Document 6483738

Starring Logan Lerman, Matthew Macfadyen, Ray Stevenson, Luke Evans, Christoph Waltz, Gabriella Wilde, Milla Jovovich and Orlando Bloom

Running Time: 102 minutes

Jill Jones E: [email protected] Tel: 310.309.8435

Summit International Publicity Contacts: Melissa Martinez E: [email protected] Tel: 310.309.8436 Constantin Film International Publicity Contact: Kat Kleiner E: [email protected] Tel: 310.247.0300

Asmeeta Narayan E: [email protected] Tel: 310.309.8453

SHORT SYNOPSIS Based on Alexandre Dumas’ classic novel comes a big-screen action adventure update of The Three Musketeers, conceived and shot in state-of-the-art 3D. They are known as Porthos, Athos, and Aramis—three elite warriors who serve the King of France as his best Musketeers. After discovering an evil conspiracy to overthrow the King, the Musketeers come across a young, aspiring hero — D’Artagnan — and take him under their wing. Together, the four embark on a dangerous mission to foil the plot that not only threatens the Crown, but the future of Europe itself. The Three Musketeers stars Logan Lerman, Milla Jovovich, Matthew Macfadyen, Ray Stevenson, Luke Evans, Mads Mikkelsen, Gabriella Wilde, James Corden, Juno Temple, Freddie Fox with Orlando Bloom and Christoph Waltz.

FULL STORY SYNOPSIS *** NOT FOR PUBLICATION *** The Three Musketeers begins in Venice. The legendary cavaliers, Athos, Porthos and Aramis, converge in the vaulted chamber of the Doge’s Palace, each with a coded key to unlock the most treasured secret in Europe—Da Vinci’s designs for the world’s first airship. Athos’ seductive lover, Milady De Winter, coldly double-crosses the heroes in favor of the English Duke Of Buckingham. As the Duke snatches Da Vinci’s plans, Athos’ heart is crushed along with the spirit of the Musketeers. One year later, the young and idealistic D’Artagnan leaves his rural home on a quest for adventure and the dream of becoming one of the King’s heroic guards. His ambitions lead him to Paris where he unwittingly crosses the paths of Athos, Porthos and Aramis – infamously, the three most daring of the Musketeers. At first exhilarated by the chance encounter, D’Artagnan is bewildered to discover the trio has grown pessimistic and disillusioned. Their once ferocious lust for life, love and honor has been quelled by the humiliating failure of their last mission. To make matters worse for the trio, the new King Louis is a naïve child who is easily manipulated by the Cardinal Richelieu, who has little use for the talents and bravery of his elite guards. They long for a worthy cause to reignite their passion to fight for the monarchy and the good of France. In addition to the Musketeers, D’Artagnan’s attention is caught by Constance, the Queen’s beautiful lady in waiting. It is love at first sight for D’Artagnan but Constance is unconvinced by the sincerity of his unsophisticated advances. Meanwhile, a treacherous plot is unfolding within the palace walls. With the assistance of the cunning triple agent, Milady De Winter, Cardinal Richelieu is conspiring to destroy the young King he professes to serve by driving him wild with jealousy. In manipulating a war with England, the Cardinal will create the perfect opportunity to overthrow the monarchy and crown himself supreme ruler of France. With remarkable finesse, Milady steals the Queen’s favorite diamond necklace and plants it in the quarters of the Tower of London belonging to the Duke of Buckingham - a notorious cad and womanizer (not to mention, the proud owner of the world’s first airship). She then forges love-letters from the Duke thanking the Queen for the diamonds, and strategically leaves them in the royal chambers for the King to find.

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The Queen is distraught when she discovers the diamonds are missing and realizes the implications of the Cardinal’s betrayal. Against all the odds, she needs to retrieve the necklace quickly and quietly or her marriage and the monarchy could be destroyed forever. Her lady in waiting has an idea. When Constance goes to D’Artagnan with the predicament, he implores the veteran Musketeers to join him on the mission. His infectious enthusiasm leaves them little choice and in haste the fearless group departs for England to find Buckingham and the Queen’s diamonds before it is too late. With so much at stake, the resourceful friends must use all their skill and judgment to keep one step ahead of the Cardinal’s game of power and deceit. D’Artagnan’s voyage of discovery takes them from the Tower of London, to the awe-inspiring war-ships of the sky and the rooftops of Notre Dame. For the salvation of France and of themselves, the legendary Musketeers unite – all for one and one for all!

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ABOUT THE FILM The Three Musketeers began principal photography on August 26, 2010 on location in Bavaria, Germany. Produced for Constantin Film and Impact Pictures by Jeremy Bolt and Robert Kulzer, the film is directed and produced by Paul W.S. Anderson. Martin Moszkowicz, head of Film & TV at Constantin Film is executive producing. Based on Alexandre Dumas’ historical novel, the film has been adapted for the screen by Andrew Davies (Bridget Jones’ Diary) and Alex Litvak (Predators). Other key members of the creative team include production designer Paul Austerberry (The Twilight Saga: Eclipse), costume designer Pierre Yves Gayraud (Perfume: The Story of a Murderer), and cinematographer Glen MacPherson (Resident Evil: Afterlife). The stellar ensemble cast is led by Logan Lerman (Percy Jackson & The Olympians: The Lightning Thief) who plays the young and idealistic D’Artagnan, Matthew Macfadyen (Pride & Prejudice, Robin Hood), Ray Stevenson (The Book of Eli, Thor) and Luke Evans (Immortals, Clash of the Titans) play the three war-weary Musketeers; Athos, Porthos and Aramis, respectively. Academy Award®-winner Christoph Waltz (Inglorious Basterds, The Green Hornet) plays the conniving Cardinal Richelieu, Milla Jovovich (Resident Evil: Afterlife) is the beautiful but deadly triple-agent Milady De Winter, and Orlando Bloom (Pirates of the Caribbean) plays England’s Duke of Buckingham. The film also features rising stars Juno Temple (The Other Boleyn Girl, Notes on a Scandal) and Freddie Fox (St. Trinian’s 2: The Legend of Fritton’s Gold) as Queen Anne and King Louis, respectively. Gabriella Wilde (St. Trinian’s 2: The Legend of Fritton’s Gold) plays the beautiful and resourceful Constance. British comedian and television star, James Corden (Gulliver’s Travels) is the Musketeer’s servant, Planchet. Mads Mikkelsen (Casino Royale, Clash of the Titans) portrays D’Artagnan’s nemesis, Rochefort, the ruthless captain of the Cardinal’s guards. Summit Entertainment is releasing The Three Musketeers in the USA; Constantin Film will distribute in Germany. Other foreign distributors include GAGA for Japan; E1 in the UK; TF1/UGC in France; Aurum Producciones in Spain; Rai Cinema in Italy; Alliance Films in Canada; and DCA in Latin America.

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A NEW CAST FOR A CLASSIC TALE Jeremy Bolt and director and producing partner Paul W.S. Anderson reunite with Robert Kulzer to make The Three Musketeers. Much like the titular characters themselves, these three filmmakers are back together again, this time tackling historical fiction, quite a departure from their last collaborations. “I've always been attracted to The Three Musketeers,” says Anderson. “It's a classic story. I read the book when I was at school. I grew up watching the Richard Lester version of the movie. And it's a kind of film that I've always wanted to make. For me, it's a real passion of mine and it has been for a long time. It’s the classic story of heroism, love, and friendship. It's set in France. But it tells the story of an everyman and that everyman is D’Artagnan. He's a young man who grows up in the countryside who dreams of going to the big city and making it big.” Says producer Jeremy Bolt, ”Paul and I were in Berlin and had been talking about wanting to film something with this beautiful European architecture. The Oliver Reed version of the film - which Paul had always loved - came on while I was at the gym, and it all just clicked together. I pitched it to Paul as soon as I could, We had been looking for a project that was full of adventure, and we found it in The Three Musketeers.” Says Kulzer, “Paul and I have done many movies together, usually involving zombies, monsters and evil forces. However, I think we are finally growing up and Paul has got married and had a little girl, Ever. Paul is a very passionate father and I think that Ever has definitely influenced his branching out in a different direction. But I think we all felt that this was a fantastic opportunity for Paul to show a side of his work and skills that goes beyond just being an action director and shows that he is really someone who can tell a story of love with humor and with great spirit.” Adds Anderson, “A lot of people say it's a big change of pace, doing a period movie after having done so many science fiction films. And really I don't see it as that different, because actually science fiction and period movies have a lot in common. If you think about it, in a science fiction movie, you need to create all the sets, you need to create a world. Everyone has to wear a costume, everyone has to have a specific hair style. It's creating a world. And that's exactly what period moviemaking is. You have to create that world also. And that's what we have done in Three Musketeers.” He continues, “I think The Three Musketeers is a story that offers for filmmakers the opportunity to immerse the audience in the world that a modern audience hasn’t seen before. To immerse the audience in the world of 17th century Paris is pretty amazing. I mean, think about it. For me it was very exciting. And also it was very exciting because really in all the previous versions of The Three Musketeers no one had ever really presented France and Paris. And I know that may seem strange coming from a filmmaker who shot his movie in Germany, but the architecture was true French Architecture. And also what we've been able to do with visual effects is really recreate whole chunks of Paris that have never been seen before. Notre Dame Cathedral as it was at the time. The Louvre as it was at the time, these fabulous bridges that arced across the Seine that had houses built on them, houses and shops and these things have never really been seen in a movie of The Three Musketeers before.” Casting for any film is always a crucial stage to ensure a film’s success, but the process takes on a unique importance when dealing with casting a classic story with well-known characters. “This movie was a big challenge in terms of casting because all the actors have to be funny, they have to be charming and they must be able to deal with their characters 5

individual love issues. This film also requires many of them to fly through the air, sword fighting, on horseback, on airships etc. So each actor had to be capable of the whole spectrum of talents,” says Kulzer. Logan Lerman was cast first in the lead role as D’Artagnan. Says Lerman, “D’Artagnan is the symbolic youthful, moral character that reignites the Musketeers from their retirement. At the beginning of the film, when he leaves his small town home, he is a cocky, naïve kid. He gets a dose of reality when he travels to the big city and meets some immoral people. Bolt explains, “we decided to play D’Artagnan as he was portrayed in the book, which was 17 or 18 years old. He is very smart and, not only physically a great athlete and a great swordsman, he is also extremely intelligent and good with people. Logan is a very bright young man and extremely dedicated. We put him with a terrific sword master/choreographer and he has become a great athlete. He also has a very sympathetic side to him and it was important to us that our D’Artangnan had that ‘everyman’ quality. He is a country boy from Gascony – essentially, he’s a nobody who changes the world. Lerman was excited by the opportunity to work with the director, Paul W.S. Anderson. He explains, “working with Paul and his team has been a very collaborative experience. It is nice to have a say on your character and to be able to make small changes so you feel comfortable with each scene. Paul was always very approachable and open to ideas.” Anderson says, “Well Logan Lerman as D’Artagnan, he brings this fiery intensity. Logan really reminds me of a young Tom Cruise, around Risky Business. He’s just bursting with intensity. And that's what D’Artagnan is. He can’t wait to leave home, to go to Paris to seek his fortune, to become a musketeer. And Logan really embodies that. This was his first time outside of North America; he’d never been to Europe before, so it was very exciting for him, and it was very exciting for me to kind of put that excitement on film, because it just pours out of Logan. And then you get to juxtapose him with the kind of more world weary cynicism of Matthew Macfadyen, Ray Stevenson, and Luke Evans. They've done a lot more movies, they've done a lot more things, they've lived a lot more life, they're a little more cynical. Lovely guys, but they're world weary a little bit. Which is exactly what their characters are in the book and in the movie.” Lerman was equally excited to work with the actors who would be cast as his costars, the titular Three Musketeers. But his alter ego’s first encounter with them isn’t exactly a dream come true. “When he meets the three Musketeers, he is immediately disappointed by them,” says Lerman. “He thought they would be heroic figures but in reality they are just bored drunks without any purpose. D’Artagnan changes their lives – he earns their respect and brings them back together.” Casting the Musketeers was quite straightforward because each character is described so distinctively in the Dumas novel; the mysterious Aramis, the larger than life Porthos, and the melancholic Athos. “There needed to be a good balance with these actors because the Musketeers are all equal – they even have approximately the same number of pages in the novel. Matthew Macfadyen as Athos is brilliant – he has this elegance and grace with an underlying brooding violence. Porthos is just full of love of life and exuberance, bear hugs, beer and wine and Ray [Stevenson] just imports this physicality. Luke Evans as Aramis is extremely handsome but with a dark, mysterious quality,” says Bolt. 6

“Casting the Three Musketeers was something that I paid very close attention to,” says Anderson. “I felt that they really had to have a unity. You have to feel that these men have kind of lived in each other’s pockets for a long time. They actually live together in an apartment. It's three big guys in this tiny little apartment. And when they go to war, they go to war together. So you have to really feel this intimacy that they have. And of course that's very difficult when you cast roles and you hire actors, sometimes, who’ve never met one another before. And then they're thrown together on a movie.” Matthew Macfadyen was chosen as the talented but heartbroken Athos. Producer Robert Kulzer says of the actor, “He plays the role of Athos brilliantly - with elegance and dignity, but also with a bubbling undercurrent of violence and brutality." Macfadyen appreciates his role, especially the depth, “Athos has been betrayed by his lover Milady, who sold him and his friends out to the Duke of Buckingham. As a result, Athos is quite grumpy and uncommunicative. He is quite a dark character and drinks to cover his heartbreak.” But when D’Artagnan arrives in Paris, Athos recognizes in him all the ideals of his own youth. “He instinctively warms to D’Artagnan because I think he sees echoes of himself in this young man – I think all the Musketeers do. D’Artagnan is full of life and exuberance, which Athos is not anymore because he has seen it and done it all – he is in the doldrums. The relationship he develops with D’Artagnan becomes very paternal – it is a heart warming story.” Anderson adds, “Athos is very much the leader of The Three Musketeers. He’s the first amongst equals because they're a group. But he’s definitely the one they look to for leadership. He’s also probably the most troubled of the Musketeers. He’s a man who was deeply in love with a woman who then completely betrayed him. And that has made him lose faith in not just life, but life, to a certain extent. So when D’Artagnan meets him, Athos is a cynical, burnt-out man. “And it really is D’Artagnan's job to re-energize Athos and bring back that flame that maybe Athos thought was extinguished. And by the end of our movie, D’Artagnan has given the Three Musketeers and particularly Athos a new sense of drive and purpose.” Although they are the closest of friends, each of the Musketeers has very individual personalities. Luke Evans, cast as Aramis, and fan of the story since childhood, talks about the Musketeer characters and how they relate to the young D’Artagnan in the movie. “We all have our separate relationships with D’Artagnan. My character, Aramis becomes like an older brother to him. He sees this young whippersnapper who believes he is invincible and can rule the world, and watches him make his mistakes. Aramis likes and cares about D’Artagnan in very brotherly way, even though at times D’Artagnan’s youthful bravado grates on him. Athos is the father figure, a lovelorn, heart broken father who sees himself in D’Artagnan. And then we have Porthos, who is a like the bighearted uncle, always ruffling his hair and slapping him on the back a bit too hard. We all have our place.” “Having arrived in Paris and met up with us Musketeers, D’Artagnan starts to develop. He comes a long way through the course of the movie – it is his rite of passage. A young boy who has his sight set on big things and he gets knocked back. He falls in love and he realizes he has to make some big decisions, so he grows an awful lot. We all grow in the film. D’Artagnan revives the sense of camaraderie, brotherhood and pride in who we are. At the end of the day D’Artagnan earns his place – he works hard for it but eventually he becomes the fourth Musketeer.”

