PROMETHEUS Production Notes

PROMETHEUS (2012) PRODUCTION NOTES
PROMETHEUS
Production Notes
Release Date: June 8, 2012 (3D/2D, IMAX)

Studio: 20th Century Fox
Director: Ridley Scott
Screenwriter: Damon Lindelof, Jon Spaihts, Ridley Scott
Starring: Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green, Charlize
Theron
Genre: Sci-Fi
MPAA Rating: R (for sci-fi violence including intense images, and brief language)
Official Website: Prometheusmovie.com | WeylandIndustries.com
STUDIO SYNOPSIS: Visionary filmmaker Ridley Scott returns to the genre he helped define, creating an
original science fiction epic set in the most dangerous corners of the universe. The film takes a team of
scientists and explorers on a thrilling journey that will test their physical and mental limits and strand
them on a distant world, where they will discover the answers to our most profound questions and to
life's ultimate mystery.
The actual PROMETHEUS film is ©20th Century Fox 1

(All information contained below was derived from WikiPedia and IMDb)
ABOUT THE FILM
Prometheus is a science fiction film directed by Ridley Scott and written by Jon Spaihts and
Damon Lindelof. The film stars Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba,
Logan Marshall-Green and Charlize Theron. Set in the late 21st century, the story centers on the
crew of the spaceship Prometheus as they follow a star map discovered among the remnants of
several ancient Earth civilizations. Led to a distant world and an advanced civilization, the crew
seeks the origins of humanity, but instead discovers a threat that could cause the extinction of the
human race.
The film began development in the early 2000s as a fifth entry in the Alien franchise, with both
Scott and director James Cameron developing ideas for a film that would serve as a prequel to
Scott's 1979 science fiction horror film Alien. By 2003, the project was sidelined by the
development of Alien vs. Predator, and remained dormant until 2009 when Scott again showed
interest. A script by Spaihts acted as a prequel to the events of the Alien films, but Scott opted
for a different direction to avoid repeating cues from those films. In late 2010, he brought
Lindelof onto the project to rewrite Spaihts' script, and together they developed a separate story
that precedes the story of Alien but is not directly connected to that franchise. According to
Scott, though the film shares "strands of Alien's DNA, so to speak", and takes place in the same
universe, Prometheus will explore its own mythology and ideas.
The film entered production in April 2010, with extensive design phases developing the
technology and creatures the film required. Principal photography began in March 2011, on an
estimated $120–130 million budget, with filming taking place almost entirely on practical sets
and on location in England, Iceland, Spain, and Scotland. The film was shot entirely using 3D
cameras.
Prometheus was supported by a marketing campaign that included viral activities on the web.
The campaign released two videos that featured stars from the film, in character, which expanded
on elements of the fictional universe and received a generally positive reception. Prometheus
scheduled release on June 1, 2012 in the United Kingdom and on June 8, 2012 in the United
States and Canada.
Premise
In the late 21st century, a star map is discovered within the archaeological imagery of several
otherwise unconnected cultures. The crew of the vessel Prometheus is sent on a scientific
expedition, sponsored by the Weyland Corporation, to follow the map to find the origins of
humanity. Exploring the advanced civilization of an extraterrestrial race, they soon face a threat
to humanity's existence.
Noomi Rapace as Elizabeth Shaw:

An archaeologist. Rapace described Shaw as a believer "in God" with a "very strong faith", but
that "things happen and she changes into more of a warrior." To aid her method acting she
developed a complete backstory for Shaw in her head, and worked with a dialect coach to help

achieve an appropriate British accent, she also had her make-up artist apply extra blood and
sweat during filming to more accurately portray her character. Rapace noted, "I was out there
filming for about six months and it was super-intense, my body was in so much pain sometimes
but it was absolutely amazing." She has dismissed comparisons to the Alien franchise's Ellen
Ripley. Coming to director Ridley Scott's attention for her performance as Lisbeth Salander in
the 2009 drama film The Girl with the Dragon Tattoo, Rapace met him in August 2010, and by
January 2011 she had secured the role. Actresses Anne Hathaway, Natalie Portman, Gemma
Arterton, Carey Mulligan, and Abbie Cornish, were all considered for the role during
development. Eight-year-old actress Lucy Hutchinson portrays Shaw as a child.
Michael Fassbender as David:

An android designed to be indistinguishable from humans. The ship's butler and maintenance
man, it begins to develop "its own ego, insecurities, jealousy and envy". Fassbender stated:
"David's views on the human crew are somewhat child-like. He is jealous and arrogant because
he realizes that his knowledge is all-encompassing and therefore he is superior to the humans.
David wants to be acknowledged and praised for his brilliance". Writer Damon Lindelof stated
that the character provides a non-human perspective on the film's events, saying "what does the
movie look like from the robot's point of view? If you were to ask him, 'What do you think about
all of this? What's going on? What do you think about these humans who are around you?'
Wouldn't it be cool if we found a way for that robot to answer those questions?" In developing
his character, Fassbender avoided watching the android characters of Alien and Aliens (1986)
respectively, and instead observed those in Scott's 1982 science fiction film Blade Runner. He
drew further inspiration from the "funny walk and economy of movement" of Olympic diver
Greg Louganis, and the performances of; David Bowie in The Man Who Fell to Earth, Dirk
Bogarde in The Servant, and Peter O'Toole in Lawrence of Arabia. David's blond hair was
modeled after T. E. Lawrence. Scott favored Fassbender for the role, by January 2011 he was
confirmed to join the cast, despite earlier reports his agents had sought too high a fee for their
client.
Guy Pearce as Peter Weyland:

The multibillionaire founder and CEO of Weyland Corp. Lindelof described him as having a
massive ego and suffering from a god complex. Pearce has claimed that his appearance in the
movie is brief, saying "I'm only [in the film] for a minute".
Idris Elba as Janek:

The captain of the Prometheus. Elba described the character as "a longshoreman and a sailor",
with a military background. He noted "[being the captain is] his life and the crew is his
responsibility," and said "he's a realistic, pragmatic character. He has to get involved. . . in a film
with huge ideas, you need a character like this, who can go 'Wait. . . why are we doing this?'".
All of Elba's scenes were filmed on the Prometheus ship set.
Logan Marshall-Green as Charlie Holloway:

An archeologist and Shaw's love interest. Marshall-Green was cast after being seen performing
on stage "off-off-off Broadway". He described Holloway as the "X Games type scientist",
explaining that he liked the character's "leap-before-looking" philosophy. He further noted that
Holloway "doesn't want to meet his maker. He wants to stand next to his maker. He's willing to

go to the edge to get that." Describing the character's motivation, he stated: "he goes to the
extreme in everything he does, sometimes for the better, sometimes for the worse of the
[Prometheus crew]. I think what drives him is the thrill of the search." He contrasted Holloway
to Shaw, saying "she’s the believer. I’m the scientist. I’m the skeptic. I’m the atheist".
Charlize Theron as Meredith Vickers:

A Weyland Corporation employee, sent to monitor the expediton. Theron described the character
as "a suit who slowly sheds [her] skin through the film", and also as "somewhat of a villain . . .
[who] definitely has an agenda". She stated "Vickers is pragmatic, and desperately wants to
control the situation." Scott wanted the character to lurk in the background of scenes watching
other characters instead of being the focus. Theron stated that it helped layer her character
because "you're just so suspicious of her, instantly." After being cast, she, Scott and Lindelof
developed three new scenes to expand her character. Physical action scenes were an issue for
Theron because of scenes that involved her running through sand in 30 pounds (14 kg) boots,
and her cigarette habit. Theron was intended to portray Shaw, but a prior commitment to Mad
Max 4: Fury Road prevented her involvement. When that film was delayed, she was able to
rejoin Prometheus. Michelle Yeoh and Angelina Jolie were considered for the role.
Rafe Spall as Milburn:

A botanist. Spall auditioned for another role, but Scott wanted him to play Milburn. On his
casting, Spall said "Alien is one of the best films ever made, and it’s a real buzz to be in a space
suit on an 'Alien' set with Ridley Scott coming and speaking to you. It’s incredible. That’s why I
wanted to be an actor, to be in a space suit on an 'Alien' set".
Sean Harris as Fifield:

A geologist who has become unstable after many missions. Harris described the character as
"someone who can sense when things are up. He's your audience guy, going, 'Don't go in that
tunnel. We should not be doing this!'". Fifield's bright red mohawk hairstyle was designed by
Harris and Scott, based on Scott's sketch of a man with a "severe haircut".
Other cast members include Kate Dickie as Ford, Emun Elliott as Chance, a pilot, Benedict
Wong as Ravel and Patrick Wilson in an unspecified role.
Production
Development
Development on a fifth film in the Alien franchise was in progress by 2002. At the time, Scott
was considering returning to the series he created with his 1979 science fiction horror film Alien,
to pursue a sequel that would explore the engineered origins of the series' Alien antagonists, and
the "space jockey"—the extraterrestrial being, who briefly appears in Alien, as the deceased pilot
of a derelict spaceship. Alien star Sigourney Weaver also expressed interest in returning to the
series. Aliens director James Cameron discussed the potential for a sequel with Scott, and began
working with another writer on a story for the film. It was then that 20th Century Fox
approached Cameron with a script for a crossover film that would pit the series' monsters against
the titular characters of the Predator films; what would become the 2004 science fiction film

Alien vs. Predator. After Fox confirmed that it would pursue the crossover, Cameron stopped
working on his own project, believing the crossover would "kill the validity of the franchise". In
2006, Cameron confirmed that he would not return to the project, believing that the series was
Fox's asset, and he was unwilling to deal with the studio attempting to influence the potential
sequel.
In May 2009, Fox first reported the project as a "reboot" to the Alien franchise, which was soon
afterwards expressed as a then untitled prequel to Alien. Development stalled in June 2009, when
Fox clashed with Scott over his selection of former commercial director Carl Erik Rinsch as
director. Fox was only interested in pursuing the project if Scott directed. By July 2009, Scott
was attached to direct the film, and screenwriter Jon Spaihts was hired to pen the script based on
his pitched idea for a direct Alien prequel. With both director and writer in place, and pleased
with Spaihts' pitch, Fox scheduled a release date for December 2011, but this was eventually
dropped. In June 2010, Scott announced that the script was complete and that pre-production
would begin, with a filming date set for January 2011. However, by July 2010, Lindelof had
been hired to redevelop Spaihts's screenplay into a more original work. In October 2010,
Lindelof submitted his refined screenplay to Fox. The studio was pleased because it had
contested Scott's proposed budget of $150–160 million and found Lindelof's screenplay to be
more budget-conscious; Scott had initially requested a $250 million budget and an adult oriented
product, but Fox was reluctant to invest this amount of money, and wanted to ensure the film
would receive a lower age-rating to broaden the potential audience.
In December 2010, it was reported that the film would be called "Paradise", but in January 2011,
the title was confirmed as Prometheus. A release date was scheduled for March 9, 2012, but
weeks later the date was pushed back to June 8, 2012. With the name confirmed, the production
began to publicly distance the film from its Alien origins. The filmmakers were deliberately
vague about the connection between the films, believing it would build audience anticipation for
Prometheus. Scott stated that "while Alien was indeed the jumping-off point for this project, out
of the creative process evolved a new, grand mythology and universe in which this original story
takes place. The keen fan will recognize strands of Alien's DNA, so to speak, but the ideas
tackled in this film are unique, large and provocative. "In June 2011, Scott and Lindelof
confirmed that Prometheus takes place in the same universe as the events of the Alien series. In
July 2011, Scott stated that "by the end of the third act you start to realize there’s a DNA of the
very first Alien, but none of the subsequent [films]".
Writing
Spaihts met Scott in late 2009, where they discussed Scott's desire to pursue an Alien prequel.
Spaihts offered his concept, including a "bridge" that would connect the film's "human story" to
the Alien saga. He was quickly hired, which he credited to the reception of his "bridge" idea.
Spaihts claimed his concept was created in the moment, and he had no ideas planned in advance.
Spaihts set about writing a 20-page "extremely detailed outline", and within three and a half
weeks his first draft was complete, and submitted to the producers on Christmas Day, 2009.
Within 12 hours, Scott returned the script with notes for changes, and Spaihts spent the
Christmas holiday redrafting.

