Resident evil Afterlife.doc

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					Production Notes
Release Date: 14 October 2010
Rating: MA 15+
Running Time: 97 min
        In a world ravaged by a virus that turns its victims into murderous zombies, the beautiful
and deadly Alice (Milla Jovovich) continues her search for survivors in Resident Evil: Afterlife,
the fourth riveting instalment of the wildly successful Resident Evil film franchise. As her battle
with the creators of the global plague reaches new heights, Alice finds herself trapped in a
burned-out Los Angeles overrun by thousands of the undead, facing a threat she never
        Screen Gems, Davis Films/Impact Pictures and Constantin Film present Resident Evil:
Afterlife, the first chapter of the saga to be shot and released in 3D. Milla Jovovich, Ali Larter
and Spencer Locke reprise their roles from Resident Evil: Extinction. New to the film franchise
are Wentworth Miller (“Prison Break”), Shawn Roberts (Edge of Darkness), Boris Kodjoe
(Surrogates), Kim Coates (“Sons of Anarchy”), Sergio Peris-Mencheta (Love Ranch), Kasey
Barnfield (BBC's “Grange Hill”) and Norman Yeung.
        Resident Evil: Afterlife is written, directed and produced by Paul WS Anderson.
Anderson also wrote, produced and directed the original Resident Evil, as well as writing and
producing two earlier sequels, Resident Evil: Apocalypse and Resident Evil: Extinction.
Producers also include Jeremy Bolt (Death Race), Robert Kulzer (Pandorum), Don Carmody
(Resident Evil: Apocalypse), Bernd Eichinger (The Baader Meinhof Complex, Downfall), and
Samuel Hadida (The Imaginarium of Dr Parnassus). Martin Moszkowicz (Pandorum) and
Victor Hadida (The Imaginarium of Dr Parnassus) are executive producers. Director of
photography is Glen MacPherson ASC CSC (The Final Destination). Production designer is Arv
Grewal (Jennifer’s Body, Lars and the Real Girl). Editor is Niven Howie (Resident Evil:
Extinction, Death Race). The special effects make-up designer is Paul Jones (Silent Hill). Visual
effects supervisor is Dennis Berardi (Resident Evil: Extinction, Death Race), with visual effects
by Mr X Inc. Original music is by tomandandy (Rules of Attraction). Costume designers are
Denise Cronenberg (The Incredible Hulk).
        The running time is 97 minutes.
        Based on Capcom Entertainment’s massively popular “Resident Evil” video game series,
the Resident Evil films are part of a global brand that also includes books, merchandising, DVD
collections and more.
        Resident Evil: Afterlife begins four years after the initial outbreak of the T-virus,
designed by the Umbrella Corporation to combat aging and nerve-based diseases. The virus’
unfortunate side effect is its ability to reanimate dead cells, transforming its hosts into ravenous
zombies. After sweeping the globe, the virus has turned the world into an unrecognizable
nightmare where the rapidly evolving undead hunt the few remaining humans.
        Picking up where the previous instalment left off, Resident Evil: Afterlife finds Alice in
Japan, armed with superhuman abilities and leading an army of her own clones against her long-
time nemesis, Umbrella Chairman Albert Wesker. After leaving Wesker for dead in a showdown
that destroys her army and strips her of her powers, Alice commandeers a two-seater airplane
and flies to the frigid Alaskan wilderness. Her goal: to find survivors at the mysterious Arcadia -
purportedly the only place on Earth not ravaged by the T-Virus.
        But Arcadia, it turns out, is no promised land, and the only sign of life is her old
comrade-in-arms Claire Redfield (Ali Larter), now suffering total amnesia. With Claire in tow,
Alice’s search for answers leads her to the ruined city of Los Angeles, where she meets a handful
of other survivors barricaded into a former prison, tenuously holding an army of the undead at
bay. There she learns that Arcadia may be closer - but also more deadly - than she thought.
       With Claire slowly recovering her memory and martial prowess, Alice leads her band of
survivors on a harrowing rescue mission - and discovers something far more terrifying than any
of them could have imagined.
         In the first three chapters of the highly successful Resident Evil franchise, Alice, the
nearly indestructible zombie fighter played by Milla Jovovich, finds herself in ever more
desperate straits as she faces off against the sinister Umbrella Corporation and the murderous
army of undead its technology has created. The fourth instalment, Resident Evil: Afterlife, takes
the series to an entirely new level, with more mind-boggling stunts and effects than ever - this
time in 3D. In the words of producer Jeremy Bolt, “The movie has big guns, beautiful women,
dogs with heads that explode, awesome landscapes. But most importantly, it has Milla, and Milla
is on fire in this movie.”
         Franchise creator Paul W S Anderson is back at the helm of Resident Evil: Afterlife, after
taking a two-film hiatus from directing duties. “I missed directing the films,” says Anderson.
“Resident Evil has always been a rich playground for me. I disappeared for a month playing the
first two games and emerged from my hatch with a giant growth of beard.”
         Anderson has taken a bold approach with the latest film, reinventing the franchise with
bigger effects, epic vistas and terrifying new adversaries. “And we shot with the latest in 3D
technology, the cameras used to shoot Avatar,” he says. “It is really exciting to be on the cutting
edge of a new technology.”
         The director started his career shooting such futuristic thrillers as Mortal Kombat and
Event Horizon, films he says he always envisioned in 3D. “I wanted to immerse the audience in
the action the way simulator rides like Back to the Future: The Ride did,” says Anderson. “I feel
like a filmmaker who is making the jump from silent pictures to talking pictures. This kind of
moment in cinema history, when the technology changes in such a radical way, only comes
along every 30 or 40 years.”
         One of the most popular movies franchises of all times, the Resident Evil films are based
on the blockbuster video games of the same name. Eight years after the premiere of the first film,
audience demand remains strong. “From a commercial point of view, it made a lot of sense to
make another one,” says Jeremy Bolt, Anderson’s long-time producing partner. “Each of the
films has made substantially more money than the previous one. Along the way, the material has
evolved in a very interesting way and Paul has matured as a filmmaker. When we began, we
thought the movies were all about the special effects and the action. Now, Paul is much more
interested in the emotional journey of the characters.”
         Resident Evil: Afterlife picks up where the third film, Resident Evil: Extinction, left off.
“Alice has managed to escape the clutches of the Umbrella Corporation yet again,” says
producer Don Carmody. “She makes her way to Alaska in search of any possible survivors of the
plague. The adventure continues as she is reunited with an old friend and they try to find out
what happened to their fellow survivors.”
         What they discover on their journey is a terrifyingly altered world, overrun by the T-
virus. Few humans still survive and the undead have become stronger and much more intelligent.
The site of most of the action is a nightmarish simulacrum of present-day Los Angeles. “Paul
came up with a great take,” Bolt says. “In the last one, we had post-apocalyptic Las Vegas. This
time we were working with the idea of Hollywood in a kind of hot nuclear winter.”
         The setting was inspired by the forest fires that raged on the outskirts of Los Angeles as
Anderson began work on the screenplay. “Even with all of our modern technology and thousands
of fire-fighters, it still takes weeks and weeks to get these forest fires under control,” he
observes. “It started me thinking - what would happen if there were no human beings left to fight
these natural occurrences? The fires would sweep down off the hillsides and go straight through
LA., through Beverly Hills, down Sunset Boulevard, past the Hollywood sign and just keep
going. That’s the Hollywood we portray in this movie. It’s a burning city, which I thought was
very fresh imagery.”
         In this unfamiliar setting, Alice must grapple with a new challenge: her own mortality.
“Over the series of the first three movies, Alice developed superhuman powers as a result of a
mutation caused by the T-Virus,” says Anderson. “When she confronted a few zombies, she
could just make them explode. If she got bit, she would regenerate. I felt she’d reached the point
where we didn’t feel scared for her any more. If we were going to make another movie, Alice
had to lose her powers. We took her back to the place she was in the very first movie: a skilled
warrior, but just a human being.”
         And just as Alice becomes more vulnerable, the zombies are evolving into ever more
dangerous foes. “One of the strengths of the games that we’ve incorporated into the movie
franchise is that the undead do evolve,” says Anderson. “They are fresh and more interesting and
more exciting each time around, as well as becoming more difficult adversaries. The zombies in
this movie are changing faster than humans can evolve.
         “You have to wonder if they will eventually out-evolve human beings and become a
viable race of their own,” he continues. “With the world semi-decimated, who are the real
inheritors of the Earth? Is it the last remnants of humanity or is it the creatures who want to eat
the last remnants of humanity? You begin to wonder if the undead are the new world order and
the human beings who remain are like the last of the dinosaurs.”
         Finding the hidden pockets of survivors has become increasingly difficult for Alice, who
is constantly in the crosshairs of the Umbrella Corporation. “We often joke that if you see her
coming, the first thing you should do is run,” says Anderson. “Even though she says, ‘I’m going
to take care of you,’ chances are, by the end of the last reel, you’re going to be dead. It’s like the
television show ‘Murder She Wrote.’ If that character comes to stay at your house for the
weekend, you should just run away, because somebody’s going to get murdered.”
         But beyond the thrills and action, Resident Evil: Afterlife tells a compelling story that
continues to resonate with audiences, says the director. “It has always encompassed bigger ideas,
like the concept of the evil corporation being the true enemy,” says Anderson. “That is a slightly
larger idea than a traditional horror or action-horror movie. Those bigger ideas are why the
movies have thrived as long as they have done, and it’s why we’re on a fourth one.
         “The human spirit burns very, very brightly in the Resident Evil movies,” he continues.
“That’s the beacon of hope and that’s why Alice can continue to live and continue to fight. In the
last film, we saw her wandering in the desert, very much a loner. She had become very burned-
out and cynical. By the end of that movie, there’s a relationship building between her and
another survivor, Claire Redfield, that is continued in this movie. It’s one of the most hopeful
things in the franchise.”
         Resident Evil: Afterlife packs its share of surprises and continues the tradition of
including a twist that audiences aren’t likely to see coming. “Just when the story is wrapped up
nicely, when everything has been resolved, The Umbrella Corporation rears its evil head for one
more surprise,” says producer Robert Kulzer. “It's a beautifully mounted movie that is going to
knock your socks off with amazing action, beautiful people, flawlessly choreographed fight
scenes and knockout visual effects. It’s going to be amazing.”
        The cast of Resident Evil: Afterlife features some fresh faces as well as several that will
be familiar to franchise fans. But no matter how popular a character becomes, warns Anderson,
there are no guarantees of survival in the film’s brutal, futuristic world.
        “The Resident Evil franchise has become well known for bringing back popular
characters for another outing,” Anderson says. “It’s also famous for killing them off without
warning. We’ve established that just because you’re a big character in the video game and you
were in the last movie, that doesn’t mean we’re not going to kill you in this movie. We did it
with several characters in the last film. I think that gives a level of uncertainty in the films that
make them truly scary.”
        There is one constant in the franchise, however: Alice, played by Milla Jovovich. “Alice
is the ultimate heroine,” says producer Don Carmody. “She’s a combination of Wonder Woman
and Indiana Jane and she’s out there kicking ass and taking names.”
        After eight years and four films, Jovovich knows the role better than anyone, Anderson
says. “When I first talked to her about Alice, I used references like Clint Eastwood from the
Dirty Harry films, Charles Bronson, Steve McQueen. They were existential characters, but,
damn, they were cool. Plenty of guys have tried to be the new Clint Eastwood or the new Steve
McQueen, but there aren’t many women who have played those characters and played them as
convincingly as Milla has.”
        In fact, Jovovich is one of the very few women ever to successfully anchor an action
franchise. “Sigourney Weaver had the same kind of success with the Alien franchise,” points out
Anderson. “I think it’s for the same reason. She is a very good actress who really makes you
believe in the alien and in that far-flung, science fiction world. Milla does that for us.”
        Jovovich says she has grown attached to her character over the years. “I’m always
excited to see where she’s going next,” explains the actress. “She’s become such a huge part of
my world. As I’ve become more immersed in the world, she’s almost become a part of me.”
