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US FILM PUBLICITY: AWARDS PUBLICITY:
DDA PR 42WEST
IN ASSOCIATION WITH
Written and Directed by VIGGO MORTENSEN
Produced by
Executive Producers
Associate Producer
PEDER PEDERSEN
AND LAURA LINNEY
Director of Photography
MARCEL ZYSKIND, DFF
DEIRDRE BOWEN
Music by
VIGGO MORTENSEN
With the participation of Ontario Creates and the Governments of Canada and the United Kingdom
RUNNING TIME: 112 minutes
Viggo Mortensen, Sverrir Gudnason, Grady McKenzie, Hannah Gross Photo by: Brendan Adam-Zwelling
SYNOPSIS
John (Viggo Mortensen) lives with his partner, Eric (Terry Chen), and their daughter, Mónica (Gabby Velis), in
California, far from the traditional rural life he left behind years ago. John's father, Willis (Lance Henriksen), a
headstrong man from a bygone era, lives alone on the isolated farm where John grew up. Willis is in the early stages of
dementia, making running the farm on his own increasingly difficult, so John brings him to stay at his California home
so that he and his sister Sarah (Linney) might help him find a place near them to relocate to. Unfortunately, their best
intentions ultimately run up against Willis’s adamant refusal to change his way of life in the slightest.
During his stay at John's California home, tension builds between Willis and the rest of the family. Willis’s abrasive
nature, by turns caustic and occasionally funny, is aggravated by his memory loss, bringing past and present into conflict
and causing old wounds and years of mutual mistrust between father and son rise to the surface.
As Willis and John confront the events that have torn them, including their differing recollections of John’s mother
Gwen (Gross), the challenge they face is to find a way to forgive each other, to accept what has happened in the past
and, most importantly, what is happening to them in the present. We embark on a journey from darkness to light, from
rage and resentment to acceptance and hard-won grace.
THE TEAM
In his debut as a writer/director, Mortensen explores the fractures and contrasts of a contemporary family. Along with
Mortensen, the film features three-time Golden Globe nominee Lance Henriksen (Aliens, Near Dark, Appaloosa),
international star Sverrir Gudnason (2020 Sundance title Charter, The Girl in the Spider's Web, Borg vs. McEnroe),
Hannah Gross (2020 Sundance title Tesla, Joker, “Mindhunter”), Terry Chen (“House of Cards”), and three-time
Academy Award® nominee Laura Linney (“Ozark,” Savages, Kinsey, You Can Count on Me).
Production leads on the film include acclaimed cinematographer Marcel Zyskind (Code 46, Country, Two Faces of
January, Trishna, Mammut), award-winning production designer Carol Spier (Eastern Promises, A History of Violence,
The Kindness of Strangers) and award-winning editor Ronald Sanders (Eastern Promises, Maps to the Stars, Coraline).
FALLING is produced by Daniel Bekerman (The Witch, Percy) of Scythia Films and Chris Curling (The Bookshop,
The Last Station) of Zephyr Films, together with Mortensen, who previously produced Everyone Has a Plan, Far From
Men and Jauja through Perceval Pictures. Executive producers are Peter Touche and Stephen Dailey for Ingenious
Media, Danielle Virtue and Brian Hayes Currie and Norman Merry for Lip Sync Productions. Peder Pedersen is
Associate Producer.
Grady McKenzie, Sverrir Gudnason
Photo by: Brendan Adam-Zwelling
THE BEGINNINGS OF FALLING
There are few relationships as fundamental and complex as that of parent and child, and few events as destabilizing as
the loss of a parent -- when the tethers that bind you to the earth are cut. It was in this shifting and reflective moment in life when
the multi-hyphenate actor, artist, publisher and poet Viggo Mortensen began writing the story that would become his directorial
debut.
While not a fully autobiographical story, speaking with Mortensen about FALLING offers an uncharacteristically revealing look
at a singular moment in the artist’s life: “The idea for FALLING came to me as I was flying across the Atlantic after my
mother’s funeral. I couldn’t sleep; my mind was flooded with echoes and images of her and our family at different stages
of our shared lives. Feeling a need to describe them, I began to write down a series of incidents and snippets of dialogue
I recalled from my childhood. The more I wrote about my mother, the more I thought about my father. By the time we landed,
however, the impressions I’d been writing down had evolved into a story primarily made up of conversations and moments
that had never actually happened, parallel and divergent lines that felt right somehow, that widened my perspective of the
actual memories I had built about our family. It seemed as though these invented sequences allowed me to get closer to the
truth of my feelings for my mother and father than any straightforward enumeration of specific memories could. What
I ended up with was a father-son story called FALLING, about a fictional family that shares some traits with my own.
In my notebook I had the basic structure of what eventually became the present screenplay.”
“A few days later, I looked at what I’d written on that night flight, not at all convinced that I would find much merit in
it. When I reread the story, however, I found that the it flowed quite well. The timelines and the structure of the
flashbacks I’d eventually use in the screenplay were already roughly in place, and the visuals felt strong to me. I could
“see” the story. ‘This could be a movie...’, I thought.”
It’s not surprising that an artist who has explored so many mediums would eventually be interested in writing and
directing his own movie story. As an actor, Mortensen has had the benefit of working with some of the world’s leading
directors –Jane Campion, Peter Jackson, David Oelhoffen, Matt Ross, Peter Weir, and close friend and frequent
collaborator David Cronenberg -- and he made active study of his time on set.
“I’ve been lucky,” he says. “I’ve learned from some really good directors and have tried to apply those lessons in
preparing for the shoot and communicating effectively with the actors and the crew. As an actor, I’ve always been pretty
nosy, I guess. I’m always interested in what lens someone has chosen, why and how a scene is lit in a certain way, why
a certain coat or dress was chosen. I’ve always liked the collaborative aspect of moviemaking, the opportunity to witness
and fully participate in the story-telling process. If a movie works, it only works as well as the compromise everybody
makes, the joint sacrifice that a team of creative people makes. I think that the best directors really understand that they
alone are not the movie, that the movie is the culmination of the contributions of many people, actively in dialogue with
each other over a long period of time.”
Almost four years after he had completed a first draft of FALLING -- and after a couple of frustrated attempts to find
the funding necessary to make the movie -- the opportunity to finally get behind the camera and begin that process of
collaboration presented itself when he was introduced to Toronto-based producer Daniel Bekerman of Scythia Films,
who had been part of the team that made the acclaimed film The Witch, and British producer Chris Curling of Zephyr
Films, producer of Isabel Coixet’s The Bookshop and Michael Hoffman’s The Last Station. Mortensen had worked on
films in Canada previously, most notably with David Cronenberg, and had formed relationships with Toronto crews that
he was anxious to continue, so the decision to shoot in Ontario was an easy one. The team came together and began an
extensive period of careful preparation which included location scouting and landscape filming many months before
the planned winter shoot. This was accomplished during repeated trips with production designer Carol Spier and
cinematographer Marcel Zyskind during summer and autumn to the rural areas in which the story was to take place.
“As an actor, Viggo is celebrated for the thoroughness of his preparation and the attention to detail he brings to any role
he takes on,” comments producer Chris Curling. “You can see this attention to detail in all the work he does, his acting,
his writing, his painting, his photography, his publishing. He brings the same rigor to his work as a director; we
experienced that from the very beginning in his approach to directing FALLING. I really believe that his
commitment to every detail of performance, of picture and of sound, that deep attention to having each element
contribute to the creative whole, is what makes FALLING a standout film.”
STORY & CHARACTERS
In FALLING, set in the winter of 2009, John (played by Mortensen), is an ex-Air Force officer turned
commercial pilot who lives in Los Angeles with his partner Eric (Terry Chen) and their adopted daughter, Mónica
(Gabby Velis). His father Willis (Lance Henriksen) continues to live in the rural Northeast on the large, isolated farm
where John and his sister Sarah (Laura Linney) were raised, but he’s now struggling with the onset of dementia. Aware
of the fact that running the farm on his own is becoming increasingly difficult, Willis agrees to travel to California with
John in order to find a more manageable place to retire. The differences between John’s modern, urban life and
sensibilities and Willis’ more conservative mind-set and ingrained prejudices come into stark contrast. As the story
unfolds, the film moves back and forth in time, gradually exposing -- through individual as well as shared memories of
the two men -- pivotal events that have defined their complex relationship.
“The dynamic of their relationship is driven by generational and geographical divides between a conservative, aging
farmer and what he views as his wayward, morally weak son,” comments Mortensen. “It’s also a contrast between rural,
heartland USA and West Coast urban progressive society. In the end, the damaged bonds of familial affection that once
united them, and which the story visits through their differing subjective recollections, aid them in overcoming some
of the pain they have caused themselves and each other in the decades since John’s childhood.”
While not specifically drawn from the details of Mortensen’s own upbringing, some details in FALLING are based on
real events and conversations: “My father had been an overwhelming presence in my mother’s life, and their
acrimonious separation when I was 11 years old and my brothers were 8 and 6 changed the three of us profoundly. Our
father's shadow hung over the new home we made with our mother for years after they'd both moved on and found new
partners. Around the time my mother passed away, my father was in the early stages of dementia and had started to
occasionally confuse me with his own father, slipping now and then into the distant past of his own childhood and
adolescence in Denmark. In fact, both of my parents, my paternal grandfather, my stepfather, and a few aunts and uncles
in our family have suffered from various types of dementia. It is a complex and relatively unpredictable ailment that I
have experienced up close, as I have been a caretaker in several instances.”
Though initially reluctant to play a role in a film he had written and was to direct, Mortensen agreed to play the role of
the adult son in order to secure financing for the film. John, who is in a same sex marriage and has an adopted daughter,
is the image of a certain kind of West Coast progressive. By contrast, Willis, born and raised in America’s heartland
and an independent farmer by trade, is the definition of a traditional conservative man. An important aspect of the movie
is that it offers a compelling study of changing views of masculinity and traditional family models.