Spaihts was tasked with exploring unresolved mysteries from Alien such as the Space Jockey.
He saw the driving mysteries of Alien as "alien in nature", stating "all the mysteries have alien
players: the exoskeleton nightmare and. . . the elephantine titan that was called the 'space jockey'.
. . How do you make anyone care about events between creatures like this?" He found a solution
in tying the alien mysteries to the past and future of human history. He explained: "if that story is
somehow ours, and deeply enmeshed with the human story. That story changes meaning within
our own life, things of such significance that we think of our own lives differently". He found
translating Scott's stylistic visual concepts to text difficult, and he periodically had to rein in
some of the director's ideas such as reminding Scott that in the scene they were discussing, the
characters were subject to gravity and so could not simply float. By April 2010, the script was on
the fourth draft. Scott described the script, saying "we are talking about gods and engineers.
Engineers of space. And were the aliens designed as a form of biological warfare? Or biology
that would go in and clean up a planet?" In June 2010, Scott stated that the script was complete
and ready for filming.
However, Scott instead contacted Lindelof and requested that he review Spaihts' script. Within
the hour, a messenger delivered the script to Lindelof and informed the writer that he would be
waiting outside to take it back as soon as Lindelof had finished reading it. Unaware of what the
producers liked about the existing script, Lindelof informed Scott and the producers that he
found the general concept appealing, but that the story relied too heavily on elements of the
Alien films, such as the general concept of the Alien creatures life-cycle. As a direct prequel to
Alien, it was focused on leading into that film's story, and recreating the familiar cues of that
series, and Scott was adamant that he avoid repeating previous accomplishments. Lindelof
clarified, "If the ending to [Prometheus] is just going to be the room that John Hurt walks into
that's full of [alien] eggs [in Alien], there's nothing interesting in that, because we know where
it's going to end. Good stories, you don't know where they're going to end." "A true prequel
should essentially proceed [sic] the events of the original film, but be about something entirely
different, feature different characters, have an entirely different theme, although it takes place in
that same world."
Lindelof suggested that the other parts of the script were strong enough to survive without the
Alien hallmarks, such as the Alien creature which he believed had been "diluted" by the
exposure it had received since, and the burden of "all the tropes of that franchise with
Facehuggers and Chestbursters". He offered that the film could instead run parallel to those
films, such that a sequel would be Prometheus 2 and not Alien, and submitted an idea for how
such a sequel could work. He met with the producers the following morning, and was hired
shortly afterwards in late 2010. Under Lindelof, the script began to divert from Spaihts' Alien
prequel into a more original creation. Scott and Lindelof worked together five days a week
between July and August 2010, trying to piece together exactly what vision Scott was trying to
convey and how the script needed to change, including scaling back the Alien symbology and
tropes. Beginning in August, Lindelof spent four to five weeks writing his first draft before
submitting it mid-September 2010. Inspired by Blade Runner and Spaihts' script, Lindelof
thought that it would be possible to combine an Alien story of action and horror with "the Blade
Runner thematic", to ask bigger questions that he felt were normally posed in science fiction
films. Lindelof explained:

Blade Runner might not have done well [financially] when it first came out, but people are still
talking about it because it was infused with all these big ideas. [Scott] was also talking about
very big themes in Prometheus. It was being driven by people who wanted the answers to huge
questions. But I thought that we could do that without ever getting too pretentious. Nobody
wants to see a movie where people are floating in space talking about the meaning of life . . .
That was already present in [Spaihts'] original script and [Scott] just wanted to bring it up more.
Scott's story concept was partially inspired by the work of Chariots of the Gods? author Erich
von Däniken's writings about the theory of ancient astronauts, suggesting that life on Earth was
created by aliens. Scott said, "NASA and the Vatican agree that [it is] almost mathematically
impossible that we can be where we are today without there being a little help along the way. . .
That’s what we’re looking at [in the film], at some of Erich von Däniken’s ideas of how did we
humans come about." Spaihts originated the idea that David, the android, is like humans, but
does not want to be anything like them, eschewing a common theme in "robotic storytelling"
such as Blade Runner. He also developed the theme that while the human crew are searching for
their creators, David is already among them. Scott liked these ideas and had them explored
further in Lindelof's rewrite. For Shaw, Lindelof felt it was important that she be distinct from
Alien's Ripley, to avoid inevitable comparisons between the two female leads. In Spaihts' draft,
Shaw was directly responsible for the events of the plot because of her desire to seek out
potentially dangerous knowledge. As with David, Lindelof further expanded this facet of the
character during his rewrites. Lindelof spent approximately eight months developing the script,
finishing in March 2011, as filming began.
Pre-production
Pre-production had begun by April 2010, with a team developing graphic designs for the film's
requirements. Scott convinced Fox to invest millions of dollars into the hiring of scientists and
conceptual artists to develop a vision of the late 21st century. Production of Prometheus was
marked by a high degree of secrecy with story details "extremely under-wraps." Determined to
maintain the secrecy of the plot, Scott required the cast to sign clauses to prevent them disclosing
story details, and the cast were only allowed to read the script under supervision in Scott's
production office. One exception was made when a courier flew to one of the actors in a foreign
location and then stood guard while the actor read the script. Concerning the confidential nature
of the script, Scott stated: "I was insistent that the script not leak onto the internet, where it gets
dissected out of context, which spoils it for everyone."
In July 2011, Lindelof stated that the film would be relying on practical effects, and employing
CGI generally for on-set pre-visualization of external space visuals. Scott recalling advice
special effects artist Douglas Trumbull gave him on the set of Blade Runner stated, "if you can
do it live, do it live", with Scott claiming that although "you can pretty much do anything you
want" with digital technology, practical effects are more cost effective. Cinematographer Darius
Wolski convinced Scott that it would be possible to film in 3D with the same ease and efficiency
of typical filming. 3D company 3ality Technica provided some of the rigs and equipment to
facilitate 3D filming, and trained the film's crew in their proper operation. According to Scott,
the decision to film in 3D added $10 million to the film's budget. Since 3D films need high
lighting levels on set, the hallmark atmosphere of the Alien films with darkness and shadows will

be added in post-production through grading processes, while the 3D equipment will be based on
post-Avatar technology.
Principal photography
Principal photography began on March 21, 2011, on an estimated $120–130 million budget.
Filming was scheduled to take place over six months, but it took longer than forecast: the film
was still being shot in September 2011. Filming began at Shepperton Studios in Surrey, England,
part of the Pinewood Studios group, where Scott used eight sound stages for filming, including
the 007 Stage. Studio space was limited and the crew were forced to make the stages work for
over 16 different sets, and also increase the size of the 007 stage by over 30%.
In July, filming moved to Iceland for two weeks, commencing at the base of the active Hekla
volcano in southern Iceland on July 11, 2011. Speaking about working at the base of an active
volcano, Scott stated "If one is afraid of nature in this profession then it would be best to find a
different job". Filming also took place at one of the most powerful waterfalls in Europe, the
Dettifoss waterfall in the Vatnajökull National Park in the north of Iceland. The Iceland shoot
involved 160 Icelandic crew members and over 200 imported crew. Scott claimed that the
Iceland filming comprised approximately fifteen minutes of footage for the film, and that the
area represented the "beginning of time". Exterior shots of the alien world were shot in Iceland.
Morocco had been an intended shooting location instead of Iceland, but the 2010 Arab Spring
protests, forced the change of venue. Alternatives including the Mojave Desert had been
considered alongside Iceland, but Scott explained that the country was ultimately chosen because
"here it is so rough and 'Jurassic-like' and that proved decisive".
In September 2011, filming moved to the Ciudad de la Luz audiovisual complex in Alicante,
Spain. Shooting areas included the complex's large water tank, and a nearby Alicante beach. The
complex was booked from August 22, 2011, through to December 10, with set construction
occurring from August until late September. Approximately 250 people worked on the three
month-long Spain shoot, generating over €1 million to the local economy. Filming also took
place in the Wadi Rum valley in Jordan.
Scott avoided using green screens unless necessary, instead employing various items to help the
actors understand where they were meant to be looking in any particular scene on the practical
sets that would have a CGI presence inserted in post-production. Rapace claimed that green
screens were used less than six times during filming. The production used five 3ality Technical
Atom 3D rigs, four of which were configured with Red Epic 3D cameras set up for use on
camera dollies and tripods, which were continuously in use during filming. The fifth rig
employed an Epic camera for use as a steadicam, which was only used as required.
Post-production
Scott focused on using the 3D footage to increase the illusion of depth. Despite this being his
first 3D film he found the process easy. He stated: "You can literally twiddle a knob and the
depth will increase", "the trick is not to overdo it". Prometheus contains approximately 1,300
digital effect shots,developed by visual effect studios, Weta Digital, Fuel VFX, Moving Picture
Company, Rising Sun Pictures, Luma Pictures, Lola Visual Effects, and Hammerhead

