Production Notes

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THE AGE OF ADALINE

Having miraculously remained 29 years old for almost eight decades, Adaline Bowman (Blake

Lively) has lived a solitary existence, never allowing herself to get close to anyone who might reveal her

secret. But a chance encounter with charismatic philanthropist Ellis Jones (Michiel Huisman) reignites her

passion for life and romance. When a weekend with his parents (Harrison Ford and Kathy Baker)

threatens to expose the truth, Adaline makes a decision that will change her life forever.

The Age of Adaline stars Blake Lively (Gossip Girl, The Town), Michiel Huisman (Wild, Game of

Thrones), Kathy Baker (Saving Mr. Banks, Edward Scissorhands), with Harrison Ford (Ender’s Game, Star

Wars), and Ellen Burstyn (Interstellar, Requiem for a Dream).

The film is directed by Lee Toland Krieger (Celeste and Jesse Forever, The Vicious Kind) from a

screenplay by J. Mills Goodloe (The Best of Me, Pride) & Salvador Paskowitz (Nic and Tristan Go Mega

Dega) and J. Mills Goodloe; story by J. Mills Goodloe & Salvador Paskowitz. Producers are Sidney Kimmel

(Moneyball, The Place Beyond the Pines), Tom Rosenberg (Million Dollar Baby, The Lincoln Lawyer), and

Gary Lucchesi (Million Dollar Baby, The Lincoln Lawyer). Executive Producers are Andre Lamal (The Ugly

Truth, Wicker Park), Eric Reid (Crank, The Ugly Truth), David Kern (The Lincoln Lawyer, Underworld:

Awakening), Richard Wright, Jim Tauber (The Place Beyond the Pines, Death at a Funeral), Bruce Toll,

Steve Golin, and Alix Madigan. Director of Photography is David Lanzenberg (The Signal, Celeste and

Jesse Forever). Production Designer is Claude Paré (Night at the Museum, The Aviator). Editor is Melissa

Kent (The Virgin Suicides, The Vow). Costume Designer is Angus Strathie (Moulin Rouge, Tooth Fairy).

Music by Rob Simonson. Music Supervisors Brian McNelis and Eric Craig. Casting by Tricia Wood, CSA and

Deborah Aquila, CSA.

ABOUT THE PRODUCTION

“Tell me something I can hold onto forever and never let go.” - Adaline

Born near the turn of the 20th century, Adaline Bowman never dreamed she would live to see

the beginning of the 21st, until one seemingly magical moment saves her from death and grants her

eternal youth. At the age of 29, Adaline stops aging and experiences life as no human being has

before.

This remarkable twist of fate sets her on an unparalleled journey that spans for decades. She

has experienced life and love through global transformations of two World Wars and the freewheeling

1960s to the conveniences of present day. Carefully concealing her secret from everyone but her

aging daughter, Adaline manages momentous changes with grace, until a past relationship collides

with a modern-day chance for love and threatens to expose her extraordinary history.

Actress Blake Lively, who plays Adaline Bowman, knew she had found an enchanting adventure

and timeless love story the first time she read the script. "I couldn't put it down," she says. "It read like a

beautiful novel. The story is romantic, poetic and unique."

The actress was also excited to find an original story told from a woman's point of view. The idea

of a woman who experiences so much, so deeply, during one of the most diverse centuries in human

history intrigued Lively. "Her life spans a hundred years, it crosses many different eras," the actress says.

"Over that time, Adaline goes through love, loss, pain and joy." Producers Tom Rosenberg and

Gary Lucchesi of Lakeshore Entertainment recognized the screenplay’s potential immediately. “Everything

about this script appealed to me,” says Rosenberg. “It is a true romance, which you don’t see very often.

The film is about love, why it’s valuable to age and why it’s essential to die. Without that, life loses its

meaning.”

Although it starts with a fantastical premise, The Age of Adaline quickly gives way to an artful

and astutely observed trip through time. “It falls into the category of magical realism,” says Lucchesi.

“There is a lot to be said for an original story well told. Tom and I thought this was absolutely fantastic.

At this point in our lives as filmmakers, when we see something that is unique and original, we respond

to it.”

A large part of the films unique point of view is in its nuanced portrayal of love in all its forms,

says Lively. "There are different kinds of love stories within the movie," she continues. "There's the

modern and apparent male-female story. There's a more complex love story that rests in Adaline's past

and is brought to life again in her present. There's also a deeply touching story of love between mother

and daughter. Adaline's life of love is such a beautiful journey."

Even though the story has elements of fantasy, it is told in a simple, human fashion - which was

another attraction for the actress. “It’s very much a character piece,” she says. “It is quite dramatic. We

address some pretty heavy ideas and really reach for the heart.”

The film’s director, Lee Toland Krieger, made a splash in Hollywood with his previous features,

The Vicious Kind and Celeste and Jesse Forever. Krieger had read the screenplay for the first time a few

years earlier and it stayed with him. “The essential theme of the film was so attractive,” he says. “It is

the story of a woman who has been rendered ageless by an accident. The only person who knows her

secret is her daughter, who is now in her 80s. A meeting with a young man unlike any other man she’s

ever met slowly pulls her out of her hermit-like existence.”

“I had never read anything that focused on the beauty of growing old,” he continues. The world

we live in is so consumed with youth and vanity. I thought this was a very touching idea.”

Krieger won the producers over with a fully realized vision for the film he wanted to make. “I

could tell he was a real artist,” says Rosenberg. “The more I got to know him, the more I saw that he is a

gentleman as well. His preparation was astounding.”

“I had watched his two movies and was very impressed,” adds Lucchesi. “We talked through

the script and his ideas and we were more impressed. There is nothing more exciting for me than

meeting somebody I don’t know and thinking, this guy could be really special.”

The director was so interested in taking the helm of this modern fairy tale that he prepared a

seven-minute “mood reel,” a compilation of video clips and images to illustrate his ideas for presenting

the story visually. “My two other movies did not have period elements or special effects, while this has

both,” he explains. “The mood reel touched on how I wanted to approach all the visual aspects of the

film, and how the theme would be expressed through the alchemy of the film’s aesthetics.”

Krieger shared the “mood reel” with the filmmakers, “It assured us that he had the sensitivity

and the artistry we needed,” says Lucchesi. “He reminds me of Sam Mendes or Anthony Minghella.

There’s a painterly quality to his movies. He loved the material and felt very confident he could pull it

off.”

It also convinced Lively that he was the right director. “It was so powerful,” says Lively. “I

wanted to jump in and live in that that world. His vision was unique, emotional and provoking. His

passion for this project carried all of us throughout.”

Although the film visits many time periods, the story is squarely focused in the present. “It’s not

a procedural where in the ’20s, this happened and in the ’30s that happened and so on,” says Lucchesi.

“It’s a big-idea movie about what it might feel like not to age. Adaline is at an ideal age for her entire life.

You would think that that would be the greatest thing in the world—to look the best you will ever look, to

be intelligent and fully formed and never age a day. But as Adaline sees her own child mature and grow

older, she begins to wish she could have taken that journey as well.”

Lively says the film is unlike any she's ever seen in its exploration of that idea. "It's about love

and loss and what they mean if you were able to live forever," she says. "Is that a gift or is it a curse?

I walked away from Adaline's story thinking that life happens exactly the way it's supposed to. To live

life surrounded by the people you love, to come and go with them, that feels like the perfect order to

me."

THE CAST OF ADALINE

The role of Adaline Bowman required the kind of presence that few young actresses have

today, says Krieger, a combination of understated elegance, a thoroughly modern sense of style and

the wisdom that comes from a life lived fully. “It was critical that whoever played Adaline looked like

she was in her 20s, but could carry herself with a century of experience,” says the director.

Acting in film and television since she was eight, Lively starred in the wildly popular television

series Gossip Girl and appeared in high-profile movies including The Town and Savages. Her

uncommon grace and self-possession add to the image of a woman who has lived an extraordinary

life, according to Rosenberg. “We needed somebody absolutely modern who was also a little bit of a

throwback to other eras. There aren’t many people who have that as well as the acting ability to pull

off this role, but going back in time with Blake feels seamless.”

“All of us were excited to see what Blake could do in a leading role,” says Krieger. “Even at 27

years old, she’s very sophisticated and carries herself with a kind of poise that few women her age do.”

The actress admits it was a challenging role, but an extremely rewarding one that allowed her to

delve more deeply into a character than she ever has before. “I had to play so many women within one.

Adaline lives through such different time periods, but she can’t be a fractured woman. She is smart

enough to evolve and change with the times, yet she is always the same person.”

To find the right speaking style for each period in her life, Lively worked with renowned dialect

coach Elizabeth Himelstein, who has worked with Oscar®-winning actors Frances McDormand (on Fargo),

Kathy Bates (Delores Claiborne), Nicole Kidman (Cold Mountain) and Forest Whitaker (Lee Daniels’ The

Butler), among many others. “Liz Himelstein is amazing,” says Lively. “She really helped me tune in on

the different vocal quirks of each era.”

For decades, Adaline has lived with her head down for fear that her eternal youth will attract the

wrong type of attention. “She has a quiet life,” Lively says. “She works in a library. She lives in an

apartment in Chinatown in San Francisco. Every 10 years, she moves on to a new city and cycles back

again decades later. She is always changing who she is – her name, appearance, job, identity. In order to

have that anonymity, she never allows herself to become too close to anyone.”

Her life begins to open up after a chance meeting with Ellis, a dynamic young entrepreneur,

played by Michiel Huisman, who sweeps her off her feet. “To watch this terribly private, reserved woman

collide with somebody as full of energy as Ellis…it’s magic,” Lively says. “Ellis is always in a good mood,

bouncing around the room. Adaline is very much a recluse. He has to be able to break through her

defenses.”

