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The Hunt- Production Information

UNIVERSAL PICTURES PRESENTS

A BLUMHOUSE PRODUCTION

IKE BARINHOLTZ

BETTY GILPIN

EMMA ROBERTS

AND HILARY SWANK

EXECUTIVE PRODUCERS

CRAIG ZOBEL

NICK CUSE

STEVEN R. MOLEN

COUPER SAMUELSON

JEANETTE VOLTURNO

PRODUCED BY

JASON BLUM

DAMON LINDELOF, p.g.a.

WRITTEN BY

NICK CUSE & DAMON LINDELOF

DIRECTED BY

CRAIG ZOBEL


PRODUCTION INFORMATION Twelve strangers wake up in a clearing. They don’t know where they are, or how

they got there. They don’t know they’ve been chosen… for a very specific purpose … The

Hunt.

In the shadow of a dark internet conspiracy theory, a group of elites gathers for the

very first time at a remote Manor House to hunt ordinary Americans for sport. But the

elites’ master plan is about to be derailed because one of The Hunted, Crystal (BETTY

GILPIN, GLOW), knows The Hunters’ game better than they do. She turns the tables on

the killers, picking them off, one by one, as she makes her way toward the mysterious

woman (two-time Oscar® winner HILARY SWANK) at the center of it all.

From JASON BLUM, the producer of Get Out and The Purge series, and DAMON

LINDELOF, p.g.a., creator of the HBO series Watchmen and co-creator of the TV

series Lost, comes a timely and provocative new satirical thriller that has ignited a national

conversation. The film is written by Lindelof and his fellow Watchmen collaborator NICK

CUSE and is directed by CRAIG ZOBEL (Z for Zachariah, The Leftovers). Blum produces

for his Blumhouse Productions alongside Lindelof. The film is executive produced by

Zobel, Cuse, STEVEN R. MOLEN, COUPER SAMUELSON and JEANETTE VOLTURNO.

The Hunt also stars, as members of the hunted, IKE BARINHOLTZ (Suicide

Squad), WAYNE DUVALL (Lincoln), ETHAN SUPLEE (The Wolf of Wall Street), EMMA

ROBERTS (FX’s American Horror Story), STURGILL SIMPSON (Queen & Slim), KATE

NOWLIN (Young Adult), SYLVIA GRACE CRIM (Happy Death Day 2U) and

CHRISTOPHER BERRY (Spider-Man: Homecoming). AMY MADIGAN (Gone Baby Gone)

and REED BIRNEY (Morning Glory) co-star as the owners of a convenience store where the

hunted seek help. The hunters are played by STEVE COULTER (Annabelle Comes Home),

GLENN HOWERTON (FX’s It’s Always Sunny in Philadelphia), DEAN WEST (LBJ),

STEVE MOKATE (HBO’s The Leftovers), VINCE PISANI (Jumanji: The Next Level) and

TERI WYBLE (Jack Reacher: Never Go Back).

The film’s director of photography is DARRAN TIERNAN (HBO’s Westworld), the

production designer is MATTHEW MUNN (Z for Zachariah) and the costume designer is

DAVID TABBERT (Megan Leavey). The Hunt is edited by JANE RIZZO (Z for Zachariah)

with music by NATHAN BARR (Amazon Studio’s Carnival Row). The stunt coordinators


are HANK AMOS (Captain Marvel) and HEIDI MONEYMAKER (stunt double, Avengers:

Endgame), the visual effects supervisor is JOHNNY GIBSON (X-Men: Days of Future

Past) and the special effects coordinator is MATTHEW “SMALLS” KUTCHER (Ma).

THE BACKSTORYConspiracy CultureParanoid Fantasies Go Mainstream

Like many in the country following the 2016 election, producer and writer Damon

Lindelof and executive producer and writer Nick Cuse became “politically obsessed.”

In the course of their many conversations about the polarized political climate and growing

mistrust of traditional media and government institutions, the two began discussing

several of the conspiracy theories that had begun percolating from the fringe corners of

the internet into the mainstream consciousness.

The sudden rise in popularity of these incredible stories about what was really

going on below the surface of daily life was particularly fascinating to them. “After the

election, it felt like there was just a massive shift in conversation,” Lindelof says. “And we

became very interested in conspiracy theories and the idea that these once-fringe ideas

had really gone mainstream. This area of what is conspiracy theory and what is fact

started to get very, very confusing since there was some great storytelling happening in

these conspiracies.”

As storytellers themselves, the screenwriting duo naturally dove into the rabbit hole

and looked around. “We didn’t set out to make some statement or write something

conspiratorial or political,” Cuse says. “The key was always just to make it really fun and

entertaining. We were just writing about what was interesting to us, and I think because of

the political climate and times we’re living in, a story that felt like it touched on the some of

the themes of the real world moments we’re all experiencing was just more interesting and

entertaining to us.”

The frightening and dark premise of The Hunt sprang from exploring the most

intriguing questions that arose during their journey through the murky corners of the

conspiracy world. “We wondered where these stories and theories were coming from,”

Lindelof says. “What kind of people believed in them? And why did they believe them?

The ultimate genesis of what ended up becoming this story was: ‘What if one of these


outside conspiracy theories was not true, but the people who are being accused of it

decided to make it true as vengeance for what the rumor did to their lives? It was pretty

much a runaway horse from there.’”

What If We’re the Bad Guys? Subverting the Expected Narrative

Given the extreme partisanship and increasingly unrestrained hostilities between

the left and right, Damon Lindelof and Nick Cuse didn’t think it was much of a leap to go

from existing conspiracy theories and urban legends to posit that a group of powerful and

wealthy people were hunting humans for sport. “Sometimes a good barometer when

you’re writing is if something is exciting to write, if it feels a little bit dangerous,” Cuse

says. “Writing this felt dangerous because it was talking about things that weren’t that far

off from the real world. And that’s where it kind of got a little scary to think about what

people’s reaction might be, but that also made it much more interesting to write.”

Lindelof and Cuse were further inspired by the new type of socially themed and

critically acclaimed films that producer Jason Blum and his Blumhouse Productions were

making. “Nick and I really love these Jason Blum movies, whether it’s The Purge or Get

Out,” Lindelof says. “After we saw Get Out, we were excited that Jason and Jordan Peele

had demonstrated that one of these genre movies can actually be about something. It can

still be super entertaining as a genre piece—in that case, a horror thriller with a bit of sci-fi

mixed in—but at the same time have these really intense thematics. So, we started talking

about how nobody cares what two white guys from Hollywood have to say about the state

of the world because there are far too many of us already making movies. But what do we

have to say in a Jason Blum movie? And then, right on the heels of that, we thought:

‘What if it’s about our confusion and our anger about the moment that we’re in, and how

maybe that anger is misplaced? Maybe we should be a little bit more angry at ourselves

than we are at the world writ large.’ We asked ourselves: ‘Why not make the bad guys rich

white elitists and start from there and see if anything grows from that?’ And the rest is

history.”

Although Lindelof and Cuse wrote the screenplay before they ever approached

producer Blum, the two envisioned The Hunt, from its inception, as a “Blumhouse movie.”

“What that meant to us,” Cuse says, “was writing a contained genre movie with an


interesting idea inside of it and great production value that would be something that we

would want to go see in the theater.”

Combining elements of action, suspense, drama, satire, and horror, The Hunt

would be a film that defied easy categorization. “This movie’s got horror, suspense,

comedy, but it’s mostly just action, action, action, action,” Cuse says. They needed a

director who could do all of that, and they found him in Craig Zobel.

A Director in Full Craig Zobel Joins The Hunt

Damon Lindelof first heard of director Craig Zobel when Zobel’s 2012 film

Compliance screened at the Sundance Film Festival, provoking outrage and controversy.

Based on true events, the psychological thriller is about a sinister prank phone call to a

fast food restaurant by a man pretending to be a police officer, accusing an innocent

employee (Dreama Walker) of theft. Slowly, the caller persuades the restaurant manager

(The Handmaid’s Tale’s Ann Dowd) and others to commit unspeakable acts against the

young woman, all under the presumption of her guilt. “When I heard about it, I thought,

‘Oooh, I need to see that movie!’” Lindelof says. “It was riveting from the first frame to the

last. I thought Ann Dowd gave an incredible performance in that film, and I ended up

casting her in The Leftovers. As soon as I cast her, we started talking about how great

Compliance was and she said, ‘You’ve got to meet Craig. I think you two would get along.’

But he kind of scared me. I thought anyone who can make a movie like Compliance is

going to be really dark and twisted. And then I met Craig, and he’s just the warmest,

funniest, sweetest guy in the world, but of course there is this kind of darkness at his

center, which I can completely relate to.”

Lindelof then hired Zobel to direct some episodes of The Leftovers, which he and

Cuse had co-written. “Those episodes turned out to be two of my favorite episodes, and

we just had an incredible collaboration,” Lindelof says. “The three of us formed this trio

where we communicated at a very high level with a lot of shorthand and trust.” So, when it

came time to find a director for The Hunt, Lindelof knew that Zobel had the skills,

sensibilities and vision to balance and blend the many different genres and tones the film

required. “I had incredible trust in Craig with this material because it sort of walks the line

between real thrills and action and weird humor,” Lindelof says. “I felt he was exactly the


guy who could do that, and that turned out to be right.”

From the beginning, Zobel had a very clear sense of how to balance the film’s

varied elements and themes. “My feeling was that if we were going to talk about the

divisiveness in the country right now with this movie, the tone of it had to be playful,” Craig

Zobel says. “It should be designed to make us all smile and remind us to not take

ourselves, collectively, so seriously for a second. Getting the tone right was essential. If

we made The Hunt like a straight horror genre film or as a straight political thriller, neither

was the best version of this movie. Capturing the satirical humor of was really important.”

From their first conversations, Zobel also knew he wanted to the film to be visually

dazzling. “It was important to me that this feel like a pop movie,” Zobel says. “And that

permeated everything from production design to costume design to shot construction. I

wanted the look to be modern, Americana, and pretty, because that served the playful,

satirical tone we wanted to achieve. If we had made this, say, a gritty horror film it would

have undermined and fought with the humor, and the humor was critical.” That extended

to the film’s often-graphic violence. “I wanted the violence to have more in common with

slapstick than with hardcore horror, and to really lean into the absurdity of it,” Zobel says.

“Think early Sam Raimi energy, like an Evil Dead 2 vibe: gross, but absurd and wacky and

funny.”

Zobel’s fellow filmmakers were impressed. “Craig had an amazing vision that I think

is reflected in the locations and the costumes and the way the film is shot,” Cuse says.

“There’s also a spontaneity to the film thanks to him. A film like this requires a lot of

energy, and it was really fun to see the energy created on set by Craig. Part of having a

lot of energy and movement is to sometimes see what new ideas emerge once you’re

actually there on the day—an idea for an extra line or a funny joke—and he’s all about

that. A lot of the funniest things in the movie were things that we came up with in the

moment.”

Creating an on-set culture that allows for that kind of spontaneity is key, Zobel

says. “This film was a blast to make,” Zobel says. “That’s important, I think. When you

look over and the person pushing the dolly is smiling and about to laugh at something,

where everyone is having fun, I think that translates into a spirit that becomes trapped

inside the movie.”


Master of Twisted Terror Jason Blum Says Yes

Exploring conspiracy theories and urban legends that mix horror, humor and social

commentary has become a specialty for the genre’s leading producer Jason Blum, the

powerhouse behind Blumhouse Productions. As the producer of the Oscar®-winning

blockbuster Get Out, and The Purge films and television series, Blum has been a prolific

force behind the emergence of a new genre: The social thriller, movies that seamlessly

weave social commentary with classic elements of horror and suspense while subverting

traditional expectations and movie tropes.

When Blum read the script of The Hunt, he hoped Lindelof, Zobel and Cuse would

make the film with his company. “I loved their script and immediately called Damon,” Blum

says. “The Hunt is an amazing story about first impressions and how wrong they are. The

Hunt is first and foremost a horror movie, but it’s also a satirical social thriller. Jordan

Peele’s Get Out is about race. The Purge is largely about gun control. The Hunt is about

first impressions. It’s dark satire and also a great, exciting, scary horror movie.”

Blum also liked how Lindelof and Cuse took an even-handed approach to the film’s

politics. “It doesn’t take sides, but it does point out that we’re all quick to judge,” Blum

says. “We wanted to explore why there are sides in the first place. And that, I think, is

what is so special about the movie.” Even better, with Craig Zobel at the helm, they had a

director who could achieve the optimal version of Lindelof and Cuse’s script. “Craig had a

very clear vision for this movie,” Blum says. “He has a very great combination of skills

and a very particular point of view, but he was also open to collaborating with all of us. He

did a terrific job of choosing the best ideas and putting them in the movie. He was the

perfect director for The Hunt.”

THE IDEAS AND INSPIRATIONSA New Dangerous GameDrawing Inspiration from a 1930s Classic

The 1932 RKO classic, The Most Dangerous Game, is the earliest and perhaps

best-known film in a dark sub-genre of suspense thrillers and horror: the hunting humans

movie. In The Most Dangerous Game, an insane Russian Count Zaroff (Leslie Banks)

arranges for shipwrecks off the coast of the remote island where he lives so that he can


hunt and kill the surviving passengers. The film’s success spawned the remakes A Game

of Death (1945) and Run for the Sun (1956) and created a genre of human-hunt-themed

films that served as an inspirational touchstone for films in every decade since then,

including The Naked Prey (1965), Deliverance (1972), Southern Comfort (1981), The

Game (1997), Battle Royale (2000) and The Hunger Games franchise (2012-2015),

among others.

“There’s a long tradition of movies where people are being hunted for sport and

The Most Dangerous Game is certainly the most wellknown,” Damon Lindelof says.

“There were many influences swirling around when we wrote The Hunt. There are

elements of Deliverance in this movie. Deliverance is a classic film, where it’s city boys in

over their heads when they run afoul of country boys. That idea of people being a fish out

of water, out of their element, largely came from Deliverance. I would say the best way to

describe The Hunt is its bones are an action-thriller-suspense movie with a very high-

violent body count, but at its core, it’s a satire. I don’t want to sound pretentious, but our

ambition was to do something in the vein of Dr. Strangelove or, in a more contemporary

way Get Out, where we were making some commentary on the political moment, but

hopefully one that is a Trojan horse inside something vastly entertaining.”

Lindelof and Nick Cuse knew the key to making the story work was explaining The

Hunters’ motivation. “We wanted to have a really good reason for whoever was hunting

people to be hunting people,” Cuse says. They eventually found that rationale in the 5 th

Amendment of the United States Constitution—by way of director Bruce Beresford’s 1999

suspense-thriller Double Jeopardy, which stars Ashley Judd as a woman convicted for her

husband’s murder who decides to hunt him down when she finds out he’s alive and had

framed her. She can’t be charged twice for the same crime, so she can, in fact, get away with

murder because she’s already been found guilty of it. “We thought: ‘What if you apply the

idea to a conspiracy theory, where you’ve already been accused of a conspiracy of

hunting people, and that accusation has ruined your life, so why not just do it because

people already believe that you’re doing it anyway?’” Cuse says.

Lindelof and Cuse, who have collaborated on the series Watchmen and The

Leftovers, say the driving force behind their subversive and often darkly humorous writing

essentially lies in their ongoing attempts to shock and amuse each other. “When Damon

and I talk about any story idea, the thing we try to do to each other is get each other to


laugh,” Cuse says. “When we have an idea and we’re both laughing about it, we know

we’re on to something.”

Trust No OneThe Devolution of Truth

The accusations of “fake news” hurled back and forth in the left-right paradigm has

made it increasingly difficult to know who to trust or how to distinguish what is real and

what is not, and for many people, conspiracy theories have filled the void. “When we were

talking about conspiracy theories and how there are so many crazy conspiracy theories

the people believe about the elites or the opposing side, we knew we were on to

something,” Damon Lindelof says.

The public’s lack of trust in mainstream media has increased in recent years as

dueling news narratives fan the flames of division and suspicion. At a time where there’s

so much mistrust and animosity between different groups, The Hunt shows what it might

look like if our worst and most paranoid fears about the other group were true—and what

we might do about it if they were. In this digital age, an assumption, accusation, email, text

or message can be the spark that ignites a controversy, destroying reputations and

wrecking lives.

Lindelof and Cuse wanted to show how the assumptions created in the divisive

echo chambers of social media and the dark web have given rise to conspiracy theories

that have transformed a country that once prided itself on rugged individualism and

melting-pot culture into a nation of caricatures. “The movie tries not to get too caught up in

what the beliefs of the characters are because we’re more interested in this idea of

identity politics and what we assume about each other, and how those assumptions are

very often very wrong,” Lindelof says. By examining the tensions and anger between left

and right in an exaggerated way, The Hunt reveals how superficial and paranoid those

divisions are.

