UNIVERSAL PICTURES Presents A MARC PLATT / BIG

UNIVERSAL PICTURES Presents
A MARC PLATT / BIG TALK FILMS / CLOSED ON MONDAYS Production
MICHAEL CERA
MARY ELIZABETH WINSTEAD
KIERAN CULKIN
CHRIS EVANS
ANNA KENDRICK
BRIE LARSON
ALISON PILL
AUBREY PLAZA
BRANDON ROUTH
JASON SCHWARTZMAN
JOHNNY SIMMONS
MARK WEBBER
MAE WHITMAN
ELLEN WONG
Executive Producers
RONALDO VASCONCELLOS
J. MILES DALE
JARED LEBOFF
ADAM SIEGEL
Produced by
MARC PLATT
ERIC GITTER
NIRA PARK
EDGAR WRIGHT
Based on the Oni Press Graphic Novels by
BRYAN LEE O’MALLEY
Screenplay by
MICHAEL BACALL & EDGAR WRIGHT
Directed by
EDGAR WRIGHT
–1–
Lead Stunt Doubles . . . . . . . . . . . . . . . . . . . . . . . . JIA YU
CAST
CHRIS MARK
Scott Pilgrim . . . . . . . . . . . . . . . . . . . . . . MICHAEL CERA
RILEY JONES
Kim Pine . . . . . . . . . . . . . . . . . . . . . . . . . . . ALISON PILL
Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TARYN ASH
Stephen Stills . . . . . . . . . . . . . . . . . . . . . MARK WEBBER
BRAD BENNETT
Young Neil . . . . . . . . . . . . . . . . . . . . JOHNNY SIMMONS
JASON BURNETT
Knives Chau . . . . . . . . . . . . . . . . . . . . . . . ELLEN WONG
ANDREW BUTCHER
Wallace Wells . . . . . . . . . . . . . . . . . . . . . KIERAN CULKIN
JOHNNY CAINES
Stacey Pilgrim . . . . . . . . . . . . . . . . . . . ANNA KENDRICK
MICHAEL CHAN
Julie Powers . . . . . . . . . . . . . . . . . . . . . . AUBREY PLAZA
WILL CHAPMAN
Ramona Flowers . . . . . . . MARY ELIZABETH WINSTEAD
RHYE COPEMAN
Other Scott . . . . . . . . . . . . . . . . . . . . . . . . . . BEN LEWIS
DEAN COPKOV
Comeau . . . . . . . . . . . . . . . . . . . . . . NELSON FRANKLIN
CHRIS CORDELL
Sandra . . . . . . . . . . . . . . . . . . . . . . . . . . KRISTINA PESIC
NEIL DAVISON
Monique . . . . . . . . . . . . . . . . . . . . . . . . . . . INGRID HAAS
JOE EIGO
Party Goers . . . . . . . . . . . . . . . . . . . . . . . MARLEE OTTO
ANTHONY FERRI
WILL SEATLE BOWES
CARL FORTIN
CELINE LEPAGE
MING JIAN HUANG
MARK LEROY
BRAYDEN JONES
Jimmy . . . . . . . . . . . . . . . . . . . . . . . . . KJARTAN HEWITT
AMANDA JOVANOSKI
Tamara Chen . . . . . . . . . . . . . . . . . CHANTELLE CHUNG
CHRISTINE KWON
Promoter . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT WATTS
DIANA MEE-YEON KWON
Crash . . . . . . . . . . . . . . . . . . . . . . . . . . . ERIK KNUDSEN
DENNIS LAFOND
Joel . . . . . . . . . . . . . . . . . . . . . . MAURIE W. KAUFMANN
REUBEN LANGDON
Trasha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ABIGAIL CHU
YAN LECOMTE
Matthew Patel . . . . . . . . . . . . . . . . . . . . SATYA BHABHA
SCOTTY MAGEE
Demon Hipster Chick . . . . . . . . . . . CHRISTINE WATSON
JAMES MARK
Lucas Lee . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS EVANS
ELI MARTYR
Director . . . . . . . . . . . . . . . . . . . . . . . . . DON MCKELLAR
CHRIS MCGUIRE
Winnifred Hailey . . . . . . . . . . . . . . . . . . . . EMILY KASSIE
JEFF ONG
Goon . . . . . . . . . . . . . . . . . . . . . . . . . . . . JUNG YUL KIM
CHERYL QUIACOS
Envy Adams . . . . . . . . . . . . . . . . . . . . . . . BRIE LARSON
ALAN TANG
Roxy Richter . . . . . . . . . . . . . . . . . . . . . . MAE WHITMAN
SAM TJHIA
Lynette Guycott . . . . . . . . . . . . . . TENNESSEE THOMAS
ALICIA TURNER
Todd Ingram . . . . . . . . . . . . . . . . . . . BRANDON ROUTH
JENNIFER VEY
Gideon Graves . . . . . . . . . . . . . JASON SCHWARTZMAN
DAMIEN WALTERS
Kyle Katayanagi . . . . . . . . . . . . . . . . . . . . . . KEITA SAITO
MAX WHITE
Ken Katayanagi . . . . . . . . . . . . . . . . . . . . . SHOTA SAITO
AMY WONG
Some Guy . . . . . . . . . . . . . . . . MICHAEL LAZAROVITCH
ZHOU YANG
Lollipop Hipster . . . . . . . . . . . JOHN PATRICK AMEDORI
JAMIE YUNGBLOOD
Elevator Hipsters . . . . . . . . . . . . . . . . . . . . JOE DINICOL
Key Stunt Rigger . . . . . . . . . . . . . . . . . . ANDREW OWEN
CRAIG STICKLAND
Stunt Riggers . . . . . . . . . . . . . . . . . . . . . . . DAN BELLEY
The Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL HADER
MARCO BIANCO
Stunt Coordinator . . . . . . . . . . . . . . . . . . . . BRAD ALLAN
HUBERT BOORDER
Stunt Coordinator (Canada) . . . . . . . . . PAUL RAPOVSKI
TIG FONG
Fight Coordinator . . . . . . . . . . . . . . . . . . . PENG ZHANG
PLATO FOUNTIDAKIS
Assistant Fight Coordinator . . . . . . . . . GUAN-HUA HAN
MARK GINTHER
–2–
SIMON GIRARD
Production Assistants . . . . . . . . . . . . . . . . . IAN GIBSON
JOEL HARRIS
TORI LARSEN
STEVE SHACKLETON
Clearance Supervisor . . . . . . . . . . . . . . . KAREN BEEVER
Clearance Coordinator . . . . . . . . . . . . . WOODY BROWN
CREW
Asset Manager . . . . . . . . . . . . . . . . . . . . . . . ERIN ROWE
Directed by . . . . . . . . . . . . . . . . . . . . . . EDGAR WRIGHT
3rd Assistant Directors . . . . . . . . . . . . PATRICK MURPHY
Screenplay by . . . . . . . . . . . . . . . . . MICHAEL BACALL &
ADAM BOCKNEK
EDGAR WRIGHT
JEFF MUHSOLDT
Based on the Oni Press Graphic Novels by . . . . . . . . . . .
Key Set PA . . . . . . . . . . . . . . . . . . . . . . . DIVYA D’SOUZA
BRYAN LEE O’MALLEY
Additional Key PA . . . . . . . . . . . . . . . . . . MATHEW DALE
Produced by . . . . . . . . . . . . . . . . . . . . . . . . MARC PLATT
Script Supervisor . . . . . . . . . . . . . . . . . SUSIE MARUCCI
ERIC GITTER
Assistant to Mr. Wright . . . . . . . . . . . . . LEO THOMPSON
NIRA PARK
Assistants to Mr. Platt . . . . . . . . . . . . . . . . . . JOEY LEVY
EDGAR WRIGHT
CONOR WELCH
Executive Producers . . . . . RONALDO VASCONCELLOS
Assistant to Ms. Park . . . . . . . . . . . . . CELIA RICHARDS
J. MILES DALE
Assistant to Mr. Siegel . . . . . . . . . . . . NIK MAVINKURVE
JARED LEBOFF
Assistant to Mr. LeBoff . . . . . . . . . . . . . CLAIRE WIHNYK
ADAM SIEGEL
Assistant to Mr. Vasconcellos & Mr. Dale . . . . . . . . . . . . .
Director of Photography . . . . . . . . . . . . . BILL POPE ASC
JENNIFER HOFFMEISTER
Production Designer . . . . . . . . . . . . MARCUS ROWLAND
Production Accountant . . . . . . . . . . . WENDY GABOURY
Editors . . . . . . . . . . . . . . . . . . . . . . . . JONATHAN AMOS
1st Assistant Accountants . . . . . . . . . JENNIFER OMOTH
PAUL MACHLISS
NICK KONTSALAKIS
Visual Effects Supervisor . . . . . . . . FRAZER CHURCHILL
Payroll Accountant . . . . . . . . . . . . . ALEX KONTSALAKIS
Costume Designer . . . . . . . . . . LAURA JEAN SHANNON
Post Production Accountants . . . . . . . . JIM HAJICOSTA
Co-Producers . . . . . . . . . . . . . . . . . . . . JOE NOZEMACK
ROB SEAGER
LISA GITTER
Assistant Accountants . . . . . . . . . . . . . . . KYLA MCFEAT
STEVEN V. SCAVELLI
SIMONE LINDO
Music Supervisor . . . . . . . . . . . . . . . . . . KATHY NELSON
Accounting Assistant . . . . . . . . . . . . . . . . SHAMU NAIDU
Music by . . . . . . . . . . . . . . . . . . . . . . . . NIGEL GODRICH
LA Casting Associate . . . . . . . . . . . . BENJAMIN HARRIS
Casting by . . . . . . . . . . . . . . . . . . . . . . . ALLISON JONES
Toronto Casting Associate . . . . . . . . . . . . . . MILLIE TOM
ROBIN D. COOK CSA
Toronto Casting Assistant . . . . . EMERALD GOLDSMITH
JENNIFER EUSTON CSA
Casting Assistant . . . . . . . . . . . . . . . ZAMERET KLEIMAN
Unit Production Managers . . . . . . . . . . . . J. MILES DALE
Camera Operator . . . . . . . . . . . ANGELO COLAVECCHIA
DENNIS CHAPMAN
First Assistant Camera . . . . . . . . . . . . . . RUSSEL BOWIE
First Assistant Director . . . . . . . . WALTER GASPAROVIC
Second Assistant Camera . . . . . . . . . . . JACLYN YOUNG
Second Assistant Director . . . . . . . . . . . . . . JACK BOEM
First Assistant “B” Camera . . . . . . . . . . . . . MARK CYRE
Visual Effects Producer . . . . . . . . . . . . . . . LUCY KILLICK
Second Assistant “B” Camera . . . . . . . . MICHAEL CARR
Post-Production Supervisor . . . . . MICHAEL SOLINGER
Phantom Camera Operator . . . . . . . . . . . . BEN GERVAIS
Conceptual Designer . . . . . . . . . . . . . . OSCAR WRIGHT
Loader . . . . . . . . . . . . . . . . . . . . . SARAH MULHOLLAND
Supervising Sound Editor . . . . . . . . . . . . JULIAN SLATER
Production Sound Mixer . . . . . . . . . . . GREG CHAPMAN
Music Editor/Additional Composition . . . . STEVE PRICE
Boom Operator . . . . . . . . . . . . . . . . . . . . . . . PAT CASSIN
Re-recording Mixers . . . . . . . . . . . . . . . CHRIS BURDON
Sound Assistant . . . . . . . . . . . . . . . . . . . ZACH HUNTER
DOUG COOPER
Music Playback . . . . . . . . . . . . . . . . . . . . . MIKE FILIPOV
Production Coordinator . . . . . MARIE-CLAUDE HARNOIS
Video Playback . . . . . . . . . . . . . . . . . . PAUL THOMPSON
Assistant Production Coordinator . . . . CHERYL FRANCIS
BECKY WESTON
Travel Coordinator . . . . . . . . . . . . . . . . AARON HORTON
Chief Lighting Technicians . . . . . . . . . JEAN COURTEAU
Production Secretary . . . . . . . . . JORDANA LIEBERMAN
MICHAEL GALBRAITH
–3–
. . . . . . . . . . . . . . . . . . . . . . MICHAEL L. HALL
Set Decoration Buyers . . . . . . . . . . . . . . MARLENE RAIN
Electrics . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID ALLAN
SUZANNE HODSON
VINCENT BORG
Lead Dresser . . . . . . . . . . . . . . . . . . JEFFREY A. MELVIN
DUANE GULLISON
On-Set Dressers . . . . . . . . . . . . . STEVE MIDDLEBROOK
DANNY PIVA
ROBERT SHIPMAN
Best Boy
JAMES SCOTT
Set Dressers . . . . . . . . . . . . . . . . . . . . . . . . . JOHN ROSE
Dimmer Board Operator . . . . . . . . . . . . . DESIREE LIDON
CHRIS DEELEY
Genny Operator . . . . . . . . . . . . . . . . . . . . . . JOHN IRWIN
RON DICKIE
Rigging Gaffer . . . . . . . . . . . . . . . . STEPHEN SPURRELL
DON MCQUEEN
Best Boy Rigging Electric . . . . . . . . . . . . . PAUL SPAVEN
CAIN
Rigging Electrics . . . . . . . . . . . . . . . . . . PIERRE BERUBE
KEN CLARK
DAVE BOUSKILL
DAMIEN SEGEE
DAVE BREEZE
DAVID BALLANTINE
HERB REISCHL
Property Master . . . . . . . . . . . . . . . . . . . DERYCK BLAKE
Key Grip . . . . . . . . . . . . . . . . . . . . . . . . RICO EMERSON
Assistant Property Master . . . . . . . . . . . . . . TONI WONG
Best Boy Grip . . . . . . . . . . . . . . . . . . . SEAN BOURDEAU
Props Buyer . . . . . . . . . . . . . . . . . . THERESA BUCKLEY
Dolly Grips . . . . . . . . . . . . . . . . . . . . . . . . RON RENZETTI
Construction Coordinator . . . . . . . . . JAMES HALPENNY
ROBERT COCHRANE
Head Carpenter . . . . . . . . . . . . . . . . . . . . . ROB BONNEY
Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH ADAMS
Assistant Head Carpenters . . . . . . . . KEVIN FORSTNER
MARK GREENBERG
KEVIN HUGHES
ADRIAN HODGSON
Head Laborer . . . . . . . . . . . . . . . . . . . JEFF TRAVAGLINI
MARTIN LAKE
On-Set Carpenter . . . . . . . . . . . . . . BRIAN CRANSTONE
RICHARD TEODORCZYK
Construction Accountant . . . . . . . . . DARLEEN ABBOTT
ROBERT VIGUS
Key Scenic Artist . . . . . . . . . . . . . MATHEW LAMMERICH
Key Rigging Grip . . . . . . . . . . . . . . . . . . . ROY ELLISTON
Head Scenic Artist . . . . . . . . . . . . . . . . . . . . ERIN LESLIE
Best Boy Rigging Grip . . . . . . . . . . . . . . . . TRACY SHAW
Head Painter . . . . . . . . . . . . . . . . . . . . . . . MIRO DZIWIK
Rigging Grips . . . . . . . . . . . . . . . . . . . . PETER DAPRATO
Assistant Head Painter . . . . . . . . . . . . . . BRAD FRANCIS
MATTHEW PILL
On-Set Painter . . . . . . . . . . . . . . . KENNETH SAMAROO
STEVE SHERIDAN
Assistant Costume Designer . . . . . . . . JAY DU BOISSON
JOHN VRAKKING
Costume Supervisors . . . . . . . . . . . . . . CORI BURCHELL
Art Director . . . . . . . . . . . . . . . . . . . . NIGEL CHURCHER
NANCY DUGGAN
Art Department Coordinator . . . . . . . . . . . DAWN RIVARD
On-Set Supervisor . . . . . . . . . . PAT HANLEY-CUMMING
Assistant Art Directors . . . . . . . . . . . . . . DAVID FREMLIN
On-Set Costumer . . . . . . . . . . . . . . . . ISABEL DE BIASIO
KIMBERLEY ZAHARKO
Truck Supervisor . . . . . . . . . . . . . . . . TRELAWNIE MEAD
Head Storyboard Artist . . . . . . . . . . . . . OSCAR WRIGHT
Costume Buyers . . . . . . . . . . . . . . . . . . . . . . KAREN LEE
Additional Storyboard Artist . . . . . . . . . ROB MCCALLUM
SARA SCHILT
Graphic Designers . . . . . . . . . . . . . . . . . . . . DAVID BEST
Cutter/Key Seamstress . . . . . . . . . . . . NANCY DA SILVA
LUCY NEWMAN
Extras Supervisor . . . . . . . . . . . . . . . . . . . . MIA STURUP
Graphic Coordinators . . . . . . . . . . . . DOMINIC SIKKING
Costume Key Breakdown Artist . . . . . KAREN EPPSTADT
SONA PAK
Costume Production Assistant . . . . . . . . . . . DORA PAPP
Graphic Coordinator/Animator . . . . . . . . . ALICE DUPRE
Key Makeup Designer . . . . . . . . . . . . JORDAN SAMUEL
2nd Assistant Art Directors . . . . . . . . J. RYAN HALPENNY
Key Makeup Artist . . . . . . . . . . . . . PATRICIA KEIGHRAN
BRITT DOUGHTY
Assistant Makeup Artists . . . . . . . . IANTHA GOLDBERG
Art Dept PAs . . . . . . . . . . . . . . . . . . CARLY DAVENPORT
COLIN PENMAN
EUGENIE LAU
Prosthetic Makeup . . . . . . . . . . . . . . . . . SEAN SANSOM
Set Decorator . . . . . . . . . . . . . . . . . ODETTA STODDARD
KYLE GLENCROSS
Leadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH SLY
Key Hair Designer . . . . . . . . . . JENNIFER O’HALLORAN
–4–
Assistant Hair . . . . . . . . . . . . . . . . . . . PATRICIA MEDINA
TROY LIDDELL
2nd Assistant Hair . . . . . . . . . . . . . . TERESA BUCCIONE
Score Performed by . . . . . . . . . . . . . . . NIGEL GODRICH
Location Manager . . . . . . . . . . . . . . . . . . . . VINCE NYULI
JOEY WARONKER
Assistant Location Managers . . . ALEX MAKRYGIANNIS
GUS SEYFFERT
JAMES BLACKER
KEVIN DREW
Locations Production Assistants . . . . . . . . . . RICK JANG
BRENDAN CANNING
DREW TAYLOR
GAZ COOMBES
DAVID BLACKER
DANNY GOFFEY
Locations Support Coordinator . . . . . . . DIMAS FREITAS
KID KOALA
Special Effects Coordinator . . . . . . . LAIRD MCMURRAY
Recorded & Mixed by . . . . . . . . . . . . . . NIGEL GODRICH
Special Effects Supervisor . . . . . . . . ARTHUR LANGEVIN
Recorded & Mixed at . . . . . . . THE HOSPITAL, LONDON
SFX On-Set Key . . . . . . . . . . . . . . . . . . . . MARCUS RAIT
Assistant Engineer . . . . . . . . . . . . . . . . . . DREW BROWN
SFX 1st Assistant . . . . . . . . . . . . . . . . . . . . BRAD LARKIN
Score Production Coordinators . . . . CAROL CRABTREE
SFX Technicians . . . . . . . . . . . . . . . . . . . . . JIM REISCHL
CARRIE RIDLEY
STEPHEN WALLACE
Orchestral Arrangements & Conducted by . . . . . . . . . . . .
