P R O D U C T I O N N O T E S

RELEASE DATE RELEASE DATE: FEBRUARY 2, 2018 RUNNING TIME: 99 MINUTES www.WinchesterMovie.com

TABLE OF CONTENTS

ABOUT THE FILM 5

ABOUT THE CAST 25

ABOUT THE FILMMAKERS 33

END TITLES 42

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Inspired by true events. On an isolated stretch of land 50 miles outside of San Francisco sits the most haunted house in the world. Built by Sarah Winchester (Academy Award®-winner Helen Mirren), heiress to the Winchester fortune, it is a house that knows no end. Constructed in an incessant twenty-four hour a day, seven day a week mania for decades, it stands seven stories tall and contains hundreds of rooms. To the outsider it looks like a monstrous monument to a disturbed woman’s madness. But Sarah is not building for herself, for her niece (Sarah Snook) or for the troubled Doctor Eric Price (Jason Clarke) whom she has summoned to the house. She is building a prison, an asylum for hundreds of vengeful ghosts, and the most terrifying among them have a score to settle with the Winchesters...

CBS Films presents WINCHESTER in association with Eclipse Pictures, a Screen Australia presentation in association with Screen Queensland and Film Victoria of a production by Blacklab Entertainment and Imagination Design Works, of a film directed by The Spierig Brothers (Jigsaw, Predestination) starring Academy Award®-winner Helen Mirren (Eye In The Sky, The Queen), Jason Clarke (Mudbound, Dawn of the Planet of the Apes) and Sarah Snook (Steve Jobs, Predestination). The film was written by Tom Vaughan and The Spierig Brothers. Tim McGahan (Predestination) and Brett Tomberlin produced the film. Executive produced by Benedict Carver (Eye In The Sky, Maps To The Stars), Daniel Diamond (Mother’s Day, Criminal Activities), Tobin Armbrust (The Woman in Black) and Michael Burton. Director of Photography is Ben Nott ACS (Predestination, Daybreakers). Production Designer is Matthew Putland (Predestination, Goldstone). The film is edited by Matt Villa ASE (Predestination, The Great Gatsby). Costume Designer is Wendy Cork (Predestination). Music is by Peter Spierig (Predestination). Casting by Maura Fay Casting, Leigh Pickford (Predestination, Killer Elite).

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“...on the orders of a grieving widow...”

THE LEGEND:

Sarah Winchester (Academy Award®-winner Helen Mirren) was more than just an heiress of an enormous fortune and majority shareholder of the company that made it. She was also the architect of a macabre plan to turn an 8-room San Jose, California farmhouse into a sprawling, labyrinth of inexplicable spectral chambers...

Seven stories high. 47 fireplaces, many that could never be used. 500 perplexing rooms embellished with symbols, encryptions and the 2,000 doors, trap doors, spry holes, number 13 embedded everywhere. gables, turrets, towers, porches.

A maze of confusing halls. A séance room in a Witch’s Cap only Sarah was privy to. Stairs to nowhere. Stained glassed windows coded with Switchback staircases that obscure quotes from unperformed turn into themselves. Shakespearean plays… Doors that open into walls. “These same thoughts people this little world.” 10,000 windows…windows opening into floors.

5 An exorbitant work in progress – built, torn down, built again. A non-stop year-round construction, its interior lavishly dressed in the finest décor of the day, Sarah’s folly was beyond anyone’s comprehension.

And it was built for one purpose: To be haunted. The master plan: To recreate the realms where lives were claimed by a Winchester rifle. ... It’s in the walls...

Built by the dead, but for Sarah, the dead would keep it.

The bereaved widow was building it to confront the unspeakable: Victim or villain, hundreds of vengeful spirits, some good and some bad, were imprisoned in this asylum and Sarah was the warden.

And the most terrifying of all had one pursuit – for Sarah’s own to meet their fate. ...It’s in the air...

“There’s a lot of mythology around Sarah Winchester,” muses Mirren. “In her lifetime there was a legend, a mythology that grew around her and the creation of this house. This house was built at a time where there was nothing around. Now it’s in the middle of San Jose’s main street – a shopping area. But at that time, it was just empty farmland and in the middle of it was this extraordinary construction, bit by bit being built by this widow who would always wear black and who no one in the local town would ever see. She was private, always in her house. You can understand why a mythology started building about her as the house became more extraordinary, more complicated, bigger and bigger. This mythology has lasted over the years. It’s very difficult to extricate the truth about her from the mythology.

“With our film, there’s a span between truth and mythology. I researched the truth of her but it was very hard to get to that truth. Many different people had different ideas about her. But you try to go to the source, to the people who worked with her, to sense what she was like. I believe she was a woman with great empathy, deep feelings (for others). At the same time the fortune that she spent on building this house came from the Winchester rifle fortune. So there is an incredible contradiction between the character of the woman and the source of her income,” Mirren clarifies.

“It is fascinating. Whether that is the truth of Sarah or not, no one will ever know. There are no diaries. Only second-hand knowledge.”

For horror maestros Peter and Michael Spierig (Jigsaw, Predestination), seizing an opportunity to write and direct a supernatural thriller inspired by a true story weirder than anything they had ever imagined – comes along once in a lifetime. What the Australian twin brothers envisioned is a disturbing testament to a historical mystery that can never be fully explained about a creator as confounding as her creation.

6 More than just a name, WINCHESTER is a formidable placeholder in time.

And Sarah Lockwood Pardee, an outsider who married the Winchester Repeating Rifle inventor, taking his name, would become a 50-percent shareholder of the company and heir to a vast amount of money as his widow. Her $20 million estate then would be equal to nearly half a billion dollars today.

As legend has it, Sarah would meet with a Boston medium after the death of her husband and infant daughter Annie, who would advise her to leave her native Connecticut, head west and begin building a house that would serve as an elaborate tomb of atonement for those who had fallen from the rifle. Sarah alone would stand as architect and warden of this charnel house of spirits, a hellish portal for any living Winchester targeted by their wrath. She was to never stop building if she hoped to thwart retribution against her or any she loved.

As Mirren notes, in Sarah’s time “there was a lot of experimentation and new thinking, the era of Alistair Crowley on the dark side and the Rosicrucians on the light side.

“There was a spiritual search going on and I think Sarah was a part of that,” Mirren adds. “This was an extraordinary woman. She was very into spiritual development and spiritual things in general.

“She was actually kind of trained as an architect. She had a huge interest in architecture and design before she got married. It was an era of building amazing, complicated palaces. But the purpose of her building was always to expiate souls.”

This was the way she found to deal with “the responsibility of so many deaths (because) she was living off of them.”

In the film, to protect her life and the two people she loves most, her niece Marion (Sarah Snook) and Marion’s 8-year-old son Henry (Finn Scicluna-O’Prey), Sarah has but one choice – to meet the dead at ground zero and recreate their whispered renderings of where they met their end.

But the Winchester board fears it has a grieving nut case holding the company’s purse strings. It exercises its right to have her examined, hoping she will be proved insane. But Sarah chooses the examiner... Dr. Eric Price (Jason Clarke) of San Francisco is the only option.

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“Do you believe in ghosts Doctor?” ...Sarah Winchester

LOCKING IN: THE SPIERIG BROTHERS COME ABOARD

“This is a ghost story. A scary haunted house ghost story. What’s unique about it? It is based on a real person. There’s a real house that still exists. A real situation. A story, a history, with a lot of modern connotations as well. These ghosts haunted Sarah Winchester because of that gun, a real invention. THIS is about the real woman,” says Peter Spierig.

A woman, adds his collaborating twin brother Michael, who “always felt like a woman out of time.

“We saw her as a person that was plagued by the legacy of this gun…an intelligent, progressive thinking woman who’s been misconstrued as a crazy person.”

That was the lure for The Spierig Brothers to become involved in the WINCHESTER saga.

To Michael’s memory, their part in the project began in 2012. “What initially happened was, we read a script. It was called THE WINCHESTER MYSTERY HOUSE written by Tom Vaughan with Producer Brett Tomberlin. There were elements to that script that we liked. We were like this house sounds incredible! So, we visited it. Peter and I fell in love with the house, did the infamous house tour – a big tourist attraction. We came on board and worked on the script for the better part of two years, developing ideas, continually researching and going back to the house. We then brought on board Tim McGahan who made a deal with our Executive Producers Benedict Carver and Daniel Diamond and we began to put the cast of the film together. Once Helen Mirren came on board that opened the floodgates: Jason Clarke and Sarah Snook, Angus Sampson, Bruce Spence, Eamon Farren – all of these wonderful actors joined and that was true joy.

“Helen solidified the film.”

8 The Brothers had previously teamed with Producer McGahan on their film Predestination. But, Peter notes, their history together actually goes back much further. “Grade 6. We go back to grade 6! We went to him and said ‘Let’s figure out how to do another one together.’ Tim helped propel WINCHESTER forward.”

Adds McGahan, “There is a bit of a shorthand here! We’ve worked together on TV commercials and this is our second film together. We understand each other, almost preempt each other’s decisions. Their previous films have always been about creating worlds.” Lifetime friendships aside, “The Spierigs are great world creators and this story needed that...the way they do it is what really helped set the scene of Winchester 1906.”

What drew McGahan to the script “was a thriller with more depth, more substance, a human being grappling with guilt and how she tries to reconcile it,” he says. “I liked the idea that it was a true story and that Sarah Winchester had this incredible opportunity because of the Winchester Rifle fortune but there was a catch – the guilt that came from all of the people that died because of it. And when you’re dealing with a real story and real characters you’ve got a responsibility to be true to (the essence) of their story. The reward is a story that’s well grounded. There’s honesty and truth in this one and I think audiences will pick up on it.”

Producer Tomberlin’s involvement actually preceded the trio. “It started about 11 years ago when we were looking for a project that was an actual supernatural thriller,” he says. Being a graduate of Santa Clara University he was familiar with the Winchester Mystery House that was nearby. “It was such an iconic world brand we thought about acquiring the rights.” He soon learned other producers and directors were pursuing it, including “Stephen King, who ultimately made Rose Red about the Winchester House.” Once the rights were acquired in 2006, the project was in development for another seven years until “we stumbled upon the Spierig brothers who were coming off of Predestination and Daybreakers. They wanted their own take on the script, which we ultimately developed.”

Working with two directors at the same time was a first for Helen Mirren, with numerous television and film productions to her credit (not to mention all of her theatre performances).

“I think with any directing teams you do need that deep psychological understanding of the other person, which obviously, in the case of twins it becomes much stronger and it’s fascinating seeing how that plays out,” she says. “It is really like speaking with one person and it comes out of two different mouths. They do fulfill different roles as well. That’s very clear.”

9 As for achieving that shared vision between twins co-writing and co-directing such a twisted supernatural thriller, Michael Spierig summed up the process for both he and his brother Peter:

“Weird.”

As filmmakers, “we get asked that a lot – how the dual directing thing plays out?” he muses. “I guess because we grew up together and sort of fell in love with the same movies, we really do have a shared vision.

“Because we also write, we collaborate so early in the process, throwing ideas back and forth, there’s never two different thoughts going in different directions. We plan so carefully, we storyboard everything, discuss everything in such detail, there’s never any sort of confusion. It’s very much a 50-50 collaboration. Occasionally we split up and shoot separate units at the same time, which can be helpful. But yeah...it’s weird.”

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“I do not believe in anything I cannot see or study.” ...Dr. Eric Price THE CAST THAT WINCHESTER BUILT:

While casting fell into place after Helen Mirren signed on as Sarah, McGahan says it was another key role that proved a game changer for the film.

“Jason Clarke’s character Dr. Eric Price is our way into the Winchester Mystery House and to Sarah Winchester. His role is pivotal,” McGahan explains.

Price is addicted to Laudanum – a preferred drug to cure many ills for its day, among them depression. He became a user after his wife Ruby’s suicide, and had his own brush with death.

“Price is a psychiatrist who is trying to overcome a horrific tragedy,” says Peter Spierig. “He thinks he’s being hired by the Winchester Board to determine whether Sarah Winchester is crazy. If they can eject her from the company they can take over her share and do what they want, which is create more weapons. At the time, Sarah was also looking at alternative products, trying to branch out and do other things like building roller skates, all kinds of tools. This really did happen. Price, a skeptic who doesn’t believe in ghosts, goes to the house to assess her state of mind with the intention of pushing Sarah out of the Winchester Repeating Arms Company. But it is Sarah who actually has ulterior motives to bring him to the house.

