Production InformationFrom illegal underground street racing in Los Angeles and money

laundering in Miami to drifts on customized rides across perilous Tokyo courses, one series built on speed has become a global sensation since its origins more than nine years ago. Now, in the next chapter, the four original characters reunite for the first time and come home to where it all began.

VIN DIESEL (The Pacifier, xXx) and PAUL WALKER (Flags of Our Fathers, Eight Below) reteam for the ultimate chapter of the adrenaline-fueled franchise - Fast & Furious. Heading back to the streets of LA, they rejoin MICHELLE RODRIGUEZ (Lost, Resident Evil) and JORDANA BREWSTER (Chuck, The Texas Chainsaw Massacre: The Beginning) to blast muscle, tuner and exotic cars along the crowded streets of the city and across international lines in a high-octane action-thriller from director JUSTIN LIN (The Fast and the Furious: Tokyo Drift, Better Luck Tomorrow).

It’s been eight years since ex-con Dominic Toretto (Diesel) drove across the Mexican border, committing himself to a fugitive existence. Now, holed up in a beach shack in the Dominican Republic, and living on the run with the sole remnant of his past, Letty (Rodriguez), he tries to piece together a new life. But he knows the authorities are always just steps behind him.

When a tragic death of someone he loves brings him back to LA, Dom reignites his feud with agent Brian O’Conner (Walker). As they are forced to confront a shared enemy, a sociopathic drug kingpin who is flooding the US. with lethal product, Dom and Brian must give in to an uncertain new trust if they hope to outmaneuver him and avenge the tragedy that he caused their small de facto family to endure.

Infiltrating the underground network means earning a spot on a heist squad that moves high-grade heroin across the border from Mexico through almost unnavigable tunnels carved into the caves. Two lieutenants in the cartel, Campos (JOHN ORTIZ, American Gangster, Miami Vice) and Fenix (LAZ ALONSO, Jarhead, Stomp the Yard), are the only ones who can provide the access Dom and Brian need and the answers they’re after.

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As Dom, his sister Mia (Brewster) and Brian rediscover the family bond that was torn apart so long ago, the unlikely allies again find themselves pitted against one another in a race that takes them to the brink. Now, from convoy heists on the mountainous countryside of the Dominican Republic to precision tunnel crawls across the floor of the Mexican desert, two men will find the best way to get revenge: Push the limits of what’s possible behind the wheel.

Returning to this chapter is a talented production crew of series favorites led by director Lin and producers NEAL H MORITZ (The Fast and the Furious series, I Am Legend, xXx), Vin Diesel and MICHAEL FOTTRELL (Live Free or Die Hard, 2 Fast 2 Furious). CHRIS MORGAN (The Fast and the Furious: Tokyo Drift, Wanted) writes from characters based on the work of GARY SCOTT THOMPSON (The Fast and the Furious, television’s Las Vegas).

Also rejoining the series is an accomplished behind-the-scenes team, including production designer IDA RANDOM (The Fast and the Furious: Tokyo Drift, Suspect Zero), composer BRIAN TYLER (The Fast and the Furious series, Rambo), costume designer SANJA MILKOVIC HAYS (The Fast and the Furious series, The Mummy: Tomb of the Dragon Emperor) and executive producer AMANDA LEWIS (The Fast and the Furious: Tokyo Drift, Made of Honor).

Cinematographer AMIR MOKRI (National Treasure: Book of Secrets, Bad Boys II) joins Lin’s group for Fast & Furious, along with editors CHRISTIAN WAGNER (Mission: Impossible II, Die Another Day) and FRED RASKIN (The Fast and the Furious: Tokyo Drift). SAMANTHA VINCENT serves as an executive producer.

ABOUT THE PRODUCTION

All Roads Lead Home: Fast & Furious Is GreenlitA 1998 Vibe magazine article on street racing clubs set the wheels in

motion for what would become one of the most beloved and profitable franchises in Universal Pictures’ history. In 2001, we met champion underground street racer Dominic Toretto and his archnemesis, LAPD police officer Brian O’Conner. Over the course of two hours in The Fast and the Furious, we watched two men on opposite sides of the law race stunning machines, brawl together and form an unlikely, begrudging friendship.

Though they went their separate ways at the end of the film - Dom as an illegal ex-pat to Mexico and Brian to work as an FBI agent in Miami - we followed Brian’s career in the second episode, 2 Fast 2 Furious, and caught a brief glimpse of Dom at the end of the third actioner of the franchise, The Fast and the Furious: Tokyo Drift.

With the subsequent movies, the series continued to build an international fan base and rack up impressive box-office grosses. The lasting visual of Dom thundering across the Mexican border at the end of the original, however, left moviegoers wanting more adventures from our antihero...as well as more stories

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about the two women in his world - Dom’s girlfriend Letty and his sister Mia (who happens to be the love of Brian’s life).

Eight years after filmgoers first embraced the blistering stunts performed by and passion shared between Dom/Letty and Brian/Mia, producer Neal Moritz wanted to again deliver a film that takes the pulse of pop culture. He knew it was the right moment to bring audiences the fourth installment of the popular series. It was time to come home.

It was not, however, always a given that this chapter would be greenlit. Explains Moritz: “We’ve had a great time and a very successful run with the first three. But if we were really going to go to the next level, we had to bring back Vin and Paul.”

To make that happen would take almost a decade of planning and endless co-ordination. Says the producer: “We had a lot of conversations over a lot of years. It took schedules meeting up and our coming up with a great story that actually would be worthy of the two of them coming back. We were really lucky to pull it off.”

Reuniting the original foursome of Vin Diesel, Paul Walker, Michelle Rodriguez and Jordana Brewster began, simply enough, with Diesel’s wildly successful cameo in Tokyo Drift, directed by Justin Lin. After seeing a rough cut of the film, Diesel agreed to appear in the final act of the third episode as Han’s (SUNG KANG) friend who arrives to challenge LUCAS BLACK’s character, Sean Boswell, to a race.

Over the course of several hours on set, the director and Diesel established an easy rapport. Lin’s attention to minutiae, coupled with his ability to layer characterization amidst powerful action, appealed to the performer who has made a name for himself by developing characters in additional action hits such as xXx and the Pitch Black/Chronicles of Riddick series.

Based on the audience response to Diesel’s cameo, Moritz knew that fans were eager to revisit the Dom-Brian saga. Of the partnership, the producer notes: “The combination of the two of them and seeing how they approach the same scene together is something we can’t invent. That rapport and chemistry either happens on screen or it just doesn’t.”

Echoes producer Fottrell of the connection Diesel and Walker infused in the characters: “A brotherhood still exists between the two. One is brought up on the bad side of the tracks, the other on the good side. Brian is now blending into Dom’s world, and they have each other’s backs. That blood ethic exists between the two of them so that they protect one another, no matter who’s right or who’s wrong.”

Recalls Diesel, who returns as both American muscle car junkie Dom Toretto and as a producer of the film: “I like to do sequels that feel like they are a continuation of the original story. This Fast & Furious script met that criteria.”

He also listened to fan feedback as they reacted to him back in his signature role. Diesel says: “After doing the cameo in the third film, it became

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clear to me that people were almost saying, ‘Hey Vin, don’t be too precious on the story...get in there and do the movie. We want to see it.’” The added incentive of reuniting with old friends didn’t hurt. Reveals Diesel: “It’s rewarding to make this movie with people who were a part of my introduction to Hollywood.”

