01A_MAHO_PressKit.indd

DEPTH OF FIELD/IMAGEMOVERS

Production

ROBERT ZEMECKIS

Film

Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERT ZEMECKIS

Screenplay by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERT ZEMECKIS &

CHRIS WEITZ

Produced by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREW MIANO

CHRIS WEITZ

Produced by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERT ZEMECKIS

DEREK HOGUE

Executive Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JACK RAPKE

JACQUELINE LEVINE

Executive Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEREMY JOHNS

PAUL WEITZ

Director of Photography . . . . . . . . . . . . . . . . . . . . DON BURGESS, ASC

Production Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . .DOUG CHIANG

STEFAN DECHANT

Film Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JESSE GOLDSMITH

MICK AUDSLEY

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

Music Composed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAN SILVESTRI

Original Songs by . . . . . . . . . . . . . . . . . . . . . . . . . . .ALAN SILVESTRI and

GLEN BALLARD

Visual E ects Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . KEVIN BAILLIE

Visual E ects Producer . . . . . . . . . . . . . . . . . . . . . . . . . . SANDRA SCOTT

Music Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATT SULLIVAN

Casting by . . . . . . . . . . . . . . . . . . . . . . . . . . . . VICTORIA BURROWS, CSA

SCOT BOLAND, CSA

Unit Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID CAIN

Unit Production Manager . . . . . . . . . . . . . . . . . . . . . . . .JEREMY JOHNS

First Assistant Director/Co-Producer . . . . . . . . . . . . . . .LEE GRUMETT

Second Assistant Director . . . . . . . . . . . . . . . . . . . . . . . EMMA HORTON

MPC Visual E ects Supervisor . . . . . . . . . . . . . . . . . . . . . . . .BEN JONES

MPC Animation Supervisors . . . . . . . . . . . . . . .CHRISTOPHE PARADIS

KAVEH RUINTAN

Make-Up and Hair Designer . . . . . . . . . . . . . . . . . . . .JENNY SHIRCORE

Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RANDY THOM

Production Sound Mixer . . . . . . . . . . . . . . . . . . . . . . . . JOHN MIDGLEY

Based on Disney’s Animated Classic

and “The Adventures of Pinocchio” by . . . . . . . . . . . CARLO COLLODI

CAST

Jiminy Cricket . . . . . . . . . . . . . . . . . . . . . . . . . .JOSEPH GORDON-LEVITT

Geppetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM HANKS

Pinocchio . . . . . . . . . . . . . . . . . . . . . . . . . BENJAMIN EVAN AINSWORTH

Signore Rizzi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANGUS WRIGHT

Blue Fairy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CYNTHIA ERIVO

Signora Vitelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHEILA ATIM

So a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LORRAINE BRACCO

Honest John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEEGAN-MICHAEL KEY

Headmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMIE DEMETRIOU

Stromboli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GUISEPPE BATTISTON

Fabiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KYANNE LAMAYA

Sabina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAQUITA TA’LE

Lampwick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEWIN LLOYD

Coachman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LUKE EVANS

Pleasure Island Troupe

ADELAIDE BARHAM POPPY BLACKWOOD

KATIE BOOTHROYD LUCY BOOTHROYD

LOUISA BOYD LESLIE TYNE BURGESS

VERITY CONSTANTINOU SYLVIE COTTERELL

PHOEBE DAVIES MEMPHIS-LEE DIXON

JOSEPH DUFFY TALIA ETHERINGTON

AIMEE ENEJO FELIX FEWELL RUSSELL

DARCEY FOSTER BEN GEORGE

JACK GRANT BARNEY HARPER

AYLA HOOPER DEAN JOHNSON

LEILA JOHNSON ISLA KING

JAXON KNOPF KEIR LOUGHRAN

OSCAR LOUGHRAN ANYA LUCKER

HARRISON MACKINNON POPPY MARDLIN

IMOGEN MAYNARD SEBASTIAN MCDONOUGH

RUBY MIDDLETON ABENI MUNRO

SAMUEL NEWBY KHEIRI ISSAC OMANI

AMIRA PIDDINGTON MAX POWERS-JONES

ELLA ROBERTSON SOPHIE ROSCOE

ETHAN SEY SEBASTIAN SHOTLIFF

FRED SWEETMAN SOPHIA SYMONDSON-CANN

EVIE TEMPLETON CONALL TURNER

STANLEY VOSS LOUIS WAKELING

CALISTA WALTERS EDWARD WALTON

NATHAN WHALE FRED WILCOX

SAM WINSER THEO WYATT

Lead Puppeteer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RONNIE LE DREW

Puppeteers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CESARE MASCHI

STAN MIDDLETON

JENNIE RAWLING

ROB SHIELS

SOLEDAD ZÅRATE

Loop Group

PETER ARPESELLA EMMA BERMAN

MIA BULDINI LORENZO CACCIALANZA

HUDSON D’ANDREA CHARLIE ELLIS

FRANCESCA FANTI ELISA GABRIELLI

ELIAS JANSEN LIAM KYLE

ASHLEY LAMBERT SERAFINO MANETTI

TENZ MCCALL LEONARD MEDICI

LUCA MEDICI DINA MORRONE

GIADA MUSUMECI LILY OLIVER

JIM PIRRI EMMA SHOMER

LILY VILLEGAS MATT WOLF

Consulting Stunt Coordinator . . . . . . . . . . . . . . . . . EUNICE HUTHART

Co Stunt Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL LOWE

Head Stunt Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LEOS STRANSKY

Stunts JACINTA CRAIG

JAMES HARRIS

DANIEL RAWLINS

DOUGLAS ROBSON

DAMIEN WALTERS

Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FRANCESCA JAYNES

Assistant Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . .DALE MERCER

Co-Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAN BALGOYEN

Production Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATIE BYLES

Financial Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . SEAMUS DEVINE

1st Assistant Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTI LEFTWICH

Assistant Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DIANA YIP

VFX Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEREMY BRADLEY

PAUL PARSONS

UK First Assistant Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . PANI SCOTT

TONY TROMPETTO

EDWARD JOHNS

SARAH BOWDEN

UK Second Assistant Editors . . . . . . . . . . . . . . ANNA KORONKIEWICZ

JAMIE STAGG

Post-Production Assistants . . . . . . . . . . . . . . . . . .KEENAN MCGUCKIN

ZANE ZEMECKIS

Visual E ects Production Managers . . . . . . . . FRANCESCA MANCINI

JENNA KERR

Virtual Production Supervisor . . . . . . . . . . . . . . . . . . . . . . . JOHN ROOT

Visual E ects Coordinator . . . . . . . . . . . . . . . . . . . . . . MARISA PERKINS

Visual E ects Assistant Coordinator . . . . . . . . . . . . . . . . . . . JAMES LEE

Visual E ects Production Assistant . . . . . . . . . . . . . . . . CHRIS COOPER

Supervising Art Directors . . . . . . . . . . . . . . . . . . . . . . DOUG MEERDINK

ASHLEY LAMONT

Senior Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREW PALMER

Art Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLIVIA MUGGLETON

STEPHEN SWAIN

Assistant Art Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JELLE REBRY

ELICIA SCALES

Standby Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . .PIERRE FARINOLE

Senior Draughtsperson . . . . . . . . . . . . . . . . . . . . . . . . . OLIVER ROBERTS

Draughtspersons . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GREIG COCKBURN

MADELEINE DYMOND

IDA GRUNDSOEE

MIRANDA KEEBLE

Junior Draughtspersons . . . . . . . . . . . . . . . . . . . . . . . MATTHEW NAISH

KITTY PARKINSON

MELISSA WOOD

Art Department Coordinator . . . . . . . . . . . . . . . . . . GEORGIA WALKER

Digital Asset Manager . . . . . . . . . . . . . . . . . . . . . . . JESSICA PATTINSON

Art Department Assistants . . . . . . . . . . . . . . . . . . . . .JESS ROBERTSON

SORREL RICHARDSON

Art Department Trainee . . . . . . . . . . . . . . . . . . . . EUNICE NADDAMBA

Set Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PATRICK DUNN-BAKER

DANIELA MEDEIROS

RON MENDELL

TRINH VU

JANE WUU

VAD Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VLAD BINA

Concept Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG SELLARS

RODOLFO DAMAGGIO

WIL MADOC REES

NATHAN SCHROEDER

Graphic Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KAREN TENEYCK

JUSTIN ELTERMAIL

Model Makers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN ENGLE

TRAVIS WITKOWSKI

Storyboard Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PHILLIP KELLER

DANIEL LIM

KEN PERKINS

OLIVER THOMAS

BILL THOMPSON

Art Department Coordinator . . . . . . . . . . . . . . . . . . . . . . JOSH DOBKIN

Digital Asset Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHASE KLIBER

Researcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL MADORE

Art Department Assistant . . . . . . . . . . . . . . . . . . . . . . . DENISE ACOSTA

Key Concept Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICHARD LIM

AARON MCBRIDE

Concept Artists

CHRISTIAN ALZMANN ERIK TIEMENS

RENE GARCIA RYAN CHURCH

KATARINA KUSHIN BRIAN MATYAS

BRETT NORTHCUTT TONY MCVEY

Concept Production Manager . . . . . . . . . . . . . . . . .MICHELLE THIEME

Concept Coordinator . . . . . . . . . . . . . . . . . . . MADELEINE SANDROLINI

Researcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PHIL SZOSTAK

Set Decorator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TINA JONES

Production Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . DOROTHY SULLIVAN

Assistant Set Decorator. . . . . . . . . . . . . . . . . . . . . . . . . DANIEL VINCENT

Assistant Production Buyers . . . . . . . . . . . . . . . . . . . LUCIE BOURGEAU

ANNE-MARIE MINTY

Petty Cash Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAISY BRADLEY

Lead Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . KELLIE WAUGH

Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH PASQUALI

Assistant Graphic Designers . . . . . . . . . . . . . . . . . . . . . . JULES GAWLIK

MATTHEW CLARK

CAMISE OLDFIELD

Set Dec Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GLENN MARSH

III

Assistant Set Dec Art Director . . . . . . . . . . . . . . . . . OLIVER WILLIAMS

Junior Assistant Set Dec Art Director . . . . . . . . . . . . . . . . . . . ROB KING

Senior Drapesmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT ASKEY

Drapesperson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELIZABETH RIPPEN

Scenic Prop Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM WEBB

Set Dec Concept Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LEE OLIVER

CHRIS WILDGOOSE

Set Dec Draughtsperson . . . . . . . . . . . . . . . . . . . . . . . . . . .STEVE DRING

Set Dec/Prop Coordinator . . . . . . . . . . . . . . . . . . . . . . SOPHIE WORLEY

Set Dec Runner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEORGE COUCH

Home Economists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LISA HEATHCOTE

CATHERINE KUNZIG-MURPHY

ANTHONY VAN DE ENDE

Costume Supervisor . . . . . . . . . . . . . . . . . . .BRENDAN HANDSCOMBE

Assistant Costume Designer . . . . . . . . . . . . . . . . . . . . . . . LAURA SMITH

Costume Coordinator . . . . . . . . . . . . . . . . . . . . . . . . JOANNA BRADLEY

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

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

Chief Costume Cutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LUCY DENNY

Puppet Costume Cutter . . . . . . . . . . . . . . . . . . . . . . . . . . . JANET BURNS

Chief Textile Artist . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL MCNAMARA

Textile Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HANNAH FREW

ISABELLA GIBBS

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

EMMA HEATH

Costumer for Mr. Hanks . . . . . . . . . . . . . . . . MARCO DE MAGALHAES

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

Puppet Costumer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ALAN MURPHY

Key Crowd Costumer . . . . . . . . . . . . . . . . . . . . . . . . . . . EMMA HARDING

Crowd Costumers . . . . . . . . . . . . . . . . . . . . . . . . . . . FRANK GALLACHER

CAROLYN HANDSCOMBE

JACKSON SOAR

Costume Makers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JODIE BELL

ROSIE COPPOLA

JULIE NETHERCOAT

KAROLYN REECE

Crowd Alterations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROSIE NEATE

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

Costume Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EMILY CHUNG

EMMA DEGUARA

TANJA JOVICEVIC

Trainee Workroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROSY RUDKIN

Hair & Make-Up Supervisor . . . . . . . . . . . . . . . . . . . . . . . . SARAH KELLY

Crowd Hair & Make-Up Supervisor . . . . . . . . . . . . . . . . JULIA VERNON

Hair & Makeup Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM BEAR

Ms. Erivo’s Make-Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . TERRELL MULLIN

Ms. Erivo’s Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COREE MORENO

Crowd Hair & Makeup Artists . . . . . . . . . . . . . . . . . . . . . . . ZOE BROWN

MARALYN SHERMAN

Hair & Makeup Juniors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RIA KNOLL

EMILY AHERNE

ANASTASIA STOREY

Hair & Makeup Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSE COLE

HONOR CONNOLLY

MOLLY PAYNE

Camera Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . .PETER WILKE, SOC

GRAHAM ‘ALBERT’ HALL

Technodolly Operator . . . . . . . . . . . . . . . . . . . . . . .ANTHONY JACQUES

First Assistant Camera . . . . . . . . . . . . . . . . . . . . . . . . JULIAN BUCKNALL

IAN JACKSON

Second Assistant Camera . . . . . . . . . . . . . . . . . . . . . . . . ALEX COLLINGS

ANDY JONES

Central Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NICK POOLE

Camera Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HAYDEN HILL

Digital Imaging Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOE STEEL

Data Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GLYN WILLIAMS

DIT Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARA REISER

Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LIZZIE PRITCHARD

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

Video Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES EDGCOMBE

Video Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SAM LOUKA

Video Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RICKY KIRBY

Protools Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER CLARKE

First Assistant Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . HOWARD BEVAN

DASH MASON-MALIK

Second Assistant Sound . . . . . . . . . . . . . . . . . . . . . . . CHARLOTTE GRAY

Sound Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LUKE BRICKLEY

Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PERRY EVANS

Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RICKY PATTENDEN

Chargehand Floor Electrician . . . . . . . . . . . . . . . . . . . . . . GEORGE BIRD

Desk Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELIOT COULTER

Rigging Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WARREN EVANS

Chargehand Rigging Electrician . . . . . . . . . . . .MARK ‘GIFFER’ EVANS

Electricians

CHARLIE BELL MARK CLARK

MAX PERKINS PAUL MIDDLETON

GEORGE WORLEY RON SHANE

HOD Electrical Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAIN LOWE

Supervising Electrical Rigger . . . . . . . . . . . . . . . . PETER ARMSTRONG

Chargehand Electrical Rigger . . . . . . . . . . . . . . . . . . . . . . . . . JIM BUSBY

Electrical Riggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TERRY RICHARDS

HARRY WALKER

HOD Practical Electrician . . . . . . . . . . . . . . . . . . MICHAEL HANRAHAN

Standby Practical Electrician . . . . . . . . . . . . . . ANDREW THEODOROU

Practical Electricians . . . . . . . . . . . . . . . . . . . . . . . . . . . WARREN DAVIES

RYAN HANRAHAN

Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE ELLINGWORTH

Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETE HAYLEY-BARKER

A Cam Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KENNY MUSSON

B Cam Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUKE OLIVER

Crane Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM HEMINGWAY

Trainee Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KELT SAUNDERS

Crane Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . RUSSELL O’CONNOR

CLIVE TOCHER

Libra Head Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . MIHAI NEGOITA

RYAN TURNER

Technodolly Technician . . . . . . . . . . . . . . . . . . . . . . . . . . JAMIE TOCHER

KES THORNLEY

Standby Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER STEWARD

Standby Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JACK CONNOLLY

Standby Stagehand . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARK METCALFE

Standby Plasterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DARRELL WEST

Standby Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RYAN WILLCOX

Standby Bluescreen Riggers . . . . . . . . . . . . . . . . . . . . . . . .BEN MURRAY

ROSS SEARS

PETER DELL

Prop Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HAJDUKIEWICZ

Assistant Prop Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NICK MILNER

Prop Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN COOPER

Action Prop Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . SAMANTHA SUSSEX

Petty Cash Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MAGEE

Prop Storeman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANNY WINSHIP

Assistant Prop Storeman . . . . . . . . . . . . . . . . . . . . . . . . . . MARK EARLES

Supervising Standby Propman . . . . . . . . . . . . . . . . . . GARY DAWSON

Chargehand Standby Propman . . . . . . . . . . . . . . . . . . . .JEV EDWARDS

Trainee Standby Propman . . . . . . . . . . . . . . . . . . . . . JACOB EDWARDS

Supervising Prop Painter . . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL COUCH

Senior Prop Painter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLIE COUCH

Chargehand Dressing Propmen . . . . . . . . . . . . . . . . . . .GAVIN GRANT

PAUL WOOD

Dressing Propmen . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY HARDWICK

JAKE ASKEY

MARK HOLMES

DAN MCCARTHY

Junior Dressing Propmen. . . . . . . . . . . . . . . . . . . . . . . . . . LEWIS CURTIS

LUKE COSSTICK

Prop Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER HURST

Trainee Dressing Propmen . . . . . . . . . . . . . . . . . . . . . . . JOHN HADLEY

ELIZABETH HAJDUKIEWICZ

THOMAS NICHOLAS

CHARLIE SHUREY

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

Assistant HOD Prop Modeller . . . . . . . . . . . . . . . . . . . . .CLINT WHELAN

Prop Making Buyer/Coordinator . . . . . . . . . . . . . . . . . . VICKY RHODES

Senior Prop Modellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . SACHA CHOAT

ANDY COLQUHOUN

NICHOLAS GIRARD

CRAIG GUINAN

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

Junior 3D Prop Modeller . . . . . . . . . . . TRAVIS GUNNING-ANDREWS

Prop Modellers

CLEMENCY BUNN LAURIE CHARLESTON

ROB HAYWARD STEVE HAGON

JAMIE KNIGHT LESLIE LOVELACE

SAM NICHOLSON LUKE PRESTON

CODRINA SPATARU GUY STEVENS

BETH WIDDICOMBE

Mid Prop Modellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM HADDON

ANDREW HUGHES

MARIA SLATER

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

EMILY PARKER

SAFFRON KILDEN

AILISH UNDERWOOD

Puppet & Character Reference Supervisor . . . . . . . . . . DAVE ASLING

Puppet Fabrication & Lead Painter . . . . . . . . . . . . . . .KELSEY HUNTER

Puppet Fabrication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN RECORD

CNC Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICK MANN

Reference Sphere Fabrication. . . . . . . . . . . . . . . . . . . . RICK LAZZARINI

Synthetic Fur Technicians . . . . . . . . . . . . . . . . . . . . . . . . .DEBRA GALVEZ

VAL CRAWFORD

Puppetry Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATE KATZ

Special E ects Supervisor . . . . . . . . . . . . . . . . . . . .ALISTAIR WILLIAMS

Assistant SFX Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . PETE BRITTEN

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

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

SFX Buyer/Coordinator . . . . . . . . . . . . . . . . . . . . . . . CARMILA GITTENS

SFX Health & Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KEVIN MCGILL

SFX Design Lead . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ALEXANDER FABRE

SFX Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROLLO COOPER

SFX Modeller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EDDIE TYCER

Lead Senior SFX Technicians . . . . . . . . . . . . . . . ROBIN SCHOONRAAD

SCOTT STEPHENS

Senior SFX Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN PILGRIM

KEVIN SKEHAN

JON TIMLIN

CHARLES TYCER

SFX Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEON CALLARD

AARON CROWE

HARRY EVES

CALUM SINCLAIR

JOE WHITE

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

WILLIAM HOSKINS

LEE WOOD

Assistant SFX Technicians

DARREN ANDREE SAM BATCHELOR

NICK CHURCHILL ROB EVES

BEN EMBER LUKE LALLY

AARON STREET TOM WHEELER

SFX Trainees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HAMISH FARRANT

TOM HARDWICK

SFX O ce Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . .MEGAN WILLIAMS

Production Coordinator . . . . . . . . . . . . . . . . . . . . DANIELLE STANNERS

Assistant Production Coordinator . . . . . . . . . . . . HAYLEIGH ROBERTS

Travel & Accommodation Coordinator . . . . . . .LAUREN BRODERICK

Assets Coordinator . . . . . . . . . . . . . . . . . . . . . . MARIA PIA FANIGLIULIO

Production Secretaries . . . . . . . . . . . . . . . . . . . . . . . . BETH HIGGINSON

CHRISTIAN FIELD

Production Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . JASPAR KENTON

EMILY PHILLIPS

Production Support . . . . . . . . . . . . . . . . . . . . . . . . . NEAL ‘NELLY’ HURST

US Production Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ALICE KIM

US Production Coordinator . . . . . . . . . . . . . . . . RYCE HETHERINGTON

US Production Intern . . . . . . . . . . . . . . . . . . . CAMERON MCGUINNESS

Studio Unit Manager . . . . . . . . . . . . . . . . . . . . .MICHAEL MCDERMOTT

Studio Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUCY HENO

HARRISON CUNLIFFE

Studio Unit Marshalls . . . . . . . . . . . . . . . . . . . . . . . . . . HARVEY BOYLES

