©2018 & TM Lucasfi lm Ltd. All Rights Reserved. Visual Eff ects and Animation by . . . . . INDUSTRIAL LIGHT & MAGIC ...... A LUCASFILM LTD. COMPANY Lucasfi lm Design Supervisor ...... JAMES CLYNE ILM Visual Eff ects Supervisor ...... PATRICK TUBACH ILM Animation Supervisor ...... MATTHEW SHUMWAY Visual Eff ects Producer ...... DANIEL CARBO Post Production Supervisors ...... DAVID E. HALL MARK HARRIS Lucasfi lm Post Production ...... PIPPA ANDERSON MIKE BLANCHARD Supervising Sound Editors ...... MATTHEW WOOD TIM NIELSEN Sound Designer ...... TIM NIELSEN A Re-Recording Mixers ...... DAVID PARKER LUCASFILM LTD. CHRISTOPER SCARABOSIO Production TIM NIELSEN

Directed by ...... RON HOWARD CAST Written by ...... JONATHAN KASDAN & LAWRENCE KASDAN Han Solo ...... ALDEN EHRENREICH Based on Characters Created by ...... GEORGE LUCAS Chewbacca ...... JOONAS SUOTAMO Produced by ...... KATHLEEN KENNEDY, p.g.a. Beckett ...... WOODY HARRELSON ALLISON SHEARMUR, p.g.a. Qi'ra ...... EMILIA CLARKE SIMON EMANUEL, p.g.a. Lando Calrissian ...... DONALD GLOVER Executive Producers ...... LAWRENCE KASDAN Val ...... THANDIE NEWTON JASON MCGATLIN L3-37 ...... PHOEBE WALLER-BRIDGE Executive Producers ...... PHIL LORD Dryden Vos ...... PAUL BETTANY CHRISTOPHER MILLER Rio Durant (Voice) ...... JON FAVREAU Director of Photography ...... BRADFORD YOUNG, ASC Lady Proxima (Voice) ...... LINDA HUNT Production Designer ...... NEIL LAMONT Rebolt ...... IAN KENNY Film Editor ...... PIETRO SCALIA, ACE Korso ...... JOHN TUI Visual Eff ects Supervisor ...... ROB BREDOW Imperial Emigration Offi cer ...... ANNA FRANCOLINI Han Solo Theme and Imperial Recruitment Offi cer ...... ANDREW WOODALL Original Star Wars Music by ...... JOHN WILLIAMS Weazel ...... WARWICK DAVIS Score Composed and Adapted by ...... JOHN POWELL Imperial Mudtroopers ...... SHAQUILLE ALI-YEBUAH Costume Designers ...... GLYN DILLON EBEN FIGUEIREDO DAVID CROSSMAN AARON HEFFERNAN Co-Producers ...... JONATHAN KASDAN Mimban Lieutenant ...... HAL FOWLER SUSAN TOWNER Mimban Guard ...... DAMIAN FARRELL JOHN SWARTZ Margo ...... CHARLOTTE LOUISE ROB BREDOW Chanteuse ...... SEMA-TAWI SMART Special Creature Eff ects by ...... NEAL SCANLAN Ralakili...... CLINT HOWARD Visual Eff ects Producers ...... JANET LEWIN Quay Tolsite ...... DEE TAILS ERIN DUSSEAULT Sagwa ...... ATTILA VAJDA TJ FALLS Tak ...... ANTHONY DANIELS Casting by ...... NINA GOLD, CSA, CDG Karjj ...... KIRAN SHAH JEANNE MCCARTHY, CSA Eager Scrumrat ...... FRASER KELLY NICOLE ABELLERA HALLMAN, CSA Lexi ...... LILY NEWMARK Weapons Check Enforcer ...... JASON WONG In Loving Memory of Female Guest ...... ALICE HEWKIN ALLISON SHEARMUR Ottilie ...... SAMANTHA COLLEY Imperial Guest ...... ROBERT MORGAN Unit Production Manager ...... SUSAN TOWNER Regional Governor ...... MILES RICHARDSON Unit Production Manager ...... SIMON EMANUEL Spaceport Father ...... SAMMY HAYMAN First Assistant Director/Associate Producer . . . . TOBY HEFFERMAN Spaceport Mother ...... RONA MORISON Key Second Assistant Director ...... ANDY MADDEN Imperial Clerk ...... DEMPSEY BOVELL Action Designer/Second Unit Director ...... BRAD ALLAN Savareen Air Traffi c Controller ...... JOSEPH CHARLES Additional Editing by ...... CHRISTOPHER ROUSE, ACE Rio Durant & Lady Proxima Special Eff ects Supervisor ...... DOMINIC TUOHY Lead Performance by...... DAVE CHAPMAN Supervising Art Director ...... ALASTAIR BULLOCK Rio Durant Performance by ...... KATY KARTWHEEL I Moloch Performance by ...... HARLEY DURST Stunt Riggers Moloch (Voice) ...... ANDREW JACK IAN BATEY BEN BILLAM-SMITH BENJAMIN MAHONEY AARON MUIR Stunt Coordinators ...... MARK GINTHER NEAL MURRAY CHARLIE RAMSAY ROY TAYLOR SIMON WHYMAN STEVE GRIFFIN Creature and Droid Puppeteers Fight Coordinator ...... GUILLERMO GRISPO DEREK ARNOLD DON AUSTEN Assistant Fight Coordinator ...... BRENDON HUOR WILLIAM BANYARD LAUREN BARRAND Action Designer ...... CHRIS COWAN DAISY BEATTIE SUSAN BEATTIE Action Arranger/Stunt-Viz Designer...... YUNG LEE TOM BELL STUART BONE Stunt Performers LYNN ROBERTSON BRUCE RITCHIE BURGESS LES ALLEN GUIOMAR ALONSO DEREK CAMPBELL CHRIS CLARKE MARK ARCHER COLE ARMITAGE MARCUS CLARKE PATRICK COMERFORD AIDAN BRINDLE DACIO CABALLERO AIDAN COOK BEN COOK MARVIN CAMPBELL-STEWART RICHARD CETRONE LIAM COOK RICHARD COOMBS NEIL CHAPELHOW NICK CHOPPING CAVIN CORNWALL ANNABELLE DAVIS TONY CHRISTIAN BEN COLLINS PAUL DAVIS WARWICK DAVIS ROB COOPER TOM COTTON MATTHEW DENTON IESTYN EVANS TALILA CRAIG JASON CURLE BARBARA FADDEN ADRIAN FALCONER MATT DA SILVA NICHOLAS DAINES DAMIAN FARRELL JAMES FEURTADO ANDRIUS DAVIDEAS ARIE DEKKER MIKE FILIPPIDIS KAIN FRANCIS JAMES EMBREE RICK ENGLISH BARNY HARRISON CLAIRE ROI HARVEY BEN ESSEX RACHAEL EVELYN ANDY HEATH BRIAN HERRING MICHAELA FACCHINELLO PETE FORD NEAL HOLMES MARK JEFFERIS JOSIE FORMAN ALDONIO FREITAS PAUL KASEY NICK KELLINGTON ZOE FRY OLIVER GOUGH VARPU KRONHOLM RACHEL LEONARD EVANGELOS GRECOS JACOB GRIFFIN MATT LYONS DIANA MAN TOM HATT MARK HIGGINS ALISON MCGOWAN DILU MIAH ROBERT HLADIK TIEN HOANG MAJA MISZKER ROBERT NAIRNE FELICITY HOOD JESSICA HOOKER MOHSEN NOURI BRAD OAKLEY GARY HOPTROUGH JASON HUNJAN LAUREN OKADIGBO WIM OPPENHEIMER ROB HUNT JONNY JAMES ADRIAN PARISH NATHAN PLANT CHARLES JARMAN GARY KANE JAKE POGSON COLIN PURVES IAN KAY LUKE KEARNEY TIM ROSE ROSS SAMBRIDGE MAURICE LEE RICHARD LEGGETT ALI SAREBANI FATEMEH SAREBANI LUKAZ LEONG ANDY LISTER STEPHANIE SILVA PETROVA SIMPSON CHUS LUCAS JOHN MACDONALD HELENA SMEE KAT SMEE CHELSEA MATHER CASEY MICHAELS NEIL STERENBERG HASSAN TAJ CHRIS MORRISON THEO MORTON OLLY TAYLOR JAMES HENRI THOMAS CALI NELLE DAREN NOP GLYNN TURNER MATTHEW TYLER DAVID NOP LAUREN OKADIGBO REBECCA VAN CLEAVE JIMMY VEE CHARLIE PAWLETT IAN PEAD MARK WHITAKER TOM WILTON PETER PEDRERO JAN PETRINA EDMUND WOOD PHILL WOODFINE OLEG PODOBIN GEMMA POWLEY ADR Voice Casting ...... TERRI DOUGLAS KIERRON QUEST DANIEL RAWLINS Additional Voices SHANE ROBERTS DOUG ROBSON DAVID ACORD VERONA BLUE LUKE SCOTT MARCUS SHAKESHEFF STEVE BLUM DAVE BOAT MATT SHERREN SHANE STEYN DAVID COLLINS KEVIN DETERS MATT STIRLING MENS SANA TAMAKLOE JON DIXON TERRI DOUGLAS ARRAN TOPHAM LUKE TUMBER ROBIN ATKIN DOWNES NIKA FUTTERMAN PABLO VERDEJO ELMO WALKER KAREN HUIE TOM KANE ANDY WAREHAM CALVIN WARRINGTON-HEASMAN LEX LANG DEVON LIBRAN JOE WATTS MAXINE WHITTAKER YURI LOWENTHAL VANESSA MARSHALL ALI WHITTON MARTIN WILDE JON OLSON WILLIAM M. PATRICK ANNABEL WOOD LIANG YANG JAMES RITZ LYNWOOD ROBINSON Head Stunt Rigger ...... LEONARD WOODCOCK KAT SHERIDAN DAVID SOBOLOV JULIAN STONE FRED TATASCIORE Stunt Department Coordinators ...... JANE BATEY JAMES ARNOLD TAYLOR DEBRA WILSON BEN RACKLEY SAM WITWER MATTHEW WOOD AMI VERGE II ADR Mixers, Walt Disney Studios ...... DOC KANE Junior Draughtsmen ...... DANA ANUSCA JEANETTE BROWNING HELEN DAWSON ADR Mixers, Goldcrest Films, London ...... MIKE TEHRANI CHRISTOPHER VINCENT WILL THOMAS Digital Asset Manager ...... CRISTINA MANLISES ADR Mixers, Skywalker Sound ...... TREY TURNER Art Department Assistants MATTHEW WOOD LAUREN CROCKATT MATT FRANCIS Production Controller ...... NATHAN WOODS IDA GRUNDSOEE MIRANDA KEEBLE Production Managers ...... KARL CAFFREY MATTHEW NAISH SARAH RUIZ DEL VIZO BEN DIXON MADELEINE DYMOND Lucasfi lm Production Manager ...... ADAM TEEUW Production Coordinator ...... KATIE BYLES Concept Artists (US) ...... THOM TENERY Senior Art Director ...... GARY TOMKINS PATRICK FAULWETTER Set Decorator ...... LEE SANDALES Digital Asset Managers, Lucasfi lm (US) ...... ZACK BUNKER Construction Manager ...... PAUL HAYES GENEVIEVE ELKIN A Camera Operator ...... SYLVAINE DUFAUX Art Department Assistant (US) ...... SUSAN PETERS Chief Lighting Technician...... PERRY EVANS Art Department Coordinator (US) ...... ANDREA CARTER Key Grip ...... GARY HYMNS Assistant Art Coordinator (US) ...... ALEX GUSTAVESON Second Unit Director of Photography ...... TIM WOOSTER Illustrators (US) Second Unit Production Manager ...... DAMIAN ANDERSON AARON MCBRIDE IAN MCQUE Second Unit First Assistant Director ...... DOMINIC FYSH CRAIG MULLINS BRETT NORTHCUTT Property & Weapon Master ...... JAMIE WILKINSON MATT TKOCZ CHRIS VOY STEPHEN ZAVALA ART Art Directors ...... ALEXANDER BAILY SET DECORATION PETER DORME ASHLEY LAMONT Lead Assistant Set Decorator ...... BEN BARRINGTON-GROVES THOMAS WEAVING Assistant Set Decorators ...... JO GRAYSMARK THOMAS WHITEHEAD JULIE GRAYSMARK Digital Art Directors ...... OLIVER CARROLL Art Director - Props...... OLIVER ROBERTS STEPHEN SWAIN Lead Graphic Designer ...... LAURA DISHINGTON ANDREW PALMER Concept Artist ...... CHRISTOPHER CALDOW Storyboard Artists ...... JAMES CORNISH Graphic Designer ...... DOMINIC SIKKING STEPHEN FORREST-SMITH Assistant Graphic Designer ...... HANNAH KONS NICK PELHAM Graphics Trainee ...... LYDIA LOWE TRACEY WILSON Production Buyer ...... KATE VENNER Standby Art Director ...... MATTHEW KERLY Assistant Buyers...... ANNE-MARIE MINTY Assistant Art Directors GUY MOUNT GAVIN DEAN LIAM GEORGENSEN ROXY STAPLETON PATRICK HARRIS DANIEL NUSSBAUMER Assistant Art Director ...... ALEX BOWENS ANDREW PROCTOR Draughtsmen ...... KATE PICKTHALL Concept Artists ANITA RAJKUMAR MATT ALLSOPP JULIAN CALDOW DARREN TUBBY JACK DUDMAN WILL HTAY Junior Draughtsman ...... LAWRENCE BARFORD VINCENT JENKINS JON MCCOY Production Assistants ...... LOUISE STRACHAN Draughtsmen EMILY BRITTON JAMES CORKER GEORGINA GOLDMAN OLIVIA MUGGLETON HEATHER NOBLE Computer Graphics Design, Animation & Playback by LUKE SANDERS PAUL SAVULESCU BLIND LTD ANDREW TILHOO REBECCA WHITE Computer Graphics Supervisor ...... ANDREW BOOTH Senior Model Maker ...... PAUL MARSH Computer Graphics Producer ...... HELEN BAKER 3D CAD Modeler ...... MARK O’KANE Screen Graphics Designers ...... SHAUN YUE Concept Artist - Props ...... MATTHEW SAVAGE MUNGO HOREY Art Department Coordinator ...... LAVINIA WATERS Playback Technicians ...... RICHARD PALIN Researchers ...... NICOLA BARNES SCOTT HEBDEN CELIA BARNETT Senior Digital Asset Manager ...... KYLE WETTON Concept Model Maker ...... NEIL ELLIS Junior Concept Model Maker ...... ALEX HUTCHINGS Junior Concept Artist ...... MOLLY SOLE

III COSTUME Supervising Modellers ...... DAVID MERRYWEATHER STEPHEN WOTHERSPOON Wardrobe Supervisors ...... NEIL MURPHY Gangsman ...... SCOTT WALKER JOANNA CAMPBELL LYNCH Junior Wardrobe Assistants ...... JOANNA EAST Assistant Costume Designers ...... STELLA ATKINSON SALLY JAMES VIVIENNE JONES SAMANTHA KEEBLE Textile Artists ...... LIBBY GUY PAUL YEOWELL KATE LAWSON HOD Modeller ...... PIERRE BOHANNA BETTY LEE Costume Concept Artist ...... ADAM BROCKBANK MICHAEL MCNAMARA Chief Textile Artist ...... TIM SHANAHAN SARAH ROGERS Key Costume Prop Maker ...... IAN JONES Costume Accountant/Coordinator ...... EVE WALKER Junior Textile Artists ...... KELLY JORDAN Assistant Costume Coordinator ...... SOPHIE HUTTON ELIZABETH GUNNER Wardrobe Master ...... WILLIAM STEGGLE ELLIE OLDFIELD Crowd Master ...... AARON TIMPERLEY HANNAH RICHARDS Assistant HOD Modeller ...... TOBY HAWKES Costume Cutters ...... JENNIFER ALFORD Senior Supervising Modeller...... JOHN WELLER SARAH HUMPHREY Senior Modellers ...... JAMES BARR GARY PAGE JONATHAN JACKSON JOCHINE VAN SCHUPPEN SAM WILLIAMS Tailor ...... LEWIS WESTING Modellers Costume Buyers ...... ANNETTE ALLEN SOPHIE ALLEN KIRBY ALLEN-D’CRUZE SONIA BOOTH CONOR BREEN NEILL BRISTOW Key Costume Assistants ...... CALANDRA MEREDITH VICTORIA HAYES DARREN HOWTON ADAM ROACH ANTONIO LOBETTI RICHARD SKELLY OLIVER SOUTHALL RICHARD THOMAS TERRY WHITEHOUSE CARA STEVENS NICO ZARCONE AMANDA TREWIN Assistant Modellers Costume Assistants ELLYN ARTHUR ELENA CONSTANTINOU MAITE CHEMIN MARIA GARCES ELLIS COURT ROSEANNE JACKMAN LYNSEY HARRIS STEPHEN HYAMS ALAN LENTON ALEX MACKENZIE CARLA MONVID JENKINSON HELEN JEROME ROB MATTHEWS EMMA PRITTY AISHA KASCIOGLU DIANE LOGEL SION ROBERTS HARVEY SMITH ROBYN MANTON FINN MCLEAVE LIAM WILLIAMS CHAY YUILL CHICKY SERRANO MORO JAMES PAVLOU CHARLES SALMON MELISSA LAYTON SKOREPA Trainee Modellers RUPERT STEGGLE LEE BOWMAN CHRISTIAN ELLINAS JOE FYSH HARRY IOVINO Costume Makers RACHEL ROBERTS NIZZAD SHAH PHOEBE ALLIES JOSHUA BAIN CARRIE WEBB LEWIS WHITE CLARE BANET SUSAN BRADBEAR HELEN BRAHAM LORRAINE BURN PRODUCTION OFFICE LORRAINE COOKSLEY JESSICA DAVIS MARIA ENDARA ENIKO KARADI Assistant Production Coordinators ...... LAURA EVANS ELAINE MANSOURI LISA ROBINSON JACK TIMBRELL SONNY ROFFEL MARGARETHE SCHMOLL Studio Coordinator ...... ANNA RINGUET REBECCA SELLORS SUSANNE MORTHORST STAAL Production Assistants ...... CHARLOTTE MORRISON TRETHANNA TREVARTHEN GRAHAM ROBERTS CHAN CHIN WAN Assistant Production Coordinator - Junior Costume Makers ...... SARAH MILLS Travel & Accommodation ...... MATT CHAMBERS ZOE TAYLOR Production Secretary ...... MICHAEL GILLESPIE PATRICIA GOMES Senior Textile Artist ...... MAURICIO CARNEIRO ACCOUNTING Costume Prop Makers ...... VICTORIA BURTON-KELLY HENRY CHRISTOPHER Production Accountant ...... CHRIS NORMAN Assistant Costume Prop Maker ...... KIM PICKERING First Assistant Accountant ...... MATT BOVINGTON Costume Trainee ...... LAUREN NEWBERRY AP Supervisor ...... JOANNA PRICE Costume FX Coordinator ...... MARK WOOLLARD IV Assistant Accountants ...... JORDAN BROWN Script Coordinator ...... BORISLAVA ANTOVA LUKE TUCK Production Assistant ...... EMILY RICHARDSON AMY MORRIS GEORGINA VOYSEY Assistant Construction SOUND Accountant/Cashier ...... RICHARD PRISEMAN Production Sound Mixer ...... STUART WILSON, AMPS Accounts Clerks ...... ED NEWMAN First Assistant Sound ...... ORIN BEATON NICOLE KERR Second Assistant Sound ...... THOMAS FENNELL US Production Accountant ...... JOE BECKWITH Sound Assistant ...... DAVID GILES US Post Production Accountant ...... TROY MCGATLIN Production Assistant ...... JORDAN FEEMSTER Construction Accountant ...... SAM GARDNER Payroll Accountant ...... DANIEL RIVETT VIDEO ASSIST Dailies Payroll Accountant ...... MARK JACKSON Assistant Payroll Accountant ...... EMMA MACDONNELL Video Playback Operator ...... SEAN WALKER Video Playback Assistants ...... ADRIAN PINTO HAIR & MAKEUP JOSH ANDREWS Hair Designer ...... LISA TOMBLIN-FITZPATRICK Production Assistant ...... BRAHIM BUHAIA ALI Makeup Designer ...... AMANDA KNIGHT Key Hairdresser ...... FRANCESCA CROWDER LOCATIONS Hairdresser ...... NADINE MANN Hair Colourist ...... JENNIFER HARLING Supervising Location Manager ...... MARK SOMNER Crowd Hair Supervisor ...... ANDREW SIMONIN Crowd Hairdressers ...... KATIE PATTENDEN Unit Location Manager ...... PETER BARDSLEY STEPHEN ROSE Assistant Location Managers ...... JEREMY DECOURSEY Crowd Hair Juniors ...... ROSEANNA LARNER MATTHEW MIRRINGTON GEORGIA THOMPSON JONATHAN ROPER Hair Trainee ...... HOLLY JORDAN Assistant Studio Unit Manager ...... SEAN LOGAN Crowd Makeup Junior ...... BIANCA STEWART Studio Trainee ...... SIONA DAVIS Production Assistants ...... KATIE BRIDGEMAN Location Scout ...... DAVID O’REILLY KASHIYA OLOPADE-HINDS Locations Department Coordinator ...... KATE SEYMOUR Key Makeup Artist ...... DEBORAH TAYLOR Unit Manager - Studio ...... JON HILLS Makeup Artists ...... CHLOE GRICE Studio Assistants ...... ALEYSHA MINNS JESSICA NEEDHAM MARTIN OLIVER SHARON NICHOLAS NATHAN SHEPHERD Crowd Makeup Supervisor ...... NICOLA BUCK Crowd Makeup Artists ...... ROBERT CRAFER EDITORIAL NICOLA MATTHEWS NURIA MBOMIO-MBA Additional Editor ...... CHERYL POTTER Makeup Trainee ...... HAFASA GHATE Assembly Editor...... DANIEL GETHIC Wig Maker ...... ALEX ROUSE First Assistant Editors ...... DYLAN FIRSHEIN MARK FITZGERALD CAMERA LAURENCE JOHNSON THOMAS KEMPLEN A Camera First Assistant Camera ...... JAKE MARCUSON CHRISTINE KIM A Camera Second Assistant Camera ...... DAN HENDERSON Second Assistant Editors ...... JAMES BARHAM Central Loader ...... ALASDAIR BOYCE CARA HARVEY DIT ...... DAN CARLING ELLIOTT TRAEGER PETER MARSDEN ELAINE WALRATH Camera Trainee ...... CHARLIE HUGHES Third Assistant Editor ...... LAURA MOUNTFORD B Camera Operators ...... OLIVER LONCRAINE VFX Editor ...... PHIL ELDRIDGE SIMON FINNEY Assistant VFX Editor ...... KRISTIN DERELLA B Camera First Assistant Camera ...... PHIL SMITH 3D Editor ...... BRETT SCHLAMAN B Camera Second Assistant Camera ...... TOM LANE 3D Assistant Editors ...... PATRICK BARRY DIT Assistants ...... MARK DEMPSEY STEPHEN M. RICKERT, JR. MATEUSZ SZCZESNIAK Post Production Coordinators ...... TIEN NGUYEN Production Assistant ...... NATHAN LLOYD KATURA JENSEN Script Supervisors ...... LAURA JANE MILES SHEILA WALDRON Assistant Script Supervisor ...... MARIE LACEY V Post Production Assistants Lead Visual Eff ects Production Accountant ...... PAM SINSHEIMER FRANCISCO MENDEZ JESSICA O’DONOGHUE WILLIAM OWEN ANNA ROBERTSON Lead Digital Artists SEOSAIMHIN-COMFORT GLEASON-SHOBANDE TSAO MIN ADRIAN PONTUS ALBRECHT MICHAEL ALLEN SIKSIT BOONYODOM VISUAL EFFECTS DERRICK CARLIN GENE CHEE MIHAI CIOROBA PETER DEMAREST VFX Associate Producer ...... BENJAMIN AGHDAMI CHRISTOPHER DOERHOFF JULIEN GOLDSBROUGH VFX Coordinators ...... CECY FALLS DAVID GOTTLIEB GERALD GUTSCHMIDT SIMON BENNETT-LEYH ALEXIS HALL CHRIS HAVREBERG JAMES YEOMAN HAL HICKEL BRYAN HORVAT VFX Post Coordinator ...... KRIS SUNDBERG DONG YON KANG GORAN KOCOV VFX Supervising Data Wrangler ...... FELIX POMERANZ ATSUSHI KOJIMA JULIEN LASBLEIZ VFX Data Wrangler ...... EDWARD PRICE VOTCH LEVI SEAN MACKENZIE VFX Production Managers ...... NATALIE LOVATT JASON MADIGAN YATEEN MAHAMBREY GREG DIGIACOMO TOM MARTINEK JASON MCKEEMAN VFX Assistant Coordinator ...... TATCHIANA WHALLEY ANDRE METELLO PATRICK T. MYERS VFX Production Assistant ...... MADDISON GANNON GEORGES NAKHLE MASA NARITA VFX Post Production Assistant ...... ANDREW ZEKO BEN NEALL SHEAUHORNG NG VFX Assistant Data Wrangler ...... MIRAN DILBEROVIC SIMON “DUCK” RAFIN GREG SALTER Virtual Camera Operators ...... HUGH MACDONALD JEROEN (J) SCHULTE SHELDON SERRAO MARK O’KANE JOHN SISSEN PANYA SOUVANNA Postvis Compositor ...... WILLIAM WRIGHT TODD VAZIRI JOHN WALKER Virtual Camera Assistants ...... LAURA JEAN HEALEY SAM WIRCH EDDY WONG WAI YAP SAMUEL HARDING CAN YUKSEL Digital Artists INDUSTRIAL LIGHT & MAGIC JANICE TAN A.L. HAYLEY ADAMS ALPER AKSIT JUAN VALENZUELA ALCARAZ Visual Eff ects Supervisors ...... JULIAN FODDY DANIEL ALEJO SIAU YENE ANG GREG KEGEL WEI KIAN ANG ASIER APARICIO NIGEL SUMNER JOAKIM ARNESSON AUDUN ASE Animation Supervisors ...... ALEXANDER K. LEE GURAY AYAOKUR LIN AYETUT CHRIS LENTZ SEUNG YEOP BAEK RANDALL BAHNSEN Visual Eff ects Producers ...... CHRISTOPHER BANNISTER EILEEN BAI ALEXANDRE BAIN SOPHIE DAWES KATHARINE BAIRD MICHAEL BALZER KACY MCDONALD LEIGH BARBIER CLAUDIO BASSI CG Supervisors ...... CHRISTOPH AMMANN JOEL BAUTISTA IAN BAXTER NIHAL FRIEDEL BOYAN BAYNOV JEAN-PAUL BEAULIEU CELIA JEPSON KEVIN BELL PRASHANTH BHAGAVAN DANIEL LOBL GERALD BLAISE ADAM BLANK Compositing Supervisors ...... CHERNOGOROD ALEKSEI JORGE “YORCH” BOBADILLA LAURIC BONNEMORT NICOLAS CAILLIER CHRISTINE BREUNINGER PAUL BURTON JAY COOPER RODRIGO CAETANO DA COSTA MICHAEL CAIRNS ABISHEK NAIR DANIEL CAMP CHARLEY CARLAT DENIS SCOLAN STEVEN CARON YURI CARRARA Visual Eff ects Art Director ...... JASON HORLEY GERMAN CASADO FRAGA ERICO CASELLE Asset and Environment Supervisors DANIEL FRADE CASTANEDA KAMELIA CHABANE JEFFREY DE GUZMAN CLEMENT GERARD CAN CHANG VINCENT CHANG CARLOS MUNOZ RUSSELL PAUL ARREV CHANTIKIAN GEORGIE CHEN STEVE WALTON SUNNY LI-HSIEN WEI ZANG S. CHEN YASMINE CHENG DAN WHEATON SUSUMU YUKUHIRO EUGENE MATTHEW CHEONG PETER CHESLOFF ALVIN CHIA TADEUSZ CHMIEL Digital Artist Supervisors STEVE CHO JEREMY CHOI FLORENT ANDORRA JOEL BODIN JUNG YOON CHOI RAYMOND CHOU KARIN COOPER BETH D’AMATO NICOLA -GHEORGHE COJOCARU ASTON CONSTANTINIDES SAMUAL DAWES NICOLAS DELBECQ MARIA CORCHO MICHAEL CORCORAN TIM DOBBERT LUCIO FARINA MIGUEL COROMINAS PLA KRISHNAMURTI COSTA DAVID MENY ANDREW RITCHIE FREDERIC COTE LAURA COUMBE VICTOR SCHUTZ IV SHIVAS THILAK KEVIN COUTURE ED COY JAUME CREUS TONY D’AGOSTINO VI INGRID-ELIN DAHL-OLSEN RHEA DARCH MARTIN LAPP EMERIC LAROCHETTE PETER DAULTON PABLO DEL MOLINO IZQUIERDO RORY LASSEN JESSICA LASZLO JEROEN DESMET FRANCOIS-MAXENCE DESPLANQUES LENNY LEE GUILLAUME LENOEL MATTEO DI LENA MATHIEU DI MURO RAFAEL LESCANO CHIANG CHO LEUK CHRIS DIPAOLA KIM DONGSOO KEITH LEUNG CHRIS TAY BOK LIN ROBERT DORRIS JOHN DOUBLESTEIN YEO YAN LIN ZENG LIN ANDI-BOGDAN DRAGHICI FRANK DUMONT BAK LIPING DANIEL LLUSSA RIBES JOHN DURNEY FRANK DÜRSCHINGER DAVE LOGAN JULIAN LOJEK C. MICHAEL EASTON ABDULLAH ECIRLI KEVIN LOPEZ STEVEN LOVELL FAVIAN EE DAVID ELICES CONAN LOW JESSICA LOW ADAM ELKINS HARRY ELLARD JOAQUIN LUDEWIG FRANKINO LUPO BRENT ELLIOTT KARL ERLANDSEN DEMIS LYALL-WILSON RASELY MA DAVID R ESPINOZA JACK EVANS DARREN MACKAY NOEL MAHONEY JEREMY EZEKIEL MICHELE FABBRO SALMAN MALIK DAVID MANOS MORRIS KELLY ISABELL FAN KORNEL FARKAS SOPHIE MARFLEET MATHILDE MARION PAUL FAULKES CONNY FAUSER MUHAMMAD MARRI SCOTT MARRIOTT JAVIER FERNANDEZ DAVID FERNANDEZ SEBASTIEN MARSAIS TIA MARSHALL MARIANNA FERRANTE ALASTAIR FERRIS-LEAK MARCEL MARTINEZ ANDY MARTINEZ CALZADILLA REBECCA FLETCHER JESSE FLORES HAYDN MASUDA THOMAS MCCARTHY LARKIN FLYNN REBECCA FORTH CHRIS MCCROWE BRANDON MCNAUGHTON MATTHEW FOSTER DAVID FUHRER MYLES MCNEIL SCOTT MEASE BEAU GARCIA ANDY GARCIA, III JUAN CARLOS MENDOZA MICHAEL MIDLOCK THIBAULT GAURIAU TAU GERBER LUCA MIGNARDI JAMES A. J. MILLER CHEE JUN GHAI ANGELA GIANNONI SHUWAN MOK ANTONIO MONTES MELLADO RYAN GILLIS STEFANO GIORGETTI BRAD MOORE PAUL MORIAUX FILIPPO GOLIN MARIA GOODALE JONATHAN MOULIN MELISSA MULLIN JOHN GOODSON JEFF GREBE JASS HEECHEUL MUN MYLES MURPHY JOHN GRESKO EDUARD GRIGORYAN ALEX MURTAZA ELONA MUSHA RODRIGO GUERRERO JONATHAN GUILLERM WILL MUTO PER MØRK-JENSEN ALVIN GUNAWAN JUAN JOSÉ GÜIRALDES ULLAS NARAYANA ROHIT NAYAK JEAN-DENIS HAAS BERK HAKGUDER MARLA NEWALL YUHON NG SAM HANOVER ETHAN LIM SWEE HAO SACHIO NISHIYAMA JEAN-BAPTISTE NOYAU TRAVIS HARKLEROAD BENJAMIN HAWKINS JOHN O’CONNELL MATTEO OLIVIERI-DANCEY WENDY HENDRICKSON SIMON HERDEN CHIAK SHI ONG BEN OZERI ALAN HERNANDEZ SHERRY HITCH GURPREET PANNU JESSICA PAPSTEIN ANDREW HODGSON KOENRAAD HOFMEESTER CAROL ALYNN PAYNE ANTHONY PECK SUNGHWAN HONG TAN WOEI HONG WILLIAM LIM YEE PENG SCOTT PENNINGROTH MICHAEL HONRADA DANIEL HORNE DANIEL PEREZ VALENTIN PETROV JEN HOWARD DAVE R. HOWE CARLOS LUCAS PICAZO TIM PRESTON REBECCA HUNG HAN YUN TANG TAY HWAH ED PULIS OWEN RACHEL JONNI ISAACS BRAD ISDRAB MAYEC RANCEL SERAL DIEGO REBELLO JIRI JACKNOWITZ SEUNG RYONG JEON FERNANDO REULE JONATHAN REYNOLDS RUSSELL CHEN JIARUI KEITH JOHNSON ROBERT RICHARDSON DANIEL RIDLEY SUVI JOKINIEMI KEITH JONES DIEGO RIESTRA OLGUIN STEPHEN ROBERTSON RYAN L. JONES GREG JONKAJTYS WES ROBLETT ELSA RODRIGUEZ GERMAINE PHOO HUI JUN LUKAS KAMPICHLER CALVIN ROMEYN ROBERT ROSSELLO OLIVER KANE ANDREAS BRAVIN KARLSSON KIM KRISTIN ROTTMANN JAY ROXAS RAVI KASUMARTHY MICHELLE KATER JAMES RUSSELL MICAH RUSSELL ROSIE KEANE MATTHEW KEE DANIEL RYAN VALTER SAGRILLO POH SIANG KEE ABBIE KENNEDY FRANCESCA SALVATORE PRIAM SAMPAIO LAURENT KERMEL PRAJAKTA KHATAL OLOV SAMUELSSON MARCO ENGELMANN SANTOS LOUIS KIM STEPHEN KING MINORU SASAKI DAVID SCHOTT SHELAGH KITNEY DAN KNIGHT CARL SCHRÖTER SEBASTIAN SCHUTT JONATHAN KNIGHT JEAN LE KOH CHARLES SCHWARTZ ALEX SCOLLAY WOSING KOH STANISLAV KOLEV TANNER SCOTT ELHAM SENIN MARKUS KUHA ANTONI KUJAWA EMANUELE SERNIOTTI BEHNAM SHAFIEBEIK MARTIN VIKTOR KULIG JOHN KUNZ SAM SHAH TAYLOR SHAW MING-YEN KUO MIKE KWAN AMY SHEPARD GREGORY SHIMP JESSICA Y. LAI KAI-HUA LAN SHAWN SUN SHIYU JOE SICO NICOLAS LANDAJO ALBERTO LANDEROS NIC SIEVERS TAY CHIN SIONG VII JIRI SISKA RYAN SLUMAN Visual Eff ects Production Coordinators JESSICA SMITH RAMBO SNYDER ALEX APONTE MARY AUSTIN MICHAEL SOLON JAMES SPADAFORA PHUI YUNG CHAN KELSEY DAVIDSON CHRIS STEFIUK DEREK STEVENSON ALEXANDRA FAHEY STEPHANIE FERREIRA SAM STEWART RICHARD SURRIDGE YAP SHE FONG POH LI YUE GEORGINA YEGOR SWAROVSKI KRZYSZTOF SZCZEPANSKI ALEXANDER GUSTAVESON NATHASHAH HENG JACQUELINE TAN JEFFERY TAN ALEXANDRA HENLEY QIONG LU THEOPHANE TAN DONNA WY TANG ANNA MABARAK ANNIE MACLEOD HANTONG TANG MASAHIKO TANI KAROLINA O’BRIEN VALERY MATA ROCH JOE TARRANT BRIDGET TAYLOR BETHANY SILLS SUNNY SOLOMON BOA TEEPAPAL PANAT THAMRONGSOMBUTSAKUL DANIEL TAN LIVIA TENG PATRICK THOMPSON OLEG TROY KAREN TEOH CAROLINE WHITEHILL MELISSA TSENG CHRIS TURNER Technology KATE TURNER KEITH TURNER TRENT BATEMAN STEPHEN BOWLINE NOOR VALIBHOY RICK VAN DE SCHOOTBRUGGE JACK BROWN KRIS BUGLEAR FANI VASSIADI HOGDEN AYLWIN VILLANUEVA MATT CONG ADRIAN DIACONU EDGAR VILLASENOR ARCHIE VILLAVERDE NICOLE GALAZ GRANTLAND GEARS DAVID VIVALDINI WAIKIT WAN BRAD GRANTHAM DAVID HIGGINS JEI WANG STEVEN HEAVENLY WANG RAJ MAHENDRAN IAN MCGONIGAL TIM WARD JUN WATANABE BRIDGETTE POWELL NICK PROULX TALMAGE WATSON ERIC WEBER MATT RANK RICKI REISNER PUAH JUN WEI RONNIE WILLIAMS JR. MEGAN REITAN JOHN RELOSA AARON WILSON ANDY WONG DANE ROCKINGHAM MATTHIAS SCHARFENBERG EDMUND WONG ERIC WONG DAVIDE SELMO SIVANNY SELVAKUMAR TUCKYIN WONG TZUEN WU RANDY SEVERSON KIRK SHIMANO PERRY YAP ELBERT YEN CHARLIE SMITH CHRISTINA SOURS MAX MAK TSZ YEUNG ZHOU WAN YI GARY THOMPSON BRYAN TROWBRIDGE MARK YOUNG VINCENT YU KEVIN WOOLEY TIFFANY YUNG SERHII YURSKYI TONG ZHOU Production & Technical Support MELISSA ABAD DUSTIN LEE ABRAM In Loving Memory of ALEXIS AGROTIS AMY BACKWELL ROB WARD ALYSSA BLAKE JOY CARMECI DAN CARNEY DIANA CHU Visual Eff ects Editor ...... GREG HYMAN CRAIG CHURCH JOHN COLT MICHAEL CONTE JENNIFER CORONADO Visual Eff ects Concept Artists ZHU DUODUO ZACH GOLD BIANCA DRAGHICI YANICK DUSSEAULT ANTHONY GUIRY AMANDA GWA THANG LE AARON MCBRIDE JESSICA HARDY ALEX HELMAN BRETT NORTHCUTT MICHAEL SHEFFELS GISELA HERMELING XINJIE HU CHRIS VOY STEPHEN ZAVALA FLANNERY HUNTLEY PEI SAN KANG SHELLEY KATAYAMA CHOW YEW KAY Visual Eff ects Production Managers ...... ALICE KAHN SPENCER KENT FRANK LA MONACA CHERYL KERR PETER LEBER DARRYL LI NICOLE MATTESON WU LIQUN DEARBHLA MCDAID KANE STEWART BECKY MILLWARD LAURA MOORE LUCY TANNER MICHAEL MUELLER PASA MUSTAFA BRIANA O’CONNOR ALEX OWENS Associate Visual Eff ects Production Managers ...... JEEN YEE ERIK PAMPEL LLOYD PHILLIPS PEARLYN YEO ALY PIERCE LYDIA PRIOR NICK PROVENZANO JESSICA ROYCE ADRIAN SAMUELS FRANCOIS SHERWOOD KATE YANG SHUANGHE JENNIFER SKOG BRAD SMALLWOOD LORRAINE ROZON SMITH TERRY THOMAS CLARE TINSLEY ALESSANDRA TOMASSI EMILY WILLIAMS JENNIFER ZEIDAN