SFX Rigging Key . . . . . . . . . . . . . . . . . . . JASON BOARD
DAVID CAMPBELL
SFX Master Fabricator . . . . . . . . . . . SAM MUJKANOVIC
Orchestra Contractor . . . . . . . . . . . . ISOBEL GRIFFITHS
Senior Visual Effects Coordinator . . . . . . . . . PAUL LADD
Assistant Orchestra Contractor . . . . . . . LUCY WHALLEY
Visual Effects Coordinator . . . . . . . . . CLAIRE STEWART
Orchestra Leader . . . . . . . . . . . . . . . EVERTON NELSON
VFX Production Assistant . . . . . . . . . . . . JAMIE TRACEY
Harp . . . . . . . . . . . . . . . . . . . . . . . . . . . . SKAILA KANGA
VFX Editor . . . . . . . . . . . . . . . . . RICHARD KETTERIDGE
Recorded at . . . . . . . . . . . . . . . . . . . . . . . . AIR STUDIOS
Assistant VFX Editor . . . . . . . . . . . . . . KATHRYN MOREY
ANGEL STUDIOS, LONDON
First Assistant Editors . . . . . . . . TOM HARRISON-READ
Engineers . . . . . . . . . . . . . . . . . . . . . . . . NICK WOLLAGE
DOUGLAS CARON
NIALL ACOTT with
BRIGITTE RABAZO
OLGA FITZROY
Second Assistant Editor . . . . . . . LAURENCE JOHNSON
ADAM MILLER
Post-Production Coordinator . . . . . . . . . . . . . . . . . . . . . .
TOM HALSTEAD
JUAN CARLOS ALVAREZ VASQUEZ
Unit Publicist . . . . . . . . . . . . . . . . . . . . . . LISA SHAMATA
Apprentice Editor . . . . . . . . . . . . . . . . . . ROB DUFFIELD
Still Photographer . . . . . . . . . . . . . . . . . . . KERRY HAYES
Editorial PA . . . . . . . . . . . . . . . . . . GABRIELLE NADEAU
Multimedia Consultant . . . . . . . . . . . . . . . . LEE THOMAS
Supervising Dialogue/ADR Editor . . . . . . DAN MORGAN
Documentarian . . . . . . . . . . . . . . . . . . . . DAN MUDFORD
Sound Designer . . . . . . . . . . . . . . . . . . . . JAMES BOYLE
Dialect Coach . . . . . . . . . . . . . . . . . . . DIANE PITBLADO
Dialogue Editor . . . . . . . . . . . . . PETER MELEMENDJIAN
Tutor . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREA EISEN
Sound Effects Editors . . . . . . . JAMES HARRISON MPSE
Translator . . . . . . . . . . . . . . . . . . . . . . ANDREW MEDINA
BEN MEECHAN
On-Set Medic . . . . . . . . . . . . . . . TRACY MCCULLOUGH
Additional Sound Effects Editor . . . . . . . JEREMY PRICE
Athletic Therapist . . . . . . . . . . . . . . . WILLIAM SCHUDLO
Foley Editor . . . . . . . . . . . . . . . . . . . . . ARTHUR GRALEY
Craft Service . . . . . . . . . . . . . . . . . . . . . . STAR GRAZING
Assistant Sound Editor . . . . . . . . GERARD LORET AMPS
Transportation Coordinator . . . . . . . . . . BRUCE MCLEAN
Musical Performance Supervisor . . . . . CHRIS MURPHY
Transportation Captain . . . . . . . . . . . BUDDY MCGRATH
Music Coordinator . . . ANDREA HIGGINS for ARPIX MEDIA
Transportation Co-Captain . . . . . . . MICHAEL CORAZZA
Guitar Coaches . . . . . . . . . . . . . . . . . . HOLLAND MCRAE
Picture Car Captain . . . . . . . . . . . . . . . GLENN HUGHES
MAURIE KAUFMANN
ADR Mixers . . . . . . . . . . . . . . . . . . . . . . TRAVIS MACKAY
. . . . . . . . . . . . . . . . . . . . . LIBBY LAVELLA
CHRIS NAVARRO
Drum Coach . . . . . . . . . . . . . . . . . . . CHARLIE DRAYTON
ADR Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bass Coach . . . . . . . . . . . . . . . . . . MARTY BUTTWINICK
WILDFIRE POST-PRODUCTION STUDIOS
Keyboards/Synth Coach . . . . . . . . . . PETER CHAPMAN
Foley Artists . . . . . . . . . . . . . . . . . . JASON SWANSCOTT
Choreographers . . . . . . . . . . . . . . . . . . . . . LITZA BIXLER
PETE BURGIS
Vocal Coach
–5–
Foley Mixers . . . . . . . . . . . . . . . . . . . . . . . . . ED COLLIER
Concept Artists . . . . . . . . . . . . . . . . . . . GUREL MEHMET
GLEN GATHARD
PHILIPPE GAULIER
Foley Recorded at . . . . . . . . . . SHEPPERTON STUDIOS
Digital Matte Painters . . . . . . . . . . DIMITRI DELACOVIAS
Re-recorded at . . . . . . . . . . . . . . . . . . . . . DE LANE LEA
NEIL MILLER
Title Sequence by . . . . . . . . . . . . . . . . . . . . . . SHYNOLA
JONATHAN OPGENHAFFEN
Digital Intermediate . . . . . . . . . . . ASCENT 142 FEATURE
Previz Animation . . . . . . . . . . . . . . . . . . NICOLA BRODIE
CO3
SCOTT HOLMES
DI Colorist . . . . . . . . . . . . . . . . . . STEPHEN NAKAMURA
R&D/Software Development . . . . . . SIOBHAN PLATTEN
DI Online Editor . . . . . . . . . . . . . . . EMILY GREENWOOD
Modelers . . . . . . . . . . . . . . . . . . . . . . . . STEVEN MOORE
DI Producers . . . . . . . . . . . . . . . . . . . . . . . . ROB FARRIS
TOSH ELLIOTT
NICK MONTON
Rigging . . . . . . . . . . . . . . . . . . . . . . . . BRUCE BUCKLEY
ANNE JOHNSON
MARKUS DAUM
End Titles by . . . . . . . . . . . . . . . . . RICHARD MORRISON
MARK MASSON
MAURIZIO GIGLIOLI
2 nd
UNIT
Lead Creature Animator . . . . . . . . . . . . . COLIN MCEVOY
Animators . . . . . . . . . . . . . . . . . . . . . . CLARE WILLIAMS
2nd Unit Director . . . . . . . . . . . . . . . . . . . . . BRAD ALLAN
DAVID BEER
1st Assistant Director . . . . . . . . . . . . . . PENNY CHARTER
ELIZABETH GRAY
Director of Photography . . . . . . . . . . . . . DAVID FRANCO
JOEL MEIRE
1st
Assistant Camera . . . . . . . . . . . . . . . .BRAD CROSBIE
2nd
PATRICK GIUSIANO
Assistant Camera . . . . . . . . . . . . . . . . DAVID ORTON
STEWART ASH
Loader . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MCKANE
TADASHI FUJITA
Video Assist . . . . . . . . . . . . . . . . . . . ANTHONY MACERA
3-D Leads . . . . . . . . . . . . . . . . . . . . . . . . . . ALEXIS HALL
Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . EDWARD MIKOLIC
CHANTELLE WILLIAMS
Best Boy Electric . . . . . . . . . . . . . . . . . . BYRD DICKENS
CHRIS THOMAS
Key Grip . . . . . . . . . . . . . . . . . . . . CHRISTOPHER DEAN
FEDERICO FRASSINELLI
Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . JIM HOLMES
LUCY SALTER
Dolly Grip . . . . . . . . . . . . . . . . . . . . . . . PHILIP LANTHIER
MARKUS DRAYSS
Prop Master . . . . . . . . . . . . . . . . . . CHARLES MCGLYNN
MICK HARPER
Script Supervisor . . . . . . . . . . . . . . . . . NADIA GUGLIERI
NICK PITT-OWEN
On-Set Dresser . . . . . . . . . . . . . . . . . . . . . DAVID EVANS
PASCAL LOEF
Transportation Captains . . . . . . . . . . . . . . . . OREST MUZ
3-D Artists . . . . . . . . . . . . . . . . . . . . . ALINE SUDBRACK
GREG MCGRATH
ALISTAIR DARBY
Driver Co-Captain . . . . . . . . . . WILLIAM G. HEEREBOUT
DANIEL PAULSSON
Visual Effects and Animation . . . . . . DOUBLE NEGATIVE
JAMES TOMLINSON
3-D Supervisor . . . . . . . . . . . . . ANDREW WHITEHURST
KEY LEE
2-D Supervisor . . . . . . . . . . . . . . . . . . . PETER JOPLING
PAUL DUCKER
VFX Producer . . . . . . . . . . . . . . . . . . . RUPERT PORTER
ANDREW CADEY
VFX Line Producers . . . . . . . . . . . ANTONELLA FERRARI
JACOB SLUTSKY
ROB SHEARS
JÖRG UNTERBERG
DARRYL LEE
MAY LEUNG
VFX Coordinators . . . . . . . . . . . . . . . . . . EMILY PEARCE
ROBERT DEAS
NAOMI FOAKES
HOWARD MARGOLIUS
COSMAS LEE
JENNI EYNON
MAUREEN YEO
MAX DECROIX
VFX Editorial . . . . . . . . . . . . . . . . . . . STUART NELHAMS
RICHARD BRAZIER
SAMWISE LANE
SETH DUBIENIEC
–6–
PIERSON LIPPARD
MARCIN KOLENDO
XAVIER BREUI
MARK PAYNE
2-D Sequence Leads . . . . . . . . . . . . . . . . . . CLEVE ZHU
MATTHEW JACQUES
IAN COPELAND
MICHAEL ALLEN
KEITH HERFT
NAVEEN MEDARAM
MILOS MILOSEVIC
OLIVIER RYARD
STEPHEN BENNETT
OLOV SAMUELSSON
FRED PLACE
PATRICK BURKE
KATE PORTER
PAUL SCOTT
MICHAEL BELL
PAUL STIRLING
SHAHIN TOOSI
PETER VICKERY
STEVEN TIZZARD
RAFAL KANIEWSKI
DAVID FUHRER
RICHARD COLLIS
JIM STEEL
RICHARD REED
LUKE LETKEY
ROY TAY
SERENA LAM
SAPTARSHI CHAKRABORTY
ADAM PASCHKE
SARAH LOCKWOOD
OLIVER ATHERTON
SERGIO AYROSA
2-D Artists . . . . . . . . . . . . . . . . . . ALBERTO MONTANES
SKY LIM
ALEX IRELAND
TAMMY SMITH
ANDREW SIMMONDS
TERENCE ALVARES
BEN HICKS
TILMAN PAULIN
BEN TAYLOR
TOM HOCKING
BIMLA CHALL
TOM LUFF
CARLO SCADUTO
TREVOR YOUNG
CHRIS LEE
WALTER GILBERT
CIARAN CROWLEY
YASMINE EL GHAMRAWY
DEBBI COLEMAN
YOUNG LIM
DOMINIQUE FIORE
Paint/Roto Artists . . . . . . . . . . . . . . . . . . . . ANA GOMES
ELLEN MIKI
AUSTIN RONALD
ERIC CHAN
BEN DICK
GRAHAM DAY
CHARLIE ELLIS
IAN SIMPSON
CHEEWEI PEH
JAMES FOSTER
CHOONJUAN ONG
JAMIE MCPHERSON
CHRIS TAY
JAN MAROSKE
CHRISTOPHER JAQUES
JENNIFER MEIRE
CORRINE TEO
JEREMY HEY
DAN CHURCHILL
JO ANN BELEN
DANIEL LEATHERDALE
JOHN OLONE
DENNIS PONTANARES
JOHN PURDIE
EDWARD ANDREWS
JUDY BARR
ENRIK PAVDEJA
KAI CHIN
FAVIAN EE
KATE PORTER
FRANCESCA DARE
KIM WISEMAN
HAJI HASSAN
KIRSTY CLARK
JEAN-FRANCOIS LEROUX
LAURA INGRAM
JEFF KOH
–7–
JESSICA KONG
KEZIAH BAILEY
JOEL AGUILAR
KIMLIM LOO
JULIAN CHONG
RICHARD BURNSIDE
KAMELIA CHABANE
ROB SEATON
KEVIN NORRIS
RYAN WOODWARD
LESTER BROWN
SAM HANOVER
LUKE BALLARD
SEAN WHELAN
LUKE BIGLEY
SOPHIE ROBINSON
MARK BORTOLOTTO
TIMOTHY RUSSELL
MARY STROUMPOULI
ALEX TAN
MICHELLE GOH
EFFANDI MOHAMED
MOHAMED FAIZAL
FRANCIS LEONG
NES PINSUWAN
HELGA YEO
NICK MARSHALL
JEFFREY TAN
PHILIP SMITH
LEAH LOW
RAYMOND TAN
MEGAN LU
RENAUD MADELINE
MENGDI WANG
RICHARD COLLIS
RAYMOND CHUA
SAM DAWES
ROSMAN BINMOHAMED
SONNY PYE
SKEEL LEE
TARA ROSEBLADE
STELLA NG
TOM MIDDLETON
TIMOTHY SHIM
VINCENT CHANG
WILLIAM LIN
WESLEY ROBERTS
XIONG YING
YOAV DOLEV
YANSHANG CHEW
YOUSAF MAIN
Data Managers . . . . . . . . . . . . . . . . . . . . PETE HANSON
YUKO KIMOTO
MILES DRAKE
Matchmove Supervisor . . . . . . . . . . . . . . . KEVIN ADAMS
Digital Visual Effects by . . . . . . . . . . . . . . . . . MR. X INC.
Body Matchmovers . . . . . . . . . . . . DANIEL NICHOLSON
Visual Effects Supervisors . . . . . . . . . . DENNIS BERARDI
ED PULIS
AARON WEINTRAUB
PEDRO SANTOS
Visual Effects Producer . . . . . . . . . . . SARAH MCMURDO
ROBERT BRUMBY
Visual Effects Coordinator . . . . . . . . . . . . MATT GLOVER
SIMON PYNN
On-Set Coordinator . . . . . . . . . . . . . . . . LEANN HARVEY
DUNCAN KUAH
On-Set Matchmovers . . . . . . . . . . . . . . . . . MATT RALPH
NIZHEN PHANG
GAVIN SOARES
LEO ZHIHONG
Lead Animatic Artist . . . . . . . . . . . . . . . ANNA JOUKOVA
SHIHUA NG
Compositing Supervisor . . . . . . . . . . . . TAMARA STONE
Camera Matchmovers . . . . . . . . . . . . . . . ANDY POTTER
Digital Compositors . . . . . . . . . . . . . . . . . GREG ASTLES
CHRIS HART
MANDY AU
DANIEL BALDWIN
BARB BENOIT
FANNY ROCHE
ZACARY CAMPBELL
JAY FLEMING
ANAND DORAIRAJ
JEFFREY TAN
MEGUMI KANAZAWA
JOE DENNIS
GWEN ZHANG
JONATHAN PEREZ
Senior Matte Painters . . . . . . . . . . KRISTY BLACKWELL
JULIEN FOURVEL
MATTHEW SCHOFIELD
KEVIN ADAMS
Digital Matte Painters . . . . . . . . . . . . MATHEW BORRETT
–8–
“GARBAGE TRUCK”
KEN MCCUEN
TRACEY MCLEAN
Written by Beck Hansen
PETER TOUFIDIS
Performed by Michael Cera, Alison Pill, Mark Webber,
Beck, Brian LeBarton
Roto Artists . . . . . . . . . . . . . . . . . . . . ANDREW BROOKS
EDDEE HUANG
“CHURCHES UNDER THE STAIRS”
Effects Animation . . . . . . . . . . . . . . . . . . . KYLE YONEDA
Written by Brendan Canning, Kevin Drew
SHAUN GALINAK
Performed by Broken Social Scene Presents:
ERIC LACROIX
Brendan Canning
STEPHEN WAGNER
Courtesy of Arts & Crafts Productions Inc.
