Mama – Production Notes - I Watch Mike

CASTAnnabel .......................JESSICA CHASTAINLucas/Jeffrey ............NIKOLAJ COSTER-WALDAUVictoria .....................MEGAN CHARPENTIERLilly ........................... ISABELLE NÉLISSEDr. Dreyfuss .........................DANIEL KASHMama ............................. JAVIER BOTETJean Podolski. ...................... JANE MOFFATYoung Victoria .................MORGAN McGARRYBurnsie ............................... DAVID FOXRon ........................DOMENIC CUZZOCREACop. .............................CHRIS MARRENNina ............................JULIA CHANTREYJudge .............................RAY KAHNERTLouise. ...........................DIANE GORDONYoung Cop ......................MATTHEW EDISONYoung Lilly ...........................MAYA DAWESIERRA DAWEAnnabel’s Bandmates ...................NICK HALLJOEY PROULXBeautiful Mama/Skinny Woman ...HANNAH CHEESMANDr. Dreyfuss’ Secretary. ............ELVA MAI HOOVERNun. ...................PAMELA SUSAN FARRAUTONun 2 .............................CHRYS HOBBSMama Voice ..................... LAURA GUITERASMELINA MATTHEWSJANE MOFFATStunt Coordinator. ....................JAMIE JONESStunts ..............................DANA JONESCOTTON MATHERALISON REIDMARY ANN STEVENSLEN WAGNERStunt Riggers .......................... TOM FARRDERRICK FRANKLINJOEL HARRISBRAYDEN JONESKELLY JONESDARYL PATCHETTVINCENT ROTHERPAUL RUTLEDGEJAKE LOUBESTEVE SHACKLETONDAVE VAN ZEYLMAX WHITEStand-Ins .......................OLIVIA GUDANIECKORINA ROTHERYSERGEY SHPAKOVSKYSHAWN STORERLAURA THORNECREWDirected by ..................... ANDY MUSCHIETTIScreenplay by. .................... NEIL CROSS andANDY MUSCHIETTI &BARBARA MUSCHIETTIStory by ......................ANDY MUSCHIETTI &BARBARA MUSCHIETTIProduced by. .......................J. MILES DALEProduced by. ................BARBARA MUSCHIETTIExecutive Producer ...........GUILLERMO del TOROAssociate Producer ..........CRISTINA LERA GRACIADirector of Photography. .......ANTONIO RIESTRA amcEditor ......................MICHELE CONROY cceCostume Designer ..................LUIS SEQUEIRAMusic by. ..................FERNANDO VELÁZQUEZProduction Designer. ............ANASTASIA MASAROCasting ....................... ROBIN D. COOK csaUnit Production Manager .......... DENNIS CHAPMANLine Producer (Spain) ....... INGRID FDEZ. DE CASTROFirst Assistant Director ............... JEFF AUTHORSSecond Assistant Director ...........PENNY CHARTERPostproduction Supervisor. ..........MARIANO LIWSKIArt Director ............................. ELIS LAM1 st Assistant Art Directors ..............ARLENE LOTTJULIE LUGOSIALEKS MARINKOVICHArt Department Coordinator. ...... TRACEY VALERIOTEArt Department Apprentice ................DAN PACESet Decorator ........................PATTI CUCCIALead Man ......................... DAMIEN SEGEEProperty Master ........................VIC RIGLER– 2 –

Assistant Property Master ........ JONATHAN KOVACSCamera Operators ...........ANGELO COLAVECCHIAMICHAEL CARELLAFirst Assistants Camera ..............RUSSEL BOWIECIARAN COPELINSecond Assistants Camera ......JOHNATHAN HOLMESARI MAGDERCamera Utility. ................... FRASER COLLINSDigital Imaging Technician .......RONALD SCHLUETERVideo Assist Operator ............ANTHONY NOCERAProduction Sound Mixer ..............KELLY WRIGHTBoom Operator. .......................DOUG LUNNCableman ...........................ERIC PUTZERGaffer ...........................GARY DENEAULTBest Boy. .............................DOUG REIDElectrics ......................NORM O’HALLORANMARK KRAWCZYCKKEVIN CRAINERigging Gaffer .....................DAVIDSON TATEGenny Operators ................... BOB RODGERSSAM ELDRIDGEKey Grip ..........................RICO EMERSONBest Boy Grip .................... SEAN BOURDEAUDolly Grips .......................ROB COCHRANEGLEN GOODCHILDGrips. .....................RICHARD TEODORCZYKJIM PARKSYLVIA PRANAITISKey Rigging Grip ................MONGO ANDREWSRigging Best Boy ................. SHAUN KUEBECKSpecial Effects Coordinator . . . . . . . . WARREN APPLEBYSpecial Effects On-Set Key ........ SHUBA DASGUPTASpecial Effects Shop Key. .......CAMERON PATERSONSpecial Effects Rigger ...........JOHN MacGILLIVRAYSpecial Effects Office Coordinator. .FIONA MacPHERSONSet Decoration Buyers ...............KARI MEASHAMSet Dressers ..................JOHN “BUTCH” ROSEANDRIJ MOLODECKYJOE LIBANIOARLENE ALTMANOn-Set Dresser. ...................ANDREW CHANGAssistant Costume Designer .........JAY DU BOISSONCostume Supervisor. ............... SUZANNE APLINCostume Buyer. ...................NATHALIE GYSELSet Supervisor .................ROBYN ROSENBERGTruck Supervisor. ....................JENN BURTONCutter ..........................TAMIYO TOMIHIROBreakdown Artist .................DEBBIE WILLIAMSSeamstress. ...........................YING ZHAOKey Makeup Artist ...................LINDA DOWDSAssistant Makeup Artist ..............AMANDA TERRYMs. Chastain’s Hair by ...........STEPHANIE INGRAMKey Hairstylist. .............SUSAN EXTON-STRANKSMama Prosthetic Makeup ..................DDT SFXProsthetics Supervisors ................ DAVID MARTÍMONTSE RIBÉProsthetics Crew ..................RUBEN MARMOLScript Supervisor ....................SHANE SCOTTLocation Manager .................... VINCE NYULIAssistant Location Managers. ....ALEX MAKRYGIANNISJAMES BLACKERLocation Production Assistants . . . . . . . . JARED BURTONFERMIN BALADOChief Financial Officer (Spain) ..... MARTA MAS-SARDAProduction Accountant (Spain) ..........VANESA LERAProduction Accountant ............... JOHN GASKIN1 st Assistant Accountants ...............JEN STIVALAMATT NELSON2 nd Assistant Accountant .......... SHAUN COUGHLINPostproduction Accountants ...........SARA HOLMESROSE LISTERProduction Coordinator ......MARIE-CLAUDE HARNOISAssistant Production Coordinator ......CYNTHIA HILEY3 rd Assistant Directors ...........SILUCK SAYSANASYALISON McFARLANESet Production Assistant ...........JONAH GREISMANOffice Production Assistants ..........MICHAEL PIVARBRANDON BALONCasting Assistants ............EMERALD GOLDSMITHMILLIE TOMAdditional Casting by ....................JEN RUDINEYDE BELASCO– 3 –

