Disney.com/Tomorrowland©2015 Disney Enterprises, Inc. All Rights Reserved

I

WALT DISNEY PICTURESpresents

AnA113

Production

ABRAD BIRD

Film

Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRAD BIRDScreenplay by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAMON LINDELOF and BRAD BIRDStory by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAMON LINDELOF & BRAD BIRD & JEFF JENSENProduced by . . . . . . . . . . . . . . . . . . . . . . . . . . . DAMON LINDELOF, p .g .a . BRAD BIRD, p .g .a . JEFFREY CHERNOV, p .g .a .Executive Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN WALKER BERNARD BELLEW JEFF JENSEN BRIGHAM TAYLORDirector of Photography . . . . . . . . . . . . . . . CLAUDIO MIRANDA, ASCProduction Designer . . . . . . . . . . . . . . . . . . . . . . . . . SCOTT CHAMBLISSEdited by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WALTER MURCH, ACE CRAIG WOOD, ACECostume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY KURLANDMusic by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL GIACCHINOCo-Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM PEITZMANVisual Effects Supervisors . . . . . . . . . . . . . . . . . . . . . . CRAIG HAMMACK EDDIE PASQUARELLO JOHN KNOLLCasting by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .APRIL WEBSTER, C .S .A . & ALYSSA WEISBERG, C .S .A .

Unit Production Managers . . . . . . . . . . . . . . . . . . . .BERNARD BELLEW STEWART BETHUNEFirst Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS CASTALDISecond Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN CALIP

Visual Effects Producer . . . . . . . . . . . . . . . . . . . . . . . . . . TOM PEITZMANILM Senior Visual Effects Producer . . . . . . . . . . . . . . . . . . JILL BROOKSILM Animation Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . MAIA KAYSERILM Associate Visual Effects Supervisor . . . . . . . . . .BARRY WILLIAMS

Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEBBI BOSSI

CAST

Frank Walker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEORGE CLOONEYNix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HUGH LAURIECasey Newton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRITT ROBERTSONAthena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RAFFEY CASSIDYEddie Newton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM MCGRAWUrsula . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATHRYN HAHNHugo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEEGAN-MICHAEL KEYFrank’s Dad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHRIS BAUERYoung Frank Walker . . . . . . . . . . . . . . . . . . . . . . . . .THOMAS ROBINSONNate Newton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PIERCE GAGNONDave Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATTHEW MACCAULLJenny Newton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JUDY GREER

and (in order of appearance)Bus Driver . . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW KEVIN ANDERSONSmall World Operator . . . . . . . . . . . . . . . . . . . . . MICHAEL GIACCHINOSkyscraper Foreman . . . . . . . . . . . . . . . . . . . . . .D . HARLAN CUTSHALLYoung Casey Newton . . . . . . . . . . . . . . . . . . . . . . . . . . SHILOH NELSONHistory Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .XANTHA RADLEYScience Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAVID NYKLEnglish Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL MCGILLIONBeefy Cop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PEARCE VISSERJail Desk Jockey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GARRY CHALKJail Punk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DAGAN NISHJetpack Dexter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . YUSUF AHMEDJetpack Buddies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX BARIMA JEDIDIAH GOODACREMonorail Mother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATE CRUTCHLOWYoung Astronaut . . . . . . . . . . . . . . . . . . . . . . . . . . . PRIYA RAJARTHNAMAstronaut’s Father . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PARM SOORAstronaut’s Mother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEENA MANROPickup Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICK PEARCEPolice Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM BUTLERDeputies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL ROWE TIM PEREZEiffel Tower Guard #1 . . . . . . . . . . . . . . . . . . . . . . . . PATRICK SABONGUIEiffel Tower Guard #2 . . . . . . . . . . . . . . . . . . . . . . . . . .ROMUALD HIVERTPierre Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MATHIEU LARDIERJensen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRASER CORBETTTough Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DARREN SHAHLAVIYoung British Recruiter . . . . . . . . . . . . . . . . . . . . . . . . . . . AIDAN GEMMEGuitar Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TAKAYUKI OKIGM Plant Worker . . . . . . . . . . . . . . . . . . . . . . . . . . . NATASHA DAVIDSONHaitian Woman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LILIANE LEILA JUMA

Supervising Stunt Coordinator . . . . . . . . . . . . . . . . .ROBERT ALONZOCo-Stunt Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOEY BOXKey Stunt Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JACOB DEWITTFrank Stunt Double . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL ARRIASCasey Stunt Double . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KRISTA BELLAthena Stunt Double . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JADE QUONYoung Frank Stunt Double . . . . . . . . . . . . . . . . . . . . . . . MATT PHILLIPSNix Stunt Double . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY C . ROBINSON

II

Stunt PerformersFRASER AITCHESON JANENE CARLETONED ANDERS ANDY SMITHGARVIN CROSS JEFF SANCAMIKE MITCHELL HEATH STEVENSONRAFAEL SOLA LOYD BATEMANMONIQUE GANDERTON EDDIE PEREZTODD SCOTT KIMANI RAY SMITHLARRY LAM KYLE REIFSNYDERJASON BELL KORY GRIMJONNY CAINES WEBSTER P . WHINERY JR .KAYLA EL-ADAM

Stunt RiggersJOEY DICKEY CORBIN FOXCHRIS GEISLER KEONE KIMSAMUEL LE BRIAN LYDIATTDAN PLUM

Production Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN CATRONProduction Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . EVA MORGANSupervising Art Director . . . . . . . . . . . . . . . . . . . . . . . . . .RAMSEY AVERYSecond Assistant Directors . . . . . . . . . . . . . . . . . . . . . . PHILIP NEE NEE MISHA BUKOWSKI

Supervising Art Director . . . . . . . . . . . . . . . . . . . . . . . . DON MACAULAYArt Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TODD CHERNIAWSKY KELVIN HUMENNY MARTINA JAVOROVA LAUREN POLIZZI JEREMY STANBRIDGE GEOFF WALLACEAssistant Art Directors . . . . . . . . . . . . . . . . . . . . . . . . .PETER BODNARUS STEPHEN CHRISTENSEN SEAN GOOJHA ANDREW LI

Visual Effects Associate Producer . . . . . . . . . . . . . . . . . . . STEVE RIERA

Set Decorator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIN MACDONALDLeadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE MILLER

Camera Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUKASZ BIELAN JOHN CLOTHIERCamera Operator (Spain & LA) . . . . . . . . . . . . . . . . . . . BJ MCDONNELLFirst Assistant A Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN MINGFirst Assistant B Camera . . . . . . . . . . . . . . . . . . . . . . LARRY PORTMANNSecond Assistant A Camera . . . . . . . . . . . . . . . . . . . . . . . . . . .IAN LEVINESecond Assistant B Camera . . . . . . . . . . . . . . . . . . . . . . . ANDY CAPICIKCamera Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SARAH MATHERDigital Imaging Technician . . . . . . . . . . . . . . . . . . . . . . . . ALEX B . CARRDigital Utility Technician . . . . . . . . . . . . . . . . . . . . . . ROBERT FINNIGAN

Costume Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES TYSONAssistant Costume Designers . . . . . . . . . . . . . . . . LEIGHTON BOWERS KARIN NOSELLACostume Coordinators . . . . . . . . . . . . . . . . JESSICA LYTHGOE-GREEN CORINNE MAMELIKey Costumer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAWN Y . LINE

CostumersSUSAN O’HARA ANDRÉ BROUWERPAMELA CAMERON TONY ALMARAZLISE HACHE JANA REIDELNANCY C . DUGGAN CORRINE LARSONBARRY PETERS MYRON BAKERJOSEPH CIGLIANO SUE BUBSILKE GUGLIERMO LUISA DAL MAGROCOURTNEY MCKENZIE STACY L . TYSONBETSY GLICK JUNE SUEPUNPUCKSpecialty Costumes by . . . . . . . . . . . . . . . . . . . . . . . . . . FILM ILLUSIONS

Makeup Dept . Head . . . . . . . . . . . . . . . . . . . . . . . . . . MONICA HUPPERTMakeup Artists . . . . . . . . . . . . . . . . . . . . . . . . . DOROTHEE DEICHMANN MEGAN HARKNESSHair & Makeup for Mr . Clooney . . . . . . . . . . . . . . . . WALDO SANCHEZ

Hair Dept . Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S . ANNE CARROLLHairstylists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RICHARD KOHLEN SUSAN BOYD DIANNE HOLMEMakeup Effects Design . . . . . . . . . . . . . . . . . . . . . . . . . . .BILL TEREZAKISMakeup Effects On-Set Supervisor . . . . . . . . . . . . . PATRICIA MURRAYMakeup Effects Technician . . . . . . . . . . . . . . . . . . . . . . JAMES GAWLEY

Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KIMI WEBBER

Acting Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREW MCILROY

Production Sound Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID HUSBYBoom Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHARLES O’SHEASound Assist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CANDICE TODESCO

Location Manager (Canada) . . . . . . . . . . . . . . . . . . . . . . . .ANN GOOBIELocation Manager (US) . . . . . . . . . . . . . . . . . . . . . . STEVE WORONIECKILocation Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BECKY BRAKEAssistant Location Managers . . . . . . . . . . . . . . . . PAUL D . GIORDANO PETER J . KLASSENLocation Scouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOEL HURLEY MURRAY ORDEnvironmental Steward . . . . . . . . . . . . . . . . . . . . . . . . . . KELSEY EVANS

First Assistant Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . SIMON MORGAN DAVID CERF

Visual Effects Editor . . . . . . . . . . . . . . . . . . . . . . . . .MITCHELL J . GLASERAssistant Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANA MULLIGAN TOM BARRETT WALTER SLATER MURCH WARREN MAZUTINEC KEN L . SMITHAssistant Visual Effects Editors . . . . . . . . . . JESSICA SCHULTE-JONES TYLER RUOCCOAssistant Post Production Coordinator . . . . . . . . . . . . . .LESLIE QUANVisual Effects Assistant Coordinator . . . . . . . . . . DARNIE GALLOWAYVisual Effects Production Assistants . . . . . . . . . . . . . . . NICK SHUPPER KYLE WHITE

III

Post Production Sound Services bySkywalker Sound

A Lucasfilm LTD Company, Marin County, CA

Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KYRSTEN MATESupervising Sound Editor . . . . . . . . . .GWENDOLYN YATES WHITTLERe-Recording Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . GARY RYDSTROM DAVID PARKER JUAN PERALTASound Effects Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J .R . GRUBBS JEREMY BOWKER E .J . HOLOWICKI ADAM KOPALDDialogue/ADR Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHERYL NARDI BRAD SEMENOFFFoley Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PASCAL GARNEAU TERESA ECKTONAdditional Re-Recording Mixer . . . . . . . . . . . . . . . . . . . GARY A . RIZZOAssistant Supervising Sound Editors . . . . . . . . . . . . STEVE ORLANDO DMITRI MAKAROVAssistant Sound Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KIM PATRICKFoley Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JANA VANCE DENNIE THORPE ALYSON DEE MOORE JOHN ROESCHFoley Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS MANNING MARYJO LANGADR Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOC KANE THOMAS J . O’CONNELL

Chief Lighting Technician . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE TICKELLAssistant Chief Lighting Technicians . . . . . . . . JAMES MCMURACHY JAMES M . JACKSONRigging Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JARROD TIFFINBest Boy Rigging Electrics . . . . . . . . . . . . . . . . . . . . . . SIERRA DEVERILL TODD TURNER KEVIN ARNONE BRENT GIESGenerator Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM WATSONLamp Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN FRASER SAUBRIE MOHAMED AARON STEWARTConsole Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHIL KLAPWYK BENOIT RICHARD IAN GLEDHILLSet Wiremen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH BROOKES KEVIN DOYLE STEVE HOLLAND CHRISTIAN RAYNER STEVE VINCENT

Rigging Lamp OperatorsJOSH ALKOFF JAY D . ANDERSONBRETT BIRD CHRIS DAVISDEREK HARDING CHRISTIAN KOZAKGARRY LOEWEN MATT REEDPAUL SICZEK ANDREW TOWSONJASON WEIR FRED WILSON

Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KIMBERLY OLSENBest Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN GORVAL

Dolly Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GIL FORRESTER BRYCE SHAWKey Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE MCINTOSHBest Boy Rigging Grips . . . . . . . . . . . . . . . . . . . . . . . . . . SCOTT BONNER PETER PACULA ROBIN SAYLeadman Rigging Grips . . . . . . . . . . . . . . . . . . . . . . . . . . TONY HYLAND BRYCE MUNRO SERGIO PETRE DONALD QUINNLeadman Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TROY SOBOTKAGrips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DARRYL FOULDS STEVE HAMILTON TODD SHELLEY AARON WIK

Rigging GripsSCOTT ARMSTRONG STEVE ARNOTTBRAD BAKER IGOR BEUHLEROLIVER BERG JEFF BONNYSCOTT CAMPBELL ANTHONY CREERYNATASHA DENIS CHARLIE GUTTMANROD HANEY SHANE KJARSCOTT KOZAK BUD LEGREEROYCE MATTICE JOSEF PILARZGARY STOCKPORT RALPH RUTHERFORDJOHN TAYLORHydrascope Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES RAZO JOSEPH DATRI DAN PILMAIER

Property Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KRIS PECK DEAN EILERTSONAssistant Property Masters . . . . . . . . . . . . . . . . . . . . . . . . .NEIL FAIRALL JONATHAN D . WATSON CLAUDIO PALAVECINOProperty Coordinator . . . . . . . . . . . . . . . . . . . . . . . . .NANCY POWNALL

Special Effects Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . MIKE VEZINASpecial Effects On Set Supervisor . . . . . . . . . . . . .STEWART BRADLEY

Special Effects ForemenANDREW VERHOEVEN ANDY SMITHRANDY PARK TYLER BILODEAUJOHN MACCUSPIE TREVOR HILLJORDAN KIDSTON BRAD ZEHRMIKE SPLATT AL WALDRONKELLY COE ERIC JOHN LEMAYJAYME SMITH

Special Effects AssistantsOLE VEZINA ANDRE DOMINGUEZJOSH BENJAMIN GARY HEIDRICKKATHERINE FRASER ROB ROCKHILLTUCKER VEZINA KEVIN WALDBAUERMARK BLACKLOCK MIKKI BANGMARTY HUCULIAK PERRY BECKHAMSTEPHEN HEPWORTH JOHN WILKINSONCORIE TORNACK IAN BINNIESpecial Effects Buyers . . . . . . . . . . . . . . . . . . . . . . . . NICOLA JAGESSAR NICOLE CONNELLYSFX Coordinator (Florida, Bahamas & LA) . . . . . . . . . . HEATH HOODTravel Coordinator . . . . . . . . . . . . . . . . . . . . . DARRON LEIREN-YOUNG

IV

Assistant Production Coordinators . . . . . . . . . . KIMBERLY BUCKHAM SIMON CARRIGAN DAVID HEFFLER JERRY PENDER2nd Assistant Production Coordinators . . . . . . . . . . . BYRON FUDGE KATEY HA KRISTEN SCHRECK KIMBERLEY SUTTON2nd Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHAD BELAIR3rd Assistant Directors . . . . . . . . . . . . . . . . . . . . . . . . .RHONDA TAYLOR BRIAN SEPANZYKDGC Trainee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEN CAIRNSAssistant to Mr . Bird . . . . . . . . . . . . . . . . . . . . . . . . . . . .ARDEES RABANGAssistant to Mr . Lindelof . . . . . . . . . . . . . . . . . . . . . . . . . .ADAM REJWANAssistant to Mr . Chernov . . . . . . . . . . . . . . . . . . . . . CYNTHIA MARCARIAssistant to Mr . Clooney . . . . . . . . . . . . . . . . . . . . .ANGEL MCCONNELLAssistant to Mr . Laurie . . . . . . . . . . . . . . . . . . . . . JACQUELINE PHILLIPSSafety Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICHARD MOMII

Visual Effects Art Director . . . . . . . . . . . . . . . . . . . . . . . . .HENRIK TAMMVisual Effects Concept Art Director . . . . . . . . . . . . . . . . . . . . VLAD BINA

Set DesignersSTEPHEN BEDFORD KRIS BERGTHORSENNANCY ANNA BROWN JOHN G . BURKEMIRA CAVENO KEVIN CROSSD . A . GIRLING LIZ GOLDWYNDAVID HADAWAY TEX KADONAGASHEILA MILLAR JAY MITCHELLPETER OCHOTTA ANNE PORTERJIM RAMSAY ANDREW REEDERSCOTT SCHNEIDER PETER STRATFORDBRYAN SUTTONPin Design & Graphics by . . . . . . . . . . . . . . . . . . . . . . . . CLINT SCHULTZGraphic Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SLAVIA SHMAKIN TARA ARNETT

