Dwayne Johnson Skyscraper

Global Icon Dwayne Johnson Leads the Cast

Cast: Dwayne Johnson, Pablo Schreiber, Neve Campbell, Roland Møller
Director: Rawson Marshall Thurber
Genre: Action
Rated: M
Running Time: 102 minutes

Synopsis: Global superstar Dwayne Johnson leads the cast of Legendary's Skyscraper as former FBI Hostage Rescue Team leader and U.S. war veteran Will Sawyer, who now assesses security for skyscrapers. On assignment in China he finds the tallest, safest building in the world, The Pearl, suddenly ablaze"and he's been framed for it. A wanted man on the run, Will must find those responsible, clear his name and somehow rescue his family who is trapped inside the building...above the fire line.

Skyscraper
Release Date: July 12th, 2018

About The Production

The Dragon and the Pearl: A Fabled Inspiration

'Once upon a time there was a poor boy who lived in a very poor village. The land was as dry as anyone could remember, and every day the boy had to search farther and farther for grass to feed the livestock that sustained the boy and his mother. One day, as he was digging in the fields, the boy discovered a beautiful pearl. He put the pearl in a jar of rice for safekeeping, and the next morning the jar was overflowing. The magical pearl soon brought the village prosperity, and its people no longer hungered.

'Word of the pearl's magic spread far and wide, and soon evil men came to the village, intent on taking the pearl for themselves. The little boy swallowed the pearl, and when he did he was transformed into a ferocious dragon. The skies opened, filling the river. The dragon disappeared into the water, from where he continues to guard the village and its people until the end of time."

"'The Dragon Pearl"

Will Sawyer & The Pearl: Adrenaline Meets Engineering

An American husband and wife and their two young children are happily playing together in a vast park of ornamental trees and a cascading waterfall. But pull back a bit from this paradise and you will discover that this is no ordinary park. This haven of tranquility is actually a 30-story vertical wonder in the middle of an even greater wonder: The Pearl, the world's tallest skyscraper. At 225 stories and more than 3,500 feet high, it towers on the edge of the Kowloon side of Hong Kong's famed Victoria Harbour, a beacon of prosperity and technological achievement.

Large enough to fit nearly three Empire State Buildings within its frame, and still this is an undoubted engineering masterpiece. Its sinuous frame splits at its peak into magnificent jaws that support an enormous luminous sphere, giving the building its infamous moniker. Inspired by the ancient Chinese fable The Dragon Pearl, this marvelous creature promises all who dwell within shall remain safe and secure.

Complete with a five-star hotel, three full-sized gyms, two 16-screen cinemas, a driving range, concert hall, six-story shopping mall, a Michelin three-star restaurant, the 30-story Jade Park, and more than 100 floors of luxury residential suites, The Pearl is a vertical city unto itself. The brainchild of Chinese software developer Zhao Long Ji, it is also the first building of its size in the world to achieve a negative carbon footprint, relying on cutting-edge solar and wind technology to accomplish this amazing feat of sustainability. It even grows its own food.

'The Pearl is a character within our film," says producer Hiram Garcia. 'In cities like Hong Kong where the population is so large, there's often no longer room to build out; you can only build up. Setting our story in the tallest building in the world very much represents the reality of what's going on now. Still, The Pearl is almost three times the size of the Empire State Building. It's one of those things that begs the question, -Just because we can do it, should we do it?'

There's an aspect of the Titanic to this. It's a marvel of technology, but with that comes so many risks"as Will and his family soon encounter."

The Pearl's residential upper half will soon open to Hong Kong's most successful citizens, but before this can happen Zhao must achieve another modern marvel: securing the most expensive insurance policy ever underwritten for a mixed-use building. The process requires an independent risk assessment to determine the structure's safety and security limitations"if one can call them that"built to withstand any catastrophe.

The Pearl incorporates a state-of-the-art fire suppression system that will assuredly contain any flames within their originating floor, multiple redundant safety and security systems, as well as an offsite control facility to ensure emergency access and management…and even elevators that operate with electromagnetic induction technology instead of cables. Nevertheless, the technology must be proven effective and hacker-proof.

Enter Will Sawyer.

We first meet Will 10 years earlier, the lead member of an elite division of the FBI Hostage Rescue Team"in the middle of a tense standoff with a troubled man who is holding his family hostage in a cabin. When negotiations fail, Will's team is sent in. The rescue goes sideways, and Will loses the hostages, most of his team"and his left leg below the knee.

Recovering in the hospital, his body and career in tatters, Will meets the beautiful and talented naval surgeon, Sarah, who saved his life. He and Sarah marry and build a happy life together. A decade later and Will and Sarah are devoted parents to eight-year-old twins Georgia and Henry, a tag team who are at once bosom buddies and rivals for their parents' affections.

Despite the passage of time, some wounds refuse to heal. The powerful Will is forever a changed man, the loss of his leg a constant reminder of the most fateful night of his life. He's traded in his weapons for a desk job, and left the military to become a private contractor, where he advises the corporate sector on security.

Despite the gains of marriage and family, Will still feels haunted by the past tragedy. As he confesses to a friend, 'After what happened, I put my sword down. I laid it down, and I don't plan on ever picking it up again. Funny thing is, without that bad luck I never would've met Sarah, never would've had my kids. I love them with all my heart, but there's something broken inside me. I can feel it. It haunts me. Sometimes I don't feel like I deserve them"like I haven't earned the right to have them in my life."

When Will's former colleague Ben"a fellow survivor of that horrible standoff in the woods, who has also joined the private sector and is The Pearl's head of security"gives him the second chance of his life with a recommendation to Zhao Long Ji, Will prepares for months. But the recommendation is only that, and Will must prove his mettle in a high-stakes meeting with Zhao, his security detail, and The Pearl's intended insurers.

Little does he know that this meeting will set in motion the most dramatic events of his life, and hold his family's fate in the balance. Forced to rely on his training under the most extreme circumstances, and with his loved ones caught in the middle, Will faces unimaginable obstacles"both to clear his name, and to save the lives of those he holds closest…one mile above the ground.
Blueprint to Breaking Ground: Skyscraper Rises

In 2016, just as Dwayne Johnson and his Central Intelligence writer/director, Rawson Marshall Thurber, were wrapping the action-comedy, they began to discuss an entirely new project together"exploring the type of character that Johnson had not yet tackled. While Johnson's ability to draw in worldwide audiences with his inimitable mix of charm, muscle and passion has long been proven, the performer was keen to flex a different kind of muscle.

