Seed of Chucky
A Don Mancini Film
A David Kirschner Production
in Association with
La Sienega Productions
A Rogue Pictures Release
International Publicity Contact:
65 Bleecker St, 3rd Fl
New York, NY 10012
T: +1 212 539 4084
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Seed of Chucky
We would appreciate your not revealing the
family's secrets. Thank you.
Table of Contents
I. Synopsis page 3
II. Chuck Amuck: The Saga So Far page 4
III. The Direct Approach page 5
IV. Deep Throats page 8
V. Jennifer Tilly Is Ready For Her Close-Up page 9
VI. I'm Your Biggest Fan page 12
VII. When Lucy Met Dario page 15
VIII. Six Feet Over and Under page 17
IX. Never Say Die page 21
X. About the Cast page 22
XI. About the Filmmakers page 26
XII. Credits page 34
Seed of Chucky
The killer doll is back - and his family must slay together in order to stay together. Seed of
Chucky, the fifth in the popular series of Chucky (Child's Play) horror comedies, marks the
feature directorial debut of Don Mancini, creator of the Chucky franchise and screenwriter on all
five movies. Returning as producers are Chucky, Tiffany and Glen dolls creator and series
producer David Kirschner and producing partner Corey Sienega. This core creative team takes
the Chucky saga to the next level with Seed of Chucky. Following the courtship of and marriage
to his homicidal honey Tiffany in Bride of Chucky, devilish-doll-come-to-life Chucky now finds
his family expanding further (and faster) while on a wild ride through Hollywood.
Seed of Chucky introduces Glen (voiced by The Lord of the Rings star Billy Boyd), the orphan
doll offspring of the irrepressible Chucky (voiced as always by Brad Dourif) and his equally
twisted bride Tiffany (voiced by Jennifer Tilly, reprising her Bride of Chucky role). When
production starts on a movie detailing the urban legend of his parents' lethal exploits, Glen heads
for Hollywood - where he brings his bloodthirsty parents back from the dead. The family
dynamics are far from perfect as Chucky and Tiffany go Hollywood and get rolling on a new
spree of murderous mayhem, much to gentle Glen's horror. Chucky can't believe that his child
doesn't want to walk in his murdering footsteps and star-struck Tiffany can't believe that the
movie will star her favourite actress, Jennifer Tilly (playing herself), who soon becomes an
unwitting hostess to the family in more ways than one…
Co-starring are hip-hop superstar Redman (playing himself), as a rapper-turned-director casting a
Bible epic which Jennifer is determined to headline; UK actress/singer Hannah Spearritt as Joan,
the gracious but put-upon personal assistant/confidante to Jennifer who finds out firsthand how
crazy the movie business can really get; and notorious filmmaker John Waters, as sleazy tabloid
paparazzo Pete Peters.
Rogue Pictures presents a David Kirschner Production in association with La Sienega
Productions. A Don Mancini Film. Jennifer Tilly. Seed of Chucky. Redman, Hannah Spearritt,
John Waters. With Billy Boyd as the voice of Glen and Brad Dourif as the voice of Chucky.
Casting by Kate Plantin. Costume Designer, Oana Paunescu. Co-Producer, Laura Moskowitz.
Music by Pino Donaggio. Chucky, Tiffany and Glen Dolls Created by David Kirschner. Based
on Characters Created by Don Mancini. Animatronic Characters and Effects by Tony Gardner.
Editor, Chris Dickens. Visual Consultant, Richard Holland. Production Designers, Peter James
Russell, Cristian Niculescu. Director of Photography, Vernon Layton BSC. Executive Producer,
Guy J Louthan. Produced by David Kirschner, Corey Sienega. Written and Directed by Don
Mancini. A Rogue Pictures Release.
Seed of Chucky
Chuck Amuck: The Saga So Far
In the sixteen years since he first tore across the silver screen (and into his terrified prey) with his
shock of red hair (among even nastier shocks), Chucky has become a horror icon. Referenced in
everything from hip-hop shout-outs to TV series to talk radio, Chucky is a pop-culture antihero
whose appeal extends beyond that of other latter-day movie fiends. Now, the creative team that
has been behind this killer doll since the beginning is taking him to the next nefarious level with
Seed of Chucky.
Chucky was brought to life in the late 1980s. At that time, screenwriter Don Mancini (who wrote
the story and co-wrote the screenplay for the first movie in the Chucky series, Child's Play) and
producer David Kirschner (who created the actual doll itself as part of making that first movie)
began a creative collaboration on the Chucky movies that continues to this day. Child's Play,
released in November 1988, was a sleeper box office hit, spawning a successful franchise that
has fans all over the world.
In the first movie, Chucky (voiced in all five movies by Brad Dourif) was introduced as a "Good
Guy" doll come to life - but gone psychopathic. An amulet-wearing serial killer, Charles Lee Ray
(played by Dourif), had been hunted down and shot by Chicago police in a department store. As
the murderer lay dying, he summoned the voodoo power of the ancient amulet to cast an
incantation transferring his soul into the nearest body - which was that of the two-foot-tall doll.
Chucky went on the attack against unsuspecting and unlucky humans, panicking his new
"owner," young Andy Barclay (played by Alex Vincent and, later, Justin Whalin). Wherever
Andy fled to, Chucky pursued him, intent on transferring his soul into Andy's body to live - and
kill - anew as a human being. Child's Play 2 (1990) and Child's Play 3 (1991) further followed
the tooth-and-plastic battle between the two "friends to the end," establishing Chucky's persona
as a unique screen villain - one whose demeanour could turn on a dime from humorous to
Mancini and Kirschner, joined by the latter's producing partner Corey Sienega, reunited to take
the series (and Chucky) in a new direction for Bride of Chucky (1998). Charles Lee Ray's
lovelorn and lethal girlfriend, Tiffany (played by Jennifer Tilly), cast a voodoo spell to resurrect
Chucky. Then, she herself migrated into the body of a doll (voiced by Tilly) and proved to be
just as deadly as Chucky. The two killer dolls married and Tiffany became pregnant, but
tragically their baby outlived them…
… until now.
The Direct Approach
When the Child Play series was being revived, reconceived and retitled with Bride of Chucky,
from producer David Kirschner's concept of a mate for the little maniac, screenwriter Don
Mancini recalls, "With Tiffany as Chucky's girlfriend - and, later, wife - we could show a whole
other side of Chucky that had not been seen in the previous movies. I structured Bride in such a
way that the relationship between Chucky and Tiffany went through all of the stages of a
romance. They courted, they went on a date, they had sex, they got married, they fought and they
killed each other."
On Bride, Kirschner's producing partner Corey Sienega joined Team Chucky and Mancini was
afforded the opportunity to direct 2nd unit on the shoot. Kirschner remembers, "I also brought
Don in to executive-produce, knowing that he had always wanted to direct. So I told him, 'Live
it, breathe it and if we get to do [movie #] five, then you can direct.'"
A fifth movie in the hit series was certainly a likely prospect since, as returning star Jennifer
Tilly sagely notes, "We know that in successful horror movie franchises the villains never
Immersed in all day-to-day aspects of Bride, Mancini rose to every challenge. Kirschner, who
had created the dolls' designs and looks, states, "Don brought so much to that movie. He was part
of literally every frame. As creator of the property, he has a strong understanding of the Chucky
character's mythology and a complete passion for the project. So when we were ready to make
Seed of Chucky, it was clear that Don would be not only the writer but also the director."
Mancini reflects, "David has produced all of the Chucky movies. He allowed me to be around on
the sets of them all, where I soaked up a lot of experience. It's something that most writers in
Hollywood rarely get the chance to do and I learned a lot."
Sienega says, "Nobody knows Chucky better than Don, so he was not just the natural choice to
direct Seed of Chucky - he was the only choice. David was planning this. He has believed in
Don's talent for many years; they have a lot in common as far as their fascination with movies,
especially genre and horror movies. The three of us are bonded by a sick love for Chucky."
For the love of Chucky, the series had to evolve in order to continue. Mancini points out, "With
Bride of Chucky, we changed the tone. The first three were fairly straightforward horror movies.
Previous movies and TV shows had featured the 'killer doll' concept, but no one had ever treated
the doll as a full-fledged character with dialogue scenes. For a fourth movie, in order to ensure
the longevity of the series, we had to reinvent."
Sienega adds, "It was a big and conscious, decision we made on Bride of Chucky to embrace the
humour. The fans know where the series has been so far and by combining more humour with
horror, we keep everyone a little off-balance. It's helpful to leave a few years in-between the
movies to keep an element of surprise and with Seed of Chucky we wanted to take everything
much further. We intend to deliver what the true fans want, while also expanding our audience to
include people who know Chucky as an icon but maybe haven't seen the previous movies. I think
the style of the humour in Seed makes for a movie that will appeal to a wider audience as well as
the long-time Chucky fans."
While the ante had already been upped with Bride, Mancini came up with a fresh take on the
characters he knows so well. After all, first comes love, then comes marriage, then comes…
something completely different. As Mancini explains, "Bride parodied romantic comedies, so
with this one I felt we needed to bring out yet another side of Chucky that we had never seen
before. It seemed natural that we would now evolve into a parody of domestic dramas - such as
Ordinary People or Kramer vs Kramer - where the child is turf for a battlefield."
Mancini's newest addition to the Ray family is Glen, who Sienega describes as being "nothing
like his parents, who he's in search of. He's shy and introverted, a sort of Dickensian waif."
Having grown up orphaned, Glen has no concept of the murderous tendencies that are his lineage
and dreams of a warm happy family. Making Chucky and Tiffany's child a tender pacifist who
resurrects his parents with the best of intentions allowed Mancini to explore and explode family
dynamics, as well as mine a fresh vein of dark humour. He comments, "Expectations initially
will be that Glen is a chip off the old block, another killer doll. But I thought it would be much
more interesting if Chucky's kid was diametrically opposed to violence. He's a passive
peacemaker - which of course drives Chucky crazy - or, crazier…"
"We also learn that Glen was also born anatomically incorrect. His gender confusion further
ratchets up the family tensions," reveals the writer/director.
Sienega adds, "Glen is stuck in the middle. Chucky wants Glen to be the son he's always dreamt
of, while Tiffany is really looking for the perfect daughter."
Mancini enjoyed having the new dynamic bring a more human sensibility to the pint-sized
pathological parents and their newfound son. Having longed to be flesh-and-blood again, Chucky
and Tiffany now get more emotions than they can easily handle or process. Mancini says, "It's
classic behaviour; when there are fathers and sons, they're going to butt heads. In real life, it can
be about career choices or drugs or whatever. In Seed, we treat the whole idea of these dolls'
murderous tendencies as a metaphor for family discord."
