THE HURT LOCKER

Production Notes For additional publicity materials and artwork, please visit:

www.maplepictures.com For more information, please contact: Angie Burns Maple Pictures 2 Bloor St. West, Suite 1001 Toronto, ON M4W 3E2 P: 416.415.7231 E: aburns@maplepictures.com

id1455440687 pdfMachine by Broadgun Software - a great PDF writer! - a great PDF creator! - http://www.pdfmachine.com http://www.broadgun.com

SYNOPSIS

The Hurt Locker, winner of the 2008 Venice Film Festival SIGNIS Grand Prize, is a riveting,

suspenseful portrait of the courage under fire of the military’s unrecognized heroes: the

technicians of a bomb squad who volunteer to challenge the odds and save lives in one of the

world’s most dangerous places. Three members of the Army’s elite Explosive Ordnance Disposal

(EOD) squad battle insurgents and each other as they search for and disarm a wave of roadside

bombs on the streets of Baghdad—in order to try and make the city a safer place for Iraqis and

Americans alike. Their mission is clear—protect and save—but it’s anything but easy, as the

margin of error when defusing a war-zone bomb is zero. This thrilling and heart-pounding look at

the effects of combat and danger on the human psyche is based on the first-hand observations of

journalist and screenwriter Mark Boal, who was embedded with a special bomb unit in Iraq.

These men spoke of explosions as putting you in “the hurt locker.”

Acclaimed director Kathryn Bigelow brings together groundbreaking realistic action and intimate

human drama in a landmark film starring Jeremy Renner (Dahmer, The Assassination of Jesse

James), Anthony Mackie (Half Nelson, We Are Marshall) and Brian Geraghty (We Are Marshall,

Jarhead), with cameo appearances by Ralph Fiennes (The Reader), David Morse (“John

Adams”), Evangeline Lilly (“Lost”) and Guy Pearce (Memento). The Hurt Locker is produced by

Kathryn Bigelow, Mark Boal, Greg Shapiro and Nicolas Chartier. The screenplay is written by

Mark Boal (In the Valley of Elah, story). Barry Ackroyd, BSC (United 93, The Wind That Shakes

the Barley) is director of photography. Production designer is Karl Juliusson (K19: The

Widowmaker, Breaking the Waves). Editors are Bob Murawski (Spider-Man 2, Spider-Man 3) and

Chris Innis. Costume designer is George Little (Jarhead, Crimson Tide). Music is by Academy

Award Nominee Marco Beltrami (Knowing) and Buck Sanders (3:10 to Yuma), and sound design

by Academy Award Nominee Paul N.J. Ottosson (Spider-Man 2, Spider-Man 3).

In the summer of 2004, Sergeant J.T. Sanborn (Anthony Mackie) and Specialist Owen Eldridge

(Brian Geraghty) of Bravo Company are at the volatile center of the war, part of a small

counterforce specifically trained to handle the homemade bombs, or Improvised Explosive

Devices (IEDs), that account for more than half of American hostile deaths and have killed

thousands of Iraqis. The job, a high-pressure, high-stakes assignment, which soldiers volunteer

for, requires a calm intelligence that leaves no room for mistakes, as they learn when they lose

their team leader on a routine mission.

When Staff Sergeant William James (Jeremy Renner) cheerfully takes over the team, Sanborn

and Eldridge are shocked by what seems like his reckless disregard for military protocol and

3

basic safety measures. And yet, in the fog of war, appearances are never reliable for long. Is

James really a swaggering cowboy who lives for peak experiences and the moments when the

margin of error is zero – or is he a consummate professional who has honed his esoteric craft to

high-wire precision? As the fiery chaos of Baghdad threatens to engulf them, the men struggle to

understand and contain their mercurial new leader long enough for them to make it home. They

have only 38 days left in their tour, but with each new mission comes another deadly encounter,

and as James blurs the line between bravery and bravado, it seems only a matter of time before

disaster strikes.

With a visual and emotional intensity that makes audiences feel like they have been transported

to Iraq’s dizzying, 24-hour turmoil, The Hurt Locker is both a gripping portrayal of real-life sacrifice

and heroism, and a layered, probing study of the soul-numbing rigors and potent allure of the

modern battlefield.

4

TRUE FICTION: THE SCRIPT

In 2004, journalist and screenwriter Mark Boal spent several weeks embedded with a U.S. Army

bomb squad operating in one of the most dangerous sections of Baghdad, following its

movements and getting inside the heads of the men whose skills rival those of surgeons—except

in their case one false move means they lose their own life rather than the life of a patient. His

first-hand observations of their days and nights disarming bombs became the inspiration for The

Hurt Locker and, eventually, a script that simultaneously strips down the classic American war

epic and broadens its concerns to encompass themes as universal as the price of heroism and

the limits of bravery in 21st century combat.

“It [the experience in Iraq] made a deep impression on me. When I got home, I thought ‘people

have no idea how these guys live and what they’re up against,’ and then later I started thinking

about it dramatically and doing a fictional story about men who voluntarily work with bombs,” says

Boal, who also created the story for the drama In the Valley of Elah, for which Tommy Lee Jones

received an Academy Award nomination. “On a character level, I was intrigued by the sort of

mental and psychological framework that a bomb technician develops on the job. What kind of

personality is comfortable with extreme risk and with living so close to death? And in a thematic

sense, the bomb squad seemed like a promising entry-point for a war movie.”

Coalition bomb squads have played a pivotal but mostly underreported part in the war, and

bringing their work to light was also part of Boal’s motivation for writing the script. The Army relies

on its bomb squads as the first –and last- line of defense against the IEDs that have become the

insurgency’s weapon of choice. The opening scene in the movie depicts the kind of situation that

US soldiers in Baghdad encountered on a daily basis—sometimes 10 or 20 times a day,

according to Boal. “Someone finds an IED, they call in the bomb squad and the bomb squad has

to deal with it while everyone else in the military pulls back.”

“What many people don’t know is that although Baghdad was horrifically dangerous in those

years, it could have been a lot worse,” he adds. “On any given day, for every bomb that exploded

in the city, there were probably ten or fifteen that didn’t detonate because of a few, secretive

bomb squads that were in theater.”

In order to capture the tension of Boal’s intricately detailed, nuts-and-bolts descriptions of bomb

disarmaments, it would clearly take a filmmaker with her own gift for innovative storytelling to

bring all the nuance on the page to life with visceral, poetic imagery and powerful performances.

5

When it came to evoking the hair-raising intensity of bomb squad work, there was no better

choice than Kathryn Bigelow, who began her career as an artist, working with the avant guard

conceptual art group Art & Language in New York, before becoming one of cinema’s leading

filmmakers and a director renowned for stylistic innovations, masterful suspense, and ground-

breaking action sequences. Bigelow’s cult following and reputation as one of the most inventive

filmmakers in world cinema began with her vampire noir Near Dark and was cemented by her

influential surfer-heist classic Point Break, the science-fiction thriller Strange Days, and the cold-

war submarine drama, K-19: The Widowmaker.

With The Hurt Locker, Bigelow marries Boal’s screenwriting style – closely-observed characters,

and realistic, intense set pieces - with her own unique vision; the result is incredibly suspenseful

and action-packed cinema that reinvents the war movie for the post-Vietnam era.

Bigelow had met Boal while she was developing a television series from an article he had written

in 2002. They stayed in touch, and Boal contacted the filmmaker when he returned from Iraq.

“Obviously, Kathryn is a brilliant director who has a terrific feel for how physical and psychological

danger effect character, and so I was pretty much fell out of my chair when she said she was

interested.”

“I’d been a fan of Mark’s reporting for some time,” Bigelow says. And Boal’s observations of the

bomb squad seemed like a perfect fit to a filmmaker known for films that put key characters in

extreme situations. “The fact that these men live in mortal danger every day make their lives

inherently tense, iconic and cinematic,” she adds, “and on a metaphorical level, they seemed to

suggest both the heroism and the futility of the war.”

Bigelow and Boal decided to produce an independent movie that would be character-driven,

suspenseful and “intensely experiential,” as Bigelow puts it, by placing audiences on the ground

with the bomb squad. “Everything about this movie—the directing, script, camera work, music,

editing—was conceived from the beginning with the single goal of creating that heightened sense

of realism that underscores the tension, without losing the layering of these complicated

characters.” says Bigelow.

With Bigelow’s guidance, Boal worked on the script on spec for the director, writing in what he

calls a “naturalistic style, a sort of true fiction,” that seeks to replicate the tension and

unpredictability of war itself, and mirror the daily grind of real life bomb squad soldiers who disarm

bombs week after week, year after year.

6

They wanted The Hurt Locker to avoid polemics and instead place the audience in the soldiers’

point of view in order to give them a vividly authentic sense of what it was like to walk the high-

wire act of a bomb technician. “The dialogue is meant to feel life-like and spontaneous, as if it

wasn’t written, while at the same time revealing intimate character detail and capturing the

excitement of their work,” he says. “The portrayals of bomb disposal and urban warfare are pretty

faithful to real life incidents that soldiers have faced in Iraq and Afghanistan, although the

characters themselves are composites.”

He worked on 17 drafts with Bigelow before finding a final version, and the pair continued to

tweak the script during filming so that the major set-pieces could be sculpted to fit the available

geography of the shooting locations. In the end, the result was The Hurt Locker, in which Boal

pays tribute to the spirit and dedication of the soldiers in Iraq with his layered story-telling and

sharply delineated, intensely human characters.

Once the script was completed, Bigelow called in favors from her years in the business. “We said

to people, the bad news is we have no money, no studio, and no means of outside support,“

Bigelow recalls. “But that was also the good news, because we had creative freedom and we

could work outside the box.”

Bigelow and Boal approached financier Nicolas Chartier, who raised funds for the production

through his independent company, Voltage Pictures. “It was the best script I’d read since Crash,”

says Chartier, who had helped sell that Academy Award winning film. “And I had wanted to work

with Kathryn for a really long time. She has an incredible eye for action and is one of the top

directors in the world.”

The Hurt Locker caused a sensation when it screened at the Venice Film Festival, receiving a

ten-minute standing ovation, and earning four awards, including the SIGNIS and Human Rights

Film award, as well as a nomination for the Golden Lion, the festival’s highest honor. It was

praised for being a film that “avoids dry ideology,” according to the La Navicella Venenzia, “in a

controlled but complex style.” “An uncompromising approach to the Iraq war and its

consequences seen through the experience of the bomb diffusion specialists for whom war is an

addiction rather than a cause,” stated the SIGNIS committee, “Kathryn Bigelow challenges the

audiences view of war in general and the current war in particular [by] demonstrating the struggle

between violence to the body and psychological alienation.”

