Fright Night

When teenager Charley Brewster can’t get anyone to listen to him—not even his mom or his girlfriend—he takes it upon himself to get rid of the menace that is terrorizing his peaceful, suburban neighborhood in DreamWorks Pictures’ horror-filled fun ride “Fright Night,” screaming into theaters this summer.

Charley (Anton Yelchin) is a high school senior who’s on top of the world—he’s running with the popular crowd and dating Amy (Imogen Poots), the most coveted girl in school. In fact, he’s so cool he’s even dissing his best friend, Ed (Christopher Mintz-Plasse). But trouble arrives when Jerry (Colin Farrell) moves in next door. He seems like a nice guy––at first. But there’s something not quite right, and no one else, including Charley’s mom (Toni Collette) seems to notice!

After observing some very strange activity, Charley comes to an unmistakable conclusion: Jerry is a vampire preying on the neighborhood. Unable to convince anyone of this, Charley looks to popular Las Vegas illusionist and self-proclaimed vampire expert Peter Vincent (David Tennant) for help and advice before taking matters into his own hands to get rid of the monster.

“Fright Night” is directed by Craig Gillespie and produced by Michael De Luca and Alison Rosenzweig. Executive producers are Ray Angelic, Josh Bratman, Michael Gaeta and Lloyd Miller. The screenplay is by Marti Noxon from a story by Tom Holland, based on the film “Fright Night,” written by Tom Holland.

Given our current cultural fascination with vampires, the timing was perfect for a reimagining of “Fright Night,” the beloved 1985 horror-film classic. As Producer Alison Rosenzweig and Executive Producer Michael Gaeta, who are big fans of genre films, vampire movies, and this one in particular, said, “We had been tracking the rights to the property for a couple of years, and when we realized that they were going to become available, we pounced.”

With their shared enthusiasm for remaking “Fright Night,” the duo brought the project to prolific producer Michael De Luca (“Priest,” “The Social Network”). A genre aficionado and a savvy filmmaker, it didn’t take him long to recognize the significance of the property.

De Luca, Gaeta and Rosenzweig presented the idea to DreamWorks, and from there, the project began to quickly move toward production. “The people at DreamWorks really responded to the concept and also were fans of the original film,” De Luca says.

A prominent producer with an enviable list of feature-film credits to his name, De Luca’s reputation among filmmakers is one of admiration. As Producer Rosenzweig enthuses, “To me, there is no finer producer than Michael De Luca. He knows genre better than anybody I’ve ever met, and he has an almost photographic memory for all things genre-geeky. I so respect that. We were flattered that he agreed to work with us and we obviously adore him. Not only is he an incredible producer, but he’s an incredible person too.”

An aspect of the story that also appealed to the producing team is that “Fright Night” is a tale of a young man’s coming-of-age. “There’s a life-cycle issue here that everyone can universally identify with,” Executive Producer Michael Gaeta says. “Charley’s journey from adolescence to becoming a full man and a hero is something that resonates with people because I think everyone has been through that process. It’s an examination of watching a boy not only turn into a man but discovering who he is and who he wants to be.”

“Charley is a former geek who’s in denial that he ever was a geek,” Rosenzweig says in agreement with Gaeta’s assessment of the character. “He’s shunning his old friends and trying to incorporate himself into the hip crowd. He becomes a man when he confronts the vampire and has to try to defeat him.”

Adolescence is a crossroads for everyone. It is a time when one begins to define who they are. “Charley is in turmoil about the choices he’s making about his friends and his relationship with his mother, and he’s trying to figure it all out,” Director Craig Gillespie (“Lars and the Real Girl,” “United States of Tara”) says. “Oddly enough, the vampire helps focus Charley and makes him aware of what’s important in life.”

“FRIGHT NIGHT”: Scare Tactics

“The challenge with every vampire movie­—and there have been a lot throughout Hollywood’s history—is how do you do something original and put a distinctive spin on a subject that’s been around for centuries in fiction?” poses Producer Michael De Luca. The answer, of course, begins with the screenwriting.

A good story will always attract writers who are eager to use their creative imaginations to bring an idea from thought to form. Producer Rosenzweig says, “‘Fright Night’ is one of those titles that has so much awareness among people who love these kinds of movies that we received many calls from very good writers who wanted to be part of this project.”

Among the pool of exceptional talent was screenwriter Marti Noxon, who is perhaps most widely known for her enormous success as a writer and producer on the hit television series “Buffy the Vampire Slayer,” among other series and feature films.

As Producer De Luca recalls, “Marti Noxon’s agent suggested her as a candidate for screenwriter, and we thought, great, but she’s already done the vampire thing with ‘Buffy,’ so she probably wouldn’t be interested. Happily, she ended up being very interested. Marti came in and pitched us basically the story that we’re shooting. She had a very fully developed pitch.”

Noxon understands that in real life, there are situations that can quickly evolve from very dark to very funny. That was the concept for “Fright Night” that she and the director and producers were striving for. As Executive Producer Gaeta says, “I think that when audiences see the product of Marti’s imagination, they’ll find a lot of scary dark things but also beautiful and wonderful things too. She had a really great fix on exactly what the tone of the story should be and the importance of the relationships among the characters. She gave the script that extra emotional depth that she’s so good at dramatizing. It was really a lot of fun all the way through her interpretation of ‘Fright Night.’”

The filmmakers knew from the start that they wanted to maintain the basic story and the delicate balance of comedy and horror of the original film. That was one of the important aspects of the project that Director Gillespie loved about the screenplay. “There are really horrific moments that are very scary, and also very human moments,” Gillespie says. “It wasn’t just a straight genre film. Marti managed to balance thriller, humor and horror.”

But humor and emotional moments aside, the horror-thriller element in “Fright Night” is certainly not to be denied. This vampire is not a lovesick, conflicted being—he is an insatiable, unstoppable predator, like the shark in “Jaws.” Screenwriter Marti Noxon explains, “At a time when vampires are part of the mainstream for moviegoers and TV watchers, some of the shock value and mystery surrounding vampire practices is gone. There’s a sort of romantic vampire that’s common in the culture right now. We went away from that. We are very true to the spirit of the original film,” she says.

Adds Colin Farrell, “There are none of those romantic leanings. This vampire is just a killer. He’s over four hundred years old. He’s probably a little bit bored when we find him, but he feeds. He just feeds. He exists.”