Kirschner notes, "I think Don surpasses himself with Seed. It's so outrageous and very funny. In
a strange way, everyone can relate to it, whether as parent or child. The dynamic between these
two parents is familiar; even though these two parents are insane murderers, they are still a
family. Mind you, the weirdest two-foot-tall family you've ever seen, but a family nonetheless…
"Many of the fans who grew up with Chucky now have children of their own. Chucky himself
now faces some of the same trials and tribulations that his original audience does, albeit with
puddles of blood and agonizing screaMs Under Don, Chucky has matured."
Sienega adds, "Chucky is a monster, yet he has also evolved into a real character. In Seed, he
faces dilemmas that many of us face within our families. Of course, he takes care of things
however he sees fit, whereas most of us have to show a little more restraint."
Tilly muses, "Chucky's been around long enough that people have started to have affection for
the horrifying little gremlin. They can relate to him because they can get their aggressions out
through him. He's unapologetic about what he does."
"I suspect Don uses Chucky to say all the things he wouldn't allow himself to say," offers
Sienega. "Don is the sweetest guy, but he also has a wicked sense of humour. In fact, I think
Chucky is Don's alter ego…"
Tony Gardner, who captains the film's puppeteers for the animatronic characters and effects,
demurs, "I think these movies are therapy for David. He does so many family films and, every
five years, does this little catharsis that we all get to participate in. Better he lets it out with the
Therapeutic or not, once production got underway it was clear the producers had made the right
directorial choice. Sienega reports, "Everyone said, 'Don seems so relaxed.' I'm not quite sure
how relaxed he actually was, but I think what they were really noticing was how completely
prepared he was. He wouldn't call himself an artist. Yet, he did thumbnails of all the storyboards,
took them to our storyboard artist and then worked from there."
Gardner says, "One good thing about Don directing his own script was that he had a real sense of
the timing of the edits he would be making. More and more, during filming, he would say, 'I'm
going to cut on that so we can end this shot here.'
"He also knew exactly who the characters were and why they were doing what they were doing.
He would talk to us almost as the characters - 'She's mortified because of this.' 'He's like, "I told
you so."' His insight helped us to perform [the dolls]."
Kirschner concurs, saying, "Don knows these characters so well - he knows what works and
what doesn't work. He was able to cut the movie in his head, which not a lot of directors can do.
He also has a great sense of comedic timing."
Tilly states, "The only other time I've encountered a first-time director comparable to Don was
with the Wachowski Brothers, on Bound. Don was so prepared and knew exactly what he wants.
He had everything storyboarded out, but he was also flexible."
Executive producer Guy Louthan comments, "Don is one of the most prepared first-time
directors I've ever worked with - and I've worked with 17 in my time. He's lived and breathed
these characters for so long - and got to do exactly what he'd worked so long and so hard
Some of the movies' greatest actors, such as Peter Sellers, have first needed to create and perfect
their characters' speaking voices before the rest of the portrayal could crystallize.
On the Chucky movies, several key characters' voices - first by one, later by two and now (on
Seed of Chucky) by three, actors - also come first. The dialogue for the dolls is "laid down" (i.e.
recorded) in a studio prior to the start of principal photography.
"We tape it like a radio play," reveals Corey Sienega. "We also videotape it because the
recording sessions offer performance/body details from the actors that the puppeteers use for the
dolls. You might be able to recognize little elements like Jennifer's trademark lip-quivering in
The voice that continues to set the tone for the series emanates from the one and only actor to
ever speak for Chucky, Brad Dourif. In Seed of Chucky, the actor's distinctive voiceover
portrayal once again fully conveys "the Chuck" in all his scary, profane and wisecracking glory.
Don Mancini marvels, "Brad just owns this character. The combination of his gruff voiceover
with this diminutive doll is always terrific. Chucky clearly has a Napoleon complex - he's a little
guy with a lot of rage."
For the second time in the series, Dourif is partnered with Jennifer Tilly, voicing the girlish and
ghoulish Tiffany. As with Bride of Chucky, these two actors convened early on in the same
recording space to most effectively play off of each other. Tilly recalls, "Don made sure to set it
up where both Brad and I would perform our dialogue at the same time. Usually, when you're
recording voices, you're all by yourself and unable to work off anyone."
The proximity of the actors provides genuine give/take in Chucky and Tiffany's spirited (and
lethal) family conferences. Tilly says, "I love performing dialogue at the same time as Brad. He's
so sweet and he makes it so easy. He doesn't even mind if I make noises all through his speeches,
as long as it's as Tiffany.
"Brad brings such conviction to recording Chucky. There's a crucial speech near the end of Seed
which marks an important transition point for the character and Brad was like, 'Hold on a
second.' He went off into a corner and worked on it with Don. They found the reality in this
While Mancini notes that "Jennifer has this wonderfully distinctive voice, which is of course
crucial for Tiffany," Tilly clarifies that she "tries to make a clear delineation between the way
Tiffany speaks and the way I speak. Tiffany has a little more of a dolly voice. Obviously, she
does sound like me - and Don wrote some jokes about this into Seed - but I keep them apart
because Tiffany is a very different character than myself…"
Joining the returning players in voicing a doll protagonist is Billy Boyd, fresh from the
phenomenally successful The Lord of the Rings trilogy. "Billy is a fantastic addition," enthuses
Mancini adds, "Like the rest of the world, I had seen the Lord of the Rings movies. When the last
one came out, I watched and listened to a scene where [Boyd's Hobbit character] Pippin sings. It
just struck me that Billy had the right boyish ingenuous quality to embody Glen, who is a
complete innocent - at least at first…"
When contacted, Boyd was excited by the invitation to contribute to the Chucky legend. He says,
"This was an opportunity I didn't want to miss. Everyone knows Chucky; he has penetrated pop
culture all over the world."
Boyd flew to London from his native Scotland to join Mancini in the recording studio and
perfect the character of Glen. He recalls, "Don was great - very sure of what he wanted, yet open
to suggestions; we laughed a lot."
Although Boyd had performed in numerous radio plays, this was the first time that he was
providing a voice for a physically on-screen character. He says, "Don brought out prints of how
Glen was going to look, which really helped me to get into character. I had the picture in my
head. Brad and Jennifer had previously laid down the dialogue for Chucky and Tiffany, which
also helped me to form Glen's voice."
Boyd concludes, "Voicing the different sides of Glen was a lot of fun to do." Audiences
watching - and listening to - Seed of Chucky will be surprised at just how much fun - and vocal
flexibility - the actor has.
Jennifer Tilly Is Ready For Her Close-Up
Corey Sienega remembers, back in 1998, Team Chucky having "a really late night on the mixing
stage of Bride of Chucky when we realized we were really sorry to have killed off Jennifer Tilly
in the movie." Bride had gotten plenty of spark from the actress, first in human and then in doll
Don Mancini reveals, "I didn't know Jennifer before Bride, but I wrote that script with her in
mind. I've been a big fan of hers since Bound and Bullets over Broadway. We all enjoyed
working with her so much on Bride. She's a great comedienne and very sexy, with a wonderful
physical presence. She humanizes the dolls, which is something that a lot of actors are unable to
do - they will instead condescend. But Jennifer makes you believe that she's sharing the screen
with another character, not an animatronic puppet and that became an important foundation for
us to base Seed of Chucky on."
Sienega confirms, "When she's in a scene with a doll character, she helps bring them to life as
three-dimensional. We love her and we wanted to bring her back."
Mancini says, "In the interim between Bride and Seed, I'd gotten to know Jennifer as a friend. I
thought that there could be no more amusing character for Jennifer to play than a funhouse
version of herself."
Sienega exclaims, "Who better for her to play than 'Jennifer Tilly?' She has a great sense of
humour, so she loved the idea. When I first read the script, I thought that Don had perhaps
overestimated what she would do for him. The movie has a lot of fun with Jennifer's persona, but
she was always ready to take it further."
Mancini's brainstorm of Tilly playing a larger-than-life high-maintenance version of herself was
catnip to the actress. Tilly laughs, "Well, I didn't want anyone else playing the character and
giving a different interpretation! Mine is gentle, yet realistic…
"When Don told me about the new script he was writing, I said, 'Oh, you'll have to make me the
bitchy diva from Hell.' So he did a draft where I was just the meanest girl ever and people said,
'Oh, she's too mean, she has to be more likable!' I thought, 'Ah, they're rejecting the real me,'"
The Jennifer Tilly depicted in Seed is at once completely real and completely unreal. Tilly
confides, "What's really fun about playing 'yourself' is, you can do an exaggeration of what your
image is and how self-involved actors are. So in the movie I'm running around in skin-tight
dresses, push-up bras and false eyelashes because it's the glamorous Jennifer Tilly, not the
Jennifer Tilly who shuffles out of bed in her pyjamas. I want to be the Jennifer Tilly that people
adore - or abhor!
"Don and I would have lunch and we'd think of more stuff we could put in. Some of it was just
too 'inside' for a mainstream movie, but we left in enough to make it entertaining. I did have a lot
of framed pictures shipped over from my house and put up on the walls… However, I tried to
play my scenes realistically; otherwise, it's just an extended sketch."
Mancini notes, "There was also comedy to be mined from Jennifer's coming face-to-face with
Tiffany, the persona she created for Bride."
Tilly explains, "Tiffany adores Jennifer Tilly because she thinks Jennifer is so glamorous and has
the most beautiful voice in the world. Tiffany decides that when she takes human form again -
hope springs eternal - she wants to be Jennifer Tilly, she wants to be a star. She thinks I'm
under-appreciated in Hollywood and that once she gets into my life she will turn my career
"There's a sequence where I'm being chased and threatened by Tiffany - who's wielding my E!
Television Golden Hanger Award - and she scolds me for my career choices. The most
fantastical element of the movie is not that you have living dolls, or that a rap artist is going to
direct the biggest Bible epic ever, but that I am up for the same part as Julia Roberts. I love Don
for putting that in."
For Seed, Tiffany has been modified; after all, how else could she share the screen with the
glamorous Jennifer Tilly? "I was happy to see that they gave her a makeover for this movie,"
admits Tilly. "I feel territorial towards her, of course. In Bride, she was somewhat limited in her
facial expressions - kind of stiff. But when I saw the new Tiffany they'd fashioned, I was
pleased; she's a lot cuter and has more facial muscles.
"Character-wise, Tiffany is still looney-tunes and is still a big Martha Stewart fan, like in the last
movie. She has a great deal of sympathy for what Martha is going through now."
Once again, Tiffany and Chucky differ in their approaches to homemaking and family values.
Tilly says, "Tiffany is still killing people, but she feels bad about it. Chucky doesn't and so an
archetypal parental struggle breaks out between them over raising their newfound son. With
Glen, they both see what they want to see."
