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CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESCIRQUE DU SOLEIL: WORLDS AWAY 3DProduction NotesRelease Date: December 21, 2012 (3D/2D)Studio: Paramount PicturesDirector: Andrew AdamsonScreenwriter: Andrew AdamsonStarring: Igor Zaripov, Erica Kathleen Linz, Cirque du Soleil performersGenre: Adventure, FamilyMPAA Rating: PG (for some dramatic images and mild sensuality)Official Website: WorldsAway3D.comSTUDIO SYNOPSIS: Written and directed by Andrew Adamson ("Shrek," "The Chronicles of Narnia: The Lion,The Witch and The Wardrobe"), and executive produced by Academy Award-winning filmmaker JamesCameron, the 3D film event features artistic and acrobatic performances from some of the most elaborateCirque du Soleil productions. The film was produced by Adamson, Aron Warner, Cirque's Martin Bolduc andEd Jones and Cary Granat . Vince Pace oversaw the 3D stereo production aspect of the film.© 2012 Paramount Pictures1

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESCirque du Soleil Worlds AwayFrom the big top to the big screen, Academy Award®-nominated director Andrew Adamson andvisionary filmmaker James Cameron invite audiences on an all-new 3D adventure -- Cirque du SoleilWorlds Away. Two young people journey through the astonishing and dreamlike worlds ofCirque du Soleil to find each other as audiences experience the immersive 3D technology that allowsthem to leap, soar, swim and dance with the performers.Unique in scope, this immersive experience melds acts from seven live Cirque du Soleil shows inLas Vegas -- "O," KA, Mystere, Viva ELVIS, CRISS ANGEL Believe, Zumanity and The BeatlesLOVE-- into a circus love story produced, written and directed by Academy Award® nomineeAndrew Adamson (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe). Thefilm stars Cirque du Soleil strap aerialists Igor Zaripov (The Aerialist) and former artist Erica KathleenLinz (Mia) as the young couple.Presented by Paramount Pictures and Academy Award® winner James Cameron (Avatar, Titanic),the film is a Cirque du Soleil production in association with Reel FX Inc., Strange Weather Filmsand CAMERON | PACE Group. Produced by Cirque du Soleil producer Martin Bolduc, Adamsonand his Strange Weather Films' partner Aron Warner, Cirque du Soleil Worlds Away is captured in3D by executive producer Cameron and his CAMERON | PACE Group partner Vincent Pace, thefilm's 3D executive producer. Executive producers are Cameron, Jacques Methe, Cary Granat andEd Jones. Director of photography is Brett Turnbull. Composer Benoit Jutras (Cirque du Soleilshows Quidam, "O,".La Nouba and, as co-writer, Mystere) wrote the score and the opening song.Stephen Barton contributed additional music to the final strap act. The editor is Sim Evan-Jones.© 2012 Paramount Pictures2

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESABOUT THE FILMFor writer/director/producer Andrew Adamson, tying a love knot around some of the best elementsof seven Cirque du Soleil live shows that play in Las Vegas was a journey into magical realism. Executiveproducer Cary Granat and Reel FX Inc. had been discussing the possibility of collaboratingwith Cirque du Soleil on a project for quite awhile when he approached Adamson about the idea ofcrafting and directing a Cirque-based feature film. Granat is the former CEO of Walden Media,which collaborated with Adamson on the first two films of C.S. Lewis' beloved The Chronicles ofNarnia series. Adamson is also a producer on the third film, The Chronicles of Narnia: The Voyageof the Dawn Treader."We had to find a natural, cinematic way into the world of Cirque," says Adamson. "I started thinkingabout the way Cirque live shows work. T here is a very dreamlike quality about them. A thinthread of narrative that weaves in and out of each but allows these acts to exist within the worldsthat are created. I thought this movie could do the same thing. I could find a narrative that threadsthese completely different shows together."I came to the idea of these two people who meet in a real-world circus. She's a young girl lookingto escape her life. She sees this aerialist and instantly falls in love with him, but when their eyesmeet he slips and falls. He drops right through the circus ring into another world and drags her withhim. They spend the rest of the film looking for each other in these worlds that exist in a limbostate, kind of a space between life and death, a world between worlds. Ultimately they come togetherin a dream fulfilling aerial ballet. An act that hangs in the balance between beauty and danger. "Like the live shows, the film eschews dialogue, using music and the marvelous expressions of theperformers to move the narrative forward. But it was never the filmmakers' intention to simply capturethe live shows. "What I wanted to do" says Adamson, "is take the audience to see these showsin a way that they hadn't seen them before, to get the camera in close and give a different perspectiveof what these artists do and show that perspective in high speed, slow motion 3D."Executive producer Cameron, whose company CAMERON | PACE Group shot the film with hisFUSION 3D camera system, says the film feels "as if you strayed into a circus in a dream. From thebeginning Andrew had a fairly clear vision of what he wanted to do and it continued to evolve. As aproducer, I kind of acted as his sounding board. The goal was to really celebrate the physical artistryof everything Cirque du Soleil is about, the design, the beauty and grace of those performances."Andrew had to walk a fine line working with such diverse elements from these shows. It was nevermeant to be about effects but to showcase the raw, pure physical human talent and their amazingability. While it starts in this sort of run down circus, it plays out as discovery of this other dimensionalcircus world they fall into, but it is still very much a circus. There are wires, harnesses andyou see it all, no effects hiding it. In seeing it, you experience the ingenuity of staging, costume design,the strength and agility of their talent that seem so effortless, so fluid. But the preparation andwork that goes into it is anything but effortless. What you see is pure Cirque."Adamson drew inspiration from such classics as Walt Disney's Fantasia, Lewis Carroll's Alice inWonderland, Peter Tchaikovsky's Swan Lake ballet and his own personal experiences from watchinga traveling circus show in Mexico in 2000."It was a Fred Flintstone themed travelling circus. I remember the ringleader had a lot of years onhim, the lion had no teeth and one of the trapeze artists was a large woman wearing a star-spangled© 2012 Paramount Pictures3

