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A sound of thunder film production notes - CIA.rtf

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									                                      A sound of thunder


                                         Production Information


       In the near future, time travel will be an exciting, if unpredictable, reality.

       For a price, rich adventurers can stir their dormant killer instincts by booking safaris back
to the Prehistoric age to hunt real, live dinosaurs.

       There are only three essential rules: Don't change anything in the past; don't leave
anything behind; and most important, don't bring anything back. The slightest alteration might
impact the existing course of evolution in ways that no one can imagine.

       Based on a short story by award-winning author Ray Bradbury, A sound of thunder opens
on the year 2055 in downtown Chicago where a very elite travel agency, Time Safari Inc., has
cornered the lucrative time-travelling market with an exclusive prehistoric hunting package.
Time Safari Inc. is the hottest ticket in town... until the unthinkable happens.

       Someone breaks the rules. And evolution runs off its tracks.

       The changes come in waves. They start small, affecting the atmosphere and lower life
forms first, then move rapidly up the food chain with each subsequent pass. Within 24 hours
dramatic transformations appear throughout the city, spurring residents from curiosity to growing
alarm and finally panic.

       Thousands of fish beach themselves on the Lake Michigan shore. Plant life grows to
monstrous proportions as if reclaiming some ancient tropical territory, bursting through the
pavement with great sinuous roots, overturning cars in the street and engulfing entire buildings
from inside and out. Then come the insects, fast-moving voracious organisms resembling giant
roaches and locusts, streaming over everything in deadly hordes.

       Species of predatory creatures suddenly emerge, in reptilian form, with rapier reflexes
and surprisingly intelligent features, darkening the sky and running rampant through an
increasingly hostile and terrifying landscape.
        Only two people guess what might be happening: Dr Travis Ryer (EDWARD BURNS),
who leads the Time Safari expeditions into the past, and Dr Sonia Rand (CATHERINE
McCORMACK), the gifted physicist who developed the technology that makes these journeys
possible. Time Safari CEO Charles Hatton (SIR BEN KINGSLEY) stole the largely untested
technology from Rand and has been using it despite her warnings. Now, it appears her worst
fears are realised.

        It used to be our world. Now it's theirs.

        Threatened on all sides and fast running out of time, Ryer and Rand must find a way to
go back and correct whatever catastrophic error was made, to save themselves and the human
race from certain extinction. But as each new wave of change rolls forward from the Prehistoric
past, their world continues to collapse all around them.



        Franchise Pictures presents an ApolloMedia - QI Quality International - MFF (Sound of
Thunder) Limited - Film Group 111 - Coco Co-production in association with Crusader
Entertainment, a Scenario Lane/Jericho Production of a Peter Hyams Film: Edward Burns,
Catherine McCormack and Ben Kingsley in A sound of thunder, starring Jemima Rooper and
David Oyelowo. Directed by Peter Hyams and produced by Moshe Diamant, Howard Baldwin
and Karen Baldwin, from a screenplay by Thomas Dean Donnelly & Joshua Oppenheimer and
Greg Poirier, screen story by Thomas Dean Donnelly & Joshua Oppenheimer, A sound of
thunder is based upon the short story by Ray Bradbury. Elie Samaha, Romana Cisarova, John
Hardy, Rick Nathanson, Jörg Westerkamp, William J Immerman and Breck Eisner are the
executive producers; Frank Hűbner & Jan Fantl, the co-producers. Peter Hyams is the director of
photography; Sylvie Landra, the editor; and Richard Holland, the production designer. Music by
Nick Glennie-Smith. Guy Louthan is the line producer. Costume designer is Esther Walz.

        A sound of thunder will be distributed worldwide by Warner Bros Pictures, a Warner
Bros Entertainment Company.

        www.asoundofthunder.com / AOL: A sound of thunder
             MOST IMPORTANT, NO MATTER WHAT - DON'T BRING
                                    ANYTHING BACK

       "A sound of thunder is about consequences," says director Peter Hyams, whose body of
work as a director and screenwriter includes Outland, Capricorn One, 2010: the year we make
contact and the futuristic thriller Timecop. "We cannot predict exactly what would happen if
something in the past were changed and how that would affect the present. But this movie allows
us to speculate about one possible and frightening option."

       With the help of Oscar-winning visual effects supervisor Tim McGovern, Hyams
powerfully delivers his vision of some of the more calamitous possibilities posed by Bradbury's
cautionary tale - a task that involved his overseeing nearly 900 individual effects shots at every
stage of production. "The premise," he offers, "is that if you alter anything in the past it will
impact the timeline in a series of ripples extending out to God-knows-what ultimate effect."

       The fatal transgression occurs on a Time Safari expedition to the Cretaceous Era when
one member of the group inadvertently takes a single errant step off the company's strictly
proscribed path, planting his boot momentarily into the loamy earth.

       From that moment of impact a new and divergent course of evolution is touched off,
rolling ominously forward from the Prehistoric Age in a series of unstoppable time waves that
will transform everything in their path. The changes begin at the lowest molecular level,
modifying rudimentary life forms and moving rapidly up the developmental scale to target
insects, animals and, ultimately humans.

       When the crew and passengers of Time Safari's latest Prehistoric thrill ride return to the
present and disembark, they are unaware of the danger they have unwittingly unleashed. Their
guide, Dr Travis Ryer, calls it a day and heads for home. No one pays much attention to the fact
that the Chicago skyline has turned an unfamiliar shade of blue and the weather is unseasonably
balmy for this time of year.

       Next morning, Ryer is stunned to see one of his badly neglected houseplants mysteriously
revived, growing tall and vigorous overnight. Hours later the landscape outside has shifted on a
much larger scale as first one, then another volatile time wave passes through the city.

       Massive roots from newly sprouted vegetation burst upwards, splitting the pavement and
cracking open chasms into which drivers plunge to their deaths in vehicles suddenly puny as
toys. Vines engulf buildings, crushing support beams like straw, breaking through walls and
windows as they reach ever upward. Trees and plants that didn't exist a day ago now rise and
flourish as if deep in the tropics, and armies of carnivorous insects ravage everything in their
path. Terrified tenants flee their homes and run into the slippery and steaming streets but the
streets are more treacherous than the buildings.

          "The city of Chicago has turned into a primordial jungle. People are fast becoming the
prey rather than the predators and it's nearly physically impossible to get around," Hyams
describes the stunning transformation. "The place is essentially trashed."

          Into this surreal and perilous landscape Ryer forges a path to the home of Dr Sonia Rand,
inventor of the time-travel technology that spawned the Time Safari enterprise. Although she
introduced the first transporter that threw open the door to an exciting new scientific frontier,
Rand was also the first to warn against its potential danger and unpredictability. Now, she is the
only person who can figure out what is happening and whether there is any chance to make it
right.

          Together with the surviving members of Ryer's former crew, the two scientists review the
data from Time Safari's latest trip and make a chilling discovery: the time transport vehicle's
payload was 1.3 grams heavier on the return trip than on the outbound. They brought something
back. But what? More importantly, if they could locate the item and restore it to its rightful
place could they erase everything that transgression has caused?

          Their only hope is to track down the two passengers who made that ill-fated trip - if
they're still alive - and find out what came back with them.

          Back on the street, the devastation escalates as evolutionary waves impact higher life
forms, targeting existing species "in the order in which they evolved," Rand explains, with
human life not far ahead. Species of remarkably intelligent animals have already appeared,
largely lizard-like yet bearing eerie resemblance to early primates, hungrily prowling for food in
organised packs. Winged creatures swoop down from the sky with deadly accuracy, their
powerful claws easily ripping through the flimsy metal skin of cars and trucks to extract the prey
inside.
        Descendants of ancient dinosaurs, these fearsome beasts are the progeny of an
evolutionary history different to the one we know - in this alternate scenario, the dinosaurs did
not become extinct. They survived and thrived, and through the ensuing 65 million years of
natural selection the best and brightest of them developed into creatures of keen intellect,
superior senses and formidable physical prowess. Not the ungainly, lumbering beasts depicted in
grade school science texts, these sleek adaptable animals are in the prime of their existence.

        In a parallel timeline where humans never existed, it is these reptilian hunters - not us -
that rule the earth.

        By turns running, hiding and fighting for their lives, Ryer, Rand and their companions
race against time to traverse what's left of the ruined and muddy city corridors. Ahead of them
lies only the uncertain possibility that they might find the tools and the means to make one last
time jump to the past, to the point just before all this chaos erupted. But with each debilitating
time wave the modern world continues to crumble and the things they counted on most are fast
disappearing from existence.



