Close your eyes. Open your mind. You will be unprepared.
“Sucker Punch” is an epic action fantasy that takes us into the vivid imagination
of a young girl whose dream world provides the ultimate escape from her darker reality.
Unrestrained by the boundaries of time and place, she is free to go where her mind takes
her, and her incredible adventures blur the lines between what’s real and what is
She has been locked away against her will, but Babydoll (Emily Browning) has
not lost her will to survive. Determined to fight for her freedom, she urges four other
young girls—the reluctant Sweet Pea (Abbie Cornish), the outspoken Rocket (Jena
Malone), the street-smart Blondie (Vanessa Hudgens) and the fiercely loyal Amber
(Jamie Chung)—to band together and try to escape a terrible fate at the hands of their
captors, Blue (Oscar Isaac) and Madam Gorski (Carla Gugino), before the mysterious
High Roller (Jon Hamm) comes for Babydoll.
Led by Babydoll, the girls engage in fantastical warfare against everything from
samurais to serpents, with a virtual arsenal at their disposal. Together, they must decide
what they are willing to sacrifice in order to stay alive. But with the help of a Wise Man
(Scott Glenn), their unbelievable journey—if they succeed—will set them free.
Born from the creative vision of filmmaker Zack Snyder (“Watchmen,” “300”),
“Sucker Punch” features an ensemble cast of young stars, including Emily Browning
(“The Uninvited”), Abbie Cornish (“Bright Star”), Jena Malone (“Into the Wild”),
Vanessa Hudgens (the “High School Musical” films) and Jamie Chung (“Sorority Row”).
The film’s main cast also includes Carla Gugino (“Watchmen”) and Oscar Isaac (“Robin
Hood”), with Jon Hamm (“The Town,” TV’s “Mad Men”) and Scott Glenn (“The
Zack Snyder directed “Sucker Punch” from a screenplay he wrote with Steve
Shibuya, based on Snyder’s story. Snyder and Deborah Snyder produced, with Thomas
Tull, Wesley Coller, Jon Jashni, Chris deFaria, Jim Rowe and William Fay serving as
The behind-the-scenes creative team includes Academy Award®-winning
production designer Rick Carter (“Avatar”) and “Watchmen” and “300” veterans
director of photography Larry Fong, editor William Hoy and costume designer Michael
Wilkinson. The music is by Tyler Bates and Marius DeVries.
Warner Bros. Pictures presents, in association with Legendary Pictures, a Cruel
and Unusual Production, a Zack Snyder film, “Sucker Punch.” Opening worldwide
beginning March 25, 2011, the film will be distributed by Warner Bros. Pictures, a
Warner Bros. Entertainment Company.
ABOUT THE PRODUCTION
WHEN REALITY IS A PRISON, YOUR MIND CAN SET YOU FREE...
Filmmaker Zack Snyder wanted to push the envelope of what is fantasy versus
reality in his first film to be based on his own wholly original concept, “Sucker Punch.”
Snyder, who conceived of the story and co-wrote, produced and directed the
film, states, “Sucker Punch is a movie about escape, both literal and figurative. It shows
how the mind can create an almost impenetrable barricade against the real world, and to
what lengths we’re willing to go, what sacrifices we’re willing to make, to get out of a
On the heels of “300” and “Watchmen,” the visually complex film is the result of
an idea Snyder says “was an evolution for me. I’m inspired by fantasy art and magazines
like Heavy Metal. It’s sort of a mash-up between those influences, as well as ‘Twilight
Zone’ and the writings of Richard Bach.”
The full story was years in the making. “I’d written a short story a while ago,
which included a character named Babydoll,” Snyder says. “As I worked on it further,
the idea evolved and expanded, and took on a life of its own.”
Producer Deborah Snyder adds, “It was so liberating for Zack to create
something for which there were no preconceived expectations. This movie could be
whatever he wanted it to be, and even though the story changed over time, at its center it
has always been about this young woman, Babydoll, who is faced with so much adversity
that she retreats into these fantastical worlds in her mind in order to cope with what’s
going on around her. In so doing, she finds great strength within. She’s a survivor.”
With a fair amount of the story and characters fleshed out, Zack Snyder turned to
longtime friend Steve Shibuya to co-write the script. “Together, Steve and I worked
through how it was all going to fit together.”
“When Zack first approached me, I thought his ideas for the film were so
daring,” Shibuya offers. “He wanted to make a movie without any limitations on the
action, to have an almost endless amount of space within these vastly different worlds to
push the on-screen battles as far as we could—or even farther—all within this story of a
young woman literally fighting her own demons on a journey to redemption.”
Ironically, though the story has virtually no boundaries of time and space, it is set
in one of the most confining places imaginable—a forbidding Vermont mental
institution in the 1960s. Nonetheless, the film transports the viewer along with Babydoll
as her fantasies take her to otherworldly places at once ancient and futuristic and
everywhere in between. She and her fellow warriors, Sweet Pea, Rocket, Blondie and
Amber, battle everything from gargantuan samurai beasts to reanimated zombie soldiers
to fire-breathing dragons. At the girls’ disposal: their wits, an arsenal of deadly hardware,
and their willingness to work together to survive.
It would seem that there are no limits to Babydoll’s imagination as she falls down
a rabbit hole of her own making.
Remember, if you don’t stand for something, you’ll fall for anything.
Oh, and one last thing—try and work together.
~ CASTING ~
In “Sucker Punch,” Babydoll pulls each of the key characters into her multiple
fantasy worlds, which meant that each of the actors would have to play multiple roles,
first as their characters in the asylum and then as heightened versions of themselves in
her mind, some good, some evil.
Emily Browning took on the role of the young woman determined to be free at
all costs. “The words ‘baby doll’ make you immediately think of something really
fragile,” Browning says, “but she’s not at all. That’s what was so cool to me about this
character—she’s actually pretty tough, with an unexpected stoicism.”
Delving inside Babydoll’s psyche led Browning to discover what might have
influenced her and made her so resilient.
“I think the people in her fantasies represent her experiences, the oppression she
has had to put up with throughout her life. She has this almost simplistic view of the
good guys and the bad guys, the bad guys being men like her stepfather and, later, some
of the monsters in her fantasies. And the Wise Man in her dreams represents the ideal
father figure, strong but really caring and able to guide her and help her make the right
“Babydoll symbolizes that transition between thinking like a child and thinking
like an adult, when your perception of the world changes,” Zack Snyder says. “She is a
warrior, both delicate and strong at the same moment, and Emily really personified
everything I had envisioned about Babydoll. She has this mystic, timeless, almost
unquantifiable look and completely brought the character to life for me.”
Browning felt the full support of Snyder as she worked to embody a character so
dear to him. “Zack obviously had a clear vision and knew exactly what he wanted, but at
the same time he was really collaborative and was totally open to other ideas,” she notes.
“He always wanted to make sure that I was happy with my performance.”
The first friend that Babydoll makes in her new surroundings is Rocket, a strong-
willed if somewhat naïve girl who, together with her older sister, Sweet Pea, have been at
the asylum long enough to have learned the ropes.
Jena Malone plays the impetuous Rocket, whom she says “is sort of the archetype
of the younger sibling—someone who is cared for and looked after, but doesn’t always
appreciate it. I felt Rocket was very free in the way that she could see the world and not
always be as affected by it, but feeling free in her world isn’t necessarily a positive thing.
There’s a risk to having too much confidence, or a false sense of confidence, in her
Rocket’s false sense of security comes in part from having a big sister who has
always watched over her. As Babydoll gets to know the girls, it becomes clear to her
that not only does Sweet Pea serve as a protector for her little sister, but as a leader of
the group. Sweet Pea views Babydoll’s arrival as a threat to her authority and her
position as the favorite of those in control.
Abbie Cornish, who plays Sweet Pea, instantly connected with the character.
“When I initially read the script, Sweet Pea spoke to me the most. She’s a mother figure
who looks out for Rocket, her wilder and unpredictable baby sister. Sweet Pea has good
instincts and she heeds them. She understands how discipline works in their world and
what she has to do to get through her everyday life. I think she really believes that if they
just put their heads down and work hard and do what they’re told to do, that one day
they’ll walk out of there. The idea of trying to escape—the consequences of it—scares
her more than it scares Rocket.”
One girl who definitely follows Sweet Pea’s lead is Blondie, whose nickname
belies her appearance. The part is played by the raven-haired Vanessa Hudgens, who
offers, “Blondie is very sweet, if a little bit scared, and that fear can get the best of her.