        The character has evolved since the first film, according to Jovovich. “Alice started out as
an innocent character who doesn’t remember anything that’s happened to her. Eventually she
realizes she caused the accident that started the outbreak of the T-virus. She has a great sense of
guilt and self-loathing by the second movie.
        “Because Umbrella is constantly trying to trap her, she can’t be with anyone that she
cares about because they could potentially be captured,” she continues. “Alice has become a very
lonely person. In this movie, she’s taking back her self-respect. For the first time in a long time,
she feels like she belongs in this world again. It’s been quite a beautiful progression for me to
play as an actress.”
        With each film, Anderson tries to present Jovovich with a fresh challenge. In Resident
Evil: Afterlife, he gives her the task of playing an army of Alice clones. Jovovich approached the
multiple roles with enthusiasm. “There’s only one of me, obviously,” she says. “But I have to
play each of the Alices. I wanted to get creative with it as well, so each Alice has her own
personality. They’re not carbon copies of each other.”
        The characterizations were so subtle, says Anderson, it wasn’t until he began editing that
he fully appreciated the nuances. “It was only when we composited three Millas together that I
realized they were actually three completely different characters. This is Milla’s franchise and
she keeps it alive by investing a thousand percent in it. People see the honesty and the integrity
in what she’s doing and that’s why they buy into the movies.”
         Resident Evil: Afterlife reunites Alice with a fellow survivor from the previous film,
Claire, played again by Ali Larter. Jovovich feels the same bond with her co-star that Alice has
with her comrade-in-arms. “We’re really a team,” says Jovovich. “She brings such realism to the
material. It’s a pleasure to work with a strong, intelligent, gorgeous female. It pushes me to be
my best and I think I push her to do better and better. It’s so nice to work with someone who
inspires you.”
         Larter was thrilled that Anderson brought her back in what has become an iconic role for
her. She was also eager to work with Jovovich again. “One of the unique things about this story
is that it has two fierce female characters,” Larter says. “Alice and Claire are both fighters, but
Alice is almost a mythical figure. Claire is the human component. She has an indestructible
spirit. They both will do whatever they have to do to survive, but they also have a need to take
care of others.”
         Claire, who was last seen leading a group of survivors to what they believed was a safe
haven in Arcadia, Alaska, has had most of her memory wiped clean when Alice discovers her
wandering in the Arctic wilderness. “She is in complete and utter survival mode,” says Larter.
“In the last movie, Claire became a reluctant leader. In this movie, that has become her natural
instinct. As soon as she discovers that, she starts to fulfil her true destiny.
         “A lot of what Claire experiences is about faith and trust,” adds Larter. “She has to decide
whether she can believe what someone tells her or whether she needs to remember and
experience it herself. It’s also the struggle of personal sacrifice. Both Alice and Claire have lost
so many friends, as well as some of the ideals and hopes they had. They’re living in a much
harsher reality.”
         Working in 3D has upped the ante for the franchise, in Larter’s opinion. “We are at the
forefront of 3D technology with this film and it’s thrilling to watch something new being
created,” she says. “This is Paul Anderson’s vision of what happens when the world ends. It’s
zombies and kicking ass and fighting for survival. By doing it in 3D, we set those images on
         Despite the advanced technology used to make the film, some aspects of the production
process still require actors to perform demanding action sequences in front of the camera. “Both
Milla and I love to do our own stunts and part of the fun in this movie is the physicality that
comes along with it,” says Larter. “We were shooting in torrential rain and about six inches of
mud. People were slipping and sliding, I was face down in the dirt and I looked up to see about a
hundred and ten people, in galoshes, hats, rain gear, all covered to the nines, and I thought, this is
my day job?”
         In each of the previous films, Alice has formed a surrogate family of sorts with other
survivors she encounters. This time, Anderson has added an actual brother-sister relationship
featuring one of the game’s most popular characters, Chris Redfield, Claire’s brother. “I love the
family dynamic that Paul has added,” says Larter. “I think it really grounds the movie in a place
that people can relate to. But we definitely do not fall into ‘Oh, my long-lost brother’ reunion
mode. It’s actually more of a kick-ass moment.”
         Wentworth Miller, who had just finished playing four years as Michael Scofield on
“Prison Break,” finds himself back behind bars when his character is introduced. “Chris Redfield
had been working with a military unit that was using the prison as a staging post when the
outbreak began,” he explains. “When the inmates were released to help fight the undead, they
mistook Redfield for a guard and left him in a high security cell in the prison.”
        Miller says he had some initial doubts about the role. “When I first got the script, I
thought it was practical joke,” Miller says. “You meet my character in prison and the first thing
out of his mouth is, ‘I know a way out of here.’ As great as the part is and as terrific as the
franchise is, I thought it felt too familiar. But I developed a different perspective after a while. If
you don’t know me from ‘Prison Break,’ then you’re going to watch this and nothing’s amiss.
For those who do, it’s kind of a cool wink-wink to all the fans who stuck with Michael Scofield
for 81 episodes. In a way, this is my chance to give that character a different ending.”
        Chris and Claire Redfield were separated soon after the T-virus was unleashed. Both
assume the other is long dead. “He’s just emerging from the cell where he’s been imprisoned for
years and suddenly there’s the face of his long-lost sister,” says Miller. “There’s a tremendous
moment of shock and recognition, followed by a surge of emotion and tenderness, But at the
same time, it’s Resident Evil. Just as the scene begins to tiptoe into sentimental territory, there’s
this shift and it becomes about these characters being in conflict.”
        Like everyone involved in the franchise, Miller is respectful of its tremendously loyal fan
base. “As far as I’m concerned, this is already locked and loaded. Resident Evil: Afterlife does
what the franchise has been doing for eight years, which is exploring this magnificent, rich, dark
post-apocalyptic scenario. Not only do you get the chills and the spills and the thrills, you also
get interesting, believable, relatable characters that you can live through vicariously. Not for a
moment would you want to experience what Alice or Claire or Chris is experiencing, but it’s a
hell of a ride.”
        Being on set with the film’s leading lady was a revelation for Miller. “I only knew Milla
as this gorgeous, kick-ass warrior,” he confesses. “She’s so impressive on screen, the way she
holds herself - the swords, the knives. Then I find that she’s a total cut-up. She’s really got this
loud, loose, in-your-face laugh and a sense of humour that makes her seem like one of the guys.
To find all of that in the same package with her beauty and intelligence and the acting chops is
        Also new to the world of Resident Evil is actor Boris Kodjoe, who plays Luther West, the
unofficial head of a small group of survivors barricaded into a prison. “Luther is a natural
leader,” says Kodjoe. “He is an ex-pro athlete who assumes his leadership position out of
necessity. He’s confident; he’s very disciplined, and that is what keeps him sane.”
        Kodjoe, whose recent feature film credits include major roles in Surrogates, opposite
Bruce Willis, and Tyler Perry’s Madea’s Family Reunion, had planned to be a professional
tennis player until a back injury put him on the sidelines. “I could relate immediately to where
Luther was coming from,” he says. “It was exciting to me because I got to focus on getting ready
for the film physically and mentally. It gave me something to grab hold of. I would do push-ups
and crunches on set to get ready for the take and it got my blood flowing.”
        Alice and Luther connect immediately, almost instinctively, he says. “They’re both alpha
dogs. She’s very strong and confident woman and he gravitates towards that. They become team-
mates, so to speak, and they’re going to find a way out together.”
        Kodjoe promises fans that Resident Evil: Afterlife is by far the scariest movie in the
series. “The zombies are beyond scary,” he says. “They’re super-special, Type A zombies.
There’s a character from the game called the Axeman. He makes me look tiny. I don’t think
people are ready for the Axeman - he’s very intimidating. There are all kinds of surprises waiting
around every corner.”
        Kodjoe impressed Jovovich not only with his acting skills, but also with his dedication to
his family. “Boris is one of the most outstanding human beings I’ve ever met,” says Jovovich.
“He is a real hero. His daughter has spina bifida, and Boris and his wife have started a foundation
called Sofie’s Voice to raise money for research. It is unbelievable what these two people have
accomplished for their daughter. He’s such an inspiration.”
         Any story set in Hollywood has to include a movie producer and in Resident Evil:
Afterlife, that slot is filled by Bennett Sinclair, played by Kim Coates. “Kim is an unbelievably
hilarious guy,” says Jovovich. “He’s a great actor and a great improviser, who brings so much
life to his character. He had everyone in stitches. It’s hard to keep a straight face when you’re
working with him, because he’s just so funny.”
         Coates credits Anderson with creating a colourful character and then letting him run with
it. “Paul was awesome,” he says. “He just let me go and bring some humour to my character.
Bennett thinks a lot of himself and he’s not afraid to tell you that.
         “He’s got a little Errol Flynn in him, a little swashbuckling,” Coates continues. “This
guy’s definitely a survivor. There are good guys and bad guys in this story. I think he’s a bit of
both. He’s certainly not on the bad team, but he does a couple of things in this movie that are
         For inspiration, Coates didn’t have to look past the movie set. “To play a film producer
was great,” he says. “I liked to tell our producers, Don Carmody and Robert Kulzer, that I was
picking up a few things from them. I never told them what those things were though.”
         Spanish actor Sergio Peris-Mencheta rounds out the band of survivors. Resident Evil:
Afterlife is only his is second film in the US. “I’m bilingual in Spanish and French, but my
English is not as good,” he says. “Last year, Taylor Hackford was looking for an actor to play an
Argentinean boxer in Love Ranch, and he found me on the Internet. I went to LA. and auditioned
with Helen Mirren and Joe Pesci and I got the job.”
         “To be in this movie is to have one of my dreams come true,” he says I’ve played the
game for hours with my friends at home but I never thought I would be one of those guys
shooting zombies.”
         The film’s iconic villain is Albert Wesker, chairman of The Umbrella Corporation.
“Wesker is the personification of the giant corporation that will stop at nothing to turn a profit,”
says Carmody.
         A prominent character in the game series, “Chairman Wesker was a good guy in the early
games,” says Bolt. “He's become a tremendously fun villain because he loves his villainy. He
does it without becoming ridiculous, so we embrace that in the film. And the actor playing
Wesker, Shawn Roberts, worked extremely hard to convey that.”
         Wesker has become infected with the T-virus and it has made him virtually
indestructible. “This is not the bad guy next door,” says Roberts of his character. “This is evil in
the purest sense. I get a stake through the heart. I have my head blown off. They use knives, they
use jet fuel, they use all these different elements to try and take this guy out, but no luck. Just
like in the game, he is very difficult to kill.”
         Playing such an outsized action character is the fulfilment of a childhood dream for the
actor. “I constantly had to pinch myself because this is everything I’ve wanted to do since I was
six years old,” says Roberts. “Since I was knee-high to a grasshopper, I have been watching
Arnold and Bruce Willis and all these guys and wanting to be them. If dreams really do come
true, this is the prime example of it. I’ve been training my entire life for this.”
         Because Alice knows that Wesker is indestructible, she constantly has to devise different
ways of challenging him, which makes for some mind-blowing fight scenes. “As Alice, Milla is
as badass as they come,” says Roberts. “In between takes, she’s the sweetest person you could
ever imagine, but when she steps on a set, that’s it. When you hear the sound of her boots, it’s
game on. It’s an incredible transformation.”
        Jovovich says Roberts makes the perfect Wesker. “On camera, he’s like the Terminator,”
she says. “He fills the screen. In the last film, Wesker was a more sedate character sitting in a
boardroom, so I think the fans will be really excited to see him kicking butt.”
        That transformation is reflective of the entire cast, according to Jovovich. “Resident Evil:
Afterlife takes the franchise to a whole new level,” she says. “It’s even more exciting character-
wise and actor-wise. We’ve got such an amazing cast of people.”

