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The vision and triumph of christopher paolini

The vision and triumph of christopher paolini

The vision and triumph of christopher paolini

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ERAGON, a fantasy adventure for young people based on the phenomenallysuccessful novel by Christopher Paolini – the first book in the young author’s epicInheritance Trilogy – is a timeless yet modern tale.<strong>The</strong> book’s most fantastical character – a flying dragon named Saphira – arrivesvia the high-tech wizardry <strong>of</strong> the industry’s most honored visual effects houses: WETADigital (the “Lord <strong>of</strong> the Rings” trilogy, “King Kong”) <strong>and</strong> Industrial Light & Magic (the“Star Wars” films, “Jurassic Park”). In addition, WETA created ERAGON’s climactic<strong>and</strong> massive battle scene, in which the forces <strong>of</strong> good, led by the young Dragon RiderEragon <strong>and</strong> Saphira, battle the armies <strong>of</strong> the evil King Galbatorix.For over two millennia, dragons have been – depending on the culture <strong>and</strong> times –beloved, feared, or even worshipped. Today, the mythical creatures are a mainstay <strong>of</strong>pop culture. ERAGON’s Saphira is inspired by the rich heritage <strong>of</strong> the storied wingedcreatures, but for the first time, the power <strong>of</strong> state-<strong>of</strong>-the-art computer generated imagerybrings myth to photo-real, emotional life. What “Jurassic Park” was to dinosaurs,ERAGON is to dragons. Indeed, Saphira is a step beyond the dinosaurs <strong>of</strong> “JurassicPark,” as her facial imagery conveys thoughts <strong>and</strong> feelings.THE VISION AND TRIUMPH OF CHRISTOPHER PAOLINI: BRINGINGERAGON TO THE SCREENUpon its initial release in hardcover by Knopf in August 2003, the novel Eragonbecame a worldwide publishing phenomenon. <strong>The</strong> book was an instant bestseller <strong>and</strong> hassince spent 87 consecutive weeks on <strong>The</strong> New York Times Bestseller List, <strong>and</strong> 21consecutive months on Publisher’s Weekly Young Adult Fiction Bestseller List,including nine months at #1. Eragon has sold 2.5 million copies in hardcover <strong>and</strong>paperback in North America alone, <strong>and</strong> the book has been published in 38 countries.


Eragon is the first novel <strong>of</strong> a trilogy. <strong>The</strong> second book, Eldest, was published inthe United States <strong>and</strong> Canada in August 2005, <strong>and</strong> quickly became the number-oneselling book in the United States. It has sold over one million hardcover copies, wasnumber-one on <strong>The</strong> New York Times Children’s Best Seller list, <strong>and</strong> was a USA TodayTop-50 Bestseller. It won the Young Adult/Teen 2006 Quill Book Award.At the time <strong>of</strong> release <strong>of</strong> the ERAGON motion picture, the novel Eragon held thenumber-one slot on <strong>The</strong> New York Times Children’s Paperback Best Seller List, <strong>and</strong>Eldest was number-one on the Times’ Children’s Hardcover Best Seller List. Sales <strong>of</strong>both books increased steadily with the release <strong>of</strong> the Eldest Limited Edition the move tieinbooks – <strong>and</strong> with the help <strong>of</strong> the film’s promotional activities.Paolini’s own story is a fantasy in itself. <strong>The</strong> first edition <strong>of</strong> Eragon was selfpublishedby his family. <strong>The</strong> following year, Alfred A. Knopf published the novelworldwide, to huge acclaim.Paolini, now 22, grew up in Paradise Valley, Montana – a location which inspiredmuch <strong>of</strong> the story’s fantastic environments. His novels reflect his personal experiencesgrowing up in a valley <strong>of</strong> the Beartooth Mountains <strong>of</strong> Montana, not unlike the valley thatEragon called home.Screenwriter Peter Buchman, whose credits include “Jurassic Park III,” wrote thescreenplay. Buchman, a fan <strong>of</strong> fantasy <strong>and</strong> science fiction literature <strong>and</strong> films, says hewas “blown away” by the author’s precociousness, his mastery <strong>of</strong> plot lines <strong>and</strong>characters, <strong>and</strong> his ability to create several completely imaginary worlds. Buchmanworked hard to serve the richness <strong>of</strong> Paolini’s story <strong>and</strong> characters – <strong>and</strong> the book’slegions <strong>of</strong> fans – while crafting a screenplay that would attract newcomers to the world <strong>of</strong>ERAGON.At the center <strong>of</strong> both novel <strong>and</strong> film is the bond between Eragon <strong>and</strong> Saphira.“Christopher came up with this wonderful idea <strong>of</strong> a young man who develops a bondwith a dragon,” says Buchman. “That relationship is at the core <strong>of</strong> the book, <strong>and</strong> that’swhat we had to translate to film.”It was Buchman’s script that drew the attention <strong>of</strong> Stefen Fangmeier. “I found itto be an exciting read,” says the director. “With the book’s fantastical aspects, people2


would look at me in terms <strong>of</strong> the visual effects requirements. However, my first reactionto the material was that it was a great story that had an emotional arc.”ERAGON presents a mythology in which Dragon Riders had once brought peace<strong>and</strong> prosperity to the l<strong>and</strong> <strong>of</strong> Alagaësia. Dragons gave their Riders magical powers, evenimmortality. No enemy could defeat them – until one <strong>of</strong> their own, Galbatorix, decidedto take all the power for himself <strong>and</strong> cut down the Dragon Riders. But with Eragon’sdiscovery <strong>of</strong> a gleaming sapphire egg, which hatches a dragon he names Saphira, the time<strong>of</strong> the Dragon Riders has come again.Having discovered his true path as a Dragon Rider, <strong>and</strong> with the help <strong>of</strong> hismentor Brom, Eragon is determined to bring back the golden age <strong>of</strong> justice once knownthroughout the l<strong>and</strong>, if he can survive the machinations <strong>of</strong> King Galbatorix. Eragon isswept into a world <strong>of</strong> magic <strong>and</strong> power, becoming a true hero to – <strong>and</strong> the last hope <strong>of</strong> –the people <strong>of</strong> Alagaësia.Taking on the title role is newcomer Ed Speleers, 18, who got the part afterTwentieth Century Fox <strong>and</strong> the filmmakers conducted a worldwide casting search, whichrivaled the hunt for a cinematic “Harry Potter” <strong>and</strong> included hundreds <strong>of</strong> auditions <strong>and</strong>dozens <strong>of</strong> screen tests.<strong>The</strong> film also stars Academy Award® winner Jeremy Irons as Brom, a formerDragon Rider who becomes Eragon’s mentor; Oscar® nominee John Malkovich as thepowerful <strong>and</strong> evil King Galbatorix; BAFTA Award winner Robert Carlyle as thepowerful sorcerer Durza; Oscar nominee Djimon Hounsou as Ajihad, the leader <strong>of</strong> therebel Varden; Sienna Guillory as the beautiful warrior Arya; <strong>and</strong> Garrett Hedlund as ayoung man with a past.Befitting Saphira’s regal bearing, one <strong>of</strong> today’s finest actors – Academy Awardwinner Rachel Weisz – provides the dragon’s “voice.” Weisz’s performance brings tolife Christopher Paolini’s key idea for the novel: the method by which Saphiracommunicates with Eragon. Saphira does not speak; her lips never move as they wouldwith a traditional CG character. Instead, the dragon connects telepathically with herRider, which reinforces the emotional, almost spiritual bond between the two characters.ERAGON is directed by Stefen Fangmeier, one <strong>of</strong> the motion picture industry’strue visual effects geniuses. During his tenure at Industrial Light & Magic, Fangmeier3


supervised films such as “Saving Private Ryan,” “Twister,” “<strong>The</strong> Perfect Storm” <strong>and</strong>“Master <strong>and</strong> Comm<strong>and</strong>er: <strong>The</strong> Far Side <strong>of</strong> the World.” He is a three-time BAFTA Awardwinner, <strong>and</strong> is a four-time Oscar nominee.For ERAGON, Fangmeier’s visual effects teams employ every state-<strong>of</strong>-the-arttechnique to create Saphira <strong>and</strong> take the audience to the magical, timeless world <strong>of</strong>Alagaësia – not forward to a futuristic science fiction creation. Under his direction, WolfKroeger’s production design, Hugh Johnson’s cinematography, <strong>and</strong> Kym Barrett’s sleekcostumes, give the film a contemporary edge.THE CASTFor the filmmakers, the stakes couldn’t have been higher in casting their youngDragon Rider, Eragon. Newcomer Ed Speleers emerged from the months-long,worldwide casting search. “Ed came in [to the casting session], <strong>and</strong> we just looked ateach other <strong>and</strong> said, ‘That’s Eragon, that’s the guy from the book,’” says director StefenFangmeier: “I got a strong sense <strong>of</strong> Ed’s sparkle, <strong>of</strong> his life. It’s the kind <strong>of</strong> thing whereyou just know he’s destined to become a movie star.”Speleers won the role as he was trying to learn his lines for a school production <strong>of</strong>“Hamlet.” He couldn’t help but be awed by this, his pr<strong>of</strong>essional acting debut. “Duringproduction in Slovakia, we were lifted by helicopter to the top <strong>of</strong> a large mountainsurrounded by incredible scenery,” he remembers. “I stood at the edge <strong>of</strong> this mountain,thinking, ‘What’s going on here? I’m supposed to be at school taking my exams, <strong>and</strong> I’mhere having the best time <strong>of</strong> my life.’ If I continue to make movies – which I would loveto do – I don’t think I will ever get that same, overwhelming feeling.”<strong>The</strong> young actor easily grew into the role. Indeed, Speleers sees parallels betweenhis experiences making ERAGON <strong>and</strong> his on-screen character’s journey. “I was on anew adventure, just like Eragon was,” he explains. “I had a well-structured life, doingregular things, <strong>and</strong> then I was suddenly thrown into this incredible world, starring in amovie. It’s been a great time for me to find myself (as Eragon does in the story), meetnew people, <strong>and</strong> have new experiences.”A highlight <strong>of</strong> Speleers’ experiences on ERAGON was working opposite JeremyIrons, who portrays Eragon’s mentor, Brom. <strong>The</strong> actors’ <strong>of</strong>f-screen relationship mirrored4


