From Metro-Goldwyn-Mayer Pictures, Warner Bros. Pictures and New Line Cinema comes award-winning filmmaker Ryan Coogler’s “Creed.” The film reunites Coogler with his “Fruitvale Station” star Michael B. Jordan as the son of Apollo Creed, and explores a new chapter in the “Rocky” story, starring Academy Award nominee Sylvester Stallone in his iconic role.
Adonis Johnson (Jordan) never knew his famous father, world heavyweight champion Apollo Creed, who died before he was born. Still, there’s no denying that boxing is in his blood, so Adonis heads to Philadelphia, the site of Apollo Creed’s legendary match with a tough upstart named Rocky Balboa.
Once in the City of Brotherly Love, Adonis tracks Rocky (Stallone) down and asks him to be his trainer. Despite his insistence that he is out of the fight game for good, Rocky sees in Adonis the strength and determination he had known in Apollo—the fierce rival who became his closest friend. Agreeing to take him on, Rocky trains the young fighter, even as the former champ is battling an opponent more deadly than any he faced in the ring.
With Rocky in his corner, it isn’t long before Adonis gets his own shot at the title…but can he develop not only the drive but also the heart of a true fighter, in time to get into the ring?
“Creed” also stars Tessa Thompson (“Selma,” “Dear White People”) as Bianca, a local singer-songwriter who becomes involved with Adonis; Phylicia Rashad (Lifetime’s “Steel Magnolias”) as Mary Anne Creed, Apollo’s widow; and English pro boxer and former three-time ABA Heavyweight Champion Anthony Bellew as boxing champ “Pretty” Ricky Conlan.
Ryan Coogler directed from a screenplay he wrote with Aaron Covington, based on a story by Coogler. The film is being produced by Irwin Winkler, Robert Chartoff, Charles Winkler, William Chartoff, David Winkler, Kevin King-Templeton and Sylvester Stallone, with Nicolas Stern executive producing.
Joining Coogler behind the scenes were director of photography Maryse Alberti (“The Wrestler”) and costume designers Emma Potter (“Song One”) and Antoinette Messam (“Orphan”), as well as his “Fruitvale Station” team: editors Michael P. Shawver and Claudia Castello; production designer Hannah Beachler; and composer Ludwig Goransson.
“Creed” is Ryan Coogler’s second feature film. Coogler was named a Time Warner Foundation Fellow in 2012, when he was accepted into the Sundance Institute Screenwriter’s Lab. With “Creed” being distributed by Warner Bros. Pictures, he has come full circle in the Time Warner family.
Metro-Goldwyn-Mayer Pictures and Warner Bros. Pictures present, in association with New Line Cinema, a Chartoff Winkler Production, “Creed.” The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company, with select international territories as well as all television distribution being handled by MGM.
ABOUT THE PRODUCTION
A great fighter once said, “It’s not about how hard you can hit.
It’s about how hard you can get hit and keep moving forward.”
It takes strength and determination to be a world-class fighter. But for Adonis Johnson, even with boxing in his blood, it will take something more: Rocky Balboa. To step out from the shadow of Apollo Creed, the father he never knew, Adonis must get Rocky back in the ring.
Although the former champ has been out of the fight game for some time, Adonis reminds him of the tough, young upstart he himself once was. After some prodding, Rocky agrees to train him, his way.
The challenge of re-envisioning the ultimate underdog story that began with “Rocky” was one that writer/director Ryan Coogler considered even before he was out of film school. “I grew up watching ‘Rocky’ movies with my dad; it was our thing,” he states. “Rocky is a character that people just connect with—action fans, drama fans, hopeless romantics, even just movie fans—everyone likes ‘Rocky’ movies because they have something for everyone.”
Before Adonis could coax Rocky into coming back, Coogler had to receive Sylvester Stallone’s blessing to work with the character, and the actor’s commitment to put the gloves back on. Stallone, also a producer on the film, has played one of the most legendary and beloved characters in film history in six “Rocky” films over nearly four decades. He says, “The impression Rocky has left on people is both confounding and extraordinary to me. I’ve always felt a relentless responsibility to keep the character intact because of that. So when Ryan came to me with the idea of Adonis Creed coming into the picture, I thought it was incredible, this filmmaker who is so young and yet so captivated by what we’d begun all those years ago. I admit, I was intrigued.”
Coogler smiles when recalling his first meeting with the icon. “I could tell he was a little apprehensive. I hadn’t even made a feature film yet, so he was probably thinking, ‘Who is this kid coming in talking about making a “Rocky” movie?’ But I could tell he was also thinking about every different way it could work.”
The filmmaker also mentioned the idea to his “Fruitvale Station” star, Michael B. Jordan, during production on that film. Jordan recalls, “Ryan is so talented, such a smart guy and so great to work with, so when he first mentioned the project to me I thought it sounded great, and that if it ever happened I’d definitely want to do it. Then over time, as it started to get real and I became more invested, I began looking at the situation like, ‘Wow, that’s a lot of responsibility; this is the 40-year legacy of Rocky.’”
Leaning into its legacy, Coogler wanted “Creed” to evoke the gritty, old-school style of the earliest “Rocky” films while also forging its own modern-day identity. It was important to him to do justice to the characters, to create a film that could cross the divide between Baby Boomers and Millennials, knowing the property could appeal to an equal number of fans in both generations and everyone in between.
Coogler had come up with the story, and partnered with fellow writer Aaron Covington on the screenplay. “Ryan and I met the first day of film school at USC,” Covington relates. “We have similar backgrounds, similar interests, and we started collaborating almost from day one, helping each other on set, tossing ideas back and forth. One day he asked me if I watched the ‘Rocky’ movies growing up; of course I’d seen them a dozen times. Then he said, ‘What if we continued that story with Apollo Creed’s son?’ I could see that Ryan had an honest vision for the story so I was instantly on board.”
For Coogler, that real place began with the “Rocky” ritual he and his father shared. “I was an athlete, and he would take me out for football, martial arts and basketball. And before I’d have a big game, he’d sit me down and we’d watch ‘Rocky II.’ That was my introduction to the character and the story. We eventually watched them all, and I fell in love with it through him.”
The fact that, for the first time, a story about Rocky Balboa was not penned by Stallone could have been cause for concern among the two production entities who compose the banner Chartoff Winkler, the principals being Robert Chartoff and Irwin Winkler. The pair produced the original “Rocky,” which was nominated for ten Oscars and won three, including Best Picture. Chartoff passed away earlier this year, and “Creed” is dedicated to his memory.
“We all felt like we were going out in style with ‘Rocky Balboa,’ which was very well received,” says producer Irwin Winkler. “Little did I know there was a young man with an idea for a whole new way to tell this story.”
Producer Charles Winkler grew up with the “Rocky” franchise in the family and served as executive producer and second unit director on the sixth film, “Rocky Balboa.” He offers, “I think Ryan’s idea was so solid that we all acknowledged this was the way to take it in a new direction and present it to a new generation. It’s been fascinating to watch the torch being passed.”
William Chartoff was also raised on “Rocky”; his father, the late Robert Chartoff, produced the series and the younger worked on the fourth and sixth films, producing the latter. He and his father both served as producers on “Creed” as well. “Knowing how much Rocky has meant to me and my dad, and learning how significant the films had been to Ryan and his father’s relationship, well, that really resonated with us,” he states. “Then he wrote this character who is a young man trying to follow in the footsteps of his father, to live up to a standard—a legacy—which is an incredible burden for anybody, but with the added layer of never having known him. It’s a rich story with a compelling personal journey to follow.”
“Ryan’s idea was surprising to us,” says producer David Winkler. “There was never any conversation in any of the ‘Rocky’ movies about Apollo having an illegitimate son out there somewhere, so he wasn’t spinning off a character we had already known, he was inventing an entirely new one.”
One who has boxing in his DNA, a gift from a fighting god. Who better to help Adonis take that gift and hone it into a talent worthy of the title than another former champion who was also his father’s best friend? Who else would Adonis turn to but the one person who not only could help him with his career, but also provide insight into the father who was absent but yet an almost oppressive presence in his life?
Coogler says, “Adonis has never had a father or father figure; I wanted to explore what it would be like to reach out for that as a grown man. Rocky had Mickey, so it’s something he would’ve been familiar with, the way a coach or trainer can be something like a parent to a young athlete.”
If Rocky wasn’t planning to ever get back in the fight game, he was certainly not expecting another Creed to show up at his door, even one reluctant to use the name. But that’s not the only surprise in store for him once he lets Adonis—Donnie, as he calls him—into his life. “If I fight, you fight,” Donnie says to his newfound mentor, “uncle” and friend. But it’s up to Rocky to decide how much fight he has left in him.
Shot entirely in and around Philadelphia, “Creed” at once takes audiences back to the city where it all began, while ushering in a new era for “Rocky” fans the world over.
Every move that I make, every punch that I throw,
everybody’s gonna compare me to him.
You are Apollo Creed’s son, so use the name.
Rocky Balboa tells Adonis Johnson that his toughest opponent isn’t the other guy in the match, but the guy looking back at him in the mirror—something Rocky knows from his own experience in boxing, and in life. He also knows that because the younger man is fighting to get out from under the long shadow of his famous father, one of the greatest boxers to have ever graced the ring, he will have to teach him that boxing is as much a mental game as a physical one. Adonis may feel ready to make a name for himself, but is he ready to live up to his father’s name?
Coogler states, “I knew I wanted to follow Apollo Creed’s family, because he was my favorite character from the ‘Rocky’ franchise, and Carl Weathers’ performance was so incredible; he played him with the same confidence that Ali had. I liked how intellectual, how in control of his own destiny that character was always shown to be.”
Taking on the mantle of the up-and-comer with a lot to live up to, Jordan says that Adonis “has always struggled with his sense of identity, not knowing his dad growing up, losing his mom. He was small for his age, talked a big game, and was always getting into fights. He bounced around from foster home to foster home in L.A., and wound up in some not-so-good places before he was adopted by Mary Anne Creed.
“Suddenly, he was living in a really nice place,” the actor continues. “But inside, he didn’t really fit in there either. He still had that urge to lash out, not really understanding who he was.”
Mary Anne appeared alongside her husband in the “Rocky” films, and is played in “Creed” by the venerable Phylicia Rashad, who says, “The moment Mary Anne looks at Adonis she knows it is her husband’s son. He’s a feisty little bundle of anger, cute as can be but just mad at the world. And she understands him. So she takes him home and rears him as her own. He’s a part of Apollo so to her mind that makes him a part of her, too—the part that she’s been missing.”
“Mary Anne gave him stability, pushed him toward a better life, a greater understanding of the world,” Jordan adds. “But he still has a hole he’s trying to fill inside, and he’s trying to figure it out. When he’s boxing, things make sense. He feels alive. It feels right.”
One of Adonis’s struggles, Jordan allows, stems from him being an illegitimate son. “There’s a weight that comes along with that. He wants to hide that part of himself. He hasn’t learned that until you embrace all the parts of yourself, you can’t grow and discover who you are. Part of his journey is to accept what he’s thought of as an embarrassment for a really long time.”
“Mike and I talked about the anger inside of Adonis that he can’t really verbalize but that he gets out when he pushes himself to the brink physically,” Coogler adds. “And people are inclined to do things they have success at, and he’s incredibly gifted at boxing. Whether he knows it or not, he’s trying to connect with his father, and that’s when he feels the closest to him.”
The director had no doubt Jordan would explore the subtleties of Adonis’s inner turmoil while also taking on the physical rigors required of the part. “I always knew that if I ever made this film, I’d want Mike in the role. He’s so talented, he’s got a crazy work ethic, he’s committed and dedicated, and takes a lot of pride in his work. He’s one of those guys that, if he’s interested in doing something, you do it with him.”