What if Everyone Is Marion Crane? The Hunt’s Hitchcockian Influence

In creating their narrative, Nick Cuse and Damon Lindelof were determined to plant

a minefield of surprises by tossing aside traditional movie tropes and defying audience


expectations at every turn. “The audience has a history with movies and television and

know what to expect when someone walks into a haunted house,” Cuse says. “So, it’s

funny if the character opens the door, looks inside, and then runs screaming the other

way, because that’s usually not what happens. From watching a lot of movies you get a

sense of what to expect, so the heart of the writing process of The Hunt was to defy

audience expectations. You have to know the trope and love the trope in order to subvert

the trope.”

Lindelof and Cuse all but abandon conventional story structure by introducing a

series of characters in the opening minutes of the film and then killing them in short order.

The parade of presumptive heroes and lead characters who quickly come to grisly ends

violates a fundamental rule of screenwriting: A film’s protagonist and principal characters

are introduced and established in the opening minutes of a film and should remain

onscreen until the third or final act of the film.

“People very rarely kill off the hero early on because the audience forms an

emotional connection with the hero, and if you kill the hero, it’s going to be hard for them

to care about anyone or anything,” Lindelof says. “But we thought if you do it in very quick

succession, the audience doesn’t have an opportunity to form a bond and will be even

more intrigued as to what will happen next.”

The writers were emboldened in their ambition by Alfred Hitchcock’s 1960 classic

Psycho. A trailblazing masterpiece of audience manipulation, Psycho introduces the film’s

heroine Marion Crane (played by Janet Leigh, the film’s biggest star by far) in the opening

scenes and follows her through the first third of the movie, only to have her murdered

before the end of the first act. “When Janet Leigh gets murdered in the shower scene

suddenly Norman Bates, this secondary character, becomes the lead of the movie,”

Lindelof says. “We wondered: ‘What if we just did Psycho over and over and over again in

the first 15 or 20 minutes of the film? What if every character we introduce, who we think

is going to be the lead of the movie, gets killed off?’”

But that wasn’t quite enough, either. Figuring that some genre fans would likely

catch on to what they were doing, the filmmakers doubled-down on the deception by

keeping characters on screen for longer and longer periods of time. “Maybe you’re going

to guess it the first time, but then it happens again, and then it happens again and again,”

Cuse says. “At a certain point, the audience will just give in to the fact that this story is


going to take you somewhere, and you really don’t know where that is.”

It isn’t until Crystal, played by Betty Gilpin, walks into a roadside gas station—

nearly 25 minutes into the film—that The Hunt’s hero finally shows up. “By that point, we

hope, the audience is convinced that we’re willing to kill Crystal too, if that’s what it comes

to,” Lindelof says.

THE CHARACTERSFemmes FatalesHilary Swank and Betty Gilpin Join The Hunt

Unlike almost all genre films, the two principal roles of The Hunt, villain and hero,

are both women, and the filmmakers needed to find powerful women who could each

command the screen on her own and ultimately face off in a battle of brains and brawn. “I

love that it’s two strong female characters who anchor the movie,” Jason Blum says. “The

Hunt is really a showdown between Hilary Swank’s Athena on one side, and Betty Gilpin’s

Crystal on the other. The movie ends with this huge showdown between these two

women, which is pretty extraordinary.” To say they end up beating the hell out of each

other in epic hand-to-hand combat feels like an understatement. The climactic battle is like

nothing anyone has ever seen on screen before. “Both Hilary and Betty have, from their

prior movie and television experience, done a lot of fighting, so they had a lot of

experience with that,” Blum says. “They’re also very strong and nimble and can move

quickly. I think Hilary and Betty did almost the entire fight themselves. It was great to work

with wonderful actresses who also had the experience of onscreen fighting already. It

makes the fight seem even more real.”

The final showdown between Crystal and Athena is yet another way Lindelof and

Cuse tweaked genre convention. Instead of the usual terrified lone distressed damsel-in-

distress facing off against the villain in the big finale, The Hunt presents two strong,

intelligent and determined women in a primal fight to the death that is destined to become

an iconographic milestone for action heroines to come.

“I’m excited for people to see this movie mostly because we’ve got these really

strong female characters,” says Heidi Moneymaker, the film’s fight choreographer and co-

stunt coordinator. “They’re polar opposites. Athena is polished, wears expensive suits and

is what we would consider intelligent and a badass, physically. Crystal is crafty, clever,


very well trained and very well matched against Athena. To have those two personalities

and forces come together in the end and have this massive fight, where their styles are so

different, but their energy and power is matched, is very exciting.”

CrystalBetty Gilpin Audiences get just a glimpse of Crystal in the first moments of The Hunt, but it’s not

until she emerges at a gas station about 25 minutes later that we discover that she is a

formidable force and not to be underestimated. Played by Betty Gilpin, she’s a Southern

woman with hidden depths and surprising skills. “When I first read the script I thought,

‘Betty Gilpin should play Crystal,’” Craig Zobel says. “I had worked with her on American

Gods, and I thought she’d be great.”

He was right. “Betty Gilpin plays what you think is kind of an unassuming, ordinary

American who maybe isn’t that smart,” Jason Blum says. “She turns out to be the

smartest person in the movie, and just an extraordinary fighter, and someone who

manages to get out of basically any impossible situation. It’s incredible to watch that

happen, and to see her surprise Hilary Swank as Athena, who vastly underestimates her.”

Gilpin immediately recognized that Crystal was the type of complex and powerful

archetype usually reserved for men: an enigmatic, strategic, and lethal loner—with a hint

of madness. “When I read the script I wondered, ‘Why did they make this character a

woman?’” Gilpin says. “There’s something interesting about having the hero of this be a

woman. Making her a little crazy, a little externalized and someone who doesn’t need or

want anyone is interesting, too. Crystal has this thousand-yard stare and you definitely

don’t want to know what’s going on behind that. I thought it would be cool to play

someone who the audience never really gets to know or understand.”

Gilpin, a two-time Emmy nominee for her role as Debbie Eagan, the former soap

star-turned-wrestling-heroine Liberty Belle, on the hit Netflix series GLOW, is a revelation.

“She’s amazing,” Zobel says. “We built an entire backstory for that character. We both had

the same ambition for Crystal. We weren’t trying to make her Sexy Superheroine #4. We

wanted her to be weird and cool, and to get cooler the longer you know her. I told Betty

that my goal was to make women want to cosplay as Crystal every Halloween.”

Zobel’s fellow filmmakers agree. “We got so lucky getting Betty,” Nick Cuse says.


“Betty is so incredibly fascinating and compelling in every frame of this movie. For people

in the audience who don’t know Betty yet, they’re all going to be saying, ‘Wow, who is

that?!’ It’s exciting to see a new star be born in a role, and I think that’s what’s going to

happen with Betty in this movie.” Zobel was elated by what she achieved. “I can’t imagine

anyone but Betty being Crystal, and I feel lucky to have had this experience with her,”

Zobel says. “It was a blast and I genuinely hope we get to work together again.”

In her first scene, Crystal is fashioning a compass out of leaf and a straight pin.

She doesn’t speak and is gone in a blink. “Crystal’s introduction is indicative of her

character,” Cuse says. “She’s completely independent and doesn’t care about anything

else that anyone else is experiencing in the clearing. She has a very clear plan of what

she wants to do. She’s not sitting around contemplating anything; she’s figuring out the

direction that she needs to go in and then going in it. That continues to be her character

for the entirety of the movie.”

Crystal is a mystery, not just to the audience but to the writers as well. “Crystal is

incredibly powerful and incredibly withholding,” Cuse says. “She doesn’t want to explain

herself because she doesn’t feel like she needs to. She doesn’t use words unless she has

to, but she also keeps her own counsel and is delighted by herself in a way that is fun and

enjoyable to watch. She cracks herself up a little, but she doesn’t care if anyone else gets

the joke.”

One character who came to mind when Lindelof and Cuse were creating Crystal

was Anton Chigurh from No Country for Old Men, the menacing, unstoppable assassin

played by Javier Bardem. “He’s like a shadow or a phantom who comes into the movie

and then is gone and you never really get a backstory, and that’s kind of fun,” Cuse says.

So, they didn’t give Crystal one, either. “In almost every movie, there’s a flashback with

the lead character or there’s some moment with them and a friend or their loved ones

where you get some explanation for who they were or how they became who they are,”

Cuse says. “But not with Crystal.”

Throughout the film, Crystal remains stoic, steadfast and methodical in her pursuit

of The Hunters, determined to kill them and escape. As the action unfolds, and her skills

and fortitude are revealed, it is the other characters and the audience who pivot. “Crystal

doesn’t evolve much in the movie as most heroes do,” Cuse says. “She’s the most

consistent character, and what evolves and changes are the perceptions of her by the


people around her. It’s cool that Crystal will never really be known to the audience

because then you can project whatever you want her to be onto her and still be left a little

curious, even when the movie’s over.”

Gilpin alone understands her, really. “I feel so protective of Crystal,” Gilpin says.

“She’s a practical person, and I personally think her self-worth is at a pretty low place.

She’s not someone who’s in a privileged place in her life that allows for self-reflection:

‘What could I dream of becoming? What potential do I have?’ That’s not something life

has allowed her. We all know people like Crystal, people who are just living day-to-day,

who have given up those ideas when they were children. She just wants out of this place

and doesn’t have any lofty ideas that she’s going to save anyone or the world. That said,

there’s this dark, churning thing inside of her that’s whispering to her that she could save

the world and kill everyone, but she keeps that tamped down.”

For Gilpin, Crystal also represents a form of thwarted potential. “I think of her as

someone who started out as a warrior and a revolutionary and someone who had real

potential to do something great and powerful with her life, and then the circumstances

didn’t meet said power and she changed into a different version of herself,” Gilpin says.

Powerful, strategic, methodical and lethal.

Crystal always leads with her head, never with her emotions, and we eventually

come to learn that she has a military background. “Our stunt coordinator Heidi

Moneymaker had some Marines come train me, and one of them talked about pie

thinking,” Gilpin says. “For example, when you enter the room you look at each part of the

room as a slice, taking in each piece. You dissect it, break it into discrete parts. That’s

very useful for someone who’s experienced trauma, telling themselves, ‘All we’re going to

do today is pie thinking. We’re going to think about this part of my day, then this part of my

day, then this part of my day.’”

Gilpin plays that paradox within Crystal. Crystal appears to be the most resourceful

and lethal of those being hunted, but her steely and withholding demeanor are rooted not

just in her military training, but in trauma and disappointment. It’s a dark and volatile

energy she no longer has to contain. “For the first part of the movie Crystal’s thinking, ‘I’m

not going to unleash this thing that’s inside me because I may not be able to control it,’”

Gilpin says. “‘I’ve pushed it down for so long, I don’t know what will happen when I

unleash it. So, I’m going to push that down and just focus on pie thinking to get myself out


of here. I’m not going to be a hero. I’ve got to get out.’”

Gilpin believes Crystal’s ability to survive was a reflex drilled into her through her

military training. “I think the rules embedded in her from her days in the service help her

stay on top of this kind of churning black ocean inside of her and focus it,” Gilpin says.

Crystal, Gilpin says, is singular among every other woman she has ever played.

“For a long time, I’ve played characters who are the supportive wife or supportive girlfriend

while the man gets to go unleash the crazy monster,” Gilpin says. “I’ve been the one to

ask, ‘Hey, you okay?’ when the man shuts out the wife or girlfriend, when the guy has

oceans inside him, and you can’t get in there, so you say, ‘I’ll make you some tea.’ But

there are so many women who are like, ‘I feel like I could throw a chair through a window,

too!’ Or, ‘I feel like 100 different people during a day as well.’ Certainly, GLOW opened

that door for me fighting-wise, thinking about being able to jump on a table and throw a

chair. But strangely, Crystal came to me much easier than the housewife with a supportive

smile, holding a baby and laundry basket.”

Everything about Crystal is unexpected, even her name, Lindelof says. “We named

her Crystal because we feel like people make a judgment when they hear that name,”

Lindelof says. “It also feels like it’s very fragile, Crystal, and the character is the exact

opposite of fragile. It’s showing how dead wrong assumptions can be.”

Cuse saw that impact that Crystal had on Gilpin during filming. “Betty totally

embraced the idea that her body was a weapon,” Cuse says. “She completely

transformed herself into a version of a Jason Bourne character that somehow came out of

the backwoods of Mississippi.” And ran smack into Anton Chigurh somewhere in Croatia.

AthenaHilary Swank

The audience’s first glimpse of Athena, played by Hilary Swank, is on a private

plane, as she efficiently and ruthlessly solves a crisis that no one else onboard seems

willing, or able, to solve. “We thought that was the perfect way to introduce her character,”

Nick Cuse says. “Even among these rich, accomplished, powerful people, she’s an entire

tier above them.”

Athena, the mastermind of the hunt, is a self-made billionaire and former CEO, and

for most of the film she is unseen, ordering the activities of her hunters via walkies through


the sheer power of her voice and her unwavering will. Athena is omnipresent and she

follows no one, ever. Named after the Greek goddess of wisdom, Athena is a natural

leader whose intense desire for vengeance is matched only by the methodical way in

which she has planned and executed her sadistic plot. Athena’s stilettoed, lethal efficiency

in her first scene is sure to become one of the most memorable introductions of an

onscreen villain ever. Watching it, it’s instantly impossible to imagine anyone other than

Swank playing her.

“There’s a reason Hilary Swank has won an Oscar® twice,” Craig Zobel says.

“She’s amazing. This is not a type of role she had played before in this way, but she’s

masterful at playing very specific characters. She was perfect for Athena because even

though she doesn’t have a lot of screen time, she leaves an inedible impression, and

Hilary knows exactly how to do that. She does it every time.” Plus, Zobel adds, laughing,

“She’s physically a total badass. I mean, she’s the Karate Kid!”

Swank wowed the entire filmmaking team. “She’s so formidable both in her

presence and in her physical ability,” Cuse says. “That was essential for this character

because Athena goes up against our heroine and has to make us genuinely scared about

whether Crystal’s going to make it out of there alive.”

As with Crystal, Athena is an enigma, and her backstory is never explained. As the

film opens, a text thread is seen onscreen in which Athena and some of her friends joke

about hunting certain types of people for sport. When that exchange is later revealed

because a colleague’s email account was hacked, the thread goes viral and Athena is

ruined. She’s fired by the board of the company she founded, losing her power, position

and prestige. Everything she had achieved is destroyed. She is determined to have her

revenge. The conspiracy theory about elites hunting people for sport on a private estate

was a lie, but now she’s going to make it true.

Swank considers Athena a perfectionist, someone who has no patience for others

who do not demand excellence of themselves. Athena’s personality is reflected in her

regal posture, the way she moves, talks, dresses and lives. Swank felt so strongly about

the way Athena carries herself that she did resistance training in advance of filming.

As Athena and Crystal face off for the film’s climactic battle, Athena is confident

she’ll emerge victorious. After all, she has trained and prepared, she has done her

homework, and she has proven to herself and others many times over that nothing and no


one ever stands in her way—certainly not some bleached blonde car rental clerk from

Mississippi. Athena’s only weak spot is that she is certain she’s always the smartest

person in the room…until she isn’t.

Staten IslandIke Barinholtz

One of the principal group of The Hunted, played by the inimitable Ike Barinholtz, is

known only as Staten Island because of where he hails from. Sadly, most members of

The Hunted never learn each other’s names. (Who has time for niceties when heads are

exploding from bullets all around you?) Staten Island is a no-nonsense guy and he’s the

first member of The Hunted to figure out why they are all being stalked and murdered. “It’s

goddamn Manorgate!” he tells the others as he leads them over a fence and away from

the gunfire and bows and arrows. “It’s real?!” one of them asks.

Staten Island leads his small squad to a local gas station where he tries valiantly to

solve the crisis, save lives and summon the authorities. He’s a take-charge kind of guy

whose paranoia has been validated, albeit in the most horrific way.

The realization that one of the stories Staten Island read and shared online about

the depravities of the wealthy and powerful elites is actually true underscores, in the film’s

narrative, how extreme the beliefs have become on either side of the partisan divide. “The

film is showing very extreme versions of people kind of all over the spectrum, but it is self-

aware and doesn’t take sides,” Barinholtz says. It’s the depth and complexity in the script

that drew him to the role. “I’m not the kind of guy who wants to go do a movie where

you’re holding a gun and you’re loading the mag and shooting it and stuff,” he says. “But if

you can comment on that, explore why our culture fetishizes weapons, for example, that’s

interesting to me. People can go to this movie and be thrilled and scared and entertained,

but there is also a very cogent social commentary that’s intrinsically layered into it all.”

