All is lost

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Content: Lionsgate and Roadside Attractions Present ALL IS LOST Written and Directed by: J.C. Chandor Starring: Robert Redford Running Time: 107 Minutes Rated: PG13 Roadside Attractions Contacts: David Pollick / Stephanie Northen (323) 882-8490 [email protected] [email protected] Los Angeles Contacts: Michael Lawson / (213) 280-2274 Laura Kim / (213) 280-2273 [email protected] [email protected] New York Contact: Nina Baron / PMK*BNC (212) 373-6150 [email protected] For production notes and stills please visit: www.RoadsideAttractionsPublicity.com (Username: [email protected] / Password: publicity) For downloadable trailer and clips please visit: www.epk.tv (Username: [email protected] / Password: roadside1)
ALL IS LOST SYNOPSIS Academy Award® winner Robert Redford stars in All Is Lost, an open-water thriller about one man's battle for survival against the elements after his sailboat is destroyed at sea. Written and directed by Academy Award nominee J.C. Chandor (Margin Call) with a musical score by Alex Ebert (Edward Sharpe and the Magnetic Zeros), the film is a gripping, visceral and powerfully moving tribute to ingenuity and resilience. Deep into a solo voyage in the Indian Ocean, an unnamed man (Redford) wakes to find his 39-foot yacht taking on water after a collision with a shipping container left floating on the high seas. With his navigation equipment and radio disabled, the man sails unknowingly into the path of a violent storm. Despite his success in patching the breached hull, his mariner's intuition, and a strength that belies his age, the man barely survives the tempest. Using only a sextant and nautical maps to chart his progress, he is forced to rely on ocean currents to carry him into a shipping lane in hopes of hailing a passing vessel. But with the sun unrelenting, sharks circling and his meager supplies dwindling, the ever-resourceful sailor soon finds himself staring his mortality in the face. Lionsgate & Roadside Attractions, Black Bear Pictures and Treehouse Pictures present a Before The Door/Washington Square Films Production. Robert Redford in All Is Lost. The director of photography is Frank G. DeMarco and the underwater director of photography is Peter Zuccarini. Production designer is John P. Goldsmith. Editor is Pete Beaudreau. The music is composed by Alex Ebert. Visual effects supervisor is Robert Munroe. Executive producers are Cassian Elwes, Laura Rister, Glen Basner, Joshua Blum, Howard Cohen, Eric D'Arbeloff, Rob Barnum, Kevin Turen, Corey Moosa and Zachary Quinto. The producers are Justin Nappi and Teddy Schwarzman. Produced by Neal Dodson p.g.a. and Anna Gerb p.g.a. Written and directed by J.C. Chandor.
ABOUT THE PRODUCTION Filmmaker J.C. Chandor knew he wanted to make some form of open-water thriller long before his feature writing and directing debut, Margin Call, was nominated for a Best Original Screenplay Oscar®. But it took almost six years for him to finally hit upon the startlingly original idea for All Is Lost, a harrowing nautical adventure that takes place entirely at sea and features a single nameless--and nearly wordless-- character. "It's a very simple story about a guy late in his life who goes out for a four- or five-month sail," Chandor says. "Fate intervenes, the boat has an accident, and essentially we go on an eight-day journey with him as he fights to survive." Chandor's screenplay bore little resemblance to a typical movie script. Rather than the standard 120 pages, it was roughly 30 pages long. And it consisted entirely of prose description, with no dialogue. In fact, when Margin Call producer Neal Dodson got his hands on the slim sheaf of papers, he asked Chandor when he would receive the rest of it. "When J.C. said that it was the whole script, I was both terrified and excited," Dodson recalls. "The first film we did together was all about dialogue, and this was very obviously not about dialogue. I admit that my first thought was, `I don't know how the hell we're going to get this thing financed'--because it's pretty audacious and pretty brave." Fellow producer Anna Gerb (Margin Call) recalls reading the script on her deck with Chandor present, and being blown away by the sheer viscerality of it. "I read it and I looked at J.C. and said, `Wow. I'm seasick,'" she recalls. "As a producer, I like to be in control. Being in the middle of the ocean on a sailboat, putting myself in a situation where I am at the mercy of the universe is something I just couldn't imagine. " Chandor, on the other hand, was intimately familiar with the universe of sailboats. "Although I never sailed across the ocean alone, sailing is something I grew up around," he says, "so I knew the basic palette I was working with." Chandor says the sheer simplicity of the story--and the filmmaking challenge it presented--drew him to make the film. The story has echoes of Ernest Hemingway's The Old Man and the Sea, and as Dodson describes " it's an existential action movie about one man lost at sea, fighting against the elements and himself." A pivotal step in the film's journey from script to screen was, of course, the casting of two-time Academy Award winner Robert Redford (The Sting). The iconic actor, director and creator of Sundance had met and been impressed with Chandor when Margin Call premiered at the Sundance Film Festival in 2011. "I liked J.C. Chandor," Redford recalls. "He represented, for me, the exact type of person that we want to support. He had a vision, he was a new voice on the horizon and he told his story in a very special way." When Chandor told Dodson that he wanted to cast Redford as the film's sole character, referred to simply as "Our Man" in the script, the producer knew it was a longshot. "I said, `Listen, he's going to say one of two things when he gets that 30-page script," Dodson recalls.
"He's either going to say, `Hell yes, this sounds amazing,' or he's going to say, `Why in the world would I do that? I have nothing to prove. Why would I put myself through that?' And to our great, great benefit, he said yes." For his part, Redford was drawn to the originality of the project, which he describes as a story about a man who takes "one heck of a journey and one heck of a beating." "I really liked the script because it was different," Redford says. "It was bold. It was eccentric, and there was no dialogue. I felt that J.C. was going to go through with that vision, even though it was not all explained. But I trusted that he knew what he was doing, that he had it in his head. I knew I would be supporting that vision even while not knowing everything, and that was interesting and good for me." Perhaps surprisingly, Redford says he doesn't get bombarded with invitations to star in the movies of the independent filmmakers he champions. Quite the contrary, in fact. "There's something kind of ironic in that, all these years after starting Sundance and starting the film festival, none of the filmmakers that I supported ever hired me," he says, then adds jokingly: "They never offered me a part! Until J.C." With their one-man cast in place, the producers sat down with the list of necessities for shooting the film. At the very top: a handful of sailboats, and a place to sink them. As it turned out, shooting the story of one man and his boat actually required three boats--specifically, three 39-foot Cal yachts. While all of them serve as Our Man's sailboat, the Virginia Jean, each of the three boats was used for a separate purpose: One was for open sea sailing and exterior scenes, another was for the tight interior shots, and the third was for special effects. Finding three similar boats proved to be a challenge, however, says production designer John Goldsmith, whose previous credits include No Country for Old Men and The Last Samurai. "We scouted them at different times and purchased them in different ports. They all had to be imported, which was a logistical exercise in itself. I think we were two weeks into prep before all three were side by side, ready for us to work on." Once they had them, the filmmakers put the boats through their paces--and then some. "We did pretty much everything that you can do to a boat on film," Chandor says. "We sunk it, brought it back to life, sailed it, then put it through a massive storm, flipped it over, and sunk it again. I think it's paramount to have a pretty deep understanding of the way these boats work, the way they sail and sink, as well as all of the different kinds of sailing elements we use to help move the story along." Chandor and Goldsmith collaborated closely in crafting a kind of back story for the boat itself, which in turn helped inform the story of Redford's character. "J.C. and I had some fantastic conversations about what story we wanted to tell about Our Man that would be expressed through this boat," Goldsmith recalls. "What kind of past has he had? Was he a military man? Is he a businessman? Is he a family man?" Goldsmith says Chandor gave him detailed notes to guide the production design. For instance, the director told him he envisioned Redford's character bought the boat at age 51, six years after the boat was built.