11 “We had met Jason a few times but didn’t really have a relationship with him. He’s a fellow Aussie and had been wanting to do a movie in Australia for a while and so it all worked out perfectly. We couldn’t have found a better Eric Price.”

Clarke delved into Sarah’s choice for Price a bit deeper.

“Sarah’s having a problem,” he explains. “She can’t identify what a certain spirit or spirits are doing, why they’re there and what’s she’s supposed to do to deal with them. She’s hoping that a man who has crossed over into the afterlife, however short that time was, has some gift that she doesn’t have. That’s why out of all the shrinks she chose Eric Price of San Francisco.”

Clarke believes Price would have been a psychiatrist inspired by Sigmund Freud and Carl Jung, the most well-known psychiatrists of that day. Familiar with their work, Clarke says he had read several books on psychotherapy that helped him prepare for the part, including “When Nietzsche Wept,” by Psychotherapist and Author Irvin D. Yalom. He believes Price would have been somebody who traveled to Europe and probably studied there.

“Basically, he is a psychiatrist living in San Francisco 1906 on sabbatical. He really tried to be a pioneer in the field, explore more, but then he loses the great love of his life and he was partly responsible so he really suffered. He’s a little lost, gone down the road of hedonism and doesn’t believe in much anymore. It’s a sad place to be particularly for a doctor who has taken an oath to help people and then starts to believe he can’t help anybody at all.”

But then he is made an offer by the Winchester Board’s lawyer that he financially can’t refuse.

“When he arrives at the Winchester house he sees this fantastical place. He’s been hired to do a job and he imagines it’s going to be pretty straightforward and simple,” says Clarke. “But he goes down the rabbit hole like Alice in Wonderland. He arrives as a non-believer and ends up seeing and doing things he didn’t think possible.”

Clarke perceives Price’s coping addiction to Laudanum as a narrative device. “It gives time to get him to see these things that are real. In his own mind, he is semi seeing things,” he adds. “He’s a man that does like to distort his reality and sit in that for a while rather than just see the clear, harsh light of day.”

A psychiatrist confronting Sarah’s bizarre coping mechanism with death and guilt while trying to deal with his own made his character’s dilemma even more problematic. “She’s lost her husband, the love of her life” and now she is left to deal with his invention’s mind-boggling success. “That’s the thriller they

12 chose to tell about her building this house. Some people wash their hands fastidiously, develop a lot of different little habits, idiosyncrasies, defense mechanisms. Sarah’s? Build for ghosts. That’s her world – the undead, ghosts, spirits that need to pass through, to find some way to let things go.”

Of Price, Mirren describes Sarah’s relationship with the doctor as a “bit of a fencing match, a battle between the two.” Clarke’s portrayal of Price for Mirren proved a seamless collaboration. “Well Jason is the most adorable person, just a gorgeous Aussie. What can I say? He’s got all those qualities humor, down-to-earth, hardworking, commitment. Just lovely.”

Clarke came aboard because he saw The Spierig Brothers’ take on WINCHESTER as “an intelligent thriller. I liked the character of Eric. Helen Mirren. The period – 1906 is a really fascinating time. The fact that it’s a scary, thriller drama, not a slasher horror film where everybody gets killed. And, of course, the Brothers had a deep connection to it.” He had met the Spierigs at a party and seen their film Predestination. “They’ve got ambition, like to challenge the status quo, bring something to the screen rather than just playing it safe in the middle (of a genre) and I liked that a lot.” Plus, it was a chance for the Queensland native to make a film on home turf, Australia.

As for Mirren, he relished the 1906 earthquake scenes with his co-star. “When the quake hits, things are smashing down all around us. That was really good. I remember thinking I’m down in the dirt, in the muck and grime, with a Dame. She is one of my mother’s two favorite actors. If Mum found out I didn’t do a film with Helen Mirren she wouldn’t have forgiven me. Helen is fantastic. She’s done it all. Witty. Intelligent. She played Cleopatra three times! And Phaedra (of Greek mythology – she kills herself, as did Cleopatra) which, probably helps you play parts like Sarah where you are having to summon ghosts. It’s very primal, very Shakespearean in a basic kind of way. There are demons all around us and Helen was great, always with a sense of humor and just class. She is very, very funny.”

Sarah Snook, who previously teamed with The Spierig Brothers on Predestination, plays Sarah Winchester’s niece Marion and mother of young Henry (Finn Scicluna-O’Prey). She says The Spierig Brothers casting of Mirren as Sarah was “a no-brainer. This is a woman who can command such respect, she’s so generous and a talent of such amazing strength.”

A second chance to work with The Spierig Brothers and their crew was the key reason Snook took the part of Marion. “They’re quite good at using the same people and that creates a certain tone and atmosphere on set. I really love working in that way so in the initial stage, that’s what drew me to the role.” She also reteamed with Scicluna-O’Prey, who played her son on the ABC Miniseries The Secret River, and Angus Sampson who plays Winchester House Foreman John Hanson (the two previously co- starred in the TV series Spirited).

13 Of her character, Snook reveals “Marion and Henry arrive at the Winchester House after the recent death of her husband Frederick. He died very suddenly and Sarah believes it’s because of the Winchester curse now spreading through the family. Marion is probably a little on the fence about that. She has her own beliefs of why her husband died. When Eric Price enters the Winchester House, Marion is still in a state of grief. When Eric comes into the house Marion doesn’t really want anything to do with him. She believes he’s there to declare her aunt insane.

“I would say Sarah Winchester represents the illogical, supernatural, fantasy side and Jason’s character, Eric, represents the rational, tangible, realistic side. Marion? She has experienced spirituality throughout her life in connection with Sarah but once it starts to impinge upon her son, well her feelings towards her son are obviously very strong. The consequences for her son are quite severe.” The character of Henry is fictionalized, though it is believed that Marion had an adopted daughter.

Mirren was “thrilled” to learn that Snook would play Sarah’s niece. “I’d seen Sarah in The Spierig Brothers’ earlier film, Predestination. She was spectacular. I’d never seen her work before. I was so blown away by her. And Finn, the young man who plays my grandnephew in the film, is a wonderful actor. I think there’s a director in there. It’s going to be fascinating to see what happens to him in 10 years’ time.”

And then there’s the character of Ben Block (Eamon Farren), a key reason why Sarah Winchester builds.

To play the role, the filmmakers found actor Eamon Farren. Farren was immediately attracted to the script, the chance to work with The Spierigs and the cast, and to the role itself.

“(Ben) can mysteriously exist wherever he wants inside the house,” says Farren. “But I think in the mind of Sarah Winchester, there’s a part of me that likes to think she evokes some sort of his spirit from her own paranoia and guilt. And that is fed through the image of Ben Block. What interests me is that perhaps Ben Block was a real person, his intentions and his motivations are his own. But perhaps, just maybe, it’s also channeled through her paranoia, guilt and hurt.”

Ben Block was also a Confederate soldier. Once.

He learned firsthand the awesome power of the Winchester Repeating Rifle. Through a three-hour daily process of prosthetics, Farren would reveal just what that power did to Block.

“He blames the Winchester family and Sarah Winchester herself for taking away everything that he loved and therefore he’s going to do the same to her,” says Farren. The entire film builds to an encounter between Sarah, Block and Price.

14 “One of the most powerful things we have in our world is the power to affect people and be affected by people, for good and bad, to destroy each other or to build each other up. This is a supernatural thriller that explores that. Why do people like films with supernatural elements? Escapism, the human condition to wonder about the unknown – the things we don’t know, that there is something out there and of course, the endless possibilities of how “they” can get us, something we can’t stop, something coming for You! To have no idea of what’s coming, well that’s the joy of it.

“But whatever it is that’s really out to get you, maybe it’s demons already too close…the ones inside.”

While a rigorous prosthetic process helped inform Farren’s character, the costumes, say Mirren and Clarke, were critical tools used to inform theirs.

“Our costumes were absolutely designed for us,” Mirren says. “With mine it was just repeating the photographs of Sarah and, like the set of the house, they were reproduced as accurately as possible. But is never fun to wear a corset all day long!”

Clarke’s costume was tailor made by Melbourne’s Adriano Carbone. “It is a bespoke handmade suit, herringbone, blue within blue flannel,” recalls Clarke. “I loved the attention to detail.” Turns out Clarke needed five of the same suit because playing Price was a very physical role. “I got cuts, scratches. Maybe I throw myself a little bit too much, but it was in the house of horrors. Then the earthquake of ’06. We trashed a lot of things, the suits included. It was pretty rough trashing. They’re beautiful suits with really wonderful fabrics. I just ripped my pants.”

With ghosts killed over many decades, in different places and in many ways, Costume Designer Wendy Cork and her team experienced a panoply of costume creations in one film as never before.

“You know the 1906 silhouette can be a little bit alienating to a modern audience,” she quips. “It’s those pigeon-chested, slim-waist, S-bend corsets and strange hats. This is a thriller not a historical document. Our aim was to find a balance between historical accuracy and a relevance to a modern eye so audiences can engage the characters, run with the story and enjoy the film.”

To do that Cork merged 1905, 1910 and 1895 silhouettes and came up with a compromise, sans pigeon chest. Think Victorian slim with a soft bustle at the back and a bit of authentic Edwardian embellishment for Mirren’s Sarah and Snook’s Marion.

15 “Since her husband died in her early twenties and she’s nearly 70 in the film, Sarah has worn black mourning all her life,” Cork says. “It was a bit of a challenge (dressing Mirren in) black on a very dark set. To see the details of her black silhouette, we had to embellish it with textures and shine from the period.”

She created an Edwardian mourning cape for Mirren with real Edwardian and Victorian embellishments. The evening dinner dress, in fact all Sarah’s costume pieces, were detailed with original Edwardian laces, jet beading, gelatin sequins, and glass buttons. The inspiration for Sarah’s mourning veil came from an Edward Steichen photograph of a woman with lace over her face, Cork notes. That element of Edwardian lace gave “not only interest to the camera but softness to Sarah as well.”

Cork actually had to dress two widows for the film. Marion, who also lost her husband, would have also been in mourning dress. To differentiate between the two widows, Cork limited the black of Snook’s costume to a jacket and veil. Most of her clothing was purple and green, the color of suffragettes for the time.

“I love that Helen was really particular and very practical in understanding what she needed on camera and what she could get away with,” Cork remembers. “She really understood the value of where to put the attention on camera and where not to. She understood how to make the best of her silhouette. She was quite extraordinary to work with, very efficient and very professional. She came in three days earlier than scheduled and the extra time meant the costume department could really achieve what they needed to achieve. I find this with actors that have gone through the British system. They really respect the costume department and what it takes to get period costumes on set.”

Aside from the key cast, Cork’s team made costumes for all the ghosts – “cowboys, Native Americans, Texas Rangers, Confederate soldiers, Union soldiers, farmers and their wives, Mexican workers and Mexican women – ghosts across a 30-to-40-year period. It was incredible to actually try and represent those periods and silhouettes.” But her team felt genuine sadness at the end of their part in the production, repeatedly telling Cork, “I don’t want to stop making this film.”

At the end of the day the tale belonged to the lady in black.

It is Sarah Winchester’s story and it took an actor the caliber of Mirren to capture the power of Sarah’s psychosis and ferocious effort of an elderly, crestfallen widow coming to terms with her life.

“This role was written for Helen,” says McGahan. “There are so many parallels between Helen Mirren and Sarah Winchester. What I really loved about Helen is that she’s got this strength and this vulnerability as Sarah.”

16 Michael Spierig says Mirren was “fascinated by Sarah’s inventive mind and that she was such a progressive thinker. I think Helen could relate to her. Helen had never done a haunted house or horror movie before. We initially thought, ‘Gee, wouldn’t it be great to get Helen Mirren tied into this film’.”

Who knew she would say “Yes.”