To bring the series full circle, the filmmakers looked to screenwriter Chris Morgan, who previously worked on 2006’s Tokyo Drift and, more recently, 2008’s box-office smash Wanted. Like Moritz and Fottrell, Morgan was keen to reunite the brotherhood. “I’m all about the cars and the culture and the action,” admits the writer, “but what set The Fast and the Furious apart from its limitations was the relationship between these two guys. To be told that you can go back and play with all that is a dream come true.”

What followed was an intense development process in which Morgan was charged with creating the premise that would bring our four heroes together again. As the screenwriter got to work, the filmmakers focused their energy on recruiting Paul Walker, Michelle Rodriguez and Jordana Brewster to commit to a sequel. It was evident that reassembling the cast was an imperative if the producers were to fully realize their story. Diesel, Moritz and Fottrell’s commitment galvanized the others into action.

“I didn’t think I was going make another one,” recalls Walker, of reprising the role of undercover cop/foreign car-aficionado Brian O’Conner for a third time. “And then Neal told me about the master plan. I thought ‘Why not? I’ll have a good time doing it, and I’ll be hanging out with people I like spending time with.’”

Brian and Dom have different driving styles that mirror their personalities and perspectives on life. Walker felt those distinctions underscored the real-life dynamic between Diesel and him. “It’s a fun contrast,” he says. “It’s East Coast meets West Coast. He’s straight up New York, and I’m as California as it gets. But for some reason, we get along really well. It’s the same thing with Brian and Dom.”

Director Lin also sparked to the idea of bringing back the core characters. In 2001, he was a film student who enjoyed the ride along with the opening night audience. As a filmmaker, this project gave him the opportunity to make a movie that respected the series he had helped to develop, and to introduce the franchise to a new generation.

Of his participation, Lin explains: “It was a no-brainer. Vin and Paul were coming back, and both Michelle and Jordana’s deals were about to close. It’s exciting to have the opportunity to revisit the past, but at the same time explore and build upon a lot of elements with these characters. There was a generation of kids that embraced The Fast and the Furious. It’s exciting to up the ante on something like that.”

His approach to the material dovetailed well with Diesel’s and Walker’s ideas. Because they’d lived with the characters for so long, they both had very specific ideas for the story, cars and action. This shared vision of recapturing and elevating the character-driven action film made Lin the right choice to direct

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them.

Lin agrees with Moritz and Fottrell about his leads’ on-screen connection: “With Paul and Vin, you get a sense of mutual respect, yet, at the same time, some competitiveness, and that’s always fun on screen. It makes you want to go along for the ride and see where they go.”

The themes of family loyalty and sacrifice have always been integral to the series, and those involved with the films agree these concepts have contributed to their success. Key to framing the storyline was resurrecting the fractured friendship between Dom and Brian, which in turn reverberated to Brian’s broken relationship with Mia.

Dom and Brian, who first developed a kinship over a car’s engine, are bound by a shared code. This sense of family, complicated by his respect for Dom’s freedom, is what Brian has been seeking but has been unable to capture. And though he recognizes the danger of tangling with Dom and facing Mia’s wrath, Brian is willing to head down that road again when Dom returns to LA.

Last seen crossing the Mexican border, Dom has made his way to the Dominican Republic, where the underground car culture flourishes amidst the tropical heat and pulsing beat of reggaeton (a melding of Jamaican dancehall, reggae and Latin hip-hop). With Letty at his side, Dom has a new life...but one filled with the uncertainty of living as an international fugitive.

The women of Fast & Furious are as strong-willed and skilled as their male counterparts. From her first moment on screen, Michelle Rodriguez has made an indelible impression as the sexy gearhead Letty, a character Diesel refers to as his “first love on film.”

Rodriguez looked forward to developing Dom and Letty’s relationship in the latest chapter. “The stakes are higher,” she offers. “Letty and Dom are on the run, breaking the law wherever they go. There’s a slight Bonnie and Clyde feel to it. The lingering question now is if Dom will risk his love for her in the name of this rush that they’re both addicted to.”

For Jordana Brewster, the chance to revisit familiar terrain with old friends was a welcome one. Agreeing to return with her crew turned out to be even more of a homecoming when she learned Lin would be directing. The actor had worked with the director on the drama Annapolis and looked forward to working with him again.

Despite losing both a brother and her lover, the heartbroken Mia has been able to persevere in LA. Brewster soon realized that reprising the role wasn’t as easy as she had anticipated. She expected the character Morgan wrote to be riddled with bitterness when faced with the simultaneous return of Dom and Brian. But her director envisioned Mia differently.

“As an actress, you always lean towards the dramatic,” remarks Brewster. “After losing so much, I wanted Mia to hold on to her anger. But Justin intended to keep the women in the film strong and resilient, so Mia has moved on. It’s a testament to his ability as a director, because he puts in as much care into these

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characters as he does with all the action.”

Thugs and Goddesses: Supporting CastTo complement the returning cast members, the filmmakers and casting

directors looked to an array of supporting talent...particularly for the villains who would go head-to-head with the likes of Dom, Brian, Letty and Mia. American Gangster’s John Ortiz and Jarhead’s Laz Alonso were just the actors to fit the bill as, respectively, drug runners Campos and Fenix.

When he began the project, native New Yorker Ortiz was more familiar with the perils of public transportation than with blasting through the underground tunnels of Mexico in the latest-model racers. To get into character, he and Alonso decided early on to create a backstory for their cartel characters. They knew that Campos was the arrogant second-in-command in drug kingpin Braga’s army, while Fenix is the muscle who kills anyone who could complicate his mercenary mission.

To flesh out their pasts, Ortiz relates, “We decided we were best friends who grew up together. He was the guy who took care of me in the school yard. And on the streets, he was the guy who would beat up anyone picking on me. We thought that translated well into what’s going on with us in the film.”

Alonso got into character for the felon that Dom chases when he learns Fenix had a role in killing his friend. The actor saw the sociopath Fenix as a man who thought of Dom as an actual challenge and someone he would “enjoy killing.” Playing the antagonist allowed for a “clash of the titans from the first minute we set eyes on each other,” Alonso states. “My character thinks, ‘All right, I want to take him out.’”

Also joining the team is stunning newcomer GAL GADOT, an Israeli native who makes her feature film debut in Fast & Furious as the treacherous Gisele, a liaison for Dom and Brian to Braga’s empire. Returning for a cameo is Dom’s close friend Han, played by Tokyo Drift’s Sung Kang.

To round out the drug runners who rouse Toretto and O’Conner and set the stage for the homecoming that rocks the LA street racing scene, Lin and the casting directors selected a rogues’ gallery of bad guys and badder girls.

Beginning in 2000, Moritz thought to inject another level of street savvy into the series by casting up-and-coming hip-hop artists in each chapter. This time around, the filmmakers went to the Caribbean to recruit Latin superstars DON OMAR and TEGO CALDERÓN, who portray members of Dom and Letty’s Dominican Republic fuel-tanker heist crew.

Tipping a hat to the Latin influence threaded throughout Fast & Furious, the filmmakers tapped into the genre of reggaeton, a style of music that counts Diesel as a fan. It was the actor who first steered Lin and Moritz to Omar and Calderón when the Tokyo Drift soundtrack was being laid out. The two recording artists contributed “Bandaleros,” while Omar also added the single “Conteo.”