                       CHALLENGING THE GREAT "WHAT-IFs"

        Master storyteller Ray Bradbury first published the provocative short story A sound of
thunder in 1952. Since its debut, this deliciously disturbing tale about the human race on the
brink of annihilation due to one man's reckless blunder has appeared in more than 80 anthologies
worldwide, remains a perennial highlight in school texts and continues to inspire writers and
filmmakers.

        Nothing tantalises the imagination like the notion of manipulating time and the
possibilities that might arise from such a brazen - though irresistible - action. "It's an endlessly
intriguing and challenging subject," says Hyams. "I believe there are only two remaining
frontiers for exploration: space and time. There's a kind of voyeurism connected with time travel,
a chance to see firsthand what you've only read about or conjectured. Time is certainly as exotic
a location as any in the world."

        "It's the last dimension of exploration," says Oscar winner Sir Ben Kingsley, who stars as
the shrewd and powerful Time Safari CEO Charles Hatton. He echoes the sentiments of the cast
when crediting Hyams' finesse in guiding the various narrative threads so the actors could focus
on the action of the moment. "You cannot make a good suspense film unless you have a grasp of
the facts behind the fiction," he says. "Peter clearly does, and because of that it's an intellectually
energising process to work with him. We were dealing with parallel lines of evolution, playing
scenes that our characters remain unaware of at the end of the film. With Peter managing the
timelines we were free to work on the character relationships."

       "It's interesting how a story written in the 50s lends itself so perfectly to the film
technology available today, as if it was written with knowledge of the scope of today's
computer-generated effects," adds Edward Burns, acknowledging Bradbury's remarkable vision.
Playing the role of Dr Travis Ryer in the film, Burns believes he would jump at the chance to
take such a trip. "I'd probably target New York City at the turn of the century," he muses. "I'd
like to walk around my neighbourhood and see what used to be there."



                                                CASTING

       As Hyams explains, A sound of thunder features not one hero but two: Dr Travis Ryer,
"who ends up leading a life-and-death struggle for the entire planet, and Dr Sonia Rand, the first
to sound the alarm and the one they turn to when her worst fears are realised. She's the only
person who can figure out how to fix the mess they have made."

       For Ryer, "we needed someone with a kind of instinctive heroism," says Hyams. A tall
order, but easily met by acclaimed actor and filmmaker Edward Burns, who made a formidable
industry debut in 1995 with the romantic comedy The Brothers McMullen, an award-winning
film he not only starred in but wrote, directed and produced. Burns followed that success by
writing, directing, co-producing and starring in the romantic comedy She's the One, with Jennifer
Aniston and Cameron Diaz, which earned him a Grand Special Prize nomination at the Deauville
Film Festival, before going on to share the screen with Tom Hanks in Saving Private Ryan.

          "There's a natural openness and honesty about Ed Burns, a core decency," says Hyams.
"Combine that with an unquestionable intellect and a strong physical presence and you have the
perfect Travis Ryer. You don't know what's coming but whatever it is, you know he can take care
of business."
        To Burns, Ryer is a scientist so consumed with passion for his work that he doesn't fully
examine the danger of what he's doing. "Travis thinks time travelling is safe enough. He doesn't
like Hatton and he has reservations about the operation but they pale in comparison to the
valuable research it enables him to do, and that's his real focus. It's not until he speaks with Dr
Rand that he begins to question the larger issues."

        In casting the Rand role, the filmmakers needed someone not only at ease with the
character but equal to the physical rigors it requires - a combination they found in internationally
renowned actress Catherine McCormack, a Lawrence Olivier Theatre Award nominee with a
wealth of stage and screen experience across a range of genres, including Kathryn Bigelow's The
Weight of Water and John Boorman's The Tailor of Panama. "Her character has to justify the
ground rules with dialogue that explains things in a scientific sense upfront, and she has to
deliver it in a way that makes you believe the outcome," Hyams emphasises. "She has to project
the level of depth and intelligence that is absolutely vital for this movie to work."

        At the same time, the director acknowledges, "Dr Rand is a person who would not flinch
over swimming through a dirty, dangerous, flooded subway if necessary."

        "Sonia Rand is not at all happy with the way in which her invention is being used," says
McCormack. "She developed it purely for research and educational applications and is outraged
that Hatton stole it from her and is using it for financial gain. As if that's not bad enough, he
clearly does not appreciate its power. So she's like a voice in the wilderness. It's very
frustrating."

        Meanwhile, the man most responsible for unleashing this global catastrophe is the one
least capable of setting it right: Charles Hatton, played by Oscar winner and three-time Oscar
nominee Ben Kingsley, whom Hyams enthusiastically acknowledges as "one of the most
versatile and fascinating actors on screen." Recalling Kingsley's accomplishments, "from Gandhi
to Schindler's List to Sexy Beast - I cannot think of a colour missing from his palette," the
director proclaims. "He simply has no limits."

        While Travis and the others risk their lives to correct the company's fatal error, Hatton
remains typically in the background, awaiting the outcome of their efforts.

        "Charles Hatton is a survivor," says Kingsley, capturing his character's true and basic
nature, in contrast to the carefully refined public image the Time Safari owner cultivates. "It's
difficult to judge him. He's not a creative individual; rather, he makes money from the creativity
of other people. Perhaps in the 19th or early 20th century he would have managed an elaborate
fairground but instead he's in charge of this very sophisticated amusement park for elite
clientele."

        Although he has mastered enough of the terminology to deliver an effective sales pitch,
"Hatton's grasp of the actual technology he controls and its implications are minimal," Kingsley
explains. "Hatton knows he is essentially a showman - a showman in a very expensive suit. Let
the scientists and technicians in his employ get their hands dirty. Let them do the actual time
travelling and take all the risks. He owns the business. He's the front man."

        British actor of stage and screen David Oyelowo (Spooks), currently wrapping production
on Kenneth Branagh's As You Like It for 2006, stars as tech officer Payne, one of the
time-jumping regulars who joins the search party for Time Safari's last passengers with Sonia
and Travis in the ruined city. Jemima Rooper, of the acclaimed UK mini-series Love in a Cold
Climate and the recent Sky series Hex, stars as Jenny Krase, the Safari crew member responsible
for shooting each trips' holographic record who ultimately finds herself swimming alongside
Travis and Sonia in an eel-infested flooded tunnel.

        Rounding out the Time Safari Inc. crew are award-winning German-born star of stage,
screen and television Wilfried Hochholdinger, as medical officer Dr Andrew Lucas and
internationally known veteran actor August Zirner is the ever-anxious civil servant Clay Derris,
assigned to monitor the agency's trips so that nothing goes wrong. Cast as the clients on that last,
unlucky time jump are Hellboy's Corey Johnson as the arrogant and short-tempered Christian
Middleton and William Armstrong as his anxious colleague.



                                   FEARSOME CREATURES

        Looks Like a Dragon, Screams Like a Baboon

        Perhaps the job most creatively challenging but also the most fun was imagining what
kinds of creatures might have developed if evolution had taken a divergent path 65 million years
ago - and bringing them to life. That task fell to Peter Hyams, who took his inspiration from
many sources, especially those that frightened him the most. "I'm scared stiff of eels," he
proclaims, "and if I saw a Komodo Dragon it wouldn't have to worry about running me down
because I'd be dead as a doornail from a heart attack in a second."

        Hyams considered elements of looks, sounds and attitudes people find intimidating
among the animal kingdom and combined them into new ferocious and unpredictable life forms.
One, nicknamed "the lizboon" by the art department, is a combination of Komodo dragon and
Mandrill Baboon - the kind with the bloodcurdling shriek.

        The 50-foot eel-like animal that attacks Dr Rand in the subway is patterned after an
actual eel, as Hyams explains, "only more so." Recalling a story he covered while working as a
reporter in New York, about a moray eel being moved to a new aquarium, he says, "That eel was
probably about seven feet long. It took five or six guys to move him and they were really having
a time. It started to thrash and these guys really couldn't control it. So I thought, why not take
that and make him 50 feet long?"

        Once imagined, the art and effects crews took over. Visual effects producer George
Merkert (Starship Troopers, The Legend of Bagger Vance, Barbershop 2) recalls that "there is
only one animatronic piece in the film, which is the claw of the dinosaur, seen as he sinks into a
tar pit." The rest is CGI.