        From the Umbrella Corporation’s high-tech subterranean hideout in Tokyo to the
smouldering Los Angeles skyline, Resident Evil: Afterlife is packed with eye-popping stunts,
spectacular sets and stunning visual effects that take full advantage of the benefits of 3D.
        “When I was writing it, I knew it was going to be a 3D movie,” says Anderson. “I tried to
write situations and environments into the screenplay that would play well in 3D. I firmly believe
3D is a paradigm shift in cinema right now. Soon, it will become the industry standard, and it’s
very exciting to be making one of the first real 3D movies. And I do say ‘real’ because we shot a
three-dimensional film. It’s not something that was shot as a 2-D film and then had 3D layered
over the top of it.”
        One of 3D’s most exciting qualities is the ability to immerse the audience in the story,
says the director. “It sucks the audience into an environment. It’s similar to the advances that
sound has made since I was a kid. Instead of sound coming just from the front of the theatre,
there are speakers inside and at the back of cinemas, so eventually you are completely cocooned
in sound. Now, with 3D, the image is doing what sound has already been doing for twenty years.
It’s helping immerse you in the world that’s being portrayed by the movie.”
        Working with the new technology required adjustments in virtually every aspect of the
production process. “I was lucky to have some very strong collaborators,” says Anderson. “Both
Arvinder Grewal, our production designer, and Dennis Berardi, the visual effects supervisor,
were designing the movie with me even before we shot a frame of film.”
        In the film, the Umbrella Corporation headquarters is bright, polished and meticulously
designed. Outside, the post-Apocalyptic world has a greyish, brownish hue and a cloud
constantly hovering overhead. “The imagined future in this film started with Paul’s written
word,” says Grewal. “Paul conceived two opposite realms: the underground world of The
Umbrella Corporation and the devastation of the planet outside it. The Umbrella Corporation has
everything, or they know how to get it. The rest of the world is struggling for survival. Our
imaginary future is the clash between these two worlds.”
        Berardi’s realization of those concepts was critical in a film where the locations were as
much visual effects as they were physical sets. “We created a completely decimated Los Angeles
cityscape,” he says. “It’s LA. like you've never seen it. We completely destroyed Tokyo. In some
shots, we're seeing upwards of 500,000 undead zombies. Our goal was always to have our effects
seamlessly integrate into the visual style of the movie, so you don't know what is created
digitally and what is practical.
        “Using 3D technology elevates the franchise,” he continues. “It puts an exclamation point
on everything. The 3D adds a really exciting nature to the visual effects. It makes you feel like
you're enveloped in the story, so that whole visual aspect is brand new.”
         Resident Evil wouldn’t be the same without audience and gamer favourites, the dogs.
“This is the fourth time we've seen them in a movie and they’re horrendous because they’ve also
been coping with the virus for four years,” says special effects make-up supervisor Paul Jones.
“But these dogs are much more elaborate than any that have come before. I'm really looking
forward seeing those guys on the big screen.”
         Jones was also responsible for creating a new look for the mutated zombies. “We have
burrowing zombies,” he says. “We have water zombies. We have what I'm calling LA. zombies.
The distinctions between each of those were fun to work out. The burrowing undead have been
living underground in the sewers and using their teeth and fingernails to chew through concrete
and rebar and dirt,” he continues. “They've stripped themselves of their lips and some of their
facial tissue, and of their fingertips, essentially. And because of the T-virus mutation, they have
these lovely mandibles coming out of their mouths.”
         Glenn MacPherson, the film’s director of photography, who also shot The Final
Destination in 3D, says the biggest surprise for his crew was the amount of hardware required.
“There’s a big footprint,” he says. “The first time we set up a shot, half the studio was the set and
the other half was entirely filled with the technology.”
         Although for much of the shoot, MacPherson used twin Sony F35 cameras, Resident
Evil: Afterlife is the first movie to shoot 3D using twin Phantom cameras for certain scenes.
Phantoms, which were developed by NASA to capture minute cracks and stresses on Space
Shuttle tiles during launch, are designed to shoot at 1,000 frames per second (fps) or more, as
compared to 24 fps, at which standard movie cameras operate.
         According to MacPherson, the Phantom was notably used in scenes with bullets or drops
of water. One such instance was the rainy scene at the Shibuya Crossing scene near the
beginning of the movie. “Shooting raindrops at 200 fps is remarkable. You can follow the
individual drops all the way down. 200 fps makes regular time look four times slower than real
time. Shooting at 1000fps would mean you could walk out of the theatre, get another tub of
popcorn and be back in time to see the end of the shot.”
         Cutting-edge innovations sometimes tested the filmmakers’ ingenuity. “Most
conventional camera equipment didn’t work for our purposes,” says Anderson. “Stabilized
heads, motion control rigs and high-tech camera cranes are all built for lightweight film or digital
cameras. A 3D camera is essentially two cameras tied together, so it’s extremely heavy. We
couldn’t just put them on existing equipment. Techniques we’ve taken for granted for twenty
years, like Steadicam rigs, no longer worked. We ended up putting the camera operator on a
Segway and it looked exactly like a Steadicam shot.”
         Niven Howie, who edited Resident Evil: Extinction, cut the fourth instalment as well.
Although it was the third movie Anderson and Howie have made together, the pair had to learn
to work in new way. “Normally, you cut the whole movie, and then hand it over to visual
effects,” says Anderson. “In this case, we would fine-cut the action scenes, do visual effects and
then start trying to assemble the movie. I felt like I was back to making my first movie all over
again, when I had no money and no film and no time and I had to really shoot to cut.”
         After a battery of test shots, Anderson was able to devise strategies for the specialized
demands of 3D. “We found that you really don’t need as many close-ups,” says Howie. “There’s
so much to look at within the frame. If someone moves in a 3D stereoscopic environment, you
just don’t cut as quickly. It is a kind of throwback to an old-fashioned form of moviemaking, but
with incredibly modern technology.”
         Even the franchise’s signature stunts were adapted for 3D. A seasoned stuntwoman,
Jovovich still had one unexpected surprise. “There’s a lot you can get away with in 2-D that just
doesn’t work in 3D - like the simple punch,” she notes. “In 2-D, you swing at someone, the other
actor falls back, you add the sound effect and you’ve sold the punch. In 3D with the almost 360-
degree coverage you get with double sets of cameras, you can see if the fist doesn’t connect with
the face. We were doing one fight sequence and I kept hearing, ‘Get closer, get closer, get closer’
until I was actually hit in the head. It’s a super 3D experience! It’s not just an actor acting
anymore - you might really get hit in this movie!”
         It all adds up to a totally fresh Resident Evil movie, according to Anderson. “Even if
you’ve seen the other films, I guarantee you that you’ve never seen anything like this one. It’s
going to reinvent Resident Evil and make it brand new again for people. People who’ve seen all
four movies have told me that it doesn’t feel like Resident Evil 4. This feels like Resident Evil 1.
It’s like the start of a whole new franchise.”