what was happening on camera. “Jeremy always provided words <strong>of</strong> advice, <strong>and</strong> alwaysnurtured me,” Speleers recalls. “He was doing so out <strong>of</strong> the kindness <strong>of</strong> his heart, but atthe same time so much <strong>of</strong> Brom was in Jeremy.”Irons says he was ready to tackle a big action-adventure picture. “ERAGONreaches an audience that I haven’t reached in a while,” he says. “Equally important,Brom appealed to me; he has a wryness <strong>and</strong> fierceness, but at the same time he’s a goodman.”To prepare for the role, Irons read Eragon, <strong>and</strong> trained in the method <strong>of</strong>swordplay Paolini describes in his book. “It’s a specific style <strong>of</strong> fighting,” Irons notes.“It’s like Eastern swordplay, <strong>and</strong> is more esoteric than English medieval styles. Ipracticed almost every day to build the wrist strength necessary to realistically play thefighting scenes.” <strong>The</strong> many riding scenes were less <strong>of</strong> a challenge to Irons, anexperienced horseman.Brom’s <strong>and</strong> Eragon’s fates are closely tied to the evil King Galbatorix, played byOscar-nominee John Malkovich. Galbatorix is a central character in the film, one whosepresence <strong>and</strong> menace are felt even when he’s <strong>of</strong>fscreen.Although Malkovich shares no scenes with Ed Speleers, the young actor <strong>and</strong> hisgrowing following made a distinct impression on him. “Before leaving for Budapest, afriend <strong>of</strong> mine told me that he had a bunch <strong>of</strong> kids who wanted Ed’s autograph,” herecounts. “I hadn’t experienced anything like that since working with LeonardoDiCaprio [in “<strong>The</strong> Man in the Iron Mask”].<strong>The</strong> chief “aide” to Malkovich’s Galbatorix is Durza, a sorcerer possessed withdemonic spirits. Durza is tall, h<strong>and</strong>some <strong>and</strong> pale, with red hair <strong>and</strong> maroon eyes. He islordly in manner, but his refinement masks something unnatural.BAFTA Award-winner Robert Carlyle, as Durza, made a strong impression on EdSpeleers. “Our first meeting was intense,” says Speleers. “Robert wore a long wig,contact lenses <strong>and</strong> full-flowing outfit. I didn’t need to get into character to react oppositeRobert as Durza,” laughs Speleers. “He was Durza!”“Robert came in very much wanting to do ERAGON, <strong>and</strong> his approach to Durzawas to not make the character obvious <strong>and</strong> over-the-top in his villainy,” says WyckGodfrey. “Durza has an agenda <strong>and</strong> with his red eyes <strong>and</strong> hair, <strong>and</strong> pale skin, there are5


things visually apparent about the character; you don’t need to work hard to force him tobe evil.”Early in the story, Durza uses his formidable powers to try <strong>and</strong> stop the femalewarrior Arya, who’s on a mission to find the next Dragon Rider. “Arya has beenentrusted with a dragon egg stolen from Galbatorix, carrying it across Alagaësia lookingfor its owner,” says Sienna Guillory, who portrays Arya. “Her warrior side uses a Zenlikefighting style. Because she’s an elf, she underst<strong>and</strong>s nature – the trees, light <strong>and</strong>wind – <strong>and</strong> is capable <strong>of</strong> seeing danger before it happens.“It’s great to play a female action role that’s not all ‘hero’ <strong>and</strong> that’s not rough<strong>and</strong> unfeminine,” she continues. “I love horses <strong>and</strong> this was a film where I got to ride ahorse <strong>and</strong> fight with a sword – brilliant!”Guillory makes special note <strong>of</strong> the work <strong>of</strong> costume designer Kym Barrett, whomthe actress says “brings a wonderful modernity <strong>and</strong> edge” to the picture. “Kym’s workreflects the timelessness <strong>of</strong> the film,” Guillory elaborates. “It’s not about being medievalor going back to another period in the past. Kym’s designs for Arya are about ecology<strong>and</strong> the environment. Arya is a kind <strong>of</strong> eco-warrior, who is in tune with nature.Everything she wears look <strong>and</strong> feels worn <strong>and</strong> s<strong>of</strong>t. Kym really works amazingly wellwith movement.”Arya <strong>and</strong> Eragon take a st<strong>and</strong> against Galbatorix, Durza, <strong>and</strong> their minions in thefinal battle <strong>of</strong> Farthen Dûr. This stronghold <strong>of</strong> the rebel Varden forces is led by Ajihad,played by Oscar nominee Djimon Hounsou. “I was attracted to ERAGON because it isan enormous adventure,” the actor explains. “Everything about it is bigger than life.”Also taking a st<strong>and</strong> at Farthen Dûr is Murtagh, played by Garrett Hedlund, one <strong>of</strong>the few Americans in the cast. Like several <strong>of</strong> his fellow castmates, Hedlund underwentintensive physical training, including boxing <strong>and</strong> working with a long bow. But Hedlundnotes that it was what’s underneath the character’s skin that intrigued him. “<strong>The</strong>re’ssomething about Murtagh that lies under the surface,” he explains. “Murtagh has a secret<strong>and</strong> a past he’s not necessarily proud <strong>of</strong>.”6


SAPHIRAERAGON’s distinguished cast is impressive, but the filmmakers acknowledge thepicture’s “biggest” – <strong>and</strong> most expensive – star is the dragon Saphira. ChristopherPaolini has said that he wanted Saphira to be “the best friend anyone could have.” Inorder to pull <strong>of</strong>f such a character, the filmmakers realized they needed someone tocompletely “own” Saphira, both creatively <strong>and</strong> technically, <strong>and</strong> to serve as the pointperson between themselves <strong>and</strong> the facilities.Visual Effects Supervisor Michael McAlister became that person <strong>and</strong> served,among other things, as the arbiter <strong>of</strong> the dragon. “Bringing Saphira to life was a hugeundertaking that required my full attention <strong>and</strong> energies – much as a live action characterrequires the full attention <strong>of</strong> an actor,” says McAlister. “<strong>The</strong>re were thous<strong>and</strong>s <strong>and</strong>thous<strong>and</strong>s <strong>of</strong> specific decisions to be made in terms <strong>of</strong> how she would look, how shewould act, how she would feel, <strong>and</strong> how she would fly. I did not invent her nor decidewhat her character would be, but I was responsible for underst<strong>and</strong>ing her – inside <strong>and</strong> out– <strong>and</strong> deciding specifically how we would achieve her.”Constant communication between the filmmakers <strong>and</strong> visual effects facilities wasthe key, <strong>and</strong> McAlister likened himself to the skinny part <strong>of</strong> an hourglass. “With a hopper<strong>of</strong> desire above me <strong>and</strong> an army <strong>of</strong> eager <strong>and</strong> talented artists below, I took the broaddesires <strong>of</strong> the filmmakers <strong>and</strong> focused them into instructions the others could act on. Amajor part <strong>of</strong> my job was to make specific decisions regarding Saphira, <strong>and</strong> keep thosedecisions clear to all parties so that the efforts <strong>of</strong> the hundreds <strong>of</strong> artists were in constantalignment with the desires <strong>of</strong> the filmmakers.”Under McAlister’s super<strong>vision</strong>, the artists <strong>and</strong> technicians at the renowned visualeffects houses Industrial Light & Magic <strong>and</strong> WETA Digital, have created nothing lessthan the most dynamic, expressive dragon in motion picture history.Samir Hoon was the ILM visual effects supervisor <strong>and</strong> Glen McIntosh was ILM’sanimation director. McIntosh, who helped create the performances for Yoda <strong>and</strong> GeneralGrievous in “Star Wars Episode III: Revenge <strong>of</strong> the Sith,” coordinated the team <strong>of</strong> ILManimators. “<strong>The</strong> tricky part in creating the performance was that Saphira was nevermeant to be a monster or creature,” notes McIntosh. “She is a character <strong>and</strong> one <strong>of</strong> thestars <strong>of</strong> the movie. She delivers a nuanced, layered performance.”7


