From the Marvel Cinematic Universe comes  the  next film to feature the adventures of Ant-Man, “Ant-Man and The Wasp,” which debuts Ant-Man’s  long-awaited ally, The Wasp.

Marvel Comics first introduced brilliant scientist Dr. Hank Pym and his alter ego, Ant-Man, in 1962 with the publication of “Tales to Astonish #27.” He  later appeared alongside the Avengers  in the team’s debut  in “Avengers #1” in 1963. Pym’s immeasurable contributions to the Super Hero realm began with the discovery of a unique chemical  substance, dubbed the Pym Particle, which allowed him to alter his size and possess superhuman strength.  The Wasp, a  founding member  of the  Avengers alongside Ant-Man, and its first Super Heroine, first appeared in Marvel Comics’ “Tales to Astonish #44” in 1963.

With  the 2015  release of Marvel  Studios’  “Ant-Man,”  the  Marvel Cinematic Universe acquainted its faithful and ever-expanding audience with Ant-Man, who is resurrected by Dr. Hank Pym  when  he handpicks Scott Lang, a good-hearted thief, to don the suit and become a hero. The film also featured Pym’s daughter, Hope van Dyne,  who is poised to become The Wasp.  The action-packed heist film, directed by Peyton Reed, was both a box-office success and fan favorite, opening No. 1 at the box office and going on to garner over $500 million worldwide.

Now, in the aftermath  of “Captain America:  Civil War,” we find Lang grappling with the consequences    of his choices as  both a   Super Hero and a father. As he struggles to rebalance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne and Dr. Hank Pym with an urgent new mission. Scott must once again put on the suit and learn to fight alongside The Wasp as the team works  together to uncover secrets from the past.

“Ant-Man  and The Wasp” returns director Peyton Reed to the franchise and stars Paul Rudd (“Captain America: Civil War,” “Knocked Up”), Evangeline Lilly (“The Hobbit: The Battle of the Five Armies,” “Lost”), Michael Perla, (“The Martian,” “Fury”), Walton Goggins(“Vice Principals,” “Six”), Bobby Cannavale (“Vinyl,” “Chef”), Judy Greer (“War for the Planet of the Apes,” “Wilson”), Tip “T.I.” Harris (“Sleepless,” “Get Hard”), David Dastmalchian (“Twin Peaks,” “The Belko Experiment”), Hannah  John-Kamen (“Black Mirror,” “Ready Player One”), Abby Ryder

Fortson (“Togetherness,” “Transparent”), Randall Park (“Veep,” “Fresh Off the Boat”), with  Academy Award® nominees Michelle Pfeiffer (“The Wizard  of Lies,” “Murder on the Orient Express”)  and Laurence Fishburne (“John Wick: Chapter 2,” “The Matrix”) and Academy Award  winner Michael Douglas  (“Behind the Candelabra,” “Wall Street”).

Kevin  Feige  and Stephen   Broussard  are  producing with Louis  D’Esposito, Victoria Alonso, Charles Newirth and Stan Lee serving as executive producers.  Chris  McKenna & Erik Sommers   and Paul  Rudd &   Andrew Barrer & Gabriel Ferrari wrote  the screenplay.

Peyton  Reed’s  creative team  includes  Academy   Award°— nominated director  of  photography   Dante Spinotti (“L.A.
Confidential,” “The Insider”); production designer Shepherd Frankel (“Ant-Man,” “Bad Words”); editors  Dan  Lebental (“Ant-Man,” “Spider-Man: Homecoming”)   and CraigWood   (“Guardians of the Galaxy Vol. 2,” “The Great Wall”); costume designer  Louise Frogley (“Spider-Man: Homecoming,”   “The Finest Hours”); two-time   Academy Award  nominee, visuals effects supervisor Stephane Ceretti (“Doctor Strange,” “Guardians of the Galaxy”); and eight-time Academy Award nominee, special effects supervisor Dan Sudick (“Avengers: Infinity War,” “Captain America: Civil War”).

The fun-filled “Ant-Man and The Wasp,” with its signature out-of-this-world action and laugh-out-loud comedy, flies into U.S. theaters on July 6, 2018.


While  audiences were primed for the next film in the “Ant-Man” franchise, ostensibly with a more prominent role for Evangeline Lilly as The Wasp, everyone was thrown  a gigantic curveball by Ant-Man’s appearance in “Captain America: Civil War.” Ant-Man joining the fray with Cap and the Avengers firmly planted him within the Super  Hero family, albeit a fractured, dysfunctional one. But, more importantly for Marvel aficionados, it also provided the setting for the splashy debut of Giant-Man, the oversized incarnation of our Super Hero.

“What’s  exciting about  ‘Ant-Man   and  The   Wasp,” says producer Kevin Feige, “is it’s really a sequel to two movies. It’s a  follow-up to ‘Ant-Man,’ while also showing the aftermath of ‘Captain America: Civil War.’ For me, there’s a tremendous amount  of excitement when you’re  able to tell stories like this and  combine characters  from their origin movies and then layer in their appearances from other movies. Because of this strategy, Ant-Man post-‘Civil War’ has now been exposed to a much  bigger audience.”

Adds  producer  Stephen Broussard, “Scott’s participation in ‘Civil War’ ended up being a really great jumping- off point for this movie. The events of ‘Civil War’ defined where Scott is in his life at this moment and laid the groundwork   for the story that we tell in ‘Ant-Man and The Wasp.’

Having the story take place “in its own corner of the Marvel Cinematic Universe” was important for how Reed approached the film. “The first ‘Ant-Man’ was a deliberately smaller, more intimate movie,” he explains. “You have  Sam Wilson appear, but that’s really the only major link to the larger MCU. I like that about the Ant-Man universe, and really in ‘Ant-Man and The Wasp’ we’re doubling down  on that. We had talked a lot about what the point of entry to these characters was in ‘Ant-Man and The Wasp’ and what’s  happened in the intervening time. Of course, the one thing the audience knows is that Scott Lang is in a prison somewhere, but there’s the hint that Captain America busts them out. So one of the big challenges was that, for the little amount of time that Scott Lang is in ‘Civil War,’ we had to take in account what that meant for these characters going forward.”

The  most exciting and anticipated reveal in the film is the introduction of The Wasp, which brings an amazing,  female Super Hero to the big screen, and into the heart of the Marvel Cinematic Universe.

Says Feige of the newly unveiled Super Heroine, “The reveal of The Wasp  suit is one of our favorite endings of any of our films. It’s something that she believes, that we believe and we  think the audience believes  when  it comes to  female superheroes. It is about damn time, and that’s why the movie is called ‘Ant-Man and The Wasp.—

For director Peyton Reed, it was a privilege to spearhead the big-screen debut of The Wasp, whose introduction also marks the first female character to be featured in the title treatment of a Marvel Studios film. “There are a lot of things that excite me about ‘Ant-Man and The Wasp,” comments  Reed. “But I think the biggest thrill is to introduce The Wasp to film audiences for the first time and see Hope van Dyne as a fully formed Super Hero with an amazing   power set. To reveal the new rapport between her and Scott Lang and to show how  she fits in the Marvel Cinematic Universe is, frankly, a fun process for me and even a bit awe-inspiring.”

Reed  was particularly keen to jump back into the story line and pick up where he left off with Scott, Hope van Dyne  and Hank Pym.  He  states, “In the first ‘Ant-Man’ there was so much to set up. We had to set up the mythology of  Hank Pym and the powers of Ant Man. And then we had to set up Scott Lang as an ex-con and how he  comes upon the Ant-Man technology. And we had to tell the story of who Hope van Dyne is. And then we had to give a little taste of Janet and Hank together. And then we had to establish that he controls ants too. That it’s not just the shrinking. There was a lot packed into it.”

He continues, “But in this one, for the most part, we were free to start a scene where ants are doing something particular and let the audience discover what ants do in this universe. We  don’t have to spend story time setting that up. So there is something really liberating about that, and that we can hit the ground running in this movie.”

Revisiting the prevailing theme of family, an integral part of “Ant-Man,” was a no-brainer  when  crafting the story line for this next installment. It was the heart of the first film, and the filmmakers  wanted to explore more of that through the Van Dyne-Pym  and Lang extended  families.

Explains Reed, “In my mind, the family dynamic is so crucial to what the ‘Ant-Man’ movies are. Scott Lang is the real everyman  in the Marvel Cinematic   Universe. He’s not a super scientist; he’s not a billionaire. He’s just a  normal guy who  doesn’t  have superpowers. It’s all about that suit. There’s a part of Scott that has a take-it- or-leave-it attitude about whether he’s a  hero or not. After inadvertently putting his daughter in  harm’s way and then  facing life in prison never to see his daughter again, Scott is ambivalent about being Ant Man, and we definitely tell that story.”

Adds Feige,  “What’s exciting about all of our  characters is their humanity. Scott Lang, in particular, has a much  deeper connection with family. The  relationship  between  him   and Cassie was the   backbone of ‘Ant-Man.’ We’ve expanded   this further in ‘Ant-Man and The  Wasp’ with Scott’s bigger family unit and  with Hank,    Hope and Janet.  I think that’s  what audiences  respond to. Of course,  you still get the spectacle, and  you get the fun of Ant-Man  shrinking and  now   growing but you also have  this very deep family connection, which is unique   among all of our Marvel Studios films.”

Both   Ant-Man and The  Wasp have their own specialized skill set, and it will be a daunting proposition for the couple, following a brief romantic history, to rise above it all without derailing Hank’s well-laid plans. Together they have the potential to be unstoppable, but getting to that point will be problematic.

Hope, however, is  still as driven as ever and has had two years to hone her now-impressive skills and honestly has no interest in or need for Ant-Man. But when  faced  with obstacles on all fronts a partnership is a necessity she cannot afford to ignore. “Hope at the beginning of the movie seems  very clear about what her attitude is but she’s going to learn a lot throughout the course of this story,” says Reed.

“Ant-Man   and The  Wasp’ is a two-hander  between Hope   van Dyne and Scott Lang,” offers Feige. “You could see in ‘Ant-Man’ that Hope was frankly  more capable  than Scott was at being a Super Hero, and her father, because of the loss of her mother, emotionally didn’t want her to do this. Now we get to see her take the gloves off and become   a Super Hero. So that  changes their whole   dynamic together, and we  get to see whether  they will be able to act as a unified team, as Ant-Man and The Wasp.”

The  tone   of the film follows  the precedent  of the first, with humor    mixed with true-crime  elements.  As  Broussard explains, “The first film definitely played with the heist genre, which  is a tried-and-true crime genre, and   we  continue to look at the franchise as a series of films that play in the crime genres.  So we  started to play  around with  different crime genres  and what I call ‘crime-adjacent’ genres.  And  one of the  things that inspired us on this go-round  was  a type of subgenre  that I’m sure people  know by many  names  but I’ve always called it ‘one bad night,’ meaning something has to happen, usually on the edges of the law, and you think it should be simple but it just spirals out of control and things get worse and worse and worse.”

He adds, “We were  also inspired by the crime  novels of Elmore  Leonard, who’s written all sorts of great books, a lot of which have  been turned   into movies  like ‘Get Shorty’ and ‘Out of Sight.’ They all have these fringe characters who are quirky in their own ways. So as we  looked to craft who the villains are in this movie, who the antagonists and  the people standing in the  way of Scott and company, we  were very much inspired by that crime writing as well.”

Upping  the ante for the fun   elements of shrinking and growing was an important   directive for the filmmakers. “Shrinking  and growing  as a visual concept, as a sci-fi idea, as a superhero idea is so cool,” says Broussard. “And there are so many different things  you can do with it. They did some amazing things in the first movie with it, but I think we all agree we only just scratched the surface there. There’s so much more to go. So much of that movie was   about learning that this technology exists, learning how to use it, learning what it means. This movie starts, and everybody knows  that already.”

But for Reed, as much as he is invested in telling a good story with all the fun elements of shrinking and growing, he’s a true fan of comics,  so there is a legitimate excitement to bring the unlikeliest of  Super Heroes to the forefront in fun, inventive ways that are both relatable and accessible. “I love the Ant-Man universe,” admits Reed. “It’s not taking place in outer space or Asgard. It’s the real mundane, normal  world. But we  get to experience it from these weird, radically different perspectives. That is what’s really fun about the ‘Ant-Man’ films. There’s something   really childlike about Ant-Man’s power set because it puts you down on the floor where kids play with action figures.”

Adds  Feige about the  excitement of finally putting Ant-Man and The Wasp  on  screen, “We wanted  to deliver on the  promise at the  end of ‘Ant-Man: When   you look at the history of the comics, Ant-Man  and The Wasp   were one  of the great team-ups  of  Marvel. We’d already touched on  that a little bit in the flashback in the first film with  the original Ant-Man  and  Wasp, and we absolutely  wanted to  see that now in the  modern day.  Hope and Scott as these  two Super  Heroes  who couldn’t be more different is the perfect way to delve into their potential to live up to this iconic duo and pick up that mantle.”


Paul Rudd

After his exploits with the Avengers in “Captain America: Civil War,” Scott Lang, the good-hearted ex-con, finds himself under house arrest. But when he faces the decision to once again don the Ant-Man suit, Scott is conflicted, as he is struggling to find a way to get his life back on track and be the best possible father to Cassie that he can be.

Paul Rudd  reprises the role he originated of Scott Lang/Ant- Man. When   it came  to stepping  back into the shoes  of the reluctant Super  Hero facing  the  unimaginable,   Rudd  took on a singular approach. “One   of the things that I really like about  playing this character is that Scott is thrown into these extraordinary circumstances  of shrinking  and flying  around on ants  and  dealing with life-threatening situations,” says Rudd.  “I’ve always tried to sustain his way of dealing  with everything with a sense of humor and a  carefree attitude. I think it gives an audience a fun ride to see somebody like Scott Lang take in all of this craziness. So, foe me, that’s fun to play.”

Says producer Stephen  Broussard of the star, “Paul has brought Scott Lang to life with so much humanity and heart and humor. He’s so naturally funny and likable in everything that he brings to the character. Paul plays Scott Lang as someone that you care very  deeply for, someone that when he messes up or does the wrong thing you feel for him, but you also can’t help but still like him and want him to be pulled back into the role of hero. And walking that line as an actor is not easy. It’s a testament to Paul’s innate abilities as an actor, as a comedian and as a writer. It’s been fun to watch him bring the dad-in-chief of the Marvel Cinematic Universe to life.”

From  the beginning Rudd,  who is also a writer on the film, and director  Peyton Reed    were in sync about the film’s direction, which mirrored their collaboration on “Ant-Man.” “Ever since Peyton came  on board we  both agreed that  we wanted  to create something that was fun and original within this genre. First and foremost, laughs would be important but so  would the emotional  moments. You will still be wowed by the visual effects, but we’d also make them funny. I feel like we’ve always  been on the same page  as far as the movie we want to make, so that just allows trust for me as an actor to know that he’s getting what he needs.”

As  far as the comedy moments  go,  they  would indeed prove to be an important part of “Ant-Man   and The Wasp,” and for Rudd  having creative partners with similar tastes helped elevate the material in unexpected ways. “Peyton and  I like weird jokes, as does Kevin Feige, Stephen Broussard and most of the Marvel team,” says Rudd. “They’re all comedy lovers, so it’s kind of nice to work on something where you can make a random Neil Hamburger reference, and  the head of the studio knows what you’re talking about because nobody else does.”

Evangeline Lilly

Now a fugitive with her father, Hank, the brilliant scientist has used her time in hiding to master her new role as The Wasp, but she isn’t quite ready to team up with Scott for their most important mission ever. But reuniting her family depends on it, so she is forced to seek his help.

Evangeline Lilly returns to her role of brilliant quantum physicist Hope van Dyne. While she’s as focused and determined as ever, a very different Hope van Dyne emerges in “Ant-Man and The Wasp.”

Lilly was over the moon knowing that the next installment of the “Ant-Man” story line would introduce  The Wasp. “I was excited to play Hope again for so many reasons,” comments Lilly. “In ‘Ant-Man’ she went through this enormous emotional arc. So it was exciting to have the chance to go back to this character and play her in a new  space, a space where  she is more at ease in her own  skin and  more  at ease in her relationship with her father.”

“But I have to admit,” she adds with a laugh, “my primary motivation to come back was to put on that suit and play The Wasp. Hope so desperately  wanted  to follow in the footsteps of her incredible superhero parents, so she’s finally doing that and doing it very well.”

The actress was also enthusiastic to return to the “Ant-Man” family to collaborate with Peyton Reed again. For Lilly, there is no better champion to helm the next chapter in the “Ant-Man” saga. “There’s really nobody better to navigate through this second journey with than Peyton Reed,” says Lilly. “The scope of this film is so much bigger than the first film. It feels a little more epic, which is exciting, but also what’s wonderful is we never lose that  sweet family-driven story that’s at the heart of it all. That’s what I love the most about the Ant-Man brand, and  it’s something you can expect again from ‘Ant-Man and The Wasp.”

As Lilly prepared for her return to the role, she knew the physical preparation for The  Wasp action sequences  would be vital to building the character.  More importantly, she understood  that the new backstory for Hope, the Super Hero, would  wholly inform  that relationship  between Hope  and Scott, which is the bedrock to the “Ant-Man and The  Wasp” story line.

Remarks Lilly, “The relationship  between   Hope and Scott in ‘Ant-Man’ was really straightforward, and as an actress I always knew very clearly where things stood. Hope couldn’t stand him  for the majority of the film and then eventually realized he’s okay. ‘Ant-Man and The Wasp’ is a bit complicated, and  a lot more challenging to know how exactly to hit the tone of their relationship. Hope just lives to be The  Wasp but definitely harbors feelings of anger, hurt and resentment when Scott made the choice to go to Berlin without her. That’s the hardest thing for her to swallow, but she’s got this mission and she’s really focused  on her mother, so the stakes are so high.”