“Ryan is very humble and doesn’t like the spotlight at all, and hates it when anybody says anything nice about him or gives him compliments,” Jordan reveals, smiling. “But he’s an amazing talent, and so on top of everything. He’s so honest, and he’s always helping you find the real moments that people can relate to in a scene and bring them to life. We really clicked on our first project together and working with him again has helped me realize the importance of the actor-director relationship, that communication. Once you have it, the shooting process is that much easier.”
If Adonis wants to quit fighting across the border in Mexico, and if, out of respect for Mary Anne, no one in Los Angeles will train him, he figures he can do the next best thing. He leaves the comfort of the Creed mansion in Baldwin Hills for Philadelphia…and Rocky Balboa.
“He thinks that because Rocky was close to Apollo, he might be the only other person who could understand what he’s going through, and that because of his history with the father, he’ll be willing to train the son,” Jordan offers. “But that’s not the case.”
Rocky makes it clear he’s not interested in going back to that world, and, Jordan says, “that just because his father’s Apollo Creed doesn’t mean he’ll become a world champion. It takes a lot of hard work.”
But the wholly self-trained Adonis doesn’t shy away from hard work; he’s ready to knuckle down. That says a lot to someone like Rocky, who decides to take him on despite his misgivings.
“I was very interested in seeing how time had affected Rocky,” Coogler says. “How somebody known to be this heroic figure, who can withstand all of these physical tests of time…to see what that has done to him in other ways.” The filmmaker likens the character’s current status to that of another favorite of his, Rocky’s first trainer, Mickey. “I always thought it was interesting that when we meet Mickey in ‘Rocky,’ there’s no reference to his family, to a wife, kids. He’s just Mickey, he’s got this gym and his fighters and that’s it. When we meet Rocky now, he’s kind of like Mickey was; the only difference is we know his history. We know who isn’t around anymore, so it hits us even harder when we see him just biding time, and when we see him let this kid into his life, even though it’s hard for him to do.”
Having created Rocky Balboa and played him in six prior incarnations, Stallone slipped easily back into the role, eager to explore the character in this phase of his life, when he’s presented with this unexpected opportunity. “Even though the character comes out of me, I wish I was able to be more like him,” Stallone laughs. “He’s the epitome of patience, there’s not a mean bone in his body and, though he’s very competitive, he fights for pride.”
“Sly knows Rocky better than anybody, and he knows more about the sport of boxing and how to make a movie about it than I ever could,” Coogler says. “We’d be writing scenes and I’d call and ask him, ‘What would Rocky do here?’ If I had ideas, he’d be the first person I’d call. If he had an idea, he’d call me. He was so generous. It was a great collaboration.”
“Boxing, probably like most sports, is about 80 percent in your head,” Stallone surmises. “You can be defeated before you walk out of the dressing room. That’s why a good corner man has to be a psychoanalyst, right on the spot. He’s got to hold his guy together. It’s a pretty extraordinary occupation, and I thought it was a great place for Rocky to go—to take everything he’s known from all his years as a fighter and give it to this kid.”
Having been in and around the boxing arena—both fictional and real—for so long, Stallone has had ample opportunity to examine what makes a boxer tick. “Why fight when you don’t have to? What drives the fighter? It’s a very unique personality who wants to challenge himself in that way. Even Rocky, who is so gentle; when he’s in the ring there’s a primal thing that kicks in. It’s about pushing yourself out of your comfort zone, testing yourself in this ultimate, mano a mano fashion that most people wouldn’t do.”
Coogler was keen to show not only the mentor-mentee aspects of Rocky and Adonis’s relationship, but also the parallel nature of their characters’ situations as young hopefuls—one who is and one who once was. “In ‘Rocky,’ he’s a pretty lonely guy when we first meet him,” the director observes. “He’s trying to be a fighter, trying to form a relationship with Adrian, he’s got Paulie, but he goes home by himself at night. And after all he reached out for—and got—in his life, he’s right back there now, all alone. And Adonis shows up, and Rocky sees himself when it all started, when he had nothing, but had everything ahead of him.”
Stallone adds that, in addition to the emotions that come with the highs and lows of Rocky’s own life story, when confronted with Apollo’s son, “he’s suddenly faced with the grief of losing Apollo again, and feeling responsible for that death. He’s never really come to terms with it. Now he’s not only reminded, but he sees this kid, who looks so much like his friend, looking back at him, wanting to step into this dangerous arena and wanting Rocky to take him there. And Rocky doesn’t want to; he doesn’t want to feel responsible for Apollo’s kid getting hurt, too. But he knows if he doesn’t do it, someone else will, and Donnie may really get hurt. If Rocky does his best, maybe he can keep him safe, and make up for what happened all those years ago.”
In “Creed,” Rocky’s also facing a serious health issue that he’s reluctant to deal with, in light of the fact that he has no family left. But Adonis’s presence forces him to rethink if that’s true, and whether or not he’s got any fight left in him.
Off the set, Stallone quickly formed a close relationship with Jordan. “I love Michael, he’s a fantastic actor,” the veteran states. “He’s so dedicated. Even after he’s finished a scene and he’s done well, he may come back 20 minutes later and say, ‘You know, there’s something brewing inside, do you mind if I take one more shot at it?’ And sure enough, something even better rises to the top.”
“That means a lot coming from the big guy,” Jordan acknowledges. “Honestly, I connected with him on an acting level and a personal level more than I ever thought I would. I mean, he’s a legend, which can be intimidating. But he’s just so real. Ryan, as a director, he lets the actors go through and find the scene, and Sly and I had some really intense scenes to play. We definitely pushed each other. He got me to a level of emotion that I haven’t been to in a really long time with another actor.”
Despite taking place in the male-dominated world of boxing, “Creed” isn’t strictly about the guys. Just as Rocky found love with Adrian, Adonis is finding something like it with his neighbor, Bianca. “We knew we needed a strong female character,” screenwriter Covington says, “because everybody knows Adrian. When you think of Rocky, you can’t help but think of her. Like Rocky, Adonis needed a counterbalance for all his aggression, somebody to bring him back to Earth.”
The role of the singer/songwriter, which required the actress playing her to also perform, proved a difficult one to cast, but ultimately went to Tessa Thompson. Coogler expounds, “We needed somebody to hold her own with Sly and Mike, and who was really a musician, who could perform and record the music Bianca makes. And as soon as Tessa was cast, she immediately got to work with our composer, Ludwig Goransson, and started making songs that we needed to use in the movie. And she was just perfect, absolutely incredible.”
“When I first heard about this project, all I knew was that it was Ryan Coogler’s next movie,” Thompson relates. “I was so enamored with his other work, and by him as a person, that I really wanted to be in the movie before I even knew if there was anything in it for me. Then when I read the script, I discovered this wonderful story of finding family in unexpected places, which is something I think people can relate to. In fact, what I’ve always thought to be so special about the ‘Rocky’ movies is that they’re not really about boxing; they’re about love, about self-belief, endurance, perseverance, following your dreams. Those are things I think everybody can get behind, whether you watch boxing or not.”
Like Adonis, Bianca is also following her dreams. “In both Adonis and Bianca, you see two people who really like each other, but who are trying to figure out their own paths, and the dedication that takes,” Thompson says. “Bianca is a Philly-based singer in a town with a great musical history, so I worked with Ryan to find Bianca’s artistic influences and to get an idea of what her sound would be. I spent some time in the city with local musicians. There’s a great camaraderie there and it was a lot of fun. And getting to play opposite Mike wasn’t too shabby, either.”
Jordan grins. “Tessa’s awesome. A joy to work with—honestly, it didn’t feel like work, which is always a good sign you’re doing something real. Bianca is a very strong, independent woman with her own goals, her own morals. She’s a North Philly girl who’s used to being very up-front, very blunt. Adonis is caught off guard by her and he likes that.”
“In the film, even though she’s young, Bianca represents a self-assuredness and honesty and acceptance that Adonis gravitates to,” Coogler explains. “She knows who she is, what she wants and where she’s going. All things he’s trying to achieve for himself.”
If Adonis struggles with his identity, it isn’t for a lack of love at home, at least not in the last several years. Pulled from juvenile detention as a boy, he spent his teen years, into adulthood, with Mary Anne, whom he looks on as a mother.
“When I get a chance to work with brilliant young people, I take it, and I was interested in working with Ryan and Michael,” Rashad asserts. “I also loved playing this smart, sophisticated, grounded, forgiving woman. Mary Anne loved her husband very much, enough to not only overlook his indiscretion, but to take in his son.”
“Phylicia was so graceful and elegant and has such a presence in a scene,” Jordan says. “She reminded me of my mom, actually, which just brought out those emotions and helped our relationship on camera.”
Though Mary Anne recognizes Adonis’s passion for boxing and comprehends the reasons behind it, she nevertheless wishes he would take another road. But she knows her hopes are futile when he tells her he’s leaving. “Every human being is born to walk a path, to choose their way,” Rashad says. “So the question for Mary Anne is not, ‘Does he love me enough not to do this thing he chooses to do?’ The question becomes, ‘Do I love him enough to allow him to make this choice, and support him in it because of what it means to him?’”
“This is something that happens in relationships, in communities, it’s a very real thing,” Coogler notes. “And Phylicia did a really amazing job of capturing how complex that is to deal with in a family.”
You’re gonna take a beating. You’re gonna get knocked down,
you’re gonna get up, and you’re gonna see if you got the right thing.
In “Creed,” Adonis takes on three fighters, though he’s clearly out of their league. To play them in the film, Coogler cast three real-world professional boxers: Anthony Bellew, Andre Ward and Gabriel Rosado.
“Every time Michael steps into the ring as Adonis, he’s fighting real guys,” Coogler says. “They’re phenomenal athletes, but there’s a difference between boxing in life and boxing for the camera. How they punch is very economical; they don’t punch in a showy way that sells it on film. A lot of times, these guys move so fast and so efficiently, the camera won’t even pick it up. They had to be taught how to sell it, to open up. That was the learning curve for them—and it was very dangerous for Mike because if these dudes catch you for real, they can really hurt you.”
The filmmakers ensured things were as safe as possible for the actors as well as the boxers, who all have active professional careers and would return to fighting professionally right after the movie was finished.
The UK’s Anthony Bellew stars as “Pretty” Ricky Conlan, Lineal Light Heavyweight title holder and undefeated best pound-for-pound boxer in the world, with a record of 36-0-0 and 28 wins by knockout. Bellew observes that he and his character have a lot in common. “Ricky is a guy from Liverpool, like me. He’s a big Everton fan, always has been, like me. He’s a guy who’s had success but has never forgotten where he’s from.”
Where they differ vastly, of course, is where Conlan’s story begins in the film. “He’s a single father, just trying to make things work, but he’s got a gun charge pending over his head,” Bellew explains. “So there’s a lot going on in the background for him while he’s trying to stay focused on a fight. Ryan helped me get into the frame of mind that I’m going to jail, which is a scary thing ‘cause the last thing I want to do is leave my kids. The thought of it is heartbreaking, and he got that emotion out of me.”
Bellew, who has been boxing since he was a teenager, was taken by surprise when he received a call from “Creed” producer Kevin King-Templeton about acting in the film. “I thought it was a friend playing a joke, you know? Someone pretending to be Kevin King calling me up as a prank. I asked my missus to look him up online and she said it was the same guy, the same voice. I still wasn’t sure, but then I finally met Kevin and Charles Winkler and some other people. It wasn’t until I met Ryan that I really believed I could do this, portray what they wanted Ricky to be.”
