Download The Woman in Black Synopsis: In zijn eerste rol na het Harry Potter...
The Woman in Black
Synopsis: In zijn eerste rol na het Harry Potter avontuur speelt Daniel Radcliffe Arthur Kipps, een jonge advocaat die naar het dorpje Crythin Gifford gestuurd wordt om een erfenis te regelen. Aan de rand van het dorp aan de drassige Britse oostkust moet hij de papieren van de overleden Alice Drablow doorspitten. Terwijl hij in volledige afzondering in haar oude, door moerassen van de buitenwereld afgesloten landhuis werkt, ontdekt hij langzaam het tragische geheim van de vrouw. Een geheim dat nog altijd de rillingen over de ruggen van de dorpelingen laat lopen. Wat de rondwarende vrouw in het zwart er mee te maken heeft wil niemand hem vertellen, maar haar verschijning brengt iedereen, ook Arthur, tot absolute doodsangst… The Woman in Black is gebaseerd op de spannende gelijknamige roman van Susan Hill en is de op één na langst lopende theatervoorstelling in de geschiedenis van Londen’s West End.
Regie: Scenario: Cast:
James Watkins (Eden Lake) Jane Goldman (X-Men: First Class), gebaseerd op het boek van Susan Hill Daniel Radcliffe (Harry Potter, December Boys) Janet McTeer (Tumbleweeds, As You Like It) Ciarán Hinds (The Rite, Tinker Tailor Soldier Spy) horror/thriller 95 minuten
Kijkwijzer: Release: Website:
23 februari 2012 www.womaninblack.com
HAMMER, ALLIANCE FILMS AND THE UK FILM COUNCIL PRESENT IN ASSOCIATION WITH
CROSS CREEK PICTURES
IN ASSOCIATION WITH EXCLUSIVE
THE WOMAN IN BLACK DIRECTED BY
JAMES WATKINS SCREENPLAY BY
JANE GOLDMAN PRODUCED BY
RICHARD JACKSON SIMON OAKES BRIAN OLIVER BASED ON THE NOVEL BY
SUSAN HILL STARRING
DANIEL RADCLIFFE CIARÁN HINDS JANET McTEER LIZ WHITE
Dutch Release Date: February 23, 2012 Running Time: 95 minutes For further enquiries please contact Peter de Haan [email protected]
/ T 0183-610 261 Images are available to download from www.filmdepot.nl
Synopsis. Young London solicitor Arthur Kipps (Daniel Radcliffe) is forced to leave his three-year-old son and travel to the remote village of Crythin Gifford to attend to the affairs of the recently deceased owner of Eel Marsh House. But when he arrives at the creepy old mansion, he discovers dark secrets in the villagers’ past, and his sense of unease deepens when he glimpses a mysterious woman dressed all in black.
.Introducing THE WOMAN IN BLACK. From the hit novel by Susan Hill, The Woman in Black is a dark tale of loss, vengeance and mourning. Acclaimed screenwriter Jane Goldman brings Hill’s story to the screen for a 21 st Century audience. Directed by James Watkins and starring Daniel Radcliffe, Ciarán Hinds, Janet McTeer and Liz White, The Woman in Black is a Talisman production in association with Exclusive Media Group. When Susan Hill published The Woman in Black as a novel in 1982, she never imagined it would have a life across so many media. “You don’t, do you?” she says. “You don’t write it for other media. You just write a book and then other people take over.” But she’s used to people adapting her work, especially The Woman in Black, which has been turned into a TV movie, a radio series, a play and now a feature film. “The point is that the book is still there,” she says. “It’s the art of adaptation – which I could never do. With the play and now the film, each person has taken my book and remained true to the spirit of it, whilst reinterpreting it to suit the new medium.” This is the first time Hill’s novel – now nearly thirty years old – has been adapted for the big screen. The project first came to producer Richard Jackson, of Talisman Films, as far back as 1997. Following the success of Talisman’s production of Rob Roy, Hill’s agent approached Jackson to explore the possibility of a big screen adaptation of The Woman in Black. “It turned out to be a surprisingly tricky story to adapt,” he confides. “Over the years, we made several attempts with different screenwriters to adapt the story and I was never fully satisfied with the scripts we were getting.” The initial impetus that breathed life into this production came from a meeting with producer and president & CEO of Hammer, Simon Oakes, who was, at the time, in the process of re-launching the historic Hammer brand. “I think it’s fair to say I was cautious about where that would lead, as
there’d been other attempts to revitalise Hammer over the years,” reveals Jackson. “But Simon made it clear they were very serious and there was a level of ambition to ensure that we’re making a film that would be very high-end and both respectful of Susan’s narrative voice but at the same time that would appeal to contemporary audiences.” “Simon was always very clear to me from the outset that his incarnation of Hammer would focus on horror movies that were intelligent,” continues Jackson. “And I knew that would be something Susan Hill would respond to favourably, as well.” For Simon Oakes, The Woman in Black was one of the first properties of interest to the recently reborn genre label. “One of the things we talked about, as a team, when we first put this new incarnation of Hammer together was that horror is made of many different genres and subgenres but in recent years the tendency has been for body count horror,” he explains. “We wanted to explore different kinds of horror, and while there’d been a TV movie and a stage play, we recognised a great opportunity in The Woman in Black to combine Susan Hill’s gothic ghost story with a modern sensibility to turn it into a feature film.” The production sought a screenwriter capable of overcoming the hurdles experienced by those who had taken on the task in previous years. “We identified Jane Goldman as someone we all wanted to work with,” says Jackson. “And she was excited from the outset. She was able to crack it in terms of overcoming the central problems of how to tell this story for film.” Says Oakes: “I’d read about Jane and knew about her work, and I knew she’d be right for it. Her screenplay made everything fall into place. James Watkins, the director, read it and loved it. Daniel Radcliffe read it right after the last day of Harry Potter and loved it. Jane had a huge part to play in getting the right people involved.” Susan Hill says she was thrilled with the result. “When Jane sent me the script it was for me to look at it and say, ‘Yeah, this is fine, but…’” she explains. “But I just thought it was terrific. Jane, I think, thought that I might be offended by some of the changes to the story, but that wasn’t what worried me. What would have worried me is if she’d turned it into something like a comedy, but she hadn’t. She’s just so skilled. She’s managed to make it her own while still allowing it to be mine.” Goldman was concerned that she strike the right balance of tone in writing her screenplay. “It’s a tough one to adapt,” she says. “It’s a wonderful novel, and there was a brilliant theatre adaptation that was so much designed for the theatre. I think it was always clear, because it’s a very economically told story, that to work as a film it needed additional layers.”
She continues: “For me it was about introducing The Woman in Black to a cinema-going audience. In a way, I was attempting to do in cinematic language what Stephen Mallatratt had done in the theatre.” Coincidentally, at the same time, Eden Lake director James Watkins had read a story in the trade press about Jane Goldman writing the screenplay, and asked his agent to inquire about the project. “I’d been working on a ghost story myself, but I couldn’t make it work for me,” Watkins explains. “When I read Jane’s script, it spoke to everything that I wanted to achieve with the other project. It just had that sense that it was scary but it also had an emotional element in it. It really moved me, and as soon as I’d read it I knew I wanted to do it.” “James is a very, very smart guy,” says Simon Oakes. “He’s a great director who understands both how to tell a story and how to get great scares out of it.” Watkins brings a relaxed attitude to the set, according to actress Liz White, who plays the ghostly Woman in Black. “I auditioned for the part about two months before shooting and at that first meeting James was just so generous,” she says. “And he’s been that generous throughout the shoot. I’ve always felt welcomed to The Woman in Black family.” Working with Watkins, Jane Goldman began a process of refining the script; a process she believes has helped maintain the spirit of Susan Hill’s novel. “In early drafts there were a number of flashbacks involving the Woman,” she reveals, “but we were able to work through this process of continually dialling it back. I feel that it’s much stronger because of that – there’s not some American backstory about how the Woman in Black became the Woman in Black. It’s not Freddy Krueger! It’s about Arthur’s experience of discovering these horrific secrets and our discovering what happened through his eyes.” Important for producer Richard Jackson, too, was that The Woman in Black be accessible to audiences generally disinclined to enjoy genre cinema. “We’re trying to ensure that the people who want to go and see a movie will consider The Woman in Black as their first choice because it’s sufficiently well made to engage them,” he says. “Regardless of whether they’d normally be interested in horror or those genre elements. And that’s Daniel Radcliffe’s attraction as the star – to encourage a much wider audience to buy their tickets and come and enjoy it.”