Camera Tracking . . . . . . . . . . . . . . . . . . DAN CARNEGIE
Assistant VFX Producer . . . . . . . . . . WILSON CAMERON
VFX Accountant . . . . . . . . . . . . . . . . . . . . . . LINDA ROSE
“I HEARD RAMONA SING”
Dailies Operators . . . . . . . . . . . . . . . MICHAEL DICARLO
Written by Frank Black
Performed by Frank Black
BEN MOSSMAN
Courtesy of 4AD Ltd.
KELLY NOORDERMEER
Resource Manager . . . . . . . . . . . COLLEEN JENKINSON
Ninja Ninja Revolution Game Content by . . . . . . . . . . . . .
“ENTER GODDESS”
BLUR STUDIO INC.
Music by Koji Kondo
Creative Supervisor . . . . . . . . . . . . . . . . . . . TIM MILLER
From the game “Legend of Zelda: A Link to the Past”
CG Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . DAN RICE
Used with permission from Nintendo Co., Ltd.
Animation Supervisor . . . . . . . . . . . . . . SHAUN ESCAYG
Animation Producer . . . . . . . . . . . . . LINDSEY ZAMPLAS
“BY YOUR SIDE”
Executive Producer . . . . . . . . . . . . . . . . . . . . . . AL SHIER
Written by Sade, Stuart Matthewman,
Flashback Animation Sequences by . . . . . VOODOODOG
Paul Denman, Andrew Hale
Executive Music Producer . . . . . . . . . . NIGEL GODRICH
Performed by Beachwood Sparks
Courtesy of Sub Pop Records
SOUNDTRACK ON ABKCO RECORDS
“O KATRINA!”
“WE ARE SEX BOB-OMB”
Written by Jared Swilley, Cole Alexander,
Written by Beck Hansen
Ian St. Pe, Joseph Bradley
Performed by Michael Cera, Alison Pill, Mark Webber,
Performed by Black Lips
Beck, Brian LeBarton
Courtesy of Vice Records
By arrangement with Zync Music Group LLC
“SCOTT PILGRIM”
Written by Amanda Bidnall, Carla Gillis, Lynette Gillis,
“I’M SO SAD, SO VERY, VERY SAD”
Catriona Sturton
Written by Kevin Drew, Brendan Canning,
Performed by Plumtree Courtesy of PF Records
Ohad Benchetrit, Charles Spearin
Performed by Broken Social Scene and Erik Knudsen
“NINJA NINJA REVOLUTION”
Broken Social Scene appears courtesy of
Written by Dan Nakamura
Arts & Crafts Productions Inc.
Performed by Dan the Automator
“WE HATE YOU, PLEASE DIE”
“GO”
Written by Kevin Drew, Brendan Canning,
Written by Amanda Bidnall, Carla Gillis, Lynette Gillis,
Ohad Benchetrit, Charles Spearin
Catriona Sturton
Performed by Broken Social Scene and Erik Knudsen
Performed by Plumtree
Broken Social Scene appears courtesy of
Courtesy of Cinnamon Toast Records
Arts & Crafts Productions Inc.
–9–
“SLICK (PATEL’S SONG)”
“NERVOUS BREAKDOWN”
Written by Dan Nakamura, Bryan Lee O’Malley
Written by Mario Roccuzzo
Produced by Dan Nakamura
Performed by Eddie Cochran
Performed by Dan the Automator and Satya Bhabha
Courtesy of Capitol Records
Under license from EMI Film & Television Music
“SEINFELD”
Written and performed by Jonathan Wolff
“INDEFATIGABLE”
Courtesy of Warner Bros. Entertainment, Inc.
Written by Beck Hansen
Performed by Michael Cera, Alison Pill,
“BLACK SHEEP”
Mark Webber, Beck, Brian LeBarton
Written by James Shaw, Emily Haines
Performed by Metric and Brie Larson
“IT’S GETTING BORING BY THE SEA”
Metric appears courtesy of
Written by Steven Ansell, Laura Carter
Arts & Crafts Productions Inc.
Performed by Blood Red Shoes
Courtesy of Mercury Records Limited/V2 Records
“TEENAGE DREAM”
International Limited
Written by Marc Bolan
Under license from Universal Music International
Performed by T. Rex
Courtesy of Spirit Music Group, Inc.
“ROMANTIC RIGHTS”
o/b/o Spirit Services Holdings, S.à.r.l.
(Erol Alkan’s “Love From Below” Re-edit)
Written by Jesse F Keeler, Sebastien Grainger
“FINAL FANTASY II BATTLE I”
Performed by Death From Above 1979
Written by Nobuo Uematsu
Re-edited & Remixed by Erol Alkan
Courtesy of Cross Media International, LLC and K.K.
Courtesy of Last Gang Records and
Cross Media International Japan
Courtesy of Atlantic Recording Corp./Vice Records
“SUMMERTIME”
Warner Music Group Film & TV Licensing
By arrangement with
Written by Beck Hansen
Performed by Michael Cera, Alison Pill,
“BASS BATTLE”
Mark Webber, Beck, Brian LeBarton
Written by Nigel Godrich, Justin Meldal-Johnsen,
Jason Falkner
“TO RAMONA”
Written by Bob Dylan
“LATIN AMERICA”
Performed by The Flying Burrito Brothers
Written by Brian Borcherdt, Graham Walsh,
Courtesy of A&M Records
Matt Schulz, Matt McQuaid
Under license from Universal Music Enterprises
Performed by Holy Fuck
Courtesy of Young Turks/XL Recordings Ltd.
“RAMONA”
Written by Beck Hansen
“KATAYANAGI TWINS ATTACK”
Performed by Michael Cera
Written by Keigo Oyamada
“SLEAZY BED TRACK”
Courtesy of Warner Music Japan, Inc.
Performed by Cornelius
Written by Edward Daniel Chester, Adam Patrick Devlen,
Mark James Morriss, Scott Edward Morriss
“THRESHOLD”
Performed by The Bluetones
Written by Beck Hansen
Courtesy of Mercury Records Limited
Performed by Michael Cera, Alison Pill,
Under license from Universal Music Enterprises
Mark Webber, Beck, Brian LeBarton
– 10 –
Fargo poster courtesy of MGM Clip+Still.
“THE RING (HYPNOTIC SEDUCTION OF DALE)”
Written by Freddie Mercury
“Funkalicious” T-shirt provided by Threadless.com.
Performed by Queen
Courtesy of Queen Productions Ltd./
BlackBerry sounds courtesy of Research In Motion.
Starling Productions Ltd.
Under license to Hollywood Records, Inc./
EMI Records Ltd.
Mac sounds courtesy of Apple Inc.
“ANTHEMS FOR A SEVENTEEN-YEAR-OLD GIRL”
Windows sounds courtesy of Microsoft.
Written by Kevin Drew, Brendan Canning,
“You’ve Got Mail” courtesy of AOL.
Justin Peroff, Charles Spearin, Emily Haines,
John Crossingham, James Shaw, Jessica Moss
Performed by Broken Social Scene
Super Mario All Stars, Super Mario Brothers 2
Courtesy of Arts & Crafts Productions Inc.
and Zelda courtesy of Nintendo.
CHFI 98.1/98.1 CHFI Ciss FM is owned by and used
with permission of Rogers Broadcasting Limited.
“UNDER MY THUMB”
Written by Mick Jagger, Keith Richards
The Spike TV station ID and Spike TV bug/logo
Performed by The Rolling Stones
courtesy of Spike TV © 2009.
Courtesy of ABKCO Music & Records Inc.
All Rights Reserved.
“RAMONA”
Geometry and Discrete Math Gr.12 Student Edition
Written by Beck Hansen
by Dunkley, © 2002.
Performed by Beck
Nelson Data Management 12, Student Text 1E
“NO FUN”
by Zimmer, © 2003.
Written by Beck Hansen
Filmed by permission of Nelson Education Ltd.
Performed by Michael Cera, Alison Pill,
Mark Webber, Beck, Brian LeBarton
Crisis Zone, Galaga, Ms. Pac-Man, Time Crisis,
Tekken 5: Dark Resurrection and Nirin
“RAMONA”
courtesy of Namco Bandai Games America Inc.
Written by Beck Hansen
Performed by Beck, Brian LeBarton,
Pac Man ®© 1980 Namco Bandai Games Inc.
Joey Waronker and Bram Inscore
Tetris ®© 1985-2009 Tetris Holding, LLC.
“THRESHOLD (8 BIT)”
Used with permission.
Written by Beck Hansen
Performed by Brian LeBarton
Sega®, Sonic & Knuckles™ and Sega arcade
machines courtesy of Sega Corporation. © Sega.
IN ASSOCIATION WITH DENTSU INC.
All Rights Reserved.
(Obligatory end title credit)
Stock photography courtesy of Jupiterimages.
Shot on location in Ontario, Canada with assistance
from Ontario Media Development Corporation.
Stock photography courtesy of Getty Images.
Filmed at Cinespace Studios and Pinewood
Stock photography and footage courtesy of
Toronto Studios.
iStockphoto.com.
– 11 –
Special Thanks to The City of Toronto
Toronto Film and Television Office Toronto Library
Adidas • Casa Loma • Second Cup • Pizza Pizza
The Beguiling • Sonic Boom • Osymyso • Now Magazine
Eye Weekly • Dark Horse Coffee • The Bloor Cinema
Garth Jennings • Peter Serafinowicz • Christopher Butcher
Colin Geddes • Greg Mottola • Ben Buchanan
Bruce McDonald • Chris Dickens • Christine Mary Biller
Dan Roberts • Guillermo Del Toro • Hope Larson
Jackie Chan • JJ Abrams • Joe Cornish • Kevin Smith
Don McKellar • Georgina Reilly • Jessica Weetch
Matthew Justice • Peter Sollett • Peter Kuplowsky
Quentin Tarantino • Ruth Sewell • Savannah Pope
Sharon Oreck • Tamzin Cary • James Lucas Jones
The Staff at Oni Press • Scott McCloud
Michelle the Dog Pope
COPYRIGHT © 2010 UNIVERSAL STUDIOS
All Rights Reserved.
Animated Universal Studios Logo
© 1997 Universal Studios
Universal Studios is the author of this motion picture
for purposes of the Berne Convention and all
national laws giving effect thereto.
THE CHARACTERS AND EVENTS DEPICTED IN THIS
PHOTOPLAY ARE FICTITIOUS.
ANY SIMILARITY TO ACTUAL PERSONS,
LIVING OR DEAD, IS PURELY COINCIDENTAL.
THIS MOTION PICTURE IS PROTECTED UNDER
THE LAWS OF THE UNITED STATES
AND OTHER COUNTRIES. UNAUTHORIZED
DUPLICATION, DISTRIBUTION OR
EXHIBITION MAY RESULT IN CIVIL LIABILITY
AND CRIMINAL PROSECUTION.
In Memory of CHRIS HOWARD
THIS MOTION PICTURE USED SUSTAINABILITY
STRATEGIES TO REDUCE ITS CARBON EMISSIONS
AND ENVIRONMENTAL IMPACT. (Logo)
NO. 46082
Credits as of July 9, 2010.
MOTION PICTURE ASSOCIATION OF AMERICA
– 12 –
(L to R) Scott Pilgrim (MICHAEL CERA), Ramona Flowers (MARY ELIZABETH WINSTEAD), Young Neil (JOHNNY SIMMONS), Knives Chau (ELLEN WONG),
Kim Pine (ALISON PILL) and Stephen Stills (MARK WEBBER) in the action-comedy Scott Pilgrim vs. the World.
We’ll get to the notes in a minute.
But first, a word from our director/producer/cowriter, EDGAR WRIGHT:
“I first heard of Scott Pilgrim in 2004 when BRYAN
LEE O’MALLEY’s recently released first volume was
pressed into my hands. Given that my previous work has
strived to mix up the mundane with the insane, I was hooked
immediately. I loved Bryan’s use of manga and video-game
iconography to depict the emotions of these young characters.
“Adapting these books was a gift, as they are not
only funny, charming and relatable, but have increasingly crazy diversions into the fantastical. To be able to
do romance, comedy, action and fantasy in the same
feature was an intriguing challenge.
– 13 –
Scott Pilgrim rocks it out.
“The best way to describe the world of Scott Pilgrim
vs. the World is that it’s a normal world of a normal
young man, filtered through his overactive imagination. Bryan Lee O’Malley describes Scott as ‘the hero
of the movie in his own head.’ My goal is to make that
very movie.
“The emotions and interactions throughout the film
are infused with the mass media that this generation has
grown up with—not just in music, film and animation,
but in over 30 years of video games. Our characters’ life
experiences are completely governed by the enormous
amount of time they’ve spent with their Nintendo
consoles. For the twentysomething characters in the
film, the incidental music for ‘Zelda’ is as resonant as
nursery rhymes.
“In the world of Scott Pilgrim, minor disagreements
are resolved in mortal combat. Our hero is thrown into
a world of pain when he dates the girl of his dreams. The
mysterious Ramona Flowers has something of a hex on
her where her seven evil exes challenge her new
boyfriend to a series of duels to the death. Many people
have jumped through many hoops to pursue someone
unobtainable. Scott must literally fight for his new relationship if he wants it to survive.
“The increasingly crazy
events of the film are almost
the result of wild exaggeration.
When teens or twentysomethings describe the events of a
night out, they are usually
blown out of all proportion. My
take on the fights in the film is
that they are hugely amplified
versions of events. Someone
might gossip about the ‘huge
fight’ that broke out the night
before. And here we see the
huge version of that fight.
“The fight sequences in
Scott Pilgrim play out like big
production numbers. In our film, people break out into
fights the same way they explode into a song and dance
number in a musical. When the emotion is too great to
convey in mere words, characters in a musical will sing
out. In Scott Pilgrim, they throw down.
“The film is set in a world of first apartments,
crappy bands, thrift stores and coffee shops that we all
know and love. It covers young love, loud music and big
emotions. We see the world through a cast of young
people who have a lot to give and a lot to learn. Oh, and
people totally explode into coins.”
NOW, HERE WE GO…
Meet charming and jobless Scott Pilgrim
(MICHAEL CERA of Juno, Superbad). A bass guitarist
for garage band Sex Bob-Omb, the 22-year-old has just
met the girl of his dreams...literally. The only catch to
winning the elusive, mysterious Ramona Flowers
(MARY ELIZABETH WINSTEAD of Live Free or
Die Hard, upcoming The Thing)? Her seven evil exes
are coming to kill him.
Scott Pilgrim has never had a problem getting a
girlfriend. It’s getting rid of them that proves difficult.
– 14 –
From the girl who kicked his heart’s ass—and now is
back in town—to the teenage distraction he’s trying to
shake when Ramona rollerblades into his world, love
hasn’t been easy. He soon discovers, however, his new
crush has the most unusual baggage of all: a nefarious
league of exes controls her love life and will do whatever it takes to eliminate him as a suitor.
As Scott gets closer to Ramona, he must face an
increasingly vicious rogues’ gallery from her past—
from infamous skateboarders to vegan rock stars and
fearsome identical twins. And if he hopes to win his
true love, he must vanquish them all before it really is
game over.
Joining Cera and Winstead for the principal cast of
Scott Pilgrim vs. the World are KIERAN CULKIN (Igby
Goes Down, The Dangerous Lives of Altar Boys) as
Scott’s awesome roommate, Wallace Wells; CHRIS
EVANS (The Losers, upcoming Captain America: The
First Avenger) as pro-skateboarder/action star Lucas
Lee; ANNA KENDRICK (Up in the Air, Twilight
series) as Scott’s younger, not-putting-up-with-it sister,
Stacey Pilgrim; BRIE LARSON (television’s United
States of Tara, Greenberg) as the girl who kicked Scott’s
heart in the ass, rocker chick Envy Adams; ALISON
PILL (Milk, Pieces of April) as Sex Bob-Omb’s disaffected drummer, Kim Pine;
AUBREY PLAZA (Funny People,
television’s Parks and Recreation)
as Stephen Stills’ obnoxious sometime-girlfriend, Julie Powers;
BRANDON ROUTH (Superman
Returns, Zack and Miri Make a
Porno) as power vegan bassist Todd
WEBBER (Broken Flowers, The Memory Thief) as the
band’s lead singer/songwriter, Stephen Stills; MAE
WHITMAN (television’s Parenthood, Arrested
Development) as Ramona’s scorned ex-girlfriend, Roxy
Richter; and newcomer ELLEN WONG as Scott’s highschool crush, Knives Chau.