IllustratorsJONATHAN BACH BRIAN CUNNINGHAMTIM FLATTERY VICTOR JAMES MARTINEZVICKI PUI CRAIG SELLARSMILENA ZDRAVKOVICSupervising Storyboard Artist . . . . . . . . . . . . . . . . . JEFFREY A . LYNCHStoryboard Artists . . . . . . . . . . . . . . . . . . . . RICHARD BENNETT LAMAS RODOLFO DAMAGGIO DAVID LOWERY MARC VENA DEAN WELLINSArt Department Coordinators . . . . . . . . . . . . . . . . . . . . . CARIE WALLIS CHRISTINE YOUNGSTROMClearance Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LINDA REAArt Department Assistant . . . . . . . . . . . . . . . . . . . . . .DOUGLAS SCOTT

Construction Coordinator . . . . . . . . . . . . . . . . . . CHARLES LEITRANTSConstruction Foremen . . . . . . . . . . . . . . . . . . . . . . . . . ALAN K . ROURKE DAVE CONWAY DAVID R . MURRAY ZBISH SCHELLER MARK STAINTHORPEMetal Fabrication Foreman . . . . . . . . . . . . . . . . . . . . . . . DEAN WILSONHead Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRENT GLOECKLER

Construction Buyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHARON DEVER MAUREEN CAREYStandby Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN KOBLYKAPaint Coordinator . . . . . . . . . . . . . . . . . . .MARIO TOMAS-NIEDWOROKPaint Foremen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEITH ESCH DAN PETRESCUStandby Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEREK BOBROFFHead Greensman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GLENN FOERSTERLead Greensmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSIE BLEUER RICK KRAMER JOHANNA MANDERSAssistant Set Decorator . . . . . . . . . . . . . . . . . . . . .MICHAEL A . BILLINGSOn Set Dresser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ROSS JOSEPH WAHLSet Decorating Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . .ZOË JIRIKSet Decorating Buyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDRA NEIL BRIAN KANELead Set Dressers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANDREA DANCE BRANT LINDROOS DENNIS SIMARD

Set DressersRAY L . WOHLFORD KATHARINA BRANDLISLE FEHLAUER TONI HADGRAFTSCOTT HOLBURN PATRICK KEARNSJACQUES LARRUE ANDREI MAHANKOVDENYSE NELSON JAMES MCGILLKEITH POTTER ANN ROWLEY

Video Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE JOSHIVideo Assist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEFF BJORGUM24 Frame Video Playback Supervisor . . . . . . . . . . . . . . GLADYS TONG24 Frame Video Playback . . . . . . . . . . . . . . . . . . . . . . . KATE CAMPBELL CAMERON DRINKLEStock Footage Researcher . . . . . . . . . . . . . . . . . . . DEBORAH RICKETTSInteractive Technology Design & Graphics by . . . . . . . . . . . . . .OOOIIFuture Technology Designer . . . . . . . . . . . . . . . . . . . . . .KENT DEMAINELead Interactive Designer . . . . . . . . . . . . . . . . . . . . . . . . . RUDY VESSUPTechnology Concept Designer . . . . . . . . . . . . . . . . . . JORGE ALMEIDAInteractive Line Producer . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER SIMSInteractive Post Producer . . . . . . . . . . . . . . . . . . . . . . SARA EBERHARDT

Production Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . TINA DAWSONFirst Assistant Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . MICHELE LEEAssistant Accountants . . . . . . . . . . . . . . . . . . . . . . . . . . .MIKE AICHHOLZ JESSICA GIHON MICHEL RHEAULT VERONIKA SKARLANDOVAPayroll Accountants . . . . . . . . . . . . . . . . . . . . . . . . . . JASON ELSWORTH LINDA CARRVFX/Post Production Accountant . . . . . . . . . . . . . . ANDREW BROWN

Production AssistantsREBECCA STEPHENSON VERONIQUE KAHLERSUZIE FOX MAGDA KACZOROWSKAMICHAEL HAUKA NICHOLAS BIRDKELSEY FONDA DOUGLAS PONGRACZPAUL BOIS JANE VICTORIA KINGANNE-CECILE BEAULAIS AMANDINE DUFRAISEKATE LINGLEY BRIDGET O’GRADY

V

Studio Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SIMON CASSIDY DANIKA DINSMORE MAURA GANNETT

Unit Publicist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEEANNE MULDOONStill Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . KIMBERLEY FRENCH

Transportation Coordinator . . . . . . . . . . . . . . . . . . . . . . . .DAVID HOLMTransportation Captains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RON IRVINE CARRIE O’BRAYTransportation Assistant . . . . . . . . . . . . . . . . . . . . . . . MAUREEN CAINEPicture Car Coordinator . . . . . . . . . . . . . . . . . . . . . RICHARD W . MCKAYPicture Cars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRACY DOMICH CHET MCKINNON NEIL PATTEN DALE TARRANTOn Set Data Wrangler . . . . . . . . . . . . . . . . . . . . . . . . .SHANDY LASHLEYVisual Effects Production Assistant . . . . . . . . . . . . . . . . . DANIEL BIAGIMatch Movers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GORD DUNNICK STEPHEN CHAN

Casting Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RICK MESSINA JOHN MCALARY, C .S .A .Casting Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JESSE LAFFERTY SARAH DOMEIERCanadian Casting . . . . . . . . . . . . . . . . . . . . . . . . CORINNE CLARK, C .S .A . JENNIFER PAGE, C .S .A .Casting Assistants (Canada) . . . . . . . . . . . . . . . . . . . . . . . . . . JAYE RISKE WES ASOLTERExtras Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREA BROWNAnimal Handler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL JASPERFirst Aid/Medics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TARA FUHRE LORNE KOSTYSHINCatering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TWICE A NIGHT

Music Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX LEVYTemp Music Editor . . . . . . . . . . . . . . . . . . . . . . . THOMAS S . DRESCHEROrchestrated and Conducted by . . . . . . . . . . . . . . . . . . . TIM SIMONECMusic Recorded and Mixed by . . . . . . . . . . . . . . . . . . . . . JOEL IWATAKIFrench Horn Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RICHARD TODDFeatured Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK GASBARRO GLORIA CHENGOrchestra Contractor . . . . . . . . . . . . . . . . . . . . . . . . . . . . REGGIE WILSONAssistant Orchestra Contractor . . . . . . . . . . . . . . . . . CONNIE BOYLANVocal Contractor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BOBBI PAGEMusicPreparation . . . . . . . BOOKER WHITE, WALT DISNEY MUSIC LIBRARYAdditional Orchestrations by . . . . . . . . . . . . . . . . MARSHALL BOWEN DAVE GIULI SUSIE SEITERScore Recordist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VINCENT CIRILLIAssistant Music Editor . . . . . . . . . . . . . . . . . . . . . . . . . .WARREN BROWNMusic Editor Technical Assistant . . . . . . . . . . . . . . . . . . ERIC WEGENERScore Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREA DATZMANScore Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF KRYKAScoring Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID COKERMusic Recorded at . . . . . . . . . . SONY SCORING STAGE, CULVER CITYMixed at . . . . . . . . . . . . . . . . . . . . . . . . . . . EASTWOOD SCORING STAGE, WARNER BROS .

Sony Stage Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM MICHALAK GREG DENNEN DAVID MARQUETTE GREG LOSKORNWarner Bros . Stage Crew . . . . . . . . . . . . . . . . . . . . . . . . TOM HARDISTY RYAN ROBINSON JAMIE OLVERA

Digital Imaging Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . RICK SAYRE

SECOND UNITSecond Unit Director . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY A . LYNCH

First Assistant Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN CALIP DAVID KLOHN2nd Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . SCOOBY VINCENTDirector of Photography . . . . . . . . . . . . . . . . . . . . . . BRUCE MCCLEERYCamera Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER WILKECamera Operator (Spain & Paris) . . . . . . . . . . STEPHEN CAMPANELLIFirst Assistant Camera . . . . . . . . . . . . . . . . . . . . . . . TAYLOR MATHESONFirst Assistant Camera (Spain & Paris) . . . . . . . . . . . . . . MARK COHENSecond Camera Assistants . . . . . . . . . . . . . . . . . . . . . . .ALEX MARTINEZ ALEXANDRA MATHESONDigital Imaging Technician . . . . . . . . . . . . . . . . . . . . . . . NOAH RICHOZScript Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOECY SHEPHERDSound Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN TARASOFFChief Lighting Technician . . . . . . . . . . . . . . . . . . . . . . . . DAVID WARNERAssistant Chief Lighting Technician . . . . . . . . . . . . SHAWN MILSTEELKey Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX GODFREYBest Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BILL FLANAGANMedic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DOUG SINCLAIRAssistant Location Manager . . . . . . . . . . . . . . . . . . . . . . . SEAN FINNANOn Set Dresser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID MANSKE

Visual Effects & Animation byINDUSTRIAL LIGHT & MAGICA LUCASFILM LTD . COMPANY

Compositing Supervisor . . . . . . . . . . . . . . . . . . . . .FRANÇOIS LAMBERT

CG Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL BAUEREffects TD Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . .RYAN HOPKINSVisual Effects Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . .THANG LELayout Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM DOBBERTCompositing Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . JEAN LAPOINTEEnvironment Supervisors . . . . . . . . . . . . . . . . . . . . . . . . ENRICO DAMM GREG KEGELLighting Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TIM BELSHERDigital Model Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . LANA LAN RUSSELL PAULTexture Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARTIN MURPHYCreature Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KARIN COOPERRoto and Paint Supervisor . . . . . . . . . . . . . . . . . . . . . . .LANCE BAETKEYVisual Effects Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JENNI O’BYRNEVisual Effects Associate Producers . . . . . . . . . . . .BRIAN BARLETTANI MARISSA GOMESVisual Effects Production Manager . . . . . . . . . . . . . EMILY WILLIAMS

VI

Lead Digital ArtistsSCOTT BENZA STEPHEN DELUCA PETER DEMAREST CONNY FAUSERTAU GERBER GEORG KALTENBRUNNER PAUL KAVANAGH QUENTIN MARMIERTIMOTHY MUELLER AKIRA ORIKASA THADDEUS PARKINSON JOHN TESKATODD VAZIRI

Digital ArtistsMARCO ABBRUZZESE PONTUS ALBRECHTJESSICA ALCORN MICHAEL ALLENALBERTO MARTINEZ ARCE OLLY ASKEWGURAY AYAOKUR JOE BAILEYADAM BALENTINE ROMAIN BAYLECHRIS BAYZ MARC BEAUJEAUKEVIN BELL NESTOR BENITO FERNANDEZDUNCAN BLACKMAN NICHOLAS BOLDENJEAN BOLTE ARON BONARGREGORY BOSSERT DAVID BOWMANPAT BRENNAN AARON BROWNMATT BRUMIT CATHERINE BURROWLUKE BYRD CURTIS CARLSONMARK CASEY CHRISTIAN CASTANEDALANNY CERMAK STEPHEN CHANJESSICA CHANCE RIEWE CAN CHANGJEFFREY CHARLES HIGGINS AMELIA CHENOWETHSTEVE CHO PETER CHOISONJA CHRISTOPH MEI CHUMIHAI CIOROBA RYAN CLARKEANITA CLIPSTON GRADY COFERTRAIAN CONSTANTINESCU MICHAEL CORDOVAGLENN COTTER MATHEW COWIEVIREN DASS PETER DAULTONMICHAEL DEBEER MICHELLE DEANJEFF DORAN JOHN DOUBLESTEINGORD DUNICK KYLE DUNLEVYDANIEL ELOPHE DAN ENSTROM MARQ FAULKNER ERIK FERNANDODANIEL FERREIRA BRIAN FISHERBRIAN FLYNN CHERI FOJTIKCHRISTIAN FOUCHER DAVID FUHRERMICHAEL GALBRAITH ANGELA GIANNONIMIKE GODDARD JEREMY GOLDMANDANIEL GONZALEZ JOHN GOODSONSTUART GORDON RICH GRANDEJEFF GREBE SCOTT GUDAHLEDDIE GUTIERREZ DAVID GUTMANJEAN-DENIS HAAS CHRISTIAN HALEYERIK HALSEY CHRIS HALSTEADJESSICA HARRIS ADAM HAZARDJESSICA HEE WENDY HENDRICKSONNEIL HERZINGER RYAN HEUETTMICHAEL HONRADA JEN HOWARDCHIA-CHI HU STUART HUNTERJESSICA HURST MEGAN HUTCHISONROCK HWANG HANSOO IMJIRI JACKNOWITZ ERIC JENNINGSCELIA JEPSON KEITH JOHNSONDON KANG JUNG JIN KANG

MICHELLE KATER MARC KEENJOSH KENT JIWOON KIMSTEVEN KNIPPING PHILIP KOCHLEON KOGAN ROBERT KOSAILEONARDO KRAJDEN HEATH KRAYNAKJOHANES KURNIA GEORGE KURUVILLACHARLES LAI ALBERTO LANDEROSKEVIN LANDRY SHERRIE LAWTOAN-VINH LE DANNY LEESAMUEL LEE YOUNG LEETODD LIDDIARD JOAQUIN LUDEWIGKEITH MACGOWAN DAVID MANOS MORRISMARK MARCIN MIKE MARCUZZISTANISLAW MAREK SIMON MARINOFMINCHO MARINOV GEORDIE MARTINEZMARCEL MARTINEZ SHAWN MASONSCOTT MEASE FREDERIC MEDIONIAUGUST MEREDITH JOSEPH METTENABEL MILANES BETANCOURT BRANDON MILETTAJON MITCHELL MO MOHAMOUDSHAWN MONAGHAN ERIK MORGANSENLAUREN MORIMOTO MYLES MURPHYDOMINICA MYLES NAREN NAIDOOROHIT NAYAK MARK NETTLETONMARLA NEWALL YOONSEE NGYUHON NG LAM NGUYENJESSE NICODEMUS JOHNATHAN NIXONRICK O’CONNOR HENRY PENGBEN PERKINS CHRISTINE PETROVPHIL PHAM DANIEL POSTBRETT PURMAL TONI PYKALANIEMIMICHAEL RALLA MICHAEL RANALLETTAJAY RENNIE FERNANDO REULEJOSH RIVAS LOREN ROBINSONELSA RODRIGUEZ FRANCISCO RODRIGUEZAMANDA RONAI CRAIG ROWESALAR SALEH GREG SALTERART SAYAN DANIEL SCHICKDANIEL SCHMID BEHNAM SHAFIEBEIKPAUL SHARPE MIKE SHIRRAMATT SHUMWAY GUILLERMO SORIADEREK STEVENSON SUJIL SUKUMARANVEARA SUON SHUICHI SUZUKIALBERT SZOSTKIEWICZ ALEX TANGMASAHIKO TANI SHIVAS THILAKCAMERON THOMAS MATHEW THOMASALEX TIRASONGKRAN CHRIS TOSTCHRISTINE TROIANELLO ALEX TROPIECCHI CHUNG TSE MELISSA TSENGSIMON TWINE YUSEI UESUGILEE UREN MAURICIO VALDERRAMAPAUL WAGGONER MELANIE WALASWAIKIT WAN DANIEL WARRENDAVID WEITZBERG ANDY WONGCHRIS WOOD JOE WOODWARD STEVENSONTZUEN WU GUSTAVO YAMINDACKLIN YOUNG SUSUMU YUKUHIRODEAN YURKE CHRIS ZAMMITJOHN ZDANKIEWICZ KHALED ZEIDANTHOMAS ZILS

VII

Visual Effects Production CoordinatorsDAN CORTEZ RACHEL GALBRAITHSCOTT KO REBEKAH NOULLESRACHEL REED KIM WASSON

Visual Effects Production AssistantsAMY ALTVATER JOEL CHEYNE ALLY MILLER DANNY TREBAC

Visual Effects Concept ArtistsRYAN DRUE ALEX JAEGER BRETT NORTHCUTT

Production SupportSARAH ALVARADO JOY CARMECIKELSEY CHARLTON REBECCA FORTHSPENCER KENT HILMAR KOCHPETER LEBER RUSSELL LUMCHRISTOPHER MEDLEY-POLE DAVID NAKABAYASHINICK PROVENZANO ALIA REZKMARK TUDO

TechnologyMATHEW BERGLUND ADRIAN DIACONUJASON GEIGER WILL HERRICKANDY HUANG FRANK LA MONACAMEGAN MARQUARDT MARTY MIRAMONTEZKAZ MORI JEROEN (J) SCHULTESIYU SONG HAILI WELLS

