Blogevent : Movie - Immortals

Won a invite to watch the premier of the movie Immortals
On 15/11/2011 at 7pm at shaw lido
So as usual close my shop around 6pm and rush my way to the Shaw Lido
Lucky for me my shop at orchard road
If not sure need go early
Rush all the way since they say movie start at 7pm
Reach just in time around 6 55pm
So up we go to level 5 to collect tickets





It at hall 1
So we decide to buy popcorn and drinks before go in. The popcorn was large and 2 large drinks (actually medium but look large though)
End I throw away the balance cause too big!
As usual need wait for a few minutes before movie actually start so we didn't rush to enter but free seating so need go fast to book seat!!!





Hall 1 is located on level 6 so need go up escalator!

We went in the hall and it was full! So end up seat near the screen!
It shown in a IMAX theater that why it so big
It was shown in 3D
Me been a 'otaku' was curios to check how it look without the glasses
It end up not so 3D
I guess they shoot in 2D and make it 3D?

The movie wasn't what I expected
The war wasn't much
A few details left unanswered
There boo boo too! See yourself and see if you can spot it
1 scene sure guys will love it
The sex scene! Look real !
But kinda funny they shoot it that way
Anyway overall I give 7/10
Action movies!
Lots of chit chat too
Not much scene about the war!
It like they never really show!
I wonder why is the Titan been release
What happen if they are free to attack
Who control them

To many question unanswered
I read alot review and mostly are bad!!

Best scene shoot 3 out 4 arrow!
Magical !

Anyway here the link to the movie website
Imdb
Here the trailer
Click me

Synopsis:
Production Notes
Runtime: 110 minutes




IMMORTALS
SYNOPSIS

Visionary director Tarsem Singh and producers Gianni Nunnari (300), Mark Canton (300), and Ryan Kavanaugh (The Fighter) unleash an epic tale of treachery, vengeance and destiny in Immortals, a stylish and spectacular 3-D action adventure. As a power-mad king razes ancient Greece and threatens to destroy mankind, a heroic young villager rises up against him in a thrilling quest as timeless as it is powerful.
The brutal and bloodthirsty King Hyperion (Mickey Rourke) and his murderous army are rampaging across Greece, demolishing everything in their wake with ruthless efficiency. Village after village falls to Hyperion’s legions and each victory takes him one step closer to his goal: unleashing the power of the sleeping Titans to vanquish both the Gods of Olympus and all of humankind.
It seems nothing will stop the evil king’s mission to become the undisputed master of the world, until a stonemason named Theseus (Henry Cavill) vows to avenge the death of his mother in one of Hyperion’s raids. When Theseus meets the Sibylline Oracle, Phaedra (Freida Pinto), her disturbing visions of the young man’s future convince her that he is the key to stopping the destruction. With her help, Theseus assembles a small band of followers and embraces his destiny in a final desperate battle for the future of humanity.
Immortals stars Academy Award® nominee and Golden Globe® winner Mickey Rourke (The Wrestler, Iron Man II), Academy Award nominee John Hurt (The Elephant Man, Harry Potter and the Deathly Hallows), Kellan Lutz (the Twilight saga), Henry Cavill (“The Tudors”), Freida Pinto (Slumdog Millionaire), Luke Evans (Clash of the Titans), Isabel Lucas (Transformers: Revenge of the Fallen) and Stephen Dorff (Somewhere).
Tarsem Singh (The Cell, The Fall) directs from a script by Charley Parlapanides and Vlas Parlapanides. It is produced by Gianni Nunnari (300), Mark Canton (300) and Ryan Kavanaugh (The Fighter). Director of photography is Brendan Galvin (Flight of the Phoenix). Production designer is Tom Foden (The Cell). Costume designer is Academy Award-winner Eiko Ishioka (The Fall). Editors are Wyatt Jones (Tron: Legacy) and Stuart Levy (Wall Street: Money Never Sleeps). Executive producers are Craig J. Flores (300), Tucker Tooley (Limitless), Tommy Turtle (The Curious Case of Benjamin Button) and Jeff G. Waxman (The Fighter).
ABOUT THE PRODUCTION

When producers Gianni Nunnari and Mark Canton first met with Charley and Vlas Parlapanides, the Greek-American brothers who wrote the script that would become Immortals, they knew immediately they had found a compelling and original property. “They gave a great pitch, very precise and detailed,” says Nunnari. “We really liked it, but we didn’t know if we were ready to jump on another historical epic.”
Their reservation was that they had just wrapped the groundbreaking period action blockbuster 300. “Obviously, 300 was a landmark in both our careers,” adds Canton. “It was unprecedented for the industry. It showed you can make a historical movie in a very modern way with themes that are connected to contemporary feelings and emotions and morality. But for our next project we had planned to stay away from material that was similar in nature. However, Gianni is a master at recognizing great material, and we are both students of history, as well as mythology and literature. We decided Immortals should be the second part of our partnership in making a group of historical, mythological movies.”
Canton and Nunnari were drawn to what they call the film’s “Homer meets Joseph Campbell” sensibility. “The message is to find your responsibility in life,” says Nunnari. “Once you do, you realize it’s a privilege. You can live a larger life that goes beyond just yourself.”
The tale of Theseus, a youth born into poverty who rises to hold the fate of civilization in his hands, Immortals began as a short story written by Charley Parlapanides. Eventually the manuscript evolved into a screenplay on which he collaborated with his brother, Vlas. Both brothers had previously worked in front of and behind the camera, but Immortals was the first time they had written a big-budget feature film. Using traditional Greek mythology as a jumping-off point, they fashioned a story that begins when the gods of Olympus conquer their predecessors, the Titans, and imprison their surviving enemies in a mountain.
“In our script, everyone’s forgotten, until one man, Hyperion, finds a dead Titan,” says Charley. “He decides that he will free the Titans and conquer the world. We pictured Hyperion as the Charlie Manson of ancient Greece. He starts a murderous cult and convinces people to believe in his plan. Not only is mankind in jeopardy, but the gods are as well.”
The Parlapanides brothers created an original narrative that remains true to the spirit of Greek mythology. “We use familiar archetypes, but they’re spun on their heads,” says Charley. “At the heart of the story is a man who starts off as a nonbeliever and then goes on a journey that transforms him into a hero and a martyr.”
Their protagonist, Theseus, was inspired by one of ancient Greece’s most prolific heroes. In this telling of the story, Theseus has been recast as a poverty-stricken youth whose mother was slaughtered in one of King Hyperion’s raids. With the only person he cared about gone, the young man is bent on avenging her death.
“Theseus has been dealt a terrible hand in life,” says Vlas. “He was born a bastard and then is thrown into an extraordinary circumstance. How he deals with that defines him. And at first he’s very angry, but there comes a point when he realizes the struggle is about more than just him.”
Theseus and King Hyperion are in many ways two sides of the same coin, says Vlas. “Parallels can be drawn between Theseus and Hyperion. They’ve both been persecuted and subjugated. But one embraces the dark side, while the other takes a different route.”
Or as Canton puts it, “Hyperion has drunk from the well of evil. But he has his own ethics. It’s a chess game between good and evil. That’s what all our movies really are. We don’t always want to have to come to the conclusion that good wins, because we know the world is not like that. We like the journey of characters through a time that impacts the future.”
The producers knew they had the basis for something special, and a great deal would rest on finding a director who could fulfill its unique promise. “Based on our experience, we felt the most important component would be finding a brilliant filmmaker,” says Canton. “Gianni and I both knew Tarsem Singh and wanted to work with him. He is an extraordinary talent.”
“The best case scenario for a producer is when your director understands the role that everyone plays,” adds Nunnari. “But if you're not a team player, you shouldn't be in this business at all. Tarsem has a real vision of what he wants to achieve, and he is also very collaborative.”
Producer Ryan Kavanaugh, the CEO of Relativity Media, calls Singh, whose previous work includes two visually arresting films, The Cell and The Fall, a visionary. “He’s brilliant, not just as a director, but as an artistic mind. This is a huge commercial epic, but he never treated it like that was all it was. He considered every frame of every scene and knew before we started shooting the color of sandals every person had on and what their sword would look like.”
Singh’s vision for the film went far beyond simply making a Hollywood blockbuster version of a Greek myth. He says the project served as a “Trojan horse,” a vehicle to realize his personal vision on a grand scale. “I love reading Greek myths,” says Singh. “But I was not interested in making a film based on the originals. I was intrigued by the relationship between gods and humans. So I thought, we could take some traditional tales and, like in Renaissance painting, use the mythology as the basis, but add things that are relevant to our time.”
Singh’s creative drive and personal insights into the script began to transform the story, but the filmmakers never lost sight of the fact that Immortals is also an adrenaline-fueled action adventure, and in that spirit they have packed it with daredevil stunts, state-of-the-art effects, and the added excitement that only 3-D can deliver. “Tarsem was always looking for something that hasn’t been seen before,” says Nunnari. “I was often surprised myself. He is exploring a new way to bring images to the screen in a fantastic ride. It’s young, it’s fresh, it’s original. And there’s a lot of testosterone in this movie.”
“It’s in your face,” says Canton. “We’re not playing it safe. History is not safe. Mythology is not safe. And we’re really not interested in safe.”

