One year after her sister Melanie mysteriously disappeared, Clover and her friends head into the remote valley where she vanished in search of answers. Exploring an abandoned visitor center, they find themselves stalked by a masked killer and horrifically murdered one by one…only to wake up and find themselves back at the beginning of the same evening. Trapped in the valley, they’re forced to relive the night again and again – only each time the killer threat is different, each more terrifying than the last. Hope dwindling, the group soon realizes they have a limited number of deaths left, and the only way to escape is to survive until dawn.
Table of Contents
One year after her sister Melanie mysteriously disappeared, Clover and her friends, in search of answers, head into the remote valley where she vanished. Exploring an abandoned visitor center, they find themselves stalked by a masked killer and then horrifically murdered one by one … only to awake and find themselves back at the beginning of the same evening. Trapped in the valley, they’re forced to relive the night again and again – only each time the killer threat is different and more terrifying than the last. Their hopes dwindling, the group realizes it has a limited number of deaths left, and the only way to escape is to survive until dawn.
Screen Gems presents a PlayStation Productions / Mångata / Vertigo Entertainment / Coin Operated production, a film by David F. Sandberg, UNTIL DAWN. The film stars Ella Rubin, Michael Cimino, Odessa A’zion, Ji-young Yoo, Belmont Cameli, Maia Mitchell, and Peter Stormare. Music is by Benjamin Wallfisch, the editor is Michel Aller, ACE, the production designer is Jennifer Spence, and the director of photography is Maxime Alexandre, ASC. The executive producers are Charles Miller and Hermen Hulst. The screenplay is by Gary Dauberman and Blair Butler, and the screen story is by Blair Butler and Gary Dauberman, based on the PlayStation Studios video game. It is produced by Asad Qizilbash, Carter Swan, David F. Sandberg, Lotta Losten, Roy Lee, Gary Dauberman, and Mia Maniscalco. UNTIL DAWN is directed by David F. Sandberg.
UNTIL DAWN has been rated R by the Motion Picture Association for strong bloody horror violence, gore, and language throughout. The film will be released in theaters nationwide on April 25, 2025.
A thrill ride and love letter to the horror genre, UNTIL DAWN is from director-producer David F. Sandberg and producer-writer Gary Dauberman (who co-scripted with Blair Butler), both of whom have impeccable genre credentials, having, separately or together, been responsible for Annabelle: Creation, Lights Out, and The Nun.
Their love for all things horror is fully realized in UNTIL DAWN. Within the film’s time loop framework, where each night sees the characters trapped in what feels like a different horror film, the filmmakers have crafted a terrifying mix of different genre styles, creating a unique experience for movie audiences.
The time loop structure also offers an unpredictable, propulsive, and supernatural mystery, which the characters must unravel to make it through – and avoid becoming – part of the night. They must continually reconsider their choices and explore different paths, while coming to understand a shocking paradox in which they can only survive by dying first.
“Every night, the story resets, taking us into a new horror genre,” Sandberg elaborates. “As a lifelong horror fan, it was a dream come true to work in all these subgenres. Every night the characters undergo what feels like a new chapter in a different story.
“Before learning of UNTIL DAWN, I’d been thinking about what a perfect project would be,” he continues. “Would it be a slasher movie, or a supernatural story, or maybe a creature feature? UNTIL DAWN has it all; it’s several horror movies in one, which made me fall in love with it. We get to play with the entire horror toolbox. You never know what’s coming next in our story, because it changes every night.”
Weaving in several different tropes of terror, “allows us to have the fun of killing off our characters,” says Dauberman, with a smile. “It was both a challenge and tremendous fun because we had the freedom to say, ‘Yeah, f*** it, let’s just kill him.’”
UNTIL DAWN is an expansion of PlayStation Studios’ popular videogame of the same name. As fans of the game, Sandberg and Dauberman saw an opportunity to build upon its world and turn UNTIL DAWN into a theatrical cinematic experience. The film introduces a new story and fresh characters, tailored to a broader horror audience while honoring what makes the game so memorable.
Producer Asad Qizilbash, who is SVP Head of Publishing, Studio Business Group and Head of PlayStation Productions, Sony Interactive Entertainment, says he’s more than impressed by how the filmmakers have extended – while always respecting – the world envisioned by the artists at PlayStation. “PlayStation Productions serves as a vessel for top creators to translate their passion for gaming into compelling narratives across various media. Being fans of the game themselves, David, Gary and their cast and crew have worked closely with our team at PlayStation Productions to make sure the film captured what fans love most about the Until Dawn world. And while you don’t need to have played the game to enjoy the movie’s twists and turns, there’s a good chance that fans will spot some cool references to the original story.”
Adds screenwriter Blair Butler: “Gary and I loved the way the game starts as one horror genre and turns into something totally different. This amazing blend of horror styles – and a structure that lets you try to save everybody or just kill them all off in terrible ways – were our north stars in crafting the screenplay.”
A Loop in Time
While the characters relive the night again and again, each time facing a horrifically different challenge, they are far from invincible. There are strict rules in the film’s mysterious and deadly time loop. It’s not as simple as reliving the same day. They must work together in a race against time to survive until dawn. Each one fears dying but living without each other scares them even more.
As Sandberg points out, “They only get so many chances to escape. It’s more intriguing than having the characters die and come back repeatedly. We had to make it more challenging for them. We really put them through hell and got creative with ways of killing them.”
“The consequences multiply,” he continues. “And they have only a limited time to extricate themselves by finding a way to work together, before they die for real.”
To that end, each time a character comes back to life, something new is trying to kill them. “They have no idea what horror is waiting for them next,” says Dauberman. “It’s never, ‘Oh, if we just do the same thing we did last night, we’ll get out of this situation.’ It doesn’t work like that.”
Moreover, each character returns from the dead diminished – physically and mentally. “They are slowly becoming the thing that’s been terrifying them for several nights,” Dauberman summarizes.
An integral part of the time loop concept is a prominent hourglass, resting ominously on one of the walls of a “welcome center” in which the friends are trapped. The hourglass is a totem of the group’s race against time and a constant reminder of their horrific predicaments. A complex mechanism resets the hourglass by rotating it 180 degrees at dawn as it counts down the hours before they meet an unspeakable fate.
“The hourglass is one of the most important parts of the movie,” producer Lotta Losten claims. “It has this otherworldly feel. Every time we cut to it, you’ll know something really bad is going to happen. At the same time, it’s very beautiful.”
