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From visionary writer-director James Mangold comes the defining chapter in the cinematic saga of one of the greatest comic book heroes ever created. LOGAN sees Academy Award-nominated actor Hugh Jackman reprise his iconic role as The Wolverine for one, final time in a raw, powerfully dramatic standalone story of sacrifice and redemption.

It’s 2029. Mutants are gone—or very nearly so. An isolated, despondent Logan is drinking his days away in a hideout on a remote stretch of the Mexican border, picking up petty cash as a driver for hire. His companions in exile are the outcast Caliban and an ailing Professor X, whose singular mind is plagued by worsening seizures. But Logan’s attempts to hide from the world and his legacy abruptly end when a mysterious woman appears with an urgent request—that Logan shepherd an extraordinary young girl to safety. Soon, the claws come out as Logan must face off against dark forces and a villain from his own past on a live-or-die mission, one that will set the time-worn warrior on a path toward fulfilling his destiny.

LOGAN stars Hugh Jackman in the title role, alongside Patrick Stewart (X-Men: Days of Future Past), Stephen Merchant, Richard E. Grant and newcomer Dafne Keen. The film is directed by James Mangold (Walk the Line, The Wolverine); produced by Hutch Parker, Simon Kinberg and Lauren Shuler Donner; and distributed by 20th Century Fox. LOGAN opens in theatres worldwide on March 3, 2017.


Hugh Jackman first brought his electrifying energy to the mutant known as Wolverine way back in 2000 in the film that launched the modern-day comic-book blockbuster, director Bryan Singer’s original X-Men. Since then, the acclaimed Australian actor has slipped into the skin of the world’s most famous mutant a record 10 times on the big screen. But this time, with LOGAN, Jackman had the chance to craft something truly special as a mean of laying to rest his longtime screen alter ego.

We wanted something that would feel very different, very fresh and ultimately something very human,” Jackman says, “because it seems to me that the strength of X-Men and the strength of Wolverine is more his humanity than his superpower. In exploring this character for the last time, I wanted to get to the heart of who that human was, more than what his claws can do.”

From the outset, Jackman’s always had a gift for locating Logan’s humanity beneath his gruff, deeply scarred exterior. But with this nuanced, deeply moving performance, the actor brings the character full circle—the cigar-chomping, hard-charging loner is now a steadfastly loyal comrade-in-arms willing to sacrifice everything for what he believes.

Of course, Jackman and LOGAN cowriter-director James Mangold had already taken the character to new, far-flung places with the character’s previous solo outing 2013’s The Wolverine. That earlier film, adapted from the landmark 1980 comic miniseries by Chris Claremont and Frank Miller and suffused with the spirit of Japanese noir and samurai films as well as American westerns, saw Logan plucked from self-imposed exile only to be drawn into violence and intrigue in Japan. It won praise from critics for its careful parsing of Logan’s inner tumult, rather than strictly relying on over-the-top action set-pieces for thrills.

Mangold says that following their experience on The Wolverine, the duo hadn’t necessarily planned to partner on another project centering on Logan. “Hugh and I were both on the bubble about doing another one of these,” says the director, who first worked with Jackman on 2001’s Kate & Leopold. “If we were going to do it, I wanted to take it somewhere that interested me, someplace intimate and primal—a character-based story where we explore the fears and weaknesses of these larger-than-life heroes, a film that makes them more human.”

Even before embarking on the project, Jackman and Mangold understood that the story needed to exist apart from the dense and heady mythology of the larger X-Men franchise. “We both wanted a movie that was a standalone movie,” Jackman says. “This is far more realistic than we’ve done before in the X-Men franchise, maybe any of the other comic book movies. It’s far more human.”

Specifically, Mangold, who wrote the LOGAN script with The Wolverine co-scripter Scott Frank (A Walk Among the Tombstones, The Wolverine) and Michael Green (Alien: Covenant), set out to create a character-driven piece that would focus on Logan, Xavier and Laura as they made their way across a barren landscape. “I had this kind of strange vision in my head that I wanted to make a road movie with these characters, in a way almost trapping myself as a filmmaker,” Mangold says. “Putting them in a car and trapping them on the highway would tie my hands. We couldn’t do something about worlds colliding or an alien invasion—the movie would essentially force itself to operate on a more intimate level.”

Also important to Mangold, who has long viewed Logan as a spiritual descendant of great western heroes like Clint Eastwood’s Outlaw Josey Wales or Alan Ladd’s Shane, was robbing Wolverine of his invincibility to make the character more vulnerable, more exposed. “The idea with this film was to find him in a state where his ability to heal is extremely diminished,” Mangold says. “His strength is diminished. His own health and his mental state are dark.”

Although LOGAN takes place more than 50 years after the events depicted in X-Men: Days of Future Past (2014), it is firmly its own standalone tale that plays more like an intimate family journey—albeit one packed with high-stakes action scenes—than a conventional sci-fi adventure propelled by explosive visuals. “We wanted to go out with a bang,” says Mangold. “But the thing is—once cities and planets have been destroyed—you have to earn your bang as opposed to just getting louder.”

When the film opens, Logan is in a vulnerable and broken state, the curse of his immortality wearing heavy on him as he cares for a weakened Charles Xavier (Patrick Stewart) in a derelict smelting plant at the edge of an abandoned oil field. They’re joined there by a third mutant, Caliban (The Office co-creator Stephen Merchant), sheltering in obscurity at a time when the world believes mutants have passed into history.

But Logan’s days of drinking in relative solitude are interrupted when he finds himself the reluctant guardian of a young girl, Laura (newcomer Dafne Keen) who has powers remarkably like his own: from her hands as well as her feet spring the same adamantium claws as Wolverine’s. Not that he’s exactly eager to accept this newfound responsibility—he’s far too weary to play the hero once more.

He doesn’t want to help. At all,” Jackman says. “He doesn’t want anything to do with it. He’s long past the stage in his life where he reacts to people’s pleas and cries for help. Basically, he has come to the conclusion that generally when he helps, things end up worse off. The people he loves end up getting hurt, that if he gets too close, or tries too hard, it ends in pain and loss and destruction.”

Tasked with protecting her from the murderous cybernetic criminal Donald Pierce (Boyd Holbrook), Logan and Professor X set out to cross hostile territory to ferry Laura to a place called Eden, where young mutants are said to enjoy safe haven. But Pierce and his fearsome army of cyborg Reavers are determined to return the girl to the custody of Dr. Zander Rice (Richard E. Grant), the sinister geneticist behind Alkali who triggered her mutations through a series of inhumane experiments in the hopes of creating a child super-soldier.

He’s a sociopath who has no emotional understanding or feeling for the mutants that he creates,” Grant says. “He sees human beings as something to be cloned. He’s very scientific and intellectual about everything. He has no real emotional involvement whatsoever.”

With Wolverine’s tremendous physical abilities compromised by age and the passage of time, their relentless pursuit of the travelers takes a great and bloody toll.

It’s often said that a film is often only as great as its villain, and Jackman was quick to praise Holbrook’s turn as the unhinged Pierce. “Boyd is a phenomenally talented actor, a really gifted artist,” he says. “When I read the script, I told him that I thought Pierce was one of the hardest parts to pull off. The greatest villains seem to be having more fun than anyone else in the movie, and he embodied that and he did it brilliantly because he could turn on a dime and be very menacing as well as funny.”