.Casting Arthur. Casting the role of the film’s protagonist, Arthur Kipps, director James Watkins sought a young actor with the talent necessary to bring the right mix of sadness and vulnerability to the screen. For Watkins, Daniel Radcliffe, best known for his role in the blockbusting Harry Potter series, was the obvious choice. “I met with Dan and we had a long chat, and we both saw the character in the same way,” he explains. “Arthur Kipps is a very rich character for Dan to play, and a much darker place for him to explore.” Jane Goldman had been involved in the process of adapting The Woman in Black to the screen long before Radcliffe was cast. “I always pictured Arthur as young,” she says. “Especially since it’s set in that era, and in terms of his position in society.” “The planets aligned, really, in terms of getting the script to Daniel,” says producer Richard Jackson. “He read it as soon as he’d received it, on a plane journey to the US, and when he got off the plane he phoned his agents and said he wanted to do it.” For his part, Radcliffe recognised the need to strike out from the role of the boy wizard that made him famous. “I’m very, very proud of Potter,” Radcliffe says. “But I now have to prove to people that I’m serious about acting, and I think the way to do that is to start selecting some interesting material.” Goldman’s screenplay, and the meeting with Watkins, was enough to convince the young actor that Arthur Kipps would be the right challenge to take on. “Arthur is so complex but there’s a real stillness to him as well,” Radcliffe shares. “It was a very interesting character to get a chance to play.” The opportunity to play in a Victorian ghost story was also appealing. “When I first met James he mentioned a Kubrick quote about how all films with a supernatural element are inherently consoling because they imply an afterlife,” he explains. “Suddenly, here’s this guy who’s lost his wife, goes to this house and starts seeing the ghost of a dead woman. The reason he stays there and almost tries to find her is that in there is some hidden desire, or instinct, to get some sort of assurance that his wife is in a better place.” For director James Watkins, Daniel Radcliffe brings a sense of maturity to the role of Arthur Kipps that was exactly what he was looking for. “He’s just so dedicated to his craft,” Watkins explains. “He put a lot of trust in me and allowed me to take him to different places in terms of his acting
and the role, and I think he’s really excavated and explored aspects of himself and pushed himself as an actor in really different ways.” Watkins thinks audiences will be surprised by Radcliffe’s transformation for the role. “It’s a reinvention of Dan, as Dan the grown-up actor,” he says. “I think people are going to be quite breathtaken when they see the new Dan.” “I don’t think I’ve seen someone throw themselves into a piece of work so totally,” says Jane Goldman of Radcliffe’s work ethic. “We met up a few times at very early stages to talk about the character, and he was keen to put everything he had into it.” When Susan Hill heard Radcliffe had been cast in the role, she was thrilled. “I’d never read the Harry Potter books, nor seen the films,” she says. “But I knew who Daniel was – you couldn’t not – and the moment I met him I knew he was right.” Hill thinks audiences will be surprised by the maturity he shows in the role of Arthur Kipps, a young solicitor and father. “I don’t think we could have found anyone better, really.” She adds: “Daniel said in an interview that this isn’t just a spooky horror. It’s about grief and bereavement and what happens to people. And he’s right – it’s got a serious element and he’s captured that. He’s understood it.” Radcliffe describes Arthur Kipps as a man “so completely destroyed by his wife’s death that he has found it almost impossible to live in the human world for the last four years.” He continues: “Arthur’s been unable to connect with people, particularly his son. He loves him, but he hasn’t been there for him as he should have been. He’s not been able to give him a happy childhood so far, because he doesn’t have that capacity for happiness.” Radcliffe points to Kipps’s first appearance in Jane Goldman’s screenplay as being particularly indicative of his mental state. “When we meet him at the beginning, he really is a man on the edge,” he explains. “The first time you see him he’s got a cutthroat razor to his throat. It happens to be that he’s shaving, but I always thought that he’s definitely stood there before, considering killing himself.” For Radcliffe, the particular challenge of playing Arthur has been in the character’s peculiar stillness. “There are moments when you shouldn’t be sure what Arthur’s thinking,” he says. “You know it’s probably not happy thoughts, but you’re not sure exactly why, or what he’s going through at particular moments. That just leaves a little bit more room for the audience to relate, because
they can just insert any emotion that they assume he might be feeling. Ambiguity leaves room for connection there, I think.” “He really inhabited the role,” says James Watkins of Radcliffe’s commitment to the part. “It got to a point where we had such shorthand that I could suggest just tiny little touches on the tiller. He really didn’t need direction by the end. He understood exactly who the character was, and really lived him.” Watkins is well aware that gushing about your lead actor is a director’s default setting, but in Radcliffe’s case, he says, he means every word. “He’s been an absolute joy to work with,” he reveals. “I know people always say that, and it hides all sorts of lies, but in this case it’s true!” Radcliffe says it’s a lead actor’s responsibility to help make a happy set. “I’ve seen film sets where the actors are playing up and they’re miserable,” he confides, “and it just filters down through everybody. But I love being on set and I love my job.” Susan Hill says that Radcliffe’s jovial personality was evident at their first meeting. “We just talked about our Border Terriers, really,” she laughs. “We had lunch at Simon’s house and I was sure he knew what he was doing. He’s intelligent and he can act, and he’s so unspoilt, which is lovely. It’s very easy at that age, with that success, to get airs and graces. But I think he’s got his feet on the ground and I think they’ll stay there. I hope one day he’ll do something else of mine, he’s just very good.”
.Defining the World In addition to Radcliffe, the film casts a varied ensemble of actors, including Ciarán Hinds, Janet McTeer and Shaun Dooley, as the residents of the creepy village of Crythin Gifford. “With Karen Lindsay-Stewart, the casting director, we decided we wanted to have a truth about the villagers,” reveals James Watkins. “We didn’t want this kind of rural otherness. We didn’t want them to be yokels, and I didn’t want it to be like you’d just walked into The Slaughtered Ram. I wanted to feel the pain of these people’s loss and the fear that underlined their behaviour.” It was important, too, that each character have its own, fully defined path to take. Says Watkins: “Through the process of casting them we did some work in rehearsal with Jane, just trying to excavate those roles a little bit more. I wanted each character to have a small story to tell, really.”
Watkins is thrilled with how the ensemble has turned out. “As a director it’s great sometimes, because you say, ‘Who do I love as an actor and who might be right for this role?’ I love Ciarán Hinds as an actor, I’ve loved him for a long time, and I thought he was perfect.” Playing the part of Arthur Kipps’s young son Joseph is Misha Handley, Daniel Radcliffe’s real life godson. “We saw a lot of young kids to play the son, but Dan and Misha just had such a bond, and I think that bond feels so true on film,” shares Watkins. “Misha’s one of the most natural young actors I’ve ever seen.” One of the key changes made to the novel is the earlier introduction of Kipps’s son who in the novel isn’t born until after Kipps returns to London from Crythin Gifford. Introduced in Goldman’s screenplay in the film’s opening scenes, Kipps’s struggle with being separated from Joseph during his time in Crythin Gifford becomes a key plot point and adds another layer of dread as the young solicitor learns the secrets of this curious village. “We wanted to track that through the whole film,” explains Watkins. “It’s fundamental in terms of what drives Arthur. As with the loss of his wife; I wanted to explore the nature of his loss, and not have it simply as an abstraction.“ “The novel works beautifully because it’s completely in the style of a classic Victorian ghost story, where you don’t ask the sort of questions that you ask when you watch a film,” explains Jane Goldman. “‘Why does Arthur not leave the village immediately? There are certain cinematic conventions that I think we needed to address. It was important to answer questions about what’s driving this character and why it’s important for him to remain in the village.” Although Susan Hill’s novel - and, indeed, Jane Goldman’s adaptation of it – tells the story of The Woman in Black in the grand tradition of Victorian ghost stories, for Goldman, finding the world of the film involved researching some unlikely cinematic sources. “The story is both unashamedly scary and full of this real, emotional depth,” she reveals. “And in adapting it I kept coming back to some of the better examples of J-Horror in recent years.” The Japanese Horror genre, dubbed J-Horror and popularised by films such as The Ring and The Grudge, has more than a little in common with classical Victorian ghost stories, Goldman says. “They’re often devastating in terms of the emotional themes, but they’re also properly scary. The two things don’t have to be mutually exclusive. In Japan there’s an enormous interest in the Victorian culture anyway, and it was interesting to see those films strike that balance.”
For James Watkins, crafting a modern period film was an intriguing contradiction. “Intersecting the period world with the J-Horror world was very interesting and fresh,” he explains. “The grammar of the whole film was something I spoke at length to (cinematographer) Tim Maurice-Jones about. I didn’t want the film to look like a period piece. I wanted to shoot it with a very modern idiom in the way the camera moves, the way we establish scenes and the mise-en-scène of the whole thing.” In defining the look of Eel Marsh House, the creepy mansion cut off from the village of Crythin Gifford by a causeway that floods at high tide, Watkins was keen not to play to ghost house stereotypes. “I wanted it to have this sense of decay, but I didn’t want it to be a monochromatic cliché,” he says. With production designer Kave Quinn, he sought instead to make use of a rich colour palette, resulting in a decidedly more highly saturated look than convention would suggest. “The film has a very rich look,” continues Watkins. “We have these kinds of bruised colours. The colours of decay and death: purples and blacks and rich, deep crimsons. I really wanted that sense of the beauty of the house to come through. At the same time, it’s a haunted house, it has to have nooks and crannies and crevices and dark spaces. It’s as much about the lighting as anything.” Quinn explains that the process of designing Eel Marsh House began with scouting the location for its exterior. “At the beginning of the film, we had a fantastic location manager looking for the right house,” she says. “It needed to have its own persona, so that as soon as you saw it you knew it had some character to it. When you look at the house we found, it almost has eyes. It’s a Jacobean building and the gable at the front gives it an incredible evil look.” With the location found, Quinn sat down with Watkins to fine tune her designs for the interior of the house, based on the rough blueprint of the exterior. “I gathered together loads of research materials on things like staircases and panelling, and I knew which way I was going to go with the colours. We used bruising purples and mouldy greens to give that sense of decay.” Finding a real life location to play the odd village of Crythin Gifford proved even more challenging. “In the 21st Century, obviously anywhere we’d find would be busy and full of cars and road signs and newer buildings that needed covering up,” explains Quinn. “We wanted to try and find somewhere that had almost been untouched by time, and the village we found, Halton Gill, was right in the middle of the Yorkshire Dales, so it isn’t anywhere you’d ever pass through. It hadn’t been over-developed, so all the houses are original from something like 400 years ago.” The collaboration with director James Watkins has been “unbelievable,” says Quinn. “From my first meeting with James, we just really gelled.”