        Hyams also improvised with sounds for his menacing menagerie, amplifying and
experimenting with a range of natural squawks, shrieks, hisses and growls from sources as varied
as lions, primates and beetles. "Beetles make awful sounds," he attests. "It's not something you
would normally hear but if you magnify it 100 times it's truly horrible. I've recorded sounds and
changed frequencies, played them backwards, sped them up, slowed them down, combined them.
I blended the sounds of a lion with a boar and a snake.

        "The visceral impact of such sounds is very powerful," says Hyams. Noting the high
quality of speakers in theatres today, he expects "there will be moments when the theatre will
shake. I promise you that."



         The Allosaurus

        What sparks this global catastrophe is an errant time-traveller who impacts the planetary
timeline while on an expedition to the Cretaceous Era. It's Time Safari's specialty to offer its elite
clientele a few moment's close proximity with an actual living dinosaur on their tours into the
past. For that, Hyams needed to cast a genuinely intimidating Allosaurus.

       When it came to his star dinosaur, "the object was accuracy," says Hyams. "We wanted to
manufacture an image as close as possible to reality," since extensive data on the omnivorous
beast exists. Allosaurus lived in the late-Jurassic to early-Cretaceous era, roaming the area that is
now Wyoming.

       To determine how the animal would have moved and behaved, the production delved into
the research and consulted professors who specialise on the subject. With that information, the
visual effects team animated their virtual Allosaurus to turn, claw, run and manoeuvre
realistically, starting with clay models made by the art department.

        "Big Al," Hyams says casually, "stands about 18 feet tall, is 38 feet long from nose to
tail, and weighs between 12 and 20,000 pounds. That's like a guy looking into a second storey
window, going 'how are ya?' You'd be a canapé to him, an hors d'oeuvre. You're not a meal,
you're a snack - an onion ring."
         PUSHING CHICAGO 50 YEARS INTO THE FUTURE AND THEN
              THROWING IT 65 MILLION YEARS BACKWARDS

       Lacking a functional time machine of their own, the Sound of Thunder filmmakers relied
on 21st-century ingenuity to recreate Chicago as a plausibly modern 2055 city and again in
various stages of de-evolution leading step by step into the primordial swampland it once was.

       Production centred in Prague and surrounding areas in the Czech Republic, utilising a
number of outdoor and indoor locales as well as the city's famed Barrandov Studios.

       Elements of production design combined with both practical and computer effects were
used to set the scenes.

       It was Hyams' intention to present a plausible reality for his future cityscape, rather than
"people gliding around on conveyor belts under domed skies. If you look back the same number
of years, to the early 1950s, an enormous amount of changes are evident in the cars and building
designs, and yet, there are still some of those cars and buildings from the 1950s around today. It's
not a complete renovation from one period to another but more a series of newer elements adding
to and blending with the existing structure."

       Visual effects supervisor Tim McGovern, who shared a 1991 Special Achievement Oscar
for his work on Total Recall, notes that "the city background began with a 3-D grid database of
downtown Chicago that was designed for an entirely different purpose - to monitor the
installation of satellite dishes on rooftops so they don't block each other. Taking that as a starting
point, we decided which buildings to update and how. By adding and altering we have a brand
new layout of the city."

       Also working closely with Hyams was production designer Richard Holland, who
previously collaborated with the director on the 1999 action thriller End of Days and more
recently worked on the hit Agent Cody Banks 2: Destination London. Together they created a
number of sets, from the high-gloss Time Safari offices to the pulsing heart of the portal below;
from a city breaking apart at the seams to a voracious prehistoric jungle.
       It's a Jungle Out There

       Holland's biggest challenge was planting a jungle in Central Europe's decidedly
non-tropical climate - a task of Amazonian proportions that required masses of imported
greenery from Italy, Belgium and the UK as well as from the Czech Republic's legendary
fairy-tale forests, and construction of an enormous greenhouse months prior to principal
photography. The production cleared out a 1930s-era ice skating rink on an island in Prague's
Vltava River and stocked it with 50-foot trees, 5,000 individual plants and several tons of soil
spread over Holland's intentionally uneven floor design. With the help of a watering system and
lamps, the greenery soon thrived in its own humid ecosystem complete with birds, insects and a
tar pit. Crew members needed thigh-high rubber boots to get through it.

       Meanwhile, a hangar in Prague's Letnany Airport became a temporary home for 300
giant, temperature-sensitive ferns, to keep them verdant until shooting commenced.

       Holland extensively researched the period to incorporate as much authentic vegetation as
possible. His collection includes varieties of bamboo, oak, willow, elm, tall pine, magnolia, ferns
and a specimen commonly (and appropriately) known as lizard plant. "Flowering plants hadn't
fully developed at that point," he says. "They were still at the early stages of evolution."
Likewise, there was no grass in the Cretaceous era and colours were largely muted except for the
few blooming plants. "Amazingly," he adds, "several Cretaceous-era plants still exist today, such
a ferns and palms. I have palm trees in my yard in Los Angeles. I see them now in a different
light, knowing that their ancestors were around millions of years ago."

       Drawings of an extinct carnivorous plant intrigued director Hyams so the greens crew
created a facsimile using real plants and hand-crafted its toxic red bulbs from foam. Additionally,
the production enlisted help from a local forestry expert to obtain living fungi, roots, moss and
other vegetation from the Bohemian forest. (On one foraging expedition the crew encountered a
wild boar giving birth and crept quietly - and quickly - in the opposite direction.)

       "The tar pit is also real... to a point," Holland reveals, referring to a scene in which a
dinosaur sinks to its death in a noxious black lake of ooze. "Actually, the pit is only 12 inches
down in its deepest area and only 2 inches in the shallow end. But in the movie it will appear so
deep that the Allosaurus disappears into it."
       Meanwhile, in nearby Milovice, McGovern and his crew took over the abandoned airstrip
of a former Soviet military base. There, on grounds that once housed tanks and rocket-launchers,
they choreographed scenes in which cars collide on the slippery streets of "new" Chicago, fall
into cracks in the pavement or rack up against the burgeoning trunks of massive trees. "At this
point in the story," McGovern explains, "it's heavily overgrown with jungle so we didn't have a
good place to shoot the cars. We couldn't do it in the jungle, the park or the city streets, so we
used this empty tarmac and put in tracking markers to indicate where buildings should be for
when we joined the images later."



       The Treacherous Subway

       Practical effects also figure prominently in A sound of thunder, most notably in a
harrowing sequence in which Travis and Sonia navigate a dangerous flooded subway tunnel in
the hopes of escaping certain death above ground.

       Barrandov Studios, the largest in Central Europe, provided a soundstage on which special
effects supervisor Joss Williams, leading a combined English and Czech crew, built a set to fully
submerge a subway car for the scene. A BAFTA nominee for his work on Sleepy Hollow and
more recently the special effects supervisor on Charlie and the Chocolate Factory, Williams
was faced with having to fully flood the compartment in which stars Burns and McCormack are
trapped.

       Mindful of the myriad safety issues, Williams opted to lower the train compartment into
standing water rather than fill it from a stationary point, explaining, "this way, we can raise the
set quickly and the actors feel safer." The manoeuvre required a 100-foot, 310-ton crane to lower
the train car set into a 14-foot deep concrete tank filled with 75,000 gallons of water.

       Though game for the experience, both actors were initially apprehensive. "Having the
ceiling above and nowhere to go, I get a bit claustrophobic," McCormack admits. "Still, I didn't
feel I was in danger because there was a frogman holding oxygen two seconds away."

       It was important that Burns and McCormack themselves were in the tank. "The modern
audience is aware of how a film is made and they can tell if stunt doubles are used," remarks
Mike Valentine, chief underwater camera operator (Tomb Raider, Sexy Beast). "We wanted to
use our actors in close-ups and action sequences, which was a real challenge in such an enclosed
space." To meet that challenge, Valentine conceived an underwater speaker system whereby the
director could speak with the actors in the tank. It was so successful that NASA borrowed the
invention for training astronauts in Houston.

        To prepare for the aquatic scenes, Burns and McCormack took diving lessons with the
help of a Czech-English interpreter and became certified divers.



        The Portal

        To represent the time transport vehicle, Holland based his design on particle accelerators
and various NASA equipment. Its control panel features a gyroscopic degree indicator as well as
monitors for oxygen dilution, oscillating wind speed and atmospheric analysis. In the suit-up
area, a translucent storage rack holds the safari's nitrogen-bullet shotguns. "It's a 360-degree feast
for the eyes in there, a metallic gold and grey enclosure with digital instruments, detail and
lights, a combination of beauty and function," says Kingsley. "Working in a set like this is really
inspirational to actors.

