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Home , Andrew Buchan, Art Parkinson, Bob Murawski, Clare Douglas, Costume Designers Guild, Dracula (1996 play)

UNIVERSAL PICTURES and LEGENDARY PICTURES Present

A Production

LUKE EVANS and

Executive Producers ALISSA PHILLIPS JOE CARACCIOLO, JR. THOMAS TULL JON JASHNI

Produced by MICHAEL DE LUCA, p.g.a.

Screenplay by MATT SAZAMA & BURK SHARPLESS

Directed by GARY SHORE

– 1 – CAST PHIL MCKEAG DARREN MCMULLAN Vlad ...... ANDREW MCQUADE Mirena ...... SARAH GADON ROSS MONEYPENNY Mehmed ...... DOMINIC COOPER CONNOR SCHELLING-TISZA Ingeras ...... Boyar Men ...... GORDON BELL Master ...... CHARLES DANCE GRAHAM CAVE Dimitru ...... DIARMAID MURTAGH NORMAN COATES Brother Lucian ...... PAUL KAYE XANDER DUFFY Cazan ...... WILLIAM HOUSTON AL GEDDES Captain Petru ...... NOAH HUNTLEY ARTHUR HALLIGEY Simion ...... RONAN VIBERT PAUL KAVANAGH Shkelgim ...... ZACH MCGOWAN TYRONE KEARNS ...... FERDINAND KINGSLEY DEREK MAYNE General Omer ...... JOSEPH LONG GAVIN MCCORMICK Bright Eyes ...... THOR KRISTJANSSON PAUL MONAHAN Acemi ...... JAKUB GIERSZAŁ JEFFREY O’BRIEN Mihai ...... JOE BENJAMIN Ladies of the Court . . . . ANN LOUISE BRESNAHAM Nicolae ...... PAUL BULLION CHARLENE GLEESON Andrei ...... MISH BOYKO ANN O’CONNOR Governess ...... DILAN GWYN GRETTA SHORE General Ismail ...... ARKIE REECE ORLAITH SHORE Mihai’s Father ...... PHIL ZIMMERMAN PENELOPE SIMMONS Wealthy Boyar ...... DOMINIC BORRELLI Children of the Court ...... HUNTER BOLAND Turkish General ...... TOM BENEDICT KNIGHT MARIA LAIRD Intrigued Boyar ...... PAUL CASAR AODHAN MCGOWAN Mehmed’s Adjutant ...... STAVROS DEMETRAKI Stunt Coordinator ...... BUSTER REEVES Mirena’s Handmaidens ...... RUTH BAXTER Fight Trainer ...... VINCENT WANG RACHEL KENNEDY Stunts ...... HELEN BAILEY LOUISE PARKER ASHLEY BECK Lucian’s Monks ...... GLEN BARRY NEIL CHAPELHOW SHANE MCCAFFREY ROB COOPER GARY WHELAN JAMES EMBREE Omer’s Adjutant ...... GUILLAUME MELIOT PETE FORD Vlad’s Castle Guards ...... JASON COALTER MARTIN GOERES COLAN CURRIN LAWRENCE HANSEN JOHN FRIEL RICHARD HANSEN ANDREW LAVERTY LYNDON HELLEWELL Vlad’s Soldiers ...... MATTHEW AKERFELDT MATT HERMISTON CHRIS CHERRY GARY KANE EUGENE FURPHY LUKE KEARNEY GRAHAM HUTTON GEORGE KIRBY CHRIS KEENAN TOMASZ KRZEMIENIECKI JOE KELLY ANDY LISTER BOBBY MARNO BELINDA MCGINLEY

– 2 – ANDY MERCHANT Supervising Art Director ...... PAUL INGLIS RAY NICHOLAS Art Directors ...... DAVID DORAN HEATHER PHILLIPS HEATHER GREENLEES CHRIS POLLARD MICHAEL TURNER HASIT SAVANI Assistant Art Directors ...... AMANDA DAZELY GUNTER-ANDREAS SCHMITKA JO FINKEL MARCUS SHAKESHEFF Standby Art Director ...... LAURA NG MARK STANTON-KELLY Art Department Coordinator ...... KIRSTY VOGEL JOHN STREET Storyboard Artists . . . . STEPHEN FORREST-SMITH ARRAN TOPHAM DAVID ALLCOCK MARLOW WARRINGTON-MATTEI JOHN COVEN RICHARD WHEELDON SIMON DURIC ALISTAIR WHITTON DOUGLAS INGRAM DONNA WILLIAMS WILLIAM SIMPSON ANNABEL WOOD Concept Artists ...... IGOR ALBAN-CHEVALIER LIANG YANG RAVI BANSAL ADAM YOUNG ROB BLISS STEEN YOUNG TIM BROWNING LUIGI MARCHIONE CREW DERMOT POWER NORMAN WALSHE Directed by ...... GARY SHORE Draughtsmen ...... ANDREW ACKLAND-SNOW Screenplay by ...... MATT SAZAMA & GAVIN DEANE BURK SHARPLESS DOMINIC MASTERS Produced by ...... MICHAEL DE LUCA, p.g.a. Junior Draughtsman ...... RICHARD HARDY Executive Producers ...... ALISSA PHILLIPS Graphic Artists ...... GEMMA KINGSLEY JOE CARACCIOLO, JR. JIM STANES THOMAS TULL Art Department Assistants ...... OWEN BLACK JON JASHNI MEGAN BRITTON Director of Photography . .JOHN SCHWARTZMAN, ASC ELLEN TURLEY Production Designer ...... FRANÇOIS AUDOUY Set Decorator ...... PAKI SMITH Edited by ...... RICHARD PEARSON, ACE Assistant Set Decorator ...... AINE SMITH Music by ...... Production Buyer ...... LUCINDA STURGIS ...... Set Decorating Art Director . . . . ELAINE KUMISHKO Casting by ...... JOHN HUBBARD, CSA Set Decorating Painter ...... MALCOLM KEANE ROS HUBBARD, CSA Portrait Painter ...... ROHAN HARRIS Visual Effects Supervisor ...... CHRISTIAN MANZ Head Modelmaker ...... GREG KEELEY Unit Production Managers ...... JO BURN Modelmakers ...... NEIL DERVAN JOE CARACCIOLO, JR. MATT KENNEDY First Assistant Director . . . . . JOHN WILDERMUTH STEPHEN MCMANUS Second Assistant Director . . . . . SAMANTHA SMITH ED ROURKE Head Riggers ...... KEVIN LYONS GARRETT RYAN WOLFGANG STEGEMANN Head Greensman ...... STEPHEN KELLY Visual Effects Producer . FIONA CAMPBELL WESTGATE Chargehand Greensman . . . . .SEAN CUNNINGHAM Production Supervisor . . . . .JESSICA DERHAMMER Standby Greensman ...... MICHAEL ACHESON

– 3 – Property Master ...... ALLEN J. POLLEY JON TAYLOR Assistant Property Master ...... JOHN PALMER Supervising Sound Editors . . . PER HALLBERG, MPSE Supervisor ...... MARK REYNOLDS KAREN BAKER LANDERS, MPSE Chargehands Dressing Props . . . . . JOSH POLLEY Additional Editors ...... , ACE WILLIAM WELLS SEAN THOMPSON Storeman ...... DAVID CHISHOLM Gaffer ...... HARRY WIGGINS Dressing Props ...... EAMON BEAGON Best Boy ...... CHRIS MORTLEY DAVID CARSON Lighting Desk Operators ...... SIMON BAKER PETER COWDEN GALO DOMINGUEZ JOHN DICKEY ANDY SIDDALL JOE DUFFY Key Floor Electricians ...... TOM LEA OWEN FITZPATRICK ADRIAN MACKAY NICHOLAS KEOGH STEPHEN O’DONOGHUE CLIFFORD MCKNIGHT Floor Electricians ...... RICKY CHURCHOUSE CONOR MCNALLY SEAMUS LYNCH NEIL MURRY BRUNO MARTINS MITCH POLLEY WOUTER POPPINK JAMES SKIPSEY WILL SHEFFIELD PETER WELLS FRED TODD Chargehand Standby Props . . . . DAREN REYNOLDS JASON WELLS Props Coordinator ...... DAGMAR POLLEY Generator Operator ...... BARRY BELLOTTI Co-Second Assistant Director . . . .JAMES MCGRADY Balloon Light Technicians ...... INJO GARTNER Crowd Second Assistant Director . . . JAMES CHASEY CARSTEN THOMS Third Assistant Directors ...... PAUL GEORGE Rigging Gaffer ...... IAN FRANKLIN RICHARD WILSON Rigging Best Boy ...... MARTIN TAYLOR Set PAs ...... EMMA BEATTIE Supervising Rigging Electricians ...... SAM KITE CHRIS MCCORMICK BEN WILSON JOSEPH JAMES MCCULLOUGH Rigging Chargehands ...... MARK FUNNELL CARLY MILLS GUY HAMMOND DAVID PARKHILL Rigging Electricians ...... STEVE ANTHONY REBECCA WILSON TONY BURNES HUSSAIN YASSIN STEVE CORTIE A Camera Operator ...... IAN FOX ROBERT HUNT B Camera Operator/Steadicam Operator .PETER CAVACIUTI ADAM LEE First Assistant A Camera ...... ROBERT PALMER VINNY MADDEN First Assistant B Camera ...... JOHN JORDAN GARY NOLAN Second Assistant A Camera ...... ALEX BENDER JORDAN PERRY Second Assistant B Camera ...... LUKE SELWAY JOHN SAUNDERS Central Loader ...... MORGAN SPENCER CHRIS TANN Production Sound Mixer ...... MERVYN MOORE RUSSELL TANN Boom Operator ...... MATTEO DE PELLEGRINI DANNY YOUNG Cableman ...... TERRY MCDONALD HOD Electrical Rigger ...... RICHARD HARRIS Video Playback Operator ...... LIZZIE KELLY Chargehand Electrical Riggers . . . . .JAMES BUSBY Video Assistant ...... LIAM DEVINE RIKKI HARRIS Re-recording Mixers ...... FRANK A. MONTAÑO GLEN PRESCOTT

– 4 – Electrical Riggers ...... ANDY CHALLIS Supervising Armorer ...... STEVE CUMMINGS CLINT EDWARDS Assistant Armorers ...... DAMIEN MURPHY JOHN HANKS KRISTOPHER TAIT WILLIAM POYNTER Horse Consultant ...... CAMILLA NAPROUS RYAN PRESCOTT Horsemaster ...... ADAM FRANCIS Key Grip ...... DARREN HOLLAND Costume Supervisor . . . .RACHAEL WEBB-CROZIER Best Boy Grip ...... TOM NORTH Assistant Designer ...... LIBBY DEMPSTER Camera Grips ...... DAVE CROSS Crowd Supervisor ...... DAVID CRAIG MICHAEL RICH Crowd Costume Assistant ...... KAT TART Crane Grip ...... BEN GOODE Costume Coordinator . . . . . CATHERINE MCNALLY Crane Techs ...... LEE KEMBLE Principal Costume Makers . . . . . HELEN BEASLEY DARREN PIERCY MELANIE CARMICHAEL Libra Head Tech ...... JOE BUXTON TANIA CHANT Construction Grip Carpenter ...... GARY HAYES ROSY COPPOLA Construction Grip Stagehand . . . AARON MCDONAGH LAUREN HANNA Construction Grip Rigger . . . . TUCKER MCDONALD SABINE OTTO Construction Grip Painter ...... ENZO ENZEL Specialist Costume Maker . . . . . KYLE CALLANAN Special Effects Supervisor ...... ULI NEFZER Set Wardrobe Mistress ...... BETH GILLMAN Set Supervisor ...... JENS SCHMIEDEL Base Wardrobe Mistress ...... LARA CAMPBELL Workshop Foreman ...... SEBASTIAN VENHUES Principal Standby Costumers . . . . GENEVIEVE COX Rigging Foremen ...... NORMAN ERNST HARRIET EDMONDS WOLFGANG HIGLER VIDYA KRISHNAMURTHY Breakaways Foreman ...... JAROSLAV BUCEK CIARA WINNINGTON Senior Technicians ...... NILS BLEECK Key Crowd Costume ...... ASHLEIGH LENNOX PERRY COSTELLO Costume Breakdown Supervisor . . . JAMES ROGERS CHRISTOPH GARTLACHER Costume Breakdown Assistants . . . NICOLA BELTON ENDRES LOEBER NATALIE MCANDREWS MICHAEL LUPPINO Senior Costume Assistants ...... MARIE BREEN MARCUS PREUSSING ANNA MCCAUGHTRY ANDREAS SCHILLER SOPHIE WALLACE CINDY SCHNITTER Junior Costume Assistants ...... GERI DOHERTY JURGEN THIEL MATTHEW MCCOLGAN THOMAS THIELE SOPHIE WEBB THOMAS ZANDER Costume PAs ...... HELEN LOGAN Technicians ...... FERGUS COSTELLO STEPHANIE MCCUTCHEON MAX COSTELLO Makeup & Hair Designer ...... DANIEL PHILLIPS ANDRE EMME Makeup & Hair Artists ...... JOANNE HOPKER SWEN LUPPINO LIZZI LAWSON JONATHAN MARTIN LISA MCCONVILLE RYAN MCNEILL TAPIO SALMI STEVEN TEMPLETON Crowd Supervisor ...... BEVERLEY BINDA Junior Technicians ...... JAN LUPPINO Prosthetics Makeup Designer . . . . .MARK COULIER MATTHEW MARTIN Prosthetics Coordinator . . . . KRISTIE SOUTHCOTT SFX Technical & Crew Coordinator . . .KLAUS MIELICH Key Prosthetics Sculptors . . . . . DUNCAN JARMAN HOD Armorer ...... TOMMY DUNNE STEPHEN MURPHY