The accomplished behind-the-scenes team is led by
producers MARC PLATT (Wanted, Legally Blonde, the
musical Wicked), ERIC GITTER (Leaves of Grass, O),
NIRA PARK (Hot Fuzz, Shaun of the Dead) and Edgar
Wright. The talented crew of filmmakers who have
joined the production includes director of photography
BILL POPE (The Matrix trilogy, Spider-Man 2),
production designer MARCUS ROWLAND (Hot Fuzz,
Shaun of the Dead), costume designer LAURA JEAN
SHANNON (Iron Man, Elf), VFX producer LUCY
KILLICK (Charlie and the Chocolate Factory, Hellboy
II: The Golden Army), SFX coordinator LAIRD
MCMURRAY (The Incredible Hulk, Dawn of the
Dead), fight choreographer/stunt coordinator BRAD
ALLAN (Hellboy II: The Golden Army, Kick-Ass),
editors JONATHAN AMOS (television’s Ashes to
Ashes, Spooks) and PAUL MACHLISS (television’s
Spaced, The IT Crowd) and concept designer OSCAR
WRIGHT (Hot Fuzz, Shaun of the Dead). The
Ingram; JASON SCHWARTZMAN
(Funny People, Fantastic Mr. Fox)
as the leader of the League of Evil
Exes, Gideon Graves; JOHNNY
SIMMONS (Jennifer’s Body,
Hotel for Dogs) as Sex Bob-Omb
super fan Young Neil; MARK
Ramona is shadowed by Scott.
– 15 –
O’Malley’s graphic novel
series when his colleagues
Jared LeBoff and Adam
Siegel brought O’Malley’s
first “Scott Pilgrim” book to
his attention in 2004. “I was
immediately struck by the
buoyancy and vibrancy of
the material and how it
seemed to capture a moment
in time and a generation of
characters that were relatable,” Platt recalls. “They’re
living in this world that is
part comic book, part ninja,
part kung fu, part anime,
Ramona’s League of Evil Exes—(L to R) Ken Katayanagi (SHOTA SAITO),
Gideon Graves (JASON SCHWARTZMAN), Matthew Patel (SATYA BHABHA), Lucas Lee (CHRIS EVANS),
part manga. Yet, at the heart
Kyle Katayanagi (KEITA SAITO), Todd Ingram (BRANDON ROUTH) and Roxy Richter (MAE WHITMAN).
of it are these appealing,
accessible kids that you recognize, who have acceslegendary NIGEL GODRICH (Paul McCartney: Chaos
sible and emotional journeys.”
and Creation, Radiohead: In Rainbows) composes and
Platt found the characters in O’Malley’s comics
executive produces music for the film. Godrich collaborates with BECK for the music and lyrics of Sex Bob- so relatable that he believed they would translate well
on film. He notes: “I was moved by the angst of Scott
Omb’s songs.
Pilgrim, his romantic yearnings for the girl of his
Scott Pilgrim vs. the World’s screenplay is written by
MICHAEL BACALL (upcoming 21 Jump Street) & dreams. He has to overcome challenges in order to get
where he wants to go.”
Edgar Wright, based on the Oni Press graphic novel
Soon after they had seen Edgar Wright’s first
series by Bryan Lee O’Malley. Executive producers for
the film are RONALDO VASCONCELLOS (Hot Fuzz, feature-length film, Shaun of the Dead, LeBoff and
Shaun of the Dead), J. MILES DALE (Talk to Me, Siegel suggested to Platt that the genre-fusing filmHollywoodland), JARED LEBOFF (Wanted) and maker direct the material the team had optioned. Platt
acknowledges: “I recognized immediately that the
ADAM SIEGEL (Wanted).
sensibility Edgar would apply to this material was a
combustible combination. The moment he said he was
interested, the excitement that I had over the source
ABOUT THE
PRODUCTION
SMASHING GENRES:
Scott Pilgrim Begins
Producer Marc Platt was introduced to Bryan Lee
material quadrupled. He works harder than any filmmaker I know, and the work paid off because it’s a
complex film where everything has to dovetail into the
next piece. Edgar has thought about every piece so it
fits perfectly. He is meticulous in his preparation,
inspires fun and loves the characters and the material.”
– 16 –
Co-writer/director Wright learned of the property
in 2004 when O’Malley’s first book, Oni Press’
“Scott Pilgrim’s Precious Little Life,” was given to
him by LeBoff and Siegel at an L.A. preview
screening of Shaun of the Dead. “It had only just been
released, and these two enterprising fellows said it
was perfect material for me,” Wright says. “The book
then sat in my bag for at least a month of the Shaun
U.S. press tour before I finally read the now-battered
copy on a flight. I was thoroughly enjoying it from the
first page but then was utterly hooked by the time it
came to the scene where Scott Pilgrim receives a
written warning of his impending death by e-mail.
Even before I’d finished the first volume, I was trying
to imagine how it could work as live action.”
Wright was impressed not only by the story, but
by the video-game and manga iconography that
O’Malley used to underscore the extreme emotions
and melodrama the characters experience. He
continues: “It actually reminded me of the TV series I
did with Simon Pegg and Jessica Hynes called
Spaced. I had longed to do something that took the
magical realism of that show even further. I was
excited to take on the challenge of bringing the books
to life and some of the more insane action sequences
to the big screen. I’ve
always strived in my
career to make comedy
visually interesting, and
this adaptation was the
great chance to let my
imagination run wild.”
Joining Wright in his
latest endeavor would be
his longtime producer
Nira Park. The head of
Big Talk Productions
entered into her fourth
World. “Edgar and I have worked together since the
television series Spaced. To see the growth he’s
achieved from that show to his acclaimed efforts as
director of Shaun of the Dead and Hot Fuzz has been
astonishing. All of our projects have been labors of
love, and Scott is the culmination of that partnership.”
Adapting the novels into a screenplay became a
joint effort when writer/performer Michael Bacall
joined the team to co-author the script with Wright.
Bacall remembers the five-year-plus writing process
that began before Wright shot his sophomore effort,
the action-comedy hit Hot Fuzz: “We collaborated in
every way possible—trans-continentally, in the same
room; he’d type with his left hand, I’d type with my
right. The ‘Battleship’ thing with laptop to laptop.
We’d write consecutive scenes, then trade and rewrite.
Sometimes, we’d even write the same scene concurrently and see where that took us.”
By his fellow screenwriter’s account, Wright is
intensely driven by vision and passion for his projects. As they created the structure for the script that
began to mirror a video game—with Scott having to
perform evermore death-defying feats to win—Bacall
found a kindred spirit. “Collaborating with Edgar,
who is highly self-motivated and has an indomitable
collaboration with Wright
on Scott Pilgrim vs. the
Scott gets his game face on.
– 17 –
Ramona’s First Evil Ex, Matthew Patel, takes a hit from Scott.
work ethic, was truly inspiring,” the writer adds. “The
man doesn’t sleep. His focus on every detail of story
and script made for an exciting process. We both
enjoy the adrenaline rush that comes from a tight
deadline and a quadruple espresso.”
When the author of “Scott Pilgrim” was
approached about translating his graphic novel series
into a film, he had just completed the first book and
wasn’t sure where the rest were going thematically.
Bryan Lee O’Malley laughs: “I pretended I knew and
then wrote an outline for them.” Of his process of
creating each successive graphic novel, he offers, “It’s
like writing a script to begin with, but the next step
involves a slow, fractured, confusing process of
turning it into artwork.”
O’Malley describes the similarity between the
world of the books’ characters with the one he and his
friends shared in Toronto when they were in their
early twenties: “Scott is a wish-fulfillment character
for me. He’s a bit of an idiot, happy-go-lucky; women
fall for him, and he can fight like a superhero. I’d
made some new friends and was in a band and
thought it would be fun to make something they’d
enjoy that would also reflect our lives.
“‘Scott Pilgrim’ has the Japanese comics, indie
rock, classic rock and video games I
enjoyed,” he continues. “My goal
was to merge these over-the-top,
exciting elements with my mundane
life experiences. It’s a dual world of
total reality and abstraction, each just
as real as the other.”
Oni Press’ Eric Gitter served as a
producer on the film and helped to
bring the world of the graphic novels
from page to screen. He offers: “The
creators of our comics are primarily
interested in telling good stories and
publishing what entertains them.
While I don’t think Bryan envisioned
‘Scott Pilgrim’ as a movie when he was originally
writing the comic, both are visual mediums. It’s
easy to see the connection and how the material was
right for translation.” As development progressed,
Gitter was impressed by how the screenwriters were
so adamant about keeping O’Malley involved as a
collaborator in the screenwriting process. The
producer notes: “Edgar and Michael worked very
closely with Bryan when adapting the comic. They
were incredibly faithful and respectful of the
source material.”
Wright and Bacall weren’t only interested in
learning where the characters would go as he wrote
his next books, but they also wanted the author to
serve as a guardian of all things “Scott Pilgrim.” The
screenwriters aimed to be as faithful as possible to
O’Malley’s world while expanding the stories for
their medium. As their process evolved, O’Malley
would create the next chapter of Scott’s saga and send
Wright and Bacall transcripts of the book.
“First and foremost was the challenge of how to
take the sensibility and spirit of the books to the big
screen,” explains Wright. “Partly that was the tone of
the dialogue. Bryan and I have similar senses of
humor and both enjoy undercutting the most insane
– 18 –
incidents with deadpan reactions. We also share an
interest in starting a story in a naturalist world and
then exploding into craziness.”
With the script penned and the production
greenlit, it was time to begin populating the world of
Scott Pilgrim with the friends and foes of O’Malley’s
intricate universe.
GOOD FRIENDS AND
EVIL EXES:
Casting the Action-Comedy
Casting the more than a dozen characters from
the graphic novels would prove a challenge for the
production. On seeing the actors chosen to become
the Toronto residents of his books, O’Malley says
it was, simply, “an amazing, gratifying, weird,
eerie experience.”
the bat, you feel like there’s a voice that the movie has
that is all its own; that’s what Edgar does well with all
of his films,” he says. While the team moved into
production, inhabiting the universe that O’Malley had
created became second nature for the cast and crew.
Cera summarizes: “As we all rehearsed for weeks, it
started to become a world that we all believed in,
something very real.”
Known for playing über nice guys in such hits as
Superbad and Juno, Cera welcomed the chance to
show an edgier side to his performance. That was
precisely what the filmmakers wanted to evoke.
Platt says that what makes the actor so talented is
“his seemingly casual approach that appears as
though he’s doing so little; it’s genius, very precise.
He embodies the character completely. People will
be shocked to see Michael fighting the way he does
and displaying a toughness that audiences haven’t
seen from him. It’s been fun to watch Edgar bring
that out in him.”
Still recovering from his break-up with Envy
Adams, the girl who “kicked his heart in the ass,”
Scott is dumbfounded when he meets Ramona
Flowers, a mysterious American whom he believes he
has willed into existence. Cera explains the attraction:
Scott and Ramona: “Have you seen a girl with
hair like this?”
Michael Cera had read the first two “Scott
Pilgrim” novels before he was approached about
playing the title role. Cera knew it was helpful to
have a well-defined part for Scott
with which to begin. “Bryan Lee
O’Malley created such a unique,
distinct character that it made it
easy for me to get into character,”
Cera notes. On the other hand, he
admits, “It was a little intimidating because ‘Scott Pilgrim’ has
such a following, but Edgar was
very helpful in finding the right
tone and helping me not go too
over-the-top.”
As he prepared for an arduous
shoot, Cera trusted his director’s
Scott realizes he must fight Ramona’s Second Evil Ex, Lucas Lee.
vision more and more. “Right off
– 19 –
Ramona falls for Scott’s odd charm.
“Scott becomes obsessed with Ramona when he sees
her in his dreams. Then, when she appears in real
life, he can’t quite figure her out; she keeps slipping
away from him, and that’s what draws him to her.
But he’s also got this other girlfriend now, so he is
not allowed to like her…and that starts to make him
like her more.”
Ramona can be aloof and distant, which of
course makes her that much more attractive to the
pining Scott. After all, she has a League of Evil
Exes tracking her every move. According to
O’Malley, these exes were given “a title meant to
sound ominous and silly,” but they are dead serious
when it comes to ruining Ramona’s potential for
newfound love…especially with the confidencechallenged Scott.
Mary Elizabeth Winstead, who was introduced to
global audiences with her role in Live Free or Die
Hard, was cast to play the subspace-traveling Ramona
after she met with Edgar Wright. The actress explains
what attracts her character to the latest guy in her life:
“Scott’s a new kind of love interest for Ramona. He
doesn’t seem to be the same as all the other guys that
she’s been with. She’s been with a lot of dark, tough
and mysterious characters. Now, Scott’s this sweet
little lovable idiot that she’s taken
under her wing.”
As Ramona and Scott are in the
majority of scenes in Scott Pilgrim
vs. the World, Winstead and Cera
were required on set for nearly the
entirety of the shoot. Because the
seven evil exes roll into their lives
over the course of the action-comedy,
it felt like making one new movie
after another for the actors. Explains
Winstead: “Every few weeks, we had
a new energy on set as a new ex came
through. It was fun to have all these
different personalities coming in.”
Cera commends of his leading lady: “Mary’s
amazing. She did most of her own fighting and is
completely believable at that, yet has this delicate
quality that’s also convincing.”
“We are Sex Bob-Omb: One, two, three, four!”
In addition to Mr. Pilgrim, his band, Sex BobOmb, is made up of drummer Kim Pine and lead
singer and songwriter Stephen Stills. The band’s
biggest fan and hanger-on (before Knives Chau hits
the scene) is aspiring bassist Young Neil.
Kim, the most intelligent one of the group, dated
Scott in high school and dislikes many
people…possibly everyone. The production team cast
Toronto-native Alison Pill in the role of the young
woman who serves as the disaffected voice of reason
for her friends. Kim knows Scott the best, and they
have the longest history of anyone in the group. She’s
quiet and dour until she’s on stage, and then she will
rock your face off. To prepare for the part, Pill worked
with drumming guru CHARLIE DRAYTON and
Sloan front man CHRIS MURPHY to hone her
percussion skills.
Front man and singer/songwriter Stephen Stills
cares the most about the success of Sex Bob-Omb,
– 20 –
but he’s incredibly neurotic about performing. Actor
Mark Webber was asked to play Stephen. Of the
process, Webber recounts a strategy that Wright,
O’Malley and Bacall had for the core cast: “Before
the first week of rehearsal, Edgar gave each of us a
private list with 10 things about our characters that we
were supposed to keep to ourselves. There were a few
on there that were a little shocking.”
Completing Scott’s immediate circle is Jennifer’s
Body star Johnny Simmons. He was brought onto the
production as the often-confused Young Neil,
Stephen’s roommate and the band’s No. 1 groupie.
portrays a super-villain. Known for his roles in the
action flicks Fantastic Four and The Losers, and as
the title superhero in the upcoming Captain
America: The First Avenger, Evans was happy to mix
it up with this part. He was cast to play the ultimate
caricature of an action star as Ramona’s Second Evil
Ex, the pro-skateboarder turned action hero/ultimate
tool: Lucas Lee.
Evans discusses his interest in joining the
action-comedy: “I get to be big and over-the-top
and ridiculous. Lucas is very obnoxious and the
character you love to hate.” Though he’d never
before been on a skateboard, the actor was up for
the challenge of looking like he’d been doing it his
entire life. He recalls: “My character had to ease
up onto a stair rail and grind the gigantic rail for
200 steps.”
While many performers are quick to point out that
they tried to do a majority of their own stunts, Evans
acknowledges that the film’s outrageous feats
required the expertise of some athletic and unsung
heroes: the stunt performers. “I would have no career
without stuntmen, based on the movies I’ve made,” he
says. “God bless ’em all. They’re crazy. We actually
had a stunt where Michael’s stuntman fell from a
The League of Evil Exes: “Wait…we’re fighting
over Ramona?” “Didn’t you get my e-mail?”
Scott’s journey to winning the heart of Ramona
involves achieving enough self-awareness, selfrespect and maturity along the way that he doesn’t
become just another evil ex himself. As he fights his
way through the League of Evil Exes, Scott gets
stronger and stronger with each defeat.
Newcomer SATYA BHABHA was cast as
Ramona’s First Evil Ex, Matthew Patel (from her
junior high school days). Though he takes Scott by
surprise when he breaks through the ceiling at the
club with his demon hipster chicks, to
be fair, Matthew did e-mail Scott and
warn him of his untimely demise.
Unfortunately for Scott, he simply
skimmed the e-mail. Cera explains
Matthew’s presence at the club: “The
First Evil Ex that shows up is Patel,
and it’s out of nowhere. You’re just
getting used to this world, and everything’s starting to make sense. Then
all of a sudden, it all doesn’t make
sense at all, and people are flying
through the air.”
Scott Pilgrim vs. the World marks
Ramona’s Third Evil Ex, Todd Ingram (BRANDON ROUTH), launches his attack.
the first time that Chris Evans
– 21 –
Ramona pulls something useful out of her purse.
building eight times over. It looked like it would break
me in half, but this guy stood up, brushed himself off
and said, ‘Let’s do it again.’”
Heading from the world of characters in the
Marvel universe to those in DC Comics, Superman
himself, Brandon Routh, joined the cast as Ramona’s
Third Evil Ex: Todd Ingram. A power vegan who is
now dating Envy Adams and plays bass for The Clash
at Demonhead, the bleached blonde telekinetic is as
arrogant as he is vapid. While Scott knows he can
never vanquish Todd through a flurry of side punches
and combination of roundhouse kicks, he does
believe he can outsmart him.