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“It’s a gargantuan 7-storied structure with no apparent rhyme or reason...” 24 HR. CONSTRUCTION: WINCHESTER HOUSE AND ITS RECREATION

Winchester House picked up where The Spierig Brothers’ and Production Designer Matt Putland’s imagination left off.

“It truly doesn’t have a lot of rhyme or reason,” says Peter Spierig. “A room is built on top of a room, next to a room and they are not even on the same level. There are strange architectural oddities, different shapes and sizes to the rooms. Strange stairs that go to ceilings and doors that open to two-story drops.”

“At a time when women weren’t allowed to be architects,” adds Michael Spierig, “this came from the mind of Sarah Winchester.” The rifle fortune “allowed her to build whatever she wanted. She was always into interior design, architecture and building. She was a pioneer when it came to technology, inventing an intercom system that was a series of pipes traveling throughout the house to communicate from one room to the next. She had an irrigation system for gardening and was the first person in San Jose to have a telephone: Her phone number was 1234! She was always looking to the future, very inventive. I think that’s where her architectural passion came from and why she always wanted to build something new.”

18 Production Designer Putland had the daunting task of recreating several key rooms in the house on sets in Melbourne, Australia. There were then three days of filming at the actual house in San Jose. Despite having visited and thoroughly researched the house for duplication purposes, since the film is set in 1906 much of the original house was destroyed after the earthquake that year. That meant expanding on period research and anything they could find that existed before the devastating incident. For that reason, many of the rooms seen in the film are those that remained intact in the house.

One of the first rooms replicated was the entrance hall. Putland says a few tweaks had to be made in dimensions of that space including the ceiling heights.

“The front part of the house I think was part of the original 8-room farmhouse but as you go deeper into the actual Winchester House you can see Sarah’s influence such as some of the stair banisters being a lot lower as well as stair risers that were very short because of her arthritis,” he explains. “There are some very small doors in the house. I don’t know whether it was because of her height, she was very petite, or because of what was stored behind them.”

One of the most peculiar aspects of the house is the switchback staircase. It has seven flights of stairs which rise to one level. The production team only created four flights (on set) as that is all that was needed for shooting the scene. “It was quite a complicated pattern because the staircase sort of folds in on itself,” he notes. “Unique, it is one of the architectural elements of the house built specifically for Sarah. With her arthritis, she had trouble walking up stairs and standard-sized stairs were too large and would cause her pain. She built risers that were only a few inches high. Recreating that on a set was quite a struggle since we needed to get a film crew, three actors, cameras and everything onto the set. A lot of the pieces had to be dismantled for camera access but still hold their integrity.”

There were the stairs to nowhere that ended at a ceiling. “Again, we had to recreate them on a stage in Australia and like the door that opens to nowhere, all of these fun, quirky, Sarah Winchester add-ons were great to reconstruct.”

Although there is much speculation as to whether Sarah actually insisted on the number 13 being present everywhere in the house, for the film’s purposes it was crucial to the narrative. “We did build a couple of references to 13 because that is quite an important part of the tour at the Winchester Mystery House in San Jose,” adds Putland. “We made a stained-glass window with 13 gems. As for the rest of our stained-glass windows, they referenced the designs directly from the house. The spider web design will pop up in a few places and the stained-glass patterns on the doors are patterned straight from the Winchester House.”

19 In the ballroom, obscure quotes from two Shakespeare plays rarely, if ever, performed filled the panels of the Tiffany glass windows: One is from the prison soliloquy of the king in Richard II, “These same thoughts people this little world.” The other is from Troilus and Cressida, “Wide unclasp the tables of their thoughts.” Why Sarah chose those quotes is but another mystery of her creative process.

The gun display room that appears in the film is also key to the narrative. It is one that gets dismantled at the end of the film. There is no display room in the Winchester House today.

To recreate Sarah’s Library, a space Putland found most enjoyable because it was also the heiress’ work space, the team chose to shoot those scenes in a National Trust building in Australia. They had to work with the existing wallpaper and size of the room.

In the ballroom hallway scene, “our actors walk down this hall and through the doorway on the set in Melbourne. They will peek through a curtain. What they see is the actual house in San Jose. That means we will bring the elements and tones of the ballroom, lighting style, drapes, candles here and then through the curtain you see the real Winchester House.”

One of the characters dies in the garden room and later speaks to Sarah who then recreates that room as part of the house. “It’s a spooky set and a great scene,” Putland says.

For scenes involving arrival at the house “we couldn’t shoot any at the real house because it’s right next to a freeway and a shopping center. That’s not 1906,” quips Putland. “So, we built the first level of the house in a paddock. We found some great trees that matched the trees that were in San Jose and we basically built a garden, a driveway, the veranda, the front door and a few other areas as part of an exterior set on a property just outside of Melbourne.”

When Putland’s team began to dress the walls, they had to find a match for the Lincrusta wallpaper running throughout the San Jose mansion. “Sarah had one of the largest collections of Lincrusta wallpaper that exists and it is still at the house. Those original wallpapers date from the late 1800’s. We had to find an Anaglypta wallpaper that we could source in Australia. We couldn’t match the exact pattern but found something which we feel is similar and altered the color. The color that is in the house today, which we believe was the original color, was a very pale green, almost white. For filming it wouldn’t quite work with the tone we wanted so we chose a warmer tannish yellow and gave it a texture over the top to bring out the 3D effect of the wallpaper.”

20 It was tough to determine the right color palette for some rooms since the only photo references for 1906 were in black and white. The solution was simple: The color scheme would suit the genre of the film being made more than what the house is currently painted today. “Sarah Winchester built the most talked about, expensive mansion of 1906, when it was at its peak in size and grandeur. We wanted to really represent Sarah’s aesthetic – that lush richness we feel would have been her style of the time. She was importing chandeliers from Germany. The parquet floors in the ballroom have eight different timbers in them. As a designer, to be given the task of recreating that aesthetic and that level of opulence has been a lot of fun and a massive challenge. We had to make those three different scenarios look as if we are in the same house at all times.

“I was so very fortunate to go to the Winchester House and see as it is today. When I first saw it, I was blown away by the scale of this great big Victorian mansion. But it’s not the extravagance and layers of opulence that blow you away. It is the layout and attention to detail. You could almost see the progression of the house as it grew and grew and grew, consuming parts of the original farmhouse. We were shown the water tower and instead of pulling the water tower down, it was just built into the house. I was there for three days looking through every doorway, every cupboard and I could still not find my own way around inside the house. It is such a rabbit warren of staircases and corridors and rooms and anterooms and verandas – quite an amazing complex that little farmhouse.”

There were two areas of the house that Putland says speaks to the haunting.

One is the Witch’s Cap where Sarah would go alone every night to get her building instructions from the ghosts for the next day. “It is a real room in that house and it is an amazing space,” he says. “The hallway that leads to the Witch’s Cap was something that really stood out to me as an architectural feat. That area spoke to me of a presence. It’s in the attic space of the house. Reference images from the time show us that there was a chimney that led up to the outside of the building, which is no longer there so we reinstated the fireplace and chimney in the witch’s cap which fell down in the 1906 earthquake.”

Recreated on set, “I find it fascinating this woman would build this room as a vessel to communicate with the dead,” adds Michael Spierig. “Because a lot of people sought out mediums back then, going to a spiritualist wasn’t seen as a fringe thing. I mean people actually saw it as science back then. She strongly believed she could communicate with the dead, communicate with her deceased husband and daughter as well. And so, she embraced this.”

Then there is the basement.

21 “It was quite spooky, but I don’t know if that’s because it was just deep down in the earth and it was dark,” says Putland. “The basement and the Witch’s Cap were very cool spaces to be in.” Both, as noted on the Winchester House Tour, are the most active areas of paranormal activity in the house today with many tourists reporting sightings of ghosts.

“That house,” says Putland, “really feels alive.”

22

A GENRE WITH UNFINISHED BUSINESS: THE LOOK OF WINCHESTER

“This spirit has a power we have not seen before... It has found us.” ...Sarah Winchester

Director of Photography Ben Nott ACS marks his fourth collaboration with The Spierig Brothers on WINCHESTER.

Nott and The Spierig brothers believe they can take skeptics on a ride that might convince them otherwise. And it has everything to do with the power of perception, lighting – the whole metamorphosis of the genre’s traits played out before their eyes.

“WINCHESTER has its own unique feel and texture that is delivered by the lavish production design, beautiful costuming, Melbourne’s Victorian Architecture and a simple lighting philosophy that is underpinned by deep blacks that are punctuated by burning highlights and rich colors,” says Nott. “The core creative team have collaborated on several films and hence has a wonderful short hand when it comes to building a cohesive look. In starting our look development, we drew the greatest inspiration from the wonderful eclectic madness that is the Winchester House in San Jose CA.”

There were specific filming choices Nott made: Shooting with Alexi Ari XT on E series anamorphics. “They’re an older series of lens that are a little softer at the edges and, to my taste, fit the palette, the genre and the era in which the film is set. We are rolling two cameras, A and B all the time, with a C that comes and goes. My skill is to coordinate the photography to provide mood that is sympathetic to the narrative but allows the actors the freedom to move through the spaces as they deliver their performances. This film is very much defined by what the audience does not see so I have taken great care with the depth and detail in the shadow area of the frame.”

Shadows, mysteries, diffused light – all hallmarks of shaping terror through the lens of Nott and company.

23 “The hardest thing about doing a film like this is how do you make it scary? To keep it grounded in reality,” informs Peter Spierig. “When you have truth, a real story about a real place and a real person, that makes it really terrifying. Michael and I like to misdirect with scares – where you think it’s going to happen on this beat or at this moment and then it happens later or earlier, or goes in some other direction. That makes it a little scarier. But when the people are real, some part of you has to care and that is what makes it more terrifying. You want them to get out of that situation. You want them to survive.

“But the hope for Michael and I is that the audience experiences a very scary, terrifying, haunted house movie.”

As to whether the brothers believe in ghosts?

“I do believe that there is an energy source in all of us that may float around after we leave our bodies,” concedes Michael.

“I’ve never met a ghost. We’ve never chatted or hung out,” adds Peter. “I can’t say I’ve ever experienced anything. But I know people who have. Maybe it’s real. Maybe not.”

Regardless, one question remains:

If Sarah built the house to confront those vengeful ghosts in life and she died in that house...is history really doomed to repeat itself?

24

ABOUT THE CAST:

HELEN MIRREN (Sarah Winchester) is an Academy Awardwinner (The Queen), a BAFTA Award winner, a Golden Globe winner, a Cannes Film Festival Award winner, a Screen Actors Guild Award winner, a Tony Award winner, an Olivier Award winner and a Dame.

She has amassed an extraordinary number of appearances in film, television and on stage including: An Oscarfor The Queen and three Oscarnominations for The Last Station, Gosford Park and The Madness of King George; 11 Golden Globe nominations and three wins for Best Actress in The Queen (film), Elizabeth 1 (television) and Losing Chase (television); four BAFTA awards for Best Actress – one in film for The Queen and three in television for Prime Suspect, Prime Suspect 2 and Prime Suspect 3 – and seven BAFTA nominations; four Primetime Emmy Award wins – Prime Suspect: The Final Act; Elizabeth I; The Passion of Ayn Rand; Prime Suspect: The Scent of Darkness – plus, six BAFTA nominations; two Cannes Film Festival wins for Best Actress for Neil Jordan’s Cal and The Madness of King George; and three Screen Actors Guild (SAG) Awards for Best Female Actor – Phil Spector, The Queen, and Gosford Park (shared as part of an ensemble cast), plus six SAG nominations to name a few.

For her 2006 portrayal of Queen Elizabeth II in The Queen alone, Mirren received an Academy Award, Golden Globe, Screen Actors Guild (SAG) Award, and BAFTA Award for Best Actress. She was also named Best Actress by virtually every critics organization from Los Angeles to London. In 2014, she was honored with the BAFTA Fellowship for her outstanding career in film.

Helen Mirren was appointed a Dame of the British Empire in 2003 in recognition of her contribution to the arts.

She can be seen in the upcoming films: The Leisure Seeker opposite Donald Sutherland; Lasse Hallström’s upcoming The Nutcracker and The Four Realms and Luc Besson’s Anna M.