Into the Night
The dark journey begins when the five friends set out to find the missing sister of Clover (Ella Rubin), who had suddenly and mysteriously disappeared. The sister, Melanie (Maia Mitchell), had last sent Clover a cellphone video, which was recorded outside a gas station, seemingly in the middle of nowhere. So, that’s where they’re headed. Joining Clover are Max (Michael Cimino), Megan (Ji-young Yoo), Abe (Belmont Cameli), and Nina (Odessa A’zion). We also meet Melanie via flashbacks and the fateful recording.
According to Losten, Clover’s friends join her on the trek, less out of a hope to find the missing woman, and more to facilitate Clover processing the apparent loss. “The group thinks that Melanie is unlikely to be alive after all this time, but they want the joyous person that Clover used to be, to return. Maybe this trip will get Clover to accept that her sister is gone.”
The filmmakers wanted an ensemble cast that could convey the team’s evolving dynamics, as each member faces different and unimaginable obstacles as they race to solve a mystery. “This movie is very much about making choices,” Dauberman notes. “Each choice they make affects the fate of another and then ripples through the narrative.”
Sandberg, Dauberman, and their casting team set out to find actors with a very specific and necessary quality. “We wanted actors who were willing to go all the way,” Sandberg tells us. “We knew this was going to be a challenging shoot with many practical effects, and that the actors would have to, for example, crawl through dirt, be covered in blood, and scream endlessly.”
Take Ella Rubin, as Clover, who is caught in a bear trap, sprayed with blood, dragged on the ground, and … flies. “Ella, like the rest of the cast, always had to go full on,” says Losten. “When you’re dying repeatedly, it’s not going to be pretty. Ella has this raw and magical way of capturing Clover’s horrors.”
Adds Dauberman: “Clover is the anchor of the movie. She’s the reason the friends come together and undertake this journey. They rally around Clover and want to give her closure to the disappearance of her sister, in the hopes of finding their friend, again.”
For Rubin, Clover’s myriad physical challenges were part of the appeal of the project. “UNTIL DAWN gave me the opportunity to keep pushing, rather than pulling back. That was exciting and kind of delicious. There’s no way to rein it in when your character is constantly in a life and death situation, and you’re literally being chased by a monster with an axe!”
Sandberg notes that Michael Cimino, as Clover’s ex-boyfriend, Max, had a chemistry read with Rubin, which told everyone the characters “were meant to be together. Like the rest of the cast, Michael always does things at a 200 percent level. We’d sometimes have to remind him to slow down a bit, like when swinging a knife, because it was too fast to capture it on camera.”
In addition to embracing the role’s physical rigors, Cimino appreciated the group’s ever-changing interactions. “I love that every character, after each night, is changing a bit and revealing more of themselves. Every character is on an admittedly scary path of self-discovery.”
Ji-young Yoo, as Megan, impressed Losten with an audition tape that the producer calls, “the most brutal self-tape I’ve ever seen. As with all the roles, we needed someone who would go fully into it and who wouldn’t be timid about portraying the many different people in her own body,” referring to a sequence where the psychic Megan is possessed by the many lost souls who had gone missing over the years.
“It was amazing to watch Ji-young switch between different personalities and emotions,” Sandberg concurs. “Her screams are so genuine and filled with terror.”
For Yoo, the character’s psychic powers stem from her being what she calls the “spiritual core of the group. Megan is a strong believer in the supernatural. She thinks that the trip is going to help them all lock into some kind of energy from the missing Melanie. That will help them all close out this chapter in their lives.”
Maia Mitchell, as Melanie, calls her experience on UNTIL DAWN “liberating, because it was all about dirt and blood and crawling through the mud and screaming. There was no time to worry about, ‘Oh, how do I look right now?’ It was a lot of fun.”
Odessa A’zion’s Nina is, says the actor, nothing less than the “type of friend in the group, who somehow doesn’t seem to care much about their horrible situation. She’s had more life experience than the rest and has this lovably self-involved boyfriend, who’s only interested in saving himself.”
The boyfriend character to whom A’zion is referring is Abe, who is kind of the odd man out amidst this close-knit team, which he’s joined on this trek solely because he’s dating Nina. In some ways, says Sandberg, “Abe is the sensible character you don’t often see in horror movies; he’ll say things like, ‘No, listen, don’t go in there.’ But then he’s also a bit of an ass****.”
As Dauberman notes, “Abe gets to be a little selfish. Like, ‘The hell with this; I didn’t sign up for this!”
“Yeah, Abe is definitely on the group’s periphery,” adds Belmont Cameli, who takes on the role. “He’s also a bit of a know-it-all and smartass. I also enjoyed that Abe is on the outside of this inner circle of friends and playing that dynamic with the rest of the cast.”
Dr Hill
The group’s entryway into this world is provided by a mysterious figure who, at the foreboding gas station that had appeared behind Melanie in her last video, provides them with some information about their destination, Glore Valley, that’s … “up the road and stuck in time, and where people get into trouble.”
To say the least.
The figure is portrayed by acclaimed Swedish actor Peter Stormare, whose numerous credits include John Wick Chapter 2, Minority Report, The Big Lebowski, Armageddon and The Lost World: Jurassic Park – as well as the “Until Dawn” videogame.
Is Stormare reprising the beloved character from the game? To maintain the mystery for the audience, neither the actor nor the filmmakers will reveal this and other details about the character.
Stormare will only divulge that the character is an enigma. “Initially, we really don’t know who or what he is,” he elaborates. Hill calls himself an officer of the law, a therapist, a surgeon, whatever. It’s for the audience to discover.
“But it is really rewarding to embody a character that you can’t nail down 100 percent. He’s both legendary and non-traditional. I was super excited to embody the character because it’s one of the coolest I’ve ever done.”
Sandberg will only admit that the film will expand upon that character, “and we’ll learn more about who he really is. It’s great to have that connection to the game, and it was a joy to work with Peter, as well.”
Dauberman does reveal that Stormare’s on-screen persona serves as a kind of “master of ceremonies who escorts us through the story. He’s also the man behind the curtain, who knows everything that’s happening, or going to happen.”
Losten calls the character the “puppet master” of this world. As a longtime admirer of Stormare, Losten says the actor “has this way of playing creepy that is just delightful. When, as Hill, he smiles, his cheeks make a little clicky sound. Normally, in post-production, you remove those kinds of sounds because they’re a distraction, but we tuned that up because it makes the character even better.”
After the Production
Reteaming on the heels of their horror hit Annabelle: Creation, Sandberg and Gary Dauberman kickstarted pre-production on UNTIL DAWN by reassembling the core creative team from Sandberg’s previous films (Shazam! Annabelle: Creation and Lights Out) and from The Conjuring cinematic universe, on which Dauberman was a key creative. Production designer Jennifer Spence, director of photography Maxime Alexandre, creature and prosthetic effects artist Steve Newburn, and editor Michel Aller, came aboard to collaborate with the two filmmakers on their unique vision for this horror thrill ride.