Shortly after Venice, the film screened to widespread critical acclaim at the Toronto International

Film festival, winning The Screen Jury competition for the best reviewed film of the festival, based

7

on an international slate of newspaper and magazine critics. Shortly thereafter, Summit

Entertainment purchased the domestic distribution rights to The Hurt Locker, insuring that the film

would reach audiences in America.

8

IN THE KILL ZONE: CHARACTERS AND CAST

At the heart of The Hurt Locker are its characters – men who risk their lives daily in one of the

most dangerous places on earth – fighting the odds to stop bombs from detonating in a city

overrun with IEDs and insurgent snipers. Against this deadly backdrop, Sergeant James

becomes the heart of the story – a mercurial, swaggering, expert bomb technician with a

cheerfully anarchical approach to combat and, paradoxically, a masterfully controlled skill-set,

who shocks his new team members with his enthusiastic disregard for established procedures.

Despite his teammate’s vocal misgivings, James refuses to modify his mood or change his

behavior, representing the kind of all American hubris and spirited independence that can spark

great sacrifice – and also dangerously misfire.

“James really anchors the movie, he’s the galvanizing center of the team in that he instills both

fear and admiration, ” says Kathryn Bigelow. “a lot of what happens in terms of character

development is about how the other guys react to this almost elemental force that comes whirling

into their already on-edge lives.”

When it came to casting the film’s three leads, Bigelow wanted to find breakout, young actors in

order to heighten the film’s authenticity and boost its surprise factor—avoiding the calming

familiarity of an established movie star. “There’s a convention that the movie star doesn’t die until

the end of a film, and I think that in our case having that certainty would undermine the naturally

suspenseful, unpredictable quality of being in a war where death can happen anytime, to

anyone,” explains Bigelow. “With The Hurt Locker, I wanted it to be as tense and real as possible,

and that mean having actors who were relatively fresh faces so the audience wouldn’t know who

among the three main characters was going to live or die by virtue of their public profile.”

In considering who might play Staff Sergeant James, Bigelow conducted an exhaustive search of

up and coming young talent before finding an actor with the range to realize the role of the wild,

alluring, good ‘old boy with a surprisingly rich interior life. The search ended when Jeremy Renner

came to her attention via his turn playing the notorious title character in the film Dahmer. “Jeremy

gave an incredibly nuanced performance in that movie, eliciting compassion and revulsion in

almost equal measure,” says Bigelow. “I found it an arresting display of major talent, and from

that moment forward was determined to work with him.”

“It takes an incredibly skillful and intelligent actor to embody James’ bravado and allure in a

nuanced way that doesn’t seem artificial, and Jeremy is as skillful as an actor gets,” Bigelow

adds.

9

“The role calls for the ability to command authority while also seeming to be totally reckless,” she

continues, “that’s a very difficult but seductive combination which Jeremy can inhabit with

seemingly natural ease.”

James is the catalyst for much of the film’s conflict. “His solitary focus is on the bomb,” says Boal.

“That’s where he gets his engagement and his sense of being alive. He’s most at home when

he’s working on a bomb and most out of place when he’s just with other people. So in a sense,

the price of his heroism is his isolation, or loneliness. It’s a recipe for disaster to have these three

men working together in the same unit.”

Jeremy Renner, who grew up in rural California, identified with the character’s salt-of-the-earth

background, and he was also drawn to a universal quality in the script that transcends its

immediate setting. “What attracted me was that it’s not simply about the Iraq war,” he says. “It

could be about bull riders instead of EOD. It’s a backdrop for these three guys and how they

approach life.”

The actor sees some similarities between his hotshot character and himself. “James’ philosophies

are a big part of me. He’s a man of few words and a lot of action. I’m not a big talker. I’d much

rather get something done.”

Like many people, Renner was unaware of the existence of the Army’s EOD squads until he read

the script. “I could never do what they do. Just the thought of laying there next to a 155 [artillery

round] and my heart starts pounding. They’ve got to have a switch in their head that they can turn

on and off.”

Casting the role of Sergeant J.T. Sanborn—the proud, affable, level-headed intelligence specialist

who has the toughness to go toe-to-toe with James—posed it’s own special challenges, recalls

Bigelow. “Sanborn needed to be James’ equal in terms of being a strong presence, and he has to

adhere to protocol in a way that seems thoughtful rather than rote,” the director explains. “It was a

very difficult part to cast because we needed someone who projected real solidity and reliability

while at the same time having the capacity for great sensitivity, which as it turns out it is not that

common.”

Anthony Mackie caught Bigelow’s eye during his performances in She’s Gotta Have It, We Are

Marshall, Million Dollar Baby, and especially in his role as a menacing drug dealer in Half Nelson

opposite Ryan Gosling. “He completely controlled the screen in a relatively small part,” she

10

remembers. “You couldn’t take your eyes off him. Anthony has that cunning magnetism that has

true star quality.”

For his part, Mackie was attracted to the depth he saw in Sanborn’s character, which allowed him

to find many levels on which to play. “Sanborn hides behind his machismo,” says Mackie. “There

has to be a kind of superhero aspect to these soldiers. If they wake up every day in fear that

every minute is the last, they’ll drive themselves crazy. Down deep though, he’s very humble.”

In contrast to James’ consuming passion for his work, Sergeant J.T. Sanborn is the film’s

Everyman. “He spent seven years in intelligence before joining EOD,” says Boal. “He’s a smart,

capable, reliable, charismatic guy who has never encountered a whirlwind like James before.

There’s an alpha male component to his personality that runs up pretty hard against James,

who’s also an alpha male but of a much different stripe, so you have these two versions of

masculinity dueling each other as they fight in these really tricky circumstances in Baghdad.”

Providing the third side of the film’s inter-personal triangle is Specialist Owen Eldridge, the

youthful, junior member of the team who is in search of a mentor, and who tries but ultimately

fails to find solace in either Sanborn’s stoicism or in James’ indifference to danger. As the pain of

the war creeps up on the young soldier, darkening his innocence, “Eldridge has to be every

mother’s son,” explains Bigelow, “there’s a frankness, and earnestness to him that allows him to

wear his fear on his sleeve.”

Bigelow had been impressed with Brian Geraghty’s performances in Jarhead, We Are Marshall,

and Bobby before she cast him as Eldridge in this film. “Brian exhibited the fierce and the

vulnerable in perfect measure,” she says. “He’s natural, totally fluid.”

Of the three men, Eldridge is the youngest in both age and his experience in the military. “He’s

triangulated between Sanborn and James,” says Boal. “He’s looking to see which of these two

older, more experienced men holds the answer to how to survive. He’s willing to throw his lot in

with either, and he flip-flops back and forth, and eventually becomes seduced by James'

decisiveness – and then he comes to regret that choice.

By the end, he’s disenchanted with James for very good reason, but there is a point in the movie

when Eldridge feels that James’ way is the way to go and that he needs to just ‘man up’ and

follow James’ example.”

11

“I feel like he’s the emotional heart of the film,” Geraghty says. “I think Eldridge is over it and he’s

just trying to get by and get home. Sanborn and James are more lifers and army guys. Eldridge

reacts completely different under gunfire than they do.”

“I have three tremendously strong actors at the core of the piece,” adds Bigelow. “I felt they would

meld together into a seamless ensemble, as well as retain their strength individually.” Bigelow

has earned a reputation for casting newcomers ever since her first film, The Loveless, in which

she gave Willem Dafoe his first screen credit, and then later in Point Break, when she cast Keanu

Reeves as a rugged FBI agent at a time when the young actor was known for stoner comedy.

With the three leads in place, the next role to cast was Sergeant Matt Thompson, the square-

jawed, team leader beloved by his teammates, who opens the movie. “We needed an actor who

could immediately convey the ease of command and warmth with his men that good sergeants

possess,” explains Bigelow. The directors first choice was Guy Pearce: one of the most widely

admired actors of his generation for his performances in L.A. Confidential, Momento, and The

Proposition.

“Having Guy open the film sets up a sense of credible reality from the very start,” says Bigelow.

“You need that because the world is so exotic, but Guy just seems like he belongs in it.”

“I’ve wanted to work with Kathryn for years,” says Pearce. “And ultimately the material has to be

the reason why I go and do any film. This film is packed with action, but it’s about people and

emotions. It’s about people trying to connect with each other. The way in which the script was

written is really fascinating and Mark and Kathryn have both done a beautiful job of capturing and

realizing these characters.”

Director Bigelow’s reputation for making exhilarating, original films and eliciting strong

performances from her actors attracted some big Hollywood guns who were willing to take on

some of the film’s more intriguing cameo roles, including David Morse, Ralph Fiennes and

Evangeline Lilly.

Morse was electrified by the script’s picture of a world that is completely unpredictable and

dangerous. “It doesn’t care who you are,” he says. “Anybody can go at any time. There’s a

surreal quality to it. I think that says what the experience in Iraq is about.”

12

A REALIST EYE: THE PRODUCTION

Director Kathryn Bigelow is renowned for pushing the filmmaking experience to its limits in order

to create vivid, arresting images and powerfully emotional stories. For The Hurt Locker, she took

her cast and crew into the Jordanian desert to work under some of the most rigorous conditions

possible. With director of photography Barry Ackroyd, she devised an unconventional and

remarkably effective technique for filming that simulates the spontaneous feeling of a

documentary, while immersing viewers in the nonstop tension of its characters’ world.

“Barry is a master of evoking the ‘you are there’ immediacy that the story demanded,” says

Bigelow. “At the same time, he’s one tough Englishman who put up with ridiculously long hours in

the Middle East, in summer—not to mention sand storms and food poisoning.”

Since his early days in documentary filmmaking, Ackroyd has refined his in-the-moment style in

award-winning feature films including United 93. “Making a feature film is not a documentary and

it’s not docudrama,” he says. “The essence is not to think about it too much, but to try to be

surprised in the way that a documentary would surprise you. Yes, we can set things up and we

can redo it, but it’s still possible to be surprised when the performance happens.”

Bigelow made the choice to film The Hurt Locker with four handheld cameras simultaneously.

She has shot with multiple cameras on each of her films, using as many as 12 at a time. “When I

storyboard the entire film, every scene is broken down to its essential elements,” she says. “I look

at the boards shot by shot. It’s at this point that I realize what the technical needs of the shoot

are. I can determine the camera needs, as well as the blocking of each scene. Even before we’ve

chosen locations, I have basically ‘shot’ the entire film in my head.”

To meet the ambitious schedule of shooting The Hurt Locker’s many extended action sequences

in only 44 days, the crew worked six-day weeks and blitzed through complicated, highly

choreographed blocking that Bigelow would outline in her head well in advance. “I look at each

sequence like a three-dimensional puzzle that has to be translated to a two-dimensional surface,”

she says.

It all starts with the script, she says. “In this case, it was the logic of bomb disarmament. Early on,

I realized geography would be central to the audience’s understanding of what the bomb squad

does on a daily basis. Military protocol for a bomb disarm in the field is approximately a 300-

meter containment. That’s a big set.”

