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Production Notes

For additional publicity materials and artwork, please visit:


http://www.lionsgatepublicity.com/epk/kickass/
www.lionsgatepublicity.com

Rating: R for strong brutal violence throughout, pervasive language, sexual content, nudity and some drug use -
some involving children
Run time: 118 minutes

For more information, please contact:

Todd Nickels Kate Hubin Jamie Blois


Lionsgate Lionsgate Lionsgate
75 Rockefeller Plaza 2700 Colorado Avenue 2700 Colorado Avenue
16th floor Suite 200 Suite 200
New York, NY 10019 Santa Monica, CA 90404 Santa Monica, CA 90404
P: 212-386-6895 P: 310-255-4064 P: 310-255-4910
E: tnickels@lionsgate.com E: khubin@lionsgate.com E: jblois@lionsgate.com
THE CAST

Aaron Johnson…………………………………………………………..Dave Lizewski / Kick-Ass


Christopher Mintz-Plasse………………………………………………..Chris D'Amico / Red Mist
Mark Strong………………………………………………………………...............Frank D'Amico
Chloë Grace Moretz…………………………………………………….Mindy Macready / Hit Girl
Omari Hardwick………………………………………………...............Sergeant Marcus Williams
Xander Berkeley………………………………………………………................Detective Gigante
Michael Rispoli……………………………………………………………………………...Big Joe
Clark Duke…………………………………………………………………………................Marty
Lyndsy Fonseca…………………………………………………………………….Katie Deauxma
Evan Peters…………………………………………………………………………………….Todd
Corey Johnson ………………………………………………………………..............Sporty Goon
Dexter Fletcher………………………………………………………………………...............Cody
Jason Flemyng………………………………………………………………................Lobby Goon
Randall Batinkoff……………………………………………………….……………Tre Fernandez
and
Nicolas Cage………………………………………………………..Damon Macready / Big Daddy

THE FILMMAKERS

Directed by………………………………………………………………………..Matthew Vaughn


Screenplay by…………………………………………………..Jane Goldman & Matthew Vaughn
Based on the Comic Book Written by…………………. ……….Mark Millar & John S. Romita JR
Produced by……………………………………………………………………….Matthew Vaughn
Brad Pitt
Kris Thykier
Produced by………………………………………………………………………….Adam Bohling
Tarquin Pack
David Reid
Executive Producers………………………………………………………………..Pierre Lagrange
Stephen Marks
Executive Producers Mark Millar
John S. Romita JR
Jeremy Kleiner
Co-Producer………………………………………………………………………….Jane Goldman
Director of Photography…………………………………………………................Ben Davis BSC
Production Designer…………………………………………………................Russell De Rozario
Edited by………………………………………………………………………………….Jon Harris
Pietro Scalia A.C.E.
Eddie Hamilton
Music Composed by…………………………………………………………………..John Murphy
Henry Jackman
Marius De Vries
Ilan Eshkeri
Costume Designer………………………………………………………………….Sammy Sheldon
Hair & Make-Up Designer…………………………………………………………..Fae Hammond
Production Sound Mixer………………………………………………………Simon Hayes AMPS
Casting by………………………………………...Lucinda Syson CDG & Sarah Halley Finn CSA

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SYNOPSIS

“How come nobody’s ever tried to be a superhero?” When Dave Lizewski, an ordinary
New York teenager, dons a green and yellow internet-bought wetsuit to become the no-
nonsense vigilante Kick-Ass, he soon finds an answer to his own question: because it
hurts. But, overcoming all the odds, the overly eager Dave quickly becomes a
phenomenon, capturing the imagination of the public. However, he’s not the only
superhero out there – the fearless and highly-trained father/daughter crime-fighting duo
Big Daddy and Hit Girl have been slowly but surely taking down the criminal empire of
local Mafioso Frank D’Amico. As Kick-Ass gets drawn into their no-holds-barred world
of bullets and bloodletting with Frank’s son, Chris, now reborn as Kick-Ass’ arch-
nemesis Red Mist, the stage is set for a final showdown between the forces of good and
evil in which the DIY hero will have to live up to his name. Or die trying…

Directed by Matthew Vaughn, from a screenplay by Jane Goldman & Matthew Vaughn,
and based on the comic written by Mark Millar and John S. Romita JR. Lionsgate and
MARV present a MARV Films / Plan B production.

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ABOUT THE PRODUCTION

INTRODUCTION

Every superhero story has an Evil Genius, and this is no exception. This particular Evil Genius,
however, doesn’t wear a cape, or live in a hollowed-out volcano, or plan appalling atrocities that
will bring society to its knees. What he does, instead, is write compulsively readable, often
perversely funny and deeply twisted comic books. From his radical reinvention of Superman’s
origin, Red Son, to his re-imagination of Marvel’s premier superhero team The Avengers into
The Ultimates, to Wanted, the villains-as-heroes punk-tinged series that led to a hit film in 2008,
starring James McAvoy, Morgan Freeman and Angelina Jolie, the Evil Genius in this case is
Mark Millar.

And one day he had an idea that would not only become Kick-Ass the comic book, but KICK-
ASS, the Major Motion Picture. “I’ll draw something and then work out the story organically
around it,” says Millar. “I had a drawing of two superheroes – a young girl dressed like Robin and
a big guy dressed like Batman. I loved those characters and decided to put them into something,
but I thought they were too out there to be the leads.

“Then I started to do autobiographical stuff – I had this notion when I was fourteen, of becoming
a crime fighter in Glasgow. I thought it would be interesting to tell the story of that, had it
happened. So then I had a drawing of a superhero going out on his first night, and getting stabbed
and run over by a cab. Then I realized the two projects belonged together.”

And lo, Kick-Ass – in which Millar asks the question, ‘why does nobody ever try to become a
superhero?’ and answers it with a barrage of extraordinary violence, bizarre characters and
insanely quotable dialogue – was born. He started to work on the creator-owned comic with artist,
John S. Romita Jr. but then, buoyed by the success of WANTED, decided to explore the
possibility of bringing his new baby to the big screen before barely a panel had been drawn.

So he picked up the phone and called his old pal, the TV presenter and comic book nut Jonathan
Ross, about his idea. Ross, in turn, then told his wife, Jane Goldman, the co-writer of
STARDUST.

“I think that Mark has had millions of brilliant ideas, but I could see why he was particularly
excited and I shared his excitement,” says Goldman. “It is one of those ideas that makes you ask
‘God, has nobody done that? That’s insane!’ The very basic story of someone who loves
superheroes deciding to give it a try without having any powers simply hadn’t been done before.”

From there, Goldman tipped off her writing partner and STARDUST director Matthew Vaughn,
who was already looking for his next movie, and KICK-ASS seemed to fit the bill.

“I was a fan of Mark’s work,” says Vaughn. “We got on really well. He pitched it to me and the
concept was great. He came down to my house – all the best creative meetings for me take place
there – and we sat down over an afternoon and plotted the whole movie. That same day I told
him ‘I’m in!’”

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And that, as they say, was that. KICK-ASS had its Evil Genius, and now it had its Hero.

FROM PAGE TO SCREEN? NOT QUITE

From the beginning, KICK-ASS was different from previous comic book movies given that it
wasn’t based on a long-time property – in fact, the movie was in development at the same time as
the comic. By the time the movie started filming, Kick-Ass issue 3 had come out. By the time
filming ended, issue 5 was on the stands. And the final issue – issue 8 – was released only a
couple of months ago, as Vaughn put the finishing touches on the film.

This meant that the line between the comic and the movie blurred more than any on previous
effort, as Vaughn and Goldman worked closely with Millar and his artist, John S. Romita Jr. -
who also drew an animated comic book sequence in the movie which explains the origin of Big
Daddy and Hit Girl - to craft not only the plot of both, but also to make sure that the look crossed
over. Kick-Ass’ costume looks virtually identical in both iterations, for example, because of the
way these two teams collaborated from the beginning. “In a weird way, I found it quite
exhilarating because lots of good ideas and experiments were happening at the same time,” says
Vaughn. “It lifted the script and I think it lifted the comic – it was like a great game of tennis.”

But Vaughn and Goldman were also keen that their movie wouldn’t simply be a carbon copy of
Millar’s book. Handily, by the time they started writing the script, Millar had only plotted up to
issue 3, giving the screenwriters a chance to take their KICK-ASS in a different direction. So the
back-story of Nicolas Cage’s Big Daddy is markedly different from the comic book version, to
name but one example, while the climax of Vaughn’s film is more explosive.

Once Vaughn had committed to the idea of writing KICK-ASS, he and Goldman got a script
together very quickly, with Vaughn writing a first draft focusing on structure and story before
Goldman added the dialogue and characterization. “I love writing with Jane,” says Vaughn. “I’m
the guy who draws the blueprint of the house and she comes along and goes, ‘that’s a pretty good
house, but I can make it a lot better. She turns it into a proper home. I’d be pretty lost without
her.”

And now, with script in hand, it was time for KICK-ASS to kick some ass. There was just one
problem, though: nobody wanted to take a chance on it. Like Wanted, Kick-Ass was an
independent, creator-owned and controlled comic that basically gave Millar carte blanche to do
what he wanted, and Vaughn was determined to apply the same ideas to his movie version, even
if that meant including scenes where an eleven year-old girl mows down scores of heavily armed
men with a plethora of weaponry and scores of middle-digit attitude. Hollywood’s major studios,
however, saw things differently.

“They all said no,” recalls Vaughn. “To their credit, most of them were just a straight no, bloody
quickly, which doesn’t normally happen. Normally, they procrastinate. And most of them said
they liked the concept, but only if it was done in a PG-13 manner… with no Hit Girl.”

More determined than ever, Vaughn decided to fund KICK-ASS independently. The money was
quickly raised, and KICK-ASS started filming in September 2008, at Elstree Studios, London,
and various locations in Toronto (doubling for New York). From there, Vaughn labored away at
the film, finessing it with additional photography, including a beefed-up climax. He brought
incredibly crowd-pleasing clips to the San Diego Comic-Con in July of last year, and again to

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Empire magazine’s Movie-Con in London last August, which set chat sites ablaze and fanboys’
tongues wagging. “But there was still a time when I thought we might not get distribution,” he
admits.

With the movie in the can, Vaughn started showing the finished product to studios. With its
colorful fight scenes, punkish attitude and incessant stream of great jokes brought to life, two
studios – Lionsgate in the United States and Universal in the UK – agreed to distribute the film.

CASTING KICK-ASS

It would have been mighty difficult for Vaughn to make KICK-ASS without… Kick-Ass. Yet,
with the film deep in pre-production, that’s exactly the scenario he faced, with Vaughn unable to
find an actor to fill the yellow boots of his hero, hapless-teen-turned-plucky-hero, Dave Lizewski.

“I nearly put the movie back six months,” says Vaughn. “We’d cast all the other roles, but
without the right guy as Dave? Forget it.”

Vaughn had imposed an edict: the role of Dave, a New York teenager, would not be played by a
Brit. “I was paranoid – as a British filmmaker shooting this in England with a British cast, we
would do a Dick van Dyke in reverse,” laughs Vaughn. “But the problem is that these guys were
screen-testing, and they could do the geeky guy, but the scenes with emotion and heart? There
would be nothing.”

Then, Vaughn’s casting directors, Sarah Finn and Lucinda Syson, encouraged him to take a look
at a tape from a young actor named Aaron Johnson, which Vaughn had earlier turned down
without viewing. When he did, the star-making part of his brain, the part that discovered Vinnie
Jones, Sienna Miller and set Daniel Craig on the road to Bond, began to light up. “I knew
immediately,” says Vaughn. “I wanted to say, ‘you’ve got the role’, right then and there. But I
had to calm down. I said, ‘where are you from? LA? New York?’ And he says, ‘Little Chalfont’. I
thought he was joking. I said, ‘that’s a bloody good English accent you’ve got there.’” The
casting director clued me in that he really was English, which was why we’d rejected his audition
tape originally.

Johnson – seen most recently as John Lennon in Sam Taylor-Wood’s NOWHERE BOY – was
delighted to secure the role of Dave Lizewski (named after a Millar fan who won a charity
auction to be immortalized as Kick-Ass), as he sets out on his painful road to becoming a hero.
Mainly because, unlike most actors who play superheroes, Kick-Ass’ sheer incompetence meant
that Johnson didn’t have to embark upon grueling training. Quite the opposite, actually. “Matthew
said, ‘You’ve got to cut down on the gym and whatever you’re doing’,” laughs Johnson. “You’ve
got to lose a bit of weight and look really nerdy and bony, so the wetsuit looks baggy. I was
happy with a training regimen of sitting on my sofa eating crackers.”

But for Johnson, the appeal of the character lay far beyond his lack of pecs. “My take on it was he
was a young lad, a comic book fan, who was shy with girls. He doesn’t have a whole lot going for
him, so he tries to stand out from the crowd by becoming a superhero, and that’s when he
becomes interesting.”

Kick-Ass – so named because Millar thought it would be exactly what a teenage superhero would
call himself – becomes interesting after his first mission when two car thieves stab him in the
stomach. Oh, and then he gets run over by a car. Cue several weeks in hospital and the insertion

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of metal plates in his back which, along with dulled nerve endings, greatly enhance Kick-Ass’
capacity for pain.