“Kave did wonders as a production designer and she’s an amazing woman,” agrees Watkins. “She really understood what I tried to get at. We designed the long corridors and the depth, so I could have real depth in the frame in the Polanski sense of looking through doorways and half seeing things.” He summarises: “A ghost story is what you can’t quite see – what’s in the corners of the frame and what’s in the margins. That was something we built into the production design.” “We’re filming in 2.35:1 instead of 1.85:1,” says Jackson, referring to the super wide aspect ratio favoured by epic Hollywood productions. “That’s a strange choice, you’d think, to begin with, because when you think of 2.35:1 you think of a big Western, and when you think of a small, claustrophobic ghost story, you think of it in 1.85:1. But it’s turned out to be really exciting as a way of shooting the story.” Cinematographer Tim Maurice-Jones says that the primary direction he got from Watkins to define the look of the film was one simple word: “contrast”. “We’ve been trying to light the sets with a single source of light only,” explains Maurice-Jones. “A lot of films will use a key light to light the face, a fill light to light any shadow that’s left, and a backlight to pick them out against the background. We’ve been trying to use light and shade to achieve that sense of contrast with just one light.” Watkins also chose to play with the basic conventions of filmmaking in order to add to the unsettling sense of dread that hangs over the film. “We used what we could to just throw things slightly off balance,” he reveals. “I’ve shot at multiple frame rates and shutter speeds, we’ll have jump cutting, discontinuous editing. You don’t want to be tricksy – I can’t stand that – but anything that serves to tell the story honestly, and that’s the key for me, is valid. No rules necessarily apply, and to have that freedom to explore is interesting.” “We’ve been very organic in that respect,” agrees editor Jon Harris, “James is great at coming up with ideas for things to pop in just to make it a little creepier. It’s very back-and-forth with us. We’ll put things together and see what works and then if he’s still on the same set he can add something to it, or apply the idea to another scene.” He continues: “We’re trying to achieve something akin to peripheral vision. Although I don’t believe in ghosts, whenever I go into an old house you find things moving in your peripheral vision. We’ve been talking a lot about how to achieve that on film, because you can try to make the audience look at one thing, but they’ll look wherever they want to.”
Watkins describes his relationship with Harris as incredibly collaborative. The pair worked together on Watkins’s feature debut, Eden Lake, as well as Harris’s directorial debut The Descent: Part 2, which Watkins co-wrote. “Jon’s been a big part of the constructing of the film pre-edit as well,” he reveals. “He shot Second Unit and was very much a part of the script collaboration process with me and Jane.” Says Harris: “Between the two of us we know what we need to make the film work. I work in the edit during production and I keep an eye on what’s being shot, and the pickups list, to make sure we’ve got what we need.”
.Designing the Woman in Black. Actress Liz White considers the Woman in Black to be a sympathetic character. “When you read the story you really get involved with the loss of her son and the distress that would have caused her,” she says. “She’s lost the trust of her sister, her father, her brother-in-law, and then to see her sister forsake the life of her child was the ultimate heartbreak.” White says that the costume and make-up helps her get into the character. “Immediately you feel so detached from everybody else,” she reveals. “You can’t look at people straight, and people don’t look at you straight. Immediately you feel as though you’re part of her world. I found it brilliant to play, because you can use your imagination and it’s all about your internal life. For an actor, that’s a joy.” Costume designer Keith Madden spent a long time researching Victorian mourning dress to find the right look for the Woman in Black. “It’s very alien to us to see this sort of thing. In the Victorian era, if a woman lost her husband or her son, this is how she’d look. I wanted the Woman to be this bride of grief. She’s heavily veiled. At the time, the fabric used was crape, which was very flat and lifeless. But that doesn’t look very good on camera, so we’ve upped the stakes and made the fabric quite gutsy, so it has a lot of strength about it. It gave a good form and a good silhouette to her.” He adds: “One of the key points early on was that we didn’t want to see any flesh. So all those vulnerable parts like the wrists from the glove to the sleeve, the back of the neck, we didn’t want to see. We wanted to put the onus on the face, so you honed in very quickly on it.” A particular detail of Madden’s costume is the Woman’s black veil, which falls on her face in such a way that it appears to form cracks in her skin. Madden reports that this effect proved to be a
happy accident of experimentation. “It was all about playing around with the fabric, and at the time I wasn’t sure how much they wanted to reveal the face,” he says. “I wanted to mask the face by putting a sheer layer very close. When you put it on and tied the ribbon underneath it almost fell like daggers or tears or folds against her skin. Combined with Jeremy’s make-up, that worked very well.” For hair and make-up designer Jeremy Woodhead, working on a character as complex, dark and scary as the Woman in Black is, “great fun. It’s proper character stuff as opposed to vanity stuff. You’re creating something where the make-up is actually important in defining the character.” He explains the philosophy behind his work in establishing her creepy, pallid look. “Obviously she’s a ghost, but we didn’t want to have the clichés of a spectral being. She’s desiccated and her skin’s all withered and dried and she’s been eaten away over time. It adds to the grief of the character. It was important not to make her a monster, she’s somebody who’s deeply wronged and extremely sad, but she was once beautiful too.” It’s not a quick process for White to be transformed into the Woman: “I get brought in normally between one or two hours before call time to start the make-up,” she says. “It takes two hours to apply and it’s basically three layers of different glue substance that sticks to your face, and this sticky, smelly chemical stuff that they put in different places. She’s meant to have been in the ground, so she’s started to decompose.” One of the ways the Woman’s peculiar presence manifests in the film is in blink-and-you-miss-it appearances early on, out of a window or through a doorway. Watkins shot several alternate takes featuring the Woman in this fashion to allow for plenty of room for experimentation in the edit. “I wanted to make a refined, subtle ghost story that has a sense of dread and a creeping, growing sense of danger,” he explains. “I didn’t want anything that went ‘boo’. You’re looking at this window, and wondering: is there something just out there? You just catch a glimpse of it. For me that’s much more terrifying.”
ABOUT HAMMER Originally founded in 1934, legendary British film studio Hammer has delivered a hugely successful run of films over the years including Dracula, Frankenstein Created Woman, One Million Years B.C. and The Vampire Lovers. Since 2008, the company has been part of Exclusive
Media Group (“Exclusive”) which is reinvigorating this beloved global brand through investment across both traditional and new media. Not in production since the 1980s, Hammer marked their return to features in 2010 with the release of the critically acclaimed Let Me In, an adaptation of the highly praised Swedish film. The film was written and directed by Matt Reeves (Cloverfield) and stars Chloe Moretz (Kick-Ass) and Kodi Smit-McPhee (The Road). In 2011, Hammer released Antti Jokinen’s The Resident starring two-time Academy Award® winner Hilary Swank (Boys Don't Cry, Million Dollar Baby), Jeffrey Dean Morgan and Hammer legend Sir Christopher Lee, as well as the critically lauded Wake Wood directed by David Keating and starring Aidan Gillen, Eva Birthistle and Timothy Spall. February 2012 sees the theatrical release of Hammer’s first ever feature ghost story The Woman in Black, directed by James Watkins, adapted by Jane Goldman from the book by Susan Hill, and starring Daniel Radcliffe. Hammer recently launched a new publishing imprint through Random House which has already published eight books. In 2012 the imprint publishes its first original titles with The Greatcoat by Helen Dunmore and Coldbrook by Tim Lebbon. Also publishing in 2012 are further new novelisations of classic Hammer films. Hammer is also broadening its reach, with plans for a Hammer Theatre of Horror and a Hammer visitor attraction, as well as continuing to honour the company’s legacy with re-releases of classic films,
ABOUT THE CAST DANIEL RADCLIFFE (Arthur Kipps) plays the role of Arthur Kipps, a young lawyer and father still mourning the death of his wife. Radcliffe is, of course, best known in the eponymous role of Harry Potter in the most successful film series of all time. Radcliffe has starred in all eight of the films with the final feature Harry Potter and the Deathly Hallows Part II released in July 2011. The film series was awarded the Michael Balcon Award for Outstanding British Contribution to Cinema at this year’s BAFTA Awards.
He is currently performing as J. Pierrepoint Finch in Tony Award winner Rob Ashford’s production of How to Succeed in Business Without Really Trying, marking his Broadway musical debut. The show, which opened in March 2011, has garnered great critical acclaim with Radcliffe receiving a Grammy nomination alongside co-star John Larroquette as principal soloists. Radcliffe also received performance nominations from the Drama Desk, The Outer Critic Circle, the Drama League and The Fred and Adele Astaire Awards. In addition, Broadway.com honoured him with the Audience Choice Award for Favourite Actor in a Musical as well as Favourite Onstage Pair (with Larroquette). Radcliffe will continue his role in the show through to 1 st January 2012. Radcliffe has also just been voted Entertainer of the Year by the US leading publication Entertainment Weekly as the ‘most talented and original performer’ of 2011. He also just won two Teen Choice Awards and a Scream Award, as well as receiving two nominations for the upcoming People’s Choice Award for Favourite Movie Actor and Favourite Movie Star under 25. Radcliffe is no stranger to the theatre having starred as Alan Strang in both the 2007 West End and 2008 Broadway productions of Peter Shaffer’s Equus, winning the award for Best Leading Actor at the Annual Theatre Fan Choice Awards, organized by Broadway World, as well as Best Leading Actor and Breakthrough Performance Awards at the annual Broadway.Com Audience Awards. He also garnered both Drama League and Drama Desk nominations for his performance in the play. Both the London and Broadway productions of Equus were directed by Thea Sharrock and also starred Tony Award winner Richard Griffiths. His other film credits include the Australian independent feature December Boys and the role of Jack Kipling in the true-life telefilm My Boy Jack, about Rudyard Kipling’s 17-year-old son, Jack and the devastating effect his death in World War I, had on his family. The film also starred Kim Cattrall, Carey Mulligan and David Haig. A lifelong fan of the hit series The Simpsons, Radcliffe has lent his voice to the character of a brooding vampire named Edmund for the show’s Treehouse of Horror XXI special, entitled Tweenlight which aired November 7th 2010. Previously, he made a guest appearance as himself in the award-winning BBC/HBO series Extras starring Ricky Gervais. He first appeared on screen as the young David Copperfield in the BBC/PBS presentation of the classic Charles Dickens novel.