'We had just finished up the film, and we'd had a great run with Rawson," recalls Hiram Garcia, Johnson and EP Dany Garcia's production partner and president of their production company. 'He and Dwayne really hit it off, and Rawson saw how diverse Dwayne was as an actor. Rawson had an idea to create a character for Dwayne who was coming from a vulnerable place, something Rawson felt audiences had never seen before."

The filmmaker, known for his deep love of definitive high-stakes actioners from the '80s, ran his idea past Johnson. The actor/producer immediately called Garcia, and the two asked for a fleshed-out pitch. What Thurber delivered was a juggernaut: Die Hard meets Towering Inferno set in Hong Kong"a love letter to the action movies he grew up watching. 'I wanted to make a big movie that demands a big-screen experience, with the biggest movie star in the world driving every bit of it," he says. To that end, Thurber is proudest of the fact that his film isn't based on a comic book; it's not a reboot, remake, prequel or sequel. 'Skyscraper is an original idea, one that guarantees the audience won't know what's going to happen next. I wanted to make something with Dwayne that audiences have to experience firsthand in the theater, and I'm so proud of what we've accomplished together."

Johnson explains why he was drawn to the project, one he calls 'easily, the most physically demanding role I've ever played." He notes: 'The number-one anchor with audiences all around the world is the bond of family. Regardless of race or culture or class or religion, the ideology of family is one everyone relates to. There's something very visceral about a family being torn apart, and the parents doing everything they can to protect their young. That's always been a special anchor for us in Skyscraper, and for us to explore this on the canvas of film makes it so relevant to people."

It wasn't just the premise, but the chance to work once again with collaborator Thurber that drew in the performer/producer. 'Rawson is one of the very unique talents in Hollywood in that he is the sole writer and director of projects on a massive scale. All this all this comes out of his head and out of his brain. When he pitched me Skyscraper, I was in 100 percent. I felt like it was an amalgamation of Die Hard, The Towering Inferno and The Fugitive"Harrison Ford was already the inspiration for Will Sawyer."

The three reached out to Beau Flynn, who has collaborated with Johnson since 2012's Journey 2: The Mysterious Island and worked with him on six subsequent films. The producer was immediately hooked by the premise. 'Dwayne and I love the disaster genre," shares Flynn. 'He called me up and said, -Brother, I've got something really special for you.' He said, -I'm going to link you up with a very good friend of mine, Rawson Thurber, and, I'll let him take it from there.

'I was a huge fan of Rawson's films, and he's a terrific person and a major talent," the producer continues. 'We got together and he said, -I have one line: The tallest building in the world is on fire, and Dwayne's family is stuck above the fire line.' That was the pitch, and my entire body vibrated. I said, -I will make this movie for you; we'll find the perfect home for it, and we will do something fantastic and ground-breaking.' Rawson said, -Great! Let's do it. So it was pretty incredible how it all was ultimately realized. I was extremely grateful and honored that Dwayne, Rawson and Hiram thought of me to hear the one-line pitch and come aboard for the epic ride."

Just like the film's director, Flynn shares a passion for classic actioners. 'I am a massive fan of legendary producer Irwin Allen's films, especially Towering Inferno, and I have a huge love and respect for Die Hard. So when they pitched me the idea, I said, -I'm 1,000 percent in!' I immediately visualized the entire film. Will Sawyer is a totally unique and different character than anyone Dwayne's ever played. He's extremely vulnerable and also very relatable as a man and a father. He's just a regular person in this film who must learn to overcome his limitations. Combine the spectacle, scale and scope of the film with a grounded, emotional story surrounding a family, and we knew it had to be made."

For the filmmakers, Skyscraper also provided an opportunity to delve into an original screenplay. 'We're in an industry right now where it's about IP and capes," reflects Garcia. 'Don't get me wrong; we're also a part of that playground and love to have projects in that space, but the opportunity to create original content is very appealing to us and important for our industry. Coming off the success of Central Intelligence, which was also an original property, this felt like the ideal project."

There was also never any question that Thurber would direct his own script. 'There are not that many guys in the business who are writer/directors at his level," commends Garcia. 'Rawson's a master at crafting these concepts, writing and then directing them. He's known for Dodgeball, We're the Millers, and of course Central Intelligence, and he was getting into this position where everyone viewed him as a great comedy guy. But Rawson has long been a massive fan of thrillers, and he always wanted to helm one. He delivered a first draft that was fantastic, and within a couple drafts we were ready to go with a shooting script. He's truly one of the great filmmakers in our business right now, and he's so young. He has such an amazing future."

For Thurber, the combination of writing and directing comes naturally, and he sees no reason to delineate the two. 'I don't separate the writing and the directing of it; it's all part of the filmmaking process," he states. 'For me, the only purpose for a screenplay to exist is to become something else. It's not a poem or piece of journalism, an essay or novel; its only purpose is to be performed and shot. In many ways it's a blueprint. But I will say there have been times where it worked the opposite way…where the writer in me has been hesitant to write something because I knew it would be difficult to shoot. I usually try to ignore that voice, and just try to write the best thing I can."

Of utmost importance to the filmmaker was for audiences finally to see Dwayne Johnson as a vulnerable hero. 'We all know him as The Rock; we all know he can pick up a truck and throw it through a building," laughs Thurber. 'But that's not what is most interesting about him as an actor and a person. I also don't think that's what audiences always relate to. People love Indiana Jones because he takes a punch, not because he can give a punch. He's just a normal guy who is trying to survive the adventure. Dwayne and I wanted Will to be someone who barely survives the trials and tribulations he will be put through."

As the producers and director fleshed out the story, the stakes became even greater for Will. 'The building is on fire, Sawyer's family is trapped above the fire line, and he's outside the building," explains Thurber. 'What's more, he's being framed for the fire. So he's got to figure out how to get into the building to rescue his family, figure out who the bad guys are, stop them and clear his name and get out. All in one day." As he wrote this film for Johnson, the filmmaker reflects: 'I wanted to challenge Dwayne. I wanted to see him be vulnerable. I wanted him to see him think his way out of a problem instead of punch his way out…and I wanted to see him barely survive."

The team then took the idea around town and 'it became the hottest pitch," recalls Garcia. 'There was a massive bidding war. It's very rare in our business to conceive a concept, put it together, sell it, and a year later be greenlit and filming. That just doesn't happen. Typically a movie like this takes about five years from the time you get the first idea to development. So it was a special thing the way it all came together."

