Opens Nationwide August 10, 2012 Source: Universal Studios Official Site: thebournelegacy.com

SPOILER WARNING: This article contains plot details and images from an upcoming movie.

The narrative architect behind the Bourne film series, TONY GILROY, takes the helm in the next chapter of the hugely popular espionage franchise that has earned almost $1 billion at the global box office: THE BOURNE LEGACY. Building on the foundation of the Bourne universe created by ROBERT LUDLUM, the writer/director expands the saga with an original story that reveals a larger conspiracy. Twelve years ago, audiences were introduced to Jason Bourne when he was pulled unconscious from the Mediterranean. Over the course of three films, they followed his journey to survive and discover his identity. They watched his CIA handlers mount an increasingly desperate worldwide manhunt. They learned about the Treadstone program and Bourne’s special skills and abilities, and at the trilogy’s conclusion, they may have even felt the story was complete. The Bourne Legacy pulls back the curtain to expose a darker layer of intrigue, a deeper mythology, and a new hero who must battle to stay alive when his program suddenly becomes a liability. The Bourne Legacy is exactly that — the legacy, the aftermath — of what’s come before. Bourne’s public exposure at the end of The Bourne Ultimatum sparks a bonfire that threatens to burn down decades of research and development into the building of better spies and warriors. Audiences will discover that there are actually a variety of intelligence programs, that the CIA’s Treadstone was but one of the early developments and that Bourne’s actions are creating a tremendous anxiety that other programs may be exposed. Aaron Cross (JEREMY RENNER of The Hurt Locker, The Town, The Avengers, Mission: Impossible—Ghost Protocol) is one of six agents in a program called Outcome. Unlike the CIA’s Treadstone, Outcome agents have been developed and trained for use by the Department of Defense. More than assassins, Outcome agents are designed for use in isolated, high-risk, long-term intelligence assignments. The behavioral science that was suggested as the underpinning of the Treadstone agents has been upgraded and advanced, but it’s the shared origins of these two programs that makes Outcome so vulnerable as Bourne’s story becomes public knowledge. EDWARD NORTON (The Illusionist, The Incredible Hulk) plays ret. Colonel Eric Byer, the director of a black-line agency, NRAG (National Research Assay Group), at the heart of the Bourne universe. Byer is the man who’s built these programs, fought to keep them funded and shopped them to a variety of eager U.S. intelligence services in the vast, post-9/11 espionocracy. Pulling back the curtain, we realize he’s been there all the while, watching as the three previous films have played out. It’s Byer’s world that’s being threatened as the CIA fails to contain Bourne and, with the realization that Treadstone’s fall will expose the close working relationship between two of his chief medical directors, Byer has no choice but to sacrifice Outcome. That means eliminating everyone involved, including the science and medical researchers who helped to create it. He must now bring to bear every resource possible and erase the infected program to preserve the rest of his work.

Academy Award®-winning actress RACHEL WEISZ (The Constant Gardener, The Mummy) stars alongside Renner as Dr. Marta Shearing, a research scientist with top-security clearance and a high-paying job in the Maryland laboratory of corporate pharma-giant Candent. It’s the groundbreaking science developed in her lab that’s responsible for Outcome, and her job includes monitoring the Outcome agents on the rare occasion that they pass through the area. She knows Aaron as she knows the rest of them: as a number, as a clinical subject, as a guinea-pig. She’s ignored the ethical conflict of her work, but when the entire program needs to be terminated and it’s her life in jeopardy, she’s forced to confront the morality of her choices as she fights to stay alive. Byer has built his NRAG network at the Beltway nexus of the intelligence, military and corporate communities. STACY KEACH (W., American History X) plays ret. Admiral Mark Turso, Byer’s chief advisor and link to the Pentagon. DENNIS BOUTSIKARIS plays Terrence Ward, the CEO of The Candent Group, the big-pharma giant working beyond the cutting-edge of science and medical ethics under the banner of national security. The appetite for enhanced warriors — a very real military/intel dream over the last 60 years — has finally met the moment where breakthroughs in biochemistry and genomics are making things possible. We learn very early in The Bourne Legacy that Treadstone was but one of Byer’s early programs and, as the film progresses, we discover that even Outcome has been upgraded. But just as each of these programs carries the promise of more perfect agents, so do they each present their own unique bugs and flaws. Aaron Cross’s physical enhancements will feel familiar to fans of Jason Bourne. His cognitive lift, however, makes for a more adaptive and provocative skillset. It also holds a great danger: The Outcome agents have proven difficult to control, and Cross, once cut free of the leash, makes for an even more dangerous threat to his creators. OSCAR ISAAC (Drive, Robin Hood) plays Outcome #3, and in his handful of scenes in The Bourne Legacy, Isaac has a chance to explore with Renner these tensions with the clear, raw perspective of two men who’ve signed up for more than they bargained for. With The Bourne Ultimatum playing in the background of the first two reels, The Bourne Legacy has the opportunity to follow through on the storylines left hanging in the previous films. The story invites several franchise veterans to reprise their roles from earlier Bourne chapters. They include five-time Academy Award® nominee ALBERT FINNEY (Erin Brockovich, Big Fish) as Dr. Albert Hirsch, the medical director behind Treadstone, and JOAN ALLEN (The Notebook, Nixon) as Pam Landy, the CIA’s internal investigator whose relationship with Bourne has erupted in The Bourne Ultimatum. DAVID STRATHAIRN (Good Night and Good Luck., L.A. Confidential) returns as Noah Vosen, head of the black-ops security program Blackbriar, and SCOTT GLENN (Training Day, The Silence of the Lambs) appears as Ezra Kramer, the director of the CIA. They too will find their previous positions shattered as Cross defies the odds and refuses to be terminated.

ABOUT THE FILM

As the filmmakers of the Bourne franchise pondered the next chapter in the series, they faced a conundrum: At the end of The Bourne Ultimatum, the protagonist had been involved in a shootout in London’s Waterloo Station and then an even more high-profile car chase gunfight through the streets of New York City. Jason Bourne had gone public in a big way. He was poised to expose the U.S. government for its litany of crimes when he vanished. Producer Frank Marshall explains the hurdle: “The challenge was ‘Where are we going to go now?’ Jason Bourne knew who he was, didn’t want to be in the same business anymore and wanted to go off on his own. We had to create a new set of circumstances for the story to go forward.” Despite the hesitancy, Patrick Crowley, who, alongside Marshall, produced the three previous entries in the series, admits that it was the fans’ interest in additional stories that kept the franchise alive. “We touched a nerve with people who would come up to us and say, ‘I like those movies so much. I hope you’re going to be doing another one,’” offers Crowley. “If you’ve done three of them and then people want to see a fourth, you’ve done something right.”

In April 2010, several months after Paul Greengrass and Matt Damon opted not to participate in this chapter of the series, producers Jeffrey Weiner and Ben Smith met with the franchise’s narrative architect, Tony Gilroy, and asked him if he might spend some time thinking about how to move forward. Gilroy was intrigued and agreed to see if he could find an exciting way to continue this world that he had helped to create — one that had launched a new kind of spy thriller. Several weeks later, Gilroy came back to the producers with a concept for how to approach the material. He notes: “The thing that separated Bourne most clearly from the action films of the moment was the depth and complexity of the character’s problem. The idea of an assassin ‘coming to’ with no recollection of his dark past and paying the price for recovering his memory by realizing that he’s not the person he wants to be was an incredibly compelling motor. In the hands of an actor like Matt Damon, there was no limit on how honest and detailed those ideas could be expressed. It was fun to think of ways to stage the Legacy story, but until there was a new character with a new problem that felt as powerful there wasn’t going to be a script. When that last piece fell into place — when Aaron Cross came into focus — when the thing that he needed became as clear and soulful to me as what we’d gone after with Bourne, that’s when everyone decided it made sense to move forward.” Gilroy then began work on a treatment for the project even as he outlined a blueprint for where the story might go after The Bourne Legacy. He began an in-depth research process that would serve as the underpinning for both documents. He looked most particularly at the secretive U.S. government agency known as DARPA (Defense Advanced Research Projects Agency) that is hard at work trying to figure out how to make better soldiers. DARPA and its intelligence counterpart, IARPA (Intelligence Advanced Research Projects Activity), fund many research programs with the objective of enhancing the cognitive and physical performance of American soldiers and spies. Gilroy notes: “There’s no drug testing in war. There’s a very real appetite to have soldiers with increased energy, higher pain thresholds and less need for sleep. The warrior who heals, learns and processes information faster is the dream of every commanding officer. We’re in a place now where the science has begun to make real that dream in a very unpredictable and terrifying way.” Just as in The Bourne Legacy, DARPA and its counterparts are working closely with the pharmaceutical industry, medical researchers, Silicon Valley and others to find ways to make humans into better warriors. Gilroy found that there was a burgeoning post-9/11 marriage of biology and warfare: a top-secret America that has proliferated, funded by the U.S. government and staffed by scientists often working for large corporations. It has, in fact, become so large that it is impossible to fully oversee by any one branch of the U.S. government. Offers the director: “This was an odd story to research because I was doing more confirmation than prospecting. I kept finding that my imaginative ideas for Outcome and Candent and NRAG were already there and in play. Every hint that we’d laid along the way in the trilogy about Treadstone and its science-medical background fit perfectly into the existing reality. Then it was just a matter of asking what would happen if everything went wrong.” After finishing the treatment for The Bourne Legacy, Gilroy decided he would be interested in making this his next directorial effort. Although he began his career as a screenwriter, Gilroy has become an accomplished director with two features to his credit: 2007’s Best Motion Picture nominee Michael Clayton, starring George Clooney, for which Gilroy received Oscar® nominations for both directing and writing, and Duplicity, the 2009 romantic caper starring Julia Roberts and Clive Owen. The producers and the studio agreed immediately and were enthusiastic about this turn of events. Says Marshall: “One of the best things about the movie was getting to work with Tony as a director. I’ve been involved with him on the other three movies as the writer, but way back on The Bourne Identity, I knew that someday he was going to direct. He was in the cutting room and making the kind of suggestions and solving the kind of problems in the way that a director would think about them. So, it’s not a surprise that he’s directing this film but it didn’t start out that way.” To collaborate on the screenplay, Gilroy called upon his brother, fellow screenwriter Dan Gilroy, for their first professional teaming in many years and they began work. Notes Dan Gilroy of the collaboration: “Tony and I actually co-wrote several unproduced screenplays when we were first starting. It was an easy fit then and pretty effortless now. Our process is outlining the story together and then leapfrogging scenes or sequences. When we’re working, it’s seven days a week—long hours. I’m in L.A, and he’s in New York, but these days distance doesn’t matter. There’s no ego involved. Whatever works gets used, and there were no disagreements or arguments. It was a blast. We were both on the same page and committed to tuning every element to the highest possible degree.”

The two writers expanded upon the research that Tony Gilroy had done for the treatment, while also developing the intense drama of the story. Continues Dan Gilroy: “We hope Legacy lives up to its title by expanding the mythology in smart, imaginative and absolutely realistic directions. All technology referenced in the film is either in development or in use by the U.S. intel community. The hardest part of the job was creating a character with a need that makes the film personal, and Tony had the core of that before I came on. Aaron Cross has a primal need that creates constant intimacy with the audience. The emotional journey is always in the foreground, which for me is the hallmark of all great action movies.” Marshall was thrilled with the resulting script. He commends: “The genius idea was Tony and Dan’s: Expand the world that Bourne lived in and see what else was out there and who is controlling whom. This way, we could build upon the world the audience had discovered via Jason Bourne and then have an opportunity to see new characters and the bigger picture.” Crowley agrees that the writer/director and his brother nailed it. The producer marvels at their crafting of a language specific to this series and how they connected everything in this world: “Tony’s obsessed with the intelligence community. He lives and breathes it, asking, ‘How would these people think, how would they act, and what are the relationships that you would have in the intelligence community?’ It thrilled me that we have a writer who is the soul of the whole series — who shows that he is an amazing director with two well received movies — come on board to direct this one.” In keeping with Gilroy’s previous screenplays for the Bourne series, this script diverges dramatically from the plotlines of Ludlum’s Cold War-era novels but retains the author’s themes of conspiracy and government programs run amok. According to producer Ben Smith, this film offered the chance to build upon what had been established by the series creator, who died in 2001. “What’s special about Robert Ludlum’s work and about these movies is that they talk about the power of an individual,” says Smith. “In these times of massive corporations and governments and multinational interests, the films make us feel that we can make a difference.” Fellow producer Jeffrey Weiner shares Smith’s belief that Gilroy was the right filmmaker to take the mantle. He says, “We were thrilled that Tony not only wanted to write The Bourne Legacy, but also wanted to direct. He’s one of the few people who’s been with the entire series since the beginning. His understanding and feel for this world is invaluable in this process, and I think he’s given the people who will go to the movie exactly what they want out of a Bourne experience.” Joining the team as executive producers are Henry Morrison and Jennifer Fox, Gilroy’s longtime production partner. Fox reflects on their working relationship and Gilroy’s sensibilities at blending action and suspense with piercing drama. She says, “When Tony Gilroy writes, he can see the film in his mind down to the smallest detail, and his ability to focus and capture that vision is a testament to his instincts and to his creative stamina. Also, within Tony’s work there is always the essential desire for explanation of human drama. The depth of his complicated characters stem from that search for truth from character to character and scene to scene.”