CIARAN HINDS (Mr. Daily) Ciarán began his career at The Glasgow Citizens Theatre and was a member of the company for many years. In Ireland he has worked at the Lyric Theatre Belfast, the Druid Theatre in Galway and at the Project and the Abbey in Dublin, where he last appeared as Cuchulain in The Yeats Cycle. For the Gate Theatre he has most recently appeared in Conor McPherson’s The Birds, The Field Day Company’s version of Antigone, School for Wives and Brian Friel’s The Yalta Game. He toured internationally with Peter Brook’s Company in The Mahabharata and has played leading roles at the Royal Shakespeare Company, the Royal Court, the Donmar Warehouse and the National Theatre, where he last appeared in Burnt by the Sun and played Larry in Patrick Marber’s Closer, which transferred to Broadway. He also performed on Broadway in Conor McPherson’s The Sea Farer. Ciarán is currently appearing in the National Theatre and Abbey Theatre co-production of Juno & The Paycock by Sean O’Casey, directed by Howard Davies. On television he recently appeared as DCI Langton in Linda La Plante’s Above Suspicion and as Julius Caesar in the BBC/HBO co-production of Rome. This follows extensive television credits including leading roles in The Mayor of Casterbridge, Jane Eyre, Seaforth, Ivanhoe, Sherlock Holmes, Prime Suspect 3 and the award-winning film of Jane Austen’s Persuasion, in which he played Captain Wentworth. Extensive Film credits include Peter Greenaway’s The Cook, The Thief, His Wife and Her Lover, December Bride, Circle of Friends, Titanic Town, Some Mother’s Son, Oscar and Lucinda, The Lost Son, The Weight of Water, Mary Reilly, The Road to Perdition for Sam Mendes, The Sum of All Fears, Jonjo Mickybo, Calendar Girls, Lara Croft: The Cradle of Life, The Statement, Veronica Guerin and The Phantom of the Opera both for Joel Schumacher, Miami Vice for Michael Mann and Munich for Steven Spielberg. Amazing Grace for Michael Apted, Nativity for Catherine Hardwicke, Hallam Foe, A Tiger’s Tail, Excalibur for John Boorman, Margot at the Wedding for Noah Baumbach, There Will Be Blood for Paul Thomas Anderson, Stop Loss for Kimberly Pearce, In Bruges for Martin McDonagh, The Tale of Desperaux, Miss Pettigrew lives for a Day, Cash, Race to Witch Mountain, Conor McPherson’s The Eclipse for which he won BEST ACTOR at the Tribeca Film Festival, Life During Wartime, The Debt, Harry Potter and the Deathly Hallows, John Carter, Salvation Boulevard, The Rite, Tinker Tailor Soldier Spy and Ghost Rider: Spirit of Vengence.
JANET MCTEER (Mrs Daily) The versatile English actress Janet McTeer has prolific experience
in film, theatre, and television. Her notable film credits include Kenneth Branagh’s As You Like It from BBC/HBO Films, Terry Gilliam’s Tideland, and the Sundance favourite Tumbleweeds where McTeer won a Golden Globe for Best Actress and an Academy Award® nomination for Best Actress. McTeer’s television credits include BBC’s Sense and Sensibility, Simon Curtis’ Amazing Mrs. Pritchard, Miss Julie, and Precious Bane which earned her a Best Actress nomination from the Royal Television Society. Her vast theatre experience also spans very broadly to include The Grace of Mary directed by Danny Boyle for the Royal Court and Traverse that brought McTeer an Olivier Award Best Actress nomination.
Janet will soon be seen in the feature films Island directed by Elizabeth Mitchell, Albert Nobbs opposite Glenn Close and Mia Wasikowska and Margarethe Von Trotta’s Hannah Ardent.
LIZ WHITE (Jennet Humfrye) Her most recent film roles include Janet Dickenson in U Want me to Kill Him, Roxy in Wild Bill, Laura in Franklyn, Alice Kelly in New Town Killers and Pamela Barnes in Vera Drake. Her TV credits include leading roles in Life on Mars, The Fixer and A Thing Called Love. She has also featured in The Street, Vincent, Teachers and Miss Marple In 2001, White received three awards including Best Individual Performance Award at the National Student Drama Festival for her adaptation of Roddy Doyle’s novel The Woman Who Walked into Doors. In the last two years Liz has played leading roles at the National Theatre; Tennessee Williams’ Spring Storm, Beyond the Horizon by Eugene O’Neil, both directed by Laurie Sansom and A Woman Killed With Kindness directed by Katie Mitchell. This year Liz was also seen playing Caroline in the hugely successful Crimson Petal and the White.
SHAUN DOOLEY (Fisher) An incredibly diverse award-winning actor, Shaun Dooley has starred in a huge variety of feature films, TV series’, stage productions and radio shows. His career began in TV, featuring in Warriors, Dalziel & Pascoe and Silent Witness and he went on to make appearances in the critically acclaimed The Street, Five Days, Exile and Married Single Other. Dooley’s film credits include the multi award winning film The Mark of Cain, for which he won an RTS Northwest award for best actor. Other roles also include: Jon in James Watkins’ Eden Lake, Dick Alderman in the Red Riding Trilogy and Malcolm McNair in The Awakening.
His theatre roles include National Theatre productions of Marat Sade, The Arbor, Brassed Off and Howard Barker’s Blok/Eko. Dooley is also a frequent contributor to numerous BBC Radio shows including The Frederica Quartet, His Dark Materials, Feather, Missing and Right Place Wrong Time. He has recently narrated the acclaimed Our War for BBC. Dooley will appear in the upcoming TV film Great Expectations and Rachael, a short film by Irvin Welsh, directed by the celebrated photographer RANKIN.
ABOUT THE FILMMAKERS JAMES WATKINS (Director) James made his directing debut with the critically acclaimed thriller Eden Lake. Declared 'the best British horror film in years' (The Guardian), it won the Empire Award for Best Horror, the Jury Prize at Sitges Fantasy Film Festival and Best Director at Fantasporto. Before he moved into directing, James had a first-look writing deal with Working Title Films. Under this deal, he wrote several scripts including acclaimed horror-thriller My Little Eye. Other writing credits include Gone and The Descent 2. James has also written scripts for Film Four and BBC Films. He is currently developing projects with Warner Bros (producer David Heyman) and Pathe (producer Christian Colson).
JANE GOLDMAN (Screenwriter) started her career as a print journalist, working for a broad range of publications including The Times, Cosmopolitan, Smash Hits and the computer games magazine Zero.
She is the author of four non-fiction books for young adults, the novel Dreamworld, and the number one best-selling non-fiction, two-volume series The X-Files Book of the Unexplained. She has also worked in television, variously as a presenter, producer and comedy writer. She made the jump to screenwriting five years ago, co-writing the screenplay for Stardust, based on Neil Gaiman's novel, for which she won the 2008 Hugo Award for Best Dramatic Presentation, Long Form. This was followed by screenplays for comic-book action movie Kick-Ass, and thriller The Debt, starring Helen Mirren and Sam Worthington. This summer saw the release of X-Men: First Class, which she co-wrote with director Matthew Vaughn and starring James McAvoy and Michael Fassbender.
RICHARD JACKSON (Producer) is Managing Director of the Talisman Group of Companies which he founded in 1991. To date, Talisman has original dramatic film and television productions to its credit in excess of US$125 million production cost. In addition to his corporate duties and his role as a producer, Richard has been responsible for Talisman's creative development policy. In 1995, Richard was Producer of Rob Roy, a Talisman production for United Artists, starring Liam Neeson and Jessica Lange, John Hurt, Tim Roth, Eric Stoltz and Brian Cox. Rob Roy was directed by Michael Caton-Jones from an original screenplay by Alan Sharp. Alan Sharp won a BAFTA Scotland award for his screenplay and Tim Roth won an Oscar Nomination and the BAFTA award for Best Supporting Actor. In 2000, Richard produced a feature film adaptation of Iain Banks’ cult best-selling novel, Complicity, starring Jonny Lee Miller and directed by Gavin Millar. In 1999/2000, Talisman entered the world of international television with the first drama series (22 x 50') ever to be produced in HDTV, The Secret Adventures Of Jules Verne, developed by Richard for Talisman, and co-produced with Canadian-based Filmline International. It aired in January 2001 on the US Sci-Fi Channel and commenced syndication in Fall 2001. Richard was Executive Producer of the series. Richard is one of the Producers of Imaginaerum, a feature film shooting in Montreal, Canada featuring the Finnish rock band Nightwish. Richard is a Chartered Accountant and has an M.A. in Law from the University of Cambridge. Outside the film industry, Richard has also enjoyed a career of more than 20 years as a property developer. SIMON OAKES (Producer) is Vice-Chairman of Exclusive Media Group and President & CEO of Hammer. Together with Exclusive Media COO Marc Schipper, he led the acquisition and recapitalization of Hammer in 2007. Prior to his role at Hammer, Simon Oakes held the posts of Managing Director of UPCTV and latterly Head of Content at Chellomedia, the content distributor of John Malone’s Liberty Global, Inc., Europe’s largest cable company. Simon Oakes’ early career highlights were founding Producer of The Comic Strip, Managing Director of Rocky Morton and Annabel Jankel’s production company Cucumber Productions (producers of Max Headroom) and founder of Crossbow Films.