On the set, Tilly played many of her scenes opposite one or more dolls. She notes, "It's very
bizarre to be looking at a little doll with her tiny eyes blinking at you, saying, 'Miss Tilly, you
can do it the easy way or you can do it the hard way.'
"Is it difficult to act with inanimate objects? No; I do it all the time - when you work with big
stars, they're there for a close-up and then they go home. Crew members put a piece of tape on
something and you have to play to that."
Another challenge for the actress is how much screaming is too much screaming. She muses,
"When I did scenes fleeing from Tiffany, I tried to think what I would feel like if I were accosted
by a killer doll that has a voice like mine. I tried not to scream too loud, but the louder I
screamed the better it was for the believability of the movie. I have several screams - horrified,
labour-pain screams and short staccato bursts. Also, I tried not to move my face so much that I
Seed spotlights more extensive sequences of humans interacting with the dolls than the earlier
filMs Tilly says, "Here's the vanity actress point of view: with Chucky on Bride, I learned very
early on that low-angle camera angles are the worst. When the camera's looking up at you, you're
talking major double-chin time. So I always try to pick Chucky up and hold him at arm's length
when I'm talking to him - as Jennifer. Another option is to get down on the floor with the dolls,
so the camera's not tilting up at you."
It was also on Bride that Tilly first got to know Mancini. She recalls, "We were doing a scene
and he was off on the sidelines saying, 'Jennifer, can you say the line the way I wrote it?' And I
was like, 'Who let the writer on the set!?' Then I got to know him and realized that he was right
every time; he's very precise and spends a lot of time writing these lines. Now, as writer and
director of Seed, he doesn't waste time but if someone has an idea he'll listen to it."
As far as audience appeal, Tilly remarks, "I think Seed will cross over. It's a perfect mix of high
camp and low humour, which I guess is exactly the same thing. There are horrifying moments
and a dash of glamour too. I don't have a single scene in this where I'm not showing cleavage,
even when I'm pregnant; I give the audiences what they want."
Guy Louthan confides, "I wish Jennifer were on every movie I do. She's fantastic, very easy to
work with and as funny off-screen as she is on. She buys the crew beers, too!"
I'm Your Biggest Fan
Rounding out the cast of Seed of Chucky are three diverse talents who all have one thing in
common - they are fans of Chucky.
Several names were brainstormed to play the film director making the biblical epic that Jennifer
Tilly is hell-bent on top-lining. Corey Sienega explains, "Don Mancini's idea was always to have
someone playing 'himself,' whether this person was already a director or not." When the
filmmakers heard from a studio executive that top-selling rap artist Redman was a huge Chucky
fan, he became the logical choice - and Redman became the director (on-screen, that is).
Mancini and the producers watched Redman's hit comedy How High and, the writer/director
notes, "saw that he had a natural comedic ability which we thought would mesh very well with
Jennifer's. It did; they are hilarious together, because they come from completely different
worlds. They're such a contrast that they're a match."
Tilly remarks, "It makes me look younger and hipper to be making out with Redman; he has a
Redman had already name-checked Chucky and Bride of Chucky in one of his songs. He
exclaims, "I wanted to be part of this, big-time. When they knocked on my door, I was like 'I am
there!' I'll go down in history for being in a Chucky movie. I still live in a 'hood, you know, so I
can't do corny. When I told my neighbours I was shooting a Chucky movie, they were like,
'Chucky!!!' And I was like, 'That's right, boys!'
"Chucky is hard, he's a mean little guy - think Joe Pesci, just a little shorter, you know? He's in
the movie killer top five, with Jason, Michael Myers, Pinhead and Freddy Krueger. I liked the
last movie, Bride of Chucky; introducing Tiffany kept Chucky in good killing form. Don
Mancini's got a good plot for Seed ; he had to, because Chucky is like the last of the Mohicans -
he's the last of those top killers left; I was disappointed by Freddy vs Jason."
Redman admits, "I was expecting that Don wouldn't allow too much room for improvisation. I
listened when he told me what he wanted. But he'd also let me know when I could play around
with a certain word or line. I would come to him and be like, 'How about this?' And he'd say no
or he'd say yes. He gave me some leeway. He also set the right vibe; everybody came to the set
each morning with a lot of energy and a good attitude.
"The hardest thing about acting is not saying anything, letting your actions speak. I tried to be
very focused on the set and not just come on as a musical artist; I'm trying to learn the art of
acting. Jennifer made me feel comfortable in all of our scenes, working out our lines together.
She's a good lady, very positive - and it was fun to make out with her."
As a fan, Redman found himself with another acting challenge when playing scenes opposite a
killer doll. "Watching the first four movies, I used to wonder, 'How are they doing that with the
doll?!' and got the sh*t scared out of me. Now, being in the scene and seeing them take an hour
to set it up right, I knew I had to work to get it right too, so the audience can get scared by our
Another cast member who has been cultivating both music and acting careers is UK ingénue
Hannah Spearritt, late of the pop group S Club 7. For the role of Joan, Jennifer Tilly's loyal
personal assistant, the filmmakers knew they needed someone "who could hold their own and
keep up with Jennifer," laughs Sienega. "Hannah has spark, but her naturally sweet and angelic
qualities are always near the surface. Plus, she's a good sport."
Mancini remarks, "Hannah was a natural to play Joan, who is the most grounded character in the
movie, because she is very grounded in real life."
"She's adorable," adds Tilly. "Hannah has light in her. Visually, she's a good contrast to me
because there's so much of me and so little of her."
It was an even littler Hannah Spearritt who was a Chucky fan. She explains, "When I first heard
about this movie, I got excited because I'd watched Child's Play as a kid and it had completely
horrified me and given me big nightmares. I couldn't believe that now I'd be part of the series,
which has come a long way since that first movie.
"I felt for the character of Joan, who will do anything for Jennifer. She puts up with a lot, as so
many assistants do in show business. I mean, I would have left a while before… Jennifer brings
so much energy and enthusiasm to the set. From Bride of Chucky, I knew she'd be fantastic to
work with on this. Also, I never saw Don angry. Nothing seemed to faze him at all; he definitely
knows what he wants, because he wrote it and he knows the material so well."
Spearritt, like Redman, impressed her friends with the news that she'd be appearing in a new
Chucky movie. She reports, "They said, 'Wicked, man!' They were truly excited for me. I'm
looking forward to watching Seed in the cinema and seeing people next to me get scared and
Despite these displays of enthusiasm, the biggest Chucky fan in the cast was and remains John
Waters. The notorious filmmaker's avowed admiration for Chucky has been a long-standing
point of pride for Team Chucky. Mancini recalls, "Over ten years ago, Justin Whalin - who was
the lead in Child's Play 3 - was making Serial Mom with John Waters. Justin told me that John
was a big Chucky fan and had a doll in his house.
"Over the years, I would periodically see John's interviews where he would say things like, 'My
acting days are behind me, I'm going to stick to directing from now on, except I'm just dying to
be in a Chucky movie.' And I'd think, we can't pass this up… So I wrote the role of sleazy tabloid
photographer Pete Peters specifically for John. I was thrilled when he said yes!"
Sienega adds, "We'd also seen John at the Independent Spirit Awards with Jennifer Tilly one
year, when he'd brought a Chucky doll with him to the show. That was proof that he really was a
"It was after Bride of Chucky," clarifies Tilly. "He told me he loved it, that he wanted to be in a
Chucky movie and that he would sign a contract on a napkin then and there. I called Don, who
said, 'I've already heard this and I'm writing a part for him.'"
Reflecting on the appeal of Chucky, Waters muses, "He's like my little childhood friend I wished
I had, my little evil friend. I think Chucky is better than all of them; he's better than Freddy
Krueger. Better than Norman Bates. He has the most style, to me, of all - and now he's
multiplying, which is even better.
"My favourite line, as much as something from Gone with the Wind, is in Bride of Chucky, when
Chucky and Tiffany are about to have sex and she says, 'Use a rubber,' and says, 'I am rubber!'
How much better does it get than that?"
The two writer/directors did not meet until Waters reported to the set, ready to work as actor
only. Waters comments, "Don wrote Seed of Chucky and I always believe that the directors who
write their own material are the best - because they've been playing it in their minds for months
before anyone even sees it.
"Playing a sleazy paparazzo is easier than playing a football player. I mean, the parts I get
offered - paedophile priests, hotel owners, used-car salesmen, porno directors, bartenders… I
think I'm typecast, even with the small acting career I have."
Waters was reunited on-set with Tilly, of whom he says, "She's a good actress and a good
comedienne. She understands how ludicrous a show business career is and now she's celebrating
it and having fun with it. She's not a whiner."
Filming Seed was a busman's holiday for Waters, who affirmed that the first-time feature
director did "great. Don had the faith to know what he wanted. A bad director is somebody that
can never make up his mind. That's a producer's nightmare, too.
"I understood what Don was going through every day; I'm usually the first one on the set every
morning, thinking about how many set-ups we've got, looking at my watch, herding people up,
worrying that the shot doesn't match - all things that I didn't have to think about on Seed."
While Redman and Spearritt were able to brag to their friends about being in a Chucky movie,
Waters reports, "I told my cleaning lady Rose that I was going to be in this movie and she said,
'I'm not seeing it.' I have a Chucky doll at home and she will not go into a room if it's in there,
because she believes that it's possessed by the Devil. I said, 'Rose, you don't really believe that.'
She said, 'Not really, but I'm not going to be in the room with him.'"
Of the people who were in the same room as Chucky, helping the doll hit his marks, Waters
remarks, "Chucky has a bigger entourage than any star I've ever worked with. So many people
are working him and it's complicated."
But the high point of the shoot for Waters came when he "saw Chucky, his wife and his son all
together in this one shot; I was so happy I was in show business."
When Lucy Met Dario
Don Mancini remembers, "The idea of Chucky and Tiffany in Hollywood quite appealed to me."
From that jumping-off point, the writer/director affectionately steered his characters through
some hallmarks of the horror genre's - and Hollywood's - past.
David Kirschner states, "Don loves horror films and has a true understanding of their history and
Corey Sienega elaborates, "There's a wonderful tradition of self-referential horror comedies, but
on Seed of Chucky we really go all-out. Don has a great sense of visual flair. You can see his
love of movies in the main set designs; the look is so lush and rich - which helps to sell the dolls
as real characters. Don's references are steeped in a rich sense of film history. In Seed, horror
fans will find a lot to appreciate. Although the Chucky movies are more popcorn pictures, there
are references here that reflect Don's film aesthetics.
"Anyone who admires Italian horror movies, such as those by Dario Argento, will see certain
touches or influences; Argento's Suspiria, to name one example. Brian De Palma is also a big
influence on Don. The bold colours in Seed recall the work of both directors." Strengthening this
tie, composer Pino Donaggio (long admired for his collaborations with De Palma and Argento)
has done the score for Seed of Chucky.