Productions. In December 2011, Rapace undertook additional dialogue recordings for the film.
Additional scenes were filmed during January 2012 on the Isle of Skye, Scotland.
In July 2011, Scott stated that he was filming Prometheus with both adult-oriented R and more
accessible PG-13 film ratings in mind, allowing the more adult content to be cut if necessary
without harming the overall presentation. Scott claimed he had a responsibility to 20th Century
Fox to be able to present a PG-13 cut of the film if the studio demanded, allowing it to be viewed
by a wider potential audience. When asked about the rating, Scott explained "the question is, do
you go for the PG-13, or do you go for what it should be, which is R? Financially it makes quite
a difference. . . essentially it's kinda R. . . it's not just about blood, it's about ideas that are very
stressful." Scott maintained that, regardless of rating, he would present the most "aggressive" cut
of the film he could, while Fox CEO Thomas Rothman stated that Scott would not be forced to
compromise the film's quality to avoid an R-rating. On May 7, 2012, Fox confirmed that the film
had received an R-rating and would be released without any cuts being made.
Design
Award winning production designer Arthur Max led the film's design. His art team were tasked
with deconstructing the art and visuals of Alien and reverse-designing them for Prometheus. Max
designed the sets including the alien structures and the landscape of the alien world, and
vehicles, including the Prometheus and alien ship. Max researched NASA and European Space
Agency designs and then developed these concepts with his vision of how space travel would
look in the future to create the Prometheus. Max stated that he wanted "to do something that was
state-of-the-art, which would represent a flagship spacecraft with every technology required to
probe into the deepest corners of the galaxy." The interior of the ship was built across two level
structure, fronted by a large, faceted, wrap around windscreen. Theron's quarters were designed
to represent her high status on the ship, being furnished with modern and futuristic items
including Swarovski chandeliers and a Fazioli piano.
Principal photography began on March 21, 2011, on an estimated $120–130 million budget.
Filming was scheduled to take place over six months, but it took longer than forecast: the film
was still being shot in September 2011. Filming began at Shepperton Studios in Surrey, England,
part of the Pinewood Studios group, where Scott used eight sound stages for filming, including
the 007 Stage. Studio space was limited and the crew were forced to make the stages work for
over 16 different sets, and also increase the size of the 007 stage by over 30%.
In July, filming moved to Iceland for two weeks, commencing at the base of the active Hekla
volcano in southern Iceland on July 11, 2011. Speaking about working at the base of an active
volcano, Scott stated "If one is afraid of nature in this profession then it would be best to find a
different job". Filming also took place at one of the most powerful waterfalls in Europe, the
Dettifoss waterfall in the Vatnajökull National Park in the north of Iceland. The Iceland shoot
involved 160 Icelandic crew members and over 200 imported crew. Scott claimed that the
Iceland filming comprised approximately fifteen minutes of footage for the film, and that the
area represented the "beginning of time". Exterior shots of the alien world were shot in Iceland.
Morocco had been an intended shooting location instead of Iceland, but the 2010 Arab Spring
protests, forced the change of venue. Alternatives including the Mojave Desert had been

considered alongside Iceland, but Scott explained that the country was ultimately chosen because
"here it is so rough and 'Jurassic-like' and that proved decisive".
In September 2011, filming moved to the Ciudad de la Luz audiovisual complex in Alicante,
Spain. Shooting areas included the complex's large water tank, and a nearby Alicante beach. The
complex was booked from August 22, 2011, through to December 10, with set construction
occurring from August until late September. Approximately 250 people worked on the three
month-long Spain shoot, generating over €1 million to the local economy. Filming also took
place in the Wadi Rum valley in Jordan.
Scott avoided using green screens unless necessary, instead employing various items to help the
actors understand where they were meant to be looking in any particular scene on the practical
sets that would have a CGI presence inserted in post-production. Rapace claimed that green
screens were used less than six times during filming. The production used five 3ality Technical
Atom 3D rigs, four of which were configured with Red Epic 3D cameras set up for use on
camera dollies and tripods, which were continuously in use during filming. The fifth rig
employed an Epic camera for use as a steadicam, which was only used as required.
Post-production
Scott focused on using the 3D footage to increase the illusion of depth. Despite this being his
first 3D film he found the process easy. He stated: "You can literally twiddle a knob and the
depth will increase", "the trick is not to overdo it". Prometheus contains approximately 1,300
digital effect shots,developed by visual effect studios, Weta Digital, Fuel VFX, Moving Picture
Company, Rising Sun Pictures, Luma Pictures, Lola Visual Effects, and Hammerhead
Productions. In December 2011, Rapace undertook additional dialogue recordings for the film.
Additional scenes were filmed during January 2012 on the Isle of Skye, Scotland.
In July 2011, Scott stated that he was filming Prometheus with both adult-oriented R and more
accessible PG-13 film ratings in mind, allowing the more adult content to be cut if necessary
without harming the overall presentation. Scott claimed he had a responsibility to 20th Century
Fox to be able to present a PG-13 cut of the film if the studio demanded, allowing it to be viewed
by a wider potential audience. When asked about the rating, Scott explained "the question is, do
you go for the PG-13, or do you go for what it should be, which is R? Financially it makes quite
a difference. . . essentially it's kinda R. . . it's not just about blood, it's about ideas that are very
stressful." Scott maintained that, regardless of rating, he would present the most "aggressive" cut
of the film he could, while Fox CEO Thomas Rothman stated that Scott would not be forced to
compromise the film's quality to avoid an R-rating. On May 7, 2012, Fox confirmed that the film
had received an R-rating and would be released without any cuts being made.
Design
Award winning production designer Arthur Max led the film's design. His art team were tasked
with deconstructing the art and visuals of Alien and reverse-designing them for Prometheus. Max
designed the sets including the alien structures and the landscape of the alien world, and
vehicles, including the Prometheus and alien ship. Max researched NASA and European Space
Agency designs and then developed these concepts with his vision of how space travel would

look in the future to create the Prometheus. Max stated that he wanted "to do something that was
state-of-the-art, which would represent a flagship spacecraft with every technology required to
probe into the deepest corners of the galaxy." The interior of the ship was built across two level
structure, fronted by a large, faceted, wrap around windscreen. Theron's quarters were designed
to represent her high status on the ship, being furnished with modern and futuristic items
including Swarovski chandeliers and a Fazioli piano.
The ship's garage was built on the backlot of Pinewood Studios in England. The vehicles within
were built over 11 weeks and were designed to operate on difficult terrain while still possessing a
futuristic aesthetic. For the alien world, Max created a large Pyramid structure, with main
interior areas connected by a series of chambers, corridors and tunnels, so expansive that some
crew became temporarily lost within. The pyramid was enhanced in post-production to further
increase its size. The pyramid housed the Juggernaut, a crescent-shaped alien ship reminiscent of
the crashed craft from Alien.
In designing the crew's space suits, Scott was inspired to include spherical glass helmets after
reading a story in Apple co-founder Steve Jobs' biography, about building an office out of
Gorilla Glass, with Scott remarking "If I’m in 2083 and I’m going into space, why would I
design a helmet that has blind spots. What I want is something where I have 360 [vision]. Glass,
by then, will be light and you won’t be able to break it with a bullet."The interior of the prop
helmets had nine functioning video screens, internal lighting, an oxygen supply provided by two
fans, with battery packs concealed within a backpack. The helmet's exterior featured a functional
torch and high-definition cameras with a transmitter and recorder. For the suit itself, Scott
wanted to avoid the unwieldy NASA-style suit. His frequent collaborator, Academy award-
winning costume designer Janty Yates, used medical research concepts relating to skin
replacement treatments and materials to develop a design that could believably provide a flexible
and comfortable garment. The outfit comprised a neoprene suit worn under an outer space suit, a
base to which the helmet could be attached, and a backpack.
Aboard the ship, Yates gave the characters their own distinct look. Theron is dressed in an ice-
silver, silk mohair suit, with Yates explaining: "[Theron] is the ice queen. It was always our
vision to make her look as sculptural as possible". Fassbender's David is dressed similar to other
crewmen, but his outfit was given finer lines to produce a more linear appearance. To create a
casual, relaxed appearance, Marshall-Green's Holloway was dressed in hoodies, fisherman pants,
and flip-flops, while Elba wore a canvas-greased jacket to represent his long career at the helm
of a ship. Alien creature designer H. R. Giger designed murals that appear as some of the first
artifacts discovered by the crew. Neal Scanlan and Conor O'Sullivan developed the film's alien
creatures, aiming to convey each creature as having a logical biological function and purpose.
Scanlan stated that much of Scott's inspiration for creature design is drawn from natural life such
as plants and sea creatures.
A scene involving a large 3D hologram star map was inspired by the 1766 Joseph Wright
painting "A Philosopher Lecturing on the Orrery", in which a scientist displays a mechanical
planetarium by candlelight. While discussing the plot necessity of a star map with Spaihts, Scott
mentioned the painting as how he saw the map being physically represented, although he was
unaware of the name and described it only as "circles in circles with a candle lit image". To

Scott's pleasure, Spaihts located the correct image based on his description. Spaihts stated:
"making the leap from a star map, to an Enlightenment painting, and then back into the far
future. [Scott's] mind just multiplexes in that way".
Music
Frequent Scott collaborator Marc Streitenfeld composed the musical score for Prometheus. Scott
processed Streitenfeld's score at Abbey Road Studios in London, England. The Prometheus
(Original Motion Picture Soundtrack) album was released on iTunes on May 15, 2012, and will
be released on CD on June 4, 2012. It features 23 tracks by Streitenfeld, plus 2 tracks by
composer Harry Gregson-Williams.
Marketing
Prometheus's marketing campaign began on July 21, 2011, at the San Diego Comic-Con
International, where images and footage from the film were presented by Lindelof and Theron,
with Scott and Rapace participating via satellite contribution. A segment of the footage showed
Theron performing "naked push-ups" which attracted much attention. A teaser poster was
revealed on December 14, 2011, with the tagline, "The search for our beginning could lead to our
end." A bootleg recording of an incomplete teaser trailer was leaked online on November 27,
2011, but was swiftly taken down by Fox. The teaser trailer was released on December 22, 2011.
On March 17, 2012, Scott, in partnership with AMC Theaters, hosted the premiere of the first
full Prometheus trailer at the AMC Downtown Disney, during WonderCon in Anaheim,
California. The event was streamed live via Facebook, Twitter, and the AMC Theater website,
and the trailer was posted on AMC's Youtube channel immediately after its debut. Reaction to
the trailer was considered to be positive among WonderCon attendees and on Twitter, and it
received nearly three million views in the three days following its release. On April 10, 2012,
media outlets were shown a 13 minute montage of scenes from the film's opening in 3D at the
Vue Cinema in Leicester Square, London. The screening was well received, with particular
mentions given to the 3D visuals and the performances of Fassbender, Rapace, Theron, and Elba.
On April 29, 2012, the international launch trailer debuted in the United Kingdom on Channel 4
during the first advertisement break of the TV show Homeland. Viewers were encouraged to
share their opinions about the trailer on Twitter, some of which were then shared in a live
broadcast during a later break. This marked the first time that viewers' tweets were used in a
broadcast advertisement. Alongside the trailer, a competition was launched on the social
platform Zeebox, offering viewers a chance to win tickets to the film whenever Zeebox detected
the advertisement airing. On May 8, 2012, the advertisement became subject to an investigation
by the British broadcasting regulatory body Ofcom for allegedly breaching broadcast rules when
a voice over encouraged viewers to book tickets while the advertisement played and with the
Channel 4 logo onscreen. The act potentially broke a rule that advertising and teleshopping must
be clearly distinguishable from editorial content.
Although marketers typically avoid collaborating with adult-oriented films to focus on reaching
broader audiences, the film attracted several promotional partners including Coors, Amazon, and