Michael  Douglas

As the original tiny Super Hero, inventor of the Pym Particle and founder of Pym Technologies, Hank Pym, now a fugitive with Hope, faces his most important mission ever as he confronts the repercussions of his past while trying to protect the future of his family.

Two-time Academy   Award®—winning   actor Michael Douglas returns as  Hank Pym,    and  revisiting the role with his compatriots had a great appeal for the legendary actor. “The best part about returning for a sequel is the opportunity to again work with Peyton, Paul and Evangeline,” Douglas says. “There’s that feeling of familiarity that informs the filmmaking process. You also get to define your character more. Hank Pym is the straight man who keeps the story grounded.”

Hank  Pym’s complicated relationship with his daughter, Hope, is in a better place in the beginning of the film. Hope  has  begun to resolve her issues with her father while discovering more  about herself. Hank has been affected by the daring exploits with Hope and Scott, and with the new revelation that Scott survived his journey to the Quantum  Realm, he has renewed hope that Janet could be alive.

Feige explains further, “Hank and Hope have grown a lot closer since the first film. The adventure they went on, the catharsis that they experienced, has them in a much better place. Hope now wears The Wasp suit and is a hero  in her own right. Hank has that joy of fatherhood seeing his daughter become this amazing hero. But at the same time, he now  believes that he can find his wife in the Quantum Realm and has become obsessed with that and begins to invent new tech to try to contact her in the Quantum Realm.”

As the innovator who discovered and developed the chemical substance known as the  Pym Particle, Hank is an accomplished man of science whose run-ins over the years with the likes of Howard  Stark and S.H.I.E.L.D. have made him overly cautious and protective of his work.

Peyton Reed offers some insight into Hank Pym’s personality. “In the first movie, Hank Pym is a bit of an unreliable mentor. He  definitely had a short fuse and may have had some anger issues, and he definitely had some control issues, particularly with regards to his technology. In this movie, we do start to learn that there is a pattern to the way Hank Pym behaves. He doesn’t play so well with others and thinks he knows  the best way, but it’s not always the best way. So he is a very flawed mentor, and that can create some issues for the people who he’s mentoring. And I like that. It plays into the strengths of Michael Douglas as an actor. There’s a real beautiful gray area to most of the characters that he plays.”

He  adds, “Hank Pym is definitely a hero, but he does make some decisions that might be a little morally dubious. But it makes him interesting, and that’s what I like about Hank.”

For Douglas, being in a Marvel Studios film has brought him some   unexpected experiences as an actor. “I’ve now got this whole new  generation of young people yelling, ‘Hey, Hank Pym!,’ so I must say, it flatters you after doing  this for 50 years to be discovered by this new group of fans. My whole career has pretty much been all contemporary  comedies  and dramas, so to dip my toe into this other world where anything goes is a trip. I’ve enjoyed it.”

Michelle  Pfeiffer

Janet van Dyne  is the original Wasp to Hank’s Ant-Man. An accomplished scientist in her own right, she saved millions of lives by disarming a missile bound for the United States. But in the process, she became lost in the Quantum   Realm—a  subatomic  world beyond  our own. Now  her family believes they just might be able to bring her home.

Academy   Award®—nominated  actress   Michelle Pfeiffer was always the go-to for filmmakers when it came to visualizing Janet van Dyne, from even the earliest stages of development of “Ant-Man.” Says Broussard, “We know we’re asking a lot from our audience to invest themselves in the story’s search for a character that they’ve never met and don’t know as a person. We knew  we needed an actress of a certain caliber and gravitas who possessed the talent and ability to carry the character throughout the movie. Filming with Michelle has reinforced all those things. It’s been amazing to watch her step into the MCU in such a big way.”

Pfeiffer was drawn to the strong character and the opportunity to play a Marvel Super Hero. “I wasn’t familiar with Janet  van  Dyne before  this,” says Pfeiffer, “and I loved that she’s such a seminal character in the Marvel comic-book  world  and that she was  one of the founding members   of the Avengers.”

She  adds, “I love that at this phase in my life I’m playing a superhero. I think it’s incredible. And the message that it sends to women of all ages and all  demographics is that we’re strong and we’re independent    and we’re capable, and  vital parts of society. I love sending that message out in the universe.”

For  Pfeiffer, a strong female character will always grab her attention, so the in-depth  conversations she  had with director  Peyton Reed as he laid out his thoughts on the  modern-day interpretation of Janet van Dyne  were riveting. “Peyton and I spoke at length about Janet,” relates Pfeiffer, “and he always stressed that, yes, she was a brilliant scientist unto herself, but at the heart of it all she is a warrior who has managed to survive on her own terms in the  Quantum  Realm. Honestly, I think she is a lot fiercer now than the original concept of the character, which is exciting to me.”

The  assembling  of star power on set was   sometimes a surreal experience for the whole cast. Almost every actor had  a moment    when they realized they were in such esteemed    company and  needed a moment  to take it all in.

“It’s pretty great to work with this cast,” acknowledges Rudd,  “But it doesn’t matter  how   many films you do; there are moments    where sometimes   you find yourself on a set in a scene and think, ‘Oh, wow, there’s Laurence Fishburne,  and  there’s Michael Douglas,  and there’s Michelle Pfeiffer. They’re all talking to each other and, ‘Whoa,   how did I get here?’ It’s pretty cool.”

Lilly, too, remains incredulous at her great fortune of working with acting legends that are totally committed to their roles. “How can I give a bad performance   working with  Michelle Pfeiffer? How can I be bad working  with Michael  Douglas?  If I do, it’s all on me. It’s my fault. I did it. I screwed up, because they’re both so amazingly good.”

Michael  Peria (Luis)
David    Dastmalchian (Kurt)
Tip  “T.I.” Harris (Dave)

“The  Three Wombats,”   as  Hank   inelegantly dubbed the trio of petty criminals who   are Scott Lang’s friends, provided    some of the more  hilarious and  memorable  moments    in “Ant-Man,”  but their escapades with  Ant- Man  left  an indelible impression, showing   them  they too  could be heroes.

Even with the cards stacked against them, this story finds the  career criminals continuing to find their footing as upright, law-abiding citizens of the world. “In the course of the  Pym tech heist in the first movie, these guys have started  to learn what it feels like to be heroes,” notes Peyton   Reed. “And what does that  mean for them   now? So a big part of the movie is what these guys are doing, and  what their lives look like now as they’re living on the  up and up. They’re still a part of Scott’s life.”

Portrayed  by Michael Pella, Luis is the fast-talking ex- con  with the vivid imagination who  has big  plans to start X-Con Security. This  budding  business is their ticket to legit success—if they don’t get sidetracked by Scott’s newest adventure.

With  “Ant-Man,” Reed mined  great comedy  moments from  Rudd  and  Pena.  The pair have  an easy  on-set rapport  that allows for  a  more  fluid  approach  to their scenes, which  Reed would take advantage  of  by tossing out direction, eliciting a free-form style of improv. Once again Luis’ unique perspective of storytelling, reenacted  by each character, ramps up the film’s laugh quotient.

Perla was happy  to return to the “Ant-Man” franchise, and with a  beefed-up role he saw more   screen time  and more action   moments,  which was  an unexpected   surprise. Pena   comments, “Luis is running a security store, basically selling little security things and setting up security for other people. That plays into the plot a little bit later in the story and lands Luis right in the middle of the action.”

Pena is a fan of Luis’ positive outlook on life. Despite a penchant for getting into trouble, he’s a sweet character who, like Scott, is embracing his inner hero and aspiring for a better life. “Luis is such a fun-loving dude,” remarks Pena. “Although he’s been  in and out of jail for some minor stuff, he is always really positive, and I think that’s really kind of endearing.  He still has an optimistic viewpoint towards life. Especially now as he and Scott are building a business and potentially a new life.”

David  Dastmalchian  was  looking  forward to returning to the role of Kurt, the Russian-American  ex-con  with the sky-high  pompadour   and   unparalleled  computer- hacking  skills. But as an enormous   comic-book fan, he was equally excited  to see what Reed and  Feige had in store for the next chapter in the “Ant-Man” chronicles.

Scott has motivated  Luis, Kurt and Dave to think bigger, and  they  have, as  Dastnnalchian  points out.  “We’re legitimate. We have  assisted a Super Hero and,  for ex- cons who couldn’t  get a job at the Baskin-Robbins, that’s life-changing. I love that, in the beginning, Kurt started as a guy believing he was a  social pariah who over  the  course of this adventure comes  to recognize  that his talents can be used for good. They’ve all done  something good  that’s inspired them  to do more. That’s one  of the reasons why  I was eager to join ‘Ant-Man and The   Wasp.—

Rounding out  the  trio of wombats is Tip  “T.I.” Harris as Dave, who once again  puts his talents as a logistics specialist and skilled driver to use as they become entangled in Scott’s newest exploits as Ant-Man.

“Dave is a little more talkative in this film,” Harris offers. “In ‘Ant-Man’ he began as a bit of an introvert. I believe he had one of those  ‘just came home  from prison,’ don’t trust anybody/don’t  talk to anybody’ complexes.   But now he’s grown  into his  own a bit. With  X-Con Security, he’s actually taking that responsibility very seriously and is just excited to be building a new  life. Honestly, you can’t find a better business for these guys, either. Sometimes  it takes a crook to catch a crook.”

Judy Greer  (Maggie)
Bobby  Cannavale (Jim   Paxton)
Abby  Ryder  Fortson (Cassie)

For Scott’s immediate family, his relationship with his daughter, Cassie, is flourishing despite the house arrest. The tension with his ex-wife, Maggie, and  her husband, Paxton,  has  mellowed since “Ant-Man.” The  revelation that he is in fact a Super Hero has mitigated the resentment and distrust, and despite being homebound,   Scott makes  a  tremendous effort  to be a good father to Cassie. But, as always, circumstances force Scott, and even Cassie, to hide secrets, which provide more lovable  comedic moments  in the film.

Maggie is once again played  by the incomparably funny   and talented Judy Greer, while the multifaceted  Bobby Cannavale   returns to the role of  Jim  Paxton,  Maggie’s husband and a police officer, who  has  newfound  respect for Scott.

As  Rudd explains it, “We have  a  very highly functioning family within all of this dysfunction. Maggie and   Paxton provide some  great comic relief in the film. There’s really a wacky, unconventional  family  dynamic that is interesting to  me, and it’s something  that you   don’t  see much  in superhero  movies. I think that the fun that Bobby, Judy and I have on set translates onto the screen.”

Rudd  and Cannavale, who  are longtime  friends, and Greer established an immediate  kinship working with  each other on the set of “Ant-Man,” and they effortlessly picked up where they left off once filming began on “Ant-Man and The  Wasp.”  The off-screen bond remains   and still translates like gangbusters on screen. Says Greer of the on-set atmosphere, “Paul, Bobby  and I just have such a good time together. They have been  best friends forever, so being around those two is always fun.  Peyton  encourages improv, so we are always riffing and trying to come up  with a funny piece of dialogue or moment  in a  scene. Even  with all the joking around between takes, I’ve seen Paul take something  funny and, on the fly, just seamlessly navigate it into something real and meaningful.”

Cannavale, who  is a parent, totally understands the willingness of parents to do   whatever is needed for their children and overall family  unit. “The  Ant-Man films are more  family-friendly and a bit different than other superhero  films, which is something that I appreciate,” comments   Cannavale. “At the end of ‘Ant-Man,’ you’re able to see this idea of a nontraditional family working out, so to be able to further this idea that a family can come  in many different forms was  pretty  nice. Now you  see that Paxton’s relationship with Scott has changed a lot. He is invested in this friendship and has a real interest in Scott’s well-being and  Scott’s commitment to fly right, which I think is part of the bigger commitment   they all have to co-parent Cassie.”

Three years after the release of “Ant-Man,” Abby Ryder Fortson still retains the sassy demeanor that made her memorable  as Scott’s young daughter, Cassie. Now  nine  years old, Fortson feels that Cassie, too, has grown up a bit and will do whatever is necessary to help her father. “Cassie has been spending lots of time with her dad and is so happy because he actually shows her what it’s like to be a superhero when they play,” says Abby. “Her mom and Paxton aren’t anti-superhero, but they don’t want him to get in trouble again. But Cassie knows if they find out he’s Ant-Man again, they will try to stop him, so she hides it from them to save her dad. She knows he’s doing something good to help Hope and  Hank  Pym.”

Hannah   John-Kamen

This elusive foe poses the biggest threat to Hank and Hope as they try to unravel the truth from their past, but when Scott joins in he, too, becomes a target. Her reasons are personal, and Hank’s newest piece of technology is at the heart of it all.

What  would  a Marvel Cinematic  Universe movie be without a bigger-than-life villain? In the story, Ant-Man and The Wasp come  up against an enthralling adversary called Ghost, whose origins lie within the Marvel Comics canon (“Iron Man” #219) as a male character shrouded in secrecy.

This  character was   an intriguing starting point for the filmmakers.  With  no tangible backstory  to the character, the writers had the freedom to extrapolate it into fresh new territory for the feature adaptation. Says Feige of their aim, “There are a lot of great Marvel Comics characters that we haven’t tapped  into, so as we were developing the story for ‘Ant-Man and The Wasp,’ we began to play with this notion of the Quantum   Realm and the way physics changes the body  when you begin to experiment with it. We decided to adapt a character from the comics called Ghost, who is able to go through walls and be completely intangible.”

While some   remnants of the original character remain, Ghost is now the alter ego of a young woman  named Ava,  portrayed by British actress Hannah John-Kamen. For the actress, another lifelong comic-book fan, joining the  MCU was  a surreal experience, one that offered her the added benefit of a plum role that artfully blended drama,   humor and action. “There are so many layers to this character,” says John-Kamen. “Her situation is not black and white. It’s not about world domination or good  and evil. I was amazed at her vulnerability and felt really connected to Ava.”

Describing Ghost’s goal, Feige says, “As Hank continues to develop the technology to find Janet, Ava realizes that those new devices might be able to help her and put her out of this pain and make her tangible once again. That, of course, puts her in direct conflict with Hank, Ant-Man and The Wasp.”

Adds Broussard, “We   have a villain that doesn’t want to take over the world, or get rich or do anything that has  these world stakes. It’s literally about survival that makes her a villain, and the complication is that she needs what our  heroes need. So suddenly you have heroes  and villains after the same thing for very grounded, relatable and emotional reasons.”

Says  Broussard of casting John-Kamen  in the role, “Because of the air of mystery about this role, we wanted someone   perhaps a little less recognizable to the movie-going audiences. Hannah just blew us away with her ntensity, her vulnerability, and with her sense of humor. You need someone who can engender sympathy  and vulnerability for what they’re going through but also still be scary as the heavy and the villain. And Hannah checked all those boxes for us.”

For John-Kamen, working with  director Peyton Reed for the first time was a very positive experience. “What I love about his process is that he knows and understands every beat of the scene,” remarks John-Kamen.  “He gives you that freedom to go for it and see where it takes you. Then he’ll come in and literally direct you on that beat. I don’t feel like I’m restricted in any way, especially with this character. And I think it’s important for a director and an actor’s relationship to have freedom and an open dialogue about the scene and the character.”

Laurence Fishburne

Bill Foster is a former colleague of  Hank  and Janet’s  who reluctantly becomes  embroiled in Hank’s  plan to reunite his family. Old animosities bubble up between  the two  scientists, whose approaches to their mutual research have led them down different paths.

For Laurence  Fishburne, a longtime Marvel Comics fan, having the opportunity to play scientist Bill Foster, a former colleague of Hank Pym’s, was not something to be passed up. “I just was really hungry to be a part of the Marvel Cinematic Universe,” says Fishburne. “I would’ve played an asteroid in any movie given the opportunity! So the fact that Kevin and Peyton found that I was a good match for the character of Bill Foster is huge. It’s a dream come true for me.”

He  adds, “What initially excited me about the role of Bill Foster is that he is a scientist in his own right, a contemporary of Hank  Pym’s with the same level of smarts and curiosity. The fact that I’d be playing scenes with Michael Douglas and  be a foil to him was a big factor. I’ve never worked with him before, so who in their right mind would walk away  from that?”

Fishburne’s initial conversations with the director revealed their shared love of comics, and an immediate rapport was established. Recalls Fishburne, “When I first met Peyton it was like meeting an old friend. We share a love for the medium  of comic books and a real appreciation and understanding about why these stories are relevant to people. We connected on that level, so there’s a natural ease and flow to working with each other.”

Walton Goggins

Sonny Burch is a genteel but menacing gangster who dabbles in black-market tech. He has his sights set on controlling Hank’s newest piece of technology—and  the billions of dollars it will bring him.

Walton Goggins  joins the cast to play the gangster  Sonny Burch. For an actor with the versatility to play comedy, drama and sometimes a hybrid of both, Goggins was looking forward to mixing it up with Reed and the cast “When Peyton first told me about the role, I was excited about what he had to say since I was such a fan of the first movie,” says Goggins. “To me it was a real opportunity to kind of play in the sandbox with a group of people with some extraordinary  imaginations.”

Randall Park

FBI Agent  Jimmy Woo  is Scott Lang’s watchful  keeper and heads  up the team monitoring Scott  to make sure he stays within the parameters of his house arrest.