TOM FRANKLIN

NISH SENTHI

Studio Unit Lock O Marshalls . . . . . . . . . . . . . . . . . . . RYAN AUGUSTE

BETHANY CHEATLE

HEATHER DODSON

GAVIN MUKERJI

TOMMY SHACKLES

Environmental Coordinator . . . . . . . . . . . . . . . . . . . AUDREY CAPOUL

Environmental PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KAYLEE GALVAO

Production IT Support . . . . . . . . . . . . . . . PRECIOUS DICKSON-ODEMI

Floor Second Assistant Director . . . . . . . . . . . . . . . . . . . . . . JAMES REID

Crowd Second Assistant Director . . . . . . . . . . . . . . . . .JAMES CHASEY

Third Assistant Director . . . . . . . . . . . . . . . . . . . . . . MACCY MONTERO

Crowd Third Assistant Director . . . . . . . . . . . . . . . . . . . . TALAR BAKER

Base PA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LAURA BRIGGS

Cast PAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JACK MILLAR

PAUL PATTISON

Set PAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEKKO BATOCTOY

KIT GREENGRASS

THOMAS NEALE

Crowd PAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CALLUM DAWSON

MARIA STAMATAKOS

TINA VIDMAR

Lock O PAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CONNOR BENSLEY

VICTORIA COOK

JAMES CROSS

PAOLA GONZALEZ

Cast Reader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HELENA WILSON

Stand Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN HANNEN

EDMUND SAGE-GREEN

Assistants to Mr. Zemeckis . . . . . . . . . . . . . . . . . . . . . . MONIQUE PEREZ

CLAUDIA LEE

Assistant to Mr. Miano & Mr. Hogue . . . . . . . . . . . . . .JACOB NIZZOLA

Assistant to Mr. Johns . . . . . . . . . . . . . . . . . . . . . . .AISLING CHEESMAN

Assistant to Mr. Rapke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISAAC LILY

Assistant to Ms. Levine . . . . . . . . . . . . . . . . . . . . . . . . . . CASEY MALONE

Assistant to Mr. Hanks . . . . . . . . . . . . . . . . . . . . . . . ALLISON DIAMOND

Security to Mr. Hanks . . . . . . . . . . . . . . . RON DICKERSON EASTMAN II

Assistant to Mr. Evans . . . . . . . . . . . . . . . . . . . . . . . .JAMIE SIVEWRIGHT

UK Production Accountant . . . . . . . . . . . . . OLA KAMINSKA-OMOZIK

US Production Accountant . . . . . . . . . . . . . . . . .KIMBERLY ROBINSON

Head of Accounts Payable . . . . . . . . . . . . . . . PAMELA MCCAUGHRAN

Assistant Accountants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GERI BEEKS

VIKETA KAMDAR

NOWRIN RAHMAN

ROISIN STEVENSON

Construction Accountant . . . . . . . . . . . . . . . . . . . . . . . DAVID JACKSON

Assistant Construction Accountant . . . . . . . . . . . GREG SCHROEDER

Supervising Payroll Accountant . . . . . . . . . . . . . . . . . . . . . ZOË GEVERS

Payroll Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES RICE

Assistant Payroll Accountant . . . . . . . . . . . . . . . . . . ROBYN HOUSTON

Payroll Clerk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SAMANTHA LEE KELLY

Post Production Accountant . . . . . . . . . . . . KATHY ROSE-REMLINGER

Assistant Post Production Accountant . . . . . . . . . . . .LUCY AMADOR

Post Production Payroll Accountant. . . . . . . . . ANGELA RANDAZZO

Construction Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN KIRSOP

Construction Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL HAYES

Construction Coordinators . . . . . . . . . . . . . . . . . . . . . NICOLE KEATING

VALENTINA BORFECCHIA

Construction Buyers . . . . . . . . . . . . . . . . . . . . . . . . . . STUART BRADLEY

JOSHUA SWORDS

HOD Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . IGNACIO SANTEUGINI

Supervising Carpenters . . . . . . . . . . . . . . . . . . . . . . .LAURENCE BURNS

MARK SEATH

Chargehand Carpenters . . . . . . . . . . . . . . . . . .ANTHONY CHALLENOR

TOM DARK

DAMIAN KEOGH

JAMIE WHITE

Carpenters

WAYNE ADAMS SIMON ATKINSON

TOM BELL MICHAEL BIGMORE

JAMES BLISHEN DANIEL BURNS

DANIEL CALAM DAMIEN CONWAY

GARY DARWOOD LEE DEANE

ROSS DEVINE PIETRO GIMMI

PERRY GOULD SHANE GOULD

CLIVE GROVE CONOR HAYES

AARON HIND CAMERON LOVETT

MARK MILLER TONY MOOR

GARETH NEWELL RAY NORRIS

MARK RAY LEE REGAN

MARK SARSFIELD PHILLIP SEAGROVE

BRADLEY SNELLING TOM WRIGHT

Improver Carpenters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSH CAREY

SAMUEL GILHAM

ZACH HOWELL-WHITE

Supervising Electrician . . . . . . . . . . . . . . . . . . . . . . .GEORGE FRANKLIN

Supervising Machinists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM ROCHE

STEVE HUBBUCKS

HOD Metal Worker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KEVIN NUGENT

Metal Worker’s Labourer . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL VERNEY

HOD Plasterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARTIN MORAN

Supervising Plasterers . . . . . . . . . . . . . . . . . . . . . DARREN BLANCHARD

MORGAN MORAN

Chargehand Plasterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LUKE SCOTT

Plasterers

BRETT ANSELL JASON BLAND

NEIL BUTCHER TONY COCKS

DEAN CORK BRANDON DOUBLEDAY

MARTYN GILL PAUL GLEED

RANDAL JARDINE STEVE JOHNSON

DAMON MCCARROLL SIMON MILEHAM

DARYL MOORE IAN MURPHY

JOE NEEDHAM MICHAEL NEMAR

STEPHEN PACEY SAM PRATCHETT

MITCHELL POPE TERRY SEAWARD

TERRY SIBLEY DAVID SIMAO

PAUL SMITH

Improver Plasterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HARRY GOBLE

Plasterer’s Labourers . . . . . . . . . . . . . . . . . . . . . . . . BARRY MCDONALD

DAVID MCCARTHY

MASON HAZELL

Third Year Trainee Plasterer . . . . . . . . . . . . . . . . . . . . . . .JON RYAN-GILL

HOD Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY CHALLIS

Supervising Health & Safety Rigger . . . . . . . . . . . . . . . . . GARY GOBLE

Chargehand Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GRAHAM LUKE

Riggers

CONNOR BOYD-BARNES ADAM BRADY

STUART BRADY NEIL ECKERSLEY

CHRIS FURNISS JONJO HURLEY

STEVE KILBEE SCOTT NORTON

JACK QUELCH

HOD Scenic Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL WHITELOCK

Supervising Scenic Painter . . . . . . . . . . . . . . . . . . . . . . . ANDY HARVEY

Chargehand Scenic Painters . . . . . . . . . . . . . . . . . . . . . . . .DAN WALTER

MITCH COOPER

Scenic Painters

PETER BLACK MITCHELL BROAD

JOHN CHANEY ASHLEY DALLIMORE

SEAN HARVEY ADAM HYDE

TOM MENDRYS LUKE NOBLE

DAVE O’CONNOR BEN STAFFORD

RICHARD WRIGHT

Scene Painter/Sprayer . . . . . . . . . . . . . . . . . . . . . . . . STEVEN FULLAGAR

Improver Scenic Painter . . . . . . . . . . . . . . . . . . . . STEVEN NEIGHBOUR

First Year Trainee Scenic Painter . . . . . . . . . . . . . . . .FREDERICK ADLER

Chargehand Painter’s Labourer . . . . . . . . . . . . . . . . . . . . . PAUL CAREY

Scenic Painter’s Labourer . . . . . . . . . . . . . . . . . . . . . . . . . . BARRY WITTS

HOD Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID HODGES

Supervising Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN JOHNSON

Sculptors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID FENEMORE-JONES

TOM SMITH

HOD Stagehand . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE BOVINGDON

Supervising Stagehand NVQ . . . . . . . . . . . . . . . . . . . . . . LEE STACHINI

Stagehand NVQs . . . . . . . . . . . . . . . . . . . . . . . . . DANNY CHAMBERLAIN

STEVE MATTHEWS

MAX STACHINI

Stagehand Labourers . . . . . . . . . . . . . . . . . . . . . . . . CALLUM BALDOCK

DANIEL SILLS

LEONARD STEWART

HOD Greens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PETER HOOPER

Greens Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEZ GAVIN

Greens Coordinator/Buyers . . . . . . . . . . . . . . . . . . . . JUSTIN RICHARDS

DARREN HOWARD

Greens Chargehand . . . . . . . . . . . . . . . . . . . . . . . . . . . BETHANY SPENCE

Greens Lead Standby. . . . . . . . . . . . . . . . . . . . . . . .BENITO CAVALLARO

Greens Standby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER DAW

Lead Greensman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CALLUM DAVISON

Greensmen

TARAS BAC VANESSA BRUNGLINGHAUS

RICHARD CARON RICHARD HARVEY

CONNAR STEPHENS GEORGINA WHETSTONE

Plantsman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KEVIN WENSLEY

Greens Painter/Modeller . . . . . . . . . . . . . . . . . . . . .ANDREA MARSDEN

Unit Publicist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LINDA GAMBLE

Still Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . .PETER MOUNTAIN

Transport Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHLOE DICOCCO

Transport Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JENI MEREDITH

Casting UK . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERT STERNE, CSA, CDG

Casting Associate US . . . . . . . . . . . . . . . . . . . . . . . . . . LARA BOUSHEHRI

Casting Assistant US . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BETH RYNE

Casting Assistant UK . . . . . . . . . . . . . . . . . . . . .CHARLOTTE CHAPMAN

Extras Casting . . . . . . . . . . . . . . . . . . . . . . . . .THE CASTING COLLECTIVE

SALLY KING CASTING

Sabina Voice Casting . . . . . . . . . . . . . . . . . . . . MICAH DAHLBERG, CSA

ADR Voice Casting, R.A.W. . . . . . . . . . . . . . . . . . . . . . ASHLEY LAMBERT

ARIANNA TRAMES

Dialect Coach . . . . . . . . . . . . . . . . . . . . . . . . . . SANDRA BUTTERWORTH

Dance Tutor . . . . . . . . . . . . . . . . . . . . . . . . . . .AMANDA CONSTANTINOU

Singing Tutor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NATALIE POWERS

School Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN ODWELL

Production Safety Advisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK LOVE

Managers, Health & Safety (US) . . . . . . . . . . . . . . . . . . . . . JON SNYDER

AMY LARSEN

Unit Manager – Testing . . . . . . . . . . . . . . . . . . . . . . . . . . . MAJA VUJEVIC

Testing Coordinator . . . . . . . . . . . . . . . . . . . . . . . JULIA GOITIA MAÑON

Health & Safety Marshall . . . . . . . . . . . . . . . . . . . . . . . CHARLIE DUNNE

Unit Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RACHEL KING

Security Coordinator . . . . . . . . . . . . . . . . .ALECIA EMERSON-THOMAS

Security Provider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LOCATION SECURE

Caterers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RED CHUTNEY

Music Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF CARSON

STEPHEN DURKEE

CHARLES MARTIN INOUYE

Songs Produced by . . . . . . . . ALAN SILVESTRI AND GLEN BALLARD

Associate Music Supervisor . . . . . . . . . . . . . . . . . . . . . . . JAMES TAYLOR

Scoring Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID BIFANO

Scoring Production Assistant . . . . . . . . . . . . . . . . . . . . JAMES FINDLAY

Orchestrated and Conducted by . . . . . . . . . . . . . . . . . MARK GRAHAM

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

Score Mixed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DENNIS SANDS

Score Mixed at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SOUND WAVES SB

Score Recorded by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER COBBIN

Score Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ABBEY ROAD

UK Mobile Recording Studio . . . . . . . . . SPIRITLAND PRODUCTIONS

Scoring Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KIRSTY WHALLEY

Digital Recordist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM OLMSTED

Orchestra

Contractor . . . . . . . . . . . LUCY WHALLEY FOR ISOBEL GRIFFITHS LTD.

Post-Production Sound Services by

SKYWALKER SOUND

A LUCASFILM LTD. COMPANY

Marin County, California

Supervising Sound Editor . . . . . . . . . . . . . . .BJØRN OLE SCHROEDER

Supervising Sound Editor/

Additional Re-Recording Mixer . . . . . . . . . . . . . . . . . . . LEFF LEFFERTS

Re-Recording Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RANDY THOM

GARY A. RIZZO CAS

Sound E ects Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MALCOLM FIFE

PASCAL GARNEAU

TERESA ECKTON

GOEUN EVERETT

ADR Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES SPENCER

Foley Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER MANNING

CHRIS FRAZIER

DEE SELBY

Apprentice Sound Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . ALLISON NG

Foley Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN ROESCH, M.P.S.E.

SHELLEY RODEN, M.P.S.E.

Foley Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SCOTT CURTIS

Assistant Re-Recording Mixer . . . . . . . . . . . . . . . . . . . ROBERT COOPER

ADR Mixers

DOC KANE MARK APPLEBY

SIMON DIGGINS JAMISON RABBE

PARKER LYONS CYNTHIA DANIELS

TROY KELLY NICK ROBERTS

JEFF HINTON CHARLEEN RICHARDS-STEEVES

CRISTIANO LELLINI HOWARD JOHN YOUNG

VII

ADR Recordists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BRETT VOSS

JESSE JOHNSTONE

Engineering Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . DUSTY JERMIER

Digital Editorial Support . . . . . . . . . . . . . . . . . . . . . . . DANNY CACCAVO

Post-Production Sound Accountant . . . . . . . . . . . . . . . .CATHY SHIRK

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

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

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

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

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

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

SECOND UNIT

2nd Unit Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEVIN BAILLIE

First Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM SMITH

Director of Photography . . . . . . . . . . . . . . . . . . . . . . . . .MATT WINDON

Second Assistant Director . . . . . . . . . . . . . . . . . . . . . . . TOM WESTGATE

Set PAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IZZY COSGRAVE

BONNIE HAY

SEAN HIND

Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROWENA LADBURY

Camera Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES FRATER

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

BEN ADEFARASIN

Second Assistant Camera . . . . . . . . . . . . . . . . . . . . . . . DAMON SEWELL

ANDRES CLARIDGE

Camera Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLIE TIERNEY

DIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HOWARD COLIN

DIT Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BETHAN BREAN

Sound Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL PARAGON

First Assistant Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEE JAMES

Second Assistant Sound . . . . . . . . . . . . . . . . . . . . . . . . . KIRSTY WRIGHT

Video Operator . . . . . . . . . . . . . . . . . . . MISCHA CHALEYER-KNASTON

Video Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAMES BURNS

Ga er . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARK ‘ROCKY’ EVANS

Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ELLIOT THOMAS

Electricians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL BUTLER

JACK GEDDES-HOPKINS

MICHAEL HILL

THOMAS MOSS

Desk Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EUAN ODD

Standby Practical Electrician . . . . . . . . . . . . . . . . . . . .NICK WOOLLARD

Electrical Riggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RICHARD HAYDEN

MICHAEL ROLLS

Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE WELLS

Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MACK BEHAN

B Camera Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM CRITCHELL

Crane Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG SHIELS

Trainee Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BUZZ CRITCHELL

Crane Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COLIN HAZELL

Libra Head Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE TULETT

Standby Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATT BAILEY

Standby Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAY BURR

Standby Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN DINSEY

Standby Stagehand . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID ROBERTS

Standby Bluescreen Riggers . . . . . . . . . . . . . . . . . .RICKY MCDONAGH

ROBERT MCDONAGH

RYAN MCDONAGH

TONY TRUFITT

Standby Art Director . . . . . . . . . . . . . . . . . . . .MALIKAH AL MAGHRABI

Supervising Standby Propman . . . . . . . . . . . . . . . . . . . . JAMIE EGNER

Chargehand Standby Propman . . . . . . . . . . . . . . . . ADAM ROBINSON

VISUAL EFFECTS

VFX Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALI PAK

VFX Assistant Coordinator . . . . . JANNIK CHOWDHARY-KUCZYNSKI

2nd Unit VFX Supervisor/Lead Data Wrangler . . . . GILES HARDING

VFX Data Wrangler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID JACKSON

Assistant VFX Data Wranglers . . . . . . . . . . . . . CALLUM RUDDLESTON

JOEL ITSHINDO

Witness Cam Operators . . . . . . . . . . . . . . . . . . . . . . . HANNA PIKULSKA

VANIA FLACCOMIO

VFX Production Assistant . . . . . . . . . . . . . . . . . . . . . .MISHAAL MEMON

Visual E ects by

MPC

Visual E ects Producer . . . . . . . . . . . . . . . . . . . . . . . SARAH MOUSSAIF

Digital E ect Supervisor . . . . . . . . . . . . . . . . . . . . . . . . MICHELE ALESSI

CG Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . ALESSANDRO SABBIONI

JAMES RUSTAD

ERIK GONZALEZ

MANNIVANAN MADHESAN

Asset Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GILES DAVIES

ARAVIND BHAT

AMIT KUMAR SHARMA

Additional Supervision . . . . . . . . . . . . . . . . . . . . . . . . .ETIENNE DAIGLE

Environment Supervisors . . . . . . . . . . . . . . . . . . . . . . . THIERRY HAMEL