CASTING IMMORTALS: HEROES AND MONSTERS

The story of Immortals is driven by three larger-than-life figures: King Hyperion, a half-mad warrior bent on conquering the world; Theseus, a young adventurer set on destroying Hyperion to avenge his mother’s death; and Zeus, the ruler of Mount Olympus and ultimate authority among the gods of ancient Greece. Their conflict sets off an epic battle between humans, gods and demi-gods that could annihilate humankind. In casting the leads, Nunnari says, “We needed amazing actors, but they also needed to understand that the movie is the star here.”
As they began the process of finding the perfect ensemble, producers and director agreed that, to play Theseus, they wanted an actor whose fame wouldn’t overshadow the character. Henry Cavill had begun to gain recognition for his starring role as Charles Brandon on the Showtime Network series “The Tudors,” but had not yet been cast in the title role of the Zack Snyder-directed Superman: Man of Steel.
“The script was still in development when we met with Henry,” recalls Singh, “so we took one page and had him read it one way. Then I gave him some adjustments. He did three reads altogether, each in a completely different direction. He was so versatile. I knew whatever the script evolved into, Henry would be able to go there.”
Both the mythological setting and the prospect of working with Singh captivated Cavill. “I’ve always been into the mythology of the ancient world,” he says. “When I first read the script, it was very much in its infancy, but Tarsem’s vision for the movie and his passion were second to none.”
The character’s growth through his ordeal made Theseus a satisfying challenge for the actor. “He has been ostracized by society and he, in turn, rejects society,” says Cavill. “The only person he has any kind of love for is his mother. But he’s also intelligent. He asks questions, as opposed to just following blindly. A mysterious old man takes him under his wing and teaches him aspects of philosophy, as well as the martial arts. By the time he’s an adult, he has become a very well-trained fighter.”
Cavill says his previous knowledge of the myths and legends that inspired the film played only a small part in creating his character. “You can draw some parallels to the popular mythology of Theseus,” he says. “But this certainly is not the traditional story. This is a battle of men versus men. There are gods and there are Titans, but they do not take a direct hand in man’s affairs.”
So rather than conducting extensive historical research, Cavill steeped himself in the world Singh created for the movie. “Tarsem showed me where his inspiration was coming from and where his visuals were going to lie,” the actor continues. “He gave me important character points for Theseus. It was only a few days before shooting that we actually got a finalized script, but Tarsem always had it all in his head. To research anything else would have been a risky game.”
The director’s passion for the project was infectious, says Cavill. “You’d do anything for him, because he’s doing it, too. And he’s throwing 10 times more energy into the project than anyone else on set. His ability to present his vision of each moment is incredible.”
The filmmaker made an exception to his no-movie-stars rule by casting Mickey Rourke as the monstrous King Hyperion. His reputation as a mercurial Hollywood icon only adds another dimension to the villain’s malevolent luster. The role marks another step along the impressive comeback trail blazed by Rourke since his Oscar®-nominated turn in The Wrestler. “In real life, Mickey Rourke is self-effacing and very honest,” says Canton. “He’s been able to come back because of his talent. Now he’s getting the respect and the opportunities that he’s long deserved. The kind of questions he asks, only the really great ones ask. They’re not really about him. They’re about what he can bring to the movie. But when Mickey comes on the set, you better know how to act, because he will mow you down if you’re not at the top of your game.”
Rourke brought a well-earned reputation for hard living and movie star antics to the set, which made Singh even more convinced he was the right actor for the role. “You won’t find a more original bad boy than Mickey Rourke,” says Singh. “He’s the real deal and I let him go with it. I had very definite direction for the other actors, but Mickey was allowed to bring whatever he wanted. He took the simplest of lines and added to them.”
Theseus has several companions on his journey, including Phaedra, a priestess and seer (played by Freida Pinto), an unsavory character named Stavros (Stephen Dorff), and a monk who protects Phaedra. “A thief, a slave, a monk, a priestess,” says Singh. “They don’t seem to belong together. But that’s the classic quest, isn’t it?”
Canton knew they’d found their Phaedra in Pinto, a young English actress of Indian descent who had just made her film debut in the Academy Award-winning film Slumdog Millionaire. “It was time for her to step up and be a real movie star,” he says. “She’s phenomenal looking. She’s very dedicated and a real professional. She felt like the most natural part of the movie for us. There was no question that we wanted Freida Pinto.”
Nunnari agrees: “There are certain actors or actresses that grow within the time of the shooting and that was Freida,” says the producer.
Pinto’s striking beauty and otherworldly air won Singh’s immediate approval. “Phaedra needed to be exotic compared to most of the people in her world,” says Singh. “People might expect that because it’s a Greek film, she would be Greek, but that’s not what I envisioned. When I met Freida I just said, she’s it.”
Pinto had been a fan of Singh’s since seeing his 2006 fantasy, The Fall. “I was impressed by the way it appealed to all the senses,” she says. “I thought this film had the potential to do the same. When I first met him, I did not know what to expect. He explained the reason behind doing this film, what he expected the film to look like, and what was expected of me and the other actors. It all sounded larger-than-life and fantastical. I really wanted to be part of it.”
Phaedra has lived all of her life in the company of her fellow priestesses and is reputed to have an especially strong gift for clairvoyance. But her visions, while accurate, are ambiguous. “It’s a very disturbing experience for her, because she doesn’t know exactly what will happen,” explains Pinto. “She first sees Theseus in a vision, but she doesn’t know who this person is. He is holding the emperor’s belt, which means he could be the savior. But she doesn’t completely trust him, because she doesn’t know what the vision really means. It’s only as things progress that she begins to believe he is going to save the people.”
For her first big studio film Pinto says she feels lucky to have had Singh to guide her. “Tarsem is one of the most encouraging directors you will ever meet,” she says. “Working on a big-budget project like this, time is literally money, but he was always patient and open to suggestions. When you work on a film like this, the emotions that you go through are so explosive. I’m just so excited, and that’s exactly what I want the audience to feel.”
Stephen Dorff, who impressed audiences and critics alike as a Hollywood playboy in Sofia Coppola’s 2010 film Somewhere, plays Stavros, Theseus’ eventual ally and friend. “He’s an out-of-the-box character who says what he wants to say and does what he wants to do,” says Dorff. “I liked Stavros’ sense of humor. I liked his mystery. We don’t really know who he is, and whether he’s a good guy or a bad guy. He and Theseus butt heads for a while. But at a certain point, Theseus realizes Stavros has got his back—and he can use the help.”
Singh immediately knew that Dorff was perfect for the role. “Stavros is the kind of guy who thinks he’s special, but you can’t figure out why,” says Singh. “I saw something in Stephen that was right for this. He’s the right kind of cocky for the role.”
Singh’s boundless energy, commitment and efficiency made him the ideal director for Immortals, says Dorff. “The only way to get this kind of film made is with a captain like him. He never stops. You can see him cutting in his head on the fly. There’s no waste. When you do a film like this you want the audience to feel like they got their money’s worth. I think this delivers what it promises.”
CASTING IMMORTALS: GODS AND GODDESSES

Singh had an original take on casting the gods of Mount Olympus, who watch with interest the action taking place on earth. “I wanted all the gods to be young,” says the director. “Wisdom is implied with age, so Renaissance painters gave the gods the features of older people, but then painted a perfect body beneath that. In a film, you can’t do that unless you make all the characters CGI. But my idea was that, if you are a god, there’s no reason to look old. If I were up on Mount Olympus and I could look any age I wanted, I wouldn’t want to have that white beard.”
A posse of beautiful up-and-comers, including Luke Evans, recently seen starring opposite John Cusack in The Raven, Kellan Lutz of the Twilight series and Isabel Lucas of Transformers: Revenge of the Fallen, play Singh’s gods and goddesses. As Zeus (Evans), the head of the gods, attempts to keep his fellow Olympians from interfering in the problems of humankind, his daughter Athena (Lucas), goddess of wisdom and war, is strategizing ways to help find peaceful resolutions for the humans, and his brother Poseidon (Lutz) is mischievously aiding the humans by devious means.
Zeus’ role as king of the gods is to observe, not act, notes Evans. “Whatever nature’s course is, that’s what has to happen. He sticks to it as much as he can and tries to keep the other gods in order, but they don’t listen.”
The young actor was excited to be working with both Cavill and Singh. “I have a lot of respect for Henry,” Evans says. “I’ve known his work for a while and we’ve known each other for a while as well, it’s always nice to work with somebody you’ve met outside of a job. And I defy anybody to watch Tarsem’s work and not be astounded by the visuals. He has an ability to tell a story I’ve never seen before in a director. Working with him was a very enticing prospect.”
Kellan Lutz grew up reading Greek mythology and had developed a particular fondness for the avuncular Poseidon. “I’m a Pisces and I love swimming,” he explains. “My parents used to call me a fish. Poseidon is like the favorite uncle. He’s the brother of Zeus and uncle to all the younger gods. He and Zeus have a brotherly rivalry. Zeus can tell him not to do something, but as you see in the movie, he finds ways around it.”
Lutz particularly likes the way the script takes an idea from Greek mythology and gives it a fresh slant. “It’s original, dark and edgy,” he says. “The movie has amazing visuals, great fight techniques, and great fight scenes. And it’s a new twist on the stories I love.”
As played by Isabel Lucas, Athena tries to sidestep her father’s prohibition against helping Theseus and his comrades. “In all the stories, Zeus and Athena are always very close. She’s always her father’s daughter and the favorite of his children, so she thinks she can get away with it.”
Lucas describes Singh as generous and extremely patient. “With all he was dealing with on set, just before he called action, he would always say, ‘In your own time.’”
The ensemble Singh and the producers assembled helped make the sometimes arduous shoot a pleasure for actor Henry Cavill. “It was a stunning group of people to work with,” he says of his Immortals co-stars. “It was a grueling shoot and I enjoyed every second of the exhaustion, all because of who I got to work with.”
THE FINGER OF GOD