“Tony is incredibly charismatic,” Coogler says. “I had never been to the UK; I found him on the internet. I wanted Ricky Conlan to be a good foil for Adonis, the opposite of him in every way: very brash, very experienced, comes from a very proud place. He’s a homegrown boy from Liverpool, entrenched in where he’s from, while Adonis is a bit nomadic, still finding out where he’s going to land. Tony was definitely the right guy for the part.”
Stallone was already well versed in Bellew’s work. “Tony’s got it in his blood. When he gets hit or he’s fired up, you look in his eyes and you see aggression, you see threat. It’s not anger like a normal man, it’s feral and it’s savage. That’s what you need to win, that feral side very few people really understand that beats in the heart of a boxer.”
“The ‘Rocky’ films capture a lot of what fighters go through, and not just physically,” Bellew says. “Sylvester Stallone has helped show boxers as what we are: noble, honorable, honest, and gentlemen. Okay, there are some vicious guys in boxing, like in the films, but a lot of us are really well-spoken, clever, witty. Boxing is full of different characters, like every other walk of life, and Stallone really put us on the map.”
Adonis’s match with “Pretty” Ricky Conlan comes about when Conlan’s manager, in search of an opponent for his fighter, gives Rocky a call. Scottish-born actor Graham McTavish plays the role of the aggressive and experienced Tommy Holiday.
“Ricky is like a son to Tommy, he’s been with him the whole way and wants to look after him,” McTavish says. “He knows Ricky has a bad situation coming up soon, and needs a big fight to go out on, not only for his name but for the sake of his kids’ futures. So he has a ruthlessness about him, but he’s not somebody I would describe as a bad guy.”
McTavish spent time with Bellew’s own manager, Gary Disley, who the actor says “tried to impress upon me that before a fight, your job is to prepare your guy for this terrible ordeal he’s about to go through. During a fight, after each round, your guy’s just gone through three minutes that, for some boxers, go by in the blink of an eye, it’s so intense. You have to refocus him, because he’ll have an instinct that kicks in and questions what he’s doing in there, getting hit in the face. And at the end of it, your job is to refocus him again, to bring him back out of that intense place, win or lose, and make sure he’s okay. So it’s easy to feel protective outside the match, too.”
Before Adonis steps in the ring with Conlan, he must first, for very different reasons, face two completely different opponents. Prior to leaving Los Angeles, he comes up against Danny “Stuntman” Wheeler at the Delphi Boxing Academy—home of Apollo Creed. With a record of 31-0-0 and 18 wins by knockout, Wheeler, the #2 pound-for-pound boxer in the world, trains at Delphi with Tony “Little Duke” Burton, whose father trained Apollo Creed, and later Rocky Balboa, too. Wood Harris plays Burton, and real-life boxer Andre Ward stars as Wheeler.
“I literally grew up watching the ‘Rocky’ movies and listening to the soundtracks,” Ward says. “I love the fight scenes, but I also really love the preparation, the things he went through to get into the ring. As a fighter, I can relate, because I’ve done those things most of my life. One big reason why I wanted to be a part of this movie is because fight fans don’t get a chance to see what we go through, the ups and downs, the struggles, life behind the scenes. This film really gives a clear depiction of that, the good, the bad and the ugly. And because Ryan brought in so many real fighters to be a part of it, it also adds a lot of authenticity.”
Shortly after he lands in Philly, Adonis is introduced to Leo “The Lion” Sporino, the best prospect in Philadelphia, who trains at Mighty Mick’s, former home of the Italian Stallion. His dad, Pete Sporino, runs the place, and gives the newly arrived Adonis the apt, if somewhat derisive, appellation “Hollywood.” Leo has an impressive 17-0-0 record, with 12 wins by knockout. A member of the 2012 U.S. Olympic Team, Sporino is the #4 ranked light heavyweight in the world. Actor Ritchie Coster plays Pete, and real-life boxer and Philly native Gabriel Rosado plays the promising native son.
“Rocky means a lot to Philadelphia,” Rosado says. “As a fighter coming from that background, working the graveyard shift, putting in water mains before I finally got my big break, I know the struggle. I relate to it, and so do a lot of other guys, so it was great to be a part of this. I actually met Stallone at my second pro fight, so it was real exciting to get to come to the gym on set and work with him there, as Rocky.”
All three pros have nothing but praise for the work ethic and natural athleticism Jordan brought to set. “Michael did his homework and spent the time preparing for the role,” Ward says. “He actually caught me with a couple of shots, and I felt them. We had a great time.”
Rosado adds, “Working with Michael was a blessing. We’d be in the gym at eight in the morning, training till twelve, then come back at three for another two, three hours. He put in the time just like we do.”
“Mike worked tirelessly,” echoes Bellew. “His physique was unbelievable, he’s an amazing athlete. He adapted really well to the sport and rolled with the shots. He should be very proud of himself.”
In addition to the boxers, Coogler recruited several real-world behind-the-scenes specialists to play the experts Rocky recruits to help train Adonis in the movie: Ricardo “Padman” McGill plays Padman, who works with the mitts; real boxer Malik Bazille plays Padman’s son and Adonis’s sparring partner, Amir; Jacob “Stitch” Duran, a legendary cut man in the fight world, plays “Stitch,” the best cut man in Philly; and athletic equipment entrepreneur Elvis Grant appears as himself.
In the tradition of the “Rocky” films, rounding out the cast are several figures from the sports media world, including commentators Max Kellerman, Jim Lampley and Michael Wilbon; journalists Anthony Kornheiser and Hannah Storm; and renowned announcer Michael Buffer, holding the mic at center ring.
You gotta work hard. I swear to God,
if you’re not gonna do it, I’m out.
Every punch I’ve ever thrown has been on my own.
Nobody showed me how to do this. I’m ready.
One step at a time, one punch at a time, one round at a time. In training Adonis, this is Rocky’s mantra, which he repeats over and over in order to help the eager young fighter stay focused. Of course, in order for Rocky to put Donnie through his paces, Michael B. Jordan had to be whipped into fighting shape first.
“Getting into shape for this movie was a year-long process for me,” Jordan reveals. “I was slowly training here and there, between projects, until I could go full steam ahead.” The actor worked with technical advisor/boxing trainer Robert Sale out of the Powerhouse Gym in Burbank, California, learning the fundamentals much as his character practices them in the film.
“You think you’re in shape, you’re athletic, but you get in that ring and you realize how far you still have to go,” Jordan admits.
“One thing that we knew we had to get right was the boxing,” says Coogler. “Because if it wasn’t right, we’d be doing the film a disservice, the fans a disservice, and a lot of people for whom this is their livelihood, a disservice.”
Once he began working with Sale, Jordan says, “That slowly evolved into weight training with my physical trainer, Corey Calliet, who I’d been working with on another film.”
Calliet designed not only Jordan’s training regimen, but his nutritional plan as well. “Apollo Creed was pretty ripped, but I wanted to see if we could do better,” Calliet says. “I look forward to taking a body and turning it into a sculpture.”
“The diet was the first thing with Corey,” Jordan says. “A lot of people getting into shape don’t realize how much food and what food they put in their body has to do with what you look like. He had me cut down the sugars, bread, pasta, dairy, cheese. Gone. Out the window.”
“It got to the point where Mike would call me when it was time to eat and say, ‘What can I eat?’” Calliet laughs. “I wouldn’t let him eat or drink anything without checking with me first because I didn’t want to risk him making any mistakes.”
One thing there was no perceptible limit on was water. “I tried to get through a gallon-and-a-half of water or more a day,” Jordan recalls. “Eventually you start seeing the results, and that motivates you to stick to the crazy workout routine and the strict diet.”
One of Coogler’s dictates was to focus on the jump rope, as the activity would factor into the storyline on several occasions. “Ryan wanted Mike to be able to jump rope really well,” Calliet says. “Mike is a natural, so one night I showed him what I wanted him to be able to do the next day, and he did it, which rarely ever happens.”
Because Jordan is flatfooted, Calliet says, “We did a lot of different things to keep him on his feet—move around, jump, hop, burpees and basic plyometric work. I knew he’d need to be quick to perfect the boxing and those exercises took care of that.”
Just as Rocky tries to share his years of experience with Adonis, Calliet told Jordan, “The body won’t do what the mind won’t let it; if you can think before you speak, you can think before you punch. That’s what keeps you safe. If you tell yourself you can do it, you can. There were days when Mike wanted to stop, and I would look at him and remind him, ‘Your mind is stopping first. Tell your mind to keep going, ‘cause your body will only do what the mind tells it to.”
Calliet himself boxed for more than eight years, working a day job, much like Adonis in the film before he heads to Philly. “Boxing was my first love. I used to run six miles before work, then go box after. Everybody wanted to be like Rocky. It was the work ethic, the motivational speeches he gave that made me want to keep going. I watched the movies all the time, so to actually be a part of something like this blew my mind.”
Once Jordan was in shape and ready to shoot, it was up to Coogler and stunt coordinator Clayton Barber to make everything they would capture on film look real—and right.
“I’ve been an athlete since I was six years old, sports is something I can relate to, but boxing I was not so familiar with,” Coogler says. “I had to study it. I took classes while we were writing the script. I wanted to learn the basics so I could put myself in Adonis’s head. Sly brought the professional element to it, giving us tickets to fights and access to his extensive library on the subject. And Clay and his team made sure everybody felt like they were giving it their all, and at the same time making it look real.
For Barber, it all starts with the story. “When I first started talking to Ryan, that’s all we talked about. Not choreography, just story,” Barber says. “Then we went back to the ‘Rocky’ history to find the characteristics we wanted to put inside the boxing for this universe we were creating. There are four fights in the film, and every one of them tells a different part of the journey Adonis is on, from the first to the last.”
Coogler and Barber encouraged Jordan to pick a real boxer whose style he felt he could mimic, and watch all of his available footage. “He picked a fighter named Timothy Bradley, who fights out of Southern California, and that helped him a lot,” Coogler says.
The fact that Jordan, an actor, would be up against real boxers in the film presented a unique challenge for Barber. “It was interesting to think of how to marry a real boxer who’s learning to act with an actor who’s learning to box, because they’re working in opposite directions when we bring them together,” he says. “During one of the first conversations I had with Ryan, he told me he wanted a ‘violent ballet.’ Right away, it clicked. I understood exactly what he wanted, and that was the inspiration, that’s what we strived for inside the ring.”
“There was a level of pressure to make it fresh,” Coogler admits. “Creatively, we wanted to capture the essence of ‘Rocky,’ but give people something they haven’t seen before, to show this character who is part of American culture in a different light.”
Even while seeking a new spin on the fictionalized sport, the advantage of having Stallone—who choreographed nearly all the ‘Rocky’ fights—on set was felt by all. “To Ryan’s credit, I gave him my blueprint, he analyzed it, and took it for what it’s worth,” Stallone says. “I also told him that there are really two movies in a film like this: the drama, and the fights. And you have to cram these fights with as much drama as the rest of the movie, in about nine minutes. It’s very complicated, very daunting. And he did it, no problem.”
With Coogler and Barber working closely with director of photography Maryse Alberti, they determined the choreography and the camera would seek to show different perspectives in the ring from what one usually sees in the movies. They used a steadicam throughout the film, particularly in the fight scenes, and the fight between Adonis and Sporino was shot in a single, two-minute take.
Safety during the fights was always paramount, hand-in-hand with providing a visceral experience for moviegoers. “We did keep a very safe zone, and we were very selective of how we hit the body, bringing the camera in, never losing a sort of explosive interpretation,” Barber details. “You can be just as impactful if you do it right. Every action has a reaction; the action is strong, the reaction is what sells it to the audience. It’s a visual sell, and that’s what we worked on.”
