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MONGOLAcademy Awards 2008NomineeBest Foreign Language FilmDirected by Sergei BodrovStarring Tadanobu Asano, Honglei Sun,Khulan Chuluun and Odnyam OdsurenRelease date: 19 June 2008Running : 124 minutesRated: TBCSynopsisAward-winning Russian filmmaker Sergei Bodrov (PRISONER OF THE MOUNTAINS) illuminates the life and legend of Genghis Khan in his stunning historical epic, MONGOL. Based on leading scholarly accounts and written by Bodrov and Arif Aliyev, MONGOL delves into the dramatic and harrowing early years of the ruler who was born as Temudgin in 1162. As it follows Temudgin from his perilous childhood to the battle that sealed his destiny, the film paints a multidimensional portrait of the future conqueror, revealing him not as the evil brute of hoary stereotype, but as an inspiring, fearless and visionary leader. MONGOL shows us the making of an extraordinary man, and the foundation on which so much of his greatness rested: his relationship with his wife, Borte, his lifelong love and most trusted advisor.Filmed in the very lands that gave birth to Genghis Khan, MONGOL transports us back to a distant and exotic period in world history; to a no's landscape of endless space, climatic extremes and ever-present danger. In a performance of powerful stillness and subtlety, celebrated young Japanese actor Asano Tadanobu (ZATOICHI, LAST LIFE IN THE UNIVERSE) captures the inner fire that enabled a hunted boy to become a legendary conqueror. Asano's achievement is matched by those of his co-stars, including the radiant newcomer Khulan Chuluun as Temudgin's courageous, spirited wife Borte, and the Chinese actor Honglei Sun (THE ROAD HOME) as the Mongol chieftain Jamukha, Temudgin's dearest friend and deadliest enemy. Masterfully blending action and emotion against some of the most arresting terrain on earth, Bodrov delivers an exciting and awe-inspiring tale of survival and triumph, and a love story for the ages.It is the year 1172 and nine-year-old Temudgin (Odnyam Odsuren) rides across the flat, broad steppe alongside several horsemen and his father Esugei (Ba Sen), a tribal leader, or khan. They are paying a critical visit to lands ruled by the Merkits, a fierce tribe whom Esugei crossed years ago when he kidnapped a Merkit warrior's wife. Now Esugei needs to make peace with his enemy, and so he is bringing his young son - the child of the woman he kidnapped - to choose a Merkit wife.Happening upon the camp of a friendly clan, Esugei decides to stop for a night's rest. There, Temudgin meets Borte (Bayartsetseg Erdenebat), a 10-year-old girl with mischievous eyes and the confidence to question to the regal young visitor without being spoken to first. Impressed and intrigued by the encounter, Temudgin soon informs his father that he wants to choose a bride from among this very clan. Such a match would doubtless cause even more trouble with the spurned Merkits; yet even in his anger, Esugei cannot help but appreciate his son's firm resolve. The next morning, the clan's girls line up for inspection and Temudgin makes his choice: Borte. Honoured, Borte's father readily agrees to the match, which will take place in five years. As the betrothed couple says their goodbyes, Temudgin gives Borte a symbol of his dedication: a wishbone, which he promises will bring her whatever she desires.It is the last peaceful moment that Temudgin will know for many, many years. While pausing for a meal on their way home, Esugei is poisoned by the leader of an enemy tribe and dies in his son's arms. Tradition decrees that Esugei's title pass to his oldest son, Temudgin. But Targutai (Au Maakov), a warrior steeped in simmering resentment, has other plans. No sooner has Esegei's burial ceremony ended than Targutai orders his tribesmen to loot the dead khan's camp and seize horses and livestock. Temudgin's mother Oleun (Aliya) furiously denounces the usurper, vowing him that her son will avenge this betrayal. As the traitors desert the plundered camp, Targutai threatens to murder Temudgin as soon as he is grown.Temudgin is now a fugitive, unable to stay with his family if he is to have a chance of surviving. Alone and without a horse, the boy faces a grim future as the seasons change and food grows ever scarcer. One morning, Temudgin is found unconscious in the snow by a group of boys, led by a likeably cocky tribal prince named Jamukha (Amarbold Tuvshinbayar). These two boys - each bright, self-assured and astute - form a fast friendship. Pledging eternal loyalty to one another, they become blood-brothers in a traditional ceremony.Temudgin's respite with Jamukha's tribe is cut short when they are discovered by Targutai. Temudgin is captured and locked in a cague, a heavy wooden yoke that confines his neck and extends past his shoulders. His movement obstructed by the hulking cague, Temudgin can neither feed himself nor drink without the aid of his jailers. Despite his powerless state, the grave, watchful child inspires respect and a certain foreboding in those wise enough to pay attention. And when Targutai and his men break camp and leave the shackled boy behind, Temudgin stoiy resumes his solitary existence. As he has before, he makes his way to the Sacred Mountain that is the rocky sanctuary of Tengri, God of the Blue Sky. He prays to be freed. And he survives.Temudgin manages to elude his enemy until 1186, the Year of the Fire Horse. Now a young man, Temudgin (Asano Tadanobu) faces certain and painful death when he is again caught by Targutai, who is