Skyscraper marks a particularly important moment in Flynn's career, and he appreciates how his movies have evolved. 'I feel we have all seen so many action movies," the producer offers. 'But it is crucial to make sure the audience is emotionally connected to our heroes and feels for them. That's something that we really worked hard on in Skyscraper. If we can make you feel for Will Sawyer and his plight, trying to rescue his family, then we've done our jobs. Hopefully, we successfully delivered on this notion for the audience."
From Hong Kong to the West: A Worldwide Cast

With every single one of Johnson's films, it has been crucial to him that those we see on screen reflect the global audiences who are watching his characters. Skyscraper would be no exception, with some of the top performers in the East and West meeting in Hong Kong for the first time.

'We've got a fantastic diverse and international cast," raves Flynn. 'We have Singapore's Chin Han, who's playing Zhao. Roland Møller, who is one of the best actors from Denmark, plays the lead villain. We have Noah Taylor, who's one of the top character actors out of the U.K. Neve Campbell is a Canadian legend with an incredibly storied career. And our two American children, McKenna and Noah"who are playing Dwayne and Neve's kids"are true discoveries. Across the board we have an amazing, wonderfully fresh and talented cast."

And of course there is Johnson, born in California to a Canadian father of mixed Irish and Black Nova Scotian descent, and a mother of Samoan (New Zealand) ancestry. As the role of Will Sawyer was written especially for Johnson, 'it's been amazing to watch him embrace this character," says Garcia. 'To see Dwayne take on the role of a character experiencing so many things"whether it be survivor's remorse, the loss of his leg, the loss of his brotherhood, his career struggles"was simply amazing. We all loved watching him transform and commit to this character. This is probably the most physically and mentally challenging role he's ever played."

With the lead secured, the first order of business was to find Johnson's on-screen counterpart. The team found their Dr. Sarah Sawyer in actress Neve Campbell, equally known for her work in drama and action. Thurber wrote such a powerful female role, one who wasn't remotely a damsel in distress. 'Neve is such a strong person in real life," says Flynn. 'She portrays Sarah so beautifully and with great believability. Sarah is alone with her children and has to perform some extraordinary feats to keep the three of them alive. This family is one you become very invested in and care about deeply. These bonds are ultimately what causes them to have the will to come together and survive."

'We were so excited to have Neve," adds Garcia. 'There were many great actresses raising their hands for this role, but after one chemistry read with Neve and Dwayne we instantly knew. Dwayne is a bigger-than-life personality, and the way Neve commanded the scene you would have thought they had been married for years. She held her own with him in that read, and even put him in his place a couple of times. It was priceless. Their chemistry just jumped off the screen."

Later, watching her performance on set, he knew the Skyscraper team had made the perfect decision. 'Neve took control of the role of Sarah and embraced being the mama bear who protects her kids," continues Garcia. 'Not only does she keep her children safe, but she kicks ass in a great fight scene with one of our villains, played by Hannah Quinlivan. It was phenomenal. Rawson created an amazing character in Sarah, and it required someone who could deliver charm, love and warmth while still being able to kick ass. Neve delivered in spades."

As the heart of Skyscraper is the Sawyer family, Campbell reflects: 'You have to believe that this couple is desperate to find each other and save their family…or the audience won't feel engaged. I found them to be fully formed and well fleshed out, and I cared about them. Sarah is a great mother. She's a fighter who's got willpower. She also has a very loving, honest relationship with her husband. They're quite a beautiful unit. She has seen him through the most tragic event of his life, and they've been together and strong from that moment. The dynamic is lovely."

Campbell also appreciated that Thurber had drawn a female lead who was anything but a passive participant. 'It's nice to portray a character that women or girls might see and say, -Hey, I can be strong, too. I don't have to be the victim in a movie.'" The brilliant naval surgeon Dr. Sawyer not only saved Will's life, she's the reason he found the strength to recover. Much of Sarah's strength comes from her physical combat experience and training. 'It makes sense that she's as strong as she is," adds Campbell. 'But she's also a mother lion saving her cubs. For any parent, just thinking about your child being in danger is terrifying and gives you an adrenaline rush. Imagine what you would do in order to save your child for real."

No one was a bigger fan on set than Johnson, who lauds Campbell's decision to step back into the film world after several years exploring fascinating roles on television, including her pivotal work in the landmark series House of Cards. 'I think Neve is perfect for this role," he says. 'It's an honor to have Neve back on the big screen and for Skyscraper to be her foray back into Hollywood."

Once Campbell was on board, the next step was to find the twins in Thurber's story. Asks Garcia: 'If Dwayne and Neve were to have kids, what would they look like? It was a massive countrywide search. When we first saw Noah Cottrell's image, he was the spitting image of Dwayne when he was a boy. The minute we saw that we knew Noah was the right place to start. Then the challenge was finding his match.

'A bunch of amazing girls read, but McKenna Roberts just stood out," continues the producer. 'But the first time we put her, Noah, and Dwayne together, we knew right away. These are two very young actors; they've never done a movie like this, yet we were blown away by how professional, poised, how absolutely wonderful these kids were. Every day there was a moment where we'd all look at each other and say, -We got these kids right. Both of them have big futures.'"

Henry is 'smart and funny," says Cottrell, 'but having asthma he's behind in physical activities." For the young actor, this was not just his first big film, it was his first feature, period. 'When I found out I got the role, I was just super happy for the entire week."

His sister, Georgia, offers Roberts, 'is very independent. She's definitely not afraid to say what's on her mind. She's very helpful and sticks up for other people. She's like her dad in many ways."

Skyscraper was also the first movie role for Roberts, who, despite her young age, has been making a name for herself on television, most notably on TV's The Young and the Restless. McKenna was thrilled to be able to add 'stuntwoman" to her résumé: 'There's a scene where I'm being held hostage; my dad shoots the glass and I fall through. He catches me and pulls me back up. I was on a wire. I just fell, and then Dwayne caught me by my hoodie. It was scary because I thought I might fall, but all these people took care of me, and I like doing it. I do stuff at home with my brother, so it's cool that I can now call myself a stuntwoman."