In 2008 Mortensen had starred in Appaloosa, a film written and directed by Ed Harris, where he met Lance Henriksen,
the iconic actor best known for his roles in Aliens and The Terminator. Henriksen is equally recognizable for his tough
and weathered stature, as he is for his rumbling baritone voice. Mortensen approached Henriksen to play the challenging
and complex role of Willis, a man who has always been fiercely independent and self-sufficient but struggles as his
mind begins to betray him.
“Willis is slipping into a kind of confusion, and his memories are all coming back, like ghosts,” says Henriksen. “He’s
aware that his mind is playing tricks on him and he's angry about it.” The actor, who has so often been cast as the bad
guy, was excited by the opportunity to play a complex, ultimately vulnerable patriarchal figure, and to undertake the
challenge of portraying someone with dementia. He also appreciated the script’s stark portrayal of a family: “FALLING
portrays the profound stamina that it takes to be a family in the first place, something that I've never seen depicted so
strongly in a film before. The sheer challenge of going through it –it’s revelatory.”
As the film cuts back and forth between the past and the present, we also meet Willis as a young man, first meeting the
love of his life and raising a young family -- a man who, while still obstinate, is not as hardened and angry as he eventually
becomes. Icelandic actor Sverrir Gudnason, known to North American audiences for his roles in Borg vs McEnroe and
The Girl in the Spider’s Web, plays the younger Willis. Mortensen’s partner, Ariadna Gil, had in fact pointed out that
Gudnason bore some resemblance to him, which led Mortensen to contact the actor “There’s a certain uncanny look
that connects Viggo, Lance, and Sverrir,” says producer Bekerman. “Sverrir also has an otherworldliness - an enigmatic
quality that underscores the mystery in the film as to how Willis became the angry older man we get to know in this
story. Sverrir is essentially the vehicle for the unfolding of that mystery.”
“I would say Willis is very much a ‘my way or the highway’ kind of guy,” Gudnason notes. “He's not very good at
putting himself in the shoes of other people and understanding their feelings. He kind of expects everybody to think
and act like he does. And if they don't, he's not very patient about it. He loves his son and he loves his family. He works
very hard. He provides for them, and he puts food on the table. And at the same time, he's like an island emotionally.
He's constantly fighting these wars, and he doesn't understand that if a relationship is a war, he can never win.”
As Willis gets older, his inflexibility ultimately drives John’s mother Gwen -- the love of Willis’ life -- to leave him,
taking John and his sister Sarah with her. Willis will never get over this life-changing setback. The film weaves back and
forth in time looking for clues as to where the rift began. “A lot of the movie is about trying to understand why that
breach happened. John is trying to come to terms with his father’s bitterness, and Willis is trying to come to terms with
the man John has become,” comments Mortensen. “Our story is also about them resolving the conflicting feelings they
have about John’s mother, Gwen.”
Gwen is portrayed by actress Hannah Gross, who most recently came to prominence in Todd Phillips’ Joker and a starring
role in the Netflix series “Mindhunter”, executive produced by David Fincher. “To me, Gwen is the conscience of the
movie,” says Mortensen. “She is the fulcrum that the principal characters gravitate around.”
“Gwen is someone who has a real love of life and who pretty effortlessly lives in the moment,” says Gross. “There's a
real searching quality about her, she's someone who enjoys expanding her world in various little ways, someone who is
curious. And that curiosity is imbued with a really deep sense of caring. I think that, like a lot of women of that era,
she has this yearning, this searching quality, but is also not entirely sure of how to express it. And when she’s met with
resistance by the person who's supposed to love and support her, things become pretty difficult.”
This rigidity on Willis’ part cuts to the heart of the relational dynamics explored in FALLING. “We try so hard to
make people into who we want them to be,” says Mortensen. “Instead of seeing them for who they really are and
letting them be that. Inevitably, there are discrepancies between how we perceive things, remember things, and how
they actually happened. This creates misunderstanding and tension which builds up over time.”
“FALLING is about relationships with parents in so many ways,” adds producer Dan Bekerman. “I think as we get
older, we sort of start to put the character of our parents in a certain box of who we believe they are, and we start to edit
out of our understanding the full life that they’ve actually led. One way of looking at this movie, I think, is the revelation
to a child of that full breadth of the life that any parent has lived.”
Gudnason adds, “When you're a kid, there is so much you don’t understand. And then when you're a grown-up, you get
to know your parents from a broader point of view, but their world may be beginning to contract somewhat. It's a story
about growing up and growing down at the same time.”
Subjectivity of perception and unreliability of memory are equally important themes in FALLING, underlying its narrative
structure and enhancing our understanding of its characters. “FALLING is a complex story. It’s layered throughout with
memory, and memory is imperfect,” offers Mortensen. “One person will remember the same moment, the same scene, the
same person, differently than someone else will. We become fixated in these imperfect memories that come to define how
we see ourselves and others.”
Hannah Gross
Photo by: Brendan Adam-Zwelling
VISUAL APPROACH & CINEMATIC IMPRESSIONS
There was a sense throughout the filmmaking process of working to express an intangible but lucid and recognizable
truth. The visual style of FALLING is natural and unaffected, with camera movement restricted to genuinely motivated
moments.
Danish cinematographer Marcel Zyskind - best known as Michael Winterbottom’s Director of Photography -
first met Mortensen in London on the set of David Cronenberg’s Eastern Promises. Zyskind had friends on the crew and went to pay them a visit. He and Mortensen immediately connected over a shared interest in still photography and their ability
to communicate in Danish. Some years later, Zyskind was the cinematographer on Hossein Amini’s Two Faces of January, in which Mortensen starred. The pair had the opportunity to get to know each other better, and soon after that shoot, Mortensen began speaking with Zyskind about some feature film ideas.
“Viggo’s very visual,” says Zyskind. “When we were discussing the movie, he sent images and photographs
-- some of his own photography as well as other references -- but more than just discussing visuals, we spent a lot of
time talking about the feeling we were trying to capture in each scene.”
When FALLING began to come together, they made repeated trips to rural Ontario Province in order to begin capturing
the landscape in various seasons, giving them the opportunity to begin developing a specific visual language as they
filmed memory fragments to be used for the characters of Willis, John, and Sarah. It was during this exploratory period
that their collaborative relationship started to develop in earnest.
“We needed to shoot as much of the landscape as we could in changing seasons, and we wanted to see how shooting
widescreen could work for the film. I found right away with Marcel that we had a similar approach to framing a shot.
We'd go out and shoot all manner of things in the woods and fields, in different light conditions, and we didn't have to
speak that much about how things ought to be framed. We were on the same wavelength immediately, working
together very intuitively,” says Mortensen. Zyskind adds, “We were starting to find a visual world of memories.”
Mortensen references the minimalist Japanese filmmaker Yasujir Ozu in speaking of his visual approach. Recognized
for his quiet, understated family dramas, often dealing with generational conflict, Ozu’s films employed a semi-austere,
observational style that often allowed scenes to play out at length in a single frame. “You have to find the right moment
to move the camera. Many of the filmmakers whose work I am drawn to frequently stay back and kind of low with their
photography, so you can see the space the characters inhabit and the scene can breathe - you can see the behavior and
the gestures. We did that quite a bit, certainly at first, especially with some of the flashbacks from the farm, and tried
to be very judicious in choosing when to break from that approach.
"In the editing phase, we were also careful not to cut earlier than absolutely necessary from shot to shot. That is not to
say we were attempting to replicate anything that Ozu or any other director has done. Marcel and I worked out
composition and camera placement strictly in accordance with what we felt each sequence of FALLING demanded.
While editing the movie, care was taken to allow each shot, no matter how brief or how long it ended up being, to speak
for itself, to tell us the timing and rhythm it called for.
"In terms of approaches to photography and editing that successfully capture subjective perceptions of time and memory, there
are singular accomplishments by masterful directors like Tarkovsky, Resnais, Welles, Dreyer or Varda, to name just a few, that
I greatly admire but would never copy. We found our own ways to evoke the weight of the past on different characters in
FALLING, and to represent the changeable nature of time as perceived at any given moment in our story.”
Producer Curling adds, “FALLING takes the audience on a demanding journey –it tells an American story, but tells the
story with a European sensibility and tone. It’s a film that will leave audiences very reflective and very moved.”
The non-linear nature of the story allowed Mortensen and Zyskind freedom to follow their intuition to create the
emotional tone they were pursuing in any given scene: “The memory sequences generally have a warmer
tone to them, but I also like to work with whatever the actual weather is on the day. The freedom of a memory-based story is that you don’t need to be dictated to by light continuity and you can really go off what feels right and follow your gut on the day,” offers Zyskind. “Memory is feeling, really. In the end, it’s all feeling, because you can’t remember the specifics of everything, but you can palpably recall how it felt.”
This ephemeral yet uniquely personal quality in the story is perhaps its defining feature: “What is striking to me about
FALLING is how it captures a very fundamental conflict at the heart of relationships and existence. We generally accept
a fairly black and white version of what we perceive the truth to be -- the truth of who we are and what has happened
in our lives,” says producer Bekerman. “But memory is much less of a fixed thing than we may wish to believe. We
choose which memories we keep with us and we only remember the events of our lives from our point of view. And
then these imperfect memories come to define us and who we become. We become defined by these self-selected
moments that we can remain stuck in for a long time, if not forever. It’s pretty remarkable.”
Comments Hannah Gross: “I think in this story Viggo has translated something that is a quality, this kind of enigmatic
ineffable quality that's really rare, especially in a really literal medium like film. There’s this articulation of truth that he
captures somehow. It’s not clearly decipherable but is immediately recognizable.”