now a khan. But even in this dire circumstance, Temudgin is defiant and unafraid. He has become a warrior, his years of exile having honed his senses and his skills. Alert to the weaknesses of those around him, he engineers an escape of devastating speed, strength and cunning.Having at last secured a horse, he journeys to find Borte, who has seldom left in his thoughts during his years of trial and deprivation. A lovely young woman who remains as spirited as ever, Borte (Khulan Chuluun) joyously greets the man she has steadfastly awaited. Together, they set out in search of Temudgin's family, Temudgin gazing in silent awe at his beloved as he rides by her side. After a happy sojourn with Oleun and Temudgin's siblings, the young couple sets up their own camp on a plateau overlooking the verdant grasslands that spread from horizon to horizon.Meanwhile, word of Temudgin's marriage to Borte has reached the Merkit tribe. Determined to finally achieve his revenge for the long-ago abduction of his wife, Oleun's first husband Chiledu (Sai Xing Ga) leads a party of warriors to Oleun's camp, intending to kidnap Borte. Temudgin and Borte take to their horses in advance of the raiding party, but as they reach a river an arrow pierces Temudgin's back. Borte's quick actions ensure that her husband will live, but at the price of her own freedom.Once recovered, Temudgin has but one goal: to rescue Borte from the Merkits. For help in mounting an attack, he turns to his childhood blood-brother, Jamukha (Honglei Sun), who has become a prosperous and powerful khan. That Temudgin would not simply take a new wife or two is incomprehensible to Jamukha, and Mongols simply do not wage war over a woman. But such is the depth of the blood-brothers' loyalty and love that Jamukha agrees to lend his forces, albeit on the condition that the motive for war remain secret. And Jamukha, not Temudgin, sets the table for the attack, forcing Temudgin to wait until the following autumn.When the attack does come, it is merciless. Thousands of horsemen clash in savage battle on the rocky fields of Merkit territory. Slashing through his opponents, Temudgin seizes a Merkit warrior's animal hide mask and disguises himself in order to penetrate the Merkit camp. There, he finds Borte, who has proven herself a formidable fighter as well.With the Merkits vanquished, their treasures and animals are seized by the victors. Like all Mongol chieftains, Jamukha takes the lion's share of the booty for himself and himself alone. Temudgin, however, claims only a fraction of the remaining loot, distributing the rest among the warriors who fought under his command. Jamukha is bemused by his friend's unorthodox approach, while the soldiers take note among themselves.Temudgin has set out on his own path as a Mongol khan, and his considerate treatment of his soldiers is but the beginning. He is not only a fearless warrior, but a man with a deep knowledge of his own mind and an iron will. Jamukha had envisioned a partnership between them, with Temudgin as his second-in-command. However, it is not in Temudgin's nature to be any man's subordinate, and he will not be dissuaded from returning to his ancestral lands with Borte and his small band of tribesmen.If Temudgin's parting is a wound, a worse insult is yet to come. Two of Jamukha's warriors desert the tribe for the promise of better treatment under Temudgin. Temudgin endorses the soldiers' freedom to choose and accepts them into his clan, infuriating Jamukha's brother Taichar (Bu Ren). Unbeknownst to his brother, Taichar organizes an expedition to raid Temudgin's horses - and is killed in the attempt.Taichar's death inevitably places Temudgin and Jamukha - blood-brothers who love one another still - on the path to war. Temudgin's old enemy, Targutai, soon visits Jamukha to propose an alliance. Though it gives him no joy, Jamukha accepts.Temudgin and his clan are now in a race against , aware that two massive armies are in pursuit. Under his leadership, Borte and the other wives and children are dispatched homeward with a guard of warriors. Before parting, Borte entrusts him with the wishbone he gave her long ago; a symbol of their love and a promise of return.Facing two enemy armies with reduced manpower, Temudgin leads a valiant and strategiy brilliant fight, but the outcome is never in doubt. Jamukha claims the spoils of war, and the most important prize - Temudgin. But as he faces his prisoner, Jamukha is forced to confront the fact that while Temudgin may be defeated, he can never be conquered. Temudgin will humbly ask his blood-brother's forgiveness, but he cannot grant Jamukha's wish to hear him beg for his life. And so Jamukha chooses a punishment worse than death. He makes Temudgin a slave.Thus begins a long and wretched period that finds Temudgin living in chains, sold as property and finally caged in the Tangut kingdom. Treated like an animal; encrusted with grime; gawked at and mocked, Temudgin endures his privations with smouldering rage, his dignity and might undimmed.His day will come. He will send a message to Borte and she will find him. And when she arrives to free him from bondage, the man who will become Genghis Khan will go forth to meet his destiny as the greatest warrior the world has ever known. The leader who imposed the rule of law on the wanton tribes of the Mongol lands, who conquered more territory than any other warrior before or since, the khan of all Mongols: Genghis Khan of the Great Steppe.About the productionAs a child in the former Soviet Union, Russian