Though Scott is initially certain that Ramona’s
League of Evil Exes only consists of guys whom
she’s dated, he gets a lethal surprise when the
Fourth Evil Ex, Roxy Richter, shows up and challenges him to a fight to the finish. Spewing invectives and brandishing a lethal chain belt, Roxy’s
martial arts skills are as deadly as her vicious
tongue. Parenthood’s Mae Whitman (rejoining
Cera, her former co-star on television’s Arrested
Development) was brought aboard the production as
the scorned lover/invisibility-cloaked ex.
Much like Ramona’s other exes, Roxy doesn’t feel
threatened by Scott’s presence; she
just wants to annihilate anyone who
tries to date the girl who broke her
heart. Whitman explains: “It’s beyond
the threat level now. Roxy knows that
she’s lost Ramona, but she just can’t
stand the thought of it. The most
upsetting part for her is when
Ramona says, ‘Well, it wasn’t a big
deal; it didn’t even count.’ That’s what
makes Roxy so angry: her legacy with
Ramona gets diminished so quickly.”
Another one of Ramona’s experimental phases is revealed by the
arrival of the next exes. Enter Evil
Exes No. 5 and No. 6, Kyle and Ken Katayanagi,
played by identical twins Keita and Shota Saito. The
final puppets in Gideon’s army that Scott must defeat,
the Katayanagi brothers are the last battle before Scott
alone must confront the most evil of exes. But first, to
destroy the twins, Scott and Sex Bob-Omb go amp
versus amp in a battle-of-the-bands fight to the finish.
Two bands enter and one band leaves in an epic
struggle that pits the Katayanagi’s white dragon
avatars against Sex Bob-Omb’s green-eyed yeti.
If Scott can survive his battles with all of these
exes, he will advance to the bonus round to meet and
fight Gideon Graves, the evil ex who wields the most
power over Ramona. Cera describes Gideon: “He’s
the evil ex boyfriend behind it all, the one who Scott
can’t stand the most, and Jason Schwartzman is
fantastic in the role because he is so funny and
charming and detestable all at the same time.”
It doesn’t help matters that Gideon is interested
in signing Sex Bob-Omb to his record label.
Schwartzman discusses his manipulative character:
“Gideon is so good at being bad because he’s actually kind of likeable. Passive-aggressive…like a
mosquito bite. He won’t bother you, but if you start
to scratch him, you’re in for a rough night. You
– 22 –
might start to bleed. Scott unleashes the dark side
of Gideon.”
Schwartzman was impressed by his fellow
performers, but most of all with his on-set archenemy.
He found Cera to be a workhorse throughout their
time together. “Michael is half-man, half-superman,”
he says. “He worked almost every single day for six
months and never let it show.”
Supporting Players in Scott’s World: “We all
know you’re a total lady killer wannabe jerky jerk.”
Scott Pilgrim’s relationship with his roommate,
Wallace Wells, is quite unique. The 26-year-old
Wallace owns almost everything in their shared apartment, and he is constantly amused by Scott’s floundering relationships with girls. As flummoxed as
Scott is with the ladies, Wallace is just as smooth with
the many guys with whom he hooks up. Played by
veteran young actor Kieran Culkin, Wallace epitomizes awesomely hip. And he will steal your
boyfriend if you look the other way.
Scott’s kid sister is 18-year-old coffee shop
barista Stacey Pilgrim. Much more sensible than her
self-absorbed older sibling, Stacey is the voice of
reason in the Pilgrim family. She also has an uncanny
ability to know what mischief
her brother is up to at any
given time. With Wallace on
speed-text, she is constantly
kept up-to-date and forever
shaking her head at Scott’s
insane life choices. She also
loves playing the part of
“older” sister. For the role,
Wright and the producers
brought onto the production
Oscar®- and Tony-nominated
actress Anna Kendrick.
Critically lauded for her
work in Up in the Air, the
performer has previously matched drama with teen
angst in the Twilight series.
Newcomer Ellen Wong was committed to
becoming wide-eyed schoolgirl/ninja assassin Knives
Chau. Terrific for Scott’s confidence boost, the 17year-old Knives dated Scott and remains Sex BobOmb’s No. 1 fangirl. Michael Bacall describes the
relationship: “When we first meet Scott and Knives,
they have a great connection in their mutual immaturity. Everything they do is in sync—the way they
speak, flip through records, play video games.”
Still hurting over the loss of her first love, Knives
has (temporarily) moved on to date Young Neil. The
Scarborough, Ontario, native describes her character:
“Knives starts off as this unblemished Catholic
schoolgirl, 17 years old, hasn’t really seen life yet…or
the harsh realities of the world. When she meets Scott,
he opens this Pandora’s box for her, and she can’t go
back to her old life anymore.” Naturally, that also
means challenging Ramona to a fight to the finish.
Scott’s she-who-will-not-be-named, Envy Adams,
was brought to life by Brie Larson. The actress, who
has broken out on television’s United States of Tara,
portrays the stone-cold rocker who is the lead singer
of The Clash at Demonhead. Simultaneously self-
Ramona’s Fourth Evil Ex, Roxy Richter (MAE WHITMAN), will kick your ass.
– 23 –
O’Malley notes: “It’s a tradition in
comics, way back to ‘The Archies.’”
As he constructed the film, the
director knew that the soundtrack
of Scott Pilgrim vs. the World
should reflect the universe in
which Scott and his friends live, as
well as speak to a generation that
has grown up gaming. Wright
offers: “I am a huge music fan, so
the idea of blowing people back
into their seats with the soundtrack
appealed to me immensely.”
Bacall remembers when he and
Stephen and Scott guitar battle Ramona’s Fifth and Sixth Evil Exes.
Wright discussed how to approach
absorbed and terrifying, Envy still holds a strangling
the musical performances. He states: “Edgar initially
power over ex-boyfriend Scott and is more than happy commented that most ‘live’ music in movies kind of
to watch him get his ass kicked by her current sucks. We were coming up with gags to get around
boyfriend, Todd Ingram. Surprise...Todd also happens
hearing the bands play until Edgar went out and got
to be one of Ramona’s evil exes.
some of the most amazing musicians in the world to
Last but not least, young comic actress Aubrey
create original songs perfectly pitched for the film.”
Plaza was asked to join the production as Julie
To accomplish the task of choosing and producing
Powers, the super-hateful, sometime girlfriend of
the talent, Wright and the producers turned to prolific
Stephen Stills. Julie works with Stacey, and she just music producer Nigel Godrich. Having collaborated
can’t wait to see Scott get what’s coming to him. with such giants as Radiohead and Paul McCartney,
Known for her work on television’s Parks and
Godrich was intimately familiar with the sounds that
Recreation and her breakout role in last summer’s Wright wanted for the action-comedy. One of
Funny People, Powers brings a purse-lipped bitchi- Godrich’s most successful collaborators, Beck, would
ness to the obnoxious Julie that sends Scott scamprovide the sounds for Sex Bob-Omb.
pering when she opens her mouth to ream him.
Beck, who contributed all of Sex Bob-Omb’s
tracks, worked with Godrich and Wright to create
songs that showcase the band’s growing skills as the
WE ARE SEX
story unfolds. When we are first introduced to the
BOB-OMB!:
band, they are finding their footing. Naturally,
Music Of Scott Pilgrim
Stephen Stills’ vocals are a little shaky (as are his
skills on the lead guitar). As the group confronts each
Throughout the history of comics and graphic
challenge—from facing off against Crash and the
novels, musical references have been a big part of the Boys to the epic battle against the Katayanagi twins—
medium. So is the case with O’Malley’s books, as
the music becomes more confident and powerful.
Scott’s band takes on other bands in music battles.
Canadian alternative indie rock band BROKEN
– 24 –
SOCIAL SCENE (fronted by KEVIN DREW)
contributed the songs for the film’s band Crash and
the Boys. Named after the Nintendo Entertainment
System (NES) game “Crash ’n the Boys: Street
Challenge,” the band boasts 10-year-old drummer
Trasha (played by ABIGAIL CHU), a young prodigy
who would prefer to not see another girl drummer
(ahem, Kim Pine) steal her thunder.
Fellow countrymen METRIC performed its song
“Black Sheep” for The Clash at Demonhead (led by
Scott’s own evil ex, Envy Adams). Fronted by lead
singer EMILY HAINES, the Toronto-based quartet
creates a haunting song that seduces Scott back into
Envy’s world. While Knives and Julie are both
obsessed by the power of Envy’s vocals for The
Clash at Demonhead, Scott knows that falling for her
comes at a big price. Interestingly enough, the name
for this band is based on another NES game, “Clash
at Demonhead.”
DAN THE AUTOMATOR contributed the music
for Matthew Patel’s (and his demon hipster chicks)
Bollywood sequence, as well as the sounds for Knives
and Scott’s other passion, the game “Ninja Ninja
Revolution.” Finally, the cult Japanese artist
CORNELIUS (led by KEIGO OYAMADA)
contributed instrumentals for
the Katayanagi twins’ face-off
against Sex Bob-Omb.
To ensure that Sex BobOmb, Crash and the Boys,
The Clash at Demonhead and
the Katayanagi twins looked
and performed as if they were
actual bands, Sloan front man
Chris Murphy was brought
on as the musical performance supervisor.
As for the cast’s experience in the field, Cera had a
bit of musical background
and Simmons had previously played guitar. Pill had
never played drums, but by the end of the shoot she
was playing along like a pro. Webber had his own
catching up to do, but now feels confident he can
bring the house down.
SWORD FIGHTS
AND SPIN KICKS:
Stunts Of The Film
It was important to Wright that the actors did a
good portion of their own fighting and that stunt
teams supplemented that work. He felt that it added to
the authenticity of the piece. Additionally, the
cameras were set at quite wide angles, so there was
simply no cheating it in a number of the key
sequences. For his fights, Wright once again relied
upon his childhood for ideas. He offers: “I wanted to
draw inspiration from the same sources as Bryan, as I
too have grown up with video games, Japanese
animation and kung fu seared onto my brain.”
Part of Jackie Chan’s and Jet Li’s legendary teams
would lead the cast in learning to defy gravity. “The
fight sequences in Scott Pilgrim are designed to
Scott prepares to duel Ramona’s Seventh Evil Ex.
– 25 –
Scott gets a life as Kim and Young Neil look on in shock.
dazzle; they combine the fantastic fight choreography
of Brad Allan [also second-unit director] and fellow
fight coordinator PENG ZHANG, with kaleidoscopic
animation special effects,” Wright says. “We struggled to come up with a snappy description of the
unique action sequences in the film; at one point
‘fightsical’ was bandied around to describe the
musical aspect to the action. We also described the
John Hughes’ coming-of-age comedy mixed with
brutal kung fu as ‘Hughes fu.’” He pauses…“It
looked better written down then it did said aloud.”
Cera, Winstead, Schwartzman and Whitman
began training in Los Angeles in January 2009,
before the April shoot began. From cardio work that
included many push-ups and endless running, as well
as stunt and kung fu training, it was intense, to say the
least. All agree it was a bonding experience working
alongside the incredible martial artist Zhang as they
learned how to throw punches and kicks, as well as to
perform the necessary flips and tumbles and to master
their various weapons (while on wires).
Fight trainer and stunt coordinator Allan started
with the talent by simply getting them into fighting
shape and increasing their stamina. Cera learned to
perform a lot of his fighting and swordplay. He
remembers: “I learned there is a lot
of trust involved because you’re
literally depending on the guy who’s
holding the rope. They had us doing
all kinds of things that my body has
absolutely no capability or desire to
do and that I will probably never do
again, but it was amazing. I’m planning on just sitting around and
never doing another push-up for the
rest of my life.”
Determined to keep up, Wright
worked out with the actors every day
in Toronto; the cast would train up to
five or six hours a day to learn the
moves taught in the boot camp run by Li’s and Chan’s
trainers. Winstead recalls that Wright did many of the
tough workouts right alongside them. “He got to feel
our pain,” she says, but she admits the process
brought her “an amazing sense of accomplishment.”
Like many performers, Schwartzman had long
wanted to fight in a film but never had the chance. He
offers of the experience: “It was a thrill to be able to
just devote myself to learning how to sword fight. But
it was hard to fight Michael. I love the guy.”
One of Gideon’s sparring partners, Knives Chau
herself, Ellen Wong, was more than ready for the
training sessions in which she would face off against
Gideon and Ramona. She says: “Who wouldn’t be
excited about running up the wall and flipping back,
doing a 360 in the air? It was just cool.”
TORONTO AS
TORONTO:
Locations, Design and
Camera Work
Often referred to as “Hollywood North,” Toronto
has doubled for every major city in the United States,
– 26 –
as well as many in Europe and Asia. Scott Pilgrim vs.
the World marks one of the few times that Toronto has
played itself in a major motion picture.
Locations and Design
As the books are set in Toronto and because the
city has the infrastructure in place to host a film the
size of Scott Pilgrim vs. the World, the decision to
shoot there was obvious. Many of Toronto’s haunts
that are given center stage in O’Malley’s books were
sure to be recognized in the film. These include Casa
Loma, Honest Ed’s, Lee’s Palace, Pizza Pizza and
Second Cup—places O’Malley says “are ubiquitous
in Toronto. I have a soft spot for them.”
As Wright and production designer Marcus
Rowland developed the look of the action-comedy,
they knew they wanted to celebrate the Ontario city. It
wasn’t simply bringing lines from the novels into the
movie that interested them. “I wanted to represent
Bryan’s artwork as much as possible, but also use the
real locations that he used as reference for his books,”
Wright comments. “In several key scenes, we shot the
actual houses, libraries, parks and music venues that
Bryan took photos of in 2003.”
Rowland adds: “We embraced all that’s great
about the flavor and texture of
Toronto itself. It’s known as
one of the most multicultural
cities in North America, and
Scott Pilgrim vs. the World
was shot at the real locations
comic universe to the screen, right down to the last
detail of each character’s apartment. One of the
craziest moments for me was when I walked on the
set of Wallace’s apartment. It was as though it had
jumped off the comic-book page.”
On stages in Toronto, Rowland created the apartments of Wallace and Scott, as well as Ramona’s onebedroom. O’Malley adds: “They are just as I
visualized them, only more real. It’s a little strange.”
For her part, Ramona Flowers felt right at home.
Laughs Winstead: “It was like we were really there.
All the places they’ve built, the clubs they’ve built…it
doesn’t feel like we were on a set at all. I wanted to
just move into my apartment. It felt so authentic.”
Setups and Camera Work
Cinematographer Bill Pope, known for his stunning camera work in blockbusters from Spider-Man 2
to The Matrix series, first met with Wright when the
director was in Los Angeles to publicize Hot Fuzz. It
would take a few years before the two men would
work together, and Pope was keen to join Wright for
this production. “This is absolutely what Edgar was
meant to do,” the DP compliments. “His enthusiasm
is catching.”
where Bryan drew the pictures.”
The designer explains that
he used a multitude of colors
to reflect the emotion of the
story, down to the color of the
swords that Scott and Gideon
use to duel. O’Malley
marvels: “Marcus did an
incredible job bringing the
Scott and Ramona see stars, erm, hearts.
– 27 –
what the pacing and cutting is more
than anyone I’ve ever worked with.”
The majority of the time, Pope
used two cameras to capture the
action and the multitude of characters who populate this world. Indeed,
there is so much in every frame of
this film that the audience can watch
it multiple times and discover something new with each viewing. As
Wright gives clues to the evil exes all
throughout the film (e.g., the
number three on Todd’s sport short
Writer/director/producer EDGAR WRIGHT, MICHAEL CERA as Scott Pilgrim
and the address of the club (four)
and MARY ELIZABETH WINSTEAD as Ramona Flowers on the set.
where Roxy picks her fight.
Creating the visual effects on Scott Pilgrim vs.
For Pope, the hook of Scott Pilgrim vs. the World
was a strong one. “I read the script and realized that the World was a long and involved process. There
I’ve never seen this movie before,” he offers. “It was was so much required in terms of editing and special
effects that when Wright and the DP shot a scene, it
incredibly fresh and a phenomenal step up, but also
a mammoth piece of work—so much so that a three- was only the beginning for VFX producer Lucy
Killick, SFX coordinator Laird McMurray and
day test shoot was done months before the movie
was to film, just to prove that all of the graphics, editors Jonathan Amos and Paul Machliss.
speed, wires and blue screens, irony and self-reflec- Throughout production, everyone on Wright’s team
had to think many steps ahead to understand where
tion would work.”
The camera style is busy, to say the least. Pope the shot would eventually lead them.
explains: “There are a huge number of shots because
the movie has so many characters woven together, is
influenced by fast-paced video games and moves
forward by means of the edit. The camera is always
moving—whip pans, dollies, cranes, zooms, snap
zooms, snap zooms with whip pans off. There is no
scene without all these mannerisms, and the speed
and pacing is critical.”
The challenge for the cinematographer was in
the record number of setups that Wright and
Bacall’s script demanded. “To give you reference,
the movie Clueless had about 500 setups,
Chinatown had about 600 and Scorsese’s early
movies had 800, maybe,” Pope explains. “Scott
Pilgrim has more than 4,000. Edgar knows exactly
MARSHMALLOWING
SNOW:
Visual Effects
Instead of the typical, technical 3-D previsualization done for many films, the previz for Scott Pilgrim
was created in homage to the graphic style of
O’Malley’s novels, with additional animated elements
inserted to round it out. During the pitching phase of
the project, a black-and-white animatic was designed
to give the look and feel of the first fight, the one in
which Scott Pilgrim faces off against Matthew Patel.