Randall Park, who plays FBI Agent Jimmy Woo, collected comic books when  he was growing up, so being part of “Ant-Man and The Wasp”  is not just work for him, it’s fun as well. He recalls, “My favorite comics were the `X-Men’ and ‘Wolverine.’ I think that’s kind of what nabbed me, and I got into a lot of the Marvel titles from there on out.”


Exploration of more new worlds began  in the  summer of 2017  when  principal photography on “Ant-Man  and The Wasp”  commenced   almost three  years after “Ant-Man” was filmed. Filming took place in Atlanta, Georgia, for the bulk of the shooting schedule. Cast and crew then traveled to San Francisco to shoot on location in the Bay Area.

For producer  Kevin Feige, exploring new worlds in films is the rule of the day. “Marvel Studios films are meant to take you to worlds you’ve never seen before,” says the producer. “That’s what we deliver on all of our movies from ‘Guardians of the Galaxy’ to ‘Captain America: Civil War.’ Ant-Man,’ in particular, when you got down to the micro realm and then go into the Quantum Realm, is  not dissimilar to the dimensions we  explored in ‘Doctor Strange.’ I think global audiences like to experience the unique and unexpected.”

Pinewood Atlanta Studios is home to many of Marvel Studios’ productions and was the home base for “Ant-Man and The Wasp.”  Production crews filmed on multiple soundstages there as well as took advantage of Atlanta’s diverse landscape to film scenes to match the San Francisco-based story line.

Production designer Shepherd  Frankel, who designed the incredible  eye-popping sets for “Ant-Man,” returns for this next chapter and is doubling down on his visually arresting production design that involves playing with scale. For “Ant-Man and The  Wasp,” he opted to build more oversized set pieces  wherever he could to realistically integrate it into the landscape.

Working together with visual effects supervisor Stephane  Ceretti, Academy Award®—winning  special effects supervisor Dan  Sudick and their respective teams allowed innovative shrinking and enlarging for both our heroes and  their surroundings, once  again upping  the ante for action and   comedy on  “Ant-Man   and The  Wasp”  for maximum   visual  punch.

Frankel  is always keen to establish a coherent visual narrative with riveting imagery, especially with the unique material to be   mined from the  “Ant-Man” franchise. “One of the  things that’s so special about ‘Ant-Man and The Wasp’ is it’s a film that takes place with everyday people in everyday circumstances,  and that is what anchors the film,”  comments Frankel. “But  once we   shrink down    or grow big, we  find ourselves  entering these  extraordinary  worlds. One of  the things that is important to ‘Ant-Man   and The  Wasp’ is that this movie is about  people trying to fulfill their goals, in this case trying to put a family together. For me, this all takes place within the  corners and the in-between spaces  of San Francisco, which is unexpected and exciting.”

With Hank  and  Hope living    underground trying to stay a step ahead of  the authorities after Ant-Man’s high- profile participation with the Avengers in Berlin, Hank devises a genius ploy to complete his mission of finding his beloved Janet—a  state-of-the-art lab that he is able to shrink and grow to allow for continued research while on the lam.

“It’s remarkable,” says Paul Rudd. “Hank’s lab, which shrinks and  grows and is a mobile lab, houses the  tunnel into the quantum   universe and is the way to Janet. Everyone  has their reasons for wanting  the lab. Obviously Hank,  Hope and  Scott want to find Janet, Ghost wants to find Janet for her own reasons and Burch wants the lab because  he’s a tech black-market wheeler-dealer. The lab and  the quantum tech end  up being the end game   for everyone.”

Utilizing the adage of hiding in plain sight, a bland mid-century office building is the perfect cover for the top- notch  techno eye-candy  housed  inside. The genius  of it all being that Hank has improvised this spectacle of a workplace  with  everyday items that  have been  repurposed for  unexpected  uses. The familiar and   ordinary—a paper  clip, a  wooden clothespin, a radio knob,  a fuse, children’s toys, a light bulb and a plastic bread clip— become  foreign and extraordinary.

Although    Hank’s  Victorian   house-cum-lab    was    the centerpiece of Frankel’s production  design in   “Ant-Man,” he admittedly has eclipsed that set with this newest lab, a spectacle of a set that was constructed and finished over  a four-month  period  on a  15,000-square-foot soundstage  at Pinewood.

From the  beginning,  Frankel  knew building the set  would be a herculean effort.  He was  essentially building a fully engineered,  multi-story building able  to accommodate    a   tremendous weight load of  materials, lighting and filming   equipment and  dozens of  people when   it was ready for filming. The whole structure  would  then  be encircled within a visual effects green screen curtain so Ceretti and  his department  could create their digital surroundings  as  needed.

Once   the infrastructure of steel  framework was  brought in, affixed to the  soundstage floor and constructed, input  from  multiple departments  began. The construction   department continued   its work with special effects, grip, electric and others joining the process. This wasn’t just one enormous film set but literally eight different mini-sets within  the structure. Courtesy of an industrial-sized 3D printer, the team was able to print well over 8,000  pieces to comprise many  of the fun elements within the lab set.

Having  a practically built set was pivotal to the action that played out there. From the beginning, Frankel had an ally in director Peyton Reed  to  realize the lab as a fully functional set. “Peyton was such a supporter and led the  charge to build the lab set,” remarks Frankel. “He really wanted this movie to feel tactile because, once you’re dealing  with the subject matter of shrinking people, flying ants and the  Quantum Realm, you really want everything else to be super-tactile. This has been a huge challenge, and even though it was hard to build this set, the  payoff and the excitement  is super-rewarding.”

There is   thought and  intent to   what Frankel and   Reed wanted to  convey: the  incongruity of scale would keep the film audience off-balance.   Whether it’s an Erector Set toy piece that helps fabricate a staircase or a bread clip holding a cable together, it all throws the audience a visual curveball when  they see the set for the first time and discover these gems.

Says  Frankel of his intent to create something surprising, “We  wanted   this moment of walking into the lab to be really dramatic, like walking underneath the whale at the Museum    of Natural History in New  York City. You’re in awe. One of our main themes  of this environment is to give our  audience a very distinct change of scale that leaves them wondering, ‘Am I big or am I small?’ Or, ‘What is going on?”

The lab set is also a testament to Dr. Hank Pym’s brilliance and resourcefulness. He is wholeheartedly old-school, which  is evident in the mix of analog  items and  digital technology to create his lab chock-full of cutting-edge technology. His approach  to quantum  physics and his work  in general are decidedly utilitarian compared to the flashier tech-savvy approach of Tony Stark  and Stark Industries. Hank can “MacGyver”   the simplest of items to satisfy his own high-tech needs with equal, if not better, results.

Frankel’s team, including set decorator  Gene Serdena, kept that in  mind as they   began filling in the enormous space  with a highly curated mix of pieces. Oversized items blend in perfectly with piles of notes and  diagrams detailing  technology of the  quantum gate.   From 3D printers to standard office furniture, it all illustrates Hank Pym’s  thinking process.

“If you look   around the set you see bits and pieces that  show  how  Hank  Pym is not just a purchaser, he’s a maker,” says Frankel. “Everything   about what he, Hope   and  the ants have done   is an analog-beta version. If you  look closely, you quickly see the lab isn’t just an average building but a highly calibrated ecosystem, which supports   Hank Pym’s life work.”

While  how  Hank’s  lab is built is key, you can’t help but focus on what it does once you’re oriented to the space. The  quantum   tunnel itself comprises the central part of the set with a   quantum  pod, the transport vehicle, docked  and  ready to make  the jump into the quantum  universe.

For the quantum   tunnel look, Reed wanted to honor and reference the traditional time tunnel  but also elevate it to a whole  new level, which  Frankel  was  happy to do. The visual effects and special effects teams helped create  this gateway,   which has  built-in LED lighting effects.

While  Marvel  Studios fans  saw more of  the   Quantum Realm   in “Doctor  Strange,” Feige always   knew   they would   revisit it in this chapter to provide the biggest payoff. “We always knew  that by introducing the Quantum    Realm in ‘Ant-Man’  we were   beginning to peel back the onion that would  later be completely peeled back in ‘Doctor Strange’ as we go into the multiverse. That was our little test. The Quantum Realm  is a whole other territory and a whole other terrain that we can play with to tell our stories. Is Janet, Hank’s long-lost wife, the original Wasp, still down there in the Quantum Realm? That’s the crux of the entire film that we’re making now.”

Inarguably the most visually fun aspect of watching Ant-Man   shrink was getting a tiny ant’s-eye perspective of everyday items.  It was important to director Peyton Reed  and producers Kevin  Feige and   Stephen Broussard to set the standard for innovative photo-realistic shrinking elements on “Ant-Man,” and their approach for the next chapter was no different.

To achieve their goal, the  filmmakers once again  relied on Frankel’s know-how   when it came  to providing an  accurate backdrop   for the  fast-paced fighting, flying and  driving action as Ant-Man   and  The Wasp  shrink  and are  suddenly within  a  newly magnified milieu. As with  the first film, a macro photography unit would be utilized to morph the environment.

The   macro    photography  and  shrinking  elements    were something  Frankel and his team  put a lot of research and  development into on the first film. For “Ant-Man,” they built macro sets, actually miniature sets, filming them with motion-picture macro  photography  and  still macro photography. The  actors and their stunt doubles were  filmed in motion capture, supervised by  the visual effects team, to be digitally placed within the macro world.

Although  the cast and their stunt  doubles  needed to film the   motion-capture elements, Frankel’s sets   were filmed  separately, using the specialized Frazier lens to play with the environmental scale a bit differently.

The Frazier lens is a camera lens that simultaneously captures the  foreground and background,  keeping  both in focus with a giant depth of focus differential. For Reed’s needs, it would allow the camera to capture painstaking detail with a shallow depth of field that provides an exaggerated viewpoint.

“With  any   environment that we’re using, we photograph  the real elements   in excruciating detail,” points out Frankel. “Ultimately, it’s all digital because you’re able to move your virtual camera through  the spaces,  but when  that   environment is more photorealistic, it makes such a huge difference. We really put a lot of R&D into upping the reality of that, and it’s something that we really dialed in on.”

While   the lab is admittedly the  standout set in the film, Frankel and his team were  kept  busy  transforming practical spaces for filming as well as designing and  constructing sets to complete the  world for the action to play out in.

The  Ghost’s lair is another example of Frankel’s well-thought- out  approach  to each of his set designs. What you notice first, though,  is the Ghost Chamber, also conceptualized  by Frankel. It gives insight into Ava’s existence over the years. The repeated concentric-circle pattern  of the Fresnel  lens  comprising the shell of the chamber serves a  practical and aesthetic purpose.

Says Frankel, “We challenged   ourselves to find an environment that we  haven’t seen in  the  MCU  before. When    you see the Ghost     Chamber lit up, it is the main event. Around   it are support shapes  that help create this feeling of desperation and yearning for family  and stability. We put in Fresnel lenses to help infuse the mystery and the shadow   and the distortion of our character. So while this home and this environment  is residential at first, its appropriation as a domestic  laboratory is very unsettling.”

Producer  Stephen   Broussard  gives a hint of what’s to come  with the shrinking and   growing in “Ant-Man  and The  Wasp.”  “One of the evolutionary ideas of  this film is that they’ve exported shrinking and growing  beyond just suits and people. Suddenly, cars can shrink and  entire buildings can shrink. And we’ve been playing with a concept  that we call ‘variable man,’ which basically could mean an Ant-Man  from two feet tall to 18 feet tall, all the  way up to 80 feet tall. And, of course, half the fun of things like this is when that stuff starts to go wrong. So you  have Scott on  a mission getting stuck at the most inopportune sizes when  stealth is needed or  when he needs to move  fast  and he can’t because he’s at a certain height. That’s fun.”

Stephane  Ceretti and his visual effects team were tasked with bringing those elements to life. “We’re trying to be a bit  more playful with all of the change of scale and everything that was done in the first one and just trying to really mix it and play with it,” says Ceretli. “There are lots of different scales for Ant-Man in the film, way more than  we’ve seen before.”

He  continues, “We  also shot  some motion  control on  a green screen so  that we could   have Paul there really playing the part. There’s a lot more of his face when he’s small in the film. We’re opening the helmet way  more than in the first film, even when he’s small-sized. So we had to use a mixture of techniques to be able to do that.” One  of the techniques Ceretti used was facial capture. He explains, “We’re using a system called Medusa,  which is a system that really captures the motion of the actors and allows us to recreate all their facial expressions. But we’re  mixing techniques all the time so that we never  rely on just one thing.”


Coming  off of “Spider-Man: Homecoming,”    costume designer Louise Frogley is well aware of the design challenges to bring superhero films to the big screen. Together with Ivo Coveney, head of Specialty Costumes and  alumni of “Ant-Man,”  they would   craft multiple superhero costumes for the  “Ant-Man and  The Wasp”  cast, including Paul Rudd,  Evangeline Lilly, Michael Douglas, Michelle Pfeiffer and Hannah John-Kamen.

Concept  art  for each  superhero   suit was  rendered  by Marvel Studios’ visual development  supervisor  Andy  Park and   his team. Then it was given to the  costume designer and   sometimes the visual effects supervisor, when needed, to plot out the design, materials, fit and function for every conceivable scenario the script demanded while fulfilling the visual aesthetic.

Marvel  Studios always looks  to push the envelope for its Super  Heroes with  tech-savvy enhancements    often added to their suits, gadgets or weaponry. For “Ant-Man  and The Wasp,” this means  continuity and upgrades, whether it’s Scott Lang’s 2.0 Ant-Man suit or Hope’s Wasp suit.

For the Wasp suit, audiences  were given  a hint of what was to come  in “Ant-Man”   when  Hank unveiled a prototype for Hope in the film’s final scene. It is perhaps the most exciting and highly anticipated costume reveal for Marvel Comics  fans. Evangeline Lilly is quick to educate fans about the newest incarnation of the suit. “The Wasp suit featured at the end of the first film was an old prototype from the 1980s,” explains Lilly. “Technology has evolved and, as a woman of 2018, Hope has  updated the suit with Hank making a new one to fit her needs for this day and age.”

As they approached The Wasp suit design, Andy Park and costume  designer Frogley understood the fan scrutiny and the   accompanying pressure to visualize the look of the female Super Hero. Attention to detail for The Wasp   costume  was heightened  to  match  the  audience anticipation.

“Andy Park did  an amazing job on the original conceptual art. From there we had to  make The Wasp   costume  come alive. Of course  it had  to have complete mobility,  be strong enough to  resist great pressure and be beautiful on Evangeline. It took us many attempts, from experimenting with the size of the repeat motifs on the suit to exploring fresh ways to actually make the costume. It was constructed by April McCoy, who was unbelievably ingenious in her work,” comments  Frogley.

Frogley and Coveney had a collaborative and patient partner in Evangeline Lilly, who was just as invested in the design and fit of The Wasp suit as the costumers. “We did four months of fittings to get that suit perfect,” recalls Lilly. “The one thing I told Louise and Ivo when we started was that I don’t care how long it takes and I don’t care how long I have to be in this room. We will make this suit perfect. The proportions were key, so we threw around lots of different ideas.”

One of the more labor-intensive elements of the design was deciding on the color scheme and fabric. Remarks Coveney,  “When we began to design The   Wasp suit, we were able to allow for a sleek, more contemporary look. We  literally tested over 40 samples in our workshop to get the correct color and texture.”

Ultimately, the suit itself was made with a form-fitting base layer with multiple semi-rigid molded pieces laid over it plus boots and a helmet. Color and texture were accomplished by the effect of saturating the background color of the suit with a reflective silver tone and topping it with a gold-tinged patent leather, which was cut in a honeycomb   pattern on two different levels. The bodice and midsection alone have well over 90 pieces of leather to allow unrestricted movement.  The remainder of the making of the suit was an equally complicated process that entailed drawing up and cuffing the pattern, digitizing it, adding dots, then laser-cutting all the pieces in the
workshop. Dozens of  those pieces were then lined up and sewn together.

The Wasp’s signature wings are incorporated into the design of the suit in closed mode, but when expanded and ready for flight they become a digital add-on courtesy of Ceretti’s visual effects team.

Lilly admits that stepping into the final version of her Wasp costume was a little awe-inspiring. “The Wasp should look effortless, like it is something she was born to do, and that’s absolutely built into the suit,” says Lilly. “There’s something  very simple but elegant and feminine about it. There was this collective ‘hell, yeah’ moment when the suit was finished and I finally put it on. The whole room just went, ‘That’s it.’ Something in my demeanor, my DNA, just changed at that moment.  I felt like a Super Hero. I was so excited to get in front of the camera, and up to that point I was a little nervous about taking on this Super Heroine mantle and not looking good enough or strong enough to play someone  who is extraordinary. But the costume tucks away all of those insecurities in all of its beautiful, perfect lines. I felt like I could walk on set with confidence and be The Wasp.”

For Ant-Man,  Rudd got a modernized version of the original leather suit he debuted in “Ant-Man,” which had  more of a vintage feel reflecting its 1960s origins. Remarks Coveney, “The suit from the first film was meant to look pretty old-fashioned with a loose fit, almost like a motorcycle suit. It was meant to be resurrected after being tucked away for so many years. Our new version is definitely more modern with a tighter fit, so it makes a very heroic look for Paul.”

An  extraordinary amount   of research  and development   went  into developing the Ant-Man suit for the original film, and the practicalities of the  demands placed upon Rudd and his stunt doubles as they performed provided additional lessons for the next generation of design work for the suit.