Ten years after that, the boat's upkeep may have slipped a little due to the economic slump in the 1990s. Painting the back story in even greater detail, Chandor envisioned that Redford's character retired seven years after that, then invested about $20,000 in updating the boat. "So maybe he selected certain things like the cushions, which were tired, and reupholstered those," Goldsmith explains. "Maybe he upgraded the window treatments, maybe a few pieces of electronics. So there's this idea of layering of time and history in this boat. But it's not an overhaul. It's not a renovation. In that way, the design had to be really careful about not coming too far forward, but being sort of quiet." Given the solitary nature of the film, Chandor, at times, lets his camera linger on Redford and relish his quiet, simple activities in a way seldom seen on film. "It's rare to watch someone think," Dodson observes. "Most movies are very `cutty,' and I enjoy those movies. But this isn't that movie. Yes, it's got action sequences, but the camera is going to sit on him for a while. We're going to watch him eat a can of soup, and watch him have a glass of bourbon, and watch him cook, and watch him stand in the rain." In one memorable scene, the sailor is chest-deep in water collecting supplies from his slowly sinking yacht. Then he takes a break to stand before the mirror and--for possibly the last time in his life--shave. "You work against the odds in the weirdest ways," Redford says. "But when the odds are so great against you, you fight hard to create some normalcy in your life, even though it may seem weird." Other scenes were intensely physical for the actor, who is known for doing many of his own stunts: from clambering up the sailboat's 65-foot mast to being dragged behind the boat to swimming underwater through the submerged sails. And then there's the opening sequence in which the sailboat collides with the shipping container and Our Man jumps from one to the other. "We slammed a boat into the side of a shipping container with him on it--that's in the movie," Dodson says. "There's this huge jolt, and that's Bob actually hitting the side of a boat and being okay with it. We put him in a life raft and flipped him upside down and inside out, and he was game." "Whenever he did his own stunts, it was both inspiring and exciting, and it also put a little fear in us," Gerb adds. "But he is in great physical shape. He loves the water and he loves to swim. There are a lot of physical challenges in making this film. Even just being wet all day is exhausting and physically draining on any actor. But his spirit and his understanding of the vision for this film just took over. He came to the set every day and absolutely gave himself over to the process of making this film." For his part, Redford says he greatly enjoyed working with the director, whom he credits with getting the best out of him as an actor. "I'm doing this because of J.C.," Redford says. "I like him. He has a joyous spirit and a wonderful disposition. But the thing that's incredible is how busy his mind is. It's a quicksilver mind, and I find it really fascinating. I think he will do very well, because he knows what he wants and he knows how he wants to get it, but he stays loose through the process, which I think is wonderful. He's very intuitive, he has a vision, and I trust him and his ability to deliver that vision." Chandor's use of digital effects was largely restricted to enhancing backgrounds and skies, as well as
enhancing the waves that surrounded the boat and hammered Redford's character. All visual effects work was handled by a team at Toronto-based SPIN VFX, overseen by Chandor and longtime VFX supervisor Robert Munroe (X-Men). Filming in water is notoriously challenging, and that was certainly the case with All Is Lost, which does not feature a single shot set on dry land. Camera crews filmed in various parts of the Pacific ocean and the Caribbean, including off the coast of Ensenada, Mexico, about 80 miles south of San Diego. At one point, Redford sailed the Virginia Jean into port there, complete with a patched-up hole in the side of the boat. "It was amazing to see the reactions of real sailors in the marina," says Gerb. "They were looking at our boat, which had clearly been through an incredible battle. It had a film crew hanging off of it and Robert Redford at the helm." The shots of sea life--including shoals of small fish, yellowtail, barracuda and the beautiful if terrifying shots of dozens of swirling sharks--in the Bahamas, off the coast of Nassau and Lyford Cay, where an entire camera crew dove down more than 60 feet to capture the footage of the fish. For the sequences involving the massive shipping vessels, the crew filmed in the ocean around Los Angeles--out of the port of Long Beach to the south, and further north near Catalina Island. But the open ocean is no place to safely sink a yacht. For those scenes and a number of others, including the opening collision with the shipping container, the filmmakers turned to the world's largest filming tanks. Baja Studios, located in Rosarito Beach on Mexico's Baja Peninsula, the facility was effectively built from the ground up by James Cameron, who required a customized water environment to shoot the spectacular nautical effects for Titanic. In fact, some of the crew on All Is Lost had also worked on Titanic, including line producer Luisa Gomez da Silva, who works full time at the facility and counts herself part of "the Titanic generation." The filmmakers used three giant water tanks for different aspects of the shoot, including the world's largest exterior tank, which sits right on the ocean and has an infinity-edge horizon line. "It's the size of three football fields and it creates a very real ocean look," Gerb says. "These tanks mimic being out at sea, but in a controlled environment where we could safely pull off a lot of our stunts and special effects. It was really the only place in the world we could have made this film." Initially, Chandor and Goldsmith believed they would have all they needed with the three boats, but one particularly dramatic sequence, in which the storm-tossed Virginia Jean repeatedly capsizes and rights itself, called for extraordinary creativity. Although the filmmakers had thought they could use the special-effects boat for this underwater rolling stunt, after further exploration they realized they needed to better protect Redford. As a result, multiple departments pulled together to build a special rig for the purpose. Similarly, special effects supervisor Brendon O'Dell (Training Day) had to come up with creative solutions to simulate the violent movement of the boat in the storm. "Typically, on a big-budget movie, you'd build a really elaborate gimbal that could move the boat in any direction," he says. "But that would have been very expensive and time consuming, so we had to rethink our approach." Instead, O'Dell's team used simple rigging and hydraulic cylinders, together with the natural buoyancy
of the boat working against the water. "We would just suck the front of the boat down with a cylinder and let the back up, and vice-versa," he says. "It also worked side to side. It looked really good." The complex shoot required seven weeks of meticulous preparation--unusual for a small, independent film. "We needed to create a schedule that tracked wet scenes, dry scenes, storm scenes, with three boats, three tanks and an additional sound stage, night and day, stunts, VFX shots and non-VFX shots," Dodson says. "It was a lot more complicated than anything I've ever worked on before, and enormously complex for a 30-day shoot on our budget." The producer says the crew worked less from the script than from a big map in their main conference room on which the entire movie was storyboarded. "We didn't really even have sides," he says, referring to the daily printouts actors usually use. "We used a printout of that day's storyboards--we'd just go through them and shoot them." To capture All is Lost Chandor turned to not one, but two directors of photography--Frank G. DeMarco and underwater cinematographer Peter Zuccarini. For DeMarco, the challenge of shooting a movie without dialogue was not without silver linings. "One interesting thing is that you can do far more takes on a movie with less dialogue," says DeMarco, who also worked with the director on Margin Call. "The other interesting thing is that, like in a silent movie, the director can sometimes direct the actor during the take. J.C. could actually say, `Bob, now remember this, and then do that, and pick up that, and look up there,' while the camera was rolling." DeMarco says shooting interior shots in the tight space of a yacht's cabin was also tricky--for example, when Redford had to squeeze past the camera on DeMarco's shoulder or during very close shots. "We shot with wide lenses, which helped a lot," DeMarco recalls. "We used a lot of natural light. Ultimately, we just made it work." If some crewmembers found themselves having to contend with water, others thrived in it--and none more than Zuccarini, whose credits range from low-budget surfing documentaries to the seafaring blockbuster Pirates of the Caribbean: The Curse of the Black Pearl. "He and his team know how to get in their wetsuits, seal up the cameras, balance their weight and their breathing, and swim in and under the water, shooting footage that you can't believe," Dodson says. With its smorgasbord of water-related challenges, All Is Lost was an irresistible project, says Zuccarini. "I specialize in putting cameras in places that are very wet. So when I saw from the very first moment of the script that there's water flowing into the boat, he's immersed in water, water is going to spray on his face, waves are dumping on him--I admit, I was pretty excited." Adding to the production challenges, editor Pete Beaudreau (Margin Call) did the first pass of editing on location to ensure that the production got what it needed. After a rough start, he says he got used to the approach. "Because I was able to get the material so quickly, I could show J.C. at the end of the day whatever he had shot that morning, all put together," Beaudreau says. "And if he felt like he was missing something, we could go in the next morning and grab it."
In a film so devoid of dialogue, the musical score assumed special importance. Chandor turned to acclaimed singer-songwriter Alex Ebert, leader of the band Edward Sharpe and the Magnetic Zeros, to compose the film's score--his first such project. "It was sort of a shocker in some ways," says Ebert. "It's amazing that J.C. would have that kind of faith in someone who hadn't scored a film." Ebert says Chandor initially asked him to deliver very subdued materials, drones and low notes that sustained over scenes. He also specifically requested that the instrumentation avoid piano. That was challenging for the composer, who had already written some pieces on piano, but he understood Chandor's reasoning. "The piano has this inherent emotion to it," he says. "We didn't want anything that was `emotion in a can' or `tension in a can.' But eventually I started taking more chances, and after some back and forth with J.C., we landed in this middle spot that I think was perfect." Ebert says he played various instruments, including synthesizer, crystal bowls and Tibetan bowls. He also played orchestral samples, most of which were later replaced by musicians using real instruments. Other times he came up with themes on the piano, then mocked them up with sampled flutes or other sampled instruments, before bringing in great musicians to play them. Seth Ford-Young, the bass player from the Magnetic Zeros also provided a number of sounds that evoked the calls of whales and other sea mammals. "The biggest challenge was walking that fine line between truth and melodrama," Ebert says. "You don't want to undershoot it and you don't want to overshoot it. You want to nail the emotion precisely. Anything else is not doing it justice." For Ebert, All Is Lost is an inherently emotional film with massive stakes, and he felt he needed to express that in the music. "It's about beauty," he says. "It's emotional and everything that comes along with life and death, and nothing less. I think that's the primary subject of humanity--and it's something that you might want to stay away from because it would be overdramatic. But this dude's in the middle of the ocean on a raft. Let the music be emotional because it is emotional. We followed the movie's lead." The task of building a robust soundscape for an almost dialogue-less film on the sea fell to the Oscarwinning sound team behind such hits as Saving Private Ryan and Jurassic Park, Richard Hymns and Gary Rydstrom, along with their colleagues Steve Boeddeker and Brandon Proctor, from Marin County's famous SkyWalker Sound. They had already worked on several films with Redford in the director's chair and welcomed the chance to work with him again. In some ways, All Is Lost is a tribute to man's seemingly limitless ingenuity and resilience, with Redford's character simply refusing to quit. "This character keeps going to a point when some people would give up and say, `It's too much,'" Redford says. "`I'm out in the middle of nowhere. No one is here to help me and it seems like I've done everything I possibly can. Why not give up?'" To answer that question, Redford references an earlier film whose sparseness and primal simplicity have something in common with All Is Lost and in which the actor plays another lone man battling nature
and self. "I thought about Jeremiah Johnson, about that film and that character, especially since I had developed that project myself," says Redford of the 1972 film. "He had a choice to give up or continue but he continues, because that's all there is. And this film, I think, suggests the same thing. He just goes on because that's all he can do. Some people wouldn't, but he does." It's in those moments of maximum anguish that Our Man actually breaks his pervasive silence and utters a word or two--to great effect. "There's a scene where we finally hear the iconic Robert Redford voice," says Gerb. "There is no real dialogue to speak of in the film, but in this one moment, for a very brief second, he says something. And to hear his voice, and how it comes out, is so powerful, because we all know that voice. And then it comes, and it's this tiny beat, but it's a very moving moment for me." For Dodson, it is precisely the drive to survive--even when all is apparently lost--that gets to the heart of the film's meaning. "It's a movie about why we keep fighting," Dodson says. "It's a movie about why we try to live--about why we would fight against death when it seems so obvious that it's our time to go. Answering that question about human beings is something philosophers, religion and great thinkers have been trying to do as long as humans have been on earth. I think this movie tries to ask that timeless question in a new way. And for my own part, I'm far more interested in going to see movies and making movies that ask questions than in movies that propose to answer them." It's also part of what makes the film unlike any other, the producer says. "I don't think you've ever seen a movie like this before," Dodson says. "It's a truly singular vision. It's watching one guy--a master of his craft--work through a character in 90 minutes. And it's an adventure. But the existential questions in it, I think, will resonate for people even more powerfully." As for Chandor, he says he hopes audiences will see themselves reflected in Redford's valiantly struggling survivor. "What I'm hoping," Chandor muses, "is that this character becomes a vessel where audience members are able to see themselves, or parts of themselves. That he becomes the embodiment of some of their hopes, concerns, dreams, worries, fears--all those primal human characteristics. It's not something that I want to lay out too explicitly, but to a certain extent, I hope that he can become a kind of mirror. And if I did my job well, the film, like Our Man's journey, is going to be exhilarating and terrifying, and, I hope, emotional and haunting."