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Producer Robert Kulzer evaluates Luke Evans as the ideal candidate for Aramis. "He’s a good looking guy, but also brings a dark, mysterious side into this role." Evans says, “Aramis was once a priest and he is often found reading the bible or using his rosary. He is a loyal soul and a very good friend – in the books he never betrays anyone. He prays for each and every person he has killed in battle. As a Musketeer, Aramis is a quiet creature - when he fights he is lethal but graceful and agile. He is like a seventeenth century Batman.” For Anderson, Aramis is a very interesting character, because he is a complicated man. “He has a very interesting line which is straight from the book, where he realized that being a man of God and a man of the cloth was not exactly the same thing. Which I think speaks to how corrupt the church may have been at that time, and also how the Church was used as a force for political and social control. So Aramis has lost faith in his religion and he’s lost faith in his cause, which is to fight for France. He’s lost faith in a different way to Athos, but both of them are very similar, in that they need a great cause.” Ray Stevenson plays the larger than life Musketeer, Porthos. He talks about the research he did in pre-production and how that formed his version of the character: “We had some creative license on this film to create a bit of a back story for our characters. Porthos has a different fighting style, he has a particular way of dressing and he has a different attitude to life, but at heart he has that certain DNA that makes him a musketeer; that something that keeps and binds the Musketeers together. It was quite fun to have the opportunity to play around with those ideas.” Anderson says, “Porthos is the third musketeer and he’s always portrayed in the book as the kind of giant of the Three Musketeers, and that's really what made Ray Stevenson perfect for playing him, because Ray is not just a big man, he’s a big presence.” As a Musketeer Stevenson was involved in many of the fight sequences and was trained by the German European Championship gold medalist, Imke Duplitzer. Stevenson says of his trainer, “Imke was wonderful and we were very lucky to have her. When shooting scenes in 3D, the camera has an all-encompassing view, so everything you do in a fight has to be on target. The discipline of the fight sequences when you are shooting 3D is at a much higher level. Don’t forget, you are wielding a big piece of metal around and going for a target so you have to be much more focused than if you were filming in standard 2D.” International movie stars Orlando Bloom, Milla Jovovich and Christoph Waltz also joined the cast. Orlando Bloom is the devious Duke of Buckingham. “The Musketeers story is a very famous and remarkable one. I feel like my whole career has been a journey in which I realize my childhood dreams - this film certainly adds to that. One of the things that most attracted me to the project was that the role of Buckingham was a very different part for me to play. I get to be a caddish rogue. Buckingham is not the archenemy but he is a great rascal of a character. I just knew when I read the script that it was going to be a lot of fun and great entertainment. I think there is always room in the theatres for a movie that people can go and just enjoy. This is a movie to marvel and get lost in. Plus I was excited to work with Paul Anderson after hearing his ideas on the film.” Director Anderson explains, “In talking about doing The Three Musketeers, I said to Jeremy, ‘we must have Orlando Bloom in this movie.’ This is before we’d cast anybody else. I just knew he was the right kind of person to have in the film. But we weren't quite sure what role he should play. Because to have him as a Musketeer, I thought would place him too much in the world of Pirates of the Caribbean. I felt that is something he’d 8

done before and he probably wouldn't be interested in doing again. And then one day I came up with the idea of casting him as the Duke of Buckingham, one of the bad guys of the movie. And we went to go and have a cup of tea with Orlando in London and I talked to him about it and he loved it. Because he felt this is exactly what he had wanted to do for a long time was to break away from the kind of good guys that he’d been playing in Lord of the Rings and Pirates of the Caribbean and really let his inner bad guy out. And he did it with great aplomb. I mean, he really went for it.” Says Bolt, “Paul and I love to cast against type and Orlando is seen here playing an antihero – the cunning and caddish Duke of Buckingham. You are going to expect a goody goody, but you are going to get an extremely roguish, cunning baddy. I think we are the first to do that with Orlando. Bloom describes his character: “The Duke of Buckingham was the wealthiest courtier of his King’s reign and he behaves like a big spoiled brat. He is like a peacock that loves to show himself off. When Paul and I were discussing the role, he was telling me to think about the cool rock-stars of our time: David Bowie, Jim Morrison, Mick Jagger – Buckingham is like a rock star. This is not a Musketeer movie the audience is going to expect because it doesn’t take itself seriously. There is so much joy, humor and wit in this piece. Buckingham comes in, has these great moments where he stirs it up with all the key characters and then leaves again. It has been a lot of fun.” “Orlando was very engaged with the movie. He loved the role he was playing. He loved the costumes he was wearing. I think when you make a period movie, and you have costumes as extravagant as the kind that Orlando wears, I think there’s a great danger that the costumes end up wearing the actor. But the costume should just become an extension of his character. And I think Orlando thought about that a lot and he embodied that when we were shooting the movie,” says Anderson. Milla Jovovich has been a fan of the Dumas stories since childhood. She explains her attraction to the time-honored role of Milady De Winter. “For me, The Three Musketeers is the classic, action packed, fun book that you can’t stop reading once you’ve started. Dumas was a fantastic writer, every chapter leaves you hanging, wanting to know what happens next. “I was involved from the very beginning when Paul [Anderson] started working with Andrew Davies to write the script for the movie. Milady is one of my favorite characters in historical literature. I was just so happy that Paul was going in a different direction with his filmmaking and that I could potentially have the chance to play such an iconic character.” “Milla is an incredible history buff,” says Anderson. “I’ve never met anyone who kind of knows more about European history. She reads all the time. She was very interested even long before I started talking about doing The Three Musketeers, in the whole time I've known her, she’s been very interested in period etiquette and she’s read books about that and about the royal court. And of course she’s a fashion designer. So she knew all about the dresses. This was a period that she was fascinated with. And had a lot of kind of passion and knowledge to bring to that role.” Jovovich talks about Milady as a character and how she embodies the qualities of a strong, independent woman of today. “I have always looked at Milady as one of the most modern women in literature. She is single, incredibly smart and able to go in and out of different societies effortlessly. It takes a very strong and clever woman to be able to navigate in a man’s world, especially in the 17th century when a woman could be sent away to a nunnery or an asylum for speaking back to her husband. To be a woman that is smart enough to manipulate these men is a great accomplishment.” 9

Jovovich talks about Milady’s darker side: “I am very proud to play this part - for me it is not just about portraying the bad guy. It is true, she does not do everything by the book, but she is not a normal woman. She is not just a pretty girl who sits around waiting for men to do things for her. She definitely lies, cheats and steals but that is what all the guys are doing, too! The only difference is that she is a woman. I find a lot of sympathy with her. She is branded a bad woman but I respect how she lives her life.”

“Milady De Winter is a double agent, she’s a spy, she’s a tough girl. And I think there’s a tendency in period movies for tough girls to kind of repress their femininity. And play the roles more like men,” adds Anderson. Says Bolt, “Milla embodies this incredible force – she is such a strong presence. I can’t imagine her ever playing an ordinary person and Milady de Winter is absolutely not ordinary. She is a triple agent, undercover operative with multiple pseudonyms - a woman way ahead of her time. Milla felt she could bring something very new and distinct to this character and she has embraced the part. Fans of her previous work will not be disappointed. From all of her work on the Resident Evil franchise, Jovovich is more than comfortable with a little stunt work. “I love to do my own stunts,” she says. “It’s an opportunity I’ve always embraced and something my fans appreciate, so I’m always keen to do as much as I can on my own. “I have one major action sequence which I did myself – it involves a lot of sword work, which I love, so it was a lot of fun. I have to fight off ten guards whilst in full Milady costume. I don’t think anyone has ever done an action sequence in this kind of dress with huge skirts, petticoats and corsets, so it will be a bit of a challenge. It is good because Milady is an innovative character – always the first to do something – so I am very happy that she is the one that gets the first female action sequence in a corset and big dress – she deserves it.” Anderson agrees, “It was a huge challenge, but actually looks spectacular. Because no one had ever tried to do that before. And Milla put a huge amount of effort into blocking her fight scene, where she was fighting with a big dress and two swords and spinning over people’s backs with the petticoats going everywhere. Technically incredible difficulty, but visually just something you've never-ever seen before.” Christoph Waltz plays the devious and all-powerful Cardinal Richelieu. “It was delightful working with Christoph,” says Anderson. “He really is a gentleman. I met him in Los Angeles and this was one of the first movies he signed to do after he won the Oscar. He was a lover of The Three Musketeers. I think that's one of the things you will find in common with nearly all of the actors. And nearly everyone behind the scenes is a Three Musketeers fan. Everyone was really excited to make a Three Musketeers movie. And whereas my Three Musketeers movie was the Richard Lester version, that's the version I grew up with, Christoph remembers seeing the Gene Kelly version when he was at school. And they would play that repeatedly at school. So he always had like a childhood dream to be in a Musketeer movie. So for him it was very much a dream come true.” Like many fine actors, his approach to the role was one of research and appreciation for the period of the film. “I read biographies and did some research on Richelieu, and it is important to do that in order to draw inspiration, but the performance I give at the end of the day has nothing to do with the real Richelieu. It is my real Richelieu,” says Waltz. “He has the power - Richelieu has more power than anyone in France. He simply has to 10

arrange matters so that everything runs smoothly. It is not so much at existential thing, it’s a diplomatic thing. It is a power game.” Anderson says of his actor, “he asked a lot of very smart questions about the movie. He wanted to know how his Cardinal Richelieu was going to be different to any other Cardinal Richelieu. And I said, what we're going to do is we're actually going to be the first movie to portray him as the man he really was.” “Christoph Waltz is mesmerizing to watch – he is a real master,” says Bolt. “We shouldn’t underestimate the brilliance of the Dumas novel. It is a masterpiece and the characters are phenomenal, so we had to bring in actors who had the ability to live up to that. With Christoph we have exceeded expectations. I feel extremely lucky to have him in the movie.” Stevenson talks about this experience of working with the director, Paul W.S. Anderson: “Paul has a genuine enthusiasm for this project – this sheer joy of filming every stage of this movie is infectious. He is a visual director and his command of telling a story through motion picture is second to none. It is no surprise to me that he is now coming to the 3D table. What I think is interesting is how this classical tale will hang on a 3D stage. We all know what 3D can give you visually, but can you follow a dramatic narrative in that sense when it is not action lead. The action comes from the narrative rather than the other way around. I think it is going to work incredibly well. The audience is going to need massages when they leave the cinema because they will feel as though they have been inside the fights with us – it’s very exciting.” Macfadyen comments, “Paul has a non-stop enthusiasm and energy – and I don’t mean in an ridiculous way. He just has a very constant energy. That quality is so important for a director because, if nothing else, as an actor you look to him to keep your spirits up. ”

LOCATIONS The Three Musketeers was filmed on location in some of Germany’s most breathtaking towns and cities throughout Bavaria, and at Babelsberg Film Studios in Berlin. Says Anderson, “The Three Musketeers is set in France. But the interesting thing about Bavaria is that a lot of the castles and palaces that were built there were built at a time where it was very fashionable to kind of emulate French architecture and also Italian architecture. And the opening of our version of The Three Musketeers takes place in Venice and then the action shifts to Paris. So in a way Bavaria was perfect, because it had a fantastic mix of Italian and French architecture.” Filming kicked off on location in Bamberg, within a historical courtyard situated on the Domplatz. The site doubled for Coopers Yard, the meeting point D’Artagnan chooses for his duels with Athos, Porthos and Aramis. The duel is interrupted by the arrival of Rochefort and the Cardinal’s guards, who are subsequently flattened by the Three Musketeers and their new young friend. Says Lerman, “for me, staring off with the huge fight was definitely an interesting way to begin – jumping straight into the high action. I remember I was the first one out of the four of us to film his part of the fight. Stepping up to the plate was nerve wracking to say the least. I’m very competitive so I wanted to show what I was made of and really put all the hard training to use.” The Domplatz was transformed into 17th Century Calais, where our heroes discover the route to England has been blocked. Filming also took place on Obere Brücke (Upper Bridge) and under the ornate building that was once the town hall. The crew worked through the night to film the scenes outside the Musketeers’ apartment, where Rochefort 11

and his guards arrive to arrest them by force if they refuse surrender. The town hall was built in the middle of the 14th century. In addition to the stunning architecture, and the Baroque and Rococo style interior, the frescos are particularly impressive due to their plasticity. Says Lerman, “I personally loved Bamberg – I was blown away by it. We also had a lot of fun there. The cast and crew were all staying in the same hotel in this little town so we could hang out after work and at the weekends. It was a real bonding experience.” Next stop on the tour was Burghausen to film within the historic castle walls. One area doubled for Meung, where D’Artagnan stops on his journey to Paris and is given a lesson in reality by Rochefort. Burghausen was also the location used as the bustling Parisian market, in which D’Artagnan chases after Rochefort, but bumps into Athos, Porthos and Aramis instead. Burghausen boasts the longest castle complex in Europe, stretching over 3281 feet in length. Dating back to the 12th century, the castle is picturesquely situated between the Salzach River and Wohrsee Lake, at the foothills of the Alps. Stevenson comments, “Each location had its own character. The way the set [Parisian Market] in Burghausen was dressed was incredible – your eye never has a place to land which will just be enhanced by the 3D. We also shot in places like the Residenz and the Antiquariam in Munich which has never been filmed before.” Next, the crew traveled to the far northern tip of Bavaria to film the splendor of the Louvre at the Würzburg Residenz and gardens. Crowds gathered daily to catch a glimpse of The Three Musketeers cast including Christoph Waltz, Orlando Bloom and Milla Jovovich. Jovovich talks about the importance of filming on location in the historical towns and cities of Bavaria: “The locations are really what give this movie the authenticity and the scope. We could have chosen to film in France but the French countryside is so modernized that you wouldn’t be able to film wide shots of the castles the way that you can in Bavaria. Paul and the whole team were able to scout these incredible historical castles and palaces that enabled him to really back up with the camera and get an awesome scope. This is especially important for this film because depth and scope are crucial for 3D.” Built between 1720 and 1780, the palace is the former residence of the Würzburg princebishops. During World War II it was heavily damaged but it underwent extensive restoration and re-opened in 1987. It is now on UNESCO’s World Heritage list. Schloss Weissenstein in Pommersfelden was the palatial country house used as the interior Venetian safe house set. This is where the Musketeers’ celebration is cut short by the arrival of Buckingham and the betrayal of Milady. The room used for filming was intricately decorated with shells and mirrors encrusted into the walls giving the room an almost aquatic quality. Filming on location in Bavaria was a treat for Macfadyen, he explains, “It was seemingly endless; beautiful location after beautiful location, each more wonderful and amazing than the last. My favorite was a 17th Century Schloss in Pommersfelden. We filmed the scene in the Venetian Safe House where Milady double-crosses the three Musketeers. The room we were filming in was vast and exquisite with shells and tiny mirrors decorating the walls. The art department placed water baths outside so the water reflected and made a light effect on the ceiling – it was utterly beautiful. I felt very lucky and privileged to be working there.”

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Moving on, the film crew set up base at Chiemsee and had to get a water taxi each morning over to the island home of the Royal Palace of Herrenchiemsee. Arguably the most decadent of all the palaces used during the location shoot of The Three Musketeers; this palace was the brainchild of King Ludwig II and was intended to be a copy of Versailles Palace. Ludwig died in 1886 before the building was complete. However, it still boasts the State Bedroom complete with an 8 ½ ft bed, and The Mirror Gallery which is almost 328 feet long and decorated with over 1,800 candles. Several impressive rooms and the famous French gardens at Herrenchiemsee were used as locations in the film. The site doubled for the French Louvre, the residence of King Louis and Queen Anne. Back in Munich, the crew set up for their final location within the Great Hall of Schleissheim. The magnificent white room served as Cardinal Richelieu’s office – a perfect reflection of the character’s cold, stark heart. On Day 33, after six weeks on location, the crew packed up and moved to Berlin to complete filming at Bablesberg Studios, Potsdam.

COSTUMES Among the many ways that this version of the classic story has been retold for a new generation, is a complete update to the wardrobe of all characters in The Three Musketeers. Costume designer Pierre-Yves Gayraud had his work cut out for him in finding a unique way to dress the well-known characters, while staying true to the period. Paul W.S. Anderson says, “I didn't want to go for total realism. I wanted to go for a kind of hyper real look. Pierre-Yves and I worked on that for a long time. “ Says Gayraud, “When I spoke with Paul for the first time, he told me he didn’t want the costumes to be traditional, he wanted them to have a rock attitude – especially for Milady and the Musketeers. However, as things developed, Paul became interested in looking at more period references. He liked them, so the result is a real mixture – not quite 17th century, not quite rock star.” “The costume designer did an amazing job,” praises Stevenson. “He has designed these wonderful costumes that all sit so well within the flamboyant surroundings. He has managed to create costumes with just the right degree of theatricality – it is going to be an incredibly visually rich movie to watch, enhanced by 3D.” Gayraud continues: “We used a lot of color and, of course, working with 3D meant we had a really good opportunity to play with textures and give everything lots of extra volume. With a background in the fashion industry, Jovovich enjoyed working with Pierre-Yves Gayraud on the costume for Milady’s wardrobe. “Fashion is something I love; it has always been a big interest of mine. Working on costumes for characters is really important because this is the point when your character really comes to life.” Gayraud explains, “The clothes of the 17th Century were actually not very sexy – they were quite drab and heavy, especially for the women, so we knew we did not want to go too traditional. For men, it was slightly easier to make the traditional look modern because the silhouette remained the same; they still basically wore boots, jeans and flight jacket. The women of this period were very strict and not particularly glamorous. So, we

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decided to change the volume for the corset, and we mixed it with Christian Dior’s silhouette from the 1950s by lowering the top edge of the skirts to just below hip-level.” “When I was a little girl, I have more memories of being in fancy dress than not, but I never dressed up as a Queen. This is a first, laughs Juno Temple, who plays Queen Anne. “These costumes were extraordinary - it feels pretty wonderful to be in a corset with a beautiful skirt, showing of cleavage, collar bones and necks, and being very regal.” Gabriella Wilde, who plays the Queen’s lady in waiting, Constance agrees. “When you get in to these costumes, you immediately feel different. The dresses force you to stand and move in a certain way – you really feel what is must have been like for these women. I actually get to dress up as a boy as well in this film, so that is fun,” she says. Due to the stylized look they had created, Pierre-Yves Gayraud and his team had to produce over 400 unique costumes by hand. He explains: “We had three different places to make the costumes. We started with a workshop in Paris, where we made our prototype pieces and worked on the silhouettes we wanted for the men and the women. When that was established, we moved to Romania to start producing the costumes. It wasn’t until the first week in August that we arrived in Munich to start fitting them with the artists that would be wearing them in the film. It really was a huge challenge timing-wise. We were completing items right up until the moment the costumes were needed on set.” Another challenge for Gayraud was the action element of the film, he explains. “Usually, I would use old pieces of fabric from movies I have worked on before but for this one it wasn’t possible because of the amount of duplication necessary to cover the action scenes. We decided instead to use modern fabrics and then work on them. We would make a lot of embroidery and add prints to make them unique. Sometimes we would need five or six duplications of one dress – so it would have been nearly impossible to find antique material in that quantity.” Bloom talks about his unique costume and how it helped to bring the character to life for him: “We had a great rehearsal period and I had already done some work on my character’s dialect, voice, movement, and physicality… and then I got my costume. You just don’t mess around when you have a costume like The Duke’s! For a film like this, it is definitely a great help but it was also something I had to learn to get comfortable in. These outfits are not something you get to wear everyday. There is nothing comfy about my suits but they do look amazing!” “These costumes just pop your eyes and blow your irises out of your face, says Freddie Fox. “Louis is very interested in fashion but he is not a fashion whore. He wants to look the best because he must be the centre of attention. He especially wants to show in front of the Duke of Buckingham, who tends to be one step ahead of him in the fashion stakes.” Producer Jeremy Bolt echoes the praise of the cast. “Pierre-Yves has demonstrated to me how the costumes are equally as important to a film as good lighting. Costumes are a running theme in The Three Musketeers; the King is very much into fashion and Buckingham is like the fashion icon of the 17th Century, so we have a lot of fun with the idea of fashion throughout the film,” he says. Adds Anderson, “Pierre-Yves is a genius, there’s no doubt about it, and he’s definitely the one authentic French thing in the movie. He built beautiful costumes and he built costumes that were true to the 17th century, but altered slightly.”