– 5 – JOSH WESTON SEAN-PAUL HENRY Prosthetics Sculptors ...... VALTER CASSOTTO MATTHEW KILPATRICK ANDREA LEANZA Production Coordinator ...... VICKY BISHOP SEBASTIAN LOCHMAN Travel Coordinator ...... EMMA DUNLEAVY Prosthetics Makeup Artists . . . . SHAUNE HARRISON Accommodation Coordinator . . . . . KATIE GIBSON Assets Coordinator ...... PAUL MCANEARNEY Prosthetics Painters ...... AIME ASPDEN Production Secretary ...... ALI MORRIS MARTHA BUTTERFIELD FEIN Casting Associate ...... MARTIN WARE DAVID MALINOWSKI Casting Assistant ...... MOLLY COWAN Chief Mouldmaker ...... BRIAN BEST Extras Casting ...... SCREEN NI Mouldmaker ...... DAN FRYE Unit Publicist ...... SASHA GIBSON Prosthetic Fabricator ...... JO GLOVER EPK ...... ANDREW AMONDSON Key Silicone Technician ...... LEON SMIKLE SCOTT M. MURRAY Workshop Technicians ...... KEVIN CAMPION NATHAN WILEY ALEX HARPER Still Photographer ...... JASIN BOLAND COLUM MANGAN Dialect Coaches ...... BRENDAN GUNN Script Supervisor ...... KATHLEEN WEIR-HAPLIN BRETT TYNE Supervising Location Manager . . .CATHERINE GEARY Military Advisor ...... CRISPIN SWAYNE Location Manager ...... MALLY CHUNG On-set Teacher/Researcher . . . . . CIARA CULLEN Unit Location Manager ...... BEN FIRMINGER Assistants to Mr. Shore ...... GLEN BARRY Studio Manager ...... JP WHEARTY CARMEN ORANGE Site Managers ...... TREVOR CURRIE Assistants to Mr. De Luca . . . . KRISTEN DETWILER CHRIS FEGAN RACHEL LOGAN JON HILLS Assistants to Ms. Phillips . . . . . JULIE ANNE LILLIS Location Coordinator ...... BRENDA GOUGH KATHERINE O’CONNOR Location Electrician ...... PHIL GARDNER Assistant to Mr. Evans ...... MARY PIKE Locations Assistants ...... PAUL BRENNAN Production Assistants ...... MARK BRENNAN BRENDON DENNISON AIDAN LARGEY CAT VENGEANCE GARTON CRISTIN RUDDY CHRIS KENNEDY Construction Manager ...... COLIN H. FRASER DREW LAU Construction Coordinator . . . BEVERLEY CROCKARD SEAN LOGAN HOD Plasterer ...... DOUG ALLAM ANDY MCCAW HOD Stagehand ...... ALAN BILLAM DANNY MCDERMOTT HOD Rigger ...... MEL SANSOM Financial Controller ...... JASON BOGARD HOD Painter ...... PAUL CURREN U.S. Production Accountant . . . . DAVID ATKINSON HOD Carpenter ...... WAYNE HAMMOND U.K. Production Accountant . . . CHRISTIAN HOLDEN HOD Sculptor ...... KATHRYN PRINCE Location Accountant ...... JULIAN MURRAY Supervising Plasterers ...... MICHAEL RICCI Assistant Accountants ...... KATHLEEN DONNO ANDY SANDBACH RICHARD HENRY PAUL TAPPIN Construction Accountant ...... SEAMUS DEVINE Chargehand Plasterers ...... RAY REEVES Payroll Accountant ...... LUCY HOWELL MARK RIDING Postproduction Accountant . . .MISSY EUSTERMANN DAVE STOPPS Accounts Clerk ...... BARRY MCGONIGLE KEN WILSON Accounts Assistants . . . . MORGAINE FITZSYMONS Supervising Rigger ...... STEVE DEVLIN

– 6 – Chargehand Riggers ...... GARY DORMER Assistant VFX Editor ...... GREG REED ROBERT GURNEY Postproduction Assistants ...... ROB NOLAN Supervising Painters ...... DION BANNER KIMBERLY PEARSOL IAIN GEDDES Supervising ADR Editor ...... CHRIS JARGO MICHAEL NITSCHE First Assistant Sound Editor . . . . PHILIP D. MORRILL Chargehand Painters ...... SAMUEL CURREN Sound Designers ...... ANN SCIBELLI, MPSE KEVIN HOPKINS PETER STAUBLI, MPSE TERRY MACHIN JON TITLE, MPSE BETTINA SCHEIBE Sound FX Editors CHRISTOPER ASSELLS, MPSE Supervising Carpenters ...... DEREK FRASER BILL R. DEAN, MPSE ARTHUR HOLLAND DANIEL HEGEMAN PAUL NOTT-MACAIRE Dialog Editors . . . .CHRISTOPHER W. HOGAN, MPSE Chargehand Carpenters . . . . DENNIS BOVINGTON DANIEL SAXLID JAMIE MCCALLUM JOHN C. STUVER, MPSE RUSSELL SARGENT ADR Editors ...... GREG BROWN PAUL STEWART PAUL TIMOTHY CARDEN BARRY WELLER DAVID A. COHEN DEAN WELLER JULIE FEINER MARK WHITE ADR Assistant ...... TONY R. NEGRETE Supervising Stagehands ...... RAY DELL Foley Editor ...... CRAIG JAEGER CLIVE DRINKALL Foley Artists ...... JOHN CUCCI Construction PAs ...... MICHAEL GILLESPIE DAN O’CONNELL ANTHONY QUINN Foley Mixer ...... JAMES ASHWILL Transportation Coordinator ...... RAVI DUBE ADR Voice Casting ...... PHOEBE SCHOLFIELD Transportation Captain ...... RYAN MARSHALL Loop Group ...... SYNC OR SWIM Transportation Secretary ...... CLARE HAWKINS Audio Engineering ...... DONNIE LITTLE Facilities Manager ...... ANTHONY CARROLL DAVID M. YOUNG Tech Vehicle Manager ...... PETER MORRISON Sound Editorial Services by . . . . FORMOSA GROUP Unit Medic ...... BILL ROTHWELL ADR Mixers ...... MARK APPLEBY Catering & Craft Service . . . . . FILL YOUR BOOTS JEFF GOMILLION Visual Effects Production Supervisor . DAVID FEINSILBER ADR Recordists ...... HARRY PLATFORD Visual Effects Coordinator . . . . . MATTHEW LLOYD MIKE TEHRANI Visual Effects Set Surveyor . . BASTIAN HOPFGARTEN Re-recording Mix Techs ...... EDDIE BYDALEK Lead Visual Effects Data Wrangler . . . NIALL MCEVOY BILL MEADOWS Junior Visual Effects Coordinators . . . . DAN MOODY Stage Engineers ...... DAVE BERGSTOM MELVYN NICHOLLS MIKE MORONGELL Visual Effects Illustrator ...... MAURO BORRELLI DAVE TOURKOW Visual Effects PAs ...... PAUL CONNOLLY Re-recording Sound Services ...... KATE PREUSSER NBCUNIVERSAL STUDIO POST Assistant Editors ...... KRIS COLE Music Editor ...... CARL KALLER TOM DAVIS Assistant Music Editor ...... CHRIS KALLER HELEN SHERIDAN Additional Music Editor ...... PETER MYLES PETER TACKABERRY Conductor ...... VFX Editors ...... PAMELA CHOULES Score Recorded by ...... NICK WOLLAGE AMAR INGREJI Score Mixer ...... DENNIS SANDS

– 7 – Assistant Score Engineers . . . .LAURENCE ANSLOW Key Grip ...... MARK BINNALL ADAM MILLER Special Effects Supervisor ...... TILL HERTRICH Orchestrator ...... STEPHEN COLEMAN Makeup & Hair Supervisors ...... ANA LOZANO Music Preparation . . . .JILL STREATER MUSIC PREP MARIA MOORE Orchestra Leader ...... EVERTON NELSON Script Supervisor ...... CERI COOPER Additional Music ...... BRANDON CAMPBELL Accountant ...... STEPHEN MCGILLEN Technical Score Preparation . . . WILLIAM MARRIOTT Production Coordinator ...... DAVID ZEALEY Scoring Mixing Assistant ...... ADAM OLMSTED Assistant Production Coordinator . . . . ANNA QUINN Orchestra Contractor ...... ISOBEL GRIFFITHS Catering & Craft Service . . . . . PINK POMELO LTD. Assistant Orchestra Contractor . . . . . SUSIE GILLIS Transport Captain ...... MARK SANSONE Featured Musicians ...... JON BANKS EDWARD CERVENKA ADDITIONAL PHOTOGRAPHY JAN HENDRICKS SONIA SLANY Additional Photography Director . . . . DAVID LEITCH Featured Vocalist ...... IOANNA GIKA First Assistant Director ...... CHRIS CARRERAS Choir ...... METRO VOICES Second Assistant Director . . . NICK SHUTTLEWORTH Choirmaster ...... JENNY O’GRADY Art Directors ...... STEPHEN DOBRIC Music Recorded at . LYNDHURST HALL, AIR STUDIOS ELAINE KUSMISHKO Prologue and Main Titles ...... PICTURE MILL Director of Photography . . . . . JOHN MATHIESON End Titles ...... SCARLET LETTERS A Camera Operator/2nd Unit DOP . . . PETER TAYLOR Digital Intermediate ...... COMPANY 3 B Camera Operator/Steadicam Operator . PAUL EDWARDS CO3 Executive Producer/Colorist . STEFAN SONNENFELD Production Sound Mixer ...... JOHN MIDGELY DI Senior Producer ...... ERIK ROGERS Video Playback Operator ...... MARTIN WARD Digital Conform ...... RUDY LOPEZ Gaffer ...... ALAN MARTIN DI Assistant ...... JOHN TRIPP Key Grip ...... JIM CROWTHER SFX Set Supervisor ...... JAMIE WEGUELIN SECOND UNIT Costume Designer ...... Costume Supervisor ...... ANDREW HUNT Second Unit Director . . . GEORGE MARSHALL RUGE Makeup & Hair Supervisor ...... JOE HOPKER First Assistant Director ...... CHRIS CARRERAS Makeup & Hair Artist ...... LOIS MCINTOSH Unit Production Manager ...... ERICA BENSLY Script Supervisor ...... NICOLETTA MANI Chargehand Standby Props . . . . STUART WALPOLE Supervising Location Manager . . . COOMBES Key Second Assistant Director . . . . STEPHEN DARRAGH Location Manager ...... TOM ASQUITH Second Second Assistant Director . . . . BARRY KEIL Financial Controller ...... NEIL CHAPLIN Third Assistant Director ...... JAMIE HAMER U.K. Production Accountant ...... JOHN UDALL Set PAs ...... THEO HERRON Stunt Coordinator ...... PETER PEDRERO GRAEME LIVINGSTONE Wire Effects Supervisor ...... KEVIN WELCH JONNY TEMPLETON Stills Photographer ...... DAVID APPLEBY Director of Photography . . . . PATRICK LOUNGWAY Transportation Coordinator . . . . . PETER GRAOVAC A Camera/Steadicam Operator . . COSMO CAMPBELL Visual Effects by ...... Sound Mixers ...... DEREK HEHIR VFX Supervisors ...... IVAN MORAN FIACHRA O’HANLON GLEN PRATT Gaffer ...... MICHAEL CHAMBERS CG Supervisors ...... BEN LAMBERT Best Boy ...... ANDREW GARDINER JOHN-PETER LI DARREN GATRELL Compositing Supervisors . . . . . VLAD AKHTYRSKIY