ABOUT THE CAST ROBERT REDFORD (Our Man) Robert Redford is an Academy Award-winning actor, director, producer, environmentalist and philanthropist whose legendary career has spanned decades. His credits represent one of American cinema's most renowned bodies of work and include starring roles in Butch Cassidy and the Sundance Kid, The Sting and All the President's Men. His directorial credits include acclaimed films such as Ordinary People, A River Runs Through It and Quiz Show. He has been honored with numerous awards for his exceptional work both on and off screen. Most recently, Redford directed and starred in The Company You Keep, alongside Nick Nolte and Shia LaBeouf. He is currently in production on Captain America: The Winter Soldier, with Chris Evans and Scarlet Johansson. Redford's first Academy Award nomination was for Best Actor after 1973's The Sting, opposite Paul Newman. He won the Oscar for Best Director in 1981 for Ordinary People and received an Honorary Academy Award in 2002. In 2005 he was the recipient of Kennedy Center Honors for his distinguished achievement in the performing arts. Redford's passion is the Sundance Institute, which he founded in 1981. The Sundance Institute is dedicated to the support and development of emerging screenwriters and directors of vision, as well as the national and international exhibition of independent cinema. The Institute's highly acclaimed screenwriter, director, playwright and producer labs take place at the Sundance Village mountain retreat in Utah. The Sundance Film Festival is a program of the Institute and is internationally recognized as the world's single most important showcase of independent cinema. Redford has further expanded the Sundance brand with The Sundance Channel, Sundance Cinemas, Sundance London and Sundance Entertainment. Redford has been a noted environmentalist and activist since the early 1970s. He has served for almost 30 years as a trustee of the board of the Natural Resources Defense Council.
ABOUT THE FILMMAKERS J.C. CHANDOR (Director, Writer) J.C. Chandor has honed his own subtle yet distinct narrative voice and vision over the past 15 years through directing, producing and writing award-winning documentaries, commercials and narrative films. Chandor was nominated for an Academy Award for Best Original Screenplay for his debut feature film Margin Call (2011), which he also directed. The film has a star-studded ensemble cast and was awarded "Best Directorial Debut" by The National Board of Review, "Breakthrough Director" by the New York Film Critics Circle, "Best Original Screenplay" by the San Francisco Film Critics Circle, and won an Australian Academy Award for "Best Screenplay." The film, which received the "Best First Feature Award" as well as the "Robert Altman Award" (given to one film's director, casting director and its ensemble cast) at the Independent Spirit Awards, was named one of the top 10 films of 2011 in publications such as The New York Times, Rolling Stone, New York Magazine, The New Yorker, New York Post, and The Huffington Post. Chandor's commercial work over the years has included projects for a long list of clients including Subaru Motors of America, Red Bull Racing, Major League Soccer, BMW-Oracle Racing, America Online, DC Shoes, and Carhartt Outdoor Clothing. A few of Chandor's other notable credits include producing a six-part concert film series for AOL/Warner Brothers as well as working with Sting, Elton John, The Red Hot Chili Peppers and Beck. His debut narrative-film writing-directing credits include the short film Despacito (2004) starring Will Arnett. He is also currently in development on projects with Warner Bros Pictures, Leonardo DiCaprio's Appian Way and Universal Pictures. Chandor holds a bachelor's degree in American studies and film studies from The College of Wooster in Ohio and studied film production at New York University. He grew up in the suburbs of New York City and London, England, and currently lives outside New York City with his wife, painter Cameron Goodyear, and their two children. NEAL DODSON (Producer) For the first film he produced, Neal Dodson won an Independent Spirit Award for J.C. Chandor's Margin Call, which was also nominated for an Oscar for "Best Original Screenplay," among many others awards. It premiered at Sundance, played the Berlinale and opened New Director/New Films at MoMA before being released by Lionsgate/Roadside. Dodson is also releasing two more movies in 2013, Victor Quinaz's Breakup at a Wedding (Oscilloscope Labs, in June) and a horror-thriller called The Banshee Chapter (XLrator Media, in September). Dodson and his Before The Door Pictures partners (Star Trek actor Zachary Quinto and Corey Moosa) were named to the "10 Producers That Will Change Hollywood" by The Wrap and included in the 2012 "Mavericks" issue of Details Magazine. They also have another dozen features in development and have published two GRAPHIC NOVELs, Mr. Murder is Dead and Lucid (optioned to Warner Bros). Dodson is prepping a large independent film to shoot in New York this fall.
In television, Dodson sold a pilot to TNT with Shaun Cassidy and also co-wrote a drama pilot for The CW with actor Matt Bomer and country artist Brad Paisley. He was vice president of a Warner Bros-based production company for several years where he executive produced Another Cinderella Story, starring Selena Gomez and Jane Lynch. While there, Dodson was involved in setting up Paramount's Footloose remake and coproducing the recently shot Hateship Loveship starring Kristin Wiig and Nick Nolte. As an actor, in addition to work in television, independent film and at regional theaters (Lincoln Center, Mark Taper Forum, Yale Rep, Utah Shakespeare), Dodson appeared on Broadway in Tom Stoppard's "The Invention of Love," which won two Tony Awards®. He earned a BFA from Carnegie Mellon University's School of Drama. Dodson is a reformed actor and is married to television-film actress Ashley Williams. They make their home in Los Angeles. ANNA GERB (Producer) Anna Gerb is executive producer and head of production at Washington Square Films where she oversees feature film, television and commercial productions. She was co-producer on J.C. Chandor's feature film Margin Call (Sundance, Academy Award Nominee for "Best Screenplay"). She also served as executive producer on the feature film Francine starring Melissa Leo. In her native Canada, she produced the film Blood, directed by Jerry Ciccoritti (nominated for Genie and Directors Guild of Canada Awards), and the documentary Me, Myself & The Devil for CBC. Currently, Gerb is putting together a large independent film for the fall in New York, and is developing an adaption of Irina Reyn's novel, What Happened to Anna K, a contemporary version of Tolstoy's Anna Karenina, set in New York. Gerb is a member of the the Producers Guild of America, serves on the board of directors for New York Women In Film & Television, and is a member of The Academy of Canadian Cinema & Television. Born in Moscow and raised in Canada, she currently lives in New York City with her husband and two kids. FRANKIE DEMARCO (Director of Photography) Frankie DeMarco is a talented cinematographer whose honors and accolades include Independent Spirit Award nominations for his work on Larry Fessenden's Habit and John Cameron Mitchell's Hedwig and the Angry Inch. Throughout his career, he has moved freely between genres, working on documentaries, features, TV shows, commercials, industrials and music videos. Most recently, DeMarco wrapped production on the forthcoming CBS telefilm "The Ordained," directed by R.J. Cutler and starring Emmanuelle Chriqui, Sam Neill and Hope Davis. Other notable television work includes first-season episodes of AMC/Lionsgate's "Mad Men," created by Matthew Weiner, and NBC's "Kings," executive produced and directed by Francis Lawrence. DeMarco also lensed "Lady Dior London" and "L.A.-dy Dior," TV spot/webisodes starring Marion Cotillard that have garnered international attention. In 2010 DeMarco shot J.C. Chandor's Margin Call, starring Kevin Spacey, Jeremy Irons and Zachary Quinto. That same year he completed his third collaboration with John Cameron Mitchell, Rabbit Hole, starring