Oakes’ recent producer credits include Let Me In, directed by Matt Reeves (Cloverfield) and The Resident, starring Hilary Swank, Jeffrey Dean Morgan and Christopher Lee; and his recent executive producer credits include Wake Wood, starring Timothy Spall, Aiden Gillen and Eva Birthistle, and The Way Back, directed by Peter Weir and starring Colin Farrell and Ed Harris.
BRIAN OLIVER (Producer), President of Cross Creek Pictures, is an Academy Award nominated producer and veteran film executive, bringing his tremendous production and financing expertise to Cross Creek Pictures with the goal of producing thought provoking and commercial films in a filmmaker friendly environment. Oliver is also a member of the company’s investment committee of Cross Creek Partners, a film fund formed by Timmy Thompson and a consortium of private business investors from Louisiana and Texas. Oliver recently released Cross Creek’s first production on which he served as producer, Darren Aronofsky’s psychological ballet thriller Black Swan. The film was released by Fox Searchlight and to date has grossed over $250 million worldwide. Oliver, alongside producers Mike Medavoy and Scott Franklin, won the Best Feature Film Award at the 2011 Independent Spirit Awards for Black Swan, and swept the awards season with a total of five Academy Award nominations, twelve BAFTA nominations, and four Golden Globe nominations. In October 2011, Cross Creek released The Ides of March through Sony Pictures. The film, an adaptation of the off-Broadway play Farragut North with George Clooney starring and directing, was selected as the opening night film at the 2011 Venice Film Festival and the official gala presentation at this year’s Toronto International Film Festival. Oliver is currently in production on Arthur Newman, Golf Pro, directed by Dante Ariola and starring Colin Firth and Emily Blunt, and Rush, directed by Ron Howard and starring Chris Hemsworth and Daniel Brühl. Oliver has been working in the entertainment industry for over twelve years. He started his career at Paramount Pictures and then moved to the Motion Picture Department at the William Morris Agency. He transitioned over as VP of Production at Propaganda Films where he developed and produced numerous projects, including the Paul Schrader directed Auto Focus starring Greg Kinnear, and Willem Dafoe. Oliver then founded and ran Arthaus Pictures before teaming with Timmy Thompson to launch Cross Creek Pictures. Oliver holds a Bachelor’s degree from the University of California at Berkeley, as well as a J.D. from Whittier College School of Law.
SUSAN HILL (Writer) was born in Scarborough, Yorkshire, in l942. She was educated at grammar schools there and in Coventry and studied at King's College, London. Susan is married to the Shakespeare scholar, Stanley Wells and they have two daughters. She lives in Gloucestershire, where she runs her own small publishing firm, Long Barn Books. Her works include I’m the King of the Castle (Somerset Maugham Award), The Albatross and other Stories (John Llewellyn Rhys Prize), Strange Meeting, The Bird of Night (shortlisted for The Booker and won the Whitbread) and the bestselling Serrailler crime novels. One of her children's books, Can it be true? won the Smarties Prize. The stage adaptation of The Woman in Black has been running in London for more than twenty years. Her other ghost stories to date are The Man in the Picture and The Small Hand.
GUY EAST (Executive Producer) most recently Executive Produced the politically charged revenge thriller The Ides of March starring Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Marisa Tomei, Jeffrey Wright and Evan Rachel Wood, and directed by Academy Award® nominee George Clooney . The Ides of March premiered at the 2011 Venice International Film Festival to critical and audience acclaim. Currently East is Executive Producing Academy Award winner, Ron Howard’s epic action thriller Rush, set in the spectacular world of Formula 1, written by two time Academy Award® nominee, Peter Morgan, and starring Chris Hemsworth and Daniel Brühl. Also up in 2012 will be the fast paced thriller Snitch starring action superstar Dwayne Johnson and Academy Award® winner, Susan Sarandon. As Co-Chairman of Exclusive Media Group, one of the industry’s leading independent production and distribution companies, East has produced such films as the highly acclaimed horror-drama Let Me In; The Resident starring Hilary Swank; Peter Weir’s The Way Back; and the upcoming So Undercover starring teen sensation Miley Cyrus. In early 2003, with his partner Nigel Sinclair, East launched the independent feature film production company, Spitfire Pictures, now an Exclusive Media Group company. Prior to starting Spitfire, Sinclair and East co-founded renowned production company, Intermedia Films, in 1996. In May 2007, East and Sinclair joined the board of Hammer Films following signature of Spitfire’s first-look development and production pact with the newly revived British studio.
In 2008, Spitfire was acquired by Dutch strategic investment group Cyrte Investments, and, together with Hammer, became part of the newly formed Exclusive Media Group. For Spitfire Pictures, East’s Executive Producer credits include the Grammy-nominated Amazing Journey: The Story of The Who, the Grammy-winning No Direction Home: Bob Dylan, directed by Martin Scorsese; and Masked and Anonymous, starring Bob Dylan, Jeff Bridges, Penelope Cruz, John Goodman, Jessica Lange and Luke Wilson. In 2001, East’s Intermedia Films produced two of the year’s number one films in the U.S.: K-PAX, starring Kevin Spacey and Jeff Bridges, and The Wedding Planner, starring Jennifer Lopez, on which East also served as an Executive Producer. Other productions on which he served as Executive Producer include Terminator 3: Rise of the Machines, starring Arnold Schwarzenegger; the Academy Award winning Adaptation, starring Nicolas Cage; Iris, starring Dame Judi Dench which was nominated for three Academy Awards; the Academy Award® and Golden Globe nominated The Quiet American, starring Michael Caine; the Academy Award nominated Hilary and Jackie, starring Emily Watson; K-19: The Widowmaker, starring Harrison Ford; Enigma, starring Kate Winslet; and Sliding Doors, starring Gwyneth Paltrow. Prior to co-founding Intermedia, East founded Majestic Films International, whose films were nominated for 34 Academy Awards®, winning a total of 15, including two Best Picture Awards for Dances with Wolves and Driving Miss Daisy. East was previously Director of Distribution and Marketing at Goldcrest Films International, where he was responsible for the international distribution of such Academy Award®winning films as The Killing Fields, The Mission, A Room with a View and The Name of the Rose. Additionally, East served as Managing Director of Carolco Films International. East attended the University of Exeter in England, where he studied English and EEC law. He then qualified as a lawyer at Slaughter & May. In 1985 he was elected to be the first British Director of the American Film Marketing Association.
NIGEL SINCLAIR (Executive Producer) most recently Executive Produced the politically charged revenge thriller The Ides of March starring Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Marisa Tomei, Jeffrey Wright and Evan Rachel Wood, and directed by Academy Award® nominee George Clooney. The Ides of March premiered at the 2011 Venice International Film Festival to critical and audience acclaim.
Sinclair has also just produced Academy Award® winning director Martin Scorsese’s latest impassioned documentary, George Harrison: Living In The Material World which features interviews with Harrison and his closest friends, performances, home movies and photographs, many of which have never been seen before. Sinclair and Scorsese collaborated for four years on this epic music documentary, which Premiered in fall 2011 as a two night event on HBO. Sinclair is currently Executive Producing Academy Award winner, Ron Howard’s epic action thriller Rush, set in the spectacular world of Formula 1, written by two time Academy Award® nominee, Peter Morgan, and starring Chris Hemsworth and Daniel Brühl. Also up in 2012 will be the fast paced thriller Snitch starring action superstar Dwayne Johnson and Academy Award® winner, Susan Sarandon. As Co-Chairman of Exclusive Media Group, one of the industry’s leading independent production and distribution companies, Sinclair has produced such films as the highly acclaimed horrordrama Let Me In; The Resident starring Hilary Swank; Peter Weir’s The Way Back; the documentaries Undefeated and The Last Play at Shea, and the upcoming So Undercover starring teen sensation Miley Cyrus. In early 2003, with his partner Guy East, Sinclair launched the independent feature film production company, Spitfire Pictures, now an Exclusive Media Group company. Prior to starting Spitfire, Sinclair and East co-founded renowned production company, Intermedia Films, in 1996. In May 2007, East and Sinclair joined the board of Hammer Films as non-executive directors, following the signature of Spitfire’s first-look development and production pact with the newly revived British horror studio. Also in the fall of 2007, they collaborated with Universal Pictures on Amazing Journey: The Story of The Who, with Roger Daltrey and Pete Townshead, the surviving members of the seminal rock band. In 2005, Sinclair produced – with Jeff Rosen, Susan Lacy, Anthony Wall and Martin Scorsese – the critically acclaimed No Direction Home: Bob Dylan. Directed by Scorsese, this project was released worldwide in September 2005. In 2002, Sinclair produced, with Jeff Rosen, Bob Dylan’s Masked and Anonymous, directed by Larry Charles and starring Bob Dylan, Jeff Bridges, Penelope Cruz, John Goodman, Jessica Lange and Luke Wilson. In 2001, Sinclair’s Intermedia Films produced two of the year’s number one films in the US, KPAX, starring Kevin Spacey and Jeff Bridges, and The Wedding Planner, starring Jennifer Lopez, on which Sinclair also served as an executive producer. Other recent productions on which he
served as executive producer include Terminator 3: Rise of the Machines, starring Arnold Schwarzenegger, the Academy Award-winning Adaptation, starring Nicolas Cage, Iris, starring Dame Judi Dench, the Academy Award® and Golden Globe-nominated The Quiet American, starring Michael Caine, the Academy Award-nominated Hilary and Jackie, starring Emily Watson, K-19: The Widowmaker, starring Harrison Ford, Enigma, starring Kate Winslet, and Sliding Doors, starring Gwyneth Paltrow. Sinclair attended Cambridge University in the U.K., and earned a Master of Law from Columbia University in New York. He practiced law initially in England, and subsequently in Los Angeles with the London firm of Denton Hall Burgin & Warrens (now Denton Wilde Sapte). In 1989, Sinclair co-founded a Los Angeles entertainment law firm, Sinclair Tennenbaum & Co., working with leading talent and entertainment corporate clients, until 1996 when he left to found Intermedia, as noted above. In 2000, Queen Elizabeth appointed him a Commander of the British Empire (CBE) in recognition of his work in the film industry. Sinclair serves on the executive board of Santa Monica based k9 connection, a non profit that runs therapeutic programs in which at-risk teenagers train rescue dogs for adoption in after school programs.