Huisman, who is Dutch, has seen his career burgeon in the last few years, taking on roles in the

television series Treme, Nashville, Orphan Black and Game of Thrones, as well as playing opposite Reese

Witherspoon in Wild.

“We were looking for somebody who could match Blake—she’s formidable,” Rosenberg says.

“Michiel is somebody you can imagine Adaline really falling for. It takes somebody with a tremendous

presence to carry that off and he’s got that.”

Krieger also wanted to make sure that the character—a good-looking tech millionaire—didn’t

come off as a smug, nouveau-riche hustler. “Michiel brought a genuine sense of humility to the part that

was crucial,” says Krieger. “It is inherent in who he is. The guy is six-foot-two, insanely handsome and he

couldn’t be sweeter or more self-effacing. The character of Ellis doesn’t take himself too seriously. You

can imagine him as a gawky kid who struck it rich almost by accident and is just now beginning to come

into his own.”

The love story between Adaline and Ellis was irresistible for Huisman, and he found the unusual

premise attractive. “It deals with our fascination with the possibility of eternal life in a very original,

down-to-earth way,” the actor notes. “When I read the script, I loved the idea of flying through time with

Adaline and I hope that’s something that the audience will enjoy as well.”

A wealthy and successful businessman, Ellis has decided to devote his life and considerable

fortune to making positive changes in the world around him. “Lee and I were on the same page when it

came to Ellis,” says Huisman. “He is a guy with emotional depth and an old soul. That is one of the

reasons he and Adaline connect. She contains the wisdom of her hundred-plus years in the body of

young woman. He’s 30-something but he has an old sensibility. He commits himself fully to what he cares

about, but he never takes himself too seriously.”

Working with Lively, along with Harrison Ford, Ellen Burstyn and Kathy Baker, kept him on his

toes creatively, says Huisman. “I feel so fortunate to have the opportunity to work with this amazing cast.

Blake gives a lot, her timeless beauty works very well for Adaline but apart from that, she’s a great

actress and she nails the role.”

Harrison Ford plays Ellis’s father, William, a college professor. “Harrison Ford was the first and

only choice to play William as far as I was concerned,” says Krieger. “We needed someone who brought

real intelligence to the role and was clearly a heartthrob in his day. Harrison has always been great

playing an academic, be he also captures the ethereal side of William.”

Lively admits she was a little nervous to meet the Oscar®-nominated actor she says. “Maybe I

should not have watched the Indiana Jones trilogy before shooting. He is a brilliant actor, and true

personal hero.”

The script’s whimsical premise paired with its down-to-earth approach to Adaline’s miraculous life

caught the actor’s fancy. “This is very different from anything I’ve done before,” says Ford. “It’s one of

those movies that is about being transported into a fantasy, but played very realistically. It’s a very clever

construction. It was a delight to work on an ambitious movie that has a magical thinking to it. The

audience is taken to an extraordinary world, but not the world of high-tech science fiction. It has roots in

everyday life plus just enough magic to excite your imagination and open your heart.”

The film’s leading lady made a lasting impression on the Star Wars star, “She works very hard at

what she is doing and is terrific in the part,” says Ford. “As an actor, she’s fully prepared, she’s

inventive, she’s patient and she’s very generous with the other actors.”

Ford’s character is celebrating his 40th wedding anniversary when his son brings home a girl who

looks, sounds and acts exactly like a woman he was in love with 45 years earlier. “William is a scientist,”

says the actor. “He knows there’s no realistic way this can happen. His wife, played by Kathy Baker,

thinks he’s pining for this long-ago romance.”

Ford has special praise for Baker, whose work he says he has admired for many years. “As a

couple with 40 years of marriage behind them, they had to have a bond and a familiarity and a history,”

he says. “Kathy was terrific in helping make that part of the story come alive.”

Baker shared Ford’s sentiment, “The Age of Adaline was a dream job for me. I played Harrison

Ford's wife of 40 years, and because he is the generous and legendary actor that he is, we were able to

find the necessary nuances in our characters' relationship from our first day of work. Harrison is fun and

funny and smart and professional and witty and wise, and I was very lucky to have the opportunity to

work with him. The film is beautiful to look at and is full of romance and magic; I am looking forward to

sharing it with our audiences."

Until Adaline meets Ellis, the only long-term relationship she has allowed herself is with her

daughter Flemming. Flemming is now in her eighties, creating a poignant juxtaposition between the

ageless mother and a daughter nearing the end of her life.

"What Adaline finds with Ellis is very powerful," says Lively. "But the most powerful thing of all is

the love that she has with her daughter, Flemming. I believe that Adaline chooses to let Ellis into her life

because she's about to lose the greatest love of all – her daughter. That's very painful. Adaline's instinct -

because of her daughter's old age – is to withdraw even further from love, but Flemming tells her it's

better to have love and lose than to have not loved at all."

Academy Award®-winner Ellen Burstyn plays Flemming. “Ellen Burstyn is one of the finest actors

to have ever graced the screen,” says Krieger. “Working with an actress of her pedigree was such a

privilege. She brought such gravitas to the role of Flemming. As the only character that knows Adaline’s

secret, there was this subtle undercurrent of sadness within her. Ellen was masterful in letting those

veiled elements simmer just below the surface in many scenes.”

Burstyn’s first appearance in the film sets the stage for the pair’s unusual relationship. “Flemming

greets Adaline at a restaurant and says, ‘hi, Mama, happy birthday,’” Burstyn says. “That’s quite a

moment for the audience to witness. It was fun to imagine having a mother younger than myself. Once I

got into believing in the fiction, I found myself acting like a teenager. It wasn’t intentional, but Blake has

a kindliness that is very maternal, and we developed that in the moment.

“Blake is a lovely actress,” continues Burstyn. “She has a certain quality that speaks of a kind of

depth. She’s not a superficial girl and you can see that in her performance. It helps the movie that she

doesn’t have a look that is associated with one particular period. She can easily fit in from early 1900s

through today. Although she doesn’t age physically, the character does live many years and takes on

some wisdom.”

Burstyn considers the idea of never growing old to be interesting, but perhaps not for her. “I’m

sure a lot of people have considered the possibility of what it would be like to stay at the age where you

looked and felt your best. In this story, it turns out that it’s not quite as appealing an idea as it would

seem at first. The audience will enjoy imagining what it would be like to live forever, and come away

from it feeling that it’s not necessary. One lifetime really is enough.”

Rounding out the cast is up-and-coming Canadian actress Amanda Crew, whose previous roles

include Charlie St. Cloud (opposite Zac Efron) and the Emmy®-winning HBO series Silicon Valley. As Ellis’s

sister Kikki, Crew joins the family as they gather to celebrate her parents’ anniversary and meet Adaline,

her brother’s new love. “The script is so unique and goes beyond the timeless romance story we have

already seen. Adaline’s love story is infused with magical elements. As a result of these circumstances in

her life, we get to see how Adaline faces the nuances of this seemingly fantastical notion of ‘living

forever,’” says Crew. “And Lee had this beautiful vision for the story that is as visually stunning as it is

written.”

THE FASHIONS OF ADALINE

The Age of Adaline meticulously moves through the 20th century, recreating visual

highlights from each decade with researched images and objects, including fashions that evoke past

and present in equal measure. From sumptuous formal gowns to everyday work clothes, everything

Adaline wears was carefully selected and designed by costume designer Academy Award®-winner

Angus Strathie and his team with an eye toward both fashion and storytelling.

In Krieger’s eyes, Strathie may have had the toughest job on the movie. “He created 50-some

looks for Blake,” says the director. “We weren’t a small indie but for our budget there was a lot to do.

Beyond the principle cast, he had to make sure we had authentic wardrobe for every background

performer in the film. He was tireless in getting every details of ever era correct – even on the days we

had fifty or sixty extras in period wardrobe.”

The Age of Adaline is an epic piece for a designer, acknowledges Strathie. “It has a long and

complex storyline with many characters. The story takes place over almost a century. I was asked to

define each of those periods, as well as the moods and emotions of this character through that time.”

Working closely with Lively and Krieger, Strathie developed a concept that kept Adaline

connected to her past, but anchored in the present. To do that, they dressed her in timeless pieces that

reflect the sensibility she has cultivated for over a century. “We wanted a retro feel to all her clothes to

emphasize that Adaline is an old soul,” says Strathie. “She appears contemporary, young and lovely, but

she has the essence of someone who has been here for a hundred years. She hasn’t stopped buying

clothes. When she does, she picks things with an eye toward the clothes she grew up with. She always

looks smart, but not flashy.”

To create a character that was beautiful and ageless, but had been around for 100-plus years,

Krieger used his grandmother as an inspiration. “All of her wardrobe is contemporary, but still has a

touch of ’40s, because that’s when she was coming of age. That’s her touchstone for what’s en vogue.

“It ended up being an effective way of communicating something essential about Adaline,” he adds. “A

woman of her generation would want to look elegant and put together, but she would never look like a

garish woman trying to attract attention. A woman who was born in 1908 wouldn’t do that.”

From jewelry to handbags to coats, Strathie ran with the idea that Adaline had a closet full of

clothing that she had acquired during her long lifetime. “Incorporating those vintage pieces into her

contemporary look gives her an individual style,” he says. “For a date with Ellis, she starts with a jacket

from the 1920s—a Bohemian, very individual piece. She wears it with a sweater from the 1960s and a

contemporary skirt. Her shoes are from the ’50s or ’30s and the handbag was ’40s. Mixing styles became

Adaline’s personal look. She draws from all of her time on earth and she gets a sense of security from her

wardrobe.”

One piece in particular shows up twice in the story, a black column dress that calls to mind a

formal gown from the 1940s. Adaline wears the dress on New Year’s Eve in both that decade and this

one. “We had to find a dress that was going to service two periods,” the designer explains. “One is very

identifiably the 1940s where we see her celebrating life and flirting with sailors. She has to look

gorgeous, but she also has to wear that dress again on New Year’s Eve 2014 and not look out of place.