In the end, nothing is perfectly resolved in FALLING: “Not everyone is forgiven. Not everybody figures out a way to
communicate. Some people try and fail. Some don’t try very much at all. The way that you get acceptance and
forgiveness in this story – and perhaps in most stories - is by making mistakes and at least sometimes admitting that
you made those mistakes. That’s how the father and the son in our story begin to find a way to actually see each other,”
says Mortensen. Ultimately, in taking this first leap into directing, he aimed to stay focused on the creative work in front
of him and to work one step at a time, “I believe that artists - whether they're making drawings, writing poems, composing
music, acting or directing - have to satisfy themselves first and foremost, in as honest a way as they can manage. If you
believe in what you're doing individually and together with other individuals in a team, and events have been allowed to
unfold in a way that’s specific and feels authentic to the characters from moment to moment, then there's a chance that
other people will believe in your story, be drawn to it. As a director, you’re juggling a lot of elements. There's an overall
story you're trying to tell. But you can only do justice to one moment at a time. Just like in life, really. And with each
step, you're just focused on that moment, with all the elements that go into it -- the way it's lit, the way the clothes and
hair and makeup work together, the tones of voice, the gestures. If all of that coalesces, we can move on and take the
next step and the one after.”
William Healy, Sverrir Gudnason
Photo by: Brendan Adam-Zwelling
LANCE HENRIKSEN (Willis, 75)
Iconic actor Lance Henriksen has starred in a multitude of films and television projects exemplifying the diversity of
his talent. He’s worked with some of the most prominent directors in the motion picture industry, including Steven Spielberg,
James Cameron, Sidney Lumet, Jim Jarmusch, Kathryn Bigelow, John Woo and Sam Raimi.
He recently shot The Unhealer and had the leading role in the feature Gone Are The Days (Lionsgate) with Tom
Berenger and Danny Trejo. Henriksen recurred on both seasons of “Into The Badlands” (AMC), “The Black List”
(NBC), “The Night Shift” (NBC), and also appeared on “Legends Of Tomorrow” (CW), “Criminal Minds” (CBS) and
“Grey’s Anatomy” (ABC).
Born in New York, Henriksen studied at the Actors Studio and began his Off –Broadway career in Eugene O'Neill's
“Three Plays Of The Sea.” One of his first film appearances was for director Sidney Lumet in Dog Day Afternoon,
followed by Lumet's Network and Prince of the City. Henriksen then appeared in Steven Spielberg's Close Encounters
of the Third Kind with Richard Dreyfuss and Francois Truffaut, Damien: Omen II and director Philip Kaufman's The
Right Stuff.
James Cameron cast Henriksen in his first directorial effort, Piranha Part Two: The Spawning, followed by The
Terminator, and he next featured him as android Bishop in the sci-fi classic, Aliens.
Other notable titles include Appaloosa, directed by Ed Harris, Jennifer Eight, Aliens 3, Color of Night, and
writer/director Jim Jarmusch's Dead Man. For television, Henriksen starred in Dreamworks’ and TNT's 12- hour
miniseries “Into The West,” executive produced by Steven Spielberg. He also starred for three seasons on “Millennium,”
Fox-TV's critically acclaimed series created by Chris Carter (“The X- Files”). Henriksen's performance as
Frank Black, a retired FBI agent who has the ability to get inside the minds of killers, garnered three consecutive Golden
Globe nominations for “Best Performance by a Lead Actor in a Drama Series" and a People's Choice Award nomination
for "Favorite New TV Male Star." He was also nominated for a Golden Satellite Award for his portrayal of Abraham
Lincoln in the TNT original film “The Day Lincoln Was Shot.”
TERRY CHEN (Eric)
Terry Chen is a Pacific Islander born in Edmonton, Canada. He moved around growing up, but was raised mainly on
the West Coast. After two years of traveling throughout Cuba and the Cayman Islands, Chen moved back to Vancouver,
British Columbia to pursue his dream of being an actor. He made his debut in a supporting role as “Ben Fong-Torres” in
the much lauded film Almost Famous, directed by Cameron Crowe. His performance was praised in reviews from
Variety magazine to Ebert & Roeper’s “At the Movies.”
Over the last two decades, he’s had supporting and lead roles alongside the industry’s best known
performers; Memory (Dennis Hopper), Chronicles of Riddick (Vin Diesel), The A-Team (Liam Neeson) and Elysium
(Matt Damon), to name a few. Chen filmed the ABC/Global drama “Combat Hospital” as a series regular, US Captain
Dr. Bobby Trang, as well as guest starring in series such as “Bates Motel” (A&E), “Battlestar Galactica” (NBC), “Hawaii
Five-O” (CBS) and “The 100” (The CW). He recurred in the fan favorite “Continuum” (Showcase), and recurred in the
award-winning series, “House of Cards” (Netflix). More recently, Chen recurs on the latest seasons of “The Expanse”
(Amazon Prime), and as a lead in the second season of “Jessica Jones” (Netflix). He can also be seen in the four-part
limited series “Foreign Skies” (Channel 4).
SVERRIR GUDNASON (Willis, 23-43)
Sverrir Gudnason is a leading actor with a career spanning film, television and theatre. His recent credits include a
starring role opposite Shia LaBeouf in Janus Metz’s film Borg McEnroe in which Gudnason stars as “Björn Borg.” He
also starred in The Girl in the Spider’s Web, directed by Fede Alvarez in the role of “Mikael Blomkvist,” alongside
Claire Foy. Other recent film credits include Camilla Strøm Henriksen’s Phoenix, The Circle, directed by Levan Akin
and Jens Östberg’s Blowfly Park. Additionally, Gudnason has had lead roles in an adaptation of Hjalmar Söderberg’s
classic Swedish novel A Serious Game, directed by Pernilla August and the comedy-drama Original. Gudnason has
also featured in the biopic Monica Z, Mikael Marcimain’s Gentlemen, Fröken Sverige directed by Tova Magnusson and
Johan Melin’s Köftbögen. In addition to Falling, Gudnason will be seen in Amanda Kernell’s second film Charter,
which also screened at Sundance. He will also star in Carlo Hintermann’s The Book of Vision, alongside Charles Dance.
Gudnason’s television credits include Gentlemen & Gangsters alongside David Dencik and Sven Nordin. Other notable
television projects include How Soon Is Now, directed by Mikael Marcimain and A Breach In The Wall, directed by
Jimmy Karlsson. Gudnason also appeared in Marie Krøyer and Kathrine Windfeld’s Drottningoffret. Last year, he
filmed the second season of Josephine Bornebusch’s hit Swedish show Love Me.
HANNAH GROSS (Gwen)
Hannah Gross had two films premiere at Sundance this year, Michael Almereyda’s TESLA, opposite Kyle MacLachlan,
Ethan Hawke, and Eve Hewson, and FALLING. Gross also stars in the independent feature Clifton Hill, directed by
Albert Shin and opposite Tuppence Middleton. She appears in Todd Phillips’ Joker, opposite Joaquin Phoenix. Gross
can also be seen in season 2 of USA’s critically acclaimed series, “The Sinner”, opposite Bill Pullman. She also
completed filming The Education of Fredrick Fitzell.
Gross’ first foray into television was a starring role in David Fincher’s “Mindhunter” for Netflix opposite Jonathan
Groff. Prior to this, she had a leading role in the indie film UNLESS starring opposite Catherine Keener and was
featured with Jon Hamm in the film Marjorie Prime. Gross was also in The Mountain, opposite Tye Sheridan and Jeff
Goldblum. The film premiered at the 2018 Venice Film Festival.
Gross’ past credits include Matt Porterfield’s I Used To Be Darker, Dustin Guy Defa’s short film “Lydia Hoffman,
Lydia Hoffman,” as well as an episode Defa directed for “The Sixth Year,” Uncertain Terms, directed by Nathan Silver,
and Charles Poekel’s Christmas, Again which premiered at the 2014 Locarno International Film Festival.
Gross graduated with a BFA from NYU’s Experimental Theatre Wing in 2012.
LAURA LINNEY (Sarah)
Laura Linney is an American actress who works in film, television and theatre.
She was most recently seen in the highly anticipated Netflix revival of “Tales of the City,” for which she served as an
executive producer and stars opposite Olympia Dukakis and Ellen Page. Premiering in 2020 is season three of “Ozark,”
a critically acclaimed Netflix original series where she plays Wendy Byrde opposite Jason Bateman and Julia Garner.
Also premiering in 2020 is the Sally Potter directed film The Roads Not Taken, in which Linney stars opposite Elle
Fanning and Salma Hayek. Molly follows a turbulent 24 hours in the life of a father and daughter, grappling with the
challenges of dealing with a father's chaotic mental state.
In June 2018, Linney made her London theatre debut in Richard Eyre’s limited three-week run of “My Name Is Lucy
Barton,” the stage play adapted from the Elizabeth Strout novel of the same name and opened to rave reviews. Back by popular demand, the show returned to the London stage in 2019, and will be making its Broadway debut in January 2020. The story follows Lucy Barton, who after an operation, wakes to find her estranged mother at the end of her bed, bringing back memories of her early life in the country, her subsequent escape to New York and the two women’s
complex relationship.
Linney’s numerous film credits include, The Dinner, Nocturnal Animals, Sully Genius, Teenage Mutant Ninja Turtles:
Out Of The Shadows, You Can Count on Me, Kinsey, The Savages, The Fifth Estate, Hyde Park on Hudson, The Squid
and the Whale, Mystic River, Absolute Power, The Truman Show, Primal Fear, The Mothman Prophecies, Love
Actually, P.S., The House Of Mirth, The Details and Congo, among many others.
Linney starred in and served as an executive producer for the Showtime series “The Big C” for four seasons for which
she won several awards. She also won multiple awards for her portrayal of Abigail Adams in the HBO miniseries “John
Adams,” directed by Tom Hooper. Early in her career, she starred as Mary Ann Singleton in Armistead Maupin’s “Tales
of the City” series, a job for which she continues to be most grateful and proud. She appeared as Kelsey Grammer’s
final girlfriend in the last six episodes of “Frasier;” was directed by Stanley Donen in “Love Letters,” and starred
opposite Joanne Woodward in Blind Spot.