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESthe unseen realm of spirits, of ghosts, and the flying boat is like The Flying Dutchman. Theyare trying to lure Mia aboard but she won't go." It is the first tent Mia visits after she falls intoan alternate desert wasteland populated by six big tops, "six kinds of limbos," says Linz.KA -- To Adamson KA was about spectacle, with a stage a quarter of the size of a footballfield that lifts vertically, spins around and changes. "What I wanted to capture wasn't just theact and the performers but the ingenuity. Part of what Cirque does so well is combine artand technology and present you with this completely different imagery you've never seenbefore."Mystere -- "Mystere is highly acrobatic, the most acrobatic show we have," says James Hadley,Cirque du Soleil's senior artistic director for resident shows in North America. It is alsothe longest running Cirque du Soleil show in Las Vegas. Hanging from a cube in mid-air, anaerialist performs a ballet with seemingly effortless maneuvers, foreshadowing what is tocome for the star-crossed lovers.Viva ELVIS -- In the film, a mysterious self-propelled tricycle leads Mia to the Viva Elvistent, where performers dressed as super heroes fly off trampolines to the music of Elvis.CRISS ANGEL BELIEVE -- Mia travels through six Cirque du Soleil tents that occupy alimbo state between life and death in search of love lost. The seventh element is not a tentbut Cirque du Soleil's very own peculiar White Rabbit, a dancing disembodied bunny headfrom CRISS ANGEL Believe, who makes a timely appearance, beckoning her to follow.zumanity -- " The act that we're using from Zumanity is very small and contained, but it fitsthematically well where we've placed it," says Adamson. What first appears to be water onthe moon transforms into a water-filled glass container from which a seductive contortionistentices the Aerialist to join her.The Beatles love -- The act built around the song Being for the Benefit of Mr. Kite is "a circus-basedtheme," says Adamson, "so it tied us back into the beginning of our opening circus."Hadley adds, "Actually Mr. Kite, of all the acts that we filmed, probably has the biggestnumber of artists in one act."THE MUSICComposer Benoit Jutras wrote the score and transitional music between the Cirque shows used inthe film. Barton had previously teamed with Adamson on the Shrek and Narnia films, but the directorfelt it important to have Jutras, who had written scores for some of the Cirque shows used, toadapt and refine some of that music specifically for Cirque du Soleil Worlds Away."The music was really the dialogue of this film," says Jutras. "You see, Cirque du Soleil developedit as a language for its shows, to tell a story with the music and without words. It becomes the universallanguage." It was an element that Cameron and Adamson wanted to retain for the film."When it came to inspiration for this film's score," Jutras continues, "it was about the passagethrough life and a young woman who falls in love, about how love makes you go through all ofthese emotions, the colors of love, so to speak. What I wanted to do with the opening act was tomake it a very separate experience, to make it as little like Cirque as possible to show the contrast ofthe old circus and the worlds of Cirque du Soleil. In the final act, since it was part of KA, StephenBarton used that show to inspire the music (of the final act)."THE POWER OF 3DFor Cameron, Cirque du Soleil Worlds Away "was a dream come true. I had been talking to themfor some time about doing something in 3D because it's never been done. How lucky to be working© 2012 Paramount Pictures5

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESwith the Cirque family, to have that talent create such an emotional performance for this film. Becausetheir death-defying acts require such incredible skill and nerve, we felt it was so important toshow the cabling, everything supporting that human ability."We were working with a different stage crew every four days. We did use the live shows and shotboth during the live performances and on their dark days. It was cost effective to shoot during thelive shows, but we did get the best stuff on dark days because we were able to come in from differentangles. We dropped in with our 10 3D cameras and started shooting. But it's a lot different thanjust standing back with a ring of cameras and shooting a live show. We were getting in there withthe Steadicam, shooting close-ups -- in their faces as close as possible -- getting into the action becauseit's much better for 3D. I lobbied for high camera positions so when you are shooting downyou get that sense of vertigo. At times we were shooting from 50 to 100 feet in the air, and you feelthe height of these amazing artists performing 90 feet above the floor. You also realize the jeopardythey are in all the time."The live experience of these shows is incredible. But in the movie theater, what we can give you isthe experience of being right in the middle of a show where you will really get to see the detailedwork that's gone into the characters, the costumes and the choreography. There is pageantry to thelive experience, but there is an intimacy to the 3D experience."One of the challenges for the filmmakers of Cirque du Soleil Worlds Away was that 3D involvesmore complicated cameras and technology and thus more time to set up the equipment. Prep alsomeant meeting strict safety parameters with underwater cameras (avoiding the lethal mix of electricityand water) and camera cranes (out of harm's way of aerialists and flying objects.)"There was a lot of hurry up and wait," notes producer Martin Bolduc, "which is difficult for Cirqueperformers as their bodies are cooling off and they need a minimum of time to warm up their musclesafter a certain period of inactivity." Still, the shooting schedule was relatively short -- 37 daysover three time periods: October-November 2010 in Las Vegas, December 2011 in New Zealandand February 2011 again in Vegas. The only CGI used in the film are scenes in the desert when Miaand the Aerialist travel between the tents."Twice a day, five days a week the performers do their work," says Cameron. " When we told themwe would make a 3D film that would really capture their commitment to their art, I don't think theseartists really knew what to expect. They were a bit jaded because they do it day after day, year afteryear. But when it was over and they saw what they do through our eyes they were awestruck. It rejuvenatedthem."THROUGH THE LOOKING GLASSThe drive to expand and constantly transform from the circus norm is what separates Cirque du Soleilfrom the pack. Always positioning itself as "nouveau cirque," it remains theatrical, characterdrivenentertainment sans animals. From its humble roots on the streets in the early 1980s to an artyversion of the big top to the showbiz behemoth it is today with 20 shows around the world, certainelements of the Cirque du Soleil experience will forever remain."You will always need your ‘wow,' your tender moments, your humor," says Cirque du Soleil ownerand co-founder Guy Laliberte, much like the narrative of any great screenplay. But he remindsthat Cirque's conventions are all about hinting at the plot and teasing at the themes. It is there, he© 2012 Paramount Pictures6