Although the film’s satirical tone and heightened reality presents characters as

archetypes, Barinholtz wanted to make sure his character was depicted as more than a

stereotype. “When I talked to Craig Zobel about this character, I thought it was important

to not make him a cartoon,” Barinholtz says. “The film has a couple of characters that are

kind of extreme types, so I thought it was important that the audience does feel some

empathy and some terror for these people who are being hunted. I wanted Staten Island


to be a guy who you know, and even though you may not like his views, he is still a

human being who has a family and friends. He’s a son and a father and husband. It was

the thing I really wanted to focus on.”

Yoga PantsEmma Roberts

Emma Roberts plays one of The Hunted, a seemingly sweet girl with no real

survival skills, but a knack for finding allies. When she wakes up in a clearing, she joins

forces with a man, when she finds a key and they free each other. “When we find her,

she’s in the woods with a ball gag in her mouth, dressed in this blue athleisure wear,”

Roberts says. “The juxtaposition of the outfit with the forest and fields and scenery is

really just weird, which goes perfectly with this movie.”

She is the first to wake up in the forest, the first to realize that she and the other

strangers with her are being hunted, and is also the first to…well, let’s just say she alerts

the audience that this is a film that breaks the rules. “In the first few minutes of the film,

you realize that this is just a take-no-prisoners situation, and nobody is safe,” Roberts

says.

The HuntedNameless Heroes

Most of The Hunted are nameless and most meet violent ends. Still, as short-lived

as their on-screen time may be, many display acts of selfless heroism. “We have a couple

of characters who heroically choose to die on their own terms,” Nick Cuse says. “One

character who gets hit with an arrow as he’s almost over a fence decides to charge his

attacker rather than try and escape. Another risks his life to save the life of someone he

has just met. Even if they’re not on-screen for long, we wanted to give these characters

moments to reveal, even in small ways, who they are.”

The most enjoyable, surprising and impressive part of production for Cuse was

watching the actors create interior lives and backstories for their characters. “These

incredible actors brought impressive depth to these characters,” Cuse says. “I was blown

away. Their understanding of their characters allowed them to bring these little moments

and jokes to the film that I didn’t expect.”


Craig Zobel and his fellow filmmakers encouraged the actors to do exactly that, and

intentionally built that character specificity and individuality into their wardrobe as well.

“There’s a version of this movie where The Hunted are all in plaid shirts and baseball caps

and The Hunters are all black Dolce & Gabanna,” Zobel says. “But I was excited to figure

out how to tell as much story with each character and have variation between all of them,

both The Hunters and The Hunted. By dressing each person differently, it keeps the

audience on their toes. It’s not immediately clear what The Hunted have in common with

each other, and that makes it harder to understand what the agenda of The Hunters might

be.” A lot of character information can be transmitted in an outfit. “Especially when you’re

going to kill them so fast,” Zobel says, laughing, “it’s an efficient way to transmit some

basic facts about a person.”

That worked a little too well, actually. Although Cuse and Lindelof had intentionally

killed off a lot of characters in the first scenes of the film, they found themselves becoming

attached to the characters—and the actors who portrayed them—and regretted they were

gone so soon in the first act. “I was really upset with myself that we killed them so quickly

because we really loved them and want to keep watching them,” Cuse says. “As an

audience member, you like them and root for them, which is a good thing. It makes it even

more surprising and unexpected when they meet their ends earlier than you expect.”

The Hunted are strangers to each other. Their only connection is that they have all

been susceptible to conspiracy theories and have shared a particular one online. In

addition to Crystal, Staten Island and Yoga Pants, the members of The Hunted include:

Don, played by Wayne Duvall and Gary, played by Ethan Suplee, who both join forces

with Crystal over the course of the film—well, they wisely follow her and she allows it.

“These people are not the architects of the conspiracy theory, but they are the purveyors,

the people passing it along,” Damon Lindelof says. “Maybe they didn’t necessarily believe

the conspiracy theory but now that they’re being hunted for sport, they most certainly do.”

The HuntersArmed and Way Too Woke

When we first see The Hunters they are flying high on a private jet, eating caviar,

drinking champagne and enjoying themselves. “The Hunters are affluent well-connected

elitists who think they are above the rules, that they make the rules,” Damon Lindelof


says. “They have a very high opinion of themselves and cannot imagine that any of the

people they are hunting could possibly be smarter than they are.”

When it comes to firearms, though, they don’t know what they’re doing, at all. Their

decision to arm The Hunted is just their sadistic idea of leveling the playing field. “The

Hunters think they’re so superior that shooting these unarmed people wouldn’t be much of

a challenge—not to mention unfair,” Nick Cuse says. “Damon and I tried to imagine how

The Hunters would set this up, and we figured that they watched the movie Home Alone

before this and then brainstormed to come up with the most convoluted, messed up ways

to kill The Hunted.”

Because they don’t have a clue what they’re doing, they’ve hired a firearms expert,

played by Steve Mokate, as a sort of five-star safari guide to their killing spree. For most

of the film, The Hunters—played by Steve Coulter, Glenn Howerton, Dean West, Vince

Pisani and Teri Wyble— are never seen, with the exception of “Ma” and “Pop,” who pose

as purveyors of a gas station, where The Hunted who have escaped the forest seek help,

not knowing that it’s a trap. Played by Amy Madigan and Reed Birney, Ma and Pop are

the audience’s first clue about the scope and scale of the game that’s being played by the

elites.

“Ma and Pop’s gas station is an opportunity for The Hunters to role-play as their

victims, and they really enjoy it,” Cuse says. “They like to pretend to be the people that

they’re about to kill right before they actually kill them.” They slowly reveal themselves to

their prey, asking about, say, why anyone needs seven guns, or voicing their real views

on abortion rights and global warming, the perils of dairy consumption, right before they

kill their victims. “They almost feel a moral imperative to somewhat explain themselves

before they finish off these people that they’ve already decided are going to be killed,”

Cuse says. If The Hunters weren’t armed, they would be borderline absurd, often policing

each other’s language choices and accusing each other of gendered thinking while

engaged in mass slaughter. It’s scathing social satire and pitch-black humor at its best.

THE LOCATIONSNew OrleansCreating Croatia in the Crescent City

Although The Hunted don’t realize it until midway through the film, they’ve been


transported out of the U.S. and are being hunted in a remote area of Croatia. The film

needed to be shot during late winter, but, because most of the film takes place outside,

the filmmakers needed green landscape. There was only one place that could

accommodate their outdoor shooting and that would have the production base,

experienced crew and locations they needed: New Orleans, Louisiana.

“We knew we were going to be shooting in February and March 2019 and we

wanted to get as much green as possible into the story, so we shot the whole film in and

around New Orleans, Louisiana,” says production designer Matthew Munn. “We found

really fantastic locations and every place we shot we found on our initial scout back in

October 2018. Craig Zobel and I couldn’t believe it was this easy to find all these places.”

While the production had a relatively small number of locations, those locations

needed to cover a wide spectrum of looks with markedly different visual styles. “There’s

only about five or six major locations, but they ran a pretty wide gamut of looks,” Munn

says. “We wanted this sense of a journey from Crystal’s standpoint, so we needed diverse

locations that had a very specific feel in the beginning, all the way through to where she

finds herself. Even though we only had five or six spots to do that in, we needed trains

and train yards, a border checkpoint and a refugee camp, the woods and fields, a

mansion in the country, a high-end office, and a roadside gas station/convenience store.”

And the needs for the gas station were very specific. “We wanted it to be on one of

those forgotten little side roads,” Munn says. “It needed to be on a very remote stretch of

road. We needed to feel like there was no place else for The Hunted to go except for this

place that looked like it offered a little bit of refuge in the storm. Everything needed to feel

remote, but we could still base out in New Orleans easily. On top of that, we had a really

good crew to work with us here. It was a great experience.”

The filmmakers wanted to utilize the different landscapes to create confusion, to

throw off the audience. “At the very least, we wanted every new chapter of the film to have

the audience thinking, ‘Where am I?’” Munn says. “It was important for us that every time

we got to a new spot, we set the audience back on its heels a little bit, so they would have

to reorient themselves to figure out what is going on. We’d been on this luxurious private

jet, then all of a sudden, we’re in the woods and in the fields. We’d been in all these

verdant, lovely locations, and then the remote country store. So, when we cut to that big

crane shot as we come up into a refugee camp, it’s great because you think, ‘Okay, this is


a whole new thing.’ Our goal was to have people constantly guessing about what the next

step was going to be.”

In order to create that feeling, when director Craig Zobel, cinematographer Darran

Tiernan and Munn scouted a location, they would ask a series of questions. “At each

place we went, if we were all saying to ourselves, ‘I don’t know where this came from’ or ‘I

don’t know how this connects,’ we knew we were on the right path,” Munn says. “Athena’s

office was a good example of that. We looked for a long time to try to find the right look for

that office. When we found the location we eventually used, we walked in and all of us

said, at the same time, ‘I don’t know what she does, but it feels important.’ That was the

idea: It has the trappings of wealth to it, but you couldn’t look at it and figure out what she

does for a living.”

Zobel and Munn talked early on about the fact that the setting for the film is not

what it is supposed to be. “You’re meant to think that you’re in one place and then about

halfway through the movie, you find out that you’re in a totally different place,” Munn says.

“Craig was really into that idea. A lot of TV shows and movies set in the southeastern

United States are actually filmed in Eastern Europe, so flipping that around was fun.”

THE PRODUCTION DESIGNBeyond Red and BlueBehind The Hunt’s Use Of Color

To tie together the different, yet connected locations in the story, Craig Zobel and

Matthew Munn wanted to establish a lush, visual style that used colors and textures to hit

symbolic elements. “We had a lot of conceptual conversations about the underlying

themes of the script, and of course your mind goes immediately to red and blue,” Munn

says. “We wanted to find ways we could play with it, to help accent and augment those

colors with other colors, so it would still look natural and not heavy-handed.”

In keeping with the film’s inversion of tropes, Zobel and Munn opted to use red and

blue in unexpected and surreal ways in design and lighting. “With props and set dressing

we made blue and red indicative of things that signify problems, things to be wary of,

things within the story that were dangerous items,” Munn says. “The red crowbar next to

the wooden crate is a stark red, as is the gun cart that comes out of the crate. The donuts

in the gas station store had blue packaging, and we used a pale blue palette inside


Athena’s Manor House.”

Zobel and Munn wanted to establish and play with those colors early in the film so

that they could shift later. “We laid that groundwork throughout the movie, so that once we

were inside Athena’s manor we could have more earth tones, browns, yellows and white,

because at the end of the day we wanted the manor to feel very stylized,” Munn says.

“Both Craig and I wanted it to feel like a very high-end home that had a handsome and

elegant feeling.”

It’s Not Easy Filming GreenChallenges of an Exterior Shoot

The filmmakers continued to toss aside traditional horror-movie tropes by setting

the film primarily outdoors and during the day, both of which presented their own set of

challenges. “From a production design standpoint, when there’s a lot of green in your

frame, you have to figure out how to lean into that and get things to stand apart from that

backdrop,” Munn says.

The other issue was how to create tension and fear without relying on darkness

and archetypal horror settings like empty streets and abandoned buildings. “Usually

you’re able to set up tension by the fact that you can’t see what’s happening at night,”

Munn says. “Craig was able to achieve a lot of tension in the way the characters interact

with each other, and the fact that you never really seem to know who to trust or who is

aligned with which side.” As The Hunt begins, the audience quickly learns it is not so

much what is unseen and lurking in the darkness that is to be feared, but rather what is

seen in the light of the day that is not what it appears to be.

Leaving on a Jet PlaneThe Perils of Flying Private

The filmmakers wanted to introduce The Hunters and establish the film’s look and

tone in a visually provocative way at the onset. “Nothing really screams really, really rich

more than a private plane does,” Nick Cuse says. “When we were writing it, we thought

that seeing The Hunters on a private jet would be helpful in terms of showing that these

are not just one-percenters; these are the .1 percent of the one-percenters.”

The interior jet plane sequences were shot over a couple of days on a sound stage


at Starlight Studios in East New Orleans. In discussing how to bring in the red and blue

color scheme into the scenes, Zobel, cinematographer Darran Tiernan and Munn decided

to do it through lighting. “We decided to use blue and red lighting on the plane, so we

added a lot of LED lights,” Munn says. “And Darran really leaned into using it, putting the

red on the floor and the blue in the ceiling, which gave the entire scene a more surreal

and menacing feel.”

They enhanced that mood and accentuated the drama by using textured blue and

red glass. “When Darran pushes light through the glass, it gives us really crazy effects,”

Munn says. “For example, we’re in Athena’s bedroom and the door is closed and we hear

all this noise, a struggle, and the textured glass obscures the view of what’s happening

outside the door in the main cabin of the jet. When she opens the door, we can feel the

activity at the end of a long hallway as we’re moving with her from her point of view. I also

love the way that the textured glass on the doors to the conference room in the plane

looks when the doctor closes the doors behind him. His shape gets all weird and obscure

as he walks away. It adds a nice menacing element.”

Lethal IdyllThe Clearing of the Clearing

Director Craig Zobel wanted the moment when The Hunted woke up from their

drug-induced slumber to reflect the unsettling and surreal feelings they were experiencing,

and the sight of a large wooden weapon-filled crate in the middle of a lush green field was

exactly the type of odd and provocative sight he wanted. The quiet beauty of the field

serves as a counterpoint to the gunfire, explosions and carnage that quickly ensues. “We

liked the idea that this very beautiful place would contrast with this very scary situation,”

Nick Cuse says. “That contrast felt really interesting to us. There’s something very lush

and verdant about that clearing, and that suggests something lighter at first. It’s not a

bleak winter landscape of dead grass and leafless trees like you would usually see in this

genre of film.”

The filmmakers originally scouted the field in Bush, Louisiana, in October 2018, five

months before production began. It fit their needs for the sequence because it was a

remote location where they also found their hunters’ blind on the edge of the top of a hill.

“It had a nice topography to it,” Matthew Munn says. “There were a lot of evergreen trees


surrounding it, so we knew we could get away with hiding the blind and any signs of

civilization. The grass, however, was a big concern.”

In October, the grass was already dying, and when they returned in January, it had

gone completely brown. Since the production was scheduled to shoot in the winter months

of February and March, Munn knew he would have to plant new grass to get the pastoral

green field they envisioned for the film. “We planted winter rye grass in February,” Munn

says. “We did two rounds of planting, actually. The first round, we turned all the soil and

did a full planting of a couple of hundred acres worth of grass. About two to three weeks

later, when we came back to check on it, we hit it again with another round of seeding and

then let nature do its thing.” When the production returned in March 2019 to shoot, “it had

turned into the most beautiful neon green of long, luscious grass I’d ever seen in my life,”

Munn says. “It was really sturdy and moved beautifully in the wind.”

Shooting at the location took four days, including a couple of night shoots when

they shot the scenes of the exterior of the hunters’ blind. Between seeding and growing

the grass, the field had been off-limits to its usual inhabitants for months by the time

production completed its work there, but Munn hoped that what the displaced residents

found when they returned would prove to be worth the waiting. “The field was part of a

large farm and the field we used was one of the cow pastures,” Munn says. “We had the

cows locked out of their field and grazing in a different pasture for three or four months

before filming, so when they got to go back to their field, we hope they really enjoyed all

that long grass.”

Ma & Pop’s Gas Station MarketSafe Haven or Road Stop for Murder?

After escaping the field and forest, The Hunted member known as Staten Island

leads a small group over a barbed-wire fence and takes off running down a road to an old

country store, Ma and Pop’s Main Street Market. In their script, Damon Lindelof and Nick

Cuse set this pivotal scene in a rural gas station on an isolated road because they find

locations like that unsettling. “Nick and I are both city slickers, and we are not entirely

comfortable in rural environments where we walk into one of these places and need to get

gas and have to make small talk with the people behind the counter, who know I am a city

slicker,” Lindelof says. “And there are guns and knives around and bait and weird things


that I’m trying to be cool about, so we felt like that would be a really good place to set a

scene.”

The filmmakers didn’t just want a quaint old country store. They needed something

that felt isolated, without any signs of civilization around, and found it at the Husser Quick

Stop in Loranger, Louisiana. Located on a road in the woods, the store had all the

homespun charms and trappings of an old general store, from its decades-old gas pumps

and mid-century pickup truck to the rocking chairs on its wooden porch. “We spent a lot of

time looking for the right kind of vibe to the country store, and this place just had the right

sort of feel and look,” Matthew Munn says. “It did take a long time to find this one, but the

store has been featured in several movies before, most recently the award-winning Green

Book, and is located on the North Shore, just across the lake from New Orleans.

