FOX SEARCHLIGHT PICTURES and BBC FILMS Present
A RECORDED PICTURE COMPANY Presentation
In Association with ISLE OF MAN FILM, HANWAY FILMS and PINEWOOD PICTURES
A JEREMY THOMAS Production
A RICHARD SHEPARD film
JUDE LAW
RICHARD E. GRANT
DEMIAN BICHIR
EMILIA CLARKE
KERRY CONDON
JUMAYN HUNTER
MADALINA GHENEA
NATHAN STEWART-JARRETT
WRITTEN AND DIRECTED BY .............................. RICHARD SHEPARD
PRODUCED BY ........................................................ JEREMY THOMAS
CO-PRODUCED BY.................................................. NICK O’HAGAN
DIRECTOR OF PHOTOGRAPHY ............................ GILES NUTTGENS
PRODUCTION DESIGNER ...................................... LAURENCE DORMAN
EDITED BY................................................................ DANA CONGDON
MUSIC COMPOSED BY........................................... ROLFE KENT
COSTUME DESIGNER ............................................. JULIAN DAY
CASTING ................................................................... NINA GOLD
www.foxsearchlight.com/press
Rated R Running time 93 minutes
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Nicole Fox
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Jude Law plays DOM HEMINGWAY, a larger-than-life safecracker with a
cocky swagger who is witty, unhinged and full of piss and vinegar. After twelve years
in prison, he sets off with his partner in crime Dickie (Richard E. Grant) looking to collect
what he's owed for keeping his mouth shut and protecting his boss Mr. Fontaine (Demian
Bichir). After a near death experience, Dom tries to re-connect with his estranged daughter
(Emilia Clarke), but is soon drawn back into the only world he knows, looking to settle the
ultimate debt.
DOM HEMINGWAY stars Jude Law (SIDE EFFECTS), Richard E. Grant (THE IRON
LADY), Demian Bichir (A BETTER LIFE), Emilia Clarke (“Game of Thrones”), Kerry
Condon (“Rome”), Jumayn Hunter (QUARTET), Madalina Ghenea, Nathan Stewart-Jarrett
(“Misfits”)
The film is written and directed by Richard Shepard (THE MATADOR). Producer is
Jeremy Thomas (A DANGEROUS METHOD) with Nick O’Hagan as co-producer . The
filmmaking team includes Director of Photography Giles Nuttgens (WHAT MAISIE
KNEW); production designer Laurence Dorman (ME AND ORSON WELLES); editor Dana
Congdon (BASKETBALL DIARIES); music composed by Rolfe Kent (UP IN THE AIR)
and costume designer Julian Day (RUSH).
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ABOUT THE PRODUCTION
“Listen up you owls and bears! You c**ksuckers, plebeians and moral cowards!
You foxes, lions and pedophiles! Listen up you freaks, philistines and Otters.
You Queens, queers and little girl tears!! I am Dom Hemingway! Dom Hemingway!”
In a nervy, brash, one-of-a-kind comedic performance, Jude Law introduces the world to
DOM HEMINGWAY - steely London safecracker, hell-bent hedonist, profane pontificator and
legendary live wire – as he hits the streets after 12 years in jail for keeping his mouth shut and
protecting his boss. Now, Dom’s ready to unleash everything and collect what he’s owed. But when
his long-awaited payday doesn’t go as planned, Dom tries to reconnect with his long lost daughter –
only to be tempted again by the three things Dom Hemingway knows how to do best: cracking safes,
busting heads, and breaking hearts.
Law – a two-time Oscar® nominee for COLD MOUNTAIN and THE TALENTED MR.
RIPLEY – underwent a total transformation into the manic yet paradoxically poignant role. With a
dart-player’s paunch, broken nose, lamb-chop sideburns, bad teeth and a nasty scar running beneath a
blood-red eye, it is hard to believe that beneath Dom’s disheveled exterior and sportive contempt lies
the same actor famed across the globe as a romantic lead.
Law spared nothing to get at the sheer, larger-than-life Dom-ness of Dom Hemingway.
“He’s an explosive, poetic, scary, yet strangely funny man,” Law muses. “He’s what we all are in our
essence, this sort of weird make up of good and bad, but on a more expansive level.”
The high-voltage comedy of the character first came to life in the mind of writer/director
Richard Shepard, known for the acclaimed, Golden Globe®-nominated THE MATADOR, his witty,
surprising twist on the hit-man thriller starring Pierce Brosnan and Greg Kinnear in stand-out roles.
Once again, Shepard spins a tale of crime with a wildly original point of view: that of a
chronically luck-less criminal who is audacious, violent and vengeful, yet embodies all the appetites,
contradictions and frenzied angst of modern life. In a journey that careens from a British prison to the
South of France to a criminal wager with his manhood on the line, Shepard explores Dom as the
ultimate human paradox. For no matter how much sacrilegious mayhem he spreads wherever he goes,
the audience can’t help but hope, however improbably, for his redemption.
The film was brought to the screen by renowned independent producer Jeremy Thomas, who
took the script on a Christmas holiday to Australia. Thomas loved it, and when he returned, made
sure he optioned the rights. Together with Richard Shepard, they made the film in twelve months.
Thomas had previously produced two distinctive variations on the dark crime movie, each with
ferocious and funny central characters: Jonathan Glazer’s SEXY BEAST and Stephen Frears’ THE
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HIT. “There’s a great tradition of smart, slightly-off crime thrillers -- movies with a criminal
undertone, yet are really about fascinating human characters,” observes Shepard. “I love those
movies and I hope that DOM fits somewhere in that category.”
Thomas intuited that DOM HEMINGWAY would indeed enter that territory, and then push it
to the edge of a cliff. “One could easily say DOM HEMINGWAY is a genre film about a man
coming out of jail, but it’s far more than that,” the producer says. “For me, it transcends that to
become a story told in a very different way with extraordinary dialogue unlike anything I’ve heard.
It’s entertaining in a way that is a bit shocking. That’s the sort of film to which I’m often very
attracted; and I thought it could be an incredible movie.”
“Despite Dom shooting himself in the foot at every turn - you like him,” says Shepard.
“He has his own ways of dealing with things and most of the time they get him in trouble.
He’s volatile and dangerous, but he’s also funny. That combination makes for interesting cinema
because while people like him, they don’t necessarily feel safe with him. There’s a sense that he
could do anything. He could punch someone. He could start to cry or be profane. All of these things
give the movie its energy. Dom is a devilish rascal of a man, yet deep down he has a real beating
heart that starts to beat again by the end of the movie.”
WHO IS DOM HEMINGWAY?
“I did too much, Dickie. I made up for too much lost time. I f***ed myself to death.
My head’s gonna explode. There’s gonna be bits of my brains everywhere.
I’m going to ruin your blazer.”
Dom Hemingway is pure contradiction. Endearing yet offensive, determined yet dangerously
unhinged, he’s a man of voracious appetites and mad, annihilating urges yet he harbors a caring soul.
He has a mouth that goes off like a hand grenade, “magic fingers” that can pilfer any cash-containing
safe, but also a heart that seeks to unburden some very deep regrets. From the get-go, the filmmakers
were aware that all these complementary contradictions, would be highly attractive for an actor ready
to leap into unexplored extremes of eccentric human behavior, to reach what Stanley Kubrick once
called “a state of comic ecstasy.”
But in the beginning, they could not have foreseen that Jude Law, the English leading man
who has been listed on multiple “beautiful people” lists, would be that actor.
Ultimately, Dom and Jude would seem to have been fated for each other. But in the
beginning, Dom was just a flicker in Richard Shepard’s imagination as he sat down to write a scene in
which a man is about to be released from 12 years of prison after not ratting out his boss – and is
already gung-ho to get every last delicious drop of what he has coming. The scene would become the
film’s bold and literally naked opening, and set the character off and running.
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“It was a very shocking and, I would hope, funny sequence. As soon as that came out of me,
I wrote the rest very quickly,” Shepard recalls. “I loved Dom and I wanted to see what was going to
happen to him.”
His story came reeling onto the page. To a certain degree, Shepard tapped directly into the
gritty, gangster zeitgeist of London’s East End, which since the 17th Century has been explored as a
den of crime, sexual deviance and human vice. But there was more to Dom – a transcendent quality
that made him emblematic of anyone anywhere who can’t stop their mouth, their mischievousness or
their tendency to screw up the very things that matter the most.
Even the name came organically. “I liked the name Dom. It seemed interesting,” Shepard
reflects. “And Hemingway had allusions to something macho.”
But what actor would go to the lengths of macho mayhem necessary for the character? “I
didn’t think about Jude while I was writing it,” the writer-director states. “But now I would say that if
Jude Law didn’t play Dom then there’d be no movie. Now there’s no way to imagine any other actor
playing him.”
It all gelled when Shepard and Law met in a West London pub where they discussed Dom
and his many foibles, both alluring and frightening. “I knew from those first few pints with Jude that
his vision of what Dom should be was exactly what I wanted,” Shepard explains. “He became a
collaborator. It was the first time I’ve ever had a leading man come and read for all the other
auditions – he was very motivated to make sure that we got the best cast that we could. And then we
got to a point where we were reading each other’s minds about what would make sense for Dom to do
and it was incredibly fun to be part of that.”
Law knew there was only one way to come at Dom Hemingway: full tilt. “As an actor you
look at this character and think: there are loads of elements to this guy I’ve never tapped into before,
or been allowed to,” Law explains. “There was something incredibly scary about taking that on and
also something completely unavoidable. A part of me knew deep down that I had to play him. Dom
is an original and Richard Shepard made him. He wrote him, and I don’t think I’ve come close to
playing anyone else who contains all those colors at such a high volume.” In fact, Law became so
enamoured with his Dom that he decided to bid farewell to his character following completion of the
film in a decidedly cheeky way. Surrounded by fellow cast and crew members, Law held a burial for
Dom’s unforgettable prosthetic teeth. “It was an ideal way to close out this loud mouth,” says Law.