VIII ILM Executive Staff Additional Visual Eff ects by KHUYEN DANG GREG GRUSBY JELLYFISH PICTURES, LTD. LUKE HETHERINGTON JOHN KNOLL GRETCHEN LIBBY SUE LYSTER JEREMY BOOTH CHRIS CARNE DENNIS MUREN LUKE O’BYRNE JONATHAN CHEETHAM DAVE COOK RANDAL SHORE JESSICA TEACH CHIARA COSTANTINO MATTHEW CROWE RUTH DEANE THEAJO DHARAN Additional Visual Eff ects by ANDREW FLETCHER CHRIS GLEW HYBRIDE, A DIVISION OF UBISOFT JASON HAYES PAUL INGRAM-TEDD FATEMEH KHOSHKHOU LUCIANO LOPES PIERRE RAYMOND MICHEL MURDOCK UNAI MARTINEZ-BARREDO NEAL PATEL THIERRY DELATTRE JOSEPH KASPARIAN GEORGE PETKOV CHRIS TAYLOR FRANÇOIS LAMBERT PIERRE BLAIN ABBIE TUCKER-WILLIAMS GIULIANO VIGANO PHILIPPE THÉROUX EMMANUEL PELLETIER MATHIEU BOUCHER LOUISE BERTRAND Additional Visual Eff ects by ALAIN LACROIX ALEXANDRE ALIN RAYNAULT VFX ALEXANDRE TESSIER ALICE PÉPUJOL ANNABELLE CHEVRIER ASHISH DEWAN NORMAND ARCHAMBAULT GHISLAIN BRUNEAU BELLY MINGMUONG BENOIT LEGROS JACINTHE COTE GABRIEL CURPAS BENOÎT MORIN BRUNO-PIERRE JOBIN ERIC HAMEL ETIENNE LAROCHE CATHERINE LECAVALIER CHRISTIAN MÉNARD STEPHANIE MORIN VINCENT POITRAS CHRISTOPHE DAMIANO CYNTHIA RODRIGUEZ AMELIE THOMAS CEDRIC TREMBLAY DANG VY NGUYEN DAVID ROBERGE ÉDOUARD BUTTIERO ÉLOI BRUNELLE Additional Visual Eff ects by ELSA LEMIRE FÉLIX CLÉMENT TIPPETT STUDIOS FRANÇOIS CHANCRIN FRANÇOIS LEDUC FRÉDÉRIC FORTIN FRÉDÉRICK GAUDREAU KEN CHUNG MARK DUBEAU GABRIEL COUTURE-BOJANOWSKI GEOFFROY LAUZON TOM GIBBONS LEE HAHN GLENN CURRY GUILLAUME ST-AUBIN-SEERS DAVID J. SULLIVAN DAVID LAUER JAMES DANIEL HAINES JASON BOHBOT CHRIS MORLEY KEN ROGERSON JEAN-FRANÇOIS GALLANT JEAN-FRÉDÉRIC VEILLEUX KAYTE SABICER PHIL TIPPETT JOANIE CROTEAU JOCELYN MAHER JOSEF SY JULIE THERRIEN Additional Visual Eff ects by JULIEN CHABOT JULIEN DUBUSSET VIRTUOS JUSTIN HÉBERT KARINA MARIANO KATY SAVOIE LÉA VUILLEMIN Additional Visual Eff ects by LOUIS-ALEXANDRE LORD LUC DESMARAIS EXCEPTIONAL MINDS MARC AUBRY MARCO TREMBLAY MARIE-CLAUDE AUBRY MARTIN LARRIVÉE Additional Visual Eff ects by MARYSE BOUCHARD MATHIEU BOUDREAU LOLA|VFX MATHIEU LECLAIRE MATHIEU LALONDE MATTHIEU CHÂTELIER MAURICIO SALAS THOMAS NITTMANN EDSON WILLIAMS MAXIME FERLAND MAXIME LEMIEUX MARK STERN MAX LEONARD MÉLANIE COTTON MÉLISSA ALMEIDA MARE MCINTOSH JEREMIAH SWEENEY MÉLISSA LAFRAMBOISE MAILLÉ MICHAËL BENTITOU LINDSEY FRY JAMISON MCCORD MICHEL BARRIÈRE MICHEL BERGERON JASON MULYADI MATT CORDERO MIGUEL BÉRUBÉ OUELLET NADINE HOMIER NICOLAS LEROY OLIVIER BEAULIEU Visualization by OLIVIER GRAVEL OLIVIER PAINCHAUD THE THIRD FLOOR, INC. PASCAL LORTIE LANGLOIS PATRICK PICHÉ PAUL SAINT-HILAIRE RAPHAËL VALLÉ Visualization Supervisors ...... BARRY HOWELL RICHARD CLÉMENT TAM RICHARD MARTIN FARAZ HAMEED SAMUEL LEPAGE-BÉDARD SAMUEL LORIAULT-GOULET ALBERT CHENG SÉBASTIEN RIOUX STEPHAN GERVAIS Visualization Leads ...... LINA KOUZNETSOVA STÉPHANE JEAN-MARY STEVE FRASER SCOTT HANKEL STEVE PELCHAT SYLVIE TALBOT MATTHEW SMART VALÉRIE VILLENEUVE VASSILIOS LANARIS VÉRONIQUE GUAY VÉRONIQUE TREMBLAY VIKRAMJIT SORENSANGBAM XAVIER LAROCQUE YANICK GAUDREAU YANICK WILISKY IX Visualization Artists Finaling Manager ...... NOELLE CYR MAKSIMS ALEKSEJEVS MILOS ARADANIN Depth Manager ...... MELISSA ESPINA STEWART ASH MARGHERITA BALESTRI Roto QC Supervisor ...... NESAR AHAMED CRAIG BARDSLEY MIKE “PHAROAH” BARRETT Assistant Depth Manager ...... KYLE WHALEY PAUL BERRY JONATHAN CLARK Assistant Element QC Manager ...... CARA HINDLEY AARON CLEMENT J. TODD CONSTANTINE Post Production Supervisor ...... JASON POMERANTZ GEER DUBOIS DAVE EDWARDZ Stereo Editors ...... RYAN FAULKNER MAIKE FIENE DEAN FRATER DAVE WATRO NICHOLAS FREESTON CLAIRE HILL ALEXANDAR IVANCHEV CALEB JACKSON Production Coordinators MASON KHOO EDDIE KIM ALISHA VANDER AHE KARI-LYN GRAVEL DAN LANE WIN LEERASANTHANAH LUCAS NG STEPHANIE PHIRA-SIDDIQUE ROGER LIU DOMINIC MARTIN TIFFANY TALMAGE ELLIS TRESPALACIOS ANDREW MILLER DIANA MORAWSKI DONALD NETZEL FRANKLIN OKIKE Depth Department CHRIS OLSEN PETE PANTON AMOL POPAT CHAVAN NABAJIT DAS ANDRES PATARROYO MICHELE GINO RADER DINAR DORLEKAR PAWAN DURUGKAR ALMA ROSIO RAMIREZ KARL RAPLEY HOLLY GUNN JAMES HAGARTY AMZ RATTAN JAY ROXAS VIJAY KATE RAEES KHAN IGNACIO SANTAMARIA JACOPO SEBASTIANI NACHIKET KULKARNI PRASHANT KUMAR EDWARD PERRY SMITH JEAN TEULIERES ALEXIS MACDONALD DANIEL MACDONALD ADAM WATERS JASON WEN DHIRAJ MAHAJAN KINDRA MCCALL NEETHA SHANKAR GURDEEP SINGH Previs Editor ...... IAN DIFFER VINAY KUMAR SINGH RAGHVENDRA SINGH Previs Production Manager ...... ELIZABETH MONTES RAJWINDER SINGH JACOB STEININGER Previs Coordinator ...... LEIGH FREEDMAN MAHESH WAGH KELLY WESCOTT Executive Producer (London) ...... DUNCAN BURBIDGE DANE WYLIE RAM PARVESH YADAV Head of Production (London) ...... SARAH CAUCHOIS Head of Finance ...... ALLIE KOPPEL Roto Department IT Manager ...... DAFFER AL-FAIADH NIKITA RAMCHANDRA AHIRE KIRAN BAJARE Pipeline Support ...... ATHANASIOS PAPADIMITROU YOGESH BELWANSHI KIRAN G. BETHEKAR Virtual Production Supervisor ...... CASEY SCHATZ PRIYANKA ARUN DHAWARE ANAND GHARATE Postvis Production Manager ...... LORI TALLEY GAYATRI PRAMOD KAHAR PRIYANKA V KAKPURE Postvis Coordinator ...... CHRISTOPHER THELLAS AZIZNUSA KHAN SANDEEP KHEDKAR Executive Producer (Los Angeles) ...... CHRISTOPHER EDWARDS DEVENDRA DIGAMBARRAO KULKARNI MONALI KUMARI Head of Production (Los Angeles) ...... CHARLOTTE NELSON VISHAL KUSHWAHA CARSON MAJORS Head of IT ...... JEREMY ODDO GAJANAND MEENA KIRAN BALASAHEB NALAGE Head of Pipeline ...... ADDISON BATH SNEHA SHAMRAO PAWAR MUKESH RATHOD Head of Marketing ...... LAUREN PUNTILLO AVALING BANA SABLE VEERA VARA PRASAD SATRAM VISHESH SINGH SHANKAR BABURAO TEKALE 3D Conversion and Visual Eff ects by SHIVANEE VERMA RAVI YADAV STEREO D Finaling Department Stereographer ...... YOICHIRO “YO” AOKI PADMINI VINAYAK AMNOKAR IEVA CERPS Stereo Supervisors ...... JEREMY CARROLL DAVID CRANE ANIL M. GANGURDE SASHWATA DAS GLENN GUENETTE ETHAN HELMS Stereo Executive Producers ...... WILLIAM SHERAK SADDAM HUSSAIN SATYA PRASAD KATTA LINDSEY KAISER AMIT KUMAR DIWAKAR KUMAR MIKE GUNTER RAJEEV KUMAR VINCENT MAK AARON PARRY LIAM MEAKINS MAHESH SURESH MHETRAJKAR Assistant Stereo Supervisors ...... BANPREET SINGH RAHUL SIDRAM NAKATE NITESH NEELA HIMANSHU HEMENDRA PATHAK DANA PASSARELLA MUNMUN PATRA Finaling Supervisor ...... VARUNA DARENSBOURG RAKESH SINGH RAWAT KHIZAR SHABIR Depth Supervisor ...... ROY MANN MANJEET SINGH PARKER SMITH Roto Manager ...... AKBAR SHAIKH LINGAM PALLY SRINIVAS DEREK TRACY Assistant Depth Supervisor ...... LIZZ MILLER SONU YADAV Assistant Finaling Manager ...... TEODORA ILIE Producer ...... TIMMY BRODERICK Senior Pipeline TD ...... ANDREW KENNEDY Stereo Production Supervisor ...... PIETRO GALLO Final QC Lead ...... CHRIS MYERCHIN Line Producer ...... JESSICA SHARP IT Manager ...... MIKE KNOX X Element QC Senior Coordinator ...... VUK DESPOTOVIC In-Camera VFX Projection by LUX MACHINA CONSULTING Element/Final QC Artists BRENT CHENEY JACK HAWLEY Media Server Project Managers ...... PHILIP GALLER CLARE MORRIS CODY POAG ZACH ALEXANDER JORDAN STOLEARCIUS OLIVIA WODZISZEWSKI WYATT BARTEL Media Server Programmers ...... JASON DAVIS Ingest/Delivery Manager ...... JAKE DEE-MCKOY KRIS MURRAY VR Dept ...... RUSSELL MCCOY JAKE ALEXANDER SCOTT MITCHELL DAVID PHILLIPS Aerial Photogrammetry Scanning Services by BRIAN BENTLEY CLEAR ANGLE STUDIOS LTD Software Development ...... RONALD CHOI VFX Augmentation ...... ALEX HEFFNER Projection by IT & Support ...... KANLESH CHALKAR SWEETWATER ALEXANDER MACDONALD DAN CROFT RON DREWS Visual Eff ects Crew KEVIN EVANS JIM GOLD Line Producer ...... ANDREW EICK JASON RIGGEN VFX Production Team ...... NABANKUR BHAGAWATI LED by ADAM FISK VER ROSHAN PANJWANI JONNY HUNT MIKE BROWN VFX Supervisor ...... MIKE HEDAYATI ED LAWLOR KENNY MACLEAN VFX Roto Supervisor ...... DANIEL SCHREPF JOHN JR RICHARDSON VFX Paint Lead ...... AMOL TUKARAM NANAWARE Medusa Performance Capture Technology by VFX Artists DISNEY RESEARCH PARTHA PRATIM BANERJEE TARAKNATH GHOSH SUNIL DATTATRAY GUNJAL VIJAY KANYAL Post Production Sound Services by SWAPNIL SURESH KHAROTE ABHAY KUMAR SKYWALKER SOUND AJIT RAMESH LINGAYAT NIKHIL PANDURANG MANCHAL A LUCASFILM LTD. COMPANY KANHAIYA MANDAL AMIT KUMAR MEHTA MARIN COUNTY, CALIFORNIA SAGAR SHAHAJI MISAL DINESH VITTHAL PARAD PRAVEEN KUMAR PENTA RAJU PURUPATI VISHAL RAJPUT G.L.N.P.R.S. SAILENDRA Additional Sound Designer ...... DAVID ACORD YOGESH PRABHAKAR SALVI NILESH SANER Dialogue/ADR Supervisor ...... RICHARD QUINN KUMAR RANVIR SINHA MD. IFTEKHAR TASNEEM Foley Editors ...... KIM PATRICK DEE SELBY Roto QIANBAIHUI YANG ASHOK KUMAR ARETI HARSHALI ASHOK BHANGE Apprentice Sound Editor ...... SARAH SHAW PRATIP KUMAR BURMAN DANGAT Foley Supervisor ...... FRANK RINELLA NAGA PAVAN DASETTI SANTOSH JAGANATH DHOTRE Additional Sound Eff ects Editors ...... BONNIE WILD PRAFULL GADE CHINTA JITENDRA JON BORLAND G DILLIP KUMAR RAVINDRA KUMAR Digital Editorial Support ...... DANNY CACCAVO SAGAR SHRIKRUSHNA KUVAR NILESH RAJENDRA LAGAD Post Production Finance Manager ...... MIKE PETERS DASYAPU MADHU SACHIN BAPU MANE Client Services ...... EVA PORTER RANJEET MISHRA HEMACHAND MYLAPALLI Head of Production ...... JON NULL ANIL KUMAR NUNELA ARVIND DATTA PAWADE Head of Engineering ...... STEVE MORRIS SANDIP ASHOK PAWAR PARTHASARATHY R Sound Eff ects Editors ...... JUSTIN DOYLE KRUSHNA ANKUSH RANDIVE PRADEEP ROY ANDRE J.H. ZWEERS DAN SCHREPF SHAKIB MD. HANIF SHAIKH Dialogue/ADR Editors ...... STEVE SLANEC ASHUTOSH KUMAR SHARMA PRABHUNATH SINGH BRIAN CHUMNEY MAHESH JALINDAR SOTRE RAJARAMAN SUNDARESAN Assistant Supervising Sound Editor ...... TREY TURNER KRIS PRASAD T Assistant Sound Eff ects Editor ...... CHRIS FRAZIER Foley Artists ...... RONNI PITMAN MARGIE O’MALLEY Assistant Re-Recording Mixers ...... DANIELLE DUPRE JEFF KING Engineering Services ...... BRIAN LONG IT Engineer ...... EDGAR MEZA XI Post Production Sound Accountant ...... RENÉE RUSSO HOD Practical Electrician ...... NICK WOOLLARD Scheduling ...... CARRIE PERRY Chargehand Electrical Riggers ...... BARRY ALDRIDGE Projectionists ...... JOHN TORRIJOS MICHAEL FREANEY GORDON NG RUSSELL PROSSER SEAN YOUNG General Manager ...... JOSH LOWDEN Rigging Gaff er ...... RAYMOND “OSSA” MILLS Supervising Rigging Electrician ...... RONNIE SHANE MUSIC Chargehand Rigging Electricians ...... MARK MILLS PAUL WOOD Additional Music and Arrangements ...... BATU SENER Console Operators ...... WILLIAM BURNS ANTHONY WILLIS DAVID TAYLOR PAUL MOUNSEY Supervising Practical Electrician ...... COLIN FIELD Supervising Orchestrator ...... JOHN ASHTON THOMAS Chargehand Practical Electrician ...... DENNIS BALDWIN Orchestrations Standby Electrical Rigger ...... TERENCE RICHARDS GEOFF LAWSON TOMMY LAURENCE ANDREW KINNEY RANDY KERBER Floor Lighting Technicians RICK GIOVINAZZO GAVIN GREENAWAY MARK CLARK PAUL CRONIN WILLIAM DUNN MARK LAIDLAW LEE PERKINS GEORGE WORLEY Additional Orchestrations Rigging Electricians HERBERT W. SPENCER MARK GRAHAM MARTIN BLOYE CHARLES EUSTON GREGORY JAMROK VICTOR PESAVENTO ALAN GROSCH PAUL KELLY PAUL HENNING JAMES SIBLEY JAMES SMART Music Editors ...... JACK DOLMAN MARK STIBBS RYAN RUBIN Practical Electricians RAMIRO BELGARDT STEPHEN BOWEN TONY CHRISTIE SALLY BOLDT CHRISTOPHER DAY JAMIE FIELD Orchestra Conducted by ...... GAVIN GREENAWAY JOEL GLASS DAVID GLAZIER Orchestra Leader ...... EMLYN SINGLETON KEITH KIRKUM SIMON PURDY Score Recordist and Mixer ...... SHAWN MURPHY COLIN TOWNSEND Additional Engineers ...... JAKE JACKSON Electrical Riggers NICK WOLLAGE JAMES BUSBY TIMOTHY CARRIER Additional Mixing ...... JOHN TRAUNWIESER GUY COPE JEREMIAH DELANEY Mix Assistant...... GORDON DAVIDSON LUKE HERBERT SHAUN MEW Scoring Editor...... DAVID CHANNING GARY SAMSON ANTHONY SEARS Digital Score Recordist ...... ERIK SWANSON DAVID WILLIAMS Orchestra Contractor . . .LUCY WHALLEY for ISOBEL GRIFFITHS LTD Choirs ...... ETHNIC BULGARIAN CHOIR “VANYA MONEVA” GRIPS & SOFIA SESSION CHOIR Best Boy Grips ...... NICK CUPAC Choir Contractor ...... GEORGE STREZOV GARY ‘GIZZA’ SMITH Vocal Contractor ...... EDIE LEHMANN BODDICKER Grip Trainee ...... BARNEY PEARCE Solo Vocals ...... BARAKA MAY Standby Riggers ...... JAY BURR REID BRUTON DAVID GRAY Music Preparation ...... MARK GRAHAM Standby Carpenters ...... JOSH JONES GREGORY JAMROK ADAM SHEPHERDLY DAVE HAGE Standby Painter ...... DANIEL TAGGART Score Recorded at ...... ABBEY ROAD STUDIOS, LONDON Standby Plasterer ...... DARRELL WEST Stage Recordists ...... JOHN BARRETT Standby Stagehand ...... JAMES MUIR STEFANO CIVETTA GEORGE OULTON A Camera Grips ...... MALCOLM MCGILCHRIST Score Mixed at ...... 5 CAT STUDIOS, LOS ANGELES ROSS SHEPPARD Score Production Assistants ...... NATE UNDERKUFFLER B Camera Grips ...... ADRIAN BARRY SOYA SOO SIMON FOGG Crane Technicians ...... COLIN HAZELL ELECTRICAL RYAN TURNER Libra Head Technician ...... DARREN BAILEY Best Boy ...... RICKY PATTENDEN HOD Bluescreen Rigger ...... MICHAEL RICH HOD Electrical Rigger ...... IAIN LOWE Bluescreen Riggers ...... LEE HEDGES Electrical Rigging Supervisor ...... PAUL GARRATT DAVID KING Chargehand Floor Lighting Technician ...... GEORGE BIRD Bluescreen Stagehand ...... LOUIE CHAMBERS XII PROPS Set Dec Scenic Painters STEVEN BARNES JAMIE HALL Assistant Prop Masters ...... JOHN FOX CRAIG HAWTREE BENJAMIN MUSK JACK GARWOOD PETER RHODES STEVEN WARREN Prop Storeman ...... QUENTIN DAVIES HOD Prop Maker ...... MARK ROCCA Assistant Storeman ...... JONATHAN WALLACE Driver/Runner ...... SAMUEL HARLOW Supervising Standby Props ...... SONNY MERCHANT Prop Making Coordinators ...... MIRIAM ABOU-SHEHADA Standby Props ...... OSSIE MERCHANT VICTORIA RHODES Supervising Prop Weapons ...... PIP FOX Senior Props Modellers ...... ANDREW AINSCOW Supervising Dressing Props ...... PETER WATSON ANTHONY BRUTON WILLIAM WELLS STEPHEN DRING Hand Props Supervisor ...... SIMON WILKINSON PETER LEE Co-Storeman ...... COLIN MERCHANT ROBERT SEEX Workshop Supervisor ...... TOBY WAGNER Workshop Props ...... DAVE TINCOMBE Props Modellers Senior Trainee Standby Props ...... CHARLES SUMMERVILLE THOMAS ANDERSON SOPHIE DYER BARTLETT ADRIAN BRADY KERRIN BRAIDEN JACK BREWER MARTIN CAMPBELL Hand Props Painters ...... DEAN BLYTH BENEDICT CROOKS KEITH FERRIS LILY MATHISZIG-LEE PETER FIELDING JAYNE GIBSON AMANDA WARD NOEL GLENNON DARREN GOODHEAD STEPHEN GREGORY JOSEPH HARLOW Chargehand Dressing Props ROBERT HAYWARD STEVEN HAYWARD MARTYN DOUST NATHAN HOLT DAVID HEWITT DANIEL HOSKINS ALAN JONES ADRIAN PLATT SAMUEL JOHNSON JAMES KNIGHT MARK REYNOLDS JOHN LEE BENJAMIN LEWENS HANNAH LYONS JESSICA MARTIN Dressing Props MATHEW NEIGHBOUR WILLIAM NELSON JONATHAN EVANS MICHAEL FLEMING MARK NORFOLK MICHAEL PARKIN PAUL HEARN DAVID HYNES REBECCA PARKIN BENJAMIN PHILLIPS DEAN MORRIS NATHAN PAYNE MIGUEL QUINA JOHN RUDDOCK ROSS WAGNER STEPHEN WESTLEY SEAN SCHOFIELD PETER SELLARS HARLEY WILKINSON SILAS WILLIAMS LUISA TOLEDO REBECCA TYNAN ANDREW “MONTY” WILSON Junior Props Modellers ...... LOUIS BALL Junior Dressing Props ...... RENATO CAVALLARO HARLEY BUDD CHARLIE HORWOOD STUART DONCASTER GABRIEL WILKINSON NATHANIAL HARRISON Junior Trainee Dressing Props ...... KENT MCCLAREN YOD YUTAMANOP Action Vehicles Supervisor ...... WARREN STICKLEY Junior Petty Cash Buyer ...... ANDRIANA PANAYI Action Vehicles Chargehand Dressing Props . . . . . CHARLES JELLIS Supervising Set Dec Carpenter ...... JAMIE WHITE Workshop Chargehand Dressing Props ...... JULIAN EYRES Chargehand Set Dec Carpenter ...... JASON WHYMAN Action Vehicles Dressing Props Supervising Set Dec Painter ...... CARL WILDMAN CONRAD AYLING NICHOLAS CUMMINS Production Assistant ...... HANNA BRAR MARK EDGINGTON DECLAN HARDY Senior Trainee Dressing Props ...... LIAM ALLEYNE FAISAL KARIM JOHN LOWREY JEFFREY CLARKE MARK PAPWORTH JOHN RANDALL DREW LAU ALEX RAINE Trainee Dressing Props ...... JORDAN ALLEYNE Action Vehicles Junior Dressing Props ...... RHYS STICKLEY Props Coordinators/Buyers ...... LUCIE BOURGEAU Action Vehicles Trainee Dressing Props ...... EDWARD SALISBURY APRIL DUTTON SPECIAL EFFECTS Set Dec Carpenters ...... NATHAN CORNWELL SFX Workshop Supervisor ...... JEM LOVETT CHRISTOPHER FREWIN SFX Floor Supervisor ...... JAMIE WEGUELIN DANNY PITON SFX Production Buyers/Coordinators ...... JESSICA LEWINGTON THOMAS WRIGHT ALICIA DAVIES Chargehand Set Dec Scenic Painter ...... BENJAMIN LOBB SFX Buyers/Assistant Coordinators ...... CLAIRE WALKER KELLY TAYLOR-DIAS