She has her ‘blonde’ moments every now and then, but when she jumps into the action
scenes, she’s a total badass.”
The experience was one she’ll not soon forget. “This project was unlike anything
I’ve ever done, and working on it felt so empowering. It’s still rare for women in film to
really kick butt, especially in a way that no one’s ever seen before, and the fact that Zack
did this and I got to be a part of it makes him my hero,” she smiles.
Another character to find her courage on the battlefield is Amber, who earns her
wings piloting the other girls to safety on more than one occasion.
Jamie Chung, who plays the role, states, “Amber is the kind of girl who wants to
fit in, to be accepted, so she’s a people-pleaser and a little submissive. The idea of
freedom, of actually escaping, riles her up and helps her find her courage. That
newfound courage translates into Babydoll’s fantasy worlds where she’s the captain of
her vessel. Whether it’s a helicopter, a Meka or a B-25, her job is to make sure the others
can accomplish their goals on the ground and in the air, and be lifted to safety when
they’re ready to get out of there. She has to do her job right, or everything will go
wrong, and she cares too much about the others to fail them.”
The sense of devotion that develops between the characters was a direct
reflection of the connections created between the actresses off screen.
“The chemistry that each of these five women had with each other was really
obvious, both on and off the set,” Deborah Snyder observes. “That’s something you
can’t make up; it’s just something magical that happens. And in a film like this, where
the characters have to create an unbreakable bond with each other, that magic really has
to be there. We were so lucky that they each had such devotion to the project and to
each other, and I think it really shows in the film.”
“I can’t imagine a different actress playing any one of these parts,” Zack Snyder
adds. “They all perfectly embodied what I had envisioned when conceiving of these
girls, and they all delivered in a way even I hadn’t imagined.”
Even more so than the five young rebels, the authority figures in the asylum
appear distinctly different in Babydoll’s imagination.
Carla Gugino plays Dr. Vera Gorski, who goes from psychiatrist to Madam as
fantasy takes over. Attempting to help the young women survive, if not escape, their
surroundings, the character is also under the thumb of those in control and is deluded
into thinking she has any authority of her own.
“This is a woman who feels a lot, but doesn’t express herself in that regard,”
Gugino says of her character, whose accent reveals her Eastern European origins. “She’s
very tough and, I felt, given when and where she probably grew up, has gone through a
lot in her lifetime, much worse than these girls will ever know. She’s a part of the
establishment, but she cares about them, too, so her tact is, ‘Let me figure out how to get
them through this and empower them within this precarious world.”
The man attempting to usurp any of their newfound power is Blue, who we first
see as an orderly but who ultimately runs the show with an iron fist. Oscar Isaac plays
“I think Blue is probably someone who has felt powerless in his life, and now
he’s able to stake some claim to these girls,” Isaac comments. “He wants their respect
and he wants to control them. Of course, he’s out for himself and whatever he can get.
And if they don’t go along with him, the consequences are severe.”
One of the consequences for Babydoll lies in the hands of a character who is only
referred to as the High Roller, a somewhat ambiguous man played by Jon Hamm. And
the one true ally the girls have is the Wise Man, a part that Snyder created with his friend
Scott Glenn in mind.
“The Wise Man really represents the voice inside your head,” the director says,
“the one you wish you listened to more often. He is the mentor and the positive adult
male energy in the film, and the perspective and the humor that Scott brought to the role
were exactly what it needed.”
Glenn appreciated the film’s eclectic style. “There’s action, there’s adventure, it’s
sexy and funny and scary.” Referring to all the eras and settings in which his character
pops up, he adds, “One of the main things that appealed to me was the challenge of
inhabiting the film through all its different worlds. I’m in 15th-century Japan, I’m in
World War I, I’m on an alien planet in the future… Through all this, the Wise Man acts
as a guide for both the girls and the audience, like a sort of sensei warrior monk.”
Snyder says that each of the characters offers the audience a different perspective
of the story, declaring, “I couldn’t have asked for a better or more committed group of
actors to bring this story to life. On top of playing all the emotional dimensions of the
characters, it was a very physical movie to make, and everybody brought their A game to
the set, every day.”
Your fight for survival starts right now.
~ PREPARING FOR BATTLE ~
Prior to filming, the five young women of “Sucker Punch” had to prepare for the
physical challenges presented by the demanding action sequences in the script. They
found themselves pushed to their limits in the capable hands of stunt coordinator and
action designer Damon Caro and training coordinator Logan Hood, both of whom had
previously worked with Zack Snyder on “300.” Caro supervised the girls’ martial arts,
fight and weapons training, while Hood oversaw their general body conditioning.
Though training would last throughout production, it began in Los Angeles
about five weeks before the cast moved up to Vancouver to start principal photography.
According to Caro and Hood, the first stage provided a foundation and included basic
techniques in order to assess strength and build the girls’ stamina. Caro started with
them each morning, running them through martial arts and empty-hand weapons
choreography, tailoring each actress’s regimen to her character’s needs. Hood and his
team, including fellow former Navy Seal David Young, took over in the afternoon with
functional training, including calisthenics, weights, body-weight pull ups and push ups,
jumping on and off boxes, pulling tires, dragging ropes and kettlebells and more,
modulating the workouts on a daily basis. The overall focus was on strength and agility
so that the girls would look more athletic in their scenes, again supporting the needs of
their individual characters.
According to Abbie Cornish, “We all found this thing within us that we called
‘the beast.’ When you think you’ve reached your maximum effort, if you can just find
that beast within yourself to push through, you go to a whole other level. It’s such an
amazing feeling, that elation that comes over you.”
“I’m a very active person; I run, I play sports, but I’ve never pushed myself to the
point where I couldn’t feel my arms,” Jamie Chung laughs. “We had fun together and
we felt the pain together. It really brought us closer and gave us a sense of camaraderie,
which we carried throughout filming.”
Jena Malone found a unique way to relate the training regimen to what her
character would be going through. “Waking up early in the morning, doing four-to-five
hours of martial arts, another two hours of strength training and then an hour or more of
guns, plus fittings for corsets—another strange form of torture—that was our insane
asylum,” she jokes. In reality, though, she acknowledges that it helped. “That process
really contributed to how we thought about our characters, living together and sweating
together, seeing what our bodies could do when we really pushed ourselves as far as we
could go. It really helped us hone in on who we had to be on camera.”
“The great thing about all the training was that it gave us a new self-confidence,
taking us to places we’d never been to before, both physically and mentally,” says
Vanessa Hudgens. “You have a fire in your eyes. You tell yourself you can do
Because Emily Browning had to expertly handle multiple weapons
simultaneously, the right-handed actress had to learn to shoot with her left hand so she
could brandish a sword in her dominant hand. She relates that she felt especially
empowered by the weapons training. “Learning to fight with Damon and the boys was
the most fun I’ve had preparing for a film. The fact that I can wield a sword and fire a
gun like it’s second-nature is a little scary but also pretty cool in a really unexpected way.”
These are your weapons. When you take them, you begin your journey to freedom.
~ ARMED FOR BEAR ~
As the story unfolds, Babydoll’s fantasies take her and the other girls into vastly
different worlds where they must fight adversaries ranging from armies of the undead, to
dragons to cyborgs in order to retrieve the talismans—a map, fire, a knife, a key and a
mysterious fifth item—that the Wise Man has advised Babydoll she’ll need to escape her
captors. Of course, in order to fight these enemies, the girls had to be armed to the
teeth, carrying an array of weapons, including fully automatic M4 assault rifles, a variety
of machineguns and sub-machineguns, Remington 12-gauge shotguns, flintlock pistols,
various handguns, WWI bayonets, broad swords and a tomahawk.
The most intricate weapon created for “Sucker Punch” is the first one Babydoll
receives: her samurai sword. After much testing, the design team, led by property master
Jimmy Chow, settled on a wakizashi blade with a katana handle reduced in girth to fit
Emily Browning’s small hands and stature. The sword featured a handle of black rayskin
(the belly of the Manta Ray, favored by the Japanese for its sandpaper-like quality that
prevents slipping), covered with oiled brown leather, a hand-carved tsuba, or sword
guard, and hand-sculpted bronze menuki, charms hidden beneath the leather. The saya,
or scabbard, was made of lacquered wood festooned with snowflakes—another key
symbol in the film—with a gold braid sash to fasten the sword to Babydoll’s leather
shoulder holster rig.