Emboldened, he ventures out again, thwarts an attempted mugging and, thanks to a nearby crowd
filming the fight and immediately uploading it to YouTube, becomes an internet phenomenon.
From there, his adventures become increasingly outlandish as he attracts the attention of Mob
boss, Frank D’Amico (Mark Strong), who blames Kick-Ass for the havoc wreaked on his
organization. He then comes across Big Daddy and Hit Girl and from there, Kick-Ass – the
movie and character – spirals into a world of outlandish violence and surreal, scabrous comedy.
“It’s teenage high-school humor mixed with dark, messed-up violence,” says Johnson. “To me,
it’s SUPERBAD meets KILL BILL.”

The mention of SUPERBAD may not be an accident, for Vaughn cast Christopher Mintz-Plasse –
indelible as McLovin in Greg Mottola’s hilarious coming-of-age comedy – as Red Mist, a
superhero who befriends Kick-Ass only for his motives to be revealed as less than pure.

Mintz-Plasse had actually read for the role of Dave – “I guess I had too much energy and
charisma!” he laughs – before Vaughn offered him the role of Red Mist. (Interestingly, Johnson
had initially read for the role of Red Mist, long before getting the callback to read for Kick-Ass).

In the comic book, Millar hadn’t yet revealed Red Mist’s true identity, so Vaughn and Goldman
took the opportunity to make him the son of Kick-Ass’ true bad guy, D’Amico. In fact, Goldman
even named Chris D’Amico after the actor. “I had Chris in my head, while writing the dialogue,”
she laughs. “I never told him that, because it sounded a bit lame!”

A bit lame is a perfect description of Red Mist, a rich kid who desperately wants to garner the
affection of his father, who despairs that his son isn’t tough enough for the family business. When
Red Mist nearly breaks his ankle jumping off a dumpster, it’s easy to see Frank’s point of view.
“You wouldn’t look at me and go, ‘that guy’s a superhero!’” admits Mintz-Plasse. “He’s a comic
book nerd, which helps him become a superhero, because he knows what he needs.”

What he needs are all the tools and tricks of the trade, including a flashy custom-built costume
that makes Kick-Ass’ look like a wetsuit that he bought on the internet (largely because that’s just
what it is) and, more impressively, the Mistmobile, a souped-up red Ford Mustang which he uses
to cruise the streets of New York. In one of the movie’s funniest scenes, Kick-Ass and Red Mist
drive along while dancing like two drunk dads at a wedding, to Gnarls Barkley’s “Crazy.” “We
were just messing around with it,” says Johnson, “Sitting there and doing a ridiculous dance. It
was hilarious. Matthew was like, ‘I might actually use that’. And he did!”

Mintz-Plasse, meanwhile, was concentrating on just one thing: trying not to panic. “It looks like it
was fun but it was so stressful for me,” he confesses. “It’s a stick-shift and I’d never driven a
stick-shift in my life, so I had to learn on a $200,000 car. Matthew was like, ‘If you screw this up,
I’m going to have your bloody career on a stick!’ But I didn’t crash and die!”

BIG DADDY & HIT GIRL

If you think that the relationship between Kick-Ass and Red Mist is complicated, you ain’t seen
nothing yet. Meet Damon Macready and Mindy Macready, a father and daughter with one heck
of a secret: when they’re not making hot chocolate with marshmallows for each other, they
operate as Big Daddy and Hit Girl, highly-trained, heavily-armed costumed vigilantes,

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committing the organized attacks on D’Amico’s crew that he erroneously pins on Kick-Ass.
Alone, they’re formidable – Big Daddy can take out a warehouse full of goons without even
breaking a sweat, while Hit Girl is a dab hand with a samurai sword and ninja throwing stars –
but together they may just be unstoppable, and one of the most remarkable superhero tag-teams to
grace the silver screen.

As played by Chloë Grace Moretz – now thirteen years old – Hit Girl is a sparky, spunky force of
nature, likely to be an instant icon redolent of Jodie Foster in TAXI DRIVER, and Natalie
Portman in THE PROFESSIONAL (released internationally as LEON). It’s a heck of a part,
calling for a hard-as-nails attitude, athleticism and an unexpectedly tender emotional core as
events conspire against the teeny terror. Unlike the search for a Kick-Ass, though, Vaughn didn’t
have to wait too long to find his Hit Girl.

“I saw just two girls,” he says. “Chloë came in, tested, and that was it.” In fact, Vaughn brought
in his STARDUST star, Charlie Cox, to read on camera with Moretz. “I wanted her to be relaxed
and Charlie’s a sweetheart,” says Vaughn. “But halfway through the first take he looks at me and
mouths, ‘Shit, I have to raise my game’. I was laughing, but I was gobsmacked as well. That
happened with every actor – they’d be talking to her like she was a seven year-old and then I
called ‘action!’, and all of them would be like, ‘I am being blown off screen by a child!’ After
two weeks, nobody treated her like a kid.”

For Moretz, the role was something of a gift. “About a month before I got the role, WANTED
came out,” she says. “It was on all the buses and I was like, ‘ohmigosh, mom, I want an Angelina
Jolie-type role, a young woman who takes charge.’” Roles like that for teenagers are typically
hard to come by, but Moretz was in luck. “Then KICK-ASS came up, and when I read it, I was
freaking out. I was screaming for three days straight when I got the role because I was so much
looking forward to doing a fantasy movie and wearing a superhero costume.”

Nicolas Cage, who plays Big Daddy, has nothing but gushing praise for his young co-star. “I just
really liked Chloë,” he says. “I knew she was going to be an enormous star because of how well
she performed. I gave her a little starfish from Tiffany when we wrapped, because real stars are
nice people, and that’s what she is.”

Cage’s involvement in KICK-ASS seemed to Vaughn like something of a no-brainer. Long


renowned as one of Hollywood’s most prominent comic book aficionados, Cage had circled
several comic book movies before finally scratching his itch in 2007 with GHOST RIDER. But
KICK-ASS – and Big Daddy – gave him a chance to bring something different to the superhero
genre.

“The comic book movie to me is a perfect form of entertainment,” he says. “They’re like the
modern Western in some ways.” Cage had initially been offered a choice of playing Frank
D’Amico or Damon, and responded strongly to the latter. “I thought that was where the heart
was, in the relationship between Big Daddy and Hit Girl. I thought that’s where the emotion
could be.”

“I wanted a movie star in that role,” says Vaughn. “I like the formula of having your lead be an
unknown so that the character is that character. But Big Daddy was the bit of tinsel you need to
get people to notice the movie. I thought Cage could bring a unique flavor to it which he did.”

Indeed. Not only does Cage manage to make the borderline-insane Damon likeable and human,
but he also provides much of the film’s humor. In one scene, where Big Daddy and Hit Girl visit

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Dave Lizewski in his bedroom, Cage – speaking as Big Daddy for the first time – launches into a
pitch-perfect impersonation of the lilting, lurching tones of Adam West, who famously played
Batman in the 60s TV show.

“Big Daddy is my ode to Adam West who, for me, is the only Batman. I grew up watching Adam
West and he still has yet to be topped, in my opinion,” says Cage. “He had this odd rhythm to his
delivery, and I just wanted to tip my hat to him a little bit, to actors like him and William Shatner,
who I think really started a whole cultural movement.”

Cage’s West tribute may have come out of the blue during rehearsals (“I was pissing myself
laughing when he did it,” giggles Johnson), but the nod to Batman and West was entirely apt, as
Big Daddy’s look is modeled on Batman, with his costume resembling in some ways the Caped
Crusader’s. “Matthew wanted me to have a yellow belt,” recalls Cage. “It looked so much like the
original belt from the “Batman” TV show that I thought, well, why don't we just go the whole
way and have Damon be channeling Adam West because that's his Jungian muse, to help him
accomplish the things that he accomplishes.”

Vaughn is keen to point out, though, that the costumes don’t overlap as much as a first glance
might suggest. “The helmet is very different from Batman’s helmet,” he says. “It reminded me of
[Brian de Palma’s] PHANTOM OF THE PARADISE, actually. But the rest is stuff that can be
bought on the internet, meaning riot gear. Most of his outfit is French riot gear. The shoulders, all
the pads, that’s what the French riot police wear, in a different color. If you’re going to get beaten
up on the terraces, that’s what you want to be wearing!”

But, when the costumes are off, the key to the Damon/Mindy relationship is that they’re truly
devoted to each other… even if the relationship is a tad more twisted than your normal father-
daughter pairing.

“I would say that he’s a man who genuinely loves his daughter but he’s misguided,” explains
Cage. “He’s been confused by anger and vengeance and has actually lost his mind thinking of
ways to protect his daughter by putting her into violent situations. He feels that if she gets a dog,
that might get her killed. But if he gets her a butterfly knife, that might actually save her life.”

“But I wanted Damon to be the nicest father in the world,” he continues. “So that it would be a
counterpoint to the things that they were up to as Big Daddy and Hit Girl.”

HIT GIRL ATTACKS

It’s the moment that defines Kick-Ass’ attitude, the line that will assure the film its place in the
zeitgeist. When Kick-Ass is overwhelmed by goons following an ill-advised trip to a drug den to
warn a thug off his would-be girlfriend, he is given a surprising reprieve when his attacker is
speared through the stomach by a samurai sword. As he drops out of frame, we see Hit Girl—for
the first time in her full costume, replete with purple Clara Bow wig—assume battle pose and
deliver a line including a word that begins with C. We won’t repeat it here, but suffice to say it’s
very rude. It’s a show-stopping moment, adapted precisely from the comic, but one that nearly
didn’t happen.

“The script didn’t say the C word,” Vaughn reveals. “It was in the comic. There had been some
fanboy speculation and advance complaints that the film would shy away from reproducing that
memorable line. Yet I still thought, ‘You know what? This is too far. I can’t do it.’ But we did all

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these takes and it just wasn’t having any impact. I was with Chloë’s mother, Teri, who had read
the comic, and understood the singular impact the word made. She and Chloë agreed that it
made sense to shoot one take with the word included.” Vaughn recounts Teri reminding
everyone ‘It’s Hit Girl saying it, not my daughter,” a boundary that Chloë certainly also
understands all too well, adding “Of course I’d heard that word, but if I ever said it outside of this
role, my Mom and Dad would ground me for the rest of my life!”

Besides, Hit Girl should not be defined by her way with a choice invective every now and again.
This, after all, is the girl who puts the kick-ass in KICK-ASS. “By the end of the filming,” admits
Johnson, “she could take me and Chris on at once, and take us both down. She became a mini-
Schwarzenegger!” In scene after scene, Hit Girl mows down scores of D’Amico’s henchmen like
an unstoppable squirrel that’s armed to the teeth. There will be some who cry ‘irresponsible!’ but
it could be that they’re simply missing the point. “Even my agent balked at it,” laughs Mark
Strong. “I remember her saying to me, when I said I was interested, ‘it’s got a twelve year old girl
who kills people and gets away with it. Is that morally sound?’ I thought, ‘I don’t care, it looks
like great fun!’.”

“But what Matthew’s done, very cleverly, with the music is to reinforce that notion that it’s
otherworldly, that it’s a comic book universe. The kind of violence you see in the film is 100%
hyper-real,” a signature of the revenge-fantasy genre in which the film is solidly steeped.

Unlike Johnson and his laissez-faire training regime, Moretz had to dedicate herself to getting in
shape for the role. “I did a lot of training,” she says, already the mistress of understatement. “I did
about four to five months of training before the movie started. It was crazy. I did a thousand
crunches a night and like 70 push-ups and 70 pull-ups.” The training also involved getting to
grips with Hit Girl’s weapons, including her favorite method of death dealing, a butterfly knife.
“It’s like a third hand,” she says. “That took me about a month and a half to get down pat. And I
can actually still do that – we have a fake one here and when I’m bored, I start flipping it
around!”

Hit Girl is at the center of most of KICK-ASS’ action scenes; scenes which Vaughn knew could
define the film stylistically, from a strobe lit shoot-out that plays like a particularly brilliant
videogame to the raucous scene at Rasul’s and a climactic showdown at D’Amico’s apartment. “I
decided to make each action sequence different and unique,” says Vaughn. “Action-wise, I was
bored of shaky cam and quick editing. Good action is about so much more than throwing the
camera around. I like knowing who’s doing what and where and how.”

“So, for the strobe sequence, that gave us a legitimate excuse to use slow-motion without it
looking like a gimmick. There’s a storytelling reason. My second unit guys said, ‘strobe sounds
stupid’. But SWAT guys use them in America. So we got one, went into the toilets, turned the
lights off. I turned it on and said, ‘ok, hit me.’ They couldn’t because the light is too bright – it’s a
little girl in this scene, and we have to justify how she can take out all these people. So she puts
on the strobe and kicks their arses doing that.”

Another standout action sequence involves Big Daddy taking out an entire warehouse of
D’Amico’s henchmen; a feat made even more impressive by the fact it was done in one take.
“When I said that’s what I wanted to do, everyone’s jaws hit the floor,” laughs Vaughn. “But
what I didn’t want to do was what I call Hong Kong Phooey, where a hundred people are fighting
the guy and they’re all waiting for him to finish with the guy he’s fighting before they attack.
That drives me insane, so I had to keep changing the choreography otherwise Big Daddy would
have had his head blown off by the guy with a shotgun. So we had to apply real sense to it all. As

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a director, I love style. I don’t like style over content. I’m always trying to think, how can I make
things stylish and cool, but have a reason behind it?”