XIII Lead SFX Senior Technicians Electronic Design & ADAM ALDRIDGE PHIL ASHTON Development Supervisor ...... MATTHEW DENTON IAN BIGGS DAVID FORD Model Mould Shop HOD ...... KENNY WILSON TONY TURNER CFX Paint Finish Design Supervisor ...... HENRIK SVENSSON SFX CAD Drawers/Design Engineers VINCENT ABBOTT NICK BONATHAN CFX Coordinator ...... SAMANTHA LANGRIDGE DAVID DUNSTERVILLE STEVE MOSLEY DAVID POOLE Creature Movement Choreographer ...... PAUL KASEY SFX Senior Technicians Senior Sculptors ...... COLIN JACKMAN ANDY AITKEN PAUL BENTMAN LOUIS WILTSHIRE JONATHAN BICKERDIKE DOUG BISHOP Puppeteer Coordinator ...... SOPHIE WHITE TERRY BRIDLE ANDY BUNCE Sculptors ...... ANDRÉ GILBERT PAUL CLANCY CHRIS CORBOULD DARREN NEVIN JAIME CORBOULD MICHAEL DURKAN JUSTIN PITKETHLY DAVID ELTHAM OLIVER GEE JAMES SPARROW DARRELL GUYON DAN HOMEWOOD Senior Animatronic Designers MATT JOHNSON DAVID KEEN CHRIS CLARKE MARK JONES IAN LOWE ROGER MANN JOSH LEE ADRIAN PARISH HUW MILLER DANNY MURPHY JAMES SANDYS STEVE WRIGHT LEE PHELAN ANTON PRICKETT NIGEL SINCLAIR PHOEBE TAIT Key Animatronic Designers KEVIN WESCOTT LEE WINTER FIONA BARNES ELISABET BERGGREN SFX Technicians KATY CHERRY GILES HANNAGAN RICHARD CHEAL LUKE CORBYN SHERRI HAZZARD MORNA MACPHERSON GEORGE DUNN CHARLIE HELMS HEATHER MCMULLEN NATALIE WICKENS NATHAN HIRONS GARETH JOLLY SEAN LEESON BRYAN PEDDER Animatronic Designers DARREN SHEARWOOD KAROL STACHOWICZ TIMOTHY BERRY SACHA CHOAT ADAM TOMLINSON LUKE TURNER ELIZABETH HARKIN PETE HAWKINS CHRIS WHITELEY JESSIE HINTON MICHELE JONES THEA KEENAN GERARD MOORE SFX Engineers/Fabricators SAM NICHOLSON SIMON NORTHCOTT OTT BAXTER KEVIN DANCE REBECCA SIMM LAURA SINDALL PAUL FALLANCHE SHANE HARVEY PAUL VINCETT WAYNE HARVEY STUART MAY TONY WASS CHRIS WESTON Junior Animatronic Designers PETER WINDLE CLAIRE BANNISTER HARRIET KINGS SFX Riggers ...... KEVIN WELCH FIONA POLLARD ZOFIA STELLA SAWICKA GRANT TAYLOR SFX Assistant Technicians ...... JASON THORNE Senior Mould Makers ...... STEVE COURT BEN LOVETT TERRY SIBLEY SFX Trainees ...... TOM ALDRIDGE Mould Makers ...... LOUISE DUPIN HENRY WOLFF EMILY HUBBARD SFX Modeller ...... SEAN KENRICK Model Makers ...... GREGORY HORSWILL SFX Driver/Buyer ...... NEIL TUOHY WALDO MASON PAUL SZEBESTA CREATURE SHOP LEE TOWERSEY Modellers CFX Production Supervisor ...... KATIE NEWITT PATRICK CARRACEDO BARBET NIKKI BELDING BRIAN BEST JODI CORPE CFX Concept Designers ...... JAKE LUNT DAVIES KERRILL FAHY JOEL HALL LUKE FISHER KATI HOOD STEPHANIE HOVETTE IVAN MANZELLA CERINA KNOTT SOPHIE MEDHURST MARTIN REZARD KAREN O’SULLIVAN KAREN PURVIS

Supervising Animatronic Designers ...... VANESSA BASTYAN Junior Mould Makers ...... CHLOE HENDERSON MARIA CORK PETER TINDELL GUSTAV HOEGEN Junior Hair & Fur Technicians ...... KESSIAH ARTHUR CAROLINE GORING CFX Supervising Senior Sculptor ...... JULIAN MURRAY MIRELLE PAULO XIV Trainee Mould Maker ...... JESSICA TUCKER Security Access Administrator ...... RICHARD MYATT CFX Buyer ...... CLAIRE CAMERON Security Administrator ...... JANNIK KUCZYNSKI CFX Assistant Coordinator ...... KATE MALONEY Production Assistant ...... ERIN STEVENSON Technology Manager ...... ALY IVY Supervising Foam Modeller ...... JIMMY BERNARDINIS Technology Technician ...... PAUL DENTON Foam Technician ...... LUCIE SNOW Technology Support ...... LYALL WATKINS Silicone Technician ...... ROSIE WHITTLE Technology Supervisor ...... MURAD ALI CFX Trainees ...... CHERYL LEIGH MURPHY Technology Coordinator . . . . . MONIKA CHOWDHARY KUCZYNSKI LEAH TURNER Technology Assistant ...... DANIEL BLEWETT

CFX Digital Asset & Head of Production Safety ...... MARK POOLE Video Supervisor ...... LAKSHANTHA PATTAPOLA Safety Advisors ...... LAWRENCE EYDMANN 3D Modeller ...... SCOTT RILEY DANIEL MARTIN SEAN MURRAY PRODUCTION Production Safety Department Coordinator ...... MERCEDES MORAN Co-Producer ...... WILL ALLEGRA Key Nurse ...... KAREN FAYERTY Medic ...... MICHAEL BEARD Set Second Assistant Director ...... CLARE GLASS Set Third Assistant Director ...... DONALD BENTLEY Catering Provided by ...... RED CHUTNEY Crowd Second Assistant Director ...... ROBERT MADDEN Cast Catering Provided by ...... JAMIESON KEMP LTD. Base Third Assistant Directors ...... CATHERINE LAINE Cast Chefs ...... JAMIE KEMP STEPHANIE WHITEHEAD SAUL BRUTTON Assistant to Mr. Howard ...... TRISTAN BATTERSBY Catering Assistants ...... DARREN LOMAS Assistants to Ms. Shearmur ...... RYAN BUSSE SAM HOULDSWORTH CHRIS HYACINTHE JONNY WHITI SUZI WILSON Craft Services ...... ANDREW SHARE Assistant to Mr. Swartz ...... CARLA KAEMPFER KEVIN JONES Assistant to Mr. Young ...... FRASER RIGG CARL GASSER Assistants to Ms. Kennedy ...... KIMIKO FOX ROBERT JANUSINSKI PEREGRINE KITCHENER-FELLOWES CHARLOTTE DRAPER CONSTRUCTION MATT MCGUIRE Assistant to Mr. Emanuel ...... JASMIN MORADIAN Assistant Construction Managers ...... TONY GRAYSMARK Assistant to Mr. Lord & Mr. Miller ...... REBECCA KARCH JOHN KIRSOP Assistant to Mr. McGatlin ...... CAMREN BRANTLEY-RIOS Construction Coordinator ...... VALENTINA BORFECCHIA Assistant Construction Coordinators ...... NICOLA DEWEY Production Assistants POLLY SEATH FAZ BUFFERY JARED COLAO Construction Buyer ...... GARRY HAYES CHARLOTTE MILLAR ANDREW RICHARDS DAVID SOWERBY LORI BROWN HOD Carpenter ...... LEE BIGGS

Casting Associate (UK) ...... MARTIN WARE Supervising Carpenters Dialect Coach ...... ANDREW JACK LAURENCE BURNS KELVIN CARTER Casting Associate (US) ...... LESLIE WOO, CSA ANTHONY CHALLENOR WAYNE DAY Casting Assistants ...... LEIGH JONTE KEITH DYETT MARTIN FREEMAN CHRISTIAN BUSTAMANTE IGNACIO SANTEUGINI NICHOLAS SARGENT Assistant to Mr. Ehrenreich ...... ROBERT HAVILL Assistant to Mr. Harrelson ...... LEV WATACH Chargehand Carpenters Personal Trainer ...... SIMON WATERSON PHILIP BRADLEY JORDAN FORBES Physiotherapist/Physical Therapist ...... FRANCES COLLIER CONOR HAYES ROBERT JACKSON TONY MOOR GRAHAM SHEPHERDLY Stand-ins ...... ALISON BALL BENEDICT TARLTON PAUL WATERMAN CHRISTOPHER BEARD MORENO PERDONI Carpenters IAN WHYTE MITCHELL ALDERTON JAMES BOUGHEN JAMES BURNS CIARAN CANNING Head of Security EMEA ...... DAMIEN SLOWEY JOHN CREWE STEPHEN CREWE Security Manager ...... CONNOR NOLAN JACK DEHAAN STEPHEN DODD Security Coordinator ...... SIMEON PETERS JOE EDWARDS SCOTT ELMS XV CHARLIE GRANT MARK HAYDON Chargehand Metal Worker ...... THOMAS COSTELLOE JASON HTAY DAMIAN KEOGH Metal Worker’s Labourer ...... PAUL VERNEY ASHLEY KING KEVIN MCAULEY Metal Workers ...... MATTHEW BUTTON THOMAS MCCARTHY MARIUS MOSLEY MICHAEL COTTERELL JOHN MOXOM GARETH NEWVELL SCOTT GREEN RAYMOND NORRIS FREDERICK PICKERING PAUL HODGES CONNER ROGERSON LUKE SARGENT MATTHEW RICHARDSON PHILIP SEAGROVE ROBERT SHILLIBEER PETER SMITH PAUL STEWART XERXES SZOKOLOVICS BRADLEY TEMPLE HOD Plasterer ...... MARTIN MORAN ALAN TILLEY MARTIN TREACHER Supervising Plasterers ...... DARREN BLANCHARD MICHAEL VERNETTI STEPHEN WHITWORTH RYAN WESCOTT JACOB WILLIS HARRY WILSON MORGAN MORAN Chargehand Plasterers ...... PAUL BLANDFORD Improver Carpenters JASON BLAND ADAM BELL THOMAS DARK JOE NEEDHAM LEWIS DEHAAN CASEY HARRIS TOBY YOUNG Plasterers Third Year Apprentice Carpenters ...... MARCUS FIELD GEORGE BELL JAMIE COLEMAN DEAN MORAN ROBERT COOTES CHRISTIAN CRACKNELL Second Year Apprentice Carpenters ...... ZAK BROGAN MICHAEL DEVERELL MARK FOSSEY DANIEL BURNS SEAN FOSSEY RICHARD HOLDER BEN ETHERINGTON ALAN HOPKINS STEPHEN JOHNSON First Year Apprentice Carpenters ...... JOSHUA CAREY PETER MCCARROLL SIMON MILEHAM MICHAEL NAMENYI JASON MUNDY IAN MURPHY TERRY SEAWARD KEVIN SMITH Storeman ...... NICHOLAS BULL LEWIS SMITH GARY TYDEMAN Assistant Storeman ...... JOSHUA SWORDS LEE TYRRELL

HOD Scenic Painter ...... PAUL WESCOTT Improver Plasterer ...... PATRICK NORCOTT Supervising Scenic Painters ...... RICHARD HALL Plasterer’s Labourers ...... MATTHEW GREEN DAVID NICOLL THOMAS GREEN PAUL WHITELOCK BEN KEEN BARRY MCDONALD Chargehand Scenic Painters ADAM MORONEY JORDAN CARTER RHYS COURT Supervising Plasterer’s Labourer ...... ALAN GREEN JOSEPH HANSFORD DARREN JOHNSON Second Year Apprentice Plasterer ...... JOSHUA STREET DANIEL MUMMERY RYAN WILLCOX Scenic Painters HOD Sculptor ...... MARK WESCOTT SIMON BARNES ANDREW GUYETT CONNOR KENNEDY MICHAEL REGAN Supervising Sculptor ...... ANDREW HODGSON PERRY SHEEHAN DAVID SKINNER Assistant Sculptor ...... HELEN HARRIS DANIEL WALTER MARTYN WHITWORTH Sculptors ...... CHRISTOPHER BARNETT BRADLEY WOODBRIDGE BENJAMIN JOHNSON Improver Scenic Painters ...... CHARLIE DRINKELD JAMES O’BRIEN JARVIS WEBB PAUL O’BRIEN Chargehand Sprayer/Scenic Painter...... SCOTT MEEKING Sprayer/Scenic Painter ...... MARK ANTILL HOD Décor & Letter Artist ...... STEVE HEDINGER Scenic Artists ...... JACK CANDY-KEMP Décor & Letter Artist ...... TONY ROCHE STEVEN SALLYBANKS MATTHEW WALKER HOD Rigger ...... SIMON ALDERTON Supervising Painter’s Labourer ...... ANDREW BROGAN Supervising Riggers ...... NICHOLAS ALDERTON Painter’s Labourers ...... LAURENCE ALDRIDGE ANDREW CHALLIS CLINTON BRAIN STEVEN CHALLIS STEWART WESTERN GRAHAM LUKE Second Year Apprentice Scenic Painters ...... MYLES BUCKNOR Chargehand Riggers ...... ADAM COOTE BEN DINSEY BYRON COLBERT LEWIS MORTIER PAUL GOBLE Supervising Health & Safety Rigger ...... GARY GOBLE HOD Metal Worker ...... KEVIN NUGENT XVI Riggers Second Unit/Reference Photographer ...... JOHN WILSON ADAM BRADY SHANE BRADY Franchise Third Assistant Director ...... SARAH LAWRENCE STUART BRADY RHYS COOTE Assistant Stills Photographer ...... SHANNON KIRBIE CARL DAVIES JAMIE ENVER Digital Coordinators ...... LEAH EVANS TERENCE FAIRLEY BARRY INGRAM RUNYARARO MAPFUMO JASON JAMESON STEVEN KILBEE WILLOW SANDERS CHRISTOPHER KIRKHAM ROBERT LUKE Production Asset Supervisor...... ANNA HALL ANTHONY READING MARK SMITH Physical Asset Coordinator ...... ANDREW SCOTT LEE SPRINKS Physical Production Asset Manager . . . . ANN PATTISON-BINGHAM Improver Rigger ...... CHARLES BARNHAM Franchise Accountant ...... POLLY FLETCHER Chargehand Rigger’s Labourer ...... STUART SAUNDERS Production Assistants ...... EMMA BAKER Rigger’s Labourers ...... PAUL GREEN YASMIN GOOSE CLARK WILLIAMS BEN HARRISON Third Year Apprentice Rigger ...... JACK QUELCH Physical Production Asset Assistant ...... CAROLINE MORRIS First Year Apprentice Rigger ...... KYLE ALAN HOD Stagehand ...... STEVEN BOVINGDON Behind the Scenes Crew Supervising Stagehands ...... STEPHEN AGNEW NATHAN WILEY ANTHONY SAMUELS PAUL DAVIES SEAN HILL CHRIS WOODS STEVEN DYETT OLIVER ROTCHELL ROGER EATON CHRISTOPHER HEDGES BRAD HOGAN BRETT HARVEY LEE STACHINI HANA BACKLAND Chargehand Stagehand ...... MAX SACHINI Behind the Scenes Assistant Editor ...... JASON MORROW Stagehands Behind the Scenes Post KARL BEAVIS JAMES BOWDEN VINCE DE MIRA AMIR HOSSEINZADEH COLIN DAVIES TONY HILL JANET LEE BRUCE MARCHANT MARK METCALFE LUKE PARR CORINNE MEDEIROS LEANDRE THOMAS LEWIS PELLING JASON PUNTER WAYNE ROUND DAVID SMITH TRANSPORTATION Stagehand Labourers STUART BRADLEY ROSS DANIELS Transportation Coordinator ...... GARY BIRMINGHAM MARK HODGES ROBERT MORRISON Assistant Transport Coordinator ...... CHRIS DUDLEY PETER MORTON DEAN SEAWARD Assistant Transport Captain/Driver ...... DEAN PORTER HOD Tech Vehicles ...... KEN PRICE Supervising Electrician ...... HUGH MADDEN HOD Facilities ...... SHELBY PARKER Chargehand Electricians...... GEORGE FRANKLIN Transport Offi ce Coordinator ...... CATERINA BOSELLI ANTHONY HEERAN Minibus Drivers ...... MARK BIERTON Drapes Master ...... DAN HANDLEY TONY BROOKS Drapes Supervisor ...... MARK MCCABE GORDON FARMER Drapesman ...... JILLIAN DRUJON Unit Drivers Drapes Assistants ...... CHEE CHAN JAMIE BARHAM WASEEM BARLAS SIDONIE NICHOLSON MIKE BEAVEN OLLIE BIRMINGHAM Junior Drapes Assistants...... MICKAYLA SKAIFE EDDIE CAIN SIMON DENNIS MEL WISE GRAEME DOWNIE PATRICK EARLS MARTYN GILES NATHAN GILES Greens ...... FILMSCAPES PETER HALE KASH HAMEED Filmscapes Manager ...... LUCINDA MCLEAN ROBERT HEMPENSTALL LEE ISGAR Greens Standby Supervisors ...... DOMINIC MARTIN CARL ISHERWOOD STEPHEN LAWRENCE EMMA PISANO PHILIP MATTHEWS ANDREW “TUCKER” MAYLAM Dressing Greens ...... MARK KRIER ELLIOTT MOLYNEUX ANDY MOORE DREW MCCAY SEAN O’CONNOR LOL SMITH POLLY PHILCOX PETER TABECKI NIGEL WHITE JONN SIDDALL Main Title by FRANCHISE & PUBLICITY PRODIGAL PICTURES DANNY YOUNT DARIN MILLETT Production Franchise Coordinator ...... CAMERON CHAPMAN BEN HURAND Stills Photographer ...... JONATHAN OLLEY Stills Manager ...... CHARLOTTE ASHWORTH End Credits by Portrait Gallery Photographer ...... ED MILLER SCARLET LETTERS Unit Publicist ...... STACY MANN XVII Dailies by Creative Executives, Story ...... STEVE BLANK PINEWOOD DIGITAL PABLO HIDALGO Dailies Colorist ...... DARREN RAE MATT MARTIN Dailies Producer ...... JOHN BUSH RAYNE ROBERTS Additional Dailies Colorist ...... CARL THOMPSON Senior Supervisor of Dailies Production Coordinator ...... ABIGAIL DUNCAN Content & Programming ...... MICKEY CAPOFERRI Digital Lab Manager ...... MUNAH YAHKUP Supervisor of Asset Management ...... STEVE NEWMAN Digital Lab Operators ...... PAUL FARQUHAR Keeper of the Holocron ...... LELAND CHEE HOLLY CHARGE Creative Supervisor, Publishing ...... MICHAEL SIGLAIN ADAM MCHATTIE Content Strategist...... DIANA WILLIAMS Heads Of Department ...... JAMES CORLESS Vice President, Business Aff airs ...... NIGEL MCNULTY THOM BERRYMAN Production Counsel ...... ANDREW DEFRANCIS Physical Asset Manager ...... PATRICK BARRY Senior Manager, Legal Aff airs ...... CHRISTOPHER HOLM Clearances ...... ANGELA LUPINETTI Senior Creative Producer, LVP ...... STEVEN STONE VFX Pulls by Associate Production Managers ...... DARCI DUBOSE PINEWOOD DIGITAL LOLLY SYSTEM STEPHANIE PETERS Lolly Lead Developer ...... LUKE MOORCOCK Production Finance Executive ...... GENE STRANGE Lolly Operator ...... PAUL McCULLOUGH Visual Eff ects Associate Production Manager ...... ANNA CREASY Post Production Accountant ...... MICHAEL LING Digital Color Grading and Mastering by Finance Coordinator ...... MONIKA LANG EFILM Project Coordinator, Development ...... JAMES ERSKINE Senior Colorist ...... JOE GAWLER Post Production Coordinator ...... CODY VANDENBERG Finishing Producer ...... VANESSA GALVEZ Finishing Editors ...... PATRICK CLANCEY Lucasfi lm Franchise JENNIFER RAYMOND TROY ALDERS VICKI DOBBS BECK Finishing Color Assist ...... JOEL MCWILLIAMS TRISHA BRUNNER IAN BUCKNOLE Finishing Assistant Producer ...... KELSEA WILLIAMS HEZ CHORBA TY DUXBURY Imaging Science ...... JOHN QUARTEL MATT FILLBRANDT ALISON FISKER CHRIS GOLLAHER ALLIE GREENE Supporting Artists Casting CARL JORDAN MICHAEL KOHN CASTING COLLECTIVE KEY CASTING GABRIELLE LEVENSON ESTE MEZA MILITARY FILM SERVICES PIECE OF CAKE CASTING CARA PARDO KEVIN PARKER TWO 10 CASTING UNI-VERSAL XTRAS LTD. JEFF PICKETT LACEY PRINCE ANN KOSKA LTD. MATT SHELL BRITTANY SOLOMON JASON STEIN DEREK STOTHARD LUCASFILM LTD. PHIL SZOSTAK CHRISTINE TALARIDES NEWELL TODD PETE VILMUR Executive Vice President/General Manager . . . .LYNWEN BRENNAN KEVIN YOST Senior Vice President, Development ...... KIRI HART Vice President, Production Finance ...... CHRIS FURIA Lucasfi lm Technology Support Vice President, Physical Production ...... CANDICE CAMPOS KEVIN CLARK FRANCOIS CHARDAVOINE Vice President, Film Development ...... STEPHEN FEDER MICHAEL DICOMO LORI GIANINO Vice President, Franchise Development ...... JAMES WAUGH DARYLL JACOBSON JUSTIN MILLAR Vice President, Head of Design ...... DOUG CHIANG CARY PHILLIPS MICHAEL POLIZZOTTO Vice President, Animation Development ...... CARRIE BECK JENNA STARR Senior Vice President, Licensing and Franchise . . PAUL SOUTHERN Senior Vice President, Lucasfi lm Security Team ...... MICHAEL PANICO Franchise Creative & Strategy ...... BRIAN MILLER JOHN CALDWELL Vice President, Franchise Marketing ...... MEGAN CRUMPACKER Vice President, Publicity & Communications ...... LYNNE HALE WALT DISNEY STUDIOS Vice President, Finance ...... LORI AULTMAN Head of Human Resources ...... BLAIRE CHAPUT Executive Vice President/ Deputy Chief Counsel ...... RHONDA HJORT Head of Theatrical Marketing ...... ASAD AYAZ Vice President, Lucasfi lm Games ...... DOUGLAS REILLY Senior Vice President, Global Publicity ...... RYAN STANKEVICH Supervisor of Film & Executive Vice President, Marketing ...... FRANK CHIOCCHI Franchise Publicity ...... CHRIS ARGYROPOULOS Senior Vice President, Creative Film Services . . JACKSON GEORGE Supervisor of Animation & Executive Vice President, Publicity ...... MICHELLE SEWELL Franchise Publicity ...... TRACY CANNOBBIO Vice President, Creative Print Services ...... STEVE NUCHOLS Supervisor of Int’l Marketing ...... BARBARA GAMLEN Senior Vice President, XVIII Promotions & Special Events ...... LYLLE BREIER Key Grip ...... DUTCH HOLLAND Vice President, Marketing Strategy ...... SAMANTHA ROSENBERG Grip Best Boy ...... JAMES SAMS Senior Vice President, Grips ...... DAVE CROSS International Marketing ...... MARTHA MORRISON BEN GOODE Vice President, Digital Marketing ...... JESSICA INTIHAR AARON MCDONAGH Vice President, Credit & Crane Technician ...... DARREN PIERCY Title Administration ...... STEPHANIE J. HARRIS SFX Floor Supervisors ...... LUKE MURPHY Manager, Credit & Title Administration ...... KIRK RINGBERG STUART PRIOR Libra Head Technician ...... MICHAEL BUXTON SECOND UNIT SFX Senior Technicians ...... JODY ELTHAM DEAN FORD Production Coordinator ...... EMMA DUNLEAVY Bluescreen Rigger ...... HARRY SHEPPARD Assistant Production Coordinator ...... LAUREN BRODERICK Standby Stagehand ...... ASHLEY HOWE Second Assistant Director ...... SCOTT BUNCE Bluescreen Stagehand ...... SAM ENDEMI Floor Second Assistant Directors ...... MARK COCKREN Standby Carpenter ...... ANDY BUTLER BEN QUIRK Standby Riggers ...... VAUGHAN AUBREY Third Assistant Directors ...... GLEN CARROLL SCOTT RUSHTON EMILY THOMAS Standby Painter ...... PAUL DANIELS VFX Supervisor ...... RICHARD BAIN Standby Plasterer ...... MARK RIDING Transport Captain ...... ROB MACKNIGHT Costume Assistant ...... CAMILLE MOOHAN Stunt Driver - Camera Car ...... TOM ERICKSON Safety Advisors ...... COLIN CALDERBANK Unit Nurse ...... CARON IRELAND ADAM REGAN A Camera Operators...... GRAHAM HALL Production Assistants STEFAN STANKOWSKI ELLIOTT COBLEY CHRIS GRUNDY DIT ...... JAMES METCALFE HARRI JONES ANNIE LE GRESLEY DIT Assistant ...... ALEX MCCORMACK LOUIS TAYLOR-BAGGS ZOE TOUGH VFX Lead Data Wrangler ...... JACK GEORGE VANLUKE WATSON ASHLEY WILD VFX Data Wrangler ...... LOUIS FALCON JACOB WOOD MARIA MOSS VFX Assistant Data Wrangler ...... OLIVER WOLSTENCROFT Script Supervisors ...... SUSIE JONES SPLINTER UNIT SHARON MANSFIELD Video Operator ...... ZOE WHITTAKER Additional Second Unit Director ...... JOHN SWARTZ Video Assistant ...... CRAIG LUCK Splinter Unit Director of Photography ...... JEFFREY KIM Supervising Standby Props ...... WILL AYRES Production Coordinator ...... DANIELLE STANNERS Gaff er ...... MARK ‘ROCKY’ EVANS First Assistant Director ...... TOM EDMONDSON Makeup Supervisor ...... JULIA WILSON Second Assistant Directors ...... JOEY COUGHLIN Hair Supervisor ...... CATHERINE HEYS DAVID KEADELL A Camera First Assistant Camera ...... SEAN CONNOR VFX Supervisor ...... MARK BAKOWSKI B Camera First Assistant Camera ...... SIMON HECK Third Assistant Director ...... THOMAS D M BENTLEY RAY MEERE A Camera Operator ...... CHRIS BAIN A Camera Second Assistant Camera ...... GLENN COULMAN DIT ...... IAIN THOMPSON B Camera Second Assistant Camera ...... RICHARD DAVIS A Camera First Assistant Camera ...... JULIA GREEN Central Loader ...... RUSSEL TORODE VFX Data Wrangler ...... SIMON CHIU Camera Trainees ...... MIA CASTLE A Camera Second Assistant Camera ...... SAM IRWIN TOM GAMBLE Script Supervisor ...... ROXANNE CUENCA Standby Art Director ...... STEVE RITCHIE Camera Trainee ...... JULIAN ZARZOSO-LOWE Production Sound Mixer ...... TIM WHITE, AMPS Video Operator ...... ADAM MCGRADY First Assistant Sound ...... MICHAEL TAYLOR Standby Art Director ...... JOSEPH DALTON ANDREW SIMMONS Video Assistant ...... GEORGE HARRISON Standby Props ...... ROB JUDD Production Sound Mixer ...... BRIAN MILLIKEN Best Boy ...... ELLIOT THOMAS Supervising Standby Props ...... DEAN CLEMENTS First Assistant Sound ...... JACKSON MILLIKEN Lighting Technicians Unit Nurse ...... BRIAN MEAR DAVID CLAYTON CHRIS DICKINSON Second Assistant Sound ...... JAVI LOPEZ AARON DUNNING HARLON HAVELAND Gaff er ...... JAMIE MILLS NIKO KALIMERAKIS STEVE PATTENDEN Best Boy ...... ROSS BUSBY