filmmaker Sergei Bodrov first read about Genghis Khan in history class. Russia was one of the many countries conquered by the Mongols, who launched their first invasion in 1222 under the command of Genghis Khan's grandson, Batu. "Russians lived under Mongolian rule for around 200 years," Bodrov notes. "In our schoolbooks, Genghis Khan was portrayed as a monster. The books were products of the , and the depictions were pretty awful and simplistic."In the 1990s, the filmmaker picked up "The Legend of the Black Arrow," a book about the Mongols and the Turks by the eminent Russian historian Lev Gumilev. Gumilev's history offered a more nuanced portrait of Genghis Khan, which inspired Bodrov to learn more about the man born as Temudgin in 1162. By 2000, Bodrov had added a movie about Genghis Khan to his wish-list of projects. "I'm always interested to take a famous character and dig a little; to take a cliché and find what happened in real life. I want to know: if this is such an awful man, who is accused of killing millions - how did it happen? How did he become Genghis Khan?," he explains. "His childhood is really an unknown story. Then you learn that he was an orphan, he was a slave, everybody tried to kill him, his wife was kidnapped, he got her back when she was pregnant. For me, immediately, it's the beginning of a very compelling story about an extraordinary character."Bodrov spent several years researching his subject, reading everything he could find about Genghis Khan. Scholarship about the ruler is to some degree speculative, because there is no contemporaneous Mongol biography. The only Mongol history from the era is "The Secret History of Mongols," a lengthy poem written by an unknown author some after Genghis Khan's death in 1227. For centuries "The Secret History of the Mongols" was considered lost; a copy, believed to date to the 14th Century, was finally discovered in China in the 19th Century.In 2004, Bodrov began work on the screenplay with Arif Aliyev, his collaborator on PRISONER OF THE MOUNTAINS. Bodrov continued to be inspired by Lev Gumilev's histories, which approached "The Secret History of the Mongols" as a work of literature as well as a historical reference. "I will not say that Gumilev was sceptical, but he had his own thoughts about 'The Secret History of the Mongols,'" says Bodrov. "It's clear that the writer was very emotional; some of the text is very emotional. Of course, when you're writing a poem, lyrics somes are more important than facts. You can't trust a poem for 100% historical accuracy. For Gumilev, 'The Secret History of the Mongols' was not a sacred book. I used a lot of his theories regarding the gaps of in the 'Secret History.' For example, there's a gap in Genghis Khan's story of ten years; suddenly he disappears and nobody knows what happened or where he is. And Gumilev theorized that maybe he was captured, maybe he was imprisoned. Which I thought was great for the story, so in MONGOL Temudgin spends many years in the Tangut prison."MONGOL's screenplay traces the making of one of the most powerful men the world has ever known. But it is also, and perhaps above all, a love story. Here, too, the romance between Temudgin and his first wife Borte, will likely come as a revelation to many viewers, as it did for Bodrov. "It's an unbelievable and, again, unfamiliar story. A nine-year-old boy picks out his bride, and though he doesn't know it yet, his life is changed forever," the filmmaker reflects. "Of course, at the end of his life Genghis Khan had hundreds of wives, but his whole life, the most important woman was Borte. She was not only his wife, she was a very close advisor; he discussed all the major decisions with her. It was like a modern relationship, a partnership. That kind of relationship isn't that common even now; but in that age, it was unheard of!"When Borte gave birth to their first child, Dzuchi, rumours swirled about the baby's paternity; many believed the boy was conceived while Borte held captive by the Merkits. Bodrov notes that Temudgin behaved in a way few of his contemporaries would have, a fact the film acknowledges. "From the beginning he said, 'He's my son.' And he treated Dzuchi as his son."Casting for MONGOL took place around the world, including Mongolia; Kazakhstan; Kyrgyzstan; Japan; China; Korea; Los Angeles; and the Russian regions of Tuva, Buryatia, Tatarstan, Bashkiria, Yakutia (aka Sakha), Volga, Ural, and Siberia.Bodrov cast award-winning Japanese actor Tadanobu Asano as the adult Temudgin. A linchpin of Japan's independent cinema, Asano has appeared a notably diverse slate of films, from Takashi Kitano's samurai film ZATÔICHI to Pen-Ek Ratanaruang's art-house favourite LAST LIFE IN THE UNIVERSE, which garnered Asano the Upstream Award for Best Actor at the 2003 Venice Film Festival. "I was looking for the best and I was looking for who would catch my eye and who would have this certain power. And Asano, of course, is a very special guy. He's a versatile actor, but he's also a musician, an artist, a designer. He's very broad in his interests," Bodrov notes approvingly. "When we met, there was no fuss. No 'Oh, I really want this part.' There was a kind of mystery to him, as well as a self-respect and dignity."Though it might seem odd on its face to cast a Japanese actor as Genghis Khan, Bodrov explains that the Mongol ruler is seen by many Japanese as one of their own. "The Japanese had a very famous ancient warrior who disappeared, and they think he went to Mongolia and became Genghis Khan. He's a