THE CAST: Vampires, Victims and Valiant Heroes

With his success directing the feature film “Lars and the Real Girl,” as well as the Showtime® original series “United States of Tara,” there was no doubt that Craig Gillespie would bring his filmmaking integrity to “Fright Night.” Upon reading Marti Noxon’s screenplay, Gillespie found that he could not stop thinking about it and was eager to immerse himself in the project. “I wasn’t necessarily looking to do a vampire movie at the time,” he says of the unexpected opportunity, “but the script was so well written it gripped me the whole way through.”

Colin Farrell (“Phone Booth,” “Triage,” “The Way Back”) who plays the role of Jerry, the vampire, admits he was, at first, skeptical about remaking this classic film because he holds the original in such high regard. “I was 11 or 12 years old the first time I saw ‘Fright Night,’” Farrell recalls. “I don’t want to say it’s sacrosanct,” he explains about his take on the original film, “but in a way it is and it’s kind of perfect in its own form.

“So I was frustrated when I read Marti’s script,” he continues, “because it was so good, I really wanted to do it! Just like the original, it seemed to straddle the line between horror and a kind of sweet tongue-in-cheek comedy.”

The entire cast seems like a hypothetical wish list, beginning with Farrell, who was the filmmakers’ first choice to play Jerry, the centuries-old vampire. “I was so excited that we could get him,” says Director Gillespie about casting Farrell in the complex lead role. “I couldn’t think of anyone more perfect. As written, Jerry’s an incredibly charismatic personality, but there is a sinister aspect to him too. I thought Colin would embody that perfectly.”

Colin Farrell, clearly delighted to be baring vampire fangs, says, “When I met Craig, he was enthusiastic and had a very clear idea of how he wanted to tell this story. I want to say it was a no-brainer for me to want to be in his film. It really was a pretty easy decision.”

With the feature-film blockbusters “Star Trek” and “Terminator: Salvation” among his credits, Anton Yelchin was cast in the pivotal role of Charley, the teenager confronted with an evil force in the form of his vampire next-door neighbor.

Yelchin was the filmmakers’ first choice for the role of Charley because of the actor’s ability to create rich performances that give more weight to his characters. Yelchin was excited about giving greater dimension to Charley. “I like the relationships in the story,” Yelchin explains. “Charley versus Jerry, Charley and his girlfriend, Charley and his friend Ed who he has shunned are all interesting elements. With Craig Gillespie at the helm, we got to develop the nuances of all the relationships.”

Another of Charley’s important relationships is with his mom, Jane. The role went to Academy® Award nominee Toni Collette (“Little Miss Sunshine,” “The Sixth Sense”), who had worked with Director Gillespie on the Showtime series “United States of Tara.”

Reflecting on her eagerness to join the “Fright Night” cast, Collette says, “I love working with Craig Gillespie. If I’d been offered this film and there was another director, I really don’t know if I’d have taken it, but I trust him wholeheartedly. I think he’s going to make the film scarier by making it real and honest. But you know,” she adds facetiously, “I don’t get to play a vampire or be seduced by one.”

An obvious mutual-admiration society exists between Collette and Gillespie, and the director offers equal tribute to his friend and colleague. “I was very excited to get Toni for this role,” he says. “She’s able to blend humor and drama, which is such a tricky dance to do, and she does it beautifully. Also, you feel an instant bond between Toni and Anton, which made my work easy.”

The part of Peter Vincent, the Las Vegas magician/illusionist to whom Charley goes for help with his vampire problem, went to David Tennant (“Dr. Who,” “Harry Potter and the Goblet of Fire”), a classically trained British actor whose role as the Tenth Doctor in the BBC series “Dr. Who” has gained him wide acclaim. “We were really excited to get David Tennant for this role,” says Director Gillespie. “He hasn’t done a lot of work in the States, and this is such a great platform for him. He has excellent comic timing and also comes from the dramatic arena.”

David Tennant found the story to be an old-fashioned monster movie with a 21st century sensibility. “The vampires in this film are just proper old rip-your-head-off, run-screaming-for-your-life type of vampires. And I like that,” he says.

Describing his character, Tennant comments, “This character’s just delicious. He’s onstage doing this huge show, which is slightly preposterous and yet absolutely rooted in the kind of things you might see if you went to see a magic show in Vegas. But whilst his onstage life is so expansive and bonkers, when the wig comes off, he’s actually a little, bitter, damaged, disenchanted wee man. It’s great to get to play a character that has that scope and then gets to do things that are pretty extreme and extraordinary.”

Finding the right young actress to play Amy, who is Charley’s beautiful and popular girlfriend, took some time. After searching far and wide, they finally discovered the perfect mix of youth, beauty, a certain innocence and great acting skills in British actress Imogen Poots (“Jane Eyre,” “Waking Madison”).

“When I first read the screenplay, it was exciting because there’s a real combination of horror and humor,” Poots says. “It’s not a purely gruesome film. It has real character. Amy’s relationship with Charley is sweet. As the story unfolds, they’re obviously on this adventure together. It’s really about what they learn about one another, and themselves.”

Producer De Luca adds, “Imogen brings a fresh face and an effervescent personality to the early part of the film when things are sunny and light before they go dark. But she’s never a traditional damsel in distress. In the second half of the movie, she fights alongside Charley. She makes a great partner for him.”

Ed is the boyhood friend being betrayed and left behind socially by Charley. The character is so iconic for fans of the original movie that the filmmakers felt they needed a new version that pays homage to its predecessor and also stands on its own. They chose Christopher Mintz-Plasse (“Kick-Ass,” “Superbad”) for the role.

“Although this is a remake of a really popular movie, it’s totally new and amazing because Craig, our director, is keeping the eerie, smoky, creepy vibe of the original version,” Mintz-Plasse raves. “And Marti Noxon, the screenwriter, did an incredible job. She really went deep into the relationships. Unlike some recent vampire films where there are like fifty of them and they can walk in the sunshine and sparkle instead of bursting in flames, our film has just one specific vampire. It’s very straightforward: no reflection in mirrors, crosses will burn him, stakes to the heart and sunlight will kill him. It’s all very cool.”

“I knew Christopher would be able to bring out the humor in the role,” says Director Gillespie. “But what impressed me the most about him is the emotional back story that he’s got going on and how he carries that in the film. It’s what makes you root for him throughout the movie.”

On 3D: Horror…Upfront and Personal

Three-dimensional filmmaking has grown up. It is no longer simply about visual trickery. Today, the technique brings audiences into the images in a more subtle way by adding a dimensional layer and creating mood. In “Fright Night,” viewers can feel total immersion in the frightening moments.