But the actor had especially kind words for his young co-star, Dafne Keen, who makes her feature film debut with LOGAN with a virtuosic performance. “She’s a phenomenal actress, and it’s an honor to share the film with her,” Jackman says. “Laura, genetically, has Wolverine’s DNA, so there are elements of him in her personality and her physicality and that’s not easy to pull off. I found it hard to pull off when I was 30, let alone an 11-year-old-girl, and she’s not like that at all. She’s very bubbly, vivacious and energetic. Playing this constantly pissed off, rage-filled mutant who will take your head off if you look at her sideways is nothing like who she is, and she nailed it.”

Stewart, too, was impressed by her professionalism: “She’s a child who performs with the weight and seriousness and intensity and diversity of a very experienced and worldly actress,” Stewart says.

Laura at the beginning is a very silent child,” Keen says. “She can’t express sadness like a normal child would do so she gets really angry and starts killing people. It’s fun doing that and at the same time loving pink T-shirts and unicorns and rainbows and stuff.”

Because of their shared traits, Logan is in a unique position to help Laura come to terms with her feelings and channel that overwhelming rage. “Logan had a goodness to him, and if he just didn’t have that, he would have been the perfect killing machine because he goes absolutely berserk,” Jackman says. “He can take anyone out, but he had a heart. He had a conscience. He had a mind and didn’t just blindly follow whatever order he was given.”

If Logan serves as a surrogate father to Laura, he’s the prodigal son to Charles Xavier, who is battling a debilitating illness that threatens to harm others as well. “He’s old, he’s ill, but most importantly, he’s dangerous,” says Stewart of Charles. “His powers are out of control and have to be controlled. He’s in peril. And the person who looks after him, mothers him, nurses him, supervises him, argues with him, picks him up off the floor when he’s fallen down is Logan.”

Stewart continues: “The superhero aspect and the mutant powers are not the focus of attention as much as they were in all of the other movies. The sense of people, of individuals, of relationships, I think is stronger in LOGAN than it has been before. James has created a world which is recognizable and familiar and every day, and in its way, commonplace, yet wrapped in this maelstrom of fear and excitement and danger and the need to escape.”

Like Jackman, the acclaimed British thespian’s performance in LOGAN represents a culmination of years of work on screen. “He reveled in this character, and it shows,” Jackman says of Stewart. “It’s a heartbreaking, beautiful, layered, textured, complex performance—at times unbelievably lucid and clear. You see the relationship with he and Logan as very sort of father-son in all its colors: pride, disappointment, anger, frustration. It all plays out.”

Even Caliban, too, belongs to the unconventional family, and he and the famously anti-social Logan enjoy a certain measure of camaraderie. “I felt like it was important for me to not just constantly be antagonistic with Logan,” Merchant says, “that we could have a few moments where there was some warmth between us, again just to hit that idea of a surrogate family.”

It’s a movie about family,” says Mangold. “It’s a movie about loyalty and love and specifically a character, Logan, who has been stubbornly avoiding intimacy throughout his long life, finally letting it in.”

LOGAN sees the wizened hero find a surprising human connection, but the film also offers its most authentic, unfiltered depiction of Wolverine yet, with Jackman unleashing his berserker rage as never before. It earns its R-rating, a first for any film in the X-Men series. “Wolverine may be one of the darkest, most complex characters in the comic book universe—all Jim and I were worried about was taking off the seat belt,” Jackman says.

From a filmmaking perspective, Mangold says the rating freed him to take LOGAN in a more mature direction, to explore human frailty, mortality and the complicated bonds that bind families together. “I didn’t want to make a more violent, sexier, more explicit, more obscene movie,” Mangold says. “I wanted to make an adult movie. This is not a movie for nine-year-old children. When your movie is rated R, you suddenly are making a movie about more grown-up themes. You’re not under the pressure to make a movie for everybody.”

But there’s no question that the movie absolutely will speak to those longtime fans of Wolverine, those who have followed Jackman’s portrayal over the last 17 years. In fact, it was critical for Jackman, as he said farewell to his extensive X-Man past, to put everything on the screen for this, his last mutant adventure.

There was a moment that I came to terms with the fact that this was my last one,” Jackman says. “I love this character, and he’s been amazing to me. I’d be lying if I said that I would have been okay if I didn’t feel everything was left on the table. And I mean everything. Every day, every scene was a kind of battle to get the best out of that character, to get the best out of me.” Concludes Jackman: “There was an element of life and death about it—I know that sounds dramatic, but that’s how it felt.”


LOGAN was filmed primarily on location in the brutal summer heat of 2016 in New Orleans and New Mexico. Veteran production designer Francois Auduoy, who also lead the design team on The Wolverine, was tasked with creating compelling, textured environments and capturing the ultimate road movie feel.

We really wanted to create the sense that we were going across a long journey in the movie,” Auduoy explains. “From the beginning, Jim wanted to incorporate a lot of different looks into the film—from the dry desert in El Paso and Mexico through New Mexico, Texas, Oklahoma into Kansas and up through the badlands of South Dakota. The real challenge was to try and figure out how to create this variety in two states with only a handful of locations.”

Auduoy and his team utilized four of the Big Easy Stages on the NASA Michoud Assembly Facility Lot to construct massive sets including the smelting plant hideout and an Oklahoma City casino hotel. In some cases, input from the actors helped shape a particular set—case in point, some of Stephen Merchant’s ideas about Caliban’s domestic life were incorporated into the smelting plant design.

Caliban does most of the cooking and is the only domestic member of the trio living in the smelting plant, so Stephen requested that we add some pops of color to the dark, drab and deteriorating set,” says Audouy. “We had a connection to someone living near Juarez so they went into the city and bought some ceramic pots and various pieces with colorful Mexican designs on them to add to the kitchen.”

Says cinematographer John Mathieson: “The sets Francois built on stage actually felt real and gritty and dirty. The smelting plant is meant to be old, wasted and deserted and since we’d be working inside it all day we would go home at night and actually feel filthy and grubby. That’s how real the sets felt. His designs are not symmetrical or pretty.”

Of course, when making a road trip movie, the vehicles are crucial, as is the case with the limo that Logan drives, which was modeled after the Chrysler 300. The car is Logan’s sole source of income, his means to reach and take care of Charles as well as a key to the mutants’ escape. “It became a character in itself,” explains Audouy.

Adds LOGAN car technician Nick Pugh: “It was complicated to design a vehicle that was set in the future but only about ten years old. There are three limos, two finished ones and then one stunt car which has the same look, but it’s a Baja racer car with 16-inch suspension travel since it has to be able to do jumps, go through ditches and tear across the desert at about 50 miles per hour.”

In addition to stunt driving, the film is packed with brutal, visceral fight scenes, which presented some unique opportunities for Keen as Laura, who trained near her home in Spain before arriving to the U.S. for filming. “When she got here, we had about one month with her,” says stunt coordinator Garrett Warren. “We had claws that she would hold in her hands so she could see what that was like. I would have her use paper, claw the paper and slice it into pieces. That way she really knew what it was like to use the claws instead of just wielding them in the air.”