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PRODUCTION DESIGN Paul Austerberry talks about of the look and feel of the film: “It is a modern take on a period movie. We are obviously supposed to be set in the 17th century, but we have incorporated a lot of modern elements; it is stylized with clean, stark lines and bright color palates. It is more of a comic book period movie than a real period drama.” He continues on the director’s style and how that impacted decisions he needed to make with regards to the location element of the shoot: “Paul Anderson’s middle name initials are “W.S.” – he loves the wide shot. This is fantastic for the art department because he always wants to show all the work we do. Paul likes things to be very symmetrical, which gives a very stylized look. Everything we do is in a really wide lens, usually an 18mm lens, and everything looks bigger than it actually is. We have gone to these really amazing locations, which are already large, and used a very wide lens, low to the ground, and it captures the whole world. It is fantastic because you get all the scenery surrounding these wonderful sets, and it is more realistic for the actors. It is a subtle thing with Paul but it is all right there, in your face.” “Quite often in modern day fantasy and period movies a lot is done with green screen, but we had the advantage of having these fantastically huge locations. And I wanted to fill them with hundreds of extras,” says Anderson. He adds, “the most challenging things have nothing to do with just size and scale and numbers. One of the scenes that was probably the most difficult, although you may not think it, is the bridge that we shot in Bamberg. It's a beautiful kind of medieval bridge across the river. And but because it's tight and it's confined, it was difficult to work on. Then we had a lot of flaming torches, and there’s always the potential danger of that. Especially when you have eighty or ninety people carrying flaming torches in an action scene.” As the production designer, Austerberry was part of the scouting team that settled on Bavaria for most of the location work for The Three Musketeers. “I wasn’t sure what to expect from the locations but they are fantastic. We were looking for some Italian and French locations and of course Bavaria has a lot of Italian influenced architecture. Many people wanted to have their Schlosses [palaces] designed in Italian style years ago, or have part of an Italian Grotto built in their grounds, so we managed to get a lot of the correct style of buildings from South Germany.” “The sets that we have in the film bring a sense of reality to the movie, and a sense of grandeur and scale that I think will really shock people when they see it. These locations that we used in Bavaria are so big. Because these palaces were built on the scale that no one constructs anymore. I don't care if you're the richest man in the world, you don't build a house or a mansion as big as Ludwig II built his mansions. So you're dealing with a scale of architecture that doesn't exist in the modern world,” says Anderson. However, shooting in real locations presented its own set of challenges. Austerberry explains: “First of all we had to get permission to shoot in these protected locations. Some of the places we wanted to film were highly protected by their historical society, so it was difficult to get in there. Once we did, we had to decorate the sets. A lot of our pieces were genuine 17th Century items from France. For every piece of furniture we brought in to the buildings, we had to produce a certificate declaring there was no questionable past – ensuring we weren’t bringing termites into the Schlosses.” Anderson says, “Filming in all of these locations, you had to take special precautions. So quite often, the camera equipment could not touch the floor. In fact, we would have to kind of lay carpeting and then Styrofoam and then wooden boards and then more 15

Styrofoam and then more wooden boards, and then more carpeting, and then we could put the equipment on top of that. So that we didn't affect the historic buildings in any way, which was a lot of extra work for us. And it meant the camera equipment was quite often it was that high off the ground. But to shoot in such beautiful places, it's worth the effort.” He continues, “I’d often say to Paul, ‘how much would it cost to build this if we built it as a set?’ And he would look at it and he would go, not only would you never ever be able to afford to build this, but you could never build it, even with all the money in the world, because the level of detail and the craftsmanship that exists here doesn't exist in the world anymore. The way these things are carved and detailed no one does that. That's kind of a lost art. So really in a way, these locations are providing a kind of glimpse into the reality of an opulent past that I think most people have not seen before. And what we chose to do is we took real locations and then we adapted them to our use. One example of such an adaptation was the map of Europe on Richelieu’s office floor. Austerberry took an amazing white room in Obescheiseim and made the map fit seamlessly but look like it's inlaid into the marble floor. Says Anderson, “We adapted a lot of locations into what fit in the script rather than building just small sets. And then the sets that we built tended to be around the airships in the movie. And we built a lot of those. Because although there’s an element of green screen, in those sets certainly, I'm not a big fan of green screen. I would rather build as much of a real set as possible. Gives the actors more to interact with and also makes the finished visual effects more realistic.” Austerberry adds, “there were actually no airships around until the 18th century. However, there are lots of 17th Century drawings of airships and they are often depicted as just regular ships hanging beneath a big air balloon - I guess so that if they landed on water, they could float. We took that idea to the extreme and based our airship on a Galleon of the period, modified it slightly and suspended it under a huge balloon. Paul’s vision for these airships was like a 17th century Death Star – the first time we see it looming over the Louvre in Paris it had to be vast. We take big liberties with gravity and physics, but it makes for an impressive vehicle.” “The first time I saw the sets in Babelsburg, the thing that came to mind is ‘damn they're big,’” laughs Anderson. “I mean, they are undoubtedly my favorite set that I've ever had built in all the movies I've made. These fantastic three story huge ships were wonderful. And they were hugely expensive to make. A lot of effort and time and money went into them. It would have been a lot easier just to have actors standing against a green screen and then put the ships in digitally. But I felt that would really lack the authenticity of having like these really big sets. That we could then digitally enhance. So we went for it, we built these giant ships that were very difficult to film on.” Talking about the use of color, Austerberry said: “We have tried to push the limits of color and style in every way possible. For example, Richelieu’s office is a vast, high ceilinged room that is completely painted white with very small details of black and gold. It is incredibly stark and cold which contrasts strongly with the Cardinal’s blood red robes and the costumes of his guards, who are dressed in red with shiny black armor.” Austerberry explains how working on a 3D set effects his work as the production designer: “This is my first 3D movie. It is not radically different because I always like to provide a foreground, mid-ground and background. However, in 3D I have to think about it a bit more. I can’t bring things too close to the camera; we have to give room for the extra equipment on the set because the cameras are a lot bigger and require more crew.

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This was true of the interior of the airship – we had to stretch the set to make enough room for the 3D camera, the crew and the actors to squeeze into the hull of the boat. “I also get to play around with layering. It especially cool when the camera moves across layers – items you didn’t know where there suddenly pop out in 3D. It has been a lot of fun.”

3D MUSKETEERS For these filmmakers, the decision to shoot in 3D was an easy one. “We are shooting in 3D because Paul does not want to shoot in any other format”, laughs Bolt. “Having shot Resident Evil: Afterlife in 3D, he is complete convert. For him it is the same as when they introduced sound to the movies in the early part of the last century. I cannot pitch projects to Paul unless he can film them in 3D. Paul has such a visual style; he loves the symmetry, the foreground, mid-ground and background objects. 3D wouldn’t work with a director who is much more about the written word – it is a tremendously visually challenging medium, and the director has to be visually brilliant to make the most of it.” Anderson says, “3D for me is a major paradigm shift in cinema and that's what makes making movies especially now very exciting. Just as when cinema went from silent movies to talkies, or went from black and white to color photography, I think going from two dimensions to three is just the next natural progression in cinema. I'm very excited to be kind of working on the cutting edge of that.” “This was my second 3D movie,” he adds. The last Resident Evil film, Resident Evil: Afterlife, I learned a huge amount about 3D and about visual effects in 3D. We chose deliberately to use almost the same team behind the cameras we did on Resident Evil, because I built up a team that I trusted. We’d all learned together. And I wanted to take advantage of that for The Three Musketeers. The Three Musketeers marks the second 3D collaboration after Resident Evil: Afterlife between director and producer Paul W.S. Anderson, cinematographer Glen MacPherson and CAMERON | PACE Group. The film was shot using the same 3D camera system that Avatar used, ARRI’s new ALEXA digital cameras outfitted on the latest CAMERON | PACE Group FUSION 3D system. Two ALEXA’s are mounted on a “split beam mirror” rig, where one camera is mounted on top of the other, with one camera filming straight through the mirror and a second camera filming downward through the reflection captured on the mirror. The 3D effect is controlled by the FUSION 3D system. Because it was filmed in native FUSION 3D, filmmakers were able to view scenes in 3D on set as they were being shot. “I approach 3D filmmaking not as an add-on but as a very holistic approach. Everything about the movie has to be 3D. We start by writing a script that is a 3D script. That has action set pieces in it and descriptions of places that think about the depth that 3D likes and loves. Then we design sets that emphasize the 3D. I choose locations that work well in 3D. We choose to shoot fight scenes in the rain, because rain looks great in 3D.” While Paul W.S. Anderson is also renowned for his work in 3D, the medium that was a first for Lerman working in front the camera. “I had never been to a 3D set before so the whole world of 3D technology was Greek to me when we started. I was really excited to learn how they make the films in 3D. Actually, as an actor, I can say it is easier in some ways because you get digital playback, in great quality and in 3D – it is pretty awesome to see precisely what you are filming.”

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Already well experienced in filming in 3D, Jovovich explains what the medium will bring to The Three Musketeers, “I think Paul is really taking 3D to a whole new level with this film. No one has ever filmed a historical piece in 3D and yet it suits the period so well. When you see these amazing castles, landscapes, gardens and the costumes in 3D it will be like walking into a storybook. The audience is going to be able to go to the theatre and be immersed in a past time, which is so rich and beautiful. We have never seen anything like it before in 3D.” Lerman agrees, “A lot of people have asked me why we would re-make The Three Musketeers in 3D. The truth is, we have such incredible technology these days and 3D transports you straight into that time period unlike any other Musketeers film before. It is a really immersive – you put the glasses on and you are there, in the middle of the action.” Producer Kulzer continues, “I think all big adventure movies going forward will be shot in 3D. We all had a very strong sensation after Resident Evil: Afterlife that we needed to find our next big spectacle that we could shoot in 3D. This movie is perfect because we have these phenomenally symmetrical pieces of architecture; these beautiful buildings, castles and parks, and they lend themselves perfectly to 3D photography. I believe it will add a lot of value to the movie – not just for fans of action movies but also for fans of historical buildings or beauty in general. They will experience these locations in a way they have never been seen before, in beautiful 3D cinematography.”

WHAT AUDIENCES CAN EXPECT Jeremy Bolt tells us what the cinema goers can expect when The Three Musketeers in 3D is released theatrically: “You can expect something unlike you have ever seen before; the swords will move faster than you have ever seen in a sword movie; the costumes will be more colorful than you will believe, the action will be more like a science fiction movie; the locations will be staggering, and the story is unforgettable.” Macfadyen said, “I don’t think we are setting out to be a different Musketeers – more a Musketeers for a new generation. We have a great script, a wonderful cast and crew, phenomenal locations and I think these ingredients will naturally create a fresh take on what is a romping good story. With universal themes of love, loyalty and friendship, I hope it will be as pertinent and relevant as it possibly can be.” Taking the role of Porthos was great fun for Stevenson: “When I used to go to the cinema as a child, there was really only these epic adventures on the big screen and to find yourself doing it in reality is living the dream! We have been riding horses and fighting with swords – it is a tremendous way to live a life and to make a living. If you are all going to work together and you are going to entertain people, you have to get involved in that sense of adventure. Everybody needs to be enchanted – sometimes you just need to be taken on an inspirational journey of excitement and adventure, and that is the essence of The Three Musketeers.” Stevenson talks about what excites him about Paul W.S. Anderson’s version of The Three Musketeers. “I hope we are providing this generation with a great adventure. Showing them that there is still room for real excitement and that spirit to go out and experience life and go with a good heart. It would be great if this film gets one person to say ‘enough with video games, I’m going to stand on this mountain, I’m going to do a passage on a boat, I’m doing to build a school in that rain forest’. There are still adventures to be had and it is all out there waiting to be taken.”

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Anderson concludes, “I think there are many things that make the Dumas tale very intriguing. Chief among them is that it's probably the best and most classic story of heroism and friendship that I've ever read. The classic line, ‘All for one and one for All.” It really is an awesome tale. And those things never go out of style--heroics, friendship, romance. “I don't care whether you're ten years old or you're a hundred years old, those are things that appeal and they appeal right now in 2011 and they appealed just as much in 1911. A hundred years can go by and people are still interested in those very basic things. These are the things that are at the core of the The Three Musketeers.”

THE CAST - BIOGRAPHIES LOGAN LERMAN (D’Artagnan) Logan Lerman has come of age in the entertainment industry with an impressive body of work. He maintains a fearless pursuit of challenging roles, evolving with each new project; fast becoming one of Hollywood's most in-demand young actors, for both independent and mainstream film. Lerman recently completed production on the indie coming-of-age drama, The Perks of Being a Wallflower, alongside Emma Watson, Paul Rudd, Ezra Miller and Mae Whitman. Lerman stars as Charlie, a shy 15-year old coping with love, friendship, loss, and heartbreak. Produced by John Malkovich and his team at Mr. Mudd, the film will be released by Summit Entertainment in 2012. Lerman will soon star in The Only Living Boy in New York for director Seth Gordon. This unconventional coming-of-age tale tells the story of a young man (Lerman) who tracks down his father's mistress to end their affair, only to become romantically involved with the woman as well. In 2010, Lerman was seen as the title character in Chris Columbus' Percy Jackson & the Olympians: The Lightning Thief. Based on Rick Riordan's best-selling book series, the film is about a trouble-prone teen that discovers he is the descendent of a Greek god and sets out on an adventure to settle an on-going battle between the gods. Lerman began his film career landing a role as the youngest son in Roland Emmerich's war drama The Patriot, opposite Mel Gibson. That same year, he appeared as the younger version of Gibson's adult character in Nancy Meyers' romantic comedy What Women Want. Additional film credits include Eric Bress and J. Mackye Gruber's The Butterfly Effect; Will Schriner's Hoot; Joel Schumacher's The Number 23; Penny Marshall's Riding in Cars with Boys; James Mangold's critically-acclaimed remake of 3:10 to Yuma; Bernie Goldmann and Melisa Wallack's Meet Bill; Richard Loncraine's My One and Only; and Mark Neveldine and Brian Taylor's Gamer. On the small screen, Lerman made his mark in WB's dramatic series, “Jack and Bobby,” portraying Bobby McCallister, in a show that followed the lives of two brothers as they went to high school and generally matured, and one goes on to become President of the United States. Prior to that, Lerman appeared in the made-for-television film, A Painted House, winning him his first of three Young Artist Awards.

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Logan Lerman grew up in Los Angeles, California and began his professional career as an actor at the age of five. MILLA JOVOVICH (Milady de Winter) Milla Jovovich has successfully established herself as a highly regarded, international model and actress. Jovovich, (pronounced "mee-luh" "yo-vo-vitch") has transitioned effortlessly to a full time actress, starring in over two-dozen films. Star of the Resident Evil franchise, Jovovich reprised her role as ‘Alice’ in the fourth installment of the film for Sony Screen Gems. In Resident Evil: Afterlife, Alice is on a mission to save survivors in from falling victim to the Undead in a world ravaged by a virus infection. Written and directed by Paul W.S. Anderson, the film was released nationwide on September 10, 2010, and has grossed over $295 million worldwide. In October 2010, Jovovich starred alongside Academy Award winner Robert DeNiro and Academy Award nominee Edward Norton in Stone. In February 2011, Jovovich starred in the Russian-language romantic comedy “Vykrutasy,” which opened in Russia at Number 1. Jovovich completed production on two independent films, including “Faces in the Crowd,” a psychological thriller centering on a woman (Jovovich) who barely survives an attack by a serial killer and wakes up in hospital with a head injury that leaves her “face-blind” (prosopagnosia). In “Dirty Girl,” Jovovich stars alongside William H. Macy and Juno Temple. Dirty Girl” is a comedic story of the search for identity and the redemptive power of unexpected friendship. The film is written and directed by Abe Sylvia and will be released on August 5, 2011 by the Weinstein Company. At the age of eleven, Jovovich was spotted by photographer Richard Avedon, who featured her in Revlon's "Most Unforgettable Women in the World" advertisements. In October 1987, she was on the cover of the Italian fashion magazine Lei, her first of many covers. In 1988, she signed her first professional modeling contract. Milla's breakout role was as Leeloo, the perfect being in Luc Besson's The Fifth Element (1997). She later starred in several other action movies besides the “Resident Evil” trilogy such as Ultraviolet (2006), A Perfect Getaway (2009), and The Fourth Kind (2009). Milla has also been in several comedies and dramas, including Spike Lee's He Got Game (1998), The Messenger: The Story of Joan of Arc (1999), The Claim (2000), The Million Dollar Hotel (2000), Zoolander (2001), Dummy (2003), No Good Deed (2003) and You Stupid Man (2003). Milla is an ambassador for amfAR (The Foundation for AIDS Research) and also supports several other charities, including OCRF (Ovarian Cancer Research Fund), The Dian Fossey Gorilla Fund, Wildlands Project, and UNESCO World Heritage Centre. When she is not in production, Milla resides in Los Angeles with her husband and daughter, Ever.