Console Operator ...... ELLIOT COULTER Electrical Rigger ...... MITCH SKINNER XIX Lighting Technicians ...... PAUL KEMP Location Manager ...... CHRIS MOORE ANDY NOLAN Canary Islands Location Manager ...... YANIRA DE ARMAS TOSCO DANIEL SMITH Assistant Location Managers ...... NICOLÁS ARAEZ TERRY TOWNSEND ISIDRO GONZÁLEZ DANIEL TYLER Location Offi ce Coordinator ...... LAURA GONZÁLEZ Electrical Rigger ...... PETER ARMSTRONG Location Scout ...... MARÍA SANZ Console Operator ...... NOAH FURRER Unit Manager ...... JOSÉ LUIS AYRA Key Grip ...... JAC HOPKINS Assistant Unit Manager ...... JUAN DANIEL KIKOUKI PUJOL Standby Props ...... RYAN DYER Unit Assistants ...... DAVIDE MANERA Grip ...... DAVID LITTLEJOHNS TINERFE MARTÍN Grip Trainee ...... TINO LIVERTON Location Site Managers ...... MATTEO BASSANI SFX Floor Supervisor ...... PATRICK O’SULLIVAN IVÁN JIMÉNEZ Libra Head Technicians ...... NEIL TOMLIN Autotrak Technician ...... MARIAN MANEA DAVE TULLET Location Assistants Lead SFX Senior Technician ...... RYAN CONDER MÓNICA DEL MAZO JUAN CARLOS GÚZMÁN SFX Senior Technician ...... RICHARD CHEAL WINSLOW IWAKI DELGADO LABRADOR Standby Carpenter ...... PAUL JONES OLIVER PÉREZ MAURO TABORDA Standby Stagehand ...... COREY GRAY Location Labour Standby Painter ...... FRANKIE BELL LIONEL ALONSO SANDRO BENÍTEZ Standby Rigger ...... MARK SMITH JESÚS BOLAÑOS CARLOS CABRERA Set Production Assistants ...... MARLON BEYER REIGER ADAY CÁCERES JUAN CASTILLO JACK MILLER JOSE DOMÍNGUEZ DANIEL GONZALEZ Production Assistant ...... TIM NOAKES JOSUÉ HERNÁNDEZ AURELIANO LAGE ROBERTO LEDO JULIAN MARTIN AERIAL UNIT MANUEL LUIS MOLINA FELIPE NERI JUAN CARLOS PEÑA LUIS DANIEL PÉREZ Pilots ...... WILL SAMUELSON SANTIAGO RODRÍGUEZ JULIO GIL ROLDÁN MARC WOLFF TONI SÁNCHEZ Aerial DOP ...... HANS BJERNO Eclipse Tech ...... WILL HANDLEY Location Accountant ...... PAUL MURPHY Shotover Camera Tech ...... STEVE DESBROW Accountant ...... SARA MARTÍN Ground Safety ...... STEVE NORTH Assistant Accountants ...... LOLA IBISATE IAN PURNELL SILVIA PAJARES Payroll Accountant ...... EVA NUENO LOCATION UNITS Location Assistant Accountant...... ADAM HUTCHINGS Cashier ...... HELENA PAJARES Fuerteventura Unit Clerk ...... PABLO CRESPO

Spain Unit Production Manager . . . JUAN CANO “NONO” TRUJILLO Camera Trainees ...... SIRMA CASTELLANO Canary Islands Production Manager ...... BEATRIZ FLUXÁ JESSICA RÍOS Production Coordinator ...... ANDREW SURRY DIT Assistant ...... LUIS MARTÍNEZ Canary Islands Production Coordinator ...... XAVI TIÓ Workshop Captain ...... LUIS BÁEZ Assistant Production Coordinator ...... CHLOE WARREN Water Coordinator ...... ESTHER AJÁ Travel & Accommodation Coordinator ...... REGINA RUFFINI Production Secretary ...... PRISCILA CALERO Water Assistants Key Offi ce Assistant ...... IDOIA PERELLO GÓMEZ CHRISTOPHER ALLARD JUAN CARLOS GARCÍA Production Assistants ...... GONZALO DURÁN SERGIO GONDAR ACAYMO GUAYASEN MARÍA JOSÉ MÙJICA MIGUEL MARTÍNEZ IRAEL PÉREZ EDUARDO SILVA SHADAY PÉREZ CARMELO PRATS Crowd Second Assistant Director ...... KATHARINA HOFMANN REBECA VEGA 3rd Assistant Director ...... OSCAR SANTAMARIA Crowd Offi ce Assistant ...... SIRA BELDA Unit Labourers Crowd Assistants ...... MANU DÍAZ SHAQUIR DÍAZ JAVIER MANZANEDA MARÍA HERRERA ORATS MENDIVE OMAR PERDOMO DANNY TRIPHOOK FRANSICO SOCORRO Child Crowd Tutor ...... AYOSE CABRERA Child Crowd Chaperones ...... MARCELA AVILA Art Director’s Assistant ...... JONATHAN MARÍN SOCAS MARTA BOMBÍN Costume Assistant ...... ARIADNA DE ARMAS EMILLIO RODRÍGUEZ Set Decorating Buyer ...... JORGE NOGUERALES

XX Set Decorating Painters ...... ANA CERVERA MIRIAM APELES MORAD AZZAOUI ROBERT RUIZ NAUZET RODRÍGUEZ NEREIDA VERA Props Buyer ...... ROSY CANO NIAL WALLIS NOELIA VERA NÉSTOR CERPA PABLO IGLESIAS Props Labourers PAOLO GHEDINA PHOEBE COLE JEAN PHILIPPE BORDENGA HÉCTOR CABRERA RAINA VETHAKKAN RAYCO GALVÁN BENTOREY ESPINEL ENRIQUE GARCÍA ROBERTO GRECIANO ROSELLA CHIOSTRY RICARDO GÓMEZ DANIEL JIMÉNEZ SUSANNE MURPHY TERESA FRANCO FRANCISCO MODINOS JAIRO RUIZ TITI ARGENTANO YEMI ADEOYE ROBBY SCHAUBROECK JUAN CARLOS ZÁRATE YERAY A. SOLER YOLANDA CAMPOS

Greens Assistants 4x4 Truck Drivers ...... COLIN HINGSTON LOIC MICHEL ALBERT PEÑA OLIVÉ STEPHEN LE MASURIER JORDI BENITO PERALTA ILARIA PORCELLA JOSEF “ZSOLT” MADAR LUCAS RODRÍGUEZ Unit Doctors ...... EVA GARĆIA SFX Buyer ...... GOYO GONZÁLEZ JOEL ZURITA SFX Technicians ...... JUAN JOSÉ IZQUIERDO MICHAEL MARI GONZÁLEZ ESTEBAN ROMA RAFAEL BERMEJO Creature Eff ects Assistants ...... FERNANDO DE OLANO Unit Nurses ...... DÁCIL DE LEÓN MARGARITA DÍAZ JUDITH PÉREZ JIMÉNEZ Health & Safety Advisor ...... SILVIA GONZÁLEZ RANGIL Transport Manager ...... HENRY DRAY Mountaineering Supervisor ...... LUCAS LORENZO Assistant Transport Manager ...... PAUL WAMBACH Mountain Rescue ...... OLIVER LAVOISEY Transport Captain ...... MAX ZIVKOVIC On Set Transport Captain ...... STEVE DORAN Mountain Safety Transport Offi ce Coordinator ...... IRAIDA VILLEGAS DAMIANO PREGNOLATO EZEQUIEL MORALES On Set Transport Coordinator ...... DARREN HOLVEY ISAAC CORREA MIRIAM ALEMÁN Assistant Transport Offi ce Coordinator ...... CARLA PURRIÑOS NAYRA CABRERA SIMON ESPINAUX Transport Assistant ...... EDUARDO CLERISSE Grips ...... PEPE HERNÁNDEZ Unit Drivers RAMÓN RODRÍGUEZ ALEJO PÉREZ ALFONSO SANCHO Electricians ...... JORGE MORALES AMANDA ROMERO ANA GRANELL JAVIER SANTANA ANDREU GRAO ANDRÉS ROSELLO Construction Supervisor ...... MIGUEL GIRÓN ANTONIO SÁNCHEZ BART ROEL ALBERT Construction Offi ce Coordinator ...... IRAIDE ÁLVAREZ CARL REDMOND CAROLINE BOHNY CIARA MURPHY CIRO CABRERA Carpenters COLIN HINGSTON DANIEL FRANCÉS RAYCO BENÍTEZ DOMINGO DELGADO DAVID GONZÁLEZ DAVID WALLWORK JOSÉ ANTONIO DOMINGUEZ ALEJO GARCÍA EDUARDO MEDINA ELY DELGADO MATUS LUPTAK FELIPE MAGDALENA ENRIQUE FRANCISCO ESTEBAN MEDINA ESTEBAN PADRÓN JESÚS PÉREZ ESTHER SAAVEDRA ESTIBALIZ OCIO FERNANDO VEGA FRANCISCO PUIG Scenic Painters ...... LUIS DE LA CRUZ FÉLIX CASTRO FÉLIX SOCORRO TITO HERRERA GERGELY DOZSA GONZALO BRITO Stagehand ...... IBRAHIMA SECK GOSIA ZUBRZYCKI IAN H. HASTIE ILARIA PORCELLA IVÁN UMPIÉRREZ Construction Labourers ...... CARLOS CABRERA IÑAKI MORANTE JAVIER MARTÍN ARMAS JOSES ANTONIO LÓPEZ JOAQUÍN QUIRÓS JOEL CARBALLO JULIO RUIZ JOKIN KARLOS JONAY FRANCÉS JOSE ÁNGEL GUERRERO JOSÉ PADRÓN Marine Coordinator ...... IÑAKI DOMÍNGUEZ JOSÉ PARDO LUCRECIA SAAVEDRA Military Coordinator...... SERGEANT CRISTIAN ACOSTA LUCÍA FERNÁNDEZ LUIS MIRALLES Co-Pilot ...... ROBERT ABELLÓ GUIMET LUKASZ RUNGE MARC FÁBREGAS Helitrans Technician ...... ALBERT GRAELL MANUEL RAMALLAL MARCIO GIANUBBILO MARIA NURIA MOARES MARINA ENTERO Production Services in the MARTA GALINDO MARÍA DIEPENBROCK Canary Islands Provided by ...... SUR-FILM MATEO BERUPE MATTHEEW L. STOCKWELL MERCEDES MORA MICHAEL CHOVAN XXI Sur-Film Line Producer ...... ANDREAS WENTZ Location Coordinator ...... GLORIA ZANETTE Sur-Film Head Accountant ...... NATALIA MARTIN-BOIX Locations Key Production Assistant ...... NEVIO DE CONTI Sur-Film Lawyer ...... JAVIER MESA Unit Facilities Manager ...... RENATO LATELLA Sur-Film Fiscal Advisor ...... JOSÉ RAMON BARRERA Locations & Facilities Production Assistants Catering provided by MICHELE BERNARDI CHIARA DE FRANCESCH CUCHARA DE PALO FEDERICO GIACOMELLI ALESSANDRO PANELLA Caterer ...... JOSÉ ALFONSO ANDREA PORDON MASSIMO RANA Catering Manager ...... FERNANDO SÁNCHEZ MARCO GAETANO SANTANGELO RENATO ZANDEGIACOMO SEIDELUCIO IVAN VENDRAMET Thanks to all Catering Crews

Shipping ...... DEUXMILLES ZOLL AND TRANSPORT, S.L. Genny Manager ...... GIORGIO GIAROLA VAPORES SUARDIAZ SUR ATLANTICO S.L. Genny Assistant Manager ...... ANDREA GIAROLA Location Security ...... ATLANTISEGUR, S.L. Road Safety Manager ...... ALESSANDRO NARDI Road Safety Assistant ...... GIULIANO NARDI The Producers wish to thank and gratefully acknowledge the Lead Alpine Guide ...... DAVIDE ALBERTI CAPAZIN cooperation of Alpine Guide Coordinator ...... FILIPPO MENARDI THE CANARY ISLANDS GOVERNMENT CABILDO OF FUERTEVENTURA Alpine Guides FUERTEVENTURA ENVIRONMENTAL DEPARTMENT CARLO ALVERÀ WALTER BACHMANN AYUNTAMIENTO DE PAJARA MICHELE BARBIERO SILVIO BELLI FUERTEVENTURA FILM COMMISSION FABIO BERNARDI FRANZ BOSCHETTI GIANPIERO BOSETTI ROBERTO CANZAN ANDREA CATTAROSSI PAOLO DA POZZO Dolomites Unit LUCA DAPOZ FRANCESCO DE CASSAN Italian Production Services provided by MIRCO DELL’OSTA MAURO DEVICH LOTUS PRODUCTION S.R.L. MARIO DIBONA ALESSANDRO FIORI (A COMPANY OF LEONE FILM GROUP S.P.A.) FRANCO GASPARI PIER EUGENIO GENOVA and DANIELE GEREMIA HEINI GLITL PANORAMA FILMS S.R.L. MARTIN KOPFSGUTER SAMUELE MAJONI FERRUCCIO SVALUTO MOREOLO SIMONE CORTE PAUSE Line Producer ...... MARCO VALERIO PUGINI HANNES PFEIFHOFER ANDREA PICCOLIORI STEFANO PICCOLIORI ALEX PIVIROTTO Line Producer/UPM ...... FABIOMASSIMO DELL’ORCO EDI POMPANIN JOE RAINER Production Manager ...... NICK FULTON HELMUT RAUCHEGGER PAOLO SBISÀ IT Production Manager ...... FEDERICO SANTANGELO GIACOMO SCHENARDI ROBERT SHMIEDHOFER Assistant IT Production Manager ...... JACOPO MARRAS PIERFRANCESCO SMALTINI CHRISTIAN SORDO Production Coordinators ...... ELLA CHAITOW HERBERT SUMMERER PAOLO TASSI ANNALISA SCHMID FELIX TSCHURTSCHENTHALER EDOARDO VALLEFERRO Production Coordinators ...... STEVEN JOHNSON MICHELE ZANDEGIACOMO GIOVANNI ZANETTIN STELLA PAPETTI MAURO ZANNONI GIACOMO ZARDINI Travel & Accommodation Coordinator . . . MARGHERITA DI TULLIO Production Secretary ...... SIMONA BRENNA Aerial Coordinator ...... ANTONGIULIO DELL’ORCO Production Offi ce Assistants ...... MAURO FIORI Helicopter Pilots ...... LUCA BERTOLINO DANIELE FORNACIARI AXEL GUTWENIGER Assistant to Mr. Pugini ...... REBECCA BOOTH EMANUEL KOSTNER Rushes Runner ...... KEVIN SIORPAES HANSJORG TSCHURTSCHENTHALER Production Accountant ...... CARMELA COMPAGNONE Medivac Pilot ...... GABRIEL KOSTNER UK Assistant Accountant ...... LAURA MATEOS SANVICENS Medivac Doctors ...... LEO BIANCARDI Vendors Accountant ...... SERENA PEIRASSO MAURO CARLINI Payroll ...... FABIO ANTICO LYDIA RAUCH Tax Credit Accountant ...... FRANCA BOCCABELLA Safety Advisor ...... JULIAN VERTEFEUILLE Cashier ...... ANDREA TOLOMEI Second Assistant Director ...... FEDERICA DURIGON Winch Technicians ...... GINO COMELLI Location Managers ...... MATT CLARKE RAFAEL KOSTNER NICOLA FEDRIGONI MORITZ PERISTI Unit Managers ...... GABOR AGOSTON OTHMAR PRINOTH DREW PAYNE Assistant Location Manager ...... STELLA DELLEANI XXII Helicopter Technicians ...... LUCA DE CASSAI Soundtrack Available on YURI DE CASSAN BEAN HOLZNECHT RUBEN MORODER SEPL MUSSNER

Security Supervisor ...... FRANCIS MCCORMICK Filmed with ARRI RENTAL PRIME DNA LENSES and Security Coordinator ...... JASON MARZUTTINI CAMTEC FALCON LENSES on ARRI DIGITAL CAMERAS Unit Doctor ...... ASSIA ANNIBALLI Unit Nurse ...... ADILIA ISMAILOVA Transport Managers ...... MELINA FRIAS Avid Editing Equipment supplied by MATTEO GOTTARDIS HIREWORKS and PIVOTAL POST Transport Captains ...... SIMONE CENTIONI FILIPPO DEL BELLO ANTONIO SANCHEZ RUBIO Filmed at PINEWOOD STUDIOS, LONDON, ENGLAND with the Transport Coordinator ...... LINDA PALUDETTO support of the British Film Commission and the UK Government’s Assistant Transport Manager ...... GIANNI MEGLIO Film Tax Relief and on location in SPAIN and ITALY Transport Assistants/Drivers ...... LUCA EGES AVIDIAJ CRISTIAN CARDAROLA This picture has been produced with the assistance of the Italian Unit Drivers tax credit provided for by law no. 244 of 24 December 2007 LUCA BORTOT MANUEL CESCO LUCA DA RIN DE ROSA PAOLO GHEDINA EMILIO MASSAROTTO PAOLO MENEGHET American Humane monitored the animal action. ALESSANDRO PETRIS MATTIA ZAMBON No animals were harmed®. (AHD 07771)

Catering Manager ...... CRISTINA LEURINI Assistant Catering Manager ...... MAURO BIANCHETTI Chef ...... DAVIDE MELCHIORRE Chef Assistant ...... FELICE REDA

Caterers MIRKO CAMILLUZZI STEFANO DE CRISTOFARO MIKI MARIGO ANDREA ZANDEGIACOMO SEIDELUCIO GIORGIO ZANDEGIACOMO SEIDELUCIO PAOLO SPITALERI SIMONE ZUCCARELLO

Catering Truck Drivers ...... ROBERTO MARTINO ROBERTO RATINI

Legal Advisor ...... STUDIO PONTI - DE SANCTIS & PARTNER Insurance Provider ...... CINESICURTÀ INTERNATIONAL Tax Credit Consultant ...... SMART CONSULTING GROUP

Lotus Production US S.r.l. CEO ...... MARCO ANTONIO BELARDI Production Contacts ...... ALESSANDRA PERSIA ARIANNA LANCIANESE

Panorama Films S.r.l. Head of Administration . . . . PATRIZIA PIZZINI

With Special Thanks to JOHN GRAYDON, PARTNER, SAFFERY CHAMPNESS NIGEL WALDE, SAFFERY CHAMPNESS HARBOR PICTURE COMPANY BRITISH FILM INSTITUTE and THE PATIENT AND GENEROUS FAMILIES OF THE CAST AND CREW

XXIII MPAA #51539

©2018 & TM Lucasfi lm Ltd. All Rights Reserved.

For the purposes of United Kingdom copyright, Lucasfi lm Ltd. was the owner of copyright in this fi lm immediately after it was made.

Distributed by Walt Disney Studios Motion Pictures

XXIV ucasfi lm presents “Solo: A Star Wars Story,” char ng the adventure- fi lled past of Han Solo, the iconic galac c scoundrel and one of the Lmost beloved characters in cinema history. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo will meet his mighty future copilot Chewbacca and encounter the notorious gambler Lando Calrissian, in a journey that sets the course of one of the Star Wars saga’s most unlikely heroes.

Directed by Ron Howard, the fun-fi lled galac c heist movie stars Alden Ehrenreich (“Hail, Caesar!,” “Tetro”), Woody Harrelson (“Three Billboards Outside Ebbing, Missouri,” “The Messenger”), Emilia Clarke (“Me Before You,” “Game of Thrones”), Donald Glover (“Spider-Man: Homecoming,” “The Mar an”), Thandie Newton (“Gringo,” “Crash”), Phoebe Waller-Bridge (“Fleabag,” “Killing Eve”) and Paul Be any (“Captain America: Civil War,” “Master and Commander”). Joonas Suotamo (Star Wars: The Last Jedi) returns to play Chewbacca.

Wri en by Jonathan Kasdan & Lawrence Kasdan, “Solo: A Star Wars Story” is produced by Kathleen Kennedy, Allison Shearmur and Simon Emanuel. Lawrence Kasdan, Jason McGatlin, Phil Lord and Christopher Miller are execu ve producers.

To create the unique look of the fi lm, some of the industry’s top talent has been recruited, including Academy Award® nominee Bradford Young (“Arrival”), director of photography; two- me Academy Award–winning editor Pietro Scalia (“Alien: Covenant”); Dominic Tuohy (“The Mummy”), special eff ects supervisor; Rob Bredow (“Cloudy with a Chance of Meatballs”), visual eff ects supervisor; and John Powell (“Jason Bourne”), score composed and adapted by.

They are joined by returning Star Wars veteran crew members: Neil Lamont, produc on designer; Neal Scanlan, special creature eff ects; David Crossman and Glyn Dillon, costume designers; Jamie Wilkinson, prop master; Lisa Tomblin-Fitzpatrick, hair designer; and Amanda Knight, makeup designer.

The legendary John Williams is credited with the “Han Solo Theme” and original Star Wars music.

“Solo: A Star Wars Story” is set for release in U.S. theaters on May 25, 2018. SOLO: A PASSION PROJECT

The camera is turned on Han Solo, the legendary smuggler with the heart of gold, in “Solo: A Star Wars Story,” the second story fi lm from Lucasfi lm, following 2016’s mega hit “Rogue One: A Star Wars Story.”

Producer Kathleen Kennedy, describing what makes Han Solo such an iconic and beloved character, and one whom Lucasfi lm was inspired to feature in a fi lm, says, “He’s very authenƟ c. He’s a scoundrel, he’s a maverick, and there’s a mystery to him. Handsome, incredibly charismaƟ c and adorable—that’s a preƩ y great combinaƟ on for a Star Wars acƟ on hero.”

InteresƟ ngly, the “Solo” project was one of the fi rst George Lucas talked about when he outlined his plans to Kennedy for the Star Wars stand-alone stories. They both agreed that Lawrence Kasdan, writer of The Empire Strikes Back and Return of the Jedi, would be the perfect person to pen it. “Larry Kasdan knows Han Solo beƩ er than anybody,” says Kennedy. “Given his long associaƟ on with Star Wars, and deep understanding of Han Solo’s character, there was no one beƩ er to tell the story, and preserve the spirit and feeling of the original movies.”

Writer Lawrence Kasdan was hooked the moment he found out the fi lm was about Han Solo, the character he is most passionate about in the Star Wars canon. “Han was always my favorite, right from the start,” says Kasdan. “He’s the most exciƟ ng guy in the saga for me. He’s unpredictable. He’s reckless. He’s not brilliant. He’ll say things that he can’t back up. He’ll leap in when he should stay back. There’s nothing more aƩ racƟ ve to me than a screw- up who’s actually got a good heart but hides it as best he can.”

During producƟ on on The Force Awakens, the veteran screenwriter found himself in the unique posiƟ on of penning a new Han Solo adventure while witnessing the character’s death on set. It was a rare moment for any writer, and an opportunity he couldn’t wait to explore.

Kasdan cites Han’s introducƟ on in Star Wars: A New Hope as the primary inspiraƟ on for exploring the character’s backstory in “Solo.” “I’ve made two Westerns, and there’s nothing more Western than the Mos Eisley CanƟ na in A New Hope. In walks the gunfi ghter—he looks like a gunfi ghter, he sits like a gunfi ghter, he shoots like a gunfi ghter—and I thought, what happened before this guy walked in the door?”

Sharing Kasdan’s love for Westerns is his son and “Solo” co-writer Jonathan Kasdan, who has been a lifelong fan of the Star Wars movies and of Han Solo in parƟ cular. Growing up in a “household of Star Wars,” as his father likes to say, Jonathan remembers the fi lms as being extremely infl uenƟ al on his development as both a writer and director. It was his enthusiasm for Han Solo, and inƟ mate familiarity with the Star Wars universe, that formed a highly producƟ ve and creaƟ ve rhythm between the two writers.

“I come at this as a fan who thinks of these stories as wriƩ en in stone, while Larry comes at it as a dramaƟ st who thinks of them as tools,” says Jonathan. “And because I’m more of a Star Wars geek than he will ever be, it formed a dynamic between us which determined how much of the lore we were going to be beholden to and how much we were going to go our own way. I think that my reverence and Larry’s confi dence complemented each other well in the wriƟ ng process.”

2 Jonathan Kasdan, who was on set during the en re produc on of “Solo,” saw Alden Ehrenreich’s performance bring young Han to life. “Han is confi dent and funny, yet self-conscious and relatable. Alden is perfect in the role, and it was a marvel watching him perform,” comments the writer.

One aspect of the story that both writers were determined to explore further than previous fi lms is the rela onship between Han and Chewbacca. As a father-and-son wri ng team, each found the inseparable duo one of the most endearing quali es of the original Star Wars movies.

“I love that rela onship,” says the elder Kasdan. “I love all the quali es that are embodied by it. There’s courage, there’s teamwork, there’s loyalty and there’s a slightly canted view of the world. Their rela onship is reassuring, recognizable and speaks to the best in each of them.”

“They had that great partnership,” agrees Jonathan. “It was loaded with love, was never cruel or hos le, and was just a real in macy.”

Just as important to both Kasdans was crea ng a story that was unlike any other Star Wars fi lm before it. They wanted “Solo” to be the most character-fi lled and character- focused story yet, but one that s ll honors the legacy of the saga. “This is a story that comes out of old- me storytelling,” says Lawrence. “It’s a story about someone being forged in the crucible of life—in danger, in violence and in love. It’s about how a person is formed.”

“Other people will judge if that’s true,” he con nues. “But for me, that part has been totally achieved.”

Director Ron Howard, a self-avowed Star Wars fan, whose friendship with George Lucas goes back to Lucas’ early fi lm, 1973’s “American Graffi ,” appreciated the merit of this father-and-son wri ng team. “Larry Kasdan is the greatest resource, not only his sense of Star Wars, but his overall sense of movies and movie heroes, where those muscular ac on situa ons intersect with character and test the character in ways that are thema cally interes ng, and some mes moving and surprising. Jon loves movies, and he is encyclopedic about them. He thoroughly understands what’s great about Star Wars, what’s great about Han Solo, as a classic movie character. But, cri cally, he also has a cu ng-edge sense of humor and a contemporary sensibility.”

Adds Howard, “This fi lm is charged with youthful energy and cool. While it had to be true to the aesthe c and sensibility of Star Wars, we also wanted to push the envelope to make it work for young audiences, so it would feel more relatable than nostalgic. And yet, in a way, this is the fi rst real character study in the galaxy so far for fans. The story very much refl ects the spirit of the original movies in the combina on of playfulness, thema c focus, mixed with great ac on, and a universe that is fascina ng, invi ng, entertaining and a li le bit thought-provoking.”

“Solo” explores Han Solo’s forma ve years and follows his journey through a series of impac ul encounters, combining themes of trust, loyalty, love and betrayal with light-hearted humor, wit and rollicking ac on. As

3 Howard explains: “This is a rite-of-passage story, consistent with Star Wars, with many themes that will resonate with audiences. It’s about one character’s journey, the way that he is tested by the unique challenges that he faces and by the people he meets, to become the character we know so well.”

BRINGING THE CHARACTERS TO LIFE

“Solo: A Star Wars Story” features an exciƟ ng cast of both emerging and veteran stars in its impressive lineup.

The fi lmmakers had a big challenge casƟ ng Han Solo. Says Kennedy, “Harrison Ford is so unique and has embodied the character for so many years that they were giganƟ c shoes to fi ll. We weren’t looking for someone who looked like Harrison; we didn’t want an impersonaƟ on of him nor his Han Solo. We wanted an actor who could fi nd those traits that are so lovable, so roguish, about Han Solo.”

Alden Ehrenreich was one of the very fi rst actors the fi lmmakers saw. He was not widely known to mainstream audiences but had caught the fi lmmakers’ aƩ enƟ on, and the criƟ cs’ alike, with his scene-stealing performances in “Hail, Caesar!,” “Blue Jasmine” and “Rules Don’t Apply.” Producer Kathleen Kennedy comments, “Alden tapped into the things that make the character special but without imitaƟ ng Harrison. He captured the essence, that maverick spirit. He was funny and charming, cool and handsome. He had all those qualiƟ es, but he also had that hidden vulnerability specifi c to Han. It was a very intuiƟ ve portrayal.”

Ron Howard concurs, “Alden is thoughƞ ul. He’s an arƟ st, and he’s very passionate about his work on a very pure level. He has thrown himself into creaƟ ng this character, not as an imitaƟ on of Harrison but understanding the connecƟ on between Harrison, the Han Solo character and his own insƟ ncts that can connect him to the character in similar ways.”

As a major fan of the Star Wars fi lms, Ehrenreich was thrilled when he learned he had the role. “It’s really special to be part of a franchise that has so much heart and that means so much to people, and to play such a mulƟ - dimensional character in the Star Wars universe.”

Ehrenreich recognized the responsibility of taking on the role of such a beloved iconic character, and he was raring to go: “There are so many things referenced in the original movie that the audience will get to see. Han meeƟ ng Chewie for the fi rst Ɵ me. Han’s fi rst encounter with Lando. The Kessel Run. Han geƫ ng his blaster. And all the people Han encounters, the turns those relaƟ onships take, they have much to do with the person Han becomes. It was all a really thrilling prospect.”

He was excited about the fi lmmakers’ approach to the material as well. “I loved their vision,” Ehrenreich says. “I loved the humor and the angle they were coming from. It’s a big epic adventure story with a crew of people at the heart of it that you care about, and who care about each other. But

4 because of Han’s nature, the world he grew up in and the people he meets, there’s an edge to the story, and a toughness, which gives it a really cool vibe.”