ABOUT THE PRODUCTION

Tell Me Your Name: Casting the Action-Thriller For Gilroy, finding the ideal performers to give life to the screenplay was the most crucial element in putting together the film. “Everything else can be pushed and fixed or wrangled in some way,” he says. “Acting is magic. I learned that a long time ago.”

To play the part of Aaron Cross, the filmmakers turned to Oscar® nominee Jeremy Renner, a performer as comfortable with drama as he is with action. “The reason Jeremy’s such an amazing actor is that he is a complicated guy,” underscores Gilroy. “He’s sweet and he’s hard, and he lets himself draw on all of that, all the time.” The director says that he’s a longtime admirer of Renner’s work: “I must’ve watched The Hurt Locker 18 times. In every scene, he is molecularly involved with the physical aspect of what’s happening at the moment. This integrity that he has, this feet-on-the-ground awareness and this surprising, explosive intelligence, made Jeremy the perfect cousin for Bourne.” Any concerns that the filmmakers might have had about Renner’s ability to transform into an action star were instantly assuaged. In fact, the director calls his leading man a “movie athlete.” Gilroy says: “Jeremy came to us at a really high learning curve. When they took him out to the track the first time, the reports were: ‘Oh my God. Wow. He can do this and this…and this…and this. We don’t have to double this!’ Jeremy’s so good that he actually was at the level where the insurance company got nervous.” “Jeremy is an actor of such intensity and intelligence,” adds Smith. “We’ve seen in his performances that he comes out of the screen, grabs you by the throat and takes you on an incredible journey.” After his Academy Award®-nominated roles in both The Hurt Locker and The Town, Renner went on to make his mark as an action hero in the blockbuster Mission: Impossible—Ghost Protocol and this summer’s global juggernaut The Avengers. He says that he was a fan of the Bourne series and of one man’s performance in particular: “What Matt Damon did, and what the previous directors have done, was great. For those who love the franchise, I’m not replacing Matt, nor would I want to. It would never have been interesting if I was taking over and playing the same character. Matt is always the face of Jason Bourne and always should be. I liked this script because it was a very interesting way of continuing the story while honoring what came before.” The performer elaborates on Gilroy’s underlying premise that, although Cross travels in a world that is parallel to Bourne’s, Cross is not aware of Bourne. Renner reflects: “They don’t know each other, so this has a whole new spin on why these supersoldier spies are the way they are now. I hope I can bring a fresh perspective to it.” Renner goes on to share that The Bourne Legacy retains the realistic tone of the earlier films. “It doesn’t veer into the CGI world or massive explosions,” he says. “It stays authentic. It was important for me to want to find humanity within this character.” He found his filmmakers were just as interested in these concepts. “What matters is that there is believability in everything we do in the film. No matter what the stunt is or the setup, it’s all based in reality, truth and the potential of science. As an actor, that’s easy to grab onto.” Unlike Bourne, Cross is well aware of who he is and where he came from: a soldier wounded in the Middle East several years ago. Once he escapes from the Yukon, Cross journeys back to the U.S. in order to find one of his few contacts in Outcome, and the only person who can help him stay alive, Dr. Marta Shearing. Says Crowley about an issue that has perplexed the team since the beginning of the first film: One of the biggest challenges we’ve had is how to deal with a leading lady in the movie. With the pace and intensity of the films, it’s difficult to take the time to properly develop a relationship, plus getting hooked up with Jason Bourne is usually the kiss of death. Because we have a fresh start, we can introduce a woman into the story without it feeling contrived.” The role of Marta required not only a talented actress, but also one who would be willing to take on the special demands that the part required. Explains Gilroy: “Marta is an accomplished research scientist with some real emotional chaos in her private life. She’s been ignoring some pretty heavy moral contradictions in her work for Outcome, and when things explode she’s launched into about as hardcore an odyssey as any character I’ve ever written. And by the end of the film she’s not just surviving, she’s kicking ass. It’s a demanding role.” Much to the filmmakers’ delight, Academy Award® winner Rachel Weisz, known for her powerful performances in such films as The Constant Gardener, The Lovely Bones and The Whistleblower, was eager for the challenges that lie ahead and the results were more than they had hoped for. Gilroy recalls: “The bar for credibility is very high in this franchise, and she gave us more than we ever dreamed of. I knew how good she was, but I was still astonished by what she brought to the film. She pretty much surpassed my expectations every day.” Marta is a workaholic, utterly devoted to her groundbreaking research as a biochemist at a top-secret lab in Maryland. Reflects Weisz: “She’s at the cutting edge of science, and she thinks she’s contributing to her country. But at the same time, she does secretly know that what she’s doing has great moral ambiguity to it.” Marta’s choice to ignore the potential consequences of her trials on patients intrigued the actress. “I would be less interested in her if she were just doing something good and saving the world. What she’s doing is a little dubious.” Marta’s mundane life is turned upside down and she becomes a target when Outcome is rapidly shut down and she is perceived as simply residual cleanup. Aaron — a man whom she has examined multiple times in four years but doesn’t know well — appears in time to save her, and the two quickly form a relationship out of necessity. “Marta is hesitant to go with him, but she doesn’t have any other alternative,” Weisz explains. “The people who represent law and order in her country just tried to kill her. She is a regular woman who happens to be good at science, but not good at evading the police authorities of the globe.” Weisz was intrigued by the backstories that the Gilroys had created for these two characters. “They’re incredibly driven in very different ways,” adds Weisz. “Marta and Aaron come from completely different backgrounds, and they end up relying on one another for different reasons. That’s a really fascinating way to create a story.” While filming in New York and in Southeast Asia, Weisz discovered that she and Renner had similar approaches to their work. “We’re very different people, and we come from different backgrounds but we have a similar way of working,” the actress observes. “Jeremy’s very free and loose and pretty wild, and wonderful to work with. I’ve loved every minute opposite him.” Weisz also sees a bit of a rebel in her director: “Tony has a very rock ’n’ roll spirit, which is ‘Let’s find chaos and abandon, and let’s go,’ which is great for acting. He’s an unusual combination in a writer/director, and I’m happy to be in his band.”

To play the role of ret. Col. Ric Byer, the ruthless head of NRAG — the organization behind the secret program of agents that began with Treadstone, evolved into Blackbriar, and now operates Outcome, among several others — the filmmakers cast Oscar® nominee Edward Norton. When Outcome is in danger of being exposed to public scrutiny, Byer cuts his losses by deciding to shut it down and move on. Fox explains how the Byer character illustrates Gilroy’s nuanced approach to characterization: “Tony explores how individuals within organizations give themselves license to behave in unscrupulous ways: Tilda Swinton in Michael Clayton, both Tom Wilkinson and Paul Giamatti in Duplicity, and now Edward Norton and his team in Legacy. They’re powerful antagonists because they hold their conviction and rationale about the greater good they believe to be serving. The familiar movie trope of the individual against the machine is made much more complicated, messy and real because he dramatizes the reality behind individual motivations.” Gilroy expands upon why the selection of this antagonist was so important: “We were casting the mastermind of the entire franchise. We knew we’d be saying to the audience that this is the guy that’s been sitting beside you in the theater for the last 12 years watching the CIA screw everything up for him. We needed a world-class actor; we needed weight. We needed someone with the kind of intelligence that’s in the room before the scene starts, and above all I needed an actor I could collaborate with to make sure that Ric Byer’s worldview wasn’t painted entirely black. He believes he’s one of the very few people who can bear the moral weight of the darkness necessary to keep his country safe.” Norton describes his interest in joining a film with a story rooted inside the chambers of government-funded intelligence: “I see a theme running through all of Tony’s films that I think is timely and smart. He’s been digging into the way that corporations have permeated our culture and threaten to compromise us from different angles. I liked that in this film he was exploring the way that power is exercised in the nexus between corporations and government...questioning who’s working for who.” The performer appreciated that Gilroy colored his characters in moral gradations. Though Byer is hell-bent on erasing Outcome, his motives (in his mind) are sound ones. Shares Norton: “All of the characters in this film are painted in shades of gray. Tony hasn’t woven a web of heroes and villains. Everybody’s made certain compromises and certain rationalizations in and around what they do...my character certainly, but Rachel’s too and even Jeremy’s. He’s digging into how people have their best ideals and impulses co-opted by a system in many different ways. I like that kind of complexity.” Marshall was impressed by Norton’s ability to straddle the line between a man of his country and a cold-blooded executioner who sees the emergence of Bourne as an infection that must be contained. The producer commends: “Edward kills it. He’s just a spectacular actor and is terrific at playing the ‘villain’ in the piece. But Byer is not simply a villain. He’s just the guy who’s after Aaron Cross. Though we’ve had several of these types along the way, Edward is a particularly tough one.” To cast the roles of Byer’s staff — the scientists, intelligence and surveillance experts who hunt down Aaron and Marta from their hub in Washington, D.C. — Gilroy delved into the world of New York theater. “Tony’s a New York guy,” shares Crowley. “He knows both theater and New York film very well. It’s exciting to draw from that pool of people.” Tony Award winner DONNA MURPHY (of Broadway’s Passion and The King and I), was cast as Byer’s dedicated second-in-command, Dita, the “nun” to Byer’s “priest.” “She’s his wingman, or wingwoman,” Murphy explains. “She’s got a background with the CIA; she’s an extremely good scientist. The biggest part of her job is to be so tuned in on Byer that when he needs something, she’s three steps ahead.” Other performers who were brought aboard to play key members of Byer’s team include Obie Award winner MICHAEL CHERNUS as Ingram, and COREY STOLL, recently nominated for a Drama Desk Award for off-Broadway’s Intimate Apparel and who made a memorable appearance as Ernest Hemingway in Midnight in Paris, as Vendel.

As Aaron and Marta prove elusive, news of a government subcommittee investigating Blackbriar adds to the tense atmosphere in the crisis suite where Byer and his staff are holed up. Likely most disturbed by the program becoming public is Terry Ward, the head of a company with intimate ties to Outcome. Ward is played by New York theater actor Dennis Boutsikaris, the Obie Award winner for Sight Unseen. Boutsikaris describes Ward’s relationship with Byer as contentious, with Ward ultimately outgunned. “Ward wants to think that he’s Byer’s superior, and he clearly is not,” the actor shares. “Ward wants to be a leader without any leadership qualities.” At Gilroy’s suggestion, Boutsikaris had his hair cut and trademark beard shaved in order to play the corporate suit. “We talked on the phone, and Tony told me that the hair and everything had to go,” Boutsikaris remembers. “The whole feeling was how slick he wanted to make my character.” As tension escalates in the war room, Ward also clashes with the imposing ret. Adm. Turso. The military commander who oversees Outcome is played by veteran actor Stacy Keach, who describes his character as “a patriot and a man whose authority is there.” Turso speaks to his team in an intricate language that is quite specific to the work. Reflects Keach: “Tony is an extraordinary talent because he creates his own language. The Bourne franchise has one of its own. It’s intelligent, human and very personal. The trick with this kind of dialogue is to make it conversational and just sort of throw it away without making it too melodramatic.” Keach acknowledges that the scenes with Turso, Byer and the NRAG team were especially engaging. “The great thing about this franchise is the amazing balance between action, adventure, intrigue and suspense,” he says. “You have two very different environments: the outside environment where you follow Cross and his exploits over the world, and then you have the crisis room or the surveillance environment. As an audience member, that combination keeps you on the edge of your seat because you are seeing something at the same time the people in the movie are watching it.” Rounding out the cast members who are new to the Bourne franchise are Oscar Isaac and LOUIS OZAWA CHANGCHIEN. Isaac describes Outcome #3’s early interactions with Cross as “like a Western.” He shares: “My character has been living in a cabin for a month by himself with zero communication with the outside world…other than the occasional drop by of one of these guys.” When Cross arrives at #3’s remote base several days early, #3 is suspicious; similarly, Cross doesn’t trust his counterpart. “They’re like these dogs that are circling and sniffing each other,” suggests Isaac. They’re not necessarily posturing so much as they are uncertain. It’s dangerous.” It turns out that #3 isn’t the only one that Cross (aka #5) should be concerned about. Byer hedged his bets that Outcome would not be the endgame. He has another program in motion, and it is known as LARX. Changchien, who, in the role of LARX #3, an operative based in Bangkok, had to be comfortable with speed and with great heights. “I think of LARX as the decathlete of spies,” laughs Changchien, a theater actor who recently starred in Predators. In order to prepare for the role, Changchien traveled from his native New York to L.A., where he rehearsed with 2nd unit director Dan Bradley’s team for several weeks. In this boot camp, Changchien learned the fundamentals of parkour — how to move around obstacles with speed and efficiency — practiced jumps from great heights and completed an intensive course in stunt driving. That would come in handy as his character chases Marta and Aaron through the narrow, crowded streets of Manila. Fans will also be treated to cameos from several characters from earlier Bourne films, including series favorites Albert Finney as Dr. Albert Hirsch, Joan Allen as Pam Landy, David Strathairn as Noah Vosen and Scott Glenn as Ezra Kramer.