TRUE BELIEVERS

In many ways, KICK-ASS is the ultimate comic book movie. Like the Millar/Romita Jr. comic,
KICK-ASS is stuffed to the gills with references to comic books and other superhero movies.
“With no power comes no responsibility” is a play on Spider-Man’s catchphrase, “with great
power comes great responsibility.” There are also multiple references to Batman and Superman,
and the movie constantly plays with the tropes and conventions of the genre.

“It’s a love letter to comic books,” says Vaughn, echoing a phrase used by both Goldman and
Millar. “It’s a post-modern comic book movie, it’s a comic book movie for now. I feel that comic
book movies have become creaky. You can’t get away with cookie-cutter superhero movies
anymore, and I feel that kids are going to relate to this.”

As a result it was important that the tone be cheeky but reverent for Vaughn, and that the
subversions of the conventions of the superhero genre be playful. “There is definitely an element
of parody in there but it comes from a place of great affection. It’s about paying homage to
something that I love rather than holding it up for ridicule.”

“I wanted to steep it in the comic book world,” adds Vaughn. “It was about deconstructing
everything I loved. Not destroying it. There’s not one negative aspect to the way that any of these
characters, apart from Frank, is depicted. He’s the only one who’s got a problem with
superheroes. Everyone else thinks they’re cool.”

###

11
ABOUT THE KICK-ASS CAST

Aaron Johnson (Dave Lizewski/Kick-Ass) was born on the 13th of June 1990 in High
Wycombe, England and attended the Jackie Palmer Stage School.
October 2009 - Aaron was nominated for ‘Best Actor’ at the 2009 BIFA awards for his
role as a young John Lennon alongside Kristin Scott Thomas and Anne-Marie Duff in
NOWHERE BOY. NOWHERE BOY was directed by Sam Taylor-Wood and focuses on
Lennon's childhood and subsequent journey to Beatles fame.
Johnson was last seen in the independent UK film DUMMY, along with up and coming
actors Thomas Grant and Emma Catherwood. Here, Aaron showed his more serious side in this
coming of age drama about two brothers whose lives are thrown into turmoil when their mother
dies, leaving them to fend for themselves. Also in 2009, Aaron starred in THE GREATEST
opposite Pierce Brosnan and Susan Sarandon which received a 2009 screening at Sundance.
2008 saw Aaron play the hugely popular character of the teenage ‘sex-god’ in Paramount
Pictures’ coming of age comedy, ANGUE, THONGS AND PERFECT SNOGGING. Directed by
Gurinder Chadha, the film was based on the hugely popular, international best-selling book series
by the same name.
By the young age of 18, Johnson already had much experience and success under his belt.
He played a young Edward Norton in the Oscar® nominated and award-winning film THE
ILLUSIONIST, directed by Neil Burger. Johnson also starred alongside Jackie Chan and Owen
Wilson in the popular SHANGHAI NIGHTS, as well as THE THIEF LORD with Caroline
Goodall and Jasper Harris.
Johnson has also appeared in several popular UK television series, including “Feather
Boy,” “Family Business,” “Nearly Famous” and “Talk To Me.” In the summer of 2008 was
included in Screen International’s “Stars of Tomorrow” feature which is an annual showcase of
promising up and coming talent.
In 2010, Johnson can be seen in feature film CHATROOM alongside Imogen Poots and
Matthew Beard; and with this and his success in 2009 films and his is sure to be one of
Hollywood next break outs.

Christopher Mintz-Plasse (Chris D’Amico/Red Mist) is quickly becoming one of the


most sought after young comedic actors in Hollywood, thanks to his unforgettable film debut as
“Fogell” aka “McLovin” opposite Michael Cera and Jonah Hill in the acclaimed teen hit
SUPERBAD in 2007. Having had no professional acting experience before the film, Mintz-Plasse
went into the audition with a head shot he had taken on his camera phone. The film was hailed
by the Los Angeles Times as “the most profane (and hilarious) high school movie of the last 30
years.” Produced by Judd Apatow and Shauna Robertson, written by Seth Rogen and Evan
Goldberg; the film grossed nearly $120 million at the U.S. box office.
Last year, Mintz-Plasse was featured in the hit comedy ROLE MODELS. The film,
which also starred Paul Rudd, Sean William Scott, and Ken Jeong, was a huge success and
garnered over $90 million at the worldwide box office. Most recently, Mintz-Plasse was reunited
with his SUPERBAD co-star Michael Cera in the Harold Ramis film, YEAR ONE. In addition to
his film roles, Mintz-Plasse was seen as a presenter at the MTV Video Music Awards in 2008.
Mintz-Plasse also presented Judd Apatow with the “Mankind Award” at this year’s Guys Choice
Awards.

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Mintz-Plasse will be lending his voice to the character “Fishlegs” in the upcoming
DreamWorks Animation film HOW TO TRAIN YOUR DRAGON. Set for release in March
2010, the film will also include the vocal talents of Jonah Hill, Gerard Butler and America
Ferrera.
Mintz-Plasse currently resides in Los Angeles.

Mark Strong (Frank D’Amico) is counted amongst the finest actors of his generation.
Having studied English and Drama at London University, and then acting at the Bristol Old Vic
Theatre School, he now boasts an award-winning career spanning film, theatre, television and
radio, working with such directors as Danny Boyle, Ridley Scott, Guy Ritchie, Peter Weir, Kevin
Macdonald and Roman Polanski, to name but a few.
Strong has over thirty credits on the silver screen, recent feature films include; Ridley
Scott’s BODY OF LIES (for which he was nominated Best Supporting Actor at the London
Critics’ Circle Film Awards) and the upcoming ROBIN HOOD, Matthew Vaughan’s
STARDUST and the forthcoming KICK-ASS, Pete Travis’ ENDGAME, THE YOUNG
VICTORIA for Jean Marc Vallee, ROCKNROLLA and SHERLOCK HOLMES for Guy Ritchie,
Peter Weir’s THE WAY BACK and Kevin Macdonald’s THE EAGLE OF THE NINTH, both
due to be released 2010. Mark will begin filming Andrew Stanton’s JOHN CARTER OF MARS
in the New Year.
Television appearances include; “The Long Firm”, for which he was nominated for the
Best Actor BAFTA and won the Best Actor Award at the Broadcasting Press Guild Awards,
“Henry VII” playing the Duke Of Norfolk, “Prime Suspect” as Commander Hall, “Emma”
playing Mr. Knightly, “Anna Karenina” as Oblonsky, and the multi award-winning “Our Friends
in the North”.
In theatre his credits include; The Plantaganets, directed by Adrian Noble, and Hess Is
Dead directed by Danny Boyle for the Royal Shakespeare Company. Richard III directed by
Richard Eyre, King Lear by Deborah Warner and Death Of A Salesman directed by David
Thacker at the National Theatre, and Twelfth Night and Uncle Vanya, directed by Sam Mendes at
the Donmar Warehouse, for which he was received an Olivier Award nomination for Best
Supporting Actor.

Chloë Grace Moretz (Mindy/Hit Girl) began a career in entertainment at the tender age
of five. She began in New York City as a national model in many print outlets and television
commercials. At age six she moved with her family to Los Angeles where her career took a
theatrical turn.
Quickly after moving to California, Chloë booked a recurring role on the CBS show “The
Guardian” with Simon Baker. She had the fortune of being directed by Emilio Estevez for her
very first theatrical outing. Her first feature film came soon thereafter in an independent film THE
HEART OF THE BEHOLDER. She immediately booked a lead role in Michael Bay's remake of
THE AMITYVILLE HORROR for MGM opposite Ryan Reynolds and received critical acclaim
for that role in which she was called upon to display a wide array of emotions.
Chloë will next be seen starring in two highly anticipated films. On April 2nd, Fox will be
releasing DIARY OF A WIMPY KID, the theatrical remake of Jeff Kinney’s popular children’s
book series of the same name. Chloë plays the lead role of “Angie,” an intense middle school girl
dressed in all black who is much smarter than her peers.
She is currently in New Mexico filming the lead role in LET ME IN, written/directed by
Matt Reeves. LET ME IN is a famous vampire tale based on the Swedish novel Let The Right
One In. The film tells the story of a young, bullied boy who finds love and revenge through
“Abby” (played by Chloë), a young and beautiful vampire.
Chloë was last seen starring in Fox Searchlight’s offbeat romantic comedy 500 DAYS
OF SUMMER with Joseph Gordon-Levitt and Zooey Deschanel. The film premiered at the 2009

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Sundance Film Festival in Park City, Utah. She was also recently seen starring in NOT
FORGOTTEN alongside Paz Vega and Simon Baker. This psychological thriller tells the story
of a couple in a Tex-Mex bordertown who must come to terms with their tortured pasts in order to
save their kidnapped daughter, Toby, played by Chloë. The film is set to be released in 2009.
Another recent film credit includes the Lionsgate horror film, THE EYE alongside
Jessica Alba. This chilling tale tells the story of a woman who is blind then begins to see horrific
visions once she completes her cornea transplants. Chloë plays Alicia, the young girl in the
hospital who befriends Jessica Alba’s character.
On the small screen Chloë was could be seen throughout the 2nd season of the hit ABC
series “Dirty Sexy Money” as Kiki George, where she shared screen with Peter Krause and
Donald Sutherland.
After wrapping THE AMITYVILLE HORROR, Chloë appeared in several more
independent films, one of which THE THIRD NAIL made festival debuts. She also appeared in a
lead role in the 20th Century Fox comedy BIG MOMMA’S HOUSE 2 with Martin Lawrence.
She also landed the lead role in a feature film shot in Sofia, Bulgaria entitled THE CHILDREN
and guest starred on the comedy “My Name is Earl” and ABC’s “Desperate Housewives.”
In addition to feature films and television, Chloë has also been using her acting abilities
to bring life to animation thorough her voice. She was cast as the lead “Darby” in the new series
“My Friends Tigger and Pooh” for Disney Animation. The new series will debut in May 2007
and her character is said to be the female equivalent of Christopher Robbins. She also lent her
voice for the animated show “The Emperor’s New School”.
She currently resides in Los Angeles.

Hot Springs, Arkansas native Clark Duke (Marty) is the co-creator of the web comedy
series, “Clark and Michael,” which he wrote, directed, produced and starred in alongside his
friend and comedy partner, Michael Cera. This landmark series, which lampooned their
characters’ efforts to write & sell a television show, was named to many Best Of lists in 2007,
including Time, Entertainment Weekly, The New York Times, Los Angeles Times, and many,
many others. Clark and Michael continue to enjoy massive popularity all over the world and
have established Clark Duke as a creative force to be reckoned with for decades to come.
A talented musician who has launched a Los Angeles based band, Clark also continues
his work on a diverse slate of projects as a writer, actor, director and producer. Clark’s work has
taken him from film to TV to new media to publishing, with multiple projects in development and
production. In 1992 he was nominated for a Young Artist Award as an Outstanding Actor Under
Ten in a Television Series for his work on “Hearts Afire.”
2008 saw Clark with a starring role in the teen comedy SEX DRIVE, directed by Sean
Anders for Summit Entertainment. Currently, Clark can be seen as “Dale” in the hit ABC Family
comedy “Greek.” He has also been featured as multiple voices on Seth Green’s hit Adult Swim
animated series, “Robot Chicken.”
Upcoming projects A THOUSAND WORDS, set to be released 2011, with Clark starring
opposite Eddie Murphy.
Clark currently resides in Los Angeles, CA.

Born and raised in Northern California, Lyndsy Fonseca (Katie) and her family
relocated to Los Angeles when, at thirteen years old, she landed the role of Colleen Carlton on the
award-winning CBS daytime drama, “The Young and The Restless,” where she spent the next
three years wowing audiences and honing her craft.
After ending her three year commitment on “The Young and the Restless” Fonseca went
on to several recurring roles on some of television’s hottest shows, including a four episode arc
on David E Kelley’s award winning drama, “Boston Public,” the role of the daughter on CBS’
“How I Met Your Mother,” and as Donna on the HBO series, “Big Love.”

14
Fonseca recently completed shooting the feature period piece FORT MCCOY, and plays
Anna Gerkey, a Christian girl who falls in love with a Jewish solider during World War I. She
can also be seen each week on the hit ABC show “Desperate Housewives.” She plays Dylan
Mayfair, the inquisitive daughter of the manipulative Katherine Mayfair (Dana Delaney) who has
no memory of her childhood. Fonseca was a series regular on the CBS show, “Waterfront.” She
played Annabelle, the sharp tongued, political activist daughter of Joe Pantoliano and Mary Stuart
Masterson. Fonseca is a recurring character on “How I Met Your Mother,” and “Big Love,” and
can also be seen this season as a guest lead on the hit shows including “House” and “CSI.”
Fonseca also recently starred in the edgy, coming of age independent feature film,
REMEMBER THE DAZE, in which she played Dawn, a girl who is realizing and coming to grips
with her sexual orientation. REMEMBER THE DAZE premiered at the Los Angeles Film
Festival this past June, 2007 to rave reviews.
Fonseca currently resides in Los Angeles with her dog Romey. She spends her free time
in dance class, acting class, hiking, singing, and hanging out with friends.

