STUDIOCANAL PRESENTS
IN ASSOCIATION WITH ANTON CAPITAL ENTERTAINMENT
IN PARTNERSHIP WITH VENDÔME PICTURES
AN ANONYMOUS CONTENT PRODUCTION
BASTILLE DAY
DIRECTED BY JAMES WATKINS
STARRING
IDRIS ELBA
RICHARD MADDEN
CHARLOTTE LE BON
JOSE GARCIA
AND
KELLY REILLY
RUNNING TIME: 1h 30m
UK RELEASE: April 22nd 2016
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INTERNATIONAL PUBLICITY
Katie Paxton – International Publicity Manager
E : Katie.Paxton@studiocanal.co.uk
DDA – International Agency
E : bastilleday@ddapr.com
UK PUBLICITY
Charlotte Presland – UK Publicist
E: Charlotte.Presland@studiocanal.co.uk
DDA – UK Agency
E: bastilledayuk@ddapr.com
SYNOPSIS
Michael Mason (Richard Madden, ‘GAME OF THRONES’) is an American pickpocket living in
Paris who finds himself hunted by the CIA when he steals a bag that contains more than just a
wallet. Sean Briar (Idris Elba, ‘LUTHER’, PROMETHEUS), the field agent on the case, soon
realizes that Michael is just a pawn in a much bigger game and is also his best asset to uncover a
large-scale conspiracy.
Going against commands, Briar recruits Michael to use his expert pickpocketing skills to help
quickly track down the source of the corruption. As a 24hr thrill ride ensues, the unlikely duo
discover they are both targets and must rely upon each other in order to take down a common
enemy.
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PRESS NOTES
A blistering action thriller set in the French capital, Paris, BASTILLE DAY is a story of an
unlikely pair – a reckless CIA agent and a brilliant pickpocket – who must work together to
uncover and take down a conspiracy.
Michael Mason (Richard Madden, GAME OF THRONES) is an American pickpocket living in
Paris who finds himself in the hands of the CIA when he steals a bag that contains more than just
a wallet. Sean Briar (Idris Elba, ‘LUTHER’, PROMETHEUS), the field agent on the case, soon
realizes that Michael is just a pawn in a much bigger game and is also his best asset to uncover a
large-scale criminal conspiracy.
Going against commands, Briar recruits Michael to use his expert pickpocketing skills to help
quickly track down the source of the corruption. As a 24hr thrill ride ensues, the unlikely duo
discovers they are both targets and must rely upon each other in order to take down a common
enemy.
BASTILLE DAY is produced by Philippe Rousselet’s Vendome Pictures (SOURCE CODE) and
Steve Golin, David Kanter, and Bard Darros for Anonymous Content (THE REVENANT,
SPOTLIGHT, “True Detective” “Mr. Robot”); directed by James Watkins (THE WOMAN IN
BLACK, EDEN LAKE); written by Andrew Baldwin (Untitled Bourne film for Universal) and
James Watkins; starring Idris Elba, (STAR TREK BEYOND, PROMETHEUS, THOR), Richard
Madden (“Game of Thrones”, CINDERELLA), Charlotte Le Bon (THE HUNDRED FOOT
JOURNEY, THE WALK), José Garcia (NOW YOU SEE ME), and Kelly Reilly (“True Detective
– Season 2”).
STUDIOCANAL financed the film, handles international sales, and will distribute in its
territories: France, UK, Germany, Australia, and New Zealand. Focus Features will distribute in
the US.
The film was shot in Paris and London in autumn 2014 for 9 weeks.
ABOUT THE FILM
“The original idea at the time when Andrew Baldwin first shared his inspiration for this movie
was to create a movie that combined the taut action of the BOURNE movies with the characterrich experiences of watching movies like FRANTIC and even THE FRENCH CONNECTION.
We believed that a movie that honoured those iconic films would be commercially viable and be
creatively exciting. Andrew’s underlying curiosity was to understand what these characters might
be doing in Paris and to examine their motives and choices under intense pressure, but still take
us on a thrill ride through a city that we all love.” says producers David Kanter and Bard Dorros.
Anonymous Content commissioned Baldwin to write a script based upon his original idea and it
became the basis for BASTILLE DAY.
In 2012, Kanter and Dorros approached long-time friend Philippe Rousselet, chief executive
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officer of Paris-based Vendome Pictures, confident that the screenplay, with its strong French and
American themes, would appeal to the French producer. “They responded within two or three
days and said let's do this,” says Kanter.
It was the film’s combination of high-octane action, mismatched central relationship and sly
social engagement that appealed to director James Watkins, the British filmmaker who first came
to international attention with his grippingly taut thriller Eden Lake about a couple whose
romantic trip to the countryside goes terrifyingly wrong.
‘Hitchcock is my hero and Bastille Day had a classic Hitchcockian thriller set-up in that it's
about the wrong man being in the wrong place at the wrong time – Michael, the pickpocket, who
picks the wrong pocket and is the catalyst for a sequence of events that get increasingly out of
hand. I thought this harked back to the classic noir-ish thriller of the past such as Samuel Fuller's
Pickup on South Street.”
My last film [THE WOMAN IN BLACK] was all about going as slow as I dare. Here I saw an
opportunity to tell a story at breathless, breakneck pace. The story recalled the muscular 70s
thrillers that I love: shot on the streets, with new lighter handheld cameras, giving the action a
raw edge. I wanted to make a film that had the lean and mean quality of tension of Sidney Lumet
and William Friedkin’s New York.
Briar’s character - uncompromising, brutal, reckless – had shades of Popeye Doyle, Dirty Harry
or Walker from John Boorman’s Point Blank. The notion of Idris Elba playing this role was
irresistible to me.
His combustible relationship with the streetwise Michael struck me immediately as the beating
heart of the film and I liked the opportunities this relationship gave for lighter moments. It
reminded me of the gruff, salty humour of early Don Siegel/Clint Eastwood collaborations or
classics like Midnight Run and 48 Hours where the tone shift gears from gritty action to more
playful moments whilst never breaking character.’
The twisting and turning nature of the three protagonists' relationship was a key element for
Watkins. “Michael, Zoe and Briar are all very ambivalent, morally ambiguous characters,” he
explains.” Zoe was going to plant a bomb; Briar's methodology is questionable - he's violent and
he's aggressive; and Michael is, to use Briar's words, “a parasite” who steals bags and watches
and wallets. They're all troubled, and sometimes morally troubled, but despite that, they are
likeable. They're not bad people, they're just complicated.”
Kanter also points out that it's the way the characters have been developed that makes
BASTILLE DAY special. The characters are not conventional heroes; rather, they are all flawed
and forced by circumstance to discover who they really are. One key to the success of the film is
that they are believable and realistic. “It feels like a movie from the 1970s, where the characters
are all carrying something heavy in their psyches. They are thrown together by fate and come to
realize that the bombing isn't what it appears to be, so they are forced to depend on each other.”
Watkins also spoke to the fact that BASTILLE DAY tries to explore more than just narrative
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thrills: ‘We tried to make a Friday night ride, a rip-snorting entertainment for people at the end of
a long week. But that doesn’t mean you can’t smuggle things in or glance at current social
anxieties - Captain Phillips is a really interesting example of an incredibly tense piece of
entertainment that also manages to make some points about a number of social issues including
globalisation and inequality without being boring or polemical. I'm interested in films that can do
that, that have an elevated quality to the thrill so it's not just guys running around with guns.
