Production Information Academy Award winner RUSSELL CROWE reunites with his blockbuster Gladiator director, filmmaking legend RIDLEY SCOTT, for the epic action-adventure Robin Hood. Joining with Oscar-winning producer BRIAN GRAZER (A Beautiful Mind, American Gangster) and Oscar-winning screenwriter BRIAN HELGELAND (LA Confidential, Green Zone), they tell the story of the legendary figure known by generations as “Robin Hood,” whose exploits have endured in popular mythology and ignited the imagination of those who share his spirit of adventure and righteousness. In 13th century England, Robin and his band of marauders confront corruption in a local village and challenge the crown to alter the balance of power between the king and all of his subjects. And whether outlaw or hero, one man from humble beginnings will become an eternal symbol of freedom for his people. Robin Hood chronicles the life of an expert archer, previously interested only in self-preservation, from his service in King Richard I’s army against the French. Upon Richard’s death, Robin travels to Nottingham, a town suffering from the corruption of a despotic sheriff and crippling taxation, where he falls for the spirited widow Lady Marion (Oscar winner Cate Blanchett of The Aviator, Elizabeth), a woman sceptical of the identity and motivations of this crusader from the forest. Hoping to earn the hand of Maid Marion and salvage the village, Robin assembles a gang whose lethal mercenary skills are matched only by its appetite for life. With their country weakened from decades of war, embattled from the ineffective rule of the new king and vulnerable to insurgencies from within and threats from afar, Robin and his men heed a call to ever greater adventure. This unlikeliest of heroes and his allies set off to protect their country from slipping into bloody civil war and return glory to England once more. Crowe and Blanchett lead a cast of accomplished performers, including Academy Award winner WILLIAM HURT (The Good Shepherd, A History of Violence) as Sir William Marshal, MARK STRONG (Sherlock Holmes, Kick-Ass) as Sir Godfrey, MARK ADDY (The Full Monty, A Knight’s Tale) as Friar Tuck, OSCAR ISAAC (Body of Lies, Che) as Prince John and DANNY HUSTON (X-Men Origins: Wolverine, Children of Men) as King Richard The Lionheart, as well as legendary performers DAME EILEEN ATKINS (Last Chance Harvey, Cold Mountain) as Queen Eleanor of Aquitaine and MAX VON SYDOW (Shutter Island, The Exorcist) as Sir Walter Loxley. They are joined by rising stars MATTHEW MACFADYEN (Frost/Nixon, Pride & Prejudice) as the Sheriff of Nottingham and SCOTT GRIMES (Crimson Tide, Mystery, Alaska), KEVIN DURAND (Legion, X-Men Origins: Wolverine) and newcomer ALAN DOYLE as Robin’s Merry Men - Will Scarlet, Little John and Allan A’Dayle, respectively. Robin Hood - Production Information 2

Filmed on location in England and Wales, Robin Hood spans the years from the death of King Richard I in 1199 to the signing of the Magna Carta in 1215. It is produced by Scott, Grazer and Crowe, from a story by Helgeland and ETHAN REIFF & CYRUS VORIS (television’s Sleeper Cell) and a screenplay by Helgeland. The celebrated behind-the-scenes team is led by a crew of long-time Ridley Scott collaborators, including cinematographer JOHN MATHIESON (Gladiator, The Phantom of the Opera), BAFTA-winning production designer ARTHUR MAX (Body of Lies, Gladiator), Oscar-winning costume designer JANTY YATES (Body of Lies, Gladiator), two-time Oscar-winning editor PIETRO SCALIA (Body of Lies, JFK) and composer MARC STREITENFELD (American Gangster, Body of Lies). CHARLES JD SCHLISSEL (Body of Lies, Matchstick Men), MICHAEL COSTIGAN (Body of Lies, American Gangster), JIM WHITAKER (Changeling, American Gangster) and RYAN KAVANAUGH (The Hangover, The Wolfman) serve as the film’s executive producers. Robin Hood - Production Information 3

ABOUT THE PRODUCTION

Myth and Legend: Discovering Robin Hood

A Brief History of the Hero The daring tales of Robin Hood have been a part of English literature for decades. As put succinctly by scholar JC Holt: “There are a quiverful of possible Robin Hoods. Even the likeliest is just a shot in the gloaming.” Yet this archetypal story has survived and been passed down through generations, morphing as each era adds to the evolving canon. “What began as an oral legend,” reflects Holt, “ended up as a script.” The stories of Robin are among the oldest in England’s oral histories, stretching far back into the medieval period of the 9th century with tales of “Robin the Be-header” and finding literary form with surviving 15th- and 16th-century ballads such as A Gest of Robyn Hode, Robin Hood and the Curtal Friar and Robin and the Monk. As far as we know, however, there’s no one actual Robin to whom we can look as the single authentic figure. From suggestions that the surname Robehod was often applied to a man after he became an outlaw, to the conjecture that “Robin Hood” was a stock pseudonym used by thieves, theories abound and the legend endures. The hero has also found a rich legacy on screen. Robin has been featured in upwards of 30 notable film and television productions, ranging from a 1913 Ivanhoe adaptation, through the films of Douglas Fairbanks (Robin Hood, 1922), Errol Flynn (The Adventures of Robin Hood, 1938), Sean Connery and Audrey Hepburn (Robin and Marian, 1976) and Kevin Costner (Robin Hood: Prince of Thieves, 1991), as well as popular television serials such as the BBC’s Patrick Troughton series Robin Hood (1953), Robin of Sherwood (1984) and the more recent Robin Hood (2006). For all his popularity, however, Robin’s on-screen tale rarely evolves, with filmmakers invariably peddling familiar tales such as those of the evil Sheriff of Nottingham, the malicious Guy of Gisburne and the iconic damsel in distress, Maid Marion. Inevitably, Robin has been portrayed as either a dispossessed nobleman or, more likely, a gallant rogue with arms akimbo who serves comeuppance to the rich and gives blissfully to the poor.

Crafting an Origin Story During the filming of American Gangster with Sir Ridley Scott, producer Brian Grazer approached Russell Crowe about starring in a new Robin Hood. Grazer looked forward to reteaming with the performer, with whom he had already enjoyed two successful collaborations - on A Beautiful Mind, for which Crowe earned an Oscar nod, and Cinderella Man. For this telling, the men were interested on a unique take on the age- old legend: an origin story that explains how a common archer in King Richard’s army transformed into the legend we know as Robin Hood. Set against the backdrop of the Crusades, this action-adventure would give historical framework to the later exploits that had been covered in many other versions of the tale. Grazer came aboard to develop and produce the project through Universal Pictures and the company he shares with Academy Award winner Ron Howard, Imagine Robin Hood - Production Information 4

Entertainment. “Movies about heroes inspire me,” states the producer. “The story of Robin Hood particularly appealed to me because it is about a man who has nothing but the right cause in his mind, and the skill and resoluteness to pursue it.” “With our film, we explain who the Sheriff of Nottingham, Maid Marion and her father-in-law are, the dynamics of the northern part of England and the barons, and how England was controlled at the time,” Grazer continues. “By the end of the movie, you also know who Robin is. The end of our movie is the beginning of all the dozens or so other films that have been made.” Grazer found the Australian actor keenly interested in reworking the legend. He admitted an interest in the outlaw that stretched back several decades. “I was very enthusiastic,” Crowe says. “Robin Hood has always been in the back of my mind since I was a child. I was a big fan of the various incarnations I saw when I was growing up. There’s a universal connection that everyone makes to Robin Hood, which is at the core of the story: there might be somebody out there who cares enough to redress the imbalance. There’s an empowerment quality about Robin to which people respond.” Crowe’s agreement, however, came with a caveat. “I said I’d do Robin Hood, but only if it were a fresh take,” he adds. “It is one of the longest-surviving stories in the English language. That requires due respect. I took the attitude that if you’re going to revitalize Robin Hood, it has to be done on the basis that whatever you thought you knew about the legend was an understandable mistake. It has to be different from what has come before. Take Robin and Little John, for example, who don’t get on when they first meet. When we first meet them, they have a disagreement. But that doesn’t take place on a log over a creek with a staff fight, which has been done to death. What we’ve done is to redefine the times and shift the timeline.” Crowe and Grazer turned their attention to their only choice to helm the film: Ridley Scott. “It needed a director who could handle tremendous scope,” notes Grazer, “someone who embraces authenticity, who is interested in the milieu, the time and the political and historical events that were occurring. Ridley is captivated by all those things. If we were going to make this film, it had to be the Gladiator version of Robin Hood. I wanted to understand how brutal that time was and have it visually expressed in the most exciting and thrilling kind of action-adventure. Only Ridley can do that.” Scott and Crowe have a partnership that dates back to their wildly successful multiple Oscar winner, Gladiator, the film that reset audiences’ expectations of the historical epic. To date, their collaboration has also resulted in A Good Year, American Gangster and Body of Lies. When Crowe and Grazer pitched the idea to the director, he responded enthusiastically. Scott is a long-time student of history, and his last period thriller, Kingdom of Heaven, had focused on the fall of Jerusalem 12 years before King Richard I met his untimely death. “I love period films,” offers Scott. “I started with The Duellists, and then I’ve done the Roman epic and now I’ve gone back to medieval times again.” With Scott on board, Robin Hood gathered momentum. The filmmakers shared a common vision: they chose to explore how a humble man could become a champion of the people, and they sought to answer that question by telling his story within a specific historical context. Elaborates Grazer: “We wanted to embrace the political and historical facts of the era: England was bankrupt, threatened both by civil war and by France, and in Robin Hood - Production Information 5 the hands of an inept king in John. Against that backdrop, we could explore an origin story of how Robin Hood came to be.” To fulfil Scott, Grazer and Crowe’s vision, the men turned to screenwriter Brian Helgeland, who had been awarded an Oscar for his previous collaboration with Crowe, LA Confidential. After he received a call from Scott to craft the script, Helgeland knew that what would interest him most was the chance to “humanize the legend.” The writer explains: “Ridley wanted to tell the man-before-the-myth version of Robin Hood. Everyone knows the myth, and obviously that is an exaggeration of the real events. This myth is rooted in the downtrodden and the idea that whenever the powers that be need to be checked, a man will rise up and look after the common people. Especially in English history, it’s been an outlaw that has filled that position. What Ridley wanted to do was imagine what the real events might have been from which the Robin Hood legend sprung.” Helgeland’s first partnership with Scott would prove a powerful experience. Helgeland remarks: “When there are catapults and phalanxes of guys trying to set castle gates on fire and men are concerned with God - what he is and for what reason he has led them into battle - Ridley’s on ground that he finds intellectually stimulating. The film benefits from it.” In the script, from a story by Helgeland, Ethan Reiff & Cyrus Voris, we are introduced to archer Robin Longstride as an infantryman in the ranks of King Richard’s army as it returns from the Third Crusade in the Holy Land. Richard - in a bid to reclaim monies paid to the French king who held him hostage as he returned from his Crusade - is laying siege to a French castle. As history records, during the siege Richard suffered a neck wound from an arrow and died soon after. This shattered his mother, Eleanor, and resulted in the crown being passed along to his younger brother Prince John. Beginning his story with the moment of Richard’s death, Helgeland imagined Robin, who has suffered a restless childhood overseas, seizing an opportunity to return to his native England for the first time since he was five. After he lands on its shore, Robin discovers a nation crippled by poverty and robbed of its men by Richard’s reckless bid to fund his wars. The spectre of French invasion looms on the horizon, and Richard’s incompetent brother is content to let his people suffer while he fills his coffers. It was important to the team to show how demolished the English economy was and how bleak the country had become. They wanted to present how Robin’s arrival coincides with John’s heavy taxation: citizens were being targeted to pay beyond their means and given little in food, clothing and shelter. Robin’s defiance of the ruling class equals not just stealing grain and giving back to the people of Nottingham, but also inspiring his countrymen to take charge of their destiny. Scott reflects: “Everyone talks about Robin Hood robbing from the rich and giving to the poor, but we felt it was relevant to choose a point in medieval folklore when the environment is on the edge of starvation and neglected by the crown. The hierarchy is the enemy, and the everyman who will come against them is Robin Hood. Within that idea, we have not forgotten the expectation and the romanticism of the legend. Is there humour in this? Yes. Is there a lot of action? Yes.” Key to Helgeland’s tale is the birth of the Magna Carta, the great charter signed at Runnymede in 1215 after the uprising by the English barons against King John. In many ways, this moment defines the birth of England, freeing its Anglo-Saxon population from Robin Hood - Production Information 6 the harsh rule of the Norman kings. “There’s a place for the Magna Carta in our film,” states Grazer, “not only as a historical event, but also as a cinematic point.” Supplements Crowe: “We have a situation where the man who basically invented taxation is the same King John who signed the first version of the Magna Carta. We have a period between 1199 and 1215, and it felt like that was the ideal breeding ground for revolution…or the birth of a revolutionary figure. As much of the film is predating the Magna Carta, then it’s possibly the birth of a nation as well - the birth of England and everything that is great about it.” Establishing a back-story for Robin was fundamental to understanding why he would become champion of his people. In the tale, Robin discovers that his father was stonemason Thomas Longstride, a well-known public speaker and the principal author of what was to become the Forest Charter (Carta de Foresta). This precedent to the Magna Carta provided rights, privileges and protection for the common man against the aristocracy. Richard’s predecessor, Henry II, saw Longstride’s political stance as treasonable and had him murdered in front of his young son. To prepare for this role, Crowe read more than 30 books about Robin Hood and the late 12th and early 13th centuries. “Robin is a witness to that death at the age of five,” explains Crowe. “He is then left in a monastery with the Templar Knights in France. His guardians [Loxley and Marshal] go off to the Crusade, but several years later when they come back, he’s not there. He’s had a very hard time, been treated badly, and he’s gone with the one piece of equipment that he was left with, his father’s cuirass. You can imagine a small child dragging around a fully grown man’s chest-plate armour.” When we are introduced to Robin during Richard’s siege in France, he has no knowledge of life before his father was killed. “He’s suppressed the memory of watching his father die,” says Crowe. “In his mind, his mother and father just got rid of him and stopped loving him. That’s what has been on his mind for 35 to 40 years. “But now he’s close to England again,” Crowe continues. “Here’s a guy who’s travelled across Europe and all through the Middle East. He’s seen a variety of different ways that people live, and when he gets back to England he’s surprised that this seems to be the most suppressive place. We follow a man on a journey of self-discovery. Along the way he begins to remember his past, and his quest solidifies. He realizes fate has overtaken him, and he has joined in something much larger than he thought it was. In the process of finding out who he is, he takes up his father’s work where he left off.” With the producers, director, star and screenplay set, it was time to cast the supporting players of the production, beginning with the fairest maiden in all of Nottingham.