         MILLA JOVOVICH (Alice) has successfully established herself as a highly regarded,
international model and actress. Jovovich, (pronounced "mee-luh" "yo-vo-vitch") has
transitioned effortlessly to a full time actress, starring in over two dozen films.
         Star of the Resident Evil franchise, Jovovich will reprise her role as “Alice” in the fourth
instalment of the film for Sony Screen Gems. In Resident Evil: Afterlife, Alice is on a mission to
save survivors in from falling victim to the Undead in a world ravaged by a virus infection.
Written and directed by Paul WS Anderson, the film will be released nationwide on September
10, 2010.
         In October 2010, Jovovich will star alongside Academy Award winner Robert De Niro
and Academy Award nominee Edward Norton in Stone. In the film, Jovovich portrays the wife
of a convicted arsonist (Edward Norton) who is deployed in a psychological game of cat-and-
mouse with his parole officer (Robert De Niro). The Overture film is directed by John Curran.
         Jovovich recently wrapped two independent films, including Faces in the Crowd, a
psychological thriller centring on a woman (Jovovich) who barely survives an attack by a serial
killer and wakes up in hospital with a head injury that leaves her "face-blind" (prosopagnosia).
No longer able to recognize faces, she must navigate a world in which facial features change
each time she loses sight of them. All the while the killer is closing in, determined to eliminate
the potential witness. Julian McMahon also stars. In Dirty Girl, Jovovich stars alongside William
H Macy and Juno Temple. “Dirty Girl” is a comedic story of the search for identity and the
redemptive power of unexpected friendship. Danielle (Temple) is the dirty girl of Norman High
School. When Danielle's misbehaviour gets her banished to special ed, she teams up with an
innocent closet-case and together they head out on a road trip to discover each other and
themselves through a funny and serendipitous friendship.
         In July 2010, Jovovich will portray the lead in Bringing Up Bobby, the directorial debut
of actress Famke Janssen. Bringing Up Bobby is the story of a European con-artist (Jovovich)
and her son Bobby, who find themselves in Oklahoma in an effort to escape her past and build a
better future. Olive and Bobby blithely charm their way from one adventure to another until
Olive's criminal past catches up with her. Consequently, she must make a choice: continue with a
life of crime or leave the person she loves most in an effort to give Bobby a proper chance in life.
The film will shoot over the course of one month in Oklahoma.
        Upon wrapping Bringing Up Bobby, Jovovich will commence production on The Three
Musketeers, reteaming with director Paul WS Anderson. Jovovich will portray Milady de Winter
alongside a cast which also includes Christoph Waltz, Orlando Bloom, Luke Evans and Mads
Mikkelson. Filming begins in September in Europe.
        At the age of eleven, Jovovich was spotted by photographer Richard Avedon, who
featured her in Revlon's "Most Unforgettable Women in the World" advertisements. In October
1987, she was on the cover of the Italian fashion magazine Lei, her first of many covers. In 1988,
she signed her first professional modelling contract.
        Milla has appeared in hundreds of magazines and on dozens of covers. She has been
featured in ad campaigns for several brands, including Banana Republic, Christian Dior,
Damiani, Donna Karan, Gap, Versace, Mango, Etro. Milla has been an international
spokesmodel for L'Oréal cosmetics since 1998. In addition to L'Oréal, Milla has been in
campaigns for L'Oréal, ICB, Ann Taylor, and Mercedes-Benz recently.
        Milla's early modelling led to acting roles, and in 1988 she appeared in her first film role
in the romance thriller Two Moon Junction. Her first leading role was in Return to the Blue
Lagoon in 1991, for which she was nominated for the "Best Young Actress Starring in a Motion
Picture" in the 1991 Young Artist Awards. She appeared on some TV shows around this time
and also in the films Kuffs (1992), Chaplin (1992), and Dazed and Confused (1993).
        Milla's breakout role was as Leeloo, the perfect being in Luc Besson's The Fifth Element
(1997). She later starred in several other action movies besides the Resident Evil trilogy such as
Ultraviolet (2006), A Perfect Getaway (2009), and The Fourth Kind (2009).
        Milla has also been in several comedies and dramas, including Spike Lee's He Got Game
(1998), The Messenger: The Story of Joan of Arc (1999), The Claim (2000), The Million Dollar
Hotel (2000), Zoolander (2001), Dummy (2003), No Good Deed (2003) and You Stupid Man
        In 1994, Milla released her critically acclaimed folk album, The Divine Comedy. Inspired
by a love of "elves and magic trees", Milla wrote the lyrics at 15 and recorded the album when
she was just 16. Acoustic, folky, and hard to categorize, the eleven songs on The Divine Comedy
are laced with Slavic sadness and X-istential self-doubt. "In a Glade" is a beautiful traditional
Ukrainian folk song that Milla sings in her native tongue.
        Milla led a band called Plastic Has Memory which played about a dozen shows in Los
Angeles and New York City in 1999. Although Plastic Has Memory never released a record,
they did contribute one song, "On the Hill", to Hollywood Goes Wild, a benefit CD for The
Wildlife Waystation.
        Milla performed the song "Left and Right" at Fashion Rocks in London, England in
October 2003 (MP3). She has also had songs on several albums, including 2 cover versions of
Lou Reed's "Satellite of Love" on The Million Dollar Hotel soundtrack (2000), "Rocket
Collecting" on the “Underworld” soundtrack (2003), and "Shein Vi Di L'Vone" & "Mezinka"
(Yiddish Klezmer songs) on the Dummy soundtrack (2003).
        Milla has collaborated with Puscifer (Maynard James Keenan of Tool and A Perfect
Circle) several times. She sang on "Rev 22:20" on the Underworld soundtrack (2003) and also on
the Renholder remix of The Cure's "Underneath The Stars" on the Underworld: Rise of the
Lycans soundtrack (2009). Milla also sings on "The Mission" and performed live with Puscifer
at The Pearl in Las Vegas on February 13, 2009. Milla sang on "We Are Family" (2001)
(American Red Cross benefit CD), "Former Lover" from Deepak Chopra's album, A Gift of
Love II: Oceans of Ecstasy (2002), and "I Know It's You" by The Crystal Method (2004). Milla
continues to write demos. These demos are available here for free. Fans are encouraged to enjoy
them and remix them, but may not sell them.
       Jovovich-Hawk was a fashion line founded by Milla and Carmen Hawk in 2003.
Jovovich-Hawk was a finalist in 2006 for the Council of Fashion Designers of America
(CFDA)/Vogue Fashion Fund initiative. The popular fashion chain Mango released a Jovovich-
Hawk for MNG collection in 2007. Jovovich-Hawk ended in 2008.
       Milla is an ambassador for amfAR (The Foundation for AIDS Research) and also
supports several other charities, including OCRF (Ovarian Cancer Research Fund), The Dian
Fossey Gorilla Fund, Wildlands Project, and UNESCO World Heritage Centre.
       When she is not in production, Milla resides in Los Angeles with her husband and
daughter, Ever.

        ALI LARTER (Claire Redfield) starred most recently in the NBC show “Heroes,” a
drama following a group of seemingly everyday people who discover they have super powers.
Larter starred as ‘Nikki Sanders,’ a single mother who struggles to support her exceptionally
gifted young son’s private school education and whose mirror image has many secrets, which
were slowly being revealed.
        Larter most recently starred in the hit Sony film Obsessed, opposite Beyoncé Knowles
and Idris Elba.
        Larter starred in the successful first and second instalments of the New Line franchise
Final Destination and opposite Reese Witherspoon in the hit MGM film Legally Blonde. Larter
also starred in the successful Screen Gem film Resident Evil 3: Extinction and the independent
films Crazy and Marigold. Additionally, Larter enjoyed a successful run on the New York stage
in “The Vagina Monologues.”
        Making her feature film debut in the blockbuster hit Varsity Blues for Paramount
Pictures/MTV Films, Larter’s additional feature film credits include Disney’s A Lot Like Love,
Warner Bros’ American Outlaws starring opposite Colin Farrell, Dimension Films’ Jay and
Silent Bob Strike Back for writer/director/actor Kevin Smith, Warner Bros’ The House on
Haunted Hill, a remake of the original Vincent Price horror classic, opposite Taye Diggs and
Geoffrey Rush and Fox’s Drive Me Crazy.
        A native of Cherry Hill, New Jersey, Larter began modelling at the age of thirteen and
travelled the world before moving to Los Angeles, where she currently resides.