Shooting Across the Globe: Locations and Design In November 2010, while writing the screenplay, Gilroy journeyed around the world to visit the locations where his story would be set, just as he did for the other Bourne films. From the Canadian Rockies to Southeast Asia, he tailored the action to the specific locales. He reflects: “The great ride for the past 12 years has been getting on a plane and taking these incredibly specific and unusual tours of places that no one else would ever see because you’re looking at them from a Bourne point of view.” According to Crowley, who once again accompanied Gilroy on the tour, the series has been unique in the manner in which it showcases parts of the world rarely seen in cinema. He notes: “We were one of the very first big movies to shoot in Berlin, and there had only been a couple of contemporary Hollywood shows before us in Moscow.” The Bourne Legacy would be no exception. Gilroy chose to broaden the story to a setting beyond Europe, where much of the previous three films had taken place. “Pat and I traveled all over Southeast Asia and scouted,” Gilroy continues. “And then I wrote into the specific, real locations. That’s how we’ve always done it. There isn’t an action sequence in any of these films that hasn’t been written into the place itself.” As The Bourne Legacy rockets from Washington, D.C. and Manhattan to Alaska and Southeast Asia, Gilroy retains the spirit of the previous Bourne films. “It wants to feel like the world we really live in,” the director says. “We go to exotic places, but we don’t glamorize them. It’s a realistic approach to action, and it will be familiar in all those ways.” Weiner appreciates the detail the writer/director gives to this story. He offers: “Some of the locations for this movie are not places people go to every day. The fact that it is real and gritty and that we are close and in-your-face gives a perspective that you don’t find in the guidebooks.” Helping Gilroy to construct this world were key contributors to the film’s visual style: production designer Kevin Thompson, who crafted Michael Clayton and Duplicity with Gilroy, and cinematographer Robert Elswit, the Academy Award®-winning DP for There Will Be Blood whose previous work also includes Michael Clayton and Duplicity, as well as The Town and Mission: Impossible—Ghost Protocol, both with Renner. Discussing Thompson, Gilroy commends: “Kevin’s built up a very, very strong body of work, and we formed an essential collaboration over the course of Clayton and Duplicity, but I think Legacy is going to show a lot of people that there’s nothing he can’t tackle. Legacy was a huge design project that went from big-time stage work through location building and then into Manila and all of its challenges — all of that with the mandate of staying absolutely photo-real at all times. It was the highest degree of difficulty, and he crushed it.” The director was just as pleased to join Elswit for another project. Gilroy says: “Working with Robert on these three films has been about the best collaboration I can imagine. He’s the remarkable combination of deep experience, imaginative freedom and sled-dog endurance. We’d been through the shit together so many times before this film started, and thank God, because I can’t imagine trying to do something this long and large with someone who wasn’t at your side in every way.”

Elswit and 2nd unit director Bradley could shoot all the footage in the world, but if it wasn’t cut together correctly, there would be no scene. Joining the team as editor was another member of the Gilroy family, John Gilroy, the director’s fellow collaborator on his last two films. Notes John Gilroy of his working relationship with his brother Tony: “I work with Tony essentially the same way that I work with other directors. I try to understand their vision of the film and get on that same wavelength. If I can make their vision my own, I have a real compass to navigate me through the editing process. With Tony, that sort of deep understanding between director and editor came very early on and has stayed with us and grown through all three films. We have very similar sensibilities, and most of the time we see eye to eye on things.” Tony Gilroy returns: “John is a machine. It’s a complex movie, and we shot in a weird order. The pace is relentless, and we were shooting a great deal of film. The need to know exactly where you stand and what you owe is essential. But he’s not just cutting and reviewing material as we go; he’s building sequences and road testing scenes that are coming at us with a consistent level of detail that’s shocking sometimes. He’s a total filmmaker. I can’t imagine even trying this without him beside me.” War Rooms and “Southern” Mansions: Filming in New York After two days of filming in Seoul, South Korea, principal photography began at Kaufman Astoria Studios in Queens, New York, where all of the movie’s stage work — including D.C. interiors — was shot. Filming began with scenes involving Byer and his team at the Virginia-based NRAG, the group that designed the government’s program of killer spies. As Bourne’s exploits go public, Byer’s experts use every mode of technology available to minimize the damage. Here, Thompson’s crew built the crisis suite, the small amphitheater where Byer’s team holes up for days. Crowley describes the film set as “like 25 people playing high-speed chess.” At Kaufman, Thompson built the lab where Marta engages in her pioneering work. The designer’s biggest set, however, was three stories high on Kaufman’s largest stage. Here, he created Marta’s home in the Maryland woods, which he didn’t initially plan to build. “We started by trying to find a real location that would either inspire us or lead us to what we were looking for,” Thompson recalls. “Tony wanted to have a house that was a bit of a fairy-tale fantasy: a larger-than-life decayed mini-mansion that Marta invested in when she was in a relationship, a place she hoped to someday restore.” The kickoff to Marta and Aaron’s journey, the house is where the two realize that they must team up. “We found the magical house up in the Hudson Valley about two and a half hours north of New York City,” Thompson recounts. “It was built in 1815 and had a romantic, picturesque style. Although we looked at 150 houses, this one was by far the one that spoke most to us.” Unfortunately, their prized location, the national historic landmark known as the Plumb-Bronson House in Hudson, New York, was in need of even more rehabilitation than Marta’s fictional home. “About six weeks from shooting, the owners association told us that it was going to be impossible to allow us to shoot there,” says Thompson. It turns out that the structure could not support the equipment and crew necessary for filming. Thompson’s team quickly set about re-creating the interior of the house in precise matching detail. This included reimagining its parlors and vestibules, magnificent three-story elliptical staircase, peeling paint and faded wallpaper on the stage at Kaufman Astoria. While unanticipated, building Marta’s house on a stage did offer several advantages, including greater flexibility and control with lighting and camera placement for DP Elswit’s equipment. “Having the three floors on the stage provided some great sight lines for action,” says Thompson. “It was a pretty photogenic set.” In the end, the production traveled to Hudson to film the exterior of the Plumb-Bronson House for a key scene with Aaron, but other scenes outside Marta’s home were filmed at William H. Pouch Scout Camp, a 143-acre site in Staten Island, New York. Unlike Plumb-Bronson’s surroundings in Hudson, the Staten Island location offered the thick woods that surround Marta’s home in Gilroy’s story. Among the many other New York area locations where the film shot were JFK Airport, The New York Times printing plant in Flushing, Federal Plaza in Lower Manhattan, and residential areas of Syosset and Old Westbury in Long Island. Frigid Waters in Calgary: Capturing the Canadian Wilderness After 12 weeks of filming in the New York area, the production decamped and left the city for an environment where the Bourne series had never before ventured: the untamed wilderness. For two weeks in December 2011, the cast and crew filmed in Kananaskis Country, a system of parks renowned for its spectacular scenery, in the Canadian Rocky Mountains west of Calgary. The dramatic Canadian landscape filled in for the Alaskan Yukon, where Cross finds himself as the story begins. “We did a lot of scouting by helicopter,” recalls Thompson, whose locations included remote mountaintops, a frozen lake and a riverbank beside which his crew could build a log cabin, a heavily wooded area and a waterfall. “We looked all over Canada and found most everything within a 30-minute radius of Kananaskis.”

One element of the Canadian shoot remained a wild card: snow. “Our location manager, who’s done a million movies there, said, ‘I can’t guarantee you that there’s going to be any snow,’” Crowley recalls. “So we had snow machines standing by, and we were ready to make our own.” But the Bourne crew enjoyed some luck: Plenty of snow arrived just in time for the shoot. “The day after we left, there was a warm wind called a Chinook that came through and melted all the snow,” he adds. “We didn’t hear about it until about a month afterward…and I’m kind of glad we didn’t hear about it until then.” The Bourne Legacy opens with an echo of the image that introduced Jason Bourne to filmgoers in The Bourne Identity: seen from below, a man floats motionless in water. However, unlike Bourne, who had been left to drown in the Mediterranean Sea in the first film, Aaron Cross is uninjured. After a brief moment of stillness, Cross reveals his incredible stamina: He has deliberately submerged himself in frigid waters in order to retrieve a canister left for him at the base of a freezing waterfall. To shoot this scene, the filmmakers did everything they could to keep their lead actor safe in the cold water. “We were concerned from the very first time that we saw the location,” says Crowley. “Even for just going in to his waist, we had a helicopter bring a hot tub there. We had a dry room that was heated. We had an ambulance standing by, and we had three or four people on the set whose specialty was hypothermia.” The initial plan was to shoot only part of the scene in Canada, with Renner in a full wet suit and in the cold water only up to his waist. However, just before rolling, Renner removed the wet suit’s top. “He said, ‘Are you guys really ready?’” remembers Crowley. “And we said ‘Yup,’ and he said, ‘Okay, let’s do it.’” As cameras rolled in below-freezing temperatures, a bare-chested Renner dunked himself into the icy water for a shot of Cross emerging. Fortunately, Gilroy and his DP got the shot in one take. Renner was game for the challenge. He recalls: “Cold is cold. If it’s 39 or 29, it doesn’t matter.” He was more unnerved that there was no way to acclimate himself to the experience without simply going through it. “That’s why I was so stressed about it. How do you prepare? I can prepare for a jump or a stunt. I can work out or do whatever stretch. But with this, you just go get cold. That’s it. You have to mentally go there.” Turns out that the water’s bark was worse than its bite. “Actually it wasn’t so bad; it was so bad up to the moment.” That scene in the frigid river was also of special concern to costume designer Shay Cunliffe, who returns to the Bourne series after having designed The Bourne Ultimatum. “Shooting in this kind of extremely cold climate becomes a double job for the costume department,” she says. “The costumers who took care of the actors on the set were responsible for their well-being, quite apart from the costume being maintained.” In freezing temperatures throughout the entire Alberta shoot, Cunliffe’s team had its work cut out. “They were carrying huge dive coats along with them, and because of the snowy locations, the costumers were actually dragging them in on sleds — extra blankets, extra coats,” she shares. In the film’s opening sequence, Cross is dressed like a speed climber, posing as one of the few brave souls who might be found alone in the Alaskan wilderness. “He’s in a brilliant red-orange jacket because climbers going solo know that they may not make it and they’ve got to be visible in case a helicopter needs to find them,” explains Cunliffe. “It’s the opposite of being undercover.” However, after Cross arrives at the appointed spot, a log cabin where another agent known as #3 is based, his Alaskan mission is brought to a violent end, one which he barely survives. The tables suddenly turned, Cross is now the target of the most sophisticated technology and weaponry on Earth. He returns to the mainland U.S. to find Marta, one of his few contacts in the program who may not be out to kill him. Their journey of survival ultimately brings them to Southeast Asia, where the production would travel next. Unleashed in Southeast Asia: Racing Across the Philippines During preproduction, Gilroy and Crowley toured Ho Chi Minh City (formerly Saigon) in Vietnam, Jakarta in Indonesia, and Manila in the Philippines. Ultimately, Manila’s history as a shooting location won over the team. Major Hollywood features, such as Apocalypse Now, Platoon, Born on the Fourth of July and Brokedown Palace, were shot in the Philippines in the ’70s, ’80s and ’90s. “They had a 25-, 30-year run of making movies there,” says Gilroy, “and they have this huge infrastructure that was built up from all the films made about Vietnam.” The filmmakers called upon LOPE V. JUBAN, JR., president of Philippine Film Studios, who has worked on most of the films that have come to the Philippines over the past few decades, to give them a tour of Manila. Not only could Juban — who came on as a line producer — offer locations that Gilroy was looking for, but his contacts with government entities would also be vital for a shoot that involved major stunts on city streets. “Juban said, ‘We can talk to the president about that,’ or ‘We can talk to the minister of transportation and the police department about that.’ They’re all people that he knew,” Crowley explains. “I couldn’t have gotten that in Jakarta or in Ho Chi Minh City.” In fact, The Bourne Legacy would be the first Hollywood film in which Manila plays Manila. “The Philippines has played almost any country — Thailand, Indonesia, Vietnam, Panama,” says Juban. “It is only now that we are filming Manila as Manila, which is great for us.” It was important to the locals to show off the progress the country had made and their big new areas of development. The Philippines also offered the advantage of a mainly English-speaking local crew. English, the legacy of the American presence for 50 years before World War II, is widely spoken in the country.