WETA Digital animation supervisior David Clayton, working with WETA visualeffects supervisors George Murphy <strong>and</strong> Guy Williams, made additional characterrefinements, especially for the climactic battle scene in which Saphira becomes like asleek <strong>and</strong> powerful jet fighter.Saphira’s complexity <strong>of</strong> character <strong>and</strong> design stemmed from an “evolutionary”process – from the stylized artwork that adorned the book’s cover to the first moviecharacter sketches to the final imagery we see on film. “<strong>The</strong> big question we faced,” saysILM’s Samir Hoon, “was, ‘How do we make a dragon that the audience has never beforeseen <strong>and</strong> still be consistent with Christopher Paolini’s <strong>vision</strong> <strong>of</strong> the character?’Saphira’s design evolved as we discovered the character through the color <strong>of</strong> herwings, the size <strong>of</strong> her head, <strong>and</strong> the length <strong>of</strong> her neck. We see her emerge from the eggas being ten-inches tall. By the end <strong>of</strong> the film, she st<strong>and</strong>s fifteen feet, with a wing span<strong>of</strong> 20-30 feet, length <strong>of</strong> 32 feet – <strong>and</strong> weighing about four tons.”After many renderings <strong>and</strong> tests, the visual effects artists gave Saphira a slim,graceful look, adhering to the character’s feminine <strong>and</strong> regal qualities. “She moves <strong>and</strong>walks like a lion, with front legs almost equal in length to her back legs,” says McIntosh,who notes that he <strong>and</strong> the ILM animators spent time studying lion movement.<strong>The</strong> design <strong>of</strong> Saphira’s wings evolved into that resembling eagle wings. Butinstead <strong>of</strong> the more classic look <strong>of</strong> feathers, Saphira’s wings are a combination <strong>of</strong> scales<strong>and</strong> feathers, which the ILM team dubbed “scethers.”Saphira begins life as a hatchling, which the filmmakers endeavored to make asendearing as possible. To that end, Hoon <strong>and</strong> his team studied wildebeest cubs, lioncubs, <strong>and</strong> wolf cubs.THE BATTLE OF FARTHEN DÛRERAGON has many gr<strong>and</strong> set pieces, but none as big as <strong>The</strong> Battle <strong>of</strong> FarthenDûr, where Urgals <strong>and</strong> Galbatorix’s elite army attack the Varden stronghold. <strong>The</strong> battlemarks the end <strong>of</strong> Eragon’s journey <strong>and</strong> the climax <strong>of</strong> the story.As the battle opens, Eragon <strong>and</strong> Saphira are helping fight <strong>of</strong>f the king’s invadingtroops – leading to an aerial battle between Eragon <strong>and</strong> Durza, with Eragon atop Saphira,<strong>and</strong> Durza riding an enormous beast conjured from the dead soldiers on the ground8


elow. <strong>The</strong> ground battle, involving hundreds <strong>of</strong> extras <strong>and</strong> stunt people captured on filmduring principal photography, as well as the CG extensions added during postproduction,provides a backdrop for the aerial conflict – all under a dramatic moonlit sky.As the massive conflict unfolds, Farthen Dûr becomes nothing less than a vast theater <strong>of</strong>destruction.As described in the story, the Varden stronghold is constructed in the crater <strong>of</strong> anextinct volcano. Against the cliff face are the remnants <strong>of</strong> an eroded white marble city,stoic ruins <strong>of</strong> a time past, built into the volcano wall, stretching <strong>and</strong> twisting a mile high.Under the super<strong>vision</strong> <strong>of</strong> production designer Wolf Kroeger, the filmmakers builtone <strong>of</strong> the biggest practical sets in motion picture history. <strong>The</strong> set was too spectacular toerect on a soundstage, so the production, after conducting several scouting expeditions,found an ab<strong>and</strong>oned rock quarry <strong>and</strong> crater at a volcano in Hungary, near the Austriaborder. “That location worked out very well,” says Kroeger, since it’s written in thescript that Farthen Dûr is in a volcanic area.”Before construction could begin on this massive set, the filmmakers had to buildan access road to get to the top <strong>of</strong> the crater. It took 16 weeks <strong>of</strong> planning, building <strong>and</strong>l<strong>and</strong>scaping to create the set from an empty quarry into a lived-in community.Peter MacDonald, one <strong>of</strong> the industry’s top second unit directors <strong>and</strong> actionspecialists – he worked on two “Superman” films, two “Batman” pictures <strong>and</strong> four“Harry Potter” blockbusters – collaborated with Stefen Fangmeier to bring the epic battleto life. “We wanted to give the sequence an edgy, combat-like feel,” notes MacDonald, adirector in his own right.To capture the action, MacDonald worked with 450 extras <strong>and</strong> stunt people, 10hours each night – <strong>of</strong>ten during frigid conditions (it was winter) – for several weeks.<strong>The</strong> sequence involves Urgals (who are uncommonly tall) <strong>and</strong> elves; many <strong>of</strong> the “Urgal”extras were 6’6” or taller, with those playing elves 5’0” or less.<strong>The</strong> decision to shoot at night presented challenges to director <strong>of</strong> photographyHugh Johnson. “<strong>The</strong> location was a vast area with terraces <strong>and</strong> it was very difficult to getany lights up there,” says Johnson, whose department went to elaborate lengths to rig thevolcanic crater’s vast <strong>and</strong> treacherous spaces – employing a team <strong>of</strong> Russianmountaineers to haul the equipment.9


For this sequence, Kym Barrett designed non-traditional costumes, this time <strong>of</strong>“armor.” “I thought <strong>of</strong> what armor would be like in this particular world,” says Barrett.“In this scene, Eragon rides Saphira <strong>and</strong> fights the invading forces, <strong>and</strong> he couldn’t belugging around 25 pounds <strong>of</strong> armor plating. I also didn’t want the characters to look likethey were wearing big, clunky suits <strong>of</strong> armor. I wanted it to be more streamlined, so Iused leather for the armor.” Barrett called in noted London couture leather makers tomanufacture the unique pieces.<strong>The</strong> completion <strong>of</strong> the second unit work in Hungary marked only the first step inthe scene’s creation. Fangmeier, MacDonald <strong>and</strong> crew then moved to Pinewood Studiosin Engl<strong>and</strong>, where they shot blue screen work <strong>of</strong> Ed Speleers “riding” Saphira, battlingRobert Carlyle’s Durza who is astride his own flying Beast. <strong>The</strong> filmmakers wanted topush these flying scenes to get, as MacDonald says, “the most dynamic sensationpossible. It’s a real roller-coaster ride.”<strong>The</strong> actors were placed on computer-controlled rigs on hydraulics, upon whichsaddles were mounted. All the dragon’s movements – flying, gliding, banks-<strong>and</strong>-turns –could be experienced by Ed Speleers as Eragon. “Ed was a natural,” says MacDonald.“He loved flying, <strong>and</strong> really wanted to get things right.” Before Speleers began work onthe motion rig, the filmmakers screened for him the pre-visualization footage as areference for his “flying” maneuvers.“ERAGON is the first film to really show the experience <strong>of</strong> flying on a dragon,”says Fangmeier. “It was a lot <strong>of</strong> fun to create the flying sequences. We were challengedto maintain a physical reality but also have an element <strong>of</strong> the fantastical. We wanteddragon riding to feel like being on a jet fighter – with lots <strong>of</strong> ‘Wow’ moments.”Many <strong>of</strong> these “wow” moments were realized by New Zeal<strong>and</strong>-based visualeffects house WETA Digital, whose many credits include the “Lord <strong>of</strong> the Rings” trilogy,“King Kong” <strong>and</strong> “I, Robot.” For the climactic Battle <strong>of</strong> Farthen Dûr sequence, WETAworked on giving Saphira a more aggressive “performance.” “She’s taking on a moremature air at this point; she’s come <strong>of</strong> age,” says WETA visual effects supervisor GeorgeMurphy. “We gave Saphira an additional sense <strong>of</strong> comm<strong>and</strong>, presence <strong>and</strong> agility thatwould get her through the battle.”10