Omar, a self-described muscle car fan, is the owner of a 1941 Chevy truck

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and professes a love of American autos that goes back to working on them with his father when he was a boy. He sums the new cast members’ (and audiences’) feelings about entering the latest chapter of the franchise: “Everybody loves fast cars, beautiful girls and parties. That is the special thing that makes people go crazy and look for another edition of Fast & Furious.”

Completing the core cast is Brian’s team at the FBI, comprising Fun With Dick and Jane’s JACK CONLEY as his hard-nosed boss, Agent Penning; Pride and Glory’s SHEA WHIGHAM as weasel bureaucrat Agent Stasiak; and Cloverfield’s LIZA LAPIRA as Agent Trinh, the brilliant analyst who guides Brian to drug kingpin Campos.

Muscle vs Import: The Cars of the FilmA car defines the driver, and drivers have their unapologetic preferences

when it comes to their rides: import or muscle. The Fast & Furious crew embraces this rivalry and has rolled out close to 250 of the baddest muscle cars and the sexiest tuners to appeal to gearheads who appreciate American heavy metal...or to those who prefer the sublime beauty of a Japanese or European import tuned to perfection.

The filmmakers raised the stakes once again, this time giving Dom and Brian an arsenal of cars to push the limits of speed and endurance. When Morgan put pen to paper, it was a foregone conclusion that the 1970 DODGE CHARGER that died a spectacular death at the end of The Fast and the Furious would be resurrected for Dom in Fast & Furious. “Not only is the Charger an awesome looking car,” states the writer, “but there’s so much more to it. It tells a story; it represents the soul of Dom.”

Dom maintains his muscle car cred by driving a ‘70 Charger and 1970 CHEVROLET SS CHEVELLE, also featured in The Fast and the Furious, as well as a 1987 BUICK GNX GRAND NATIONAL and a 1973 F-BOMB CAMARO. For his part, Brian mixes it up with a tried-and-true performance import extraordinaire, the 1998 NISSAN SKYLINE GTR, as well as the versatile upstart 2009 SUBARU WRX STi.

It’s a muscle car world with a standout supporting cast of cars that includes Letty’s 1970 PLYMOUTH ROAD RUNNER and Fenix’s 1972 FORD GRAN TORINO, with imports such as Mia’s 2000 ACURA NSX and Gisele’s 2007 PORSCHE CAYMAN orbiting around it. Not to be outdone, a who’s who of coveted cars appears in the film to satisfy a variety of tastes.

It was up to another series favorite, picture car co-ordinator DENNIS MCCARTHY, an unapologetic muscle car devotee, to educate the cast and crew on the intricacies of what makes one car more desirable than the next...and to track down vehicles ultimately selected. McCarthy previously worked with Lin and Moritz on Tokyo Drift, a universe that featured primarily Asian imports with a handful of American cars. Once decisions were made about models and makes for this movie, McCarthy had the daunting task of hunting down multiple versions of these often difficult-to-find classic automobiles. The next task was no easier:

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Build up and customize them so they were up to the rigors of filming.

It was the Dodge Charger that posed the biggest challenge for McCarthy and his team of mechanics. None of the original cars from The Fast and the Furious remained (save on the Universal Studios tour), so a countrywide treasure hunt ensued to literally piece together a total of seven Chargers...as well as some custom rebuilds.

“Dodge Chargers, in any condition, are extremely hard to find,” explains McCarthy, “and we went through roughly seven for filming...so that’s a lot of parts. There just weren’t enough out there.” With the expectation that the Charger had to return, McCarthy’s team came up with a viable solution. “We decided to build a mold of the body out of fiberglass,” he states. “It worked out really well for us.”

One of the car junkie’s luckier breaks came with an offer to build several exact replicas of the bullish F-Bomb Camaro. Built and owned by DAVID FREIBURGER, a well-known fixture in the car industry, the beauty is a powerful classic coveted by anyone who has seen her move...and delivered the expletive that inspired her curious name.

In addition to the hero cars driven by the core cast, the filmmakers needed to complement the action with a number of unique background cars that audiences have come to demand from each film of the franchise. A McCarthy-found standout that had both cast and crew awestruck was a stunning candy-apple red 1969 CAMARO, aptly named “The Big Red.” She is one of the fastest cars in the world and clocks in at 220+ miles per hour.

Once again, the filmmakers hosted the time-honored tradition for custom car owners around the US. and Canada: the open casting call. It served as an opportunity for die-hard car buffs to show off their prized customized eye candy; cars, motorcycles, pickups, vans and SUVs were rolled out for the filmmakers to review. The more outrageous, the better, and filmmakers, as always, were not disappointed with the expo.

The level of detail and obsession with the casting-call members’ rides never fails to impress producer Fottrell. He relates: “From the graphics applications to the paint jobs, they really personalize those vehicles. The color schemes, interiors and amount of attention that goes into their work...it blows me away every time I see them.”

The lines are also drawn, albeit unevenly, among cast and crew - who keep the ongoing “muscle vs. import” debate alive with tales of their favorites. Appreciating the nostalgia of American heavy metal, Diesel, Rodriguez, Brewster, Ortiz and Alonso prefer muscle. Walker, however, stays true to his character as a staunch import guy who loves the look and performance of European and Japanese autos.

Since his role in the first chapter of the popular series, Walker has amassed a growing car collection that includes an eclectic mix of both American classics and imports. He even offered several of them for filming...including his

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1967 CHEVY NOVA, which was featured in the Dominican Republic party scene.

Rodriguez is of two minds when it comes to her car preference, but, ultimately, she likes them to be “green.” She says: “In Fast & Furious, I like the muscle cars. The Charger is pretty cool.” She laughingly adds: “I love speed, but I drive a Prius now.” But the actor hasn’t forsaken the occasional adrenaline fix; she’s got her eye on the soon-to-be-released Tesla - a high-performance electric sports car. “It would be really cool if there were a whole league of racecars that were ‘green.’”

Like Ortiz, Brewster is a New Yorker who didn’t know how to drive when first cast in The Fast and the Furious. In fact, she had to get her driver’s license to work on the first film. This time around, the actor has been living in Los Angeles and has settled into navigating the city’s maze of freeways and side streets. However, eight years hasn’t changed her lack of sentiment for her four-wheeled, juiced-up co-stars. She says a bit sheepishly: “I’m probably a muscle car girl. I still don’t know cars that well; it’s a little embarrassing.”

LA to Mexico: Shooting on LocationWhen returning to the origins of The Fast and the Furious, the filmmakers

knew they would be remiss not to revisit the city that helped originate the culture of street racing. Empty warehouses and long-desolate stretches of blacktop barely illuminated by city lights - in the easternmost section of downtown Los Angeles - once again hosted the party for the sexy underground set. The majority of filming during the 85-day shoot was spent on location in LA and within its surrounding suburbs. Some stage work was done in the cities of Sylmar and Culver City.

Just as important was the return of some of the previous locations from The Fast and the Furious - specifically, the most recognizable locale from the first installment, the Toretto house and surrounding neighborhood of Echo Park in LA. The week of night shoots had cast and crew, as well as the growing crowd of onlookers snapping photos, feeling nostalgic and energized. According to producer Moritz, this was only one of “many days on the set when I remembered back to the first film and felt that same camaraderie we had then.”