        "The east and west sides of the portal are asymmetrical," he continues, pointing to some
of the subtle ways in which realism was achieved in such a fantastic contraption. "The tubing
appears more complex in some areas than others. It looks at though the equipment has been
improvised as the business developed - not in the sense that there are visible patches and repairs,
but in that there have been ongoing modifications. The implication is that they are only slightly
ahead of the technology they're dealing with."

        For a section of the capsule that required a gold foil-type coating, Holland contacted
NASA and was provided with a sample of thermal padding used in space rockets. From that, he
and his artists created a quantity for the set, using similar material.
                                  RIDING THE TIME WAVES

         Depicting the stunning impact of time waves was accomplished with a combination of
aerial photography, CGI and good old-fashioned stunts.

         Hyams envisioned it as "a visible, translucent ripple in the atmosphere, a 3-dimensional
distortion the size of a tsunami. One view in the film encompasses 15 miles along the Lake
Michigan shore and really gives a sense of the wave's height, a good 1500 to 2000 feet."

         "For the characters," adds Burns, who appeared to be swept up in several waves, "it lifts
us up and we're trapped in slow motion as the physical environment changes around us, then
we're dropped into a whole new world as it passes on its way."

         To show this, says McGovern, "we needed to capture the actors moving at 10 to 12 times
slower than real time. In one sequence Ed goes up, falls backwards against a railing and onto the
floor. The typical way to do this would be to set up an array of cameras in a track, one every
eight inches, and by shooting each of them in sequence we would make it a continuous event.
Still images shot all the way around a character at very high speed will slow him down this
much."

         The problem was, the amount of action Hyams wanted covered would require 168
cameras and they only had space for 60. "At 60, he wouldn't fall as fast. The only way to do it
was to start the sequence with the actor falling, then pick up a computer generated image of him
throughout the arc of the action and then go back to the actor for his reaction."

         Using a Lidar Scanner to scan and convert the actors into digitised images, McGovern
employed CGI to simulate the work of 168 tracking cameras. "So Ed gets hoisted on a cable at
the beginning and gets whacked at the end, and in between he's CGI." Additionally, this process
allowed Hyams to use an extra-wide-angle 14mm lens instead of the standard 28mm, which
would not have been physically possible with a camera in such a shot.

         Having worked out the logistics with Burns, McGovern's team went on to unleash time
waves that captured multiple actors simultaneously.
                                        ABOUT THE CAST

        EDWARD BURNS (Travis Ryer) continues to entertain audiences as actor, writer,
director and producer.

        Burns recently completed principal photography on The Groomsmen, in which he
directed, wrote and starred opposite Brittany Murphy, John Leguizamo, Jay Mohr, Matthew
Lillard and Donal Logue. The film will be released in the Spring of 2006. This is the seventh
film that Burns has written, directed and starred in since his debut feature The Brothers
McMullen in 1995.

        Burns partnered with THINKfilm to distribute Looking for Kitty, which he also wrote,
directed and starred in alongside David Krumholtz. Shot for a miniscule budget of $250,000,
Looking for Kitty premiered at the 2004 Tribeca Film Festival and will hit theatres in 2006.

        As an actor, Burns starred opposite Dustin Hoffman and Andy Garcia in director James
Foley's Confidence, which had its world premiere at the 2003 Sundance Film Festival. Other
recent films as an actor include the romantic comedy Life, Or Something Like It, opposite
Angelina Jolie, and Fifteen Minutes co-starring Robert De Niro. Burns also starred opposite Tom
Hanks in Steven Spielberg's Saving Private Ryan. The critically acclaimed World War II epic
marked the first film in which Burns acted in a film he did not write and direct himself.

        He was lauded by critics and audiences alike for his first feature The Brothers McMullen,
which premiered in competition at the 1995 Sundance Film Festival, winning the Grand Jury
Prize. Burns wrote, directed and starred in the film, which was shot on a budget of only $25,000
and went on to gross over $10 million at the domestic box office, making it the most profitable
film of 1995. The film also won "Best First Feature" at the 1996 Independent Spirit Awards.

        Burns' second film which he wrote, directed, produced and starred in, was the romantic
comedy She's The One, with Jennifer Aniston and Cameron Diaz. Burns' additional films on
which he wore multiple hats include the intimate drama No Looking Back, with Lauren Holly
and Jon Bon Jovi; the romantic comedy ensemble Sidewalks of New York, featuring Heather
Graham, Brittany Murphy, Rosario Dawson, and Stanley Tucci; and the 1980's-set drama Ash
Wednesday, which starred Burns and Elijah Wood as two New York brothers trying to escape
their past.
          For television, Burns and brother Brian served as creators and executive producers of the
half-hour comedy The Fighting Fitzgeralds for NBC starring Golden Globe winner Brian
Dennehy.

          Recently, he completed production on The River King, a super-natural murder mystery
based on Alice Hoffman's award-winning novel, for Myriad Pictures.

          Burns was born in Woodside, Queens and raised on Long Island. Initially an English
major, he decided to focus on filmmaking, which he studied at Hunter College in New York City
before making The Brothers McMullen. After the film won the Grand Jury Prize at Robert
Redford's Sundance Film Festival, Redford was so impressed with Burns' talents that he served
as executive producer on both She's The One and No Looking Back.

          Burns serves as a National Ambassador for the Multiple Sclerosis Society.



          The internationally renowned actress CATHERINE McCORMACK (Sonia Rand) has
starred in numerous projects for film, television and stage.

          Most recently, McCormack starred in Spy Game, directed by Tony Scott and co-starring
Brad Pitt and Robert Redford. McCormack first gained international acclaim for her performance
in Mel Gibson's Oscar-winning film Braveheart, in which she played Wallace's

          childhood sweetheart.

          Among her numerous other credits are The Tailor of Panama, directed by John Boorman
and co-starring Pierce Brosnan, Geoffrey Rush and Jamie Lee Curtis; Shadow of the Vampire,
co-starring John Malkovich and Willem Dafoe; The Weight of Water directed by Kathryn
Bigelow and co-starring Sean Penn; and A Rumour of Angels with Vanessa Redgrave and Ray
Liotta.

          McCormack starred opposite Meryl Streep and Michael Gambon in Dancing at
Lughnasa, an Irish family drama set in the 1930s and based on a Tony-winning play. She played
a 16th century courtesan, Veronica Franco, in Dangerous Beauty, in which she starred opposite
Rufus Sewell. In the British comedy This Year's Love, she co-starred with Dougray Scott and
Douglas Henshall. She also appeared in The Debtors with Michael Caine and Randy Quaid.
       McCormack debuted on television in Inspector Wycliffe before launching into feature
film with the lead role of director Anna Campion's Loaded. She also starred in the three-part
British television drama Armadillo by William Boyd.

       McCormack's performance in Braveheart led to garnering a part in the World War II
drama The Land Girls, which also starred fellow rising stars Rachel Weisz and Anna Friel.

       McCormack also has a wealth of stage acting experience. She led a strong cast at
London's Soho Theatre in a play entitled Kiss Me Like You Mean It, penned by Chris Chibnall.
She also starred in London's West End in a production of Sam Shepard's haunting play A Lie of
the Mind.

       McCormack made her West End debut by helming the play Anna Weiss. She performed
at the British National Theatre in Arthur Miller's All My Sons alongside Julie Walters and Ben
Daniels, a role for which McCormack was nominated for the Best Supporting Actress at the 2001
Olivier Awards. Recently, she went back to the National to star in a new play called Free by
Simon Bowen.

       Her first acting role was in a small English stage production of a play called Mother, by
Brecht; and while at university, she acted in productions of The Cherry Orchard, Arabian Nights
and Betrayal.

       Born in Alton, Hampshire, England, McCormack is of Irish descent. She graduated from
the Oxford School of Drama.



       SIR BEN KINGSLEY's (Charles Hatton) performances in both film and television have
garnered numerous awards and honours. His recent starring role in Vadim Perelman's drama
House of Sand and Fog earned Oscar and Golden Globe nominations as well as nominations
from the Broadcast Film Critics Association and his peers at the SAG Awards. He also received
an Oscar nomination and a Broadcast Film Critics Award, as well as both SAG and Golden
Globe nominations for Best Supporting Actor for his portrayal of the psychotic Don Logan in
Fox Searchlight's critically acclaimed Sexy Beast. Kingsley's portrayal of Otto Frank, Anne
Frank's father and the only family member who survived the horrors of the Holocaust, in the
4-hour Disney/ABC production of Anne Frank, earned a SAG Award as well as Emmy, Golden
Globe and Critics Choice nominations for Outstanding Lead Actor in a Miniseries or Movie.