Evan Peters (Todd) was born and raised in St Louis, Missouri. When he was 14, his
father took a job in Grand Blanc, Michigan, where the family moved to begin their new life. It
was in Grand Blanc that Peters met Bob Lamb, a photographer, who put him on tape for Los
Angeles talent managers.
Weeks later, Peters and his family came to Los Angeles for a visit, which would soon
turn into a permanent stay. Peters was sent to a talent agency, who signed him immediately. His
next meeting was his first audition for the independent film CLIPPING ADAM. Within a couple
of weeks, he landed the title role and his career was underway.
Numerous commercials followed, which included Sony Play Station, Progressive
Insurance, Moviefone, Sour Patch Kids, Papa John’s Pizza, and Kellogg.
In 2004 Peters made his television debut in the recurring role of Seth on Disney’s “Phil of
the Future.” Soon after, he was cast in the ABC Family series, “The Days,” and then the ABC
series “Invasion.”
He has appeared in several feature films, including SLEEPOVER, CLIPPING ADAM,
AN AMERICAN CRIME, MAMA’S BOY, GARDENS OF THE NIGHT and REMARKABLE
POWER. Most recently he starred in NEVER BACK DOWN, opposite Sean Faris and Cam
Gigandet.

Academy Award®-winner Nicolas Cage (Damon/Big Daddy), one of the most versatile
actors of all time, is equally well known for his poignant portrayals in both drama and
comedy. His latest film, BAD LIETENANT: PORT OF CALL NEW ORLEANS, opened in
November and his performance has garnered rave reviews. His memorable performance as an
alcoholic drinking himself to death in the MGM drama LEAVING LAS VEGAS, directed by
Mike Figgis, earned him an Academy Award®. He also received a Golden Globe® and Best
Actor awards from the New York Film Critics Circle, the Los Angeles Film Critics Association,
the Chicago Film Critics and the National Board of Review. Cage further solidified his leading
man status when he received Academy Award®, Golden Globe®, Screen Actors Guild, and
British Academy of Film and Television Arts (BAFTA) nominations for his dual role as twin
brothers Charlie and Donald Kaufman in Spike Jonze’s quirky comedy ADAPTATION, which
co-starred Meryl Streep and Chris Cooper.
Cage’s recent films include ASTRO BOY, G-FORCE, KNOWING and NATIONAL
TREASURE: BOOK OF SECRETS. NATIONAL TREASURE: BOOK OF SECRETS was a
massive success holding the number one spot for three consecutive weeks at the box office in the
United States. In GHOST RIDER, based on the Marvel Comics character, directed and written by
Mark Steven Johnson, Cage portrayed Johnny Blaze. The film immediately set a new record as
the highest-grossing opener for Presidents’ Day weekend. Cage’s other recent starring roles have

15
been in Neil LaBute’s THE WICKER MAN, Oliver Stone’s WORLD TRADE CENTER, Gore
Verbinski’s THE WEATHER MAN and Andrew Niccol’s LORD OF WAR. He was also heard
as the voice of Zoc in the animated film THE ANT BULLY.
In addition to KICK-ASS, this year Cage will also star in Disney’s THE SORCERER’S
APPRENTICE, marking his seventh collaboration with producer Jerry Bruckheimer, as well as
the Lionsgate thriller SEASON OF THE WITCH.
At the end of 2002, Cage released his feature film directorial debut, SONNY. Cage cast
an impressive group of actors, including Golden Globe® winner James Franco, Mena Suvari,
Brenda Blethyn and Harry Dean Stanton. The film was accepted into the 2002 Deauville Film
Festival. Golden Circle Films, Vortex Pictures and Cage’s Saturn Films produced the picture.
Cage’s production company, Saturn Films, produced the 2002 Universal Pictures film THE
LIFE OF DAVID GALE, and, in 2000, the critically acclaimed Lionsgate film, SHADOW OF A
VAMPIRE.
Cage’s many other films include GONE IN 60 SECONDS, NATIONAL TREASURE,
CON AIR, THE ROCK, NEXT, BANGKOK DANGEROUS, MATCHSTICK MEN,
WINDTALKERS, CAPTAIN CORELLI’S MANDOLIN, THE FAMILY MAN, BRING OUT
THE DEAD, EIGHT MILLIMETER, SNAKE EYES, CITY OF ANGELS, FACE OFF,
GUARDING TESS, RED ROCK WEST, IT COULD HAPPEN TO YOU, KISS OF DEATH,
HONEYMOON IN VEGAS, VALLEY GIRL, THE COTTON CLUB, RACING WITH THE
MOON, PEGGY SUE GOT MARRIED, RUMBLE FISH, Joel and Ethan Coen’s RAISING
ARIZONA, and VAMPIRE’S KISS. It was Cage’s portrayal of a tormented Vietnam vet in
BIRDY that first established him as a serious actor. Directed by Alan Parker, BIRDY won the
jury prize at Cannes. Cage then received a Golden Globe® nomination as Best Actor for his role
as Cher’s lover in MOONSTRUCK. David Lynch’s WILD AT HEART, starring Cage and Laura
Dern, won the Palme d’Or at the 1990 Cannes Film Festival.
Some of Cage’s other honors include a Golden Globe® nomination for his role in
HONEYMOON IN VEGAS, the prestigious Lifetime Achievement Award from the Montreal
World Film Festival, and the first ever Distinguished Decade in Film Award at ShoWest.
Cage was raised in Long Beach, California and lived there until his family moved to San
Francisco when he was 12. Cage began acting at age 15 when he enrolled in San Francisco’s
American Conservatory Theatre when he appeared in the school’s production of Golden Boy. He
later moved to Los Angeles, and while still a high school student landed a role in the television
film “The Best of Times.” He made his feature film debut in FAST TIMES AT RIDGEMONT
HIGH.

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ABOUT THE KICK-ASS FILMMAKERS

Matthew Vaughn (Director/Producer/Screenplay) is a leading British filmmaker who


has produced, written and directed an impressive array of films. Vaughn began his career as
producer with Guy Ritchie’s LOCK STOCK AND TWO SMOKING BARRELS and SNATCH
(Brad Pitt) which received wide acclaim. Through his production company MARV Films,
Vaughn’s directorial debut was LAYER CAKE starring Daniel Craig. STARDUST followed
(Robert De Niro and Michelle Pfeiffer) which Vaughn directed and co-wrote with writing partner
Jane Goldman. 2009 saw Vaughn produce HARRY BROWN (Michael Caine) and THE DEBT
(Helen Mirren and Sam Worthington) which Vaughn also wrote.

Jane Goldman (Screenplay/Co-Producer), a novelist, screenwriter and television


presenter, is known in the UK as the host of the series “Jane Goldman Investigates,” in which she
explores the mysteries of the paranormal.
As a novelist, Goldman has garnered accolades for Dreamworld, a riveting thriller set
against a sprawling Florida theme park hiding fantastical secrets. Among her several non-fiction
works is The X-Files Book of the Unexplained.
A good friend of Neil Gaiman, she appears as a character in his short story The Facts in
the Case of the Disappearance of Miss Finch. Goldman also co-wrote STARDUST and THE
DEBT with Matthew Vaughn.

Mark Millar (Based on the Comic Book written by/Executive Producer) has written
some of the most successful English-language comics of the last few years and has, for six years
running, been the best-selling British writer working in America.
His current projects are Ultimates 2 with artist Bryan Hitch, Ultimate Fantastic Four with
artist Greg Land, and Marvel Civil War with artist Steve McNiven. Civil War has been Marvel’s
bestselling series in over a decade and was featured on everything from CNN to MTV in June
2006, for the public unmasking of Spider-Man. Millar is also a senior writer/story consultant at
Marvel Entertainment in New York and the creator of his independent Millarworld line of books.
Millarworld was launched in 2004 as a means of generating new, creator-owned properties for
comics, television and movies.
The first of these titles was Wanted, adapted for the screen in 2008, starring James
McAvoy and Angelina Jolie, and grossing $340m worldwide.
Millar was born in Coatbridge, Scotland, on December 24, 1969. Growing up, he was
into all the same time-wasting pursuits you were into and so, when the opportunity arose, he
dropped out of university in the final year of his degree and became a full-time writer. After stints
at 2000AD and DC Comics and a brief foray into British television, Millar’s first real success was
The Authority for Wildstorm Productions and a subsequent string of hits at Marvel. These started
with the creation of Ultimate X-Men and The Ultimates before being followed by Marvel Knights
Spider-Man, Ultimate Fantastic Four, Wolverine, and Civil War. Outside of Marvel, he created
the bestselling Superman: Red Son graphic novel, Wanted, Chosen, and The Unfunnies.
Millar is currently writing two major superhero screenplays. In his downtime, he writes a
monthly Millarworld column for his friends at SFX magazine and occasional pieces for a variety
of British newspapers and magazines.

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John S. Romita Jr. (Based on the Comic Book written by/Executive Producer) began
his career at Marvel UK, doing sketches for covers of reprints. He made his American debut with
Chaos at the Coffee Bean!, a story within the Amazing Spider-Man Annual #11 (1977).
Romita's early popularity began with his work on Iron Man in 1978, and in the early 80s,
he had his first regular run on the Amazing Spider-Man series. During that time he was also the
artist for the launch of the Dazzler series, and had a run on the popular Uncanny X-Men. He
would return for a second well-received run on Uncanny X-Men in 1993.
In the late 1980s and early 1990s, Romita enjoyed an extended stint on Daredevil with
writer Ann Nocenti and Eisner Award-winning inker Al Williamson, noted for its creation of
long-running Daredevil nemesis Typhoid Mary. His work on Daredevil was well-received, with
Romita further refining his style.
During the 1990s, he worked on a host of Marvel titles including The Punisher War
Zone, the Hulk, the Cable mini-series, The Mighty Thor, a return to Iron Man for the second
Armor War written by John Byrne, and the Punisher Batman cross-over.
In the 2000s, Romita had a well-received return to The Amazing Spider-Man with writer
J Michael Straczynski. He drew Marvel's Wolverine with author Mark Millar as part of the
character's thirtieth-anniversary celebration. In 2004, Romita's creator-owned project The Grey
Area was published by Image Comics. Romita's art has since appeared in Black Panther, The
Sentry, and Ultimate Vision, a back-up story featured in the Ultimate line, written by author Mark
Millar. In 2006, Romita collaborated with writer Neil Gaiman on the reinterpretation of Jack
Kirby’s The Eternals in the form of a seven-issue miniseries. Romita worked with Greg Pak on
the five issue main comic of Marvel's 2007 crossover event, World War Hulk. In 2008, Romita
again returned to Amazing Spider-Man.

Plan B Entertainment (Production Company) is actor/producer Brad Pitt’s production


company, which has previously produced such films as the Oscar®-winning THE DEPARTED,
CHARLIE AND THE CHOCOLATE FACTORY, A MIGHTY HEART and THE
ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD.
The company is currently in post-production on Liz Gilbert’s best-selling book EAT
PRAY LOVE, written/directed by Ryan Murphy and starring Julia Roberts, Javier Bardem, and
James Franco, for Sony Pictures. Plan B is also in post-production on Terence Malick’s TREE
OF LIFE, starring Brad Pitt and Sean Penn and to be released by Bob Berney & Bill Pohlad’s
new distribution arm Apparition. Last summer, Plan B’s THE TIME TRAVELLER’S WIFE,
starring Rachel McAdams and Eric Bana, was released by Warner Brothers.
Among Plan B’s upcoming projects are a number of adaptations and vehicles for Pitt,
including thriller WORLD WAR Z, based on Max Brooks’ best-selling book, to be directed by
Marc Forster; the action-adventure THE LOST CITY OF Z, written and to be directed by James
Gray; the action film THE KILLER and the fantasy horror film BLACK HOLE, both of which
are being developed for David Fincher to direct; a screen adaptation of the bestselling Beautiful
Boy and Tweak, two non-fiction bestsellers that detail a young man’s drug addiction as seen from
his father’s and his own perspective.

Kris Thykier (Producer) is the founder of PeaPie Films, a London-based production


entity, set up in the summer of 2009. For the previous two years, Thykier worked with partner
Matthew Vaughn at MARV Films.
Thykier and Vaughn, as Producers have THE DEBT, a psychological spy thriller directed
by John Madden, starring Helen Mirren, Tom Wilkinson, Sam Worthington and Jessica Chastain
recently finished and set for release in fall 2010. They also recently produced the acclaimed
HARRY BROWN starring Sir Michael Caine.

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Thykier was the Executive Producer of STARDUST, the epic fairytale written and
directed by Vaughn and starring Michelle Pfeiffer, Robert De Niro and Charlie Cox. The movie
has grossed over $140 million at the worldwide box-office.

Adam Bohling (Producer) has worked on numerous films including PROOF OF LIFE
(Russell Crowe, Meg Ryan), NIL BY MOUTH (Ray Winstone), LOCK STOCK AND TWO
SMOKING BARRELS and Snatch (Brad Pitt). He produced with David Reid, Matthew
Vaughn’s directorial debut LAYER CAKE starring Daniel Craig. As producing partners Bohling
and Reid went onto produce the BAFTA nominated Indian box office hit RANG DE BASANTI,
MR. LONELY (Samantha Morton) and TELSTAR (Kevin Spacey).

Tarquin Pack (Producer) – Having worked in sports documentary, commercial


production and film, Pack started working with Matthew Vaughn on LAYER CAKE (2004). He
was also involved in Vaughn’s second directing project, STARDUST (2007), as well as being an
Executive Producer on the Vaughn-scripted and Produced THE DEBT. An integral part of
MARV Films, Pack works very closely with Vaughn on all his film projects.