13

On The Hurt Locker, the filmmakers used multiple points of view and constantly moving cameras

to create the kind of immediacy that places the viewer in the center of the fog of war. “We were

always asking ourselves, “'What can you do with the camera that can make you feel like you’re a

participant?’” says Ackroyd. “How do you put yourself in the middle of the scene or put yourself

right on the edge of the scene and participate in what goes on? You can give the actors the

space to do long takes with continuous action. The art department gave us big sets for the

explosions. People were doing their stunts as big long takes and the camera was just

participating in it. You don’t ever stop; you just keep going with it. Kathryn gave us the space to

do that. She said go ahead and keep shooting, keep shooting, keep shooting, We would be

waiting for ‘cut’ sometimes and it wouldn’t be coming, so we knew the shot was working well.”

At times, the set seemed as chaotic as the film’s Baghdad setting. “With four units covering a

particular scene, an actor might not realize that a camera was suddenly 40 degrees off his left

shoulder,” says Bigelow. “The crew sometimes didn’t know where the actor was going to go. It

created this tremendous situation that heightened the realism and the authenticity.”

“We had cameras everywhere,” says Renner. “We called them Ninja cameras, just hiding all over

the place. We never knew where anything was. Barry was out there himself running around. It

was absolutely amazing seeing him run as fast as we did, carrying his camera down these dirty

alleys full of syringes and kids throwing rocks and he always had a big smile on his face. That

inspired me.”

Shooting in this way required flexibility on the part of the actors. “There was only so much you

could prepare for,” says Geraghty. “But if you’ve done your homework and you know your

character, all that stuff falls into place and you can just put your trust in it. There are so many

technical things outside of your performance. Lights, camera, heat, camels, goats—you have to

just keep going.”

Ackroyd also used the camerawork to punctuate the often frenzied activity with moments of quiet.

“Kathryn encouraged the cameras to be active,” he says. “I was always thinking about the

moments of stillness that you have as well and how those things go together. If those things

come together in the right way, motion is one dimension, and silence and lack of motion add

another element. If you get those things right, the whole film will have balance.”

In order to simulate the troubled landscape of war-torn Baghdad, Bigelow decided to film in

Jordan, which borders Iraq to the west. Some of the locations were just a few hours drive from

the combat areas. “It adds a certain x-factor that just permeates every aspect of the performance

14

and the production to be that close,” says Bigelow, “and it becomes part of your reference points

if you actually spend time off set within an Arabic culture.”

The production took place in and around the poorer neighborhoods in the city of Amman, which

had architecture similar to Baghdad’s. The climate and geography of the two countries are also

comparable, with the added bonus of the presence of ethnic Iraqis who could fill small parts and

work as background and bit players, further heightening the realism of the film.

“There are about one million Iraqi refugees living in Jordan who have fled the war, and as it turns

out among them is a pretty big pool of professional actors, and it was great to be able to cast

them – it was good for the movie, and it was good for the set,” explains Bigelow.

“I remember speaking to the two men who play Iraqi POWs in the desert sequence—and asking

them what they did in Iraq. They said, we were prisoners of the Americans. I thought maybe there

was a problem with the translation because they played prisoners in the movie. Then I realized

that no, they actually were prisoners in Iraq, and now they are playing prisoners. It was surreal,

and a little uncomfortable, but then they laughed and said they were happy to have the work—but

I thought ‘maybe we are taking this authenticity thing a little too far.”

Nevertheless, the desire for authenticity extended to the actor’s living arrangements as well. In

order to instill the military’s close camaraderie, Bigelow housed all the actors on set in a basic

communal tent with a dirt floor, rather than in air-conditioned trailers. “You could meet them for a

coffee on the weekends, and they’d still be in character,” recalls Boal. “They’d be in a café talking

military jargon to the waiter, “we need three cappuccinos by oh-six-hundred. Roger that.”

Before the shoot, Renner, Geraghty and the other principals spent time learning from Army EOD

teams at the National Training Center at Fort Irwin. Located near Barstow, California, the NTC is

the army’s premier training camp. Its Mojave Desert location makes it perfect for instructing

troops headed for the Middle East. “It’s just crazy,” says Geraghty. “When there’s a bomb, most

people want get as far away from it as possible. These guys are trained to do the opposite. Their

job is to go in as close as they can get.”

But what cast and filmmakers remember most about shooting in Jordan was the summer heat.

“There was something incredibly immediate about shooting in an environment that was

unforgivably hot and putting the actors in a very arduous situation on a day to day basis,” says

Bigelow. “Just sand, wind, sand, heat, sun and sand.”

15

Not surprisingly, the actors found the conditions challenging. “It would be 130, 135 degrees,” says

Mackie. “It was so hot you could feel your brain cooking in your head. Everything was magnified

by the level of body armor we had to wear.”

Renner adds: “Working in Jordan was extremely difficult in the sense that conditions were very

hard. But it made my job as an actor easier. That sweat is real sweat. Those tears are real tears

of pain, so I’m glad we weren’t on some soundstage. I feel like I got just a sliver of an idea of what

an EOD or anybody in the military might go through every day. It’s unbelievable how tortuous it

can be.

“It was the hardest thing I’ve had to do physically as an actor,” he continues. “I love to be

challenged and I was really, really challenged on this. I think we all had a nervous breakdown or

two or three—I kept telling my mom to FedEx my dignity back to me. But the most awful days I

had were the most memorable. I look back and I know it was the most spectacular experience

that I’ve had as a man, not even just as an actor.”

Boal’s on-the-ground experiences as a journalist in Iraq familiarized him with the specifics of EOD

operations, like the protective suit worn by the team leader when he needs to gets up close and

personal with a bomb. “There is a whole ritual to unpacking the suit,” says Boal. “Getting into the

suit signifies the moment when the war becomes a solitary encounter between one man and a

deadly device that’s been created with the express intention of causing harm. Once the team

leader is in it, there’s no going back. He faces that lonely walk down to the bomb and it’s just him

and this suit.”

Made of Kevlar fabric with ceramic plates, the suit is designed to protect the wearer from the

impact of a blast, but it cannot withstand the largest explosions. “We thought of it like a suit of

armor that a knight would wear in medieval times,” says Boal. “They have to put on, because it’s

the only thing they have, but it certainly doesn’t offer foolproof protection from the enemy.”

Renner spent significant time wearing the suit for his role. “My feelings about the bomb suit are

mixed,” he says. “You’re definitely alone once you get into it, but there’s something really

peaceful about that. I felt like that was a womb for James. That’s the only time when he really felt

safe, as a human being, not just as a soldier.”

Still, the actor says he had a love-hate relationship with the protective outfit. “It’s heavy, it’s hot,

it’s hard to move in, but it put me right in the moment. Just the idea of getting into it—I wanted to

16

dry heave whenever they said it was time to get suited up. I started sweating instantly and I knew

I wasn’t going to get any hotter than I was in the first 30 seconds.”

For Guy Pearce, who plays the doomed Sgt. Matt Thompson, the bomb unit’s first leader,

wearing the suit intensified his admiration for the members of the real EOD squad. “Our suit

weighed about 70 pounds and I think the ones they actually wear are about 140 pounds. The

heat was pretty intense, so you’re always on that edge of feeling faint. Maybe the adrenaline

actually enables them to get through it, because it’s a life or death situation. I don’t know how

they manage to be so dexterous in the fine work they have to do.”

Once the movie moved into post-production, renowned sound designer Paul Ottoson, who was

nominated for an Academy Award for his work on Spiderman 2, went to work layering in the

thousands of sounds that sound mixer Ray Beckett had recorded in Jordan. “From a sound

perspective, this movie was incredibly difficult and unusual, definitely the hardest I ever worked

on, because the score was very spare and ambient and there was so much detail in the sound.

Practically every frame of the movie has a sound attached to it—it’s wall to wall sound—to give

you that feeling that you are in a real war,” says Ottoson. “Every single sound of the movie is an

organic base to it. We didn’t use any synthetic sounds because they are kind of unnatural, thin,

slicing sounds. It is easier to get synthetic sounds to be loud. Staying organic the entire movie

was difficult but we did it, because in the end it helped tell the story best.”

In the end, Boal hopes audiences will come to appreciate the sacrifices made daily by American

troops. “If there is a message to the movie, it is that there’s a high price to heroism,” says Boal.

“We see men who do these extraordinary things on TV and read about them in the newspaper.

They get a medal pinned on their chests, but what we don’t often know is the interior life of these

men. It’s not to say that everybody who’s a hero gets lost to war, but it’s a high price to pay to be

a hero. James is a genuine hero, but his heroism doesn’t translate into personal happiness. He’s

so damaged that he can’t see any outcome for himself other than disarming bombs.”

17

US ARMY EXPLOSIVE ORDNANCE DISPOSAL: FAST FACTS

• In 2004, there were only about 150 trained Army EOD techs in Iraq.

• The job was so dangerous that EOD techs were five times more likely to die than all other

soldiers in the theater. That same year, the insurgency reportedly placed a $25,000

bounty on the heads of EOD techs.

• Bomb shrapnel travels at 2,700 feet per second. Overpressure, the deadly wave of

supercompressed gases that expands from the center of a blast, travels at 13,000 miles

an hour-at a force equal to 700 tons per square inch.

• Separations and relationship troubles are so common among EOD teams that soldiers

sometimes joke that EOD stands for ‘every one divorced.”

• Bomb-disposal teams were first created in World War II. Starting in 1942, when Germany

blitzed London with time-delayed bombs, specially trained U.S. soldiers joined British

officers who diagrammed the devices using pencil sketches before they attempted to

defuse them with common tools.

• Bomb techs are trained at Eglin Air Force Base in Florida. The Army looks for volunteers

who are confident, forthright, comfortable under extreme pressure and emotionally stable.

To get into the training program, a prospective tech first needs a high score on the

mechanical-aptitude portion of the armed forces exam. Once the school begins,

candidates are gradually winnowed out over six months of training, and only 40 percent

will graduate.

18

ABOUT THE CAST

JEREMY RENNER (Staff Sergeant William James) recently starred in 28 Weeks Later, the

highly anticipated sequel to 28 Days Later, for director Juan Carlos Fresnadillo and costarring

Rose Byrne and Robert Carlyle. He played the heroic soldier Doyle, who goes against military

orders to save a group of survivors. Renner also starred in The Assassination of Jesse James by

the Coward Robert Ford, directed by Andrew Dominik. In the film, Renner stars alongside Brad

Pitt and Casey Affleck in the role of a key member of James’ gang, Wood Hide. He also co-

starred opposite Minnie Driver in the independent film Take, scheduled for release later this year.