MARC JOUBERTNEDERVEEN

2D Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SANDESH R

WINEETH WILSON

Visual E ects Production Managers

LAMA HODEIB ANURADHA BEHERA

AMITA MALIAKKAL IZABELLA MAYUMI MATSUMOTO

SRINIVAS JANAPATI BENJAMIN EDWARD HAMMONS

SANDRA PATRAO

Visual E ects Executive Producers . . . . . . . . . .CHRISTINA GRAHAM

TOM WILLIAMS

CHRISTIAN ROBERTON

SIOBHAN BENTLEY

VIRENDRA CHAUHAN

VFX Production

KAMAL AL GHORAYEB EMMA BAKER

VARSHA BHARAT KABRA GAURAV BORUAH

CHRISTOPHER CAYENCYR LUCAS CONSENTINO

TEAGAN CORZAON BIANCA DEBBANE

GRACE DUERN TORY DUNLOP

AMARNATH ELLAVALLIE AALEAH HARRIS

BEN HARRISSON ALISHA HUXTABLE

EARL JOHN MECHAVEZ SOWMYA K

BENEDICT KAZEMI ANGE LABBEDULUBE

JON LOKONGA ANJUSHA M

YASHODA M PAI SWETHA MADHAVAN

ALEXANDRE MARTIN MARTA MATUSZEWSKA

SOPHIE MCDONALD ELIZABETH MRAD

DAKSHATA NAGVEKAR PETER O DONOHUGHE

CHAITALI PATIL SACHIN PAUL MATHEW

ERIKA PEREZ MORENO KUNAL PRADIP JAGTAP

VIII

SHIVANI R SANAT RAMESH

MARIACLAUDIA RAMOS NOEL ROHIT THOMAS

ARYA S. MENON SOMA SAHA

SHASHIDHAR SANGAPPA KARINDI SHVETA SUDHANSHU

GRACE SUMANA PANDIT SHANTANU SHARMA

ADRIEN TORGINA SAURAV VARMA BR

ZACHARY WISE PRONOY TARAFDAR

Lead Digital Artists

HAFFIZ ANWAR FERNANDO ARBELAEZ

SAM BERRY BHUPESH BHARBAT

KARTHIK BHARDWAJ PLABON BHATTACHARYA

EZEQUIEL CESANA PEMA DAMDUL

MILIND DASHARATH SUTAR SAMIDHA DATTAPRAKASH NAGWEKAR

EZHIL DEVA PRIYAN TITUS RAJ JEFFREY DEWAR

YOGESH DURGESH KAUSHAL ALAN ENEST MAXWELL

GIANLUCA FRATELLINI HARSH GAJJAR

TOM GOODCHILD ARTHUR GRANDJEAN

DINESH GUDIMETLA JAKE HARRELL

HARRY HOUGHTON MOHASINKHAN JAYYADALLI JAMADAR

MERRIET JERO GANESH KADAM

IMTIYAZ KHAN ARMITA KHANLARPOUR

AJIT KUMAR DHANANJAY KUMAR

SAURAV KUMAR JAKUB KUPČÍK

KARTHIGEYAN KUPPUSAMY MARION LAURIN

CHANGSIK LEE BABURAJAN M V

VINAYAK MAHADIK RANADEEP MANDAL

DAN MASON ALAN MAXWELL

DAVID MAYHEW RAMAKRISHNA MEDI

MYKE MENDES PRATIK MUKHERJEE

JOHNNY NAM THOMAS NEWBURY

ABDELKADER NOUAR LOICK OLESZAK

JAYAPRAKASH P.J MANICKAM PACHAMUTHU

SIVAKUMAR PADALA RÉMI PÉCOUT

FILIPPO PRETI RAGHUPRASAD R R

SANDESH R CHENTHIL RAJAGOPAL

GOVARDHAN REDDY JORDI RIBE PUJOL

VALENTINA ROSSELLI ABHINAV SHARMA

SUBHASH SURESHAN ABIN T ABRAHAM

ROHAN TIRKEY ANSHUL TIWARI

MARGAUX REVOLT KARLY YOHE

MD WASHIM HASAN

Digital Artists

ANDREWSON A SAMREEN AHMEDI

JONO AITCHISON ALBERT ALARCÓN

NADIA ALASKARI ALEXANDER ALFREDO SANTIAGO

DZHANIB ALISH BABATO ANAND

THELMA AUVRAY CHOUDHURY AZHARUL ISLAM

THASHWINI B M CHRISTOPHER BACON

RAJNEESH BAHUKHANDI ANDREAS BARISEEL

LAURA BARTOLOME BLANCO NOURA BENCHEKHA

LEIRE BERMEOSOLO BENJAMIN BES

GAURAV BHARDWAJ GANESH BHAU NARAWADE

DIBYENDU BHOWMIK ANTON BLAKE

AXEL BLIN FAUSTINE BOBÉE

SIMON BOMBARDIER CHAITANYA BORIKAR

STÉPHANIE BOUCHARD CAMILLE BOURDAGES

LUCIE BOURRÉEMARTIN BENJAMIN BROWN

KYEUNG BYUN ANGEL CANO FERNANDÉZ

FELIPE CÁRCAMO GARRIDO GIADA CARNEVALETTI

DIANA CASTELLVI ESTRADA MARIA CEPEDA

ANWESA CHAKRABORTY BHANU CHANDAN KILARI

NINGEN CHANG HITESH CHAUDHARY

HYUNJUN CHEONG PINKY CHEUNG

ALEXANDRE CHIGUER CRISTIAN COPPEL MORENO

VENKATESAN D KAREN DALIANA RIVAS HERNANDEZ

CHERYL DARBEY SUVOJIT DARI

MOUMITA DAS LOÏC DAUTRY

MAFALDA DE ABREU FREIRE SOARES DEEP DEB

SAKSHAR DEB GHOSH MAXIME DEMAZURE

PASCAL DESLAURIERS MEIKE DEUTSCHER

RAJIB DHAR EWELINA DOLZYCKA

MAXENCE DRAPEAU THOMAS DUHAYON

DANIELLE DUMONT ARTUR DURMISHYAN

ANDREANNE DUSSAULT LIBE ECHARRI

KARIM EL HANNOUTI HOSSAM ESSAM

LIN FAN LIU MARIA FERNANDA FELIX BUENROSTRO

PETE FOXWORTHY CORENTIN FROBERT

MARIA GABRIELA TAPIA NIETO FREDERIC GAGNON

PRASHANTHKUMAR GANGADHAR MARIANA GARCIA REAL

JOHN GARCIA ANGEL RUBEN GARCIA CORREA

GEOFFREY GAUDINOT VALERIE GEORGE

WIKTORIA GERMANEK MAKSYM GIODA

GOWRISHANKAR GOPINATHAN ANASTASIA GORCEAG

ANTHONY GORDON DANIEL GUEDES ALMEIDA

RYAN GUGLIOTTI AMAN GUJRATI

SRIKANTH GURRAM GURRAM TOMAS GUTIERREZ

FEDERICO GUZZARDO JONGHYUN HA

HARI HARAN ARUNACHALAM DASARI HARISH

LUKE HARRIS LEOPOLD HERLAUD

SONIA HERNANDEZ AGUAYO SIMON HUSSEY

YERI HWANG NELLI ILIASOVA

JUNISH J THOMAS NITIN JAIN

MATTHEW JAMOOM GINTAUTAS JANULIS

JATURON JETWIRIYANON NIEVES JIMÉNEZ ASENSIO

NAFI JOHN JINU JOHN

ELSA JOSE JERIL JOSEPH

JULIEN JOUSSE PRAMOD K

MANOJ K EVGENIOS KAKOLYRIS

SANDEEP KALATHIL GIRIJA KAMBHALA

GNANAPRAKASH KANNIYAN SAGAR KASHYAP

TAKEYUKI KATO RAMANPREET KAUR

NITIN KAUSHAL RAHUL KEWLANI

JAVED KHAN ADITYA KHATI

LINA KHOUNVONGSA HANNI KIM

ONYOU KIM KYOUNGMIN KIM

EMILIE KITTLER ROBERT KLEINSTUECK

MANISH KOLI TIMUR KONEV

MATTHIEU KORNACKI SHRAVANI KULKARNI

KISHORE KUMAR R BHARATH KUMAR

JIT KUMAR KUNDU VIMAL KUMAR

SANDEEP KUMAR SINGH HITESH KUMAR

JAGAN KUMAR AJAY KUMAR

VIVEK KUMAR LOCHAN KUMAR

RAMAN KUMAR MALLICK SURESH KUMAR PUPPALA

MEGAN KUNTZ YOUNGSEOK KWEON

EUN KYUNG KIM ARAM LAKHOTIA

EFFY LANG MATHILDE LAPLACE LHOSTE

ALEXANDRE LAPOINTE MARIEFRANCE LATOUR

MARIA LAURA PORRU CAMILLE LAURAS

THOMAS LEA NICOLAS LECLERC

VIX

ARNAUD LETAY MAX LEUNG

CHIWEI LIN YICHUN LIN

NICOLAS LIPARI HSIAOLIEN LIU

PEILIN LIU SINYEE LOKE

TATIANA LOPEZ SORENA LY

PRABAHARAN M PARTH MALHOTRA

KOVVURI MANOJ SRI RAMA TARUN JOSE MARIA ALVAREZ GARRIDO

POPPY MARLOW MASON MARSHALL

JONATHAN MARTINEZ HILDA MARTÍNEZ

BENOIT MATTEAU BRENDA MAZA

BRUNO MAZZONNA MICHAEL MCCLELLAN

MOLLY MCCORMAC ANKIT MEENA

CHINMAYA MEHER AISHA MENESES

ATILLA MENTES KEVIN MERZOUG

ADRIEN MINGOT SOURAV MITRA

POOJA MK SUDIP MONDAL

NAVEEN MONTHERO A ROMAIN MONTIGNY

MICHAEL MORGAN LUIS MOYA CAZARES

HAKOB MURADYAN THANGAVEL N

THAARINI NAGARAJAN SUNKARA NAGESWARA

AKULA NAIDU MATIN NAKHL AHMADI

KANAD NANDI MANJUNATHA NARASIMMAIYA

UMESH NARVEKAR VIMAL NATHAN

ORIOL NAVARRO LENKA NAVEEN

ANUJ NEB GABRIEL NEVILLE

FENNA NOEL UCHENDU BART NOUWS

DMITRY NOVOSELTSEV LUCAS NUNES

HEINRICH OLIFANT RAM ORAON

COSIMO ORBAN ANTOINE OUIMET

JINITH P KISHOR MAGESHKUMAR P

ARUN P R PALASH PAL

EMILY PALACIOS MELANIE PANGO

SAGAR PARCHA MARCOS PARMENTIER

KAVITA PARTHE VISHAL PATEL

JAY PATEL AKSHAY PATIAL

SWARUP PATIL UTTAM PAUL

SUMAN PAUL AUGUSTIN PELISSON

VINAYAK PHADATARE VICTOR PIETRZYKOWSKI

KASAVANANDA POLAVARAPU ALESSANDRO POLI

GOURISH PRABHAKAR NADIGER DEVARASHETTY PRANEETH

VISHNU PRASAD KAVARAKUNTLA SANTHOSH PRASANNA

NITHIN PREMDAS PIERRE PREVERAUD

GABRIELA QUINTANILLA GARCIA BALAMURUGAN R

PETE RABCZUK HIMANSHU RAI

NIKHIL RAJ K RASHMI RAJASHEKHAR KOTI

AMRUTHA RAJU MEDI RAJU

AMAL RAJU MANIKANDAN RAM

KASANI RAMACHANDRAIAH GAUTHAM RANJIT

JULIEN RASHTI SRIDHAR RATHINAVELU

HARSHAL RAVAL RAMADOSS RAVICHANDRAN

GAJULA RAVINDER DOMINIC RAYNER

BHASKAR REDDY VINOD REDDY

KALLURI REDDY CHRISTOPHER REITER

ERIC RENAUD ZAHRA RIAZ

FRANCESCO RICCIARDELLI MAXIME RICHARD

OLIVE ROBERTS JAMES ROBSON

DIRCE ROCÍO VERA CORNEJO MANAB ROY

ARAKSI RUBENYAN JOHANNES RUF

SUSHANTH S VIMALANANDAN S

ARUNKUMAR S GAYATHRI S

SAGAR SADHU AMRITA SAGGU

GORREPATI SAIBABU ASHISH SAINI

SUNIL SAINI ANANTHU SAJEEV NAIR

MARCELA SALAS RAMOS NAOMIE SAMIAMA NOWACKI

CHARLOTTE SAMOYEAU ALONSO SANCHEZ ALVAREZ

SANDEEP SANTHOSH KANCHERLA SANTOSH REDDY

SIVAKUMAR SARAVANAN RAHUL SARKAR

ABHISHEK SARKAR MANOJ SARKAR

RAGHAVENDRA SATHYANARAYANA VIJAYAKUMAR SENGOTTUVEL

D SENTHIL KUMAR VIJAY SHANKAR MISHRA

ADITHYA SHARMA SILIVERI SHEKAR

MAHESH SIHAG DANIEL SIMPSON

LAKHAN SINGH SONGARE ERHARDIAN SISWADI

JAMES SKILLBECK JANOS SOMOGYI

ARJUN SONI SANJANA SONI

VAISHNAVI SONI SEAN SPARROW

MAKINIDI SRINIVASA RAM VINAYAKA SUBASH TALAVAR

GOWTHAM SUBRAMANIAN ANUSHKA SUDHAKAR

ARUN T G BRANDON TAIRA

NIKHIL TELI MORAN TENNENBAUM

KIRTISH THARTHARE KIMBERLY TOWNE

JOSEPH TRAN JUSTIN TRUDEAU

DAN TSVYATKOV ADITYA TYAGI

VIGNESH UMAMAHESWARAN LUCA VALENTINO

LUCA VALLETTA CHAKRAVARTHI VALLURI

JIM VANDERKEYL VEERA VASANTHKUMAR

PRAKASH VEERAMANI MICHAEL VERASTEGUI

GAURAV VERMA LINE VERNIER

SULAKSHANA VINOD PARAB LANJEWAR RIMA VINOD NAKER

AMEY WASKAR ALAN WONG

JOSH WOOD AUSTIN WRIGHT

RIYA YEVLE ROBIN YOOJIN RHEE

SHENGKAI YOU CHIEH YU WANG

FRANCIELLE ZUCOLIN

Production Support

KARTHIK A MIRZA ALI

PEDRO ANDRANDE TRISHITA BANERJEE

PASCAL BLAIS ALAN BRAYSHAW

CAMERON CHAPUT DOMINIC DAIGLE

SURENDRA DINDALKUMPI LORILEE EVANS

NICOLE FIONA DAVINA GAYLE

MARCO GENOVESI SHYAM GURUMOORTHY

BEATA GYERMAN KOVACS KEIRA HARRELL

OMAR HERNÁNDEZ PEÑA HIMEY JAIN

GARMY KANE HARRY KARAKALPAKIS

RAJINI KUMAR ASHOK KUMAR

VICTOR LIZARRAGA HIJAR RAJITH MANNAPATTIL

CARLO MARTELLO SANKARLAL MG

ANDREA MONACO VISHWAS MUDDUKRISHNA

RATHEESH P KAYALVIZHI P

NEERAJ PANT PRAMOD PATEL

HEENA PURSWANI SUJAN RAM MOHAN

TOM REED SOWMYA S

ARNAB SANYAL CHARLOTTE SILVEY

FRANCIS STDENIS PAVITHRA SURENDER

ABRAHAM THOMAS MANNIL ANOOP VALECHA

VENKATA VAMSI VIVEK VERMA

LILAS WANG SATYANARAYANA YARAGORLA

RENADE YOUNIS ARAVINDKUMAR MADHAYAN

Heads of Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LIZZIE HORSBURGH

KRANTI SARMA

ISABELLE TURCOTTE

Heads of Creative Operations . . . . . . . . . . . . . . . . . . . . .LEAH BEEVERS

PAYAL SELVAM

MARILYNE FLEURY

AMIT SHARMA

HOLLY ALDERSLEY

Visualization by

HALON ENTERTAINMENT

Executive Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHRIS FERRITER

Virtual Production Supervisor . . . . . . . . . . . . . . . . . . . . . . CASEY PYKE

Virtual Production

Stage Supervisor . . . . . . . . . . . . . . . . . . . KRISTIN MARIE TURNIPSEED

Previsualization Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL LADA

Virtual Art Department Supervisor . . . . . . . . . . . . . . . . . JESS MARLEY

Rigging Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH FALLON

Production Engineering

Manager . . . . . . . . . . . . . . . . . . . . . . . . GARY “BLUEBEARD” ROBERSON

Engineering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ROGERIO GASI

CHRISTOPHER P. YUN

DEREK ZAVADA

Technical Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RYAN ACKLIN

NICHOLAS HARVEY

KEGAN JONES

MARK QUEEN

IT Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SCOTT SINNOTT

Systems Administrator . . . . . . . . . . . . . . . . . . . . . . . . .MATT CASHMAN

Production Supervisor . . . . . . . . . . . . . . . . . . . . . RICHARD ENRIQUEZ

Visualization Producers . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER ALLEY

JOSHUA JOHN SIMON

CHAU TONG

Production Sta ng Manager . . . . . . . . . . . . . . . . . . . . . TAYLOR FINAN

Visualization Coordinators

EMILY DILLARD TIGHE DORCEY

ANDREW HALSETH KRISTEN KARALIUNAS

MADISON LEIBMAN ALEX PRIMISING

ALLEN WIER

Virtual Art Department

VAD Leads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICH DEIONE

JULIA KODL

VAD Artists

BIANCA DELAFLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LOGAN KEHOE

WESLEY KREIGER . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL MARTERSTECK

PAUL MARTINEZ AXEL MORTENSEN

Virtual Camera Stage Team

Lead Virtual Production Operator . . . . . . . . . . . . FREDERICK BEAHM

Sr. Virtual Production Artists . . . . . . . . . . . . . . . . . . . . . TRANEL BLAND

NICK BRYANT

Sr. Real-Time Artist . . . . . . . . . . . . . . . . . BEATRIZ TOLEDO MARTINEZ

Visualization

Visualization Leads

E. BRADLEY ALEXANDER SAMUEL BAESE

JAMES GAMMANS STEVE KIM

LOU A. MANCILLA DAVID W. MILLER

KYOUNG “KAY” PARK

Visualization Artists

SEUNGWON AHN NUO CHEN

BRIAN CHOW STACEY DUNTEN

ALWYN FUNA EMMA HAUPT

SIDDARTH JOHN KIRKOR KASPARIAN

BRANDON KISEREU CALEB KNUEVEN

SORAIA MALAQUIAS JORDAN MILLER

RICHARD S. MYERS MICHAEL PRICE

DAVID PRITCHARD MICHAEL PUGH

PAUL RUNYAN MICHAEL RYAN

CHRISTOPHER SATOLA SUMMER SHIH

DIONISIO SHIN JUSTIN “J.D.” SMITH

JON TOJEK PANGWEI YEN

MICHAEL YORK

Virtual Production Tool Development by

ILLUSION CARTEL

Virtual Art Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOLD 3D

VAD Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . EDWARD QUINTERO

Lead VAD Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VU PHAN

Production Coordinators . . . . . . . . . . . . . . . . . . . . . . . . . . MEGAN RING

ELISABETH AULTMAN

3D Artists

JESUS AGUIRRE ANNIE BOUDAGHIAN

AUSTIN BOURBEAU DAVID BURNETT

HAINING CAO LIZ HEYER

AARON HILL BLAIR MACKAY

RICHARD MATSUSHITA DAN PARKS

CHRISTIAN IVAN RAMIREZ LINDSEY GWEN ROBBINS

STEVE TALKOWSKI

Motion Capture by

CENTROID MOTION CAPTURE

PCAP Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHIL STILGOE

PCAP Post Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOE ELLS

PCAP Lead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ARCHIS ACHREKAR

PCAP TD Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATT PARKER

Cyberscanning by

CLEAR ANGLE STUDIOS LTD

3D Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MNANDI RIDLEY

Capture Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARCO LEE

Capture Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX DRINKALL

Capture Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TYLER POPE

Simulcam & LED Content by

DIMENSION STUDIOS

Executive Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE JELLEY

Virtual Production Supervisors . . . . . . . . . . . . . . . . . JIM GEDULDICK

CALLUM MACMILLAN

Camera Tracking Supervisor . . . . . . . . . . . . . . . . . . . . . . JOE STATHAM

Lead Unreal Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG STIFF

Lead Unreal TD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARK HOLLAND

Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM SMITH

Real-Time Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ED THOMAS

Unreal TDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTIAN FRAUSIG

TOM BLUNDEN

LED Wall Technology by . . . . . . . . . . . . . . . . . . . MBS EQUIPMENT CO.