The way in which the building was shaped and set back from the road, and the lack

of identifying signs, all made it an ideal location. “We had all this kind of tree cover, and

the place felt a little like tucked back into the trees a little bit, just off the road, so just from

a looks standpoint, it was perfect,” Munn says. “And the road was really great, because it

sort of winds and curves around, out of sight, and the whole place had a vintage country

feel to it, which was meant to feel like a refuge from the onslaught.”

The small interior space was a little problematic given that there would be actors,

crew and equipment inside and several stunts that would require rigging. “We scouted the

location numerous times to outline how we were going to shoot all the scenes, and each

time the plan became more and more refined,” Munn says. “We figured out that we were

going to see every corner, every nook, and every cranny of the place over the course of

five days of shooting, so we did a lot of work inside and layered every angle in the store

so it would look authentic. The basic look and bones of the place was pretty great, but we

had to clear it out and redress it.”

The result is disarmingly quaint, betraying no hint of danger. “We were trying to

hide the twist as best we could,” Munn says. “We tried to lean very heavily into the

nostalgic Americana feel for the place so that when the turn happens, it comes out of

nowhere.”

The Hunted soon find out that appearances can be deceiving, and Craig Zobel took

full advantage of the moment to create suspense and tension by slowing down the action.

The audience, along with the characters, is watching, waiting and wondering what


happens next. “We have one character wandering around the store, sort of tagging the

things that could be used as melee weapons if somebody were to storm the store,” Zobel

says. “Another character is posted at the door, keeping a lookout. We have another

character on the phone, calling the police. But something doesn’t feel right.”

Ma and Pop are ready and loaded for bear with a variety of options of how they can

kill their unsuspecting prey. In addition to an arsenal of weapons under the counter, the

couple has other surprises for those who make poor dietary choices. “It was an idea that

Craig and I had talked about,” Munn says. “The Hunters are playing a game with The

Hunted, so if you came in there and went for the fresh fruit and the healthy stuff, you might

be okay. But The Hunters figure that these people are going to go for the junk food, and

that’s why the junk food is all poisoned.”

Refugee CampWall of Inspiration

At a certain point in the film, Crystal arrives at a refugee camp along the Croatia-

Bosnia and Herzegovina border. For the film, the camp was created next to a levee wall

along the Mississippi River in an industrial area of East New Orleans. “There’s a big

section of levee wall when you come into the location—this big, massive, concrete wall

jumps out at you,” Munn says. “That hadn’t been part of the initial thinking about the

refugee camp, but it added so much to the scene because it gave us a beautiful, imposing

backdrop for our opening shot for the sequence. It was essentially a vacant lot with these

beautiful decaying buildings, which look like they could have been shelled really hard

during a war.”

Munn took advantage of the massive concrete wall to put up some temporary art

pieces and murals. “We pasted up a lot of portraits, faces of refugees and people at the

camp that we aged and then peeled it away,” Munn says. “We wanted to show that there

was a history to this camp, that it was meant to house people temporarily but ended up

housing people for months or even years. We wanted to show that there had been a long

history to its existence and further heighten the plight of the refugee.”

The production ordered more than 100 tents to fill the space under the wall and

inject color into what was otherwise a drab vacant lot. “The big blue building adjacent to

the site became the starting point for a lot of the blue, our base color, which we used in


our tents,” Munn says. “I also worked with our costume designer David Tabbert to bring a

lot of colorful, bright options for the extras’ wardrobe, and we used blankets and set

dressing to help offset some of the patterns and colors that he was using for the

costumes.”

The Hunters’ BlindLuxury Carnage

The Hunters are finally revealed in a scene set in their hunters’ blind, where they’re

living as they plan how to deal with the surviving Hunted. In researching the interior of

hunters’ blinds, production designer Matthew Munn was shocked to see how luxurious

they could be. “Not being a hunter myself, I always thought of hunting as you’re out in the

woods roughing it, you smell dirty, it’s gross and disgusting,” Munn says. “I did a lot of

research and found references for these really elaborate duck blinds that people have

built for themselves with all the trappings of luxury of life with refrigerators and TVs and all

these crazy setups inside. You could bring a bit of a hunting lodge feel to it. Costume

designer David Tabbert was dressing The Hunters in these very English foxhunting sort of

wardrobes and I liked the idea of a foxhunting painting or mural on the wall, another way

we could bring in the hunting motif but still do it in a stylized way. I wanted to put them

inside this elaborate space to highlight the absurdity of what’s going on.”

The Manor HouseBuilt to Be Broken

The film’s longest and most extensive stunt sequence is the showdown between

Crystal and Athena at Athena’s Manor House, so one of the first conversations director

Craig Zobel and production designer Matthew Munn had was about the look and

functional utility of the Manor House set.

“We knew from the very beginning the Manor House was where the final fight was

going to take place,” Munn says. “We knew it started in the kitchen and moved out from

there. We wanted this final action sequence to be unlike anything we’d seen before, so we

talked extensively about what would take place in there as well as what this manor was

supposed to symbolize and how we wanted it to look and feel.”

The two decided the interior should look like a hunting lodge with all the visual


trappings and ideas of a traditional lodge, but done in a modern, highly stylized way.

“Craig and I were both really into the idea of the sunken living room with a built-in ʼ70s-

style sectional with these record shelves built into the back of it,” Munn says. “Aside from

it having this sort of weird ’70s vibe, we wanted it to have a real rumpus-room feeling, a

fun, cool place to hang out. You could picture, on the night before the hunt, all of The

Hunters would have been in here drinking wine, scotch, talking about the next day. We

had a foxhunting mural and landscape paintings, artwork that we would typically find in

lodges, but we also tried to give a more contemporary style, a Dwell magazine sort of spin

on all that traditional stuff.”

Part of that spin was an experimentation with taxidermy. “We liked the idea of

taxidermy, but I thought it would be interesting to paint some taxidermy just to see what it

looked like,” Munn says. “So we got a bunch of deer heads and painted them all white. It

was something I’d never seen before and they came out way better than we thought they

would. They actually looked really cool.”

Aside from the aesthetics, the design ideas needed to work for the extensive stunt

sequence, which begins in the kitchen before tumbling, smashing and crashing over the

entire set. Munn designed an open-floor plan for the living room, kitchen and

dining area and took his layout ideas to stunt co-coordinators Hank Amos and Heidi

Moneymaker to have them figure out ways to utilize those ideas and build on them.

“We wanted to get this back-and-forth dialogue going between the art

departments, the stunt department, special effects and visual effects so we could create a

fun, unusual, exciting fight sequence,” Munn says. “We didn’t want to design something

and then retro-fit it to work for special effects or stunts. We wanted to work through the

design with those departments. We wanted everything to work seamlessly from the

beginning.”

The first step for Amos and Moneymaker was building a cardboard box version of

that design, which they used to get a sense of the space and movement within the set. “It

gave Craig Zobel and I an opportunity to look at how things would work, too,” Munn says.

“For example, Hank and Heidi took the idea of a kitchen island and had our characters

vaulting across the island and using the island as a stunt piece. So I went back and

redesigned the island to make sure it was sturdy and stable enough for all that stunt work,

and talked to Hank and Heidi about the sizing, heights and depths of it so that it would


work with the vaulting stunt, and going through the options of what would look cooler and

work better, and all those details.”

As the departments went back and forth with ideas, they came up with a design

concept that would accommodate and enhance the fight choreography Amos and

Moneymaker were creating. “We worked out how the fight would progress, what would

happen next, where the actors would end up and started to work stunt safety into the

design,” Munn says. “The entire interior of the manor house set was basically a big jungle

gym for stunts.”

The filmmakers were pretty wowed by it. “The manor set was really amazing,” Nick

Cuse says. “Matt Munn did an incredible job because he basically built a playground for

fighting and stunt work that also looks like a beautiful, stunning, stylish home that I would

love to live in.”

Munn and his team—art director JASON BALDWIN STEWART (Star Trek Into

Darkness) and set designer JESSICA STUMPF (Logan)—worked with construction

coordinator SCOTT MIDDLETON to literally build safety into almost every corner of the

set, using specific materials in the design construction and set dressing to provide a

padded room for the insane fight to take place there.

“Our amazing art department really went out of their way to make this a hundred

percent safe for our performers,” Amos says. “They had breakaway cabinets and jars, and

breakaway glass because we have both women getting thrown through a double-paned

glass window. They went out of their way to hide stunt pads on the walls and pads on the

floor. They painted the pads to look like certain pieces. You could push it and it was foamy

and padded, but it’s indistinguishable from the real wall and floor materials. You wouldn’t

know it unless you touched it. It was just amazing, really awesome what they did for us.

We really appreciated it and it kept our actors and all of our stunt team safe and free from

harm.”

Munn also had his team go out and find specific furniture, elements and set

decorations that would be utilized in the fight sequence. “Very early on, Craig had this idea

that he wanted Crystal and Athena to fight on a table,” Munn says. “So working with

MONIQUE CHAMPAGNE, our decorator, we found this really great tabletop with a rustic

farm vibe, and knowing they were going to fight on it, we got something that was a really

solid piece of wood with a steel base that served our contemporary interior design


aesthetic but also ended up being something extremely solid and stable that we knew our

actors could get on top of and roll around and have a good, safe time fighting on.”

Zobel and Munn worked with Amos and Moneymaker to incorporate objects and

decor into the fight choreography for even more dynamic, fun action. “We also added this

chandelier with these hanging wooden balls that they end up getting into as part of their

fight sequence,” Munn says. “Craig and I have this friend in Brooklyn, Maeve Pacheco,

who makes large macramé helix pieces that we think are really beautiful that we thought

would be just fun to use as part of the fight. Early on Craig said, ‘I want to try to get

Maeve’s macramé involved in the fight,’ and we reached out to her, and she was really

excited about seeing her macramé used as a stunt piece in a fight like this. We have

Crystal grabbing one of these pieces and swinging on it. And, because Craig wanted to

have moments of heroism followed immediately by something terrible happening, as

Crystal swings away, it pulls out of the ceiling, and she falls and hits the floor.”

Athena’s KitchenKiller Quinoa and Other Weapons

Because the fight begins in the kitchen, Zobel wanted to take full advantage of the

items found there, and transform these everyday kitchen gadgets, appliances and utensils

into weapons. “We started working with this idea of using things as weapons that you’d

never seen used in that way before, like the blade from a food processor,” Munn says.

“We talked about smashing stuff, so we had a lot of breakaway jars full of granola, quinoa,

couscous, rice—and then had Athena and Crystal throw and smash the jars. Athena is a

wealthy woman and has very specific tastes, so we wanted our kitchen implements, those

props, to work within her aesthetic: high-end steak knives and knife blocks, textured wood

pieces.”

After Zobel outlined specific ideas he’d like to see in the manor fight, he asked

Amos and Moneymaker if they could come up with something that really hadn’t been done

before. “Many, many months before we started shooting, Craig said, ‘I want a really cool,

novel stunt for this big kitchen set piece that we’re going to build,’” Amos says. “So I took

a look at the layout and when I saw this big fireplace in the middle of the room, I called

him back right away and asked him, “Is that a two-sided fireplace? When he said yes, I

told him, ‘Someone needs to go through that fireplace.’”


Both Zobel and Munn loved the idea. “Every hunting lodge has a fireplace, and we

wanted a big, open fireplace that mediated between the kitchen and living room,” Munn

says. “In our heads it was a literal and physical centerpiece for the fight, so the idea that

one of our characters would come crashing through it, knocking logs aside and making

the fire billow up, was very exciting.”

It was also by far the most challenging and dangerous of all the stunt work, and a

collaborative multi-departmental effort involving special effects, visual effects, makeup

effects, stunts and production design that took three months of preparation. “A lot of

practice and rehearsals went into making sure this stunt went off perfectly and safely,”

Amos says. “Craig wanted to get as much of it in one shot, so we could see in the same

shot our stunt woman flying through the air and into the pit, and in order to do that we had

to really fine-tune it, adjusting pressure in the ratchet, the length of the wire, and

calculating the angles to get an accurate trajectory, and fine-tuning those calculations to

make it precise. [Special effects coordinator Matthew “Smalls” Kutcher] and our special

effects guys were incredible. Matt, who’s one of the best in the business, was responsible

for the actual fire and explosion that’s occurring. Then we had our visual effects

department with Johnny Gibson, who was going to put his magic touch on it with the

computer. And we also had our amazing makeup team, with LAUREN THOMAS

(American Horror House), who was creating all of the actual physical makeup effects to

put on our actors.”

After working for months to create and fine tune the rigging to accomplish this,

when it came time to shoot, everyone was ready. “We literally kicked our amazing young

stuntwoman, SARAH IRWIN, right through the big burning fireplace, with Matt controlling

flames, and in the process she drags out burning logs and sparks and flames

—the whole nine yards,” Amos says. “To do that safely, all of her clothing was soaked in

fireproof retardant. We also put action fire gel on her, which keeps the fire from burning

her skin. And underneath her wardrobe, she wore CarbonX clothing, which is what race

car drivers wear under their uniforms to protect them should they be in a car fire. Sarah

did a great job. We did the stunt three times because we wanted to get the perfect kick

and impact. I’m really glad that Craig asked for a third take because it ended up being our

best. She actually landed on her head, which looked gnarly and amazing.”


Bringing the Outside InMerging Exterior and Interior

The interior set for the Manor House that was built on stage at Starlight Studios had

to match and connect to the exterior of the actual manor house entryway they had shot on

location previously in Covington, Louisiana. “This whole set is meant to connect to an

actual location where we see the outside of the house,” Munn says. “Once we kind of

figured out how we were going to make our transition elements work to bring them into

this space, there were also elements of the actual location that we liked that we decided to

bring into this set.”

Among those elements of the actual location was the glass hallway that connected

one part of the house to another part. “When we were developing what the fight could be,

we thought it would be great if we used that and had our actresses crash through the

glass,” Munn says. “But we also thought it would be funnier if they tried to crash through it

and they just slammed into it and nothing happened—and then, eventually, after doing it a

few times, crash through it. So, we figured out the size of glass we needed and got Matt,

our special effects coordinator, involved, so that whole wall was rigged for that. Because

there’s a lot of glass on the side of the house, and the showdown between Crystal and

Athena happens in the early morning, we worked with Darran, our director of photography ,

to get a lot of hard-rising sunlight coming from one side of the set, and tried to fill up that

side of the set with glass, opening onto an interior courtyard. Of course, then we thought,

‘Why don’t we take the fight outside now? Now we can move the fight out in the courtyard

after we crash into the glass.’ So, we had them crash through the glass, fight in the

courtyard, and come back into the house. It gave a nice sort of movement to the whole

sequence.”

THE PROPSA Hello To ArmsGuns and Weapons of the Hunt

As one would expect, a film about hunting human prey for sport features a variety

of weapons, and HOWARD FANNON (Gemini Man) was the armorer tasked with finding

them. The arsenal that he assembled ranged from samurai swords to Smith & Wesson

firearms to ultra-modern fully automatic military-grade SIGs. “We have a lot of weapons


from really old to state-of-the-art firepower,” Fannon says. “We tried to hit all of the high

points of weapons that are familiar and popular. When it came to stocking the cart in the

crate, we tried to provide a wide variety from which The Hunted could choose from.”

Because The Hunters see little sport in shooting unarmed prey, they decide to

leave survival supplies and a cache of weapons in a large wooden crate near the woods

where their kidnapped victims find themselves. “The Hunted are given the opportunity to

take any of the weapons they want, and there are also some MREs, which are military-

grade meals, water bottles and a first-aid kit,” Fannon says. “After drinking some water,

everybody pretty much grabs guns and knives and leaves all of those supplies alone. The

filmmakers didn’t think most of the characters were so concerned about long-term

survival, but instead would grab things that would help them survive in the short term.”

Fannon stocked the cart with classic firearms such as the .357 Smith & Wesson

six-inch revolvers and the MP5, a standard-issue firearm used by the military and police.

He also had firearms made popular in films or rap, hip-hop and other music videos.

“We used everything from Sig pistols and Sig rifles to the old .45, the standard . 45,

all the way to revolvers, bows and arrows and tomahawks. We also had some guns that

have been popularized by rap and other music or songs, including the TEC-9 and Glocks.

We also had a 16-round KelTec 12-gauge pump shotgun, although it doesn’t look like any

shotgun that you might be familiar with.”

Fannon said he and the filmmakers discussed the guns and weapons in great

detail. “They definitely had very specific ideas about what they wanted before I was even

hired,” Fannon says. “We even have ancient swords, and one of the characters picks it up

to defend himself. It’s actually pretty funny.”