In North Country, Renner starred opposite Academy Award winner Charlize Theron in a

fictionalized account of the first major, successful sexual harassment case in the U.S. Renner is

at the center of the unfolding drama as miner Bobby Sharp. Renner also starred in the acclaimed

independent film 12 and Holding, which was nominated for the Independent Spirit Awards’ John

Cassavetes Award.

Other recent credits include the independent film Neo Ned, in which Renner starred opposite

Gabrielle Union. Neo Ned was screened at the 2005 Tribeca Film Festival and swept the feature

film category at the 11th Annual Palm Beach International Film Festival in 2006. Neo Ned was

awarded Best Feature Film and Best Director while Renner won the Best Actor prize. The film

also was awarded the Outstanding Achievement in Filmmaking/Best Feature Film Award at the

Newport Beach Film Festival in April 2006, in addition to the audience awards at the Slamdance,

Sarasota and Ashland film festivals.

Renner’s other credits include A Little Trip to Heaven, in which he starred opposite Julia Stiles;

The Heart is Deceitful Above All Things, directed by Asia Argento as adapted from the critically

acclaimed novel by J.T. Leroy; Lords of Dogtown, for director Catherine Hardwicke; and the

independent film Love of the Executioner, written and directed by Kyle Bergersen.

In 2003, Renner was seen in the action hit S.W.A.T. opposite Colin Farrell and Samuel L.

Jackson. But the role that put Renner on the map and earned the actor an Independent Spirit

Award nomination was his unforgettable portrayal of a real-life serial killer in the indie film

Dahmer.

With a background in theater, Renner keeps his acting chops in shape by performing in plays

throughout the Los Angeles area. Recent credits have included the critically acclaimed “Search

and Destroy,” which he not only starred in but also co-directed.

19

Between film and theater, Renner finds the time to write, record, and perform his own brand of

contemporary rock. He has written songs for Warner Chapel Publishing and Universal Publishing.

ANTHONY MACKIE (Sergeant J.T. Sanborn) who was classically trained at the Julliard School

of Drama, is a great and talented young actor who is able to capture a plethora of characters.

Mackie was discovered after receiving rave reviews while playing Tupac Shakur in the off

Broadway “Up Against the Wind”. Immediately following, Mackie made an auspicious film debut

as Eminem’s nemesis, Papa Doc, in Curtis Hanson’s 8 Mile. His performance caught the

attention of Spike Lee, who subsequently cast Mackie in the 2004 Toronto Film Festival Masters

Program selection Sucker Free City and She Hate Me. He also appeared in Clint Eastwood’s

Academy Award-winning Million Dollar Baby, opposite Hilary Swank, Morgan Freeman and

Eastwood, as well as in Jonathan Demme’s The Manchurian Candidate, alongside Denzel

Washington and Liev Schreiber, and the comedy The Man, starring Samuel L. Jackson.

Mackie earned IFP Spirit and Gotham Award nominations for his performance in Rodney Evans’

Brother to Brother, which won the 2004 Special Dramatic Jury Prize at the Sundance Film

Festival and Best First Feature at the Independent Spirit Awards. In 2005, he appeared opposite

David Strathairn, Timothy Hutton and Leelee Sobieski in Heavens Fall, based on the historic

Scottsboro Boys’ trials, an independent feature that premiered at the 2006 SXSW Film Festival in

Austin.

Mackie also had five features on movie screens in 2006. In addition to We Are Marshall, he

starred in Half Nelson, with Ryan Gosling, adapted from director Ryan Fleck’s Sundance-winning

short Gowanus Brooklyn; in Preston Whitmore’s Crossover; in Frank E. Flowers ensemble crime

drama Haven, opposite Orlando Bloom and Bill Paxton; and in the film adaptation of Richard

Price’s Freedomland, starring Samuel L. Jackson.

Intertwined throughout his film career, Mackie was seen in several theatrical performances both

on and off Broadway. Mackie made his Broadway debut as the stuttering nephew, Sylvester,

alongside Whoopi Goldberg in August Wilson’s “Ma Rainey’s Black Bottom”. Next he was seen

as the lead in Regina King’s modern retelling of Chekov’s “The Seagull,” starred in Stephen

Belber’s “McReele” for the Rounabout Theatre Company, and starred in the Pulitzer Prize

winning play “Soldier’s Play” as a character made famous by Denzel Washington 20 years prior.

Most recently, Mackie was part of the production of August Wilson’s 20th Century at the

esteemed Kennedy Center where they performed stage readings of all 10 plays in August

Wilson’s cycle. Mackie participated in 3 of the 10 shows and hopes to return to the stage soon.

20

Most recently, Mackie was seen in Dreamworks film Eagle Eye, starring Shia LaBeouf, Michelle

Monaghan, and Billy Bob Thornton and revised his role as Tupac Shakur in Notorious, a biopic of

slain rapper Notorious B.I.G directed by George Tillman Jr. and starring Jamal Woolard in the title

role. Mackie will tackle a couple more biopics with Bolden!, an account of the great New Orleans

cornet player Buddy Bolden and Jesse Owens, a feature based on the late-great Olympic star.

BRIAN GERAGHTY (Specialist Owen Eldridge) was last seen starring opposite Shia LeBeouf

in the Emilio Estevez-directed film Bobby, a story that revolves around the 1968 assassination of

Robert F. Kennedy. Co-stars included Anthony Hopkins, Sharon Stone, Demi Moore, Lindsay

Lohan and Elijah Wood, among many others. Geraghty also completed work on the independent

dramas Easier with Practice and Krews.

Recent film credits include roles in We Are Marshall, directed by McG and starring Matthew

McConaughey and Matthew Fox; The Guardian, directed by Andrew Davis and starring Kevin

Costner and Ashton Kutcher; and Jarhead, directed by Sam Mendes and starring Jake

Gyllenhaal, Jamie Foxx and Peter Sarsgaard. Additional film credits include Terry Zwigoff’s Art

School Confidential, with John Malkovich and Max Minghella; When a Stranger Calls, with

Camilla Belle; Love Lies Bleeding, with Christian Slater and Jenna Dewan; Conversations with

Other Women, with Aaron Eckhart and Helena Bonham Carter; The Optimist, with Leelee

Sobieski; Stateside, with Val Kilmer and Jonathan Tucker; and Cruel World, with Edward Furlong.

Prior to launching his film career, Geraghty had guest-starring roles on several top television

series including “The Sopranos,” “Law & Order” and “Ed.” Originally from New Jersey, Geraghty

graduated from The Neighborhood Playhouse School of Theatre in New York City. His stage

credits include roles in productions of “Berlin,” “Midnight Moonlight,” “Snipers” and “Romeo and

Juliet.”

Geraghty began his professional career in New York before re-locating to Los Angeles. An ardent

surfer, he has been a surf instructor and is an ongoing, active supporter of the Surfrider

Foundation, a nonprofit environmental organization working to preserve our oceans, waves and

beaches.

RALPH FIENNES (Contractor Team Leader) was born in Suffolk and grew up in England and

Ireland. He attended the Royal Academy of Dramatic Arts (RADA), after which he began his

professional acting career on stage. He performed at London’s Regents Park in both The Theater

Clwyd and the Oldman Coliseum. Two years after graduating from RADA, he joined Michael

Rudman’s company at the Royal National Theatre. He later joined the Royal Shakespeare

21

Company, where for two seasons he appeared in such plays as “Henry VI,” “King Lear” and

“Love’s Labour’s Lost.”

In 1991, Fiennes landed his first television appearance in a small but telling role in the award-

winning series “Prime Suspect.” Fiennes was then cast by David Puttnam as T.E. Lawrence in

the telefilm “A Dangerous Man: Lawrence After Arabia.”

Fiennes made his feature film debut starring opposite Juliette Binoche as Heathcliff in Peter

Kosminsky’s Emily Bronte’s Wuthering Heights. Steven Spielberg was so impressed by his

performance that he cast Fiennes as the sinister Nazi Aman Goeth in Schindler’s List, opposite

Liam Neeson. This performance earned Fiennes an Academy Award nomination and awards

from BAFTA, the New York Film Critics Circle, National Society of Film Critics, Boston Society of

Film Critics, Chicago Film Critics Association and London Critics Circle (Best Supporting Actor).

Other notable performances include Robert Redford’s acclaimed Quiz Show, Kathryn Bigelow’s

Strange Days, Gillian Armstrong’s Oscar and Lucinda and Martha Fiennes’ Onegin opposite Liv

Tyler, which Fiennes also executive produced, Neil Jordan’s The End of the Affair, The Good

Thief, The Avengers and Istvan Szabo’s Sunshine.

In 1994, Fiennes played the title role in “Hamlet” for a sold-out production by Jonathan Kent and

the Almeida Theatre Company at the Hackney Empire. The production moved to Broadway and

in 1995 Fiennes won a Tony Award for his performance.

Also in 1995, Fiennes starred in the Academy Award-winning epic The English Patient, directed

by Anthony Minghella, for which he was nominated for an Academy Award, a Golden Globe and

a BAFTA.

Fiennes then returned to the theatre in Jonathan Kent’s acclaimed production of “Ivanov” at the

Almeida Theatre in London. His performance won rave reviews, which took the play to Moscow.

During 2000, Fiennes appeared triumphantly on the London stage in the title roles of “Richard II”

and “Coriolanus” for the Almeida Theatre, and shone in a guest cameo role in Kenneth Branagh’s

West End production of “The Play I Wrote.”

In 2002, Fiennes starred in David Cronenberg’s film Spider, as a disturbed schizophrenic in

search of his past, and in Red Dragon, as a psychotic but vulnerable serial killer, opposite Emily

Watson and Edward Norton. He had a cameo role in Neil Jordan’s The Good Thief and also

starred opposite Jennifer Lopez in Maid in Manhattan.

22

In 2005, Fiennes appeared in The Chumscrubber, opposite Rita Wilson and Glenn Close, which

debuted at the Sundance Film Festival that year. Fiennes was also seen in Martha Fiennes’

Chromophobia with Kristen Scott Thomas and Penelope Cruz. Chromophobia premiered as the

closing-night film at the 2005 Cannes International Film Festival. Fiennes’ voice was also featured

in the animated feature Wallace and Gromit: Curse of the Were-Rabbit. That same year, Fiennes

starred in Fernando Meirelles’ The Constant Gardener, opposite Rachel Weisz and Danny

Huston. For this role, Fiennes received a London Critics Circle Award for Best British Actor and a

British Independent Film Award for Best Actor.

Fiennes also starred in the final Merchant-Ivory film, The White Countess, opposite Natasha

Richardson. And played the pivotal role of the dreaded Lord Voldemort in Harry Potter and the

Goblet of Fire.

In 2006, Fiennes reunited with director Jonathan Kent to star on stage in Brian Friel’s Tony Award

nominated play “Faith Healer,” which originally premiered at Dublin’s Gate Theatre. During its

limited run at the Gate Theatre, for the first time in the venue’s history tickets sold out before

previews began. Fiennes and the play received Tony nominations.