We looked at authentic ’40s gowns, took the elements that best suited Blake and made a dress that is

slightly retro and nostalgic.”

Lively appreciated the juxtaposition of classic and contemporary fashions. “I liked the fact that

she’s dressed a little bit like an old lady,” she says. “She’s much more of a particular kind of conservative

than most young women in San Francisco.”

It was Lively’s idea to include a number of classic turtlenecks in Adaline’s wardrobe, says

Strathie. “And it was a good idea. It aged her in a good way by making her look a little conservative and

covered up.”

Adaline’s wardrobe is also a way of showing the passage of time. “The hemlines and the shapes

tell a story that starts in the Edwardian era,” says Lively. “As women’s roles in society change from 1908

to now, you really get to see the social changes in her clothing, her hair and her mak-eup. Because of

that, Adaline has an incredible and incredibly informative wardrobe. I can't imagine her going to a local

mall to shop when she has the pieces she does. I was so honored to be able to work with such a brilliant

mind to tell her story through costumes, Angus. The costumes he created for Moulin Rouge along with

Catherine Martin are my favorite costumes I've ever seen in a film."

A woman known for her fashion, Lively had an image of Adaline’s wardrobe in her head even

before she was cast in the film. "I schemed my way into the film, I think," the actress says. "For my

meeting with Tom Rosenberg I picked a dress that I thought was very Adaline-like. It reminded me of a

dress my mom had; dusty blue with delicate, faded white polka dots. I felt like Adaline when I put it on.

Tom told me later, 'when you walked in, I said, that's Adaline.' My scheme worked!"

The actress was as intimately involved with selecting the production wardrobe for her character,

says Lucchesi. “We went with a look that is very much of today, but reflects the past. She brought a lot

to the movie in terms of her taste level.”

Lively is the current face of the Gucci fashion house, and the company provided recent designs

that are reminiscent of the '40s, '50s, and ‘60s, as well as a custom gown for Lively to wear in a critical

scene, and they co-designed - alongside costume designer Angus Strathie - the gown she wears at the

New Year’s ball. "A great deal of what I wear is Gucci," she says. "They have been such a great supporter

of the film. My favorite piece is probably the final custom dress. I'm a magpie, so when I see sparkles

...that does it. It's a golden gown with distinct black beaded embellishments. It showcases a very

different from the Adaline you meet in the beginning with the thick, woolly turtlenecks and the grandma

shoes. The shift in dress helped to tell her story. The significance of the piece made it that much more

beautiful."

Hair and make-up completed the transformation that wardrobe began. "Those elements contain

so much information," Lively says. "Adaline is always drawing from that which she's learned from the

past, but trying to present it in a contemporary way as to not stand out. Our hair and make-up team,

Monica Huppert and Anne Carroll, created such elegantly defined looks. They pulled images from tons of

books and stuck with the colors, shapes, styles, and techniques unique to each era. At a certain point in

time, there were only four foundation colors and seven lipstick colors. They searched for those products

and would then build around those. Their designs were born in authenticity which helped to visually

convey Adaline's vast history."

“Creating an authentic look can be as simple as changing the shape of the lip or the way an eye

is shadowed,” Lively says. "I felt like a different person every time I was in a new hair or makeup style.

Monica and Anne's detailed work made it much easier for me to step into each time period."

The women behind the design of a century’s worth of elegant and understated looks, head make-

up artist Monica Huppert and head hair stylist Anne Carroll have worked on films as diverse as zombie

romance Warm Bodies, super hero epic X-Men: The Last Stand and high-intensity action film Mission:

Impossible – Ghost Protocol, but they had never faced a challenge quite like this. To create the series of

polished and period-perfect looks that help establish Adaline’s journey through the ages they took

inspiration from vintage magazines, old books and photographs, as well as classic movies.

“We tried to offer a look that spoke to the everyday woman of each decade,” says Carroll.

“There aren’t any fancy movie-star hairstyles. Adaline lives as normal a life as she can, always trying to

blend in to the aspects of daily life around her.”

From a fashionable 1920s bob at her wedding to a casual fishtail braid in the contemporary

scenes, Adaline is always coifed in a style that captures the era without calling attention to itself. “We

had a wonderful time finding the character of Adaline with Blake while testing the hairstyles from all the

periods,” Carroll says. “My personal favorites were Adaline’s New Year’s Eve looks in both the 1940s and

the present day. They are both long and styled in waves, but they are completely distinct from one

another. In the 1940s, her hair is almost sculpturally styled, while in the present day, it’s loose and

flowing over one shoulder.”

Huppert says putting together the right look for a character is always a collaborative process

between hair and make-up and the costume designer. In this case, the star was more than happy to

work closely with the team. “The beauty of working with Blake is that she isn’t afraid to try things,” says

Huppert. “If anything, she pushed me to take things further. She always wanted make things right for

the character.”

Lively wanted Adaline to have a hint of the old-fashioned about her, which Huppert agreed was

right on the money. “It had to be more than just playing dress-up in different eras,” she says. “We had to

make her a real person, so whatever year she is in, she still possesses the grace and elegance a well-

bred woman born at the turn of the century would have. The changes we make through the years are

very subtle.

We used some icons of the various eras as general reference,” she continues. “But movie stars

then and now have make-up artists and wardrobe stylists on call. Adaline isn’t Hollywood-style

glamorous, so we had to do a lot more research to create an authentic and sophisticated, but down-to-

earth image for her.

A self-described “make-up nerd,” Huppert collects authentic period cosmetics and drew on her

vintage stash for additional inspiration, keeping many items in the make-up trailer for reference. “That

came in especially handy for matching authentic period colors to modern products,” she says. “The

intensity of the colors used way back when is rarely found in today’s products. To keep Adaline’s personal

style consistent, I used the same color palette throughout but I wanted just the right shades and tones

for whatever year we were shooting in. For example, for Adaline’s 1945 look, I added a bit of ruby-

colored lipstick on her cheeks to get the right feeling.”

She particularly loves Adaline’s 1929 make-up and hair. “The 1920s had a pretty yummy look,”

Huppert notes. “Rounded, slightly sad-looking brows were in fashion, as well as crimson cupid-bow lips.

It really changes Blake’s appearance completely. The images are treated to remind you of black and

white or sepia-toned photography, which meant I could really push the make-up as they did on the

gorgeous icons of the time, like Clara Bow and Louise Brooks. Foundations back then were mostly

powder and had a limited color range, so Blake’s skin tone is totally different in those scenes. Usually you

work so hard to match the natural skin, so it was fun to purposely make someone the wrong color.”

The sheer number of different looks needed was overwhelming initially, Huppert admits. “We

spent an entire week doing tests with Blake in full hair and make-up, so when we started filming,

everything was mapped out. The shooting schedule was tight and some days she would need to change

her look several times, so we really had to be ready.”

VISUALIZING ADALINE

The objective in all of the film’s design elements is to reflect the changes in Adaline as time goes

by. “As her perspective on life evolves a bit, the look gets a bit warmer and brighter,” says Krieger. “Her

apartment in San Francisco in the beginning of the film is relatively cold and shot in a somewhat clinical

matter. By the time we come to midpoint of the film, it becomes warmer and a bit looser.”

Krieger brought in cinematographer David Lanzenberg, with whom he has worked exclusively for

the past seven years, to help create the film’s signature visuals. A former fashion photographer,

Lanzenberg balanced highly developed technical skill with an eye for beauty.

The director chose to eschew handheld camerawork in favor of a smoother shooting style to give

the film an ageless look and provide a unifying factor through the film’s many flashbacks to earlier time

periods. “I told David I wanted to shoot in a very classical manner,” he says. “We decided to shoot with

anamorphic lenses because they knock down your depth of field, which allowed me to soften some of

the hard edges that you get when shooting digitally. There’s a lot more dolly work than I’ve done in the

past, but very little Steadicam as Steadicam felt incongruous with the vignettes from the 30s, 40s and

50s. We tried to be very graceful and elegant all the way through to make sure that the period vignettes

made a seamless transition into the rest of the movie.”

Krieger researched his subject matter exhaustively and came to set with detailed notes on how

he was going to film. “He knew exactly what shots he wanted to have,” says Lucchesi. “He even wore an

armband, like some NFL quarterbacks wear, that have all the plays. Lee had his shot list on it every day.”

The enormous visual and historical scope of the film required a great deal of research, according

to production designer Claude Paré. “Luckily, when we sat down together, Lee and I were in synch about

the visual references. For example, we both wanted a warmer palette once Adaline meets Ellis in the

story. We treated each of the period vignettes in post to make them authentic to the era. We even

considered the correct camera speed for the various periods.”

“Each of the period vignettes has a unique feeling,” says Krieger. “For example, for the ’50s

scenes, we wanted that classic Technicolor three-strip process look – prime colors with loss of saturation.

We use films like Gentlemen Prefer Blondes and How to Marry a Millionaire as inspiration.”

Paré understood right away that Adaline’s apartment documented her life story, says Krieger. “It

needed to look as if someone had collected these pieces over a century. At the same time, she had been

on the run, so her home is spare enough that she can pick up and take off quickly. I loved the way he

was able to make things look beautiful but lived in.”

Every object in every scene was extensively documented, according to Paré. “We wanted to

make all the period pieces exquisite, like little diamonds. They all have their individual texture.”

Although many of the historical references are subtle, a great deal of attention was paid to

getting them right. The costumes, the cars, and even the typefaces on the newspapers were carefully

researched to make sure they were absolutely accurate to the period.