Coogler adds, “Because we were trying to capture for the audience what it feels like in the moment, in the ring, we got the idea to have a circle shot. So we did a continuous tight shot that spins around while Adonis is pinned with his back to the ropes, with nowhere for him to run.”
Using a Movi camera rig, which enabled them to do a 360-degree shot, Coogler relates, “We went around, over the top of the ropes while the two fighters are just going at each other. It was crazy to pull it off because it was a real complex setup for a shot that’s a few seconds of the movie, but I think it was effective; I think audiences will get a sense of what it’s like in there.”
For all the fights, Barber’s key note to Jordan was attitude. “Adonis has an attitude, so I told Mike to make sure every action was an expression of that attitude. Just the way a word has meaning when you speak, the actor translates that for the character. So I’d say to him, ‘It’s not just a punch, that punch has meaning. Give me the attitude behind it.’ That’s how it translates back to the character and makes the audience feel what he’s going through.”
I’ve been fighting my whole life.
I ain’t got a choice.
It’s always about a choice.
For Coogler, there was no question that “Creed” would be set in Philadelphia, where it all began. And for the filmmakers, there was no doubt that principal photography would be accomplished there as well. “Rocky is Adonis’s link to his past and his future,” Coogler says. “There was only one place his story would take him, and that’s wherever Rocky was. And that’s Philly. In fact, we used a lot of the original ‘Rocky’ locations that fans are going to recognize, but we used a lot of new ones, too, to make it our own.”
Coogler’s creative team on the film consisted of costume designers Emma Potter and Antoinette Messam, as well as several members of his “Fruitvale” team, including editors Michael P. Shawver and Claudia Castello, and production designer Hannah Beachler.
“Ryan was very clear about what he wanted the themes to be, visually,” Beachler says. “So I went back to the early films and then figured out how to integrate what we needed from them with what we wanted for 2015, bringing everything together. He trusted me with making it authentic, and with defining our three different settings, Philly, Los Angeles and Liverpool.”
Two must-haves for the film were the statue of Rocky and the long flight of iconic steps at the Philadelphia Museum of Art, and Coogler incorporated them in a way that he felt would make sense for the city, and the character of Rocky, today. Filming there was another matter entirely.
“Even Sly is kind of in awe of how many people you see there,” Coogler says. “The day we were shooting, he said to me sincerely, ‘I can’t believe people run up these steps, this is crazy.’ But it’s true, people go nuts for him, the streets fill up, and they talk to him like Rocky’s real. He’s a character, but he’s so much more. It was great being there with Sly and seeing that.”
“I tend to get lost in everyday events and I forget,” Stallone confesses. “When I go back to Philadelphia and realize that the city actually embraces this character still, it’s really something.”
Jordan says, “It’s surreal, all the shout-outs and the love from the fans. I mean, there’s a statue of this man—this real man as a fictional character—standing out in front of the museum, and people from all over the world come to take pictures by it and walk in his footsteps.”
Maintaining the ‘Rocky’ continuity on the sets, Beachler sussed out a number of design elements to incorporate wherever needed. “I wanted to make sure that all the ‘Rockys’ were represented in the house, so I went back to find certain pieces; for instance, the Marciano poster that’s in his basement in ‘Creed’ was in his apartment in ‘Rocky.’ There are touches of Adrian, where you might think, ‘Okay, she must have done something here,’ but he hasn’t changed anything in all the years since she’s been gone, time has stopped. Little things like that we did to make sure that audiences see the span of Rocky’s life in this film.”
Shooting at a house in South Philly, Beachler took her cue for Rocky’s place from his house in “Rocky Balboa,” and was relieved to have hit the mark. “Stallone walked in, and I was really nervous about that because it was important to have his blessing. He looked around and said, ‘Yeah, this place is a piece of crap. It looks great.’ That’s when I knew we’d done it right.”
To evoke the generational and familial themes in the film, Rocky’s house is at first, as Beachler describes it, “Two seconds from being really sad. But at the same time, it needed to be comfortable and warm, like it just needed a little love, so that by the time Adonis comes in, we could open it up. Then it’s a bit lighter and a bit brighter, and it starts to lose that cave feeling. And later, the kitchen becomes this place where they convene and become a sort of makeshift family.”
If Rocky’s been keeping his overhead low, Adonis has been living in the lap of luxury in the Creed mansion in the Baldwin Hills area of L.A. Though they were substituting a Huntingdon Valley area home for the scripted L.A. one, Beachler conducted a lot of research on Baldwin Hills. She notes, “Ray Charles lived there, a lot of African-American athletes live there. So, this is where Apollo Creed would’ve lived. Apollo was a larger-than-life character, and we needed to show that.
“We also needed it to feel as though he bought that house in the ‘80s, and it’s very much the same: marble and gold and light, lush and beautiful,” she continues. “We went with a very neutral palette, so the whole place is cream and brown, with leather and expensive furnishings. It was a way to separate L.A. from Philly, and Apollo’s lifestyle—which Adonis has experienced now for many years—from Rocky’s. Those two men were very close, but in the end, their lives were two completely different things. We dragged it into the 21st century, but the bones say nothin’ but 1983.”
Adonis and Bianca’s apartment building was shot on location in North Philly, and the production found a nearby practical location for Adonis and Bianca’s first “date,” filming at the popular Max’s Steaks. The music venues where she performs were real as well: Johnny Brenda’s in Fishtown, a hipster North Philly spot; and The Electric Factory. Composer Ludwig Goransson and his frequent collaborator Moses Sumney appear in the film as Bianca’s back-up performers.
Three different gyms are featured prominently in the film, two of which will be familiar to fans: the Delphi Boxing Academy, home of Apollo Creed, where Creed took Rocky to train him in “Rocky III” and where Adonis faces Danny “Stuntman” Wheeler; and Mighty Mick’s Boxing, where Rocky trained with Mickey and where Leo “The Lion” Sporino trains. Interiors at Mick’s were shot at the Must Fight Gym in Chester, with the exterior being the same North Front Street location used by the prior films.
The third gym that factors into the movie is the Front Street Gym in the North Philly neighborhood of Kensington, where Rocky trains Adonis, away from distractions and prying eyes.
“As soon as we saw Front Street, Ryan said ‘This is it, this is where Rocky takes Adonis,’” Beachler relates. “And thanks to the history of it and the texture of it, we didn’t do much there. And another nice thing about it, it had never been shot before, so that was exciting. We created some extra posters to put up, but from the paint buckets hanging from the ceiling to catch water, to the way they had the speed bag tied to the side, and the heavy bags that were hanging from two-by-fours on an old chain… It immediately evoked a different type of workout.”
To clearly distinguish one gym from another, Beachler created three distinct color schemes for them. “Delphi is our red and black gym in L.A.; Mickey’s is gold and black; and Front Street is pretty much all red, white and blue,” she says. For a fourth gym, the Holiday Gym where “Pretty” Ricky Conlan trains in Liverpool, Beachler also used red, white and blue, “but, we have a huge Union Jack hanging in the back,” she points out.
Most of the Liverpool scenes were accomplished at locations in Chester, and Conlan’s gym, shot at Shuler Gym, was meant to echo the themes at Front Street. “We wanted to show that Adonis and Ricky were coming from a similar place, essentially, so those two gyms mirror each other in color, but otherwise they’re different.”
Harking back to the previous films, “We used Victor’s Café in South Philly for Adrian’s, which is what they used in ‘Rocky Balboa,’” she cites. Knowing Rocky himself wouldn’t have updated it much, neither did Beachler, apart from a few artistic touches here and there.
Temple University Music Hall was utilized for the Sporino fight, and for the Liverpool match between Adonis and Conlan, shooting took place at Sun Studios, south of Philadelphia, which was dressed as Goodison Park, home of the Everton Football Club. The scenes there incorporated as many as 1,000 extras and a massive green screen; the visual effects team would add the rest of the crowd in post. The pre-fight press conference was shot at the Elkins Estate in Elkins Park, and the locker room scenes that take place prior to the fight were filmed at the Philadelphia Union MLS soccer stadium.
For the film’s climactic fight, Conlan dons a pair of kilt-style trunks. While Bellew generally opts for basic boxing shorts, Coogler offers, “they both wear Tony’s favorite soccer team’s patch, Everton.”
Coogler and his costume designers Potter and Messam chose the kilt for the character because, as the director notes, “I knew Adonis would be in traditional trunks, so I wanted to make sure that Conlan’s were flamboyant in style. We looked at a lot of designs, and were inspired by Ricky Hatton and Adrien Broner, flashier boxers like the ones who will come out in a Spartan skirt look.”
While Adonis’s shorts were traditional, Jordan’s gloves were not quite so. “We had specially engineered gloves that were the same size as normal fight gloves, but made with a material that would give him a little more cushion,” Coogler reveals.
One of the director’s favorite aspects of shooting in the City of Brotherly Love was…the brotherly love. “I liked the vibe out there, it was very similar to Oakland, where people have a lot of pride in their sports teams, pride in where they’re from. The music culture out there is also very big, and we were able to bring that to life in the film through the character of Bianca, thanks to Tessa and our composer.”
Ludwig Goransson, who also worked with Coogler on his previous film, scored “Creed” and wrote several tracks for Thompson to perform in character. “Creating an EP for a fictional buzz-worthy artist is challenging, but knowing what Ryan had in mind for the character, Tessa and I were able to go into the studio as soon as she was cast,” he says. “We wrote and recorded about eight songs and Ryan chose his favorites for the movie. It was a very special experience for both Tessa and me because we could see and hear how Bianca came together through her music.”
The composer had a unique approach to build the score, too. “I always feel encouraged by Ryan to think outside of the box and create something that I really believe in. The first thing I did was record sounds from a boxer during his training routine, with the purpose of turning those sounds into musical elements as the basis for the score,” he explains. “After experimenting with those sounds, I rearranged one of the love themes I’d written and gave it a bigger, more aggressive, orchestral sound with a few modern elements and a strong melodic theme.”
Of course, the musical history of the “Rocky” films had to be addressed. “I studied Bill Conti’s score thoroughly and was inspired by the way he combined jazz and classical harmonies,” Goransson continues. “I didn’t intend to use any ‘Rocky’ music beyond just one climactic scene, but Ryan and I discussed how to score an older Rocky, and we came up with using Adrian’s love theme.”
Having spent so much of his life influenced by the ‘Rocky’ films, and determined to be a part of them, Coogler is thrilled to at long last bring this new chapter in the beloved series to the screen, and hopes that moviegoers will be as eager to see the story as he has been to tell it. “I’ve been a Rocky fan since as long as I can remember,” he says. “I know those movies like the back of my hand. I think we captured that spirit and also brought something new for fans to enjoy.”
Find something worth fighting for
ABOUT THE CAST
MICHAEL B. JORDAN (Adonis Johnson) is considered to be one of Hollywood’s brightest young actors. His performance as Oscar Grant in “Fruitvale Station,” directed by Ryan Coogler, earned him rave reviews. It premiered at the Sundance Film Festival, and won the Grand Jury Prize and Audience Award. The film also premiered at the Cannes Film Festival, where it won the award for Best First Film. At the 2014 NAACP Image Awards, the film received the award for Outstanding Independent Motion Picture. Additionally, Jordan received the Satellite Special Achievement Award for Breakthrough Performance, the Gotham Independent Film Award for Breakthrough Actor and the Santa Barbara International Film Festival Virtuoso Award for his role.
