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A special message from Deadpool: Hola Muchachos and Muchachettes of the Fourth Estate, Your friendly neighborhood Pool Guy here, introducing you to the press kit for my new movie. That’s right, Fox Publicity called, asking if I could play a “small part” in their campaign for Deadpool. I told them, there are no small parts, only small money. They promised me a piece of back end. I said, the last time I was offered a piece of back end, I ended up in a jail in Guatemala. Then I said, when do I start? What you hold before you is a guide into my little world. Whatever you do, don’t believe anything you read in it, like the absurd claim that the screenwriters, Reese and Wernick, are the ones who “put the words in my mouth.” Those two were so desperate for this gig, we should ask what they were willing to put in their mouths. Or how about the idea that I “took direction” from Tim Miller? The only guy who ever tried to give me “direction” was my high school guidance counselor, Dr. Coon. Who was A) not a real doctor. And B) mostly responsible for the “direction” I ended up taking, if that hints at his competence. Or what about the assertion that I was somehow “played by” Ryan Reynolds? Wise up, that guy hasn’t been playing me, he’s been playing the rest of you. What a knob. I’d kill for his skin. The rest of him you can have. So, in summary, take this document with a grain of salt. Fox hopes it will give you an intriguing window into the makings of a moderately priced, three-quadrant, February-opening, tent-pole blockbuster super-hero movie. But I’m no super-hero. Oh, and before you wade into all these words-words-words-words-zzzzzzzzz, please be aware that this packet pales by comparison to my movie. Think of these pages as an amuse-bouche from an amused douche. Ya want the full course of nut-busting fun, ya gotta find me in theaters. Toodle-Oo! DP

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Based upon Marvel Comics’ most unconventional anti-hero, DEADPOOL tells

the origin story of former Special Forces operative turned mercenary Wade Wilson, who

after being subjected to a rogue experiment that leaves him with accelerated healing

powers adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted

sense of humor, Deadpool hunts down the man who nearly destroyed his life.

DEADPOOL star and producer Ryan Reynolds has no bigger fan than Marvel

Comics legend Stan Lee, who has a fun cameo in the film and also serves as an executive

producer. “There’s never been a character like Deadpool, and Ryan Reynolds plays him

as though he was born to play the role,” says Lee. “Just like Robert Downey, Jr. was born

to be Iron Man, you just can’t picture anybody else besides Ryan as Deadpool.”

Reynolds embraced the character’s myriad (and often twisted) facets. “In the

comic book world, Deadpool is a man of our time with the ability to spout just the right

thing, in terms of a pop culture reference, at the worst possible moment,” he quips.

“That’s what makes him interesting to me and also makes him sort of limitless.”

Reynolds had long championed a film version of the iconic comics character. His

deep involvement in the film’s development continued throughout production, in

brainstorming sessions with director Tim Miller and screenwriters Rhett Reese and Paul

Wernick (“Zombieland”).

Tim Miller, who makes his feature film directorial debut on DEADPOOL, notes,

“I think Ryan’s personality and DNA are really infused in the character. It was a close

match to begin with, which is why Ryan was so attracted to Deadpool in the first place.”

“Ryan has a tremendous sense of humor, is very quick, and the character has

really seeped into him,” says Reese. “He became in a way our ‘Deadpool Police.’

Whenever we got off tone or were writing in a way that didn't feel quite right, Ryan

would say, ‘I don't think that sounds like Deadpool.’ We knew he was the best arbiter,

because Ryan knows and loves the comics and has assimilated Deadpool’s voice and

sense of humor.”

“We’re staying as true to the character as possible,” adds Reynolds. “We really

ran with the idea of Deadpool being aware he’s a comic book anti-hero. It gave us the

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freedom to tell this story in a totally unorthodox way. We occupy a space that no other

comic book movie has – or can.”

Deadpool is also known as the “Merc with the Mouth” – and for good reason. “A

lot of comic book movies almost feel like you could watch them without sound and still

get what's going on,” notes Reese. “We wanted you to hear Deadpool’s voice and his

comedic commentary, so we really embraced dialogue. This is not one of those movies

where the hero is silent for 15 minutes. In DEADPOOL, the other characters can't get a

word in edgewise, because he’s constantly filling silences with lucidly insane cracks.”

Deadpool is a unique figure in the Marvel Universe. Fabian Nicieza and Rob

Liefeld created Deadpool as possessing an often non-superheroic attitude. A sardonic

foil to the holier-than-thou heroes and villains that populate Marvel’s other comics,

Deadpool constantly cracks edgy jokes and breaks the fourth wall.

Liefeld joins Stan Lee in his admiration of the filmmakers’ work in translating the

character to the big screen. “DEADPOOL explodes with action,” says Liefeld. “Ryan,

Tim Miller, Paul and Rhett mined all the good stuff in the comics from about a ten-year

period and came up with a movie that sews it all together. This will be the Deadpool that

will become canon moving forward!”

Director Miller provides Deadpool’s cinema incarnation with a fractured narrative

that hurtles back-and-forth in time. The film is anything but predictable, while also being

accessible to those who’ve never before encountered the Merc with the Mouth.

The character’s accessibility is defined partly by his twisted sense of humor. “It

really draws you in,” Reynolds notes. “Deadpool has this bright, optimistic outlook on

life, even though his life is pretty shitty. I mean, he’s become horribly disfigured from

the experiments that gave him his powers. And, he can’t find love and he’s more than a

little insane.”

Reynolds’ director is also infused with Deadpoolian traits. “Tim has a bit of

Wade Wilson’s acerbic attitude in him,” says Reynolds. “He sort of speaks, moves and

talks like him, too. I think that helped Tim access the character. He really understands

how to balance the over-the-top action and humor with pathos, because in some ways,

Wade Wilson is a tragic character.”

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FRIENDS, ENEMIES, LOVERS AND MUTANTS

In fact, Miller’s reality-based storytelling generates empathy for all the

protagonists, particularly in the poignant love story between Wade and Vanessa Carlysle,

who fall in love because of their flaws, rather than despite them. Vanessa had a rough

childhood and is living a life full of regret. She's a prostitute when Wade meets her, and

together they embark on a quest to become better people.