For Law, the key was tapping into was Dom’s perilously uncalled-for self-belief, a
confidence that never wavers even when it should – and then revealing that behind that, there’s a man
going through a storm of mixed-up emotions. “He’s a car-crash of a man really,” remarks Law.
“He’s ultimately a decent guy but he’s abusive to himself and others. Part of it is being aggressive,
and part of it is soaking himself in alcohol and drugs so he doesn’t feel anything. He’s got all of these
puffed-up layers . . . but eventually you start to see there’s more to Dom than meets the eye. To me,
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it’s not a story so much about Dom’s revenge. It’s about a guy who’s a mess, who then takes one
little step towards grace.”
Shepard and Law worked closely to hone Dom’s dialogue which Shepard wrote to veer
between foul-mouthed and semi-profound, with ranting soliloquies. “The idea for me was that Dom
uses language as much as his fists to gain attention,” Shepard says.
Law and Shepard agreed that the opening scene would be the marker by which the actor
could set the tone for Dom across the rest of the shoot. With its explicit yet poetic bombast, it’s a
moment that captures everything eloquent, eccentric and menacing about Dom.
“I said to myself, ‘If I’m going to do this role, I’m going to walk on set naked and do that first
scene, and then I’ll know I can do the whole thing,’” Law recalls. “That was a great start.”
Law’s intensive physical preparation came from the idea that Dom’s poor diet and lack of
exercise would have taken a terrible toll over 12 years in prison. He refers to the process as Dom’s
“unhealth.” “Looking at Dom’s lifestyle and how much he drinks, I realized it was probably wise to
bulk up a bit,” he explains of his decision to put an extra 20 pounds on his usually athletic frame,
along with some authentic beer-guzzling bloat. “I exercise quite a lot normally, and I’m someone
who doesn’t eat very much, so I just stopped and ate absolute rubbish, a lot, all day long. Then I
started to worry that I hadn’t put on enough, because I wanted to have a combination of bulk and flab.
Cola really helped.”
Later, Law’s metamorphosis into Dom’s skin was completed with creative hair and make-up,
including a special fixture inside his nose to give it a broken kink and dental fixtures that darken and
disfigure his mouth. He also grew a styled beard that he and the crew lovingly referred to as “Dom
Chops.” But the real transformation went past the character’s look, to the nooks and crannies of his
inevitably explosive psyche.
At times Law went so far into the character, it stunned the cast and crew. “When we started
the film, none of us had really taken on board how much Jude had buried himself in the role. I don’t
think even Richard could have imagined how much he was going to give physically and
emotionally,” says director of photography Giles Nuttgens. “He had no absolutely no fear.”
“Jude changed himself for this role,” concludes Jeremy Thomas. “Dom is a man who has
been in jail for 12 years, he’s a man who can handle himself in a fight, he’s cock of the walk, he’s a
very charismatic character. And Jude really entered into the idea of being Dom Hemingway for us.
It’s great when you find an actor prepared to go that far into finding a wonderful character.”
\
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MEET DICKIE
“Jesus, Dom, you’re like a wild boar wandering demented around the olive grove.
You’ve got to get control of yourself.”
Waiting for Dom when he gets out of prison is his long-time, long-suffering partner-in-crime,
Dickie, a role played in classic straight-man form by Richard E. Grant, who came to the fore as the
indignant unemployed actor Withnail in the British cult comedy WITHNAIL AND I.
Shepard wrote the role with Grant in mind. “I’ve been a fan of Richard E. Grant’s forever,”
he says. “And I wanted Dom to have a friend who was the only person who could talk back to him.
When Dom gets out of jail, his wife is dead and his daughter isn’t talking to him, so Dickie’s his one
friend in the world. I’ve always been interested in male friendship, the unspoken way men behave
with each other, and Richard and Jude developed a great chemistry.”
Grant was intrigued right away when he read the script, especially by the radically opposite
natures of Dom and Dickie. “Richard had written such strong, clear characters. While Dom is a
motor mouth who is uncontrollable, he provides my character with a kind of release. Dickie is a low
sleaze version of Robin to his Batman. Laurel to his Hardy. It’s a sort of double act,” he observes.
He was also drawn to the script’s heightened, uncensored, impudently poetic language.
“Something that so surprised me were the operatically Baroque speeches that Dom gives,” he
comments.
“I can’t think of another American screenwriter who has written a movie where
somebody is as verbose as this guy. It seemed so quintessentially in the vernacular of Britishness.
Richard obviously did his research and all the characters sound completely British, so that was even
more impressive.”
Once Law was cast, Shepard gave the duo room to get to develop their rapport. “At a certain
point a real friendship started to form between them,” the director notes. “You can feel it. You can
just sense it. They both came in incredibly prepared, they rehearsed a lot together, and it all paid off.”
Law says that Grant helped to open up his character’s freewheeling ego even more.
“Dickie’s love of Dom, and Dickie’s forgiveness of Dom is a very important element to the story.
Richard brought a wonderful compassion that helps the audience understand Dom better through
Dickie’s eyes,” says Law. “When Dom bowls into a scene drunk and fearless, working his way
towards a rant, it is Dickie who recognizes the danger.”
Grant came to see Dickie as not only Dom’s solidly loyal friend but also the touchstone for
his wavering conscience. “Dickie is always trying to pick up the mess that Dom smithereens in all
directions,” Grant laughs.
“For Dickie, I think Dom is exciting, frustrating, infuriating, and an absolute adrenaline
rush,” sums up Grant. “He’s irresistible to someone who is much more low-key, like Dickie is. I’m
like the Charlie Watts to his Mick Jagger. That’s how I see it.”
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Like Dom, Dickie has his own distinct look: that of a man still clinging to the glory days of
his past, with his long, stringy hair, 70s glasses, a wardrobe that might resemble Peter Fonda’s
eccentric uncle . . . and his one black leather glove.
Shepard’s idea was that Dickie should resemble a British riff on Hunter S. Thompson, the
legendary Gonzo journalist renowned for his mismatched outfits that defined the term counterculture. “I haven’t got the Hunter Thompson hat and I’m not bald yet, but they did find these yellow
glasses that nailed it,” Grant laughs. “I think Dickie’s best years of his life were in the 1970s, so his
feeling is why change your clothes and try and be somebody living in the 21st Century? Keep all your
gear from your best days. That’s his theory.”
YOU CAN’T GO HOME AGAIN
“I was a stupid fool. I lost you. I lost out on Evelyn’s childhood. I lost the two most
important things in my life. And now you’re gone, my love. And our Evie...
She hates me.”
Surrounding Dom Hemingway once he’s released from jail is a throng of equally colorful
characters, both criminal and familial, who bring together some of today’s most exciting actors
including Oscar® nominee Demian Bichir (A BETTER LIFE), rising star Emilia Clarke and
emerging talents Jumayn Hunter, Nathan Stewart-Jarrett, Madalina Ghenea and Kerry Condon.
Shepard knew that casting was going to be half the battle in a story this full of unusually outsized people. “A lot of my directing is about ‘this feels real’ or ‘that feels right.’ Actors can smell
when there are other good actors around, and no one wants to be blown off the screen. Jude came
ready to win in this performance, so I think all the other actors thought, ‘Well, I’d better do a good
job!’” he says.
When Dom gets out of jail, he heads for the countryside . . . the countryside of France and the
villa of the mysterious Mr. Fontaine, aka “Ivan Anatoli,” the fabulously wealthy crime boss who was
relishing his riches while Dom languished in jail. To play Fontaine, the filmmakers needed equal
parts charm and menace, a mix Shepard found in an actor who has been making a rapid ascent in
Hollywood. Born and raised in the barrios of Mexico City, Demian Bichir was recently nominated
for an Academy Award® for his lead role in Chris Weitz’s immigrant drama A BETTER LIFE and is
currently starring on FX’s new television series “The Bridge.”
“To get an actor of Demian’s calibre for this part was fantastic,” Shepard says. “He is not
only an incredibly good actor, but he also has the charm of Mr. Fontaine. We went after him very
aggressively.”
Bichir was lured by the sheer fun of Mr. Fontaine – and by Shepard. “Richard is so clever
and so very intelligent,” the actor says. “He wrote a magnificent script and a beautiful character in
Dom. It’s a script that gives actors the chance to go in so many directions, so it’s a joy. And I had the
best seat of the house to watch all these performances.”
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A very different kind of character comes in the form of Dom’s daughter, Evelyn, who is
decidedly not amused by her father’s hijinx or his total absence from her life. Taking the role is one
of today’s most intriguing actresses, Emilia Clarke, who has been riding high on the success of her
powerful performance as Khaleesi in HBO’s major TV series “Game of Thrones.”
Clarke fell in love with the script and, she admits, with Dom. “Despite all the abhorrent,
horrific acts Dom commits throughout the film, I think you still believe that there’s hope for him, that
there’s a light at the end of his tunnel,” she says. “I think that as an audience you just keep waiting
for that to happen, so you’re invested in him from minute one. There are a lot of reasons why you
shouldn’t love him, but you just can’t help it.”
For Evelyn, however, Dom has a huge barrier to break down: her entirely logical lack of trust
that he’ll ever do the right thing. “She’s a tough girl,” Clarke says of Evelyn. “She’s hardened by
life and she’s had to fend for herself. It’s only when Dom loses everything that he decides to come
knocking on her door and he has an awful lot to answer for. Her mum died while he was in prison
and she was basically an orphan. He could have not taken the fall, and been a dad instead.”
A big pleasure for Clarke was playing against Law. “He gave so much energy and was so
engrossed in this glorious character he created,” she muses. “He was utterly magnetic.”
An accomplished singer as well, Clarke had a chance to use that skill for an evocative scene
where Evelyn sings with her band, covering Fisherman’s Blues by The Waterboys. “Emilia blew me
away,” says Shepard. “And then her singing voice. Wow. The girl can do anything.”