MATTHEW MACFADYEN (Athos) Matthew joined The Three Musketeers fresh from the set of “Any Human Heart”, a 4part drama for the UK’s Channel 4, which debuted last year. The story is based on a novel by William Boyd about a series of intimate journals by Logan Mountstuart; writer, 20

lover, art-dealer and spy, as he makes his often precarious way through the twentieth century. He plays the role of Prior Phillip in “The Pillars of the Earth”, which aired in the US on Starz in 2010. Based on Ken Follett’s epic bestselling novel, he stars alongside Eddie Redmayne, Hayley Atwell and Rufus Sewell, with Ridley Scott as executive producer. Most recently, Matthew was seen in the role of the Sheriff of Nottingham in Robin Hood, a feature directed by Ridley Scott, starring Russell Crowe and Cate Blanchett. Other recent film credits include the award-winning Frost/Nixon, based on the play by Peter Morgan as well as Incendiary, from the producers of Girl with a Pearl Earring, in which he starred with Michelle Williams and Ewan McGregor. He won critical acclaim and an award for Best Newcomer at the 2006 London Critic’s Circle Film Awards for his lead role of Mr. Darcy in the adaptation of Jane Austen’s Pride and Prejudice directed by BAFTA winner Joe Wright. The Working Title film starred Keira Knightley, Brenda Blethyn and Donald Sutherland. In 2004, Matthew was nominated as Best Actor at the British Independent Film Awards for his role in Brad McCann’s In My Father’s Den. His other film credits include: Death at a Funeral, directed by Frank Oz, Middletown, directed by Brian Kirk, The Reckoning with Tom Hardy, Enigma directed by Michael Apted, starring Kate Winslet and Tom Hollander, and Maybe Baby directed by Ben Elton. In television, Matthew was awarded a BAFTA Award for Best Supporting Actor for his performance in BBC1’s second series of “Criminal Justice”. Last year he also featured in a one-off television drama for BBC Four, “Enid” with Helena Bonham Carter, playing Enid Blyton’s publisher and first husband Hugh Pollock. He also starred in the award-winning (BAFTA, Emmy and Golden Globe) BBC adaptation “Little Dorrit” with newcomer Claire Foy, earning himself a nomination for Best Actor at the 2008 Royal Television Society Awards. Matthew is well known for his portrayal of Tom Quinn in the first three series of the BBC television drama “Spooks”, which won BAFTA and Royal Television Society awards. He was exceptional in Channel 4’s one-off drama “Secret Life” which received outstanding reviews and earned him a BAFTA nomination, and a Royal Television Society Award for Best Actor. He has also starred in “Marple: A Pocketful of Rye” (ITV), “The Project”, (BBC) directed by Peter Kosminsky and Sir Felix Cadbury, ”The Way We Live Now” (BBC) directed by David Yates, “Perfect Strangers” (Talkback TV), “Bloodline” (BBC), “Warriors” (BBC), for which he was nominated at the 1999 Royal Television Society Awards, and “Wuthering Heights” (LWT). Matthew’s theatre credits are also extensive. Last year, he received critical acclaim for his lead role opposite Kim Cattrall in Noel Coward’s Private Lives at the Vaudeville Theatre. Matthew’s other lauded appearances have included productions such as Henry IV Parts 1 & 2 (National Theatre), Battle Royal (National Theatre/RSC/Stratford), School for Scandal (Barbican/Cheek by Jowl), Much Ado About Nothing (West End), Duchess of Malfi (West End/New York) and Midsummer Nights Dream (RSC) and The Pain And The Itch (Royal Court Theatre).

RAY STEVENSON (Porthos) Perhaps best known for his starring role in the HBO/BBC television series "Rome," Ray Stevenson portrayed the legionary Titus Pullo to both critical and public acclaim. Since the series wrapped, he has been working non-stop in a wide variety of feature films.

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Most recently, Stevenson starred as Volstagg opposite Chris Hemsworth and Natalie Portman in Marvel Comics' blockbuster hit "Thor." Stevenson was reunited with the director, Kenneth Branagh, who acted opposite him in "Theory of Flight" for director Paul Greengrass. Additionally, Stevenson starred in Jonathon Hensleigh's "Kill The Irishman," playing the title character in a true crime story of notorious mobster Danny Greene, with Christopher Walken, Vincent D'Onofrio and Val Kilmer. Hensleigh and Jeremy Walters wrote the screenplay based on the nonfiction book To Kill the Irishman: The War That Crippled the Mafia by Rick Porello. Next, Stevenson will appear in Paul W.S. Anderson's "The Three Musketeers," opposite Logan Lerman, Orlando Bloom, Christoph Waltz, and Milla Jovovich. The film is based on the famous novel by Alexandre Dumas and is set for release on October 21, 2011. Currently, Stevenson is shooting Billy Bob Thorton's dramatic comedy "Jayne Mansfield's Car," starring opposite John Patrick Amedori, Robert Duvall, John Hurt, Kevin Bacon and Robert Patrick. The film focuses on the relationship between two families, one American, the other British, in Texas during the tumultuous years of the 1960s Civil Rights movement. Following, Stevenson will be shooting "G.I. Joe 2: Cobra Strikes." He will play the villain "Firefly" opposite Channing Tatum and Dwayne Johnson. The film is slated for release in August 2012. Most recently seen in the post-apocalyptic Warner Bros. feature "Book of Eli" opposite Denzel Washington and Gary Oldman for directors Albert and Allen Hughes, Stevenson was also featured in the fantasy thriller "Cirque de Freak: The Vampire's Assistant." In 2008, he was seen as the lead in "Punisher: War Zone," about the Marvel comics antihero Frank Castle and his quest to rid the world of evil after the death of his wife and daughter. Stevenson's prior film work includes the role of Dragonet in Antoine Fuqua's "King Arthur," for producer Jerry Bruckheimer; the cult favorite "Outpost," for director Steven Barker; "The Return of the Native," opposite Catherine Zeta Jones; and "Some Kind of Life," opposite Jane Horrocks. His stage work includes playing Christ in the York Mystery Plays in 2000 at York Minster. In 2001, he played Roger in "Mouth to Mouth," by Kevin Ely, at the Albery Theatre in London, with Lindsay Duncan and Michael Maloney and, in 2003, appeared as Cardinal in "The Duchess of Malfi," by John Webster with Janet McTeer, at the Royal National Theatre. Born in Northern Ireland, Stevenson grew up in England. He studied acting at the Bristol Old Vic Theatre School.

LUKE EVANS (Aramis) An established star on London’s West End, Welsh actor Luke Evans is primed to turn the heads of U.S. moviegoers and the film industry with his upcoming starring roles in notable studio films including The Three Musketeers, Immortals, and The Raven. In November of 2011, Evans will co-star in the Tarsem Singh directed Greek epic film, Immortals, shot in 3D. As ‘Zeus,’ Evans is the king of the Gods caught in a war with the mortal ‘Theseus’ (Henry Cavill) who is trying to save mankind. “Immortals” will be released on November 11, 2011 by Relativity Media. Evans will start the year 2012 as ‘Detective Emmett Fields,’ who partners with ‘Edgar Allan Poe’ (John Cusack) to help find his missing fiancée (Alice Eve) in The Raven. The

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Raven is directed by James McTeigue and will be released by Relativity Media on March 9th. In Fall 2010, Evans returned to his British roots, portraying the lead role of ‘Andy’ in acclaimed director Stephen Frears’ Tamara Drewe, based on the hugely successful Guardian newspaper comic strip and graphic novel by the same name. Following an exciting reception at the Cannes Film Festival last May, this romantic comedy told the story of a young newspaper reporter (Gemma Arterton) who returned to the town she grew up in as her family sold her childhood home. Evans earned many fans and turned the heads of critics and journalists both stateside and internationally for his charming performance. Upcoming, Evans will star as music maestro ‘Antonio Vivaldi’ opposite Jessica Biel’s ‘Anna Tessieri Giro’ in the period romance Vivaldi, directed by Patricia Riggen and produced by Raffaella de Laurentiis. Vivaldi will follow the forbidden romance between the two that eventually leads to the creation of the masterpiece, The Four Seasons. Evans has also signed on to play an American in Paris who has been framed for a murder in writer/director Ross Katz’s 2012 film, The Amateur American. Evans recently completed his second turn with director Mat Whitecross in the contemporary film noir, Ashes. He will begin his next project, No One Lives, directed by Ryuhei Kitamura in Summer 2011 in New Orleans, LA. The film tells the story of a ruthless gang of killers who are surprised by their victims’ resistance. Following No One Lives, Evan will begin filming his role of ‘Bard the Bowman’ in Peter Jackson’s The Hobbit: An Unexpected Journey, in theaters December 14, 2012. Prior to his film career, Evans had successfully carved 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 UK feature film debut in the role of ‘Clive’ in the 2009 British Independent Film Academy nominated feature Sex & Drugs & Rock & Roll,”Mat Whitecross’s biopic of the London punk-rock scene founder Ian Dury of Ian Dury and the Blockheads. It was Warner Brothers’ action/fantasy/drama Clash of the Titans, however, that put Evans on the map, where he portrayed the charismatic god, ‘Apollo.’ After Clash of the Titans, Evans was next seen in the Ridley Scott remake of Robin Hood, playing the Sheriff's head henchman to Russell Crowe’s interpretation of ‘Robin Hood.’ Without a doubt, Evans has solidified his place in the film world, having had his career already span a multitude of genres and a variety of substantial roles in less than three years. Evans currently lives in London.

MADS MIKKELSEN (Rochefort) Copenhagen-born actor Mads Mikkelsen is the top male star in his native Denmark and is acclaimed throughout Scandinavia. As a child he trained as a gymnast and then became a professional dancer, before studying drama at the Arhus Theatre School. In Denmark he became famous overnight as the star of the Emmy award winning drama series “Unit 1”.

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Among his many and varied film roles, he is best known for his role in the 007 movie Casino Royale, starring as James Bond’s nemesis, Le Chiffre. He garnered critical acclaim for his role in Susanne Bier’s Open Hearts winning a Zulu Award and a Best Actor nomination for the Danish Academy’s Robert Award and the Danish Film Critics’ Bodil Award in 2003. Other leading roles include I Am Dana opposite Gerard Depardieu, Shake It All About directed by Hella Joof, Wilbur Wants to Kill Himself, directed by Lone Scherfig, and Flickering Lights and The Green Butchers both comedies directed by Anders Thomas Jensen. The latter garnered Mikkelsen a nomination for Robert and Bodil Awards as Best Actor in 2005. Mikkelsen made his Hollywood debut opposite Clive Owen and Keira Knightley in King Arthur directed by Antoine Fuqua. As Tristan, he played the understated hawk-loving Knight of the Round Table. In Adams Apples, again directed by Anders Thomas Jensen, Mikkelsen stars as a delusional priest, a performance that has won him a Best Actor Zulu Award in the film. The film was the Danish selection as Best Foreign Film in the 2006 Academy Awards and premiered at the Toronto Film Festival. Mikkelsen then starred in Susanne Bier’s After the Wedding and the Swedish thriller EXIT, directed by Peter Lindmark. Mikkelsen played ‘The Flame’ in Flame and Citron - the role saw him nominated best actor at the European Film Academy Awards, best supporting actor at the Chlotrudis awards and best supporting actor at the Robert Festival. Other notable credits include Valhalla Rising, Coco Chanel & Igor Stravinsky, playing Stravinsky, Die Tur playing David, and most recently, Clash of the Titans in the role of Draco.

ORLANDO BLOOM (Duke of Buckingham) Orlando Bloom was born in Canterbury, England and trained at the National Youth Theatre in London. He later earned a scholarship to train with the British American Drama Academy. Having completed his scholarship, Bloom made his feature film debut in Wilde, starring Stephen Fry and Jude Law. Bloom was then accepted to London's Guildhall School of Music and Drama where he performed in many stage productions, including Peer Gynt and Twelfth Night. Upon graduation, a then unknown Bloom was cast in the films that launched his career: Peter Jackson's Academy Award® winning trilogy, The Lord of the Rings. Bloom captured the attention of international audiences and filmmakers alike as Legolas. In the summer of 2003, Bloom starred opposite Johnny Depp and Keira Knightley in the Jerry Bruckheimer-produced Disney hit, Pirates of the Caribbean: The Curse of the Black Pearl, directed by Gore Verbinski. Having fortuitously worked with Ridley Scott on Blackhawk Down, Bloom went on to star in Scott's Kingdom of Heaven, written by William Monahan for 20th Century Fox. Bloom followed the epic Crusades film with his first contemporary American role. He starred opposite Kirsten Dunst in Cameron Crowe's autobiographical, Elizabethtown, produced by Crowe and Tom Cruise for Paramount Pictures. Bloom then reprised his role as Will Turner in the box office record-breaking Pirates of the Caribbean: Dead Mans Chest, and Pirates of the Caribbean: At World’s End. In the wake of those blockbusters, Bloom made his debut on London's West End in a revival of David Storey's 1969 drama, In Celebration. Produced by Sonia Friedman and directed by Anna Mackmin, the production and Bloom were well-received by both critics 24

and audiences alike. Bloom's additional film credits include Ned Kelly opposite Heath Ledger; Wolfgang Peterson's Troy opposite Brad Pitt; the Cayman Islands ensemble Haven opposite Zoe Saldana; and New York, I Love You opposite Christina Ricci. Most recently, Bloom starred in Mark Ruffalo's directorial debut, Sympathy for Delicious in which he stars opposite Laura Linney. He followed Sympathy with Horton Foote's Main Street in which he stars opposite Colin Firth and Patricia Clarkson. Orlando also starred in The Good Doctor, a black comedy which he also produced via his production company, Viddywell. The film also stars Michael Peña, J.K. Simmons and Taraji P. Henson. Bloom is currently filming in New Zealand as he reprises his role of ‘Legolas’ for Peter Jackson’s The Hobbit, the sequel to the international blockbuster franchise, The Lord of the Rings. CHRISTOPH WALTZ (Cardinal Richelieu) Christoph Waltz received Academy®, SAG, BAFTA, Golden Globe and Cannes Film Festival awards for his portrayal of Nazi Colonel Hans Landa in Quentin Tarantino’s Inglourious Basterds. Waltz was most recently seen co-starring in Water for Elephants, the Richard LaGravanese-scripted adaptation of the novel by Sara Gruen. Waltz plays the animal trainer opposite Reese Witherspoon and Robert Pattinson. Prior to that, Waltz played the villain “Chudnofsky” in Michel Gondry’s The Green Hornet alongside Seth Rogan and Cameron Diaz. Waltz recently wrapped production in Paris on the feature film, Carnage, an adaptation of Yasmina Reza’s Tony-winning play “God of Carnage.” Roman Polanski directs and Waltz stars opposite Kate Winslet, Jodie Foster and John C. Reilly. Waltz’s work in European television, film and theatrical productions spans three decades. His motion picture credits include Gun-Shy, the Berlin Film Festival entry Lapislazuli, Dorian, She, Falling Rocks, Ordinary Decent Criminal, Our God’s Brother, The Beast, Berline Blues and Angst. On television, he appeared in the Adolf Grimme Award-winning films “Der Tanz mit dem Teufel - Die Entführung des Richard Oetker” and “Dienstreise Was für eine Nacht Dienstreise.” For his work in “Du Bist Nicht Allein” – “Die Roy Black Story,” Waltz garnered Bavarian and German TV awards and the RTL Golden Lion. Waltz will make his feature directorial debut with the German-language Auf und Davon (Up and Away), a comedy loosely based on the novel by Meike Winnemuth and Peter Praschi. The Fox International Production follows the ruthless host of a dating competition who falls for a contestant. Waltz also wrote the screenplay.

GABRIELLA WILDE (Constance) Born in 1989, Gabriella was raised in Hampshire and is one of seven siblings. Her credits include St. Trinian’s 2: The Legend of Fritton’s Gold, also starring Rupert Everett, and the new “Doctor Who” with Matt Smith. Gabriella lives in London, England.