For the scene in the clearing where we first see The Hunters firing at their human

prey, the filmmakers wanted one of The Hunted to have a fully automatic weapon that

would fire a lot of rounds of ammunition rapidly as he ran kamikaze-style across the field,

so Fannon chose a couple of new Sig rifles with 60-round drum magazines. “I think you’ll

see in the film that everything the characters do with the weapons isn’t 100 percent

correct, but by and large The Hunted aren’t supposed to be range masters or firearms

aficionados,” Fannon says. “The weapons they draw are more a reflection of their

characters. A lot of the cast members hadn’t used firearms before and all of them were

really open to the safety aspect and learning how to use them.”


With safety always the priority, Fannon says all of the fully automatic weapons

were converted to fire blanks, and the revolvers and shotguns, which required no

modifications or conversion, were simply loaded with blanks.

As for The Hunters, who had the money and freedom to buy any weapon they

chose, the filmmakers thought these non-hunting elite would request weapons based

more on style and reputation of the guns rather than how they function. “We had fun with

the idea that they would choose guns based on what they’d seen in the movies,”

production designer Matthew Munn says. “One Hunter wanted what we called the John

Wick gun. Another had a Walther PPK because he asked for a ‘James Bond gun,’ and

another wanted a Pulp Fiction gun. We thought these ‘movie guns’ were the types of guns

out-of-touch rich people would request because it was more about wanting to look cool

and be cool than anything else.”

The Hunters also armed themselves with high-powered, longer-range firepower.

“We had some new huge, 50-caliber sniper rifles,” Fannon says. “The Hunters also

have some Seekins .308 hunting rifles and a variety of handguns, which are for a smaller,

closer-range gunfight.”

THE COSTUMESClothes to Die For – And InBehind the Costume Design

With little onscreen time to establish such a wide cast of characters, costumes took

on an even greater role in shaping the perceptions of the personalities of the characters

and hinting at their backstories. “My job is essentially to tell the story through costume and

help the actor inform their character by what they’re wearing,” says costume designer

David Tabbert. “A big portion of this movie is playing on the fact that The Hunted come

from all different walks of life, and they’ve just been picked up in the middle of their day,

ripped away from their lives as they were going about their business.”

The clothes for both The Hunted and The Hunters became a visual shorthand or, in

some cases, visual misdirection. “We talked about costume as a way of making

judgments about people and putting them into a box,” Damon Lindelof says. “Sometimes

the box we put them in is exactly right, and other times it is dead wrong. If we were to

come across Crystal in the real world, and she was wearing her uniform from the rental

car place where she’s employed, we would make all these judgments about the kind of


person she is, and never once would it occur to us that she is the most lethal human being

in the room.”

Because all but one of The Hunted characters have only a single costume, figuring

out each character’s look became an even more important visual tool. “It was really

interesting to design something where you have one chance to quickly inform everything

about this person—where they came from, what their economic background is, what they

were doing at the time that they were kidnapped,” Tabbert says. “As they go on, they

might lose a layer, they might tie a shirt or jacket around their waist, but they’re able to

use all the elements of their costume. Essentially, it’s their armor. It’s their protection. It’s

all they really have.”

Grabbed off the street or out of their home or workplace, and thrown into this

sinister and surreal situation, those being hunted are dressed in a variety of ways,

enabling the filmmakers to once again dispense with the prevailing wisdom and tropes

about color palette and costumes. “Normally in a film, you want to make sure all the colors

complement or contrast and nothing feels too jarring,” Tabbert says. “Typically, being

around nature and being around so many natural elements, we would want to work with

that and make sure that things contrast nicely and blend well. On this film we wanted

things to feel stark, to feel jarring. We wanted to do the opposite.”

Using unexpected clothing and bright colors not only visually underscored the fact

that these people had been captured completely off guard, but often provided a bit of

comedic relief or humorous juxtaposition. “What are the last colors you would expect

people to wear in the middle of the woods? Orange? Stark white. Tie-dye. Bright blue?”

Tabbert says. “We wanted it to be the last thing you would wear there. We wanted there to

be an element of confusion.”

Craig Zobel wanted the characters’ wardrobes to depict the different styles of

casual dress among ordinary Americans, playing on archetypes in a bit of heightened

reality. “That meant telling a different story with each character very distinctly,” Tabbert

says. “For instance, Emma Roberts, who plays a character named Yoga Pants, is our

version of Elsa from Frozen, with her head-to-toe bright baby blue ensemble and long

blonde hair.”

One woman whose wardrobe fit the surroundings was the aptly nicknamed

LumberJane (Kate Nowlin), with her jeans, sports bra, scoop neck T-shirt and plaid flannel


overshirt. “We wanted her to feel like the type of woman who cuts her own wood, and I

really think that we got the point across,” Tabbert says. “She’s bold and fearless and can

handle herself. And the jeans she wears made the costume. Kate Nowlin is about six feet

tall and has these amazingly long legs. So, we put her in these really, really tall jeans that

come up really high on her waist with these elastic waistbands. She was loving those

jeans—we all were. Those jeans made her outfit.”

Gary, played by Ethan Suplee, is wearing a far less practical outfit. Because he

films himself behind a desk for his conspiracy-theory podcasts, his top half is camera-

ready and his bottom half is not. “We really liked the juxtaposition between him with a gold

chain dangling off his mock turtleneck with old, raggedy track pants,” Tabbert says. “We

liked the contrast between him being a little bit buttoned-up in his own weird, dated way

juxtaposed with these sloppy track pants, knowing that nobody would actually see that.

We thought he was the type of guy who would only pay attention to what he’s wearing on

the parts of his body that show. The bottom half doesn’t matter.”

The look for Don (Wayne Duvall) was inspired by a photograph of Jimmy Carter in

the early ‘90s that was from a fishing trip. “Craig and I came across this image and it just

felt perfect to us for Don’s character,” Tabbert says. “Like the image, Don embodies the

ultimate dad and grandpa, the ultimate middle American everyman and proud patriot

who does well enough for himself and lives comfortably within his means and loves his

country.”

For Ike Barinholtz’s character, Staten Island, the filmmakers envisioned a Midwest

options trader at the Chicago Mercantile Exchange or Board of Trade, perhaps out

enjoying his Saturday before waking up in a stupor to find himself trapped in a nightmare.

“Picture the average middle-class guy in a polo shirt with some khaki pants, sort of

business casual,” Tabbert says. “He looks neat and together without having to try or think

about it.”

Crystal’s car rental uniform communicates quite a lot about where she is in her life.

“The first time we see her, her clothes are all disheveled and we’re wondering why we’re

seeing this girl in a bright orange shirt in the middle of the woods,” Tabbert says. “We

wanted a ’90s type-silhouette, something reminiscent of a teenage girl’s catalogue that my

sister used all the time called Delia’s. I was inspired by that. Everything—from the

proportions to the silhouette—just feels very ’90s, and we wanted that kind of nostalgia to


show how Crystal was holding on to the past, something that made her feel protected.”

Tabbert says Crystal’s displeasure with life is expressed in her baggy cargo pants

and that blue Delia’s undershirt underneath her regulation uniform. “She is over her job.

She’s been there for years and is ready to find something else. She uses her clothes like

a security blanket to protect herself in her day-to-day life. We wanted there to be a

comforting, protective nature to those. We wanted to cover her body a little bit, to show

this vulnerability in her. There’s almost a kid-like quality to what she is wearing.”

Determining what articles of clothing work for a character’s wardrobe goes beyond

pure aesthetics to include practicality (costs and duplication) and the physicality

of the actor and the physical demands of his or her role. “This one costume needed to

brave many different logistical tests when you consider all of the stunts and all of the

situations that Crystal goes through in the film,” Tabbert says. “We needed to make sure

that her clothes were loose enough so we could put pads underneath without detection

and were movable and flexible enough for her to move as much as she needed to on her

own, especially with all of the fight choreography and stunt work she was doing. They also

had to make sense for her job, but also say something about her.”

The HuntersCrystal’s baggy vintage look contrasts sharply with Athena’s tailored, polished style.

“Athena has a very regal nature about her, and a very powerful and intimidating stature

that we wanted to convey with her brunette bob and costumes, particularly the wardrobe

she wears for her showdown with Crystal,” Tabbert says.

For that scene, the costumer paired a deep red (merlot) turtleneck with form-fitting

brown leather riding pants and over-the-knee riding boots to give Athena an air of

athleticism with a touch of leisure class. “We love the idea that she was up early in the

morning, maybe just to go out for a ride on one of her horses in the countryside of her

Croatian estate,” Tabbert says. “She has come in from her ride when she encounters

Crystal. The merlot color has a richness to it that really lends itself to Athena’s character,

and to her environment really well. I think it would’ve been too jarring to put her in

anything more saturated than that. It also goes back to Craig and I wanting to manipulate

colors and not to be so on-the-nose about it.”

When it came to choosing the wardrobe for The Hunters on the private plane in the


film’s opening scene, Tabbert had already spent a lot of time thinking about what rich

people wear when they’re flying. “Especially on Instagram and in this hyped-up social

media culture, we found that it’s not just about the fact you’re flying anymore,” Tabbert

says. “It’s about how you fly and a certain level of comfort that people want to aspire to.

We wanted to use really nice fabrics like cashmeres and the mohairs to show how much

money these guys actually spend on clothes. I want to make this less about any specific

designer and really more just about luxury. We wanted to show the contrast between this

really luxurious comfort and that ostentatiousness with the high-priced designer labels.”

Universal Pictures presents a Blumhouse production: The Hunt, starring Ike Barinholtz,

Betty Gilpin, Emma Roberts and Hilary Swank. The costume designer is David Tabbert,

the editor is Jane Rizzo and the production designer is Matthew Munn. The film’s director

of photography is Darran Tiernan. The executive producers are Craig Zobel, Nick Cuse,

Steven R. Molen, Couper Samuelson and Jeanette Volturno. The film is produced by

Jason Blum and Damon Lindelof, p.g.a. Written by Nick Cuse & Damon Lindelof, The

Hunt is directed by Craig Zobel. A Universal Picture © 2019 Universal Studios.

###

ABOUT THE CAST

In television, film and theater, BETTY GILPIN (Crystal) has established herself as

one of the industry’s most exciting actresses.

Gilpin is perhaps best known for her critically-acclaimed performance in Netflix’s hit

series Glow. Created by Liz Flahive and Carly Mensch, and executive produced by Jenji

Kohan, Glow stars Gilpin as Debbie ‘Liberty Bell’ Eagan opposite Alison Brie and Marc

Maron. Based on the 1980’s professional wrestling league, the series delves into the

personal and professional lives of a group of women who perform in a promotional

wrestling organization called the Gorgeous Ladies of Wrestling. Gilpin was nominated for

a 2018 and 2019 Primetime Emmy Award and Critics’ Choice Award for Best Supporting

Actress in a Comedy Series and was also nominated for a SAG Award for Outstanding

Performance by an Ensemble in a Comedy Series for Seasons 1 and 2. Gilpin is currently

in production for the fourth and final season of Glow.


Gilpin will appear in the Netflix original film Coffee and Kareem opposite Taraji P.

Henson and Ed Helms. The story centers on a police officer from Detroit who reluctantly

teams up with his girlfriend’s 11-year-old son to clear his name and take down the city's

most ruthless criminal.

It was recently announced that Gilpin will appear in Ryan Murphy’s anthology

series American Crime Story: Impeachment. Gilpin will portray Anne Coulter in the series,

which follows the real-life impeachment trial of President Bill Clinton. She recently

completed production on the highly anticipated film The Tomorrow War opposite Chris

Pratt, which Paramount Pictures will release next Christmas 2020. Chris McKay directs

the film, which follows a man who is drafted to fight in a future war where the fate of

humanity relies on his ability to confront his past.

Other film credits include The Grudge, Stuber, Isn’t It Romantic and Ghost Town.

On the small screen, Gilpin was praised for her performance as Doctor Carrie

Roman in Showtime's Golden Globe-nominated television series Nurse Jackie. Additional

television credits include American Gods, Masters of Sex, Elementary, The Good Wife,

Fringe, Law & Order: SVU and the Civil War based PBS miniseries Mercy West.

On stage in 2008, Gilpin made her off-Broadway debut in the spring in Second

Stage’s productions of Good Boys and True by Roberto Aguirre-Sacasa and returned to

the stage in the fall in Boys Life by Howard Korder. At the Williamstown Theatre Festival

in 2009, Gilpin co-starred in the world premiere of Noah Haidle’s What is the Cause of

Thunder?, a two-character play with Wendie Malick. Gilpin then took the stage in 2010 at

the Roundabout Theatre Company’s production of The Language Archive and, in 2011,

the Manhattan Theatre Club’s productions of That Face and We Live Here. Additionally, in

2011, Gilpin appeared in Lucas Kavner’s Fish Eye with the Colt Coeur theatre company in

New York. In the following year, Gilpin created the role of Elizabeth in the premiere of

Sam Shepard’s Heartless (2012) at the Signature Theatre in New York.

Other notable theater roles include Rattlestick Theater’s production of Lucy

Thurber’s Where We’re Born (2013), Lila Neugerbauer’s production of An Intervention

(2014) by playwright Mike Bartlett, which premiered at the Williamstown Theatre Festival,

the world premiere of Halley Feiffer’s I’m Gonna Pray For You So Hard (2015) at Atlantic

Theater Company and in Bess Wohl’s Barcelona (2016) at the Geffen Playhouse in Los

Angeles.


Born and raised in New York, Gilpin received her bachelor of arts degree at

Fordham College at Lincoln Center.

With a career spanning more than 20 years as one of Hollywood’s most dynamic

and nuanced voices, HILARY SWANK (Athena) is the epitome of what it means to be a

consummate professional as an actress and producer. A two-time Academy Award®-

winning actress, Swank has worked with leading filmmakers such as Clint Eastwood,

Christopher Nolan, Mira Nair, Richard LaGravenese, Garry Marshall, Phillip Noyce, Brian

De Palma and Sam Raimi.

Swank is currently in production for the new Netflix series Away, in which she stars

and executive produces. Swank will play American astronaut Emma Green, who must

leave her husband and teenage daughter behind to command an international space crew

embarking upon a treacherous mission to the red planet.

She also recently wrapped production for Deon Taylor’s detective thriller Fatale,

starring opposite Michael Ealy.

Recently, Swank starred in Netflix’s sci-fi thriller, I Am Mother. The post-apocalyptic

thriller follows a lone human (Clara Rugaard) meant to lead the repopulation of Earth in

the wake of humanity's extinction. After spending her life in a bunker, she soon finds

herself torn on who to trust. Mother (Rose Byrne), a robot designed to repopulate Earth

who raised her in a bunker or the new human stranger (Swank), who comes into the

picture distrustful of Mother and to the life she’s ever known. The film premiered at the

2019 Sundance Film Festival, before releasing on Netflix on June 7, 2019.

In 2018, Swank appeared in the Bleecker Street drama, What They Had, opposite

Blythe Danner and Michael Shannon. Swank starred as Bridget, a struggling daughter

who returns home at her brother's urging to deal with her ailing mother and her father's

reluctance to let go of their life together. The film premiered at the 2018 Sundance Film

Festival before releasing in theaters on October 19, 2018.

Also in 2018, Swank starred in FX’s limited series, Trust, alongside Donald

Sutherland. Swank portrayed Gail Getty, the mother of the kidnapped John Paul Getty III,

the heir to the Getty oil fortune. When her son is taken, she is left to pay his multi-million-

dollar ransom, despite being broke. The show was executive produced by Danny Boyle

and set in 1973 Rome.


In 2017, Swank appeared in Steven Soderbergh’s film, Logan Lucky, with co-stars

Riley Keough, Adam Driver and Channing Tatum. Swank also appeared in the Billie

August film 55 Steps alongside Helena Bonham Carter, which premiered at the Toronto

International Film Festival in September of that year.

In 2016, Swank appeared in the 3D animated film Spark: A Space Tail, directed by

Aaron Woodley for Toonbox Entertainment. She voiced the role of The Queen in the sci-fi

space odyssey. The cast also included Susan Sarandon and Jessica Biel. It was released

nationwide on April 14, 2016. Swank also added clothing designer to her resume with her

clothing line Mission Statement. In a world where women are often objectified and

trivialized, Swank focused on creating clothes that merge high-performance and high-

fashion to allow the wearer to find the perfect balance of movement while they are working

out, in the office, resting or playing.