Emilia Clarke, who plays Qi’ra, says of her co-star, “Alden’s an incredible actor who is beyond capable of doing this role jus ce. He has put a staggering amount of work into it. He brings that Han Solo swagger, that energy and that spirit, and he’s so endearing.”

Ehrenreich had a posi ve experience working with director Ron Howard, and says, “Ron came with an uncanny sense of Star Wars. He spoke the language, he knew the humor and he had takes on the scenes that were really clear and specifi c. He has so much energy and clearly loves making movies, and that was infec ous to be around. He also understands actors on a really deep level, not least of all because he was one, and being the benefi ciary of that level of understanding was wonderful.”

Three- me Academy Award® nominee Woody Harrelson brings charm, a maverick spirit and danger to the role of Becke , a career criminal, thief and smuggler. Harrelson says of his character, “Becke has been a part of the criminal element for a long me. I think he has a big heart, but he is clearly very dangerous.”

Describing Becke ’s rela onship with Han, Harrelson off ers, “Han joins forces with Becke and his group. They’re trying to pull off these heists, but there are a lot of complica ons and, during the course of them, I think Becke does teach Han a thing or two about how to live—perhaps not the most posi ve things, like don’t trust anyone, but things that become codes he lives by.”

Comments Howard on Harrelson’s portrayal, “Woody always brings so much to every role because of his honesty. He has a great sense of humor and an exci ng crea ve streak. He loves to fi nd the nuances that will make a character interes ng and entertaining. If there’s laughter to be found in a scene, he will fi nd it.”

Crea ng a new character in the Star Wars universe has been a thrill for Harrelson, especially working with Ron Howard. “He is a master of his cra . He knows exactly what he wants, and his enthusiasm is unbridled and infec ous.”

Qi'ra, Han’s fi rst love, is played by one of the U.K.’s most talented and popular actresses, Emilia Clarke, known for “Game of Thrones.” “Qi'ra is probably the most complex character in the fi lm,” says producer Simon Emanuel. “Emilia is a wonderful actress and has an amazing ability to convey the enigma c quali es that Qi'ra possesses. What you see on the surface is not necessarily what’s going on underneath.”

Howard adds, “Emilia is wise beyond her years in a way I really admire and appreciate. Understanding Han’s rela onships with women on a more emo onal level is helpful in broadening out the character, understanding what makes him ck and what’s he’s capable of feeling. Emilia really understood that, in order to learn more about Han, we needed to see a very dimensional female lead.”

5 Clarke was excited to join the Star Wars universe and admits to “geeking up” on Star Wars to get her performance pitch-perfect. “It’s really exci ng to be crea ng a new, strong female character in the Star Wars universe, especially one who is integral to the story of such a beloved character in cinema history.”

About the rela onship Qi'ra has with Han, Clarke says, “When we join Han and Qi'ra, we crash into their existence, both teenage urchins, surviving life on the streets in an unforgiving world. They love each other, but at that moment they get ripped apart. When Han fi nds her again, she’s second-in-command to a dangerous mob boss, in the heart of this gangster life. The independent survivor spirit within her is s ll there but has merged forces with this sophis cated, whip-smart, ambi ous woman.”

Can Han trust her? “I think she has done some dark things,” comments Clarke. “Han so ens her. She’s bound to the lifestyle she has found herself in to survive, but she will always hold the torch for Han, and it’s that realiza on, that reminder, which keeps her human and keeps her in this ambiguous place of whether she’s good or bad.”

Alden Ehrenreich comments on Clarke and her portrayal of Qi'ra, saying, “She’s the love of Han’s young life. He dreams about having his own ship and traveling the galaxy with her to escape the dark totalitarian world and call his own shots. Emilia is wonderful at the mysterious aspects the role demands. She’s very detailed, very specifi c, which makes Qi'ra such a dynamic character. She’s very evoca ve on screen, very compelling to watch, and she has a wicked sense of humor.”

Donald Glover was the only name on the fi lmmakers’ list to play Lando Calrissian. Recalls Kennedy with a laugh, “I have 18- and 20-year-old kids who went insane when they heard that Donald was playing this role.”

Glover is an award-winning writer, director, musician, stand- up comedian and actor, known for his work on “Community,” “Atlanta,” “30 Rock” and as his alter ego, Childish Gambino. Says Howard, “Lando is incredibly cool. He’s funny, he’s entertaining, handsome and charisma c. Donald has brought the role to the screen with such enthusiasm and commitment. He’s an extremely crea ve guy, with tremendous respect for who Lando was, what he meant to the Star Wars fi lms and to pop culture.”

“Lando was my fi rst ac on toy, so the character really spoke to me, and I am honored to dig a li le deeper into him,” says Glover. “I think he’s a really intriguing character. Some mes he’s good, some mes bad, and really only beholden to himself. These are interes ng and honest traits.”

Glover adds, “He’s very smooth, very self-assured and very elegant, and he’s the type to be the life and soul of the party—if he see it as being advantageous to him.”

A huge fan of Billy Dee Williams’ original Lando, Glover wanted to honor the role’s legacy while giving audiences a contemporary view. “Billy did something really special,” says the actor. “The subtlety and the control in his portrayal were really interes ng. So you have to do something special, but in a diff erent way. He was so cool,

6 but cool changes. It’s all context and perspec ve at the me. That presented an interes ng challenge for me.”

Filmmakers were struck by the immediate and amazing chemistry Ehrenreich shared with Glover at their fi rst audi on together. “The energy was just fantas c. They were sparring with each other,” comments Simon Emanuel. “The combina on of the two of them is pre y dynamic,” agrees Kennedy.

About the rela onship between Han and Lando, Alden Ehrenreich says, “Han and Lando are both trying to be the fastest pilot, the coolest guy in the room, but they end up having a grudging respect, as well as an understanding and aff ec on for each other as a result of the violent and crazy situa ons they fi nd themselves in. Donald brings so much humor and heart, and his own natural cool to that dynamic. It was brilliant to work with him.”

Glover had a fantas c me on the shoot. “I defi nitely have the best clothes, and, from the hair to the capes to the boots, I’ve had a blast being Lando,” relates Glover. “On a more serious note, I felt like the story hits the sweet spot between being something everyone can understand and relate to, while also being true to the Star Wars world.”

The brilliant and beau ful Bri sh actress Thandie Newton plays Val, a tough, no-nonsense gangster in Becke ’s group. “Thandie is incredibly charisma c and has an extraordinary presence,” says Ron Howard. “She is very intelligent, very gracious and wildly talented. She lives by a code of ethics and principles that are very admirable, and which she infused into the character of Val.”

Describing Val, Thandie Newton says, “Val’s so calm; nothing fazes her. Even when she’s in the most threatening situa on, she remains calm. She’s incredibly sure of herself.”

Like her co-stars, Newton was thrilled to create a new character in the Star Wars universe. “Who doesn’t love Star Wars?” she asks. “I remember when I used to watch the Star Wars fi lms as a kid and thinking it was always Han Solo who brought the fun into it.”

Newton was par cularly drawn to the themes of rebellion against societal norms and characters being on the run. “I feel a kinship with Val, that sense of being on the outside of society, which is very much where this group fi nds themselves,” says the actor. “I loved the anarchic counterculture vibe the group has.”

About working closely with Woody Harrelson, Newton says: “Woody is just a breath of fresh air. Every moment, every line he delivers, the way he moves, the way he interprets the character, he brings the unexpected to everything he does. He’s very free, very ins nc ve, and working with someone like that is pure joy because every moment is also an opportunity to bring every ounce of your best self, your best energy, to the work because that’s what he does. He’s also the best fun, and so kind.”

An English actress and writer, known for the award-winning hit comedy TV series “Fleabag,” Phoebe Waller- Bridge, with the help of Industrial Light & Magic, takes on the role of L3-37, a self-made droid and Lando’s

7 copilot. “She reconstructed herself,” says Waller-Bridge. “She started out as an astromech droid like Artoo, gave herself a voice and limbs and is able to do lots of things that she wouldn’t otherwise have been able to do. She’s very revolu onary, very determined.”

Waller-Bridge par cularly enjoyed the concept that L3 believes in rights for droids and believes that they’re being exploited. L3 thinks it’s me to stand up and speak out. This allowed her to improvise during some comic moments on set. “She’s fueled by injus ce when she sees how droids are treated by the universe,” comments the actor, “that they’re seen as second-class ci zens to humans, when she thinks that droids are far superior intellectually and, in her case, physically as well. She wants to free them.”

Off ering insight on the complicated rela onship between L3 and Lando, Waller-Bridge says, “They’re incredibly close. I think they lean on each other. I don’t think she’s ever met a human who treats her like an equal. And that’s very signifi cant to her. They have a mutual respect for each other, but they also drive each other crazy. A great partnership nonetheless! He’s vague and smooth, and she’s very upfront and bullish about what she thinks is right and wrong.”

The fi lmmakers appreciated Waller-Bridge’s impromptu crea vity. Says Ron Howard, “Phoebe is hilarious, irreverent, smart and a really exci ng new character in the Star Wars universe. She is also a hugely inven ve improvisa onal talent and a terrifi c writer, and the writers and I adored what she was able to bring to the character.”

“It doesn’t get much cooler,” says Waller-Bridge about crea ng the fi rst signifi cant female droid in the Star Wars universe. “She’s incredibly funny and inspiring, and to play such a strong woman in this universe, albeit she’s a droid, makes her even more unusual as a character and allowed me more freedom and fun with it.”

Bri sh actor Paul Be any takes on the role of the mercurial Dryden Vos. “He is a sociopath, unpredictable, anarchic,” off ers Be any. “He’s like one of those characters that appeared post-perestroika, a er the introduc on of the free market economy into a country that culturally had no system of ownership. Some people were trodden on, and some people did the treading. Dryden is like one of those guys who clawed his way up.”

The rela onship between Qi'ra and Dryden is mysterious and loaded. “As much as Dryden seemingly has a hold over Qi'ra,” says Be any, “she has a hold over him too. He’s fascinated by her. Whatever the nature of their rela onship is, as close as this total sociopath is able to, he loves her in a surprisingly deep way, probably as a refl ec on of himself.”

About Han Solo, Be any comments, “Dryden is suspicious of Han but at the same me intrigued by his rela onship with Qi'ra, and thinks it can be useful. He sees similari es in Han, a burgeoning young criminal, but Dryden feels

8 that Han’s heart is so big, he just can’t be the bad guy. That’s what’s delicious about Han, but Dryden sees it as weakness.”

The closest relaƟ onship Han Solo has is with Chewbacca, played by former college basketball player Joonas Suotamo. Chewbacca is central to the acƟ on in “Solo: A Star Wars Story,” which gave Suotamo a real opportunity to embrace the character.

Says Suotamo, “Chewbacca is truly the most loyal companion. He’s very aƩ enƟ ve, always alert to danger because he’s lived such a long, dangerous life, always on the watch. He is the perfect partner to have watching out for you. It becomes clear to Chewbacca that Han needs someone to take care of him.”

The actor adds, “Han’s too much of a risk-taker, overconfi dent that he can accomplish any task. Chewbacca is there to tell him that maybe he needs to think fi rst. It brings enormous fun into the scenes.”

Says Alden Ehrenreich of their special relaƟ onship, “It’s like watching a married couple. There’s an unspoken closeness. They are always bickering, but at the end of the day there’s a deep and unbreakable bond. Chewbacca is very emoƟ onal, very loyal, and cares a great deal about Han.”

About his co-star Joonas Suotamo, Ehrenreich comments, “One of the things audiences respond to with Chewbacca is his big open heart, and, while he has to be mindful of all the technical requirements involved in moving in the suit, Joonas was really able to bring so much to the performance, so much heart in what he does, and that’s really impressive.”

CREATING THE WORLDS

The fi lming of “Solo: A Star Wars Story” took place mostly at Pinewood Studios in the U.K., as well as two foreign locaƟ ons in the Dolomites and Fuerteventura, seƫ ngs equally stunning in very disƟ ncƟ ve ways.

The task of designing the sets fell to producƟ on designer Neil Lamont. A Star Wars veteran following his work as co-producƟ on designer on “Rogue One” and supervising art director on The Force Awakens, Lamont was thrilled to return to the Star Wars universe. “It’s such an aspiraƟ onal story and a journey of such scope for the characters,” comments Lamont. “It was a fantasƟ c creaƟ ve opportunity to discover and design, build and show audiences such diverse seƫ ngs, and to realize environments that have been spoken about so oŌ en in the past fi lms.”

Lamont was able to refer to an “amazing plethora of material” from Ralph McQuarrie and Joe Johnston, Star Wars’ original concept designers, which was especially helpful in the design of the fi lm, as the fi lmmakers wanted to capture and preserve the spirit of the late ’60s/early ’70s, with more than a nod to the Western genre. “We cast our research net far and wide, and kept returning to the themes of the Western genre again and again, and it weaves itself in and out each of the sets as a theme and as an overall look,” informs Lamont.

“We have tried to keep the original aestheƟ c,” adds supervising art director Alastair Bullock, “or at least the spirit

9 of the original aesthe c, while upgrading the build quality and the fi nishes to modern standards to adhere to the scru ny and expecta on of today’s audiences.”

CORELLIA

Together with Lucasfi lm design supervisor James Clyne, Lamont came up with the idea to present Corellia, Han’s home planet, as a Star Wars industrial version of Venice. The en re planet is made up of archipelagos, connected by bridges. “We asked ourselves how they would create such big spacecra in this world,” says Lamont. “It just came about that we felt so much could be done over water, by crea ng these diff erent islands with diff erent func ons—administra ve or industrial or residen al, all interconnected by bridges and roads.”

The various Corellian environments were built across Pinewood Studios and at Fawley Power Sta on, an oil- fi red, disused power sta on built in the late ’60s and located in Hampshire, in the south of England. Its u litarian boiler houses and turbine halls hugely inform the overall look and design of Corellia. “We could never have aff orded, nor had the space, to build a set that had so much technical depth within it,” notes Lamont, “so once we had found Fawley, and it gave us the concrete structures, the broken-down piping, the general dirty and rusty feel we wanted, the loca on very much became a founda on to how we imagined the rest of Corellia.”

At Fawley, with addi onal shoo ng at the Dunsfold Aerodrome in Surrey, the fi lmmakers staged one of the fi lm’s most thrilling ac on sequences: Han’s speeder chase, giving the crea ve teams the chance to build some fabulous vehicles, and the special eff ects and stunt teams the opportunity to perform some incredible work.

The development of Han’s speeder was an extended process and an interdepartmental collabora on among the art, ac on vehicles and special eff ects teams. Senior art director Gary Tomkins explains their star ng point for the speeder design: “We based the design on the American muscle car from the late ’60s/early ’70s, combined with speeder technology, and taking design cues from Luke’s speeder and various other cra seen in the Star Wars universe.”

Many concepts, designs and models by teams working in both the U.K. and the U.S. were produced, and a er a long process the team arrived at a design that made everyone happy. The fi lmmakers had decided the speeder should be blue with white racing stripes, and a li le beaten up. “From an early stage, everyone wanted a quirky, rather than slick-looking, vehicle. Han steals it at the beginning of the fi lm, so it looks like it’s been around the block, had a history before he’s acquired it. But it has been engineered like a race car. It drives like a real race car, and it could do well over a hundred miles an hour.”

Special eff ects supervisor Dominic Tuohy adds, “The speeder chase really excited me about this project. We’ve seen a lot of chases within the Star Wars franchise but we have never seen a speeder chase.” Tuohy’s team constructed the speeder as a four-wheel-drive vehicle with 525 brake-horsepower engine and the facility to adapt from a four- to a two-wheel drive at the push of a bu on. “The real challenge was making it look like a tradi onal vehicle, without wheels, as obviously the Star Wars speeders don’t have them, and it was an opportunity for us to do some fantas c engineering, building the speeder to endure fast corners, diff erent surfaces, tarmac, concrete, all the things a standard car couldn’t do,” says Tuohy. “We fi ed a combina on of rigs and pod-rigs to fi t both cast and stunt drivers at the same me in a way in which the stunt driver could not be seen, and for the camera crew to mount their equipment.”

In the exci ng ac on sequence, Moloch, one of creature eff ects supervisor Neal Scanlan’s incredible crea ons, gives chase to Han, and the teams were tasked to construct a contras ng speeder. “In terms of both design and

10 color, the speeder needed to feel in mida ng to Han during the chase, so we worked on the basis of a heavy truck, with a front grille with a great big bull bar, which would feel really menacing behind you,” says Tomkins.

Again, a lengthy design and build process ensued before the fi lmmakers arrived at the fi nished vehicle. “Again, very quirky,” says Tomkins. “Moloch drives in a li le cage in the middle of the vehicle; towards the front there’s a cage with dogs. The creature eff ects department made two animatronic dogs, so when the car is speeding along, you can see the dogs snarling and growling in the cage to add to the in mida on.”

Describing the chase, Tuohy says, “Part of the car chase was showing Han’s driving skills as well as his fl aws, so we had him deliberately hi ng things that would explode to keep the audiences guessing as to whether he’s in control or not.” For the special eff ects team, this meant lots of pyrotechnics and atmospheric eff ects, which bolster the authen city of the chase for a shoot.

The fi nal illusion was completed with a seamless integra on between the on-set enhancements designed and installed by the Art Department and the digital set extensions created in Visual Eff ects. This close collabora on between the departments was a theme throughout the making of the fi lm.

At Pinewood, the crea ve teams built the Den of the White Worms, again taking their design cues from Fawley, to construct the dark concrete space where Mother Proxima, the leader of the vampirish White Worm clan, dwells.

Supervising art director Alastair Bullock informs, “We’ve created a stagnant underground chamber in an old industrial plant. The concrete nature of the set refl ects the brutality of Mother Proxima, and this community of lost boys and girls, who must perform these dastardly deeds on her behalf, in return for her protec on.” The challenge for the crea ve team was to create a set allowing for the creatures to emerge from the water, which could accommodate the puppeteers as well as the performers, and there were lots of them!

Also at Pinewood, the fi lmmakers cra ed the Space Port, a Corellian environment reminiscent of Ellis Island. The fi lmmakers imagined how an industrial non-Empire se ng would look, where Han and Qi’ra try to evade the White Worm syndicate and the Imperial offi cers, and escape from the planet. Lamont comments, “The idea was to show a mixture of the crumbling old Corellian architecture and how aspira onal Corellia was before it became an Empire-occupied territory. We bought into this concrete feel, given we were using the concrete structures at Fawley for our exteriors, and showed Corellia’s faded elegance tonally with the murals running along the side of the set, illustra ng early space fl ight, remnants of a bygone area, juxtaposed with the familiar Imperial elements.”

The set fi lled the studio’s famous 007 Stage, a huge space. Bullock says, “It needed it. It amplifi es Han’s vulnerability; a very small boy lost and alone in this huge space, and on the run.”

MIMBAN

In imagining “the mud planet” of Mimban, Neil Lamont drew inspira on for the planet’s various se ngs from World War I references: the ba lefi eld, the airfi eld, the trenches. Lamont explains: “Mimban is a planet being assailed by the Empire, the oppression of an indigenous race. It’s a ba lefi eld, a lot of fog, a lot of smoke, so we could get away with a big painted backing, again using the 007 Stage, with a horizon of a cloudy sky, and using that huge space to put in craters, ruins, crea ng camps with tents. We had a lot of fun with this set.”

11 But it really came to life when it was populated by the cast of characters, the Mimbanese, the Mud Troopers and the creatures. Then the special eff ects team could demonstrate their impressive skills, crea ng a dark and smoky atmosphere, and going to town with the pyrotechnics. Says Tuohy, “We introduced rockets and live explosions. Everything is prac cal. Nothing was for show. It really feels that we’re in the middle of it.” The visual eff ects team added to the scale of the ba le by extending the fi ght to include the new AT-DT walkers and background explosions even larger than the giant 007 Stage could contain.

The team used gray shale, sourced from a Welsh quarry, to dress the Mimban sets. Bullock comments, “We had a mountain of it on the backlot, which we would just keeping digging into to dress the Mimban sets. The 007 Stage at one me was completely covered in gray slate.”

Arguably the most signifi cant set in Mimban is The Pen, an Imperial-improvised prison deep dark pit, the makeshi log roof supported by one central wooden beam. The light from a hatch door in the ceiling, the only entrance to The Pen, illuminates what happens below. The actual set measured some 24 feet square and 18 feet deep, and was fi lled with gray goop, a s cky, sludgy mud, which provided real physical challenges.

Principal photography started on this set and became a bonding experience for the company, where everyone united in the challenges they faced. But a er two weeks, everyone was very relieved to be done with Mimban!

VANDOR

To capture the Iridium Mountains of Vandor—a series of snow-capped peaks, picturesque mountain streams and sheer cliff s imagined by the fi lm’s writers, where important scenes, including the Train Heist, take place— the fi lmmakers wanted an extraordinary loca on. They chose the Dolomites, a mountain range located in northeastern Italy and making up the eastern part of the Alps. The fi lmmakers also wanted to situate the cast of characters in a real place to show the scope and scale of their journey, so the visual eff ects unit shot background plates for the Train Heist sequence by u lizing both aerial photography with the same digital cameras used on the fi lm and by shoo ng over 20,000 images across an area of 26 miles from a helicopter.

A reduced unit traveled to the Dolomites for a six-day shoot, and cast and crew took over the small village of Misurina, which sits some 1,756 meters above sea level and refl ects the southeast slopes of Tre Cime di Lavaredo, the mountain cluster on which the unit shot. A breathtaking landscape, with an otherworldly quality, this was an incredibly ambi ous and challenging shoot.

A daily convoy of helicopters, 4x4s and a team of robust and friendly alpine guides, the local Sherpas, ferried cast, crew and equipment up the mountains to an al tude of 2,400 meters. Working in such an exposed loca on, the unit had to make do with limited resources once at the top, not least of all because changing weather condi ons could quickly render the mountains unsafe to shoot on, requiring the crew to vacate swi ly. With temperatures

12 as low as 15 to 20 degrees below zero, the unit had their work cut out for them. But the sight of Han and Chewbacca having snowball fi ghts during breaks in fi lming, everyone joining in at mes, made it a fun experience for the team, and the beauty of the place was truly something special to behold.

Thandie Newton summed it up for everyone: “I’m always humbled by the kinds of experiences we have doing this job. In the Dolomites, in that vista, being ny specks among those incredible mountains was quite wonderful. It was like being at camp with the Star Wars team. I absolutely loved it. It’s such a gi to the audience to see this extraordinary landscape, to be reminded that there are places in the world that are so magnifi cent and unspoiled.” Other environments on Vandor include Fort Yspo Saloon Lodge and Dryden’s Star Yacht, with both sets being constructed on soundstages at Pinewood. And Vandor is where Han fi rst encounters the Millennium Falcon, also shot at Pinewood.

Lamont and set decorator Lee Sandales used the great ocean liners of the 1930s as their inspira on for Dryden’s Star Yacht’s interior architecture and dressing, and the Art Deco infl uences in the design are clear. The crea ve teams took the opportunity to create, build and dress sets with an opulent fi nish, with beau ful gold and silver metallic luster to the elements. Dryden’s Private Study is also an enchan ng space, a museum of glass cases fi lled with ancient ar facts, old weapons, gems and other invaluable oddi es and treasures. The treasures were garnered from the environments and indigenous popula ons that Dryden and the Crimson Dawn syndicate have plundered. If audiences look carefully, they will see familiar items from around the galaxy.

Instead of using blue screen, Dryden’s ship was given a real view out into the world, like the Millennium Falcon cockpit sequences, provided by the visual eff ects department. In order to create this illusion “in camera,” they fi rst shot 360-degree photography from a helicopter in the Dolomites. To get a clear image, they photographed with the doors open and the crew strapped in for safety. Visual eff ects supervisor Rob Bredow informs, “We then took the fi nal quality images and projected them onto a 370-foot-long surface, comprised of 10 blended laser projectors with special lenses to accommodate the set. The fi nal resolu on was over 16,000 pixels wide, or over eight mes the resolu on of HDTV.”

The Fort Ypso Saloon is a dark and cavernous tavern, perhaps not quite as lawless, but with a very similar vibe to the Mos Eisely Can na. Says Neil Lamont, “I think the Saloon is the fi rst example of wooden architecture in Star Wars[not including Wookiees’ and Ewoks’ treehouses].”

The crea ve teams looked at the Tatooine bar and used its design for the main bar area of the Saloon. Lamont elaborates, “It had good circula on, it had good depth, and from that we then worked in the other areas, namely the sabacc room and the droid-fi ght area.” The sabacc area is a two- ered galleried space around the eight-sided sabacc wooden table, which is set in a sunken pit. Taxidermy heads, hun ng trophies of wild and wonderful creatures, designed by the creatures special eff ects team, are mounted on the walls.

Dressing this set was a huge thrill for set decorator Lee Sandales, as he could fully embrace the Western themes.

13 “The Saloon is in an outlaw town, in a very harsh alpine environment, and we dressed it with those cues in mind,” he says. “We started with the most basic theme, that it should be a wooden structure, with wood furniture. Vandor is cold, so they would need stoves, and, based on the side of the mountain, they would have their own brewery, because they couldn’t be bringing goods in too o en.”

In keeping with the Star Wars tradi on for using found objects, the team cast the net wide to source objects from almost everywhere. Sandales relates, “We found these really amazing 1930s Swiss toboggans in an an ques market in the South of France. They were just perfect. They look like Star Wars sledges. We didn’t need to do anything to them. In Mos Eisley the op cs behind the bar are the fl ame cans from a jet engine. I found some broken ones in the breakage yard and used them here. It’s a small but lovely added connec on between the two fi lms.”

The Millennium Falcon, arguably everyone’s favorite Star Wars set, is not the Millennium Falcon audiences know and love but a clean version imagined by the fi lmmakers in its “original” state when it belonged to Lando. The challenge for the fi lmmakers was preserving the legacy feel as far as possible while presen ng a fresher version of it. Audiences have to believe that, at the end of the day when Han gets the Falcon, the ship has evolved from what they see in “Solo” to the version with which they are already so familiar.

The exterior now has a smooth outer shell, the missing panels replaced, and the internal pipes and mechanisms covered up; altogether a much be er maintained version than the one with which audiences are familiar. One very important new element is a wedge-shaped escape pod that sits between the front mandibles, with this origin story explaining why the Falcon we know has the shape it does.

The exterior Millennium Falcon set built for The Force Awakens and The Last Jedi was repurposed. It was situated on Pinewood’s backlot, weighed 31 tons, and it had to be moved around using two cranes. As a result, the Falcon could be seen fl ying across the Buckinghamshire skies on more than one occasion during the summer months of 2017 as it was reposi oned from one space to another in keeping with the narra ve demands of the day.

The fi lmmakers looked for their cues as to how the Falcon might have looked when Lando owned it in the legacy fi lms. Explains Liam Georgensen, art director for the Millennium Falcon and known aff ec onately among the crew as The Falcon Man: “For example, the padding in the corridors in A New Hope is slightly whiter than it is in The Empire Strikes Back and Return of the Jedi. We took that as a hint that at an earlier me it was a lot whiter, before Han got his hands on it. So what you’re looking at now is a much cleaner version of the corridors. We took that idea and applied it to the areas we don’t see in the legacy fi lms to work some of Lando’s character into the ship, as well as dying up all the exposed wires and making it much more pris ne throughout the areas that audiences know.”

The Interior Millennium Falcon set took three months to build and is the largest interior Falcon set ever made on any Star Wars fi lm. Again, the fi lmmakers repurposed elements created for The Force Awakens and The Last Jedi, expanding the interior to encompass Lando’s quarters, which boast an extensive walk-in closet and a

14 luxurious sleeping area, a double bed draped in so fabrics and surrounded by controls and gadgets to keep Lando entertained. Among other pieces, the set decora ng team sourced a pair of square dumbbells and a pair of silver headphones, a nod to a similar pair seen in A New Hope, hooked on a seat in the main hold. “We thought it would be fun to suggest those headphones had been kicking around for a while,” says the set decorator, Lee Sandales.

In the lounge, the crea ve team was tasked to add elements to suggest the Falcon is a more social place under Lando’s guardianship. A chandelier has been added over the familiar chess table, and some yellow protec ve covers to the sea ng area. The area now off ers a bar, a circular o oman seat with integral music system and a brand-new naviga on system control, which retains some elements of the older version but is a much slicker and well-maintained piece of machinery.

There is also a trophy case, containing Lando’s prize possessions, including a miniature replica of the Falcon itself, 3D printed from the working model that was made for the build of the exterior ship, a speeder bike model, as well as a model of Cloud City. Yellow upholstery throughout is inspired by the color of Lando’s shirt.

The fi lmmakers have also added the engine room to the interior, an area that has only been hinted at in previous Star Wars fi lms. Says Georgensen, “What we’re showing is only a ny part of the inner workings of the ship, perhaps just an area accessible for maintenance and for giving it a li le speed boost when needed, but the idea is to hint at the more industrial side of the ship, which later becomes more exposed once Han has had his way with it.”

Utmost respect was paid to the original design when it came to revamping the cockpit. “We were very careful with what we did to the cockpit, but there is s ll an element of Lando about it, fresh upholstery on the chair, a li le pop of yellow on the back seats,” says Georgensen. The fi lmmakers repurposed the cockpit set made for The Force Awakens and The Last Jedi, but all the control panels were completely remade and, while there are extra switches, every LED is in exactly the same place as it is in the original fi lms. There were also requirements to make the cockpit as prac cally interac ve as possible, so every switch had to work. They also had to provide plug-in ports on the right-hand side of the cockpit with which L3 could interact.

The Millennium Falcon is exposed to some extreme turbulence during the fi lm, and it fell to the special eff ects team to create the movement, which they did with a combina on of gimbals and purpose-built rigs. “We make it move to look like it’s really in trouble,” says Dominic Tuohy. “It’s not a camera shake. The set is actually shaking, and we’re moving it fi ve degrees either way and very violently, which allows everything in that set to vibrate and move so you get that natural movement. The actors aren’t trying to move; physics is taking over. They’re actually trying to hold on.”

For the fi rst me, visual eff ects u lized rear-projec on wrapping screens the height of the soundstage 180 degrees round the cockpit so the actors could see and react to pre-prepared anima ons rendered by ILM of

15 fl ying and entering hyperspace. Explains Rob Bredow, “We generated the shots very much the same way it is done for a simulator ride in an amusement park to make it as immersive and realis c as possible, not just for our actors but for the camera, and primarily for the audience. It completely changes the character of the ligh ng on the actor’s face so you can actually see hyperspace in Han’s face. As Han Solo goes into hyperspace for the fi rst me in the Millennium Falcon, it is refl ected in his eyes. Those are shots that would be impossible to get without this technology.”