Another unusual character comes in the form of Lestor, the youthful, new crime kingpin Dom
is forced to beg for a job when he hits rock bottom. The role was won by Jumayn Hunter, a young
British actor who riveted Shepard in his audition.
He recalls, “I originally wrote the part of Lestor for an older actor, someone in their forties,
and Jude said, ‘You know, we should think about casting this character’s son. It’ll be a more
interesting dynamic if Dom has to beg for a job from someone significantly younger than him.’ We
started auditioning and Jumayn came in and was extraordinary, he’s got an amazing quality. You just
can’t take your eyes off him.”
Hunter was delighted to take the role. “Like a bolt of lightning, Dom lands right on Lestor’s
lap. How he deals with the situation is kind of colorful to say the least, but their history is not
friendly. Lestor has nothing but contempt for Dom and everything he remembers about him,” he
says. “Dom’s from an era where everything was done face to face. Lestor’s from the 21st century,
where everything’s done electronically. When these two get in each other’s personal space, a clash of
eras comes into effect.”
Like his cast mates, Hunter was awed by Dom.
“Anything that comes out of Dom
Hemingway’s mouth is either gold for the mind or destruction for the soul, and you get them both at
the same time so it’s quite fun,” Hunter says. “He speaks not only his mind, but the subconscious,
that’s how I’d describe it. He’s got the social skills of a shotgun.”
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Dom has another fateful run-in with an American party girl in the South of France, whose life
he saves, for better or for worse. The buoyant Melody is played by Irish actress Kerry Condon, who
enjoyed having a different take on Dom. “My character sees the good in him,” she notes. “She’s
someone who sees the good in the whole world. She doesn’t see Dom as this pathetic guy still
partying in his 40s. She just sees that there’s a sweetness and vulnerability to him.”
Romanian model and budding actress Madalina Ghenea takes the key role of the film’s sultry
femme fatale Paolina, Mr. Fontaine’s mistress and Dom’s fateful nemesis. “Being a femme fatale is
not easy,” Ghenea admits. “Yet, somehow I fell in love with her. And I’m sure the audience will fall
in love with Dom. Somehow you fall in love with him, even though he’s Dom!”
DOM’S WORLD
“A man with no options suddenly has all the options in the world.”
If Dom Hemingway is crass, loud, lyrical, hell-raising, hilarious and mesmerizingly
catastrophic, Richard Shepard wanted the imagery of his story to be equally so. He envisioned the
look of the film to be almost anti-British gangster movie – not gritty and grey, but wildly free,
popping with lusty colors, primal energy and flashes of the coiled anger that fuels Dom.
To go for this Dom-style look, he collaborated with director of photography Giles Nuttgens
(MIDNIGHT’S CHILDREN, WATER) and production designer Laurence Dorman (ME AND
ORSON WELLES), both of whom previously worked with Jeremy Thomas on YOUNG ADAM.
Nuttgens was instantly taken with Shepard’s vision. “Richard had written a completely
unique script and he was utterly in command of what he wanted,” the cinematographer observes. “It
was immediately clear to me that he had a very big, creative brain working in very, very different
ways from anyone else’s. When I meet for the first time with a director, I’m less interested in talking
about how the film is going to look than in how it is going to feel. What is the emotional tone? And
Richard knew that more deeply than anyone I’ve encountered.”
The challenge was to splash that emotional tone onto the screen. “It was quite clear that
while the plot of DOM is about a criminal trying to get his reward, at heart, what you’re experiencing
is a guy going off the deep end and expressing that in his own very strong way to the audience,”
Nuttgens continues. “Dom is completely out-of-his-head and totally destructive, to himself and
others, so we wanted the look to get at that energy. The last thing we wanted was a stylishly desaturated, flat looking film. So the idea was that even in the most banal situations, even when we
were shooting in London in November, we were always pushing the edge in terms of color and
texture. Anywhere that we could add another level of color, we did. I think we all felt the film’s
colors could serve as a continuous counterpoint to how dark and extreme Dom can be.”
This effect begins instantaneously as the film opens with Law, naked in a jail scene unlike
any other. “It’s a long monologue and it’s all one take,” notes Nuttgens, “when the audience is right
10
away invited into the extremely shocking head of Dom Hemingway. Even in that scene, we wanted
the prison to look different from what you’re used to and Richard, Laurence and I talked a lot about
how we could attack the senses from the get-go. We wanted to set the tone that this was going to be
colorful, strong and hit you in the face, and let people know that there’s a rich level of humor to it.”
Dom heads to France after his release to get what he has coming from his boss, Mr. Fontaine.
Shepard, Nuttgens and Dorman crafted Fontaine’s lavish, high-living villa in a dizzying brightness, as
if seeing the world fresh again after 12 years staring at prison walls. “We lit the villa in pinks and
greens, stuff you would never usually see,” Nuttgens explains. “The whole idea was to imagine how
overwhelming the world is to Dom just out of prison, and how much pleasure Fontaine has been
enjoying while he’s been away.”
For one of the film’s most high-wire sequences, when Dom makes a wildly threatening
speech in Fontaine’s living room, Dorman lined the walls with a series of monkey portraits by the
artist/photographer Jill Greenberg. The hyper-real, manipulated photos – at once eerie, comic and
primal – only add to the visual frisson. “Those photos were a stroke of genius by Laurence,” says
Nuttgens. “That scene, which is so much about ego and envy, becomes not just a scene between three
men, but a scene between three men and three monkeys.”
France was also the scene of a spectacular car crash, which involved some of the most
technical challenges of the shoot, including rain, lighting, flying automobiles and mud pits.
Returning to London’s moodily industrial East End, the team maintained its focus
nonetheless on color and quirks. “The beautiful thing was that Richard didn’t want to imitate
anything else. He just wanted to show this world as Dom sees it,” sums up Nuttgens. “It was really
incredible the degree to which Richard drove this film from the first lines he wrote in Dom’s
inimitable voice to every detail of the shoot and post-production. No matter the technical challenges,
he inspired everyone to stick to our guns, to stay in Dom’s POV, and that made the whole film an
excitingly intellectual, creative process.”
Adding to the film’s fluid moods is the score by Rolfe Kent, who has composed for many of
Shepard’s films, was nominated for a Golden Globe for his work on Alexander Payne’s SIDEWAYS
and is know to many for his Emmy®-nominated theme to the “Dexter” television series.
Kent notes that the music went through several twists and turns as he and Shepard looked for
the right counterpoint to Dom’s wild behavior. “I began writing for a full brass ensemble,” he recalls.
“And one example of that approach survives in the moment when Dom gets his money. But at some
point I showed Richard a rough idea I had using strange atmospheric tones in a rhythmic way, and he
encouraged me to keep going down that road. It gives the film a serious but unusual edge, which
really comes out in the train sequence. Richard felt the film would work best if the music avoided
being comedic and instead took Dom and his life seriously. So that is the path we took.”
Despite his long-lived collaboration with Shepard, Kent says this project was unlike any
other. “I’ve worked on at least 6 films with Richard, and each one takes a completely different
11
approach and invents something new. The score to DOM HEMINGWAY evolved slowly and
eventually found its sweet-spot between the lost-childhood theme for Dom's daughter Evelyn and the
slightly melancholy, slightly cocky theme for Dom, which is full of momentum and apprehension.”
One of the most challenging moments for Kent is one of the story’s most moving moments
for Dom, when he goes to the cemetery to finally have a chat with the wife he left behind. “It’s a
scene requiring a delicate and changing balance between Dom’s remorse and his hope,” the composer
explains. “Richard had me re-write this cue several times as we tried to find the right way to allow
the performance to unfold, and navigate the raw and despairing emotions Jude brought out. By the
end there is just a hint of Evelyn's theme coming back, a glint of hope and warmth returning after all.”
DOM’S LOOK
“What can I tell you? I’m a handsome f***er.”
A large part of the film’s look is Dom’s look, which became a collaboration between
Shepard, Law, costume designer Julian Day and hair and make-up artist Wakana Yoshihara. “It was
a long process, but I knew that once we found a look for Jude, he could escape into that look and
really find Dom,” says Shepard.
Costume designer Day, who recently worked on SALMON FISHING IN THE YEMEN and
the forthcoming DIANA, was thrilled with the prospect of bringing a new twist to a classic costume
genre. “Having read the script and after meeting Richard, I realized his love for British cinema and I
wanted to create a modern look with a twist on 1970's British gangster films,” he explains. “Richard
was a fantastic director to work with, as he has an encyclopedic knowledge of films, and is an
incredible collaborator. He was involved on all levels of the process of designing the clothes.”
For Dom, Day honed in on a man stuck in a fashion time warp. “Dom's clothes were great
fun to create,” he remarks. “I worked with a great tailor, Murat Ozkan of William and George Ltd, to
produce a suit that looked great on Jude -- but also looked like he hadn't worn it for many years. Even
thought it appears ill-fitting in places, Jude managed to look impeccable at all times, even when
rolling down a muddy hill in torrential rain.”
Law felt the clothes captured the man. “The little touches that Julian brought were brilliant,”
says Law. “Dom has been in the bubble of prison, out of society. But also as a man, he lives a
whisky-fogged lifestyle of self-denial and escapism, so he comes out not only wearing the clothes of a
man of twelve years younger, but the clothes of a man who was always out of sorts anyway. Julian
was clever in that he cut everything Dom wears so that it pinched in all the wrong places. All of that
adds layers and helps tell the story of a guy out of time and out of touch with who he is in the world.”
Day also had a blast with Dickie’s attire. “Richard E Grant's clothes are a definite throwback
to the 60's – they are like PERFORMANCE crossed with THE ITALIAN JOB -- but my main
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influence was Hunter S. Thompson, one of the greatest style icons,” he says. Day also admits: “I
used my own 60's yellow tinted sunglasses to finish off Dickie’s impeccable taste in clothing.”