Lambs and Lions: Casting the Action-Adventure

Maidens & Matriarchs Cate Blanchett’s joining of the production owes much to the humble postage stamp. In early 2009, Crowe attended a function in Sydney with Blanchett, celebrating the fact that the actors’ likenesses were to be etched onto Australian postage stamps. As they sat on stage together, Crowe looked at Blanchett and realized that she should be his Marion. Robin Hood - Production Information 7

The actor recounts: “Her demeanour, everything about her…I was kicking myself. Why hadn’t I thought of it before? Cate is a magnificent actress. She has resilience and a resonance. She’s tough, strong and single-minded. Every decision she makes is about truth. She has complete control over her emotional responses, so she can make the smallest gesture a gigantic statement.” During the evening’s celebration, Crowe asked the crowd if they thought that he and Blanchett should make a film together. “A thousand people loudly supported the idea,” he remembers. “Her eyes were shining, so she obviously thought it was a great idea too.” Scott agreed that Blanchett would make the ideal Marion for their production. “Cate Blanchett has a very definitive part in this overall story and context,” he says. “It’s a perfect, if you like, marriage of two characters.” Blanchett discusses her decision to join the production. “Because Russell and Ridley have such a long history together of making films that go straight to the heart of the matter, it was a very exciting combination for me,” she says. As well, the Oscar winner was drawn to the legend’s enduring appeal. “The power of the forest is at the heart of the Robin Hood myth. We’re so saturated with the power of the state, and the power of the church. As an antidote, the rule of nature is really enticing.” The classically trained Blanchett had no qualms with a new telling of the age-old story and welcomed an origin tale. “It’s constantly being reinvented,” she offers. “There’s no single truth to the Robin Hood myth. Even in Shakespeare when he mentions it in As You Like It - ‘like the old Robin Hood of England.’ It’s a myth, and each age retells those myths because it’s searching to have that story reflect something about the society in which they are living. There are certain archetypes that it deals with, such as the band of Merry Men. It’s a timeless narrative construction, and each age puts its stamp on an archetypal story like this.” With Blanchett on board, the filmmakers developed the “Petruchio and Kate” relationship that evolves after Robin’s return to England brings him to Lady Marion’s home of Peper Harow in Nottingham. According to Crowe, they agreed that Robin and Marion should be “of a kind.” He explains: “The Marion relationship has certain Shakespearean elements to it. It’s very much The Taming of the Shrew. Robin and Marion don’t get on at all when they first meet, but there is a latent kindness to both these people. They are similar creatures who have been looking for some sign of that intuitive kindness in other people all their lives.” As the script evolved, so did the role of Marion. In stark contrast to a number of the character’s previous cinematic incarnations, in this telling of the story, she is no weak and feeble maiden waiting for men to control her destiny. Helgeland explains how Marion developed: “There was a law that if a noblewoman’s husband died and she didn’t have a son, the estate would revert back to the crown. If Marion doesn’t produce an heir or gain a husband, she’s going to lose her land. So Robin and Marion’s relationship, rather than start as love at first sight, which is a typical Robin Hood device, is much more a mutual convenience between the two of them. In the process, they become closer and the attraction builds from its mercantile start.” “Ridley has created and set up a world where all the men have been called to war by King Richard, and where Marion has therefore become the lady of the manor,” Blanchett adds. “She’s presiding over a village that has no men, and so she’s having to Robin Hood - Production Information 8 take on the role - a bit like in the Second World War - where women had to move into industry and do things that they wouldn’t otherwise have done.” Joining the cast as Eleanor of Aquitaine, widow of Henry II, as well as Richard and John’s aging mother and one of the fiercest women to help rule the Western world, was Dame Eileen Atkins. From Gosford Park to Cold Mountain, the multi-award winner has often moved audiences with her powerful performances. Atkins offers a bit of back-story to her character: “It’s sad that Eleanor clearly doesn’t love John. There’s no doubt he’s right when he says, ‘You only cared ever about my brother.’ Nevertheless, the throne is the throne, and he’s going to get it. She cares passionately about ruling and keeping the lands that they have. She’s fought so hard to extend England halfway across France, and she doesn’t want to lose it all. In considering the huge picture, which she’s thinking in terms of gaining land, she doesn’t think quite enough about how the peasants are getting on. But she has a lot of wisdom, and she’s certainly a great manipulator.” One of the puppets on her strings is Isabella of Angoulême, played by young French actress LÉA SEYDOUX of Inglorious Basterds. We are introduced to Isabella, whom Eleanor initially despises, as Prince John’s not-so-secret lover. Isabella ultimately marries the future ruler of England and quickly realizes that the only way of guaranteeing her time on the throne is to serve as a mouthpiece for her mother-in-law…as Eleanor secrets her strategy for John.

Merriest of Men Concomitant to the legend of Robin Hood is the story of his Merry Men, here a band of fellows disillusioned with life under the newly anointed King John. Fellow yeomen in Richard’s war, they accompany Robin back to England after the death of Richard allows them to escape the conflicts. Portraying the troupe are Kevin Durand as Robin’s right hand and muscle, Little John; Scott Grimes as the youngest of the gang, Will Scarlet; and acting newcomer Alan Doyle as minstrel Allan A’Dayle. Says Crowe: “The core thing with these guys is that they are all athletes, and they all have a physical side to what they do in the film. Added to that, they are all intelligent, so they can learn new skills quickly. They also have an irrepressible sense of humour. It’s been a great benefit to me and to Ridley, and no doubt the movie, that we’ve had guys like this playing these roles.” Crowe notes that each of the men brings a talent to their parts that mirrors their on-screen characters. “Scott’s an incredible singer,” he commends. Kevin has the coordination of a ballet dancer, yet the physicality of an ice hockey player; he is 6 feet 7 and 235 pounds. He also has a great singing voice. Then there’s Alan, who has never acted. He’s a folk singer from Newfoundland, and he knows how to play the lute. I said to Ridley, ‘If you’re going to have a guy playing the troubadour, let’s have a guy who knows how to play the lute. That way, if you don’t like a particular tune, you can change it then and there.’ He also has a wonderful singing voice. That’s a key element with the Merry Men.” No Robin Hood tale would be complete without the iconic Friar Tuck, a plump man of the cloth who prefers his mead and ladies to the dry pulpit that comes with being the local abbot. Played by The Full Monty’s Mark Addy, Tuck meets Robin and his band when they are on their way to Peper Harow to deliver the news of Sir Robert Loxley’s Robin Hood - Production Information 9

(played by DOUGLAS HODGE) sudden death to Sir Walter. A beekeeper and reluctant servant of the crown, Tuck all too readily becomes part of Robin’s band of usurpers.

Noblemen and Villains Alongside Robin, Marion and the Merry Men, the film features a clutch of fascinating characters, not the least of whom is Sir William Marshal, played by William Hurt, and Sir Walter Loxley, portrayed by Max Von Sydow. These gentlemen grew up as friends and colleagues of Thomas Longstride (MARK LEWIS JONES), the author of the Forest Charter and the executed father of a then five-year-old Robin (JACK DOWNHAM). To protect him from danger, Marshal and Loxley take Longstride’s son away from England. They leave the young Robin in a French monastery while they join the Third Crusade, and they earnestly plan to return for him. Later, Marshal will take his position as a leading minister in Richard The Lionheart’s royal court, while Loxley will return to his Nottingham estate and eventually become Marion’s father-in-law. “These two men left young Robin in the care of somebody else for three years when they went to war, and they come back and he’s not there,” offers Crowe. “Their assumption is that he’s dead. So, for the previous 35 to 40 years, there wouldn’t be a 24- hour period in their lives where they didn’t feel some pang of that guilt. It’s an interesting journey for both William Marshal and for Walter Loxley to have that guilt overhang their lives. In fact, when Sir Walter hears the name Robin Longstride again, his first thought is that somebody is coming to kill him…that there’s going to be a revenge enacted because of his failure.” As it transpires, Longstride meets both men again, with Sir Walter helping Robin come to terms with both his tortured past and aspirational future. “It’s an interesting relationship,” says Crowe. “Robin remembers nothing from that moment that his father was killed, except a residual love. He knows he was loved, but he never understood why it changed, and Sir Walter uses basic psychology to reach inside him and say, ‘The things that you need to know are actually inside you.’” Hurt was quite pleased at his chance to play the epic hero who was a powerful consort to Queen Eleanor of Aquitaine and King Richard I “Sir William Marshal is an amazing character from history,” says the Oscar winner. “In this particular one, he’s a facilitator. He tries to maintain respect for the throne and, at the same time, facilitate change within the system. He has a philosophy that is intensely humane and fair-minded. But he’s also completely loyal to the throne, as in the need for people to have a leader. He combines these two things in a wonderfully diplomatic way.” While his old friend Sir Walter Loxley rejoices in Robin’s return, he also grieves for his son, Marion’s husband Robert Loxley, who meets his death in France in the wake of Richard’s demise. With her husband gone, Marion and Sir Walter form a close bond. “She has become his caretaker, and he is her mentor and surrogate father,” explains Blanchett. “Very few actors could carry off the soothsayer in the way that Max does. Playing opposite him was a privilege; his body of work is just astonishing. It’s a very poignant touchstone relationship for me in the film.” While many believe Robin’s primary nemesis to be the Sheriff of Nottingham, the writers crafted another villain in King John’s oldest friend, Sir Godfrey, played by Mark Strong. Godfrey, the man responsible for Robert Loxley’s death, uses his influence in the Robin Hood - Production Information 10 newly anointed court of King John to betray England to King Philip of France (JONATHAN ZACCAÏ). “What is fascinating about Godfrey is the fact that he exists on so many levels,” says Strong. “He’s a friend of John’s, so you realize early on that he’s close to the seat of power. You also realize he’s a traitor. Every good morality tale has a good and a bad guy. Godfrey’s job in this, in broad strokes, is to be Robin’s nemesis, and the man we love to hate.” Cast as the royal sons of Eleanor were Danny Huston as King Richard the Lionheart and Oscar Isaac as Richard’s younger brother John, who takes the throne after his sibling is killed. Isaac explains a bit about the ruler: “We meet him as Prince John, and he’s quite hedonistic, a libertine. Nothing is expected of him, so he gladly says, ‘Fine, if you don’t expect anything from me, I’ll give you nothing,’ and he spends his time in bed with his French mistress. Then he finds out that Richard has died and now it’s his turn to be king - his turn to prove everyone, particularly his mother, wrong. He’s full of fear and doubt, but he thinks he can be a better king. The problem is that he has a lot of anger and a maniacal ego; he believes through sheer will and intellect he can make England great.” Matthew Macfadyen, who shot to international acclaim after his portrayal of Mr Darcy in Pride & Prejudice, stars as the archetypal villain, the Sheriff of Nottingham. Explains Maid Marion herself, Blanchett, of his character and performance: “What I find so interesting about this version of the Sheriff of Nottingham is that it’s the weak who are often the most evil, because they’re the most compromised. There’s a moment, and it’s brilliantly played by Matthew, where he suddenly says, ‘I’m British! No, I’m French!’ and he’s prepared to go over to whichever side. It’s the weak people from whom you have the most to fear.”

Forests and Keeps: Shooting on Location Principal photography on Scott’s latest epic began in April 2009. Producer Grazer commends that the director quickly earned his on-set epithet. “We called him ‘The General,’” he offers. “Ridley Scott is that kind of charging-forward general of our generation in filmmaking. There was once John Ford, and there have been others, but certainly Ridley is a gladiator himself.”