“Horror movies are all about dread and building up that dread,” says Michael De Luca, who has produced several films that were shot in 3D. “The use of 3D in ‘Fright Night’ helps audiences get into the scene and experience the dread that the characters go through as the scares come.”

One of the most prominent authorities in the world of 3D technology is Max Penner of Paradise Effects, who began working with the technique almost 20 years ago. Not only is he a noted pioneer of modern 3D, he is also the go-to stereographer in the motion picture industry. He was a perfect match with Director Gillespie for “Fright Night.”

What exactly is a stereographer’s role in creating the 3D experience? Penner describes his job: “I control how deep the 3D space is and where it is placed in relation to the screen plane. This is achieved by using a 3D beam splitter rig that is a combination of two cameras and/or two sensors and two matched sets of optics that work synchronous and view images from two different points, very much like human eyes.”

In complete collaboration with the director, Penner must use his expertise to create 3D imagery that is very subtle in certain places but can be ramped up for highly emotional moments. “Using stereographic wireless remote controls, I can change the geometry of the 3D rig on the fly to create a different dimensional experience,” Penner explains. “In older times, we weren’t able to do this. But because of digital imaging and motor controls, we’re now able to make the 3D environment more dynamic, responsive and immediate.”

For “Fright Night,” Penner and Gillespie talked in great depth about the director’s vision for his film. Gillespie notes, “3D makes you feel that you’re part of the world you’re watching. What we have accomplished is to place audiences within the space. We’re not constantly reminding people that they’re watching 3D, but we’re giving more depth to the screen.”

“We’re creating new techniques and new ways of exploring 3D that are quite interesting,” says Penner, continuing the director’s thoughts. “I work closely with directors and DPs to expand this new creative and technical landscape.”

Christopher Mintz-Plasse adds, “This is real 3D! It’s not one of those trumped-up movies where they transfer it after shooting in 2D. So yes, this 3D is poppin’ out blood and bones and other fun stuff.”

SFX MAKEUP: Putting the Fright in “Fright Night”

Special-effects makeup is an enormous part of the “Fright Night” experience. Director Gillespie wanted to not only go with very broad makeup, but he also wanted to pay respect to the original film.

This edict especially pleased the Academy® Award and Emmy® Award–winning special-effects makeup team of designers Howard Berger (“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” “Kill Bill”) and Greg Nicotero (“Sin City,” “Walking Dead”) of KNB EFX Group, Inc. They were charged with the task of transforming Colin Farrell from super-seductive Jerry to the savage and vicious vampire. “Fright Night” could not have been in better hands than those of Berger’s and Nicotero’s, who are heroes to genre fans for their award-winning effects makeup.

“This was a great opportunity for KNB to revisit a film that both Greg and I grew up loving,” Berger says. “We saw the film when it came out in the ’80s and we still watch it with glee. We were faced with taking a cult film loved by many and preserving the essence of what made it great by updating the storytelling through our visuals. We used a combination of practical, special makeup effects enhanced and augmented with digital effects to give the audience something they have never seen in a vampire tale. It’s the perfect blend of the two techniques that makes it a modern-day magic trick for the audience.”

For Berger and Nicotero, the work was all about creating realism, which is why they used all-translucent silicone prosthetics on the actors. They wanted to give a specific fleshy quality to the skin of the vampires. “We needed to see deep into their layers of skin and see veins pumping their black blood fluid as they get more and more excited before the kill,” Nicotero explains.

“Craig Gillespie gave us a tremendous amount of leeway, but he was always involved 100 percent in every decision made,” Berger adds. “He has great respect for the original film and wanted to keep that alive by not going too far outside the universe of the ’80s version. We loved working with Craig. We enjoyed his energy and vision. He’s a great storyteller. He brought something unique to the table that other films don’t have—a sense of humanity.”

Because of the 3D process, Berger and Nicotero found there were a lot of things they had to do differently for “Fright Night” than with a 2D film. “The team from Paradise Effects made it easier for us,” Berger says. “We had to be very conscious of how the makeups were applied; everything shows on 3D-HD, so all the hair had to be hand-punched one strand at a time because lace wigs and lace eyebrows will show on screen. Hours and hours were spent just punching all of the eyebrows in all the pieces that both Colin and Christopher wore each day.”

For Farrell’s vampire character, Jerry,  Berger and Nicotero designed six different stages of makeup with prosthetics: contact lenses, dentures, ears, hands and full-face appliances. Berger says, “Craig Gillespie let us know that he really wanted us to go broad. So that was great fun for us.”

The filmmakers wanted to peg Jerry’s transformations to the heat of the moment. As his anger increases, so, too, does his more demonic physical changes. Subtle in the beginning, the process is ramped up throughout the film.

“It’s been great working with Howard and Greg who have a long history in movie makeup,” Director Gillespie says. “This was my first experience, so I took a lot of their guidance. When we started out, we talked about why Jerry changes and what he transforms into and how that’s affected by his primal adrenaline. So we worked from a purely philosophical point of view to start with.”

The makeup duo agrees that it was a bit tricky creating makeup for Colin Farrell. “It’s not easy with an actor such as Colin because what you have is one of the most handsome humans on Earth, and you need to turn him into a hideous, yet seductive, killer,” Nicotero says. “We knew that there needed to be many stages to his looks and they all had to be super cool, and still remain looking like Colin. ‘Fright Night’ is one of the best horror comedies ever made, so we had to lull the audience into a false sense of security with Colin and then ramp it to 10,000 and terrorize them to no end.”

Farrell was definitely up for the task of wearing all six stages of Jerry’s vampire makeups. “That’s sort of unheard of for actors,” Berger says. “But Colin is a trouper, and I think he felt like it was Halloween every day. He is, by far, one of my favorite actors to do makeup on, aside from just being one of my favorite people as well.”

The different stages of Jerry’s transformation were actually an experience that Farrell very much enjoyed, mainly because of the artistry of the makeup team. Offering enthusiastic praise, the actor says, “They’ve done an amazing job. They’re Academy® Award–winning makeup artists, and it was a blast to be around them. The days were long, but it was incredible from the get-go.”

“Working with the actors on this film was a complete joy!” Berger emphasizes. “Colin Farrell was the best of the best. On the last day, I was so sad as I was not sure when I would see him next as he made every day completely fun. Christopher Mintz-Plasse was wonderful and brought our Evil Ed makeup to life. He played it up and used everything we could give him. He is stellar!”

PRODUCTION DESIGN: Taking on Vegas

Craig Gillespie’s overall direction for the film was to ensure that audiences felt authenticity. For instance, it was important to him that moviegoers would feel what it might be like to live in a tract community on the desert outskirts of Las Vegas, as well as what it would be like in the terrifying private sanctuary of the vampire.