Spence was tapped to usher the cursed mining town of Glore Valley into reality. Having already established a solid visual shorthand with Sandberg and Dauberman, she set out to find ways to depict how this once thriving community had catastrophically sunk underground after a local mine’s collapse, burying thousands of its citizens alive.
Clover and her friends’ desperate search for Melanie and terrifying race against time begins at Glore Valley’s mysterious Welcome Center, before dragging them into the bowels of the collapsed mine system and the rotting urban structures below.
As the characters transform upon waking after each night’s death, their physical environment similarly rearranges itself upon every reset. These narrative time-jumps, backwards and forward, demanded meticulous planning and logistical oversight from all creative departments.
Principal photography took place in the Hungarian capital city of Budapest, a production hub popular with international filmmakers. The filmmakers constructed two of their key exteriors — the Victorian-style, multi-story Welcome Center and a partially buried, graffiti-tagged house — on the grounds of an abandoned orphanage located on an old estate in Fót village. They also availed themselves of the surrounding woodlands, setting of the terrifying moonlit clearing where Clover first encounters what seems to be her missing sister Melanie.
The interiors of the Welcome Center and house, along with numerous smaller sets, were constructed on a single stage at Origo Studios. Having only experienced the exterior builds of the former while shooting at the Fót location, the cast were psyched to finally enter these meticulously dressed, haunting interiors. Spence says of the Glore Valley aesthetic: “It’s sort of locked in time underground, but so many people have moved through the game and brought their own sense of experience to it. So, that’s why you’ll see anything from Victorian to mid-century modern designs.”
When Clover is dragged by unseen supernatural forces into a nearby, graffiti-scarred, and dilapidated house, she meets one of her many untimely ends at the hands of a malevolent witch-like monstrosity. One of the cast and crew’s favorite sets, the structure’s ramshackle wooden exterior seemingly rose up from the forest ground and its eerie interior was bedecked with vintage wallpaper and a multitude of creepy porcelain dolls and painted masks. “The feelings we got from walking into the set,” says Rubin, with a shudder. “It’s like you can feel the horror in the carpets.”
The massive Kőbányai cellar system, whose extensive tunnels and cavernous domed halls are estimated to span over fifty acres, was a unique and creatively rewarding location. Over the centuries, this subterranean limestone quarry, dubbed “the beer tunnels,” has been put to various uses: a World War II bomb shelter, a wine and beer storage facility, and most recently, as a much-desired film location.
Upon registering the location’s full creative potential, Spence decided “to push the envelope in terms of the tunnel work and what we could accomplish there because I had the space to do it. So, I was able to bring smashed cars and cut them in half and create big tree pieces, and build underground homes leaning, and peaks coming out of the ground, and things like that.”
Adjacent to the tunnel system is a dilapidated, lightless, and classical-style villa, originally built in 1856, where several sets were fabricated on the ground floor and among the basement’s crumbling ruins.
Cinematographer Maxime Alexandre, like Sandberg, Dauberman and Spence, holds an impressive horror pedigree. Alexandre used customized detuned lenses to emphasize each character’s loss of memory and strength, as well as increasing sense of isolation following each reset.
Lauds producer Mia Maniscalco, “Maxime Alexandre knows how to manipulate the light so that we, as an audience, are directing our eyes to one portion of the screen while he’s hiding something else that inevitably emerges to terrify you.”
One of Sandberg’s creative mandates was to capture effects in camera whenever possible, which Alexandre welcomed despite its inherent complexities. “When we explore the characters’ ever-changing bodies, we do it for real,” he states. “When we cut a throat, we do it with practical effects.”
With each brutal kill, the principal characters waste away bit by bit and morph into less human, more monstrous versions of themselves. Hair and makeup designer Talli Pachter and prosthetic effects artist Steve Newburn worked closely with one another and the cast on these multistage transformations and conceptualized precise degrees of break-down for each character over their terrifying multi-night journeys.
Pachter strove to keep these progressions subtle and genuine. To directly contrast with the characters’ tanned, healthy looks from the story’s opening, she effected a gradual paling of their skin, then a raising of the veins on their bodies, followed by dry lips, and, for some, extra teeth and hair, or hair loss. Newburn’s team handled the more three-dimensional, creature effects.
An integral part of these progressions was what the filmmakers termed “wound shadows” – shadows that appear and disappear instead of the wounds suffered from the day before.
During pre-production all five principal cast members had full-body silicone life casts made at Newburn’s Applied Arts FX Studio in Toronto to facilitate a host of unnatural, unholy things done to their bodies.
Newburn also produced the prosthetics for a masked and monstrous psycho killer, a witch, and other creatures, all which stalk and kill the characters … night after night after night.
Psycho, the pickaxe-wielding stalker played by hulking stuntman Tibor Szauerwein, is, says Newburn, “missing part of his face and the teeth are showing. But you don’t see most of his face because he wears a ceramic mask.”
The witch’s process entailed slightly stylized, old age prosthetics. For another group of monstrous creatures, complete prosthetics works were needed, from full-body foam latex suits to glued-down heads and dentures.
Clover, Max, Megan, Abe and Nina wear the same outfits through the many nights of their odyssey-from-hell, and costume designer Júlia Patkós admits that “it’s quite interesting and difficult when you have just one costume to nail a character.”
Since each fatal night’s passing resets and yet slightly transforms these key looks, Patkós had to create multiple iterations of each component so that they bore the correct level of deterioration but not the tell-tale damage from the previous night’s kill. “We end up with ten to twenty versions of the same costume, which is challenging because those are small nuances which from the audience’s perspective are barely visible,” she explains.
Domonkos Párdányi (Dune: Part II), one of Europe’s premiere stunt coordinators, oversaw and implemented the smooth execution of the myriad stunt-heavy kills that unfold over the story.
To create precise, otherworldly styles of movement for each of the film’s creatures Sandberg consulted with movement coach Zoltán Feicht (Halo, Shadow and Bone), formerly a professional dancer with the Hungarian National Ballet and Cirque du Soleil.
Feicht was also instrumental in bringing talented Hungarian dancers Zsófia Temesvári and Ádám Bot aboard to embody the principal male and female Wendigos.
Minor Wendigos were played by stunt performers whose parkour backgrounds enabled them to do the most unnatural things as they climb up walls and jump over obstacles, after emerging out of nowhere.