She has also appeared in many Broadway productions, most notably “The Little Foxes,” “Time Stands Still” and “Sight
Unseen,” directed by Daniel Sullivan and written by Donald Margulies. Additional credits include Arthur Miller’s “The
Crucible,” directed by Richard Eyre opposite Liam Neeson, “Six Degrees of Separation,” “Honour,” “Uncle Vanya,”
“Les Liaisons Dangereuses,” “Holiday” and “The Seagull.”
Linney has been nominated three times for an Academy Award, four times for a Tony Award, six times for a SAG award,
once for a BAFTA Award, and five times for a Golden Globe. She has won one Screen Actors Guild Award, one
National Board of Review Award, two Golden Globes and four Emmy Awards. She holds two honorary Doctorates
from her alma maters, Brown University and The Juilliard School.
BRACKEN BURNS (Jill)
Bracken Burns grew up in a small town in northern Alberta, Canada, called Peace River. From a young age, she was
enthralled with the theatre, which eventually led to her obtaining her Master of Arts (performance) at the prestigious
Royal Conservatoire of Scotland. She stayed in the UK for 8 years, touring in stage shows such as “Saturday Night
Fever” (English Theatre Frankfurt and No. 1 UK tour), “Wasted Love,” and “CLINTON The Musical,” and she spent
several summers at the Edinburgh International Fringe Festival. Burns first dipped her toe into the world of cinema with
HERO: Inspired by The Extraordinary Life and Times of Ulric Cross, Frankie Drake Mysteries, and Winston
Rowntree’s People Watching (Canadian Screen Award winner 2018) where she plays the singer-songwriter Flossey
and co-wrote her original songs, which were featured in the show.
Burns now splits her time between London, UK, and Toronto working on both theatre and screen. She recently starred
as Elle Woods in “Legally Blonde The Musical” and released her first single “Just Kept Walking.” Burns also stars in
two new pilots set to premiere later this year.
As a producer, Burns works with her own production company Blahzay Creative, and is currently in development with
a new musical series called “Wasting Love,” based on the award-winning stage show, and a narrative drama called
“Wilds of Canada.”
ABOUT THE FILMMAKERS
VIGGO MORTENSEN (Writer/Director/Producer/Composer)
Viggo Mortensen has consistently earned acclaim for his work in a wide range of films. Some of these include Green
Book, Captain Fantastic, A Dangerous Method, Eastern Promises, A History of Violence, The Road, Appaloosa, Far
from Men, The Two Faces of January, Jauja, Hidalgo, Alatriste, and The Lord of the Rings trilogy. He has received
various nominations and awards from groups including the Screen Actors Guild, the Academy of Motion Picture Arts
and Sciences, the Hollywood Foreign Press Association, and the British Academy of Film and Television Arts.
Mortensen is also poet, photographer, and painter. He is the editor of Perceval Press, an independent publishing house
which he founded in 2002. His new collection of poetry and photography is Lo que no se puede escribir (What Cannot
Be Written)
DANIEL BEKERMAN (Producer)
Daniel Bekerman, founder and president of Scythia Films, is one of Canada’s most prolific feature film producers, with
broad experience in creative producing, financing, international co-productions and service productions, having
completed over 25 films in the last five years.
Selected credits include The Witch - winner of the Best Director Award at the Sundance Film Festival, as well as two
Independent Spirit Awards - and feature Bang Bang Baby, directed by Cannes Residency alumnus Jeffrey St. Jules, and
winner of the Best First Feature Film Award at TIFF and the Canadian Screen Awards.
Slated for 2020 releases are Percy, starring Christopher Walken; Slash/Back, an arctic set sci-fi adventure by Nyla
Innuksuk with Sierra Affinity attached for international sales; and Come to Daddy, starring Elijah Wood, a New
Zealand/Ireland/Canada Treaty Co-Production that premiered at Tribeca in April.
Bekerman executive produced The Craft (Sony/Blumhouse), directed by Zoe Lister Jones; Ready or Not (Fox Searchlight
Pictures/Vinson Films), Radio Silence, which premiered in July at Montréal’s renowned Fantasia Film Festival; and How It Ends
and Anon for Netflix.
Currently touring the festival circuit is feature documentary Youth Unstoppable, which captures the vibrant untold story
of the Global Youth Climate Movement over the last ten years, culminating in the rise of Greta Thunberg, and Kayak
to Klemtu, which received the Audience Choice Award at the ImagiNATIVE Film Festival in 2017.
CHRIS CURLING (Producer)
Chris Curling has produced over 30 films over the last 20 years. Previously he worked as an award-winning documentary
director.
In the middle of its worldwide release is Marcus Rosenmuller’s The Keeper (aka Trautmann), a co- production with
Lieblingsfilm in Munich. The Keeper has won a host of prizes including Best Film at Germany’s annual Bavarian Film
Awards. Last year saw the release of Isabel Coixet’s The Bookshop starring Emily Mortimer, Bill Nighy, and Patricia
Clarkson-a co-production with Acontracorriente Films in Barcelona. The Bookshop won Best Film, Best Director and
Best Screenplay at Spain’s annual Goya Awards. Also nearing completion is Special Couple, the first China-UK feature
film co-production.
Curling produced Michael Hoffman’s Tolstoy drama The Last Station, starring Helen Mirren, Christopher Plummer,
Paul Giamatti and James McAvoy. Mirren and Plummer both secured Academy Award, Golden Globe and SAG Award
nominations for their roles in the film. Both were also nominated for Independent Spirit Awards - Michael Hoffman
was nominated for Best Screenplay and Best Director, and Curling and the film were nominated for Best Picture.
Among the other films that Curling has produced are Terry Gilliam’s Zero Theorem, starring Christoph Waltz, Andrea
Arnold’s short “Dog,” Mark Palansky’s Penelope, Gillian Armstrong’s Death Defying Acts, Hanif Kureishi and Udayan
Prasad’s, My Son The Fanatic, Gurinder Chadha’s It’s a Wonderful Afterlife, Peter Webber’s Hannibal Rising, Chris Smith’s Black Death, and David Mackenzie’s Asylum.
MARCEL ZYSKIND (Director of Photography)
Marcel Zyskind lives in Denmark and works internationally on an array of films, television projects,
documentaries and commercials. His many films include The Day Shall Come, directed by Chris Morris, Steel Country,
directed by Simon Fellows, Two Faces of January, directed by Hossein Amini, Summer 92, directed by Kasper Barfoed,
Bullet Boy for director Saul Dibb, Mammoth for director Lukas Moodysson and Mister Lonely for director Harmony Korine. He
is well known for his frequent collaborations with director Michael Winterbottom, which include Everyday, Trishna, The Killer
Inside Me, Genova, A Mighty Heat, The Road to Guantanamo, Tristram Shandy: A Cock And Bull Story, Nine Songs, Code 46,
and In This World. Among his music videos is Massive Attack’s “Live with Me,” for director Jonathan Glazer.
Marcel won the highly regarded cinematography award at the San Sebastian Film Festival in 2004 for his work on
Nine Songs and has twice been a nominee for the best cinematographer award at the European Film Academy Awards,
for In This World in 2002 and Code 46 in 2003 (shared with Alwin Küchler).
CAROL SPIER (Production Designer)
Carol Spier is an award-winning, international production designer, based in Toronto, Canada. She is known for her
long collaboration on numerous films with director David Cronenberg, including such films as Eastern Promises (which
earned her a Genie Award nomination), Dead Ringers (which won her a Genie Award for Best Production Design), A
History of Violence and Maps to the Stars (for which she won DGC Craft Award).
Spier has also worked with director Guillermo del Toro on several films, including Pacific Rim, Blade 2 and Mimic.
Other notable credits include Paul Gross’ Passchendale (for which she won Genie and DGC Outstanding Achievement
Awards). Other credits include The League of Extraordinary Gentlemen for director Steve Norrington, Christopher
Gans’ Silent Hill and Jim Sheridan’s Dream House. Spier’s recent credits include “Black Mirror” for director Jodie
Foster; the television series “11/22/63,” directed by Kevin McDonald, and the upcoming Lone Scherfig-directed The
Kindness of Strangers.
ANNE DIXON (Costume Designer)
Anne Dixon’s costume design has been seen internationally both on stage and onscreen for over two decades. Her
collaboration with such directors as François Girard, Niki Caro, Jeremy Podeswa, Mick Jackson, Angelica Huston, Paul
Mazursky, Kathy Bates, Bob Gale, Sudz Sutherland and Veronica Tennant have kept her designs fresh and inspiring.
Her feature films include The Song of Names, Lavender, Born to Be Blue, Fugitive Pieces, Saint Ralph, and Interstate
60, to name but a few.
Dixon is a graduate in Art & Design from The University of the Arts, London, England.
RONALD SANDERS C.C.E. A.C.E. (Editor)
Ron Sanders has worked with directors including Robert Longo, Daniel Petrie Jr., Sturla Gunnarson, Norman Jewison,
and Henry Sellick. He has collaborated with David Cronenberg on 19 films, winning Genie Awards for Ded Ringers
(1989), Crash (1996), eXistenZ (2000) and Eastern Promises (200 garnering DGC Awards for A History of Violence
(2006), Eastern Promises (2008) and A Dangerous Method (2012 He was nominated for an American Cinema
Editors Award for his work on Coraline (2010).