“We wanted Vanessa to be someone who totally owns her space, isn’t a damsel in

distress, and when she does get into deep trouble, does everything she can to get out of

that predicament and really kick ass,” Reynolds notes. “Morena Baccarin embodied

Vanessa from the get-go.”

“Vanessa is incredibly different from any character I’ve ever played because she’s

a great combination of smart, sexy, cool and tough,” says Baccarin. “She’s a guy’s girl,

but also very much a woman. She’s also a fighter and it’s incredibly refreshing to see a

female character in a superhero movie who is just as tough as the guy, has something to

say, and has balls.”

Deadpool’s nemesis is Ajax, played by Ed Skrein (“The Transporter Refueled”).

Ajax is the architect of Deadpool’s transformation. “He runs the WeaponX workshop

and is a sadistic bastard,” notes Miller. Ajax takes special pleasure in torturing Wade

during the procedures that transform him into Deadpool (and his face into an amalgam of

scar tissue).

Ajax – his given name is Francis (and you better believe that Deadpool has a field

day with that!) – had undergone the same program that Wade came through. The

powerful villain’s abilities include heightened agility and strength, as well as numbness

to pain and human emotion. Ajax doesn't feel empathy or sympathy and has no qualms

about tormenting someone as a means to an end.

Ajax’s henchwoman and “muscle” is Angel Dust, a statuesque beauty who

possesses incredible physical prowess. She does the jobs that Ajax avoids – and loves

every minute of it.

“Angel Dust’s superpower is basically accessing her adrenaline to create super-

strength,” notes Gina Carano, a former international mixed martial arts champion. “It’s

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kind of like that horse that you want to let the reins go on a bit. I feel like Ajax has the

reins and Angel Dust says, ‘Oh, I’m ready. Put me in.’”

There’s sometimes a thin line between these enemies and Deadpool’s mutant

“allies,” Negasonic Teenage Warhead and a behemoth known as Colossus. Apart from

her powers as a living, breathing nuclear warhead, which provides what may be the

coolest superhero name ever, NTW is in many ways a typically rebellious teenage girl.

She’s too cool for school, standoffish and sarcastic.

Colossus, a CG creation, can change his skin into steel, and in DEADPOOL is

moonlighting from his stint as one of the X-Men. He has been charged with being

NTW’s mentor.

The film introduces a fun and idiosyncratic dynamic between Deadpool and

Colossus. “When I read that Colossus is kind of watchdogging Deadpool, making him

the straight-man to Deadpool’s antics, I fell off the couch,” recalls Liefeld. “It’s genius!

It elevates Colossus to a place he’s never been before.”

The movie breaks away from its rapid-fire action sequences involving these uber-

powerful characters to showcase Deadpool trading wisecracks with barkeep pal Weasel,

played by actor-comedian T.J. Miller (“Silicon Valley”). In spite of his motto of always

“looking out for number one,” Weasel is a trusted friend to Wade. Weasel owns Sister

Margaret’s Home for Wayward Girls, a clandestine establishment where mercenaries

drink away their conscience. He’s also a savvy weapons dealer who loves money and

guns.

Miller appreciated the film’s unique elements. “DEADPOOL is nothing less than

the greatest story ever told – with guns and swords,” he jokes. “It’s also very self-aware;

Deadpool knows he’s in a comic book and he even knows he’s in a movie. He breaks the

fourth wall and talks to the audience. Sometimes he’s mean to the audience, but they

deserve it! I like to think of him as the regenerating degenerate.”

Deadpool also relaxes by kicking back at home with his roommate Blind Al, a

sightless senior citizen whom Deadpool found on Craigslist. Singer/actress Leslie

Uggams takes on the role. “Al is independent, sassy, sarcastic and tough, and she can

give as good as she gets,” Uggams says.

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They’re an unusual pair of roomies, but they end up becoming friends. It's a quid

pro quo relationship. “Wade makes the money and Al keeps house, more or less,”

Uggams notes. “Because she’s blind and can’t see his disfigurement, Al provides a

comfortable camaraderie for Deadpool, and he makes no judgments – and certainly offers

no special accommodations – for Al’s challenges.”

IT’S ALL FUN AND GAMES UNTIL SOMEONE GETS SKEWERED ON A

KATANA

Bringing the exploits of an unconventional superhero to life sometimes created an

equally unexpected vibe on set. Notes Stan Lee: “When you see Tim Miller and Ryan

Reynolds working together, they are both so in sync; they see the movie the same way.

It’s though they’re playing a game and each one of them is doing his job so

magnificently. When I did my scene in DEADPOOL, I didn’t even know I was working.

When it was over, I said, ‘When do we start?’ and Tim said, ‘You’re finished.’ That’s

how effortless he makes it seem.”

That kind of playfulness, intermixed with a badass physicality, marks the film’s

acrobatic action sequences. “Deadpool’s always been more lithe and agile than other

characters in the Marvel universe,” says Liefeld. “Without even thinking about it, he can

drop into a moving car and then take out a small army of tough guys, all the while

cracking wise.”

Wade is a tactically-trained ex-mercenary, and his newly acquired mutant powers

allow his body to regenerate. So, “it’s kind of like all bets are off, when it comes to

Deadpool fighting,” says stunt coordinator Philip Silvera. “There’s also an off-the-wall,

tactical approach to combat. To the observer, Deadpool’s martial strategies don’t make a

lot of sense, at first, but in the end, you realize his methodology works!”

One of the all-time boxing greats inspired some of Deadpool’s approach to

fighting. Notes 2nd Unit Director/Supervising Stunt-Coordinator Rob Alonzo: “When

we trained with Ryan, we incorporated some of Muhammed Ali’s boxing moves. Ali

was known to constantly talk during a bout, and when we watched Ali’s early fights with

Sonny Liston, Joe Frazier and George Foreman, we noted that Ali was both dangerous

and carefree. The physicality that Ryan brings to Deadpool is playful and comedic, but at

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the same time I’ve held mitts for Ryan, and I’ll tell you, he can pack a wallop on a

punch.”