Keen’s background in gymnastics and aerial arts helped her master the fight choreography, and Jackman was wowed by his young co-star. “Dafne did most of her fighting in the film,” he says. “She worked hard. When I say work, she loved it. She didn’t want to leave stunt training. I looked over one day and she had my claws on and she was beaming.”

The other actors and filmmakers were like family to me,” Keen says. “I felt safe. I was always more focused on my character and what her longing for a normal family life which is what she is so desperately fighting for.”

While Laura may be a killer, she’s still a little girl, a fact that is most evident in her wardrobe. “For Laura, she starts out with a very simple and monotone look,” explains Emmy-winning costumer designer, Daniel Orlandi. “She looks like a prisoner who’s escaped. Then when she gets to pick out her clothes we see this ruthless killer who loves violence pick out a unicorn T-shirt along with pink accessories. It really adds a sweet irony to her character.”

For the other major characters, Orlandi took his inspirational cues from classic westerns and film noirs: “Jim said from the beginning he did not want any of our characters to look like they were in superhero costumes or anything too pronounced. Logan is seen half-heartedly wearing a cheap black suit jacket with an old black pair of Levis only because that’s his driver uniform. But once Logan is on the run he picks an outfit that is a suede western style jacket and a cowboy shirt—all dark and simple. He’s on the run and doesn’t want to stand out.”

Keeping with the overall vibe of the film, the wardrobe also maintains a dark and muted tone. “There’s very little color in the film, so with the principal characters we hardly use any color,” Orlandi explains. “The only time you’ll see color in the film is with the characters that don’t belong in their world—like the passengers that Logan—where we used warmer richer tones.”

But Orlandi took care to use costumes to underscore the ties between Logan and Laura, the relationship that serves as the cornerstone of the film. “We wanted Laura to end up in something that a little girl would be attracted to, thus the unicorn shirt, but we also wanted to put her in a denim jacket, which is the same cut as Logan’s.”



Hugh Jackman is an Academy Award-nominated, Golden Globe- and Tony Award-winning performer who has made an impression on audiences of all ages with his multi-hyphenate career persona, as successful on stage in front of live crowds as he is on film. From his award-winning turn on Broadway as the 1970s singer/songwriter Peter Allen, to his metal claw-wielding Wolverine in the blockbuster “X-Men” franchise, Jackman has proven to be one of the most versatile actors of our time.

The Australian native made his first major U.S. film appearance as Wolverine in the first installment of the “X-Men” series, a role he reprised in the enormously successful X2 and X-Men: The Last Stand. He then starred as the title character in X-Men Origins: Wolverine, a prequel to the popular series which grossed an outstanding $85 million domestically in its first weekend of release. Audiences once again went to see Jackman in the popular role in the next chapter titled The Wolverine, which grossed over $400 million worldwide. In 2014, Jackman and the X-Men team reunited for X-Men: Days of Future Past.

Jackman garnered his first Academy Award nomination, for Best Actor, for his performance in Tom Hooper’s Les Misérables, based on popular stage show created from Victor’s Hugo famous novel of the same name. Jackman’s standout performance as protagonist Jean Valjean also earned him a Golden Globe Award for Best Actor in a Comedy/Musical, as well as Screen Actors Guild (SAG) Award® nominations, for both Best Ensemble and Best Male Actor in a Leading Role, and a BAFTA Award nomination.

In 2009, Jackman took on host duties at the 81st Annual Academy Awards, earning an Emmy Award nomination for his work. This wasn’t, however, Jackman’s first foray into awards show hosting. Previously, he served as host of the Tony Awards three years in a row, from 2003 to 2005, earning an Emmy Award for the 2004 ceremony, and an Emmy nomination for his appearance at the 2005 ceremony.

Jackman’s additional film credits include Prisoners, Shawn Levy’s Real Steel, Baz Luhrmann’s Australia, Christopher Nolan’s The Prestige, Darren Aronofsky’s The Fountain, Woody Allen’s Scoop, Deception, Someone Like You, Swordfish, Van Helsing, and Kate & Leopold, for which he received a 2002 Golden Globe nomination. In addition, he lent his voice to the animated features Happy Feet, Flushed Away and Rise of the Guardians.

On Broadway, Jackman most recently received rave reviews for his performance as The Man in the “The River.” In 2011, he made a splash on the Great White Way in his one-man show, “Hugh Jackman – Back on Broadway.” Backed by an 18-piece orchestra, the revue, which previously opened to rave reviews during its limited engagements in San Francisco and Toronto earlier that year, was comprised of both Broadway hits and a selection of some of his personal favorite standards. Jackman’s continued dedication to the Broadway community was fêted at the 2012 Tony Awards, where he received a Special Award from the Tony Awards Administration Committee, recognizing his accomplishments both as a performer as well as a humanitarian.

In 2009, Broadway audiences could see Jackman in the Keith Huff-penned “A Steady Rain,” in which he starred with Daniel Craig. For his portrayal of the 1970s singer/songwriter Peter Allen in “The Boy From Oz,” Jackman received the 2004 Tony Award for Best Actor in a musical as well as Drama Desk, Drama League, Outer Critics Circle and Theatre World awards.

His additional theater credits include “Carousel” at Carnegie Hall; “Oklahoma!” at the National Theater in London, for which he received an Olivier Award nomination; “Sunset Boulevard,” for which he garnered Australia’s prestigious ‘MO’ Award; and “Beauty and the Beast,” for which he received a ‘MO’ Award nomination.

Jackman’s career began in Australia in the independent films Paperback Hero and Erskineville Kings. His performance in the latter earned him an Australian Film Critics’ Circle Best Actor award and The Australian Film Institute Best Actor nomination. In 1999, he was named Australian Star of the Year at the Australian Movie Convention.

Jackman is currently filming The Greatest Showman alongside Michelle Williams.


Patrick Stewart is one of the most acclaimed performers working today. His career includes numerous and varied roles on both stage and screen.

Stewart will next be seen on TV in the second season of Blunt Talk, a half-hour comedy executive produced by Seth MacFarlane and Jonathan Ames, in which he plays ‘Walter Blunt,’ a British import intent on conquering the world of American cable news. His performance in season one earned him a Golden Globe Award nomination for “Best Performance by an Actor in a Television Series – Musical or Comedy.” Season two will premiere on Starz later this year.

On the big screen, Stewart was most recently seen in the thriller Green Room, directed by Jeremy Saulnier, in which he plays the leader of a Neo-Nazi group that imprisons a young punk band. The film played the Director’s Fortnight at the 2015 Cannes Film Festival and premiered at the 2015 Toronto International Film Festival to rave reviews. Stewart also recently wrapped production on Damian Harris’ Wilde Wedding, starring opposite Glenn Close and John Malkovich. 

Stewart will return to the London stage in fall 2016, reuniting with Sir Ian McKellen in Harold Pinter’s “No Man’s Land,” which they’ve previously performed at the Berkeley Repertory Theatre in California and on Broadway in Fall 2013. This was part of their “Two Plays in Rep,” which also included a reprisal of their production of Samuel Beckett’s “Waiting for Godot” that led to critical acclaim on London’s West End in 2009. Directed by Sean Matthias, the “Two Plays in Rep” on Broadway earned stellar reviews and two extensions due to popular demand.