       Kingsley most recently starred in the psychological thriller Suspect Zero, with Aaron
Eckhart and Carrie-Ann Moss, and the fantasy adventure Thunderbirds. Previously, he lent his
distinctive voice to Steven Spielberg's A.I. Artificial Intelligence; starred opposite Mira Sorvino
in Paramount Classics' Triumph of Love, an 18th Century comedy of manners written and
produced by Bernardo Bertolucci and directed by Claire Peploe; and the Buena Vista feature
Tuck Everlasting, opposite William Hurt and Sissy Spacek.

       Kingsley will next be seen starring opposite Annette Bening and Ellen Burstyn in the
drama Mrs. Harris, based on the true story of famed cardiologist Herman Tarnower who was
murdered by his jilted lover Jean Harris, as well as Roman Polanski's adaptation of the Dickens
classic Oliver Twist.

       In 1982, his extraordinary performance in the title role of Gandhi won an Academy
Award for Best Actor, as well as BAFTA Awards for Best Actor and Best Newcomer. In
addition, the film was rewarded with Oscars for Best Picture, Best Director for Sir Richard
Attenborough, and Best Cinematography. Gandhi was followed by a startling performance in the
film adaptation of Harold Pinter's play Betrayal, which secured him the London Evening
Standard Award for Best Actor. Since then, Kingsley has worked non-stop on screen and stage
with many of the world's greatest directors.

       Notable highlights among his varied screen roles include leads in 1992's Bugsy, with
Warren Beatty and Annette Bening, for which he received a Supporting Actor Oscar nomination;
Searching for Bobby Fischer, for Stephen Zaillian; and Pascali's Island, directed by James
Dearden. He treasures his performances in Tony Palmer's Testimony; Roman Polanski's Death
and the Maiden; Phil Alden Robinson's Sneakers, with Robert Redford; Ivan Reitman's Dave,
with Sigourney Weaver and Kevin Kline; and his acclaimed portrayal of Ishtzak Stern in Steven
Spielberg's epic holocaust drama Schindler's List. For the latter, he again won the London
Evening Standard Award and a BAFTA nomination. The Spielberg film won Best Picture and
six additional Oscars.

       For television, among other distinguished performances, Kingsley earned the SAG
Award for John Schlesinger's Sweeney Todd, and portrayed Nazi hunter Simon Wiesenthal in
HBO's Emmy-winning production Murderers Among Us. More recently, he was nominated for
an Emmy as Best Supporting Actor for his role in TNT's biblical epic Joseph.

       Originally a member of the Royal Shakespeare Company, Kingsley returned to the stage
at Stratford in 1985 to take the lead in Othello, and again in 1997 to appear in Samuel Beckett's
Waiting for Godot at the Old Vic, directed by Sir Peter Hall.



       JEMIMA ROOPER (Jenny Krase) has been building a reputation as a talented
up-and-coming actress with extensive work in both film and television. She most recently filmed
Black Dahlia and Kinky Boots Factory. Other film credits include Snapshots, with Burt Reynolds
and Julie Christie; Owd Bob, starring James Cromwell; Willy's War and The Higher Mortals.

       For television, Rooper recently worked on The Brief and starred in all four series of the
popular British teen drama As If. She also plays a leading role in the popular Sky series Hex and
is currently filming the second series. For the BBC, Rooper appeared in Love in a Cold Climate,
Wives and Daughters, The Passion and Junk. Other television credits include Midsommer
Murders, The Railway Children, Life-force, Summer in the Suburbs and The Famous Five.

       For the theatre, Rooper performed in Us and Them at Hampstead and Where Do We
Live? at the Royal Court.



       Following his training at the London Academy of Music and Dramatic Art, DAVID
OYELOWO (Tech Officer Payne) was offered the 1999 season at the UK's Royal Shakespeare
Company, playing roles in Volpone and Oroonoko. The following season, he became the first
Black actor to play an English monarch for the RSC, taking the title role in Henry VI. This
performance won him the Ian Charleson Award in 2001 for Best Newcomer in a Classical Play.

               Oyelowo's additional stage credits include roles in The Love of the Nightingale,
Bouncers, Coriolanus and The Threepenny Opera, as well as the RSC productions of Anthony &
Cleopatra and Richard III.

               Best known as Danny Hunter in the highly successful BBC series Spooks, he has
also appeared in the critically acclaimed drama Tomorrow La Scala (2002) and the series Maisie
Raine and Brothers and Sisters.
              Oyelowo's film credits include The Best Man, a comedy for the Film Consortium
directed by Stefan Schwarz, and the feature Derailed directed by Mikael Håfström. He recently
wrapped on the Kenneth Branagh's film adaptation of Shakespeare's As You Like it, in which he
plays the romantic lead role of Orlando. He will also be seen in Kevin MacDonald's The Last
King of Scotland, which he shot in Uganda.

              He is married to actress Jessica Oyelowo and they have two sons.
                                 ABOUT THE FILMMAKERS

        PETER HYAMS (Director and Director of Photography) brings to the screen a
background hued with music, painting and news. The veteran filmmaker has served as director,
cinematographer, writer and producer on numerous films throughout his distinguished career.
His films are noted for their lush cinematography, riveting action and sensitivity to light and
rhythm. His filmography spans a broad spectrum of genres from action adventure to comedy;
sci-fi thriller to satire.

        Among his numerous credits are the futuristic adventure Timecop, starring Jean-Claude
Van Damme and the apocalyptic thriller End of Days, starring Arnold Schwarzenegger and
Gabriel Byrne.

        Hyams launched into feature films in the early 1970s by writing and producing T.R.
Baskin, which starred Candice Bergen as a girl having her first fling with big city life. His
directorial debut was well received with the ABC television movies The Rolling Man and the
period detective piece, Goodnight My Love. Hyams' first theatrical feature as a director was
Busting, about two rogue Los Angeles cops, starring Robert Blake and Elliott Gould.

        Among his numerous feature film credits are Our Time, which he directed, and Telefon, a
slick spy thriller based on a Walter Wager novel for which Hyams co-wrote the screenplay.
Hyams' political sci-fi thriller Capricorn One, starring James Brolin, O.J. Simpson, and Elliott
Gould, was lauded for its innovation and wit. He also wrote and directed Hanover Street, starring
Harrison Ford and the futuristic cop tale, Outland, starring Sean Connery. Hyams teamed with
Connery again on the thriller The Presidio.

        Hyams directed The Star Chamber, starring Michael Douglas; 2010, the sequel to Stanley
Kubrick's 2001, which Hyams not only wrote and photographed but also directed and produced.
He wrote the buddy comedy Running Scared, starring Billy Crystal and Gregory Hines; wrote,
directed and photographed the suspenseful thriller Narrow Margin, a remake of the 1950s
classic, starring Gene Hackman and Anne Archer; and shifted into satire with Stay Tuned, a
spoof on cable television.

        Timecop, starring Jean-Claude Van Damme, garnered high marks for direction,
cinematography and visual effects simulating time travel. Hyams later re-teamed with Van
Damme for Sudden Death. He also helmed the horror tale The Relic, and the period piece, The
Musketeer.

       Since 2010, Hyams has photographed all his films.

       Prior to launching his filmmaking career, Hyams was a Chicago CBS-News anchorman,
and covered Vietnam as a war correspondent. He also is an accomplished musician, having
played drums with jazz musicians Bill Evans and Maynard Fergusson, and performed at Birdland
Small's Paradise and the Newport Jazz Festival.

       Hyams was born in New York, and attended Syracuse University, where he majored in
music and art. Hyams and wife George-Ann have three children and live in California.



       MOSHE DIAMANT (Producer) has produced and executive produced an extensive list
of films including Kansas, starring Matt Dillon; Full Moon in Blue Water, starring Gene
Hackman and Teri Garr; Night Game; Men at Work, starring Emilio Estevez and Charlie Sheen;
John Woo's Hard Target; Maximum Risk and Timecop, both starring Jean-Claude Van Damme;
Men of War; Sudden Death; The Quest; The Body, and The Musketeer.

       Following the recent release of The Extremists, starring Devon Sawa, Rufus Sewell and
Bridgette Wilson-Sampras, and the David Mamet thriller Spartan, with Val Kilmer, Diamant
began production on several projects including the drama Tristan & Isolde with James Franco,
Imaginary Heroes with Sigourney Weaver and Jeff Daniels, and The Black Dahlia for director
Brian DePalma.