– 8 – KATE WINDIBANK HIROAKI MURAMOTO Sequence VFX Supervisor . . . . MATTHEW TWYFORD EOIN MURPHY Sequence CG Supervisors . . . . . BENJAMIN LOCH JEFF NORTH ANDY WALKER DEAN OKEEFFE Sequence Compositing Supervisor . . . ALEX PAYMAN Lead Digital Matte Painter ...... DAVE EARLY VFX Producers ...... ANNIE GODIN Digital Matte Painters ...... CHARLIE BENNETT SOPHIE ORDE FLORENCE DURANTE VFX Executive Producers ...... LUCY KILLICK FABRIZIO FIORETTI SARA TREZZI SLAV KRAVCHENKO Lead Modeler ...... BILLY BUTLER JEROME MARTINEZ Modelers ...... GABRIEL BEAUVAIS GUREL MEHMET PATRICK COMTOIS IRENE NAVARRO SAM GORDON SIÂN REES DAN ULRICH HARUKA SUGIMURA Lead Rigger ...... JARL MIDELFORT MARK TAYLOR Rigger ...... FEDERICO FAVARO HARRY WORMALD Lead Texture Artists ...... MICHAEL BORHI Lead Animators ...... KAYN GARCIA LASZLO MOLNAR BRETT MARGULES Texture Artists ...... EMMA BERKELEY Animators ...... PETE ASHFORD IAN MATTHEWS KRZYSZTOF BOYOKO MARTIN PELISSIER MATTHEW CHANDLER VFX Production Supervisors . . . . SABRINA GAGNON BENJAMIN CHEONG HELEN KOK KARL ERLANDSEN JAN MEADE JAMES KASAPI DANIELLE MORLEY CHRISTOPHER POTTER VFX Coordinators ...... TALIA FELBER MAHAMADOU SAKO IRIS FRISCH EDWIN SCHAAP DEEPS HARGUNANI TIM STEVENSON CHRIS JESTICO LISA TAYLOR DON KENNEDY BERNARD WICKSTEED HANNAH LEWIS Lead Effects TDs ...... DANNY LEVESQUE NATALIE CLAIRE MILLER SHAHID MALIK SNEHAL MISTRY HORACIO MENDOZA DANIEL MOODY JOHANNES RICHTER OLIVIA TURNER Effects TDs ...... PIOTR BAREJKO ANDREAS WIELAND ANTHONY CHAPPINA VFX Support ...... ADRIANNA KRUYT SIMONE CILIANI BOBBIE MURPHY FERNANDO DOMINGUES VFX Editors ...... SASHA LEIGH IZADPANAH SELCUK ERGEN SIMON SCOTT ALEX GABRIEL Lead Environment TD ...... JAMES HARMER LUKE GRAVETT Environment TDs ...... CHRIS COOK DEAN GRUBB ARKIN ESREF JIMMY LEUNG STEVEN MOORE RICHARD LIM DIDIER MUANZA HOWARD MARGOLIUS

– 9 – GARY NISBET RYAN KIRBY OLEKSANDR PANASKEVYCH DILESH LAMSAL VISHAL PATEL JUSTIN LONG MATTHIEU PRESTI STEPHEN MACKERSHAN JOHN RAY NAKIA MCGLYNN MASAYA SUGIMURA MARC MENNEGLIER MICHAEL WANG STEPHEN NEW Lead Creature Effects TDs . . . . SYLVAIN DEGROTTE ROBERT O’NEILL RUGGERO TASCHINI PATRICK REDMOND Creature Effects TDs ...... FAZIL AHMED ROBIN REYER BHAVIKA BAJPAI ANTOINE SEIGLE DENIL CHUNDANGAL ARGHA SEN JESUS GUIJARRO NIKOLA SIMEONOV ERVIN KASZAP ROBERT STIPP BASTIAN KLUCKER JERRY TUNG ADRIAN PINDER Paint & Roto Leads ...... KYE DORRICOTT SAGAR RATHOD LARS ERIKSEN PHILIP J. ROBINSON NESTA SMITH MAYUR SAMANT Paint & Roto Artists ...... AMMAN BAINS STEVEN SANDLES DANIEL BATT JAGJEET SINGH STEPHANIE BROUSSAUD MIKE THOMPSON JEAN-FRANCOIS BURDIN CASPAR TRENCHARD-TURNER SOPHIA CHEN SHREYA UCHIL MATHEW CRISP Lead Crowd TD ...... REZA GHOBADINIC RUXANDRA CRISTOIU Crowd TDs ...... CARLOS CARILLO JONATHAN DESAULNIERS PAUL INGRAM LISA FUNKEL CHRIS JOHNSTON FLORIAN GRENIER SALAUDDIN KAZI OLLY HAGAR BRUNO XIBERRAS DANIEL HAMMONDS CG Lighting Supervisor ...... PAUL BEILBY SCOTT ROBERTSON Lighting Supervisor ...... GORDON CURTIS Prep Artists ...... DANIEL BORG Lead Lighting TDs ...... ANDRE HITSOY CHARLIE HABANANANDA BENJAMIN MAGANA Lead Compositors ...... OLIVER ARMSTRONG Lighting Department Manager . . . LUCINDA KEELER TOM BASKAYA Lighting TDs ...... JASON BAKER LUKE DRUMMOND SIMONE BRUNI JEREMIE DUCROCQ ALEXANDRE CANNICCIONI IAN FELLOWS KEVIN COUTURE RUSSELL HORTH TIM FONVILLARS TOMAS LEFEBVRE LEILA GAED JEREMIE LODOMEZ CHRISTINE GATCHALIAN BRUCE NELSON GORDON DE HASETH SAM OSBORNE YIFAN HU ANTHONY SANTORO JAMIE ISLES NICK SEAL

– 10 – Compositors ...... SILVIO ALBERTI ANDREW PINSON GERGANA ALEXANDROVA ALED PROSSER ADAM AZMY GARTH REILLY MIKE BAKER JULIEN ROUSSEAU HAMED BANK BENITO SANZ ANDREW BARRY JAMES SMITH MICHAEL BODEN ERIC SO VIVIANE BOUCHARD DENNIS TSOI DANIEL BRYANT JON URIARTE OWEN CARROLL DAN VICTOIRE OMAR CASTANEDA GEOFF WIGMORE PAUL CHAPMAN Matchmove Artists ...... OWYN ABRAM NICO CORONADO STEFAN ASH RICHARD COURTMAN SCOTT BRINDLEY SCOTT DAWKINS TOM CARTER ASHISH DEWAN MAXIME CAZALY NATALIA DIAZ NESTOR COSTA FRANK D’IORIO EMANUELE FARNESI SCOTT FEDOR GEORGE FRONIMADIS OLIVIER FERGUSSON-TAYLOR ETIENNE GLAZIER JAVIER FERNANDEZ ADY HOLT LUCIEN FOSTIER CONNOR KITTO RICHARD FOX LOIC MIREAULT ALES GARGULAK MAIK QUANG ROB GARNER MATTHEW ROBINSON HUGO GAUVREAU AMINA TAN FREDERIKKE GLICK DANIEL LIM TI YAN JEAN-BAPTISTE GODIN Pipeline TDs ...... JOHN ANDERHOLM FILIPPO GOLIN CARL BERUBE HECTOR GONZALEZ MICHELE BOSI EMILY GREELEY COLAS FISZMAN JOHN GROTELUESCHEN JACOB TELLEEN LEVENT HASEKI TD ...... CHRIS HALDANE TIA HOSHIZAKI Senior R&D Developer ...... KATE BERGEL OWEN JACKSON R&D Developers ...... SIMON COUPE CHRIS LEE DEEPAK MATHUR MICKAEL LEGER Data Operation & Render Support . . . VINCENT BELL PATRICIA LLAGUNO JAMES THOMPSON GIUSEPPE LOMBARDI Systems Support ...... MARTIN COLLINS MARK MILLENA PIERRE-ALEXANDRE VALLEE DANIEL MORENO Visual Development by . . . FRAMESTORE ART DEPARTMENT DILLON NICHOLS Additional Visual Effects by ...... LEVEL 256 EMELIE NILSSON WINDMILL LANE VFX DAVID J. NOLAN Previsualization by ...... THE THIRD FLOOR JORGE OLIVA Lidar & Cyber Scanning by . . . . PLOWMAN CRAVEN

– 11 – ON BACK LOT MUSIC

PRESENTED IN ASSOCIATION WITH DENTSU INC./FUJI TELEVISION NETWORK, INC. (Obligatory end title credit)

NO. 49314

ON BEHALF OF SCREEN MOTION PICTURE ASSOCIATION OF AMERICA

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– 12 – Prince Vlad IIII (LUKE EVANS) does what he must for his people in Untold.

“Sometimes the world no longer needs a hero. to fear as the sun sets: Dracula. Sometimes what it needs…is a .” The year is 1462, and has enjoyed a —Prince Vlad III, prolonged period of peace under the just and fair rule of the battle-weary Vlad III, Prince of , and Almost an entire century after the world’s cinematic his beloved and brave wife, Mirena (SARAH GADON introduction to Dracula placed audiences under his of The Amazing Spider-Man 2). Together, they have haunting spell, the studio that pioneered the genre brokered peace for their country and ensured its reawakens one of legend’s most captivating figures in an people are well-protected, especially from the powerful action-adventure that heralds a pulse-pounding rebirth —an ever-expanding scourge that has of the age of . LUKE EVANS (Fast & Furious 6, its sights on global domination. series) transforms from the cursed man history But when Sultan Mehmed II (DOMINIC COOPER knows as to an all-powerful creature of Captain America: The First Avenger) demands of the night in ’ Dracula Untold, 1,000 of Wallachia’s boys—including Vlad’s own the origin story of the alluring immortal we have come son, Ingeras (ART PARKINSON of HBO’s Game of

– 13 – notch crew of filmmakers, led by producer MICHAEL DE LUCA (Captain Phillips, upcoming ), cinematographer JOHN SCHWARTZMAN (The Amazing Spider-Man, upcoming Jurassic World), editor RICHARD PEARSON (Maleficent, 2), production designer FRANÇOIS AUDOUY (The Wolverine, Abraham Lincoln: Vampire Hunter), Academy Award®- winning costume designer NGILA DICKSON (Lord of the