KESSEL

Already familiar to legions of Star Wars fans, the planet Kessel hosts spice mines, where humans, droids, Wookiees and other creatures are held in subjuga on. The fi lmmakers imagined a series of triangular tunnels, built on interior and exterior sets. The crea ve teams brought the builds to life, with the rock textures and the vibrant yellow of the materials created by cement mixers churning up sawdust and yellow paint. Explains Bullock: “The idea is that the spice is everywhere. It’s in the duc ng. It’s very corrosive, so this was a great set to do in terms of the crusty and rich fi nishes that we could play with. Goodness knows how many dustbins we fi lled with yellow sawdust, but it looked really good.”

For the Interior Mines, one of the challenges was fi nding what the prac cal light source for the director of photography, Bradford Young, would be. But it was sparked by one small Ralph McQuarrie drawing the set decorator found. “I came across this early concept for Cloud City,” recalls Sandales. “It had a ny aerial at the top. I turned it upside down, and it looked like a mining lamp. It was just a ny li le sketch, but it prompted the design for all the lights in the Kessel Mines.”

Interes ngly, the fi lmmakers borrowed from another infl uence at Fawley for the Mine Opera ons Center. There is a control room in a circular tower there with wonderful rotunda windows in a beau ful 1960s design. Lamont liked it, and it sparked the design for the set.

SAVAREEN

Neil Lamont, together with the crea ve teams, imagined an ambi ous industrial landscape for the Savareen refi nery, a town swamped by the desert, reclaimed by the land, with only peaks of the degraded and crumbling structures revealed. Lamont acknowledges, “We knew we needed to go to an extraordinary environment to capture it. It’s our ‘High Noon.’ It’s the fi nal confronta on.”

They found the perfect loca on in Fuerteventura, the second largest of Spain’s Canary Islands, which sits in the Atlan c Ocean, 62 miles off the north coast of Africa. The fi lmmakers had their pick from a mul tude of beaches that wrap around the island, interrupted by volcanic cliff s and sheltered coves. On the west coast of the island, about 547 yards from the sea, they found the perfect loca on—an exposed hillside overlooking the sea, with a rugged, dusty and sandy terrain.

It was a 12-week build. Prefabricated pieces were made at Pinewood and shipped in containers to Fuerteventura, where the structures, with their walkways, girders and pipelines, were assembled, adapted and fi nished in the dunes. Alastair Bullock describes it: “It was stunning to see the set materialize out of this landscape. It’s a beau ful

16 landscape, with this dune running directly down on quite a slope to this drama c and windswept rocky coastline. It’s one of those sets that, when you’re in the middle of it, it’s a complete environment, a 360-degree set. You are really in that refi nery.”

Set decorator Lee Sandales expands: “The idea is that a small nomadic tribe have moved in, and are living among the ruins of this ghost town. We came up with themes of what they would do if they actually lived there, and expanded these themes into a culture.”

The culture then informed the set decora on. “We imagined they were fi shermen and that they lived on fi sh,” con nues Sandales. “The shells had given them the gi of forms of dye, which they combined with fl ax from a local farm to weave and make canopies, which we do ed round the set.”

THE LOOK AND THE LIGHTING

In crea ng the overall look for the fi lm, the director of photography is hugely important. One of the criteria for the stand-alone fi lms is that each one has its own character and its own dis nct look. Producer Simon Emanuel expands about cinematographer Bradford Young: “The director of photography can make the look of the fi lm a real character in the story. Bradford’s work is incredible. He truly is an ar st, who lights by ins nct, lights by how he feels looking at the par cular scene or par cular shot.”

Bradford Young was excited to join the team and use his dis nc ve ligh ng skills in the Star Wars universe. “It is a script that plays off the classics and has all the beau ful tropes and clichés of the classics,” Young says. “One of the things that struck me was that the fi lm had to feel natural; it had to feel earthbound, about characters pu ng their feet on natural surfaces. Everything had to be coming from the right place, whether it be where the camera was placed or where the light was coming from.

“If you want to feel the snow, if you want to taste the snow, if want to smell the snow, or if you want to feel the sand and taste the sand, nothing is be er than allowing that sand or that snow to be lit by the sun or be lit by the moon. I always feel like audiences are now really hyperaware when things don’t feel real. And this fi lm had to feel real. It’s more diffi cult to work that way, but it’s something that I feel like I’ve trained myself to do, which is to fi nd the moment, fi nd the source, and then construct the moment around that.”

He elaborates on his process, “Neil Lamont designed sets that allowed us to light from the set, so every prac cal light that you see in this fi lm is actually ligh ng the subject. When the character steps away from the ligh ng source, they’ll walk into the shadow, and it might be a li le intense for the audience for a moment, but the character will eventually step back into the light.”

Off ers Alden Ehrenreich, “I think Bradford’s work is one of the key things that dis nguishes this fi lm from the other Star Wars fi lms, and the look of the fi lm is one of the things that I’m most excited about. It’s this tougher,

17 seedier world and story, and Bradford has lit it in a very organic and natural way, which gives the world an edge and a sense of danger. It doesn’t feel glossy or removed.”

Thandie Newton comments, “I was very excited that Bradford was lighƟ ng the fi lm. I’ve been a huge fan for a long Ɵ me of the atmosphere he creates with light. He has brought a very interesƟ ng feel to the fi lm. He’s very consistent with how he wants to make the fi lm look, and he has a very clear and recognizable style while at the same Ɵ me keeping it in the world of Star Wars that audiences have come to expect.”

DRESSING THE CHARACTERS

The costume design team, headed by David Crossman and Glyn Dillon, made over 1,000 costumes for “Solo.” The majority of the costumes were designed and produced in house, and the stand-out costumes for the crowd scenes ranged from wide-brimmed hats and fringed jackets, to colorful indigenous costumes of the nomadic tribes, and all the way to high-fashion looks.

For David Crossman, designing the costumes for “Solo” was a dream come true. “Han Solo is my favorite character from the original trilogy fi lms,” says Crossman. “He’s just the epitome of cool, and it is such an iconic look to explore.”

Glyn Dillon adds, “The characters that Han meets throughout his journey also are so layered, so rich, they presented fantasƟ c opportuniƟ es for us as designers.”

What makes a Star Wars costume? “It’s something real, that audiences can relate to from their own life and from history, mixed with fantasy elements, that gives it the Star Wars feel,” suggests Crossman.

Remaining faithful to the aestheƟ cs of the original costume design, and taking inspiraƟ on from other 1970s references, oŌ en Western ones, including Robert Altman’s “McCabe & Mrs. Miller,” the costume team created a wonderful wardrobe of clothes for principal cast, creatures and a huge number of crowd players.

“Han Solo’s look is such a classic, iconic one, so we didn’t want to veer too far away from the original costume,” informs Crossman, “but we wanted to see how he got there. We liked the idea that the look becomes Han Solo during the course of the fi lm as he acquires pieces from BeckeƩ , and from other characters. The more people he meets, the more he gathers and establishes his own idenƟ ty.”

The designers had several looks to create for Han on his costume journey, which include Han’s Corellian look. Says Glyn Dillon, “We were looking at bands like The Clash for inspiraƟ on, and we arrived at an ’80s punk look mixed with a ’50s element.”

The costume consists of a leather waistcoat vest, painted in white house paint, a sign he “belongs” to the White Worms, customized with trinkets he’s picked up along the way. Says Dillon, “It works as a negaƟ ve of his classic costume. The vest is white, the shirt is dark and the Corellian trouser strip is faintly visible. He’s idenƟ fi able as Han Solo, and this punkish, ’50s-inspired version of the iconic costume suggests youth and rebellion.”

18 “For Han’s Mud Trooper uniform,” says Crossman, “he wears the standard uniform, for which we’ve taken some elements from The Empire Strikes Back helmets and created a quasi-stormtrooper goggle and capes reminiscent of Russian ones from the World Wars, but the boots are Han’s, which he carries on through his journey.”

When Han gets to Vandor, he has shed much of his Mud Trooper uniform, and from BeckeƩ he gets his gun belt and his jacket. Notes Crossman, “By the Ɵ me he is reunited with Qi’ra on Dryden’s Yacht, he is starƟ ng to look almost like the Han Solo everyone knows.”

Han’s Steve McQueen-styled suede jacket harks back to the beginning, as Crossman explains, “There was a lovely ’60s jacket we saw somewhere in London, with black paneling, on which we based the suede jacket. In the original Han Solo look in A New Hope, everything is very cropped, so we aimed for that look, keeping the sleeves shorter, the jacket length cropped, so it’s clear for the guns.”

The costume designers turned to musical infl uences to design Lando’s costumes: Jimi Hendrix, Prince and Marvin Gaye. Glyn Dillon comments, “He’s such a colorful character. We wanted to have fun with his costumes and bring in very strong colors and some vibrancy.” The costume designers are used to rendering countless drawings before they are saƟ sfi ed that they have nailed a look, but it was a much faster process with Lando’s costume. Dillon tells, “In one of the fi rst drawings of Lando, we drew him with a yellow shirt, and that was it. That was Lando.”

Lando’s extensive cape collecƟ on and the shirts and boots in his walk-in closet presented a great opportunity for the designers to expand his wardrobe far beyond anything Lando would wear on screen. “In the closet, we tried to incorporate every texture possible, mixings and paƩ erns, velvets and leathers, just to get a great variety, as audiences won’t see Lando in much else than his yellow shirt,” comments Crossman.

The costume team made 30 capes in all for the closet, and for the fi nal sequence, set in a tropical environment, the designers fashioned a Hawaiian-styled shirt for Lando. A Ralph McQuarrie drawing of a liƩ le spaceship, not featured in the Star Wars fi lms, sparked the inspiraƟ on for the paƩ ern on the shirt.

The designers used similar punkish ’80s infl uences for Qi’ra’s Corellian look: an oversized boyfriend jacket, leather skirt and pointy boots. They then adapted her look to a femme fatale when Han is reunited with her in Fort Yspo. “We wanted to create a look that would blow him away when he sees her,” informs Dillon. “She has to be recognizable, but there has to be something in the way she dresses that gives her that ambiguous edge: is she dangerous, can he trust her?” Crossman adds, “She’s second-in-command of this criminal gang. Her look needed to be sophisƟ cated, so we went with a Lauren Bacall-inspired beauƟ ful black silk dress. We gave it powerful shoulders, and shiny black jewelry, that incorporates the Crimson Dawn logo.”

Qi’ra’s other costumes become more pracƟ cal as the narraƟ ve dictates but always retain a sophisƟ cated edge. Infl uences from the Western genre, combined with the ’40s femme fatale, are very clear in the leather skirt,

19 wide-leg pants and high-heeled boots in the Fort Ypso Saloon and ac on sequences.

For Becke , Dillon says, “We wanted to give Becke that mentor feel for Han. He wears a pale, long duster coat over a dark fl ight suit.” Adds Crossman, “Becke wears the costume almost throughout. The script might dictate that, but some mes it’s helpful for certain characters too. People iden fy with them be er.”

The one costume change sees Becke wearing Lando’s armor from Return of the Jedi as a disguise in the Kessel ac on sequences. “It’s the helmet that was based on a baseball glove, and it was great fun recrea ng that costume for Becke ,” says Dillon. “Hopefully it will look to fans like Becke le it on the Falcon, and years later when Lando comes back to the Falcon to rescue Han, he would have dug it out and remembered it was the one Becke used years before. It’s one of those things that Star Wars fans will love.”

“Val was a fun one to do,” says Dillon. “Val’s strong and she’s cool, so we went with leather and the backward apron skirt that is really Star Wars, and also quite punky.” Climbing is Val’s expert skill, so belts and harness ropes a ach to the costume, and a gun hangs round her neck.

Thandie Newton collaborated closely with the designers on Val’s costumes. She says: “Diff erent actors have diff erent ways into their characters. For me, costume and the whole look of the character is when I fi nally feel the person I’m playing, and Val’s costume was such a fantas c evolu on. I have two costumes, both very func onal, but the second costume had so many gadgets over it, and every element had a func on. It felt like I had a layer of robo c strength and prowess and the costume told a story.”

“There has to be a connec on between Dryden and Qi’ra that presents as a threat to Han, not just a physical threat but a roman c one also,” says Dillon. “This was something we felt was important to express in Dryden’s costume, that he look charming, suave, but dangerous too.” Making the most of Paul Be any’s strong and imposing look, the designers dressed him in beau ful tailored fabrics, cra ing a one-sided cape that appears to have grown onto the jacket, to be integral to the jacket, and gives him a formidable silhoue e.

L3-37’s design is another interdepartmental collabora on between costume and visual eff ects, and took a long me to develop. “L3 is a self-made woman,” off ers Dillon. “She’s an astromech droid, who has built herself up from spare parts she has acquired. She’s given herself a voice. She’s a female droid who has empowered herself.”

Once that was determined by the fi lmmakers, it helped the departments fi gure out the way she should look. Dillon explains: “The head is like the top of a dome of an astromech, but has been cut down. The shoulders are like the tops of the sides of the legs on an astromech droid, like an R2 unit. There are li le vents and certain details that we’re sure the fans will no ce.”

The designers built costume pieces to fi t Phoebe Waller-Bridge, who plays L3-37. “Visual eff ects will only take out her face, belly and arms. So she’ll be able to interact and it will look real. The end result will give you a diff erent-looking, fully interac ve character other than a pure CG one,” says Dillon.

The team also adapted stormtroopers to become Mud Troopers by caking them in mud and adding capes and a brow plate to the helmet, and into the Fron er Troopers with giant sheepskin coats with huge fur collars and magne c boots, made up of as many as 100 component pieces in each one.

20 THE CREATURES…AND CHEWBACCA

Neal Scanlan, who has been twice Academy Award® nominated for his creature work on Star Wars: The Last Jedi and The Force Awakens, is once again responsible for popula ng the “Solo” environments with an extraordinary array of creatures. Scanlan and his talented team produced over 500 designs for the creatures during the design process.

For “Solo,” Scanlan looked back to the creature designs of the original trilogy to inform his process in a very par cular way, as George Lucas might have asked his designers to look forward at the me. He says, “I can imagine the conversa ons George would have had looking at the fi lms of that me, fi lms like ‘Buck Rogers’ and ‘Flash Gordon,’ and encouraging his crew to use those references as inspira on, and push forward in me to fi nd a new and unique version of that world.”

He con nues, “For us I think it was looking at those worlds, the styles and approach used, which made them new and fresh for the audiences then, and try to bring some of that into this project to place the fi lm in this me zone, in this era. We need to be observant of Star Wars, and there is a great deal of charm and innocence to those designs, and some of the simplest crea ons happen to also be the most unearthly, and where we have tried to base our designs for this fi lm.”

The design of the creatures in the various environments refl ects the tone of the se ngs. “When one tries to set up a mood, everything needs to fi t within that mood; otherwise, it’s going to jar,” explains Scanlan. “I think we start this fi lm in a world that’s quite dark, a repressed environment, and the creatures we have designed for these environments are not dissimilar. But the fi lm brightens as it goes on, mostly because of the growing rela onship between Han and Chewbacca, which is at the very core of what this fi lm is about—ul mately fi nding the one being in the world Han can absolutely trust—and it happens to be this Wookiee.”

The creature eff ects department had to produce eight Chewbacca suits and ten heads, all under the leadership of the amazing supervising animatronics designer, Maria Cork, who has worked with Chewbacca since The Force Awakens, for the diff erent Chewbacca looks the narra ve dictates, notably the “muddy look” for the fi rst mee ng between Han and Chewbacca.

Chewbacca’s suit consists of a Lycra under-suit with a kni ed cowl, which is a more modern material, as the original was completely kni ed in wool by Stuart Freeborn’s wife. (Freeborn was the original Star Wars makeup ar st.) The hair is exactly the same as the original Chewie suit and is made of singular kno ed hairs of yak and mohair.

Scanlan says, “We were so precious about being accurate and honoring the original Chewbacca suit, that the idea of throwing mud all over him and we ng him down seemed abusive.” It was a daun ng prospect too, given the immense me and energy that goes into crea ng a Wookiee suit.

But in the end, that’s exactly what they did. Scanlan explains: “We got the hose out and literally doused Chewbacca down, and something magical happened. It made him immediately feral. He took on that sorrowful, bedraggled look, just like a domes c dog. It was interes ng to see how quickly these animal quali es came out…and the

21 whole premise is that he look really animalis c. He’s been in prison for some me, he’s covered in mud, and he appears fi rst as a shape in the shadow. Terrifying for Han.”

Cleaning the suit every day wasn’t possible, and standard portable showers weren’t big enough for Chewbacca, so, to the delight of the crew, the loca ons department made a wonderful contrap on that became known as the “Wookiee Wash” on set—a big shower unit rigged above a paddling pool.

“Solo” introduces Rio Durant to the Star Wars universe. Rio, a CG character voiced by Jon Favreau, is one of Becke ’s gang, a cocky and irreverent Ardenian. He is small in stature, blue and a new creature design for Neal Scanlan and the designers at Industrial Light & Magic. He’s also the best pilot in the galaxy. No one can out-fl y Rio. For one very good reason: he has four arms and two very useful legs. The team referenced Indian dei es like Kali to inspire their Rio design. “We started to sketch ideas of what that might look like. To have arms that emanate from the shoulders, with the dexterity of a monkey, enabling him to swing and work as well upside down as he can the right way. And so he can use his feet as he can his hands,” explains Neal Scanlan.

In spite of his confi dent a tude, Rio is an extremely cute-looking creature. Scanlan off ers, “It’s very important to retain the humanity of a character visually, and create a design that is endearing, not in mida ng, to appeal to an en re age range.”

Once the design was determined, the team began to work out the approach to realize the character, which required great collabora on between the on-set performer, Favreau’s ac ng, and the ar sts at Industrial Light & Magic who brought Rio’s face to life.

Mother Proxima, one of the darker creatures in the fi lm, was a new addi on to the Star Wars universe. Leader of a vampirish clan and an underworld boss, she is a water-based alien, her lower half made up of a tangle of tentacles. “Mother Proxima and the White Worms can only survive in a dark, damp environment, almost like plants that might grow in sewer drains,” comments Scanlan.

Moloch is Mother Proxima’s right-hand man. “We tried a lot of designs for both Mother Proxima and Moloch,” explains Scanlan. “We felt that Moloch and the White Worm aides all had to be deriva ve of Mother Proxima, so it was important to get that design locked fi rst. The idea is that Mother Proxima is almost interconnected to her aides, around her, through her, similar to a tree’s root system, by which she feeds not only nutrients but also informa on to them. At some point Moloch would have broken free, become an independent en ty, but is telepathically and almost physically connected to her in many ways.”

Once the fi lmmakers had approved the design of Mother Proxima, Scanlan and his team were able to sculpt the four characters in one go and, while Mother Proxima is very tall compared to Moloch, and shaped quite diff erently, it is very evident that they are of the same DNA. Mother Proxima had the most performers for one creature in the Star Wars series so far—30. Twenty of them were actually submerged in water in a performance that at mes looked very much like a synchronized Busby Berkeley rou ne!

“Solo” also introduces Wookiee slaves in the Kessel sequences. Of the challenges presented in crea ng more Wookiees, Scanlan says, “Chewbacca is the stud Wookiee, and all things come from him.” With that principle established, the team cast subsequent casts of Chewbacca’s face and remodeled it in diff erent ways but always building from the founda on of Chewbacca. “I think it’s been very successful for that reason,” says Scanlan. “You s ll see Chewbacca in there somewhere, and that gives all the Wookiees a soul and an acceptability that they are part of this race, and I think that is crucially important to making them work as men in suits.”

22 The sabacc creatures were inspired by a Caravaggio pain ng. Scanlan says: “It’s a beau ful pain ng, an incredible composi on, and it has a great atmosphere to it. The characters sit round a table, many of them fall into the background, into the shadow, and we subs tuted the humans for aliens at the same propor ons as in the pain ng. The fi lmmakers chose the creatures they liked from a catalog of creatures we were already drawing, and we pulled the ones that were most favorable, not only because of the way they looked, but all for their propor ons.”

Six Eyes, an alien player in the sabacc game, is the most sophis cated mechanical head ever produced. It has 50 servos inside the head, with on-board intelligence. Scanlan explains how Six Eyes works: “Once the puppeteer is inside, as he moves around, the eyes will automa cally follow, they’ll look up, look down, the head will bounce, and the eyes will bounce. All of that can be done before you even start to write a second layer of directed performance. The sabacc game, essen ally a poker game, was a perfect place for a character like this. Six Eyes has the ability to look at anyone’s cards at any one me, and the other players do not know which eye is looking at them.”

FIGHTING “SOLO” STYLE

“Solo: A Star Wars Story” was a unique and challenging opportunity for ac on designer and 2nd unit director Brad Allen, stunt coordinator Mark Ginther and fi ght coordinator Guillermo Grispo. Aside from thrilling ac on sequences, some with huge crowds, creatures, and all with prac cal eff ects, the team was also tasked with developing diff erent fi ght styles specifi c to each of the principal characters.

“Everything we do must serve the story; the ac on must be character-driven,” says Guillermo Grispo. “Han Solo is a street fi ghter, with a mean swing. He is opportunis c in everything he does to counter and to get out of trouble. He improvises, makes or creates weapons from a handy object, and he’s agile. We’ll also see him pick up some tricks from Becke .”

The stunt team also wove some military training into Han’s fi gh ng style, given his brief s nt with the Imperial Army, and the fi lm also tells the story of how Han gets his DL-44 trademark weapon from Becke when he pulls apart his rifl e.

For Chewbacca’s style, Grispo says, “Early on, we started to think about seeing a full-on display of Chewbacca’s power. Is he as strong as an ox, strong as a bear? Once we had worked out those parameters, we could develop the cinema c ac on.”

The stunt team took full advantage of Joonas Suotamo’s athle cism to design the ac on involving Chewbacca. “He is very quick to pick up the moves and loves to do it. That was a tremendous benefi t to the stunt team,” notes Grispo.

The stunt team also watched Peter Mayhew’s performances carefully, as ensuring the con nuity of Chewbacca’s

23 body language was a big responsibility, but at the same me they worked to off er up something new and fresh for audiences.

Qi’ra has learned Teräs Käsi from Vos Dryden, a prac oner of the extreme mar al art, which had already been established in the Star Wars universe. But the “Solo” stunt team needed to research and create a style, moves and usable weapons before they could teach Emilia Clarke and Paul Be any. Among other fi gh ng skills, it enabled a user to develop extreme speed and an ap tude for an cipa ng strikes.

Dryden uses exo c double-bladed daggers, which the stunt team had not seen before, so they tagged them for a Teräs Käsi trademark weapon, as well as Qi’ra’s sword. Grispo says: “It has a pre y unique look. It almost looks like a fork combined with a sword in that it has a separa on within the blade.”

“We borrowed from the best Western fi lms the fi ght mannerisms of cowboys for Becke ,” says Grispo. “Woody was very excited about the gunplay for this fi lm. He put in a lot of hours learning how to twirl the guns, which is not that easy to do. The two six-shooters are pre y unique, and Woody was able to learn how to twirl and manipulate the guns to maximum eff ect in a display of very expressive gunplay.”

All stunt choreography has to be cinema cally friendly, while adap ng to the style, ability and strengths of the cast, and the team had their work cut out for them staging the train heist, a long and challenging sequence to shoot. The train build was nearly 40 feet long, 12 feet wide and 30 feet off the ground, and was moved from a zero posi on to minus and plus 15 degrees, then on a cue to 90 degrees, repeatedly—usually with the cast on board!

Says Dominic Tuohy: “Most gimbals give 20 degrees of movement out of most mo on bases, so we had to build something bespoke, a rig that weighs four tons and could move in two seconds. That’s a lot of iner a, a lot of mechanical advantage and disadvantage to be in control of, while keeping the ar sts safe. It was quite a challenge.”

INDUSTRIAL LIGHT & MAGIC: VISUAL EFFECTS MASTERY

Tying it all together was Industrial Light & Magic’s Rob Bredow, visual eff ects supervisor/co-producer, who oversaw the 2,000 visual eff ects shots for the fi lm. Bredow and his global team of 1,200+ ar sts and technicians created vehicles, character performances, otherworldly environments and spacecra unique in the Star Wars universe. The fi lm’s gri y realism is infused with digital crea ons that set the bar for seamless integra on and awe-inspiring visuals.

From the speeder chase and train heist to the infamous Kessel Run, the visual eff ects team had an immense challenge in crea ng the over 90 minutes of visual eff ects generated by the talented ar sts and technicians at Industrial Light & Magic.

The best old-school techniques combined with cu ng-edge technology give “Solo: A Star Wars Story” its unique look and feel. Bredow and his team at Industrial Light & Magic worked in close collabora on with the special

24 eff ects team led by supervisor Dominic Tuohy and veteran creature eff ects supervisor Neal Scanlan to bring Ron Howard’s vision to the screen.

“I think we pulled out every trick in the book on this fi lm, and developed a few new ones of our own,” explains Bredow. “We took some of the oldest visual eff ects techniques, such as front- and rear-screen projec on, and updated them with the latest technology. This allowed us to fi lm 360-degree environments on the stunning Dryden’s Yacht set. We also used the latest laser projec on technology to surround the Falcon cockpit with screens. When we immersed the cast into hyperspace, they were actually experiencing it like you would on a simulator ride, only at feature-fi lm quality that worked in-camera.”

The team combined rod puppets and creature costumes with state-of-the-art digital eff ects to introduce new characters such as the droid L3-37 and Rio to the Star Wars universe. “We made every eff ort to capture as much in-camera as possible, not only for the creatures and environments but also the incredible vehicles in the fi lm,” says Bredow. “Those are real 550 horsepower speeders where VFX removed the wheels and enhanced the world around it. Even L3 was Phoebe in a prac cal costume on set for all the parts we didn’t create digitally. We had it all there right in front of us when we shot, lit by Bradford’s beau ful ligh ng and ready for Ron’s direc on. Our visual eff ects team could work from that base reality, always having the photography to ground the shots.”

“It was such a privilege to take fans into the Star Wars universe and visit a point in me which, while familiar, will be wholly new to them. To do that we endeavored to u lize the best combina on of modern technology and a 1970s fi lmmaking aesthe c,” says Bredow. “It’s one of the things that makes ‘Solo’ so unique.”

MUSIC MIX

“Solo: A Star Wars Story” con nues the tradi on of inspiring, mood-se ng music that has been the hallmark of Star Wars fi lms from the opening of A New Hope in 1977. This me, composer John Powell (the “Bourne” trilogy) steps up to score the fi lm and adapt John Williams’ original Star Wars music, with the legendary Williams also contribu ng “Han’s Theme.”

Describing his approach to the score, Powell says, “There is a language that John Williams uses in the Star Wars fi lms, and I’ve tried to live up to the quality of what he has done before by keeping form and structure within the score and following the storytelling as honestly and elegantly as possible.”

He adds, “There is a lot of thema c material from the original movies that I used that are not specifi c to Han. They’re specifi c to the Millennium Falcon, TIE fi ghters and the Empire. Those types of things are very useful, as they’re all part of the language we know. There are lots of other characters and ideas within the fi lm that I wrote tunes and melodies for, so it’s a mixture of new tunes, a new piece by John Williams and some of the old material.”

For Powell, there was also a mandate for scoring “Solo,” as he explains: “My love for the scores that John had originally wri en meant that I was thoroughly familiar with them, and the fi lmmakers let me understand that I essen ally needed to score a heist fi lm. Yes, it was a Star Wars fi lm, but it’s really a heist fi lm and character piece.”

25 The fi lm allowed Powell to paint a diff erent picture of the Star Wars universe. “In this par cular case we’re dealing with sort of an underworld with pirates and gangsters,” says Powell. “There’s no quasi-religious nature to the fi lm at all. It’s kind of closer to ‘The Italian Job’ meets ‘The Godfather.’ I tried to take everything I loved about the series to help tell this story and explain everything we thought we knew about the characters.”

In “Solo: A Star Wars Story,” the Force is not present, so an overarching theme had to be created. Powell informs, “The hole that is le in a Star Wars movie by not having the Force must be fi lled with the idea of love being the Force. It’s about the good and the bad side of love, and about friendship, family, hope and wan ng to be part of something.”

To score the fi lm at the famous Abbey Road sound studio in London, Powell used the same size orchestra that Williams used. “I felt we needed to stay in that world to make sure that everything was kind of matching,” comments Powell. “So it’s a normal-size orchestra, about 98 players in total. The only unusual thing I added to the mix was a Bulgarian women’s choir, which has a very unusual chorale sound, and I think it’s very eff ec ve in the movie. It represents the exo c nature of the marauder gang. It’s a beau ful sound that I used in a very aggressive way.”

THE JOURNEY BEGINS

“Solo: A Star Wars Story” off ers viewers a chance to ride along on Han Solo’s roller-coaster journey of self- discovery, which director Ron Howard describes as “about a character defi ning himself and the rela onships that will form him.”

He adds, “It u lizes Star Wars and the galaxy in really cool ways, but you don’t have to know anything about it. You don’t have to have seen another movie, read a comic book, seen a cartoon or played a video game. This is about Han discovering himself and the universe.”

And what can audiences expect from Han’s journey? Producer Kathleen Kennedy is happy to answer: “They can expect to have fun, laugh a lot and fall in love with Han and Chewie all over again, or for the fi rst me.”

26 ABOUT THE CAST

ALDEN EHRENREICH (Han Solo) has worked with some of the foremost directors in Hollywood, including Francis Ford Coppola, Ron Howard, the Coen Brothers and Sofi a Coppola.

This summer, Ehrenreich will star in the fi lm “The Yellow Birds,” directed by Alex Moors and released by Saban Films. He plays the lead role of a young soldier who has been exposed to the horrors of war in Iraq, and subsequently covers up the death of his best friend. In 2016, Ehrenreich garnered cri cal a en on for his scene- stealing role as Hobie Doyle in the Coen Brothers fi lm “Hail, Caesar!,” alongside Josh Brolin and Ralph Fiennes.

Ehrenreich made his fi lm debut in 2009 to cri cal acclaim, playing the lead in Francis Ford Coppola’s semi- autobiographical fi lm “Tetro.” Addi onal fi lm credits include Warren Bea y’s “Rules Don’t Apply”; “Blue Jasmine”; “Beau ful Creatures”; Focus Features’ “Somewhere,” directed by Sofi a Coppola; “Twixt,” directed by Francis Ford Coppola; and Fox Searchlight’s “Stoker.”