JAMES CORDEN (Planchet)

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Born in Buckinghamshire, James has quickly become one of Britain’s most notable English BAFTA winning comedy actor, writer and producer. His attention to detail and ingenious timing create television that is pure pleasure to watch, so much so that The Independent hailed James Corden ‘the hottest property in British television.’ James famously secured his first break undertaking the role as a pupil in The History Boys by Alan Bennett. This outstanding portrayal of young teenage boys in the pursuit of sex, sport and a place in higher education is charming, and the talent exhibited earned James a place on the international tour at The National Theatre; Broadway and in the cinema adaptation in 1994. In 1997, James made his first screen debut in the film ‘24/7’ directed by Shane Meadows, and went on to have a number of small television parts including “The Everglades”, “Little Britain” and “Teachers”. These roles led to James’ first most recognizable television part in the British comedy “Fat Friends” in 2000 in which James played a teenage member of a slimming club. It was in 2007 that James embarked on his most impressive venture yet - along with his fellow Fat Friends star Ruth Jones, they created and co-starred in the award winning “Gavin and Stacy”. The comedy became one of the most recognizable hit comedies from the last two years, winning the Audience Award at the 2008 BAFTAs and James himself scooping the award for Best Comedy Performance. In 2008 James won ‘Best Breakthrough Talent’ at the GQ Man of The Year Awards and together with co-writer Ruth Jones picked up the award for ‘Best TV Comedy’ at The Writers Guild Awards (2008.) In 2009 Gavin & Stacey also won ‘Best British Comedy Show’ at the British Comedy Awards and ‘Most Popular Comedy Programme’ at the National Television Awards (2010). In 2009 James starred to much critical acclaim in Nick Moran’s ‘Telstar’ alongside Kevin Spacey and the spoof horror film ‘Lesbian Vampire Killers’ (March 2009.) James also cowrote/ starred with Matthew Horne in the BBC sketch show ‘Horne and Corden.’ 2009 also saw James write and star in a number of comedy sketches including the infamous England football team sketch for Comic Relief. He also teamed up with F1 world champion Jenson Button to film a sketch for Sports Relief and continues to be a huge supporter of the cause. March 2010 was an equally busy year for James who secured his own sports panel show on Sky 1 HD - ‘A League of their Own.’ The brand new format saw Ashes hero Andrew Flintoff and former England footballer and Sky Sports presenter Jamie Redknapp line up as team captains. Featuring physical challenges, comedians; celebrity and cameo appearances from the biggest names in sport - the show was the perfect platform for one-upmanship mixing specialist knowledge of groundbreaking sporting moments with hilarious facts and figures. James will also appear in the remake of Jonathan Swift's story ‘Gullivers Travels’ playing the right-hand man to Lemuel Gulliver, played by Hollywood top comic Jack Black. Also starring in this 20th Century Fox blockbuster are stand-up legend Billy Connolly and comedy queen Catherine Tate. (Release date TBC) ITV1 commissioned 14 episodes of James Corden's World Cup Live that TXed immediately after every ITV1 World Cup evening game for a 1-hour live show - the second half of which TXed on ITV4. James Corden's World Cup Live, a Comedy Entertainment show celebrated the World Cup in all its glory. Every night James was joined by two guests interviewed in his typical upbeat and cheeky spirit. 26

This year James was back with a second series of his popular sports quiz ‘A League Of Their Own’, and still found time to be awarded GQ Comedian Of The Year 2010. He was also nominated in the Best Entertainment Programme category for James Corden’s World Cup Live Show at next year’s National Television Awards (26 Jan 2011).

JUNO TEMPLE (Queen Anne) In just a few years, Juno Temple has firmly established herself as one of the most versatile and talented young actresses in Hollywood. She is currently in production on Christopher Nolan’s The Dark Knight Rises, his third film in the Batman franchise. Her next project, an independent film called The Brass Teapot, also recently begun production. Temple will next be seen in Killer Joe, based on the play by Tracy Letts. Also upcoming is Killer Films’ Dirty Girl, in which she stars as a notorious high school tramp who journeys from Oklahoma to California to find her father. She also stars as ‘Lily Hobart’ in Elgin James’ Little Birds opposite Kate Bosworth and Leslie Mann, which will be released by Millennium Entertainment on October 7, 2011. The film premiered at the Sundance Film Festival in January 2011, along with Kaboom, Gregg Araki’s sci-fi film about the sexual awakening of a group of college students. Additionally, Juno will star in Good Night Moon opposite Anna Sophia Rob and finally in Jack and Diane. Most recently, Temple appeared in the independent drama, Cracks,directed by Jordan Scott. In 2010, Temple appeared in Focus Features’ relationship dramedy, Greenberg, directed by Noah Baumbach and starring Ben Stiller. In 2008, Temple was seen in The Other Boleyn Girl, opposite Natalie Portman and Scarlett Johansson In 2007, she appeared in the Academy Award®-winning film Atonement, opposite Keira Knightley, James McAvoy and Saoirse Ronan. In 2006, Temple’s breakthrough arrived when she won the role of Cate Blanchett’s daughter in the Academy Award® nominated film Notes on a Scandal. Additional credits include Mr. Nobody, The Year One, 1939 and British box office hits St. Trinian’s, Wild Child and Pandeamonium. Juno is the daughter of director Julien Temple and producer Amanda Temple. She currently resides in Los Angeles.

FREDDIE FOX (King Louis) Born in 1989, Freddie grew up in London and graduated from Guildhall School of Music and Drama in 2010. His credits include the role of Ratallack in Hugo Blick’s The Shadow Line, alongside Chiwetel Ejiofor, Christopher Ecclestone and Eddie Marsan and Julian Jarrold’s Worried About The Boy. Freddie made his professional stage debut at The Old Vic in December 2010 for Richard Eyre’s production of “A Flea in Her Ear,” joining a cast that included Tom Hollander and Nancy Carroll. He subsequently appeared in Thea Sharrock’s production of “Cause

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Celebre,” also at The Old Vic. Freddie’s next projects include the HBO Drama Parade’s End” and the BBC’s Dickens adapatation “The Mysteries of Edwin Drood” TIL SCHWEIGER (Cagliostro) Actor, producer, writer and director Til Schweiger is one of Germany’s biggest filmmakers and movie stars. He runs his own production company Barefoot Films in Berlin. Schweiger’s debut as a producer and (uncredited) director came in 1997 with Knockin’ On Heaven’s Door. The film remains a cult favorite for audiences worldwide. He also directed and produced Der Eisbaer (The Polar Bear) in 1998. Schweiger won a Bambi Award for Barfuss (Barefoot) in 2005 that he wrote, directed and starred in. He also won a Bambi for his lead role in Raumschiff Surprise (Dreamship Surprise). Keinorhasen (Rabbit Without Ears) was written, produced and directed by Schweiger and became the most successful film in German Theaters in 2008. The film won a prestigious Bambi Award, a Bavarian Film Award, the German Comedy Award, two DIVA Awards, a Jupiter Award and the Ernst Lubitsch Award. The sequel Zweiohrkueken (Rabbit Without Ears 2) was released on the following year and was also a huge success with over 4.2 million viewers. Schewiger then went on to direct, produce and star in 1 ½ Ritter (1 ½ Knights), which also proved a huge cinema hit on its release in 2008. His recent work as a director, co-writer, producer and actor was last seen on the big screen in February 2011 with KOKOWÄÄH. Schweiger has also appeared in a wide range of American films, including Already Dead, King Arthur, In Enemy Hands, Magicians, Tomb Raider: The Cradle of Life, Driven, SLC Punk, Investigating Sex, Joe and Max, and The Replacement Killers. His most recent big screen appearance was as the legendary Hugo Stieglitz in Quentin Tarantinos Inglorious Basterds. He recently completed production on The Courier with Mickey Rourke and This Means War with Oscar Winner Reese Witherspoon.

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THE CREW – BIOGRAPHIES PAUL W.S. ANDERSON - Director/Writer Director, producer, and writer Paul W.S. Anderson has become internationally known for his action-packed, edge-of-your-seat films. All together, his films have grossed over $1.1 billion worldwide, with #1 weekends around the globe – an accomplishment that puts him in an elite group of filmmakers. Anderson turns epic stories into must-see movies, having launched four successful film franchises, and tackled diverse subjects such as classic literature, science fiction, video game franchises, and historical fiction. Next, Anderson will direct the fifth installment of the Resident Evil franchise, which has made $675 million worldwide to date. Also set for an early 2012 shoot is Pompeii, an epic love story set against the backdrop of the eruption of Mt. Vesuvius in 79 AD again in 3D for Constantin Film and Summit Entertainment. Paul’s first film was 1994’s low-budget success Shopping, which Anderson wrote and directed. Starring Sadie Frost and Jude Law (with an appearance by legendary singer Marianne Faithful), this dark film about joyriding and ram-raiding British youth was banned in some UK theatres, but established Anderson’s flare for high-impact action. Shopping paved the way to Hollywood for Anderson, and 1995’s Mortal Kombat became Anderson’s first American No.1 box-office smash. It was also the first successful movie adaptation of a videogame. The triumph of Mortal Kombat quickly established Anderson as the man who could take the game off the television and make it explode on the big screen, and into a successful franchise. Sidestepping offers to direct a sequel to Mortal Kombat, Anderson chose instead to turn his attention to science fiction. His next directorial projects included Soldier and Event Horizon. Blade Runner screenwriter David Peoples wrote Soldier as a “sidequel” to the bleakly powerful Blade Runner. Now considered a cult classic, Event Horizon starred Laurence Fishburne, Sam Neill, Jason Isaacs and Joely Richardson. Anderson returned to adapting videogames for the big screen with the survival horror Resident Evil (2002), starring Milla Jovovich and Michelle Rodriguez. Anderson wrote, directed and produced the feature. A resounding commercial success, the movie spawned Anderson’s second successful franchise that includes No.1 hits Resident Evil: Apocalypse (2004) and Resident Evil: Extinction (2007). Anderson wrote and produced the sequels with Impact Pictures partner, Jeremy Bolt. Anderson confirmed his box-office power when he wrote and directed the highly anticipated AVP: Alien vs. Predator (2004). This kicked off Anderson’s third successful franchise; the movie opened at No.1 and went on to be the highest-grossing film in both the Alien and Predator series. In 2008, Anderson’s Death Race, starring Jason Statham and Joan Allen, rolled into theaters. Anderson’s film was a remake of the 1975 cult classic Death Race 2000 starring David Carradine and Sylvester Stallone. The film was distributed by Universal Pictures and was produced by Anderson through Impact Pictures with Bolt. In 2009 Anderson wrapped the sci-fi horror Pandorum, starring Dennis Quaid and Ben Foster, for which he took on the role of producer. Anderson and Bolt produced through their Impact Pictures banner.

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Anderson most recently released Resident Evil: Afterlife, the fourth film in the highly successful franchise. The film stars Milla Jovovich and was filmed using the Vincent Pace 3D system developed for Avatar. Born and raised in Newcastle-upon-Tyne, England, Anderson graduated from the University of Warwick with a BA in Film & Literature, he continued at Warwick to become the youngest student to achieve an MBA.

ALEX LITVAK – Writer Alex is a former feature executive turned screenwriter. Upon graduating from the prestigious USC Film School, he worked at 20th Century Fox, Outlaw and Intermedia, where he was involved with over two dozen movies, including X Men, X-Files, Fantastic Four, Daredevil, Behind Enemy Lines, Training Day, Alexander, K-19, Quiet American, Mindhunters, Basic, Dark Blue and The Hunting Party. Since making the switch to screenwriting, he's penned a number of projects in features and TV. His produced credits are Predators (2010) and The Three Musketeers (2011). He's currently writing Masters of the Universe for Sony and a high concept sci fi adventure for Fox.

ANDREW DAVIES – Writer Andrew Davies is acknowledged to be the most successful adapter of classic novels writing in film and television today. He began his career by writing radio plays, and then moved into writing for television, films, theatre, novels and children's books. Andrew received credit on the screenplay for both Bridget Jones’ Diary and the follow up film, The Edge of Reason, sharing credits on both of these with Helen Fielding and Richard Curtis. He has adapted Evelyn Waugh’s Brideshead Revisited for Ecosse Films and shared screenwriting credit with John Le Carre and John Boorman on The Tailor of Panama. The film of his book, B Monkey, was directed by Michael Radford for Scala Productions and he wrote the screenplay for Maeve Binchy’s novel Circle of Friends which was directed by Pat O’ Conner and starred Minnie Driver. Andrew’s most recent adaptation for television was of Winifred Holtby’s “South Riding” for the BBC, screened in February of this year. It starred Anna Maxwell-Martin and David Morrissey with John Henshaw and Shaun Dooley. Andrew’s 14 part adaptation of Charles Dickens’ “Little Dorrit” (BBC) for which he won the Emmy Award for outstanding writing, transmitted in October 2008 sporting a stellar cast including Tom Courtenay, Matthew Macfadyen, Amanda Redman and Andy Serkis. This was followed by his adaptation of Sarah Waters’ gothic novel “Affinity” for ITV1. His acclaimed screenplay of “Pride and Prejudice” was transmitted on BBC 1 in the autumn of 1995 and received both the highest viewing figures of any BBC Classic Serial and the highest audience for any drama transmitted on the Arts & Entertainment Channel in the United States. The serial was produced by Sue Birtwistle and directed by Simon Langton. His theatre writing credits include 1989’s “Prin,” which enjoyed a very successful run at the Lyric Hammersmith and at the Lyric Theatre in the West End. His earlier play,

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“Rose,” starring Glenda Jackson, played to full houses at the Duke of York's in the West End and was subsequently produced on Broadway and in many other countries. Andrew has written two novels for adults (Getting Hurt and B Monkey) as well as numerous children's books he has also written for children's television. JEREMY BOLT – Producer Since creating and developing Impact Pictures with Paul WS Anderson in 1992, Jeremy Bolt has gone on to produce the majority of Anderson’s features. In the past two decades, their films have become cultural touchstones, and grossed over $1.1 billion. Bolt will soon begin production in the fall of 2011 on the fifth film of the highly successful Resident Evil franchise with Paul WS Anderson directing for Constantin Film and Sony Screen Gems. In addition, Bolt is set for an early 2012 shoot on Pompeii, an epic love story set against the backdrop of the eruption of Mt Vesuvius in 79 AD again with Paul WS Anderson directing in 3D for Constantin Film and Summit Entertainment. His first collaboration with Anderson was on 1994’s Shopping starring Jude Law (Channel Four Films). The action packed film about joyriding and ram-raiding British youth, revved up Bolt’s career and established his love of cars and death defying races. With Hollywood’s attention, Bolt began producing big budget films such as Event Horizon (Paramount) and Soldier (Warner Bros). 2002’s Resident Evil (Sony Screen Gems) was the first movie under Impact Picture’s joint venture deal with Germany’s leading independent distributor, Constantin Film, going on to gross over $100M worldwide. Under the joint venture with Constantin, Bolt produced 2004’s Resident Evil: Apocalypse for Sony Screen Gems (written by Anderson and directed by Alexander Witt); the psychological horror The Dark (directed by John Fawcett); teen actioner DOA: Dead Or Alive (directed by Cory Yuen for Dimension), an adaptation of Tecmo’s best-selling videogame franchise; and the third movie in the block-busting Resident Evil franchise, 2007’s Resident Evil: Extinction that debuted #1 at the US box office, and grossed $150M worldwide. Also in 2007, Bolt produced Death Race with Jason Statham, Joan Allen and Ian McShane, a reimagining of the Roger Corman classic, with Cruise/Wagner Productions for Universal Pictures. Fall 2009 saw the release of the sci/fi horror film Pandorum for Overture Films and Constantin Film starring Dennis Quaid and Ben Foster. The 4th film in the Resident Evil franchise was released in the fall of 2010 and earned $300M worldwide. Action horror Resident Evil: Afterlife was shot in 3D for Constantin Film & Sony Screen Gems, and stars Milla Jovovich and Ali Larter. The franchise has made $675 million worldwide to date. As well as producing big budget genre movies, Bolt has proved his talents as a versatile and eclectic filmmaker, producing the art house film Vigo for Film Four (directed by Julien Temple), and the comedy Stiff Upper Lips (starring Peter Ustinov). He has also produced There’s Only One Jimmy Grimble (starring Ray Winstone and Robert Carlyle) and teen horror The Hole (starring Thora Birch and Keira Knightley), both for Pathe Pictures.

ROBERT KULZER - Producer Robert Kulzer was named co-president of Constantin Film Development Los Angeles in 2005, where he had worked as head of production since 2000 and served as head of development and acquisition from 1991 to 2000. Among his acquisitions for Constantin Film were American Pie, The Sixth Sense and Sleepy Hallow. He also contributed to the 31

production of The House of the Spirits, Smilla’s Sense of Snow, Wrongfully Accused and The Fantastic Four. Kulzer executive produced Resident Evil and Resident Evil: Apocalypse. He produced Resident Evil: Extinction, which became the highest grossing independent film of 2007. He executive produced the U.K. thriller The Dark, starring Maria Bello and Sean Bean, and wrote and produced the German action-comedy Autobahn Racer. Kulzer also produced the survival horror film Wrong Turn, the action-adventure DOA: Dead or Alive, the werewolf action-thriller Skinwalkers and, most recently, the science-fiction thriller Pandorum.

MARTIN MOSZKOWICZ - Executive Producer Martin Moszkowicz has been involved in well over 100 feature films as producer, executive producer, co-producer or managing director of Constantin Film. Moszkowicz’s long list of producing achievements include a slew of German film hits, among them Sönke Wortmann’s Maybe…Maybe Not (1994), Michael Bully Herbig’s Manitou’s Shoe (2001), winner of the Bavarian and German Film Award, Caroline Link’s Oscar®-winning epic Nowhere in Africa (2001), and Doris Dörrie’s Naked (2002), also a recipient of the German Film Award. Moszkowicz has also been involved in a producing capacity in a string of high profile international features in recent years, including Downfall (2004), Perfume – The Story of a Murderer (2006), A Year Ago in Winter (2008), Pope Joan (2009), Männersache(2009), Maria, He Doesn’t Like It (2009), Wickie the Viking (2009), Electric Ghetto (2010), The Hairdresser (2010) and Freche Mädchen (2010). Upcoming films include two highly anticipated 3D features: The Three Musketeers and Wickie and the Treasure of the Gods, both of which Constantin Film will open in Germany this coming September. In his capacity as member of the Executive Board of Constantin Film AG, Moszkowicz is responsible for the company's film & television business, including worldwide production, distribution/marketing and publicity. A graduate of the Ludwig Maximilian University in Munich, Moszkowicz began his film career in physical production as a production manager and line producer, before turning to producing films himself. In 1985, he became producer and managing director of Munich based production outfit M+P Film GmbH. In 1991, Moszkowicz joined Constantin Film as producer and was named managing director in 1996, a position he held through the company’s successful IPO in 1999. Moszkowicz has been a member of the Executive Board since then. Moszkowicz is also a member of the board of the German Producers Association and chairman of the supervisory board of German Films.