Mirena (SARAH GADON) attempts to reason with her husband. Rings: The Return of the King, Blood Diamond) and composer Thrones)—be torn from their parents’ homes and forced RAMIN DJAWADI (, Safe House). to become child soldiers in his army, Vlad must decide: Dracula Untold is executive produced by ALISSA do the same as his father before him and give up his son PHILLIPS (Moneyball), JOE CARACCIOLO, JR. to the sultan, or seek the help of a monster to defeat the (The Wolverine), THOMAS TULL () and Turks but ultimately doom his soul to a life of servitude. JON JASHNI (Pacific Rim). Vlad journeys to Broken Tooth Mountain, where he encounters a foul demon (CHARLES DANCE of ) and enters into a Faustian bargain—one Master of the Undead: that gives the prince the strength of 100 men, the speed Dracula Returns of a falling star and enough power to crush his enemies. However, he will be inflicted with an insatiable thirst “There are far worse things awaiting man than death.” to drink human blood. —, Dracula (1931) If by the end of three days Vlad manages to resist, he will return to his former self, and perhaps in that time Since the publication of ’s definitive manage to save his people. Though should he drink, he “Dracula” in 1897, one of the most enduring literary will be forced to dwell in the darkness for the rest of and popular characters of our time has been explored in his days, feeding only on the blood of humans…and film, animation, literature and music, and is as relevant destroying all that he holds dear. today as he was when his creator spawned a cultural In his feature-film directorial debut, GARY SHORE phenomenon almost 120 years ago. Although Dracula’s helms the action-adventure Dracula Untold from a presence remains ubiquitous in culture, it is surprising screenplay written by MATT SAZAMA & BURK that the origins of this undead icon have never been SHARPLESS (Gods of Egypt). explored on film. Joining director Shore behind the screen is a top- While the man history calls Dracula, for all intents

– 14 – and purposes, was actually a real historical figure, just as Vlad III of Wallachia, aka Kaziglu Bey (The Impaler terrifying to millions of people are the of ancient Prince). Indeed, the writers took many basic facts about myth. Found in almost every culture and language on the dark ruler and extrapolated them into a fantastic saga. Earth—from the Babylonians’ Lilitu, a succubus who Vlad III was born in 1431 in Transylvania. As a child, thrived on babies, to the iron-toothed Asasabonsam of he and his younger brother were sent by their father, Vlad the Ashanti peoples of Ghana1—the legend of blood- II, as hostages of Sultan Murad II to , sucking creatures of the night may be traced back where they were held for six years and trained in warfare.3 thousands of years. But it was not until the 10th century, As Transylvania was located between two empires—the in Slavic Europe, that the word “vampire” first appeared Ottoman Turks and the Austrian Hapsburgs—the young in modern language.2 noblemen lived in a time of constant war, and certain Producer Michael De Luca, who has brought to the sacrifices had to be made.4 screen blockbusters from and Ghost Vlad III grew to become a ruthless conqueror whose Rider to Moneyball and Captain Phillips, shares what favored method of meting out torture was to impale people brought him to the journey of uncovering the monster’s and leave them writhing in agony for days.5 This terrifying origins: “As a kid, I always wanted to know who turned fact is what earned him the posthumous nickname of Vlad Dracula into a vampire. I wondered, ‘Was he the first? the Impaler (aka Vlad Tepes). Because his father belonged Were there others?’ It was a delicious, unanswered question to the Order of the Dragon—a secretive organization of that’s not been covered, even in Bram Stoker’s novel.” Christian knights—that fought the Muslim Ottoman When a script by the up-and-coming writing team Empire, Vlad II took to the name Dracul, which is roughly of Matt Sazama and Burk Sharpless landed on De translated from Romanian into “dragon/devil.”4 Luca’s desk, it ignited the filmmaker’s imagination. “I After his father’s death, Vlad III ruled Wallachia, south thought it was ingenious,” he commends, “the untold of Transylvania, from 1448 until his own death in 1476. origin story and an unknown chapter of an archetypal Following in his father’s footsteps, Vlad III was also inducted character we all know.” into the Order of the Dragon. It was then that he instructed Naturally, our story delves into the mysterious his men to call him “Dracula,” which means “son of the powers bestowed by centuries of superstitious peoples, dragon/devil” in Romanian.5 Reportedly killed in 1476 but this tale of Dracula begins with and borrows fighting the Turks, Vlad III’s head was cut off and displayed from the real-life story of an actual historical figure: in Constantinople…for the entire city to see and fear.6

1 http://www.deliriumsrealm.com/ african-witchcraft-vampirism/

2 http://www.smithsonianmag.com/ history/the-great-new-england- vampire-panic-36482878/?all

3 http://www.britannica.com/ EBchecked/topic/631524/Vlad-III

4 http://www.livescience.com/40843- real-dracula-vlad-the-impaler.html

5 http://romaniatourism.com/dracula- legend.html#whowasvladdracula

6 http://dracula.cc/vlad_iii_dracula/ Sultan Mehmed II (DOMINIC COOPER) will destroy anyone who stands in his way.

– 15 – on the storied monster, bringing the tale back to the beginning to reveal the man behind the mythology. Upon reading the screenplay, Gary Shore, who had made a name for himself as a striking visualist in commercials and directed a stunning short titled The Cup of Tears, responded immediately. “It wasn’t what I expected at all,” the director recalls. “What I found interesting about the script was that it was able to take the idea of the

Vlad warns his son, Ingeras (ART PARKINSON), to run. Impaler and bridge that as an origin story into Bram Stoker’s ‘Dracula.’ Having agreed to take on the writers’ revisionist I’d never seen that done before.” story of Vlad III’s transformation, the next step in the Both director and producer knew that morphing Vlad process for De Luca was to find a home for the film and the Impaler into Dracula on screen made it difficult to explore financing and production options. Historically, conceive of a human element that felt natural; after all, Universal Pictures was the first studio to adapt the recorded history has not been kind to the who character for screen in 1931, and De Luca explains that slaughtered anyone in his path. But Shore’s compassionate this Dracula would finally be coming home: “Universal take on the narrative impressed De Luca. He suggested just seemed like a natural fit. The studio has this storied that they dispatch with the sensational elements shown pedigree with monster movies, and Dracula Untold pays many times before on screens big and small and look at homage to all the beloved films that have come before.” its core: one man’s struggle to protect his family. Shore’s It would take a few years for the right package to articulation of the film as a father/son saga struck the assemble, but when it did, it pulled in a wildly creative right note with the producer. De Luca commends: “Gary’s behind-the-scenes team whose work collectively vision for what this film should encompass convinced us encompasses some of the biggest filmic spectacles in that he was the right person to do the movie.” recent years, including , Gladiator, and Shore appreciates the trust and elaborates upon that The Lord of the Rings trilogy, as well as the films in idea: “It’s a coming-of-age story, but it’s really an exploration the Spider-Man and Harry Potter series. But first, the of the idea of legacy. Vampire mythology is about legacy, action-adventure would need a director at its helm who about handing something down to the next person, whether could navigate not only the intricacies of the writers’ it is DNA, memories or responsibility. I felt people would be story, but offer an innovative visual perspective on able to relate and respond to the father/son idea. It continues history’s most popular (and feared) monster. to be the most inspiring part of the story.” Finessing an iconic property such as Dracula required Grounding the character in the real world was also a director who could cut through the clutter of everything an important element to getting that balance right. Shore that had gone before, someone who could extrapolate the continues: “For this movie to work, you have to care story and had the vision to deliver an innovative look at about Vlad’s inner life, as well as his emotional ties to the master of all undead. After all, this was a fresh take his son and his wife.”

– 16 – Vlad’s difficult choices drive him toward his destiny, De Luca extrapolates upon the conundrum: “Casting and his struggle to save his son from the life forced upon is a tricky proposition with a character that everyone him leads the prince to make the ultimate sacrifice. De knows because we all have our preconceived version Luca offers: “There’s a lot of humanity in this story, which of Dracula. It’s a bit like Spider-Man, Batman or James you wouldn’t expect from a story about Dracula; emotion Bond…only more so because the character’s been in drives him. From the second you meet Vlad, you see an popular culture for centuries.” emotional human being, a man with care and love as well It was clear from the beginning that the production as violence and power. There’s a lot driving him, and he team needed a fresh face who could own and embody has to use all of this in equal measure throughout the film.” such an iconic character…someone whose star was This desire to take the character of Dracula to un- on the rise but who did not come with a number of explored territory became the hallmark of the production. audience preconceptions. Luke Evans had recently Shore says: “We wanted to find new ways of exploring made an impression on filmmakers with his portrayal vampire mythology that wasn’t slavish to its roots. This of Bard the Bowman in The Hobbit: An Unexpected is an adventure story; we see how the character of Vlad Journey, as well as in Fast & Furious 6 as the film’s reacts to certain situations based on decisions he makes at villain, Owen Shaw. that time. We are observing Vlad having to make difficult “We all thought Luke Evans was magnetic in Fast decisions that affect his wife and son, while trying to & Furious 6, and that’s what truly announced him to maintain his family and his people.” the studio as a star on the rise,” De Luca explains. “A fresh face was the right way to go. Luke can be Vlad for the audience without a lot of preconceived baggage Unearthing Kaziglu Bey: from whom he’s played before.” Searching for the Prince As the stage-trained Evans was shooting the first chapter of The Hobbit series in New Zealand at “Do you know what it means to be loved by Death? the time, many of his early meetings with the filmmakers Do you know what it means to have Death know your name?” were conducted via Skype. “Skype is an actor’s best —Anne Rice, “Interview with the Vampire” friend,” Evans says, wryly. “If you’re traveling the world, it’s the only way you can communicate with Finding an actor who could embody the writers’ Dracula, a character full of complex emotions—all while overriding preconceived conceptions of a world-renowned creature—was going to be a challenge for the filmmakers. He is so multilayered—as a loving father and devoted husband, ruthless warrior and learned man—yet the screenplay also combines history with fiction: the heritage of Vlad III with the folklore of a creature of many names…from Kaziglu Bey to the Dark Prince. The Master Vampire (CHARLES DANCE) has lured Vlad into his lair.

– 17 – more threatening, is a tough order. Shore walks us through his logic: “If you look at Dracula as an archetypal character, he’s an antihero you invest in and love throughout the film, but you can see he has to make difficult decisions and he’ll end up on his own because of them. Your hero is somebody who you generally shouldn’t like for their ruthlessness and what they have to do, but you respect them. It

The Master Vampire offers Vlad an impossible choice. was a difficult arc to get right, but Luke did a terrific job.” people, and that’s how Gary and I first connected. It’s all a question of balance, Evans suggests: “As “The second I met him,” Evans continues, “I could much as you know about the dark side of Vlad, we tell that this man was a very passionate human being. wanted the audience to see the passionate, loving, He’d thought out the job, the characters, the story, the vibrant side of him.” plot; he’d imagined everything. He was looking for somebody who was going to deliver what he wanted and have the same passion and same vigor for telling There Will Be Blood: the story as he did.” Supporting Cast It was their first meeting in Los Angeles that convinced Shore to cast Evans in the film. The director “No man knows till he experiences it, what shares: “As soon as I started talking to him, it felt it is like to feel his own lifeblood drawn away into the woman he loves.” very right, and I knew that he would be able to do the —Bram Stoker, “Dracula” character justice. He just has this incredible face that can tell a story. I was certain from that moment there When Shore began the process of casting Mirena, was nobody else out there with the kind of presence Vlad’s wife, he had in his mind a woman who was the Luke has to be able to take on Vlad the Impaler, the antithesis of her husband: one who was of purity and warrior, and transition that into the debonair prince. light. The director explains: “Mirena is the innocence Just on a physicality level, he had my attention.” in all of this. When you see Vlad’s journey to the dark Vlad III was many things to many people: ruthless side, you have to have a counterpoint and Mirena is dictator, unrivaled warrior, father, husband and rumored that. She stays pure all the way to the end—pure virtues, vampire. There are not many characters in film and pure values. She doesn’t become morally corrupt.” literary history that present such a complex set of Although Mirena may not become deficient in emotions and challenging transitions as Dracula. Having her ethics, she is partly responsible for her husband the audience rooting for a character with such a dark becoming a vampire by pressuring Vlad not to hand and violent past, and whose destiny is even darker and over their son, Ingeras (played by Game of Thrones’