This summer, Jordan starred in “The Fantastic Four” as Johnny Storm, aka the Human Torch. He reteamed with his “Chronicle” director Josh Trank, with a cast that includes Miles Teller, Kate Mara and Jamie Bell. Jordan was also recently in Tom Gormican’s “That Awkward Moment,” opposite Zac Efron, Imogen Poots and Miles Teller.
In 2012, he starred in the box office hit “Chronicle,” a supernatural thriller that follows three Portland teens as they develop incredible powers after exposure to a mysterious substance. He also had a supporting role in George Lucas’ film “Redtails,” directed by Anthony Hemmingway, which is the story of the first African American pilots to fly in a combat squadron during WWII aka The Tuskegee Airmen.
Before beginning his feature film career, Jordan was best known for having starred in two of the most significant television dramas of the past decade. First, he received critical acclaim for his portrayal of the hard-shelled, softhearted young urbanite Wallace in HBO’s dramatic hit series “The Wire.” He then went on to star as the quarterback Vince Howard on the critically acclaimed, Emmy-winning series “Friday Night Lights” on NBC. He also portrayed recovering alcoholic Alex on the third season of NBC’s fan favorite series “Parenthood.”
Graced with the opportunity to begin a professional acting career early in his life, Jordan caught the eye of Dr. Bill Cosby and was cast in the recurring role of Michael for the CBS sitcom series “Cosby” in 1999. Almost simultaneously, he appeared on the HBO series “The Sopranos.” The following year, he was selected from hundreds of hopefuls to play Jamal in the feature film “Hardball,” starring Keanu Reeves.
In 2003, Jordan became the youngest African American actor to be contracted with the ABC network daytime drama series “All My Children,” in the role of Reggie, Susan Lucci’s adopted son. Jordan later moved to Los Angeles, where he soon landed a lead role in the independent film “Blackout,” starring Melvin Van Peebles, Jeffrey Wright and Zoe Saldana. In the fall of 2007, Jordan was cast in his first feature film, Rockmund Dunbar’s ensemble “Pastor Brown.”
He has had guest appearance roles for “CSI,” “Cold Case,” “Lie to Me,” “Without a Trace” and “Law & Order.” Jordan received NAACP Image Award nominations for Outstanding Male Actor in a Television Daytime Drama Series in 2005, 2006 and 2007. Originally from Newark, New Jersey, Jordan currently resides in Los Angeles and spends much of his spare time supporting the non-profit organization Lupus LA.
SYLVESTER STALLONE (Rocky Balboa/Producer) has established worldwide recognition as an actor, writer and director since he played the title role in his own screenplay of “Rocky,” which won the Academy Award for 1976’s Best Picture.
Since that seminal motion picture, “Rocky” grew to a franchise of five sequels and, in 2006, Stallone concluded the series with “Rocky Balboa,” a critical and audience success which resolutely confirmed both Stallone and Rocky as iconic cultural symbols. In addition, to commemorate a character which has become as real as any living person to film-going audiences around the world, a statue of Rocky Balboa was placed at the foot of the now-famous steps of the Philadelphia Art Museum at a dedication ceremony presided over by the Mayor.
In more recent times Stallone wrote, directed and starred in “Rambo,” which continued the saga of Vietnam vet John Rambo 25 years after the debut of “Rambo: First Blood.” For the latest installment, Stallone took the company on location to the inner jungles of Burma, basing the compelling story in a country where crimes against humanity, civil war and genocide have existed for over 60 years, and no one is doing anything about it.
Stallone then released his most ambitious project, the action thriller
“The Expendables,” which he wrote, directed and starred in, and for which he hired an all star cast, including Jason Statham, Mickey Rourke, Jet Li, Eric Roberts, Dolph Lungren and Steve Austin, Bruce Willis and Arnold Schwarzenegger, and which opened to number one at the box office, making him the only actor to open a number one film across five decades. Stallone took the company on location to the interior of Brazil and the city streets New Orleans, filming over just a few short months.
“The Expendables,” which he wrote, directed and starred in, and for which he hired an all star cast, including Jason Statham, Mickey Rourke, Jet Li, Eric Roberts, Dolph Lungren and Steve Austin, Bruce Willis and Arnold Schwarzenegger, and which opened to number one at the box office, making him the only actor to open a number one film across five decades. Stallone took the company on location to the interior of Brazil and the city streets New Orleans, filming over just a few short months.
Born in New York City, Stallone attended school in suburban Philadelphia, where he first started acting and also became a star football player. He then spent two years instructing at the American College of Switzerland in Geneva.
Returning to the United States, he enrolled as a drama major at the University of Miami and also began to write. Stallone left college to pursue an acting career in New York City, but the jobs did not come easily. By 1973, Stallone had auditioned for almost every casting agent in New York and had gone on thousands of acting calls, with little success.
During this period, he turned more and more to writing, churning out numerous screenplays while waiting for his acting break. The opportunity first came in 1974 when he was cast as one of the leads in “The Lords of Flatbush.”
He also received his first writing credit, for additional dialogue, on this film.
With the money earned from that film, Stallone left New York for Hollywood. He again began to make the rounds of studios and casting agents, managing to get a few small roles in television and movies. He also continued to pursue writing.
Prize fighter Rocky Balboa was born and given life in a script Stallone wrote in longhand. Several producers offered to buy the screenplay, wanting to cast a name star in the title role, which Stallone insisted on playing himself.
Although his bank balance was barely $100, Stallone held fast, with his perseverance finally paying off in a big way.
In addition to “Rocky Balboa” and “Rambo,” Stallone’s credits as actor/writer/director are “Rocky II” and “Paradise Alley.” As actor and co-writer, Stallone filmed “F.I.S.T.,” “First Blood,” “Rambo: First Blood Part II,” “Rhinestone” and “Rambo III.” He co-wrote, directed and produced “Staying Alive” and starred in “Nighthawks,” “Victory,” “Tango & Cash” and “Lock Up.” “Rocky V,” starring and written by Stallone and directed by John Avildsen, opened in 1990.
He also starred in “Demolition Man,” which set box-office records for its Fall 1993 release, and in the films “The Specialist,” “Assassins” and “Daylight.”
Stallone starred in the challenging and unique role of Freddy Heflin in the feature film “Copland,” which has garnered him further international critical and audience acclaim.
He had the starring role in “Get Carter,” co-starring Michael Caine, which opened in the Fall of 2000. Stallone wrote and starred in the number one box office race car thriller “Driven,” co-starring Burt Reynolds and Christian de la Fuente. In addition, he filmed “Avenging Angelo,” co-starring Madeline Stowe. He also starred in the role of The Toymaker for director Robert Rodriguez in the hit film “Spy Kids 3,” the final installment of that successful film franchise.
He was associated with “The Contender,” a powerful and action-packed unscripted series which aired on the NBC Television Network and then ESPN.
In 2002 Stallone was honored by the Video Dealers Software Association when he was presented with the Action Star of the Millennium Award at the organization’s 21st Annual Convention.
In addition, Stallone’s influence and appreciation are acknowledged worldwide. In 2008, the Zurich Film Festival presented him with the festival’s Inaugural Golden Icon Award, which recognized his achievements as a great American Actor and Filmmaker, and in 2009, the Venice Film Festival honored Stallone with its Glory to the Filmmaker Award.
For the release of “The Expendables,” Stallone was honored at the Spike TV’s Guy’s Choice Awards with the coveted GuyCon Award, presented by Governor Arnold Schwarzenegger. He was also feted at the 2010 Los Angeles Film Festival as the event’s Honored Guest and received the Visionary Award at the Hollywood Reporter Key Arts 2010 Event. At the 2010 Comic-Con Convention, he was the first inductee into the IGN Action Hero Hall of Fame.
“The Expendables 2,” the highly anticipated sequel, opened to number one at the box office. Shot on location in Bulgaria, Stallone wrote and starred in the film, along with Arnold Schwarzenegger, Bruce Willis Jason Statham and the original “Expendables” cast. Liam Hemsworth, Jean-Claude Van Damme and Chuck Norris also starred.
Stallone appeared in “Bullet To the Head,” for director Walter Hill and producer Joel Silver; “Escape Plan,” co-starring with Arnold Schwarzenegger; and with Robert De Niro in the feature “Grudge Match.” He starred in “Expendables 3” with many of the original cast and the additions of Mel Gibson, Harrison Ford and Antonio Banderas. The film was also shot on location in Bulgaria.
In March, 2014 “Rocky the Musical” opened at The Winter Garden on Broadway. The musical was based on the original film written by Stallone, with music by Stephen Flaherty and lyrics by Lynn Ahrens, and earned a Best Actor Tony Award nomination for the play’s star, Andy Karl.
In addition to his extensive film career, Stallone is an accomplished artist, completing paintings on canvas as well as sculpture work. He has had impressive exhibitions at Art Basil, The Russian State Museum and, most recently, at the Nice Museum of Contemporary Art in France.
TESSA THOMPSON (Bianca) has a longstanding career which reached special prominence with her most recent role as civil rights activist Diane Nash in the Brad Pitt/Oprah Winfreyproduced film “Selma.” After its initial premiere at the American Film Institute Festival on November 11, 2014, the film had a wider theatrical release on January 9, 2015, and a commemorative rerelease on March 20, 2015, in honor of the 50th anniversary of the historical march. It garnered nominations for Best Picture and awards for Best Original Song at both the Golden Globe and Academy Awards, and additional Best Director and Best Actor nominations at the Golden Globes.
In the spring, Thompson will make her off-Broadway debut in the Second Stage Theater production of Lydia R. Diamond’s “Smart People,” appearing alongside a case that also includes Joshua Jackson, Mahershala Ali and Anne Son, for director Kenny Leon. “Smart People” begins previews January 26, 2016, ahead of a February 11, 2016 opening.
Most recently, Thompson joined the cast of HBO’s upcoming drama series “Westworld.” Described as a dark odyssey about the dawn of artificial consciousness and the future of sin, “Westworld,” from Jonathan Nolan and J.J. Abrams, is inspired by the 1973 feature from writer-director Michael Crichton. Thompson will play Charlotte Hale, a mysterious and savvy provocateur with a unique perspective. She joins Anthony Hopkins, Ed Harris, Evan Rachel Wood, James Marsden, Thandie Newton and Jeffrey Wright. The series is slated to debut in 2016.
Thompson recently wrapped filming the new action comedy “War on Everyone,” about two corrupt cops in New Mexico who set out to blackmail and frame every criminal unfortunate enough to cross their path. Theo James, Alexander Skarsgård and Michael Peña also star, for director John Michael McDonagh.
Thompson also starred in the critically acclaimed 2014 film “Dear White People.” The Justin Simien independent satirical drama, which followed the lives of various black students at an American university, hit theaters on October 17, 2014, after its debut at the 2014 Sundance Film Festival. Thompson’s performance as Samantha White landed her a Gotham Award for Breakthrough Actor as well as a nomination for Outstanding Actress in a Motion Picture for the 46th Annual NAACP Image Awards.
In 2010, Thompson starred as Nyla/Purple in Tyler Perry’s film “For Colored Girls,” alongside an ensemble cast of co-stars, including Hollywood heavyweights Janet Jackson, Whoopi Goldberg, Phylicia Rashad and Kerry Washington. The film portrayed a series of African-American women, each of whom dealt with their own personal struggles and conflicts such as love, abandonment, rape, infidelity and abortion.
Thompson started her career at the young age of 18, with her professional debut playing Juliet in “Romeo and Juliet: Antebellum New Orleans 1836,” for which she received an NAACP Image Award nomination. She then went on to her first feature film appearance as Scarlet in the 2006 remake of the horror film “When a Stranger Calls.” Between 2008 and 2009, she also appeared in the films “Make it Happen,” “The Human Contract,” “Periphery,” “Red & Blue Marbles,” and “Mississippi Damned,” for which she was awarded a Grand Jury prize for Best Actress at the American Black Film Festival.