The producers believe that the meticulous preparation, epic yet intimate scope and impressive

performances make The Age of Adaline a movie like no other. “I think that we are in a time in film

where originality counts,” says Lucchesi. “I don’t think anyone is going to come to our film and say, well,

I’ve seen this before. Audiences are hungry for good stories, especially if they pack the kinds of surprises

this does. Our director has a unique point of view and he’s created a visually stunning movie. Blake Lively

gives the performance of her lifetime. She and Michiel are perfect together. Harrison Ford plays a role

that’s more vulnerable and human than he’s done before. I hope audiences watch this movie and, say,

‘God, that’s a really good movie.’”

ABOUT THE CAST

BLAKE LIVELY [Adaline Bowman] has garnered critical acclaim for her feature film

performances.

Lively made her film debut in 2005 as Bridget in the Warner Bros. hit The Sisterhood of the

Traveling Pants. In 2008 she reprised her role in the film’s sequel, The Sisterhood of the Traveling Pants

2. Lively also appeared opposite Ryan Reynolds in Warner Bros.’ Green Lantern, as well as opposite Ben

Affleck, Jeremy Renner and Jon Hamm in The Town, which led to her winning the 2011 CinemaCon

“Breakthrough Performer of the Year” award.

Lively’s other film credits include Oliver Stone’s Savages, the indie drama Hick, Rebecca Miller’s

The Private Lives of Pippa Lee, Universal’s Accepted, and the independent feature Elvis & Anabelle.

Lively is no stranger to television. She starred as Serena van der Woodsen on The CW’s hit

drama Gossip Girl from 2007 to 2012.

In 2014 Lively launched her editorial commerce website, Preserve. The site is dedicated to

celebrating American artisans and their exceptional, often handcrafted, goods.

Lively is currently the face of L’Oréal Paris and the Brand Ambassador for Gucci’s Premiere

fragrance. She previously served as the Official Ambassador to Chanel’s Mademoiselle handbag line in

2011.

As a talented actor on the rise, MICHIEL HUISMAN [Ellis Jones] brings dynamic characters to

life in a wide range of film and television roles, consistently elevating his body of work.

Huisman is currently in production on Paul Currie’s 2:22, co-starring opposite Teresa Palmer. In the

romantic thriller, Huisman portrays Dylan Branson, a man whose life is permanently derailed when an

ominous pattern of events repeats itself in exactly the same manner every day, ending at precisely 2:22

p.m. When he falls for Sarah (Palmer), a beautiful woman whose life is threatened by these strange

events, Dylan must solve the mystery of 2:22 to preserve a love whose second chance has finally

come. Currently in post-production is Janusz Kaminski’s American Dream, starring alongside Nick Stahl.

Following that, he begins lensing on Jason Zada’s The Forest, co-starring opposite Natalie

Dormer. The film is an elevated genre set in Japan’s Aokigahara forest where, according to legend,

people go to end their lives. Against this backdrop, a young American woman (Dormer) comes in search

of her twin sister, who has mysteriously disappeared. Despite everyone’s warnings not to stray from the

path, she dares to enter the forest to discover the truth about her sister’s fate. Huisman portrays a

charming traveler who accompanies the young woman into the forest, though she begins to suspect he

had something to do with her sister’s disappearance.

Upcoming, Huisman will be seen reprising his role in the fifth season of HBO’s popular fantasy

drama series Game of Thrones, where he stepped into the role of Daario Naharis, the leader of a band of

mercenaries and a love interest of Daenerys (Emilia Clarke).

In addition to Game of Thrones, Huisman can also be seen in BBC America’s breakout original

sci-fi series Orphan Black. Joining the cast in the recurring role of Cal Morrison, Huisman portrays a

rugged outdoorsman whose unexpected emotional depth and clear intuition help guide his life.

Previous film credits include Jean-Marc Valée’s Wild, an Academy Award®-nominated biopic

drama in which he co-stars opposite Reese Witherspoon; Marc Forster’s adaptation of Max Brooks’ best-

selling novel, World War Z, opposite Brad Pitt; Jean-Marc Valée’s The Young Victoria with Emily

Blunt; Otto Bathurst’s Margot for BBC Films, in which he played Rudolph Nureyev opposite Anne-Marie

Duff’s Dame Margot Fonteyn; and Alexis Dos Santos’ Unmade Beds. In the Netherlands, his film credits

include Paul Verhoeven’s Black Book.

Huisman’s television credits include HBO’s hit series, Treme, starring as Sonny, the street

musician with dreams of breaking into the New Orleans music scene; as well as ABC’s musical drama

series Nashville, in which he portrayed bad-boy country music producer, Liam McGuinnis, starring

opposite Connie Britton.

Huisman originates from the Netherlands and has been working there as an actor and musician

since his childhood, prior to his international career. He currently resides in New Orleans.

KATHY BAKER [Kathy Jones] has won three Emmy® Awards, a Golden Globe® Award, and

the Screen Actors Guild Award® for her work on the CBS television series Picket Fences. She also

received a 2003 Emmy® nomination for Outstanding Supporting Actress in the TNT feature Door To Door,

which garnered multiple Emmy® Awards and an AFI Creative Ensemble Award. Baker was also nominated

for back-to-back Emmys® for her guest performances on Touched by an Angel and Boston Public. Baker

will next be seen in Comedy Central’s series Big Time in Hollywood, FL, which premieres on March 25.

She also co-stars opposite the late Robin Williams in the upcoming feature Boulevard, directed by Dito

Montiel.

Baker made her film debut in The Right Stuff. Her other film credits include Saving Mr. Banks, Big

Miracle, All The King’s Men, Machine Gun Preacher, Cold Mountain, Nine Lives, 13 Going on 30, Fathers

and Sons, Assassination Tango, The Glass House, Last Chance Harvey, The Jane Austen Book Club,

Inventing the Abbotts, To Gillian on Her 37th Birthday, Mad Dog and Glory, Jennifer 8, Article 99, Edward

Scissorhands, Street Smart (National Society of Film Critics’ Best Supporting Actress Award), Clean and

Sober, Jacknife, Dad, The Cider House Rules (Screen Actors Guild Award® nomination for Outstanding

Performance by a Cast in a Theatrical Motion Picture), and Mister Frost.

On television, Baker co-starred in the hit Jesse Stone franchise for CBS starring Tom Selleck. Her

character was introduced in Jesse Stone: Sea Change; and continued in Jesse Stone: Thin Ice, Jesse

Stone: No Remorse, Jesse Stone: Innocents Lost; and Jesse Stone: Benefit of a Doubt. Her other

television credits include recurring roles on Medium, Grey’s Anatomy, Nip/Tuck, the TNT series Bull; the

Lifetime series Against the Wall, and guest-starring roles on Criminal Minds, Law & Order, and Saving

Grace, among others. Her TV movie credits include Return to Zero, starring Minnie Driver and Alfred

Molina, The Trials of Cate McCall, directed by Karen Moncrieff, and starring Kate Beckinsale, Picking Up,

Dropping Off, Spike Lee’s Showtime feature Sucker Free City, Sanctuary, Ten Tiny Love Stories, Things

You Can Tell Just By Looking At Her, Showtime’s Ratz, the CBS mini-series Shake, Rattle & Roll: An

American Love Story, Lush Life, Not in This Town, the Hallmark Hall of Fame movie A Season For

Miracles, and The Image, as well as HBO’s Too Big To Fail, directed by Curtis Hanson.

A veteran of the stage, Baker originated the role of ‘May’ in Sam Shepard’s Fool for Love, and, at

the playwright’s request, took the part to New York along with co-star Ed Harris. The move resulted in a

prestigious Obie Award for Baker. During the following year, Baker continued to work on other successful

stage productions such as Desire Under the Elms and Aunt Dan and Lemon. She returned to the stage in

2006 in a South Coast Repertory production of the Tracy Letts play A Man From Nebraska, which was

directed by William Friedkin. Baker also starred in Memory House, directed by Claudia Weill. Baker

recently appeared at the Geffen Playhouse in The Gift, written by Joanna Murray-Smith and directed by

Maria Aitken, starring opposite Chris Mulkey, James Van Der Beek and Jaime Ray Newman.

A talented actress with scene-stealing performance on television and in film, AMANDA CREW

[Kikki Jones] continues to evolve her craft with each new role.

Crew is currently in production on the second season of HBO’s Emmy® and Golden Globe®

Award-nominated series Silicon Valley, which will return on April 12. Crew plays Monica, Peter Gregory’s

head of operations who handles the day-to-day duties of his tech-investment business, often fielding

pitches and working directly with tech folks to whom Peter has given money.

The actress recently completed production on the upcoming film Race, opposite Jason Sudeikis.

The film is based on the true-life story of track-and-field star Jesse Owens, who overcame adversity to

win four gold medals at the 1936 Berlin Olympic Games.

Last year, Crew appeared in Carl Bessai’s Bad City, written by and co-starring Aaron Brooks and

Dustin Milligan. This marked her second time working with Bessai, after previously starring in 2010’s The

Repeaters. In 2013 the actress appeared opposite Ashton Kutcher and J.K. Simmons in the biopic Jobs,

about Steve Jobs, founder and CEO of Apple.

In 2010 Crew starred opposite Zac Efron, Kim Basinger, and Dave Franco in the Universal feature

Charlie St. Cloud. Based on the novel by Ben Sherwood and directed by Burr Steers, the supernatural

drama centers on a cemetery caretaker (Efron) who after the untimely death of his younger brother,

meets and begins a romantic relationship with a young woman (Crew) who is training for a sailing trip

around the world.

Crew’s other film credits include The Identical, opposite Ashley Judd and Ray Liotta; Crazy Kind

of Love, co-starring Virginia Madsen and Zach Gilford; the supernatural thriller The Haunting in

Connecticut, opposite Virginia Madsen and Elias Koteas; and Bill Guttentag’s Knife Fight, co-starring Rob

Lowe and Julie Bowen. The actress’ first leading role was in the 2008 film, Sex Drive, where she played

spunky tomboy Felicia alongside Josh Zuckerman and Clark Duke.