“We developed Saphira in a physical way,” adds WETA visual effects supervisorGuy Williams. “We have lots <strong>of</strong> views <strong>of</strong> her wings that occur during the battle, whichare different from those <strong>of</strong> other scenes.” Williams <strong>and</strong> Murphy also made the dragoncombat-ready, with an impressive suit <strong>of</strong> armor.In creating the lighting environments for the battle sequence, Williams <strong>and</strong>Murphy’s goal, again, was to have audiences connect with Saphira, as they would withthe film’s human characters. <strong>The</strong>y devised a realistic yet striking look for shots <strong>of</strong> hersoaring majestically through the night – or conducting “strafing runs” on the enemyforces. “If we had relied only on light that was available, we’d have ended up with acouple <strong>of</strong> highlights <strong>of</strong> Saphira from the moon <strong>and</strong> that’s about it,” notes Murphy. “Sowe came up with a color palette <strong>and</strong> levels that render Saphira visible, while reinforcingthe fact that this is happening at night.”Murphy <strong>and</strong> Williams also created the fearsome creature that Durza conjures upout <strong>of</strong> the essence <strong>of</strong> the dead troops below. <strong>The</strong> Beast battles Saphira in an epic airborneduel. As described in the script, the conjured creature is a methodical killing machinebereft <strong>of</strong> fear or remorse. It is an enormous, dark, broiling cloud <strong>of</strong> smoke <strong>and</strong> ash – theface <strong>of</strong> death itself.“Durza’s Beast provides a sharp physical contrast to Saphira’s naturalistic look,”says Williams. “<strong>The</strong> beast is a completely task-built creature – a flying mouth <strong>of</strong> teeth,oversized head <strong>and</strong> teeth, <strong>and</strong> no legs. If you combined a large tarantula with a bat, thenadded a bull’s head with vampire teeth, you’d have the Beast.”“<strong>The</strong> character’s design came quickly,” adds Murphy, “but developing thetechnology to render it was a challenge due to the inherent difficulties in‘choreographing’ smoke, <strong>and</strong> action amongst the smoke.”WETA created effects extensions for the practical Hungary sets for the battle.“We had to master the exact terrain <strong>of</strong> the practical set so that we could match intoportions <strong>of</strong> the live-action footage,” says Williams. “All our action biases more towardsone side <strong>of</strong> the volcano, which is visually more interesting because we’re closer to thevolcano walls <strong>and</strong> get an enhanced sense <strong>of</strong> Saphira’s flying speed.”WETA worked on another big action sequence that combines spectacle withemotion, further exploring the connection between Eragon <strong>and</strong> Saphira, <strong>and</strong> a moving act11


<strong>of</strong> personal sacrifice. “We get to explore Saphira’s s<strong>of</strong>ter, gentler side in this scene,” saysWilliams. “We pushed <strong>and</strong> refined her facial animation, keeping her movements verysubtle, <strong>and</strong> letting the moments work for themselves.”In a magical moment that propels the character <strong>and</strong> story forward, WETA createda sequence in which Saphira undergoes a metamorphosis from adolescence to adulthood.<strong>The</strong> visual effects from WETA <strong>and</strong> ILM, along with the exotic <strong>and</strong> ruggedlocations in Hungary <strong>and</strong> Slovakia, created the illusion <strong>of</strong> Alagaësia. ERAGON was one<strong>of</strong> the biggest productions ever to be filmed in Hungary <strong>and</strong> Slovakia.<strong>The</strong> production crew <strong>of</strong> over-500 was headquartered in the historic city <strong>of</strong>Budapest. <strong>The</strong> set for Garrow’s Farm, where Eragon lived with his Uncle Garrow <strong>and</strong>cousin Roran, was built on privately owned l<strong>and</strong> in a valley at Budakesi, a forty-fiveminute drive from Budapest.<strong>The</strong> production constructed Galbatorix’s lair in a hillside cave, with accessavailable only through a hole in the cave’s ro<strong>of</strong>. Special cranes were used to moveequipment – including cameras, sound recorders <strong>and</strong> set dressing – into the cave. Onceinside the cave, the filmmakers’ activities were limited due to the area’s status as anational monument. Later, the mountains <strong>of</strong> Slovakia would provide a number <strong>of</strong> naturalsettings with spectacular views across valleys, gorges <strong>and</strong> waterfalls.<strong>The</strong>se worlds <strong>and</strong> characters created by these locations, effects artists, technicians,craftsmen, filmmakers <strong>and</strong> actors stem from the imagination <strong>of</strong> Christopher Paolini,whose novel is linked to the film in an unexpected way. "I originally conceivedERAGON as a movie,” he points out. “I saw the characters <strong>and</strong> action clearly in mymind. But since I didn't have the money to produce a film, I ended up writing the story asa book.”At the time, it was beyond Paolini’s wildest dreams that a major studio wouldadapt his epic tale. But then, Paolini’s own life story, his imagination – <strong>and</strong> the journey <strong>of</strong>his heroic title character – remind us that no dream is too big.12


ERAGON CHARACTER PROFILESERAGONEragon discovers his true path as one <strong>of</strong> the fabled Dragon Riders. With his own dragon, Saphira,<strong>and</strong> Brom as his mentor, Eragon is determined to bring back the golden age <strong>of</strong> justice once knownthroughout the l<strong>and</strong> – if he can survive the evil machinations <strong>of</strong> Galbatorix. Eragon becomes atrue hero – <strong>and</strong> the last hope for the people <strong>of</strong> Alagëisia.BROMOne <strong>of</strong> the last <strong>of</strong> the Dragon Riders, Brom has been a disconsolate, broken man since the death<strong>of</strong> his own dragon. He has become a storyteller resigned to the rule <strong>of</strong> the evil king, but he hasnew hope as the mentor <strong>and</strong> father-figure to Eragon.GALBATORIXGalbatorix is the ruler <strong>of</strong> an enormous empire that occupies the western part <strong>of</strong> Alagaësia. <strong>The</strong>former Dragon Rider brought about the demise <strong>of</strong> the storied order, <strong>and</strong> he now rules the l<strong>and</strong>with an iron fist, stopping at nothing to capture or destroy Eragon <strong>and</strong> his dragon. Galbatorix’sforces include the loathsome <strong>and</strong> brutish Urgals, whose faces are grotesquely patterned withscars.DURZADurza is a Shade, a sorcerer possessed by demonic spirits. Considered one <strong>of</strong> the most powerfulbeings in Alagëisia, he can only be killed through the heart. As one <strong>of</strong> Galbatorix’s deadliestminions, the sorcerer is privy to palace intrigues (<strong>and</strong> possibly has dreams <strong>of</strong> power <strong>of</strong> his own).AJIHADAjihad is the leader <strong>and</strong> general <strong>of</strong> the rebel Varden. In the secret stronghold <strong>of</strong> Farthen Dûr,located in a volcanic crater in the Beor Mountains, Ajihad <strong>and</strong> the Varden plot to overthrowGalbatorix.ARYAAs the guardian <strong>of</strong> the dragon egg, the beautiful warrior Arya is willing to die to protect the line<strong>of</strong> dragons. She joins Eragon, Saphira, <strong>and</strong> the rebellious Varden in a desperate st<strong>and</strong> against theforces <strong>of</strong> Galbatorix.MURTAGHMurtagh is the son <strong>of</strong> Morzan, who betrayed the Dragon Riders to Galbatorix. Desperate toexpunge the guilt <strong>of</strong> his father’s sin, Murtagh seeks refuge in battle, fighting for the forces <strong>of</strong>good.SAPHIRA<strong>The</strong> story’s most fantastical character is the flying dragon Saphira, who connects telepathicallywith her Rider, Eragon. As Saphira soars majestically through the sky – or conducts “strafingruns” on enemy forces – audiences will experience the most dynamic, fierce dragon ever, in theultimate dragon movie.13


ERAGON: GLOSSARYAlagaësia: a kingdom stretching from the western coastal wilderness <strong>of</strong> the Spine into the inl<strong>and</strong>Hadarac desert, which spreads to the southern summits <strong>of</strong> the Beor Mountains. It is a world <strong>of</strong>humans, sorcerers, monsters – <strong>and</strong> mighty dragons.<strong>The</strong> Ancient Language: a form <strong>of</strong> communication that enables certain people to use magic.Beor Mountains: a huge mountain range in the southeast <strong>of</strong> Alagaësia, where the Varden maketheir home.Carvahall: Eragon’s hometown; a small town near the Spine.Dragon Riders: those who help maintain peace in Alagaësia with the help <strong>of</strong> their dragons.Gil’ead: a heavily guarded city where Arya is imprisoned by Durza.Ra’zac: demonic mercenaries that serve Durza.Shade: a sorcerer possessed by evil spirits.Spine, <strong>The</strong>: Vast mountain range covering almost all <strong>of</strong> Alagaësia’s west coast.Urgals: loathsome <strong>and</strong> brutish troops who serve Galbatorix. <strong>The</strong>ir faces are grotesquelypatterned with scars.Varden: a group <strong>of</strong> rebels based in Farthen Dûr.Zar'roc: Eragon's sword, given to him by Brom.14