In 2014, Stewart starred in two very different roles—first as a past-his-prime dance instructor in Stephen Belber’s Match, which premiered at the 2014 Tribeca Film Festival and earned stellar reviews for Patrick’s performance. He also reprised his role as ‘Professor Charles Xavier’ in the huge summer blockbuster, X-Men: Days of Future Past. Stewart created the role in the first installment of the franchise in 2000 and is the only actor to have played the role in almost all of the subsequent installments. This film joined the original cast, including Sir Ian McKellen, Hugh Jackman and Halle Berry, with the new cast, including James McAvoy and Michael Fassbender.

Perhaps best known as ‘Captain Jean-Luc Picard’ on Star Trek: The Next Generation, Stewart has enjoyed a successful film and television career, earning Golden Globe, Emmy and SAG Award nominations. Screen appearances include King of Texas, Jeffrey, Dune, ExcaliburL.A. StoryRobin Hood: Men in TightsConspiracy Theory, Extras (for which he earned an Emmy nomination), The Lion in Winter, I, Claudius, and Tinker Tailor Soldier Spy. His vocal talents have been heard on The Simpsons, American Dad and Family Guy, and as narrator of Seth MacFarlane’s hit comedies, Ted and Ted 2.

On Broadway and West End stages, Patrick has also appeared in “A Life in the Theatre,” “The Master Builder,” “The Ride Down Mt. Morgan” and “The Tempest.” For his acclaimed solo production of “A Christmas Carol,” Stewart played over 40 characters, garnering an Olivier, Drama Desk and What’s on Stage Award. For his performance in the title role of Macbeth, which he played at Chichester, London, BAM and then on Broadway, he earned a Tony Award nomination and won the Best Actor Award in the Evening Standard Theatre Awards.

Stewart is an Honorary Associate Artist with the RSC, having appeared in over 60 productions including, most recently, a 2008 production of Hamlet, opposite David Tennant, which earned him an Olivier Award, and 2005 repertory productions of Antony and Cleopatra and The Tempest. In 1978, he won an Olivier Award for his performance in Peter Brook’s production of Antony and Cleopatra and was nominated for his role in The Merchant of Venice. He also appeared in the now legendary Peter Brook production of A Midsummer Night’s Dream. Additional recent credits include Edward Bond’s Bingo at the Young Vic and Chichester Festival Theatre; and as Shylock in a 2011 RSC production of The Merchant of Venice, directed by Rupert Goold.

In the 2001 New Years’ Honours list, Her Majesty Queen Elizabeth conferred on Patrick the order of the Officer of the British Empire (O.B.E.) and in 2010 Patrick received a knighthood for his services to Drama.


Boyd Holbrook is quickly amassing an impressive resume of diverse roles, starring among some of the most respected actors and proving to be one of Hollywood’s most engaging and sought after talents.

Holbrook can next be seen starring in Jason Lew’s drama The Free World opposite Elisabeth Moss and Octavia Spencer, set to release later this year by IFC. The film premiered at the 2016 Sundance Film Festival and Holbrook received rave reviews about his performance as a Louisiana redneck who was recently released from jail for a heinous crime he didn’t commit. He has completed production on Fox’s sci-fi thriller Morgan opposite Kate Mara and Paul Giamatti, Sabyn Mayfield’s drama Boomtown opposite Rachel Brosnahan and Dwight Yoakam and Terrence Malick’s musical drama Weightless opposite Ryan Gosling, Natalie Portman, Christian Bale, Michael Fassbender and Rooney Mara. Earlier this year, he starred in Gavin O’Connor’s western Jane Got a Gun alongside Natalie Portman, Ewan McGregor and Joel Edgerton.

In television, Holbrook stars on the Netflix original series Narcos, which received a 2016 Golden Globe nomination for Best TV Series, Drama. The drug-fueled period drama follows Colombia’s cocaine kingpin Pablo Escobar and is based on true events that depict his life. The series will return later this year for a second season.

In the past two years, Holbrook has starred in an array of films including Warner Bros.’ Run All Night opposite Liam Neeson, Ed Harris and Joel Kinnaman, Sara Colangelo’s Little Accidents opposite Elizabeth Banks, David Fincher’s adaptation of Gillian Flynn’s novel Gone Girl opposite Ben Affleck and Rosamund Pike, Scott Frank’s crime drama from Universal A Walk Among the Tombstones opposite Liam Neeson and Craig Johnson’s character-driven indie Skeleton Twins opposite Kristen Wiig and Bill Hader, which made its debut at the 2014 Sundance Film Festival. Prior, he starred in Very Good Girls alongside Elizabeth Olsen, Dakota Fanning and Peter Sarsgaard, which premiered at the 2013 Sundance Film Festival, Scott Cooper’s Out of the Furnace alongside Christian Bale and Zoe Saldana, as well as Andrew Niccol’s film adaptation of Stephenie Meyer’s novel The Host. Preceding this success, he garnered prolific roles in numerous films including Vera Farmiga’s Higher Ground and Van Sant’s Academy Award nominated drama Milk.

Holbrook’s other TV credits include HBO’s Liberace biopic directed by Steven Soderbergh, Behind the Candelabra, opposite Michael Douglas and Matt Damon, which opened to rave reviews at the 2013 Cannes Film Festival, the Emmy nominated television mini-series Hatfields & McCoys and the Golden Globe nominated Showtime series The Big C.

In addition to acting, Holbrook made his directorial debut Peacock Killer, a short film based on a short story of the same name by Sam Shepard. This is the first project from his production shingle, Madbrook Films. He also pursues other creative endeavors as an avid sculptor. His work has been exhibited at various locations, including the Rare Gallery in New York.


Emmy, BAFTA, and Golden Globe award winner Stephen Merchant is one of the most versatile talents in the comedy world, with credits including that of creator, executive producer, director, writer, actor, and comedian. Merchant will next be seen opposite Anna Kendrick in the indie comedy Table 19. He also continues to serve as executive producer on Spike TV’s Emmy-nominated hit series Lip Sync Battle.

Previously, Merchant appeared as creator, star, writer, and director of HBO’s Hello Ladies, a sitcom based on his live stand-up comedy show of the same name. The series ended with a one-hour special, which premiered on HBO in November 2014 and received two nominations at the 67th Primetime Emmy Awards.

Merchant is perhaps best known for his work as co-creator (alongside Ricky Gervais) of BBC’s The Office and Extras, both of which have been critically acclaimed. For his work as co-creator, Merchant helped to earn the programs a number of comedy series awards, including three BAFTA Awards, two British Comedy Awards, two Golden Globe Awards, a Primetime Emmy Award, and a Peabody Award, among others. Additionally, Merchant received a British Comedy Award for “Best TV Comedy Actor” for Extras and, in 2004, accepted their “Writers’ Guild of Great Britain Award” alongside Gervais. Merchant also served as an executive producer on the long-running United States adaptation of The Office, which received five Primetime Emmy Awards and 42 nominations during its run on NBC.

Previously, he appeared alongside Gervais and Karl Pilkington in An Idiot Abroad, a highly successful live-action travelogue series which he also co-produced. He also appeared in Life’s Too Short, a comedic documentary on BBC/HBO that he co-wrote and co-directed with Gervais.