Born and raised in Langley, British Columbia, Crew began her professional acting career in 2003

when she was cast as a series regular on the Canadian television series, 15/Love. In 2005 Crew landed

the female lead in the CTV hit series Whistler and soon after played supporting roles in the New Line film

Final Destination 3 and She’s The Man for DreamWorks. Crew won the 2007 Leo Award for Best Lead

Female in a Dramatic Series for her portrayal of Carrie Miller on Whistler.

In her spare time, Crew has a passion for photography and started a lifestyle blog, Granny Girls

along with her friend Amber Borycki. The site contains DIY crafting tutorials, gift ideas and features on

home décor, sewing, travel, recipes, cooking and more.

HARRISON FORD [William Jones] has starred in some of the most successful and acclaimed

films in cinema history, including the landmark Star Wars and Indiana Jones franchises and a total of

eight Best Picture Oscar®-nominated movies. Ford earned an Academy Award® nomination for his

compelling portrayal of Detective John Book in Peter Weir’s 1985 Best Picture nominee Witness, for which

he also received Golden Globe® and BAFTA Award nominations, all for Best Actor. Ford subsequently

garnered three more Best Actor Golden Globe® nominations: for his performances in Weir’s 1986 drama

The Mosquito Coast; the 1994 Oscar®-nominated blockbuster The Fugitive, for director Andrew Davis;

and Sydney Pollack’s 1996 remake of Sabrina.

Over the course of his career, Ford has been repeatedly honored for his contributions to the film

industry, including the Hollywood Foreign Press Association’s Cecil B. DeMille Award in 2002, and the

American Film Institute’s Lifetime Achievement Award in 2000. In 1994 the National Association of

Theater Owners named him the Box Office Star of the Century.

In December Ford will reprise his role as Han Solo in Star Wars Episode VII: The Force Awakens.

He most recently starred in Brian Helgeland’s acclaimed drama 42, the true story of legendary baseball

player Jackie Robinson, who broke baseball’s color line. Ford has received widespread praise for his

portrayal of Branch Rickey, the General Manager of the Brooklyn Dodgers who changed history when he

signed Robinson to the team.

A native of Chicago, Ford launched his film career in 1973 with the breakthrough role of hot-

rodder Bob Falfa in George Lucas’ seminal hit, American Graffiti. Four years later, he reunited with Lucas

to play the iconic role of Han Solo in Star Wars. The sci-fi epic earned 12 Oscar® nominations, including

Best Picture, and went on to become the top-grossing film in history, a record it held for 20 years. Ford

reprised the role of Han Solo in the sequels The Empire Strikes Back and The Return of the Jedi.

In 1981, Ford created another legendary screen character, Indiana Jones, in Steven Spielberg’s

Oscar®-nominated mega-hit Raiders of the Lost Ark. During the 1980s, he starred in the blockbuster

sequels Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade. In 2008 he

returned to the title role in the hugely successful Indiana Jones and the Kingdom of the Crystal Skull.

Ford’s many other film credits include Francis Ford Coppola’s Oscar®-nominated features The

Conversation and Apocalypse Now; Ridley Scott’s 1982 science-fiction classic Blade Runner; Mike Nichols’

Oscar®-nominated romantic-comedy Working Girl; the title role in the Nichols-directed drama Regarding

Henry; Alan J. Pakula’s Presumed Innocent; Philip Noyce’s Patriot Games and Clear and Present Danger,

both based on the Tom Clancy bestsellers; Wolfgang Petersen’s Air Force One; Robert Zemeckis’ What

Lies Beneath; Kathryn Bigelow’s K-19: The Widowmaker, which he also executive-produced; Roger

Michell’s Morning Glory; Jon Favreau’s Cowboys & Aliens; Robert Luketic’s Paranoia; and Gavin Hood’s

Ender’s Game.

ELLEN BURSTYN’S [Flemming] illustrious 58-year acting career encompasses film, stage and

television. In 1975 she became only the third woman in history to win both the Tony Award® and the

Academy Award® in the same year, for her work in Bernard Slade’s Same Time, Next Year on Broadway

and in Martin Scorsese’s Alice Doesn’t Live Here Anymore, for which she also received a Golden Globe®

nomination and a BAFTA for Best Actress. Burstyn has been nominated for an Academy Award® five

other times for The Last Picture Show (1972), The Exorcist (1974), Same Time, Next Year (1979),

Resurrection (1981), and Requiem for a Dream (2000). She became a “triple crown winner” when she

won her first Emmy® for a guest appearance in Law & Order: SVU (2009), to add to her Oscar® and

Tony®. She also won an Emmy® in 2013 for USA’s mini-series Political Animals. She has received Emmy®

nominations for her title role in The People vs. Jean Harris (1981), her starring role in Pack of Lies

(1987), a Hallmark Hall of Fame television production, HBO’S Big Love (2008), and Lifetime’s Flowers in

the Attic (2014), for which she also received a nomination in 2015 from the Screen Actors Guild®. She

also appeared in Lifetime’s Petals on the Wind (2014). Her most recent films include Draft Day (2014),

The Calling (2014) and Interstellar (2014).

Burstyn was the first woman elected president of Actors Equity Association (1982-85) and served

as the Artistic Director of the famed Actors Studio where she studied with the late Lee Strasberg. She

continues to be active there as co-president with Al Pacino and Harvey Keitel, and again as the Artistic

Director.

Academically, Burstyn holds four honorary doctorates, one in Fine Arts from the School of Visual

Arts, a Doctor of Humane Letters from Dowling College, a doctorate from The New School for Social

Research, and a doctorate from Pace University.

Burstyn lectures throughout the country on a wide range of topics and became a national best-

selling author with the publication of her memoir, Lessons in Becoming Myself (2006), published by

Riverhead Press.

ABOUT THE FILMMAKERS

LEE TOLAND KRIEGER [Director] is a 2005 graduate of the USC School of Cinema-Television.

Two months after graduating, he directed the one-hour TV drama The Wilton, which sold to the CW

Network after a bidding war.

In 2008 Krieger wrote and directed The Vicious Kind. His mentor through college, Neil LaBute,

executive-produced the film, which had its world premiere at the 2009 Sundance Film Festival. The

Vicious Kind went on to earn two Independent Spirit Award nominations, one for Best Actor (Adam Scott)

and another for Best Screenplay. The film also garnered Krieger the Emerging Filmmaker Award at the

32nd Denver Film Festival, and won best actor for Adam Scott at numerous festivals, including the

Strasbourg Film Festival.

Next, Krieger directed Celeste & Jesse Forever written by Rashida Jones and Will McCormack.

Starring Jones and Andy Samberg in the title roles, the film also featured Elijah Wood, Chris Pine, Emma

Roberts, Ari Graynor and Chris Messina. Produced by Jennifer and Suzanne Todd of Team Todd, Celeste

& Jesse Forever had its world premiere at the 2012 Sundance Film Festival where it was acquired by

Sony Pictures Classics. It was released theatrically in August 2012.

In 2013 Krieger wrote an original screenplay for Warner Brothers and Castle Rock Entertainment,

with Martin Brest attached to direct and Al Pacino attached to star.

Krieger has also worked as a television writer and director. In late 2012, he sold a half-hour

single-camera comedy to the FX Network with Will Ferrell and Adam McKay producing. He also directed a

half-hour single-camera comedy for MTV, which received a series order and aired in 2014.

Krieger’s work on commercials and music videos has included projects for clients including

Universal Music, Island Def Jam, Intel Computers, W Hotels, Vice Magazine, and AG Jeans. In the fall of

2011, he wrote and directed a branded short starring Andy Samberg for the worldwide launch of online

travel marketplace CanaryHop. In 2012 he was invited to direct one of five branded shorts for Roman

Coppola’s Director’s Bureau as a part of Intel Computer’s new Ultrabook launch. Titled Modern Love, the

short film starred Robert Schwartzman and Naomi Scott. It premiered in London in the fall of 2012 in

conjunction with the UK Ultrabook launch.

J. MILLS GOODLOE [Co-Writer] grew up in Fort Lauderdale, Florida, and attended Southern

Methodist University in Dallas, Texas. He began his career at Warner Bros. under the tutelage of director

Richard Donner whose credits include Superman, The Omen, Scrooged and the Lethal Weapon series.

Goodloe was employed as Donner’s assistant from 1992 to 1995 on films such as Lethal Weapon 3 and

Maverick. Goodloe rose within the ranks and was named president of the Donner Company in 1996. Over

the next four years, he produced Assassins, starring Sylvester Stallone and Julianne Moore, Conspiracy

Theory, with Mel Gibson and Julia Roberts, and Lethal Weapon 4, with Gibson, Danny Glover and Chris

Rock.

Goodloe left Warner Bros. in 2001 to write and direct A Gentleman’s Game starring Gary Sinise,

Dylan Baker and Philip Baker Hall. The film was nominated for an ESPY in the category of Best Sports

Film. Castle Rock optioned his next screenplay, Wonderful Tonight, in a competitive auction. Tom Vaughn

is attached to direct. Goodloe has adapted two John Grisham novels: Bleachers for Revolution Studios

and Playing for Pizza for Phoenix Pictures.

Goodloe co-wrote the screenplay for the inspirational sports biopic Pride, released theatrically by

Lionsgate, starring Terrence Howard and Bernie Mac. In October 2014 Relativity Media released

Goodloe’s adaptation of Nicholas Sparks’ best-selling novel Best of Me, starring Michelle Monaghan and

James Marsden.