Nicole Kidman, Aaron Eckhart and Dianne Wiest. Other film credits include Beerfest and The Babymakers, both directed by Broken Lizard's Jay Chandrasekhar; Jessica Yu's Ping Pong Playa, an Independent Spirit Award nominee; John Cameron Mitchell's controversial Shortbus, a 2006 Cannes favorite; Tom DiCillo's Delirious, with Steve Buscemi and Michael Pitt; Jay DiPietro's Peter and Vandy, starring Jason Ritter and Jess Weixler; James C. Strouse's The Winning Season, starring Sam Rockwell, Emma Roberts and Rooney Mara; and Ryan Shiraki's Spring Breakdown, starring Amy Pohler, Rachel Dratch and Parker Posey. It was while studying writing in Florence, Italy, that DeMarco was bitten by the film bug. After working on a TV commercial, he returned home to Baltimore and earned his B.A. in modern languages. DeMarco began his career working on commercials, documentaries and John Waters films shot in the area. After moving to New York, he served as director of photography on numerous features and documentary films including Theremin: An Electronic Odyssey. An avid environmentalist, DeMarco uses public transportation, lives in a solar-powered home and eats mostly vegetables and seafood. Though he wants to go sailing and surfing more often, he currently resides in New York City with his daughter Hazel. PETER ZUCCARINI (Underwater Director of Photography) Peter Zuccarini's career as a cinematographer has found him in some unique situations, including swimming across the Amazon River with a floating camera in Walter Salles' The Motorcycle Diaries and plunging into the depths with champion free diver Umberto Pelizzari for Bob Talbot's IMAX film Ocean Men: Extreme Dive. Zuccarini's most recent and forthcoming film credits include Michael Bay's Pain & Gain, starring Mark Wahlberg and Dwayne Johnson; Gore Verbinski's The Lone Ranger, starring Johnny Depp and Armie Hammer; Francis Lawrence's The Hunger Games: Catching Fire, starring Jennifer Lawrence; and Adam McKay's Anchorman: The Legend Continues, starring Will Ferrell. On Ang Lee's Oscar-winner Life of Pi, Zuccarini served as director of photography on the unit responsible for underwater cinematography and was responsible for plates and reference footage used by the Academy Award-winning visual effects team. Additional film credits include the Pirates of the Caribbean trilogy, Into the Blue, Act of Valor, Into the Wild, 127 Hours, Let Me In and Dolphin Tale. Under director Bruce Weber, Zuccarini has lensed fashion campaigns for Armani and Ralph Lauren. In Zuccarini's early years as a professional, he filmed sharks for Dr. Samuel Gruber's Bimini Biological Field Station. His love for aquatic wildlife led to his directing and shooting two installments of Disney's documentary series New True Life Adventures, Everglades: Home of the Living Dinosaurs and Sea of Sharks. In 2001 Zuccarini partnered with Steve Ogles to form Zuccarini Watershot LLC. Together they design and manufacture state-of-the-art waterproof motion-picture cameras and lighting equipment. Through this partnership, Zuccarini works tirelessly to provide custom equipment to accommodate various films' unique needs for water photography.
Zuccarini grew up exploring the turtle grass, worm-rock reefs and mangrove estuaries around his home island of Key Biscayne, Florida. After buying his first underwater camera at age 11, he began documenting his surroundings for the purposes of visual storytelling. Zuccarini went on to study art and semiotics at Brown University. He took his photography classes at Rhode Island School of Design. PETE BEAUDREAU (Editor) Pete Beaudreau has edited numerous independent films including XX/XY, starring Mark Ruffalo; Sympathy for Delicious, starring Ruffalo and Juliette Lewis; and My Week with Marilyn, starring Michelle Williams in an Oscarnomianted role. His first collaboration with J.C. Chandor was on the Oscar-nominated drama Margin Call. Beaudreau is a B.F.A. graduate of the Film Conservatory at SUNY Purchase. He began editing feature films in 2000 with the cult classic The American Astronaut, which was an official selection at the 2001 Sundance Film Festival. In addition to his editing work, Beaudreau is a frequent speaker at media conferences. He has taught editing technique and theory at Harvard University's School of Film and Visual Studies and Columbia University's School of the Arts. JOHN P. GOLDSMITH (Production Designer) As an art director, John Goldsmith has worked with some of today's most talented filmmakers including Tom Hooper, Michael Mann and the Coen brothers. For his work on HBO's "John Adams," an Emmy Award® winner for "Outstanding art direction," he shared in an Art Directors Guild Award. On the film side, he contributed to Art Directors Guild Award-winner No Country for Old Men and nominee The Adventures of Tintin. Goldsmith also worked on The Last Samurai, which earned an Academy Award nomination for "Best Art Direction." Goldsmith moved to Los Angeles after earning his master of architecture degree from Columbia University in New York. He began his career as a set designer on such films as Natural Born Killers, Beverly Hills Cop III and Super Mario Brothers. After earning his master's degree in design studies from Harvard University, he worked at the prestigious architectural firm of Frank Gehry and Associates. Goldsmith then returned to filmmaking and set design on such projects as City of Angels, Batman and Robin and Spider-Man. ALEXANDER EBERT (Composer) Alexander Ebert is the multi-talented musician and songwriter behind Edward Sharpe and the Magnetic Zeros. The band has toured extensively and spent the spring of 2011 on the Railroad Revival tour with Mumford & Sons and Old Crow Medicine Show. A documentary chronicling that trek, Big Easy Express, earned a Grammy Award® for Best Long Form Video at the 2013 ceremony. A second album, "Here," was released in 2012 with a double-disc companion album this year. Ebert's music has appeared in such films as What to Expect When You're Expecting and 10 Years. Inspired by the power of music from a young age, Ebert grew up on the music his father introduced
him to as a kid. During long summer road trips through Western American landscapes, Ebert came to understand how music could expand and inform an experience and turn even workaday moments into a revelation. By the time he was 7 Ebert had moved from Pavarotti to hip-hop and started his first rap group with a bunch of elementary school friends. In his teens Ebert became fascinated by cinema when a teacher showed the class Charlie Chaplin's City Lights. His mother was delighted at her son's enthusiasm and found him a filmmaking class taught by Jim Pasternak (Cousins), who later founded the Los Angeles Film School. Set to become a filmmaker, Ebert briefly attended Emerson College but found himself bored by classes and impatient to begin creating. He wrote a screenplay and decided to leave college to direct it. Ebert then formed synth-rock project Ima Robot in collaboration with Timmy "The Terror" Anderson. After five years of self-made albums and unreleased work, the group's self-titled debut was released by Virgin Records in 2003 and was followed by 2006's "Monument to the Masses." Penning songs away from the spotlight, Ebert regained a sense of joyful expression. He re-emerged with a folk sensibility showcasing a new facet of his songwriting. Ebert then connected with singer Jade Castrinos, his co-pilot on Edward Sharpe and the Magnetic Zeros. Supported by a full band, their first show was in 2007. The group's debut, "Up from Below," arrived in 2009 with the hit single "Home." Ima Robot's third disc, "Another Man's Treasure," was released in 2010 and Ebert unveiled a solo album, "Alexander," in 2011. As he continues to explore the possibilities of sonic expression, Ebert is also writing several screenplays, novels and poetry collections. RICHARD HYMNS (Supervising Sound Editor) As supervising sound editor of such films as Saving Private Ryan and A River Runs Through It, Richard Hymns has established and continues a formidable career predicated on building authenticity and subtlety of sound in service of a director's storytelling vision. From the roar of weaponry to the quiet splash of a fly-fishing lure upon rushing water, a commitment to creative quality is a hallmark of his work. Hymns has won three Academy Awards with a total of eight nominations. His other honors include four Motion Picture Sound Editors (MPSE) Golden Reel Awards and a BAFTA Award. Hymns has worked with Steven Spielberg, Robert Redford, Francis Ford Coppola, George Lucas, James Cameron, David Fincher, Ang Lee, David Lynch, Tim Burton, Peter Jackson and Ron Howard, among many other top directors. Film credits include The Outsiders, Wild at Heart, Willow, Backdraft, Fight Club, Zodiac, Mars Attacks!, The Frighteners, Hulk, Mission: Impossible ­ Ghost Protocol, Jumanji, Avatar, Jurassic Park, Munich, War Horse and Lincoln. At age 16, Hymns got his start at Elstree Studios in North London by running tea service to members of the film-editing crew. His big break came when, after a few months, he found himself working as an apprentice editor on the television series "The Saint." Hymns rose through the ranks and found his niche in sound editing, primarily at Skywalker Sound in Northern California.
