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史上兩大最恐怖外星生物決戰地球
《異形》《鐵血戰士》超級科幻班底又一直擊感官巨獻
異形不滅 血獸長生
異、獸交戰之日
人類滅絕之時……
《生化危機之變種生還者》 保羅安德遜 Paul W.S. Anderson
執導／編劇
《幽靈刺客》珊娜拉芬Sanaa Lathan
《異形》系列 蘭斯軒列克辛Lance Henriksen
《好想有嫁期》雷烏布華 Raoul Bova
主演
《生化危機之變種生還者》基斯史美斯 Chris Symes
《智能叛變》域克哥菲 Wyck Godfrey
傾力製作
9月9日 見証地球浩劫
發行︰二十世紀霍士影片公司
片長︰TBC
級別︰TBC
網址︰http://www.avp-movie.com/
無論誰勝誰負，地球終有一劫……
史上最恐怖的外星生物將會於地球決一死戰！《異形》與《鐵血戰士》的經典血獸將會於《異獸戰》中首次碰面。一群科學家連同探險隊伍出發前往南極冰封之地，考究剛發現的古代金字塔，卻發現一個驚人的事實──兩隻外星生物正於金字塔內開戰……
可怖的旅程由工業界鉅富查理主教偉倫揭開序幕。由於探測到南極深處有不尋常的熱能聚集，偉倫集合了一眾由環保探險家愛麗莎活士率領的國際考古學家、科學家及保安專家，誓要往極地深處探個究竟。
在二千呎的地底，他們發現了一個集阿茲特克、埃及和柬埔寨文化特色於一身的金字塔。眼見內裡重重迷陣般的高科技設計，探險隊頓然醒覺自己身陷外星生物的住處。此時，出口突然關閉，金字塔內的探險隊頓時成了甕中之鱉。
經過一輪搜索，金字塔內眾人有了更驚人的發現︰血獸俘虜了每百年產卵一次的異形王后，讓她的後代成為訓練年青血獸的工具，而探險隊正置身於這場世紀大戰之中，生死繫於一線．．．．．．
《異形》與血獸的誕生
1979年，二十世紀霍士影片公司推出首部由列尼史葛（Ridley Scott）執導的《異形》，叫好又叫座，成功為當時的科幻電影奠下新基石，亦造就了往後的《異形》系列，包括占士金馬倫的《異形續集》、大衛芬查的《異形第三集》及尚比亞祖內特的《異形四之逆種》。
到了1987年，霍士從外太空引入另一隻足以毀滅地球的太空生物--血獸，拍成《鐵血戰士》。這隻懂得隱形的外星戰士連同兩位美國州長--阿諾舒華辛力加及傑西范度拉，在麥地雅倫執導、約翰狄維斯監製的電影中決一生死。三年後，大戰移師洛杉磯這個石屎森林進行，同樣贏得觀眾掌聲。
由異形面世至今，經歷了四份一世紀，兩隻經典外星生物將會在《異獸戰》中，上演科幻電影史上最令人期待的大對決。
當異形遇上血獸
兩雄相遇，其實早有伏線。異形曾於《鐵血戰士》第二集中曇花一現，足證牠們曾經有過接觸，與《異獸戰》兩者曾經大戰的劇情吻合。
二十世紀霍士早於十年前，已興起讓異形與鐵血戰士對戰這個意念。閱讀過無數的劇本後，終於遇上保羅安德遜，保羅決定將這場大戰設於我們身處的地球，而故事發生在異形出現後、血獸出現前的時間。監製約翰戴維斯說︰「讓人類置身於這個漩渦，的確加強了電影的吸引力。過去數年，我們聽過超過40個不同的故事，只有保羅能夠吸引我們的注意力。」
原來《異獸戰》的概念很早已在保羅安德遜的腦海中出現，直至兩年前霍士決定開拍這齣電影，雙方一拍即合。身為《異形》及《鐵血戰士》的超級影迷，保羅順理成章兼任《異獸戰》導演一職。
為了強化兩者的連繫，導演保羅安德遜在設計角色及選角方面均花了一點心思。片中工業鉅富查理主教偉倫的名字對於異形迷來說該不會陌生，偉倫來自《異形》第一集的偉倫優達尼公司；而主教則來自《異形》第二、三集，故此導演起用曾於蘭斯軒列克辛所飾演的一角，所以由他來演這個新角色最適合不過。至於女主角愛麗莎活士的出現是由於《異形》系列創造了反傳統的女英雄角色愛倫蕾普麗，於是在《異獸戰》中，保羅希望可以有另一位勇敢的女英雄與之相輝映。
製作過程
「我們希望每個角色都是獨立的個體，當他們遇難的時候，觀眾會更加關心。」導演保羅安德遜說。
為了讓每個角色都呈現真實感，保羅和視覺效果顧問、金像得主《鐵達尼號》尊般奴都將電腦特技減至最少，所以在《異獸戰》中七成的效果都是實景。「我們要讓觀眾感受到兩雄對決的震撼，而最好的方法就是以真人上陣。」
但是要達至這樣嚴謹的要求並非易事，單是製作異形場面，已經要用到三種不同的異形道具，包括搖控的、繩纜控制的及供演員穿的異形服飾。「如果鏡頭只是遠距離或短時間拍到異形，我們就會讓演員穿上異形服；但當拍一些較細微的動作如異形伸出舌頭，就必須用上遙控異形。」曾參與製作《異形》一至三集的活魯多夫說。單在選擇用哪一款道具，已經令工作人員絞盡腦汁了。
關於角色
珊娜拉芬Sanna Lathan飾演 環保探險家 愛麗莎活士Alexa "Lex" Woods
在耶魯大學戲劇學院畢業的珊娜拉芬，曾多次獲提名最佳女主角，包括與丹素華盛頓合演的《倒數追兇》（Out of Time）、愛情喜劇《Brown Sugar》及《Love and Basketball》。珊娜拉芬亦經常參演百老匯戲劇及電視戲集，演技備受讚賞。她在《異獸戰》中飾演一名環保探險家，率領一眾科技界專家往南極探險，豈料卻遇上世紀浩劫。
雷烏布華Raoul Bova 飾 考古學家 塞布狄羅斯 Sebastian De Rosa
雷烏布華是前奧運游泳選手，所以對於《異獸戰》中的動作場面均可以應付自如，更何況他自十歲開始已經是超級異形迷，能夠參與演出，自然格外賣力。雷烏布華是意大利有名的演員，近期作品包括《好想有嫁期》（Under the Tuscan Sun）及意大利本年度賣座電影《La Finestra Di Fronte》，後者更在「意大利奧斯卡」中獲得最佳電影等五個獎項。
蘭斯軒列克辛 Lance Henriksen 飾 工業界鉅子 查理主教偉倫 Charles Bishop Weyland
蘭斯軒列克辛在紐約出生，其演員生涯始於百老匯。他曾經接拍過很多科幻電影，包括史提芬史匹堡的《第三類接觸》（Close Encounters of the Third Kind）、占士金馬倫的《未來戰士》（Terminator）以及《異形》第一至三集。他於1996至1999年曾經參演FOX TV劇集《Millennium》，並連續三年獲提名金球獎最佳男演員。
蘭斯軒列克辛幾乎是最早加入的一名演員，他以為自己不會再接拍《異形》系列電影，但是導演保羅安德遜對《異形》及《鐵血戰士》系列的熱愛及知識，使他無法拒絕這個邀請。
拍攝工作正式開始後，曾參演兩集《異形》電影的他對《異獸戰》的節奏及動作深感驚嘆。「我曾經參演過很多動作鉅片，但是《異獸戰》實在超乎我想像以外，觀眾入場時要記緊扣好安全帶。」蘭斯軒列克辛說。
幕後班底
保羅安德遜 Paul W.S. Anderson - 導演兼編劇
保羅在英國長大，年青時已經對電影工作抱濃厚興趣，1988年獲得電影文學博士學位。當他還是學生時，已經參與編劇的工作。畢業後，保羅執導了多部電視劇及電影，包括全球過億票房的《格鬥之王》(Mortal Combat)。直至近年，保羅更把暢銷電腦遊戲拍成電影《生化危機之變種生還者》（Resident Evil），並且兼任編劇、監製及導演。
舒恩莎里奴 Ronald Shusett - 編劇
曾當《未來報告》（Minority Report）執行監製的舒恩莎里奴，亦是本片的編劇之一，他早年憑《異形》（Alien）及《宇宙威龍》獲得奧斯卡及科幻電影的獎項。其他作品包括由阿諾舒華辛力加主演的《宇宙威龍》（Total Recall）、《金剛續集》（King Kong Lives）、《幽靈王國》（Dead and Buried）及安東尼鶴健士主演的《末世追魂》（Freejack）等，為當代恐怖電影奠下基礎。
ALIEN VS. PREDATOR演職員表
二十世紀霍士呈獻 DAVIS ENTERTAINMENT / BRANDYWINE 製作
保羅安德遜作品
"異獸戰"
主演︰《幽靈刺客》珊娜拉芬
《好想有嫁期》雷烏布華
《異形》系列 蘭斯軒列克辛
《黑鷹15小時》伊雲班納
服裝設計︰《絕世天劫》瑪嘉莉姬達絲
音樂︰《明日之後》夏洛高莎
造型效果設計及創作︰《異形》系列 阿歷紀利斯
金像得主《異形》系列 湯活胡夫
視覺效果︰金像得主《鐵達尼號》尊般奴
剪接︰《生化危機之變種生還者》亞歷山大班納
美術︰《生化危機之變種生還者》李察碧格蘭
攝影︰《生化危機之變種生還者》大衛莊遜
聯合監製：《生化危機之變種生還者》基斯史美斯
執行監製：《智能叛變》域克哥菲
《明日之後》湯瑪士咸美爾
《天魔特攻》米克李察遜