Making the sword even more about design than function, however, Zack Snyder
wanted the sides of the blade engraved with symbols that, when read chronologically,
reveal the entire storyline of “Sucker Punch.”
Browning found that detail particularly compelling. “I thought it was so
interesting that the whole story was represented along Baby’s sword, because it almost
sets her fate from the very beginning,” she says. “She has the whole story in her
hands…she just doesn’t know it.”
Designed by artist Alex Pardee, the engravings required a 40-hour process per
blade. Two identical swords were made for the film, as well as several aluminum and
bamboo replicas for the stunt fighting sequences.
“I was truly in awe of the design and workmanship that everyone put in to the
making of this critical piece of not only weaponry, but storytelling,” Snyder commends.
“It was precisely what I had envisioned and what the movie called for, both practically
and aesthetically. I always love those symbolic touches in a film that you really have to
look for, but that reveal so much when you do find them.”
The director’s call for symbolism required customization for many of the girls’
weapons, which were thus designed to relate back to the real world of each character.
Blondie’s tomahawk and pistol, for example, were engraved with her signature heart,
while Babydoll’s 1911 Colt .45 caliber handgun was carved on the slides with key
symbols that appear throughout the story, such as the stuffed animal rabbit first seen in
Babydoll’s home, and accessorized with charms similar to those used by Japanese girls on
their cellphones. Here, symbols of youth and innocence—the bunny, a baby bottle, a
teddy bear—become symbols of innocence lost: an hourglass and a skull with a bow.
Some of the major weapons in the film were not tangible, but were, rather, a
creation of visual and special effects, most notably a 25-foot, machinegun-toting Meka.
A Japanese anime-inspired, bipedal armored fighting vehicle capable of rocketing
through the sky, it was created largely by visual effects supervisor John “D.J.” Des
Jardins, with only a practical cockpit built for Jamie Chung’s Amber to pilot from.
Though the Meka is an imposing piece of machinery, Snyder and the designers
weren’t without their sense of humor, painting a battle-faded pink bunny face on its
front, along with the Japanese words that translated roughly to “Danger! Woman
driver!”—a phrase that should be taken quite seriously as Amber fires the Meka’s
multiple ammunition belts.
We can get lost in our worlds, we can believe that they’re real.
~ BRINGING FANTASY WORLDS TO LIFE ~
Before her fantasy worlds take Babydoll and her friends into battle, she first
arrives at Lennox House for the Mentally Insane in Brattleboro, Vermont. The sets for
the asylum and other actual locations were built on soundstages in Vancouver, Canada.
Production designer Rick Carter created the sets with an eye toward merging Babydoll’s
real and imaginary worlds, allowing each set to be repurposed for multiple scenarios.
“If you’re paying close attention,” producer Deborah Snyder says, “you can see,
for example, that an archway that we used in the Lennox House appears as an archway in
the dragon fantasy sequence, and again in the brothel. For the WWI fantasy, we start out
in a burned-out cathedral, which mimics the shape of the asylum.”
“What intrigued me the most was the way that each place Babydoll travels to,
whether it was the cathedral, the castle or the temple, reflected the architecture of the
asylum itself, inside and out,” Carter says. “The moody color palette, even the shafts of
light that come in through the windows, all suggest that sensibility, correlating the
different places, subconsciously putting you into the same mental space and keeping you
in touch with what has happened to Babydoll metaphorically.”
These visual similarities allude to the parallels created in Babydoll’s mind between
the real and imaginary. “Babydoll’s fantasy world draws from the real world,” Deborah
Snyder offers, “so when she first enters the theater in the institution and she sees these
typical community theatre flats—a train, a castle, a charred landscape, a Japanese
pagoda—they trigger the fantastical places of her imagination. But they’re twisted in the
way that only happens when you dream, where things get combined in your head and are
not always in the right place.”
Carter and director of photography Larry Fong worked together to keep that
hazy sense of time and place even in the scenes that occur in the film’s “reality.” The
story takes place in the 1960s, but, says Fong, “apart from some hints of it in the hair,
makeup, wardrobe and set decoration, I wouldn’t say it really looks like the `60s. We
wanted to evoke not so much a time, but a timelessness, a frame of mind. That was
more important than reflecting a specific decade.”
Babydoll’s visions flow with abandon through time and space, and the film’s mise-
en-scène reflects the journey. The film’s look is meant to simulate raw emotions that elicit
and manipulate the viewer’s own. “We wanted something visceral, that was unsettling,
where you weren’t sure what was reality and what was fantasy,” adds Fong.
To accomplish this, he says, “We used a lot of mirrors, creating reflections which
echo the theme of dual reality, illusion, self-reflection. How does your memory serve
you or betray you when you depend on it? We all have memories of events but then you
look at a photo and that’s not how you remember it; perception and reality have become
blurred. That’s partly what the movie is about: what is perception, what is imagination,
what is memory, what is false memory?”
For director Zack Snyder, supporting the film’s aesthetic was far more critical
than visual “truth.” “Finding the beauty in the harsh world of the asylum was especially
important because, for me, the beauty of this film is perhaps its most interesting
contradiction—a bleak story that is nevertheless visually arresting.”
Snyder says the essence of “Sucker Punch” is precisely these contradictions, the
way the images and elements are juxtaposed, unrestrained by the dictates of realism or
popular iconography. Costume designer Michael Wilkinson was drawn in particular to
the paradox of the film’s “combination of traditionally submissive female archetypes
with these incredibly dominant, very forceful female action hero characters. I
immediately started drawing ideas that combined hints of the archetypes—the French
maid cap or the school girl collar and scarf—with the silhouette and details of a battle-
Wilkinson explains, “I enjoyed casting the net wide when it came to researching
for the film. I pulled from all sorts of periods, all sorts of sources, whether historic or
from pop culture—from music videos and videogames to a 16th century religious
Wilkinson occasionally worked in reverse, for example, reinventing the heroines’
fighting costumes as burlesque costumes. “I had fun creating ties between the worlds so
there would be clever visual references between each layer of the story, little links that
get the audience thinking about possible themes and parallel messages. I think it helps
the audience along the ride.”
Whether dressed to scrub the floors of the asylum or to disarm a bomb on a
futuristic bullet train, the girls’ purpose of embarking on a life-and-death scavenger hunt
is to obtain the items that will spell freedom for them—a map, fire, a knife, a key, and a
mystery that represents the reason, the goal, a deep sacrifice. To mirror that journey,
Snyder and his creative teams wanted to continually take the viewer on a visual scavenger
hunt of sorts, by sprinkling the film with symbols that both spark, and become elements
of, Babydoll’s fantasies.
These links between worlds necessitated a great many custom-designed elements,
including some seemingly insignificant props. For example, the toys in the bedroom of
Babydoll’s ill-fated little sister are unexpectedly dark and creepy, their bizarre expressions
a reflection of the turmoil in Babydoll’s mind. An orderly’s cheap and otherwise
innocuous butane lighter is decorated with a dragon decal that later manifests as the
dragon the girls battle in the castle sequence, and even more significantly as a gold
lighter, hand-crafted with a dragon figure, which figures prominently in Babydoll’s
I’m gonna escape from here, I’m gonna be free.
~ THE MUSIC OF “SUCKER PUNCH” ~
The conduit between Babydoll’s life in the brothel and her escapist fantasies is
music—Madam Gorski puts on a song, and Babydoll closes her eyes and is taken away,
captivating everyone around her. Therefore, the “Sucker Punch” soundtrack had to
convey exactly the right mood at every turn. Director Zack Snyder collaborated with
Marius de Vries and Tyler Bates to compose the score and arrange and produce an
eclectic collection of songs that would hit the right notes within the various realms of the
“I think one of the most powerful and important elements of cinema is the
music,” Snyder asserts. “And because Babydoll accesses her fantasies through dance, the
music in this movie was even more critical.”
“‘Sucker Punch’” is a very dream-like movie, with themes of escape and hope,
and redemption through the imagination,” says de Vries, who worked with Snyder for
the first time on this film. “The music had to have a strong connection with those
themes. And in many cases, Zack wanted to use songs in place of score, so that the
lyrics could help navigate the way through the complex scenes and illuminate Babydoll’s
state of mind. It was a really enjoyable challenge.”