Swank’s breakout role as Brandon Teena in the 1999 drama Boys Don’t Cry

earned her an Oscar® for Best Actress. Her much lauded performance also earned her a

Golden Globe Award and Critics’ Choice Award as well as New York Film Critics, Los

Angeles Film Critics, Chicago Film Critics and National Society of Film Critics’ awards in

the same category. Additionally, the National Board of Review recognized Swank’s work

with the Breakthrough Performance of the Year award, and she earned BAFTA and

Screen Actors Guild (SAG) Award nominations. In 2005, Swank won her second

Academy Award® for her starring role in Clint Eastwood’s Best Picture Oscar®-winning

Million Dollar Baby. In addition, she won her second Golden Globe Award and a SAG

Award, as well as the National Society of Film Critics and Critics’ Choice awards for Best

Actress. That same year, she also earned Golden Globe and SAG Award nominations for

her role in HBO’s Iron Jawed Angels. Other credits include having starred in and

executive produced the fact-based drama Conviction, for which Swank received a SAG

Award nomination; having starred in and executive producing Mira Nair’s Amelia, the story

of the legendary aviatrix; and Freedom Writers, directed by Richard LaGravenese.

Additional credits include LaGravenese’s P.S. I Love You, Brian De Palma’s The Black

Dahlia, The Affair of the Necklace, Sam Raimi’s The Gift, Stephen Hopkins’ thriller The

Reaping, Christopher Nolan’s Insomnia and Garry Marshall’s New Year’s Eve, as well as

producing the romantic comedy Something Borrowed, the first film produced under the

banner of her production company, 2S Films, formed in partnership with Molly Mickler


Smith.

Swank’s additional efforts focus on her commitment to animal welfare and rescue.

In 2009, Swank participated in the IAMS Home 4 the Holidays campaign dedicated to

placing homeless pets. During the campaign, more than 1.4 million animals found forever

homes. She's also been involved with Best Friends Animal Society for more than a

decade and is an ambassador for this organization, which works tirelessly on behalf of

animals through adoption, spay/neuter programs and education programs for pet parents.

On Thanksgiving Day, 2014 and 2015, Swank executive produced and co-hosted a

ground-breaking primetime two-hour special on FOX aimed at dog rescue titled Fox’s

Cause for Paws: An All-Star Dog Spectacular. During the event, more than 60 dogs were

rescued and tens of thousands of dollars raised to help local, grassroots charities.

Swank continues her dedication and commitment to animal welfare through the

launch of her charity, The Hilaroo Foundation, which brings youth who have been given

up on and animals who have been abandoned together to help heal one another through

rescue, rehabilitation and responsibility training.

IKE BARINHOLTZ (Staten Island) has established himself as one of the more

sought-after comedic writers and actors in the comedy world. Barinholtz was most

recently heard as Wayne on FOX’s Bless the Harts and appeared in Amazon’s Late Night.

In October 2018, he made his directorial debut with The Oath, in which he also starred

alongside Tiffany Haddish. Barinholtz also starred in Universal’s Blockers alongside John

Cena and Leslie Mann in summer 2018. Additionally, he wrapped the final season of

Hulu’s The Mindy Project in 2017, on which he also served as a writer and producer.

Barinholtz starred in FOX’s Snatched alongside Amy Schumer and Goldie Hawn,

starred opposite Seth Rogan in Universal’s comedies Neighbors and Neighbors 2,

appeared in Warner Bros. Suicide Squad and starred alongside Amy Poehler and Tina

Fey in Universal’s Sisters. Additionally, he wrote the hit action-comedy Central

Intelligence with his writing partner David Stassen.

Barinholtz’s additional feature credits include Meet the Spartans, Disaster

Movie and the indies Shrink, Lock and Roll Forever and Inventing Adam.

ETHAN SUPLEE (Gary) appeared in Edward Norton’s film Motherless Brooklyn,


among an all-star cast including Bruce Willis, Gugu Mbatha-Raw, Alec Baldwin, Michael

K. Williams and Bobby Cannavale. His earlier films include Art School Confidential for

director Terry Zwigoff; Darren Aronofsky’s The Fountain; Peter Berg’s Deepwater Horizon,

opposite Mark Wahlberg; Kevin Smith’s classics Mallrats, Chasing Amy and Dogma; The

Wolf of Wall Street for Martin Scorsese; American History X; Blow; and Anthony

Minghella’s Cold Mountain. His breakthrough as a young football player in Disney's

Remember the Titans opposite Denzel Washington garnered raves and he was quickly

tapped to re-join Washington in John Q. Suplee recently starred opposite Hugh Laurie on

the Hulu series Chance, recurred on Raising Hope, shot a major arc on the final season of

Santa Clarita Diet, did the Showtime Twin Peaks reboot for director David Lynch and is

now appearing in the NBC hit dramedy Good Girls. Suplee’s first series was Boy Meets

World, playing reluctant bully Frankie for three seasons. He then starred opposite Jason

Lee in the NBC hit comedy My Name is Earl and for several seasons on the Netflix

comedy The Ranch opposite Ashton Kutcher, his co-star in New Line’s fan-favorite The

Butterfly Effect.

EMMA ROBERTS (Yoga Pants) is an undeniable talent who has amassed an

impressive film and television career over the course of over a decade.

Roberts wrapped filming the Netflix holiday romantic comedy Holidate, which

revolves around two strangers who agree to be each other’s plus ones for each holiday

celebration over the course of a year.

Roberts recently starred in the eighth season of Ryan Murphy’s American Horror

Story: Apocalypse on FX, a crossover between the previous Murder House and Coven

installments, the latter of which featured Roberts as Madison, a party-girl teen witch who

attends a special institution devoted to training and educating the few remaining witches

to keep their coven from extinction. Roberts also appeared in the fourth installment, Freak

Show, playing fortune-teller, Maggie Esmeralda, in a circus of misfits and deformities.

Both American Horror Story: Coven and American Horror Story: Freak Show received

Emmy nominations for Outstanding Limited Series. She returned for the series’ ninth

installment entitled American Horror Story: 1984, which released on September 18, 2019.

Roberts recently completed production on Paradise Hills, the directorial debut of

Spanish helmer Alice Waddington. Also starring Eiza Gonzalez and Danielle Macdonald,


the sci-fi thriller follows Roberts’ character as she wakes up in a high-class treatment

facility on an isolated tropical island where well-off families send their daughters to

become perfect versions of themselves. The film premiered at the 2019 Sundance Film

Festival and was released on October 25, 2019 by Samuel Goldwyn Films.

In May 2018, Roberts starred in Who We Are Now for writer/director Matthew

Newton. The film had its world premiere at the 2017 Toronto International Film Festival

and was also a selection of the 2018 South by Southwest Film Festival. In April 2018,

Roberts starred in writer/director Sam Boyd’s In a Relationship, opposite Michael

Angarano. Based on Boyd’s short film of the same name, it is a film about the things that

come between young people, what they fight about and what they are afraid of. The film

premiered at the 2018 Tribeca Film Festival.

In March 2017, Roberts starred in the horror-thriller The Blackcoat’s Daughter from

writer/director Osgood Perkins, which centers around two young women in an all-girls

boarding school, played by Roberts and Kiernan Shipka, who are haunted by an evil

force. The film premiered at the 2015 Toronto International Film Festival and was released

by A24 Films. In July 2016, Roberts starred opposite Dave Franco in the Lionsgate cyber-

thriller Nerve, from directors Henry Joost and Ariel Schulman and adapted from the 2012

novel by Jeanne Ryan.

From 2015-2016, Roberts starred as Chanel Oberlin in the FOX comedy-horror

series Scream Queens for two seasons. From the minds of Glee creators Ryan Murphy,

Brad Flachuk and Ian Brennan, the series also starred Jamie Lee Curtis, Lea Michele and

Abigail Breslin.

In September 2015, Roberts starred alongside Mickey Rourke and Nat Wolff in the

indie feature Ashby, written and directed by Tony McNamara. The film premiered at the

2015 Tribeca Film Festival. She also starred opposite James Franco and Zachary Quinto

in I Am Michael, based on The New York Times Magazine article entitled “My Ex-Gay

Friend,” which initially premiered at the 2015 Sundance Film Festival.

In May 2014, Roberts starred in Gia Coppola’s directorial debut Palo Alto. In the

coming-of-age story, Roberts played a high school student who begins a questionable

relationship with her soccer coach, played by James Franco. The film originally premiered

at the 2013 Venice International Film Festival and Toronto International Film Festival and

was released in theaters by Tribeca Film. In February 2014, Roberts starred in the IFC


indie film Adult World, directed by Scott Coffey, as an aspiring young poet who is forced to

take a job at an adult bookstore due to the bad economy. The film initially premiered at

the Tribeca Film Festival in 2013 and John Cusack, Evan Peters and Cloris Leachman co-

star.

In August 2013, Roberts starred in Warner Bros.’ hit summer comedy We’re the

Millers with Jennifer Aniston and Jason Sudeikis, from director Rawson Marshall Thurber.

In the comedy, Sudeikis’ character assembles a fake family to smuggle a large shipment

of pot across the Mexican border. Roberts played a tough street girl who is transformed

into his daughter by masquerading as an all-American, preppy young woman. The

following month, Roberts played the love interest of Liam Hemsworth in Lionsgate’s

Empire State, a crime drama directed by Dito Montiel.

Roberts starred in Dimension Films’ fourth installment revival of the Scream

franchise for director Wes Craven, joining original cast members Neve Campbell,

Courteney Cox and David Arquette. Roberts portrayed Jill, the cousin of Campbell, who

was the new girl in a small town. Audiences were shocked to discover Roberts’ sweet girl-

next-door character turned out to be the killer.

In October 2010, Roberts starred in the critically-acclaimed Focus Features

production It’s Kind of a Funny Story opposite Zach Galifianakis and Viola Davis, for

directors Ryan Fleck and Anna Boden. Roberts also starred in the indie film Virginia

opposite Ed Harris and Jennifer Connelly, which premiered at the Toronto Film Festival.

The film is directed by Dustin Lance Black (Oscar® winner for Milk) and executive

produced by Gus Van Sant.

In February 2010, Roberts co-starred alongside Jessica Biel, Bradley Cooper,

Patrick Dempsey, Jennifer Garner, Ashton Kutcher, Carter Jenkins and Julia Roberts in

the romantic comedy Valentine’s Day. Jenkins and Roberts re-teamed, after sharing the

screen in Unfabulous, to play a young couple who are contemplating whether to take a

crucial step in their relationship. The film was directed by Garry Marshall and released by

Warner Bros.

In 2009, Roberts headlined the DreamWorks hit film Hotel for Dogs as one of two

orphaned street kids who convert an old, abandoned hotel into an elaborate fantastical

place for stray dogs. Lisa Kudrow and Don Cheadle co-starred and the film grossed over

$117 million dollars worldwide.


In summer 2007, Roberts starred as the titular character in Nancy Drew, a big-

screen adaptation of the classic teenage detective novels for Warner Bros. The film was

directed by Andrew Fleming and produced by Jerry Weintraub. That same year, Roberts

was honored as the ShoWest Female Star of Tomorrow. Roberts also starred in the Fox

2000 film Aquamarine in 2006, based on the Alice Hoffman novel that tells the story of two

teenage girls who discover a mermaid after their coastal town is ravaged by a hurricane.

The film was directed by Elizabeth Allen and produced by Susan Cartsonis.

From 2004-2007, Roberts starred as Addie Singer in the Nickelodeon hit comedy

series Unfabulous, created by Sue Rose. It was one of the highest rated “tween” series on

television at the time, telling the story of a teenage girl dealing with the trials of growing

up, fitting in and being popular.

Upon landing her very first audition, Roberts booked the role of Johnny Depp and

Penélope Cruz’s daughter in Blow, which was directed by the late Ted Demme for New

Line Cinema. Soon after, she starred in the Sundance short film Big Love directed by Leif

Tilden and starring Sam Rockwell. Roberts went on to play one of the lead roles in the

independent feature film Grand Champion, opposite Joey Lauren Adams, for director

Barry Tubb.

Additional film credits include Little Italy opposite Hayden Christensen; Gavin

Wiesen’s The Art of Getting By with Freddie Highmore and Michael Angarano; Celeste

and Jesse Forever opposite Rashida Jones; Noel Clarke’s thriller 4.3.2.1.; Joel

Schumacher’s Twelve; Lymelife, produced by Martin Scorsese; and The Winning Season

opposite Sam Rockwell.

Roberts recently lent her voice to the animated feature Uglydolls, a story about

acceptance, diversity, joy and friendship that was released by STX Entertainment in May

2019.

Originally from New York, Roberts currently resides in Los Angeles.

AMY MADIGAN (Ma), a critically acclaimed actress of film, television and stage,

received an Academy Award® nomination for Best Supporting Actress for her role in the

feature film Twice in a Lifetime. She also starred as art patroness Peggy Guggenheim in

Pollock. Her film credits include American Woman with Sienna Miller, Stuck with Giancarlo

Esposito, Gone Baby Gone, Field of Dreams, Uncle Buck and Streets of Fire. She can be


seen next in Fox Searchlight’s Antlers with Keri Russell.

In television, Madigan received a Golden Globe Award and an Emmy nomination

for her performance in the telefilm Roe vs. Wade. Additional TV credits include J.J.

Abrams’ Fringe, ABC’s Grey’s Anatomy, HBO’s The Laramie Project and the HBO series

Carnivàle. She is currently shooting John Logan’s Penny Dreadful: City of Angels for

Showtime.

In theater, Madigan made her West End debut with Sam Shepard’s Buried Child,

which originated at The New Group in New York. She also starred in the critically-

acclaimed productions of Beth Henley’s The Jacksonian at The New Group and the

Geffen Playhouse in Los Angeles. Other theater credits include Broadway’s A Streetcar

Named Desire, Mark Taper Forum’s A Lie of the Mind and Manhattan Theatre Club’s The

Lucky Spot.

REED BIRNEY (Pop) has been working in film, television and theater for

decades. Among his earliest credits are Albert Innaurato’s Off Broadway comedy Gemini

in 1976 and Arthur Penn’s 1981 film Four Friends.

This year, Birney will be seen in the Apple series Home Before Dark. He also just

had two films at Sundance Film Festival: Lost Girls and The 40-Year-Old Version. Birney

recently shot gun violence indie Mass, opposite Ann Dowd, Jason Isaacs and Martha

Plimpton. On television, he is best known as vice president Donald Blythe in the Netflix

series House of Cards.

In theater, most recently Birney won a Tony Award for The Humans. He has

received numerous other awards and nominations for plays, including Casa Valentina,

Man From Nebraska, Uncle Vanya, Blasted and Circle Mirror Transformation.

Birney lives in New York.

ABOUT THE FILMMAKERS

CRAIG ZOBEL’s (Directed by/Executive Producer) three features released to

date have all premiered at the Sundance Film Festival. Great World of Sound earned him

Breakthrough Director honors at the Gotham Awards and Independent Spirit Awards

nominations for Best First Film and Best Supporting Actor.


Critically acclaimed Compliance won a Special Jury Prize at the Locarno Film

Festival, a nomination at the Critics’ Choice Awards and an Independent Spirit Award

of Best Supporting Actress for Ann Dowd. Z For Zachariah, starring Chiwetel Ejiofor, Chris

Pine and Margot Robbie, premiered in Sundance’s U.S. Dramatic Competition and was

released by Roadside Attractions.

In television, Zobel is re-teaming with HBO, inking a two-year deal with the

platform. His next project as director and executive producer is Mare of Easttown, the 7-

episode limited series starring Kate Winslet, shooting currently. The drama revolves

around a small-town detective who investigates a local murder as her life crumbles around

her. He was the sole director and showrunner of the CBS All Access mini-series One

Dollar and directed “Akane no Mai,” aka the Shogun world episode, in season 2 of

Westworld. His episode of the Starz Neil Gaiman adaptation, American Gods was hailed

by critics, and one of his episodes of HBO’s critical hit The Leftovers, titled “International

Assassin,” was ranked No. 4 on Screenrant’s “Best TV Episodes of the Decade.”

Zobel’s producing efforts include his close friend David Gordon Green’s Prince

Avalanche, winner of the Berlinale Silver Bear, and the 2016 Toronto and New York Film

Festival debut of Dash Shaw’s animated feature My Entire High School Sinking Into the

Sea. A million years ago, Zobel created Homestar Runner with his oldest, dearest friends,

Matt and Mike Chapman.

DAMON LINDELOF (Written by/Produced by) was born in New Jersey to a school

teacher and a banker. He was also born a writer, although it would take over 25 years to

figure that out. In 2004, he partnered with J.J. Abrams to create Lost. No, they were not

dead the whole time. Since Lindelof left the island, he has worked as a writer and

producer on Star Trek, Prometheus, World War Z and Tomorrowland. Returning to TV in

2014, Lindelof spent three seasons showrunning HBO’s critically acclaimed The

Leftovers, which he fiercely defends as “not as depressing as everyone says.” Most

recently, he just wrapped up the HBO series Watchmen, which he fiercely defends as “not

as confusing as everyone says.” Lindelof also wrote this bio.