Director Tarsem Singh arrived for his first meeting with the producers of Immortals armed with a portfolio packed with reproductions of museum-quality paintings to illustrate his unusual vision for the film. Relativity Media’s Tucker Tooley, an executive producer of Immortals, recalls that this first meeting wasn’t quite what he expected. “He brought in this big canvas and it looked like something you’d see in a museum,” says Tooley. “At first blush, the painting looked very different from how we had imagined the movie, but when Tarsem started to explain, it really made a lot of sense to us.”
He proposed basing Immortals’ visual profile on the work of Caravaggio, the bad-boy painter of the Italian Baroque period. A rule breaker who pioneered the use of live models for religious and mythological subjects, Caravaggio employed a saturated color palette, dramatic lighting, and a feeling of dynamic movement and overt emotion in his paintings. His style broke from the more static work of the Renaissance and earned him both praise and criticism in his lifetime. Singh’s ambitious concept impressed the producers as perfect for the subject matter.
The director worked closely with both the production designers and crew to recreate the luminosity typical of Caravaggio’s work for the overall look of the film. “We call it ‘finger-of-God lighting,’” says Singh. “It’s very focused and seems to come from a far-away source.”
Supervising art director Michael Manson says Singh’s vision and creative courage make Immortals a new and different kind of epic. “We in the art department have a long history with Tarsem, which we cherish,” he says. “I’ve worked with him for close to 15 years, so communication comes fairly easy. It always starts with Tarsem’s interpretation of the script. We take that initial information to research libraries, the Internet and museums. We’ll pull from our collective files for wardrobe, makeup, prosthetics and special effects. Everybody brings something to the table.”
Rather than setting their story in an actual historical epoch, Singh and his designers created an original world for Immortals. “It’s not the Minoan Age or the Bronze Age,” says Charley Parlapanides. “This is the Tarsem Age. It uses the Olympian gods and the Titans, but it has a unique point of view. It’s not a world you will necessarily recognize. For the most part, it is straight out of Tarsem’s mind. He’s made something new and breathtaking, and yet dark and brutal at the same time.”
Costume designer Eiko Ishioka, who earned an Oscar for the spectacular costumes in Francis Ford Coppola’s Dracula, is well known for her designs for film, theater, television and commercials. Ishioka is also a respected visual artist whose work is in the permanent collection of the Museum of Modern Art in New York City. Her iconoclastic worldview falls into the same imaginative territory as Singh’s.
“As far costumes were concerned, we decided early on not to go ‘Classic Greek,’” says Singh. “It would have been counterproductive to hire somebody like Eiko and then tie her hands. There’s no point in telling her, ‘Think outside the box.’ She has no idea what a box is. She comes from a parallel universe.
“At the same time,” the director adds, “this is an action film. I had to make sure that she didn’t make costumes that looked great but couldn’t be moved in.”
The Japanese costume designer, who studied design and art before she started working in film, says she approached the costume design for Immortals as a creative collaboration set in a fantasy world. But she realized that her flights of fancy needed to be based in physical reality and enjoyed collaborating with the actors to make her ideas work in a practical sense. “During the fitting process, my ideas are pretty crazy,” she says. “To make sure the costumes are functional, I ask the actors for help. I feel the actor and designer should collaborate.”
Freida Pinto found the process exhilarating and ultimately essential to the creation of her character. “Eiko designed these beautiful costumes for everybody,” says Pinto. “But it took some effort to make them your second skin. You had to maintain a certain posture in order to make them look that beautiful at all times, but they were essential to taking the film into that larger-than-life realm. I wear this amazing red corset with a sheer red skirt and a black veil. When I put it on, I felt it against my skin and I was very confident about it. There was nothing vulgar about it. It was revealing in the right spots and just the way it needed to be. Her idea of female sexuality and sensuality is so beautiful.”
Kellan Lutz found Poseidon’s ornate costume challenging, especially during the film’s battle sequences. “I wore a big Pisces helmet that was very tedious to fight in,” he says. “It was actually difficult just to act in. I couldn’t really hear because I had these seashells on my head. It sounded like the ocean. I also kept hitting myself with Poseidon’s trident.”
For Ishioka, the most difficult task in creating the costumes was achieving realistic armor. “I wanted to use shiny materials for a mask or helmet,” she says. “But the reflective surfaces would have interfered with shooting on a green screen. I didn’t want it to look fake, like a breast of armor made of wood or that kind of thing. It had to be not too shiny but I also want the audience to believe that this armor is made of metal.”
Ishioka’s original designs are complemented by the work of makeup designer Nikoletta Skarlatos. “Tom Foden, the production designer, sent me a visual tour of the sets so I could start to visualize the people,” she says. “I did a massive amount of research before presenting ideas, because I’m a huge fan of both Tarsem and Eiko. They both inspire me and I knew this would be a chance to do something really extraordinary. In terms of references, I looked at mythology, but I also wanted to create something that had not been seen before.
“It’s a very makeup-intensive movie,” says Skarlatos, explaining that advances in technology have raised the bar for her craft. “3-D is very specific and you see things more obviously. High-def and digital shooting magnify that effect. We tried to be very precise.”
Skarlatos worked closely with Pinto to create Phaedra’s look. “The eye make-up is not a traditional Indian look, nor is it a contemporary look. It’s a very different and mysterious look, with certain little nuances that allude to the fact that she is an Oracle, a very special being.”
Hair and make-up helped Pinto slip into the skin of the mystical Phaedra. “They tried these colors in my hair that I’d never had done before,” she says. “We added some extensions and a braid. It made me feel like I was from that period. I would come in with my jeans and T-shirt, get into my robe, and there would be a completely different person there: Phaedra.”
​Skarlatos, whose previous credits include Pirates of the Caribbean: At World’s End and Thor, was also involved in creating the blood and special effects makeup. “It can be darkened, but what you see is what you get, so we had to work with the DP to create the right blood for night and the right blood for day.”
BUILDING A SPECTACULAR NEW WORLD

Immortals is loaded with visual effects, action, adventure—and nearly everything else under the sun. The filmmakers used the latest 3-D and VFX technology to seamlessly join layers of digitally created worlds and physical reality. “We kept seeing surprises on the set,” says Nunnari. “The technology is an exciting part of the audience ride.”
To make the creation of Singh’s imaginary world easier technically and logistically, the producers decided to house everything at Cité du Cinéma Studios in Montreal. Production offices, special effects, art department and visual effects were all under one roof.
On the technical side, Singh worked with his long-time colleagues, director of photography Brendan Galvin and production designer Tom Foden. “I move at breakneck speed,” the director says. “The learning curve can be a bit steep. This gang moves very fast with me. So while the look of this film is completely different from what we’ve done before, the practical support they’re able to provide is critical.”
Jack Geist, VFX producer, and Raymond Gieringer, VFX supervising producer, were added to the team to oversee Immortals’ spectacular visual effects. “Just taking the environments into account, we had a large-scale effects show,” says Gieringer. “Then within the environments we had a lot of effects: enormous battle scenes, mountains collapsing, gods and Titans battling. There are over 100 shots that involve special effects.”
There was also a large physical component that supported the effects. About 20 sets were built, each containing a different virtual world, some with 360-degree views. Gieringer says the departments worked hand in hand to make sure things ran smoothly. “Their world is practical and they’re going to build these sets. We need to take these sets and build the environments around them. Tom Foden and art director Michael Manson worked with us to make the process seamless.”
Geist and Gieringer became involved early in the development process to help Singh conceptualize his film. The director was very precise about what he wanted, according to Gieringer. “Tarsem is very specific in terms of his framing, and his composition is amazing, unlike that of any director I’ve ever seen before. We made a very beautiful, somewhat stylized film, with plenty of bang for the buck in terms of the virtual.”​
Immortals utilized several cutting-edge systems to achieve its unparalleled visual style. During pre-production, the filmmakers implemented a system called InterSense, previously used on the movie Avatar. “It allowed Tarsem to see exactly what would be green screen and what would be set,” says Jeff Waxman, who served as both line producer and executive producer. “We were then able to build our sets to exactly the size that we would need. We designed everything months in advance. We had matte painters design all the environments on computers. Across the hall, the art department was designing the physical sets that would fit into those environments. Having it all under one roof, Tarsem could bounce between them and make changes on the spot.”
Because the technology is developing so fast, Kavanaugh says they were able to go one step beyond what was possible for James Cameron when he was making Avatar. “Tarsem could sit in front of a computer before he shot the scene, with it all mapped to scale,” says the producer. “He could actually see the shot before he shot it and make decisions about how to shoot and what lenses to use. It also allowed him to create the perfect 3-D reality and understand which parts of what scene were going to be popping out.”​
During filming, the director used another high-tech system, called Moses, which gave him even more control of the shoot. “Moses is one of several systems that enable you to pre-visualize, so you can see beforehand what it will look like within the CG extension or a CG world,” explains DP Brendan Galvin. “Tarsem could see a person’s head come over a mountain that doesn’t exist. We used it in the monastery shoot, looking down from the monastery onto the encampment with the Heraklions, so you can see where all the stuff that’s not actually there will be.”
Singh says the Moses System, along with his attention to detail in pre-production, allowed him to create shots that are perfectly composed. “I was able to construct a tableau,” he explains. “If some films are like comic strips, this is a painting strip. The system sees past the green screen, so I could control the composition.”
WORKING IN ANOTHER DIMENSION