Adds VFX Supervisor Jonathan Rothbart: “Deadpool’s moves are dynamic. He's

a superhero, so we wanted to make him more than human, but we also kept the action

grounded. We did amazing stuff on set, and in-camera, to which we would add some

visual effects to make the action even more over-the-top. We went just a little crazy with

the action, which is something I love about it.”

In one memorable face off, the Merc with the Mouth wields his signature katanas

against Ajax, who’s armed with a pair of deadly axes. “We created a hybrid style for the

katanas,” Silvera explains. “It’s not a traditional Japanese sword style; it’s more of a mix

of tactical thinking, Japanese and Chinese sword work, and [the Filipino martial art] Kali

strikes – always making sure that Deadpool is attacking vital points and control points.”

Another key mutante a mutante fight sees Colossus squaring off against Angel

Dust. It’s truly a clash of the titans, even if one of the combatants was largely created

months later, as a CG figure. In the X-Men comics, Colossus is over seven feet tall and

massively strong, so “I was after that enormous, bigger-than-life quality, and the only

way to accomplish that was with CG,” says Miller.

For the Colussus-Angel Dust battle royale, Gina Carano enjoyed taking on what

would become a CG figure. “I’ve never fought a CG character before, and most of the

actors that I’ve fought are usually around my size or just a little bit taller,” she says. “All

my moves in the scene had to be so big and so strong, so the audience believes that Angel

Dust has the strength to take on Colossus.”

From a technical standpoint, Colossus presented some unique challenges and

opportunities. “He’s entirely reflective, so we used a 3-D camera system to capture all

the action that happens around him,” Rothbart explains. “Then we put that back onto him

as a reflective component of his body. It’s going to be fun because we have a lot of

scenes where Deadpool is running circles around him and doing all sorts of crazy things,

and we really wanted to make sure that we didn’t just capture Ryan’s performance on

camera, but also caught it in the reflections on Colossus.”

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THE FAULT IN OUR SCARS

A famous poet wrote that, “…the most massive characters are seared with scars”

– which would certainly apply to Deadpool, whose mutilated visage was the result of the

horrific experiments he underwent at The Workshop. Equally applicable is this

comment from his buddy Weasel: “You look like Freddy Krueger face-f***** a

topographical map of Utah.”

On set, Reynolds wore the iconic red suit as a badge of honor, and inhabited

Deadpool’s scars with the same sense of kinship and admiration. When Reynolds as

Deadpool removes his mask for the first time to reveal his disfigured face, you can’t help

but feel empathy. It’s a moment that really humanizes the character, because as vile and

violent as Deadpool can be sometimes, he presents here an unmasked vulnerability.

“Ryan and I had a lot of fun with the scene when Weasel sees the scarred version

of Wade for first time,” T.J. Miller recalls. “It’s pretty horrifying to look at. It was

difficult for me to talk to Ryan when he was in makeup. He’d come over and say, like,

“T.J., I’m lonely, you know? I need a friend on set.” And I would say, “Get away from

me. Your face looks like a roadmap to hell.”

Makeup Department Head Bill Corso worked with the Creative Character

Engineering department to create that scarred look. “We did multiple full-makeup tests

and designs, trying to come up with not just a guy who’s disfigured, but a cool, iconic

character,” Corso explains. “I knew that, with Ryan, Deadpool would also possess a

certain charm and ruggedness. We took his features and strengthened and played with

them, to slightly skew everything, so it’s still Ryan but an enhanced, mutated version of

him.”

In the end, Corso created a series of thin silicone prosthetics with a translucent

quality, revealing muscles, blood and tissue beneath the skin. “Ryan had ten paper-thin

silicon appliances on his head,” Corso explains. “Now multiply that by a whole body for

the compelling fight sequence with Ed Skrein as Ajax at the Workshop, when Ryan is

basically au naturel. It’s a raw, brutal fight, and there’s no clothing or padding. It gets

very real!”

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“…STRONG VIOLENCE AND LANGUAGE THROUGHOUT, SEXUAL

CONTENT AND GRAPHIC NUDITY”

Along with Deadpool fighting in the buff, the film’s torrid scenes between Wade

and Vanessa, and Deadpool’s non-stop and off-color verbal stylings, all contribute to the

film’s R-rating. “I think the R-rating allows us to have a level of reality that wouldn’t be

possible with a PG-13,” says Miller. “I also think it’s an important step in the expansion

of the genre. There’s a type of film that can only be made with this rating, and that really

expands the boundaries of the stories comic book movies can tell.”

As the filmmakers ready DEADPOOL for a February 2016 opening, they remain

convinced the time is right for this unique movie event. “When comic book movies first

appeared, they had to be ‘tentpole’ movies, which had to appeal to the broadest possible

audience,” Miller says. “DEADPOOL was always meant to be an edgy film, and the

time is right for it. The genre of superhero and comic book films is wider and it feels

like it’s time to do a film like this, that sort of pushes the boundaries a little further.”

DEADPOOL is produced by Simon Kinberg (“X-Men: Days of Future Past”),

Ryan Reynolds and Lauren Shuler Donner (“X-Men: Days of Future Past”). The

executive producers are Stan Lee, John J. Kelly (“Spy”), Jonathon Komack Martin (“The

Change-Up”), Aditya Sood (“The Martian”), and screenwriters Rhett Reese and Paul

Wernick.

The director of photography is Ken Seng (“Project X”), the production designer is

Sean Haworth (“Goosebumps”), the editor is Julian Clarke, ACE (“District 9”), and

music is by Tom Holkenborg (“Mad Max: Fury Road”).

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ABOUT THE CAST

RYAN REYNOLDS (Deadpool, Producer) is one of Hollywood’s most diverse

leading men, seamlessly transitioning through drama, action and comedy in his rich and

ever evolving career.

Recently, Reynolds was seen in “Mississippi Grind,” alongside Ben Mendelsohn.