Lance Henriksen, Viggo Mortensen
Photo by: Brendan Adam-Zwelling
C A R M E N A R N D T
J A C K B O E M
T Y L E R D E L B E N
S V E R R I R G U D N A S O N
L A N C E H E N R I K S E N
T E R R Y C H E N
H A N N A H G R O S S
C A R I N A B A T T R I C K
A V A K O Z E L J
L A U R A L I N N E Y
G A B B Y V E L I S
B R A C K E N B U R N S
L I A M A N D L U C A C R E S C I T E L L I
G R A D Y M C K E N Z I E
E T I E N N E K E L L I C I
W I L L I A M H E A L Y
V I G G O M O R T E N S E N
E L L A J O N A S F A R L I N G E R
P I E R S B I J V O E T
D A V I D C R O N E N B E R G
P A U L G R O S S
H E N R Y M O R T E N S E N
N O A H D A V I S
T A Y L O R B E L L E P U T E R M A N
B O M A R T Y N
M A X W E L L M C C A B E L O K O S
J O H N N Y O
A L I C I A T U R N E R
E L I Z A B E T H L E E E M M A P E T R A K I S R O B E R T P O M P O S O
A N Y A R Y Z H E N K O V A N A T A L I E N O V A K R E M P L A K O W S K I
S H E E N A G R A H A M M E A G H A N C A R E Y L A N D O N R A M I R E Z I O L A N D A S A N T O S L E O D I L E O
C H R I S T O P H E R C O M R I E L A R A S A R G E N T R A N D Y L E G E N D R E M A N D Y K E T C H E S O N Y O R K L I I V A N D O L Y N S K Y J L E T A B R O W N J A D E R I L E Y
J A S O N C L A R K E J O H N K I M S H A R I S P I E R J O Y C E M C P H E R S O N E L I O T R E V I N G T O N I A N N E L M E S S C O T T K E L L E R P E T E R N I C O L A K A K O S Y U R I I S H V E T S S T E V E N W O L D E N G A D A V I D G R U E R B R A N D O N D A L E D A V I D N I C H O L S O N M A L C O L M G L A S S F O R D C A T H E A V E N
S E A N S E A L E Y R O B E R T T A G L I A F E R R I M E L A N I E T E I X E I R A A . K . L A K H O O J E F F M A C N A B M O N T Y J A N G A L E X O R D A N I S
Z O Ë B I G I O
P A U L G O S S E D O R I A N W I L L I A M S O N J A C K B O U R D O N
D A V I D A L L A N S C O T T M A C K I N N O N D A N I E L M C K E N D R I C K H E I N Z G L O S S M I K E P L A N T
J A M E S H O L M E S J A S O N L E N O U R Y J A S O N M C G O W A N R O B E R T R I C E B R A N D O N M A C L E A N A N T O N B O O N S T R A G R E G C L A N C Y M A U R I C E R O Y R Y A N T A L A R I C O
A C M E F X T I M B A R R A B A L L M E L I S S A K . N I C O L L
M A L C O L M M C C U L L O C H A N D R E W V A N E E K M A K E N Z I E P O Z Z E B O N J O S H U A C A M P B E L L K R I S S L I S K O A L E S S A N D R O M A R T E L L U Z Z I
M A R I O M O R E I R A S A N G M A I E R B R O O K E D A P R A T O
J A N E F L A N D E R S S O O - L U E N T O M J A Y B A R R I G A R S I L V A N A S A C C O
C A R O L H A R T W I C K G I L L I A N B R O W N
R I A N M C N A M A R A
E M M A Z E E S A C H A G U T T E N S T E I N S C O T T F R A S E R
D A W N S T O L I A R H E I D I F R E E M A N G I L E S B U R G E S S
L I P S Y N C P O S T
P A U L D R A Y L I S A J O R D A N T O M R U S S E L L J A M E S C L A R K E E L I Z A B E T H N E W S H A M W I L L C H E T W Y N D B E N N O R T H C E L I N E D A V I E S A M Y B E S A T E L U K E R O S S M A R I A B R A N D T R I C K W H I T E J O R D A N M A L O N G A C L A R I S S A J E A N - J A C Q U E S N E V B R O T H E R S
L I P S Y N C D E S I G N
H O W A R D W A T K I N S J U L I A H A L L T O M B U R K E C H L O E T E T U
L I P S Y N C P O S T
S V E N T A I T S T U S H A R M A N E K I A N W I L S O N S T E V E L I T T L E A L A S T A I R S I R K E T T P H I L L E E
A B B E Y R O A D S T U D I O S K O B I Q U I S T J A C K C H E E T H A M S I M O N C A M P B E L L D A N C O L E I A N T A Y L O R F I O N A G I L L O T T
U N I V E R S A L S O U N D B E N C R O S S I A N W A G G O T T
L I P S Y N C P O S T T U S H A R M A N E K Y A N T I W I N D R I C H
G O L D C R E S T S I M O N D I G G I N S M A R I A K E L L Y L I Z Z I E C A M P B E L L - K E L L Y
T E C H N I C O L O R T O R O N T O P A U L L Y N C H
N E L S O N F E R R E I R A G E O F F R E Y P O U N S E T T C H R I S T O P H E R M A R R E N J O H N J A R V I S T A M M Y I S A B E L L S H A U N A B L A C K E M M A C A M P B E L L C A L L U M S H O N I K E R E M M A H O G A G E G R A H A M - A R B U R T H N O T M O L L Y L E W I S
L I P S Y N C P O S T
D A V I D F O W L E R L U C A Z A P P A L A D H A V A L M A L A V I A A L A S D A I R M A C C U I S H J O N I A N D R E O U A I M E E M C K I N N E Y J A C Q U I M A R C H A N T - A D A M S J A N H O G E V O L D P A O L O D ’ A R C O N A O M I B U T L E R J O D E M E Y M A T T C A R T E R J O H N M O F F E T T W I L L I A M J O N E S J E F F N O R T H W A Y D E D U N C A N S M I T H K A T I E G O O D W I N M A N U E L M E N D E S B A R R Y Z U B E L L U K E H A M I L T O N K E I T H P A N G L I N D E N B R O W N B I L L D O N N A R O M E R O D O M I N I K A Z A W I S L A K
F A T T S
C H R I S T O P H E R R I C H A R D S
R M C G I L L Y C A S T I N G I N C .
R I C K P A R K E R J O H N K A Y E
J O H N N E L L E S
S A T S I D H U
S U Z A N N E C H E R I T O N B R E N D A N A D A M - Z W E L L I N G C A I T L I N C R O N E N B E R G
R I C K P A R K E R
J O H N O Z O L I N S D A V E R . W I L S O N
D A V E S T A P L E S W A Y N E C O R R I G A N J A S O N N A I D O O K E V I N W I L S O N P E T E R S T E R G I O U R I C H A R D J . M A C K E N Z I E B I L L P A R T R I D G E M A T T H E W H A R T E
B L A Z I N G K I T C H E N S H E R I L O W E A N D R E I M U R E S A N A N T H O N Y N A T O L I
R E E L M E D I C S I N M O T I O N
G A L L A G H E R E N T E R T A I N M E N T
T H E R I G H T S C O M P A N Y
W I L L I A M F . W H I T E I N T E R N A T I O N A L I N C .
P H I L I P W A L E Y A N D R E W W A R D R O N A N O ’ C O N N O R C H R I S T O P H E L E C H A N U
B A R A L W A L E Y P R O D U C T I O N S , I N C .
J O E L B A R A L B E V E R L E Y W A R D R O B B I E L E A C O C K
M I C A E L A B A R A L D O M I N I Q U E B I A N C H I
S A N D Y L I N D S T E D T M I C H A E L L E O N A R D K E I T H S A L E M I K E M A L O N E R O B E R T N E W A U S T I N S I N G E R V I C T O R T O R R E S J O H N E V A N G E L I S T A J A M E S S H E L D O N D A V I D D R I N K W A T E R K A T I E N G U Y E N H O A G
D A M I A N C H U R C H M I C H A E L N I E J A V I E R S A N T O S A U D E R A T A N I A E S P I N O S A W I L L I A M H A Y E S D A N E B R E H M
K I M I W E B B E R
Z S O L T M A G Y A R C . A . S .
G A B O R E R D E I
M A L C O L M B R Y C E J I M - N I C H O L A S J A M E S K E V I N K E I R S T E A D
D O N A T O B R A G A G N O L O A A R O N F A I R L E Y O S C A R G A R C I A K E N T A L E X A N D E R D I E G O M A R I S C A L K Y L E K O L D I N G
E D M A Z U R E K S T E P H E N A N D R Z E J E W S K
B R U C E M I N K C H E R I R O D R I G O
T O N Y A B A R R E T T S A S H A W I L L I A M S T A R A M E Y E R N I C O L E Q U E S A D A
B E N J A M I N R O B I N A U D R E Y A N Z U R E S A N N I E M A N I S C A L C O
D I X I E W E B S T E R - D A V I S
S E A N M B A K E R C A M E R O N D A V I S W H Y L I P L E E C A R L A M M I R E L E S M A R K E D W A R D S C H O L L E L I Z A B E T H T W A I T S B R A N D O N J A M E S V A N B U R K L E O P O O M Y O O D E E
M A R K S C H O L L
P A T J A C K S O N
D A V I D J A M E S
M A C D I R O S A R I O S C O T T C A R M O N A M A T T D E A M I C I S U M B E R T O F E R N A N D E Z J O H N H A L L R A N D Y L O V E L A D Y R O B E R T N E L S O N J O S H U A O K A S A K I
L A U R A B A G A N O J E F F T A P E R T
S A L I L A M A X W E L L S A R A N Y O O D E E
J O H N T A Y L O R
V I G G O M O R T E N S E N
B U C K E T H E A D V I G G O M O R T E N S E N
T R AV I S D I C K E R S O N T H E C R Y P T S T U D I O , L O N D O N
M A G G I E R O D F O R D
A C H I L L E P R O D U C T I O N S
A C H I L L E P R O D U C T I O N S A N D I N G E N I O U S M E D I A N A D I N E L U Q U E A G A R F O R J Á N S A M A N T H A A L L W I N T O N E L I Z A B E T H R O S E A I M É E W A N G M I C H A E L G A L E S A M U E L F I T Z G E R A L D L I N D S E Y H U N T
H A N W A Y F I L M S
H A N W A Y F I L M S P E T E R W A T S O N G A B R I E L L E S T E W A R T J A N S P I E L H O F F T O M G R I E V S O N N I C O L E M A C K E Y J U S T I N K E L L Y M A T T B A K E R M A R K L A N E
S C H E D U L E 2
L I P S Y N C P R O D U C T I O N S P E T E R R A V E N S I R E R A M O S L E E & T H O M P S O N L L P C H R I S T O S M I C H A E L S R O S E L A G E T
S C Y T H I A F I L M S E T H A N L A Z A R J U D I T H C O G A N - A N D R E W S B R A N D O N S H I D L O W S K I G O L D E N B E R G - N A H M I A S L L P D A N I E L G O L D E N B E R G B E N C O W L E Y
Z E P H Y R F I L M S M A G S D O W L I N G S A R A H G O L D I N G C A T H E R I N E N G J U L I A N S A M P S O N L E E & T H O M P S O N L L P N I C K I P A R F I T T A N T O N Y S W I A T E K S A R A H C U N D A L L M A L D E & C O S I R I S H M A L D E A A S H I S H G U D K A B H A R T I P A D H A R I A
P E R C E V A L P I C T U R E S M I C H E L E P E R E Z H E N R Y M O R T E N S E N S T U A R T R O S E N T H A L R I C H A R D T H O M P S O N
F I L M F I N A N C E S C A N A D A L T D
U T A I N D E P E N D E N T F I L M G R O U P
L I S A N D R O A L O N S O
H O S S E I N A M I N I
S I M O N A R S E N A U L T
N A D I N E B H A B H A
T E R R Y B I R D
B O O N V I L L E , N . Y .