監製：《智能叛變》尊戴維斯 《異形》系列 哥頓卡路爾
《異形》系列 大衛哲拉《異形》系列 華特希爾
"異形"角色原創︰《異形》系列 丹奧班朗 《異形》系列 朗舒薜特
"血獸"角色原創︰《鐵血戰士》尊湯瑪士 《鐵血戰士》占士湯瑪士
故事︰《生化危機之變種生還者》保羅安德遜
編劇︰《生化危機之變種生還者》保羅安德遜 《絕世天劫》舒恩莎里奴
導演︰《生化危機之變種生還者》保羅安德遜
The iconic monsters from two of the scariest film franchises ever battle each other on Earth in ALIEN VS. PREDATOR. The discovery of an ancient pyramid buried under the Antarctic ice sends a team of scientists and adventurers to the frozen continent. There, they make an even more terrifying discovery: two alien races at war. No matter who wins, we lose.
An incredible and horrific adventure begins when billionaire industrialist Charles Bishop Weyland gathers an international team of archaeologists, scientists and security experts, led by environmentalist and adventurer Alexa "Lex" Woods, to investigate a mysterious "heat bloom" emanating from deep under Antarctica.
What they witness 2000 feet below the frozen surface at first excites, and then terrifies them. They discover a pyramid bearing a mixture of Aztec, Egyptian and Cambodian cultures. Inside the pyramid they find a matrix of chambers so technologically advanced that it becomes obvious that an extraterrestrial influence has been at work there for thousands of years. The chamber walls reconfigure unexpectedly, trapping members of the team and cutting them off from their colleagues.
Moving from chamber to chamber, the horrific truth finally reveals itself: Predators have been keeping alive a captive Alien Queen who lays eggs at 100 year intervals. Young Predators warriors are tested by fighting the Alien offspring. The team stumbles into the middle of an incredible rite of passage - and a war between Aliens and Predators.
In 1979, Twentieth Century Fox released director Ridley Scott's "Alien," which was hailed by critics and audiences worldwide as a seminal work of science fiction. The film's success spawned a film franchise for the studio, with three more adventures in the saga: James Cameron's "Aliens," David Fincher's "Alien3" and Jean-Pierre Jeunet's "Alien Resurrection."
In 1987, Fox introduced another creature from outer space, "Predator," directed by John McTiernan and produced by John Davis, about an invisibility-cloaked extra-terrestrial warrior that wreaked havoc in the jungle. (Among the film's cast members were two future Governors: Arnold Schwarzenegger and Jesse Ventura.) PREDATOR 2, which followed three years later, raised hell in the urban jungle of Los Angeles.
Now, nearly a quarter-century after the debut of "Alien," comes ALIEN VS. PREDATOR, one of the most anticipated face-offs in sci-fi film history.
Bringing ALIEN VS. PREDATOR to the screen has been an almost decade-long journey. Twentieth Century Fox considered various storylines until writer/director Paul W.S. Anderson came to the studio with the idea of setting the story on Earth, in contemporary times. The story would take place between the events of "Predator" and "Alien."
"Putting humans in the middle of the maelstrom really ups the stakes in an Alien/Predator battle," says AVP producer John Davis. "Over the years, I had heard story pitches from over 40 writers, until Paul approached us with his take. His story really drew us in."
Anderson had been nurturing that idea since the beginning of his career - long before the studio called him to present his concept. "Almost nine years ago, just for fun, I came up with an idea for an Alien/Predator film," Anderson recalls. "Then, I was at Sundance with my very first film ["Shopping"], a European, independent film, and I thought I would never get to make a movie like AVP.