       Diamont's most recent project was the family adventure comedy Funky Monkey, starring
Matthew Modine and Roma Downey.



       HOWARD BALDWIN (Producer) is President and CEO of the Baldwin Entertainment
Group, a film entertainment company dedicated to creating and developing high-concept,
quality, commercial films, providing expertise in all stages of development and production from
concept to theatrical release.

       Before forming BEG with Karen Baldwin, Howard Baldwin was president of Crusader
Entertainment and partner of Philip Anschutz from 2000 to 2004, where he developed and
produced an impressive slate of films including the action adventure Sahara, starring Matthew
McConaughey and Penelope Cruz; Swimming Upstream, with Academy Award winner Geoffrey
Rush and Academy nominee Judy Davis; Danny Deckchair, the 2003 Toronto Film Festival's
Closing Night Gala, starring Rhys Ifans and Miranda Otto; The Game of Their Lives, starring
Wes Bentley and Gerard Butler, written and directed by David Ansapugh and Angelo Pizzo of
Hoosiers and Rudy fame; and the critically acclaimed Ray, directed by Taylor Hackford, starring
Jamie Foxx as legendary music icon Ray Charles.

       From 1984 to 2000, Baldwin formed and ran Baldwin/Cohen Productions with partner
Richard Cohen, producing a variety of films such as Sudden Death, Gideon, Resurrection and
the Russell Crowe hockey drama Mystery, Alaska.

       Prior to his film career, Baldwin was integral in the formation and ownership of
numerous sports franchises. In 1971, at age 28, he started the Hartford Whalers WHA hockey
franchise and later helped form Prism New England Sports Channel. Baldwin also co-brokered
the historic merger of WHA with the National Hockey League. In the early 90s, he became
Chairman of the Board and owner of two-time NHL Stanley Cup champions, the Pittsburgh
Penguins and was concurrently the first American sports entrepreneur to break through the Iron
Curtain to become 50% partners with the Russian government in ownership of the famous CCCP
Red Army team in Moscow.

       Equally notable for his diverse charitable activities, Baldwin was the driving force behind
the Whalers' award-winning community relations program. He established the Whalers
Foundation for Giving and a Whalers Teaching Chair in Paediatric Oncology at the University of
Connecticut Health Centre, a $500,000 gift. He is presently partnered with Global Spectrum on
the $217 million Iowa Events Centres under construction in downtown Des Moines, that will
house his American Hockey League franchise.



       As Senior Executive Vice President of Creative Affairs for Baldwin Entertainment
Group, KAREN BALDWIN (Producer) has been involved in many different aspects of the
entertainment business. Her diversity of experience makes her a well-rounded executive with a
unique awareness of each component of the industry.
          Baldwin attended Holy Cross and Wellesley, graduating Phi Beta Kappa with a degree in
psychology. She began her career in the field of professional sports as the Assistant All-Star
coordinator for the 1986 NHL All Star game hosted by the Hartford Whalers and went on to
write and co-host her own local sports-oriented talk show, "Ahead of the Game"

          A move to Los Angeles with her husband in the 1990s provided her the opportunity to
pursue an interest developed in high school and college - an acting career. As an actress,
Baldwin's credits include roles in Blue Grass, Spellbinder, Sudden Death and Eyewitness to a
Murder, as well as numerous other film and television guest appearances. Having enjoyed a fair
amount of success as an actress, Baldwin turned her interest to writing, which soon became her
focus. She created several concepts for films and had them produced. Among her writing credits
are Redline, Hot, Eyewitness to a Murder, Seeing Red and Sudden Death.

          Karen and Howard Baldwin subsequently formed Baldwin/Cohen Entertainment with
Richard Cohen, where she became involved with the development and producing end of the
business and served as Vice President of Creative Affairs. During her tenure at Baldwin/Cohen,
she helped develop and produce films such as Sudden Death, Resurrection, Gideon and Mystery,
Alaska.

          Due to the death of partner Richard Cohen, the Baldwins then formed a partnership with
Philip Anschutz to create Crusader Entertainment. As Executive Vice President of Creative
Affairs for Crusader, Karen Baldwin was involved with the day-to-day running of the company
as well as the development and production of eight films in three years: Joshua, Children on
Their Birthdays, A sound of thunder, Game of Their Lives, Danny Deckchair, Swimming
Upstream, Ray and Sahara.

          In 2004 the Baldwins formed their own independent development and production
company, Baldwin Entertainment Group. With numerous projects in various stages of
development, Karen Baldwin's goal is to work with talent (writers, directors and actors) in a
highly collaborative fashion to develop quality scripts that will resonate with the public.



          ELIE SAMAHA (Executive Producer) is Chairman/CEO of Franchise Pictures, which
has fast become one of the most prolific production and co-financing companies in the
entertainment industry.

       In a three and a half-year period, Samaha has built Franchise into a powerful mini-studio
with mainstream films populated by the industry's biggest box-office stars, including Michael
Douglas, Bruce Willis, Matthew Perry, Jack Nicholson, Marlon Brando, Jennifer Lopez, Kevin
Costner, Danny DeVito, John Travolta, Sylvester Stallone, Sean Penn, Cameron Diaz, Wesley
Snipes, Gene Hackman and Kevin Spacey.

       Franchise Pictures instituted a domestic distribution arrangement with Warner Bros.
Pictures, which began with the popular comedy The Whole Nine Yards, starring Bruce Willis and
Matthew Perry, released on February of 2000, and its sequel, The Whole Ten Yards, in April
2004. Other films released through Warner Bros. Pictures include The Art of War, starring
Wesley Snipes; The Pledge, starring Jack Nicholson and directed by Sean Penn; Heist, starring
Gene Hackman and Danny DeVito and written and directed by David Mamet; and The In-Laws,
starring Michael Douglas and Albert Brooks.

       Other Franchise fare distributed domestically through Warner Bros. Pictures includes
Luis Mandoki's Angel Eyes, with Jennifer Lopez and Jim Caviezel; 3,000 Miles to Graceland,
starring Kurt Russell and Kevin Costner; Driven, starring Sylvester Stallone; FearDotCom,
starring Stephen Dorff, Natascha McElhone and Stephen Rea; City by the Sea, directed by
Michael Caton-Jones and starring Robert De Niro, Frances McDormand and James Franco; and
Ballistic: Ecks vs Sever, starring Antonio Banderas and Lucy Liu. Released in March 2004 was
David Mamet's Spartan, starring Val Kilmer and Derek Luke.

       Franchise also operates a classics division which has recently produced and distributed
films including The Green Dragon, starring Patrick Swayze and Forest Whitaker; Caveman's
Valentine, starring Samuel L. Jackson; Rodrigo Garcia's Things You Can Tell Just by Looking at
Her, featuring Glenn Close, Holly Hunter, Amy Brenneman and Cameron Diaz, which won the
Un Certain Regard prize at the Cannes Film Festival; and The Big Kahuna, starring Danny
DeVito and Kevin Spacey.

       Franchise retains foreign rights to all its films and operates as a full-service international
sales company encompassing distribution, marketing and delivery, with output deals covering
territories worldwide. Samaha has shepherded an extensive list of films towards release for the
coming year through Franchise Pictures.
       ROMANA CISAROVA (Executive Producer) served as production supervisor on
various European, mostly German and Italian films and TV series, such as By Way of the Stars,
A Man Named Benito, King's Burning, Composers' Specials, Not Angels But Angels, Red Phone:
The Manhunt, Red Phone: The Checkmate and George and the Dragon.

       In addition, Cisarova served as production supervisor on the family adventure comedy
Funky Monkey with Matthew Modine, as visual effects production supervisor on Superbabies:
Baby Geniuses 2, and as a production manager on the Swedish film, Kadisbellan and on the
Italian film, L'Ombra abitata.



       JOHN HARDY (Executive Producer) is Managing Director of Matrix Film Finance
LLP. He began his 15-year career in film as an independent producer and distributor, during
which time he produced the award-winning Queen of Hearts and distributed over 30 feature
films in the UK, including Nightmare on Elm Street.

       From 1996-2002, he was head of media at Durlacher Limited, the specialist investment
bank, where he was responsible for leading twelve IPOs and raising over £100 million in equity.
Matrix Film Finance have to date invested in excess of £100 million in projects ranging
from Steven Spielberg's Band of Brothers to Roman Polanski's The Pianist.