The film directed by Ryan Fleck and Anna Boden premiered at Sundance to rave reviews

and opened October 2015.

Also this year, Reynolds was seen in the features “Woman in Gold,” “The

Voices” and “Selfless.” In The Weinstein Company’s “Woman in Gold,” Reynolds

starred alongside Helen Mirren to tell the story of Maria Altmann (Mirren), a Jewish

refugee who is forced to flee Vienna during World War II and embarks on a mission to

reclaim a painting the Nazis stole from her family: the famous Lady in Gold.

In Lionsgate’s serial killer comedy “The Voices,” by famed French director

Marjane Satrapi, Reynolds stars as a troubled, med-addicted factory worker driven to

murder by his talking pets, a psychopathic cat called Mr. Whiskers and a peace-loving

dog named Bosco. Reynolds also voices the animals. He then starred opposite Ben

Kingsley in the independent feature “Selfless,” directed by Tarsem Singh.

Reynolds voiced two DreamWorks Animation films in 2013. In “Turbo,”

Reynolds voiced a snail who has dreams of winning the Indy 500. The movie also

features the voices of Samuel L. Jackson, Maya Rudolph, Snoop Lion and Michelle

Rodriguez. Prior to that, Reynolds made his animated film debut as the voice of Goy in

DWA’s “The Croods.” The movie also featured the voices of Nicolas Cage, Emma Stone

and Catherine Keener and earned over $508 million worldwide. Reynolds has signed on

for the sequel, which is in development.

His other film credits include the Universal action thriller “Safe House,” opposite

Denzel Washington, which opened to $40 million domestically in its first weekend and

went onto earn $208 million worldwide; the Universal comedy “The Change Up,”

opposite Jason Bateman; the Warner Bros. adaptation of the popular DC Comic “Green

Lantern”; and the mystery/thriller “Buried,” in which Reynolds is the only actor to appear

on camera.

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In 2009, Reynolds and Sandra Bullock starred in Disney’s romantic comedy “The

Proposal.” The film opened at #1 at the box office and grossed $315 million worldwide.

That same year, Reynolds was seen as Deadpool in “X-Men Origins: Wolverine.” He

starred opposite an all-star cast, including Hugh Jackman, and the film grossed $365

million worldwide. Also in 2009, Reynolds starred in “Adventureland,” opposite Kristen

Stewart, which premiered at the Sundance Film Festival and was nominated in the

“Ensemble Performance” category at the 2009 Gotham Awards.

Reynolds’ other film credits include “Paperman”; the Working Title film

“Definitely, Maybe” for Universal Pictures; writer/director John August’s “The Nines”;

director Joe Carnahan’s “Smokin’ Aces,” for Working Title and Universal Pictures; and

“The Amityville Horror,” a remake of the classic cult film that opened to #1 at the box

office and made $107 million worldwide.

Reynolds’ TV production company, DarkFire, recently sold its first two projects –

the live action comedy “Guidance” and the animated comedy “And Then There Was

Gordon,” to 20th Century Fox TV. Reynolds will executive produce the series alongside

Allan Loeb, Jonathon Komack Martin, Tim Dowling and Steven Pearl.

Reynolds serves on the board of directors for the Michael J. Fox Foundation for

Parkinson's Research. In November of 2007, Reynolds ran the New York City Marathon

in honor of his father, who has long suffered from ravages of Parkinson's disease.

Reynolds’ marathon run raised over $100,000 for the Foundation.

MORENA BACCARIN (Vanessa) made her television debut in the science-

fiction drama “Firefly” and she reprised her series role of Inara Serra in the 2005 film

“Serenity.”

In May 2009, Baccarin made her Off-Broadway debut in Theresa Rebeck's

television satire “Our House” at Playwrights Horizons in New York City. That year,

Baccarin joined the cast of the Showtime television drama “Homeland,” for which she

won acclaim for her performance as the conflicted wife of a former prisoner of war. In

2013, she was nominated for Outstanding Supporting Actress in a Drama Series at the

2013 Primetime Emmy awards for her performance.

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Her other television credits include “V,” “The O.C.,” “Stargate SG-1,” “Justice

League” and “Gotham.”

ED SKREIN (Ajax) grew up in North London and is one of the most highly

versatile artists of his generation. He was selected by Screen International as one of their

“Stars of Tomorrow” in 2012, which showcases the next generation of talent from the

UK.

Skrein stars in the action crime thriller reboot, “The Transporter Refueled,”

directed by Camille Delamarre and produced by Luc Besson and Mark Gao (“Lucy,” the

“Taken” films). Skrein portrays the lead role of Frank Martin, a former special-ops

mercenary who now spends his life as a transporter of classified packages for

questionable people on the other side of the law.

Skrein also recently appeared in “The Model,” directed by Mads Matthiesen,

which chronicles the story of an emerging fashion model who struggles to enter the

Parisian fashion scene and develops a deadly obsession for fashion photographer Shane

White (Skrein). Nordisk Film Distribution releases the film.

In 2016, Skrein will appear alongside Nicholas Hoult and James Corden in the

comedy crime film “Kill Your Friends,” directed by Owen Harris. Based on John

Niven’s 2008 novel, the film tells the story of a 27-year-old A&R man working at the

height of the Britpop music craze and going to extremes to find his next hit. “Kill Your

Friends” screened at Cannes and was purchased by Well Go USA Entertainment, which

will release the film.

In 2013, Skrein appeared in the critically-acclaimed and BAFTA and Critics

Choice Television Award winning HBO series “Game of Thrones.” Skrein portrayed the

character Daario Naharis, originally a lieutenant in the Second Sons, who takes over the

company after killing his superiors and aligns with Daenerys Targaryen (Emilia Clarke).

In 2012, Skrein starred in Revolver Entertainment’s critically-acclaimed drama

“Ill Manors,” written and directed by Ben Drew. The film revolves around the lives of

eight characters as they struggle to survive on the streets. It takes place over the course

of seven days, with each story blending into the others, painting a gritty picture of a

world on the brink of destruction.