While completing post-production work on UNTIL DAWN, the filmmakers reflect on their love for horror films, and why they’re perfect to experience, communally, in cinemas.
“I think horror movies work so much better when you’re experiencing them as part of a theater audience,” says Dauberman. “I love the shared experience; the screams, the jumps, the gasps, and even the talking back to the screen.”
Sandberg couldn’t agree more: “I think one of the reasons I’m such a big horror movie fan is that they make for the best movie-theater experience. Where, together, we can feel the collective tension – and hear each other screaming.”
About the Cast of UNTIL DAWN
ELLA RUBIN (Clover) can currently be seen starring opposite Anne Hathaway in Prime Video’s feature film The Idea of You and can next be seen in the Screen Gems and PlayStation Productions feature adaptation of the hit video game Until Dawn and Netflix’s Fear Street: Prom Queens.
Ella was most recently seen in the Apple TV+ miniseries Masters of the Air, Hulu’s The Girl from Plainville, where she shared the screen with Elle Fanning, Netflix’s limited series The Chair alongside Sandra Oh and Jay Duplass, and Max’s reboot of Gossip Girl.
Additional television credits include Hulu’s Difficult People, Showtime’s Billions and CBS’ Unforgettable. Other feature films include the Palme d’Or-winning Anora, The Sweet East, The Rewrite, and Adult Children.
Ella made her Broadway debut starring opposite Marisa Tomei in Tennessee Williams’ The Rose Tattoo, directed by Tripp Cullman for the Roundabout Theatre Company.
MICHAEL CIMINO (Max) is an actor and musician who had his breakout role as Victor in Hulu’s award-winning series Love, Victor. He will next be seen in a leading role in Prime Video’s drama Motorheads, releasing in Spring 2025. Cimino was also recently seen with a recurring role in Netflix’s hit series Never Have I Ever. Other recent film credits include Girl Haunts Boy, Senior Year, and Annabelle Comes Home. As a singer/songwriter, Cimino released his debut EP I’m Somewhere Out There in 2022 and has had several tracks included in various film and television projects.
ODESSA A’ZION (Nina) is a rising star who most recently stole the show in Amazon Studios’ Sitting in Bars with Cake alongside Bette Midler and Yara Shahidi, for which she received rave reviews. Odessa also recently starred in Jennifer Esposito’s Fresh Kills, where Variety remarked she convinced “a scary volatility […] roughly equivalent to James Caan’s Godfather part, or De Niro’s in Mean Streets.” A’zion wrapped the upcoming films She Rides Shotgun, starring opposite Taron Egerton, Nickels, opposite Rob Riggle, and a series regular role in the pilot of Rachel Sennott’s highly anticipated HBO series.
Her previous film credits include Hulu’s reimagining of the cult classic Hellraiser and the drama Good Girl Jane opposite Andie MacDowell. Odessa has also made a name for herself in television starring in the widely loved Netflix drama series Grand Army and in the comedies Ghosts and Fam for CBS, as well as Amazon’s Wayne.
Odessa recently filmed A24’s Marty Supreme, starring Timothée Chalamet and directed by Josh Safdie.
JI-YOUNG YOO (Megan) was recently nominated for a Gotham TV Award for Outstanding Performance in a Limited Series for her work on Prime Video’s six-part limited series Expats from writer/director Lulu Wang. Yoo co-led the series, based on Janice Y.K. Lee’s international best-selling novel The Expatriates opposite Nicole Kidman.
In 2023, Yoo starred in the poignant coming-of-age drama Smoking Tigers, which had its World Premiere at the Tribeca Film Festival. The winner of an AT&T Presents: Untold Stories grant, So Young Shelly Yo’s directorial debut tells the story of Hayoung, a lonely 16-year-old Korean American girl staggered by the separation of her parents. Yoo won the Best Performance in a U.S. Narrative Feature for her role, and the film won Best Screenplay in a U.S. Narrative Feature (Yo), and the Nora Ephron Award Special Jury Mention. The film had a limited theatrical release in the fall.
She will next be seen in the immersive film Freaky Tales alongside Pedro Pascal and Jay Ellis. From Captain Marvel helmers Ryan Fleck and Anna Boden, the film is set in Oakland in 1987 and is comprised of four interconnected stories each featuring distinct characters, real life locations and noteworthy historical events — some real, some imagined. The film premiered at the 2024 Sundance Film Festival.
BELMONT CAMELI (Abe) is known for his leading role in Netflix’s 2022 film Along for the Ride, produced by Bryan Unkeless. Belmont broke onto the scene in the Peacock / NBC Universal reboot of Saved By The Bell in which he starred for two seasons and twenty episodes as Elizabeth Berkley’s son Jamie Spano, with Emmy-winning 30 Rock writer-producer Tracey Wigfield serving as Executive Producer. This past year Belmont shot the Barry Levinson-directed Warner Bros. mob film Alto Knights starring Robert DeNiro. Last season saw Belmont recur on Based on a True Story as the new tennis coach who takes Chris Messina’s job at the country club. Belmont also starred with Mira Sorvino in 2020’s Most Guys Are Losers, which is streaming on Peacock as well. He guest-starred on an episode of Empire, worked with the Duplass Brothers on their digital project Groundhog Dates, and starred in My Evil Stepdad for Lifetime Television Movies.
Prior to his acting career, Belmont played football for his high school team and modeled for Abercrombie & Fitch.
MAIA MITCHELL (Melanie) is a New South Wales native who became a household name not only in her home country of Australia, but also to American audiences for her talents both in front of and behind television and film cameras.
On television, Mitchell landed a starring role as Callie Adams Foster on ABC Family’s The Fosters. Executive produced by Jennifer Lopez, the critically acclaimed drama followed a same-sex, interracial couple and all their achievements and challenges while raising a blended family of biological, adopted, and foster children. During its first two years, the show earned a GLAAD Media Award for outstanding drama series and GLAAD Vanguard Award, as well as a Teen Choice Award for Choice Breakout Television Show. In addition to the series’ remarkable success, Mitchell garnered individual nominations at the Teen Choice Awards for Choice Summer TV Star: Female and Choice TV: Actress Drama, respectively. The Fosters’ fifth and final season ran in 2017.
Mitchell revived Callie’s journey in The Fosters spin-off series, Good Trouble, on which she also served as an Executive Producer alongside her co-star, Cierra Ramirez. The story centered on Callie and Mariana Adams Foster (Ramirez) venturing to Los Angeles to start their adult lives and embark on their separate but intertwined missions to change the world. The show ran on Freeform for five seasons from 2019-2014.