national hero, Genghis Khan. Mongolians can claim he's Mongolian, but the Japanese, they think they know who he is. Actually, that's true in many places: in Kazakhstan, they think he's a Kazakh; in Korea, they think he's Korean."The respected Chinese actor Honglei Sun (Zhang Yimou's THE ROAD HOME, Tsui Hark's SEVEN SWORDS) joined the cast as Jamukha, Temudgin's beloved blood-brother and mortal enemy. "It's a classic and compelling circumstance - the friend who becomes your enemy," Bodrov points out. "I was very lucky with the casting, because Honglei Sun brings this perfect mix of gravity and humour. They're completely different people, Temudgin and Jamukha, but they have a strong relationship, strong feelings between them."Throughout the casting process, Bodrov worked with Guka Omarav, a Kazakh filmmaker and close friend. "Guka is a great casting director, and I asked her to help me on MONGOL. We went together to Mongolia, and spent a few weeks there," the filmmaker reports. "She found this really unbelievable boy, Odnyam Odsuren, who plays young Temudgin."However, the right Borte proved elusive. Bodrov wanted to cast a Mongolian woman but with two weeks to go before the start of production, he and Omarova weren't certain about their choices. Omarova returned to Mongolia, and phoned Bodrov a week later. "She said, 'It looks like I found her, but you have to come and see.' I flew in and met this girl, Khulan Chuluun. She was a student, had never acted before. But she was really special, her face and her behaviour. So we decided to take a risk on a non-professional actress. And Khulan was wonderful," he notes, adding, "We have a Japanese Genghis Khan and a Chinese Jamukha; all the rest of the cast, professional and non-professional, is Mongolian."Production on MONGOL began in 2005, and filming took place largely in remote locations in China, Mongolia and Kazakhstan. These were the very lands that were part of the Mongolian Empire, including the vast empty steppes and dense forests that were home to young Temudgin. The film captures the way noic Mongol tribes lived in the 12th Century, traversing the landscape on horseback, moving according to the seasons and setting up compact, efficient camps with herds of livestock.This pastoral lifestyle continues in parts of Mongolia today, where nos can be found pursuing an existence not so different from that of their ancestors. Bodrov credits the artist Dashi Namdakov, who served as MONGOL's production designer, with helping him to navigate this very different culture. An internationally acclaimed sculptor, Namdakov is from Buryat, a Russian region that borders Mongolia and is home to many ethnic Mongols. Says Bodrov, "Dashi has the Mongol culture in his bones and knows how to approach this material. For him, Genghis Khan is very serious. And he said to me, 'Sergei, before we start this movie, we have to go to see the head shaman of Mongolia and you have to ask permission to do this movie.' I thought that was a good idea, because shamans were very important in Mongolia during that period of . Mongolians think that Genghis Khan was one of the most powerful shamans."After being decimated during the Soviet era, shamanism has e a comeback in Mongolia, where it co-exists alongside the country's predominant Buddhism. Bodrov and Namdakov paid a visit to the country's chief shaman, who is based in Mongolia's capitol, Ulan Bator. "He has his tent in the main square, where people can come to talk to him," reports Bodrov. "We went to him and explained what we wanted to do. We brought all these offerings, and did everything properly. And he said to us, 'You know, many people wanted to make a movie about Genghis Khan - Japanese, Americans ... many people have thought about it. You're the first who came to me to ask permission. And you did right.'"MONGOL filmed in some of the most isolated places on earth; it was not uncommon for the nearest town to be 12 or even 15 hours away by car, on rough, rudimentary roads. The 21st Century was far, far away and the filmmakers continued to follow the ancient shamanistic customs whenever they set up in a Mongol homeland. In each location, they would visit the special ceremonial site reserved for requests and offerings. "We would bring offerings and say: 'We come here with good intentions. Please, we ask permission of the spirits: Can we work here?,'" says Bodrov. "I believe it was the one way to do it, because this was a very difficult movie to make. How we survived somes, I don't know. I think it was because we were following traditions. It's like the expression, 'When in Rome, do as the Romans do.' We were completely in another century, working with absolutely different people. And these are their beliefs. I think they respected the fact that we were following their traditions."To help create MONGOL's vivid horse-mounted battle sequences, Bodrov ed upon dozens of seasoned stuntmen from Kazakhstan and Kyrgyzstan, whom he came to know while filming the historical epic NOMAD in 2004 in Kazakhstan. During two months of rehearsals, the stuntmen also trained the extras and the horses who would be riding in the film's battle scenes.The professional stuntmen brought their own animals, as did the non-professional extras - Mongolians, Kazakhs and Uyghur - whose cultures have strong equine traditions. Though there was no such thing as a local humane society to supervise the proceedings, both amateur and professional horses were treated with utmost care. "I am a horse-lover - I wanted to be a jockey when I was kid - so I took