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Other film credits include “The Sweeney,” “Tiger House,” “Piggy,” “Northmen –

A Viking Saga,” “Sword of Vengeance” and “Goldfish.” Other television credits include

“The Tunnel.”

Skrein currently resides in London.

T.J. MILLER (Weasel) is one of the most sought after comedians in the comedy

world, but not in the drama world, or the finance world. He was one of Variety’s “Top

10 Comics to Watch,” and EW's “Next Big Things in Comedy."

Miller lent his voice to Disney’s Academy-Award® winning animated feature,

“Big Hero 6.” You may recognize his non-animated face and body from his role in

2014’s surprise indie hit “Transformers 4,” or from Mike Judge’s HBO comedy series

“Silicon Valley,” for which Miller received the Critics’ Choice Award for Best

Supporting Actor in a Television Comedy.

His podcast "Cashing in with T.J. Miller" on nerdist.com is listened to by 12 and

½ people, and Miller is a nationally touring standup, crisscrossing the country listening to

Kris Kross. (He's also done shows in the U.K. and Puerto Rico; Puerto Rico did not go

well.)

Miller has been performing his absurdist observational standup act for over 10

years, and has never gone to the bathroom in his pants on stage. His hour long Comedy

Central stand-up special “T.J. Miller: No Real Reason” and hip-hop/pop/folk music

album “The Extended Play E.P” is an E.P. with 41 tracks, and the “Illegal Art Remix

Tape” are all available now. He hosted Comedy Central’s “Mash-Up,” a mashup of

standup, sketches and visualizations, and has appeared on “Chelsea Lately” more than

most women his height.

Miller got his start touring with Second City in Chicago and improvising with

Annoyance Theater, iO, and managers at electronics stores who asked why he is late and

smells like gin. Miller has been in a number of major studio films including

“Cloverfield,” “She’s Out of My League,” “Seeking a Friend for the End of the World,”

“Our Idiot Brother,” “Yogi Bear” (Ranger Jones is Miller’s greatest role to date),

“Unstoppable” and “Get Him to the Greek.”

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He has appeared on television in “The League,” “Carpoolers,” “Goodwin

Games,” “Happy Endings,” and other canceled programs. Miller also talks like an old

drag queen after a hard night of chain smoking, and thus voiced the character Tuffnut in

the Oscar® nominated animated film “How to Train Your Dragon” and “How to Train

Your Dragon 2.” He voices Robbie from “Gravity Falls” on Disney, Tuffnut in the

Netflix “How to Train Your Dragon” television series, and “Gorburger,” a very strange

show you just have to Google to understand.

Miller currently resides in Hollywood, California, where he struggles to find

meaning in an uncertain world. He is a comedian.

GINA CARANO (Angel Dust) stars in Lionsgate’s upcoming “Extraction,”

opposite Bruce Willis. Prior to that she had lead roles in “Bus 657,” opposite Robert De

Niro, Jeffrey Dean Morgan, Kate Bosworth and Dave Bautista, and also appeared in a

remake of the cult film “Kickboxer,” with Dave Bautista.

Gina had a key role in “Fast and Furious 6,” as the partner to the character

portrayed by Dwayne Johnson. The film opened at #1 during the biggest Memorial Day

weekend in box-office history. Universal had their largest debut ever with that

installment in the action franchise, collecting $96.7 million in three days toward an

incredibly strong $120 million opening weekend and over $785 million worldwide. It

was also Universal's largest opening ever in China.

Gina made her acting debut starring as Mallory in the Steven Soderbergh directed

film “Haywire,” with a supporting cast that included Michael Douglas, Antonio

Banderas, Michael Fassbender, Ewan McGregor, Channing Tatum and Bill Paxton. The

film received strong reviews and Gina was nominated for a Critics Choice Award for

Best Actress in an Action Film, alongside such Hollywood heavyweights as Anne

Hathaway, Jennifer Lawrence, Judi Dench and Emily Blunt. In preparation

for “Haywire,” Gina trained several months with ex-Israeli Mossad agent Aaron Cohen.

Gina is a top rated MMA athlete who fought in the first ever female main event,

which aired on Showtime and was the highest rated fight of any gender in Showtime

history. She is widely acknowledged as the original face of female MMA. While

actively competing, Gina was rated as Yahoo's top female athlete and was the fifth

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most influential woman on Yahoo, on a list that included Michelle Obama, Oprah

Winfrey and Hillary Clinton. In 2014, despite having been out of competition for several

years, Gina was still the tenth most searched athlete on Yahoo.

BRIANNA HILDEBRAND (Negasonic Teenage Warhead) recently wrapped a

leading role in Kerem Sanga’s independent drama “First Girl I Loved.” Brianna

previously starred in the award-winning web series “Annie Undocumented.”

ABOUT THE FILMMAKERS

TIM MILLER (Director) is the Executive Creative Director/Co-Founder of Blur

Studio. With over 20 years of experience in the CG/VFX world, Miller’s work has been

honored with Academy Award, Annie and Ves Award nominations.

Miller’s deep knowledge and love for books, comics, sci-fi, fantasy and games

informs his writing and directing across multiple visual platforms, including

commercials, game trailers and feature film development. Tim directed the opening

prologue for the Marvel film “Thor: The Dark World,” as well as a launch spot for

Microsoft’s epic marketing campaign for "Halo 4: Scanned.”

Additional directing projects include Warner Bros.’ "Batman: Arkham City,”

Sony’s “DC Universe Online,” and a “Dante’s Inferno” Super Bowl spot for EA. Miller

also led the creative effort on the title sequence for David Fincher’s “The Girl with the

Dragon Tattoo” and was selected for The Saatchi & Saatchi New Directors' Showcase

2012 in Cannes. Miller is currently developing feature film projects at 20th Century Fox,

Legendary and Sony Pictures.

RHETT REESE & PAUL WERNICK’s (Writers, Executive Producers) first

feature collaboration was “Zombieland,” which they wrote and executive-produced for

Columbia Pictures in 2009. “Zombieland” received critical acclaim (90% fresh on

Rotten Tomatoes) and became one of the highest grossing zombie movies of all time

($100M+).

