and comedy.

No ma er what the genre, his primary focus is always on storytelling. A er working for a  me in the camera

department, Westervelt moved to the cu ng room on the ﬁ rst two features directed by F. Gary Gray (“Friday”

and “Set It Oﬀ ”). While living and working in Prague, Westervelt served as VFX editor for Guillermo del Toro

on “Blade II” and “Hellboy.” He has enjoyed repeat collabora ons with directors George Tillman Jr. and Rick

Famuyiwa. More recently he has been working on “Logan” and “Ford v Ferrari” for James Mangold and “Deadpool

2” for David Leitch. He splits his  me between California and the Czech Republic, and wherever loca on work

takes him.

JOANNA JOHNSTON (Costume Designer) began her career assisƟ ng Academy Award®–winning costume

designers Anthony Powell, Tom Rand and Milena Canonero on such ﬁ lms as Roman Polanski’s “Tess” and Karel

Reisz’s “The French Lieutenant’s Woman” and Sydney Pollack’s “Out of Africa.”

Her ﬁ rst ﬁ lm as a designer was Robert Zemeckis’ “Who Framed Roger Rabbit.” Since then, she has collaborated

with him many Ɵ mes on such ﬁ lms as “Forrest Gump,” “Death Becomes Her,” “The Polar Express,” “Contact,” “Cast

Away,” “Allied” (earning Academy®, BAFTA and CriƟ cs Choice Award nominaƟ ons), “The Witches,” “Pinocchio”

and the recently completed “Here.”

Johnston has also worked extensively with Steven Spielberg, designing “Saving Private Ryan,” “Munich,” “War of

the Worlds,” “War Horse,” “Lincoln” (for which she received Academy®, BAFTA and CDG nominaƟ ons) and “The

BFG.”

Other credits include M. Night Shyamalan’s “The Sixth Sense” and “Unbreakable,” Richard CurƟ s’ “Love Actually”

and “The Boat That Rocked,” Bryan Singer’s “Valkyrie” and “Jack the Giant Slayer,” Guy Ritchie’s “The Man From

U.N.C.L.E.” and Christopher McQuarrie’s “Mission: Impossible–Rogue NaƟ on.”

In a career spanning more than six decades, JOHN WILLIAMS (Music) has become one of America’s most

accomplished and successful composers for ﬁ lm and for the concert stage. He has served as music director

and laureate conductor of one of the country’s treasured musical insƟ tuƟ ons, the Boston Pops Orchestra, and

he maintains thriving arƟ sƟ c relaƟ onships with many of the world’s great orchestras, including the Boston

Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. Mr.

Williams has received a variety of presƟ gious awards, including the NaƟ onal Medal of Arts, the Kennedy Center

Honors, an honorary KBE from Her Majesty Queen Elizabeth II, the Olympic Order, and numerous Academy

Awards®, GRAMMY® Awards, Emmy® Awards and Golden Globe® Awards. He remains one of our naƟ on’s most

disƟ nguished and contribuƟ ve musical voices.

Mr. Williams has composed the music and served as music director for more than one hundred ﬁ lms. His 50-

year arƟ sƟ c partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and

successful ﬁ lms, including “Schindler’s List,” “E.T. the Extra-Terrestrial,” “Jaws,” “Jurassic Park,” “Close Encounters

of the Third Kind,” the Indiana Jones ﬁ lms, “Saving Private Ryan,” “Amistad,” “Munich,” “Hook,” “Catch Me If You

Can,” “Minority Report,” “A.I. ArƟ ﬁ cial Intelligence,” “Empire of the Sun,” “The Adventures of TinƟ n,” “War Horse,”

“The BFG” and “Lincoln.” Their latest collaboraƟ on, “The Fabelmans,” was scored in early 2022. Mr. Williams

composed the scores for all nine Star Wars ﬁ lms, the ﬁ rst three “Harry PoƩ er” ﬁ lms, “Superman,” “JFK,” “Born

on the Fourth of July,” “Memoirs of a Geisha,” “Far and Away,” “The Accidental Tourist,” “Home Alone,” “Nixon,”

“The Patriot,” “Angela’s Ashes,” “Seven Years in Tibet,” “The Witches of Eastwick,” “Rosewood,” “Sleepers,”

“Sabrina,” “Presumed Innocent,” “The Cowboys,” “The Reivers” and “Goodbye, Mr. Chips,” among many others.

He has worked with many legendary directors, including Alfred Hitchcock, William Wyler and Robert Altman.