Bursting with Olympian deities, sweeping battles and breathtaking vistas, Immortals demanded a larger-than-life production style. From its inception, the film’s creators knew that to bring the dynamic story fully to life, it would have to be a 3-D movie—and not just an ordinary 3 D movie. “Tarsem has a rare kind of vision,” says Tucker Tooley of Relativity Media. “He looks at the world through a different lens and brings something to the story you would never anticipate. To realize that unique point of view, we designed the movie in 3-D from the beginning. We tailored everything about the film to maximize the stereo effects.”
However, shooting the film using conventional 2-D cameras and creating the 3-D effects in postproduction gave the director more control of the depth and dynamic range than would have been possible shooting in 3-D. “Every element had to be considered,” says Tooley. “Before we shot a single frame, we designed our foreground and background elements in a way that optimized the dimensionalization process.”
Singh worked with senior stereographer David Stump of 3DCG to develop a detailed depth budget and depth script that helped ensure that the look of the picture conformed to the director’s vision. “You can see the difference immediately,” says the director. “We took the time and, most importantly, put in the planning to do it properly. Some people are calling this a game-changer.”
The movie’s groundbreaking look was executed by Prime Focus, the 3-D effects house that had previously dimensionalized such blockbusters as Star Wars: Episode One – The Phantom Menace and Harry Potter and the Deathly Hallows: Part 2. Recent advances in technology, including Prime Focus’ proprietary View-D software, allowed Singh the flexibility to create visuals unlike any that have been seen before.
With 4,000 artists and technicians spread across three continents, Prime Focus dedicated significant resources to realizing Singh’s ambitious vision. “The great challenge in every movie is really adapting an entire team of artists to meet the needs of that director,” says Prime Focus marketing executive Bobby Jaffee. “What George Lucas or Michael Bay want for their movies has nothing to do with what Tarsem Singh wants.”
“Tarsem’s input was the basis for everything we did,” Stump says. “He asked us to give the characters a sense of volume and form. The key word was sculpture. We wanted the characters to look like they were really right there in front of you as opposed to on a screen.”
For Singh, the technology proved an organic extension of the unique visual style he has developed over an award-winning career as a commercial and feature film director. “The story could have been told in many different ways,” he says. “But my aesthetic really lends itself to 3-D. My shots tend toward tableaux and I normally shoot longer masters, both of which are very effective in 3-D. I don’t do a lot of fast cutting or extreme close ups, which don’t work well in this format. So in the end, I didn’t have to adapt my vision for 3-D; it was a perfect fit.”
The dimensionalization process can be slow and arduous, Stump acknowledges, but it brings big payoffs in the final product. “It took months and months of work. But creating stereoscopic 3 D content in postproduction gave us more control. We could place anything anywhere we wanted. In fact, we not only could, we had to, because nothing lands in the right place accidentally.”
As Singh anticipated, 3-D ultimately suited his inspired visuals perfectly. “It was a quite a benchmark we had to reach,” says Merzin Tavaria, co-founder and chief creative director of Prime Focus. “The detailing of the sequences, particularly the Titan sequences, was an exciting challenge. In the end, we were very happy with the product and that we were able help Tarsem achieve his vision.
“At every interval we would send shots to him and confer on how he would like to shape it in 3-D,” Tavaria explains. “We worked with the depth of each image, foreground to background, and how it could be positioned in 3-D. That enabled us to push quality to an extremely high level.”
The finished film has depth and volume never before seen on screen, according to Ken Halsband, executive in charge of production for Relativity Media. “What’s new and unique about this particular picture is that we succeeded in creating an artistic looking 3-D movie,” says Halsband. “Everything from sets to costumes was designed for the ultimate 3-D experience. We used the technology better this time, more painstakingly and artistically than it has been used before.”
Luminous and encompassing, Immortals raises the bar for stereoscopic effects in film. “Tarsem has created an entirely new world,” says Tooley. “With an environment that the audience hasn't seen, the more you integrate them into the experience, the better it is. The 3-D technology gave us an amazing opportunity to do that.”




GOD SPEED

Singh’s immortal heroes, the gods and goddesses of Mount Olympus, are a world apart from their human counterparts in beauty, strength and speed. The director envisioned them as idealized, larger-than-life creatures. “In the end, the gods have very little wardrobe,” says Singh. “They had to be fit. That had to be a factor in casting.”
Some of their seemingly superhuman abilities are the result of Singh’s innovative use of the camera. “I wanted to take them to another level,” says Singh. “So during the battle scenes, the gods move much faster than the humans, which adds to the action. All our fights are quite different. Those that pit humans against humans take place in real time. And when gods go up against gods, they match each other’s superior speed, so the difference between their speed and the humans’ is imperceptible and it still appears to be real time. But when gods go up against humans, humans are revealed to be like putty. They're frozen.”
And at times, all three types of battle are taking place simultaneously. “There are a couple of sections where all the fighting sequences are differently done,” Singh says. “I think it’s pretty magical.”
Making the director’s brainstorm into reality took patience and persistence. “We shot the whole thing from the gods’ perspective,” he says. “Then we then shot the whole thing again from the human point of view. We shot something like four days of plates to make it right for each perspective. The humans practically freeze, while the gods are like lightning. It’s not a fair fight.”
Galvin explains that the magic was created by changing the camera speed. “Five hundred frames is starting to really slow things down and if you up that to a thousand, sometimes even the simple movements people make can look static,” says Galvin. “It’s an unreal speed, you’re entering a different dimension in your head when you’re going into those speeds because you see things. Most people are familiar with high speed from sports events. When you slow things down, it’s quite different.”
Canton finds the “god speed” effect an excellent example of the way the special effects have been woven throughout the film to become part of the story and storytelling. “Seeing the gods moving at hyperspeed and the humans moving in slow motion is more than just an effect,” he says. “No one’s ever attempted to manipulate time for two different characters in the same movie. It’s not a movie; it’s an experience. It’s a life-changing event, like Star Wars was when we all saw it for the first time.”
LIGHTS, CAMERA, ACTION…AND MORE ACTION

Pulling off the scope, quantity and sheer daredevilry of the ambitious battles of Immortals required an army of fight choreographers, trainers and stunt people trained in everything from swordsmanship to karate. Choreography began six months in advance of shooting to make it as gritty, explosive and dangerous looking as possible.
At the outset, Singh decided he wanted the fight scenes to have a more realistic, less stylized feel than is typical of many contemporary films. “I wanted actual physical fighting with the weapons that they have. Some of it was done with wires, but there’s just no substitute for physical combat. You can feel the impact.”
The filmmakers brought in Artie Malesci, who worked on Miami Vice, some of the Transporter films and television’s “Burn Notice,” as stunt coordinator. A core group of 13 fighters from Montreal trained and rehearsed for three months so when the filmmakers got on the set, all the stunts were ready to go.
The result is non-stop, beginning-to-end action, says Malesci. “We taped everything we did in advance for Tarsem to view. He’d say yes or no, and tweak it his way. All the time we were choreographing, we were also training the cast to get them prepared. The stunt people trained all day, five days a week. They really worked hard. If their bodies weren’t right, they didn’t have a job.”
For Henry Cavill, intense physical training started six months prior to shooting. “When I met Henry, he was fit,” says Singh. “But as I told him, it can’t be a six-pack. You’ve got to come with an eight-pack. There has to be no body fat, because I don’t have too many clothes for you to wear. He put himself through an incredible regime. I took one look at him and I knew that he had embraced the role.”
Cavill was given what he calls “certain briefs for training” and asked to supply photographic evidence of his progress. “When we got our final brief of what they wanted me to look like, we just trained and trained and trained. It was eight hours a day in the gym, five days a week.”
All that training paid off, according to Pinto. “Tarsem told me that the actors were undergoing this transformation, that their bodies were going to be really ripped,” says Pinto. “But until I met Henry for the first time, I had no idea that this was what he meant. He looked god-like.”
“I have never seen anybody in such a great shape,” agrees Nunnari. “He dedicated months to sculpting his body.”
The training also gave Cavill an array of skills to use in combat. “Every day was something new, so in the end, we had a big tool box to work with,” he notes. “If anything was thrown at me on the day, which it was, I could go into my tool box and pick out the right stuff.”
Still, he is mindful to say that the battle scenes could not have been accomplished without the expert stunt team. “They were mind-blowingly good. Some of the fight choreography was so complex and so difficult, and I had to get it exactly right every time because a lot of it was done in one continuous shot and if anyone messed up anything, we would have had to do it again. But we never did.”
Theseus’ final faceoff with King Hyperion was his most difficult scene, says Cavill, because it is so realistic. “The fight is brutal and messy. These are two exhausted, desperate men who want to tear each other’s throats out. It’s a non-stylized, painful experience in a very small space and they’re throwing each other against the walls and hitting each other with anything they can get their hands on. It’s the human representation of the conflict between the gods and the Titans. There’s some jujitsu, some Greco-Roman grappling, but mostly it’s two guys kicking the crap out of each other.”
Singh says he intentionally shot this climactic scene in a confined area. “If we had people fighting outside in the open, that would have been very difficult for me,” explains the director. “I like tighter places, so I created what I would call a bottleneck. We have this tunnel, and outside of it is the bigger army. Inside the tunnel, it becomes a personal fight.”
The tunnel fight sequence is spectacular, according to Cavill. “So much hard work went into it by all the departments. The choreography was pretty complicated, but it looks fantastic, which made it all very rewarding. I was broken and exhausted at the end of day two. I just had to go home and collapse.”
Singh posed himself an additional challenge in filming the film’s denouement by creating three separate skirmishes within the larger battle. “I’ve got three fights happening simultaneously in the tunnel,” explains Singh. “Theseus and Hyperion are fighting ‘mano-a-mano,’ humans are trying to stop the non-humans from coming through, and the gods are trying to contain the Titans. We have three different schools of fighting—one’s got all the emotion, one’s got all the wow factor, and the third one’s got the scale.”
The array of fighting styles posed additional challenges for the stuntmen. “When gods fight with humans, it’s a completely different school. Then when gods fight with other gods or with Titans, which have the same power, how do we define that so they’re completely different schools of fighting?” the director asks. “For stunt guys, it’s been quite difficult. They crack one scene, but the next scene does not have the same rules at all.”
​But, say the producers, Singh never challenged anyone more than he did himself. “Tarsem was the first on the set and the last to leave,” says producer Mark Canton. “He didn’t sit and he didn’t use a trailer. He came to paint his masterpiece and that’s what he did. We’re just happy that we brought the brushes for him.
“All of our movies are special,” he adds. “But this one has something I can’t put into words. It’s an epic ride and that’s something that only a visionary could have put together.”
CHARACTERS

Theseus (Henry Cavill) – A fatherless child raised in a provincial village, Theseus has faced ostracism and ridicule since birth, until a mysterious old man appears and patiently trains him in combat and philosophy. After his mother is cruelly murdered and he is enslaved by the vicious King Hyperion, the downtrodden peasant uses those skills to transform himself into an invincible warrior. Escaping his captors, the people’s hero leads his followers into battle against Hyperion’s deadly forces to try and save mankind from a Titan uprising.

King Hyperion (Mickey Rourke) – Horribly disfigured after a brush with the vanquished Titans, Hyperion is a power-mad despot with plans to conquer the world. Legendarily brutal, he forces his soldiers to scar themselves in homage to him as he leads the ferocious Heraklion legions on a rampage through Greece to locate the long lost Bow of Epirus. With it, he will seek to resurrect the Titans, demi-gods who ruled the earth until their defeat by the Olympians. With their support, he will wage a war that will change the future of both gods and men.

Zeus (Luke Evans/John Hurt) – The all-powerful King of the Olympian Gods, Zeus has foreseen King Hyperion’s vicious campaign against his fellow mortals and tried to prepare Theseus by secretly training him to become a fearless warrior destined to save mankind. But despite his sympathy for Hyperion’s victims, he forbids the other Olympians from taking sides in the conflict and has his hands full wrangling a rebellious band of Gods as the combat unfolds.