On top of these early theater and film features, Thompson’s career has also extended into the television arena. She is best known for her role as series regular Jackie Cook on the second season of the hit CW teen noir drama “Veronica Mars.” Thompson also starred as Sara Freeman on BBC’s first original scripted program, “Copper,” from 2012 to 2013. The show followed an Irish immigrant police officer in 1860s New York City, and explored the effects of the American Civil War and the social stratification between New York’s aristocracy and the African American population.
Thompson’s other television credits include guest roles as Rebecca Taylor on the fourth season of the CW’s hit sci-fi drama “Heroes”; Billie Ducette in CBS’s police series “Cold Case”; Camille on ABC’s medical series “Grey’s Anatomy”; and Nikki Barnes on the CW’s teen drama “Hidden Palms.” She has also appeared as a guest star in shows such as “Life,” “Private Practice,” “Detroit 187,” “Rizzoli & Isles,” “Off the Map” and “666 Park Avenue.”
Thompson currently resides in Los Angeles, California.
PHYLICIA RASHAD (Mary Anne Creed), whether she is bringing laughter to millions of television viewers around the world, moving theatre-goers to tears, thrilling movie fans, offering new insights to students by teaching Master Classes at renowned learning institutions that include Howard University, Julliard, and Carnegie Mellon, serving on Boards of prestigious organizations, or breaking new ground as a director, is one of the entertainment world’s most extraordinary performing artists.
A native of Houston, Texas, Rashad graduated Magna Cum Laude from Howard University. A versatile performer, she became a household name when she portrayed Claire Huxtable on “The Cosby Show,” a character whose appeal has earned her numerous honors and awards for over two decades. She teamed up with Bill Cosby in later years on television as Ruth Lucas on “Cosby.”
While television was a catalyst in the rise of Rashad’s career, she has also been a force on the stage, appearing both on and off Broadway, often in projects that showcase her musical talent, such as “Jelly’s Last Jam,” “Into the Woods,” “Dreamgirls” and “The Wiz.” As a dramatic actress, Rashad has performed on Broadway as Violet Weston in “August Osage County,” Big Mama in Tennessee Williams’ “Cat on a Hot Tin Roof” ( a role that she reprised on the London Stage), Aunt Ester in August Wilson’s “Gem of the Ocean” (Tony Award nomination), and Queen Britannia in Shakespeare’s “Cymbeline” at Lincoln Center. Ms. Rashad received both the Drama Desk and the Tony Award for Best Actress in a Play for her riveting performance as Lena Younger in the Broadway revival of Lorraine Hansberry’s “A Raisin in the Sun.” She appeared in Tyler Perry’s “Good Deeds,” and starred in Perry’s highly acclaimed film version of Ntozake Shange’s “For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf.”
Rashad made her directorial debut at the Seattle Repertory Theater with August Wilson’s “Gem of the Ocean.” Critics gave her first foray into the directing world rave reviews. Of her work at the helm of the Ebony Repertory Theatre’s production of “A Raisin in the Sun” in the Spring of 2011, the Los Angeles Times hailed Rashad’s California directing debut. She remounted the production at the Kirk Douglas Theatre in Los Angeles and at the Westport County Playhouse in Westport, Connecticut. Rashad has also directed August Wilson’s “Joe Turner’s Come and Gone” at the Mark Taper Forum in Los Angeles (2014 NAACP Theatre Award for Best Director), and “Fences” at the Longwharf Theatre and the McCarter Theatre. In 2015, she returned to the Mark Taper Forum to direct Paul Oakley Stovall’s “Immediate Family”
Respected in the academic world, Rashad is the first recipient of the Denzel Washington Chair in Theatre at Fordham University. She received an Honorary Doctorate from Spelman College, where First Lady Michelle Obama delivered the 2011 commencement address. Rashad recently conducted Master Classes at the prestigious Ten Chimneys Foundation for the 2015 Lunt Fontanne Fellows. Rashad also holds Honorary Doctorates from Fordham University, Carnegie Mellon University, Howard University, Providence College, Morris Brown College, Clark Atlanta University, Barber Scotia College, St. Augustine College and Brown University.
In 2015, Rashad received the BET Honors Theatrical Arts Award, Chicago Shakespeare Theatre’s Spirit of Shakespeare Award, and the inaugural Legacy Award of the Ruben Santiago Hudson Fine Arts Learning Center. Among the other awards that decorate her walls and shelves are the 2014 Mosaic Woman Legend Award of Diversity Woman Magazine, the Texas Medal of Arts, the National Council of Negro Women’s Dorothy L. Height Dreammaker Award, AFTRA’s AMEE Award for Excellence in Entertainment, the Board of Directors of New York Women In Film and Television’s Muse Award for Outstanding Vision and Achievement, Dallas Women In Film Topaz Award, Peoples’ Choice Awards, several NAACP Image Awards, and the Pan African Film Festival’s Lifetime Achievement Award.
Rashad serves on the Advisory Board of the PRASAD Project and the Board of Directors of True Colors Theatre, the Broadway Inspirational Voices, The Actors Center, the Center for African American Studies at Princeton University, and the ADEPT Center, which is steering the restoration of the historic Brainerd Institute.
Rashad is also the mother of two adult children.
ANTHONY BELLEW (Ricky Conlan) is a British actor and professional boxer who fights at cruiserweight. He is a former Commonwealth and WBC International light heavyweight champion, as well as a world title challenger. As an amateur, Bellew is a three-time former ABA heavyweight champion.
GRAHAM McTAVISH (Tommy Holiday) could last be seen on the big screen as Dwalin, the brave warrior dwarf, in the final “Hobbit” installment, “The Hobbit: The Battle of the Five Armies,” reprising his role from “The Hobbit: An Unexpected Journey,” and “The Hobbit: The Desolation of Smaug.” McTavish can also be seen in the Starz series “Outlander,” playing the role of Dougal, a Machiavellian Highland Scotsman in the 18th Century.
McTavish recently finished filming the feature film “The Finest Hours,” alongside Chris Pine, Eric Bana and Casey Affleck, in Boston. The story recounts the daring rescue attempt made by the Coast Guard off the coast of Cape Cod, after a pair of oil tankers was destroyed during a blizzard in 1952.
He began his career in London, appearing in such diverse projects as the cult hit “Red Dwarf,” Brian Blessed’s “King Lear,” and the miniseries “Empire.” At the same time, McTavish appeared in leading roles in prestigious UK theatres, including the Royal Court and the National Theatres in London and the Royal Lyceum in Edinburgh.
One week after arriving in Los Angeles, McTavish landed a leading role in “Rambo.” Since then, he has worked nonstop in a diverse array of roles on television and film, including the nefarious Russian Diplomat Mikhail Novakovich on the final season of “24”; Earl Jansen in “Secretariat,” with Diane Lane; in “Middle Men,” with James Caan and Giovanni Ribisi; and in the Olivier Megaton feature “Columbiana,” opposite Zoe Saldana.
McTavish also developed quite a fan base with his voice performance as Dante Aligheri in the animated film and video game of “Dante’s Inferno,” and has provided the voice of Loki for the TV series “Wolverine and the X-Men,” “Hulk Vs. Thor,” and “The Avengers: Earth’s Mightiest Heroes.”
ABOUT THE FILMMAKERS
RYAN COOGLER (Director/Screenwriter) is a filmmaker from the East Bay Area, California. In 2011 his student short film “Fig,” which followed a young street prostitute’s fight to keep her daughter safe, won the Director’s Guild of America Student Filmmaker Award, as well as the 2011 HBO Short Filmmaker Award. “Fig” was broadcast on HBO.
His feature length screenplay “Fruitvale,” based on the 2009 BART police shooting of Oscar Grant, was selected for the 2012 Sundance January Screenwriter’s Lab. In 2013, he directed his own screenplay in the newly titled, critically acclaimed film, “Fruitvale Station.”
Coogler still lives in the Bay Area where in addition to making films, he works as a counselor at Juvenile Hall in San Francisco. He earned his MFA in Film and Television Production at the University of Southern California in May 2011.
AARON COVINGTON (Screenwriter) is a writer/comedian from Michigan City, Indiana. He majored in mass communications at Ohio State University, and held internships in broadcasting and local film productions. But it was his father’s eclectic taste in movies and his mother’s love of TV sitcoms that led him to the University of Southern California’s graduate film program, where he first met and partnered with Ryan Coogler. “Creed” is Covington’s first produced screenplay.
KEVIN KING-TEMPLETON (Producer) has been associated with Rogue Marble Productions, the production company of writer, director and actor Sylvester Stallone, for the past two decades. During his tenure he has found his forte in the action genre, producing projects with a global reach, from the remote jungles of Brazil and Thailand to the most cosmopolitan of cities. In addition to Stallone, King-Templeton has worked with acclaimed acting icons Robert De Niro, Arnold Schwarzenegger, Jason Statham, James Franco, Harrison Ford, Mel Gibson, Bruce Willis, Winona Ryder, Kate Bosworth, Wesley Snipes, Antonio Banderas, Harvey Keitel, Mickey Rourke, Michael Caine and Anthony Quinn, among others.
The films that the British-born King-Templeton have been involved with have showcased some of the most ambitious action sequences in motion picture history, including those for the number one box office hits “The Expendables,” “The Expendables 2” and “The Expendables 3.” He also produced “Inferno: The Making of the Expendables,” an independent documentary which gives audiences an unvarnished look deep inside the filmmaking process of “The Expendables.”
In addition to “Homefront,” King-Templeton also recently produced “Escape Plan,” starring Stallone and Schwarzenegger, and “Bullet to the Head,” director Walter Hill’s first theatrical feature in a decade. Previously, he produced the latest installment of “Rambo,” shot in the remote inner jungles of Burma, which continued the saga of the heroic Vietnam Vet John Rambo; and “Rocky Balboa” a critical and audience success, which definitively confirmed both Sylvester Stallone and “Rocky” as iconic cultural symbols.
Additionally, King-Templeton produced “Avenging Angelo” and “Driven,” and he also served as associate producer on “Get Carter,” and on the critically acclaimed “Cop Land” for director James Mangold. For television, he developed and produced a pilot for the CBS Network entitled “Father Lefty.” For the stage, King Templeton executive produced the Broadway production “Rocky the Musical,” based on the original 1976 Academy Award-winning motion picture, featuring music by Stephen Flaherty and Lyrics by Lynn Ahrens.
IRWIN WINKLER (Producer) has a career as a producer, director and writer that encompasses popular and influential movies that have impacted contemporary culture. With a passion for big, bold, meaningful stories, his films include an array of true screen classics, garnering among them 12 Academy Awards and 50 Oscar nominations.
Winkler’s most recently produced film “Silence” saw the continuation of his legendary collaboration with Martin Scorsese. “Silence” was directed by Scorsese, with a screenplay by Jay Cocks, based on the book by Shusaku Endo and starring Andrew Garfield, Liam Neeson and Adam Driver; it is slated for release November 2016.
In 2013, Winkler produced the Academy Award- and Golden Globe-nominated “The Wolf of Wall Street,” directed by Martin Scorsese and starring Leonardo DiCaprio, which illustrated his continual presence as one of Hollywood’s most prolific producers making an indelible impact with his ability to showcase emotional storytelling with hard-hitting relevance.
