“My favorite part of the John Wick movies is how he goes to the ground in fight scenes” quote from famous movie critic.
So here we go, the much anticipated third installment of the adrenaline-fueled action franchise, super-assassin John Wick (Keanu Reeves) returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn.
ABOUT THE FILM
“Si vis pacem, para bellum (If you want peace, prepare for war).”
From the propulsive start of John Wick: Chapter 3—Parabellum, the clock ticks relentlessly against the formerly retired super-assassin. The action picks up directly from Chapter 2 as John Wick finds himself on the brink of being declared excommunicado—stripped of the protective services of The High Table, the secretive global association of crime organizations that enforces the assassins’ code. With a $14 million bounty on his head, even John Wick has never faced so many simultaneous threats hellbent on ending his existence. Enemies are everywhere, but that will only drive Wick to the ends of the earth as he continues to seek a personal reckoning.
Five years ago, the premiere chapter of John Wick set a new bar for action films. In this hardboiled world of killers- for-hire, audiences worldwide experienced the rush of dazzlingly pure battle sequences, of which moved like a frenzied ballet, pushing practical filmmaking to its limits. Now, Chapter 3 expands the Wick universe, revealing more about the hidden operations of The High Table and introducing intriguing new characters.
Returning to the addictive hit franchise is Keanu Reeves as Wick, Laurence Fishburne as the powerful Bowery King, Ian McShane as the Continental Hotel’s imperious manager Winston, Lance Reddick as Charon, The Continental’s helpful concierge, and Tobias Segal as Earl, a Bowery informant.
Joining the growing character roster is Halle Berry as Sofia, Anjelica Huston as The Director, Asia Kate Dillon as The Adjudicator, Mark Dacascos as Zero, Jerome Flynn as Berrada, Jason Mantzoukas as the Tick Tock Man, Saïd Taghmaoui as The Elder and Boban Marjanovic as Ernest.
Stahelski sums up where things stand as the story takes off with unrelenting momentum: “In this chapter, John Wick goes to war with the world. This gives us a chance to go to new places, go deeper into his personal journey and expand the journeys of other characters. For this chapter, we really wanted each of the action sequences to bring a new and different flavor—each gives you a bit more insight and clues into the different elements of who John Wick is and the path he is on.”
The emotional stakes mount with the physical challenges as Wick is forced to call in debts and rely on the deadly gifts from which he wants to escape. “He is still looking for absolution—but meanwhile, nearly everyone is trying to kill him, so he must revert back to someone he doesn’t want to be in order to survive,” says Stahelski.
As the film’s ever-expanding canvas takes audiences deeper into John Wick’s origins, the story demands an even more technically evolved Wick. For Reeves, the film was flat out the biggest physical test of his career. “The vision for this film was so ambitious that I went into serious training four months before,” Reeves says. “There are so many different kinds of action sequences—not only more styles of martial arts and more gunplay, but also motorcycles, horses and dogs, so the training was intense. But honestly, I love it. I love this character and I love the John Wick universe we’ve created.”
For Halle Berry, who originates the new character Sofia, the experience was like no other. “I’ve done action before, but wow, there’s nothing like this,” she says. “I’ve never trained this hard. I’ve never worked in the way that Chad and Keanu work and I’ve certainly never had 12 guys coming for me all at once! It was tough, it was amazing, and I love that my character Sofia also brings some real heart and soul to the story as someone from John Wick’s past who knows the costs of doing what he does.”
EVOLVING THE WICKIAN UNIVERSE
In the beginning, John Wick was but a dream for screenwriter Derek Kolstad. Derek wanted to pay his respects to the best of atmospheric action cinema—by stripping a modern noir down to its most unvarnished kinetic and emotional thrills. Without putting any limits on himself, Kolstad imagined the most non-stop, concussive ride he could through a universe as perilous as it was darkly vibrant.
What happened next changed everything: the exhilarating script attracted Keanu Reeves and it was like action kismet. Reeves brought the script to the two best stuntmen he knew—Chad Stahelski and David Leitch—and they in turn took the chance to try something fresh: harking back to the organic-feeling stunts seen in classic action films. The next thing they knew, John Wick had become a flesh and blood icon, embraced by audiences hungry to see and know more about him and his stylishly seductive world.
In Chapter 3, the team was ready to expand that world exponentially. As John Wick is pushed to take last-ditch measures to dodge the global price on his head, he reveals more and more of just how thick and dark a web The High Table is capable of spinning. “In this film, you’ll see much more of this mythological, hyper-real world full of secret hotels, hidden underworlds and men and women possessed of crazy skills,” Stahelski describes.
John Wick: Chapter 3—Parabellum brings to light more about The High Table, which not only sells hits around the world, it also serves as a kind of underground justice system. Like a modern twist on King Arthur’s Round Table, the brutal enforcers of the world’s crime kingdoms are held in check by a staunch code of honor and a powerful elite who mete out penance. The new chapter also reveals more of the mysteries of how John Wick became “Baba Yaga”.
“The Director is in charge of a very special kind of theatrical institute where children are trained either to be great artists or to have very special physical skills,” teases Stahelski.
In usual form, Parabellum is rife with nods to cinematic legends, from a wink at Russian film master Andrei Tarkovsky to visual echoes of Lawrence of Arabia. To him, there is still nothing more fun than the sheer human pyrotechnics of one man struggling to outlast every possible form of attack.
“Why do people love kung-fu movies, spaghetti Westerns, a Steve McQueen car chase, Charles Bronson swinging his ax and Die Hard 80s action? I think it’s that grounded excitement you get from stunts that feel real but that you’ve never seen before,” says Stahelski. “People respond to storytelling that permeates the action, and that’s what we keep pushing to do as John Wick expands.”
For producers Basil Iwanyk and Erica Lee, both key to the John Wick team from the start, one of the biggest thrills of the series has been watching Stahelski expand the world to global proportions. “With each movie, we are always asking: what can we give audiences that they haven’t seen? That only works because Chad pushes harder than anyone I’ve ever worked with,” says Lee. “He’s the ultimate perfectionist, which is why each chapter of John Wick is not only more entertaining and more action packed, but more beautiful. This time, you see more of John Wick’s world than ever.”
Adds Iwanyk: “Chad’s desire to push the envelope in action design never wanes. It boggles the mind that he can keep inventing the way he does. He has designed so many fights you’d think he would repeat himself, but in this film, you’ll see fights as cool as any created. Part of it is that Chad has a great sense for what audiences love and for what will look cool, and that is reflected in every element.”
When Keanu Reeves first took on the role of John Wick, it was one of those intriguing cases of an actor’s persona merging seamlessly into a fictional character. Reeves’s own taciturn intensity seemed to highlight the character’s compelling mix of lethal resolve and dryly humorous charm, fierce athleticism and suave grace. He also brought something that changed the approach: a rare ability to do his own fights, mostly eliminating that last buffer between audiences and convincing action—the body-double—and making things that much more immersive. That, in turn, sparked in audiences a fascination for this quietly lethal man, a man who simply wants to live in peace with his dog following the loss of his beloved wife Helen.
In Parabellum, things have changed, though John Wick’s hope to even take a breath, let alone find peace, has never seemed more improbable. The character who once doggedly pursued revenge is now the prey, surviving solely on Helen’s memory.
In this chapter, Reeves sees the character as battling himself as much as the entire world. “There’s a battle he’s becoming more conscious of in Parabellum, a battle between two sides of himself that I call John and John Wick,” Reeves explains. “John is the guy who just wants to be left alone, who seeks a quiet life in which to remember his wife. In order to do that he has to engage the side of himself that is John Wick, the side that knows how to fight to the death. John Wick is the only one who can help John survive.”
Reeves has carved out his own distinctive place in the action world. After getting his first taste as Federal Agent Johnny Utah in Point Break, he took off in the influential Speed series, only to push boundaries and bend the sci-fi genre with the seminal role of Neo in the Matrix series. By the time he took on John Wick, he had his own way of approaching an action hero—keeping open a sense of mystery and humanity in a man who is like a windup machine of precision when attacked.
“For me action has always been about that connection between the audience and the character,” Reeves explains. “If that connection is there, the action has an emotional impact and you can feel the stakes.”
Of course, Reeves knows each time he dons the refined John Wick suit, it will demand an increasingly intensive, and exhausting, prep phase. He continues to drive himself, body and soul, to redefine his own limits. At his age, he admits the training is not getting any easier, but his resolve to bring out the best in Wick is as high as ever. “Sometimes I would think that maybe the training for this film was hard because of my age, but then I realized no, this one would be hard even if I wasn’t 54 because there’s so much action in Parabellum,” he laughs. “It’s demanding but I like it that way.”
At this point, he says one question keeps him coming back for more every time: “How do we continue to stay true to what we created with John Wick, while constantly upping the bar?”
The filmmaking team is grateful for just how far above and beyond Reeves has proved willing to go. “We’ve always pushed Keanu to his limits but in this film, there were farther limits,” laughs Stahelski. “Keanu brought his blood, sweat and tears to this one. As usual, he’s also been a fantastic creative partner who has contributed a lot of great ideas.”
For Basil Iwanyk, part of what makes Reeves as persuasive as Wick is not just his physical bravado but his understated take on Wick’s inner life. “Keanu gives you a sense of John Wick’s vulnerability without him ever feeling the least bit weak or contrived. He brings a sense of humor, where you feel that he is in on how insane and absurd what he’s doing is, but he also brings an earnestness to John Wick so, at the same time, you believe he takes it all very seriously.”
“Keanu is the most committed person that I’ve ever worked with,” says Erica Lee. “He has this really empathetic quality where he is able to bring warmth to what could have been just another cold-blooded assassin. It’s not everyone who can make a killer that compellingly likeable.”
Reeves has been as strong a voice in the making as anyone, notes Iwanyk. “What people don’t realize and it’s important to know is that Keanu is a co-architect of this world. He’s come up with a lot of ideas. He’s so much more than an actor who shows up on set. His DNA is all over the movies.”
As John Wick begins calling in favors to try to stay alive, knowing every assassin in every city is looking for him, he journeys to Morocco. In the searing deserts of the Sahara, John knows he will find a woman from his past – a fellow assassin who owes him—and isn’t too happy to see him. This is Sofia, another indelible role played by Halle Berry, the Academy Award® winner who has done everything in film from serious drama to superhero epics.