Mancini comments, "As to the tone, the models for this movie were pictures like An American
Werewolf in London and The Evil Dead. Those are horror comedies that are outrageous and
hilarious, but also frightening and shocking. Some viewers will also cite similarities between this
movie and Wes Craven's New Nightmare, in that there's a film-within-the-film and that certain
people are playing 'real-life' versions of their fictional characters. While Seed is definitely
self-referential, I believe it's different from other self-referential horror comedies in that I think
we're not being precious but truly irreverent. Everyone in our film-within-the-film has a
completely condescending attitude towards the picture that they're making."
"But I was just as inspired - if not more so - by the I Love Lucy episodes that took place in
Hollywood. Those episodes had real-life celebrities - John Wayne, William Holden, et al. -
interacting with the fictional Ricardo and Mertz characters. Tiffany reminded me of Lucy
Ricardo in the sense that she wants to be in the Hollywood show; she wants a career there. And,
like Lucy, she stalks her favourite star - Jennifer Tilly."
"Tiffany is a doll stalker!" laughs Tilly. "So we're parodying Single White Female a bit, too -
Single White Doll. Also, I'd say, De Palma's Body Double - especially with Pino Donaggio doing
"Don knows all the horror movie conventions. We were filming one scene where he made sure to
show an empty room behind one character, because the audience expectation will be that a doll is
about to come from behind."
As a filmmaker himself, John Waters had his own flashes of inspiration and on cinema history
while acting in Seed. He notes, "You know, I'm always adding things in my mind to every image
that I see. There's one sequence I'm in with Jennifer where she enters, a Movie Star with mink
coat and sunglasses; it was like La Dolce Vita. I also kept thinking of a great Russ Meyer movie
called Good Morning… and Goodbye!, where the actress is naked and horny and she puts on a
mink coat and drives in a convertible to a construction site and leans on the horn until someone
comes and has sex with her…
"Not to give it away, but there's a scene in Seed where sulphuric acid goes in my face - which is
a throwback, in a good way, to [Waters' own] Female Trouble, where Edith Massey throws acid
in Divine's face. So, acid-throwing in people's faces is a great cinematic tradition; it's something
that doesn't happen too much in real life…"
Reflecting on a possible movie lineage for the Chucky character, Waters adds, "When I was a
kid, I loved [the character of] child murderess Rhoda Penmark in The Bad Seed. Chucky and
Rhoda could have hung out together."
It was not only the cast to whom Mancini communicated his enthusiasm and affection for
cinematic touchstones, but also the crew. Many were able to get the same wavelength. Visual
effects supervisor Graham Cristie reports, "I've got a similar taste in films as Don, so he was
quite good to work with. When we would talk about shots, he would give me a couple of
references and I'd know exactly what he meant. We spoke the same cinematic language."
Tilly comments, "Don does not patronize horror film fans. He's one himself; he loves, loves,
loves horror filMs I think that comes through in Seed of Chucky."
Six Feet Over and Under
While making Seed of Chucky, "a whole world existed six feet under the ground," reveals Corey
The producer is revealing a secret of the Chucky trade; many of the sets for the movie - including
the Hollywood manse where Jennifer Tilly lives in movie-star style - were constructed six feet
off the ground. Underneath were crawlspaces for the puppeteer teams who were monitoring and
working each individual doll character.
In keeping with the origins of both the series and the Chucky character, the element of physical
believability is crucial - which allows the dolls' actions to play as all the more outrageous. On
Seed, this was established by building sets of considerable depth. Sienega notes, "With the dolls,
you have to make the most of the space and size of every set. One way in which they are
threatening is that they can be stealthy and manoeuvre within confined spaces, based on their
size. You don't want to box them in; you want to show that they are moving freely through
whatever area they're in, with the live actors."
Don Mancini explains, "Bringing the doll characters to life is a complicated task. There are
teams of puppeteers working to make that happen. A large part of that involves breaking down
character and emotion into very specific gestures - down to raising an eyebrow or curling the
corner of a mouth."
With those specific gestures, the puppeteers were often working from the actors' performances,
in that they were given videotapes of the voiceover sessions, as well as audiotapes of the
dialogue. Sienega reports, "It's actually the first step of the process. They studied the videotapes
for performance details from Jennifer, Brad and especially Billy."
Guy Louthan comments, "You begin to feel empathy for a character that is latex and steel when
all these emotions are coming through; you do sense the performers in the dolls. It's remarkable -
Seed bucks the current special effects trend in that CGI was largely eschewed in favour of
advanced animatronics. Since Mancini's expanding storyline called for a new walking and
talking (among other things) doll character, one had to be designed and built from scratch.
David Kirschner, as he had done years prior with first the Chucky and then the Tiffany dolls,
created Glen - conceiving and designing the doll's look. He then brought in Tony Gardner to
oversee the animatronic characters and effects, having worked with Gardner on two previous
productions, Hocus Pocus and Second-hand Lions.
Gardner remembers, "David had several pictures ready, including some drawings, so we knew
from the very beginning the specific look he had in mind. Our goal was to take his concept and
make it succeed in three dimensions, as well as to figure out how to make Glen's design
complement his parents'. Also, we had to leave enough space for all the mechanical
requirements. In the years since Bride of Chucky, there have been significant advances made in
the control systems for the dolls.
"With regard to Chucky, there was already a frame of reference; he's supposed to look like he did
in Bride - exactly the same, which was almost harder, actually. The work on him had to be exact
down to the placement of every stitch and hair. Chucky's scars and cuts are all flushed red as if
they were real skin. His hair is punched in as a doll's would be, but we've also made it look like
what's become Chucky's organic, growing hair - stringy, long, lank… even a little balding, now."
Tiffany's makeover was more appropriate, given the Hollywood setting. Gardner says, "With her,
everyone felt there were areas that could be improved upon. We wanted to improve and increase
her performance ability, so we had to make changes to her physically to accommodate more
radios and motors and get better articulation."
Tilly remarks, "Tiffany now has almost as big of an entourage as Chucky, in terms of the number
of puppeteers crawling along the floor for her."
Gardner reports, "John Waters said we sexed her up a little bit and made her look a little hotter.
For when she is in a neutral, inert state, we tried to make her look more pleasant and attractive
For Glen, Gardner and his team went through the script and made a detailed breakdown of Glen's
actions, range of emotions and overall personality. Gardner notes, "With Glen, we were trying to
find the median among Tiffany, Chucky and what Chucky used to look like - all in a gangly
body that would look believable next to the others'. Glen was described as having a big
wide-eyed look, so his eyes became physically bigger than his parents'."
Working off of Kirschner's drawings, Gardner's team made "seven or eight different sculptures.
We were following the given parameters, but also seeing how far we could push it. Don, David
and Corey actually all gravitated in one direction fairly immediately, so from there it was clear
which way to go." A photo of the chosen sculpture then went into a computer, where technicians
experimented with everything from Glen's hair colour and length to the size of his freckles,
eyebrows and the widening pupils.
"We had to design the wardrobe to complement his face and his skin tone as well," adds Gardner.
"We tried to incorporate kids' clothing with a timeless feel. The same with the hair - it's trimmed
like an 8-year-old's.
"When we sculpted all the dolls, we did separate heads and hands. This was because they would
definitely be seen, so they were cast out of a different material. The body had to be the right
shape of the character while also packing in mechanical equipment. So the body and its plastic
needed to be as thin as possible; that way, when the doll's costumes came off, we would be able
to see all the motors. We'd monitor if a radio had gone out or a line had come disconnected; there
were warning lights in the bodies."
The heads and hands were cast in a combination of foam latex and silicone, plasticized enough
so as not to wrinkle or buckle during movement. Gardner elaborates, "You can't just fold and
coat skin atop a machine. We wanted to approximate the translucency and depth of skin. The
way that skin absorbs light is very important and we wanted these dolls' skins to read as real.
You're already suspending belief, so it was crucial that we sustain the illusion that these dolls are
alive. Working on all this was very surreal!"
All told, the doll family of Seed had a lot of human beings working for them: 53 people to build
the trio, 7 people to carry each doll onto and around the set and 15 people to set up and fully
operate each doll during shooting. The latter group, remarks Gardner, "had mostly never worked
together before and suddenly they're together under scaffolding or behind couches. They could
be in the room and on stage whenever we weren't seeing the ground in a shot. But they were
often underneath the floor.
"We learned everyone's strengths and tried to use them to their best advantage. Some of these
people had been puppeteers for 20-30 years and they would literally dive in, or down, to do
whatever it took for the dolls to achieve the necessary physical performance."
Each doll character had two neutral heads and one screaming head, all mechanically functioning.
During the initial sculpting process, several (spare) pairs of arms and multiple bodies were made
- anticipating the injuries and mayhem detailed in Mancini's screenplay.
Although there had been advances in the technology since Bride, there were still cables
extending from the backs of the dolls and leading to the controllers facilitating the movement of
the arms, legs and torsos. For the heads alone, there were three radio-controlled transmitting
puppeteers - one operating the eyes, one the eyebrows and one the mouth. To get even more
exact articulation with the mouths, Gardner brought in a computer system that was only just
starting to be deployed for feature filMs He says, "We used it to drive the performances of
Chucky, Tiffany and Glen which nobody had yet done to the extent we did. These three were
sort of the guinea pigs, which made it all the more exciting and gratifying."
The new technology used for the dolls' mouths first required a CD of the doll character's
dialogue, already recorded by the actor. The CD was then converted into wave files and
transferred into the computer. Gardner reports, "We could play it back either as audio or on a
computer screen - you know, when somebody talks and it makes the zig-zaggy line."
Next, a puppeteer worked with a quad box. Gardner describes the latter as "a box that you fit
your hand on top of and your fingers into. The fingers rest on these pods that slide around the top
of the box, so the shape of the mouth is being created - including what the lips are articulating as
they move forward. The jaw movement is also controlled at the same time, so you now don't
have to wear a head device that moves the doll's mouth with your own. The dialogue is played
back one line at a time and you mouth along with it - by hand. The motor movement is then
recorded on top of the audio line of dialogue, since the quad box is connected to the main
performance system. If we noticed that, say, the jaw didn't move enough on a line, we were able
to play back the lips moving and then rerecord the jawbone by itself and add that to the tracks.
"We got perspective from watching playback and dailies. We'd see how Don was utilizing things
and how [cinematographer] Vernon Layton was lighting the dolls and adjusting for the concept
of silicone versus skin."