He equally enjoyed the film’s full cast of characters, each one a work of fashion eccentricity
in his or her own right. “This film was one of the most enjoyable jobs I have ever worked on,” he
concludes, “with a fantastic cast and crew and great characters to design for.”
Hair and make-up designer Yoshihara, whose film work ranges from SKYFALL to TINKER,
TAILOR, SOLDIER SPY to HARRY POTTER, altered Law’s facial features substantially. At first
the designer found it hard to imagine that someone of Law’s looks and build could morph into the
character she had read in the script, but over time, the look was honed into something that came alive.
In researching several well-known East London gangsters, Yoshihara found that many had
broken noses and facial scars, and she wanted to add that touch of mystery to Dom Hemingway. “I
thought that it would be great for the audience to wonder what might have happened to create his
various scars and features,” she explains.
Law bears a custom-made set of prosthetic teeth that give him that Dom smile and wears an
uncomfortable device that sets Dom’s broken nose at an angle. “We gave him golden teeth, but
nicotine-stained gold. So when he smiles, you can see how many cigarettes he’s smoked in prison,”
Yoshihara laughs. “We also applied lots of pigmentation to make him look like a person who hasn’t
taken care of himself, layering shades to create a perfectly unhealthy look.”
All of those details were essential, of course, to making the film feel as real as it does
outrageous. But the inexplicable magic came when the cameras rolled and Law submerged his entire
self beneath the boiling surface of Dom’s persona.
Having embedded himself so intently, Law says he won’t soon forget Dom Hemingway or
the surprising outcome of his escapades. “Playing Dom was an exhausting process and I developed
some very bad habits which took a while to shake off,” he confesses. “But I learned a lot from him.
I’ll miss him. I loved being him and loved having him in my life. That sounds terribly sentimental,
but he’s got a quality that is very attractive. He can’t help but be himself, even if that self is very loud
and sometimes appalling. The best way to describe Dom Hemingway is that he is indescribable.”
#####
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ABOUT THE CAST
JUDE LAW (Dom Hemingway) is considered one of Britain’s finest actors, with a
wealth and variety of film and theatre performances to his credit.
In December 2011, he reunited with Guy Ritchie and Robert Downey Jr., on
SHERLOCK HOLMES: A GAME OF SHADOWS, reprising his role from the global boxoffice success SHERLOCK HOLMES. Law was most recently seen on screen in Steven
Soderbergh’s SIDE EFFECTS, and Joe Wright’s ANNA KARENINA opposite Keira
Knightley. He recently performed in the West End’s Anna Christie to rave reviews.
In 2009, Law starred in the title role of the Donmar Warehouse production of
Shakespeare’s Hamlet, first in London’s West End and then reprising the role on Broadway,
earning him a second Tony® nomination.
On the big screen, Law first drew major critical attention for his performance as
Oscar Wilde’s lover, Lord Alfred Douglas, in 1997’s WILDE, for which he won an Evening
Standard British Film Award. He went on to earn international acclaim for his work in
Anthony Minghella’s THE TALENTED MR. RIPLEY. Law’s performance as doomed
golden boy Dickie Greenleaf brought him both Oscar® and Golden Globe® nominations, as
well as a BAFTA® Award for ‘Best Supporting Actor.’
Law was later honored with Oscar, Golden Globe and BAFTA Award nominations,
for ‘Best Actor in a Leading Role,’ for his role in the 2003 Civil War epic COLD
MOUNTAIN, also directed by Minghella. He also earned a Golden Globe nomination for his
role in Steven Spielberg’s AI: ARTIFICIAL INTELLIGENCE.
In 2004, Law starred in five very different films, including two for which he shared
acting ensemble honors: Mike Nichols’ acclaimed drama CLOSER, also starring Julia
Roberts, Clive Owen and Natalie Portman, with whom he won the National Board of Review
Award for ‘Best Ensemble’; and Martin Scorsese’s epic biopic THE AVIATOR, for which he
shared in a Screen Actors Guild Award® nomination for ‘Outstanding Cast Performance.’
That same year, Law starred in ALFIE, playing the title role under the direction of Charles
Shyer; David O. Russell’s I HEART HUCKABEES; and SKY CAPTAIN AND THE
WORLD OF TOMORROW, which he also produced. In addition, he lent his voice to
LEMONY SNICKET’S A SERIES OF UNFORTUNATE EVENTS.
His wide range of film credits also includes Terry Gilliam’s THE IMAGINARIUM
OF DR. PARNASSUS; Kenneth Branagh’s SLEUTH, which he also produced; Wong Kar
Wai’s first English-language film, MY BLUEBERRY NIGHTS; Nancy Meyers’ romantic
comedy hit THE HOLIDAY, with Cameron Diaz, Kate Winslet and Jack Black; BREAKING
AND ENTERING, which reunited him with Anthony Minghella; Sam Mendes’ ROAD TO
PERDITION, with Tom Hanks and Paul Newman; Jean-Jacques Annaud’s ENEMY AT THE
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GATES; David Cronenberg’s EXISTENZ; Clint Eastwood’s MIDNIGHT IN THE GARDEN
OF GOOD AND EVIL; and GATTACA, which marked his American film debut.
Law began his career on the stage, acting with the National Youth Theatre at the age
of 12. In 1994, he created the role of Michael in Jean Cocteau’s play Les Parents Terribles,
for which he was nominated for the Ian Charleson Award for Outstanding Newcomer. The
play was renamed Indiscretions when it moved to Broadway, where Law received a Tony
Award nomination for ‘Outstanding Supporting Actor.’ His subsequent stage work includes
`Tis Pity She’s a Whore at London’s Young Vic Theatre and a highly acclaimed performance
in the title role of Christopher Marlowe’s Dr. Faustus, both directed by David Lan. Law was
recently closely involved in the fundraising efforts for the major refurbishment of the Young
Vic Theatre.
In 2007, the French Academy awarded Jude Law a César d’Honneur in recognition of
his contribution to cinema, and the government of France named him a Chevalier de l’Ordre
des Arts et des Lettres for his artistic achievements.
RICHARD E. GRANT (Dickie) is a British-Swazi actor, screenwriter, and
director. Grant came to public attention in 1987 for playing ‘Withnail’ in the film
WITHNAIL AND I, and achieved international recognition as John Seward in 1992
blockbuster BRAM STOKER’S DRACULA.
Grant has worked with notable directors such as Robert Altman, Bruce Robinson,
Francis Ford Coppola, Tim Burton, and Martin Scorsese. His film credits include films such
as HIDDEN CITY, HOW TO GET AHEAD IN ADVERTISING, WARLOCK,
MOUNTAINS ON THE MOON, KILLING DAD OR HOW TO LOVE YOUR MOTHER,
HENRY & JUNE, L.A. STORY, HUDSON HAWK, THE PLAYER, THE AGE OF
INNOCENSE, JACK & SARAH, THE COLD LIGHT OF DAY, THE PORTRAIT OF A
LADY, TWELFTH NIGHT OR WHAT YOU WILL, THE SERPENT’S TONGUE, A
MERRY WAR, SPICE WORLD, CASH IN HAND, ST. IVES, THE MATCH,
HILDEGARDE, GOSFORD PARK, MONSIEUR N., BRIGHT YOUNG THING, TOOTH,
CORPSE BRIDE, COLOR ME KUBRICK, GARFIELD: A TAIL OF TWO KITTIES,
PENELOPE, THE GARDEN OF EDEN, LOVE HURTS, FOSTER, HOW TO STOP BEING
A LOSER, and IRON LADY.
DEMIAN BICHIR (Mr. Fontaine) is one of the most well-known and well
respected actors in his home of Mexico and the U.S. In 2012, he received Academy Award,
SAG Award™ and Independent Spirit Award nominations for his portrayal of an
undocumented gardener trying to connect with his estranged teenage son in Chris Weitz’s
feature A BETTER LIFE.
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In June, Bichir appeared in Paul Feig’s comedy THE HEAT with Sandra Bullock and
Melissa McCarthy, and he is currently starring in the new FX original series “The Bridge,”
which premiered in July. From Executive Producers Meredith Stiehm (“Homeland”) and
Elwood Reid, the series centers on two detectives (Demian Bichir and Diane Kruger) who
must work together to hunt down a serial killer operating on both sides of the U.S.-Mexico
border. Bichir will follow this up with Robert Rodriguez’s MACHETE KILLS in September.
He will also be making his directorial debut with the film he wrote, REFUGIO, which will
shoot in Mexico and the U.S. in the fall.
Bichir became known to U.S. television audiences for his portrayal of Esteban Reyes
opposite Mary-Louise Parker in the hit Showtime series “Weeds.” He also portrayed a
powerful young Fidel Castro in Steven Soderbergh's CHE opposite Benicio Del Toro. In
2012 he starred in Oliver Stone’s SAVAGES and the independent film THE RUNWAY for
director Ian Power.
He recently wrapped production as the lead role in the independent film DEATH IN
BUENOS AIRES.
In Mexico, Bichir is an Ariel® Award winner for ‘Best Actor,’ given by the Mexican
Academy of Cinematography, and has received numerous other nominations and prestigious
honors including a Medal of Honor for Merit in the Fine Arts, given by the Legislative
Assembly of Mexico City.
Bichir comes from a well-known and highly respected theatrical family. He is the
son of famed theater director Alejandro Bichir and acclaimed actress Maricruz Nájera. His
brothers Odiseo and Bruno are also two of the most talented actors of their generation. Bichir
has amassed an impressive resume of theater credits in Mexico and recently completed the
starring role in the theater adaptation of the film SWIMMING WITH SHARKS in Mexico
City, directed by his brother Bruno Bichir. Bichir’s work in theater includes Shakespeare’s A
Midsummer Night’s Dream and Richard The III, Strindberg’s The Ghost Sonata, Peter
Shaffer’s Equus, Eugene O’Neill’s Ah! Wilderness, Neil Simon’s Broadway Bound and The
Odd Couple, David Halliwell’s Little Malcolm and his Struggle Against the Eunuchs, and
Sabina Berman’s Extras. Bichir also impressed U.S. audiences in 2008, starring in the play
By the Waters of Babylon, which opened at the Geffen Playhouse in Los Angeles.