With panels taken straight from the pages of the
– 28 –
books, Scott Pilgrim was designed by blending a
mixture of references to Japanese anime and video
games from multiple eras. This allowed for a concept
piece that illustrated the energy Wright wanted for his
live-action. Before the project was green-lit, this
animatic became the basis for a live-action test to
convince the studio the film was feasible.
As the project moved into full production, U.K.based VFX company DOUBLE NEGATIVE—with
additional work from Toronto-based digital studio
MR. X—created similar animatics for the remaining
fight sequences, performances and other parts of the
film that would benefit from bringing the comics to
life. The majority of Mr. X’s work involved cleanup
and simplification of practical locations, as well as
adding stylized snow.
Once preproduction began, the entire film was
storyboarded by Oscar Wright in the style of the
novels. Wright was responsible for crafting the film’s
concept art and graphics. Wherever possible, exact
panels from the books were duplicated to set up shots,
and then coverage was filled in to flesh them out for
the film version. The visuals were always imagined
by asking a simple question: Is this something that
Bryan would have drawn?
Each day of shooting, the
storyboards were distributed
to the crew, who used the
panels to compose the liveaction shots. The production
design and art direction were
underpinned
with
the
constant focus on graphic
simplification in line with the
comic artwork, which flowed
through every element of
the design—including sets,
wardrobe and props.
Because of practical
considerations, it wasn’t ways
possible to maintain this look through the art
department alone; naturally, VFX became heavily
involved…especially on location. Though the film is
shot in Toronto, the teams had to extend a good deal
of the location shots to achieve the hyper real look
Wright wanted (e.g., as Scott and Ramona walk
through snow to the swings). As it was impossible to
blanket an entire street with perfect-looking snow in
the middle of the summer, much of the team’s work
involved simplifying the look of practical locations
and dressing them in the wintry style of the film.
For the VFX crews, the hero text graphics (once
animated) became a favorite part of the production.
On set, the teams would overlay a simple static
graphic on the video-assist so shots could be
composed. Once they were rendered, it was exciting
to see memorable copy from O’Malley’s novels
burned across the screen.
Approximately six months before preproduction
began, production designer Rowland began
prescouting locations. Because O’Malley drew a fair
number of his exterior panels while looking at the
actual locations that inspired him (e.g., Wallace’s
apartment, Wychwood Library, Goodwill, Stephen
Stills’ place, Ramona’s apartment, the house in which
(L to R) MICHAEL CERA as Scott Pilgrim, writer/director/producer EDGAR WRIGHT
and MARK WEBBER as Stephen Stills on the set of the action-comedy.
– 29 –
Scott grew up and Knives’ high school), the team was
fortunate enough to use the actual locales described in
the books.
VFX team members accompanied Rowland and
took still photographs that precisely matched the angle
and composition of the panels in the books. From
there, they put together a package that showed each of
the locations with various levels of simplification—
ranging from the photographs by themselves to looks
that precisely matched O’Malley’s style. With
Wright’s guidance, the collaborators netted out visuals
that landed somewhere in between the two styles.
The result became a mix of live action, with the
details heavily reduced on screen. The team stopped
before it began to make sets look too artificial…or as if
they couldn’t have photographed the scenes. For
example, the VFX crew “pruned” trees and took off all
but the thickest branches as they designed. They then
dialed that look back for a few smaller saplings to make
it look realistic. The treatment of the snow dressing was
very specific and came from dozens of reference photographs of perfect, untouched, freshly fallen “marshmallow”-style lumps of powder. All traces of slush or
granularity had to be cleaned up. On set, the rule was
that they would have practical snow, or snow blankets,
within 20 feet from camera and that everything past that
point would be extended with VFX.
For the falling snow, the team developed a highly
controllable and directable 3-D snow particle system.
This could be fine-tuned for the amount of precipitate, speed of the snow and wind acting upon it, as
well as for the character and the style of the weather
pattern. Early in preproduction, the crew presented
Wright with a range of possibilities for the “snow
performance.” The weather patterns were treated as
if they were a character—going from a perfectly
photo-real snow system all the way to a whimsical,
artificial, cartoonish version inspired by panels in
O’Malley’s books.
The filmmaker responded well to the various
options, and Wright came upon the idea to use almost
all of it—by changing the character of the snow when
the mood called for it. This is especially apparent in
the park scene in which the snow builds up from light
wisps to a heavy whiteout…just as Scott and Ramona
begin to fall for one another.
****
Universal Pictures Presents A Marc Platt/Big Talk
Films Production: Scott Pilgrim vs. the World, starring Michael Cera, Mary Elizabeth Winstead, Kieran
Culkin, Chris Evans, Anna Kendrick, Alison Pill,
Brandon Routh, Jason Schwartzman. Scott Pilgrim
vs. the World’s music is by Nigel Godrich. The film’s
costume designer is Laura Jean Shannon. The editors
are Jonathan Amos, Paul Machliss; the production
designer is Marcus Rowland. The director of photography is Bill Pope, ASC, and the executive producers
are Ronaldo Vasconcellos, J. Miles Dale, Jared
LeBoff and Adam Siegel. Scott Pilgrim vs. the
World’s producers are Marc Platt, Eric Gitter, Nira
Park, Edgar Wright. The action-comedy is based on
the Oni Press graphic novels by Bryan Lee O’Malley,
and the screenplay is by Michael Bacall & Edgar
Wright. Scott Pilgrim vs. the World is directed
by Edgar Wright. ©2010 Universal Studios
www.scottpilgrimthemovie.com
– 30 –
ABOUT THE
CAST
Duke. The series received tremendous attention and
was nominated for several Webby Awards.
MICHAEL CERA (Scott Pilgrim) has become
one of the most sought-after
actors in the business. After
garnering major critical
acclaim for his portrayal of
George-Michael Bluth in the
Emmy Award-winning television
series
Arrested
Development, Cera quickly
found himself amongst the
young comedy elite when
Judd Apatow cast him as the lead in the hit film
Superbad. The film, written by Seth Rogen and Evan
Goldberg, nabbed the top box-office gross two weeks
running and quickly became one of the most talkedabout films of 2007. On the heels of Superbad, Cera
co-starred opposite Ellen Page and former Arrested
Development co-star Jason Bateman in the Oscar®nominated film Juno. Most recently, Cera starred in
Youth in Revolt, a film based on Cera’s favorite book,
for director Miguel Arteta and The Weinstein
Company. His other film work includes Mandate
Pictures/Sony Screen Gems’ Nick and Norah’s Infinite
Playlist and Sony Pictures’ Year One, in which he costarred opposite Jack Black for director Harold Ramis.
Additional credits include a young Chuck Barris in
George Clooney’s Confessions of a Dangerous Mind
and Frequency, with Dennis Quaid.
Cera’s television credits include Tim and Eric
Awesome Show, Great Job! and Tom Goes to the
Mayor, and regular roles on the series I Was a Sixth
Grade Alien and The Grubbs.
Cera also launched the web-based series Clark and
Michael at www.clarkandmichael.com, which he cowrote, directed, produced and starred in with Clark
MARY ELIZABETH WINSTEAD (Ramona
Flowers) began her career in
performing arts at a young
age in Salt Lake City, Utah. It
was in her adolescent years
that Winstead’s exceptional
talent in dancing and acting
earned her the opportunity to
study dance at the prestigious
Joffrey Ballet School in New
York City. Soon after, she
appeared on Broadway and sang in the International
Children’s Choir. Over years of hard work, Winstead’s
passion for the performing arts has blossomed into a
successful career in Hollywood’s competitive film and
television industry.
In March 2010, Winstead began filming Universal
Pictures’ The Thing, a thriller about researchers in
Antarctica who discover the existence of an alien craft.
The film will be released in 2011.
Winstead was recently seen in the popular film
Grindhouse Presents: Quentin Tarantino’s Death
Proof, in which she starred alongside Kurt Russell and
Rosario Dawson. It was in this film that Winstead also
got to share her vocal skills when she sang “Baby It’s
You.” She also starred in Emilio Estevez’s Golden
Globe-nominated film Bobby, alongside such actors
as William H. Macy, Demi Moore, Elijah Wood,
Sharon Stone and Sir Anthony Hopkins, just to name a
few. The film also earned Winstead a Screen Actors
Guild (SAG) Award nomination for Outstanding
Performance by a Cast in a Motion Picture. Winstead’s
other film credits include Factory Girl, Black
Christmas, Live Free or Die Hard, Sky High and Final
Destination 3.
Her on-camera career started with a television role
on the popular American soap opera Passions, in
– 31 –
which she played the part of Jessica Bennett. Her work
on the series earned her a Young Artist Award nomination for Best Performance in a Daytime TV Series—
Young Actress, and a YoungStar Award nomination
for Best Young Actress/Performance in a Daytime TV
Series. Her other television credits include Touched by
an Angel and Wolf Lake.
Winstead currently resides in Los Angeles,
California.
On stage, Culkin most recently starred opposite
Matthew Broderick in Kenneth Lonergan’s production
of The Starry Messenger, at the New Group. He also
starred in Eric Bogosian’s production of Suburbia at
Second Stage Theatre and in the London production
of Lonergan’s play This is Our Youth. In 2000, he
appeared on stage at Playwrights Horizons in James
Lapine’s The Moment When, directed by Michael
Lindsay-Hogg.
KIERAN CULKIN (Wallace Wells) made a
formidable impression on
film audiences in the title role
in Burr Steers’ Igby Goes
Down, for which he was
honored with a Critics’
Choice Award and a Golden
Globe nomination. His recent
work includes the independent feature Lymelife,
which
co-starred
Alec
Baldwin and Cynthia Nixon and was directed by
Derick Martini.
Culkin co-starred opposite Jodie Foster and Jena
Malone in the Foster-produced feature film The
Dangerous Lives of Altar Boys. His other features
include The Cider House Rules, opposite Michael
Caine and Tobey Maguire, and Music of the Heart,
opposite Meryl Streep, both for Miramax. Culkin
made his starring-role debut, opposite Sharon Stone,
in the film The Mighty as a young Einstein with a
degenerative growth disorder who forms a close bond
with his next-door neighbor as they both discover the
true meaning of friendship. Culkin appeared in his
first motion picture as Fuller McAllister in the John
Hughes international mega-hit Home Alone, followed
by its sequel, Home Alone 2: Lost in New York. His
other films include She’s All That, Nowhere to Run, It
Runs in the Family, Father of the Bride and Father of
the Bride Part II.
CHRIS EVANS (Lucas Lee) has emerged as one
of Hollywood’s most indemand actors for both big
budget and independent
features. Evans will soon
begin production on Joe
Johnston’s highly anticipated
action-adventure
f ilm
Captain America: The First
Avenger, in which he will star
as the famed Marvel Comics
character, who becomes the perfect human weapon to
aid the United States’ fight against the Nazis during
World War II.
Currently, Evans is in production on Mark
Mylod’s comedy What’s Your Number?, opposite
Anna Faris. He recently wrapped production on the
independent law drama Puncture, which is based on a
true story.
Raised in Massachusetts, Evans began his acting
career in theater before moving to New York, where he
studied at the Lee Strasberg Institute. In 2007, Evans
reprised the role of Johnny Storm, aka Human Torch,
in the summer action hit Four: Rise of the Silver
Surfer, which had him reteam with his original
Fantastic Four cast mates Jessica Alba, Michael
Chiklis and Ioan Gruffudd. Most recently, Evans was
seen in Sylvain White’s The Losers, with Jeffrey Dean
Morgan and Zoe Saldana.
His other film credits include Push, opposite
– 32 –
Dakota Fanning; Street Kings, with Keanu Reeves and
Forest Whitaker; Danny Boyle’s critically acclaimed
Sunshine; The Loss of a Teardrop Diamond; Cellular;
The Perfect Score; Fierce People; and the romantic
drama London. Evans’ first cinematic role was in the
2001 hit comedy spoof Not Another Teen Movie.
Actress ANNA KENDRICK (Stacey Pilgrim)
starred in the lauded Paramount
Pictures film Up in the Air,
opposite George Clooney and
Jason Bateman. In the film,
which was directed by Jason
Reitman, she played Natalie
Keener, a fresh-out-of-college
rising star at the company where
both she and Clooney’s character are employed. This unique
company specializes in “career transition counseling” (a
euphemism for firing people). The film received rave
reviews and several nominations for Kendrick including
an Oscar® nomination for Best Supporting Actress at the
82nd Academy Awards®. She was also honored as Best
Supporting Actress by the National Board of Review and
earned nominations from the Choice Movie Awards, the
Golden Globes and the Screen Actors Guild Awards.
Kendrick went on to win Best Breakout Star at the 2010
MTV Movie Awards.
In 2008, Kendrick was seen in the blockbuster
feature film Twilight, and also starred in the sequels The
Twilight Saga: New Moon (2009) and The Twilight
Saga: Eclipse (2010). Kendrick played the role of fan
favorite Jessica Stanley, the often comic relief in the
popular film franchise.
Kendrick also notably starred in Picturehouse
Entertainment’s Rocket Science, directed by Jeffrey Blitz.
Her performance as an ultra-competitive high-school
debate team member garnered critical acclaim and the
film received a nomination for the Grand Jury Prize at the
2007 Sundance Film Festival. For her work in the film,
Kendrick was nominated for a Film Independent Spirit
Award for Best Supporting Actress.
Recently, the budding starlet completed filming a
Mandate Pictures and Summit Entertainment untitled
dark comedy, opposite Seth Rogen and Joseph
Gordon-Levitt.
Kendrick made her feature film debut in Todd Graff’s
Camp, a darling of the 2003 Sundance Film Festival. Her
performance in the cult hit earned her a Film Independent
Spirit Award nomination as well as a Best Supporting
Actress nomination at the annual Chlotrudis Awards.
An accomplished theater veteran, Kendrick began her
career as Dinah Lord in the 1997 Broadway musical
production of High Society, for which she received a Tony
Award nomination for Best Featured Actress in a Musical.
At 12 years old, the honor made her the second youngest
Tony Award nominee in award history. Kendrick also
garnered The Drama League and Theatre World awards
as well as Drama Desk and FANY award nominations.
Kendrick’s additional theater work includes a
featured role with the New York City Opera’s production
of A Little Night Music, starring Jeremy Irons, My
Favorite Broadway—The Leading Ladies: Live at
Carnegie Hall and Broadway workshops of Jane Eyre
and The Little Princess.
She currently resides in Los Angeles, California.
ALISON PILL (Kim Pine) was recently featured
alongside Sean Penn in the
Oscar®-winning film Milk.
Her film credits also include
Dan in Real Life, Dear
Wendy, Confessions of a
Teenage Drama Queen and
Pieces of April. Pill’s television work includes her muchlauded arc on In Treatment, as
well as The Book of Daniel
and Life With Judy Garland: Me and My Shadows.
On stage, Pill was recently seen starring with
– 33 –
Abigail Breslin in Broadway’s revival of The Miracle
Worker. She starred in the off-Broadway world
premiere of Neil LaBute’s Reasons to Be Pretty, for
the MCC Theatre, and was recently in the Manhattan
Theatre Club’s Broadway production of Mauritius
and the off-Broadway hit Blackbird, for which she
received Lucille Lortel, Outer Critics Circle and The
Drama League award nominations. She was nominated for a Tony Award for her Broadway debut in
The Lieutenant of Inishmore and for a Lucille Lortel
Award for On the Mountain. She won The Drama
Desk Award for Outstanding Ensemble in the U.S.
premiere of The Distance From Here, also for the
MCC Theatre, and starred in an off-Broadway run of
None of the Above.
Pill is about to begin filming the Woody Allen
film Midnight in Paris, and is completing a theater
run in the play This Wide Night, starring opposite
Edie Falco.
BRANDON ROUTH (Todd Ingram) soared into
the media limelight when he
was cast as the “Man of Steel”
in director Bryan Singer’s
highly anticipated revival of
the original superhero film
franchise, Superman Returns.
This past TV season,
Routh had a recurring role on
NBC’s Chuck as a mysterious
new spy who takes control as
the new leader of Operation Bartwoski, becoming a
mentor to Chuck and a rival in his affections for Sarah.
He can also be seen in Kevin Smith’s film Zack and
Miri Make a Porno, with Seth Rogen and Justin Long;
Unthinkable, a political thriller also starring Samuel L.
Jackson and Michael Sheen; and the dark comedy
Miss Nobody, opposite Leslie Bibb and Missi Pyle. He
also stars opposite his wife, Courtney Ford, in Fling,
which recently premiered on Showtime. The film is
about a couple in an open relationship that is stretched
to the breaking point when each partner finds himself
or herself falling in love with other people.
Routh got his first major role in 1999 on the television sitcom Odd Man Out. This was followed by a
four-episode stint on the nighttime soap Undressed
and an appearance on Gilmore Girls in 2000. He
earned steady work on the daytime drama One Life to
Live, originating the role of Seth Anderson from 2001
to 2002. His subsequent prime-time credits include
guest stints on Cold Case, NBC’s Will & Grace and
Oliver Beene.
Born in Des Moines, Iowa, and raised in nearby
Norwalk (about 100 miles south of Woolstock, the
hometown of television’s original Superman, George
Reeves), the strapping 6'3" Routh was a high school
athlete who swam and played soccer, as well as starring in several theatrical productions. He attended the
University of Iowa for a year before heading to
Hollywood in search of his big break.