– 18 – Art Parkinson), to Mehmed. have in the room, but someone who you do not trust Sarah Gadon, who was brought on board the as far as you can throw!” production to portray Vlad’s princess, agrees with her The filmmakers had seen Cooper in The Devil’s director: “Mirena is the moral compass of the film. Double and were struck by his ability to be incredibly She’s the one who is unwavering in her belief and charming and yet, at a moment’s notice, switch to a unwavering in her ideas. Every time her principles are psychotic state. De Luca relays: “Dominic has such range tested, she rises to the occasion and fights for them.” to go from Howard Stark in Captain America to what Gadon, known for her work in ’s you see in The Devil’s Double, which was so intense. and this summer’s blockbuster He was so in that character that we chased him, and felt The Amazing Spider-Man 2, knew that her character blessed that we got him. Dominic brings a character would have to go to a very dark place to understand actor’s intensity, with a movie star’s good looks.” Vlad’s transformation. She shares: “Even though this When Vlad reunites with Mehmed, there are tense film has a good deal of history, their romance feels very and futile negotiations between the two. Once brothers contemporary. Here’s a warrior, a prince, a fighter and in arms during the time that a younger Vlad unwillingly a leader going out and risking his life for his people served Mehmed’s father in the Turkish army, they are and his family, and that makes sense to a contemporary soon to be revealed as sworn enemies. family. Think of Army wives and soldiers going off Their first scene together is a vital exchange of to war. That made us feel as if the story was real and information for the audience, as we grow to understand weighted in reality.” the relationship between Mehmed and Vlad…and the During the casting process, the Canada native terror of Vlad’s dark past. Cooper provides: “It’s shined among her peers, and the decision to cast her very much a performance played out to manipulate came down to her presence. Shore commends the film’s and to anger and to upset. But it also reveals their leading lady: “There is something very old Hollywood history together: that Mehmed’s father stole Vlad about Sarah, something classical. She complemented away from his own family to bring him up as a child that balance I wanted to get between the dark and brooding and the light and purity. She nailed it.” While Mirena is Vlad’s moral compass, Mehmed, played by Dominic Cooper, is his nemesis. A dangerous adversary with a misplaced vengeance (the sultan still loathes the fact that Vlad was his father’s favorite), Mehmed’s greed directly prompts Vlad’s transition into a creature of the night. The director shares: “It’s easy to take it too over the top and be too ‘arch’ with this arch-nemesis character, so I wanted Mehmed to be engaging, charming, a conversationalist—a wonderful man to Vlad seeks compassion from Mirena.

– 19 – enough to pass nearby. When Vlad and his men investigate the disappearance of Turkish soldiers early on in the film, Vlad barely makes it out of the mountain alive. Once the prince is forced to a last resort, he must seek out the Master’s help and temporarily gain the only power that could stop the sultan’s advancing forces.” Dance liked playing this early form of a vampire, and

Vlad now knows what he must do. enjoyed working opposite Evans. He laughs: “Luke’s impossibly warrior and that Vlad and Mehmed had a very close handsome, obviously talented and generous to a bond as children.” fault…as he put up with me in my deeply unpleasant Vlad and Mehmed are not the only figures makeup and rotten fangs crawling all over him and linked to Dracula’s origin. Written into the story as licking his neck!” the true origin of the vampire curse is the Master Shore was delighted with Dance’s performance. Vampire—an unexpected character to find in the 15th He offers: “What Charles brought to the role was century. Shore muses: “The Master Vampire is the menace and anarchy. The Master is Vlad’s tormentor, game maker in all of this. While Vlad courts danger somebody he is destined to do a dance of death with when he seeks out the Master, he has no idea what for many years to come—the Joker to our Batman. he’s gotten himself into. When we cast the role, we He’s been lying in wait for a man of Vlad’s strength knew could better bring this character to life to come along and help him escape his prison.” than Charles Dance.” It is desperation that leads Vlad to the Master Balancing the character was one of the key Vampire’s lair. Whatever resides on Broken Tooth challenges for the filmmakers and a responsibility Mountain kills Turks, and it is with this purpose that that fell largely on Dance, known for his work in Vlad enters a world that completely unhinges him. such actioners as Game of Thrones, : Evans explains: “Out of desperation he asks the Master Awakening and Alien3, not to mention his dramatic to help him defeat his enemies. But unfortunately roles in Gosford Park and Hilary and Jackie. this creature is an incredibly narcissistic, egotistical Injecting a sense of humanity into such a despotic monster and things do not go as planned.” character was no easy task. The key cast was supported by a number of talented Eternally trapped on Broken Tooth Mountain, the character actors, notably The Monuments Men’s Master Vampire is annexed from the world. Dance DIARMAID MURTAGH as Dimitru, one of Vlad’s walks us through his character’s role in Dracula most valued guards; Sherlock Holmes’ WILLIAM Untold: “He has spent centuries isolated in this cavern, HOUSTON as Cazan, Vlad’s extremely tense advisor; being sustained only by the blood of those unfortunate BBC’s ’s FERDINAND KINGSLEY

– 20 – as Hamza Bey, emissary of the Turks and flush with closed narrative—but then the setting stays with arrogance; Showtime’s ’ ZACH MCGOWAN us as a place where you can imagine the characters as Shkelgim, the gypsy who lurks in the shadows continuing their lives.” awaiting the word to serve a dark master; Game of Working closely with Shore and Dickson, Audouy Thrones’ PAUL KAYE as Brother Lucian, a humble created an environment that mirrored Vlad’s character monk who reveals to Vlad the legend of the creature progression from a respected leader and loving family and whose mission is to protect Ingeras from man to a ruthless vampire warrior. Audouy provides: harm; Life in a Fishbowl’s THOR KRISTJANSSON “When I read the script, the family story and the as Bright Eyes, the most cunning of the Turk relationship between Vlad, Mirena and Ingeras jumped swordsmen; and John Carter’s ARKIE REECE as out at me. The dynamic was strong and unique to see in General Ismail, the sultan’s military leader who is a Dracula film. I wanted to strengthen that narrative and charged with destroying Vlad’s kingdom. create a foundation for that love story between those three people…to create a world that felt like Vlad had actually made a home and was providing for his family Visual Narrative: and for his people.” Production and Costume Design In Romania, there are two strongholds that lay claim to Dracula: and Poenari Castle. Both “There’s a rocking chair by the window, down the hall. are enormous, imposing structures set into a mountain, I hear something there in the shadow, down the hall. making them a natural fortress against invaders. Their Oh, you were a vampire, and now I am nothing at all.” architectural origins are Orthodox, which became the —Johnette Napolitano, Concrete Blonde, “Bloodletting (The Vampire Song)” starting point for the design team. In keeping with the reality-rooted narrative, elements of Orthodox At the helm of realizing Shore’s vision for architecture may be traced in the Dracula Untold were two creative minds whose designed for the film. But as Audouy points out, that work encompasses some of cinema’s most exciting fantasy adventures: production designer François Audouy and costume designer Ngila Dickson.

Production Design and Locations

Audouy is naturally attracted to stories that are set in worlds that draw you in by their originality. He shares: “I seem to be drawn to films that challenge us to imagine alternate worlds, either set in a fantastic, foreign or historical setting—where we can experience the particular Mirena is terrified for her family and her people.

– 21 – to create a very specific form of language. If you look at the detail in the Great Hall, you see a lot of triangles and canine-type shapes, which seemed like a good fit to his character. So we have subtle cues to teeth and toothlike shapes in the architecture of the castle. If you look at the castle in silhouette you’ll see fangs in the very top part, and lots of details within the architecture itself are triangular and pointy in a fun way.” On closer observation, however, Vlad now has the strength of an army. the roofless Great Hall and the motifs at work subliminally convey is where the design parts with reality. a sense of Vlad’s dark past, foretelling of a darker future. The production designer shares: “Gary wanted Shore explains: “Another aspect to the roofless design to do something different with Dracula’s Castle, was a means of acknowledging the original Vlad III. something that was exotic and unique, so we went He had this open court, and in that area he had two away from the Orthodox look toward something more dozen impaling poles with the bodies of his enemies Eastern European, with sharper facets and triangular impaled upon them. He would dine amongst them, and shapes. In fact, the design started out quite alien, according to the old legends, he would drink the blood very unusual, and throughout the process it became that flowed from them.” more and more grounded and plausible. You could Although an audience would not easily spot believe it existed.” these homages to Dracula’s heritage and Vlad’s past, The Great Hall was the starting point from which Shore felt it was important to the film’s integrity to Castle Dracula was created, and while the majority acknowledge the old stories. He says: “Every one of of the castle is CGI, the Great Hall was built entirely these environments are products of the characters and for camera. The attention to detail is minute, down story. Vlad’s Great Hall is designed around a subversion to the reliefs in the walls that were re-created from of impalement spikes and the real Vlad III’s court. With genuine stone reliefs from a Romanian church, and the open roof with spikes coming down, on either side the finish of the walls, painted to convey dustiness, of the room, everything was there to try and subvert current with the thinking that granite stone was used horror into the scenes, to create these undertones to build these great medieval structures. without going into gore.” In his set designs, Audouy played around with four Where this motif comes to the fore is in the second visual motifs, some of which feature heavily in the largest set piece built for camera: the Master Vampire’s Great Hall, with the most iconic being fangs. Audouy cavernous space inside Broken Tooth Mountain, in explains: “With the architecture for Vlad’s world, we which the Master resides and where the legend of ended up using lots of triangles and symmetrical shapes Dracula begins and the mortal life of Prince Vlad ends.

– 22 – Costumes of the Action-Adventure project, including her appreciation of ’s groundbreaking film and the opportunity Working on a period movie demands closer to work on the re-conceptualizing of a franchise. collaboration with all the different visual departments, She shares: “Gary and I are both fans of Bram and with Dracula Untold, there was a high degree of Stoker’s Dracula. It’s an impeccable piece of cross-pollination between different divisions. This was filmmaking. For a designer, it is always an amazing especially true in the costume department, overseen opportunity to reinvent effectively a famous by the Academy Award®-winning Dickson. franchise such as Dracula. It’s such a known “I’ve known Ngila for years,” shares Audouy. brand, so in conceptualizing, you are automatically “So we just hit the ground running. She had started thinking, ‘What can I bring to the table?’” before me and had these amazing designs that were When Shore and Dickson discussed how to a great source of inspiration for the production approach the look of the film, the historical element design. I’m constantly inspired by what she’s doing was intrinsic. Deciding the color palette, Dickson with costumes.” and her team researched the Ottoman Empire and The admiration was mutual, as Dickson Wallachia, working their way through the material acknowledges she would draw inspiration from the associated with the 15th century. spaces Audouy and his team developed. She gives: Dickson explains the process: “Once you’ve “I would get designs from the art department, such gathered this vast amount of information, you as the interior of the castle, and we would pursue begin to look for an attitude for the film, and one the spaces together to make sure our palettes of the things that became important to us was not were going to match up. For example, we needed to make the film dark. What we wanted was an to see that our banquet costumes were going to incredibly rich and colorful look. So, once I had work in that environment and there wasn’t going the building blocks and the understanding of what to be any design clashes. It was a brilliant and people were historically wearing, we then started easy relationship, and it was an extraordinary looking at color and how we could bring something collaboration. We worked with people who have a new to the audience.” strong, creative need to do the best work that they possibly can.” Having Dickson join the project was a major win for Shore. As one of the most highly respected costume designers in the industry, her work on The Lord of the Rings trilogy earned her an Academy Award® and a slew of other nominations. The director beams: “She brought to the film an elegance that is very specifically her style.” For Dickson, there were mul- tiple elements that drew her to the Behold the birth of Dracula.