Gardner also feels that the process is not unlike recording a musical number. He states, "We had
separate tracks recording at the same time; think of every function of your mouth… there's the
upper lip, the smile pulls on the corner, the lower jaw pushes out as the lower lip pulls
down...Now we can tweak those tracks to finesse the visual performance to go with the line
readings that the actors have already recorded. If it's something added or new, we can do it on the
While cast members and much of the crew working on the set, the puppeteers, armed with quad
boxes, cables, radio transmitters, headsets and video monitors worked six feet below. Each
puppeteer operated a different body part - fingers on the left hand, fingers on the right hand,
eyes, arms, head, or torso.
Gardner comments, "Everyone has to be working in tandem to create believable performances
from the dolls. Don, David and Corey understand this, which not a lot of people in the business
do; several people have to think as one character and then together make it work."
Mancini's direction was passed down to the puppeteers through Gardner, who refers to that part
of the process as being "the ambassador of good performance. We're performers as well here,
getting and taking direction - 'OK, on 'three,' I need him to look out this window… ' We had a
sound system down below and monitors, since the floor was actually closed up around and
When "Action!" was called, the resulting fluid movement and performance of the dolls would
often transfix everyone on - and under - the set. Gardner remembers, "On Seed, there weren't the
typical cheap cutaways like in so many genre filMs These characters were taken to another level
here and truly integrated into the sequences, which enhances their believability. Our groups
pulled off some scenes with all three dolls in the same shot where there was spontaneous
applause from all over."
Redman reports, "The puppeteers did a great job. Big ups to them. They're under the floor,
scrunched down on their knees - I knew how their backs were hurting…"
From producing so many fantasy and adventure projects, David Kirschner has long admired
puppeteers' craft and dedication. He praises them as "a wonderful army. They have to be on point
like the Rockettes - here are 15 people working joysticks and servos and if one is off then the
entire shot and whole performance is off."
"When it works, it's a thrill," says Gardner. One good measure of the effectiveness of his groups'
efforts on behalf of Seed of Chucky is the scene that features all three dolls onscreen with
Gardner himself as a puppeteer, as his work literally goes to his head.
Never Say Die
As the tiny terror has become part of a deadly duo and now a twisted trio, the signature mixture
of horror and comedy has been refined and enhanced by everyone on Team Chucky, from the
puppeteers behind the dolls to the writer who has now gotten behind the camera.
"Laughter and screaming are a great combination for a movie," says Don Mancini. "That's what I
hope I've delivered with Seed of Chucky."
"Over the course of the series, Chucky has always been wrestling with life as a doll. In Seed,
Chucky has an epiphany and it's one that I think a lot of people will be able to relate to - not just
Chucky fans," comments Corey Sienega.
"With Glen, now there are more possibilities. Don already has an idea for a sixth movie; he's
already got the opening shot mapped out. I don't want to give anything away, but it's fabulous,"
confides Jennifer Tilly.
John Waters confidently states, "I think there will be a sixth and seventh movie and I think one
should be a musical. There could be Chucky fighting Jason and Freddy and then Gorgo, the Hulk
- all of them. It could keep going until he took over the world and it was the end of the world and
there was only Chucky. And I'll pay to see every one of them, right to the end."
Seed of Chucky
About the Cast
JENNIFER TILLY (Herself; voice of Tiffany)
An actress who always attracts audiences' attention, Jennifer Tilly is by turns funny, sexy,
compassionate and compelling - and often all at once.
Her breakthrough movie role tapped into all of those qualities - failing singer Blanche "Monica"
Moran in Steve Kloves' The Fabulous Baker Boys, opposite Jeff and Beau Bridges.
A few years later, Jennifer earned an Academy Award nomination for her portrayal of the
aspiring, but hopelessly untalented, actress Olive Neal in Woody Allen's Bullets over Broadway.
She has become well-known to filmgoers for both major studio and independent filMs In Tom
Shadyac's blockbuster Liar Liar, she kept pace with star Jim Carrey. Her steamy performance
opposite Gina Gershon helped make the Wachowski Brothers' Bound a breakout indie success at
the Sundance Film Festival and then in theatrical release. The latter film also expanded Jennifer's
already significant gay and lesbian following.
She successfully cultivated another fan base with the revitalization of the Child's Play horror
comedy franchise. For Bride of Chucky, directed by Ronny Yu, the filmmakers turned to Jennifer
to play the character who would spark the series in a new direction. She met the challenge and
established a new horror icon in Tiffany, a role she reprises in Seed of Chucky.
Jennifer's pitch-perfect voiceover work as Tiffany is not the only instance of her being able to
incarnate a character from the vocal chords out. Families know her distinctive cadences from the
recent Disney hits Home on the Range (in which Jennifer voiced a new-age bovine), directed by
Will Finn and John Sanford; The Haunted Mansion (in which Jennifer acted from the neck up
only), directed by Rob Minkoff; and the Pixar blockbuster Monsters Inc (voicing Mike's love
interest Celia), directed by Pete Docter, David Silverman and Lee Unkrich.
She began her acting career as a teenager, putting herself through the theatre program at
Stephens College in Missouri by winning writing competitions. She then headed to Los Angeles.
While she continued to act on the stage (earning a Dramalogue Award for her performance in
Vanities), movies and television immediately came calling for the actress with the unique voice
Her many films include Neil Jordan's High Spirits, Oliver Stone's The Doors, Richard
Benjamin's Made in America, Roger Donaldson's The Getaway, Joe Pytka's Let It Ride, PJ
Castellaneta's Relax… It's Just Sex, Michael Radford's Dancing at the Blue Iguana and Peter
Bogdanovich's The Cat's Meow (in which she played Louella Parsons).
Jennifer has also continued to act on the stage. She won a Theatre World Award for her
performance in off-Broadway's One Shoe Off and starred on Broadway in the 2001 revival of
The Women (which was later taped for and broadcast on, PBS).
She next stars with Jeff Bridges in Terry Gilliam's highly anticipated new film Tideland.
Multi-talented and multi-platinum recording star Redman recently produced the Fox Network
comedy series Method & Red, in which he starred opposite his friend and frequent collaborator
A seminal rap artist whose career began over a decade ago, Redman recorded five solo albums
on Def Jam Recordings, all of which were been top-sellers: "Whut? Thee Album" (which
included the single "Blow Your Mind," which hit #1 on the rap music charts); "Dare Iz A
Darkside"; "Muddy Waters"; "Doc's da Name 2000"; and "Malpractice." A sixth album, "Red
Gone Wild," is due out in November 2004.
He also released two successful collaboration albums: "Blackout!" (with Method Man) and "El
Nino" (with Def Squad). Another collaboration, this time with De La Soul, brought Redman a
Grammy Award nomination for the single "Ooohh." Recently, Redman was again a Grammy
Award nominee for his performance on Christina Aguilera's "Dirrty," for which he also received
a MTV Video Music Award nomination and a Teen Choice Award nomination.
A native of Newark, New Jersey, Redman starred with Method Man in Jesse Dylan's popular
comedy How High, for which he also composed songs. He has appeared in several music
documentaries, including Rhyme & Reason and Backstage; and has composed songs for such
films as Charles Stone III's Paid in Full, Rob Cohen's The Fast and the Furious and Thomas
Carter's Save the Last Dance.
Redman's latest mix tape is "Ill At Will Volume 1," and his latest solo album is "Red Gone
Wild." His Gilla House Records is the home of such recording artists as Mally G., Saukratus,
Icaurus and two R & B Soul acts: Melanie Rutherford and Ellis Hall III.
HANNAH SPEARRITT (Joan)
Actress/singer Hannah Spearritt has a fan following in not only her native UK but also around
Hannah previously starred on-screen, opposite Frankie Muniz, in Kevin Allen's Agent Cody
Banks: Destination London. She has long been actively involved in theatre and as such has
performed onstage in both the U.S. and the UK (beginning with a production of Annie). Her
other acting credits, for UK television, include The Inspector Pitt Mysteries and the children's
series Blue Peter, as well as various commercials.
She became well-known all over the globe as one of the members of the British pop music group
S Club 7. The group's television specials and series, S Club 7 in Miami, provided Hannah with
the opportunity to pursue both her acting and singing careers. The latter show debuted on the
BBC in 1999 and was soon syndicated to America and other countries. Four globally successful
S Club 7 albums followed, with such hit singles as "Bring it All Back," "Two In A Million," "S
Club Party," "Don't Stop Movin'," and "Never Had A Dream Come True" topping the UK charts
and charting worldwide as well.
JOHN WATERS (Pete Peters)
John Waters is the renowned, revered and reviled writer/director from Baltimore who has created
some of the most controversial motion pictures of the last four decades.
Beginning in the early 1960s, John assembled a cast of close friends, mostly native
Baltimoreans, to create such underground favourites as the short films Hag in a Black Leather
Jacket, Roman Candles (his first film with Divine and Mink Stole), Eat Your Makeup and The
Diane Linkletter Story; Mondo Trasho, his first full-length feature, during the shooting of which
he and two actors were arrested for "participating in a misdemeanour" (basically, indecent
exposure); and Multiple Maniacs, which spotlighted "The Cavalcade of Perversions."
With the release of the unforgettable Pink Flamingos (starring Divine), John was launched into
the cult of celebrity as the film went on to become a smash success at midnight screenings in the
U.S. and all over the world. His subsequent films included Female Trouble, Desperate Living
and Polyester. The latter was lensed in glorious "Odorama," allowing the audience to smell along
with the characters in their fragrant search for romantic happiness.
John's 1988 feature Hairspray was the last film to star his friend Divine. The movie was later
adapted into a Tony Award-winning musical, which opened on Broadway in 2002 and has been
successfully running ever since, with concurrent stagings around the world.
His other movies include Cry-Baby, Serial Mom, Pecker, Cecil B. DeMented and, most recently,
A Dirty Shame.
In addition to making movies, John has authored several books: Shock Value, Trash Trio,
Crackpot and Director's Cut. With Bruce Hainley, he co-authored Art: A Sex Book.
His photographs have been displayed in galleries all over the world. In February 2004, the New
Museum of Contemporary Art in New York City presented "John Waters: Change of Life,"
featuring rare items and photographs from his personal collections. A catalogue of the same title,
now available from Abrams Publishing, accompanied the exhibition.
BILLY BOYD (voice of Glen)
Billy Boyd attained worldwide fame and acclaim with his portrayal of Peregrin "Pippin" Took in
Peter Jackson's epic film trilogy adaptation of J. R. R. Tolkien's The Lord of the Rings (The
Fellowship of the Ring, The Two Towers and The Return of the King).
Billy holds the distinction of starring as part of an extraordinary ensemble in two of this past
year's Academy Award nominees for Best Picture: The Lord of the Rings: The Return of the King
(which won 11 Academy Awards, including the Best Picture prize) and Peter Weir's Master and
Commander: The Far Side of the World (which won 2 Academy Awards).