ANDREA KENYONCORINNE CLARKAMY HUBBARDExtras Casting .................... DONNA DUPEREUnit Publicist .......................LISA SHAMATAStill Photographer. ..............GEORGE KRAYCHYKAssistant to Director & Producers ....................JENNIFER HOFFMEISTERMr. Del Toro’s Assistant .................IAN GIBSONConstruction Coordinator. ...............IAN FRASERHead Carpenter .......................STEVE IWANLocation Head Carpenter. .............MAURICE ROYAssistant Head Carpenters ............PETER DWYERJERRY BEAUDROWCarpenters ...........................JOHN TODDGILBERT DEMERSANDREW BAPSTNATHAN PRIEBEBRENDAN NEELYMIKE NEWTONDEL UPSHAWOn-Set Carpenter. .............. MARTIN McMULLENKey Scenic Artist .............. ROSSANA DECAMPOHead Painter. ......................CHERYL FISHERAssistant Head Painter. ............CRAIG COPPELLAScenic Artist .......................... JAK OLIVEROn-Set Painter ....................... JOEY PANKOPainters .........................JAMIE POUNDERMIKE CHARDJAMES O’MEARAKIRK COPPELLAPAM GIBSONJOHN FLYNNPaint Laborer .....................PETE HARWOODSculptors ............................DAN O’NEILLSCOTT DONAISKey Greens. ..........................JIM PETERSAssistant Greens ...............BARBARA WALLACEOn-Set Greens .........................JOHN HINZCHRIS PETERSTransportation Coordinator ............ DANA HOWESTransportation Captain. ...............ROBERT DAVISTransportation Co-Captain. ..........WAYNE IRELANDPicture Car Captain ...............RANDY HASTINGSDrivers ..........................RUDY BACCUCHICATHY BAYCROFTJIM BEAUDROWGARY CANALEMICHAEL CARDWELLDAVE CLEMENTSSANDOR DONGOFRANK FLETCHERRON HINESPAT HODGINSBRIAN LYTLEJOE NORRIS, JR.STEPHAN PYKEDEAN WITTHUNSwamper ..........................BILL JACKSONHoneywagon Operators ..............REG REYNOLDSDAVE MEADCraft Service. .......................STARGRAZINGCraft Servers ...................DESMOND BARNESDEREK BARNESJAMES MORLEYOn-Set Medic ......................MEGHAN SMITHAnimal Wranglers ....................JANE CONWAYVIOLETTA HESSINGTutor ........................... MARK WEINBERGMusic Consultant ..................MITCHELL LEWISClearances ..................THE RIGHTS COMPANY1 st Assistant Editor ................ALBERTO BERNADFX Editor. ....................... FERRAN BANCHSPostproduction Coordinator. .....EVA APARICIO NUEVOPostproduction Assistant ..............MAR FUENTESSound Postproduction ...............- 12dB MADRIDSound Editor ........................ ALLAN FUNGSound Designer ............... GABRIEL GUTIERREZDialogue Editor. ............. IÑAKI SÁNCHEZ-ELVIRAFX Editor (Sound) ....................ALFREDO DÍAZAssistant Sound Editor. ..........LIONEL FERNANDEZDialogue Advisor ................ STEPHEN HUGHES– 4 –

Sound Re-Recording Mixer ..........GREG CHAPMANSecond Re-Recording Mixer .............MARC ORTSFoley Artist .....................MANOLO CARRIÓNAssistant Sound Re-Recording Mixer ......MARC BECHSoundub Technical Director ..............DAVID SANSRe-Recorded at .............SOUNDUB BARCELONADolby Consultant ......................JAUME PUIGDolby Atmos Consultants. ........MATT DESBOROUGHHUBERT HENLESDDS Consultant ...................... LES BROCKDATASAT Consultant ............. JUAN CARLOS CIDTitle Design. ............................USER T38Title Drawings. ........................MIREIA VILAOrchestrator ................FERNANDO VELÁZQUEZScore Engineer/Mixer. ......... MARC BLANES MATASOrchestrator/Music Programmer .....JAIME GUTIÉRREZOrchestrator/Music Programmer .... JOHANNES VOGELOrchestra .......BUDAPEST SYMPHONY ORCHESTRAOrchestra Contractor ..................GYULA KRUMScoring Stage. .......PHOENIX STUDIOS—BUDAPESTRecording Technician .................JÁNOS BOHUSStudio-Manager ......................IBOLYA TÓTHDigital Visual Effects by ...................MR. X INC.Visual Effects Supervisors .......EDWARD J. TAYLOR IVAARON WEINTRAUBSupervising VFX Producer ...........DENNIS BERARDIVisual Effects Producers ...........SARAH McMURDOWILSON CAMERONVisual Effects Production Manager ..MICHAEL BORRETTLead Visual Effects Coordinator. .....NICK COLANGELOVisual Effects Coordinators ...........NAOMI FOAKESCHRIS ROSSOn-Set VFX Coordinator ............... CHRIS RITVOAnimation Supervisor ..............JASON EDWARDHAnimation & Tracking Lead. ...........DAN CARNEGIEAnimation .............................PETE DYDOMATTHEW LAJOIETracking & Layout. ............JOSEPH CHENG CHENNATASCHA EVANSTIE DAVID GAMBACURTAMARTIN HESSELINKMAKARAND NAZIRKARMATT RALPHRigging Supervisor ..........................JIM SURigging ................ALFREDO OCTAVIO ARANGOMICHAEL GOLDFARBJON J. McCALLUMCHARLES WARLAWFX Supervisor .......................KYLE YONEDAFX Lead .......................STEPHEN WAGNERFX Animation .....................KEITH ACHESONJEREMY DINEENCLAUDIO GONZALEZVIMAL REDDY MALLIREDDYDONNA TANGModeling & Texturing Supervisor ...... CHRIS MacLEANModeling & Texturing Lead. .........JASON GOUGEONModeling & Texturing ...........FRANCISCO ALVAREZMAI-LING LEEYUHAY-RAY NGJUAN DE SANTIAGOIAN SPRIGGSHair Lighting Technical Lead ...........AYO BURGESSLighting Supervisor ................. TREY HARRELLLighting Lead ...................... ENGIN ARSLANLighting. .....................MICHAEL FESSENDENANJA STITICTechnical Leads .........................JIM PRICEMICHAEL RICEDigital Compositing Supervisor ........TAMARA STONEDigital Compositors .....................MANDY AUGREG ASTLESBARB BENOITKRISTY BLACKWELLROBIN BROWNOVIDIU CINAZANDOUGIE COOKGARY J. COUTOKEN NIELSENOLIVIA YAPPKAZUMASA SHIBATADigital Matte Painting Supervisor. .... MATT SCHOFIELDDigital Matte Painting ...............TRACEY McLEANMILAN SCHERE– 5 –

Paint & Roto .............................WEI GAOANGEL LIHAO MENGBEN MOSSMANANNA PACCHIONIProduction Assistants ........... MICHELLE BERARDICELINE ZOLETADailies Operators .....................MATT PELLARJAMES SOARESCLIFF BIELAWSKIHead of Systems ...................RORY FALLOONSystems Team ....................MARCUS BEINERJAMES BUNKCHRIS NGUYENDAVE YOUNGOperations ........................SARAH BARBERNATALIE BROOMHALLCRAIG CALVERTJO HUGHESLARA OSLANDDIANA PAZZANOCONNIE PERSECHINIELIZAVETA YANKELOVICHVFX Accountant .......................LINDA ROSEDigital Visual Effects by .....................CUBICAVFX Supervisor. .......................JOAN AMERCESC BIÉNZOBASVFX Lead Artist. ................CARLES ZAMORANOVFX Artists ...................... RUBEN ALGARRALLORENÇS BORRÁSJOSE LUIS ESTEFANÍALORENZO LOVERACompositors. ....................ROBERTO GARCÍAEDU PUERTASDAVID VICODigital Visual Effects by ...................USER T38VFX Supervisor. ......................DAVID HERASVFX Producer .................... CARLOS PUCHOLDigital Compositors ..................OSCAR PEREAJORGE OLIVAJAVIER URRUTIADigital Compositors Animatic. .......ELISA MAR FERREJOAQUÍN GUTIERREZJUAN ALONSOCGI/3D Artist .............IÑAKI GEGÚNDEZ VICENTEGraphic Design. ....................SERGIO ROZASNATALIA MONTESRAÚL MONGENightmare Concept Design .............RAÚL MONGEPhoto Editing ......................SERGIO ROZASLegal Department VFX ...............RAÚL BERNABÉSILVIA LOPEZDigital Intermediate ............DELUXE BARCELONAManager ...................RAMÓN MARTOS CALVOProduction Manager. .............. DAVID CÁRCELESProduction Coordinator ...........MAREL CAMARENADailies. .............................JORGE ORTÍZColor Grading. ....................MANOLO MILLÁNColor Management. ..............STEPHANE CATTANDigital Intermediate Supervisor .......NACHO MELERODigital Intermediate Coordinator ......LAURA SÁNCHEZDigital Intermediate Colorist. ........QUIQUE CAÑADASEditing & Finishing .................ENRIC SEBASTIÀRICARDO JUANFilm Out .........................NACHO MELERODailies Postproduction by ......... DELUXE TORONTODailies Project Manager ........... JOHN BARDSWICHData Dailies Operators .............. AJ McLAUGHLINCHRIS BLACKLOCKVDC Operators ................... BERNIE CLAYTONMIKE SEELEYData Dailies Supervisor ................RUI MARTINSDailies Operations Manager ............ GARY BROWNTechnical Resources Manager ...........MARK THORPVFX Pulls ..........................PIETRO GALLOERIC MYLESADR Sound Project Manager ........... JAIME GOULDADR Recordist .......................DAVID DRAGECOLIN McLELLAN2 ND UNITUnit Production Manager ...........DEBORAH MARKS– 6 –