– 23 – Because the dragon armor represented the period of Vlad’s life that he spent with the Turks, it needed to work with Mehmed’s armor in such a way that the relationship between the two could be felt. Dickson explains: “I thought that the two needed to be very yin and yang, with Mehmed so immaculate, polished and perfectly sculpted. Vlad’s version of the armor needed

Director GARY SHORE and LUKE EVANS as Vlad on the set of Dracula Untold. to be a lot more visceral, rawer and more chiseled.” Every costume tells its own story, imparting Shore shares that Dickson’s design influenced subliminal messages about the character and the much of the way he thought of the story: “Vlad and narrative. When we meet Vlad for the first time in Mehmed only meet twice in the film, the first time the castle’s garden, his costume conveys a different, in Mehmed’s tent when Vlad attempts to reason happy person who’s let go of a violent past. By the with Mehmed, and then at the end when Vlad goes time we are halfway into the film, we move rapidly into battle with him. So you have this challenging back toward Vlad the Impaler, a true warrior, until relationship between the protagonist and antagonist finally he fully commits to of his fate. where they don’t meet for the majority of the film, Dickson began her work with the costumes at the and yet it is a chess game. As a consequence, you are end of the film. She shares her rationale: “For me in danger of it becoming episodic, so it was important to get a handle on the biggest and most complex that there is a design DNA that connects the two. That piece of the film was a way of being able to enter the was a basis for Ngila’s designs, and that extends to whole of it. I always feel I have to tackle the hardest music and tone.” first, and then it becomes part of a large series of Mehmed’s armor presented Dickson with the building blocks.” opportunity to go to town. With the sacking of As she crafted Vlad’s armor, Dickson looked back Constantinople, Mehmed II had transformed the to 1452 and began to use the reds and blacks of the Ottoman state into an empire, laying the foundation for real prince’s armor, combining that with the dragon one of the most powerful empires in the world. motif that the production design team had developed. Dickson concedes: “If you are talking about the Dickson says: “If you are going to define a character Ottoman Empire and the wealth and the riches, we like Vlad, the reds and the blacks are a good place to wanted to push the boat out with that one. Mehmed is start and, of course, Dracula…well, it’s the dragon, isn’t wearing a piece of armor that commemorates his own it? Those were the three pieces of the building blocks.” conquering; on the breast plate, Mehmed himself is

– 24 – depicted on horseback, surrounded by battles, and on the back is Constantinople. All of the design is Fight to the Death: commemorating this great achievement. It added Training and Choreography another layer of kingly arrogance to that costume.” “Knowing no care, they grind the land like corn. Both sets of armor were created in New Zealand Knowing no mercy, they rage against mankind. under Dickson’s ever watchful eye from the U.K. She They spill their blood like rain, devouring laughs: “Skype is a costume designer’s best friend.” their flesh and sucking their veins. The world in which Vlad and Mehmed existed, They are demons full of violence, ceaselessly and the world that has been constructed for Dracula devouring blood.” —“The Book of Vampires” Untold is a masculine one. Asserting a feminine aspect into a narrative dominated by men was never Raised in the royal household under the tutelage going to be easy and, certainly for Dickson, Mirena of Mehmed I, Vlad III was trained in the ways of the presented the greatest complexity. Because she was Janissary, an elite fighting corps unique to the Ottoman the only character extolling feminine virtues, the Empire. Every five years, the Turks would embark designer spent a great deal of time considering the upon recruiting missions, scouring the regions for character. Dickson explains: “There are virtually the strongest sons of the sultan’s Christian subjects— no other women, so all the focus of beauty and including Vlad. The boys were taken from their womanhood we had to fit into Mirena, which made it parents and placed with Turkish families, where they an intense design situation. You have the masculinity were taught the customs, language and religion of the of Vlad and the femininity of Mirena.” Ottomans, before being taken to train as Janissaries. From reading the script, Dickson imagined pale, Because of this, Vlad’s fighting style bridged two soft and gentle colors for Mirena, but after discussing disciplines: that of his homeland and that of the Turks. the character with Gadon, everything changed. Discussing the strategy, Evans shares: “It’s what Dickson sums: “It became a complete switch-up into made Vlad such a brilliant leader and conqueror. strong, but biblical, colors.” When he stopped the Ottoman Empire from invading Gadon appreciates the attention to detail. She Wallachia, he used the fighting style of the Turks commends: “We had such a beautiful hair and makeup team, and Ngila’s team created such amazing costumes. All of those things play into how you create and mold your character. Although Mirena is a princess, we didn’t just want her to be stuck in a castle tower. We wanted her to have an active participation in the plot. In rehearsals, Gary and I worked at making her more active. I feel she walks a lovely line between being feminine but being proactive…playing the duality of those sides.” Shore contemplates a shot on the set.

– 25 – because he was reared by the Turks. In a way, they honored his work in my fight sequences.” shouldn’t have trained him as well as they did because he It turns out that the performer was a perfect student. came home with all their strategies.” Shore commends that Evans knew just what it took to The complicated sequences fell to stunt coordinator work within the parameters of DP John Schwartzman’s BUSTER REEVES (, upcoming camera: “Luke has this uncanny ability to be able to take Tarzan), who assimilated these two distinct fighting styles choreography and learn it quickly. There were changes to define the fight choreography for the film. Reeves going on with that scene that were in flux right to the end, provides: “I first looked at Transylvanian war craft, which and Luke was able to adapt to it.” is just basic broadsword and hacking, and then the Turks, whose style is heavily influenced by Asian styles, so it’s very circular. It was a combination between the two that Legions of Bats: we came up with for Vlad’s fighting style: the strength and VFX and SFX agility of the broadsword with the fluidity and dynamic, “And all around them, the bestiality almost aesthetically pleasing, work of Turks’ scimitar.” of the night rises on tenebrous wings. Dracula Untold’s pace intensifies as it is pulled along The vampires’ time has come.” by the current of Vlad’s transformation. As the heart of the —, “Salem’s Lot” film grows ever darker, the action is magnified, reaching crescendo pitch when Vlad and his brood of vampires While a majority of Dracula Untold is character attack Mehmed’s camp. driven, with the lion’s share of the film shot for camera, Reeves explains: “When he fights Mehmed, when he there are a number of key moments and scenes that require fights the brood, we tap into a whole new level of darkness top-notch visual effects. Such scenes include the siege of in Vlad. We created the vampire style, more so than just Castle Dracula when Vlad literally vaporizes a cannon the brutality of being impaled. We wanted to make him ball before creating the illusion in the minds of the Turks more calculating.” of the castle transforming into a giant dragon, and, of Transforming Vlad (and subsequently Evans) into a course, the “hand of bats.” Led by visual effects supervisor killing machine was no easy task. Shore surmises: “Vlad CHRISTIAN MANZ (Harry Potter and the Deathly Hallows: versus a thousand was based on rage. It’s man-on-man, Part 1), Framestore brought Shore’s vision to life. unglamorized, physical rage. Here we see his physical The “hand of bats” depicts Vlad controlling a whirling strength and speed over his newly acquired powers.” mass of the mammals, conducting them and directing them The thousand-man fight took three months of intense to the Turkish camp. There, they wreak havoc among the preparations and training to bring to camera. Reeves garrison and herald Vlad and his vampire brood’s entrance. walks us through the scene: “We would break it down These sequences were a huge undertaking. Manz into sequences so that if at any point we could join two provides: “It’s a difficult thing to pull off because thousands sequences together, we had the manpower to do it. Then of bats floating around in the sky could look pretty corny.” it was just a matter of time before we got Luke, and he To root it in reality, Manz looked to formations of starlings. started learning it the same way.” He shares: “They move in a very fluid and interesting way Evans was thrilled at the chance to work with the when you get thousands of them.” choreographer, commending: “Buster Reeves is a Taking this as the visual concept, the team used a legend in his own right. He has a real flair for designing combination of motion capture, mapping a performer’s choreography that supports the actor. Hopefully, I’ve hand movements, CGI and cameras mounted on wire

– 26 – to create the POV of the bats smashing into the ranks of and makeup designer DANIEL PHILLIPS (The Queen, Turks. Manz provides: “The ‘hand of bats’ has to smash Closed Circuit) to achieve a parallel—albeit gradual— down and eviscerate 100,000 people, so that’s quite a lot of physical transformation for Vlad. work from us. In reality, we had 130 people in the quarry. Phillips explains: “We started with a very soft, We used a wire cam with a camera flying from about 160 handsome, heroic style. Then as the need for blood feet in the air down over the quarry toward the Turks, and increases, we lightened Luke’s skin. We changed his color extended out into the army. Then we placed CG bats all tones, paled the skin, sunk the eyes down, hollowed the over them in post.” cheeks out—just to give a feeling that he’s in a dark, Vlad leaps off the monastery tower, mutating into this bad place at that particular time. Then once he feeds, we mass of bats, storming Mehmed’s camp with his vampire gradually bring the colors up. brood. Manz explains: “We didn’t want to do the old “It’s not until the very end that we see the true Christopher Lee where he turned into one bat. We were fully exposed Ekimu at the same time as others see it,” trying to think of a cool way of doing that, so we’ve got continues Manz. “Hopefully, it is as shocking to the him turning into multiple bats instead.” audience. It was a huge challenge to create a vampire De Luca expands upon the VFX supervisor’s we can empathize with, but, like Frankenstein and The explanation: “The ability to change form into a beast, Elephant Man, there is something grotesque that scares a burden or a bat is time honored. Of course, it’s been the majority of Vlad’s people.” done before, but we do it in a pretty original way. Vlad Reflecting on the look of the creature that has controls a swarm of bats that can take shapes and come haunted his dreams for all of these years, De Luca down on people en masse. That is an original spin on concludes: “The vampire look in our film is distinct in a traditional power. So we tried to explain the powers, that it’s still scary, but there’s an element of heartbreak show where they came from, and then show them in use to it also: a soul has been given up to darkness. There’s in original ways.” a twisting, or a deformity of the human spirit and the Breathing new life into an established character is human appearance that makes you see just enough of what led the creative focus for re-imagining the physical the human being underneath that you know something’s attributes of Dracula. In creating a new look for Dracula, been lost. It’s a marriage of man and beast, and when this the team first looked at known vampire images that had thing goes on the attack, it’s very scary.” been seen before. Shore shares: “Because Vlad breaks **** the rules when he escapes Broken Tooth Mountain, it Universal Pictures and Legendary Pictures present a presented an opportunity to explore vampire mythology Michael De Luca production: Dracula Untold, starring Luke that hadn’t been seen before.” Evans, Dominic Cooper, Sarah Gadon and Charles Dance. Because Vlad wasn’t locked into the mountain, the The action-adventure’s music is by Ramin Djawadi. The filmmaking team felt justified in keeping his face human, costume designer is Ngila Dickson. The film is edited by showing only glimpses of the Ekimu (demon) underneath. Richard Pearson, ACE, and its production designer is François The Master Vampire is more progressed because he’s Audouy. The director of photography is John Schwartzman, been trapped in Broken Tooth Mountain for thousands of ASC. Dracula Untold is executive produced by Alissa years. The Master is a creature of the night, hiding from Phillips, Joe Caracciolo, Jr., Thomas Tull, Jon Jashni. It is the sun’s deadly rays. His skin has become translucent to produced by Michael De Luca, p.g.a. The screenplay is by the point that his teeth and his veins can be seen beneath Matt Sazama & Burk Sharpless, and it is directed by Gary the skin. The VFX department worked closely with hair Shore. © 2014 Universal Studios. www.draculauntold.com