Her recent films include: The Fate of the Furious; Collateral Beauty; Eye in the Sky, in which she portrays an army Colonel in a world of drone warfare; Trumbo as Hedda Hopper; Woman in Gold, as Maria Altmann, the Austrian Jewish refugee who fought to reclaim her family’s art that had been stolen by the Nazis in World War II.

25 Her prior films include: Lasse Hallström’s The Hundred-Foot Journey; the HBO biopic Phil Spector, for which she won a SAG Award for her performance and was nominated for an Emmy and a Golden Globe. Additionally, she voiced the character of Dean Hardscrabble in Monster University. For her role as Alma Reville in Hitchcock, she was nominated for a Golden Globe and a SAG Award; the comedies RED and RED 2; John Madden-directed thriller The Debt, in which she plays a Mossad agent; Istvan Szabo’s The Door; Terry George’s Some Mother’s Son, on which she also served as associate producer; Calendar Girls; The Clearing; Shadowboxer; State of Play; The Tempest; and, Brighton Rock.

Mirren began her career in the role of Cleopatra at the National Youth Theatre. She then joined the Royal Shakespeare Company, where she starred in such productions as Troilus and Cressida and Macbeth. In 1972, she joined renowned director Peter Brook’s theatre company and toured the world.

Her film career began with Michael Powell’s Age of Consent, but her breakthrough film role came in 1980 in John Mackenzie’s The Long Good Friday. Over the next 10 years, she starred in a wide range of acclaimed films, including John Boorman’s Excalibur, Neil Jordan’s Irish thriller Cal, for which she won the Best Actress Award at the Cannes Film Festival and an Evening Standard Film Award; Peter Weir’s The Mosquito Coast; and Peter Greenaway’s The Cook, the Thief, His Wife and Her Lover.

She earned her first Oscarnomination for her portrayal of Queen Charlotte in Nicholas Hytner’s The Madness of King George, for which she also won Best Actress honors at the 1994 Cannes Film Festival. Her second Oscarnomination came for her work in Robert Altman’s 2001 film Gosford Park. Her performance as the housekeeper also brought her Golden Globe and BAFTA Award nominations, several critics groups’ awards, and dual SAG Awards, one for Best Supporting Actress and a second as part of the winning ensemble cast. Mirren earned both Oscarand Golden Globe nominations for her performance in The Last Station, playing Sofya Tolstoy.

In television, Mirren starred in the award-winning series Prime Suspect as Detective Chief Inspector Jane Tennison. She had earned an Emmy Award and three BAFTA Awards, as well as numerous award nominations, for her role in early installments of the Prime Suspect series. She won another Emmy Award and earned a Golden Globe nomination when she reprised the role of Detective Jane Tennison in 2006’s Prime Suspect 7: The Final Act, the last installment in the PBS series. Mirren was also honored for her performance as Queen Elizabeth I in the HBO miniseries Elizabeth I, winning an Emmy Award, a Golden Globe and a SAG Award. For her performance in the biopic Phil Spector, she won a SAG Award and was nominated for an Emmy and a Golden Globe.

26 Her long list of television credits include: Losing Chase; The Passion of Ayn Rand; Door to Door; and The Roman Spring of Mrs. Stone, which earned Golden Globe, Emmy and SAG Award nominations and awards.

On stage, in 2015 Mirren reprised her role as Queen Elizabeth II on Broadway in Stephen Daldry’s The Audience, for which she won the 2015 Tony Award for Best Performance by an Actress in a Leading Role. In 2013, she debuted her stage role of Elizabeth II in The Audience in London’s West End, for which she received the Olivier Award for Best Actress.

A prolific stage thespian, Mirren has worked extensively in the theatre from the RSC to Broadway. She received an Olivier Award nomination for Best Actress for her performance in Mourning Becomes Electra at London’s National Theatre. In 2009, Mirren returned to the National Theatre to star in the title role in Phèdre, directed by Sir Nicholas Hytner.

JASON CLARKE (Dr. Eric Price), known for his unforgettable roles in critically acclaimed independent and blockbuster films, first captured the American audiences’ attention with the Showtime drama series Brotherhood in his role as the Rhode Island politician Tommy Caffee navigating the treacherous worlds of local politics and organized crime.

But it was the Australian thespian’s performance as Dan in Director Kathryn Bigelow’s Oscar® contender Zero Dark Thirty that pivoted him asone of the most respected talents working in film today. For that memorable role, the Chicago Film Critics Association nominated him for Best Supporting Actor.

Clarke can be seen in the upcoming period drama The Aftermath, opposite Keira Knightley and Alexander Skarsgård, Serenity opposite Matthew McConaughey and Anne Hathaway, and Damien Chazelle’s First Man opposite Ryan Gosling about the life of Astronaut Neil Armstrong and the legendary space mission that led him to become the first man to walk on the Moon. He will also be seen as U.S. Senator Ted Kennedy in Chappaquiddick, examining the fatal car accident in 1969 that claimed the life of a young campaign strategist and the effect it had on Kennedy’s political career.

Part of the ensemble cast of Dee Rees’ period drama Mudbound, opposite Carey Mulligan and Garrett Hedlund, Clarke shared a New York Film Festival Gotham Jury Award for Ensemble Performance, the Film Independent Spirit Awards’ Robert Altman Award, and the Breakout Ensemble Award at the Hollywood Film Awards. Mudbound premiered at the 2017 Sundance Film Festival and screened at the Toronto Film Festival, London Film Festival and New York Film Festival.

27 He recently appeared in Marc Forster’s All I See Is You, opposite Blake Lively.

Clarke also starred in such films as Baltasar Kormákur’s Everest, based on the true story of the tragic 1996 Mount Everest disaster, and Terminator: Genisys opposite Arnold Schwarzenegger.

Other film credits include: the sci-fi sequel blockbuster Dawn of the Planet of the Apes, with Gary Oldman and Keri Russell; Terrence Malick’s Knight of Cups, with Christian Bale, Cate Blanchett, and Natalie Portman; Baz Luhrmann’s adaptation of F. Scott Fitzgerald’s classic novel The Great Gatsby, co-starring Leonardo DiCaprio, Tobey Maguire and Carey Mulligan; Roland Emmerich’s White House Down; John Hillcoat’s period drama Lawless, with Tom Hardy, Guy Pearce and Jessica Chastain; Michael Mann’s Public Enemies with Johnny Depp; Victoria Mahoney’s Yelling to the Sky; Jada Pinkett Smith’s directorial debut The Human Contract; David Schwimmer’s Trust, co-starring Clive Owen and Catherine Keener; Paul Anderson’s Death Race; Daniel Espinosa’s adaptation of the critically acclaimed Tom Rob Smith novel Child 44; Texas Killing Fields, which premiered at the 2011 Venice Film Festival; and, The Better Angels, a drama co-starring Brit Marling and Diane Kruger, about Abraham Lincoln as a young child in which Clarke plays his father that premiered at the 2014 Sundance Film Festival.

In Australia, the Queensland native also starred in a supporting role in Phillip Noyce’s Rabbit Proof Fence as well as a role in Better than Sex.

His television credits include: the lead role in Fox’ cop drama The Chicago Code; and Mercury opposite Geoffrey Rush.

Clarke has extensive theater credits as an actor and director.

He graduated from the Victorian College of the Arts in Melbourne.

SARAH SNOOK (Marion) reteams with The Spierig Brothers in WINCHESTER for a second collaboration following their hit film Predestination, a performance that brought her the Australian Academy of Cinema and Television Arts (AACTA) and Film Critics Circle of Australia (FCCA) Best Actress Awards.

28 She received an AACTA Award for Best Lead Actress in a Television Drama for the ABC (Australian Broadcasting Corporation) series Sisters of War and was nominated for an AACTA Award for Best Lead Actress in a Feature Film for Not Suitable for Children, a role that also brought her an FCCA Award for Best Actress. Snook also received the Graham Kennedy Most Outstanding New Talent TV Week Logie Award for her performance in Sisters of War. She also received nominations for the AACTA Award for Best Lead Actress in a Television Drama and Logie Award for Best Outstanding Actress for her role in The Beautiful Lie.

Snook was the runner up for the prestigious Australians In Film Heath Ledger Scholarship in 2011.

She recently appeared in The Glass Castle with Brie Larson and Woody Harrelson. Her other film credits include: Neil Armfield’s Holding The Man, co-starring Guy Pearce, Anthony Lapaglia, which closed the 2015 Sydney Film Festival; Jocelyn Moorehouse’s The Dressmaker with Kate Winslet, Judy Davis and Liam Hemsworth, which screened at the Toronto and Melbourne International Film Festivals; Danny Boyle’s Steve Jobs; Sleeping Beauty; These Final Hours; Oddball.

She is currently shooting the HBO drama series Succession with Brian Cox and Kieran Culkin.

Her television credits include: The Secret River with her WINCHESTER co-star Finn Scicluna-O’Prey; The Moody’s; Redfern Now; Spirited Series 2; Blood Brother; Packed to the Rafters; My Place; and All Saints.

Her theatre credits include: King Lear for the South Australian Theatre Company and three productions for the Griffin Theatre Company: Lovely/Ugly: Transformer, Crestfall and S27.

In 2015, Snook returned to the stage for Henrik Ibsen’s The Master Builder opposite Ralph Fiennes at London’s Old Vic Theatre.

EAMON FARREN (Ben Block) is known for his haunting performances, playing complicated characters in film, television and theatre.

Most recently, Farren worked with David Lynch on his celebrated television series Twin Peaks. Playing the villainous role of Richard Horne, Farren performed alongside Kyle McLaughlin who reprised his role from the original, cult classic series.

29 Prior to this, for his highly acclaimed role as Ava in Samantha Lang’s Carlotta, Farren received the 2015 Australian Academy of Cinema and Television Arts (AACTA) Award as Best Supporting Actor in a Television Drama. Among his other television credits: Steven Spielberg’s The Pacific; Samantha Lang’s hit series The Killing Field.

In film, Farren’s recent roles include his performance as Adam in Girl Asleep, the feature film debut of renowned theatre director Rosemary Myers.

His other film credits include: Kriv Stenders’ Lucky Country, as Jimmy; Ana Kokkinos’ Blessed, in the role of Roo; as Dave in Red Dog; Jennifer Lynch’s Chained, as the lead character Rabbit; as Harry in Jon Hewitt’s thriller X: Night of Vengeance; John Duigan’s Careless Love; Jim Lounsbury’s Love Is Now, as Dean.

On stage, Farren recently made his Broadway debut in John Crowley’s The Present. He has worked for the leading Australian theatre companies, appearing in productions for Sydney Theatre Company, Belvoir Theatre Company, Windmill Theatre Company and Griffin Theatre Company.

Farren graduated from the National Institute of Dramatic Art (NIDA) in 2007.

ANGUS SAMPSON (Foreman John Hansen), a versatile actor in all mediums who also writes, produces and directs, is a two-time Golden Globe nominee for his stellar performances in both television and film. He was nominated for his role as Bear Gearhardt in Fargo Best Limited Series or Motion Picture Made for TV and, as The Organic Mechanic in George Miller’s Oscarcontender Mad Max: Fury Road.

The Australian native received two nominations for Best Supporting Actor by the Australian Academy of Cinema and Television Arts (AACTA) for Kokoda and 100 Bloody Acres. He also received two nominations from the Australian Film Critics’ Awards (AFCA) for best supporting actor in 100 Bloody Acres and as Best Actor in The Mule, which he co-wrote, directed and produced. The internationally recognized film co-starred Hugo Weaving. He shared a Narrative Spotlight nomination with Tony Mahony for the SXSW (South by Southwest Film Festival) Audience Award.

Sampson has appeared in 55 feature films, shorts, television series and mini-series in addition to theatre productions. His film credits include: James Wan’s Insidious; Insidious: Chapter Two; Insidious: Chapter Three; Spike Jonze’s Where the Wild Things Are; Zach Snyder’s Legend of The Guardians: The Owls Of Ga’Hoole.

30 Among his television credits: Shut Eye; Spirit; Party Tricks; Paper Giants: Magazine Wars; and Thank God, You’re Here.

This year Hulu is releasing the hit TriStar Television series Shut Eye created by Leslie Bohem. In addition to WINCHESTER, Sampson can be seen in Adam Robitel’s upcoming Insidious: The Last Chapter and Brandon Camp’s Benji.