In 1971, he adapted the score for the ﬁ lm version of “Fiddler on the Roof,” for which he composed original

violin cadenzas for renowned virtuoso Isaac Stern. He has appeared on recordings as pianist and conductor with

Itzhak Perlman, Joshua Bell, Jessye Norman, and others. Mr. Williams has received ﬁ ve Academy Awards® and 53

Oscar® nominaƟ ons, making him the Academy’s most-nominated living person and the second-most nominated

person in the history of the Oscars®. His most recent nominaƟ on was for “The Fabelmans.” He has also received

seven BriƟ sh Academy Awards (BAFTA), 25 GRAMMYs®, four Golden Globes®, ﬁ ve Emmys®, and numerous gold

and plaƟ num records.

Born and raised in New York, Mr. Williams moved to Los Angeles with his family in 1948, where he studied

composiƟ on with Mario Castelnuovo-Tedesco. AŌ er service in the Air Force, he returned to New York to aƩ end

the Juilliard School, where he studied piano with Madame Rosina Lhévinne. While in New York, he also worked

as a jazz pianist in nightclubs. He returned to Los Angeles and began his career in the ﬁ lm industry, working with

a number of accomplished composers including Bernard Herrmann, Alfred Newman, and Franz Waxman. He

went on to write music for more than 200 television ﬁ lms for the groundbreaking, early anthology series “Alcoa

Theatre,” “KraŌ Mystery Theatre,” “Chrysler Theatre” and “Playhouse 90.” His more recent contribuƟ ons to

television music include the well-known theme for “NBC Nightly News” (“The Mission”), the theme for what has

become network television’s longest-running series, NBC’s “Meet the Press,” and a new theme for the presƟ gious

PBS arts showcase “Great Performances.”

In addiƟ on to his acƟ vity in ﬁ lm and television, Mr. Williams has composed numerous works for the concert

stage, among them two symphonies, and concertos for ﬂ ute, violin, clarinet, viola, oboe and tuba. His cello

concerto was commissioned by the Boston Symphony Orchestra and premiered by Yo-Yo Ma at Tanglewood in

1994. Mr. Williams also has ﬁ lled commissions by several of the world’s leading orchestras, including a bassoon

concerto for the New York Philharmonic enƟ tled “The Five Sacred Trees,” a trumpet concerto for the Cleveland

Orchestra, and a horn concerto for the Chicago Symphony Orchestra. “Seven for Luck”, a seven-piece song cycle

for soprano and orchestra based on the texts of former U.S. Poet Laureate Rita Dove, was premiered by the

Boston Symphony at Tanglewood in 1998. At the opening concert of their 2009/2010 season, James Levine

led the Boston Symphony in the premiere of Mr. Williams’ “On Willows and Birches,” a new concerto for harp

and orchestra. In 2021, Williams premiered his second violin concerto with the Boston Symphony Orchestra at

Tanglewood along with soloist Anne-Sophie MuƩ er, for whom he composed the work.

In January 1980, Mr. Williams was named 19th music director of the Boston Pops Orchestra, succeeding the

legendary Arthur Fiedler. He currently holds the Ɵ tle of Boston Pops Laureate Conductor which he assumed

following his reƟ rement in December 1993, aŌ er 14 highly successful seasons. He also holds the Ɵ tle of ArƟ st-

in-Residence at Tanglewood.

One of America’s best known and most disƟ ncƟ ve arƟ sƟ c voices, Mr. Williams has composed music for many

important cultural and commemoraƟ ve events. “Liberty Fanfare” was composed for the rededicaƟ on of the

Statue of Liberty in 1986. “American Journey,” wriƩ en to celebrate the new millennium and to accompany the

retrospecƟ ve ﬁ lm “The Unﬁ nished Journey” by director Steven Spielberg, was premiered at the “America’s

Millennium” concert in Washington, D.C. on New Year’s Eve, 1999. His orchestral work “Soundings” was

performed at the celebratory opening of Walt Disney Concert Hall in Los Angeles. In the world of sport, he has

contributed musical themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic

Games, and the 1987 InternaƟ onal Summer Games of the Special Olympics. In 2006, Mr. Williams composed the

theme for NBC’s presentaƟ on of “Sunday Night Football.”