David Reid (Producer) has worked on numerous films including BORN ROMANTIC
(Olivia Williams, David Morrissey) and THE BUNKER (Eddie Marsan, Jack Davenport) LOCK
STOCK AND TWO SMOKING BARRELS and SNATCH (Brad Pitt). With Adam Bohling, he
produced Matthew Vaughn’s directorial debut LAYER CAKE starring Daniel Craig. As
producing partners, Bohling and Reid went onto produce the BAFTA nominated Indian box
office hit RANG DE BASANTI, MR. LONELY (Samantha Morton) and TELSTAR (Kevin
Spacey).

Pierre Lagrange (Executive Producer) is a co-founder and Senior Managing Director


of GLG Partners LP. A part financier in Matthew Vaughn’s fairytale epic, STARDUST (Robert
De Niro and Michelle Pfeiffer), Pierre has once again teamed up with Vaughn to part–finance the
highly anticipated comic book adaption KICK-ASS.

Stephen Marks (Executive Producer) previously served as executive producer on


Matthew Vaughn’s hit films STARDUST and LAYER CAKE, as well as executive producing
LOCK STOCK AND TWO SMOKING BARRELS and SNATCH. He is the founder and
chairman of French Connection Group PLC, which went public in 1984, and is a successful
wholesale and retail fashion company.

Ben Davis BSC (Director of Photography) – KICK-ASS marks Ben’s third


collaboration with Matthew Vaughn, having previously worked on STARDUST and LAYER
CAKE. His other feature film credits include John Madden’s THE DEBT, Gerald McMorrow’s
FRANKLYN, Sharon Maquire’s INCENDIARY and Peter Webber’s HANNIBAL RISING.
Ben’s work can also be seen in the short film, THE TONTO WOMAN, which received an
Academy Award® nomination in 2008 for Best Live Action short film. Ben is currently working
on Stephen Frears’ TAMARA DREWE, starring Gemma Arterton and Dominic Cooper.

Russell De Rozario (Production Designer), a graduate of the Chelsea College of Art,


previously collaborated with Matthew Vaughn on Guy Ritchie’s SWEPT AWAY and MEAN
MACHINE. Other feature film credits include Nick Moran’s TELSTAR and Andy Monahan’s
GOAL III.
De Rozario has also worked extensively in broadcast advertising for clients including
Nike, Kelloggs, Vodaphone, Mastercard, Sky, Grolsch, and Blockbusters. He has also worked
for the BBC on productions such as “Walking With Dinosaurs.”

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Jon Harris (Editor) - Jon’s feature film credits include EDEN LAKE, STARTER FOR
10, SNATCH, THE CALCIUM KID, DOT THE I and RIPLEY’S GAME. KICK-ASS marks
Jon’s third collaboration with Matthew Vaughn, having previously worked on LAYER CAKE
and STARDUST. Jon won the Best Technical Achievement trophy for THE DESCENT at the
2005 British Independent Film Awards and went on to direct and edit THE DESCENT: PART 2.
Jon is currently working on Danny Boyle’s new feature, 127 HOURS, in Utah.

KICK-ASS is Eddie Hamilton’s (Editor) third collaboration with Matthew Vaughn. As


passionate about big screen storytelling as he is about the technology and details of post
production, Eddie has cut over twenty feature films ranging from low-budget independents to
larger studio pictures over the last 12 years in the industry.

John Murphy (Composer) - A self-taught musician and songwriter, John Murphy began
composing music for films in the mid 1990s, scoring several successful British movies, including
LOCK STOCK AND TWO SMOKING BARRELS (1998) and SNATCH (2000).
In 2000 Murphy left his home town Liverpool for Los Angeles, where he began to
develop what has now become his signature electronica/orchestral hybrid sound. Despite his indie
roots and often unconventional approach to film-scoring, he has worked with some of the
industry's most respected and luminary filmmakers, including Danny Boyle, Stephen Frears and
Michael Mann, and produced several prominent and critically acclaimed scores, including 28
DAYS LATER, MIAMI VICE, SUNSHINE and THE LAST HOUSE ON THE LEFT.
In 2009 Murphy set up Distorter Records, an independent label which will release some
of his more experimental non-film projects.
Awards for his music include the Silver Award (1st Prize) at Cannes, a British D & AD
Award, and a BMI Award. He has been nominated for an Ivor Novello, an RTS Award, and the
BRIT Award for Best Soundtrack.

Henry Jackman (Composer) studied classical music in the UK at St. Paul's Cathedral
Choir School, Eton College and Oxford University. An avid interest in technology and
contemporary culture meant his formal education was mixed with the urban beats of club music
and the innovative production of Electronica.
With a successful and eclectic career in both record and film industries, Henry's musical
work has ranged from the chart topping to the esoteric, and from summer blockbusters to art
house projects. He combines a unique range of skills, which include classical composition,
orchestral arrangement, beat programming, sound design, production and mixing.
In the past few years, Henry has made a startling and successful transition to movie
scoring. At the start of 2006, he caught the attentions of Oscar®-winning Hans Zimmer, one of
the most successful film composers of all time. This fruitful association has lead to significant
credits and contributions on several top-ranking films produced in recent years: THE DA VINCI
CODE, PIRATES OF THE CARIBBEAN 2, THE HOLIDAY, PIRATES OF THE
CARIBBEAN 3, THE SIMPSONS MOVIE, KUNG FU PANDA, HANCOCK, THE DARK
KNIGHT and IT’S COMPLICATED.
Additionally, in 2009, Henry finished composing all original music for the DreamWorks
Animation release, MONSTERS VS. ALIENS, and in the summer composed the original music
for the historic biopic, HENRI VI (from Ziegler Films, Germany), which will be released in
March 2010. Later in 2010, Henry will compose the original music for the upcoming 20th
Century Fox release GULLIVER’S TRAVELS.
Working on film productions at this level has brought Henry into association with
Hollywood's most distinguished and talented professionals - award winning producers and
directors.

20
Henry's unique orchestral compositions have been performed and recorded by musicians
both from the London Symphony Orchestra and the Los Angeles Philharmonic Orchestra, and his
ability to work alongside leading orchestral players and conductors is a vital part of his work. As
well as contributing to major movie scores, Henry has also found time to complete his own
albums of music. Utopia, published by West One Music, combines the sound of Latvian choirs
with innovative Electronica and cutting edge production. Transfiguration, published by KPM
Music, was written, programmed, arranged, engineered, mixed and produced by Henry and
completed in 2005. The influences of this album are extensive, incorporating everything from the
psalms of David to the poetry of Herman Hesse. Acoustica, also published by KPM Music, has
just been completed in collaboration with the award-winning guitarist and songwriter, Augustus
Isadore.
Prior to completing Utopia, Transfiguration and Acoustica, Henry's work within the
music industry has been varied and high profile. His programming credits include Mike Oldfield,
Marc Almond, Coolio, and Kirsty McColl. He collaborated with Andy Gardner (of Plump DJ's
fame) to produce a series of Dance Remixes that topped the dance charts and were selected for
Pete Tong's Essential Selection, for artists like Kele le Roc and Boyzone. At the same time he
worked with Michael Gordon, a New York-based minimalist composer, on his composition -
Weather- for Coalition Records.
Not long afterwards, Henry was working with the legendary Trevor Horn, programming
and executing string arrangements for the title track of 20th Cent Fox's film ANASTASIA,
featuring Richard Marx and Donna Lewis on the song “In the Beginning.” He also co-produced
“Born On A Sunday” with Trevor Horn on the Art of Noise album The Seduction of Claude
Debussy. Meanwhile, he quietly produced some unashamed pop with the likes of Gary Barlow
from Take That (which reached no.3 in the UK charts) and Justin. As well as production work,
Henry continued to write music, which is used regularly on CNN News, the BBC, “The Oprah
Winfrey Show” and The Discovery Channel.
Collaboration with internationally acclaimed artist, Seal, was shortly to follow as they
worked together to write and produce “This Could Be Heaven” for the motion picture THE
FAMILY MAN, which starred Nicholas Cage.
After eight years of successful work in the record industry with platinum-award winning
artists, producers, writers and musicians, Henry has now firmly turned his attention to film
scoring. He brings with him all the valuable experience and production knowhow accrued from
his time making records.

Four-time Grammy® nominee Marius de Vries (Composer) has been involved in some
of the most culture-defining recordings and soundtracks of the past two decades, and has won two
BAFTAs and an Ivor Novello award for his film composition work.
Beginning his musical career playing keyboards for the English eighties pop-soul band
The Blow Monkeys, he has since written, arranged, and produced across a wide range of styles
and genres for Madonna, Bjork, Rufus Wainwright, Neil Finn, Annie Lennox, Bebel Gilberto,
David Gray, P J Harvey, U2, Massive Attack, Elbow, Teddy Thompson and Josh Groban,
amongst many others.
His film music career took off in the mid-nineties - his collaboration with Nellee Hooper
and Craig Armstrong on the soundtrack and score for Baz Luhrmann's ROMEO + JULIET won
Marius the first of his two BAFTAs. A few years later, he music-directed the groundbreaking
MOULIN ROUGE, starring Nicole Kidman and Ewan McGregor, resulting in another Grammy®
nomination, a second BAFTA, and numerous other awards. Marius also composed the score for
Stephan (PRISCILLA QUEEN OF THE DESERT) Elliott's surreal thriller THE EYE OF THE
BEHOLDER, and last year's jazz-age period comedy EASY VIRTUE.
In the world of Musical Theatre, Marius has worked several times with Andrew Lloyd-
Webber, with his co-production of the cast album for A.R Rahman's Bombay Dreams, and his

21
production and orchestration work on the forthcoming sequel to The Phantom Of The Opera,
Love Never Dies; as well as producing the cast album for Richard Thomas' hugely successful
(and equally controversial) West End comedy hit Jerry Springer - The Opera.
In early 2008 Marius created an hour-long contemporary dance piece, Squaremap Of Q4
for the award-winning Spanish choreographer Rafael Bonachela; this premiered at the South
Bank in London.
He has also recently completed work on the eclectic Chinese singer Sa Ding Ding's
second album for Universal Records, Harmony, recorded in Beijing and mixed in London.
2010 sees Marius contributing score and song productions Zack Snyder's music-driven
action fantasy SUCKER PUNCH, as well as co-producing an LP with and for Robbie Robertson,
featuring guests Eric Clapton, Steve Winwood, Tom Morello and others.

Ilan Eshkeri (Composer) is a British film composer known for his scores to
STARDUST, LAYER CAKE, and THE YOUNG VICTORIA as well as his collaborations with
Annie Lennox, Take That and David Gilmour.
Ilan has recently completed Oscar®-winning producer Christian Colson's CENTURION.
Other recent work includes James McTiegue's NINJA ASSASSIN (produced by Joel Silver and
the Wachowski brothers), and Oscar® winner Julian Fellowes' FROM TIME TO TIME.
Ilan oversaw the completion of the BAFTA nominated score for SEX & DRUGS &
ROCK & ROLL and was shortlisted for an Academy Award® for his song 'Only You' on THE
YOUNG VICTORIA.

Sammy Sheldon (Costume Designer) - A graduate of The Wimbledon School of Art,


Sammy Sheldon began her career as an assistant designer on films including Ridley Scott’s
GLADIATOR and Jake Scott’s PLUNKETT & MACLEANE. She went on to design costumes
for Scott’s BLACK HAWK DOWN and the mockumentary, CALCIUM KID, starring Orlando
Bloom. She received her second BAFTA nomination for Best Costume Design for MERCHANT
OF VENICE, starring Al Pacino and Jeremy Irons. Sheldon was previously nominated for her
work on the BBC’s modern adaptation of “The Canterbury Tales.”
As well as KICK-ASS, Sheldon has also designed the cross-dressing comedy KINKY
BOOTS, A HITCHIKER’S GUIDE TO THE GALAXY, V FOR VENDETTA, STARDUST,
HELLBOY 2: THE GOLDEN ARMY, THE GREEN ZONE for director Paul Greengrass and
most recently Rob Letterman’s GULLIVER’S TRAVELS with Jack Black. Sammy was born in
Manchester and lives in London.

Fae Hammond (Hair & Make-up Designer) - Whilst primarily a makeup and hair
designer on feature films Fae has worked on high profile television projects as well as key
commercials. Fae began her career during the golden age of television joining the BBC in the late
70s. She left a decade later to balance a freelance career with motherhood, never an easy task!
Working with some of the greatest and imminent actors of our time including Dame Judi Dench,
Dame Maggie Smith, Sir Michael Caine, Sir Michael Gambon, Dame Helen Mirren, Gary
Oldman, Heath Ledger, Joaquin Phoenix, Brad Pitt and many more as well as up and coming new
stars Carey Mulligan, Aaron Johnson and Emma Roberts .Major credits include Brian
Helgeland’s A KNIGHT’S TALE, Joe Wright’s PRIDE AND PREJUDICE (which was
nominated for a BAFTA for makeup and hair), Guy Ritchie’s SNATCH, Gary Oldman’s
directorial debut NIL BY MOUTH, Charles Dance's LADIES IN LAVENDAR, Richard
Linklater’s ME AND ORSON WELLES. Major television projects include Giacomo Campiotti’s
‘Dr Zhivago’, and ‘Smashey and Nicey’ End of an Era’. Antonia Bird’s ‘Rehab’ and HBO’s
‘Elizabeth the 1st’ (which won an Emmy for Hair Design). Fae has worked for many years with
Matthew Vaughn; projects include LAYER CAKE , the wonderful tale of STARDUST and most

22
recently KICK-ASS and feels very much part of the family. Future plans include a quieter life in
the Northern Tuscan hills as an artisan remembering a wonderfully diverse and fulfilling career.