In 2023, Mitchell starred in Hulu and Disney+’s Australian original series The Artful Dodger opposite Thomas Brodie-Sangster and David Thewlis. Set in 1850s Australia, the series follows the adult double life of Charles Dickens’ famous prince of thieves, Dr. Jack Dawkins aka ‘Dodger’ (Sangster), who is now a surgeon who can’t shake his predilection for crime. Mitchell portrays Lady Belle Fox, a clever woman intent on breaking the mold and becoming her colony’s first female surgeon.
That same year it was announced that Mitchell would join Eric Dane, Thomas Doherty, Hannah Dodd, and Tyriq Withers in the upcoming thriller Family Secrets from Matt Kaplan’s ACE Entertainment. Mitchell takes on the role of an affluent young woman who is seduced by a charming man but is unaware she’s in the middle of a plot for revenge. As their relationship grows, the truth gets closer to the surface, forcing the question of whether anyone is safe, and exactly who is conning whom. The film completed production in Montenegro.
Mitchell’s film credits include Unified Pictures’ thriller Whisper, in which she starred and executive produced; Amazon’s original film, Sitting in Bars with Cake opposite Yara Shahidi, Odessa A’zion, and Bette Midler; as well as the Netflix original film The Last Summer, opposite K.J. Apa, Jacob Latimore, Halston Sage, and Tyler Posey. Additionally, Mitchell starred opposite Ross Lynch in the Disney Channel Original Movie Teen Beach Movie, which met enormous success and spawned the much-anticipated sequel Teen Beach 2 wherein Mitchell reprised her leading role.
In 2018, Mitchell starred opposite Camila Morrone in A24’s Never Goin’ Back, directed by Augustine Frizzell, which centered on two high school dropouts whose lives spiral after taking a week off from reality and was. Mitchell’s first union with A24 was starring in Hot Summer Nights, opposite Maika Monroe, Alex Roe, and Timothée Chalamet. Set in Cape Cod, Massachusetts during the 1980s, the coming-of-age film focuses on a sheltered teenager (Chalamet) who, after becoming a drug dealer, realizes that he is in over his head.
Mitchell currently resides in Byron Bay, New South Wales, Australia.
PETER STORMARE (Dr. Hill) started his career at the prestigious Swedish Royal Dramatic Theatre in Stockholm, under the legendary Ingmar Bergman, where he thrived as both an actor and director. He directed works by Shakespeare, O’Neill, Shepard, Pinter and iconic Swedish playwrights Strindberg and Almqvist.
During the 80s, Stormare’s collaboration as an actor with Ingmar Bergman took him to theatre festivals worldwide. His electrifying performance in Bergman’s Swedish-language Hamlet captivated New York audiences at Brooklyn Academy of Music in 1988 and this recognition led him to permanently move to New York that very year.
After performing Bergman’s Hamlet and Miss Julie in Tokyo, he became Artistic Director of the prestigious Tokyo Globe Theatre, where he brought his interpretation of Shakespeare and other renowned works to life.
Stormare’s American film debut was in Penny Marshall’s acclaimed Awakenings in 1990. He cemented his iconic status with the Coen brothers’ cult classic Fargo, which showcased his unforgettable presence and captivating intensity. Credits such as Armageddon, Jurassic Park, The Big Lebowski, 8mm, Dancer in the Dark, Windtalkers, Bad Boys, Constantine, and 22 Jump Street are a testament to Stormare’s unwavering commitment to diverse roles and his wide range in creating memorable characters.
Stormare always remembers his roots: he reunited with Bergman for the TV production In the Presence, he brought his comedic talents to Seinfeld and Swedish Dicks, and delivered unforgettable performances in shows like Prison Break, The Blacklist and American Gods. This versatility has solidified Stormare’s reputation as a force to be reckoned with on both the big and small screens.
Stormare is a musician, screenwriter, producer, director and most of all an actor. He resides in West Hollywood, California.
About the UNTIL DAWN Filmmakers
DAVID F. SANDBERG (Director / Producer) is a renowned Swedish filmmaker based in Los Angeles known for his wide array of talents across a variety of genres.
UNTIL DAWN marks Sandberg’s highly anticipated return to the horror genre, after a wildly successful stint directing the Shazam! franchise. Warner Bros. and DC’s Shazam! starring Zachary Levi, was a massive critical success and a global phenomenon, grossing over $366 million worldwide. The film’s sequel, Shazam! Fury of the Gods, debuted theatrically March 17, 2023, and starred Helen Mirren, Rachel Zegler, and Lucy Liu, alongside returning cast members Levi, Jack Dylan Grazer, and Asher Angel.
Sandberg and his partner, Lotta Losten, have never strayed far from their genre roots, as they recently created two horror shorts from their home during quarantine – the first titled Shadowed and the other titled Not Alone in Here. These shorts were both released online under David’s pseudonym ‘ponysmasher’ and were massive hits.
Previously, Sandberg directed Annabelle: Creation for New Line Cinema, which was the fourth installment in The Conjuring Universe franchise. The film, which was produced by James Wan and Peter Safran, grossed over $306 million worldwide, and further cemented Sandberg’s place as one of the most unconventional genre filmmakers working today.
Sandberg started his career releasing short horror films in his native Sweden, including the 2013 viral hit Lights Out, which starred Losten in the lead role. Shortly after its online debut — the film has over 18 million views on YouTube — the short quickly caught the attention of the biggest decision-makers in Hollywood as well as a massive fanbase. In 2016, it was adapted into a feature film by New Line Cinema/Warner Bros. with Sandberg at the helm. The feature starred Teresa Palmer, Gabriel Bateman, Billy Burke, and Maria Bello and grossed $148 million against a $4.9 million budget.
GARY DAUBERMAN (Producer / Writer) is one of the most sought-after filmmakers in Hollywood today as seen by his numerous projects which include original content, franchise film series and high-profile adaptations in both film and television.
Dauberman has a production deal with Sony and Screen Gems for his Coin Operated production company. Until Dawn is the first project to be released in theaters under the deal. The film is a feature adaptation of the PlayStation game, directed by David Sandberg with Dauberman as producer and writer. Coin Operated has a number of films in development including Ushers, based on the short story by Joe Hill.
After the success of writing the It and Annabelle film franchises, Dauberman made his directorial debut in 2019 with Annabelle Comes Home, which he also wrote. His second feature as director was Stephen King’s Salem’s Lot, which he adapted and executive produced. Salem’s Lot stars Lewis Pullman, Oscar® nominee Alfre Woodard, Makenzie Leigh, Bill Camp, and Spencer Treat Clark.