ABOUT THE CASTED SPELEERS (Eragon), 18, won the title role <strong>of</strong> ERAGON after TwentiethCentury Fox <strong>and</strong> the filmmakers conducted a worldwide casting search, which rivaled thehunt for a cinematic “Harry Potter” <strong>and</strong> included hundreds <strong>of</strong> auditions <strong>and</strong> dozens <strong>of</strong>screen tests.Speleers, who hails from South Engl<strong>and</strong>, l<strong>and</strong>ed the part following a half-houraudition – <strong>and</strong> only days before the start <strong>of</strong> principal photography.Previously, he had appeared in amateur school productions. Speleers hascompleted his schooling, <strong>and</strong> is looking forward to continuing his acting career.JEREMY IRONS (Brom) began his career in Engl<strong>and</strong> in theatre at the BristolOld Vic <strong>and</strong> then debuted in London in Godspell as John the Baptist. His work in theWest End <strong>and</strong> at Stratford Upon Avon culminated with his performance <strong>of</strong> “Richard II”for the Royal Shakespeare Company. He made his Broadway debut in Tom Stoppard’s“<strong>The</strong> Real Thing” opposite Glenn Close, for which he won both the Drama LeagueAward <strong>and</strong> Tony® Award for Best Actor.Irons has played many roles for tele<strong>vision</strong>, most notably “Love for Lydia” <strong>and</strong>Paolini Hampton’s “Tales from Hollywood.” His performance in “Brideshead Revisited”brought him worldwide acclaim <strong>and</strong> nominations for an Emmy® Award, the BritishAcademy <strong>and</strong> he received a Golden Globe® Award for Best Actor. In 1996, he directed<strong>and</strong> co-starred with his wife, actress Sinead Cusack in “Mirad, A Boy from Bosnia,” aChannel 4 Tele<strong>vision</strong> film about refugees, written by Ad De Bont. In 1997 Irons won anEmmy for Outst<strong>and</strong>ing Voice-Over for: "<strong>The</strong> Great War <strong>and</strong> the Shaping <strong>of</strong> the 20thCentury.” In 2006 Irons co-starred with Helen Mirren in HBO’s Elizabeth I. Ironsportrayal as the Earl <strong>of</strong> Leicester won him the Emmy for best supporting actor in aminiseries.On the big screen he has starred in such films as Jerzy Skolimowski’s“Moonlighting,” Harold Pinter’s “Betrayal,” Volker Schlondorff’s “Swann in Love” <strong>and</strong>“<strong>The</strong> Mission” with Robert De Niro. Irons played opposite Meryl Streep in “<strong>The</strong> FrenchLieutenant’s Woman,” for which he received the Variety Club Award for Best Actor <strong>and</strong>a BAFTA nomination, <strong>and</strong> opposite his son Sam in Roald Dahl’s “Danny, Champion <strong>of</strong>15


the World.” His performance in David Cronenberg’s “Dead Ringers” brought him a BestActor Award from the New York Film Critics Circle <strong>and</strong> a Canadian Genie. Irons starredagain with Glenn Close in the film based on the re-trial <strong>of</strong> Claus von Bulow, “Reversal <strong>of</strong>Fortune.” For this performance, Irons received the 1990 Academy Award <strong>and</strong> GoldenGlobe Award for Best Actor.Irons went on to work in such films as Steven Soderbergh’s “Kafka,” DavidCronenberg’s “M. Butterfly” <strong>and</strong> Bille August’s “<strong>The</strong> House <strong>of</strong> the Spirits,” with Streep<strong>and</strong> Close again. In 1994, Irons created the voice <strong>of</strong> Scar for Disney’s “<strong>The</strong> Lion King.”He followed that with the action film “Die Hard with a Vengeance” also starring BruceWillis, <strong>and</strong> Bernardo Bertolucci’s “Stealing Beauty,” also starring Liv Tyler.Irons more recent films include Wayne Wang’s “Chinese Box,” <strong>and</strong> “<strong>The</strong> Man inthe Iron Mask,” in which he starred with Gerard Depardieu, Leonardo DiCaprio, <strong>and</strong>John Malkovich. He played Humbert Humbert in Adrian Lyne’s controversial film“Lolita” <strong>and</strong> starred in “Longitude,” an A&E Granada film that premiered on BBC. Ironshad four films in 2001, including “And Now…Ladies <strong>and</strong> Gentleman,” directed byClaude Lelouch, “<strong>The</strong> Time Machine,” based on the H.G. Wells novel, “Callas Forever,”directed by Franco Zeffirelli, <strong>and</strong> “Last Call,” a Showtime Original Picture directed byHenry Bromell, also starring Neve Campbell.He also starred in István Szabó’s “Being Julia” with Annette Bening. In late 2004Irons played Antonio, in Michael Radford’s production <strong>of</strong> Shakespeare’s “Merchant <strong>of</strong>Venice,” also starring Al Pacino. In spring 2005 Ridley Scott’s “Kingdom <strong>of</strong> Heaven”was released, in which Irons starred opposite Orl<strong>and</strong>o Bloom. In Lasse Hallström’s“Casanova,” released Christmas 2005, Irons starred opposite Heath Ledger. Ironsrecently completed the upcoming feature “Inl<strong>and</strong> Empire,” directed by David Lynch.In 2003 Irons returned to his roots in theatre <strong>and</strong> debuted in the New York CityOpera production <strong>of</strong> Stephen Sondheim’s “A Little Night Music” in the role <strong>of</strong> Frederik,directed by Scott Ellis. Irons played King Arthur in the Hollywood Bowl’s summerpresentation <strong>of</strong> “Camelot,” part <strong>of</strong> the Hollywood Bowl’s weekend spectacular series. InFebruary 2006 Irons starred as Henrik in “Embers,” a play by Paolini Hampton, directedby Michael Blakemore.16


SIENNA GUILLORY (Arya) is best known to American audiences for her workin the acclaimed miniseries “Helen <strong>of</strong> Troy,” in which she played the title role. She hasstarred in the film “Resident Evil: Apocalyspe,” “<strong>The</strong> Time Machine,” <strong>and</strong> a featured rolein “Love, Actually.”After appearing on the British miniseries “<strong>The</strong> Buccanneers,” <strong>and</strong> severalindependent films, Guillory got her big break when she won the starring role in the BBCadaptation <strong>of</strong> Kingsley Amis' “Take a Girl Like You.” Guillory has since starred onLondon's West End in Neil La Bute's “<strong>The</strong> Shape <strong>of</strong> Things” <strong>and</strong> continued to work withindependent U.K-based filmmakers on productions such as “Kiss Kiss, Bang Bang,”“Late Night Shopping,” “<strong>The</strong> Principles <strong>of</strong> Lust” <strong>and</strong> “Silence Becomes You.”She recently starred opposite Academy Award nominee Catalina S<strong>and</strong>ino Morenoin the Spanish independent film “Hearts <strong>of</strong> the Earth.”ROBERT CARLYLE (Durza) was born in Glasgow, Scotl<strong>and</strong> <strong>and</strong> enrolled inacting classes at the Glasgow Arts Centre after reading Arthur Miller’s “<strong>The</strong> Crucible.”Following his movie debut as Big Woodsy in “Silent Scream” (1990), Carlyleappeared in several films, but it was his performance in the title role <strong>of</strong> the TV series“Hamish Macbeth” (1995) that brought him to the attention <strong>of</strong> British audiences. And itwas the role <strong>of</strong> Begbie in “Trainspotting” (1996) that introduced him to Americanaudiences. This was followed by his BAFTA-winning role <strong>of</strong> Gaz in “<strong>The</strong> Full Monty”(1997).After playing Plunkett in “Plunkett & Macleane” <strong>and</strong> Col. Ives in “Ravenous”(both 1999), he played the villain, Renard, in the James Bond adventure “<strong>The</strong> World IsNot Enough” (1999), followed by the roles <strong>of</strong> Malachy in “Angela’s Ashes” (1999) <strong>and</strong>Daffy in “<strong>The</strong> Beach” (2000).More recently, he has been seen in “<strong>The</strong>re’s Only One Jimmy Grimble” (2000),“To End All Wars,” “<strong>The</strong> 51 st State” (both 2001), “Once Upon a Time in the Midl<strong>and</strong>s,”“Black <strong>and</strong> White” (both 2002), “Dead Fish” (2004), “Marilyn Hotchkiss’ BallroomDancing <strong>and</strong> Charm School” <strong>and</strong> “<strong>The</strong> Mighty Celt” (both 2005).17


His recent TV appearances have been the title role in “Hitler: <strong>The</strong> Rise <strong>of</strong> Evil”(2003) <strong>and</strong> King James 1 in “Gunpowder, Treason <strong>and</strong> Plot” (2004). He portrayed therole <strong>of</strong> Sergei Karpovich in the TV miniseries “Human Trafficking” (2005).Carlyle founded the Raindog theatre company in 1991, together with four otheractors, <strong>and</strong> is a partner in the British film production company 4 Ways. He was awardedan OBE in the 1999 New Year’s Honours List.DJIMON HOUNSOU (Ajihad) was born in Benin, Africa. At age 13, he movedto Paris, where he was discovered by French fashion designer Thierry Mugler <strong>and</strong>subsequently graced the catwalks <strong>of</strong> Paris <strong>and</strong> London as a popular male model.After making his movie debut in “Without You I’m Nothing” (1990), Hounsouappeared in “Unlawful Entry” (1992), “Stargate” (1994) <strong>and</strong> “<strong>The</strong> Small Hours” (1997)before playing the role <strong>of</strong> Cinque in “Amistad” (1997), a performance that brought him tothe attention <strong>of</strong> international audiences. He went on to appear in “Ill Gotten Gains”(1997) <strong>and</strong> “Deep Rising” (1998).He then played the role <strong>of</strong> Juba in Ridley Scott’s “Gladiator” (2000) beforeappearing in “Passage du Milieu” (2000), “<strong>The</strong> Tag” (2001), “Le Boulet” <strong>and</strong> “<strong>The</strong> FourFeathers” (both 2002). His performance as Mateo in “In America” (2002) brought himan Academy Award nomination.He went on to play leading roles in “Heroes” (2001), “Biker Boys,” “Lara Cr<strong>of</strong>tTomb Raider: <strong>The</strong> Cradle <strong>of</strong> Life” (both 2003), “Blueberry” (2004), “Constantine,”“Beauty Shop” <strong>and</strong> “<strong>The</strong> Isl<strong>and</strong>” (all 2005). He has a starring role opposite LeonardoDiCaprio in the drama “Blood Diamond,” directed by Edward Zwick.GARRETT HEDLUND (Murtagh) was born in Roseau, Minnesota, <strong>and</strong> spenthis early years growing up on a farm. When his family moved to Scottsdale, Arizona, hebegan taking private acting lessons. After graduating high school, Hedlund moved to LosAngeles to pursue an acting career.One month later he l<strong>and</strong>ed the role <strong>of</strong> Achilles’ cousin Patroclus in the movie“Troy” (2004) opposite Brad Pitt. His next feature was “Friday Night Lights” (2004) inwhich Hedlund played a high school football player.18