TOBIN ARMBRUST (Executive Producer) is Exclusive Media Group’s Senior Vice-President and Head of Production. In this role he has produced Matt Reeves’ Let Me In, as well as The Resident starring Hilary Swank, and the upcoming So Undercover starring Miley Cyrus. He executive produced Peter Weir’s The Way Back. Armbrust is currently executive producing Ron Howard’s Rush, which is set for a February start. Armbrust has also been involved with Spitfire Pictures, the Documentary arm of Exclusive and has Executive Produced Amazing Journey: The Story of the Who and Last Play at Shea and Guys and Divas: Battle of the High School Musicals. Prior to joining Exclusive, Armbrust served as a producer at Thunder Road, a production company with a first look deal at Warner Brothers. While at Warners, Armbrust oversaw over thirty projects in various stages of development, and while there co-produced Firewall starring Harrison Ford and Paul Bettany. Before joining Thunder Road, Armbrust spent seven years at Intermedia serving under CoFounders Nigel Sinclair and Guy East. At Intermedia he held positions as both a VP of Business Development as well as a VP of Production. During his tenure, he helped oversee several feature films including K-19 starring Harrison Ford, Basic starring John Travolta, The Wedding Planner starring Jennifer Lopez and Matthew McConaughey, Adaptation starring Nic Cage, National
Security starring Martin Lawrence, and Welcome to Mooseport starring Gene Hackman and Ray Romano and K-PAX starring Kevin Spacey. Armbrust began his career in the film industry as Head of Acquisitions at The Steel Company, a Los Angeles based agency which represented some of the largest film distributors in the world, including Canal Plus, Samsung, and Pony Canyon. Armbrust received his Bachelors Degree in Political Science at UCSB and a Rotary Scholarship to study Business at the University of Munich, Germany.
MARC SCHIPPER (Executive Producer) is Exclusive Media Group’s Chief Operating Officer. Together with Simon Oakes, he led the acquisition and recapitalization of Hammer in 2007. In 2008, he led Hammer’s merger with Spitfire Pictures to form Exclusive Media. Since then he has been at the forefront of the strategic and operational development of Exclusive Media, including leading the acquisition of Newmarket Films in 2009, several financing rounds, and the shaping of its senior management team and processes.
Prior to his role at Hammer, Marc Schipper held a variety of corporate development and strategy roles at Liberty Global, Inc. starting in 1999 and rising to head of corporate development for Liberty's Chellomedia division in 2003. From 1997 to 1999 he worked for Merrill Lynch’s European investment banking team with a focus on Energy & Power M&A. Marc Schipper holds a masters degree in economics from Erasmus University Rotterdam.
Born in Zimbabwe NEIL DUNN (Executive Producer) entered the entertainment business in 1987 as a partner in Dunn Gould Associates (Pvt.) Ltd. (DGA), whose entertainment activities included concert promotions for artists such as Bruce Springsteen and Peter Gabriel, and production services for theatrical films for Warner Brothers, Paramount, Disney and Universal in Southern Africa.
He further expanded DGA by forming FilmAfrica, which made most of the major feature films shot in Southern Africa over the next 8 years. He financed and produced Jit, the first feature film made in Zimbabwe. DGA expanded into hotels, restaurants, leisure resorts and travel services, and property development.
In 1994 Neil relocated to the UK, structuring and facilitating the financing for independent productions, also producing the 20x50' TV series Tarzan : The Epic Adventures, for Keller Seigel Entertainment. In 1996 he joined Talisman Films Limited as a producer where he was primarily involved in financing and producing The Secret Adventures Of Jules Verne, a 22-hour $37 million TV series, and the feature film Complicity. In 2002-2003 he was instrumental in financing Head In The Clouds, a John Duigan film starring Charlize Theron and Penelope Cruz. Following this he executive produced These Foolish Things, a British independent film in 2004. In 2005-2006 he was extensively involved with Rollin’ With The Nines, a low budget British film which was nominated for a BAFTA. In 2007 he produced Prisoners Of The Sun and then went onto The Nutcracker: The True Story as the VFX Executive Producer. In 2011 Neil is producing Imaginaerum, a motion picture shooting in Montreal featuring the rock band Nightwish. The film is the first Canada/Finland treaty co-production.
TYLER THOMPSON (Executive Producer) is a native of Houma, Louisiana, Tyler Thompson branched out from the family’s oil and gas business in 2008 to Executive Produce Burning Palms, written and directed by Christopher Landon and starring Zoe Saldana, Dylan McDermott and Paz Vega. Thompson was then instrumental in forming Cross Creek Pictures, a production and financing company where he served as Executive Producer of the company’s first release Black Swan, which went on to gross $329 million worldwide and was nominated for five Academy Awards, including Best Picture. Tyler Thompson serves as an executive at Cross Creek Pictures.
ROY LEE (Executive Producer) is the founder of the Hollywood based production company, Vertigo Entertainment, launched in 2001. He earned his first motion picture producing credit as Executive Producer on Gore Verbinski's 2002 blockbuster The Ring. He went on to Executive Produce the 2004 The Grudge, which starred Sarah Michelle Gellar and was based on the 2000 Japanese thriller, Ju-On, directed by Takashi Shimizu. In October 2006, Roy was Executive Producer of The Departed, a crime thriller at Warner Bros., directed by Martin Scorsese and starring Jack Nicholson, Matt Damon and Leonardo Di Caprio. It was Scorsese's highest grossing film and went on to win multiple Academy Awards including Best Picture.
Born in Brooklyn and raised in Bethesda, Maryland, Lee earned a Bachelors degree from George Washington University and a law degree from American University. After a brief stint as a corporate attorney, Lee relocated from Washington, D.C. to Los Angeles in 1996 to pursue a career in the film industry. He landed his first job with the production company Alphaville, where he worked on films such as The Mummy, The Jackal and Michael. Lee is in various stages of development and production on a number of projects, including Oldboy (a suspense thriller to star Josh Brolin under the direction of Spike Lee), 7500 (a thriller from the director of The Grudge with CBS Films), How To Train Your Dragon 2 (a sequel to the 3-D animated hit film by Dreamworks Animation), The Stand (based on the international bestseller by Stephen King), the animated movie, Lego, for Warner Bros. Pictures and a reboot of Godzilla for Legendary Pictures.
XAVIER MARCHAND (Executive Producer) has been an executive in the international film industry for the past 20 years. His experience covers all aspects of film finance, production, sales, marketing and distribution (theatrical, video and television) as well as general management. Since late 2007, Marchand has been part of Alliance Films senior management team. He joined Alliance in 2004 as the MD of its European businesses: Momentum Pictures in the UK and Aurum Producciones in Spain. During his time at Alliance Films, Marchand has been actively involved in the production and releases of a range of titles including Dorian Gray, The King’s Speech, The Fighter, Downfall, Control, Another Year, Happy-Go-Lucky and the forthcoming Welcome to the Punch, starring James McAvoy and Mark Strong. Prior to Alliance, Marchand was a founder and director of Haystack Productions which produced, Dirty Deeds, Birth, Saving Grace, Clean and Palais-Royal. Before Haystack, Marchand held senior roles at Polygram (President of International Distribution), Portman Entertainment (MD), Warner Brothers (SVP Europe, Middle- East and Africa, Theatrical Distribution) and Sovereign Films (President of Theatrical Sales and Distribution for Europe and Latin America).
BEN HOLDEN (Co-Producer) is Director of Exclusive’s European Film and Television Group, overseeing the group’s European development and production activities from the UK. He most recently served as Co-Executive Producer on 2011’s Hammer release Wake Wood. Ben has over a decade of experience in the film industry, having worked as a development executive on both sides of the Atlantic. He began his career at Intermedia Films and, later, Signpost Films in London. Ben was later a key part of the team in Los Angeles that built Exclusive’s successful documentary division, Spitfire Pictures, notably serving as a supervising producer on 2007’s Grammy-nominated Amazing Journey: The Story of the Who. Prior to entering the film industry, Ben attended Merton College, Oxford, where he was awarded an Exhibition scholarship in English Literature.