responsibility for the treatment of the horses," declares Bodrov. "Not a single horse was hurt on this film. There's a line in the movie, when young Jamukha tells Temudgin, 'For Mongol, horse is more important than a woman.' And that's how it is with the Kazakh and Kyrgyz stunt people. They took very good care of the horses and were very conscientious."Production logistics, not surprisingly, were daunting. Hundreds of people had to be transported to isolated areas, fed, housed in tents and, where necessary, trained. "My crew was around 600 people. Plus 1,000 extras, horses ... that's an army! You could fight with this many people, and go invade some territory!" Bodrov laughs.The MONGOL shoot lasted approximately 25 weeks, divided into two segments across summer, fall and winter. Bodrov shot the initial leg, encompassing Temudgin's childhood and a few years of adulthood, with Dutch director of photography Rogier Stoffers, whose credits include the Oscar-winning CHARACTER and the recent hit DISTURBIA. With Stoffers unavailable for the second leg, Bodrov tapped Russian cinematographer Sergey Trofimov, having been greatly impressed by his work on the hit supernatural thrillers NIGHT WATCH and DAY WATCH. "Rogier is a wonderful cinematographer. His lighting is beautiful and his sense of framing is impeccable," says Bodrov. "I knew I could trust Sergey with the second half of the film, which had many difficult locations and difficult shoots. And he did a brilliant job with the complex action sequences - you can feel the energy."After filming wrapped, Bodrov accepted an invitation to visit Mongolia's president in the country's capitol, Ulan Bator. While there, he happened to attend some concerts by Altan Urag, an eight-person Mongolian folk-rock band. "I just fell in love with them. They have an amazing energy," the filmmaker remarks. He asked the band to contribute additional music to the soundtrack, and their distinctive vocal rhythms lend a sense of otherworldly strength to several scenes where Temudgin confronts his enemies. To create an original orchestral score befitting an 12th Century epic, Bodrov tapped Finnish composer Tuomas Kantelinen, who created an evocative suite of songs that compliment the film's sweeping landscapes and powerful emotions.In assembling MONGOL, Bodrov was delighted to have the collaboration of two innovative and gifted editors, Academy Award winner Zach Staenberg (THE MATRIX trilogy) and BAFTA Award winner Valdís Óskarsdóttir (ETERNAL SUNSHINE OF THE SPOTLESS MIND, THE CELEBRATION). "I was very proud to work with them," he affirms. "I've worked with great people on this film. The level of interest and enthusiasm has been tremendous - everyone loved the material. He's an interesting character, Genghis Khan, and this is not your typical historical saga."About the filmmakersSERGEI BODROV (Director/Writer/Producer)An award-winning filmmaker known for his humanistic perspective, rich sense of humour and consummate craftsmanship, Sergei Bodrov has been a leading figure in Russian and world cinema for over two decades. Since making his feature directorial debut in 1984, he has helmed fourteen feature films, writing or co-writing all but two. His work has been the subject of several retrospectives, the first of which was held at the 1993 Toronto Film Festival. He received tributes in 1996 and 1997, respectively, at the Thessaloniki and La Rochelle film festivals, and at the Los Angeles County Museum of Art in 1997.Bodrov won international acclaim for his 1996 drama PRISONER OF THE MOUNTAINS, which received Academy Award and Golden Globe Award nominations for Best Foreign Language Film. Co-written by Bodrov and based on a Leo Tolstoy novella, the film premiered at the 1996 Karlovy Vary International Film Festival, where it won the Grand Prize (Crystal Globe) and the Award of the Ecumenical Jury. The film went on to win five Nikas, Russia's national film awards, including Best Film, Best Director and Best Screenplay, and Bodrov received the 1996 European Film Award for Screenwriter of the Year.His most recent directorial credits include the historical epic NOMAD (2005), co-directed with Ivan Passer; the romantic fable BEAR'S KISS (2002), which he also co-wrote and produced; the suspense drama THE QUICKIE (2000), which he co-wrote and produced, starring Vladimir Mashkov, Dean Stockwell, Jennifer Jason Leigh and Lesley Ann Warren; and the family film RUNNING FREE (1999). Other credits include SWEET JUICE OF THE GRASS (1984), his feature directorial debut; NONPROFESSIONALS (1985), FREEDOM IS PARADISE (1989); GAMBLER (1990); I WANTED TO SEE ANGELS (1992); and WHITE KING, RED QUEEN (1992). His upcoming projects include DRUNKEN SOLDIER, a documentary about the band The Tiger Lillies, who provided soundtrack music for THE QUICKIE.In addition to writing screenplays for his own films, Bodrov has written or co-written more than twenty films for directors in Russia, the United States, France and Germany. Among them are EAST-WEST, which was directed by Regis Wargneir and nominated for the 2000 Academy Award for Best Foreign Language Film; Gulshat Omarova's award-winning directorial debut SHIZA.Bodrov has shared his expertise in filmmaking with college students for over 15 years. He taught at the Moscow State Film School from 1991-1992, and has been a guest professor at UCLA, the University of New Orleans, East Hampton College and the University of Hamburg.Bodrov has lived and worked for the past five years in Kazakhstan.Sergey Trofimov- CinematographySergey Trofimov e his