LED Wall Rigging by . . . . . . . . . . . . . . . . . . . . . . . . . . . .WEBB’S RIGGING

Medusa and Anyma Performance Capture by

INDUSTRIAL LIGHT & MAGIC & DISNEY RESEARCH STUDIOS

Facial Capture Supervisor . . . . . . . . . . . . . . . . . . . . . . . PETER DWORIN

Lead Modeler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DUNCAN GRAHAM

Facial Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LAURA MILLAR

TOM SZENHER

Software Services Provided by

ARTIST ANYWHERE

Dailies by

PICTURE SHOP

Supervising Producer . . . . . . . . . . . . . . . . . . . . . . . JASON T. MORROW

Dailies Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . VICTORIA BURROWS

Dailies Operators . . . . . . . . . . . . . . . . . . . . . . . . . MONICA DI SABATINO

ELLIOT BICK

Dailies Operations Manager . . . . . . . . . . . . . . . . . . . . . . . TRISTAN HEY

Dailies Operations Support . . . . . . . . . . . . . . . . . . . .ALESSIO CIATTINI

VFX Pulls by

PULSE

Head of Software . . . . . . . . . . . . . . . . . . . . . . . . . . JEREMY STAPLETON

Operations Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . ROSALIE STALEY

Pulse, Executive, Product Innovation . . . . . . . . . . . . . . . .ALINE SHAW

Software Support Engineer . . . . . . . . . . . . . . . . . . CAMERON WEAVER

Head of Work ow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEXTER KONG

Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL MCKNIGHT

Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL YOULTON

JUSTIN DREW

ALEXANDRA KARANASSOS

Color and Finish by

COMPANY 3

Colorist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JILL BOGDANOWICZ

Additional Color . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM NAZARENKO

Finishing Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ERIK ROGERS

RICARDO RAMIREZ

Finishing Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW JOHNSON

Image Scientist . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DR. JOHN QUARTEL

Technologist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MIKE CHIADO

Senior Technical Lead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ZACH KORPI

Finishing Executive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JACKIE LEE

Heads of Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CARL MOORE

LAURA GEUCHERIAN

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

Main & End Titles by . . . . . . . . . . . . . . . . . . . . . . . . . . SCARLET LETTERS

WALT DISNEY STUDIOS TEAM

President, Walt Disney Studios

Motion Picture Production . . . . . . . . . . . . . . . . . . . . . . . . SEAN BAILEY

President Streaming, Walt Disney Studios

Motion Picture Production . . . . . . . . . . . . . . . . VANESSA MORRISON

President, Physical Production,

Walt Disney Studios Motion Picture Production . . .PHILIP STEUER

EVP, Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LOUIE PROVOST

VP, Post Production . . . . . . . . . . . . . . . . . . . . . . . . . . .LINDA BORGESON

Executive, Production . . . . . . . . . . . . . . . . . . . . . . . . . CHAZ SALEMBIER

Manager, Post Production . . . . . . . . . . . . . . . . . . . .LEILA MCLACHLAN

Assistant to President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALINA MOTA

Sta Coordinator, Post Production . . . . . . . . . . . . . . . . . . .JANICE WU

2nd Assistant to President . . . . . . . . . . . . . . . . . . . . . . .LAUREN GORSKI

SVP, Visual E ects, Production . . . . . . . . . . . . . . . . . . . DAVE TARITERO

Assistant to President Streaming . . . . . . . . . . . . . . . KAYLEE MURRAY

Manager, Visual E ects Contracts . . . . . . . . . . GERALDINE MORALES

Assistant to EVP, Production . . . . . . . . . . . . . . . . . . . . . . . . CADY STARK

Sta Coordinator, Visual E ects . . . . . . . . . . . . . . . . . . . . . . BEN MARKS

Production Exec, Physical Production . . . . . . . . . . . . .TINA NEWMAN

SVP, Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KAYLIN FRANK

Sr. Manager, Physical Production . . . . . . . . . . . . . . .ADAM NUSINOW

VP, Music Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . RYAN HOPMAN

Manager, Physical Production . . . . . . . . . . . . . . . . . .JASON ALVIDREZ

EVP, Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RANDI HILLER

Sta Coordinator, Physical Production . . . T. MICHAEL WOOLSTON

Executive, Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL MORLANI

SVP, Business A airs . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID TRYGSTAD

VP, Casting Administration . . . . . . . . . . . . . . . . . . . . . JOSE C. ALVAREZ

Executive Assistant, Business A airs . . . . . . . . . . . JOAN SCHWARTZ

Administrator, Casting Administration . . . . . . . .JACLYN GONZALES

Executive, Music BA & Legal Counsel . . . . . . . . . . . . . . . . MARC SHAW

Manager, Clearances . . . . . . . . . . . . . . . . . . . . . MICHAEL TROUGHTON

Executive, Music Clearance . . . . . . . . . . . . . . . . . . . . CARRIE TRETTEEN

Coordinator, Clearances . . . . . . . . . . . . . . . . . . . . . . . . . VANESSA GLICK

VP, Production Finance . . . . . . . . . . . . . . . . . . . . . . . . .NADIA BOMBINO

Executive, Screen Credits & Titles . . . . . . . . . . . . . . . . KIRK RINGBERG

VP, Production Finance . . . . . . . . . . . . . . . . . . . . . . . . JOHN ALEXIADES

Manager Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN CLAXTON

Sr. Production Financial Analysts . . . . . . . . . . . . . .JASON KNOWLTON

ANTHONY CALDWELL

KEITH KLASS

Sr. Image & Color Engineer . . . . . . . . . . . . . . . . . . . . JOSH BERKOWITZ

Manager, Production Technology Ops . . . . . . . . GERMAINE BACON

Sr. Systems Engineer, Media . . . . . . . . . . . . . . . . . . . .MICHAEL TAYLOR

Executive, Budget & Financial Analysis . . . . . . . . . . . . . . . . BILL GREIG

Engineering Operations . . . . . . . . . . . . . . . . . . . . . STEPHEN FRANKLIN

Executive, Asset Management . . . . . . . . . . . . . . . . KEVIN FITZPATRICK

Network Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOHN JOSEPH

XII

Manager, Sustainability Management. . . . . . . . . . . .TIFFANY LANIER

Network Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN MACDONALD

Executive, Post Production Finance . . . . . . . . . . . .JOSEPHINE COYLE

Executive, Production O ce Technology . . . . . .ELINOR APRIL CHIN

Executive, Business Operations . . . . . . . . . . . . . . . . . . . .KELLY HOLTER

Sr. Business Analyst . . . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW C. GRAY

Executive, HR & Crew Experience . . . . . . . . . . . . . . . . . . .SAM WRIGHT

Program Manager . . . . . . . . . . . . . . . . . . . . . . . . . . SHANDIS BEMANIAN

Manager, Talent Acquisition & Crew Development . . .SOPHIE CARR

Sr. Project Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DEAN HUTKIN

Executive, Health & Safety . . . . . . . . . . . . . . . . . . .CHRISTIAN THOMAS

Sr. Mgr, Tech Services/Engineering . . . . . . . . . . . . . . HAGOP YAGLIAN

Manager, Health & Safety . . . . . . . . . . . . . . . . . . . . . . . . . . .JODIE NIXON

Sr. Mgr, Tech Services/Engineering . . . . . . . . . . . . .KEVIN BAULCOMB

Supervisor, Health & Safety . . . . . . . . . . . . . . . . . . . .DAVID FREEDMAN

Systems Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GABY GLAVIS

Assistant Chief Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . .BRYAN KULIK

Systems Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROGER MUNOZ

Principal Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .REVELLA COOK

VP, Production Technology . . . . . . . . . . . . . . . . . . . . . . . . .JOSH HAYNIE

Counsel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RUTHIE CWIK

Executive, Production Technology . . . . . . . . . . . . . MELISSA PADRON

Executive Assistant, Counsel . . . . . . . . . . . . . . . THERESA KOZLOWSKI

Coordinator, Production Technology . . . . . . . . . . . . . . . . KEVIN STERN

WITH SPECIAL THANKS TO THE FOLLOWING

DISNEY STUDIOS TEAMS

LEGAL COMMUNICATIONS

HUMAN RESOURCES FINANCE

INTEGRATED PLANNING LABOR RELATIONS

MARKETING STUDIO OPERATIONS

TECHNOLOGY

SONGS

“When He Was Here With Me”

Written by Alan Silvestri, Glen Ballard

Performed by Tom Hanks

“Pinocchio Pinocchio”

Written by Alan Silvestri, Glen Ballard

Performed by Tom Hanks

“Hi-Diddle-Dee-Dee (An Actor’s Life For Me)”

Written by Leigh Harline, Ned Washington

Performed by Keegan-Michael Key

“I’ve Got No Strings”

Written by Leigh Harline, Ned Washington

Performed by Benjamin Evan Ainsworth

“I Will Always Dance”

Written by Alan Silvestri, Glen Ballard

Performed by Kyanne Lamaya

“The Coachman To Pleasure Island”

Written by Alan Silvestri, Glen Ballard

Performed by Luke Evans

“When You Wish Upon A Star”

Written by Leigh Harline, Ned Washington

Performed by Cynthia Erivo

Soundtrack Available on

American Humane monitored the animal action.

No animals were harmed® (AH 11023)

Filmed in the UK at Cardington Studios

Filmed with the support of the British Film Commission

and the UK Government’s Film Tax Relief

MPAA #53900

XIII

For the purposes of United Kingdom copyright,

Disney Enterprises, Inc. was the owner of copyright in this  lm

immediately after it was made.

PRODUCTION NOTES

Academy Award® winner Robert Zemeckis directs this live-ac on and CGI retelling of the beloved tale of a

wooden puppet who embarks on a thrilling adventure to become a real boy. Tom Hanks stars as Geppe o, the

woodcarver who builds and treats Pinocchio (Benjamin Evan Ainsworth) as if he were his real son. Joseph Gordon-

Levi is Jiminy Cricket, who serves as Pinocchio’s guide as well as his “conscience”; Academy Award nominee

Cynthia Erivo is the Blue Fairy; Keegan-Michael Key is “Honest” John; Academy Award nominee Lorraine Bracco

is Soﬁ a the Seagull, a new character; and Luke Evans is The Coachman. Also in the cast are Kyanne Lamaya as

Fabiana, Jaquita Ta’ie as the marione e Sabina, Giuseppe Ba ston as Stromboli and Lewin Lloyd as Lampwick.

The screenplay was wri en by Zemeckis & Chris Weitz. Andrew Miano, Chris Weitz, Robert Zemeckis and Derek

Hogue are the ﬁ lm’s producers, with Jack Rapke, Jacqueline Levine, Jeremy Johns and Paul Weitz the execu ve

producers.

Zemeckis’ below-the-line team includes his long me associates director of photography Don Burgess, ASC;

produc on designers Doug Chiang and Stefan Dechant; costume designer Joanna Johnston; visual eﬀ ects

supervisor Kevin Baillie; visual eﬀ ects producer Sandra Sco ; and music composer Alan Silvestri, who, with Glen

Ballard, also wrote four original songs for the ﬁ lm.

A Disney+ Day premiere event, “Pinocchio” will debut exclusively on the streaming service on September 8,

2022.

ABOUT THE PRODUCTION

Robert Zemeckis’ new live-ac on retelling is an homage to the magic of Walt Disney’s original 1940 animated

classic, the Academy Award®–winning director’s all- me favorite animated feature.

Zemeckis explains, “Walt Disney was really clever. He always looked for stories to make movies of that were

pre y much impossible to do as live-ac on movies. They could be done very wonderfully as anima on because

he was able to do animated stories about talking animals and puppets, fairies and dwarves and things that would

be impossible to do in live ac on. ‘Pinocchio’ is one of the most, if not the most beau ful animated features that

was ever made. I loved it so much.”

He con nues, “But now, since digital cinema has emerged, the puppet could be very much three-dimensional.

It occurred to me that you could do a very plausible version of ‘Pinocchio’ as a live-ac on movie. And so even

though I was concerned I was standing on hallowed ground, I thought that was a worthwhile project to do.”

Working with Zemeckis on the screenplay was Academy Award® nominee Chris Weitz (“About a Boy”), who also

serves as a producer on the ﬁ lm.

Weitz says, “The 1940 ‘Pinocchio’ is an extraordinary ﬁ lm, with Disney’s ar sts working at the very edge of what

was technically possible at the  me. At the same  me, it was one of the more complex and interes ng stories

that Disney ever did. There was an opportunity to do something cu ng-edge visually and relevant thema cally.

[The original author] Carlo Collodi’s preoccupa on with conscience, and Walt Disney’s interpreta on of it, also

seized my interest.”

Perhaps the biggest draw for Weitz was the opportunity to work with Zemeckis. He says, “Like a lot of people I

grew up on Bob’s ﬁ lms and so it was a treat just to get to kick around ideas with him. It’s a free master class in

ﬁ lmmaking. But for a legend, he wears his experience and know-how lightly, and is always alive to the fact that

making movies should be fun, which we occasionally forget.”

Zemeckis says, “Chris and I traded ideas back and forth. We both brought ideas to the project, and we both were

very helpful in killing each other’s darlings when we were ge ng self-indulgent.”

Zemeckis and his team were generally faithful to the earlier version and have included most of its memorable

songs, adding some new ones wri en by Zemeckis’ long me collaborator, two- me Academy Award® nominee

Alan Silvestri, and Academy Award nominee Glen Ballard. The ﬁ lmmakers also introduced some new characters,

plot points, humor, ac on and other surprises to delight the en re 21st-century family audience.

Explains Zemeckis, “The original animated ﬁ lm is a vast departure from the source material. We use the 1940

Disney version as a template and an outline for our story. So it follows pre y much the same adventure that the

Pinocchio follows in the animated version. We modernize the storytelling because there was a diﬀ erent sort of

pacing in movies sixty years ago than there is now, but we basically kept the spirit and the tone and the theme

of the ﬁ rst movie.”

S ll, there were certain aspects of the story that needed upda ng. Producer Andrew Miano explains, “Classic

Disney movies like the original animated ‘Pinocchio’ have tradi onally given parents the opportunity to introduce

themes and situa ons that aﬀ ect their children’s coping mechanisms. It was always a challenge to ﬁ gure out

how to adapt Pleasure Island for twenty-ﬁ rst-century audiences. I love that Disney allowed us to make Pleasure

Island temp ng and scary in ways that are relevant to parents and kids today. In the original ﬁ lm, they were

drinking beer and smoking cigars, whereas now they are on a sugar rush, drinking root beer, and we also include

elements like bullying and social media.”

The ﬁ lm blends live ac

on and CGI, with such live-ac on characters as Geppe o, the Blue Fairy, The Coachman,

Stromboli, the Schoolteacher and Headmaster, among others, along with the animated characters Pinocchio,

Jiminy Cricket, “Honest” John and Soﬁ a the Seagull. Throughout his career, Zemeckis has been a pioneer in

advancing ﬁ lm storytelling using new technologies with such ﬁ lms as his “Back to the Future” trilogy, “Who

Framed Roger Rabbit?,” “Death Becomes Her,” “The Polar Express” and “A Christmas Carol,” among many others.

He says, “All of the visual eﬀ ects learning I’ve had over the years all went into making this movie.”

The eﬀ ects proved to be the greatest challenge for the ﬁ lmmakers. Weitz clariﬁ es, “Both the extraordinary

number of visual eﬀ ects and the need for them to work at the highest level with a ﬁ lmmaker like Bob, who has

been at the forefront of how the movies incorporate eﬀ ects for decades now, [presented an ar s c challenge].

There are a lot of eﬀ ects shots, of the highest ambi on and quality, and a limited  me in which to do them.”

Zemeckis explains, “There’s a very serious shortage of digital ar sts in the world, and everybody is making

movies with digital eﬀ ects. It’s very tough to ﬁ nd enough people to actually work on your movies these days.”

Perhaps the most signiﬁ cant change from the animated ﬁ lm is the ﬁ lm’s ambiguous ending, unlike in the original

where we see Pinocchio transformed into a human boy. Says Zemeckis, “He may or may not have. It makes the

story more personal to the viewer, so that everyone can go on Pinocchio’s journey in a way that is pure in the

sense that we’re not telling the audience what they have to feel or what they have to think. Audiences today are

way more sophis cated, and they don’t want to be spoon-fed. They want to be able to think for themselves.”

Weitz says, “Pinocchio doesn’t have to turn into a ‘real’ ﬂ esh-and-blood boy. He is real in that he has learned his

lessons and grown a conscience, but there is no need for him to end up a certain way physically for him to prove

that. Geppe o has gone on a journey himself and realizes that Pinocchio is a person in his own right and is as

‘real’ to him as any ﬂ esh-and-blood boy.”

Says Miano, “One of the major things we looked at was the concept of what does it mean to be a real boy, which

is something diﬀ erent in today’s world than it was when the original ﬁ lm was made. We decided that for our new

version it means being ‘brave, truthful and unselﬁ sh.’ And it’s less about being a real boy as opposed to a decent

human, which feels very relevant today.”

A FOURTH COLLABORATION

Starring as Geppe o, Tom Hanks reunites with director Robert Zemeckis for the fourth  me, having collaborated

on “Forrest Gump,” which brought them both Academy Awards®, as well as “Cast Away,” which brought Hanks

another Oscar® nomina on, and “The Polar Express.”

Hanks recalls, “I got wind that Bob was circling around ‘Pinocchio.’ And I waited for a while and then asked him,

‘Are you really going to direct “Pinocchio”?’ He said, ‘Yeah, I’m thinking about it.’ I said, ‘If you don’t have a

Geppe o, and you can withstand doing something with me, let me know.’

“But Bob,” Hanks con nues, “is one of these ﬁ lmmakers who cannot do something that has been done before.

He always has to do something where he can monkey around with the crea ve process of doing it, and he’s

never not challenged me with some sort of task that is brand new to the ﬁ lmmaking process—no small amount

of which was how Pinocchio himself was going to be in this movie. So I came to it because of the idea of Bob,

ﬁ rst of all, taking on this fascina ngly treasured classic of everything that Disney’s ‘Pinocchio’ means—‘When

You Wish Upon a Star,’ ‘Hi-Diddle-Dee-Dee, an actor’s life for me,’ ‘I Got No Strings to hold me down’—plus the

new stuﬀ that was going to come out of it. These great classics have a chance to not just be updated, but I think

to perhaps reﬂ ect the diﬀ erent  mes.”

Geppe o’s physical look is based on the character’s appearance in the animated version. Says Hanks, “We

have a responsibility to not just change things for the sake of changing things. My moustache and all that stuﬀ

represented the tradi

 onal version of what Geppe o is recognizable as, but it s ll has to work in real space in

real  me.”

Hanks explains, “Bob and I talked about the fact that Geppe o’s a happy man, but there’s been loss in his life.

He’s missed out on the joys of being alive, of having a family. Did he have one long ago in the past? Yeah. But

how long ago was that and how tragic was the loss? The truth is, Geppe o’s older. He’s not in his late twen es.

He’s well past middle age. So we talked about the idea that he’s been alone on his own, servicing other people

and deligh ng other people with his handicra s for, what, two and a half decades? That’s an awful long  me to

have no company for breakfast and dinner except a cat and a goldﬁ sh. The yearning of Geppe o, wan ng to be

a part of something bigger than himself, a part of a family, that was the whole bit. You can’t just make a real-life

version of what the animated ﬁ lm was. It has to be deeper, and it has to have more baggage on it. So right from

the get-go, you have Geppe o in his own stew, so to speak, and it’s not a happy stew.”

Hanks believes that for contemporary audiences, the stakes for Geppe o needed to be higher in a live-ac on

adapta on. He says, “When Geppe o sent Pinocchio oﬀ to school, on one hand, he’s delighted that Pinocchio

was going to school. But on the other hand, he had just go en Pinocchio. So there is a concern, a worry. I think in

the original movie there’s a jumping to conclusion that everything is going to be okay. But I don’t think we could

do that in this day and age. You can’t be a parent and just send a kid oﬀ . You’re going to worry. You’re going to

worry that they’re not going to make it back. You’re going to worry what they’re going to and what they’re going

to go through, and that impacted the quest to go ﬁ nd him. Geppe o wasn’t going oﬀ just to rescue or ﬁ nd him.

He was going oﬀ to combat the worst fears that he has, which is that his surrogate son is going to disappear on

him. And if that happens, he’ll be alone again. Geppe o had this brief window on what it was like to be a dad

and have a family and for it to be yanked out from underneath him would have been unbearable.”

About working with Zemeckis, Hanks says, “Well, Bob’s a fabulous challenge and part of it is hilarious, but also

part of it is like, ‘Do you know what you’re going to do?’ There’s always the requirements for what is going to be

the special eﬀ ects that you can’t even keep your head straight on what’s going to be needed and then comes

that moment on a Bob movie where he says, ‘Okay, here’s what you have to imagine.’ And the things you have

to imagine are so complex that it’s a stretch for the ac ng process, the performance process. I had to do some

things on this as Geppe o in which I wasn’t even remotely doing anything close to it, and yet I had to pretend.”

He recalls, “I learned long ago working with Bob is that unless you’re extremely well versed in the technological

things that are going to happen a er the fact, it can really screw you up—like just drowning, just swimming in

water or spinning something. Then it’s like, ‘Okay, here’s what we have to do, Tom. We have to suspend you

upside down…You have to have a mouthful of this water, then have to spit it right there. But you can’t spit it

that way. You have to spit it this way. And you have to wait for a very speciﬁ c moment when you do it. Now, let’s

do it seventeen  mes ’ l we get it.’ At one point, I had to place in my head, a ﬁ sh, a cat, a cricket and a wooden

boy. I had to do it all, and with the Blue Fairy on occasion. On our second or third day there, my brain just got

exhausted. I said, ‘Bob, can you just give me a minute in order to put all these mental images in my head and

in the right place?’ and he gave me the  me. I always knew that there was going to be this counterpoint in the

scenes where there was no actual Jiminy Cricket oﬀ -stage to talk. Some mes, it was just literally a laser pointer.”

Of Hanks, Zemeckis says, “Tom is the greatest living actor in the movie business, and it’s always fun to see Tom

bring a character to life. His portrayal of Geppe o is spot-on—wonderful and very warm. Tom can do anything.

He brought more to the role than I ever could have imagined.”

ASSEMBLING THE CAST

Benjamin Evan Ainsworth is the voice of Pinocchio. Even though Pinocchio’s image was being created in a

computer, Zemeckis treats his and the other animated characters the same as the other actors on the set because

eventually they’ll be three-dimensional and photo real.

Ainsworth was on the set every day saying his lines and ac ng with the other cast members.

Says Zemeckis, “Ben Ainsworth couldn’t be be er as Pinocchio. Ben walked on set, and he was a pro. He was

ready. He knew what he had to do. He came in and was always there to deliver. He’s a spectacular actor.”

About Ainsworth and the other actors lending their voices, Zemeckis says, “They have to understand this wall of

invisibility in this situa on. They have to be ac ng. When they’re oﬀ camera, they can’t just be standing there

reading lines. They have to be doing the line, ac ng the lines. Whether it’s live ac on or visual eﬀ ects, you’re

always looking for the right actor for the part. All my voice actors are fantas c.”

Inspired by Pinocchio’s look in the animated original, the new Pinocchio is three-dimensional, and because

the character is made of wood, he has a wood grain, which, like skin, needed to move with precision when he

becomes a live puppet. Explains Zemeckis, “You always have to change things when you ‘dimensionalize’ an

animated character.”

For Jiminy Cricket, the leaping insect who serves as Pinocchio’s “chaperone” as well as moral compass, Zemeckis

cast Joseph Gordon-Levi , who he previously directed in the 2015 ﬁ lm “The Walk.” About Gordon-Levi ,

Zemeckis says, “I knew he would be a fantas c Jiminy. He can do anything.”