But returning to these locations eight years later, the filmmakers were faced with a changing landscape. Although the Toretto house was still standing, the new owners had torn down the garage in the rear of the property, which had housed Dom’s beloved Dodge Charger. Not a problem for production designer Ida Random, however. Her team restored it down to the smallest detail.

Los Angeles, Miami and Tokyo served as the backdrop for the first three films, and now Mexico has the spotlight as the setting for Fast & Furious. Latin culture is also woven throughout the film - from the heart-thumping opening sequence in the Dominican Republic (DR) to the thundering chase sequences across the Mexican desert and into smugglers’ tunnels.

It was Diesel’s idea to incorporate the DR as one of the locations for Fast & Furious. References to the Wild West have always been a part of the series,

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and the raw beauty of the DR served as an ideal hideaway for Dom and Letty as they build a new life together south of the border. To re-create the DR’s diverse regions, Lin’s team lensed in several Southern California locations.

The opening sequence begins with a fuel-tanker heist of a land train rolling along a DR highway, setting the standard for the film’s no-holds-barred action. Letty and Dom lead a team of racers that plots the intricate job. The filmmakers discussed with writer Morgan the fuel problems in that area and how gas was an enormous commodity to regions that could be left without it...often for weeks at a time.

Diesel explains: “What Dom has been so skilled in doing, and has a reputation for in the underworld, is robbing things in motion. He’s a modern-day bandit, very much like the stagecoach bandits. When we see him, he is getting gas for not only himself, but for a whole neighborhood that’s been subject to the exorbitant fuel prices.” The racing tankers Dom and Letty are after were shot on the winding, mountainous roads of the Templin Highway - alongside the Golden State Freeway, north of Los Angeles.

The torch-lit coastline of San Pedro, south of Los Angeles, played home to the post-heist beach party Dom and Letty throw after they successfully score the fuel (and avoid an almost certain death). Naturally, the scene was filled with the requisite sexy, scantily clad beauties partying amongst stunning cars.

Filming the Mexico scenes was two-fold. The majority of photography for the Mexico scenes was conducted on the dusty, tumbleweed landscape of Antelope Valley’s Acton and Canyon County, while the more atmospheric elements of the Mexico locale could not be so easily duplicated. Cast and crew decamped to the small Mexican border town of Magdalena de Kino, located in the country’s Sonora region. A week of filming within the city limits followed.

Rounding out the production team is a band of artists who lent their talents to this latest installment. Some are talented new members, such as cinematographer Amir Mokri, while others are stalwart veterans, such as production designer Ida Random, costume designer Sanja Milkovic Hays, picture car co-ordinator Dennis McCarthy and 2nd unit director TERRY S LEONARD.

Remarks Lin of the people who helped bring this installment to life: “One of the true luxuries of doing bigger budget movies is that you get to work with some of the best craftspeople - the most creative people in the business. To be able to harness all that and maximize everyone’s ability is the most exciting thing about Fast & Furious.”

Filming the StuntsThe producers and Lin knew that action was just as key to satisfying fans

as the family reunion of Dom and Letty and Brian and Mia. Eight years have passed, and although the players have changed, the LA street-racing game remains the same. Brian spends his days tailing criminals behind the wheel of an FBI-standard issue Crown Victoria, and Dom is a legend whose exploits have been eclipsed by the young guns.

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Lin, DP Mokri and 2nd unit director Leonard did their homework when it came to crafting visually credible driving sequences. Staying true to the street-racing subculture, they wanted to infuse the plot with moments that will excite the diehards...as well as raise the bar for the action and, logically, the characters.

“A valuable lesson I learned from Tokyo Drift was how to deliver danger safely on screen,” Lin says. “Nothing beats these cars when they go out on the road - the way they turn, flip and land. We’re all excited to capture it in a new, authentic way.”

For Walker, it was important that the driving in Fast & Furious reflect moves through the streets of LA and under the tunnels in Mexico that looked as real as possible. “The first two films were hyper-reality, especially 2 Fast 2 Furious,” says the actor. “I wanted the driving for this one to be as real as possible. I always thought Brian’s driving was different from the other guys. He’s more A to B in a straight shot, as opposed to drifting and style points.”

Adds the director: “It was great talking to Paul about the cars. He’s very knowledgeable about design and the import scene, which has evolved so much, and we wanted to respect that. This time, I’m looking to enhance the actual design of the cars, rather than trying to decorate it.”

From breakneck tunnel drives to hairpin city U-turns, the filmmakers looked to Leonard to execute the audacious driving sequences from Morgan’s script. Alongside stunt co-ordinator FREDDIE HICE, Leonard visualized the over-the-top driving sequences and choreographed the hardcore maneuvers that elevate the exploits fans have come to expect with each new film.

Using the tried-and-true camera rigged PORSCHE CAYENNE, the M1 OFF-ROAD BUGGY and the MIC RIG, designed by The Fast and the Furious stunt co-ordinator MIC RODGERS, they were able to guarantee filmgoers a memorable ride.

Referring to a driving shot upon which he improvised, Walker offers: “Justin asked me to come hauling up and then slow down to a stop. It was the second take, so I thought I could do it a little faster. I was pushing it harder and harder and, at one point, I thought I was going to run out of real estate.

“There was a lot of dirt on the road, and the tires were semislick [performs better on clean asphalt] so the grip wasn’t as good,” he continues. “I was doing 80 mph when I finally came to a stop, less than 10 feet from a parked car. It was a bit of a nail-biter, but you couldn’t get it much closer or much hotter.”

To re-create Dom and Letty’s fuel-tanker heist in the Dominican Republic, the scene needed both film units to capture all the movements. Over the course of several weeks, the production used specialized machines with customized features. These included multiple Buick GNXs - all rigged for different stunt techniques (e.g., driving in reverse at high speeds) - as well as self-driving tankers (able to drive solo or haul additional tankers) and rear-drive tankers.

Diesel and Rodriguez were able to experience an adrenaline rush as they filmed the sequence, most notably Rodriguez and her stunt double HEIDI

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MONEYMAKER, who both, according to Rodriguez, “got to hang off the tanker at 25 miles an hour.” To portray daredevil Letty, they scaled the racing tankers and hung on for dear life.

Diesel sums the cast and crew’s sentiments about getting behind the wheel. He reminisces: “Doing 180s, 360s, 90s...it was a lot of fun to get back behind the wheel. A true car lover will tell you that a car is an extension of his character. So getting back to that reliable, stoic Charger was very fun. It was like an old friend - like an old cast member that I had worked with a long time ago.”

Universal Pictures Presents - In Association With Relativity Media - An Original Film/One Race Films Production of a Justin Lin Film: Vin Diesel and Paul Walker in Fast & Furious, starring Michelle Rodriguez, Jordana Brewster, John Ortiz, Laz Alonso. The music is by Brian Tyler; the costume designer is Sanja Milkovic Hays. The film is edited by Christian Wagner and Fred Raskin; the production designer is Ida Random. Fast & Furious’ director of photography is Amir Mokri; the executive producers are Amanda Lewis and Samantha Vincent. The action-thriller is based on characters created by Gary Scott Thompson. It is produced by Neal H Moritz, Vin Diesel and Michael Fottrell. Fast & Furious is written by Chris Morgan and directed by Justin Lin. © 2009 Universal Studios. www.fastandfuriousmovie.net

ABOUT THE CASTVIN DIESEL (Dominic Toretto/Produced by) has become one of

Hollywood’s most sought-after film stars and has also established himself as a prominent producer and filmmaker. Diesel stormed onto the scene in 2001 with the box-office hit The Fast and the Furious, a film that confirmed his status as a bona fide star.