debut in cinema in 1994 with the film "Peshawar Waltz" directed by Timur Bekmambetov. After that he shot commercials and music videos for a fairly long period, working in television. He returned to cinema by shooting two fantasy blockbusters for Timur Bekmambetov, "Night Watch" (2004) and "Day Watch" (2006), which topped the Russian box office. He is a specialist in shooting complex scenes. In the film "Mongol" he worked on the second expedition to China, when all the main crowd and battle scenes were shot for the film.Selected filmography:1994 - "Peshavar Waltz" (Russia)1997 - "World History. The Imperial Bank" (Russia, a series of television commercials)2004 - "Night Watch" (Russia)2006 - "Day Watch" (Russia)2007 - "Mongol" (Russia/Kazakhstan/Germany)Rogier Stoffers - CinematographyThe internationally acclaimed Rogier Stoffers was born in the Netherlands where he graduated from the National Film and Television Academy and started to specialize in cinematography. Stoffers was the cinematographer for Mike van Diem's "Character", which won the Academy Award for Best Foreign Film in 1993, among others. Among his further credits are "Quills" (2000, director: Philip Kaufman, three Oscar nominations 2001), "John Q" (2001, starring Denzel Washington, director: Nick Cassavetes), "Masked an Anonymous" (2003, starring Bob Dylan, Jeff Bridges, Penélope Cruz and Jessica Lange, director: Larry Charles) as well as "The School of Rock" (2003, director: Richard Linklater, British Comedy Award 2004, MTV Movie Award 2004, Young Artist Award 2004).Selected filmography:1997 - "Character" (Academy Award for the Best Foreign Film)1998 - "Fl. 19,99"1999 - "Under the Palms"2000 - "Quills"2002 - "John Q"2002 - "Enough"2003 - "The School of Rock"2005 - "Bad News Bears"2007 - "Mongol"Dashi Namdakov - Production DesignerBorn in a town near the Russo-Chinese border, Namdakov began his career in the workshop of the loy well-known sculptor G Vasilyev. In 1988 he was admitted to the University of Fine Arts in the Siberian city of Krasnoyarsk. Namdakov is best known for his ability to observe the beauty of the world and to recreate it in metal. His beautifully crafted images reflect the spirit and mystery of the Oriental view of the world. In 2000 Dashi Namdakov became well known after his first exhibition in Irkutsk. His sculptures and drawings perform a combination of innovation and ancient Buriat traditions. Namdakov was honoured as the "Siberian of the Year" in 2004 and awarded the Silver Medal of the Russian Academy of Fine Arts in 2003. Some of Namdakov's works belong to the private collection of the Russian President.Zach Staenberg - EditorFilm editor Zach Staenberg has worked on feature films and television shows. Holding a degree in communications from the University of Wisconsin at Madison, Staenberg entered the film industry as Brian DePalma's production assistant on "The Fury" (1978). Staenberg became a full-fledged cutter in the mid-80s. During the late 90s he joined the Wachowski Brothers as editor for "Bound" (1999) and continued to work with them on all instalments of "The Matrix" ("The Matrix" (1999), "The Matrix Reloaded" (2003), "The Matrix Revolutions" (2003)) starring Keanu Reeves. Staenberg's other notable credits include "Antitrust" (2001) by Peter Howitt and "Lord of War" (2005) by Andrew Niccol. After joining Sergei Bodrov on "Mongol", Zach Staenberg will be reuniting with the Wachowski Brothers for their Manga adaptation "Speed Racer".Karin Lohr - Costume DesignerThe German costume designer Karin Lohr started her career at the theatre where she worked at the well-known Viennese Burgtheater as well as at the Thalia Theatre in Hamburg among others. Since 1993 she works for the German public and private television where she designed costumes for almost two dozen productions. 2000 she started working for several cinema productions such as "Girl" and "Planet der Kannibalen". With director Sergei Bodrov she shot the movie "Bear's Kiss" which was nominated for the Golden Lion at the International Venice Film Festival.Lead actorTadanobu Asano - as Temudgin/Genghis KhanAsano e his film debut in George Matsuoka's "Swimming Upstream" (Bataashi Kingyo) in 1990. His charismatic style has e him one of the leading Japanese actors of today. He has been awarded a variety of prizes both at home and abroad, including the Upstream Prize for Best Actor at the 2003 Venice International Film Festival for his role in a Thai film, "Last Life in the Universe" (by Pen-Ek Ratanaruang). His recent works include: "Kaza-hana" (2001, directed by Shinji Somai), "Distance" (2001, director: Hirokazu Koreeda), "Ichi the Killer" (Koroshiya 1) (2001, director: Takashi Miike), "Bright Future" (Akarui Mirai) (2003, director: Kiyoshi Kurosawa), "My Grandpa" (Watashi no Grandpa) (2003, director: Yoichi Higashi), "Zatoichi" (2003, director: Takeshi Kitano) and "Dead End Run" (2003, director: Sogo Ishii).Production partnersSergey Selyanov - Producer (CTB Film Company, Russia)Sergey Selyanov is the co-founder of the CTB Film Company of St Petersburg, one of the most successful production companies in Russia. Founded in 1992, CTB has produced over thirty films which have obtained more than 80 awards at Russian and international film festivals. In addition to critical acclaim, many of Selyanov's productions, including "Brother", "Peculiarities of National Fishing", "Checkpoint", "Mommy Don't Cry", "On the Way Home (Brother-2)", "Sisters", "War", "Cuckoo", "New Russian" and "Little Longnose" have been major box-office hits in