Gordon-Levi recalls, “In the movie ‘The Walk’ that Robert Zemeckis directed me in, I played sort of a raconteur

who speaks to the camera. And Jiminy Cricket is sort of the ul mate guy who talks right to the camera and tells

the audience what’s what. So, I was really honored that based on our last movie, Bob called me up and asked,

‘Would you want to do this?’ I couldn’t believe it.”

He con nues, “The important thing that I love more than anything about ‘Pinocchio’ is the moral of the story,

which is the importance of telling the truth, and what happens to you if you start telling lies. Your nose gets big.

I can’t think of a lesson that’s more important to impart to young children today. I’m so honored to be a part of

this new rendi on of ‘Pinocchio.’”

Like Pinocchio, Jiminy is based on the design of the animated original but is now three-dimensional. Zemeckis

says, “We had to decide what an insect skin texture would be. Jiminy in the original was perfectly designed. He

has the spirit and tone that is perfect for the movie.”

Emmy®-winning actor-comedian Keegan-Michael Key voices J. Worthington Foulfellow, the charisma c,

swindling anthropomorphized red fox known as “Honest” John who sells Pinocchio to a carnival sideshow. Says

Key, “‘Pinocchio’ has been one of my favorite fairy tales since I was a li le kid, so to be a part of it was very

exci ng to me.”

Key actually has a personal connec on to “Pinocchio”: His wife’s great-great-uncle Angelo Patry, a teacher who

lived in New York, was the person who originally translated Carlo Collodi’s stories from Italian into English.

Key says, “‘Honest’ John is a really fun character to perform because he’s this kind of overwrought, overbaked

character, full of bravado. It’s fun to be directed to chew up the scenery.”

About working with Zemeckis, Key says, “Robert’s direc ng style is very collabora ve, and it was really wonderful

for us to be able to go back and forth. One piece of direc on in par cular that turned out to be a lot of fun was

his saying, ‘What if this guy has one voice that he speaks to his sidekick Gideon with and then has a diﬀ erent

voice that he speaks to Pinocchio and the general public with?’ To be able to do these two diﬀ erent shades of

‘Honest’ John was great.”

Of Key, Zemeckis says, “He is the most perfect ‘Honest’ John you could ever imagine having in your movie.”

Oscar® and Emmy® nominee Lorraine Bracco, best known for her roles in MarƟ n Scorsese’s “GoodFellas” and

the HBO drama series “The Sopranos,” is the voice of Soﬁ a the Seagull, a bird who helps reunite Pinocchio and

GeppeƩ o. This is a new character that wasn’t in the 1940 ﬁ lm or any previous versions of the story.

Portraying the Blue Fairy, a magical being who transforms Pinocchio from a wooden puppet into a living puppet,

is Oscar® and Emmy® nominee Cynthia Erivo, who won a Tony® for her role as Celie in the Broadway revival of

the musical “The Color Purple.” Erivo remembers “being kind of blown away by ‘Pinocchio’ when she saw it the

ﬁ rst Ɵ me” at age 9. She says, “I’d never seen anything like it.”

When approached to do the role, she felt an emoƟ onal connecƟ on to the material. Erivo says, “I loved the

project. The story is about truth and honesty and wishes coming true in ways that you didn’t realize that they

could be true. SomeƟ mes what you wish for isn’t necessarily what you get because it’s best for you and other

Ɵ mes you need to work for the wishes you wish. Also, there are lessons in it that teach us about not just being

honest but being truthful and true to oneself. It’s about knowing that mistakes can happen and you can make

mistakes, but you can also own those mistakes and go back and ﬁ x them if you want to. So, yeah, it’s like second

chances for everyone.”

About her character, Erivo says, “I just loved Zemeckis’ vision for the Blue Fairy. Her role is to help to shepherd

Pinocchio into learning about what honesty looks like. And she tries to grant the wish that he and GeppeƩ o

want. She’s a bit of a teacher in that sense.

“Zemeckis wanted her to be both sweet and kind, but also pragmaƟ c and pracƟ cal,” Erivo conƟ nues. “There’s an

almost edge to her, but there is a warmth in her as well. He wanted this beauƟ ful mix of a lot of qualiƟ es in this

one character. I liked the challenge of being able to do that. I loved the project. I loved the song she gets to sing,

and I wanted to be a part of it.”

Erivo recalls, “They hooked me up to this machine that moved me all around, and it was wonderful. Robert asked

if I wanted to do the scene in parts or learn it like a monologue. And I said—because I’m a theater kid—that I’d

love to learn it as a monologue, and that’s how I did it. It was really fun.”

About working with Zemeckis, Erivo says, “It was fun, very fun. He’s very considerate and asks really lovely

quesƟ ons that help you to ﬁ nd the space you need to be in to do the work. I felt like I had all the room to ﬁ nd

and create the character.”

Erivo and Zemeckis surprised the crew when she sang “When You Wish Upon a Star” live on set rather than

prerecording it and lip-syncing it to track. Erivo says, “I am stubborn. So if there is singing involved in a ﬁ lm, I

prefer to sing live. I wanted to give everyone in the room something fun, something good to listen to. And it was

just a lovely moment to be able to sing it in the scene.”

She adds, “I just had a really good Ɵ me doing it. It was really fun. I like this character a lot.”

To play the sly and sinister Coachman, the ﬁ lmmakers chose Luke Evans, who portrayed Gaston in Disney’s live-

acƟ on “Beauty and the Beast” and Owen Shaw in three ﬁ lms in the “Fast & Furious” franchise. Says Zemeckis,

“Luke brings a lot of edge to the villain. We also needed someone who was a song-and-dance man. He ﬁ t the

bill perfectly.”

Recalling when he was approached to do the role, Evans says, “I was in Australia when I was asked if I could do a

call with Robert Zemeckis. I’m an enormous fan. I mean, I don’t know anybody that isn’t. This is a man who has

brought us so many incredible stories, and taking on a story like ‘Pinocchio’ and turning it into a live-ac on ﬁ lm

is no mean feat. The only person you can imagine doing that or being brave enough to do that and having the

acumen and the knowledge and the experience is Robert Zemeckis. It was just an honor to be in his presence

and to be directed by him, and he allowed me to present many ideas that he hadn’t thought of.

Even with the singing, I came up with a few ideas and the physicality and certain tricks that ’I’ve learned in other

movies that I was able to adapt into the character of The Coachman. And he loved it, he embraced everything.

It was a full-on experience.”

Evans con nues, “The Coachman [has] diﬀ erent kinds of villainous quali es. He’s more mysterious than I was

expec ng him to be. And I think there’s some very wonderful moments in The Coachman story, which I absolutely

relished and loved, and I get to sing as well, which obviously I love to do.”

He adds, “The Coachman is one of these people who is very enigma c. ’He’s a li le scary. He’s quite mysterious.

You don’t really know what he’s thinking or what his agenda is, but he seems to be happy, and he wants the kids

to be happy. And he takes them to this theme park that’s ﬁ lled with real magic. And everything is larger than

life and colorful and loud with music playing. And the kids can pretend to be adults. They think they’re drinking

some kind of beer. They’re on gondolas. It’s all otherworldly. And to a kid, that must be very exci ng. And The

Coachman knows this. And so The Coachman is there to allow these kids to have the best  me of their life.

Unbeknownst to them, there is a darker side to his agenda. He’s terrifying at moments, but he also has this sort

of weird, twisted charm, which obviously all the kids, including Pinocchio, fall for.”

It was important to Evans that his look in the ﬁ lm would be very diﬀ erent than Gaston. Says Evans, “They came

up with a look and image that was so far removed from anything I looked like in ‘Beauty and the Beast’ that I

think I’m possibly unrecognizable in some of these scenes. He has a huge coat and a big goatee and long straggly

hair and a big hat and ro en teeth. It was an absolute joy to disappear into the character with all the diﬀ erent

pieces of hair and makeup and teeth, and the costume was wonderful.”

Evans refers to The Coachman as “a creature of many faces,” referring to the fact that his appearance changes

several  mes. “I proposed that I would change my accent depending on what look I was wearing and what image

The Coachman was at that precise moment in the story,” recalls Evans. “We decided to make him a Cockney,

which I’ve never done, although I live in London and have for twenty-ﬁ ve years. If anybody knows the Cockney

accent, it comes with its own basket of charm, and that was really fun to play.”

Kyanne Lamaya, who appeared in the UK series “The Dumping Ground,” plays Fabiana, a young puppeteer with

an injured leg who vicariously dances through her marione e Sabina, played by Jaquita Ta’le (“Good Trouble,”

“Super Drags”). Proliﬁ c Italian actor Giuseppe Ba ston is Stromboli, the owner of the Marione e Traveling

Theatre, and Lewin Lloyd, who most recently starred in the HBO series “His Dark Materials,” portrays Lampwick,

a young boy who befriends Pinocchio on Pleasure Island.

SONGS OLD AND NEW

Retaining Leigh Harline and Ned Washington’s most memorable songs from the animated classic—the Oscar®-

winning “When You Wish Upon a Star,” “I’ve Got No Strings” and “Hi-Diddle-Dee-Dee (An Actor’s Life for Me)”—

the ﬁ lmmakers wanted to include addi onal songs in their live-ac on version. Oscar nominees Alan Silvestri, who

composed the ﬁ lm’s background score and has teamed with Zemeckis on 19 ﬁ lms, and Glen Ballard collaborated

on the new original songs.

Weitz says, “The 1940 ‘Pinocchio’ won two Oscars®—for score and for original song—and so it was important to

get the best team possible to do the music. Not only do Alan and Glen pay homage to the classic ﬁ lm, but they’ve

made new and exci ng crea ons of their own to work alongside their long me collaborator Bob Zemeckis.”

It was decided early on when Zemeckis and Weitz were wri ng the script to have the character of the Blue Fairy

sing “When You Wish Upon a Star,” rather than Jiminy Cricket, who sang it in the animated ﬁ lm. They believed

it made sense from the standpoint of the story to have her sing it since she was the one who would make

Geppe o’s wish come true. Plus, it would provide a fantas c opportunity for a supremely talented musical ar st

like Cynthia Erivo to make what has become Disney’s signature theme song something all her own.

Of Erivo, Silvestri says, “She was absolutely deligh ul. She was just amazingly prepared and willing to do whatever

was needed. Of course, you know, she sings beau fully, but the performance as an actress that she brought to

the ﬁ lm is spectacular. So it was pure delight, as good as it gets.”

While wri ng the script, Zemeckis and Weitz noted places where addi onal songs might work. The director

explains, “We went through the process of doing what you do whenever you’re going to make a musical. When

we were wri ng the script, Chris and I would spot places where we said to each other, ‘Hey, why don’t we do

a song there?’ What songs do best in musicals is shore up the emo onal growth of a character or help express

what a character is feeling at any given moment. So that’s what we did with the songs.”

Silvestri and Ballard were mindful of the simple, old-fashioned style of the songs from the animated ﬁ lm, but it

didn’t restrict them from going in a diﬀ erent and more contemporary direc on for the new songs. Says Silvestri,

“Certainly, we needed to have the ﬁ lm work as a fabric so nothing would be so glaringly out of character that it

would be a distrac on. What we found with ‘Pinocchio’ is that the ﬁ lm could handle a lot of range in how the

songs were approached.”

When Tom Hanks was conﬁ rmed to play Geppe o, Silvestri and Ballard were delighted to be working with him

again, having wri en the songs Hanks performed in Zemeckis’ 2004 “The Polar Express.”

Ballard says, “We thought we would have at least one song for Tom, and it was really a story point. You see

a photograph of a young man while Geppe o is making the puppet who will become Pinocchio. So there’s

some sense that he’s missing this lost child in the picture. So we wrote ‘When He Was Here with Me’ to reveal

something about what’s missing in Geppe o’s life and for the audience to understand why he’s lonely. Tom’s

singing and ac ng it, and it’s deeply emo onal.”

The second original song, “Pinocchio Pinocchio,” was commissioned by Zemeckis, who wanted a musical number

where Geppe o and Pinocchio would dance when the puppet comes to life.

Recalls Ballard, “Bob said, ‘You know what, we should have a celebra on song of Pinocchio and his father just

having a gleeful moment.’ We put it in a music box to start it so it has some diege c rela onship to the scene.”

Silvestri and Ballard wrote another original song, “I Will Always Dance,” for the character of Fabiana the puppeteer

who wants to be a dancer but has an injured leg. Ballard says, “I think it’s an important song in the ﬁ lm. She’s

always going to dance in her mind, and she has all of her puppets dance, and Pinocchio gets to dance in it. It’s

a sweet number to let him know that there are other people who are striving like him to achieve something.”

When Luke Evans was cast as The Coachman, it was only natural that they would write a song for the musical

comedy veteran to perform. Explains Ballard, “It’s kind of a crazy suite, all related to the Luke Evans character

scooping up children oﬀ the street to take them to Pleasure Island. He’s basically selling Pinocchio on why they

need to go to Pleasure Island. So that one is a fun number, and it’s also, again, storytelling.”

Says Silvestri, “It was a very ﬂ uid process all the way through. And as you might expect, we wrote some things

that didn’t wind up in the ﬁ lm. But that was all part of the process, the crea ve process of ﬁ nding what the ﬁ lm

really needed.”

For his background score, Silvestri used the songs as a resource, along with an accordion to evoke a bit of Old

World Italy for Geppe o’s shop. Silvestri explains, “Even though the ﬁ lm takes place at a much earlier  me

in history, I didn’t feel that we had to limit ourselves to period music. In a ﬁ lm like this, with these big ac on

sequences, there’s a great range of musical needs, a lot of music that had to be wri en. But it really comes back

to the emo onal arc of the characters. These were very emo onal scenes and adventures and things happening

that are  meless and universal—friendship and danger, mystery and fantasy, all these things. So, the ﬁ lm seemed

to really be able to take and handle a tremendous musical range.”

* * *

“Pinocchio” was shot at Cardington Studios in Bedford, England—a converted hanger where giant zeppelin

airships were once built. The prac cal sets included Geppe o’s home and workshop, the village street and

schoolhouse exteriors, Stromboli’s puppet theater, Geppe o’s sailing boat, the gro o and Pleasure Island. The

balance of the produc on was computer generated, overseen by visual eﬀ ects supervisor Kevin Baillie and visual

eﬀ ects producer Sandra Sco , both of whom have worked with Zemeckis on many ﬁ lms including “A Christmas

Carol,” “The Walk,” “Allied,” “Welcome to Marwen” and “The Witches.”

ABOUT THE CAST

TOM HANKS (GeppeƩ o) is an award-winning actor, producer and director. One of only two actors in history

to win back-to-back Academy Awards® for Best Actor in a Leading Role, he won his ﬁ rst Oscar® in 1994 for his

moving portrayal of AIDS-stricken lawyer Andrew Becke in Jonathan Demme’s “Philadelphia.” The following

year, he took home his second Oscar for his unforge able performance in the  tle role of Robert Zemeckis’

“Forrest Gump.” He also won Golden Globe® Awards for both ﬁ lms, as well as a SAG Award® for the la er.

Hanks has also been honored with Academy Award® nomina ons for his performances in Penny Marshall’s “Big,”

Steven Spielberg’s “Saving Private Ryan,” Robert Zemeckis’ “Cast Away” and, most recently, for his portrayal of

Fred Rogers in Marielle Heller’s “A Beau ful Day in the Neighborhood.” He also won Golden Globes® for “Big”

and “Cast Away.”

In 2013, Hanks starred in the Academy Award®–nominated ﬁ lm “Captain Phillips” (for which he received Golden

Globe®, SAG® and BAFTA nomina ons), as well as the AFI Movie of the Year “Saving Mr. Banks.” Four years later,

he received his ninth Golden Globe® nomina on, as well as Best Actor from the Na onal Board of Review, for his

work in Steven Spielberg’s Academy Award–nominated ﬁ lm “The Post,” alongside Meryl Streep.

Most recently, Hanks starred in the World War II drama “Greyhound” for Apple TV+, which he also wrote, and

Paul Greengrass’ pre–Civil War drama “News of the World” and Apple TV+’s post-apocalyp c sci-ﬁ drama “Finch.”

He recently starred in Baz Luhrmann’s “Elvis” and will next be seen in “Pinocchio” for Disney+, Sony’s “A Man

Called OƩ o” and Wes Anderson’s upcoming unƟ tled ﬁ lm.

His other acƟ ng credits include the Tom Tykwer and Lana and Lilly Wachowski’s ﬁ lm “Cloud Atlas”; Stephen Daldry’s

“Extremely Loud & Incredibly Close”; the animated adventure “The Polar Express” (which he also execuƟ ve

produced and which reunited him with director Robert Zemeckis); the Coen brothers’ “The Ladykillers”; Steven

Spielberg’s “The Terminal” and “Catch Me If You Can”; Sam Mendes’ “Road to PerdiƟ on”; Frank Darabont’s

“The Green Mile”; Nora Ephron’s “You’ve Got Mail” and “Sleepless in SeaƩ le”; Penny Marshall’s “A League of

Their Own”; Ron Howard’s “Apollo 13,” “The Da Vinci Code,” “Angels & Demons,” “Splash” and “Inferno”: Tom

Tykwer’s “A Hologram for the King”; Clint Eastwood’s “Sully”; and the computer-animated blockbusters “Cars,”

“Toy Story,” “Toy Story 2,” “Toy Story 3” and “Toy Story 4.”

In 1996, Hanks made his successful feature ﬁ lm wriƟ ng and direcƟ ng debut with “That Thing You Do!,” in which

he also starred. He later co-wrote (with Nia Vardalos), produced, directed and starred in “Larry Crowne” with Julia

Roberts. Under his Playtone banner, founded in 1998 with producing partner Gary Goetzman, Hanks’ addiƟ onal

ﬁ lm producing credits include the smash-hit romanƟ c comedy “My Big Fat Greek Wedding” with Hanks’ wife,

Rita Wilson, “Where the Wild Things Are,” “The Polar Express,” “The Ant Bully,” “Charlie Wilson’s War,” “Mamma

Mia!,” “Mamma Mia! Here We Go Again,” “The Great Buck Howard” and “Starter for 10.”

Hanks’ work on the big screen has translated to success on the small screen as well. Following “Apollo 13,” he

execuƟ ve produced and hosted the acclaimed HBO miniseries “From the Earth to the Moon,” also direcƟ ng

one segment and wriƟ ng several others. His work on the miniseries brought him Emmy®, Golden Globe® and

Producers Guild Awards, as well as an Emmy nominaƟ on for Outstanding DirecƟ ng for a Miniseries.

In 2001, he then went on to execuƟ ve produce his second miniseries for HBO, and ﬁ rst television series under

his Playtone banner, “Band of Brothers,” alongside Steven Spielberg. The World War II drama, based on the book

by Stephen Ambrose, won Emmy® and Golden Globe® Awards for Outstanding Miniseries. Hanks directed one

episode of the series and wrote another, earning him an Emmy Award for Outstanding DirecƟ ng for a Miniseries

and an Emmy nominaƟ on for Outstanding WriƟ ng for a Miniseries. He also received another Producers Guild

Award for his work on the project. In 2010, he and Spielberg re-teamed for the award-winning HBO miniseries

“The Paciﬁ c,” for which Hanks once again served as execuƟ ve producer. The 10-part program won eight Emmy

Awards, including Outstanding Miniseries, and brought Hanks his fourth PGA Award.

Hanks’ addiƟ onal execuƟ ve producing credits include the HBO miniseries “John Adams” (Emmy® and Golden

Globe® Awards for Outstanding Miniseries, PGA Award); the HBO poliƟ cal drama “Game Change” (Emmy and

Golden Globe Awards for Outstanding Miniseries/Television Film, PGA Award); the HBO miniseries “Olive

KiƩ eridge,” based on the Pulitzer Prize–winning novel by Elizabeth Strout (Emmy Award for Outstanding Limited

Series); and hit CNN documentary series “The SixƟ es” (Emmy Award nominaƟ on), “The SevenƟ es” (Emmy Award

nominaƟ on), “The EighƟ es,” “The NineƟ es” and “The Movies.”

In 2013, Hanks made his Broadway debut in the Nora Ephron–penned play “Lucky Guy.” His performance earned

him Drama Desk, Drama League, Outer CriƟ cs Circle and Tony Award® nominaƟ ons.

Hanks received the American Film InsƟ tute’s LifeƟ me Achievement Award in 2002, the Film Society of Lincoln

Center’s Chaplin Award in 2009 and, in 2014, a Kennedy Center Honor.