Fiennes reprised his role as Lord Voldemort in Harry Potter and the Order of the Phoenix, the fifth

installment of the blockbuster series. In February 2008, Fiennes starred in the critically acclaimed

HBO telefilm “Bernard and Doris,” opposite Susan Sarandon and directed by Bob Balaban. Next

for Fiennes was In Bruges, opposite Colin Farrell and Brendan Gleeson, which follows two hit

men forced to spend time in Bruges, Belgium after a job gone wrong. Fiennes was next seen in

The Duchess, opposite Keira Knightley.

Fiennes recently starred in a production of Yasmina Reza’s “God of Carnage” at London’s

Gielgud Theatre. “God of Carnage,” a new comedy that has opened to rave reviews, follows what

happens when two sets of parents meet up to deal with the unruly behavior of their children.

Fiennes was seen in Samuel Beckett’s one-man show, “First Love,” performing at New York’s

Lincoln Center Festival and presented by the Gate Theater of Dublin. Fiennes was then reunited

with director Jonathan Kent to star opposite theatre legend, Clare Higgins, as the title role in

“Oedipus Rex,” staged at the National Theatre in London.

Fiennes has been an avid supporter of UNICEF since 1999 and became an ambassador for the

organization in 2001. He currently resides in London.

23

GUY PEARCE (Sergeant Matt Thompson) recently portrayed Harry Houdini in Death Defying

Acts, appeared in Bedtime Stories with Adam Sandler and starred in Traitor with Don Cheadle.

Pearce was born October 5, 1967, in Cambridgeshire, England. His father, a member of the

Royal Air Force, moved the family to Australia when Pearce was three. Interested in acting from a

young age, he wrote to various members of the Australian television industry requesting a screen

test when he was 17. His efforts proved worthwhile as he was invited to audition for a new

daytime drama called “Neighbours.” Pearce won a significant part on the show, where he

remained from 1986 to 1990. After additional TV roles, Pearce made his big screen debut in the

1992 film Hunting. He acted in a few more small films and in “My Forgotten Man,” a 1993

television biopic of Errol Flynn, before coming to the attention of film audiences everywhere in the

1994 sleeper hit The Adventures of Priscilla, Queen of the Desert. As the flamboyant and often

infuriating Adam/Felicia, he gave a performance that was both over the top and immensely

satisfying.

The role led to his casting in Curtis Hanson's 1997 adaptation of James Ellroy's L.A. Confidential.

The film was an all-around success and drew raves for Pearce and his co-stars, which included

Kevin Spacey, Danny DeVito, Kim Basinger (who won a Best Supporting Actress Oscar for her

performance) and fellow Australian Russell Crowe.

After the success of L.A. Confidential, Pearce went on to make the indie A Slipping Down Life,

which premiered at Sundance in 1999. He followed that with Ravenous, Antonia Bird's tale of

chaos and cannibalism, which cast Pearce alongside David Arquette and Robert Carlyle. Though

his role in the following year's military drama Rules of Engagement would offer a commendable

performance by the rising star, it was another film the same year that cemented his status as one

of the most challenging and unpredictable performers of his generation. Cast as a vengeance

seeking, tattoo-covered widower whose inability to form new memories hinders his frantic search

for his wife's killer, Pearce's unforgettable performance in Christopher Nolan’s backwards-

structured thriller Memento drove what would ultimately become one of the biggest sleepers in

box office history.

Pearce was now officially hot property on the Hollywood scene, and producers wasted no time in

booking him for as many upcoming blockbusters as they could. A memorable performance as the

villain in The Count of Monte Cristo found Pearce traveling back in time and his subsequent role

in The Time Machine sent him so far into the future that mankind had reverted to prehistoric

ways. A return trip to the land Down Under found Pearce next appearing as a hapless bank

robber in the crime effort The Hard Word, and the actor would remain in Australia for the 2002

elliptical drama Till Human Voices Wake Us. In 2004, Pearce played a lion hunter in the family-

24

oriented epic Two Brothers. The following year, Pearce won acclaim for his portrayal of the pop

artist Andy Warhol in the film Factory Girl.

DAVID MORSE (Colonel Reed) is an Emmy nominated actor whose versatility and talent make

him one of the most well-respected performers working in film, television and theater. In 2008,

Morse played George Washington in the acclaimed HBO mini-series “John Adams,” opposite

Paul Giamatti and Laura Linney. He also recently Morse starred opposite Anne Hathaway in

Rodrigo Garcia's Passengers.

Morse played James “Sharky” Harkin in Conor McPherson's “The Seafarer,” which went to

Broadway after receiving its world premiere at London's National Theatre in 2006, receiving two

Olivier Award nominations, including Best New Play.

Earlier stage credits include the 1997 Off-Broadway production of Paula Vogel's Pulitzer Prize-

winning drama, “How I Learned to Drive.” His performance won him the Drama League Award,

the Lucille Lortel Award, the Drama Desk Award and the Obie Award. He made his Broadway

debut in the role of Father Barry in the theatre adaptation of “On the Waterfront” and won a

DramaLogue Award for his performance in the Los Angeles production of “Of Mice and Men.”

Other stage appearances include the Off-Broadway productions of “The Trading Post,” “Threads”

and “A Death in the Family.”

On the silver screen, Morse was most recently seen in the hit thriller Disturbia and Richard

Donner's action-thriller 16 Blocks, opposite Bruce Willis and Mos Def. The film marked Morse's

reunion with Donner, who directed him in his motion picture debut, Inside Moves, more than 25

years ago.

In 1991, Morse starred with Viggo Mortensen in Sean Penn's directorial debut, The Indian

Runner. Morse re-teamed with Penn a few years later to star opposite Jack Nicholson, Anjelica

Huston and Robin Wright Penn in The Crossing Guard. The performance earned Morse an

Independent Spirit Award nomination for Best Supporting Male.

Over the next several years, Morse appeared in multiple films that grossed over $100 million,

including The Rock, with Sean Connery and Nicolas Cage; Robert Zemeckis' Contact, opposite

Jodie Foster; and Frank Darabont's The Green Mile, with Tom Hanks and Michael Clarke

Duncan, based on the novel by Stephen King. The ensemble cast was nominated for a Screen

Actors Guild Award for Outstanding Performance by a Cast in a Theatrical Motion Picture.

25

Morse has starred in films by some of Hollywood's most acclaimed directors. Other credits

include Terry Gilliam's Twelve Monkeys, opposite Bruce Willis; F. Gary Gray's The Negotiator,

opposite Kevin Spacey and Samuel L. Jackson; Lars von Trier's Dancer in the Dark, with

Catherine Deneuve (which won the Palme d'Or at the 2000 Cannes Film Festival); and Taylor

Hackford's Proof of Life, opposite Meg Ryan and Russell Crowe.

Additional film credits include Desperate Hours, with Anthony Hopkins; Joseph Ruben's The

Good Son; Michael Apted's Extreme Measures, opposite Gene Hackman; The Long Kiss

Goodnight, with Geena Davis and Samuel L. Jackson; Crazy in Alabama, directed by Antonio

Banderas; Antoine Fuqua's Bait, opposite Jamie Foxx; Scott Hicks' Hearts in Atlantis, with

Anthony Hopkins and Hope Davis; Alex and Andrew Smith's The Slaughter Rule, opposite Ryan

Gosling; Kuo-fu Chen's Double Vision (which broke box office records in Taiwan and garnered

Morse a Golden Horse Award nomination, the Chinese equivalent of the Oscar, for Best

Supporting Actor); Down in the Valley, opposite Edward Norton and Evan Rachel Wood;

Dreamer, with Kurt Russell and Kris Kristofferson; and Deborah Kampmeier's Hounddog.

On television, Morse was recently nominated for an Emmy Award for Outstanding Guest Actor in

a Drama Series for his multi-episode story arc as Detective Tritter on the hit FOX show “House.”

But Morse is probably best known for his role as Dr. Jack "Boomer" Morrison on the Emmy-

winning ensemble drama “St. Elsewhere.” He also starred for two seasons on the CBS crime

drama “Hack.”

CHRISTIAN CAMARGO (Colonel John Cambridge) is a graduate of Juilliard who began his

career in New York and London theater. His Broadway debut was in David Hare's “Skylight” with

Michael Gambon. Other theater credits include the title role of the Public Theater's “Marlow,” the

world premiere of Steve Martin’s “The Underpants” and multiple plays for New York’s

Shakespeare in the Park. He was back on Broadway in 2008 for Arthur Miller's “All My Sons” with

Dianne Wiest, John Lithgow and Katie Holmes.

Camargo is also a founding member of Shakespeare’s Globe Theater in London, where he

performed in “Henry V” and “A Chaste Maid in Cheapside.” His film and television roles include

K19: The Widowmaker, National Treasure 2: Book of Secrets, Showtime's “Dexter” and the

upcoming film Happy Tears, with Demi Moore and Parker Posey.

In addition to his acting, Camargo founded the Fast Ashleys vintage car shop, where he restored

classic cars and produced reality-based docudramas including MTV's “Fast, Inc.,” History

Channel's “Full Throttle” and New Line's “Sunday Driver.”

26

EVANGELINE LILLY (Connie James) has earned a reputation as one of the most promising

young actresses in Hollywood through her combination of irresistible, playful charm and natural

talent.

Lilly was discovered by a Ford talent agent on the streets of Kelowna, British Columbia. Six

months later, she moved to Vancouver to attend the University of British Columbia and study

international relations. After appearing in a few commercials, she chose to give up acting and

focus on studying. A couple of years later, a friend urged her to give acting another shot and soon

thereafter she landed the non-speaking roles of a corpse in both an episode of Stephen King’s

“Kingdom Hospital” and the film The Long Weekend.

Lilly landed her first speaking role on a television series in January 2004 as Kate, a strong-

minded survivor in ABC’s hit show “Lost,” which has become a worldwide phenomenon. Created

by J.J. Abrams, Damon Lindelof and Jeffrey Lieber, “Lost” won the 2006 Golden Globe Award for

Best Television Drama Series as well as the Screen Actor’s Guild Award for Best Ensemble in a

Drama Series. Lilly was nominated for a Teen Choice Award for Choice Actress in a Drama

Series and also received a 2007 Golden Globe nomination for Best Actress in a Drama Series.

When not in Hawaii filming the show, Lilly is wholeheartedly devoted to philanthropy, traveling

and gaining a higher knowledge of various cultures around the world. During her college years,

Lilly founded and ran a world development and human rights committee. She later spent three

weeks living in a grass hut in the jungles of the Philippines and has been a volunteer for

children’s projects since the age of 14.

Fluent in French, Lilly loves reading, writing, painting, music, nature, staying active, learning, tea

and travel.