First Assistant Director ..............PENNY CHARTERSecond Assistant Director ......... SARAH CAMPBELLLead Man ........................GREG LANGHAMProperty Master ................ JONATHAN KOVACSAssistant Property Master .............MARY BIRKETTDirectors of Photography ......... MIROSLAW BASZAKMICHAEL GALBRAITHCamera Operator ................PERRY HOFFMANNFirst Assistants Camera .................MARK CYREJOHN HICKEYSecond Assistants Camera ......AMANDA WOJTASZEKJULIA SEIDMANCamera Utility. .................. MICHAEL PURDONDigital Imaging Technician ..........PAUL THOMPSONVideo Assist Operator .............JEFFREY CASSIDYBoom Operator. .....................ZACH HUNTERElectric ........................LESLIE WHITTAKERTIM A. CAMPBELLGenny Operator ................... MICHAEL PLANTSet Decoration Buyer ..................SANDY GLUDSet Dressers .....................VINCENT HARPERGREG CARSONSet Supervisor ..................CHRISTINA CATTLETruck Supervisor. ...................RASHMI VARMAAssistant Makeup Artist ............KRISTA BURBIDGEAssistant Hair Stylist .............RHOSAEL CIANDRELocation Manager ..................INGRID FIELDENLocation Production Assistant ........DAVID FRANKLINAccountant .......................... DAN HORVAT1 st Assistant Accountant .........ANDREW G. MUNROProduction Coordinator ...............MARY FRASERAssistant Production Coordinator ....................KARLA TRUJILLO VILLON3 rd Assistant Director ............. KATHRYN HUGHESOffice Production Assistant ............JOHN HANLEYCarpenters ....................... ZACHERY KELLYSCOTT GRALAFRED PERNEKEVIN CURTAINJOACIM ORTOUKey Scenic Artist ......................IAN NELMESHead Painter. ...................SHAWN PECKFORDAssistant Head Painter. ............JAMES COPPELLAOn-Set Painter ..................... ROBIN RENTERPainter ................... ANDREW MISILLBACHERTransportation Coordinator ............. BEN CEKUTATransportation Captain. ................PETER SINGHTransportation Co-Captain. ..............JEFF BLAKEDriver .............................JOE VECHIOLAJACK LOGANREGINA POPPSTEVE WARRENCaterers ........................BLAZING KITCHENOn-Set Medic ..........................YAN REGISTutor ..............................ANDREA EISENBARCELONA UNITUnit Production Manager ............ANNA MAYOLASDirector of Photography. ...........SEBAS SARRAUTE1 st Assistant Director .................JORGE ROGER1 st Assistant Director Test. .........BRUNO MANTOANIProduction Coordinator ..............CRISTINA TORT1 st Production Assistant ...............JULIA MOLINSProduction Assistant ..................DANIEL ABRILDAVID CLARIAJAVI PUENTEJAVIER ALLERRunners ...........................VICTOR LÓPEZJULIA CARRASCO1 st Assistant Camera ...........FERNANDO GAYESKYORIOL BUSQUETSXAVI MORÓNClapper Loaders. ..................CHRIS WARWICKALEX SANSDIT Technician .................... CARLES COLOMVideo Assistants. ...................LUCIA VASALLOALEX RUIMAMA Prosthetics ........................DDT SFXDDT Crew .........................JORDI MORERARAQUEL MUNUERAPABLO PERONA– 7 –

MARCOS SAGASTARUT SALGADOJOSE MANUEL MENESESANTONIO GÓMEZDDT Assistant. ..................MELANIE GERBEUXCostumes .........................OLGA VILASECAProps ..............................LIDIA SABATÉHairstylist ..............................KIM GRAUPuppeteers/FX ..............................NASAFX Coordinator .....................ORIOL TARRIDAFX on Set ............................ELOI SERRAJAIME FORTEAJUAN CARLOS DÁVILAStunt. ...........................ALVARO JIMENEZGaffers ............................ ALEX GARLOPJORDI JOANIGrips. .........................MANUEL PRETIÑEZXAVI MONTOLIUElectricians ..........................PEP LLOPARTALEX NARVÁEZJOSU CEJUELATONI VALLSDrivers ......................... RICARD HIDALGOXAVI MONTOLIUSound Designer Offline .............ORIOL TARRAGODialogue Editor Offline ..................LAURA DÍAZAssistant Sound Editor Offline ..........BOI MARTINEZCamera Provided by. ................SERVICE VISIONLights Provided by .......................ZEFERINOStudio ...........PARC AUDIOVISUAL DE CATALUNYAQUEBEC UNITSAGA Film Production Manager ... VINCENT ROUTHIERLocation Production Assistant ....RAYMOND MARANDAUnit Manager ..............PIERRE-RENE BONNETTEUnit Manager Assistant .............DANIEL LACASSECoordinator ...................MATHIEU ROBINEAUCamera Car Technician ..........JOCELYN BOURCIERCamera Car Driver .............PHILIPPE PERREAULTTechno Jib Technicians ............. HUGNES LAVOIEFRANCOIS LEDUCCraft Service Server .................ZOHRA SEBBAROn-Set Medic ..................JEAN-CLAUDE HUOTDrivers ......................FREDERICK MERCIERANDRE OUELLETEJACQUES LEFEBVREGERALD GAUDREASONGS“MISSING PIECES”(WHITE, JACK)® 2012 by Third String Tunes/EMI Music Publishing Ltd.Edición autorizada para España aEMI Music Publishing Spain S.A.All rights reserved. International Copyright secured.Performed by Jack WhiteCourtesy of Sony Music Entertainment España, S.L.Licensed courtesy of XL Recordings LtdBy arrangement with Beggars Group Media Limited“VAMPIRE GUITAR”(MR MÎSAEL & LOS ATORMENTADOS)Written by Gerard MisaelArranged by Alberto Bernad, Marcel Cifré, Gerard Misael,Sergio Roldán y Javier RuizPerformed by Mr. Mîsael & Los Atormentados® 2012 by Mr. Mîsael & Los AtormentadosThe 615 MUSIC MUSICAL WORKS contained in thismotion picture have been authorized on an exclusivebasis for Spain to Konga Music, S.L. All rights reserved.Clip of Silent Running©1971 Universal PicturesCourtesy of Universal Studios Licensing LLCLegal Services byECIJAEMILIO PRIETOCAROLINA GRACIAHEENAN BLAIKIEBAKER & McKENZIE– 8 –

Accounting Services byJOE IACONOWEISBORD DEL GAUDIO IACONO C.A.SERGI PALATPLETA AUDITORESLucas’ Drawings byGORAN DELICKids’ Drawings byRYLAN FOLEYELLA LANTHIERDolls bySOPA DE PRINCIPEProducers wish to thank RUSSELL ACKERMANProducers also wish to thankAGUSTÍN BERRUEZOIVÁN VALERO Y ANNA QUINTANAAPUNTOLAPOSPODAVID ALCALDESILVIA ANOROSEBAS ANTICOIRMA BORRELLBENITO BURGOSJAVIER CABRERORICARDO CARRASCOPANCHO CHAMORROLORENZA del TOROPABLO FARINARICARDO FERNÁNDEZ DEUJULIA FONTANTAMª ANGELES FORMENTÍNJUAN CARLOS FRESNADILLOMERCEDES GAMEROJAUME GARCÍARICARDO GARCÍARUBEN GARCÍAPABLO GÓMEZBEN GORDONADRIÁN GUERRAMARC HELWIGJOSÉ LUIS HERVÍASSUSANA JIMENEZLAURA LEPRELOUIS LETERRIERDAVID LINDEMARC LÓPEZMICHELE MUSCHIETTIMIGUEL MUSCHIETTIPETER LA TERRIERELUCY LENOXPABLO MIRASSUSANA PASTORROSA MARÍA PELLICERANGEL SALAGARY UNGARMIREIA VILACHET ZARProduced in association withAn Astral Media NetworkNO. 47912Dolby AtmosMOTION PICTURE ASSOCIATIONOF AMERICA– 9 –

A CANADA-SPAIN CO-PRODUCTIONCOPYRIGHT © 2013 DE MILO PRODUCTIONS(MAMA) INC. and TOMA 78 S.L. All Rights Reserved.With the participation of CAVCO and OMDCTHE CHARACTERS AND EVENTS DEPICTEDIN THIS PHOTOPLAY ARE FICTITIOUS.ANY SIMILARITY TO ACTUAL PERSONS,LIVING OR DEAD, IS PURELY COINCIDENTAL.Canadian Film Production Tax CreditTHIS MOTION PICTURE IS PROTECTED UNDERTHE LAWS OF THE UNITED STATES AND OTHERCOUNTRIES. UNAUTHORIZED DUPLICATION,DISTRIBUTION OR EXHIBITION MAY RESULT INCIVIL LIABILITY AND CRIMINAL PROSECUTION.To our MomWith the support of ICAAWith the collaboration of ICECCredits as of October 31, 2012.– 10 –