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESsays, on the edge of imaginative interpretation that Cirque du Soleil invites audiences to suspenddisbelief and step through the looking glass.© 2012 Paramount Pictures7

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESABOUT THE FILMMAKERSANDREW ADAMSON (director/writer/producer) marked his directorial debut with the first filmto win an Academy Award® for Best Animated Feature, DreamWorks' 2001 blockbuster Shrek.The New Zealand native wrote and directed Shrek 2, the 2004 sequel to the fractured fairy tale sensationthat garnered him an Oscar® nomination for Best Animated Feature, was nominated for BestOriginal Song, is the highest grossing domestic animated film in motion picture history and fifthhighest grossing film in the U.S. The prequel and sequel of the beloved ogre's romantic odysseywere also nominated for the prestigious Cannes Film Festival's Palme D'Or Awards.Adamson's third film, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, which headapted for the screen from C.S. Lewis' classic best seller and also produced, was his first liveactiondirectorial achievement. The international hit claimed the Oscar® for Best Makeup and collectedtwo additional nominations for visual effects and sound. He shared a ‘Camie' Award for TheLion, the Witch and the Wardrobe and a Grammy nomination for Best Compilation Soundtrack forShrek 2.His first three animation and live action features are among the top 50 grossing films of all timewith a combined worldwide box office exceeding $3 billion. All have received critical raves andnumerous nominations and awards including the Annie Award, recognizing achievements in animation,and the BAFTA Children's Award -- both for Shrek.Building on the franchise considered a lively romp for kids and a clever comedy for adults, Adamsoncreated the story for Shrek the Third (2007) and Shrek Forever After (2010) and executiveproduced both.He directed, produced and co-wrote the second in the Narnia franchise, The Chronicles of Narnia:Prince Caspian, which opened atop the U.S. box office in May 2008. He produced the successfulthird film in the franchise The Chronicles of Narnia: Voyage of the Dawn Treader.In addition to Cirque du Soleil Worlds Away, Adamson directed Mister Pip, which he adapted fromLloyd Jones' award-winning novel of a young girl in Papua New Guinea, who becomes transfixedby Charles Dickens' Great Expectations, read at school by the only white man in her village.Adamson is also developing a slate of both live action and animated features and television showswith his longtime producing partner Aron Warner for their company Strange Weather, which theyformed in 2010. Part of the company's mission is to serve as a launching pad for emerging directors,mentored by Adamson and Warner. Some of the projects in development are Joby Harold's fantasyFountain City, Darren Bousman's flash mob thriller The Bystander Effect, which he wrote and willdirect, and the animated adaptation of the Will Eisner Comic Industry Award-winning Dark Horsegraphic novel Beasts of Burden. He is also developing The Futurist, a contemporary telling of aworld-renowned futurist whose mid-life crisis reflects the one that the world is having around him.He is producing the upcoming Truckers and has executive produced Ballast and the recently releasedPuss in Boots.Adamson began his career as computer animator for the New Zealand animation company TheMouse That Roared. There he worked on a variety of television commercials and broadcast logos,including TV3's first on-air presentation. In 1991, he joined PDI California (Pacific Data Images,now PDI/DreamWorks) with an extensive background in visual effects. As a visual effects supervi-© 2012 Paramount Pictures8

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESsor, his credits include Angels in the Outfield,Double Dragon, Batman & Robin, A Time to Kill andBatman Forever, which brought him a shared nomination for the Academy of Science Fiction, Fantasyand Horror's Saturn Award. He also worked on the visual effects for Heart and Souls, BarryLevinson's Toys, and True Lies, directed by his Cirque du Soleil Worlds Away collaborator JamesCameron.Adamson also worked on numerous award-winning spots for PDI/DreamWorks' commercial divisionincluding Converse's Planet Kevin, Dow Bathroom Cleaner's Scrubbing Bubbles GreatestShow and Miller Genuine Draft's Juke Box.MARTIN BOLDUC (producer, Cirque du Soleil), known for producing the 2003 Primetime EmmyAward winner Cirque du Soleil: Fire Within, a 13-episode documentary television series whichalso garnered two Gemini Awards, has had a multi-faceted and distinguished career as a Montrealbasedproducer, executive producer and production director/coordinator.In 2005 he won the Gemini for Best Performing Arts Program or Series for the feature length documentaryLovesick. And in 2010, he took home a Grammy Award for Best Long Form Music Videofor producing All Together Now.Bolduc joined Cirque du Soleil in 1995, working on the company's live entertainment show "O". In1999 he became part of the Cirque du Soleil Images team, producing numerous documentaries. Hewas also involved in the recent Touch the Sky, a feature documentary following Cirque du Soleil's owner and founder Guy Laliberte as he embarked on his journey on the International Space Station.His collaboration with Cirque du Soleil Worlds Away director Andrew Adamson is his first 3D production.Bolduc's production credits also include the documentary A Thrilling Ride Through Kooza; the varietyseries Cirque du Soleil: Solstrom; the performance specials Cirque du Soleil: Corteo, Cirquedu Soleil: Kooza, Cirque du Soleil: Midnight Sun as well as Cirque du Soleil: Varekai, which he coproduced.ARON WARNER (producer) won an Academy Award® for producing Andrew Adamson's Shrek,the 2001 blockbuster that was the first film to win an Oscar® for Best Animated Feature. TheDreamWorks film also brought him a BAFTA Children's Award for Best Feature Film and nominationsfor the BAFTA Best Film and AFI Movie of the Year awards. It was the beginning of a wildlysuccessful franchise. Warner produced Shrek 2, the fourth highest grossing film of all time, and the$800 million grossing Shrek the Third. He executive produced Shrek Forever After.Warner was also nominated for a Golden Satellite Award for Best Motion Picture for Animated orMixed Media for Antz (1998), DreamWorks' first animated feature. He met Adamson atPDI/DreamWorks. In 2010, the two formed the partnership Strange Weather, one of the companiesproducing Cirque du Soleil Worlds Away. Strange Weather is also producing Truckers, a CG animatedfranchise for DreamWorks based on Terry Pratchett's best seller, and developing a slate oflive action feature films and television shows.Warner joined PDI/DreamWorks in 1997. During the production of Shrek, Warner also served asthe head of PDI/DreamWorks for two years, overseeing all production and operations for all of thecomputer animation affiliate's feature film, commercial and visual effects projects. He first joinedPDI as a producer on the computer animated comedy Antz.© 2012 Paramount Pictures9