       RICK NATHANSON (Executive Producer) has been producing feature films for over
two decades. His credits include David Mamet's Spartan, The Medallion, with Jackie Chan,
Dragon: The Bruce Lee Story, Second Time Around and Shanghai Story.

       Additional credits include Double Team, Double Impact, Undertow, Blind Justice, Poison
Ivy, Halloween 5 and Revenge of China O'Brien.

       Nathanson recently worked on the family adventure comedy Funky Monkey, with
Matthew Modine, and the latest action instalment of the Sniper series, with Tom Berenger.

       Along with Oliver Stone, Brett Ratner and Raffaella DeLaurentis, Nathanson holds the
position of Ambassador of Film to Hong Kong, having received this honour since 2002.
       A tax lawyer by training, JÖRG WESTERKAMP (Executive Producer) started his
career with Price Waterhouse before joining his client ApolloMedia in early 2001. Since then he
has been involved in all productions of the ApolloMedia Group of which he was appointed COO
in June 2004, including Whale Rider, Stander, Spartan, Boat Trip, The Musketeer, My First
Mister, Baby Geniuses II, I am Dina and Evel Knievel.

       Westerkamp's recent credits include Crash, starring Sandra Bullock, Matt Dillon, Don
Cheadle, Brendan Fraser and Jennifer Esposito; the made-for-TV movie The Librarian, with
Noah Wyle and Jane Curtin; and the TV mini series Elvis, with Jonathan Rhys-Meyers and
Randy Quaid.



       WILLIAM J IMMERMAN (Executive Producer) is Senior Executive VP and Chief
Administrative Officer of Yari Film Group, LLC, an independent film and television production,
financing and distribution company and parent company of Bob Yari Productions, Stratus Film
Company, Bull's Eye Entertainment, El Camino Pictures and Syndicate Films International

       Immerman entered the motion picture industry with American International Pictures as
Associate Counsel and was later promoted to Director of Business Affairs, Executive Assistant to
the Chairman of the Board, Vice President in Charge of Business Affairs and the production
executive on such successful films as Wild in the Streets and Three in the Attic.

       He next joined Fox as Vice President of Business Affairs and acted as chief talent,
production and distribution negotiator for the studio for both film and television, representing Fox
on the board of directors of both the MPAA and the AMPTP. Promoted to Senior VP of Fox's
feature division, Immerman's projects included Star Wars, Young Frankenstein, The French
Connection II, The Omen and Silver Streak.

       After Immerman resigned from Fox, he was executive producer on Highpoint, starring
Richard Harris. He then formed Cinema Group, Inc. and was Chairman and President of the
company, executive producing such titles as Take This Job and Shove It, Southern Comfort and
Hysterical, and was involved with financing the cable series Likely Stories as well as the features
Staying Alive, Star Trek II and Flashdance.
       Since leaving Cinema Group Immerman acted as executive producer or producer on a range
of features: Mind Games, Primal Rage, Welcome to Spring Break, Where the Red Fern Grows Part
II, The St. Tammany Miracle, The Lost Treasure of Sawtooth Island, Bring Him Home and Children
on Their Birthdays.

       Additionally, he specialised in representing sales agents, independent producers, financiers
and distributors and negotiating complex financing deals for production and distribution while at
various law firms as well as serving as serving as Special Consultant to the Office of the President
of Pathé Communications; and Vice Chairman of Pathé's subsidiary company, Cannon Pictures,
Inc.

       From 2000 until its merger with Walden Media in 2004, Immerman was Senior Executive
VP and COO of Crusader Entertainment, LLC, a subsidiary of the Anschutz Company, where he
executive produced Swimming Upstream, Danny Deckchair, Where the Red Fern Grows, Ray,
Sahara and Game of Their Lives.

                  From 1981 through 1986, he served on the National Advisory Board of the
Sundance Film Festival. He currently serves on the National Advisory Board of the DeSantis
Centre for Motion Picture Industry Studies at the College of Business, Florida Atlantic
University.

       He produced the Los Angeles stage production and international tour of The Knife
Throwers Assistant and Berlin to Broadway.

               Immerman is a member of the Academy of Motion Picture Arts and Sciences and
serves as an arbitrator for the International Film & Television Alliance (formerly AFMA).
Recognised as an expert on the motion picture industry, he frequently testifies in arbitrations and
court cases.



       BRECK EISNER (Executive Producer) most recently directed the action adventure
Sahara, starring Matthew McConaughey and Penelope Cruz. He also directed and served as
executive producer for the drama Thought Crimes for the USA Network. Prior to that, he served
as director on the acclaimed sci-fi drama Taken, winner of an Emmy Award for Outstanding
Miniseries and a Saturn Award for Best Single Television Presentation as well as Golden Globe
nomination and numerous other honours.

       In 2000, Eisner directed the Sci-Fi Channel's comedy thriller The Invisible Man and went
on to helm the pilot episode for the Saturn-nominated series of the same name.

       Eisner is a graduate of the USC School of Cinema / Television.


FRANK HÜBNER's (Co-producer) credits include co-producing My First Mister and
producing George and the Dragon, Baby Geniuses 2: Return of the Superbabies, The Musketeer,
starring Catherine Deneuve and Stephen Rea, Time of the Wolf, Boat Trip, Death-watch,
Unleashed, the Academy Award-nominated and BAFTA-winning Whale Rider, Touching Wild
Horses, Kart Racer, Cybermutt and Borderline.

        Hübner's recent projects include the family adventure comedy Funky Monkey, Tristan &
Isolde, Riding the Bullet and Imaginary Heroes, starring Sigourney Weaver.



       JAN FANTL (Co-producer) has extensive credits in film production, including 1994's
Tears of Stone, which was considered for an Academy Award nomination for Best Foreign Film.
Fantl's other credits include Unleashed; George and the Dragon, starring Michael Clarke
Duncan; Baby Geniuses 2: Superbabies, The House on Turk Street, starring Samuel L. Jackson
and Milla Jovovich; Bride of the Wind; and The Musketeer, starring Catherine Deneuve.

       Among his recent and current projects are Beyond the Sea, directed by Kevin Spacey and
starring Spacey and Kate Bosworth; Funky Monkey, starring Matthew Modine and Roma
Downey; Tristan & Isolde, Riding the Bullet and Imaginary Heroes, starring Sigourney Weaver.



       THOMAS DEAN DONNELLY and JOSHUA OPPENHEIMER (Screenplay, Screen
Story) most recently wrote the screenplay for the action adventure Sahara, starring Matthew
McConaughey, Penelope Cruz, Steve Zahn and William H. Macy. Sahara was directed by A
sound of thunder executive producer Breck Eisner, and adapted from the book by Clive Cussler.

       Also upcoming for the screenwriting team is the feature Cowboys and Aliens, for
Columbia Pictures/Escape Artists. Donnelly and Oppenheimer have a number of projects
currently in development, including a script for the upcoming feature Mandrake the Magician,
for producers Howard and Karen Baldwin of Baldwin Entertainment Group and Hyde Park
Entertainment.

       They also wrote the crime drama Thought Crimes, a two-hour pilot for USA Networks
directed by Breck Eisner, which aired in October, 2004.



       GREGORY POIRIER (Screenplay) grew up in Hawaii, where he was raised on a hippie
commune in the late 1960's and 70's. He moved to Los Angeles in 1982 to be an actor. He
attended the California Institute of the Arts (Cal Arts) as an acting student for one year, at the
end of which they informed him in a forceful manner that he ought to try another line of work.
This led to screenwriting.

       After putting in his requisite years driving a taxi (by now he had earned a BFA in theatre
from USC and an MFA in screenwriting from UCLA, so was well qualified to drive a cab),
Poirier sold his first script, The Iron Horsemen, in 1994.

       His first produced picture was Rosewood, directed by John Singleton, for which he won
the 1997 Writers' Guild of America Paul Selvin Award, given each year to the script that best
embodies the values of freedom of speech and civil rights.

       Poirier's additional credits include Gossip, See Spot Run, Tomcats (which he also
directed), and The Lion King II: Simba's Pride. His current project is the remake of The Swiss
Family Robinson.

       Poirier lives in Santa Monica with his wife, Jana, and their two sons, William and Joseph.
He still receives a financial appeal every year from Cal Arts.



       RAY BRADBURY (Short Story "A sound of thunder") is one of America's greatest
writers. Over the span of his illustrious career, Bradbury has penned hundreds of short stories,
more than thirty books, poems, essays and scripts for radio, film and opera.