FINN SCICLUNA-O’PREY (Henry) reteams with co-star Sarah Snook in WINCHESTER, again playing her son.

The first time the two collaborated was in the ABC (Australian Broadcasting Corporation) miniseries The Secret River, in which he played her son Dickie.

The young thespian has also appeared in ABC’s Rosehaven as Tyler and Channel 9’s True Story as Ricky.

He also creates his own short films, which can be seen on YouTube.

TYLER COPPIN (Arthur Gates) returned for a second teaming with The Spierig Brothers on WINCHESTER as lawyer Arthur Gates after his previous turn in the Spierig’s sci-fi thriller Predestination as Dr. Heinlein, opposite co-star Ethan Hawke.

Coppin, an actor of film, television and theater and, a writer, has amassed 30 film and television credits alone. One of his earliest, unforgettable roles was the screaming “Defiant Victim” in George Miller’s Mad Max 2: The Road Warrior. His character was shackled to the front of King Humungus’s automobile and driven at a high speed through the Australian outback.

Among his film credits: Academy Award® nominee Hacksaw Ridge; The Death and Life of Otto Bloom; Dark City, Race the Sun, and The Boxer and the Bombshell (also known as The Tender Hook).

His television credits include: Nightmares & Dreamscapes: From the Stories of Stephen King; Peter Benchley’s The Beast; and Farscape.

31 In Australia, Coppin is also known for his award-winning performances in plays, operas and musicals, including ‘Puck’ in Baz Luhrmann’s production of A Midsummer Night’s Dream for Opera Australia and the Edinburgh Festival.

As a writer, his critically acclaimed solo play LyreBird, about legendary dancer/actor Robert Helpmann, toured internationally and won a Scotsman Fringe First Award at the Edinburgh Fringe.

A native of Sacramento, after attending California State University and being involved in Sacramento theatre Coppin migrated to Australia to attend Sydney’s prestigious National Institute of Dramatic Art, known for such alumni as Cate Blanchett, Mel Gibson, Judy Davis, and Toni Collette.

LAURA BRENT (Ruby) In 2010 Laura made her international feature film debut starring as Liliandil in The Chronicles of Narnia: The Voyage of The Dawn Treader alongside Liam Neeson and Tilda Swinton. Following this breakout role, Laura went on to star in romantic comedy A Few Best Men with Rebel Wilson and Olivia Newton-John, followed by the award winning Australian drama Healing with Hugo Weaving and Xavier Samuel. Most recently Laura has completed filming on feature film WINCHESTER starring Helen Mirren, which is scheduled for release in 2018.

Laura has also appeared in many critically acclaimed television series. In 2014, she played Beth Farris in the Channel 7 mini-series Inxs: Never Tear Us Apart and in the same year played Sister Elsie Cook in the celebrated ABC war drama Anzac Girls. It was these performances that saw her nominated for the 2015 Logie Award for Most Popular New Talent. Following these productions Laura played Dr. Crick in Foxtel series Secret City alongside Anna Torv, Jacki Weaver and Dan Wyllie. In this series Laura was able to utilize her ability to speak Mandarin.

Laura’s other television credits include the lead role in American CW pilot Transylvania; appearances in Australian dramas Wild Boys and Rescue: Special Ops; and a recurring role in the U.S. Disney series Legend Of The Seeker. As well as film and television, Laura’s work in theatre has included the role of Marianne in Tartuffe at Malthouse Theatre (2008), Ophelia in Bell Shakespeare’s production of Hamlet (2008), and the role of Clair in Dealing With Clair at SBW Stables Theatre (2009).

Laura graduated from the National Institute of Dramatic Art (NIDA) in 2007.

32

ABOUT THE FILMMAKERS:

THE SPIERIG BROTHERS (Co-Writers/Co-Directors) are identical twins Michael and Peter Spierig, German-born Australian film directors, writers and producers who have shared prestigious nominations and awards for their collaborative work.

Their critically acclaimed sci-fi thriller Predestination, based on Robert A. Heinlein’s short story “All You Zombies”, was nominated for nine Australian Academy of Cinema and Television Arts (AACTA) Awards, including Best Director and Best Adapted Screenplay for the brothers who wrote and directed the film, starring Academy Awardnominee Ethan Hawke. The film also won four AACTA Awards including Best Actress for Sarah Snook, who stars in WINCHESTER. The Spierig Brothers won the Toronto After Dark Film Festival Special Award for Best Sci-Fi Film and Best Screenplay for Predestination, which also took a second place Audience Award for Best Feature Film. And, they were the recipients of the Australian Writer’s Guild John Hinde Award for Best Science Fiction Screenwriting and were nominated by the Australian Film Critics Association (AFCA) for Best Director and Best Adapted Screenplay.

WINCHESTER is the second collaboration for The Brothers with so many of the filmmakers who also worked on Predestination, including Producer Tim McGahan, Executive Producer Michael Burton, Cinematographer Ben Nott, Costume Designer Wendy Cork and Editor Matt Villa. For Production Designer Matthew Putland, WINCHESTER is the third time he has teamed with the Spierigs, having worked on Predestination and Undead.

Their 2003 feature debut, the low-budget zombie horror-comedy Undead financed by pooling their life savings, received the Fipresci Award by the International Federation of Film Critics at the Melbourne International Film Festival. The film was screened at 17 film festivals including Edinburgh, Montreal, Toronto, Sitges, Berlin, Amsterdam and Puchon and was sold to 41 countries. It was released in the U.S. and Canada by Lionsgate Films. The company developed a close relationship with The Spierigs releasing their second film Daybreakers, which opened in 2,500 theatres across the U.S. That 2010 vampire thriller, also starring Hawke, Willem Dafoe and Sam Neill, garnered an Australian Film Institute (AFI) Visual Effects Award for the brothers, shared with Rangi Sutton, James Rogers and Randy Vellacott and, a nomination for the Macquarie AFI Award for Best Original Screenplay. WINCHESTER is The Spierig Brothers’ fourth collaboration with Lionsgate.

33 They co-directed Jigsaw, the eighth instalment of the lucrative SAW franchise, recently released by Lionsgate. The franchise conceptualised by fellow Australian Directors James Wan and Leigh Whannel was an opportunity for the Brothers to visit the horror genre again. To date the film has grossed over 100 million dollars worldwide in its theatrical release.

TOM VAUGHAN (Co-Writer), who has written for both stage and screen, made his directorial debut on Playing House, which he also wrote.

He wrote the 2004 action thriller Unstoppable starring Wesley Snipes. On the small screen, Vaughan penned the NBC movie Critical Assembly starring Katherine Heigl.

He began his entertainment career in theatre in Houston, Texas before venturing into screenplays.

Vaughan studied at the University of Houston with Broadway legend Jose Quintero and three-time Pulitzer Prize winner Edward Albee.

TIM McGAHAN (Producer) marks his second collaboration with The Spierig Brothers on WINCHESTER, having produced their previous film Predestination starring Academy Awardnominee Ethan Hawke and Sarah Snook, who also stars as Marion in WINCHESTER.

The Australian native has enjoyed a multi-faceted career in the entertainment industry. He began his career as a highly regarded and award-winning Cinematographer, becoming the youngest ever Australian Cinematographer to be accredited by the Australian Cinematographers Society (ACS).

McGahan has produced feature films, television series, commercials and digital content. He is also involved with equipment rentals and service supply for the film and television industry.

Today, he is credited with producing and executive producing more than 500 television commercials and music videos and in excess of 44 hours of broadcast television, establishing himself as one of Australia’s most prolific film and television industry leaders.

McGahan started his first business at age 16. The long-term owner of a diverse group of companies, today McGahan’s primary focus is on the world renowned Blacklab Group of Companies, which is highly regarded for its quality, award-winning content.

34 BRETT TOMBERLIN (Producer), the Co-Founder and President of Production/Acquisitions of the Orange County-based Imagination Design Works (IDW), marks his debut as a feature film producer on WINCHESTER.

In addition to IDW, Tomberlin has been a successful producer, director, and studio executive on stage, screen, theme parks and special events productions over the past 15 years.

Aside from WINCHESTER, he is also producing an upcoming Untitled Queen Mary film set on the historic RMS Queen Mary ocean liner in Long Beach, Ca.

Tomberlin is currently in development on an untitled basketball drama with Showtime Networks, Los Angeles Lakers executives Jeanie Buss, Kurt and Linda Rambis and, Coach Phil Jackson. He is also producing a Showtime Lakers documentary with Haven Entertainment about the basketball franchise in the 80’s and its legendary owner Dr. Jerry Buss.

He is executive producing the children’s series Wrestlevania with DHX Media, a global content and brands company.

His stage and special events executive producer credits include: ASIFA Hollywood’s 33rd Annual Annie Awards; An Evening with George Costanza (Jason Alexander); Late Night; Laughs; Leno; and Fright Nights, a nationally-rated Halloween special event.

He began his entertainment career as a production coordinator with The Tonight Show and legendary television director Andy Ackerman (Cheers, Wings, Seinfeld, The New Adventures of Old Christine).

Tomberlin graduated from Santa Clara University with a bachelors’ degree in Commerce and Business, majoring in marketing with emphasis on Operation Management and Information Systems.

DANIEL DIAMOND (Executive Producer) is a producer and Motion Picture executive with over 30 years of experience in the film industry.

He and WINCHESTER Executive Producer Benedict Carver are partners in Eclipse Pictures, a sales and financing entity formed in 2016. WINCHESTER is Eclipse’s first film. Prior to WINCHESTER, the film’s executive producers previously teamed on the martial arts fantasy thriller Tekken and the prison comedy Big Stan, starring Rob Schneider and David Carradine.

35 In 2016, Diamond produced Garry Marshall’s romantic comedy Mother’s Day starring Julia Roberts, Jennifer Aniston, Kate Hudson and Jason Sudeikis. The film centers on a group of people who appear to be unconnected and are attempting to come to terms with their maternal relationships as Mother’s Day draws near.

Diamond’s other producing and executive producing credits include: Jackie Earle Haley’s crime thriller Criminal Activities, starring John Travolta; Bob Gale’s metaphysical road movie Interstate 60, starring James Marsden, Gary Oldman, and Kurt Russell; and, the psychological thriller I Love Your Work starring Giovanni Ribisi, Christina Ricci and Vince Vaughan.

He also executive produced Henry Bean’s drama The Believer starring Ryan Gosling, which won the 2001 Sundance Film Festival Grand Jury Prize and the 23rd International Moscow Film Festival’s Golden St. George Award.

BENEDICT CARVER (Executive Producer) and his Eclipse Pictures’ Partner Daniel Diamond, also an Executive Producer on WINCHESTER, formed the sales and financing entity in 2016. WINCHESTER is Eclipse’s first film to produce and co-finance.

Prior to the founding of Eclipse and WINCHESTER, the two producers previously teamed on Big Stan, a prison comedy starring Rob Schneider and David Carradine. Eclipse will finance and produce Louis Leterrier’s upcoming thriller Alex, its second feature following WINCHESTER.

In addition to being a producer/financier with Eclipse Pictures, he is also the principal of film consultancy/producer Bullitt Entertainment, Inc.

He is executive producing the upcoming Netflix comedy Nappily Ever After and will produce Dan Mazer’s teen comedy Anya’s Ghost, financed by Entertainment One Features (eOne) where Carver formerly worked as a senior vice president of production between 2010 and 2016. At eOne, he oversaw production of What If, the romantic comedy starring Daniel Radcliffe and executive produced David Cronenberg’s Maps to The Stars, which garnered Julianne Moore a Golden Globe nomination and 2014 Cannes Film Festival Award for Best Actress.

In 2014, Carver executive produced and supervised eOne’s thriller Eye in the Sky, directed by Gavin Hood, starring WINCHESTER’s Helen Mirren and Alan Rickman. Indeed, it was the successful casting of Helen Mirren in Eye in The Sky that enabled him to reach out to her for WINCHESTER. He also oversaw the acquisition of Captain Fantastic and Trumbo for eOne.