BENJAMIN EVAN AINSWORTH (Pinocchio) recently wrapped the lead role in “All Fun & Games,” produced by

Joe and Anthony Russo, and has a signiﬁ cant role in David S. Goyer’s epic “The Sandman” for Ne lix opposite

Tom Sturridge.

Ainsworth’s ﬁ rst ﬁ lm credit was Disney+’s “Flora & Ulysses,” and he followed that as one of the leads in the

Ne lix limited series “The Haun ng of Bly Manor” opposite Victoria Pedre and Henry Thomas for director

Mike Flanagan. His performance in that as the orphaned, deeply troubled and vola le Miles Wingrave earned

him cri cal acclaim and was described as one of the “most delicate and cap va ng performances in a horror

story ever captured.”

In his spare  me, Benjamin enjoys playing rugby and hockey and is a huge Liverpool FC supporter. He also loves

singing, songwri ng, music producing and playing the drums.

JOSEPH GORDON-LEVITT (Jiminy Cricket) most recently starred in the new Show me anthology series “Super

Pumped: The Ba le for Uber” in which he played Uber founder Travis Kalanick opposite an all-star cast including

Kyle Chandler and Uma Thurman. Prior to that, he starred in the Apple TV+ series “Mr. Corman,” which he also

created and directed.

On the ﬁ lm side, Gordon-Levi is currently in produc on on the indie comedy “Providence” with Lily James and

Himesh Patel. He most recently starred in the Academy Award®–nominated Aaron Sorkin ﬁ lm “The Trial of the

Chicago 7,” as well as in the hit Ne lix ﬁ lm “Project Power” opposite Jamie Foxx and in the independent thriller

“7500,” wri en and directed by Patrick Vollrath.

Among Gordon-Levi ’s addi onal ﬁ lm credits are Oliver Stone’s “Snowden”; “The Walk,” directed by Robert

Zemeckis, in which he portrayed Philippe Pe t; “The Night Before,” directed by Jonathan Levine; “Don Jon,”

which he wrote (Independent Spirit Award nominee for Best First Screenplay) and was his feature ﬁ lm directorial

debut; the English-language version of Hayao Miyazaki’s Academy Award®-–nominated animated feature “The

Wind Rises”; Robert Rodriguez and Frank Miller’s “Sin City: A Dame to Kill For”; Steven Spielberg’s Oscar®-

nominated “Lincoln”; Rian Johnson’s “Looper”; “The Dark Knight Rises,” Christopher Nolan’s third and ﬁ nal

installment in the “Batman” series; “Premium Rush,” directed by David Koepp; Jonathan Levine’s “50/50,”

for which he received a Golden Globe® nomina on; Christopher Nolan’s Academy Award–nominated ac on-

drama “Incep on”; “Hesher,” directed by Spencer Susser (Sundance Film Fes val 2010); Marc Webb’s “(500)

Days of Summer,” for which he received Golden Globe, Independent Spirit Award and People’s Choice Award

nomina ons; Spike Lee’s World War II drama “Miracle at St. Anna”; Kimberly Peirce’s “Stop-Loss”; the crime

drama “The Lookout,” which marked Sco Frank’s directorial debut; John Madden’s “Killshot”; Lee Daniels’

“Shadowboxer”; Rian Johnson’s award-winning debut ﬁ lm, “Brick”; “Mysterious Skin” for writer-director Gregg

Araki; and “Manic” with Don Cheadle. He also adapted the Elmore Leonard short story “Sparks” into a 24-minute

short ﬁ lm that he directed (Sundance Film Fes val 2009). Early in his career, Gordon-Levi won a Young Ar st

Award for his ﬁ rst major role in Robert Redford’s drama “A River Runs Through It.” He went on to co-star in

“Angels in the Ou ield,” “The Juror,” “Halloween H20” and “10 Things I Hate About You.”

Gordon-Levi is well known to television audiences for his starring role on NBC’s award-winning comedy series

“3rd Rock from the Sun.” During his six seasons on the show, he won two YoungStar Awards and shared in three

Screen Actors Guild Award® nomina ons for Outstanding Performance by a Comedy Series Ensemble. Following

the series, Gordon-Levi took a short break from ac ng to a end Columbia University.

In 2016, the ACLU honored Gordon-Levi with its annual Bill of Rights Award for furthering diversity eﬀ orts,

promoƟ ng free speech, empowering women and otherwise supporƟ ng civil rights and liberƟ es for all Americans.

KEEGAN-MICHAEL KEY (“Honest” John) is an Emmy®- and Peabody Award–winning actor, writer and producer

known for his extraordinarily diverse skill set and wide-ranging talent in both comedy and drama. Key redeﬁ nes

what it means to be a mulƟ -hyphenate in the worlds of ﬁ lm, television and theater.

The in-demand actor most recently hosted the 2022 NFL Honors. Key is currently ﬁ lming the Steve Levitan Hulu

series “Reboot” and wrapped producƟ on on Warner Bros.’ “Wonka.” Later in 2022, Key’s voice can be heard in

the animated project “Wendell & Wild” for Neƞ lix. Audiences can currently see Key in the Neƞ lix comedy series

“The Pentaverate” and in Apple TV+’s musical-comedy series “Schmigadoon!”

He most recently starred in Judd Apatow’s “The Bubble” and can be heard in Disney+’s “Chip ‘n Dale: Rescue

Rangers” and Amazon Prime’s “Hotel Transylvania 4: Transformania.” In addiƟ on, he narrated “The History of

Sketch Comedy” for Audible and co-wrote the series.

AddiƟ onal credits include starring in Neƞ lix’s “Dolemite Is My Name,” Paramount’s “Playing with Fire” and

Disney’s “Toy Story 4” and “The Lion King.” AddiƟ onally, he hosted and execuƟ ve produced both CBS’ “Game

On!” and NaƟ onal Geographic’s “Brain Games.”

Key came to worldwide aƩ enƟ on as co-creator and co-star, alongside Jordan Peele, of Comedy Central’s

groundbreaking sketch series “Key & Peele,” which won the 2016 Emmy® Award for Outstanding Variety Sketch

Series.

CYNTHIA ERIVO (Blue Fairy) is a GRAMMY®-, Emmy®- and Tony Award®–winning actress, singer and producer, as

well as an Academy Award®, Golden Globe® and SAG Award® nominee. Erivo burst onto West End and Broadway

stages in “The Color Purple” and has since taken the world by storm.

Erivo was recently nominated for a SAG® and Emmy® Award for her criƟ cally acclaimed portrayal of Aretha

Franklin in NaƟ onal Geographic’s Emmy-winning global anthology series “Genius.” The “Aretha” season is the

ﬁ rst-ever, deﬁ niƟ ve and only authorized scripted limited series on the life of the universally acclaimed Queen of

Soul. The series premiered on NaƟ onal Geographic on March 21, 2021.

She starred in Apple TV+’s “Roar,” an anthology series of darkly comic feminist fables. Erivo stars in the series

along with Nicole Kidman, Alison Brie, Issa Rae and MerriƩ Wever, among others. The series was released in

April 2022.

Erivo is currently in producƟ on on Neƞ lix’s “Luther,” where she will star alongside Idris Elba and Andy Serkis

in the feature ﬁ lm installment, which conƟ nues the story of the acclaimed BBC crime series. She will also star

in Universal’s ﬁ lm adaptaƟ on of the hit musical “Wicked.” Erivo will star as Elphaba opposite Ariana Grande’s

Glinda in this highly anƟ cipated ﬁ lm from director Jon M. Chu.

It was recently announced that Erivo will star in and produce a sci-ﬁ feature for Neƞ lix, “Blink Speed.” Erivo will

play a young woman plagued by a rare and mysterious savant ability aŌ er a near-death experience. She will also

star in and produce a remake of “The Rose” with Searchlight. Although the new producƟ on will pay homage

to the classic ﬁ lm, Erivo’s take on the story will put a contemporary lens on the high price of fame. It was also

announced that Erivo will produce and star in a biopic about Sara Forbes BoneƩ a, a 19th-century Nigerian

princess who was “giŌ ed” to Queen Victoria aŌ er being liberated from slavery.

In addiƟ on to her illustrious acƟ ng career, Erivo is a GRAMMY®-nominated songwriter and performer, oŌ en

headlining sold-out shows, symphonies and music spaces including the Kennedy Center Honors, the 2020

Academy Awards®, the 2017 Governors Ball and the 2017 GRAMMY Awards. Erivo released her debut album,

“Ch. 1 Vs. 1,” with Verve/Universal Music Group on September 17, 2021.

In fall 2021, Erivo released her ﬁ rst children’s book, Ɵ tled “Remember to Dream, Ebere,” on September 28, 2021.

The book follows a young girl named Ebere whose mother encourages her to dream as big as possible. Erivo

wrote the book as an ode to a child’s imaginaƟ on, a parent’s love and the big dreams shared by both.

In August 2020, Erivo launched her producƟ on company, Edith’s Daughter, and announced her ﬁ rst-look deal

with MRC Television & Civic Center Media. Edith’s Daughter focuses on projects that express the beauty in

the stories and people who are oŌ en overlooked and underrepresented. Erivo named Solome Williams as vice

president of the company.

In winter 2020, Erivo starred in the HBO series “The Outsider,” which premiered on January 12, 2020. The series

is based on the Stephen King novel of the same name and follows an unorthodox invesƟ gator and a seasoned

cop invesƟ gaƟ ng the gruesome murder of a local boy.

In 2019, Erivo starred in Kasi Lemmons’ “Harriet,” where she brought the legacy of Harriet Tubman to the big

screen. Focus Features released the ﬁ lm in theaters on November 1, 2019, and Erivo’s performance was met

with criƟ cal acclaim. AddiƟ onally, Erivo lent her voice to the movie’s Ɵ tle song, “Stand Up,” which she co-wrote.

“Stand Up” won Best Original Song at the Hollywood Music in Media Awards. Both Erivo and “Stand Up” were

nominated for two Academy Awards® as well as two Golden Globe® Awards in the categories of Best Actress in

a MoƟ on Picture – Drama and Best Original Song, respecƟ vely. AddiƟ onally, “Stand Up” received a nominaƟ on

for a GRAMMY® Award in the category of Best Song WriƩ en for Visual Media. The ﬁ lm also garnered 10 NAACP

nominaƟ ons as well as AAFCA and Society of Composers & Lyricists Award wins.

LORRAINE BRACCO (Soﬁ a the Seagull) has delivered mulƟ faceted performances that have earned her a global

fan base. She is perhaps best known for her role as psychiatrist Dr. Jennifer Melﬁ , who treated New Jersey Maﬁ a

heavyweight Tony Soprano, on HBO’s hit series “The Sopranos.” Her concise, understated portrayal earned her

mulƟ ple Emmy®, Golden Globe® and Screen Actors Guild Award® nominaƟ ons. Bracco is an Academy Award®

nominee for her performance as a mobster’s wife in MarƟ n Scorsese’s “GoodFellas,” and she is the author of

a best-selling memoir, “On the Couch,” and a diet and nutriƟ on book, “To the Fullest,” published by Rodale. In

addiƟ on to ﬁ lm and television, Bracco starred on Broadway as Mrs. Robinson in Terry Johnson’s adaptaƟ on of

“The Graduate.”

She recently completed principal photography on “Boys of Summer.” She returns to London in the fall to shoot

the third season of the BBC hit “Jerk.”

Bracco made her American feature ﬁ

lm debut in Ridley ScoƩ ’s 1987 thriller “Someone to Watch Over Me.” Other

ﬁ lm credits include “Riding in Cars with Boys,” “The Pick-Up ArƟ st,” “Switch,” “Radio Flyer,” “Medicine Man,”

“Even Cowgirls Get the Blues,” “Hackers” and “The Basketball Diaries.” Among her more recent credits: “The

Birthday Cake,” opposite Val Kilmer, Ewan McGregor and Shiloh Fernandez.

Bracco’s television career covers the spectrum. AŌ er six seasons as Tony’s therapist on the historic series “The

Sopranos,” she spent seven seasons on “Rizzoli & Isles” as the do ng Rizzoli matriarch. She has been a guest on

numerous comedies including “Mulaney,” “Dice” and “BoJack Horseman.” She has completed two seasons of the

much-lauded BBC show “Jerk.”

Bracco was born in Brooklyn to an Italian American father and an English mother. Although she was voted the

ugliest girl in sixth grade, she nonetheless became a Paris fashion model represented by the Wilhelmina Agency.

She worked as a disc jockey for Radio Luxembourg and began to act in ﬁ lm. She appeared in several French

comedies and worked with Italian ﬁ lm director Lina Wertmüller. Returning to the U.S., she studied at The Stella

Adler Studio and the Actors Studio in New York City.

Bracco lives in New York. She is on the board of The Felix Organiza on/Adoptees for Children, which provides

opportuni es and experiences for kids growing up in the foster care system. Addi onally, she works with the

Center for Discovery.

LUKE EVANS (The Coachman) has made a powerful impression in Hollywood solidifying his status as a leading

man across all genres.

Most recently, the Welsh actor appeared in Hulu’s limited series “Nine Perfect Strangers,” based on “Big Li le

Lies” author Liane Moriarty’s book of the same name. David E. Kelley, Bruna Papandrea’s Made Up Stories,

Nicole Kidman’s Blossom Films and Endeavor Content produced the eight-episode series, which takes place at a

bou que health-and-wellness resort that promises healing and transforma on as nine stressed city dwellers try

to get on a path to a be er way of living. Evans plays Lars, one of the nine “perfect” strangers. The series, also

starring Nicole Kidman, Melissa McCarthy, Bobby Cannavale, Regina Hall and Michael Shannon, premiered on

August 18, 2021, as the most-watched Hulu original ever.

Evans has wrapped produc on on Apple TV+’s ac on-thriller drama series “Echo 3,” to premiere this fall. The

10-part series takes place in South America and follows Amber Chesborough, a brilliant young scien st, who is

the emo onal center of a small American family. When she goes missing along the Colombia-Venezuela border,

her brother and her husband (Evans)—two men with deep military experience and complicated pasts—struggle

to ﬁ nd her in a layered, personal drama set against the explosive backdrop of a secret war. Mark Boal serves as

the showrunner alongside co-showrunner and director Pablo Trapero.

Evans will begin produc on on the ﬁ lm “5lbs of Pressure,” wri en and directed by Phil Allocco. Evans is also set

to star in “Our Son” with Billy Porter directed by Bill Oliver. The ﬁ lm follows Gabriel (Porter) and Nicky (Evans)

who are ﬁ ling for divorce and ﬁ gh ng for custody of their 8-year-old son struggling to come to terms with what

it means to love someone and what it means to be a father.

In 2021, Evans starred in “The Pembrokeshire Murders,” a three-part ITV drama series based on a true story.

Evans portrayed Welsh police oﬃ cer Steve Wilkins, who in 2006 reopened two unsolved double murders from

the 1980s.

In the summer of 2020, Evans reprised his role of John Moore in “The Alienist: Angel of Darkness” sequel series.

The series is based on the interna onal best-selling novel by Caleb Carr and TNT’s Emmy®-nominated drama

series “The Alienist.” The show is set in the Gilded Age of New York City in 1896. Also in 2020, Evans appeared

in director Nicholas Jarecki’s “Crisis.” The ﬁ lm, also starring Gary Oldman, Evangeline Lilly and Lily-Rose Depp,

follows three storylines centered within the world of opioids.

In summer 2019, Evans was seen in Tate Taylor’s thriller “Ma” alongside Octavia Spencer and Julie e Lewis, as

well as in Ne lix’s “Murder Mystery,” co-starring Adam Sandler and Jennifer Aniston, which earned the  tle of #1

on Ne lix in the U.S. in 2019, and in the thriller “Anna” alongside Sasha Luss, Cillian Murphy and Helen Mirren.

Evans was also seen in “State Like Sleep,” starring alongside Katherine Waterston and Michael Shannon. The

drama revolves around the basic need for human connec on and love. The ﬁ lm premiered at the 2018 Tribeca

Film Fes val and was released on January 4, 2019.

In November 2019, Evans released his debut studio album, “At Last.” Produced by Steve Anderson (Kylie Minogue,

Pet Shop Boys), “At Last” brings together an eclec c collec on of modern and classic songs personally curated

by Evans to highlight and complement his unique delivery and vocal style. The selec on of songs that have been

boldly reimagined by Evans includes modern classics such as U2’s “With or Without You,” Maria McKee’s ’90s

power ballad “Show Me Heaven” and Cher’s “If I Could Turn Back Time,” along with the E a James jazz standard

“At Last” and “The First Time Ever I Saw Your Face” by Roberta Flack.

Also in November 2019, Evans was seen in Roland Emmerich’s “Midway” as Lieutenant Commander Wade

McClusky. The ﬁ lm follows the story of U.S. Navy sailors and aviators who persevered through the Ba le of

Midway, a turning point in the Paciﬁ c Theater of World War II. Ed Skrein, Patrick Wilson, Aaron Eckhart, Nick

Jonas and Mandy Moore also starred in the ﬁ lm, which was distributed by Lionsgate.

In spring 2017, Evans starred as Gaston in Disney’s highly successful, live-ac on adapta on of the animated classic

“Beauty and the Beast.” Directed by Academy Award® winner Bill Condon, the ﬁ lm was released in theaters on

March 17, 2017, and has grossed more than $1.2 million in the worldwide box oﬃ ce. Evans starred opposite

Emma Watson as Belle, Dan Stevens as The Beast, Josh Gad as LeFou and Emma Thompson as Mrs. Po s.

The same year, Evans was seen in Annapurna’s “Professor Marston & The Wonder

Women.” The ﬁ lm chronicles the life of Harvard psychologist and inventor Dr. Marston (Evans) who created

Wonder Woman and his rela onship with his wife, fellow psychologist and inventor Elizabeth (Rebecca Hall),

and their polyamorous rela onship with Olive Byrne (Bella Heathcote). The ﬁ lm premiered at the 2017 Toronto

Film Fes val.

In 2016, Evans starred in Universal Pictures’ big-screen adapta on of the highly successful book of the same

name, “The Girl on the Train,” opposite Emily Blunt and Jus n Theroux, directed by Tate Taylor. Evans also starred

in Ben Wheatley’s suspense noir ﬁ lm “High-Rise,” for which he received a Best Suppor ng Actor nomina on at

the Bri sh Independent Film Awards and was named as one of the Best Performances of 2016 by The Hollywood

Reporter.

In December 2015, Evans reprised his role as the iconic dragon slayer and archery expert Bard the Bowman

in the ﬁ nal installment of Peter Jackson’s “The Hobbit” series, “The Hobbit: The Ba le of the Five Armies.”

Evans also appeared as Bard in the second installment, “The Hobbit: The Desola on of Smaug.” The ﬁ lms were

released in December 2014 and 2015 and co-starred Mar n Freeman, Ian McKellen and Richard Armitage. Prior

to this, Evans was seen in the lead role of the heroic ruler Vlad in Gary Shore’s global success “Dracula Untold.”

The role, which strengthened Evans’ global recogni on, saw him star alongside Charles Dance, Dominic Cooper

and Sarah Gadon.

In summer 2013, Evans starred as the villain Owen Shaw in the sixth installment of Universal’s “The Fast & Furious”

franchise. Directed by Jus n Lin, the ﬁ lm opened in May and has grossed more than $700 million worldwide. He

returned in “Furious Seven” and has also been immortalized in the “Fast & Furious: Super Charged” a rac on at

Universal Studios amusement park.

For BBC, Evans starred in Chris Chibnall’s (“Broadchurch”) “The Great Train Robbery,” as the infamous, real-

life train robber Bruce Reynolds. The special aired in December 2014 and detailed the great train robbery of

2.6 million pounds from a Royal Mail train from Glasgow in 1962 and the aŌ ermath when Reynolds spent ﬁ ve

years on the run before being jailed in 1978. The mini-series garnered awards recogniƟ on from the BAFTA TV

commiƩ ee as well as the Monte Carlo Television FesƟ val.

Evans made his UK feature ﬁ lm debut in the role of Clive in the 2009 BriƟ sh Independent Film Academy–

nominated feature “Sex & Drugs & Rock & Roll,” Mat Whitecross’ biopic of the London punk-rock scene founder

Ian Dury of Ian Dury and the Blockheads. It was Warner Bros.’ acƟ on/fantasy/drama “Clash of the Titans,”

however, that put Evans on the map, where he portrayed the charismaƟ c god Apollo. Evans’ other ﬁ lm credits

include Ridley ScoƩ ’s remake of “Robin Hood,” “Immortals,” “The Three Musketeers,” “The Raven,” “No One

Lives” and “Tamara Drewe.”