Rebuilding the 13th Century One of Scott’s long-time partners, production designer Arthur Max, was charged with the Herculean task of building medieval England - re-creating as accurately as possible life in the villages and towns, as well as the grandeur of the castles from the period. The production designer was tasked with giving Scott the experience of what it was like to live in England during this era. The two men drew on a wealth of resource material from museums, libraries, actual reconstructed environments in England and the Dordogne in France, as well as some Iberian villages in the Pyrénées that stand virtually as they did in the Middle Ages. Scott and Max also referred to the paintings of both the younger and elder Pieter Bruegel, which gave them the tone of dire hardship they were after. While not quite of the period, this art provided a great deal of insight about life in this era; they adapted the Robin Hood - Production Information 11 look for Robin Hood. “He wanted to see the bleakness and the impoverishment of the Anglo-Saxon population in all its glory,” sums Max. One of the most important sites was the setting for Nottingham Village, the place where Robin comes to return Sir Loxley’s sword to his father. Built on the Hampton Estate, near Guildford in Surry, the set was ensconced on a private estate with ancient oaks, rolling fields and stunning topography. The land also offered a pine forest, a stream and a bog, and thus a wealth of shooting options for Scott. “Our primary requirement was a beautiful landscape,” says Max. “Finding the location was a great piece of luck.” “ We built the entire Nottingham Village, which is more than 50 buildings,” explains the designer, “most of them thatched and timber and made from wattle, a form of mud construction.” The buildings he describes were built around a town square, with a grain store, a tavern, a tithe barn and a church - as well as houses and hovels of all shapes and sizes - stretching out beyond the town centre. Max tasked his men and women to build a mill with a working water wheel, in addition to some ruined gates that would serve as a continuity link to another location about a 20-minute drive away. Sticklers for accuracy, they planted (and grew over many months) an orchard. Max explains that for the purposes of the story, they “burned it down in the end. Not entirely, but quite a few buildings. The rest was enhanced with CGI. We had to be very, very careful because most of the buildings were set within the oak trees, which were precious, but we managed to do controlled burns there.” Fire was a terrifying scourge in medieval times, and with Godfrey’s men pillaging and razing villages at will, the filmmakers had to engage in plenty of controlled burning to capture what was in the script. Much of this was done in Bourne Woods, near Farnham in Surrey - a commercial forestry that allowed the crew to build sprawling sets. In Robin Hood, Bourne Woods served as host to the northern villages of Barnsdale (often acknowledged as one of the origins of the legend of Robin Hood), York and Peterborough. These are the same villages that King John’s men and henchmen, under the leadership of the duplicitous Godfrey, destroy for the crime of unpaid taxes. Bourne Woods also hosted the French castle. Max was pleased to construct the French castle and the outlying English camp for the film’s opening sequences in the same location. “That was based on an actual French castle, roughly in the area where the Chalouse Castle existed,” he explains. “We decided it was better to build it on a location near the studio because the landscape there is magnificent. Many castles from that period are now surrounded by towns, so we decided we wanted a castle that was isolated in a landscape. Hence, we decided to build it and extend it with CGI.” Extending it some 65 feet to the top of its tower on the crest of a hill, the French castle was built using traditional scaffolding and plaster. Mouldings from existing English castles of the period were used to fashion the stonework. The team brought in an engineer to ensure not only that the structure would be stable in the wind, but also to guarantee the hillside wouldn’t collapse under the weight of the massive structure. Shepperton Studios housed sets required to replicate key portions of London and, most notably, the Tower of London, at the end of the 12th and the beginning of the 13th centuries. An overgrown, flat field before the design team arrived, Shepparton’s back lot was transformed into an impressive medieval London in a matter of a few months. “We began by doing a lot of grading and ground prep, creating topography,” Max explains. Robin Hood - Production Information 12

“We dug a moat and created road networks.” To make the Tower of London more imposing, it was raised at least four feet higher than the rest of the site. Another portion of the Tower of London, the Royal Dock, was built at Virginia Water in Surrey. Max and his team created an actual jetty, as well as the Royal Barge that brings Robin and his men, after many years away from their home, bearing Richard’s crown to Eleanor. “Our Tower set is based on the last surviving remnant of the Tower of London. I believe it’s called the Barbican Gate, which is of our period,” Max offers. “Its stonework is taken from Carnarvon Castle in Wales, which is probably the most intact castle in Britain. There’s very little left of the Tower of London, so we decided to re-create fragments that were accurate and then extend them with CGI.” The interior of the Tower, built on sound stages at Shepperton, was every bit as impressive as its exterior, with the same staggering depth of detail seen throughout the picture. A composite set, it included an enormous corridor that leads to a giant throne room, off of which could be found the massive bedroom chambers for Prince John and Queen Eleanor. The sets were modelled in proportion and shape from rooms Scott, Max and the team had observed when they had scouted existing British castles. Also built at Shepperton was the interior of Peper Harow, seat of the Loxley family. This space was modelled on a manor farm of the early 13th century that had been seen in Shropshire by the scouts. That team fell in love with the Great Hall, detail, character and the patina of age it showed. Practical reasons prohibited them from actually filming in Shropshire, so Scott’s crew built it on a sound stage at Shepperton. The spaces that Lady Marion and Sir Walter inhabit - including the Great Hall, bedrooms, kitchens and tack rooms - were all crafted from scratch. Max’s team grafted this interior onto Oxenford Farm, an exterior manor farm near Surrey. To complete the look, they added onto the existing structure several barn buildings, a fortified gate, multiple hovels and another water wheel. Thus, Peper Harow was reborn. The cast was in awe of the efforts of their production designer and his massive team of artisans. Blanchett sums their feelings: “Arthur is truly wonderful and is really committed to preserving these crafts in England. He’s very passionate about the loss of skill sets. I marvel at the level of care that he has employed in the creation of all of the buildings in the Nottingham village set.”

Creating the Battle Sequences Re-creating the world of the latter Middle Ages would prove quite an ambitious task for all involved in the Robin Hood team. To the director who has spent decades making films, however, nothing seemed impossible - not even shooting with the masterful cinematographer John Mathieson on one of Britain’s most sprawling and exposed beaches…in some of the harshest weather conditions the British Isles can muster. Working every day with anywhere between five and a dozen cameras allowed Scott and DP Mathieson to film scenes with full coverage in minimal takes; it truly enabled the director to generate the remarkable energy he brings to his storytelling. With multiple camera setups, Scott also consciously avoided tiring the actors, crucial on a film in which they faced immense physical challenges. Knowing that they would often be Robin Hood - Production Information 13 wearing heavy, uncomfortable costumes and shooting in cold and wet weather conditions, Scott decided that every shot had to count. Offers Blanchett, who watched the director at work for the first time on Robin Hood: “Ridley loves the adrenaline and the energy of shooting the way he does. He wants to capture that the first time, so we didn’t rehearse a lot. He prefers to rehearse on film, and with so many cameras, he knows he can then cherry-pick his way through it. He is astonishing to watch.” Halfway through the shoot, the production relocated to Wales and to Freshwater Beach in West Pembrokeshire to shoot the epic battle scenes as the French, under the command of King Philip, seek to invade English soil and reclaim the land. It was a vast undertaking that marked the climactic scenes of the film, and the filmmakers assembled more than 1,500 cast and crew to pull it off. The team undertook an ambitious series of sequences, with nine standard cameras, a Steadicam, a Wescam and a helicopter contributing to Scott and Mathieson’s vision. “In Australia we’d say, ‘That’s bigger than Ben-Hur,’” laughs Crowe, “and that’s how it felt.” Naturally, the experience was not without its challenges, and the production faced a good deal of difficulty trying to land an invading French army off the windswept Pembrokeshire coast. The surge was so high during the first days of photography, and the team faced enormous swells on the way out to sea that the most seasoned of sailors buckled with motion sickness. That necessitated building a portable dock in the nearby Pembroke to get the shots necessary. Lensing in this uncontrollable environment for nearly two weeks in weather conditions that ranged from unexpected blasts of heat to torrential rain, the crew fought its own battle with the tide coming in at approximately a meter a minute. This required them to keep relocating 1,500 people and 150 vehicles up a beach that is half a mile long. For the actors playing Robin’s Merry Men, however, the epic battle sequence was worth all the hardship. “What we did in Wales, I was scared out of my mind every single day there,” laughs Scott Grimes, who plays the flame-haired Will Scarlet. “We had more than 100 horses riding side by side, galloping down the beach, and we had no idea where the cameras were. It felt like we were in the war. The whole shoot was incredible.” Little John himself, Kevin Durand, agrees. “Trying to explain what I did that day to a friend on the phone, or to my fiancée on Skype, was wild. She’d tell me, ‘I went to the gym and to work. What did you do today?’ I’d reply, ‘I rode at the front of a 130- horse cavalry across the beach in Wales. Then, I attacked a bunch of Frenchmen and killed about 17 of them before lunch.’ How do you explain that? That’s been this entire movie. It’s been amazing.” The actor who portrays the murderous Godfrey also had his share of showmanship on the battlefield. After he betrays his childhood friend King John and defects to the French side, Godfrey must face off against Robin in the final battle. Mark Strong recounts how he almost got too into character: “As I wheeled my horse around, in front of me were dozens of horsemen galloping toward me through these kneeling Frenchmen. Out of that, I had to pick out the two who I was due to fight and slash one around the head and take one around the chest as they fell off their horses. It was incredibly exhilarating. So much so that when I’d done that bit, that was all we’d rehearsed. But, of course, the cameras were still rolling and I decided to turn my horse Robin Hood - Production Information 14 around and join the melee and start whacking everybody I could find - my own men included. I felt the bloodlust.”

Readying the Soldiers: Physical Training Already a master horseman, Crowe embraced the physical challenges of production by undergoing a gruelling workout regimen and becoming an accomplished archer, quite skilled with the difficult longbow. Following in the steps of Robin Hood, he became proficient at shooting the very challenging weapon while wearing heavy chain mail. As well, he trained for three months in Australia and would hunt in the forest barefoot. “You’ve got to make the thing that’s part of your character part of you,” Crowe advises. “If you’re going to fire a bow and arrow, then you need to learn how to do it because the circumstances are never going to be perfect.” A stickler for detail, the actor spent many months in training, soon learning that shooting Robin’s arrows was much more difficult than it initially seemed. “You’re going to have to fire at a certain mark, in a certain place, and you’re going to be firing while you’re running, while it’s raining,” Crowe offers. “There was an extended period where I was firing 200 arrows a day.” That is roughly equivalent to what an Olympic archer would do in preparation for a competition. “It’s just what you do,” he adds. “It’s the quiet contemplation and the work before there’s film in the camera that creates the character.” Helgeland reflects on the efforts that Crowe made to achieve realism for his character. “Russell took the same attitude he brought to LA Confidential to Robin Hood; he wanted to be as true to the period as he possibly could. For example, he wanted his bow to be as close to the bows that were actually used back then. And he wanted to know how to use it.” Like her fellow star, Blanchett was inspired to get back in the saddle. A seasoned horsewoman after her years shooting the Elizabeth sagas, she was up for the challenge. The performer recalls: “Ridley said, ‘You can do this if you’re game for it.’ He set the challenge. If someone says ‘Are you game for it?’ you’re not going to say, ‘Well, no… I’m not.’ I do like riding a horse, and they’re film horses so they were pretty well trained. It was a thrill.” Still, the performer knew there would be days ahead she’d rethink her promise to the director. “There is a sequence where Marion gets all dressed up in chain mail and rides off into battle. We had these feral kids on wild ponies and some of the ponies were really difficult to get on. None of them had saddles; it was wild. My very first day on set was a night shoot where I was shooting a flaming arrow.” A veteran of action films including Tristan + Isolde and Stardust, Strong felt quite comfortable with sword and shield in hand. But he still needed to spend a good amount of time training to learn how to ride at speed while swinging a very heavy weapon. This gave him, and the rest of the cast and crew, much respect for what soldiers in the Middle Ages must have had to do to battle. “You begin to realize how phenomenally difficult wearing the chain mail and the armour must have been,” the actor offers. “These guys must have been barely able to move or have had some kind of superhuman strength. Or fights consisted of a few blows until somebody went down and couldn’t get up and then they got a sword through the visor and it was all over.” Robin Hood - Production Information 15

Durand describes the boot camp that Scott set up so that the actors could get in peak condition and train with the dozens of expert stuntmen and stuntwomen: “We did a training camp in Australia, and it was basically just getting really fit. We were all on a specific diet and did cardio and lifting every day. Then, we worked with the bows and arrows; my big thing was becoming a master with the staff. I felt like a badass when I carried that thing.”

Tunics and Mail: Dressing the Cast Facing challenges every bit as demanding as those confronting production designer Max was another of Scott’s frequent collaborators, Academy Award-winning costume designer Janty Yates. “There’s a shorthand between Ridley and I now that is great,” she says, “and with every film I do with him I learn more about his genius, his vision and his creativity.” Yates’ work underscores Scott’s authentic take on the Robin Hood story, turning the conventional, rather lyrical image of the icon on its head, and instead emphasizing the hero as a man at war. Crowe is seen at first as a bowman in Richard’s army, wearing leather trousers and a lamellar breastplate adorning his chest. This piece is understood to be a family heirloom, which bears the symbols of the Forest Charter. “ When he takes the guise of Loxley,” explains Yates, “he’s resplendent in Loxley’s chain mail, crest, tabard and cloak. When he gets to Nottingham, we actually had a free reign because he could have raided Loxley’s cupboards and he could have put on anything. But Russell wears blue very well, and we’ve got a great, skirted tunic that he wears in grey and blue suede. We thought that in those days people didn’t really change their clothes very much, so that became his civilian wear for most of the time.” The costumes proved to be both functional, as well as authentic, as Mark Strong recalls: “Every detail has been meticulously observed, and the authenticity helps. The chain mail actually protected you, should somebody accidentally get one of the moves wrong and clout you with a sword. The weight of it ensured you understood quite how strong the men were, and so helped you carry yourself as a knight would have at the time.” From the long scarves and flowing outfits created for Lady Marion by Yates, Blanchett was quite impressed with her designer. “It’s the second time I’ve had the pleasure of working with Janty. Her detail and restraint are exquisite. She is simultaneously able to be faithful to an era whilst making you feel you are seeing the clothes and silhouettes for the first time.” The astounding attention to detail in the costumes is equally as important as the set dressing, and its importance should not be underestimated. Remarks Yates: “The painterly textured quality Ridley demands gives the film an added dimension, and the costumes contribute greatly to creating that texture.” The designer began the process of designing Robin Hood’s costumes in Italy, where she bought “a million miles of fabric” - from leathers to linens and silk. She says: “Ridley has always loved silks that can actually bounce the light, or that reflect the light. We use those enormously in our costumes, more for the royals, obviously. But he also is passionate about the earthiness of linens and likes Matka silk, which is the very rough, gnarly silk that looks like it’s been hand-woven in the Afghan hills. He loves texture - anything that looks as if it is 100 years old and gives atmosphere. The one juxtaposes the Robin Hood - Production Information 16 other, which is perfect for this film because we do have that great separation between the peasantry and the royals.” Returning with Scott to the same period as an earlier collaborative effort between the two, Yates explains: “This is the same time frame as Kingdom of Heaven, more or less, but we only did military costumes for that film, with the exception of a few royals. Here, we have a greater range of characters to cover, and we have worked more with the shapes from that period.” Simple t-shaped garments, while true to the period, are not hugely flattering on screen, relates Yates. “We have cheated there quite a bit. While we have kept everything as close as possible to the period, we have tried to accentuate the shape of each actor, as well as the character that they’re portraying. They really should look like they’re wearing sacks, because that is what they wore then, but we’ve flattered them.”