"Fast forward to eight years later," Anderson continues, "and Fox is trying to make the movie - and they called me in to talk about it. I basically pitched the same idea I'd been thinking about at Sundance years earlier. And this time I got to make it."
According to Davis, it was essential to have a director who was plugged into the worlds of both the Aliens and Predators, and no one knew the films better than Anderson. "In addition to being a talented filmmaker, Paul is the ultimate Alien and Predator fan," says the producer. "He's seen the original 'Alien' and 'Predator' hundreds of times, and he can recite virtually every scene by memory. The way to make an exciting movie is to begin with a director who's passionate about the material and has to do it. Paul had to make ALIEN VS. PREDATOR."
Anderson's encyclopaedic knowledge of all things Alien and Predator was critical in his efforts to avoid contradicting elements of previous Alien and Predator films. (For example, a quick shot of an Alien "trophy skull" in "Predator 2" suggested previous encounters between the two species.) At the same time, "ALIEN VS. PREDATOR introduces a lot of mythology," says Anderson, "but it's more related to Earth's history than to the previous films."
Anderson's new mythology for AVP posits Predators visiting Earth thousands of years ago, when they were worshipped as gods, exerting a strong influence on certain cultures, like the Aztecs and Mayans. "This notion actually began with a brief glimpse in 'Predator 2' of the Predator spaceship interior, which had an Aztec design," Anderson recalls. "It led me to think about the effects that Predators, as an alien species, would have on primitive human cultures."
While establishing this new mythology, Anderson created an important character and casting connection with the Alien film franchise. The character of billionaire industrialist Charles Bishop Weyland was written for actor Lance Henriksen, a veteran of "Aliens" and "Alien3." "Alien" film fans will recognize the character's middle and last names: "Weyland" derives from the Weyland-Yutani Corporation, the multi-national conglomerate that sent the Nostromo on its ill-fated voyage to retrieve the Alien in the first film; and "Bishop" is the name of the android played by Henriksen in the second and third Alien installments. Says Anderson: "Weyland made his money in high tech industries and he is the father of modern robotics, so when the Bishop android is created 150 years later [in the timeframe of "Aliens"], it's in the image of his maker."
Another franchise link, this one to the original "Alien," is found in the character of Alexa "Lex" Woods, the explorer, adventurer, and environmentalist, played by Sanaa Lathan. "Alien" was pioneering in making a female character, Sigourney Weaver's Warrant Officer Ellen Ripley, the film's principal hero, and Anderson pays tribute to that tradition by creating the equally fearless Lex.
In another nod to the first two "Alien' films and to "Predator," Anderson decided not to reveal the creatures and the battles early in the story. "That's what made 'Alien,' 'Aliens' and 'Predator' so effective," says Anderson. "Those films made the audiences wait to see the creatures. Audiences know they could 'pop' at any given moment, which heightens the fear. I wanted ALIEN VS. PREDATOR to build slowly, like the original 'Alien,' and then have the last 45 minutes be relentless action, akin to 'Aliens' and 'Predator.'"
Anderson wanted to make the creatures as "real" as possible - which meant keeping the computer-generated effects to a minimum and using the considerable talents of Creature Creators and Designers Alec Gillis and Tom Woodruff, Jr. and Visual Effects Supervisor John Bruno, who shared Anderson's vision of "less is more" when it comes to CG. Approximately 70 percent of the ALIEN VS. PREDATOR effects are physical and not CG. "Today's audiences are sophisticated and can sense the sometimes 'unrealness' of even the best CG," says Anderson. "We wanted audiences to accept that these two powerful creatures are going head to head. And the best way to do that was for real."
The work of Woodruff and Gillis, veterans of "Aliens," "Alien3" and "Alien Resurrection," was essential to Anderson's mandate to keep it real. Building upon their work in the previous Alien films - and on H.R. Giger's original Alien design and Stan Winston's Predator creations - Gillis and Woodruff were careful not to change the look of the Alien and Predator so radically that fans would be upset. "Giger's and Winston's work is brilliant," says Gillis. "What we tried to do in AVP is advance the creature effects with new construction and articulation technology, as well as streamline the creatures to make them look more powerful.
For AVP, Woodruff and Gillis created their most ambitious creature ever: an animatronic Alien Queen, the most sophisticated animatronic ever put on screen and a massive leap forward from previous incarnations of the Queen.
The body parts of Gillis/Woodruff's Alien Queen were powered by hydraulics, which enabled fast, controllable movements. The motion sequences were run through a computer that recorded the Queen's every action. "Once we got a movement that Paul Anderson liked, we could play that back repeatedly, giving a consistency of 'performance,'" says Gillis. They also gave the Alien Queen, who made her screen "debut" in "Aliens," a slimmer look, keeping her enormous head while reducing her waist.
Several of the Alien and Predator performances were enhanced by radio-controlled animatronic heads created by Woodruff and Gillis. Depending on the requirements of a given scene, animatronic Alien puppets, cable-operated Aliens, or an Alien suit (occupied by Woodruff himself) were used. "If the creature were shot from the waist-up, or just glimpsed in a scene, I was in a suit," says Woodruff. "But for specific actions like the Alien's tongue striking out, animatronics were employed."
One of the Predators, Scar, emerges as a "lead," so Gillis and Woodruff made the necessary enhancements to the original creature design to set him apart and create a true performance. "We had to approach Scar as being capable of carrying scenes dramatically, without speaking," says Alec Gillis. Adds Woodruff, "Scar's sculpture is more subtle with a wider range of movement to convey emotions."
Just as Woodruff donned an Alien suit for several scenes, the lead Predator Scar was played by 7'1" Ian Whyte, an ex-professional basketball player from the United Kingdom. (Kevin Peter Hall played the creature in "Predator" and "Predator 2.") Whyte's powerful physique and athleticism were invaluable in creating Scar's performance.
While the creature effects were a critical part of Anderson's vision, at times they had to be enhanced by state-of-the-art computer effects supervised by John Bruno. The veteran filmmaker's ("Terminator 2: Judgment Day," "Titanic") biggest challenge was making sure the practical Alien Queen and Bruno's CG Queen worked together seamlessly.
The Queen, in fact, was realized in three methods: a full-sized, 16-feet tall, practical version; a puppet version, measuring about four feet; and a computer-generated version. In addition to creating a CG Queen that had full mobility (unlike the Queen in "Aliens"), Bruno enhanced the full-sized practical Queen by creating a computer-generated, whipping tail that could easily skewer human and Predator alike. The Alien face huggers, while mostly practical, required Bruno's digital touch for scenes of them flying and attacking anyone caught in their path. Bruno worked closely with Production Designer Richard Bridgland and Director of Photography David Johnson.