Bastille Day is a story with buried layers - personal, action, and geopolitical - and, even though
it's a very, very fast paced action thriller, it does touch on the anger that a lot of people have in
terms of feeling disenfranchised from the political process. You see it in London, you see it in
Paris, and it is a big theme in the plot because the bad guys exploit it. The theme of deception
and trust between the characters and the two countries - France and the US - and how the
characters engage with that was very interesting. As Michael demonstrates to Briar, we live in a
world of sleight-of-hand where ‘it’s all about the distraction…’
Watkins' commitment to the film certainly impressed the producers. “We were big fans of Eden
Lake and The Woman in Black,” says Kanter. “He responded very intelligently to the screenplay
and during the filming, he was in command of every part of the movie, he understood what he
wanted and had a very good rapport with the actors. He set out to create something inspired and
beautiful and he did just that.”
THE CAST
Taking the lead is Idris Elba as Sean Briar, the CIA operative who has been confined to a desk
job in Paris after a mission in the Middle East went wrong.
The filmmakers were looking for “a combination of Steve McQueen and Clint Eastwood,” says
Kanter. “We wanted an actor with a moral code that feels organic to who they are. Somebody
who projects a strong no bullshit vibe but is a real person underneath all that; someone who
could carry the pain. There was a lot of discussion about how clearly we define Briar's past. I
think we strike a balance in our storytelling about Briar clearly having been through something
specific, without articulating it to a great extent. He had to be someone who you really believed
would take matters into his own hands and was competent enough to sort it out. Idris is one of
the few actors who has all those qualities and this was a film which would allow him to show
them. He really had a sense of who this man is and who he could be. When a movie star
responds from an emotional place, when it's a real connection with the material, you'd be a fool
not to go on that journey with him.”
Watkins shared his enthusiasm to have Idris cast as Agent Sean Briar. “Briar is a CIA agent that
has been out in the field for a long time but he's been demoted and sent to Paris to cool off after
an assignment in the Middle East went wrong, leaving him with blood on his hands,” says
director James Watkins. “He really doesn't like being amongst these desk-jockeys and is
desperate to get out on the street. He's the guy that gets things done but his methods may be a
little bit rough. I really wanted a character that was a throwback to some of those classic really
tough 1970s heroes, like Popeye Doyle in The French Connection. Idris has that real presence,
that real physicality and you can read his thoughts in such a telling way. Briar is in that classic
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western loner tradition, like some of those cowboy heroes, and Idris really can carry that off. He
can own the screen and is able to convey what it is he's thinking by doing very little.”
“There are very few actors of that calibre,” continues Watkins. “Michael Fassbender, Daniel
Craig and Idris are among the few - they have the physical presence and the movie star presence,
but they also have the real acting chops. It's obviously a skill that they've nurtured but it's also
innate: it's that sense of truth and the sense of being able to register thought in a really cinematic
way. It was such a pleasure watching Idris work; you can read the cogs turning in his head, in his
eyes, in such a subtle way. It means you can dispense with so much unnecessary dialogue. For
me, cinema is about reading what the characters are thinking, what's going on behind their eyes.”
Elba describes Sean Briar as “a CIA veteran, he's been around for a long time and the posting in
Paris is a step down for him after the high profile covert work he was doing before. He's an army
guy who just wants to get the job done and go home. His boss, Karen, instructs him to go and get
Michael, who’s the prime suspect in the bombing, but Briar believes that there's more to the
story than that. So he has to follow his hunch even though he's disobeying orders. These two
characters - Briar, and Michael- make for an unlikely duo of heroes. They're thrown into a drama
and they are forced to team up and navigate their way through the twists and turns of the story.
It's not just action for action's sake. It's an action-packed film; but at the heart, there are
characters that you care about and there's a very compelling storyline. BASTILLE DAY feels
unique and modern, because it's a European take on an action film.”
Playing the American petty thief who inadvertently becomes embroiled in a huge conspiracy
when he blithely robs a young French woman is Scottish actor, Richard Madden, best known for
his performances in smash hit TV series, Game Of Thrones, and Kenneth Branagh's recent
cinema adaptation of Cinderella, co-starring with Lily James and Cate Blanchett.
With Idris Elba in place as Sean Briar, it was a challenge to find an actor who would match his
formidable screen presence. “Michael is a tricky role,” explains Watkins. “He could be very
unlikable because he's essentially a guy that steals from people and ruins people's lives. At his
audition, Richard brought charm but also danger to the character and was able to walk the line
between those two facets with incredible subtlety.”
For his part, Madden saw the character of Michael as “a street rat, with not much of a moral
compass or sense of responsibility for his actions. He's an American pickpocket in Paris, and he's
a bit adrift, but he's got this incredible skill set, he's really wonderful at what he does. But I think
he's not sure who he is and who he wants to be and he's slightly lost in the world and has a
certain sense of perhaps self-loathing and but he's really ready to embark on a journey and try to
find a different side of himself.”
Madden adds, “I wanted to immerse myself in the character and get to know him, to understand
him. When we first meet Michael, he doesn't have any sense of direction; he's stealing and is
very good at it and is saving up a lot of money but for no real reason. He's treading water. Then
he sees Zoe in the street, crying while on her phone, and he realises there's something in her bag
which is very important, so he steals it. And that decision to steal the bag changes his life,
because when he throws it away, he inadvertently sets off the bomb which has fatal
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consequences. It's the first time that he has to take responsibility for something he's done. And he
struggles with that moral dilemma during the course of the film; he's always asking himself if it
was his fault that four people died, or if it was Zoe's fault because she had the bomb in the first
place.”
After an action-packed chase across the rooftops of Paris, Briar brings Michael in and it's during
his interrogation that Briar begins to doubt the official version of events and believe that there
may be some truth to Michael's story. “Michael sees this glimmer of humanity in Briar and that
he actually might believe him. They set off on a journey together because Michael realises that
the police are out to kill him so he has no one apart from Briar. One of the things I loved most
about the script was the relationship between Briar and Michael. They are polar opposites but
they are both alpha males in their own way. What makes it interesting is Michael is an alpha
male in a very modern, young-man-about-town way while Briar's a classic dominant alpha male.
Put these two together and they're constantly trying to outdo each other! They are forced together
over an intense couple of days and these two friendless men start a begrudging friendship.”
It was the first time the two actors have collaborated, but it was a happy experience for both.
“Richard's a great actor,” says Elba. “He's really enthusiastic and very open. We had a great time
working together. It was interesting exploring the bond between the two characters because the
bond between us, personally, was also growing.”
Both actors used improvisation that helped to build a real and exciting relationship for Briar and
Michael. Says Madden, “On one of our first days on set together, we were filming a scene inside
a car in a car park for a whole day and we started playing around with a couple of the scenes,
firing things back and forth to each other, just having some fun and making sure our American
accents were spot on. We thought, this kind of works for the characters, having digs at each other
and bantering, so we fed it into the scenes and there ended up being a lot of improv at the start or
end of the scene. Even if it isn't used in the final cut, the experience of playing around like that
with Idris helped to build the screen relationship between our two characters.”