NICK CUSE (Written by/Executive Producer) is a screenwriter and producer from

Santa Monica, California. He started his career writing for HBO’s critically acclaimed


drama The Leftovers (2014-2017). He has written for and produced Maniac (2018) on

Netflix, which starred Jonah Hill and Emma Stone, and Watchmen (2019) on HBO. Cuse

is currently a writer and co-executive producer on Station Eleven for HBO Max (slated for

release in 2021).

JASON BLUM (Produced by) is founder of Blumhouse Productions, is a three-

time Academy Award®-nominated, two-time Primetime Emmy Award and a two-time

Peabody Award-winning producer. His multimedia company is known for pioneering a new

model of studio filmmaking: producing high-quality micro-budget films.

Blumhouse is widely regarded as a driving force in the current horror

renaissance. The company’s upcoming releases include Run Sweetheart Run from Shana

Feste and The Vigil from director Keith Thomas. Through Blumhouse, Blum’s feature film

credits include: The Invisible Man, starring Elisabeth Moss, from director Leigh

Whannell; Blumhouse’s Fantasy Island; Ma, starring Octavia Spencer; Black

Christmas from director Sophia Takal; the 2019 film Glass from M. Night Shyamalan; 2017

blockbusters Split from M. Night Shyamalan; Get Out from Jordan

Peele; Halloween; BlacKkKlansman; The Gift; Unfriended; The Visit, among others; and the

highly profitable franchises that include The Purge, Halloween, Insidious,

Sinister and Paranormal Activity.

Blum’s television company, run by Marci Wiseman and Jeremy Gold, successfully

relaunched three years ago as a vibrant independent studio producing 11 series with over

$100 million in annual production revenue. Blumhouse Television currently has over 10

projects in production with different networks and streaming platforms, including but not

limited to Sharp Objects, The Loudest Voice, Sacred Lies and The Purge based on the

successful film franchise. The company is currently in production on Into the Dark, a first-of-

its-kind ongoing monthly horror anthology series, and also struck a deal for a series of eight

straight-to-streaming films from underrepresented filmmakers. The indie studio has also

earned critical acclaim, including a Golden Globe and Critics’ Choice Award for Sharp

Objects and Emmy Awards for its productions of The Normal Heart and The Jinx. The Good

Lord Bird, a limited series for Showtime, starring Ethan Hawke, will debut later this year. The

division also produced feature-length documentaries, with projects that include: This Is

Home, the 2018 Sundance Audience Award winner (World Documentaries) and recipient of


the prestigious duPont/Columbia School of Journalism Award and Bathtubs Over Broadway,

the lauded documentary.

Blum has been recognized by TIME magazine’s 100 list of the world’s most

influential people and has appeared on Vanity Fair’s "New Establishment List.” In 2016,

he received the Producer of the Year Award at CinemaCon. Jason is on the Board of The

Public Theater in New York and a member of the Board of Trustees for both the

Sundance Institute and the Academy Museum of Motion Pictures.

STEVEN R. MOLEN (Executive Producer) is an independent film producer. Molen

worked his way up through the ranks of production, developing proficiencies in film

production and live-action visual effects. He served at DreamWorks as senior vice president

and then head of physical production for 15 years, where he oversaw all aspects of physical

production on over 80 films, including American Beauty, The Ring, Blades of Glory, The

Terminal, Real Steel, Disturbia, Dreamgirls, Transformers, The Help and She’s the Man.

Molen has acted as a production consultant on several studio and independent films.

His executive producer credits include: Paranormal Activity: The Ghost Dimension, The First

Purge, and now The Hunt.

COUPER SAMUELSON (Executive Producer) is the president of feature films at

Blumhouse Productions and is responsible for its film output. Samuelson joined the

company in 2011 at the onset of its first-look deal with Universal Pictures. Since joining

Blumhouse, Samuelson has overseen a slate of over 60 films with a budget range from

$200,000 to $25 million.

He helped to take the example of the success of Paranormal Activity (a $15,000

movie that grossed $200 million worldwide) and built a slate that included the least

expensive and often most profitable movie at studios like Sony (Insidious), Paramount

(Paranormal Activity), STX (The Gift), Sony Classics (Whiplash), HBO (The Normal

Heart), Warner Bros. (The Gallows) and Universal Pictures (The Purge, Ouija and Happy

Death Day). In his first year working for Blumhouse, Samuelson incubated Whiplash,

using company resources to produce a short film that would propel the subsequent

feature to be the lowest-budgeted movie in Hollywood history to win three Oscars®. In

2015, he sourced and shepherded two critically acclaimed hit films by first-time directors:

The Gift, for which Joel Edgerton received a DGA nomination, and the Academy Award®-


winning Jordan Peele film Get Out. Despite its focus on genre, Blumhouse films have won

five Oscars® in the last five years.

He has continued to broaden the scope of the company’s output beyond genre

films to include star-driven dramas, live-action family films, high-concept action movies

and comedy hits like the Happy Death Day franchise, as well as the relaunching of the

Halloween franchise.

Samuelson began his career at Mark Cuban’s 2929 Productions, where he began

as an assistant and rose to run the film department. The company’s output during

Samuelson’s tenure included the Cormac McCarthy adaptation The Road and Oscar®

Best Picture nominee Good Night, and Good Luck.

He co-produced movies including James Gray’s We Own the Night and Two

Lovers, both of which were nominated for the Cannes Film Festival’s Palme d’Or.

Samuelson graduated from Harvard with a BA in history and literature, and romance

languages and literatures.

JEANETTE VOLTURNO (Executive Producer) is the former head of physical

production for Blumhouse Productions, the multimedia company is known for pioneering a

new model of studio filmmaking: producing high-quality micro-budget films.

Volturno, who has more than 25 years of production experience, joined the

company in 2012, and has worked on over 60 feature films during her tenure at the

company, including but not limited to Get Out, which was nominated for four Academy

Awards® in 2018—including Best Picture—and won the Oscar® for Best Original

Screenplay; Halloween, which posted the second-highest opening ($76 million) for a

horror movie in 2018 after IT; Spike Lee’s BlacKkKlansman, which was nominated for six

Academy Awards® in 2019—including Best Picture—and won the Oscar® for Best

Adapted Screenplay; the company’s successful Purge franchise; and Whiplash, which

was nominated for five Academy Awards® and won three for Best Performance by an

Actor in a Supporting Role (J.K. Simmons), Best Achievement in Film Editing and Best

Achievement in Sound Mixing.

Volturno and Blum first collaborated when she worked as a line producer on the

hugely successful Paranormal Activity franchise. She also worked on James

Wan’s Insidious and Barry Levinson’s environmental thriller The Bay. These films helped


build the foundation for the successful company that Blumhouse is today.

In 1999, prior to her work with Blum, Volturno established Catchlight Films. There

she served as an executive producer for the romantic comedies In the Weeds and Amy’s

Orgasm. She also produced the World Festival of Sacred Music documentaries, which

were inspired and hosted by His Holiness the Dalai Lama.

Before founding Catchlight, Volturno was one of two Americans recruited to create

Tony and Ridley Scott’s company Mill Film in London. This opportunity allowed her to

work in film on a global level. During her two years abroad (from 1997-1999), she helped

set up a new film division and worked on Lost in Space, Waking Ned Devine, Enemy of

the State, Hilary and Jackie and Still Crazy.

Volturno initially entered the industry as a visual effects coordinator at Sony

Pictures Imageworks on the film James and the Giant Peach. This opportunity gave her

the technical foundation for the new digital mediums used in filmmaking today. She

worked at Sony for two years, contributing to projects such as Money Train and Michael.

Jeanette studied at UCLA in the World Arts and Cultures department, which

provided the perfect intersection for her love of travel and different cultures.

DARRAN TIERNAN (Director of Photography) is an Irish cinematographer who got

his start in the commercial world and is currently living in Los Angeles. Since then he has

worked on high-end TV series such as Westworld and Perry Mason for HBO and Star

Trek: Picard for CBS. Tiernan is currently shooting Foundation for Apple TV and then onto

Season 3 of Barry for HBO.

An editor of both fiction and documentary films, JANE RIZZO (Editor) is a frequent

collaborator with Craig Zobel. Her credits include award-winning films Leave No Trace, Z

for Zachariah, and Sundance hits Compliance, Ain’t Them Bodies Saints and Great World

of Sound. Her work has played at film festivals around the world, including Cannes,

Venice, Sundance and New York.

Her television credits include the HBO hits Succession, High Maintenance, Zobel’s

One Dollar for CBS, The Get Down for Netflix and Dickinson for Apple TV+.

A native of Italy, Rizzo graduated from the University of North Carolina School of

the Arts.


DAVID TABBERT (Costume Designer) is a costume designer and stylist who has

worked in film and television for the last 14 years. Looking back, it was clear at a young

age that a career in costume was fitting. His earliest style influences were Punky

Brewster, Boy George and Axl Rose. Raised in cookie-cutter suburbia and not fitting

societal molds, he escaped to New York City at the age of 21. It was there that his career

began in styling music videos and coordinating fashion shows.

Tabbert is proud to have been a part of the 40th anniversary commemoration of the

Alien franchise, designing costumes for Alien: Harvest, as well as designing narrative

reenactment costumes for the HBO docuseries The Jinx. Variety commended Tabbert for

his work on Martha Marcy May Marlene, praising his costumes as “illuminating the inner

turmoil of the characters.” He’s now weathering a Catskills winter, wrapping up Ubisoft’s

production of Werewolves Within, directed by Josh Ruben.

When not in New York City or traveling, he’s in Pittsburgh with his two loving

partners and often found volunteering at the Humane Animal Rescue.

Two-time Primetime Emmy Award-nominated composer NATHAN BARR (Music by)

has received critical acclaim for his unmatched versatility, incorporating eclectic instruments

from musical cultures across the world into his scores. This versatility for which he has

become known is displayed most recently in Amazon Studios’/Legendary Television’s hit

fantasy period drama Carnival Row, starring Orlando Bloom and Cara Delevingne, FX’ s

Emmy-winning drama Fosse/Verdon and Miramax’s upcoming film Uncle Frank, written and

directed by Alan Ball and starring Paul Bettany. Barr is currently hard at work scoring Hulu’s

upcoming series The Great, starring Elle Fanning and Nicholas Hoult and Ryan Murphy’s

upcoming Netflix drama Hollywood.

Barr’s hallmark adaptability has led him to scoring a diverse roster of some of

television’s biggest shows. He has scored all six seasons of FX’s The Americans, starring

Keri Russell and Matthew Rhys, which earned him a Primetime Emmy Award nomination for

Outstanding Original Main Title Theme Music. Barr’s music can also be heard in all seven

seasons of HBO’s Emmy-winning and fan-favorite series True Blood and Netflix’s Hemlock

Grove, for which Barr earned his second Primetime Emmy Award nomination for the main

title theme. In 2018, Barr returned to score the third season of Amazon’s top show and

acclaimed con-man drama Sneaky Pete, starring Giovanni Ribisi, as well as season 2 of


AMC’s multi-generational western epic The Son, starring Pierce Brosnan.

With Emmy Award nominations for both The Americans and Hemlock Grove, Barr

has the distinction of being the first composer to have two nominations in the main title

category in the same year.

Alongside his extensive career in television, Barr has a long record of scoring

successful films as he approaches his 40th feature. A frequent collaborator with gore-horror

master Eli Roth, Barr scored his early cult classics Cabin Fever and Hostel, and in 2018

scored Roth’s family-horror film The House with a Clock in Its Walls, which was released by

Amblin Entertainment/Universal Pictures and starred Jack Black and Cate Blanchett. Barr

also scored Jason Blum’s box-office hit thriller The Boy Next Door, starring Jennifer Lopez.

In 2017, Barr scored Columbia Pictures’ sci-fi drama Flatliners, starring Kiefer Sutherland,

Ellen Page and Nina Dobrev.

In addition to writing his scores, Barr performs many of the instruments heard in his

compositions and is skilled in many styles, ranging from orchestral to rock. He is known for

his collection and inclusion of rare and unusual instruments from around the world, such as a

human bone trumpet from Tibet, dismantled pianos, a rare glass harmonica and gourd

cellos. The gem of his collection is a 3-manual, 19-rank Wurlitzer Theater Organ with 1,366

pipes. The organ lived on the scoring stage at 20th Century Fox from 1928-1998 and can be

heard in dozens of scores by legendary composers such as Bernard Herrmann, Alex North,

Jerry Goldsmith and John Williams. It is now the centerpiece of Barr’s newly constructed

Bandrika Studios, an 8,000 square foot scoring stage and recording facility conceived by

Barr as a permanent home for this history-rich instrument. Featured in Variety and The Wall

Street Journal, Bandrika has already established itself as a world-class recording space and

a part of Barr’s increasingly unique palette.

Barr currently resides in Los Angeles.


CASTCrystal BETTY GILPINAthena HILARY SWANKStaten Island IKE BARINHOLTZDon??? WAYNE DUVALL(Shut The F*** Up) Gary ETHAN SUPLEEYoga Pants EMMA ROBERTSTarget CHRIS BERRYVanilla Nice STURGILL SIMPSONBig Red KATE NOWLINMa AMY MADIGANPop REED BIRNEYRichard GLENN HOWERTONThe Doctor STEVE COULTERMartin DEAN WESTPeter VINCE PISANILiberty TERI WYBLESgt. Dale STEVE MOKATEDead Sexy SYLVIA GRACE CRIMRannnndeeee JASON KIRKPATRICKFauxnvoy MACON BLAIRPaul J.C. MACKENZIENicole TADASAY YOUNGFlight Attendant/Not Stewardess/ Kelly HANNAH ALINECaptain O’Hara JIM KLOCKCrisis Mike USMAN ALLYBandana Man WALKER BABINGTONDino ARIL ELIAZBojan ALEXANDER BABARARefugee Mother TIROL PALMERBearded Refugee NED YOUSEFBackpack Refugee IYAD HAJJAJRefugee Man MIKEL ALBAGDADIAgent in Charge MARTIN HARRISBorder Agents YOSEF KASNETZKOV

JEFF BROCKTONTROY JASON ROKER

Stunt Coordinators HANK AMOS


HEIDI MONEYMAKERStunts MONICA LOPEZ ALEMAN

TED BARBAJOANNA BENNETTNICK BENSEMANTODD BLOOMERNICOLAS BOSCNICK BRANDONCHELSEA BRULANDTARAN BUTLERCHRIS BRYANTMATTHEW CIPROCARA COLLJIANBRUCE CONCEPCIONCAITLIN DECHELLEJACOB DEWITTARTURO JOE DICKEYJARED EDDOCHRIS FANGUYTYLER GALPINCASEY HENDERSHOTASHLEY HUDSONSARAH IRWINJULIENE JOYNERNITO LARIOZAJC. LEUYERHANS MARRERODANIEL MUNEVARBROOKLYN PROCTORKEVIN REIDET SALIHBILL SCHARPFPRESTON SCHRAGJACKSON SPIDELLTARYN TERRELLAMY LYNN TUTTLEMICHAEL YAHNJOHN ZIMMERMAN

CREWDirected by CRAIG ZOBELWritten by NICK CUSE & DAMON LINDELOFProduced by JASON BLUM

DAMON LINDELOF, p.g.a.Executive Producers CRAIG ZOBEL

NICK CUSESTEVEN R. MOLENCOUPER SAMUELSONJEANETTE VOLTURNO

Director of Photography DARRAN TIERNANProduction Designer MATTHEW MUNNEditor JANE RIZZO


Costume Designer DAVID TABBERTCasting by TERRI TAYLOR, CSAMusic by NATHAN BARRCo-Producers JULIE GOLDSTEIN

JENNIFER SCUDDER TRENTUnit Production Manager JOHN BRISTERFirst Assistant Director LARS P. WINTHERSecond Assistant Director STEPHEN LoNANOAdditional Editor TIM ALVERSON, ACE Art Director JASON BALDWIN STEWARTAssistant Art Director NEALY ORILLIONArt Coordinator MARIA SENGERSet Designer JESSICA STUMPFGraphic Artist LOGAN LEDFORDStoryboard Artist RYAN FALKNERArt Production Assistant JESSICA RICHMONDSet Decorator MONIQUE CHAMPAGNELeadman PETER EDWARDSSet Decorator Buyer BETHANY HORNINGOn-Set Dresser BONNIE GOODSONSet Dressers BRIAN FREEMAN