B E A U B R I D G E W A T E R
B O B C A M P B E L L
B O R J A C A S A N I
F A B I Á N C A S A S
C A S T I N G W O R K B O O K , V A N C O U V E R
T H E A M E R I C A N C R O W
A N N E D E L U Z
S A L O N D E W
A G U S T Í N D Í A Z Y A N E S
L I N D E N L O U I S D I C K E R S O N
W A L T E R D O N O H U E
G R A N T E V A N S
A I S H A E V E L Y N A
P E T E R F A R R E L L Y
N A C H O G A B A S A
A R I A D N A G I L
H I G H V I E W H O L S T E I N S
T H E E A S T E R N H O G - N O S E D S N A K E
H O R S E S
L Y N E T T E H O W E L L T A Y L O R
P E T E R J A C K S O N
J A N E J O H N S O N
A N D Y J O Y N T
N I K O L A I E L D R U P - J Ø R G E N S E N
L A R S K N U D S E N
G U Y L A F L E U R
M A R T I N L A F L E U R
R A Y L O R I G A
L O W V I L L E , N . Y .
T H E M A L L A R D D U C K
M A A N R E N T A L A / S
T H E I N T E R N A T I O N A L M A P L E M U S E U M
M I S S I S S A U G A S O F S C U G O G I S L A N D
M O O D I E ’ S M O T O R I N N
J E A N N E M C C A R T H Y
T H E N A T I O N A L H O C K E Y L E A G U E
N E W Y O R K S T A T E P O L I C E
O L E F I N N N I E L S E N
D A V I D O E L H O F F E N
T U L L E O L S E N
T H E P A T R I C I A N G R I L L
P E A R S O N I N T E R N A T I O N A L A I R P O R T
P O O M T H A I R E S T A U R A N T
T H E C O M M O N R A V E N
L Y N N R A W L I N S
P H I L I P R I D L E Y
A N A R I S U E Ñ O
S O S P E T E R R O B
W A R R E N R O B E R T S O N
S T U A R T R O S E N T H A L
M A T T R O S S
C H R I S T I A N R Y G E
C O L O N E L S A M U E L S M I T H P A R K
M A R G H E R I T A S Ü I N
J E R E M Y T H O M A S
T H R E S H O L D A V I A T I O N
T R A F A L G A R C A S T L E S C H O O L
U T I C A , N . Y .
A G N È S V A R D A
R O S A L I E V A R D A
V E N I C E , C A L I F O R N I A
T H E M E A D O W V O L E
A L E X A N D R A W A R D
C H L O E W A R D
H A R R Y W A R D
Y O R K G E N E R A L H O S P I T A L
U N I T P R O D U C T I O N M A N A G E R
F I R S T A S S I S T A N T D I R E C T O R
S E C O N D A S S I S T A N T D I R E C T O R
C A S T
W I L L I S ( 2 3 - 4 3 Y R S )
W I L L I S ( 7 5 Y R S )
E R I C
G W E N
S A R A H ( 4 - 6 Y R S )
S A R A H ( 1 1 Y R S )
S A R A H ( 4 5 Y R S )
M Ó N I C A
J I L L
J O H N ( 9 - 1 1 Y R S )
J O H N ( 1 6 Y R S )
J O H N ( 5 0 Y R S )
P A U L A
W I L L
D R . K L A U S N E R
D R . S O L V E I
S E R G E A N T S A U N D E R S
D I N E R W A I T E R R A S M U S S E N
G R A C I E
F L I G H T A T T E N D A N T H A R R I S
E D D I E
D A N N Y W A R D
S T U N T C O O R D I N A T O R
C R E W
T H I R D A S S I S T A N T D I R E C T O R
F O U R T H A S S I S T A N T D I R E C T O R - T R A I L E R S
S E T P A
A S S O C I A T E P R O D U C E R S
P R O D U C T I O N C O O R D I N A T O R
F I R S T A S S I S T A N T P R O D U C T I O N C O O R D I N A T O R
A S S I S T A N T T O V I G G O M O R T E N S E N
P R O D U C T I O N A S S I S T A N T S
P R O D U C T I O N A C C O U N T A N T S
1 S T A S S I S T A N T A C C O U N T A N T - A C C O U N T S P A Y A B L E
2 N D A S S I S T A N T A C C O U N T A N T - P A Y R O L L
3 R D A S S I S T A N T A C C O U N T A N T
T A X C R E D I T A C C O U N T A N T
P O S T A C C O U N T A N T - C A N A D A
P O S T A S S I S T A N T A C C O U N T A N T - U K
A R T D I R E C T O R
F I R S T A S S I S T A N T A R T D I R E C T O R
G R A P H I C D E S I G N E R
A R T D E P A R T M E N T C O O R D I N A T O R
K E Y S C E N I C
L E A D S C E N I C A R T I S T
H E A D P A I N T E R
S E T D E C O R A T O R
L E A D D R E S S E R
S E T D E C O R A T O R B U Y E R
S E T D R E S S E R S
O N S E T D R E S S E R
S T E A D I C A M O P E R A T O R
F I R S T A S S I S T A N T A - C A M
S E C O N D A S S I S T A N T A - C A M
C A M E R A T R A I N E E
D I T
V I D E O A S S I S T A N T
D A I L I E S C O O R D I N A T O R
S C R I P T S U P E R V I S O R
S O U N D M I X E R
B O O M O P E R A T O R
S O U N D U T I L I T Y
G A F F E R
B E S T B O Y E L E C T R I C
E L E C T R I C I A N S
G E N N Y O P E R A T O R
K E Y G R I P
B E S T B O Y G R I P
D O L L Y G R I P A - C A M
G R I P S
C O N S T R U C T I O N C O O R D I N A T O R
H E A D C A R P E N T E R
A S S I S T A N T H E A D C A R P E N T E R S
S P E C I A L E F F E C T S B Y
S P E C I A L E F F E C T S C O O R D I N A T O R
S P E C I A L E F F E C T S K E Y
L O C A T I O N M A N A G E R S
A S S I S T A N T L O C A T I O N M A N A G E R S
L O C A T I O N P A S
P R O P S M A S T E R
P R O P S B U Y E R
A S S I S T A N T P R O P S
A S S I S T A N T C O S T U M E D E S I G N E R
T R U C K S U P E R V I S O R
S E T S U P E R V I S O R
K E Y T E X T I L E A R T I S T A N D D Y E R
K E Y H A I R S T Y L I S T
K E Y M A K E - U P
V I S U A L E F F E C T S S U P E R V I S O R
P O S T P R O D U C T I O N S U P E R V I S O R S
P O S T C O O R D I N A T O R
F I R S T A S S I S T A N T E D I T O R S
P O S T P R O D U C T I O N S E R V I C E S B Y
S E N I O R P O S T P R O D U C E R
H E A D O F F A C I L I T I E S
C O L O U R I S T
H E A D O F D I
D I C O - O R D I N A T O R
S E N I O R D I E D I T O R
D I E D I T O R
D I A S S I S T A N T S
H E A D O F T E C H N I C A L S U P P O R T
T E C H N I C A L O P E R A T O R S
T I T L E S B Y
H E A D O F D E S I G N
S E N I O R D E S I G N E R
D E S I G N E R
D E S I G N C O O R D I N A T O R
S O U N D B Y
R E - R E C O R D I N G M I X E R S
S U P E R V I S I N G S O U N D E D I T O R S
S O U N D E F F E C T S E D I T O R S
F I N A L M I X R E C O R D E D A T
M I X T E C H N I C I A N S
H E A D O F T E C H N I C A L
T E C H N I C A L E N G I N E E R S
S T U D I O M A N A G E R
F O L E Y R E C O R D E D A T
F O L E Y M I X E R
F O L E Y A R T I S T
A D R A T
A D R R E C O R D I S T
A D R A S S I S T A N T
A D R A T
A D R M I X E R
A D R A S S I S T A N T
A D R C O O R D I N A T O R
A D R A T
A D R R E C O R D I S T
G R O U P S U P E R V I S O R
B A C K G R O U N D V O I C E S
V I S U A L E F F E C T S B Y
V I S U A L E F F E C T S E X E C U T I V E P R O D U C E R
V I S U A L E F F E C T S S U P E R V I S O R
V I S U A L E F F E C T S P R O D U C E R
V I S U A L E F F E C T S O P E R A T I O N S M A N A G E R
V I S U A L E F F E C T S P R O D U C T I O N C O O R D I N A T O R S
V I S U A L E F F E C T S B I D D I N G P R O D U C E R
L E A D C O M P O S I T O R
C O M P O S I T O R S
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V I S U A L E F F E C T S E D I T O R S
S Y S T E M S A D M I N I S T R A T O R S
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V I S U A L E F F E C T S F A C I L I T Y A C C O U N T A N T S
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T O R O N T O C A S T I N G
B A C K G R O U N D C A S T I N G
B A C K G R O U N D A R T I S T S
S T U N T S A F E T Y
D I A L E C T C O A C H
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U N I T P H O T O G R A P H E R
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P I C T U R E V E H I C L E C O O R D I N A T O R
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T R A N S P O R T C O O R D I N A T O R