STEVE BOEDDEKER (Sound Designer, Re-Recording Mixer, Supervising Sound Editor) Steve Boeddeker is a sound designer, mixer and composer based mainly out of Skywalker Sound in Marin and his own studio in San Francisco. He has worked extensively in the Bay Area, Los Angeles, New York and London, collaborating with many big-name directors. Boeddeker's mixing and sound design work can be heard in numerous movies including Now You See Me, The Company You Keep, Killer Joe, Beasts of the Southern Wild, Lincoln, TRON: Legacy, Alice in Wonderland, Bug, Charlie and the Chocolate Factory, Sweeney Todd, Hellboy, Daredevil, Rules of Engagement, Fight Club and Contact. His original music can be heard in The Exorcist (re-release), Se7en and The Prophecy 3: The Ascent, as well as in the work of his band, Dogs of Distortion. BOB MUNROE (Visual Effects Supervisor) Bob Munroe is an accomplished VFX supervisor, animator, producer and digital effects director. For producing the live-action short Frost, he was recently nominated for an inaugural Canadian Screen Award (the Gemini and Genie awards are now combined). Previously, Munroe was an executive producer on Academy Award-winning director Chris Landreth's 2009 animated short The Spine (Copperheart/National Film Board of Canada). Next for Munroe is Ghosts of the Pacific (The American Film Company), a feature on which he will serve as visual effects supervisor. This World War II survival drama stars Jake Abel, Tom Felton and Garret Dillahunt. Munroe and his VFX team were nominated for four Gemini Awards in the category of "Outstanding Visual Effects" for their work on "The Tudors" (Showtime/CBC), winning in 2008 and 2011. He was also a co-producer on the series' final season. For the first season of "The Borgias" (Showtime/CTV), Munroe shared in a 2011 Emmy nomination for "Outstanding Visual Effects." Munroe worked as supervising producer on the animated film The Wild (Disney) and visual effects supervisor on Snow Day (Paramount Pictures), Cube (The Feature Film Project), Caveman's Valentine (Universal/Jersey Films/Franchise Pictures), Knockaround Guys (New Line), Finding Forrester (Columbia), Glitter (Columbia), Cletis Tout (Fireworks), Against the Ropes (Paramount), Cypher (Miramax/Pandora), Splice (Copperheart/Gaumont), Dolphin Tale (Alcon/WB) and Haunter (Entertainment One/Copperheart). As digital effects director, Munroe led a team of animators on Nutty Professor II: The Klumps (Universal), Doctor Dolittle (Twentieth Century Fox), Mimic (Dimension Films) and the "TekWar" TV movie (Atlantis). Munroe was also digital effects supervisor on Johnny Mnemonic (Alliance Communications/Tri-Star Pictures), technical director on Fly Away Home (Columbia Pictures) and second unit director on Haunter, Dolphin Tale, Splice, Nothing and "The Tudors." In 1993 Munroe headed the animation team for the Atlantis Films adaptation of William Shatner's popular TekWar sci-fi novels. The computer-generated effects the team produced won the 1995 International Monitor Award for "Best Special Effects in a Film-Originated Television Series" and a 1996 Gemini Award for "Outstanding Visual Effects."
In the late 1990s Munroe developed a new process that enables animators to match lighting from film sets to the lights in a computer-generated environment. The process was awarded both U.S. and Canadian patents. In 2006 Munroe was named the recipient of the Premier's Award (Ontario) for the creative arts and design sector. Munroe is a graduate of both the Fine Arts program at the University of Western Ontario (B.F.A. 1985) and the computer animation program at Sheridan College. He is immediate-past chairman of the board of directors of the Canadian Film Centre. In 1998 he was appointed adjunct professor at Sheridan College. He is also a member of the Academy of Canadian Cinema and Television (ACCT), the Directors Guild of Canada (DGC) and the Academy of Television Arts and Sciences (ATAS). BRENDON O'DELL (Special Effects Supervisor) Brendon O'Dell is able to supply special-effects services and equipment on a project of any size, to be filmed anywhere in the world. He has worked on such films as Horrible Bosses, Devil, Eagle Eye, Training Day, Daredevil and Jackass. Television credits include "Justified," "Vegas" and "American Dreams." Growing up in the small town of Paradise, California, O'Dell was far removed from the motion picture industry. His best friend's father was a well-known special-effects foreman able to get O'Dell an entry-level job at Special Effects Unlimited in 1995. Within two years O'Dell had worked his way up to operations manager, a position that allowed him to meet the top coordinators and supervisors. Fast forward to the present and O'Dell has supervised more than 50 projects and assisted on well over 100.
"ALL IS LOST" End Credits Written and Directed by J. C. CHANDOR Produced by NEAL DODSON p.g.a. & ANNA GERB p.g.a. Producers JUSTIN NAPPI & TEDDY SCHWARZMAN Executive Producers CASSIAN ELWES LAURA RISTER GLEN BASNER & JOSHUA BLUM Executive Producers ZACHARY QUINTO & COREY MOOSA Executive Producers HOWARD COHEN & ERIC D'ARBELOFF Executive Producers KEVIN TUREN & ROBERT OGDEN BARNUM Director of Photography
FRANK G. DEMARCO Underwater Director of Photography PETER ZUCCARINI Production Designer JOHN P. GOLDSMITH Editor PETE BEAUDREAU Music Composed By ALEX EBERT Visual Effects Supervisor ROBERT MUNROE ROBERT REDFORD ALL IS LOST Lionsgate, Roadside Attractions, Black Bear Pictures, & Treehouse Pictures Present In Association With FilmNation Entertainment & Sudden Storm Entertainment A Before The Door / Washington Square Films Production
Unit Production Manager 1st Assistant Director 2nd Assistant Director Stunt Coordinator Music Editor Post-Production Supervisor CAST Our Man
Co-Producer SEAN AKERS Associate Producer ERIN FEELEY Line Producer LUISA GOMEZ DE SILVA Canadian Post Production Services Provided By JESSE IKEMAN & JEFF GLICKMAN ARTURO DEL RIO ABEL JIMENEZ CECILIA DE LAS BARRERAS MARK NORBY SUZANA PERI ANDRE COUTU ROBERT REDFORD
PRODUCTION
CAMERA DEPARTMENT
Director Of Photography
FRANK G. DEMARCO
Underwater Director Of PhotographyPETER ZUCCARINI
A Camera Operator
FRANK G. DEMARCO
B Camera Operator
PETER ZUCCARINI
A Camera, 1st Assistant Camera
PHIL SHANAHAN
B Camera / Underwater, 1st AC
PETER MANNO
A Camera, 2nd Assistant Camera
NICOLE MARTINEZ
A Camera, 2nd Assistant Camera
SERGIO BERRY
B Camera, 2nd Assistant Camera
EDGAR LUZANILLA
digital imaging Technician
TODD SANSONE
Underwater Camera Housing Specialist STEVE OGLES
Technocrane Technician
HENRY FLORES
Libra Head Technician
BRYAN FLETCHALL
Technocrane Equipment
PANAVISION REMOTE SYSTEMS
DAVID JOY
TRATAFILMS, S.A.
EDUARDO DE LA BARCENA
Video Assist
EMMANUEL CABARE
GABRIEL ROMERO
DAVID BAHENA
Still Photographers
Richard Foreman
DANIEL DAZA
Camera Equipment
OTTO NEMENZ INTERNATIONAL
FRITZ HEINZLE
LAURA BROCATO
Underwater Camera Housings & Equipment ZUCCARINI WATERSHOT
Gaffer Rigging Gaffer Best Boy Electric Rigger Electricians General Electric Equipment
RADIUM CHEUNG DAVID ELWELL HERIBERTO LUZANILLA JORGE ROMAN BENITO GUERRERO CONSTANCIO CASTILLO ANTONIO GONZAGA JAVIER GARCIA ILLUMINATION DYNAMICS CARLY BARBER MARIA CARPENTER
Key Grip Best Boy Grip Additional Key Grip Rigger Grip Grips Grip Equipment
PAT O'MARA ANTHONY TELLEZ LARRY EDWARDS EDUARDO SERVIN LUIS CALVA LUIS GERARDO VALENZUELA VICTOR OLIVA MANUEL GALAVIZ OMAR QUINTERO JORGE JIMENEZ LUIS CARDOZO RED SHAMROCK
MARINE DEPARTMENT Marine Coordinator Marine Supervisor Key Marine Tech
JIMMY O'CONNELL RICK HICKS RAUL LUYANDO
Marine Techs
JAKE HICKS
EVAN STOUT
CHRIS PAPAJOHN
LARRY OTT
Gang Boss
ROBERT WONG
Shipwright
THOMAS ADAMS
Marine Office Assistant
KATHY DONNO
Safety Divers
HUGO FELIX
RICARDO MARTINEZ
JORGE "RIBS" CRUZ
JOSE AGUILAR
Crane Owner
GRUAS & MONTACARGAS INIGUEZ
Crane Operator
ROGELIO INIGUEZ
Carpenter
ERNESTO CHAVARIN
Sail Seamstresses
RAMONA VASQUEZ
ALEJANDRA VASQUEZ
Emergency Medical Technicians
CHARLOTT SANTACRUZ
SAMUEL DIAZ
ALEJANDRO ALVAREZ
Capitan De Puerto, Rosarito BC
CAPITAN GUSTAVO ENRIQUE ALCUDIA ESTRADA
Sailboats Purchase Representative
RICK PETERS, DENISON YACHT SALES
Yard Supervisor
CHRIS WAID, WINDWARD YACHT CENTER
Admiralty Legal
CRIS WENTHUR, WENTHUR LAW GROUP
Vessel Documentation Service
MARY E. BACON, MARY CONLIN COMPANY,
INC.
Yacht Transport
WARREN MOGER & CARMEN
MOGER YACHT TRANSPORT
Sailboat Receiving
BAJA NAVAL SHIP YARD
Baja Naval sales representatives
MARIO ALEJANDRO HERRERA
GUILLERMO SARABIA
Sailmaker
OLIVER MCCANN, UK HALSEY SAILMAKERS
Surveyor
KELLS CHRISTIAN
CHRISTIAN & COMPANY MARINE SURVEYORS, INC.