Verizon FiOS. The campaigns were estimated to have spent $30 million in marketing support.
Amazon directed interested users to purchase tickets through Fandango, and placed promotional
material in products shipped to customers; this was the first time that Amazon had allowed such
marketing by an external company. The National Entertainment Collectibles Association
(NECA) will produce a series of action figures based on characters in the film, with an expected
summer release date. A book, Prometheus: The Art of the Film, containing production art and
behind-the-scenes photos from the film, is scheduled for release on June 1, 2012. The premiere
in London, England, will be streamed live via the film's website and the Verizon FiOS Facebook.
The event is facilitated by BumeBox, which culls audience questions from social sites and
delivers them to reporters to ask at the event.
Viral campaign
A viral marketing campaign began on February 28, 2012, with the release of a video featuring a
speech by Pearce, in character as Peter Weyland, about his vision for the future. Set in 2023, the
video presents a futuristic vision of a TED conference, an annual technology and design event
held in Long Beach, California. The segment was conceived and designed by Scott and Lindelof,
and directed by Scott's son, Luke. The production was made in collaboration with, and made
available through TED because Lindelof wanted to introduce new audiences to the conference
itself. Lindelof explained that the scene takes place in a futuristic stadium rather than the smaller
locations of real TED conferences because "a guy like Peter Weyland—whose ego is just
massive, and the ideas that he’s advancing are nothing short of hubris—that he'd basically say to
TED, 'If you want me to give a talk, I’m giving it in Wembley Stadium. '"
TED community director Tom Rielly helped gain approval for the use of the TED brand-the first
time that TED had been used for promotional purposes. He was involved in designing the 2023
conference, preparing an "extensive briefing on all the visual and audio aspects of a TEDTalk
circa 2012 and a corresponding speculation on how things would work in the future", that
included flying video cameras and "live Twitteresque feedback". Rielly claimed that the
association generated millions of new visitors to the TED website. The video's release was
accompanied by a fictional TED blog about the 2023 conference and a tie-in website for the
fictional Weyland Corporation. On March 6, 2012, the Weyland website was updated to allow
visitors to 'invest' in the company as part of a game to reveal new Prometheus media.
During the 2012 WonderCon, attendees at the film's panel were given Weyland Corporation
business cards that directed them to a website and phone number. Calling the number resulted in
the caller being sent a text message from Weyland Corporation that linked them to a second viral
video. Narrated by Fassbender, the video is presented as an advertisement for the "David 8"
android, portrayed by Fassbender. An extended version of the video was released on April 17,
2012. The advertisement details "David"'s features including its ability to seamlessly replicate
human emotions without the restrictions of ethics or distress. Accompanying the video, a full
page "David" advertisement was placed in The Wall Street Journal; a Twitter account operated
by a David8 was revealed, allowing Twitter users to ask the character questions; and a
partnership with Verizon FiOS was launched, offering a virtual tour of the Prometheus
spaceship. Another video, "Quiet Eye", starring Rapace as Shaw, was released on May 16, 2012,
debuting through the Verizon FIOS Facebook. In the video, Shaw requests Weyland's aid to seek

out alien life, in a phone call monitored by Yutani, a fictional company from the Alien series. In
France, the Saint-Martin ghost train station was converted in appearance to resemble alien
architecture from the film, visible to passing commuters.
Lindelof discussed the videos at the May 2012 Digital Hollywood conference. He claimed that
the videos originated from the question of the film's status as an Alien prequel. It was decided
that creating videos with the film's stars would generate more interest than anything that could be
said in regards to its connection to the Alien films. He furthered that the challenge in creating the
videos was that they needed to be good enough to justify their existence, but not so important
that their absence from the final film would be an issue for audiences.
Release
The premiere of Prometheus is scheduled to take place on May 31, 2012, at Leicester Square in
London, England. The film will be released on June 1, 2012, in the United Kingdom, and June 8,
2012, in North America. It will be simultaneously released in IMAX theaters, and in 3D, and it is
encoded for D-Box motion seats that provide physical feedback to the viewer during the film.
In the United Kingdom, 18,827 tickets were pre-sold for the London IMAX, the largest IMAX
screen in the country, breaking the theater records for the highest grossing week of pre-sales with
£293,312 ($474,687), and the highest grossing first day of pre-sales with £137,000 ($221,717). It
extended this record to 30,000 tickets sold and £470,977 ($737,588) earned, becoming the most
pre-booked film at the theater, exceeding the performance of high-profile IMAX releases
including Harry Potter and the Deathly Hallows Part 2 and Avatar.
Sequel
During the March 17, 2012, WonderCon, Scott stated that the film leaves some questions
unanswered, and that these could be answered in a sequel, saying "If we're lucky, there'll be a
second part. It does leave you with some nice open questions." Asked if a sequel would be a
direct prequel to Alien, Lindelof said "if we’re fortunate enough to do a sequel. . . it will
tangentialize even further away from the original Alien."

Directed by
Ridley Scott
Screenplay by
Jon Spaihts and Damon Lindel
Cast (in credits order)

Noomi Rapace ... Elizabeth Shaw
Michael Fassbender ... David
Charlize Theron ... Meredith Vickers
Idris Elba ... Janek
Guy Pearce ... Peter Weyland
Logan Marshall-Green ... Charlie Holloway
Sean Harris ... Fifield
Rafe Spall ... Millburn
Emun Elliott ... Chance
Benedict Wong ... Ravel
Kate Dickie ... Ford
Patrick Wilson ... Shaw's Father
Lucy Hutchinson ... Young Shaw
Produced by
Michael Costigan .... executive producer
Michael Ellenberg .... executive producer
David Giler .... producer
Walter Hill .... producer
Mark Huffam .... executive producer
Nikolas Korda .... co-producer
Damon Lindelof .... executive producer
Ridley Scott .... producer
Tony Scott .... producer
Original Music by
Marc Streitenfeld
Cinematography by
Dariusz Wolski
Film Editing by
Pietro Scalia
Casting by
Nina Gold
Avy Kaufman
Production Design by

Arthur Max
Art Direction by
Alex Cameron
Anthony Caron-Delion
Peter Dorme
Marc Homes (senior art director)
Paul Inglis
John King (supervising art director)
Adam O'Neill
Karen Wakefield (senior art director)
Set Decoration by
Sonja Klaus
Costume Design by
Janty Yates
Makeup Department
Claire Cameron .... prosthetics trainee
Jana Carboni .... makeup artist
Valter Casotto .... prosthetic makeup artist
Helen Christie .... prosthetics fabrication
Gemma De Vecchi .... prosthetics fabrication supervisor
Peta Dunstall .... hair stylist
Tina Earnshaw .... makeup designer
John Eldred-Tooby .... prosthetics modeller
Nana Fischer .... hair designer
Claire Folkard .... prosthetics key painter
Dan Frye .... prosthetics moulder
Richard Glass .... standby optician
Jo Grover .... special makeup effects artist
Peter Hawkins .... prosthetic effects technician
Nicky Knowles .... hair stylist
Chris Lyons .... special effects teeth
Aisling Nairn .... key makeup artist
Conor O'Sullivan .... prosthetics supervisor
Susie O'Sullivan .... prosthetic makeup artist
Jane Oginsky .... make-up trainee
Tom Packwood .... prosthetics moulder
Dhruve Patel .... optometrist
Martin Rezard .... creature designer & sculptor
Colin Shulver .... supervising sculptor
Áslaug Dröfn Sigurðardóttir .... prosthetic makeup artist
Jack Slack .... prosthetics trainee
Laura Stevens .... junior hair stylist

Henrik Svensson .... prosthetic painting supervisor

Robert Trenton .... key prosthetic makeup
Valentina Visintin .... prosthetic makeup artist
Josh Weston .... special makeup effects artist
Kate Laura Woodhead .... prosthetics modeller
Production Management
Sam Breckman .... production manager: Iceland
Leifur B. Dagfinnsson .... unit production manager: Iceland
Finnur Jóhannsson .... production supervisor
Nikolas Korda .... unit production manager
Hermione Ninnim .... production manager
Second Unit Director or Assistant Director

Matthew Baker .... second assistant director
Sarah Brand .... third assistant director
Barney Hughes .... third assistant director
Max Keene .... first assistant director
Danny McGrath .... second assistant director
Samuel Andrew Smith .... third assistant director
Art Department
Douglas Allam .... hod plasterer
John Allen .... carpenter
Davíð Örn Arnarson .... stand by props: Iceland
Ray Barrett .... construction manager
Graham Bishop .... production buyer
Matt Boyton .... prop modeller
Dan Burke .... graphic artist
Julian Caldow .... concept illustrator
Claudio Campana .... assistant art director
Martin Campbell .... prop modeller
Archie Campbell-Baldwin .... art department assistant
Paul Catling .... prop concept artist
James Collins .... draughtsman
Alan Cooch .... hod painter
James Corker .... art department assistant
Laura Davison .... construction coordinator/buyer
Gary Dawson .... dressing props
Wayne Day .... hod carpenter
Gina De Ferrer .... researcher
Stephen Doyle .... dressing props
Steve Dring .... prop modeler
Paul Duff .... construction CAD engineer
Jack Dyer .... construction buyer
Luke Edwards .... assistant set decorator

Philip Elton .... assistant art director

Teri Fairhurst .... draughtsperson
Stefano Ferrara .... prop maker
Jordana Finkel .... draughtsman
Richard Funston .... art intern
Leigh Gilbert .... construction manager
Simon Gosling .... prop modeller
Guðni R. Gunnarsson .... greens
Shane Harford .... dressing prop
Rochelle Harvey .... art dept. asset coordinator
Nicholas Henderson .... assistant art director
Lucy Hope-Smith .... set decorating coordinator
Luke Hull .... set dec assistant
Josh Jones .... stand-by carpenter
Thomas Jones .... props mould-maker
David Ned Kelly .... carpenter
Ben Kendall .... carpenter trainee
Jody King .... hod sculptor
David Vyle Levy .... senior concept artist
Ingela Lordsdotter .... prop maker
Brian Maslin .... head greensman
James McKeown .... senior prop modeller
Steven Messing .... concept designer
Sophy Millington .... art department assistant
Laura Morrison .... assistant to production designer
Ben Munro .... standby art director
William Overstall .... mould shop leading hand
Andrew Palmer .... assistant art director
Warren Parkinson .... stand-by & dressing props
Helen Player .... assistant buyer
Ben Procter .... senior concept artist
Kurtis Richmond .... concept artist
Mark Rocca .... prop modeller
Alex Rutherford .... prop modeller
Matthew Savage .... concept artist
George Simons .... screen graphics designer
Mark Smith .... dressing props
Mike Smith .... assistant construction manager
Gavin Snell .... art department assistant
James Staples .... painter
Dorothy Sullivan .... location buyer
Daniel Thompson .... carpenter
Atli Thor .... greens
Tim Timmington .... painter
Richard Usher .... junior draughtsman
Tom Weaving .... assistant art director