In 2015 principal photography is scheduled to begin on Goodloe’s screenplay The Mountain

Between Us, starring Charlie Hunnam and Academy Award®-nominated actress Rosamund Pike and

directed by Academy Award®-nominated director Hany Abu-Assad. Fox 2000 has scheduled the film for

release on February 10, 2017. He’s currently writing Christian the Lion for Sony and producer Neil Moritz.

He lives in Malibu with his wife and two young children.

SALVADOR PASKOWITZ [Co-Writer] is the seventh son of eight brothers and one sister from

a famous surfing family. His father is a Stanford doctor who bucked convention and traveled the world

with his nine kids. A man of many passions Paskowitz spent many years in the Southern California action

sports community and, as a classically trained painter, attended classes at The Art Students League in

New York City. As a teenager Paskowitz produced Surf Crazed and Wave Warrior comics which were

featured in the internationally published Surfing Magazine. Later Paskowitz opened a graphic-design

company whose clients included Billabong Inc. and Hurley Sportswear. An avid reader since childhood,

Paskowitz turned to screenwriting full time in 2007. St. Lucy’s Home for Girls Raised by Wolves, which

Paskowitz developed from the book by Karen Russell with John Jacobs/Smart Entertainment (Ted, Ted 2,

The Boy Next Door), is in contention for the 2015 pilot season. He is also casting his first directorial

project, The Shore, a fantastical story of a boy fisherman, which derives heavily from Paskowitz’s life on

the road. He now resides in Los Angeles with his wife and two children.

SIDNEY KIMMEL [Producer] is chairman and CEO of Sidney Kimmel Entertainment (SKE), the

Los Angeles-based motion-picture financing and production company. He recently produced The Place

Beyond the Pines, directed by Derek Cianfrance and starring Ryan Gosling, Bradley Cooper and Eva

Mendes; and Stand Up Guys, starring Al Pacino, Christopher Walken and Alan Arkin.

Next from SKE is Sleeping with Other People, a romantic comedy written and directed by Leslye

Headland (Bachelorette), starring Jason Sudeikis.

Kimmel has been active in the film industry for more than 25 years. His passion as an

independent producer throughout the 1980s and 1990s eventually led to the founding of SKE in 2004.

The company develops, finances, and produces three to five features per year, working with proven

filmmaking talent to create quality, commercial films.

Kimmel and/or SKE have co-financed, produced or co-produced more than 39 motion pictures

since the company’s inception. These credits include the Academy Award® nominee United 93, directed

by Paul Greengrass, and the highly acclaimed Breach, starring Chris Cooper, Ryan Phillippe and Laura

Linney.

Kimmel also executive-produced Moneyball and produced the hit thriller The Lincoln Lawyer,

starring Matthew McConaughey, Marisa Tomei, Ryan Phillippe and William H. Macy. Other credits include

Greg Mottola’s Adventureland, starring Jesse Eisenberg and Kristen Stewart; Charlie Kaufman’s

Synecdoche, New York, starring Philip Seymour Hoffman; and Neil LaBute’s remake of Death at a

Funeral, with Chris Rock.

SKE has also produced such films as Craig Gillespie’s Lars and the Real Girl, starring Ryan

Gosling; The Kite Runner, directed by Marc Forster; Charlie Bartlett, starring Anton Yelchin, Robert

Downey Jr. and Hope Davis; and Frank Oz’s Death at a Funeral, starring Matthew Macfadyen, Peter

Dinklage and Ewen Bremner.

Prior to his success in filmed entertainment, Kimmel founded Jones Apparel Group in 1975, which

has since grown into a $4.5 billion fashion-industry empire.

Kimmel founded the Sidney Kimmel Foundation and its subsidiary, the Sidney Kimmel Foundation

for Cancer Research, which is one of the nation’s largest individual donors to cancer research. He is

extremely involved in philanthropic endeavors that benefit his hometown of Philadelphia, as well as

Jewish education and the arts. He oversaw the opening of the Kimmel Center for the Performing Arts in

Philadelphia, home of the world-renowned Philadelphia Orchestra. Kimmel is also a partner in Cipriani

International, the acclaimed international restaurant and catering establishment. He is part-owner of the

NBA’s Miami Heat.

TOM ROSENBERG [Producer] is the chairman and CEO of Lakeshore Entertainment, which he

founded in 1994. He produced Million Dollar Baby, which won the 2004 Academy Award® for Best

Picture. Directed by and starring Clint Eastwood and co-starring Hilary Swank and Morgan Freeman, the

film also won Oscars® for Eastwood (Best Director), Swank (Best Actress) and Freeman (Best Supporting

Actor). Rosenberg recently produced I, Frankenstein, starring Aaron Eckhart; Stand Up Guys, starring Al

Pacino, Christopher Walken and Alan Arkin; and The Lincoln Lawyer, starring Matthew McConaughey,

Marisa Tomei and Ryan Phillippe. He also produced One for the Money, starring Katherine Heigl; The Ugly

Truth, starring Katherine Heigl and Gerard Butler, directed by Robert Luketic; along with Crank and

Crank: High Voltage, starring Jason Statham. Rosenberg produced the Underworld franchise, starring

Kate Beckinsale; and Elegy, the film adaptation of Philip Roth’s novel, The Dying Animal, starring

Penélope Cruz and Ben Kingsley. Rosenberg’s upcoming releases include The Vacation Tapes, starring

Michael Peña and Djimon Hounsou.

GARY LUCCHESI [Producer] serves as president of Lakeshore Entertainment, an independent

film company based in Los Angeles. He also serves as the president of the Producers Guild of America.

Lucchesi executive-produced Million Dollar Baby, which won the Oscar® for Best picture of 2004. The first

movie he produced was Primal Fear, and he has produced many other notable hits since, including The

Lincoln Lawyer with Matthew McConaughey and Marisa Tomei; the Underworld franchise; The Ugly Truth,

directed by Robert Luketic and Crank, starring Jason Statham.

Other credits include box office smash The Exorcism of Emily Rose; Sam Raimi’s The Gift,

starring Cate Blanchett, Katie Holmes, Greg Kinnear, Hilary Swank and Giovanni Ribisi; and adaptations of

two Philip Roth novels—The Human Stain and Elegy. In addition, Lucchesi was executive producer on the

box-office hit Runaway Bride, starring Julia Roberts and Richard Gere and directed by Garry Marshall.

Prior to becoming an independent producer, Lucchesi was president of production at Paramount

and oversaw such films as Ghost, Indiana Jones and the Last Crusade, Fatal Attraction, The Hunt for Red

October, Coming to America, The Naked Gun, The Godfather: Part III, Star Trek, Black Rain and The

Untouchables. He also worked at TriStar Pictures for four years as both vice president and senior vice

president of production. Lucchesi began his career in Los Angeles as an agent for the William Morris

Agency.

CLAUDE PARÉ [Production Designer] designed Underworld: Awakening 3D and Isabel

Coixet’s New York-set Elegy, starring Penélope Cruz, Ben Kingsley and Dennis Hopper, with the same

group. Previously he designed the Fox sequel Percy Jackson: Sea of Monsters 3D; prequel Rise of the

Planet of the Apes; and Night at the Museum and its sequel Night at the Museum: Battle at the

Smithsonian. He won the Genie award and the DGC award for Best Art Direction for Barney’s Version,

starring Paul Giamatti, Dustin Hoffman and Minnie Driver. Paré was supervising art director on Martin

Scorsese’s award-winning film The Aviator, which won an Academy Award®, a BAFTA Award, and a Los

Angeles Film Critics Association Award for Best Art Direction. Prior to The Aviator, he served as

supervising Art director on Roland Emmerich’s blockbuster The Day After Tomorrow.

In 2002 Paré art-directed Martin Campbell’s film Beyond Borders, starring Angelina Jolie and Clive

Owen. He served as supervising art Director on The Sum of All Fears, starring Ben Affleck and Morgan

Freeman; Frank Oz’s The Score, starring Robert De Niro, Marlon Brando, and Edward Norton; The Bone

Collector, starring Denzel Washington and Angelina Jolie; Richard Attenborough’s Grey Owl, starring

Pierce Brosnan; and Jean-Jacques Annaud’s Seven Years In Tibet, starring Brad Pitt.

Paré, who is a native of Montreal, was also the production designer on the Canadian features

This Is My Father, Les Boys, La Comtesse De Bâton Rouge, and Rainbow.

Multi-award winning Costume Designer ANGUS STRATHIE [Costume Designer]

is best known for his work on Baz Luhrmann’s film Moulin Rouge for which he won the 2002 Oscar®

Award for Best Costume Design with Catherine Martin.

Educated at the National Institute of Dramatic Art in Sydney, Strathie honed his skills designing

for the stage, working on many productions including Simon Boccanegra, La Périchole, Lulu, Samson et

Dalila, The Rise and Fall of Little Voice, Into the Woods, and Medea.

His collaborations with Baz Luhrmann started on stage and lead him to costume design

Luhrmann’s cult film Strictly Ballroom with Catherine Martin. Strathie also co-designed the costumes for

Luhrmann’s La Bohème on Broadway earning Strathie (along with Catherine Marin) a 2003 Tony Award®

nomination.

After working the Anne Rice film Queen of the Damned, Angus crossed the Pacific to work with

Halle Berry and Sharon Stone on Catwoman. Other projects in North America followed including Alien vs.

Predator: Requiem, Tooth Fairy, The Tall Man and numerous television projects. In 2003 he was

nominated for an Emmy® for Best Achievement in Costume Design for the SyFy mini-series Tin Man.

Angus Strathie has built a reputation for his flare, style, and when called upon, fanciful designs

that inspire moments in cinema.

Make-Up Artist MONICA HUPPERT [Department Head Make-Up] was born and raised in

Vancouver, Canada and has established an extensive and successful 25 year career in the film industry.