(L to R) Lilly (ISABELLE NÉLISSE), Lucas (NIKOLAJ COSTER-WALDAU), Victoria (MEGAN CHARPENTIER) and Annabel (JESSICA CHASTAIN) in Mama.“A ghost is like the essence of a person.If you leave a full personality to desiccate in the sun,then what is left is the corpse of one emotion.”– Guillermo del ToroAcademy Award ® -nominee GUILLERMO delTORO (Pan’s Labyrinth, Hellboy series) presentsMama, a supernatural thriller that tells the hauntingtale of two little girls who disappeared into the woodsthe day their parents were killed. When they are rescuedyears later and begin a new life, they find that someoneor something wants to come tuck them in at night.Five years ago, sisters Victoria (Red Riding Hood’sMEGAN CHARPENTIER) and Lilly (Mirador’sISABELLE NÉLISSE) vanished from their suburbanneighborhood without a trace. Since then, their UncleLucas (Game of Thrones’ NIKOLAJ COSTER-WALDAU) and his girlfriend, Annabel (The Help’sAcademy Award ® -nominated actress JESSICACHASTAIN), have been madly searching for them.But when, incredibly, the kids are found alive in adecrepit cabin, the couple wonders if the girls are theonly guests they have welcomed into their home.As Annabel tries to introduce the childrento a normal life, she grows convinced of an evil– 11 –

ABOUT THEPRODUCTIONA Mother’s Love:The Dark Fable BeginsAnnabel and Lucas are not prepared to become parents.presence in their house. Are the sisters experiencingtraumatic stress, or is a ghost coming to visit them?How did the broken girls survive those years allalone? As she answers these disturbing questions,the new mother will find that the whispers shehears at bedtime are coming from the lips of adeadly presence.Director ANDY MUSCHIETTI makes his featurefilmdebut with Mama, which was written by NEILCROSS (television’s Luther) and Andy Muschietti& BARBARA MUSCHIETTI (Historias deDhallywood). The movie is based on the Muschiettis’acclaimed short film Mamá.The behind-the-scenes team is led by producerJ. MILES DALE (The Vow, upcoming Carrie), whoproduces the film alongside Barbara Muschietti. Theyare supported by a key crew that includes cin ematographerANTONIO RIESTRA (Black Bread),Academy Award ® -nominated production designerANASTASIA MASARO (The Imaginarium ofDoctor Parnassus), editor MICHELE CONROY(Splice), costume designer LUIS SEQUEIRA(Breach), composer FERNANDO VELÁZQUEZ(The Orphanage) and the Oscar ® -winning makeupteam of MONTSE RIBÉ and DAVID MARTÍ(Pan’s Labyrinth).Del Toro serves as executive producer of the film.Based on their acclaimed short that tookthe film community by storm in 2008, Mamais the first feature crafted by internationalcommercial director Andy Muschietti and hissister, producer Barbara Muschietti.Over the course of just one day in 2006, the Spanishnatives made their short as an exercise in style and toshow that Andy was capable of creating dark materialin addition to his humorous commercials. In the film,we are introduced to two young girls, Victoria andLilly, as they are trapped in their house and terrifiedof something or someone. We follow them as they tryto escape a spectral creature only known as “Mamá,”running from one end of their house to the other…untilthey find themselves trapped at the end of a hallway andwith nowhere to hide.It would take two more years before the footage wasedited and visual effects were added by the in-demandyoung director and his producer. Once completed anddistributed, the short drew international festival and,ultimately, industry attention. The Muschiettis attributethe short’s success to its evoking deep fear with the playon a primal archetype, as well as to its brevity.Discussing the project, Barbara Muschietti reflects:“We are lovers of the horror genre, and these are the filmsthat have kept us dreaming of making our own films.”Barbara is equally enthusiastic about working with herbrother: “I think we are that much stronger at what wedo because we know we have each other’s back.”Andy Muschietti returns that it was this relationshipthat pushed both of them to realize they could makea feature out of their first collaboration: “Barbara is– 12 –

a great ally in that she wants to make a great movie,and at the same time, she’s my sister and she wants toprotect me.”The short grabbed the attention of Guillermodel Toro, the prolific writer/director/producer whohas produced close to 20 movies, many by first-timedirectors. He watches hundreds of short films each yearand tries to give words of encouragement to burgeoningfilmmakers as they transition to bigger projects. Oncein a while, he finds something truly special. That wasindeed the case when del Toro’s then assistant showedhim the Muschiettis’ work.Del Toro describes his attraction to translatingMamá into a feature film: “In the first 10 seconds ofthe short film, it was clear that Andy Muschietti reallyunderstood drama, and I was very impressed. Andy isthe real deal.”What particularly struck del Toro was theMuschiettis’ decision to have two little girls become thecrux of such an intensely scary story. The Mexican-bornfilmmaker has long believed that children are essentialin spooky tales because “the origin of the horror storyis in the fairy tale—Grimm’s fairy tales, folktales fromEastern Europe, Russia and Appalachia, are all full ofviolence and horror.”And what would a children’s horror story be withouta crazed mother figure? Del Toro adds: “I think that apossessive mother is a great idea as a monster becauseeverybody has known one, whetherit’s your own mother or a friend’smother or in fiction.”Through their embracing ofthese fables and passed-down ghoststories, audiences have long enjoyedthis style of suspenseful storytelling.The Muschiettis wanted to create asupernatural thriller that terrifiesmoviegoers on a primal, familiallevel and tell the story not only of amonster, but also of a deeply humanemotion bent monstrously out of proportion. Now theyhad just the man in their corner to help them do so.The Muschiettis were honored by their mentor’sassistance. Says Barbara: “Guillermo is a fantasticteacher who loves sharing his knowledge; we’velearned so much technically, creatively and in termsof the business.” Del Toro enjoys this role and toldthe Muschiettis that it never gets better than your firstfilm and that they should always stick with their gutinstincts. She adds: “The insight he’s given us hasbeen invaluable, and we feel incredibly lucky to havehim in our lives.”Drawing upon his years of experience producinga range of projects, from the blockbuster The Vowand genre-smashing Scott Pilgrim vs. the World tomore serious fare including Hollywoodland and Talkto Me, fellow producer J. Miles Dale joined BarbaraMuschietti to produce the genre-defying film. As wasdel Toro, Dale was drawn to develop Mamá as a featurebecause he felt the short was “arresting and leaves youwanting more. It explores universal themes of what hasan impact on a child, what it means to be a parent andhow love and support come in different ways.”Once Dale began conversations with the film’sdirector about his ideas for the long-form piece, theproducer was sold. Dale commends: “The greatestthing about Andy is that he can convey his vision ina very inventive way. He’s got a great sense of humor,Lilly hides behind sister Victoria.– 13 –

Dr. Dreyfuss (DANIEL KASH) analyzes Victoria.he doesn’t get nervous, and he doesn’t pretend to knoweverything. He’s happy to ask an opinion.”Del Toro met with the Muschiettis to develop thescreenplay completely from scratch, using the short filmas atmosphere and expanding upon its characters. TheMuschiettis wrote the first draft, then del Toro “took astab at it…added a couple of scares,” but they all agreedthey needed a further polish of the screenplay.That work came from Neil Cross, whom del Torodescribes as “a screenwriter I admire and respect, andwhose draft jelled everything into the movie we’reproducing today.” As the screenplay came together, delToro grew to appreciate just the hold that the Mamacreature had on these two desperate little girls—and theprimal need that mothers have to protect their young.Indeed, she mothers them the only way she knows how,and she will kill to protect her new daughters.The producer—who openly believes in ghosts—admittedly devours stories in which the ghost isimbued with very human traits. He reflects: “I lovedthe idea of two girls lost in the woods, adopted andsustained for years by a deranged ghost consumedwith possessive, asphyxiating motherly love. It’s whenthe girls are rescued and brought to the city that thereal problems begin.”Naturally, the feature version of Mama is anextended technical, visual and narrative form ofthe short. To lengthen the project would be no smallfeat. Del Toro, Dale and the Muschiettiscollaborated at every stage of development,casting and filming. Though known for hisown terror-inducing films, del Toro is clearthat “Mama is Andy’s movie, and he’s doingit in a style all of his own. I think it’s reallyquite a fantastic piece, and it doesn’t need toresemble anything I’ve done.”Although he is a veteran commercialdirector who has mastered the art of storytellingin as little as 30 seconds, Muschiettiappreciates the confidence and support ofhis film’s executive producer: “Guillermo has been likea godfather to us on this movie. From the beginning, itwas clear that he wanted us to do our best. He’s beengenerous with his time and incredible knowledge,demanding in all the right ways, enthusiastic and, aboveall, shown us that he believes in trusting instinct.”The director reflects: “There were a few momentswhen we were developing the story, where we haddifferent ideas about things, and more often than not hewould remind us that it was our movie, our instinct, andwe should follow it. You just couldn’t ask for a bettermentor than Guillermo has been to us.”Returns del Toro: “I think Andy has a great careerahead of him. He is supernaturally calm, very sureof himself, and I admire the fact that he fights for hisideas—even with me!”Lost Children andNew Parents:Casting theSupernatural ThrillerWhen selecting the actors to portray the key rolesin Mama, it was crucial to find the correct performers,regardless of their star power at the time. The key partsthat the filmmakers needed to fill were those of the newfamily cobbled together after Victoria and Lilly are– 14 –