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More recently, the two wrote Paramount Pictures’ “G.I. Joe: Retaliation,”

starring Dwayne Johnson, Channing Tatum, and Bruce Willis. The film went on to gross

$375 million worldwide.

Reese and Wernick currently have several projects in development, including

“Life,” for Skydance Productions, with Daniel Espinosa directing; and “Cowboy Ninja

Viking,” for Universal Pictures, with Chris Pratt starring. They recently optioned “The

Real Coke, The Real Story,” a non-fiction account of the epic failure of New Coke,

which they plan to write and produce.

Reese and Wernick first collaborated in 2001, creating, writing, and executive-

producing “The Joe Schmo Show” for Spike TV. The series drew Spike’s highest-ever

ratings. “Joe Schmo” was named to numerous Best Of lists, including Time magazine’s

Top 10 TV Shows of the year and Entertainment Weekly’s 50 Best TV Shows Ever on

DVD. Reese and Wernick followed up with “Joe Schmo 2” and “Invasion Iowa,” a high-

concept comedy hybrid starring William Shatner.

Reese has written movies for Pixar Animation Studios (“Monsters, Inc.”), Walt

Disney Feature Animation (“Dinosaur”), and Warner Bros. (“Clifford’s Really Big

Movie”), among others. Wernick has produced several network reality shows. He won

three Emmy awards for his work in news.

Reese and Wernick met in high school and have collaborated professionally for

over 15 years.

SIMON KINBERG, p.g.a. (Producer) has established himself as one of

Hollywood’s most prolific filmmakers, having written and produced projects for some of

the most successful franchises in the modern era.

Kinberg graduated from Brown University, and received his MFA from Columbia

University Film School, where his thesis project was the original script “Mr. and Mrs.

Smith.” Released in 2005, the film starred Brad Pitt and Angelina Jolie. In 2006,

Kinberg wrote “X-Men: The Last Stand,” which opened on Memorial Day to box-office

records, and began his ongoing relationship with the franchise. In 2008 Kinberg wrote

and produced Doug Liman’s film “Jumper” for 20th Century Fox. In 2009 Kinberg co-

wrote the film “Sherlock Holmes” starring Robert Downey Jr., directed by Guy Ritchie.

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It set the box-office record for the biggest Christmas Day opening in history. Robert

Downey, Jr. received a Golden Globe® for Best Actor, and the film was nominated for

two Academy Awards.

In 2010, Kinberg established his production company Genre Films, with a first

look deal at 20th Century Fox. Under this banner, he produced “X-Men: First Class,”

executive produced “Abraham Lincoln: Vampire Hunter,” and wrote and produced “This

Means War.” In 2013, Kinberg produced “Elysium,” starring Matt Damon and Jodie

Foster, directed by Neill Blomkamp.

On Memorial Day 2014, Fox released “X-Men: Days of Future Past,” which

Kinberg wrote and produced. The film opened number one at the box-office, received

critical acclaim, and went on to gross $750 million worldwide.

Last year, Kinberg re-teamed with Neill Blomkamp to produce “Chappie” starring

Hugh Jackman and Sharlto Copley, and produced Disney’s “Cinderella,” starring Cate

Blanchett, directed by Kenneth Branagh. The latter was Kinberg’s ninth picture to open

number one at the box-office. Also in 2015, he wrote and produced “Fantastic Four” and

the next X-Men movie, “X-Men: Apocalypse,” to be released Memorial Day 2016. In

addition, Kinberg is producing the X-Men spinoff movies, “Gambit” starring Channing

Tatum, and the next “Wolverine” movie with Hugh Jackman.

Kinberg is also writing and producing one of the upcoming “Star Wars” films,

served as consultant on “Star Wars: Episode VII,” and is the creator and executive

producer of the animated show “Star Wars: Rebels,” on Disney XD.

LAUREN SHULER DONNER (Producer) has in the past three decades

established herself as one of the most successful and versatile producers in

Hollywood. To date, her films have grossed over $4 billion worldwide.

Shuler Donner was bound for success from the beginning, as the first feature film

she produced was the smash hit comedy, “Mr. Mom,” one of the top ten grossing films

that year. She then went on to produce “Ladyhawke” starring Matthew Broderick,

Michelle Pfeiffer and Rutger Hauer and “St. Elmo’s Fire” and “Pretty in Pink,” both of

which created a new phrase in teen lexicon, “Brat Pack.”

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In the early ‘90s, Shuler Donner produced the box office smash hits “Dave” and

“Free Willy,” two of the top ten films of 1993. The critically acclaimed “Dave” was

nominated for both an Academy Award (Best Original Screenplay) and a Golden Globe

(Best Picture-Comedy). She went on to produce “You’ve Got Mail,” with Meg Ryan

and Tom Hanks, “Any Given Sunday,” “Radio Flyer,” “3 Fugitives, the sequel to “Free

Willy” and “Constantine,” with Keanu Reeves and Rachel Weisz. As head of The

Donners’ Company, she has executive-produced “Volcano,” "Bulworth” and “Just

Married.” Shuler Donner’s other productions include “Timeline” with Paul Walker and

Gerard Butler, “She’s The Man” with Amanda Bynes and "Hotel For Dogs," starring

Emma Roberts.

Shuler Donner also produced “The Secret Life of Bees” for Fox Searchlight

Pictures, which was written and directed by Gina Prince-Bythewood and stars Queen

Latifah, Dakota Fanning, Jennifer Hudson, Alicia Keys, Sophie Okonedo and Paul

Bettany. This film won multiple People’s Choice awards - “Favorite Film” and “Best

Dramatic Film” among them. It also won Best Picture from the NAACP Image Awards.

In 2000, Shuler Donner began a new franchise with “X-Men” and followed up in

2003 with "X2: X-Men United.” The second film was released by Fox and broke box

office records with an opening weekend total of $86 million dollars nationwide. Not only

did the film gross $406 million dollars internationally, it is also the only sequel of 2003 to

receive critical acclaim as well. “X Men: The Last Stand” was released in May, 2006 and

a month later it was on its way to the half billion dollar mark worldwide. In 2011, she

produced “X-Men: First Class,” the fifth film in the “X-men” franchise, which received

critical raves.