36 From 1999 to 2005, Carver was a senior vice president of acquisitions and co-productions for Screen Gems, Sony Pictures’ genre division. In 2005, Carver left Screen Gems to become a producer. His first project was the comedy London, starring Jason Stathem and Chris Evans. He followed that with Neil Marshall’s post-apocalyptic thriller Doomsday for Universal Pictures.

During his stint at Screen Gems he was responsible for acquiring and overseeing the launch of the Resident Evil and Underworld franchises. Other notable acquisitions included: Hostel, Silent Hill, Girlfight, the Oscar-nominated El Crimen del Padre and the Golden Globe-nominated The Squid and The Whale.

Prior to Screen Gems, he was a film reporter for the entertainment industry trade newspaper Variety.

Born in the United Kingdom, Carver graduated from Edinburgh University with Masters of Arts degrees in Spanish and politics.

MICHAEL BURTON (Executive Producer) has held a critical leadership role in Cutting Edge Group’s trajectory as one of the leading post-production and visual effects companies in Australia and Asia.

For the past two decades, he has been a director for the company launched in 1992. With more than 25 years in media and entertainment experience, the Brisbane-based Burton has been involved in network news, sports, international feature films and television drama productions. His roles have encompassed technical leadership, creative producing, executive producing and business leadership.

Known for its exceptional capabilities, Cutting Edge Group is an international post-production facility that creates digital visual effects and computer animation for feature films, television commercials, music videos and episodic television and has won numerous advertising and visual effects awards for creativity.

The company’s Brisbane and Sydney facilities have fully digital HD, 2K and 4K capabilities from Telecine to Color Grading, Visual Effects and 3D as well as dedicated sound facilities for recording voice-overs, sound design, effects and sound composition. It also has offices in Gold Coast, Melbourne and Tokyo.

Cutting Edge Group has been involved with such films as: Australia; Beneath Hill 60; Wolverine; Superman Returns; Peter Pan; and, White Countess (China).

37 Its work also can be seen in television advertising campaigns for Coke, McDonalds, KFC, Sega Games, Hyundai, BMW, Toyota, Holden, Steinlarger, Tooheys and Strongbow.

BEN NOTT ACS (Director of Photography), one of Australia’s leading Cinematographers, has collaborated with The Spierig Brothers on four films.

Aside from WINCHESTER, Nott is lensing Peter and Michael Spierig’s upcoming Jigsaw, the eighth instalment of the Saw horror franchise. He also teamed with the brothers on their previous films Predestination and Daybreakers.

Nott has won numerous prestigious awards for his outstanding work. For Presentation, he received the Australian Academy of Cinema and Television Arts (AACTA) Award for Best Cinematography and the Australian Cinematographers Society (ACS) Award of Distinction. He won the ACS Cinematographer of the Year Award three times for Tomorrow, When the War Began; The Company and Salem’s Lot. He received the ACS Golden Tripod Feature Productions Cinema Award for Tomorrow, When the War Began. For The Company and Salem’s Lot, he received the ACS Golden Tripod Telefeatures, TV Drama and Mini Series Award. He won the American Society of Cinematographers (ASC) Award for Outstanding Achievement in Cinematography in Television Movie/Mini-Series/Pilot for The Company and was nominated for that award with Salem’s Lot. And, he was nominated for a Primetime Emmy Award for Outstanding Cinematography for a Miniseries or Movie for The Company.

Other film credits also include: The Lovers and Heatstroke.

Among his television credits: Sisters of War; Nightmares & Dreamscapes; The Stories of Stephen King; and Ridley Scott’s miniseries Coma.

MATTHEW PUTLAND (Production Designer) marks his fourth collaboration with the Spierig Brothers on WINCHESTER, recreating elements of the historic landmark Winchester Mystery House in San Jose, Ca. on film sets in Melbourne, Australia.

Putland has also collaborated with the Brothers’ on Predestination and Undead as production designer and on Daybreakers as set decorator.

38 For his work on the sci-fi thriller Predestination, Putland received three Best Production Design Awards from the Australian Academy of Cinema and Television Arts (AACTA), the Production Design Guild of Australia and the Film Critics Circle of Australia (FCCA). He also received two nominations for Best Production Design – from the AACTA for Goldstone and the FCCA for Mystery Road.

His film credits include: Ivan Sen’s outback noir Mystery Road, starring Aaron Pedersen and Hugo Weaving and outback thriller Goldstone; Scooby Doo; The Chronicles of Narnia: Voyage of The Dawn Treader; San Andreas; Kriv Stenders’ race relations drama Australia Day; and Greg McLean’s Jungle based on the true story of Yossi Ghinsburg’s harrowing adventure into the Amazon jungle.

His work can also be seen in the crime series Harrow, the first international TV (Disney) ABC Studios International, Australia’s Hoodlum Entertainment, ABC (Australian Broadcasting Corporation) and Screen Queensland production and, the upcoming crime drama Tidelands, Netflix’s first Australian original commission.

In addition to film, Putland has imprinted his distinct visual style on commercials and television series for the past two decades.

He received his Bachelor of Visual Arts (Film & Television) degree from the Queensland College of Arts.

WENDY CORK (Costume Designer) was nominated for Best Costume Design by the Australian Academy of Cinema and Television Acts Awards (AACTA) the last time she teamed with The Spierig Brothers for the hit sci-fi thriller Predestination.

She was awarded Best Costume Design for the film by the Australian Production Design Guild (APDG).

The Australian Film Institute also nominated her for Best Costume Design for the 2010 WWI drama Beneath Hill 60, starring Bella Heathcote and Brendan Cowell.

She recently designed the costumes for Director Bruce Beresford’s upcoming Ladies in Black and will reteam with the Australian director on the opera, Rossini’s Otello. Her work can be seen in Secret City Season 2 for Matchbox, currently in production and set for release in mid-2018.

39 Having designed costumes and wardrobes for more than 40 film and television productions, her credits include: the UK mini-series Indian Summers, starring Julie Walters, a drama set in India in the last days of the British Raj; the series Banished, a Jimmy McGovern drama about the First Fleet’s arrival at Sydney Cove starring David Wenham, Russell Tovey and Ryan Corr; The Olivia Newton John Story biopic; INXS – Never Tear Us Apart; The Mystery Of a Hansom Cab; The Turning; The Eternity Man; In the Winter Dark; and, The Illustrated Family Doctor to name a few.

She also designed costumes for the successful Rockstar Play-station game LA NOIRE.

Cork graduated from both the University of New South Wales and East Sydney Technical College. She began her career in the costume department at Opera Australia.

MATT VILLA, ASE (Editor) has teamed with The Spierig Brothers for a third time on WINCHESTER.

His previous collaboration on their sci-fi thriller Predestination, garnered Villa Best Editing Awards from the Australian Academy of Cinema and Television Arts (AACTA) and Film Critics Circle of Australia (FCCA). He also edited their film Daybreakers.

Villa has also worked repeatedly with Director Baz Luhrmann. For his work on Luhrmann’s screen adaptation of F. Scott Fitzgerald’s classic The Great Gatsby he again received two Best Editing Awards from AACTA and FCCA and a nomination from the Australian Screen Editors (ASE) Guild Avid Award for Best Editing on A Feature Film. He also collaborated on Luhrman’s Moulin Rouge! and Australia, receiving a second ASE Avid Award for Best Editing on A Feature Film nomination for his editing work on Australia.

In addition, Villa received the AACTA Best Editing Award and a FCCA nomination for Best Editing for Russell Crowe’s The Water Diviner.

For his editing on The Lego Batman Movie, he was also nominated for an Annie Award for Outstanding Achievement in Editorial in an Animated Feature Production.

For two decades Villa has amassed nearly 30 feature film and television credits as an Editor, Assistant Editor and Associate Editor on films.

Other film credits include: A Heartbeat Away; The Final Winter; and the animated features Happy Feet, Happy Feet 2 and Legend of The Guardians: The Owls of Ga’Hoole.

40 LEIGH PICKFORD (Casting) has reteamed with The Spierig Brothers on WINCHESTER, previously casting talent for the co-writer/co-directors’ critically praised sci-fi thriller Predestination, starring Ethan Hawke and WINCHESTER co-star Sarah Snook.

Considered one of the most respected and sought-after casting directors in Australia, Pickford has cast more than 40 film and television productions. Among his credits: Hotel Mumbai with Dev Patel and Armie Hammer: Ben Elton’s Three Summers; and, a Netflix Original series entitled Pine Gap.

The London native began pursuing his career as a Casting Director after emigrating to Australia in 2004, intrigued by the challenge of finding and shaping a cast to represent a cinematic story.

He actually began his career in the industry working with two-time Palme D’Or winning director Ken Loach and became part of the founding team of Loach’s production company Sixteen Films. He spent four and a half years working on a variety of productions for Sixteen Films.

Pickford received his Bachelor of Arts degree in Film and Media Studies at Middlesex University in London.

41 END TITLES:

Directed by THE SPIERIG BROTHERS

Written by TOM VAUGHAN and THE SPIERIG BROTHERS

Produced by TIM McGAHAN

Produced by BRETT TOMBERLIN

Executive Producers BENEDICT CARVER DANIEL DIAMOND

Executive Producer TOBIN ARMBRUST

Executive Producers ANDY TRAPANI BRIAN GILBERT Executive Producers MICHAEL BURTON BRYCE MENZIES MARC SCHIPPER SIMON OAKES ANTONIA LIANOS

Director of Photography BEN NOTT ACS

Production Designer MATTHEW PUTLAND

Film Editor MATT VILLA ASE

Costume Designer WENDY CORK

Special Makeup Effects Designer STEVE BOYLE

42 Music by PETER SPIERIG

Casting by MAURA FAY CASTING, LEIGH PICKFORD

HELEN MIRREN JASON CLARKE SARAH SNOOK

CBS Films Presents In Association with Eclipse Pictures A Screen Australia Presentation In Association with Screen Queensland and Film Victoria A BLACKLAB ENTERTAINMENT PRODUCTION AN IMAGINATION DESIGN WORKS PRODUCTION A Film By THE SPIERIG BROTHERS

43 CAST: IN ORDER OF APPEARANCE

Sarah Winchester HELEN MIRREN Marion Marriott SARAH SNOOK Henry Marriott FINN SCICLUNA-O’PREY Dr. Eric Price JASON CLARKE Nancy EMM WISEMAN Partially Dressed Lady #1 ALANA FAGAN Partially Dressed Lady #2 REBECCA MAKAR Arthur Gates TYLER COPPIN Frank MICHAEL CARMAN John Hansen ANGUS SAMPSON Clara ALICE CHASTON Ben Block EAMON FARREN Ruby Price LAURA BRENT Farmer Amputee ADAM BOWES Augustine BRUCE SPENCE Native American Child PHOENIX SUHROU-DIMARCO Carpenter # 1 JAYDEN IRVING Carpenter # 2 ROSCO CAMPBELL Carpenter # 3 PUVEN PATHER Wiry Carpenter TOM HEATH Harry Block CURTIS BOCK James Block ANDY de LORE Innocent Man # 1 GRAHAM JAHNE Innocent Man # 2 HAYDEN STEWART Innocent Man # 3 CHRIS ANDERSON Innocent Woman LAURA SUTTON

44 Police Officer #1 ROBERT SHOOK Police Officer # 2 RICHARD ANASTASIOS Police Officer # 3 WILL JONES Police Officer # 4 LUKE DAVID MAIZEY Police Officer # 5 JAMES BALDWIN Police Officer # 6 NEIL SOLOMANO Slave Ghost AMOS CIZA Chief Little Fawn RED HORSE RIVERA Ghost # 1 TIMOTHY BROWN Ghost # 2 – Farmer KYM LANNIN Ghost # 3 – Union Soldier CHRISTIAN RHODES-WOLFE Ghost # 4 – Sheriff ALBERT TRAJSTMAN Ghost # 5 – Police Officer XAVIER GERARD LUDOVIC GOUAULT Ghost # 6 – Confederate Soldier GAWI DENG Ghost # 7 – Rail Worker RYUHEI TSUKAMOTO Ghost # 8 – Cowboy SHANE HOLLOWAY Ghost # 9 – Sheriff MICHAEL BOYD Ghost # 10 – Mexican Woman ELISA ABASCAL Ghost # 11 – Cotton Picker AKOSUA SABET Ghost # 12 – 1895 Wealthy Lady STEPHANIE BEALL Ghost # 13 – Prostitute CLANCY FRASER Ghost # 14 – Farmer’s Wife CHRIS HOMA Ghost # 15 – Maid ROSE JUAN