Berry started out as a fan of John Wick. “I loved how real the action felt in the first movie,” she says. “I looked forward to Chapter 2 as soon as I saw the first.” When my manager told me that Chad was looking for a female assassin on par with John Wick, I knew I had to play the part. When I first met with Chad he had not yet finished writing my role, but I didn’t care, I said sign me up…I’ll do it!”
Stahelski tried to impress upon Berry just how crazy things can get when you take on a role in John Wick. “I told her it takes months and months of really painful physical training and she said, ‘I get it. I still want to do it.’ She never backed down for a second. Then she brought so much sincerity to Sofia. You really feel Sofia’s sense of personal loss as well as her strength.”
Berry admits that Stahelski did not oversell the work involved. “For sure, I never worked harder for a film role in my entire career. I had to work through some injuries, but I kept at it because quitting was not ever an option. Now I have the bug, and I just want to keep going and going,” she laughs.
She also takes pride in shattering some stereotypes. “There’s nothing I wanted to do more than to prove that women of my age can do exactly what we want to do. Age doesn’t define us,” Berry says.
Sofia, like John Wick, is a loner in this dark world of assassins, retaining an aura of mystery to all that come across her. “There is more to learn about her,” teases Berry. “What we know in this chapter is that she was trained by the same person who trained John Wick and their styles of fighting are very much the same. They clearly have some history together and we know that John saved Sofia’s daughter at some point and that Sofia gave up all contact with her daughter in order to keep her safe.”
“That’s part of what sets Sofia apart in this mysterious universe. She has this very real and tangible person that she loves very much and that she’s fighting for.”
Given the bond between the two characters, Berry worked closely to mirror Reeves’ physicality, while bringing her own personal touch to Sofia’s martial artistry. “I wanted to learn to fight a lot like Keanu so it’s clear they have the same kind of physical language. I also wanted to show how Sofia and John Wick are different enough that they complement each other as a team,” says Berry.
Reeves says of Berry, “She was 100 percent committed. Not only did she go through months of martial arts and weapons training, she also had the dog training [for Sofia’s pair of loyal Malinois]. She got to the point that our dog trainer said to me, ‘they treat Halle as their trainer now,’ which is amazing. She showed up in every way. It was great fun for me to be able to work with her dramatically and to have her be such a strong partner in the action.”
For her part, Berry was awed not only by Reeves’ perfectionist focus on set, but also by his embodiment of John Wick’s persona. “John Wick is a man of few words, but Keanu pulls it off because he’s able to express exactly what his character is feeling without having to say a lot,” she says.
For Lee, it’s the balance between Sofia and John Wick that brings a fresh energy to Parabellum. “Halle brings a really cool, sexy vibe to this world that typically has a more muscular and masculine feel. There’s a contrast between them, but Halle proved she could go toe-to-toe with Keanu,” she says.
THE HIGH TABLE GOES TO WAR
With the rules broken and John Wick on the run, The High Table has been shaken and must take measures to regain control. However, not everyone has chosen clear sides. That is especially true of Winston, the sly manager of New York’s Continental Hotel—where he has long kept chaos away from this essential neutral zone for assassins. Only now, Winston is contemplating to do what few would ever dare: go to war with The High Table.
Making his return to John Wick as Winston is Golden Globe® winner Ian McShane, renowned for playing a rogue’s gallery of dark and slippery anti-heroes. Says Lee of McShane’s expanded role in John Wick: Chapter 3 – Parabellum: “Ian is such an important piece of the franchise that we thought it was time to show some of Winston’s internal power struggle in running The Continental. What does he want? What is his end game? It’s a lot of fun to watch Ian play with this character who has mixed agendas.”
Adds Iwanyk: “Audiences love the relationship between Winston and John Wick, the strange loyalty they have to each other in a world where real bonds that go outside the rules rarely exist. In many ways, Winston is the only kind of family John Wick has left.”
McShane was thrilled when he read the new script. “It’s bigger and better than the last one,” he says. “It goes deeper into this secretive world that Chad has created. You get to learn more about Winston, as well as Charon and the Bowery King, and you get to learn more about the inner workings of The Continental. At the same time, one message remains the same: don’t screw with John Wick.”
For Reeves, McShane is the consummate scene partner. “What a charismatic, brilliant, profound actor he is,” he says. “He brings joy to the set and the power of his talent to the film.”
The King is also back in John Wick: Chapter 3 – Parabellum. Laurence Fishburne’s reigning Bowery King. Fishburne originated the role of the underworld leader who uses New York’s gritty Bowery district as a cover. This unusual character was an instant draw. “I love that he’s the king of the underworld beneath the underworld,” Fishburne says. “In this film, you learn more about the symbiosis between The Bowery, The Continental and The High Table.”
Fishburne also has some thoughts as to why audiences have latched onto John Wick as an action hero for our modern times. “No matter how dire the circumstances, he’s always so polite yet so righteous in his rage and anger,” he observes. “The design of the films, the language, the deadpan comedy and the irony of it all feels very contemporary yet also a lot of fun.”
Having been saved by John Wick in the second chapter, the shoe is now on the other foot. “The Bowery King owes John Wick a debt,” notes Fishburne. “He is just as much a criminal as anybody in this world, but he follows the code.”
For Reeves, working with Fishburne is always a highlight of any John Wick chapter. “He’s one of the best actors in the world so to have him as the Bowery King has been fantastic for us,” he says.
Lance Reddick also rejoins the cast as Charon, The Continental’s multi-talented concierge and Winston’s resourceful right-hand man. Equally known for his dramatic roles in The Wire and Fringe, playing Charon appealed to Reddick from the start because “it was just so different from anything I usually get the chance to do. I always saw Charon as a lot like Batman’s Alfred—that unsung guy behind the scenes who keeps everything running smoothly.”
In this film, Charon takes on his largest role yet, as his services become essential to The Continental’s war against the High Table. “You definitely see a lot more of Charon in this chapter,” teases Reddick. “His responsibilities are taken to a whole new level.”
THE HIGH TABLE EXPANDS
As John Wick: Chapter 3 – Parabellum dives deeper into the hidden structure of The High Table, a host of new characters come to the fore. For Stahelski, this was also a chance to expand the cast—and continue his strategy of bringing in people from way outside the box of action to the John Wick universe.
In this tradition, he was especially thrilled to cast Oscar® winner and screen legend Anjelica Huston as The Director, a woman who straddles the worlds of devoted artistic perfection and crime. Says Reeves of working with Huston: “It was fantastic to have the chance to work with Anjelica for the first time. The scenes with her character are some of the film’s most dramatic—they are rooted in John Wick’s past but rich in the stakes of the moment. She brings the depth you want from that.”
Huston had already been intrigued by Reeves’ screen work. “I don’t think we’d ever met, but I was a fan from The Matrix series, and I felt there was something so balletic about the John Wick movies,” she says. “They’re graceful and beautifully mapped out and the action took my breath away. Keanu really understands silence as well as action like few people do. He puts it all out there physically.”
With the choreographic lyricism of John Wick’s fight sequences, it felt like the perfect wink at the audience for John Wick’s earliest mentor to be an actual ballet teacher, albeit one capable of a deadlier form of pas de deux. “The Director runs a school for assassins,” Huston explains. “She’s someone who I see as having once been an assassin for the High Table herself, but she long ago climbed the staircase of the assassin world, and now she runs the training. She is surrounded by beautiful young ballerinas who are going to be wonderful spies as well as martial arts geniuses who are junior assassins.”
An inspiration to Huston throughout was Stahelski’s steadfastness—and also, his imagination. “I really like Chad as a director,” she says. “He’s sympathetic without being soft, so you get the feeling that he’s always going to get what he wants no matter what, which is the sign of a good director…and I was also really struck by the beauty of the sets and all of Chad’s choices. I loved the Tarkovsky Theatre with all the Caravaggio paintings on the walls. Chad’s a man of grand gestures which makes for a powerful, fully-plumed kind of filmmaking.”
Another highly welcomed new character is The Adjudicator, an authoritative power that enforces the rules of The High Table with a pitiless efficiency. “Derek and I loved the idea of bringing in a character who stands apart from all our assassins and judges everybody in this unethical world, while enforcing their fealty to The High Table. We had a lot of fun creating this new character,” says Stahelski.
Taking the role is Asia Kate Dillon (Dillon identifies as non-binary and uses the pronoun ‘they’), who is known for playing Brandy Epps in Orange Is the New Black and Taylor Mason in Billions. Everyone loved the unique vibe that they brought to the role. “Something that has always been vital to the John Wick world is a group of characters who feel fresh, intriguing and unconventional. Asia brought not only that but a great feeling for The Adjudicator’s power,” says Iwanyk. “The Adjudicator is almost like an insurance investigator who in a very sober, cold and matter-of-fact way, investigates what rules were broken, who broke them and what the punishment should be.”
Explains Lee: “The Adjudicator was actually a Keanu idea, and we knew it would be all about finding the right actor. We wanted someone who would be really imposing yet had bit of quirk. As fans of Billions, we loved Asia’s work and thought that they would bring a really cool vibe to the movie.”
Everyone was awed by Dillon, which was just the right effect. Mark Dacascos, who has some run-ins with The Adjudicator as Zero, puts it succinctly: “Asia Kate Dillion: incredibly intelligent, passionate, svelte, silky and dangerous, period.”
Dillon says the script stood out. “I’d never read a script where the action sequences were so detailed that you
could imagine them while sitting in your apartment,” they say. “I think I clapped at one point, just cheering at how badass I could tell it would be.”
The chance to introduce such a potent and dangerous new character was also a big magnet. “The Adjudicator is all business,” Dillon describes. “As the story begins, the Adjudicator has come to adjudge Winston for breaking the rules of The Continental. We learn that everyone has to pay for any wrong doing in the eyes of The High Table one way or another. If the rules are broken in this world it will be dealt with—and the person who is judge and jury is The Adjudicator.”
For Dillon, a high-point was the showdown with Ian McShane. “That was particularly fun to play,” they say. “After the first two chapters, you might think that nobody can mess with John Wick or Winston, but here comes this character who is intimidating and has a power they don’t. I think audiences will really enjoy that.”