27

ABOUT THE FILMMAKERS

KATHRYN BIGELOW (Director and Producer) has distinguished herself as one of Hollywood’s

most innovative filmmakers.

In 1985, Bigelow directed and co-wrote the stirring cult classic Near Dark, produced by Steven-

Charles Jaffe. The film was critically lauded as a “poetic horror film.” As always, Bigelow’s visual

style garnered positive reactions from the press, who described it as “dreamy, passionate and

terrifying, a hallucinatory vision of the American nightworld that becomes both seductive and

devastating.” Following the release of the film, the Museum of Modern Art honored Bigelow with a

career retrospective.

In 1991, Bigelow directed the action thriller Point Break, which starred Keanu Reeves and Patrick

Swayze. Executive produced by James Cameron, Point Break explored the dangerous extremes

of a psychological struggle between two young men. The Chicago Tribune commended her

astonishing filmmaking sensibilities and described her as “a uniquely talented, uniquely powerful

filmmaker…Bigelow has tapped into something primal and strong. She is a sensualist in the most

sensual of mediums.”

When Strange Days was released in 1995, Roger Ebert called it a “technical tour de force.” In the

film, Bigelow explored the unsettling prospects of computer-generated virtual reality and the

impending new millennium. Strange Days received rave reviews and was highly praised for its

energy and unique, intense visuals. Janet Maslin, in The New York Times, stated that “the

furiously talented” Bigelow was “operating at full throttle… using material ablaze with eerie

promise… she turns Strange Days into a troubling but undeniably breathless joyride.” Starring

Ralph Fiennes, Angela Bassett and Juliette Lewis, Strange Days was co-written by James

Cameron and released by Twentieth Century Fox.

Bigelow also directed The Weight of Water, starring Sean Penn, Sarah Polley, Catherine

McCormack and Elizabeth Hurley. Based on the bestselling Anita Shreve novel, The Weight of

Water made its world premiere in a gala screening at the 25th annual Toronto International Film

Festival in 2000 and drew praise from critics and filmmakers alike. Variety described the film as

being “Bigelow’s richest, most ambitious and personal work to date; imbued with suspense,

benefiting from Bigelow’s penchant for creating a visual sense of menace and an atmosphere of

fear.”

28

On the release of K-19: The Widowmaker, The New York Times declared Bigelow “one of the

most gifted…directors working in movies today.” Starring Harrison Ford, Liam Neeson and Peter

Saarsgard, it was one of the more critically well-received films of the summer of 2002. The film

tells the true story of a heroic Soviet naval crew who risked their lives to prevent a near nuclear

disaster aboard their submarine. Critics praised Bigelow as “an expert technician who never steps

wrong” (Roger Ebert).

Bigelow went where no other filmmaker has gone before, making Soviet soldiers from the Cold

War era the heroes of a major American production. For Bigelow, there was a larger purpose to

telling this important forgotten chapter of history. “…At times I allow myself to hope that K-19 will

also have another role to play, that it can help to throw open the narrow ideological window

through which we, as Americans, have viewed a particular past and culture. In those moments

I’m thinking back over the many disquieting things I saw in Russia, and most of all the people I

met there: Our former enemies whose great courage we may now, finally, after all these years, be

prepared to acknowledge.”

MARK BOAL (Writer and Producer) is a journalist, screenwriter and producer. Born and raised

in New York City, he graduated with honors in philosophy from Oberlin College before beginning

a career as an investigative reporter and writer of long form non-fiction. An acclaimed series for

the Village Voice on the rise of surveillance in America led to a position at the alternative weekly

writing a weekly column, “The Monitor,” when he was 25. Boal subsequently covered politics,

technology, crime, youth culture and drug culture in stories for national publications including

Rolling Stone, Brill’s Content, Mother Jones, The New York Observer and Playboy. He is

currently a writer-at-large for Playboy.

In 2003, Boal’s article “Jailbait,” about an undercover drug agent, was adapted for FOX

television’s “The Inside.” In 2003, he wrote “Death and Dishonor,” the true story of a military

veteran who goes searching for his missing son, which later became the basis for Paul Haggis’

follow up to Crash, In the Valley of Elah. Boal collaborated with Haggis on the script and shares a

co-story credit on the film, deemed “a deeply reflective, highly powerful work” by the Hollywood

Reporter.

NICOLAS CHARTIER (Producer) is the owner and president of Voltage Pictures. He began his

entertainment career as a screenwriter, selling his first script when he was 18, before changing

careers and going into distribution. Prior to forming Voltage, Chartier was VP of sales and

acquisitions at Myriad Pictures where he was involved in the sales of a diverse range of films

including Van Wilder, People I Know with Al Pacino, The Good Girl with Jennifer Aniston and the

29

Olsen twins’ TV movies. As the President of Vortex Pictures, he sold such titles as My Big Fat

Greek Wedding, The Man from Elysian Fields and Sonny, Nicolas Cage's directorial debut. As

head of sales and acquisitions at Arclight Films, Chartier acquired the sales rights for Dean

Devlin's The Librarian, 2006 Academy Award winner Crash and The Matador, with Pierce

Brosnan. During his time at Arclight, Chartier also sold Lord of War with Nicolas Cage, The

Merchant of Venice with Al Pacino and Wolf Creek. He then partnered with Dean Devlin (writer

and producer of Independence Day, Godzilla and Stargate) to launch Voltage Pictures.

In the last three years, Chartier has distributed more than 60 movies internationally, including

Dean Devlin and Bryan Singer’s The Triangle; Flyboys; Spread, with Ashton Kutcher; Personal

Effects, starring Kutcher and Michelle Pfeiffer; and George A. Romero’s Diary of the Dead.

GREG SHAPIRO (Producer) is an independent producer whose recent credits include Harold

and Kumar Escape from Guantanamo Bay, written and directed by Jon Hurwitz and Hayden

Schlossberg, starring John Cho and Kal Penn.

Past credits include Rise, written and directed by Sebastian Gutierrez, starring Lucy Liu and

Michael Chiklis; Neverwas, written and directed by Joshua Michael Stern, starring Ian McKellen,

Aaron Eckhart and Brittany Murphy; Harold and Kumar Go to White Castle, directed by Danny

Leiner; The Rules of Attraction, based on the book by Bret Easton Ellis, adapted and directed by

Roger Avary, starring James Van Der Beek, Shannyn Sossamon and Jessica Biel; Investigating

Sex, directed by Alan Rudolph and starring Neve Campbell, Dermot Mulroney and Julie Delpy;

and Simpatico, based on the play by Sam Shepard, directed by Matthew Warchus and starring

Nick Nolte, Jeff Bridges and Sharon Stone.

Upcoming projects in development include The Rum Diary, based on the novel by Hunter S.

Thompson, adapted and to be directed by Bruce Robinson, to star Johnny Depp; and

Detachment, written by Carl Lund, to be directed by Tony Kaye and to star Peter Sarsgaard.

TONY MARK (Executive Producer) was born and raised in Manhattan. After Horace Mann High

School and Carnegie-Mellon University, Mark spent years in regional theatre, founding and

serving as the artistic director for Valley Theatre Company in Poughkeepsie, New York. He also

produced, directed, and acted with Abraxas Repertory at the Hyde Park Playhouse.

He won the Best Actor award at the New England Theatre Festival for his performance of the title

role in “Lenny” and the Best Actor award in the New York Regional Theatre festival for his work in

“Girl on the Via Flaminia.” During radio’s free-form days, he hosted the show “Grotto of the

Orange Pumpkin” at WEOK-FM. Mark also worked extensively as a photojournalist for a variety

30

of regional newspapers including United Press International and The New York Times. In New

York City, Mark produced television commercials for IBM, GE, Texaco, Coca Cola, Budweiser

and other major accounts.

Mark has produced films that range from art house to the commercial and has worked with a wide

variety of filmmakers, from edgy young directors like Spy Kids’ Robert Rodriguez to the legendary

director of West Side Story, Robert Wise. Films that Mark has been involved with as a producer

have been nominated for Academy Awards (The Fisher King) and Emmy Awards (HBO’s

“Witness Protection,” “And Starring Pancho Villa as Himself”) while being featured at film festivals

such as Sundance (Zelly and Me), Toronto (Billy Galvin), Telluride (Go Tell It on the Mountain)

and others. He has shot films all over the United States and in 14 countries including Mexico,

France, Italy, China, Greece and Jordan. Mark has written for MGM, ABC, NBC, Showtime and

USA Networks and has directed second units on numerous films for Sony, HBO, CBS and

Dimension. He also directed a documentary for the Guggenheim Foundation on the art

collections of Solomon and Peggy Guggenheim.

Mark co-founded and serves as president of the board of directors for Assistance Dogs of the

West, an organization that provides service dogs to the disabled.

BARRY ACKROYD (Director of Photography) was born in Manchester, U.K. and attended the

Portsmouth College of Art, where he majored in film. After relocating to London, he started his

career as a camera assistant on documentaries and commercials before his talent as a

cinematographer was recognized. He then went on to supervise cinematography on a broad

range of television movies and documentaries as well as independent films.

In 1996, he was nominated for a Camerimage Golden Frog for his work as director of

photography on Carla’s Song, a romantic drama set in Nicaragua. That same year, he directed a

critically acclaimed short, The Butterfly Man, for which he received several awards and

nominations including a BAFTA nomination for Best Short Film. He won several technical awards

for his work on the powerful Sweet Sixteen (2002).

Most recently, Ackroyd has shot feature films such as the Oscar-nominated United 93, the drama

Battle in Seattle and The Wind that Shakes the Barley, winner of the Palme d’Or at the 2006

Cannes Film Festival. His contribution to United 93 earned him a BAFTA nomination for Best

Cinematography. He had previously been nominated for a BAFTA television prize for Best

Photography and Lighting on “The Lost Prince” (2003). He most recently reteamed with United 93

director Paul Greengrass on the upcoming Matt Damon thriller Green Zone.

31

KARL JÚLÍUSSON (Production Designer) honed his skills in production design by working on a

number of Icelandic television shows and films. His contribution as production designer for the

Oscar-nominated Dancer in the Dark, directed by Lars von Trier and starring world-renowned

Icelandic singer-actress Bjork, earned him much critical acclaim and offers to work on high-profile

feature films. His next project was the thriller The Weight of Water, starring Catherine McCormack

and directed by Kathryn Bigelow.

Júlíusson continued to build a reputation for inventive production design through his work on

Bigelow’s action-drama K-19: The Widowmaker, starring Harrison Ford, and Dear Wendy,

starring Bill Pullman. He served as creative consultant for production design on Lars von Trier’s

Dogville and continued to work on Icelandic and Scandinavian titles such as A Little Trip to

Heaven, The Beautiful Country and The Kautokeino Rebellion.