Ivan Weightman .... conceptual artist

Steve Westley .... dressing props
Mark White .... model maker
Michael White .... chargehand console technician
Rebecca White .... art department assistant
Craig Whiteford .... greensman
Ian Whiteford .... greensman
Tom Whitehead .... assistant art director
Luke Whitelock .... junior draftsman
Terry Woods .... property master
Christopher Wyatt .... draughtsman
Helen Xenopoulos .... assistant art director
Dorrie Young .... draughtsman
Schwerthelm Ziehfreund .... sfx props
Simon Duric .... storyboard artist (uncredited)
Sound Department
James Ashwill .... foley mixer
Ron Bartlett .... sound re-recording mixer
Bob Beher .... foley editor
Árni Benediktsson .... sound assistant: Iceland
Sandy Buchanan .... voice over recording engineer: computer voice
Derek Casari .... adr stage engineer
Blake Collins .... foley mixer
Duncan Craig .... sound assistant
Arthur Fenn .... boom operator
Glen Gathard .... adr recordist
James Gibb .... sound assistant
Tim Gomillion .... sound recordist
Simon Hayes .... production sound mixer
Doug Hemphill .... sound re-recording mixer
James Hyde .... adr recordist
Robin Johnson .... boom operator
Glenn T. Morgan .... foley editor
Dan O'Connell .... foley artist
Margit Pfeiffer .... dialogue editor
Dennis Rogers .... sound recordist
Ann Scibelli .... sound designer
Andy Stallabrass .... adr mixer
Mark P. Stoeckinger .... supervising sound editor
Bruce Tanis .... foley editor
Tim Walston .... sound effects editor
Special Effects by
Holly Bailey .... special effects technician
Norman Baillie .... special effects buyer

Vanessa Bastyan .... creature effects fabrication supervisor

Garry Cooper .... special effects technician: dailies
Terence J. Cox .... special effects senior technician
Dan Doddington .... special effects trainee
Peter Fern .... senior special effects technician
Chris Fitzgerald .... special effects technician
Nikkie Grimshaw .... creatures art finisher
Alexander Gunn .... special effects technician: dailies
Jón Andri Guðmundsson .... special effects
Matthew Harlow .... special effects technician
Josh Head .... special effects technician
Gustav Hoegen .... key animatronic designer
Matthew Horton .... senior special effects technician
Ben James .... vehicles trainee
Haukur Karlsson .... pyrotechnician
Mike Kelt .... special props
Eggert Ketilsson .... special effects supervisor: Iceland
Cerina Knott .... creatures art finisher
Steve Knowles .... special effects senior technician
Casper Lailey .... special effects senior technician
Craig Leong .... special effects assistant
Julian Marsh .... special effects technician
Ian Richard Marshall .... special effects technician
Waldo Mason .... creature design/ sculptor
Doug McCarthy .... special effects senior technician workshop
Rupert Morency .... special effects assistant technician
Katie Newitt .... creature effects coordinator
Jalila Otky .... sfx & vehicles coordinator
Gilles Paillet .... foam latex technician
Stefano Pepin .... special effects floor supervisor
Scott Peters .... daily sfx technician
Nick P. Phillips .... special effects senior technician
Justin Pitkethly .... creature sculptor
Graham Povey .... senior special effects technician
Graham Riddell .... prosthetic effects modeller
Matthew Roberts .... special effects technician
Andrew Ryan .... special effects technician
Darren Shearwood .... vehicle fabrication
Johannes Sverrisson .... special effects technician
Anna Lind Sævarsdóttir .... special effects
Richard Van Den Bergh .... creature sculptor
Mark Vanstone .... prop maker
Kevin Wescott .... special effects technician
Trevor Wood .... sfx & vehicles supervisor
Phill Woodfine .... creature effects coordinator

Visual Effects by
Shaun Friedberg 'Pyrokinesis' .... animation technical director: Weta Digital
David Abbott .... shader writer: Weta Digital
Rehan Abdulovski .... paint artist: fx3x
Tony Abejuro .... matchmove lead: MPC
Michael Aerni .... senior animator
Nidhi Agarwal .... matchmove artist
Kieran Ahern .... witness camera operator
Holly Aldersley .... roto/prep artist
Stephen Allison .... render wrangler: Weta Digital
Ohkba Ameziane-Hassani .... lighting/look development artist: MPC
Malcolm Angell .... visual effects production manager: FuelVFX
Charise E. Angone .... visual effects coordinator
Samir Ansari .... lighting td: MPC
Georgy Arevshatov .... senior texture artist: Weta Digital
Paul Arion .... lead layout artist: MPC
Paul Arion .... previs artist: MPC
Spencer Armajo .... flame artist
Vanessa Armitage .... vfx production coordinator
Vanessa Armitage .... visual effects coordinator
Ruth Asensio .... layout artist: MPC
Nicole Ashford .... matchmove artist
Joel Ashman .... senior compositor: Prologue
K.H. Aslam .... senior matchmove artist
Derrick Auyoung .... senior animation technical director: Weta Digital
Patrice Avery .... previs producer: HALON
Nithin Babu .... roto artist: MPC
Thai Bach .... lighting artist: MPC
Dorothy Ballarini .... texture artist: MPC
Andrzej Bandurski .... senior effects technical director: MPC
Marco Barbati .... creature facial technical director
Jason Bath .... visual effects executive producer: Fuel VFX
Erwann Baudet .... senior effects technical director: Weta Digital
Hamish Beachman .... digital modeler: Weta Digital
Brittany Bell .... visual effects
Gregory Bellis .... camera td: Weta Digital
Steven Benjamin .... roto/paint artist: Luma Pictures
Sam Berry .... lead rigger: MPC
Alex Berson .... digital paint artist: Weta Digital
Daniele Bigi .... lighting supervisor
Aevar Bjarnason .... look development artist: Fuel VFX
Gerald Blaise .... digital modeler: MPC
Christopher Blazick .... visual effects artist
Vincent Blin .... flame artist
Julien Bolbach .... environment lead: MPC
Sudeepto Bose .... compositor: The Moving Picture Company, London

David A.T. Bowman .... lead compositor

Adam Bradley .... senior digital paint artist: Weta Digital
Benjamin Bratt .... roto/prep artist
Jared Brient .... lead lighting td: MPC
Ryan Brooks .... rotoscope artist
Amy Brunolli .... digital coordinator: Luma Pictures
Julian Bryant .... digital compositor
Daniel Bryce .... cg modeler
Rob Bryson .... lead roto/prep artist: MPC
Bruce Buckley .... digital artist
Izet Buco .... digital compositor
Romain Buignet .... visual effects artist
Joerg W. Bungert .... digital colourist: weta digital
Andy Burmeister .... camera technical director: Weta Digital
Everett Burrell .... visual effects supervisor: on-set, Weta Digital
Paul Butterworth .... visual effects supervisor: Fuelvfx
Sam Buys .... digital asset manager: Weta Digital
Tom Buys .... visual effects production assistant
Unjoo Lee Byars .... vfx producer: Prologue Films
Nicolas Caillier .... digital compositor
Djordje Cakovan .... digital modeler: Weta Digital
Taylor Carrasco .... animation technical director
Remi Cauzid .... rigger: previz
Joe Censoplano .... digital compositor: Luma Pictures
Arthur Chan .... rotoscope artist: Weta Digital
Johnny Chan .... rotoscope artist
Malavika Chandrakanth .... roto/prep artist
Erik Charlebois .... visual effects artist: Fuel VFX
Jason K.S. Cheung .... production engineer: Weta Digital
Charles Chorein .... lighting td
Ria-Bella Chua .... rotoscope artist: Weta Digital
Vincent Cirelli .... visual effects supervisor: Luma Pictures
Oli Clarke .... layout artist: MPC
Trent Claus .... visual effects supervisor: Lola Visual Effects
Adam Coglan .... visual effects artist
Luke Cole .... software engineer: Fuel VFX
Sam Cole .... compositing supervisor: Fuel VFX
Peter Connelly .... lighting td
Benjamin Conner .... roto/paint artist: Luma Pictures
Traian Constantinescu .... digital compositor: MPC
Ian Cope .... visual effects producer: Rising Sun Pictures
Dan Copping .... previs artist: MPC
Michael Corcoran .... lead creature technical director
Juan Francisco Correa Diaz .... rigging td
Paul Cousins .... post visualisation artist
Louis Cox .... camera technical director

Christine Cram .... digital paint artist

Felix Crawshaw .... visual effects producer: Fuel VFX
Jim Croasdale .... senior paint artist
Nicholas Cross .... sequence supervisor: Fuel VFX
Alexia Cui .... lighting technical director
Robert Cvengros .... tracking and matchmoving
Anthony D'Agostino .... lead compositor
Nicola Danese .... lead effects technical director: MPC
Ana Mestre de Almeida Pereira .... digital compositor: Weta Digital
Aurore de Blois .... digital compositor
Stefania De Santis .... digital matter painter: MPC
Krystal Delany .... visual effects production assistant: Rising Sun Pictures
Caroline Delen .... lead texture artist
Ruy Delgado .... matchmove artist: Luma Pictures
Stanley A. Dellimore .... head of layout: MPC
Justin Denton .... virtual stage operator: HALON
Giancarlo Derchie .... digital compositor: Fuel VFX
Julien Dias .... digital compositor
Ben Dickson .... 2d technical director: Rising Sun Pictures
Thai Son Doan .... digital compositor: Fuel VFX
Ferran Domenech .... animation supervisor: MPC
Kim Doyle .... digital effects producer
Lucy Drewett .... fx department coordinator: MPC
Julien Ducenne .... digital compositor: MPC
Georgia Dumergue .... visual effects
Rob Dunbar .... visual effects
Austin Eddy .... lead animator: Weta Digital
Dick Edwards .... visual effects supervisor: Invisible Effects
Michelle Eisenreich .... visual effects producer: Hammerhead
Kane Elferink .... sequence supervisor: Fuel VFX
Harry Ellard .... junior effects technical director
Joe Engelke .... senior paint artist
Jenn Epstein .... senior digital compositor: The Moving Picture Company
Alexander Eriksson .... digital compositor: MPC
Ana Laura Esperón .... digital compositor: MPC
Timothy Eustace .... cg modeler: Fuel VFX
Stephen Evans .... lighting / technical director
Audrey Ferrara .... environment artist: MPC
Matthew Fogarty .... camera technical director: Weta Digital
Lucien Fostier .... digital compositor
Ludovic Fouche .... camera td
Boominathan Frances .... matchmove artist
Guillaume François .... shader writer
Richard Frazer .... digital compositor
Moa Frithiofsson .... digital compositor
David Frylund Otzen .... modeler