        KIM COATES (Bennett) stars as Tig Trager, a motorcycle club’s sergeant-at-arms, on
the hit F/X series “Sons of Anarchy.” He recently wrapped the feature film A Little Help, with
Jenna Fischer of “The Office” fame. Coates will be seen in the forthcoming films Robosapien:
Rebooted, Blood: A Butchers Tale, King of Sorrow, Sinners and Saints, 45 RPM and The Poet,
on which he also served as executive producer. The Poet claimed Best Picture and Best Director
(Damian Lee) prizes at the New York State Island Film Festival.
        Coates’ film career began in 1991 with a role in The Last Boy Scout. He was next seen in
Innocent Blood and The Client. Since that time, he has starred in more than 40 films including
the Academy Award-winner Black Hawk Down, directed by Ridley Scott, and Pearl Harbour,
directed by Michael Bay. Coates also appeared in Waterworld and Open Range with Kevin
Costner, The Island with Ewan McGregor, Grilled with Ray Romano, Silent Hill with Sean Bean
and Hostage with Bruce Willis. Other film credits include Assault on Precinct 13, Unforgettable,
Skinwalkers and Hollywood North.
        On the small screen, Coates presently has a recurring role on “CSI Miami.” His other
prominent guest-starring roles include appearances on “Entourage,” “CSI: Crime Scene
Investigation,” “CSI: NY,” “Cold Case” and “Prison Break.” He has played roles in more than
20 TV movies, including the NBC miniseries “Hercules,” Lifetime’s “Friend of the Family” and
Disney’s “Scream Team.” His dramatic turns on television have garnered Coates Gemini
nominations for Best Actor in a Featured Role for “Dead Silence” and Best Performance in a
Guest Role on a Dramatic Series for “The Outer Limits.”
        The actor’s talents have been well utilized in theatre, as Coates has starred in more than
50 plays in North America. He starred on Broadway as Stanley Kowalski in “A Streetcar Named
Desire” and played the tile role in “Macbeth” at the legendary Stratford Theatre.
        Coates has continually proven himself to be a leading force in the world of acting and his
versatile volume of work speaks for itself. His strong acting ethic means that he is an actor who
cannot be stereotyped and this has brought him critical acclaim.

       SHAWN ROBERTS (Wesker) is quickly making a name for himself as one of
Hollywood’s young leading men. He was recently seen co-starring opposite Mel Gibson in Edge
of Darkness, directed by Martin Campbell. He also recently co-starred in I Love You, Beth
Cooper for director Chris Columbus.
       Other feature film credits include George A Romero’s Diary of the Dead and Land of the
Dead, James Isaac’s Skinwalkers, Brian Singer’s X-Men and the successful Canadian teen
comedy Going the Distance.
       Roberts was raised in Stratford, Ontario, and began acting professionally at age 12 when
he landed a lead role on the CBC series “Emily of New Moon,” which was produced by
Academy Award-winning producer Michael Donovan. Following the completion of the show's
successful run, Roberts has worked continuously in film and television.
       The actor splits his time between Los Angeles, Toronto and Vancouver.

        SERGIO PERIS-MENCHETA (Angel) was born in Spain, where he became popular
for his recurring role in the television series “Al salir de clase” and went on to establish himself
in a wide variety of roles in television and film. His European credits include “Robles,
investigator,” “Mata Hari, la vraie historie,” “Arroz y tartana” and “Colette, une femme libre” on
television and the films La vida en rojo, Ese beso, Sa majesté Minor and Luz de domingo.
        Peris-Mencheta completed his first English-language film, Metropolis Ferry, in 2009,
followed by Taylor Hackford’s Love Ranch, starring Helen Mirren and Joe Pesci. His next film
is The Last City, starring Robert Duvall, James Caan and Jaime King.

        SPENCER LOCKE (K-Mart) has successfully worked in film, television, live
performance/ theatre and commercials during her burgeoning career. She made her feature film
debut in James L Brooks' Spanglish and recently starred as the voice of Jenny in Monster House.
        On television, she was cast as a series regular on the WB's 2005 Untitled Camryn
Manheim Pilot. Her guest star credits include Without a Trace, Ned's Declassified School
Survival Guide, Phil of the Future, TBS's 2006 pilot Boy's Life and most recently, ABC’s

       BORIS KODJOE (Luther) (From his big screen and television roles to his theatre and
entrepreneurial skills, Boris Kodjoe has proven to be one of Hollywood’s most sought-after
talents. He was handpicked by JJ Abrams to star in his new drama series “Undercovers” and
NBC quickly picked up the show touting it as the “it show” for the 2010-2011 TV season.
        Boris is probably best known for his role as Damon Carter on the hit Showtime TV series
“Soul Food.” The show earned him three NAACP Award nominations for Outstanding
Supporting Actor. Boris was most recently seen opposite Bruce Willis for director Jonathan
Mostow in the Disney thriller The Surrogates and will next be seen in Resident Evil: Afterlife
with Milla Jovovich, Wentworth Miller and Ali Larter which hits theatres September 10.
        Boris was born in Vienna, Austria, to Ursula Kodjoe, a psychologist from Germany, and
Eric Kodjoe, a physician from Ghana, West Africa. He grew up in Germany with brother Patrick
and sister Nadja, where he went to school and was exposed to athletics and the arts early in his
life. He became one of the best tennis players in the country, and accepted a tennis scholarship to
Virginia Commonwealth University in the Fall of 1992.
        While studying in Richmond, he was approached by a Ford Modelling agency which he
joined after earning his marketing degree in May of 1996. Immediately he booked twelve
campaigns such as Ralph Lauren, Perry Ellis, Yves Saint Laurent, and The GAP, within the first
seven months. His career skyrocketed as he quickly became one of the most recognizable faces
amongst male supermodels which ultimately led to him being Awarded a Supermodel Award at
the Fall ’98 fashion shows. He can currently be seen in magazine ads and on billboards
worldwide for Polo Ralph Lauren.
        Hollywood soon took notice of Boris. While studying with acting coach Janet Alhanti, he
started guest starring on sitcoms such as “For Your Love,” and landed a supporting role in the
Spike Lee produced feature film Love and Basketball.
        Boris also starred in the feature Brown Sugar, alongside Taye Diggs and Sanaa Lathan,
for which he was nominated for an NAACP Award for the Outstanding Supporting Actor in a
Motion Picture. Previously, Boris co-starred in the hit movie Tyler Perry’s Madea’s Family
Reunion and was the lead in The Gospel which was a surprise hit at the box-office.
        Last year, Boris made his Broadway debut in Cat on a Hot Tin Roof, opposite James Earl
Jones, Phylicia Rashad and Anika Noni Rose for director Debbie Allen. Previously, he toured the
country in the play Whatever She Wants with Vivica A Fox and Richard Roundtree.
        On television, Boris starred on the UPN sitcom “Second Time Around” opposite then
fiancé Nicole Ari Parker where they played a once married couple that after years of being apart,
decide to remarry and give their relationship a second try. He has since gone on to guest star on
such hit television shows as Nip/Tuck, Crossing Jordan, Eve, and Boston Public among others.
        Boris’s website ( is one of the most popular sites among
women and men of all ages. His main personal interest is to encourage young people to value
their education and strive for their own individual goals. He feels blessed and fortunate, and
believes he has a certain responsibility to share his views and experiences with others, i.e.
motivate them to reach for their stars.
        Boris recently launched the clothing company ALFA (Affordable Luxury For All) with
his brother Patrick Kodjoe, bringing the luxury of custom made clothing to every man and
woman in America.
        Boris' main personal interest is to raise funds for Sophie’s Voice Foundation
(, a foundation he started with his wife in honour of his
daughter Sophie, who was diagnosed with spina bifida at birth.
        Boris, currently resides in Atlanta with his wife Nicole, and their two children, Sophie
and Nicolas.
        WENTWORTH MILLER (Chris Redfield) was born in the United Kingdom, raised in
New York and graduated from Princeton University. Miller is a critically acclaimed actor whose
credits span both television and feature film. In 2006, he was nominated for a Golden Globe
Award for Best Performance by an Actor in a Television Series for his work on “Prison Break.”