JASON SCHWARTZMAN (Gideon Graves)
made his motion picture
acting debut star ring
opposite Bill Murray, as
Max Fischer, an eccentric
high-school sophomore, in
Wes Anderson’s acclaimed
comedy Rushmore. His
performance garnered a
1999 nomination for Most
Promising Actor from the
Chicago Film Critics Association.
Come September, Schwartzman can be seen starring as Jonathan Ames in HBO’s second season of
Bored to Death, starring opposite Ted Danson and
Zach Galifianakis. Schwartzman recently lent his
voice to the Academy Award®-nominated animated
film Fantastic Mr. Fox, which reunited Schwartzman
with director Wes Anderson.
– 34 –
Schwartzman also starred in David O. Russell’s I
Heart Huckabees, alongside Dustin Hoffman, Naomi
Watts and Jude Law. In 2007, he co-starred and made
his writing debut with The Darjeeling Limited (cowritten with Roman Coppola and Wes Anderson).
Other acting credits for Schwartzman include Spun,
Slackers, Marie Antoinette and Walk Hard: The Dewey
Cox Story.
As a musician, Schwartzman was lead drummer
for the Los Angeles-based band Phantom Planet, and
then created an indie rock solo project with Coconut
Records. Coconut Records’ debut album, titled
“Nighttiming,” was released on Schwartzman’s Young
Baby Records in 2007. The album is the product of
Schwartzman, who wrote all of the songs and
performs the majority of the instruments. Coconut
Records’ second album, “Davy,” was released in 2009.
BRIE LARSON (Envy Adams) has built an
impressive career as a film
and television actress and as
an accomplished recording
artist.
Larson
recently
wrapped the feature East Fifth
Bliss, opposite Michael C.
Hall, and earlier this year,
starred opposite Ben Stiller in
Noah Baumbach’s comedy
Greenberg. She will spend the
summer playing the lead in Our Town at the prestigious Williamstown Theatre Festival.
Larson stars in Showtime’s breakout drama United
States of Tara as Kate, the sarcastic and rebellious
daughter of Toni Collette. The series was created by
Academy Award®-winning writer Diablo Cody and
based on an original idea by Steven Spielberg.
Larson’s past work includes the coming-of-age
drama Tanner Hall, and the dark comedy Just Peck,
starring Marcia Cross and Keir Gilchrist. Larson
earned critical praise for her role in the independent
feature Remember the Daze, in which she starred
opposite Amber Heard and Leighton Meester, and was
singled out by Variety as the scene-stealer of the film.
Larson starred in the feature film Hoot, opposite
Logan Lerman, and wrote and recorded an original
song for the soundtrack, which featured Maroon 5 and
the legendary Jimmy Buffett.
A native of Sacramento, Larson started studying
drama at the early age of six and was the youngest
student ever to attend the American Conservatory
Theater in San Francisco. She starred in one of Disney
Channel’s most watched original movies, Right on
Track, as well as The WB’s Raising Dad and MGM’s
teen comedy Sleepover—all before graduating from
middle school.
In addition to her talents as an actress, Larson has
simultaneously nurtured an ever-growing musical
career. At 13, she landed her first record deal at
Universal Records with Tommy Mottola, who signed
her sight unseen. Her first release, in 2005, led to her
first nationwide tour. She currently performs in the
band Baby Mongrel.
AUBREY PLAZA (Julie Powers) currently stars
as uninspired intern April
Ludgate in the NBC comedy
series Parks and Recreation.
The series, from the creators
of The Office, is a half-hour
mockumentary that looks at
the world of local government.
Co-starring Amy Poehler
and Rashida Jones, the series
was recently picked up for a
third season.
Plaza was last seen starring opposite Adam
Sandler, Leslie Mann and Seth Rogen in Judd
Apatow’s Funny People. The film follows a seasoned
comedian who takes an up-and-coming performer
under his wing when he has a near-death experience.
– 35 –
Plaza played Daisy, the love interest for Rogen’s
character, Ira.
Plaza also recently starred in Dan Eckman’s
Mystery Team. The film revolves around a group of
high-school detectives committed to solving childsized mysteries in their small town. When a neighborhood girl asks them to find out who killed her parents,
the team must take on a violent cartel of drug lords
and strippers, the likes of which their small town of
Oakdale has never seen.
Her additional credits include the hit online series
The Jeannie Tate Show and ESPN’s original web
series Mayne Street, as well as a guest appearance on
30 Rock. Plaza has been performing improv and
sketch comedy at the Upright Citizens Brigade
Theatre since 2004. She also recently began
performing stand-up comedy and has appeared at the
Laugh Factory and the Improv.
Originally from Wilmington, Delaware, Plaza is a
graduate of New York University’s Tisch School of the
Arts. She currently resides in Los Angeles.
JOHNNY SIMMONS (Young Neil) is set to
become one of the most
sought-after young actors in
Hollywood. It did not take
long for Simmons, who hails
from Texas, to get his first
role, opposite Steve Carell, in
the Universal Pictures film
Evan Almighty. Most recently,
Simmons was seen opposite
Samuel L. Jackson, Eva
Mendes and Scarlett Johansson in The Spirit.
Simmons was also seen opposite Emma Roberts, Don
Cheadle and Lisa Kudrow in Hotel for Dogs, and in
the lead role of Chip, opposite Megan Fox and
Amanda Seyfried, in Academy Award® winner Diablo
Cody’s follow-up film, Jennifer’s Body.
Simmons can currently be seen opposite Susan
Sarandon and Pierce Brosnan in the character drama
The Greatest. The film tells the painful, yet redemptive story of a family dealing with the loss of a child.
The film premiered at Sundance in 2009 and was
singled out by The Hollywood Reporter as one of 10
films, out of the 118 films that screened, to watch.
MARK WEBBER (Stephen Stills) recently
starred opposite Kevin Spacey
in Shrink, which made its
debut at the Sundance Film
Festival in 2009. Webber was
previously at Sundance in
2008, for his starring role in
the film Good Dick, and in
2007, for The Good Life, in
which he starred with Zooey
Deschanel, and Weapons, in
which he starred and served as producer.
In addition to being an accomplished actor,
Webber wrote and directed his first feature, Explicit
Ills, which was executive produced by Jim Jarmusch
in 2008. The film won the Audience Award at the
South by Southwest Film Festival and boasts a cast
that includes Rosario Dawson, Paul Dano, Lou Taylor
Pucci and Tariq Trotter.
Webber’s other film credits include The Hottest
State, in which he starred alongside Michelle
Williams, Laura Linney and Catalina Sandino
Moreno. The film was directed by Ethan Hawke and
premiered at both the Venice Film Festival and the
Toronto International Film Festival in 2006. Webber
was also in Just Like the Son, which debuted at the
2006 Tribeca Film Festival; Broken Flowers, opposite
Jessica Lange, Bill Murray and Sharon Stone; Thomas
Vinterberg’s film Dear Wendy; Winter Solstice, with
Anthony LaPaglia; Chelsea Walls, directed by Ethan
Hawke; Snow Day, with Chevy Chase; Animal
Factory, directed by Steve Buscemi; the 20th Century
Fox teen drama Drive Me Crazy; DreamWorks’
– 36 –
Hollywood Ending, opposite Woody Allen; Fox
Searchlight’s Whiteboyz; Jesus’ Son, with Billy
Crudup; and The Laramie Project, based on the true
story in which he starred as the murderer of 21-yearold Matthew Shepard. He also recently completed
production on the drama Life Is Hot in Cracktown,
based on the book by Buddy Giovinazzo.
A seasoned stage performer, Webber played the
lead in Neil LaBute’s The Distance From Here, which
premiered at London’s Almeida Theatre and continued
its run in New York, where it won a Drama Desk
Award. He previously garnered rave reviews starring as
Bobby in both the sold-out London and New York
stage productions of David Mamet’s American Buffalo,
opposite William H. Macy and Philip Baker Hall.
MAE WHITMAN (Roxy Richter) currently stars
in the new television series
Parenthood,
which
is
produced by Ron Howard and
Brian Grazer. She was
recently seen playing Gabriel
Byrne’s daughter in multiple
episodes of In Treatment, and
Diane Lane’s daughter in
Nights in Rodanthe. She will
soon be seen starring opposite
John Cusack in the thriller The Factory.
When Whitman was three and a half, she inadvertently wandered into her mother’s commercial audition…and booked the job. A year later, she was cast in
her first feature film, When a Man Loves a Woman,
starring Meg Ryan and Andy Garcia, followed by the
comedy Bye Bye Love, with Randy Quaid, Paul Reiser
and Amy Brenneman. Next came the record-breaking
Independence Day, in which she appeared as the president’s daughter, and One Fine Day, as George
Clooney’s daughter. Robert Altman and Kenneth
Branagh introduced her to improvisation with The
Gingerbread Man, and she worked alongside Sandra
Bullock and Harry Connick, Jr., in Hope Floats. Next
came a trio of independent films: the award-winning
An American Rhapsody, with Scarlett Johansson;
Henry Jaglom’s Going Shopping; and the festival hit
Bondage, with Illeana Douglas and Michael
Angarano.
Whitman continued to show her versatility with
the suspense/horror picture Boogeyman 2, the
comedic Emmy-winning television series Arrested
Development and the film Spring Breakdown, with
Amy Poehler, Parker Posey and Amber Tamblyn.
Whitman traveled to New Orleans to shoot the
Emmy-winning six-part miniseries Thief, with
Andre Braugher. She has guest-starred on Grey’s
Anatomy, Justice, Desperate Housewives, Cold
Case, Presidio Med, Century City, Judging Amy,
Friends, Providence, Early Edition and PBS’s
acclaimed televised radio play Merry Christmas,
George Bailey. Some other television series credits
include the title role in State of Grace and recurring
roles in Chicago Hope and JAG. Whitman’s madefor-television movie appearances include Jesse
Stone: Death in Paradise, Naomi & Wynonna: Love
Can Build a Bridge, Degree of Guilt, Invisible
Child, After Jimmy and two for Hallmark, A
Season for Miracles and Love’s Abiding Joy.
Whitman has continued her love for cartoons by
voicing the character of Katara in Nickelodeon’s
wildly successful anime-style series Avatar: The
Last Airbender. For Disney, she plays both Rose
and her alter ego Huntsgirl on American Dragon:
Jake Long, and she co-starred with Haley Joel
Osment, as the voice of Shanti in The Jungle Book
2. You can also hear her as Little Suzy on Johnny
Bravo, Leslie on Teacher’s Pet and various characters on Fillmore, The Wild Thornberrys, Duckman:
Private Dick/Family Man, Superman and Max
Steel. Most recently, Whitman gave a voice to the
previously voiceless Tinker Bell in Disney’s latest
animated franchise, Tinker Bell.
– 37 –
ELLEN WONG (Knives Chau) was born and
raised in Ontario, Canada,
where she currently resides
with her family. The first film
she ever watched in a movie
theater was Titanic. Wong
was so inspired by Kate
Winslet’s performance that
she knew instantly she wanted
to be an actress.
Coming from a very traditional family, Wong was encouraged to complete her
education prior to following her dreams. She started
off in the industry by working behind the scenes on
local film and television productions, as well as
working at a television network where she read scripts
and watched auditions. Through her experience
behind the camera, Wong knew that it was her time to
pursue acting. Her first role was on the award-winning
television series This Is Wonderland, followed by an
appearance on The CW’s Runaway.
After auditioning many hopefuls across Canada
and the United States for the role of Knives Chau,
director Edgar Wright knew instantly he wanted to
work with Wong. She was perfect for the role because
she showcased herself as a unique actress with the
ability to take on intense fight choreography, wirework and weaponry. In fact, Wong was nicknamed
“The Ellen-nator” by the on-set trainer.
Wong also guest-starred on the television series
Unnatural History as Hoshi, a fearless Japanese
kendo fighter who is determined to bring out the
warrior within herself, while also defending her
family’s honor.
Wong trains in World Taekwondo Federation
(WTF) taekwondo, Xtreme Skills Development
(XSD), acrobatics and weapons. She enjoys the adrenaline and discipline that come with training, and she
plans to explore as many martial arts as possible. Her
favorite action stars are Michelle Yeoh, Zhang Ziyi,
Jackie Chan, Tony Jaa and Yanin Vismistananda (aka
Jeeja Yanin).
In addition to her love of fight training, Wong also
loves to travel and to learn about different cultures,
food and people. One of Wong’s most life-changing
experiences was her first big backpacking trip through
Asia, where she visited China, Japan, Thailand,
Cambodia and Vietnam.
Wong is always open to new experiences, and she
embraces the unending opportunities life has to offer!
ABOUT THE
FILMMAKERS
Although he is only in his mid-thirties, awardwinning filmmaker EDGAR WRIGHT’s (Directed
by/Produced by/Screenplay
by) list of credits reads like
that of a seasoned veteran.
With projects like the U.K.
series-turned-internationalcult-phenomenon Spaced, the
rom-zom-com Shaun of the
Dead and action-comedy opus
Hot Fuzz, he’s evolved from a
young film geek wanting to
prove himself to one of the most sought-after geeks
working in film today.
Raised in Somerset, England, Wright embarked on
his first epic at age 14 with a Super 8 short film titled
Rolf Harris Saves the World. He continued to make
many more shorts after he won a Video 8 camera in a
Comic Relief contest for his film I Want to Get Into the
Movies, an animated allegory about wheelchair access.
At age 20, he made A Fistful of Fingers, a nobudget feature film starring local teen actors and shot
on 16mm. The unlikely British Western was put on a
limited theatrical release and paved the way for his
– 38 –
foray into television with the Paramount Comedy
Channel. While there, Wright directed the fledgling
sketch show Mash and Peas for future Little Britain
stars Matt Lucas and David Walliams, and Asylum, for
which he joined forces with future collaborators Simon
Pegg and Jessica Hynes.
Still in his early 20s, Wright also directed several
comedy shows for the BBC including Merry-GoRound, Is It Bill Bailey?, Murder Most Horrid, Sir
Bernard’s Stately Homes and French and Saunders.
Wright gained notice in the U.K. when he directed
two seasons of Spaced for Channel 4. The series, which
starred Simon Pegg and Jessica Hynes, won two British
Comedy Awards, was nominated for two BAFTAs and
was nominated at the International Emmy Awards.
Over the years, the show built an international cult
following and, in 2008, Wright, along with Pegg and
Hynes, embarked on a four-city tour of the U.S. in
honor of the DVD release.
The series served as a launching pad for Shaun of
the Dead, Wright’s first feature film that he directed
and co-wrote with Pegg. The film gained attention
and critical praise internationally and was nominated
for two BAFTAs. Named by Time magazine as one of
the top-25 horror films of all time, it earned an
Empire Award for Best British Film, a British
Independent Film Award for Best Screenplay and a
Saturn Award for Best Horror Film. Original zombie
master George Romero went as far as to proclaim it as
his “favorite zombie film.”
In 2007, after spending two years writing and a
year in production, Wright returned with Hot Fuzz,
which he again directed and co-wrote with Pegg. The
film grossed £21 million at the U.K. box office,
topped the charts for three weeks and grossed $90
million worldwide. The film won a 2007 National
Movie Award and a 2008 Empire Award, both for
Best Comedy.
While his first two films made him a fan favorite,
thanks in part to the notoriously fun international press
tours for which he’s known, Wright was also sought
after by his peers. He was tapped by directors Quentin
Tarantino and Robert Rodriguez to contribute the faux
trailer Don’t for the epic Grindhouse, and, most
recently, he was brought onboard by Peter Jackson and
Steven Spielberg to co-write The Adventures of Tintin:
The Secret of the Unicorn with Joe Cornish, which is
currently in production with Jackson producing and
Spielberg directing.
Wright’s other upcoming projects include The
World’s End, the third film in his trilogy with Simon
Pegg, the screen adaptation of Ant-Man for Marvel
Studios, and Baby Driver for Working Title.
MICHAEL BACALL (Screenplay by) made his
stage debut as the wicked Crocodile in a third grade
production of Rudyard Kipling’s How the Elephant
Got His Trunk. A talent agent in the audience recommended he pursue a career in child acting. He went
on to perform in several films and guest-star on
iconic television shows such as The A-Team and The
Wonder Years.
Bacall continued acting in film and television
while attending UCLA, where he earned degrees in
English literature and communications studies.
Following graduation, Bacall wrote Manic, in which he
co-starred with Don Cheadle, Zooey Deschanel and
Joseph Gordon-Levitt. His upcoming feature film projects as a screenwriter include Psycho Funky Chimp, an
original screenplay produced by Todd Phillips, and 21
Jump Street, an action-comedy produced by Neal
Moritz and starring Jonah Hill.
Bacall last performed on-screen for Quentin
Tarantino in Grindhouse Presents: Quentin Tarantino’s
Death Proof and Inglourious Basterds.
BRYAN LEE O’MALLEY (Based on the Oni
Press Graphic Novels by) was born in London,
Ontario, Canada. He started writing stories and
drawing pictures from an early age, including dozens
– 39 –
of issues of his own superhero comics in middle school
and many unfinished fantasy epics in his teens.
O’Malley spent his early twenties in Toronto, where he
threw himself into the world of comics and storytelling
by doing minor work for Udon Studios, Marvel comics
and Oni Press. He also joined his friends’ band
Imperial Otter, and continued playing with them
throughout their various incarnations while living in
Toronto. In 2003, his first graphic novel, “Lost at Sea,”
was published by Oni Press, and earned O’Malley both
critical acclaim and a dedicated fanbase.