T R A N S P O R T C A P T A I N
T R A N S P O R T C O - C A P T A I N
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D R I V E R S
C A T E R I N G A N D C R A F T S E R V I C E S B Y
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C R A F T S E R V E R S
M E D I C S B Y
I N S U R A N C E P R O V I D E D B Y
S C R I P T R E S E A R C H S E R V I C E S B Y
L I G H T I N G E Q U I P M E N T S U P P L I E D B Y
L A U N I T
U N I T P R O D U C T I O N M A N A G E R / E X E C U T I V E P R O D U C E R
F I R S T A S S I S T A N T D I R E C T O R
S E C O N D A S S I S T A N T D I R E C T O R S
P R O D U C T I O N S E R V I C E C O M P A N Y
P R O D U C T I O N E X E C U T I V E
P R O D U C T I O N S U P E R V I S O R
K E Y O F F I C E A S S I S T A N T
P R O D U C T I O N A C C O U N T A N T
A S S I S T A N T A C C O U N T A N T
S E T D E C O R A T O R
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S E T D R E S S E R S
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A D D I T I O N A L C A M E R A O P E R A T O R
C A M E R A O P E R A T O R B - C A M
F I R S T A S S I S T A N T A - C A M
F I R S T A S S I S T A N T B - C A M
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S O U N D R E C O R D I S T
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H A I R A N D M A K E - U P S U P E R V I S O R
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M A K E - U P A R T I S T
B A C K G R O U N D C A S T I N G
B A C K G R O U N D A R T I S T S
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S T U D I O T E A C H E R
S T I L L P H O T O G R A P H E R
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D R I V E R S
K E Y C R A F T S E R V I C E
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P O O M T H A I C O O K S
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L E G A L S E R V I C E S F O R S C Y T H I A F I L M S
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P R O D U C E D W I T H T H E P A R T I C I P A T I O N O F T H E G O V E R N M E N T O F C A N A D A
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D A V E S T A P L E S W A Y N E C O R R I G A N J A S O N N A I D O O K E V I N W I L S O N P E T E R S T E R G I O U R I C H A R D J . M A C K E N Z I E B I L L P A R T R I D G E M A T T H E W H A R T E
B L A Z I N G K I T C H E N S H E R I L O W E A N D R E I M U R E S A N A N T H O N Y N A T O L I
R E E L M E D I C S I N M O T I O N
G A L L A G H E R E N T E R T A I N M E N T
T H E R I G H T S C O M P A N Y
W I L L I A M F . W H I T E I N T E R N A T I O N A L I N C .
P H I L I P W A L E Y A N D R E W W A R D R O N A N O ’ C O N N O R C H R I S T O P H E L E C H A N U
B A R A L W A L E Y P R O D U C T I O N S , I N C .
J O E L B A R A L B E V E R L E Y W A R D R O B B I E L E A C O C K
M I C A E L A B A R A L D O M I N I Q U E B I A N C H I
S A N D Y L I N D S T E D T M I C H A E L L E O N A R D K E I T H S A L E M I K E M A L O N E R O B E R T N E W A U S T I N S I N G E R V I C T O R T O R R E S J O H N E V A N G E L I S T A J A M E S S H E L D O N D A V I D D R I N K W A T E R K A T I E N G U Y E N H O A G
D A M I A N C H U R C H M I C H A E L N I E J A V I E R S A N T O S A U D E R A T A N I A E S P I N O S A W I L L I A M H A Y E S D A N E B R E H M
K I M I W E B B E R
Z S O L T M A G Y A R C . A . S .
G A B O R E R D E I
M A L C O L M B R Y C E J I M - N I C H O L A S J A M E S K E V I N K E I R S T E A D
D O N A T O B R A G A G N O L O A A R O N F A I R L E Y O S C A R G A R C I A K E N T A L E X A N D E R D I E G O M A R I S C A L K Y L E K O L D I N G
E D M A Z U R E K S T E P H E N A N D R Z E J E W S K
B R U C E M I N K C H E R I R O D R I G O
T O N Y A B A R R E T T S A S H A W I L L I A M S T A R A M E Y E R N I C O L E Q U E S A D A
B E N J A M I N R O B I N A U D R E Y A N Z U R E S A N N I E M A N I S C A L C O
D I X I E W E B S T E R - D A V I S
S E A N M B A K E R C A M E R O N D A V I S W H Y L I P L E E C A R L A M M I R E L E S M A R K E D W A R D S C H O L L E L I Z A B E T H T W A I T S B R A N D O N J A M E S V A N B U R K L E O P O O M Y O O D E E
M A R K S C H O L L
P A T J A C K S O N
D A V I D J A M E S
M A C D I R O S A R I O S C O T T C A R M O N A M A T T D E A M I C I S U M B E R T O F E R N A N D E Z J O H N H A L L R A N D Y L O V E L A D Y R O B E R T N E L S O N J O S H U A O K A S A K I
L A U R A B A G A N O J E F F T A P E R T
S A L I L A M A X W E L L S A R A N Y O O D E E
J O H N T A Y L O R
V I G G O M O R T E N S E N
B U C K E T H E A D V I G G O M O R T E N S E N
T R AV I S D I C K E R S O N T H E C R Y P T S T U D I O , L O N D O N
M A G G I E R O D F O R D
A C H I L L E P R O D U C T I O N S
A C H I L L E P R O D U C T I O N S A N D I N G E N I O U S M E D I A N A D I N E L U Q U E A G A R F O R J Á N S A M A N T H A A L L W I N T O N E L I Z A B E T H R O S E A I M É E W A N G M I C H A E L G A L E S A M U E L F I T Z G E R A L D L I N D S E Y H U N T
H A N W A Y F I L M S
H A N W A Y F I L M S P E T E R W A T S O N G A B R I E L L E S T E W A R T J A N S P I E L H O F F T O M G R I E V S O N N I C O L E M A C K E Y J U S T I N K E L L Y M A T T B A K E R M A R K L A N E
S C H E D U L E 2
L I P S Y N C P R O D U C T I O N S P E T E R R A V E N S I R E R A M O S L E E & T H O M P S O N L L P C H R I S T O S M I C H A E L S R O S E L A G E T
S C Y T H I A F I L M S E T H A N L A Z A R J U D I T H C O G A N - A N D R E W S B R A N D O N S H I D L O W S K I G O L D E N B E R G - N A H M I A S L L P D A N I E L G O L D E N B E R G B E N C O W L E Y
Z E P H Y R F I L M S M A G S D O W L I N G S A R A H G O L D I N G C A T H E R I N E N G J U L I A N S A M P S O N L E E & T H O M P S O N L L P N I C K I P A R F I T T A N T O N Y S W I A T E K S A R A H C U N D A L L M A L D E & C O S I R I S H M A L D E A A S H I S H G U D K A B H A R T I P A D H A R I A
P E R C E V A L P I C T U R E S M I C H E L E P E R E Z H E N R Y M O R T E N S E N S T U A R T R O S E N T H A L R I C H A R D T H O M P S O N
F I L M F I N A N C E S C A N A D A L T D
U T A I N D E P E N D E N T F I L M G R O U P
L I S A N D R O A L O N S O
H O S S E I N A M I N I
S I M O N A R S E N A U L T
N A D I N E B H A B H A
T E R R Y B I R D
B O O N V I L L E , N . Y .
B E A U B R I D G E W A T E R
B O B C A M P B E L L
B O R J A C A S A N I
F A B I Á N C A S A S
C A S T I N G W O R K B O O K , V A N C O U V E R
T H E A M E R I C A N C R O W
A N N E D E L U Z
S A L O N D E W
A G U S T Í N D Í A Z Y A N E S
L I N D E N L O U I S D I C K E R S O N
W A L T E R D O N O H U E
G R A N T E V A N S
A I S H A E V E L Y N A
P E T E R F A R R E L L Y
N A C H O G A B A S A
A R I A D N A G I L
H I G H V I E W H O L S T E I N S
T H E E A S T E R N H O G - N O S E D S N A K E
H O R S E S
L Y N E T T E H O W E L L T A Y L O R
P E T E R J A C K S O N
J A N E J O H N S O N
A N D Y J O Y N T
N I K O L A I E L D R U P - J Ø R G E N S E N
L A R S K N U D S E N
G U Y L A F L E U R
M A R T I N L A F L E U R
R A Y L O R I G A
L O W V I L L E , N . Y .