His other film credits include Geneviève Joliffe's Urban Ghost Story, Robert Cavanah and Iain
Macdonald's The Soldier's Leap and Gaby Dellal's upcoming On a Clear Day (in which he stars
with Peter Mullan and Brenda Blethyn).
A native of Glasgow, Billy graduated from the Royal Scottish Academy of Music and Drama
with a diploma in Dramatic Arts. He then performed in numerous theatre productions in Scotland
and the UK His stage work includes St. Andrew's Repertory productions of The Secret Diary of
Adrian Mole and The Slab Boys; the Original Shakespeare Company production of Much Ado
About Nothing; the Royal Lyceum productions of The Merchant of Venice, Hansel & Gretel,
Britannia Rules, Thérèse Raquin and An Experienced Woman Gives Advice; and the Traverse
Theatre productions of The Chic Nerds, Kill the Old, Torture Their Young and The Speculator.
He toured the UK in stage productions of Trainspotting (starring as Tommy and Sick Boy),
Widows, Caledonia Dreaming and The Ballad of Crazy Paola.
For UK television, Billy has appeared in such shows as Taggart and Still Game, as well as Annie
Griffin's feature Coming Soon and Paul Holmes' short Sniper 470. He has also performed in
numerous radio plays.
BRAD DOURIF (voice of Chucky)
Brad Dourif played Charles Lee Ray and also voiced Chucky in the original Child's Play. By
popular demand, he has continued to speak for the latter character ever since and is the only actor
to have starred in all five movies. The previous four movies in the series were directed by,
respectively, Tom Holland, John Lafia, Jack Bender and Ronny Yu.
Brad currently stars as Doc Cochran on the acclaimed HBO Western drama series Deadwood,
for which he recently received an Emmy Award nomination.
His memorable portrayal of Billy Bibbit in Milos Forman's multi-Academy Award-winning One
Flew Over the Cuckoo's Nest earned him Golden Globe and BAFTA Awards, as well as an
Academy Award nomination.
Born and raised in Huntington, West Virginia, Brad started acting in school productions before
progressing to community theatre, joining the Huntington Community Players while attending
Marshall University. He then moved to New York City, where he began working with the Circle
Repertory Company. His performance in their production of When You Comin' Back, Red
Ryder? brought him to the attention of Milos Forman, who cast him as Billy Bibbit (and would
later cast him again, in Ragtime).
He has since appeared in dozens of movies, among them Irvin Kirschner's Eyes of Laura Mars,
John Huston's Wise Blood, Michael Cimino's Heaven's Gate, David Lynch's Dune and Blue
Velvet, Alan Parker's Mississippi Burning, Spike Lee's Jungle Fever, Hanif Kureishi's London
Kills Me, Dario Argento's Trauma, Richard Rush's Colour of Night, Marc Rocco's Murder in the
First, Jean-Pierre Jeunet's Alien Resurrection and Peter Jackson's The Lord of the Rings: The
Brad has guest-starred on several notable television series, including in a recurring role on Star
Trek: Voyager. His other television credits include the series Ponderosa and the cult miniseries
About the Filmmakers
DON MANCINI (Director; Writer)
Don Mancini, creator of the Chucky franchise and screenwriter on all five movies in the series,
makes his feature directorial debut with Seed of Chucky.
While attending UCLA, he conceived the sleeper hit Child's Play. After receiving sole story and
co-screenwriting credit on that film, Don has been the sole screenwriter on every subsequent film
in the long-running series: Child's Play 2, Child's Play 3, Bride of Chucky (on which he also
served as executive producer and second-unit director) and now Seed of Chucky.
Among Don's other screenwriting credits is the "Fitting Punishment" episode of HBO's Tales
from the Crypt.
His screenplays in development include two adventure fantasies for legendary producer Dino de
Laurentis: Atlas and The Dog Who Cried Wolf. Most recently, he sold a screenplay for an
all-CGI animated feature, The Fur Flies.
Don will also be reteaming with his Team Chucky colleague, producer David Kirschner, on the
television project Salem PD, from his original dramatic thriller concept. Don has set the planned
series in Salem, Massachusetts. Although he was born in Boston, Massachusetts, he grew up in
After two years as an English major at Columbia University, Mancini took a year off from
school to work on the crew of the daytime drama Search For Tomorrow. Resuming his
education, he transferred to UCLA for his junior year, enrolling in the school's film program and
also conceiving Child's Play.
DAVID KIRSCHNER (Producer)
David Kirschner, producer on every movie in the popular Chucky series, created and designed
the Chucky doll for the first movie in the series, Child's Play, which he produced. He has
remained producer on every movie in the long-running series ever since and has also created and
designed the other dolls in the Ray family, Tiffany (who debuted in Bride of Chucky) and Glen
(who debuts in Seed of Chucky). Bride Of Chucky received three Saturn Award nominations
from the Academy of Science Fiction, Fantasy and Horror Films: Best Horror Film, Best
Screenplay and Best Actress (for Jennifer Tilly). The film also brought Chucky himself an MTV
Movie Award nomination for Best Villain.
He is partnered with producer Corey Sienega in David Kirschner Productions, which maintains
an eclectic slate of projects, focusing primarily on family and genre filMs
David began his career as an illustrator for Jim Henson's cherished Muppet and Sesame Street
characters. At the age of 23, he conceived, wrote and illustrated his own series of children's
books, entitled Rose Petal Place. The stories spawned a total of sixteen books, two television
specials and over 1,100 different products.
In 1986, he created and executive-produced (with Steven Spielberg) the smash hit animated
feature An American Tail. A sequel, An American Tail 2: Fievel Goes West, followed, as did a
Saturday morning animated series (Fievel's American Tails) and three more direct-to-video
David conceived the story for and produced, the live-action hit comedy-thriller Hocus Pocus
starring Bette Midler, Sarah Jessica Parker and Kathy Najimy; and co-wrote and produced the
animated musical Once Upon a Forest.
He created and produced a number of innovative television specials, including the Emmy
Award-winning The Last Halloween, the first-ever long form television program to combine
computer-generated images with live action and miniatures; the Emmy Award-nominated The
Dreamer of Oz, based on the life of The Wonderful Wizard of Oz creator L. Frank Baum, starring
John Ritter and Annette O'Toole; and The Halloween Tree, written and narrated by Ray
Bradbury, which won an Emmy Award for Best Animated Children's Program.
Returning to movies, David produced the box office smash The Flintstones, again in partnership
with Steven Spielberg, before co-writing and producing the combination live-action and
animated fantasy The Pagemaster. That film starred Macaulay Culkin (in both the live-action
and the animated segments), as well as the voices of Whoopi Goldberg, Leonard Nimoy and
Patrick Stewart. The Pagemaster was based upon a book which he co-wrote that was named the
American Library Association's Children's Book of the Year. The book went on to be published
in 14 languages.
He next produced the animated musical feature Cats Don't Dance, which was honoured with the
Golden Crown at Annecy and the prestigious Annie (American Animation) Award for Best
Feature. The movie's score was by Randy Newman, with vocals by Natalie Cole and
choreography by the legendary Gene Kelly.
David next worked on two sci-fi projects, producing the animated adventure film Titan AE
(which starred, in voiceover, Matt Damon and Drew Barrymore) and executive-producing the
Emmy Award-nominated series Gene Roddenberry's Earth: Final Conflict, which aired for five
seasons and can still be seen all over the world.
His next film projects as producer were the critically acclaimed psychological thriller Frailty,
starring Bill Paxton and Matthew McConaughey; and the family favourite Second-hand Lions,
which starred Michael Caine, Robert Duvall and Haley Joel Osment.
For Universal Pictures, David is currently making Curious George, an animated adaptation of
the classic children's books, which he is producing with Ron Howard and Brian Grazer. Will
Ferrell is voicing Curious George's friend, The Man in the Yellow Hat.
David Kirschner Productions will next partner with Mike Medavoy's Phoenix Pictures to
produce Miss Potter, written by Tony Award winner Richard Maltby. David will direct the
CGI-animated sequences in the romantic biographical drama about famed children's author and
illustrator Beatrix Potter. Bruce Beresford is slated to direct the film.
David will also produce The Martian Child, a comedy-drama based on the Hugo and Nebula
Award-winning short story by sci-fi luminary David Gerrold, to star John Cusack for
writer/director Menno Meyjes.
COREY SIENEGA (Producer)
Corey Sienega is a producing partner in David Kirschner Productions and was executive
producer of Bride of Chucky (directed by Ronny Yu).
The California native attended San Francisco State University's School of Cinema. After
working as a contributing writer for Film Threat, she began a new career in the literary
department at the talent agency Susan Smith and Associates.
After working in development at Meg Ryan's production company Fandango Films, Corey
joined David Kirschner Productions in 1993 and has been a producing partner there since 1998.
The company maintains an eclectic slate of projects, focusing primarily on family and genre
She has produced the critically acclaimed psychological thriller Frailty, starring Bill Paxton
(who also directed the film) and Matthew McConaughey; and the family favourite Second-hand
Lions, which starred Michael Caine, Robert Duvall and Haley Joel Osment and was written and
directed by Tim McCanlies.
David Kirschner Productions will next partner with Mike Medavoy's Phoenix Pictures to
produce Miss Potter, written by Tony Award winner Richard Maltby. David will direct the
CGI-animated sequences in the romantic biographical drama about famed children's author and
illustrator Beatrix Potter. Bruce Beresford is slated to direct the film.
Corey has recently established her own production banner, La Sienega Productions, which marks
its debut with, in association with David Kirschner Productions on, Seed of Chucky.
She will next produce The Martian Child, a comedy-drama based on the Hugo and Nebula
Award-winning short story by sci-fi luminary David Gerrold, to star John Cusack for
writer/director Menno Meyjes. That film will be the second joint project for David Kirschner
Productions and La Sienega Productions.
GUY J. LOUTHAN (Executive Producer)
Guy J. Louthan recently produced Duncan Roy's Method, starring Elizabeth Hurley and Jeremy
Sisto; line-produced Peter Hyams' A Sound of Thunder, starring Edward Burns and Sir Ben
Kingsley; and executive-produced Jaume Balaguero's Darkness (a.k.a. The Dark), starring Anna
Paquin and Lena Olin.
He also recently was writer and director on the documentary series West End Nights, about the
London social scene, for the UK's Channel 5; and wrote three episodes of the television series
Guy's other credits include producing Mary Lambert's independent feature Clubland, starring
Alexis Arquette; co-producing Lisa Krueger's Committed, starring Heather Graham;
associate-producing and producing, respectively, Penelope Spheeris' documentaries The Decline
Of Western Civilization Parts II and III; co-producing Leslie Greif's Keys to Tulsa, starring
James Spader; producing Elodie Keene's telefilm On the Line, starring Linda Hamilton; and
line-producing Marc Rocco's Where the Day Takes You.