         PAUL WS ANDERSON (Producer, Director, Writer) is a British-born director,
producer and writer internationally known for his visual and visceral films. With his finger on
the pulse of the darker side of popular culture, Anderson’s body of work is trademarked by the
more hidden and often primal aspects of humanity.
         Anderson’s first film was 1994’s low-budget success Shopping, which Anderson wrote
and directed. Starring Sadie Frost and Jude Law (with an appearance by legendary singer
Marianne Faithful), this dark film about joyriding and “ram-raiding” British youth was banned in
some UK. theatres but firmly established Anderson’s love of cars, dystopian futures and high-
impact action.
         Shopping paved the way to Hollywood for Anderson, and 1995’s Mortal Kombat became
his first American No. 1 box-office smash. It was also the first successful movie adaptation of a
videogame. The triumph of Mortal Kombat quickly established Anderson as a man who could
take the game off the television and make it explode on the big screen.
         Sidestepping offers to direct a sequel to Mortal Kombat, Anderson chose instead to turn
his attention to science fiction. His next directorial projects included Soldier and Event Horizon.
Blade Runner screenwriter David Peoples wrote Soldier as a “sidequel” to the bleakly powerful
Blade Runner. The film starred Kurt Russell, Connie Nielsen and Jason Isaacs. Now considered
a cult classic, Event Horizon starred Laurence Fishburne, Sam Neill, Jason Isaacs and Joely
         Anderson returned to adapting videogames for the big screen with the survival horror
film Resident Evil (2002), starring Milla Jovovich and Michelle Rodriguez. Anderson wrote,
directed and produced the feature. A resounding commercial success, the movie spawned
Anderson’s second successful franchise, which includes No. 1 hits Resident Evil: Apocalypse
(2004) and Resident Evil: Extinction (2007). Anderson wrote and produced the sequels with
Impact Pictures partner Jeremy Bolt.
         Anderson confirmed his box-office power when he wrote and directed the highly
anticipated AVP: Alien vs Predator (2004), starring Lance Henriksen. This kicked off
Anderson’s third successful franchise, as the movie opened at No. 1 and went on to be the
highest-grossing film in both the Alien and Predator series.
         In 2008, Anderson’s Death Race rolled into theatres. The film, which starred Jason
Statham, Joan Allen, Tyrese Gibson and Ian McShane, was a remake of the 1975 cult classic
Death Race 2000 starring David Carradine and Sylvester Stallone. Anderson produced the film
through Impact Pictures with producing partner Jeremy Bolt and a sequel is presently in
production. Death Race marks the fourth successful franchise Anderson has started, continuing a
track record that few directors can match.
         In 2009, Anderson wrapped the sci-fi horror film Pandorum, starring Dennis Quaid and
Ben Foster, for which he took on the role of producer. Anderson and Bolt produced through their
Impact Pictures banner.
       Born and raised in Newcastle-upon-Tyne, England, Anderson graduated from the
University of Warwick with a BA. in film and literature. He continued at Warwick to become the
school’s youngest student to achieve an MBA.
       Anderson is currently directing and producing an update of The Three Musketeers in 3D.
Jeremy Bolt and Robert Kulzer are also producing.

        JEREMY BOLT (Producer) has produced the majority of Paul WS Anderson’s feature
films since they created Impact Pictures together in 1992. Their first collaboration, 1994’s
Shopping starring Jude Law (Channel Four Films), was an action-packed film about joyriding
and “ram-raiding” British youth that revved up Bolt’s career and established his love of cars and
death-defying races.
        Having gotten Hollywood’s attention, Bolt and Impact Pictures were soon producing big-
budget films such as Event Horizon and Soldier. 2002’s Resident Evil was the first movie under
the pair’s joint venture deal with Germany’s leading independent distributor, Constantin Film,
and the action-horror hit made $100M worldwide.
        Under the joint venture with Constantin, Bolt has also produced 2004’s Resident Evil:
Apocalypse, written by Anderson and directed by Alexander Witt; the psychological horror film
The Dark, directed by John Fawcett; teen actioner DOA: Dead or Alive, directed by Cory Yuen
as an adaptation of Tecmo’s bestselling videogame franchise; and the third instalment in the
highly successful Resident Evil franchise, 2007’s Resident Evil: Extinction. That film debuted in
the No. 1 position at the US. box office and grossed almost $150M worldwide.
        Also in 2007, Bolt produced Death Race with Jason Statham, Joan Allen and Ian
McShane, a re-imagining of the Roger Corman cult classic. 2009 saw the release of the sci-fi
horror film Pandorum, starring Dennis Quaid and Ben Foster.
        As well as producing big-budget genre films, Bolt has proved his talents as a versatile
and eclectic filmmaker. He produced the art house film Vigo for Film Four, directed by Julian
Temple, and the comedy Stiff Upper Lips, starring Peter Ustinov) Bolt also produced There’s
Only One Jimmy Grimble, starring Ray Winstone and Robert Carlyle, and the teen horror film
The Hole, starring Thora Birch and Keira Knightley.
        Bolt is currently in production on an update of the Alexandre Dumas classic The Three
Musketeers, with Paul WS Anderson directing in 3D.

        ROBERT KULZER (Producer) was named co-president of Constantin Film
Development Los Angeles in 2005, where he had worked as head of production since 2000 and
served as head of development and acquisition from 1991 to 2000. Among his acquisitions for
Constantin Film were American Pie, The Sixth Sense and Sleepy Hollow. He also contributed to
the production of The House of the Spirits, Smilla’s Sense of Snow, Wrongfully Accused and The
Fantastic Four.
        Kulzer executive produced Resident Evil and Resident Evil: Apocalypse. He produced
Resident Evil: Extinction, which became the highest grossing independent film of 2007. He
executive produced the UK. thriller The Dark, starring Maria Bello and Sean Bean, and wrote
and produced the German action-comedy Autobahn Racer. Kulzer also produced the survival
horror film Wrong Turn, the action-adventure DOA: Dead or Alive, the werewolf action-thriller
Skinwalkers and, most recently, the science-fiction thriller Pandorum.
        DON CARMODY (Producer) has been producing films for more than 30 years. He was
Vice President of Production for Canada’s Cinepix (now Lionsgate Films), where he co-
produced David Cronenberg’s early shockers They Came From Within and Rabid as well as the
classic summer-camp comedy Meatballs.
        Starting his own production company in 1980, Carmody went on to produce the smash
hits Porky’s and Porky’s II and the perennially popular A Christmas Story, as well as
Spacehunter: Adventures in the Forbidden Zone, Whispers, The Big Town, Physical Evidence,
Switching Channels and several Chuck Norris films including The Hitman and Sidekicks.
        He returned to comedy with the successful Weekend at Bernie’s series and the HBO
telefilm “The Late Shift,” which was nominated for seven Emmy Awards, three Cable Ace
awards and the Producers’ Guild of America’s Golden Laurel. “The Late Shift” also won a
Golden Globe for actor Kathy Bates and a Directors’ Guild Award for Betty Thomas.
        Carmody’s credits include some 90 films thus far, including Johnny Mnemonic, with
Keanu Reeves; The Mighty, with Sharon Stone; Studio 54, with Salma Hayek, Ryan Phillippe
and Mike Myers; the Academy Award-nominated Good Will Hunting, with Matt Damon, Ben
Affleck and Robin Williams; In Too Deep, with LL Cool J; the cult hit The Boondock Saints,
with Willem Dafoe; The Third Miracle, with Ed Harris and Anne Heche; Get Carter, with
Sylvester Stallone; The Whole Nine Yards, with Bruce Willis and Matthew Perry; The Pledge,
directed by Sean Penn and starring Jack Nicholson; 3000 Miles to Graceland, with Kevin
Costner and Courtney Cox; Caveman’s Valentine, with Samuel L Jackson; Angel Eyes, with
Jennifer Lopez; David Mamet’s The Heist, with Gene Hackman and Danny DeVito; City by the
Sea, with Robert De Niro and Frances McDormand; Wrong Turn, with Eliza Dushku; Gothika,
starring Halle Berry, Penelope Cruz and Robert Downey Jr; Resident Evil and Resident Evil:
Apocalypse, both starring Milla Jovovich, Assault on Precinct 13, with Ethan Hawke, Laurence
Fishburne, Gabriel Byrne and Maria Bello; Lucky Number Slevin, with Bruce Willis, Josh
Hartnett, Ben Kingsley and Morgan Freeman; Silent Hill, starring Radha Mitchell and Sean
Bean; Outlander, starring Jim Caviezel and John Hurt; The Echo, directed by Yam Laranas;
Whiteout, a murder mystery set in Antarctica, starring Kate Beckinsale; Orphan, with Vera
Farmiga and Peter Sarsgaard; and The Factory, with John Cusack.
        In 2002, he was co-producer of the hit film musical Chicago, starring Renée Zellweger,
Catherine Zeta-Jones and Richard Gere. The film won seven Academy Awards including Best
Picture, three Golden Globe Awards including Best Musical or Comedy and the Producers’
Guild of America Golden Laurel Award for Best Picture as well as many, many other awards
and honours around the world.
        Carmody also produced Denis Villeneuve’s Polytechnique, which was selected for the
Directors’ Fortnight program at the Cannes Film Festival in 2009; Amelia, starring Hillary
Swank as Amelia Earhart, for director Mira Nair; and the long-awaited sequel The Boondock
Saints: All Saints Day. He is in early pre-production of a sequel to Silent Hill, to be written and
directed by Roger Avary.
        Following his genre instincts in the worlds of both horror and comedy, Carmody recently
branched out into theatre as part of the production team for the Off Broadway play “Evil Dead:
The Musical,” a campy send-up of Sam Raimi’s cult classic horror films Evil Dead I and II. The
play opened in New York to rave reviews.
        Carmody was born in New England and immigrated to Canada with his parents while still
a boy. He graduated from film school in Montreal and has gone on to produce films all over the
       Carmody currently lives in Toronto and Los Angeles.