– 27 – his portrayal of the charismatic god Apollo. After Clash ABOUT of the Titans, Evans appeared in ’s Robin Hood, playing the Sheriff’s head henchman to Russell THE CAST Crowe’s Robin Hood. Evans recently completed his second turn with Welsh actor LUKE EVANS (Vlad) has made an Whitecross in the contemporary film noirAshes , which immediate impression in co-starred Ray Winstone, Jim Sturgess, Lesley Hollywood, most recently Manville and and was written by with starring roles in films Paul Viragh. He also just completed filming Ben including Fast & Furious 6, Wheatley’s independent filmHigh-Rise . The Raven, Immortals and Prior to his film career, Evans had successfully The Three Musketeers. carved out an enviable stage career, starring in Evans was most recently West End plays and musicals such as La Cava, Boy seen as Bard the Bowman in George’s Taboo, Avenue Q, Dickens Unplugged, A ’s The Hobbit: Girl Called Dusty and, at the acclaimed Donmar An Unexpected Journey, Warehouse, Small Change and Piaf. His powerful, followed by The Hobbit: The Desolation of Smaug, trained voice and engaging stage presence made him which was released on December 13, 2013. He will the perfect choice for leading roles such as Chris in appear in the trilogy’s final film, The Hobbit: The Battle Miss Saigon and Roger in Rent. of the Five Armies, which is scheduled for release on Without a doubt, Evans has solidified his place in December 17. Evans starred as one half of a young the film world, having had his career already span a couple taken hostage by a vicious criminal gang in the multitude of genres and a variety of substantial roles No One Lives, directed by . in less than four years. Evans is currently in production on the BBC’s The Evans currently lives in London. Great Train Robbery, as Bruce Reynolds in the first installment of the two-part drama, titled A Robber’s DOMINIC COOPER (Mehmed) is one of the Tale, directed by Julian Jarrold (The Girl). most exciting acting talents Evans made his U.K. feature-film debut in the role to emerge from the U.K. of Clive Richards in the 2010 British Academy of Film in recent years. Equally and Television Arts Award-nominated feature Sex & successful on stage and Drugs & Rock & Roll, Mat Whitecross’ biopic of the screen, Cooper continues London punk-rock-scene founder Ian Dury of Ian Dury to demonstrate his creative and the Blockheads. In fall 2010, Evans portrayed the versatility. Cooper played the lead role of Andy in acclaimed director ’ title role in Lee Tamahori’s romantic comedy Tamara Drewe, based on the hugely highly charged independent successful Guardian newspaper comic strip and graphic drama The Devil’s Double, a novel of the same name. The film, which premiered at taut action tale about the life of Latif Yahia, who was the Cannes Film Festival, co-starred . It forced against his will to become the body double for was Warner Bros. Pictures’ action/fantasy/drama Clash Saddam Hussein’s son, Uday Hussein. In the 2011 of the Titans, however, that put Evans on the map, for film, written by Michael Thomas, Cooper played the

– 28 – challenging dual role of Yahia and Hussein. The History Boys, which went on to win three Olivier Previously, Cooper co-starred in Simon Curtis’ Awards, including Best New Play. My Week With Marilyn, with an all-star cast including The History Boys later landed on Broadway Michelle Williams, Kenneth Branagh and Judi and received six Tony Awards, including Best Play. Dench. Cooper played Milton Greene, the celebrated Cooper garnered Drama Desk and Evening Standard photographer, producer and business associate of award nominations for his lauded stage performance Marilyn Monroe. In Abraham Lincoln: Vampire Hunter, as the confident and seductive Dakin. He reprised his Cooper played Henry Sturgess, Lincoln’s mentor in role in the acclaimed film adaptation of the play, for vampire hunting. Director Timur Bekmambetov’s film which he was nominated for the British Independent adaptation of the best-selling Seth Grahame-Smith Film Awards’ Most Promising Newcomer prize and novel of the same name also starred Benjamin Walker, the London Film Critics’ Circle Award for Best Anthony Mackie and Rufus Sewell. British Supporting Actor. Cooper co-starred in the acclaimed coming- Cooper’s other stage credits include the National of-age story An Education, which was nominated Theatre’s production of Jean Racine’s Phèdre, with for three Oscars®. He was also seen in Joe Helen Mirren in the title role. The production, Johnston’s Captain America: The First Avenger, directed by Hytner, was also presented at Epidaurus which starred Chris Evans, Tommy Lee Jones and in Greece and the Shakespeare Theatre Company Hayley Atwell; Stephen Frears’ Tamara Drewe, in Washington, D.C. a modern reworking of Thomas Hardy’s 19th century novel, which starred Gemma Arterton; Canadian Screen Award-winning actress Rupert Wyatt’s The Escapist, which also starred SARAH GADON (Mirena) Brian Cox and Joseph Fiennes; John Krasinski’s was born in , Canada. Brief Interviews With Hideous Men; and the Tom Gadon’s passion for film Hanks-produced Starter for 10, alongside James has led her to pursue a degree McAvoy and Rebecca Hall. in cinema studies at the Cooper’s additional credits include the films . Her Mamma Mia!, The Duchess, I’ll Be There and From breakthrough role came when Hell, and the television movies Boudica and The director David Cronenberg Gentleman Thief. Most recently, he starred in the cast her as Emma Jung in A television Fleming: The Man Who Would Dangerous Method, opposite Be Bond, in which he played the title role of Ian Michael Fassbender, which premiered at the Venice Fleming for Sky Atlantic and BBC America. Film Festival in 2011. Cooper received his professional training at the Gadon co-starred in Cronenberg’s next film, an London Academy of Music & Dramatic Art (LAMDA). adaptation of Don DeLillo’s “Cosmopolis,” opposite Upon completion, he landed a role in Mother Clap’s , and Brandon Cronenberg’s Antiviral, Molly House at the prestigious National Theatre, under both of which premiered at the Cannes Film Festival in resident director Nicholas Hytner. Cooper then starred 2012. She has since continued her working relationship in the Royal Shakespeare Company’s A Midsummer with David Cronenberg, appearing in Maps to the Night’s Dream before rejoining Hytner at the National Stars, which premiered in competition at the Cannes Theatre for His Dark Materials and Alan Bennett’s Film Festival earlier this year.

– 29 – Gadon was recently seen on the big screen in Dance made his feature-film directorial debut ’s Belle and Denis Villenueve’s Enemy, with Ladies in Lavender, which starred Judi opposite Jake Gyllenhaal. Dench and Maggie Smith, which he also wrote. Gadon most recently wrapped filming Mika Dance has starred in the television series’ Trinity Kaurismäki’s The Girl King and Julian Jarrold’s and Merlin, as well as a new television adaptation Girls’ Night Out. of “Going Postal,” by . He filmed Giles Foster’s This September, opposite Eileen Throughout his nearly 40 years as an Atkins, in the summer of 2010, and went on to actor, CHARLES DANCE film a second season in 2011. Also in 2011, Dance (Master Vampire) has filmed Neverland, a two-part adaptation of the amassed an impressive body Peter Pan story for Sky, directed by Nick Willing of work in all media from and featuring Rhys Ifans, and Bob title roles with the Royal Hoskins. He can currently be seen in HBO’s Game Shakespeare Company, of Thrones, starring as Tywin Lannister. including Henry V and Dance’s recent films include Roland Joffé’s There Coriolanus, and major work Be Dragons; David Gordon Green’s Your Highness, in London’s commercial which starred and Natalie Portman; theater, including Good, Jonathan English’s Ironclad, opposite Derek Jacobi Long Day’s Journey into Night, with Jessica Lange, and Brian Cox; Deepa Mehta’s Winds of Change; and Shadowlands, for which he received the London the film adaptation of Salman Rushdie’s “Midnight’s Critics’ Circle Award for Best Actor, to award-winning Children”; and Underworld: Awakening. roles in television, including The Jewel in the Crown, In 2012, Dance filmed the Russian film Viy, for which he received a BAFTA Award nomination alongside Jason Flemyng, in Prague; HBO’s Strike for Best Actor; Rebecca; The Life and Adventures Back in South Africa; the political thriller Secret of Nicholas Nickleby; Fingersmith; Bleak House, State, with Gabriel Byrne, for ; the third for which he received a Primetime Emmy Award season of Game of Thrones; and Mark Hartley’s nomination and won the Broadcasting Press Guild Patrick in Australia. Award for Best Actor; Consenting Adults, about the In 2013, Dance completed production on ground-breaking Wolfenden Report of 1957, which Daniel Espinosa’s Child 44, alongside Tom Hardy resulted in the decriminalization of homosexuality; and Gary Oldman; Morten Tyldum’s The Imitation and Dickens’ Secret Lover, a documentary about Game, alongside Benedict Cumberbatch and Keira Charles Dickens’ turbulent personal life. Knightley; and filmed season four ofGame of Thrones. Dance’s major films include Plenty, White Dance began 2014 filming Despite the Falling Mischief, Good Morning Babylon, The Golden Child, Snow, alongside Rebecca Ferguson and Anthony Alien3, Last Action Hero, Hilary and Jackie, Michael Head, in Belgrade, Serbia, and Paul McGuigan’s Collins, Starter for 10, Robert Altman’s Gosford Park, Frankenstein, with James McAvoy and Daniel Kabloonak, for which he received the Best Actor award Radcliffe. He recently completed filming on at the Paris Film Festival in 1996, Antoine de Caunes’ The Great Fire, a four-part drama for ITV, in which The Perfect Disagreement and The Contractor, he stars opposite Jack Huston, Andrew Buchan with Wesley Snipes. and Rose Leslie.

– 30 – script for The Last Witch Hunter, starring Vin Diesel ABOUT THE and directed by Breck Eisner (Sahara, The Crazies). Sazama and Sharpless, who were both born and FILMMAKERS raised in Wisconsin, share an unwavering love for the Green Bay Packers. GARY SHORE (Directed by) is a director hailing from Artane on MICHAEL DE LUCA, p.g.a. (Produced by) Dublin’s North Side. Having was named president of production for Columbia studied film at Galway-Mayo Pictures in December 2013. In that role, De Luca Institute of Technology and partners with Hannah Minghella and works closely Dún Laoghaire Institute of with president Doug Belgrad to Art, Design and Technology, oversee all aspects of development and production at and fine art at Central the legendary motion-picture label. Saint Martins in London, From 2004 to 2013, De Luca headed his own Shore carved out a career production company, Michael De Luca Productions, as a director of high-end which had a development and production agreement commercials for some of the world’s biggest brands with Columbia Pictures. As an independent producer, before transitioning to film. De Luca focused on developing provocative Shore first came to Hollywood’s attention in 2009 specialized films with visionary filmmakers, as well for The Cup of Tears, a faux film trailer he directed, as pop culture, mainstream genre films with franchise which led to a development deal with Working Title potential. His projects for Columbia included David Films, and a subsequent three-picture deal with Fincher’s Academy Award®-winning drama The Social Universal Pictures. Dracula Untold is Shore’s feature- Network, the Oscar®-nominated Moneyball, which film directorial debut. starred Brad Pitt, and ’ Best Picture Oscar® nominee Captain Phillips, which starred Tom MATT SAZAMA & BURK SHARPLESS Hanks. De Luca serves as a producer on the highly (Screenplay by) wrote Dracula Untold as an original anticipated adaptation of “Fifty Shades of Grey,” spec that was recognized on Franklin Leonard’s starring and Dakota Johnson, to be “Black List” of the best unproduced scripts in 2006. released on February 13, 2015. Sazama and Sharpless are thrilled that the screenplay Prior to forming Michael De Luca Productions, found a home at Universal Pictures, joining that De Luca served as DreamWorks’ head of production. studio’s grand tradition of monster movies that At DreamWorks, he oversaw the day-to-day operations inspired them to write it. of the live-action division and the production of such Sazama and Sharpless’ original screenplay for films as Todd Phillips’ Old School and Adam McKay the mythological epic Gods of Egypt, which sold on and Will Ferrell’s hit comedy Anchorman: The Legend pitch to Lionsgate’s Basil Iwanyk, is in postproduction of Ron Burgundy. and helmed by Alex Proyas (I, Robot, Dark City, The De Luca previously spent seven years as president Crow). Starring Nikolaj Coster-Waldau and Gerald and COO of New Line Productions. During his tenure, Butler, Gods of Egypt is set for release in 2016. he created the highly successful Friday, , Austin The duo is currently working on the production Powers and Rush Hour franchises. He championed