A key reason why Madden was so keen to join the project was James Watkins. “I was just really
taken by James,” he says. “He seemed so passionate about filmmaking and with this film; he
wanted to hark back to films like The French Connection and Pickpocket. That was very
appealing to me.” Richard was a front runner and he fulfilled every promise during the shoot,”
says Kanter. “He's charming and funny and smart and he works incredibly hard. Richard learned
to pickpocket from the magician we hired to teach him and he's really good at it!”
Rising French Canadian star Charlotte Le Bon plays French activist and bomb mule, Zoe. Zoe’s
youthful idealism leads her into a plot to detonate a bomb in an empty building but she has a last
minute change of heart and decides to abort the mission. When her bag containing a bomb is
stolen by Michael, she is forced into a precarious partnership with Michael and Briar in a fight
for survival.
“Charlotte really surprised me in the audition because there was rawness and a vulnerability to
her,” says Watkins. “Charlotte has no vanity, she's very beautiful but she doesn't care about any
of that and she was happy to take all the make-up off and look terrible. She really embraced the
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very raw side of Zoe. She's a real find and like Idris and Richard, she has a real sense of truth as
an actor, which is what a director is always looking for.”
“I met with James and really liked his approach to the material. He explained he didn't want to
make a glossy action movie, but an action movie with a believable story and characters. He
wanted it to look real, and that really appealed to me,” says Le Bon. “I also liked these three antiheroes and when I knew that Idris and Richard were playing these characters I felt honoured to
be part of the cast.”
“Charlotte is a great leading lady to work with and a very talented actress,” says Madden. “Zoe
brings out the compassion in Michael; he becomes aware of his own responsibility for the events
and he realises that Zoe's going through a similar thing and they start to share this burden. As the
film goes on he becomes quite protective of her because he sees her as someone who's very
vulnerable.”
Rounding out the cast are Thierry Godard as Rafi, the embittered head of the elite SWAT team,
and popular French-Spanish actor Jose Garcia who plays Viktor Gamieux, the French Minister of
Homeland Security. “I wanted to have a real sense of authenticity about the film, and so I need
French actors speaking in French and it had to have that sense of truth about it,” says Watkins.
“They were an absolute delight to work with and it brought a very different energy. They
grounded the whole film for me in a sense of truth.”
THE LOOK
“I wanted to make a big Friday night out film” exclaims James Watkins. The director's ambitions
for BASTILLE DAY were one of the reasons the producers approached him. This was to marry
big budget commercial thrills with kinetic, in-your-face shooting style with handheld cameras up
close and personal with the actors, to get right in the middle of the action. “We wanted to be
close enough to feel them, to feel their breathing, to be right in their eyes. A lot of the actions
shots are from a subjective point of view, so as a viewer you feel completely in the moment. I'm
not interested in CGI which creates scenes that defeat the laws of physics! So, however large the
story is, everything should always have an emotional sense of truth. Ultimately, you go to the
movies to see people and so the closer you are to those people, the more you'll enjoy the
experience.”
Watkins’ first point of reference was the New York films of the 1970s and 1980s such as Prince
Of The City, The French Connection and Serpico. “They're very much grounded in the moment
and have that really gritty feel and I was looking to marry that with bigger American production
values,” he says.
The film cranked up in Paris in October 2014 and in a stroke of good fortune for a film set in
mid-July, the weather stayed mostly clear and sunny. Watkins and his team were keen to shoot in
unfamiliar parts of the French capital. As well as using some of the most famous locations of
Paris such as the Sacre-Coeur at Montmartre, the team shot in more obscure places including the
suburbs outside Paris, the Banlieues which house many of the city's poorest and most deprived
citizens.
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Idris Elba was very enthusiastic about Watkins' decision. “I'm a big fan of films using cities in a
way that don't seem touristy, and this film lets the audience discover a very different side of
Paris. James Watkins was very specific about that; he wanted to make Paris a part of this film in
a way that we haven't seen in a film for a while.”
Madden agrees: “It was great to go to parts of Paris which are very residential and outside the
centre. Yes, we see the Grand Boulevards and other touristy parts, but there are lots of scenes
inside apartments or apartment buildings, in abandoned buildings, dark alleys. The film offers a
real spectrum of what Paris has got to offer.”
“We hope the film gives audiences everywhere a different perspective on what a tough, muscular
and serious city Paris is,” says Kanter. “It's not just a beautiful place, it's also a tough working
city and I think we get into that in a very meaningful way for the story.”
FILMING THE ACTION
One of the most visually impressive and logistically challenging set pieces is the rooftop chase at
the beginning of the film featuring Idris Elba's character, Sean Briar, and Richard Madden's
character, Michael Mason. The chase starts in Michael's apartment, moves out and up to the
rooftops of Paris and then plummets into the hustle and bustle of a crowded market.
The filmmakers were fortunate to be able to take over the entire rooftop of the BHV department
store, right in the middle of the Marais area, opposite the Paris city hall, the Hotel de Ville. Six
weeks of prepping went into shooting the sequence, including weeks of training for the two
actors.
“We wanted to showcase Paris in this scene, but also introduce our two heroes and have a sense
of the world in which they're in,” says Watkins. “It's early on in the film, so we're not sure who
we're supposed to be rooting for and the points of view shift. Do we want Michael to get away?
Do we want Briar to catch Michael? That's the whole nature of their journey together, this
constant push-pull and the sense of their being opposed to finding some commonality.
“In terms of the shooting the rooftop chase, I wanted it to have a real pace and reality to it, so we
built rooftop upon rooftop in Paris,” he continues. “I didn't want to do it through visual effects,
so the backdrop that you see is a real backdrop of the city of Paris. We went back to really oldschool traditions of Harold Lloyd and saying okay, how can we cheat this.”
Production designer Paul Kirby built a fake roof on top of the BHV to enable the actors to run
across and appear to be right on the edge of a seven-story building with the whole of Paris
stretched out behind them. “I wanted to get that sense of pace on the rooftop so it was important
to create a set the actors could really run along,” says Watkins. “And I wanted the vertiginous
sense of the danger, a sense of “Wow, this is one hell of a drop!”
Not only is the chase scene an exhilarating piece of action, but it's also a pivotal moment in the
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characters emotional narrative. For it's during the chase that Briar realises that Michael isn't
going to be a pushover but will put up a formidable fight. “We really went at it,” laughs Elba.
“We had stuntmen, of course, but we did do a lot of it ourselves, there was lots of running
around, jumping. It was a great experience, tiring and exhausting but definitely worth it.”
The actors did most of the stunt work, including the fight scenes. Not having to cut between the
actors and stuntmen was a way of keeping the film grounded in reality. Stunt coordinator Jimmy
O'Dee worked for several weeks with the actors, preparing them for the scene. He would cut the
action into manageable parts and then design the choreography of the fight and the actors would
train together until they were completely in sync.
These stunt scenes required maximum commitment from the two actors. Elba and Madden felt it
was imperative they prepare fully for the roles both physically and emotionally and spent many
hours in training so they were in peak physical shape for the action scenes.
“Jimmy O’Dee, the stunt co-ordinator, was really specific about being fit,” says Elba. “I've never
done a film with so many fight sequences before, and I loved it. I have a little martial arts
training so it was great fun for me to exercise some of my knowledge. I think the film definitely
attempts to be as raw in the fight sequences as we can get. Scrappy was the word I kept hearing. I
mean it really feels like you're in there.”