**** Universal Pictures and Imagine Entertainment present, in association with Relativity Media - a Brian Grazer Production - in association with Scott Free Productions - A Ridley Scott Film: Russell Crowe, Cate Blanchett in Robin Hood, starring William Hurt, Mark Strong, Mark Addy, Oscar Isaac, Danny Huston, Eileen Atkins and Max Von Sydow. The music is by Marc Streitenfeld, and the costume designer is Janty Yates. The action-adventure’s editor is Pietro Scalia, ACE, and the production designer is Arthur Max. The film’s director of photography is John Mathieson, BSC, and the executive producers are Charles JD. Schlissel, Michael Costigan, Jim Whitaker, Ryan Kavanaugh. Robin Hood is produced by Brian Grazer, Ridley Scott, Russell Crowe. The action- adventure’s story is by Brian Helgeland and Ethan Reiff & Cyrus Voris, and its screenplay is by Brian Helgeland. The film is directed by Ridley Scott. © 2010 Universal Studios. www.robinhoodthemovie.com

ABOUT THE CAST Academy Award winner RUSSELL CROWE (Robin Longstride/Produced by) is considered one of the finest actors of his generation. Originally from New Zealand, he started making waves in the Australian film industry with his performance in the controversial film Romper Stomper - for which he became critically acclaimed around the world. He has received three consecutive Academy Award Best Actor nominations for his performances in The Insider (1999), Gladiator (2000) and A Beautiful Mind (2001) - taking home the Oscar for his performance in Gladiator. In addition to winning the Best Actor Oscar for his performance as Maximus, the Roman general-turned-gladiator, in Ridley Scott’s Gladiator, he earned Best Actor honours from several critics organizations, including the Broadcast Film Critics Association, and he received Best Actor nominations from the Hollywood Foreign Press Association, the Screen Actors Guild and BAFTA. In Ron Howard’s A Beautiful Mind, Crowe’s masterful portrayal of Nobel Prize- winning John Forbes Nash Jr earned him his third Academy Award nomination and garnered him Best Actor awards from the Golden Globes, Broadcast Film Critics Association, Screen Actors Guild, BAFTA and other critics groups. Robin Hood - Production Information 17

Crowe received his first Academy Award nomination for his work in Michael Mann’s non-fiction drama The Insider, as tobacco company whistle-blower Jeffrey Wigand. He also earned Best Actor awards from the Los Angeles Film Critics Association, Broadcast Film Critics Association, National Society of Film Critics and the National Board of Review, and nominations for a Golden Globe Award, a BAFTA and a Screen Actors Guild Award. Recently, Crowe appeared in Universal’s State of Play, along with Rachel McAdams and Ben Affleck; in Ridley Scott’s drama Body of Lies, for Warner Bros., which also starred Leonardo DiCaprio; in Lionsgate’s 3:10 to Yuma, opposite Christian Bale; and reteamed with director Ridley Scott for Universal’s American Gangster, with Denzel Washington. Before his award-winning acclaim, Crowe made his mark on Hollywood in Curtis Hanson’s crime drama LA Confidential, as vice cop Bud White. His other film credits include Ron Howard’s Cinderella Man, in which he starred as Jim Braddock; A Good Year, directed by Ridley Scott and based on the book by Peter Mayle; Jay Roach’s Mystery, Alaska; Taylor Hackford’s Proof of Life; and Virtuosity, opposite Denzel Washington. He made his American film debut in the Western The Quick and the Dead, with Gene Hackman and Sharon Stone. Additional film credits include Heaven’s Burning, Breaking Up, Rough Magic, The Sum of Us, For the Moment, Love in Limbo, The Silver Brumby, based on the classic Australian children’s novel, The Efficiency Expert and Prisoners of the Sun. Born in New Zealand, Crowe was raised in Australia where he has also been honoured for his work on the screen. He was recognized for three consecutive years by the Australian Film Institute (AFI), beginning in 1991, when he was nominated for Best Actor for The Crossing. The following year, he won the Best Supporting Actor award for Proof. Also in 1992, he received Best Actor awards from the AFI and the Australian Film Critics for his performance in Romper Stomper. In 1993, the Seattle International Film Festival named Crowe Best Actor for his work in both Romper Stomper and Hammers Over the Anvil. Crowe currently resides in Australia.

Since graduating from Australia’s National Institute of Dramatic Art (NIDA), CATE BLANCHETT (Marion) has worked extensively in the theatre with Company B, a loose ensemble of actors including Geoffrey Rush, Gillian Jones and Richard Roxburgh, based at Belvoir Street under the direction of Neil Armfield. Her roles included Miranda (in The Tempest), Ophelia (in Hamlet, for which she was nominated for a Green Room Award), Nina (in The Seagull) and Rose (in The Blind Giant Is Dancing). For the Sydney Theatre Company (STC), she appeared in Caryl Churchill’s Top Girls, David Mamet’s Oleanna (for which she was awarded the Sydney Theatre Critics Award for Best Actress), Michael Gow’s Sweet Phoebe (also for the Croyden Warehouse, London) and Timothy Daly’s Kafka Dances (also for the Griffin Theatre Company, for which she received the Critics’ Circle Award for Best Newcomer). At the Almeida Theatre on London’s West End in 1999, Blanchett played Susan Traherne in David Hare’s Plenty. Robin Hood - Production Information 18

Her television credits include lead roles in Bordertown and Heartland, both for the Australian Broadcasting Corporation. Her film roles include Susan Macarthy in Bruce Beresford’s Paradise Road; Lizzie in Thank God He Met Lizzie, an antiromantic comedy directed by Cherie Nowlan, for which Blanchett was awarded both the Australian Film Institute (AFI) and the Sydney Film Critics awards for Best Supporting Actress; and Lucinda in Oscar and Lucinda, opposite Ralph Fiennes and directed by Gillian Armstrong, a role that earned her an AFI nomination for Best Actress. In 1998, Blanchett portrayed Queen Elizabeth I in the critically acclaimed Elizabeth, directed by Shekhar Kapur, for which she received a Golden Globe Award for Best Actress in a Drama and a BAFTA for Best Performance by an Actress in a Leading Role, as well as Best Actress awards from the Chicago Film Critics Association, the London Critics’ Circle, the Toronto Film Critics Association, the Online Film Critics Society, the Variety Critics and the UK. Empire Awards. She also received a Best Actress nomination from the Screen Actors Guild and the Academy of Motion Picture Arts & Sciences. In 1999, Blanchett appeared with John Cusack in Pushing Tin, a black comedy about air traffic controllers, directed by Mike Newell; An Ideal Husband, directed by Oliver Parker; and The Talented Mr Ripley, directed by Anthony Minghella, for which she received a BAFTA nomination for Best Performance by an Actress in a Supporting Role. Blanchett also starred in The Gift, directed by Sam Raimi, and in Sally Potter’s The Man Who Cried, which premiered at the Venice Film Festival and for which she was awarded Best Supporting Actress by the National Board of Review and the Florida Film Critics Circle. In 200l, Blanchett appeared with Bruce Willis and Billy Bob Thornton in Bandits, directed by Barry Levinson, for which she received a Golden Globe Award nomination and a Screen Actors Guild nomination for Best Supporting Actress. Blanchett also appeared alongside Kevin Spacey in The Shipping News, directed by Lasse Hallström and based on the 1994 Pulitzer Prize-winning novel by Annie Proulx. She was also seen as Galadriel, Queen of the Elves, in The Lord of the Rings: The Fellowship of the Ring, the first instalment of Peter Jackson’s trilogy based on JRR Tolkien’s fantasy novels. Blanchett was honoured by the National Board of Review as the 2001 Best Supporting Actress for her outstanding supporting performances in Bandits, The Lord of the Rings: The Fellowship of the Ring and The Shipping News. She reprised her role as Galadriel in 2002 for the second instalment of the trilogy, The Lord of the Rings: The Two Towers, and the final instalment, The Lord of the Rings: The Return of the King. In 2002, Blanchett was also seen in the title role in Charlotte Gray, directed by Gillian Armstrong and based on Sebastian Faulks’ bestselling novel. Blanchett also appeared opposite Giovanni Ribisi in Heaven, directed by Tom Tykwer, which premiered at the Berlin International Film Festival, where the film was awarded the Golden Berlin Bear Award. In 2003, Blanchett was seen in Veronica Guerin, the fact-based story of the Irish journalist who was slain in her homeland in 1996 by drug dealers, directed by Joel Schumacher. Her performance earned her a Golden Globe nomination in the category of Best Performance by an Actress in a Motion Picture - Drama and a nomination from the Robin Hood - Production Information 19

Washington, DC Area Film Critics Association for Best Actress. In the same year, she also starred in The Missing, opposite Tommy Lee Jones, for director Ron Howard. In early 2004, Blanchett appeared in the United Artists film Coffee and Cigarettes, for director Jim Jarmusch, in which she played two roles - herself and her cousin. Her performances earned her a Best Supporting Female nomination for the 2005 Film Independent Spirit Awards. In July 2004, Blanchett returned to the Sydney Theatre Company to play the title role in Andrew Upton’s adaptation of Hedda Gabler. The play was a critical success earning her the prestigious Helpmann Award for Best Female Actor in a Play. She also starred in her first Australian film in several years, Little Fish, directed by Rowan Woods, for which the Australian Film Institute named her Best Actress. Blanchett received an Academy Award for her portrayal of Katherine Hepburn in The Aviator, directed by Martin Scorsese. She was also honoured with a BAFTA and a Screen Actors Guild Award for her role in the 2004 release. Additionally, she was recognized by several critics organizations and received a nomination from the Hollywood Foreign Press Association. In 2006, Blanchett was seen opposite Brad Pitt in Babel, directed by Alejandro González Iñárritu. The film received a Golden Globe Award and was nominated for numerous awards including an Academy Award and a Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. Blanchett was also seen co- starring with George Clooney in The Good German, directed by Steven Soderbergh. For her role opposite Judi Dench in Notes on a Scandal, Blanchett received nominations for a Golden Globe, a Screen Actors Guild Award and an Academy Award. Also in 2006, Blanchett and her husband, Andrew Upton, were named co- directors of the Sydney Theatre Company. In 2007, Blanchett reprised her role as Queen Elizabeth I in Universal Pictures’ Elizabeth: The Golden Age, directed by Shekhar Kapur. She was recognized with several Best Actress award nominations by organizations including the Broadcast Film Critics Association, the Screen Actors Guild, BAFTA and the Academy of Motion Picture Arts & Sciences. Blanchett is one of only five actors in the history of the Oscars to receive a nomination for portraying the same role in two different films. In the same year, Blanchett co-starred with Christian Bale, Richard Gere and Heath Ledger in Todd Haynes’ I’m Not There, for which she was awarded Best Actress at the Venice International Film Festival. Additionally, she received a Golden Globe for Best Performance by an Actress in a Supporting Role in a Motion Picture, a Film Independent Spirit Award for Best Supporting Female and nominations by the Broadcast Film Critics Association Awards, BAFTA, the Screen Actors Guild and the Academy of Motion Picture Arts & Sciences. She was also recognized with the Modern Master Award at the Santa Barbara International Film Festival. In 2008, Blanchett was seen alongside Harrison Ford and Shia LaBeouf in the fourth instalment of the Indiana Jones franchise, Indiana Jones and the Kingdom of the Crystal Skull, directed by Steven Spielberg. Shortly thereafter, Blanchett starred as Daisy in Paramount Pictures’ Academy Award-nominated film The Curious Case of Benjamin Button, directed by David Fincher. The film, based on the short story by F Scott Fitzgerald, tells the life story of a man, portrayed by Brad Pitt, who is born as an elderly man and ages in reverse. Robin Hood - Production Information 20

For a three-month run in late 2009, Blanchett performed on-stage as Blanche Dubois in A Streetcar Named Desire at the Kennedy Centre in Washington, DC and at the Brooklyn Academy of Music. The Sydney Theatre Company production, directed by Liv Ullman, was first staged in September in Sydney before playing to sold-out audiences in the United States. This spring, Blanchett will begin production on Hanna, opposite Saoirse Ronan and Eric Bana. Focus Features will release the Joe Wright-directed thriller in 2011.