Previously, the native New Yorker starred in the huge box-office success The Pacifier, directed by Adam Shankman and co-starring Faith Ford, Brad Garrett, Lauren Graham and Brittany Snow. Through his production company, One Race Films, Diesel starred in and produced the science-fiction feature The Chronicles of Riddick, reprising the title role in the follow-up to the cult favorite Pitch Black.

Diesel was discovered by Steven Spielberg, who saw him in 1999’s Multi-Facial and later cast him in Saving Private Ryan, for which he was nominated for a Screen Actors Guild Award as part of the film’s ensemble cast. Other credits include roles in Boiler Room and Knockaround Guys, and the voice of the title character in The Iron Giant, which won an Annie Award for Outstanding Achievement in an Animated Theatrical Feature. He was also recently seen in 20th Century Fox’s thriller Babylon AD, for director Mathieu Kassovitz (La Haine), a film that co-starred Michelle Yeoh.

Additional upcoming projects include a reprisal of his role in the long-anticipated sequel to xXx, which pairs him with director Rob Cohen and producer Joe Roth, as well as Hannibal the Conqueror, a film in which Diesel is set to

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produce and star. Diesel will also star in the Touchstone romantic comedy Player’s Rules, as well as Paramount’s The Wheelman, with Di Bonaventura Pictures and One Race Films producing.

Through Tigon Studios, Diesel’s award-winning video game production company, Diesel has broken new ground in interactive entertainment by merging both film and gaming media. It is the only production company devoted to games to be founded by a major motion picture star.

The first game to be produced by Tigon was titled Chronicles of Riddick: Escape from Butcher Bay, which Diesel co-designed. The much-anticipated follow-up to this title, Chronicles of Riddick: Assault on Dark Athena, will be released in April 2009 in conjunction with Tigon, Universal Studios and Atari. Following on the success of the previous titles, Diesel will also launch an entirely new franchise with Wheelman, in conjunction with Midway Studios and Ubisoft Entertainment.

Having captured the attention of audiences and industry execs alike with his undeniable on-screen presence in a string of supporting roles, PAUL WALKER (Brian O’Conner) found his breakout role as an undercover cop in the 2001 hit film The Fast and the Furious. Since then, he has managed a balance of box-office hit films and dramatic roles to cement his leap to leading-man status. Most recently, Walker displayed his versatility as he transformed on-screen into a soldier under the direction of Clint Eastwood, played an Arctic research scientist in a Disney family adventure and played a New Jersey mobster in a gritty independent feature.

Walker recently finished shooting Screen Gems’ thriller Bone Deep, co-starring with Matt Dillon, Hayden Christensen and Idris Elba.

In 2006, Clint Eastwood cast him in his World War II drama Flags of Our Fathers, for Warner Bros. Walker portrayed Hank Hansen, a seasoned soldier fighting in that infamous battle. That same year, he starred in Disney’s box-office hit Eight Below portraying Jerry Shepard, a lead research scientist who was forced to abandon his team of sled dogs. Directed by Frank Marshall, the film follows the heroic survival of the dogs through six months in the harsh Antarctica winter, and Shepard’s quest to organize a rescue mission to bring them home. In Running Scared, a thriller written and directed by Wayne Kramer (The Cooler), Walker starred with Vera Farmiga as a desperate father trying to protect his son after a tangle-up with the mob in a police shooting.

Walker starred opposite Jessica Alba as a diver and aspiring treasure hunter in the 2005 Sony Pictures/Mandalay Pictures action-thriller Into the Blue, for director John Stockwell. He starred alongside Susan Sarandon, Penélope Cruz, Robin Williams and Alan Arkin in Chazz Palminteri’s 2004 directorial debut, Noel, about a group of New Yorkers who come together on Christmas Eve.

In 2003, Walker co-starred in director Richard Donner’s adaptation of Michael Crichton’s novel “Timeline,” for Paramount Pictures. He also starred in John Singleton’s 2 Fast 2 Furious (which grossed more than $127 million), the

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sequel to The Fast and the Furious. Walker also co-starred with Steve Zahn and Leelee Sobieski in the critically praised thriller Joy Ride, which was directed by John Dahl (Rounders) for 20th Century Fox in 2001.

Walker’s additional credits include the box-office hits The Skulls, directed by Rob Cohen, about a Harvard secret elitist society, and the football dramedy Varsity Blues, for Paramount Pictures. He was also seen in New Line Cinema’s critically acclaimed film Pleasantville. This fantasy drama, from writer/director Gary Ross, is about two 1990s teens (Reese Witherspoon and Tobey Maguire) who get trapped in a 1950s Leave it to Beaver-type television show.

Further credits include She’s All That, Brokedown Palace, The Death and Life of Bobby Z and The Lazarus Project.

MICHELLE RODRIGUEZ (Letty) is a versatile actress known for her ability to combine a tough-girl physicality with a natural beauty and unforced sex appeal.

She was recently seen in Battle in Seattle, co-starring with Charlize Theron, and recently wrapped filming James Cameron’s $200 million sci-fi epic Avatar, scheduled for release in December 2009. She will both star and co-produce her first film, a historical drama, with her production company Cheshire Kat, entitled Trópico de sangre.

Born Mayte Michelle Rodriguez in Bexar County, Texas, she worked as an extra for two years, satisfying her curiosity about moviemaking. After that, she decided to pursue acting and landed her first audition from an ad she spotted in Back Stage newspaper, and was soon acting in the hit indie film Girlfight. The role garnered Rodriguez numerous awards and much critical acclaim. This success quickly launched her as a young star on the rise in Hollywood.

Still going strong off of the success of her acting debut, she went on to co-star opposite Danny Glover in the Showtime network drama 3 AM., and the adrenaline-charged mega-hit The Fast and the Furious, starring opposite Vin Diesel and Paul Walker. An avid video-game fan who has since lent her voice to various popular games, including True Crime: Streets of LA, Driv3r and Halo 2, Rodriguez jumped at the opportunity to take a role in Resident Evil, an adaptation of the hit video-game series.

Her other feature film credits include Blue Crush; the summer blockbuster SWAT, starring opposite Samuel L Jackson and Colin Farrell; and Control, with Ray Liotta.

In 2005, a new chapter of her career began when she took a starring role in ABC’s hugely popular television series Lost, playing haunted and hardened ex-cop Ana-Lucia Cortez, who was revealed during the show’s second season after making a brief appearance at the end of the first.

Rodriguez is in the process of launching a clothing line called Ishkadada, from which a portion of the profits will benefit various animal and children’s charities.

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JORDANA BREWSTER’s (Mia Toretto) talent, beauty and natural screen presence have etched her a permanent place in Hollywood in both film and television. Brewster can currently be seen as Dr Jill Roberts in a recurring role on the NBC series Chuck.