According  to Frogley, new innovations offered an abundance of opportunity to up their design game. “There have been  advances  in manufacturing technique since the first ‘Ant-Man,’ and we were able to put those to good use. Particularly with laser cutting and raised printing. You can absolutely see the difference between the original Ant-Man and the new Ant-Man  suits. I love what we were able to do with the new Ant-Man  costume. It’s wonderful to see finally see both Ant-Man and The Wasp together!”

Gone is the full leather design. Although some leather accents remain, the  suit is replaced with streamlined tactile fabric that is enhanced with a three-dimensional print. Integrating a pliable material to allow flexibility around  the arms for unlimited    movement was a  key improvement    Coveney and the department utilized for almost every costume they fabricated.

Forty individual pieces make up the Ant-Man belt  and chest plate to allow unrestricted movement, and rubber tubing  resembling metallic is set into the upper portion. The same with his backpack. It was engineered to move with Rudd so that it doesn’t restrict him.

The  functional    aspects of   any superhero   suit are   a fundamental part  of ensuring an actor is comfortable  and can  move  and,  more  importantly, act in a scene   without distractions from   a    cumbersome costume.    Coveney  has many  tricks up his sleeves that may not  be visible but are an  integral part of the design to allow form and function to coexist seamlessly.

For  example,  the  helmet  design, used  for   many of  the helmeted  suits, has magnets   integrated  into the construction to facilitate an easy on-and-off  for the visor. Coveney  also  keeps those visors and face  plates as matte as possible to avoid any reflection issues with  any cameras  during filming. The intricate details that Coveney integrated into each suit were not lost on the cast.

Ghost’s terrifying  shrouded look  in  “Ant-Man and  The    Wasp” closely  resembles that of the Marvel Comics  character. For  the deadly assassin  with  the  unique  power set  of intangibility, to become invisible and visible at will, the containment suit stabilizes her form, allowing her  to control phasing through any object.

When  it came  time to  personify the look, the  turnaround  time from   fitting  John-Kamen  to    manufacturing  Ghost’s   unisex
containment suit was a  little over nine weeks. It may sound like an abundance  of  time, but for Coveney’s team  it was slim, especially with dozens of other suits in different phases of production. Full-body molds,  multiple fittings, manufacturing, color and fabric tests followed by tweaks take time, especially when  the team  is as detail-oriented as Frogley and Coveney’s.

As soon as John-Kamen  was  cast in the role, a full-body scan followed  so her body  form could  be  established and the costume     department could begin building and individually placing hand-sculpted pieces  on  Hannah’s form. The  sculpted,  semi-rigid pieces would then   be cast and glued on to the skintight neoprene suit, which allowed for maximum   flexibility for both  the actress and her stunt double.

A helmet,  mask  and  hood  round  out the   headpiece, which  was affixed to the base suit. Based on the comic design, the helmet, in turn, is designed in a way that the eyes eerily don’t match up with  the   human eyes.  And therefore it’s very, very difficult for the actress to see or the stunt person to see.

Says John-Kamen  of Ghost’s   containment suit, “It’s a very cool suit made of neoprene with a hood and this crazy mask.  It’s definitely menacing and different. I haven’t seen anything like it yet in any other Marvel film. What’s amazing  about the  suit is its construction. It’s all built together with such intricate detail. It’s going be really exciting to reveal the whole thing.”

As is the norm, multiple costumes were fabricated for each actor and their stunt double. Coveney’s team ended up making a total of 64 specialty costumes, including dozens of helmets, belts, backpacks and gauntlets. This would include 14 versions for Ant-Man, 15 for Wasp, 12 for Ghost, 8 suits for Hank and 15 suits for Janet.


The fun, size-shifting  action that   punctuated   and entertained global film audiences in “Ant-Man”  returns, but with an innovative and   amped-up energy, courtesy of the  new  partnership of   Ant-Man and  The  Wasp. Audiences  will finally get the payoff of seeing The Wasp in action.

Stunt coordinator George Cottle, who refined his specialty of designing intricate, gravity- defying wirework for Tom Holland’s web slinger in “Spider-Man: Homecoming,” was entrusted to formulate and  choreograph a myriad of equally  dynamic stunts to drive the top-notch action for “Ant-Man and The Wasp.”

Cottle and his team were lucky to have a cast who were ready, willing and able to prepare and do as much as the filmmakers would  allow them to do when  it came to practically executing stunt action, especially with the in-your-face camera work Reed had  planned.

“The actors have really stepped up to the plate and done a great job. Capability-wise, there isn’t much they can’t do,” comments  Cottle. “They’re very physically talented. Evangeline is 100 percent invested in making The Wasp’s action scenes pop, as are Paul, Hannah and the rest of the cast with their characters. There are times in this movie where their masks  come off, so there’s no hiding behind the costume. It has to be them during that fight scene or the wire stunt to make it believable.”

From the very beginning, Cottle knew The Wasp’s on-screen  debut  would be the primary focus of their efforts to showcase what Marvel’s first female Super Hero is truly capable of. For Lilly, the hours spent rehearsing paid
off when she and John-Kamen   were on set filming the elaborate fight sequence that introduces Wasp in action mode to  audiences for the first time.

“I love the  way we unveil  The Wasp with this really cool, kick-ass fight sequence where she single-handedly takes out dozens of Burch’s goons without breaking a sweat,” says Lilly. “Then Ghost walks in, and the game changes. It’s immediate, and  Hope  knows it. But everybody knows that the only way you can make   a good superhero film is if you have an evenbetter villain. Hannah knocks it out of the park playing a villain who is both terrifying and formidable but  somehow simultaneously vulnerable and innocent.”

John-Kamen  welcomes  the challenge of physically demanding roles. Her previous training as a dancer coupled with the desire to fully flesh out all aspects of her character made her the perfect actor for the role. “I love the stunt training,” she acknowledges with a smile. “I’ve done stunt work in the past so I always  come in and I’m gung ho. It’s so important to me as an actor to bring the physicality to the  character. As soon as I put the Ghost suit on, it made me  move in a certain way, so I incorporated that with her style of fighting and her power set. The more stunt moves  I can do on camera, the more it adds   to my performance.”

John-Kamen’s   preparations  and exhaustive stunt training paid off and were noticed   immediately by Reed   and the  filmmakers. Recalls Broussard, “Hannah’s been amazing  putting herself through the paces of the fights. She’s got the  swagger of this character and she’s got the attitude. Even with the mask on you can tell that Hannah’s in there. Her performance is there  even  in fight mode.”

While  Cottle  handled the  action on  the main unit, second  unit director  Jeff Habberstad and  veteran  stunt coordinator  Andy Gill and his team   oversaw the mind-boggling  practically executed   action on the streets of Atlanta and  San Francisco.

One of the craziest chases takes place on the winding streets of San Francisco, where Luis is in a small car being chased  and shot at by an  SUV filled with bad guys. Describing the origin of the car that Luis drives, Habberstad says, “The car is part of an assortment of cars that Pym has in his arsenal. It’s like he has a little toy set and can pull any one  of them out  and make it grow   and be a full-sized car. And, of course, Luis picked the Veloster he drives because he  thought it was the coolest.”

He  adds, “The paint job makes it look just crazy. And, of course, they’ve done it up with the big slick tires and all that stuff. So it looks cool coming around the corners getting chased by these big oversized SUVs.”

Remarks  VFX  supervisor  Stephane Ceretti, “It’s going to be a car chase that is a little bit different from the car chases  you’ve seen before.  We’re playing with the scale of the  cars and everything. That’s something that’s  brand-new to  ‘Ant-Man!”

Commenting    on the action in the film, Reed says,   “We’re doing  some  action  sequences that obviously you would  not see in any other movie   because they’re so specific to these characters and to their powers. It’s really fun as a filmmaker to be able to have access to all the tools that Marvel allows you to  have access to, like the greatest visual effects artists in the world. So you can  come up with crazy ideas that have never been seen in a movie. It’s exhilarating to think about it.”


With  its eye-popping shrinking-and-growing action, fast-paced chases and family-friendly comedy, “Ant-Man   and The  Wasp”  once again  delivers a fresh, one-two punch that smacks  of the  MCU in  an accessible and relatable way.

And that’s   how director Peyton  Reed always envisioned  it. “It’s a fun and hopefully surprising ride,” says the director. “The visuals are stunning and the action sequences are  crazy.”


PAUL RUDD   (Scott  Lang/Ant-Man and Screenplay by) again stars as Ant-Man, the role he established in Marvel Studios’  “Ant-Man” in 2015. The film also starred Michael Douglas and Evangeline Lilly and opened No. 1 at the box office. Rudd was nominated for Critics’ Choice Award for best actor in an action movie and a MTV Movie Award for best hero  on behalf of his performance in the movie. Rudd co-wrote “Ant-Man” with Adam   McKay, Edgar  Wright and Joe Cornish and is a writer on the new film as well. Rudd was last seen as Ant-Man in Marvel Studios’ “Captain America: Civil War,” which grossed over $1 billion worldwide.

Rudd’s most  recent credits include Ben Lewin’s WWII dramatic spy-thriller “The Catcher Was a Spy,” starring opposite Paul Giamatti, Guy Pearce and Mark Strong, and Duncan Jones’ “Mute,” which was shot in  Berlin with Alexander Skarsg5rd  and Justin Theroux. He will next be seen in Andrew  Fleming’s dramedy   “Ideal Home,” opposite Steve Coogan. In 2019, he will bring Ant-Man to the next “Avengers” film, which opens in May.

Rudd starred opposite Will Ferrell, Steve CareII and David Koechner in Adam McKay’s “Anchorman 2: The Legend Continues,” reprising their roles from “Anchorman: The Legend of Ron Burgundy” for Paramount.   “Anchorman 2” grossed over $170 million worldwide and received a People’s Choice Award nomination for favorite year-end movie, as well as four MTV Movie Award nominations.

Rudd is also well known for his roles in Judd Apatow’s “This Is 40” and “Knocked Up.” “Knocked Up” grossed over $200 million worldwide, received a People’s Choice Award for favorite movie comedy, a Critics’ Choice Award nomination for best comedy   movie and was named   one of AFI’s top 10 films of the year. Additionally, “This Is 40” was   nominated for a 2013 Critics’ Choice Award for best comedy movie, and Rudd was nominated for best actor in a comedy.

Rudd’s other film credits include: “Role Models” (co-writer), “Wanderlust” (producer), “Our Idiot Brother,” “I Love You, Man,” “Forgetting Sarah Marshall,” “The 40-Year-Old Virgin,” “Clueless,” “William Shakespeare’s Romeo + Juliet,” “Wet Hot American  Summer,” “The Cider House  Rules,” “The Object of My Affection,” “They  Came Together,” “Prince Avalanche,” “Admission,” “Dinner for Schmucks,” “The  Fundamentals  of Caring,” “How Do You Know,” “Monsters Vs. Aliens,” “The Ten” (producer), “Night at the Museum,” “Diggers” and “The Château,” among others.

Rudd returned to the Broadway stage in Craig Wright’s “Grace,” starring opposite Michael Shannon, Kate Arrington and Ed  Asner at the Cort Theatre. “Grace” was  nominated for an Outer Critics Circle Award for outstanding new   Broadway play, and Rudd was nominated  for a Drama  League Award  for distinguished performance. His other stage credits include starring opposite Julia Roberts and Bradley Cooper in Richard Greenberg’s Broadway production of “Three Days of Rain,” Neil LaBute’s “Bash” in both New York and Los Angeles, as well as LaBute’s “The Shape of  Things” in London and New  York. Rudd  made his West End debut in  the London production of Robin Phillips’ “Long Day’s Journey Into Night,” opposite Jessica Lange. Other Broadway credits include Nicholas Hynter’s “Twelfth Night” at Lincoln Center Theater with a special  performance that aired on  PBS’s “Great Performances”  and Alfred Uhry’s Tony Award®—winning play “The Last Night of Ballyhoo.”

On  television, Rudd was the co-writer and co-creator of the critically acclaimed series “Party Down” on Starz. He also garnered wide recognition with a recurring role as Mike Hannigan on the TV sitcom “Friends.” In 2012, Rudd won a  Critics’ Choice TV Award for best guest performer in a comedy for his guest-starring role on “Parks and Recreation.” In 2015, Rudd reprised his role as Andy in David Wain’s “Wet Hot American Summer” along with the original cast for an eight-episode limited Netflix series based on the cult film.

In  January 2004, EVANGELINE LILLY (Hope van   Dyne/The Wasp)   landed her first speaking role in a television series  when she was cast as Kate in ABC’s critically acclaimed worldwide hit drama series “Lost.” Created by J.J. Abrams,  Damon  Lindelof and Jeffrey Lieber, “Lost” won the 2006 Golden  Globe® Award  for best television drama series as well as the Screen Actors Guild  Award® for best ensemble in a  drama series. Lilly was nominated for a Teen Choice  Award  for choice actress in a drama series and received a 2007 Golden    Globe nomination for best actress in a drama  series.

Following  Marvel Studios’   “Ant-Man and  The Wasp,”  Lilly will take part in the fourth “Avengers” film, opening in  May 2019,  where she will be reprising her  Wasp character, fighting side by side with the famous Super Hero ensemble.   Her connection  with the Marvel Cinematic  Universe  began in 2015, when   Lilly starred opposite Paul Rudd in Marvel  Studios’ first installment of “Ant-Man.”

Lilly was recently seen in Netflix’s horror comedy “Little Evil,” starring alongside Adam Scott. Previously, she was seen as Tauriel, one of  the lead elves in Peter Jackson’s hugely successful prequels to the “Lord of the Rings” trilogy, “The Hobbit: The Desolation  of Smaug”  and “The Hobbit: The Battle of the Five Armies.” Lilly co-starred alongside  Martin Freeman,    Orlando Bloom,  Ian McKellen  and Richard  Armitage. After a brief hiatus to start a family, Lilly secured the role of Bailey Tallet in the family action drama “Real Steel,” alongside Hugh Jackman, in 2011.

In 2008, Lilly co-starred with John Malkovich in the 2008 Toronto International Film Festival selection “Afterwards,”
as well as appeared in a supporting role in the six-time Academy Award®—winning    film “The Hurt Locker,” where
she  played Connie James,  the ex-wife of Jeremy Renner’s character.

Lilly is also the creator of “The Squickerwonkers” series, an engaging and mischievous cautionary tale for young readers. “The   Squickerwonkers: A Prequel” and “The  Squickerwonkers —Vol. 1: The Demise of Selma the  Spoiled” are currently available wherever books  and audiobooks are sold.  “The Squickerwonkers”    was first published on November  18, 2014 by Titan Books.

Lilly is wholeheartedly  devoted to philanthropy, traveling  and gaining higher knowledge    of various cultures around  the  world. She  is a loyal and dedicated supporter  of the Sierra Club and Natural  Resources   Defense Council. She has been a  volunteer for children’s projects since the age of 14 and during college founded and ran a world development    and human  rights  committee. Fluent in French, Lilly loves reading, writing, painting, music, nature, staying active, learning and travel.

MICHAEL  PENA  (LUIS) has distinguished himself in Hollywood  as an actor with  a wide range of   performances and  has worked   with an  impressive roster of  award-winning directors.  Pena earned  notable  recognition for his  performance in Paul Haggis’ provocative Oscar®—winning   film “Crash,” alongside  Don Cheadle,  Matt Dillon and  Terrence   Howard.  He  garnered multiple   best-ensemble  nominations for his performance   as Daniel  the locksmith,  winning awards  from  the Screen  Actors Guild’  and  the Broadcast Film Critics Association for the cast’s  performance. In 2013, he was  seen  in the David 0. Russell film “American Hustle,” which won a   Golden Globe®  as well as ensemble awards  from the  Screen Actors Guild and the Broadcast Film Critics Association. The film also won three  BAFTA  Awards and  was nominated  for an Academy Award®.

In 2015, he  was  seen in two films to cross the $500  million mark: the heist film “Ant-Man,” starring opposite Paul Rudd   and Michael Douglas, and  “The  Martian,” opposite Matt   Damon and Jessica Chastain. “The  Martian” premiered  at the Toronto International Film Festival and  went on to win a Golden  Globe®, was   named top film by the National Board of Review, and was nominated for seven 2016 Academy  Awards.

He was most recently seen  in “12 Strong,” alongside Chris Hemsworth and Michael Shannon,  and will next be seen in the thriller “Extinction” opposite Lizzy Caplan. He can also be seen in “A Wrinkle in Time,” opposite Reese Witherspoon   and Chris Pine, and can be heard in the highly anticipated “The LEGO® NINJAGO® Movie” and “My Little Pony: The Movie.”

He was also recently seen  in “Collateral Beauty,” starring Will Smith; “War on Everyone,” opposite Alexander Skarsgird; and the  Comedy “CHiPS.” In 2014, Pena starred as civil rights leader and labor organizer Cesar Chavez in “Cesar Chavez,” directed by Diego Luna. He was also seen in  the drama “Graceland,”  and in David Ayer’s “Fury,” with Brad Pitt and Shia LaBeouf. In 2012, he was seen in the critically acclaimed “End of Watch,” which premiered at the Toronto International Film Festival. For his performance as Officer Zavala, Pena was nominated for an Independent Spirit Award, and the film was recognized by the National Board of Review as one of the top 10 independent films of the year.

Pena  has been seen in a range of films, including the independent “Everything Must Go,” alongside Will Ferrell and Rebecca Hall; “Gangster Squad,” opposite Sean Penn, Josh Brolin and Ryan Gosling; and the animated feature “Turbo.” His credits include “The Lucky Ones,” co-starring Rachel McAdams and Tim Robbins; Jody Hill’s comedy “Observe  and Report,” with Seth Rogen; Robert Redford’s political drama “Lions for Lambs,” with Tom Cruise and Meryl Streep; and Werner  Herzog and David Lynch’s psychological thriller “My Son, My Son, What Have Ye Done,” with Michael Shannon,  Willem Dafoe and Chloe  Sevigny.