As for his screenwriting credits, Dauberman penned the adaptation of Stephen King’s beloved tome It, directed by Andy Muschietti. The New Line film was released by Warner Bros. in 2017, breaking box-office records including the biggest horror opening ever. Dauberman wrote and executive produced the film’s box-office smash sequel, It: Chapter Two, which was released in 2019. Combined, the films earned over $1.1 billion worldwide.
Dauberman joined the creative team behind The Conjuring Universe when he wrote the screenplay for Annabelle, based on the seriously creepy doll that first appeared briefly in James Wan’s The Conjuring. Annabelle was a massive hit, making it one of the most profitable films of 2014. He wrote the sequels Annabelle: Creation and Annabelle Comes Home. Dauberman also wrote the record-breaking spinoff, The Nun, which Warner Bros. released in 2018. The film’s sequel, The Nun 2, with Dauberman as producer, was released theatrically in 2023 and topped the opening weekend box-office. To date, the combined earnings of The Conjuring universe films exceed $2 billion at the worldwide box-office.
On the development front, Dauberman is the writer and a producer on the upcoming remake of Train to Busan for New Line Cinema; he is the writer and an executive producer on the Gargoyles live-action series for Disney+, based on the 1990’s cartoon; and he is producing an adaptation of the Eisner Award nominated horror graphic novel Stray Dogs.
Dauberman served as producer of The Curse of La Llorona, the New Line Cinema film which was released in 2019 and opened to #1 at the box-office both domestically and internationally.
In television, Dauberman wrote Swamp Thing with Mark Verheiden for Atomic Monster and Warner Bros. Television, which streamed on DC Universe in 2019. He was also an executive producer on the critically acclaimed series.
In addition to adapting PlayStation’s iconic game Until Dawn, BLAIR BUTLER (Writer) rewrote Omega for Mandalay and Simon McQuoid and adapted Ology, the fantasy franchise starter from the thirteen-book series of the same name. Continuing her streak at the studio, Blair did a production polish on Area 51 for Sony, Atomic Monster and Colin Minihan and has done production work on several other Sony and Screen Gems titles. Screen Gems released The Invitation in 2022, which Butler originally sold on pitch to the studio.
Most recently, she adapted Occupant for New Line with Zach Cregger and Roy Lee producing and wrote Nonstop for Netflix and Amblin. Additionally, Butler did production work on Hell Fest for CBS Films and Valhalla, and received sole credit on Polaroid, which was released by Dimension Films in 2019, with Vertigo and Good Fear producing. Butler also wrote a project for Bad Robot and Paramount, had a thriller for James Wan and New Line, and worked on a feature for Pixar.
On the TV side, Butler was a producer on Marvel’s Helstrom for Hulu. She’s also well known for her comedy background, having spent eight years as the head writer and on-air talent on G4’s Attack of the Show, where she created a comedy series called Slasher School. She also completed a comedy pilot for eOne in the style of a mash-up between House Flippers and The Exorcist.
ASAD QIZILBASH (Producer) is Head of PlayStation Productions and Head of Product for PlayStation Studios. Playing a key role in the formation of PlayStation Productions in 2018, Qizilbash’s deep knowledge of PlayStation IP and strong relationships with PlayStation Studios’ development teams is pivotal in bringing the PlayStation catalog to film and television in a unique way that resonates with the PlayStation community and beyond.
As Head of Product for PlayStation Studios, he leads portfolio and strategy planning for PlayStation’s exclusive games line-up. An 18+ year Sony Interactive veteran, Qizilbash was Vice President of Games Marketing, where he was responsible for growing PlayStation Studios’ gaming brands into global entertainment franchises.
CARTER SWAN (Producer) has worked in Hollywood for over twenty years. Starting out in production and writing, he transitioned to development and spent the better part of the last decade as the Vice President at Trigger Street Productions during their deal with Columbia Pictures. Swan more recently served as the Vice President of Production at Relativity Studios and the Head of Scripted Television for KKR’s 3311 Productions before joining up as Head Producer for PlayStation Productions in 2018.
LOTTA LOSTEN (Producer) and David F. Sandberg are partners in their production company Mångata. Mångata is a Swedish word Losten describes as “non-translatable” but roughly meaning “the glittering effect that happens on a body of water when the moon touches it.”
Losten is a Swedish filmmaker, actor, producer and photographer. A graduate of Lund University with a background in stage acting, Losten made her screen debut in the viral short film Lights Out which she made alongside Sandberg, and which became the basis for his first feature film Lights Out, which was made at New Line Cinema and grossed nearly $150 million worldwide.
Losten has starred in and collaborated with Sandberg on several short films including Cam Closer, Pictured, Shadowed, Attic Panic, and Closet Space. She has appeared in David F. Sandberg-directed features Lights Out, Annabelle: Creation, Shazam! and Shazam! Fury of the Gods.
ROY LEE (Producer) is a film and television producer and founder of Vertigo Entertainment. His first producer credit was for The Ring in 2002, and from there he went on to produce many other films including The Grudge, The Departed, It, Barbarian, and Late Night with the Devil. Lee also produced several beloved children’s animated films including The Lego Movie, How to Train Your Dragon, and Nimona. Currently, Lee is developing and producing a diverse slate of films and television series.
MIA MANISCALCO (Producer) is the President of Gary Dauberman’s Coin Operated production company. Her first producing credit for the company is Until Dawn, the feature adaptation of the PlayStation game directed by David F. Sandberg. She has a number of titles in development including Ushers, based on the short story by Joe Hill for Screen Gems.
Maniscalco joined Coin Operated from her run at Amblin Partners, where she was Senior Vice President of Creative Affairs. During her over ten-year tenure at Amblin, she shepherded projects through development and production including The Last Voyage of the Demeter, directed by André Øvredal and starring Corey Hawkins; The Girl on the Train directed by Tate Taylor, starring Emily Blunt; The House with a Clock in Its Walls directed by Eli Roth, starring Jack Black and Cate Blanchett; The Light Between Oceans directed by Derek Cianfrance, starring Michael Fassbender and Alicia Vikander; The Turning directed by Floria Sigismondi, starring Mackenzie Davis; A Dog’s Purpose directed by Lasse Hallström, starring Dennis Quaid; and The Hundred-Foot Journey starring Helen Mirren.