found in the woods and returned to civilization. Theirunlikely saviors are their Uncle Lucas and his wildchildgirlfriend, Annabel, who is admittedly unpreparedfor motherhood.The free-spirited Annabel supported her boyfriendduring the years that he spent searching for his missingnieces. After they are found, the bass drummer initiallyresists getting involved with the girls’ caretaking, butultimately she finds solidarity with them.When casting for the part began, actress JessicaChastain had already worked with filmmakers includingTerrence Malick, John Madden and Al Pacino, butfew of her movies had been released and she was stillrelatively unknown. That would all change during 2011,the year her career launched into the stratosphere.Del Toro gives his production executive, RUSSELLACKERMAN, credit for bringing Chastain to hisattention. Needless to say, the executive producerwas blown away with her work. As timing metopportunity, the buzz about Chastain began to buildas her slew of 2011 releases—including The Help, inwhich she gave an Oscar ® -nominated performance—introduced her to audiences worldwide. Del Torocommends: “Our biggest victory in Mama wascasting Jessica Chastain. She has the unique abilityof showing great strength and great vulnerability atthe same time, and the intangible giftof instantly making you care about her.”The director also praises theproduction’s Annabel: “Jessica is abeautiful human being and an amazinglytalented actress. I will be forever gratefulfor how she dug inside herself to give adimension of life and sorrow to Annabelthat I never dreamed of. There wereintense moments where she made hugeemotional investments that you feel onscreen. We were very lucky to have her.”Chastain admits that she looks forprojects that challenge her comfort zone,and when she read Mama, she was immediately hooked.She reflects: “I’m a huge fan of horror films, and Mamais terrifying and unlike anything I’ve ever done before.”She also responded to her character’s deep arc. “I lovethe way Annabel goes from being a reluctant guardianto the girls, to the place where she’d rather die than letharm happen to them.”The performer appreciated that the Muschiettisweren’t aiming for cheap scares with their feature debut.Rather, she knew they were constructing a thriller thatis as much psychological as supernatural. ExplainsChastain: “Mama tries to kill Annabel because Annabelis the rival to the affections of the girls. Mama is perfectlyfine with the girls being in Annabel and Lucas’ house, aslong as they love Mama best. But once the girls discoverthat Annabel is warm, they see there is something theycan get from Annabel that they could never get fromMama. You start to see their alliances shift, and that’swhat causes all hell to break loose in the house.”With the collaboration of wardrobe, hair and makeupdepartments, Andy Muschietti worked with Chastain tocreate Annabel’s signature look: a reluctant hero andraven-haired 30-year-old teenager. Del Toro admits hewas the most surprised when he first saw the charactercome to life. He laughs: “The look of Annabel was verysurprising to me—tattoos, black hair—I would haveLilly colors with Victoria.– 15 –

Annabel tries to protect Lilly and Victoria.gone a completely different route. But when I saw her,I understood who she was instantly.”The actor who would play the dual roles of artistLucas Desanges and his twin brother, Wall Streetfinancier Jeffrey, needed to have range to portray afather driven to his breaking point before he drives hisyoung girls out into the wilderness. Dale gives someinsight into the character of Lucas: “The girls’ unclefeels a tremendous responsibility because nobodyknows really what happened on the day that theydisappeared. He wants to unravel the mystery, butultimately, fatherhood is not a role that he’s entirelyready for; there are a lot of things that he doesn’t know.So when he starts that journey, he’s doing it blindly,just out of love.”The director and producers auditioned manyleading men in Hollywood and Europe for the role ofLucas/Jeffrey, but all had very different ideas on whatwas needed in their performer. Del Toro explains:“Andy was interested in going one way, the studio wasinterested in going another, and I was interested in goinga third way. Then all of a sudden, we saw the readingthat Nikolaj Coster-Waldau did, and we converged.He was the guy who could pull it all together.” DelToro credits the Game of Thrones star with “radiatinga sense of being centered and grounded” in makinghim believable as someone who could makeAnnabel consider taking on this madness.Coster-Waldau appreciated that theproject was not remotely what he expectedit would be: “I knew the genre of the story,but I didn’t expect the story to evolve as itdid. It’s like you read one of those horriblestories in the paper about a guy who’s lost itand had a breakdown and killed his wholefamily and himself; that’s how it starts. Thensuddenly, the story becomes somethingvery different. But when I saw Andy andBarbara’s short, I could see clearly thatAndy is unique in how he uses the camera. Iloved how the short is about these kids and Mama, butit’s almost like you can feel them.”As Chastain notes, Coster-Waldau was moved by theterrifying jealousy of the Mama creature. He elaborates:“As long as there’s no emotional connection betweenthe kids and whoever they meet, Mama is fine. But assoon as there’s an emotional threat, she goes in and getsaggressive. Clearly in the beginning, Lucas is the onewho’s connecting with the girls. So he is a threat and shepushes him down the stairs in a very special way.”For the critical roles of the feral girls left in the woodsfor five years, 10-year-old Megan Charpentier was cast asVictoria and eight-year-old Isabelle Nélisse was broughton board as her little sister, Lilly. As both girls are inthe majority of the scenes of the thriller, the filmmakersknew the search to cast them would not be a simple one.Barbara Muschietti admits casting the children washer biggest fear: “We were terrified about finding thesetwo girls because this is heavy material that requires a lotfrom them physically and emotionally, and they’re in justabout every scene of the movie.” Casting sessions acrossCanada uncovered what the producer calls “the twomost precious little girls ever. Megan and Isabelle areamazing. Amazing! They’re both completely dif ferentbut spectacular, and everybody on set was absolutely inlove with them.”– 16 –

Dale reflects on the process: “Casting children isvery intuitive. Then you take a chance that what you seeat the audition will hold up when you get into the rigorsof working long days away from home—and, in thiscase, going to a darker place than the average child actorwould go. I’ve been so impressed with how Megan andIsabelle have managed to maintain a kind of grace andfun through it all.” He laughs: “It’s been inspiring and abreath of fresh air for all of us cynical film people.”Andy Muschietti couldn’t have imagined that thetwo characters he and his sister created six years agowould manifest into the young performers in his featuredebut. He discusses: “Victoria and Lilly have differentarcs, but they both have to go through a lot emotionallyand be credible. Megan is a more rational, adult kindof actress, even though she’s 10, while Isabelle is morevisceral and spontaneous. But they both bonded withJessica and delivered the perfect intensity.”As for casting the film’s signature character? Mamaherself is the final element that translates from the shortfilm to the feature. The role is played in both pro ductionsby Spanish actor and movement expert JAVIERBOTET, whom Andy had seen in the Spanish horror film[Rec] and recognized as perfect for the title character.Standing an astonishing seven feet tall—withuncommon body features and physical abilitiescommensurate with his measurements—Botet movesdelicately, deliberately and ter rifyinglyas Mama. Barbara Muschiettisurmises: “Javier doesn’t speak a word,but he speaks volumes.”Del Toro likens Botet to one ofthe former’s frequent collaborators—the inimitable Doug Jones, who hasplayed fascinating characters in delToro’s movies, such as Abe Sapien,Pan, Pale Man and the Angel ofDeath—describing Botet’s work as“part performance art, dance andcreepy mime.”Finally, Aliens’ DANIEL KASH joined the productionas Dr. Dreyfuss, the psychiatrist in charge ofVictoria and Lilly’s care after they are mysteriouslyfound in the woods and returned to civilization.Although his interest initially seems altruistic, thedoctor’s motive in diagnosing the girls turns out to beless than benign. As one might imagine, Mama is nonetoo pleased with his therapy suggestions or subsequenttreatment plan...The Look of Terror:Design of MamaAndy Muschietti reveals that he long envisionedthe character of Mama “as a Modigliani painting left torot.” Being a renaissance man, the director designed theoriginal Mama with reference to the “lowbrow” style—also known as pop surrealism—made famous by ChetZar, an American artist noted for his dark visual art,makeup effects and digital animation.The director’s extensive drawings and storyboardsinspired Mama cinematographer Antonio Riestra,production designer Anastasia Masaro and costumedesigner Luis Sequeira to collaborate on the wellblendedcolor palette and detailed style choices featuredin every shot of the film.Lilly plays idly with Victoria’s hair.– 17 –