Raphaël Gadot .... 3D artist: Fuel VFX

Ales Gargulak .... digital compositor
Demitre Garza .... flame artist
Brad Gayo .... visual effects
Mark Gelfuso .... senior technical director: lighting
Marco Genovesi .... head of matte painting: MPC
Jack George .... visual effects coordinator
Joel Gerlach .... paint artist: Luma Pictures
Abhishek Ghorui .... digital artist
Bill Gilman .... digital artist: Prologue
Mitchell J. Glaser .... visual effects editor
Brandon Gonzales .... concept artist: Hammerhead
Brandon Gonzales .... matte painter: Hammerhead
Lisa Gonzalez .... lead modeller
Josh Gotto .... digital compositor
James Grummitt .... production assistant
Signy Bjorg Gudlaugsdottir .... digital modeler: Weta Digital
Diego Guerrero .... lead lighting artist
Mark Haenga .... facial modeler: Weta Digital
Michael Hall .... senior effects technical director: MPC
Lindsay Hallett .... director of business development: Luma Pictures
H Haden Hammond .... sequence supervisor: Luma Pictures
Nick Hanks .... layout artist
Michael Harden .... vfx edit assistant
Mark Harmon .... digital compositor: Fuel VFX
Serena Hastie .... rotoscope artist: Weta Digital
Arnaud Havart .... environment artist: MPC
Michael Havart .... environment artist
John R. Hazzard .... pipeline technical director: Luma Pictures
Oliver Heinrich .... digital compositor: MPC
Quentin Hema .... digital paint supervisor: weta digital
Charley Henley .... visual effects supervisor: MPC
Simon Herden .... stereo compositor: Rising Sun Pictures
David Hicks .... screen graphics
Matthew Hicks .... lighting technical director: Weta Digital
John C. Hill .... screen graphics
Martin Hill .... visual effects supervisor: Weta Digital
David Hochstadter .... stereoscopic compositor
Finlay Hogg .... digital compositor: MPC
Teresa Hooper .... layout technical director: Weta Digital
Bastian Hopfgarten .... visual effects lead data wrangler
Paul Hopkins .... matchmove/layout
Sandy Houston .... roto supervisor: Weta Digital
Jason Howden .... rotoscope artist: Weta Digital
Levon Hudson .... render wrangler
Jack Hughes .... visual effects data wrangler

Michael Hunault .... visual effects artist

Matthew Hunt .... visual effects artist
Ben Hutchings .... visual effects artist
Susan Immonen .... stereo compositor: Rising Sun Pictures
Giuseppe Improta .... key lighting artist
Chris Ingersoll .... digital compositor
Chris Jestico .... vfx department manager
Olivier Jezequel .... visual effects artist
Carolina Jiménez .... layout artist: MPC
Zhi Jin .... visual effects artist
Bryan Jones .... compositor: MPC
Danny Jones .... senior roto/paint artist
Keith Jones .... digital compositor
Marc Jones .... matchmove artist: MPC
Owen Jones .... matchmove supervisor
Dinesh K. Bishnoi .... matchmove artist: The Moving Picture Company
Barry Kane .... rendering supervisor
Andreas Bravin Karlsson .... digital compositor
Alban Kasikci .... digital compositor
Peter Kasim .... motion editor: The Moving Picture Company
Ruslanova Katya .... digital compositor
James D. Kelly .... visual effects photographer: MPC
Kevin Kelm .... creature technical director: Weta
Taskin Kenan .... junior visual effects data wrangler
Annabelle Kent .... stereoscopic compositor
Alex Khan .... compositor: Luma Pictures
Ben Kilgore .... creature technical director
Lucy Killick .... visual effects shoot producer
Adam King .... lighting technical director: Weta Digital
Naoko Kinoshita .... cg artist: Fuel VFX
John Kitching .... digital compositor
Ciril Koshyk .... 3D matchmove consultant
Makoto Koyama .... senior animator: Weta Digital
Manfred Kraemer .... lighting technical director: weta digital
Lars Kramer .... camera technical director
Dinesh Kumar Bishnoi .... matchmove artist: The Moving Picture Company
Sujay Kumar G. .... matchmove artist: The Moving Picture Company
Sendil Kumar .... visual effects artist
Kosta Lagis .... visual effects artist
Leandre Lagrange .... digital artist
Sean Lahiff .... visual effects editor: Rising Sun Pictures
Juan Pablo Lampe .... digital compositor: Weta Digital
Lorenzo Lavatelli .... senior effects technical director: MPC
Alex Lay .... digital compositor
Nha Hoan Le .... tracking and matchmoving: Luma Pictures
Nicolas Leblanc .... modeler

Dongho Lee .... visual effects art director

Jane Kyung Lee .... visual effects coordinator: Luma Pictures
Max Leonard .... associate visual effects producer: Lola Visual Effects
Phillip Leonhardt .... cg supervisor: Weta Digital
Fabio Leporelli .... fur look dev
Julian Levi .... visual effects executive producer: MPC
Dave Levine .... flame artist: Lola VFX
Dan Levitan .... compositing supervisor: Hammerhead Productions
Dean Lewandowski .... layout technical director: Weta Digital
Anu Liikkanen .... lead roto/prep artist
Isaac Lipstadt .... visual effects coordinator: Hammerhead
Clementine Lo .... effects technical director: MPC
Thomas Sing Wai Lo .... modeler: weta digital
Jason Locke .... camera td
Lara Lom .... visual effects coordinator: MPC
Owen Longstaff .... digital compositor: Fuel VFX
Jade Lorier .... visual effects artist
Gregory Louden .... visual effects technical director
Steven Lovell .... visual effects artist
Ruth-Anne Loveridge .... modeler
Demis Lyall-Wilson .... digital compositor: Fuel VFX
Natalie MacDonald .... senior compositor: MPC
Jessica Madsen .... digital artist: Luma Pictures
Brian Magner .... post visualisation artist
Tytus Majerski .... digital compositor
Suraj Makhija .... matchmove artist: The Moving Picture Company
Jay Mallet .... motion control cameraman
Thomas Mansencal .... digital artist
Giorgio Marino .... digital compositor: MPC
Allen Maris .... visual effects producer
Jason Marlow .... camera technical director
Filipe Marques .... digital compositor: Fuel VFX
Kindra Marra .... visual effects assistant editor
Fran Martinez .... digital compositor
Jérôme Martinez .... environment artist: MPC
Mario Maruska .... effects technical director: MPC
Abner Marín .... visual effects artist
Shawn Mason .... senior compositor: MPC
Javad Matoorian-Pour .... compositor: MPC
Marian Mavrovic .... compositing supervisor
Kirk Mawhinney .... facial modeler
Jason McDonald .... previsualization supervisor: MPC
Ben McEwan .... stereo compositor: Rising Sun Pictures
Steve McGee .... visual effects artist
Fiona McLean .... vfx production manager: MPC
Donal McMullan .... production engineer

Louise McNicholl .... layout department manager: Weta Digital

Alex Meddick .... visual effects editor: Rising Sun Pictures
Jignesh Mehta .... visual effects coordinator
Abigail Mendoza .... visual effects coordinator: MPC
Steven Messing .... visual effects art director
Károly Mesterházy .... environment technical director: MPC
Miklós Mesterházy .... lighting technical director: Weta
Matt Middleton .... cg supervisor
Seth F. Miller .... digital paint artist: Weta Digital
Danielle Millington-Peck .... visual effects editorial assistant
Jambunatha Mn .... matchmove artist: The Moving Picture Company
Mo Mohamoud .... digital paint artist: Weta Digital
Jason Mohan .... visual effects artist
Stephen Molyneaux .... digital artist MPC
Ray Moody .... motion control operator
Christophe Moreau .... senior environment artist: MPC
Simon Dean Morley .... production engineer
Dafydd Morris .... layout artist: MPC
Bryn Morrow .... senior lighting lead
Darren Mortillaro .... creature technical director: weta digital
Daniel Moy .... digital artist
Matt Mueller .... senior camera technical director
Jack Mullins .... visual effects
Vanessa Mylchreest .... visual effects artist
Dominica Myles .... stereo matchmove artist
Alfred Mürrle .... lead compositor: Weta Digital
Paul Nelson .... lead texture artist: MPC
Peter Nemec .... senior compositor: MPC
Stephen Newbold .... compositing sequence lead: MPC
Christopher Newman .... stereo matchmove artist
Jesse Nicodemus .... visual effects artist: Luma Pictures
Wolfgang Niedermeier .... camera lead: Weta Digital
John Niforos .... technical animator
Emelie Nilsson .... digital compositor
Thomas Nittmann .... visual effects producer: Lola Visual Effects
Stephen Nixon .... effects department manager: MPC
Victor Norberg .... digital compositor
Greg O'Connor .... lead modeler/texturer: Fuel VFX
James Ogle .... lead digital modeler
Pawel Olas .... pipeline research and development: Fuel VFX
Robert Olsson .... digital matte painter
Arturo Orgaz Casado .... visual effects artist
Daniele Orsetti .... texture artist
Ben Outerbridge .... digital compositor
Nitheesh P.C. .... matchmove artist: The Moving Picture Company
Andrew Palmer .... stereo camera tracker