Dillon is especially grateful to costume designer Luca Mosca who crafted their alluring uniform, constructed from couture pieces by the boundary-pushing designer Thierry Mugler. “Luca is an incredible human being who had such a clear vision which matched how I felt about the character,” says Dillon. “It’s a high-femme, high-fashion look with lots of angles and deep V-necks. One thing I love about The Adjudicator is that even though they’re showing skin it doesn’t make them any less powerful. When I was trying to understand the emotional intention of this character, the costume became the last piece of the puzzle that let me in.”
The Adjudicator turns to Zero, atop The High Table’s most lethal list, to mete out the death sentence on John Wick. To play the character who is ironically be-sotted with Wick’s stellar fighting skills, the filmmakers went in search of a martial artist with real acting chops. That quest led to Mark Dacascos, a karate and kung-fu champion, seen in such films as Brotherhood of The Wolf and Drive and also played The Chairman on Iron Chef America and Iron Chef Australia.
“Mark is not only a tremendous martial artist who was able to step right into the choreography, he also has a great comic sense that makes him an unnervingly strange bad guy,” says Iwanyk.
Reeves, too, was impressed. “Mark brought Zero to life with both a hard-boiled noir quality and a tongue-in-cheek humor. It was an especially good experience for me to train with Mark because he’s such an expert that he pushed me that much more.”
Dacascos had developed a love for the series well before he was cast. “As a martial artist, I totally appreciated the beautiful choreography and I loved that you actually got to see actors doing real moves with real finishes,” he says. “Since Chad is himself such a talented, disciplined martial artist, he knows what goes into real combat. He also knows how to
capture that spirit with the camera.”
Zero might be dead-set on taking John Wick’s life for the huge bounty, but he can’t help but idolize the invincible assassin. “Zero loves everything about John Wick—his style, his grace, his class, his efficiency and how brutal he is while still being a gentleman,” says Dacascos. “He’s the biggest fanboy of John Wick there is, and he wants to be on a par with him. He is also a shinobi, a Ninja warrior, so he has students he cares for like his own children. I would say he doesn’t have any illusions that he’s going to live for a very long time in this business, but I think he enjoys every moment to the fullest.”
While in Morocco, John Wick risks it all to seek out the sage advice of one of the most revered, if rarely seen, members of The High Table—a man known simply as The Elder. Taking the role is Saïd Taghmaoui, the French-American actor, and former champion boxer, who hails from Moroccan heritage and was recently seen as the charming Sameer in the Patty Jenkins directed Wonder Woman.
With his Iron Chef background, Dacascos especially enjoyed Zero’s day job: a sushi chef who employs his artistry with knives to more delicious ends. As for how he fights, Dacascos says: “Zero is, to put it mildly, a little psychotic, so I wanted to incorporate that characteristic into his fighting style. He has a broken rhythm, where he’ll be smooth then suddenly frantic. Chad really understood the direction I wanted to go. It’s great when you can put so much character into the physical movement.”
“We thought it would be great if our world of kill-or-be-killed had someone who is a kind of spiritual advisor, watching over the ethical balance of its members. The Elder is a guide for assassins and Saïd brings all the gravitas that calls for,” says Stahelski.
English actor Jerome Flynn, well recognized as Bronn in Game of Thrones, is also key to the Morocco portion of the film. He portrays the menacing Berrada, an Italian member of the High Table. “Berrada looks after the foundry where they make the gold markers,” Flynn describes. “He’s a bit like Bronn in some ways because he’s a survivor and he’s got a real sense of humor to his brutal darkness.”
Also new is Jason Mantzoukas, the comic actor known for the FX series The League and Sacha Baron Cohen’s The Dictator, in the role of the Tick Tock Man, who keeps track of time, which John Wick is running out of, for the Bowery King.
Like so many, Mantzoukas was already a fan of the series and he greatly anticipated the chance to work with Reeves. He did not disappoint. “Not only was Keanu amazing to work with, he was genuinely lovely to be around,” says Mantzoukas. “What amazed me is that he’s getting hammered day after day, yet he was still delightful and welcoming and generous to me.”
Two other newcomers have come to this chapter from beyond the worlds of movies and martial arts: towering NBA star Boban Marjanovic, the 7’3” Philadelphia 76ers center, who portrays the assassin Ernest; and New York City Ballet soloist Unity Phelan, who makes a special appearance as a ballerina in The Director’s underground school for dancers and assassins.
Phelan says she brought personal experience to the scene in which her character is compelled to spin to the point of collapse. “I can tell you that it is truly exhausting to do that kind of move over and over again,” she explains. “That’s how a teacher breaks you down in order to build you back up and that’s the dynamic between The Director and my character.”
She loved having the chance to bring dance into John Wick’s universe. “I’m especially excited to see ballet depicted as being as intense an art form as martial arts warrior training. Ballet is not only physical but mental, so it’s really cool to see it is part of the history of John Wick.”
MORE STUNTS, MORE ACTION
In an era of seductively unreal digital effects, part of the John Wick ethos has been to entirely buck the trend. In John Wick’s world, the thrills are primal and always based around practical, if high-wire, stunts. In this world, jump-cuts never interrupt a fight. Rather than zoom in to create illusions, the camera instead always pans out, the better to show the audience every precarious detail.
The big question going into John Wick: Chapter 3 – Parabellum was, given how blistering the action was in the previous films, how on earth was the team going to beat their own stratospheric standards? The answer for Stahelski and his stunt team was simple: more, more, more. They also switched things up while packing in the greatest number of meticulously constructed set pieces yet seen in a John Wick chapter.
Whereas much of the fighting in the first two chapters was one-on-one, in Parabellum there is a fresh focus on large-scale group action which really put the spotlight on choreography. Given the bounty on his head, Wick also faces a far greater breadth of enemies, pitting himself against more distinct styles of martial arts, from kung fu and wushu to Indonesian silat.
Says fight choreographer/stunt coordinator Jonathan Eusebio, who after doing the first two John Wick chapters went on to create stunts for Black Panther: “In this movie, a guiding idea is that we get to see how John Wick’s fighting style comprised of elements from judo, jujitsu and aikijujutsu stands up against other styles. He faces it all in a short space of time.”
Scott Rogers, a stunt coordinator known for his work on the Bourne series and who joins the John Wick team for the first time, says: “What Jonathan and Chad set out to do in this film is to give each fight a new feel. Each is shot differently, in different environments, featuring different skill sets.”
Rogers says he can’t emphasize enough how much of an advantage it is that Reeves can do his own action, even as the fights become more complex. “Keanu has so developed his fighting and stunt skills that he doesn’t have to do any acting to come off as a fighter, which means he can bring that much more to the character,” he says. “I’ve never seen anybody who puts more effort into it.”
John Wick: Chapter 3 – Parabellum goes beyond martial arts spectacles to stunts that range from a high-speed horse chase through New York City to climbing sand dunes in the Sahara. For Eusebio, the biggest challenge of all was the climactic battle in which Zero and his Ninja warriors take on John Wick in a spellbindingly fragile glass gallery. “We had a lot of fun playing with reflections and refractions to hide and expose fighters,” he says. “At times, you’re being tricked by your own eyes. We also have some great martial artists in this scene, including Yayan Ruhian and Cecep Arif Rahman from The Raid.”
For Rogers, too, the glass fight was a pinnacle. “It’s hard to take John Wick fights to another level, but this one definitely does,” he says.
Dacascos was dizzied by the set, but he loved what it created on screen. “A few people actually ran into the glass,” he admits. “As a fighter, a glass set is very spooky, because you can’t hide anything technically. You have to be super sharp, but the challenge was fun, and the final look is really cool.”
As Reeves prepared for his at times bone-crushing combat and chase sequences, he worked closely with Jackson Spidell, who is both one of his trainers and doubles for him when it’s absolutely necessary. Spidell notes that Reeves does all the on-screen fighting. He only steps in if there is highly technical or bruising stunt, such as being struck by a car, a not uncommon occurrence in John Wick’s life.
Spidell has watched Reeves evolve along with the character. “With each film, the action has leveled up, but Keanu has gotten better and better,” he says. “Along with Chad, he is creating an original language within the action film genre.”
Halle Berry also had a special trainer—the highly sought-after stunt woman Heidi Moneymaker. Moneymaker notes that Berry was unusually fit to begin with, which allowed her to really drill down into skill work. “Halle’s very athletic, works hard and she picks stuff up incredibly fast,” says Moneymaker.
They forged a style that is a variation on John Wick’s judo. “Sofia and John use similar techniques, but Sofia’s style has a bit of more of a female-driven spark to it. We explored realistic ways that a lean woman could bring down brawny, 6’4” guys,” says Moneymaker.
Berry is thankful to Moneymaker for driving her up to, and beyond, her edge. “I think Heidi was the key for me. It was great to be trained by a woman because women have different sensibilities and our bodies actually do work a little bit differently. Plus, Heidi is so badass it’s a constant inspiration.”
On set, it turned out that endurance was the X factor, says Berry. “Because of Chad’s long takes, it’s essential to have really good cardiovascular stamina so I could do lots of moves at once and then do them over and over. I also really wanted to show I could keep up with Keanu, which is no easy deal.”
Moneymaker says seeing Sofia come to life with her mix of grit and grace made the long months invested worth it. “There have been strong female characters in John Wick films before. This time, I find it really exciting because Sofia is so much like John Wick,” she points out. “She’s as tough as he is.”
It wasn’t only humans who needed to train for Parabellum. Months of preparation also went into Sofia’s brace of steadfast Malinois dogs. This sleek Belgian breed often used for police work takes naturally to complex training, but even so, no dogs had ever been asked to do John Wick-style action before. That’s why Stahelski brought in Andrew Simpson, a leading animal trainer well known for training the direwolves in Game of Thrones. Simpson worked for several months, carefully and humanely, with five different young Malinois, each hand chosen for their intelligence, agility and joy for learning. The plan: to essentially teach them a form of “canine jujitsu” he and Stahelski designed for the film.
“Chad put just as much focus on training the dogs as on the human fighters,” muses Rogers. “They’re super muscular, athletic dogs who have extreme focus and can fly through the air. Pound for pound their strength is extraordinary.”
Berry was more than happy to spend intensive time with this remarkable canine team so they would respond as keenly to her as they did to Simpson. “I spent four days a week, three hours a day going through drills with the dogs to build a close relationship,” Berry explains. “Malinois are super smart and fiercely loyal but, at the same time, they like to play, which made it fun. I’m an animal person. I have two dogs myself, so the sweetest part of my training day was always hanging out with the dogs.”