Bichir is also starring in Guillermo Arriaga’s upcoming collaboration of short films
titled WORDS WITH GODS. His most memorable Latin American credits include ROJO
AMANECER (winner of the Grand Jury Prize in the San Sebastian Film Festival), Alex de la
Iglesia’s PERDITA DURANGO with Javier Bardem, HASTA MORIR (‘Best Actor’ Ariel
winner, the Mexican Academy of Cinematography), SIN NOTICIAS DE DIOS with Victoria
Abril and Penélope Cruz, the Showtime feature film IN THE TIME OF THE BUTTERFLIES
in which he starred opposite Salma Hayek, SEX, SHAME AND TEARS (Ariel ‘Best Actor’
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nominee), AMERICAN VISA (‘Best Foreign Film’ nominee at the Goyas in Spain), FUERA
DEL CIELO, ENEMIGOS INTIMOS and HIDALGO, THE UNTOLD STORY (Ariel Award
nominee and winner of the ‘Best Actor’ award at the Huelva Film Festival in Spain).
Demian resides in Los Angeles and Mexico City.
First seen in the Oscar nominated film ANGELA’S ASHES, Irish actress KERRY
CONDON (Melody) has garnered much praise for her numerous roles in some of
Hollywood’s most talked about films, including THE LAST STATION, which was
nominated for two Academy Awards in 2010. Praised for the casts’ “spellbinding
performances,” Condon proved that she can hold her own amidst such great actors such as
Christopher Plummer and Helen Mirren.
For two complete seasons, Condon brought the ancient city of Rome to life in Bruno
Heller’s HBO series “Rome” playing ‘Octavia of the Julii.’ The show win four Emmy
Awards in 2006 and secure a nomination for a Golden Globe Award in the category of
‘Outstanding Television Series – Drama.’
Condon was last seen as a jockey on the small screen in the 2012 HBO show “Luck.”
The series, directed by Michael Mann, centers around characters who are all tied to the same
horse-racing track and starred an all-star cast including Dustin Hoffman and Nick Nolte.
Last year, Condon was seen on the big screen in The Weinstein Company’s THIS
MUST BE THE PLACE starring Sean Penn and Frances McDormand. The story centers
around a bored, retired rock star set out to find his father’s executioner, an ex-Nazi war
criminal who is a refugee in the U.S. She also played ‘Patricia’ in the Oscar-winning short
film THE SHORE starring opposite Ciarán Hinds and Conleth Hill. The film documents the
story of Joe and Paddy, whose childhood friendship is shattered by the troubles in Northern
Ireland. Twenty five years later they are reunited.
Condon’s other films include THE RUNAWAY (2010), UNLESASED (2005), she
portrayed Kate Kelly in the 2003 film NED KELLY and INTERMISSION (2003).
On stage and at the ripe age of 19, Condon originated the role of ‘Mairead’ in the The
Lieutenant of Inishmore by Martin McDonagh which she performed at The Royal
Shakespeare Company and The Atlantic Theatre Company in New York. For this production
she recorded the song, “The Patriot Game” with The Pogues. In the same year, she played the
role of ‘Ophelia’ in Hamlet, making her the youngest actress to ever play that role for the
Royal Shakespeare Company. In 2009, she appeared in another play by Martin McDonagh
called The Cripple of Inishmaan for which she won a Lucille Lortel award and a Drama Desk
award.
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JUMAYN HUNTER (Lestor) was Born in 1990 in Tottenham, North London. From
a young age, Hunter traveled around quite a bit; Holland, Jamaica, the United States, Bolton
and the Lake District in the north of England. During his time in Northern England, he
picked up a love of watching film. Coming back to London to attend secondary school, he
developed an in interest in mixed martial arts (Kung fu, Capoeira and Wrestling), basketball
and writing hip hop music. However, he fell in love with reading, especially Shakespeare,
and started acting in school plays. His teachers encouraged him to take a leap of faith and try
to audition for Deborah Paige in the Arcola Theatre in a professional play, and Hunter got the
part in the play After Birth. After one night’s performance, he was approached at the bar by
an agent, and after performing a short piece, he was signed to start auditioning.
After appearing in various episodes of “The Bill and Casualty,” Hunter was cast for
various other television cameos and roles including a television film adaptation of Roy
Williams’ play Fallout. He was then cast in the pilot of “Eden Lake” (“Little Terrors,” as a
working title at the time) and featured in his first film EDEN LAKE with Kelly Reilly and
Michael Fassbender. His love of acting firmly set, next came, as he would describe, his
marriage to his career.
Wanting to play challenging and interesting parts, he chose projects for the diversity
of their roles and the opportunities they provided to work with strong actors and directors
who were also role models and inspirations to him. Hunter became known for roles such as
‘Hi-Hatz’ in Joe Cornish's ATTACK THE BLOCK, and ‘Rian’ in Paul Andrew-Williams'
CHERRY TREE LANE. His other work includes QUARTET, PIGGY, BORROWED TIME,
SONG FOR MARION and SCINTILLA.
In other parts of his life, he still practices martial arts and is an avid writer of both
music and scripts. He is also a youth volunteer work in his local community which includes
mentoring, teaching and running his own classes and youth groups.
Currently, Hunter is writing scripts and hopes to direct his debut film in the next few
years.
MADALINA GHENEA (Paolina) is a Romanian actress and fashion model. She
was born on August 8th, 1988 in Slatina. Ghenea grew up on a small farm and followed her
mother around the villages where she worked as a veterinarian.
From an early age, Ghenea was in the limelight, performing in a children’s television
show in Romania. For 7 years Ghenea took ballet and piano lessons, and at the age of 14, she
was discovered by the Italian designer Gattinoni.
After that, Ghenea began landing jobs in numerous fashion shows, shoots, and
commercials around the globe. This is why she considers herself a citizen of the world.
Ghenea’s always carrying her life in a suitcase, and she’s open to embracing any new culture
18
or tradition. This is the reason why she is currently fluent in five languages.
Ghenea is also an international activist. She joined the organization ‘Artists for Peace
and Justice’ for Haiti relief, and she is known in Romania for renovating the Maternity
Department of the main hospital in her hometown.
She started her acting career with a starring role in the Italian comedy I SOLITI
IDIOTI: IL FILM, which was a huge box office hit in Italy in 2011. She next was cast as the
lead role in her second film RAZZA BASTARDA, with Alessandro Gassman and Michele
Placido was, as she describes, a big challenge. The film brought Ghenea her the first award of
her career at the Rome Film Festival in 2012,
She is currently filming season three of “The Borgias” in the role of ‘Dorotea
Malatesta.’
NATHAN STEWART-JARRETT (Hugh) was born and grew up in Wandsworth,
London.
Stewart-Jarrett attended the renowned performing arts academy The BRIT School,
and in 2003, he began three years of professional training at Central School of Speech and
Drama.
After graduation in 2006 Stewart-Jarrett made his professional stage debut in Brixton
Stories at the Lyric Theatre in Hammersmith. This began a successful run within London's
theatre scene. He appeared in the European premiere of Theodore Ward's Big White Fog at
the Almeida Theatre directed by Michael Attenborough and also the National Theatre's The
History Boy's in the West End opposite James Corden and Dominic Cooper.
In 2008, Stewart-Jarrett landed his first lead in Wig Out at the Royal Court Theatre.
The play was set within the underground gay ball culture in New York. Nathan lost weight,
took singing lessons, and even learnt to walk in heels to give his performance authenticity.
This vibrant production was directed by artistic director Dominic Cooke.
Stewart-Jarrett then went on to star in a revival of Philip Ridley's first play The
Pitchfork Disney sharing the stage with WEEKEND star Chris New. Stewart-Jarrett played a
character obsessed with beauty, who is intent on terrorising a pair of agoraphobic twins. He
tackled this dark play with great skill. 'There are excellent performances, but none better
than from Stewart-Jarrett, who in unlocking the demons finds himself chased by them' –
Guardian.
After his extensive period in theatre, he moved into television starring in Channel 4's
“Misfits.” The show was a huge international success garnering awards including winning a
BAFTA Award in its first season.
Whilst appearing in “Misfits” for four seasons, Stewart-Jarrett proved his acting
range in a number of other productions. He has appeared alongside Nick Frost in the BBC
19
adaptation of Martin Amis' novel Money as well as landing a lead role in Channel 4's
compelling conspiracy thriller “Utopia.” Directed by Marc Munden (“The Devils Whore”)
and written by Dennis Kelly (“Matilda”), Nathan plays a frustrated IT consultant thrust into a
world of governmental secrets. The show is a huge critical success with the Telegraph
labelling it as a "dark, tantalisingly mysterious overture."
In 2012, Stewart-Jarrett starred in his first feature film THE COMEDIAN, alongside
WHITE LIGHTNIN’ star Ed Hogg. Playing a young east London artist, Nathan threw
himself into months of improvisation rehearsals and a completely improvised shoot with
Little White Lies magazine calling him "intense and adorable all at once".
Recently, Stewart-Jarrett has just wrapped filming the lead in WAR BOOK, a film
about the effect of nuclear war in Britain. Written and directed by THIS IS ENGLAND's Jack
Thorne and Tom Harper, this intimate film also stars Kerry Fox, Sophie Okonedo and
Anthony Sher.
Next Stewart-Jarrett will be reprising his role in a second season of Channel 4's
“Utopia.” It will air in 2014.
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ABOUT THE FILMMAKERS
RICHARD SHEPARD (Written and Directed by) is an Emmy and DGA award
winning writer/director from New York City.
Shepard's features include THE MATADOR which premiered at the 2005 Sundance
Film Festival, and THE HUNTING PARTY which premiered at the 2007 Venice Film
Festival.