Filming in Manila began in the San Andres neighborhood, its ramshackle houses and dark alleyways typical of the city’s lower- and middle-class areas. The San Andres neighborhood has grown organically over the years as locals have kept constructing additions to existing buildings. The casual visitor will find many a residential area that resembles a rabbit-warren maze of alleyways that have been cobbled together. With its tangled web of utility lines and drying laundry overhead, and pleasant cooking smells merging with other odors of the city, the labyrinthine San Andres neighborhood is where Aaron and Marta find a place to hide from their pursuers: this time, the Philippine authorities. San Andres was also the setting for a stunt in which Aaron, to save Marta from capture after she is cornered by the police, makes a daring slide three stories down a narrow opening between two buildings. Because of very specific requirements, this set, a narrow three-story structure that the filmmakers called “the chasm,” had to be built by Thompson and his team. Explains the production designer: “We needed a stretch that was about 100 feet long, only 20 to 24 inches wide and three and one-half stories high for the drop. ‘The chasm’ was the highlight for the art department because it incorporated so many things. It had to aesthetically work for Tony. It had to work for stunts to drop down. It had to work for the camera department to have the jib on, and the technocrane arm had to be able to fit inside. We had to manage all the dressing and the platforming around it. It was a complicated, multifaceted set to build.” Using the wall of an existing building, Thompson’s team built another wall next to it. Rather than employing scenic artists to “weather” the wall, the crew bought old siding from locals’ homes and installed new walls on their houses in return. The designer recalls: “We would often say, ‘We’ll redo the siding on your house or corrugated rooftop if we can have your old materials.’ Some San Andres locals also received new roofs when the team prepared for the filming of a major chase sequence. Much to many neighbors’ delight, approximately 50 roofs that were found to have holes or were otherwise deemed unsafe were replaced by the The Bourne Legacy crew. The production’s metro Manila locales also included the Ninoy Aquino International Airport; the historic Intramuros district, known for its Spanish colonial architecture; the Manila Yacht Club; the Marikina covered market; and the Metropoint MRT train station in Pasay City. The crew also traveled approximately an hour by plane from Manila to El Nido, located on the stunning Philippine island of Palawan, for scenes that take place amidst the magnificent islands of the South China Sea. The dramatic islands, with their limestone cliffs that emerge directly from the water, are more often associated with the landscapes of Malaysia and Thailand. In Palawan, Thompson also found a 100-foot-long wooden-hull fishing boat, the Sabrina, for a critical scene. The working fishing boat goes out for three months at a time and houses up to 20 people along with chickens, goats and pigs. Offers Thompson: “We power-washed the entire thing because it was unbelievably smelly. Then we took off all the dressing and dressed it from scratch while keeping much of the character that was there.” Despite their best efforts, the production ended up filming alongside some of the fishing boat’s original tenants: a sizeable rat population. For several days the crew also filmed part of a chase at Navotas Fish Port, known as the fishing capital of the Philippines, situated north of the city on Manila Bay. In the evenings, the location is a working fish market — 1,000 feet long and 200 feet wide — that sells more than 100,000 fish every night. Every morning during the shoot, the crew had to scrub, steam and dry the market. Thompson and his team removed hanging tarps, added skylights and supporting posts, and scrubbed the floor to lessen the overpowering fish smell. This also served a practical purpose: to make the location safe for the complex stunt work that was to be performed there.

Daredevil Action: Stunts of the Film No Bourne film would be complete without its fair share of action. Still, emphasizes Marshall: “Our rules that we have been very consistent with through all the movies is that we don’t have action for action’s sake. We don’t have a formula where every 10 minutes there has to be a fight scene or an action scene. The action has to be driven by the story. That’s what makes this series unique: These characters get into situations that lead to an action scene or a chase scene, but it all has a story point.” The architect behind the stunt work on The Bourne Legacy is 2nd unit director Dan Bradley, who returns after making his mark as the creator of the dazzling action sequences in The Bourne Supremacy and The Bourne Ultimatum. After the first unit wrapped its work in Palawan in the beginning of February 2012, Bradley’s unit filmed for another month in Manila, with Renner and Weisz joining them there. Renner is the first to admit that the stunt work wasn’t easy. He says: “This was very, very demanding. I was lucky enough because many of the fight coordinators, the stunt coordinators and Dan Bradley were on The Avengers and the three movies I did back-to-back right before this movie. Working with them was seamless. I had learned hand-to-hand combat on Avengers, so I took that over to this and actually used patterns. I had a nice running start.” “Having Dan Bradley involved in the Bourne movies has been an enormous part of their success,” Crowley raves. “People love the locations, they love the characters, but they really love the action. Dan invented action for these movies that nobody had ever seen before, and action that people have imitated after it was done.” Gilroy is just as effusive in his praise: “Dan’s the Michelangelo of action. He’s an amazing guy, an imaginative nut who has found this incredible job for himself helping out directors like myself to make us look tougher than we really are. I made sure to get with him early on, and I told him, ‘Dan, if I’m going to do this, I need you there with me.’” Of course, Bradley traveled to Manila months before shooting began in order to tailor the action sequences to the locations. “When we looked at the locations, he was with us, and then he said, ‘I’m going to stay behind for a week,’” Crowley recalls. “We waited for Dan to just sit and meditate and come up with great ideas. He’s come up with some things that have never been done before.” Bradley’s biggest task was to choreograph a motorcycle chase that takes place on the crowded streets of Manila, much of it filmed with Renner in the rider’s seat. “When you’re doing something in which there’s somebody on a motorcycle and they’re not wearing a helmet, you have to have the principal actor do that,” says Crowley. “So we had Jeremy very much involved, and Rachel as well.” Luckily for the production, Renner is an avid motorcyclist. “When I first met Jeremy, we were going to have some practice sessions, and he showed up on one of the fastest motorcycles in the world, which was one of 10 that he owned,” remembers Crowley. “We felt comfortable that we didn’t have to train him. He has the bones of an action hero. When I see him, I see that silent strength of Steve McQueen. When he gets on a motorcycle, then he becomes even more like him.”

Renner also put Weisz at ease as they worked with Bradley. “Being on the back of a bike with Jeremy, I felt completely safe,” she says. “He was doing wheelies, skids and slides — those kind of stunts that he’s very good at.” The filmmakers were also impressed when Weisz displayed a previously unseen side: that of an action star. “She’s a great actress and has shown all this incredible talent playing characters who are typically not action characters,” says Crowley. But Weisz insisted on as much rehearsal on the motorcycle as possible and performed much of the stunt work herself. Laughs the producer: “Your heart still goes into your throat when you see her going 45, 50 miles an hour on the motorcycle with Jeremy.” Prior to filming in Manila, Bradley’s team spent several weeks rehearsing the motorcycle stunts, while special equipment was brought in, including Bradley’s own “Go Mobile,” a custom-made vehicle upon which several cameras may be mounted. Bradley also recruited several expert motorcyclists, including professional stunt driver JEAN-PIERRE GOY, arguably one of the best in the world, to double on the most dangerous stunts. All were pleased to have an actual Batman on board for the production, as Goy was the only one able to drive the two-wheeled street machine called the Bat-Pod for scenes in The Dark Knight. Indeed, he returned to his key role for this summer’s The Dark Knight Rises. Bradley’s team also retrofitted several jeepneys, a minibus that is the most common form of transportation in the Philippines. “The jeepneys were our heritage from World War II,” Juban explains. “When jeeps were left behind by the Americans, the Filipinos made the body longer. From that time on, it has ended up our main public utility vehicle. That’s iconic Manila.” Each painted in a bright, unique style to entice passengers to hop aboard, jeepneys are ubiquitous throughout the country, numbering around 100,000 in Manila alone. The long and narrow vehicle is a cheap and easy form of transportation, ideally shaped for navigating narrow roads that full-size buses cannot. Open windows provide its only form of air conditioning, and its passenger seating consists of two padded benches facing each other in the back, each seating six to 10 people. When the seats are full, additional passengers ride outside, hanging onto the back as best they can. Jeepneys are featured in a key chase sequence with Renner, Weisz and Changchien that was filmed on one of Manila’s major roadways, Ramon Magsaysay Boulevard, the main route to the presidential palace. Approximately 90 cars and more than 300 extras were used for the sequence, which shot on a mile and a half stretch of Magsaysay Blvd. through three major intersections over several weekends. Helping manage the shoot were local authorities including the Metropolitan Manila Development Authority (MMDA), the Manila Traffic Bureau and the Presidential Security Group. “Just on the MMDA, there were about 120 guys working with us — not just in the area, but in the peripheral surroundings to control and help ease the traffic,” Juban recounts. “The Manila police have a contingent of about 50, and the Presidential Security Group has about 20, and then there is the local barangay [district] police.” A densely populated city of more than 11 million people, Manila was not the easiest place to shoot. “Manila’s a tough city to work in: There are traffic jams, and it’s hard to move around,” ends Crowley. “But the people are so gracious and excited about films. They know more about the Bourne movies than I know about the Bourne movies.”

ABOUT THE CAST

Two-time Academy Award® nominee JEREMY RENNER (Aaron Cross) starred in the 2009 Best Picture winner The Hurt Locker, directed by Kathryn Bigelow. Winner of six Academy Awards® and inspired by true events, The Hurt Locker is the story of a bomb disposal team in Baghdad that has volunteered for one of the world’s most dangerous jobs. In his role as the self-assured Sgt.1st Class William James, Renner was awarded the Breakthrough Actor Award at the Hollywood Film Festival and the Spotlight Award at the Savannah Film Festival, and he received Best Actor nominations at the 2009 BAFTAs and the Film Independent Spirit Awards. Renner also garnered nominations for Breakthrough Actor and Best Ensemble Cast at the Gotham Independent Film Awards; Outstanding Performance by a Male Actor in a Leading Role and Outstanding Performance by a Cast in a Motion Picture from the Screen Actors Guild Awards; and Best Actor at the Academy Awards®. The following year, Renner was nominated for an Academy Award® for Best Supporting Actor for his role in Warner Bros.’ The Town, directed by Ben Affleck. An adaptation of the Chuck Hogan novel “Prince of Thieves,” the film, which centers on a thief (Affleck) and his best friend, a member of his gang (Renner), was released in the fall of 2010. For his role in The Town, Renner was also honored with Supporting Actor nominations from both the Screen Actors Guild Awards and the Golden Globes. In December 2011, Renner co-starred opposite Tom Cruise in Paramount Pictures’ global hit Mission: Impossible—Ghost Protocol, directed by Brad Bird. In May 2012, Renner starred as Hawkeye in Joss Whedon’s Marvel’s The Avengers, the third highest-grossing film in history.