ILM Executive StaffLYNWEN BRENNAN VICKI DOBBS-BECK RANDAL SHORE

Additional Visual Effects by Whiskytree Inc .BRIAN MEANLEY STEVEN CARON MICHAEL KENNEN

Additional Visual Effects by Rodeo FX

Additional Visual Effects by Hybride

Additional Visual Effects by fX3X

Additional Visual Effects by Base FX

Additional Visual Effects by Ghost

Previs, Postvis andAdditional VFX by . . . . . . . . . . . . . . . . . . HALON ENTERTAINMENT LLCPrevis Supervisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TEFFT SMITH II AJ BRIONES E . BRADLEY ALEXANDER

Previs ArtistsBUFFY BAILEY BRYAN CHOJNOWSKIANDREW GREENLEE SPENCER KELSEYTODD PATTERSON CASEY PYKEZACHARY WONG PAOLO JOEL ZIEMBAProducer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PATRICE AVERYPostvis Supervisor . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL G . JACKSON

Postvis Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NATHAN HOPKINS ANDRE MERCIER TRAVIS LEE

Main Title & Main on End Title SequenceDesigned by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . yU+coTomorrowland & Plus Ultra Logos by . . . . . . . . . . . . . . . . . . BRAD BIRDEnd Title Crawl by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SCARLET LETTERS

FLORIDA & LA UNITProduction Supervisor (Florida & LA) . . . . . . . . . . . . . . . .CRAIG AYERSProduction Coordinator (Florida & LA) . . . . . . . . . . . . . .MARK CROSS2nd Assistant Director (Florida & LA) . . . . .MARVIN J . WILLIAMS, JR .2nd 2nd Assistant Director (Florida & LA) . . .MATTHEW HAGGERTY

FLORIDA UNITAssistant Production Coordinator . . . . . . . . . . . . . . PATTY HARRIGANFirst Assistant Accountant . . . . . . . . . . . . . . . . . . . BRANDON HOLLYERPayroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEFF GLADUAerial Director of Photography . . . . . . . . . . . . . . . . . . DAVID NOWELLHelicopter Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CLIFF FLEMINGCaterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GALA CATERINGConstruction Coordinator . . . . . . . . . . . . . . . . . . . . . . . . JAMES HARRISConstruction Foreman . . . . . . . . . . . . . . . . . . . . . . . . . JAMES HENDRIXLighting Best Boys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JASON BARFIELD SCOTTY STUART

ElectriciansKAI MORBEY JACK H . ROSE IIWAYNE SCHNEIDERMAN FREDERICK VALENTINEGRANT VALENTINE NICHOLAS COLVINJOSEPH F . HUMPHREYS, JR . JOHN MULIERJORDEN RADDEBest Boy Rigging Electrics . . . . . . . . . . . . . . . . . . . . . . . .CHRIS MURRAY RICHARD RAMEE ANDY SEELY DAVID SONNENBERG

Rigging ElectriciansDAVE BOULAY RICHARD T . CLIMENHAGAJOHN TYLER MALLORY COATS JOSHUA L . EARLES-BENNETTMARTIN EVERETT JAY A . GILBERTJAYSON GILBERT STEVE GRNYAJOHN WILLIAM KIDD JR MICHAEL POLIZZOTTIROBERT S . SCOTT MICHAEL SMALLWOODPHILIP H . STEVENSON DAVID SWIFTMATTHEW WHALEN JOHN WRUCKBest Boy Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOEL WHEATLEY TOM SMALLEYDolly Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT LEBEAU CASEY OSBORNEGrips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GIUSTINIANO COLARUSSO SHILOH ECK KEITH GAYNOR DAVID ROBINSON THOMAS A . WHEATLEYBest Boy Rigging Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMIE KLEIN RICK LACOSTERigging Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN BARE L . KURT BECKLER HOLGER KIRSCHER JEFFREY S . TOGNO

VIII

Extras Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MELANIE MORENOGreens Foreman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN GILLOOLYKey Assistant Location Managers . . . . . . . . . . . . . . . . JOHN GARRETT STACEY M . MCGILLIS RICK CALLAN HOLLY ROARK TAMMY STONELocations Office Coordinator . . . . . . . . . . . . . . . . . . BROOKE BORTELLMarine Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALEX EDLINMedic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VIVIAN ENFINGERLead Scenic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN BALLINGLeadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SHAWN MCFALLTransportation Coordinator . . . . . . . . . . . . . . . . . . . . . AARON SKALKATransportation Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KEITH FISHER

SPAIN UNIT

Production Services in Spain Provided by . . . . . . . . .BABIEKA FILMS

Line Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MARK ALBELA

Unit Production Manager . . . . . . . . . . . . . . . . . . . . .SALVADOR YAGÜEProduction Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . ASIA JARZYNAUnit Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PILAR AMER FUSTERAssistant Production Coordinator . . . . . . . . . . . . . . . . . . . . KATI MARTÍAssistant to Mr . Albela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JORDI ROCAProduction Secretary . . . . . . . . . . . . . . . . . . . ELENA DEL SAZ-OROZCOOffice Production Assistants . . . . . . . . . . . . . . . . . . . . . . . . . .MAR POZO CRISTIAN GUIJARRO BEGOÑA I . ESCOBARKey 2nd Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . JAIRO MURRAYFloor 2nd Assistant Director . . . . . . . . . . . . . . . . . . . . . . .BEN LANNINGCrowd 2nd 2nd Assistant Director . . . . . EMILIO MARTINEZ-BORSOFloor Runner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LAURA GARCÍAProduction Accountant . . . . . . . . . . . . . . . . . . . MARYLLIS GONZÁLEZFirst Assistant Accountants . . . . . . . . . . . . . . . . . . . . . . . . ENRIC LLOPIS STEL DELEONArt Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DIDAC BONOAssistant Art Director . . . . . . . . . . . . . . . . . . . . . . . . ISABEL GONZÁLEZAssistant Video Assist . . . . . . . . . . . . . . . . . JUAN CARLOS ‘JC’ MOLINACrowd Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PILAR MOYACrowd Casting Assistants . . . . . . . . . . . . . . . . . . . . . . . NEREA HERRERO DIANA MAGÁN ANTONIA HIDALGOCostume Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . .CRISTINA SOPEÑABackground Costumers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOSÉ VICO EVA FERVENZA MARIA MANCHADOCostume Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KOKÉ RIERALandscaper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BEATRIZ CASANOVALandscaper Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VICTOR SOLERKey Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JULIO FERNÁNDEZ ‘SANTA’Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CARLOS MANSOGrip Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IVÁN SEQUEIRADolly Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GUILLERMO MORENO

GripsJESÚS FERNÁNDEZ ASIER ARMENTALDAVID POLO JOSÉ TAMAYORAÚL PAVÓN SERGIO MANTECÓNJORGE CASABÁN JOSÉ M . ESCOLAR

Best Boy Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . .JONATHAN LEERigging Grips

ALFREDO ARCOS ‘UNCHI’ JOSÉ FERNÁNDEZMIGUEL ANGEL GELABERT PERU HERREROCARLOS MARCELO LANZA RAÚL LOBOBENJAMIN MITCHELL RAÚL PÉREZJAVIER QUINTANA MANU SEITZCRISTIAN TRUJILLO XABIER URRETAVIZCAYASERGIO VELLISCO PEDRO JOSÉ SÁNCHEZJUAN CARLOS MARQUÉS ABRAHAM CUBOGaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOAQUÍN SÁNCHEZLighting Best Boys . . . . . . . . . . . . . . . . . . . . . . . . . . . DAMIAN HALPERN JOSE LUIS SORIA

ElectriciansJOSÉ SALGADO EMILIO LÓPEZJAVIER CASADO ALBERTO GARCÍALUIS CANCHO JAVIER PÉREZPABLO RUBIO PEPE SALVADOREZEQUIEL CHIAFFITELLA JACOBO SACRISTANFRANCISO SOTODimmer Board Technician . . . . . . . . . . . . . . . . . . . . . . .GONZALO FELIXLocation Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FÉLIX ROSELLAssistant Location Manager . . . . . . . . . . . . . . . . . JUANAN CLEMENTEBase Camp Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ISAAC VIEJOLocation Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAULA PÉREZKey Location Production Assistant . . . . JUAN ANTONINO RAMÍREZLocation Set Production Assistant . . . . . . . . . . . . . . ANTONIO LÓPEZLocation Production Assistant . . . . . . . . . . . .ANTONIO DOS SANTOSSecurity Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEIGH ROMEROAssistant Security Manager . . . . . . . . . . . . . . . . . . . .LUCÍA CORBACHOCrowd Makeup & Hair Supervisor . . . . . . . . . . . . . SUSANA SÁNCHEZHealth & Safety Officer . . . . . . . . . . . . . . . . . . . . . . . . SILVIA GONZÁLEZUnit Nurses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LORENA GONZÁLEZ ZAIDA PONSProp Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DIEGO RODRÍGUEZPropmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CARLOS RAMÓNAssistant Propmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALLAN OWENLeadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOXEAN GOYASet Dressers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTONIO GALINDO SERGI DURÁN JOAN FUSTÉ FRANCISCO JAVIER LÓPEZConstruction Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . RAMÓN MOYAConstruction Coordinator . . . . . . . . . . . . . . . . . . . . . . JOSÉ LUIS MOYASpecial Effects Supervisor . . . . . . . . . . . . . . . . . . . . . . . .CESAR ABADESSpecial Effects Technician . . . . . . . . . . . . . . . . . . . . . . .DANIEL REBOULCatering . . . . . . . . . . . . . . . . . . . .RAFAEL GARCÍA CATERING SERVICESTransport Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . PATRICIA DE LA UZTransport Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANTONIO RAMÓN

SPAIN 2ND UNITFocus Puller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRISTINA RODRÍGUEZ2nd Assistant Camera . . . . . . . . . . . . . . . . . . . ALEXANDRE GONZÁLEZVideo Playback Operator . . . . . . . . . . . . . . . . . . . . . ALEJANDRO SORIADigital Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLAF GUEMBEGaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAMIAN HALPERNKey Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JESÚS FERNÁNDEZ GUILLERMO MORENOGrips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NDONGO BIBANG CARLOS BUJEDO

IX

Electricians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FERNANDO SAMPEDRO FERNANDO MEGINO JOSU CEJUELAAssistant Production Manager . . . . . . . . . . . . . . . . JOSE TRULLENQUE

PARIS UNITProduction Services in France provided by . . . . . PENINSULA FILMS

Line Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN BERNARD

Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . GILLES CASTERAProduction Coordinator . . . . . . . . . . . . . . . . . . . . . . .SEGOLENE LAGNYCamera Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . HUGUES ESPINASSEProduction Accountant . . . . . . . . . . . . . . . .EMANUELLE BALESTRIERIFirst Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . WILLIAM PRUSSCostume Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . PATRICIA COLINExtras Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AURIELIE AVRAMGaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEAN-FRANCOIS GRIGEARDKey Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CYRIL KUHNHOLTZ THIBAUT GUENOISLocation Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ARNAUD KAISERPicture Car Coordinator . . . . . . . . . . . . . . . . . . . . . . . .CHARLES HEIDETSet Decorator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EMMANUEL DELISTransportation Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . PIERRE HUE

LOS ANGELES UNITProduction Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . CAMILLE BENTONFirst Assistant B Camera . . . . . . . . . . . . . . . . . . . . . . JONAS STEADMANConstruction Coordinator . . . . . . . . . . . . . . . . . . . . STACEY MCINTOSHBest Boy Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK HADLANDRigging Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF SODERBERGHBest Boy Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN KOTHExtras Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARYELLEN AVIANOKey Craft Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM MCGEEGreensman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JASON VANOVERKey Assistant Location Managers . . . . . . . . . . . . . . . . . . JP O’CONNER PETER COSTELLIKey Makeup Artist . . . . . . . . . . . . . . . . . . . . . DEBORAH RUTHERFORDHairstylist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NORMA LEEKey Set Medic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KEVIN CANAMARLeadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HILLTransportation Coordinator . . . . . . . . . . . . . . TOMMY TANCHAROENTransportation Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . BRETT ROUNDPayroll Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEBI WEST

BAHAMAS UNITProduction Manager . . . . . . . . . . . . . . . . . . . . . . KIMBERLY HAGGERTYLocation Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . MARTINA CARROLLProduction Assistant . . . . . . . . . . . . . . . . . . . . . DANNARD ANDERSONTransportation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KENNY FARNELL

Camera Cranes, Dollies, Remote & StabilizedCamera Systems, Hydrascope Telescoping Crane Armby . . . . . . . . . . . . . . . CHAPMAN/LEONARD STUDIO EQUIPMENT, INC .Cameras and Lenses Provided by . . . . . . . . . . . . . . KESLOW CAMERADigital Dailies, Avid Systems & Support Provided by . . . SIXTEEN19Dailies Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JUSTIN STALEYDailies Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER RAYDailies Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRIAN REALIWorkflow Management Software by . . . . . . . . . . . . . . . . . . . . . . JOUST

Joust Engineers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JOSHUA GROW BRIAN EVERETT WELLS MICHAEL KAMBLI

Digital Intermediate Provided by . . . . . . . . . . . . . . . . . . . .COMPANY 3Colorist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHEN NAKAMURADI Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTIAN PREJZADigital Conform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL CARLINColor Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRAVIS FLYNN

MUSIC

“There’s A Great Big Beautiful Tomorrow”Written by Robert Sherman, Richard Sherman

Performed by Rex AllenCourtesy of Walt Disney Records

“It’s A Small World”Written by Robert Sherman, Richard Sherman

Performed by Disneyland Boys ChoirCourtesy of Walt Disney Records

“I Got Mine” Written by Dan Auerbach, Patrick Carney

Performed by The Black KeysCourtesy of Nonesuch Records

By arrangement with Warner Music Group Film & TV Licensing

“Sadie”Written by Theodore Taylor

Performed by Hound Dog TaylorCourtesy of Alligator Records

“Star Wars Main Theme”Written and Performed by John Williams

Courtesy of Lucasfilm Music

“The End Is Coming”Written by Bobby Huff and James Slater

Produced by Bobby HuffPerformed by Lesley McDaniel

Soundtrack Available on

American Humane Association monitored the animal action .No animals were harmed .®

(AHAD 04848)

Special Thanks to General Motors and theGeneral Motors Design Studio

X

Special thanks to the Disneyland® Resort

Special thanks to the Walt Disney World® Resort

Special thanks to the City of Arts and Sciences of Valencia, Spain . Architect Santiago Calatrava

Ciutat de les Arts i les Ciències de Valencia .Arquitecto Santiago Calatrava

The Producers Wish To Thank:Chevrolet

NASA Headquarters:David Weaver, Bob Jacobs, Bert Ulrich, Helen Galus

Kennedy Space Center:Lisa Malone, Lisa Fowler, Kathleen EllisDavidson & Sons Customs Brokers Ltd .

NBCUniversal ArchivesCNN

AP ArchiveGetty Images

T3MediaShutterstock

ArtbeatsUltimate Chase

Art Resource, NYCorbis ImagesGraphics Films

“Fires of Kuwait” © 1992 IMAX CorporationCourtesy of IMAX Corporation

eBay materials reproduced with the permission of eBay Inc .© 2013 EBAY INC . All rights reserved .

NOAACourtesy of Sony Computer Entertainment America LLC

Use of Elements from Star Trek –Courtesy of CBS Television Studios

“Close Encounters of The Third Kind”Courtesy of Columbia Pictures

“The Iron Giant” Licensed by Warner Bros . Entertainment Inc .“Blue Planet” © 1990 Smithsonian National Air and Space

Museum and Lockheed Martin CorporationCourtesy of IMAX Corporation

CanadaMarion Faulkner

University of British ColumbiaH .R . MacMillan Space Centre

Vancouver MuseumOkanagan Film CommissionBlue Ridge Hutterite Colony

Metro VancouverCity of Vancouver

FloridaFlorida Department of TransportationCounties of Brevard, Orange, Volusia

Cities of Titusville, Altamonte Springs, New Smyrna BeachOrlando Film Commission

ValenciaExcmo . Ayuntamiento de Valencia

(Valencia City Council)

Los AngelesFilmLA

Orange County Film Commission

The National Aeronautics and Space Administration’s cooperation and assistance does not reflect an endorsement of the contents

of the film or the treatment of the characters therein

Filmed in Florida

Filmed in British ColumbiaWith the participation of the Province of British Columbia

Production Services Tax Credit

ONTARIOOntario Media Development Corporation

Film and Television Tax Credits

Prints by FOTOKEM

MPAA #49729

XI

Copyright ©2015 Disney Enterprises, Inc .All Rights Reserved

For the purposes of United Kingdom copyright,Disney Enterprises, Inc . was the owner of copyright in this film

immediately after it was made .