This very creative job was offered to renowned production designer Richard Bridgland Fitzgerald (“Priest,” “RocknRolla”), who welcomed the opportunity to create an imaginative look for “Fright Night.”

Supporting both horror and comedy in the production design was an important goal for Fitzgerald. “The thing about designing for this film is that we didn’t want the sets to encroach on the action or compete with the comedy,” Fitzgerald says. “A lot of the comedy in this film is very subtle—what I call ‘people comedy’—it doesn’t have big, broad gags. So everything we created in the world of suburbia had to sort of go into the background a bit. However, when we go to Vegas, and enter the world of stage illusionist Peter Vincent, that was my chance to be very up front and show his amazing penthouse at the top of the hotel where he performs his shows.”

Director Gillespie comments, “Peter Vincent is the vampire expert in the film. He’s a magician in Vegas dealing with a lot of vampire mythology and is sort of a self-destructive, self-loathing character.”

Fitzgerald imagined the character of Peter Vincent as a guy who perhaps, 15 years ago, was a huge hit in Las Vegas. But things in his life and career have slowly declined and he’s almost over the hill. He used to have a lot of money but he probably spent it building an amazing penthouse for himself. “I gave his space sort of a retro feel,” Fitzgerald says of the look of the museum that Vincent’s home has become. “I think his stage show has spilled over into his real life, so we decorated the penthouse as an extension of his show.”

Another space that gave Fitzgerald both a challenge and a catalyst to use his imagination and creativity is Jerry’s vampire lair in the excavated basement of his Vegas-suburb subdivision tract house. It is his crypt and feeding room—and the private sanctuary where he stores his victims. Fitzgerald remembers consulting with Director Gillespie and suggesting that this was a place where they could give some history to Jerry and show how old he is. “I made Jerry’s tomb cover look like it was from medieval times. When he goes to sleep at daylight, he pulls it over his crypt, and he obviously takes it with him whenever he moves.”

PROPS: The Vampire Slayers’ Arsenal

Because the original “Fright Night” holds such an important place in the hearts and minds of horror-film fans around the world, Director Gillespie and the other filmmakers wanted to pay respect to that seminal work. Among ways they chose to acknowledge the 1985 film was to add a few nods to the source material, which observant fans will surely spot in the new incarnation.

One tip of the hat to the original “Fright Night” is Jerry’s jaw dislocating to reveal rows and rows of shark-like teeth. Director Gillespie says that he’s also put in a moment with Jerry eating an apple “which was prevalent in the first film.” He adds, “There are a few props and there may be a cameo appearance from someone who appeared in the original ‘Fright Night.’”

Items that became hero props for Charley and Amy when they’re being pursued by Jerry in Peter Vincent’s penthouse museum were actually created by Production Designer Fitzgerald and Ben Lowney, the prop master. “Ben has been busy for months, manufacturing all kinds of different stakes,” Fitzgerald says with admiration. “He whittled the St. Michael’s stake from wood and bone and put metal caps on the top. We kind of borrowed ideas from old Catholic reliquary, and frankly, they are artworks in their own right.”

One of the most in-demand prop masters in Hollywood, Ben Lowney says that he was especially enthusiastic about working on “Fright Night” because it offered an opportunity to incorporate his personal passion as a sculptor, jeweler and metalsmith to produce a lot of the main props. This was a job he found to be both fascinating and fun.

Lowney admits that the stake made from bone was one of his favorite objects to create––if not one of the most vile. “The grossest thing about this was when I cut the bone. It smelled so bad that I just about had to evacuate the shop.”

Fortunately, Lowney survived that experience and also found a way to give the piece deeper meaning. He explains that in the metal-cap piece, he etched a cryptic inscription in ancient Greek and Latin. “It has a mojo saying,” Lowney explains. “I’m keeping the words secret and sort of waiting to hear if anyone slows the movie down and figures out what I wrote.”

Lowney also was responsible for, and enjoyed creating, the crucifix nail that David Tennant’s character pulls out of a display case and holds up to try to ward off Evil Ed. “It had to look vintage, so I forged it out and then soaked it in acid for a week. When completed, it looked as perfect as the Roman nails at the British Museum.”

The prop department eventually had to rely on Lowney to create the all-important crosses too. As the prop master explains, “Believe it or not, one of the hardest things to find were nice-looking wooden crosses. I searched and searched, but these days, they’re all made out of plastic and plaster and are not very aesthetically pleasing.”

When wooden stakes through the heart or a spritz of holy water or a hot-as-matches wooden crucifix fails to destroy vampires, a bullet from a six-shooter probably won’t have the desired impact either.

But don’t tell that to Charley’s girlfriend, Amy. To create her prop gun, Lowney took an old revolver, added pearl handles to give it more character and turned it into an actual replica of WWII army hero General George S. Patton’s own gun.

As Anton Yelchin sums up perfectly, “You can’t have a vampire movie without the stakes and the coffins, etc., and I think this movie steps up what the weapons look like that you can use to battle a vampire—from guns that shoot stakes to elaborate stakes to elaborate crucifixes and crossbows—and it’s really cool. It’s a blast to play with all that stuff.”

COSTUME DESIGN: The Best-Dressed Vampire

Costume Designer Susan Matheson (“The Town,” “Couples Retreat”), who had long ago decided that she wanted to work with Director Craig Gillespie if ever given the opportunity, was thrilled when she received an invitation to meet with him for “Fright Night.” As the much sought-after designer explains, “Craig has such a unique style, and although I was offered another film simultaneously, ‘Fright Night’ was the only one I was interested in working on.”

Tasked to create a fresh look for the new version of “Fright Night” while, at the same time, respecting the original film and its characters, Matheson recalls that it was important to both the director and her own design integrity to keep the character Amy in a cream-colored dress during the second half of the film. “This was such an identifiable element of the original ‘Fright Night,’” she says. “The dress had to be something initially that a high school student would wear, but also had to transform into something dreamy and otherworldly in the finale of the film. I made many versions of this dress in order to make the design and proportions of it perfect.”

Matheson shares a big trade secret that film buffs will love to know. If one watches the film carefully, they will see Amy’s dress itself transform over time. “The neckline gradually lowers and so does the length of the dress,” Matheson says.

The fun continued for Matheson as she created the costumes that David Tennant wears as Peter Vincent. To add to Peter’s fantastic “Fright Night” stage-show wardrobe, Matheson designed original costumes that could be described as “Fellini meets Vegas,” including a leather ensemble for Peter and fantastical Goth-inspired black gowns for his nymphs.