In 2007, Renner was seen in three different features, including Warner Bros.’ The Assassination of Jesse James by the Coward Robert Ford, directed by Andrew Dominik, in which Renner starred, alongside Brad Pitt and Casey Affleck, as Wood Hite, a key member of James’ gang. He also starred in 28 Weeks Later, the highly anticipated sequel to 28 Days Later, and Take, opposite Minnie Driver. In 2005, he also starred in the acclaimed independent film 12 and Holding (which was nominated for the John Cassavetes Award at the Independent Spirit Awards), demonstrating his dramatic range in the role of Gus, a firefighter who moves to a new town after the haunting loss of a young girl in a fire. Renner’s other film credits include the independent film Neo Ned, in which he starred opposite Gabrielle Union. Neo Ned was screened at the 2005 Tribeca Film Festival and swept the feature film category at the 2006 Palm Beach International Film Festival, where the film was awarded Best Feature Film, Best Director and Best Actress and the Best Actor Award went to Renner. The film was also awarded the Outstanding Achievement in Filmmaking and the Best Feature Film Award at the Newport Beach Film Festival in April 2006. These awards came after the Audience Award at the Slamdance, Sarasota and Ashland film festivals. Renner starred opposite Julia Stiles in A Little Trip to Heaven, where he refined his skill for dark, troubled characters as the diabolical con man Fred. Renner also appeared in The Heart Is Deceitful Above All Things, directed by Asia Argento and adapted from the critically acclaimed novel by “JT LeRoy”; Columbia Pictures’ Lords of Dogtown, for helmer Catherine Hardwicke; and Aura Entertainment’s independent film Love Comes to the Executioner, written and directed by Kyle Bergersen. He also co-starred in the Columbia Pictures’ 2003 hit S.W.A.T., opposite Colin Farrell and Samuel L. Jackson. Renner also starred opposite Academy Award® winner Charlize Theron in Warner Bros.’ North Country, a fictionalized account of the first major successful sexual harassment case in the United States. The role that initially put Renner on the map, earning the actor an Independent Spirit Award nomination, was his portrayal of Jeffrey Dahmer in the indie hit Dahmer. His background in theater, Renner starred in and also co-directed Search & Destroy, which was produced by Barry Levinson and received stellar reviews. In 2013, Renner will star opposite Gemma Arterton in Paramount Pictures’ Hansel and Gretel: Witch Hunters, directed by Tommy Wirkola, and opposite Joaquin Phoenix and Marion Cotillard in an untitled James Gray-directed film, for The Weinstein Company. In 2011, he and partner Don Handfield formed The Combine, a production company that will create, develop and produce high-quality, character-driven content for mainstream audiences. Academy Award®-winning actress RACHEL WEISZ (Dr. Marta Shearing), who is known for portraying women of incredible spirit and intelligence, continues to seek out challenging roles both on screen and on stage. In 2005, Weisz received overwhelming critical praise as well as a Screen Actors Guild Award, a Golden Globe Award and an Academy Award® for her performance in The Constant Gardener, directed by Fernando Meirelles (City of God) and based on the best-selling John le Carré novel. Weisz will be in Sam Raimi’s upcoming Oz: The Great and Powerful, co-starring Mila Kunis, James Franco and Michelle Williams, which is slated for a March 2013 release by Walt Disney Pictures. She recently reunited with Meirelles on 360, co-starring Jude Law and Anthony Hopkins, which premiered at the 2011 Toronto International Film Festival. Also in the pipeline for 2012 is a starring role in Terrence Malick’s To the Wonder, alongside Javier Bardem, Rachel McAdams and Ben Affleck.