Just at the relationships among the Sawyer family are key to the narrative, Chin Han, who plays Zhao Long Ji, believes the dynamic between Will and Zhao is also paramount. 'Rawson and I were on the same page with respect to the relationship between Zhao and Will," says Han. 'For the movie to work, the relationship between these two characters has to be close. They're kindred spirits. They come from different parts of the world, but they both come from humble beginnings. They both had to overcome a lot in their lives to get where they are. This provides them with a sense of camaraderie, which will see them through to the end of the movie."

The Singaporean-born Han, who is of Chinese descent, was attracted to the role because 'first and foremost it takes place in China and reflects the current development and growth in that country with these megastructures being built. On top of that, Rawson created such a compelling character, someone who's interesting and powerful and vulnerable at the same time. This is also an event movie in every sense of the word. It puts people in peril, it's full of emotion, it's about family and relationships and love and what we're willing to sacrifice for it." Much like his producers, Han was also drawn to Skyscraper because of the best of the genre it represents. When I was younger, I loved disaster movies like Towering Inferno, The Poseidon Adventure and Earthquake. So to read a script that brought back those memories was very exciting for me."

Describing his character, the performer reflects: 'Zhao is a very enigmatic. He's a visionary and iconoclast, a technical genius constantly pushing the limits of human endeavor. But he grew up in a poor fishing village and had a complex relationship with his father, whom Zhao was constantly seeking affirmation from. The Pearl was inspired by an ancient Chinese fable about a boy who finds a magical pearl and transforms into a dragon, and it's not difficult to imagine that Zhao sees himself as the boy and has transformed himself into a dragon. He understands the struggle, which is why he takes an instant liking to Will Sawyer. He appreciates Will's honesty, and that Will is one of the few people willing to tell the truth to a man like Zhao. He's knocking on heaven's door, trying to reach this pinnacle of human design. But that also brings him that much closer to peril. As the movie progresses, you see how this endangers his own life and the lives of other people."

The actor found quite a fan in his filmmakers. 'Chin Han has been a very special discovery for us," commends Flynn. 'He's been doing fabulous work as a performer for quite some time, and when we got to know him, we were very taken by him. We knew that this was our Zhao"the mastermind of The Pearl. Zhao was the one who designed and envisioned of this building; he came from very humble beginnings and has proved to be an extraordinarily interesting character in the film."

Like his fellow cast and crew, English performer Noah Taylor was attracted to the film's homage to earlier disaster movies, and he welcomed the chance to come aboard as Mr. Pierce, contact for the group that will insure The Pearl. 'I enjoyed the return to the Irwin Allen-like disaster films that were a staple of the '70s. They're all set within a fairly contained environment"a plane or a building"almost like that Agatha Christie setting where it's contained within a mansion or a train. Skyscraper is an updated version of that very high-stakes drama, of a hero overcoming an incredible, daunting obstacle."

Pierce's arrogance is a razor-sharp façade that hides the dark secrets of an imposter, offers Taylor. 'He's a violent con man, a sadistic sociopath with the ability to mimic and manipulate people. He's a nasty piece of work who just enjoys provoking people and playing with their minds. He's dismissive of Will, partly for his own pointless pleasure and to stress his importance to Zhao…but it works against him because Zhao has a good instinct for B.S. Pierce overplays his hand a bit."

The insurance adjuster isn't the only cruel player in the Skyscraper world; none comes crueler than Kores Botha. 'Every great hero needs a great villain," shares Garcia. 'Roland Møller as our villain, Botha, is phenomenal. We're all big fans of his movie Land of Mine, and knew he would be great. His personality is so big; he's fun, loud and boisterous. Then when he turns it on, it is legit. You need a strong opposition to go against someone like Dwayne, and Roland was more than up to the challenge."

Kores Botha is a mercenary on a mission to ferret out Zhao from his den in the sky. Unbeknownst to anyone else, Zhao has something that Botha wants badly enough to kill for. Botha and his group of killers have set fire to the 96th floor, and intend to use Will's tablet to shut down the building's emergency fire response. With no other option but to evacuate, Zhao would be forced out of his secure lair. 'As Botha says to his men," explains Møller, '-set a man's house on fire, and you find out what he truly loves.' Botha loves his money; it's what he chases. It's what he would die for. Zhao has information that can ruin Botha's life; it can take what he loves. He will protect his gold by all means necessary."

For Møller, Skyscraper was another opportunity to play a foreign operative, a role the performer fully embraces. 'I love accents; it brings out the best in me when I get challenged, and you certainly get challenged when you have to learn a different language or dialect. This is obviously my thing right now, because I play a Russian guy in Atomic Blonde, I recently did a movie where I play a Serbian guy and another where I speak German. Now, I'm a South African. So let's see, what's next?"

Flynn shares that it's critical for the antagonist to be just as relatable as the protagonist; never is that the case more so than with Botha. 'Having a believable and threatening villain is crucially important," he says. 'We've seen so many moustache-twirling villains, but we wanted to create one whose motivations you could actually understand. In our film, Botha is simply doing his job. Even though he's very eccentric and has his idiosyncrasies, he not just a lunatic. He is someone who has a point of view, someone who just simply wants to be square with the house."

For the character of Ben, the production needed an antagonist who could realistically go up against Johnson. They found their man in a powerful actor most recently seen in Netflix's Orange Is the New Black and STARZ's American Gods. 'Pablo Schreiber is big enough to go toe-to-toe with Dwayne," says Garcia. 'Pablo's a big guy; he's 6'5". It was important for us to have someone who could be a formidable opponent for Dwayne, and also someone that we can believe was a friend of his back when they were serving with the HRT. The two instantly hit it off. The chemistry was great, and Pablo was such a pleasure to have on set. He's so talented; he sunk his teeth into the role. He understood the duality of wanting to set Will up…but not wanting to hurt Will's family."

The fight between Ben and Will in Hong Kong is one of Thurber's favorite of the production. Explains the director: 'Seeing those two big Brahma bulls going at it in a China shop is fantastic. It was wonderful to watch Pablo match Dwayne's physicality." For Thurber, this is a defining moment of a throughline of his film. 'A big part of what Dwayne and I discussed was that his character should just barely survive. That's all he does in that fight with Ben. He almost never gets the upper hand. Instead, he's scrambling and spitting and scratching and clawing to stay one step ahead of the knife."

Not all of the villains in Skyscraper are quite so buff or conniving. Some are just straight up silent assassins. When discussing her character of Xia, the hired gun of Botha who is a terminator in her own right, Hannah Quinlivan reflects: 'She's good at her work, and she does it efficiently. She doesn't care about anything except this. She's a cold killing machine. And she does this very naturally."