Her most recent films are “The Wolverine” and “X-Men: Days of Future Past,”

released in 2014, and which became a global blockbuster.

In October 2008, both Shuler Donner and her husband, Richard Donner, were

awarded stars next to each other on the Hollywood Blvd. Walk of Fame. She and

Richard were also honored by The American Cancer Society in June of 2006 and by

Lupus L.A. in 2008. She has been recognized for her body of work in 2001 by Premiere

magazine with the Producer Icon Award, and was recognized by Daily Variety with a

Billion Dollar Producer special issue. In June 2006, she received the prestigious Crystal

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Award from Women in Film. They were also awarded Lifetime Achievement Awards at

the Ojai Film Festival in November of 2008.

Shuler Donner is a dedicated philanthropist who thrives on giving back to the

community. She was on the board of directors for Hollygrove Children’s Home until it

merged with EMQ in 2006. She has been on the advisory board of Women in Film, was

a long-time member of the advisory board of TreePeople, and is an ex-Board member of

Planned Parenthood. She is serving currently on the advisory board of the Science

Fiction Museum and Hall of Fame, the advisory board of the Natural Resources Defense

Council, USC School of Theater, is the Treasurer for the Producers Guild of

America, and is on the executive committee of the Producer’s Branch of the Academy of

Motion Picture Arts and Sciences.

STAN LEE (Executive Producer) the chairman emeritus of Marvel Comics, is

known to millions as the man whose superhero characters propelled Marvel to its

preeminent position in the comic-book industry. Hundreds of legendary characters,

including Spider-Man, The Incredible Hulk, The X-Men, The Fantastic Four, Iron Man,

Daredevil, The Avengers, The Silver Surfer, Thor and Dr. Strange, all grew out of his

fertile imagination.

Lee served as executive producer for “The Avengers: Age of Ultron,” “The

Wolverine,” “Thor: The Dark World,” “Captain America: The Winter Soldier,” “The

Amazing Spider-Man 2,” “Iron Man 2,” “The Avengers,” “Thor”,” X-Men: First Class,”

”X-Men: Days of Future Past,” Captain America: The First Avenger, “The Amazing

Spider-Man, and “Iron Man 3,” and many other hit films based on Marvel Comics titles.

It was in the early 1960s that Lee ushered in what has come to be known as The

Marvel Age of Comics, creating major new Super Heroes while breathing life and style

into such old favorites as Captain America, The Human Torch and The Sub Mariner.

During his first 25 years at Marvel, as editor, art director and head writer, Lee

scripted no fewer than two and as many as five complete comic books per week. His

prodigious output may comprise the largest body of published work by any single writer.

Additionally, he wrote newspaper features, radio and television scripts and screenplays.

By the time he was named publisher of Marvel Comics in 1972, Lee’s comics

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were the nation’s biggest sellers. In 1977, he brought the Spider-Man character to

newspapers in the form of a syndicated strip. This seven-days-a-week feature, which he

has written and edited since its inception, is the most successful of all syndicated

adventure strips, appearing in more than 500 newspapers worldwide.

In 1981, Marvel launched an animation studio on the West Coast and Lee moved

to Los Angeles to become creative head of Marvel’s cinematic adventures. He began to

transform his Spider-Man and Hulk creations into Saturday morning television and paved

the way for Marvel’s entry into live-action feature films.

Under the umbrella of his new company POW! (Purveyors of Wonder!)

Entertainment, Inc., Lee created and executive produced an animated “Stan Lee Presents”

DVD series. Lee’s television credits with POW! include serving as executive producer

and star on the hit reality series “Who Wants To Be a Superhero?,” and as co-producer

and creator of “Stripperella” on the Spike cable channel. Previously, he executive

produced “Nick Fury: Agent of S.H.I.E.L.D.,” “The Incredible Hulk,” “Spider-Man” and

“X-Men.”

Lee has written more than a dozen best-selling books, including “Stan Lee’s

Superhero Christmas,” “The Origins of Marvel Comics,” “The Best of the Worst,” “The

Silver Surfer,” “How to Draw Comics the Marvel Way,” “The Alien Factor,” “Bring on

the Bad Guys,” “Riftworld,” “The Superhero Women” and his autobiography “Excelsior!

The Amazing Life of Stan Lee.”

JOHN J. KELLY (Executive Producer) recently produced the comedy “Spy,”

with director Paul Feig. Kelly also produced the blockbuster “Divergent,” Tyler Perry’s

“Madea’s Witness Protection,” Timur Bekmambetov’s “Abraham Lincoln: Vampire

Hunter” and “Darling Companion” starring Diane Keaton and Kevin Kline.

Kelly produced the Golden Globe and Oscar nominated “127 Hours,” starring

James Franco. The film was nominated for numerous Academy Awards including; Best

Actor, Best Adapted Screenplay, Best Film Editing, Best Original Score, Best Original

Song, and Best Picture. It was also nominated in many of the same Golden Globe

categories.

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Kelly spent all of 2006 producing Sean Penn’s “Into the Wild,” which garnered

two Academy Awards nominations, two Golden Globes, four SAG Awards™ and two

Teen Choice Awards.

Kelly worked with David Mamet on “Spartan,” Kevin Reynolds on “Tristan and

Isolde,” Brian DePalma on “The Black Dahlia” and Roger Donaldson on “The World’s

Fastest Indian,” starring Anthony Hopkins.

JONATHON KOMACK MARTIN (Executive Producer) is Ryan Reynolds’

producing partner at their company DarkFire Films, with a first-look TV deal at

Universal Cable Productions. In addition to their feature slate, the company focuses on

developing both half-hour comedies and one-hour dramas, for cable outlets and

broadcast networks.

Martin served as executive producer on “R.I.P.D.,” starring Reynolds and Jeff

Bridges, and “The Change-Up,” starring Reynolds and Jason Bateman. Martin’s

previous producing credits include “National Lampoon’s Van Wilder,” “Held Up,” and

the long-running “George Lopez” television series.