Weisz recently starred opposite Tom Hiddleston in Terence Davies’ The Deep Blue Sea, a film adaptation of the Terence Rattigan play. She also appeared in the indie political drama The Whistleblower, directed by Larysa Kondracki. Based on a true story, the film chronicles the trials of a female cop from Nebraska (Weisz) who serves as a peacekeeper in postwar Bosnia and exposes a United Nations cover-up of a sex-trafficking scandal. Prior to that, Weisz was seen in Jim Sheridan’s thriller Dream House, opposite Daniel Craig, and David Hare’s Page Eight, alongside Bill Nighy and Ralph Fiennes for the BBC. In 2009, Weisz received critical acclaim for her performance in Alejandro Amenábar’s ancient Egypt epic Agora, which premiered at the Cannes Film Festival and co-starred Max Minghella. Weisz’s previous film credits include Rian Johnson’s The Brothers Bloom, with Mark Ruffalo and Adrien Brody; Wong Kar Wai’s My Blueberry Nights; Peter Jackson’s The Lovely Bones; Adam Brooks’ romantic comedy Definitely, Maybe, with Ryan Reynolds; David Dobkin’s Fred Claus with Vince Vaughn and Paul Giamatti; Darren Aronofsky’s sci-fi/ romantic fantasy-adventure The Fountain, with Hugh Jackman; Francis Lawrence’s hit thriller Constantine; Gary Fleder’s Runaway Jury; James Foley’s Confidence; and Chris and Paul Weitz’s About a Boy. She is known to audiences worldwide for her lead role, opposite Brendan Fraser, in Stephen Sommers’ blockbuster movies The Mummy and The Mummy Returns. Weisz also starred in Jean-Jacques Annaud’s Enemy at the Gates, Michael Winterbottom’s I Want You, David Leland’s The Land Girls, Beeban Kidron’s Swept From the Sea and Bernardo Bertolucci’s Stealing Beauty. In 2010, Weisz won the Laurence Olivier Award for Best Actress for her performance as Blanche DuBois in the West End revival of Tennessee Williams’ A Streetcar Named Desire. Weisz received critical acclaim for Focus Features’ The Shape of Things, which also marked her first venture into producing. She had previously starred in writer/director Neil LaBute’s staging of his original play of the same name, in London and New York City. She garnered a Critics’ Circle Theatre Award for Most Promising Newcomer for her performance in Sean Mathias’ U.K. staging of Noël Coward’s Design for Living. She also starred in the West End production of Suddenly Last Summer, also directed by Mathias. Weisz began her career as a student at Cambridge University, where she formed the Talking Tongues Theatre Group. The group performed experimental pieces and won the prestigious Guardian Award at the Edinburgh Festival Fringe. EDWARD NORTON (Ret. Col. Eric Byer, USAF) has starred in the films Primal Fear, Everyone Says I Love You, The People vs. Larry Flynt, American History X, Rounders, Fight Club, Keeping the Faith, The Score, Death to Smoochy, Frida, Red Dragon, 25th Hour, The Italian Job, Down in the Valley, Kingdom of Heaven, The Illusionist, The Painted Veil, The Incredible Hulk, Pride and Glory, Leaves of Grass, Stone and Wes Anderson’s Moonrise Kingdom. He has been nominated for two Academy Awards®, for Primal Fear and American History X, and won a Golden Globe along with numerous other awards for his performances. He produced and directed Keeping the Faith and also produced Down in the Valley (a Cannes Film Festival selection), The Painted Veil, Leaves of Grass and the documentary By the People: The Election of Barack Obama, which was nominated for three Emmy Awards. Norton also founded and runs Class 5 Films in partnership with writer Stuart Blumberg and producer Bill Migliore. Class 5’s first two features, Down in the Valley and The Painted Veil, were released in 2006. The company’s documentary division produces nature, science and documentary films independently. Class 5’s documentary productions include: The Yunnan Great Rivers Expedition, a film made by Jim Norton for Versus, about a historic white-water adventure that took place in China in 2003, and Dirty Work, a film by David Sampliner and Tim Nackashi that premiered at the Sundance Film Festival and aired on the Sundance Channel. Class 5 also collaborated with the Sea Studios Foundation on their highly acclaimed, multimillion-dollar series about earth system sciences for National Geographic, Strange Days on Planet Earth, hosted and narrated by Norton. The second installment in the series premiered on PBS in April 2008. Class 5 recently announced a partnership with Brad Pitt’s Plan B Entertainment and National Geographic to produce an epic 10-part series for HBO based on Stephen Ambrose’s acclaimed book “Undaunted Courage” about the Lewis and Clark expedition. Norton and Pitt will executive produce the series. Norton is also a committed social and environmental activist. John Huston once said of STACY KEACH (Ret. Adm. Mark Turso, USN), “Stacy is not merely a star. He is a constellation. The audience will come to see whatever character he portrays.” Loved both by the public and critics, Keach is truly a star of stage, screen and television, having starred in the latter medium most famously in such varied classic series as the action-drama Mike Hammer, Private Eye and the comedy Titus. One of American theater’s esteemed actors’ actors, having excelled in many of the classic and contemporary stage’s greatest roles, and has been called America’s preeminent interpreter of Shakespeare. In 1964, Keach began his professional career with the New York Shakespeare Festival. He received the first of his three Obie Awards for his work in the off- Broadway political satire MacBird! His Broadway credits include Indians, for which he received a Tony Award nomination; Deathtrap; the Pulitzer Prize-winning Kentucky Cycle, for which he received a Helen Hayes award for Outstanding Lead Actor; and Solitary Confinement. This season, his critically acclaimed Broadway triumph in Jon Robin Baitz’s Other Desert Cities continues his luminous Broadway record. One of the most versatile stars of film, television and stage, Keach has appeared in numerous major motion pictures, including The Heart Is a Lonely Hunter, The New Centurions, “Doc,” Fat City, The Long Riders, Up in Smoke, Nice Dreams, The Ninth Configuration, Escape From L.A., Honeydripper and American History X. He is celebrated worldwide for the hard-boiled detective and title character in his hit series Mike Hammer, Private Eye; the irascible, hilarious dad on FOX’s sitcom Titus; the warden on Prison Break; and the boxing trainer on Lights Out. He won a Golden Globe Award and received an Emmy nomination for his portrayal of Ernest Hemingway in the miniseries Hemingway. Keach recently starred as the title character in King Lear at the Goodman Theatre in Chicago. He received the prestigious Helen Hayes Award in consecutive years for his reprise of Lear at the Shakespeare Theatre Company in Washington, D.C., and for his lauded portrayal of Richard Nixon in the national touring production of Frost/Nixon. Keach recently starred in such films as Rob Nilsson’s Imbued (for which Keach also composed the music), Ring of Death, The Boxer, The Assistants and the German production Hindenburg and in the television miniseries Meteor. Clive Barnes, who observed a number of superb portrayals of Hamlet during his days as drama critic for The New York Times, said that the best he ever saw “was Keach, whose neurotic passion and fierce poetry were quite wonderful.” Keach was, accordingly, described by one reviewer as “the finest American classical actor since John Barrymore.” Classically trained and of an internationally diverse heritage, OSCAR ISAAC (Outcome #3) has been taking Hollywood by storm. Isaac recently wrapped filming the lead role in Inside Llewyn Davis, written and directed by Joel and Ethan Coen. The film focuses on the early 1960s folk music scene in Greenwich Village. Isaac was previously seen in The Weinstein Company’s W.E., directed by Madonna and co-starring Abbie Cornish, a two-tiered romantic drama in which he plays a Russian security guard whose modern-day affair with a married woman is juxtaposed with the story of King Edward VIII and Wallis Simpson. He garnered rave reviews for his work opposite Ryan Gosling and Carey Mulligan in the FilmDistrict feature Drive, a film about a Hollywood stunt performer who moonlights as a wheelman and discovers that a contract has been put out on him after a heist gone wrong. Isaac’s upcoming films include For Greater Glory, an independent historical drama about the Cristeros War, co-starring Andy Garcia and Peter O’Toole; Walden Media’s Won’t Back Down, a drama about the current educational crisis in the U.S., starring Maggie Gyllenhaal and Viola Davis and directed by Daniel Barnz; the independent ensemble feature 10 Years, with Channing Tatum, Anthony Mackie, Justin Long, Kate Mara, Rosario Dawson and Chris Pratt, the directorial debut from screenwriter Jamie Linden (Dear John, We Are Marshall) about a group of friends 10 years after their high-school graduation (with Isaac performing two songs for the film, one he wrote and the other a Bob Dylan cover); and Revenge for Jolly!, an independent comedy about two bumbling guys who seek revenge from robbers for the death of their dog named Jolly, also starring Kristen Wiig, Elijah Wood and Ryan Phillippe. Isaac was previously seen in the Warner Bros. feature Sucker Punch, for director Zack Snyder (Watchmen, 300). The “Alice in Wonderland”-like tale centers on a girl who is wrongfully institutionalized and retreats into an alternative reality. The film co-starred Abbie Cornish, Emily Browning, Vanessa Hudgens, Carla Gugino and Jon Hamm. Isaac teamed with acclaimed director Ridley Scott on Universal Pictures’ Robin Hood. The film also starred Academy Award® winners Russell Crowe, Cate Blanchett and William Hurt. Isaac played the role of King John and went toe-to-toe with Crowe in the new take on the well-known story. In Focus Features’ Agora, directed by Alejandro Amenábar, Isaac starred opposite Academy Award® winner Rachel Weisz in a tale of unrequited love set against the backdrop of ancient Egypt. Isaac also starred as Nobel Peace Prize winner José Ramos-Horta in Balibo. The film is based on the true story about the young revolutionary leader that befriended Roger East, an Australian journalist that was investigating the suspicious deaths of five of his fellow countrymen. Isaac also co-starred in the Warner Bros. film Body of Lies, opposite Academy Award® nominee Leonardo DiCaprio and Russell Crowe, directed by Ridley Scott. Isaac was also seen in Steven Soderbergh’s Che: Part One, with Benicio Del Toro, and Vadim Perelman’s The Life Before Her Eyes, opposite Uma Thurman and Evan Rachel Wood. Isaac’s first starring role was the character Shiv, opposite Paddy Considine and Radha Mitchell, in HBO Films’ critically lauded Pu-239, a dark comedy about selling radioactive material on the black market in post- Communist Moscow. Directed by Scott Z. Burns, the film premiered at the Toronto International Film Festival in 2006 and aired on HBO in 2007. Isaac next wowed audiences with his performance as Joseph in New Line Cinema’s Christmas drama The Nativity Story, which chronicled the arduous journey of Mary and Joseph, a miraculous pregnancy and the history-defining birth of Jesus. Directed by Catherine Hardwicke and co-starring Academy Award® nominees Keisha Castle-Hughes and Shohreh Aghdashloo, The Nativity Story was the first to premiere at the Vatican. Isaac also guest-starred on NBC’s Law & Order: Criminal Intent. Isaac recently starred in the world-premiere production of Zoe Kazan’s play We Live Here, an incisive and beautifully rendered portrait of a contemporary family coming together through grief and celebration, at the Manhattan Theatre Club. He previously garnered superb reviews for playing Romeo in Romeo and Juliet opposite Lauren Ambrose, which was directed by Michael Greif, and Proteus in the revival of John Guare and Mel Shapiro’s musical adaptation of Two Gentlemen of Verona. Both productions were staged for the Public Theatre’s Shakespeare in the Park program in New York. Isaac also starred in Beauty of the Father by Pulitzer Prize-winning playwright Nilo Cruz, which was directed by Greif at the Manhattan Theatre Club. Isaac was last seen in the American premiere of Mick Gordon and A.C. Graylings’ Grace, with Lynn Redgrave, at MCC Theater. Isaac’s other theater credits include Arrivals/ Departures, When It’s Cocktail Time in Cuba and Spinning Into Butter. While a student at Juilliard, Isaac played the title role in Macbeth; co-wrote and performed his own music in the show American Occupation; and was seen in The Marriage of Figaro, The Birds, Three Sisters and many others. He also attended master classes with such actors as Sir Ian McKellen, Fiona Shaw, Simon Russell Beale, Brenda Blethyn and Alfred Molina and was the recipient of the prestigious Princess Grace Award in 2004. Isaac also writes and performs music with his band, NightLab. He was raised in Miami and currently resides in New York. He is represented by United Talent Agency and managed by Inspire Entertainment, LLC. Three-time Oscar®-nominated actress JOAN ALLEN (Pam Landy) recently starred in the Lifetime Television biopic Georgia O’Keeffe, opposite Jeremy Irons. As the title character and the film’s executive producer, she received Emmy, Screen Actors Guild (SAG) and Golden Globe nominations for Best Performance by an Actress in a Mini-Series or Motion Picture Made for Television and Best Mini-Series or Motion Picture Made for Television. She was also recently seen in HBO’s drama series Luck. Allen received her first Academy Award® nomination for her role in Oliver Stone’s Nixon (1995), for which she also won awards from seven critics’ associations, including the Los Angeles Film Critics Association and the National Society of Film Critics. Allen received her second consecutive Best Supporting Actress Oscar® nomination for her role in Arthur Miller’s The Crucible (1996). Subsequently, her work in The Ice Storm, opposite Kevin Kline and Sigourney Weaver, and in Pleasantville, opposite William H. Macy and Jeff Daniels, earned her high praise and several critics’ awards. For her starring role in The Contender, Allen received Best Actress nominations at the Golden Globes and the 2000 Academy Awards® and won a SAG Award and an Independent Spirit Award. Allen has appeared in numerous other feature films, including The Bourne Ultimatum, The Bourne Supremacy, The Notebook, Compromising Positions, Peggy Sue Got Married, Manhunter, Tucker: The Man and His Dream, Ethan Frome, Josh and S.A.M., In Country, Searching for Bobby Fischer, Mad Love, It’s the Rage and When the Sky Falls. Allen starred in Universal Pictures’ Death Race, playing the villain to Jason Statham’s hero in the film, and Bonneville, alongside Jessica Lange and Kathy Bates. Before that, she appeared in Yes, a modern-day cross-cultural love story for writer/director Sally Potter. In 2005, Allen starred opposite Kevin Costner in The Upside of Anger, for writer/director Mike Binder, and in Off the Map, directed by Campbell Scott. Her role opposite John Travolta and Nicolas Cage in the smash-hit film Face/Off earned her critical kudos as well as Blockbuster and MTV Movie awards. Allen is also one of the New York theater world’s most honored actresses and a winner of every major prize for her work on Broadway and off. She received a Best Actress Tony Award for her performance, opposite John Malkovich, in Lanford Wilson’s Burn This and was Tony-nominated in the same category for the title role in The Heidi Chronicles. She starred off-Broadway in Delores and The Marriage of Bette & Boo (for which she won an Obie Award) and reprised her Steppenwolf Theatre role in And a Nightingale Sang, for which she received Joseph Jefferson, Clarence Derwent, Drama Desk, Outer Critics Circle and Theatre World awards. An original member of Chicago’s famed Steppenwolf Theatre Company, Allen starred in the company’s production of Earthly Possessions, Reckless, A Lesson From Aloes (for which she won a Joseph Jefferson Award), Balm in Gilead and Of Mice and Men. Allen recently starred opposite Jeremy Irons in the Jack O’Brien play Impressionism, which marked her first time back on Broadway in 19 years. Early success on the British stage led ALBERT FINNEY (Dr. Albert Hirsch) to film stardom, after his leading roles in two very different films — Karel Reisz’s working-class drama Saturday Night and Sunday Morning and the period romp Tom Jones. For his work on Tom Jones, Finney received a Golden Globe Award and was nominated for an Academy Award® and a BAFTA. Finney received three more Academy Award® nominations for Best Actor in a Leading Role for his work on Murder on the Orient Express, The Dresser and Under the Volcano. He also received a nomination for Best Actor in a Supporting Role for his performance in Erin Brockovich. Finney won Golden Globe Awards for his leading role in Scrooge and for his portrayal of Winston Churchill in The Gathering Storm, for which he also won Emmy and BAFTA awards. He was nominated for Golden Globes for Big Fish, Erin Brockovich, Under the Volcano, The Dresser and Shoot the Moon. On television, Finney took the lead roles in dramatist Dennis Potter’s final two teleplays: Karaoke and Cold Lazarus. Some of Finney’s more recent credits include Ridley Scott’s A Good Year, starring Russell Crowe; Michael Apted’s Amazing Grace, starring Michael Gambon; Sidney Lumet’s Before the Devil Knows You’re Dead, with Philip Seymour Hoffman, Ethan Hawke and Marisa Tomei; and The Bourne Ultimatum, in which Finney originated the role of Dr. Albert Hirsch. DAVID STRATHAIRN (Noah Vosen) won the Volpi Cup at the Venice Film Festival and earned nominations from the Academy Awards®, the Golden Globes, the Screen Actors Guild Awards, BAFTA and the Film Independent Spirit Awards for his compelling portrait of legendary CBS news broadcaster Edward R. Murrow in George Clooney’s Oscar®-nominated drama Good Night, and Good Luck. He also won an Emmy for Outstanding Supporting Actor in a Miniseries or a Movie for the HBO project Temple Grandin. His 2006 Independent Spirit Award nomination was the fourth in a stellar career that dates back to his 1979 motion picture debut in John Sayles first film, Return of the Secaucus Seven. Strathairn subsequently collaborated with Sayles on seven titles, winning a Film Independent Spirit Award for his supporting performance in City of Hope, while collecting two additional nominations for Passion Fish and Limbo. His early screen efforts included supporting roles in Mike Nichols’ Silkwood, Fred Schepisi’s Iceman, James Foley’s At Close Range and Robert M. Young’s Dominick and Eugene, as well as Sayles’ acclaimed dramas Matewan and Eight Men Out, and his 1984 satire, The Brother From Another Planet. Strathairn continued a busy screen career with co-starring roles in several critically acclaimed films, including Tim Robbins’ directorial debut, Bob Roberts; Penny Marshall’s A League of Their Own; Losing Isaiah; Sydney Pollack’s The Firm; Sneakers; Taylor Hackford’s adaptation of the Stephen King novel “Dolores Claiborne”; Jodie Foster’s Home for the Holidays; and Curtis Hanson’s The River Wild and the Oscar®-winning L.A. Confidential, in which Strathairn shared a Screen Actors Guild Award nomination with the all-star ensemble cast. His additional movie credits include Memphis Belle; A Map of the World; Simon Birch; Lost in Yonkers; Missing in America; Michael Hoffman’s adaptation of A Midsummer Night’s Dream; Philip Kaufman’s Twisted; HBO’s The Notorious Bettie Page; The Tempest, starring opposite Helen Mirren; and the role of Noah Vosen in The Bourne Ultimatum, directed by Paul Greengrass. He has also maintained a high profile in the theatrical world, with roles in venues such as the Manhattan Theatre Club, the New York Shakespeare Festival, SoHo Rep., the Hartford Stage Company, The Ensemble Studio Theatre and the Seattle Repertory Theatre. Strathairn was recently seen in HBO’s Hemingway & Gellhorn, starring opposite Clive Owen and Nicole Kidman, and will be seen in Steven Spielberg’s upcoming biopic Lincoln. For a kid from the streets of Pittsburgh, SCOTT GLENN (Ezra Kramer) has a long list of indelible western characters to his credit. Tall Tale, Silverado, My Heroes Have Always Been Cowboys and his star-making turn as the convict cowboy in Urban Cowboy have shown that he is as comfortable in the saddle as he is in more urban and, occasionally, urbane roles. In 2001, Glenn teamed with Joaquin Phoenix and Anna Paquin in the gritty Buffalo Soldiers. Other colorful Glenn characterizations of men of brutal strength include his work in Martin Campbell’s Vertical Limit and Antoine Fuqua’s Training Day. Glenn has been regarded as an actor of unique reality and power since director James Bridges’ Urban Cowboy first brought him to audiences’ attention, and he has since been highly regarded in such films as Philip Kaufman’s The Right Stuff, Lawrence Kasdan’s Silverado, Robert Towne’s Personal Best, Ron Howard’s Backdraft, Francis Ford Coppola’s Apocalypse Now, Jonathan Demme’s The Silence of the Lambs, John Frankenheimer’s The Challenge, John McTiernan’s The Hunt for Red October and Edward Zwick’s Courage Under Fire. Glenn was also seen in Lee Daniels’ The Paperboy, starring Matthew McConaughey, Nicole Kidman and Zac Efron, which premiered at the 2012 Cannes Film Festival; Lasse Hallström’s The Shipping News; Freedom Writers, opposite Hilary Swank; Camille, with James Franco; and the romantic drama Nights in Rodanthe, opposite Diane Lane and Richard Gere. Glenn’s other recent films include Secretariat, with Diane Lane; Puerto Vallarta Squeeze, with Harvey Keitel; Oliver Stone’s W., in which he played Donald Rumsfeld; and The Bourne Ultimatum, in which he originated the role of CIA director Ezra Kramer. Glenn recently wrapped filming the thriller Red Machine, starring James Marsden and Thomas Jane.

ABOUT THE FILMMAKERS

TONY GILROY (Directed by/Screenplay by/Story by) made his feature film directorial debut with Michael Clayton, which earned seven Oscar® nominations, including one for Best Picture. The film garnered him Academy Award® nominations for Best Director and Best Original Screenplay, as well as Directors Guild and Writers Guild award nominations. The writer/director/ producer then followed Michael Clayton with his second directorial effort based on his own screenplay, the critically acclaimed thriller Duplicity, starring Julia Roberts and Clive Owen. A veteran screenwriter, Gilroy also spent seven years working on the first three Bourne films: The Bourne Identity, The Bourne Supremacy and The Bourne Ultimatum.