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESPrior to DreamWorks, Warner was vice president of production for Twentieth Century Fox. Therehe supervised production on such films as James Cameron's True Lies and Titanic, IndependenceDay, The Ice Storm, The Crucible, Alien Resurrection and Volcano.He began his career as a producer with the horror hit Freddy's Dead: The Final Nightmare. He laterserved as supervising producer on John Dahl's Red Rock West before beginning his relationshipwith Twentieth Century Fox as the line producer on Ghost in the Machine. He also produced thecult classic Tank Girl.After graduating from UCLA Film School, Warner worked for Empire Pictures as a production coordinatoron low-budget horror and sci-fi films. He worked for Film Finances, a completion bondcompany, where he supervised production on more than 50 films.Currently, Aron Warner is serving as President of Animation at ReelFX Inc.VINCE PACE (3D executive producer), a n acclaimed cinematographer and co-inventor of theworld's most advance stereoscopic 3D system known as FUSION 3D, is co-chairman of CAMER-ON | PACE Group (CPG), a partnership with Cirque du Soleil Worlds Away executive producer andAcademy Award® winning director James Cameron.Widely regarded as a pioneer in reinventing the entertainment experience, Pace's career marks significantindustry achievements, from supporting the camera challenge of BBC's award-winning seriesBlue Planet to designing innovative lighting technology for Cameron's The Abyss and beingnominated for an Emmy Award in Cinematography for bringing back images from the deck of theBismarck three miles under the ocean for Cameron's television documentary Expedition: Bismarck.Pace received a Sports Emmy Award for technical achievement, the George Wensel TechnicalAchievement Award, a category that recognizes technical innovation that is extraordinary and enhancesthe broadcast for the viewer, for his work supporting the CBS Sports production team's coverageof the 2010 U.S. Open Tennis Championships. The event marked the first-ever worldwide 3Dbroadcast of a major tennis game. He worked with the team to deliver seven cameras with Shadowtechnology in critical positions around the venue.Nearly a decade ago, Pace and Cameron embarked on a journey to revolutionize the entertainmentexperience, developing the most advanced stereoscopic acquisition system known as FUSION 3D.From 2000 to 2011, his company PACE housed a full creative and technical team, which utilizedthe FUSION 3D system to infuse "imagination through innovation" into films, live sports and entertainmentexperiences, concerts, music videos and more.Now the Burbank-based CPG, the industry leader in 3D technologies and production services fromslate to screen, is advancing the future of 3D through products, solutions and creative tools acrossall media channels. Supporting networks, studios, broadcasters, filmmakers and creative teamsglobally, the company's unparalleled expertise in 3D helps content producers realize its full potentialas a new immersive and powerful storytelling medium. Deploying easy, efficient and costeffective3D solutions, CPG has supported more than $7.5 billion in box office, played a key role in9 concert films, music videos and commercials, 29 features and more than 150 live sports broadcastsworldwide.Utilized by filmmakers and content producers, CPG's FUSION 3D technology has resulted in morethan $7.5 billion in box office and is responsible for such 3D benchmarks in music, entertainment,© 2012 Paramount Pictures10