Prior to his ﬁ lm career, Evans had successfully carved out an enviable stage career starring in West End plays and

musicals such as “La Cava,” Boy George’s “Taboo,” “Avenue Q,” “Dickens Unplugged,” “A Girl Called Dusty” and,

at the acclaimed Donmar Warehouse, “Small Change” and “Piaf.” His powerful, trained voice and engaging stage

presence made him the perfect choice for leading roles such as Chris in “Miss Saigon” and Roger in “Rent.”

KYANNE LAMAYA (Fabiana) is a highly skilled dancer and singer who makes her feature ﬁ lm debut in “Pinocchio.”

She has been involved with the performing arts from a young age and appeared regularly on the BBC series “The

Dumping Ground.”

LEWIN LLOYD (Lampwick) is very much thought of as one of the leading young teen actors in the UK and has

an abundance of stellar credits already under his belt, including the starring role of Roger Parslow in “His Dark

Materials” (BBC/HBO). Recent big-screen credits include a role in the feature ﬁ lm “The Aeronauts” with Eddie

Redmayne and Felicity Jones, and playing Renée Zellweger’s son, Joey LuŌ , in “Judy.” Lewin starred at the NaƟ onal

Theatre in “Saint George and the Dragon” and featured in TNT’S “The Alienist,” starring Luke Evans, in the same

year. He has also starred alongside Tom Hardy and Jessie Buckley in the BBC drama “Taboo.”

ABOUT THE FILMMAKERS

ROBERT ZEMECKIS (Director/Screenwriter/Producer) won an Academy Award®, a Golden Globe® and a

Directors Guild of America Award for Best Director for the hugely successful and popular “Forrest Gump.” The

ﬁ lm’s numerous honors also include a Best Picture Oscar® and, for Tom Hanks, a Best Actor Oscar.

Early in his career, Zemeckis co-wrote with Bob Gale and directed “Back to the Future,” which was the top-

grossing release of 1985, and for which Zemeckis shared Oscar® and Golden Globe® nominaƟ ons for Best

Original Screenplay. He then went on to helm “Back to the Future, Part II” and “Part III,” compleƟ ng one of the

most successful ﬁ lm franchises in moƟ on picture history.

Zemeckis has conƟ nued to bring an impressive number of popular ﬁ lms to the screen including the comedies

“Used Cars” and “I Wanna Hold Your Hand”; the romanƟ c adventure “Romancing the Stone,” starring Michael

Douglas and Kathleen Turner; and the macabre comedy hit “Death Becomes Her,” starring Meryl Streep, Goldie

Hawn and Bruce Willis.

He also directed “Who Framed Roger Rabbit?,” cleverly blending live ac on and anima on in a feature ﬁ lm,

resul ng in a worldwide box-oﬃ ce smash. Zemeckis re-teamed with Hanks, direc ng and producing the

contemporary drama “Cast Away,” which opened to cri cal and audience acclaim.

He directed and produced “Contact,” starring Jodie Foster, based on the best-selling novel by Carl Sagan. He

also co-wrote and directed the mo on-capture ﬁ lm “The Polar Express,” starring Tom Hanks as a charming train

conductor taking children on a magical adventure to the North Pole.

Zemeckis produced and directed his second mo on-capture ﬁ lm, “Beowulf,” which starred Anthony Hopkins and

Angelina Jolie, based on one of the oldest surviving pieces of Anglo-Saxon literature, wri en before the 10th

century A.D. He released another advanced mo on-capture ﬁ lm, “A Christmas Carol,” based on the celebrated

and beloved classic story by Charles Dickens, which he both wrote and directed for The Disney Studios.

Zemeckis returned to live-ac on direc on with the cri cally acclaimed drama c feature ﬁ lm “Flight” for

Paramount Pictures, starring Denzel Washington. Under the direc on of Zemeckis, Washington received an

Academy Award® nomina on for the role.

For “The Walk,” he directed Joseph Gordon-Levi and Ben Kingsley in the story of French high-wire ar st Philippe

Pe t’s 1974 a empt to cross the Twin Towers of the World Trade Center.

He then directed the roman c thriller “Allied,” starring Brad Pi and Marion Co llard, telling the compelling

story of the rela onship between a Canadian Intelligence Oﬃ cer and a French Resistance Fighter against the

backdrop of World War II in North Africa in 1942.

Along with Caroline Thompson, Zemeckis wrote the screenplay for “Welcome to Marwen,” which he directed for

Universal Pictures. The ﬁ lm starred Steve Carell as ar st Mark Hogancamp who created a miniature World War

II–era village as a way to recover from a violent assault. Zemeckis then directed “The Witches” for Warner Bros.

Studios.

Zemeckis produced such ﬁ lms as “The Frighteners,” “Monster House” and “Last Holiday,” and as a producer

brought the true-life story of “The Prize Winner of Deﬁ ance, Ohio,” starring Julianne Moore and Woody Harrelson,

to the big screen. Along with Bob Gale, Zemeckis co-wrote “Trespass.” He and Gale previously wrote “1941,”

which began a long me associa on with Steven Spielberg.

In 1998 Zemeckis, Steve Starkey and Jack Rapke partnered to form ImageMovers, a produc on company

dedicated to telling character-driven stories across many genres for ﬁ lm and television, incorpora ng into both

their cu ng-edge and innova ve digital technology.

For the small screen, his television direc ng credits include episodes of Spielberg’s “Amazing Stories” and HBO’s

“Tales from the Crypt.” He serves as execu ve producer on “Medal of Honor” for Ne lix and also execu ve

produces “Project Blue Book” for the History Channel and “Manifest” for NBC and Warner Bros. Studios.

In March 2001, the USC School of Cinema c Arts celebrated the opening of the Robert Zemeckis Center for

Digital Arts. This state-of-the-art center is the country’s ﬁ rst and only fully digital training center and houses the

latest in non-linear produc on and post-produc on equipment as well as stages, a 50-seat screening room and

USC student-run television sta on Trojan Vision.

CHRIS WEITZ (Screenwriter/Producer) was born in New York City, the son of actress Susan Kohner and Berlin-

born novelist–fashion designer John Weitz (born Hans Werner Weitz). His brother is ﬁ lmmaker Paul Weitz. He

is the grandson of agent Paul Kohner and Mexican actress Lupita Tovar on his maternal side. His grandmother

Lupita starred in “Santa,” Mexico’s ﬁ rst talkie, in 1932.

Weitz was educated at the Allen-Stevenson School in New York and St Paul’s School in London and went on to

graduate with a BA and MA in English Literature from Trinity College, Cambridge.

Weitz began his ﬁ lm career as a co-writer, along with his brother Paul, of the 1998 animated ﬁ lm “Antz.” In

1999, he and Paul directed and produced “American Pie,” which became a major box-oﬃ ce success. In 2002,

the brothers co-wrote and directed “About a Boy,” which earned them an Academy Award® nomina on for Best

Adapted Screenplay.

He went on to direct several other feature ﬁ lms, including the 2007 adapta on of Philip Pullman’s best-selling

fantasy novel “The Golden Compass”; the second ﬁ lm installment in the “Twilight” series, “New Moon”; the

2011 ﬁ lm “A Be er Life,” which garnered an Academy Award® nomina on for its lead actor, Demián Bichir; and

“Opera on Finale,” starring Oscar Isaac and Sir Ben Kingsley.

More recently, Weitz has wri en several feature ﬁ lms, including “Cinderella” for Disney; “Rogue One: A Star

Wars Story” for Lucasﬁ lm; “The Mountain Between Us” for 20th Century Fox; and the upcoming “The Boys in the

Boat,” which George Clooney is direc ng for MGM. His young adult novel trilogy, “The Young World,” has been

published by Li le Brown, beginning in 2014.

He has produced a number of ﬁ lms through his and Paul’s company, Depth of Field, including Tom Ford’s “A

Single Man”; Peter Solle ’s “Nick & Nora’s Inﬁ nite Playlist”; Kogonada’s “Columbus”; Judy Greer’s “A Happening

of Monumental Propor ons”; Lulu Wang’s cri cal and box-oﬃ ce hit “The Farewell,” starring Awkwaﬁ na; Sammy

Cohen’s roman c comedy “Crush,” which recently premiered on Hulu; and the upcoming “About My Father,”

directed by Laura Terruso and starring Robert De Niro, Kim Ca rall and Leslie Bibb.

He lives in Los Angeles with his wife and three children.

ANDREW MIANO (Producer) has partnered with writer-directors Paul and Chris Weitz in their produc on

company, Depth of Field, for the last 15-plus years. He most recently produced “About My Father,” starring

Robert De Niro and Sebas an Maniscalco, which Lionsgate is releasing later this year, and “Crush,” starring Auliʻi

Cravalho and Rowan Blanchard, which premiered on Hulu in April.

Prior to that, Miano produced “The Farewell,” wri en and directed by Lulu Wang, which premiered at Sundance

in 2019, where it was bought by A24. The ﬁ lm went on to win the 2020 Independent Spirit Award for Best

Feature, and Best Actress in a Comedy for Awkwaﬁ na at the 2020 Golden Globes®.

Previously, he produced “Columbus” by ﬁ lmmaker Kogonada, starring John Cho and Haley Lu Richardson, which

received three Independent Spirit Award nomina

 ons; “Bel Canto,” wri en and directed by Paul Weitz, based

on the acclaimed novel by Ann Patche and starring Julianne Moore and Ken Watanabe; as well as Judy Greer’s

directorial debut, “A Happening of Monumental Propor ons,” starring an ensemble cast including Common,

Allison Janney, Bradley Whi ord and Jennifer Garner.

He also served as producer on Paul Weitz’s “Grandma,” the cri cally acclaimed 2015 ﬁ lm that earned star Lily

Tomlin a Golden Globe® nomina on, among mul ple honors. “Grandma” was also named one of the 2015 Top

10 Independent Films of the Year by the Na onal Board of Review.

Miano’s other credits include “Admission,” starring Tina Fey and Paul Rudd; Tom Ford’s “A Single Man,” starring

Colin Firth and Julianne Moore; Peter Solle ’s “Nick & Norah’s Inﬁ nite Playlist,” starring Michael Cera and Kat

Dennings; Paul Weitz’s “Being Flynn” with Robert De Niro and Paul Dano; “Good Kids” with Nicholas Braun

and Zoey Deutch; “American Dreamz”; and “Cirque du Freak: The Vampire’s Assistant.” Earlier, Miano served as

execu ve producer on “In Good Company,” “Li le Fockers” and “The Golden Compass.”

DEREK HOGUE (Producer) is a long me associate of director Robert Zemeckis, star ng work with him in January

2010. Ini ally in post-produc on for the director, he has worked on “Flight,” starring Denzel Washington, and

“The Walk,” starring Joseph Gordon-Levi . On “Allied,” starring Brad Pi , he was post-produc on supervisor,

taking the role of associate producer on “Welcome to Marwen,” then co-producer on the director’s recent hit

“The Witches.”

JACK RAPKE (ExecuƟ ve Producer) moved to Los Angeles upon his gradua on from New York University Film

School in 1974 to embark on a career in the entertainment industry. His ﬁ rst stop was the mailroom of the

William Morris Agency in 1975. Four years later, Rapke joined Crea ve Ar sts Agency (CAA), where he rose, over

the course of the next 17 years, to become one of the most successful agents in Hollywood.

During a seven-year tenure as co-chairman of CAA’s mo on picture department, Rapke cul vated a high-proﬁ le

client list that included Jerry Bruckheimer, Ridley Sco , Michael Mann, Harold Ramis, Michael Bay, Terry Gilliam,

Bob Gale, Bo Goldman, Steve Kloves, Howard Franklin, Sco Frank, Robert Kamen, John Hughes, Joel Schumacher,

Mar n Brest, Chris Columbus, Ezra Sacks and Imagine Entertainment partners Ron Howard and Brian Grazer.

Instrumental in building produc on companies around his clients, it was only a ma er of  me before he decided

to build one of his own with client Robert Zemeckis.

In 1998, Rapke departed CAA to form ImageMovers with Zemeckis. Primarily focused on theatrical mo on

pictures, the company’s ﬁ rst feature was the cri cally acclaimed “Cast Away,” directed by Zemeckis and starring

Tom Hanks. Rapke went on to produce numerous hits including “What Lies Beneath,” starring Harrison Ford

and Michelle Pfeiﬀ er; the Ridley Sco –directed “Matchs ck Men,” starring Nicolas Cage; “The Prize Winner of

Deﬁ ance, Ohio,” starring Julianne Moore and Woody Harrelson; and “Last Holiday,” starring Queen La fah.

Rapke execu ve produced “The Polar Express,” starring Tom Hanks, for Warner Bros., which blazed a new trail

for modern 3D ﬁ lmmaking. He produced the Oscar®-nominated “Monster House” for Sony Pictures; “Beowulf,”

starring Anthony Hopkins and Angelina Jolie for Paramount; and “A Christmas Carol” for The Walt Disney Studios,

starring Jim Carrey and Colin Firth. He was also execu ve producer on the ﬁ lm “Real Steel,” starring Hugh Jackman

and directed by Shawn Levy for DreamWorks.

Rapke produced “Flight” for Paramount Pictures, starring Denzel Washington, which was nominated for two

Academy Awards®. He also produced “The Walk,” which starred Joseph Gordon-Levi , for Sony Pictures, and he

execu ve produced the feature ﬁ lm “Allied,” which starred Brad Pi , for Paramount Pictures.

Rapke served as producer on “Welcome to Marwen” for Universal Pictures, which starred Steve Carell, and

produced “The Witches” for Warner Bros. Studios, which starred Anne Hathaway and Octavia Spencer. He served

as producer on the upcoming “Finch” for DreamWorks/Universal, starring Tom Hanks.

For television, Rapke was execuƟ ve producer for the three seasons of “The Borgias,” starring Jeremy Irons

for ShowƟ me, and execuƟ ve producer on the documentary series “Medal of Honor” for Neƞ lix. He served as

execuƟ ve producer on “Project Blue Book” for the History Channel and has execuƟ ve produced all three seasons

of “Manifest” for NBC TV and Warner Bros. Studios.

JACQUELINE LEVINE (ExecuƟ ve Producer) recently served as producer on “Finch” for Amblin Partners, directed

by Miguel Sapochnik. Starring Tom Hanks and Caleb Landry Jones, the story follows Finch, an ailing inventor

and the last man on Earth who, facing his own mortality, builds a robot to keep his beloved dog safe. As the

trio embarks upon an epic cross-country journey, the scienƟ st must teach his creaƟ on to become “human”

enough to take care of its charge, and the beloved pet to accept a new master. She also execuƟ ve produced “The

Witches” for director Robert Zemeckis. Based on the classic Roald Dahl novel of the same name, the ﬁ lm starred

Anne Hathaway and Octavia Spencer.

Levine served as an execuƟ ve producer on Zemeckis’ “Welcome to Marwen” for Universal Pictures, starring

Steve Carell. Earlier, Levine served as an execuƟ ve producer on “Allied,” which starred Brad PiƩ and was directed

by Zemeckis for Paramount Pictures. She served as an execuƟ ve producer on “The Walk,” which starred Joseph

Gordon-LeviƩ as Philippe PeƟ t, who made the seemingly impossible walk on wire 110 stories up between the

World Trade Center Towers. She is in pre-producƟ on on the feature ﬁ lm “Rose” with Film NaƟ on ﬁ nancing for

Gia Coppola to direct.

Levine works with a wide range of A-list ﬁ lmmakers, showrunners and writers, with her focus on ﬁ nding and

developing quality ﬁ lm and television projects. She oversaw development and producƟ on on “Flight,” directed

by Zemeckis and starring Denzel Washington, who was nominated for an Academy Award® for his role in the

ﬁ lm; “Real Steel”; “Mars Needs Moms”; and “The Borgias” episodic series on ShowƟ me.

For television, Levine has served as execuƟ ve producer on “Manifest,” now in its fourth supersized season on

Neƞ lix, and the cable series “Project Blue Book” for the History Channel. She also execuƟ ve produced “Medal of

Honor,” a docuseries for Neƞ lix, and “CriƟ cal Mass” for NaƟ onal Geographic. She also served as a co-execuƟ ve

producer for “What/If,” a scripted series for Neƞ lix. Levine is currently working on “Contact,” “Jetsons” and a TV

series based on the popular podcast “Deep Cover” in partnership with Universal Television.

Before joining ImageMovers, she was the senior VP of producƟ on and development at Walden Media where

she oversaw “The Chronicles of Narnia: Prince Caspian,” “The Chronicles of Narnia: The Voyage of the Dawn

Treader,” “The Water Horse,” “Mr. Magorium’s Wonder Emporium,” “Amazing Grace,” “Sahara,” “The Game of

Their Lives” and many others. Earlier, Levine packaged movies for the foreign ﬁ nancing company Cobalt Media,

where she helped put together and ﬁ nd ﬁ nancing for “Open Range,” “House of Sand and Fog” and “Swimfan,”

which she developed at Michael Douglas’ Further Films. There, she oversaw development and producƟ on on

“Don’t Say a Word” and “One Night at McCool’s,” as well as other Douglas projects. Before her tenure at Further

Films, Levine served as associate producer on “Mighty Joe Young” with Tom Jacobson for Disney.

Levine began her ﬁ lm career as an assistant to Donna Roth and Susan Arnold at Roth/Arnold ProducƟ ons where

she worked on “Benny & Joon” before being promoted to serve as an associate producer on “Unstrung Heroes”

and “Grosse Point Blank.”

JEREMY JOHNS (ExecuƟ ve Producer/Unit ProducƟ on Manager) has enjoyed a highly successful career in

mo on pictures and television for more than three decades. Most recently, Johns served as execu ve producer

and UPM on “Christopher Robin,” and as co-producer and UPM on three Disney live-ac on adventures—“The

Nutcracker and the Four Realms,” “Beauty and the Beast” and “Alice Through the Looking Glass”—and the World

War II drama “Fury,” starring Brad Pi .

Prior to that, Johns’ credits include, most notably, serving as UPM on three James Bond extravaganzas—

“Skyfall,” “Quantum of Solace” and “Casino Royale”—along with “Wrath of the Titans” and the miniseries “Band

of Brothers.” He also served as the London produc on manager on “The Chronicles of Riddick,” as the Kenya

produc on manager on “Lara Cro Tomb Raider: The Cradle of Life,” and as the Tunisia unit manager on “Star

Wars: Episode 1 – The Phantom Menace.”

Earlier, he served as loca on manager on many feature ﬁ lms, including “No ng Hill” and “Birthday Girl,” the

Morocco por on of “Gladiator,” as well as mul ple episodes of such UK TV series as “The Fragile Heart,” “Bugs,”

“Poirot” and “Anna Lee.”

PAUL WEITZ (ExecuƟ ve Producer) made his directorial debut, along with his brother Chris, with “American Pie.”

In addi on to wri ng the animated ﬁ lm “Antz,” Paul also co-wrote and directed “About a Boy,” for which he and

Chris earned an Academy Award® nomina on for Best Adapted Screenplay. Paul is the writer and director of

numerous ﬁ lms including “Being Flynn,” “In Good Company,” “American Dreamz,” “Admission” and “Grandma”

with Lily Tomlin. Paul wrote, directed and produced the Golden Globe®–winning Amazon series “Mozart in the

Jungle,” starring Gael García Bernal. He recently co-wrote and directed the ﬁ lm “Fatherhood,” starring Kevin

Hart, and the upcoming “Moving On” with Jane Fonda and Lily Tomlin.

As a playwright, he has worked with Second Stage Theater in New York. His published plays include “Lonely I’m

Not,” which starred Topher Grace, and “Trust,” starring Zach Braﬀ and Su on Foster. As an actor, he has worked

for directors Miguel Arteta (“Chuck & Buck”) and Jeﬀ Baena (“Li le Hours”).

DON BURGESS, ASC (Director of Photography) is a revered, Oscar®-nominated cinematographer who has been

a con nuous ar s c talent for more than 40 years. He has been a steady collaborator with Robert Zemeckis on

such modern classics as “Forrest Gump,” “Cast Away” and “Contact.” Burgess has con nued to be a mainstay in

Hollywood, shoo ng studio tentpoles including “Spider-Man” (2002) and “Aquaman,” while also delivering feel-

good comedy in “13 Going on 30” and “Fool’s Gold.”

DOUG CHIANG (ProducƟ on Designer), the Academy Award®–winning ar st, author and produc on designer,

began his career as a stop-mo on animator on the TV series “Pee-wee’s Playhouse.” A er a ending UCLA

Film School, he became a commercial TV director for Rhythm & Hues, Robert Abel and Associates and Digital

Produc ons. As crea ve director for George Lucas’ Industrial Light & Magic, he served as visual eﬀ ects art director

on ﬁ lms such as “Terminator 2,” “Ghost,” “The Mask,” “Forrest Gump” and “Death Becomes Her.” Chiang has

earned numerous awards including an Academy Award, two Bri sh Academy Film Awards, two Clio Awards, a

Theo Award, a VES Award, a Webby and the Art Directors Guild Award.