(L to R) Director ANDY MUSCHIETTI and executive producer GUILLERMO del TORO on the set of Mama.needed to be friendly and invitingto kids…yet exclude saturatedhues that would conflict with therest of the film design.For these spaces, Masaro usedbright colors in a muddier range,which director of photographyRiestra subsequently toned downeven further. The rest of themovie employed earthy tones tomaintain the moody, dark qualitythat Andy Muschietti wanted toproject, continuously remindingus that the long-deceased Mamais still omnipresent.In the fall of 2011 as Mama began production, Del Toro credits Andy Muschietti for understandingPinewood Toronto Studios and locations in and around how to generate fear in the film: by using restraint inToronto afforded the filmmakers the opportunity to how much—or rather, how little—he reveals of thebuild sets and adapt existing locations to the exact title character. Says del Toro: “It can be scarier to notspecifications of the script.see than to actually see, or to imagine what was seen.Creating sets for Mama was further complicated Mama is shown just enough that you feel satisfied, butbecause much of the horror takes place in an innocuous not too much that it loses its punch.”suburban house. Even the abandoned shack in the woods The director explains the approach that he and DPis an example of 1950s architecture, not a creepy castle Riestra employed, which Muschietti admits was halfscriptedand half-found during the course of production:or a decrepit mansion commonly used as settings forthis genre. The sets not only needed to lend themselves “One way of creating fear is by not letting the audienceto reality, but also offer the audience spaces in which see what they want to see, by detaching from theirthey could project their worst fears. The Muschiettis point of view. This device, known as a ‘lazy camera,’credit production designer Masaro and her team with strategically forgets characters and has the effect ofachieving what Barbara calls the “benign but rotten” generating tension.”look they craved.Andy Muschietti praises Riestra for finding theFor her part, Masaro employed colors with an earthy right lens with which to film Mama and accentuateglow. Browns and blacks accompany Mama—from the her proportions, and for lighting in such a way thatmoldy way she appears on walls to her wardrobe and adds visual interest and mood throughout. Riestra’sthe gifts she presents to the girls as she grows to claim vision for the film was dark but stylized, keeping thethem as her own. When it came time to explore the detail in significant moments, such as highlighting thechildren’s world outside of the forest, the color palette characters’ skin to show their reactions to what theywas broadened to include yellows, blues and greens. may—or may not—have seen.The girls’ room in Annabel and Lucas’ house, as well Barbara Muschietti raves that Riestra—who hadas the bedroom in the institute run by Dr. Dreyfuss, developed a rapport with the brother-and-sister team– 18 –

in the days they worked together in commercials—“painted the whole movie with just the right mood,aesthetic and visual texture.”In order to further achieve his vision for design,Andy Muschietti conducted a series of physical testswith Javier Botet that involved manipulating his bodymovement. Together, they ultimately found the rightbalance of actor, prosthetics and digital effects. Fear isgenerated through the physicality of a real and livingMama, and the challenge was to balance computergeneratedeffects with prosthetics.The renowned Mr. X visual-effects team led byEDWARD TAYLOR provided the hyperrealisticelement of Mama’s hair, while the Oscar ® -winningSpanish makeup effects team of Montse Ribé andDavid Martí, of DDT Effects, built the prosthetics thatelongated Botet’s neck and fingers and brutally distortedhis face to showcase a specter who has lost more thanone could ever imagine.A longtime proponent of blending VFX withspecial effects, del Toro suggested DDT to theMuschiettis. He commends: “I trust them completely.From The Devil’s Backbone, Pan’s Labyrinth, Hellboy,The Orphanage…I think they are one of the best teamsof makeup prosthetic effects in the world right now,and frankly ever. They are a pair of geniuses, and Iknew they were going to be able to interpret Andy’sideas for Mama.”Costume designer Luis Sequeira brought Andy’scocoon concept to life and constructed Mama’s flowingdress to mirror her digitally generated floating hair—not a simple task when the hair was yet to be created andthe actor was wearing a bald cap. Since Mama walks,flies, grows and mutates throughout the film, Sequeirahad to create 15 versions of the same dress. Each onewas hand-sewn and dyed to appear seamlessly fromscene to scene as a single dress with a long tail.Production wrapped, del Toro sums up on behalf ofthe filmmaking team what they’ve been sharing sincethe short Mamá was created several years ago: “Themost unyielding force in the universe is maternal love,but when it goes wrong, it produces a very particularbrand of compelling horror.”****Universal Pictures and Guillermo del Toro presenta De Milo/Toma 78 production of a film by AndyMuschietti: Jessica Chastain, Nikolaj Coster-Waldau inMama. Casting for the thriller is by Robin D. Cook,CSA, and the music is by Fernando Velázquez. Thecostume designer is Luis Sequeira, and the editor isMichele Conroy, CCE. Mama’s production designer isAnastasia Masaro, and its director of photography isAntonio Riestra, AMC. The film’s associate produceris Cristina Lera Gracia. The thriller’s executive produceris Guillermo del Toro. Mama is produced byJ. Miles Dale and produced by Barbara Muschietti.It is from a story by Andy Muschietti & BarbaraMuschietti. The screenplay is by Neil Cross and AndyMuschietti & Barbara Muschietti. Mama is directedby Andy Muschietti. © 2012 Universal Studios.www.mamamovie.com– 19 –

ABOUT THECASTAcademy Award ® nominee JESSICA CHASTAIN(Annabel) has emerged asone of Hollywood’s mostsought-after actors of hergeneration.Following a whirlwind2011, in which she receivedseveral nominations andaccolades for her work fromthe Los Angeles Film CriticsAssociation, BAFTA, theBroadcast Film Critics Association, the HollywoodForeign Press Association, the Screen Actors Guild andthe Academy of Motion Picture Arts and Sciences, shehas had an equally impressive 2012.Chastain was last seen in The Weinstein Company’sLawless, opposite Shia LaBeouf and Tom Hardy, whichwas released in August 2012. Set in Depression-eraFranklin County, Virginia, and directed by John Hillcoatand produced by Douglas Wick, the film follows abootlegging gang that finds itself under violent pressurefrom authorities.Chastain also lent her voice to DreamWorksAnimation’s Madagascar 3: Europe’s Most Wanted asthe character of Gia the Jaguar. The film opened tohuge numbers and outstanding reviews.In fall 2012, Chastain was seen on Broadway ina starring role in the Tony Award-winning play TheHeiress. She currently stars in Zero Dark Thirty, KathrynBigelow’s much anticipated follow-up to The HurtLocker; the new film was released in December 2012.Chastain recently wrapped production onThe Disappearance of Eleanor Rigby: His andThe Disappearance of Eleanor Rigby: Hers, alsostarring James McAvoy and written and directed byNed Benson.In 2011, she starred opposite Brad Pitt and Sean Pennin the Academy Award ® -nominated drama The Tree ofLife, written and directed by Terrence Malick for RiverRoad Entertainment. The film won the Palme d’Or atthe 2011 Cannes Film Festival and the Best PictureAward from the Chicago Film Critics Association.Also in 2011, Chastain was seen in Ami CanaanMann’s Texas Killing Fields, opposite Sam Worthingtonand Chloë Grace Moretz; Miramax’s The Debt,alongside Helen Mirren and Sam Worthington; the onscreenadaptation of William Shakespeare’s tragedyCoriolanus as Virgilia, opposite Ralph Fiennes andGerard Butler; and Jeff Nichols’ Take Shelter, oppositeMichael Shannon, which won a plethora of awardsduring the 2011 film festival circuit and received a FilmIndependent Spirit Award nomination.Chastain is best known for the role of Celia Foote,an insecure Southern lady constantly trying to fit in withthe high-society women who reject her, in DreamWorks’Academy Award ® -nominated adaptation of the bestsellingKathryn Stockett novel “The Help.” The filmreceived numerous accolades in 2011, includingChastain’s Oscar ® , Golden Globe, Screen Actors Guildand Critics’ Choice Movie Award nominations for BestSupporting Actress.Born and raised in Northern California, Chastainattended the Juilliard School in New York City.While there, she starred in a production of Romeoand Juliet and went on to receive glowing reviewsfor her performances in The Cherry Orchard,opposite Michelle Williams at the WilliamstownTheatre Festival, and in Richard Nelson’s Rodney’sWife, opposite David Strathairn, off-Broadway atPlaywrights Horizons.Chastain returned to the stage in Los Angelesin the Wadsworth Theatre production of Salome;Academy Award ® winners Estelle Parsons (director)and Al Pacino handpicked Chastain to play the titlerole, opposite Pacino. Continuing the collaboration,producer Barry Navidi commenced the film version– 20 –