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESfilms and sports as The Three Musketeers, Final Destination 5, Glee: The 3D Concert Movie,Transformers: Dark Side of the Moon, Pirates of the Caribbean: On Stranger Tides, TRON, Legacy,Avatar, Resident Evil: Afterlife, U2:3D, CBS Sports' U.S. Open Tennis Championships, CBSSports' Masters Golf Tournaments, NBA Finals and All-Star Games, Journey to the Center of theEarth, Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Film and Final Destination.JAMES CAMERON (executive producer), the Academy Award®-winning director/screenwriter/producerwhose films Avatar and Titanic remain the world's top two blockbustersof all time, is an industry game changer whose unmatched advances in 3D filmmaking technologyis propelling the entertainment experience forward for filmmakers and audiences alike.His films have blazed new trails in both visual effects and performance records worldwide. Avatar,Cameron's 3D science fiction epic journey set in the virgin ecosystem of a distant planet, currentlyholds both the domestic and worldwide box office records, having grossed over $2.7 billion internationally,beating Titanic, which held that record for 12 years.The industry responded to his contributions, with Titanic receiving 14 Academy Award® nominations(a record) and 11 Oscars® (the most any movie has received), including Cameron's three Oscars®for Best Picture, Best Direction and Best Editing. Avatar was nominated for nine AcademyAwards® and garnered Cameron the Golden Globes for Best Director and Best Picture.Avatar required over two years of development of new production technology, including imagebasedfacial performance capture, a real-time virtual camera for CG production, and the SIMUL-CAM system, for real-time tracking and compositing of CG characters into live-action scenes.These techniques are combined with stereoscopic photography to create a hybrid CG/live actionfilm.A cinematic auteur and committed conservationist, Cameron is also an inventor and explorer whohas comfortably bridged the realms of art and science. Aside from a nonpareil track record ofblockbusters (an estimated $6 billion box office gross from his directorial efforts), Cameron's documentarieshave plumbed the ocean depths and deserts to pursue unresolved historical mysteries aswell as environmental concerns for the planet. An avid supporter of space exploration, Cameron hasbeen actively involved on the NASA Advisory Council and as a member of the Mars Society andthe Planetary Society.His ability to take what he mastered in the making of a film -- Avatar -- and catapult the technologyused (the creation of the FUSION 3D camera system) into a new high-demand niche industry thatcan alter the course of filmmaking is one of his strengths. In 2011, his Cirque du Soleil WorldsAway collaborator Vincent Pace, who has worked with Cameron on many of his films, formedCAMERON | PACE Group (CPG) to develop, sell and lease 3D production technology to filmmakers,broadcasters and game manufacturers. CPG's FUSION Camera System is the world's leadingstereoscopic camera system, used on Avatar, Journey to the Center of the Earth, Hannah Montana:Best of Both Worlds, U2:3D, TRON: Legacy and numerous special event projects such as the NBAAll Star Game.The native Canadian's journey to success is the making of an American dream. Born in Kapuskasing,Ontario, Canada, Cameron grew up in the historic village of Chippawa, near Niagara Falls, andlater moved to Brea, California, where he studied physics at Fullerton Junior College while workingas a machinist and later truck driver. In 1978, he quit his job as a driver, raised money from localdentists and produced a 35mm short film. Its visual effects landed him an opportunity to work on© 2012 Paramount Pictures11

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESRoger Corman's Battle Beyond the Stars (1980) as a production designer, matte artist and visual effectscinematographer.By 1983, he had written three scripts -- Rambo: First Blood Part 2, Aliens and The Terminator --and a year later directed The Terminator, starring Arnold Schwarzenegger. The film was a runawayhit and made Time magazine's 10 best list of the year. After his breakthrough film, Cameron directedAliens (1986), wrote and directed The Abyss (1989), and wrote, produced and directed Terminator2:JudgmentDay (1991), True Lies (1994), Titanic (1997) and Avatar (2009). He also cowroteand produced Point Break (1991) and Strange Days (1994), as well as producing Solaris(2003).He co-created the one-hour television series Dark Angel in 1999, which aired for two seasons on theFox Network, launching Jessica Alba as a star and gaining a loyal fan base. It won numerousawards including the People's Choice Award for Best New Television Drama. Cameron's passionfor archeology led him to executive produce Exodus Decoded and produce The Lost Tomb of Jesus,both award-winning documentaries directed by Simcha Jacobovici.An avid scuba diver since 1969, having logged more than 3,000 hours underwater, Cameron combinedhis zeal for diving with filmmaking, directing The Abyss -- a film that broke new ground inunderwater cinematography and lighting. He became enthralled with Titanic, the ultimate shipwrecktragedy, and in 1995 made 12 manned-submersible dives to the ship's remains in preparationfor his film. For that expedition Cameron developed unprecedented filming, lighting and roboticequipment for use in the extreme pressures of the deep. The technical success of that expeditionfueled his desire to bring the experience of deep ocean exploration to audiences around the world.He formed Earthship Productions to develop films about ocean exploration and conservation. It wasthen Cameron began to work on a digital 3D camera system he developed with Pace. The goal wasto bring back the experience of deep ocean exploration with unrivaled clarity. In preparation for his2001 Titanic expedition, he developed revolutionary fiber-spooling mini-ROV's as well as numerousother deep ocean lighting and photographic technology. His team's historic exploration of theshipwreck was the focus of his 3D IMAX film, Ghosts of the Abyss.In 2002, Cameron explored the wreck of the Bismarck with his robotic cameras, resulting ingroundbreaking discoveries about the sinking of the legendary German battleship and the DiscoveryChannel documentary James Cameron's Expedition: Bismarck. His team made three expeditions todeep hydrothermal vent sites in the Atlantic, Pacific and Sea of Cortez over a two-year period,which became the subject of Aliens of the Deep, also released in 3D IMAX. He was joined in hisexploration of these extreme environments by a team of young scientists and marine biologists tostudy how life forms discovered there represent life we may one day find on other planets andmoons in our solar system. He returned to the Titanic to complete his interior exploration of theship, later showcased in the Discovery Channel's program Last Mysteries of the Titanic. Cameronhas led seven deep ocean expeditions with over 70 deep submersible dives, including 49 Mir divesto depths up to 16,000 feet. He is currently developing a number of ocean projects and environmentaldocumentaries.His fascination with space exploration prompted Cameron to work with space scientists and engineersin developing viable architectures for human exploration of Mars. He has been involved witha number of robotic space exploration projects and is currently a co-investigator on the Mars ScienceLaboratory Mastcam – the "eyes" of the Curiosity rover – which is currently exploring theMartian surface.© 2012 Paramount Pictures12