He then l<strong>and</strong>ed a starring role opposite Mark Wahlberg in “Four Brothers”(2005), playing one <strong>of</strong> four brothers whose mother is murdered.Academy Award-winning actress RACHEL WEISZ (voice <strong>of</strong> Saphira) is knownfor portraying women <strong>of</strong> incredible spirit <strong>and</strong> intelligence <strong>and</strong> continues to seek outchallenging projects <strong>and</strong> roles both on screen <strong>and</strong> on stage.Weisz received overwhelming critical praise <strong>and</strong> awards from Screen ActorsGuild, Golden Globe <strong>and</strong> ultimately an Oscar for her performance in "<strong>The</strong> ConstantGardener," directed by Fern<strong>and</strong>o Meirelles ("City <strong>of</strong> God") <strong>and</strong> based on the best-sellingJohn le Carré novel.Weisz currently stars in Darren Aron<strong>of</strong>sky's much-anticipated sci-fi/romanticfantasy adventure, "<strong>The</strong> Fountain," opposite Hugh Jackman.She recently wrapped production on "My Blueberry Nights" directed by WongKar Wei. <strong>The</strong> romantic comedy also stars Jude Law, Norah Jones <strong>and</strong> Natalie Portman<strong>and</strong> is the story <strong>of</strong> a young woman (Jones) who travels across America to find the truemeaning <strong>of</strong> love while encountering <strong>of</strong>fbeat characters along the way.Weisz is currently shooting Working Title's comedy "Definitely, Maybe," written<strong>and</strong> directed by Adam Brooks. Weisz will begin filming the dramedy "Smart People,"written by Mark Poirier, this fall starring opposite Dennis Quaid <strong>and</strong> Thomas HadenChurch. Noam Murro, 2005 DGA Director <strong>of</strong> the Year, will make his feature directorialdebut. Later in the year Weisz is also set to star in the international con man adventure"<strong>The</strong> Brothers Bloom," written <strong>and</strong> directed by Rian JohnsonPast film credits include Francis Lawrence's hit thriller Constantine, Gary Fleder's"Runaway Jury"; James Foley's "Confidence"; <strong>and</strong> Chris <strong>and</strong> Paul Weitz' "About a Boy."She is known to audiences worldwide for her lead role opposite Brendan Fraser inStephen Sommers' blockbuster movies "<strong>The</strong> Mummy" <strong>and</strong> "<strong>The</strong> Mummy Returns."Weisz also starred in Jean-Jacques Annaud's "Enemy at the Gates"; MichaelWinterbottom's "I Want You"; David Lel<strong>and</strong>'s "<strong>The</strong> L<strong>and</strong> Girls"; Beeban Kidron's"Swept from the Sea"; <strong>and</strong> Bernardo Bertolucci's "Stealing Beauty."Weisz received critical acclaim for Focus Features "<strong>The</strong> Shape <strong>of</strong> Things" whichalso marked her first venture into producing. She had previously starred in writer/director19


Neil LaBute's staging <strong>of</strong> his original play <strong>of</strong> the same name, in both London <strong>and</strong> NewYork City.Her performance in Sean Mathias' U.K. staging <strong>of</strong> "Noel Coward's Design forLiving" garnered her the London Drama Critics Circle Award for Outst<strong>and</strong>ingNewcomer. She also starred in the West End production <strong>of</strong> "Suddenly Last Summer",directed by Mathias. Weisz began her career as a student at Cambridge University whereshe formed the Talking Tongues <strong>The</strong>atre Group, which performed numerousexperimental pieces <strong>and</strong> won the prestigious Guardian Award at the Edinburgh Festival.JOHN MALKOVICH (King Galbatorix) joined Chicago’s Steppenwolf <strong>The</strong>atrein 1976 <strong>and</strong> made his New York stage debut seven years later in “True West,” aperformance that won him an Obie®. In 1984 he appeared with Dustin H<strong>of</strong>fman in theBroadway revival <strong>of</strong> “Death <strong>of</strong> a Salesman,” which earned him an Emmy when it wasmade into a TV movie the following year.His movie debut was as the blind lodger in “Places in the Heart” (1984), aperformance that earned him an Academy Award nomination for Best Supporting Actor.Next came “<strong>The</strong> Killing Fields” (1984) <strong>and</strong> “<strong>The</strong> Glass Menagerie” (1987). Afterplaying Vicomte de Valmont in the costume drama “Dangerous Liaisons” (1988), he wascast as the psychotic political assassin in Clint Eastwood’s film “In the Line <strong>of</strong> Fire”(1993), for which he was nominated for the Academy Award <strong>and</strong> the Golden Globe.A prolific <strong>and</strong> versatile actor, Malkovich has appeared in a wide variety <strong>of</strong> rolesin films such as “Mulholl<strong>and</strong> Falls” (1996), “<strong>The</strong> Man in the Iron Mask” (1998), “BeingJohn Malkovich” (1999), “Shadow <strong>of</strong> the Vampire” (2000), “Hotel” (2001), “Ripley’sGame,” <strong>The</strong> Dancer Upstairs,” “Hideous Man” (2002), “Johnny English” (2003), “<strong>The</strong>Libertine” (2004) <strong>and</strong> “<strong>The</strong> Hitchhiker’s Guide to the Galaxy” (2005). Upcomingpictures include “<strong>The</strong> Great Buck Howard,” “<strong>The</strong> Mutant Chronicles,” “Gardens <strong>of</strong> theNight,” <strong>and</strong> “Beowulf,” the latter directed by Robert Zemeckis.His most notable tele<strong>vision</strong> appearances have been in “Heart <strong>of</strong> Darkness” (1994),“RKO 281” (1999), “Les Miserables” (2000) <strong>and</strong> “Napoleon” (2002).In addition to his acting career, he wrote <strong>and</strong> directed “Hideous Man” (2002),directed <strong>and</strong> produced “<strong>The</strong> Dancer Upstairs” (2002) <strong>and</strong> produced “Ghost World”20


(2000), “<strong>The</strong> Loner” (2001), “Kill <strong>The</strong> Poor” (2003), “Found in the Street” (2004), “<strong>The</strong>Libertine” (2004), <strong>and</strong> he starred in <strong>and</strong> produced “Art School Confidential” (2006). Healso produced “Some Assembly Required” (2004) for tele<strong>vision</strong>.ABOUT THE FILMMAKERSSTEFEN FANGMEIER (Director) received a degree in Computer Science fromthe California State University <strong>of</strong> Dominguez Hills in 1983. He worked as a systemsprogrammer <strong>and</strong> image processing analyst at Aerospace Corporation <strong>and</strong> scientificvisualization project manager at the famed National Center for SupercomputingApplication (NCSA) at the University <strong>of</strong> Illinois.His first foray into the entertainment industry was when he joined DigitalProduction (co-founded by Gary Demos <strong>and</strong> John Whitney Jr. <strong>and</strong> most famous for theirpioneering work on “<strong>The</strong> Last Starfighter”) in the mid 1980s where he worked in adi<strong>vision</strong> that provided computing services for businesses <strong>and</strong> the scientific community (tohelp during film <strong>and</strong> commercials down time).When Digital Productions closed in 1987 after the Omnibus hostile takeover in1986, he joined Mental Images, creators <strong>of</strong> the mental ray rendering engine, where hebecame Director <strong>of</strong> Production. At that time mental images had a production di<strong>vision</strong> thatserved <strong>and</strong> demonstrated the features <strong>of</strong> mental ray. During his tenure there he met futureVFX Supervisors John Nelson (who would work at Imageworks <strong>and</strong> won the Oscar for“Gladiator”) <strong>and</strong> John Berton (who would also join him at ILM <strong>and</strong> last worked on “I,Robot”).Fangmeier joined ILM in 1990 where his first major project was “Terminator 2:Judgment Day” as a CG shot supervisor. Other credits include such notable projects as“Hook,” “Casper” <strong>and</strong> “Jurassic Park.” His first project as VFX Supervisor was“Twister” for which he received an Oscar nomination <strong>and</strong> won the BAFTA. Otherprojects include “Small Soldiers,” “Saving Private Ryan,” “<strong>The</strong> Perfect Storm,” “GalaxyQuest,” “<strong>The</strong> Bourne Identity,” “Signs,” “Dreamcatcher” <strong>and</strong> “Master <strong>and</strong> Comm<strong>and</strong>er:<strong>The</strong> Far Side <strong>of</strong> the World.”His last project at ILM was “Lemony Snicket's A Series <strong>of</strong> Unfortunate Events.”He won a BAFTA for “Saving Private Ryan,” was nominated for an Oscar <strong>and</strong> won a21