Monica is internationally recognized for her work and has garnered a reputation for being an

experienced and versatile make-up artist, excelling at both beauty and prosthetics. Monica attributes

much of her success to her commitment to film projects, considering herself a filmmaker she is dedicated

in helping the director and actors tell the story. She uses her artistic talents in creating and designing

character detail - she believes in getting into the story behind the make-up. Whether it’s glamour or ugly,

real or fantasy she knows what it takes to bring the characters to life in a realistic approach. Her work

ethic and calming presence has led her to work with a number of Hollywood’s A-list actors.

Her impressive list of feature film credits include: Disney’s Tomorrowland coming out May 2015

(Hugh Laurie, Britt Robertson, Judy Greer, Tim McGraw, Katheryn Hahn), Hector & the Search for

Happiness (Simon Pegg, Christopher Plummer, Rosamund Pike, Toni Collette), Seventh Son (Ben Barns,

Olivia Williams, Kit Harington, Djimon Hounsou), Warm Bodies (John Malkovich, Teresa Palmer), Mission

Impossible 4 (Simon Pegg, Jeremy Renner), Red Riding Hood (Amanda Seyfried, Gary Oldman, Julie

Christie), 50/50 (Joseph Gordon-Levitt, Anna Kendrick, Seth Rogan, Anjelica Huston, Bryce Dallas

Howard-Gabel) and Juno (Ellen Page, Michael Cera, Jason Bateman) just to name a few.

ANNE CARROLL [Department Head Hair Stylist] began her career in Winnipeg as a student

competition hairstylist. Later, after moving to Vancouver, she enjoyed a career working in several busy

downtown salons; where she, also, participated in many hair shows and presentations. After visiting a

television set, Anne pursued a career in film and television where she has learned all aspects of the craft

– wig technician-lace front & pieces; facial hair; hair extensions; period hair styling; hair coloring, and

hair styling for all ethnicities. Anne’s personality creates an environment of ease amongst talent and

colleagues for a successful and positive work experience.

THE AGE OF ADALINE – END CREDITS

Unit Production Manager David Kern

Unit Production Manager Richard Wright

First Assistant Director Paul Barry

_____________________________________________________________________________

Co-Producer/Production Manager Brad Van Arragon

Associate Producer Jackie Shenoo

CAST

Adaline Bowman Blake Lively Ellis Jones Michiel Huisman

William Jones Harrison Ford

Flemming Ellen Burstyn Kathy Jones Kathy Baker

Kikki Jones Amanda Crew Regan Linda Boyd

Narrator Hugh Ross

Tony Richard Harmon Cab Driver Fulvio Cecere

Cora Anjali Jay Kenneth Hiro Kanagawa

Clarence James Prescott Peter James Grey Flemming (Age 5) Izabel A. Pearce

Flemming (Age 20) Cate Richardson

Miriam Jane Craven 1950’s Policeman Noel Johansen

1950’s FBI Agent Aaron Craven 1940’s Officer #1 Primo Allon

1940’s Officer #2 Darren Dolynski

Dale Davenport Chris William Martin

New Year’s Eve Stranger Mark Ghanime Hotel Doorman Shaker Paleja

Boat Tunnel Guide Daniel Bacon Financial Advisor Barclay Hope

1950’s Financial Advisor Robert Maloney

1960’s Cab Driver Deejay Jackson Veterinarian Lane Edwards

Ellis Apartment Super Tony Levins Young William Jones Anthony Ingruber

1960’s Hippie Photographer Keith McCafferty Good Samaritan Serge Houde

Paramedic #1 Alison Wandzura

Paramedic #2 Demord Dann E.R. Doctor Grace Chin

Canadian Casting by Coreen Mayrs, C.S.A. and

Heike Brandstatter, C.S.A.

Stunt Coordinator Owen Walstrom

Production Coordinator Corine Buffel

Assistant Production Coordinator Aren Ophoff

2nd Assistant Production Coordinator Lauren Stope Office Production Assistant Craig Laviolette

Production Accountant Dale Braun

First Assistant Accountant Chris Green

Assistant Accountant Suzie Bruce

Payroll Accountant Dave Harvey Payroll Assistant Linda Chiz

Accounting Clerk Katharine Currie

Production Finance Tal Meirson

Script Supervisor Susan Lambie

Art Director Martina Javorova

Assistant Art Director Peter Bodnarus

Art Department Coordinator Teresa Ngan Graphic Artists Sally Hudson

Tara Arnett Set Designer Megan Poss

Concept Illustrator Rob Jensen

Storyboard Artist Rob Pratt Art Department PA Doug Scott

Script Clearance Coordinator Jennifer Bydwell

Set Decorator Shannon Gottlieb

Assistant Set Decorator Rose Marie McSherry

Buyers David Turgeon Zoe Jirik

Sergio Lavilla Set Decoration Coordinators Tanya Soules

Sigrid Spade Tracey

Lead Dressers Tony Beck Mike Reddy

Dressers Leah Weibe Brent Russell

On-Set Dresser Leonardo Lara Set Wireman Jeff O’Brien

Public Relations Tiffany Shinn

Unit Publicist Crystal Braumwarth

Second Assistant Director Megan Shank

Third Assistant Directors Karin Behrenz

Amanda Petura Michael Collins

Third Assistant Director Trainee Jason Moskie

A Camera Operator Dean Heselden

B Camera Operator Sean Harding A Camera First Assistant Camera Doug Lavender

A Camera Second Assistant Camera Jeff Sayle B Camera First Assistant Camera Tyler Woeste

B Camera Second Assistant Camera Dan Morrison

Still Photographer Diyah Pera Camera Department Trainee Dan Robinson

Video Playback Gladys Tong Computer Playback Cameron Drinkle

Digital Imaging Tech/ Dailies Supervisor James Notari

Video Assist Doug Ede

Sound Mixer Mark Noda Boom Operator Don Brown

Sound Assistant Michael Leder

Property Master Dean Barker

First Assistant Property Master Tony Xeros First Assistant On-Set Props Neil Fairall

Assistant Props Jonathan D. Watson

Gaffer Dave Tickell

Best Boy Electric James McMurachy Lamp Operators James Jackson

Saubrie Mohamed Generator Operator Tom Watson

Rigging Gaffer Jarrod Tiffin

Rigging Lighting Best Boy Brent Gies Lamp Operator Rigging Best Boys Jason Weir

Kevin Arnone Rigging Lamp Operators Fred Wilson

John Ogis

Ted Hamilton Paul Siczek

Key Grip Finn King

Best Boy Grip Michael Hrycan Dolly Grip Gil Forrester

Leadman Troy Sobotka

Grips Nick Dent Zack Hamm

Key Rigging Grip Tyler Guenther Best Boy Rigging Grip Aaron Johnson

Rigging Grips Shae Young

Troy Bassett Michael Lemmers

Malcom Johnson

Department Head Make-Up Monica Huppert First Assistant Make-Up Artists Andrea Manchur

Megan Davies

Personal Make-Up Artist To Mr. Ford Bill Corso

Department Head Hair Stylist Anne Carroll First Assistant Hair Stylists Dianne Holme

Codey Blair

Personal Hair Stylist To Mr. Ford Karen Asano-Myers

Costume Supervisor Donna Maloney Assistant Costume Designer Michael Mew

Prep Buyer/Shopper Oriana Graber

On-Set Supervisor Jamie Tedham Truck Costumer Syreeta Wootton

Costumer Erin Da Roza Cutter Elizabeth Muxi

Location Manager Abraham Fraser

Assistant Location Manager Vincent Dela Luna

On-Set Assistant Location Manager Jendrek Kowalski Trainee Assistant Location Manager Josh Pickens

First On-Set Key Production Assistant Zuraj Slivarich

Key Production Assistants Reba Rowe

Elshazly Ibrahim Jason Traversy

Brian McGee Lead Prep Production Assistants John Tsolinas

Halina Bienkowska-Gibbs Crystal Cleghorn

Nikolina Zelenika

Jon Watson Monte Rudolph

Production Assistants Marnie Mahannah Dayna Mahannah

Eddy Farfan

A.J. Cattapan Paul Kalkman

Alec Hanham

Canadian Casting Coordinator Cara Ziegler Canadian Casting Assistant Nicola Anderson

U.S. Casting Associate Lisa Zagoria

Extras Casting Andrea Brown

Extras Wrangling Andrea Hughes

Special Effects Coordinator Paul Benjamin

First Assistant Special Effects Josh Benjamin On-Set Special Effects Chris Labre

Construction Coordinator Jesse Joslin

Construction Shop Foreman Keith McCulloch Construction Stage Foreman Hugo Mallory