Among Winkler’s multiple nominations include five Best Picture nominations, each for a pioneering film: the tale of underdog sports triumph, “Rocky,” which forged one of most globally recognizable movie characters and themes in history; “Raging Bull,” which turned the biopic into a gritty, lyrical work of art; the history-capturing look at the U.S. space program, “The Right Stuff”; the iconic gangster tale, “Goodfellas”; and the recent “The Wolf of Wall Street.” Winkler is the only producer honored with three films on the American Film Institute’s list of the Top 100 Films.
For Winkler, success has come from his constant instinctual draw to fresh, current, even controversial subjects and visionary talents. As a storyteller he has been fascinated by both the dangers of corruption and the beauty of courage and compassion. Winkler first made a resounding impact producing a series of raw, edgy human dramas that helped to define the gritty landscape of `70s and `80s cinema. These include the fiercely original “They Shoot Horses, Don’t They?,” about the desperate contenders in a Depression-era dance contest, starring Jane Fonda and Michael Sarrazin, which would seal Winkler’s reputation with nine Academy Award nominations and status as a Hollywood classic.
Other highlights from his Gotham period include “New York, New York,” starring Liza Minnelli and Robert De Niro, which produced one of the most recognizable songs in pop culture; the enduring masterpiece, “Raging Bull,” considered by many to be among the great cinematic works of the 20th Century, highlighted by DeNiro’s Oscar-winning performance; and “Goodfellas,” which was honored with numerous critics awards and has become etched in filmgoers’ consciousnesses as the paragon of the American crime drama. In that era, Winkler also produced the Mafia comedy “The Gang That Couldn’t Shoot Straight”; the timely comedy “Up the Sandbox,” starring Barbra Streisand; “The Gambler,” a penetrating look at gambling addiction starring James Caan; the stirring modern Western “Comes a Horseman,” teaming Caan with Jane Fonda; the atmospheric period mystery “True Confessions,” written by Joan Didion and John Dunne and starring Robert De Niro and Robert Duvall; the critically acclaimed suspense thriller about a woman who discovers her father is an accused Nazi war criminal, “Music Box,” which earned an Oscar nomination for star Jessica Lange; and the homage to the Jazz Era, “‘Round Midnight.”
In 1989, Winkler made an auspicious directorial debut from his own potent screenplay, “Guilty by Suspicion,” which brought to the fore a fictional tale about Hollywood’s all-too-real blacklisting era. Starring Robert De Niro as a prominent director asked to “name names” and Annette Bening as his wife, the film presaged a writing and directing career that would, like Winkler’s producing career, be focused on taut human drama and politically charged themes, and debuted in the Cannes Film Festival.
Winkler’s next directorial outing reunited him with both Robert De Niro and Jessica Lange in a stylish update of the noir crime drama “Night and the City,” which would close the prestigious New York Film Festival in 1992 and become a rousing critical success. He went on to direct and produce “At First Sight,” a romantic drama based on a true story by Dr. Oliver Sacks, starring Val Kilmer, Mira Sorvino, Nathan Lane, Steven Weber and Kelly McGillis; and the prescient cyber-crime thriller “The Net,” starring Sandra Bullock, one of the big box office hits of 1995.
Winkler’s directorial career would continue to take intriguing turns. He broached the thought-provoking question of what happens when a man suddenly faces his own mortality in the poignantly complex “Life as a House,” featuring a landmark performance by Kevin Kline and a cast that included Kristin Scott Thomas and Mary Steenburgen, as well as rising young stars Hayden Christensen and Jena Malone. Radically switching gears, Winkler next directed one of his most distinctive features, an enchanting and elegantly stylish musical biography of the legendary composer Cole Porter: “De-Lovely.” Featuring colorful, Golden Globe-nominated performances from Kevin Kline and Ashley Judd, as well as knock-out performances from some of today’s hottest pop and rock music talents, including Sheryl Crow, Alanis Morissette, Elvis Costello, Robbie Williams, Natalie Cole and Diana Krall, all performing Porter’s classic songs, the film was selected as the closing night gala event at the 2004 Cannes Film Festival.
Winkler became one of the very first American filmmakers to turn his camera on an issue currently of vital significance—the return of U.S. veterans from the war in Iraq—when he directed and produced the provocative drama “Home of the Brave,” starring Samuel L. Jackson, Curtis “50 Cent” Jackson, Jessica Biel and Brian Presley. Winkler also recently co-produced “The Gambler,” written by William Monahan and starring Mark Wahlberg, John Goodman and Jessica Lange.
Winker’s motion picture producing career began in the late 1960s, when he left his successful management company behind. His made his first film, the Elvis Presley movie “Double Trouble,” with the legendary director Norman Taurog. Soon after, he entered into a legendary partnership with Robert Chartoff, producing such films as the classic revenge thriller “Point Blank.” In 1970, an eclectic trio of Winkler/Chartoff films each made a splash at the Cannes Film Festival: “Leo the Last” won the Best Director prize; the counter-culture cult film “The Strawberry Statement” received the Jury Award; and “They Shoot Horses, Don’t They?” garnered the closing night honors.
For his enormous contributions to the popular culture, Winkler has been the proud recipient of numerous American and international honors, including the Commandeur des Arts et Lettres, the French government’s highest decoration for contribution to the arts. In 1989, the British Film Institute saluted him with a retrospective of his work and in 1995 Winkler became the first producer to be honored with a showcase screening of ten of his films at the Deauville Film Festival. He has also received a Lifetime Achievement award from the Chicago Film Festival, a star on the Hollywood Boulevard Walk of Fame and retrospectives at the Museum of Modern Art in New York and the Los Angeles County Museum of Art, which had not honored a producer since their tribute to David O. Selznick in 1980. Winkler also received the National Board of Review’s highest honor for Career Achievement in Producing, which Kevin Kline presented to him at their annual gala in January 2007 in New York. Winkler was named president of the jury for the Tribeca film festival in 2012. He has recently served on the board of the New York City Ballet and is currently serving on the Los Angeles Philharmonic Board of Directors.
ROBERT CHARTOFF (Producer) was, by anyone’s standards, one of the finest and most productive producers working in the film industry. His long association with Irwin Winkler led to such films as “Raging Bull”—which many critics have called director Martin Scorsese’s finest film and perhaps the best film of the 1980s—and “The Right Stuff,” the haunting adaptation of Tom Wolfe’s book about the development of the space program, from highspeed test pilots to the men of the Mercury program.
It was with “Rocky” in 1976 that Chartoff and Winkler got the Oscar gold. They went on to produce all the “Rocky” movies, but with the success of that series and Sylvester Stallone’s subsequent career, people forget that the producers really went out on a limb by buying Stallone’s script, working with him on developing it further and, incredibly enough, casting the writer in the lead!
Chartoff was a producer who believed in trusting and developing other people’s talents. He had enormous respect for the writer, and cared more about the quality of the film than about satisfying whatever “rule” Hollywood wisdom of the day says that films must obey. There were no stars in “Rocky,” the film made stars out of the actors who were in it! The Right Stuff was an episodic book, jumping from the story of Chuck Yeager to the stories of the astronauts; conventional wisdom says that’s a deadly mistake in a movie. But by staying with that aspect of the book, “The Right Stuff” managed to do what very few movies ever do: it captured the sweep of time, the passage of generations, and as a result it has grandeur that keeps it as one of the classic films that people watch again and again.
Chartoff and Winkler made an early splash in their producing career in 1970 when three of their films debuted at the Cannes film festival. “Leo the Last” won the Best Director prize for John Boorman; the counter culture film “The Strawberry Statement” received the Jury Award; and “They Shoot Horses, Don’t They?” was the Closing Night Gala.
Chartoff-Winkler’s dozens of films include such classics as John Boorman’s revenge thriller “Point Blank”; “New York, New York,” directed by Martin Scorsese; “The Gambler” with James Caan; “The New Centurions,” starring George C. Scott; “True Confessions,” starring Robert DeNiro and Robert Duvall; and many others.
Chartoff produced another John Boorman-directed film in 2004, “In My Country,” starring Juliette Binoche and Samuel L. Jackson. The film received the Diamond Cinema for Peace Award at the Berlin Film Festival, as well as the Common Ground Award for Film, in honor of its depiction of the Truth and Reconciliation Commission of South Africa. Upon viewing the film, Nelson Mandela thanked the filmmakers for their “gift to the South African people.” Chartoff also produced Julie Taymor’s “The Tempest,” starring Helen Mirren, Russell Brand and Felicity Jones. “The Tempest” was honored as the Closing Night Film of the Venice Film Festival and as the Centerpiece Selection of the New York Film Festival. Chartoff also executive produced a film version of Taymor’s highly acclaimed stage production of “A Midsummer Night’s Dream.”
More recently, Chartoff and Winkler produced a remake of “The Gambler,” starring Mark Wahlberg and Jessica Lange. Chartoff also produced “Ender’s Game,” starring Harrison Ford, Asa Butterfield and Ben Kingsley, which debuted at number one in North America.
Although Chartoff is one of the highest grossing producers of all time, it was equally important to him that his films reflect issues of social and cultural significance. Among his many philanthropic activities, he has a lifelong passion for the protection and nurturing of children. In 1990, he founded, and continued to solely support, the Jennifer School in Bodh Gaya, India, educating thousands of disadvantaged children.
CHARLES WINKLER (Producer) is the son of producer/director Irwin Winkler. He was raised in Los Angeles and from an early age expressed a desire to be a filmmaker.
Winkler spent many years working in low-level assistant positions on such films as “Raging Bull,” “Rocky II” and “New York, New York,” learning the craft of movie making. After making a series of short narrative films and documentaries in his early 20s, he wrote and directed his first feature film, “You Talkin' To Me?,” in 1987. Two years later he co-wrote and directed the feature “Disturbed,” starring Malcolm McDowell. From then on, he alternated writing and directing features and telepics with episodic television directing assignments, including work on such shows as “Beggars and Choosers,” “Baywatch,” “The Chris Isaak Show,” “The Outer Limits,” and many others.
In 1996, Winkler wrote and directed the AIDS action-comedy “Red Ribbon Blues,” with RuPaul, Lypsynka and Debi Mazar, which was invited to over 40 film festivals around the world. In 1998, he co-wrote and directed the award-winning television docudrama “Rocky Marciano,” starring Jon Favreau and George C. Scott in one of his last roles. In 2000, he directed the musical television movie “At Any Cost,” for VH1. During 2003, he produced and directed the second unit for his father’s Cole Porter biopic “De-Lovely,” starring Kevin Kline and Ashley Judd.
Winkler then directed the award-winning “Shackles,” in 2004. This highly stylized and award-winning high school prison drama, starring D.L. Hughley in his first dramatic role, has been utilized in various Safe Streets and youth diversion programs around the country.
In 2005, he traveled to Istanbul, Turkey, to direct “The Net 2.0,” which was the first American movie to be shot completely in-country with an all-Turkish crew. 2006 saw the revival of “Rocky Balboa,” starring Sylvester Stallone, on which Winkler was a producer and the second unit director. He also preformed the same duties on Irwin’s directorial effort, the Iraq war drama “Home of The Brave,” starring Sam Jackson, Curtis “50-Cent” Jackson and Jessica Biel.
In 2009, he directed “Streets of Blood.” Set in New Orleans in the wake of Katrina, the film centers around Detective Andy Devereaux, played by Val Kilmer, who sets out to investigate the murder of his partner, brutally shot to death during the hurricane. Joined by his new partner Stan (50 Cent), Andy’s journey leads him into the dark and vicious world of police corruption. Counseled by police psychologist Dr. Nina, Andy strips away at these layers of corruption while attempting to remain clean himself, even as those in his very department conspire against him. Ultimately, “Streets of Blood” is a story of one man’s search for justice in a place where lawlessness and brutality reign.