BAFTA for “<strong>The</strong> Perfect Storm” <strong>and</strong> was nominated for an Oscar, BAFTA <strong>and</strong> VESAward for “Master <strong>and</strong> Comm<strong>and</strong>er: <strong>The</strong> Far Side <strong>of</strong> the World.” He has also served asSecond Unit Director on “Galaxy Quest” <strong>and</strong> “Dreamcatcher.”JOHN DAVIS (Producer) is chairman <strong>of</strong> Davis Entertainment, a motion picture<strong>and</strong> tele<strong>vision</strong> production company that, over the last ten years, has produced more than50 movies <strong>and</strong> telefilms.Davis currently is producing the sequel to “Alien vs. Predator,” having producedthe original box-<strong>of</strong>fice hit in 2004. Recently, he produced the features “Garfield: A Tail<strong>of</strong> Two Kitties” (the follow-up to the box-<strong>of</strong>fice hit “Garfield,” also produced by Davis)<strong>and</strong> the thriller “When a Stranger Calls,” which took the number-one slot its openingweekend. Upcoming are the comedies “<strong>The</strong> Heartbreak Kid,” starring Ben Stiller,directed by the Farrelly Brothers, <strong>and</strong> “Norbit,” toplining Eddie Murphy.Earlier, Davis produced “Flight <strong>of</strong> the Phoenix,” an action-adventure starringDennis Quaid; “Fat Albert,” based on Bill Cosby’s phenomenally popular character;“First Daughter,” starring Katie Holmes; the blockbuster sci fi thriller “I, Robot” <strong>and</strong> theJohn Woo-helmed thriller “Paycheck,” starring Ben Affleck.Davis’ other recent feature releases include “Daddy Day Care,” starring EddieMurphy, “Life or Something Like It” starring Angelina Jolie <strong>and</strong> the action hit “BehindEnemy Lines” with Owen Wilson <strong>and</strong> Gene Hackman. <strong>The</strong> Davis-produced comedy“Dr. Dolittle 2,” starring Eddie Murphy, grossed more than $113 million domestically,<strong>and</strong> “Heartbreakers” starring Sigourney Weaver, Gene Hackman <strong>and</strong> Jennifer LoveHewitt, opened as the number one film in the country.For tele<strong>vision</strong>, Davis produced the made-for-tele<strong>vision</strong> movies “<strong>The</strong> JesseVentura Story” <strong>and</strong> “Little Richard,” as well as the ABC telefilm “Miracle at Midnight”starring Sam Waterston. He also produced the highly rated NBC mini-series “Asteroid,”the network movies “Volcano: Fire on the Mountain,” “One Christmas” <strong>and</strong> “This Can’tBe Love,” as well as the cable movies “Tears <strong>and</strong> Laughter,” “<strong>The</strong> Last Outlaw,”“Silhouette,” “Voyage,” “Irresistible Force,” “Wild Card,” “Dangerous Passion,”“Curiosity Kills” <strong>and</strong> “Caught in the Act.”22


Among Davis’ other major theatrical features are “Dr. Dolittle” with EddieMurphy, “Out to Sea” starring Jack Lemmon <strong>and</strong> Walter Matthau, the blockbusteradaptation <strong>of</strong> John Grisham’s “<strong>The</strong> Firm” with Tom Cruise, the comedies “Grumpy OldMen” <strong>and</strong> “Grumpier Old Men,” “Courage Under Fire” starring Denzel Washington <strong>and</strong>Meg Ryan, Grisham’s “<strong>The</strong> Chamber,” “Daylight” starring Sylvester Stallone,“Waterworld” with Kevin Costner <strong>and</strong> “Richie Rich.” Other movies he has producedinclude “Predator,” “Predator 2,” “<strong>The</strong> Thing Called Love,” “Fortress,” “Gunmen,”“Storyville,” “Shattered,” “Little Monsters,” “<strong>The</strong> Last <strong>of</strong> the Finest,” “License to Drive,”“Three O’clock High” <strong>and</strong> “<strong>The</strong> Hunted.”Davis is a graduate <strong>of</strong> Bowdoin College, attended Amherst College <strong>and</strong> receivedan M.B.A. from the Harvard Business School.WYCK GODFREY (Producer) is a partner/producer, with Marty Bowen, inTemple Hill Entertainment. He is a producer on <strong>The</strong> Nativity Story,” for New LineCinema.Godfrey was a producer on “Flight <strong>of</strong> the Phoenix,” “First Daughter,” “DaddyDay Care” as well as serving as an executive producer on “I, Robot,” “Alien vs.Predator” <strong>and</strong> “Behind Enemy Lines.”Godfrey began his career as a creative executive at New Line Cinema aftergraduating from Princeton University in 1990 with a degree in English. In 1995, heswitched to Horizon Pictures as senior vice president <strong>of</strong> production before joining DavisEntertainment two years later, where he served as president for the past four years.PETER BUCHMAN (Screenwriter) recently wrote two screenplays on the life <strong>of</strong>Che Guevara for Steven Soderbergh to direct <strong>and</strong> Benicio del Toro to star. Those movieswill begin production in April, 2007. Buchman also recently adapted <strong>The</strong> Piano Tuner byDaniel Mason, into a screenplay for Focus. Currently, he is working on a remake <strong>of</strong>“Capricorn One,” with director David Dobkin.Since he began earning his living as a screenwriter, Buchman has worked withsuch directors as Steven Spielberg, Martin Scorsese, Sydney Pollack, <strong>and</strong> David O.Russell. He is a credited writer on “Jurassic Park III.”23


CHRISTOPHER PAOLINI (Author) was born on November 17, 1983 inSouthern California. Aside from a few years in Anchorage, Alaska, he spent his entirelife in Paradise Valley, Montana, where he still lives with his parents <strong>and</strong> younger sister,Angela. <strong>The</strong>y have two pets, Otis, a black <strong>and</strong> white cat, <strong>and</strong> Annie, a friskycocker/Australian shepherd mix.Tall, jagged Beartooth Mountains rise on one side <strong>of</strong> the Paradise Valley.Snowcapped most <strong>of</strong> the year, they inspired the fantastic scenery in Eragon. A few yearsago, Paolini hiked to the top <strong>of</strong> one peak <strong>and</strong> could see the Gr<strong>and</strong> Teton mountain range,100 miles to the south.Paolini was homeschooled by his parents. He <strong>of</strong>ten wrote short stories <strong>and</strong> poemsin an attempt to put his thoughts into words. He made frequent trips to the library <strong>and</strong>read widely. Some <strong>of</strong> his favorite books were Bruce Coville's Jeremy Thatcher, DragonHatcher, Frank Herbert's Dune, Raymond E. Feist's Magician, <strong>and</strong> Philip Pullman's HisDark Materials, as well as books by Anne McCaffrey, Jane Yolen, Brian Jacques, E. R.Eddison, David Eddings, <strong>and</strong> Ursula Le Guin.Paolini grew up listening to a variety <strong>of</strong> music, but classical music fired hisimagination <strong>and</strong> helped him write. He <strong>of</strong>ten listened to Mahler, Beethoven, <strong>and</strong> Wagnerwhile writing Eragon. <strong>The</strong> final battle <strong>of</strong> Eragon was written while listening to“Carmina Burana,” by Carl Orff.<strong>The</strong> story <strong>of</strong> Eragon began as the daydreams <strong>of</strong> a teen. Paolini's love for themagic <strong>of</strong> stories led him to craft a novel that he would enjoy reading. <strong>The</strong> project beganas a hobby; he never intended to be published. He took a month to plot out the entiretrilogy, then sat on the s<strong>of</strong>a <strong>and</strong> began writing in a notebook. When he reached sixtypages, he gained enough confidence to transfer his work to his Macintosh computer,where most <strong>of</strong> Eragon was written, although he sometimes found that the story flowedbetter when he wrote by h<strong>and</strong>. All the characters in Eragon are from Paolini'simagination except Angela the herbalist, who is loosely based on his sister.It took him a year to write the first draft <strong>of</strong> Eragon. He took a second year torevise the book <strong>and</strong> then gave it to his parents to read. <strong>The</strong> family decided to self-publishthe book <strong>and</strong> so a third year was spent with another round <strong>of</strong> edits, designing a cover,24