Peria’s other noteworthy credits consist of Oliver Stone’s “World Trade Center”; Clint Eastwood’s “Million Dollar Baby”; Matthew  Ryan Hoge’s “The United States of Leland”; Gregor Jordan’s “Buffalo Soldiers”; Antoine Fuqua’s “Shooter”; Brett Ratner’s “Tower Heist”; and Alejandro Gonzalez ffiarritu’s “Babel.”

On television, Pena starred in the HBO film “Walkout,” based on the true story of a young Mexican American high school teacher who  helped stage a massive student walkout in the late-1960s. Pena received an lmagenAward  for best actor for his performance. He re-teamed with Danny McBride on  the second season of  HBO’s “Eastbound  &  Down” and also appeared on the FX drama “The Shield,” in its fourth season, as one of the central leads opposite Glenn Close and Anthony   Anderson. His other television credits include Steven Spielberg’s NBC TV movie  “Semper  Fi.”

Raised in Chicago, Pena began  acting when he beat out hundreds of others in an open call for a role in Peter Bogdanovich’s “To Sir, With Love 2,” starring Sidney Poitier.

In the last few years, WALTON  GOGGINS  (Sonny  Burch) has  had pivotal roles in films by two of Hollywood’s most important auteurs: Quentin Tarantino and  Steven Spielberg. His integral role as Chris Mannix, a southern renegade  who claims to be the new sheriff of Red Rock in Tarantino’s “The Hateful Eight,” marked his second collaboration with the  Academy Award®—winning writer/director. He previously played slave fight trainer Billy Crash  in Tarantino’s 2012 “Django Unchained.” That same year, Goggins also appeared in Steven Spielberg’s “Lincoln,” where he portrayed Clay Hawkins

Goggins most  recently starred opposite Alicia Vikander in Warner Bros./MGM’s “Tomb Raider” reboot,  where he played the role of villain Mathias Vogel. The film released on March 16, 2018. In January, he was seen in “Maze  Runner: The Death Cure,” the third installment of the highly successful franchise, in which Goggins played Lawrence, an  unusual and  dangerous character.

In 2017, Goggins was seen in “Three Christs,” opposite Richard Gere and Peter Dinklage. The film made its world premiere at the Toronto International Film Festival on September 14, 2017.

In television, Goggins starred opposite Danny McBride in the HBO series “Vice Principals.” Created by McBride and Jody Hill, who also created “Eastbound &  Down,” the show premiered at the 2016 SXSW  Film  Festival and won  the episodic audience award. In 2017, Goggins starred in the first season of History channel’s “Six,” an eight- episode  contemporary  military action drama from A+E Studios and The Weinstein Company.

For his work in television, Goggins has received an Emmy® nomination and four Critics Choice Award nominations for his mesmerizing portrayal of Boyd Crowder on FX’s Peabody Award-winning  drama series  “Justified,” which ran for six seasons.

Goggins’ critical turn as the complex transgender prostitute Venus Van Dam on  the FX drama series “Sons of Anarchy” earned  him  two Critics Choice TV Award nominations and helped shed fresh light on the transgender community.  He previously garnered  much acclaim for his complex and edgy portrayal of Detective Shane Vendrell on FX’s gritty, award-winning drama series “The Shield,” which ran for seven seasons. He was nominated for a Television Critics Association (TCA) Award in the category of individual achievement in drama.

Goggins’ impressive  résumé includes dozens of films, having worked with the likes of Robert Duvall and Anthony Hopkins. His recent feature credits include such diverse films as “American Ultra,” “G.I. Joe: The Rise of Cobra,” Robert Rodriguez’s “Predators”  and “Machete  Kills,” Jon Favreau’s “Cowboys & Aliens” and Rod Lurie’s “Straw Dogs.”

He has also taken his turn behind the camera. Goggins’ collaborations with his partners at Ginny Mule Pictures include winning an  Academy Award®  for their 2001 short film, “The Accountant,” which he produced and starred in. The team  produced, directed and starred in their first feature, “Chrystal,” starring Billy Bob Thornton, which was accepted  into the 2004 Sundance Film Festival’s dramatic competition. For their third collaboration, Goggins produced  and starred in the feature “Randy and the Mob,” which won  the audience award for best feature at the 2007 Nashville Film Festival.

Their fourth feature, “That Evening Sun,” starring Hal Holbrook and Goggins, made its world premiere at the South by  Southwest (SXSW) Film Festival in Austin, Texas, in March 2009, where it won the Narrative Feature Audience Award  and  received the Special Jury Award for best ensemble cast. The film continued winning awards at over 14 film festivals, culminating in the honor of the Wyatt Award from the Southeastern Film Critics Association (SEFCA)  and two Independent Spirit Award nominations.

BOBBY  CANNAVALE     (Jim Paxton) had his breakthrough role as Joe  in Tom McCarthy’s  award-winning  “The Station Agent,” for which he received a SAG Award® nomination as part of the ensemble.

Cannavale  is currently filming “Motherless Brooklyn,” starring opposite Bruce Willis and Edward Norton. He recently wrapped “The  Irishman,” where he stars opposite Al Pacino and Robert De Niro, and “Going Places,” opposite starring with Margot Robbie and Sebastian Stan. He also voiced characters in “Ferdinand” and “The Nut Job 2: Nutty by Nature.”

In 2015, Cannavale appeared in the Dan Fogelman film “Danny Collins,” alongside Al Pacino, Jennifer Garner and Annette Bening. Also in 2015, Cannavale appeared  in “Adult Beginners,” alongside Rose Byrne and Nick Kroll; “Spy,” alongside Melissa McCarthy, Rose Byrne, Jude Law and Jason Statham; as well as in the Marvel film “Ant-Man,” alongside Paul Rudd.

On television, Cannavale currently stars opposite Julia Roberts in Amazon Studios’ “Homecoming,” and in 2017, he played Irving in the USA Network  series “Mr. Robot.” In 2016, Cannavale appeared as the lead character, Richie Finestra, in the HBO drama “Vinyl.” The series was co-created by Terence Winter and executive produced by Martin Scorsese and Mick Jagger.

In 2013, Cannavale won his  second Emmy®  Award   and received a SAG  Award® nomination  for his role as Gyp Rosetti in the acclaimed HBO series “Boardwalk Empire.” He also received two Emmy nominations for his role on “Nurse Jackie,” for which he also received a SAG nomination. Cannavale won his first Emmy for his role as Will’s boyfriend on the comedy “Will & Grace.”

Cannavale’s additional film credits include: “Blue Jasmine,” “Win,” “Shall We  Dance?,”  “Happy  Endings,” “Roadie,” “Fast Food Nation,” “Romance & Cigarettes,” “Movie 43,” “Lovelace” and “Parker.” TV credits include: “Third Watch,” “100  Centre Street,” “Ally McBeal,” “Six Feet Under” and “Modern Family.” Broadway credits include: “The Big Knife,” “Glengarry Glen Ross,” “The Motherf”ker With the Hat”  (Drama  Desk Award and  a Tony  Award® nomination) and “Mauritius” (Tony nomination). Off-Broadway credits include: “Hurlyburly,” “F—ing A” and “The Gingerbread House.”

JUDY  GREER  (Maggie)  has a prolific career in film and television, marked by appearances in over 80 roles to date. Greer was most recently seen in the feature films “Measure of a Man,” opposite Donald Sutherland, which opened  on May 11, and “The 15:17  to Paris,” which opened on February 9 in the U.S.

She recently wrapped production on “Driven,” with Lee Pace and Jason Sudeikis, and “Halloween,” starring with Jamie Lee Curtis and Virginia Gardner in the newest entry in the “Halloween” franchise. “Halloween” is slated for release on October 19, 2018. Also in October, Greer will star in “Where’d You Go, Bernadette,” opposite Cate Blanchett and Kristen Wiig.

Greer is also set for Showtime’s upcoming new series “Kidding,” starring opposite Jim Carrey, Catherine Keener, Frank LangeIla and Justin Kirk.

Last year, Greer starred in “War for the Planet of the Apes,” reprising her role of Cornelia; “Our Souls at Night,” opposite Robert Redford and Jane Fonda; “Pottersville,” with Michael Shannon and Ron Perlman; and “Adventures in Public School,” with Daniel Doheny. She was also seen in “Wilson,” starring Woody Harrelson, Cheryl Hines and Laura Dern, and “Lemon” alongside Brett Gelman. Both films premiered at Sundance 2017.

In 2015, she starred in the FX comedy series “Married,” opposite Nat Faxon, and also appeared in Marvel Studios’ “Ant-Man,” opposite Paul Rudd, as well as being the star of Jamie Babbit’s indie “Addicted to Fresno.” She was also seen in “Jurassic World” and “Tomorowland” in that same year.

Susan  Sarandon. Cannavale will next be seen in “Boundaries,” opposite Christopher Plummer and Vera Farmiga.

In 2014, she shot Fox’s “Dawn of the Planet of the Apes” for director Matt Reeves and wrote her first book, “I Don’t Know  What  You Know  Me  From.” She  continues to voice the role of Cheryl on FX’s award-winning animated secret agent spoof “Archer,” currently in its ninth season. She also shot Jason Reitman’s “Men, Women & Children” in Austin, Texas.

In 2013, Greer was in  MGM’s  update of Brian De Palma’s classic “Carrie,” in which she appeared alongside Julianne Moore   and Chloe Grace   Moretz for director Kimberly Peirce. She also made her Broadway   debut opposite Katie Holmes in “Dead Accounts.” She also  reprised her role as Kitty Sanchez, George Bluth (Jeffrey Tannbor)’s assistant/girlfriend, in the fourth season of cult classic “Arrested Development” on Netflix on top of all of that.

Greer’s other film credits include Fox Searchlight’s Academy Award®—winning “The  Descendants,” directed by Alexander  Payne and starring George Clooney, as well as Jay and Mark Duplass’ “Jeff, Who Lives at Home,” in which she starred opposite Ed Helms and Jason Segel. Additional credits include Robbie Fox’s dramedy “Playing for Keeps,” Barry Blaustein’s “Peep World,” Magnolia Pictures’ “Barry Munday” and Ed Zwick’s “Love & Other Drugs,” in which she appeared  opposite  Anne   Hathaway and Jake Gyllenhaal. This is only a small sample of Greer’s extensive film work.

Greer is no stranger to the small screen, either, having appeared in a multi-episode arc on “Two and a Half Men”  and having a recurring role on the  aforementioned “Arrested  Development.” Her additional television credits include the ABC comedy “Miss  Guided” as well as CBS’s  “Mad Love,” opposite Sarah Chalke and Tyler Labine, along with guest appearances on “Modern Family,” “How  I Met Your  Mother,”  “The Big Bang Theory,” “It’s Always Sunny in Philadelphia” and “Californication,” just to name a few.

Last year, Greer directed her first feature film, “A Happening of Monumental Proportions,” written by Gary Lundy and starring Common, Bradley Whitford, Allison Janney, Jennifer Garner, Keanu Reeves, Anders Holm, Nat Faxon, Rob Riggle, Katie Holmes and Storm  Reid, to name a few. Produced  by Principato-Young Entertainment   and Depth of Field, this dark comedy debuted at the Bentonville Film Festival in May 2017. Celebrating its third year, the growing festival was founded by Geena Davis and dedicated to championing   women  and diverse voices in media.

TIP “T.I.” HARRIS (Dave) is an American hip-hop recording artist and actor from Atlanta, Georgia, and perhaps best  known as one of the pioneers of the hip-hop subgenre trap music. In 1999, Harris signed with Arista Records subsidiary LaFace Records, marking his first major music-label deal.

Harris has also had a successful acting career. His credits include History’s Emmy®- nominated “Roots”; HBO’s “Bailers”; Marvel Studios’ “Ant-Man”;  “Get Hard”; “Identity Thief,” alongside Melissa McCarthy and  Jason Bateman; “Sleepless,” alongside Oscar® winner Jamie Foxx;  “American Gangster”; and Chris Robinson’s “ATL.” He has also starred in the American reality television series “T.I.’s Road to Redemption” and “T.I. & Tiny: The Family Hustle.”

Harris is also a published author, having written two novels, “Power & Beauty” (2011) and “Trouble & Triumph” (2012). Next up, he will star in and produce “The Trap,” with Flavor Unit and Naptown, through his Grand Hustle Entertainment  production company and act alongside Mike Epps.

On the music  side, in 2001 Harris formed the Southern hip-hop group Pimp  Squad  Click (P$C), alongside his longtime friends and fellow Atlanta-based rappers. Upon   being released from Arista, he signed to Atlantic Records and   subsequently  became  the co-chief executive officer (CEO) of his own label imprint, Grand Hustle Records, which  he launched  in 2003. Harris started to garner recognition that same year, after his first high-profile feature on fellow  Atlanta-based rapper   Bone  Crusher’s hit single, “Never Scared.” He earned  even  more   prominence with the release of his platinum-selling and No. 4   album “Trap Muzik,” featuring the classic hits “Rubber Band Man”   and “Let’s Get Away.”

The next year, Harris appeared  on Destiny’s Child’s international hit “Soldier,” alongside Lil Wayne. His subsequent albums,  “King” and “T.I. Vs. T.I.P.,” generated high record sales and were supported by popular singles, such as “What  You   Know”  and “Big Shit Poppin” respectively.

Harris’ sixth album, “Paper Trail” (2008), became his most successful project, with the album being certified gold  for first-week sales of over 500,000 copies in the United States, additionally making it his third consecutive No. 1 album.  He released his seventh studio album,  “No Mercy,” in 2010, and in October 2014 he released his Columbia Records  debut, “Paperwork.”  Harris has won three GRAMMY®      Awards,  namely best rap solo performance,  best rap  performance by a duo  or group  and best rap/sung collaboration. Billboard also ranked him as the 27th Artist of the 2000s  decade in 2009.

In total, Harris has released nine studio albums, with seven of them   reaching the top five of the U.S. Billboard 200  chart. He also released two passion  projects in 2016: the “Us or Else” EP and the full-length album “Us or Else: Letter to the System.” He was motivated  to create these after a series of killings of unarmed black citizens at the hands of law enforcement.

Throughout  his career, he has also released several highly successful singles, including “Bring ‘Em Out,” “Whatever You  Like,” “Live Your Life” (featuring Rihanna), “Dead and Gone” (featuring Justin Timberlake), “Ball” (featuring Lil Wayne)  and “No Mediocre”   (featuring Iggy Azalea).

From  a brilliant-yet-troubled heroin addict,  to an ex-con creating chaos  for  an incredibly strong, shrinking super  hero,   to an  isolated, disturbed   man    who  becomes  the   prime suspect   in  a recent  kidnapping, DAVID  DASTMALCHIAN      (Kurt) has brought   tremendously complex  and diverse characters to life on screen over the  last few years.

Dastmalchian   was  most recently seen in “Relaxer,” an independent film that opened in March  and premiered  at the  2018  SXSW Film Festival, and last fall’s “Blade Runner 2049,” directed by Denis Villeneuve.

Dastmalchian  recently finished work  on several feature films: “Teacher,” “Madness in the Method,” “All Creatures Here   Below,” “A  Million Little Pieces,” “The Domestics” and  “Bird Box,” which  are  all in post-production. A December   21, 2018, release date has  been set for “Bird Box.”

In 2016, he was seen in   James Gunn’s “The  Belko Experiment,” alongside  John Gallagher Jr., Tony Goldwyn  and Adria  Arjona. In 2015, Dastmalchian co-starred opposite Paul   Rudd in Marvel Studios’ summer   adventure “Ant- Man,”  released on  July 17, 2015. Dastmalchian played Kurt—the  role he   is now  reprising—who is one of three ex-cons contributing a vital role in Ant-Man’s adventures.

Aside from blockbuster films, Dastmalchian   continues to make his mark in the independent world with his feature the  2014   SXSW Film Festival by storm, winning  the special jury prize for courage in storytelling, and bowing to rave reviews. Dastmalchian, who   not only starred in and wrote but also produced  the film, received critical acclaim from top national outlets including Time magazine, Slant Magazine, The  Hollywood  Reporter and Variety, to   name a few. He also won best actor at the New York International Independent Film &  Video Festival in 2014.

Additional  2015 film projects for Dastmalchian included lead roles in the indie features “Chronic,” written and directed  by Michel Franco, director/writer of Cannes hit “After Lucia,” opposite Tim Roth and Bitsie Tulloch; and “Under  the Pyramid,” written  and directed by Axel Petersen, best new  director winner at TIFF in 2012.

Originally  from Kansas, Dastmalchian  moved    to Chicago to  further his education in acting, studying at  The Theatre School at DePaul University. While in Chicago he received acclaim for leading performances in  Tennessee Williams’ “The  Glass Menagerie”  and  Sam  Shepard’s “Buried Child.”

In  2008,  Dastmalchian made   his feature film debut in Warner  Bros.’ Academy   Award®—winning    feature “The Dark  Knight,” directed by Christopher Nolan. Dastmalchian  went  on to gain rave reviews for his portrayal of the troubled  Bob Taylor, opposite Hugh   Jackman  and Jake  Gyllenhaal, in the Academy  Award—nominated     feature “Prisoners,” directed by Denis Villeneuve.  On the  television front, Dastmalchian has held roles on “Intruders” (BBC   America), “CSI: Crime Scene Investigation” (CBS), “Almost Human”  (Fox), “Ray Donovan”   (Showtime)   and “The  League” (FX).