Stunt Coordinator CHRIS ANDERSON Assistant Stunt Coordinator PUVEN PATHER Head Stunt Rigger GRANT FLETCHER Stunt Rigger WARWICK SADLER

45 Stunt Assistants LINCOLN BARROS MIKE SNOW

SHARELLE STARR

Additional Stunt Supervisor JIMMY CHRISTIANSEN Additional Stunt Assistants RICHARD ANASTASIOS PHILLI ANDERSON

CHRIS PACE

Stunt Performers RICHARD ANASTASIOS CHRIS ANDERSON

PHILLI ANDERSON

ROSCO CAMPBELL

ADAM HOWELL

JAYDEN IRVING

GRAHAM JAHNE

WILL JONES

DAVE MONDON

CHRIS PACE

PUVEN PATHER

ROBERT SHOOK

HAYDEN STEWART

LAURA SUTTON

Animal Wranglers CODY RAWSON-HARRIS GAVIN ROBSON Sarah Stand In GILLIAN SAMUEL Eric Stand In GREGORY LE DU Stand Ins PETER G. LUCAS JO PAYDON

TANYA RICH

46 CREW:

Line Producer YVONNE COLLINS Production Manager ANGELIQUE BADENOCH 1st Assistant Director JAMIE LESLIE Art Director JANIE PARKER Additional Editing by JEFF BETANCOURT 2nd Assistant Director ANGELLA McPHERSON Script Supervisor CARMEL TORCASIO

Production Coordinator CHRISTINE HUTCHINS Assistant Production Coordinator HYLTON SHAW Production Secretary RICHARD HELDER Producer’s Assistant MEL SAWYER Production Assistant CLARE HOLLINS Additional Production Manager TINEKA WILLIAMS Additional Production Assistant GENE CORSER Production Runner GEORGIA MUNRO Director’s Assistant BEC PENISTON-BIRD Ms. Mirren’s Assistant ELLA BARTON Ms. Mirren’s Driver HANS VAN BEUGE Mr. Clarke’s Driver PHIL WATT

Production Accountant KATE MURPHY Assistant Accountant ALICE GREENWOOD Accounts Assistant KACY MAGEDMAN Blacklab Entertainment Accounts SARAH BOYER

47 3rd Assistant Director DAVID YOUNG Additional Assistant Directors TODD EMBLING WENDY GREGORY-WALKER

KARA MASTERS

SHAYLA GIRDLER Extras Casting CLARE CHAPMAN

A’ Camera/Steadicam Operator DAN MAXWELL Additional Camera Operators DARRIN KEOUGH GREG HARRINGTON

JAMES TODD

GEOFF OWEN 1st Assistant ‘A’ Camera ANDREW JERRAM 1st Assistant ‘B’ Camera CHRIS CHILD 2nd Assistant ‘A’ Camera SAM NEWMAN 2nd Assistant ‘B’ Camera JONATHAN HAYNES Additional 1st Assistant Camera KEVIN CAMPBELL CAMERON GAZE

KITTY ALLWOOD

MURRAY WATT

JASON BINNIE

DUNCAN SCOTT

MICHELLE MARCHANT

48 Additional 2nd Assistant Camera CORYDON ANDERSON BRADLEY ANDREW

JACKSON FINTER

CHAYLON FRASER

ELLERY RYAN JNR

FELICIA SMITH

MARK DESIATOV

EMILY SHAW

Data Wrangler LUKAS DAVIDSON Video Split Operator EDMUND NG Video Split Assistant BEN FYFIELD Camera Department Volunteer SRINI MADHAVAN Additional Data Wrangler JULIAN LAWRENCE Additional Video Assist Operator ZEB SIMPSON

Sound Recordist GRETCHEN THORNBURN Boom Operators CAM EASON HELEN McGRATH Additional Sound Recordist ANDREW RAMAGE

Key Grip TONY HALL Dolly Grip A STEVE WELLS Dolly Grip B DAVID ‘RUSTY’ LECKONBY Grip Assistant DAN PUODZIUNAS Rigging Grips BLAIR WALKER DAIFYDD ‘DAFF’ HUMPHRIES

SEBASTIEN DEVEZE

49 Additional Grips DEAN GARRO JESSE

MOYES SEAN

ASTON

MICHAEL BESPALOV

DAVID BOURKE

HUCKLE CLEARY

JUAN GONZALEZ LOBO

JASON HANSFORD

MATTHEW WELLS

JAKE HILL

JARID VAN HUMBECK Additional Rigging Grips MARK BRADFORD CHERYL PRATT

Gaffer MATTHEW SLATTERY Best Boy Electrics BRENDAN MADDEN Board Operator ANDY MUTTON Generator Operator NICK SOWTER Electrics BEAU SELWOOD Rigging Gaffer CLINTON ROCHE Rigging Electrics SCOTT ROGERS Additional Electrics CHRIS MITCHELL ROB DEWHURST

GEORGE

CARAMALIS

MICHAEL CAREY

ED GEDDES

RAFFA GIORDANO

JARED

ROSEMEIER

50 ROGER SCIORTINO

KABIR SINGH

LIAM SUTHERLAND

JANEK SZALC

SIMON ‘ZIGGY’ ZAGAMI Additional Rigging Electrics AIMEN ELBOB CONNOR AMENTA-MADDEN

JAMES TOWSEY

Locations Manager STEPHEN BRETT Onset Locations Manager DAN BECK Additional Locations Assistant GUY SUTHERLAND JUDAN BOERMAN

Set Designers MICHAEL BELL DOUGLAS PIERCE Set Decorator VANESSA CERNE Props Master LISA ‘BLITZ’ BRENNAN Assistant Set Designer LILLIANA SIERRA Senior Buyer/Dresser DENISE GOUDY Senior Buyer/Dresser KIM REED Buyer/Dresser MADDY WORTHINGTON Additional Set Decorators JEN ATTWOOD SCOTT BOOTH

BRENDAN CROZIER

SAM DARBY

RYAN DAWES

CRAIG DERMODY

51 MITCH FINGLAS

ANTHONY GUILBERT

ROXANNE HALLEY

ANTHONY HAMILTON-SMITH AIDAN

McDONNELL

LUISA MITCHELL

NICK PEARSON

OSCAR PERRY

OLIVIA PULBROOK

BEN STOLZ

RODNEY SWEET

HARRISON TRUBIE

YVETTE TURNBULL

DAVE TURNER

LUKE YEOWARD

HELEN O’LOAN

PETER SHAW

Additional On-Set Dresser BEN BARBER Lead Swing Gang ROMESH DE SILVA Assistant Props Master LACHLAN SNELL Standby Props TIM DISNEY Standby Props Assistant KIM RITCHIE Props Making Supervisor TIM McGAW Prop Maker CRAIG FISON Additional Props Makers VINCE PARTINGTON NATHAN REARDON Additional Standby Props DILLON YEATS Graphic Designer ANNA McEWAN

52 Art Department Coordinator VANESSA YOUNGER Additional Art Department Coordinators LUISA MITCHELL ANNA RUSSELL Art Department Assistant BRAD MADDERN Art Department Interns TESSA ROBINSON BENJAMIN WARMUTH

STEPHANIE BROOK

On-screen Catering JANE BORTHWICK

Special Effects Supervisor PETER STUBBS Special Effects Technicians TIM O’BRIEN GARRY MARTIN

JEFF LITTLE

CERI NICHOLLS

CASSIE PEARCE

Additional Special Effects Supervisor JULIAN SUMMERS Additional Special Effects Technician HAUK OLAFSSON

Armourers WARWICKS FIREARMS & MILITARIA SCOTT WARWICK

STEPHEN CUNNINGTON

TERESA McHENRY

Additional Armourer JEFF GRIBBLE

Studio Builds Construction Manager ILLUSIONS STUDIOS GRANT SLOTBOOM Foreman LENNY MAZOR Construction Coordinator MAX HAYMES Head Scenic Artist OLIVER ANDERSON

53 Façade Construction Manager BEN CORLESS Foreman CHRIS BAKER Scenic Artist SAM NOACK DAVE BARTLETT Additional Scenic Artists ROHAN DAWSON GUS LOBB

MELANIE YOUNG

Witches Cap Construction Manager ANDREW GARDINER Standby Carpenter ANT HATFIELD Additional Carpenter JEREMY FORD Head Greensman GLENN JOHNSON Greens Assistant DAMON LINLEY

Animal Wranglers FILM LIVESTOCK AUSTRALIA CODY RAWSON-HARRIS

SARAH RAWSON-HARRIS

Costume Supervisor RACHEL NOTT Costume Supervisor MICHAEL DAVIES Costumiers ALISON FOWLER JOHN VAN GASTEL

JANE SUMMERS-

EVE

Costume Seamstresses JULIE RENTON STEPHANIE VAN GASTEL

HEATHER McCALLUM

Senior Costume Art Finisher JOSIE JOHNSON Art Finishers IAN TATTON IVANA KASIC Standby Costume JULIE BARTON

54 Standby Assistant ELIZABETH WATSON Extras Costume Coordinator SANDRA DIMARTINO Costume Buyer KIMBERLEY POTTS Costume Assistant KATELYN SCHALLMEINER Additional Standby Costume BRIE LAWRIE Additional Costume SUE SKINNER Costume Volunteer MARY DELFIN

Makeup and Hair Designer TESS NATOLI Key Makeup and Hair Artist LYNN WHEELER Makeup and Hair Artist MEGAN TILTMAN Assistant Makeup and Hair Artist LIZ JENKINSON Additional Makeup and Hair Artist DOMINIQUE MATHISEN DYAN GREGORIOU

IAN LOUGHNAN

DANNI McDOWELL

CHRISTINE MILLER

PAM MURPHY

CHERYL WILLIAMS

SAMANTHA LYTTLE

Makeup Volunteer PATRICIA STEPHENS

Prosthetics Supervisor SAMANTHA LYTTLE Prosthetics Technicians TOBY BARRON LUKE POLTI Additional Prosthetics Technician NIK DORNING Prosthetics Volunteer SAMANTHA FARRUGIA LA Lens Technician DR. STACEY SUMNER

55 Magic Consultant BARRY GOVAN

Unit Publicist CATHY GALLAGHER Stills Photographer BEN KING Gallery Stills Assistant JAKE LOWE Additional Stills Photographers LACHLAN MOORE JULIAN PANETTA EPK WALTER REPICH

Dialect Coach ANNA McCROSSIN-OWEN Safety Supervisor JOE PAMPANELLA Pre Production Safety Supervisor ADRIAN KORTUS Additional Safety Supervisor SEAN RIGBY Additional Safety Assistant CHRIS CHALMERS On Set Nurses EMILY BURCHELL JULIE ELLIS Additional On Set Nurse KATIE SISSIAN KALEB DAY Unit Manager RICHIE YOUNG Unit Assistants IAN LOVERING ADAM LEWIS

DANIEL MATHEW

ANDREW HALL

Additional Unit Manager ERICH BAILEY Additional Unit Assistant CLAY DUNN ANDREW BRONSVOORT

GRAHAM CONNOLLY

KARL DEMMLER

56 MAX FISH

TONY LARKINS

TOBY MOORE

PAUL O’GRADY

Caterers HEL’S KITCHEN HELEN CLARKE Catering Assistants ED EVE GINA NORIO

ANDREW TOOGOOD

ROBYN COOMBS

SAM GROSE

Traffic Control/Security COMPLETE TRAFFIC SERVICES BRETT MILLER

SAN JOSE UNIT

Production Services 1st WAVE PRODUCTIONS LUANN BARRY Production Manager DEBBIE BRUBAKER

2nd Assistant Director ALEX GILBERT Production Coordinator LAURA F. HAYNES Production Assistants ROBBIE JULIAN VINCENT B. GIANAKOS