In the film world, Merchant most recently starred as Danny in the Dan Mazer-directed I Give It a Year. In 2010, he directed his first feature film alongside Gervais, a 1970s-set comedy titled Cemetery Junction. Merchant’s additional film credits and cameos include Hall Pass, Tooth Fairy, Run Fatboy Run, and Hot Fuzz.

Merchant began his career as a stand-up comedian in 1997 and shortly thereafter became co-host of XFM London’s The Ricky Gervais Show. In 2005, the program was reformatted as a weekly podcast that went on to be consistently ranked as number one in the world and was certified as the most downloaded of all time by the Guinness Book of World Records. The program was later adapted into an animated version of the same name for HBO and Channel 4.

Aside from his on-screen work, Merchant continues to travel the globe as a stand-up comedian. He most recently toured the US, UK, Australia, and New Zealand with his first-ever full stand-up show, Stephen Merchant Live: Hello Ladies.

He currently splits his time between Los Angeles and London. 


LOGAN marks Dafne Keen’s feature film debut, but as the daughter of English actor Will Keen and Spanish actress Maria Fernandez Ache, Keen is no stranger to the acting world. After landing her first role on the TV show The Refugees alongside her father, Keen knew she wanted to pursue a career in acting. The Spanish and English speaking actress also lends her talents to acrobatics and aerial arts.


Richard E. Grant has portrayed many different types of characters in his long and varied career spanning over 80 films with some of Hollywood’s leading directors and actors. His first as Withnail in the British cult classic Withnail and I thus introducing the screen veteran to Hollywood audiences.

Over the past twenty years, Grant has had strong supporting roles in films like Henry & JuneL.A. StoryThe PlayerThe Age of InnocenceThe Portrait of a Lady, Spice WorldGosford ParkBright Young Things, and Penelope. He made his first small screen debut in Peter Capaldi’s 1995 short film Franz Kafka’s It’s a Wonderful Life, which garnered an Academy Award for Best Live Action Short Film.

Grant, a mainstay of British theater and cinema, still maintains a busy career in his native England, (in front of the camera for both film and television) in such titles as Queen and Country, Jekyll and Hyde, Dom Hemmingway and the three-time Golden Globe winning TV series, Downton Abbey. 




Eriq La Salle, best known for his portrayal of Dr. Peter Benton on NBC’s smash medical drama ER, has been nominated for three Emmys as well as several Golden Globe, SAG, and three NAACP Image Awards.

Most recently, Eriq has come into his own as a prolific television director. His credits include hit shows: CSI: Cyber, Madame Secretary, Rosewood, Once Upon a Time, The Night Shift, Murder in the First, Lucifer. He has also helmed episodes of Chicago PD, Chicago Med, Justice, and Training Day. His recognition as a director continues to grow with every completed production. 

A multi-faceted star, Eriq can wear several hats on set. He produced, directed, and acted in both Crazy as Hell and Rebound, a project for HBO featuring Don Cheadle and Forest Whitaker. In addition, Eriq has also produced and starred in the film Salton Sea.

Before he was known as one of the great TV directors of our time, Eriq was an actor in his own right. He recurred on CBS’ A Gifted Man and The Widow Detective as well as HBO’s How to Make It In America, Blackout, and Under The Dome. He guest-starred on USA’s Covert Affairs, and appeared in multiple episodes of Fox’s hit series 24.

Eriq has also appeared in such feature films as Jacob’s Ladder, starring Tim Robbins, and the classic comedy Coming to America, appearing opposite Eddie Murphy. His other film credits include Drop Squad, One Hour Photo, and Mind Prey.

Outside of the film and television world, Eriq is known as an award-winning author. His books, Laws of Depravity followed up by Laws of Wrath, have earned him renown in the literary community. Eriq is currently writing his third novel.


Elise Neal has enjoyed a stellar career as an actress of great range. She is best remembered as the “heart of a married relationship undergoing change” in the breakout John Singleton produced indie Hustle and Flow, and as Scrappy in Jon Singleton’s Rosewood and the “screaming” sidekick in Scream 2. Elise portrayed one of her musical idols, Gladys Knight, in the Lifetime biopic Aaliyah: Princess of R&B.

For a fun and exciting change of pace, Elise joined fellow actresses Golden Brooks, Paula Jai Parker, Countess Vaughn and Lisa Wu for TV One’s docu-series Hollywood Divas for the first two seasons. The series followed the Divas as they navigate life and their careers in the ever-changing entertainment industry while banding together to self-produce an independent film that could hopefully launch the next stage of their careers.

Also on TV One, Elise will star in the Halloween themed short Pillow Talk 187 directed by Russ Parr. Her television breakthrough came on NBC’s Seaquest followed by the ABC hit series The Hughleys and she recurred on Disney’s A.N.T. Farm and Fox’s K’Ville. Her episodic guest star roles include ABC’s Scandal, NBC’s Law & Order, TBS’ My Manny, ABC’s Private Practice, NBC’s The Cape, TV One’s Belles, BET’s The Real Husbands of Hollywood and CBS’ CSI. Elise was a series regular on the Will Smith produced All of Us on UPN and later the CW. In feature film, she starred alongside Adrian Brody and Simon Baker in Restaurant, Love Ranch opposite Helen Mirren and Joe Pesci, Russ Parr’s The Undershepherd, and the indie drama 1982.

Neal has received three NAACP nominations; twice for Best Actress in The Hughleys and a Best Supporting Actress nod for Hustle and Flow, which also received the Audience Award at Sundance, Best Cast at the Young Hollywood Awards, and a NAACP Award Image Award for Best Picture. In 2006 she was the recipient of The African-American Women in Cinema Trailblazer Award.

Elise has seen the power of creating and producing and loves the idea of seeing an idea come to life from start to finish. Elise is one of three producers and co-stars in the short, Anywhere USA. It’s a buddy thriller of two best friends going out for a night on the town. The short is currently making its rounds in the short film festival circuit.

Born and raised in Memphis, Tennessee, Elise attended Overton High School where she was voted head cheerleader and also Overton’s first African-American high school queen. Elise started dancing at the age of 6 and never stopped. She often performs with her longstanding singing/dancing troupe, Assorted Flavors, and serves as head choreographer. Neal received a full scholarship to attend Philadelphia College of the Arts (now University of the Arts, Philadelphia). She credits this achievement as the catalyst to her amazing show business journey. Her passion for musical arts inspired her to move to New York City to pursue her dream where she was cast in touring musicals around the world. After a guest star role in New York on Law & Order, Elise decided to move to Los Angeles to pursue acting full time.

For several years Elise has served as a celebrity liaison for Memphis’ St. Jude Children’s Research Hospital where she donates her time speaking about the great medical strides at the hospital and hosts awareness/fundraising events around the country.


Elizabeth Rodriguez, an award-winning actress who crosses seamlessly from studio films to independent, from the stage to television, has played the emotionally complex Aleida Diaz for the past four seasons on the groundbreaking Netflix series Orange Is The New Black. She was also recently seen as a series regular in the role of Liza Ortiz on AMC’s smash hit Fear the Walking Dead and continues to recur as Paz Valdez on Starz’ Power. Some of Rodriguez’s other series regular roles have included NBC’s Prime Suspect, ABC’s All My Children, and Cinemax’s Blanco. Other work includes Devious Maids, Grimm, The Shield, ER, Six Feet Under, Third Watch, Law & Order, Law & Order: SVU, Cold Case, Just Shoot Me, NYPD Blue. Rodriguez’s film credits include co-starring in Michael Mann’s Miami Vice, The Drop, Tio Papi (for which she garnered an Imagen Award Nomination), Return to Paradise, Jack Goes Boating, Glass Chin and the soon to be released independent 11:55.