Additional  accolades for Dastmalchian include: best actor at Best of the Midwest   Independent Film Awards  and best film at Best of the  Midwest  Independent  Film Awards (both for “Animals”); audience choice,  Chicago Film Critics Association (“Animals”); and  programmers choice, Virginia Film Festival (“Animals”).

On the charity front, Dastmalchian volunteers regularly with the Born to Act Players, a 20-year-old theater troupe comprising  developmentally   disabled adults who  have a passion and talent in acting.

Dastmalchian  currently lives in the Los Angeles area with his wife, son, dog and a very dramatic cat.

British actress HANNAH   JOHN-KAMEN     (Ghost) has  accomplished an   impressive number  of strong roles during her short career, and has been praised for her work  in television, film and on stage.

John-Kamen   was  most recently seen   in “Ready Player One,” directed by Steven  Spielberg and based on  Ernest Cline’s 2011  dystopian novel of the same  name.  The film was released on March  29 of this year. Also in March, John-Kamen    starred in “Tomb Raider,” directed by Roar Uthaug.  She plays Sophie, Lara Croft’s (Alicia Vikander) roommate.    The film also stars Walton Goggins and Dominic West.

John-Kamen   can currently be seen in the popular action adventure “Killjoys,” in which she stars as the protagonist Dutch,  one of a trio of interplanetary bounty  hunters. Aaron   Ashmore  and  Luke  Macfarlane also star in the 10-episode  series, co-produced by   Canadian channel Space  and Syfy. Season four begins on July 20.

After starring as Selma Telse in the 2011  Emmy®   Award-winning  season of Charlie Brooker’s critically acclaimed TV series “Black Mirror,” John-Kamen   returned in 2016  as Sonja in an episode of the show’s long-awaited third season. Exploring the dark side of modern life and new technology, each episode of “Black Mirror” is a standalone from  the rest, with different casts, different settings and different realities for each.

In April 2016, John-Kamen  took on  the role of Ornela, a Dothraki widow and  close confidante of Daenerys Targaryen, in the sixth season of HBO/Sky Atlantic’s popular fantasy drama “Game of Thrones.” One of the most celebrated and internationally watched series of recent years, “Game of Thrones” is based on a series of novels by George R.R. Martin and also stars Peter Dinklage, Lena Headey, Emilia Clarke, Kit Harington, Maisie Williams and  Sophie Turner. The same month, she  portrayed Rosa  Persaud in the eight-part season two of the British- French TV crime  drama “The Tunnel.”

In December 2015,   John-Kamen made  her feature film debut alongside an all-star cast, including Harrison Ford, Carrie Fisher, Adam Driver, John Boyega, Daisy Ridley, Lupita Nyong’o and Oscar Isaac, in the seventh, record- breaking installment of the Star Wars franchise, Star Wars: The Force Awakens, directed by J. J. Abrams.

In  December 2012, she took on the  role of Rosa Maria Ramirez in season two  of Abi Morgan’s multi-award- winning BBC Two  series “The Hour,” acting alongside Dominic West and Ben Whishaw. Shortly afterward, John- Kamen  was  featured as Justine in the first season of BBC One’s BAFTA Award-winning  series “Happy Valley,” created by Sally Wainwright, and also starring Sarah Lancashire and James Norton.

John-Kamen’s other  notable credits include Violet in Russell T. Davies’ groundbreaking Channel 4 series “Banana” and  “Cucumber”  in 2015; Nahlab in a 2015 film for BBC television, “The Ark”; Yasnnin Blake in BBC One’s critically acclaimed “Death in Paradise” in 2014; Carly in 2011 in Howard Overman’s BAFTA Award-winning series “Misfits” on Channel  4; and roles in television programs “The Syndicate” and “The Midnight Beast” in 2012. She also created the role of Viva in the musical “Viva Forever!” Based on the songs of the Spice Girls, “Viva Forever!” was produced  by Judy Craymer, written by Jennifer Saunders and played in London’s West End from December 2012.

John-Kamen  made  her on-screen debut before  she had even graduated from the Central School of Speech and Drama  as Roxy in ITV’s “Whitechapel” in 2012.

At just seven years of age, ABBY RYDER FORTSON (Cassie) was named  one of the top 12 actors under the age of 12 by Entertainment  Weekly. Abby  received rave reviews for her standout, strong performances guest-starring as Harper Weil throughout Steven Spielberg’s ABC series “The Whispers,” opposite Lily Rabe.

Abby continued to  prove she could hold her own   debuting in two critically acclaimed series, first playing Ella Novak  in the first season of Amazon’s Emmy°-winning series “Transparent,” then as a series regular, stealing scenes as Mark Duplass’ daughter in the Duplass Brothers’ critically acclaimed HBO show “Togetherness.”

On the big screen, Abby won over critics with her wry sense of humor and spot-on delivery starring opposite Paul Rudd,  as his daughter Cassie Lang, in Marvel Studios’ hit film “Ant-Man.” She also was seen getting some of the biggest laughs in festivals around the world in the award-winning short film “Rated,” written and directed by her father, actor John Fortson, and starring opposite her mother, actress Christie Lynn Smith.

Most recently, Abby  starred alongside Jessica Rothe and Alex Roe in the feature “Forever  My Girl,” for LD Entertainment, which opened in January.

When   not acting, Abby loves adventuring with her family to new places she’s never been. Hiking with her mom, surfing with her dad, snorkeling, crafting and sports like soccer and kickball are all favorite pastimes.

One of Abby’s biggest passions is reading. You can often find her lost in the “Harry Potter” series, “Wings of Fire,” “Warriors,” “The Hobbit” or “The Land of Stories.” She loves animals and helps to raise money for her local
wildlife rescue center.

RANDALL   PARK (Agent  Jimmy  Woo) is a series regular on the hit ABC series “Fresh Off the Boat.” He recently sold a feature project to Netflix, which he co-wrote and will star in with Ali Wong. Park also just wrapped on Seth Rogen’s “Flarsky” and DC’s “Aquaman.”

Park recurs on HBO’s “Veep”  and  has appeared  in the feature films “The Disaster Artist,” “Office Christmas Party,” “Snatched,” “The Night Before,” “Trainwreck,” “The Five-Year Engagement,”  “Dinner for  Schmucks,” “Larry Crowne,” “The Good Doctor” and “Fragments.”

His TV credits include “BoJack Horseman,”  “The Office,” “New Girl,” “Curb Your Enthusiasm,” “House,” “The Mindy  Project,” “Cold Case,” “CSI,” “Reno 911!,” “Wild ‘N Out” and “The Sarah Silverman Program.”

In 2010, Park won a best actor award at NBC’s Short Cuts Film Festival for the short “Blueberry,” which he also wrote. Park can also be seen in “They Came Together,” opposite Paul  Rudd; “Neighbors,” opposite Zac Efron; “Sex Tape,” opposite Jason Segel; and “The Interview,” opposite Seth Rogen and James Franco.

Golden Globe®  Award winner,  Emmy®   nominee and three-time Academy   Award® nominee  MICHELLE   PFEIFFER (Janet van Dyne) has captivated film  audiences with her stunning beauty and  compelling performances  for over three decades. Pfeiffer was most recently seen in 20th Century Fox’s adaptation of “Murder on the Orient Express,” alongside Johnny Depp, Judi Dench and Daisy Ridley. Kenneth Branagh both directed and starred in the remake, playing Agatha Christie’s famed detective Hercule Poirot. The film opened on November 10 last year.

Pfeiffer also starred in last year’s HBO drama “The Wizard of Lies” alongside Robert De Niro, for which she garnered an    Emmy® nomination,  and in Darren Aronofsky’s  drama “Mother!,” starring alongside Ed Harris, Jennifer Lawrence and Javier Bardem.

Pfeiffer received her first Academy Award® nomination in 1989 in the best actress in a supporting role category for her role as the long-suffering Madame de Tourvel in  “Dangerous  Liaisons.” In 1990, she won a  Golden Globe® Award for best performance  by an actress in a motion picture and received her second Academy Award nomination  in best actress in a leading role for her performance as the sexy chanteuse Susie Diamond in “The Fabulous Baker Boys.” She earned her third Academy Award nomination  in 1993 for best actress in a leading role for her performance as Dallas housewife Lurene Hallett in “Love Field.”

Pfeiffer has also been honored with a BAFTA Award, Los Angeles Film Critics Association Award, National Board of Review best actress award and New York Film Critics Circle Award, and has also received a Screen Actors Guild Award® nomination   and five additional Golden Globe® Award nominations for her performances in “The Age of Innocence,” “Love Field,” “Frankie and Johnny,” “The Russia House” and “Married to the Mob.”

The celebrated actress first came to prominence in the cult classic “Scarface” in 1983 in the role of Elvira Hancock, the wife of Al Pacino’s Tony Montana. The Universal Pictures American crime drama, directed by Brian De Palma and written by Oliver Stone, has become a cultural icon and was named by the American Film Institute in June 2008 as one of the 10 greatest gangster films of all time.

In 2013, Pfeiffer starred alongside Robert De Niro, Tommy Lee Jones  and Dianna Agron  in Luc Besson’s film “The Family.” Pfeiffer was seen in “Dark Shadows,” a film that reunited her with Tim Burton for his big-screen take on the 1960s gothic vampire television series. Additionally, Pfeiffer was seen in DreamWorks Pictures’ “People Like Us,” in which she starred opposite Chris Pine, Olivia Wilde and Elizabeth Banks.

In 2011, Pfeiffer was seen in New Line Cinema’s “New Year’s Eve.” Directed by Garry Marshall, the ensemble romanticcomedy  also starred Robert De Niro, Hilary Swank, Sarah Jessica Parker and Ashton Kutcher, among others.

In 2009, Pfeiffer starred in Miramax Films’ “Cheri.” The film was directed by Stephen Frears and  based on  the 1920 novel of the same   name by French author Colette.

In 2007, Pfeiffer also appeared in the  Golden Globe®—nominated     global sensation “Hairspray”  opposite John Travolta, Christopher Walken,   Queen  Latifah and  Zac Efron.  The    New Line Cinema film, an  adaptation  of Broadway’s 2003  Tony   Award®   winner for best musical, became the third musical film in history to cross $200 million internationally. That same year, Pfeiffer also appeared as evil witch Lamia in Paramount Pictures’ fantasy epic “Stardust,” directed by Matthew   Vaughn.

In 2003, Pfeiffer lent her voice to DreamWorks’ animated feature  “Sinbad: Legend  of the Seven Seas” with Brad Pitt, Catherine Zeta-Jones and Joseph Fiennes. She received a Screen Actors  Guild Award®   nomination  in 2003 for her role as the murderous mother Ingrid   Magnussen in Warner  Bros.’ “White Oleander.” In 2001, she starred in the critically acclaimed “I Am Sam,”  opposite Sean Penn.  In 2000, she starred in the summer    blockbuster “What Lies Beneath,” opposite Harrison  Ford.

Pfeiffer’s film credits also include “The Story of Us,” “A Midsummer   Night’s Dream,”   “The Deep  End  of the Ocean,” “The   Prince of Egypt,” “One  Fine Day,” “To Gillian on  Her 37th Birthday,”  “Up  Close &  Personal,” “Dangerous  Minds,” “Wolf,”  “Batman  Returns,” “The  Witches of Eastwick,”  “Tequila Sunrise,” “Sweet Liberty” and  “Ladyhawke.”

LAURENCE   J.  FISHBURNE (Bill Foster) has achieved an impressive body of work as an actor, producer and director. He starred in his first television show at age 10 in the drama “One Life to Live” and made his feature film debut at age 12 in “Cornbread, Earl and  Me.” At 15, Fishburne appeared  in  “Apocalypse  Now,” the first of many cult classics destined to define his long career.

Fishburne’s versatile acting has won him   awards in theater, 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 HBO’s “Miss  Evers’ Boys,” in 1997. In 1993, Fishburne  also received a best actor  Oscar®  nomination for the  Tina Turner biopic “What’s  Love  Got to  Do with It.” He also won an NAACP    Image  Award winner for his starring role in “Miss Evers’ Boys,” which he also executive- produced.  Fishburne has  been  nominated  18 times for   NAACP Image  Awards, with six    wins—most recently in 2017 for his role in ABC’s “Black-ish.”

Fishburne may be best   known for his role as Morpheus in the  Wachowskis’ 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,” 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 Outnumbered”   (HBO), “Hoodlum”  (United  Artists) and “Miss Evers’ Boys” (HBO). Currently, they produce the ABC-TV  hit series “Black-ish,” where Fishburne stars alongside Anthony Anderson and Tracee Ellis Ross. In 2016 and 2017, “Black-ish” received Emmy® nominations for outstanding comedy series.

In early 2016, Fishburne starred in Warner Bros.’ blockbuster “Batman v Superman: Dawn ofJustice” and History’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 “Passengers,” alongside Jennifer Lawrence and Chris Pratt, which was released in December  2016.

Fishburne’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 Fishburne portrayed Nelson Mandela in a drama about the politician’s life. Last November, he was seen in Richard Linklater’s “Last Flag Flying,” where he starred alongside Steve Carell and Bryan Cranston. Cinema Gypsy Productions is also producing an adaptation of “The Alchemist” at TriStar with Kevin Frakes of PalmStar 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.

An actor with over 40 years of experience in theater, film and television, MICHAEL DOUGLAS (Dr. Hank  Pym) branched out into independent feature production in 1975 with the Academy Award®—winning    “One Flew Over the Cuckoo’s Nest.” Since then, as a producer and as an actor-producer, he has shown an  uncanny knack for choosing projects that reflect changing trends and public concerns.

A critical and commercial success, “One Flew Over the Cuckoo’s Nest” won five Academy Awards®, including best picture, best director, best screenplay, best actor and best actress. In the 1970s, Douglas also produced “The China  Syndrome” (1979), which starred Jack Lemmon, Jane Fonda  and Michael Douglas, and received  Academy Award®  nominations for Lemmon  and Fonda as well as for best screenplay. The National Board of Review named the film one of the best films of the year.earned  an Oscar® nomination for best actor for Jeff Bridges. In 1986, Douglas created a television series based on  the film for ABC that starred Robert Hays.

After a lengthy break from acting, Douglas returned to the screen in 1987, appearing in two of the year’s biggest hits: “Fatal Attraction,” opposite Glenn Close, and Oliver Stone’s “Wall Street,” earning him the Academy Award® for best actor. Douglas next starred in Ridley Scott’s thriller “Black Rain” (1989) and then teamed up again with Kathleen Turner and Danny DeVito in the black comedy “The  War of the Roses,” which was released in 1989.

In 1988,  Douglas formed  Stonebridge  Entertainment, Inc., which produced “Flatliners” (1990), directed by Joel  Schumacher, and “Radio Flyer” (1992), directed by Richard Donner. Douglas followed with David Seltzer’s adaptation  of Susan lssacs’ best-selling novel “Shining Through,” opposite Melanie Griffith. In 1992, he starred with Sharon Stone in the erotic thriller from Paul Verhoeven, “Basic Instinct,” one of the year’s top-grossing films.

Douglas gave  one of his most powerful performances opposite Robert Duvall in Joel Schumacher’s controversial drama “Falling Down”  (1993). That year he also produced the hit comedy “Made in America,” starring Whoopi Goldberg, Ted Danson  and Will Smith. In 1994, he starred with Demi  Moore in Barry Levinson’s “Disclosure,” based on the bestseller by Michael Crichton. In 1995, he portrayed the title role in Rob Reiner’s romantic comedy “The American President,”  opposite Annette Bening, and  in 1997 starred in “The Game,”  directed by David Fincher and co-starring Sean Penn.

Douglas formed  Douglas/Reuther Productions with  partner Steven Reuther in May 1994.  The company,  under the banner  of Constellation Films, produced “The Ghost and the  Darkness” (1996), starring Douglas and Val Kilmer, and John Grisham’s “The Rainmaker,” directed by Francis Ford Coppola. The company also produced John Woo’s action thriller “Face/Off,” starring John Travolta and Nicolas Cage.

In 1998, Douglas starred with Gwyneth Paltrow and Viggo Mortensen in the mystery thriller “A Perfect Murder” and formed  a new production  company, Further Films. The year 2000  was a milestone year for Douglas, with “Wonder Boys” opening  in February 2000 to much critical acclaim. Douglas starred in the film and was nominated for a Golden Globe® and a BAFTA Film Award for his performance.

“Traffic” was released by USA Films on December 22, 2000, in New York and Los Angeles, and went nationwide in January 2001. Douglas played the role of Robert Wakefield, a newly appointed drug czar confronted by the drugwar both at home  and abroad. Directed by Steven  Soderbergh and co-starring Don Cheadle,  Benicio Del Toro, Amy Irving, Dennis Quaid and Catherine Zeta-Jones, “Traffic” was named best picture by the New York Film Critics Circle, won best ensemble cast at the SAG Awards®, won four Academy Awards®  (best screenplay, best editing, best director and best supporting actor for Benicio Del Toro) and has been recognized on over 175 top 10 lists.

In 2001, Douglas produced  and played a small role in USA Films’ outrageous comedy “One Night at McCool’s,” directed by Harald Zwart. Also in 2001, Douglas starred in “Don’t Say a Word” for 20th Century Fox. In 2002, Douglas appeared in a guest role on the hit NBC comedy “Will & Grace” and received an Ennmy® nomination for his performance.