THE MATADOR starring Pierce Brosnan and Greg Kinnear received a 2006 Golden
Globe nomination for Mr. Brosnan's work in the black comedy. Shepard's THE HUNTING
PARTY starring Richard Gere and Terrance Howard won no awards, made barely any
money, but is the number one illegally ripped DVD in the Balkans (that's a joke, and the
truth).
Shepard's HBO documentary "I Knew It Was You: Rediscovering John Cazale"
about the acclaimed actor who played Fredo in THE GODFATHER premiered at the 2009
Sundance Film Festival, and received an Emmy Nomination.
Shepard has directed six episodes of the Emmy and Golden Globe winning series
"Girls" on HBO, including the second season's controversial ‘One Man's Trash’ guest starring
Patrick Wilson. He has helmed the pilots for such hits as "Criminal Minds" and "Ugly Betty"
for which he won the 2007 Emmy award for best direction.
Cinema has always been a part of JEREMY THOMAS' (Producer) life. He was
born in London into a filmmaking family with his father, Ralph, and uncle, Gerald, both
directors. His childhood ambition was to work in cinema. Thomas produced his first film
MAD DOG MORGAN in Australia in 1974. He then returned to England to produce Jerzy
Skolimowski's THE SHOUT, which won the Grand Prix de Jury at the 1978 Cannes Film
Festival.
Thomas’ films are all highly individual and his independence of spirit has paid off
both artistically and commercially. His extensive output of over fifty films includes by
Nicolas Roeg’s BAD TIMING, EUREKA and INSIGNIFICANCE; Julien Temple's THE
GREAT ROCK 'N' ROLL SWINDLE; Nagisa Oshima's MERRY CHRISTMAS MR.
LAWRENCE; and THE HIT directed by Stephen Frears.
In 1986, Thomas produced Bernardo Bertolucci’s epic THE LAST EMPEROR, an
independently financed project that was three years in the making. A commercial and critical
triumph, the film swept the board at the 1987 Academy Awards, garnering an outstanding
nine Oscars including ‘Best Picture.’
Thomas has since completed many films including Karel Reisz’s film of Arthur
Miller’s screenplay EVERYBODY WINS; and David Cronenberg’s films adaptation of
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William S. Burroughs’ Naked Lunch; J.G. Ballard’s CRASH; and Bertolucci’s film
adaptation of Paul Bowles’ The Sheltering Sky, LITTLE BUDDHA, and STEALING
BEAUTY. In 1997 Thomas directed ALL THE LITTLE ANIMALS, starring John Hurt and
Christian Bale, which screened in Official Selection at Cannes.
Recent credits include Jonathan Glazer’s SEXY BEAST, Takeshi Kitano’s
BROTHER, Khyentse Norbu’s THE CUP, Phillip Noyce’s RABBIT-PROOF FENCE, David
Mackenzie’s film of Alexander Trocchi’s YOUNG ADAM, Bernardo Bertolucci’s THE
DREAMERS, Wim Wenders’ DON’T COME KNOCKING, Richard Linklater’s FAST
FOOD NATION, and Jon Amiel’s CREATION, which opened the 2009 Toronto Film
Festival.
In 2010, Thomas premiered Jerzy Skolimowski’s ESSENTIAL KILLING and
Takashi Miike’s 13 ASSASSINS at the Venice Film Festival, both of which he executiveproduced. ESSENTIAL KILLING went on to win the Jury Prize and two others, an
unprecedented triple win. He also executive-produced Wim Wenders’ 3D dance film PINA,
which premiered at the 2011 Berlinale. That year, Thomas also produced Takashi Miike’s
HARA-KIRI: DEATH OF A SAMURAI, the first 3D film to show ‘In Competition’ at
Cannes.
Thomas’ recent releases include David Cronenberg’s A DANGEROUS METHOD,
written by Christopher Hampton and starring Keira Knightley, Viggo Mortensen, Michael
Fassbender and Vincent Cassel, which premiered at the Venice, Toronto, New York and
London Film Festivals in 2011. At Cannes 2012, Thomas premiered Bernardo Bertolucci’s IO
E TE.
At Toronto 2012, Thomas launched the epic adventure KON-TIKI directed by
Joachim Roenning and Espen Sandberg, which was nominated for a Golden Globe and
Academy Award for Best Foreign Film. At Cannes 2013, Thomas premiered Jim Jarmusch’s
ONLY LOVERS LEFT ALIVE ‘In Competition,’ starring Tilda Swinton, Tom Hiddleston,
Mia Wasikowska and John Hurt, along with screening THE LAST EMPEROR in a 3D
conversion as part of Cannes Classics. His development slate includes the British film YOU
REALLY GOT ME, the story of rock band The Kinks from director Julien Temple.
Thomas produces films through Recorded Picture Company, and remains principal of
its respected international sales company HanWay Films. He was Chairman of the British
Film Institute from 1992 until 1997, and was made a Life Fellow in 2000. Thomas has been
the recipient of many awards throughout the world, including the Michael Balcon Award for
Outstanding British Contribution to Cinema from BAFTA, and Outstanding European
Achievement in World Cinema at the European Film Awards. He has been President of the
Jury at the Tokyo, San Sebastian, Berlin and Cannes film festivals (Un Certain Regard), and
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has also served on the main Jury at Cannes. Thomas was appointed Commander of the Order
of the British Empire (CBE) in the 2009 New Year Honours.
NICK O’HAGAN (Co-Produced by) is a producer, line producer, and executive at
Giant Films. During his over two decade long career, O’Hagan has had the opportunity to
work with some of the most notable directors in the film industry such as Dustin Hoffman,
Michael Radford, and Terry Gilliam.
His film credits include THE TURNAROUND starring Clive Owen; SOLITAIRE
FOR TWO, directed by Gary Sinyor; Brian Gilbert’s WILDE, starring Stephen Fry, Jude
Law, Michael Sheen, and Vanessa Redgrave; David Evan’s FEVER PITCH, based on the
novel by Nick Hornby; Michael Radford’s B. MONKEY; Jake Scott’s PLUNKET AND
MCQUEEN, starring Jonny Lee Miller; Terry Gilliam’s TIDELAND, starring Jodelle
Ferland, Janet McTeer, Jennifer Tilly, and Jeff Bridges; Paris Leonti’s DAYLIGHT
ROBBERY; Gerald McMorrow’s FRANKLYN, starring Eva Green; Jon Amiel’s
CREATION, starring Paul Bettany; Adrian Vitoria’s AGE OF HEROES, starring Sean Bean,
Izabella Miko, and James D’Arcy; and Dustin Hoffman’s QUARTET, which was one of the
National Board of Review’s top ten films of the year for 2012.
Internationally lauded cinematographer GILES NUTTGENS (Director of
Photography) shot the recently released WHAT MAISIE KNEW for his long-time
collaborators, directing team Scott McGehee and David Siegel. The film stars Julianne Moore
and Alexander Skarsgard. For another directing collaborator, Deepa Mehta, Nuttgens lensed
MIDNIGHT’S CHILDREN, based on the bestselling Salman Rushdie novel. Both features
premiered at the 2012 Toronto International Film Festival.
Nuttgens’ extensive feature resume also includes Mehta’s elemental triology FIRE,
EARTH and WATER. WATER received a 2007 Oscar nomination for Best Foreign
Language Film and earned Nuttgens the 2006 GENIE® Award for Best Cinematography.
In 2007, Nuttgens’ “sigh-inducingly evocative” (The Telegraph) cinematography for
MISTER FOE earned ‘Best Cinematography’ awards at the Copenhagen Film Festival and
British Film Festival in Dinard, as well as a ‘Best Cinematography’ nomination at the 2008
Evening Standard Awards. Often building strong relationships with directors, Nuttgens first
worked with McGehee and Siegel on THE DEEP END, a film which earned Nuttgens the
2001 Sundance Film Festival Award for ‘Best Cinematography’ and a nomination in the same
category at the 2002 Independent Spirit Awards.
Nuttgens recently completed photography on the upcoming features YOUNG ONES,
starring Elle Fanning and Michael Shannon directed by Jake Paltrow, as well as Stuart
Murdoch’s GOD HELP THE GIRL.
23
LAURENCE DORMAN (Production Designer) started out as an art director on
pop videos in the mid-1980s before graduating from the National Film and Television School
with an Oscar-winning film called THIS BOYS STORY directed by John Roberts. He
immediately started work as production designer on THE YOUNG AMERICANS starring
Harvey Keitel and produced by Working Title, directed by fellow film school grad Danny
Cannon.
Dorman has subsequently worked on a mixture of film and TV productions, ranging
from authentically period and atmospheric movies like David Mackenzie’s YOUNG
ADAM and John Amiel’s CREATION to the bizarre and fantastic FRANKLYN directed by
Gerald McMorrow. He has extensive experience in studio and location builds and has
worked in Africa, India, the U.S.A. and Europe as well as the UK.
Dorman designed the sets and locations for Richard Linklater’s ME AND ORSON
WELLES, a film set in 1930s New York but filmed entirely in the UK.
Film Editor DANA CONGDON (Edited by) cut her teeth as Assistant Editor on
Martin Scorsese’s GOODFELLAS and THE LAST TEMPTATION OF CHRIST; Francis
Ford Coppola’s GODFATHER III; Andy Bergman’s THE FRESHMAN and COFFEE &
CIGARETTES; and MYSTERY TRAIN, directed by Jim Jarmusch.
As Editor, Congdon has worked with director Scott Kalvert on THE BASKETBALL
DIARIES; winner of Best Screenplay at Sundance Film Festival LIVING IN OBLIVION,
directed by Tom DiCillo; and IN THE SOUP directed by Alexandre Rockwell winner of the
Grand Jury Award at Sundance Film Festival.