T H E M A L L A R D D U C K
M A A N R E N T A L A / S
T H E I N T E R N A T I O N A L M A P L E M U S E U M
M I S S I S S A U G A S O F S C U G O G I S L A N D
M O O D I E ’ S M O T O R I N N
J E A N N E M C C A R T H Y
T H E N A T I O N A L H O C K E Y L E A G U E
N E W Y O R K S T A T E P O L I C E
O L E F I N N N I E L S E N
D A V I D O E L H O F F E N
T U L L E O L S E N
T H E P A T R I C I A N G R I L L
P E A R S O N I N T E R N A T I O N A L A I R P O R T
P O O M T H A I R E S T A U R A N T
T H E C O M M O N R A V E N
L Y N N R A W L I N S
P H I L I P R I D L E Y
A N A R I S U E Ñ O
S O S P E T E R R O B
W A R R E N R O B E R T S O N
S T U A R T R O S E N T H A L
M A T T R O S S
C H R I S T I A N R Y G E
C O L O N E L S A M U E L S M I T H P A R K
M A R G H E R I T A S Ü I N
J E R E M Y T H O M A S
T H R E S H O L D A V I A T I O N
T R A F A L G A R C A S T L E S C H O O L
U T I C A , N . Y .
A G N È S V A R D A
R O S A L I E V A R D A
V E N I C E , C A L I F O R N I A
T H E M E A D O W V O L E
A L E X A N D R A W A R D
C H L O E W A R D
H A R R Y W A R D
Y O R K G E N E R A L H O S P I T A L
U N I T P R O D U C T I O N M A N A G E R
F I R S T A S S I S T A N T D I R E C T O R
S E C O N D A S S I S T A N T D I R E C T O R
C A S T
W I L L I S ( 2 3 - 4 3 Y R S )
W I L L I S ( 7 5 Y R S )
E R I C
G W E N
S A R A H ( 4 - 6 Y R S )
S A R A H ( 1 1 Y R S )
S A R A H ( 4 5 Y R S )
M Ó N I C A
J I L L
J O H N ( 9 - 1 1 Y R S )
J O H N ( 1 6 Y R S )
J O H N ( 5 0 Y R S )
P A U L A
W I L L
D R . K L A U S N E R
D R . S O L V E I
S E R G E A N T S A U N D E R S
D I N E R W A I T E R R A S M U S S E N
G R A C I E
F L I G H T A T T E N D A N T H A R R I S
E D D I E
D A N N Y W A R D
S T U N T C O O R D I N A T O R
W I L L I S S T U N T D O U B L E ( 2 3 - 4 3 Y R S )
J O H N S T U N T D O U B L E ( 4 Y R S )
J O H N S T U N T D O U B L E ( 1 6 Y R S )
C R E W
T H I R D A S S I S T A N T D I R E C T O R
F O U R T H A S S I S T A N T D I R E C T O R - T R A I L E R S
S E T P A
A S S O C I A T E P R O D U C E R S
P R O D U C T I O N C O O R D I N A T O R
F I R S T A S S I S T A N T P R O D U C T I O N C O O R D I N A T O R
A S S I S T A N T T O V I G G O M O R T E N S E N
P R O D U C T I O N A S S I S T A N T S
P R O D U C T I O N A C C O U N T A N T S
1 S T A S S I S T A N T A C C O U N T A N T - A C C O U N T S P A Y A B L E
2 N D A S S I S T A N T A C C O U N T A N T - P A Y R O L L
3 R D A S S I S T A N T A C C O U N T A N T
T A X C R E D I T A C C O U N T A N T
P O S T A C C O U N T A N T - C A N A D A
P O S T A S S I S T A N T A C C O U N T A N T - U K
A R T D I R E C T O R
F I R S T A S S I S T A N T A R T D I R E C T O R
G R A P H I C D E S I G N E R
A R T D E P A R T M E N T C O O R D I N A T O R
K E Y S C E N I C
L E A D S C E N I C A R T I S T
H E A D P A I N T E R
S E T D E C O R A T O R
L E A D D R E S S E R
S E T D E C O R A T O R B U Y E R
S E T D R E S S E R S
O N S E T D R E S S E R
S T E A D I C A M O P E R A T O R
F I R S T A S S I S T A N T A - C A M
S E C O N D A S S I S T A N T A - C A M
C A M E R A T R A I N E E
D I T
V I D E O A S S I S T A N T
D A I L I E S C O O R D I N A T O R
S C R I P T S U P E R V I S O R
S O U N D M I X E R
B O O M O P E R A T O R
S O U N D U T I L I T Y
G A F F E R
B E S T B O Y E L E C T R I C
E L E C T R I C I A N S
G E N N Y O P E R A T O R
K E Y G R I P
B E S T B O Y G R I P
D O L L Y G R I P A - C A M
G R I P S
C O N S T R U C T I O N C O O R D I N A T O R
H E A D C A R P E N T E R
A S S I S T A N T H E A D C A R P E N T E R S
S P E C I A L E F F E C T S B Y
S P E C I A L E F F E C T S C O O R D I N A T O R
S P E C I A L E F F E C T S K E Y
L O C A T I O N M A N A G E R S
A S S I S T A N T L O C A T I O N M A N A G E R S
L O C A T I O N P A S
P R O P S M A S T E R
P R O P S B U Y E R
A S S I S T A N T P R O P S
A S S I S T A N T C O S T U M E D E S I G N E R
T R U C K S U P E R V I S O R
S E T S U P E R V I S O R
K E Y T E X T I L E A R T I S T A N D D Y E R
K E Y H A I R S T Y L I S T
K E Y M A K E - U P
V I S U A L E F F E C T S S U P E R V I S O R
P O S T P R O D U C T I O N S U P E R V I S O R S
P O S T C O O R D I N A T O R
F I R S T A S S I S T A N T E D I T O R S
P O S T P R O D U C T I O N S E R V I C E S B Y
S E N I O R P O S T P R O D U C E R
H E A D O F F A C I L I T I E S
C O L O U R I S T
H E A D O F D I
D I C O - O R D I N A T O R
S E N I O R D I E D I T O R
D I E D I T O R
D I A S S I S T A N T S
H E A D O F T E C H N I C A L S U P P O R T
T E C H N I C A L O P E R A T O R S
T I T L E S B Y
H E A D O F D E S I G N
S E N I O R D E S I G N E R
D E S I G N E R
D E S I G N C O O R D I N A T O R
S O U N D B Y
R E - R E C O R D I N G M I X E R S
S U P E R V I S I N G S O U N D E D I T O R S
S O U N D E F F E C T S E D I T O R S
F I N A L M I X R E C O R D E D A T
M I X T E C H N I C I A N S
H E A D O F T E C H N I C A L
T E C H N I C A L E N G I N E E R S
S T U D I O M A N A G E R
F O L E Y R E C O R D E D A T
F O L E Y M I X E R
F O L E Y A R T I S T
A D R A T
A D R R E C O R D I S T
A D R A S S I S T A N T
A D R A T
A D R M I X E R
A D R A S S I S T A N T
A D R C O O R D I N A T O R
A D R A T
A D R R E C O R D I S T
G R O U P S U P E R V I S O R
B A C K G R O U N D V O I C E S
V I S U A L E F F E C T S B Y
V I S U A L E F F E C T S E X E C U T I V E P R O D U C E R
V I S U A L E F F E C T S S U P E R V I S O R
V I S U A L E F F E C T S P R O D U C E R
V I S U A L E F F E C T S O P E R A T I O N S M A N A G E R
V I S U A L E F F E C T S P R O D U C T I O N C O O R D I N A T O R S
V I S U A L E F F E C T S B I D D I N G P R O D U C E R
L E A D C O M P O S I T O R
C O M P O S I T O R S
M O D E L L I N G / T E X T U R I N G
F X T D
V I S U A L E F F E C T S E D I T O R S
S Y S T E M S A D M I N I S T R A T O R S
S Y S T E M S S U P P O R T E N G I N E E R
V I S U A L E F F E C T S F A C I L I T Y A C C O U N T A N T S
P O S T P R O D U C T I O N S C R I P T
T O R O N T O C A S T I N G
B A C K G R O U N D C A S T I N G
B A C K G R O U N D A R T I S T S
S T U N T S A F E T Y
D I A L E C T C O A C H
T U T O R
P U B L I C I S T
U N I T P H O T O G R A P H E R
A D D I T I O N A L S T I L L P H O T O G R A P H Y
A N I M A L C O O R D I N A T O R
P I C T U R E V E H I C L E C O O R D I N A T O R
P I C T U R E V E H I C L E C A P T A I N
T R A N S P O R T C O O R D I N A T O R
T R A N S P O R T C A P T A I N
T R A N S P O R T C O - C A P T A I N
S W A M P E R
D R I V E R S
C A T E R I N G A N D C R A F T S E R V I C E S B Y
K E Y C R A F T S E R V E R
C R A F T S E R V E R S
M E D I C S B Y
I N S U R A N C E P R O V I D E D B Y
S C R I P T R E S E A R C H S E R V I C E S B Y
L I G H T I N G E Q U I P M E N T S U P P L I E D B Y
L A U N I T
U N I T P R O D U C T I O N M A N A G E R / E X E C U T I V E P R O D U C E R
F I R S T A S S I S T A N T D I R E C T O R
S E C O N D A S S I S T A N T D I R E C T O R S
P R O D U C T I O N S E R V I C E C O M P A N Y
P R O D U C T I O N E X E C U T I V E
P R O D U C T I O N S U P E R V I S O R
K E Y O F F I C E A S S I S T A N T
P R O D U C T I O N A C C O U N T A N T
A S S I S T A N T A C C O U N T A N T
S E T D E C O R A T O R
A D D I T I O N A L S E T D E C O R A T O R
S E T L E A D M A N
S E T D R E S S E R S
S E T P A S
A R T P A
A D D I T I O N A L C A M E R A O P E R A T O R
C A M E R A O P E R A T O R B - C A M
F I R S T A S S I S T A N T A - C A M
F I R S T A S S I S T A N T B - C A M
S E C O N D A S S I S T A N T C A M E R A
D I T
S C R I P T S U P E R V I S O R
S O U N D R E C O R D I S T
B O O M O P E R A T O R
G A F F E R
B E S T B O Y E L E C T R I C
E L E C T R I C I A N
K E Y G R I P
B E S T B O Y G R I P S
D O L L Y G