WILLIAM HURT (Sir William Marshal) was trained at Tufts University and Juilliard and has been nominated for four Academy Awards. He recently received Emmy and Golden Globe nominations for his recurring role on FX’s award-winning series Damages. Hurt was recently seen in the four-part miniseries Moby Dick, based on Herman Melville’s 1851 novel. He was also recently seen opposite Maria Bellow in The Yellow Handkerchief, which screened at the Sundance Film Festival in 2009 and was released in March 2010. In 2008, Hurt appeared opposite Edward Norton in Universal Pictures/Marvel Studios’ The Incredible Hulk, and portrayed the President of the United States in the dramatic thriller Vantage Point, opposite Dennis Quaid and Forest Whitaker. In 2007, Hurt appeared in Into the Wild, opposite Sean Penn. The cast, which included Emile Hirsch and Marcia Gay Harden, was nominated for Outstanding Performance by a Cast in a Motion Picture by the Screen Actors Guild. He was also seen opposite Kevin Costner in the psychological thriller Mr Brooks, directed by Bruce Evans. In 2006, Hurt was seen in The Good Shepherd, written by Eric Roth and directed by Robert De Niro. The film starred Matt Damon, De Niro and Angelina Jolie and followed the history of the CIA over a span of 40 years, told through the eyes of Edward Wilson, one of the CIA’s founding officers. In 2005, Hurt appeared in A History of Violence, directed by David Cronenberg. Hurt received an Oscar nomination and Best Supporting Actor accolades from the Los Angeles Film Critics Association and the New York Film Critics Circle. The film screened at both the Cannes Film Festival and the Toronto International Film Festival. Hurt also starred in James Marsh’s film The King, with Gael García Bernal; Beautiful Ohio, directed by Chad Lowe; and the independent comedy Noise, opposite Tim Robbins and Bridget Moynahan. The same year, he was seen in Syriana, directed by Stephen Gaghan and starring George Clooney, Matt Damon and Amanda Peet. In 2004, Hurt was seen in M Night Shyamalan’s thriller The Village, opposite Joaquin Phoenix and Sigourney Weaver, as well as the independent film The Blue Butterfly, in which Hurt starred in the film as a famous entomologist who takes a terminally ill boy into the rainforest to grant his dying wish. The film was screened at the 2004 Tribeca Film Festival and was released in Canada and Japan. In 2002, Hurt appeared in Disney’s Tuck Everlasting, which premiered at the Toronto International Film Festival, and had a cameo appearance in Changing Lanes, starring Samuel L Jackson. In 2001, Hurt starred in the independent film Rare Birds, which screened at the Toronto International Film Festival. He was also in a supporting role in Steven Spielberg’s AI. Artificial Intelligence. Robin Hood - Production Information 21

In 2000, Hurt delivered a memorable performance in Sunshine, opposite Ralph Fiennes. Directed by István Szabó, Sunshine received three Genie Awards, including one for Best Motion Picture. In 1980, Hurt appeared in his first film, Altered States. He received a Best Actor Oscar nomination for Broadcast News and Children of a Lesser God. For Kiss of the Spider Woman, he was honoured with an Academy Award, as well as Best Actor awards from the British Academy and the Cannes Film Festival. Among his other film credits are Body Heat, The Big Chill, Eyewitness, Gorky Park, Alice, I Love You to Death, The Accidental Tourist, The Doctor, The Plague, The Simian Line, Trial By Jury, Second Best, Smoke, Confidences à un inconnu, Jane Eyre, Michael, Dark City, The Proposition, Neverwas, The Big Brass Ring and One True Thing. Hurt’s other television credits include the TNT special event series Nightmares and Dreamscapes, based on the stories of Stephen King; the Hallmark Channel’s miniseries Frankenstein, opposite Donald Sutherland; CBS’s The Flamingo Rising; the title role in the CBS miniseries Master Spy: The Robert Hanssen Story; SyFy’s Dune and Showtime’s Varian’s War. Hurt spent the early years of his career on the stage between drama school, summer stock, regional repertory and off-Broadway, appearing in more than 50 productions including Henry V, Fifth of July, Hamlet, Uncle Vanya, Richard II, Hurly- burly (for which he was nominated for a Tony Award), My Life (winning an Obie Award for Best Actor), A Midsummer Night’s Dream and Good. For radio, Hurt read Paul Theroux’s “The Great Railway Bazaar” for BBC’s Radio 4 and “The Shipping News” by Annie Proulx. He has recorded “The Polar Express” and “The Boy Who Drew Cats,” and narrated the documentaries Searching for America: The Odyssey of John Dos Passos, A Einstein - How I See the World and the English version of Elie Wiesel’s To Speak the Unspeakable. In 1988, Hurt was awarded the first Spencer Tracy Award from UCLA.

MARK STRONG (Sir Godfrey) was most recently seen as Lord Blackwood opposite Robert Downey Jr in Guy Ritchie’s Sherlock Holmes. He was also seen as Frank D’Amico in Kick-Ass, directed by Matthew Vaughn. His other recent credits include RocknRolla, also directed by Ritchie, with an ensemble cast that included Gerard Butler, Tom Wilkinson and Thandie Newton; Good, a drama set in Germany during the rise of the Nazi party, in which he starred with Viggo Mortensen; The Young Victoria, opposite Emily Blunt; and with William Hurt in Pete Travis’ apartheid drama, Endgame. Strong also starred in Ridley Scott’s Body of Lies, for which he received outstanding reviews as well as the London Critics Circle Film Award for Best Supporting Actor. Strong’s previous film credits include Miss Pettigrew Lives for a Day, with Frances McDormand; the fantasy feature Stardust, with Robert De Niro and Michelle Pfeiffer; Danny Boyle’s sci-fi thriller Sunshine; Kevin Reynolds’ Tristan + Isolde; Stephen Gaghan’s Syriana; Roman Polanski’s Oliver Twist; Guy Ritchie’s Revolver; It’s All About Love; Heartlands; the British film Fever Pitch; and Angela Pope’s Captives. Born in London, Strong first pursued a law degree in Germany before returning home to study English and drama at Royal Holloway, University of London. He then attended the Bristol Old Vic, which led to an eight-year apprenticeship on the English stage. Dividing his early years between the theatre and television, he had his first big Robin Hood - Production Information 22 break when he won the role of Tosker Cox in the 1994 BBC2 multi-award-winning miniseries Our Friends in the North. Strong has since become a familiar face on British television, earning a BAFTA TV Award nomination for Best Actor and winning a Broadcast Press Guild Award for his role in the 2004 BBC2 production The Long Firm. In 1993, he appeared as then-Inspector Larry Hall in ITV’s Prime Suspect 3 and, 10 years later, reprised the role of Detective Chief Superintendent Larry Hall in Prime Suspect 6: The Last Witness. His many additional television credits include Sharpe’s Mission; ITV’s presentation of Jane Austen’s “Emma”; the BBC films Trust and Fields of Gold; Channel 4’s Falling Apart; the PBS miniseries Anna Karenina; Low Winter Sun; and the Pete Travis-directed projects The Jury and Henry VIII. An accomplished stage actor, Strong has appeared in London’s West End in such plays as Arthur Miller’s Death of a Salesman; Patrick Marber’s Closer; Kevin Spacey’s production of Eugene O’Neill’s The Iceman Cometh; David Mamet’s Speed-the-Plow; and the Sam Mendes-directed productions of Chekhov’s Uncle Vanya and Shakespeare’s Twelfth Night, for which he earned an Olivier Award nomination for Best Supporting Actor. His stage work also includes The Treatment and The Thickness of Skin at the Royal Court Theatre; the Royal National Theatre productions of Richard III, King Lear, Napoli milionaria, Fuente Ovejuna, Murmuring Judges and Johnny on the Spot; and numerous repertory theatre productions.

MARK ADDY (Friar Tuck) studied at the Royal Academy of Dramatic Art in London and he began his career on television, appearing in award-winning comedies such as The Thin Blue Line. He has since gone on to work on the US hit television series Still Standing and Anand Tucker’s critically acclaimed Red Riding: 1983. In 1997, he starred in The Full Monty, which led to a BAFTA nomination and a Screen Actors Guild Award. He also starred in The Flintstones in Viva Rock Vegas, alongside Michael Keaton in Jack Frost, with Chris Rock in Down to Earth and with Heath Ledger in The Order and A Knight’s Tale. His upcoming films include Barney’s Version, in which he stars opposite Dustin Hoffman and Paul Giamatti, and Gurinder Chadha’s comedy It’s a Wonderful Afterlife, with Sally Hawkins. Addy also recently started working with Sean Bean on the HBO series Game of Thrones.

Classically trained with an internationally diverse heritage, OSCAR ISAAC (Prince John) is poised to take Hollywood by storm. He recently finished shooting the lead in the Warner Bros. feature Sucker Punch, for director Zack Snyder (Watchmen, 300). The Alice in Wonderland-like tale centres on a girl who is wrongfully institutionalized and retreats into an alternate reality. The film co-stars Abbie Cornish, Emily Browning, Vanessa Hudgens, Carla Gugino and Jon Hamm. In Agora, directed by Academy Award winner Alejandro Amenábar, Isaac stars opposite Academy Award winner Rachel Weisz. It is a tale of unrequited love set against the backdrop of ancient Egypt and questions the relationship between science and religion. Isaac also stars as Nobel Peace Prize winner José Ramos-Horta in Balibo. It is based on the true story about the young revolutionary leader who befriended Roger East, Robin Hood - Production Information 23 an Australian journalist investigating the suspicious deaths of five of his fellow countrymen. His first starring role was as Shiv, opposite Paddy Considine and Radha Mitchell, in the critically lauded Pu-239 from HBO Films. The film is a dark comedy about the selling radioactive materials on the black market in post communist Moscow. It was directed by Scott Z Burns, premiered at the Toronto International Film Festival in 2006 and aired on HBO in 2007. Isaac next wowed audiences with his performance as Joseph in New Line Cinema’s Christmas drama The Nativity Story, which chronicled the arduous journey of Mary and Joseph and the history-defining birth of Jesus. It was the first film ever to premiere at the Vatican. The film was directed by Catherine Hardwicke and co- starred Academy Award nominees Keisha Castle-Hughes and Shohreh Aghdashloo. Isaac co-starred in the Warner Bros. film Body of Lies, directed by Ridley Scott, opposite Academy Award nominee Leonardo DiCaprio and Academy Award winner Russell Crowe. He was also seen in Steven Soderbergh’s Che: Part One, with Benicio Del Toro. Other film credits include Vadim Perelman’s The Life Before Her Eyes, opposite Uma Thurman and Evan Rachel Wood. He has guest-starred on NBC’s Law & Order: Criminal Intent. In the theatre, Isaac garnered superb reviews playing the title role in Romeo and Juliet with Lauren Ambrose, directed by Michael Greif, and in the musical revival of Two Gentlemen of Verona, adapted by John Guare and Mel Shapiro. Both productions were for New York’s Public Theater’s Shakespeare in the Park program. He starred in Beauty of the Father by Pulitzer Prize-winning playwright Nilo Cruz, directed by Michael Grief at the Manhattan Theatre Club. Isaac was last seen in MCC Theater’s American premiere of Mick Gordon and AC. Graylings’ Grace, with Lynn Redgrave. His other theatre credits include Arrivals/Departures, When It’s Cocktail Time in Cuba and Spinning Into Butter. While a student at Juilliard, Isaac played the title role in Macbeth. He also co-wrote and performed his own music in the show American Occupation, and was seen in The Marriage of Figaro, The Birds, Three Sisters and many others. He also attended master classes with such actors as Sir Ian McKellen, Fiona Shaw, Simon Russell Beale, Brenda Blethyn and Alfred Molina and was the recipient of the prestigious Princess Grace Award in 2004. Isaac also writes and performs music with his band. He was raised in Miami and currently resides in New York.

Award-winning actor DANNY HUSTON (King Richard), known for his versatility and dramatic screen presence, is following in his family’s footsteps, cultivating a storied career both in front of and behind the camera. This year, Huston starred in Warner Bros.’ thriller Edge of Darkness, alongside Mel Gibson, as a suspicious businessman involved in a corporate conspiracy. The film, produced by Academy Award winner Graham King, is based on the BBC miniseries of the same name. Huston recently completed principal photography on Robert Redford’s The Conspirator, opposite James McAvoy, Robin Wright Penn and Kevin Kline, and Barry Levinson’s You Don’t Know Jack, a biopic based on the life of Dr Jack Kevorkian for HBO. He took on the role of Geoffrey Feiger, Kevorkian’s lawyer, opposite Al Pacino. Robin Hood - Production Information 24

He will also be seen in Sngmoo Lee’s soon-to-be-released The Warrior’s Way, a fantasy-action film also starring Kate Bosworth and Geoffrey Rush. Known as a writer, director and producer, Huston gave his breakthrough acting performance in the independent film Ivansxtc. Huston was nominated for Best Male Performance at the Independent Spirit Awards in 2003, for his portrayal of Hollywood talent agent Ivan Beckman. Huston has worked non-stop as an actor ever since. Soon after, Huston appeared in Martin Scorsese’s The Aviator, alongside Leonardo DiCaprio and Alec Baldwin, for which the ensemble cast was nominated for a 2004 Screen Actors Guild Award. In 2006, Huston received the Golden Satellite Award for Best Supporting Actor for his performance as Sandy Woodrow in Fernando Meirelles’ The Constant Gardener. That same year, Huston starred in the critically acclaimed Australian Western The Proposition, directed by John Hillcoat, alongside Guy Pearce and Emily Watson. The film premiered at the Sundance Film Festival. Huston also starred in the British independent feature Fade to Black, in which he played Orson Welles alongside Christopher Walken and Paz Vega, directed by Oliver Parker. He has collaborated several times with British directors Mike Figgis and Bernard Rose, most recently with Rose on The Kreutzer Sonata, which premiered at the 2008 Edinburgh International Film Festival. Huston’s other film credits include Birth, directed by Jonathan Glazer; Silver City, directed by John Sayles; Marie Antoinette, directed by Sofia Coppola; The Number 23, directed by Joel Schumacher; The Kingdom, directed by Peter Berg; How to Lose Friends & Alienate People, directed by Robert Weide; and 30 Days of Night, directed by David Slade. He recently portrayed Samuel Adams in the award-winning HBO miniseries John Adams. Last summer, he starred as villainous Col. William Stryker in the Fox blockbuster X-Men Origins: Wolverine. Huston was born in Rome and raised in Ireland and London. He currently lives in Los Angeles with his daughter, Stella.