On top of the fights and chases, a different type of choreography was needed for the ballet scenes. Stahelski was excited to be able to bring in New York City Ballet principal Tiler Peck to create something special. Familiar with the John Wick series already, Peck leapt at the challenge of trying to merge her beloved art form into this kinetic form of storytelling. “Since the John Wick movies have always been based on great fight choreography, I knew Chad understood the power of choreography,” Peck says. “I loved that he wanted something really different that would spotlight the physicality and athleticism of ballet. The piece we created is edgy, tense and dramatic, in keeping with John Wick.”
BEYOND THE CONTINENTAL: THE DESIGN
Expanding the John Wick universe brought a whole new array of design challenges–which the filmmakers relished. To help tackle them, Stahelski assembled much of the same crew that created John Wick: Chapter 2. They include cinematographer Dan Laustsen, production designer Kevin Kavanaugh and costume designer Luca Mosca, who forged Wick’s instantly recognizable look in the first chapter. Also returning from John Wick: Chapter 2 is Evan Schiff, whose fluid editing controls the breakneck pace.
“We sought out Dan, Evan, Kevin and Luca again because they love what they do and they love putting in the maximum effort to make every frame better than we imagined,” says Stahelski.
From the outset, John Wick forged its own aesthetic: a dark neo-noir realm lit with neon hues and the fierce determination and sly humor of its characters. “We always wanted it to feel like it was straight out of the pages of a graphic novel,” says Iwanyk, “with that kind of framing, colors, vibe and energy—even though it wasn’t from a graphic novel.”
Sums up Lee: “Everything in this world is pushed and hyper-real and sexy and dramatic.”
Lauded for his minimalist but sophisticated wide-frame camerawork on Chapter 2, Laustsen was exhilarated to take things even further this time around. (Following that film, he went on to garner an Oscar® nomination for Guillermo del Toro’s The Shape of Water.) He employed a raft of dollies, cranes and Steadicams to create a sea of nonstop movement. “Having established this universe of strong color, camera movement and sharp images, we had the chance in this chapter to really play with that. This film is even more colorful, has stronger contrast and showcases even wilder action,” says Laustsen.
Laustsen enjoyed shooting amidst the sun-soaked beauty of Marrakech and the Sahara, but he says his favorite scene of all was in New York, shooting at Grand Central Terminal. “It’s something Chad and I have talked about doing for years,” notes Laustsen, “and now we finally were able. It’s just so iconic New York. We wanted to light it in our own shadowy way, and it’s difficult to do there because the working conditions are rough. You have to come in and get out fast. We only succeeded because we had such a fantastic lighting and grip crew in New York.”
Further cinematic inspiration came from Kavanaugh’s sets. Though this film traverses the world, Iwanyk notes that Kavanaugh has retained a foreboding edge to the look. “Kevin has kept in the original street cred and grittiness of the John Wick world, while making it more of a global adventure.”
In New York, locations included not only Grand Central Terminal but also the New York Public Library, adding to the series’ dark elegance. The Continental Hotel (shot at the infamous One Hanson Place in Brooklyn) also underwent a major expansion. “The Continental originally started out as just a lobby and a room,” muses Lee. “Now you see the deeper workings of the hotel.”
When John Wick makes his passage to Morocco, a country that has long lit the imaginations of filmmakers and moviegoers, the filmmakers had the chance to reveal a new kind of version of the famed Continental Hotel. They see it as an homage to that most classic Humphrey Bogart noir of all, Michael Curtiz’s Casablanca. “We always thought it would be a great little ode to send John Wick to Casablanca. In the Michael Curtiz movie, Rick’s Place was where everyone met to make off-limits deals—and that was the origin of The Continental,” Stahelski reveals. “That’s where we first got the idea that all assassins would go to one place all over the world, their only refuge from the dangers of the street.”
Morocco was also a way to see how the John Wick vibe might translate to a sun-soaked locale. “We loved the contrast of going from rainy, gray, textured concrete of New York to Morocco, with its heat, sand, color and rolling dunes. It’s a pretty intense change of pace,” says Iwanyk.
Reeves was especially awed by the infinite horizons of the Sahara. “I hadn’t been to the Sahara before and what a magical, amazing, profound place it is,” he says. “For me to be walking up those sand dunes in the dark John Wick suit definitely had its challenges but it’s an amazing scene on screen.”
Back in New York, Kavanaugh created his piéce de resistance for Chapter 3: the glass gallery inside The Continental, where John Wick finds himself in a literally shattering fight for his life. “We really wanted to do the sequence entirely practically, without any effects. We relied on choreography, lighting and camera angles, which meant the design had to synch with the action,” explains Stahelski.
“Kevin even brought in engineers because there were so many intricacies to the glass set. It was definitely a logistical nightmare, but somehow they pulled it off—and it looks incredible,” says Lee.
In many ways, this realm of glimmering, splintering glass represents all the contrasts that make John Wick so beguiling: the way the series plays with both the brutal and the beautiful, the straight forward and the magical, the most demanding designs yet the purest visual storytelling.
“What Chad does with each John Wick film is to push everything creatively, emotionally, psychologically, and visually as far as we can take it. We always try to wring every single piece of moisture out of every single element,” says Iwanyk.
Once again, this chapter builds to a cliffhanger, hinting at more revelations to come. “There is always going to be more for John Wick to experience…until the day he is finally able to retire,” says Lee.
For Reeves, there is one pleasure that beats them all when it comes to John Wick: the joy audiences take from witnessing him outlast every imaginable—and unimaginable—onslaught. “The opportunity to continue telling this story with the beauty of Chad’s vision and the support of the crew’s devotion is a thrill,” concludes Reeves. “We hope people will get as much excitement from watching it as we get from making it.”
About The Filmmakers
Chad Stahelski’s [Director] directorial debut was 2014’s John Wick. The box-office and critical success starred Keanu Reeves, Willem Dafoe, John Leguizamo, Adrianne Palicki, Michael Nyqvist, Alfie Allen, and Ian McShane.
Chad followed with the film’s sequel, John Wick: Chapter 2, with Reeves reprising the title role, joined by Common and Laurence Fishburne, and Chad again at the helm. The film was released in February 2017 and was again a box-office and critical success.
Chad is in development with Highlander also for Lionsgate. The film is a reboot of the 1986 cult classic Highlander picture that starred Christopher Lambert.
Chad came from a martial art background. He entered the film field as a stunt performer at the age of 24 as a stunt double on The Crow where he doubled the late Brandon Lee. The greatest break for Chad as a stunt man came when he doubled for Keanu Reeves in The Matrix. From there, he moved onto fight choreography, stunt coordinating and 2nd unit directing. He worked on titles including Wild Wild West, The Replacements, The Matrix Reloaded, The Matrix Revolutions, Van Helsing, Constantine, xXx: State of the Union, and 300.
He has worked as 2nd unit director on Captain America: Civil War, The Hunger Games, The Hunger Games: Catching Fire, Sherlock Holmes: A Game of Shadows, The Brothers Grimsby, Hitman: Agent 47, Escape Plan, After Earth, The Expendables 2, Safe, and Ninja Assassin.
With partner David Leitch, Chad opened the action design company 87Eleven in 2006.
Basil Iwanyk [Producer] Basil Iwanyk is the founder and owner of Thunder Road Pictures, one of the most prolific and respected independent film companies in Hollywood. Thunder Road’s films have been nominated for Academy Awards®, Golden Globes®, Producers Guild Awards, Writers Guild Awards, Directors Guild Awards, and AFI Awards, as well as have appeared at Cannes, Sundance, Toronto, and Berlin Film Festivals. Thunder Road’s films have collectively grossed over $2.6 billion worldwide.
Iwanyk’s most recent releases include: HOTEL MUMBAI, based on the siege of the Taj Mahal Palace Hotel starring Dev Patel and Armie Hammer; A STAR IS BORN, directed by and starring Academy Award® nominee Bradley Cooper opposite Lady Gaga; A PRIVATE WAR directed by Academy Award®-nominated Matthew Heineman, starring Rosamund Pike and Jamie Dornan; the searing crime thriller sequel SICARIO: DAY OF THE SOLDADO, starring Benicio del Toro and Josh Brolin; and the actioners JOHN WICK and JOHN WICK: CHAPTER 2, starring Keanu Reeves, both of which were critical and commercial successes. Basil is currently in post-production on the 3rd installment, which will be released May 17, 2019. The John Wick franchise has grown to include a forthcoming Starz TV series, 2 planned spinoff features, comic books, and 4 video games.
Up next, he has: THE INFORMER, a thriller starring Rosamund Pike, Joel Kinnaman and Common; and THE CURRENT WAR, directed by Alfonso Gomez-Rejon and starring Benedict Cumberbatch, Michael Shannon and Tom Holland.
Iwanyk most notably produced the critically-acclaimed drama THE TOWN, directed by Academy Award® winner Ben Affleck, SICARIO, a taut, gripping thriller directed by Academy Award® nominee Denis Villeneuve and starring Emily Blunt, Benicio del Toro and Josh Brolin, and WIND RIVER, the lauded directorial debut of Taylor Sheridan starring Jeremy Renner and Elizabeth Olsen. Past films also include: ROBIN HOOD; the epic action adventure CLASH OF THE TITANS, and its sequel, WRATH OF THE TITANS; three installments of THE EXPENDABLES; BROOKYLN’S FINEST; and WE ARE MARSHALL.
A New Jersey native, Basil Iwanyk graduated from Villanova University and began his film career as an agent trainee at United Talent Agency. Joining Warner Bros. Pictures in 1995, he quickly ascended to become the youngest VP in Warner Bros. history. During his tenure at Warner, Iwanyk was involved in the development and production of films such as Antoine Fuqua’s crime drama TRAINING DAY, starring Denzel Washington in an Oscar®-winning performance, Steven Soderbergh’s OCEAN’S ELEVEN, and Christopher Nolan’s thriller INSOMNIA.
Derek Kolstad [Writer] is a Midwestern son who now calls SoCal home. He started writing screenplays after watching Die Hard on Betamax, and never really stopped.
It took a long while for him to become a professional screenwriter, but sometimes that’s just the way of it. And up until that point –and beyond- he has enjoyed a life well lived.