Madden was just as thrilled to be involved in the action scenes. He started training with the stunt
team about six weeks before filming. “They built these 15-foot high obstacle courses which I'd
have to run up and over, jumping over things, throwing myself through windows, tumbling down
stairs. It was really tough but it prepared me for the chase sequences where I had to scramble
over roofs and hang off the edge of buildings. It was important that it didn't look too professional
because Michael isn't a base jumper or anything; he's just an ordinary guy, so the rooftop chase is
quite scrappy. I wanted him to slip and fall and really scrambling for his life trying to get away.”
A more interesting aspect of the training for Madden was learning how to pickpocket. Working
with a consultant named, appropriately, Keith the Thief, Madden learned sleight of hands tricks
and distraction techniques. “We wanted some of the manoeuvres he pulls to be a bit flamboyant
so that it reflects Michael's cockiness at his own ability. James was very keen to make sure that
that the stealing didn't appear to be like magic, but that it seemed realistic. So if anyone watching
the film on DVD pauses and watches it in slow-motion to check it's really me doing it, I did
actually do it!”
Another of the main set pieces which required a tremendous amount of preparation was the
bomb blast. Production designer Paul Kirby, and his team, built a replica Metro stop into the
back of a building located right outside of Paris.
“It was a big challenge to find the location for the bomb blast scene in the square,” says Kirby.
“It had to look like you were in the center of Paris but for obvious reasons we couldn’t film that
sort of scene in the center. So we were looking for somewhere that was quieter, which could be
dressed to be a busier part of town. We built a Metro station frontage, which was quite
complicated as it had to look at if it was at the top of a flight of steps as all the metro station
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entrances are in Paris and then we built a newspaper stand so that those two elements would take
most of the blast and we built one or two facades in the background. The actual blast itself
wasn't that huge as James felt that was more chilling, you don't see debris going everywhere but
once the dust settles you see the destruction on a more human level.”
David Kanter adds “Richard worked really hard. He was pulled on a wire, repeatedly, to
dramatize the force of the explosion. Everything had to be timed out right; there's the explosion
part which we did in different sizes and is comprised of many different components that convey
a truly awful moment. It plays as a whole piece quite beautifully. James and Tim covered it
from every angle possible so that Jon Harris and our visual effects artists could build a sequence
that would be as realistic as possible.”
The production moved from Paris to London for the final four weeks of filming. The biggest
location was at the Naval War College in Greenwich standing in for the Paris streets around the
Bank of France, the site of the huge riot scene at the end of the film. Filming in Paris would have
been too logistically difficult and the contained nature of the location gave Watkins and his crew
complete control over the action.
BIOGRAPHIES
IDRIS ELBA (Sean Briar)
Golden Globe winning actor Idris Elba showcases his creative versatility both on-screen in
television and film as well as behind the camera as a producer and director. He continues to
captivate audiences and secure his position as the one to watch in Hollywood, with a string of
well-received performances in high-profile films as well as and multiple critically acclaimed
television series.
Prior to his big screen debut, Elba’s career skyrocketed on the small screen in some of UK’s top
rated shows including Dangerfield, Bramwell and Ultraviolet. In 2000, Ultraviolet was
purchased by Fox in the United States, offering Idris a break into the American marketplace. He
soon moved to New York and earned rave reviews for his portrayal of Achilles in Sir Peter Hall’s
off-Broadway production of Troilus and Cressida. Shortly thereafter he landed a part on the
acclaimed television series Law & Order.
Soon after his move to the states, Idris landed the role of Stringer Bell, the lieutenant of a
Baltimore drug empire on HBO’s critically acclaimed series The Wire. Elba’s portrayal of the
complex but deadly Bell is arguably one of the most compelling performances in TV history. In
2005, his performance earned him an NAACP Image Award nomination for Outstanding
Supporting Actor in a Drama Series.
In 2005 Elba began his film career in such projects as HBO’s Sometimes in April (NAACP
Image Award nomination), Tyler Perry’s Daddy’s Little Girls (BET Award nomination), The
Reaping alongside Hilary Swank, and the horror thriller 28 Weeks Later. In 2007, Idris starred in
Ridley Scott’s Golden Globe nominated American Gangster with Denzel Washington, Russel
Crowe, Ruby Dee and Josh Brolin. The cast went on to receive a Screen Actors Guild Award
nomination. Following, he starred in Guy Ritchie’s RocknRolla with Tom Hardy, opposite
Beyone Knowles in Obsessed (NAACP Image Award Nomination), The Losers (NAACP Image
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Award nomination), Legacy (which he also executive produced), Thor, Ghost Rider with Nicolas
Cage, Ridley Scott’s Prometheus with Michael Fassbender and Charlize Theron, Thor with
Natalie Portman and Chris Hemsworth, and Guillermo del Toro’s Pacific Rim alongside Charlie
Hunnam, Charlie Day and Rinko Kikuchi. In 2013 Idris starred as Nelson Mandela in The
Weinstein Company biopic Mandela: The Long Walk to Freedom. His performance earned him a
Golden Globe nomination and an NAACP Image Award nomination. The next year, he both
starred in and executive produced No Good Deed, a thriller also starring Taraji Henson. In March
2015 Elba appeared in Pierre Morel’s The Gunman, alongside Sean Penn and Javier Bardem.
Elba can currently be seen in Beasts of No Nation, directed by Cary Fukunaga, which earned him
a SAG award, London Evening Standard award and nominations for a Golden Globe, BAFTA,
NAACP and Film Independent Spirit Award. He will next be seen in both The Jungle Book and
Zootopia for Disney and this summer in Star Trek Beyond.
Idris returned to television in 2009 when he joined the cast of NBC’s hit television show The
Office as Michael Scott’s less than amused boss Charles Minor. In 2010, Idris landed the title
role of John Luther in the BBC crime drama mini-series Luther. Following the first season, Elba
was nominated for an Emmy for his performance in Luther as well as for his guest appearance on
Showtime’s The Big C. His performance in the first season of Luther earned him an NAACP
Image Award, a BET Award, and a Golden Globe. In 2012, Elba earned an Emmy nomination
for the second season of Luther. The third installment of the BBC mini-series aired in September
2013. His performance earned him an Emmy and Golden Globe nomination as well as an
NAACP Image Award. In 2015, Elba reprised his role as Luther for the two-part final installment
of the series, for which he earned a Critics’ Choice Award and nominations for a Golden Globe,
SAG and NAACP award.
In 2013 Elba made his directorial debut with the teleplay The Pavement Psychologist for
Sky/Sprout Pictures as part of Sky's PLAYHOUSE PRESENTS series starring Anna Friel, which
Elba also wrote. He also created, directed and starred in the music video “Lover of Light” by
Mumford and Sons which has received more than 9 million You Tube views to date. In 2014
Elba starred in and produced a two-part documentary titled King of Speed for BBC Two and
BBC America with his production company Green Door Pictures. In 2015 Elba and Green Door
Pictures released the documentary Mandela, My Dad and Me, which follows Elba during the
making of his album “mi Mandela.”
In winter 2015, Elba launched his clothing line Idris Elba + Superdry, which combines vintage
Americana styling with Japanese inspired graphics, available in both the UK and US.