As with the creatures, the filmmakers created physical sets as much as possible. "If we couldn't create them physically," says Bridgland, "then and only then would we use visual effects." Bridgland's ambitious set designs combine a futuristic look with input from the present and past. His sets have a distinctive Mayan, Aztec and South American touch, reflecting Anderson's back-story of Predators visiting those regions thousands of years ago. So, his design is heavily weighted toward a Predator-influence.
But designing and inventing Predator architecture and technology was no easy task, as little of it was revealed in previous Predator movies. The aforementioned glimpse of the Predator ship with its Mayan look, in "Predator 2," gave Bridgland a starting point for creating the designs of AVP.
Bridgland's impressive sets include a turn-of-the-century Antarctic whaling station; an ice grotto located 2000 feet beneath the Antarctic surface that opens up to reveal an enormous pyramid; a sacrificial chamber with sacrificial slabs containing mummified corpses and bizarre ancient imagery chiselled into its walls; the Hieroglyphic Chamber that tells the film's back-story; the Chamber of the Gods; the Fight Chamber, home to an epic fight between Alien/Predator battle; and the Predator "mothership" - an enormous set that goes far beyond the ship glimpsed in "Predator 2."
Perhaps the most memorable of Bridgland's designs is the Alien Queen's Chamber, which was built as a large miniature with plenty of room to move about. The Chamber contains a combination of Aztec and Predator technology, indicating that an ancient civilization built the Chamber with adapted Predator technology.
Inside the Chamber, the Alien Queen is held captive by a machine that resembles a medieval torture device. The Queen is manacled in place by metal rods with giant probes sticking out. A great iron girdle holds her legs and arms in place, while vicious spiked Predator chains keep her imprisoned. She has neck bolts through which chemicals are injected to keep her alive and an electric stimulant ensures that she lays eggs - the future prey of the young Predators for their rites of passage.
Like the creature effects, the film's weaponry has advanced since earlier Predator and Alien films. The Predator still has the weapons he used in the two earlier movies, including a telescoping spear, which has been streamlined and made more decorative with a ceremonial look. The Predator throwing knife has been given outboard blades which extend and retract, not unlike a six-bladed Shuriken throwing star. The Predators also have an ornamental dagger in a leg scabbard that they use to skin an Alien to remove its protective hide.
A significant alteration was made to the Predator shoulder-mounted gun. Anderson wanted it bigger, and it is now about 20 inches long with a fat barrel that recoils when fired. All of the weaponry is of the same texture and quality as past Predator armaments, but is now much more impressive.
While ALIEN VS. PREDATOR's designs, weaponry, and creature and visual effects are critical components of Anderson's vision, the characters and actors make up the film's heart. "We establish the characters as individuals, so that when they start dying - and they do start dying - the audience cares about them," says Anderson.
The filmmakers searched the globe to find the right actors for each part. "There's a truly international flavor to the cast, and gives the film a lot of character," says producer John Davis.
The studio and filmmakers auditioned hundreds of actresses for the coveted lead role of explorer and adventurer Alexa "Lex" Woods, who finds herself caught between the warring alien races. Sanaa Lathan, who recently was nominated for a TonyR Award for her supporting role in the hit Broadway production "A Raisin in the Sun," portrays Lex.
The lengthy audition process and Lathan's eleventh-hour casting left her little time to be daunted by the task of playing an action lead. "I auditioned for the film about a week before I got on the plane for Prague, and two days later we were shooting," Lathan recalls.
"Sanaa's going to be a big movie star," says John Davis. "She's done wonderful work in her previous films and in 'A Raisin in the Sun,' but I think AVP could be her big break. She's believable as an action hero and relatable emotionally, and you just fall in love with her on screen. She has an intensity, intelligence and warmth that are integral to the movie."
Despite the similarities between Lathan's Lex and Sigourney Weaver's Ripley, the AVP actress insists there are also important differences. "I didn't build Lex to be a copy of Ripley," says Lathan. "Lex is very strong, like Ripley, but that's where the comparison ends. Lex is an environmentalist and a loner who finds herself in an incredible situation and realizes she has a strength she never knew she possessed."
Raoul Bova, who appeared opposite Diane Lane in "Under the Tuscan Sun," portrays Sebastian De Rosa, an archaeologist pursuing a buried civilization in Antarctica, only to make an even more terrifying discovery. One of the most popular actors in contemporary Italian cinema, Bova was also featured in a series of provocative GAP ads.
A lifelong fan of the Alien films, Bova vividly recalls his first memory of "Alien," when at age 10, he sneaked into a cinema to catch a showing, despite his parents' vigorous objections.
Bova, a former Olympic-calibre swimmer, was ready for the film's demanding stunts and action sequences. He also came prepared for some more intimate on-screen activities. As the story progresses, Bova's Sebastian begins to get close to Lex. But it was an Alien that got "romanced" by Bova, albeit off-screen. "In the film, during my first encounter with an Alien, the creature is seen creeping up behind me, ending up right at my back and ready to attack," says Bova. "After it turned, we were face to face. When the director yelled cut, I planted a kiss on the Alien!"
While Sanaa Lathan was cast late in the process, Lance Henriksen, whose Charles Bishop Weyland provides a critical piece of connective tissue to the Alien film franchise, was the very first to join the AVP ensemble. "Paul Anderson called me, we met, and he literally told me the whole story - how he envisioned Bishop, why he was so important to the film," remembers Henriksen. "I never expected to return to this universe, but I couldn't resist Paul's enthusiasm and knowledge of the Alien and Predator films."
Even after working on two Alien films, plus "The Terminator" and many other genre titles, Henriksen was impressed with the pace and action of ALIEN VS. PREDATOR. "I've worked on some high-velocity pictures," he notes, "but AVP is like nothing I've experienced. Audiences are going to need seatbelts for this movie."
AVP also stars British actor Ewen Bremner as Graeme Miller, a chemical engineer who is brought onto the team to calculate the age of the ancient structures. Previously, Bremner played a wayward pilot in "The Rundown," and co-starred in "Black Hawk Down" and "Trainspotting." The supporting cast includes Colin Salmon, who appeared in "Resident Evil" and the James Bond film "Die Another Day," Carsten Norgaard, Joseph Rye, Agathe de la Boulaye, Tommy Flanagan and Sam Troughton.
With such a formidable cast and team of artists behind him, writer-director-Alien and Predator film fanatic Paul W.S. Anderson realized a dream by helming a picture bringing the two screen icons together. "I first saw 'Alien' as a schoolboy and, of course, it made an indelible impact on me," says Anderson. "Now, finishing up AVP, I have to pinch myself every day to prove I'm not dreaming."
ABOUT THE CAST
SANAA LATHAN plays explorer, adventurer, environmental technician and field guide Alexa "Lex" Woods.