Kolstad lives in Pasadena with his wife, Sonja, two-year-old twins, Harry and Linnea, and two dogs, Loki and Isis (a name, he insists, that he had first).
Marc Abrams [Writer] Marc Abrams was born and raised on Long Island, NY, where his time was split between his love for music and his love of reading – both classics and comic books. The latter of which lead to his first job, managing a comic book store while still in his teens.
Moving to Los Angeles with a guitar in hand, he quickly realized he was never going to be Jimmy Page, so he chose an only slightly less risky career path – Hollywood writer. Happily, an over 20 year career followed. His work has won him Peabody, Television Critics Association, and NAACP Image Awards as well as Emmy, Golden Globe and Writers Guild Awards nominations.
He lives in Los Angeles with his girlfriend of seventeen years, Teri, and their dog, Amigo. He is still working on the solo to Stairway to Heaven.
About The Cast
Keanu Reeves [John Wick] is one of Hollywood’s most sought after leading men with a worldwide box office total of over $4.2 billion. As a remarkably eclectic actor, Reeves has made an indelible mark on the world of entertainment through the diverse roles he has played. Reeves will next appear in the Netflix romantic comedy Always Be My Maybe, which stars Ali Wong and Randall Park. In June, he will lend his voice as a new character in Disney’s Toy Story 4, which will be Reeves first role in an animated film.
In 2013, Reeves made his directorial debut and starred in the Tai Chi action film, Man of Tai Chi. Reeves also starred that year in 47 Ronin, an 18th century story centered on a band of samurai who set out to avenge the death of their master. In 2012, the Reeves-produced documentary Side By Side made its debut to critical acclaim. The documentary, which explores the history of filmmaking and the impact of new digital technology, premiered at the Berlin International Film Festival. In the film, directed by Chris Kenneally, Reeves interviewed some of Hollywood’s major directors including James Cameron, David Fincher, David Lynch, George Lucas, Danny Boyle, Martin Scorsese, Christopher Nolan, Steven Soderbergh, Lars Von Trier and the Wachowskis.
His list of credits include: The Bad Batch, To the Bone, the blockbuster The Matrix trilogy, Speed, Generation Um, Henry’s Crime, which he both starred and produced; The Private Lives of Pippa Lee written and directed by Rebecca Miller in a supporting role opposite Robin Wright; The Day the Earth Stood Still, a remake of the 1951 classic sci-fi film, starring opposite Jennifer Connelly; the cop thriller Street Kings opposite Forest Whitaker; The Lake House, a romantic drama starring opposite Sandra Bullock, and A Scanner Darkly, a highly stylized blend of live-action and animation. Reeves also starred in the comic adaptation Constantine, opposite Rachel Weisz, the independent film Thumbsucker and Something’s Gotta Give, a romantic comedy in which he starred opposite Jack Nicholson and Diane Keaton.
Other film credits include: Destination Wedding, To The Bone, Knock, Knock, Siberia, Replicas, Exposed, The Neon Demon, The Whole Truth, Hardball, The Gift opposite Cate Blanchett for which he received critical acclaim; Sweet November, The Replacements, A Walk in the Clouds; the hit thriller, The Devil’s Advocate, opposite Al Pacino and Charlize Theron; Little Buddha, and Much Ado About Nothing, opposite Denzel Washington, Emma Thompson and Michael Keaton. Reeves also starred in Bram Stoker’s Dracula, My Own Private Idaho, Point Break, Bill & Ted’s Excellent Adventure and its sequel, Bill & Ted’s Bogus Journey.
Raised in Toronto, Reeves performed in various local theater productions and on television before relocating to Los Angeles. His first widely acclaimed role was in Tim Hunter’s River’s Edge. He then starred in Marisa Silver’s Permanent Record, and with Amy Madigan and Fred Ward in The Prince of Pennsylvania. Yet another turn came when the actor was cast as the innocent Danceny in Stephen Frears’ highly praised Dangerous Liaisons, alongside Glenn Close, John Malkovich and Michelle Pfeiffer. He joined other outstanding casts that year in Ron Howard’s comedy, Parenthood, and Lawrence Kasdan’s I Love You to Death. Audiences saw Reeves for the first time as the romantic lead opposite Barbara Hershey in Jon Amiel’s Tune in Tomorrow, also starring Peter Falk. His additional credits include Tri-Star’s sci-fi thriller, Johnny Mnemonic; Andrew Davis’ action film, Chain Reaction; and the dark comedy Feeling Minnesota,” directed by Steve Baigelman for New Line Cinema.
Halle Berry [Sofia], Academy Award®-winning actress, continues to break down barriers with a multitude of critically acclaimed, diverse roles and continued success at the box office. For her brilliant performance in Monster’s Ball, she won the Academy Award® for Best Actress, as well as the SAG Award®, the Berlin Silver Bear Award and was named Best Actress by the National Board of Review. No stranger to accolades, Berry earned the Emmy®, Golden Globe®, SAG Award® and NAACP Image Award for her extraordinary performance in HBO’s telefilm, “Introducing Dorothy Dandridge,” which she also produced, and was nominated for a Golden Globe® for Best Actress for her role in Frankie & Alice. Berry joined the prestigious list of actresses starring in the James Bond franchise with her role of “Jinx” in Die Another Day opposite Pierce Bronson, which also marked BOND’s 40th anniversary and one of the top five grossing BOND movies of all time.
It was also recently announced that Berry is set to make her feature directorial debut with Bruised in which she will also star. The plot will follow a disgraced MMA fighter who must fight a rising MMA star while becoming the mother her child deserves. She was most recently seen in 20th Century Fox’s Kingsman: The Golden Circle starring alongside Taron Egerton, Channing Tatum, Colin Firth, Julianne Moore, Mark Strong and Jeff Bridges.
In 2017, Berry starred in Deniz Gamze Erguven’s English-language directorial debut Kings. The movie premiered at the 2017 Toronto Film Festival and focuses on the 1992 Los Angeles riots that followed the acquittal of four police officers in the Rodney King case. The actress also starred in the Luis-Prieto directed thriller Kidnap for Aviron Pictures. In the film, Berry, who also served as executive producer on the project along with her producing partner Elaine Goldsmith-Thomas for their production banner 606 Films, played a mother who will stop at nothing to save her abducted son.
In 2014, Berry reprised her role as ‘Storm’ in the summer blockbuster X-Men: Days of Future Past. The film continued the franchise’s critical and commercial success, debuting at #1 at the box office. Berry also starred in the hit Sony Pictures thriller, The Call, in which she plays an emergency operator who must confront a killer from her past in order to save a girl’s life. Prior to that, she appeared in the Warner Bros. film Cloud Atlas alongside Tom Hanks, Susan Sarandon, Hugh Grant, directed by Tom Tykwer and the Wachowskis. The film, which earned Berry a 2013 NAACP Outstanding Actress nomination, follows six stories set in a different time and place that become intricately related to each other.
In 2007, Berry was seen in the drama Things We Lost in the Fire opposite Benicio Del Toro, for which she received critical praise for her portrayal of a widow who befriends her husband’s drug addicted, childhood friend after his untimely death. Also in 2007, Berry was seen starring opposite Bruce Willis in the box-office thriller, Perfect Stranger. In 2000, Berry appeared in the role of ‘Storm’ in the first installment of the X-Men movie franchise. She later reprised the role for X2 in 2003 and X-Men: The Last Stand in 2006.
Also in 2006, Berry received Emmy® and Golden Globe® nominations for her acting work in the Oprah Winfrey-produced movie Their Eyes Were Watching God, and as executive producer for the HBO telefilm “Lackawanna Blues.” In 2005, Berry also voiced the role of ‘Cappy’ in the 20th Century Fox animated hit, Robots. She also starred in the psychological thriller Gothika, which helped to cement her status as an international box office draw.
In her early years, Berry studied at The Second City in Chicago before continuing her acting education at The William Esper Studio in New York City. Critics and filmgoers first took notice of Berry in her feature film debut, Spike Lee’s Jungle Fever. She went on to star opposite Warren Beatty in the socio-political comedy, Bulworth. Her other film credits include Losing Isaiah opposite Jessica Lange, Executive Decision, the live-action version of The Flinstones, The Last Boy Scout, Strictly Business, Boomerang, opposite Eddie Murphy, and Swordfish with John Travolta and Hugh Jackman.
Other television credits include starring in and producing the Steven Spielberg produced ABC drama “Extant,” ABC mini-series “Oprah Winfrey Presents: The Wedding,” directed by Charles Burnett, as well as the title role in Alex Haley’s mini-series, “Queen.” The latter performance earned Berry her first NAACP Image Award for Best Actress, as well as the Best Newcomer Award from the Hollywood Women’s Press Club. She also starred opposite Jimmy Smits in Showtime’s original telefilm, “Solomon and Sheba.”
Berry has garnered praise not only for her numerous leading roles, but for her work with a range of organizations. She is an active supporter and chair member of the Jenesse Center in Los Angeles. The Jenesse Center was founded in 1980 and assists victims of domestic violence and aims to change the pattern of abuse in the lives of women and children. She previously partnered with Michael Kors’ Watch Hunger Stop campaign and the United Nations World Food Programme to raise awareness for building a world with zero hunger. This partnership saw Watch Hunger Stop commit its global reach and resources to WFP’s goal of building “a world with zero hunger.” In support of this, Berry visited rural Nicaragua to raise awareness. Berry joined forces with Novo Nordisk and the Entertainment Industry Foundation to launch the Diabetes Aware Campaign and has supported a vast amount of charities and organizations such as, Revlon Run/Walk, Make-A-Wish Foundation, Afghanistan Relief Organization, Stand Up to Cancer, Love Our Children USA and Clothes Off Our Back.
Laurence Fishburne [Bowery King] has achieved an impressive body of work as an actor, producer and director. He starred in his first television show at age ten in the drama One Life to Live, and made his feature film debut at age twelve in Cornbread, Earl and Me. At fifteen, Laurence appeared Apocalypse Now, the first of many cult classics destined to define his long career.