Rodriguez received a 2011 Tony Award nomination, and won the Outer Critics Circle Award, as well as a Theatre World Award, for her role as Veronica on Broadway in Stephen Adly Guirgis’ The Motherfu**er With The Hat. Additional theater includes three world premieres at NYC’s acclaimed Public Theater in The Last Days of Judas Iscariot (directed by Philip Seymour Hoffman), Unconditional and A View from 151st Street. Other notable plays include Beauty of the Father (MTC), Roger and Vanessa (Actors’ Gang), Den of Thieves (Black Dahlia), Unorganized Crime (Elephant Theater), Robbers (American Place Theater) and The Power of Duff (Geffen).

Rodriguez is a native New Yorker and member of Labyrinth Theater Company.


Quincy Fouse was raised in Indianapolis, Indiana. While attending Broad Ripple Magnet High School for Performing Arts and Humanities, he discovered a love for performing through beatboxing, dancing, and rapping/poetry at school performances. To showcase his beatboxing talent, he attended a casting workshop and discovered a love for acting. Fouse moved to Los Angeles immediately after high school to pursue a career in film and television. He has made a tremendous splash in Hollywood in very short time including such notable credits as recurring on ABC’s hit show The Goldbergs reprising the role of Taz Money.



JAMES MANGOLD – Director/Writer

With ten feature films to date, including such notable films as Heavy, 3:10 to Yuma, Girl, Interrupted and Walk the Line, James Mangold is a writer-director known for making sophisticated ensemble films in a wide range of genres while keeping constant the powerful themes, original characterizations, memorable performances and striking imagery that have come to define and unify his work. Reese Witherspoon and Joaquin Phoenix’s performances in Mangold’s acclaimed feature Walk the Line earned them both Golden Globe Awards and an Oscar® for Witherspoon for Best Performance by an Actress. The film also won the Golden Globe for Best Motion Picture – Musical or Comedy and received five Oscar® nominations.

Mangold’s most recent feature was the action/adventure/sci-fi fantasy The Wolverine starring Hugh Jackman and based on the popular Marvel Comics character.


 Scott Frank graduated from UCSB in 1982 with a degree in Film Studies. Since then, he has written and or directed over fifteen feature films and television programs.

In 2008, Scott Frank’s directorial debut, The Lookout, won the Independent Spirit award for “Best First Feature.” Along with The Lookout, Mr. Frank’s other screenplays include Little Man Tate, Dead Again, Malice, Heaven’s Prisoners, Get Shorty, Out of Sight, Minority Report, The Interpreter, Marley & Me, The Wolverine, A Walk Among the Tombstones (also directed) and the upcoming LOGAN.

Out of Sight, nominated for an Academy Award for Best Adapted Screenplay, won the Writers Guild of America Award for Best Adapted Screenplay, the Edgar Award from the Mystery Writers of America as well as Best Screenplay awards from the National Society of Film Critics and the Boston Society of Film Critics.

Minority Report won the Saturn Award for Best Science Fiction Screenplay. Get Shorty was nominated for both a Golden Globe and a Writers Guild Award for Best Adapted Screenplay and, along with Dead Again, was nominated for an Edgar Award for Best Mystery Screenplay.

Mr. Frank is currently in post-production on his six-hour western mini-series, Godless, that he wrote and directed with executive producer Steven Soderbergh and Netflix.

Mr. Frank is also writing a TV series for Hulu based on the Walter Tevis novel, The Man Who Fell to Earth, and a second series for Netflix, Dept Q, based on a series of novels by Jussi Adler Olsen.

Mr. Frank’s first novel, Shaker, was published by Knopf in 2016. The paperback was just released by Vintage this past January.


Michael Green is a television and film writer and producer who has received numerous accolades for his work, including an Emmy nomination for Outstanding Drama Series in 2007 for Heroes.

Green penned 20th Century Fox’s adaptation of Agatha Christie’s Murder on the Orient Express, directed by Kenneth Branagh. His other current feature projects include the upcoming Blade Runner 2049, directed by Denis Villeneuve; Alien: Covenant, directed by Ridley Scott; and LOGAN, directed by James Mangold.

In television, Green currently serves as executive producer and co-showrunner of Starz’s American Gods, adapted from Neil Gaiman’s award-winning novel by Green and Bryan Fuller.

Green also created and executive-produced NBC’s Kings and ABC’s The River. He has additionally written and produced for numerous shows including Heroes, Everwood, Smallville, Jack & Bobby and Sex and the City.


Hutch Parker is a film and television producer with an overall producing deal at 20th Century Fox. Most recently, he produced Patriots Day as well as LOGAN, set for release in March 2017. Other recent producing credits include Fantastic Four, X-Men: Days of Future Past, The Wolverine as well as last summer’s blockbuster hit X-Men: Apocalypse.

Hutch spent the bulk of his career as a film executive at 20th Century Fox (1995-2008). Hutch served as President, and subsequently Vice Chairman of the Film Group (1999-2008), where he oversaw all of 20th Century Fox film operations including the animation division. During Hutch’s tenure at Fox, the studio enjoyed six record breaking years with films such as Avatar, the X Men franchise, Master and Commander: The Far Side of the World, Die Hard: Live Free or Die Hard, Taken, Minority Report, Borat, Kingdom of Heaven, The Day After Tomorrow, Ice Age, Cheaper by the Dozen, I, Robot, Night at the Museum, and There’s Something About Mary, among others.

In 2008, Hutch was appointed co-chairman of New Regency Entertainment (co-owned by 20th Century Fox) overseeing both film and television operations (Mr. & Mrs Smith, Marley & Me, Alvin and the Chipmunks, Love and Other Drugs, among others).

Prior to Fox, Hutch held the positions of Senior Vice President of Production at HBO and Senior Vice President of Orion Pictures. He was born in New York and graduated from Princeton University.


Simon Kinberg has established himself as one of Hollywood’s most prolific filmmakers, having written and produced projects for some of the most successful franchises in the modern era. His films have earned more than five billion dollars worldwide.   

Kinberg graduated from Brown University, and received his MFA from Columbia University Film School, where his thesis project was the original script, Mr. & Mrs Smith. The film was released in 2005, starring Brad Pitt and Angelina Jolie.

In 2006, he wrote X-Men: The Last Stand, which opened on Memorial Day to box office records, and began his ongoing relationship with the franchise. In 2008, Kinberg wrote and produced Doug Liman’s film Jumper for 20th Century Fox. In 2009, Kinberg co-wrote the film Sherlock Holmes starring Robert Downey Jr, directed by Guy Ritchie. The film received a Golden Globe for Best Actor, and was nominated for two Academy Awards.

In 2010, Kinberg established his production company Genre Films, with a first look deal at 20th Century Fox. Under this banner, he produced X-Men: First Class, executive produced Abraham Lincoln: Vampire Hunter, and wrote and produced This Means War. In 2013, Kinberg produced Elysium, which starred Matt Damon and Jodie Foster, directed by Neill Blomkamp.