Construction Location Foreman Andrew Rowland

Construction Buyer Jay Erickson Lead Carpenters Bobby Hakkarain

Rob Dampier Eric Hargeaves

Lead Metal Fabricator Geoff Jordan

On-Set Carpenter Matt Eisenhauer Paint Coordinator Doug Currie

Paint Foreman Carol Kelly Paint Lead Pat Hunt

On-Set Painter Tom Robertson

Head Greensman Dylan Dowd Bestperson Greens D.J. Miller

Security Coordinator Marnie Wynnyk

Security Captain Dave Wynnyk Security Jerry Briggs

Female Stand-in Robin Tyms Male Stand-in Stephan Loftstrom

Animal Wrangler Ian Doig

Transportation Coordinator Brian Whitlock Transportation Captains Matt Brown

Bill Crevello Picture Car Coordinator Richard McKay

Cast Driver/Security Darren Ling Drivers Duncan Callender

Carlos Nickell

Thea Brown Dale Johnson

Chris Baldwinson Todd McKonkey

Mike Godenier

Scott Kenyon Alain Hudon

Gary Gleeson Floyd Faircrest

Louis Felnaver Jim Strathdee

James Whitely

Red Murphy John Derushie

Assistant to Mr. Krieger Robbie Flynn

Assistant to Mr. Rosenberg Rebecca Eddy

Assistant to Mr. Lamal Ryan Winterstern Producers Assistant Lindi Joy Theron

Catering Provided by Serrano Catering

Chefs David Lee Len Antonation

Assistant Chef Heather Smythe

Craft Service Amy Miller

Craft Service Assistant Shannon Nielsen

SAN FRANCISCO UNIT

First Assistant Director Jani Vournas Second Assistant Director Cindy Taylor

Production Supervisor Karen McCabe Production Assistants Alex Herter

Doug Ming Serena Wong

Cole Child-Phillips

First Assistant Camera Vance Piper

Second Assistant Camera Phil Bowen

Key Grip Dave Childers Best Boy Grip Jimmy Stuart

Dolly Grip Don Henderson

Company Grip Greg Childers Technocrane Operator Robert Barcelona

Props Josh Koral

Assistant Props Cinque Marshall

Hair Stylist Tess Felix

Wardrobe Supervisor Laura Tesone

Wardrobe Assistant Anya Zebroski

Location Manager Gail Stempler

Assistant Location Manager Simon Lake

Transportation Coordinator Joe Hunter Transportation Captain Joe Abney

Drivers Eric Sanchez John Ansalado

Percey Williams

Philip Brumme Willie Durkin

Chris George Bill Baker

Chris Roberts

Matelina Tufono

Catering Provided by Anna’s Catering Craft Service Mary Ellen Leonard

POST PRODUCTION

First Assistant Editor Bart Rachmil

Post Production Assistant Nick Haridopolos

Post Production Accountant Chris Liang

Delivery Coordinator Derek Hayes

Post Sound Services at

WARNER BROS. SOUND/BURBANK

Sound Designer/Supervising Sound Editor Christopher S. Aud

Dialogue Supervisor Stephanie Brown

Dialogue Editors Michael Babcock

Karyn Foster Sound Effects Editors Jonathan Lipman, M.P.S.E.

Marc Meyer

Bruce Tanis, M.P.S.E.

Sound Re-Recording Mixers Michael Babcock Christopher S. Aud

Mix Technicians Bradford Bell

Sean Madsen

ADR Mixer Thomas J. O’Connell

ADR Recordist Ryan Young

Foley Artists Catherine Harper

Greg Barbanell Foley Mixer Darrin Mann

ADR Voice Casting Barbara Harris

Score Produced by Rob Simonsen

Additional Music by Duncan Blickenstaff

Music Editor Erich Stratmann

Orchestra Consultants Neal Desby and Edward Trybek

Assistants to Composer Taylor Lipari-Hassett Mike Daniels

Additional Ambiences Judson Crane and Jeanie Lim

Score Mixer Satoshi Noguchi

Scoring Mix Assistant Colleen Lutz

Scoring Editor Christian Wenger Choir Engineer Jake Jackson

Choir Contractor Isobel Griffiths Choir Cardinal Vaughan Memorial School

Choirmaster Scott Price

VISUAL EFFECTS

2nd Unit Director/VFX Supervisor James McQuaide

Visual Effects Assistant Jackie Hoffart

Visual Effects by luma pictures/LOS ANGELES

Executive Supervisor Payam Shohadai

Senior VFX Supervisor Vincent Cirelli VFX Supervisor Gil Baron

Senior VFX Producer Steven Swanson VFX Producer Michael Perdew

Associate VFX Supervisor Jared Simeth

CG Supervisor Pavel Pranevsky Character TD Supervisor Thanapoom Siripopungul

2D Supervisor Alexandre Cancado

Roto / Paint Supervisor Glenn Morris Pipeline Supervisor Chad Dombrova

Design Supervisor Loic Zimmerman

Lead Digital Coordinator Catherine Hughes

Jr. Digital Coordinator Crisanta Melendez Technical Coordinator Daniel Kepler

Lead Model / Texture Artist Anthony Grant

Model / Texture Artists Eric Valdes Oded Raz

Schiller Jean-Louis Jr

Tadao Masuyama Animators Alon Helman

Marcos D. Romero Monika Gelbmann

Effects TD John Cassella

Effects Artist Rick Fuentealba Tracking / Matchmove Artists Lenny Gordon

Ruy Santos Delgado Nha Le

Viviana Torrellas Roto / Paint Artists Cameron Sorgi

Garrett Wycoff

Marcel Caue Martins Lead Lighting / Compositing Artist James Waterson

Lighting / Compositing Artists Alex Khan Christopher Miller

Joe Censoplano

Joey Sila Jr. Pipeline TD Paul Katzen

Lead Pipeline TD Paul Molodowitch Pipeline TDs Nathan Rusch

Nick Kendall-Bar

Jr. Pipeline TD Sam Bourne

Web Developer Chris Lyon Systems Administrators Joanna Anthony

James Hancock

Head of Business Relations Lindsay Hallett

Business Relations Associate Katryna Shattuck Culture Coordinator Ashley E. Green

Culture Assistant Zachary Eggers

Visual Effects by luma pictures/MELBOURNE

VFX Producer Steve Griffith

Lead Digital Coordinator Justin Porter Digital Coordinators Beth Senn

Timothy Bond

CG Supervisor Richard Sutherland

Animation Supervisor Raphael A. Pimentel Animator Billy Dao

Tracking / Matchmove Artist John Chen

Lighting / Compositing Artists Gian Lombardi Lucas Pozzey

Lead Compositor Ryan Trippensee Senior Systems Administrator Brent Hensarling

Head of Culture Jamy Kim

Culture Coordinator Chloe Sesta-Jacobs

Culture Assistant Hugo Sands

Visual Effects by

CUTTING EDGE

VFX Supervisor Rangi Sutton

VFX Producer Flavia Riley

VFX Coordinator Kasia Rymar

3D Artists David Brown

Matthew Hanger Chelsea Shannon

Phil Jackson Jake Hempson

Matt Dye

Khiem Huynh John Perrigo

Compositors Lars Andersen

Justin Alvarez

Randy Vellacott Hayes Brien

Antony Haberl Sam Godfrey

James McCarthy Giselle Hunter

Michael Koorey

Chris Jackson Richard Hall

Mami Mia Hara Richard Perrigo

Matte Painters Richard Deavin Jasper St Aubyn West

Systems Administrators Daniel Mons Kim Pearce

Previs by

proof AUS Ltd.

Previs Supervisor Dru Muller

Digital Intermediate provided by COMPANY 3

Colorist Stephen Nakamura

DI Producer Elizabeth Hitt

Digital Conform Rudy Lopez

DI Technologist Mike Chiado

Color Assistant Jared Pecht Head of Production Andy Kaplan

Account Executive Jackie Lee

CO3 Executive Producer Stefan Sonnenfeld

Main & End Titles SCARLET LETTERS Continuity Script Preparation by CINETYP HOLLYWOOD

Payroll Services Provided by CAST & CREW ENTERTAINMENT SERVICES Aircraft Provided by HELINET AVIATION SERVICES, LLC

LAKESHORE

Business and Legal Affairs ROBERT BENUN

JENNIFER BROOKS

LYNN HOBENSACK MARGIE CAHAN

DEVIN DiGONNO

Finance and Accounting DAWN RYAN

CHARLENE FELICIANO

International Sales, Marketing and Distribution JASON BUCKLEY

ASHBY DE LA PLAINE CAROLINE DUBOURG

MIKE LECHNER

ROLAND FELICIANO MATT ZEPEDA

JD PERALTA

Development ROBERT McMINN

MIKE McKAY ELIZABETH GESAS

MARK KORSHAK

Production Support ADRIENNE DuCOMB SOPHIE MATTHEWS

NICOLE JOLLY

ANGELICA MARSHALL JEFF BRODY

DON SMITH

Script Clearance by JOAN PEARCE RESEARCH ASSOCIATES

Completion Guaranty Provided by

FILM FINANCES, INC.

Production Financing Arranged by

JPMORGAN CHASE BANK

MOBILE DAILIES PROVIDED BY OUTPOST ®– A LIGHT IRON SERVICE

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OUTPOST® Engineering

LIGHT IRON Senior Management

Technocranes supplied by Whites Telescopic Camera Cranes Inc.

Shotover ultra high-definition aerial camera system provided by Team 5, LLC

THE PRODUCERS WISH TO THANK THE FOLLOWING FOR THEIR ASSISTANCE:

CORBIS

FILM ARCHIVES, INC.

IMAGERY AND FOOTAGE SUPPLIED BY GETTY IMAGES HISTORIC FILMS ARCHIVE, LLC

MAISON BIRKS MAMMOTH HD, INC.

SHUTTERSTOCK, INC. IMAGERY SUPPLIED BY THINKSTOCK

STEPPENWOLF POSTER, BG 134 COPYRIGHT BILL GRAHAM ARCHIVES, WOLFGANG’S VAULT

NAJA ARTWORK (2009) BY MARCEL BARBEAU

CO3

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“WALK OF SHAME”

Mobile dailies provided by OUTPOST® - a Light Iron service

OUTPOST® Engineering!! ! ! AARON KROGER

! ! ! ! ! ! ! ! ! NICK LAREAU

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LIGHT IRON Senior Management !! DES CAREY

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! ! ! ! ! ! ! ! ! PETER CIONI

! ! ! ! ! ! ! ! ! KATIE FELLION

! ! ! ! ! ! !

FILMED WITH RED CAMERA/RED DRAGON [LOGO]

AURO [LOGO]

DOLBY ATMOS [LOGO] Dolby SR/SRD [LOGO]

DATASTAT [LOGO]

49437

The persons and events in this motion picture are fictitious.

Any similarity to actual persons or events is unintentional.

This motion picture is protected under laws of the United States and other countries. Unauthorized duplication, distribution or exhibition may result in civil liability and

criminal prosecution.

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