As an author, he has wri en many books including “Robota,” his acclaimed illustrated novel that he created and

co-wrote with Nebula- and Hugo-winning author Orson Sco Card. His latest book “Mechanika,” published in

2008, is in its second edi on. Chiang’s artwork has been exhibited worldwide in the Brooklyn Museum, Chicago’s

Field Museum and the Kyoto and Tokyo Na onal museums, among others.

In 1995, George Lucas personally selected Chiang to serve as head of the Lucasﬁ lm art department for seven

years on “Star Wars: Episode 1 – The Phantom Menace” and “Star Wars: Episode 2 – A ack of the Clones.” He

le Lucasﬁ lm in 2002 to form his own 35-person design studio, IceBlink Studios, and worked for Steven Spielberg

on “War of the Worlds.”

In 2006, Chiang partnered with The Walt Disney Company and Robert Zemeckis to form ImageMovers Digital, a

new digital ﬁ lm studio. As execu ve vice president, Chiang grew the company to a core staﬀ of more than 500

employees and oversaw its daily opera ons un l 2011. Addi onally, he served as produc on designer for Robert

Zemeckis on “The Polar Express,” “Beowulf,” “Disney’s A Christmas Carol” and “Mars Needs Moms.”

Chiang returned to Lucasﬁ lm in 2013 to work on “Star Wars: Episode VII – The Force Awakens” and currently

serves as Lucasﬁ lm’s vice president and execu ve crea ve director. With more than 25 years of “Star Wars”

design exper se, he oversees designs for all new “Star Wars” franchise developments including ﬁ lms, theme

parks, games and new media. He recently served as produc on designer on “Rogue One: A Star Wars Story.”

Currently, Chiang is serving as produc on designer for the “Star Wars” live-ac on series “The Mandalorian,”

“The Book of Boba Fe ” and “Obi-Wan Kenobi.”

STEFAN DECHANT (ProducƟ on Designer) is a Los Angeles–based produc on designer with more than 25 years of

industry experience working alongside reputable ﬁ lmmakers like James Cameron (“Avatar”), Tim Burton (“Alice

in Wonderland”), Sam Mendes (“Jarhead”) and Robert Zemeckis, with whom he’s collaborated seven  mes. He

has worked on more than 30 ﬁ lms in a variety of roles including illustrator, storyboard ar st, art director and

produc on designer.

Recently, Dechant served as the produc on designer for the Apple TV+ ﬁ lm “The Tragedy of Macbeth,” directed

by Joel Coen (“No Country for Old Men,” “True Grit”). Dechant’s work on the ﬁ lm earned him an Academy

Award® nomina on and an Art Directors Guild Award nomina on for Outstanding Produc on Design.

Dechant won the Online Film & Television Associa on (OFTA) Award for Best Produc on Design for his art direc on

on James Cameron’s “Avatar.” His work on Tim Burton’s “Alice in Wonderland” also earned him nomina ons for

produc on design awards from the Art Directors Guild, OFTA and Satellite Awards. His addi onal ﬁ lm credits

include “Forrest Gump,” “Contact,” “Cast Away,” “Minority Report,” “Lincoln,” “True Grit,” “Kong: Skull Island,”

“The Call of the Wild” and “Jurassic Park.”

JESSE GOLDSMITH, ACE (Film Editor) has worked in the editorial department of such ﬁ lms as Robert Zemeckis’

“The Witches” and “Welcome to Marwen,” as well as “Pokémon: Detec ve Pikachu,” “The Lego Ninjago Movie,”

“The Lego Batman Movie,” “Star Trek Beyond” and “Star Wars: Episode VII – The Force Awakens.” “Pinocchio”

marks Goldsmith’s feature ﬁ lm debut as editor.

Goldsmith a ended ﬁ lm school at Temple University, gradua ng in 2010.

MICK AUDSLEY (Film Editor) is a highly respected ﬁ lm editor with a career spanning more than four decades

and more than 30 ﬁ lm credits under his name by some of the most prominent directors of his genera on. He

a ended the Royal College of Art where he worked as a sound and picture editor on a variety of projects for the

BFI ProducƟ on Board.

Audsley’s collaboraƟ on with acclaimed ﬁ lmmaker Stephen Frears—which includes 15 ﬁ lms— started with the

TV ﬁ lm “Walter” and its sequel, “Walter and June.” This was followed by iconic features such as “The Hit,” “My

BeauƟ ful LaundereƩ e,” “Prick Up Your Ears” and “Dangerous Liaisons” for which he received a BAFTA nominaƟ on.

In 1993, he won a BAFTA for another Frears project, “The Snapper.” “High Fidelity,” “Dirty PreƩ y Things,” “Tamara

Drewe” and “Lay the Favorite” all followed.

Audsley also worked on several ﬁ lms with Mike Newell including “Dance with a Stranger,” “Mona Lisa Smile,”

“Harry PoƩ er and the Goblet of Fire” and “Love in the Time of Cholera.”

Among Audsley’s other credits with notable directors are Ken Russell’s “Lady ChaƩ erley,” Neil Jordan’s “Interview

with a Vampire,” John Madden’s “Captain Corelli’s Mandolin” and Terry Gilliam’s “Twelve Monkeys.” In 2009,

Audsley teamed up again with Gilliam on “The Imaginarium of Doctor Parnassus” and in 2013 in “The Zero

Theorem.”

More recent credits include “Everest,” directed by Baltasar Kormákur, “Allied” for director Robert Zemeckis,

Kenneth Branagh’s “Murder on the Orient Express” and Armando Iannucci’s “The Personal History of David

Copperﬁ eld.”

JOANNA JOHNSTON (Costume Designer) is a criƟ cally acclaimed costume designer and one of the most talented

and sought aŌ er in her craŌ . She has collaborated frequently with Steven Spielberg and Robert Zemeckis and has

also worked with M. Night Shyamalan and Richard CurƟ s on more than one occasion.

Johnston began her career assisƟ ng Academy Award®–winning costume designer Anthony Powell on such ﬁ lms

as “Evil Under the Sun,” “Death on the Nile” and Roman Polanski’s “Tess.” Powell received Academy Awards® for

his work on both “Death on the Nile” and “Tess.” Johnston also assisted him with his work on “Indiana Jones and

the Temple of Doom.”

She served as assistant designer to Milena Canonero on “Out of Africa,” for which Canonero was nominated

for an Oscar®. She also assisted Tom Rand with his work on “The French Lieutenant’s Woman,” for which he

received an Oscar® nominaƟ on, and worked with him again on “The ShooƟ ng Party.”

As a costume designer, her collaboraƟ ons with Spielberg include “Indiana Jones and the Last Crusade,” “Saving

Private Ryan,” “War of the Worlds,” “Munich,” “War Horse” and most recently “The BFG.” Her work with Spielberg

on “Lincoln” earned Johnston her ﬁ rst Oscar® nominaƟ on.

Johnston’s collaboraƟ ons with Robert Zemeckis include “Who Framed Roger Rabbit?,” “Back to the Future, Part

II” and “Back to the Future, Part III,” “Death Becomes Her,” “Contact,” “Cast Away,” “The Polar Express” and the

Academy Award®–winning “Forrest Gump.”

Her work with Zemeckis on “Allied” earned Johnston her second and most recent Oscar® nominaƟ on in 2017.

She collaborated with Zemeckis on “Welcome to Marwen” and again on “The Witches.” She recently worked on

“Jurassic World Dominion.”

ALAN SILVESTRI (Music Composer/Original Songs) has blazed an innova ve trail with his exci ng and melodic

scores, winning the applause of Hollywood and movie audiences the world over. With a credit list of more than 90

ﬁ lms amassed during his ongoing, decades-long career as a composer, Silvestri has composed some of the most

recognizable and beloved themes in movie history. His eﬀ orts have been recognized with two Oscar® and Golden

Globe® nomina ons, three GRAMMY® Awards and two Emmy® Awards, as well as numerous Interna onal Film

Music Cri cs Awards, Saturn Awards and Hollywood Music in Media Awards.

Born in New York City and raised in Teaneck, New Jersey, Silvestri ﬁ rst thought of becoming a bebop jazz guitar

player. A er spending two years at the Berklee College of Music in Boston, he hit the road as a performer and

arranger. Landing in Hollywood at the age of 22, he found himself successfully composing the music for 1972’s

“The Doberman Gang,” which established his place in the world of ﬁ lm composing.

The 1970s witnessed the rise of energe c synth-pop scores, establishing Silvestri as the ac on rhythmist for

TV’s Highway Patrol hit “CHiPs.” This ac on-driven score caught the ear of budding ﬁ lmmaker Robert Zemeckis,

whose hit 1984 ﬁ lm “Romancing the Stone” was the perfect ﬁ rst date for the composer and director; its success

became the basis of a decades-long collabora on between the ﬁ lmmaker and composer that con nues to the

current day. Their numerous collabora ons have taken them through many fascina ng landscapes and stylis c

varia ons, from the “Back to the Future” trilogy to the jazzy world of Toontown in “Who Framed Roger Rabbit?”

to the tension-ﬁ lled rooms of “What Lies Beneath” and “Death Becomes Her,” from the cosmic wonder of

“Contact” to the emo onal isola on of “Cast Away,” to the magic of the “Polar Express.”

But perhaps no ﬁ lm partnership deﬁ nes their crea ve rela onship be er than Zemeckis’ 1994 Best Picture

winner, “Forrest Gump,” for which Silvestri’s gi for melodically beau ful themes earned him an Oscar® and

Golden Globe® nomina on and the aﬀ ec on of ﬁ lm music lovers everywhere. This 38-year, 19-ﬁ lm collabora on

includes such recent ﬁ lms as “Flight,” “Allied” and “Welcome to Marwen.” In 2020, Zemeckis and Silvestri

completed “The Witches” based on Roald Dahl’s 1973 classic book.

Although the Zemeckis-Silvestri collabora on is legendary, Silvestri has scored ﬁ lms of every imaginable style

and genre. His energy has brought excitement and emo on to the hard-hi ng orchestral scores of Steven

Spielberg’s “Ready Player One” and James Cameron’s “The Abyss,” as well as “Predator” and “The Mummy

Returns.” Silvestri’s diversity is on full display in family entertainment ﬁ lms like “Father of the Bride” and “Father

of the Bride Part II,” “The Parent Trap,” “Stuart Li le” and “Stuart Li le 2,” Disney’s “Lilo & S tch” and “The

Croods,” as well as three movies in the “Night at the Museum” franchise, while his passion for melody fuels the

roman c emo on of ﬁ lms like “The Bodyguard” and “What Women Want.”

In 2019, Silvestri composed the music for Marvel’s “Avengers: Endgame.” The ﬁ lm is a culmina on of a partnership

with Marvel that began in 2011 with Silvestri’s dynamically heroic score for “Captain America: The First Avenger.”

Since 2011, Silvestri’s collabora on with Marvel helped propel “The Avengers” and “Avengers: Inﬁ nity War” to

spectacular worldwide success.

Silvestri’s success has also crossed into the world of songwri ng. His partnership with six- me GRAMMY® Award

winner Glen Ballard has produced hits such as the GRAMMY-winning and Oscar-nominated song “Believe,”

performed by Josh Groban, for “The Polar Express”; “Bu erﬂ y Fly Away,” performed by Miley Cyrus for “Hannah

Montana The Movie”; “God Bless Us Everyone,” performed by Andrea Bocelli for “A Christmas Carol”; and “A

Hero Comes Home,” performed by Idina Menzel for “Beowulf.” The duo’s most recent project is “Back to the

Future The Musical,” which is currently playing to sold-out audiences in London’s West End.

Silvestri and his wife, Sandra, are long me residents of California’s central coast. The Silvestri family has embarked

on a new venture as the founders of Silvestri Vineyards. Their wines show that lovingly culƟ vated fruit has a

music all its own. “There’s something about the elemental side of winemaking that appeals to me,” he says.

“Both musicmaking and winemaking involve the blending of art and science. Just as each note brings its own

voice to the melody, each vine brings its own unique personality to the wine.”

GLEN BALLARD (Original Songs) is a six-Ɵ me GRAMMY® Award winner who is one of popular music’s most

accomplished producers and songwriters. Ballard’s records have sold more than 150 million copies worldwide.

Through his Los Angeles–based producƟ on company, Augury, Ballard is developing a diverse slate of projects in

which music plays a central role. His most recent project is the Neƞ lix Original series “The Eddy,” a music-driven

mulƟ cultural drama about a jazz band trying to survive in chaoƟ c modern-day Paris, which debuted in May 2020.

Ballard wrote and composed original songs and music for the limited series and served as an execuƟ ve producer

alongside Oscar®-winning director Damien Chazelle, BAFTA- and Tony Award®–winning writer Jack Thorne and

Emmy®-winning producer-director Alan Poul. Ballard wrote original lyrics and music for “Ghost the Musical,”

which debuted in 2011 and has since been touring worldwide.

Ballard’s internaƟ onal producƟ on company, Augury, is a producer of the stage adaptaƟ on of 1985’s “Back to the

Future,” having worked on the project’s development for more than 14 years. In collaboraƟ on with GRAMMY®

Award–winning and Oscar®-nominated ﬁ lm composer Alan Silvestri, Ballard created original music and lyrics for

the producƟ on, which includes 17 new original songs and is directed by John Rando. The show ﬁ rst opened in

Manchester, UK, at the Opera House in March 2020. “Back to the Future The Musical” began its debut in London’s

West End at the Adelphi Theatre with previews beginning on August 20, 2021 and opening on September 13,

2021.

“Back to the Future The Musical” was nominated for seven 2022 Olivier Awards, including Best Score, and won

for Best New Musical. It is the winner of four 2022 WhatsOnStage Awards, including Best New Musical.

“Back to the Future The Musical” will be coming to Broadway in 2023.

Ballard is also wriƟ ng songs for the stage version of the 1979 movie “The Rose,” to be produced by Gail Berman

(The Jackal Group) and Michael Gorfaine and Sam Schwartz in associaƟ on with Augury.

Ballard produced and co-wrote Alanis MorisseƩ e’s “Jagged LiƩ le Pill” (33 million worldwide, four GRAMMYs®

and named Best Album of the Decade by Billboard), and in 2019 a musical called “Jagged LiƩ le Pill” featuring all

the songs from the album debuted on Broadway. Directed by Diane Paulus with a book by Diablo Cody, “Jagged

LiƩ le Pill The Musical” was nominated for 15 Tony Awards® in 2020.

Ballard has wriƩ en and produced songs for Quincy Jones, Aretha Franklin, Barbra Streisand, Dave MaƩ hews,

Shakira, Katy Perry, Idina Menzel, George Benson, Ringo Starr, George Strait, Wilson Phillips, Van Halen, Chaka

Khan, Paƫ AusƟ n, Al Jarreau, Andrea Bocelli and many others. His producƟ on credits include producing and

arranging records for Annie Lennox, No Doubt and P.O.D. Ballard co-wrote and arranged “Man in the Mirror”

for Michael Jackson and co-wrote and produced the GRAMMY®-winning and Oscar®-nominated song “Believe,”

performed by Josh Groban, for the feature ﬁ lm “The Polar Express.”

His work in ﬁ lm includes wriƟ ng original songs for “CharloƩ e’s Web,” “Beowulf,” “A Christmas Carol,” “The

Croods,” The Mummy Returns” and “ValenƟ ne’s Day.”

KEVIN BAILLIE (Visual Eﬀ ects Supervisor) began his VFX career when he joined Lucasﬁ lm’s JAK Films as a pre-

visualiza on ar st on “Star Wars: Episode I – The Phantom Menace” at age 18. In the following 25 years, Baillie

has blazed a bright path, helming VFX at The Orphanage on features including “Pirates of the Caribbean: At

World’s End,” “Night at the Museum,” “Superman Returns,” “Harry Po er and the Goblet of Fire” and “Hellboy.”

Baillie has supervised cu ng-edge mo on capture for features at ImageMovers Digital, and he co-founded

Atomic Fic on in 2010. Atomic Fic on’s outstanding work on such ﬁ lms as director Robert Zemeckis’ “The Walk,”

“Allied” and “Flight” garnered awards recogni on and cri cal acclaim.

Baillie’s VFX supervisor credits also include two “Star Trek” movies and two “Transformers” features, as well as

“Welcome to Marwen” and “The Witches,” two more  tles in his long collabora on with Zemeckis.

Baillie also founded the cloud rendering technology company Conductor Technologies and is a member of the

Academy of Mo on Picture Arts and Sciences.

SANDRA SCOTT (Visual Eﬀ ects Supervisor) forged a VFX career with an 11-year s nt at Industrial Light & Magic,

working across both commercials and feature ﬁ lms, with “The Mummy,” “Harry Po er and the Chamber of

Secrets,” Harry Po er and the Prisoner of Azkaban,” “E.T. The Extra-Terrestrial” 20th Anniversary Edi on and

“War of the Worlds” highligh ng her  me there.

Sco quickly became recognized as a unifying VFX producer and execu ve who could guide a project or a company

through insurmountable challenges and into stable, steady waters. Ac ng as head of produc on or execu ve

producer, Sco helmed at Framestore, ImageMovers Digital, Digital Domain and Atomic Fic on, overseeing all

aspects of produc on and o en anchoring the transi on of VFX companies into feature anima on work and

workﬂ ows. Her passion for working on projects where character and story take center stage has driven her

decisions on both the projects she has undertaken and the companies for which she has worked.

Sco now works as an independent VFX producer, is a member of the PGA and is in her 14th year of collabora on

with director Robert Zemeckis through his ImageMovers produc on company. Her VFX producer credits with

him include “A Christmas Carol,” “Allied,” “Welcome to Marwen” and “The Witches.”

MATT SULLIVAN (Music Supervisor) is a four- me GRAMMY®-nominated music producer and supervisor. His

name is synonymous with mega-musicals, which make up nearly half of his 33 ﬁ lm credits. He has shepherded

the music and soundtracks for numerous award-winning musical ﬁ lms, from iconic classics including “Chicago”

and “Dreamgirls” to Disney’s remakes of “Aladdin” (2019) and “Beauty and the Beast” (2017). Sullivan is a

standout in handling du es on large-budget, music-driven ﬁ lms including the Oscar®-nominated “Saving Mr.

Banks.” Most recently, Sullivan stepped up to handle the music du es on Steven Spielberg’s “West Side Story”

and the upcoming “Disenchanted.”

The start of Sullivan’s career coincided with the resurgence of movie musicals, with the deﬁ ning ﬁ lm classic

“Chicago.” Sullivan’s dis nguished résumé con nues to grow with box-oﬃ ce successes that include “Hairspray,”

“Dreamgirls,” “Rent,” “Rock of Ages,” “Aladdin,” “Beauty and the Beast,” “Nine,” “Idlewild,” “Annie,” “Danny

Collins” and “Begin Again.”

Sullivan’s unique approach to working on a ﬁ lm starts at the script and audi on stage and concludes with the

ﬁ lm’s ﬁ nal sound mix. Directors and actors alike trust him in the recording studio and on set to achieve the best

performance and the telling of the story’s narra ve through music and lyrics. His unique approach is embraced

φϋ

by a wide array of ﬁ lmmakers including stage and ﬁ lm directors such as Rob Marshall, Bill Condon and Adam

Shankman. In addiƟ on, he works alongside tradiƟ onal ﬁ lmmakers outside of the musical space including Steven

Spielberg and Robert Zemeckis.

Sullivan’s accomplishments were recognized with the Oscar® Award–winning ﬁ lm “Chicago,” whose soundtrack

garnered both Oscar and GRAMMY® wins. Other notable contribuƟ ons include music producing and supervising

three Oscar-nominated songs for “Dreamgirls.” The ﬁ lm “Nine” was also recognized with an Oscar nominaƟ on

for Best Song for “Take It All,” a track that Sullivan produced.

Sullivan earned his ﬁ rst GRAMMY® nominaƟ on as the soundtrack producer for “Dreamgirls,” which also won the

Broadcast Film CriƟ cs AssociaƟ on Award for Best Soundtrack. Subsequent GRAMMY nominaƟ ons include the

“Hairspray” and “Rock of Ages” soundtracks.

Sullivan’s contribuƟ ons to modern blockbuster ﬁ lm musicals have added to a unique and thriving genre in the

cinemaƟ c world.

Oscar® and Academy Award® are the registered trademarks and service marks of the Academy of MoƟ 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 NaƟ onal Academy of Television Arts & Sciences.

Golden Globe® is the registered trademark and service mark of the Hollywood Foreign Press AssociaƟ on.

Tony Award® is a registered trademark and service mark of The American Theatre Wing.