“Of the whole design process for ‘Fright Night,’ this was one of my favorite parts,” Matheson says with enthusiasm. “David Tennant is lean, so I wanted to create a costume for his stage show that accentuated his regal stature and was also dramatic enough for a Las Vegas show.”

For this, she designed a classic frock coat with an exaggerated collar all made out of leather. “I made an extreme, voluminous, pleated back side to the coat that billows behind him when he walks back and forth on the stage,” she says. “I gave him lots of rings on his fingers and some very tight and low-cut stretch leather pants with boots. Add in David’s brilliant acting to the mix, and it all came alive,” she raves.

While Jerry lives in his subterranean world beneath his seemingly normal suburban home where he’s dug out the basement to create a cave in which to “store” his victims and his crypt, Peter Vincent resides in his penthouse atop a Las Vegas hotel.

As Matheson concludes, “When he is in his penthouse apartment, he wears a silk robe with tiny undies, and then in the finale of the film I made another long leather coat fit for vampire fighting. It has a bit of a revisionist 1980s feel to it and was worn with a T-shirt, jeans and sneakers.”

THIS SUMMER: “Fright Night” Comes to Town

As darkness settles in theaters, “Fright Night” in 3D is sure to bite a brand-new generation of horror-film devotees with its imaginative take on a cult classic—a perfect blend of horror and comedy.

As Director Craig Gillespie concludes, “This ‘Fright Night’ is a great addition to the canon of vampire films. Some of the scenes are going to be hard to watch, in the best possible sense, but there are also some very warm, sincere moments, as well as just flat-out humor. It’ll be a wild, horrific, funny ride.”

“Fright Night” opens in theaters nationwide on August 19, 2011.

“There are scary vampire movies and romantic vampire movies. I think it’s time for funny scary. This movie is the next iteration.”

Alison Rosenzweig, producer

“FRIGHT NIGHT”: About the Cast

ANTON YELCHIN (Charley Brewster), with his recent highly acclaimed performances in “The Beaver,” “Star Trek” and “Charlie Bartlett,” as well as other starring roles in major films, is one of Hollywood’s rising stars. He will soon be heard as the voice of Clumsy Smurf in Sony’s animated feature “The Smurfs.” In addition, he will be seen starring in “Like Crazy,” which won the Grand Jury Prize when it premiered at the Sundance Film Festival in January 2011. He recently began filming “Odd Thomas.” In the title role, Yelchin stars as a short-order cook with clairvoyant abilities who encounters a mysterious man with a link to dark and threatening forces.

Yelchin’s past feature-film projects include his role in “New York, I Love You,” with an all-star cast that includes Ethan Hawke, Robin Wright Penn, Shia LaBeouf, Orlando Bloom, James Caan, Julie Christie, Andy Garcia and Natalie Portman. He also starred in “Terminator: Salvation” opposite Christian Bale and Sam Worthington, “Memoirs of a Teenage Amnesia” with Emma Roberts and “Middle of Nowhere” opposite Susan Sarandon. His other film credits include “Alpha Dog,” “Hearts in Atlantis” (for which he received the Young Artist Award for Best Performance in a Feature Film––Leading Young Actor), “Fierce People,” “House of D” and “You and I.” Yelchin also received the Explosive Talent Award at the 2002 Giffoni Film Festival in Italy.

Yelchin has appeared on some of television’s most critically acclaimed dramas. He starred opposite Hank Azaria on the Showtime original series “Huff” for two seasons and had guest-starring roles on “Criminal Minds” and “Law & Order: Criminal Intent.”

Yelchin currently resides in Los Angeles.

COLIN FARRELL (Jerry) is a native of Ireland. He won a Golden Globe® Award for his performance in the dark comedy “In Bruges,” which followed a pair of hit men who hide out in Bruges, Belgium, after a difficult job in London.

He most recently starred in the New Line Cinema comedy “Horrible Bosses.” Farrell is currently filming the Sony Pictures feature “Total Recall” for director Len Wiseman. The film is currently in production in Toronto, also starring Kate Beckinsale, Jessica Biel and Bryan Cranston.

He recently wrapped the Peter Weir film “The Way Back,” starring opposite Ed Harris and Jim Sturgess. The film tells the story of a group of soldiers who engineer a grueling escape from a Siberian gulag in 1942. He also completed William Monahan’s feature “London Boulevard,” based on the best-selling novel by Ken Bruen, about a South London criminal, newly released from prison, who resists the temptation to go back to a gangster life by taking a job looking after a reclusive young actress, played by Keira Knightley.

Farrell was recently seen in “Ondine,” for Irish director Neil Jordan, which revolves around an Irish fisherman who discovers a woman he thinks is a mermaid. His other films include Gavin O’Conner’s “Pride and Glory,” Woody Allen’s “Cassandra’s Dream,” “Miami Vice,” Oliver Stone’s “Alexander,” Terrence Malick’s “The New World,” “Ask the Dust,” based on the novel by John Fante, opposite Al Pacino in “The Recruit,” “A Home at the End of the World,” based on the Michael Cunningham novel, and in Joel Schumacher’s “Phone Booth” and “Tigerland.” He also appeared in “Minority Report,” “Daredevil,” “American Outlaws,” “S.W.A.T.” and “Intermission.”

Born and raised in Castleknock, in the Republic of Ireland, Farrell is the son of former football player Eamon Farrell and nephew of Tommy Farrell. Both Tommy and Eamon played for the Irish Football Club, Shamrock Rovers, in the 1960s.

It was Farrell’s early teenage ambition to follow in his father and uncle’s footsteps; however, his interest soon turned towards acting, and he joined the Gaiety School of Drama in Dublin. Before completing his course, Farrell landed a starring role in Deirdre Purcell’s miniseries “Falling for a Dancer,” a starring role in the BBC series “Ballykissangel” and a featured role in Tim Roth’s directorial debut, “The War Zone.”

He currently lives in Dublin, Ireland.

CHRISTOPHER MINTZ-PLASSE (Ed) was born in Los Angeles, Calif., and made his screen acting debut with the role of Fogell in the hit comedy “Superbad.” He has since starred in “Role Models” and “Kick-Ass.”

In addition to his live-action screen performances, Mintz-Plasse was heard as the voice of Giuseppe in the animated hit “Marmaduke” as well as Fishlegs in DreamWorks’ animation blockbuster “How to Train Your Dragon.”