On Memorial Day of 2014, Fox released X-Men: Days of Future Past, which Kinberg wrote and produced. The film opened number one at the box office, received critical acclaim, and went on to gross more than $740 million worldwide.

In 2015, Kinberg had four films in release. He re-teamed with Neill Blomkamp to produce Chappie, starring Hugh Jackman and Sharlto Copley. Kinberg produced Disney’s Academy Award nominated Cinderella, starring Cate Blanchett and directed by Kenneth Branagh. In addition, Kinberg was the co-writer and producer of The Fantastic Four. His final film of the year was The Martian, which he produced. The film, directed by Ridley Scott and starring Matt Damon, grossed more than $630 million worldwide, won two Golden Globes (including Best Picture), and was nominated for seven Academy Awards (including Best Picture for Kinberg).

In 2016, Kinberg produced Deadpool, starring Ryan Reynolds. The film was released in February and broke international and domestic records for box office, including being the highest-grossing R-rated film of all time globally. Deadpool was Kinberg’s eleventh film to open number one at the box office.

Kinberg is also attached to produce the X-Men spinoff movies Gambit, starring Channing Tatum. In addition, he produced Murder on the Orient Express, for which he reteamed with Kenneth Branagh directing, and Ridley Scott producing, along with last summer’s blockbuster X-Men: Apocalypse. On the television side, Kinberg is the executive producer of Legion, a Marvel TV/FX Network production. He also paired up with the Mark Gordon Company and ABC to produce Designated Survivor, starring Kiefer Sutherland.

Kinberg is also writing and producing one of the upcoming Star Wars films. He served as consultant on Star Wars: Episode VII and Rogue One, and he is the creator and executive producer of the animated show Star Wars: Rebels on Disney networks.


Lauren Shuler Donner has, in the past three and a half decades, established herself as one of the most successful and versatile producers in Hollywood. To date, her films have grossed $5 billion worldwide.    

Shuler Donner was bound for success from the beginning, as the first feature film she produced was the smash hit comedy, Mr. Mom, one of the top ten grossing films the year. She then went on to produce Ladyhawke starring Matthew Broderick, Michelle Pfeiffer and Rutger Hauer, and St. Elmo’s Fire and Pretty in Pink, both of which created a new phrase in teen lexicon, “Brat Pack.”

In the early ’90s, Shuler Donner produced the box office smash hits Dave and Free Willy, two of the top ten films of 1993. The critically acclaimed Dave was nominated for both an Academy Award® (Best Original Screenplay) and a Golden Globe (Best Picture-Comedy). She went on to produce You’ve Got Mail, with Meg Ryan and Tom Hanks, Any Given Sunday, Radio Flyer, 3 Fugitives, the sequel to Free Willy and Constantine with Keanu Reeves and Rachel Weisz. As head of The Donners’ Company, she has executive-produced Volcano, Bulworth, and Just Married. Shuler Donner’s other productions include Timeline with Paul Walker and Gerard Butler, She’s The Man with Amanda Bynes, and Hotel For Dogs starring Emma Roberts.

In 2000, Shuler Donner began a new franchise with X Men and followed up in 2003 with X2. Not only did the film gross $406 million dollars internationally, it is also the only sequel of 2003 to receive critical acclaim as well. X Men: The Last Stand was released in May 2006, and a month later it was on its way to the half-billion dollar mark worldwide.  

Shuler Donner also produced The Secret Life of Bees for Fox Searchlight, which was written and directed by Gina Prince-Bythewood and stars Queen Latifah, Dakota Fanning, Jennifer Hudson, Alicia Keys, Sophie Okonedo and Paul Bettany. This film won multiple People’s Choice awards – “Favorite film” and “Best Dramatic Film” among them. It also won Best Picture from the NAACP Image Awards.

Shuler Donner’s next film was X-Men First Class, which received critical raves; The Wolverine, released July 26, 2013, and X-Men: Days of Future Past, which received both critical acclaim and grossed $748 million worldwide.

It took six years to get made, but in 2016 Deadpool, produced by Shuler Donner and Simon Kinberg, was released and grossed a whopping $782,612,155! X-Men: Age of Apocalypse was another hit in 2016 with a worldwide gross of $542,721,987. Shuler Donner took a more managerial role on that film as she had already produced a total of 9 X-men and Wolverine movies.

Currently Shuler Donner is an Executive Producer on Legion, created by Noah Hawley and is developing a TV series with Matt Nix for FBS which will be on air in 2017.

Lauren has many projects in development for TV and feature films, including a big-screen adaptation of Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian. Next up: Broadway musicals based on her films Dave and Secret Life of Bees.

In October 2008, both Shuler Donner and her husband Richard Donner were awarded Stars next to each other on Hollywood Blvd Walk of Fame. She and Richard were also honored by The American Cancer Society in June of 2006, by Lupus L.A. in 2008. They were also awarded Lifetime Achievement Awards at the Ojai film Festival in November of 2008, and honored by the Women’s Guild of Cedar’s Sinai Hospital in 2013.

She has been recognized for her body of work in 2001 by Premiere magazine with the Producer Icon Award, and was recognized by Daily Variety with a ‘Billion Dollar Producer’ special issue. In June 2006, she received the prestigious Crystal Award from Women in Film, and received another Crystal Award in 2016.   

Shuler Donner is a dedicated philanthropist who thrives on giving back to the community. She was on the board of directors for Hollygrove Children’s Home until it merged with EMQ in 2006. She has been on the advisory board of Women in Film, was a long-time member of the advisory board of TreePeople, and is a past Board member of Planned Parenthood Los Angeles. She is serving currently on the advisory board of Lupus LA, has served as the Treasurer for the Producers Guild of America, and is on the executive committee of the Producer’s Branch of the Academy of Motion Picture Arts and Sciences. 

JOSEPH CARACCIOLO JR. – Executive Producer

Joseph Caracciolo Jr. has amassed an impressive list of film credits over the last two decades including The Wolverine, directed by James Mangold and starring Hugh Jackman.

Most recently Caracciolo served as Executive Producer on the highly anticipated Pirates of the Caribbean: Dead Men Tell No Tales as well as on the hit films Dracula Untold, Date Night, Marley & Me, What Happens in Vegas and The Devil Wears Prada. Some of Caracciolo’s additional credits include Just My Luck, Hide and Seek, Uptown Girls, Swimfan, Cecil B. Demented, The Man Who Knew Too Little, Copycat, I Love You, I Love You Not, Glengarry Glen Ross, FreeJack, Mortal Thoughts and Tune in Tomorrow

A native of New York, Caracciolo got his start as prop master and worked his way through the ranks as a 2nd assistant director and a unit production manager.

JOSH MCLAGLEN – Executive Producer

Josh McLaglen is best known for his work with director James Cameron on the blockbusters Avatar and Titanic, as well as collaborations with director Shawn Levy, including the Night at the Museum series. Other credits include Cast Away and Beowulf with director Robert Zemeckis. Most recently, Josh has worked on several films in the X-Men series (X-Men: First Class, X-Men: Days of Future Past, X-Men: Apocalypse). He recently completed work on James Mangold’s LOGAN and is currently working on the next X-Men film.