Of all the cast, no one has more badass bragging rights than the actress. 'I auditioned one day before I gave birth," she explains. 'We started shooting three months later! This is my first American film. I was so nervous because I knew I would need to speak English the whole time, something I'm not familiar with. But everyone was so nice. They brought me in, and they taught me a lot. It's like a big family."

An Olympic Inspiration: Jeff Glasbrenner on Set

During the development of Skyscraper, the filmmakers sought input that would ensure that Johnson's portrayal of Will Sawyer as an amputee would be authentic. 'It was really important to me to show the power behind what some people might think of as a setback or even a curse," says Thurber. 'An amputee can be a hero just like everybody else, and I've never seen that in cinema before."

Flynn was particularly inspired when he watched a piece on HBO's Real Sports about Paralympian Jeff Glasbrenner. 'The special just blew me away," says the producer. 'It was one of the most inspirational things I've ever seen. Jeff lost his leg when he was eight years old and was told he would never be able to play sports or live a normal life. But he soon decided he was not going to be a victim; he was going to take back the reins of his life. Since then, he's competed in 45 Iron Man triathlons; he's become a three-time Paralympian and a world-champion wheelchair-basketball player. Recently, he became the first American amputee ever to summit Mount Everest.

'When I watched this documentary, I was inspired to a different level," continues Flynn. 'Jeff was someone I was dying to meet and wanted to introduce to Dwayne. He and Dwayne are very similar in how they will set a goal and then stop at nothing to achieve it. They're also two of the most positive, happy and present people I have ever met."

The filmmakers arranged for Glasbrenner to visit the production and deliver a motivational talk to the crew. He then stayed to provide direction to Johnson, offering advice such as how, when coming down from a ladder or other height, you never land on your prosthetic leg; you always land on your real leg first. Glasbrenner instructed Johnson on his gait, how one attaches a prosthetic leg, how wearing it affects how you jump"for example, off a super-crane 1,000 feet in the air.

Flynn shares that Glasbrenner was so proud of how Johnson depicted being an amputee fairly and accurately. 'Jeff feels this film is so important as an inspirational piece for everyone the world over," Flynn notes. 'He very much embodies the theme of our film that -courage has no limits' and that -the only limitations we have are the ones we place on ourselves.' He and Dwayne share a very similar philosophy about hard work and human potential; there was an instant kindred-spirit moment between them."

The character of Will Sawyer is battling feelings of insecurity due to his loss, 'and it was important for Dwayne and Jeff to talk about what it's like being an amputee," adds the producer. 'What the psyche is, what Jeff had to overcome, and how there's always something reminding you of it." What was particularly moving to the cast and crew was Glasbrenner's story about an ironic flight home after scaling Mount Everest. 'He was sitting in the exit row, and he was happy for the extra room, when the flight attendant told him he had to move seats because -I need somebody who's willing and able…'

'Jeff replied, -I am willing and able; I just scaled Mount Everest,' Flynn continues. 'She made him move anyway. It's just one example of how we see a disability and not the person. But Jeff chose to respond gracefully. He got his legs out of the overhead compartment and moved back six rows. To have to deal with stuff like that in your life but have nothing but a smile and beautiful spirit anyway is the kind of energy we need in this world right now. That's the central theme of Skyscraper: We all have the ability to overcome any obstacle we put our minds to. I'm hoping it inspires the audience to believe that whatever card you're dealt, we all have the ability to live our best life."

Johnson was humbled by the time and energy that the Olympian put his education of the production. 'I had an opportunity to read Jeff's book and study him," reflects Johnson. 'He was an incredible resource, and it was a proud, honored day for all of us to have Jeff on set for the very first time. I felt like we had an opportunity here to create a character that people around the world could relate to and could get behind."

Fortuitously, Glasbrenner's schedule allowed him to arrive on set the day that Will Sawyer must climb to the top of the crane parallel to The Pearl and jump off it…onto the world's tallest building. If Johnson ever needed motivation, he found it in the hero. Learning from the advisor that there would be a hitch in his step and a certain element to his gait as an amputee, Johnson practiced to make it perfect and do right by his character and the community. 'I sought out Jeff after that and asked him what he thought. Thankfully, he was blown away. He said, -Holy s%$@, man. That's exactly how I run.' It was a special day and a cool moment; I just I hope to do right by Jeff and this character."

For the film, Will's prosthetic leg was created by property master Dean Eilertson and his team. A scan was made of Johnson's leg, and then a degree of muscle atrophy was factored in. Consultations with a prosthetic expert revealed that 10 years after an amputation one expects to see certain musculature begin to shrink from disuse. From there a 3D model was built, and then a mold, and finally the prosthetic and socket.

'There were so many technical things for us to understand," says Eilertson. 'We learned there are many different ways to hold a prosthetic onto your leg; the one we decided on is called a gel sock. This is the first thing a person wearing a prosthetic would have to put on every morning. Then there's a locking system"there's a release there, a hole at the bottom, sort of a ratchet system"and as you step into it you do a little hop. You go click, click, click and now you're in, and that thing is never coming off. It's what makes scenes where Dwayne is hanging upside down by a prosthetic leg believable."

The amount that Eilertson's team learned from Glasbrenner and development of the leg was stunning. 'When a person orders the blades for his or her foot," adds the prop master, 'the company needs to know your weight and height because it's not a fixed blade. It's articulated, so, for example you can plant your foot one way and it goes sideways. The amount of engineering is astounding. I'm just fascinated with the technology. We have so many wounded warriors and people who have had accidents; it was great to see how this exponential growth in the technology has given more mobility back to people who suffer those injuries."

A Global Approach: Dialogue and Signage

In addition to its global cast, the production of Skyscraper took a worldwide approach in its commitment to authentic languages. When Asian characters speak to each other in the film, they do so in their native tongues"in this case Cantonese and Mandarin. Cantonese is the predominant language of Hong Kong, while Mandarin is the universal language of mainland China (with hundreds of dialects spoken at the local level); the result is that inhabitants of Hong Kong speak Cantonese or Mandarin or both.

To ensure this authenticity, the producers hired dialogue coach Lin Lee. Lee translated the English dialogue written for the Hong Kong Police Force (and other locals) into Cantonese. The producers also brought in a retired HK police chief to provide inside knowledge of appropriate police jargon.