PAUL RITCHIE (Co-Producer) has worked on a number of successful independent films with a variety of different genres, from comedy Bend it like Beckham to horror The Descent. He has collaborated with Celador on various films, from the successful low budget horrors of Descent and Eden Lake to the BAFTA and Oscar winning Slumdog Millionaire. He has recently worked with Kudos on the remake Brighton Rock. Paul has worked with Ecosse on various projects, including the acclaimed Nowhere Boy.Many of the films he has worked on have been nominated for awards and have been screened at various festivals around the world.
TODD THOMPSON (Co-Producer) is a native of Houma, Louisiana. He was instrumental in forming Cross Creek Pictures, a production and financing company where he served as Executive Producer of The Ides of March, written and directed by George Clooney starring Ryan Gosling, Marisa Tomei, Philip Seymour Hoffman, Paul Giamatti and Evan Rachel Wood. The film opened the 2011 Venice Film Festival to rave reviews and was released in the US in October 2011. Todd serves as an executive at Cross Creek Pictures.
TIM MAURICE-JONES (Cinematographer) Multi-awarding winning Cinematographer Tim Maurice-Jones, began his career in animation at the BBC, before travelling the world on a variety
of documentary projects and then moved on to shoot music promos for artists including Bjork, U2 and Fat Boy Slim. In commercials Tim has worked on high end ad campaigns including ‘Virgin’, ‘Nike’ and ‘Levis’ with directors including Traktor, Vaughan Arnell, Jonathan Glazer, Johan Renck, and Michael Gracey. Tim’s wide range of feature films include Lock Stock & Two Smoking Barrels and Snatch with Guy Ritchie, Human Nature with Michel Gondry, White Lightnin’ with Dominic Murphy and Envy with Barry Levinson.
KAVE QUINN (Production Designer) studied fashion at St Martins School of Art. She began her film career in the costume department, later moving to the art department, and has been working as a production designer in her own right for the last 15 years. A frequent collaborator with director Danny Boyle, her credits include Shallow Grave, Trainspotting and A Life Less Ordinary. More recent films include Layer Cake directed by Matthew Vaughn and the forthcoming Broken directed by Rufus Norris. Kave has just been confirmed on the third Bridget Jones film which starts shooting in early 2012.
JON HARRIS (Editor)’s feature film credits include Danny Boyle’s 127 Hours, which gained him an Academy Award nomination, James Watkins’s Eden Lake, and Tom Vaughan’s Starter for 10. His other recent credits include Kick- Ass which marked Jon’s third collaboration with Matthew Vaughn, having previously worked on Layer Cake and Stardust. Jon won the Best Technical Achievement trophy for The Descent at the 2005 British Independent Film Awards and went on to direct and edit The Descent: Part 2.
JEREMY WOODHEAD (Hair and Make-up Designer) has worked on a number of feature films and television dramas with a variety of artists including Sir Anthony Hopkins, Sir Ian McKellen, Ralph Fiennes, Colin Farrell, Kenneth Branagh, Val Kilmer, Sir Ben Kingsley, Emma Thompson, Natalie Portman, Christopher Lee, Geoffrey Rush and Rosario Dawson. Film credits include Youth Without Youth directed by Francis Ford Coppola, Alexander directed by Oliver Stone, Sam Taylor Wood’s Nowhere Boy, Munich directed by Stephen Spielberg and Peter
Jackson’s The Lord Of The Rings Trilogy. Television credits include Richard II, Hound Of Baskervilles and Shackleton, for which he received a RTS nomination for best make-up design Jeremy is currently working in Berlin on the Wachowski Brothers’ next feature film, Cloud Atlas.
KEITH MADDEN (Costume Designer) started his career as a freelance Costume Assistant working for both the B.B.C and independent production companies. Keith has been involved in numerous television dramas until he made the leap from Costume Supervisor to Designer in 2007 designing episodes of Eastenders. Soon afterwards Keith was asked to costume design Eden Lake directed by James Watkins. Keith has continued his career designing films including Perrier's Bounty and Centurion.
MARCO BELTRAMI (Composer), a two-time Oscar nominee, is an artist who brings his compositional vision to a variety of films. His Oscar-nominated score to 3:10 to Yuma embraced traditional elements of the Western but made it fresh and vibrant to a contemporary audience. For his Oscar-nominated score to The Hurt Locker, he created a soundscape unique to Katherine Bigelow’s Academy Award™ winning Best Picture. Genre directors Guillermo del Toro and Wes Craven have repeatedly turned to Beltrami for such pictures as Hellboy and the Scream series. Beltrami has also reinvigorated the musical landscape of such franchises as Die Hard (Live Free Die Hard), Terminator (Terminator 3: Rise of the Machines). Other scores include I Robot, Don’t Be Afraid of the Dark, The Thing, and most recently Black Bird, for director Stefan Ruzowitzky and The Surrogate starring Helen Hunt. Marco’s upcoming films include Legendary Picture’s Paradise Lost and World War Z directed by Marc Forster, starring Brad Pitt.
in order of appearance Fisher Girls EMMA SHOREY MOLLY HARMON ELLISA WALKER-REID Stella Kipps SOPHIE STUCKEY Arthur Kipps DANIEL RADCLIFFE Joseph Kipps MISHA HANDLEY Nanny JESSICA RAINE Mr Bentley ROGER ALLAM Nursemaid LUCY MAY BARKER Little Girl On Train INDIRA AINGER Doctor ANDY ROBB Daily CIARÁN HINDS Fisher SHAUN DOOLEY Mrs Fisher MARY STOCKLEY Victoria Hardy ALEXIA OSBORNE Tom Hardy ALFIE FIELD Charlie Hardy WILLIAM TOBIN Gerald Hardy VICTOR MCGUIRE Mrs Jerome CATHY SARA MrJerome TIM MCMULLAN Keckwick DANIEL CERQUEIRA Jennet LIZ WHITE Mrs Drablow ALISA KHAZANOVA Nathaniel Drablow ASHLEY FOSTER PC Collins DAVID BURKE Mrs Daily JANET MCTEER Lucy Jerome AOIFE DOHERTY Nicholas Daily SIDNEY JOHNSTON Key Stunt Co-ordinator ANDY BENNETT Stunt Co-ordinator GARY ARTHURS
Stunt Performers MARC MAILLEY DEREL LEA ANNABEL CANAVEN NELLIE BURROUGHES PAUL LOWE LLOYD BASS MARC CASS DANIELLE DA COSTA LYNDON STUART HELLEWELL SAM PARHAM Production Manager JENNIFER WYNE 1st Assistant Director DOMINIC FYSH 2nd Assistant Director EMMA STOKES Supervising Art Director PAUL GHIRARDANI Sound Mixer IVOR TALBOT Production Accountant JOHN MILES Supervising Location Manager CHRIS MOORE Assembly Editor TAMSIN JEFFREY
Supervising Sound Editor BEN BARKER Post Production Supervisor JEANETTE HALEY A Camera Operator JULIAN MORSON A Camera Focus Puller NATHAN MANN B Camera Focus Pullers TOM MCFARLING CLIVE PRIOR A Camera Clapper Loader KAT SPENCER B Camera Clapper Loader ROBERT GILMOUR Camera Trainee RANA DARWISH Video Assist NURIA PEREZ Boom Operator TARN WILLERS Sound Assistant JAMES KUM Costume Supervisor ALLISON WYLDECK Wardrobe Mistress EMMA HUTTON Standby Wardrobe VANDRA HOWARD HOLLY SMART Hair & Make-Up Artists RENATA GILBERT NICOLA MATTHEWS Make-Up Assistant SIDONY ETHERTON Set Decorator NIAMH COULTER Prop Buyer GERAINT POWELL Assistant Set Decorator STELLA FOX Prop Master Prop Storeman Assistant Prop Master Dressing Props Supervising Standby Props Standby Props
JAMIE WILKINSON QUENTIN DAVIES JOHN FOX JACK GARWOOD SIMON WILKINSON ALAN JONES
Production Co-ordinator Assistant Production Co-ordinator Production Secretary Production Assistants
ADELE STEWARD ALICE SYED ANNIE CLAPTION GILES BARRON JOEL CLARKE Rushes Runner MARC MCGOWAN
Script Supervisor CAROLINE BOWKER Visual Effects Editor First Assistant Editor Editorial Assistant Post Production Co-ordinator
DAMIAN PAWLE NATASHA WESTLAKE ERLINE O’DONOVAN ALEXANDRA MONTGOMERY
Producer’s Assistant PETER PARKER
