The film’s international cast includes acclaimed Italian actor-director Sergio Castellitto (“The Big Blue,” “Mostly Martha,” “Don’t Move”) as the villainous King Miraz; fellow Italian performer Pierfrancesco Favino (“Night at the Museum,” “Romanzo Criminale”) as the leader of the Telmarine army, Gen. Glozelle; Mexican star Damián Alcázar (“Men with Guns,” “And Starring Pancho Villa As Himself”) as Lord Sopespian, another high-ranking soldier in Miraz’s army; Spanish actress Alicia Borrachero (“Periodistas,” TV’s “Hospital Central,” “Love in the Time of Cholera”) as Miraz’s loyal wife, Queen Pruniprismia; and veteran French-Flemish actor Vincent Grass (“Vatel,” “Ma Vie En Rose”) as the wise old sage, Doctor Cornelius.
Scottish actor Ken Stott (“Casanova,” “King Arthur,” “The Boxer”) lends his vocal talents to the CGI character of Trufflehunter, the faithful badger. Academy Award® nominee Liam Neeson (“Schindler’s List”) returns as the voice of Aslan the Lion, and veteran English comic Eddie Izzard (TV’s “The Riches”) voices Reepicheep, the swashbuckling mouse.
Inspired by Lewis' imaginative creations, the story's human cast will once again be complemented by a gallery of original creatures portrayed onscreen in the combined efforts of live-action and CGI animation under the supervision of returning visual effects co-supervisor and Oscar® nominee Dean Wright (“The Lord of the Rings: The Return of the King,” ”Titanic”), who will collaborate this time with VFX veteran and longtime Adamson ally Wendy Rogers (“Shrek,” “Flushed Away”).
The pair, who supervised over 1,600 CGI shots for the film, teamed with the movie magicians at London's Moving Picture Company (all five “Harry Potter” films, “Wallace and Gromit: Curse of the Were-Rabbit”), the Oscar®-winning Framestore-CFC (“Superman Returns,” “Children of Men,” all five “Harry Potter” films) and Weta Digital in New Zealand. Five-time Academy Award®-winning visualist Richard Taylor (“Lord of the Rings” trilogy, “King Kong”) and the wizards from his Weta Workshop designed the film's armour and weaponry for Narnia's new inhabitants, the Telmarines.
Oscar® winners Howard Berger, Gregory Nicotero and Tami Lane also return to design and apply the film's special makeup effects, manufacturing hundreds of creature prosthetics for many of the unique characters in the story. KNB EFX Group, Berger’s award-winning design house in Los Angeles, fabricated several full-scale animatronic suits for the story’s unique Narnian beasts, which include minotaurs, satyrs and centaurs.
Oscar®-nominated production designer Roger Ford (“Babe,” “Peter Pan,” “The Quiet American”), award-winning costume designer Isis Mussenden (“Shrek,” “Shrek 2”, “10 Items or Less”), film editor Sim Evan-Jones (“Shrek,” “Shrek 2”) and Grammy®-nominated composer Harry Gregson-Williams (“Shrek,” “Shrek 2,” “Flushed Away”) all repeat their roles from “The Lion, the Witch and the Wardrobe.” Karl Walter Lindenlaub, A.S.C., bvk, (“Independence Day,” “Stargate”) joins Adamson's technical team as director of photography.
In addition to its commercial success, “The Lion, the Witch and the Wardrobe” also earned numerous awards including the Oscar® for Best Achievement in Makeup, as well as nominations for visual effects and sound; the British Academy (BAFTA) Award for Best Makeup, along with nominations for visual effects and costumes; Golden Globe® nominations for Best Movie Score and Alanis Morissette’s original song “Wunderkind;” and a pair of Grammy® nominations for score and Imogen Heap’s original composition “Can’t Take It In.”
THE CHRONICLES OF NARNIA: PRINCE CASPIAN began filming on February 12, 2007 for six weeks on both the North and South Islands of New Zealand, where locations again included Henderson Studios’ sound stages as well as brand new sites on the country’s alluring Coromandel Peninsula on the North Island. South Island locales included the isolated Haast River Valley bordering the Tasman Sea on the country’s verdant South Westland coast, and forests near Paradise Valley and Glenorchy outside of Queenstown.
After concluding the New Zealand portion of the schedule in late March, the company relocated to Eastern Europe and the legendary sound stages at Prague’s Barrandov and Modrany Studios. Key exterior locations in the Czech Republic included the Northern Bohemian city of Usti, the primary site of the film’s epic climactic battle, and locales in Poland and Slovenia.