ADITYA SOOD (Executive Producer) is the President of Simon Kinberg’s

production company, Genre Films, which they started together in 2010. Genre Films has

a first look deal at 20th Century Fox. Sood was a producer on Fox’s critically acclaimed

and award-winning blockbuster “The Martian,” directed by Ridley Scott, starring Matt

Damon.

Before that he was executive producer on the successful action-comedy Let’s Be

Cops.

Prior to working at Genre, Sood ran Walter Parkes and Laurie MacDonald’s

production company at DreamWorks and was Vice President, Production at Warner Bros.

Pictures. He started his career at New Line Cinema and DreamWorks, and later was a

story editor for producer Mark Johnson. A Seattle native, Sood is a graduate of Pomona

College and lives in Los Angeles, California with his wife, Becky Chassin.

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KEN SENG (Director of Photography) captured international attention with his

groundbreaking large-set choreographed 3D action sequences in “Step Up 3D.”

His other feature work includes the comedy “Project X,” the slick thriller

“Obsessed,” starring Beyoncé, and the horror film “Quarantine.”

Frequently lending his hand to large scale commercial campaigns, Seng crafted

the beautiful images in the most recent Canadian Budweiser campaign, directed by

Oscar-nominated Henry Alex Rubin.

SEAN HAWORTH (Production Designer) was the production designer on the

hit film “Goosebumps,” the science fiction thriller “Ender’s Game” and the horror film

“The Thing” (2011).

As an art director, Haworth won an Art Directors Guild Award (shared) for his

work on “Avatar,” and was nominated for his work on “Tron: Legacy” and “Charlie and

the Chocolate Factory.” His other notable credits as art director include “Thor,”

“Mission: Impossible III” and “Transformers.”

JULIAN CLARKE, ACE (Film Editor) collaborated with director Neill

Blomkamp on several projects including “District 9,” “Elysium” and “Chappie.” For his

work on “District 9,” Clarke was nominated for an Oscar for Best Achievement in Film

Editing, an American Cinema Editors (ACE) Eddie Award for Best Edited Film Feature

(Dramatic) and a BAFTA Film Award for Best Editing.

Clarke’s other work includes “Project Almanac” for Paramount Pictures, and

“The Thing” for Universal Pictures.

TOM HOLKENBORG (Composer), aka Junkie XL, is a Grammy-nominated,

multi-platinum producer and composer. A multi-instrumentalist who plays keyboards,

guitar, drums, violin, and bass, he also possesses a mastery of studio technology.

Now focusing on film composition, Holkenborg recently created the score for

director Scott Cooper’s drama “Black Mass,” George Miller’s blockbuster “Mad Max:

Fury Road” and Ericson Core’s “Point Break.” He is also scoring a wide range of

upcoming films, including the crime comedy “Kill Your Friends,” and Zack Snyder’s

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much-anticipated action adventure “Batman v Superman: Dawn of Justice.” His recent

film credits also include Jaume Collet-Serra’s “Run All Night,” Robert Luketic’s

“Paranoia,” Neil Burger’s “Divergent,” and Noam Murro’s “300: Rise of an Empire.”

The foundation for Holkenborg’s new career path was laid in his native Holland,

where he created multiple film scores. He later continued to grow under mentorships

with renowned composers like Harry Gregson-Williams, on the films “Domino” and

“Kingdom of Heaven,” and Klaus Badelt on “Catwoman.” From there, Holkenborg

formed a successful association with composer Hans Zimmer, with whom he worked on

Zack Snyder’s “Man of Steel”; Christopher Nolan’s “The Dark Knight Rises” and

“Inception”; and the animated “Madagascar” films and “Megamind.”

Earlier in his composing career, Holkenborg also provided music for such films as

“Bandslam,” “DOA: Dead or Alive,” “The Chronicles of Riddick: Dark Fury,” “The

Animatrix” and “Resident Evil.”

Holkenborg’s career as an artist began in 1993 when he started the industrial rock

band NERVE, while also producing hardcore and metal bands like Sepultura and Fear

Factory. Drawn by electronic breakbeats, he started Junkie XL in 1997, debuting with

the album Saturday Teenage Kick. Holkenborg went on to produce five more albums

under the Junkie XL moniker while playing headline shows all over the world. In 2002,

the producer-remixer scored a number one hit in 24 countries with his rework of Elvis

Presley’s “A Little Less Conversation.” Following that success, Holkenborg collaborated

with celebrated artists like Dave Gahan, Robert Smith and Chuck D, and remixed such

artists as Coldplay, Depeche Mode, Britney Spears and Justin Timberlake, among many

others. In addition, Holkenborg created the music for videogames, including “Need for

Speed,” “The Sims” and “SSX,” as well as commercials for global campaigns for Nike,

Heineken, Adidas, Cadillac and VISA.

JOHN HOULIHAN (Music Supervisor) since working on the acclaimed music

film “Mr. Holland’s Opus”, has has helped shape more than 70 feature films, numerous

television series and dozens of popular soundtrack albums.

Most recently he worked on the Antoine Fuqua directed drama “Southpaw,”

starring Jake Gyllenhaal, Forrest Whitaker and Rachel McAdams.

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Houlihan’s numerous credits include “Training Day” which earned a Best Actor

Academy Award for Denzel Washington, all three “Austin Powers” films, and both of the

“Charlie’s Angels” films. Recent releases include “Looper,” “Don Jon,” “Let’s Be

Cops,” the animated film The Book of Life” and the Keanu Reeves thriller “John Wick.”

Documentary project highlights are Oscar-winning director Davis Guggenheim’s

“From the Sky Down” and Davis’ acclaimed public education exploration “Waiting For

‘Superman.” Houlihan was co-producer and music supervisor for the entertainment

industry documentary film “Supermensch: The Legend Of Shep Gordon,” which marks

the directing debut of Mike Myers. Houlihan also worked on several films that were part

the 2008 and 2012 presidential campaigns for President Barack Obama.