Gilroy has also written three screenplays for director Taylor Hackford: Dolores Claiborne, based on the novel by Stephen King and starring Kathy Bates and Jennifer Jason Leigh; The Devil’s Advocate, starring Keanu Reeves, Al Pacino and Charlize Theron; and Proof of Life, starring Russell Crowe and Meg Ryan, which Gilroy also executive produced. Gilroy also co-wrote the screenplay for Universal Pictures’ State of Play, starring Russell Crowe, Rachel McAdams and Ben Affleck. Gilroy’s additional writing credits include Michael Bay’s blockbuster Armageddon, starring Bruce Willis, Ben Affleck, Liv Tyler and Billy Bob Thornton; Michael Apted’s Extreme Measures, starring Gene Hackman, Hugh Grant and Sarah Jessica Parker; and The Cutting Edge, starring D.B. Sweeney and Moira Kelly. Raised in upstate New York, Gilroy is the son of Pulitzer Prize-winning playwright and filmmaker Frank D. Gilroy. His brother Dan Gilroy is a screenwriter who co-wrote the screenplay for The Bourne Legacy, and his brother John Gilroy is a film editor who also worked on Michael Clayton, Duplicity and The Bourne Legacy. DAN GILROY (Screenplay by) is a graduate of Dartmouth College. Among his most prominent feature-film writing credits are The Fall, Two for the Money and the recent box-office hit Real Steel, starring Hugh Jackman. As an executive producer, Gilroy’s credits include Two for the Money. Gilroy is from an artistically creative family that includes his Tony Award- and Pulitzer Prize-winning playwright father, Frank D. Gilroy (The Subject Was Roses), and acclaimed film editor brother John Gilroy (Miracle, Michael Clayton, Salt, Warrior). The Bourne Legacy marks his first screenwriting collaboration with his writer/director brother Tony Gilroy. Gilroy is a native of California and lives in Santa Monica with his wife, actress Rene Russo, and their daughter. With more than 70 films to his credit, FRANK MARSHALL (Produced by) is a visionary producer who has helped shape American film. He is also an acclaimed director and active participant in public service and sports. Marshall’s credits as a producer include some of the most successful and enduring films of all time, including Poltergeist, Gremlins, The Goonies, The Color Purple, An American Tail, Empire of the Sun, Who Framed Roger Rabbit, the Back to the Future trilogy, The Sixth Sense, Seabiscuit, the Indiana Jones and Bourne franchises and, most recently, War Horse. Marshall’s films have been nominated for a multitude of Academy Awards®, including Best Picture for Raiders of the Lost Ark, in 1982, and The Color Purple, in 1986, which he produced with Steven Spielberg, Quincy Jones and Kathleen Kennedy, his wife. M. Night Shyamalan’s 1999 box-office smash The Sixth Sense was nominated for six Academy Awards®, and the heartwarming Seabiscuit received seven Oscar® nominations, including one for Best Picture. In 2009, David Fincher’s The Curious Case of Benjamin Button received an impressive 13 Academy Award® nominations, including one for Best Director and Best Picture. As a director, Marshall helmed the 2006 box-office smash Eight Below, as well as the thriller Arachnophobia, the compelling true-life drama Alive, 1995’s hit adventure Congo and an episode from the Emmy Award-winning HBO miniseries From the Earth to the Moon. Marshall began his motion picture career as an assistant to Peter Bogdanovich on the director’s cult classic Targets. He was then hired by Bogdanovich to serve as the location manager on The Last Picture Show and What’s Up, Doc? He functioned as an associate producer on the filmmaker’s next five movies, including Paper Moon and Nickelodeon. In 1978, Marshall was line producer on Martin Scorsese’s The Last Waltz, the heralded musical documentary of the final concert of The Band. He then began a two-film association with director Walter Hill, first as associate producer on The Driver, then as executive producer on The Warriors, both of which have attained cult status among cinephiles. In 1973, his association with Bogdanovich led him to become one of many producers on Orson Welles’ legendary unfinished film The Other Side of the Wind, to which he periodically returns in hopes of finally bringing it to the screen. His lengthy and fruitful collaboration with Steven Spielberg and Kathleen Kennedy began with 1981’s Raiders of the Lost Ark. Following the productions of E.T.: The Extra-Terrestrial, for which he served as production supervisor, and Poltergeist, which he produced, the trio formed industry powerhouse Amblin Entertainment. During his tenure at Amblin, Marshall produced such films as Kevin Reynolds’ Fandango; Barry Levinson’s Young Sherlock Holmes; Joe Dante’s Gremlins; Robert Zemeckis’ Back to the Future trilogy and Who Framed Roger Rabbit; Spielberg’s Always, Hook and Empire of the Sun; and his own directorial debut, Arachnophobia. Marshall left Amblin in the fall of 1991 to pursue his directing career, forming The Kennedy/Marshall Company with Kathleen Kennedy. The company’s productions include such diverse films as Frank Oz’s The Indian in the Cupboard; Snow Falling on Cedars, directed by Scott Hicks; A Map of the World, starring Sigourney Weaver and Julianne Moore; M. Night Shyamalan’s The Sixth Sense, starring Bruce Willis and Haley Joel Osment, and Signs; Olympic Glory, the first official large-format film of the Olympic Games; Seabiscuit, the dramatic true story based on Laura Hillenbrand’s best-selling book, directed by Gary Ross; The Bourne Identity, directed by Doug Liman; and The Bourne Supremacy and The Bourne Ultimatum, both directed by Paul Greengrass. The Kennedy/Marshall Company recently produced Clint Eastwood’s Hereafter, starring Matt Damon, M. Night Shyamalan’s The Last Airbender and The Spiderwick Chronicles. Having moved into independent film in 2007, The Kennedy/Marshall Company produced the critically acclaimed The Diving Bell and the Butterfly, filmmaker Julian Schnabel’s adaptation of Jean-Dominique Bauby’s moving memoir; Schnabel received the Best Director prize at the Cannes Film Festival and was nominated for an Oscar® for the film. The company also produced the English-language version of the French-animated Persepolis, based on Marjane Satrapi’s autobiographical graphic novel about a young girl growing up during the Iranian Revolution; it tied for the Jury Prize at Cannes and received an Oscar® nomination for Best Animated Film. This past year saw The Kennedy/Marshall Company release two Steven Spielberg films: War Horse, a family action-adventure set during World War I about a boy and his remarkable bond with his horse, and The Adventures of Tintin, a big-screen adaptation of the classic comic series by Hergé, which follows the 20th-century exploits of the eponymous hero. Marshall recently directed Right To Play, a documentary for ESPN Films’ 30 for 30 series. The film follows the story of Norwegian speed skater Johann Olav Koss as he brings sports to hundreds of thousands of children in war-torn and poverty-stricken areas across the globe. In the summer of 2009, Marshall traveled with Koss to Uganda to see (and film) firsthand Right To Play programs in action. The documentary aired on CBS in June 2012 and received the audience award at the 2012 Mountainfilm in Telluride Festival. A Los Angeles native and son of composer Jack Marshall, Frank Marshall ran cross-country and track as a student at UCLA and was a three-year varsity letterman in soccer. Combining their love for music and sports, Marshall and America’s premier miler Steve Scott founded the Rock ’n’ Roll Marathon Series, which debuted in 1998 in San Diego as the largest first-time marathon in history. For more than a decade, Marshall was a vice president and member of the United States Olympic Committee. In 2005, he was awarded the Olympic Shield, and in 2008, he was inducted into the U.S. Olympic Hall of Fame for his service to the Olympic movement. He serves on the board of Athletes for Hope, the USA Track & Field Foundation, USA Gymnastics and L.A.’s Promise, and he is an executive board member of UCLA School of Theater, Film and Television and The Archer School for Girls. He is a recipient of the acclaimed American Academy of Achievement Award, the UCLA Alumni Association’s Professional Achievement Award and the California Mentor Initiative Leadership Award. Marshall and Kennedy are both recipients of the 2008 Producers Guild of America’s David O. Selznick Achievement Award in Theatrical Motion Pictures, as well as the 2009 Visual Effects Society’s Lifetime Achievement Award. The duo was also honored in 2009 with ICG Publicists Motion Picture Showmanship Award. PATRICK CROWLEY (Produced by/Unit Production Manager) is a veteran motion picture producer with worldwide experience. He has produced the box-office hits Eight Below, The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum, Eagle Eye and The Other Guys. He was an executive producer on Sleepless in Seattle, Legends of the Fall and Charlie’s Angels: Full Throttle. From 1994 to 2000, he was executive vice president of production at New Regency Productions. He supervised the production of L.A. Confidential, Fight Club, Heat, The Devil’s Advocate, Tin Cup and many others. JEFFREY M. WEINER (Produced by) is the chairman/CEO of Captivate Entertainment, which he formed with Ben Smith in 2009. Weiner served as an executive producer of the Universal Pictures films The Bourne Supremacy and The Bourne Ultimatum, which starred Matt Damon and were released in July 2004 and August 2007, respectively. He was also executive producer of Covert One: The Hades Factor, a miniseries that aired on CBS Television in April 2006. In addition to founding Captivate Entertainment, Weiner is managing partner of the international accounting firm Marcum LLP and is a nationally recognized expert on personal business management for the entertainment industry. Under his progressive leadership, the firm has expanded from a one-office firm of 20 employees to a 23-office firm that now ranks in the top 15 in the United States. As a producer and president of Captivate Entertainment, BEN SMITH (Produced by) is instrumental in every aspect of the day-to-day operations of the filmmaking process, from the acquisition and creative development of distinguished material to bringing each project to light. Prior to forming Captivate Entertainment with Jeffrey M. Weiner, Smith was a veteran literary agent at ICM, where he was known for shepherding, as well as packaging, many high-level film and television projects with the writers, directors and literary properties he represented. Before his career in Hollywood, Smith spent more than seven years traveling the globe documenting the rapidly changing sociopolitical landscapes in the Middle East, South East Asia, Central America and South America. ROBERT LUDLUM (Inspired by the “Bourne” Series Created by) was the author of 21 novels, each one a New York Times best seller. There are more than 210 million of his books in print, and they have been translated into 32 languages. He is the author of “The Scarlatti Inheritance,” “The Chancellor Manuscript” and the Jason Bourne series — “The Bourne Identity,” “The Bourne Supremacy” and “The Bourne Ultimatum” — among others. Mr. Ludlum passed away in March 2001.