Other notable credits include Sarah Siegel-Magness’ CRAZY KIND OF LOVE;
Vicky Jenson’s POST GRAD; Tony Goldwyn’s SOMEONE LIKE YOU and A WALK ON
THE MOON; DIGGING TO CHINA directed by Timothy Hutton; TWILIGHT OF THE
GOLDS directed by Ross Marks; INVASION OF PRIVACY directed by Tony Hickox; and
TRIPLE BOGEY ON A PAR FIVE HOLE directed by Amos Poe.
British film composer ROLFE KENT (Music Composed by) has scored nearly 50
films, including Academy Award nominated UP IN THE AIR (for which he won a Golden
Satellite® award), SIDEWAYS (for which he was nominated for a Golden Globe and Critics
Choice® Award in 2007), YOUNG ADULT, CHARLIE ST. CLOUD, ABOUT SCHMIDT,
ELECTION, MEAN GIRLS, LEGALLY BLONDE and LEGALLY BLONDE II,
WEDDING CRASHERS, THE MATADOR, REIGN OVER ME, THE HUNTING PARTY,
THE GHOSTS OF GIRLFRIENDS PAST, and THANK YOU FOR SMOKING. Kent also
24
composed the Emmy-nominated main title theme for the Showtime hit, “Dexter.” In 2012, he
received the Richard Kirk award for career achievement.
JULIAN DAY (Costumer Designer) started out with a degree in Theatre Studies,
graduating from Birmingham University. He then went on to work at Morris Angels, the
original ‘Angels the Costumiers’ for a year which formed his initial interest in Costume
Design.
Julian started designing his own features at the turn of the century, including MY
SUMMER OF LOVE, LAST RESORT and CONTROL. Recent highlights include
BRIGHTON ROCK, SALMON FISHING IN THE YEMEN, BERBERIAN SOUND
STUDIO, and NOWHERE BOY.
He is in much demand now because of his eclectic & unusual style. He has a
keen interest in archived and vintage French work wear and American hunting apparel.
Forthcoming projects this year include Ron Howard’s RUSH and the much
anticipated DIANA.
He also designed the recently released ALAN PARTRIDGE: ALPHA PAPA. Plus
he’s working with Ron Howard again on IN THE HEART OF THE SEA, which is shooting
now.
25
CAST IN ORDER OF APPEARANCE
DOM HEMINGWAY
DOM’S PRISON BUDDY
JUDE LAW
LUCA FRANZONI
PRISON GUARD
RICHARD GRAHAM
MAN OUTSIDE PUB
GEORGE SWEENEY
MAN OUTSIDE PUB 2
SECURITY GUARD
SANDY BUTTERFIELD
ANDREW
DICKIE BLACK
BARMAN
GIRLS AT BAR
MARK WINGETT
DAVID BAUCKHAM
NICK RAGGETT
SIMEON MOORE
RICHARD E. GRANT
GLENN HIRST
KAITANA TAYLOR
COLETTE MORROW
BARMAID
LADY ON TRAIN
JEANIE GOLD
BRENDA PALMER
“LARDO”
PHILIPPE PIERRARD
PAOLINA
MADALINA GHENEA
MR. FONTAINE
MELODY
DEMIÁN BICHIR
KERRY CONDON
BLOND PARTY GIRL
CLAIRE VIVILLE
EVELYN
EMILIA CLARKE
HUGH
JAWARA
SENEGALESE FRIENDS
NATHAN STEWART-JARRETT
JORDAN NASH
FAMS CAMARA
OMAR JALLOW
EVELYN’S BAND
AILEEN MCNALLY
MOSES ELLIOTT
ROBB SKIPPER
JOEL HODGE
LESTOR
LESTOR’S GOONS
JUMAYN HUNTER
BRAHIM SHALA
EARNESTO GUTHRIE
LESTOR’S GIRL
PING PONG GIRL
SAFE SECURITY GUARDS
26
SAMIO OLOWU
HAYLEY COPPIN
SCOTT GOODALL
RAY SLOANE
PAOLINA’S DATE
2ND ASSISTANT DIRECTOR
RD
3
GRANT RUSSELL
LYNSEY MUIR
ASSISTANT DIRECTOR
JAMIE HAMER
PRODUCTION MANAGER
PHILIPPA NAUGHTEN
1ST ASSISTANT DIRECTOR
NEIL WALLACE
PRODUCTION ACCOUNTANT
FREYA PINSENT
LOCATION MANAGER
AURELIA THOMAS
COSTUME SUPERVISOR
SHAIDA DAY
SCRIPT SUPERVISOR
BEVERLEY WINSTON
MUSIC SUPERVISORS
IAN NEIL
JOHN COYNE
SUPERVISING SOUND EDITOR
PAUL CARTER
DIALOGUE SUPERVISOR
GAVIN ROSE
POST PRODUCTION SUPERVISOR
MICHELLE CAMP
RE-RECORDING MIXERS
BRENDAN NICHOLSON
PAUL CARTER
ASSOCIATE PRODUCER
RICHARD MANSELL
RPC HEAD OF LEGAL & BUSINESS
JUSTIN KELLY
AFFAIRS
RPC BUSINESS AFFAIRS
THOMAS MANN
PRODUCTION COORDINATOR
EMMA MALLETT
ASSISTANT PRODUCTION COORDINATOR
ADAM HUGHES
ASSISTANT TO MR. LAW
BEN JACKSON
PRODUCTION ASSISTANTS
TAMLYN SAMUELS
FRANCESCA CASTELBUONO
27
DAVID YOUNG
ASSISTANT ACCOUNTANT
JAMES BROOM
FLOOR RUNNERS
MARK ROSSI
CHLOE GALLOY
STAND-IN FOR MR. LAW
GEORGE BUCHANAN
STAND-INS
TIMO WILLMAN
JAMIE GRANT
1ST ASSISTANT EDITORS
MAXX GILLMAN
EOIN McGUIRK
THY QUACH
EDITORIAL INTERN
ADAM COLLINS
CASTING ASSOCIATE
THEO PARK
CASTING ASSISTANT
LAUREN EVANS
FOCUS PULLER
ANNA BENBOW
CLAPPER LOADER
JAMES HARRISON
CAMERA TRAINEES
LAURA DINNETT
ROBBIE CAIRNS
VIDEO PLAYBACK OPERATOR
ERIN CURRIE
DIT OPERATOR
MUSTAFA TYEBKHA
STEADICAM
JOHN HEMBROUGH
KEY GRIP
PETE MYSLOWSKI
ASSISTANT GRIP
HENRY STONE
CRANE TECH
MARTIN ELVIN
HEAD TECH
JOHN CRAWFORD
GAFFER
DAVID SINFIELD
BEST BOY
DAVID BRENNAN
ELECTRICIANS
DAN SMITH
AARON KEATING
CHARLIE BELL
SUPERVISING ART DIRECTOR
BILL CRUTCHER
ART DIRECTOR
JONATHAN HOULDING
28
STANDBY ART DIRECTOR
ARWEL EVANS
SET DECORATOR
UTE BERGK
PRODUCTION BUYER
ANTONIA GIBBS
PROPERTY MASTER
CRAIG PRICE
SET DECORATING ASSISTANT
FAYE BRINKWORTH
PROP STOREMAN
TONE GIBBS
DRESSING PROPS
RODDY DOLAN
MIKE SYSON
STANDBY PROPS
ANDY FORREST
KEVIN DAY
STANDBY CARPENTER
SIMON SPARSIS
STANDBY RIGGER
ZAC CROCKETT
ASSISTANT LOCATION MANAGER
DEBORAH NUTT
UNIT MANAGER
THOMAS PHILIP BEAVER
LOCATION ASSISTANT
UMBERTO SCHRAMM
BOOM OPERATOR
HOWARD BEVAN
SOUND ASSISTANT
DASH MASON-MALIK
STANDBY COSTUMIERS
AMY POLLITT
ELLEN CRAWSHAW
WARDROBE ASSISTANT
SOPHIE MONRO-PRUETT
SECURITY GUARD FOR PIAGET
DENIS DJAKOV
KEY MAKE-UP
DAVINA LAMONT
KEY HAIR & MAKE-UP
BEATRIZ MILLAS-HERRERA
CROWD MAKE-UP SUPERVISOR
KATHRYN FA
SPECIAL EFFECTS TEETH
CHRIS LYONS (FANGS FX)
PROSTHETICS
BARRIE GOWER (BGFX)
TATTOO CONSULTANT
KING OF HEARTS LONDON
HAIR & MAKE-UP TRAINEES
SAMANTHA KININMONTH
SIOBHAN MCGRATH
STUNT COORDINATOR
GLENN MARKS
STUNT PERFORMERS
PAUL KENNINGTON
LLOYD BASS
29
ANDY MERCHANT
BILL DAVEY
NELLIE BURROUGHES
UNIT PUBLICIST
IAN THOMSON
STILLS PHOTOGRAPHER
NICK WALL
EPK BEHIND-THE-SCENES PRODUCER
TOM SAVAGE (PMA)
EPK BEHIND-THE-SCENES CAMERAMAN
MATT CONWAY (PMA)
FAYRE DO’S LOCATION CATERERS
CATERING COMPANY
HEAD CHEF
MIKE FIDDOCK
CATERER
BARBARA GALLAGHER
FRENCH UNIT
PRODUCTION SERVICES BY
JAKE PRODUCTIONS SARL
LOCATION MANAGER
XAVIER WAKEFIELD
PRODUCTION COORDINATOR
PADDY REID-DOUGLAS
ACCOUNTANT
LAURENT QUERTIER
PAYROLL ACCOUNTANT
CHRISTOPHE GONIN
ART DIRECTOR
ERIC DUBREIL
SET DECORATOR
CHRISTIAN CALVIERA
STANDBY PROPS