Life Raft Consultant
DAVID COSTELLO
AVALON RAFT SALES & SERVICE
Marine Electronics Consultant
DAVE POWERS
DAVE'S RIGGING & MARINE SERVICES
Marine Equipment & Sailboat StorageBIG SCREEN MARINE
SPECIAL EFFECTS DEPARTMENT SPFX Supervisor SPFX Coordinator General Foreman SPFX Engineer SPFX Tech SPFX Fabricator SPFX Welders SPFX Labor
BRENDON O'DELL FRANKIE IUDICA ANTE DUGANDZIC MICHAEL KAY MATT O'DELL JAVIER LOMELI ERNESTO ADELI FRANCISCO LOPEZ TEIZO MAY
SPFX Assistants Special Effects Services Provided by
ARTURO LIZARRAGA HUGO LINO PAUL MERCADO THE EFFECTS GROUP LORRAINE FADDEN
VISUAL EFFECTS ON-SET Visual Effects Supervisor On-Set Visual Effects Supervisor
ROBERT MUNROE MARTIN TORI
STUNTS Stunt Coordinator Stunt Rigger Stunt Double for Our Man Stunt Equipment Stand-In for Our Man
MARK NORBY JAKE LOMBARD MARK NORBY GORDOTICO, INC. SCOTT WITHERELL
WARDROBE Costume Designer Wardrobe Supervisor Textile Artist/Dyer/Ager Costumer to Mr. Redford Costume Assistant
VAN BROUGHTON RAMSEY BRETT GATHRID PHYLLIS THURBER-MOFFITT BRETT GATHRID ALFREDO MICHEL
HAIR & MAKEUP Makeup Department Head Hair Department Head / Hairstylist Artist for Mr. Redford Hair & Makeup Assistant
COREY CASTELLANO LAINE TRZINSKI COREY CASTELLANO ELVIA FELIX
SOUND Sound Mixers Sound Advisor
MICAH BLOOMBERG GILLIAN ARTHUR DAVE EVANS
ART DEPARTMENT Production Designer Art Director Set Designer Graphic Designers Art Department Coordinator Assistant Art Department Coordinator
JOHN P. GOLDSMITH MARCO NIRO HECTOR HUGO RIVERA JOSUE PALOS ERIKA GOMEZ SANDRA ZAMBRANO ANA DELIA ALMARAZ
Set Decorator Lead Man On Set Dresser Swings Warehouse Keeper Prop Master Prop Assistant Custom Leather Sunglass Design Construction Coordinator Construction Buyer Foreman Carpenters Junior Carpenters Painter Scenic Artist Scenic Painter Assistant Scenic ACCOUNTING Production Accountant Mexican Production Accountant 1st Assistant Accountant Accounting Assistant Accounting Clerk VAT Legal Services PRODUCTION Production & Travel Coordinator Script Supervisor Driver for Our Man
GABRIELA RAMIREZ DANIEL TALAVERA PAULINA RAMIREZ ANGEL ORONA CRISTIAN MORENO ADALBERTO RAMIREZ JOSE ANTONIO "TONY" PEREZ FRANCISCO CERVANTES BRENNAN BYERS, GBB LEATHER HECTOR "TITO" VASQUEZ ERNESTO MARTINEZ BENITO VAZQUEZ ALEJANDRO VAZQUEZ ERNESTO ADELI ROGELIO VASQUEZ SIMON VAZQUEZ REYNALDO SANTIAGO JOSE LANDA SALVADOR CHAVEZ GUILLERMO GUTIERREZ SALOMON BAUTISTA ADRIAN GUZMAN OMAR LANDA JOSE GONZALEZ JUAN GUTIERREZ DANIEL MARTINEZ ALFREDO HERNANDEZ JAIME CARBO ANGEL ADELI DESIREE VARNI ARTURO ROMERO JORGE LUNA ANA MARIA LOMELI CRISTINA NAVARRO JUAN ANTONIO ZEPEDA MELISA ZEPEDA RENE RODRIGUEZ ROMAN DIAZ ERIN FEELEY ANTONIO DE MARIA
Baja Assistant to Our Man Assistant to Mr. Redford, Wildwood Assistant to the Director Assistant to the Assistant to the Director Shipping Coordinator Broker / Border Services IT Technician Key Office PA PA Runner Key Set PA Set PAs Caterer Mexican Actors Guild
CLAUDIA GARCIA-REPPER DONNA KAIL QUINN MEYERS ANDREW VARNI LAURA IRENE ARVIZU YOLANDA PLASCENCIA CARLOS POMPA ROBERTO VASQUEZ DANIEL CASTRO-WILLEM ANDREW ILSON JAQUELINE GRAJALES MARIO NAVA SARAHI MARIN BARBARELLA PARDO GUILLERMO OSEGUERA ASOCIACION NACIONAL DE ACTORES (ANDA)
TRANSPORTATION Transportation Coordinator Transportation Captain Best Driver from "Titanic" Drivers Cast Escorts Generator Operators
IRAM COLLANTES SIMON VICTORIO JULIAN SAAVEDRA OSWALDO CHAVIRA ANTONIO MOLINA HAZAEL HERNANDEZ VALENTE CORDERO FRANCISCO TORRES DAVID PLACENCIA GABRIEL MOTA DANIEL URIBE CARLOS AVENDANO JOSE MARQUEZ FIDEL FLORES
LEGAL, INSURANCE, & BANKING Production Finance Legal Production Legal Services Legal Advisor Production Legal (Canada) Post-Production Accounting (Canada) Auditing (Canada) Production Financing Provided by
SHEPPARD MULLIN ROSE SHINER ROBB KLEIN KIMBERLI WALKER MATTHEW DYSART GABRIELLA LUDLOW, THE B.A. DEPARTMENT RANDY MANIS LEWIS, BIRNBERG & HANET LLP RICHARD HANET MADELEINE CARTER ANN FITZGERALD RICHARD WARBURTON, KAY & WARBURTON THE NATIONAL BANK OF CANADA
National Bank of Canada Team National Bank of Canada Legal Canadian Banking Provided by U.S. Banking Provided by Accounting & Tax Advisor, U.S. Completion Bond Provided by Completion Bond Legal On-Set Completion Bond Rep. Insurance & Risk Services Additional Insurance Provided by Mexican Workers Comp Insurance Payroll Services Provided by Clearances Script Clearance BAJA STUDIOS Partners at Baja Studios Studio Facilities Manager Services & Operations Filtration Plant Operators Electrician Head Of Security security guards
LISA WOLOFSKY JULIE PRUD'HOMME ELAINE MORRISETTE FRASER MILNER CASGRAIN JOEY MASTROGIUSEPPE SOFIA RUGGIERO NATIONAL BANK OF CANADA CITY NATIONAL BANK (NEW YORK) PHIL GLAZER ERIK PIECUCH SYLVIA GIBBONS AMY HASS FILM FINANCES DAVE BENNETT JUSTIN BEGNAUD HUNTER RODRIGUEZ RICARDO DEL RIO DEWITT STERN, INC. PETER MARSHALL STACIE O'BEIRNE SARA ZHU CHUBB GROUP OF INSURANCE COMPANIES ZURICH INSURANCE GROUP REIFF & ASSOCIATES EDUARDO CARRILLO LCI SEGUROS INDIEPAY CELESTE SCIORTINO TONY PROSCIA WENDY COHEN, PRODUCTION RESOURCES ACT ONE SCRIPT CLEARANCE KURT HONOLD FAMILIA GALICOT ALEX MENDOZA ROLANDO NAVARRO MIGUEL PEREZ GERARDO PIMENTEL ROBERTO PEREZ CARLOS BARRON MANUEL NIETO FEDERICO HERNANDEZ MIGUEL MUNOZ ARMANDO LOPEZ MOISES AGUIRRE SALVADOR MEDINA JESUS BARAJAS JESUS ACOSTA
Production Office Maintenance Baja Studios Maintenance
SANTIAGO CURIEL JOSE ANTONIO SERNA JOSE ARMANDO MAZON JOSE LUIS RUIZ MIGUEL ANGEL REYES JOSE ACOSTA ADRIAN RAMIREZ
ENSENADA OCEAN UNIT Line Producer 1st Assistant Director Director Of Photography 1st Assistant Camera 2nd Assistant Camera Additional Camera Operator Script Supervisor Key Makeup & Hair Wardrobe for Mr. Redford Sound Mixer / Boom Digital Imaging Technician Nautica 25" Stunt Boat Ensenada Support Boat Marine Team Capitan de Puerto, Ensenada BC Dockmaster, Coral Hotel & Marina
LUISA GOMEZ DE SILVA ABEL JIMENEZ FRANK G. DEMARCO PHIL SHANAHAN NICOLE MARTINEZ MILES E. FRANCES ERIN FEELEY COREY CASTELLANO BRETT GATHRID GILLIAN ARTHUR TODD SANSONE LAURA THE PANTERA JIMMY O'CONNELL RICK HICKS THOMAS ADAMS ROBERT WONG JAKE HICKS KATHY DONNO CAPITAN I.G. JOSE HERIBERTO SANTOS SALINAS ARNULFO "FITO" ESPINOZA
BAHAMAS OCEAN & UNDERWATER UNIT
Line Producer
LUISA GOMEZ DE SILVA
Underwater Director Of PhotographyPETER ZUCCARINI
1st Assistant Underwater Camera
PETER MANNO
2nd Assistant Underwater Camera
SEAN GILBERT
Additional Camera Operator
MILES E. FRANCES
Bahamas Digital Imaging Technician
GREG VAN ZYCK
Shark Wrangler & Boat Captain
STUART COVE
Dive Boat
THE WHITE BUNGI
Divers & Pilchard Wranglers
GEORGIANA MERLUSCA
HUMBERTO BARBOSA
GARY VANHOECK
Boat & Dive Shop
STUART COVE'S DIVE BAHAMAS
Shark Chum Thrower
AVERY BEDERMAN
Shark Bait
PHILLIP CHI
Scripty / Shark Bait
ERIN FEELEY
Production Designer / Shark Bait
JOHN P. GOLDSMITH
Art Department Bahamas Bahamas Shipping Bahamas Transportation Bahamas Film Commission Hotel Liaison Bahamas Equipment Bahamas Hair & Makeup
TIM CALVER LARRY LE BLANC GODFREY SIMMS ANGELA ARCHER DANIELLA SANDS, SHERATON NASSAU MAR MEDIA DIGITAL CINEMA RENTALS LAURELL BURROWS
LOS ANGELES OCEAN & SHIPPING LANE UNIT
Line Producer
LUISA GOMEZ DE SILVA
Director Of Photography
FRANK G. DEMARCO
1st Assistant Camera
PHIL SHANAHAN
2nd Assistant Camera
ERIC GUTHRIE
Digital Imaging Technician
EVAN NESBITT
Techno Crane Technician
HENRY FLORES
Libra Head Technician
CLAY PLATNER
Key Grip
PAT O'MARA
Best Boy Grip
ANTHONY TELLEZ
Rigging Gaffer
DAVID ELWELL
Marine Coordinator
JIMMY O'CONNELL
On-Set Visual Effects Supervisor
MARTIN TORI
U.S. Water Taxi
CAPTAIN MIKE KING
JOSE FLORES, V.P.