Lathan co-starred opposite Denzel Washington in Carl Franklin's crime thriller "Out of Time." The film revolves around a police chief (Washington) of a small Florida town who "borrows" money from the evidence room so he can run away with the woman (Lathan) he's always been in love with. For her performance in this film, she recently received a Best Actress nomination from FilmLife (American Black Film Festival).
Lathan starred in the romantic comedy "Brown Sugar," for which she earned an NCAAP Image Award nomination for Outstanding Actress in a Motion Picture. She has also been nominated in the Best Actress category for the 2003 BET Awards for this role. For her work in writer/director Gina Prince-Bythewood's romantic drama, "Love and Basketball," Lathan received critical acclaim, including a Best Actress Award from the NAACP and a nomination for Best Actress from the Independent Spirit Awards. The film debuted to a standing ovation at the Sundance Film Festival. Notably, she reunited with director Prince-Bythewood on the HBO film "Disappearing Acts."
Lathan has also earned an Image Award nomination for Best Supporting Actress for the hit romantic comedy, "The Best Man." Written and directed by Malcolm Lee, the film is a revealing look at the more intimate side of life for a group of successful friends who are reunited when one of their college buddies gets married.
Additional feature film credits include the coming-of-age drama, "The Wood," Ted Demme's comedy "Life" with Eddie Murphy and Martin Lawrence, the sci-fi thriller "Blade" with Wesley Snipes, and producer/writer/director Chi Muoi Lo's "Catfish in Black Bean Sauce".
Lathan's television credits include a regular role on the series "Lateline" with Al Franken, and a starring role in the original movie "Miracle in the Woods" with Della Reese and Meredith Baxter.
A graduate of the Yale School of Drama, Lathan has performed on stage in numerous regional and Off-Broadway productions including "Por' Knockers" and "A Movie Star Has to Star in Black and White" at the Public Theatre. She also appeared as Isabella, the nun, in a Shakespeare in the Park production of "Measure for Measure" at the Delacorte Theatre in Central Park. She starred in New York's West Side theatre production of Eve Ensler's acclaimed production of "The Vagina Monologues".
Lathan most recently starred in the critically-acclaimed Broadway play, "Raisin in the Sun," alongside P. Diddy, Audra McDonald and Phylicia Rashad. Her performance as "Beneatha" in "Raisin in the Sun" has garnered her a Theatre World Award and a Tony nomination for Best Actress.
RAOUL BOVA plays dedicated archaeologist Sebastian De Rosa.
Bova co-starred opposite Diane Lane in "Under the Tuscan Sun." One of the most well-known actors on the contemporary Italian film scene, Bova debuted in "Una Storia Italiana" (1991) and won critical attention in "Comincio Tutto Per Caso" (1993), performing alongside Margherita Buy in a leading role, which gained him widespread public recognition.
Bova first achieved European fame with the film "Piccolo Grande Amore" when he co-starred with Susannah York, Burt Young and Paul Freeman. He next appeared in the successful film "La Piovra", for which he won a Telegatto, the Italian version of an EmmyR Award.
In the popular films "La Lupa" (1995) and "Palermo Milano Solo Andata" (1995), he starred with Giancarlo Giannini; in "Il Sindaco" with Anthony Quinn and Carole Bouquet; and in the film "Madame D" (2000), a French remake of the famous Madame de, he toplined with Maz Ophuls.
In "I Cavalieri Che Fecero L'Impresa" (2001), directed by Pupi Avati, Bova worked with F. Murray Abraham. He then performed in "Francesca e Nunziata" (2001), directed by Lina Wertmuller and co-starring with Sophia Loren.
With "Ultimo" (1998), Bova won a second 'Telegatto'. "Avenging Angelo" (2001) marked his first appearance in an American production; the film also starred Sylvester Stallone and Madeleine Stowe. Bova played St. Francis in "Francesco" (2000).
His recent film, "La Finestra Di Fronte", directed by Ferzan Ozpetek, was the top grossing Italian film in Italy this year and won five 'David di Donatello' Awards (the Italian Oscar), including Best Film.
LANCE HENRIKSEN portrays billionaire industrialist Charles Bishop Weyland.
Born in New York, Henriksen studied at the Actors Studio and began his career Off Broadway in Eugene O'Neill's "Three Plays of the Sea." One of his first film appearances was for director Sidney Lumet in "Dog Day Afternoon," followed by Lumet's "Network" and "Prince of the City." Henriksen then appeared in Steven Spielberg's "Close Encounters of the Third Kind" with Richard Dreyfuss and Francois Truffaut, "Damien: Omen II" and director Philip Kaufman's "The Right Stuff," in which Henriksen portrayed Mercury astronaut Lieutenant Commander Walter Schirra, Jr.
James Cameron cast Henriksen in his first directorial effort, "Piranha Part
Two: The Spawning," followed by "The Terminator," and he next featured him as the android 'Bishop' in the sci-fi classic, "Aliens." Director Sam Raimi cast the actor in "The Quick and the Dead" opposite Russell Crowe, Sharon Stone and Gene Hackman.
Henriksen's additional feature credits include Kathryn Bigelow's cult vampire film "Near Dark," "Jagged Edge," "Pumpkinhead," "The Horror Show," "Survival Quest," director Walter Hill's "Johnny Handsome," "The Pit and the Pendulum," writer/director Bruce Robinson's "Jennifer Eight," "Alien3," director Richard Rush's "Color of Night," "Powder," writer/director Jim Jarmusch's "Dead Man," Disney's animated feature "Tarzan" and director John Woo's first American film, "Hard Target," for which Henriksen received a Saturn Award as Best Supporting Actor.
Henriksen starred for three seasons (1996-1999) on "Millennium," Fox-TV's critically acclaimed series created by Chris Carter ("The X-Files"). Henriksen's performance as Frank Black, a retired FBI agent who has the ability to get inside the minds of killers, garnered three consecutive Golden GlobeR nominations for Best Performance by a Lead Actor in a Drama Series and a People's Choice Award nomination for Favorite New TV Male Star. Twentieth Century Fox Home Entertainment recently released the first season of "Millennium" on DVD.
Henriksen was nominated for a Golden Satellite Award for his portrayal of Abraham Lincoln in the TNT original film "The Day Lincoln Was Shot," and he had starring roles in PBS' Emmy-winning "Dark End of the Street" and HBO's "Tales from the Crypt," "Cutting Cards" and "Yellow." Henriksen also played Charles Bronson in the television movie "Reason for Living: The Jill Ireland Story." He recently completed the TNT Original movie, "Evel Knievel," directed by John Badham and executive-produced by Mel Gibson.
In addition to his work as an actor, Henriksen is an accomplished painter and potter. His talent as a ceramist has enabled him to create some of the most unusual ceramic artworks available on the art market today.
EWEN BREMNER, who plays the role of chemical engineer Graeme Miller, was born in Edinburgh, Scotland.