Andrew Palmer .... stereo compositor

Eugene Paluso .... matchmove/layout
Joan Panis .... lead effects technical director
Gurpreet Singh Pannu .... matchmove artist: MPC
Clark Parkhurst .... flame artist
Robbie Payne .... visual effects assistant
Tony Peck .... digital compositor: MPC
Dylan Penhale .... chief technical officer: Fuel VFX
Michael Perdew .... digital production manager: Luma Pictures
Joep Peters .... texture artist: MPC
Dennis Petkov .... texture & modeling artist
Valentin Petrov .... digital matte painter: MPC
Hieu Phan .... paint/roto artist: Luma Pictures
Michael Phan .... visual effects artist: Luma Pictures
Rémi Pierre .... visual effects
Jacquelyn 'Jac' Piette .... lighting artist: MPC
Joseph Vincent Pike .... stereoscopic compositor
Melvin Polayah .... layout artist
Jason Pomerantz .... production supervisor (IMAX Version)
Jessica Ponte .... textures manager: Weta Digital
Christian Poullay .... camera td: Weta Digital
Donna Poynton .... roto/prep lead: MPC
Rajasekar Prince .... senior matchmove artist: MPC
Richard Pritchard .... senior lighting artist
Eddy Purnomo .... effects technical director: Weta Digital
Michael Queen .... digital compositor: Fuel VFX
Ula Rademeyer .... senior texture artist: Weta Digital
Kade Ramsey .... rotoscope artist: Weta Digital
Troy Ramsey .... senior paint artist: Weta digital
Mayec Rancel .... effects technical director
Ambrish Rangan .... matchmove artist: MPC
Jennah Rasmussen .... department manager
Clint G. Reagan .... pre-visualization supervisor: Halon
Markus Reithoffer .... lead compositor: MPC
Maryam Riahi .... roto/paint artist: Luma Pictures
Martin Riedel .... sequence lead/compositor: MPC
Miso Ristov .... 2D supervisor: FX3X
James Roberts .... witness camera operator
Samantha Rocca .... visual effects production assistant: MPC
Chris Rockwell .... visual effects accountant
Marco Rolandi .... environment lead: MPC
Carl Leon Ross .... visual effects artist
Isabelle Rousselle .... senior digital matte painter: MPC
Sam Rowan .... character modeller
Garry Runke .... effects technical director: weta digital
Nathan Rusch .... pipeline technical director: Luma Pictures

Johannes Saam .... CG supervisor: Fuel VFX

Sajeev Sadanandan .... matchmove artist: The Moving Picture Company
Diganta Saha .... systems administrator: Prologue
Stephanie Saillard .... digital compositor: MPC
Matthew Sakata .... assistant visual effects coordinator
Peter Salter .... stereo matchmove artist: MPC
Sean Samuels .... digital matte painting artist: MPC
Jim Sandys .... senior animatronic model designer
B.S. Rajkumar Sapate .... matchmove artist: The Moving Picture Company
Craig Saunders .... visual effects coordinator
Brendan Savage .... visual effects artist: Fuel VFX
Tom Schwarz .... rendering technical director
Julian Schädler .... digital compositor: MPC
Denis Scolan .... lead compositor: Fuel VFX
Carsten Seller .... animator
Vijay Selvam .... digital compositor: MPC
Paul Seyb .... visual effects
Cameron Sharp .... visual effects editor: Fuel VFX
Sam Sharplin .... digital modeler: Weta Digital
Aurynn Shaw .... production engineer: weta digital
Kieran Shepherd .... compositor: Rising Sun Pictures
Davide Sibilia .... effects technical director: MPC
Joey Sila .... digital compositor: Luma Pictures
Bruno Simões .... previs artist: MPC
Chrystia Siolkowsky .... roto artist
Anna Sitjà .... texture artist: Weta Digital
Lori Smallwood .... senior animation technical director
Dan Smiczek .... CG supervisor: Hammerhead
Katherine Smith .... vfx production manager: MPC
Marc Smith .... camera technical director: Weta Digital
Eric So .... digital compositor
Perry Hyunwoo Sohn .... camera technical director: Weta Digital
Sepp Sonntag .... modelling: MPC
John C. Sparks .... senior visual effects artist: MPC
Marianne Speight .... visual effects producer: MPC
Richard Stammers .... visual effects supervisor
Albrecht Steinmetz .... camera lead: Weta Digital
Justin Stockton .... layout technical director: Weta Digital
Sheldon Stopsack .... lighting supervisor: MPC
Stéphane Stradella .... digital compositor
Rosalind Stratton .... layout technical director: Weta Digital
Valentin Struklec .... compositor: MPC
Thomas Stölzle .... lighting td: MPC
Althea Suarez Gata .... previs animator
Francois Sugny .... effects technical director: weta digital
Richard Sutherland .... CG supervisor: Luma Pictures

Masaya Suzuki .... senior texture artist/look dev artist: Weta Digital
Jeremiah Sweeney .... compositor: Lola Visual Effects
Ben Swinbanks .... stereoscopic artist
Ben Swinbanks .... stereoscopic motion tracker
Marc Taganas .... roto/prep artist: MPC
Hirofumi Takeda .... digital compositor: Weta Digital
Sahil Tandial .... matchmove artist: MPC
Eric Tang .... lead creature technical director: Weta Digital
Biljana Temelkova .... roto artist
Chris Templeman .... rotoscope artist
Joseph Thomas M. .... matchmove artist: The Moving Picture Company
Vincent Thomas .... senior lighting artist & digital matte painter
Kim Tobin .... digital compositor
Mathilde Tollec .... lighting technical director: MPC
Ruggero Tomasino .... digital compositor: MPC
Mark Tompkins .... concept artist
Audrea Topps Harjo .... creatures production manager: WETA Digital
Brian A. Torres .... pipeline technical director: Luma Pictures
Jérémie Touzery .... environment artist: MPC
Diego Trazzi .... lead vfx: Weta Digital
Linda Tremblay .... digital compositor
Ryan Trenhaile .... senior compositor
James Turner .... vfx coordinator: MPC
Mauricio Valderrama .... stereo compositor
Gerard Van Ommen Kloeke .... character rigging supervisor
Duarte Victorino .... effects technical director: MPC
Douglas Peter Viljoen .... rotoscope artist
Andreja Vuckovic .... modeler: Weta Digital
Reed Wade .... production engineer
Ben Walker .... digital matte painter
Tim Walker .... compositor: MPC
Brenda R. Wallace .... production engineer: weta digital
Colin Ware .... modeler and texture artist
James Waterson .... digital compositor: Luma Pictures
Chase Watson .... systems administrator
Imery Watson .... previs artist
Mark Wendell .... dfx supervisor: rising sun pictures
Ruth Wiegand .... rigging artist: MPC
Edson Williams .... visual effects supervisor: Lola Visual Effects
Chris Wilson .... 3D lighting artist: MPC
Stephen Wilson .... digital compositor: Weta Digital
Blake Winder .... digital compositor: MPC
Oliver Winwood .... effects technical director: MPC
Rory Woodford .... digital modeler: MPC
Clare Woodford-Robinson .... digital modeler: Weta Digital
Kai Woytke .... senior digital compositor: MPC

Joe Tsung-Yu Wu .... cg modeler: Fuel VFX

Terry Wu .... compositor
Garrett Wycoff .... roto/paint artist: Luma Pictures
Piotr Fox Wysocki .... senior texture r&d and look dev artist
Jason Yanofsky .... senior lighting and compositing artist
Travis Yee .... previs artist
Viki Yeo .... texture artist: Weta digital
Kenny Yong .... stereo matchmove artist
Kristen Young .... visual effects assistant editor
Matthias Zeller .... lead creature technical director: Weta Digital
Mohand Zennadi .... senior lighting technical director
Paolo Joel Ziemba .... previs artist: Halon
Ed Coy .... digital artist (uncredited)
Les Hunter .... visual effect producer: Hammerhead Productions (uncredited)
Andrei Sidyakin .... digital compositor (uncredited)
Nicholas Wilson .... digital modeler: Weta Digital (uncredited)
Stunts
Tony Christian .... stunt rigger
Tony Christian .... utility stunts
Stuart Clark .... assistant stunt coordinator
Aldonio Danny Freitas .... stunt double
Amanda Dyar .... stunts
James Embree .... stunt double
Cecily Fay .... stunt double
Vladimir 'Furdo' Furdik .... stunt performer
Rob Inch .... stunt coordinator
Rowley Irlam .... stunts
Belinda McGinley .... stunt performer
Peter Miles .... stunts
Lee Millham .... utility stunts
Daniel Naprous .... stunts
Florian Robin .... stunt performer
Helen Steinway Bailey .... stunt double: Noomi Repace
Shane Steyn .... stunt performer
William Willoughby .... stunt double
Camera and Electrical Department

Dominic Aronin .... electrician
Adrian Barry .... grip
Kerry Brown .... still photographer
Rogan Brown .... trainee grip
Dominique Cheung .... camera trainee: VFX unit
David Churchyard .... camera second assistant: main unit
Chris Clarke .... second assistant camera: vfx unit
Shaun Cobley .... first assistant camera: vfx unit

Eliot Coulter .... lighting technician

Adam Dale .... aerial director of photography: additional protography
Rob Dowling .... h.o.d. practical electrician
Jason Dully .... second assistant camera: dailies
Elliot Dupuy .... second assistant camera
Arnar Einarsson .... local grip
Mike Farr .... electrician
John Ferguson .... first assistant camera
Francesco Ferrari .... second assistant camera: vfx unit
Alex Finlayson .... camera trainee: dailies
Ben Fordesman .... practical electrician
Kevin Fraser .... key grip: additional photography
Max Glickman .... camera best boy
James Goldman .... stereographer
Graham Hall .... camera operator
Will Handley .... eclipse technician/driver
Jeroen Hendriks .... red camera data supervisor
Paul. Hill .... practical electrician
Gary Hymns .... key grip
Paul Hymns .... dolly grip
Chris Jordan .... dolly grip
Callum Just .... digital imaging technician: additional photography
Viktor Davíð Jóhannsson .... local grip
Aaron Keating .... lighting technician
Mary Lobb .... data wrangler
Iain Mackay .... second assistant camera
Peter Marsden .... digital imaging technician: VFX unit
John Marzano .... aerial director of photography
Daniele Massaccesi .... camera operator
Guy McCormack .... video playback operator: splinter unit
Jamie Mills .... best boy: additional photography
Jamie Mills .... lighting technician
David Morgan .... camera operator: vfx unit
Spencer Murray .... first assistant camera: dailies
Spencer Murray .... first assistant camera: vfx unit
Claudio Napoli .... stereo rig technician
Ryan Nguyen .... digital imaging technician
Shaun O'Dell .... director of photography: vfx unit
Robert Palmer .... first assistant camera
Lee Perkins .... electrician
Miles Proudfoot .... first assistant camera
Dominic Rau .... 3D video assist operator
Beau Scott .... camera trainee
Adam Sculthorp .... stereographer: Jordan, Iceland & vfx units
David Sinfield .... best boy
David Sinfield .... gaffer: Iceland