Shot on location inBritish Columbia, Alberta, Florida, Valencia,

Paris, Eleuthera, Los Angelesand Tomorrowland

Distributed byWALT DISNEY STUDIOS MOTION PICTURES

From Disney comes two-time Oscar® winner Brad Bird’s riveting, mystery adventure “Tomorrowland,” starring Academy Award® winner George Clooney. Bound by a shared destiny, former boy-genius Frank (Clooney), jaded by disillusionment, and Casey (Britt Robertson), a bright, optimistic teen bursting with

scientific curiosity, embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space known only as “Tomorrowland.” What they must do there changes the world—and them—forever.

The film is directed, produced and co-written by two-time Oscar® winner Brad Bird (“Mission: Impossible – Ghost Protocol,” “The Incredibles”). Damon Lindelof (“Star Trek,” “Star Trek Into Darkness”) and Jeffrey Chernov (“Star Trek,” “Mission: Impossible – Ghost Protocol”) are also producers. John Walker (“The Incredibles”), Bernard Bellew (“Les Misérables,” “28 Weeks Later”), Jeff Jensen and Brigham Taylor (upcoming “Jungle Book”) serve as executive producers.

“Tomorrowland” features a screenplay by “Lost” writer and co-creator Damon Lindelof and Brad Bird, from a story by Lindelof & Bird & Jeff Jensen, and also stars Hugh Laurie (“Mr. Pip,” TV’s “House M.D.”), Raffey Cassidy (“Dark Shadows,” “Snow White and the Huntsman”), Tim McGraw (“The Blind Side,” “Four Christmases”), Kathryn Hahn (“This Is Where I Leave You”), Keegan-Michael Key (“Key & Peele,” “Horrible Bosses 2”) and Thomas Robinson (“The Switch”).

Bird’s exceptional team includes Oscar®-winning director of photography Claudio Miranda (“Life of Pi,” “The Curious Case of Benjamin Button”), production designer Scott Chambliss (“Star Trek,” “Star Trek Into Darkness”), Oscar-nominated costume designer Jeffrey Kurland (“Inception,” “Ocean’s Eleven”), Academy Award®–winning editor Walter Murch (“The English Patient,” “Cold Mountain”) and editor Craig Wood, ACE (“Guardians of the Galaxy,” “The Lone Ranger”).

“Tomorrowland” promises to take audiences on a thrill ride of nonstop adventures through new dimensions that have only been dreamed of when it opens in the U.S. on May 22, 2015.

AN IDEA BECOMES A STORY: THE MYSTERY UNFOLDS

Tomorrowland was created by Walt Disney as a section of Disneyland in 1955. It was a time when Americans imagined an optimistic future. Over the years since, the public’s view of the future grew dark. Comments the

Imagine a place where nothing is impossible…

2

film’s director, Brad Bird, “Any time that there is an empty canvas, there are two ways to look at it: One is emptiness and the other one is wide open to possibility. And that’s how I like to look at the future—wide open to possibility. It is a view that has fallen out of favor in terms of looking at the future.”

This shift in thinking also intrigued writer-producer Damon Lindelof, so when he began to synthesize the story for “Tomorrowland,” he looked for what Tomorrowland meant and how it could be represented in a story line. “I really wanted to recapture that earlier optimism,” comments Lindelof.

The story of “Tomorrowland” started with a box labeled “1952,” supposedly discovered by accident in the Disney Studios archive. The mystery box contained all sorts of fascinating models and blueprints, photographs and letters related to the inception of Tomorrowland and the 1964 World’s Fair. Lindelof was excited by

the find and recalls, “I began to imagine that the contents of the box were a guide to a secret story that nobody knew. But if so, what would that story be? And the most obvious answer

to me was that there really was a place called Tomorrowland that was not a theme park but existed somewhere in the real world.”

Lindelof began to develop the story by researching the history of Disney and its originator, which led to research on the company’s involvement in the 1964 World’s Fair. “Walt Disney was a futurist in that real mid-century modernist sense,” says Lindelof. “He was very optimistic. He believed that technology held the key to building a better world. He also believed in technology as a means of creating great entertainment. For the 1964 World’s Fair, the Walt Disney Company created three rides, the It’s a Small World ride being the one we remember most. Though quaint by today’s standards, back in 1964, Carousel of Progress and Great Moments With Mr. Lincoln were revolutionary in how they used robotics and ride technology to create a thematically rich experience.”

Lindelof adds, “And there was also an underlying radical optimism. This was 1964, the world had just flirted with thermonuclear catastrophe as a result of the Cuban Missile Crisis, and the song ‘It’s a Small World’ was written in response to a world that had walked right up to the brink of nuclear war but had pulled back and was now pining to recognize that we don’t have to destroy ourselves. The lyrics—“It’s a world of hopes and a world of fears”—touched on that anxiety. Given how it just seems so cute and sentimental today, I found it fascinating that the ride was encoded with that real-world angst. There was a radical political message in there and a very idealistic one, too.”

The success of the World’s Fair allowed Disney to raise funds for his next great project, the Experimental Prototype Community of Tomorrow, or Epcot. Disney’s vision was for a model city that would be an ongoing experiment in urban development and organization; it was to be a real Tomorrowland where technology wed urban planning to create an optimal living environment. Walt Disney died, however, before Epcot could be built, and the Disney Company decided it did not want to run a city without his input. The model community concept was modified to become a large “permanent World’s Fair” instead, with two small residential districts for employees and their immediate family members. The park still exists today in Lake Buena Vista, Florida.

3

“Walt Disney was constantly innovating,” says Bird in admiration. “He was never afraid to be the first to do something. He was among the very first in animation to introduce sound and color. ‘Fantasia’ had stereophonic sound 15 years before anyone else did. When he started working on Disneyland everyone thought he was insane. Disney was forever jumping out of planes and then improvising a parachute on the way down. He was excited about things like space travel; all you have to do is look at those specials he did with Ward Kimball in the late ’50s to see that Walt was really excited about the idea of progress. He had a massive curiosity and

Tomorrowland, the World’s Fair, Epcot, they all represent that.”

Bird adds, “One of Disney’s quotes was, ‘I don’t make movies to make money; I make money to make movies.’ Was he a perfect guy? No. But when you look at how much he accomplished in his lifetime, it’s just staggering. So I view him as an innovator. He had a very proactive and positive view of the future. I like to think that this film is something that he would enjoy.”

When Lindelof’s research was complete, he approached Jeff Jensen to help further develop the story. “When I was doing ‘Lost,’” says Lindelof, “Jeff was working as a journalist for Entertainment Weekly. He had this amazingly imaginative brain. He would watch ‘Lost’ every week and come up with these crazy theories that were so inventive that I often found myself wishing that I had been smart enough to make the show about what Jeff thought the show was about. So he was exactly the guy I needed to help me cook up a fictional story that connected all the items I found in the box.”

“‘Tomorrowland’ is a quintessential Disney movie,” says executive producer Jeff Jensen, who is credited with Story by with Bird and Lindelof. “It is steeped in the values of Walt Disney: You’re going to see some amazing special effects and very innovative storytelling. And we’ve tried to remain true to the spirit embodied in places like Tomorrowland and Epcot—places Walt imagined would constantly develop new ideas for the future. Walt and his work were constantly changing, constantly evolving because in his mind the future was never fixed; the future is a project that is never done.”

Lindelof and Jensen wrote a detailed story draft, then Bird and Lindelof went out for lunch and, according to Lindelof, “It turned out that Brad knew quite a bit about Walt Disney and the hook was in. Brad and I started writing together from that point on.”

It is true that writer-director Bird is no stranger to the world of Disney and it isn’t just from working on his previous films. When he was 11, Bird developed an interest in animation and visited the Disney Studios. Over the course of three years he finished a 15-minute animated film that came to the attention of Disney Animation, who offered to assign a mentor—the famous master

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animator Milt Kahl—to the then-14-year-old. Bird stayed with a family friend in Los Angeles to take advantage of the once-in-a-lifetime offer.

Commenting on the story for “Tomorrowland,” Bird says, “It’s a very untraditional story and the protagonists are atypical. It’s a chance to do work on a grand scale but do something that hopefully will be very surprising. It embodies both aspects of the future—the scary and the wondrous—both of which are somewhat unknowable, so it’s an interesting ride.”

THE PROMISE OF TOMORROWLAND

In the movie, the premise that the futuristic city of Tomorrowland could actually exist pays homage to Walt Disney’s vision for both Disneyland’s Tomorrowland and Disney World’s Epcot, where ever-evolving technologies are showcased along with ideas to make the world a better place for all. But many believe—although it is generally thought to be myth—that Walt Disney was part of a secret band of thinkers and optimists and that Tomorrowland might actually exist in another dimension as a direct result of the forward-thinking, futuristic ideas that the group developed.

As the story goes, genius French structural engineer Gustave Eiffel, who designed and built the famous Eiffel Tower, built himself a private apartment in it where he would later conduct meteorological observations and perform various scientific experiments. Legend has it that on one fateful autumn evening in 1889, Eiffel quietly gathered together three of his most illustrious peers—the American Thomas Edison, Frenchman Jules Verne and Serbian Nikola Tesla—in the apartment to discuss the future.

That night the four men are believed by many to have formed a highly secretive organization, code-named Plus Ultra, that would shape the next century and beyond. “These great thinkers hatched a plan to build a city of the future,” screenwriter Damon Lindelof suggests, “that couldn’t be controlled by government or corporate interests; it would be the world’s greatest ongoing utopian science fair. But two World Wars set them back, and it was only in the 1960s, after Walt Disney joined the organization, that this secret world of technological innovation was built but hidden from the ‘real world.’”

Called Tomorrowland in reference to the section of Disneyland that Walt Disney had built a decade earlier as a celebration of technology, this alternate Tomorrowland developed technologies that Plus Ultra slowly introduced into the world. “They had cell phones in the 1930s,” surmises Lindelof, “space travel 20 years before that, and advanced rocketry a full 60 years before we did. They built this amazing city in the 1960s and it’s been up and running ever since.”

Tomorrowland is indicative of the can-do, Right Stuff spirit of the Space Race ’50s and ’60s, when “there was this feeling that the future was something that could be built,” says executive producer Jeff Jensen, “that we could make things better, technologically, politically, and socially; we could make a better world. ‘Plus ultra’ is Latin for ‘further beyond’; it was the mantra of Spanish explorers. Eiffel and his colleagues thought of themselves as explorers, not of new lands but of human potential. Walt Disney was a perfect fit for the organization, and was recruited because he embodied this idea that the future is this thing that we’re constantly striving toward. But

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things changed and today the future is much more nebulous, more uncertain. We’re cynical about progress; we’re skeptical that things can get better. We think of the future as something that’s going to happen to us, not something that we are making. Of course, not everything about the past is great, it was all much more complex and political than we know, and not all of it should carry forward. But can we recover something of that idealistic mid-century futurism? Is any of it relevant to today’s world?”

“Something has been lost,” director Brad Bird believes. “Pessimism has become the only acceptable way to view the future, and I disagree with that. I think there’s something self-fulfilling about it. If that’s what everybody collectively believes, then that’s what will come to be. It engenders passivity: If everybody feels like there’s no point, then they don’t do the myriad of things that could bring us a great future. When I was a kid, even though there were many negative things going on, as there always is and will be, it was acceptable to view the future in a positive light, that life was going to be better, that racism would cease, inequality would be mitigated, and so on. Now there’s this sort of giant cosmic shrug, and I hate that. I just don’t think that we’re on the planet to do that. We have the power to be responsible and go in the other direction.”

“Tomorrowland. That word is so evocative of all the themes that we’ve been talking about here,” concludes Jensen. “It’s evocative of the future. It’s evocative of the notion of progress. It is evocative of the idea of a culture working together collaboratively—not necessarily without disagreement, but creatively to build the future that we want. We’re putting that word out there and asking people to respond to it.”

ONBOARD FOR THE RIDE: TALENT JOINS “TOMORROWLAND”

Filmmakers Brad Bird and Damon Lindelof had only one man in mind to play the disillusioned inventor Frank Walker: George Clooney. “From very early on we described Frank as George Clooney-esque,” recalls Lindelof, “and whenever we would talk about actors for Frank, the thinking was: Who’s like Clooney? We crossed our fingers and did our best job of writing it, infusing Frank with a curmudgeonly humor and a heroic quality, all of which we think George embodies. And then we sent it off into the universe.”

When approached, Clooney was intrigued by the project and signed on—much to the delight of Bird and Lindelof.

Clooney describes his character Frank as “a disenchanted grump who was a bit of a dreamer as a young boy, a smart little scientist kid. Young Frank goes to a place that he thinks is the greatest in the universe, and he believes the world is going to be much better off because of it. He finds out that those things were untrue and becomes probably the most cynical person one could be. He isolates himself on his family farm and plans to spend the rest of his life there but is forced

to deal with his past because of situations that happen in the film.”

In the movie, Frank Walker has an unwelcomed intrusion in the form of Casey Newton, played by Britt Robertson. Explaining the relationship between the two, Clooney says, “Casey forces Frank to do everything he doesn’t want to do and she’s great at it. She’s just constantly nudging him. Frank is grumpy and angry, and it takes him a long time to trust anybody, and certainly he’s not going to trust this young woman who storms her way into his life. But eventually they find their way.”

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For the role of brilliant scientist David Nix, Hugh Laurie was approached for what the producers called the actor’s “astonishing intelligence—a little bit of danger undercut by a lot of fun.” Laurie himself recalls being “completely struck by the first conversation I had with Brad and Damon about the morbid defeatism that has gripped the world. There are benefits beyond number to modern life, but they don’t seem to bring us a feeling of satisfaction, triumph or accomplishment. Brad and Damon laid out this extraordinary vision of a future that ran completely counter to all popular ideas about how the world is going, and I was completely taken with it.”

Describing the difference between his character David Nix and Frank Walker, Laurie offers, “Frank’s idea was to create things that are fun, that make people’s lives better because they bring pleasure and joy, and express hope. Nix is only interested in the more utilitarian platform of research; life for him is an endless scientific quest because he believes that man was put on this Earth to accumulate and develop knowledge.”

Frank’s view of Nix is of a coldhearted bureaucrat who merely looks for the most efficient way of doing something without ever taking into account the joy of discovery, adventure and exploration. Yet the two men cannot help but begrudgingly admire each other, because “beneath all of that there’s a sneaking regard for each other because they are intellectual equals in a world that doesn’t necessarily understand or welcome visionaries. There is a kinship between the two,” informs Laurie.

“David Nix is not necessarily a malicious man,” adds Laurie. “It’s not to say that he has no sympathy for his fellow man, but his sympathy isn’t enough to override his pragmatism. It’s hard not to agree with him; he has a point about our human tendencies and weaknesses and appetites that can’t simply be wished away. He’s a practical, clear- thinking, brilliant scientist.”

The differences between the two men are indicative, says Bird, of the reality that great minds do not always think alike, that our human imperfections can derail the best of intentions. Despite the utopian ideals of Plus Ultra, its founders fought and disagreed—we are told Eiffel and Edison were often at odds—as did its later members, represented by Nix and Frank. “Inherent in the notion of Plus Ultra is the idea that brilliant minds wouldn’t necessarily get along,” says Bird. “That’s just wishful thinking. In fact, great minds

would probably really annoy each other. Some of them would get along, but a lot of them wouldn’t.”

Once shooting started, the two actors gelled as all had anticipated. Clooney, says Laurie, “was everything you hope George Clooney will be plus about 10 percent. He’s extremely funny and kind, very bright and very hardworking, and considerate of everybody around. Everything you’ve heard people say about him is true; it’s sort of maddening actually. He has an elegance about him that only enriches what he brings. He’s like an old friend. He engenders in an audience that wonderful feeling of comfort and affection. You know that this is a man of taste and intelligence and good humor, and that time in his company is going to be well spent. He’s an absolute gentleman, and it was a wonderful privilege to work with him and get a front-row seat, as it were.”

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Not to be outdone, Clooney comments about Laurie, “Hugh’s got a very dry sense of humor and I’ve always really appreciated it. It was really fun to get to know him and spend time with him. It’s a real pleasure to be around somebody who does things because he wants to do them, not because he has to. He’s a fun guy, but it’s also fun to have him there because he wants to be there.”