       Among his novels are Fahrenheit 451, Dandelion Wine and The Martian Chronicles.

       His short story, A sound of thunder, was first published in Colliers magazine, and later in
his books, R is For Rocket and Golden Apples of the Sun.

       Among his honours are the O. Henry Memorial Award, Benjamin Franklin Award,
Aviation-Space Writer's Association Award, World Fantasy Award for Lifetime Achievement,
Jules Verne Award, and the Grand Master Award from the Science Fiction Writers of America.
He also received the PEN Centre USA West Lifetime Achievement Award, as well as the
National Book Foundation Medal for Distinguished Contribution to American Letters.

       Many of Bradbury's works have been adapted for television and film, among them The
Beast from 20,000 Fathoms (based on Bradbury's story, The Fog Horn), Something Wicked This
Way Comes, The Martian Chronicles and Fahrenheit 451 (based on the novels of the same
name). He wrote the screenplay for director John Huston's version of Moby Dick. Bradbury
stories also have been adapted in Alfred Hitchcock Presents, and The Twilight Zone. The popular
Ray Bradbury Theatre was a USA network TV series based on 65 of his short stories. Broadcast
from 1986 to 1992, the series won seven Cable Award Nominations. Bradbury's teleplay of The
Halloween Tree garnered an Emmy Award and his animated film, Icarus Montgolfier Wright,
netted an Academy Award nomination.

       A native of Waukegan, Illinois, Bradbury moved with his family to Los Angeles while he
was a teen, where he continues to write and publish.



       SYLVIE LANDRA (Editor) is a three-time French César Award nominee for Best
Editing for her work on Luc Besson's The Messenger: The Story of Joan of Arc, The Fifth
Element and The Professional.

       Her other feature credits include the 2004 release Catwoman, Jet Lag, Sweat, Taking
Sides, Belphegor, The Dancer, I Don't Want to Die on a Sunday and News From the Good Lord,
which received a Special Jury Prize at the 1996 New York Film Festival.



       RICHARD HOLLAND (Production Designer) was born in Hertfordshire, England, near
London. He studied at St. Alban's College of Art and assisted the sculptor, Henry Moore, upon
graduating. He followed this job with studio work, painting and exhibiting in Europe. During this
time he became a founding member of the prestigious British Film Designers Guild. Holland
moved to the United States in 1994 during his work on Last of the Mohicans.

       Holland is an established and respected production designer on films with over 25 years
of design experience both domestically and internationally for some of the most visually
dynamic films ever made. His recent credits include End of Days, with Arnold Schwarzenegger,
a series of Batman commercials for On*Star, and the hit television series CSI on CBS, as well as
Cody Banks II.

       Following his set design work in the early part of his career, he started art directing on
Robert Zemeckis' Who Framed Roger Rabbit? His additional art direction credits include Rob
Reiner's Princess Bride and Fred Schepisi's Russia House. Holland supervised art direction on
Michael Mann's Last of the Mohicans, Steve Herek's The Three Musketeers, Frank Marshall's
Congo and Joel Schumacher's Batman and Robin.

       Holland is also an accomplished artist. His passion for colour and movement is reflected
throughout his paintings across a broad range of subjects including landscapes, interiors, and
still-lifes. His passion extends to children's subjects, including storybook and decorative wall
murals, as featured in the House and Garden unique Craftsman house at the Pacific Design
Centre and House and Garden magazine.

       Richard lives in Santa Monica, California, with his wife and three children. His eldest
child lives in England.



       A    diverse   range   of   musical   influences   inspired   English   composer    NICK
GLENNIE-SMITH's scores for film. He began his career as a chorister at age 8 at New College
in Oxford, England. Citing the Beatles as his earliest musical heroes, Glennie-Smith left school
in the 70's with an education in classical music and passion for electronics and rock 'n' roll. He
went on to tour with Gryphon, a London rock band playing medieval instruments.

       As a top session musician in London in the 80's, he contributed to a string of hits by such
artists as Phil Collins, Tina Turner, and Paul McCartney. Roger Water's 1990 concert "The Wall"
at the Berlin Wall featured Glennie-Smith on keyboards. With colleagues Stanley Meyers (The
Deer Hunter) and future Oscar winner Hans Zimmer, he composed and recorded jingles for
London agency Air Edel and library albums for KPM at his Chelsea recording studio, Snake
Ranch. A collaboration with songwriter Kenny Young (Under the Boardwalk) and Vic
Copper-Smith (Producer of band The Jam) led to Gentlemen Without Weapons, a studio band
pioneering the use of sampled sounds from nature to create a pop-oriented album with an
environmental slant. Critically acclaimed, it led to the creation of an environmental charity, Earth
Love Fund, which was presented with the UN Global 500 award for an outstanding contribution.

       Glennie-Smith's first foray into film scoring began in London, assisting Stanley Meyers.
In 1991 he moved to Los Angeles and began a lengthy collaboration with composer Hans
Zimmer, as co-composer, arranger and conductor for films such as The Lion King, Crimson Tide,
Gladiator, Mission: Impossible II and Hannibal.

       As a featured composer his credits include the 1996 The Rock and The Man In The Iron
Mask (1997). For television he composed the score for the ABC Film of the Week Max Q,
produced by Jerry Bruckheimer (1998) and a 22-episode series The Secret Adventures of Jules
Verne, which aired on the Sci-Fi channel, as well as the USA Networks premiere of Attila the
Hun. Most recently, Glennie-Smith has completed work on such films as We Were Soldiers, Ella
Enchanted and King Arthur.



       GUY LOUTHAN (Line Producer) set up Highland Films as a development, production
services and consultation company for the film industry. Prior to this, he was VP in charge of
feature film production at ITC Entertainment Group, as well as VP, Production, at Gerber/ITC
Inc., responsible for all of ITC's television and cable production. Over a 4-year period, Louthan
shepherded production for nine features including Rusty Cundieff's Fear of a Black Hat and the
acclaimed The Last Seduction. Additionally, he oversaw the Connie Selleca miniseries Second
Chances and Fox Children's Network's modernization of The Thunderbirds, and was a
co-producer on the art-house thriller The Keys to Tulsa.

       Before his ITC tenure, Louthan was an in-house producer for IRS Media, where his
projects included Genuine Risk, The Decline of Western Civilisation Part II: The Metal Years
and Thud. Previously, he headed physical production for Columbia's Discovery Program where
he produced 6 short films for first-time directors. Loutham also served as producer and line
producer on a number of independent feature productions including Where the Day Takes You,
Serious Money, Stranger in the House, Deceptions, Mom and Twice Dead.
       More recently, Louthan was an executive producer on the features Seed of Chucky and
The Darkness, and a producer on the thriller Method, starring Elizabeth Hurley, and on the
family comedy Funky Monkey. He also wrote and directed a documentary on the London club
scene for Channel 5 and wrote three one-hour episodes of the series Frightmares for Warner
Bros. International Television.

       Prior to his stint as a writer, Loutham served as independent consultant for Pearson
Television, completing production analysis of more than a dozen projects including the series
Baywatch. Additionally, he was a co-producer and 2nd-unit director on Committed and was
involved with the production of a number of projects including the independent feature
Clubland; the ABC movie of the week, On the Line; the feature documentary The Decline of
Western Civilisation Part III; the feature Dead Dog Blues; and The Price of Love, in association
with the David Gerber Company.



       ESTHER WALZ (Costume Designer) has designed costumes for various productions on
both sides of the Atlantic across a broad spectrum of genres ranging from historical period pieces
to cyberpunk; from the ethereal to horror; from sci-fi to French art house. She has designed
costumes for numerous internationally renowned artists including Catherine Deneuve, Milla
Jovovich, Sophie Marceau, Mira Sorvino, John Malkovich, Jean Reno, and Franca Potente.

       Walz crafted costumes on several projects for the celebrated German director Wim
Wenders, including Far Away, So Close, starring Peter Falk, and Beyond the Clouds, co-directed
by Michelangelo Antonini. She worked in the art department on the acclaimed Wenders film,
Wings of Desire.

       Among Walz's costume design credits are Resident Evil, directed by Paul Anderson;
Semana Santa, directed by Pepe Danquart; and Tykho Moon, starring Julie Delpy and Michel
Piccoli, directed by Enki Bilal. She also has created costumes for numerous television films and
commercials.

       Walz was born in Essen, Germany, and lives in Paris. She graduated from New York's
Parson's School of Design, where she studied costume and fashion design.

								
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