His latest endeavor is the historical thriller Max Manus, a Norwegian film about one of the most

brilliant saboteurs of WWII and his battle to overcome his inner demons.

BOB MURAWSKI (Editor) was born in Detroit and grew up in the northeast area of Michigan. He

graduated from Michigan State University where he majored in telecommunications. After moving

to Los Angeles, he worked his way up in the editorial departments of smaller independent films.

In 1992, he edited Sam Raimi’s Army of Darkness, which became a cult smash, and later, Hong

Kong director John Woo's first American feature, Hard Target.

Following Hard Target, Murawski edited a number of feature films including Last Lives, Uncle

Sam, American Hero and the Night of the Scarecrow. He is best known for editing all three of

Raimi’s blockbuster Spiderman films.

In 1995, while working on the TV series "American Gothic," Murawski was introduced to his future

editing partner, Chris Innis, by executive producer Sam Raimi. They have since worked together

on Raimi's The Gift and Spider-Man III. The pair has also collaborated on various Grindhouse

Releasing and Box Office Spectaculars films.

Bob Murawski is a partner at Grindhouse Releasing with actor and director Sage Stallone, and

also runs his own distribution arm, Box Office Spectaculars. He has restored and digitally

remastered classic cult horror films Make Them Die Slowly (aka Cannibal Ferox) and Lucio

Fulci's horror masterpiece, E tu vivrai nel terrore (aka The Beyond) as well as Cannibal

Holocaust, I Drink Your Blood and director Juan Piquer Simón's cult horror film, Pieces.

32

CHRIS INNIS (Editor) graduated from University of California, Berkeley with a B.A. in film and

received her M.F.A. from the Cal Arts Film School. Raised in Southern California, she worked her

way up through Hollywood’s rank-and-file as a teenage movie theater cashier and popcorn

salesgirl at United Artists, Mann and Landmark theaters.

Innis was mentored by Academy Award-winning editor Pietro Scalia, with whom she served as an

assistant editor. She worked with Scalia on such films as JFK, The Quick and the Dead and G.I.

Jane. Some of her other editorial credits include Indecent Proposal, Dead Beat, I Shot a Man in

Vegas and White Man’s Burden.

Since 1997, Innis’ editing partner has been Bob Murawski. They were introduced by executive

producer Sam Raimi on the TV series “American Gothic,” where the two worked as editors. They

worked together on Raimi's The Gift and Spider-Man III. The pair also collaborated on various

Grindhouse Releasing and Box Office Spectaculars films, both companies that distribute cult films

for the VHS and DVD markets.

MARCO BELTRAMI (Composer) is an Academy Award-nominated protégé of acclaimed

composer Jerry Goldsmith who got his big break scoring Wes Craven’s Scream. In his approach

to scoring the film, Beltrami threw away conventional horror music clichés. Instead, he likened the

film to a Western and, calling upon the influences of his idol Ennio Morricone, went on to write

one of the most unexpected and imaginative scores in recent memory. Wes Craven would remark

in the liner notes of the soundtrack, “Without Marco’s genius, Scream would have been little more

than a whisper."

Beltrami scored blockbusters including Live Free or Die Hard, I Robot and Terminator 3 before

finding his way back to Western compositions when Tommy Lee Jones hired him to score The

Three Burials of Melquiades Estrada. The film won the Best Director and Screenplay awards at

the Cannes Film Festival. Walk the Line director Jim Mangold was a fan of Beltrami’s suspenseful

and beautiful Western score and hired him to write the music for 3:10 to Yuma. Michael

Rechtshaffen of The Hollywood Reporter wrote, "The impressive work extends behind the scenes

to... Marco Beltrami's percolating score, which subtly yet effectively signals Yuma's status as a

thinking person's Western."

Next, Beltrami re-teamed with Tommy Lee Jones on In the Electric Mist, directed by renowned

filmmaker Bertrand Tavernier. He also scored the psychological thriller Knowing, starring Nicolas

Cage.

33

VOLTAGE PICTURES Presents

In Association With

GROSVENOR PARK MEDIA, LP And

F.C.E.F.S.A.

A VOLTAGE PICTURE

FIRST LIGHT KINGSGATE FILMS

Production

A KATHRYN BIGELOW

Film

THE HURT LOCKER

JEREMY RENNER

ANTHONY MACKIE

BRIAN GERAGHTY

CHRISTIAN CAMARGO

SUHAIL AL-DABBACH CHRISTOPHER SAYEGH

EVANGELINE LILLY

With

RALPH FIENNES DAVID MORSE

And GUY PEARCE

Executive Producer

TONY MARK

Director of Photography BARRY ACKRODY, BSC

34

Production Designer KARL JULIUSSON

Editors

BOB MURAWSKI CHRIS INNIS

Costume Designer GEORGE LITTLE

Music By

MARCO BELTRAMI And BUCK SANDERS

Music Supervisor JOHN BISSELL

Sound Design

PAUL N.J. OTTOSSON

Casting By MARK BENNETT

Unit Production Manager

TONY MARK

First Assistant Director DAVID TICOTIN

Second Assistant Director

NICK HARVARD

35

CAST

Staff Sergeant William James JEREMY RENNER Sergeant JT Sanborn ANTHONY MACKIE Specialist Owen Eldridge BRIAN GERAGHTY Sergeant Matt Thompson GUY PEARCE Contractor Team Leader RALPH FIENNES Colonel Reed DAVID MORSE Colonel John Cambridge CHRISTIAN CAMARGO Black Suit Man SUHAIL AL-DABBACH Beckham CHRISTOPHER SAYEGH Professor Nabil NABIL KONI Contractor Charlie SAM SPRUELL Contractor Jimmy SAM REDFORD Contractor Feisal FEISAL SADDUN Contractor Chris BARRIE RICE Iraqi Police Captain At UN IMAD DAOUDI Mortuary Affairs Officer ERIN GANN Sergeant Carter JUSTIN CAMPBELL Sergeant Foster MALCOLM BARRETT Solider At Intersection KRISTOFFER WINTER Guard At Camp Liberty Market J.J. KANDEL Guard At Liberty Gate RYAN TRAMONT Iraqi Translator MICHAEL DESANTE DVD Merchant HASAN DARWISH Insurgent In The Stairwell WASFI AMOUR Nabil’s Wife NIBRAS QASSEM US Army Medic BEN THOMAS Insurgent Sniper NADER TARAWNEH Soldier At UN ANAS “TIPSY’ WELLMAN Butcher OMAR MARIO Solider At Airfield FLEMING CAMPBELL

Co-Producer DONALL McCUSKER Associate Producer JACK SCHUSTER Associate Producer JENN LEE Production Manager KARIMA LADJIMI

36

Production Supervisor J. GIBSON Art Director DAVID BRYAN Camera Operators SCOTT McDONALD DURAID MUNAJIM Special Effects Supervisor RICHARD STUTSMAN Set Costumer RICK DE SOUZA First Assistant Editor SEAN VALLA Assistant Production Coordinator ISSA SAWAQED Script Supervisor ASLAUG KONRADSDOTTIR Production Consultant FAUD KHALIL Production Secretary MAJD HIJJAWI Second Assistant Director YANAL BARAKAT Hi-Speed Camera Operator DORY AOUN (THRID EYE FX) First Assistant Camera STEWART WHELAN OLIVER DRISCOLL IMAD RECHICHE Second Assistant Camera THOMAS TAYLOR GLENN COULMAN MOUNA KHAALI Camera Assistants BEISAN ELIAS – TAMER NABER RUSSELL WEBER Key Grip MHER KESHISHIAN Best Boy Grip ELIE MERHI Grips CHADY CHEHADE PRINCE KHOURY – HUSNY BKHAA Video Assist Operator SAMI SEHWEIL Assistant Video Assists ALI SHAHEEN – AHMAD TAKARI ZEID NAWAFLEH Sound Mixer RAY BECKETT Boom Operator SIMON BYSSHE Assistant Art Director NADEER IBRAHIM Standby Assistant Art Director SANA’A JABER

37

Key Scenic Painter SAMIR ZAIDAN Assistant Scenic Painter RIME AL-JABER Storyboard Artist GARY THOMAS Special Effects Foremen BLAIR FOORD ERNST GSCHWIND Special Effects Technicians WOLF STEILING ERNST LANNINJER Special Effects Purchaser RAFIQ KAMHAWI Special Effects IED Consultant MOHAMMAD AL KURDI Special Effects Technician, Jordan HELMI ANDEEN Re-Recording Mixer PAUL N.J. OTTOSSON Dialogue/ADR Editors ROBERT TROY KIMBERLY HARRIS SFX Editors JAMIE HARDT BERNARD WEISER RICH FRANKLIN Foley Editors JOHN SANACORE ALEX ULLRICH First Assistant Sound Editor RYAN JUGGLER Assistant Editor KICHAEL KAZ ADR Voice Casting THE FINAL WORD Post-Production Supervisor JACK SCHUSTER Costume Supervisor MOIRA MEYER Assistant Costume Designers DANIEL LESTER HANADI On-Set Costumers FADI OMEISH PHAEDRA DAHDELEH Costume Buyer KARMA HIJJAWI Costume Ager MELISSA BINDER “Suit” Costumer BLUE SOLE Wardrobe Assistants ABED AL FATAH RAYAN MOHAMED MAHSEERI Set Decorator AMEEN AL-MASRI Set Dressers ZACHARIA ASAD Hair and Make-Up Designer DANIEL PARKER Assistant Hair and Make-Up Designers ELIZABETH RAPLEY YELKA GUTIERREZ Prosthetic Make-Up Artist ROBIN PRITCHARD

38

Gaffer MATTHEW MOFFATT Best Boy Electric OSAMA NAMROUQA Electricians BASHIR MOUAWAD ELIE BEAINO FIRAS DIHOUS BASSEL SLAYEBE MELIK KHAZZOUM ISSAM DOURY Generator Operator HAMMADA EL BAKA MIKE MALIK KARIM KHEIR NASSER ZOUBI FARIS ZIYOUD DAVID FENCL KHALIL HARB CHRIS SURBER Construction Coordinator MARWAN KHEIR Production Accountant DEBBIE CHESEBRO First Assistant Accountant MARK HOUSTON Second Assistant Accountant DEBBIE PETERSEN Stills Photographer JONATHAN OLLEY Jordan Publicity ISSA MATALKA Travel Coordinator IMAD DAOUDI Location Manager FAWAZ ZOUBI Assistant Location Manager HAITHAM KAYED Locations Assistant MOHAMED (GABA) NAWAFLEH ALI AL KHALAILEH Jordan Casting LARA ATALLA Extras Coordinator SETENAY ISHAK Editorial Assistant RUPERT LLOYD UK Film Runner DAVID MORRIS Assistant to Ms. Bigelow JOHN R. SCOTT Assistant to Mr. Boal OMAR HABIBB Assistant to Mr. Chartier ANDREA BALL Assistant to Mr. Mark LARA SAWALHA Production Assistants YAHYA SHAHEEN BADER ALAMI BASSEL GHANDOUR OMAR SWALHA RAYA QARAEIN MOHAMED JAWAD