– 31 – such groundbreaking sleeper hits as Se7en, Wag the THOMAS TULL (Executive Producer), chairman Dog, Pleasantville and , and launched and CEO of Legendary Pictures, has achieved great the directing careers of , Brett Ratner, Gary success in the co-production and co-financing Ross, the Hughes brothers, F. Gary Gray, the Farrelly of event movies. Since its in 2004, brothers and . Legendary Pictures, the film division of leading media company that also ALISSA PHILLIPS (Executive Producer) has has television and digital and comics divisions, has been a film and television producer with Michael teamed with Warner Bros. Pictures on a wide range De Luca Productions since 2004. Phillips’ producing of theatrical features. credits with De Luca include the Oscar®-nominated The many recent hits released under their joint Moneyball, political satire Butter and TNT’s highly banner include Zack Snyder’s worldwide hit Man of acclaimed series Mob City, written and directed by Steel and Christopher Nolan’s blockbuster Dark Knight Frank Darabont (The Walking Dead, The Shawshank trilogy, which kicked off with Batman Begins, followed Redemption). by the blockbusters The Dark Knight and The Dark Phillips is currently in production on a six-hour Knight Rises. The trilogy earned more than $1 billion event miniseries based on Sir Arthur C. Clarke’s seminal at the global box office. novel “Childhood’s End.” Prior to joining Michael This highly successful partnership also produced De Luca Productions, Phillips was a producer with Gil such films as Snyder’s 300 and Watchmen and 300: Netter as well as Beau Flynn. Her additional film and Rise of an Empire, which Snyder produced; Ben television producing credits include Tucker & Dale vs. Affleck’s The Town; Nolan’s award-winning action- Evil, After the Sunset and MTV’s groundbreaking series drama Inception; the worldwide hit Clash of the Titans Fear. Phillips is married to screenwriter Fernley Phillips and its sequel, Wrath of the Titans; and Todd Phillips’ (The Number 23) and has three lovely daughters. , The Hangover Part II, which is the highest-grossing “R”-rated comedy of all time, and JOE CARACCIOLO, JR. (Executive Producer) The Hangover Part III. has served as executive producer on some of the Legendary recently released As Above/So Below, biggest box-office hits, including James Mangold’s Godzilla, ’s Pacific Rim and Brian The Wolverine, David Frankel’s The Devil Wears Prada Helgeland’s hit drama 42, the story of baseball legend and Marley & Me, ’s Date Night and Jackie Robinson. Legendary is in postproduction on Tom Vaughan’s What Happens in Vegas. Caracciolo’s Warcraft, based on Blizzard Entertainment’s award- additional producer credits include Just My Luck, winning gaming universe. John Polson’s Hide and Seek, John Waters’ Cecil B. Tull serves on the board of directors of Hamilton Demented and Jon Amiel’s The Man Who Knew Too College, his alma mater, and Carnegie Mellon Little and Copycat. Caracciolo worked across a University. He also serves on the boards of the variety of departments before turning to producing, National Baseball Hall of Fame and Museum and the including positions as property master for Ivan San Diego Zoo, and is part of the ownership group of Reitman’s , production manager the six-time Super Bowl champion Steelers, for Sidney Lumet’s Academy Award®-nominated for which he also holds a board seat. Tull invests in Running on Empty and second assistant director on digital, media and lifestyle businesses through his Tull Arthur Hiller’s See No Evil, Hear No Evil. Media Ventures, a privately held venture fund.

– 32 – JON JASHNI (Executive Producer) oversees the JOHN SCHWARTZMAN, ASC (Director of development and production of all Legendary Pictures Photography) is an award-winning cinematographer film projects and is president and chief creative whose work encompasses some of cinema’s biggest officer of Legendary Entertainment, a leading media action and comedy blockbusters, including Marc company with film, television and digital and comics Webb’s The Amazing Spider-Man, ’s divisions. Jashni is currently producing Warcraft, based Armageddon, Jay Roach’s Meet the Fockers and, on Blizzard Entertainment’s award-winning gaming more recently, ’s Saving Mr. universe. He is also an executive producer on the Banks. Schwartzman recently completed filming the upcoming Seventh Son. upcoming Jurassic World, directed by . Previously, Jashni was a producer on Warner Bros. Twice nominated for the coveted ASC Award Pictures and Legendary Pictures’ Pacific Rim and for Outstanding Achievement in Cinematography Legendary Pictures and Universal Pictures’ As Above/ in Theatrical Releases, Schwartzman won in 2004 So Below, and served as executive producer on such for his work on ’ Seabiscuit, for which he Legendary films as 300: Rise of an Empire; the Jackie also received an Academy Award® nomination. His Robinson biopic 42; the worldwide hit Clash of the additional film credits include Bay’s Pearl Harbor, Titans; and Ben Affleck’s The Town, which Affleck also ’s The Green Hornet, ’s The co-wrote and starred in. Bucket List, Hancock’s The Rookie and Shawn Levy’s Prior to Legendary, Jashni was president of Hyde Night at the Museum: Battle of the Smithsonian. Park Entertainment, a production and financing In addition to his work on the big screen, company with overall deals at 20th Century Fox, Walt Schwartzman is one of the commercial industry’s most Disney Pictures and MGM. At Hyde Park, he oversaw sought-after cameramen. His commercial work, as the development and production of Shopgirl, Dreamer: both director and cinematographer, includes spots for Inspired by a True Story, Walking Tall and Premonition. a wide range of national and international clients, such Before joining Hyde Park, Jashni was a producer as HBO, Chevrolet, Visa, Toyota, American Express, on director Andy Tennant’s hit romantic comedy Sweet Mercedes Benz, AT&T, Honda, Victoria’s Secret, Home Alabama. His collaboration with Tennant began Coca-Cola, Canon, Reebok and Nike. with the fairy-tale Ever After: A Cinderella Story, for which Jashni oversaw development and production as a FRANÇOIS AUDOUY (Production Designer) senior production executive at 20th Century Fox. learned the craft of art direction by apprenticeship and Jashni also co-produced two Academy Award®- was mentored by such famed production designers as Bo nominated films: the critically acclaimed drama The Welch (Men in Black) and Alex McDowell (Minority Hurricane, which garnered a Best Actor nomination Report). Doubling as a concept illustrator and graphic for star Denzel Washington; and Anna and the King designer, Audouy transitioned to art direction on such (a non-musical reinterpretation of Anna and the King tentpole fantasy films as Martin Campbell’s Green Lantern, of Siam), which starred Jodie Foster and earned two Zack Snyder’s Watchmen, Michael Bay’s Transformers Oscar® nominations. and Tim Burton’s Charlie and the Chocolate Factory. Jashni is a member of the Most recently, Audouy designed the productions of James and the Producers Guild of America. He holds a BS Mangold’s The Wolverine and Timur Bekmambetov’s from the University of Southern California and an MBA Abraham Lincoln: Vampire Hunter. He is next designing from the UCLA Anderson School of Management. Mangold’s The Deep Blue Good-by.

– 33 – RICHARD PEARSON, ACE (Edited by) is an Blake Lively, Peter Sarsgaard, Mark Strong and Tim award-winning editor whose work has contributed to Robbins; The International, which starred Naomi some of cinema’s biggest blockbuster action films, Watts and Clive Owen; Blood Diamond, which including Jon Favreau’s Iron Man 2, Marc Forster’s starred Leonardo DiCaprio, Djimon Hounsou Quantum of Solace and Paul Greengrass’ The Bourne and Jennifer Connelly; and The Illusionist, which Supremacy. In 2006, Pearson teamed up once again starred Edward Norton, Paul Giamatti and Jessica with Greengrass for the critically acclaimed United 93, Biel, for which Dickson received another Costume a collaboration that earned him, and fellow editors Designers Guild Award nomination. and Christopher Rouse, an Academy Hailing from New Zealand, Dickson first worked Award® nomination and won a BAFTA Award for with Jackson on Heavenly Creatures. Her early Best . Other works by Pearson include credits include the 1989 made-for-television movie Barry Sonnenfeld’s Men in Black II, Josh Gordon and The Rainbow Warrior Conspiracy; Alison Maclean’s Will Speck’s Blades of Glory, Frank Oz’s Bowfinger Crush; and ’s Ruby and Rata. Dickson and Daniel Espinosa’s Safe House. Most recently, he also designed the costumes for the internationally served as an editor on Robert Stromberg’s Maleficent, successful television series Xena: Warrior Princess, for which starred Angelina Jolie. which she received a New Zealand TV Award for Best Contribution to Design. NGILA DICKSON (Costume Designer) won Before entering the film industry, she worked as an Academy Award® in 2004 for her work on Peter a magazine editor, stylist and fashion designer. Jackson’s The Lord of the Rings: The Return of the Dickson is an Officer of the New Zealand Order King. Dickson earned dual nominations that year, also of Merit for services to design and the film industry, being honored for her costume designs for Edward and is a Laureate Award recipient from The Arts Zwick’s . Foundation of New Zealand. Dickson had previously gained her first Oscar® and BAFTA award nominations for Best Costume Design RAMIN DJAWADI (Music by) is revered for The Lord of the Rings: The Fellowship of the Ring. for his melodic and memorable thematic scores. In addition, she won a BAFTA Award for her work With compositions that vary stylistically from his on The Lord of the Rings: The Two Towers. She won a classical orchestral pieces to electronic and modern Award and received her third genres, Djawadi blends the elements with careful BAFTA Award nomination for The Lord of the Rings: consideration to the emotionality and narrative The Return of the King. of each scene. The two-time Primetime Emmy Dickson is currently working on Crouching Award- and Grammy Award-nominated composer Tiger, Hidden Dragon: The Green Destiny, for challenges himself with each new project, selecting The Weinstein Company. opportunities that allow him to reach into his She recently designed the costumes for Andrew repertoire of musical expertise. Adamson’s Mr. Pip, which starred Hugh Laurie, for Djawadi is the composer behind HBO’s critically which Dickson won the New Zealand Film Award acclaimed series Game of Thrones, created by for Best Costume Design, and Peter Webber’s Emperor. D.B. Weiss and David Benioff. In addition to Dickson’s additional film projects include composing the show’s main title theme, Djawadi has Green Lantern, which starred Ryan Reynolds, composed all of the underscore throughout its four

– 34 – seasons, balancing the series’ big sweeping action Djawadi attended and, moments and quieter scenes. The fifth season of following graduation, was mentored by Academy Game of Thrones is set for spring 2015. Award®-winning composer . Djawadi This fall, Djawadi returns to work on CBS’ Person developed his own unique signature sound and scored of Interest, scoring the fourth season of Jonathan additional music on The Time Machine, Basic, The Nolan’s popular series. Djawadi is currently working Recruit, Pirates of the Caribbean: The Curse of the with Guillermo del Toro on The Strain, having also Black Pearl, Something’s Gotta Give and Batman collaborated with him on Pacific Rim. Begins. Djawadi then collaborated with Zimmer to Djawadi previously scored A&E Network’s co-compose and produce the score for the family Breakout Kings, as well as ABC’s FlashForward and action-adventure Thunderbirds. FOX’s . For his work on FlashForward, Djawadi received a Primetime Emmy Award —dracula untold— nomination for Outstanding Music Composition for a Series. He received his first Primetime Emmy Award nomination for Outstanding Original Main Title Theme Music for Prison Break. Djawadi is well-recognized for his Grammy- nominated, guitar-driven score for the blockbuster Iron Man. He has since composed such films as Safe House, , Red Dawn and Clash of the Titans. Djawadi previously created the ethereal score for the thriller Mr. Brooks, which starred and William Hurt. The score earned him a Discovery of the Year nomination at the . Djawadi has collaborated frequently with writer David Goyer on several films and television series, including Blade: Trinity, for , for which he worked with RZA; the horror-thriller The Unborn, produced by Michael Bay; as well as the aforementioned FlashForward. In the world of animated films, Djawadi scored Open Season, Pictures Animation’s first project, followed by its sequel Open Season 2. His work on these films attracted the filmmakers of Belgium- based NWave Pictures, the creators of some of the first animated movies in 3D, including Fly Me to the Moon, A Turtle’s Tale: Sammy’s Adventures, A Turtle’s Tale 2: Sammy’s Escape From Paradise and Thunder and the House of Magic.

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