Mr. Williams holds honorary degrees from 22 American universiƟ es, including Harvard University, the

Juilliard School, Boston College, Northeastern University, TuŌ s University, Boston University, the New England

Conservatory of Music, the University of MassachuseƩ s at Boston, the Eastman School of Music, the Oberlin

Conservatory of Music, and the University of Southern California. He is a recipient of the 2009 NaƟ onal Medal

of Arts, the highest award given to arƟ sts by the United States Government. In 2020, Mr. Williams received

Spain’s pres

Ɵ gious Princess of Asturias Award for the Arts as well as the Gold Medal from the Royal Philharmonic

Society in the UK. In 2016, he received the 44th Life Achievement Award from the American Film InsƟ tute—the

ﬁ rst composer in history to receive this honor. In 2003, he received the Olympic Order, the IOC’s highest honor,

for his contribuƟ ons to the Olympic movement. He served as the Grand Marshal of the 2004 Rose Parade in

Pasadena and was a recipient of the Kennedy Center Honors in December of that year. In 2018, he received the

Trustees Award from the NaƟ onal Academy of Recording Arts and Sciences. Mr. Williams was inducted into the

American Academy of Arts & Sciences in 2009, and in January of that same year he composed and arranged “Air

and Simple Gi s” especially for the ﬁ rst inaugural ceremony of President Barack Obama. He was awarded an

honorary knighthood of the Bri sh Empire as one of the ﬁ nal awards approved by Her Majesty Queen Elizabeth II.

ANDREW WHITEHURST (Visual Eﬀ ects Supervisor) is an Academy Award®–winning visual eﬀ ects supervisor

with over 20 years of experience in ﬁ lm, commercials and television.

Change to: Whitehurst has worked with director Sam Mendes on the visual eﬀ ects for two James Bond ﬁ lms, ﬁ rst

on “Skyfall” and later on “Spectre.”He earned an Academy Award® and a BAFTA Film Award nomina on for his

work on Alex Garland’s “Ex Machina,” which led to supervising Garland’s next two projects, “Annihila on” and

the mini-series “Devs.” Whitehurst also served as second unit director on “Devs.” In 2008, he had the opportunity

to collaborate with Guillermo del Toro and visual eﬀ ects supervisor Mike Wassel to design and realize the Stone

Giant in “Hellboy II: The Golden Army.”

For more than 30 years as both VFX supervisor and VFX producer KATHY SIEGEL (Visual Eﬀ ects Producer) has

overseen the planning, budge ng, ﬁ lming and crea on of visual eﬀ ects for features, music videos, television

series and award-winning na onal commercials.

She is unique in the current produc on landscape with her vast experience in tradi onal anima on, puppetry,

prac cal eﬀ ects and op cals, as well as modern digital techniques.

Looking for new challenges in her chosen ﬁ eld, Kathy turned feature ﬁ lm VFX producer, moving quickly through

the ranks to VFX produce the cri cally acclaimed “Ford v Ferrari” for producer/writer/director James Mangold.

Her other projects include “Maze Runner: The Death Cure,” both “Thor” and “Captain America: The First Avenger”

for Marvel Studios, as well as season two of “Banshee” for Cinemax.

Trained in the visual arts, music and economics, Siegel came to visual eﬀ ects by chance but ﬁ nds it oﬀ ers the

exact combina on of science, math and art that excites her boundless crea vity.

INDUSTRIAL LIGHT & MAGIC (Visual Eﬀ ects), a division of Lucasﬁ lm Ltd., was founded in 1975. The company

has become synonymous with groundbreaking visual eﬀ ects work and con nues to be a recognized leader in

the ﬁ eld. ILM has opera ons in San Francisco, Singapore, Vancouver, London, Sydney, and Mumbai which work

hand in hand to produce cu ng-edge visual eﬀ ects and anima on for feature ﬁ lms, television, commercials,

themed a rac ons, and immersive entertainment experiences via its award-winning ILM Immersive division.

ILM currently operates state-of-the-art StageCra virtual produc on LED stages in Los Angeles and Vancouver

and constructs bespoke pop-up volumes for produc ons around the world. The company has been awarded 15

Academy Awards® for Best Visual Eﬀ ects and 34 Scien ﬁ c and Technical Achievement Awards by the Academy of

Mo on Picture Arts and Sciences. To learn more, visit ILM online at h p://www.ilm.com.

Oscar® and Academy Award® are the registered trademarks and service marks of the Academy of Mo on Picture Arts and Sciences.

Screen Actors Guild Award® and SAG Award® are the registered trademarks and service marks of Screen Actors Guild™.

Emmy® is the trademark property of the Academy of Television Arts & Sciences and the Na onal Academy of Television Arts & Sciences.

Golden Globe® is the registered trademark and service mark of the Hollywood Foreign Press Associa on.

Tony Award® is a registered trademark and service mark of The American Theatre Wing.