O’Malley’s years in Toronto were the inspiration
for his next graphic novel project, an ambitious sixvolume series about a twenty-something trying to date
the girl of his dreams, titled “Scott Pilgrim.” The first
volume, “Scott Pilgrim’s Precious Little Life,” debuted
in 2004 and the “Scott Pilgrim” series has been
synonymous with O’Malley’s career ever since. Noted
for it’s genre-bending storytelling, “Scott Pilgrim” has
garnered O’Malley numerous awards and accolades,
and the popular success of the series has brought
comics to non-comics readers for years.
O’Malley left Toronto in 2005 shortly after
marrying Eisner Award-winning cartoonist Hope
Larson. They currently live in Los Angeles with their
dog and three cats.
MARC PLATT (Produced by) stands among the
few producers who have successfully bridged the worlds of
theater, film and television. His projects have garnered a
combined seven Oscar®, 16 Tony, 12 Golden Globe and 19
Emmy nominations. Prior to founding Marc Platt
Productions, Platt served as president of production for
three movie studios (Universal Pictures, TriStar Pictures
and Orion Pictures), produced film, television and theater,
practiced as an entertainment attorney and handled business affairs at a major talent agency.
For the theater, Platt is the producer of Broadway’s
blockbuster hit musical Wicked, which The New York
Times recently called “the defining musical of the decade.”
The show has earned a Grammy Award, three Tony
Awards, six Drama Desk Awards (including
Outstanding Musical), four Outer Critics Circle Awards
(including Best Musical) and the 2004 Drama League
Award for Distinguished Production of a Musical.
Wicked, which continues to break box-office
records for the Gershwin Theatre, is a show Platt
created, based on the novel of the same name by
Gregory Maguire. The show premiered on Broadway
in October 2003. The original Wicked cast recording
CD broke the debut sales records for all Broadway
shows since Rent and has been certified platinum.
Eight companies are now playing worldwide, including
Broadway, London, Tokyo, Oberhausen, Sydney, San
Francisco and two North American tours.
Platt also produced the Broadway debut of Tony
Award-winning playwright Richard Greenberg’s Three
Days of Rain, starring Julia Roberts, Paul Rudd and
Bradley Cooper, and directed by two-time Tony Award
winner Joe Mantello. Additionally, Platt produced
Matthew Bourne’s ballet Edward Scissorhands, a
smash hit in London, Asia and the U.S., for which he
won his second Drama Desk Award, as well as the
2008 Broadway production of Pal Joey, starring
Stockard Channing. This Rodgers and Hart show
featured a new book by Richard Greenberg and was
directed by Joe Mantello.
Among the films Platt has produced are the smash
hits Legally Blonde and Legally Blonde 2: Red, White
& Blonde, starring Reese Witherspoon, which have
each grossed more than $150 million worldwide; the
film musical Nine, directed by Rob Marshall (Chicago)
and starring Daniel Day-Lewis, Judi Dench, Nicole
Kidman, Marion Cotillard, Penélope Cruz, Sophia
Loren, Kate Hudson and Fergie; and the critically
acclaimed Rachel Getting Married, which reunited
him with Oscar®-winning director Jonathan Demme.
This Sony Pictures Classics movie stars Anne
Hathaway and also includes Bill Irwin, Debra Winger,
Rosemarie DeWitt and Anna Deavere Smith. Platt also
– 40 –
produced the 2008 summer hit Wanted, based on the
popular comic book by Mark Millar. This Universal
Pictures action film stars Angelina Jolie, James
McAvoy and Morgan Freeman and was directed by
critically acclaimed Russian filmmaker Timur
Bekmambetov. In addition, Platt produced the Warner
Bros. comedy Cop Out, starring Bruce Willis and
Tracy Morgan; Universal Pictures’ teen crowd-pleaser
Honey; The Perfect Man, starring Hilary Duff; Josie
and the Pussycats, whose hit soundtrack was certified
gold; and The Seeker: The Dark Is Rising, for 20th
Century Fox and Walden Media.
Platt’s upcoming films include Love and Other
Impossible Pursuits, starring Natalie Portman, and
Charlie St. Cloud, starring Zac Efron.
Platt won the Golden Globe Award for Best
Miniseries or Motion Picture Made for Television for
producing an adaptation of Richard Russo’s Pulitzer
Prize-winning novel, “Empire Falls.” This Golden
Globe- and Emmy Award-winning HBO film stars
Paul Newman, Joanne Woodward, Ed Harris, Helen
Hunt and Philip Seymour Hoffman. Platt also executive produced ABC’s Once Upon a Mattress, starring
Carol Burnett and Tracey Ullman; ABC’s Emmy
Award-winning miniseries The Path to 9/11, starring
Harvey Keitel; and his newest series, MTV’s Taking
the Stage, a hit now in its second season, centered on
the lives of students who attend a Cincinnati
performing arts high school.
Prior to establishing this independent venture, Platt
served as president of production for Universal
Pictures from 1996 to 1998. Among the first films Platt
put into production were the hugely successful Patch
Adams, starring Robin Williams, written by Steve
Oedekerk and directed by Tom Shadyac; the critically
acclaimed One True Thing, starring Meryl Streep,
William Hurt and Renée Zellweger and directed by
Carl Franklin; and the equally acclaimed Out of Sight,
directed by Steven Soderbergh and starring George
Clooney and Jennifer Lopez. In addition, Platt devel-
oped and put into production October Sky, directed by
Joe Johnston and starring Laura Dern; Man on the
Moon, starring Jim Carrey and directed by Milos
Forman; The Mummy, written and directed by Stephen
Sommers; and American Pie, written by Adam Herz
and directed by Paul and Chris Weitz. Continuing his
long association with Oscar®-winning director
Jonathan Demme and actor Tom Hanks, Platt put into
place overall deals with both filmmakers at Universal.
Before joining Universal, Platt served as president
of TriStar Pictures, commencing in February 1992.
Among the films Platt developed and put into production there were the Oscar®-winning As Good As It
Gets, starring Jack Nicholson and Helen Hunt and
directed by James L. Brooks; My Best Friend’s
Wedding, starring Julia Roberts, Cameron Diaz and
Rupert Everett, written by Ron Bass and directed by
P.J. Hogan; Jerry Maguire, starring Tom Cruise and
Cuba Gooding, Jr., and written and directed by
Cameron Crowe; Sleepless in Seattle, starring Tom
Hanks and Meg Ryan under Nora Ephron’s direction;
Philadelphia, starring Tom Hanks and Denzel
Washington and directed by Jonathan Demme;
Legends of the Fall, starring Brad Pitt, Anthony
Hopkins and Julia Ormond and directed by Edward
Zwick; Jumanji, starring Robin Williams and Bonnie
Hunt and directed by Joe Johnston; and The Mirror
Has Two Faces, directed by Barbra Streisand and starring Streisand, Jeff Bridges, Pierce Brosnan and
Lauren Bacall.
In the fall of 1987, Platt joined Orion Pictures as
vice president of production. He was promoted to
senior vice president in the summer of 1989 and
became president of Orion Pictures in early 1990.
During his tenure as president, Orion produced and
released such films as Dances With Wolves, The
Silence of the Lambs and Mermaids, starring Cher and
Winona Ryder. Platt was also responsible for such
films as Little Man Tate, starring Jodie Foster; The
Addams Family (subsequently released by Paramount
– 41 –
Pictures); Blue Sky, starring Jessica Lange (for which
she won the Academy Award® and the Golden Globe);
and Bill & Ted’s Bogus Journey. While president of
Orion, Platt also put into place overall deals with such
talent as Jodie Foster, Alec Baldwin, Cher and
Michelle Pfeiffer.
Born in Baltimore, Maryland, in April 1957, Platt
earned his bachelor’s degree from the University of
Pennsylvania in 1979, where he was elected to Phi
Beta Kappa. He graduated from New York University
Law School in 1982, was a member of the New York
University Law Review and was awarded the
American Jurisprudence Award. During this time
period, Platt produced the off-Broadway musical
Frances and associate produced the Broadway production of Total Abandon.
After practicing entertainment law in New York
City for a year and a half, Platt joined International
Creative Management (ICM), where he worked exclusively with prominent agent Sam Cohn and negotiated
agreements on behalf of clients including Woody
Allen, Bob Fosse, Meryl Streep, Mike Nichols, Robert
Benton, Nora Ephron, Robin Williams and Cher. Prior
to joining Orion, Platt served as vice president of
production for RKO Pictures.
Platt is a member of the Academy of Motion
Picture Arts and Sciences, the Academy of Television
Arts & Sciences and The Broadway League. He also
serves on the board of trustees for the National
Constitution Center under its chairman, President
William J. Clinton.
Platt currently resides in Los Angeles with his
wife, Julie. They have five children: Mrs. Samantha
Platt-Auerbach (age 25), Jonah (age 23), Hannah (age 19),
Benjamin (age 16) and Henry (age 10).
ERIC GITTER (Produced by) has quickly
become a familiar face at every studio in town. He
recently completed production on the film Leaves of
Grass, directed by Tim Blake Nelson and starring
Edward Norton, Keri Russell, Susan Sarandon and
Richard Dreyfuss. In 2008, Gitter was named one of
Variety’s “10 Producers to Watch.”
Born in New Jersey, he made his way out to
Hollywood and produced the controversial and wellreceived film O, starring Josh Hartnett, Julia Stiles and
Mekhi Phifer. He went on to form Closed on Mondays
Entertainment, the production arm of leading independent comic/graphic novel publisher Oni Press.
Gitter has many projects in various stages of feature
development from preproduction to postproduction
including Universal’s The Leading Man, teaming once
again with producer Marc Platt, and Resurrection, with
producer Scott Stuber. Gitter is also developing The
Return of King Doug, with Ben Stiller; The Last Call,
with Barry Josephson; Julius, with director F. Gary
Gray; Billy Smoke, with producer Basil Iwanyk and
actor Matthew Fox; and Ciudad, with writers and directors Joe and Anthony Russo. Gitter will pair up with
Parkes/MacDonald Productions to produce The
Damned and Courtney Crumrin and the Night Things.
In 2005, NIRA PARK (Produced by) was selected
as one of Variety’s “10 Producers to Watch” and as one
of the Breakthrough Brits at the U.K. Film Council’s
inaugural ceremony in Hollywood. Having produced
both series of Simon Pegg and Edgar Wright’s awardwinning comedy series Spaced, Park went on to
produce their sleeper hit Shaun of the Dead and the
team’s follow-up movie, Hot Fuzz. Subsequent to this,
she produced Ringan Ledwidge’s psychological thriller
Gone, for Working Title Films. She also produced all
three series of the double BAFTA-winning sitcom
Black Books, and the 2009 Rose d’Or-nominated
dramedy Free Agents.
Park is in postproduction on the Simon Pegg- and
Nick Frost-penned Paul, directed by Greg Mottola for
Working Title Films. She continues to develop an
extensive slate of films and television series in her role
as the CEO of Big Talk Productions.
– 42 –
RONALDO VASCONCELLOS (Executive
Producer) recently served as a line producer on In
Bruges and a co-producer on Pirate Radio. He was a
line producer on Rogue Pictures’ hit action-comedy
Hot Fuzz, directed by Edgar Wright. He previously
collaborated with the Hot Fuzz team as a line producer
on their earlier hit, Shaun of the Dead, also a Rogue
Pictures release.
Vasconcellos has been working in U.K. film
production for more than two decades. Among the other
features he has line produced are Agnieszka Holland’s
Copying Beethoven, Andrew Niccol’s Lord of War,
Lynne Ramsay’s Morvern Callar, Shane Meadows’ A
Room for Romeo Brass and Guy Ritchie’s Lock, Stock
and Two Smoking Barrels. He has also been a producer
on telefilms and documentaries—among the latter,
Barrie Gavin’s Verdi—A Life in Two Parts, for the BBC
via his own Vasconcellos Productions.
Vasconcellos has enjoyed a long collaboration with
director Ken Russell, beginning as a production assistant on Gothic; becoming an associate producer on
Salome’s Last Dance; line producing The Lair of the
White Worm and The Rainbow; and producing Whore
and The Insatiable Mrs. Kirsch, among others.
J. MILES DALE (Executive Producer) recently
served as executive producer on Love Happens, starring Jennifer Aniston and Aaron Eckhart; Talk to Me,
starring Academy Award® nominee and Golden Globe
Award winner Don Cheadle and Chiwetel Ejiofor; and
Hollywoodland, a film noir starring Adrien Brody, Ben
Affleck and Diane Lane.
Dale’s credits as executive producer also include
Danny Leiner’s hit comedy Harold & Kumar Go to
White Castle and the family Christmas film Blizzard,
directed by LeVar Burton, starring Kevin Pollak,
Christopher Plummer and Brenda Blethyn and
featuring the voice of Whoopi Goldberg. Dale also
produced the hit feature Wolf Girl, starring Tim Curry,
Grace Jones and Lesley Ann Warren, as well as James
Toback’s feature Harvard Man, starring Sarah
Michelle Gellar and Eric Stoltz.
For television, Dale produced USA Network’s
highest-rated movie of 2000, the critically acclaimed
All-American Girl: The Mary Kay Letourneau Story,
starring Penelope Ann Miller and Mercedes Ruehl. He
produced and made his feature directorial debut with
The Skulls III, the sequel to the 1999 box-office hit The
Skulls. Having spent a number of years producing and
directing television pilots and series for most of the
major networks and syndication companies, Dale coexecutive produced the two-hour pilot and two seasons
of the popular action show F/X: The Series and
directed multiple episodes.
Dale helped adapt the RoboCop franchise for television and produced the two-hour pilot and 22 episodes
of RoboCop for worldwide syndication. He produced
three seasons of the popular reality series Top Cops for
CBS and three seasons of the now-cult classic television series Friday the 13th. These four series scored
numerous Gemini, Emmy and Peabody awards, among
other awards for episodes Dale produced and directed.
He also produced several dramatic pilots for ABC,
CBS and NBC, and he was the production supervisor
on Daniel Petrie’s The Execution of Raymond Graham,
a live-to-air two-hour Sunday-night movie for ABC
that examined both sides of the capital punishment
issue and starred Morgan Freeman. He is currently
writing his first feature, Stolen Fire, which he also
plans to direct.
BILL POPE’s, ASC (Director of Photography)
film credits include Darkman, Army of Darkness,
Clueless, The Matrix, Team America: World Police,
Spider-Man 2 and Spider-Man 3.
MARCUS ROWLAND (Production Designer)
previously worked with the Scott Pilgrim vs. the World
creative team as a production designer on the movies
Hot Fuzz and Shaun of the Dead and the television
– 43 –
series Spaced. He works as a production designer on an
average of 50 commercials a year. His clients have
included M&S, Halifax, Debenhams, Carlsberg, Mini,
Abbey National, Pizza Express, Lancôme and Virgin
Mobile. He has also worked extensively with Peter
Richardson and The Comic Strip.
JONATHAN AMOS (Editor) has worked on a
number of television comedies and dramas with a
variety of directors, including Justin Chadwick, James
Griffiths, Julian Holmes, Sam Miller, Catherine
Morshead and Tristram Shapeero.
His television credits include Free Agents, Ashes to
Ashes, Spooks, The Fixer and Peep Show. Amos has
also worked as additional editor on feature films such
as Edgar Wright’s Hot Fuzz and Don Mancini’s Seed of
Chucky. Scott Pilgrim vs. the World is Amos’ first
feature as (shared) head editor.
PAUL MACHLISS (Editor) originally collaborated with Edgar Wright on both seasons of the cult hit
television show Spaced. He went on to cut the BAFTAwinning comedies Black Books, The IT Crowd and
Peep Show, three of the U.K.’s most popular and
successful sitcoms of the last 10 years.
Machliss has worked with such high-profile directors, writers and performers from the British comedy
circuit as Dylan Moran, Peter Serafinowicz, Paul King,
Ricky Tomlinson, Simon Pegg and Paul Kaye. His
extensive documentary credits include coverage of
music festivals and live concert performances from the
likes of Led Zeppelin and the Pet Shop Boys.
Machliss is originally from Australia, but has lived
and worked in the U.K. for many years.
career in New York designing independent cult classics such as Requiem for a Dream, directed by Darren
Aronofsky, and Made, directed by Jon Favreau. Over
the years, she has had the pleasure of designing many
genres including family favorites like Elf, which
afforded her a spot in the prestigious costume exhibition 50 Designers/50 Costumes: Concept to
Character, curated by the Academy of Motion Picture
Arts and Sciences.
NIGEL GODRICH’s (Music by) current work
includes touring with Thom Yorke on the Atoms for
Peace U.S. tour. His past work includes all the
Radiohead albums from “OK Computer” to “In
Rainbows”; Thom Yorke’s “The Eraser”; Beck’s “The
Information,” “Sea Change” and “Mutations”; Air’s
“Pocket Symphony” and “Talkie Walkie”; Paul
McCartney’s “Chaos and Creation in the Backyard”;
Travis’ “The Invisible Band,” “The Man Who” and
“The Boy With No Name”; Pavement’s “Terror
Twilight”; R.E.M.’s “Up”; and Beta Band’s “Heroes
to Zeroes.”
LAURA JEAN SHANNON (Costume Designer)
was recently nominated for a Costume Designers Guild
Award for creating costumes for the wildly successful
Iron Man, directed by Jon Favreau.
Shannon’s work has a wide range. She began her
– 44 –
—scott pilgrim vs. the world—
NOTES
– 45 –
NOTES
– 46 –
NOTES
– 47 –
NOTES
– 48 –