SAM HOLLAND

Production Assistants/Drivers JAKE B. GOLDMAN MICHELE FRANCO

57 Steadicam Operator BEN CASIAS 1st Assistant Camera SYDNEY COX 2nd Assistant Camera LAWRENCE ABAD LA 1st Assistant Camera SETH KOTOK Video Playback SCOTT M. GOLDMAN Media Loader JOHN JORDAN Camera / VTR PA Assistant ROCKY FARAJ Stills Photographer DAVE SCARDINA

Drone Pilot JESSE KALTENBACH Drone Operator ZUBEYIR MENTESE Visual Observer ELI D’ELIA Drone Tech. NATALIE NEWMAN

Gaffer FRANK HELBIG Best Boy Electrics EVAN JONES Generator Operator/Electric MARK BASSETT Electric KEITH BRATTON Electric CLARK TODD Electric TOBY LAWRENCE Condor Operator JAMES HEYWOOD

Key Grip DAVE CHILDERS Best Boy Grip BROOK JOHNSON Dolly Grip MARC WALL Grip CHRIS McCRACKEN Grip/Driver DAVE GARZA Grip GREG COLLIS Grip GILL WRIGHT

58 Casting Director NINA HENNINGER Assistant Casting SARAH KLIBAN

Craft Service MAX KOSMA Catering THE LUNCH BOX RACHEL CECCHI

Set Medic KRIS BUTLER

Set Decorator / Props Master MARK WARREN Winchester Mystery House Art Director JANAN BOEHME Set Decorators / Props Assistants CRAIG PATTERSON CAMERON LOVELACE

MICHAEL THEDE

Wardrobe Stylist IRINA SHAMSOTINOV LA Wardrobe LANA GREENWAY Make-up / Wardrobe Assistant ARACELLI FRIAS

WINCHESTER MYSTERY HOUSE

Project Liaison MICHELLE BEVIS General Manager MICHAEL TAFFE Operations Manager WALTER MAGNUSON Guide Supervisor JESSICA GIDLUND Assistant Guide Supervisor MARIAH KAMPSCHAFER Guides NICOLE CALANDE MELISSA AUGUST

KYLIE JESSOP

LAURA LEHMKUHL

59 JAMIE FOSTER

TIFFANY MOUDY

HOMERO LOPEZ

ELLYN DEMUYRNCK

SHELBY SULLIVAN

ROXY KNOWLES

POST PRODUCTION

Post Production Supervisor HENRY KARJALAINEN First Assistant Editor / VFX Editor COURTNEY LEE BOWDEN First Assistant Editor DANIEL NEWFIELD VFX Editor MATTHEW McMILLAN Assistant Editor SHANNON LONGVILLE Editorial Assistant ANDREW VONA

Post Production Studio CUTTING EDGE CEO MICHAEL BURTON Head of Post Production MARCUS BOLTON Post Production Producer SALLY WORTLEY JOSEPHINE TANKARD Post Production Coordinator AINSLEY PETTIT ANGUS YOUNG Digital Intermediate Colourist ADRIAN HAUSER C.S.I. Online Editor JO SPILLANE Digital Dailies LEATH MATTNER PATRICK BUCKLEY

SKYE MAYFIELD

Media Supervisor JOHN WARNEKE Media Operators RORY REA DANIEL SCOTT

60 Creative Technology Specialist ALEX ELLIOTT

Sound Post Production by CUTTING EDGE Sound Design & Mix Services BOOM TRACKS Sound Supervisor PAUL PIROLA Re-Recording Mixer PETE SMITH CAS Re-Recording Mixer PAUL PIROLA Dialogue Supervisor RAY BEENTJES ADR Editor HELEN LUTTRELL Sound Designer HAYDEN COLLOW Sound Effects Editors ANDREW NEIL FRANK LIPSON M.P.S.E.

TOM HEUZENROEDER

JOE DZUBAN ANDREW

MOORE PETER

MILLER

Foley Editors TROY MAURI NIELS GABRIELS Foley Artist ADRIAN MEDHURST Foley Recordist RYAN SQUIRES Sound Co-ordinator SKYE HOLLINGSWORTH

Digital VFX by CUTTING EDGE VFX Supervisor RANGI SUTTON VFX Producers KASIA RYMAR FLAVIA RILEY

KRISTIE GODDEN

VFX Coordinator LIAM O’KANE Compositing Supervisor RANDY VELLACOTT ANTONY HABERL

61 3D Artists ROBERT KELLY JOHN CHEN

JULIAN DAVIDSON

CHELSEA SHANNON

SINA RAHIMPOUR

GORDON de HASETH

SILVIO JEMMA

XANTHE ALROE

BRETT WALTER

MITCHELL ROBINSON

AHMED NASHABE

SEAN JACOBS

Compositing RANDY VELLACOTT ANTONY HABERL

BEN YING

MATT GREIG

GARTH O’BRYAN

DARREN COOMBES

RYAN COATES

GLENN CONE

Matte Painting EV SHIPARD RANDY VELLACOTT

AMY WHEELHOUSE

VFX Editorial ETHAN VELLACOTT CHASE WORLAND VFX Production Assistant DEMI BIRD Systems Administrators DAN MONS CAMERON WRIGHT

62 VFX Pipeline ROMAIN MAURER PAUL DOESSEL Additional VFX MICHAEL SPIERIG

Post Production Script by MEDIASCRIPT EXPRESS Closed Captions by THE SUBSTATION

Music Editor CHRISTIAN SCALLAN

Music Supervisor LAURA KATZ Music Clearance & Licensing LAUREN WEISS Executive Music Producer TIM HEGARTY Executive Music Producer TARA FINEGAN Music Business & Legal Executive MONIQUE KAIROUZ

Score Published by FIRST SCORE MUSIC LIMITED Music Services by CUTTING EDGE GROUP

“My Wild Irish Rose” Written by C. Olcott Performed by John McCormack Courtesy of Essential Media Group LLC

ARCHIVE

Photographs courtesy of History San Jose Winchester Mystery House Library of Congress

Imagery supplied by Hulton Archive/Getty Images Newspaper mastheads courtesy of California Digital Newspaper Collection, Center for Bibliographic Studies and Research, University of California, Riverside. Library of Congress

63 Legal Services MARSHALLS + DENT LAWYERS BRYCE MENZIES KYLIE GIAM CLEMENT DUNN FRANKIE-RAE CLAPHAM

Insurance Broker MOONEYS INSURANCE BROKERS DAVID MANSLEY

Screen Australia Project Manager SHANA LEVINE

Screen Queensland Project Manager KASIE MOORE

Film Victoria Project Manager JOE BRINKMAN

FOR ECLIPSE PICTURES:

Legal Services SHEPPARD MULLIN RICHTER & HAMPTON LLP ROBB KLEIN NICOLE BAGOOD

DELANEY CONSULTING PAMELA DELANEY

MANIS RAPKOWSKI LLP RICHARD RAPKOWSKI

Delivery Services MOTION MEDIA SERVICES DAVID GAYNES

Marketing Co-ordinators: SANDRA STAGGS JODEA BLOOMFIELD

Victorian Child Employment Officer DANIELLE URBANO

64 Travel Services SHOW GROUP ENTERPRISES LORI CHADBAND

Camera Equipment Provided by PANAVISION AUSTRALASIA GREG LLOYD

Production Financing Provided by APERTURE MEDIA PARTNERS LLC, DANNY MANDEL, JARED D. UNDERWOOD AND ANDREW C. ROBINSON

Legal Counsel to Aperture Media Partners LLC BABOCK & ROBINSON, LLP

Completion Guarantee by FILM FINANCES, INC. ANNI BROWNING POPPY DOWLE PAULA JENSEN

With Very Special Thanks to FRED SPECKTOR KURT WOOLNER GREGORY TRATTNER

With Special Thanks to GRAEME MASON TRACEY VIEIRA JO DILLON JENNI TOSI BRENT MORLEY ROBERT STEIN ROB CARLSON DEBORAH McINTOSH LOU PITT ZYGI KAMASA NICK MANZI PEDRO & PATRICIA RODRIQUEZ TODD DEBRAAL ANDREAS KLEIN DIRK SCHWEITZER SOPHIE SEYFRIED COLOMBE DE CERF TRISTAN DU LAZ HARRY & ERINE GRVAKIS

65 ELIZABETH TROTMAN GREG DENNING TIFFANY MILANE SUE COHEN MARIA GRAZIA VAIRO ANDREA GORETTI SIMONE BENCINI WILLEM PRUIJSSERS MARTIN RUTTENBERG ROBIN LOGIES SAMANTHA HOOGSTRATE ROBERT ENMARK PETER FORNSTAM NAOKO TSUKEDA MARIA OJEDA LOPEZ JOSE LUIS POVEDANO PABLO PEREIRO LAGE RALPH DIETRICH JULIE KROLL ANDRE, LANA & MAXIM BOISSIER SELIM & VIVIANE EL AZAR SERGEI YERSHOV ANASTASIA SERGEEVA JAMIE SUSSER PAMIR DEMIRTAS KEVIN HSU MICHAEL DRAGOTTO JOY CHAI AVINAASH JUMANI MANOS KRESIAS GORDON STEEL YONGHO LEE ASHLEY KIM KATE LEE PJ LEONE SONGPOL WONGKONDEE BALAN PALANISAMY MARK BOOT HARRIS & SACHEEN LASMANA AJAY FULWANI JIRASIN JARUPORNCHAI CHRISTOPHER & MARK SHAW ARNI SAMUELSSON THORALDUR ARNASON JAMES MACLEAN NEAL ROTHMAN JULIE, JULIETTE, KAITLYN ROSE, GWENDOLYN & GRAYSON DIAMOND 66 HAILEE WOODWARD MARK TOMBERLIN

67 CHRISTINE TOMBERLIN KAREN GREEN MARK TEMPLE JORDAN RAMBIS TIFFANY MARTIN JOHN SPIERIG MARIANNE SPIERIG ALANA JESSOP LYNDON B. JOHNSON KAREN HAYWARD

With Thanks to JAMES GIBB DAMON BLUM SCOTT MCDONALD KELLY VINCENT LIZ CAMERON DAN LAKE NATIONAL TRUST OF AUSTRALIA (VICTORIA) - RIPPON LEA ESTATE & LABASSA PARKS VICTORIA - WERRIBEE MANSION - GREG LEITH MELBOURNE WATER’S WESTERN TREATMENT PLANT VICTRACK - NEWPORT RAILYARDS DOCKLANDS STUDIOS MELBOURNE - ROD ALLAN HISTORY SAN JOSE SKYREACH - REBECCA GIDDINGS FREELANCERS PROMOTIONS MELBOURNE TPH TECHNOLOGIES PTY LTD THE FRENCH JEWEL BOX MELBOURNE THE JUNK COMPANY - BRETT FORDE RED HORSE RIVERA & NATALIE RIVERA BETTY STUFF - COUNCIL AND SECRETARY OF THE WEA INDIAN TRIBE OF INDIANA

Director Placement Supported by Film Victoria

CAMERA AND LENSES BY PANAVISION

FILMLIGHTING CUTTING EDGE GROUP CUTTING EDGE

Filmed at Docklands Studios Melbourne Melbourne, Australia

Domestic Sales Agent ENDEAVOUR CONTENT

68 Worldwide Sales Agent

FILMED IN MELBOURNE, AUSTRALIA WITH THE ASSISTANCE OF FILM VICTORIA PRODUCED WITH THE ASSISTANCE OF SCREEN QUEENSLAND

Principal Investor

CBS Films has not received any compensation or other consideration or entered into any agreement relating to the appearance of any tobacco products in this picture.

No. 51318

© 2018 Winchester Film Holdings Pty Ltd, Eclipse Pictures, Inc., Screen Australia and Screen Queensland Pty Ltd. All Rights Reserved. By watching this film legally, you have supported hundreds of jobs of creatives, distributors and crew as listed above ISAN 0000-0004-A940-0000-O-0000-0000-2

Ownership of this motion picture is protected under the laws of Australia and all other countries throughout the world. Any unauthorized duplication, distribution, or exhibition of this film or any part thereof (including soundtrack) is an infringement of the relevant copyright and may result in civil liability and criminal prosecution. This film is inspired by a true story. The characters, incidents and locations portrayed and the names herein may have been slightly altered.

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