Douglas starred in two films in 2003: the MGM/BVI family drama “It Runs in the Family,” which Douglas produced and starred in with his father, Kirk Douglas, his mother, Diana Douglas, and his son, Cameron Douglas; and he also starred in the Warner Bros. comedy “The In-Laws,” with Albert Brooks, Candice Bergen and Ryan Reynolds.

In 2004, Douglas, along with his father, Kirk, filmed the intimate HBO documentary “A Father, a Son… Once Douglas  starred in Michael Crichton’s medical thriller “Coma” (1978); Claudia Weill’s feminist comedy “It’s My Turn” (1980);  and Peter Hyams’ gripping tale of modern-day vigilante justice, “The Star Chamber” (1983). Douglas  also starred in “Running” (1979) and in Richard Attenborough’s screen version of Broadway’s long- running musical “A Chorus Line” (1985).

Douglas’ career as an actor/producer came  together again in 1984 with the  release of the tongue-in-cheek romantic fantasy “Romancing the Stone.” “Romancing” was a resounding hit, and Douglas was  named  producer of the year in 1984 by the National Association of Theater Owners. Douglas  reteamed with his fellow actors Kathleen Turner and Danny DeVito in 1985 for the successful sequel “The Jewel of the Nile.”

Next up for Douglas as producer was “Starnnan,” which was the sleeper hit of the 1984 Christmas season and Upon  a Time in Hollywood.” Directed by award-winning filmmaker Lee Grant, the   documentary examines  the professional and personal lives of both men, and the impacts they  each have  made  on the  motion picture industry.

In summer  2005, Douglas produced and  starred in “The Sentinel,” which was released by 20th Century Fox in spring 2006. The film is based on the Gerald Petievich novel and directed by Clark Johnson. Next, Douglas filmed “You, Me and Dupree,” directed by   Anthony and Joe Russo. In 2007, he made “King of California,” co-starring Evan Rachel Wood, written and directed by Michael Cahill.

Douglas had two films released in early 2009: “Beyond  a Reasonable Doubt,” directed by Peter  Hyams;  and “Ghosts of Girlfriends Past,” directed by Mark Waters. He followed with the drama “Solitary Man” (2009), which was directed by Brian Koppelman and David  Levien. In fall 2010, Douglas starred in “Wall Street: Money Never Sleeps,” reprising his Oscar®—winning role as Gordon Gekko, and once again was nominated for a Golden Globe® for his performance. In 2011, Douglas also had a cameo role in Steven Soderbergh’s action thriller “Haywire.”

“Behind the Candelabra,” based on the  life of musical 1950s-’80s icon Liberace and his partner Scott Thorson, directed by Steven Soderbergh and co-starring Matt Damon,  premiered on HBO   in May 2013. Douglas won  an Emmy®,  a Golden Globe® and a SAG Award®  as best actor in a television movie or miniseries for his performance as the famed entertainer. He followed with the buddy comedy “Last Vegas,” directed by John Turteltaub and co- starring Robert De Niro, Morgan Freeman  and Kevin Kline, and the romantic comedy “And So It Goes” (2014), co-starring Diane Keaton and directed by Rob Reiner.

Douglas most recently starred in and produced the thriller “Beyond the Reach” (2014), directed by Jean-Baptiste Leonetti and costarring Jeremy Irvine, and he portrayed Dr. Hank Pym in Marvel Studios’ “Ant-Man,” opposite Paul Rudd, in 2015. Douglas completed the spy thriller “Unlocked” in 2017 that co-stars Noomi Rapace, Orlando Bloom and John  Malkovich, and is directed by Michael Apted.

In 1998, Douglas was made a United Nations  Messenger of  Peace  by Kofi Annan. His main concentrations are nuclear nonproliferation and the control of small arms.

Douglas was recipient of the 2009 AFI lifetime achievement award as well as the Producers Guild Award that year. In spring 2010, he received the New York Film Society’s Charlie Chaplin Award. In 2011, Douglas was awarded the Chevalier of the Ordre des Arts et des Lettres in France by Francois Mitterrand, and he was awarded a second French Cesar for career achievement in 2016, becoming the only American to be given this honor twice.

Douglas has hosted 11 years of Michael Douglas and Friends Celebrity Golf Tournament which has raised over $6 million for the Motion Picture and Television Fund. Douglas is very passionate about the organization, and for each tournament he asks his fellow actors and actresses to come out and show that “we are an industry that takes care of own.”


PEYTON  REED (Director) directed Marvel Studios’ highly successful “Ant-Man,” which released on July 17, 2015,  and garnered over $500 million worldwide. He returns to helm “Ant-Man and the Wasp,” the second  film in the “Ant-Man” franchise.

Reed first gained national attention with his feature debut, “Bring It On.” The film won critical raves and opened at No. 1 with a $17.4 million weekend. It stayed in the top 10 for seven consecutive weeks, becoming the sleeper hit of summer 2000. It went  on to sell over 5 million copies on DVD, spawning both a successful franchise for Universal and, most recently, a Broadway musical.

Reed followed it up with 2003’s “Down  with Love,” a visually stunning homage to the Rock Hudson/Doris Day sex comedies of the early 1960s. The film was critically acclaimed and has become a cult favorite. In 2006, Reed helmed the smash hit “The Break-Up.” The comedy/drama   debuted at No. 1 with a $39 million opening weekend and  went on to gross over $200 million worldwide. It was Universal’s highest-grossing film of 2006. 2008 saw Reed direct “Yes Man,”  which opened  at No. 1 domestically and became a  worldwide  hit, grossing over $225 million globally.

Originally from Raleigh, and  a graduate of the University of North Carolina,  Reed  began shooting  Super 8 film at the age of 13. He started his career as a documentary editor at ZM Productions. After writing and directing the award-winning short “Almost Beat” in 1989, he directed a series of high-profile behind-the-scenes documentaries,  including “The Secrets of the Back to the Future Trilogy,” “Through the Eyes of Forrest Gump” and  “The Honeymooners   Anniversary Special.”

Reed went on to bring his wry wit and keen sense of visual invention to an incredibly diverse range of projects, from critically hailed comedic television (CBS’s “The Weird Al Show,” HBO’s “Mr. Show with Bob and David,” Comedy   Central’s “Upright Citizens Brigade,” Fox’s “New Girl”) to music videos (She & Him, Superchunk, The Connells) to numerous  commercials  (Gap with Sarah Jessica Parker, Target with Isaac Mizrahi and Cisco with Ellen Page).

Reed resides in Los Angeles with his wife, Sheila, and sons, Dexter and Charlie.

CHRIS    McKENNA (Screenplay by) is a writer/producer who, along with feature writing partner Erik Sommers, has been tapped to write the “Spider-Man: Homecoming” sequel, which will be co-produced by Sony and Marvel and released in 2019. The duo   most recently co-wrote the hit films “Spider-Man:  Homecoming,” “The  LEGO Batman   Movie” and “Jumanji: Welcome to the Jungle.”

McKenna   will executive produce the upcoming Fox pilot “Revival” alongside his wife and creator Sally Bradford McKenna   (“Ghosted”), Michael Showalter (“The Big Sick”) and Nahnatchka Khan (“Fresh Off the Boat”).

McKenna  previously served  as executive producer  and co-showrunner  of the critically acclaimed TV series “Community”    (NBC/Yahoo), for which  he   earned nominations for  both  a  Primetime    Emmy® Award  for outstanding writing in a comedy series and a Hugo  Award for the episode  “Remedial Chaos Theory.” He also shared a nomination for a Writers Guild of America Award for his work on “The Mindy Project.” McKenna began writing for TV on the long-running Fox animated series “American Dad.”

ERIK    SOMMERS (Screenplay by) is a writer/producer who, along with feature writing partner Chris McKenna, has been tapped to write the “Spider-Man: Homecoming”  sequel for Sony and Marvel Studios. The duo’s feature credits include “Spider-Man: Homecoming”    and “The  LEGO   Batman  Movie,” as well as the recent release, “Jumanji: Welcome to the Jungle.”

Sommers  has previously written for a number of television series, including NBC’s critically acclaimed comedy “Community,” ABC’s “Happy   Endings” and Fox’s long-running animated series  “American Dad,” for which  he shared a 2012  Primetime  Emmy®   Award   nomination for outstanding animated program  and  voiced several characters.

New York—based  writers ANDREW  BARRER    &  GABRIEL FERRARI (Screenplay by) got their start when their spec “Die in a Gunfight” made the 2010 Black List and was picked up as a starring vehicle for Zac Efron by MRC.

Since then, they’ve worked on various studio projects that include a “Transformers” prequel with Paramount Animation and  Hasbro  Studios, a “Highlander” reboot  with Lionsgate and director Chad Stahelski, and  an adaptation of the nonfiction novel “At the Devil’s Table” for Warner Bros. and John Krasinski.

In 2014, they were hired as on-set writers for Marvel Studios’ “Ant-Man.” They are currently adapting the novel “No Exit” for Fox and Scott Frank, as well as writing an untitled feature project for the Russo brothers’ AGBO.

In television, the team is developing the Valiant comic “Quantum and Woody” into a comedy series, also with the Russo brothers, as well as writing a series based on Stephen King’s short story “N” at USA.

KEVIN  FEIGE (Producer) has  been the driving creative force behind several billion-dollar franchises and an unprecedented    number of blockbuster feature films, all connected to create the Marvel Cinematic Universe. In his current role as producer and president of Marvel Studios, Feige is a hands-on producer and oversees Marvel Studios’ feature film productions, whose 19 films released have all opened No. 1 at the box office and collectively grossed over $16 billion worldwide. Six of the MCU films have crossed the $1 billion threshold at the global box office.

Most recently, Feige produced “Avengers: Infinity War,” which opened on April 27 and broke box-office records with $250 million domestically and $630 million worldwide in its opening weekend. Eleven days after release, the film crossed the $1 billion mark worldwide, breaking the record for the shortest time to reach $1 billion in box-office receipts. It went on to be the first MCU film, and 4th ever, to reach the $2 billion threshold at the global box office.

This February, Feige produced “Black Panther,” which continued Marvel’s unprecedented success. The blockbuster film recorded the fifth biggest opening weekend of all time with $202 million and is on track to become the highest-grossing super hero film at the domestic box office. The film has grossed over $1.3 billion worldwide to date.

In 2017, Feige produced “Thor: Ragnarok,” which  was released on   November 3 in the U.S. and grossed $121 million domestically in its opening weekend, in addition to $306 million internationally; “Guardians of the Galaxy Vol. 2,” which opened on May 5 with $145 million and has grossed over $863.5 million worldwide; and “Spider- Man:   Homecoming,”  which  opened on July 7 and has garnered  over $879  million worldwide to date. Feige is currently producing “Ant-Man and the Wasp,” “Captain  Marvel” and the untitled fourth installment of the “Avengers” series.

In 2016, Feige launched another franchise with “Doctor Strange,” which continued the streak of No. 1 openings, and produced “Captain  America: Civil War,” the highest-grossing film of 2016 worldwide. In 2015, he launched another successful franchise with “Ant-Man,” starring Paul Rudd, and earlier that year he produced “Avengers: Age of Ultron,” the fourth-largest domestic opening weekend of all time. In 2014, Feige produced “Guardians of the Galaxy,” starring Chris Pratt, which grossed over $773 million worldwide, and “Captain America: The Winter Soldier,” which broke the opening record for an April release.

In 2013, Feige produced the megahits “Thor: The Dark World”  and “Iron  Man 3.” In 2012, Feige produced the critically acclaimed “Marvel’s The Avengers,” which set an all-time domestic  three-day-weekend box-office record. The film went on to become Disney’s highest-grossing global and domestic release at the time.

In 2011, Feige produced and successfully launched  two Marvel film franchises—”Captain  America: The First Avenger,” directed by Joe Johnston and starring Chris Evans, and “Thor,” directed by Kenneth  Branagh  and starring Chris Hemsworth. In 2010, Feige produced “Iron Man 2,” directed by Jon Favreau and starring Robert Downey  Jr. and Gwyneth Paltrow.

In  summer 2008, Feige  produced the first fully developed and financed films from the new Marvel Studios, including the blockbusters “Iron Man,” directed by Jon Favreau, and “The Incredible Hulk,” directed by Louis Leterrier.

Feige joined Marvel in 2000 and served as executive producer on the second and third “Spider-Man” films, which took in combined worldwide box-office receipts of well over $1.5 billion. Feige also co-produced “X-Men 2,” the second installment of the popular “X-Men” franchise, and executive produced “X-Men: The Last Stand,” among many other Marvel-branded films.

A graduate of the  University of Southern California, School of Cinematic Arts, Feige first worked for Lauren Shuler Donner and Richard Donner at their Warner Bros.—based production company, which released the action- adventure “Volcano” and the hit romantic comedy “You’ve Got Mail.” Feige earned his first producer credit on “X-Men,” a film that is credited with revitalizing the comic-book genre.

STEPHEN BROUSSARD     (Producer) is Executive, Production & Development at Marvel Studios, where, alongside his colleagues in the feature film division, he is responsible for creative oversight of films on the studio’s slate. He most recently executive produced Marvel  Studios’ “Doctor Strange,” which opened on November 4, 2016,  and garnered box-office receipts of over $677 million worldwide.

Before he served as executive producer on Marvel Studios’ “Iron Man 3” in 2013, Broussard was co-producer on Marvel Studios’ “Captain America: The First Avenger,” starring Chris Evans, Tommy Lee Jones, Hugo Weaving and Stanley Tucci, and directed by Joe Johnston. Prior to that he was associate producer on “The Incredible Hulk,” directed by Louis Leterrier and starring Edward Norton, Liv Tyler, Tim Roth and William Hurt.

Since joining Marvel in 2004, Broussard has been involved in many of the studio’s film projects. He was part of the team that helped usher in a new era of filmmaking at Marvel Studios whereby Marvel began to  independently produce films, the first of which was the blockbuster “Iron Man” in 2008.

Broussard attended Florida State University’s graduate film school. While there, he produced a short film that would go  on to win  a Student   Academy Award®. In 2011, Broussard was  named  one   of “Hollywood’s  New Leaders” by Variety.

LOUIS    D’ESPOSITO (Executive Producer) is co-president  of  Marvel Studios. He served  as executive   producer on  the blockbuster hits “Iron Man,” “Iron Man 2,” “Thor,” “Captain  America: The  First Avenger,” “Marvel’s The Avengers,” “Captain America:   The  Winter  Soldier,” “Iron Man 3,” “Thor: The Dark World,”   “Avengers: Age  of Ultron,” “Ant-Man,” “Captain America: Civil War,”  “Doctor Strange,” “Guardians  of the Galaxy Vol. 2,” “Spider- Man:     Homecoming,” “Thor:  Ragnarok” and, most recently, “Black  Panther” and “Avengers: Infinity War.” He is also working  with Marvel Studios president Kevin  Feige on the future Marvel slate that includes, among others, the next “Avengers” film, “Captain Marvel”  and “Guardians of the  Galaxy Vol. 3.”

As co-president of the studio and executive producer on all Marvel films, D’Esposito balances running the studio with overseeing  each film from its development  stage to distribution.

In addition to executive producing  Marvel  Studios’ films, D’Esposito directed the Marvel  One-Shot film  “Item 47,” which  made  its debut to fans at the 2012   Comic-Con International  in San Diego and was  featured  again at the LA Shorts Fest in September  2012. The  project was released  as an added  feature on the “Marvel’s   The Avengers”  Blu-ray disc. With the success of “Item 47,” D’Esposito directed the second Marvel One-Shot,   “Agent Carter,” starring Hayley Atwell, which premiered at 2013   Comic-Con to  critical praise from the press and fans. The project is also an added feature on the “Iron  Man 3” Blu-ray disc.

D’Esposito  began his tenure at Marvel Studios in 2006. Prior to Marvel, D’Esposito’s executive producing credits included the   2006 hit film “The Pursuit of Happyness,” starring Will Smith; “Zathura: A Space Adventure”;  and the 2003 hit “S.W.A.T.,” starring Samuel L. Jackson and Colin Farrell.

VICTORIA ALONSO (Executive  Producer) currently serves as EVP, physical production, for Marvel Studios, and is one of the very few women   in Hollywood to hold  such a title. Over the years, Alonso’s dedication to the industry has been   admired and  her  achievements  recognized. In 2015, she was an  honoree of  the New  York   Women in Film & Television’s Muse  Award for outstanding  vision and achievement.   She  was also the first  woman to  be presented with  the Harold Lloyd  Award from the   Advanced Imaging  Society, which is given to a filmmaker  who has created a  body of  work, and specific achievements  in 3D, that advanced   the motion  picture art form. In 2017,  she was the first woman to be  honored with the Visionary  Award at the 15th Annual  VES  Awards  for her advancement    of unforgettable storytelling through visual effects.

A native of  Buenos Aires, Alonso began her industry career in visual effects (first in commercials, then features), including a four-year stint at Digital Domain. She served as VFX producer  on a handful  of films, notably Ridley Scott’s “Kingdom of Heaven,”  Tim Burton’s “Big Fish,” Andrew  Adamson’s “Shrek”  and Marvel’s own  “Iron  Man.” She won  the Visual Effects Society (VES) Award  for  outstanding supporting visual effects in a motion  picture for “Kingdom   of Heaven,” with two additional  shared nominations  (best single visual effect, outstanding visual effects in an effects-driven motion picture) for “Iron Man.”