Russia. In 1998, Selyanov was awarded the Khanzhonkov Medal for Best Russian Producer. In 1999, he received a Producer's Award from the American Motion Picture Association for outstanding achievements in the development of private film production in Russia.Anton Melnik - Producer (Andreevskiy Flag Film Company, Russia)The Andreevskiy Flag Film Company has been founded in 2003. Its main focus for activities is the production of full-length feature films. The company's first project was the film "Lighthouse", which was shot in the spring of 2005. The film participated in several film festivals, including the 28th International Moscow Film Festival and the 3rd Golden Apricot International Film Festival, where it won the prize for Best Debut in the Armenian Panorama program. It also won the jury diploma in the "Art Line" competition program at the 4th Russian Moscow Premiere Festival.Stefan Arndt and Manuela Stehr - Co-Producers/German Distributor (X-Filme Creative Pool, Germany)Alongside Tom Tykwer, Dani Levy and Wolfgang Becker, Stefan Arndt is a founder and associate of the creative alliance X-Filme Creative Pool, which was later joined by Manuela Stehr who previously headed the production funding at the Filmstiftung Nordrhein-Westfalen (North-Rhine Westphalia Film Foundation). As a producer, Stefan Arndt was in charge of numerous successful productions such as Wolfgang Becker's worldwide box-office hit "Good Bye, Lenin!" (2003), "Alles auf Zucker", Tom Tykwer's "Run Lola Run" (1998) and "Heaven" (2001), in co-production with MIRAMAX, as well as Achim von Borrie's "Love in Thoughts" (2003) and "My Fuehrer - the Truly Truest Truth About Adolf Hitler" (2007).Kinofabrika GmbH - Co-Producer (Hamburg, Germany)Kinofabrika GmbH was founded by Sergei Bodrov in Germany in late 2002 with the aim of producing and co-producing feature films and documentaries. The production company was involved in the production/post-production of the feature film "Bear's Kiss", which premiered at the Venice and Toronto International Film Festivals. In 2003 Kinofabrika GmbH was delegate producer of the German-French-Italian documentary co-production "Alone with the Moon". In 2003/2004 they co-produced "Shizo", a Russian-Kazakh-German-French production which premiered in Cannes (Un Certain Regard) in 2004 and won prizes in Tokyo, Moscow, Cottbus and elsewhere.Bulat Galimgereev - Executive Producer (Neftex)Bulat Galimgereev was president and chairman of the board of AB Texaka Bank for ten years, as well as consultant and member of the board of the Oil and Gas Ministry of the Republic of Kazakhstan, and co-chairman of the Society for Economic Cooperation between the US and Kazakhstan. He was also the co-producer and lead actor of the film "The Night Blues" (National Studio Kazakhfilm, Kazakhstan).CreditsFilmmakersDirected by SERGEI BODROVWritten by ARIF ALIYEVSERGEI BODROVProduced by SERGEY SELYANOVSERGEI BODROVANTON MELNIKCo-produced by STEFAN ARNDTMANUELA STEHRGULNARA SARSENOVAZHANG XIAExecutive producers BOB BERNEYBULAT GALIMGEREYEVALEC SCHULMANNDirectors of Photography SERGEY TROFIMOV RGCROGIER STOFFERS NSCEdited by ZACH STAENBERG ACEVALDIS OSKARSDOTTIRMusic by TUOMAS KANTELINENAdditional Music by ALTAN URAGCasting Director GUKA OMAROVAProduction Designer DASHI NAMDAKOVCostume Designer KARIN LOHR SFKStunt Choreography ZHAIDARBEK KUNGUZHINOVJUNG DOO HONGCastTemudgin TADANOBU ASANOJamukha HONGLEI SUNBorte KHULAN CHULUUNYoung Temudgin ODNYAM ODSURENOelun ALIYAEsugei BA SENTargutai AMADU MAMADAKOVMerchant with Golden Ring BA YINDai Sechen HE QIMonk SUN BEN HOUBoorchu JI RI MU TUSorgan Shira A YOU ERAltan HONG JONG BA TUDaritai E ER DENG BA TE ERTodoen DI BAOGirkhai SU YOU LE SI RENChiledu SAI XING GACharkhu TEGEN AOTangut Garrison Chief ZHANG JIONGYoung Borte BAYARTSETSEG ERDENEBATYoung Jamukha AMARBOLD TUVSHINBAYARDzhuchi BA TIMongen LI JIA QITaichar BU RENAssociate Producer ASAI TAKASHILine Producer China MAX WANGLine Producer Russia NATALYA SMIRNOVALine Producer Germany ULLI NEUMANNMARCOS KANTISProduction Managers China KE ER QIN FUZHOU XUE FANGProduction Manager Kazakhstan ALEXANDER SEVERNUKAccommodation Manager WAN YU PUFirst Assistants Director, Second Assistant Director, Third Assistants DirectorCHANG XIAO YANGDMITRI LIUTATYANA CHISTOVAZHAO MENGANNA BASSASSIA BODROVAXI DZIROSCHIN KIRILLHONG UDING XIAO NANCasting Directors U RI JI TUHAN WEN BIAODialogue Coach SI CHAOArt Director Assistants ELENA ZHUKOVAHORACE MAHAI MING XIANGJING TAO ZHAOXIAO MING ZHANGMake-up Department Head XIAO HAI YANGHair Department Head QIU WEN XUScript Supervisor GULMIRA KARCHALOVACamera Operators/Steadicam Operators FLORIAN EMMERICHVIKTOR ZUBAREV1st Assistants Camera, 2nd Assistant Camera BRETT ASHLEY MATTHEWSALEXEI SOLODOVJASMINE YUEN-CARRUCANFocus Pullers, Camera Technicians, Crane Operators, Camera LoadersCHAN EDMONMIKA GAMZYANSERGEY GULINKOLYA SHINKARENKOJIA WEIANTON FYODOROVALEXANDER CHERNYAVSKYMA MENGCHUKHRAT KHUDAIDOTOVEVGENIY DOMORETSKYNIKOLAY CHERENKOVSTEVEN LAUROMAN GUSEVGUAN FEICHAK PIU CHIUWAI KWAN LAUVideo Playback RAYMOND CHANDA HAOAN RANPHILIP MIKHNEVICHStill Photographers ALEXANDER ZABRINIGOR VERESHAGUINNARYN IGILIKKOHKI HASELSet Decorator XIN WEI ANLeadman RI GANG CHENProps Masters BAO TAI LIDE WEN BAISet Designer ZHI XIANG SHILivestock Manager GUO HONG SHENGSet Construction Manager ZHI XIANG SHIArt Department Co-ordinator RI GANG CHENSet Dressers SERGEY FUKALOVEDUARD PETROVMARINA EVSTIGNEEVAOLGA ARKHIPOVANIKOLAY ISPRAVNIKOVELENA LIUCostume Designer Assistant SUSANNE PLATZWardrobe Supervisors JUN CHAIZHIBIN ZHAOBAORONG