Lee then edited all the signage and panel labels found in the HK Police mobile command vehicles, as well as in the floor and elevator signage in The Pearl, ensuring their accuracy. Although English-speaking audiences may not appreciate this attention to detail, Asian-language filmgoers"whether in the U.S. or around the world"will discover a film grounded in reality…one with respect for the cultures it explores.

The coach also worked with Johnson and Campbell, whose characters each speak a few lines of Mandarin or Cantonese. Although the lines are short, Asian languages are so vastly different from English that, for some, to learn even a few phrases is difficult.

Moreover, Mandarin and Cantonese are divided into tones; say the 'same" word in a different tone and you say a completely different thing. 'It was so completely different from anything that my ear is used to hearing, in either English or French, which I speak as well," recalls Campbell. 'The intonations mean different things. It's just such a completely different concept of using language; it was hard to wrap my head around. But it was fun to learn, just listening and repeating."

Each actor took a different approach to the task. Campbell asked Lee to record the lines on Campbell's cellphone, and she practiced extensively both on and off set. Johnson preferred to rehearse the line on set, then Lee would shout out the line and Johnson would repeat it until they got it to an acceptable level. Johnson quickly picked up the intonations, having a 'very good ear," as Lee puts it, and it only took him a few tries to get it right.

Car Fights and Chokeholds: Stunts of the Epic

One of the most potent fights in Skyscraper is the fight scene in Ben's apartment between Will and Ben. 'This was important because there was a thread we wanted to weave throughout this movie, that of a man who is barely surviving," explains Garcia. 'Will is essentially a samurai who has put his sword down. He hasn't used his hand-to-hand combat skills in years, and he's rusty. He's not Jason Bourne; he's not doing this clean. It's dirty, it's rough; it's two guys trying to kill each other, and Will is just trying to survive. This was his good friend, and all of a sudden Ben is trying to kill him."

Johnson isn't surprised to see that early audiences are responding so well to the fight between these brothers in arms, former military compatriots"now enemies to the end. 'It's very raw and very intense," he reflects. 'What I really like about this fight is a lot of times in Hollywood these days, the fights can have a bit of a gloss or cool polish to them. Sometimes the action floats into another type of reality. But this? This was just bare bones"soup to nuts, blood and guts."

The battle proves particularly vicious when Ben kicks Will's artificial limb out from beneath him. It's a cheap shot to Will's Achilles' heel. 'Here is a character who is physically challenged," shares Campbell. 'We're so used to seeing Dwayne portray characters who are so physically capable that it's fascinating to see him someone like Will and to engage in the reality of what that means. This character is not a superhero. He struggles. Audiences are going to be surprised at how well Dwayne is able to play that."

Another brawl that stands out to Johnson is a fight on the top of The Pearl with a henchman played by WWE wrestler Jason Day, also known as 'Doomsday" (or, to Johnson, 'a big son of a bitch"). For Johnson, this fight says everything, because in the character of Will, 'every inch of his fiber, his soul, his constitution, his DNA, won't let him quit. He won't stop; he just keeps going and going and going." For the scene, Day performed a 'rear-naked chokehold" on Johnson that lasted a few, ahem, seconds too long for Marshall's comfort. Needless to say, the purple in Johnson's complexion wasn't stage makeup.

The performer wasn't the only one getting in on the action, with naval surgeon Sarah forced to fight to the finish herself. 'The car fight with Hannah is going to be fun to see," offers Campbell, 'because you have these two very different but very strong female characters having a go at one another. Since it is in the confined space of a car, the choreography is creative. It was an interesting challenge for the stunt coordinators, but they did an incredible job."

Imagining Hong Kong: Design, Cameras and Music

Crafting The Pearl
Winston Churchill, when discussing the U.K. Houses of Parliament after they were damaged by bombs in WWII, said, -We shape buildings; thereafter they shape us.' It was this quote that directed the approach production designer Jim Bissell took to designing The Pearl. 'A building or a city plan shapes the culture that it's in," says Bissell. 'It has to be steeped in the culture of the place that we want to build it. It also needs to be architecturally viable and appealing. Despite the fact that we had only five months to design everything and prep the movie, The Pearl had to look like it took years of development."

As Bissell puts it: 'The building doesn't get destroyed; the building endures. It's a symbol of resilience and strength"as opposed to a symbol of hubris like in Towering Inferno, where it's a metaphor for -we reached too far.' In that film, there were corrupt contractors and a compromised architect. But in Skyscraper, the building is amazing. It's only compromised by the forces of evil."

Bissell and his team began by researching Chinese culture, looking for a key theme around which they could build. They found the fable 'The Dragon Pearl," and discovered that, in Chinese culture, pearls represent the attainment of enlightenment"or the journey of the soul toward enlightenment. In the fable, the boy turns into a dragon in the river. Likewise, one of Bissell's researchers discovered that the Pearl River estuary empties out into the ocean in Hong Kong, and that the Pearl River is often embodied as a dragon.

When the designer went to Hong Kong to scout…the more he studied the geography of the area, the more he realized he would need to situate The Pearl on the Kowloon side, not on the Hong Kong side. This would allow the production the ability to have Hong Kong form the background. It was then Bissell learned that the word Kowloon means 'nine dragons." There are eight mountains behind the city representing eight dragons, with the emperor as the ninth (this idea originated with the last emperor of the Song Dynasty, seven-year-old Zhao Bing [born 1272], who ruled for just 313 days before jumping off a cliff after his army fell to the Mongols).

Working from the key images of dragons and pearls, Bissell's team began developing designs for the building. 'One of the requirements was to have this large observation sphere," says the designer. 'The problem was that if you create a traditional rectilinear tower and you stick a dome on top of it, it looks very phallic. So we played with different forms, and it occurred to me that to represent real strength you want a sinuous muscular design. So we started playing with that, which began the dragon-like twisting design that leads up to the pearl itself."

Initially developed by a member of Bissell's team, the design featured three pillars that twist as they rise, forming a tripod-like frame that supports the sphere, or pearl, on top. Bissell envisioned it as the mouth of the dragon, and asked, 'What if we put an eyeball right here and that becomes the wind turbine?"

From there, says Bissell, 'slowly but surely we started sculpting it, and we turned the building into a dragon on the edge of Victoria Harbour. We have these artificial tidal pools built around the base; as the water comes in and out it turns the turbines, and that's part of the electrical grid. Then there is the wind turbine up around the 150th floor."