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESJACQUES METHE(executive producer, Cirque du Soleil), a veteran film and television producer,joined Cirque du Soleil in 2005 as head o f Cirque du Soleil Images and general manager overseeingall of the entertainment powerhouse's television, film and DVD productions.For 42 years, Methe has been actively involved as a producer and executive producer in the productionof numerous television movies and series, documentaries, videos, variety specials and featurefilms in Canada and abroad. He served as a line producer on Capote, the Academy Award® contenderthat brought its star Philip Seymour Hoffman an Oscar®.Prior to joining Cirque du Soleil, Methe was general manager of Atlantique Productions in Paris,president of Allegro Films in Montreal and president of the international drama division of the CoscientGroup, a Canadian production company. Because of his international expertise, strong managementskills and critical production experience, Cirque du Soleil brought him aboard. Since joiningthe company in the summer of 2005, Methe has executive produced all of the Cirque du Soleilperformance specials and documentaries including: Cirque du Soleil: Corteo (2006), A ThrillingRide Through Kooza (2007), Cirque du Soleil: Kooza (2007) as well as the documentaries Touchthe Sky (2011) and All Together Now (2008) to name a few.CARY GRANAT (executive producer) is known for transforming literary properties into successfulfilm franchises and emerging entertainment brands into industry juggernauts.Cirque du Soleil Worlds Away is Granat's third collaboration with director Andrew Adamson. Asformer CEO of Walden Media, Granat secured the rights to C.S. Lewis' beloved The Chronicles ofNarnia. Adamson directed the first two films in the series: The Chronicles of Narnia: The Lion, theWitch and the Wardrobe and The Chronicles of Narnia: Prince Caspian. Since leaving Walden in2009, the veteran producer joined Reel FX Inc. in partnership with Ed Jones. Reel FX Inc.'s upcomingreleases include the animated comedy Turkeys, and Guillermo Del Toro's Day of the Dead. Otherprojects in development include popular children's books such as Robert C. O'Brien's Rats ofNIMH, and William Joyce's Dinosaur Bob.While Granat was CEO at Walden, the studio became a leader in film, publishing with WaldenBooks and the Walden Pond Press, children's live entertainment and music, as well as expandingthe brand with two unique extension businesses focused on education and faith outreach in theU.K., Australia, New Zealand, South Korea, France, Germany, Japan and other foreign markets.Granat successfully re-launched the estates of and secured the rights for developing some of themost beloved adventure stories of all time: J.R. Tolkien's Lord of the Rings trilogy while atMiramax, E.B. White's Charlotte's Web, King-Smith's The Water Horse, Katherine Paterson'sBridge to Terabithia, author Jules Verne's Journey to the Center of the Earth, and Lewis' Narniaseries at Walden Media.Before Walden Media, Granat was president of Miramax's Dimension division, where he helpedbuild one of the most recognizable brands in the entertainment business, spearheading a roster thatwould become distinguished for both its trendsetting content and international box office success.He oversaw the successful Scream, Scary Movie and Spy Kids franchises. Granat also ledMiramax/Dimension to capitalize on the synergy between music and film, establishing allianceswith major record labels Sony and Capitol/EMI in the formation of Miramax/Dimension Records.Prior to Dimension, Granat was as an executive at MCA/Universal. He began his film career atWarner Bros.© 2012 Paramount Pictures13

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESED JONES (executive producer), a pioneer in digital media and industry expert in animation andvisual effects, won the 1988 Academy Award® and BAFTA Award for Special Effects for WhoFramed Roger Rabbit? He took home his first BAFTA Award for Special Effects the previous yearfor The Witches of Eastwick and was given the 1996 International Animated Film Society "Annie"Technical Achievement for Space Jam.H e was e xecutive producer of director George Miller's 2007 Oscar® winner and Golden Globenominee for Best Animated Feature, Happy Feet. Jones founded Cinesite's facilities in Hollywoodand London and eventually left to continue his career as a sought-after VFX supervisor.In a career spanning three decades with more than 200 projects to his credit, the chief executive officerof Reel FX Studios joined ReelFX Inc. with Cirque du Soleil Worlds Away producer CaryGranat to produce family franchise films in the $50 million budget range. Aside from the upcomingrelease of Turkeys and Guillermo Del Toro's Day of the Dead, other projects in development includepopular children's books such asRobert C. O'Brien's Rats of NIMH, and William Joyce's DinosaurBob.Before joining Reel FX in 2009, Jones worked for Rainmaker Entertainment in Vancouver and producedEscape From Planet Earth for the Weinstein Company.Prior to that, Jones ran ESC Entertainment, a company Warner Bros. chose Jones to run and buildin 2001. The AOL/Time Warner subsidiary was the primary studio responsible for Matrix Reloadedand Revolutions, Catwoman and Constantine. As CEO of ESC he built and led a team that developeda creative pipeline culminating in six patent applications being filed by AOL/Time Warner.Warner Bros. then asked Jones to join its Australia-based team in 2005 as executive producer on theCG feature Happy Feet.Before ESC, Jones worked in lead VFX roles with Warner Bros., DreamWorks and Paramount Pictureson numerous films including Hard Rain, Soldier, Almost Famous and Cats and Dogs.From 1992-1996 he worked for Cinesite as CEO/president and senior visual effects supervisor afterworking for Industrial Light & Magic (ILM) for 13 years. During his tenure at Cinesite he set theindustry standard for digitizing images and created a data-centric production model for handlinglarge volumes of computer graphic images. Among the films he worked on: Waterworld, BrokenArrow, Mission: Impossible, Jerry Maguire, Free Willy II, Outbreak and In the Line of Fire.Jones began his career at ILM in 1979 when there were only 40 employees. He worked in creativeand management roles, breaking ground with accomplishments such as the 2 1/2 D look for WhoFramed Roger Rabbit? There he was responsible for optical photography, work that brought himthe 1988 Academy Award ®. Jones oversaw the shaping of ILM's foundation for expansion in digitaltechnology. At ILM, he was involved with more than 90 films including such blockbusters asStar Wars: The Empire Strikes Back, E.T.: The Extra-Terrestrial, Star Wars: Return of the Jedi, Ghostbusters I &II, Ghost, Terminator 2: Judgment Day and the Indiana Jones trilogy.DAVID MALLET (additional filming), considered the most experienced and prolific live musictelevision director in the world, has amassed 105 long form and event films and more than 80 musicvideos to his credit with artists ranging from U2, Tina Turner, Beyonce, Janet Jackson and EltonJohn to the Three Tenors and Andrew Lloyd Weber. He is the key live performance director forCirque du Soleil, capturing its shows in Las Vegas and worldwide.© 2012 Paramount Pictures14