Mintz-Plasse was nominated for the MTV Movie Award Breakthrough Performance Award for his role in “Superbad” and received several other award nominations for his work in “Kick-Ass.” He will next be seen in the comedy “Movie 43,” starring with Elizabeth Banks. He is currently in production on Maggie Carey’s “The To Do List” alongside an all-star comedy cast that includes Bill Hader, Aubrey Plaza, Andy Samberg and Donald Glover. The film is set for release in 2013.

DAVID TENNANT (Peter Vincent) is a classically trained actor whose career spans film, television and theater. His role as the Tenth Doctor in the BBC series “Dr. Who” earned him the National Television Awards Best Actor three years in a row, a Best Actor BAFTA Award in 2007 and the TV Quick Awards Best Actor in 2006, 2007 and 2008.

Tennant was heard as the voice of Spitelout in the animated adventure “How to Train Your Dragon” and played the role of Barty Crouch Junior in “Harry Potter and the Goblet of Fire.” He will soon be seen in the comedy “The Decoy Bride.” His other feature films include “Pirates!,” “Glorious 39,” “St. Trinians II: The Legend of Fritton’s Gold,” “Bright Young Things,” “Nine ½ Minutes,” “Sweetnight Goodheart,” “The Last September” and “L.A. Without a Map.”

Tennant has appeared in numerous British television dramas and comedies, including “Single Father,” “Blackpool,” “Einstein and Eddington,” “Recovery,” “Secret Smile,” “He Knew He Was Right” and the award-winning “People Like Us.” His title role in “Casanova” won him recognition in the United Kingdom and internationally.

Tennant’s extensive stage work includes a production of “Hamlet” for the Royal Shakespeare Company alongside Patrick Stewart. Also for the RSC, he starred in “Romeo and Juliet,” “As You Like It” and “The Comedy of Errors,” for which he received an Ian Charleson Award nomination for best classical actor under 30. He was nominated for a Laurence Olivier Award for “Lobby Hero” at the Donmar Warehouse, a Theatre Management Award for “The Glass Menagerie” and Critics Award for his portrayal of Jimmy Porter in “Look Back in Anger.”

Tennant is currently starring in “Much Ado About Nothing” opposite Catherine Tate at the Wyndham Theatre in London.

IMOGEN POOTS (Amy) is an emerging actress on the rise. Earlier this year, Poots starred alongside Mia Wasikowska and Michael Fassbender in Cary Fukunaga’s “Jane Eyre,” portraying Blanche Ingram, a socialite whom Mr. Rochester (Fassbender) flirts with to make Jane jealous.

In August, Poots will begin production on Daniel Algrant’s “Greetings From Tim Buckley,” co-starring opposite Penn Badgley. Based on a true story, the film focuses on the days leading up to Jeff Buckley’s eminent 1991 performance at his father’s tribute concert. Prior to this, Poots completed production on Yaron Zilberman’s “A Late Quartet,” starring alongside Christopher Walken, Catherine Keener, Philip Seymour Hoffman and Mark Ivanir. The film charts the tensions that threaten to divide a group of celebrated classical musicians.

Notably, Poots made her breakthrough performance in Juan Carlos Fresnadillo’s critically acclaimed film “28 Weeks Later,” portraying Tammy. Set in post-apocalyptic England, the story focuses on a group of survivors who attempt to rebuild their lives amidst chaos following the mass outbreak of a rage virus.

Additional film credits include James McTeigue’s “V for Vendetta,” with Natalie Portman and Hugo Weaving; Richard Linklater’s “Me and Orson Welles,” with Zac Efron and Christian McKay; Jordan Scott’s “Cracks,” with Eva Green and Juno Temple; Brian Koppelman and David Levien’s “Solitary Man,” with Michael Douglas and Susan Sarandon; Neil Marshall’s “Centurion,” with Dominic West and Michael Fassbender; and Hideo Nakta’s “Chatroom,” with Aaron Johnson.

On television, Poots’ credits include BBC’s “Miss Austen Regrets,” as Fanny Knight, ITV’s “Bouquet of Barbed Wire,” as Prue Sorensen, and BBC’s “Christopher and His Kind,” as Jean Ross.

TONI COLLETTE (Jane Brewster) is an Academy® Award nominee for her riveting performance in “The Sixth Sense.” She first came to international prominence starring as Muriel Heslop in “Muriel’s Wedding” and will soon be seen in “Foster” and the comedy “Jesus Henry Christ.” She is currently in production with director P.J. Hogan’s drama “Mental.”

Among Collette’s most notable feature-film credits are “The Black Balloon,” “Towelhead,” “Evening,” “Hey, Hey It’s Esther Blueburger,” “Little Miss Sunshine,” “The Night Listener,” “Like Minds,” “The Dead Girl,” “In Her Shoes,” “Japanese Story” (for which she received the Australian Academy Award as well as the AFI Award for Best Lead Actress), “Connie & Carla,” “The Last Shot,” “Changing Lanes,” “Dirty Deeds,” “About a Boy,” “The Hours,” “Shaft,” “The Boys,” “Velvet Goldmine” and “Emma.” In addition, she provided the voice of Mary Daisy Dinkle in the Australian animated film “Mary and Max.”

On television Collette currently stars in the hit Showtime series “United States of Tara,” for which she won both an Emmy® Award and a Golden Globe® Award for Best Actress in a Comedy Series as well as received two Screen Actors Guild® Award nominations.

In addition to her screen roles, Collette appeared on Broadway in the revival of “The Wild Party.” Her additional stage credits include performances for the Belvoir Street Theater and the Sydney Theater Company.

Born and raised in Australia, Collette was a student at Australia’s National Institute of Dramatic Art. She resides in Australia.

DAVE FRANCO (Mark) most recently appeared on film in the biographical drama “The Broken Tower.” His previous motion picture credits include “Charlie St. Cloud,” “Greenberg,” “The Shortcut,” “Milk” and “Superbad.” He will soon be seen in the big-screen version of “21 Jump Street.”

Among Franco’s episodic television credits are “Scrubs,” “Privileged,” “Greek” and “Do Not Disturb.”

“FRIGHT NIGHT”: About the Filmmakers

CRAIG GILLESPIE (Director) gained widespread recognition early on in his feature-film directing career with the critically acclaimed “Lars and the Real Girl,” starring Oscar®-nominated Ryan Gosling.

For television, Gillespie produced and directed the highly acclaimed Showtime series “United States of Tara.” His direction of the pilot episode earned Toni Collette both an Emmy® Award and a Golden Globe® Award.