Fishburne’s versatile acting has won him awards in theatre, film and television. In 1992, Fishburne won a Tony Award® for his portrayal of Sterling Johnson in August Wilson’s Two Trains Running. He won his first Emmy® Award in 1993 for “The Box” episode of Tribeca, and his second for his one-man show, Thurgood, in 1997. In 1993, Laurence also received a Best Actor Oscar® nomination for the Tina Turner biopic, What’s Love Got to Do with It. He was an Emmy® Award nominee and an NAACP Image Award winner for his starring role in the 1997 telefilm Miss Evers’ Boys, which he also executive-produced. Laurence has been nominated 23 times for NAACP Image Awards, with five wins – most recently in 2017 for his role in ABC’s black-ish.
Laurence may be best known for his role as Morpheus in the Wachowkis’ blockbuster The Matrix trilogy, but his many film credits include: Academy Award® nominee John Singleton’s Boyz ‘n the Hood, Richard T. Heffron’s telefilm A Rumor of War, Steven Spielberg’s The Color Purple, Steven Zaillian’s Searching for Bobby Fischer, Mr. Singleton’s Higher Learning, Clint Eastwood’s Mystic River, and cult classics Deep Cover and King of New York.
In 2000, Fishburne founded Cinema Gypsy Productions with his longtime manager and producing partner, Helen Sugland. They have produced numerous nominated and award-winning projects including: Thurgood (HBO), Five Fingers (Lionsgate), Akeelah and the Bee (Lionsgate), Once in the Life (Lionsgate), Always Out Numbered (HBO), Hoodlum (United Artists), and Miss Evers Boys (HBO). Currently, they produce the ABC-TV hit series black-ish where Mr. Fishburne stars alongside Anthony Anderson and Tracee Ellis Ross. In 2016, 2017, and 2018 black-ish received Emmy® nominations for Outstanding Comedy Series. The show was also nominated in 2017 and 2018 for a Golden Globe® Award for Best Television Series – Musical or Comedy.
In 2016, Fishburne starred in Warner Bros.’ blockbuster Batman v. Superman: Dawn of Justice, and A&E’s miniseries remake of Roots, alongside Forest Whitaker and Anna Paquin. The Roots remake premiered with universal acclaim, and Fishburne received a 2016 Emmy® nomination for Outstanding Narrator as Alex Haley. Fishburne also appeared in Passsengers alongside Jennifer Lawrence and Chris Pratt which was released December 2016.
Laurence’s recent releases include: Bronzeville, a 10-episode audio drama written by A History Of Violence scribe Josh Olson and produced with Larenz Tate’s company TateMan Entertainment and Audio HQ; and Madiba, a 2017 miniseries for BET Networks where Laurence portrayed Nelson Mandela in a drama about the politician’s life. In 2017 he appeared in Richard Linklater’s Last Flag Flying in which he stared with Steve Carell and Bryan Cranston. He was last seen in Marvel’s Ant Man and The Wasp, which was released in July 2018. Cinema Gypsy Productions are also producing an adaptation of The Alchemist at TriStar with Kevin Frakes of Palm Star Media.
Fishburne has served as an Ambassador for UNICEF since 1996. In 2007, he was honored by Harvard University as Artist of the Year for his Outstanding Contributions to American and International Performing Arts as well as his humanitarian contributions.
Mark Dacascos [Zero] is an actor, director, martial artist, and television personality. Whether seen on the big screen or small, playing the good guy or the bad, Mark has been making audience stand up and take notice
for many years.
Later this summer Mark can be seen in Roger Avary’s film Lucky Day in the scene stealing role of Louis opposite Nina Dobrev and Crispin Glover and the new Netflix series Wu Assassins opposite Katheryn Winnick.
Dacascos has appeared in over 40 feature films including the haunting French film and box office success, Brotherhood of the Wolf, nemesis to Jet Li in Cradle to the Grave, and cult classic action film, Drive. He has also reprised the iconic role of Wo Fat in the hit CBS series Hawaii 5-0, Mr. Giyera on the hit television show Agents of S.H.I.E.L.D., as well as the star of the series The Crow. Mark has appeared in numerous television shows such as Chicago P.D., Lucifer, and the hugely popular Hallmark franchise, The Perfect Bride and its follow up The Perfect Bride: Wedding Bells.
Mark’s turn as The Chairman on the Food Network’s hit show, Iron Chef America, launched him into pop icon status with over 200 episodes and counting on the Food Network. He also took his turn on the dance floor transforming his martial arts moves into dancing magic on ABC’s hit show, Dancing With the Stars. Many millions have also enjoyed watching Mark in the hugely popular and uber successful web series Mortal Kombat Legacy and the international web series The Way.
Besides starring in television and films, Mark achieved a career milestone by directing his first feature film titled Showdown in Manila starring Casper Van Dien and Tia Carrere. The darkly exotic, multi-lingual, multi-skilled Dacascos is a mix of Japanese, Filipino, Spanish, Irish, and Chinese heritages. He was born in Hawaii and attended school in Germany. He is married and the proud father of 3 children.
Asia Kate Dillon [The Adjudicator] is a performer, writer and director residing in New York City. Cast in the role of Taylor, a non-binary gender identifying character in Showtime’s Billions, Dillon is the first non-binary gender identifying actor to ever be cast in a major television series and the first biologically assigned female to be nominated for a Critics Choice Awards in the Supporting Actor category. They* recently finished voicing the character of Valentina Romanyszyn in the animated series gen:LOCK, both to be released in 2019.
Born and raised in Ithaca, New York, Dillon studied at the American Musical and Dramatic Academy (AMDA) in New York City, graduating from the Studio Program. They then returned to Ithaca to complete the Meisner training program at The Actor’s Workshop of Ithaca (Dillon began during their junior year of high school at age sixteen, the youngest student ever admitted to the class). As an active alumni Dillon not only acted with the theater company, but also served as a teaching assistant and stage manager.
In 2011 Dillon took on the titular role of Rachel Corrie in My Name is Rachel Corrie. This role required Dillon to memorize over thirty monologues and play over seven alternate characters over the course of the one person show, which received rave reviews calling Dillon “absolutely magnetic.”
Dillon returned to New York City and was chosen from nearly one thousand actors to participate in a Workshop at The Flea Theater in Manhattan of fifty new plays by Tony Award® and Academy Award®-nominated and winning playwrights and directed by Ed Sylvanus Iskandar. This was followed by a featured role as Lucifer in The Mysteries, also directed by Iskandar. Following The Mysteries, Dillon traveled to Washington, D.C. to perform in The Tempest at The Shakespeare Theatre Company.
These strong performances led to television roles in Orange Is the New Black, Master of None, Younger and Billions. Dillon played the role of Albert Cashier in Good Men Wanted at Dixon Place, which would later host US – an evening of storytelling followed by a talkback, of which Dillon is the creator, curator and director. US puts a magnifying glass to racism in the United States using original and found text, audio and video footage to drive the #BlackLivesMatter conversation forward. In early 2016, they co-founded MIRROR/FIRE productions and currently serve as a Producing Director of the company.
*Asia Kate Dillon uses the singular they pronoun for non-binary gender identification.
Lance Reddick [Charon] currently stars on the Amazon series “Bosch,” based on Michael Connelly’s internationally recognized series of novels. Previously, he starred as Special Agent Phillip Broyles on the hit Fox series “Fringe” and appeared as Matthew Abaddon on ABC’s hit “Lost,” garnering him a large international following among sci-fi fans.
In the feature world Reddick was most recently seen opposite Tessa Thompson in Little Woods, in the thrillers Monster Party and The Domestics and in the drama Canal Street. Other features include White House Down, with Channing Tatum, Jamie Foxx and Maggie Gyllenhaal, Won’t Back Down opposite Viola Davis, Adam Wingard’s cult hit The Guest with Dan Stevens; Ed Zwick’s The Siege, alongside Denzel Washington and of course John Wick 1 & 2 opposite Keanu Reeves. Later this year he has Angel Has Fallen opposite Gerard Butler and Morgan Freeman and in 2020 will be seen in Godzilla & Kong opposite Kyle Chandler and Sylvie which re-teams him with Tessa Thompson.
After a well-received guest-star turn on the FXX comedy “It’s Always Sunny in Philadelphia,” comedy offers started rolling in. Reddick then starred in a highly successful viral video entitled “Toys R Me,” for Funny or Die, appeared in a spot for College Humor, booked an episode of “Wilfred” on FX and was seen in sketches for “Comedy Bang! Bang!” on IFC and “NTSF:SD:SUV” on Adult Swim. He will next be seen in a season-long arc on Comedy Central’s upcoming series “Corporate.”
Reddick came to prominence in the memorable role of Lt. Cedric Daniels on HBO’s critically acclaimed series “The Wire.” This role not only brought him a global fan base, the show is widely viewed as one of the greatest of all time. He also did outstanding work on the award-winning miniseries “The Corner” and considers his “breakout role” to be John Basil (aka “Mobay”) on HBO’s seminal drama “Oz.”
As a producer, Reddick’s first completed feature was St. Sebastian, in which Reddick stars for director Danny DeVito. Reddick also co-produced and starred in the well-received web series “Dr0ne,” for Justin Lin’s YOMYOMF network on YouTube.
Reddick is a graduate of the Yale School of Drama. One of his first roles was understudying Tony Award® winner Jeffrey Wright as Belize in The Broadway production of “Angels in America.” He also appeared Off Broadway in productions of “Henry V,” “Afterplay” and the critically acclaimed 2006 Off Broadway revival of August Wilson’s “Seven Guitars,” in which he played the lead.
An accomplished musician, the actor studied classical composition at the Eastman School of Music as an undergraduate. He wrote, composed and sang all the songs on his debut album “Contemplations & Remembrances,” a contemporary collection of jazz music available on iTunes.
Jason Mantzoukas [Tik Tok Man] most recently starred in THE LONG DUMB ROAD, an American road trip comedy that premiered at the 2018 Sundance Film Festival and costars Tony Revolori, Casey Wilson, and Ron Livingston. Mantzoukas can also be seen as Frank in THE HOUSE, Nadal in THE DICTATOR, and in films like HOW TO BE SINGLE, SLEEPING WITH OTHER PEOPLE, NEIGHBORS. On television, Mantzoukas is best known for roles
like Rafi on FXX’s THE LEAGUE, Jay on Netflix’s BIG MOUTH, Adrian Pimento on FOX/NBC’s BROOKLYN NINE-NINE, and Derek on NBC’s THE GOOD PLACE, as well as shows including I’M SORRY, KROLL SHOW, MODERN FAMILY, TRANSPARENT, BROAD CITY, PARKS AND RECREATION, ENLIGHTENED, and COMMUNITY. In addition to his acting work, Mantzoukas co-wrote Adult Swim specials MR. NEIGHBOR’S HOUSE (1&2), as well as the Universal comedy RIDE ALONG starring Ice Cube and Kevin Hart. Mantzoukas co-hosts the wildly popular comedy podcast “How Did This Get Made?” alongside June Diane Raphael and Paul Scheer, where the trio hilariously analyze bad movies.