CHARLES MILLER (Executive Producer) is a New York based film and television producer. A graduate of Ithaca College, Miller began his career at Red Wagon Entertainment and Groundswell Productions, which led to him working with Academy Award-winning producer Anthony Katagas. During his tenure with Katagas, Miller was involved in Steve McQueen’s Twelve Years a Slave, James Gray’s The Immigrant, and John Hillcoat’s Triple Nine. He co-produced Michael Almereyda’s Cymbeline and Ariel Schulman/Henry Joost’s Nerve and was production supervisor on James Gray’s Lost City of Z. Miller has since co-produced Jim Mckay’s En el Séptimo Día, Nicholas Pesce’s Piercing and Aaron Sorkin’s The Trial of the Chicago 7, executive-produced Reinaldo Marcus Green’s Monsters and Men, Sara Colangelo’s Worth, and Neil Burger’s The Marsh King’s Daughter, and produced Mattson Tomlin’s Mother/Android, Neil Burger’s Inheritance and Julio Torres’ forthcoming HBO TV Show Fantasmas.
Based in Amsterdam, HERMEN HULST (Executive Producer) serves as CEO, Studio Business Group for Sony Interactive Entertainment (SIE). Hulst is responsible for the development, publishing, and business operations of SIE’s first party-content across devices including consoles, PCs and mobile. He is also responsible for bringing video game IP to new mediums such as film and television through PlayStation Productions.
Previously, Hulst served as SVP, Head of PlayStation Studios for Sony Interactive Entertainment overseeing first-party game studios and the exclusive games strategy and development for the PlayStation brand. Before that, Hulst was Guerrilla Co-Founder and Managing Director. In that role, Hermen was responsible for the company’s direction and for Guerrilla’s games from a creative and commercial perspective. He also served as Vice President for Sony Interactive Entertainment’s Worldwide Studios in Europe.
He gained his first experience in the games industry during his student years at Ubisoft in the U.S. and started his professional career at Philips Electronics in Strategic Marketing. He subsequently worked as a management consultant at Andersen Consulting before returning to the games industry.
Hulst holds a Master of Science in Technology Management and graduated in Philosophy from the University of Amsterdam.
Golden Globe, BAFTA, 2x Grammy, Emmy and 5x World Soundtrack Award nominated composer BENJAMIN WALLFISCH (Composer) has worked on over 80 feature films. His most recent projects include Twisters, directed by Lee Isaac Chung, Alien: Romulus, directed by Fede Alvarez, both of which released last summer. Wallfisch also scored Kraven the Hunter, directed by J.C. Chandor which released in December 2024 and Wolf Man from director Leigh Whannell, released January 2025.
Wallfisch’s best-known work includes Denis Villeneuve’s Blade Runner 2049 (with Hans Zimmer), Andy Muschietti’s IT and IT Chapter Two, David F. Sandberg’s Shazam! Leigh Whannell’s The Invisible Man, Ron Howard’s Thirteen Lives, Andy Muschietti’s The Flash for DC / Warner Bros, and Simon McQuoid’s Mortal Kombat.
Other notable projects include Academy Award Best Picture nominee, Hidden Figures, directed by Ted Melfi (co-composed with Pharrell Williams and Hans Zimmer), David F. Sandberg’s box office hit Annabelle: Creation, Gore Verbinski’s A Cure for Wellness, the Steven Spielberg produced short film Auschwitz, directed by James Moll, James Marsh’s King of Thieves, and Steven Knight’s Serenity. On the invitation of Hans Zimmer,Wallfisch contributed music based on Elgar’s ‘Enigma’ Variations for Christopher Nolan’s Dunkirk.
To date, his movies as composer have made over $2.6 billion in worldwide box office receipts, and in 2019 Variety inducted him into their “Billion Dollar Composer” series in recognition of this.
With over 25 albums of his music released, Wallfisch has performed live in over 100 concerts worldwide, leading orchestras such as the London Philharmonic, Philharmonia, Los Angeles Philharmonic, Los Angeles Chamber Orchestra and the Sydney Symphony at venues including the Hollywood Bowl, Sydney Opera House and Royal Festival Hall. He has collaborated, recorded and performed his music with artists including Lang Lang, Herbie Hancock and Yuja Wang, and has over 50 concert music commissions to his name.
Wallfisch is a member of the Academy of Motion Pictures Arts and Sciences and British Academy of Film and Television Arts and is an Associate of the Royal Academy of Music, London. In 2019 he founded The Scoring Lab, a state-of-the art scoring production company and Dolby Atmos Certified mix studio in the heart of Santa Monica, California.
MICHEL ALLER (Editor) grew up in Burbank California and was bit by the creative bug early on. Having been fostered by great mentors, including Tony Lombardo, William Goldenberg and Chris Lebenzon, Aller paid her dues as an assistant on big features, before graduating to editor with the sequel to Daddy Day Care, Daddy Day Camp. From there she’s worked on several studio films including, Lights Out, Annabelle: Creation, The Nun, Shazam!, Scream and most recently Shazam! Fury of The Gods.
Aller currently resides in Los Angeles, California and spends her free time with her husband and dog Stella.
Originally from Canada, JENNIFER SPENCE (Production Designer) moved to Los Angeles in the ’90s to pursue her passion for art and design. She began her career by immersing herself in various aspects of the industry, starting with music videos, TV commercials, and live concerts. As a self-taught artist, she honed her skills within the art department, mastering every job title from the inside out. Spence’s journey into the world of film began with designing the short film Rings, which sparked her desire to work in feature films. She made her mark in horror with her first feature, Splinter, followed by ventures into mystery and drama with films like Stolen and I Will Follow, directed by Ava DuVernay.
Spence’s enduring passion for horror blossomed with the sleeper hit Paranormal Activity 2, marking the beginning of her collaboration with Blumhouse and Paramount Pictures on subsequent installments of the franchise. In 2010, she embarked on a partnership with James Wan, designing the chilling world of Insidious and its sequels.
In between her work on popular franchises, Spence contributed to cult classics and collaborated with renowned horror directors. From designing Rob Zombie’s The Lords of Salem to crafting the eerie atmosphere of Bryan Bertino’s Mockingbird, she showcased her versatility. She ventured to Eastern Europe for the gothic period piece Lady of Csejte, directed by Andrei Konst.
Her work also includes notable horror favorites like The Nun, directed by Corin Hardy, and entries in the Annabelle and The Conjuring franchises. Spence’s exploration of the superhero genre began with Shazam!, marking her third collaboration with director David F. Sandberg after their successes with Lights Out and Annabelle: Creation. With a portfolio spanning across genres, Jennifer Spence continues to captivate audiences with her exceptional talent and meticulous attention to detail.
- Most recently, Spence created the unsettling atmosphere of Annabelle Comes Home, the dystopian world of Songbird, and the iconic setting of Resident Evil: Welcome to Raccoon City. Her creative endeavors continued with the whimsical charm of We Have a Ghost and the family-friendly adventure of Family Switch. As audiences eagerly anticipate her upcoming projects, including the mysterious thriller Whistle and the spine-tingling horror film Spooked, Spence’s legacy in the world of production design only continues to grow.