Ehrenreich began direc ng and starring in student fi lms in junior high and high school. A er, he a ended the pres gious Galla n School at New York University. While there, he created The Collec n, a collec ve that cra ed plays and fi lms tailor-made to the strengths of its actors and writers. They created six original plays, fi ve short fi lms and one feature fi lm, “Running Wild.”

Ehrenreich currently resides in Los Angeles.

WOODY HARRELSON (BeckeƩ ) has a rare mix of intensity and charisma that consistently surprises and delights audiences and cri cs alike in both mainstream and independent projects. His portrayal of a casualty no fi ca on offi cer, opposite Ben Foster, in Oren Moverman’s “The Messenger” garnered him a 2010 Academy Award® nomina on for best suppor ng actor. He was previously nominated by the Academy, the Golden Globes® and the SAG Awards® in the category of best actor for his portrayal of controversial magazine publisher Larry Flynt in Milos Forman’s “The People vs. Larry Flynt.”

Harrelson was most recently seen in Mar n McDonagh’s “Three Billboards Outside Ebbing, Missouri,” with Frances McDormand and Sam Rockwell. His performance earned him a 2018 Academy Award® nomina on for best suppor ng actor and a BAFTA nomina on for best actor in a suppor ng role. Harrelson will next be seen in “Shock and Awe” for director Rob Reiner.

Recent releases include “LBJ” as Lyndon B. Johnson; “The Glass Castle,” co-starring Naomi Wa s; the third installment of the “Planet of the Apes” series, tled “War for the Planet of the Apes,” directed by Ma Reeves; Fox Searchlight’s cri cally acclaimed “The Edge of Seventeen”; “Wilson,” with director Craig Johnson; “Now You See Me 2,” for director Jon Chu; and “Triple Nine,” for director John Hillcoat.

Harrelson wrote, directed, produced and starred in an unprecedented live feature fi lm, “Lost in London,” which was broadcast live into theaters na onwide on January 19, 2017. The comedy also stars Owen Wilson and Willie Nelson. He was seen in HBO’s “True Detec ve,” co-starring Ma hew McConaughey, for which he was nominated for an Emmy® and a SAG Award® in the lead actor category and a Golden Globe® Award for lead actor in a miniseries.

27 In 2012, Harrelson starred opposite Julianne Moore and Ed Harris in the HBO fi lm “Game Change,” for which he earned Emmy®, SAG Award® and Golden Globe® nomina ons for his role as Steve Schmidt, and Mar n McDonagh’s “Seven Psychopaths,” alongside Sam Rockwell, Colin Farrell and Christopher Walken.

Other highlights from Harrelson’s fi lm career include “Rampart,” with director Oren Moverman; Ruben Fleischer’s box-offi ce hit “Zombieland”; “Out of the Furnace,” starring opposite Chris an Bale and Casey Affl eck; “The Hunger Games” fi lm series; “Now You See Me”; “The Grand”; “No Country for Old Men”; “A Scanner Darkly”; “A Prairie Home Companion”; “Seven Pounds”; “The Prize Winner of Defi ance, Ohio”; “North Country”; “Transsiberian”; “The Thin Red Line”; “Welcome to Sarajevo”; “Natural Born Killers”; “Indecent Proposal”; and “White Men Can’t Jump.” He was also recently seen as the on-screen host for director Pete McGrain’s powerful poli cal documentary “Ethos.”

Harrelson fi rst endeared himself to millions of viewers as a member of the ensemble cast of NBC’s long-running hit comedy “Cheers.” For his work as the aff able bartender Woody Boyd, he won a Prime me Emmy® in 1988 and was nominated four addi onal mes during his eight-year run on the show. In 1999, he gained another Prime me Emmy® nomina on when he reprised the role in a guest appearance on the spin-off series “Frasier.”

Balancing his fi lm and television work, in 1999 Harrelson directed his own play, “Furthest from the Sun,” at the Theatre de la Jeune Lune in Minneapolis. He followed next with the Roundabout’s Broadway revival of “The Rainmaker”; Sam Shepard’s “The Late Henry Moss”; and John Kolvenbach’s “On an Average Day,” opposite Kyle MacLachlan, at London’s West End. Harrelson directed the Toronto premiere of Kenneth Lonergan’s “This Is Our Youth” at Toronto’s Berkeley Street Theatre.

In the winter of 2005, Harrelson returned to London’s West End, starring in Tennessee Williams’ “The Night of the Iguana” at the Lyric Theatre. In 2011, Harrelson co-wrote and directed the semi-autobiographical comedy “Bullet for Adolf” at Hart House Theatre in Toronto. In the summer of 2012, “Bullet for Adolf” made its Off - Broadway debut at New World Stages.

EMILIA CLARKE (Qi'ra) has garnered the a en on of audiences for her pivotal performances. Clarke is currently fi lming the eighth and fi nal season of the HBO award-winning series “Game of Thrones,” a role that has garnered three Emmy® nomina ons and three Cri cs’ Choice nomina ons for her beloved portrayal of Daenerys Targaryen, the Mother of Dragons.

Clarke recently wrapped produc on on “Above Suspicion,” opposite Jack Huston. Huston plays an FBI agent who moves to a remote mining town in Kentucky to build a case against a stolen truck ring. However, when he develops a rela onship with one of his informants, a troubled, obsessive woman named Susan Smith (Clarke), he soon fi nds himself commi ng adultery and murder.

Other fi lm credits include the wildly successful “Me Before You,” the screen adapta on of Jojo Moyes’ best- selling novel of the same name, which grossed over $208 million worldwide. The story follows a young woman (Clarke) who forms an unlikely bond with a recently paralyzed man (Sam Clafl in) she’s taking care of. Clarke also portrayed the iconic role of Sarah Connor in “Terminator Genisys,” a prequel to the popular box-offi ce franchise, opposite Arnold Schwarzenegger. She also co-starred in “Dom Hemingway,” opposite Jude Law, and “Spike Island,” directed by Mat Whitecross.

In 2013, Clarke made her Broadway debut as Holly Golightly in the stage adapta on of Truman Capote’s classic

28 1958 novella, “Breakfast at Tiff any’s.”

A er gradua ng from the Drama Centre London, Clarke began her career with a guest-starring role in the BBC series “Doctors” and a co-starring role in the U.S. made-for-television movie “Triassic A ack.”

Clarke currently resides in London.

DONALD GLOVER (Lando Calrissian) is an award-winning actor, producer, director, comedian and writer, and a Grammy®-winning ar st.

Glover was most recently seen in FX’s cri cally acclaimed and award-winning comedy series “Atlanta,” which he created and starred in. He won 2017 Emmy® awards for outstanding direc ng for a comedy series as well as outstanding lead actor in a comedy series. The fi rst season ranks as the highest-rated comedy series in FX Networks’ history, and the second season premiered on March 1.

Coming off the success of “Atlanta,” Glover has set an overall deal with FX Produc ons, where he will develop new projects for FX Networks’ outlets.

In fi lm, Glover was recently cast as Simba in Disney’s remake of “The Lion King.” This adapta on of the 1994 classic will be directed by Jon Favreau and will be released on July 19, 2019. Addi onally, Glover appeared in Jon Wa s’ “Spider-Man: Homecoming,” which was released by Sony in July 2017.

Glover appeared in Ridley Sco ’s “The Mar an,” opposite Ma Damon and Jessica Chastain, and in “Magic Mike XXL,” alongside Channing Tatum, Joe Manganiello, Ma Bomer and Amber Heard.

Past fi lms include David Gelb’s “The Lazarus Eff ect,” opposite Olivia Wilde and Mark Duplass; Miguel Arteta’s “Alexander and the Terrible, Horrible, No Good, Very Bad Day”; Maggie Carey’s “The To Do List,” opposite Aubrey Plaza and Bill Hader, and James Bobin’s “The Muppets.” On television, Glover starred for four seasons as Troy on NBC’s cri cally acclaimed series “Community,” created by Dan Harmon. He has also made guest appearances on Judd Apatow’s HBO series, “Girls,” and on the cult favorite Adult Swim animated series “Adventure Time.”

Glover began his comedy career under the mentorship of Tina Fey, wri ng for the Emmy® award-winning NBC series “30 Rock.”

As a Grammy®-winning ar st, Donald Glover is known under the stage name Childish Gambino. He released his fi rst album, “Camp,” in 2011. His second album, “Because the Internet,” was nominated for two Grammy Awards. His third album, “Awaken, My Love!,” was released in December 2016, debuted at No. 1 on the R&B Albums chart and received fi ve Grammy nomina ons. Glover won the Grammy for best tradi onal R&B performance for the single “Redbone” at the 2018 Grammy Awards.

THANDIE NEWTON (Val) stars as Maeve Millay on HBO’s cri cally acclaimed series “Westworld.” For her role as Maeve, Newton won the 2016 Cri cs’ Choice Award for best suppor ng actress in a drama series and was nominated for a 2017 Emmy® Award for outstanding suppor ng actress in a drama series, a Golden Globe® Award for best performance by an actress in a suppor ng role in a series, limited series or mo on picture made for television, and two SAG Awards® for outstanding performance by a female actor in a drama series and

29 outstanding performance by an ensemble in a drama series. Season two of “Westworld” premiered on HBO on April 22, 2018.

Newton also recently starred in the BBC One drama “Line of Duty,” for which she received rave reviews for her role as DCI Roz Huntley.

On the big screen, Newton starred in Nash Edgerton’s “Gringo,” opposite Charlize Theron and Joel Edgerton, which was released by Amazon on March 9, 2018. Addi onally, she recently completed produc on on Xavier Dolan’s “The Death and Life of John F. Donovan,” alongside Natalie Portman, Michael Gambon, Kit Harington, Susan Sarandon, Kathy Bates and Jacob Tremblay.

Newton is well known for her work in the Academy Award®–winning best picture “Crash.” For her performance, she received a BAFTA Award for best actress in a suppor ng role and a SAG Award® for outstanding performance by a cast in a mo on picture. Newton was also praised for her role in Gabriele Muccino’s cri cally acclaimed box- offi ce hit, “The Pursuit of Happyness,” opposite Will Smith.

She has starred in several other blockbuster fi lms, including John Woo’s “Mission: Impossible 2,” opposite Tom Cruise, which grossed over $540 million worldwide, and Roland Emmerich’s “2012,” which grossed over $760 million worldwide.

Thandie Newton’s other fi lm credits include Biyi Bandele’s “Half of a Yellow Sun,” opposite Chiwetel Ejiofor, based on the award-winning novel by Chimamanda Ngozi Adichie; Tyler Perry’s “Good Deeds”; “For Colored Girls,” opposite Whoopi Goldberg, Kerry Washington, Tessa Thompson and others; Guy Ritchie’s “RocknRolla,” opposite Gerard Butler, Idris Elba and Tom Hardy; Oliver Stone’s “W,” opposite Josh Brolin, in which she plays Secretary of State Condoleezza Rice; David Schwimmer’s “Run Fatboy Run”; and Jonathan Demme’s “The Truth About Charlie.” She received rave reviews for her astonishingly original and bold performance as the tle character in Jonathan Demme’s “Beloved,” co-starring Oprah Winfrey.

In 2012, Newton made her stage debut in London’s West End, starring in “Death and the Maiden” by Ariel Dorfman.

Newton has been a V-Day ac vist since its incep on in 1998. She has been on the board of the V-Day Founda on since 2011, a er a ending the opening of City of Joy, a transforma onal leadership community for women survivors of sexual violence, located in Bukavu, Congo. She helped to create the unprecedented One Billion Rising, the biggest mass ac on to end violence against women in human history, now in its sixth year. She also memorably spoke at the 2011 TEDGlobal conference on the topic of “Embracing Otherness,” and the video has been viewed online over 2,250,000 mes.

In 2013, she founded the online website ThandieKay with makeup ar st Kay Montano. The site features online beauty tutorials and Q&As. The site’s tagline, “reclaim the narra ve,” has the goal of being a unifying, safe place that appeals to all women, regardless of age, skin color or na onality. Newton and Montano are very excited for the upcoming re-launch of the site in May 2018.

Newton has recorded a number of audiobooks, including “For Colored Girls,” “Beyond Religion” (by the Dalai Lama) and “Jane Eyre,” which was the No. 9 highest customer-rated audiobook in 2016. She also narrated the docu-fi lm “The Prophet,” from the book wri en by Kahlil Gibran, directed by Gary Tarn (LAND Media).

30 PHOEBE WALLER-BRIDGE (L3-37) has garnered praise for her work as an actor, writer, creator and showrunner. A graduate of the Royal Academy of Drama c Art, Waller-Bridge’s career began in the theatre, and her one-woman show “Fleabag,” which she wrote and performed, earned the Fringe First Award at the 2013 Edinburgh Fes val Fringe. Waller-Bridge went on to earn a 2014 Olivier Award nomina on, a Cri cs’ Circle Theatre Award for most promising playwright, and a special commenda on from the Susan Smith Blackburn Prize in 2013 for the show, as well as a The Stage award for best solo performance and an Off West End Award for best female. The show also was performed at the Soho Theatre in 2015.

“Fleabag” was adapted into a six-part series for the BBC and later streamed on Amazon in the summer of 2016. The show garnered mul ple awards and nomina ons for various wri ng, ac ng and series categories. Addi onally, Waller-Bridge earned a BAFTA Television Award for best female performance in a comedy program in 2017. “Fleabag” has been renewed for a second season and will return in 2019.

Waller-Bridge also serves as the creator, writer and showrunner of the BBC America series “Killing Eve,” starring Sandra Oh and Jodie Comer. The drama c series premiered on BBC America on Sunday, April 8.

Her notable television credits include: Channel 4’s “Crashing” (which was also her screenwri ng debut) and ITV’s hit “Broadchurch.” Previous television credits also include “Bad Educa on” (BBC Three), “Glue” (E4, 2014), “Blandings” (BBC, 2014), “Henry” (Channel 4), “London Irish” (Channel 4) and “The Café” (Sky1). Waller-Bridge’s fi lm credits include “Goodbye Christopher Robin” (2017), “Man Up” (2015), “The Iron Lady” (2011) and “Albert Nobbs” (2011). Her theatre credits include “The One” (Soho Theatre), “Mydidae” (Trafalgar Studios), “Hay Fever” (West End), “Tribes” (Royal Court), “Rope” (Almeida), “2nd May 1997” (for which she earned an Evening Standard Award nomina on in the category of best newcomer), “Like a Fishbone” and “Sixty-Six Books” (Bush Theatre), and “Roaring Trade” (Soho Theatre).

Waller-Bridge is co-ar s c director of DryWrite Theatre Company and currently resides in London.

JOONAS SUOTAMO (Chewbacca) grew up in Ma nkylä, Espoo, in Finland. His parents are teachers, and he has two brothers. Inspired by his older brothers, Suotamo started basketball at a young age, and, at seven feet, his height became an obvious advantage in this sport.

He became interested in ac ng through performing in plays during summer camps. Suotamo went on to study at Espoonlah High School and took drama classes and performed in plays while playing basketball.

Suotamo’s skill on the basketball court grew as the years passed, un l he began playing basketball for the youth na onal team and traveled to Mannheim, Germany, where he was approached by college recruiters. He decided to study at Pennsylvania State University in the United States, because of the university’s ac ng and fi lm programs. Suotamo chose fi lm studies over ac ng because of the perceived lack of roles for tall people.

He graduated with fi lm as a major in 2008 and went back to Finland to fulfi ll his army service commitments. Suotamo then became a professional basketball player in Finland and had various suppor ng jobs. Wishing to con nue his passion for fi lm, he now runs his own video produc on company while pursuing his passion for ac ng.

31 Bri sh-born PAUL BETTANY (Dryden Vos) was classically trained at the Drama Centre in London.

American audiences fi rst discovered him in Brian Helgeland’s “A Knight’s Tale,” in which he played the comical role of Chaucer opposite Heath Ledger. For this performance, he won the London Cri cs’ Circle Film Award for best suppor ng actor, and he was named one of Daily Variety’s Ten to Watch for 2001. He then starred in director Paul McGuigan’s mystery-thriller “The Reckoning,” opposite Tom Hardy, Vincent Cassel and Brian Cox.

Be any next starred as the imaginary roommate opposite Russell Crowe, Ed Harris and Jennifer Connelly in the Academy Award®–winning “A Beau ful Mind” for director Ron Howard. His performance in the fi lm won him the London Cri cs’ Circle Film Award for best Bri sh actor.

Next up for Be any was Thaddeus O’Sullivan’s intense independent feature “The Heart of Me,” opposite Olivia Williams and Helena Bonham Carter. Keen to test himself further, he went on to star in “Dogville,” director Lars von Trier’s drama c thriller, opposite Nicole Kidman and Stellan Skarsgård.

Be any then starred opposite Crowe again in Fox’s “Master and Commander: The Far Side of the World” for director Peter Weir. His performance won him the Evening Standard Bri sh Film Award for best actor, the London Cri cs’ Circle Film Award for Bri sh actor of the year and the Elle Style Award for best actor. His nomina ons include a BAFTA for best suppor ng actor and a Broadcast Film Cri cs Associa on Award nomina on for best suppor ng actor in “Master and Commander: The Far Side of the World.”

He then starred in the Working Title/Universal feature “Wimbledon,” opposite Kirsten Dunst, Jon Favreau and James McAvoy for director Richard Loncraine. Be any went on to star as Silas in Sony’s highly an cipated fi lm “The Da Vinci Code,” directed by Ron Howard. The fi lm went on to huge box-offi ce success driven by its star- powered cast, which included Tom Hanks, Audrey Tautou, Ian McKellen and Alfred Molina.

He was next seen in the feature “Inkheart,” a fantasy adventure for New Line Cinema/Warner Bros. based on the best-selling children’s books, in which he starred opposite Brendan Fraser, Helen Mirren and Andy Serkis as Dus inger, a fi re-ea ng performer, for director Iain So ley.

In a radically diff erent role, Fox Searchlight’s feature “The Secret Life of Bees” had him starring opposite Dakota Fanning. The same year, he was also heard as the voice of Jarvis in the highly successful fi lm “Iron Man,” directed by Jon Favreau. He later lent his voice for the same role in “Iron Man 2,” “Iron Man 3” and “Marvel’s The Avengers.”

In 2009, Be any starred in Oscar®-winning producer Graham King and Mar n Scorsese’s period drama, “The Young Victoria,” opposite Emily Blunt and Jim Broadbent. He then starred as Charles Darwin in “Crea on,” opposite his wife, Jennifer Connelly.

In 2010, he was seen as archangel Michael for Screen Gems’ thriller “Legion,” starring opposite Dennis Quaid, for director Sco Stewart. He con nued his collabora on with Stewart in the Screen Gems feature “Priest,” opposite Maggie Q and Lily Collins.

He was then seen in Sony’s “The Tourist,” opposite Johnny Depp and Angelina Jolie, directed by Oscar® winner Florian Henckel von Donnersmarck.

In 2011, Be any starred in the independent feature “Margin Call,” opposite Kevin Spacey, Stanley Tucci, Jeremy Irons and Zachary Quinto, which was nominated for an Oscar® for original screenplay, nominated at the Gotham

32 Awards for best ensemble cast, and won the Robert Altman Award at the Independent Spirit Awards.

He went on to star in Nick Murphy’s BriƟ sh feature fi lm “Blood,” alongside Mark Strong, Stephen Graham and Brian Cox, and “Transcendence,” opposite Johnny Depp and Morgan Freeman, for director Wally Pfi ster. He reunited with Depp in the feature fi lm “Mortdecai,” also opposite Gwyneth Paltrow and Ewan McGregor.

BeƩ any’s fi lm “Shelter,” which he wrote, directed and produced, starring Jennifer Connelly and Anthony Mackie, was released in the fall of 2015. The fi lm was nominated for best debut feature at the Raindance Film FesƟ val in London.

In 2016, BeƩ any appeared in Marvel Studios’ “Captain America: Civil War” as Vision, reprising his role from 2015’s “Avengers: Age of Ultron.” Most recently, BeƩ any portrayed Ted Kaczynski, alongside Sam Worthington, in Discovery Channel’s “Manhunt: Unabomber.” He can currently be seen in the feature fi lm “Journey’s End,” opposite Asa BuƩ erfi eld, Sam Clafl in and Toby Jones.

Currently, BeƩ any can be seen reprising his role as Vision in Marvel Studios’ “Avengers: Infi nity War.”

ABOUT THE FILMMAKERS

Academy Award®–winning fi lmmaker RON HOWARD (Director) is one of this generaƟ on’s most popular directors. From the criƟ cally acclaimed dramas “A BeauƟ ful Mind” and “Apollo 13” to the hit comedies “Parenthood” and “Splash,” he has created some of Hollywood’s most memorable fi lms.

Howard directed and produced “Cinderella Man,” starring Oscar® winner Russell Crowe, with whom he previously collaborated on “A BeauƟ ful Mind,” for which Howard earned an Oscar for best director and which also won awards for best picture, best screenplay and best supporƟ ng actress. The fi lm garnered four Golden Globes® as well, including the award for best moƟ on picture drama. AddiƟ onally, Howard won best director of the year from the Directors Guild of America. Howard and producer Brian Grazer received the fi rst annual Awareness Award from the NaƟ onal Mental Health Awareness Campaign for their work on the fi lm.

Howard’s skill as a director has long been recognized. In 1996, he received his fi rst best director of the year award from the DGA for “Apollo 13.” The true-life drama also garnered nine Academy Award® nominaƟ ons, winning Oscars® for best fi lm ediƟ ng and best sound. It also received best ensemble cast and best supporƟ ng actor awards from the Screen Actors Guild®. Many of Howard’s past fi lms have received nods from the Academy, including the popular hits “BackdraŌ ,” “Parenthood” and “Cocoon,” the last of which took home two Oscars.

Howard was honored by the Museum of the Moving Image in December 2005, and by the American Cinema Editors in February 2006. Howard and his creaƟ ve partner Brian Grazer were honored by the Producers Guild of America with the Milestone Award in January 2009, NYU’s Tisch School of CinemaƟ c Arts with the Big Apple Award in November 2009, and by the Simon Wiesenthal Center with its Humanitarian Award in May 2010. In June 2010, Howard was honored by the Chicago InternaƟ onal Film FesƟ val with its Gold Hugo career achievement award. In March 2013, Howard was inducted into the Television Hall of Fame. In December 2015, he was honored with a star in the moƟ on pictures category, making him one of the very few to have been recognized with two stars on the Hollywood Walk of Fame.

Howard’s recent fi lms include the criƟ cally acclaimed documentary “The Beatles: Eight Days a Week – The Touring Years.” The fi lm won a Grammy® for best music fi lm in February 2017.

33 Howard also produced and directed the fi lm adapta on of Peter Morgan’s cri cally acclaimed play “Frost/ Nixon.” The fi lm, which was released in December 2008, was nominated for fi ve Academy Awards®, including best picture, and was also nominated for the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Mo on Pictures by the PGA. In addi on, Howard directed “Rush,” also wri en by Peter Morgan, based on the rivalry of Formula One race circuit drivers James Hunt and Niki Lauda.

Howard’s por olio includes some of the most popular fi lms of the past 20 years. In 1991, Howard created the acclaimed drama “Backdra ,” starring Robert De Niro, Kurt Russell and William Baldwin. He followed it with the historical epic “Far and Away,” starring Tom Cruise and Nicole Kidman. Howard directed Mel Gibson, Rene Russo, Gary Sinise and Delroy Lindo in the 1996 suspense thriller “Ransom.” He worked with Tom Hanks, Kevin Bacon, Ed Harris, Bill Paxton, Gary Sinise and Kathleen Quinlan on “Apollo 13,” which was re-released recently in the IMAX format.

Howard’s other fi lms include “In The Heart of the Sea,” based on the true story that inspired “Moby Dick”; “Made in America,” a music documentary he directed, starring Jay-Z, for Show me; his adapta on of Dan Brown’s best- selling novels “Inferno,” “Angels & Demons” and “The Da Vinci Code,” starring Oscar® winner Tom Hanks; the blockbuster holiday favorite “Dr. Seuss’ How the Grinch Stole Christmas,” starring Jim Carrey; “Parenthood,” starring Steve Mar n; the fantasy epic “Willow”; “Night Shi ,” starring Henry Winkler, Michael Keaton and Shelley Long; and the suspenseful western “The Missing,” starring Oscar winners Cate Blanche and Tommy Lee Jones.

Howard has also served as an execu ve producer on a number of award-winning fi lms and television shows, such as the HBO miniseries “From the Earth to the Moon”; Fox’s Emmy® Award winner for best comedy, “Arrested Development,” a series which he also narrated; Ne lix’s release of new episodes of “Arrested Development”; NBC’s “Parenthood”; and Na onal Geographic’s “Breakthrough,” “Mars” and “Genius.”

Howard made his directorial debut in 1977 with the comedy “Grand The Auto.” He began his career in fi lm as an actor. He fi rst appeared in “The Journey” and “The Music Man,” then as Opie on the long-running television series “The Andy Griffi th Show.” Howard later starred in the popular series “Happy Days” and drew favorable reviews for his performances in “American Graffi ” and “The Shoo st.”

Howard and long me producing partner Brian Grazer fi rst collaborated on the hit comedies “Night Shi ” and “Splash.” The pair co-founded Imagine Entertainment in 1986 to create independently produced feature fi lms.

JONATHAN KASDAN (WriƩ en by) was born and raised in Los Angeles. He is the son of writer/director Lawrence Kasdan and the younger brother of writer/director Jake Kasdan. He a ended Crossroads High School in Santa Monica and New York University’s Tisch School of the Arts.

Kasdan began his career by wri ng on the television show “Freaks and Geeks.” Subsequently, he has worked as a writer, director and/or actor on television series such as “Dawson’s Creek,” “Californica on” and “Roadies.”

Kasdan has wri en and directed two feature fi lms, “In the Land of Women,” starring Kristen Stewart and Adam Brody, and “The First Time,” starring Bri Robertson and Dylan O’Brien.

Kasdan lives in New York City and Los Angeles.

34 LAWRENCE KASDAN (WriƩ en by/ExecuƟ ve Producer) has wri en, directed or produced 23 mo on pictures, including “Body Heat,” “The Big Chill,” “Silverado,” “The Accidental Tourist” and “Grand Canyon.” In 2015, he penned Lucasfi lm’s blockbuster Star Wars: The Force Awakens, which went on to garner over $2 billion worldwide. During his career, Kasdan has wri en or co-wri en four of the most successful fi lms in mo on picture history: “Raiders of the Lost Ark,” The Empire Strikes Back, Return of the Jedi and “The Bodyguard.”

Born in Miami Beach, Florida, and raised in West Virginia, Kasdan a ended the University of Michigan, suppor ng himself with a series of wri ng awards while he studied English literature.

Kasdan made his cri cally acclaimed directorial debut with “Body Heat” in 1981. Next, he directed “The Big Chill,” which he co-wrote with Barbara Benedek and which was nominated for three Academy Awards®, including best picture. His next eff ort was the sprawling western “Silverado,” which he directed and produced, and co-wrote with his brother, Mark.

Kasdan next directed “The Accidental Tourist,” based on the novel by Anne Tyler and adapted by Kasdan and Frank Gala . The fi lm was named best picture of 1988 by the New York Film Cri cs, received four Academy Award® nomina ons, including best picture, and earned Geena Davis a best suppor ng actress award. 1990’s “I Love You to Death,” wri en by John Kostmayer, was the fi rst script Kasdan directed that he did not write.

The script for “Grand Canyon,” co-wri en with his wife, Meg Kasdan, earned Academy Award® and Golden Globe® nomina ons for best original screenplay. The fi lm received the Golden Bear Award for best picture at the 1992 Berlin Film Fes val.

In 1992, Kasdan’s 17-year-old script for “The Bodyguard” was fi lmed under the direc on of Mick Jackson. Kasdan, Jim Wilson and Kevin Costner produced the movie, which went on to gross $400 million in theaters worldwide. In 1994, Kasdan made “Wya Earp,” starring Kevin Costner, Dennis Quaid and Gene Hackman, and in 1995 directed “French Kiss,” a roman c comedy set in Paris and Cannes with Meg Ryan and Kevin Kline.

In 1999, Kasdan wrote and directed the comedy “Mumford,” which earned him the best screenplay award at the San Sebas án Interna onal Film Fes val. In 2003, he helmed the sci-fi thriller “Dreamcatcher,” based on the Stephen King novel and adapted for the screen with William Goldman. Kasdan directed “Darling Companion,” from a screenplay by Meg Kasdan and Kasdan, in 2012.

Kasdan has been nominated for four Academy Awards® and six Writers Guild Awards. In 2006, the Writers Guild of America honored him with its Laurel Award for advancing the literature of mo on pictures.

Eight- me Academy Award®-nominated KATHLEEN KENNEDY (Producer) is one of the most successful and respected producers and execu ves in the fi lm industry today. As president of Lucasfi lm, she oversees the company’s three divisions: Lucasfi lm, Industrial Light & Magic and Skywalker Sound.

Kennedy most recently produced Star Wars: The Last Jedi, which has garnered over $1.3 billion worldwide since its release in December 2017. She was also the producer of Star Wars: The Force Awakens (2015), which set a record for the biggest domes c opening of all me with $248 million and went on to earn over $2 billion worldwide, as well as “Rogue One: A Star Wars Story,” which was the No. 1 grossing movie in 2016. She is currently working on the next installments of the Star Wars saga and the “Indiana Jones” series.

35 Kennedy has produced or execu ve produced more than 70 feature fi lms, which have collec vely garnered 120 Academy Award® nomina ons and 25 wins. Among her credits: “Jurassic Park,” “E.T. the Extra-Terrestrial,” “The Sixth Sense,” the “Back to the Future” trilogy, “Who Framed Roger Rabbit,” “Gremlins,” “The Goonies,” “Poltergeist,” “Empire of the Sun,” “Lincoln,” “War Horse,” “The Curious Case of Benjamin Bu on,” “The Diving Bell and the Bu erfl y,” “Schindler’s List,” “The Color Purple” and “The Adventures of Tin n.”

Kennedy has produced the fi lms of such directors as Steven Spielberg, David Fincher, Mar n Scorsese, Clint Eastwood, Robert Zemeckis, Julian Schnabel, Marjane Satrapi, M. Night Shyamalan, Frank Oz, Peter Bogdanovich and Richard Donner.