Phaedra (Freida Pinto) – Trained as a priestess since birth, Phaedra is a gifted Oracle, capable of divining glimpses of the future, but unable to control or even interpret her visions. Sought by Hyperion as a means to find the Bow, she hides in plain sight as a slave in his encampment. Her beauty, wisdom and kindness capture the heart of Theseus and he aids her escape from the Heraklions, while she and her visions help to guide him to his destiny.

Stavros (Stephen Dorff) – A thief and a rogue, Stavros has been enslaved by Hyperion alongside Theseus and Phaedra. Defiant, irreverent and sly, he becomes Theseus’ loyal friend and confidant, valiantly fighting by his side against seemingly insurmountable odds.

Athena (Isabel Lucas) – The Goddess of Wisdom and Zeus’ favorite daughter, Athena is her father’s trusted ally, protector and advisor. But when deadly warfare on earth threatens to destroy mankind, she defies Zeus and puts her wits to work building support for Theseus and his rebels among the divine inhabitants of Mount Olympus.

Poseidon (Kellan Lutz) –The God of the Sea, Poseidon is ordered by his brother Zeus to allow mankind to settle its own scores, no matter the consequences. But like Athena, Poseidon has a mind of his own, and he finds an ingenious way to aid Theseus and his supporters.





ABOUT THE CAST

HENRY CAVILL (Theseus) has already made quite an impact in both film and television. Born in the United Kingdom, the actor made his feature film debut in The Count of Monte Cristo. He went on to star in Tristan & Isolde and Stardust. He starred for director Joel Schumacher in Blood Creek and for Woody Allen in Whatever Works, which premiered at the Tribeca International Film Festival. Cavill is set to play Superman in Zack Snyder’s much-anticipated reboot of the beloved superhero franchise, Superman: Man of Steel.
Cavill will next be seen in The Cold Light of Day alongside Bruce Willis and Sigourney Weaver. The film is directed by Mabrouk El Mechri and is scheduled for release in 2011.
On the small screen, Cavill starred for four seasons on the Showtime series “The Tudors” as the Duke of Suffolk, Charles Brandon, an elevated commoner, backroom schemer and close confidant of Henry VIII.

​MICKEY ROURKE (King Hyperion) received widespread acclaim for his performance in Darren Aronofsky’s The Wrestler, which earned him an Academy Award nomination for Best Actor and wins for Best Actor at the Golden Globe Awards, BAFTAs and Independent Spirit Awards. The film was awarded the Golden Lion at the Venice Film Festival.
​Rourke’s career is characterized by his ability to create riveting performances and to leave indelible impressions on audiences. His extraordinary list of feature credits includes John Madden’s Killshot, Tony Scott’s Domino and Man on Fire, Robert Rodriguez’s Sin City and Once Upon a Time in Mexico, Larry Charles’ Masked and Anonymous, Steve Buscemi’s Animal Factory and Francis Ford Coppola’s The Rainmaker.
Rourke earned a place for himself in Hollywood with his stellar ability to mesmerize audiences in earlier films, including Michael Cimino’s Desperate Hours, Alan Parker’s Angel Heart, Mike Hodges’ A Prayer for the Dying, Adrian Lyne’s Nine ½ Weeks, Cimino’s Year of the Dragon, Stuart Rosenberg’s The Pope of Greenwich Village, Barry Levinson’s Diner, Lawrence Kasdan’s Body Heat, Francis Ford Coppola’s Rumble Fish, Cimino’s Heaven’s Gate and Steven Spielberg’s 1941.
​Rourke recently starred in the blockbuster sequel Iron Man 2, directed by Jon Favreau, with Robert Downey Jr., Don Cheadle, Gwyneth Paltrow and Scarlett Johansson. He was also seen in The Expendables, directed by Sylvester Stallone and co-starring Jason Statham, Jet Li, Dolph Lundgren, Bruce Willis and Arnold Schwarzenegger.
Rourke recently completed shooting Passion Play, directed by Mitch Glazer, in which he stars opposite Megan Fox.

LUKE EVANS (Zeus) is a Welsh actor primed to turn heads among U.S. moviegoers with his upcoming starring roles. Evans will next be seen in Paul W.S. Anderson’s star-studded 3-D spectacle The Three Musketeers. Evans stars as Aramis, one of the disgraced musketeers taking on Cardinal Richelieu (Christoph Waltz) and The Duke of Buckingham (Orlando Bloom) in the hope of restoring their reputation as a force to be reckoned with. The film also stars Logan Lerman and Milla Jovovich.
Evans will start the year 2012 as Detective Emmett Fields, who partners with Edgar Allan Poe (John Cusack) to help find his missing fiancée in James McTeigue’s The Raven. He recently completed his second turn with director Mat Whitecross in the contemporary film noir Ashes, alongside Ray Winstone, Jim Sturgess, Lesley Manville and Jodie Whittaker.
The actor is currently in production on No One Lives, directed by Ryûhei Kitamura, which tells the story of a ruthless gang of killers who are surprised by their victims’ resistance. Next, Evans begins filming his role as Bard the Bowman in Peter Jackson’s The Hobbit: An Unexpected Journey.
Evans is slated to play music maestro Antonio Vivaldi opposite Jessica Biel in the period romance Vivaldi, directed by Patricia Riggen. He has also signed on to play an American in Paris framed for a murder in filmmaker Ross Katz’s The Amateur American.
Prior to his film career, Evans was an established star on London’s West End, carving out an enviable stage career starring in West End plays and musicals such as “La Cava,” Boy George’s “Taboo,” “Avenue Q,” “Dickens Unplugged,” “A Girl Called Dusty” and, at the acclaimed Donmar Warehouse, “Small Change” and “Piaf.” His powerful, trained voice and engaging stage presence made him the perfect choice for leading roles such as Chris in “Miss Saigon” and Roger in “Rent.”
Evans made his feature film debut in Sex & Drugs & Rock & Roll, Mat Whitecross’ BAFTA-nominated biopic about Ian Dury, a founder of the London punk scene. It was the American blockbuster Clash of the Titans, however, that put Evans on the map when he portrayed charismatic god Apollo. He was next seen in Ridley Scott’s Robin Hood, playing the Sheriff’s top henchman opposite Russell Crowe.
In 2010, Evans returned to Britain where he played a lead role in acclaimed director Stephen Frears’ Tamara Drewe, based on the hugely successful Guardian newspaper comic strip and graphic novel of the same name.
Evans currently lives in London.

STEPHEN DORFF (Stavros) is one of the most respected actors in Hollywood and has been greatly sought after since his powerful performance in Sofia Coppola’s drama Somewhere, which won a Golden Lion Award at the Venice Film Festival. In 2009, Dorff teamed with Somewhere producer G. Mac Brown on Michael Mann’s gangster drama Public Enemies, starring opposite Johnny Depp.
The Atlanta native has been acting in movies for over two decades. In 1990, he was one of 2,000 actors who auditioned for the lead role in John G. Avildsen’s The Power of One. Dorff got the part, starring with Morgan Freeman, John Gielgud and Fay Masterson. Additionally, the National Association of Theatre Owners (NATO) honored him with the ShoWest Male Star of Tomorrow Award.
Dorff then portrayed two real-life pop culture figures: “the fifth Beatle,” musician Stuart Sutcliffe, in Iain Softley’s Backbeat, and cross-dressing film star Candy Darling in Mary Harron’s I Shot Andy Warhol. He was also seen in Bob Rafelson’s Blood and Wine, opposite Jack Nicholson and Michael Caine; John Irvin’s City of Industry, with Harvey Keitel; James Lapine’s telefilm “Earthly Possessions,” opposite Susan Sarandon; and Stephen Norrington’s Blade, opposite Wesley Snipes. For the latter role, Dorff won the MTV Movie Award for Best Villain.
Other film credits include Ric Roman Waugh’s Felon (which Dorff also executive-produced), John Waters’ Cecil B. DeMented (in the title role), Lee Daniels’ Shadowboxer, Oliver Stone’s World Trade Center, Mike Figgis’ Cold Creek Manor, Scott Kalvert’s Deuces Wild, Phil Joanou’s Entropy, Tony Kaye’s Black Water Transit and Tom Brady’s Bucky Larson: Born to Be a Star. Upcoming projects include Alan and Gabe Polsky’s The Motel Life, opposite Emile Hirsch, and David Jacobson’s Boot Tracks, opposite Michelle Monaghan.