Some of Brewster’s past credits include the lead role in the 2007 ABC pilot Mr and Mrs Smith; starring in Buena Vista Pictures’ Annapolis, opposite James Franco; and Nearing Grace, an indie film adapted from Scott Sommer’s novel, which premiered at the Los Angeles Film Festival in July 2005.

Brewster also starred in The Texas Chainsaw Massacre: The Beginning in 2006, directed by Jonathan Liebesman for New Line Cinema, and was seen in the Sundance Film Festival hit DE.B.S., based on Angela Robinson’s comedy short, which was released by Samuel Goldwyn Films in March 2005.

Prior to that, Brewster starred in Universal Pictures’ box-office hit The Fast and the Furious, for director Rob Cohen in 2001; and as Delilah in the science-fiction thriller The Faculty, for director Robert Rodriguez and Dimension Films in 1998. Brewster also starred alongside Cameron Diaz, Blythe Danner and Christopher Eccleston in The Invisible Circus for director Adam Brooks, which premiered at the Sundance Film Festival in 2001. She also received critical praise for her work in the highly rated NBC miniseries The ‘60s.

Brewster sharpened her acting skills on the daytime drama As the World Turns, during which she divided her time between high school and her role as Nikki Munson on the Emmy Award-winning series. She took some time off after The Fast and the Furious to complete her degree at Yale University, graduating in 2003 with a degree in English.

She has lived in Brazil, England and New York and currently resides in Los Angeles with her husband.

JOHN ORTIZ (Campos) is an award-winning actor who honed his craft on the theatrical stage of New York. He won the Obie Award for Best Actor in the off-Broadway production of References to Salvador Dali Make Me Hot. He is equally at home on stage, in feature films and on television.

He was most recently seen on the big screen in Pride and Glory, with Edward Norton and Colin Farrell; Ridley Scott’s American Gangster, with Russell Crowe and Denzel Washington; and 20th Century Fox’s AVPR: Aliens vs. Predator - Requiem. He is currently executive producing and starring in Jack Goes Boating, co-starring with Philip Seymour Hoffman (who makes his film directorial debut) and Amy Ryan.

In 2007, he starred in Michael Mann’s Miami Vice, opposite Colin Farrell and Jamie Foxx, and in the biopic El Cantante, with Jennifer Lopez and Marc Anthony. Other credits include Steven Spielberg’s Amistad; Brian De Palma’s Carlito’s Way, opposite Al Pacino and Sean Penn; Narc, opposite Jason Patric and Ray Liotta; Ron Howard’s Ransom; Riot; Side Streets; Sgt. Bilko; Before Night Falls, directed by Julian Schnabel; The Opportunists; and The Last Marshal.

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On television, Ortiz recently starred as the lead in CBS’ Clubhouse. He spent two seasons playing Ruben Somarriba in the ABC series The Job, with Denis Leary. He was also a series regular on FOX’s Lush Life and had a recurring role on CBS’s The Handler. He most recently shot the HBO pilot Anatomy of Hope, written and directed by JJ. Abrams.

Ortiz is the co-founder, along with acclaimed actor Philip Seymour Hoffman, of the LAByrinth Theater Company, for which he has produced and performed in many productions, including Jesus Iscariot, directed by Hoffman; Jesus Hopped the “A” Train, for which he received a Drama Desk Award nomination; Guinea Pig Solo; and, most recently, Jack Goes Boating, all at The Public Theater.

Other New York theater credits include the Broadway production of Anna in the Tropics; The Skin of Our Teeth, with John Goodman at The Public Theater; Cloud Tectonics at Playwrights Horizons; and The Persian and The Merchant of Venice, both directed by Peter Sellars and performed in such cities as Paris, London, Berlin and Edinburgh. Regionally, he has performed at the Mark Taper Forum, the Goodman Theatre, Hartford Stage, Arena Stage, the Yale Repertory Theatre, South Coast Repertory and Cincinnati Playhouse in the Park.

LAZ ALONSO (Fenix) is a star on the rise with a string of starring roles in upcoming films, including the independent feature Por vida, starring opposite Danny Glover, and James Cameron’s highly anticipated sci-fi epic Avatar, starring opposite Zoe Saldana and Sigourney Weaver. He was recently seen in a starring role in Spike Lee’s Miracle at St Anna, opposite Derek Luke, Michael Ealy and Omar Benson Miller.

Born and raised in Washington DC, Alonso always knew he wanted to be an actor. He remembers entertaining his family by imitating relatives and family friends at a very early age. Alonso attended and graduated college from the prestigious Howard University School of Business with a BBA in marketing. After college, he worked on Wall Street as an investment banker. He eventually started his own marketing business, promoting mainstream products to the urban/trendsetting market. Owning and operating his own successful business allowed Alonso the freedom to finally explore his passion for acting. He began taking classes in the evening and it didn’t take him long to begin landing roles in commercials and videos.

Alonso’s movie credits include lead roles in Screen Gems’ hits Stomp the Yard and This Christmas; Roland Joffé’s psychological thriller Captivity; and Sam Mendes’ 2005 hit Jarhead, starring opposite Academy Award winner Jamie Foxx, Jake Gyllenhaal and Peter Sarsgaard.

His television credits include guest-starring roles on The Unit, Bones, CSI: Miami, The Practice, Navy NCIS: Naval Criminal Investigative Service and Eyes.

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ABOUT THE FILMMAKERSJUSTIN LIN (Directed by) began writing, directing and producing

numerous award-winning short films at the UCLA School of Theater, Film and Television, where he earned his BA and MFA in film directing. His solo directorial debut, the critically acclaimed Better Luck Tomorrow, premiered at the 2002 Sundance Film Festival and garnered a nomination for the Grand Jury Prize. At the 2004 Independent Spirit Awards, the film, which he also co-wrote, co-produced and edited, was honored with a John Cassavetes Award nomination. Better Luck Tomorrow went on to make box-office history as the highest-grossing (per-screen average) opening weekend film for MTV Films/Paramount Pictures when it was released in April 2003.

In 2006, Lin directed Annapolis for Touchstone Pictures and The Fast and the Furious: Tokyo Drift for Universal Pictures. He then ventured back into the independent film world to make the ‘70s period-piece comedy Finishing the Game: The Search for a New Bruce Lee, which was released by IFC Films and The Weinstein Company after its successful premiere at the Sundance Film Festival.

Early in his career, Lin served as the production co-ordinator at the Media Arts Center of the Japanese American National Museum in Los Angeles. During his tenure there, he created several educational television pilots and documentaries such as Passing Through, which was featured on PBS.

Lin also established Trailing Johnson Productions, his own production company, which has made distinguished projects such as the documentary Spotlighting, as well as the acclaimed Better Luck Tomorrow and Finishing the Game. Lin is presently in the midst of developing and producing several new film and television projects.

CHRIS MORGAN’s (Written by) most recent credit is the screen adaptation of Mark Millar’s groundbreaking graphic novel “Wanted,” starring James McAvoy, Morgan Freeman and Angelina Jolie, which went on to become a box-office hit. His first produced credit was the 2004 thriller Cellular, starring Kim Basinger, and Universal Picture’s high-octane action film The Fast and the Furious: Tokyo Drift, for director Justin Lin.

Morgan is currently adapting the video game Gears of War into a film for New Line Cinema, with Len Wiseman attached to direct, which is slated for summer 2010.