        BERND EICHINGER (Producer) After graduating from the Munich Film School in
1973, Bernd Eichinger began producing films which have brought international attention to a
new breed of German filmmakers like; Wim Wenders (The Wrong Movement), Edgar Reitz
(Zero Hour), Hans W Geissendörfer (The Glass Cell) and Wolfgang Petersen (The
        In 1979, Eichinger became Head of Constantin Film, the Munich based production and
distribution company. Some of his many successful international productions include: Wolfgang
Petersen's The Never-ending Story, Uli Edels´ Christiane F, Last Exit to Brooklyn and The
Baader Meinhof Complex, Jean Jacques Annaud's The Name of the Rose, Bille Augusts’ The
House of the Spirits, and Tom Twyker’s Perfume-the Story of a Murderer based on the
bestselling novel by Patrick Sueskind.
        He co-produced Nowhere in Africa winning the 2002 Best Foreign Language Film Oscar
and in 2003 Eichinger wrote and produced Downfall which was nominated for the 2004 Best
Foreign Language Film Oscar.
        Eichinger wrote and produced The Baader Meinhof Complex about the 1970’s Red Army
Faction terrorists group in Germany. His controversial film earned a 2008 Best Foreign
Language Film Oscar nomination as well as a Golden Globe nomination.
        Bernd Eichingers’ producer credits also include Fantastic Four and Fantastic Four: Rise
of the Silver Surfer, based on the Marvel comics as well as the video game film adaptation
Resident Evil, Resident Evil: Apocalypse, Resident Evil: Extinction and the current Resident Evil:
Afterlife starring Milla Jovovich.
        In Germany alone 80 million people have seen Bernd Eichinger films in movie theatres.

        SAMUEL HADIDA (Producer) is one of the most successful producers and distributors
working in the worldwide film business today. Hadida and his brother, Victor, have grown
Metropolitan FilmExport, founded in the early 1980s by the brothers and their father, David, into
the largest and most successful independent all-rights distribution company for English language
pictures in France. Metropolitan has distributed hundreds of successful films in that country,
developing a keen understanding of distribution and marketing. It was an easy step for Hadida to
move into film production.
        His first production was True Romance, the first film produced from a Quentin Tarantino
script and Hadida’s first collaboration with director Tony Scott. He now produces or co-produces
several films each year through Davis Films, the production company owned and operated by
Hadida and his brother. These productions encompass the best of the French industry, European
productions and co-productions, and American productions.
        Hadida recently produced The Imaginarium of Doctor Parnassus, Terry Gilliam’s latest
visionary creation. The film starred Heath Ledger in his last film, Christopher Plummer, Lily
Cole, Johnny Depp, Colin Farrell and Jude Law. He also produced Solomon Kane, an epic
adventure adapted from the classic pulp stories written by Robert E Howard, who is best known
as the creator of Conan the Barbarian. The film was directed by Michael J Bassett and starred
James Purefoy.
        Other film credits include Christophe Gans’ Silent Hill and Tony Scott’s Domino, with
Keira Knightley and Mickey Rourke. Hadida also produced The Bridge of San Luis Rey with
Robert De Niro and Fabian Bielinsky’s thriller El Aura. He was co-executive producer of George
Clooney’s Academy Award-nominated Good Night, and Good Luck.
        In addition to producing two pictures for Tony Scott, Hadida has maintained long
associations with several other leading directors and writers. His collaborations with Roger
Avary have resulted in films including Killing Zoe, Rules of Attraction and Silent Hill. His long-
term producing relationship with Christophe Gans has continued from Gans’ first films,
Necronomicon and Crying Freeman, through the phenomenally successful Le Pacte des Loups
(one of the highest grossing French films of all time and nominated for four Cesar Awards and
eight Saturn Awards) and Silent Hill.
        Other Hadida productions include David Cronenberg’s acclaimed psychological thriller
Spider, starring Ralph Fiennes and Miranda Richardson; Sheldon Lettich’s Only the Strong (the
first capoeira martial arts film; Michael Radford’s Dancing at the Blue Iguana; Steve Barron’s
Pinocchio, with Martin Landau (one of the first films to combine computer-generated images
and live action); Matthew Bright’s Freeway (winner of the top award at the Cognac Festival and
Reese Witherspoon’s first film role); and Gabriele Salvatores’ Nirvana.
        Hadida will next bring to the big screen the sequel to Silent Hill and Return to Castle
Wolfenstein, adapted from the famous video game, written and directed by Roger Avary.

       HIROYUKI KOBAYASHI (Associate Producer) joined Capcom in 1995 and plays an
important part in many creative fields. He was involved with the development of the first
“Resident Evil” video game and “Dino Crisis” before becoming a full-fledged producer in 1999.
As a producer, he has managed various series including “Devil May Cry,” “Dino Crisis,”
“Resident Evil” and “Sengoku BASARA.” He also participated in the Resident Evil film
adaptations and the animated film “Devil May Cry” for television.

        MARTIN MOSZKOWICZ (Executive Producer) is a Constantin Film board member
responsible for film and television. Moszkowicz studied at Ludwig Maximilians University in
Munich until 1980. He then worked as production manager, line producer and producer for
numerous productions worldwide. Beginning in 1985, he was a producer and managing director
at M & P Film GmbH, Munich. He joined Constantin Film Produktion GmbH first as a producer
in 1991 and served as a managing director from 1996 until the company's IPO in 1999.
        Moszkowicz has been a member of the executive board of Constantin Film since 1999.
His responsibilities include worldwide theatrical and television production and
distribution/marketing, international sales and distribution. He has been involved as a producer in
over 80 movies and numerous television productions.
        As producer, executive producer, co-producer or managing director of the production
company, Moszkowicz has over 100 feature film credits to his name. They include Uli Edel’s
The Baader Meinhof Complex, Caroline Link’s A Year Ago in Winter, The Wave, Why Men Don't
Listen, Women Can't Read Maps, Herr Bello, Schwere Jungs, Perfume: The Story of a Murderer,
Hui Buh-Das Schlossgespenst, Harte Jungs, Nowhere in Africa, Der Gross Bagarozy,
Wrongfully Accused, Opernball, Smilla’s Sense of Snow, The House of the Spirits and Salt on
Our Skin.

       VICTOR HADIDA (Executive Producer) manages Metropolitan FilmExport in Paris
with his brother Samuel. Hadida has worked at Metropolitan for 30 years since completing his
master’s degree in business and international affairs. Hadida is now President of Metropolitan,
which the European Audiovisual Observatory identified in 2007 as the most prominent
independent European film company.
         Since 2007, Hadida has served as President of the International Federation of Film
Distributors, which represents 275 active companies in 12 countries. He has also been President
of the National Federation of Film Distributors, representing more than 70 French companies,
since 2006. Hadida was also President of the Liaison Office of Cinematographical Industries
(BLIC) in France for 2009. Through these activities, he has become a leading spokesman for
film distribution in France and the European Union, and for the worldwide film industry.
         Hadida is very active in discovering new talent and the restoration and distribution of
early films by many leaders of Asian cinema. His career reflects the prestigious and audacious
titles that have contributed to Metropolitan’s international renown, as well as a willingness to
support a wide spectrum of directing talent in world cinema. Examples include films from Asian
directors such as John Woo and Park Chan Wook, works from first-time directors such as
Vincenzo Natali’s Cube, American independents like Patty Jenkins’ Monster, distinguished films
such as Paul Haggis’ Crash and David Cronenberg’s A History of Violence and Eastern
Promises, as well as controversial films such as Paul Thomas Anderson’s Magnolia, Tony
Kaye’s American History X, Marc Forster’s Monster’s Ball, Terry George’s Hotel Rwanda and
John Hillcoat’s The Road.
         Hadida’s choices also reflect the need for entertainment, notably with cult films like
Austin Powers, Blade, the Final Destination and Rush Hour series, and an ongoing commitment
to genre and action cinema with films like Neill Blomkamp’s District 9 (produced by Peter
Jackson), Sam Raimi’s Drag Me to Hell (presented at the 2009 Cannes Film Festival) and
Sylvester Stallone’s action-extravaganza The Expendables.
         One film series above all others, however, is symbolic of Hadida’s distribution career at
Metropolitan, and that is JRR Tolkien's masterpiece The Lord of the Rings, directed by Peter
Jackson. The trilogy is known worldwide for its overwhelming critical and commercial success.
         Metropolitan has also been a pioneer of digital cinema, notably with 3D technology, as an
exciting new entertainment to attract audiences. This is highlighted by Metropolitan’s releases of
Journey to the Centre of the Earth, My Bloody Valentine, The Final Destination and Streetdance
         In connection with the activities of the company’s production arm, Davis Films, Hadida
has also executive produced numerous films in recent years, including Terry Gilliam’s The
Imaginarium of Dr Parnassus and Michael J Bassett’s Solomon Kane in 2009 and, previously,
films such as Tony Scott’s Domino, George Clooney’s widely honoured Good Night, and Good
Luck, Christophe Gans’ Silent Hill and his earlier Crying Freeman, Tom Twyker’s Perfume: The
Story of a Murderer, Brian de Palma’s Black Dahlia, David Cronenberg’s Spider, Avi Nesher’s
Turn Left at the End of the World, Jean Beaudin’s Nouvelle France, Fabian Bielinski’s El Aura
(winner of Best Film in Argentina), Roger Avary’s Killing Zoe, Steve Barron’s Pinocchio,
Gabriele Salvatores’ Nirvana and the hugely successful Resident Evil films.