RICHARD MADDEN (Michael Mason)
Richard is best known for his compelling role of ‘Robb Stark’ in the acclaimed HBO series
Game of Thrones. Earlier this year, he starred to critical acclaim in the Discovery Channel
original mini-series Klondike. Most recently, he can next be seen in the role of ‘Prince Charming’
in Disney’s feature film Cinderella alongside Cate Blanchett and Lily James for director Kenneth
Branagh. The film was released in the U.S. on March 13, 2015. He recently wrapped filming
BBC One’s adaptation of Lady Chatterley's Lover, opposite Holliday Grainger.
12
CHARLOTTE LE BON (Zoe)
Charlotte Le Bon is an incredibly talented and versatile actress. Le Bon was most recently seen
starring in The Hundred Foot Journey alongside Helen Mirren; and as “Victoire Doutreleau” in
Yves Saint Laurent, a performance which earned her a Best Supporting Actress nomination at the
2015 Cesar Awards. Audiences last heard her as she provided the French voice of “Joy” in the
Pete Docter and Ronaldo Del Carmen directed Pixar film, Inside Out. This fall, she will be seen
starring opposite Joseph Gordon-Levitt in Sony Picture’s, The Walk. Le Bon recently completed
production on: Marie Madinier’s, Le Secret des Banquises; and the Mateo Gil directed Sci-Fi,
Project Lazarus. She is currently in production on Sean Ellis’ Anthropoid, where she will star
opposite Jamie Dornan; and Terry George’s The Promise alongside Christian Bale and Oscar
Isaac.
Born in Montreal, Canada, Le Bon studied fine art. Shortly after arriving in Paris, she landed a
position as the weather reporter for the Canal+ talk show, Le Grand Journal. French audiences
were able to discover her talents as a humorist, illustrator, writer and performer.
Le Bon’s foray into film began in 2012 with director, Laurent Tirard’s Asterix et Obelix: au
service de Sa Majeste, opposite Gerard Depardieu. She landed her first starring role later that
year in the Clement Michel directed comedy, The Stroller Strategy. She continued her success in
2013, starring in Nicolas Charlet’s, Le Grand Merchant Loup. Her other film credits include
Mood Indigo (2013), the film adaptation of Boris Vian’s surreal cult classic, directed by Michel
Gondry; Nabil Ben Yadir’s drama, La Marche (2013); and Benjamin Guedj’s, Nice and Easy
(2014).
Le Bon currently resides in Paris, France.
KELLY REILLY (Karen Dacre)
British actor Kelly Reilly best known for roles in HBO’s True Detective, ABC’s Black Box and
films such as the Sherlock Holmes series with Robert Downey Junior and Jude Law, Flight with
Denzel Washington (2012) and Eden Lake with Michael Fassbender (2008).
Reilly's performance in After Miss Julie at the Donmar Warehouse made her a star of the London
stage and earned her a nomination for a Laurence Olivier Theatre Award for Best Actress of
2003. Aged 26, she was the youngest person ever nominated for that award. She was nominated
once again for an Olivier Award for her performance as Desdemona in the acclaimed production
of Othello at The Donmar Warehouse in 2009. She is currently performing on Broadway in ‘Old
Times’ alongside Clive Owen and Eve Best.
In 2005, she won Best Newcomer Award at the Cannes Film Festival for her role as Wendy in
The Russian Dolls (Les Poupées Russes). In 2006, Reilly won the Empire Award for Best
Newcomer for her role in the British comedy film, Mrs Henderson Presents. Reilly was
nominated for Best Actress at the British Independent Film Awards for Eden Lake in 2010. She
won the Spotlight Award at the 2012 Hollywood Film Festival, for her performance as Nicole in
Flight.
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JOSE GARCIA (Gamieux)
Jose Garcia is a French - Spanish actor. At the age of 20, he studied at the Cours Florent in Paris
with Francis Hunter. After Cours Florent, he joined the Annie Fratellini school and completed
courses with the Actors Studio.
He started his career in cinema in 1989 in small roles while working on the Canal+ show Nulle
Part Ailleurs, working alongside Philippe Gildas and Antoine de Caunes for over seven years.
Thomas Gilou offered him the role of Serge Benamou in La Vérité si je mens! for which he was
nominated as Best Actor for the 1997 Caesars. He next played in the dramatic comedy Extension
du domaine de la lutte with Philippe Harel. He continued to take several roles in popular
comedies including: Jet Set directed by Fabien Onteniente (2000), the second installment of La
Vérité si je mens! 2 in 2001, La Vélo de Ghislain Lambert, and Le Boulet by Alain Berberian et
Frederic Forestier in 2002.
In 2002, he shot in parallel the thriller Les Morsures de l’aube directed by Antoine de Caunes
and the dramatic comedy Quelqu’un de bien by Patrick Timsit. The following year, he played in
the first film directed by his wife, Isabelle Doval, Rire et Châtiment-- a comedy inspired by his
own imagination. He then completed Après Vous by Pierre Salvadori, and in 2004 the follow up
to Jet Set, Jet Set: People by Fabian Onteniete. In 2005, he played in Le Couperet directed by
Costa - Gavras, Le 7eme Jour by Carlos Saura, La Boître Noire by Richard Berry, and G.A.L. by
Miguel Courtois the next year. In 2007, he completed another project with Isabelle Carré in
Quatre Etoiles directed by Christian Vincent, in Sa Majesté Minor by Jean-Jacques Annuad and
in the thriller Pars vite et reviens tard by Regis Wargnier.
He starred in a chain of comedies: Le Mac by Pascal Bourdieux (2010), Chez Gino by Damuel
Benchetrit in 2011, the third installment of La Vérité si je mens! 3, and Les Seigneurs directed by
Oliver Dahan. In 2013, he co-starred with Michael Youn in Vivre la France! And he played in
Insaissables by Louis Leterrier with an international cast. He was cast in the lead role in Fonzy,
the French adaptation of Starbuck, also directed by Isabelle Doval.
THIERRY GODARD (Rafi Bertrand)
Thierry Godard trained in theatre at the Studio Pygmalion in Paris and then at the workshops of
Robert Cordier and Jacqueline Duc.
He alternates roles in cinema, theatre and in television. He plays regular parts on TV in
programmes such as: “Spiral, “ “Engrenages”, “Un Village Français” or “Les Dames”. He
recently starred alongside Vincent Lindon in Anything for Her. He is preparing to film an
adaptation of George Simenon’s novel “La main” and is currently filming Pimpette, directed by
Diasteme.
JAMES WATKINS (Director)
James Watkins directed the box office sensation The Woman In Black, the most successful British
horror film since records began.
He made his directing debut with the critically acclaimed thriller Eden Lake, which was
described by The Guardian as 'the best British horror film in years', it won the Empire Award for
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Best Horror, the Jury Prize at Sitges Fantasy Film Festival and Best Director at Fantasporto.
Between 2001-2007, James had a first-look writing deal with Working Title Films. Under this
deal, he wrote several scripts including: My Little Eye, a dark satire on the world of reality
television, which was released theatrically in the UK in 2002 to critical acclaim and commercial
success. James has also written screenplays for Warner Bros, Pathe, Film Four, and BBC Films.