Finally, they installed solar panels, and together these give The Pearl its autonomous energy system. 'Once we had the idea for the tidal pools, we thought, why not develop the tidal pools into rice paddies? So that not only is The Pearl energy self-sufficient, it also grows its own food," continues the designer. 'Rice is the sustaining crop of China, and so you have this metaphor of the dragon rising up out of the rice paddies and reaching to the sky for the pearl of wisdom. The whole thing came together quickly"within two weeks"and that's just luck. Sometimes that's the way art works. You get lucky and have these wonderful happy accidents."

The dragon reaches for the pearl in the sky, and so Bissell wanted to create the illusion of the sphere floating on air. Here, Bissell was inspired by the Salar de Uyuni, Bolivia's famed mirror-like salt flats that reflect the sky, obscuring the horizon and creating the illusion that one is standing in infinity. 'I thought," recalls Bissell, 'if you're 225 stories high and you have a reflective surface, then the sky would become the floor and you would have the same effect of infinity. So we designed this big lip that comes out of the dome, and when the entrance opens you get this startling effect of infinity; you have this ethereal sense of having ascended into heaven."

The observation deck was created digitally, but the idea is very much grounded in reality. Says visual effects producer/post-production supervisor Petra Holtorf-Stratton: 'This absolutely could be done in real life. Many high-rise buildings have these skywalks now. You go outside the building, and it's like an infinity pool where you think you're right at the edge; it's an optical illusion. The only reason we couldn't build it is because our building doesn't exist. But everything we created had to feel as if it were completely integrated into a live-action world. We want people who watch this movie to want to visit Hong Kong and see our building…even though it doesn't exist."

In addition to his design team, Bissell had the luxury of the filmmakers' consultations with Adrian Smith, the architect of the Burj Khalifa"the world's tallest building"during the earliest script development. Flynn recalls reaching out to Smith, who revealed his ideas, in turn, are often inspired by film. 'Adrian told us that one of the many issues with building these mega-tall structures is something as simple as the elevator cables; they simply don't exist at the length required to reach that height. Adrian said something like, -Imagine if you could you use magnetic technology to propel the elevators up and down three thousand feet.' It's pure science-fiction, and we immediately bonded over that and incorporated it into the film.

'We put Adrian on the phone with Rawson, and those guys started throwing out ideas, which led us to some basic concepts for The Pearl," he continues. 'Then we hired Jim Bissell, who's one of the best designers on the planet, and he found this incredible Chinese myth that inspired the shape of the building, its texture and color…which paralleled the story of Zhao. That's how it all came to life."

Once the exterior design was decided, the next question was where in the Hong Kong landscape to place it. Currently, in real life, the tallest building in Hong Kong is the 108-story International Commerce Centre; at 225 stories, The Pearl is more than twice the height. Bissell took digital models of Hong Kong and began playing with angles. In the end, says Bissell, The Pearl 'looked stunning, right in the middle."

Creating (and Burning) Jade Park
The next challenge for the production was to tackle Jade Park. Unlike a typical building with, say, a flat rooftop garden, Jade Park is 30 stories of vertical space that first had to work conceptually, and then practically, from a shooting perspective.

The conceptual side began with research into the evolution of the dragon in Chinese artwork from about 200 B.C. onward. Chinese paintings also often feature nature, and thus a great deal of traditional Chinese paintings were referenced for Jade Park. The question was how to bring the elegance of these paintings into the three-dimensional world of the film's park. In the end, the team hired a contemporary artist who re-imagined these paintings by creating layers of light and shadow that together form a landscape. That, in essence, became Jade Park.

Shooting the opening scene, however, presented a challenge. Because the scene takes place during the day, supposedly under natural light streaming in through windows, filming had to take place outside to match the light. This created a dilemma: Should they use green screen on an exterior set and later create the whole park in the computer? Build the park outside and then bring it all inside on a massive set? Or use a real park and then rebuild the necessary parts inside for the action sequences and as the basis for the visual effects? In the end, the third option proved the most creatively and technically viable, and Cecil Park at the University of British Columbia was chosen to stand in for Jade Park.

Within the park is a 30-story waterfall, which was created at a smaller"though still impressive"scale for the film. Special effects supervisor Joel Whist was in charge, building what would amount to a massive fountain, its pump gushing out water at the rate of 2,000 gallons per minute. A huge reservoir beneath the stage held the water and the plumbing, which had to be, as Whist puts it, 'bulletproof"whatever it took to make it safe and consistent. We had to be able turn it on and off in a heartbeat."

This was no easy feat. The rate of the water had to be sufficient to create enough opacity that we don't see the character of Georgia when she's hiding from Botha's men. This meant the pump had to feature a variable speed control that would allow for adjustments while testing. Once the rate of the water was determined, a total volume of two-and-one-half times the moving water had to be calculated, so that enough water remained in the reservoir and pumps at all times. 'Between initial concept, drawings, calculations, meeting with the pump people"and then working out the dynamics of the plumbing, the scaffolding, the weights, the measures, and the art department changes"the process took several weeks," explains Whist.

The second challenge for Jade Park was setting it on fire. Some shots were too dangerous to physically shoot, and thus green screen was utilized, but there were also several practical fire shots. These required the strictest of preparations under the watchful gaze of supervising stunt coordinator Allan Poppelton.

'We want the audience to feel the characters' sense of anxiety," explains second-unit director JJ Perry, 'so putting them in the proximity of real fire but keeping them out of danger was a test. Every set had to be pre-rigged before sets were built, then tested and proved. There were a lot of moving parts to our stunt team. We shot with doubles and made sure special effects and everybody were happy, but we tried to make it as practical as we could. There were real fires we lit inside, but Al and his team did a fantastic job. I don't think we did much more than pass out a Band-Aid on the show."

Adding to the seriousness of the situation was, of course, the presence of the children. The two, however, handled it like pros. For Cottrell, the experience was a bit like an amusement park ride, one part fun and one part absolute terror. 'The elevator scene in Jade Park, that was my favorite," he says. 'That was fun. We had the green screen behind us, and the fire was blazing. But the scariest part was that we had this weird little plaything underneath us, and it rocked us around, and we were going all crazy. I actually got scared. It was pretty realistic. Dwayne has this line where he says, -You can't be brave if you're not scared,' which was an inspirational line for me."