Born and raised in Los Angeles, Morgan is raising his two daughters, Maya and Chloe, with wife Michelle, and is trying his best to convince the IRS that buying a six-second, nitrous-guzzling street machine is an acceptable tax write-off for “research.”

NEAL H MORITZ (Produced by) is one of the most prolific producers working in Hollywood today, with a wide range of film and television projects to his credit. Founder of Original Film, a feature film and television company, Moritz most recently produced Made of Honor, the romantic comedy starring Patrick

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Dempsey and Michelle Monaghan; the horror remake Prom Night; and the thriller Vantage Point, starring Dennis Quaid, William Hurt, Matthew Fox and Forest Whitaker. He is currently in preproduction on The Green Hornet, starring Seth Rogen and Stephen Chow, and Battle: Los Angeles, helmed by Jonathan Liebesman and starring Aaron Eckhart.

In 2007, Moritz released the hugely successful I Am Legend, starring Will Smith, and Evan Almighty, starring Steve Carell and Morgan Freeman. Other recent credits include Click, starring Adam Sandler; Gridiron Gang, starring Dwayne Johnson; and the action-packed The Fast and the Furious: Tokyo Drift. For television, he is an executive producer on the acclaimed drama series Prison Break.

After the establishment of Original Film in 1997, the company’s first self-financed feature was the hit Cruel Intentions, a modern take on the classic novel “Dangerous Liaisons,” starring Reese Witherspoon, Sarah Michelle Gellar and Ryan Phillippe. This teen drama grossed more than $75 million in box-office sales in 1999 and is considered a cult classic amongst those that came of age at the time of its release.

Moritz went on to produce The Skulls, which marked one of five collaborations with director Rob Cohen. The two have also teamed on the blockbusters The Fast and the Furious and xXx, both starring Vin Diesel; Stealth, starring Jamie Foxx and Jessica Biel; and the HBO movie The Rat Pack, which earned 11 Emmy nominations.

With 34 movies to his credit, Moritz’s successes include the romantic comedy Sweet Home Alabama, starring Reese Witherspoon and Patrick Dempsey; The Fast and the Furious series; and SW.A.T., starring Samuel L Jackson and Colin Farrell. Comfortable in any genre from comedy, horror, action or drama, Moritz is also responsible for the popular I Know What You Did Last Summer, Urban Legend and xXx, all of which spurred successful sequels.

Other films Moritz has produced include the Denzel Washington thriller Out of Time; Saving Silverman, starring Jack Black; Torque, a motorcycle action movie, starring Ice Cube; Blue Streak, starring Martin Lawrence; and Volcano. Moritz has made a number of teen films including the college comedy Slackers, starring Jason Schwartzman; The Glass House; and Not Another Teen Movie, a spoof of the very teen-film genre that he helped create. His first produced major feature film was Juice, starring Omar Epps and the late Tupac Shakur, in 1992.

A graduate of UCLA with a degree in economics, Moritz went on to get a graduate degree from the Peter Stark Producing Program at the University of Southern California.

MICHAEL FOTTRELL (Produced by) most recently served as a producer on the box-office success Live Free or Die Hard, starring Bruce Willis and directed by Len Wiseman. A graduate of the USC School of Cinema, Fottrell has served in various executive and co-producer roles on such high-profile movies as You, Me and Dupree, starring Kate Hudson, Owen Wilson and Matt Dillon;

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Herbie Fully Loaded; 2 Fast 2 Furious, starring Paul Walker and Tyrese; Catwoman; Sweet Home Alabama, starring Reese Witherspoon; Sorority Boys; The New Guy; Rock Star; Blue Streak; Cruel Intentions; and A Very Brady Sequel.

In addition to his producing credits, Fottrell served as production manager for Mighty Joe Young, Volcano, Crimson Tide, Gross Anatomy, Warlock and Shy People, among others.

Fottrell served as an executive production manager for years at Walt Disney Pictures and Touchstone Pictures, supervising all facets of film production on Father of the Bride, When a Man Loves a Woman, Pretty Woman, Sister Act and What About Bob?, to list a few.

GARY SCOTT THOMPSON (Based on Characters Created by) is the show runner and executive producer of the reinvented 1980s classic Knight Rider, the creator and executive producer of NBC’s hit series Las Vegas, and the writer of the hit film The Fast and the Furious.

GST (as he is known by cast and crew members) was born in Ukiah, California, but spent a formidable part of his childhood in Pago Pago, American Samoa. He first gained exposure to the world of entertainment as an actor, having studied the craft from such notable actors as Powers Boothe, while a student at Pacific Conservatory of the Performing Arts. He received his BA from the University of California, Irvine, and his MFA from New York University. Upon graduation from NYU, Thompson worked as a playwright. His theater credits include Small Town Syndrome, Cowboys Don’t Cry and Private Hells.

His feature credits include The Fast and the Furious, 2 Fast 2 Furious, Hollow Man, 88 Minutes and the cult classic Split Second.

AMANDA LEWIS (Executive Producer) is executive vice president of development at Original Film. She was a co-producer on the company’s blockbuster hit SW.A.T., starring Colin Farrell, Samuel L Jackson and LL Cool J; on The Fast and the Furious: Tokyo Drift; and on Gridiron Gang. She recently executive produced Made of Honor, starring Patrick Dempsey.

Lewis grew up in Los Angeles and graduated from the University of Pennsylvania with a major in English. Prior to joining Original Film, she worked at the talent agency ICM in New York and Los Angeles.

SAMANTHA VINCENT (Executive Producer) is senior vice president of One Race Films and co-founder of Tigon Studios, Vin Diesel’s film and video-game production companies. Since 1995, One Race Films has produced such award-winning titles as Multi-Facial and Strays, along with the blockbuster franchises xXx and The Chronicles of Riddick.

In the gaming space, Tigon Studios continues to break new ground by focusing on digital content that can be launched as both video game and film, including the critical hit The Chronicles of Riddick: Escape From Butcher Bay. Vincent recently executive produced Wheelman with Midway Studios and Ubisoft Entertainment, and also The Chronicles of Riddick: Assault on Dark Athena with

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Universal Studios and Atari; both to be released in the first quarter of 2009.

AMIR MOKRI (Director of Photography) most recently designed the photography for the thriller Vantage Point, National Treasure: Book of Secrets and the upcoming Season of the Witch, directed by Dominic Sena and starring Nicolas Cage. His other motion picture credits include Lord of War, Taking Lives, Michael Bay’s Bad Boys II, The Salton Sea, Don’t Say a Word, Coyote Ugly, Eye for an Eye, Freejack, Pacific Heights and Blue Steel.

The Iranian-born Mokri began his career with a long-time collaboration with director Wayne Wang, which includes the films The Joy Luck Club and Eat a Bowl of Tea, as well as Slam Dance and Life Is Cheap...But Toilet Paper Is Expensive, both of which garnered the films’ cinematographer Independent Spirit Award nominations for Best Cinematography.

Fast & Furious marks IDA RANDOM’s (Production Designer) second collaboration with director Justin Lin, her first being the previous installment of the franchise, The Fast and the Furious: Tokyo Drift. Random notched her first Academy Award nomination for Barry Levinson’s Rain Man, and has continued her stellar work with some of the industry’s top filmmakers, including Edward Zwick, Brian De Palma, James L Brooks and Tony Scott.