typesetting the manuscript, <strong>and</strong> creating marketing materials. During this time Paolinidrew the map for Eragon, as well as the dragon eye that appears inside the hardcoveredition. Finally, the manuscript was sent to press, <strong>and</strong> the first books arrived.<strong>The</strong> Paolini family spent the next year promoting the book themselves.Beginning with presentations at the local library <strong>and</strong> high school, they then traveledacross the U.S. In all, Paolini gave over 135 presentations at libraries, bookstores, <strong>and</strong>schools in 2002 <strong>and</strong> early 2003. He did most <strong>of</strong> the presentations dressed in a medievalcostume <strong>of</strong> red shirt, billowy black pants, lace-up boots, <strong>and</strong> a jaunty black cap.In summer 2002, author Carl Hiaasen, whose stepson had bought <strong>and</strong> devoured acopy <strong>of</strong> the self-published book while on vacation in Montana, brought Eragon to theattention <strong>of</strong> his publisher, Alfred A. Knopf Books for Young Readers, who subsequentlyacquired the rights to publish Eragon <strong>and</strong> the rest <strong>of</strong> the Inheritance trilogy. Knopfpublished Eragon in August 2003 <strong>and</strong> Eldest, Book Two in Inheritance, in August 2005.Eragon, which has been published in 41 countries, has been a #1 bestseller in both itsAlfred A. Knopf Books for Young Readers hardcover <strong>and</strong> paperback editions <strong>and</strong> hasspent 164 weeks on the New York Times bestseller list.Eldest hit the marketplace in August 2005 as one <strong>of</strong> the most anticipated books <strong>of</strong>the fall season, <strong>and</strong> its first week on sale achieved the biggest single-week sale inR<strong>and</strong>om House Children’s Books history. Currently in its 15 th printing, Eldest, also a #1bestseller, has been on the New York Times Bestseller list for 60 weeks, <strong>and</strong> has beenpublished in 41 countries. Most recently, Eldest won a 2006 Quill Award. Together,Eragon <strong>and</strong> Eldest have sold more than 8 million copies worldwide.Paolini is currently writing Book Three in Inheritance, the title <strong>of</strong> which has notyet been announced. Once the trilogy is completed, Paolini plans to take a long vacation,when he will ponder which <strong>of</strong> his many story ideas he will write next.GIL NETTER (Executive Producer) has also produced the features “A Walk inthe Clouds,” “High School High,” “BASEketball,” “Dude, Where’s My Car?” “PhoneBooth,” “My Boss’s Daughter,” the Farrelly Brothers comedy “Fever Pitch,” <strong>and</strong>“Flicka.”25


Netter served as executive producer on the films “<strong>The</strong> Naked Gun 2 1/2: <strong>The</strong>Smell <strong>of</strong> Fear,” “My Life,” “<strong>The</strong> Naked Gun 33 1/3: <strong>The</strong> Final Insult,” “First Knight,”“My Best Friend’s Wedding” <strong>and</strong> “Unconditional Love.”CHRIS SYMES (Executive Producer) was co-producer on “AVP,” “ResidentEvil,” <strong>and</strong> on the romantic comedy “<strong>The</strong> Match.” He was a producer on the 20 th CenturyFox Tele<strong>vision</strong> mystery thriller film “<strong>The</strong> Sight.”HUGH JOHNSON (Director <strong>of</strong> Photography), like many great cameramenbefore him, began his career in commercials, working with such directors as Alan ParkerHugh Hudson, Ridley Scott, Tony Scott <strong>and</strong> Adrian Lyne.Moving into the movie industry, he had an additional photography credit on TonyScott’s “<strong>The</strong> Hunger” (1983), <strong>and</strong> then progressed to second unit director for “1492:Conquest <strong>of</strong> Paradise” (1992), the first <strong>of</strong> four films with director Ridley Scott. He wasthe director <strong>of</strong> photography for Scott’s “White Squall” (1996), followed by director <strong>of</strong>photography <strong>and</strong> second unit director on “G.I. Jane” (1997). For “Kingdom <strong>of</strong> Heaven”(2005), he was second unit director <strong>and</strong> director <strong>of</strong> photography. In between, he workedas director <strong>of</strong> photography on David Twohy’s “<strong>The</strong> Chronicles <strong>of</strong> Riddick” (2004).WOLF KROEGER (Production Designer), before attaining the position <strong>of</strong>production designer, worked as art director on such films as “U-Turn” (1973), “BreakingPoint” (1976), “In Praise <strong>of</strong> Older Women” (1978) <strong>and</strong> “Quintet” (1979).He became a production designer on “Popeye” (1980), followed by “Rambo:First Blood, Part 2” (1982), “Split Image” (1982) <strong>and</strong> “Streamers” (1983), “Streamers”(1983), “<strong>The</strong> Bad Boy” (1984), “Ladyhawke” (1985), “Year <strong>of</strong> the Dragon” (1985) <strong>and</strong>“<strong>The</strong> Sicilian” (1987).After designing the sets for Mario Puzo’s TV miniseries “<strong>The</strong> Fortunate Pilgrim”(1988), he went on to design “Let It Ride” (1989), “Casualties <strong>of</strong> War” (1989), “We’reNo Angels” (1989), “<strong>The</strong> Last <strong>of</strong> the Mohicans” (1992), “Shadow <strong>of</strong> the Wolf” (1992)<strong>and</strong> “<strong>The</strong> Three Musketeers” (1993).26


In the past decade Kroeger designed “<strong>The</strong> Edge” (1997), “<strong>The</strong> 13 th Warrior”(1999), “Enemy at the Gates” (2001), “Reign <strong>of</strong> Fire” (2002), “Equilibrium” (2002),“Beyond Borders” (2003) <strong>and</strong> “Racing Stripes” (2005).He was also visual consultant on “Highl<strong>and</strong>er III: <strong>The</strong> Sorcerer” (1994) <strong>and</strong>“Cousin Bette” (1998).ROGER BARTON (Co-Producer, Film Editor) began his career editingtele<strong>vision</strong> features such as “Love, Honor <strong>and</strong> Obey” for CBS, “Not Without MyChildren” for ABC, <strong>and</strong> “Indictment: <strong>The</strong> McMartin Trial” for HBO, which won anEmmy for Best Achievement in Editing.He then went on to features, editing “That Darn Cart,” <strong>and</strong> more recently, “StarWars Episode III: Revenge <strong>of</strong> the Sith,” “<strong>The</strong> Amityville Horror,” “Bad Boys 2,” “GhostShip,” “Pearl Harbor,” “Gone in 60 Seconds” <strong>and</strong> “Get Rich or Die Tryin’.” He was anassociate editor on “Titanic,” which won an Oscar for Best Achievement in Film Editing.KYM BARRETT (Costume Designer) was born in Brisbane <strong>and</strong> attended theNational Institute <strong>of</strong> Dramatic Art in Sydney before entering the movie industry in thecostume department.After working as a wardrobe assistant on “Strictly Ballroom” (1992), Barrettmoved to Los Angeles where she became recognized for her individuality. Her big breakcame when she designed the costumes for “William Shakespeare’s Romeo + Juliet”(1996). Barrett’s reputation was further enhanced with “<strong>The</strong> Matrix” (1999), her workwinning her a Costume Designers Guild Award nomination. She went on to work on“<strong>The</strong> Matrix Reloaded” (2003) <strong>and</strong> “<strong>The</strong> Matrix Revolutions” (2003).Her other credits include “Three Kings” (1999), “Red Planet” (2000), “TitanA.E.” (2000), “From Hell” (2001), “Gothika” (2003) <strong>and</strong> “<strong>The</strong> Virgin <strong>of</strong> Juarez” (2005).More recently, Barrett designed the costumes for “Monster-in-Law” (2005), starring JaneFonda <strong>and</strong> Jennifer Lopez, <strong>and</strong> “Rumour Has It” (2006).27


PATRICK DOYLE (Music) has a prolific career as a highly respected composeron a number <strong>of</strong> films <strong>and</strong> was awarded Best Score for “A Little Princess” by the LosAngeles Film Critics Association in 1995.Doyle’s most recent film credits include “Harry Potter <strong>and</strong> the Goblet <strong>of</strong> Fire,”“Man to Man,” “Nanny McPhee,” “Secondh<strong>and</strong> Lions” <strong>and</strong> “Calendar Girls.” Doyle’sother high pr<strong>of</strong>ile credits include “Killing Me S<strong>of</strong>tly,” “Gosford Park,” “Bridget Jones’sDiary,” “Blow Dry,” Love’s Labour’s Lost,” “Great Expectations” <strong>and</strong> Mike Newell’s“Donnie Brasco.”After graduating the Royal Scottish Academy <strong>of</strong> Music <strong>and</strong> Drama, Doylecomposed music scores for tele<strong>vision</strong> including Scottish tele<strong>vision</strong>’s “Charlie Endell” <strong>and</strong>the BBC’s “<strong>The</strong> Butterfly Ho<strong>of</strong>.”In 1987, Doyle joined Kenneth Branagh’s Renaissance <strong>The</strong>atre Company after hewas commissioned to write the music for the televised version <strong>of</strong> Shakespeare’s “TwelfthNight.”In 1989 he was asked to write the score for Branagh’s film adaptation <strong>of</strong>Shakespeare’s “Henry V,” which began his career in film scoring. He then wrote themusic for other productions including “Hamlet,” “As You Like It,” “Much Ado AboutNothing,” “King Lear” <strong>and</strong> “A Midsummer Night’s Dream.”©2006 Twentieth Century Fox. All rights reserved. Property <strong>of</strong> Fox.Permission is hereby granted to newspapers <strong>and</strong> periodicals to reproduce thistext in articles publicizing the distribution <strong>of</strong> the Motion Picture.All other use is strictly prohibited, including sale, duplication, or other transfers <strong>of</strong> this material.This press kit, in whole or in part, must not be leased, sold, or given away.28

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