CHRISTINE ROTHE – Executive Producer In Charge Of Production Christine Rothe was born in Traunstein, Bavaria, and began working for Bavaria Film Studios in 1977. She remained with the company for nine years working as production coordinator and unit manager on projects including the popular miniseries “Ein Stuck Himmel” and “Rote Erde”. She went freelance in 1987, working on films such as Michael Verhoeven’s The Nasty Girl as the line producer.

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Christine Rothe joined Constantin Film in 1996. Major projects she handled as producer include; Pope Joan (2009), The Baader Meinhof Complex (2008), Perfume: The Story of a Murderer (2006), Downfall (2004), The Trails of Vera B (2001) and The Campus (1998).

GLEN MACPHERSON, ASC, CSC - Director of Photography Glen Macpherson most recently served as director of photography on the 3-D action movie Resident Evil: Afterlife and the horror flick Final Destination. Before that, he shot the hit action film Rambo, the tense thriller One Missed Call and the festival favorite Trick ‘R Treat. The Canadian-born cinematographer’s previous film credits include 16 Blocks, Rebound, Walking Tall, My Baby’s Daddy, Friday After Next, All About the Benjamins, Exit Wounds, Camouflage, Romeo Must Die, Wrongfully Accused, and Cadillac Girls. MacPherson received a Genie Award nomination for Best Achievement in Cinematography for the biographical drama “Regeneration”. He was nominated for a Gemini Award for Best Photography in a Dramatic Program or Series for “Captains Courageous.” Also for television, MacPherson worked on such telefilms as “Max Q: Emergency Landing,” “Calm at Sunset, Calm at Dawn,” “Doctor Who,” “First Degree,” “Bye Bye Birdie,” “Johnny’s Girl,” “Serving in Silence: The Margarethe Cammermeyer Story,” “Shock Treatment,” “Voices from Within,” “Flinch,” “For the Love of Aaron,” “Dying to Remember,” “The Substitute,” “The Sea Wolf,” “Miracle on Interstate 880,” “The Amy Fisher Story,” “Miles from Nowhere,” “Deadly Surveillance,” “Deadly Betrayal: The Bruce Curtis Story,” “Conspiracy of Silence” and “Betrayal of Silence.” MacPherson’s TV series credits include the pilot episode of “Sliders” and an episode of the CBC’s “Magic Hour.”

ALEXANDER BERNER - Editor Editor Alex Berner was born and raised in Munich. He spent much of the 80s in London, first training in computer graphics at PLB Ltd. and then working as a film and video editor at New Decade Productions Ltd. He concentrated on corporate films, documentaries, commercials and eventually music videos for MTV. After directing a documentary and a multicultural rock band in San Francisco in 1988/1989, he returned to Germany to work as a sound and picture editor in features, documentaries, commercials and film trailers. In 1996 Berner won the prestigious German Film Award for "Brother of Sleep". Among his other credits are Roland Emmerich’s epic 10,000 B.C. Other notable credits include Perfume: The Story of a Murderer and Paul W.S. Anderson’s Alien vs. Predator and Resident Evil.

DENNIS BERARDI – VFX Supervisor Founder of the Mr. X studio, Dennis Berardi is a creative visionary who has lived and breathed the visual effects industry for over fifteen years. In addition to a passion for filmmaking, his talents include exceptional creativity and problem solving ability – as well as an unwavering dedication to his craft. Dennis’s love affair with the motion picture industry began in the early 1990s, when he 33

worked closely with IMAX and The National Film Board of Canada to integrate new ground-breaking digital imaging systems for both live-action as well as animated films. In 1994, Dennis then helped to form a motion picture digital opticals company called Cine-Byte, broadening his industry experience while managing daily production of highresolution input scanning, film recording, and digital effects. In 1997, he moved to Command Post Toybox (Toronto), to establish a feature film Visual Effects department. Here, he quickly built a reputation as an expert in the field of computer animation – one who was also skilled at developing teams capable of tackling innovative and complex CGI projects. It was during this period that Berardi’s enthusiasm for working with images made him the first choice as a creative visual effects lead for such visually groundbreaking films as Tarsem’s The Cell and David Fincher’s Fight Club. In 2001, Dennis Berardi founded Mr. X in conjunction with TOPIX – an award winning commercial design and animation house, with the goal of creating an artist-based studio environment that would contribute fundamentally to how a concept or story is visually interpreted for the medium of feature film. His studio has since established itself as a leader in North America, with credits on dozens of distinguished projects including such recent films as Resident Evil: Afterlife (2010), Scott Pilgrim vs. the World (2010), Letters to Juliet (2010), Fast & Furious (2009), Sin Nombre (2009), Amelia (2009), Taking Woodstock (2009), Death Race (2008), The Rocker (2008), Flash of Genius (2008), Eastern Promises (2007), Resident Evil: Extinction (2007), Balls of Fury (2007), Lust Caution (2007), Skinwalkers (2006), Silent Hill (2006), Hollywoodland (2006), Happily N’Ever After (2005), Four Brothers (2005), Assault on Precinct 13 (2005), Greatest Game Ever Played (2005), Ice Harvest (2005), Ice Princess (2005), A History of Violence (2005), Where the Truth Lies (2005), Dawn of the Dead (2004) and Wrong Turn (2003). It was a natural evolution of Berardi’s creative collaboration with other filmmakers, that he would begin producing original content himself. His first foray into film production earned him a producer credit for Cube Zero, the prequel to the cult film series, The Cube. Berardi then built on this early success, producing the feature film Skinwalkers that was completed in 2006 and released theatrically in North America by After Dark Films.

PAUL DENHAM AUSTERBERRY – Production Designer Award-winning costume designer, Paul Denham Austerberry most recently worked on The Twilight Saga: Eclipse starring Kirsten Stewart and Robert Pattinson, Amelia starring Hilary Swank and Deathrace, starring Jason Statham. He has worked on such productions as 30 Days of Night, starring Josh Hartnett, Take the Lead, starring Antonio Banderas, Assault on Precinct 13, starring Ethan Hawke and Lawrence Fishburne, Resident Evil: Apocalypse, starring Milla Jovovich, Highwaymen, starring James Caviezel, The Tuxedo with Jackie Chan and Jennifer Love Hewitt, Exit Wounds, starring Steven Seagal, the Canadian feature Men with Broooms and Mercy with Ellen Barkin and Julian Sands. As art director, Austerberry’s credits include X-Men, Forever Mine, The Corrupter, Half Baked, The Real Blonde, Extreme Measures, Harriet the Spy, and Kids in the Hall: Brain Candy. On television, he was awarded a Canadian Gemini for his work designing the musical special “Inspired by Bach.”

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PIERRE-YVES GAYRAUD – Costume Designer Pierre-Yves Gayraud is one of France’s most sought after costume designers, with over thirty films to his credit. Perhaps best known in the U.S. for two large-scale productions, Regis Wargnier’s Oscar® winning Indochine and Doug Liman’s The Bourne Identity. Indochine, set during the French occupation of Vietnam and filmed in that country, starring Catherine Deneuve and Vincent Perez, brought Gayraud and collaborator Gabriella Pescucci Cesar Award nominations. As the costume designer on Perfume: The Story of a Murderer, he won the German Film Award’s ‘Film In Gold’ for best costume. He went on to design worked on two segments of the episodic “Paris, Je T’aime” with directors Tom Tykwer and the Coen brothers. Other notable feature film credits include: Mr. Bean’s Vacation, starring Rowan Atkinson, Jean-Jacques Annaud’s His Majesty Minor with Vincent Cassel, and The Countess featuring Julie Delphy and William Hurt.

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THE THREE MUSKETEERS FUN FACTS

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260,000 liters of water were needed to fill the section of the Venetian canal built on Stage 15 at Bablesberg Studio.

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It wasn’t just the actors that required hair and make up; the horse playing ‘Buttercup’ was given grey hair extensions on her mane and around her hooves, transforming her into D’Artagnan’s much loved work-horse.

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In preparation for filming, Logan Lerman and the actors playing The Three Musketeers were tutored in the fine art of fencing by the German European Championship gold-medalist, Imke Duplitzer.

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The armory department handcrafted over 800 individual period weapons for filming The Three Musketeers; including guns, pistols, muskets, daggers, rapiers and swords.

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For the scenes involving visual effects, the film crew used 10,000 feet of greenscreen on the stages – that’s nearly 2 miles of fabric.

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For the Venice Vault set, the art department painted 1,800 marble tiles, made 180 gargoyle masks to hang on the walls, and rolled 2,000 scrolls for the vault.

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Animated Logo SUMMIT ENTERTAINMENT Animated Logo CONSTANTIN FILM Animated Logo IMPACT PICTURES SUMMIT ENTERTAINMENT CONSTANTIN FILM present A CONSTANTIN FILM IMPACT PICTURES Production THE THREE MUSKETEERS Directed by PAUL W.S. ANDERSON Screenplay by ALEX LITVAK and ANDREW DAVIES Based upon the novel “The Three Musketeers” by Alexandre Dumas Produced by JEREMY BOLT PAUL W.S. ANDERSON Produced by ROBERT KULZER Executive Producer MARTIN MOSZKOWICZ LOGAN LERMAN MILLA JOVOVICH MATTHEW MACFADYEN RAY STEVENSON LUKE EVANS MADS MIKKELSEN GABRIELLA WILDE JAMES CORDEN JUNO TEMPLE FREDDIE FOX TIL SCHWEIGER with ORLANDO BLOOM

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and CHRISTOPH WALTZ Casting by SUZANNE M. SMITH, CDG Director of Photography GLEN MacPHERSON, ASC, CSC Editor ALEXANDER BERNER Production Designer PAUL DENHAM AUSTERBERRY Make Up Designers CHRISTINA SMITH BJÖRN REHBEIN Costume Designer PIERRE-YVES GAYRAUD Visual Effects Supervisor DENNIS BERARDI Supervising Sound Editor STEFAN BUSCH Re-Recording Mixers MICHAEL KRANZ ANDREW STIRK Music by PAUL HASLINGER Line Producer SILIVA TOLLMAN Executive Producer in Charge of Production CHRISTINE ROTHE A Film by PAUL W.S. ANDERSON Co-Producers MANUEL MALLE RORY GILMARTIN CHARLIE WOEBCKEN CHRISTOPH FISSER In Co-Production with

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NEF PRODUCTIONS NEW LEGACY FILM and BABELSBERG FILM A CONSTANTIN FILM/IMPACT PICTURES Production Supported by DEUTSCHER FILMFÖRDERFONDS FILMFERNSEHFONDS BAYERN BAYERISCHER BANKENFONDS FILMFÖRDERUNGSANSTALT MEDIENBOARD BERLIN BRANDENBURG Supported by DEUTSCHER FILMFÖRDERFONDS FILMFERNSEHFONDS BAYERN BAYERISCHER BANKENFONDS FILMFÖRDERUNGSANSTALT MEDIENBOARD BERLIN BRANDENBURG

ASSISTANT DIRECTORS 1st AD 2nd AD 2nd AD Floor 2nd AD Crowd & Doubles 2nd AD Crowd 3rd AD 3rd AD Crowd AD Crowd Bavaria

Crowd Marshalls

Jamie (James) Christopher Matthew Sharp Stewart Hamilton Katharina Hofmann Ronny Schröder Kaspar Lerch Robert Moravek Tommy Kreiselmaier

Stephanie Guttenberger Susanne Frei Tobias Illing Holger Sachse

AD Runners

Eva Obieglo

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Rickie-Lee Roberts Jan Weyl PRODUCTION Unit Production Managers

Hermann Maurer Ranke Rakowski Miki Emmrich

Unit Manager

Assistant to Line Producer

Production Coordinators

Jens Enderling

Dorothee Specht

Irene Kainz Andrea Held Djamila Holland Susanne Fischer

Assistant to Production Coordinators

Beatrice Degenhart Elisabeth (Ellie) Kemps

Travel & Shipping Coordinator Accommodation Coordinators

Lena Kopsch Jessica Moroder Mandy Barchmann Silke Werner

Production Runners

Jenifère Nieschmidt Jan Gallasch

PAs

Sebastian Gosch Katrin Ewerlin

IT-Support

Astrid Junge

LOCATION Location Managers

Ruben Hanne Grit Simbeck Jens Geibel Silke Krüger Hannes Heidenreich Andreas Friz

Assistant Location Managers

Alexander Schimkus Andreas Heidenreich

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Nima Nadaf Set Manager Assistant Set Managers

Sven Jenuwein Volkmar Croye Rocco Weber

Set PAs

Kilian Hebold Andre Schmidt Julian Witt Viktoria Steudemann David Schill Rosemarie Becker Paul Wolf

Location Scouts

Marina Winter Helga Berthold Franz Hinterbrandner

ACCOUNTING Chief Accountant

Accountants

Johanna Kohtz

Ursula Gaida Heike Förster Monika Helmer Stefanie Schlesinger Lena Schmigalla Ines Wagner

Cashiers

Clemens Ehses Deniza Popova

Assistant Accountant Accounting Extras

Od Howell MECON Media Concept Ltd.

ART DEPARTMENT Supervising Art Director

Art Directors

Nigel Churcher

David Scheunemann Hucky Hornberger

Standby Art Director Special Thanks To

Jens Löckmann Bernd Lepel

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Assistant Art Directors

Sebastian Krause Stefan Speth Patrick Herzberg Sabine Engelberg

Art Department Coordinators

Roxy Konrad Gabriele Wolters

Digital Set Designer

3D Set Designer

Graphic Designer

Concept Artists

Wolfgang Metschan

Carsten Woithe

Hennig Brehm

Rob Ballantyne Bartol Rendulic Ulrich Zeidler Peter Popken

Illustrator for Set Dec / Props

Draughts Person

Jan Jericho

Tanja Baumgartner Stephanie Rass

Art Department Assistant

Art Department Trainees

Carolin Kraft

Leon Fechner Tobias Herrmann Diana Neidhardt Carolin (Carola) Korbmacher

SET DECORATION Set Decorator Assistant Set Decorators

Philippe Turlure Judith Rosskoth Christelle Maisonneuve

Set Decoration Coordinator

Set Decoration Store Men

Cathleen Hoffmann

Sascha Kaminski Friederike Beckert

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Set Decoration Buyers

Peter Dürst Joey Weber Alwara Thaler

Set Dressers

Stefan Burischek Christoph Heinecke Klaus Eckmann Torsten Münch Thomas Wimmer Frank Müller Florian Speidel Jens Gaube Bettina Saul

Standby Construction

Michael Däumler Filmbau Alex Böhaker

Standby Painter

Junior Set Dressers

Enzo Enzel

Alexander Frühbrodt Tim Sehling

Additional Set Dressers

Grit Kronacher Bülent Akgün Jakob Schalinski Jochen Schütz

Draper Assistant Draper

Prop Man France

Greens Person

Drivers

Jacques Kazandjian Francine Crolbois

Philippe Margottin

Petra Pieper

Richard Grady Gerd Lassen Andreas Paech Maxim Janzen Wolfgang Stübner

PROPERTY Prop Master

Marcus Haendgen

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Assistant Prop Master Prop Buyer

Standby Props Assistant Standby Props Junior Assistant Standby Props

Armourers

René Zeunert

Michael Bortz

Ulrike Gojowczyk Stefan Sellin Anika Reichenbach

Detta Lenz Simon Grzesczsk

Standby Armorer-Weapons Weapon Master Fire Arms Assistant to Weapon Master Fire Arms

Prop Maker Supervisor

Senior Prop Maker

Prop Makers

Veronika Dolezalova Rainer Metz Gregor Olbrys

Simon Weisse

Benjamin Palmer

Robert Wiesner Gerold Bublak

Prop Maker / Paintress Junior Prop Maker Assistant Prop Maker Sculptor Prop Making Trainees

Katharina Hafermaas Stefan Kolbe Adina Wolff Frants Rodvalt Katja Trambow Alice Büchner

Prop Drivers

Enchbaatar (Endra) Dshamsran Martin Müller Roland Eckhardt

SET CONSTRUCTION ON LOCATION Set Construction

JJ DEKO-BAU Josef Jacob SAURUS GMBH Stefan Rieger SETBAU GERG Anton Gerg

SET CONSTRUCTION STUDIO

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Construction Manager Berlin Assistant Construction Manager Standby Carpenter Standby Rigger Key Carpenter Head of Revamps Head Painter Painter Key Painter Key Plasterer Construction Secretary Construction Logistics Berlin

Dierk Grahlow André Brüggemann Gerd Kunze Andreas Schweigel Mark Murawski Matthias Kullewatz Jean-Jacques Chaboissier Annette Fritze Pablo Alza Brita Hofmann Nadin Meyer Karsten Assmann

MODEL MAKER / MINIATURE UNIT Model Makers

Alexander Friedrich Cindy Schnitter Adrian Lippmann Jacob von Dohnany Gunnar Zimmer