He co-starred as Spud in "Trainspotting" in 1996, later appearing in the films "Mojo" (1997), "Life of Stuff" (1997), "The Acid House" (1998) and "Julien Donkey-Boy" (1999).
After playing Gordon in "Paranoid" (2000) and Mullet in Guy Ritchie's "Snatch" (2000), Bremner moved to the United States to co-star in "Pearl Harbor" (2001), followed by a role in Ridley Scott's "Black Hawk Down" (2001).
His recent films have included important roles in "Call Me Irresponsible" (2002), "Sixteen Years of Alcohol" (2002), "Skagerrak" (2003) and "The Rundown" (2003).
He co-stars in the recent films "The Reckoning" and "Around the World in 80 Days."
ABOUT THE FILMMAKERS
PAUL W.S. ANDERSON (Director, Writer) grew up in Newcastle, England, and focused his sights from an early age on the film industry. He left Newcastle to study at Warwick University where he graduated with a degree in Film & Literature Studies in 1986. While still a student, he wrote the first draft of the motion picture "Shopping." He stayed in Warwick to become the youngest student in the university's history to complete an MBA, in 1988.
Following graduation, Anderson continued to write across various genres. He was a principal episode writer for "El Cid," a TV police drama. He also wrote and directed a short film entitled "Speed," shot in his native Newcastle, and an award-winning documentary about spina bifida called "The Spiral Cage."
"Shopping," financed by Channel Four, was Anderson's feature film directorial debut. The film, which screened at the Sundance Film Festival, starred Jude Law and Sadie Frost.
In 1992, Anderson co-founded Impact Pictures Ltd. with his partner Jeremy Bolt. The company is based in Los Angeles and London and has an overhead, development and financing deal with Germany-based Constantin Film.
Anderson then directed the action-adventure "Mortal Kombat," which grossed over $150 million worldwide. His third movie, "Event Horizon," starred Laurence Fishburne and Sam Neill. In 1998, Anderson was back in the United States directing "Soldier," produced by Impact. The sci-fi action film starred Kurt Russell and Jason Scott Lee.
In 1999, Anderson created "The Sight," a supernatural thriller television series produced by Fox Television Studios, FX networks and BSKYB. Starring Andrew McCarthy and directed by Anderson, the pilot episode was broadcast in 2000 to high ratings in both the U.K. and the U.S. It was FX's top rated original drama.
Anderson's "Resident Evil," which he wrote, produced and directed, was an adaptation of the best selling video game of the same name. Starring Milla Jovovich and Michelle Rodriguez, and filmed on location in Berlin, it was the first project to be produced by both Impact and Constantin.
DAN O'BANNON (Story) has been a screenwriter of note since 1979, when "Alien" stunned international audiences with its creativity and vision. His film career continued with screenplays for "Blue Thunder" and "Total Recall."
Less well known is his interest in and study of physics, history and arcane, which inform and enrich his work. O'Bannon recently completed a book, O'BANNON'S RULES OF WRITING: The Definite Guide to Screenplay Structure, which is to be the first offering of Chapman University Press. Another recent book project is The Necronomicon.
RONALD SHUSETT (Story) was Executive Producer of "Minority Report." "Minority Report" was based on a short story by Philip K. Dick. Shusett co-produced and co-wrote the box-office hit "Total Recall" (starring Arnold Schwarzenegger and Sharon Stone), based on another Dicks short story.
In addition to the OscarsR won for the innovative special effects by both "Alien" and "Total Recall," Shusett's movies were also honored by The Academy Of Science Fiction, Fantasy and Horror Films.
His other film credits include "Freejack," starring Anthony Hopkins and Mick Jagger; "Above The Law," which launched the career of Steven Seagal; "King Kong Lives"; and "Dead And Buried," which went on to become a cult classic in the contemporary horror film genre.
JOHN DAVIS (Producer), Chairman of Davis Entertainment, is one of Hollywood's most prolific producers of major motion pictures and movies for television. His 60-plus film and television productions have earned more than $2 billion worldwide.
Davis Entertainment's three divisions - feature film, independent film, and television - develop and produce film and television projects for the major studios, independent distributors, networks and cable broadcasters. The company, established in 1985, currently has a first-look production deal at Twentieth Century Fox, and has over 30 motion picture projects in development at the major studios.
A hallmark of Davis' success is his ability to attract the industry's most successful actors, directors, writers and other creative talent time and again to his productions. His proven ability to find and develop commercial projects, coupled with his long-standing creative relationships, account for his consistency in producing both large and modest scaled theatrical productions, as well as major telefilms and specialized cable programming.
In addition to ALIEN VS. PREDATOR, Davis produced the recent films "I, Robot," starring Will Smith, for Fox; "Garfield" for Fox, based on the beloved comic strip character, in a live-action/CGI adventure starring Breckin Meyer and Jennifer Love Hewitt; and the John Woo action film "Paycheck" starring Ben Affleck and Uma Thurman; "First Daughter" starring Katie Holmes for Regency/Fox. Upcoming films include "Fat Albert" for Fox, based on Bill Cosby's beloved characters; and "The Flight of the Phoenix" for Fox, a retelling of the classic Robert Aldrich-directed film starring James Stewart.
Davis produced the hit Eddie Murphy comedy "Daddy Day Care," also starring Steve Zahn, Jeff Garlin and Angelica Huston, produced with Revolution Studios. Davis' other recent feature releases include the Fox/Davis "Life or Something Like It" starring Angelina Jolie, and the hit action film "Behind Enemy Lines" starring Owen Wilson and Gene Hackman. The Davis-produced comedy feature "Dr. Dolittle 2," starring Eddie Murphy, grossed more than $113 million domestically, and the MGM film "Heartbreakers," starring Sigourney Weaver, Gene Hackman and Jennifer Love Hewitt, opened as the #1 film in the country.
Davis produced or co-produced an impressive slate of motion pictures in the 90's, including "Dr. Doolittle," starring Eddie Murphy; "Out to Sea," starring the venerable comic pair of Walter Matthau and Jack Lemmon; the blockbuster "The Firm," which starred Tom Cruise and won a People's Choice award for Best Dramatic Film; "Grumpy Old Men," which was a People's Choice award winner for Best Comedic Film; "Grumpier Old Men," re-pairing Matthau and Lemmon; "Courage Under Fire," starring Denzel Washington and Meg Ryan; "The Chamber," based on John Grisham's bestselling novel, starring Gene Hackman and Chris O'Donnell; "Daylight," starring Sylvester Stallone; "Waterworld," starring Kevin Costner; and "Richie Rich," starring Macaulay Culkin.
Davis' other feature producer credits include: "Predator," "Predator 2," "The Thing Called Love," "Fortress," "Gunmen," "Storyville," "Shattered," "Little Monsters," "The Last of the Finest," "License To Drive," "Three O'Clock High," and "The Hunted."