It was then up to Erik Nash, visual effects supervisor for Motion Picture Company (MPC), to marry those practical shots with his digital fires. 'Whenever you have a big green space like this," says Nash, 'the trick is to have lighting that is dictated by what is ultimately supposed to be there. In this case, we had a lot of firelight effects under the glass deck that represented the light from the fire that is dozens of stories below our characters.

'As well, there is moonlight that is supposed to be coming in through the windows," the VFX supervisor continues. 'You have to be able to envision the end result and light accordingly. Robert Elswit and his team did a great job lighting that environment and giving us a nice firelight. It really looks like our characters are surrounded by fire."

Star Ferry in Vancouver
With so much of the action taking place indoors, the narrative did not provide many opportunities to showcase the exteriors of Hong Kong itself. The first high-action scene to take place outside is the robbery, and originally the script called for Will and Ben to be eating at a noodle hut in a nondescript alley somewhere in the city. But production designer Bissell saw an opportunity to use the city as a backdrop by relocating the scene onto Hong Kong's famed Star Ferry (passenger ferry service). He pitched the change to the director, who immediately agreed with Bissell's instincts.

Then, reality set it. The whole idea of dressing a boat in Vancouver and reconstructing a dock that still wouldn't quite look like the Star Ferry"not to mention shooting an action sequence"seemed to sink the idea. Soon it was, -We just can't do this; let's go back to the noodles,' laughs Bissell. 'Then I was just sitting and looking at a shed, when I thought, -Why don't I use the edge of the shed as a dock and we'll build the top portion of the Star Ferry?' I knew if we put it on tracks, we could just roll it in and put the ferry terminal in the background. It'll feel big, especially if we get some great helicopter establishing shots of Hong Kong. It'll also be very controllable so we wouldn't actually have to have a boat and worry about tides and docking and everything else. We'll just roll it back to position A. And it worked!"

The Star Ferry was then pieced together in post under the supervision of Holtorf-Stratton. 'The biggest challenge for the ferry set," he says, 'was that it was shot along Vancouver's Fraser River, with actual boats and trains going by. So the reduction and sound for post-production was challenging. What we had there was just a quarter of the ferry; we built only enough so that we could have our main actors on there and some extras; we added the front and back of the ferry digitally. We built a digital model using photo references of the iconic Star Ferry, and we went to Hong Kong and made texture references of actual ferries there. Then artists at ILM and Iloura built a digital model of the ferry, which we placed into the scene."

Star Players and Second Unit
The ferry, the waterfall, the practical fire scenes"these are but a few examples of the approach that Thurber took to Skyscraper. 'Go big or go home," says Thurber. 'Yes, it was a technical challenge and certainly a creative challenge"we had to shoot half on location then the remainder on set, making sure it all matched and it all worked. It was a big movie with big sets on a big scale. But I had an incredible crew. I had the Oscar®-winning Robert Elswit shooting my movie, which was a dream come true for me, and I had one of the biggest production designers in the world in Jim Bissell bringing this whole story to life."

For second unit, Thurber had JJ Perry, here given his first opportunity to direct after years working his way up the ladder. 'I was in the army before I did this, and I didn't go to film school," says Perry, 'but I've worked over 400 episodes of TV and 150 features. When I was in the army I didn't know what I would do with that training in civilian, but now I know. I fit in here. You lead by example and create an opportunity for your team to succeed. A good leader knows when to lead, when to follow, and when to stay the hell out of the way. I've been very fortunate on this movie having a crew that would probably follow me into a real burning building."

Initially, the plan for second unit was to follow first unit and clean up, but the schedule proved more challenging, and so Perry's duties increased. Luckily, says Perry: 'Rawson was so descriptive about what he wanted. He wrote the script, so in his mind he could see the movie, and he articulated his vision for us to translate for him. He's a great director and writer and a tremendous talent; it's just fun watching him do his process."

Perry, who first collaborated with Johnson on The Scorpion King, was also pleased to be working again with the actor. 'He's a gem," raves Perry. 'I jump at every opportunity to work with him. Dwayne was a football player, and because he played team sports he understands the filmmaking process. There are a lot of facets on a diamond and everybody is one of the facets; a diamond with only one facet doesn't shine. So you have to be able to harness and work with all those different facets to make the diamond shine, and that's where I relate to him."

Virtual Realities
The ability to describe his vision to others served Rawson well on a film that takes places largely in virtual reality. Johnson's longtime work with his director gave him the trust to film Skyscraper. Nowhere was this more important than in the battle scene in the sphere. Here, the only real part of the set was the floor; everything else had to be imagined by the actors. The sequence was shot with five cameras at different angles, their images to appear later on the virtual high-resolution screens created in post. The result is a complex sequence, a masterful marrying of live action and a completely digital environment.

Still, says Holtorf-Stratton, 'If you have the right companies you can achieve anything now. The technology has become so advanced with the commuting power. You used to have to wait maybe 20 hours to see one frame of rendering; now it's 20 seconds. So you see results much faster, which allows you to make changes much faster. Rawson was very open for us during post-production; we had trips to ILM to sit with the artists, and if we needed to make a change, we could. ILM was accommodating of our director's vision. We were very happy and lucky to have them for this job."

Producer Flynn reflects that the VFX that went into the creation of The Pearl was a masterpiece in and of itself. 'Our incredible VFX team gave us the ability to make it seamlessly feel like you're floating thousands of feet in the air," he notes. 'It's breathtaking, and the execution was brilliant. Our visual effects supervisor, Craig Hammack, and producer Petra Holtorf did a magnificent job. It will stun the audience when they see the film, as well as inspire a lot of future design and development of buildings."

Music of Skyscraper
To capture the themes of Skyscraper, Thurber turned to celebrated composer Steve Jablonsky. The composer shares a bit of his time on set: 'Working with Rawson on Skyscraper was terrific. He's such a good communicator, really creative and gave me great ideas. We had a lot of discussion about the style"as Dwayne Johnson's character is a wounded hero, but not a superhero. Rawson and I also talked about the pacing of the music and how it progressively becomes more intense and more edge-of-your-seat; we wanted it to be energetic and keep the audience's attention on the screen.

'We also wanted to keep the music more realistic. The family theme that I wrote is a simple guitar sound, which felt more personal and appropriate for the story," Jablonsky continues. 'But as the film gets tenser, we start to use tenser versions of the guitar and put effects on them; so it's sort of surreal, but it's still playing the family theme. I had fun experimenting with different guitar sounds and how to weave them through the emotional family theme…even in the darker more intense scenes."

Skyscraper
Release Date: July 12th, 2018