MARTI NOXON (Screenwriter) most recently wrote the screenplay for DreamWorks Studios’ “I Am Number Four.” She is currently writing “Bad Baby” for DreamWorks, which she and her partner Dawn Parouse will produce.

Noxon has written and executive-produced for many critically acclaimed television programs, including “Buffy the Vampire Slayer,” “Grey’s Anatomy,” “Private Practice,” “Brothers & Sisters,” “Point Pleasant” and “Still Life.” She has also served as consulting producer for “Mad Men,” “Prison Break” and “Angel” and is currently a consulting producer on “Glee.”

Under her Grady Twins Production banner, which she co-runs with Dawn Olmstead, Noxon is currently producing projects for Lifetime, FX, The CW and NBC.

A graduate of UC, Santa Cruz, Noxon currently lives in Hollywood with her two children.

TOM HOLLAND (Story by) is an actor, director and writer who began his career as an actor in television, starring in such soap operas as “A Flame in the Wind,” “A Time for Us” and “Love Is a Many Splendored Thing” and guest-starring on many series, including “Felony Squad,” “My Friend Tony” and “The Mod Squad.”

Holland broke into screenwriting with “The Beast Within” and also wrote “Class of ’84.” At the same time, he continued to act, guest-starring on TV series such as “The Incredible Hulk” (credited as Tom Lee Holland) and Dan Curtis’ “The Winds of War.” In 1982, he landed the job penning the sequel to Alfred Hitchcock’s “Psycho,” for which he received an Edgar Allan Poe Award nomination. That was followed by “Cloak & Dagger,” both with director Richard Franklin, and “Scream for Help,” directed by Michael Winner, at Lorimar.

His directorial debut came in 1985 with the vampire horror movie “Fright Night,” starring Roddy McDowall and Chris Sarandon. He co-scripted and directed the first in the “Child’s Play” series of movies in 1988 before going on to adapt the Stephen King stories “The Langoliers” for an ABC miniseries and “Thinner” for the big screen. He also did many TV shows, including “Tales From the Crypt” and “The Owl,” and TV movies like “The Stranger Within,” which earned its star, Rick Schroeder, a Golden Globe Award® nomination.

Holland recently returned to the horror genre, directing the “We All Scream for Ice Cream” episode of “Masters of Horror,” with William Forsythe. In 2010, Holland received the Lifetime Achievement Award from Home Media magazine, honoring his status as a legend in the horror genre. Currently, he is producing, writing and directing a new series for Fearnet titled “Tom Holland’s Twisted Tales.”

MICHAEL DE LUCA (Producer) founded Michael De Luca Productions in March of 2004. A former production chief for film companies such as DreamWorks and New Line Cinema, De Luca is focusing his production company on developing provocative, specialized films with visionary filmmakers and developing pop-culture, mainstream genre films with franchise potential. His projects as a producer for Columbia include the science-fiction adventure “Zathura,” “Ghost Rider” and “21.” Other projects include “The Love Guru” and “Brothers.” Most recently, he produced “Drive Angry 3D” and “Priest.” De Luca is currently in production on “Moneyball,” starring Brad Pitt.

Prior to forming Michael De Luca Productions, he served as DreamWorks’ head of production, where he oversaw the day-to-day operations of the live-action division and the production of such films as “Old School,” “Anchorman,” “Head of State” and “Win a Date with Tad Hamilton.”

Previously, he spent seven years as president and COO of New Line Productions. During his tenure there, he created the highly successful “Friday,” “Blade,” “Austin Powers” and “Rush Hour” franchises, as well as “Seven,” “Wag the Dog,” “Pleasantville” and “Boogie Nights.” He launched the directing careers of Jay Roach, Brett Ratner, Gary Ross, Alan and Albert Hughes, F. Gary Gray and the Farrelly brothers, among others.

ALISON ROSENZWEIG (Producer) is a graduate of Wellesley College. She began her career in the entertainment business as an associate producer for Showtime’s “30 Minute Movies” series at Chanticleer Films. Among the many live-action shorts she associate-produced was the Academy® Award–winning “Session Man.” She was involved in many theatrical and cable films, including “Look Who’s Talking,” “Five Corners” and HBO’s “Blindside.”

Rosenzweig subsequently served as vice president of production at The Samuel Goldwyn Company, where she oversaw such projects as “Tortilla Soup,” “The Secret Life of Walter Mitty” and “Master & Commander.”

She conceptualized and produced “Windtalkers,” starring Nicolas Cage and directed by John Woo. More recently, she executive-produced the Lifetime Original Movie “Unstable,” starring Kathy Baker.

Along with her partner Michael Gaeta, Rosenzweig currently operates Gaeta/Rosenzweig Films, a production and management company. They are currently in post-production on the feature “Transit,” starring Jim Caviezel, which they executive-produced along with Joel Silver.

RAY ANGELIC’s (Executive Producer) many credits include serving as executive producer on Charlie Kaufman’s “Synecdoche, New York” and “The Burning Plain,” “The Ex,” “Friends With Money, “The Wendell Baker Story,” “In the Cut” and “Once in a Life,” directed by and starring Laurence Fishburne.

As a producer, Angelic worked with Anthony Bregman on “Carriers” and “Eternal Sunshine of the Spotless Mind.”

Angelic’s first producing project was Bob Gosse’s “Julie Johnson,” starring Courtney Love and Lili Taylor.

JOSH BRATMAN (Executive Producer) is a native of the Bronx and graduated with a B.B.A. from Emory University’s Goizueta Business School in 1995. After a brief career in the music business in Atlanta, Bratman moved to Los Angeles, where he served as an assistant in the feature-film production department at Twentieth Century Fox. There, Bratman gained a reputation for tracking buzzworthy spec scripts and trends in popular culture. Bratman then joined the production company Strike Entertainment as a creative executive where his most notable accomplishment was serving as production executive on the hit remake of “Dawn of the Dead,” which was one of Universal Pictures’ most profitable films of 2004.

Michael De Luca hired Bratman as a creative producer to help launch his Columbia Pictures-based production company, Michael De Luca Productions. Bratman recently executive-produced “Priest” and “The Sitter.”

Bratman has also championed several other noteworthy film and television projects in development, including the remake of “The Reincarnation of Peter Proud,” “Untitled Delta Force Project,” plus best-selling-book adaptations such as “Emergency,” “How to Survive a Robot Uprising” and “A Reliable Wife.”

MICHAEL GAETA (Executive Producer) has been a staff writer, editor and freelance journalist covering regional, national and international news and news figures. His beats for media organizations such as Cox Enterprises have included the Kennedys, the Trumps, national politicians, notorious crimes and trials, renowned artists, actors and writers.