FREIDA PINTO (Phaedra) has quickly become an international film star since she burst onto the scene in Danny Boyle’s critically and commercially successful Slumdog Millionaire. For her debut role as Latika, Pinto was nominated for Best Supporting Actress in a Motion Picture at the 2009 BAFTA Awards. The movie itself won eight Academy Awards including Best Picture.
Pinto recently co-starred in the surprise hit Rise of the Planet of the Apes, alongside James Franco and John Lithgow. She will next be seen in Black Gold with Antonio Banderas. The film makes its world premiere in Qatar at the Doha Tribeca Film Festival. She recently finished shooting Trishna in India for director Michael Winterbottom. The film is a modern day retelling of Thomas Hardy’s Tess of the d’Urbervilles.
Previously, Pinto was seen in Julian Schnabel’s Miral, a drama focusing on an orphaned Palestinian girl who finds herself drawn into the Arab-Israeli conflict. Pinto also starred in Woody Allen’s You Will Meet a Tall Dark Stranger, alongside Sir Anthony Hopkins, Naomi Watts and Josh Brolin.
Before hitting the big screen, Pinto made her mark anchoring “Full Circle,” a travel show airing on Zee International Asia Pacific. She went on assignment to Afghanistan, Thailand, Malaysia, Singapore, Indonesia and Fiji, among other countries.
Pinto currently divides her time between residences in Mumbai and London. She is a spokesperson for L’Oréal Paris.
​
​JOHN HURT (Old Man) is one of Britain’s best known, most critically acclaimed and versatile actors. It was his defining film roles as Max in Midnight Express (1978) and as John Merrick in The Elephant Man (1980) that thrust him into the international spotlight with Oscar nominations for Best Supporting Actor and Best Actor, respectively.
A trio of roles in 1984 rewarded Hurt with the Evening Standard Award for Best Actor for that year for The Hit, Champions and 1984. His other notable film credits include A Man for All Seasons, The Field, Scandal, Rob Roy and John Boorman’s Two Nudes Bathing (for which Hurt received a CableACE Award in 1995), as well as an acclaimed performance in Richard Kwietniowski’s Love and Death on Long Island.
Hurt was born in 1940, the son of Arnold Herbert (an Anglican vicar) and Phyllis Massey (an engineer and amateur actress). He was a stagehand with the Lincoln Repertory and studied at St. Martins School of Art, London, before winning a scholarship to RADA.
Initially a stage actor, Hurt made his West End debut in 1962 and went on to take the 1963 Critics’ Award for Most Promising Actor in Harold Pinter’s “The Dwarfs.” He also appeared in Pinter’s “The Caretaker,” O’Casey’s “The Shadow of a Gunman,” Stoppard’s “Travesties” for the RSC and Turgenev’s “A Month in the Country.”
The year 2000 saw his greatly acclaimed performance in Samuel Beckett’s “Krapp’s Last Tape” in London’s West End. In 2002, Hurt shared the Variety Club Award for Outstanding Performance in a Stage Play with Penelope Wilton for their performances in Brian Friel’s “Afterplay.”
​Hurt’s impressive body of television work commenced in 1961 and has included such noteworthy roles as Caligula in “I, Claudius,” Raskolnikov in “Crime and Punishment” and, most memorably, as Quentin Crisp in the autobiographical “The Naked Civil Servant,” a role for which Hurt received a Best Actor Emmy Award® and a BAFTA Best Television Actor Award.
​In 1999, Hurt filmed Beckett’s Krapp’s Last Tape, directed by Atom Egoyan, and in 2000 came Tabloid TV, directed by David Blair. The year 2001 was spent filming Miranda, directed by Marc Munden; Harry Potter and the Sorcerer’s Stone, directed by Chris Columbus; and Owning Mahowny, directed by Richard Kwietniowski.
This was followed by the film Hellboy, directed by Guillermo del Toro; “The Alan Clark Diaries,” for the BBC; Skeleton Key, directed by Iain Softley; Beyond the Gates, directed by Michael Caton-Jones; and The Proposition, directed by John Hillcoat.
Hurt was next seen in V for Vendetta, written and produced by the Wachowski brothers; heard as the narrator in Perfume: The Story of a Murderer; and seen as Professor Oxley in Indiana Jones and the Kingdom of the Crystal Skull. He portrayed U.S. Secretary of State Warren Christopher in the HBO film “Recount,” directed by Jay Roach. Hurt was also seen as Dr. Iannis in Captain Corelli’s Mandolin, directed by John Madden.
​More recently, Hurt appeared in Jim Jarmusch’s The Limits of Control as well as 44 Inch Chest, directed by Malcolm Venville. He reprised his role as Quentin Crisp in the 2009 feature An Englishman in New York, an official selection at both the Berlin International Film Festival and the Tribeca Film Festival.
Hurt was seen in Harry Potter and the Deathly Hallows: Parts 1 and 2 and Late Bloomers, opposite Isabella Rossellini, with Lars Von Trier’s Melancholia soon to come.

ISABEL LUCAS (Athena) possesses a captivating and magnetic on-screen presence that has put her at the forefront of the next generation of young Hollywood actors. Lucas will next be seen starring in Dan Bradley’s remake of Red Dawn, the story of a group of teenagers who form an impromptu insurgency when enemy soldiers invade their town.
​Lucas recently wrapped production on a pair of Australian films, Gale Edwards’ A Heartbeat Away and Amanda Jane’s The Wedding Party (previously known as Kin). In The Wedding Party, a warm-hearted and upbeat romantic comedy that dares to paint a family portrait of a most unusual kind, Lucas plays Anna Petrov, a beautiful young Russian woman desperate to stay in Australia with the man she loves.
​Lucas starred in director Michael Bay’s blockbuster hit Transformers 2: Revenge of the Fallen opposite Shia LaBeouf and Megan Fox. The film was the highly anticipated second installment of the action adventure franchise and grossed approximately $850 million worldwide.
Other film credits include Daybreakers, opposite Ethan Hawke and Willem Dafoe, and The Waiting City, opposite Joel Edgerton and Radha Mitchell.
​On the small screen, Lucas starred in the HBO miniseries “The Pacific,” an epic 10-hour event chronicling the lives of three U.S. marines stationed in the Pacific during World War II. Lucas plays the role of Gwen, the love interest of Private Sid Phillips (Ashton Holmes). The series was executive produced by Tom Hanks, Steven Spielberg and Gary Goetzman.
​In Australia, Lucas may be best known for her starring role on the hit television series “Home and Away.” In 2004, she received the Australian TV Week Logie Award for Most Popular New Female Talent.
​Lucas is an active animal rights advocate and supporter of The Whaleman Foundation and the Sea Shepherd Conservation Society. These oceanic research and conservation organizations are dedicated to preserving and protecting the ocean’s habitat. She is also involved with the non-profit organization OzQuest and, in 2006, spent two months as a volunteer community worker in Namibia. Additionally, in 2010 she participated in the Summit on the Summit hike up Mt. Kilimanjaro to bring awareness to the global clean water crisis.
​Lucas currently divides her time between Los Angeles and her hometown of Melbourne, Australia.

KELLAN LUTZ (Poseidon) is known to worldwide audiences for his role as Emmett Cullen in the global box office phenomenon The Twilight Saga, based on the bestselling novels by Stephenie Meyer. The fourth installment, Breaking Dawn, hits theaters in November 2011.
Lutz was last seen in a starring role in Love, Wedding, Marriage opposite Mandy Moore, James Brolin and Kathy Bates. The film is about a happy newlywed marriage counselor whose views on wedded bliss are thrown for a loop when she finds out her parents are getting divorced. Lutz also stars with Samuel L. Jackson and Nina Dobrev in the action-thriller Arena (previously known as Fury), in which he plays a man kidnapped and forced to fight in a digital arena where the brutal gladiatorial battles to the death are an Internet sensation.
Lutz recently completed filming the dramedy Syrup, starring alongside Shiloh Fernandez and Amber Heard. It centers on several twenty-somethings trying to climb the corporate ladder of a top soda manufacturer. Based on the novel by Max Berry, the film takes a humorous look at the world of marketing and American consumerism.
In 2010, Lutz appeared with Rooney Mara in the remake of the 1984 horror classic A Nightmare on Elm Street, directed by Samuel Bayer. He also starred in Michael F. Sears’ indie A Warrior’s Heart, opposite Ashley Greene; and Josh Sternfeld’s crime drama Meskada, alongside Rachel Nichols and Nick Stahl.
Other film credits include Prom Night, with Brittany Snow; the indie film Deep Winter, opposite Michael Madsen; Stick It, with Missy Peregrym; and Accepted, alongside Justin Long.
On the small screen, Lutz guest-starred on the CW series “90210” as recurring character George Evans, one of the school’s best and most arrogant athletes. He was also seen in HBO’s Emmy-winning miniseries “Generation Kill.” Previously, Lutz appeared on the NBC series “Heroes” and played recurring characters on the PAX series “Model Citizens” and the WB’s “Summerland.”
In addition to acting, Lutz has been seen in several high-profile modeling campaigns, including the coveted job as cover boy of Abercrombie & Fitch’s 2004 summer catalog. He also appeared in a Levi’s jeans ad campaign and was recently seen as the new Calvin Klein underwear model.
Lutz teamed up with fashion designer Danny Guez of Dylan George to launch the men’s line Abbot + Main. The line offers tops, hoodies and cardigans inspired by the intersection in Venice, California where Lutz lives.
Lutz’s charitable activities include Royal Family KIDS Camps (RFKC), a nationwide network of camps for abused and abandoned children. Each camp organizes a summer camp experience for boys and girls who have experienced difficult life situations.
Although his dreams are coming true, Lutz still hasn’t quenched his desire to learn and create. He has patented two inventions and is currently waiting for prototypes to be created.

​JOSEPH MORGAN (Lysander) got his big break in 2009 when he was cast as Judah Ben-Hur in the miniseries “Ben Hur,” based on the classic novel and film and directed by Steve Shill. In 2010, Morgan was cast in a co-starring role in the independent drama Drift, alongside Thomas Dekker, Jeremy Piven and Mira Sorvino.
Morgan attended Morriston Comprehensive School before moving to London to study acting at the Central School of Speech and Drama. Upon graduation, he was hired by acclaimed film director Peter Weir to co-star opposite Russell Crowe in Master and Commander: The Far Side of the World. Soon after the film’s completion, director Oliver Stone hired Morgan for a supporting role in the feature film Alexander.
​After Alexander, Morgan spent time working on stage in the West End of London. He starred in the first series of Sky One’s “Hex,” in the role of Troy. Morgan also starred in the BBC miniseries “The Line of Beauty.” Other television credits include the series “Doc Martin” and the telefilm “Mansfield Park,” in the role of William opposite Billie Piper.