MAXIME ALEXANDRE (Director of Photography) was born in Renaix, Belgium in 1971. When Alexandre was five years old, his family relocated to Rome, where his stepfather Inigo Lezzi, a prominent assistant director for filmmakers such as Marco Bellocchio, Gianni Amelio, and Nanni Moretti, began introducing him to the realm of Italian cinema. Alexandre’s passion for the craft led him into acting at a young age in notable films such as Une Page D’amour, directed by Elie Chouraqui and starring Anouk Aimee and Bruno Cremer, as well as Nanni Moretti’s Bianca in 1984.
A few years later, Alexandre found his true passion for photography while on the set of a short film directed by his stepfather. In the late 1980s, his family relocated to Paris, marking the beginning of his journey in the camera department. There, he honed his skills by working on commercials and learning from revered cinematographers such as Darius Khondji, Jean-Yves Escoffier, Pierre Lhomme, Vilko Filac, as well as Italian masters like Tonino Delli Colli and Franco Di Giacomo.
Alexandre embarked on his career as a Director of Photography by shooting second unit on a commercial for Michel Gondry. In 2001, he crossed paths with Alexandre Aja and Grégory Levasseur while working on second unit for Aja’s father, Andre Arcady, on the film Break of Dawn, written by Aja and Levasseur. Two years later, the trio joined forces for Aja’sdirectorial debut, High Tension. This film marked the inception of a new wave of horror inFrench cinema and gained international recognition, ultimately being picked up for distribution by Lionsgate.
Alexandre and Levasseur continued their collaboration with the remake of The Hills Have Eyes and the film Mirrors. On The Hills Have Eyes, Alexandre’s meeting with the legendary genre director Wes Craven, led to their collaboration on Paris, Je T’aime, which was shown in the Un Certain Regard section at the Cannes Film Festival. In 2006, Variety acknowledged Maxime’s exceptional talent by naming him as one of its Ten Cinematographers to Watch.
In 2008, Alexandre ventured into directing with his debut feature film, Holy Money, starring Aaron Stanford, Ben Gazzara, Valeria Solarino, and Joaquim De Almeida. His second directorial endeavor, Christopher Roth, received acclaim at various festivals, including the Brussels International Fantastic Film Festival and the Rome Independent Film Festival. The film was also shown at Brazil’s Cinefantasy, where it clinched multiple awards, including Best Movie, Best Villain, Best Makeup, Best Special Effects, and Best Soundtrack. Additionally, Maxime was honored with the Best Director award at the Italian 2nd Fantasy Horror Awards. In 2011, he made his mark as a 3D cinematographer in Director MJ Bassett’s film, Silent Hill Revelation.
In 2012, Alexandre worked on Maniac, directed by Franck Khaifoun and starring Elijah Wood, which premiered at the 2012 Cannes Film Festival. He shot Dave Green’s film Earth to Echo for Relativity Studios in 2014. That year he also shot The Voices, starring Ryan Reynolds and Anna Kendrick. The film, directed by Marjane Satrapi, premiered at the 2014 Sundance Film Festival.
In 2017, Alexandre collaborated with Director David F. Sandberg and Producer Peter Safran on Annabelle: Creation, an extraordinarily successful addition to New Line’s Conjuring franchise. Alexandre continued with New Line on The Nun directed by Corin Hardy, and with Sandberg and Safran on the 2019 superhero film Shazam! starring Zachary Levi. Alexandre reunited with Alexandre Aja for The Ninth Life of Louis Drax after which they shot 2019’s Crawl for Paramount Pictures. Maxime’s work from 2020 to 2022 spans the horror genre and includes Come Play directed by Jacob Chase for Amblin Partners and Focus Features, Oxygen directed by Alexandre Aja for Netflix, and Resident Evil: Welcome To Raccoon City directed by Johannes Roberts for Screen Gems.
Alexandre’s most recent endeavors include Role Play directed by Thomas Vincent and starring Kaley Cuoco, Marjane Satrapi’s Paris Paradis and Never Let Go directed by Alexandre Aja and starring Halle Berry.
JÚLIA PÁTKOS (Costume Designer) is a fashion designer turned award winning costume designer. She studied fashion design in Paris and in New York at the prestigious Parsons School of Design and was an Haute Couture fashion designer at Torrente in Paris, France and at Vivienne Westwood in London, England.
Once Pátkos ventured into costume design, she hit the ground running on productions such as Marie Antoinette, Oscar winner for best costume design, and Vanity Fair in England. Pátkos’s first feature as costume designer, the pan-European fantasy film Taxidermia, became Hungary’s entry to the Oscars and earned her a Best Costume Design of the Year Award from the Hungarian Film Academy. Pátkos has since designed costumes for numerous movies and TV productions both in Canada — now her home — and all over Europe.
Most recently Pátkos designed the costumes for the Netflix series Ginny and Georgia which made it to the Top Ten of the platform’s most popular TV list.
TALLI PACHTER (Hair and Makeup Designer) has 20 years of experience in the film, television and theatre industries and her contribution to the History Channel’s production of Roots garnered her an Emmy nomination for Best Hair on a Mini-Series.
Pachter’s unique skillset in hair and make-up design has taken her to Morocco, Germany, Rwanda, Zambia, South Africa, France, Hungary, Jamaica and all over the UK on a wide range of productions. Among her dozens of television credits are Curfew for Paramount+, The Famous Five for BBC Studios, Black Cake for Hulu and Invasion for Apple+. As for feature films, Pachter most recently worked on Netflix’s The Kissing Booth 2, starring Joey King and Jacob Elordi, and Universal’s Redeeming Love.
STEVE NEWBURN (Creature and Prosthetic Effects by), a Los Angeles native, began his career working with Oscar winners Stan Winston, Rick Baker, ADI, and others in the mid-90s.
After roughly a decade on the Hollywood FX scene, Newburn moved to Toronto with his family. The location change led him to several years in the aerospace industry, before ultimately returning to his film roots.
Shortly thereafter, he started Applied Arts FX Studio under which more than 150 film and television projects have been completed to date. In addition to Until Dawn, his recent work has included the television series Chucky, Sasquatch Sunset, Frankenstein for director Guillermo Del Toro, as well as most of director / producer Ari Aster’s films since Hereditary, among many others. Steve had three consecutive Canadian Screen Award nominations (two wins). Additionally, he has made contributions to numerous Academy, Emmy, VES, and CSA award nominations.
In 2024 Newburn was selected as one of Variety’s ‘Ten Artists to Watch’.