       Composer duo tomandandy (Music), best known for their edgy, sublime sonic
landscapes for movies such as P2, The Hills Have Eyes, The Mothman Prophecies, Killing Zoe .
The Strangers and pioneering soundtracks for numerous television commercial campaigns, have
created an original, hybrid genre score for Resident Evil: Afterlife.
       They are composers and producers in trans media. While they are best known for their
work in film scores and television commercials, they have produced music for most
media including record projects, videogames, art installations and fashion shows. At any given
time, tomandandy's work is being broadcast somewhere in the world.
        "Our mission for the Resident Evil: Afterlife was to reinvent the sound of the Resident
Evil saga," said tomandandy. "At every turn, director Paul W S Anderson encouraged us to avoid
cliché. He encouraged us to explore the edges of noise and modern sound synthesis. This was an
amazing gift."
        Describing their creative process of composing a unique music score for Resident Evil:
Afterlife, tomandandy explain, "We developed an aggressive palette of heavily distorted sounds
and complex metric structures. At times the music is soft, gentle and airy, a fusion of organic
sounds and electronics. Bracketing the music world with these two extremes: aggressive and
distorted on one end and soft and dreamy on the other, we framed a palette, one with tremendous
        tomandandy have created original music for feature films by Academy Award
winning filmmakers including Oliver Stone and Roger Avary, produced music with
recording artists, among them Lou Reed and David Byrne, and collaborated with such artists as
author William Burroughs, performance artist Laurie Anderson and visual artist Jenny Holzer.
In the early 90's tomandandy helped reshape the role of music in the film, television
and advertising industries by developing a new technology that lowered music production costs
to a fraction of previous levels. The new aesthetic that emerged as a result was MTV's cut-up,
non-linear, "look and feel.”

        GLEN MACPHERSON ASC CSC (Director of Photography) most recently served as
director of photography on the 3D horror film The Final Destination. Before that, he shot the hit
action film Rambo, the tense thriller One Missed Call and the festival favourite Trick ’r Treat.
The Canadian-born cinematographer’s previous film credits include 16 Blocks, Rebound,
Walking Tall, My Baby’s Daddy, Friday After Next, All About the Benjamins, Exit Wounds,
Camouflage, Romeo Must Die, Wrongfully Accused and Cadillac Girls.
        MacPherson received a Genie Award nomination for Best Achievement in
Cinematography for the biographical drama Regeneration. He was nominated for a Gemini
Award for Best Photography in a Dramatic Program or Series for “Captains Courageous.”
        Also for television, MacPherson worked on such telefilms as “Max Q: Emergency
Landing,” “Calm at Sunset, Calm at Dawn,” “Doctor Who,” “First Degree,” “Bye Bye Birdie,”
“Johnny’s Girl,” “Serving in Silence: The Margarethe Cammermeyer Story,” “Shock
Treatment,” “Voices from Within,” “Flinch,” “For the Love of Aaron,” “Dying to Remember,”
“The Substitute,” “The Sea Wolf,” “Miracle on Interstate 880,” “The Amy Fisher Story,” “Miles
from Nowhere,” “Deadly Surveillance,” “Deadly Betrayal: The Bruce Curtis Story,”
“Conspiracy of Silence” and “Betrayal of Silence.” MacPherson’s TV series credits include the
pilot episode of “Sliders” and an episode of the CBC’s “Magic Hour.”

        DENNIS BERARDI (VFX Supervisor) Founder of the Mr X studio, Dennis Berardi is a
creative visionary who has lived and breathed the visual effects industry for over fifteen years. In
addition to a passion for filmmaking, his talents include exceptional creativity and problem
solving ability - as well as an unwavering dedication to his craft.
        Dennis’s love affair with the motion picture industry began in the early 1990s, when he
worked closely with IMAX and The National Film Board of Canada to integrate new ground-
breaking digital imaging systems for both live-action as well as animated films.
        In 1994, Dennis then helped to form a motion picture digital opticals company called
Cine-Byte, broadening his industry experience while managing daily production of high-
resolution input scanning, film recording, and digital effects. In 1997, he moved to Command
Post Toybox (Toronto), to establish a feature film Visual Effects department. Here, he quickly
built a reputation as an expert in the field of computer animation - one who was also skilled at
developing teams capable of tackling innovative and complex projects. It was during this period
that Berardi’s enthusiasm for working with images made him the natural choice as a creative
visual effects lead for such visually groundbreaking films as Tarsem’s The Cell and David
Fincher’s Fight Club.
        In 2001, Dennis Berardi founded Mr X in conjunction with TOPIX - an award winning
commercial design and animation house, with the goal of creating an artist-based studio
environment that would contribute fundamentally to how a concept or story is visually
interpreted for the medium of feature film.
        His studio has since established itself as a leader in North America, with credits on
dozens of distinguished projects including such recent films as Hot Tub Time Machine (2010),
Letters To Juliet (2010) Fast & Furious (2009), Sin Nombre (2009), Amelia (2009), Taking
Woodstock (2009), Death Race (2008), The Rocker (2008), Flash of Genius (2008), Eastern
Promises (2007), Resident Evil: Extinction (2007), Balls of Fury (2007), Lust Caution (2007),
Skinwalkers (2006), Silent Hill (2006), Hollywoodland (2006), Happily N’Ever After (2005),
Four Brothers (2005), Assault on Precinct 13 (2005), Greatest Game Ever Played (2005), Ice
Harvest (2005), Ice Princess (2005), A History of Violence (2005), Where the Truth Lies (2005),
Dawn of the Dead (2004), Wrong Turn (2003).
        It was a natural evolution of Berardi’s creative collaboration with other filmmakers, that
he would begin producing original content himself. His first foray into film production earned
him a producer credit for Cube Zero, the prequel to the cult film series, The Cube. Berardi then
built on this early success, producing the feature film Skinwalkers that was completed in 2006
and released theatrically in North America by After Dark Films.
        MR. X now employs 125 people and is currently in production on Scott Pilgrim vs The
World, The Thing, Resident Evil: Afterlife and TRON: LEGACY

         NIVEN HOWIE (Editor) was part of a successful local band while studying at college
in the early ’80s. Consequently, he believed he would follow a career in music. However, events
led him to a job as a trainee editor at a film and video facility on Wardour Street, Soho. Because
of his affinity for music, Howie very quickly established himself as one of the most sought-after
music-video editors in London. He soon added commercials to his portfolio, and it wasn't long
before his work began to win awards.
         In 1988, Howie directed his first music video, which led him to work in New York, Los
Angeles and all over Europe. In 1994, Julien Temple, a regular music video client, asked Howie
to edit the feature film Bullet, starring Mickey Rourke, Tupac Shakur and Ted Levine. He never
looked back. Howie has now edited many very successful feature films including Death Race,
Resident Evil: Extinction, After Life, The Hitchhiker's Guide to the Galaxy and Dawn of the
Dead. In 1998, his work on Guy Ritchie’s Lock, Stock and Two Smoking Barrels earned him a
BAFTA nomination.
         Howie still found time for music. In 1993, he edited Sting’s Grammy Award-winning
“Ten Summoner's Tales.” He was nominated for an Emmy Award in 2002 for his work on “Paul
McCartney: Back in the US.” Two of his music documentaries were nominated for the Sundance
Film Festival Grand Jury Prize: Glastonbury in 2006 and Joe Strummer: The Future is Unwritten
in 2007.
       Howie is a member of the Motion Picture Editors Guild in Los Angeles.

        ARV GREWAL (Production Designer) most recently worked as production designer
on Imagine Television’s “Battle of Maggie Hill,” a pilot for Fox Television created by Ian
Biderman. He has spent most of his professional career in the feature film world. His recent work
includes Jennifer’s Body, starring Megan Fox and directed by Karyn Kusama. Greywal was also
production designer for Lars and the Real Girl, Richard Donner’s 16 Blocks and George A
Romero’s Land of the Dead.
        Greywal served as art director on The Pacifier, Dawn of the Dead, Godsend, Bullet-proof
Monk, David Cronenberg’s Spider (nominated for Best Art Direction), K-19: The Widowmaker,
Exit Wounds, Finding Forrester and Showtime’s “A Slight Case of Murder.”
        Born in Bombay, India, Greywal emigrated to Canada with his family when he was 13
years old. After graduating from the University of Waterloo with a Bachelor of Environmental
Studies and a Bachelor of Architecture, he spent a period running his own architecture firm
before entering the film industry on the feature Lulu, working as an art apprentice. He moved
rapidly through the ranks, working as the art director on Bruce McCulloch’s Dog Park and Frank
Pierson’s “Dirty Pictures” (Golden Globe nominee for Best Motion Picture Made for TV, 2000)
after honing his craft as first assistant art director on such features as American Psycho, eXistenZ,
Dirty Work and Mimic.
        Greywal spent the year 2007 working on a permanent New York City street set for the
Nu-Image studios in Sofia, Bulgaria.

       DENISE CRONENBERG (Costume Designer) has created the costumes for nine
David Cronenberg pictures: The Fly, Dead Ringers, Naked Lunch, M Butterfly, eXistenZ, Crash,
Spider, A History of Violence and more recently, Eastern Promises. Some of her other credits
include Shoot ’Em Up, Dead Silence, Dawn of the Dead, Avenging Angelo, Bless the Child, The
Third Miracle and Dracula 2000. Her additional features include A Cool, Dry Place; Murder at
1600; and Moonlight and Valentino.
       Cronenberg is currently designing the original Fly Opera, which will premiere in Paris in
July and Los Angeles in September. She began her career as a ballet dancer in the theatre, and
with Fly Opera is returning to that medium, but as a costume designer. She will next work on her
brother’s film Painkiller.

        ROBIN D COOK CSA (Casting) has cast such films as Scott Pilgrim vs the World, The
Time Traveller’s Wife, Death Race, Traitor, The Incredible Hulk, Lars and the Real Girl, Shutter
and P2, among many others. On the television side, Cook has recently worked on the hit USA
series “Covert Affairs” starring Piper Perabo, as well as the hit series “Warehouse 13.”

         SUZANNE M SMITH CDG (Casting) is currently working on Paul WS Anderson’s
next film The Three Musketeers. Previously, she worked on the films AVP: Alien vs Predator,
the first Resident Evil, The Dark, Unleashed, Spider, and Cass.

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