Camera Boat
THE CYPRESS POINT
Waterways Management
LT. COMMANDER R.M. JONES
USCG SECTOR LA-LB
GUY LANGMAN
Transportation
ARTURO VELASCO
Maersk Vessel Miracle Team
GLOBAL COLLEAGUES OF MAERSK LINE CAPTAIN EVALD FROI SOLVITSSON CAPTAIN LARS B. SOERENSEN CREW OF THE MARIT MAERSK VESSEL DOUGLAS P. MORGANTE STEVE SUGARMAN ROB CARLSON, WME ALAN MCCALMONT ELGIN PALLAY JESSICA COURET FRAN OHLHEISER JOHN OCHS KARL "DUSTY" LEIB
POST PRODUCTION
POST PRODUCTION SOUND
Post Production Sound Services by SKYWALKER SOUND A Lucasfilm Ltd. Company Marin County, CA
Supervising Sound Editors
STEVE BOEDDEKER RICHARD HYMNS
Sound Designer & Re-Recording Mixer STEVE BOEDDEKER
Sound Editor & Re-Recording Mixer
BRANDON PROCTOR
Assistant Supervising Sound Editor
ANDRE FENLEY
Sound Consultant
GARY RYDSTROM
Assistant Re-Recording Mixer Recordist Engineering Services Digital Editorial Support Client Services Post-Production Sound Accountant
JAMES SPENCER DANIELLE DUPRE BRIAN LONG SCOTT BREWER DANNY CACCAVO RYAN FRIAS DMITRI MAKAROV EVA PORTER MIKE LANE MIKE PETERS
FOLEY Foley Artists Foley Recording Mixers Foley Recordists Foley Assistant Foley Recorded at
ANDY MALCOLM GORO KOYAMA JACK HEEREN DON WHITE JENNA DALLA RIVA STEPHEN MUIR SANDRA FOX FOOTSTEPS POST-PRODUCTION SOUND, INC.
ADDITIONAL DIALOGUE RECORDING
ADR Stage (Santa Fe)
STEPBRIDGE STUDIOS
ADR Supervision (Santa Fe)
RICHARD HYMNS
ADR Mixer (Santa Fe)
EDGARD RIVERA
ADR Studio (New York)
SOUND LOUNGE
Additional Dialogue Editor (New York) JANICE IERULLI
ADR Engineer (New York) ADR Studio Coordinator (New York)
PATRICK CHRISTENSEN ROB BROWNING
POST PRODUCTION PICTURE Digital Intermediate by Digital Intermediate Colourist Digital Intermediate Producer Digital Intermediate Project Manager Digital Intermediate Editors Digital Intermediate Assistant Digital Opticals Imaging Supervisor Data Supervisor Senior Vice-President, Sales Vice-President, Sales Additional DI VFX Grading Additional DI VFX Colorist Additional DI VFX Producer Additional DI VFX Color Assist. Additional DI VFX Coordinator
DELUXE TORONTO CHRIS WALLACE PETER ARMSTRONG MIKE PATERSON KEVIN DOWNER DAVE MUSCAT ALISON SCHOUTEN ERIC MYLES NICK PAULOZZA TOM MAYCLIM RUSS ROBERTSON DIANE CUTHBERT DELUXE NEW YORK STEVE BODNER MOLLE DEBARTOLO MATTHEW BREITENBACK PHIL PAYSON
EDITORIAL Editor First Assistant Editor Second Assistant Editor Baja Assistant Editor Editorial Equipment Post Production Supervisor Post Production Coordinator Post Production Assistant
PETE BEAUDREAU ANDREW PANG TAYLOR WILLIAMS ZEIDDY SILVA RIOS PIVOTAL POST ANDRE COUTU LEE HUGHES NICO ELLIOT-ARMSTRONG
MUSIC Music Composed by
ALEX EBERT
Courtesy of Community Music & Caravan Touchdown (ASCAP) Administered by BMG Chrysalis
Music Performed by: Flute Violin Cello Guitars Upright Bass
Katisse Buckingham Odessa Rose Jorgensson Laura Mihalka Mark Noseworthy & Alex Ebert Seth Ford-Young
Keyboards Crystal Bowls Brass Bowls Percussion & Drum Voice Engineered by Additional Engineering by Mixed at The Ed Shed by Production Music Legal
Alex Ebert Alex Ebert Alex Ebert & Matt Linesch Alex Ebert Alex Ebert Matt Linesch & Alex Ebert Brad Bivens & Peter Barbee Alex Ebert & Matt Linesch AMOS NEWMAN, WME KEITH ZAJIC
"AMEN" Written & Performed by Alex Ebert Piano by Mitchel Yoshida Produced by Alex Ebert Engineered & Mixed by Alex Ebert & Matt Linesch Courtesy of Community Music & Caravan Touchdown (ASCAP) Administered by BMG Chrysalis
VISUAL EFFECTS DEPARTMENT Visual Effects Supervisor Visual Effects Executive Producer Visual Effects Producer Production Manager Visual Effects Coordinator Lead Compositor Effects Supervisor Animation Supervisor Matte Painting Supervisor Asset Supervisor Compositors
Visual Effects by SPIN VFX Toronto, Ontario COLIN DAVIES NEISHAW ALI GEORGE MACRI CARRIE RICHARDSON FIONA MCLEAN JASON SNEA TIM SIBLEY PETER GILIBERTI JORDAN NIEUWLAND TIM ALEXANDER ZENA BIELEWICZ AMANDA HOLLINGWORTH JASON KOZSUREK COREY MAYNE MATTHEW MCEWAN MICHAEL MORLEY
Asset & Animation Artists Roto & Paint Layout & Tracking Visual Effects Editorial Systems Administrator PUBLICITY & EPK Unit Publicist EPK Package Director EPK Package Editor EPK Timelapse Photography EPK Field Team EPK Producer EPK Field Camera Operator, Baja EPK Sound Mixer, Baja EPK Camera Operator, Santa Fe EPK Sound Mixer, Santa Fe EPK Makeup & Hair, Santa Fe EPK Field Camera Operator, Napa EPK Sound Mixer, Napa EPK Grip, Napa
AARON POZZO STEVIE RAMONE MAG SARNOWSKA GEOFF SAYER MIKE STADNYCKYJ MIKE TERRIGNO TIM TOWNSEND DAANISH WAIN JOSEPH ZAKI CHRIS ANKLI JONGJU LEE CAROL PRINCE ANTON VOYTENKOV AHMED SHEHATA JACK GRUNDY KARAN AWASTHI BEN WARBURTON CHARLES TAYLOR RYAN KITIGAWA RICHARD OWEN DERICK LOO BRANDON TERRY EPPIE TONG ERIK BRIGHT, PRODIGY PUBLIC RELATIONS VICTOR QUINAZ CHARLIE PORTER CARLOS POMPA BLUE COLLAR PRODUCTIONS MARK ROWEN SYLVIA JOHNSON MICHAEL FITZGERALD JEFF BAUMAN DEAN EASTMAN DAVE RENNER KELLY MILLER SHAUN DONAHUE MIKE KIMBALL SETH ANGERER
ACKNOWLEDGMENTS & THANKS OUR FRIENDS IN BAJA CALIFORNIA, MEXICO Jose Guadalupe Osuna Millan, Governor of the State of Baja California Juan Tintos Funcke, Secretary of Tourism of Baja California Javier Robles Aguirre, Mayor of Playas de Rosarito Luis Torres Torres, Mexican Customs Administration in Tijuana Antonio Valladolid Rodriguez, Mexican Immigration Institute Mario Andrade, Mexican Immigration Institute Rommel Moreno Manjarrez, Baja California State Attorney Guadalupe Rivera, Secretariat of Tourism Fernando Orduсo, Secretariat of Tourism Gabriel Del Valle Borquez, Baja California Film Commissioner Steven Kashkett, U.S. Consul General Tijuana, Mexico Kurt Honold Morales, Owner of Baja Studios Erik & Lara Baloyan, Casa Baloyan, Valle De Guadalupe Hugo Torres Chabert, owner of the Rosarito Beach Hotel Daniel Torres, owner of the Rosarito Beach Hotel Martin Madero, head of security at the Rosarito Beach Hotel Dorela Saldana, guest relations at the Rosarito Beach Hotel Rosarito Beach Hotel staff & security team Manny at the RBH's Aztec Bar
WITH GENEROUS SUPPORT FROM The Government of the State of Baja California The Secretariat of Tourism of Baja California The Government of the City of Playas de Rosarito The Playas de Rosarito Police Department The Baja California Film Commission
OUR FAVORITE BAJA RESTAURANTS
Mision 19
Popotla Fishing Village
Le Cousteau
Tacos El Yaqui
Akai Sakana Sushi
Tacos El Paisano
D'Volada
La Querencia
Tacos Baja Jr.