Anjelica Huston [The Director], Academy Award®-winning actress and director Anjelica Huston continues her renowned family’s legacy in film, which began with her grandfather, Walter Huston and her father, John Huston.
Throughout her career, Huston has received a multitude of awards for her work, including many honors from the National Society of Film Critics, two Independent Spirit Awards, the Los Angeles and New York Film Critics Awards and an honor from Women in Film.
Huston received a Best Supporting Actress Oscar® for her role as Maerose Prizzi in the black comedy “Prizzi’s Honor,” in which she starred opposite Jack Nicholson and Kathleen Turner. In 2005, Huston received a Golden Globe Award® for her role in HBO’s original movie “Iron Jawed Angels,” in which she starred opposite Hilary Swank and Julia Ormond.
Other film credits include memorable turns in Summit’s feature film “50/50,” alongside Joseph Gordon- Levitt, Bryce Dallas Howard, and Seth Rogen as well as Wes Anderson’s “The Darjeeling Limited,” “The Life Aquatic with Steve Zissou” and “The Royal Tenenbaums.” Additional credits include Frances Ford Coppola’s “Gardens of Stone,” Woody Allen’s “Manhattan Murder Mystery” and “Crimes and Misdemeanors,” Paul Mazursky’s “Enemies: A Love Story,” Nic Roeg’s “The Witches,” Stephen Frears’ “The Grifters,” Barry Sonnenfeld’s “Addams Family” and
“Addams Family Values,” Mira Nair’s “The Perez Family,” Sean Penn’s “The Crossing Guard,” Vincent Gallo’s “Buffalo ‘66,” Andy Tennant’s “Ever After,” Clark Gregg’s “Choke,” Bobby Miller’s “The Cleanse,” and Theresa Rebeck’s “Trouble” opposite Bill Pullman and David Morse, which Huston executive produced. She also collaborated with her director-father on his final film, “The Dead.”
Her directorial debut was an unflinching adaptation of Dorothy Allison’s best-selling memoir, “Bastard Out of Carolina,” which garnered Huston critical acclaim. She received an Emmy® Award nomination for her work on the controversial drama, as well as a Directors Guild Award nomination. Huston directed, produced and starred in “Agnes Browne,” which was presented at the Directors’ Fortnight at the 2000 Cannes Film Festival.
Huston starred as Broadway producer Eileen Rand in the Golden Globe®-nominated television series “Smash” on NBC. In addition, Huston’s television credits include Robert Ludlum’s “Covert One: The Hades Factor,” a recurring role on Showtime’s original series “Huff”, an Emmy®-nominated guest-starring role on “Medium,”
Lifetime’s “The Watcher In The Woods,” “Angie Tribeca” on TBS, and a recurring role on Amazon’s acclaimed series “Transparent.” Huston received additional Emmy® nominations for her performances in “Buffalo Girls,” “Lonesome Dove,” “Family Pictures” and “The Mists of Avalon.” She has contributed voices to Disney’s “Tinker Bell” franchise, the Fox animated series “American Dad,” and the Netflix animated series “BoJack Horseman,” “All Hail King Julien,” and Guillermo Del Toro’s “Troll Hunters.”
Huston serves on the Board of Directors at the National University of Ireland Galway’s John Huston School of Film and Digital Media. She is a member of the Film Foundation’s Artists Rights Council, an Ambassador for the California Arts Council, a member of the Save the Chimps advisory council, and on the Honorary Board of Directors for PETA.
Huston is also a New York Times bestselling author. Her memoir A Story Lately Told: Coming of Age in Ireland, London, and New York was published by Scribner in November 2013. A Story Lately Told ends as she launches her Hollywood life. The second part of her story—Watch Me—opens in Los Angeles in 1973 and was published in Nov 2014.
Huston’s upcoming film releases include Goldfinch Studios’ “Waiting for Anya,” based on the novel by Sir Michael Morpurgo opposite Noah Schnapp and Jean Reno.
Ian McShane [Winston], from a lawless, foul-mouthed saloon owner in “Deadwood” to a tough, no-nonsense British gangster in “Sexy Beast,” Ian McShane has virtually cornered the market on playing rogues, villains, and all- around badasses.
A natural at portraying complex anti-heroes and charismatic heavies, the classically trained actor was born in Blackburn, Lancashire, England, to parents Irene (Cowley) and Harry McShane, a soccer player for Manchester United. McShane caught his first break in 1962 when he landed a lead role in “The Wild and the Willing.” McShane later revealed that he had ditched class at the Royal Academy of Dramatic Art to audition for the role. Since then, the award-winning actor has gone on to grab the attention of audiences and critics alike with his unforgettable portrayals of scoundrels, kings, killers, and thieves.
McShane can currently be seen starring opposite David Harbour in “Hellboy,” directed by Neil Marshall for Lionsgate and Millennium Media. Recently he reprised his role as club owner/ex-assassin Winston opposite Keanu Reeves in “John Wick: Chapter 2,” the film by director Chad Stahelski. He also played Leland, a retired sheriff with violent tendencies, opposite Patrick Wilson in “The Hollow Point,” the gritty drama directed by Gonzalo López- Gallego and appeared alongside Johnny Harris and Ray Winstone in Thomas Napper’s blistering boxing drama “Jawbone.” Also expect to see McShane in the upcoming films “Bolden!” directed by Dan Pritzker and “Pottersville” opposite Michael Shannon. On television, McShane stars as Mr. Wednesday in Neil Gaiman’s “American Gods,” the hit series for Starz produced by Michael Green and Bryan Fuller. “Actor. Icon. And now god. It is a goddamn delight to be collaborating with the incomparable Ian McShane,” said Michael Green recently. McShane previously starred in the Michael Green series “Kings” for NBC. McShane will also be seen opposite Dr. Dre for Apple TV’s first scripted series “Vital Signs,” a semi-autobiographical series loosely based on the hip-hop icon’s life.
McShane’s formidable acting resume is as long as it is varied. McShane starred as the notoriously fearsome pirate Blackbeard opposite Johnny Depp in Disney’s worldwide blockbuster hit “Pirates of the Caribbean: On Stranger Tides.” He starred as priest/prophet/warrior Amphiarus opposite Dwayne Johnson in MGM’s “Hercules,” played lead dwarf Beith in the dark fantasy flick “Snow White and the Huntsman,” and portrayed good King Bramwell in Bryan Singer’s modern-day fairy tale “Jack the Giant Slayer.” McShane also appeared as Joe Strombel in Woody Allen’s “Scoop.” His universally praised performance as tough guy Teddy Bass in the cult indie hit “Sexy Beast” led one London critic to dub McShane as “The King of Cool.” In a change of pace, he portrayed soft-spoken Meredith in the darkly perverse crime drama “44 Inch Chest,” a film in which McShane not only starred, but also produced.
McShane has also had a long and diverse career on both British and American television. Earning considerable critical acclaim as the fierce yet charismatic Al Swearengen in the much-loved David Milch HBO series “Deadwood,” McShane went on to win the Golden Globe® Award for Best Performance by an Actor in a Drama Series. His compelling and gritty portrayal also scored him nominations for both Emmy® and SAG Awards®. He went on to collect yet another Golden Globe® nomination for Best Actor in a Miniseries for his riveting portrayal of the scheming, corrupt Waleran Bigod in Starz’ Emmy®-nominated “Pillars of the Earth.” McShane also won over viewers in FX’s “American Horror Story” as the very bad Santa/serial killer Leigh Emerson and as cold-blooded billionaire Andrew Finney opposite Liev Schreiber in Showtime’s acclaimed series “Ray Donovan.” More recently, he portrayed Sir Roger Scatcherd in the Julian Fellows’ miniseries “Dr. Thorne” for ITV and also made an appearance as peacenik Brother Ray in HBO’s juggernaut “Game of Thrones.”
Earlier in his television career McShane produced and starred as the irresistible rogue antiques dealer in the acclaimed series “Lovejoy” for the BBC and A&E, even directing several episodes himself. The show was one of the first independent co-productions with the BBC and aired in both the U.S. and U.K. Other notable portrayals on television have included his appearance in the landmark, blockbuster miniseries “Roots” and as Ken Harrison in “Whose Life is it Anyway?” McShane also played Sejanus in the miniseries “A.D.,” the eponymous “Disraeli,” produced by Masterpiece Theater, and Judas in NBC’s “Jesus of Nazareth.”
An accomplished, award-winning stage actor, McShane made his West End debut in “The Promise,” co- starring Dame Judi Dench and Sir Ian McKellen. The play went on to open on Broadway the following year.
McShane also charmed audiences in the West End musical “The Witches of Eastwick,” originating the role of the seductive, sex-obsessed Darryl Van Horne on stage in London. At the esteemed L.A. Matrix Theatre, McShane appeared in Harold Pinter’s “Betrayal,” Larry Atlas’ “Yield of the Long Bond”, as well as in John Osborne’s “Inadmissible Evidence,” picking up a couple of Los Angeles Drama Critics’ Awards for Lead Performance in the process. In addition, McShane appeared in the 40th Anniversary revival of Harold Pinter’s “The Homecoming” on Broadway. With his low, distinctive voice, McShane has also made his mark in film and television as a voiceover artist. He narrated Disney’s “The Sorcerer’s Apprentice,” brought life to the eccentric magician Mr. Bobinsky in “Coraline,” and added a sinister edge to Tai Lung in “Kung Fu Panda.” McShane has also lent his rich baritone to “The Golden Compass,” as well as to “Shrek The Third” as the notorious Captain Hook.
Unity Phelan [Ballerina] began dance training at the age of five in Princeton, New Jersey. Her talent took her to The School of American Ballet in New York City at the age of fourteen. She became a member of the New York City Ballet three years later. She is now the youngest soloist in the world acclaimed ballet company. Outside of dance, Ms. Phelan has modeled and in north print and video campaigns for Puma, Jamie Wolf Jewelry, Milly, and Equinox Hotels.