For television, Davis recently produced the NBC made-for-television movies "The Jesse Ventura Story" and "Little Richard," as well as the ABC/Wonderful World of Disney made-for-television movie "Miracle at Midnight" starring Sam Waterston. His NBC mini-series "Asteroid" received the highest ratings for a mini-series, telefilm or feature film presentation on television during the 1996-1997 season. Davis Entertainment also produced "Volcano: Fire on the Mountain" for ABC; the highly-rated NBC movie of Truman Capote's "One Christmas," starring Katharine Hepburn; and the popular CBS movie "This Can't Be Love," starring Katharine Hepburn and Anthony Quinn.
Davis' other television and cable credits include "Tears and Laughter," "The Last Outlaw," "Silhouette," "Voyage," "Irresistible Force," "Wild Card," "Dangerous Passion," "Curiosity Kills," and "Caught in the Act." Davis Entertainment Television is currently developing numerous series and event movies for network and cable outlets.
Davis was born and raised near Denver, Colorado. His obsession with film began as a youth when his father purchased the neighborhood movie theater, where he subsequently viewed up to 300 films a year. Davis graduated from Bowdoin College, attended Amherst College and received an M.B.A. from the Harvard Business School.
GORDON CARROLL's (Producer) motion picture career spans four decades. He produced the classic Paul Newman film "Cool Hand Luke," the Jack Lemmon-Catherine Deneuve comedy "The April Fools," the Sam Peckinpah western "Pat Garrett and Billy the Kid," as well as "Blue Thunder," "The Best of Times" and "Red Heat."
DAVID GILER (Producer) is a prominent screenwriter and producer who has worked extensively in film and television. Prior to producing ALIEN, he wrote the features "Myra Breckinridge," "The Parallax View," and "The Black Bird" (which he directed).
He was a Producer/Writer on the drama "Southern Comfort," co-written and directed by frequent collaborator Walter Hill, who also produced ALIEN with Giler and Gordon Carroll. Giler produced the western "Rustler's Rhapsody" and executive produced and wrote the Tom Hanks comedy "The Money Pit." Giler and Walter Hill received story credit on James Cameron's "Aliens." Other film credits include "Let It Ride" and the recent prison drama "Undisputed."
Giler was an Executive Producer on the hit HBO series "Tales from the Crypt," and wrote several episodes. He was Executive Producer on a feature film based on the series: "Bordello of Blood" and producer on "Tales from the Crypt Presents: Revelation."
WALTER HILL (Producer) is a respected director known for hard-hitting action films such as "Hard Times" (starring Charles Bronson as a Depression-era bare-knuckled fighter), "The Warriors," "48 Hours" (which launched Eddie Murphy's big-screen career), "Extreme Prejudice," the Arnold Schwarzenegger starrer "Red Heat," "Geronimo" and the sequel "Another 48 Hours."
Hill and frequent collaborator David Giler produced and wrote the story for "Aliens." His other feature directing credits include "The Driver," "Southern Comfort," "Streets of Fire," "Brewster's Millions," "Crossroads," "Johnny Handsome" and "Trespass."
Hill began his career as a screenwriter, penning Sam Peckinpah's "The Getaway," as well as "Hickey & Boggs," "The Mackintosh Man," "The Thief Who Came to Dinner" and "The Drowning Pool." He was an Executive Producer on the hit HBO anthology series "Tales from the Crypt."
WYCK GODFREY (Executive Producer) is president of Davis Entertainment and most recently was Producer on the hit Eddie Murphy comedy "Daddy Day Care." He also executive produced the action hit "Behind Enemy Lines," and is currently producing "First Daughter" for Regency Enterprises, with Forrest Whitaker directing.
Godfrey began his career as a creative executive at New Line Cinema after graduating from Princeton University in 1990 with a degree in English. In 1995, he switched to Horizon Pictures as Senior Vice President of Production before joining Davis Entertainment two years later, where he has served as President for the past three years.
He was a Producer on "I, Robot" and "The Flight of the Phoenix," both from Twentieth Century Fox.
Emmy Award-winner THOMAS M. HAMMEL (Executive Producer) most recently co-produced the Fox blockbuster "The Day After Tomorrow" and executive-produced Brian Helgeland's "The Order," starring Heath Ledger. Hammel was Executive Producer on "From Hell," starring Johnny Depp and Heather Graham and directed by Albert and Allen Hughes. He was also Executive Producer on "Fair Game," "Love Potion #9" and HBO's acclaimed "Barbarians at the Gate," for which he won an Emmy for Outstanding Made-for-Television Movie.
As a Producer, Hammel's other feature film credits include "Dungeons & Dragons" "Firestorm" and HBO's "The Burning Season," for which he received his second Emmy nomination for Outstanding Made-for-Television Movie. He also produced the telefilms "Red Alert," "Travelling Man" and "The Georgia Peaches."
MIKE RICHARDSON (Executive Producer) is the publisher of Dark Horse Comics, the award-winning international publishing house he founded in 1986, and the President of Dark Horse Entertainment, for which he created "Hellboy," "The Mask" and "Timecop," as well as numerous other projects for film and television.
Richardson owns a successful comic-book retail chain, Things From Another World, as well as Them!, a pop-culture store on the Universal City Walk in Los Angeles. He has written numerous comics series, as well as Comics Between the Panels and Blast Off, two criticality acclaimed books about pop culture.
CHRIS SYMES (Co-Producer) previously collaborated with AVP Writer-Director Paul W.S. Anderson on "Resident Evil," as Co-Producer; and on the 20th Century Fox Television mystery thriller film "The Sight," as Producer. He was also Co-Producer on the 1999 romantic comedy "The Match."
DAVID JOHNSON (Director of Photography) worked as camera operator on several films before becoming Cinematographer on "Othello" in 1995. He then was Director of Photography on "The Mill on the Floss" and "Saint-Ex."
In 1998 he was Cinematographer on "The Very Thought of You," "Basil" and "Hilary and Jackie." "An Ideal Husband," "Toy Boys" and the TV production "Tube Tales" followed the next year.
In 2000, Johnson was Director of Photography on "Honest" and on the TV production "The Sight." More recent credits include "The Martins" and "Football," in 2001. Johnson was Director of Photography for "Joy Rider" (2002) and for Paul Anderson's "Resident Evil" (2002). "Bienvenue au Gite" was released earlier this year.
RICHARD BRIDGLAND (Production Designer) was Art Director on the films "Richard III," "Saigon Baby," "Cousin Bette" and the TV production "The Tribe." He became a Production Designer on the film "Bedrooms and Hallways" in 1998.