Prior to joining Lucasfi lm in 2012, Kennedy headed The Kennedy/Marshall Company, which she founded in 1992 with director/producer Frank Marshall, and in 1982 she co-founded the phenomenally successful Amblin Entertainment with Marshall and Steven Spielberg.

The late ALLISON SHEARMUR (Producer) was a Los Angeles-based fi lm and television producer. In addi on to producing Lucasfi lm’s “Rogue One: A Star Wars Story,” the fi rst standalone fi lm in the Star Wars universe, Shearmur recently produced “Power Rangers” with the Saban Company for Lionsgate Films; “Pride and Prejudice and Zombies,” produced alongside Natalie Portman, wri en and directed by Burr Steers and starring Lily James, Sam Riley, Douglas Booth and Jack Huston; and “Nerve,” directed by Henry Joost and Ariel Schulman and starring Dave Franco and Emma Roberts, for Lionsgate Films.

Shearmur also produced “Cinderella,” directed by Sir Kenneth Branagh and starring Cate Blanche , Helena Bonham Carter, Lily James, Richard Madden and Stellan Skarsgård, for the Walt Disney Company, and execu ve produced Lionsgate’s “The Hunger Games” fi lms.

Shearmur was the president of produc on and development at Lionsgate Films from September 2008 to January 2012. She oversaw the day-to-day development and produc on of the studio’s fi lm slate and literary acquisi ons. This included the purchase of the rights to and produc on of the box-offi ce blockbuster “The Hunger Games.”

Before Lionsgate, Shearmur was co-president of produc on of Paramount Pictures. While at Paramount she oversaw such produc ons as “The Curious Case of Benjamin Bu on,” “Beowulf,” “Zodiac,” “Dreamgirls,” “Charlo e’s Web” and “Mission: Impossible III.”

Prior to Paramount, she served as execu ve vice president of produc on for Universal Pictures, where she ini ated development and oversaw produc on of such hits as the “Bourne” trilogy, as well as the “American Pie” trilogy. Shearmur was vice president of produc on for Walt Disney Pictures, where she developed and supervised “George of the Jungle,” starring Brendan Fraser and directed by Sam Weisman.

“The Hunger Games,” “Bourne” and “American Pie” franchises have grossed more than a billion dollars each.

A graduate of the University of Pennsylvania, Shearmur received a JD degree from USC Law Center and was a member of the California Bar Associa on.

36 SIMON EMANUEL (Producer) once again joins Kathleen Kennedy and Allison Shearmur as a producer, following on from “Rogue One: A Star Wars Story.”

A respected member of the Bri sh fi lm industry for 25 years, Emanuel has worked with some of the biggest directors on the largest produc ons, including several of the “James Bond” and “Harry Po er” fi lms. Prior to producing “Rogue One,” he produc on-managed Star Wars: The Force Awakens.

Emanuel was unit produc on manager on Jus n Lin’s “Fast & Furious 6” and Christopher Nolan’s “The Dark Knight Rises,” and prior to that he was produc on manager on David Yates’ “Harry Po er and the Deathly Hallows” Part 1 and Part 2, “Harry Po er and the Half-Blood Prince” and “Harry Po er and the Order of the Phoenix.”

Having worked his way up the ranks from third to fi rst assistant director, Emanuel’s other major credits include: Michael Apted’s “The World Is Not Enough” and “Enigma”; Roger Spo swoode’s “Tomorrow Never Dies”; Taylor Hackford’s “Proof of Life”; John Irvin’s “The Fourth Angel”; Len Wiseman’s “Underworld”; Michael Hoff man’s “A Midsummer Night’s Dream”; Stefen Fangmeier’s “Eragon”; Paul W.S. Anderson’s “Resident Evil” and “AVP: Alien vs. Predator”; Stephen Daldry’s “The Hours”; and Jane Campion’s “The Portrait of a Lady.”

Emanuel also worked with Alfonso Cuarón and Chris Columbus on “Harry Po er and the Prisoner of Azkaban” and “Harry Po er and the Chamber of Secrets,” respec vely.

JASON McGATLIN (ExecuƟ ve Producer) is the Lucasfi lm senior vice president of produc on, where he oversees all physical produc on for Lucasfi lm, including all Star Wars feature fi lms and all Star Wars animated series. McGatlin was one of the execu ve producers for Star Wars: The Force Awakens and “Rogue One: A Star Wars Story.”

Most recently McGatlin execu ve produced Star Wars: The Last Jedi, which has grossed over $1.3 billion worldwide since its release in December 2017.

McGatlin began his early career working on fi lms such as Clint Eastwood’s “Midnight in the Garden of Good and Evil” and “The Bridges of Madison County”; “How the Grinch Stole Christmas”; “Deep Blue Sea”; “The Parent Trap”; “Speed 2: Cruise Control”; “Volcano”; and “Broken Arrow.” He moved up to produc on supervisor for Tim Burton’s “Planet of the Apes” in 2001 and both produced and edited the documentary “Old Coaches” and the fi lm “Head Hunter” the following year. In 2003, McGatlin returned as produc on supervisor for “X-Men 2,” followed by “A Series of Unfortunate Events,” “X-Men: The Last Stand” and “War of the Worlds,” his fi rst fi lm with Steven Spielberg and Kathleen Kennedy. He became produc on manager in 2007 on “Fantas c 4: Rise of the Silver Surfer.”

In 2011, McGatlin rejoined Spielberg and Kennedy to co-produce “The Adventures of Tin n,” which spanned three years of produc on in both Los Angeles and New Zealand. A er Kennedy became president of Lucasfi lm in 2012, she handpicked McGatlin to come on as senior vice president of produc on to help oversee the fi naliza on of the animated feature “Strange Magic,” execu ve produced by George Lucas.

PHIL LORD and CHRIS MILLER (ExecuƟ ve Producers) are the prolifi c wri ng and direc ng duo behind some of today’s most successful fi lms, including “The Lego Movie,” “The Lego Batman Movie,” “21 & 22 Jump Street” and “Cloudy with a Chance of Meatballs.” Known for their unique sensibili es, the pair’s projects have successfully

37 drawn in audiences of all demographics me and me again, having collec vely earned over $1.2 billion at the worldwide box offi ce.

On the features side, Lord and Miller have several high-profi le projects in various stages of development. Up next for the duo is the animated feature “Spider-Man: Into the Spider-Verse,” set to be released on Christmas 2018. The fi lm, on which they serve as writers and producers, will be a fresh take on the Spider-Man universe using a groundbreaking visual style. The pair is also currently in produc on on the sequel to their massively successful fi lm “The Lego Movie,” which is currently slated for a February 8, 2019, release, with Lord and Miller both wri ng and producing. Addi onally, among their various projects in the works is the much-buzzed-about “Artemis,” which the pair recently signed on to develop and direct. Based on the latest novel by “The Mar an” author Andy Weir, the story is described as an adrenaline-charged crime caper featuring smart, detailed world-building based on real science.

Most recently, their “Lego” spin-off “The Lego Ninjago Movie” was released on September 22, 2017, to great box-offi ce and cri cal success. The duo also just recently produced the fi lm “Brigsby Bear,” which premiered at the 2017 Sundance Film Fes val. An addi onal project in the pipeline for the mul -hyphenates is the “Men in Black” and “23 Jump Street” crossover fi lm, tled “MIB 23,” which they will produce. The pair is also a part of the Warner Bros. Anima on Group (WAG), a select group of writers and directors the studio has brought together to form an anima on think tank with the goal of crea ng high-end animated movies. In 2016, the pair served as execu ve producers on WAG’s “Storks.”

Over their careers, Lord and Miller have seen incredible success at the box offi ce. In 2014, they were the only writers/directors with two fi lms ranked among the top 15 highest-grossing features of the year. One of their most recent produc ons, “The Lego Batman Movie,” which released on February 10, 2017, to rave reviews, reached over $300 million in the worldwide box offi ce. “The Lego Movie,” which the pair wrote and directed, debuted at No. 1 and remained on top of the box offi ce for four straight weeks. The hugely successful fi lm has earned over $469 million worldwide and was the fi h highest-grossing domes c feature of 2014. It also earned Lord and Miller rave reviews for their imagina ve and unique sensibili es, as well as the BAFTA, PGA and BFCA Cri cs’ Choice awards for best animated feature, the Na onal Board of Review Award for best original screenplay, and the Annie Award for outstanding achievement in wri ng for an animated feature. “The Lego Movie” was also nominated for a Golden Globe® Award for best animated fi lm and was named one of the top ten fi lms of 2014 on over 75 cri cs’ lists.

That same year, Lord and Miller directed “22 Jump Street.” The fi lm debuted at No. 1 and has garnered over $331 million worldwide. Lord and Miller had previously directed the hit ac on comedy “21 Jump Street,” which took in over $200 million worldwide in 2012 and earned a Cri cs’ Choice Award nomina on for best comedy.

Lord and Miller’s fi rst feature was 2009’s “Cloudy with a Chance of Meatballs,” which the duo wrote and directed. The fi lm was loosely based on the beloved children’s book of the same name and earned Lord and Miller Golden Globe® and Cri cs’ Choice award nomina ons for best animated feature along with four Annie Award nomina ons for excellence in anima on, including best direc on and best screenplay.

On the television side, Lord and Miller are in development on mul ple projects. They most recently sold the single-camera comedy “We Can Do Be er” to ABC. Addi onally, they are in development on the comedy “The Escape,” which recently received a put pilot commitment from ABC. Addi onally, they are developing the podcast phenomenon “Serial” for television.

38 Lord and Miller made the return to their television roots in 2015 as execu ve producers on the Fox comedy series “The Last Man on Earth,” which is currently in its fourth season. The duo also directed the fi rst two episodes of the series, for which they received a Prime me Emmy® Award nomina on for outstanding direc ng for a comedy series. The series premiered to rave reviews and was the highest-rated broadcast series of the night, with 5.7 million viewers during its debut airing. The pair also directed the pilot episode of the breakout hit “Brooklyn Nine-Nine,” which was one of most an cipated television series of the 2013 fall season. Also among their prior television wri ng credits, the duo served as co-execu ve producers on the successful CBS sitcom “How I Met Your Mother.”

BRADFORD YOUNG, ASC (Director of Photography) is the fi rst African-American cinematographer to be nominated for an Academy Award® since 1998. Young has emerged as one of the most sought-a er ar sts working today. His work on “Arrival” also earned him a Silver Frog award from Camerimage and numerous nomina ons from BAFTA and the American Society of Cinematographers.

A community and family man at heart, Bradford spends his spare me relessly giving back to the fi lm community in the form of panels surrounding the ideas of diversity and inclusion.

NEIL LAMONT (ProducƟ on Designer) returns to the Star Wars universe following his work as co-produc on designer on “Rogue One: A Star Wars Story” alongside Doug Chiang.

Having been one of the U.K.’s most respected and sought-a er art directors for many years, Lamont fi rst played the role of produc on designer on “Rogue One.” He was previously supervising art director on Star Wars: The Force Awakens.

Lamont has worked on the industry’s biggest movie franchises, from to “Harry Po er” to “James Bond.” He was supervising art director on all eight of the “Harry Po er” fi lms, winning the Art Directors Guild Award for excellence in produc on design for “Harry Po er and the Deathly Hallows: Part 2” and winning the Art Directors Guild Award for contribu on to cinema c imagery with all eight of the fi lms. Lamont was also supervising art director on Michael Apted’s “The World Is Not Enough” and Mar n Campbell’s “GoldenEye.”

He was also supervising art director on Steven Spielberg’s “War Horse,” which Kathleen Kennedy produced. Other notable credits as supervising art director include Doug Liman’s “Edge of Tomorrow,” Michael Hoff man’s “Gambit,” Jeremiah Chechik’s “The Avengers,” Richard A enborough’s “In Love and War” and Danny Cannon’s “The Young Americans.”

With a career spanning nearly 30 years, Lamont has been a constant talent in art departments throughout the industry, with his many other credits that include Jean-Jacques Annaud’s “Enemy at the Gates,” James Cameron’s “Titanic,” Anthony Minghella’s “The English Pa ent,” Kenneth Branagh’s “Mary Shelley’s Frankenstein,” Stephen Herek’s “The Three Musketeers,” Paul Verhoeven’s “Total Recall” and John Glen’s “Licence to Kill.”

PIETRO SCALIA, ACE (Editor) is a two- me Academy Award®–winning editor. For the past 30 years, Scalia has been an integral collaborator on fi lms from prolifi c and acclaimed directors such as Ridley Sco , Oliver Stone, Bernardo Bertolucci, Gus Van Sant, Rob Marshall and Sam Raimi.

39 The Italian-born Scalia was raised and educated in Switzerland before moving to the United States to pursue fi lmmaking, receiving his MFA in fi lm and theatre arts from UCLA in 1985. Scalia began his career as an assistant editor for Oliver Stone’s “Wall Street” and “Talk Radio,” then went on to contribute as an associate editor on “Born on the Fourth of July” and as an addi onal editor on “The Doors.”

In 1992, the 31-year-old Scalia won his fi rst Academy Award® for best edi ng for Oliver Stone’s “JFK,” as well as the ACE and BAFTA awards. In 1998, Scalia received his second Academy Award nomina on for Gus Van Sant’s “Good Will Hun ng.” He went on to edit “G.I. Jane,” “Hannibal,” “Gladiator,” “Black Hawk Down” and “American Gangster” for director Ridley Sco , garnering another Academy Award nomina on on “Gladiator” and winning his second Academy Award for his work on “Black Hawk Down.”

A er edi ng “Body of Lies,” “Robin Hood,” “Prometheus” and “The Counselor” for Sco , Scalia completed “The Amazing Spider-Man” both 1 and 2, for Marc Webb. Other edi ng credits include “Li le Buddha” and “Stealing Beauty” for Bernardo Bertolucci; “The Quick and the Dead” for Sam Raimi; “Playing by Heart” for Willard Carroll; “Memoirs of a Geisha” for Rob Marshall; and “Kick-Ass” for Ma hew Vaughn. Following the success of Ridley Sco ’s “The Mar an” in 2015, which earned Scalia addi onal ACE and BAFTA nomina ons, he completed “Alien: Covenant” for Sco , their eleventh fi lm together, released in May 2017.

Scalia has also edited documentaries such as “40 Years of Silence: An Indonesian Tragedy,” “The 11th Hour” and “Ashes and Snow.”

In addi on, Scalia’s eff orts include s nts as music producer with composer Hans Zimmer on three of Sco ’s fi lms, and serving as a jury member at the Venice Film Fes val in 2004 and at the Zurich Film Fes val in 2012.

DAVE CROSSMAN (Costume Designer) joins the Star Wars family once again following “Rogue One: A Star Wars Story,” on which he served as co-costume designer with Glyn Dillon. He also was costume supervisor on Star Wars: The Last Jedi and Star Wars: The Force Awakens.

Crossman has worked with many of the world’s most revered directors, including working with Steven Spielberg three mes, as costume supervisor on “Lincoln” and “War Horse” and as military costumer on “Saving Private Ryan.” He worked with Ridley Sco as associate military costume designer on “Kingdom of Heaven,” costume supervisor on “American Gangster” and military costume supervisor on “Robin Hood,” and with Ron Howard as assistant costume designer on “The Da Vinci Code.”

Other notable directors with whom Crossman has worked include Bryan Singer, as military costume supervisor on “Valkyrie” and costume supervisor on “Jack the Giant Slayer,” and Mike Leigh, as costume supervisor on “Topsy-Turvy,” “Mr. Turner” and “Happy-Go-Lucky.” Crossman’s addi onal major credits as costume supervisor include Joe Wright’s “Atonement,” Olivier Dahan’s “La Vie en Rose,” Chris Columbus’ “Harry Po er and the Chamber of Secrets,” Alfonso Cuarón’s “Harry Po er and the Prisoner of Azkaban” and Mike Newell’s “Harry Po er and the Goblet of Fire.” In addi on, Crossman was assistant costume designer on Michael Apted’s “The World Is Not Enough.”

As wardrobe supervisor and wardrobe master, Crossman’s credits include Gillian Armstrong’s “Charlo e Gray,” Simon West’s “Lara Cro : Tomb Raider,” Michael Bay’s “Pearl Harbor,” Sally Po er’s “The Man Who Cried” and Mark Herman’s “Li le Voice.”

40 GLYN DILLON (Costume Designer) teams up with Dave Crossman once again following their collabora on as co- costume designers on “Rogue One: A Star Wars Story.” He con nues the rela onship with Lucasfi lm, which he began as costume chief concept ar st on Star Wars: The Force Awakens.

Dillon has had a wide-ranging career, working mainly as a storyboard ar st and concept designer for both fi lm and television, with concept ar st credits including the Wachowskis’ “Jupiter Ascending” and Ma hew Vaughn’s “Kingsman: The Secret Service.”

Early in his career, Dillon drew comics and later worked as an illustrator in toy design and anima on. He then wrote and drew the award-winning graphic novel “The Nao of Brown,” for which he won best book category at the 2013 Bri sh Comic Awards. “Le Nao de Brown” also garnered him the 2013 Prix Spécial du Jury award at the famous Angoulême Interna onal Comics Fes val in France, and in 2014 his book won best foreign book at the Treviso Comic Book Fes val in Italy.

ROB BREDOW (Visual Eff ects Supervisor/Co-producer) is a strategic and visionary leader with a unique understanding of how media and innova on can join forces to tell great stories and create groundbreaking experiences. As SVP, execu ve crea ve director and head of Industrial Light & Magic, Bredow is responsible for the company’s overall crea ve strategy and global opera ons.

On “Solo: A Star Wars Story,” Bredow served as a crea ve partner to the fi lmmakers throughout the produc on, from the earliest story mee ngs to the fi nal frames of visual eff ects. He leveraged his background in innova ve technology to help tell the story of the fi lm, crea ng grounded images with a unique shoo ng style designed for the movie.

In his former role as Lucasfi lm chief technology offi cer, Bredow oversaw all technology development for Lucasfi lm and ILM.

Bredow joined Lucasfi lm in 2014 as vice president of New Media and head of Lucasfi lm’s Advanced Development Group. He helped launch ILMxLAB in 2015 and co-wrote and directed “Trials on Tatooine,” a story-based virtual reality experiment created in collabora on with Lucasfi lm’s Story Group, ILMxLAB and Skywalker Sound.

Previously, Bredow was CTO and visual eff ects supervisor at Sony Pictures Imageworks. He has contributed as a supervisor on fi lms such as “Independence Day,” “Godzilla,” “Stuart Li le,” “Cast Away,” “Surf’s Up,” “Cloudy With a Chance of Meatballs,” and others.

Bredow is a member of the VFX Branch of Academy of Mo on Pictures Arts & Sciences and the AMPAS Science & Technology Council.

Most recently, veteran creature designer NEAL SCANLAN (Special Creature Eff ects by) was responsible for the special creature eff ects on Lucasfi lm’s Star Wars: The Last Jedi, “Rogue One: A Star Wars Story” and J.J. Abrams’ Star Wars: The Force Awakens.

Scanlan began his career at the age of 19 as a stop-mo on designer for Cosgrove Hall on its produc on of “The Wind in the Willows” (1983). Three years later he moved to London and began his animatronics career on Walt Disney’s “Return to Oz” (1985). Forming a working rela onship with designer Lyle Conway, he freelanced as

41 the chief mechanical designer on fi lms such as Dennis Po er’s “Dreamchild” (1985), Jim Henson’s “Labyrinth” (1986) and the 1986 fi lm version of “Li le Shop of Horrors,” which was nominated for an Academy Award® for best visual eff ects.

Scanlan became a founding member of the Jim Henson Creature Shop, with which he enjoyed a successful eight- year rela onship, fi rst as an animatronics supervisor, then as crea ve supervisor. Some of the projects Scanlan was directly involved with include “The Storyteller” (1988), “The Witches” (1990), “The Storyteller: Greek Myths” (1991), “Teenage Mutant Ninja Turtles” 1 and 2 (1990 and 1991) and “Living with Dinosaurs” (1989).

In 1995, Scanlan won the Academy Award® for best visual eff ects for his work on “Babe” (Kennedy Miller Produc ons). Over the next few years, Scanlan and his team produced the animatronic eff ects for Walt Disney’s “101 Dalma ans” (1996) and the special makeup eff ects for Anthony Minghella’s Academy Award®–winning “The English Pa ent” (1996).

In 1996, Scanlan le the Jim Henson organiza on to form the Neal Scanlan Studio. The studio has, over the last 15 years, gone from strength to strength, providing the animatronic and special makeup eff ects for fi lms such as Warner Bros.’ “Fred Claus” (2007); Steven Spielberg’s “Munich” (2005); Tim Burton’s “Charlie and the Chocolate Factory” (2005); “Ella Enchanted” (2004); Miramax’s “Kangaroo Jack” (2003); Disney’s “102 Dalma ans” (2000); and George Miller’s “Babe: Pig in the City” (1998). In 2006, the Neal Scanlan Studio also designed and sculpted the key Daemon and Bear characters as CGI maque es for the winner of the 2007 Academy Award® for best visual eff ects, “The Golden Compass” (New Line Cinema). The Neal Scanlan Studio is also responsible for the animatronic costume and puppet characters for the hugely successful children’s TV series “Tweenies,” “Fimbles” and “LazyTown.”

In 2007, the Neal Scanlan Studio worked again with Tim Burton, providing the slit-throat blood eff ects and the animatronic dummies of Sweeney’s vic ms for the highly acclaimed fi lm “Sweeney Todd: The Demon Barber of Fleet Street.” In 2010, Scanlan headed up the creature and special makeup FX department for Ridley Sco ’s “Alien” prequel “Prometheus,” and in 2011-12 consulted on the “dove bike” sequence for the London 2012 Olympics Opening Ceremony.

In a career spanning more than fi ve decades, JOHN WILLIAMS (Han Solo Theme and Original Star Wars Music) has become one of America’s most accomplished and successful composers for fi lm and for the concert stage. He has served as music director and laureate conductor of one of the country’s treasured musical ins tu ons, the Boston Pops Orchestra, and he maintains thriving ar s c rela onships with many of the world’s great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony Orchestra and the Los Angeles Philharmonic. Williams has received a variety of pres gious awards, including the Na onal Medal of Arts; the Kennedy Center Honors; the Olympic Order; and numerous Academy Awards®, GRAMMY® Awards, Emmy® Awards and Golden Globe® Awards. He remains one of our na on’s most dis nguished and contribu ve musical voices.

Williams has composed the music and served as music director for more than 100 fi lms. His 40-year ar s c partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful fi lms, including “Schindler’s List,” “E.T. the Extra-Terrestrial,” “Jaws,” “Jurassic Park,” “Close Encounters of the Third Kind,” the “Indiana Jones” fi lms, “Saving Private Ryan,” “Amistad,” “Munich,” “Hook,” “Catch Me If You Can,” “Minority Report,” “A.I. Ar fi cial Intelligence,” “Empire of the Sun,” “The Adventures of Tin n” and “War Horse.” Their latest collabora on, “The BFG,” was released in summer of 2016.

42 Williams composed the scores for all eight “Star Wars” fi lms, the fi rst three “Harry PoƩ er” fi lms, “Superman,” “JFK,” “Born on the Fourth of July,” “Memoirs of a Geisha,” “Far and Away,” “The Accidental Tourist,” “Home Alone,” “Nixon,” “The Patriot,” “Angela’s Ashes,” “Seven Years in Tibet,” “The Witches of Eastwick,” “Rosewood,” “Sleepers,” “Sabrina,” “Presumed Innocent,” “The Cowboys,” “The Reivers” and “Goodbye, Mr. Chips,” among many others.

He has worked with many legendary directors, including Alfred Hitchcock, William Wyler and Robert Altman. In 1971, he adapted the score for the fi lm version of “Fiddler on the Roof,” for which he composed original violin cadenzas for renowned virtuoso Isaac Stern. He has appeared on recordings as pianist and conductor with Itzhak Perlman, Joshua Bell, Jessye Norman and others. Williams has received fi ve Academy Awards® and 50 Oscar® nominaƟ ons, making him the Academy’s most-nominated living person and the second-most-nominated person in the history of the Oscars. His most recent nominaƟ on was for the fi lm “Star Wars: The Force Awakens.” He also has received seven BriƟ sh Academy Film Awards (BAFTA), 23 GRAMMYS®, four Golden Globes®, three Emmys® and numerous gold and plaƟ num records.

Born and raised in New York, Williams moved to Los Angeles with his family in 1948, where he studied composiƟ on with Mario Castelnuovo-Tedesco. AŌ er service in the Air Force, he returned to New York to aƩ end the Juilliard School, where he studied piano with Madame Rosina Lhevinne. While in New York, he also worked as a jazz pianist, both in nightclubs and on recordings. He returned to Los Angeles and began his career in the fi lm industry, working with a number of accomplished composers, including Bernard Herrmann, Alfred Newman and Franz Waxman. He went on to write music for more than 200 television fi lms for the groundbreaking early anthology series “Alcoa Theatre,” “KraŌ Television Theatre,” “Chrysler Theatre” and “Playhouse 90.” His more recent contribuƟ ons to television music include the well-known theme for “NBC Nightly News” (“The Mission”); the theme for what has become network television’s longest-running series, NBC’s “Meet the Press”; and a new theme for the presƟ gious PBS arts showcase “Great Performances.”

In addiƟ on to his acƟ vity in fi lm and television, Williams has composed numerous works for the concert stage, among them two symphonies and concertos for fl ute, violin, clarinet, viola, oboe and tuba. His cello concerto was commissioned by the Boston Symphony Orchestra and premiered by Yo-Yo Ma at Tanglewood in 1994. Williams also has fi lled commissions by several of the world’s leading orchestras, including a bassoon concerto for the New York Philharmonic enƟ tled “The Five Sacred Trees,” a trumpet concerto for the Cleveland Orchestra and a horn concerto for the Chicago Symphony Orchestra. “Seven for Luck,” a seven-piece song cycle for soprano and orchestra based on the texts of former U.S. Poet Laureate Rita Dove, was premiered by the Boston Symphony Orchestra at Tanglewood in 1998. At the opening concert of their 2009/2010 season, James Levine led the Boston Symphony Orchestra in the premiere of Williams’ “On Willows and Birches,” an original concerto for harp and orchestra.

In January 1980, Williams was named 19th music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the Ɵ tle of Boston Pops laureate conductor, which he assumed following his reƟ rement in December 1993, aŌ er 14 highly successful seasons. He also holds the Ɵ tle of arƟ st-in-residence at Tanglewood.

One of America’s best-known and most-disƟ ncƟ ve arƟ sƟ c voices, Williams has composed music for many important cultural and commemoraƟ ve events. “Liberty Fanfare” was composed for the rededicaƟ on of the Statue of Liberty in 1986. “American Journey,” wriƩ en to celebrate the new millennium and to accompany the retrospecƟ ve fi lm “The Unfi nished Journey” by director Steven Spielberg, was premiered at the “America’s Millennium” concert in Washington, D.C., on New Year’s Eve, 1999. His orchestral work “Soundings” was

43 performed at the celebratory opening of Walt Disney Concert Hall in Los Angeles. In the world of sport, he has contributed musical themes for the 1984, 1988 and 1996 Summer Olympic Games; the 2002 Winter Olympic Games; and the 1987 InternaƟ onal Summer Games of the Special Olympics. In 2006, Williams composed the theme for NBC’s presentaƟ on of NFL football.

Williams holds honorary degrees from 22 American universiƟ es, including Harvard University, the Juilliard School, Boston College, Northeastern University, TuŌ s University, Boston University, New England Conservatory of Music, the University of MassachuseƩ s at Boston, Eastman School of Music, Oberlin Conservatory of Music and the University of Southern California. He is a recipient of the 2009 NaƟ onal Medal of Arts, the highest award given to arƟ sts by the United States government. In 2016, Williams received the 44th Life Achievement Award from the American Film InsƟ tute – the fi rst composer in history to receive this honor. In 2003, he received the Olympic Order, the InternaƟ onal Olympic CommiƩ ee’s highest honor, for his contribuƟ ons to the Olympic movement. He served as the Grand Marshal of the 2004 Rose Parade in Pasadena and was a recipient of the Kennedy Center Honors in December 2004. Williams was inducted into the American Academy of Arts & Sciences in 2009, and in January of that same year he composed and arranged “Air and Simple GiŌ s” especially for the fi rst inaugural ceremony of President Barack Obama.

JOHN POWELL (Composer) was catapulted into the realm of A-list composers by displaying an enƟ rely original voice with his oŌ -referenced scores to the MaƩ Damon “Bourne” trilogy. He has become the go-to writer for family animated fi lms, scoring such hits as “Shrek,” “Chicken Run,” “Ice Age” (2 and 3), “Bolt,” “Rio,” “Happy Feet” (1 and 2) and “Kung Fu Panda” (1 and 2).

His pulsaƟ ng acƟ on music has provided the fuel for “Hancock,” “Green Zone,” “Stop-Loss,” “Mr. & Mrs. Smith” and “The Italian Job.” His music has also sweetened the romance of “Two Weeks NoƟ ce” and “P.S. I Love You,” empowered “X-Men: The Last Stand,” lent tenderness to “I Am Sam” and gripping drama to “United 93.” His infecƟ ous score for “How to Train Your Dragon” earned him his fi rst Academy Award® nominaƟ on.

Powell has also lent his voice to the score of “Dr. Seuss’ The Lorax,” “Ice Age: ConƟ nental DriŌ ,” “Rio 2,” directed by Carlos Saldanha, and the criƟ cally acclaimed DreamWorks fi lm “How to Train Your Dragon 2.” His most recent work was Warner Bros.’ “Pan,” starring Hugh Jackman, Universal Pictures’ acƟ on-thriller “Jason Bourne,” starring MaƩ Damon, and Fox’s “Ferdinand.”

A naƟ ve of London, Powell was an accomplished violinist as a child, wrote music for commercials out of school and assisted composer Patrick Doyle in the early 1990s. He moved to the U.S. in 1997, co-wrote the score for “Antz” and quickly became one of the most desirable, versaƟ le and exciƟ ng composers in town.

Oscar® and Academy Award® are the registered trademarks and service marks of the Academy of MoƟ on Picture Arts and Sciences. Screen Actors Guild Award® and SAG Award® are the registered trademarks and service marks of Screen Actors Guild™. Emmy® is the trademark property of the Academy of Television Arts & Sciences and the NaƟ onal Academy of Television Arts & Sciences. Golden Globe® is the registered trademark and service mark of the Hollywood Foreign Press AssociaƟ on. Tony Award® is a registered trademark and service mark of The American Theatre Wing. GRAMMY® and the gramophone logo are registered trademarks of The Recording Academy® and are used under license. ©2011 The Recording Academy®.

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