Laughing, Clooney adds, “He’s a first-rate, high-caliber man first of all and then a terrific actor, too, so there’s no downside to him except—I don’t want to say this aloud—he’s got a little kleptomania issue and it’s going to have to be addressed because I caught him coming out of my room with some of my belongings and I’d like them back.”

The producers knew there would not be a shortage of actors wanting to work with Clooney and Laurie, but the part of Casey would still be difficult to cast because whoever took on Casey’s role would need to do a great deal of the heavy lifting. She would need a tremendous amount of confidence and bravery and stamina. Many young actors vied for the role but in the end it went to Britt Robertson. “I’ve never come across a young actress with such enthusiasm and dedication,” raves producer Jeffrey Chernov. “She is a trooper. She had to jump in freezing water, get on a wire, be pulled, stretched, yanked, tugged, dipped and dunked, but Britt couldn’t get enough of it.”

Her auditions were all the more remarkable, too, because she had to perform them having read only a few scenes from the script. “When I first heard about this project, the script was completely on lockdown,” recalls Robertson. “No one, not even any agents or managers, had read it. It was not until maybe six months into the auditioning process that I was finally able to read the whole script. I obviously had a few scenes for auditions but they were completely out of context; I had no idea what any of it meant. When I finally got to read the script, I was so shocked by the fact that it was so different than anything else I had ever read. It has everything—action, adventure, friendships, family

drama—and it’s all tied together so perfectly. You don’t read unique material very often anymore. It has been very cool to be a part of this super project.”

Of her character Casey Newton, the daughter of a NASA engineer who is about to be laid off now that the space program has been all but shut down, Robertson says, “She’s this really smart chick who has always wanted to be an astronaut. It’s her passion and what she and her father have bonded over. Casey has this drive to do big things and change the world; she wants the world to be a place that’s full of hope and inspiration, but she doesn’t know how to make it so.”

As is typical in the industry, casting of the children’s parts presented its own challenges. “Young Frank was a little hard because we needed someone who looked like George and who could handle the physicality of the part because we wanted to do so much of it in camera,” says Chernov. “When we found Thomas it was like we struck gold.”

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Commenting on his young co-star, Laurie says, “Thomas Robinson gave Young Frank every possible ounce of energy and optimism and idealism that the part needed. For him the world is a huge adventure to be grasped, and every day was a chance to discover something more, do something more, try something new. He was fearless and completely charming.”

Describing Young Frank, Thomas Robinson says, “The movie starts off with a flashback and I’m playing young

Frank Walker in 1964. Young Frank invents things, like a jet pack, and experiments by making things out of old vacuum cleaners, paint canisters and other stuff. He’s pretty amazing but his dad doesn’t approve of his inventions.”

The filmmakers also struck gold with young Raffey Cassidy, who plays Athena. “Raffey is proof that people can make a difference,” says executive producer John Walker. “Cynicism and sarcasm are fashionable; honesty, optimism and love are a little out of fashion. So it was nice to see this young girl supplying such positivity. When you watch Raffey’s audition tape, at the end of every take she would give a little thumbs-up. She’s just a spark plug of a kid. She is the embodiment of the film.”

Executive producer Jeff Jensen calls Athena the “great hero of Tomorrowland.” “She believes in the mission of Tomorrowland, and right now it has a problem that can only be solved by new people and new ideas. Athena senses that Casey is the kind of spirit that it needs,” says Jensen.

In the film, Athena gives Casey a pin that jump-starts her quest for Tomorrowland. “Athena had been looking for a recruit,” says young Raffey Cassidy about the character she plays, “and she is really hoping that Casey was the right person to choose because that was Athena’s last pin. Casey has courage and determination and hope, and that is what Tomorrowland needs.”

Explaining the “family dynamic” between Athena, Frank and Casey, Clooney offers, “The problem is that the

youngest one, Athena, is the parent and Casey and Frank are like the two fighting kids. Athena is the one driving and she’s telling the kids to shut up. Frank is a big kid who didn’t really ever grow up and sort of stopped evolving at around 11 years old, so we are fighting all the time. It is like a family, but it’s all turned upside down because the real parent is the youngest kid.”

Once the children were hired, says Chernov, “I didn’t count on that if you take an 11-year-old and start them on a movie in the summer and don’t finish the movie until mid-winter, chances are they are going to grow, and that includes their teeth. When

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Raffey showed up in Vancouver to start work, she gave me a big smile and was missing teeth. And then Thomas started losing his teeth one by one. So the kids spent a lot of time having to get flippers [fake, removable teeth] made. You just never know what’s going to happen.”

Keegan-Michael Key and Kathryn Hahn play the Gernsbacks—very odd characters who own a memorabilia emporium. Gernsback (his name is homage to the publisher of Amazing Stories, the magazine launched in 1926 that created the sci-fi genre) cuts a strange silhouette. “I’m like a Jamaican Grizzly Adams,” says Key. “I’ve got a paunch, a vest that has eyeballs all over it, and an eyeball belt buckle holding up my acid-washed mom jeans. And I’m wearing Birkenstocks with patterned socks. I’m a strange fellow to say the least.”

Odder still is wife Ursula, a Star Trek fan with Vulcan-esque eyebrows and cat-eye glasses to match. “Our mission is to retrieve those pins and find out how they’re being disseminated,” explains Hahn. “We are part of a mandate to keep Tomorrowland hidden. When someone comes in with a pin, we are not allowed to let that person leave until we find out where or how they have gotten their pin—and then we have to destroy the messenger. So maybe not as much Southern charm as on the surface.”

Rounding out the talented cast is Tim McGraw, who plays Casey’s father. Describing his character, McGraw says, “Ed Newton is a guy who has an idealistic view of NASA and the space program, so he is disappointed when the program shuts down and he is laid off. But he isn’t the only one who is disappointed. His daughter, Casey, who is a lot like him with her quick, scientific mind, shares that feeling too. While Ed is trying to figure out what the future holds for him and his family, Casey is out there working to make sure the future she envisions happens. Ed finds himself not only trying to guide his daughter to keep her safe but reining in her wild curiosity as well.”

THERE AND BACK: THE MAKING OF “TOMORROWLAND”

Tasked with dreaming up Tomorrowland, production designer Scott Chambliss set right to work. “In the script itself there was no Tomorrowland written in,” says Chambliss. “That meant that a huge amount of our prep time was spent working with Brad and Damon developing not simply the look of Tomorrowland but what Tomorrowland meant. Creating a unique utopian civilization is a very complicated, daunting task. But therein lay the potential pleasure of actually creating something that was special in ways that an audience might not anticipate.”

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What was determined early on is that the Tomorrowland of 1964, when Frank sees it for the first time, and the Tomorrowland of 1984, the year of Casey’s pin-induced vision, were both still “a very balanced society,” says Chambliss. “Plus Ultra felt a responsibility to their environment, not just to make it beautiful but to nurture it—that notion being that man is equal part pioneer and shepherd of the planet. So the city evolves gradually out of nature and then recedes back into nature as you leave. It’s a broad, gestural statement.”

Nevertheless, a city built by visionaries with advanced technologies had to look like one, and finding such a place was not an easy task. The question was whether or not the whole of Tomorrowland would have to be built from scratch, an expensive and time-consuming proposition. But then in a series of wonderful coincidences, Tom Peitzman, the special effects producer and the film’s co-producer, stumbled upon a car commercial early on in production. The location looked so futuristic that he recorded the ad on his phone and brought it to director Brad Bird. The location turned out to be the City of Arts and Sciences in Valencia, Spain, and was designed by Santiago Calatrava, who was already serving as an inspiration for Chambliss.

The discovery also served to satisfy Bird’s preference for physical locations over virtual sets. A scouting party was sent out and Valencia became the bones of Tomorrowland—almost literally. “Calatrava’s architecture is just phenomenal and inventive and exciting,” says producer Jeffrey Chernov. “It’s very skeletal, like you’re looking at the vertebrae of a dinosaur or prehistoric fish. You walk into that place and you never want to leave. That’s the vibe we wanted for Tomorrowland.”

On shooting at the City of Arts and Sciences, George Clooney comments, “Valencia is not a city I’d been to before—and I’d been all around Spain, which is an incredibly beautiful country—but it was really fun to go there and work and spend time. The architect’s imagination represents that great optimistic version of life where you just go, ‘I want to build that’ and somebody builds it. It’s pretty amazing.”

However, not all of Tomorrowland could be worked into the City of Arts and Sciences, in particular the monorail, the huge

energy sphere and the massive monitor, collectively referred to as the Bridgeway Plaza set. Although it seemed likely that a small set would be built and extended with CGI, it was ultimately determined that a set heavily dependent on green screen was not the solution. “On these large visual effects films,” says Peitzman, “you need to find a balance between practical and CGI. Too much of the time people rely too heavily on computer-generated imagery, and it looks like CGI. I always approach it a little more old school; I like to challenge the director to do as much as he possibly can in camera so he has something to look at, touch and light. I would rather have 10 percent of the frame practical than 100 percent of the frame digital; even if it is only a small portion, it’s something to hinge the CGI on, and then you can achieve a more natural, seamless look.”

In the end, the Bridgeway Plaza took six months to build in Vancouver and was about half the size of a football field. The set was so enormous that no soundstage existed that could house it, and considerable height was also required for the intended aerial work above the set and for the cranes big enough to hold the lights required to illuminate everything. Adding to the complexity was the fact that the set had to serve different time periods over

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the course of the script: 1964, when Young Frank first visits; 1984, the period of the intended rollout campaign broadcast in Casey’s pin-induced vision; and 2014, when the remainder of the story takes place. This required six-week intervals between shoots to allow the production design crew to re-dress and alter the set for each time period.

At first, having the set outdoors did not seem to be an issue, as the production would be shooting at the height of a Vancouver summer, but when Clooney was secured he was still shooting “The Monuments Men,” which delayed the start of “Tomorrowland” by five months and pushed the shooting of Clooney’s Bridgeway Plaza sequences into late November and early December, the precarious rainy winter season in Vancouver. Chernov at first did not believe this would be an issue “because the construction crews up here are accustomed to the weather; they’ve built a lot of lean-tos and different tarp systems to keep sets dry. We just had to figure out a way to cover it, to make it bulletproof no matter the weather. They came back with a couple of ideas that were going to cost over a million bucks and were not guaranteed to work, so I said, ‘All right, we’ll just have to be lucky.’”

As if in keeping with the film’s optimism—or perhaps the production had a guardian angel watching over it—the weather cooperated with a nearly unprecedented dry spell. “We built plenty of cover so we could just run for it if the weather wasn’t on our side, but we never had to. Apparently it was the driest six winter weeks that Vancouver had experienced since 1952—the interesting thing about that was that the original title of our movie was ‘1952.’ Everybody thought we were crazy to try it, and I agreed with them. It was a huge relief when we wrapped,” relates Chernov.

Small miracles aside, perhaps the most impressive part of the Bridgeway Plaza set was the fully functional monorail. “Once it was completely built and the lights and glass were put in it,” says special effects coordinator Mike Vezina, “it came out at about 35,000 pounds. So then we had the challenge of how to motivate 35,000 pounds of set down a track that was elevated 16 feet in the air, carrying all our principal cast, and needing to stop at exactly the same position time and again.”

The special effects team came up with hydraulic winches that they could shut down very quickly in an emergency, and with which they could apply the brakes whenever they wanted so they could bring the monorail to a very specific mark to stop, open the door automatically, and then have the cast walk out. The team used a huge, 500-horsepower hydraulic pump and heavy wire rope to pull the monorail back and forth on the two winches, so as one would wind up, the other one would unwind,

allowing them to follow it back and forth. Vezina adds, “For positioning we used laser beams that told us within one thousandth of an inch if the monorail was going past its mark so we could then shut it down. Fortunately we didn’t have to use any of the safety mechanisms because it worked perfectly the whole time.”

Vezina’s other big challenge was the Eiffel Tower set, which had to split open down the middle to reveal The Spectacle rocket ship. “We had to build a replica of the whole top section of the Eiffel Tower,” says Vezina, “and

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then we put everything on a metal base we designed and built on rollers. We had a ramp that we could pull apart and shake it and do all the other things that needed to be done. The set weighed somewhere around 100,000 pounds, so underneath we had an airbag system to float the set. That allowed us to move or shake it with smaller ramps. We also had a track system to pull it all apart smoothly and repeatedly because, of course, when shooting a film you never do something just once.”

The sets definitely impressed Hugh Laurie, who refers to them as “absolutely magnificent.” He adds, “It’s daunting to actually think this has all been built so that I can stand here and say my speech. I’m looking at essentially the equivalent of Cairo being built behind me. The scale of it is spectacular and I’m sure every designer must thrill to the possibilities of futurist design because they’re not really tied to anything—they can let themselves run free, and they do.”

In the story, an Internet search leads Casey to Houston, Texas, and the bizarre memorabilia emporium called Blast From the Past, which was completely built from the ground up on a soundstage. “Blast From the Past is an amalgam of the sci-fi comic book stores that director Brad Bird and I remember from our youth,” says Chambliss. “Different cities, different stores, but the same feeling you had as a kid where you just wanted to spend a good chunk of your week in that store, poring through everything. Set decorator Lin MacDonald spent months

curating the collection; there are thousands of pieces, both purchased and manufactured by the production, and many originals, including some that Brad brought from his own collection.”

Adds an enthusiastic Keegan-Michael Key, whose character Hugo Gernsback owns the shop with his wife, Ursula, “We have classic sci-fi posters, the original Luke Skywalker action figure from 1970, and stuff from ‘Space: 1999’ with Martin Landau. And then just shelves and shelves of comic books. The whole place is my dream come true. They basically built a store and set it in the middle of a soundstage. It’s incredible.”

The Walker home was a set that also needed the production design team’s special touch—but in the reverse of what one would think. “Frank’s home hasn’t seen any love for a long time,” says Chambliss, “and is reflective of Frank himself, who hasn’t felt any love for a long time, either. We stopped just short of making the place looks like the home of one scary guy, but he is in a dark period in his life: The house is rigged out of paranoia. He’s also trying to re-create some of what he experienced in Tomorrowland, but now it’s as much about his fear as about his previous sense of joyous invention and exploration.”

A challenge for Chambliss was re-creating the 1964 World’s Fair for “Tomorrowland,” but filmmakers were lucky to find that one of the iconic pieces, the Unisphere, was actually still standing in Flushing Meadows, New York,

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just outside of the USTA National Tennis Center. The huge globe’s fountains are still in place, as well as the gardens. The filmmakers dispatched a photographer to New York to take photos so that they could use the real images as a composite element in the scenes.

While these sets provided a great sense of achievement for the filmmakers, only one set provided the kind of awe that the film itself encapsulated: the real-life NASA launchpad at Cape Canaveral. Bird offers, “To many of us on the film, NASA and the mission of NASA is close to our hearts, and so being there and able to film some of the film there was a treat. Our shoot timed with the launch of the MAVEN probe to Mars, so we actually got to watch from the pad that launched a lot of the NASA missions.”

Remembering the excitement of that moment, executive producer John Walker says, “Just to stand there was amazing. I remember as a kid watching on television those fantastic rockets go up. We got to watch the MAVEN probe launch live and from closer than the press did. It was fantastic. It was worth making the whole movie just to be able to do that.”

Though by far the most emotionally spectacular, Cape Canaveral was only one of the movie’s many locations. The film started principal photography on a farm in Pincher Creek, Alberta, Canada, where the filmmakers had paid a farmer to grow winter wheat whose particular shade of amber was Bird’s vision of rural perfection; then the crew moved to a farm in Enderby, in British Columbia’s Okanagan, to shoot the Walker farm and its cornfields, also grown specifically for the production.

Shooting in the wheat fields turned out to be a special experience for Britt Robertson. “My very first week of shooting was in the wheat fields. We went up into the interior of Alberta and the production had actually planted acres and acres of wheat on people’s land. Just being around it was so real; it was so beautiful and just unlike any experience I’ve ever had. Being able to film there wasn’t even acting because I was in awe of these fields of wheat. This whole production has been really smart about creating these experiences for the audience, but not just for the audience, for the actors, too, so you really get to see the actors experiencing these very unique, real things.”