Dame EILEEN ATKINS (Eleanor of Aquitaine) was born in London and was a student at the Guildhall School of Music & Drama. She made her first appearance in London as Jaquenetta in Love’s Labour’s Lost for Robert Atkins at the Open Air Theatre, Regent’s Park. Seasons in repertory followed including two years with the Royal Shakespeare Company (RSC) at Stratford-Upon-Avon. She went on to work at the Old Vic, where her roles included the Queen in Richard II, Miranda in The Tempest and Viola in Twelfth Night, in 1962. In the contemporary theatre, Atkins’ credits include Semi-Detached, with Laurence Olivier; Exit the King, with Alec Guinness; and The Restoration of Arnold Middleton. She won the 1965 Evening Standard Theatre Award for Best Actress for her performance as Childie in The Killing of Sister George, and made her New York debut in this play. She returned to New York in 1967 to appear in The Promise. In 1968, she appeared at Chichester Festival Theatre in The Cocktail Party, which subsequently transferred to the West End, and at The Royal Court Theatre Upstairs in Peter Gill’s The Sleepers Den. Atkins won a Variety Club Award for her role as Elizabeth in Robert Bolt’s Vivat! Vivat Regina! at Chichester Festival Theatre in 1970 and later at the Piccadilly Theatre, a performance she repeated in New York. Robin Hood - Production Information 25

Her other London theatre credits include the title roles in Suzanna Andler at the Aldwych Theatre, St Joan at the Old Vic and Medea at the Young Vic. She played Nell in Passion Play for the RSC at the Aldwych, presented an evening of TS. Eliot’s poetry at the Lyric Theatre and appeared in Exclusive at the Playhouse Theatre, directed by Michael Rudman. At the National Theatre, Atkins played Hesione in John Schlesinger’s acclaimed production of Heartbreak House and leading roles in productions of Cymbeline and in Harold Pinter’s Mountain Language. She received an Olivier Award for Best Supporting Actress in Peter Hall’s production of The Winter’s Tale and was nominated for an Olivier Award for Best Supporting Actress for her performance as Hannah Jelkes in Tennessee Williams’ The Night of the Iguana, directed by Richard Eyre at the Lyttelton Theatre. She played Gunhild Borkman opposite Paul Scofield and Vanessa Redgrave, in a hugely successful production of John Gabriel Borkman - again directed by Richard Eyre. In 1989, Atkins received great critical acclaim when she appeared as Virginia Woolf in her one-woman show A Room of One’s Own at the Lamb’s Theatre in New York, where she received the Drama Desk Award for Best Solo Performance and a special citation in a practically unanimous vote from the New York Drama Critics’ Circle. Atkins then took the show on a short nationwide tour of the USA, including a season at the Westwood Centre in Los Angeles. She also re-created the role for PBS in a version filmed on location at Girton College, Cambridge, the venue of Virginia Woolf’s original lecture. Most recently, she revived the play at the Hampstead Theatre. In 1992, Atkins premiered her own play, Vita and Virginia, at the Chichester Festival Theatre - as Virginia Woolf opposite Penelope Wilton’s Vita Sackville-West. The show played a season at the Ambassadors Theatre in the West End at the end of 1993. She has appeared many times on the American stage where her credits include As You Like It in Stratford, Connecticut; The Duchess of Malfi at the Mark Taper Forum in Los Angeles; Mary Barnes at the Long Wharf Theatre in Connecticut; and the title role of Prin at the Manhattan Theatre Club. Her last appearance on the New York stage was starring in Indiscretions (aka Les parents terribles), directed by Sean Mathias at the Ethel Barrymore Theatre. She appeared in Edward Albee’s A Delicate Balance with Maggie Smith at the Haymarket, directed by Anthony Page, and played The Woman in the RSC’s The Unexpected Man with Michael Gambon, for which she won an Olivier Award for Best Actress. Atkins went on to enjoy success with this role on Broadway. Atkins’ television credits include leading roles in The Three Sisters, The Heiress, Olive and The Letter, and the title roles in Major Barbara, The Duchess of Malfi, Electra, The Lady From the Sea and The Jean Rhys Woman. She played John Osborne’s mother in A Better Class of Person, Mrs Morel in the BBC Television adaptation of Sons and Lovers, Stella Kirby in Eden End and Tamara in the BBC Television Shakespeare production of Titus Andronicus, and she appeared in Smiley’s People, The Burston Rebellion and Breaking Up for BBC TV. She co-starred with Lee Remick and Dirk Bogarde in the BBC film The Vision. In 1991, she portrayed Mrs Pankhurst in the In My Defence series before starring opposite Brian Cox in The Lost Language of Cranes, a Screen Two film written by Sean Mathias and directed by Nigel Finch. In 1993, she played Mrs Maitland in The Robin Hood - Production Information 26

Maitlands, directed by Lindsay Posner and produced by Simon Curtis for the BBC Performance series. She played the role of Judith Starkadder in Stella Gibbons’ Cold Comfort Farm, directed by John Schlesinger for the BBC. She starred as Jane Murdstone in Peter Medak’s David Copperfield and played the role of Emily in Women Talking Dirty. She also appeared in the BBC’s The Sleeper. Atkins starred in Bertie & Elizabeth for Carlton Television and The Lives of Animals for BBC4. Her recent film credits include Last Chance Harvey. Other credits include The Dresser, Equus and the role of Mrs Bentley in Let Him Have It, directed by Peter Medak. She appears opposite Jack Nicholson in the Mike Nichols feature film Wolf; in Jack & Sarah, for director Tim Sullivan; The Avengers, directed by Jeremiah Chechik; Stephen Daldry’s The Hours; and the role of Mrs Croft in Robert Altman’s award-winning Gosford Park. In 2002, Atkins filmed What a Girl Wants, directed by Dennie Gordon, and Anthony Minghella’s Cold Mountain. She also appeared in the BBC drama Love Again as Philip Larkin’s mother, Eva. In 2003, Atkins appeared with Corin Redgrave at the National Theatre in Honour, directed by Roger Michell, for which she won the Olivier Award for Best Actress. She appeared on Broadway in William Nicholson’s The Retreat From Moscow, for which she received a Tony Award nomination. In 2004, Atkin’s film credits included Mira Nair’s Vanity Fair, Robert Towne’s Ask the Dust, The Queen of Sheba’s Pearls, written and directed by Colin Nutley, and The Feast of the Goat, directed by Luis Llosa. In 2005, Atkins appeared as Meg in Harold Pinter’s play The Birthday Party at the Duchess Theatre, London, directed by Lindsay Posner, and shot the independent film Scenes of a Sexual Nature, directed by Ed Blum. The year 2006 saw Atkins play Sister Aloysius in Doubt, directed by Doug Hughes, which enjoyed a successful run on Broadway at the Walter Kerr Theatre. She also appeared on television in Waking the Dead and Marple: Towards Zero. In 2007, Atkins appeared at the Almeida Theatre as Bridget in There Came Gypsy Riding by Frank McGuinness, directed by Michael Attenborough; filmed Evening, starring Meryl Streep and directed by Lajos Koltai; and starred in Cranford and Ballet Shoes for the BBC.

Canadian-born KEVIN DURAND (Little John) has developed a versatile background, beginning in comedy and Broadway, then transitioning into television and film, illustrating his ability to captivate a wide range of audiences. In 2009, Durand was nominated for a Saturn Award for his recurring character, Martin Keamy, on the popular series Lost. Durand was also a series regular on Touching Evil and the James Cameron hit series Dark Angel. Recently, Durand was seen in Legion, with Dennis Quaid and Paul Bettany, and the box-office smash X-Men Origins: Wolverine, alongside Hugh Jackman. Before his film career, Durand was voted one of Canada’s funniest new comedians. In addition, he originated the role of Injun Joe in The Adventures of Tom Sawyer on Broadway. Durand is best known for his roles in James Mangold’s 3:10 to Yuma, with Russell Crowe and Christian Bale; Joe Carnahan’s Smokin’ Aces, opposite Ben Affleck Robin Hood - Production Information 27 and Jeremy Piven; and Walt Becker’s Wild Hogs, with John Travolta, Tim Allen and Martin Lawrence. Durand’s other credits include The Butterfly Effect, opposite Ashton Kutcher; Jay Roach’s Mystery, Alaska, with Russell Crowe; Columbia Pictures’ Winged Creatures, opposite Forest Whitaker and Dakota Fanning; and Vertigo Entertainment’s The Echo. He currently resides in Los Angeles.

SCOTT GRIMES (Will Scarlet) is familiar to television audiences as Dr Archie Morris, the stringent chief resident on the hit drama ER. Once a recurring actor, Grimes joined the cast in the 12th season as a series regular. He is also well known for his role as Sgt. Donald Malarkey in the critically acclaimed Band of Brothers, the World War II miniseries. His voice is recognizable to animation fans from his series regular gig as Steve Smith on FOX’s American Dad. Born in Lowell, Massachusetts, Grimes launched his entertainment career in 1980 as a child in the Tony Award-winning Broadway musical Nine. He performed with Bob Hope, The Carpenters and Merv Griffin, to name a few, and his music has been heard on the Golden Globe Award-winning show Party of Five. Before he became an actor, Grimes considered a career as a professional hockey player, and he continues to play in celebrity charity events. His recently completed film Who’s Your Monkey? won the audience award at the CineVegas Film Festival. He also starred in the blockbuster feature film Crimson Tide, as well as the 1999 feel-good feature Mystery, Alaska. In addition, Grimes was regular on Party of Five for the run of the series and has had numerous guest-starring roles on television. Away from the set, Grimes regularly plays charity gigs with Band From TV, which also includes Hugh Laurie, James Denton and Adrian Pasdar, among others.

Even as a young child in the small Newfoundland fishing village of Petty Harbour, ALAN DOYLE (Allan A’Dayle) was holding up a sign that said “Look at Me.” Petty Harbour is a small fishing village, located deep amidst the rugged shoreline of Canada’s most isolated province. Known worldwide for its stunning beauty and unique dialect, Newfoundland is a place that holds tight to its traditional culture. When Doyle was a boy, his home village was small and close-knit, with only one small winding road connecting it to the world. The Atlantic Ocean was the town’s front yard and playground. Even then, Doyle yearned to make his place in the world. Although he was inclined to be the leader in anything he did, there was no place for a singer or guitar player in the school band, so he learned drums, all the better to make the maximum impact. Like many Canadian boys, hockey was his other passion, and only the vital and dangerous role of the goalie appealed to him. It was also in Petty Harbour where he had his first brush with Hollywood when, during his childhood, the small town surprisingly became the set for two infamous “whale” movies: the Jaws knockoff, Orca, and the made-for-television A While for the Killing. Just a teenager when he left home and moved to Newfoundland’s capitol, St John’s, Doyle pursued a BA in English and religion at Memorial University and honed his musical skills as a solo artist in dozens of pub matinees. It was in the city’s infamous dockside music pubs that he developed the thick skin and iron larynx needed to go with Robin Hood - Production Information 28 his natural talent. In 1993, he joined forces with fellow musicians Sean McCann and Bob Hallett, and together they started Great Big Sea, in hopes of fusing Newfoundland traditional music with their own pop sensibilities. Doyle assumed the role of lead singer, and the bandmates began to assault the music business from their unlikely Newfoundland home base. Some 17 years later, the band continues to astonish crowds around the world with their energy, musical skill and inability to take themselves too seriously. A major band in Canada for a generation, their nine albums and two DVD releases have been declared Gold or Platinum. In the United States, they are considered a major concert attraction, and play sold out theatres and hockey arenas across the continent. In his spare time, Doyle is much in demand as a producer, arranger and general musical catalyst, having produced albums for actor Russell Crowe and Juno Award winners The Irish Descendants, among others, and furnished soundtracks for the movie Young Triffie’s Been Made Away With, the television series Hatching, Matching & Dispatching and for a bestselling Nintendo DS video game. Doyle’s voice has been introduced to many new ears during the past television season, as Great Big Sea’s song “Oh Yeah” has served as the them to the CBS hit detective drama Republic of Doyle. Doyle lives in downtown St John’s with his wife and son. Great Big Sea’s tenth release, “Safe Upon the Shore” will be released everywhere in July 2010.

The legendary actor MAX VON SYDOW (Sir Walter Loxley), who has received innumerable honours from the international film community and has been in films for 60 years, is known for his extraordinary collaboration with the great Swedish filmmaker, the late Ingmar Bergman. In 2007, Von Sydow received worldwide acclaim for his performance as a grieving father in Julian Schnabel’s film The Diving Bell and the Butterfly. Among the 11 Bergman films in which Von Sydow has starred are the classics The Seventh Seal, The Magician, The Virgin Spring, Through a Glass Darkly, Hour of the Wolf and Shame, and he appeared in several other Swedish films including The Emigrants and The New Land. Von Sydow made his film debut in the Swedish film Only a Mother in 1949, and he appeared for the first time in a Hollywood film, playing Christ in George Stevens’ epic The Greatest Story Ever Told. He also appeared in such US hits as Hawaii, William Friedkin’s The Exorcist, John Huston’s The Kremlin Letter, Sydney Pollack’s Three Days of the Condor, Woody Allen’s Hannah and Her Sisters and David Lynch’s Dune, as well as Pelle the Conqueror (for which he received an Academy Award nomination for Best Actor), Death Watch, Voyage of the Damned and many, many others. Von Sydow was also seen in Scott Hicks’ Snow Falling on Cedars, Steven Spielberg’s Minority Report, Paul Marcus’ Heidi and Eric-Emmanuel Schmitt’s Oscar and the Pink Lady. He was recently seen in Martin Scorsese’s Shutter Island. Von Sydow was born in Lund, Sweden, but has been a French citizen since 2003. He attended the Acting Academy at the Royal Dramatic Theatre in Stockholm, Sweden, from 1948 to 1951 and, in 1957, appeared on stage in Henrik Ibsen’s Peer Gynt. Among his other appearances (82 all together) are Swedish productions of Luigi Pirandello’s Henry IV, Tennessee Williams’ Cat on a Hot Tin Roof, Jean Anouilh’s Waltz of the Robin Hood - Production Information 29

Toreadors, Molière’s The Misanthrope, Jean-Paul Sartre’s The Condemned of Altona, Ibsen’s The Wild Duck and many others. He appeared on Broadway in Night of the Tribades and Duet for One and at London’s Old Vic in Shakespeare’s The Tempest in the role of Prospero, which he had played in Sweden. In 1984, Max directed the film Katinka, based on Herman Bang’s novel “Along The Highway.” Von Sydow currently lives in Paris with his wife, Catherine, a filmmaker.