39

THERESA GUNTLI Production Runners ZIAD FARAJ ZEID DARWAZEH Military Advisor CSM JAMES CLIFFORD, USA/EOD

(RETIRED) Technical Consultants BEN THOMAS BARRIE RICE MATTHEW THOMPSON Jordanian Military Liaison MARWAN ABADI Stunt Coordinator ROBERT YOUNG Stunt-Co-Coordinator BARRIE RICE Stunt Performers ANTONIO MARSH ISAAC HAMON Transportation Manager MAHDI NAWAFLEH Jordanian Production Services SANDBAG PRODUCTIONS

SECOND UNIT Director of Photography NEILS REEDTZ JOHANSEN First Assistant Camera RUSSELL KENNEDY Second Assistant Camera MAX GLICKMAN Coordinator ASHRAF ASA’AD Camera PA ABDEL SALAM HAJJ

CANADIAN UNIT

Canadian Production Services INSIGHT FILM STUDIOS Associate Producer KIRK SHAW Director of Photography TOM SIGEL, ASC Production Manager ROB LYCAR First Assistant Director LEE CLEARY Second Assistant Director MICHELLE FITZPATRICK Production Coordinators MICAH GARDENER JIM McKEOWN Casting LAURA BROOKE TOPLASS Script Supervisor ANA SEBAL Production Sound Mixer CRAIG STAUFFER Boom Operator JUNIPER WATTERS Third Assistant Director ASHLEY BELL Trainee Assistant Director DALE BREDESON Costume Designer VICKI MULHOLLAND Production Designer PAUL JOYAL Set Supervisor SARA RAKHSHANDEF Set Decorator IAN NOTHNAGEL

40

On-Set Dresser SPENCER WEST Key Make-Up Artist DANA MICHELLE HAMEL Key Hair Stylist JANICE RHODES Props Master DAVID INKSTER First Assistant A Camera DAVID LOURIE Second Assistant A Camera JEREMY SPOFFORD B Camera Operator DALE JAHRAUS First Assistant B Camera ROBIN SMITH Sesond Assistant B Camera ANDY CAPICK Loader ROBERT FINNIGAN Stills Photographer ED ARAQUEL Locations Manager JAMIE LAKE Scout CAMPBELL SWEENY Key Grip DAVE “BUCKET” WALKER Best Boy Grip KRIS GRUNEWALD Dolly Grip JULES QUESNEL Gaffer JIM SWANSON Best Boy Electric GEOFF DANE Business Affairs BREANNE HARTLEY SHANNON McA’NULTY Production Counsel DORAN CHANDLER (ROBERTS &

STAHL) Production Accountant KAREN AUSTIN Payroll Accountant LEAH TANAFRANCA Catering Operator NIN RAI (TRUFFLES) Craft Services/First Aid RODOLFO SCALI Transportation Coordinator DEAN FITZPATRICK Security Captain DARREN HOWARD Digital Intermediate & Visual Effects Provided by

COMPANY 3

CO3 Executive Producer STEFAN SONNENFELD Colorist STEPHEN NAKAMURA DI Producer ERIK ROGERS On-Line Editor/VFX Artist ALEX ROMANO DI Technologist MIKE CHIADO Head of Production BRUCE LOMET VP, Feature Sales JACKIE LEE DI Scanning Supervisor MICHAEL BOGGS DI Scanner IAN TURPEN Digital Dirt Removal MICHAEL CORONADO DI Assistants JAMES CODY BAKER JEREMIAH MOREY Titles By SCARLET LETTERS

41

VFX

CGI Supervisor MITCH GATES Visual Effects Producer TOM KENDALL Visual Effects Artists GAVIN MILJKOVICH DAVE NEUBERGER R. EDWARD BLACK DOUG SPILATRO CG Artists DAN LOPEZ KURT McKEEVER CHANGSOO EUN RODRIGO WASHINGTON I/O Data Management DAVID CAMARENA Insurance AON/ALBERT G. RUBEN INSURANCE

SERVICES, INC. Legal Services By EISNER & FRANK Product Placement By STONE MANAGEMENT Product Placement Coordinators ADAM STONE CAT STONE Payroll Company ENTERTAINMENT PARTNERS Collection Account Management By

FINTAGE CAM B.V.

Cameras & Lenses By ICE FILMS Film Stock By FUJI LONDON KODAK Grip/Electric Equipment TELEMAX/PLATFORM Lab Facilities By SOHO IMAGES Telecine By SOHO IMAGES Deluxe Labs Color Timer GILBERT CARRERAS Financing Provided By GROSVENOR PARK MEDIA, LP Completion Guaranty Provided By CINEFINANCE INSURANCE SERVICE,

LLC U.S. Military Equipment Provided By

CHARLES TAYLOR MOVIE ARMAMENTS GROUP

Prosthetics By ANIMATED EXTRAS Craft Services FADI SARAF Catering ASKADENIA CATERING SERVICES

NATIONAL FOOD COMPANY EPK By CHRIS BOAL EPK Assistant AMER AL DWEIK Security BARRIE RICE

MUSIC

Music Supervisor JOHN BISSELL

42

Music Coordinator SARAH FERGUSON Music Editor JULIE PEARCE Music By MARCO BELTRAMI BUCK SANDERS Music Preparation By JOANN KANE MUSIC SERVICES Guitar Performed By BUCK SANDERS Violin Performed By ENDRE GRANAT Cello Performed By ANDREW SHULMAN Bass Performed By MIKE VALERIO Erhu Performed By KAREN HAN Voice and Ethnic Instruments Performed By

YORGOS ADAMIS

Musicians Contracted By PETER ROTTER Music Mixed By JOHN KURLANDER

SONGS

“Fear (Is Big Business)” Written By JOURGENSEN/VICTOR/MINISTRY Performed By MINISTRY Courtesy of 13TH PLANET RECORDS, INC. “Palastenia” Written by JOURGENSEN/VICTOR/MINISTRY Performed By MINISTRY Courtesy of 13TH PLANET RECORDS, INC. “Your Smiling Face” Written By NORMAN CANDLER Performed By MINISTRY Courtesy of APM MUSIC “Khyber Pass” Written By JOURGENSEN/MINISTRY/RAVEN/VICTOR Performed By MINISTRY Courtesy of 13TH PLANET RECORDS, INC.

SPECIAL THANKS TO

43

HIS MAJESTY KING ABDULLAH II OF JORDAN HIS ROYAL HIGHNESS PRINCE ALI AL HUSSEIN

HIS ROYAL HIGHNESS PRINCE HUSSEIN NASSER MIRZA HER ROYAL HIGNESS PRINCESS RYM AL ALI

HIS EXCELLENCY AMBASSADOR TIMOOR GHAZI DAGHISTANI FEISAL SADOUN

ROYAL JORDANIAN FILM COMMISSION GEORGE DAVID

NADER TARAWNEH FADI SARAF

EF SOLUTIONS, LLC

NORTHROP GRUMMAN CORPORATION

PAUL C. CABELLON

MED-ENG JOHN EAREY

REMOTEC, INC.

MARK KAUCHAK - JIM DANIELS - ROYCE HOLLMAN

PRODUCERS ALSO WISH TO THANK

MIKE ADLER SPIKE HOOPER WILLIAM SEERY

CHRIS ANDREWS CAROLYN HUNT RUSSEL SHATTLES BONNIE BERNSTEIN ERIK HYMAN BRIAN SIBERELL JIMMY DE BRABANT STEVEN CHARLES

JAFFE MEAGHAN SILVERMAN

NADINE DE BARROS PERRY KIPPERMAN BRAD SMALL SIMON BERESFORD JOHN LOGAN LEE SOLOMON STEVEN BROOKMAN BOB LOVE CHRISTIAN HALSEY

SOLOMON SANDRA BENOIT JOEL LUBIN JASON SPIRE

SPENCER BAUMGARTEN

KOOL MARDER DONALD STARR

JOE COHEN CHUCK MARSHALL DONALD W. STEELE ANN DUVAL HARRIS MELANSKY MIMI STEINBAUER

CRAIG EMANUEL ALISSA MILLER KEN STOVITZ JAMIE FELDMAN FRED MILSTEIN ERIC SUDDLESON IRENE FLORES ROBERT OFFER ROEG SUTHERLAND DARIN FRANK DIERDRE OWENS DARREN TRATTNER

BETH HOLDEN GARLAND HYLDA QUEALLY DAVID WEBER MATTHEW GABIN EILEEN RAPKE SALLY WILLCOX DIANE GOLDEN ELIZABETH RIAL STEPHEN ZAGER

RICHARD GOLDSTEIN LEE ROSENBAUM

44

5.11 TACTICAL BRIGADE

QUARTERMASTERS MECHANIX

AMREL CYALUME MOTORTABS ASP, INCANHEUSER-

BUSCH. DOCKERS OAKLEY

APPLE ESS PEPSI ASP, INC. LEATHERMAN TOOL

GROUP PUMA

BENCHMADE UNDER ARMOUR

MOTION PICTURE ASSOCIATION OF AMERICA NO. 45024

DOLBY DIGITAL IN SELECTED THEATRES

FILMED ON LOCATION IN JORDAN AND IN VANCOUVER, BRITISH COLUMBIA

THIS IS A WORK OF FICTION. THE CHARACTERS AND INCIDENTS PORTRAYED AND THE NAMES HEREIN ARE FICTITIOUS, AND ANY

SIMILARITY TO OR IDENTIFICATION WITH THE NAME, CHARACTER OR HISTORY OF ANY ACTUAL PERSONS LIVING OR DEAD, PRODUCT OR

ENTITY IS ENTIRELY COINCIDENTAL AND UNINTENTIONAL.

THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES OF AMERICA AND OTHER COUNRTRIES. ANY

UNATHORIZED DUPLICATION, DISTRIBUTION AND/OR EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.

COPYRIGHT 2008 HURT LOCKER, LLC

ALL RIGHTS RESERVED

DISTRIBUTED BY SUMMIT DISTRIBUTION, LLC

GROSVENOR PARK

THE HURT LOCKER

Production Notes For additional publicity materials and artwork, please visit:

www.maplepictures.com For more information, please contact: Angie Burns Maple Pictures 2 Bloor St. West, Suite 1001 Toronto, ON M4W 3E2 P: 416.415.7231 E: aburns@maplepictures.com

id1455440687 pdfMachine by Broadgun Software - a great PDF writer! - a great PDF creator! - http://www.pdfmachine.com http://www.broadgun.com