Simon Hayes AMPS (Production Sound Mixer) feature film credits include Daniel
Barber’s HARRY BROWN, Paul Greengrass’ GREEN ZONE, Phyllida Lloyd’s MAMMA
MIA!, Edgar Wright’s SHAUN OF THE DEAD and Guy Ritchie’s LOCK, STOCK & TWO
SMOKING BARRELS. KICK-ASS marks his third collaboration with Matthew Vaughn, having
previously worked on STARDUST and LAYER CAKE. Simon won the Conch Award for
Production Sound Mixer of the Year in 2008 and 2009. He also received the Golden Reel Award
in 2002 for Best Sound on SNATCH. Simon is currently working on BEL AMI, starring Robert
Pattinson, Kristin Scott Thomas and Uma Thurman.

Lucinda Syson CDG (Casting Director) - Graduating from Essex University in 1990,
Lucinda Syson’s first venture into casting was as the Casting Assistant on ALIEN III – which
involved working alongside the crew throughout principal photography and thus gaining an
excellent first-hand knowledge of the practicalities and mechanics of film-making. She continued
to train under fellow casting director Priscilla John on high-profile studio films like CITY OF
JOY, FRANKENSTEIN, 1492 CONQUEST OF PARADISE and in 1995 went on to cast her
first film, BROTHERS IN TROUBLE – directed by Udayan Prasad. This was swiftly followed
by the ground-breaking THE FIFTH ELEMENT, which she describes as a “baptism of fire”. She
then spent five months working on location in Argentina on SEVEN YEARS IN TIBET.
She has since repeatedly worked with prolific filmmakers such as Luc Besson, Tony
Scott, Oliver Stone, Alfonso Cuaron, Matthew Vaughn, Christopher Nolan, Wolfgang Petersen
and Guy Ritchie, casting a diverse range of projects, such as TROY, SYRIANA, SNATCH,
ALEXANDER, BATMAN BEGINS, CHILDREN OF MEN, SPYGAME, STARDUST, V FOR
VENDETTA and recently CLASH OF THE TITANS. KICK-ASS is her second collaboration
with Matthew Vaughn after STARDUST.

Sarah Halley Finn CSA (Casting Director) has been casting feature films for over 12
years, working in a broad range of films spanning every genre. From character-driven dramas
such as CRASH, to larger action-adventure films like IRON MAN, she relishes the challenges
and opportunities each project presents.
Sarah earned a degree from Yale University and went on to join the multidisciplinary Off
-Broadway company, Ensemble Studio Theater. She acted, directed and produced theater before
coming to work in casting. In 1997 she joined Paramount Pictures as Director of Feature Casting
where she cast 200 CIGARETTES and MISSION: IMPOSSIBLE 2, and oversaw a range of other
films. In 2000 she joined forces with Randi Hiller for a successful partnership which included
such films as MIRACLE, TERMINATOR 3, PRIDE AND GLORY and LIFE AS A HOUSE.
Sarah was awarded the Casting Society’s prestigious Artios Award for her work on CRASH, and
was invited to join AMPAS in 2006.
Two years ago Sarah formed her own company and in that time has completed work on
the upcoming films WALL STREET: MONEY NEVER SLEEPS, directed by Oliver Stone,
TRON LEGACY, the epic Disney release slated for later this year, as well as KICK-ASS.
Other upcoming projects include IRON MAN 2, THOR, which is currently in production
with Kenneth Branagh directing, and BEASTLY, a reimagining of the classic tale by Daniel
Barnz.

23
 
 
Cast
(in order of appearance)

Dave Lizewski/Kick-Ass AARON JOHNSON


Mr. Lizewski GARRETT M. BROWN
Marty CLARK DUKE
Todd EVAN PETERS
Mrs. Zane DEBORAH TWISS
Katie Deauxma LYNDSY FONSECA
Erika Cho SOPHIE WU
Mrs. Lizewski ELIZABETH MCGOVERN
Chris D’Amico/Red Mist CHRISTOPHER MINTZ-PLASSE
Huge Goon STU RILEY
1st Gang Kid JOHNNY HOPKINS
2nd Gang Kid OHENE CORNELIUS
Frank D’Amico MARK STRONG
Big Joe MICHAEL RISPOLI
Sporty Goon COREY JOHNSON
Scary Goon KENNETH SIMMONS
Baby Goon ANTHONY DESIO
Buttons CARLOS BESSE PERES
Tre Fernandez RANDALL BATINKOFF
Cody DEXTER FLETCHER
Mindy Macready/Hit Girl CHLOË GRACE MORETZ
Damon Macready/Big Daddy NICOLAS CAGE
Medic RUSSELL BENTLEY
Lobby Goon JASON FLEMYNG
Matthew TAMER HASSAN
Angie D’Amico YANCY BUTLER
Ginger Goon ADRIAN MARTINEZ
Danil TIM PLESTER
Posh Goon JOE BACINO
Oscar Juarez HUBERT BOORDER
Diner Fight Guy 1 CHRIS MCGUIRE
Diner Fight Guy 2 MAX WHITE
Diner Fight Guy 3 DEAN COPKOV
Running Teenager JACOB CARTWRIGHT
News Anchor MAURICE DUBOIS
News Anchor DANA TYLER
Craig Ferguson HIMSELF
Leroy OMAR SORIANO
Female Junkie KATRENA ROCHELL
Rasul KOFI NATEI
Detective Gigante XANDER BERKELEY
Sergeant Marcus Williams OMARI HARDWICK
Reporter DAN DURAN
Breaking News Reporter LOUIS YOUNG
Nervous Goon WALLE JOBARA

24
Big Mean Boy QUINN SMITH

Stunt Coordinators BRAD ALLAN


JAMES O’DEE
STEVE DENT
Key Stunt Riggers ANDREW OWEN
BOB SCHOFIELD
Fight Coordinators PENG ZHANG
RUDOLF VRBA
Assistant Stunt Coordinators JIA YU
MAX WHITE
Assistant Fight Co-ordinator/
Aaron Johnson Stunt Double DAMIEN WALTERS
Stunt Fire Coordinator STEVE GRIFFIN
Nicolas Cage Stunt Double EDDIE YANSICK
Christopher Mintz-Plasse Stunt Double MICHAEL BYRCH
Chloë Grace Moretz Stunt Doubles GREG TOWNLEY
TALILA CRAIG
Mark Strong Stunt Doubles JAMES EMBREE
MIKE LAMBERT
Armenian Superhero ROY TAYLOR

Stunt Performers
SEAN ADAMES GUILLERMO GRISPO ANDY MERCHANT
MARK ARCHER JASON HUNJAN DAVID NEWTON
GARY ARTHURS JAMES GROGAN DARRYL PATCHET
LLOYD BASS DAVID JUDGE JUSTIN PEARSON
ANDY BENNETT GARY KANE ANDY PILGRIM
MARCO BIANCO PAUL KENNINGTON CHRIS POLLARD
JONATHAN BRENNER CHRISTIAN KNIGHT JEFFREY ROBINSON
BRUCE CAIN PAUL KULIK GORDON SEED
ROB COOPER DEREK LEA DIZ SHARPE
DAVID CRONNELLY MAURICE LEE MARVIN STEWART-CAMPBELL
LEVAN DORAN NATHAN LEWIS JOHN STREET
RICK ENGLISH GUY LIST MENS-SANA TAMAKLOE
NEIL FINNIGHAN JOHN MCDONALD GEORGE TCHORTOV
DAVID FOREMAN KAL MARTIN ARRAN TOPHAM
DAVID GARRICK NICK MCKINLESS STEEN YOUNG
NIC GOODEY EROL MEHMET REG WAYMENT
 
Stunt Wire Riggers
ROBIN EARLE JOHN FELL
BALASZ FARKAS ROY WEATHERLEY
Stunt Operator LENNY WOODCOCK

Unit Production Manager


DEAN O’TOOLE

2nd Unit Director

25
TIM MAURICE-JONES

Visual Effects Supervisor


MATTIAS LINDAHL

Visual Effects Producer


ANDY TAYLOR

Music Supervisor
IAN NEIL

Score Producer
STEVE MCLAUGHLIN

Supervising Art Director JOHN KING


Set Decorator TINA JONES
Script Supervisor ANNIE PENN
Second Assistant Director VICTORIA BANKS
Costume Supervisor NICOLE YOUNG
Financial Controller RACHEL PLOSE

Sound Supervisor and Sound Design MATTHEW COLLINGE


Sound Supervisor DANNY SHEEHAN

Camera Operators PETER TAYLOR


JULIAN MORSON
Focus Pullers SAM RENTON
SIMON HUME
Clapper Loaders SASHA JONES
DAVID MACKIE
Central Loader KATHERINE SPENCER
Video Assist Operator DEMETRI JAGGER

Key Grip KEVIN FRASER


Grip DARREN HOLLAND
Gaffer DAVID SMITH
Best Boy SONNY BURDIS
Rigging Gaffer ANDREW WATSON
HOD Lighting Rigger MARK RICHARDS
Construction Manager ROB BROWN

Electricians
CARL CAMPBELL GUY MINOLI

26
JOHN DIAMOND TIMOTHY NEILL
FRANKIE SHIELDS

Practical Electricians MICHAEL WHITE


JACK WHITE
Dimmer Operator WILL BURNS

Sound Maintenance ARTHUR FENN


ROBIN JOHNSON
Sound Assistant JAMES GIBB

Special Effects Supervisor DAVID HARRIS


Special Effects Coordinator JUDE HARRIS
Lead SFX STUART WISHART

Senior Special Effects Technicians


IAN CORBOULD MATT VEALE
GRAHAM HILLS DANIEL WILLIAMS
MATTHEW HORTON GARETH WINGROVE
TONY SMART

Special Effects Technicians MATTHEW ARMSTRONG


HUW MILLAR
Special Effects Model Maker MATTHEW LEWIS
Special Effects Assistant Technician KYLE MAY

Production Coordinator JO GROSS


Assistant Production Coordinator FIONA BALDWIN
Third Assistant Director LAURA WINDEBANK

Principal Costumers BRUNO DE SANTA


SUNITA SINGH
Costume Effects Artist SILVANA SACCO

Costume Makers
SHELLEY HAZELL HEATHER RAYAT
ANGELA PLEDGE WILL SKEET
TAHRA ZAFAR

Costume Buyers ANNETTE ALLEN


CHARLOTTE KAY
Junior Costume Maker KATE LAWES

27
Hair and Makeup Artist KAREN SHERRIFF-BROWN
Hair and Makeup Artist for Mr. Cage LONA HERMAN

Art Directors JOE HOWARD


SARAH STUART
On-Set Art Director GRANT ARMSTRONG
Assistant Art Directors LOUISE WOODHAM
JASON ETIENNE
Production Buyers SOPHIA CHOWDHURY
GORDON GRANT
Assistant Production Buyer EMMA GODWIN
Assistant Set Decoration SARA WAN
NADINE HERRMANN
Draughtsperson JANE HARWOOD
Graphic Artist LEE WHITEMAN
Graphics ADAM ROWAN
Concept Artists MATTHEW SAVAGE
OLIVER CARROLL
Art Department Assistants PIPPA NEEDS
JOHANNA SANSOM

Property Master ALLEN J. POLLEY


Property Storeman DAVID CHISHOLM
Chargehand Dressing Props JOHN PALMER
Dressing Props KELVIN COOK
BARRY ARNOLD
RON SUTCLIFFE
Stand By Props CLIVE WILSON
COLIN BURGESS
Trainee Propman MITCHELL POLLEY

Post Production Supervisor IAIN MACKENZIE

First Assistant Editor TAMSIN JEFFREY


Visual Effects Editor KATHRYN MOREY
Second Assistant Editor MIKE CLARK-HALL

Assistant to Mr. Vaughn LEONIE MANSFIELD


Assistant to Mr. Cage MICHAEL DAVISON

Location Managers TOM CROOKE


JAMES GRANT

28
Assistant Accountants JACKIE O’SULLIVAN
MARIE DONG
Cost Accountant ELIZABETH HURLEY

Production Secretary ANTONIA WISE


Base Third Assistant Director TANIA GORDON
Production Assistant KATE CHADDERTON
Cast Assistant DAVID BLYTH
Floor Runner NICK KAY

Runners
MATTHEW BOYD JAMES RIPPON
CHRIS JEFFERYS DAVID SMITH
JOSEY MACNAMARA GARATH WHYTE
MARIIA VIITA
Chloë Grace Moretz Stand In STEPHANIE EMERY

Chaperone ELAINE HENDERSON BOYLE


Chloë Grace Moretz Tutor LAURA TORRANCE
Tutor KATHERINE J. HOOK

Additional Music by LIAM HOWLETT

Documentary Producer JON MEFFORD

Casting Assistant UK KERRIE MAILEY


KHARMEL COCHRANE
Casting Associate LA TAMARA HUNTER
Casting Assistant LA LESLIE-ANN REALE
Casting Associate NY ZOE E. ROTTER
Extras Casting - Canada ZAMERET KLEIMAN