of Salome, titled Wild Salome, which was directed byPacino and filmed behind the scenes during portions ofthe play’s production.That part led to her landing the dynamic title rolein Jolene, the Dan Ireland-directed production in whichshe starred opposite Rupert Friend, Frances Fisherand Dermot Mulroney. For this role, Chastain won theBest Actress Award at the 2008 Seattle InternationalFilm Festival. She again appeared on stage in 2009,playing the role of Desdemona in Othello, oppositePhilip Seymour Hoffman. Directed by Peter Sellars, theproject ran in Vienna, Austria; Bochum, Germany; andNew York.Actor NIKOLAJ COSTER-WALDAU (Lucas/Jeffrey) has created a strongfoothold in Hollywood.In 2013, Coster-Waldauwill star opposite TomCruise in Universal Pictures’Oblivion, which is writtenand directed by JosephKosinski and is slated forrelease on April 19. Set on aspectacular future Earth thathas evolved beyond recognition, the film follows oneman’s confrontation with the past, which leads him ona journey of redemption and discovery as he battles tosave mankind.Coster-Waldau has also completed production onthe indie drama A Thousand Times Good Night, inwhich he stars opposite Juliette Binoche.On March 31, 2013, Coster-Waldau returns for thethird season of HBO’s epic award-winning televisionseries Game of Thrones, in which he plays the leadrole of Jaime Lannister. In 2011 and 2012, the showwas nominated for Outstanding Drama Series at thePrimetime Emmy Awards. This critically acclaimedseries, created by David Benioff and D.B. Weiss, isbased on the best-selling novels by George R.R. Martin.After leaving his handprint on the European filmand television industry, Coster-Waldau quickly madehis transition to American cinema. In 2001, he beganhis U.S. career with a starring role in Ridley Scott’scritically acclaimed and multiple Academy Award ® -winning Black Hawk Down. He then landed a lead rolein Michael Apted’s Enigma, co-starring Kate Winslet,Dougray Scott and Saffron Burrows.Coster-Waldau’s charm and incredible range as anactor prompted many of his directors to cast him morethan once. Ridley Scott brought him back for his 2005epic film Kingdom of Heaven, starring Orlando Bloom,Liam Neeson and Eva Green. Additionally, RichardLoncraine, who first cast Coster-Waldau in his 2004film Wimbledon, alongside Paul Bettany and KirstenDunst, brought him back for Firewall, a suspense-filledthriller starring Harrison Ford.In 2008, Coster-Waldau made his television seriesdebut in the FOX drama New Amsterdam, in which hestarred as immortal detective John Amsterdam, andwas singled out by many as one of the season’s breakoutstars. He was then seen in FOX’s telefilm Virtuality,directed by Peter Berg and produced by Gail Bermanand Lloyd Braun.In 2009, Coster-Waldau co-starred opposite UlrichThomsen in The Left Wing Gang, a major Danish miniseriesbased on the true story of Denmark’s highest-profilecriminal gang, from Denmark’s TV 2. The first of thefive episodes gave TV 2 its highest ratings for that year.Coster-Waldau’s additional film credits includeHeadhunters, based on the novel by best-selling writerJo Nesbø; Blackthorn, writer Mateo Gil’s directorialdebut, in which he starred opposite Sam Shepard,Stephen Rea and Eduardo Noriega; and leading roles inthe films Nightwatch, Vildspor, which he also co-wrote,Misery Harbour, På Fremmed Mark, 24 Hours in theLife of a Woman, Rembrandt and The Bouncer.A graduate of Denmark’s prestigious DanishNational School of Theatre and Contemporary Dance,Coster-Waldau currently resides in Copenhagen.– 21 –

MEGAN CHARPENTIER (Victoria) dancedbarefoot into her first commercialaudition at the age ofthree and hasn’t looked back.She made the transition intofilm and television, includingthe features Jennifer’s Bodyand Red Riding Hood,in which she played theyounger version of AmandaSeyfried’s character.Quebec actress ISABELLE NÉLISSE (Lilly)quickly conquered hearts inher earliest public appearancesand print advertisingwhen she was barely fouryears old. Television commercialsand series followed,including roles in FabienneLarouche’s French CanadianTrauma and Parallel Lives.She starred in her first majorrole as Chloé in the series Mirador.ABOUT THEFILMMAKERSA graduate of Universidad del Cine in Buenos Aires,ANDY MUSCHIETTI(Directed by/Screenplay by/Story by) directed severalshort films (Rosendo, FierroChifle and Nostalgia en laMesa 8) that received awardsat festivals including LaHabana, Bilbao and Biarritz.He wrote the full-lengthplays Todo al Cero and LosJardines de Abril while working in Argentina as astoryboard artist.In 1999, Muschietti began his career as a commercialdirector. In 2001, Muschietti and director AgustínBerruezo were contracted by a Barcelona productioncompany under the pseudonym Doble Nelson. In 2003,he founded the production company Toma 78 with hissister, producer Barbara Muschietti.In 2008, he co-wrote, with Barbara, his third fulllengthfilm script, The Yearning, and directed the shortfilm Mamá, which won awards at several film festivals.NEIL CROSS (Screenplay by) was born inBristol in 1969. He lived in Edinburgh, Brighton,Leeds and London before settling down in NewZealand with his wife and two sons. He is the authorof several novels, including “Always the Sun,”“Burial” and “Captured,” as well as the best-sellingmemoir “Heartland.”Cross was lead scriptwriter for the acclaimed sixthand seventh seasons of the BBC spy drama seriesSpooks and is the creator of the multi-award-winningBBC crime thriller Luther, starring Idris Elba, whichairs in more than 160 territories worldwide. Followingthe British publication of his novel “Luther: The– 22 –

Calling” in 2011, he started working on a new bookonce again featuring DCI John Luther.Cross continues to write for the screen in Britainand the United States. His additional credits include athird season of Luther, Doctor Who, NBC’s new actionadventureseries Crossbones and several film projects,including a new adaptation of The Day of the Triffids,for director Sam Raimi, and an upcoming film fromGuillermo del Toro.In 2011, Cross was included in Variety’s prestigiouslist of “10 Screenwriters to Watch.”BARBARA MUSCHIETTI (Screenplay by/Storyby/Produced by) studied media and communicationat the University of California, Los Angeles. Duringher college years, she rendered her services as a scriptreader for Paramount Pictures, Universal Pictures andseveral independent producers.Once she finished her studies, she started workingas a production coordinator. Her first film, Evita(directed by Alan Parker, 1996), led her to shoots inArgentina, Hungary and England. She then decidedto engage in script development and film financing atCecchi Gori Group in Los Angeles, where she took partin the development of movies such as Life Is Beautiful(directed by Roberto Benigni, 1997).After three years with Cecchi Gori and nine in LosAngeles, she decided to move to London, where shereturned to production coordination and where shecreated The Visual Factory after taking an interest inthe emerging world of visual effects.Two years later, longing to work with herbrother, Andy, she moved to Spain and joinedGroup Films, an advertising production company inBarcelona, where she produced many commercialswith directors of international prestige, such as LucBesson and Alan Parker.In 2003, Muschietti was awarded a Carolinagrant to develop the script Los Jardines de Abrilwith her brother. Later that year, she opened her ownadvertising production company, Toma 78, with herpartners Andy Muschietti and Agustín Berruezo andproduced the short film Mamá (directed by AndyMuschietti, 2008). In 2008, she co-wrote with Andyher third script, The Yearning.J. MILES DALE (Produced by) recently servedas executive producer on the box-office smash TheVow, starring Channing Tatum and Rachel McAdams;The Thing, starring Mary Elizabeth Winstead and JoelEdgerton; Scott Pilgrim vs. the World, starring MichaelCera and Oscar ® -nominated actor Anna Kendrick;Flash of Genius, starring Greg Kinnear and LaurenGraham; Love Happens, starring Jennifer Aniston andAaron Eckhart; Talk to Me, starring Academy Award ®nominee and Golden Globe Award winner Don Cheadleand Chiwetel Ejiofor; and Hollywoodland, a film noirstarring Adrien Brody, Ben Affleck and Diane Lane.Dale’s credits as executive producer also includethe hit comedy Harold & Kumar Go to White Castle;LeVar Burton’s family Christmas film Blizzard, starringKevin Pollak, Christopher Plummer, Brenda Blethynand featuring the voice of Whoopi Goldberg; and JamesToback’s Harvard Man, starring Sarah Michelle Gellarand Adrian Grenier.For television, Dale produced USA Network’shighest-rated movie of 2000, the critically acclaimedAll-American Girl: The Mary Kay Letourneau Story,starring Penelope Ann Miller and Mercedes Ruehl. Heproduced and made his feature directorial debut withThe Skulls III, the sequel to the 1999 box-office hitThe Skulls. During the years he spent producing anddirecting television pilots and series for most of themajor networks and syndication companies, Dale coexecutiveproduced the two-hour pilot and two seasonsof the popular action show F/X: The Series, for whichhe directed multiple episodes.Dale helped adapt the RoboCop franchise fortelevision and produced the two-hour pilot and 22episodes of RoboCop for worldwide syndication. He– 23 –