Along with Bates, de Vries and Snyder chose evocative works that could be co-
opted into doing the job of a traditional score, but also remain recognizable as they
conveyed both the action and the psychology of the story. “Sweet Dreams (Are Made of
This)” was given a sultry, melancholy arrangement, and was performed by Emily
Browning, who also contributed to two other songs in the film.
“Having Emily sing—essentially commenting in song on her character’s situation
in the film—provided an interesting texture, real resonance and depth, and tied the
music to the visuals in a way that might otherwise not have been so clearly defined,” de
In order to work with the actress between takes, de Vries brought a portable
recording rig to the set and, as luck would have it, found a quiet space to work, that
happened to house a piano. “It was a very distressed, out-of-tune, almost-unusable
instrument,” he smiles, “but the first version of ‘Asleep’ that we recorded was me playing
that beaten-up piano, which turned out to have real charm in it. Emily’s first few lines
sung that day survived all the way through the postrecording and mixing process, and
those opening lines are pretty much her first take on the song, so despite the difficult
circumstances, we got great results.”
Another song performed by actors in the film is “Love is The Drug,” a duet by
Carla Gugino and Oscar Isaac, heard over the end credits. The movie also features the
haunting, psychedelic `60s song “White Rabbit.” Both songs were written into the
original script by Snyder and co-writer Steve Shibuya.
“When Zack first explained the premise of ‘Sucker Punch,’ he talked a lot about
the song ‘White Rabbit’ as being one that he wanted as part of the film,” recalls Bates,
who played guitar on the track. “So I had a chance to think about how that could work,
and by the time he was shooting, I could see how he wanted it to develop, going from
Babydoll’s headspace into the mission of the fantasy. It starts out very ethereal, getting
her into the mindset of the dance, and once the girls have their assignment, once they
delve in with machineguns and other weapons, the song starts to bloom into this epic,
rich, full orchestral choral fanfare.”
In addition to the headier numbers, the team selected some all-out rocking,
pulsating tunes, including “Search and Destroy” and a mash-up of Queen’s “I Want It
All” and “We Will Rock You.”
“Everything we chose is in support of the action on the screen and in service of
the themes that Zack wanted to get across with this movie,” Bates says.
“Music is such a key way of expressing bottled-up emotions,” Deborah Snyder
notes. “And what Marius and Tyler brought to the film was exactly the quality and the
feeling that Zack had envisioned from the start.”
“The girls in this movie kick ass, so the soundtrack had to kick ass,” Zack Snyder
states. “I really wanted every aspect of ‘Sucker Punch’ to feel unexpected—the look, the
feel and the sound of what Babydoll and the others go through. I think that the music in
this film turned out to be such a great surprise, and to really help tell the story in a way
that only something as primitive and as much a part of the human experience as music
# # #
ABOUT THE CAST
EMILY BROWNING (Babydoll) followed her role in “Sucker Punch” with the
lead in Julia Leigh’s provocative feature debut, “Sleeping Beauty,” due out later this year.
Browning, an Australian-born actress, began her professional acting career at the
age of nine, with a role in the made-for-television film “The Echo of Thunder,” opposite
Judy Davis. She then went on to work on several Australian small screen series, with
recurring roles in “Something in the Air” and “Blue Heelers.” In 2001, she played the
guest lead of Christie in “Halifax f.p: Playing God,” for which she won the Young
Actor’s Award from the Australian Film Institute Award (AFI). A year later, she
appeared with Rachel Griffiths in the AFI-winning “After the Deluge,” for which she
was again nominated for an AFI Award in the same category.
Browning continued to build her career with a string of feature film credits,
including “The Man Who Sued God,” with Billy Connolly and Judy Davis; “Darkness
Falls”; “Ghost Ship”; and “Ned Kelly,” opposite Heath Ledger. In 2004, she scored the
breakthrough role of “Violet” in “Lemony Snicket’s A Series of Unfortunate Events,”
based on the best-selling books, alongside Jim Carrey, Meryl Streep and Jude Law. It
was for this role that she was honored with an AFI International Award for Best Actress
and a Critics’ Choice Award nomination for Best Young Actress.
Upon returning to Australia, Browning focused on completing her secondary
studies; however, she took time out to work on the AFI and IF Award-winning short
feature “Stranded.” Browning was last seen in the leading role in the horror thriller “The
Uninvited,” opposite Elizabeth Banks.
ABBIE CORNISH (Sweet Pea) is best known for her starring roles in the
independent films “Candy,” opposite Heath Ledger, and “Somersault,” with Sam
Worthington, both Australian productions that garnered her Best Lead Actress Awards
from the Film Critics Circle of Australia. She was also awarded Best Lead Actress from
the Australian Film Institute (AFI) for “Somersault” and received a nomination for
Cornish starred as poet John Keats’ lover, Fanny Brawne, alongside Ben
Whishaw and Paul Schneider, in Jane Campion’s period drama “Bright Star,” which
premiered at the 2009 Cannes Film Festival, and for which she received a British
Independent Film Award nomination for Best Actress as well as international critic
accolades. She will next be seen in the thriller “Limitless,” alongside Robert De Niro
and Bradley Cooper, as well as Madonna’s “W.E.,” a historical fantasy examining the
relationship between King Edward VIII and American socialite Wallis Simpson.
Her other feature credits include Kimberly Pierce’s “Stop Loss”; Shekhar Kapur’s
“Elizabeth: The Golden Age”; Ridley Scott’s “A Good Year,” opposite Russell Crowe;
“One Perfect Day”; and “The Monkey’s Mask.” Her voice can be heard in Zack
Snyder’s animated adventure “Legend of the Guardians: The Owls of Ga’Hoole.”
Cornish’s acting debut came at the age of 15 in her homeland on the Australian
Broadcasting Company’s television series “Children’s Hospital.” She then co-starred on
the ABC series “Wildside,” which earned Cornish her first AFI honor in 1999. In 2003,
she earned an AFI nomination for her guest role on the ABC mini-series “Marking
JENA MALONE (Rocket) appeared in the Oscar®-nominated war drama “The
Messenger,” with Woody Harrelson and Ben Foster, for writer/director Oren
Moverman, and alongside Robert Downey Jr. and Jamie Foxx in “The Soloist.” Her
upcoming films include the drama “For Ellen,” with Paul Dano and Jon Heder; “The
Wait,” with Chloë Sevigny and Luke Grimes; and Bradley Rust Gray’s “Jack and Diane.”
Malone was previously seen in the acclaimed drama “Into the Wild,” opposite
Emile Hirsch and Marcia Gay Harden, based on the bestselling book by John Krakauer
and directed by Sean Penn. She also starred in the thriller “The Ruins,” about a group of
friends whose Mexican holiday takes a turn for the worse, and in the independent film
“The Go-Getter,” starring Zooey Deschanel and Lou Taylor Pucci.
Her debut as a sexually abused young girl in “Bastard out of Carolina,” directed
by Angelica Huston, earned Malone her first of three Young Artist Awards, along with
nominations for Best Actress in a Miniseries by the Screen Actors Guild ®, and Best
Debut Performance at the Independent Spirit Awards. She was nominated twice in a row
for Best Supporting Actress at the Blockbuster Entertainment Awards, and in 1998
earned her first Golden Globe nomination for her work in the television movie “Hope,”
opposite Christine Lahti and directed by Goldie Hawn.
Malone has worked with such industry talents as Jodie Foster in both “Contact”
and “The Dangerous Lives of Alter Boys,” Susan Sarandon and Julia Roberts in
“Stepmom,” Kevin Costner in “For Love of the Game” and Kevin Kline in “Life As A
House.” She also starred in “Saved,” opposite Mandy Moore; the cult classic “Donnie
Darko,” with Jake Gyllenhaal; “The United States of Leland,” with Kevin Spacey; and
was part of the all-star ensemble in Anthony Minghella’s “Cold Mountain.“
Her other acting credits include “Pride & Prejudice,” “The Ballad of Jack and
Rose,” “The Badge,” “Cheaters,” “Book of Stars,” “Origins of Evil,” “The Ballad of
Lucy Whipple” and “Hidden in America.”
Malone debuted on Broadway in the Tony Award- and Pulitizer Prize-winning
play “Doubt,” written by John Patrick Shanley and directed by Doug Hughes. She is
also an accomplished musician and songwriter.