Manzanilla
La Fuente Paleteria
Corazon De Tierra
El Nido
Laja
Tapanco
Puerto Nuevo II
LOCATIONS GENEROUSLY PROVIDED BY Baja Studios, Playas De Rosarito, Baja California, Mexico The Pacific Ocean The Atlantic Ocean
LODGING PROVIDED BY Rosarito Beach Hotel - Rosarito, Baja California Las Olas Resort & Spa - Rosarito, Baja California Sheraton Nassau - Nassau, Bahamas Sunset Tower Hotel - West Hollywood, California Shutters Hotel - Santa Monica, California Loews Hotel - Santa Monica, California The Standard Hotel - Hollywood, California Bowery Hotel - New York, New York Hotel On Rivington - New York, New York The Standard High Line - New York, New York The Standard East Village - New York, New York Wythe Hotel - Brooklyn, New York Rosewood's Inn Of The Anasazi - Santa Fe, New Mexico The Thompson Hotel - Toronto, Ontario The Clift Hotel - San Francisco, CAlifornia Carneros Inn - Napa, California SkyWalker Ranch - Marin County, California HERO PRODUCTS & WARDROBE PROVIDED BY Vans Steve Van Doren West Marine Products
PRODUCTS & WARDOBE ALSO GENEROUSLY PROVIDED BY
3M Marine Supplies Anchor Cove Publishing Apple Computers Banana Boat Sunscreen Barbasol Busse Knives Casio Celestaire Coca Cola Company Coleman Don Francisco Coffee DOVER PUBLICATIONS Four Roses Bourbon Goya Foods, Inc. Greg Norman Wines Gumout Hawaiian Tropic Hearst Communications, Inc. Hormel Foods Insight Pharmaceuticals Jansport Johnnie Walker Black Kaboom Spray Ketel One Vodka Kop-Coat Marine Group Langers Juices
Leatherman Tool Group Little Debbie Louis Jadot French Wines Mag Instrument Inc / Mag-Lite McGraw-Hill Companies Motion Picture Magic Orange Glo Wood Cleaner Pardey Books Patagonia Patron Spirits Pelican Pettit Paint Ray-Bans Ritchie Navigation Rothco Slick 50 St. Martin's Press Sunbelt Granola Bars Sunmaid Raisins Treasury Wine Estates U.S. Naval Institute Press Weems & Plath Wiley Brothers Belts Wood & Faulk Zippo
OUR DISTRIBUTION PARTNERS Lionsgate Team STEVE BEEKS JASON CONSTANTINE EDA KOWAN RON SCHWARTZ WENDY JAFFE CHARLYN ADKINS Roadside Attractions Team ERIC D'ARBELOFF HOWARD COHEN DAVID POLLICK DENNIS O'CONNOR GAIL BLUMENTHAL Universal Pictures International Team PETER KUJAWSKI CHAN PHUNG DAVID KOSSE SUSIE HOCK DONNA LANGLEY PETER CRAMER FilmNation Entertainment Team GLEN BASNER ALISON SILVER MILAN POPELKA AARON RYDER ALISON COHEN JENNIFER FRADLIN MELISSA LOSEBY TARA ERER The Filmmakers Wish To Thank MICHAEL BAY AVERY BEDERMAN LEVI BEDERMAN PHIL BENSON, SKYWALKER SOUND CINDI BERGER BILL BLACK DEREK BREUER JAMES CAMERON (for the studio) ROB CARLSON
CARNEGIE MELLON SCHOOL OF DRAMA OLIVIER CASANOVA, LAS OLAS FRANCES CHANDOR HEATHER CHANDOR JEFF CHANDOR MARY CHANDOR MILES CHANDOR ALEX CIRILLO CREATIVE ARTISTS AGENCY ALEX CROSSTHWAITE, LAS OLAS RUSSELL CROWE (for the Monkey Bar) JULIE DALLEY DANIEL DAVIS JEAN DAVIS ALEX DODSON JANE DODSON NELSON DODSON SEAN DONNELLY EASTLIGHT DIGITAL EDWARD SHARPE & THE MAGNETIC ZEROS MEGAN ELLISON SIMON FABER JAMES FARRELL ALEXIS GARCIA JAKE GERB LEN GERB NATALIE GERB ELLEN GORDON MICAH GREEN LYNN "GUS" GUSTAFSON, CSC ANNA HOLBROOK BRUCE HOLBROOK KEVIN HUVANE KEVIN HYMAN IATSE DR. WARD KEELER THE KIDS OF BAJA STUDIOS MARK KIRBY PETER LEVINE JOE LICEK BRYAN LING NIKKI LIVOLSI BRYAN LOURD JOSH LOWDEN, SKYWALKER SOUND JOEL LUBIN HELENA LUKAS-MARTEMUCCI JOE MACHOTA ANNA MARTEMUCCI
ROMOLO MARTEMUCCI SPENCER MCINTOSH DAN MCLELLAN, DELUXE GLEN MEREDITH DOUGLAS C. MERRIFIELD THE MONKEY BAR CHARLES MOOSA GAIL MUTRUX BEN NEARN JULES O'LOUGHLIN ERIN P. OWENS PETER PATERNO JOSH POHJA PRODUCERS GUILD OF AMERICA VICTOR QUINAZ TOM RICE STEVE RILEY DR. MUBBASHIR RIZVI BRUCE ROSS MEMO SALAZAR JONATHAN SCHWARTZ SAG-AFTRA ERIN SIMMS KATIE STERN STEVE SUGERMAN THE SUNDANCE FILM FESTIVAL CHARLIE TAMMARO, CSC KATHY THOMAS MICHAEL THOMAS LAIRA THOMAS & RBY CHRISTINE VACHON STEVE VAN DOREN VANCE VAN PETTEN DAMIEN VOLPE WASHINGTON SQUARE FILMS STAFF JASON WEINBERG PETER WEIR (for the Monkey Bar) WILLIAM MORRIS ENDEAVOR LINDA WILLIAMS GURNEY WILLIAMS III WRITERS GUILD OF AMERICA
Special Thanks BYLLE SZAGGARS-REDFORD BILL HOLDERMAN DONNA KAIL BARRY TYERMAN Very Special Thanks CAMERON GOODYEAR ASHLEY WILLIAMS MICHAEL BEDERMAN ALL IS LOST was shot on three 1978 Cal 39 sailboats purchased from their owners in Southern California. These three boats generously gave themselves up for art: Tahoe, Tenacious, and Orion. They took their final sails in the Pacific Ocean and performed beautifully in the film as Our Man's boat, the Virginia Jean. Rest in peace. Production Financing provided by The National Bank of Canada. This film was made with the financial support of the Ontario Production Services Tax Credit This film was made with the financial support of the Canadian Film or Video Production Services Tax Credit. ALL IS LOST was filmed with the support of the Baja California State Government, the Baja California Film Commission, the Baja Secretary of Tourism, and the Bahamas Film Commission. It was filmed on location in Nassau Bahamas, off the coast of Los Angeles, at Baja Studios in Playas de Rosarito, Baja California, Mexico, and off the coast of Ensenada, Mexico near Bahia De Todos Santos. Sindicato Industrial de Trabajadores y Artistas de Television y Radio, Similares y Conexos de la Republica Mexicana. SITATYR Mexico. Trabajadores tecnicos, manuales, y artistas miembros del SITATYR, Seccion Tres de Baja California, Mexico. Shot on Arri Alexa RAW.
Edited on AVID. The soundtrack is available on Community Music All material is protected by the Copyright Laws of the United States and all countries throughout the world. All rights reserved. Country of First Publication: United States of America. Any unauthorized exhibition, distribution, or copying of this film or any part thereof (including the soundtrack) is an infringement of the relevant copyright and will subject the infringer to severe civil and criminal penalties. The story, all names, characters, and incidents portrayed in this production are fictitious. No identification with actual persons, places, vehicles, buildings, and products is intended or should be inferred. © 2013 All Is Lost LLC ALL IS LOST www.allislostfilm.com

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