Model Makers / Miniature Unit

Jan Meurer Susanna Jerger Holger Delfs Holger Grahn Josef Schmidt

CONTINUITY & STORYBOARD Storyboard Artists

Brent Boates Darek Gogol Peter Rubin

Script Supervisor

Douglas (Dug) Rotstein

COSTUMES Assistant Costume Designers

Vincent Dumas Sabine Knocke Brigitte Massey-Sersour

Wardrobe Supervisor Assistant Wardrobe Supervisor

Wardrobe Cast

Claudia Maria Braun Kristin Pektor

Mitra Saffari

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Abdelfattah Qzaibar Nana Kolbinger Marion Sonnenberger Gabriele Bahmer Wardrobe Crowd

Gabriele Keuneke Jana Witte Lisi Proske-Amsüss Nina Trautmann Björn B. Bugiel Christina Molitor Valerie Uckermann Alexandra Stähle Veronika Schmederer Ute Stritzel

Additional Wardrobe

Elena Thodria Melanie Flath Franka Eisenhardt Ulrike Dietel Kesso Eradze

Standby Tailor Assistant Standby Tailor

Standby Aging

Trainees

Manja Beneke Jeremie Hazael-Massieux

Jan Dieckmann

Friederike Roolf You-Jin Seo

COSTUME WORKSHOPS PARIS / BUKAREST / MUNICH Assistant Costume Designer (Props) Assistant Costume Designer (Ballroom & Upper class)

Assistant Costume Designer Assistant Costume Designer Italy Assistant Costume Designer Spain Assistant Costume Designer UK

Lorenzo Mancianti

Chantal Hocde-del Papas Ursula Paredes-Choto Anna Lombardi Ruth Llera Segovia Robert Worley

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nd

2 Assistant Costume Designers

Fanny Rappange Oriol Nogues Balana

rd

3 Assistant Costume Designers

Florent Cassiani-Ingoni Laurent Bourven

Key Tailor Women Key Tailor Men Key Tailor Men 2 Tailors

Anne Versel Daniel Roland Bihin Patricia Faget Christiane Gassler Heike Ammer Margarete Schäfer Marianna Simoneit Karin Plobner Sabine Adldinger Birgit Rosemeyer Steffen Sureck Ahmet Bakhit Kerstin Lehmann Karin Schöppe Norbert Münzer Birgit Winkler Susanne Eski Marco-Oliver Hüttmann Olli Pohl

Assistant Tailor Women Assistant Tailor Men Assistant Tailors

Pascale Paume Fatima Azakkour Alix Descieux-Read Chimène Lerandy Silver Sentimenti Wendy Lebeaud

Seamstresses

Natalie Schust Katrin Kobold Cedric Cailliau Kristina Bell Steffi Block Evelyn Buri Leonhard Schlittenbauer Kathrin Fabisch Barbara Weyerer Maria Heddicke Melanie Hilme

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Pano Gounaris Anna Lutz Nina Lerch Wolfgang Buchner Hang-Lang (Samantha) Altun Helene Boisgontier Magali Bonnot Myriam Boucher Ghénaelle Brossard Anna Cleeves Marie-Laure Deltour Oriane Fauvel Camille Guèret Simon Huet Que Hiang Jsem Lina Jsem Lydie Lalaux Natalia Pankowski Eve Ragon Gwenn Tillenon Aging

Carola von Klier Frédérique Guillard Stephanie Wirth Marika Danc-Roth Frank Harnoth

Illustrators

Benoist Liebert Erwan Tur Xavier Tarrega Raton

Aging Trainee

Anett Somogyi

COSTUMES MANUFACTURING Workshop Paris

Costumes manufactured by

Costume Prod. Coordinator DADA Shoe Manufacturing Costume Rental

Constantin Film c/o Eurocostumes

Oana Paunescu Fabrika DADA 94 BIS

Daniela Ortenzia Chelaru Sc. BENEDICT ltd. Srl Angels the Costumiers Annamode - Costumes - Rome Arte e Costume Srl Sastreria Cornejo S.A. Cosprops

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Costumi D'Arte, Rome Sartoria Farani di Roma G.P.11 S.R.L. Le Vestiaire Mediev'Art E. Rancati s.r.l. Sands Tirelli Costumi S.P.A. Shoes Hats Hats/ Gloves

Pompei Pippa Cleator Ditta Pieroni Bruno s.r.l.

MAKE-UP / HAIR Hair Designer Personal Make-up Artist to Milla Jovovich Make-up / Hair Artists Cast

Loulia Sheppard Christina Smith Valeska Schitthelm Petra Schaumann Birger Laube Lesley Smith

Hair Artist Cast Supervisor Make-up / Hair Crowd Crowd Make-up & Hair Artists

Francesco Alberico Daniela Skala Tatjana Krauskopf Constanze Madlindl

Additional Make-up & Hair Artists Extras

Julia Rinkl Doreen, Gerlach Lisa Büscher Andrea Pirchner Jan Kempkens Esther Behrendt Ji Na Kim Barbara Obel Hetty Zwölfer Elisabeth Vollnhofer Renate Skala Anne Weinberger Veronika Tober Nadine Hohmann Judith Anthony Stefanie Kinzel Andrea Gotowtschikow Virginia Vogel Ina Charanza

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Anne Wendt Katharina Thieme Dörte Dobkowitz Michael Faralewski Margot Redmann Michaela Reuscher Silvia Windfelder Simone Neufischer Katrin Ecker Regina Münkner Friederike Mirus Katja Fischer-Vohwinkel Sina Stölzle Nadine Kersten Christiane Kochendörfer Günter Schobert Katharina Pointner Nicole Zürner Nadine Jüsche Jennifer Berr Ida Arndt Niyousha Nasri Florian Zeughan Aljona Kassner Ines Prinzel Felicia Semnau Verena Schirmer Sandra Eggener Melanie Glanzmann Anja Kieselbach Katharina Künstler Wig Makers

Carrol Waugh Terry Jarvis

Make-up Trainee Cast Make-up Trainees Crowd

Christina Wagner Annika Rahner Christina Mara Carolin Bonde Tatjana Bösch CAMERA

A Camera Operator A Camera 1st Assistant

Klemens Becker Thomas Gottschalk

A Camera - Convergence/ Stereo Operator

Sascha Mieke

A Camera 2nd Assistant

Won-Suk Park

A Camera Cable/ Utility PAs

Florian Bellack Clarissa Cody

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B Camera Operator B Camera 1st Assistant B Camera - Convergence/ Stereo Operator B Camera 2nd Assistant B Camera Cable / Utility PA C Camera Operator C Camera 1st Assistant C Camera Convergence / Stereo Operator C Camera 2nd Assistants

Michael Praun Michael Rathgeber Alex Seidl Sascha El Gendi Nicholas Jackson Vern Nobles Christian Graf Jens Wenzel Mira Hamza

Additional C Camera 2nd Assistant

Greta Erhardt

C Camera Cable/ Utility PA

Malte Siepen

3D Systems Tech / Stereographer 3D Systems Engineers / DITs

John Harper Michael John Taylor Robert (Bruno) Brunelle

DIT Assistant DIT DIT PA Video Assist Operators

Viktor Lonek Daniel Eberhard Florian Bingold Bert Willer Michael Philipp Stiebing

Post 3D Stereographer Assistant to Post 3D Stereographer Dailies Colorist

David Watro Ana de Mier y Ortuno Anna Stalter

Stills Photographer

Rolf Konow

Trainee Video Assist Operator

Jens Rainer SOUND

Sound Mixer Boom Operators

Roland Winke Peter Brücklmair Thomas Wallis LIGHTING

Gaffer

Ronald Schwarz

Best Boy

Armin Bach

Electricians

Peter Rabe Karsten (Willy) Tietz Simon Rainer Jürgen Thiele Christoph Blasé Thomas Rossbach

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Carsten Klockow Stefan Schauerte Genny Operator Additional Electricians

Thorsten Baier Thibault Roginas Peter Hafenrichter Klaus-Peter Lübs Oliver Buschner Oleg Prohl

Balloon Light

BALLOON LIGHT Carsten Thoms Ingo Gärtner Hartmut Nakelski

RIGGING ON LOCATION Rigging Gaffer

Bernhard Fuss

Best Boy

Mike Waechter

Rigging Electricians

Nikolaus Szabo Florian Göttlinger Georg Hartl Franz Winter Florentin Wahl Johann “Francis“ Frauenrieder

Additional Rigging Electricians

Mike Yousaf Daniel Beck Robert Reindke Thorsten Harms Ludwig Schmid Mirko Wittig

RIGGING / STUDIO Rigging Gaffer

Ron Rakowski

Best Boy

Michael Watts

Additional Rigging Gaffer

Frank Margraf

Rigging Electricians

Patrick Kubat Ralph Kulike Axel Renner Johannes Precht Sebastian Behrens Heiko Lehmann Uwe Joachim Norman Kästner

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Holger Schütze Tom Natusch Sebastian Heinrichs Sebastian Beutler Dimmer Board Operators

Torsten Harms Denny Bratsch Christian Schenk Anton Meister

Head of Green Screen Department

Geoffrey Kennedy

Green Screen Riggers

Ralph Firnkäs Rene Wagner David Kuss GRIP

Key Grip Grip / A Cam Dolly Grip

Glenn König Christian Scheibe Philipp Rath Sebastian Mayer

Grip Assistant Grip / B Cam Dolly Grip / C Cam

Kenneth Pearson Arne Schriever Jan Brun

Techno / Remote Head Operator

Robert Hottarek

Alpha Head Operator

David Cornelius

SPECIAL EFFECTS SFX Company

DIE NEFZERS GmbH (Logo?) NEFZER Babelsberg GmbH (Logo?)

SFX Supervisor SFX Set Supervisor 1st Unit

Gerd Feuchter Bernd Rautenberg

Project Manager

Rolf Hanke

SFX Coordinator

Klaus Mielich

SFX Workshop Foreman

Michael Luppino

SFX Foreman Rigging

Markus Geiger

Foreman Breakaways

Jaroslav Bucek

Senior Technician Breakaways & Pyrotechnics SFX Senior Technicians Workshop

Marcus Paul Schmidt Jürgen Thiel Sebastian Venhues

SFX Technician Rigging SFX Technician Workshop / Rigging SFX Technician Set

Monty Ploch Andreas Herberg “Otto“ Dirk Schlosser

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SFX Senior Technicians Set

Till Hertrich Michael Rudnick STUNTS

Stunt Coordinators

Nick Powell Volkhart Buff

Assistant Stunt Coordinator 2nd Assistant Stunt Coordinator Fight Choreographer Fight Arranger Assistant Fight Arranger

Sandra Barger Markus Haas Nick Powell Michael Bornhütter Oliver Juhrs

Sword Master

Roman Spacil

Fencing Instructor

Imke Duplitzer

Stunt Riggers

Ralph Güthler Marc Sieger Sven Drangeid Mathias Gunther Petr Dvorak Jason Oettle Marcus Viergutz Mathias Stutz

Stunt Performers

Marco Albrecht Christian Angres Jörg Annen Ratislav Bensa Jan Böhme Danny Bortfeld Ulrik Bruchholz Kristian Czirjak Nicolas de Pruyssenaere Georg Ebinal Jörg Ellmer Moritz Fischer Kristoffer Fuß Sven Thorsten Gliewe Zdenek Gloser Christian Gneißl Joshua Grothe Thomas Hacikoglu Fred Hady Karel Hartl Sigo Heinisch

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Timo Honsa Petr Kadlec Alois Knapps Felix Koch Pavel Konvalina Alrik Kreemke Alexander Mack Branislav Martinak Ivan Mica Bruno Montani Pavel Novotny Piet Paes Christian Petersson Markus Pütterich Swen Raschka Ilian Simeonow Martin Sinn Bernie Schirmer Thomas Schubert Josef Schützenhofer Daniel Stockhorst Zoltan Toth Asuka Tovazzi Martin Turecek Martin Uhrovcik Vali Vasilescu Ondra Voda Horse Master Horse Trainers

Vanessa Wieduwilt Suzanne Struben Zsolt Sera Siegfried Scherer Bernhard Schirmer Josef Schützenhofer Bellinda Weymanns Steffen Meyer

Horse Riders (Mounted Cardinal Guards)

Volkhart Buff Michael Luckau Frantisek Mikota Fritz Junginger Alexander Junginger Fernando Lopez Steffen Meyer Roman Spacil Zsolt Sera Bernie Schirmer Moritz Fischer

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Saddler

Carolin Holleber

Assistant Saddler

Christian Papke

Special Horse Make-Up Animal Wrangler

Barbara Rönneburg Michael Schweunecke

TRANSPORTATION Transport Manager

Martin Kuschan

Transport Captain

Florian Haeger

Assistant Transport Coordinator

Knuth Sorgers

Drivers Captain Driver to Producer Driver to Director Driver to Director / Cast Driver Cast Drivers

Nils Konrad Andreas Loibl Elvin Rook Smike Triebel Jan Bludau László Somogyi Dirk (Keek) Niemeyer Jan Luo Andreas Pauli Alexander Müller-Lenhartz Oliver Maloy Steve Wilks Georg Nagel Tobias Joosten Alexander Sterling

Family Driver of Cast

Alexander Schimpf

Driver to D.O.P.

Sibylle Follmer

Production Drivers

Stefan Backes Daniel Huhn Axel Hübner Matthias Langwich Hannes Schamberger Eduard Philippsen Andreas Schumacher Altay Ünsal Roland Fritze Markus Ritter Philipp Storz Sebastian Gottschalk

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Ilja Kloppenburg Ivica Rahija Carina Liegl Marit Stoye Additional Production Drivers

Additional Production Drivers Würzburg

Marcel Ahrens Mathias Schnedler Julia Tyrolt Mareike Georg Tanja Oppel Luise Aetner Julia Eitel

Rushes Driver Equipment Shuttle Driver Unit Move Coordinator / Truck Driver Truck Drivers

Darin Damjanow Enrico Fischer Tony William Smith Robert Ehlert Michel Ehmke Antonio Allocca Andreas Holert Enrico Schleser Steffen Sahr

Additional Truck Driver

Daniel Schmidt

Translux Facilities Head of Department

Thomas Suess

Translux Drivers

Andreas Rose Alexander Wunderling Ronald Hartkopf Ilja Krug Björn Schultheiß Chris Morser MEDICS

Set Medic

Eric Herz Maresa Montag

Set Nurse

Nina Perovic

Construction Nurse

Betty Hellwig

CATERING Catering Company

MAMA Filmcatering

Crowd Catering

CENA Catering International

Catering Rehearsals

The COOKING BROTHERS

SECOND UNIT DIRECTORS

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Director

Nick (Nicholas Carl) Powell

st

1 AD

Stewart Hamilton

nd

2 AD

Simon Downes

rd

3 AD AD Runners

Ronny Schröder Jenifère Nieschmidt Almuth (Amo) Völker

PRODUCTION / LOCATION Unit Manager

Jens Enderling

Junior Stage Manager

Alexander Volk

Set Manager

Volkmar Croye

Key PA

Kilian Hebold

Set PAs

Konstanze Oesker David Schill SCRIPT

Script

Silke Dunker

ART DEPARTMENT Standby Art Director

Carsten Woithe

Standby Carpenter

Patrick Lissek

Standby Paintress

Siguna Wiehr

PROPERTY Standby Props

Martina Seidl Franziska Bolze Nele Gebhardt

Assistant Standby Props

Caroline Ohmert COSTUME

Wardrobe

Gabriele Keuneke MAKE-UP

Make-Up / Hair Artist

Petra Schaumann CAMERA

D.O.P. / Stereographer 1st Assistant Camera Convergence / Stereo Operator 2nd Assistant Camera Additional Operator Camera PA DIT DIT PA Video Assist Operator Additional Camera Assistant

Vern Nobles Christian Graf Jens Wenzel Mira Hamza Sebastian Meuschel Malte Siepen Viktor Lonek Florian Bingold Michael Philipp Stiebing Greta Erhardt

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SOUND Sound Mixer

Henning Thölert

Boom Operator

Thomas Wallis LIGHTING

Gaffer

Alexander Schaak

Best Boy

Yannick Bonica

Electricians

Thomas Günther Tino Hopf André Morgen Tom Sperling Oliver Sartorius

Additional Electricians

Tarek El Barbari Tilo Glawe Rainer Köhle Oliver Kühne GRIP

Key Grip Grip

Jan Brun Hannes Tröger Oliver Senkpaul

Griphand

Shawn Becker STUNTS

Stunt Coordinator

Volkhart Buff

Assistant Stunt Coordinator

Sandra Barger

Sword Master

Roman Spacil

TRANSPORTATION Transport Captain Drivers Captain

Florian Haeger Nils Konrad

CAST IN ORDER OF APPEARANCE Athos Milady de Winter Aramis Blonde

Matthew Macfadyen Milla Jovovich Luke Evans Helen George

Venetian Nobleman

Christian Oliver

Porthos

Ray Stevenson

Cagliostro

Til Schweiger

Sergeant Venetian Guard

Markus Brandl

Duke of Buckingham

Orlando Bloom

D'Artagnan

Logan Lerman

D'Artagnan's Father

Dexter Fletcher

D'Artagnan's Mother

Jane Perry

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Rochefort

Mads Mikkelsen

Drunk

Andy Gatherhood

Tailor

Ben Moor

Cougar Richelieu Louis Jussac Boy

Susanne Wolff Christoph Waltz Freddie Fox Carsten Norgaard Isaiah Michalski

Constance

Gabriella Wilde

Planchet

James Corden

Queen Lady in Waiting Beefeater Sergeant Helmsman Crewman 1

Juno Temple Nina Eichinger Max Cane Gode Benedix Hannes Wegener

Spengler

Iain Mckee

Crowd Member 1

Horst Kiss

Crowd Member 2

Gudrun Meinecke

Crowd Member 3

Victoria Koestler

Crowd Member 4

Yvonne Pajonowski

Rochefort's Replacement

Florian Brückner CASTING

Casting Director US US Casting Associate Casting Director Germany

Joseph Middleton Tineka Becker Simone Bär Casting

Extras Casting Bavaria Producers Friend GmbH Marc Körber Konstanze Körber Nadia Grasso Extras Casting Berlin