VANESSA HUDGENS (Blondie) began her career in the world of musical
theatre at the age of eight, with roles in such productions as “Evita,” “Carousel,” “The
Wizard of Oz,” “The King & I,” “The Music Man,” “Cinderella” and “Damn Yankees,”
and most recently appeared as Mimi in a stage production of “Rent” at The Hollywood
Bowl, directed by Neil Patrick Harris.
The recognition Hudgens received for her early work quickly brought her to the
screen, and she made her feature film debut in Catherine Hardwicke’s “Thirteen,”
starring Holly Hunter and Evan Rachel Wood. Soon thereafter, she co-starred in the
action-adventure film “Thunderbirds,” and was a recurring guest star on Disney
Channel’s “The Suite Life of Zack & Cody.” Her other television credits include
appearances on “Quintuplets,” “The Brothers Garcia,” “Still Standing” and “Robbery
It was Hudgens’ role in Disney Channel’s breakaway sensation “High School
Musical” that garnered her the most praise and attention. She played Gabrielle Montez,
the sweet girl torn between her attraction to both basketball jock Troy Bolton and the
school musical auditions. With critics and fans clamoring for more, Hudgens reprised
her role in the highly successful follow ups, “High School Musical 2” and the feature film
“High School Musical 3: Senior Year.” She then followed up those hits by starring in
“Bandslam,” a film which centers around a high school misfit and a popular girl who
form an unlikely bond through their love for music.
Hudgens can currently be seen “Beastly,” a modern-day take on Beauty & the
Beast’, and just wrapped “Journey 2: The Mysterious Island.”
JAMIE CHUNG (Amber) is quickly becoming one of Hollywood’s most sought
after young actresses, and will next be seen in “The Hangover Part II,” Todd Phillips’
follow up to his blockbuster comedy “The Hangover.”
Chung recently completed work on David Koech’s “Premium Rush,” starring
Joseph Gordon Levitt and Michael Shannon. The action film is set in New York City,
and centers around a bike messenger who picks up a package at Columbia University and
subsequently catches the attention of a dirty cop.
She last appeared as Rob Schneider’s daughter in the hit summer comedy
“Grown Ups,” alongside Adam Sandler, Chris Rock, Kevin James, and David Spade.
On the small screen, Chung starred as the lead in the hit ABC Family original
event “Samurai Girl.” The six-episode series revolved around her character, Heaven, the
adopted daughter of wealthy parents who strives to balance a normal life with the
Samurai traditions of her ancestors.
Chung’s other film and television credits include the horror feature “Sorority
Row,” the adventure film “Dragonball: Evolution,” the Disney Channel movie “Princess
Protection Program,” and roles on “ER,” “Grey’s Anatomy,” “Castle” and “CSI: NY,”
as well as recurring appearances on “Greek.”
CARLA GUGINO (Dr. Vera Gorski), a favorite of film and television
audiences, next stars alongside Jim Carrey in Mark Waters’ comedy “Mr. Popper’s
Penguins,” and later this year in Garry Marshall’s holiday ensemble “New Year’s Eve.”
She most recently starred in Mark Pellington’s “I Melt with You,” which premiered at
the 2011 Sundance Film Festival, and will be seen at this year’s South by Southwest Film
Festival in the comedy “Girl Walks Into a Bar.” “Sucker Punch” marks her second film
with director Zack Snyder, having starred in his acclaimed comic book actioner
Gugino’s other film credits include “Faster,” a crime thriller starring Dwayne
Johnson, and the indie features “Every Day” and “Electra Luxx,” in which she plays the
title character, a role which she reprised from 2009’s “Women in Trouble.” In 2010, she
starred in and produced the short film “Tell Tale.” Prior to that, she played the lead in
Tim Chambers’ sports drama “The Mighty Macs,” and starred in Andy Fickman’s family
adventure “Race to Witch Mountain,” opposite Dwayne Johnson.
Gugino shared in a Screen Actors Guild Award® nomination as a member of the
cast of Ridley Scott’s acclaimed 2007 drama “American Gangster,” with Denzel
Washington and Russell Crowe. In 2006, she starred in the smash hit comedy “Night at
the Museum,” opposite Ben Stiller. Her additional film credits include Jon Avnet’s
“Righteous Kill,” starring Robert De Niro and Al Pacino; Scott Frank’s “The Lookout”;
and starring opposite Antonio Banderas in the hugely successful “Spy Kids” film trilogy,
all written and directed by Robert Rodriguez. Rodriguez also directed Gugino in the
action thriller “Sin City.”
On television, Gugino can currently be seen opposite David Duchovny in
Showtime’s dark comedy “Californication,” and recently had a recurring role on the hit
HBO series “Entourage,” playing uber-agent Amanda, who proves a formidable nemesis
to Jeremy Piven’s character, Ari Gold. Among her earlier television credits are regular
roles on the sci-fi series “Threshold”; “Karen Sisco,” as the title character; the hospital
drama “Chicago Hope”; and the sitcom “Spin City,” opposite Michael J. Fox.
On the stage, Gugino starred in the role of the alluring and headstrong Abbie in
the Eugene O’Neil play “Desire Under the Elms,” at Chicago’s Goodman Theatre. She
made her Broadway debut as Maggie in the 2004 revival of Arthur Miller’s “After the
Fall,” earning an Outer Critics Circle Award nomination and a Theatre World Award for
her performance. In 2006, she starred in the off-Broadway production of Tennessee
Williams’ “Suddenly Last Summer,” opposite Blythe Danner.
Gugino began her career while still in her teens, making her feature film debut in
the comedy “Troop Beverly Hills.” She went on to appear in such films as “Welcome
Home, Roxy Carmichael”; the drama “This Boy’s Life,” with Robert De Niro and
Leonardo DiCaprio; and the comedy “Son in Law.” Her additional film credits include
“Miami Rhapsody,” with Sarah Jessica Parker; Nora Ephron’s “Michael,” starring John
Travolta; “Snake Eyes,” opposite Nicolas Cage under the direction of Brian De Palma;
and “The Singing Detective,” with Robert Downey Jr.
OSCAR ISAAC (Blue Jones) is a classically trained actor with an internationally
diverse heritage. His upcoming films include director Dean Wright’s “Cristiada,” a
chronicle of the Cristeros War in the 1920s; “Drive,” an actioner starring Ryan Gosling
and Carey Mulligan; and “Ten Year,” Jamie Linden’s reunion drama with Channing
Tatum, Kate Mara and Rosario Dawson.
Isaac was most recently seen alongside Russell Crowe in Ridley Scott’s “Robin
Hood,” and opposite Rachel Weisz in “Agora,” directed by Academy Award® winner
Alejandro Amenábar. Isaac also starred as Nobel Peace Prize winner José Ramos-Horta
in “Balibo,” based on the true story about the young revolutionary leader who
befriended Roger East, an Australian journalist investigating the suspicious deaths of five
of his fellow countrymen. The role garnered him a Best Supporting Actor Award from
the Australian Film Instiute.
His first starring role was as Shiv, opposite Paddy Considine and Radha Mitchell,
in the critically lauded “Pu-239” from HBO Films. The film is a dark comedy about
selling radioactive materials on the black market in post communist Moscow. It was
directed by Scott Z. Burns, premiered at the Toronto International Film Festival in 2006
and aired on HBO in 2007. Isaac next starred as Joseph in Catherine Hardwicke’s “The
Nativity Story,” which chronicled the arduous journey of Mary and Joseph and the
history-defining birth of Jesus. It was the first film ever to premiere at the Vatican.
Isaac co-starred in “Body of Lies,” directed by Ridley Scott and starring Leonardo
DiCaprio and Russell Crowe. He was also seen in Steven Soderbergh’s “Che: Part One,”
with Benicio Del Toro. His other film credits include Vadim Perelman’s “The Life
Before Her Eyes,” opposite Uma Thurman and Evan Rachel Wood. On the small
screen, he guest-starred on NBC’s “Law & Order: Criminal Intent.”
In the theater, Isaac garnered rave reviews in New York for his work in two
Public Theater Shakespeare in the Park productions: “Romeo and Juliet,” as Romeo,
opposite Lauren Ambrose, under the direction of Michael Grief; and in the musical
revival of “Two Gentlemen of Verona,” adapted by John Guare and Mel Shapiro. At
Manhattan Theatre Club, Isaac starred in “Beauty of the Father” by Pulitzer Prize-
winning playwright Nilo Cruz, also directed by Grief. Isaac was last seen off-Broadway
in the 2008 American premiere of Mick Gordon and A.C. Graylings’ “Grace,” directed
by Joseph Hardy and starring Lynn Redgrave.