ABOUT THE FILMMAKERS RIDLEY SCOTT (Directed by/Produced by) has been honoured with three Academy Award nominations for Best Director. He earned his latest Oscar nomination in 2002 for his work on Black Hawk Down, for which he also received a Directors Guild of America (DGA) Award nomination. The year before, Scott received Oscar, Golden Globe, BAFTA and DGA award nominations for Best Director for the epic Gladiator. The film also won the Oscar, Golden Globe and BAFTA awards for Best Picture, in addition to being named Best Picture by numerous critics groups. Scott earned his first Academy Award nomination, as well as his first DGA Award nomination, for his work on the groundbreaking 1991 drama Thelma & Louise, starring Susan Sarandon and Geena Davis, who were both Oscar-nominated for their performances in the film. Scott garnered another Golden Globe Award nomination for Best Director for the true-life drama American Gangster, starring Denzel Washington and Russell Crowe. Scott also received a BAFTA nomination for Best Film as a producer on the film. He recently directed and produced Body of Lies, also starring Russell Crowe and Leonardo DiCaprio; A Good Year, starring Russell Crowe and Albert Finney; the epic Kingdom of Heaven, with an ensemble cast led by Orlando Bloom and Jeremy Irons; and Matchstick Men, starring Nicolas Cage and Sam Rockwell. A graduate of London’s prestigious Royal Academy of Art, Scott later began his directing career at the BBC, working on some of the network’s popular television programs, as well as commercials. After three years, he formed his own company, RSA, which soon became one of the most successful commercial production houses in Europe, later adding offices in New York and Los Angeles. RSA still maintains a high profile in the global marketplace, representing many noted directors in the film and commercial arenas. Over the years, Scott has directed more than 3,000 commercials, most notably the provocative Share the Fantasy ad for Chanel No. 5 and his Orwellian Apple Computer spot, which aired only once, during the 1984 Super Bowl, but remains an advertising benchmark. The latter was recently hailed by Advertising Age as the best commercial of the last 50 years. Scott’s commercial work has also collected awards at several film festivals, including the Venice and Cannes film festivals. In 1977, Scott made his feature film directorial debut with The Duellists, for which he won the Best First Film Award at the Cannes Film Festival. He followed that with the blockbuster science-fiction thriller Alien, which catapulted Sigourney Weaver to stardom and launched a successful franchise. In 1982, Scott directed the landmark film Blade Runner, starring Harrison Ford. Considered a science-fiction classic, the futuristic thriller was added to the US Library of Congress’ National Film Registry in 1993, and a Robin Hood - Production Information 30 director’s cut of Blade Runner was released to renewed acclaim in 1993 and again in 2007. Scott’s additional film directing credits include Legend, starring Tom Cruise; Someone to Watch Over Me; Black Rain, starring Michael Douglas and Andy Garcia; 1492: Conquest of Paradise; White Squall, starring Jeff Bridges; GI. Jane, starring Demi Moore and Viggo Mortensen; and Hannibal, starring Anthony Hopkins and Julianne Moore. In 1995, Scott and his younger brother and fellow filmmaker, Tony Scott, formed Scott Free Productions. The company has since produced a wide range of film and television projects, including a number of films helmed by Ridley or Tony Scott. Under the Scott Free banner, Ridley Scott has produced or executive produced such features as Clay Pigeons, starring Joaquin Phoenix; Where the Money Is, starring Paul Newman; Tristan + Isolde, starring James Franco and Sophia Myles; Curtis Hanson’s In Her Shoes; and the award-winning Western The Assassination of Jesse James by the Coward Robert Ford, starring Brad Pitt and Casey Affleck. For television, Scott Free currently produces the hit series Numb3rs, which is heading into its fifth season on CBS. Ridley Scott has also served as an executive producer on several of the company’s long-form projects, including the A&E miniseries The Andromeda Strain, based on the book by Michael Crichton; the TNT miniseries The Company; and the award-winning HBO movies RKO 281, starring Liev Schreiber as Orson Welles, and The Gathering Storm, starring Albert Finney and Vanessa Redgrave under the direction of Richard Loncraine. Production recently wrapped on a sequel to The Gathering Storm, also for HBO. In 2003, Scott was awarded a knighthood from the Order of the British Empire in recognition of his contributions to the arts.

BRIAN HELGELAND (Screenplay by/Story by) has written and adapted many features throughout his career as a screenwriter, including the Academy Award-winning film LA Confidential, for which he received an Oscar. Among his credits are his original screenplays for Conspiracy Theory and A Knight’s Tale, along with his adaptations of Payback, Man on Fire and Mystic River, for which he received an Academy Award nomination. Helgeland also wrote Paul Greengrass’ Green Zone, starring Matt Damon, Greg Kinnear and Amy Ryan. In addition to his work as a screenwriter, Helgeland has directed three feature films and is soon to direct his original screenplay Sidney Grimes for Sony Pictures.

Writers, creators and executive producers ETHAN REIFF & CYRUS VORIS (Story by) wrote the story for Kung Fu Panda, DreamWorks’ 2008 smash-hit animated feature, starring the voices of Jack Black, Dustin Hoffman, Angelina Jolie and Jackie Chan. Reiff and Voris also wrote Bullet-proof Monk, the 2003 mystical martial arts adventure film produced by John Woo, starring Chow Yun-Fat. In 2008, Reiff and Voris executive produced the one-hour drama Eleventh Hour, for Jerry Bruckheimer Television and CBS. From 2005 to 2007, Reiff and Voris created and executive produced two seasons of the multiple Emmy- and Golden Globe- nominated television series Sleeper Cell, for Showtime. In 1998, they began their Robin Hood - Production Information 31 television careers creating and co-executive producing their original supernatural/detective series Brimstone, for FOX. Reiff and Voris have been writing together since 1987. Reiff was born and raised in New York City, while Voris comes from mid-west Cincinnati, Ohio. Both attended film school at New York University. Though they never met while students there, they were introduced at a mutual friend’s graduation party, where they learned each was completing his first feature-length screenplay. They agreed to meet again and swap finished scripts, which they did at a Mets/Reds baseball game. This led to their long-term collaboration and professional partnership, based first in New York City and later in Los Angeles.

BRIAN GRAZER (Produced by) has been making movies and television programs for more than 25 years. He most recently produced his creative partner’s, Oscar winner Ron Howard, adaptation of Dan Brown’s best-selling novel “Angels & Demons,” Ridley Scott’s box-office smash American Gangster, starring Russell Crowe and Denzel Washington, and Universal Pictures’ drama Changeling, directed by Clint Eastwood and starring Angelina Jolie. As both a writer and a producer, he has been personally nominated for four Academy Awards, and in 2001 he won the Best Picture Oscar for A Beautiful Mind. In addition to winning three other Academy Awards, A Beautiful Mind also won four Golden Globe Awards (including Best Motion Picture - Drama) and earned Grazer the first annual Awareness Award from the National Mental Health Awareness Campaign. Over the years, Grazer’s films and TV shows have been nominated for a total of 43 Oscars and 131 Emmys. At the same time, his movies have generated more than $13.5 billion in worldwide theatrical, music and video grosses. Reflecting this combination of commercial and artistic achievement, the Producers Guild of America (PGA) honoured Grazer with the David O Selznick Lifetime Achievement Award in 2001. His accomplishments have also been recognized by the Hollywood Chamber of Commerce, which, in 1998, added Grazer to the short list of producers with a star on the Hollywood Walk of Fame. On March 6, 2003, ShoWest celebrated Grazer’s success by honouring him with its Lifetime Achievement Award. On November 14, 2005, the Fulfilment Fund honoured Grazer in Los Angeles. In May 2007, Grazer was chosen by Time magazine as one of the “100 Most Influential People in the World.” Grazer and Howard were honoured by the PGA with its Milestone Award in January 2009 and by NYU’s Tisch School of Cinematic Arts with its Big Apple Award in November 2009. In addition to A Beautiful Mind, Grazer’s films include Apollo 13, for which Grazer won the Producers Guild’s Darryl F Zanuck Producer of the Year Award in Theatrical Motion Picture as well as an Oscar nomination for Best Picture of 1995; and Splash, which he co-wrote as well as produced and for which he received an Oscar nomination for Best Original Screenplay of 1984. Grazer also produced the film adaptation of Peter Morgan’s critically acclaimed play “Frost/Nixon,” directed by Howard. The film was nominated for five Academy Awards, including Best Picture, and nominated for the PGA’s Darryl F Zanuck Producer of the Year Award in Theatrical Motion Pictures. Robin Hood - Production Information 32

Grazer is currently in postproduction on Restless, a coming-of-age story directed by Gus Van Sant and staring Mia Wasikowska and Henry Hopper. Other feature film credits include the big-screen adaptation of the international best seller “The Da Vinci Code,” starring Tom Hanks and directed by Howard; the tense drama Inside Man, directed by Spike Lee and starring Denzel Washington, Clive Owen and Jodie Foster; Flightplan; Cinderella Man; the Sundance-acclaimed documentary Inside Deep Throat; Friday Night Lights; 8 Mile; Blue Crush; Intolerable Cruelty; Dr Seuss’ How the Grinch Stole Christmas; The Nutty Professor; Liar Liar; Ransom; My Girl; Backdraft; Kindergarten Cop; Parenthood; Clean and Sober; and Spies Like Us. Grazer’s television productions include FOX’s hit Emmy Award-winning Best Drama Series 24; NBC’s Friday Night Lights; FOX’s Lie to Me, staring Tim Roth; and NBC’s Parenthood, which premiered this March. His additional television credits include FOX’s Emmy Award-winning Best Comedy Arrested Development, NBC’s Miss Match, WB’s Felicity and ABC’s Sports Night, as well as HBO’s From the Earth to the Moon, for which he won the Emmy for Outstanding Miniseries. Grazer began his career as a producer developing television projects. It was while he was executive-producing TV pilots for Paramount Pictures in the early 1980s that he first met his long-time friend and business partner, Ron Howard. Their collaboration began in 1982 with the hit comedies Night Shift and Splash, and in 1986, the two founded Imagine Entertainment, which they continue to run together as chairmen.

CHARLES JD SCHLISSEL (Executive Producer) re-teams with director Ridley Scott after serving as executive producer on Body of Lies, and as co-producer on the 2003 comedy Matchstick Men. Schlissel studied film and media at the University of Washington and San Francisco State University before completing his college education at UCLA, where he graduated summa cum laude with a BA in economics, with an emphasis on international finance and arbitrage. He briefly studied in the American Film Institute’s producing program before accepting a job as Mel Brooks’ assistant on the comedy Spaceballs. He then worked as a production assistant on several projects before commencing a long-term association with producer Stuart Cornfeld as a development executive. He next moved to Barry Levinson and Mark Johnson’s newly formed Baltimore Pictures as director of development, and served as post-production supervisor on Levinson’s Academy Award- nominated Avalon. Promoted to head of production, he oversaw such high-profile Baltimore Pictures projects as Bugsy, Toys, Wilder Napalm and Steven Soderbergh’s Kafka. Subsequently, Schlissel became an independent producer with credits including Heavy Weights, While You Were Sleeping, Celtic Pride and Red Planet. He served as executive producer on director Christopher Nolan’s features Insomnia, starring Al Pacino, Robin Williams and Hilary Swank, and The Prestige, which starred Christian Bale, Hugh Jackman, Michael Caine and Scarlett Johansson. He was also executive producer on the hit thriller Flightplan, starring Jodie Foster. Apart from his film career, Schlissel pursues white-water rafting and alpining. Among his mountain conquests is the summit of the world’s highest peak, Mount Everest, accomplished with a sole guide in November 1998. Robin Hood - Production Information 33

MICHAEL COSTIGAN (Executive Producer) has served as president of Scott Free Productions, Ridley and Tony Scott’s company, since 2005. Under the Scott Free banner, he most recently executive produced Body of Lies, directed by Ridley Scott and starring Leonardo DiCaprio and Russell Crowe; and American Gangster, directed by Ridley Scott and starring Denzel Washington and Russell Crowe. Scott Free most recently produced The Company, a six-hour miniseries chronicling the history of the CIA for TNT. Costigan has developed many projects during his tenure at Scott Free, including Domino, starring Keira Knightley; A Good Year, the romantic comedy starring Russell Crowe; Curtis Hanson’s romantic drama In Her Shoes, with Cameron Diaz, Toni Collette and Shirley MacLaine; and the hit CBS television series, Numb3rs. His upcoming projects under the Scott Free banner include the feature Factor X, the story of the infamous BTK killer in Kansas. Costigan served as executive producer on the groundbreaking drama Brokeback Mountain. Directed by Ang Lee from a screenplay by Larry McMurtry and Diana Ossana, based on the Annie Proulx short story, the film was nominated for Best Picture and won Oscars for Best Director and Best Adapted Screenplay. More recently, he produced the romantic comedy-drama Smart People, and the holiday comedy Deck the Halls. Before segueing into production, Costigan spent over a decade in the studio ranks, serving for nine years as executive vice president of production at Sony Pictures. He oversaw the acquisition, development and production of dozens of motion pictures, including the Oscar-winning Girl, Interrupted, directed by James Mangold; Milos Forman’s Oscar-nominated The People vs. Larry Flynt; McG’s blockbuster Charlie’s Angels; the acclaimed black comedy To Die For, directed by Gus Van Sant; and two high-profile directorial debuts: Andrew Niccol’s Gattaca, and Wes Anderson’s Bottle Rocket. In 2002, Costigan founded his own production company, Corduroy Films. Based at Sony Pictures, Corduroy’s current projects include the big-screen version of the landmark television series Dallas and Another Bullshit Night in Suck City, based on Nick Flynn’s award-winning memoir.