Additional Post Production Accountant MAXINE DAVIS


Marv Films Book Keeper DAVID CATCHPOLE

Voice Coach JOY ELLISON


Medic ASHLEY STOWLE

HOD Carpenter ANTHONY HOSKINS


Supervising Carpenter IAN BEE
HOD Painter DAVID HAYNES SNR
Supervising Plasterer DOUGLAS ALLAM
Supervising Stagehand MARTIN O’CONNOR

29
 
Carpenters
CHRIS BROUGH DARREN HAYWOOD TONY MARKS
GARY BURKHARDT GARRY HIGGINS DOMINIC PIKE
NIGEL CRAFTS ADAM JENNINGS DANNY THOMAS
KEVIN DEARDON ARTHUR JONES PAUL WEBB
CAVIN DEMPSEY WILLIAM LAWLOR REGINALD WOOLMORE
ANDREW GOOD PETER LEWIS LESLIE WYLIE
 
Painters
JOHN HAYNES TONY KING
DAVID HAYNES JNR STEVE SIBLEY
DAVE STAPLETON

Plasterer MICHAEL RICCI


Stagehands GARY CAMPBELL
GARY DAVIES
RUSSELL DELANEY

Rigging Electricians
MARTIN BLOYE EDWARD HAYES
KEVIN DAY MARK PACKMAN

Riggers
PATRICK CRONIN DAVID LAWRENCE
STEVEN DAVIS TONY MOORE
STEVEN FITZPATRICK BILL RICHARDS
PAUL TATTERSFIELD

Stand By Rigger TOM LOWEN


Stand By Carpenter SIMON MARJORAM
Stand By Painter PAUL COUCH
Stand By Stagehand JOHN KEENAN

Transport Captain SIMON BARKER


Driver to Matthew Vaughn YAM RAI
Driver to Yam Rai STACEY PREWITT

Unit Drivers
CLINTON CHANG PAUL GATLEY
MIKE ELLIOTT DEAN TYLER
MICHAEL WHITE

Catering HOT GOBLIN

30
Second Unit

First Assistant Director ALEXANDER OAKLEY


Second Assistant Director MARK HOPKINS

Director of Photography PETER WIGNALL


TIM MAURICE-JONES

Focus Puller JOHN WEBB


Clapper Loader TASH GAMPER
Camera Trainee ANTHONY BAND
Video Assist Operator JACK WARRENDER

Gaffer GARY VARNEY


Best Boy ROB GAVIGAN
Dimmer Operator MICHAEL HARKINS
Electricians GARRY HEDGES
Grip DAVID CROSS
Stand By Props MITCH NICLAS
MATTHEW BRODERICK

Production Sound Mixer JOHN HAYES


Boom Operator PAUL SCHWARTZ

Stand By Art Director PETER JAMES


Script Supervisor LAURA MILES
Costume Master NEIL MURPHY
Wardrobe Assistant DORA PAPP
Hair and Makeup Artist GEMMA RICHARDS
Third Assistant Director LAUREN DARK
Floor Runner DEXTER BRYANT

Stand By Carpenter CATHAL MACLLWAINE


Stand By Painter TERRY HEGGARTY
Stand By Rigger STEVE SANSOM
Catering by RED CHUTNEY

Toronto Unit

Line Producer LYN LUCIBELLO

Second Assistant Director JACK BOEM

31
Art Director BRANDT GORDON
Location Manager MARTY DEJCZAK

Steadicam Operator CANDIDE FRANKLYN


Focus Puller RUSSEL BOWIE
Clapper Loaders DARREN SPRIET
ZENA BIELEWICZ
DAVID MCKANE
Video Assistant ANTHONY NOCERA

Assistant Location Managers SCOTT ALEXANDER


JOHN MENDES
JOHN MUSIKKA
Location PA’s ADAM MEADEN
KATI MOORE

Gaffer CHRIS HOWARD


Best Boy MIKE HALL
Electricians VINCE BORG
DESIREE LIDON
DANNY PIVA
Rigging Gaffer STEVE SPURRELL
Rigging Best Boy PAUL SPAVEN
Genny Operator JOHN IRWIN

Key Grip RICO EMERSON


Best Boy Grip SEAN BOURDEAU
A Dolly Grip RON RENZETTI
B Dolly Grip ROB COCHRANE
Grips ROB VIGUS
MARCO WILLIS
Key Rigging Grip ROY ELLISTON
Rigging Best Boy Grip TRACY SHAW

Cableman GAVIN COFORD

Props Master VIC RIGLER


Assistant Props Master JOHNATHAN KOVACS
Buyer/Props Assistant BRENDA MCCLENNIN

Special Effects provided by LAIRD MCMURRAY FILM SERVICES Inc.

32
Special Effects Coordinator LAIRD MCMURRAY
SPFX Key Technician ROCCO LARIZZA
Office Administrator LISA PACITTO

Costume Supervisor LINDA PETTY


Set Supervisor LOU DECAMPO
Truck Supervisor CARMEN LYNDE
Buyer RENEE BRAVENER
Key Breakdown Artist KAREN EPPSTADT
Cutter LOREEN LIGHTFOOT

Hairstylist VINCENT SULLIVAN


Make-up Artist LIZ GRUSZKA

First Assistant Art Director COLIN WOODS


Art Department Coordinator COLLINGWOOD BROWN
Set Decorator CLIVE THOMASSON
Lead Man REX FIELDS
Buyer CAROLINE GEE
Key Scenic Artist CAMERON S. BROOKE
Lead Scenic Artist ROBERT C. BROOKE

Production Coordinator DAVID M. CHISHOLM


Assistant Production Coordinator ELEANOR MENDES
Third Assistant Director PATRICK MURPHY
Base Third Assistant Director JEFF MUHSOLDT
Production Secretary SHANYA DEJCZAK
Set PA ADAM “BUCKY” BOCKNEK
Office Production Assistants TORI LARSEN
DAVID SHAW

Production Accountant DANIEL HORVAT


Payroll Accountant RONAN KEANE
Second Assistant Accountant LORRAINE PROCTOR
Third Assistant Accountant MARK BILAS

First Assistant Picture Editor DAWN STOLIAR


Second Assistant Picture Editor PAUL WHITEHEAD
Matchmover MARY MILOVAC
Construction Coordinator JOHN MACKENZIE
Head Carpenter BRIAN VAN DE VALK
Assistant Head Carpenter DAVID DICORPO
Head Painter DAVE ROSA

33
On Set Painter GLENN LOCKE

Tutor ANDREA EISEN


Set Medic STEVE HOLT

Transport Coordinator ROBERT TENAGLIA


Transport Captain DOUG PERRY
Transport Co-Captain MIKE CORAZZA

Unit Drivers
RUDY BACCUCHI ROHAN SINGH
PAT BATCHELOR MARK VAN ALSTYNE
GUS MEUNIER JOE VECHIOLA
STEVE RUSSELL GRANT VOLKERS
Honey Wagon Operator JENNIFER MCCORMACK

Picture Car Captain MARCO SOUSA

Catering by DAVID’S CATERING


Craft Services STARGAZING
Craft Servers JAMES BURTON
DEREK BARNES

2nd Unit Toronto

First Assistant Director TOM QUINN


Second Assistant Director KEN SMITH

Focus Puller BRAD CROSBIE


Clapper Loader BEN LICHTY
Camera Trainee SARAH MULHOLLAND
Video Assistant BRENDAN BRESNAHAN

Key Grip WAYNE GOODCHILD

Best Boy Grip JIM KRAUTER


Dolly RON FORWARD

Gaffer RICHARD ALLEN


Best Boy Gaffer GREG HADDOW

Script Supervisor SAMANTHA ARMSTRONG


Set Supervisor LESLIE KAVANAGH

34
Truck Supervisor CIARA BRENNAN

Third Assistant Director MIKE PELESHOK


Location PA MARCO DI FLAVIANO
Set Dresser DARRELL GASPARINI
Stand By Painter ROY MACDONALD

Transport Captain JAZZ HELIE


Unit Drivers JOHN IGNAGNI
TOM MORRISON
ROB WHITE

Toronto Aerial Unit

First Assistant Director TONY LUCIBELLO


Second Assistant Director YOLANDA GRACI

Wescam Operator MARK HYRMA


Wescam Technician DANE BJERNO

Pilot DAVE TOMASSINI

New York Unit

NY Production Services provided by ATLANTIC PICTURES


DARREN GOLDBERG
CHRISTOPHER MARSH
Head of Production AMY DEMPSEY
Production Office Manager BETSY KAGEN
Payroll Accountant CLAUDINE COX

Production Supervisor GAYLE VANGROFSKY


Production Coordinator ELIZABETH GARRETT

Production Assistants
JAY ABBONDANZA LAUREN INTINAOLII
ERIK ROONEY KASIA RUSZKOWSKA

Assistant Director ATILLA YUCER


Property Master NEIL DRISCOLL
Location Manager JUSTIN KRON
Wardrobe Supervisor ELISA SANTIAGO

35
Focus Puller MARY LATVIS
Clapper Loader ASA ELMPORS

Key Grip JOHN MCENERNEY


Best Boy Grip ADAM SNYDER
Third Grip TIMOTHY ALAN BLAGG

Gaffer JOSEPH QUIRK


Best Boy TIM BERG
Third Electrician KEITH DEVLIN

Teamster Captain ANTHONY INGRASSALINO


Drivers RONALD BAUM
JAMES CONNELLY
TOMOTHY FENNELL
Camera Car Driver MICHAEL PAPA

Aaron Johnson Body Double BRYAN FITZGERALD


Christopher Mintz-Plasse Body Double JAMES SEARLES
Omari Hardwick Double RAFAEL “XAVIER” ORTIZ

Helicopter Supplied and Piloted by BILL RICHARDS

Re-Recording Mixers CHRIS BURDON


DOUG COOPER
Re-Recorded at GOLDCREST POST

Sound Services by PHAZE UK


Sound Effects and Design MICHAEL MAROUSSAS
ROBERT PRYNNE
Additional Sound Effects Editors PAUL CARTER
ANDY KENNEDY
Dialogue and ADR Editor GAVIN ROSE
Foley Editor ARTHUR GRALEY
Foley Artists PETER BURGIS
JASON SWANSCOTT
Music Editor CHRISTOPH BAUSCHINGER
ADR Mixers MARK APPLEBY
RON BEDROSIAN
ADR Voice Casting LOUIS ELMAN AMPS MPSE
ABIGAIL BARBER
ADR Re-Recorded at GOLDCREST POST
TODD AO

36
Additional Music Supervision VAMANOS

LONDON METROPOLITAN
Music Performed by ORCHESTRA
Orchestra Conducted by ANDY BROWN
GAVIN GREENAWAY

Orchestrations STEPHEN COLEMAN


ROBERT ELHAI
MATT DUNKLEY
MATT ROBERTSON

Music Mixed by STEVE MCLAUGHLIN


GUSTAVO BORNER
TYLER BARTON
Additional Music Mixed by ANDY BRADFIELD

Music Recorded at AIR STUDIOS


ABBEY ROAD STUDIOS

Music Mixed at NORTH POLE STUDIOS


IGLOO MUSIC, BURBANK
DISTORTER STUDIOS, LOS ANGELES

Technical Score Engineer JACK DOLMAN


Engineering & Programming TYLER BARTON
Recording Engineers TOM BAILEY
CHRIS BARRATT
JOHN BARRATT

Additional Engineering & Programming SCOTT SOMERVILLE


Additional Musical Arrangements MATTHEW MARGESON

Music Programmers
ANDREW BEATON ELDAD GUETTA
JASON BOSHOFF FELIX ERSKINE
BEN DE VRIES MATT ROBERTSON

Drums IAN THOMAS


Guitars SCOTT SHIELDS
BEN DE VRIES
MATT ROBERTSON

37
Boy Soprano BRENNAN ALLEYE
Choir METRO VOICES
Choirmaster JENNY O’GRADY

JILL STREATER, GLOBAL MUSIC


Music Preparation SERVICE

Music Production Coordinator ELISA KUSTOW

Music Production Assistant MILLIE BARING

Digital Visual Effects by DOUBLE NEGATIVE

3D Supervisor PETER JOPLING


2D Supervisor STUART FARLEY
Visual Effects Line Producer SARAH HELLSTROM
Sequence Lead's PETER HOWLETT
PATRICK NAGEL
Lead TD's SETH DUBINEC
HUW EVANS
On Set Data Wranglers SAM SCHWIER
OLLY YOUNG
LEG TROY
Visual Effects Editors RICH DRIVER
COLLETTE NUNES
Visual Effects Consultant PETER CHIANG
Visual Effects Executive Producer ALEX HOPE
 
3D Artists
LUKE BAILEY SIMON PATE STEPHEN THORNHILL
TOM BURTON LAURENT-PAUL ROBERT CLAUDIA TORRES
LARS JOHANSSON JOHN SERU CHARLES VARENNE
KRISTINE-JOEANN JASPER STEVEN SHEARSTON ANDY WARREN
MING-CHIA LEE ALINE SUDBRACK DAN WOOD

Compositors
TERENCE ALVARES SANGITA MISTRY JELENA STOJANOVIC
ASTRID BUSSER CASAS SCOTT PRITCHARD TILMAN PAULIN
CHAD MEIRE PAUL STIRLING YILUN ZHU
 