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESAside from working on Cirque du Soleil Worlds Away, Mallet has also shot Cirque du Soleil's Delirium-- Sony Digital Pictures Film (2008); KA -- ZDF Special '08; Quidam,; La Nouba,; andDralion, -- which brought him one of two Primetime Emmy Awards. He also won a PrimetimeEmmy and a Directors Guild Award for Best Direction for Cher, The Farewell Tour (NBC Special).Mallet is the recipient of two Grammy Awards for U2 Live From Sydney -- World Live Broadcast& DVD and Madonna:Blonde Ambition Tour (HBO) as well as three Grammy nominations. He haswon five Ace Awards, a BAFTA Award for the Kenny Everett Video Show, one Royal TelevisionSociety Award and two Silver Rose of Montreux Awards for Bejart Ballet's Ballet for Life and Josephand His Amazing Technicolor Dreamcoat with Joan Collins and Donny Osmond.Mallet's career began with the early days of music television. He has always remained at the forefrontof event filmmaking. His understanding of both music and film has been recognized by talentsas diverse as U2, Pink Floyd, Elton John, Cher, AC/DC and Pink to name a few. The preeminentdirector in his field, Mallet is in great demand from networks worldwide including NBC, ABC,HBO, PBS, CBS, iTV, BBC and C4.His vast credits of long form and event films include: Michael Jackson Tribute Concert 2011-11-07; VH1 Welcomes the Troops – 2010; Tina Live – Tina Turner 50 TH Anniversary Tour; NelsonMandela -- 90 th Birthday Celebration; Pink: Live at Wembley; Celine Dion: Live in Las Vegas "ANew Day"; The Three Tenors Christmas Concert: Live From Vienna; Pink Floyd: Pulse -- EarlsCourt; Gloria Estefan: Live in Miami, HBO; Hans Christian Andersen Celebration 2005: FeaturingTina Turner, Jean Michel Jarre, Olivia Newton John & More; Inxs: Live Baby Live – Wembley;Michael Bolton: My Secret Passion -- Opera Bellini, Sicily; Michael Flatley -- Lord of the Dance:Live at the Point, Dublin and Sarah Brightman: Live at the Royal Albert Hall.His music credits include: AC/DC & Arnold Schwarzenegger: Big Gun; Boomtown Rats: Don't LikeMondays; Culture Club: Mistake Number Three; Diana Ross: Chain Reaction; Def Leppard: Rockof Ages; Elvis Costello: Radio, Radio; Heart: What About the Love; Joan Jett: French Song; OzzyOsborne: So Tired; and Rush: Distant Early Warning.BRETT TURNBULL (director of photography), a prolific cinematographer best known for hiswork in live concert films and multi-camera 3D, marks his fourth collaboration with David Mallet,Cirque du Soleil's live performance director, on Cirque du Soleil Worlds Away.Turnbull began his entertainment career in London's vibrant post-punk music scene, playing in anumber of bands after studying at art school. He soon joined seminal industrial group TEST DEPT,combining experimental film-making techniques with the band's aggressive scrap-metal percussionto create spectacular projected backdrops for their live performances. This role expanded into designingalbum sleeves and stage shows, directing music videos and devising theatrical concepts forthe MINISTRY OF POWER "Unacceptable Face of Freedom" at Expo 86 and "Demonomania" atVallodollid.Further training followed at the prestigious National Film School. Turnbull subsequently wrote anddirected several short films, including The Golem of Princelet Street, The Snowball Effect and TheLinesman (BBC). He also directed numerous music videos, live concert films and documentariesfor artists such as Radiohead, Nine Inch Nails, Smashing Pumpkins, David Bowie, Neil Young andWestlife. Always a hands-on film-maker, Turnbull shot and edited many of these music videoshimself, and became increasingly in demand as a cinematographer - to the point where he decidedto move full-time into this role.© 2012 Paramount Pictures15