DAVID WINKLER (Producer) is a producer, director and writer who began his film career writing screenplays for Sony Pictures, Universal Pictures, Imagine Entertainment and RKO Films. His feature directorial debut was “Finding Graceland,” starring Harvey Keitel and Bridget Fonda.
Winkler has produced the following films: “Rocky Balboa,” in 2006, starring Sylvester Stallone; the 2011 remake of “The Mechanic,” starring Jason Statham; and “The Gambler,” starring Mark Wahlberg, Jessica Lange and John Goodman.
In 2015, he produced “Mechanic: Resurrection,” which is scheduled for release in 2016.
WILLIAM CHARTOFF (Producer) has worked in the feature film industry since he was 15 years old. In 2010, he produced a remake of the 1972 Charles Bronson classic “The Mechanic,” this time starring Jason Statham, Ben Foster and Donald Sutherland. The film received a U.S. theatrical release in January 2011. A sequel to that film, “The Mechanic II: Resurrection,” also produced by Chartoff, is scheduled for release in 2016.
Chartoff also produced “Rocky Balboa,” starring Sylvester Stallone. The film received excellent critical reviews and was a box office success.
Chartoff holds a BFA from New York University Film School and an MFA in film directing from The American Film Institute in Hollywood, California. While at NYU and AFI, he wrote and directed several award-winning films, including “Morris,” “Duet,” “You Bet Your Life” and the multiple award-winning “Colored Balloons.”
Chartoff has worked in feature film production and as an assistant director on such major motion pictures as Martin Scorsese’s “Raging Bull,” Costa-Gavras’ “Music Box,” Sylvester Stallone’s “Rocky IV,” Walter Hill’s “Extreme Prejudice,” Irwin Winkler’s “Guilty by Suspicion,” and John Boorman’s “In My Country” (aka “Country of My Skull”). Further, he has worked on two Academy Award-winning editing staffs: “Raging Bull” and Phil Kaufman’s “The Right Stuff.”
Chartoff’s screenwriting efforts include “Foreign Affairs,” “The Day They Stole the Mona Lisa,” “Killing the Second Dog” and “Chasing the Dragon.”
NICOLAS STERN (Executive Producer) has, over the last decade, worked his way up through the ranks in film production, from serving as production coordinator on such films as “Training Day” and “Starsky & Hutch,” to co-producer on “Obsessed,” “Death at a Funeral,” “Priest” and “Friends with Benefits.” He has executive produced “Warm Bodies,” “Escape Plan,” “Ride Along” and “Ride Along 2.” His other credits include co-producer on “Takers” and production supervisor on “Prom Night,” “Vacancy,” “The Holiday” and “North Country.”
A native of Los Angeles, Stern is the son of British-born, Oscar-nominated actress Samantha Eggar and American producer Tom Stern. He and his wife, screenwriter Mindy Stern, live in Studio City, California with their two children.
MARYSE ALBERTI (Director of Photography) is a multi-award-winning French cinematographer and artist, whose work is lauded for its technical elegance, grit and beauty. She is one of the most notable female cinematographers in the United States.
Most recently, Alberti lensed M. Night Shyamalan’s film “The Visit,” which opened in theaters this fall, followed by “Freeheld,” starring Julianne Moore, Ellen Page and Steve Carell, which also premiered at the Toronto International Film Festival (TIFF).
Her credits include such lauded political films as director Amy Berg’s exploration of the infamous West Memphis Three, “West of Memphis,” and “Stone,” starring Robert De Niro and Edward Norton. In 2008, she received a Best Cinematography Independent Spirit Award for her work on the Oscar-nominated, Darren Aronofsky-directed film “The Wrestler.” She also received plaudits for director Todd Haynes’ “Poison” and “Velvet Goldmine” (Independent Spirit Award for Best Cinematography), and the hard-hitting drama “Happiness” for indie provocateur Todd Solondz.
She has lensed acclaimed documentaries with her long-time collaborator Alex Gibney: “The Armstrong Lie”; “We Steal Secrets”; “History of the Eagles Part One”; “Client 9: The Rise and Fall of Eliot Spitzer”; “Casino Jack and the United States of Money”; “Gonzo: The Life and Work of Dr. Hunter S. Thompson”; the 2008 Best Documentary Academy Award winner “Taxi to the Dark Side”; and “Enron: The Smartest Guys in the Room” (2006 Best Documentary Academy Award nomination).
In 2006, Alberti received the prestigious Kodak Vision Award and an Emmy Award nomination for Outstanding Cinematography on HBO’s “ALL ABOARD! Rosie’s Family Cruise.” She earned an Independent Spirit Awards nomination for Best Cinematography in 2004 for her work on “We Don’t Live Here Anymore,” directed by John Curran. Her other awards include Sundance Film Festival Best Cinematography honors for documentaries “CRUMB,” in 1995, and “H-2 Worker.”
Alberti arrived in New York in the mid-70s and, after working as an au pair, took a job as a stills photographer on porn sets. Before long, artists including Lou Reed, Iggy Pop and Frank Zappa filled her viewfinder as she became an in-demand pop culture photographer. She continues to make highly personal art in the form of photographs and videos, which have been exhibited in both New York and Los Angeles galleries.
HANNAH BEACHLER (Production Designer) is a prolific production designer with an affinity for realistic design that emphasizes emotional drama. Last year alone, Beachler wrapped production design work on three films: Don Cheadle’s Miles Davis biopic “Miles Ahead,” which closed the 2015 New York Film Festival, starring Cheadle as Davis alongside co-stars Ewan McGregor and Emayatzy Corinealdi; the Darren Aronofsky-produced “Zipper,” which premiered at the 2015 Sundance Film Festival and opened in theaters this summer, starring Patrick Wilson and Lena Headey; and Ryan Murphy and Jason Blum’s horror remake of “The Town that Dreaded Sundown,” which was released in October 2014.
Beachler designed the sets for her “Creed” director Ryan Coogler’s “Fruitvale Station,” 2013's Sundance Film Festival breakout, which won both the Grand Jury and Audience Prize. “Fruitvale Station” went on to take home the Prix de l’avenir (Prize of the Future) in the Un Certain Regard competition at the 2013 Cannes Film Festival, and Best First Film at the 2014 Independent Spirit Awards, as well as 44 other nominations and awards.
She also provided production design expertise on “Hateship Loveship,” starring Kristen Wiig and Guy Pearce, which opened in April, following its 2013 Toronto Film Festival premiere, and the thriller “Samuel Bleak,” directed by Dustin Dugas Schuetter.
In 2011, Beachler saw the release of no less than eight features, including After Dark Originals “Husk,” “Seconds Apart,” “Fertile Ground” and “Scream of the Banshee,” as well as “Quarantine 2: Terminal” and “Worst. Prom. Ever.”
Beachler has worked with high profile directors, including Renny Harlin, Peter Hyams and Gabriele Muccino, and directors of photography Vilmos Zsigmond, Dean Cundey, Roberto Schaeffer, Michael Goi and Peter Menzies Jr.
MICHAEL SHAWVER (Editor) is originally from Rhode Island. He developed an early working relationship with director Ryan Coogler during their time together at the University of Southern California School of Cinematic Arts.
Shawver initially edited Coogler’s short film, “Fig,” and later went on to cut his feature debut, “Fruitvale Station,” which premiered at the 2013 Sundance Film Festival. The film garnered two of Sundance’s top prizes, the Audience Award and the Grand Jury Prize, and went on to receive numerous awards and nominations at film festivals worldwide.
Shawver went on to edit “Grass Stains,” a debut feature film by director Kyle Wilamowski; “Warren,” by director Alex Beh; “Tell,” for director J.M.R. Luna; and “Fourth Man Out,” for Andrew Nackman.
CLAUDIA CASTELLO (Editor) was born in Rio de Janeiro, Brazil, and has lived in the US for the past 14 years. She was a bodyboarding champion and a samba dancer who turned to studying journalism.
Her passion for documentaries led her to her first feature film as an editor, “The Achievers, The Story of The Big Lebowski Fans,” which made her eager to know more about filmmaking. She earned her M.F.A. in Film Production at the University of Southern California in 2011. Since then, her editing career has been growing nonstop. Along with Ryan Coogler’s Sundance Film Festival winner “Fruitvale Station,” Castello’s credits also include Mathew Kohnen’s “The Funeral Guest” and John Swetnam’s “Breaking Through.”
EMMA POTTER (Costume Designer) has designed the costumes for a wide array of films. Her work will next be seen in the features “Christine,” from director Antonio Campos, and “The Circle,” from James Ponsoldt. Potter also worked with Ponsoldt on this summer’s release “The End of the Tour.”
Potter’s many features as costume designer include “James White,” “Louder than Bombs,” “Shelter,” “Innocence,” “The Last Survivors,” “The Angriest Man in Brooklyn,” “Every Secret Thing,” “Song One,” “Coffee Town,” “The English Teacher,” “Breathe In,” “Officer Down,” “The Motel Life,” “You’re Next,” “The Last Rites of Joe May,” “The Genesis Code”, “RiffRaff,” “Baby on Board,” “Tapioca,” “The Strip,” “In the Name of God,” “Stash” and “Counting Backward.” She served as assistant costume designer on Danny Boyle’s Oscar-nominated “127 Hours” and on Charles Martin Smith’s hit family film “Dolphin Tale.”
ANTOINETTE MESSAM (Costume Designer) has built a career in film and television. She is currently in production on the feature film “Colossal,” a sci-fi thriller starring Anne Hathaway and Jason Sudeikis with Director Nacho Vigalondo.
Her work was most recently seen on the popular drama series “The Divide,” by creators Tony Goldwyn and Richard LaGravenese. Her other feature work includes the comedy “Love, Wedding, Marriage,” with Mandy Moore and Kellan Lutz; the thriller “Orphan,” starring Peter Saarsgard and Vera Farmiga; and the fantasy horror film “Skinwalkers.” She also designed the costumes for the telepics “Redemption: The Stan Tookie Williams Story,” starring Jamie Foxx; “Jewel,” starring Farrah Fawcett and Cicely Tyson; and “Ruby’s Bucket of Blood,” starring Angela Bassett.
Messam has also worked as a fashion stylist for products such as Bacardi Rum, Miller Beer and Ford, and she he created individualized looks for Canada’s musicians that are used in all aspects of their marketing and advertising campaigns. She has also worked as a television host and as creative director for a prominent fashion and lifestyle magazine, thus keeping abreast of the latest trends in fashion from street to couture.
Messam counts among her most notable achievements her recognition as the first African-Canadian costume designer. Born in Jamaica to a family immersed in the creation of clothing, her mother was a dressmaker who specialized in bridal and her grandfather was an established tailor. Messam graduated from the Academy of Design & Technology in Toronto, Canada, with a specialty in textiles which led to a post in Asia designing fabric for bridal shoes.
In her spare time, Messam is an active volunteer, mentoring young people in the fashion and film industries. She is also in demand as a guest speaker and has participated as both a lecturer and panelist at many colleges and universities, where she has had the privilege to nurture young up-and-coming costume enthusiasts.
LUDWIG GORANSSON (Composer) is a composer originally from Sweden. Amongst his most well known work are the award-winning movie “Fruitvale Station” and the hit TV shows “Community” and “New Girl.” Among the other features he has scored are the comedies “We’re the Millers,” “Top Five" and “30 Minutes or Less,” and he has also contributed to the features “Magic Mike XXL,” as well as numerous short films.
Aside from scoring movies, Goransson also produce such artists as Childish Gambino, Haim and, most recently, Chance The Rapper. He is a graduate from the film scoring program at the University of Southern California.