Agentur Filmgesichter Johanna Ragwitz

ADVISORS Historical Advisor/ Etiquette Coach Choreographer

Prof. Dr. Wolfgang Augustyn Morris Perry

DIALOGUE COACH Dialogue Coach (rehearsals)

Catherine Charlton

PERSONAL TRAINERS Personal Trainer to L. Lerman/ Stunt Double Personal Trainer to M. Macfadyen (prep)

Donald (Don) L. Lee Cengiz Dervis c/o Te London

STUNT DOUBLES

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Athos Porthos

Alexander Richie Padrutt Heiko Kiesow

Aramis/Buckingham

Sascha Girndt

Richelieu/Nobleman

Joshua Grothe

Constance Milady de Winter

Stephanie Burkhard Jo-Anne Leach Katja Richter

Planchet Rochefort Cagliostro Blonde D'Artagnan's Father Drunk Jussac

Ralph Güthler Libor Vrba Oliver Juhrs Alessija Lause Thomas Hacikoglu Volkhart Buff Milos Reznicek

RIDING DOUBLES D'Artagnan Athos Porthos Aramis Constance

Max Jördens Valentin Vasilescu Peter Neumeyer Kristian Czirjak Alana Zalambra Constanze Schwarz

Rochefort Jussac

Zsolt Sera Oliver Schropp

STAND-INS DOUBLES D'Artagnan Athos

Johannes Ziegler Patrick Dollmann

Porthos

Klaus Sawatzki

Aramis

Thore Jarosch

Richelieu Constance Milady Buckingham Planchet Rochefort

Mathias Schum Amo Völker Nina von Düsterlho Extra (Hannes Scholl) Simon Thelen Extra (David Helmut) Christian Sprecher

Louis Queen Cagliostro Jussac

Tobias Adlberger Christiane Höhn Extra Oliver Scheffel Christian Haupt

POSTPRODUCTION Postproduction Supervisor Postproduction Supervisor Constantin Film

Christopher Berg Simone Benek

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Head of Postproduction Constantin Film Co-Editor & VFX Editor 1st Assistant Editor 2nd Assistant Editor Editorial P.A. Los Angeles Sound Effects Editors

Nicholas Goodwin Claus Wehlisch Constantin Brodt Lara Keszler Natalia Pleshivtseva Chrissi Rebay Frank Kruse

Supervising Dialogue Editor ADR Editor

Simon Price Rodney Berling Stephen Little

Supervising Foley Editor Foley Artists

Elisabeth Geffcken Carsten Richter Jörg Klinkenberg Roland Platz

3rd Re-Recording Mixer

Ben Rosenkind

VISUAL EFFECTS by MR. X. Inc. (Logo) Visual Effects Production Manager Digital Effects Supervisors

Jo Hughes Eric Robinson Edward J. Taylor IV

Additional On-Set VFX Supervisor Digital Compositing Supervisor

Leann Harvey Robert Greb

Animation Supervisor

Jason Edwardh

Model/Texture Lead

Chris MacLean

Lighting Lead Look Development Lead Rigging Supervisor Rigging TD Cloth TD

Ayo Burgess Trey Harrell Jim Su Ethan Lee Paul Hurwitz

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Layout Lead

Matt Ralph

Effects Lead

Kyle Yoneda

Coordinator Leads

Becca Donohoe Matt Glover

Digital Effects Production Managers

Isabelle Langlois Annie Alix

Visual Effects Coordinators

Sarah Barber Ricco Colinares Naomi Foakes Matt Glover Ben Mossman Laetitia Séguin

Senior Studio Artists

Kirsty Blackwell Wayne Brinton Craig Calvert James Cooper Jeremy Dineen Anna Joukova Sean Mills Christian Paradis Matt Schofield Tamara Stone Brendan Taylor

Model/Texture Artists

Francisco Alvarez Martin Andersson Alfredo Octavio Arango Andrew Kin Fun Chan Atilla Ceylan Devin Dawkins Katerina Dzolganovski Can (Jon) Etiskol Ken Liu Hernan Melzi Andre Miranda Barry Lam Woo hyuck Lee Yuhay-Ray Ng Juan de Santiago Ian Spriggs Kelvin Tam Furio Tedeschi

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Donmill Yip Rigging

Andrew J. Farrell Jon J. McCallum Farrukh Khan

Animation & Layout

Dan Carnegie Joseph Cheng Chen Maxime Ducharme Pete Dydo Claudio Gonzalez Ollie Hearsey Martin Hesselink Hanung Lee Derick Loo Tom Nagy Chris de Souza Gavin Soares Frankie Stellato Danny Testani

Effects Animation

Keith Acheson Shaun Galinak Yaron Galula Eric Lacroix Michael Rice Ronen Tanchum Stephen Wagner

Digital Matte Painters

Mathew Borrett Ken McCuen Tracey McLean Milan Schere

Lighting Artists

Engin Arslan Ghislain Bruneau Clifford Otomi Green Jason Gougeon Geoff Harvey Lorne Kwechansky Abdulkadir Mohamud Tom Perry Britton Plewes Matt Whelan Paul Wishart

Digital Compositors

Mathieu Archambault Greg Astles

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Mandy Au Peter Bas Andrew Brooks Kris Carson Ovidiu Cinazan Doug Cook Nicolas Deziel Thai Son Doan Anand Dorairaj Alex Jadfard Edward Huang Elizabeth Holmes Mickael Léger Perrine Michel Jaideep Mohan Christian Morin Mary Nelson Alessandro Pantanella Hojin Park Pedro Pozo Sébastien Proulx Scott Riopelle Paul Saint-Hilaire Jerry Seguin Adam Trowse Owen Williams Paint/Roto

Jackie Mills Briana Nuttall Anna Pacchioni Michael C. Tang Charlotte Xue

VFX Editorial Assistant Production Assistants

Kelly Noordermeer Nick Colangelo Chris Ross Olivier Rousseau

Senior Technical Supervisor

Jim Price

Pipeline Supervisor

Aaron Weintraub

Tools Development

Sven Steinbauer

Systems

Rory Falloon David Fix Chris Nguyen

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Marcus Beiner Operations

Sarah McMurdo Wilson Cameron Lara Osland Diana Pazzano Martin Abel Lisa Alli Mally Moyer Linda Rose Elizaveta Yankelovich

Additional Visual Effects by Digital Effects Supervisor Digital Effects Producer Lead Digital Compositors Lead 3D Artist Lead Matte Painter Digital Effects Coordinator Digital Compositors

Rodeo FX Sébastien Moreau Annie Godin Ara Khanikian Matthew Rouleau Frédéric St-Arnaud Genevieve Morin Joao Sita Vincent Poitras Christophe Chabot-Blanchet

3D Artists

Gabriel Beauvais Mark Carlevaris Todd Gill

Matte Painters

Stephane Keller Jeremy Boissinot Marilyne Fleury Moïka Sabourin Mathieu Veillette

Camera Matchmover

Étienne Poulin St-Laurent

Operations Manager

Benoit Touchette

Director of Technology Additional Visual Effects by

Jordan Soles Anibrain Jesh Krishna Murthy Amod Diwakar Anirban Das Bhavik Mehta Shaiju E.P. Michael Yates Pravin Hodage Vinay Goenka

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Sachin Satpute Vikrant Sawarkar Additional Visual Effects by VFX Trainee on Set

Fusion CI Studios Roman Remer

DIGITAL INTERMEDIATE by ARRI (Logo)

Lead Digital Colorist Supervising Digital Colorist Head of Digital Filmworks Post Stereographer Digital Intermediate Producer Digital Intermediate Supervisor Digital Intermediate Assistant

Traudl Nicholson Florian "Utsi" Martin Harald Schernthaner Constantin Seiler Christian Herrmann Martin Sippel Simon Duschi

3D Compositing

Abraham Schneider

Stereo Opticals

Roger Voss

Data Wrangler

Amir Farivar

Stereo Alignment Digital Intermediate Editor

Jeffrey Yaworski Markus "Mac" Erl

Colorist Lab

Franz Rabl

Endtitle

Lutz Lemke

POSTPRODUCTION FACILITIES Mixing Theatre Head of Sound Department Dolby Consultant ADR Recording Studios & ADR Mixers

Foley & Sound Effects Recording Studios

CinePostproduction (Logo) Michael Kranz Norbert Zich GOLDCREST POST LONDON Peter Gleaves Adam Horley WILDFIRE POST-PRODUCTION-STUDIOS Travis MacKay Wade Barnett POP SOUND Michael Miller TONSTUDIO JOHANNES WARNS (Logo) WAVEFRONT STUDIOS (Logo)

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Recordists

Hanse Warns Roland Platz Chrissi Rebay

EQUIPMENT

Specialty High Definition Equipment provided by PACE FUSION 3D technology provided by Stereo Lab provided by Camera; Lighting & Grip Equipment Colour Grading On-Set Dailies Weiss Cam HS Operator Storage Administrator 3D Rig Operator Cable Cam

Helicopter Wuerzburg Nose Mount for Heli Shots Wuerzburg Sound Equipment

Cameron/Pace Designs PACE Post Services ARRI Rental Deutschland GMBH COLORFRONT WEISS CAM GmbH Christoph Skovic Frank Pelak Leander Brinkmann CAMCAT Systems GmbH Thomas Schindler HELI Aviation GmbH FLIGHTCAM DAS FILMTONSERVICE Heiko Hinderks

Radios

ROGER & OVER Stefan Bastian

Additional Radios Berlin

DIE CINEBÄREN

LEGAL DEPARTMENT Legal & Business Affairs

Gero Worstbrock Katja Kessler Felicitas Achelis Friedrich Radmann Bernd Bünseler Sebastian Bergau

Assistants

Olga Alvariño Cerro Johanna Fuchs Karolin Stetter

Legal & Business Affairs U.S.

Marsha Metz Megan Shaw

CO-PRODUCERS

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Co-Producer France Co-Producer UK Co-Producer Germany

NEF Production S.A.S. New Legacy Film Ltd. Studio Babelsberg

ASSISTANTS TO PRODUCERS Impact Pictures Production Executive Assistant to Robert Kulzer Assistant to Jeremy Bolt Executive Assistant to the Board Creative Affairs Assistant Assistant to Martin Moszowicz Executive Assistant to Christine Rothe Assistant to Christine Rothe on location Coordinators Constantin Film Produktion

Sarah Crompton Johannes Schlichting Shawn Wallace Franz Trosthammer Friederich Oetker Désirée Schildt Daniela von Keyserlingk Sabina Friedland Yasmina Majid Meike Bockelmann

MARKETING & PUBLICITY Managing Director, Constantin Film Verleih Marketing & Publicity Assistant to Torsten Koch Director Marketing Marketing Director Publicity Unit Publicist PR Agency Germany

Making Of Producer Making Of Camera EPK Interviews Managing Director, Constantin Film Verleih Distribution & Sales Assistant to Oliver Koppert

Torsten Koch Annegret Michel Pamela Schuster Philipp Hergarden Sonja Hoess Katja Wirz Katherine McCormack JUST PUBLICITY Regine Baschny Stephanie Dresbach Max Meinikat Sonja Brummer Oliver Koppert

Mariana Ramlow

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INSURANCES & FINACING BANKS Insurance Broker Insurance Broker Germany Completion Bond Financing Banks

Derek W. Townshend Franz Gossler Versicherungsvermittlung GmbH International Film Guarantors DZ Bank, DeutscheZentralgenossenschaftsbank AG Bayerische Landesbank Dresdner Bank MUSIC

Score Produced by

Recorded and Mixed at Recording Engineer & Scoring Mixer Recording & Score Mix Assistant Recording Supervisor

Paul Haslinger & Mike Higham & Tobias Lehmann Teldex Studio Berlin Tobias Lehmann Tom Russbueldt Floran Tessloff

Music Editor

Mike Higham

Protools Engineer

Travis Smith

Music Programming Assistant Orchestrations by Music Preparation

Daniel Waldmann Tim Davies Jeremy Levy Leo Birenberg Jonathan Hughes Florian Tessloff Jan-Peter Klöpfel Roman Vinuesa

Featured Soloists

Noah Sorota Martin Tichy

Guitars

Jason Falkner

Cembalo

Paul Haslinger

Solo Oboe

Albrecht Mayer

Conducted & Contracted by Performed by Music Supervisor

Joris Bartsch-Buhle Berlin Session Orchestra Constantin Music Christoph Becker Pia Hofmann

Music Legal

Ama Walton

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"Royal Dance" Music: A.R. Luciani Mit freundlicher Genehmigung der Universal Publishing Production Music GmbH

"Praetorius: 2. Gavotte (Dances from Terpsichore)" Collegium Terpsichore, Fritz Neumeyer 1960 Deutsche Grammophon GmbH Mit freundlicher Genehmigung der Universal Music Classics & Jazz - a division of Universal Music GmbH

ACKNOWLEDGMENTS

The Director and Producers wish to thank and acknowledge the contribution of the following

Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen Dr. Johannes Erichsen · Jochen Holdmann · Dr. Sabine Heym · Gabriele Uhl Kathrin Jung · Thomas Steffny · Dr. Heinrich Piening · Dr. Max Tillmann Clemens von Schoeler · and many others.

Alte Hofhaltung und Domresidenz Bamberg Bernhard Schneider · Baptist Ruß · Kristina Karl

Residenz Würzburg & Festung und Kirche Marienberg Würzburg Gerhard Weiler · Elisabeth Leo · Manuel Bechthold ·and many others

Burg zu Burghausen Walter Rappelt · Heinz Donner

Schloss Herrenchiemsee Josef Austermayer · Georg Riepertinger · Willi Reichert · Cornelia Wild

Residenz und Hofgarten München Josef Streun · Günther Graml · Philipp Feldmüller

Neues Schloss Schleissheim · Paula Kleeberger · Helmut Schrader

Gemeinnützige Stiftung Schloss Weissenstein, Pommersfelden I.E. Damiana Gräfin von Schönborn · S.E. Paul Graf von Schönborn Franz Kiesel · Dorothee Feldmann · Birgit Wernsdörfer

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Bamberg Pressestelle der Stadt Bamberg Frau Siebenhaar Bamberg Tourismus & Kongress Service Frau Schühlein · Frau Dr. Hanemann Dombauhütte Bamberg · Ordnungsamt Bamberg · Staatliches Bauamt Bamberg Straßenverkehrsamt Bamberg · Theater der Schatten · Feuerwehr · DLRG Erzbischöfliches Ordinariat Bamberg and all residents

Burghausen 1. Bürgermeister Hans Steindl · Ordnungsamt Burghausen, Martin Hinterwinkler · Bürgerhaus, Birgit Reinecke-Reiprich, Armin Bathen · Burgcafé, Lucia Stranzinger

Würzburg Oberbürgermeister Georg Rosenthal · GTW GmbH, Mischa Steigerwald · CTW Hochschule für Musik Würzburg · Polizeiinspektion Würzburg · Wasser- und Schiffahrtsamt · Feuerwehr · Staatlicher Hofkeller Würzburg · Luftfahrtamt Nord Kaufhaus Wöhrl · Café zum schönen René · and all residents

Prien / Insel Herrenchiemsee Hotel Luitpold am See · Yachthotel Prien · Chiemseeschifffahrt Ludwig Fessler Günther Hartl · Heinz Baumgartner

Schalkhofen Peter Huber · Georg Rieger

München KVR München, Herr Danninger, Frau Seibt Preussische Schlösser- und Gärten Berlin Brandenburg

Cathedrale & Ville de Reims Adelibe Hazan, Maire de Reims Centre des monuments nationaux

Deutsche Telekom · PRO Sale MAC Cosmetics Smart Cover · L'Oreal · La Mère · Avena AVEDA Support Bayern: Huber & Hägele · SCS Schäfer Clean Matten · DHS Filmservice GmbH Kipper Filmservice GmbH · Film-Mobile GmbH · Filmobil Carsten Kley Mirus Filmservice · PSD Sicherheitsdienst GmbH · and many others

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A CONSTANTIN FILM IMPACT PICTURES Production In Co-Production with NEF PRODUCTIONS NEW LEGACY FILM and STUDIO BABELSBERG (Logos) Supported by DEUTSCHER FILMFÖRDERFONDS FILMFERNSEHFONDS BAYERN BAYERISCHER BANKENFONDS FILMFÖRDERUNGSANSTALT MEDIENBOARD BERLIN BRANDENBURG (Logos)

The Co-Producers and its affiliates are the authors of this motion picture for the purposes of the Berner Convention and all national laws giving effect thereto. Constantin Film Verleih is the exclusive owner of all and any exploitation rights in and to this motion picture. This motion picture is protected under the laws of Germany, the United Sates of America and other countries. Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. The animals used in this film were in no way mistreated and all scenes in which they appeared were under strict supervision with the utmost concern for their handling.

Dolby Digital (Logo)

World Sales SUMMIT ENTERTAINMENT (Logo)

A German - French - British Co-Production under the European Convention on Cinematographic Co-Production

© 2011 Constantin Film Produktion GmbH, NEF Productions S.A.S. and New Legacy LTD.

CONSTANTIN FILM (Static Logo) - All Rights reserved by Constantin Film Verleih -

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