As vice president in charge of feature film production at ITC Entertainment Group, he oversaw
the production of nine movies, including Rusty Cundieff's Fear of a Black Hat and John Dahl's
critically applauded The Last Seduction, starring Linda Fiorentino and Bill Pullman.
Guy previously produced, among other projects, Kurt Voss' independent feature Genuine Risk,
starring Terence Stamp, Peter Berg and Michelle Johnson; Bert Dragin's Twice Dead; and
Penelope Spheeris' documentary Thud. He also headed physical production for Columbia
Pictures' Discovery Program.
VERNON LAYTON BSC (Director of Photography)
British cinematographer Vernon Layton has spent the past four decades working at his craft. He
began as a camera operator for LWT, where he shot television dramas as well as the pop
program, Ready Steady Go, recording on camera such legends as The Beatles, Jimi Hendrix and
The Who. He also shot The Rolling Stones Rock 'n' Roll Circus, which featured Jethro Tull, John
Lennon and Yoko Ono (among others) along with the Stones.
Academy Award-winning cinematographer Walter Lassally encouraged Vernon to make the leap
to director of photography. He did so and began shooting commercials directed by Ridley Scott
as well as such documentaries as John Jeremy's Jazz is Our Religion.
His first feature as cinematographer was Tom Clegg's McVicar, starring Roger Daltrey. Among
the subsequent features he has shot are Simon Moore's Under Suspicion, Danny Cannon's The
Young Americans and I Still Know What You Did Last Summer, Christopher Monger's The
Englishman Who Went Up a Hill But Came Down a Mountain, Hart Bochner's High School
High, Willi Patterson's Don't Go Breaking My Heart, Ben Bolt's telefilm Second Nature and
Laurent Firode's upcoming My First Wedding, starring Rachael Leigh Cook.
Vernon's television work as cinematographer also includes episodes of The Professionals and
Poirot (starring David Suchet).
PETER JAMES RUSSELL (Production Designer)
Seed of Chucky is Peter James Russell's first movie as production designer. He was supervising
art director on all three films in George Lucas' second Star Wars trilogy: Star Wars: Episode I -
The Phantom Menace, Star Wars: Episode II - Attack of the Clones and the globally awaited Star
Wars: Episode III - Revenge of the Sith.
He was the Malta art director on Ridley Scott's Academy Award-winning Gladiator, for which
he shared an Art Director Guild Award for Excellence in Production Design.
Peter has also worked as art director on Marc Forster's Finding Neverland, Stephen Sommers'
The Mummy, Michael Cohn's Snow White: A Tale of Terror, Mel Smith's Radioland Murders,
Agnieszka Holland's The Secret Garden, Mark Herman's Blame It on the Bellboy and Bernard
Rose's Chicago Joe and the Showgirl.
He was senior draughtsman on Danny Cannon's Judge Dredd and prior to that worked as
draughtsman on such films as David Seltzer's Shining Through, starring Michael Douglas and
Melanie Griffith, David S. Ward's King Ralph, Jonathan Lynn's Nuns on the Run, Steven
Spielberg's Indiana Jones and the Last Crusade and Robert Zemeckis' Who Framed Roger
Peter was assistant art director on such projects as Ridley Scott's 1492: Conquest Of Paradise,
Bob Rafelson's Mountains of the Moon and Steven Spielberg's Indiana Jones and the Temple of
CRISTIAN NICULESCU (Production Designer)
Cristian Niculescu worked as art director on Anthony Minghella's Cold Mountain.
Cristian was previously production designer on such horror and thriller features as Simon
Fellows' Blessed, Duncan Roy's Method, JT Petty's Mimic: Sentinel (the third in the horror
series), Joe Chappelle's Dark Prince: The True Story of Dracula and David DeCoteau's
The Romanian native has also been production designer on Luke Cresswell and Steve
McNicholas' Vacuums and Radu Mihaileanu's Train of Life, among other filMs
His other films as art director include Thom Fitzgerald's Wolf Girl, Douglas Aarniokoski's
Highlander: Endgame and Pete Hewitt's telefilm Princess of Thieves.
CHRIS DICKENS (Editor)
Chris Dickens recently edited another Rogue Pictures release, Edgar Wright's Shaun of the Dead.
Working with the latter creative team, he edited both BAFTA Award-nominated series of the UK
television comedy Spaced.
He has also worked on the editing department of such features as Eugene Brady's The Nephew,
Patrick Dewolf's Innocent Lies and Ralph Ziman's Hearts and Minds.
Chris' many UK television drama and comedy editing credits include Declan Lowney's telefilm
Cruise of the Gods, Gareth Marenghi's The Told, Lenny Blue, Lucky Jim and At Home with the
TONY GARDNER (Animatronic Characters and Effects)
As special effects and make-up artist, Tony Gardner has been responsible for some memorable
screen images. His recent handiwork includes ballooning Selma Blair's bust for John Waters' A
Dirty Shame; crafting Academy Award winner Chris Cooper's dental deficiencies in Spike
Jonze's Adaptation; transforming Gwyneth Paltrow into a 375 lb woman in the Farrelly Brothers'
Shallow Hal; tracking the internal trajectory of a bullet in David O Russell's Three Kings; and
outfitting a dog in a full-body cast (and more) in the Farrellys' There's Something About Mary.
Tony began his career learning from Rick Baker on Michael Jackson's landmark "Thriller" video,
directed by John Landis. Similarly, he has had the privilege of working with Greg Cannom and
Stan Winston multiple times.
He previously worked with producers David Kirschner and Corey Sienega on Tim McCanlies'
Second-hand Lions. Among the many other feature projects Tony has contributed to are Dan
O'Bannon's The Return of the Living Dead, Sam Raimi's Darkman, Oliver Stone's The Doors,
Barry Sonnenfeld's The Addams Family, Kenny Ortega's Hocus Pocus (produced by David
Kirschner), Jan De Bont's Speed andrew Fleming's The Craft, Michael Bay's The Rock, PJ
Hogan's My Best Friend's Wedding, Joel Schumacher's Batman and Robin, Robert Zemeckis'
Contact, Mel Smith's Bean, David Koepp's Stir of Echoes, the Farrellys' Me, Myself and Irene
and Stuck on You, Michel Gondry's Human Nature, Jeff Tremaine's jackass: the movie, Renny
Harlin's Mindhunters and Mike Mitchell's Surviving Christmas.
For television, Tony has worked on such shows as ER, Arrested Development, Alien Hunter,
jackass, The Tick, Sabrina the Teenage Witch, Another World, Mad About You, the telefilm The
Darkling (directed by Po-Chih Leong) and the miniseries Stephen King's 'The Tommyknockers'
(directed by John Power).
He has also done numerous television commercials and contributed to park rides for Disneyland,
Disney's California Adventure and Disney's Epcot Center.
PINO DONAGGIO (Music)
Pino Donaggio is perhaps best-known among movie buffs for his collaborations with filmmaker
Brian De Palma. The two first teamed on the 1976 classic Carrie, followed by (among other
projects) Dressed to Kill, Blow Out, Body Double and Raising Cain. The duo plans to reunite for
the upcoming Toyer.
Pino is also the author of one of pop's most enduring anthems, "You Don't Have to Say You
Love Me," which has been performed by over 250 artists (including Dusty Springfield, Elvis
Presley and Cher) and has sold over 67 million records.
Beginning with Nicolas Roeg's Don't Look Now, the Italian-born composer has scored over 100
films, including Herb Freed's Haunts, Joe Dante's Piranha and The Howling, Tim Hunter's Tex,
Herbert Ross' Dancers, Tina Rathborne's Zelly and Me, Dario Argento and George A. Romero's
Two Evil Eyes, Dario Argento's Trauma and Philip and Belinda Haas' Up at the Villa.
Pino has been honoured with a Career Award from the Academy of Science Fiction, Fantasy and
OANA PAUNESCU (Costume Designer)
Oana Paunescu worked as Romanian costume coordinator on Anthony Minghella's Cold
The Romanian native's work as costume designer spans over a decade and includes many movies
in the horror genre. Among these are Duncan Roy's Method, Simon Fellows' Blessed, Thom
Fitzgerald's Wolf Girl, Joe Chappelle's Dark Prince: The True Story of Dracula and David
Oana attended the Art Academy of Bucharest and graduated with a diploma of Scenic Design.
Seed of Chucky
Written and Directed by Don Mancini
Produced by David Kirschner
Executive Producer Guy J Louthan
Director of Photography Vernon Layton BSC
Production Designers Peter James Russell
Visual Consultant Richard Holland
Editor Chris Dickens
Animatronic Characters and Effects by Tony Gardner
Based on Characters Created by Don Mancini
Chucky, Tiffany and Glen Dolls Created by David Kirschner
Music by Pino Donaggio
Co-Producer Laura Moskowitz
Costume Designer Oana Paunescu
Co-Producers Guy J Louthan
Stunt Coordinator Stuart St Paul
JENNIFER TILLY HERSELF
VOICE OF TIFFANY JENNIFER TILLY
VOICE OF CHUCKY BRAD DOURIF
VOICE OF GLEN/GLENDA BILLY BOYD
JOAN HANNAH SPEARRITT
PETE PETERS JOHN WATERS
PSYCHS KEITH-LEE CASTLE
STAN STEVE LAWTON
TONY GARDNER HIMSELF
SANTA JASON FLEMYNG
LAWYER NICHOLAS ROWE
CLAUDIA'S MUM STEPHANIE CHAMBERS
CLAUDIA'S DAD SIMON JAMES MORGAN
CLAUDIA BETHANY SIMONS-DENVILLE
FULVIA REBECCA SANTOS
HUMAN GLEN BEANS EL-BALAWI
HUMAN GLENDA KRISTINA HEWITT
ASSISTANT DIRECTOR DANIEL GETZOFF
REPORTER NICOLA MYCROFT
DON MANCINI GUY J LOUTHAN
FAN DIANA MUNTEANU
INTERVIEWER ANOUK DIKS
LAUGHING PUPPETEER BARNABY THOMPSON
COP # 1 ELIOT MATHEWS
COP # 2 ADI HANDAC
LITTLE BOY PAUL GROSSMAN
BRITNEY NADIA DINA ARIQAT
Chucky, Tiffany and Glen Puppeteers Michael Bayliss
Peter A Chevako
Hiroshi Kan Ikeuchi
Lynn Robertson Bruce
Mario J Torres
Stunt Co-ordinator (Romania) Adi Pavlovschi
Joan Stunt Double Heather Phillips
Fulvia Stunt Double Mihaela Oros
Jennifer/Joan Stunt Double Roxana Andronescu
Peters Stunt Double Nicu Constantin
Stan Stunt Double Vali Vasilescu
Pizza Guy George Julian
Real Estate Women Beatrice Pestritiu
Mailman Marian Dicu
Executive in Charge of Production Joe Pichirallo
Executive in Charge of Post-Production Jeff Roth
Castel Film Studios (Romania)
Executive in charge of Production (Romania)
Unit Manager (Romania)
Error! Reference source not found.