In addition to the Canadian locations, there were the aforementioned sets in Spain and Vancouver, with additional spots in the latter doubling as the Hall of Invention and Unisphere Plaza of the World’s Fair. Add to that time spent filming at the It’s a Small World ride at Disneyland in Anaheim, two days spent on a beach in the Bahamas, and a second-unit shoot in Paris. And if one counts Peitzman’s plates of the World’s Fair Globe in what is now Flushing Meadows park, the spot in Queens where the 1964 World’s Fair was held, you can also count New York among the locations. In all, the film had over 90 different combinations of sets and locations, and moved

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10 times, almost unheard of in the industry.

“I had never worked on a movie this big before,” comments executive producer John Walker. “Every week there was another miracle for the taking. There were giant sets on gimbals, an antique rocket ship on another gimbal, a 360-degree circular screen broadcasting footage we shot for a Google Earth-like sequence, an 11-year-old boy flying in a skydiving simulator—it was just one wonder after another. It was very complex; it took an enormous amount of preparation and work and technology to bring everything together but it was fantastic.”

COSTUMES

Costume designer Jeffrey Kurland began the process of creating the looks for each of the characters by talking with the filmmakers to understand the characters and the world they inhabit in the film. “I tell the story through the visual of what people look like and how they present themselves,” explains Kurland. “So, after reading the script, I first talked to the director, Brad Bird, to find out how he sees these characters. How does he feel about them? What’s their background? We give them a bit of a background so we know where they came from, what their likes and dislikes are and what kind of people they are.”

When we first meet Athena (Raffey Cassidy) in 1964, she is, for all outward appearances, just an ordinary 11-year-old. But look closer at her aquamarine eyes and matching dress and you discover something special, if a little off. “The silhouette of her dress is typical of the period,” says Kurland, “a fitted bodice and dirndl skirt. But it has a pattern on it that looks like a grid that goes around the dress. As you get closer you see the pattern is based on the golden ratio, which keeps repeating, so the lines are not straight, and they are made out of algorithms and theorems, all these numbers and letters. The fabric itself looks advanced and has

sheen to it. I couldn’t find the color to match her eyes, so I had the fabric printed with the color first and then we printed the algorithms on top of that. It all makes her slightly otherworldly but not in a creepy way.”

Athena in 2014 presented a challenge to Kurland. “Here’s this 11-year-old girl who’s running around 2014 by herself,” says Kurland. “And I didn’t want her to look like a homeless girl or a refugee. She looks like a girl, but there’s also something a little different about her, so there is a little something advanced about her that’s in the fabrications of the clothing. She’s

wearing a denim jacket, but she’s wearing double layers of shirts, and then the hoodie that she’s got on is kind of strange because it’s a knitted thing, like maybe an item that you find at a thrift store. But then her pants and her shoes look a little more advanced.”

Casey’s (Britt Robertson) quirky intelligence and the importance of her familial bond are reflected in her clothing. “She’s definitely not your average girl,” says the costume designer. “She’s wearing jeans but they’re rolled up over different colored socks; her shoes are old wing-tips, and she wears her father’s old NASA hat. Her wardrobe is filled with a lot of vintage stuff—

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at one point she’s in an old bowling shirt—because her father wears vintage clothes. And he too wears weird socks; it’s a thing they share.”

When we first saw Young Frank (Thomas Robinson) in 1964, explains Kurland, “he was wearing overalls and a kind of sports jersey. And when he went down to the World’s Fair he was wearing jeans, a striped shirt, and a jacket.

“Now, 50 years later, you can still see a bit of that boy in Frank Walker [George Clooney]: He’s wearing clothes very similar to what his father was wearing at the beginning of the movie, but the jacket is made out of a fabric that’s more advanced; it’s actually something that Frank left Tomorrowland in and has been wearing ever since. It’s a very subtle hint that Tomorrowland still has a closeness to him even though he denies it.”

For Hugh Laurie’s character David Nix in 1964, Kurland wanted his suit to have a feeling of Tomorrowland. “I wanted you to look at it and go, ‘Oh, nice suit,’” says Kurland. “And then when you get closer, you go, ‘Mmm, he doesn’t look like everybody else. It’s a little different. Where did that come from?’ So that you get the feeling that he’s influential from another place but not in an alien kind of way. Then we don’t see him for a while until we get to 2014, and then when we see him, he takes on a grander, almost more royal quality to fit his role in Tomorrowland, which is reflected in the design of his clothing.”

There were 400 extras to be dressed for the 1964 World’s Fair scenes—a challenge for Kurland and his team that involved finding clothes and making clothes that fit the era. “There are certain things that had to be re-created that were real,” relates the costume designer. “For example, the people who manned the ticket booths and the maintenance people, what they looked like at that time, and the Greyhound driver, the trolley drivers and more.”

KIDS & STUNTS

To get the kids ready for their roles, the film hired supervising stunt coordinator Robert Alonzo. “I had to do a physical assessment of them to make sure they would be able to handle what was coming to them,” says Alonzo. “Within a half hour of meeting Raffey [Cassidy], I said to the producers, ‘You have a winner. This girl is going to be amazing.’ We trained her in swimming, gymnastics, wirework, and martial arts, which was the main thing I needed her to learn for this film.”

Alonzo quickly discovered, however, that he had to adapt his methods to train Raffey successfully. “A child doesn’t have a sense of right or wrong defense. They don’t understand; they just think, ‘I’m doing this for a movie. I’m going to be a superhero.’ So her punches and kicks were good but there was no substance behind them.

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I had to ask her, ‘What does Casey mean to Athena?’ I said to her, ‘You’ve got a family that you love; you would protect them, right?’ And so whenever she would throw a punch or a kick I would have her say a word—‘No!’ or ‘Don’t touch me!’ or ‘Leave my sister alone!’—so that she understood and gave value to the movement. Because there’s no other way to get the face and the face is the key. It’s never the punch that the audience remembers; it’s the face, the reaction after the punch. If you don’t have that reaction the audience is never going to believe your intention. It took a while to get there but once she got it there was no going back. It was the most beautiful thing to see the transition from the smiley face to determination. When she sets her mind to it now, she becomes so focused. It’s amazing.”

For Raffey Cassidy, the training paid off with a newfound skill. “I didn’t know a thing about martial arts or fighting before this,” says Raffey, “and now I know the kicks and the punches and I’m starting to get more into it. I’m further on than just the basics—I got a yellow belt in mixed martial arts while I was in training.”

With Thomas Robinson, the challenge was a little different. “Thomas was initially scared of heights,” says Alonzo. “How were we going to get this kid in a harness, pretending he’s flying comfortably in a jet pack at 80 miles an hour? So we started training him with trapeze since a lot of harness work is involved there; we started teaching him how to fall so that he could get comfortable with doing quite a bit of his own action.”

Echoes Thomas, “The harnesses are the most uncomfortable thing I have ever been in, but being able to fly 30 feet in the air is totally worth it. It’s one of the coolest things I have ever done.”

When it was later revealed that the production wanted to achieve an open-air wind tunnel sequence with Thomas, he was sent off to iFly to learn to master a skydiving simulator. “I had never before seen that done with a child. If Thomas hadn’t made enough progress I would have said we couldn’t do it, but Thomas was just as good in the wind tunnel as he was walking. He was so good, we got everything and more. I have to say he did an amazing job. I’m very proud of him because of the things that he overcame. He went from scared of heights to flying on his own 60 feet in the air and having the time of his life,” comments Alonzo.

The greater problem with children, though, is the danger of their eagerness to please. “Kids want to perform and they will ignore their own limitations,” explains Alonzo. “So you have to make sure they understand that they have to be comfortable and not try to please anybody. We do all the necessary testing and we abide by every protocol, but we can only go as far as they’re able to do and are mentally capable of understanding, so I have to establish a really solid relationship not only with the child but also with the parents. We all have to trust each other and I need the kids to be honest with me. I tell them and I ask their parents to tell them, if something’s uncomfortable or if you’re tired, if you’re feeling sick, you need to tell me because it is my job to make sure that you’re safe and are able to perform at your highest level.”

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PROPS

For the props department, creating props for the different time periods of the film—1964, 1984 and 2014—was a challenge. There are different influences and materials that affect the manufacture and design of the props for each era, so every prop needed to be carefully researched and analyzed to make sure the technology and materials they planned to use existed in the time period. Then the filmmakers had to try and find the real parts to make things authentic.

Kris Peck, the supervising prop master on “Tomorrowland,” jumped right in by working on the 1964 jet pack invention created by the Young Frank character. His invention is a kerosene-operated contraption, yet despite the jet pack’s obvious shortcomings it remains a proud symbol of the scientific zeitgeist that in just a few short years would put a man on the moon. “Frank’s jet pack is representative of the optimism of the future,” says Peck. “James Bond had a jet pack sequence in a 1960s film, you saw jet packs in shows like ‘The Jetsons’; these can be traced way back to Buck Rogers in the ’30s. While doing research for this movie I even found an interesting story about how the Germans were trying to create a jet pack to go behind enemy lines.”

The 1964 jet pack designed for Young Frank (Thomas Robinson) was actually a feat of engineering and imagination. It has 40 different fasteners on the backpack frame and has mounts for Electrolux vacuum cleaners on the sides. Control cables operate the small shovels on the back. Cables run through the jet pack onto the handles so the actor can control it. The jet pack was fastened to a plate and could be easily removed from the frame so that Thomas did not have to walk around with 20 pounds of jet pack on his back between takes.

The jet pack evolved over the course of the film. In addition to the crude 1964 version, there is a 1984 and a 2014 version as well. The 1984 version has handles and is reminiscent of the art and design of the 1980s with influences from “Star Wars” clearly visible in its shiny, white metallic finish inspired by Stormtroopers. The 2014 version does not have handles as it is intuitive, and the jet pack is powered by Tesla energy.

For director Brad Bird, creating the jet packs was one of his most memorable parts of the production process. “There’s a 10-year-old kid that’s still alive in me to this day,” says Bird, “so any chance to make a jet pack was fun, and better yet, we had a few different jet packs in this movie, so it’s safe for me to say that one of my favorite props from the movie is one of the jet packs.”

Peck calls the Tomorrowland pin “the most important prop of the movie because without the pin there’s no Tomorrowland.” In the movie, the pin was intended as a guided tour of Tomorrowland beamed directly into the cerebral cortex, the start of a rollout campaign that was intended to introduce Tomorrowland to the rest of the planet in 1984. In the movie, Ursula Gernsback (Kathryn Hahn) calls the tour “the world’s greatest movie trailer.” It’s “a fleeting glimpse, a taste, a one-way e-ticket for a single rider,” adds Hugo Gernsback (Keegan-Michael Key).

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Describing the design of the pin, Peck says, “We used the color palette of the 1964 World’s Fair, blue and an orange. The pin is one inch in size and made out of brass and has a good weight. It feels good in your hand.”

Commenting on the symbolism of the design, Bird adds, “We worked hard to find something that had a little bit of a retro feel but also felt classic. We took the universal symbol of the atom but made it like a sun rising, so it’s the idea of something that’s beyond the horizon but coming and that there is a golden view of the future. Then we looked at the letter T and realized that if you tweak it a little you can make it look like a jet pack with a tremendous amount of force coming out of both sides of the top of the T. So the T is sort of blasting off while behind it there’s the symbolism of a rising sun and that’s meant to say the future is coming and it’s going to be fun and bright.”

In the scene at Blast From the Past, the memorabilia emporium, the Gernsbacks are firing plasma ray guns that, while they may look like toys, prove to be anything but. Designed by premier illustrator Tim Flattery of “Men in Black” fame, the guns feature interactive light that spills out into the environment, adding to their air of authenticity.

“Brad had said that when ‘Star Wars’ came out, one of the things that he had a problem with was that when the lightsaber was on, you didn’t see any light on the characters,” says Peck. “So we worked with some people from Vancouver’s Unlimited Design to build a very small but powerful wireless battery pack that fits on the end of the gun. So you hit the trigger and the gun throws this interactive light out the front. And then the plasma is empty so the red lights go on, and as the gun recharges the lights turn blue again.”

Equally cool is Athena’s time bomb, which she uses to temporarily incapacitate the Gernsbacks. Designed by illustrator Victor Martinez and manufactured by SAT in Los Angeles, it looks like an orange that has been peeled and opened up into glowing segments.

Despite its small size, the prop demanded a big commitment. “We had to have a floor piece built into the set for this prop because there were mechanisms that went under the floor for the wires and cables that came down,” recalls Peck. “It was such a small space in the real estate, but it was one of those props that when you look at the illustrations, you’re like, ‘Man, that’s fantastic,’ and then the manufacturers are saying, ‘We can do it,’ but when it actually comes time to execute it, it becomes a very complicated piece.”

Other significant props that kept Peck and his team busy were the Tomorrowland gun, featuring an LED blue light pattern; Nix’s watch, with two screens and graphics; the “Dave Clark” Robots’ guns, including the cheese cutter, the rifle and the shotgun; the Combine Remote, made from an old washing-machine motor; the Thinking Machine, the most complicated prop in the movie with about a dozen moving parts; and Frank’s Gizmo, a multi-lens, trombone-like creation that can project 2D and 3D images.

“TOMORROWLAND”: WHAT THE FUTURE HOLDS

With “Tomorrowland” set to blast into theaters on May 22, filmmakers speculate on what the film will deliver to audiences.

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“What we all look for in terms of entertainment is that there is something for everybody,” says producer Jeffrey Chernov. “Whether you are 8 or 80, you can go and just have the best time, sitting there and enjoying that movie. That’s what we’re hoping to do. We would like to be able to make Walt proud that we were able to take his idea of the future and turn it into something really entertaining.”

Executive producer Jeff Jensen says, “We hope people have a really fun time watching the film and it totally delivers on that—it’s a really great piece of escapist entertainment—but the best escapism ultimately leads you to ask questions about your real world and how you’re living in it. Hopefully this movie can do that in some small but meaningful ways.”

Summing up, director Brad Bird says, “We hope audiences will be entertained but with luck we’ve also made something that will give them something to talk and think about later…maybe even start to imagine a different kind of future.”

ABOUT THE CAST

GEORGE CLOONEY (Frank Walker) is recognized as much for his global humanitarian efforts as he is for his accomplishments in the entertainment industry.

Clooney’s achievements as a performer and a filmmaker have earned him two Academy Awards®, three Golden Globes®, four SAG® Awards®, one BAFTA Award, two Critics’ Choice Awards, an Emmy® and four National Board of Review Awards. When Clooney received his eighth Academy Award nomination last fall, he earned a special spot in the Oscar® record books. He has now been nominated in more categories than anyone else in Oscar history.

Clooney, through his production company Smokehouse, recently produced, directed and starred in “The Monuments Men” for Sony Pictures. The film, which he co-wrote with his producing partner Grant Heslov, is based on the historical book “The Monuments Men: Allied Heroes, Nazi Thieves, and The Greatest Treasure Hunt in History.” The film also stars Matt Damon, John Goodman, Cate Blanchett, Bill Murray and Jean Dujardin.

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Smokehouse, along with Jean Doumanian Productions, produced a film adaptation of Tracy Letts’ Pulitzer Prize– and Tony Award®–winning play, “August: Osage County,” starring Meryl Streep, Ewan McGregor and Julia Roberts for The Weinstein Company. Smokehouse’s recent films include Warner Bros.’ Academy Award®–winning drama “Argo” and “The Ides of March.” “Ides,” which Clooney co-wrote, directed and starred in, received Golden Globe® nominations for Best Director, Best Screenplay and Best Motion Picture, Drama. In addition, the film received an Academy Award nomination for Best Adapted Screenplay.

In 2013, Clooney starred with Sandra Bullock in director Alfonso Cuarón’s drama “Gravity” for Warner Bros., which went on to win seven Academy Awards®.

In 2011, Clooney starred in Alexander Payne’s “The Descendants” for Fox Searchlight. Clooney won the Critics’ Choice Award, Golden Globe Award® and National Board of Review Award for Best Actor. In addition, he received a SAG® nomination and an Academy Award® nomination for Best Actor in a Leading Role.

In 2009, Clooney starred in the critically acclaimed film “Up in the Air.” He received an Academy Award® nomination, a Golden Globe® nomination, a SAG® nomination and a BAFTA nomination for Best Actor for his performance. He also won National Board of Review and New York Film Critics Circle Awards for “Up in the Air.” When Clooney received his Oscar® for Best Supporting Actor for “Syriana” in 2006, he also earned Academy Award® nominations for Best Director and Best Original Screenplay for “Good Night, and Good Luck.” It was the first time in Academy history that an individual had received acting and directing nominations for two different films in the same year.