STAN LEE – Executive Producer

Stan Lee, the chairman emeritus of Marvel Comics, is known to millions as the man whose superhero characters propelled Marvel to its preeminent position in the comic-book industry. Hundreds of legendary characters, including Spider-Man, The Incredible Hulk, The X-Men, The Fantastic Four, Iron Man, Daredevil, The Avengers, The Silver Surfer, Thor and Dr. Strange, all grew out of his fertile imagination. 

Lee served as executive producer for Avengers: Age of Ultron, The Wolverine, Thor: The Dark World, Captain America: The Winter Soldier, The Amazing Spider-Man 2, Iron Man 2, The Avengers, Thor, X-Men: First Class, X-Men: Days of Future Past, Captain America: The First Avenger, The Amazing Spider-Man, and Iron Man 3, and many other hit films based on Marvel Comics titles.

It was in the early 1960s that Lee ushered in what has come to be known as The Marvel Age of Comics, creating major new Super Heroes while breathing life and style into such old favorites as Captain America, The Human Torch and The Sub Mariner. 

During his first 25 years at Marvel, as editor, art director and head writer, Lee scripted no fewer than two and as many as five complete comic books per week. His prodigious output may comprise the largest body of published work by any single writer. Additionally, he wrote newspaper features, radio and television scripts and screenplays.

By the time he was named publisher of Marvel Comics in 1972, Lee’s comics were the nation’s biggest sellers. In 1977, he brought the Spider-Man character to newspapers in the form of a syndicated strip. This seven-days-a-week feature, which he has written and edited since its inception, is the most successful of all syndicated adventure strips, appearing in more than 500 newspapers worldwide.

In 1981, Marvel launched an animation studio on the West Coast and Lee moved to Los Angeles to become creative head of Marvel’s cinematic adventures. He began to transform his Spider-Man and Hulk creations into Saturday morning television and paved the way for Marvel’s entry into live-action feature films. 

Under the umbrella of his new company POW! (Purveyors of Wonder!) Entertainment, Inc., Lee created and executive produced an animated “Stan Lee Presents” DVD series. Lee’s television credits with POW! include serving as executive producer and star on the hit reality series Who Wants To Be a Superhero?,  and as co-producer and creator of Stripperella on the Spike cable channel. Previously, he executive produced Nick Fury: Agent of S.H.I.E.L.D., The Incredible Hulk, Spider-Man and X-Men.

Lee has written more than a dozen best-selling books, including Stan Lee’s Superhero Christmas, The Origins of Marvel Comics, The Best of the Worst, The Silver Surfer, How to Draw Comics the Marvel Way, The Alien Factor, Bring on the Bad Guys, Riftworld, The Superhero Women and his autobiography Excelsior! The Amazing Life of Stan Lee.

JOHN MATHIESON – Director of Photography

John Mathieson has collected two Academy Award nominations for his work on Ridley Scott’s 2000 drama Gladiator and Joel Shumacher’s 2004 big screen adaptation of The Phantom of the Opera.

In addition to the Oscar nominations, Mathieson won the BAFTA Awards for Best Cinematography for Gladiator along with a British Society of Cinematographers for Best Cinematography for his work on The Phantom of the Opera as well as a nomination for Great Expectations.

The native of Dorset, UK, began his career shooting music videos and soon garnered recognition for the ground breaking video “Peek-a-Boo” for Siouxsie and the Banshees. The video was chosen by the British music video program The Chart Show to be their “Best Video of the Year” for 1988. He continued shooting music videos collaborating with artists like Sinead O’Connor on the video “Nothing Compares 2 U” as well as Madonna, Prince, and Massive Attack along with numerous television commercials.

Mathieson soon after began shooting shorts and TV Movies, ultimately breaking into the feature world. It was his work on Jake Scott’s 1999-action adventure Plunkett & Macleane, that attracted the attention of Ridley Scott (Jake’s father) who invited Mathieson to work on his next project, Gladiator. Since, Mathieson and Ridley Scott have collaborated on four other films including Hannibal, Matchstick Men, Kingdom of Heaven, and Robin Hood.

In addition to his work with Scott, Mathieson’s almost four dozen credits as director of photography include Kristen Sheridan’s August Rush, Stephen Woolley’s Stoned, Baillie Walsh’s Flashbacks of a Fool, Matthew Vaughn’s X-Men: First Class, Carl Rinsch’s 47 Ronin, Guy Ritchie’s The Man from U.N.C.L.E. and Mike Newell’s Great Expectations. The latter earning Mathieson the nomination for British Society of Cinematographers award for Best cinematography in 2012 and 2013.

Mathieson reteamed with Guy Ritchie on his upcoming action adventure King Arthur: Legend of the Sword based on the classic King Arthur story to be released spring 2017.

FRANCOIS AUDOUY – Production Designer

Francois Audouy re-teams with James Mangold after their successful collaboration on The Wolverine, where he steered the production to exotic locations in Australia and Japan. Audouy started his career path as a Concept Illustrator and Graphic Designer on dozens of films including Men in Black, Men in Black 2, Wild Wild West, Minority Report, and Zodiac. He gradually transitioned to art direction on tentpole films such as Green Lantern, Watchmen, Transformers, Charlie and the Chocolate Factory, The Terminal, and Spider-Man. More recently, Audouy served as the Production Designer of the period fantasy films Abraham Lincoln: Vampire Hunter, directed by Timur Bekmambetov, and Dracula Untold, directed by Gary Shore.

DANIEL ORLANDI – Costume Designer

Daniel Orlandi comes to LOGAN after working with John Lee Hancock on Saving Mr. Banks for which he was nominated for the BAFTA and Costume Designers Guild awards and again on The Founder, starring Michael Keaton. They also collaborated on The Blindside with Sandra Bullock in her Oscar winning role and Disney’s epic production of The Alamo, starring Dennis Quaid and Billy Bob Thornton. His designs can also be seen in Jurassic World.

He worked with Jay Roach on Trumbo starring Bryan Cranston, the Emmy winning Game Change, The Campaign, The Brink and Meet the Parents. Orlandi also designed Ryan Murphy’s Emmy winning HBO production of the acclaimed Larry Kramer play The Normal Heart starring Mark Ruffalo, Julia Roberts and Taylor Kitsch, for which he was nominated for an Emmy.

Daniel has also worked with Ron Howard for his film versions of the bestselling novels Angels and Demons and The Da Vinci Code as well as the 1930s-era boxing drama Cinderella Man, starring Russell Crowe and Renee Zellweger and his Oscar nominated film Frost/Nixon.

He costumed Renee Zellweger and Ewan McGregor in the 1960s-style Down with Love, and Joel Schumacher’s films The Number 23, Flawless and Phone Booth, and designed the principal costumes for Jerry Bruckheimer’s Kangaroo Jack and Last Holiday, starring Queen Latifah. Television work includes the first season of the NBC comedy ED and Maureen O’Hara costumes in Cab to Canada. Orlandi won the Emmy Award for his work on The Magic of David Copperfield XI: The Explosive Encounter in 1989. Graduating from Carnegie-Mellon University, he got his start working with Bob Mackie on the film Pennies from Heaven, numerous television specials and Mackie’s successful couture collection.

Walter Nicoletti
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