Unit Production Manager
First Assistant Director
Anthony George Every
Second Assistant Directors
Error! Reference source not found.
Second Second Assistant Director
Animatronics and Special Make-Up Effects by Alterian Inc
Mechanical Designer Russ Shinkle
Accountant Stephanie Webb-Williams
Animatronic & Prosthetic Production Manager Jessica Huebner
Puppet Costuming by The Rubber Mask &
On-Set Make-up Effects Andrew Garner
Post-Production Supervisor Stephen Barker
Art Director Judy Farr
Art Directors (Romania) Serban Porupca
Assistant Art Director (Romania) Adi Curelea
Set Decorator (Romania) Dan Toader
A-Camera/Steadicam Operator George Richmond
First Assistant A-Camera Christian Lemay
Second Assistant A-Camera Stefan Mangar
B-Camera Operator Toni Cartu
First Assistant B-Camera Marcu Laurentiu
Second Assistant B-Camera Ionut Perianu
Clapper Loaders Corina Pana
Video Assistants Cristi Dragos
Video Assistants (Puppeteers) Marian Stefan
Script Supervisor Sarah Hayward
Casting Directors (Romania) Claudiu Bolchis
Additional Casting Director Gail Stevens
Assistant Additional Casting Director Maria Mellins
Sound Mixer Simon Okin
Audio/Video Playback Operator Radu Nicolae
Boom Man Marius Stanescu
Utility/Cable Men Danut Alexe
Sound Engineer Dragos Stanomir
Set Costume Supervisor Ana-Maria Cucu
Costumers Doina Raducut
Costume Buyer Consuela Rusu
Redman Wardrobe/Stylist Rashida Blalock
Assistant to Ms Blalock Janelle Carothers-Porter
Chief Make-up & Hair Designer Sian Richards
Key Hair Stylist Catalin Ciutu
Make-up Artist (Romania) Dana Busoiu
Additional Hair Stylists Ramona Geaman
First Assistant Editor Catriona Richardson
Assistant Editor Ilinca Nanoveanu
Additional Editing John Amos
Additional Assistant Editor Andrew Melhuish
Post-Production Coordinator Marina Grana
Post-Production Runner Edward Bishop
Gaffer Ossie Jung
Gaffer (Romania) Catalin Calin
Best Boy Electric Radu Ion
Electricians Marcu Ion
Rigging Gaffer Dan Lita
Rigging Electricians Radu Viorel
Generator Operators Adi Raduta
Key Grip Marian Duca
Best Boy Grip Cristi Epure
Dolly Grip Sandu Polu
Grips Gabi Marin
Property Master Ray Perry
Assistant Property Master Adi Handac
On-Set Prop Master Viorel Ghenea
On-Set Prop Master Eugen Marinescu
Animal Wrangler Angela Neda with
"Codo" the Rat
Fly and Spider Wrangler Ionela Dobrin
Special Effects Supervisor Paul Dunn
Special Effects Coordinator Wilma Dunn
Special Effects Technicians Jason Troughton
Special Effects Supervisor (Romania) Lucian Iordache
Special Effects Driver Russell Pritchett
Digital Visual Effects by Stargate Digital, London
Executive Producer Clive Milton
Visual Effects Supervisors Sam Nicholson
Visual Effects Producer Sharon Lark
Visual Effects Coordinator Sarah Michon Cloutier
2D Artists Tom Collier
3D Artists Graham Cristie
Visual Effects Editor Simon Allmark
IO Coordinator Alex Hegazy
Titles by Fig Productions, London
Titles Directed by Richard Morrison
3D Animation (Titles) One Post, London
3D Artists (Titles) Dave Child
Production Coordinators Ian Moore
Assistant Production Coordinator Hollie Foster
Production Coordinator (Romania) Oana Topliceanu
Production Secretary Maria Nita
Office Secretaries Cristina Grigoras
Third Assistant Directors Tudor Cotovelea
Assistant to Mr Kirschner & Ms Sienega Nick Shaheen
Assistant to Mr Mancini Adrian Buescu
Assistants to Mr Louthan Simon Maxwell
Assistant to Jennifer Tilly Smaranda Comanescu
Set Production Assistants Cristi Serban
Production Runner Jamie Cobb
Post Production Coordinators (Romania) Diana Negoitescu
Customs Liaison (Romania) Dori Mercea
Telecine Colorist (Romania) Roberta Raduca
Rack Engineer (Romania) Cristi Sandu
Dailies Internet Transfer (Romania) Alex Georgescu
Storyboard Artist Pete Von Sholly
Graphic Designers Matt Curtis
Draughtsmen Zoli Szabo
Assistant Set Decorator Gina Stancu
Buyer Iasar Memedali
Lead Man Adi Popa
Swing Gang Marius Trandafir
Supervising Sound Editor Tim Hands
Sound Effects Editor Jack Whittaker
Dialogue Editor Jason Canovas
First Assistant Sound Editor Colin Cooper
Foley Editor Dereck Trigg
Sound Engineer (Romania) Dragos Stanomir
Foley Mixer Ted Swanscott
Foley Recordist Nick Foley
Foley Artists Jack Stew
Puppet dialogue recorded at Classic Sound Ltd London
ADR recorded at Goldcrest, London
De Lane Lea, London
ADR Mixers Andy Thompson
ADR Voice Casting Brendan Donnison - MPSE
Re-Recording Mixer Adrian Rhodes
Assistant Re-Recording Mixer Sven Taits
Mix Technicians Phil Jenkins
Sound Re-Recorded at De Lane Lea, London
Construction Coordinator Crina Cartas
Construction Foremen Cristi Simion
Construction Buyer Sandu Cucu
Paint Foreman Mihai Stanciu
On-Set Painters Oana Marinescu
Lead On-Set Carpenter Stefan Ion
Set Carpenter Marian Nastase
Head Greensman Brian Maslin
Greens Department Sorin Avram
Legal Services Sara Curran
Financial Representative Michele Boudreau
Production Accountants (Romania) Lavinia Mercea
First Assistant Accountant Maria Romano
Cashier (Romania) Ruxandra Popescu
Post-Production Accounting Sargent-Disc
Unit Publicist Stephanie Keating
Stills Photographer Rolf Konow, SMPSP
EPK Cameraman Sean Hill
Transportation Coordinator Mircea Tudor
Picture Vehicle Coordinator Florin Gon
Facilities Valentin Margarit
Driver to Mr Mancini & Ms Sienega Daniel Dumitrescu
Driver to Ms Tilly Silviu Petrache
Driver to Mr Redman Dragos Paraschevopolous
Driver to Mr Louthan Eduard Babit
Drivers Ion Eremia
Make-up Bus Nae Ioana
Honey Wagon Andrei Paul Mihai
Second Unit Romania
Second Unit Director Guy J Louthan
First Assistant Director Alex Fotea
Director of Photography Ken Coles
First Assistant Camera Ionut Perianu
Video Assistant Florin Ilinca
Costume Supervisor Ana Maria Cucu
Hair Stylist Catalin Ciutu
Key Grip Marian Duca
Best Boy Grip Cristi Epure
Gaffer Dan Lita
Best Boy Lighting Stefan Tirzioru
Props Viorel Ghenea
Extras Casting Floriela Grapini
Chef Ahmed Kamila
Assistant Chef Lili Voicu
Craft Service Cristian Andrei
Food Suppliers Elena Ghita
Digital Titles & Opticals Lipsync Post
Negative Cutter Jason Wheeler
Avid Rental Pivotal Post
Colour Timer Mike Stainer
Dolby Sound Consultant James Seddon
Music Recorded & Mixed at Whitfield Street Studios,
Sound Design and Musical Coordination Paolo Steffan
Music Orchestrated & Conducted by Maurizio Abeni
Music Editor Justine Angus
Score Coordinator Maggie Rodford for
Assistant Score Coordinator Lucy Evans
Music Performed by London Symphony
Music Recording Engineer Nick Wollage
Assistant Engineer Phil Tyreman
Copyist Maurizio Abeni
Orchestra Leader Carmine Lauri
Orchestra Manager Sue Mallet
Vocalists Members of the New
London Children's Choir
Choir Director Ronald Corp
Executive in Charge of Music Kathy Nelson
"Carol of the Bells"
Written by Rick Rhodes and Susan Fink
Courtesy of Megatrax Production Music Inc
"Cut It Up"
Written by Fredrick Nassar
Produced by FredWreck
Performed by FredWreck
"Get Your Hands Up"
Written and Produced by We 3 Kings
Performed by Full Blow Rose featuring Jo Conigliaro
"Little Green Men"
Performed by Headland
Written by David Hadland
Courtesy of Lazy Bones Recordings Inc
"One Way or Another"
Produced by We 3 Kings
Written by Nigel Harrison and Deborah Harry
Performed by Full Blow Rose featuring Jo Conigliaro
Written by Eli Braden, Erik Heinke and David Heinke Fusotron
Performed by Fuse
"Tell Me That You Need Me"
Written by Paul Taylor
Performed by Whitney Jordan
Courtesy of Master Source/Marc Ferrari
"Get It, Get It"
Written by Annie Wolfson and Bobby Jones
Performed by Annie
No animal was injured during the making of this movie.
Sobe No Fear Energy Drink
Dominic Griffin - Soundtracksite
Tony Timpone, Michael Gingold - FANGORIA Magazine
Marc Altman, Marc Gottwald - Femme Fatales Magazine
Released on Fujifilm
Arri Media Professional Motion
Colour by Deluxe
MPAA # 39360
A UNITED KINGDOM/ROMANIAN CO-PRODUCTION
Copyright 2004 Focus Features LLC
All Rights Reserved
Country of First Publication: United States of America.
Focus Features LLC is the author of this motion picture for purposes of the
Berne Convention and all national laws giving effect thereto.
THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS.
ANY SIMILARITY TO ACTUAL PERSONS, LIVING OR DEAD, IS PURELY
THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES
AND OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR
EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.
Dolby SR/SRD/DTS, in selected theaters Aspect Ratio: Flat [1:85/1]
MPAA Rating: R (for strong horror violence/gore, sexual content and language)
Running Time: 87 minutes
A Rogue Pictures Release