DAVID KANTER (Producer)
David Kanter is a producer and manager at Anonymous Content, a leading motion picture,
television and commercial production company and talent management company in Culver City,
CA.
David is an Executive Producer of The Revenant, directed by Alejandro Gonzalez-Inarritu for
Twentieth Century-Fox, starring Leonardo DiCaprio and Tom Hardy, and a producer of The End
of the Tour, starring Jesse Eisenberg and Jason Segel, directed by James Ponsoldt, which
premiered at the 2015 Sundance Film Festival. It was called “The best of the best at Sundance”
(Rolling Stone Magazine) and has been acquired by A24 for US and opens on July 31, 2015.
Dorros and Kanter produced Fun Size, a co-production with Paramount Pictures that marked the
feature directorial debut of Josh Schwartz and starred Victoria Justice, Thomas Mann and
Chelsea Handler; In the Land of Women, a co-production with Castle Rock and Warner
Independent, starring Kristen Stewart and Adam Brody; the controversial Tony Kaye
documentary Lake of Fire which premiered at the 2006 Toronto International Film Festival; and
New Line Cinema’s Rendition, directed by Gavin Hood, starring Reese Witherspoon, Jake
Gyllenhaal, Meryl Streep and Alan Arkin.
His television executive producing credits include the forthcoming Cinemax series “Quarry,”
starring Logan Marshall Green to premiere in 2016; the forthcoming “Citzen,” co-created by
Alfonso Gomez-Rejon for Hulu and Paramount Televisions Studios, “To Love and Die” for USA
Network; “Law & Order: Crime and Punishment,” a drama series documentary for NBC that he
co-- created and executive produced; and “Stanley Park” for BBC3/Lionsgate. David currently
has pilots and long--form shows in active development at AMC, Showtime, HBO, FTVS, F/X
Studios, Lionsgate Television, and Sony Television.
David’s roster of management clients includes John Romano (The Lincoln Lawyer), Andrew
Baldwin (The Outsider), Donald Margulies (Middlesex and the Pulitzer Prize winning play
“Dinner with Friends”), Lesli Linka Glatter (“Mad Men,” “Pretty Little Liars,” “Homeland”),
Ron Nyswaner (Philadelphia, Freeheld) and Andrew Fleming (The Craft, Hamlet 2), Michael
Dinner (“Justified”) among others.
Prior to joining Anonymous Content in 2000, Kanter was a founding agent at United Talent
Agency and was personally involved with numerous major studio motion pictures including The
Long Walk Home, Leap of Faith, Far From Homes, The River Wild, L.A. Confidential, Sleeping
with the Enemy, Mighty Joe Young, Starship Troppers, Rushmore, Traffic and The Spy Game,
along with many independent films. He was also involved in many prestigious long--form
television projects and television series including “Chicago Hope,” “Party of Five” and “The
Sopranos.”
15
David started his career in New York in the books--to--movies and television business with
Curtis Brown, Ltd., the late Edgar J. Scherick and Sterling Lord Literistic Agency.
PHILIPPE ROUSSELET (Producer)
Philippe Rousselet is the founder, Chairman and CEO of both Vendôme Pictures (Los Angeles)
and Vendôme Production (Paris).
With Jerico, he co-produced the film La Famille Bélier, which won three Césars and was
nominated for a further nine.
With Vendôme Production, he has produced a number of films for the French market, the most
recent being: The Women on the 6th floor, directed by Philippe Le Guay (3 Million admissions)
and starring Fabrice Luchini, and Haute Cuisine (One Million admissions) directed by Christian
Vincent starring Catherine Frot.
Since 2004, Rousselet oversees development, production and financing with a focus on
international driven and commercially viable feature films designed for the global film
entertainment marketplace.
He produced a diverse range of English-spoken films including Lord of War directed by Andrew
Niccol and starring Nicolas Cage, Source Code directed by Duncan Jones and starring Jack
Gyllenhaal, and Larry Crowne starring Tom Hanks (who also directed the film) and Julia
Roberts.
Current films in production include: What Happened to Monday starring Noomi Rapace and
Glenn Close and the sequel to Lord of War will soon go into production, directed by Andrew
Niccol starring Nicolas Cage; as well as a sequel to Source Code.
ANDREW BALDWIN (Screenwriter)
Andrew Baldwin first received attention as a screenwriter for his two original Black Listrecognized screenplays, The Outsider and The West is Dead, alongside, a third - Bastille Day.
Andrew has written major studio projects including a new installment in the Bourne franchise,
with star Jeremy Renner and director Justin Lin; the Warner Brothers sci-fi action/adventure film
Logan's Run, with director Nicolas Winding Refn and star Ryan Gosling; and Lionsgate’s Red
Asphalt, with director Timur Bekmambetov. In between projects, Andrew has also performed
uncredited pre-production and production work on major films, including Non-Stop, starring
Liam Neeson and Julianne Moore, and The Gunman, starring Sean Penn.
Including the above, Andrew’s writing has attracted directors and actors such as Tom Hardy, Ben
Affleck, Takashi Miike, and Morten Tyldum. In addition to his feature film work, Andrew’s first
television project, a limited series about the Iran/Contra scandal, is currently in development at
FX Networks.
TIM MAURICE-JONES (Director of Photography)
Maurice-Jones has worked across a wide range of commercials and feature films. One of his early
feature credits was on Guy Ritchie's Lock, Stock and Two Smoking Barrels. Subsequent features
include: Snatch, directed by Guy Ritchie, Human Nature, directed by Michael Gondry, Envy,
directed by Barry Levinson, Revolver, directed by Guy Ritchie, Kick-Ass (2nd unit director) and
16
Kick-Ass 2 for director Matthew Vaughn.
He has previously worked with James Watkins on his 2011 feature The Woman in Black.
JON HARRIS (Editor)
Harris' first major work as a film editor was Guy Ritchie's Snatch. Since then Harris has worked
on three films for director Matthew Vaughn, Layer Cake (2004), Stardust 2007), and Kick-Ass
(2010). He also edited Neil Marshall's The Descent (2005) for which he received a British
Independent Film Award (BIFA) for Best Technical Achievement 2005. Harris then made his
directorial debut with the sequel The Descent: Part 2 (2009).
In 2011 Harris was nominated for an Oscar and a (BAFTA) Award for his editing work on Danny
Boyle's 127 Hours.
He then went on to edit James Watkins' The Woman in Black (2012) for Hammer Film
Productions. (2012) has become the most financially successful British horror film since records
began.
In 2013 Harris' editing credits included Danny Boyle's Trance (2013), Hossein Amini's The Two
Faces of January and the YouTube documentary “Christmas In A Day” for Kevin MacDonald.
In 2014, Harris completed work on Danny Boyle's feature length first episode of new Channel 4
series “Babylon”, Matthew Vaughn's Kingsman:The Secret Service and provided editional
editing on Paul King's Paddington.
ALEX HEFFES (Composer)
Alex Heffes originally came to international prominence with his scores to Kevin Macdonald’s
Academy Award-winning films The Last King of Scotland and One Day in September as well as
State of Play, Touching the Void and others. Since then he has worked with directors such as
Stephen Frears (The Program), Justin Chadwick (Mandela: Long Walk to Freedom, earning Alex
a Golden Globe nomination), Peter Webber (Emperor), Catherine Hardwicke (Red Riding Hood),
Tim Burton (Sweeney Todd, contributing additional arrangements to Sondheim’s show), Mikael
Hafstrom and many others. Alex received his first BAFTA nomination for the HBO drama
“Tsunami: The Aftermath” and in 2011 he was awarded discovery of the year by the World
Soundtrack Academy. In 2012 won the Ivor Novello Award for best film score of the year.