HENRY MORRISON (Executive Producer) went to work for the Scott Meredith Literary Agency in March 1957 where he served as a senior agent and vice president until November 1964. During his tenure, Morrison worked with and represented such authors as Evan Hunter (aka Ed McBain), Norman Mailer, P.G. Wodehouse, Paul Anderson, John Farris, Donald Westlake and Lawrence Block. Morrison negotiated hundreds of book contracts in the United States and overseas, and also negotiated with various movie studios and movie producers for the licensing of film and television rights to materials created by the above (and other) authors. He opened Henry Morrison, Inc. in January 1965, and has represented the likes of Robert Ludlum, David Morrell, Eric Van Lustbader, Dean Koontz, Joe Gores and Samuel R. Delany. Morrison has dealt with all the major publishers in New York City and has (by conservative estimate) successfully negotiated more than 2,000 contracts for various clients. Some of the films that resulted were the Death Wish movies, with Charles Bronson; the Rambo movies, with Sylvester Stallone; and films starring Robert Redford and George C. Scott, among many others. JENNIFER FOX (Executive Producer) most recently produced Lynne Ramsay’s acclaimed film We Need to Talk About Kevin, which was in competition at the Cannes Film Festival and won Best Film at the 2011 BFI London Film Festival, the 2012 Evening Standard British Film Awards, Best Director at the 2011 British Independent Film Awards, and British Film of the Year at the 2012 London Critics’ Circle Film Awards. Tilda Swinton won the Best Actress award at the European Film Awards and received Screen Actors Guild, Golden Globe and BAFTA award nominations. Lynne Ramsay received a BAFTA nomination for Best Director. Fox received an Academy Award® nomination for producing Tony Gilroy’s directorial debut, Michael Clayton, starring George Clooney, Sydney Pollack, Tilda Swinton and Tom Wilkinson. The film received seven Oscar® nominations, including Best Picture, Best Director, Best Original Screenplay, Best Actor, Best Supporting Actor and Best Supporting Actress (which was won by Swinton). Fox also collaborated with Gilroy by producing his film Duplicity, starring Julia Roberts, Clive Owen, Tom Wilkinson and Paul Giamatti. That same year, Fox produced The Informant!, directed by Steven Soderbergh and starring Matt Damon. Fox served as president of Steven Soderbergh and George Clooney’s production company Section Eight, from 2001 to 2007. While there, she produced Stephen Gaghan’s Syriana, for which George Clooney won an Academy Award® for Best Supporting Actor. Under the banner, Fox also executive produced the Clooney-directed political drama Good Night, and Good Luck., which received six Academy Award® nominations, including Best Picture; Richard Linklater’s A Scanner Darkly; Pu-239; Rob Reiner’s Rumor Has It...; The Jacket, directed by John Maybury; and Criminal, directed by Gregory Jacobs. During Fox’s tenure at Section Eight, she also produced Ocean’s Eleven, Welcome to Collinwood, Full Frontal, Far From Heaven, Insomnia, Confessions of a Dangerous Mind, Ocean’s Twelve, The Good German and Ocean’s Thirteen. Prior to Section Eight, Fox was vice president of production at Universal Pictures, where she worked on several films, including Steven Soderbergh’s Erin Brockovich. ROBERT ELSWIT, ASC (Director of Photography) won an Academy Award® for his work on Paul Thomas Anderson’s There Will Be Blood and was honored in 2006 with an Academy Award® nomination for his work on George Clooney’s Good Night, and Good Luck. For the latter film, he won a Film Independent Spirit Award, a Boston Society of Film Critics Award and a Los Angeles Film Critics Association Award for Best Cinematography. He also received a nomination for Outstanding Achievement in Cinematography in Theatrical Releases from the American Society of Cinematographers. Elswit has worked with numerous acclaimed directors, including Stephen Gaghan on Syriana; Paul Thomas Anderson on Punch-Drunk Love, Magnolia, Boogie Nights and Hard Eight; David Mamet on Heist; Don Roos on Bounce; Curtis Hanson on The River Wild, The Hand That Rocks the Cradle and Bad Influence; and Stephen Gyllenhaal on A Dangerous Woman, Waterland, Paris Trout and A Killing in a Small Town. His other film credits include Paul Weitz’s American Dreamz; Gary Fleder’s Runaway Jury and Impostor; Roger Spottiswoode’s Tomorrow Never Dies; Boys; The Pallbearer; Mike Newell’s Amazing Grace and Chuck; Desert Hearts; and Rob Reiner’s The Sure Thing. KEVIN THOMPSON (Production Designer) served as production designer on Tony Gilroy’s Oscar®- nominated Michael Clayton, starring George Clooney. For his work on the film, the Art Directors Guild nominated Thompson for Excellence in Production Design for a Contemporary Feature Film. Thompson also collaborated with Gilroy on the thriller Duplicity, starring Julia Roberts and Clive Owen. Thompson recently designed Jason Reitman’s Young Adult, starring Charlize Theron and Patrick Wilson, and George Nolfi’s romantic thriller The Adjustment Bureau, starring Matt Damon and Emily Blunt. Thompson also designed Marc Forster’s acclaimed fantasy-drama Stranger Than Fiction, starring Will Ferrell, Emma Thompson, Maggie Gyllenhaal, Queen Latifah and Dustin Hoffman. He previously collaborated with Forster on the 2005 thriller Stay, starring Ewan McGregor and Naomi Watts. Thompson’s other film credits include Did You Hear About the Morgans?, starring Sarah Jessica Parker and Hugh Grant; the 2007 remake of Michael Haneke’s Funny Games; the sleeper hit Igby Goes Down, starring Kieran Culkin, Claire Danes and Jeff Goldblum; Bart Freundlich’s Trust the Man and World Traveler; Birth, starring Nicole Kidman; The Yards, starring Mark Wahlberg and Joaquin Phoenix; 54, starring Ryan Phillippe and Salma Hayek; Down to You, starring Julia Stiles and Freddie Prinze, Jr.; Kicked in the Head, with Kevin Corrigan and Linda Fiorentino; James Toback’s Two Girls and a Guy, with Heather Graham and Robert Downey, Jr.; Cindy Sherman’s Office Killer; Ismail Merchant’s The Proprietor; Larry Clark’s controversial film Kids; Little Odessa, with Tim Roth and Vanessa Redgrave; Party Girl, starring Parker Posey; and David O. Russell’s Flirting With Disaster. Prior to his work in feature films, Thompson began his career as an architect and went on to design sets for short films, commercials, theater and music videos. His short film credits include Spike Jonze’s Dog Boy, Tom Kalin’s Urban Legends and Tamara Jenkins’ Family Remains. JOHN GILROY, ACE (Edited by) continues his creative collaboration with his brother, writer/director Tony Gilroy on The Bourne Legacy. Their second film together was Duplicity, starring Julia Roberts and Clive Owen, and their first was Michael Clayton, starring George Clooney, Tilda Swinton, Tom Wilkinson and Sydney Pollack. Michael Clayton received seven Academy Award® nominations, with Swinton winning the Academy Award® for Best Supporting Actress. For his work on the film, Gilroy received a BAFTA nomination and an American Cinema Editors ACE Eddie Award nominations for Best Edited Feature Film—Dramatic. Gilroy’s last movie, Warrior, was written and directed by Gavin O’Connor and starred Joel Edgerton, Tom Hardy and Nick Nolte, who was nominated for an Academy Award® for Best Supporting Actor. Gilroy has edited all three of O’Connor’s other films: Pride and Glory, starring Edward Norton, Colin Farrell, Jon Voight and Noah Emmerich; Miracle, starring Kurt Russell and Patricia Clarkson; and Tumbleweeds, starring Janet McTeer and Kimberly J. Brown. McTeer won a Golden Globe Award for Tumbleweeds, and was also nominated for an Academy Award® for Best Actress. Prior to Warrior, Gilroy edited the action-thriller Salt, starring Angelina Jolie, Liev Schreiber and Chiwetel Ejiofor. His other credits include Narc, starring Ray Liotta and Jason Patric; Suspect Zero, starring Aaron Eckhart, Carrie-Anne Moss and Ben Kingsley; Diminished Capacity, starring Matthew Broderick and Alan Alda; Trust the Man, starring Julianne Moore, David Duchovny, Maggie Gyllenhaal and Billy Crudup; First Born, starring Elisabeth Shue; Shadow Magic, starring Jared Harris and Yu Xia; Game Day, starring Richard Lewis; and Billy Madison, starring Adam Sandler. After graduating from Dartmouth College, Gilroy came up through the editing ranks in the ’80s working on numerous features as an assistant editor, including two with Francis Ford Coppola: Peggy Sue Got Married and Gardens of Stone. His first editing credit was The Luckiest Man in the World, starring Philip Bosco. It was written and directed by his father, Frank D. Gilroy. SHAY CUNLIFFE (Costume Designer) previously designed the costumes for The Bourne Ultimatum, directed by Paul Greengrass; My Sister’s Keeper, directed by Nick Cassavetes; and 2012, directed by Roland Emmerich. Throughout her career as a costume designer, Cunliffe has collaborated with many distinguished filmmakers such as James L. Brooks on Spanglish and How Do You Know; John Sayles on Lone Star, Limbo and Silver City; Gary Sinise on Of Mice and Men and Miles From Home; Taylor Hackford on Dolores Claiborne and Blood In, Blood Out; Rob Reiner on The Story of Us and Alex & Emma; Thomas Bezucha on The Family Stone and Monte Carlo; and Ken Kwapis on He’s Just Not That Into You and Big Miracle. Other noted filmmakers with whom Cunliffe has collaborated include Steven Zaillian on A Civil Action; Michael Apted on Enough; Brad Silberling on City of Angels; Amy Heckerling on I Could Never Be Your Woman; and David Mamet on Spartan. Cunliffe tapped into her musical theater roots when she teamed with Rob Marshall on the television movie version of Annie. Her work on Annie was honored with a Costume Designers Guild Award and an Emmy nomination. She returned to her native England to work on the coming-of-debutante-age fairy tale What a Girl Wants, directed by Dennie Gordon. Her first job as costume designer was on Mrs. Soffel, starring Diane Keaton and Mel Gibson. Cunliffe later worked with Gibson on his directorial debut, The Man Without a Face. Cunliffe trained at the University of Bristol in England, and began her design career in the New York theater. JAMES NEWTON HOWARD (Music by) is one of the most versatile and respected composers currently working in film. To date, Howard has received eight Oscar® nominations, including six for Best Original Score for his work on Defiance, Michael Clayton, The Village, The Fugitive, The Prince of Tides and My Best Friend’s Wedding. He was also nominated for Best Original Song for the films Junior and One Fine Day. Howard, along with Hans Zimmer, won the 2009 Grammy Award for the score for The Dark Knight. He has also received Grammy Award nominations for music from Blood Diamond, Dinosaur and Signs and the song from One Fine Day. In addition, he won an Emmy Award for the theme to the Andre Braugher series Gideon’s Crossing, and he received two additional Emmy nominations for the themes to the long-running Warner Bros. series ER and the Ving Rhames series Men. Howard has also been nominated four times for Golden Globe Awards for his massive orchestral score for Peter Jackson’s blockbuster remake of King Kong; for the songs from Junior and One Fine Day; and most recently, for his provocative symphonic score for Defiance. He received the 2008 World Soundtrack Award for Film Composer of the Year for his work on the films Charlie Wilson’s War, Michael Clayton and I Am Legend. He received the Soundtrack of the Year Award from the Classical Brit Awards for The Dark Knight (2009) and Blood Diamond (2008). In 2009, he received the Special 5th Anniversary GoldSpirit Award for Best Composer of the Last 5 Years (2004–2008) from the Úbeda Film Music Conference in Spain. Howard, who has been honored with ASCAP’s prestigious Henry Mancini Award for Lifetime Achievement, now has more than 100 films to his credit. Among them are all of M. Night Shyamalan’s films (The Sixth Sense, Unbreakable, Signs, The Village, Lady in the Water, The Happening and The Last Airbender), five films for director Lawrence Kasdan (Grand Canyon, Wyatt Earp, French Kiss, Mumford and Dreamcatcher), four Julia Roberts comedies (Pretty Woman, Runaway Bride, My Best Friend’s Wedding and America’s Sweethearts) and three animated films for Walt Disney Studios (Dinosaur, Treasure Planet and Atlantis: The Lost Empire). His other wide-ranging credits include Duplicity, Confessions of a Shopaholic, The Great Debaters (with Peter Golub), Batman Begins, Collateral, Snow Falling on Cedars, Outbreak, Hidalgo, Peter Pan, Falling Down, Primal Fear, Glengarry Glen Ross, Waterworld, The Devil’s Advocate and Dave, among others. Howard’s success reflects the experiences of a rich musical past. Inspired by his grandmother, a classical violinist who played in the Pittsburgh Symphony in the ’30s and ’40s, he began his studies on the piano at age four. After studying at the Music Academy of the West, in Santa Barbara, and at the USC Thornton School of Music, as a piano major, he completed his formal education with orchestration study under legendary arranger Marty Paich. Though his training was classical, he maintained an interest in rock and pop music, and it was his early work in the pop arena that allowed him to hone his talents as a musician, arranger, songwriter and producer. He racked up a string of collaborations in the studio with some of pop’s biggest names, including Barbra Streisand; Earth, Wind & Fire; Bob Seger; Rod Stewart; Toto; Glenn Frey; Diana Ross; Carly Simon; Olivia Newton-John; Randy Newman; Rickie Lee Jones; Cher; and Chaka Khan. In 1975, he joined pop superstar Elton John’s band on the road and in the studio. Howard left the band in 1976 to do more record production. He would rejoin the band in 1980 for another tour and again in 1986 to conduct the Melbourne Symphony Orchestra for John’s Live in Australia tour, the recording of which later became a platinum-selling album. When he was offered his first film in 1985, he never looked back. As a change of pace, Howard reunited with Elton John for a multicity tour in the summer of 2004, which included sold-out concerts at the Royal Albert Hall in London and Radio City Music Hall in New York. His recent releases include Snow White and the Huntsman, The Hunger Games, Green Lantern, Larry Crowne, Water for Elephants, Gnomeo & Juliet, The Green Hornet, The Tourist, Love and Other Drugs and Salt. In February 2009, Howard had his first concert piece, titled “I Would Plant a Tree,” performed by the Pacific Symphony as part of its American Composers Festival.

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Universal Pictures presents, in association with Relativity Media, a Kennedy/Marshall production — in association with Captivate Entertainment: The Bourne Legacy, starring Jeremy Renner, Rachel Weisz, Edward Norton, Stacy Keach, Oscar Isaac, Joan Allen, Albert Finney, David Strathairn, Scott Glenn. The film’s casting is by Ellen Chenoweth, and its music is by James Newton Howard. The action-thriller’s costume designer is Shay Cunliffe, and it is edited by John Gilroy, ACE. The film’s production designer is Kevin Thompson, and its director of photography is Robert Elswit, ASC. The executive producers are Henry Morrison, Jennifer Fox, and the film is inspired by the “Bourne” series created by Robert Ludlum. The Bourne Legacy is produced by Frank Marshall, Patrick Crowley, Jeffrey M. Weiner, Ben Smith. The story is by Tony Gilroy, and the screenplay is by Tony Gilroy & Dan Gilroy. The film is directed by Tony Gilroy. The Bourne Legacy has been rated PG-13 by the MPAA for violence and intense action sequences. The film will be released in theaters nationwide on August 10, 2012. © 2012 Universal Studios