In addition to winning numerous awards for news reporting, feature writing and editing from various press and magazine associations, including the Florida Press Association and the Florida Magazine Association, as well as a Rotary Foundation Scholarship for International Relations and nominations for fellowships such as the Smithsonian, he earned a master’s in literature and became a freelance writer based in London, where he began his involvement in the movie industry as a consultant.

Along with his partner Alison Rosenzweig, Gaeta currently operates Gaeta/Rosenzweig Films, a production and management company. They are currently in post-production on the feature “Transit,” starring Jim Caviezel, which they executive-produced along with Joel Silver.

LLOYD MILLER (Executive Producer) is a private/independent investor and has served on numerous corporate boards of publicly traded companies. He was also a member of the Chicago Board of Trade and traded actively on the floor there from 1978 to 1993.

As an investor in the distressed public debt of Carolco Pictures, Miller served as an administrative trustee of The Carolco Liquidating Trust, where he became actively involved in managing the assets of the company. Miller acquired the remaining assets of Carolco in 2002.

Miller is the father of 5 children and currently lives in Palm Beach, Fla. with his wife, Susan, and his three younger children. He attended Brown University and graduated with a B.A. in 1977.

JAVIER AGUIRRESAROBE (Director of Photography) lensed director Chris Weitz’s “The Twilight Saga: New Moon,” and currently in theaters is the director’s feature “A Better Life.”

A master in Spanish cinema who first gained international acclaim for “Secrets of the Heart,” which was selected by American Cinematographer magazine as one of the top 50 films since 1970, Aguirresarobe has been nominated 11 times for the Goya Award and won the honor six times.

Aguirresarobe has worked on major American and international features such as “The Others,” directed by Alejandro Amenabar, Pedro Almodovar’s “Talk to Her,” Amenabar’s “The Sea Inside,” John Hillcoat’s recently released, BAFTA-nominated “The Road,” Milos Forman’s “Goya’s Ghosts” and Woody Allen’s Oscar®-nominated “Vicky Cristina Barcelona.” Aguirresarobe was also director of photography for the James Ivory film “The City of Your Final Destination.”

RICHARD BRIDGLAND FITZGERALD (Production Designer) began his career in the U.K., designing sets and costumes for opera, plays, and dance for nearly a decade. Credits from this time include “The Magic Flute,” with Gerald Scarfe for Los Angeles Opera, directed by Sir Peter Hall, and “The Pretenders” for the Royal Shakespeare Company, directed by Danny Boyle.

As an art director, Fitzgerald worked on the Academy Award-nominated and BAFTA-winning “Richard III,” starring Ian McKellen and Robert Downey Jr. His work as a production designer includes the critically acclaimed “Gangster No. 1,” starring Paul Bettany and Malcolm MacDowell, “Resident Evil” and “Alien vs. Predator,” both with director Paul W.S. Anderson, “Tsunami: The Aftermath” for HBO and director Bharat Nalluri, Guy Ritchie’s “RocknRolla,” Screen Gems’ “Priest,” also starring Paul Bettany, and the thriller “Unknown,” directed by Jaume Collet-Serra and starring Liam Neeson.

SUSAN MATHESON (Costume Designer) started her career designing clothes for the most famous fashion model of all: Barbie. During her time at Mattel Toys, she also revamped the style of all the Disney princesses.

Among Matheson’s costume-design work for feature films are “The Town,” “Couples Retreat,” “Step Brothers,” “Talladega Nights: The Ballad of Ricky Bobby,” “Semi-Pro,” “Friday Night Lights” and “The Kingdom.” Other highlights from her career include “Blue Crush,” “Crazy/Beautiful” and her first film, “Dancer, Texas Pop. 81.”

Matheson has an ongoing collaboration with several international performance artists for whom she has designed the costumes for their stage shows, as well as for an underwater opera in Manchester, England.

TATIANA S. RIEGEL, A.C.E. (Editor) recently edited Grant Heslov’s “Men Who Stare at Goats,” starring George Clooney, and Craig Gillespie’s comedy hit “Lars and the Real Girl,” starring Ryan Gosling. She was the second editor on Paul Thomas Anderson’s Oscar®-nominated “There Will Be Blood” and the editor on Wim Wenders’ “The Million Dollar Hotel.”

In 2008, Riegel received an ACE Eddie award for her work on the HBO film “PU-239.” She has edited several successful pilots, including those for the HBO series “Game of Thrones” and the Showtime series “United States of Tara.”

RAMIN DJAWADI (Composer) may be best known for his Grammy®-nominated, guitar-driven score for “Iron Man,” but his repertoire covers a wide variety of film genres. After graduating summa cum laude from Berklee College of Music in 1998, the German-born film composer garnered the attention of Hans Zimmer, who recruited him to Remote Control Productions.

After moving to Los Angeles, Djawadi wrote additional music on “The Time Machine,” “Basic,” “The Recruit” and the blockbuster “Pirates of the Caribbean: The Curse of the Black Pearl.” He then collaborated with Zimmer, co-composing and producing the score for “Thunderbirds” and collaborating on “Something’s Gotta Give” and “Batman Begins.”
 Djawadi then went out on his own with “Blade: Trinity,” collaborating with The RZA for director David Goyer. This was the beginning of his relationship with Goyer for both film and television. Djawadi wrote the score for Goyer’s horror thriller “The Unborn,” which was produced by Michael Bay. With Warner Bros.’, “Clash of the Titans,” Djawadi scored one of 2010’s biggest blockbusters.

Another collaboration with Goyer was the television show “Flash Forward,” which earned him his second Emmy® Award nomination. He was also nominated for the main title theme music for “Prison Break.” Djawadi’s most recent TV work is HBO’s hit series “Game of Thrones.”

Djawadi also created an ethereal score for the film “Mr. Brooks,” starring Kevin Costner and William Hurt. The score earned him a World Soundtrack Awards “Discovery of the Year” nomination. Other sonically diverse scores include “Deception” and “Ask the Dust.”

Animation has been another facet of Djawadi’s career; he scored the first Sony Animation project, “Open Season,” followed by the sequel, “Open Season 2.” Additional animation scores include “The Chubbchubbs Save Xmas.” Djawadi’s work in these films attracted the filmmakers of the Belgium-based NWave, who created one of the first animated movies in 3D, “Fly Me to the Moon.”

In 2010, Djawadi branched out into the modern video-game media, scoring EA’s most recent “Medal of Honor,” one of the most popular video-game franchises.