In rapid succession, Bridgland designed the sets for "The Acid House," "Swing," "Gangster No. 1" and the television film "The Sight." In 2002 he worked with writer-director Paul Anderson on "Resident Evil." Bridgland's most recent project is "Wicker Park."
ALEXANDER BERNER (Film Editor) previously collaborated with AVP director/screenwriter Paul W.S. Anderson on the box-office hit "Resident Evil." Before that he was a consulting editor on the horror film "Wrong Turn," directed by Rob Schmidt, and edited a number of German productions, including "Knockin' On Heaven's Door," "Prince Valiant," and "The Devil and Ms. D."
JOHN BRUNO (Visual Effects Supervisor) won the 1990 Academy Award for Best Visual Effects on "The Abyss" and received five Oscar nominations for his work on "Ghostbusters" (1985), "Poltergeist II: The Other Side" (1987), "Batman Returns" (1993), "Cliffhanger" (1994) and "True Lies" (1995).
He was nominated for BAFTA Film Awards for both "True Lies" and "Batman Returns" and won a Saturn Award from the Academy of Science Fiction, Fantasy and Horror Films for "True Lies."
Other key credits include "Titanic" and "Terminator 2: Judgment Day."
Bruno worked as in the Art Department on the film "The Nine Lives of Fritz the Cat" (1974) and created the title design of the Cheech and Chong comedy "Still Smokin'" (1983). He was the Storyboard Artist on "T2 3-D: Battle Across Time" (1996).
Bruno has also worked as an actor in "True Lies" and as part of the Loop Group in "In Dark Places." He was a Second Unit Assistant Director on "Floating" and "1999."
Bruno was Associate Producer on "Dead Centre on a Flat Earth" (1999), Line Producer on "Man of the Century" (1999) and Managing Producer on "West New York" (1996). He directed as well as scripted episodes of the TV series "Star Trek: Voyager" as well as the movies "T2 3-D: Battle Across Time" (1996) and "Virus" (1999).
Academy Award-winning Special Effects Artists ALEC GILLIS and TOM WOODRUFF, JR. have created some of the most memorable effects ever seen on the big screen. They are responsible for making Meryl Streep's head turn backwards in "Death Becomes Her," fabricating Tim Allen's plump belly in "The Santa Clause," creating the enormous bugs in "Starship Troopers," fashioning John Travolta's giant angel wings in "Michael," and designing and modifying the changing looks of the Alien in the four "Alien" movies. Together, Woodruff and Gillis wrote the new book, AVP: The Creature Effects of ADI, which provides an inside look at all of the effects used in the movie.
Gillis and Woodruff first teamed up in 1988, forming Amalgamated Dynamics, Inc. (ADI). The company, which is dedicated to the highest standards of quality in animatronics and special make-up, quickly became known as one of the major character effects studios in the business. Their work gathered numerous accolades and awards including the Academy AwardR for Best Visual Effects for the Meryl Streep/Goldie Hawn feature "Death Becomes Her." They earned Oscar nominations for "Starship Troopers" and "Alien3"
Their other feature films include "Scary Movie 3," "Spider-Man" and "Spider-Man 2," "Looney Tunes: Back in Action," "The Santa Clause 2," "Panic Room," "Evolution," "Bedazzled," "The Nutty Professor 2," "Cast Away," "Wonder Boys," "The X-Files" feature film, "Mortal Kombat," "The Grifters" and "Tremors."
Not content to just create the visual images, Woodruff and Gillis are personally involved in the performances of the characters. Woodruff has acted in a variety of creature and animal rolls. Woodruff actually wears the complicated Alien costume, while Gillis works a complex panel of controls. For other characters, Gillis directs a team of puppeteers. The two have worked together to create natural and realistic performances in such feature films as "The Hollow Man," "Alien Resurrection," "Alien3," "Jumanji," "The X-Files" feature, and more.
Woodruff developed an early interest in horror films as a result of watching countless late-night broadcasts of the now classic Universal Studios monster movies and the stop-motion effects of Ray Harryhausen. After seeing one of the "Planet of the Apes" films in a theater, he focused his attention on the craft of make-up and special effects. At 13, he got his hands on his father's 8mm home movie camera and has been creating his own special effects-laden films ever since.
In 1983, Woodruff joined the renowned Stan Winston to work on "The Terminator." That was the beginning of a five-year period during which Woodruff became a key coordinator under Winston and worked on such features as "Aliens" and "Predator," as well as the TV show "Amazing Stories." During this time, Woodruff began wearing the complicated costumes and make-ups of the creatures designed at the studio. His physical build and tolerance, as well as his acting ability, led to his portrayal of the tile characters in movies such as "Monster Squad" and "Pumpkinhead." In 1988, Woodruff met another of Winston's character designers, Alec Gillis.
Alec Gillis, at age 10, was already a fan of fantasy and science fiction movies. Influenced by films such as "Planet of the Apes," "King Kong," and "Jason and the Argonauts," Gillis began making his own amateur movies. At 13, he decided that creating creatures for Hollywood would be his career and he spent much of his teen years experimenting and tinkering with various special effects in his mother's garage.
Gillis' first professional job was in 1980 on Roger Corman's low-budget science fiction film "Battle Beyond the Stars." He went on to attend UCLA's esteemed film school and, after graduation, began working for some of the industry's top names in make-up effects, most notably Stan Winston. As one of Winston's closest associates, Gillis had the opportunity to hone his skills a creature designer, sculptor and supervisor.
Between effect-oriented productions, Woodruff and Gillis continue to write and develop projects using ADI as an umbrella under which their own film productions can eventually grow.
HARALD KLOSER (Music) has worked extensively in film and television, in his native Germany and in the United States. His motion picture credits include the recent box-office smash "The Day After Tomorrow" for Fox, "Marlene," "The Thirteenth Floor," "The Venice Project," "After the Truth" and "The Harmonists."
Kloser's numerous television credits include the biopics "Rudy: The Rudy Giuliani Story," "RFK," "Ali: An American Hero," "The O.J. Simpson Story," "If Looks Could Kill: The John Hawkins Story" and "Fatal Deception: Mrs. Lee Harvey Oswald." He wrote the music for "Dracula" (2002), "Sins of the Father," "Deliberate Intent," and many other TV productions.
Kloser has recorded albums with notable artists such as Al Jarreau, Elton John, José Feliciano and Tom Waits.
MAGALI GUIDASCI (Costume Designer) was a costume assistant on Luc Besson's "Subway" before becoming a costume designer on "Kamikaze" in 1986.
She has since designed costumes for "The Big Blue," "The Passport," "La Femme Nikita," "Hors La Vie," "23:58," "The Professional," "Armageddon," "Wing Commander" and "Ecks Vs Sever." Her most recent film was "The Prince and Me."
An Anglo-Czech-Canadian-German Co-Production
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