PAUL KIRBY (Production Designer)
Paul Kirby graduated in Production Design from The National Film and Television School in
London.
He started his film career working on Sir Richard Attenborough’s Chaplin, starring Robert
Downey Jr. Working on over thirty film projects, Paul has progressed through the art
department, working on such films as Shadowlands, The Fifth Element and three BOND
movies. Kirby was Art Director on Batman Begins, Phantom of the Opera, The Four Feathers,
Captain America and The Wrath of the Titans.
He has been Production Designer on Lee Tamahori’s The Devil's Double, Matthew Vaughan’s
17
Kingsman:The Secret Service and following his work on Captain Phillips, he is once again
working with Paul Greengrass on the upcoming Jason Bourne film.
Paul has earned four nominations for The Art Director’s Guild of America in ‘Excellence in
Production Design,’ for his work on Batman Begins, Phantom of the Opera, Captain America
and Captain Phillips.
GUY SPERANZA (Costume Designer)
Having begun his career as an assistant costume designer on productions such as Die Another Day,
Tomb Raider, Christopher Nolan’s BATMAN Trilogy starring Christian Bale, and Tinker, Tailor,
Soldier, Spy. Guy has been working as a Costume Designer in his own right for many years now
designing costumes for numerous short films for directors Tony Grisoni and Peter Cattaneo. He
also designed the feature length adaptation of Irvine Welsh’s edgy novel Filth, starring James
McAvoy, Imogen Poots and Jamie Bell, and followed this by designing costumes for Big Talk and
Working Title’s comedy feature The World's End, starring Paddy Considine and Rosamund Pike,
as well as Hector and the Search for Happiness for Peter Chelsholm.
More recently Guy has led the costume department for Working Title’s epic action drama
Everest, starring Jake Gyllenhaal and Keira Knightley for director Baltasar Kormakur. Guy has
just wrapped on the pilot episode of Kurt Sutter’s dark, medieval TV show “The Bastard
Executioner” for FX which has just been picked up for series.
18
CAST
IDRIS ELBA
RICHARD MADDEN
CHARLOTTE LE BON
KELLY REILLY
JOSÉ GARCIA
THIERRY GODARD
VINCENT LONDEZ
ARIEH WORTHALTER
MOHAMED MAKHTOUMI
THEO COSTA MARINI
JÉRÔME GASPARD
ISMAEL SY SAVANE
JAMES STEWART
JAMES COX
JAMES HARRIS
STÉPHANE CAILLARD
ANATOL YUSEF
ERIQ EBOUANEY
LINDA JOHN-PIERRE
JEAN-MARIE NARAINEN
ALEX FONDJA
GRÉGOIRE BONNET
TASSADIT MANDI
ZACK BUELL
JEROME QUILES
AKSEL USTUN
OMAR SALIM
PACO BOUBLARD
SAMUEL DUPUY
QUENTIN FAURE
DAVID JULIENNE
OLIVIER DESLANDES
TIM WILCOX
POPPY TROWBRIDGE
SEAN BRIAR
MICHAEL MASON
ZOË
KAREN DACRE
VICTOR GAMIEUX
RAFI BERTRAND
YANNICK BERTRAND
JEAN
CHRISTOPHE
XAVIER
YVES
SERGE
HENRI
PIERRE
MARCEL
BEATRICE
TOM LUDDY
BABA
BABA’S WIFE
OUMAR
ANGE
PAUL LE BLANC
TUNISIAN WOMAN
DELL THE TECH GUY
PATRICE
PEROXIDE PAUL
TAMIR
MERCEDES DRIVER
CIVIL SERVANT / DCRI
OFFICER
LAURENT DUBOIS
FRENCH NEWS PRESENTER
ENGLISH NEWS PRESENTER
NEWS CORRESPONDENT
STUNTS
JIMMY O’DEE
NEIL FINNIGHAN
DOMINIQUE FOUASSIER
MICHEL JULIENNE
STUNT CAR COORDINATOR
STUNTS PERFORMERS
MEHDI ABDELHAKMI
GORDON ALEXANDER
GUIOMAR ALONSO
COLE ARMITAGE
ADAM BASIL
FLORIAN BEAUMOUNT
ASHLEY BECK
SARAH BELALA
JAMES BEWLEY
BRUNO BONELLI
CARLOS BONELLI
TOM BILLINGS
NOÉMIE CALOUSSIS
NEIL CHAPELHOW
JONATHAN COHEN
STUNT COORDINATOR
ASSISTANT STUNT COORDINATORS
19
ROB COOPER
LEVAN DORAN
BEN ESSEX
SEBASTIEN FOUASSIER
AURÉLIEN GRELIER
MARK STANTON KELLY
ALEX MARTIN
SIAN MILNE
ILI RORY MULROE
NICOLAS PAUGET
NICOLAS RETABI
LUDOVIC SILMEZIS
PIERRE GOMES TAVARES
LOLA VIDAL
ADRIUS DAVIDEANAS
KENNY DOUALA
SARAH FRANZL
WILLIAM GAY
JAMES HARRIS
LÉONARD
KWASMOWSKA
TINA MASKELL
ES MOUJANE
WENDY NIETO
PETE PEDRERO
TIGER RUDGE
SHANE STEYN
YANN TREMBLAY
SHIRLEY DENOUAL
JAMES EMBREE
ANTHONY FOUILLET
ALAIN GRELLIER
ROB HUNT
ALEXANDRE LOPOKA
MAXINE WHITTAKER
STUNT DRIVERS
JEAN-LARC BELLU
SYLVAIN GABET
BEN WRIGHT
FREDDIE MASON
FREDERIC MOUQUET
BRIAN NICKELS
RASHID PHOENIX
MATT SHERREN
JAMES STEWART
PHILIP RAY TOMMY
VIRGINIE ARNAUD
PATRICK BERNAUD
SYBILLE BLOUIN
JEAN-BENOIT GUILLON
MEDIONI
VLADIMIR HOUBART
DAVID JULIENNE
PASCAL LAVANCHY
CHRISTOPHE MARSAUD
PATRICK CECILIA NGO
CHRISTOPHE ROBLIN
SIMON FRASER
UNIT PRODUCTION MANAGER
JACK RAVENSCROFT