PETER STEBBINGS (Helios) is the Canadian actor and filmmaker who wrote and directed Defendor, starring Woody Harrelson, Elias Koteas, Kat Dennings and Sandra Oh. The film made its debut at the 2009 Toronto International Film Festival. Other projects in the works include feature films The Wrasslers, Kids on Fire, Bait and Tackle and Charlatan (based on The New York Times bestseller by Pope Brock). Stebbings has several television series in development including an adaption of Defendor with partners Darius Films and Prospect Park.
As an actor, his credits include leading roles in Kardia and The Limb Salesman, which premiered at the Toronto International Film Festival; the lead role of Marcus Alexander in the Showtime series “Jeremiah”; series lead Kevin Sharp in the Vancouver-based teen series “Madison”; Paul Deeds, the shrewd investment banker seen in the final two seasons of “Traders”; series lead Harley McPherson in “Rabbit Fall”; and series lead Billy Beckett in a two-hour backdoor pilot called “S.I.S.,” for Spike TV. Stebbings also played recurring roles in “Cra$h & Burn” and “Murdoch Mysteries.”
In his work for the silver screen, Stebbings has had the privilege of working with Canadian film directors Mina Shum (Drive She Said), Bruce McDonald (Picture Claire) and Anais Gronofsky (On Their Knees, The Limb Salesman), among others. He has been nominated on three separate occasions for a Gemini and once for a Leo. In 2007, Stebbings co-wrote and produced Jack and Jill vs. the World, with Taryn Manning and Freddie Prinze Jr.
Stebbings currently splits his time between Los Angeles and Toronto.
ABOUT THE FILMMAKERS
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TARSEM SINGH (Director) is one of the most highly acclaimed and sought-after directors working in the worldwide advertising community today. Known for his attention to detail, stunning art direction, and highly developed visual storytelling abilities, Singh has made his mark in the feature film world as well.
His first major breakthrough was the music video Losing My Religion for REM, which won a Grammy® and eight MTV Video Music Awards including Best Music Video. Over the years, he has garnered numerous other awards including two Press Grand Prix awards in Cannes, the D&AD, the DGA and BAFTA Britannia Award.
​Singh’s first feature film was The Cell, a beautiful, shocking and hallucinatory psychological thriller. His inspired, unrelenting visual imagery elevated the film far beyond its genre roots. In his second feature, The Fall, Singh expanded his directorial role into that of producer and co-writer. Part heroic journey, part celebration of storytelling, The Fall, with its exotic locations spanning 25 countries, was both visually stunning and one of the most original releases of 2006.
​Singh was educated at a boarding school in the Himalayas (Shimla, India). He came to the United States when he was 24 years old and graduated from the Art Center College of Design, Pasadena. Today he splits his time between Los Angeles and London.
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VLAS AND CHARLEY PARLAPANIDES (Writers) are a writing team with feature film projects currently set up at Universal, Warner Bros., Columbia, Paramount and Mandate Pictures. They have been working professionally as writers for almost five years now. They previously wrote, directed and produced the indie comedy Everything for a Reason, which premiered at the AFI International Film Festival and was acquired for distribution by The Shooting Gallery.
​Before entering the entertainment industry, Vlas worked on Oppenheimer’s foreign equity desk while Charley attended Loyola Law School, graduating in the top 15 percent of his class.
​The brothers are a part of a large Greek-American family and originally hail from Seaside Park, NJ. Growing up, they often spent summers in Patras, Greece, and took part in both Greek school and Greek folk dancing. Both brothers went on to study economics and theater in college. Vlas attended Villanova University while Charley studied at Swarthmore College.
GIANNI NUNNARI (Producer) is president, founder and CEO of Hollywood Gang Productions. He was a producer of the action epic 300, based on the Frank Miller graphic novel and directed by Zack Snyder for Warner Bros. 300 opened to record-setting box-office numbers and amassed a worldwide theatrical gross of more than $450 million.
In addition to 300, Nunnari's producing credits include both Martin Scorsese’s The Departed, which won four Academy Awards including Best Picture and Best Director, and Shutter Island, starring Leonardo DiCaprio, Mark Ruffalo and Sir Ben Kingsley. Other producer credits include David Fincher’s Se7en and Robert Rodriguez’s From Dusk Till Dawn series.

​MARK CANTON (Producer) has been a preeminent force in the entertainment industry, helping to bring more than 300 pictures to the screen in his capacity as a senior studio executive and producer. Canton controls a large number of high-profile projects in various stages of development, pre-production, production and post.
​The prolific producer had two movies released in 2010. The first, Piranha, was a 3-D horror comedy directed by Alexandre Aja and the second, Letters to Juliet, was a romantic drama directed by Gary Winick.
​In pre-production for Relativity are Den of Thieves, a bank heist drama to be directed by writer Christian Gudegast; Tunnels, to be directed by Vincenzo Natali, which may be the next sensation to follow in the footsteps of the Harry Potter franchise; and Silver Cord, a supernatural romantic thriller to be distributed by Summit Entertainment.
​Amongst Canton’s credits is the mega-hit 300, based on the Frank Miller graphic novel and directed by Zack Snyder. The film opened to record-setting box-office numbers, grossed more than $450 million worldwide and set the record for highest-grossing March release ever. The 300 DVD release set sales records around the world.
Canton also produced The Spiderwick Chronicles, based on the bestselling children books by Tony DiTerlizzi and Holly Black, with Mark Waters (Mean Girls) directing. It was the highest-grossing family film of early 2008.
​Previously, Canton was the president of Worldwide Theatrical Production at Warner Bros., where he was instrumental in creating the Batman, Lethal Weapon and National Lampoon’s Vacation film franchises, and Chairman of the Columbia TriStar Motion Picture Companies, where he greenlit numerous popular, widely acclaimed and award-winning films including As Good as It Gets, Jerry Maguire and Men in Black.
In 1997, Canton returned to Warner Bros. to create his own production entity, The Canton Company. In early 2002, he joined Artists Production Group as a partner, chairman and CEO. In December 2003, he launched Atmosphere Entertainment MM, an entrepreneurial venture that develops, produces and finances theatrical motion pictures and television programming.
​A native of New York, Canton is a 1971 UCLA graduate (magna cum laude) and a member of UCLA’s National Honor Society for American Studies.
In addition to serving on the UCLA Board of Councillors and the Dean’s Advisory Board for the School of Theater, Film and Television, Canton is vice chairman of the Board of Directors of the American Film Institute and founder and chairman emeritus of AFI’s Third Decade Council.

RYAN KAVANAUGH (Producer) is the CEO and founder of Relativity Media (Relativity), as well as a successful producer and highly regarded expert in film finance. In addition to executive producing David Fincher’s Oscar-nominated drama The Social Network, his credits as producer include Neil Burger’s Limitless, starring Bradley Cooper and Robert De Niro; and David O. Russell’s The Fighter, starring Mark Wahlberg and Christian Bale.
Kavanaugh produced the upcoming Untitled Snow White film starring Julia Roberts, Lily Collins, Armie Hammer and Nathan Lane, and is now in preproduction on Nicholas Sparks’ Safe Haven. Other film credits include Despicable Me, Mamma Mia!, Brothers, 3:10 to Yuma, Grown Ups and Dear John.
With Kavanaugh at the helm, Relativity is now an established media and entertainment company engaged in creating, financing and distributing first-class, studio-quality entertainment content and intellectual property across multiple platforms. Relativity has produced, distributed and/or structured financing for more than 200 motion pictures generating more than $16 billion in worldwide box-office revenue and earning 60 Oscar nominations.
Kavanaugh received the 2009 Hollywood Producer of the Year Award at the 13th Annual Hollywood Awards gala. Daily Variety published a special issue honoring Kavanaugh as a billion-dollar producer. In 2010, The Hollywood Reporter bestowed its Leadership Award to Kavanaugh and devoted a special issue to his career. He has also been named Variety’s Showman of the Year for 2011 and was honored at the most recent Cannes Film Festival. Kavanaugh was also named one of Fortune’s “40 Under 40: Most Influential People in Business” and Forbes’ “Future 400: Ones to Watch.”
Kavanaugh has created business and financial structures for a number of studios, production companies and producers, introducing more than $10 billion in capital to these structures. During Relativity’s first year of operation, Kavanaugh executed a groundbreaking finance deal for Marvel Studios that led them to launch the successful Iron Man film franchise. He went on to structure business deals for companies as Sony, Universal, Warner Bros. and many others.
Kavanaugh has acquired a wealth of strategic assets, including the marketing and distribution operations of Overture Films, the film unit of John Malone’s Liberty Media/Starz. He reached a first-of-its-kind pay television deal with Netflix. In addition, Kavanaugh forged a marketing and production partnership with Richard Branson’s Virgin brands, Virgin Mobile and Virgin Produced, in which Relativity owns a stake. Kavanaugh also brokered an innovative cross-platform marketing partnership with Clear Channel Radio, the leading media company in America with more reach in the U.S. than any radio or television outlet.
Kavanaugh was also instrumental in launching Relativity’s historic partnership with China’s Huaxia Film Distribution Co. Ltd. to become equal partners in SkyLand Entertainment and handle the production and distribution of films in China and the U.S. This joint venture is the first and only government-sanctioned pact of its kind.

TUCKER TOOLEY (Executive Producer) is the co-president of Relativity Media and oversees day-to-day operations alongside president and CFO Steve Bertram. He also oversees Relativity’s film slate. In September 2011, Tooley was promoted from his previous post as president of worldwide production.
Since joining the company in 2007, Tooley has teamed with Ryan Kavanaugh to build the single-picture films division into a full-fledged studio that develops, finances, produces, acquires and distributes eight to 10 films per year. Tooley most recently worked on the company’s untitled Snow White project, 21 and Over and Steven Soderbergh’s Haywire.
Tooley has also executive-produced such films as Neil Burger’s Limitless, starring Bradley Cooper, Abbie Cornish and Robert De Niro; David O. Russell’s The Fighter, with Mark Wahlberg, Amy Adams, Christian Bale and Melissa Leo; and Lasse Hallström’s Dear John, starring Channing Tatum and Amanda Seyfried.
During Tooley’s time at Relativity, the company’s single-picture films division has earned recognition with Golden Globe and Oscar nods for such films as The Fighter, Brothers and Nine. In 2009, Tooley was honored with the Ischia Global Film Festival’s Executive of the Year Award.
Prior to joining Relativity, Tooley served as CEO of Tooley Productions. There, he independently produced television shows and feature films for more than a decade. Tooley was able to consistently produce commercial films, package A-list talent and deliver films both on budget and on schedule. His credits include Shadowboxer, starring Helen Mirren and directed by Lee Daniels, and the critically acclaimed Felon, directed by Ric Roman Waugh.
In 1999, Tooley established production shingle Newman/Tooley Films with then-producing partner Vincent Newman. Over the next seven years, the duo produced a successful slate of both independent and studio films, working with much of the top talent in Hollywood.
Tooley began his producing career as a creative executive at Interlight Pictures. He received his B.A. from the University of California, Santa Barbara.