produced three seasons of the popular reality seriesTop Cops, for CBS, and three seasons of the now-cultclassictelevision series Friday the 13th, for ParamountPictures. He also produced several dramatic pilotsfor ABC, CBS and NBC, and he was the productionsupervisor on Daniel Petrie’s The Execution ofRaymond Graham, a live-broadcast, two-hour Sundaynightmovie for ABC that examined both sides of thecapital punishment issue and starred Morgan Freeman.Most recently, Dale executive produced KimberlyPeirce’s film remake of the Stephen King classic“Carrie,” starring Julianne Moore and Chloë GraceMoretz, which is scheduled for release by Screen Gemsin the spring of 2013.Since winning the Mercedes-Benz Award at the1993 Cannes Film Festival and nine Mexican AcademyAwards for his first feature, Cronos, GUILLERMOdel TORO (Executive Producer) has establishedhimself among the most critically and commerciallysuccessful international writer/directors.Del Toro has built his career by moving betweenindependent Spanish-language films and big-budgetstudio productions. His films include Mimic, TheDevil’s Backbone, Blade II, Hellboy and its sequel,Hellboy II: The Golden Army. Del Toro is currently inpostproduction on Legendary Pictures/Warner Bros.’large-scale sci-fi action-thriller Pacific Rim, which hewrote, directed and produced.In 2006, his film Pan’s Labyrinth became a surpriseworldwide motion picture event. It went on to receivesix Academy Award ® nominations, including BestForeign Language Film and Best Original Screenplayfor del Toro, and won three Oscars ® . It was also therecipient of three BAFTAs, seven Goya Awards and aGolden Globe nomination for Best Foreign LanguageFilm, and was selected by the National Society of FilmCritics as the Best Film of the Year. It is the highestgrossingSpanish-language film of all time in the U.S.and the fifth highest-grossing foreign-language filmin U.S. box-office history, with $37.6 million in U.S.box-office receipts alone.In 2007, del Toro produced the Spanish thriller TheOrphanage, which is to date the highest-grossing locallanguagefilm in Spain’s history, with more than $80million in worldwide box-office sales.With his deal at DreamWorks Animation, del Torohas become a mainstay in the world of animation. Hehas served as an executive producer on Kung Fu Panda2, Puss in Boots and Rise of the Guardians and as acreative consultant on Megamind. Later this year, hewill co-direct and produce a new version of Pinocchio,using stop-motion animation. He also serves asproducer of the Reel FX animated film The Day of theDead, which will be completed in late 2013.In addition to working in film, del Toro is the coauthorof the “The Strain” trilogy of novels, each ofwhich has been a New York Times top-10 best sellerand has been published in 30 languages worldwide.He is currently developing television projects forHBO, ABC and FX Networks. Over the course of hisprolific career, the many projects with which del Torohas been involved have grossed more than $3 billionworldwide and have won Academy Awards ® andother awards at countless international festivals. He isrepresented by Exile Entertainment, William MorrisEndeavor and Hirsch Wallerstein Hayum Matloff andFishman LLP.ANTONIO RIESTRA, AMC (Director ofPhotography) is an award-winning cinematographerwhose career extends from North America to Europe.A native of Mexico who currently resides in Prague,Riestra has forged an international career with a notablerange of feature films, from the Czech Republic’sLidice, Czech-Made Man and Normal the DüsseldorfRipper, to the Spanish-produced Kathmandu Lullaby(which was filmed in Nepal) and the upcoming U.S.feature Look of Love, starring Annette Bening andEd Harris. Riestra’s cinematography for Augustí– 24 –

Villaronga’s Black Bread (Spain’s official entry for the84th Academy Awards ® ) earned a Goya Award and aGaudí Award for Best Cinematography.Additionally, Riestra has shot several internationalcommercial campaigns for such companies as Dodge,Fiat, Kodak and Fujifilm.He is a member of the Mexican Society of Cinematographers(AMC), the European Film Academy andthe Catalan Film Academy.ANASTASIA MASARO (Production Designer) isan Academy Award ® -nominated production designer.She has worked internationally with such criticallyacclaimed directors as Terry Gilliam, Vincenzo Natali,Paolo Virzí and James Wan.The Imaginarium of Doctor Parnassus markedher second collaboration with Gilliam. The projectgarnered her Oscar ® and BAFTA nominations, as wellas other industry accolades.Masaro has worked on many award-winningprojects, including Natali’s Cube and the GoldenGlobe-nominated miniseries The Company, directedby Mikael Salomon. She studied interior design, arthistory and photography, before discovering an interestin set design.MICHELE CONROY, CCE (Editor) earned aDGC Craft Award from the Directors Guild of Canadafor her work on Vincenzo Natali’s 2003 feature Nothing.She went on to collaborate with Natali on the ensembleromance Paris, je t’aime and the documentary GettingGilliam, which chronicles director Terry Gilliam’sexperience filming Tideland. She received a GenieAward nomination, a Directors Guild of Canada CraftAward and a Canadian Cinema Editors Award forediting Natali’s 2009 feature Splice, which was executiveproduced by Guillermo del Toro. The theatrical releasesshe has edited include Matt Bissonnette’s Who Lovesthe Sun, Brett Sullivan’s Ginger Snaps: Unleashed andRob Stefaniuk’s Suck.Conroy recently edited the 3D feature Silent Hill:Revelation and is currently cutting an MGM/HistoryChannel series called Vikings.Conroy received a 2000 Leo Award from the MotionPicture Arts & Sciences Foundation of British Columbiafor her work on the Canadian television series The NewAddams Family, as well as a DGC nomination for theTV movie Menace. Her additional television editingcredits include Flashpoint, Sophie, This Is Wonderland,Playmakers, Being Erica and Durham County.LUIS SEQUEIRA (Costume Designer) isresponsible for the costumes for The Thing, starringMary Elizabeth Winstead and Joel Edgerton; Flash ofGenius, starring Greg Kinnear and Lauren Graham;Charlie Bartlett, starring Robert Downey, Jr., andAnton Yelchin; Breach, starring Chris Cooper andRyan Phillippe; Thomas and the Magic Railroad,starring Alec Baldwin and Peter Fonda; Highwaymen;and Breaking Point.His television credits include three seasons of thehighly acclaimed Being Erica, for which he garnereda Gemini Award nomination for costume design;F/X: The Series; and the television movies BuriedSecrets, Moonshine Highway, Treacherous Beauties andDerby. Sequeira is a founding member and president ofthe Canadian Alliance of Film & Television CostumeArts & Design.As an assistant designer, Sequeira worked onthe major feature films Hollywoodland, CinderellaMan, Mean Girls, Bulletproof Monk, The Tuxedo andK-19: The Widowmaker.Musician-turned-composer FERNANDOVELÁZQUEZ (Music by) received numerous awardsand recognition for his score for The Orphanage,produced by Guillermo del Toro. For his work onthe film, Velázquez won a Spanish Music Award anda CEC Award from the Cinema Writers Circle ofSpain, and received Best Score award nominations– 25 –

from the Barcelona Film Awards, the European FilmAwards and the Goya Awards.Velázquez’s additional film credits include SavageGrace, starring Julianne Moore, and the thrillersBackWoods, starring Gary Oldman, and Shiver. Herecently completed work on the films Lope, Julia’sEyes and The Impossible, starring Naomi Watts andEwan McGregor.—mama—– 26 –

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