Upon   joining Marvel as the  company’s executive vice president  of visual effects and post production,  Alonso doubled  as co-producer on “Iron  Man,” a role she reprised on “Iron Man 2,” “Thor” and  “Captain  America:  The First Avenger.” She graduated to executive producer on 2011’s “The  Avengers” and has since executive   produced Marvel’s “Iron  Man 3,” “Captain  America:  The Winter Soldier,” “Captain  America: Civil War,” “Thor:  The Dark World,”  “Avengers: Age of Ultron,” “Ant-Man,”  “Guardians of the Galaxy,”  “Doctor Strange,”  “Guardians of the Galaxy Vol. 2,”  “Spider-Man:  Homecoming,” “Thor:  Ragnarok,” “Black Panther”  and “Avengers: Infinity War.”

Currently, Alonso is working on the next installment in the “Avengers” series and “Captain Marvel.”

Last December,  The Hollywood  Reporter listed Alonso in its 2017 Women in Entertainment Power 100.

CHARLES EWIRTH (Executive Producer) recently served as executive producer on Marvel Studios’ blockbuster “Doctor Strange.” He was also executive producer on Marvel Studios’ “Iron Man 3.”

From  2000 to 2007, he   was responsible for the physical production on all 47 of Revolution Studios’ motion pictures, including “Black Hawk Down,” “xXx,” “Anger Management,”     “Daddy Day Care,” “Mona Lisa Smile,” “Hellboy,” “13 Going on 30” and “Rocky Balboa.”

While at Revolution, Newirth also served as executive producer on “America’s Sweethearts,” “The Water Horse: Legend  of the Deep,” “Across the Universe,” “Christmas with the Kranks,” “Peter Pan,” “Maid in Manhattan” and “The One.”

Prior to joining Revolution Studios, Newirth produced 1999’s sleeper hit “Galaxy Quest,” “Patch Adams,” starring Robin Williams, and “Home Fries,” starring Drew Barrymore. Newirth’s additional credits as an executive producer include Brad Silberling’s “City of Angels,” starring Nicolas Cage and Meg Ryan; Rob Reiner’s true-life drama “Ghosts of Mississippi,” with Alec Baldwin, Whoopi Goldberg   and James Woods;  “The  American President,” also for director Rob Reiner, starring Michael Douglas and Annette Bening; and Jon Turteltaub’s “Phenomenon,” starring John Travolta.

In addition, Newirth co-produced Robert Zemeckis’  Academy Award®—winning   blockbuster “Forrest Gump.” He also served as a co-producer on the Barry Levinson films “Toys” and the multiple Oscar®—nominated “Bugsy,” and as an associate producer on Levinson’s “Avalon.”

Raised  in Scarsdale, New York, Newirth received a B.A. in cinema from Ohio State University. He broke into the film industry as a location manager on such films as “Flashdance,” “Pretty in Pink” and “Ferris Bueller’s Day Off,” and later moved  up to production manager on “Throw Momma    from the Train” and  “RoboCop.”

STAN LEE (Executive Producer)  is the founder of POW! Entertainment and has served as its chairman and chief creative officer since its inception. Known to millions as the man whose super heroes propelled Marvel to its preeminent position in the comic book industry, Stan Lee’s co-creations include Spider-Man, the Incredible Hulk, X-Men, the Fantastic Four, Iron Man, Daredevil, Silver Surfer and Doctor Strange.

Now  the   chairman emeritus of Marvel  Media, Lee first became publisher of Marvel   Comics in 1972. He is recognized as the creative force that brought Marvel to the forefront of the comics-publishing industry. In 1977, he  introduced Spider-Man as a syndicated newspaper strip that  became the most successful of all syndicated adventure strips and now appears  in more than 500 newspapers  worldwide—making  it the longest running of all super hero strips.

From  June 2001 until the formal creation of  POW!  in  November 2001,   Lee worked  to form  POW!, create intellectual property for POW! and start the development of various POW! projects.

DANTE SPINOTTI  ASC, AIC (Director of Photography), is a versatile cinematographer whose recent credits inc biopic, “I Saw the Light.”

The   cinematographer  earned his first  Academy Award®  nomination  and  a Los  Angeles Film Critics Association Award  for Curtis Hanson’s 1997 period drama “L.A. Confidential” (with additional nominations from the  American Society of Cinematographers   and BAFTA), followed by a second  Oscar®  nomination   and Los Angeles Film Critics Award  two  years later on Michael Mann’s acclaimed true-life drama  “The Insider.”

Spinotti has worked  with Mann  on four other projects, including “Manhunter,”  “The Last of the Mohicans”  (for which  the cinematographer    won a BAFTA Award  and  earned his first nomination from the ASC), “Heat” and  the Depression-era  gangster epic “Public  Enemies.”

Spinotti has also enjoyed  repeat collaboration   with director Michael  Apted (“The  Chronicles of Narnia:  The Voyage  of the Dawn Treader,” “Blink”  and “Nell”) and director Brett Ratner (“Hercules,” “Tower Heist,” “X-Men: The Last Stand,” “After the Sunset,” “Red Dragon”  and “The Family  Man”).

Spinotti  reteamed with Curtis  Hanson  on  his  acclaimed  2000  comedy-drama    “Wonder  Boys,”  and  has also directed the photography   for such films as “Flash of Genius,”  “Beaches,”  “Frankie  and Johnny,” “The   Other Sister,” “Deception,” “Slipstream,” “The Contract,” “Crimes of the Heart,” “Pinocchio” (earning his fourth David di Donatello Award   nomination), “Bandits,”  “Goodbye Lover,”  “The Mirror Has Two Faces” and  “The Quick   and the  Dead.”

Other  feature credits include “Hudson  Hawk,” “True Colors,” “From  the  Hip,” “Illegally Yours,” “The Comfort of Strangers,” “Torrents of Spring” and two films for which he won the  David di Donatello Award—”La   leggenda del santo  bevitore” (1988) and “II segreto del bosco vecchio” (1993).

Spinoffs   other Italian-language films include  “Vinodentro,”  “Cenerentola ’80,” “II minestrone,” “Le  arnni e gli annori,” “Sogno di una   note d’estate,” “Cosi pada bellavista,” “Fotografando Patrizia,” “Aria,” “II quartet° Basileus”  and “Interno Berlinese.”

Born in northeast Italy (the Friuli region), Spinotti discovered his interest in film photography in his early teens. He traveled to Milan,  where he gained  professional experience in Italian television films, including the 1972 TV miniseries “I Nicotera” and 1975’s “Tracce sulla neve.” Breaking into feature  films, Spinotti worked extensively in his homeland, including collaborations with  Lina Wertm011er (1984’s “Sotto… sotto… strapazatto da anomola passione”)  and Liliana Cavani (“Intern°  Berlinese,” 1985), before  coming to   America to work with   Mann  on “Manhunter.”

In addition to his individual film honors, Spinotti was honored with the  lifetime achievement   award  from the American   Society of Cinematographers  (ASC) in  2012 and  received the  2009 Camera  Image   Award at the XVII International Film Festival of the Art of Cinematography in Lodz, Poland, celebrating his body  of work. Keeping with  its annual tradition, the festival published a book illustrating his career achievements.

Born  and  raised in New York City, SHEPHERD   FRANKEL (Production  Designer) attended the Fiorello H. LaGuardia High  School of Music  & Art  and Performing Arts, before relocating to the West   Coast and earning a  master’s degree  in architecture from the School of Architecture and Urban  Planning at UCLA.

Upon   graduating  from UCLA, the highly  creative Frankel was recruited to work on  commercials as an assistant art director for a variety of commercial shops, including RSA for Tony Scott and Ridley Scott. His success in the commercial  world led him to features, where he continued his development  as an assistant art director, art director and supervising art director on various films, including Rob Minkoff’s “Stuart Little” and “Stuart Little 2,” Andy Tennant’s “Sweet  Home Alabama,”  Paul  Thomas Anderson’s “Magnolia,” Jonathan   Mostow’s “Terminator3,” Raja Gosnell’s “Scooby-Doo 2: Monsters Unleashed,” Pitof’s “Catwoman,” Tim Story’s “Fantastic Four” and Todd Phillips’ “Due Date.”

Frankel has had an extensive history in delivering large-scaled films as well as great comedies as a production designer. He has worked extensively with director Seth Gordon and was  instrumental in the look and tone of “Horrible Bosses,” “Identity Thief” and “Four Christmases.” Some of his previous work includes “Ant-Man” for Marvel Studios; Jason Bateman’s “Bad Words”; “Couples Retreat,” directed by Peter Billingsley; Anne Fletcher’s hits “Step Up” and “27 Dresses”; Richard LaGravenese’s “P.S. I Love You”; and Zak Penn’s “The Grand.”

He has previously collaborated with Marvel Studios as production designer on several Marvel One-Shots—Item 47″ and “Agent Carter,” both directed by Louis D’Esposito, and “All Hail the King,” directed by Drew Pearce—as well as the additional photography of “Thor 2: The Dark World,” “Guardians of the Galaxy,” “Avengers: Age of Ultron” and “Doctor Strange.”

Between  feature assignments, Frankel  works   with studios, directors and producers  to  develop  concept presentations and design strategies for films. In addition, he has set the look for several successful television pilots and popular commercials.

DAN  LEBENTAL, ACE (Editor), is a Hollywood professional editor and the founder and designer of the TouchEdit app. He has been  editing feature films for more than 20 years, working with some of Hollywood’s top movie studios and directors.

Lebental’s longtime collaboration with Jon Favreau has yielded hits such as “Elf” and the blockbuster Marvel films “Iron Man” and “Iron Man 2.” He also served as editor on Marvel Studios’ “Thor: The Dark World,” “Ant- Man” and “Spider-Man:    Homecoming.”

Throughout his career as an editor, Lebental also maintained and developed a close professional relationship with actor/director Vince Vaughn, for whom   he cut Universal Pictures’ “The Break-Up” (2006), “Wild  West Comedy   Show” (2006), “Couple’s Retreat” (2009) and “Term Life” (2016).

His versatility across genres includes working on comedies, dramas, thrillers, documentaries and TV projects, as represented by more than 20 movies and hundreds  of music videos cut over the span of his career.

CRAIG WOOD, ACE (Editor), has worked with director Gore Verbinski on all of his previous feature films: “The Lone Ranger,” “Mousehunt,” “The  Mexican,” “The Ring,” “Pirates of the Caribbean: The Curse of the Black Pearl,” “The   Weather Man,” “Pirates of the Caribbean: Dead Man’s Chest,” “Pirates of the Caribbean: At World’s End” and  “Rango.”

Most recently, Wood  was editor on Marvel Studios’ “Guardians of the Galaxy Vol. 2” in 2017.

Wood’s  other credits as an editor include “The Great Wall,” Disney’s “Tomorrowland,” Marvel Studios’ “Guardians of the Galaxy,” “Forces of Nature,” “We Were Soldiers,” “The Burning Plain” and “The Road.”

Wood  won  American  Cinema Editors (ACE)  Eddie Awards for both “Pirates of the Caribbean: The Curse of the Black Pearl” and “Rango,” with nominations for “Pirates of the Caribbean: Dead Man’s Chest,” “Pirates of the Caribbean: At World’s End” and Marvel Studios’ “Guardians of the Galaxy.” In addition, he won an Annie Award for “Rango.”

Award-winning  costume designer  LOUISE   FROGLEY (Costume Designer) started her career as a textile designer. After a chance encounter, Frogley became an important commercial designer, which led  her into a vibrant film design career.

Frogley  began her fruitful film career working with directors Steven Soderbergh (“Traffic”) and Tony Scott (“Spy Game”).  Those accomplishments  led her to expanding her design work to include many period films like “Good Night, and Good  Luck” with George Clooney, “The  Conspirator” with Robert Redford and “The  Finest Hours” with Craig Gillespie.

Recently, Frogley began her journey into the Marvel Cinematic Universe with “Spider-Man: Homecoming.”

She  is currently starting production on “Life on Earth” for Noah Hawley, with Natalie Portman. Frogley is Los Angeles—based  and holds passports from the U.S., U.K. and France.

A native of France with a background  in physics and the arts, STEPHANE CERETTI (Visual Effects Supervisor) started in the VFX industry working as a digital artist for BUF Compagnie in Paris in 1996. He began his career with “Batman & Robin”  and then moved  to numerous television commercials, where he acquired all the skills to supervise both shoot and post, before advancing to VFX supervisor for BUF on Tarsem Singh’s “The Cell.”

From this point on, Ceretti became involved as a VFX supervisor on major feature films such as the Wachowskis’ “Matrix” sequels, as well as Oliver Stone’s “Alexander.” In the last few years, Ceretti has sharpened his supervisor’s skills on various genres of films, from “Harry Potter and the Goblet of Fire” to “Batman Begins” to “Silent Hill.” Ceretti was overall VFX supervisor on his last two projects at BUF: “The Prestige,” by world-acclaimed director Christopher Nolan, and  French director Mathieu   Kassovitz’s “Babylon A.D.,” which was a Fox/Studio Canal production. He then joined MPC and Method  Studios in London,  where he supervised the VFX work  on movies such as “Prince of Persia: The Sands of Time.”

After joining Fox Studios to work with John Dykstra as an additional VFX supervisor on Matthew Vaughn’s “X-Men: First Class,” Ceretti co-supervised, with Dan Glass, the visual effects of the Warner Bros. movie “Cloud Atlas,” directed by the Wachowskis and Tom  Tykwer.

Ceretti’s first adventure with Marvel Studios was as 2nd unit supervisor on the shoot of Joe Johnston’s “Captain America: The  First Avenger.” He went on to work again as a 2nd unit supervisor on Marvel’s “Thor: The Dark World.” Ceretli then rose to the title of visual effects supervisor on Marvel’s “Guardians of the Galaxy,” for which he garnered   Academy Award®,  BAFTA and  Visual Effects Society Award nominations. He then segued to “Doctor Strange” and again received Academy  Award, BAFTA and Visual Effects Society  Award nominations for his visually innovative work.

Award-winning  composer   CHRISTOPHE   BECK  (Composer) has a career that bridges genres and garners well- deserved acclaim. Beck displays his range from scoring Marvel Studios’ action-adventure “Ant-Man” to Fox’s film adaptation of Charles Schulz’s beloved comic strip, “Peanuts.”

The prolific composer scored the Oscar® and Gramme-winning   animated film “Frozen” (the soundtrack  album has sold over 3 million copies). Christophe Beck is the musical voice of iconic comedies of the last decade, including: “The Hangover,” “American Pie,” “Hot Tub Time Machine” and “Pitch Perfect”; poignant films, including “Cake,” starring Jennifer Anniston, and the true-life-based drama “We Are Marshall”; documentaries including “Red  Army” and the  award-winning “Waiting for Superman”; rom-coms, including “Under  the Tuscan Sun” and “Crazy, Stupid, Love,” along with action films, including “Year of the Dog” and “Edge of Tomorrow,” the sci-fi thriller directed by Doug Liman, starring Tom Cruise and Emily Blunt, as well as the drama/crime film “American Made.” Beck’s breakthrough success came by composing   music for the TV series “Buffy the Vampire Slayer,” for which he earned an   Emmy®.

Beck is unique in his versatile ability to develop the tone in any genre. His music combines a masterful use of complex dynamics  to create tension and convey a vast spectrum of emotion. Beck’s scores add depth, intrigue, humor and sentiment, and  his music contributes powerfully to the aesthetic of each film he scores.

Christophe Beck began playing piano at the age of five. He then studied music at Yale and attended the USC film- scoring program under the tutelage of legendary composer Jerry Goldsmith. He began  composing  in televisionat the personal recommendation  of Disney music legend Buddy Baker.

DAVE JORDAN (Music Supervisor) is the founder, CEO and creative leader of Format Entertainment.

Jordan began  his career in the record industry but soon transitioned to become one of Hollywood’s most sought- after theatrical music supervisors. Jordan’s music supervision credits include some of the most successful films and film franchises in the world, including “Guardians of the Galaxy,” “Iron Man,” “Marvel’s The Avengers,” “Transformers,” “Black Panther,” “Avengers: Infinity War” and many more.

In 2001, Jordan founded  Format Entertainment as a collaborative workplace for like-minded music supervisors to share ideas, experience and resources. The success of this model has allowed Format to grow and evolve into the largest collection of theatrical and television music supervisors working in the industry. Format’s spectrum of clients consists of some of the most recognizable names in entertainment, media, advertising and consumer goods, including Marvel Studios, Warner  Bros.  Consumer  Products, Mattel and   marquee projects such  as “Captain America: Civil War,” “Straight Outta Compton,” “Empire” and  many Barbie and   DC Super Hero Girls brand campaigns.

Format’s music supervision efforts have yielded a number of chart-topping albums, including No. 1 spots for the   “Guardians of the Galaxy,”  “Empire” and   “Pitch Perfect” soundtracks,  and just recently Format    soundtracks occupied  an unprecedented    four of the top five positions on the Billboard charts. Format has won several  Guild of Music  Supervisors Awards,    received multiple  GRAMMY®     and   Emmy® nominations   and   twice won  the   American Music  Award  for Best   Soundtrack (“Pitch Perfect” and “Alvin and  the Chipmunks”).

Recognizing  a void in the industry and  an opportunity   he could deliver against, Jordan   incorporated an  internal music-creation   business under the  Format   umbrella. This business is signing exciting new talent  while  remaining geared    toward providing  a seamless  and efficient  experience for the film, television  and  brand    communities, resulting in major placements   on   shows such  as “Better Call Saul,” “Girls” and “How to  Get Away  with    Murder” and in campaigns   for brands  such as BMW,   Procter &   Gamble  and McDonald’s.

Jordan and  a  number   of the members   of the  Format  team   serve on the  board of governors  for the      GRAMMY® committee   in Los Angeles,   contributing to  advocacy,  education  and human    services  programs to  improve   the cultural condition  and quality of life for music and its makers.