In 2004, Isaac was a recipient of the prestigious Princess Grace Award, annually
awarded to outstanding artists in the disciplines of theater, dance and film by the
Princess Grace Foundation-USA. His other theater credits include “Arrivals/
Departures,” “When It’s Cocktail Time in Cuba” and “Spinning Into Butter.” While a
student at Juilliard, Isaac played the title role in “Macbeth.” He also co-wrote and
performed his own music in the show “American Occupation,” and was seen in “The
Marriage of Figaro,” “The Birds,” “Three Sisters” and many others.
Raised in Miami, Isaac also writes and performs music with his band.
JON HAMM (High Roller/Doctor) has received three consecutive Emmy
Award nominations for Outstanding Lead Actor in a Drama Series for his work in the
provocative AMC series “Mad Men,” which explores the changing social mores of a
Madison Avenue ad agency in the 1960s. For his portrayal of the duplicitous agency
partner Don Draper, Hamm has also garnered a Golden Globe Award, three additional
Golden Globe nominations, and four Screen Actors Guild (SAG) Award ® nominations,
all for Best Actor in a Drama Series. In addition, he shared in two SAG Awards ® won
by the ensemble cast of “Mad Men.”
Hamm recently wrapped production on the independent film “Friends with
Kids,” which was written and directed by Jennifer Westfeldt, who also stars. The
ensemble cast also includes Adam Scott, Megan Fox, Kristen Wiig and Maya Rudolph.
Hamm will next appear in Paul Feig’s upcoming comedy “Bridesmaids,” from producer
Judd Apatow. He was most recently seen as an FBI agent in Ben Affleck’s critically
acclaimed “The Town,” and heard in the animated hit “Shrek Forever After.” He also
co-starred with James Franco and Mary-Louise Parker in the independent feature
“Howl,” about Alan Ginsberg’s creation of the title poem and subsequent obscenity trial,
which premiered at the 2010 Sundance Film Festival.
Hamm’s previous film credits include the remake of the sci-fi film “The Day the
Earth Stood Still,” “We Were Soldiers,” “Ira & Abby,” “Kissing Jessica Stein” and Clint
Eastwood’s “Space Cowboys,” marking his feature film debut.
In addition to “Mad Men,” Hamm has been seen on a number of television
series. He has earned two Emmy Award nominations for his guest arc as Liz Lemon’s
love interest on the hit series “30 Rock,” and also received critical acclaim for his three
hosting gigs on “Saturday Night Live.” His other television credits include recurring and
guest roles on such series as “The Unit,” “What About Brian,” “Numb3rs,” “CSI:
Miami” and “The Division.” His breakthrough role came when a small part on the show
“Providence” turned into an 18-episode run.
SCOTT GLENN (Wise Man) will follow his recent appearance in director
Randall Wallace’s family drama “Secretariat” with the upcoming independent film
He followed 2008’s “Nights in Rodanthe” with a comic turn in “Surfer Dude,”
alongside Matthew McConaughey, Woody Harrelson and Willie Nelson, and ended the
year with a starring role in the Oliver Stone biopic “W.,” as the controversial Donald
Glenn starred in the blockbuster hit “The Bourne Ultimatum,” the independent
adventure comedy “Camille,” Richard LaGravenese’s drama “Freedom Writers” and the
2004 film noir “Puerto Vallarta Squeeze,” based on the novel by Robert James Waller.
He also starred in Lasse Hallström’s acclaimed drama “The Shipping News,” the satire
“Buffalo Soldiers,” Antoine Fuqua’s “Training Day,” and the action thriller “Vertical
After more than 20 years pursuing a career as a novelist, poet and journalist,
Glenn launched his acting career with a number of off-Broadway productions,
including “Fortune & Men’s Eyes” and “Collision Course,” and spent the late 1960s in
traveling theatrical productions across New York City.
Relocating to Hollywood, he won small parts in Robert Altman’s “Nashville,”
some of Roger Corman’s low-budget specials and Francis Ford Coppola’s “Apocalypse
Now,” before making his big-screen starring debut alongside John Travolta in the 1980
classic “Urban Cowboy.” Other major film roles soon followed, including Robert
Towne’s “Personal Best”; John Frankenheimer’s “The Challenge”; Philip Kaufman’s
“The Right Stuff,” in which Glenn appeared as astronaut Alan Shepard; Lawrence
Kasdan’s Western “Silverado”; John McTiernan’s Oscar®-winning adventure “The Hunt
for Red October”; Jonathan Demme’s Oscar®-winning “The Silence of the Lambs”;
Stuart Rosenberg’s “My Heroes Have Always Been Cowboys”; Ron Howard’s acclaimed
“Backdraft”; the epic fantasy adventure “Tall Tale”; the dark comedy “Reckless”;
Edward Zwick’s wartime drama “Courage Under Fire”; Ken Loach’s festival favorite
“Carla’s Song,” a love story set amidst the guerilla war in Nicaragua; Clint Eastwood’s
“Absolute Power”; and Sofia Coppola’s “The Virgin Suicides.”
Glenn’s credits include numerous network and cable movies and guest-starring roles
in a wide range of hit television series over the past three decades. He starred in the telepic
“Code Breakers”; the A&E biographical drama “Faith of My Fathers”; NBC’s “Homeland
Security”; and the Hallmark Hall of Fame productions “Gone But Not Forgotten,” John
Gray’s “The Seventh Stream” and “A Painted House,” based on John Grisham’s novel. He
starred in the 1994 Showtime noir thriller “Past Tense” and has twice portrayed Sgt. Daniel
Muldoon in Showtime’s “Naked City” films. He also served as narrator on three episodes of
“The American Experience.”
A lifelong member of The Actors Studio, Glenn made a triumphant return to
Broadway as Pale in Lanford Wilson’s “Burn This,” and off-Broadway in “Dark
Rapture” and the critically acclaimed “Killer Joe,” for which he earned a Drama Desk
Best Actor nomination and a special honor at the Drama League Awards presentation.
He also starred in Arthur Miller’s final play, “Finishing the Picture,” at the Goodman
Theater in Chicago, for which Miller wrote a scene for him.
Glenn has been married to artist Carol Schwartz since 1967. The Glenns are
active supporters of numerous charities, including the Naval Special Warfare
Foundation, for families of fallen servicemen, and The Delta Society, which helps train
and sponsor service and therapy dogs.
ABOUT THE FILMMAKERS
ZACK SNYDER (Writer/Director/Producer) is currently in pre-production on
the new Superman actioner, starring Henry Cavill as the iconic DC Comics super hero.
The film is currently slated for release in December 2012.
Snyder made the jump to feature direction from the commercial and music video
world with his inspired re-imagining of the George Romero classic “Dawn of the Dead.”
He then directed the groundbreaking action epic “300,” adapted from the Frank Miller
Graphic novel. Grossing more than $450 million worldwide, “300” established Snyder
as one of the film industry’s most artistic and sought-after directors.
Snyder followed with the expertly crafted “Watchmen,” bringing the
“unfilmable” graphic novel to the big screen in 2009. He made his animation debut with
the 2010 adventure “Legend of the Guardians: The Owls of Ga’Hoole,” based on the
beloved books by Kathryn Lasky and featuring a voice cast that included Oscar ® winners
Helen Mirren and Geoffrey Rush.
Snyder produces through his Warner Bros.-based shingle, Cruel and Unusual
Films, which he co-founded with wife and producing partner, Deborah Snyder. They are
presently developing a wide range of films, including “The Last Photograph,” with a
story by Snyder and screenplay by Kurt Johnstad; and “Army of the Dead,” an action-
thriller being written by Joby Harold, from an original story by Snyder, with award-
winning commercial filmmaker Matthijs van Heijningen, Jr. set to direct.
In addition, Snyder is scripting the untitled “300” sequel with his “300”
collaborator Kurt Johnstad, based on Frank Miller’s upcoming graphic novel of the same
name. Cruel and Unusual Films is also developing “Illusions,” based on the novel by
Richard Bach, and “Cobalt 60.”
STEVE SHIBUYA (Screenplay) is an American screenwriter. His first major
film is “Sucker Punch.”