Born in Scotland and raised in a variety of exotic locales - Africa, Ireland, Belgium and England - Random immersed herself early on in the design world, learning all facets of the trade from drafting and construction to props and set decoration. She moved swiftly up the ranks to assistant art director on such notable films as Urban Cowboy and On Golden Pond, before earning her stripes as production designer on the Academy Award-nominated The Big Chill, starring William Hurt, Glenn Close and Kevin Kline. Random also designed Silverado and Wyatt Earp for writer/director Lawrence Kasdan and has teamed up with Danny DeVito on three films: Throw Mamma From the Train, The War of the Roses and Hoffa, starring Jack Nicholson.

Other feature credits include Kevin Costner’s postapocalyptic tale The Postman; The Fan, starring Robert De Niro and Benicio Del Toro; and F Gary Gray’s A Man Apart.

CHRISTIAN WAGNER (Edited by) has a roster of high-octane action films to his credit, including Deception, directed by Marcel Langenegger; Next, directed by Lee Tamahori; Domino, directed by Tony Scott; The Island, directed by Michael Bay; The Amityville Horror, directed by Andrew Douglas; Man on Fire, directed by Tony Scott; and Die Another Day (for which Wagner has the distinction of being the first American editor on a James Bond film), directed by Lee Tamahori.

Most recently, he served as editor on the thriller The Uninvited, with other motion picture credits that include Spy Game, directed by Tony Scott; Mission: Impossible II, directed by John Woo; The Negotiator, directed by F Gary Gray; Face/Off, directed by John Woo; The Fan, directed by Tony Scott; Bad Boys, directed by Michael Bay; Chasers, directed by Dennis Hopper; True Romance,

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directed by Tony Scott; and Hero and the Terror, directed by William Tannen.

Fast & Furious marks FRED RASKIN’s (Edited by) fourth collaboration with director Justin Lin. He served as additional editor on Lin’s 2003 high-school crime story Better Luck Tomorrow for MTV Films, and went on to edit Lin’s 2006 releases Annapolis, for Touchstone Pictures, and The Fast and the Furious: Tokyo Drift, for Universal Pictures. Most recently, he served as editor on director John Glenn’s psychological thriller The Lazarus Project, starring Paul Walker.

Raskin, a graduate of NYU’s Tisch School of the Arts, began his career in the cutting room, working as an assistant editor to Dylan Tichenor (Boogie Nights) and Sally Menke (Kill Bill: Vol 1, Kill Bill: Vol 2), before taking on the tasks of additional editor on Paul Thomas Anderson’s 2002 romantic comedy Punch-Drunk Love, for Revolution Studios.

SANJA MILKOVIC HAYS (Costume Designer) most recently designed the costumes for The Mummy: Tomb of the Dragon Emperor, directed by Rob Cohen, for which she received a Costume Designers Guild Award nomination. They previously worked together on xXx and Universal Pictures’ The Fast and the Furious. She also has a diverse roster of other motion pictures that includes xXx: State of the Union, The Fast and the Furious: Tokyo Drift, 2 Fast 2 Furious, Next, Gridiron Gang, Taxi, Cheaper by the Dozen, Big Fat Liar, Along Came a Spider, Mission to Mars, Star Trek: Insurrection, Blade, 8 Heads in a Duffel Bag, Spaced Invaders, Buried Alive and Masque of the Red Death.

She was also assistant costume designer of the fantasy/science-fiction films Mighty Morphin Power Rangers: The Movie and two smash hits from director Roland Emmerich: Stargate and Independence Day.

Hays was born in Zagreb, Croatia, where she graduated from the local university.

BRIAN TYLER’s (Music by) old-school approach to scoring music has made him one of the most sought-after and prolific young composers in Hollywood. Tyler has composed more than 45 scores in six years, and has been awarded Cinemusic’s Best New Film Composer of the Year (2001) and received a Emmy Award nomination for Outstanding Music Composition for a Miniseries, Movie or a Special (Dramatic Underscore) for his work on Last Call in 2002. In 2006, he received an ASCAP Award for his work on Constantine.

Right around the time executive producer Steven Spielberg was considering hiring Tyler to score Eagle Eye, Spielberg happened to be watching the trailer for the latest Indiana Jones movie, which featured Tyler’s signature composition “The Revolution,” a piece he recorded for the 2003 miniseries Children of Dune (one of the most licensed pieces of music in the past five years). As Tyler puts it, “Timing is everything in life and in music.”

An accomplished pianist, percussionist, guitar player and bassist, Tyler prefers live tracking in his compositions, and often conducts his own orchestras - a rarity in the world of computer-generated scores.

From childhood, Tyler has maintained his dual existence in music, a trait

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which, in retrospect, suits him well as a film composer. From the age of four, he began studying classical piano and composition, and began drumming out rock-and-roll and R&B tunes. By the age of 14, Tyler started to receive world notice for his piano concertos, while playing in rock bands at night. At 15, Tyler played the Kremlin in a performance that garnered worldwide attention, as it was designed to bring East and West together at the tail end of the Soviet regime.

Thanks to his grandfather, an Oscar-winning art director, Tyler learned basic film editing, production and storyboarding, which sparked a lifelong interest in the movies.

Tyler first gained attention with the film Six-String Samurai, which caught a cult following at the 1998 Sundance Film Festival. He steadily made his mark in Hollywood developing a reputation for crafting inventive scores for a wide variety of genre films, including The 4th Floor, Sirens and Panic. In 2001, Tyler’s score for the film Frailty earned him widespread praise among audiences and critics alike. After it was released in 2002, Cinemusic called Tyler’s score “classy, dark and gorgeous,” which helped Roger Ebert hail Frailty as “one of the best films of 2002.”

Oscar-winning director William Friedkin and his wife, Sherry Lansing, made note of that score during an afternoon screening. Tyler was soon signed on to score Friedkin’s 2003 action-drama The Hunted, for Paramount Pictures, starring Tommy Lee Jones and Benicio Del Toro. That same year, Tyler scored the time-travel action-adventure Timeline for director Richard Donner and producer Michael Crichton; Darkness Falls, for Revolution Studios; and Sci-Fi Channel’s epic production Children of Dune, which yielded Tyler a best-selling soundtrack album available on Varèse Sarabande.

While Tyler is an award-winning classical conductor, composer and orchestrator, he also is a songwriter signed with Sony Music. His modern rock, pop, electronica and hip-hop songs have become a popular addition to the Sony Music catalog.

Tyler’s music was featured in the 2001 blockbuster The Fast and the Furious. He has gone on to compose scores for The Fast and the Furious: Tokyo Drift; the historical epic Partition; the 2006 Cannes International Film Festival sensation Bug (also for Friedkin); Bangkok Dangerous, starring Nicolas Cage; Constantine, starring Keanu Reeves; Bill Paxton’s The Greatest Game Ever Played; Justin Lin’s Annapolis; and Sylvester Stallone’s latest incarnation of Rambo, released in early 2008. In addition, Tyler’s work has been featured in a number of high-profile trailers, including Master and Commander: The Far Side of the World, The Aviator, Cinderella Man and The Da Vinci Code.

Tyler is currently working on the scores for the Japanese sci-fi fantasy Dragonball Evolution, and director David R Ellis’ Final Destination: Death Trip 3D.

Tyler holds an MFA from Harvard University and an undergraduate degree from UCLA.