​TOMMY TURTLE (Executive Producer) guides and collaborates with directors, creative talent and clients to develop and produce the next generation of entertainment for his company, @radical.media. In collaboration with brands and agencies, Turtle works deftly across multiple forms of media and across all delivery platforms imaginable, constantly exploring and expanding the boundaries.
​In his role as executive producer, Turtle’s breadth of experience spans international television production, live entertainment, digital platforms, feature films and literally hundreds of award-winning TV commercials produced in over 70 countries. Throughout his 20-year career as producer and executive producer, Turtle has worked with directors such as Tarsem Singh, Terry Gilliam, Antony Hoffman, Lenny Dorfman and Chris Milk.
​Included in his extensive list of award-winning commercials are spots for brands such as Pepsi, Nike, Orange, Mastercard, Gatorade, Coca Cola, Adidas, HSBC, Guinness, Sony, Toyota and GM, to name but a few. His experience means Turtle is often the first choice for projects that demand experience on the global stage, sometimes in extreme conditions. So far this has encompassed filming far and wide, in areas ranging from the deserts of Namibia and the Sahara to the Arctic Circle and even the top of Mount Kilimanjaro, for a recent TV special (Summit on the Summit).
​As @radical.media has continued to break new ground in the global arena, Turtle’s international experience and expertise have seen him involved in the development of new business opportunities in Europe, the Middle East and Asia, including the opening of @radical.media’s London and Shanghai offices.
​With his directing partner Tarsem Singh, Turtle has also produced the feature films The Cell and The Fall. He collaborated with David Fincher on The Curious Case of Benjamin Button, where Turtle produced the sequences that needed to be shot in distant locations such as India and Cambodia.
​The producer considers it his ongoing challenge to further establish and develop opportunities in the entertainment arena from a truly global perspective.

​JEFF G. WAXMAN (Executive Producer, Line Producer) has an enviable track record in the motion picture industry. He is a quintessential industry hyphenate, having worked as an executive producer, producer, co-producer, line producer, production supervisor and director on acclaimed motion pictures. He has worked with some of Hollywood’s most revered talent, including actors Anthony Hopkins, Jamie Foxx, Christopher Walken, Marisa Tomei, Philip Seymour Hoffman, Christian Bale, Mark Wahlberg and Gerard Butler, as well as directors such as Michael Mann, Sidney Lumet, David O. Russell, Tony Kaye, Taylor Hackford and F. Gary Gray.
​Waxman’s recent projects for Relativity include The Fighter, for which Waxman served as co-producer, and Law Abiding Citizen, the 2009 hit he co-produced for The Film Department.
​Before Law Abiding Citizen, Waxman gained other freelance credits including associate producer on Reign Over Me (2007), starring Adam Sandler, and production supervisor on Michael Mann’s Miami Vice (2006), starring Colin Farrell and Jamie Foxx.
​Leading up to his current producing career, Waxman worked with several production companies. As the head of production for Capitol Films, Waxman oversaw films like Sidney Lumet’s Before the Devil Knows You’re Dead, starring Philip Seymour Hoffman and Ethan Hawke; Five Dollars a Day, starring Christopher Walken; Black Water Transit, starring Laurence Fishburne; and Taylor Hackford’s Love Ranch, starring Helen Mirren and Joe Pesci.
​Prior to his move to Capitol, Waxman was senior vice president of production for Los Angeles-based Cutting Edge Entertainment, presiding over several important pictures such as Joe Carnahan’s highly acclaimed crime drama Narc (2002) starring Ray Liotta and Jason Patric, which Waxman co-executive produced with Tom Cruise.
Waxman also produced The Devil and Daniel Webster (a.k.a. Shortcut to Happiness) for Cutting Edge, which starred Alec Baldwin, Jennifer Love Hewitt and Anthony Hopkins, and marked Baldwin’s directorial debut. Additional credits with Cutting Edge include In the Shadows, starring James Caan and Cuba Gooding, Jr.; Cutaway, starring Tom Berenger and Ron Silver; and Fait Accompli, starring Rosanna Arquette and Michael Madsen.
​In 1996, Waxman received his first directing credit and also produced the concert film Freebird, which documented the critically acclaimed Southern-rock band Lynyrd Skynyrd. Waxman’s film chronicled the original members’ heyday, including the events leading up to their tragic plane crash in 1977.
​Waxman began his career supervising a number of films for Connecticut-based Cabin Fever Entertainment including The Hunter’s Moon, starring Burt Reynolds, and a pair of Houston Film Festival Gold Award winners: 1995’s Painted Hero, starring Dwight Yoakam and Bo Hopkins, and 1994’s Sioux City, starring and directed by Lou Diamond Phillips.
​Waxman was born in Queens, New York, and now lives on Long Island with his wife, Lauren, and their two children.

​BRENDAN GALVIN (Director of Photography) began his career shooting music videos and commercials, most notably collaborating with directors Tarsem Singh and John Moore. Galvin’s first feature film assignment came in 2000 when he shot Steve Barron’s dark comedy Rat.
John Moore’s directorial debut Behind Enemy Lines, starring Gene Hackman and Owen Wilson, marked Galvin’s breakthrough as director of photography. He has since shot Joel Schumacher’s Veronica Guerin, Jonathan Frakes’ Thunderbirds and John Moore’s follow-up feature, Flight of the Phoenix.

​TOM FODEN (Production Designer) has worked on a wide range of feature films, commercials and award-winning music videos for some of the world’s biggest musical stars. His talent for creating a stunning, eye-catching aesthetic has led him to work with some of Hollywood’s best directors on an array of visually stunning films.
Foden’s credits include M. Night Shyamalan’s The Village, Ridley Scott’s Matchstick Men, Gus Van Sant’s Psycho and Mark Romanek’s One Hour Photo.
Foden worked with director Tarsem Singh on The Cell, which was nominated for an ADG Award. For @radical.media, the two have also collaborated on commercials for Pepsi, Acura and Nokia.
​Working on commercials for ESPN Mobile, Nike, Motorola, Lexus and HBO, Foden has collaborated with directors Roman Coppola, Robert Rodriguez, Stacy Wall and Mark Romanek. He is well known for his work on music videos, including one for Hanson that was directed by Gus Van Sant.
Foden often works closely with director Mark Romanek, designing videos for Nine Inch Nails, Michael Jackson, Janet Jackson and Lenny Kravitz that were nominated for or won MTV Video Music Awards. Working with Jake Scott, Foden has helped to create videos for Soundgarden, Madonna, U2 and Radiohead.

​STUART LEVY, A.C.E. (Editor) has lent his editing talents to a variety of film and television projects. He has worked on two of Oliver Stone’s films, Wall Street: Money Never Sleeps and Any Given Sunday. His other film credits include Antti Jokinen’s The Resident, Tim Story’s Hurricane Season, Jennifer Flackett and Mark Levin’s Nim’s Island, William Maher’s Sleepwalking and Wes Craven’s Red Eye. Levy was nominated for an A.C.E. Award for his work on Brett Morgen’s documentary Chicago 10.
​Levy has also edited two TV pilots, “Faceless” for FOX and “The Dennis” for NBC. He edited the promotional trailers for Gummo and Monument Ave. He worked on three music videos for director Ted Demme and worked with Denis Leary on the music video “Love Barge.”

​EIKO ISHIOKA (Costume Designer) is a multidisciplinary designer whose internationally acclaimed work for stage, film, advertising and graphic design have made her one of the world’s premier visual artists. Her long list of accolades includes an Academy Award for costume design for Francis Ford Coppola’s Dracula and the Award for Artistic Contribution at the Cannes Film Festival for her production design of the film Mishima. She won Outer Critics’ Circle Awards and Tony Award® nominations for the sets and costumes of the Broadway play “M. Butterfly.” Ishioka received a Grammy Award for her artwork on Miles Davis’ album “Tutu.”
​Ishioka’s creative vision has made its indelible mark on everything from Hollywood to the Olympics. She designed the costumes for the film The Cell, directed by Tarsem Singh; directed a music video for the singer Björk; designed the costumes for Pierre Audi’s production of Wagner’s “Ring Cycle” at De Nederlandse Opera; created racing wear for the 2002 Winter Olympic Games in Salt Lake City; and in 2003 designed the team logo for the NBA’s Houston Rockets, which is still in use today. Ishioka was also the director of costume design for the opening ceremonies of the 2008 Summer Olympic Games in Beijing.
​Ishioka’s costume design for the Cirque du Soleil production “Varekai” earned her a Drama Desk Award nomination. She designed the costumes for the second feature film directed by Tarsem Singh, The Fall, which premiered at the Museum of Modern Art in New York. Her costume design work is now seen on Broadway in the musical “Spider-Man: Turn Off the Dark,” accompanied by music from Bono and The Edge.
​Ishioka is a laureate of the New York Art Directors Club Hall of Fame. Her work is included in the Museum of Modern Art in New York, among other cultural institutions.
Ishioka has published two retrospectives of her work, Eiko by Eiko in 1983 and Eiko on Stage in 2000, both published by Callaway Editions in New York. In 2005, she published I Design, a behind-the-scenes account of her work on 12 international projects.
Ishioka was born in Tokyo and resides in New York City.

​RAYMOND GIERINGER (Visual Effects Supervisor) has employed his FX magic in a diverse variety of films that range from family movies and comedies to horror. He started out as lead 3-D animator on movies such as David Cronenberg’s eXistenZ, The Planet of Junior Brown and Tarsem Singh’s The Cell.
Other film credits include Adam Shankman’s Hairspray, Marc Forster’s Stranger than Fiction, Darren Aronofsky’s The Fountain, Doug Liman’s Mr. & Mrs. Smith, David Fincher’s Panic Room and Sam Raimi’s Drag Me to Hell. Gieringer also worked on the Oscar-winning film Chicago as VFX supervisor.

Here some pic of the new shaw lido












So nice and vibrant
Here a christmas tree



I like the tree!!!
:-D

Cya!

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