About the Crew
Dan Laustsen, ASC, DFF [Director of Photography], a native of Denmark, is an acclaimed cinematographer with more than 60 international productions to his name. He has received myriad awards for his work in feature films, television movies, and documentaries.
His interest in photography was awakened at the age of 14 when, inspired by the stylish black & white imagery in popular magazines, Laustsen saved enough money to purchase his first still photography camera.
At 17, he enrolled in a program at a local school for fashion photography. By the end of the three-year program, Laustsen discovered that he had lost his interest in fashion photography and desired instead to shoot documentary films around the world with the goal of someday working for National Geographic. It was then that he enrolled in the Danish Film School to learn the art of motion picture photography.
Decades later, Laustsen’s diverse accomplishments in film and television include The Brotherhood of the Wolf, The League of Extraordinary Gentlemen, Silent Hill, Solomon Kane, Nomad: The Warrior, Running Free, I Am Dina, and multiple Danish Film Academy Awards for Best Cinematography. He was also honored with a Guldbagge Award nomination from the Swedish Film Academy for Best Cinematography for Lisa Ohlin’s Simon and the Oaks (2012)— one of 13 Guldbagge Award nominations bestowed on this film. In 2007, Laustsen received Nordisk Film’s special Erik Balling Award in recognition of his lifetime achievements as a cinematographer.
Laustsen earned numerous accolades, including an Academy Award® nomination, for his work on The Shape of Water, continuing a collaboration with director Guilermo del Toro which started with Mimic and followed with Crimson Peak. Laustsen also garnered much acclaim for his work on Lionsgate’s action blockbuster, John Wick: Chapter 2, directed by Chad Stahelski and starring Keanu Reeves. Meanwhile, back in Denmark, Laustsen received resounding praise for his work on Scandinavia’s largest TV series to date, the eight-episode epic war drama, 1864, directed by his frequent collaborator Ole Bornedal.
Laustsen is a member of the Motion Pictures Academy of Arts & Sciences, the American Society of Cinematographers (ASC), and the Danish Association of Cinematographers (DFF).
Kevin Kavanaugh [Production Designer] is known for John Wick: Chapter 3- Parabellum (2019), Sicario: Day of the Soldado (2018), Only The Brave (2017), Roman J, Israel, Esq. (2017), John Wick 2 (2016), Nightcrawler (2014) and The Dark Knight Rises (2012). He has worked with such industry titans as Christopher Nolan, J.J. Abrams, Roger Donaldson, and Dan Gilroy. Throughout his career he has won and been nominated for numerous accolades, including winning the Art Directors Guild Excellence in Production Design for The X-Files and The Dark Knight. Kevin was raised in Southern California and lives near Pasadena with his wife and 2 kids.
Tiler Peck [Ballet Choreographer] is an international award-winning Principal Dancer with the New York City Ballet, an actress and designer. Last summer, she added the title of Curator to her ever-growing list of accolades, as she starred in the second installment of The Los Angeles Music Center’s presentation of Ballet Now, a part of the Glorya Kaufman Presents Dance At The Music Center. During the week of rehearsals for the Ballet Now Presentation the process was filmed for a feature documentary. The film, titled BalletNow stars Tiler and features some of the Principal Dancers from the production. It is produced in association with Paul Allen’s Vulcan Productions with executive producer, Elisabeth Moss, and director, Steven Cantor, and is currently available on Hulu. Additionally, Tiler recently made her debut as a choreographer at the Vail International Dance Festival on a piece titled “Lincoln Square.”
Ms. Peck was born in Bakersfield, California where she began her dance training at the age of two at her mom’s dance studio. At the age of 14, she entered the School of American Ballet, the official school of New York City Ballet, full time. The same year, she became an apprentice with the New York City Ballet and in a few short months was asked to join the Company as a member of the corps de ballet. Tiler was promoted to Soloist in 2006 and to Principal Dancer in 2009 where she remains to this day.
Peck made her Broadway debut as Gracie Shinn in Meredith Wilson’s The Music Man at the age of 11. She has been seen as a guest star on Dancing With The Stars for two seasons, has had the pleasure of being a guest on Bravo’s TV show Rocco’s Dinner Party, and stars in the film Ballet 422. She also guest starred on Julie Andrews’
Netflix series, Julie’s Greenroom. Peck recently became the first ever ballet dancer to appear on “The Ellen DeGeneres Show.”
Ms. Peck had the honor of performing for President Obama at the 2012 and 2014 Kennedy Center Honors and portrayed the role of Louise in the Emmy®-nominated production of New York Philharmonic’s Live From Lincoln Center’s Carousel.
She recently played the title role in Susan Stroman’s musical, “Marie: Dancing Still,” at the Fifth Avenue Theatre and is attached to star for an upcoming Broadway run. She was also seen on Broadway in the Tony Award®-nominated, “On The Town,” in the role of Ivy Smith.
Ms. Peck is the 2004 Mae L. Wien Award winner, the Janice Levin Honoree for 2006-2007, winner of the Leonide Massine’s Positano Premia La Danza for International Emerging Artists and a 2004 recipient of a Princess Grace Foundation- USA Dance Fellowship. In 2013, she was named Forbes 30 under 30 in Hollywood Entertainment and won the Princess Grace Statue Award. In December of 2016 she received the Dance Magazine Award.
Ms. Peck is also the designer of Tiler Peck Designs for Body Wrappers. As an athlete and ballerina herself, she conceptualized and designed a product line that includes leotards, dresses, tutus, shorts, skirts.
Jonathan Eusebio [Fight Choreographer / Stunt Coordinator], in addition to being a member of the 87Eleven Action Team, Jonathan Eusebio is a 2nd unit director, stunt coordinator, fight coordinator, and action designer for film and television. His credits include some of cinema ‘s most exciting action films, among which are the John Wick films, Fate of the Furious, Doctor Strange and The Bourne series. He was the 2nd unit director for Deadpool 2 and served as a stunt coordinator on the recent blockbuster hit, Black Panther. He is a three-time winner of the Taurus World Stunt Award and his work on Black Panther contributed to a 2019 Screen Actors Guild Award® for outstanding action performance by a stunt ensemble in a motion picture. Eusebio studied at the famed Inosanto Academy, honing his abilities in a wide range of disciplines, including bladed weapons arts, Kali, Jun Fan Gung Fu, Filipino Martial Arts, Brazilian Jiu-Jitsu, Western boxing, wrestling, judo, kick boxing and more. Through his training and experience in front of and behind the camera, he is highly knowledgeable in how to enhance performances cinematically while maintaining the integrity of the story.
Jackson Spidell [John Wick Stunt Double] started in the stunt industry in 2007 after being recruited by the 87Eleven Action Design Team. Previously an avid, all around athlete and decorated martial artist from the midwest, he was able to transfer those skills to his stunt career to double actors like Garrett Hedlund, , Chris Evans, Ryan Reynolds and Keanu Reeves. He has enjoyed being apart of the choreography teams of such films as Twilight: Eclipse, the John Wick franchise, Deadpool 2, Captain America: Civi War, to name a few. He is currently working on the transition from performer to fight coordinator for future films.
Heidi MoneyMaker [Stunt Player] started gymnastics at the age of 5 when her mother and father enrolled her in a local gymnastics center. She went on to have a very lucrative career, competing for the United States and winning a full athletic scholarship to UCLA. Heidi holds multiple school records, which include being the first Bruin to ever win an NCAA national championship on the bars, as well as being a member of the first UCLA women’s gymnastics team to win an NCAA Team Championship title. She won 4 NCAA championship titles at UCLA, was voted All University Athlete of the year, and was nominated for the prestigious, Honda Award, twice. After graduating from UCLA Heidi began a career in the film industry.
As a stuntwoman and actress for over 13 years, Heidi has worked on over 80 film and television programs. She is most well-known for her work as Scarlett Johansson’s stunt double in Marvel’s Iron Man 2, The Avengers, Captain America: The Winter Soldier, Avengers: Age of Ultron, Captain America: Civil War, and Avengers Infinity War & End Game. She has also worked on franchises such as Fast & Furious, and Hunger Games, and won a guest starring role as Cassidy Daniels on the popular, CSI: New York. Her other acting credits include, Star Trek, Live By Night, Captain America: Civil War, and John Wick: Chapter 2.
Heidi is a crucial part of the Los Angeles-based 87Eleven Action Design Team, and is the team’s onlyfemale member. Her physical abilities as a performer, coupled with her unique skills as a stunt coordinator and fight choreographer have led her into producing, coordinating, and acting in her own short films. Her latest, No Touching, is action packed and stars Heidi alongside Zoe Bell.
Her experience as an athlete and as a high performing fight and stunt double on some of Hollywood’s biggest action films has given her a unique perspective on training actresses to perform as Action Stars in some of the biggest blockbuster action films. Her most recents include training Halle Berry for the film John Wick: Parabellumm, and Betty Gilpin for the film, The Hunt
Lionsgate Presents a Thunder Road Films Production In Association with 87eleven Productions… JOHN WICK: CHAPTER 3 PARABELLUM
Directed by Chad Stahelski
Screenplay by Derek Kolstad and Shay Hatten and
Chris Collins & Marc Abrams
Story by Derek Kolstad
Based on Characters Created by Derek Kolstad
Produced by Basil Iwanyk, p.g.a.
Erica Lee, p.g.a.
Executive Producers Chad Stahelski David Leitch
Executive Producer Jeff Waxman
Director of Photography Dan Laustsen, ASC, DFF
Production Designer Kevin Kavanaugh
Edited by Evan Schiff
Costume Designer Luca Mosca
Music by Tyler Bates and
Joel J. Richard
Music Supervisor Kevin Edelman
Visual Effects Supervisor Robert Nederhorst
Mary Vernieu, CSA & Marisol Roncali, CSA
Keanu Reeves JOHN WICK: CHAPTER 3
Halle Berry Laurence Fishburne Mark Dacascos Asia Kate Dillon Lance Reddick
with Anjelica Huston
and Ian McShane
Saïd Taghmaoui Jerome Flynn
Jason Mantzoukas Tobias Segal
A Film by Chad Stahelski