Born in Los Angeles, California, he was nurtured with a steady diet of comics and
monster movies. His early years were spent learning how to draw, paint, and express
himself visually. He studied art at California State University, Long Beach and, after
graduating, worked at the special effects studio Fantasy II. While there, he learned
makeup effects, building miniatures and stop-motion animation, and worked on such
films as “Killer Klowns from Outer Space” and “The Abyss.”
Shibuya then studied film at the prestigious Art Center College of Design in
Pasadena, where he met Zack Snyder, who became a good friend and frequent
After film school, he wrote screenplays and, to support his passion, worked in the
film industry in jobs spanning from shooting Karaoke videos to production assisting to
camera operating on big budget commercials, all the while sharpening his eye in the
camera and pushing for his dreams.
Shibuya is currently working on several screenplays, one based on a children's
book he wrote and illustrated.
DEBORAH SNYDER (Producer) is currently producing the new Superman
movie, together with Charles Roven, Emma Thomas and Christopher Nolan. Zack
Snyder will direct the film, which stars Henry Cavill as Clark Kent / Superman and is
planned for release in December 2012.
In addition, she is a producer on a wide range of films that are presently in
various stages of development, including “The Last Photograph,” the untitled “300”
sequel, “Army of the Dead,” “Illusions” and “Cobalt 60.” All of the films are being
produced under the banner of Cruel and Unusual Films, the company she formed with
Snyder made her producing debut as an executive producer on the worldwide hit
feature “300,” inspired by the Frank Miller graphic novel and directed by Zack Snyder.
A breakout success, “300” took in more than $70 million at the box office in its opening
weekend and went on to gross over $450 million worldwide. Snyder then produced
Zack Snyder’s critically acclaimed “Watchmen,” the long-awaited adaptation of Alan
Moore’s graphic novel. She more recently served as an executive producer on the
animated adventure “Legend of the Guardians: The Owls of Ga’Hoole.”
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary
Pictures, has achieved great success in the co-production and co-financing of event
movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros.
Pictures on such hits as Bryan Singer’s “Superman Returns”; Zack Snyder’s “300” and
“Watchmen”; and Christopher Nolan’s “Batman Begins” and award-winning
phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck’s “The
Town”; Christopher Nolan’s summer blockbuster “Inception”; the worldwide hit “Clash
of the Titans”; Todd Phillips’ “The Hangover,” which is the highest-grossing R-rated
comedy of all time, as well as Phillips’ “Due Date”; and Spike Jonze’s “Where the Wild
Things Are.” Legendary’s upcoming releases include Bryan Singer’s “Jack the Giant
Killer,” Todd Phillips’ “The Hangover Part II,” and the new Superman movie directed
by Zack Snyder. Legendary is also developing a number of promising film projects in-
house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and sequels to
“300” and “Clash of the Titans.”
Before forming Legendary, Tull was President of The Convex Group, a media
and entertainment holding company headquartered in Atlanta, on whose Board of
Directors he also served.
WESLEY COLLER (Executive Producer) is a producer at Cruel and Unusual
Films Incorporated, where he works in collaboration with Zack Snyder and Deborah
Snyder to create entertaining and groundbreaking feature films.
Coller served as co-producer on Zack Snyder’s acclaimed comic book feature
adaptation “Watchmen,” and as an associate producer on Zack Snyder’s first animated
feature, “Legend of the Guardians: The Owls of Ga’Hoole.” He also served as associate
producer on Snyder’s blockbuster hit “300,” which had a record-breaking opening
weekend in March 2007, going on to gross more than $450 million worldwide. In
addition, he has worked as Cruel’s creative consultant on several publishing endeavors,
including Sucker Punch: The Art of the Film, Watchmen: The Art of the Film, Watchmen: The
Film Companion, Watchmen: Portraits and 300: The Art of the Film.
Currently, Coller is involved in the development and production of a wide range
of projects for Cruel and Unusual, including the upcoming Superman project, “Army of
the Dead” and “The Last Photograph.”
Prior to starting his career, Coller graduated from Eastern Michigan University in
1999 with a Bachelor of Arts degree in Telecommunication & Film and a minor in
JON JASHNI (Executive Producer) oversees the development and production
of all Legendary film projects, including the upcoming features “Warcraft,” “Akira” and
“Paradise Lost.” He recently served as executive producer on such films as Ben
Affleck’s critically acclaimed “The Town,” Louis Leterrier’s mythological adventure hit
“Clash of the Titans,” Todd Phillips’ top-grossing R-rated comedy “The Hangover,” and
Spike Jonze’s family adventure hit “Where the Wild Things Are.”
Prior to Legendary, Jashni was President of Hyde Park Entertainment, a
production and financing company with overall deals at 20th Century Fox, Disney and
MGM. While there, he oversaw the development and production of “Shopgirl,”
“Dreamer,” “Walking Tall” and “Premonition.”
Before joining Hyde Park, Jashni was a producer on director Andy Tennant’s
romantic comedy smash “Sweet Home Alabama,” which grossed over $175 million
worldwide. Jashni’s collaboration with Tennant began with the $90 million-grossing fairy
tale “Ever After,” for which Jashni oversaw development and production as a senior
production executive at 20th Century Fox.
Jashni also co-produced two films which received a total of three Academy
Award® nominations: the critically acclaimed drama “The Hurricane,” which garnered a
Best Actor nod for star Denzel Washington; and a non-musical reinterpretation of
“Anna and the King,” which starred Jodie Foster and earned two Oscar® nominations.
Jashni was earlier partnered with industry powerbroker Irving Azoff at the
Warner Bros.-based Giant Pictures. Together they produced “Jack Frost” and “The
Inkwell.” Jashni joined Azoff after a stint as a production executive at Columbia
Pictures, where he was involved in the development and production of such films as
“Groundhog Day,” “Bram Stoker's Dracula” and “Stephen King’s Sleepwalkers.” Jashni
began his career at Daniel Melnick’s The IndieProd Company, where he was involved in
the production of “Air America,” “Mountains of the Moon,” “Roxanne” and
Jashni is a member of the American Film Institute and the Producers Guild of
America. He holds a BS from the University of Southern California and an MBA from
UCLA’s Anderson School of Management.
CHRIS DEFARIA (Executive Producer) produces and oversees the development
and production of Visual Effects and Feature Animation for Warner Bros. Recent
projects include the “Harry Potter” films, the recent “Batman” series, “I Am Legend,”
“Where the Wild Things Are,” “Watchmen,” “Sherlock Holmes,” “Sweeney Todd,”
“Clash of the Titans,” “The Matrix” trilogy and the upcoming “Green Lantern” and
“Happy Feet Two.”
Spearheading the studio’s expanding efforts in innovative animation and hybrid
filmmaking, deFaria was instrumental in the production of “300,” “Corpse Bride” and
“Happy Feet,” and recently served as executive producer on Zack Snyder’s first animated
feature, “Legend of the Guardians: The Owls of Ga’Hoole.”
Prior to that, deFaria produced the hit “Cats and Dogs” and the combination
animation/live action comedy “Looney Tunes: Back in Action.”
He is the recipient of three regional Emmy Awards and two NATPE Iris awards.
His extensive television credits include numerous documentaries, prime-time specials and
longforms, including, as producer, “In Concert Against AIDS,” NBC's “And Then She
Was Gone,” “Amityville 5,” “Amityville 6” and “Tremors II.”
JIM ROWE (Executive Producer) most recently served as an executive producer
on Catherine Hardwicke’s fantasy thriller “Red Riding Hood,” starring Amanda Seyfried
and Gary Oldman.
Rowe was an assistant director on over 20 films before making the leap to unit
production manager (UPM) on “Valentine,” also serving as a co-producer on the film.
His other UPM credits include “Spy Game,” “The Perfect Score,” “Scooby Doo
2,” ”Underworld: Evolution,” “Little Man,” “Hot Rod,” and Zack Snyder’s critically
acclaimed 2007 film, “Watchmen.” He will re-team with Snyder on his next project.
WILLIAM FAY (Executive Producer) has been a successful producer and
executive producer for over 20 years, and is currently President of Production at
Legendary Pictures. Since its inception in 2004, Legendary has joined with Warner Bros.
to produce a wide range of films, including Bryan Singer’s “Superman Returns”; Zack
Snyder’s “300” and “Watchmen”; and the Christopher Nolan-directed blockbusters
“Batman Begins,” “The Dark Knight,” which earned more than $1 billion worldwide,
and, most recently, “Inception.” Fay also served as an executive producer on Ben
Affleck’s critically acclaimed “The Town,” the box office hit “Clash of the Titans,” and
Todd Phillips’ comedy smash “The Hangover,” which became the highest-grossing R-
rated comedy of all time.