Animation
MICHAEL HULL JAMES LEWIS

38
COLIN MCEVOY JOEL MEIRE

Roto Artists PATRICK MICHAEL BURKE


JEFF KOH

Matchmovers
SKEEL LEE PEREGRINE MCCAFFERTY
KIM-LIM LOO OLLE RYDBERG
ROBERT SEATON

Digital Matte Painters DIMITRI DELACOVIAS


TIM WARNOCK

Roto & Matchmove Producer Singapore DARRYL LI


Roto/Prep Supervisor Singapore OLIVER ATHERTON

Roto, Prep & Matchmove Singapore


TERENCE LAM SKY LIM
CHRIS LEE DUNCAN KUAH
STELLA NG

Head of Data Management PETE HANSON


Data Controller MILES DRAKE
Research and Development LUKE GODDARD
PETE KYME
Financial Controller NIGEL ARNOLD
Accounts Assistant LUCY VI
Facility Manager SARAH GILES
Onset Runner KIMBERLEY DUNNE

Digital Visual Effects by LIPSYNC POST

Visual Effects Supervisor TOM COLLIER


Head of Visual Effects STEFAN DRURY
Visual Effects Producer LOREA HOYE
Visual Effects Coordinator SAMANTHA TRACEY
Sequence Supervisors SHEILA WICKENS
NEIL CULLEY
GLEN PRATT
Lead TD/Compositor RICHARD NOSWORTHY

Senior Systems Engineer JON STANLEY

39
Digital Compositors

LUKE BUTLER KIM GORDON PHILIP LUDVIG


NAOMI BUTLER JONATHAN HARRIS JOHN O’LONE
LAURA DUBSKY STEPHANIE KELLY ED PLANT
CHRIS ELSON YANN LAROCHETTE ANGELA ROSE
MATTHEW FOSTER BLAKE WINDER
 
Systems Engineers JOHAN VAN DEN DORPE
YBANNI GOUDETSIDIS
Scanning Supervisor JAMES CLARKE
Scanning Operators DANIEL TOMLINSON
CHRIS BENTLEY
Digital Colorist LEE CLAPPISON
Accounting SALLY MOLLETT
Financial Controller NORMAN MERRY
Graphic Design HOWARD WATKINS
JULIA HALL

Digital Visual Effects by THE SENATE VFX


Visual Effects Supervisors ANTON YARI
RICHARD HIGHAM
Visual Effects Executive Producer SARAH HEMSLEY
Visual Effects Producer PAULA POPE
Visual Effects Coordinator ED RANDOLPH
VFX Production Assistant GORDON MILNER
Operations Manager SAMANTHA SPACEY
Systems Manager CRAIG ALLISON
Data Manager DANIEL REEVES
 
Digital Artists
LORAINE COOPER ROBIN HUFFER EDWARD SHARP
NICK D’AGUIAR SIMON LEECH PAUL TUERSLEY
ANDREW FLETCHER DONAL NOLAN JAMIE WONG
NICOLAS HODGKINSON DANIEL PEARCE RACHEL WRIGHT
CAMPBELL ROSE
 
Roto/Prep Artist LUKE SIKKING

Digital Visual Effects by GHOST


Visual Effects Supervisor MARTIN GÅRDELER
Visual Effects Producer RIKKE HOVGAARD JØRGENSEN
 
Digital Artists

40
CRISTIAN PREDUT NITA THOMAS ØHLENSCHLÆGER DANIEL THURESON
THIJS NOIJ ESBEN SYBERG TOM WESTERMANN
 
Digital Visual Effects by FIDO FILM

3D Supervisors ANDRA BRAVIN KARLSSON


ANDERS NYMAN
3D Artists PETER AVERSTEN
TIMMY LUNDIN
2D Artist MARCUS FORSBERG
Digital Compositors MARTIN BORELL
DANIEL NORLUND

Screen Graphics Designed by WYLD STALLYONS

Designer and Animator JASON ARBER


Animator CHRIS SAYER
Producer NATALIE BUSUTTIL

Main and End Titles MATT CURTIS, AP DESIGN

Animated Comic Book Sequence Colorist DEAN WHITE


Animated Comic Book Sequence Inker TOM PALMER

Digital Intermediate by TECHNICOLOR


Colorist ASA SHOUL
Digital Intermediate Editor DOM THOMSON
Digital Intermediate Producer TODD KLEPARSKI
Digital Conform JAIME LEONARD
Digital Scanning / Recording BEN SETTERFIELD
DAN DOLAN
SCOTT LIDDLE
Data Management MATTHEW BENNS
CLARE BRODY

Digital Restoration
MATTHEW BAKER CHARLOTTE GRAY
ADAM GOTTARD EMMA HULME
DI Consultant MATT ADAMS

Unit Publicity FREUD COMMUNICATIONS


Stills Photographer DAN SMITH
EPK PIP AYERS

41
Motion Control SIMPLY MOCO
Armourer BAPTY & CO
Supervising Armourer DAMIEN MITCHELL
Armourer ROBERT GRUNDY

Cameras Equipment Provided by PANAVISION


Camera Cranes & Dollies by CHAPMAN/LEONARD
STUDIO EQUIPMENT, INC.
Lighting Facilities by PANALUX

UK Tax, Auditing and Accounting Services TENON


UK Payroll Company SERGEANT DISC
USA and Canada Payroll Company ENTERTAINMENT PARTNERS
Avid Equipment Provided by HIREWORKS
Rushes Transfer and Assembly TECHNICOLOR
 
WALK TO RASUL’S
Composed By: Danny Elfman
Courtesy of Morte Pharmaceutical (BMI)

Original motion picture soundtrack available on Polydor Records

 
STAND UP CAN’T GO BACK
(Liam Howlett /Manfred Mann/Peter Thomas) (Bobby Gillespie/Andrew Innes/
Published by EMI Music Publishing Ltd Martin Duffy/Gary Mounfield)
and by kind permission of Carlin Music Corp Published by EMI Music Publishing Ltd.
Performed by The Prodigy Performed by Primal Scream
Licensed courtesy of Cooking Vinyl Licensed courtesy of B-Unique Records/
 2009 Cooking Vinyl Ventures Prodigy Ltd. under Warner Music UK Ltd.
exclusive worldwide license to Cooking Vinyl Ltd.
courtesy of Take Me To The Hospital Ltd. THERE’S A POT BREWING
Use of "One Way Glass" by Manfred Mann's Earth Band (Lee LaDoucuer/Gregory Meyer/Ian Moreno/
courtesy of Creature Music Ltd. Brian Reyes/Edward Nolan Reyes)
Dave Grohl appears courtesy of Roswell/RCA Records Published by Universal Music Publishing MGB Ltd.
Performed by The Little Ones
THE BARBER OF SEVILLE OVERTURE Licensed courtesy of The Little Ones
(Gioachino Rossini)
Performed by the Zagreb Festival Orchestra OMEN
Conducted by Michael Halasz. (Liam Howlett/Tim Hutton/Keith Andrew Palmer)
Licensed courtesy Naxos Rights International Ltd. Published by EMI Music Publishing Ltd./
Perfect Songs Ltd.
BONGO SONG © Superhero Media Ltd.
(Sasumi Mukai) administered by Kobalt Music Publishing Ltd.

42
Published by Hero Music Ltd./ Performed by The Prodigy
Universal Music Publishing Ltd. Licensed courtesy of Cooking Vinyl
Performed by Zongamin  2009 Cooking Vinyl Ventures Prodigy Ltd. under
Licensed courtesy of XL Recordings Ltd.  2005 exclusive worldwide license to Cooking Vinyl Ltd.
courtesy of Take Me To The Hospital Ltd.
(BANANA SPLITS) TRA LA LA SONG
(Mark Barkan/Ritchie Adams) CHI MAI DEL MIO PROVÒ
Published by © 1968 (Renewed) PIACER PIU DOLCE! [ACT 2]
Warner Tamerlane Publishing Corp (BMI) IDOMENEO
All Rights Reserved (Wolfgang Amadeus Mozart)
Performed by The Dickies Performed by Wiener Philharmoniker
Courtesy of Mercury Records (London) Ltd. Conducted by Sir John Pritchard
Under license from Universal Music Operations Ltd. Courtesy of Decca Music Group Ltd.
Under license from Universal Music Operations Ltd.
STARRY EYED
(Ellie Goulding/Jonny Lattimer) THIS TOWN AIN’T BIG ENOUGH
Published by Global Talent Publishing Music FOR BOTH OF US
© 2009 Warner/Chappell Music (Ronald Mael)
Published by © Warner/Chappell Music Publishing Ltd
Publishing Ltd. (PRS) (PRS)
All Rights Reserved All Rights Reserved
Performed by Ellie Goulding Performed by Sparks
Courtesy of Polydor UK Ltd. Courtesy of Universal-Island Records Ltd.
Under license from Universal Music Operations Ltd. Under license from Universal Music Operations Ltd.

CRAZY WE’RE ALL IN LOVE


(Brian Burton/Thomas Callaway/ (David Johansen/Sami Takamaki/Steven Conte/
Gianfranco Reveberi/Gian Pero Reverberi) Sylvain Mizrahi/Brian Delaney/Brian Koonin)
Published by © 2006 Warner-Tamerlane Publishing
Published by Chrysalis Music © 2005. Corp (BMI)
Used with permission. All rights reserved. Unforgivable Hipness Music (BMI),
Universal Music Publishing Ricordi SRL WB Music Corp (ASCAP)
Warner/Chappell Music Publishing Ltd. (PRS) Acoustic Voodoo Music (Ascap),
Performed by Gnarls Barkley Thunderdog Music (ASCAP)
Licensed courtesy of Atlantic Recording Corp./ Subway Rhythm Publishing Music (BMI),
Warner Music UK Ltd. Glaveman Publishing (ASCAP),
Eggplant Music (ASCAP)
PER QUALCHE DOLLARO IN PIU All rights administered by WB Music Corp
(Ennio Morricone) All rights Reserved
(from “Per Qualche Dollaro In Più” - Performed by New York Dolls
For A Few Dollars More) Licensed courtesy of Roadrunner Records
Performed by Ennio Morricone
 & © 1965 EMI Music Publishing Italia Srl BAD REPUTATION
Courtesy of EMI Music Publ. Italia/ (Joan Jett/Kenny Laguna/
EMI Music Publishing Ltd. Ritchie Cordell/Martin Kupersmith)
Performed by Joan Jett and The Blackhearts
BATTLE HYMN OF THE REPUBLIC Published by Jett Pack Music, Inc. (BMI)
(Extract from An American Trilogy) Licensed courtesy of Blackheart Records Group
(Traditional arrangement by Mickey Newbury)
Published by Sony/ATV Music Publishing MAKE ME WANNA DIE

43
Performed by Elvis Presley (Taylor Momsen/Ben Phillips/Kato Khandwala)
 1972 Sony Music Entertainment Inc. Published by EMI Music Publishing Ltd.
Licensed courtesy of Sony Music Entertainment UK Ltd. Pretty Reckless Music (BMI),
The Undertaker's Daughter (BMI)
KICK ASS Produced by Kato Khandwala
(Mika/Jodi Marr/RedOne) Performed by The Pretty Reckless
Published by Irving Music Inc./Universal Music Licensed courtesy of Interscope
Publishing Ltd./Sony/ATV Music Publishing Under license from Universal Music Operations Ltd.
Performed by Mika
Licensed courtesy of Universal-Island Records Ltd.
Under license from Universal Music Operations Ltd.

Filmed on Location at Elstree Film Studios, London, England


& Pinewood Studios, London, England

The Producers wish to thank the following:


ALL STAR LANES, APPLE, OLLIE BARKER, JUSSI BRIGHTMORE, EDWARD CAIN
STEVE CARPERNTER, MIKE CHAMPION, DARK HORSE COMICS
DIAMOND COMIC DISTRIBUTORS, CHARLES FILMER
FORBIDDEN PLANET COMIC STORE LONDON, FARIS FARRAG
GAGOSIAN GALLERY, JONATHAN GRAY, DAMIAN HIRST, MARC HOLLIDAY
IMAGE COMICS, JAMES MANSFIELD TIMBERS, JAY JOPLING
MANGA ENTERTAINMENT LTD, TERRI MORETZ, DANNY NOBLE
ORBITAL COMICS AND COLLECTIBLES, PARK ROYAL TIMBER SUPPLIES
GRAHAM KNOTT & PHIL BEATY AT PBH SHOP FITTERS, SEBASTIAN PEARSON
JEREMY PELZER, MARC QUINN, KEITH RICHARDSON AT REBELLION
ED RUSCHA, TERRATAG, TOKYOPOP LTD., TOMI YUJIN EUROPE
TOP SHELF COMICS, VALERIE VAN GALDER, THE WARHOL FOUNDATION
KEITH WILLIAMS, DAN WHITE, 2 TONE COMICS
CLAUDIA, CARMEN, FREYA, PJ

Andy Warhol’s “Gun” (1981)


© The Andy Warhol Foundation for the Visual Arts /
Artists Rights Society (ARS), New York / DACS, London 2008.

Photo of Claudia Schiffer taken by Mario Testino

Taser® devices provided by Taser International Inc.


Taser is a trademark of Taser International Inc., Registered in the US, all rights reserved.

The NYPD and EMS name, logo and insignia are trademarks of the City of New York
and are used with the City’s permission.

No animal was harmed in the making of this film.

44
© 2009 KA FILMS LP. ALL RIGHTS RESERVED.
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.

“Bag it & Ship it”

In memory of GARETH WIGAN


1931 - 2010

MARV STATIC LOGO


(Static logo)

040610

45

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