FIRST ASSISTANT DIRECTOR
MATTHIEU RUBIN
PRODUCTION MANAGER
SIMON DURIC
2ND UNIT DIRECTOR
PAUL SPRIGGS
SUPERVISING ART DIRECTOR
DAVID WILCOCK
FINANCIAL CONTROLLER
IVOR TALBOT
PRODUCTION SOUND MIXER
BEN BARKER
SUPERVISING SOUND EDITOR/
SOUND DESIGNER
EMMA ZEE
POST PRODUCTION SUPERVISOR
JÉRÔME ALBERTINI
LOCATION MANAGER
GAYLE DICKIE
SECOND ASSISTANT DIRECTOR
DANIEL COX
KEY THIRD ASSISTANT DIRECTOR
PETER WIGNALL
A CAMERA OPERATOR
JAKE MARCUSON
A CAMERA FIRST ASSISTANT
CAMERA
DAVID BIRD
A CAMERA SECOND ASSISTANT
CAMERA
PHIL HARDY
B CAMERA FIRST ASSISTANT
CAMERA
LYDIA SCOTT
B CAMERA LOADERS
TOBIAS MARSHALL
DAN CARLING
DIT
SAM
BEAZLEY
ASSISTANT DIT
20
CRISTINA CRETU
TERRY WILLIAMS
CAROLINE BOWKER
SUSANNA FYSON
DAPHNE WATTIEZ
CAMERA TRAINEE
KEY GRIP
SCRIPT SUPERVISOR
PRODUCTION COORDINATOR
ASSISTANT PRODUCTION
COORDINATOR
TRAVEL COORDINATOR
PRODUCTION ASSISTANT
ASSISTANT TO MR KANTER & MR
DREYER
ASSISTANT TO MR WATKINS
BOOM OPERATOR
ART DIRECTOR
STANDBY ART DIRECTOR
SET DECORATOR
ASSISTANT SET DECORATOR
PRODUCTION BUYER
HENRIETTA FULLER
GAVIN MARSHALL
VICTORIA STEVENSON
JIM McCALLUM
DAVID MORISON
KATE GOOD
CHARLOTTE SANNA
GRAPHIC DESIGNER
JULIAN NIX
KAREN RODRIGUES
LEANNE N. JONES
BENJAMIN L’HOIR
TOM BRICE
ELEONOR KIRBY
ROMAIN HEMERAY
JUNIOR DRAUGHTSMAN
SIMON DURIC
STORYBOARD ARTISTS
PETER WIGNALL
FRANÇOIS POUBLAN
STANDBY PROPS
KEVIN ANTHONY
CONSTRUCTION MANAGERS
IAN HILL
TOM OVERTON
BART CARISS
ASSISTANT COSTUME DESIGNER
CLAIRE CHANAT
COSTUME SUPERVISOR
PRINCIPAL COSTUME STANDBYS
STEPHANIE PAUL
BRUCE LIGNERAT
PATRICK DOYLE
SOPHIE O’NEILL
MARIA SMITH
SINEAD O’SULLIVAN
ART DEPARTMENT ASSISTANTS
HAIR & MAKE-UP ARTISTS
HAIR & MAKE-UP TRAINEE
GAFFER
BRIAR DOUBLES
MICHAEL DOUBLE
ZOE DOUBLE
RAFI DOUBLE
STUNT WIRE EFFECTS SUPERVISOR
STUNT DEPARTMENT COORDINATOR
MILITARY ADVISOR & PERSONAL
TRAINER
FIRST ASSISTANT ACCOUNTANT
ASSISTANT ACCOUNTANTS
BEVERLEY BINDA
TAPIO SALMI
ROMARIC COLOMBINI
PAT SWEENEY
KARANJA YORKE
MARVIN CAMPBELL
AARAN TOPHAM
CLAIRE LAWRENCE
CHRIS NEWTON
CLIVE ‘TITCH’ GOBLE
NORA O’DONNELL
RICHARD SMEDLEY
ELIZABETH BRIZZELL
KATHERINE HOLDER
TOM ROTHWELL
21
TONY FLINT
FIRST OPTION MEDIA SAFETY
ANNE SHANLEY
VOX BARBARAE
MICHAEL LAGUENS
KEITH CHANLEY
PAYROLL ACCOUNTANT
HEALTH & SAFETY ADVISOR
DIALOGUE COACH
DRAMA COACH
PICKPOCKET CONSULTANT
FRENCH UNIT
THIRD ASSISTANT DIRECTORS
FLOOR RUNNERS
B CAMERA FIRST ASSISTANT CAMERA
B CAMERA SECOND ASSISTANT
CAMERA
VIDEO ASSIST OPERATOR
VIDEO ASSIST OPERATOR TRAINEE
KEY GRIP
GRIPS
RIGGING GRIP
GRIP TRAINEE
PRODUCTION COORDINATOR
ASSISTANT PRODUCTION
COORDINATOR
PRODUCTION ASSISTANT
SOUND ASSISTANT
ART DIRECTOR
ASSISTANT ART DIRECTOR
ART DEPARTMENT COORDINATOR
ART DEPARTMENT ASSISTANT
PROPS BUYERS
PETTY CASH BUYERS
STANDBY PROPS
DRESSING PROPS
PRACTICAL ELECTRICIANS
PROPS TRAINEE
SWING GANG
CONSTRUCTION MANAGER
SUPERVISING CARPENTER
SUPERVISING PAINTER
CONSTRUCTION BUYER
GRÉGOIRE JEUDY
DAMIEN NOGUER
OLIVIER SAGNE
JAWAHINE ZENTAR
BORRIS ABAZA
VINCENT SCOTET
VINCENT TULASNE
STEPHEN COQUIN
CYRIL KUHNHOLTZ
ARNAUD IMBERT
NICHOLAS TURCHET
FRANCK CHRON
JULIEN MOINE
STEPHANE AFCHAIN
SIMON BERTHAUD
SÉGOLÉNE LAGNY
FANNY FLOUPIN
RABIA KASSAM
MÉLANIE MOREIRA
ERIC VIELLEROBE
AUGUSTIN COLLET
SOPHIE BA
SUZIE VIELLEROBE
PÉNÉLOPE LACASSE
COLOMBE GILLET
NINA SURGUINE
GERALDINE NICOLO
URIEL ZYLBERMAN
CLARENCE BEAUMONT
MEDERIC JEANNE
LOUIS BOULENQUAR
BAPTISTE PETIT
GILLES GERAUD
JEAN-BAPTISTE CHARTIER
GUILLAUME LAFEUILLE
CLARENCE BEAUMONT
ANTHONY CHAROY
MOKHTAR ‘MOUSSE’ KOUAIDIA
FABRICE BOTTINI
PATRICK QUARTIER
PAULINE CARRAT
22
CHRISTIAN JOLY
PHILIPPE BEHARD
PETER HAMMOND
KEY CARPENTER
STANDBY CARPENTER
STANDBY PAINTER
ANTOINE BOTIC
HUGO BOURGEOIS DE
MOLERON
RAPHAEL ZERRIB
CARPENTERS
NICOLAS BERLIN
JUAN CARLOS PEREZ
BENJAMIN
BOUILLAGUET
PAINTERS
MARIE PREDIERI
JÉRÔME HAYOT
JEAN-LUC WHISKER
SUPERVISING PLASTERER
PLASTERER
HOD DRAPES
CONSTRUCTION SWING GANG
CONSTRUCTION SWING GANG
TRAINEE
ELECTRICAL FIXER
COSTUME BUYER
COSTUME STANDBYS
COSTUME RUNNER
CROWD HAIR & MAKE-UP
CROWD HAIR & MAKE-UP
ASSISTANTS
ASSISTANT LOCATION MANAGER
LOCATION ASSISTANT
LOCATION SCOUTS
LOCATION PAS
STAND-INS
RIGGING GAFFER
BEST BOY
ELECTRICIANS
RIGGING ELECTRICIANS
GENNY OPERATORS
ERIC GIARD
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