David Sinfield .... gaffer: re-shoots

Gary Smith .... best boy grip
Morgan Spencer .... camera trainee: dailies
Gary Spratling .... camera operator
Joe Steel .... digital imaging technician
Robert Walisko .... puruit arm operator
Benjamin Michael Wearing .... digital imaging technician assistant: additional photography
Peter Welch .... digital imaging technician: VFX Unit
Joshua Wells .... trainee practical electrician
Paul Wheeldon .... second assistant camera
Michael White .... chargehand console technician
Marc Wolff .... camera pilot
Animation Department
Alexandre Belbari .... animator
Gérald Clévy .... senior animator
Santiago Colomo .... animator
Michael Cozens .... animation supervisor
Tom Del Campo .... senior animator
Mike Ford .... animator
Stephen Jolley .... animator
Joseph Kim .... animator
Paul Lada .... lead animator
Carmelo Leggiero .... animator: Weta Digital
Adrian Lim .... animator
Ted Lister .... animator
Tom Meade .... animation technical director (as Thomas Meade)
Karl Rapley .... animator
Florent Revel .... matchmove animator
Philip To .... animator: Weta Digital
John Turello .... animator: Fuel VFX
Casting Department
Kharmel Cochrane .... casting assistant
Charles L. Gariepy .... casting assistant
Caitlin McKenna-Wilkinson .... adr voice casting
Robert Sterne .... casting assistant
Leeba Zakharov .... casting associate
Costume and Wardrobe Department

Elaine Battye .... senior costume maker (as Elaine Flynn)
Nicola Belton .... costume breakdown artist
Jane Bogunovic .... senior costume maker
Chris Byrne .... senior costume prop maker
Sacha Chandisingh .... costume textile artist
Peter k Christopher .... costumer: stunts

Berel-Anne Cohen .... costume breakdown artist (as Beryl Anne Cohen)
Jake Collier .... set costumer
Ivo Coveney .... costume props supervisor
Ellen Crawshaw .... costume assistant
Andrea Cripps .... assistant costume designer
Kate Frampton .... senior costume maker
Oliver Garcia .... costume assistant
Victoria Garside .... costume prop maker
Claire Hardaker .... costume buyer
Gordon Harmer .... costume supervisor
Dougie Hawkes .... costume assistant
Sam Keyte .... costume maker
Samantha Langridge .... costume trainee
Linda Lashley .... senior seamstress
Kate Lawes .... senior costume maker
Jessica Lawless .... principal costume runner
Gabriella Loria .... head costume buyer
Cavita Luchmun .... senior costume maker
Heidi McQueen-Prentice .... costume assistant
Michael Mooney .... assistant costume designer
Jacqueline Mulligan .... assistant costume cutter
Maggie Partington-Smith .... costume assistant
Josie Pledge .... costume cutter
Gemma Rasmussen .... costume maker
Lisa Robinson .... senior costume maker
Fay Roxburgh .... costume assistant
Marcia Smith .... senior costume maker
Grace Snell .... costume trainee
Elizabeth Thompson .... costume prop maker
Tara Van Zyl .... costume coordinator
Pamela Verran .... costumer
Dan Walker .... concept artist
Joanna Weaving .... chief costume breakdown artist
Shirley Wilson .... specialist neoprene maker
Edmund Woodward .... costume prop maker
Dominic Young .... costume cutter
Editorial Department
James Barham .... second assistant editor
Nick Davis .... apprentice editor
Danielle El-Hendi .... editorial assistant
Doiminic Evans .... digital image coordinator
Tom Harrison-Read .... first assistant editor
Ethan Henerey .... second assistant editor
Laurence Johnson .... second assistant editor
Kathleen Latlip .... first assistant editor

Robert Mead .... additional editor

Stephen Nakamura .... digital intermediate colorist
François Kamffer .... digital intermediate technician (uncredited)
Jim Passon .... color timer (uncredited)
Music Department
John Barrett .... assistant score mixing engineer
John Barrett .... protools engineer
Joseph Bonn .... music editor
Ben Foster .... conductor
Ben Foster .... orchestrator
Meri Gavin .... assistant music editor
Del Spiva .... music editor
Roger Suen .... composer assistant
Sunna Wehrmeijer .... music programmer
Transportation Department
Paul Allen .... unit driver
Mark Crowley .... driver: Charlize Theron
Peter Devlin .... transportation captain
Lee Edwards .... driver: Guy Pearce
Stewart Fannon .... driver: Mr. Scott
Matt Jones .... transport captain: Iceland
Cain Lee .... transportation captain: VFX elements, Iceland
David O'Connor .... driver: cast
Ian Westwell .... driver: Michael Ellenberg
Other crew
Óskar Örn Arnarson .... key set production assistant: Iceland
Óskar Örn Arnarson .... stand-in
Philip Ball .... stand-in
Alex Boyd .... assistant: Mark Huffam
Emma Brazier .... assistant accountant
Unjoo Lee Byars .... main title producer
Aneta Chalas .... production secretary
Dave Chapman .... puppeteer
Catherine Charlton .... dialect coach
Luke Clare .... production assistant
Andrew Cooke .... studio manager
Cristiano D'Urso .... first assistant accountant: Iceland
Andrew Gwyn Davies .... assistant production coordinator
Charles de Lauzirika .... documentary producer
Kay Di Rezze .... assistant accountant
Charles Edwards .... clearances
Andri Egilsson .... stand-in
Birna Paulina Einarsdottir .... assistant production coordinator

Charlie Elson .... additional production assistant

Scott Ennis .... creative marketing
Lucia Foster Found .... aerial operations coordinator
Steve Hart .... location manager
Charlie Hayes .... assistant location manager: additional photography
Paul Hayes .... floor runner
Nion Hazell .... production coordinator: Iceland
Brian Herring .... puppeteer
David Hicks .... screen graphics
Paula Holt .... accounting clerk: post-production
Richard Hooper .... key armourer
Ali James .... location manager: additional photography
Finnur Jónasson .... stand-in
James R. Kipping .... production assistant
Ashifa Lalani .... location accountant
Rachel Leonard .... puppeteer
James Linville .... production accountant
Tamsin Lloyd-James .... accounting clerk
Philip Lobban .... location scout
Stacy Mann .... unit publicist
Ivan Manzella .... key creature design & sculptor
Ivan Manzella .... key creature designer & sculptor
Miranda Marks .... production coordinator
Freddie Martin .... studio production assistant
Barry May-Leybourne .... health and safety advisor
Michael McDermott .... studio production assistant
Claire Mitchell .... construction accountant
Ciaran Moran .... payroll accountant
Nick Murray .... locations
Tara Nostramo .... assistant to Charlize Theron
James Payton .... stand-in
Diana Perko .... unit nurse
Joana Powell .... production assistant
Jacek Pulanecki .... production assistant
Sascha Robey .... armourer
Tanya Ruby .... payroll assistant
Carole Salisbury .... script supervisor: Splinter unit
Will Samuelson .... helicopter camera pilot
Neal Scanlan .... creature & special make-up effects supervisor
Christian Schandorph .... facility technician: Iceland
Karl Sigurdarson .... key office production assistant: Iceland
Charlie Simpson .... unit manager: additional photography
Andy Stephens .... aerial operations manager
Pippa Suren .... assistant production coordinator
Sarah Trowse .... production accountant
Linda Vilhjálmsdóttir .... production coordinator: Iceland

Hamish Ward .... accounts clerk

Hamish Ward .... accounting clerk
Rachel Welch .... first assistant accountant
Josh Weston .... creature design: sculptor
Mark Whitaker .... puppeteer
Ian Whyte .... scale double: Engineers
Vanessa Whyte .... documentary camera operator
Ed Wise .... production assistant
Marc Wolff .... aerial coordinator
Paul Zieleniec .... assistant accountant

PROMETHEUS Production Notes

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PROMETHEUS (2012) PRODUCTION NOTES

Release Date: June 8, 2012 (3D/2D, IMAX)

The actual PROMETHEUS film is ©20th Century Fox 1

Noomi Rapace as Elizabeth Shaw:

The actual PROMETHEUS film is ©20th Century Fox 2

Michael Fassbender as David:

Guy Pearce as Peter Weyland:

Idris Elba as Janek:

Logan Marshall-Green as Charlie Holloway:

The actual PROMETHEUS film is ©20th Century Fox 3

Charlize Theron as Meredith Vickers:

Rafe Spall as Milburn:

Sean Harris as Fifield:

The actual PROMETHEUS film is ©20th Century Fox 4

The actual PROMETHEUS film is ©20th Century Fox 5

The actual PROMETHEUS film is ©20th Century Fox 6

The actual PROMETHEUS film is ©20th Century Fox 7

The actual PROMETHEUS film is ©20th Century Fox 8

The actual PROMETHEUS film is ©20th Century Fox 9

The actual PROMETHEUS film is ©20th Century Fox 10

The actual PROMETHEUS film is ©20th Century Fox 11

The actual PROMETHEUS film is ©20th Century Fox 12

The actual PROMETHEUS film is ©20th Century Fox 13

The actual PROMETHEUS film is ©20th Century Fox 14

Cast (in credits order)

The actual PROMETHEUS film is ©20th Century Fox 15

The actual PROMETHEUS film is ©20th Century Fox 16

Henrik Svensson .... prosthetic painting supervisor

Second Unit Director or Assistant Director

The actual PROMETHEUS film is ©20th Century Fox 17

Philip Elton .... assistant art director

The actual PROMETHEUS film is ©20th Century Fox 18

Ivan Weightman .... conceptual artist

The actual PROMETHEUS film is ©20th Century Fox 19

Vanessa Bastyan .... creature effects fabrication supervisor

The actual PROMETHEUS film is ©20th Century Fox 20

The actual PROMETHEUS film is ©20th Century Fox 21

David A.T. Bowman .... lead compositor

The actual PROMETHEUS film is ©20th Century Fox 22

Christine Cram .... digital paint artist

The actual PROMETHEUS film is ©20th Century Fox 23

Raphaël Gadot .... 3D artist: Fuel VFX

The actual PROMETHEUS film is ©20th Century Fox 24

Michael Hunault .... visual effects artist

The actual PROMETHEUS film is ©20th Century Fox 25

Dongho Lee .... visual effects art director

The actual PROMETHEUS film is ©20th Century Fox 26

Louise McNicholl .... layout department manager: Weta Digital

The actual PROMETHEUS film is ©20th Century Fox 27

Andrew Palmer .... stereo compositor

The actual PROMETHEUS film is ©20th Century Fox 28

Johannes Saam .... CG supervisor: Fuel VFX

The actual PROMETHEUS film is ©20th Century Fox 29

The actual PROMETHEUS film is ©20th Century Fox 30

Joe Tsung-Yu Wu .... cg modeler: Fuel VFX

Camera and Electrical Department

The actual PROMETHEUS film is ©20th Century Fox 31

Eliot Coulter .... lighting technician

The actual PROMETHEUS film is ©20th Century Fox 32

David Sinfield .... gaffer: re-shoots

Costume and Wardrobe Department

The actual PROMETHEUS film is ©20th Century Fox 33

The actual PROMETHEUS film is ©20th Century Fox 34

Robert Mead .... additional editor