HUANGWardrobe RONG WANGYANG LIUHONGYAN MAXUE FENGCostume Aging CONSTANZE SCHUSTERMake-up CHANG ZHENG LUIXIAOJUN JIANGSound Engineers, Supervising Sound Editors, Foley Artist, Foley Editor, Re-recording Mixer, Additional re-recording Mixer, Sound Effects EditorsBRUNO TARRIERÉMAXIM BELOVOLOVSTEPHAN KONKENTHOMAS KNOPMARTIN LANGENBACHTOBIAS PEPERSTEPHAN KONKENHARTMUT TESCHEMACHERGUIDO ZETTIERERIK MISCHIJEWHARTMUT TESCHEMACHERAdditional Sound Library ROB NOKESBoom Operators LAURENT RODRIGUEZILYA TALOCHKINALEXEY ANTONOVGaffers CHUN WAN LAMMAXIM KALMYKOVBest Boys Electric OLEG BACHEVSKYCHUN SHING LAMA SHINGElectricians CHAN CHANZHANG WU HUAWU CHANG QINGMEI ZHEN SONGMEI PAN SONGWAI SHING FANMING HANG NGSING HONG CHANWING CHAI KOCHAN SING HONGKey Grip LOUIS JONGBest Boy Grip JIMMY FOKGrips YICK HANG PANGRAYMOND KWONGCHEUNG TAT CHUENDENG QING JUNDolly Grips WING HONG LEUNGDMITRY OLKHOVIKOVZHAN YUN TONGZHAO HONG YUHE JIAN HONGLocation Managers WAN DINGGAO MING KUSet Manager FAN YING CHUNSpecial Effects Supervisors ZHAN XIANG WANGDO-AHN JUNGSpecial Effects KYUNG-SOO PARKHYUNG-TAE YOONSpecial Make-up SHIN JAE HOAN HYUNG GONLEE JU HWANProduction Co-ordinators ZARINA MARMYKULOVAOLYA LIMARIA LAVNIKOVICHSONG YANGSKADY LISAssociate Editor HERVÉ SCHNEID ACEAdditional Editor SÖNKE SAALFELD1st Assistant Editor USA JESSICA SCHULTEAssistant Editor Russia FEDOR KALUGINPost-Production Supervisor USA GRREG SPENCEPost-Production Supervisor Russia SERGEY DOLGOSHEINPost-Production Supervisor Germany ANDREAS DOBERSChief Accountant SVETLANA PONOMAREVAAccountants TATYANA POLYANSKAYALYDIYA SCHIPACHEVANADEZHDA ZATSEPINATATYANA RYABOVAMARGARITA KRAMAREVATONGSHUN JICORDULA HERMANN (X FILME)Legal and Business Affairs FRANK GRUBER (USA)NATALIA DROZD (RUSSIA)FRANK EICKMEIER (GERMANY)ANDRO STEINBORN (GERMANY)Customs Manager LIU KANGCustoms Co-ordinator LI ZHEN DUOOffice Production Assistants Germany THOMAS SCHNEIDERYANNIS BANULSTransportation Captain FU FA MINGSecond unitDirector GUKA OMAROVADirectors of Photography ELENA IVANOVARAFIK GALEEVSound Engineer ZHANG HUIVideo Playback DDMITRY IVANOVBoom Operator XIE HONG YUGaffer ALEXANDER CHERNYGrip VLADIMIR MIKHAILOVScript Supervisor ERMOLAEVA MARIAMusic Recording Engineers JEOFF FOSTERSERGEI SOKOLOVVLADISLAV PESINSound Editorial & Mixing Services KONKEN STUDIOSMusic Editor THOMAS KNOPMusic Recorded at AIR LYNDHORST STUDIOS, LONDONDOCUMENTARY FILM STUDIOS, ST PETERSBURGKANTELINEN ENSEMBLE STUDIOS, HELSINKICHAMELEON STUDIOS RECORDING, HAMBURGMusic Mixed at KONKEN STUDIOSMusic Mix Engineer KLAUS BOHLMANNLondon Orchestra Contractor ISOBEL GRIFFITHSOrchestras "ONE ORCHESTRA," ST PETERSBURGHAMBURGER SYMPHONIKEROrchestrators MAXIM KOSHEVAROVMATT DUNKLEYConductor TUOMAS KANTELINENCello Solo PIRKKO LANGERPercussions HILKO SCHOMERUSRock Band MAGNETISSIMUS ELEKTROFight Co-ordinators OLEG KORYTINVALERY RYBINStunts MURAT BURHANOVTOICHUBEK SERKEBAEVEDILBEK MOLDALIEVNURBEK BOLOTOVILICHBEK NURAEVNURLAN ALTAYEVKURBAN DODARKHODZHAEVKANAT KUDYAROVDANIYAR BEISSEKOVALMAT YELEGENOVBEIBUT KHOMIKOVERIC SHAIPULOVGERMAN GULAEVSULTAN DIKAMBAEVAIBEK DAUDOVSHOKAN AIMAROVLYUBOV VOLKOVAJALOLITDIN YULDASHEVNODIRBEK SHAYMARDANOVNIKOLAI PAVLYUKOLEG BOTINALEXANDER BARANOVNATALIYA DARIEVAALEXANDER IVANOVRADIK SHAKHMAEVSERGEY NASULENKOVALERY ZAITSEVLeading Visual Effects Supervisor NIKITA ARGUNOVVisual Effects Supervisors FEDOR ZHUROVALEXANDER GOROKHOVALEXANDER POLEVOIALEXEY GOUSEVRUSLAN TIMERBAEVKIRILL KEMNITSALEXEI GOUSEVDMITRY TOKOYAKOVDMITRY PUZIRIOVMARINA GETMANOVASERGEI ALIBEKOVCG Artists SERGEI KLIMOVDMITRY LOKTEVALEXANDER TARANOVTATYANA RESHETNYAKOVADENIS LEONTIEVALEXANDER PUSTIKAEVGENY SHPILEVOIPAVEL KARPELLYANSKIJANDREY ZHIDKOVANTON KERNITSKYALEXEY VOLKOVNICKOLAI GORYAEVOLEG MURANOVMARIA MITINAMARIA SKOBELKINAYURYI BORISOVANDREY BOCINVADIM TCHERBAKOVMIKHAIL SEMENOVSTANISLAV POLOGRUDOVEMIL SAVINDMITRYI KORSHUNOVTATIANA KISELEVAANDREY KISELEVNIKOLAY KORETSKIYPAVEL SOKOLOVVLADIMIR TARASOVYURI BULATOVARKADIY DEMCHENKOALEXANDR KYTMANOVANDREY MESNYANKINDMITRY KORYANOVVECHESLAV SMIRNOVDMITRY VASILYEVMURAVIEV SERGEIDENIS LANTSEVSTARKOV ALEXANDRAPOLLINARY ZAKHAROVELENA PESTRIKOVAANDREY CHECHETKINVICTORYA PANOVAALEXEY SHAVROVALEXANDER KILANOVKONSTANTIN KHARITONOVVLADIMIR BARZIONOVDMITRY SLEPICHEVARTEM VERBITCKYMAXIM GUREEVPAVEL KARPELLYANSKIJCONSULTANTS:S Dmitriyev, A Zheleznyakov, B Bazarov (Member of Academy of Sciences of Russia)SPECIAL THANKS:I Tasmagambetov, I Buzdin, B Prützmann, Li Fang, A ZotovInterpreters OLGA KASHIRINADARIA PETROVAINNA GRUENBERGSONYA PETLERALEXANDER ERSHOVMAXIM KOROLKOVYUI NAITONARANBAATAR BYAMZHAVFAN WANGOLEG ZHANGJING LISEUNG HWAN OHSASHA OHDI Facility OPTICAL ART, HAMBURGHead of Production HARALD LEHMANNDI Supervisor FRANK HELLMANNScanning STEFAN TÄNZLERTHOMAS DISSELHORSTCompositing MAGGI SELCHOWDIRK FRISCHMUTHGrading - Baselight RONNEY AFORTUTitle design DARIUS GHANAIWith SASKIA RÜTERVERONIKA SHMYROVAFilmrecording CHRISTIAN BURGDORFFCar Rentals Germany HERTZ AUTOVERMIETUNGCamera Rentals MADDELS CAMERAS GMBH, HAMBURGProduction Lab ATLANTIK FILM KOPIERWERK, HAMBURGLab Project Manager JENS FISCHEREditing Facility VCC PERFECT PICTURES AG, HAMBURGProject Manager JENNY CAZELLESCGI Facilities CINEMATEKA, CLR, VFX-EVOLUTION, ALGOUS STUDIO, NEURON STUDIOS, DI-VISION STUDIOS, POSTPRODUCTION RUAudio Post-Production KONKEN STUDIOS, HAMBURGLighting Equipment CINERENT- BEIJING, SALON FILMS - HONG KONGGrip Equipment CINERENT - BEIJING, SALON FILMS - HONG KONGFilmed on KODAK FILM STOCKFilmed on locations in MONGOLIA, CHINA, KAZAKHSTAN
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