Clooney and Heslov first worked together at Section Eight, a company in which Clooney was partnered with Steven Soderbergh. Section Eight productions included “Ocean’s Eleven,” “Ocean’s Twelve,” “Ocean’s Thirteen,” “Michael Clayton,” “The Good German,” “Good Night, and Good Luck.,” “Syriana,” “Confessions of a Dangerous Mind,” “The Jacket,” “Full Frontal” and “Welcome to Collinwood.”

Before his film career, Clooney starred in several television series, becoming best known to TV audiences for his five years on the hit NBC drama “ER.” His portrayal of Dr. Douglas Ross earned him Golden Globe®, SAG®, People’s Choice and Emmy® Award nominations.

For Section Eight’s television division, Clooney was an executive producer and directed five episodes of “Unscripted,” a reality-based show that debuted on HBO. He also was executive producer and cameraman on “K Street,” another show featured on HBO.

Clooney was also executive producer and co-star of the live television broadcast of “Fail-Safe,” an Emmy®-winning telefilm developed through his Maysville Pictures. “Fail-Safe” was nominated for a 2000 Golden Globe® Award for Best Miniseries or Motion Picture Made for Television. The telefilm was based on the early 1960s novel of the same name.

Clooney is a strong First Amendment advocate with a deep commitment to humanitarian causes. In 2006, Clooney and his father, Nick, went to drought-stricken Darfur, Africa, to film the documentary “Journey to Darfur.” Clooney’s work on behalf of Darfur relief led to his addressing the United Nations Security Council. He also narrated the Darfur documentary “Sand and Sorrow.” In 2006, he received the American Cinematheque Award and the Modern Master Award from the Santa Barbara Film Festival.

In 2007, Clooney, Brad Pitt, Matt Damon, Don Cheadle and Jerry Weintraub founded “Not on Our Watch,” an

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organization whose mission is to focus global attention and resources to stop and prevent mass atrocities in Darfur.

Among the many honors received as a result of his humanitarian efforts in Darfur, one of them was the 2007 Peace Summit Award, given at the eighth World Summit of Nobel Peace Prize Laureates. In 2008, Clooney was designated a U.N. Messenger of Peace, one of eight individuals chosen to advocate on behalf of the U.N. and its peacekeeping efforts.

In January of 2010, Clooney, along with Joel Gallen and Tenth Planet Productions, produced the “Hope for Haiti Now!” telethon, which raised more than $66 million, setting a new record for donations made by the public through a disaster-relief telethon.

The Academy of Television Arts and Sciences awarded Clooney with the Bob Hope Humanitarian Award at the 2010 Primetime Emmys. Later that year, Clooney received the Robert F. Kennedy Ripple of Hope Award for his dedication to humanitarian efforts in Sudan and Haiti.

In December of 2010, Clooney, along with the United Nations, Harvard University and Google, launched “The Satellite Sentinel Project,” an effort to monitor violence and human-rights violations between Southern and Northern Sudan. “Not on Our Watch” funds new monitoring technology, which allows private satellites to take photographs of any potential threats to civilians, detect bombs, observe the movement of troops and note any other evidence of possible mass violence.

In March of 2012, Clooney was part of the delegation that peacefully demonstrated in front of the Sudanese Embassy in Washington, D.C., calling worldwide attention to the human-rights violations being committed in Sudan, which resulted in his arrest.

Most recently, Clooney was the honoree at the Carousel of Hope Ball, which benefits the Children’s Diabetes Foundation and the Barbara Davis Center for Childhood Diabetes (BDC).

HUGH LAURIE (David Nix) was born in Oxford, England, and educated at Eton College and Cambridge University, where he took a degree in anthropology. He rowed in the Cambridge and Oxford Boat Race of 1980 and was elected president of the venerable Footlights Revue. Along with Stephen Fry and Emma Thompson, Laurie produced “The Cellar Tapes,” which won the Perrier Award at the Edinburgh Festival Fringe of 1981 and propelled the trio into a number of groundbreaking British television shows, including four seasons of “A Bit of Fry and Laurie,” which Laurie co-wrote for the BBC with Stephen Fry; three seasons of “Blackadder”; and three seasons of “Saturday Live.” In addition, four seasons of “Jeeves and Wooster,” based on the novels of P.G. Wodehouse, aired on PBS’s “Masterpiece Theatre” from 1990-1995.

Previous feature credits include “Mr. Pip”; “The Oranges,” opposite Catherine Keener and Leighton Meester; the animated films “Arthur Christmas,” opposite James McAvoy and Jim Broadbent, “Hop,” opposite Russell Brand and James Marsden, and “Monsters vs. Aliens,” opposite Reese Witherspoon and Seth Rogen; “Street Kings,” opposite Forest Whitaker and Keanu Reeves; “Flight of the Phoenix,” opposite Dennis Quaid; “Peter’s Friends,” directed by and co-starring Kenneth Branagh; “Sense and Sensibility,” with Emma Thompson and Kate Winslet; “Cousin Bette,” with Jessica Lange; “The Man in the Iron Mask”; “101 Dalmatians”; and the “Stuart Little” films with Geena Davis.

On American television, Laurie portrayed Dr. Gregory House in the acclaimed “House M.D.” and Vincente Minnelli,

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opposite Judy Davis, in the network telefilm “Life With Judy Garland: Me and My Shadows.” He was also seen in “Veep” for HBO and will be seen in the upcoming series “The Night Manager” for AMC. He also appeared in “Tracey Takes On…” and “Friends.” His voiceover credits include “Family Guy” and the “Treehouse of Horror XXI” episode for “The Simpsons.”

Laurie’s performance as Dr. Gregory House has garnered him two Golden Globe® Awards for Best Performance by an Actor in a Television Series, six Emmy® nominations for Outstanding Lead Actor in a Drama Series and two Screen Actors Guild® Awards® for Outstanding Performance by a Male Actor in a Drama Series. He has twice been honored by the Television Critics Association with TCA Awards for Individual Achievement in Drama.

Laurie has directed television programs and commercials, including the “House” Season Six episode “Lockdown,” composed and recorded numerous original songs and written articles for London’s The Daily Telegraph newspaper. Four volumes of “A Bit of Fry and Laurie” scripts have been published by Mandarin, and Laurie’s first novel, “The Gun Seller,” was published in both the U.K. and the U.S. to critical acclaim and has been adapted into a screenplay.

After signing a record deal with Warner Bros. Records, Laurie recorded the celebrated New Orleans blues album “Let Them Talk,” which was released in the U.S. in September 2011. Recorded at sessions in Los Angeles and New Orleans, the musical and vocal collaboration was produced by two-time GRAMMY® Award winner Joe Henry. The album was the biggest-selling blues album of 2011 in the U.K. The performance documentary about Laurie’s musical passion, “Hugh Laurie: Let Them Talk – A Celebration of New Orleans Blues,” also aired on PBS’s “Great Performances” in September.

Laurie’s second album, “Didn’t It Rain,” was released in August 2013. His second PBS special, “Live on the Queen Mary,” also aired in August. This intimate live performance by Laurie and the Copper Bottom Band was filmed aboard the historical Queen Mary in Long Beach, Calif. In October 2013, Laurie embarked on a U.S. tour with the Copper Bottom Band.

BRITT ROBERTSON (Casey Newton) can currently be seen in theaters in the lead role in the Fox 2000, Nicholas Sparks’ feature “The Longest Ride,” opposite Alan Alda and Scott Eastwood. She gained widespread attention as the lead of The CW Network’s critically acclaimed drama “Life Unexpected.” She continued on the network as the lead in the drama from Kevin Williamson, “The Secret Circle,” and then appeared on Stephen King’s DreamWorks and CBS series “Under the Dome.”

Robertson was recently seen in “Delivery Man,” where she played Vince Vaughn’s daughter, and “Cake,” opposite Jennifer Aniston. She also starred in “The First Time,” which premiered in the 2012 Sundance Competition and sold to Sony. She played a cameo role in the feature film “Scream 4.”

Robertson most recently completed work on the independent feature “Cook,” opposite Eddie Murphy.

Robertson’s additional film credits include: “Dan in Real Life,” opposite Steve Carell; “The Family Tree,” which debuted at the Hamptons International Film Festival; and “Mother and Child,” with Naomi Watts and Annette Bening.

Born in Charlotte, N.C., Robertson currently lives in Los Angeles.

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RAFFEY CASSIDY (Athena) is a young actress with an already impressive and rapidly growing list of film credits. As the youngest-ever actor to feature in Screen International’s Stars of Tomorrow, which has previously included actors Robert Pattinson, Andrew Garfield and Gemma Arterton, Cassidy’s credits include Universal Pictures’ “Snow White and the Huntsman,” opposite Charlize Theron, Kristen Stewart and Chris Hemsworth, and Tim Burton’s “Dark Shadows,” with Johnny Depp for Warner Bros.

Most recently, Cassidy completed production as Molly in Amber Entertainment’s “Molly Moon,” with Emily Watson and Dominic Monaghan. On the television front Cassidy co-starred in “Mr. Selfridge,” alongside Jeremy Piven.

Born in England, the younger sister of actors Grace Cassidy and Finney Cassidy, Cassidy has been acting since she was 7.

TIM McGRAW (Ed Newton) is one of the music industry’s most successful artists. He has sold more than 40 million albums and had over 36 singles reach No. 1 worldwide. Over the course of his music career, McGraw has earned scores of awards and nominations, including three GRAMMY® Awards, 16 Academy of Country Music Awards, 14 Country Music Association Awards, 10 American Music Awards and three People’s Choice Awards.

His iconic career achievements include being named the BDS Most Played Artist of the Decade for all music genres and having the Most Played Song of the Decade for all music genres with “Something Like That.” He is the most played country artist since his debut in 1992, with two singles spending over 10 weeks at No. 1 (“Live Like You Were Dying” and “Over and Over”). The two-time GRAMMY-nominated “Meanwhile Back at Mama’s” marked McGraw’s 54th career Top Ten hit off his latest album, “Sundown Heaven Town” (Big Machine Records). The project also produced the No. 1 “Shotgun Rider” and current single “Diamond Rings and Old Barstools,” featuring McGraw’s cousin, Catherine Dunn.

As an actor, McGraw has also established a notable presence in feature films, beginning with his well-received 2004 debut in Peter Berg’s “Friday Night Lights.” His other films include “Country Strong,” “Dirty Girl,” “The Blind Side” “Four Christmases,” “The Kingdom,” which reunited him with director Peter Berg, and the 2006 family adventure “Flicka.”

In addition to starring in “Flicka,” McGraw executive produced the motion picture soundtrack, which included the single “My Little Girl,” performed by McGraw as the end title song. McGraw also co-wrote the song, with Tom Douglas, which earned a Critics’ Choice Award nomination for Best Song. In 2008, McGraw and Douglas co-wrote a children’s book, also titled “My Little Girl,” published by Thomas Nelson.

In 2007, McGraw and his wife, Faith Hill, made history as they ended their two-year “Soul2Soul Tour” with a staggering total box-office gross of $142 million. The best-selling multi-year North American concert tour in country music history, the tour encompassed 117 shows in 92 cities and two countries.

That same year, his CD “Let It Go” debuted at No. 1 on both the pop and country album charts and quickly reached platinum status. His earlier CDs include such hits as “Live Like You Were Dying,” “Tim McGraw and the Dancehall Doctors,” “Set This Circus Down,” “A Place in the Sun” and his eponymous first album. On television, he has headlined three highly rated NBC specials.

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KATHRYN HAHN (Ursula) has a busy slate of feature projects. She can seen in “The D Train,” which premiered at Sundance and was picked up for distribution by IFC Films, and released May 8, 2015; Peter Bogdanovich’s “She’s Funny That Way,” alongside Jennifer Aniston in theaters this summer; M. Night Shyamalan’s horror comedy “The Visit”; and “Captain Fantastic” opposite Viggo Mortensen. She was most recently seen in Warner Bros.’ family dramedy “This Is Where I Leave You,” directed by Shawn Levy and based on the novel by Jonathan Tropper. Others in the ensemble included Jason Bateman, Tina Fey, Rose Byrne and Jane Fonda. Previously, she was seen starring opposite Jason Bateman in his directorial debut, “Bad Words,” which was released by Focus Features; “The Secret Life of Walter Mitty,” starring and directed by Ben Stiller; and the hit comedy “We’re the Millers,” with Jennifer Aniston and Jason Sudeikis. She also starred in Jill Soloway’s “Afternoon Delight,” which premiered at the 2013 Sundance Film Festival and garnered her a 2013 Breakthrough Actor Gotham Award nomination. Other feature film credits include standout roles in “Step Brothers,” playing John C. Reilly’s outrageous and funny love interest, and “Revolutionary Road,” playing Kate Winslet and Leonardo DiCaprio’s neighbor. Her additional film credits include “Wanderlust,” “Our Idiot Brother,” “How Do You Know,” “The Goods: Live Hard, Sell Hard,” “The Last Mimzy,” “The Holiday,” “Around the Bend” and “Anchorman: The Legend of Ron Burgundy.” On the small screen, Hahn is currently seen in Showtime’s dark comedy “Happyish” as the female lead opposite Steve Coogan. In the series, which premiered on April 26, 2015, Hahn plays the wife to Coogan’s character, a man facing his own obsolescence after his advertising agency is taken over. Other recent TV credits include a role in the critically acclaimed and Golden Globe® Award–winning Amazon original series “Transparent,” created by Jill Soloway; a guest-starring arc on the NBC hit show “Parks and Recreation”; and HBO’s “Newsroom” and “Girls.” Her previous roles include NBC’s “Crossing Jordan,” “Four Kings,” “Hung” and “Free Agents.” She also has lent her voice to the FX animated series “Chozen” and Fox’s “Bob’s Burgers” and “American Dad!” Hahn made her Broadway debut in the Tony®-winning play “Boeing-Boeing,” alongside Bradley Whitford, Gina Gershon, Mary McCormack, Christine Baranski and Mark Rylance. “Boeing-Boeing” won the 2008 Tony in the category of Best Revival of a Play. No stranger to the stage, her theater credits also include “Dead End,” at the Ahmanson Theatre and Huntington Theatre Company; “Ten Unknowns,” at Huntington Theatre Company; “A Midsummer Night’s Dream,” “Chaucer in Rome” and “Camino Real,” at Williamstown Mainstage; and “Hedda Gabler,” at Williamstown/Baystreet. Hahn received her bachelor’s degree from Northwestern University and her master’s in Fine Arts from the Yale School of Drama, where she appeared on stage in “Othello” and “The Birds.” KEEGAN-MICHAEL KEY (Hugo Gernsback) is the star and co-creator of Comedy Central’s “Key & Peele,” which has become a TV and Internet sensation with over 900 million hits and four Emmy® nominations over four seasons. He recurs on the USA TV series “Playing House” and recurred on FX’s adaptation of the Coen Brothers’ “Fargo.”

Key was a series regular on “Gary Unmarried” as well as “MADtv” for six seasons. A veteran of Detroit and Chicago’s The Second City Theater, Key has also appeared on “Parks and Recreation,” “The League,” “How I Met Your Mother,” “Reno 911!,” “ER” and “Children’s Hospital.” His film credits include “Let’s Be Cops,” “Horrible

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Bosses 2,” “Wanderlust,” “Just Go With It,” “Role Models,” “Hell Baby,” “Afternoon Delight” and “Due Date.” He will next be seen in the features “Pitch Perfect 2” and “Kitchen Sink.”

Key’s next projects include Paramount’s “Substitute Teacher,” based on the “Key & Peele” sketch of the same name, and New Line’s “Keanu” and “Police Academy,” all of which he will produce and star in along with his partner Jordan Peele.

In 2012 Key garnered an Entertainment Weekly Entertainer of the Year Mention. He was the winner of the American Comedy Awards for Best Alternative Comedy Series and a recipient of a Peabody Award. In addition to being named one of Time magazine’s Most Influential People of 2014, Key was also on the cover of the magazine’s Ideas Issue in March 2014.

THOMAS ROBINSON (Young Frank) is best known for his breakout role as the lovable Sebastian in the 2010 summer comedy “The Switch,” opposite Jason Bateman and Jennifer Aniston, who played his parents. Robinson has also been featured in Lifetime’s police drama “The Protector” and Fox’s smash comedy classic “Arrested Development.”