1st Assistant Accountant DANIEL BUDD 2nd Assistant Accountant NAZMEEN DHANSEY Accounts Assistant EDWARD TAROGHION Art Director KATE GRIMBLE Standby Art Director HUW ARTHUR Assistant Art Directors JESSICA SINCLAIR ANDREW PALMER Art Department Assistant DAMIAN LEON WATTS Art Department Vision Trainee DANIEL NUSSBAUMER Graphics Designer ALAN PAYNE Storyboard Artist SIMON DURIC Sound Design & Post Production SOUND 24 Supervising Dialogue Editor GILLIAN DODDERS Sound Consultant GLENN FREEMANTLE Sound Effects Editors NIV ADIRI TOM SAYERS Foley Editor HUGO ADAMS Assistant Sound Editor EMILIE O’CONNOR Foley Artists JACK STEW ANDREA KING Re-Recording Mixers IAN TAPP C.A.S ANDREW CALLER Re-Recording Mixer Premix RICHARD PRYKE Foley Recordist SANDY BUCHANAN Mix Technician TIM SIDDALL Re-Recorded at PINEWOOD STUDIOS ADR Mixers MARK APPLEBY SIMON DIGGINS ADR Recorded at GOLDCREST POST, London SOUND ONE, New York 3rd Assistant Director TOM BROWNE Floor Runners ROSANNE COKER HOLLY GARDNER Stand Ins RYAN NEWBERRY SAM WHEEDEN Trainee Floor Runners JOSHUA DE LISSER HARRY GREAVES Assistant Location Manager Yorkshire Location Manager Unit Manager Location Assistant
KEVIN JENKINS DANIEL CONNOLLY CHARLOTTE MASON CATHERINE SEYMOUR
Assistant to Mr Watkins LEE FRANCIS Assistant to Mr Oliver JOHN DOHERTY
Assistants to Mr Oakes & Mr Schipper ALIZA JAMES KATE STEPHENSON CHARLIE TURNBULL Assistants to Mr Sinclair JULIE HARRIS PATRICIA SCOTT Assistant to Mr Armbrust GABBY CANTON JENNIFER RUPER Assistant to Ms Longnecker JASON TAMASCO Gaffer PAT SWEENEY Best Boy MARTIN CONWAY Electricians TERRY EDEN AVE HUGHES STEVE MURPHY Key Grip TERRY WILLIAMS B Camera Grip CASSIUS MCCABE Grip Assistant MICHAEL WACKER Casting Associate CAROLYN MCLEOD Construction Manager PAUL BOWRING Supervising Carpenter GEOFF STAINTHORPE HOD Carpenter IAN BEE
Carpenters NIGEL CRAFTS NICHOLAS CLAYTON ALEX WELLS JOE HAWTHORNE SIMON ROBILLIARD LEIGH CHESTERS HOD Painter JOHN DAVIES Supervising Painter MARK ADAMS
Painters DANNY MONTAGUE AMANDA WADDINGTON ALEX MCDONALD RACHEL ATHERTON KATE STAINTHORP Stagehand KEVIN FOWLER HOD Rigger GRAHAM BAKER Supervising Rigger FRANKIE WEBSTER Riggers CHRISTOPHER GOUGH BILLY WEBSTER DANNY WEBSTER Health & Safety Officer DAVID KING TAYLOR Prosthetics Supervisor PAUL HYETT Unit Publicist SASHA GIBSON FREUD COMMUNICATIONS Still Photographer NICK WALL Special Effects Supervisor BOB HOLLOW Special Effects Technicians KINGSLEY FRYER ADAM HOLLOW DAVID WOODS
Standby Painter MARY-PAT SHEAHAN Standby Carpenter PAUL BEESON Animal Wranglers JULIE TOTTMAN CHARLOTTE WILDE for BIRDS AND ANIMALS Horse Wranglers GERARD NAPROUS CRISPY COX TOM COX MIKE PIKE Tutors ELIZABETH EVERY KATE CATON SARA HALL JOHN CONSTABLE Catering J&J INTERNATIONAL Head Chef CLYDE LANE Caterers JAMIE ATKINS TERRY PASKINS ROBERT CARLING MARIA ZUBUIK Paramedic NICK PEARSON Action Vehicles MOTORHOUSE HIRE Driver to Mr Radcliffe PETER HARVEY Security to Mr Radcliffe SAM MORRIS PITA RAWAMILA Driver to Mr Hinds PETER SOTERIOU Minibus Drivers ALEX CONWAY PETE MCQUEEN Facilities ON-SET FACILITIES Facilities Captain DANNY BROWN Additional Photography Production Secretary Focus Puller Standby Props Medic Line Producer Assistant Producer Production Associate Travel Coordinator 1st Assistant Director Key Production Assistant Production Assistants
Director of Photography 1st Assistant Camera 2nd Assistant Camera Video Assist Wardrobe Supervisor Gaffer
SHEERIN KHOSROWSHAHI-MIANDOAB GUY HAZEL BEN JOHNSON PHIL GLENNAN VIC DAVID JONATHAN HOOD LENNON FICALORA TAKINA HOLLOMAN ERIC BERKAL WAYNE HAN REBECCA LUNDGREN BECKY PHILLIPS MATT INFANTE LYLE VINCENT RAMULAS BURGESS ALFONSO POLLARD DAN BROSNAN NIKIA NELSON SEAN MONESSON
Best Boy Electric Key Grip Best Boy Grip Swing Hair/Make-Up Artist Sound Mixer Boom Operator Catering/Craft Service Stand-In
INYOUNG CHOI M’WASI BERKLEY GENNARO MORRONE MARK SASAHARA ALEXANDRA BROCK MIKE GASSERT MIKE WALLACH NUTTIN TO IT, LLC TIM EDWIN
Main Titles Design MATT CURTIS, AP Visual Effects by FILMGATE
Visual Effects Producer Visual Effects Supervisor Visual Effects Coordinator Compositors
SEAN WHEELAN HÅKAN BLOMDAHL MALIN PERSSON ALAN BANIS URBAN FORSBERG MARCUS HINDBORG ANDREAS HYLANDER MARTIN MALMQVIST DANIEL NIELSEN ALEXANDER PRIDKHO VADIM KONOV 3D Artists MATHIAS LARSERUD TIMO NÄHRI DANIEL REIDLER Matte Painters ELIN LINDAHL LINUS LINDBALK
Additional Visual Effects UNION VFX Digital Intermediate provided by DELUXE 142 FEATURES Digital Colourist ROB PIZZEY Digital On-Line Editors EMILY GREENWOOD JUSTIN TILLETT Digital Intermediate Head of Department PATRICK MALONE Digital Intermediate Producers ROB FARRIS MARIE FERNANDES Digital Intermediate Assistant Producer CHERYL GOODBODY Digital Intermediate Assistant AURORA SHANNON Digital Film Technical Supervisor LAURENT TREHERNE Digital Film Bureau Manager JOHN PALMER Digital Film Bureau FIORENZA BAGNARIOL TIMOTHY P.JONES GORDON PRATT Data Wrangler DAN HELME Systems Administrator NEIL HARRISON Additional Music MARCUS TRUMPP BRANDON ROBERTS Engineer JOHN KURLANDER
Digital Recordist TYSON LOZENSKY Rock Wrangler BUCK SANDERS Music Editor JOHN WARHURST Music Services provided by CUTTING EDGE MUSIC SERVICES LIMITED Laboratory Services DELUXE LABORATORIES Laboratory Contacts JOHN GRAY KATIE LOONEY CLIVE NOAKES Telecine Services ALEX PARRETT JAMIE PAYNE ROSE SAUNDERS Film Stock KODAK Camera Equipment PANAVISION Lighting Equipment PANALUX Editing Facility/Equipment HIREWORKS Costumes COSPROP ANGELS Walkie Talkies AUDIOLINK COMMUNICATIONS Post Production Script FATTS Completion Guarantor FILM FINANCES NEIL CALDER CLARE HARDWICK RUTH HODGSON Insurance DEREK TOWNSHEND for TOTALLY ENTERTAINMENT Legal Services TIM JOHNSON EMILY MACKINTOSH BARRY SMITH OWEN OLIVER for FIELD FISHER WATERHOUSE for EXCLUSIVE MEDIA GROUP and HAMMER Managing Director and Chief Financial Officer European Chief Financial Officer VP, Physical Production Business Affairs Business Affairs Coordinator
ANDY MASON CORA PALFREY JILLIAN LONGNECKER NOEL LOHR MARY CAROL BULGER
for ALLIANCE FILMS Chairman & CEO Chief Financial Officer Worldwide Senior Vice President Acquisitions Worldwide Vice President Business & Legal Affairs Europe Vice President Theatrical Marketing Financial Director UK Vice President Theatrical Sales UK
VICTOR LOEWY ALISON CORNWELL ROBERT WALAK SPYRO MARKESINIS JAMIE SCHWARTZ SAHER KHAN HAMISH MOSELEY
for UK FILM COUNCIL Head of the Film Fund Senior Production and Development Executive Story Editor Head of Production Head of Business Affairs
TANYA SEGHATCHIAN NATASCHA WHARTON JON CROKER FIONA MORHAM WILL EVANS
Head of Production Finance VINCE HOLDEN for FILMGATE Co-Producer SEAM WHEELAN For FILM i VÄST Head of Production JESSICA ASK Business and Legal Affairs KATARINA KRAVE
Made with the support of the National Lottery through the UK Film Council’s Film Fund
Filmed at Pinewood Studios, Island Studios and on location in England
With thanks to Model Making – THE PROP SHOP Drapesman – TONY SZUCH • MICHAEL START • CAROL DALLAS ECCENTRIC HIRE • NEWMAN HIRE • A&M HIRE ALISON KATZ • ROBERT FAWCETT • ELITE ROCKING HORSES STEPHEN BROWN • MARTHE ARMITAGE DESIGNS HAMILTON WEST WALLPAPERS • ALEX ROUSE WIGS BLUEBELL RAILWAY • COLNE VALLEY RAILWAY • BLACK PARK COUNTRY PARK COTTERSTOCK HALL • OSEA ISLAND • THE PEOPLE OF HALTON GILL Special thanks to FRANK BOTMAN • EGBERT HO • CYRTE INVESTMENTS SUE LATIMER • CLAIRE COMISKEY • HANNAH LAYTON • KATE LEE JAMES SELMAN • VIVIEN GREEN • LUCY FAWCETT • SOPHIE JANSON PW PRODUCTIONS • JESSICA RUSTON • VANESSA DAVIES DON GORDON • ALISON WRIGHT
Production financing by COMERICA ENTERTAINMENT GROUP ANDREW C. ROBINSON and ADAM J. KORN