JIM WHITAKER (Executive Producer) is currently directing and producing Project Rebirth, a film that chronicles the reconstruction of Ground Zero along with the healing process of nine people affected by September 11, 2001. He recently executive produced Changeling, directed by Academy Award winner Clint Eastwood and starring Academy Award winner Angelina Jolie; American Gangster, starring Academy Award winners Denzel Washington and Russell Crowe; Friday Night Lights, starring Billy Bob Thornton; Flightplan, starring Jodie Foster; and 8 Mile, starring Eminem. He also co- executive produced Ron Howard’s film Cinderella Man, starring Academy Award winners Russell Crowe and Renée Zellweger. Whitaker’s passion for filmmaking first emerged during his undergraduate years at Georgetown. In 1987, he went to work in Baltimore doing craft services on John Waters’ cult hit, Hairspray. In 1988, he served as an intern at the local NBC affiliate and travelled to the Democratic and Republican conventions, working as a stringer for Katie Couric, a local reporter at the time. In 1989 and 1990, he directed several films to raise money for non-profit organizations including Best Buddies and Rebuilding Together. Robin Hood - Production Information 34

Upon graduation, Whitaker joined the independent production company Hillman & Carr, where he edited documentaries for museums. He also conceived, raised financing for and directed an award-winning public service announcement against drunk driving. In 1991, Whitaker moved to Los Angeles where he entered the Peter Stark Producing Program at the University of Southern California, earning a master’s degree in fine arts. During his graduate studies, Whitaker accepted an internship position at Ron Howard and Brian Grazer’s Imagine Entertainment. Upon graduation from USC, he was awarded a full-time position as a creative associate with the company. Whitaker rose through the ranks to become president of motion picture production from 2003–2009, supervising the development and production of several other major motion pictures including Nutty Professor II: The Klumps, Intolerable Cruelty and Curious George. Born the youngest of five boys in Bethesda, Maryland, in 1968, Whitaker spent his early years in the Washington, DC, area before moving to the small town of Yarmouth, Nova Scotia. He returned to Washington, DC, for his senior year of high school and graduated from Georgetown Preparatory School in 1986. Whitaker graduated from Georgetown University with honours in 1990 with a bachelor of arts degree in economics. Whitaker currently resides in Los Angeles, California with his wife, Chris, daughter, Rebecca and son, Emmett.

RYAN KAVANAUGH (Executive Producer) is a principal of Relativity Media LLC, a self-sustaining media company engaged in the business of developing, creating and acquiring content and content-related assets. Kavanaugh created business and financial structures for a number of studios, production companies and producers. Since moving from venture and private equity to entertainment industry transactions, he has introduced more than $10 billion of capital to these structures including Sony Pictures, Universal Pictures, Warner Bros., Marvel and many others. In 2008, Relativity Media finalized its acquisition of Rogue from Universal. The purchase of Rogue, a company that specializes in the production and distribution of lower-budget films, includes the label’s entire library of films, as well as producing deals and more than 30 projects currently in development. Rogue has had particular success within the horror genre; the first Rogue release under Relativity’s ownership was The Unborn, starring Gary Oldman, Cam Gigandet, Odette Yustman and Idris Elba. The Unborn grossed more than $19 million at the box office on opening weekend and has earned nearly $60 million to date. The Last House on the Left, based on a Wes Craven film, opened to $15 million at the box office, and Fighting, starring Channing Tatum and Terrence Howard, grossed a strong $11.5 million opening weekend. Additionally, Relativity Media recently launched Rogue as an overall lifestyle brand to include a clothing line, a social networking platform and a music label. In a significant milestone for the entertainment finance industry, Kavanaugh created a wholly owned subsidiary, Relativity Media Holdings, which has concluded an agreement with Citigroup Corporate and Investment Banking on a co-financing package for approximately 45 studio films for the next five years. With this deal, Relativity will co-invest in approximately 75 percent of Columbia Pictures’ films, under a five-year revolving credit facility. Robin Hood - Production Information 35

Jill Goldsmith of Variety wrote of Kavanaugh: “His co-financing deals are the most successful ever in Hollywood. He’s been amazingly proactive and is the envy of many on Wall Street involved in the business.” Kavanaugh has created a number of unique financing packages, including Gun Hill Road I and Gun Hill Road II, which provide discrete and separate funds for both Sony Pictures Entertainment and Universal Pictures, marking the first time two studios received funding from the same source. In January 2008, Relativity Media announced the formation of the wholly owned subsidiary Relativity Capital, which is to be a principal investor in major media transactions, including studio slates, the Relativity Media Single Picture Business, library acquisitions and other media-related cash-flow investments. Elliott Associates LP, a New York-based hedge fund, will be working with and providing financing to Relativity Capital in these media transactions. As part of its “single-picture business,” Relativity Media develops, produces, finances and distributes approximately one film per month, packaged with top-tier talent and filmmakers and imbued with strong commercial appeal both domestically and internationally. Credits under this single-picture business include 3:10 to Yuma, starring Russell Crowe and Christian Bale for director James Mangold; The Forbidden Kingdom, teaming Jet Li and Jackie Chan for director Rob Minkoff; and The Bank Job, starring Jason Statham for director Roger Donaldson. Relativity’s recent single-picture line-up includes Jim Sheridan’s Brothers, starring Jake Gyllenhaal, Tobey Maguire and Natalie Portman; Joe Johnston’s The Wolfman, starring Benicio Del Toro, Anthony Hopkins and Emily Blunt; Lasse Hallström’s Dear John, starring Channing Tatum and Amanda Seyfried; the heist thriller Brilliant, starring Scarlett Johansson; the family action film The Spy Next Door, starring Jackie Chan; and Rob Marshall’s Nine, starring Daniel Day- Lewis, Nicole Kidman, Penélope Cruz, Marion Cotillard and Sophia Loren. Prior to his work with Relativity, Kavanaugh started a venture capital company at age 22 and, during that time, raised and invested more than $400 million of equity due to a number of venture and private equity transactions.

JOHN MATHIESON (Director of Photography) earned his first Oscar nomination for his work on Ridley Scott’s epic Gladiator. He also won a BAFTA, was nominated for an American Society of Cinematographers Award and was honoured by the Los Angeles Film Critics Association for his camerawork on the film. Mathieson continued his creative collaboration with Scott on Hannibal, Matchstick Men and Kingdom of Heaven. His recent projects include John Landis’ Burke and Hare; Rowan Joffe’s Brighton Rock; Kirsten Sheridan’s August Rush; Joel Schumacher’s The Phantom of the Opera, for which he earned a second Oscar nomination; Marc Evans’ Trauma; Iain Softley’s K-PAX; and Jake Scott’s Plunkett & Macleane. Additionally, the Scottish-born cinematographer has worked on a number of international releases including Love Is the Devil: Study for a Portrait of Francis Bacon, starring Derek Jacobi, Vigo: Passion for Life, Twin Town, Bye-Bye, Pigalle and the documentary Mirror, Mirror. In 1996, he was accorded the title Chevalier de l’Ordre des Arts et des Lettres by France’s Ministry of Culture for his contribution to French cinema. Robin Hood - Production Information 36

ARTHUR MAX (Production Designer) began his collaboration with director Ridley Scott in the TV commercial arena two decades ago. Max has received Academy Award nominations for his work on two Scott-directed films: The 2000 Best Picture Oscar winner Gladiator, on which he brought ancient Rome to vivid life, and last year’s American Gangster, for which he recreated 1970s Harlem. For Gladiator, Max also won a BAFTA, a National Board of Review award, a Broadcast Film Critics award and an Excellence in Production Design award from the Art Directors Guild. He received his fourth Art Directors Guild nomination for American Gangster. Max’s collaborations with Scott also include Body of Lies; Kingdom of Heaven; Black Hawk Down, for which he received his second Art Directors Guild nomination, as well as an American Film Institute award nomination; and GI. Jane. Max has twice collaborated with director David Fincher, serving as production designer on the filmmaker’s dark 1995 crime drama Se7en, and more recently on his claustrophobic thriller Panic Room, for which Max received his third Art Directors Guild nomination. A native New Yorker, Max graduated from New York University in the late 1960s and began his career as a stage lighting designer in the music industry. His early work included the historic 1969 Woodstock Festival and projects at Bill Graham’s famous venue Fillmore East in New York’s East Village. During the following decade, he designed concert stages for such legendary musical artists as T-Rex and Pink Floyd. After studying architecture in England, earning degrees in the early ’80s from Polytechnic of Central London and the Royal College of Art, Max went on to do several architectural design projects in London. He worked in the British film industry as an assistant to such prominent production designers as Stuart Craig on Greystoke: The Legend of Tarzan, Lord of the Apes and Cal, and Asshetton Gorton on Revolution. Max subsequently shifted his career focus to television commercials and, for a decade, designed for such clients as Pepsi, Nike, Jeep, Coke and Levi’s, which led to his associations with filmmakers Ridley Scott and David Fincher.

PIETRO SCALIA (Editor) has been honoured twice with an Academy Award for Best Film Editing: For Oliver Stone’s controversial 1991 conspiracy theory drama JFK, on which he shared the honour with co-editor Joe Hutshing and also took home a BAFTA and the American Cinema Editors’ (ACE) Eddie Award; and for his work on Ridley Scott’s acclaimed 2001 war drama Black Hawk Down, for which he also won an ACE Eddie Award and received a BAFTA nomination. In addition, Scalia received nominations for an Oscar and an ACE Eddie Award for Gus Van Sant’s Good Will Hunting, and an Oscar nomination, an ACE Eddie Award and a BAFTA for Scott’s Oscar-winning film Gladiator. Scalia has also edited Scott’s Body of Lies; American Gangster, for which he received a BAFTA nomination; GI Jane; and Hannibal. He also served as editor on actor-producer Leonardo DiCaprio’s acclaimed 2007 documentary The 11th Hour and, more recently, on Matthew Vaughn’s Kick-Ass. Earlier, Scalia collaborated with fellow Italian filmmaker Bernardo Bertolucci on Little Buddha and Stealing Beauty. He has also worked with such filmmakers as Sam Raimi on The Quick and the Dead; Rob Marshall on Memoirs of a Geisha; and Larry Charles on Masked and Anonymous. Robin Hood - Production Information 37

He began his career by collaborating with Oliver Stone, first as assistant editor on the filmmaker’s Wall Street and Talk Radio. He went on to serve as associate editor on Born on the Fourth of July, which won an Oscar for Best Film Editing, and an additional editor on The Doors. Born in Sicily, Scalia was raised in Switzerland. He came to the US to attend college, eventually earning his MFA in film and theatre arts from UCLA in 1985.

JANTY YATES (Costume Designer) won the 2000 Academy Award and earned a BAFTA nomination for her costumes evoking ancient Rome in Ridley Scott’s Best Picture Oscar winner Gladiator. The film marked the first of her five feature film collaborations with the director, which also include Body of Lies, American Gangster, Hannibal and Kingdom of Heaven, for which she received a Goya Award nomination for Best Costume Design. Her list of notable filmmaker collaborations also includes the Michael Winterbottom films Welcome to Sarajevo, Jude and With or Without You; Michael Mann’s Miami Vice; Jean-Jacques Annaud’s Enemy at the Gates; Christopher Monger’s The Englishman Who Went Up a Hill But Came Down a Mountain; Jon Amiel’s The Man Who Knew Too Little; Gillian Armstrong’s Charlotte Gray; and Irwin Winkler’s Cole Porter biographical drama De-Lovely, for which her designs of post-Depression elegance earned her a Costume Designers Guild Award nomination. Yates began her career in the fashion world, then segued to the film industry as a costume assistant on Jean-Jacques Annaud’s Quest for Fire. She subsequently worked on two Mike Newell films: The 1985 thriller Dance With a Stranger and the 1988 drama Sour sweet. She served as wardrobe supervisor on Alan Parker’s acclaimed Irish music tale The Commitments, then made her debut as a feature film costume designer with the 1993 British comedy-drama Bad Behaviour.

MARC STREITENFELD (Music by) has written the music for four consecutive Ridley Scott films, which include Body of Lies, the BAFTA-nominated score for American Gangster, starring Denzel Washington and Russell Crowe, and the director’s romantic comedy A Good Year. He also worked with Scott as music supervisor on Kingdom of Heaven and Matchstick Men; music editor on Black Hawk Down and Hannibal; and technical score advisor on the Oscar-nominated soundtrack to Gladiator. Born in Munich, Germany, Streitenfeld relocated to Los Angeles at the age of 19. He first worked for composer Hans Zimmer as his assistant, then as a freelance music editor and music supervisor on numerous high-profile films.

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