ABOUT THE FILMMAKERS

BRAD BIRD (Director/Writer/Producer) directed the worldwide hit “Mission: Impossible – Ghost Protocol,” the fourth installment of the Tom Cruise–starring franchise, which netted nearly $700 million globally. Bird won Oscars® for writing and directing the Academy Award®–winning Pixar Animation Studios films “Ratatouille” and “The Incredibles.” His feature directorial debut was the critically acclaimed 1999 animated feature “The Iron Giant,” distributed by Warner Bros., which won the International Animated Film Society’s Annie Award for Outstanding Achievement in an Animated Theatrical Feature. Bird began his first film, an animated short, at the age of 11 and finished it nearly three years later. The film brought him to the attention of Walt Disney Studios where, at age 14, he was mentored by Milt Kahl, one of a distinguished group of Disney’s legendary animators known as the “Nine Old Men.” Bird eventually worked as an animator at Disney and other studios. Bird has also served as executive consultant on “The Simpsons” and “King of the Hill,” the two longest-running and most celebrated animated series on television. He also created, wrote, directed and co-produced the “Family Dog” episode of Steven Spielberg’s “Amazing Stories” and co-wrote the screenplay for the live-action feature “*Batteries Not Included.”

DAMON LINDELOF (Writer/Producer) earned a film degree from New York University’s Tisch School of the Arts before heading west to pursue a television-writing career. His early credits include episodes of “Nash Bridges” and “Crossing Jordan.”

In 2004 he began working with writer-director-producer J.J. Abrams to create a television series about the survivors of a mysterious plane crash in the South Pacific. “Lost” brought together a number of creative talents that would reteam for “Star Trek,” which represented Lindelof’s first feature credit as a producer. Since then, he has worked as a writer and producer on Ridley Scott’s “Prometheus,” “World War Z” and most recently the “Star Trek” sequel, “Star Trek Into Darkness.”

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JEFFREY CHERNOV (Producer) has enjoyed a distinguished film career, from his start as a production assistant on Dino De Laurentiis’ 1976 hit “King Kong,” through several arduous years as an assistant director on such classics as “Body Heat,” “Cutter’s Way,” “The Thing,” “Escape From New York” and “Starman,” among others.

Working his way up the ladder, Chernov subsequently became a production manager, learning an entirely new set of skills on “Ruthless People,” “Halloween II” and “Halloween III.” Next up came “Clue,” “The Dead Zone” and “Richard Pryor: Live in Concert,” on which he earned the title of associate producer. From there, he acted as co-producer on “Eddie Murphy Raw” and executive producer of “10 Things I Hate About You,” “Sleeping With the Enemy” and “The Replacements.” He also produced “A Line in the Sand,” “From a Place of Darkness,” “Bad Company” and “Homeward Bound: The Incredible Journey.”

Chernov spent two years as a senior vice president of production at Disney/Touchstone, overseeing such hit films as “Honey, I Shrunk the Kids,” “Pretty Woman” and “Dead Poets Society,” to name a few. In 2001, he moved to Spyglass Entertainment, where he was intimately involved in the making of “Shanghai Knights,” “The Recruit,” “The Lookout,” “The Hitchhiker’s Guide to the Galaxy,” “The Pacifier” and many other successful films.

He acted as executive producer on the Bad Robot reboot of “Star Trek” in 2009 and the sequel in that franchise, “Star Trek Into Darkness.”

JEFF JENSEN (Story by/Executive Producer) is a writer and critic for Entertainment Weekly, where he has worked for 16 years writing about pop culture. With artist Jonathan Case, he is the author of the award-winning graphic novel “Green River Killer: A True Detective Story.” He and Case also co-wrote “Before Tomorrowland,” a prequel novel to “Tomorrowland.”

Jensen lives in Lakewood, Calif., with his three children. “Tomorrowland” is his first film work.

JOHN WALKER (Executive Producer) brings a diverse background, including animation production and extensive experience in live theater, to his executive producer assignment for “Tomorrowland.” He produced the Academy Award®–winning “The Incredibles” at Pixar and served as associate producer for Warner Bros.’ “Osmosis Jones” and “The Iron Giant,” during which he began his association with Brad Bird.

Born in Elgin, Ill., Walker graduated from Notre Dame University. He continued his education at American Conservatory Theater in San Francisco before returning to Chicago. There he pursued a theater career, which included a seven-year stint as managing director of the Tony Award®–winning Victory Gardens Theater, where he produced over 30 new plays. Walker also served as president of the League of Chicago Theatres for three years; as general manager of the Royal George Theatre; managing director of Peninsula Players Theatre; and as general manager for Cullen, Henaghan & Platt. With his wife, Pamela, Walker co-produced John Logan’s “Hauptmann” at New York’s Off-Broadway Cherry Lane Theatre before moving his career into feature films at Warner Bros.

BERNARD BELLEW (Executive Producer) started his film career while still at school, working as a projectionist in a small independent cinema in Brighton, England.

He then began work on feature films as a production assistant and moved through the ranks to work as 2nd assistant director on numerous productions including “Mary Shelley’s Frankenstein,” “Sense and Sensibility,” “Judge Dredd,” “Kundun,” “Star Wars: Episode 1 – The Phantom Menace” and “Notting Hill.”

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Bellew’s work as a production manager includes “Band of Brothers,” “About a Boy” and “Harry Potter and the Chamber of Secrets.” Line producer and executive producer/co-producer credits include “Bridget Jones: The Edge of Reason,” “Sunshine,” “28 Weeks Later” and the Oscar®-nominated films “127 Hours” and “Les Misérables.”During his career, Bellew has had the opportunity to work with directors such as Martin Scorsese, George Lucas, Danny Boyle, Ang Lee, Roger Michell, Kenneth Branagh, James Ivory and Tom Hooper and has worked around the world in the USA, Czech Republic, Spain, Kenya, Ethiopia, Bermuda, France, Russia, Morocco, Tunisia, Thailand, Austria and Sweden.

Bellew is a member of the Production Guild of Great Britain and the Directors Guild of America.

BRIGHAM TAYLOR (Executive Producer) has been associated with Walt Disney Studios since 1994 where he began as a production assistant and steadily rose through the ranks to executive vice president of production. During his time as an executive, Taylor helped oversee a wide range of films including the “Pirates of the Caribbean” franchise, “Tron: Legacy,” “The Chronicles of Narnia” and “Oz The Great and Powerful.” Other titles include “Remember the Titans,” “The Rookie,” “Flightplan,” “O Brother, Where Art Thou?,” “Miracle,” “The Game Plan,” “John Carter,” “Secretariat” and “Million Dollar Arm.”

In his newest endeavor, Taylor signed an exclusive producing pact with Disney, TaylorMade Films, where he develops and produces titles for the live-action studio. In addition to executive producing “Tomorrowland,” he is producing “The Jungle Book,” directed by Jon Favreau, slated for an October 2015 release.

Most recently, cinematographer and inventive lighting guru CLAUDIO MIRANDA (Director of Photography) was the director of photography on Ang Lee’s “Life of Pi” and Joseph Kosinski’s “Oblivion.”

Miranda has a long-standing working relationship with director David Fincher dating back to 1985 and Miranda’s first jobs as a stage manager, electrician and best boy. He then moved on to gaff Fincher’s “The Game,” followed by the watershed feature “Fight Club” in 1999 and “The Curious Case of Benjamin Button” in 2008. At the production wrap party for “The Curious Case of Benjamin Button,” Miranda earned the (tongue-in-cheek) Longevity Award for his enduring relationship with the director. Miranda also gaffed Tony Scott’s “Crimson Tide,” “The Fan” and “Enemy of the State.”

Faultless practicality and technical know-how have propelled Miranda into his current status as an in-demand cinematographer. The 2005 Sundance Film Festival hit “A Thousand Roads,” directed by Chris Eyre, provided Miranda’s first feature cinematography credit and cemented his reputation as a DP to watch.

After honing his lighting chops on tentpole action flicks, Miranda began picking up Best Cinematography awards left and right for his commercial and music video work—images from commercials he has shot stay in the mind long after they have completed their run. He won AICP and Clio awards for the Pocari “Tennis” spot in 2002, a Clio for Xelebri in 2004, an AICP for Heineken in 2005, as well as an MVPA for a Beyoncé clip (featuring Sean Paul) in 2004.

The son of a Chilean architect and an interior designer, Miranda began studying at a Los Angeles community college but quickly realized this variety of education wasn’t for him: He didn’t want to end up in a desk job and, besides, his work as a stage manager was far more interesting. His big break came in 1994 when Dariusz Wolski hired him to work as chief lighting technician on Alex Proyas’ “The Crow.”

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Miranda has developed a look influenced more by the natural world than conventionally cinematic stylizations. He is influenced by the imperfections appearing within a composition, often choosing to light less obvious focal points within the frame.

Miranda lives in Los Angeles with his wife, Kelli, and his two greatest accomplishments, daughters Sofia and Lily.

SCOTT CHAMBLISS (Production Designer) has designed for motion pictures, television and theater productions in Los Angeles and around the world. His most recently released film is “Star Trek Into Darkness” (2013) directed by longtime collaborator J.J. Abrams.

Chambliss also designed “Cowboys & Aliens,” “Salt,” “Star Trek,” “Mission: Impossible III” and the television series “Alias” and “Felicity.” He won an Emmy® Award and an Art Directors Guild Award for his work on “Alias” and was nominated for the Art Directors Guild Award for “Star Trek Into Darkness,” “Cowboys & Aliens” and “Star Trek.”

WALTER MURCH (Editor) is a film editor, sound designer, director, translator and amateur astronomer. His 45 years of pioneering sound design and picture-editing work on films include “THX-1138,” “The Conversation,” “American Graffiti,” “The Godfather (I, II, III),” “Julia,” “Apocalypse Now,” “The English Patient,” “Cold Mountain” and “Jarhead,” among many others.

Murch is the author of “In the Blink of an Eye,” a book about the craft of film editing, and is the subject of both “The Conversations” by Michael Ondaatje and “Behind the Seen” by Charles Koppelman. His latest film work (2014) is “Particle Fever,” a feature documentary on the Large Hadron Collider and the search for the Higgs boson, directed by Mark Levinson.

CRAIG WOOD, ACE (Editor) has worked with director Gore Verbinski on all of his previous feature films: “The Lone Ranger,” “Mouse Hunt,” “The Mexican,” “The Ring,” “Pirates of the Caribbean: The Curse of the Black Pearl,” “The Weather Man,” “Pirates of the Caribbean: Dead Man’s Chest,” “Pirates of the Caribbean: At World’s End” and “Rango.”

Wood’s other credits as an editor include Marvel’s “Guardians of the Galaxy,” “Forces of Nature,” “We Were Soldiers,” “The Burning Plain” and “The Road.”

Wood won American Cinema Editors (ACE) Eddie Awards for both “Pirates of the Caribbean: The Curse of the Black Pearl” and “Rango,” with nominations for “Pirates of the Caribbean: Dead Man’s Chest,” “Pirates of the Caribbean: At World’s End” and Marvel’s “Guardians of the Galaxy.” In addition, he also won an Annie Award for “Rango.”

JEFFREY KURLAND (Costume Designer) began his career in costume design in New York City. After graduating from Northwestern University with a B.A. in design, he moved to the East Coast to design for the theater. Kurland soon segued into designing costumes for film when he began designing the stylish films of director Woody Allen.

Kurland has the unique distinction of being the costume designer of 15 films for Woody Allen, from the late 1970s to the mid-1990s. He has since realized the visual story for over 40 films, collaborating with such renowned

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directors as Milos Forman, Neil Jordan, Steven Soderbergh, Michael Mann and Christopher Nolan.

During his career, Kurland has dressed a host of leading actors. He has created designs for leading men such as George Clooney, Brad Pitt, Tom Cruise, Matt Damon, Jamie Foxx, Robert Downey Jr., Michael Caine, Viggo Mortensen and Leonardo DiCaprio. He has also designed for leading ladies Julia Roberts, Marion Cotillard, Cameron Diaz, Annette Bening, Diane Keaton, Gena Rowlands and Ellen Page. He received a BAFTA Award, Britain’s highest film honor, for his designs for “Radio Days” and an Academy Award® nomination for his work on “Bullets Over Broadway.” Kurland was awarded the Costume Designers Guild Award for his designs for the film “Erin Brockovich” and received a nomination for his work on “Ocean’s Eleven.” His work has also been recognized through being honored with The Hamilton Timeless Style Award.

Jeffrey Kurland sits on the Board of Governors of the Academy of Motion Picture Arts and Sciences. He co-curated the exhibit “50 Designers/50 Costumes: Concept to Character” for the Academy, and his designs have also been featured in several exhibits around the world. He has spoken on the art of costume design in numerous symposia at the Directors Guild of America, the American Film Institute, the Academy of Motion Picture Arts and Sciences and UCLA, where he has also taught. Kurland’s work is featured in the publications “Screencraft: Costume Design,” “50 Designers/50 Costumes: Concept to Character” and “Dressed: A Century of Hollywood Costume Design.” In 2012, his work was also represented in the exhibit “Style and Seduction: The Art of Motion Picture Design” at the Victoria and Albert Museum in London.

TOM PEITZMAN (Co-Producer/VFX Producer) has an impressive list of film credits. He was the co-producer and visual effects producer on Brad Bird’s “Mission: Impossible – Ghost Protocol,” starring Tom Cruise; Tim Burton’s “Alice in Wonderland”; “Watchmen”; J.J. Abrams’ “Mission: Impossible III,” starring Tom Cruise; “The Spiderwick Chronicles”; “Lemony Snicket’s A Series of Unfortunate Events,” starring Jim Carrey and Meryl Streep; and “Planet of the Apes,” starring Mark Wahlberg and directed by Tim Burton.

Peitzman was also the visual effects producer on “Hulk,” starring Eric Bana and Jennifer Connelly, in which he worked closely with Academy Award®–winning director Ang Lee and was a critical part of the creative process to ensure a seamless blend of live-action photography and computer-generated animation.

He began his career in film 28 years ago, fresh out of film school. Starting as a production assistant, Peitzman quickly worked his way up through the ranks on such films as “Dead Poets Society,” “The Great Outdoors,” “Three Fugitives,” “Taking Care of Business” and “Harlem Nights.” His first introduction to the world of visual effects was as a staff production coordinator on “Honey, I Blew Up the Kid” for the Walt Disney Company.

Following that, he worked as an assistant director on “Forever Young,” “Major League II” and “Terminal Velocity,” where he gained vast experience, which enhanced his invaluable knowledge of filmmaking. Peitzman went on to produce the visual effects on such films as “Bedazzled,” “Inspector Gadget,” “Spawn,” “The Relic” and “Congo.”A native of Southern California, Peitzman graduated from San Diego State University with a Bachelor of Science in Telecommunications and Film.

MICHAEL GIACCHINO (Composer) has credits that feature some of the most popular and acclaimed film projects in recent history, including “The Incredibles,” “Ratatouille,” “Mission: Impossible – Ghost Protocol” and “Dawn of the Planet of the Apes.” Giacchino’s 2009 score for the Pixar hit “Up” earned him an Oscar®, a Golden Globe®, the BAFTA, the Broadcast Film Critics’ Choice Award and two GRAMMY® Awards.

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Giacchino began his filmmaking career at the age of 10 in his backyard in Edgewater Park, N.J., and eventually went on to study filmmaking at the School of Visual Arts in NYC. After college, he landed a marketing job at Disney and began studies in music composition, first at Juilliard and then at UCLA. From marketing, he became a producer in the fledgling Disney Interactive Division where he had the opportunity to write music for video games. After moving to a producing job at the newly formed DreamWorks Interactive Division, he was asked to score the temp track for the video game adaptation of “The Lost World: Jurassic Park.” Subsequently, Steven Spielberg hired him as the composer and it became the first PlayStation game to have a live orchestral score. Giacchino continued writing for video games and became well known for his “Medal of Honor” scores.

Giacchino’s work in video games sparked the interest of J.J. Abrams, and thus began their long-standing relationship that would lead to scores for the hit television series “Alias” and “Lost,” and the feature films “Mission: Impossible III,” “Star Trek,” “Super 8” and “Star Trek Into Darkness.”

Additional projects include collaborations with Disney Imagineering on music for Space Mountain, Star Tours (with John Williams) and the Ratatouille ride in Disneyland Paris. Giacchino also was the musical director of the 81st Annual Academy Awards®. Currently, his music can be heard in concert halls internationally with both “Star Trek” and “Star Trek Into Darkness” films being performed live-to-picture with a full orchestra.

This summer, in addition to “Tomorrowland,” Giacchino will have two other major films in theaters: Pete Docter’s “Inside Out” from Pixar and Universal’s “Jurassic World,” directed by Colin Trevorrow.

Giacchino sits on the Advisory Board of Education Through Music Los Angeles.

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