CASSIE CATALONOTTOZAC TATE DWIGHT STANLEY

Property Master STEPHEN “TEEB” FINDERSAssistant Property Master RACHEL PEREZArmorer HOWARD FANNONProperty Assistant NOAH FISCHBACHCamera Operator/Steadicam JOHN “BUZZ” MOYERFirst Assistant Camera BRANDON DAUZATSecond Assistant Camera MATT GUIDRYCamera B Operator GREG MORRISFirst Assistant B Camera PENELOPE HELMERSecond Assistant B Camera ERIC VAN DER VYNCKTDIT MARC CLANCYLoader MARY CASTEELRonin II Operator MICHAEL KENNEDYProduction Sound Mixer ROBERT BIGELOWBoom Operator JACK BIGELOWSound Utility KIRBY LEONARDGaffer SERGIO VILLEGASBest Boy Electrics REUBEN WILDERConsole Programmer ADAM WAGUESPACKGenerator Operator NINO PATERNOSTROLamp Operators BRIAN POSSLENZY

KEVIN SLARKRigging Gaffer EARL WOODSBest Boy Rigging Gaffer ANDY CLAPPKey Grip RAUL “INDIO” MARINBest Boy Grip MIKE “BIG MIKE” BONNETTA Dolly Grip KENNETH COBLENTZB Dolly Grip NEFTALY NIEVES


Grips FERNANDO ALBANO ADAM BEARDDAVID TANDY RAMON VAZQUEZ

Key Rigging Grip EDUARDO “FLACO” URUENABest Boy Rigging Grip SCOTT CASWELLRigging Grip ROSS ELIASHydroscope Crane Technician CRAIG RICEHot Head Technician MORGAN DAVISSpecial Effects Coordinator MATTHEW “SMALLS” KUTCHERSpecial Effects Foreman ERIC ROBERTSSpecial Effects Rigging Foreman BOBBY “FALL GUY” STENWALLSpecial Effects Key Technicians DJ BODENHEIMER

JOHN C. BUSHTROY COLLINS ELIAS DUHE JR.KURT HILTHON PAUL FERRETTIASHLEY KOPANSKI JEFF MOSHELLJAY STRONG

Assistant Costume Designers SUSAN THOMAS LEE KYLE

Costume Supervisor SUZANNE CHAMBLISSKey Costumer MEGAN McAFEESet Costumer EMILY DESCENNATruck Costumer HEATHER ROEBUCKBackground Costumer GEORGE ROTHAthena Costumer RENEE RAGUCCI-SHELTONAger/Dyers JULIE EBEL

HEIDI BAYERStitcher GILLIAN AUSTINCostume Production Assistants KATE FARNED

ALEXA HOWARDDepartment Head Makeup LAUREN THOMASKey Makeup Artist LEAH VAUTROTMakeup Artist COURTNEY CALLAISMakeup Effects Artist STACEY PERRYAthena Makeup Artist MA KALAADEVI ANANDADepartment Head Hair EMILY STEGEMANKey Hair Stylist DEE LEVEQUEHair Stylist DONITA SATHERAthena Hair Stylist TONY WARDScript Supervisor DAVID BUSHLocation Manager YVETTE LAPLACEAssistant Location Managers CHRIS GOODSON

CASEY B. JOHNSONLocation Scouts WIN RILEY

JOHN COLLINSDANA HANBY DAVID McCARTYGERARD SELLARS


Locations Secretary FIONA MOCTABNKey Location Assistant RYAN ORGERONLocation PAs CLARA DEWEESE

ETHAN ESTEBJEFF FLACK KAI WILLIAMS

Production Accountant SEAN CARVILLE1st Assistant Accountant DAVID BOJARSKI2nd Assistant Accountants ALEXIS TIPPIN

THUYVI NGUYENPostproduction Accountant DAVID PAULIPayroll Accountant EDWARD POVEDAPayroll Clerk MAI NGUYENAP Clerk ADRIENNE CONNELLYProduction Supervisor KEVIN ROBERTSProduction Coordinator TRISH CALLAISAssistant Production Office Coordinator CASEY MOORETravel Secretary STACIE DAVISProduction Secretary RACHEL HARDISONOffice Production Assistants KATIE HEROMAN

JAYNA PUCHKOFFAsset Manager YVETTE BENNETTClearance Coordinator TARA LARSEN2nd 2nd Assistant Director HARRISON BECKSTEADAdditional 2nd Assistant Director ALICIA DEANCasting Associates ALLY CONOVER

SARAH DOMEIER LINDO, CSA Casting Assistant RAE ROBINSONNOLA Casting ELIZABETH COULONNOLA Casting Associate AMELIA CHEN MILEYNOLA Casting Assistant JASON EDWARDSExtras Casting BLOSSOM PETERS

ADAM HOCHFELDMARY HAMARNEH HUBER

Unit Publicist JEANMARIE MURPHYStill Photographer PATTI PERRETAssistants to Mr. Zobel HUNTER McHUGH

BREE BRINCATAssistants to Mr. Blum ANNABELLE AMATO

BILLY BOWERSAssistant to Mr. Lindelof JOSHUA CAPPANNELLIProducer's Assistant NANCY SCHMITTKey Set Production Assistant TREVOR JONESSet Production Assistants CHELSEA BAYLES

MAX CIANCIBRYAN MITCHELL ROBYN B. WASERMAN

Construction Coordinator SCOT MIDDLETONConstruction Foremen KIM HARRIS

EDGAR MOLLERETHOMAS ANDERSON


Prop Makers MILTON DIENER SHANE DUCOTETORSTEN GIPPERICH F. SCOTT GREENFIELDJOHN W. JACKSON SANFORD JOHNSONBARRY LEBLANC RYAN MACLACHLANRICHARD WOLF

Plaster GEORGE SANCHEZConstruction Utility TROY EASTINUtility Tech MATTHEW WRIGHTConstruction Secretary KAULA JOHNSONLead Scenic CAMILE KELSEYPainter Gang Boss PERRY TRENTACOSTASet Painters MARK DRUHET

NATHAN MULLIGANPainters EMBER SOBERMAN

WILLO JEAN-BAPTISEJOLEAN LABORDE

Transportation Coordinator JOHN McLAUGHLINTransportation Captain SALVADOR MELANCONDispatcher JOANIE DEGENHARDTDOT Compliance Clerk LAUREN WALTERCaterer FRENCHY’S CATERINGChef CARLOS MORALESKey Craft Service GABRIEL “GATOR” GUILBEAUCraft Service BENJAMIN GARCIAAnimal Wranglers JEFF GALPIN

TYLER GALPINJASON FRANNINO

Lead Greens RUSS DOYLEGreens Foreman ALEX ELDIMIATIGreens MARK CURTIS

SYLVESTER MORRIS, JR.Set Medics GARIN SPARKS

JULIEN FARGESConstruction Medic FLOYD DESORMEAUXPicture Cars MICHAEL SCHLUMBRECHT

JAMES ROBERTOVideo Assist DUSTIN LOGANDrone Pilots DANIEL WAGHORNE

REITH GIBSONDrone Technician SIMON MARTHINSONDialect Coach ANN KOS EDWARDSTeacher SERENA MORIN

ADDITIONAL PHOTOGRAPHYDirector of Photography ADAM STONEArt Coordinator LISA KUTYREFFGraphic Artist HENRY McGEEArt Production Assistant DAVID DUNNING


Set Decorator RACHEL APRILLeadman DUNBAR MERRILLGang Boss BROOKS JOHNSONSet Decorator Buyer LAUREN HERNARDSet Dressers KENNETH APRIL

SCOTT HATFIELDJOSHUA ANDERSON APRIL HOPKINS

Property Assistants JAMIE MAHEU MEG ERWIN

Camera Operator/Steadicam BRIAN FREESHFirst Assistant Camera WADE WHITLEYSecond Assistant Camera SIENNA PINDERHUGHESFirst Assistant Camera B ZAC BLOSSERSecond Assistant Camera B LANCE ROMANODIT NATHAN BORCKLoader PARKER RICEProduction Sound Mixer DUSTIN FLEETWOODSound Utility BRENT McINNISConsole Programmers SEAN McKINNEY

JOSH COURTNEYLamp Operators MARINO DE LEON

TREY LAGANBest Boy Rigging Gaffer DANIEL LEBLANCRigging Electric PETE LAVATY

BENNETT BARTLEYBest Boy Grip ADAM BEARDA Dolly Grip RICHARD HOOVERB Dolly Grip SCOTT LABELLGrips CHARLIE WIGGIN

DEVIN RICKSBest Boy Rigging Grip JOHN KOSCHRigging Grips ROSS ELIAS

DAVID TANDYJOSH ERMON CHADD BROCK

Hydroscope Crane Technician CRAIG RICEHot Head Technician HILTON GARRETSpecial Effects Key Technicians ZACH JASE

MATT HARRISCostume Supervisor SHANNON JANTZSet Costumer CHARLES TONEYAger/Dyers MARCUS A. MONTOYAStitcher AURORA KNOXCostume PA ALEXA HOWARDKey Makeup Artist COURTNEY CALLAISMakeup Artists APRIL MANESS

RENEE DAIGRENPORTAthena Makeup Artist FRANCESCA BUCCELLATOKey Hair Stylist CAMMY CROCHETHair Stylists WADE HAMPTON

CHANTAL CALMES


Athena Hair Stylist SARAH HINDSGAULAssistant Location Managers JOHNNY McCOLLAM

DAVID McCARTYLESLI RICHARD

Locations Secretary VINAY CHANDLocation PAs JOE STANGE

RENE FABREDAVID BROCATO

2nd Assistant Accountants CHRIS KLEINPayroll Accountant TIM RINGPayroll Clerk ERICA HAMILLOffice Production Assistants KORBIN WEIDENBACHER

SEAN PATRICK MOORE2nd 2nd Assistant Director SUMNER BOISSIEREKey Set Production Assistant MARCUS BROWNBase Camp Production Assistant SUE YOUNG KIMSet Production Assistants ASHLEY SEGAL

BRIAN RUBINLUKE MELMAN

General Foreman ALEX MOLLEREConstruction Foreman SHANE DUCOTEProp Makers MAXIE DUCOTE

GARY CUCCIAWILLIAM ROBERTSON

Construction Utilities AVIEL JOHNSON ANTONIO COJOE

Construction Secretary KAULA JOHNSONLead Scenic Painters WILLO JEAN-BAPTISE

JOHN THOMPSON JOHNELL LEEJAMES CHRISTOPHER LANE MAX NEWMANEMBER SOMBERMAN

DOT Compliance Clerk DASHONNA LEALCaterers CAYMAN SINCLAIR

LAKEHOUSE CATERINGChef PETER KUSIWCraft Service FRANK CASTROHare Trainers RICK NYBERG

TITUS REYNOLDSOn-Set Greens MARK CURTISGreensman LUKE WATSONSet Medic GABE SMITHConstruction Medic KRIS BUTLERVideo Assist KYLE JENKINSTeleconference Robot Tech DANIEL WAGHORNEDialect Coach BOUCHAIB GADIRVFX Production Assistant CHRIS WICKLINEFirst Assistant Editor JAY TRAUTMANAssistant Editor DREW SACKSPostproduction Coordinator BEN SIMPKINSEditorial Production Assistants ARVID CRISTINA


BRIAN LAPROCINOSound Editorial Services Provided by PACIFIC STANDARD SOUNDSupervising Sound Editor WILL FILESSupervising Sound Editor & Sound Designer RICH BOLOGNASound Editors PHIL BARRIE

DIEGO PEREZAssistant Sound Editor RACHEL WARDELLDialogue Supervisor RYAN COLEDialogue Editor POLLY McKINNONFoley Services Provided by ALCHEMY POST SOUNDFoley Artists LESLIE BLOOME

JOANNA FANGFoley Mixer RYAN COLLISONFoley Editors NICK SEAMAN

LAURA HEINZINGERADR Mixers BRIAN SMITH

AARON HASSONADR Group Coordinators LOOP GROUP WEST

WOLFIE TRAUSCHANITA KALATHARA

Re-Recording Mixers WILL FILESMARK PATERSON

Additional Re-Recording Mixers SCOTT LEWIS MATTHEW WATERS

Re-Recording Mix Technician KEVIN FROINESADR Mixers BRIAN SMITH

AARON HASSONRe-Recorded at SONY PICTURES STUDIOSAdditional Music JUSTIN BURNETT

STEPHEN LUKACHMusic Editor KEVIN CREHANAdditional Music Editing JAY B. RICHARDSONTechnical Score Engineers HARRY RISOLEO

KYLE RODRIGUEZDIMITRI SMITH

Orchestrator PENKA KOUNEVAAdditional Orchestrators LARRY RENCH

JEREMY BORUMCopyist JUNKO TAMURAMusic Preparation THANH TRANScore Recording & Mixing GREG HAYESDigital Score Recordist VINCENT CIRILLIDigital Score Mixer LARRY MAHOrchestra Contractor DAVID LOWScore Recorded at BANDRIKA STUDIOS, TARZANA, CAScore Mixed at STUDIO H, LAKE BALBOA, CASpecial Makeup Effects Design AUTONOMOUS F/X INC.

JASON COLINSMICHAEL McCARTY

Title Design ANTENNA CREATIVE


End Credits by SCARLET LETTERSDigital Intermediate by TECHNICOLORDigital Intermediate Colorist DOUG DELANYDigital Intermediate Editor BOB SCHNEIDERAssistant Colorists SANTIAGO PADILLA

RANDY RIGGDAN WILLIAMSFRANK FIGUEROASERGIO GARCIA

Digital Intermediate Producer NANCY FULLERProject Manager LADD LANFORDDigital Dailies by TECHNICOLOR ON-LOCATION SERVICESDailies Colorist JUSTIN DELONGDailies Producer DENISE WOODGERDDailies Operations CHRIS VAN DUYNDailies Engineer CHRIS ARMSTRONGVisual Effects by PIXOMONDO VANCOUVERVisual Effects Supervisors JOHNNY GIBSON

ED HAWKINSVisual Effects Producer JENNÉ MARIE GUERRACompositing Supervisor EGBERT REICHELVisual Effects Coordinator GLEN HOMBREBUENOVisual Effects Editor SHAE SALMONAsset Artists SHONA KAVI

YONG JIN KIMLayout Artists AZZARD GORDON

ABRAHAM SANCHEZ DEL VILLARMatte Painters MICHAEL GARDINER

AERYN GRAYTHADDEUS WARREN

Compositors ANDRÉ BRUTO SHAOZHUO CUIAMY DAVIS JEONG WON JANGDELPHINE LAURENT GORAN PETRUSHEVSKIJUAN RODRIGUEZ

“FAIRYTALE IN THE SUPERMARKET”Written by Vicky Aspinall, Gina Birch, Ana da Silva, Paloma Romero

Performed by The RaincoatsCourtesy of Kill Rock Stars

By arrangement with Terrorbird Media

“MISSISSIPPI DELTA”Written & Performed by Bobbie GentryCourtesy of Capitol Records Nashville

Under license from Universal Music Enterprises

“GIRLS IT AIN’T EASY”Written by Ronald Dunbar, Edyth Wayne

Performed by Dusty Springfield


Courtesy of Atlantic Recording Corp.By arrangement with Warner Music Group Film & TV Licensing

Courtesy of Mercury Records LimitedUnder license from Universal Music Enterprises

Stock footage courtesy of Getty.

Camera cranes, dollies, remote & stabilized camera systems byChapman/Leonard Studio Equipment, Inc.

The Filmmakers Gratefully ThankOrleans Parish Government and FILM NOLA

St. Tammany Parish Government and its Office of Film and Tourism, Loren LegendreTangipahoa Parish Government and its Office of Film and TourismSt. Bernard Parish Government and its Office of Film and TourismJefferson Parish Government and its Office of Film and Tourism

New Orleans Public Belt, Scott RichouxPremium Parking of New Orleans

Harbor Police DepartmentPort of New Orleans

PRESENTED IN ASSOCIATION WITH DENTSU INC.

THIS MOTION PICTURE USED SUSTAINABILITY STRATEGIES TOREDUCE ITS CARBON EMISSIONS AND ENVIRONMENTAL IMPACT.

Dolby Digital in Select Theatres Logo

No. 52363


COPYRIGHT © 2019 UNIVERSAL STUDIOSAll Rights Reserved.

ANIMATED UNIVERSAL STUDIOS LOGO © 2013 UNIVERSAL STUDIOS(Copyright for animated main title Universal logo.)

Universal Studios is the author of this motion picture for purposes of theBerne 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 INCIVIL LIABILITY AND CRIMINAL PROSECUTION.

Animated Universal Parks and Resorts Tag

Credits as of February 24, 2020.

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