Prior to his work at Legendary, Fay was President of Centropolis Entertainment,
one of the most successful production companies in Hollywood. During his tenure,
Centropolis produced films that totaled nearly $1.5 billion in worldwide box office,
including “The Patriot,” starring Mel Gibson, and the blockbuster “Independence Day,”
which, at the time of its release, was the second-highest-grossing motion picture of all
time, taking in more than $800 million worldwide. Under his leadership, the company
also successfully developed digital entertainment ventures such as Centropolis Effects, a
top-tier visual effects house, and mothership.com, a leading sci-fi online vertical sold to
USA Networks in June 2000.
LARRY FONG (Director of Photography) marks his third feature film
collaboration with director Zack Snyder on “Sucker Punch,” after the worldwide
blockbuster “300” and the acclaimed comic book adaptation “Watchmen.” The two
originally met in film school at the Art Center College of Design in Pasadena, and went
on to shoot various music videos and TV commercials together.
In 2005, Fong was nominated by the American Society of Cinematographers for
his work on the pilot episode of the hit television drama series “Lost,” directed by the
show’s creator, J.J. Abrams.
Fong’s camerawork has also garnered numerous advertising industry accolades,
including the Golden Lion, the Clio and the Belding. Additionally, three music videos
lensed by Fong have won MTV Awards for Best Video of the Year.
RICK CARTER (Production Designer) won an Academy Award® and a
BAFTA Award for his otherworldly production design on James Cameron’s top-grossing
mega-hit “Avatar.” He was also honored by his peers with an Art Directors Guild
Award for Excellence in Production Design on a Fantasy Film. Carter received his first
Oscar® nomination for his work on Robert Zemeckis’ “Forrest Gump.”
Carter most recently completed work on Steven Spielberg’s period action
adventure “War Horse,” due out later this year. He has also collaborated with Spielberg
on such diversely set films as “Munich,” “War of the Worlds,” “A.I. Artificial
Intelligence,” “Amistad,” and the blockbusters “Jurassic Park” and its sequel “The Lost
World: Jurassic Park.”
He has also been Zemeckis’ production designer of choice on the films “The
Polar Express,” “Cast Away,” “What Lies Beneath,” “Death Becomes Her” and “Back
to the Future, Parts II and III.”
Earlier in his career, Carter designed for the television anthology series “Amazing
Stories,” which was produced by Spielberg’s Amblin Entertainment. His work on the
show also teamed him with such notable directors as Martin Scorsese, Peter Hyams and
Clint Eastwood, among others.
WILLIAM HOY (Editor) edited Zack Snyder’s worldwide hit “300” and his
acclaimed comic book adaptation “Watchmen,” having first worked with the director as
an additional editor on “Dawn of the Dead.”
Hoy has also edited such films as Tim Story’s “Fantastic Four” and its sequel
“Fantastic 4: Rise of the Silver Surfer”; Alex Proyas’ “I, Robot”; F. Gary Gray’s “A Man
Apart”; and Randall Wallace’s “We Were Soldiers” and “The Man in the Iron Mask.”
He has collaborated with filmmaker Phillip Noyce on three films: “The Bone Collector,”
“Sliver” and “Patriot Games.”
Hoy’s additional credits include editing work on “Se7en,” “Outbreak,” “Star Trek
VI: The Undiscovered Country” and “Dances with Wolves.”
For television, he has edited “Houdini” for TNT, “Shattered Mind,” and the
series “Star Trek: The Next Generation.”
JOHN “DJ” DESJARDIN (Visual Effects Supervisor) has been creating visual
effects for more than 25 years, and has built a body of work encompassing over 30
He first worked with director Zack Snyder on the comic book actioner
“Watchmen,” for which DesJardin was nominated for an Academy of Science Fiction,
Fantasy & Horror Films’ Saturn Award for Best Special Effects.
He collaborated with the Wachowski Brothers as a visual effects supervisor on
the second and third films in the blockbuster “Matrix” trilogy, “The Matrix Reloaded”
and “The Matrix Revolutions,” as well as on the brothers’ award-winning video game
“Enter the Matrix.” His credits as visual effects supervisor also include the action hit
“Fantastic Four” and the Middle East-set thriller “The Kingdom,” as well as the earlier
thrillers “Firestorm,” “The Astronaut’s Wife” and “End of Days.”
DesJardin’s film credits also include “X-Men: The Last Stand,” as additional
visual effects supervisor; “Friday Night Lights,” on which he served as on-set visual
effects supervisor; and “Mission: Impossible II,” as CG supervisor.
MARIUS DE VRIES (Music) composed, arranged and produced the music for
“Sucker Punch.” A four-time Grammy Award nominee, he has been involved in some
of the most culture-defining recordings and soundtracks of the past two decades,
winning two BAFTA Awards and an Ivor Novello Award for his work in film
Beginning his music career playing keyboards for the English `80s pop-soul band
The Blow Monkeys, de Vries has since written, arranged and produced across a wide
range of styles and genres for such artists as Madonna, Björk, Rufus Wainwright, Neil
Finn, Annie Lennox, Bebel Gilberto, David Gray, PJ Harvey, U2, Massive Attack,
Elbow, Teddy Thompson and Josh Groban, amongst many others.
His film music career took off in the mid-90s when his collaboration with Nellee
Hooper and Craig Armstrong on the soundtrack and score for Baz Luhrmann’s “Romeo
+ Juliet” won de Vries the first of his two BAFTA Awards. A few years later, he music-
directed Luhrmann’s groundbreaking “Moulin Rouge!” starring Nicole Kidman and
Ewan MacGregor, resulting in another Grammy nomination, his second BAFTA and
numerous other awards. De Vries also composed the scores for Stephan Elliott’s surreal
thriller “The Eye of the Beholder” and his jazz-age comedy “Easy Virtue,” as well as
contributing score and song productions for last year’s action adventure comedy “Kick-
In the world of musical theatre, de Vries has worked several times with Andrew
Lloyd Webber, on his co-production of the cast album for A.R. Rahman’s “Bombay
Dreams,” and on his production and orchestration on the forthcoming sequel to
“Phantom of the Opera,” “Love Never Dies.” He also produced the cast album for
Richard Thomas’s hugely successful and controversial West End comedy hit, “Jerry
In early 2008, de Vries created an hour-long contemporary dance piece,
“Squaremap of Q4,” for award-winning Spanish choreographer Rafael Bonachela, which
premiered at the South Bank in London. He also completed work on the eclectic
Chinese singer Sa Ding Ding’s album “Harmony,” recorded in Beijing and mixed in
Recently, de Vries co-produced an LP with and for Robbie Robertson, featuring
guests Eric Clapton, Steve Winwood, Tom Morello and others.
TYLER BATES (Music) composed, arranged and produced the music for
“Sucker Punch.” He previously collaborated with director Zack Snyder on the 2009
action adventure “Watchmen,” the 2007 blockbuster “300” and the 2004 thriller “Dawn
of the Dead.” He scored the sci-fi thriller “The Day the Earth Stood Still,” as well as
Rob Zombie’s hit remake of “Halloween.” All of the films opened number one at the
He has worked with Rob Zombie on several projects to date, including
“Halloween II” and the cult classic “The Devil’s Rejects,” as well as Zombie’s animated
“The Haunted World of El Superbeasto.” Bates also provided a string arrangement for
the song “The Man Who Laughs,” on Zombie’s 2010 CD, Hellbilly Deluxe 2.
Bates’ additional credits encompass more than 50 film, television, and video game
projects, including Showtime’s hit television series “Californication”; Cartoon Network’s
series “Sym-Bionic Titan”; Liquid Entertainment’s epic video game “Rise of the
Argonauts” and Electronic Arts’ (EA) release “Army of Two”; Emilio Esteves’ feature
“The Way”; Neil Marshall’s sci-fi thriller “Doomsday”; and the 2006 horror-comedy
“Slither,” which reunited him with “Dawn of the Dead” screenwriter James Gunn.
Bates also scored Gunn’s 2010 superhero comedy “Super.”
His work will soon be heard in the upcoming features “The Darkest Hour,” a sci-
fi thriller from director Chris Gorak, and in Marcus Nispel’s remake of the classic
actioner “Conan the Barbarian.”
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