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESSince that time he's worked as Director of Photography on hundreds of projects across a wide rangeof genres, many of which have won or been nominated for Grammy and other awards. Notable examplesare commercials for T-Mobile, Orange, Hewlett Packard and Sky, music videos forColdplay, U2, Travis and Joe Strummer, documentaries India Diaries and Kumbh Mela, and concertfilms for Green Day, Beyonce, Rihanna, Coldplay, Depeche Mode, White Stripes and Madonna.Feature films include Roger Waters: THE WALL (in post-production) and Katy Perry – Part of Me(3D live concert footage).Turnbull has been at the cutting edge of the current 3D renaissance in the UK, filming commercialsfor Audi, Panasonic and Sky, music videos for Kelis and Najwa Karam, documentary films RunningWith Bulls (IMAX), Experience Montreux, Wimbledon 3D, Sky Movie Specials Avatar andPrometheus, live concert films for Peter Gabriel, Kylie Minogue, JLS and Kings of Leon, plus TVspecials for KT Tunstall, Snoop Dogg and Keane.Previous collaborations with David Mallet include David Gilmour: In Concert, music documentaryOn an Island, and Michael Forever – The Tribute Concert in 3D.SIM EVAN-JONES (editor) has been a frequent collaborator with Cirque du Soleil Worlds Awaydirector Andrew Adamson, having first teamed on the 2001 animation blockbuster Shrek, the Oscar®winner that brought him a nomination for the American Cinema Editors Award for Best FeatureFilm, Comedy or Musical.Evan-Jones and Adamson also worked together on the 2004 sequel Shrek 2, one of the top grossingbox office films in history. They re-teamed on the 2005 international hit The Chronicles of Narnia:The Lion, the Witch and the Wardrobe, based on C.S. Lewis' classic best seller, as well as the sequel,The Chronicles of Narnia: Prince Caspian in 2008.Evan-Jones has also worked with director Simon Wells on several films. He was an associate editoron DreamWorks' 1997 animated feature Prince of Egypt, which Wells co-directed. He co-editedWells' 1995 film Balto and 1993's We're Back: A Dinosaurs Story, which Wells co-directed. And hewas a first assistant editor on American Tail II, which Wells also co-directed.Evan-Jones was an additional editor on the DreamWorks' 2002 hit Madagascar.He has collaborated twice with producers Tim Bevan and Eric Fellner and their Working TitleFilms as an additional editor on the upcoming British drama Hippie Hippie Shake and as editor on2010's Nanny McPhee and The Big Bang, the sequel to the international box office hit NannyMcPhee. Evan-Jones has also edited the forthcoming Mr. Pip and has worked on First, a featurelength documentary about the 2012 London Olympics for the IOC and NBC/ Universal.Benoit Jutras (composer, original) is one of Cirque du Soleil's award-winning composers and musicaldirectors known for evoking the senses of spectators and music lovers alike in the soundtrackshe has created for numerous live shows including Quidam, "O" and La Nouba. He was named bestcircus composer at the International Circus Festival of Monte-Carlo in 1996, an award for his workas composer and musical director on a show presented in Switzerland, co-created by Cirque du Soleiland Circus Knie.© 2012 Paramount Pictures16

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESIn film, Jutras composed the soundtrack for Cirque du Soleil's Journey of Man, an IMAX featurefilm and co-production with Sony Pictures Classics, and Alegria, The Film, Cirque du Soleil's firstfeature film produced by Franco Dragone. The score garnered Jutras Quebec's La Soiree des Jutra(Jutra Award) for Best Score, a Canadian film award for talent and achievement. He also shared anomination for the Genie Award for Best Original Song with Cirque du Soleil composer ReneDupere. Jutras also composed the soundtracks for Robert Lepage' The Far Side of the Moon (2003)and Lyne Charlebois' Borderline (2007) and is credited with music on Rachel Talalay's The Wind inthe Willows (2006), a television feature co-produced by the BBC and CBC.Recently, Jutras composed and produced the music for the show A Museby Les 7 doigts, whichopened in Mexico City. He also composed the score for The House of Dancing Water, whichopened in Macau in 2010 at the City of Dreams.In 2008, he composed three pieces to be included in the celebrations for Pope Benedict XVI's visitto Yankee Stadium in New York. That year, he was asked to write the music for Six Flags' Glow inthe Park Parades, presented in the United States, New England, and Mexico.In 2005, Jutras composed the music for Le Reve, a show presented at the theater of the Wynn Hotelin Las Vegas. Five years earlier he scored the music for Francesco il Musical, an Italian productionbased on the life and times of Saint Francis of Assisi. This work was presented in Assisi to mark thearrival of the new millennium.In 1998, Benoit wrote the music for The Hunger TV series which starred David Bowie and wasnominated for a primetime Emmy.In 1995, he wrote a few pieces and acted as musical director for the special Cirque du Soleil performancefor the G7 Summit in Halifax. He also worked with Rene Dupere on composing the musicfor Cirque du Soleil shows Mystere and Fascination.Jutras became co-composer and musical director for We Reinvent the Circus' European tour in1990. He joined the team of We Reinvent the Circus in 1987, where he spent three years working asmusical director.He holds a master's degree in composition from the Conservatoire de Musique de Montreal and hasreceived two major awards from this institution.Stephen Barton (composer for additional music, arranger), a versatile composer who has scoredmusic for more than three dozen feature films, videogames and television projects, marks his fourthcollaboration with director/writer/producer Andrew Adamson on Cirque du Soleil Worlds Away.They previously teamed on such award-winning and commercial hits as Shrek 2, The Chronicles ofNarnia: The Lion, the Witch and the Wardrobe and The Chronicles of Narnia: Prince Caspian. OnShrek 2, he co-wrote a song with Cirque du Soleil Worlds Away producer Aron Warner on the platinumselling soundtrack.Barton left his native London and moved to Los Angeles in 2002. Since then he has composed andarranged music for 20 feature films and television productions. His credits include the BAFTAnominatedBritish thriller Exam, Sir Ridley Scott's Kingdom of Heaven, Tony Scott's Deja Vu andMan on Fire, The Six Wives of Henry Lefay, Ben Affleck's Gone Baby Gone, Bridget Jones: TheEdge of Reason, The Number 23, Flushed Away and Sinbad: Legend of the Seven Seas. He was the© 2012 Paramount Pictures17

CIRQUE DU SOLEIL: WORLDS AWAY 3D (2012)PRODUCTION NOTESmusic supervisor on the television documentary series I'm Alive and scored the music for theDreamWorks video game How to Train Your Dragon.Barton is a frequent collaborator with Sir Anthony Hopkins after producing the soundtrack forHopkins' 2006 film Slipstream, which Hopkins wrote and directed. The two have worked togetherwith the Dallas Symphony Orchestra, the City of Birmingham Symphony Orchestra and the JohannStrauss Orchestra, as well as touring in Italy with Joshua Bell, Jean-Yves Thibaudet and the MaggioreMusica di Firenze.His upcoming projects include scoring Bryan Ramirez' Mission Park and Disney's television seriesMotorcity.© 2012 Paramount Pictures18