JEAN-PAUL BERNARDI
STANDBY CARPENTER
FABRICE BOVI
CONSTRUCTION BUYER
ROBERTO DICAMILLO
PAINTER
PATRICK MOTTIER
CARPENTER
PIERRE GARAPON
RIGGERS
DIDIER DAVIN
MANUEL PEREZ
DIDIER VEUVAS
CAMERA OPERATOR
ROGER McDONALD
FOCUS PULLER
SOPHIE LEMAIRE
CAMERA TRAINEE
JÉRÔME TRINQUET
STEADICAM
JÉRÔME CARLES
KEY GRIP
DIDIER POUZOL
GRIPS
QUENTIN BOSCHINI
JEAN-MARC LESTRUHAUT
WILLDRIC LIEVIN
30
GAFFER
THIERRY GARCIA
ELECTRICIANS
LAURENT BRISSE
BASTIEN GARCIA
PATRICK ALLARD
OLIVER VALET
STÉPHANE NEGRE
NICOLAS PASTERGUE
GENNY OPERATOR
DAVID VALET
LOCATION ASSISTANT
SÉBASTIEN ORDONEZ
LOCATION TRAINEE
NICOLAS MUSCH
SFX
VALÉRIE ZISSWILLER-URY
CYRIL URY
DIDIER BRULE
GUILLAUME BRULE
AHMED BENFATIMA
FRANÇOIS NATALI
AD TRAINEE
SOUND TRAINEE
DELPHINE MEHOUAS
OFFICE TRAINEE
NADIA DILLON
UNIT NURSE
SANDRINE MISSLAND
UNIT DRIVERS
STÉPHANE GENEST
NICOLAS COUSIN
MEDHI SEKNAJI
RENAUD PIERRE
CHARLES HEIDET
ACTION VEHICLES
PASCAL MARTIN
CATERING FRANCE
RED RADISH
WAYNE BROWN
LOUISE BIRD
CLAIRE WYLDBORE
JACQUIE DONALD
FRENCH HELICOPTER UNIT
AERIAL SERVICES
HELI-AIR MONACO
HELICOPTER PILOT
MICHEL BEAUJARD
TYLER MOUNT SUPPLIER
PROPULSION
TYLER MOUNT TECHNICIAN
JEAN CHESNEAU
ISLE OF MAN UNIT
MOUNTAIN VIEW MEDIA VILLAGE
PAUL MULLINS
NEIL THOMPSON
LOCATION MANAGER
JIM EDGE
SUPERVISING ART DIRECTOR
STEVE CARTER
31
CONSTRUCTION MANAGER
GRAHAM THOMAS
STAND-INS
MATT CORCORAN
LAURA GILL
STANDBY CARPENTER
STEVE DAWSON
STANDBY PAINTER
JERRY OLIVER
RIGGER
CHARLIE DILLON
ELECTRICIAN
GWILYM HOOSEN-OWEN
UNIT NURSE
DOROTHY SEWELL
LOCATIONS TRAINEE
HAYLEY WILSON
PRODUCTION OFFICE TRAINEE
NATASHA TORIN
ASSISTANT DIRECTOR TRAINEE
LAURA JONES
CAMERA TRAINEE
JOHN CRAINE
UNIT DRIVERS
EDDIE BOOTH
MIKE DUCHARS
CRAFT CATERING
RELISH CATERERS
KATHRYN SENTANCE
PING PONG UNIT
SUPERVISOR
JOSHUA THOMAS
DIRECTOR OF PHOTOGRAPHY
MIKE SIMPSON
PRODUCER
OLIVER BARRON
DIGITAL COMPOSITOR
ROBIN PIGOTT
VISUAL EFFECTS BY ONE OF US
VFX SUPERVISORS
DOMINIC PARKER
TOM DEBENHAM
VISUAL EFFECTS EXECUTIVE PRODUCER
RACHAEL PENFOLD
VFX PRODUCER
CHAYA FEINER
DIGITAL COMPOSITORS
ABIGAIL SCOLLAY
JORGE CAÑADA ESCORIHUELA
DIGITAL ARTISTS
MIKE POPE
JEANETTE MONERO
CRISTINA VOZIAN
DIGITAL INTERMEDIATE BY DIRTY LOOKS
COLOURIST
TOM BALKWILL
32
DI PRODUCER
HELLE ABSALONSEN
ONLINE EDITOR
GARETH BISHOP
COMPANY 3 LONDON
DIGITAL FILM TECHNICAL SUPERVISOR
LAURENT TREHERNE
DIGITAL FILM BUREAU
FIORENZA BAGNARIOL
TIMOTHY P. JONES
GORDON PRATT
LAURA PAVONE
DATA WRANGLER
DAN HELME
TITLES
TITLES & CARDS DESIGNED BY
VooDooDoG
TITLES DESIGN
ANDREW WHITE
TITLES PRODUCER
DAVID Z OBADIAH
END ROLLER
DIRTY LOOKS
PINEWOOD POST PRODUCTION
TECHNICAL EXECUTIVE
DARREN WOOLFSON
POST PRODUCTION MANAGER
NIGEL BENNETT
DIGITAL LAB SUPERVISOR
JAMES CORLESS
DATA ARCHIVAL TECHNICIAN
CAROLINA CEDRES
HD MASTERING ENGINEER
JASHESH JHAVERI
ROLF MARTENS
HD MASTERING PRODUCER
THOM BERRYMAN
DIALOGUE EDITOR
MATT DAVIES
SOUND MIX TECHNICIAN
ASHLEY HALLER
FOLEY SUPERVISOR
GLEN GATHARD
FOLEY MIXER
LUKE BROWN
FOLEY ARTISTS
JASON SWANSCOTT
PETE BURGIS
PETE HANSON
FOLEY EDITOR
SOUND COORDINATORS
ALISON VINER
REBECCA BUDDS
SHEPPERTON STUDIOS
RE-RECORDED AT
33
CROWD VOICES ARRANGED BY
AUDIO KATZ
FOR RECORDED PICTURE COMPANY
CHIEF FINANCIAL OFFICER
DAVID STEAD
ASSISTANT TO JEREMY THOMAS
KARIN PADGHAM
DEVELOPMENT ASSISTANT
JEREMY PARKINSON
PRODUCTION ASSISTANT
YASU ASAMI
RPC ACCOUNTS
STUART COOK
FOR BBC FILMS
PRODUCTION EXECUTIVE
MICHAEL WOOD
HEAD OF LEGAL & BUSINESS AFFAIRS
ZOE BROWN
LEGAL & BUSINESS AFFAIRS MANAGER
LIVY SANDLER
DEVELOPMENT EXECUTIVE
ED WETHERED
MARKETING EXECUTIVE
JACQUI BARR
LEGAL & PRODUCTION ASSISTANT
RUTH SANDERS
FOR PINEWOOD
PRODUCTION EXECUTIVES
NICKY EARNSHAW
JULIA HILLSDON
SUDIE SMYTH
LEGAL COUNSEL
MAGDALENA DUKE
HEAD OF GROUP SALES
NOEL TOVEY
GROUP FACILITIES MANAGER
CAROLYN ARNOLD
FOR PINEWOOD PICTURES
GEMMA SPECTOR
GRAHAM SYLVESTER
LEGAL ADVISOR TO PINEWOOD
MICHAEL MAXTONE-SMITH
OF REED SMITH LLP
FOR ISLE OF MAN FILM
HILARY DUGDALE
MIKE REANEY
FOR GASWORKS
EMMA LIGHTBODY
34
FOR ARLBERG PRODUCTIONS
PRODUCTION EXECUTIVES
STEPHEN FUSS
CHARLES AUTY
TED CAWREY
LESLEY WISE
JACQUELINE HURT
NIKKI PANTGES
OLSWANG LLP
ARLBERG PRODUCTIONS LIMITED
LEGAL ADVISORS TO ARLBERG
PRODUCTIONS
PRODUCED BY
WORLDWIDE SALES BY
HANWAY FILMS
THORSTEN SCHUMACHER
JAN SPIELHOFF
JONATHAN LYNCH-STAUNTON
CHIARA GELARDIN
MATTHEW BAKER
CLAIRE TAYLOR
JILL ROSEN
JOANNE MICHAEL
AZIANNIDA SAMINGAN
MUSIC
MUSIC EDITORS
NICK SOUTH
JULIE PIERCE
YANN McCULLOUGH
ASSISTANT MUSIC EDITOR
ALISTAIR SOUTH
MIXED AT AIR STUDIOS BY
NICK WOLLAGE
ASSISTANT ENGINEER
ADAM MILLER
LIVE MUSIC CONSULTANT
RUPERT HOLLIER
“The Stand”
(MacDonald/Peters/Sharp)
Published by Lovolar Music (BMI) administered by
Bike Music (BMI) c/o The Bicycle Music Company
Administered in the UK by Bucks Music Group
Limited
Performed by The Alarm
Licensed courtesy of EMI Records Ltd
“I Want Everything”
(Coyne/Coyne/Gibson/Dollimore/Mazur)
Published by Copyright Control
Performed by the Godfathers
Licensed courtesy of The Godfathers
“Rocks”
(Gillespie/Young/Innes)
Published by EMI Music Publishing Ltd © 1993
“Hemingway Clubbing, High Clubbing,
A Cat's Pant and The Club”
(Chad Hobson)
35
and Complete Music Ltd
Performed by Primal Scream
Licensed courtesy of Sony Music Entertainment UK
and Warner Bros. Records
By arrangement with Warner Music Group Film &
TV licensing
Published by Atlantic Screen Composers Ltd. ©
2013
Produced, arranged and performed by Chad
Hobson
Licensed courtesy of Atlantic Screen Composers
Ltd.
“Fire and Rain”
(James Taylor)
Published by EMI Music Publishing Ltd. © 1969
“Toujours"
(Didier Wampas)
Arranged by Didier Wampas & Bikini Machine
Published by AT Musiques
Performed by Didier Wampas & Bikini Machine
℗ 2013 Atmosphériques
Licensed courtesy of Atmosphériques
“O Mio Babbino Caro”
(Puccini/Forzano)
Published by G. Ricordi & Co. London Ltd.
Performed by Alexia Voulgaridou
Licensed courtesy of Sony Music Entertainment
Germany GmbH
“In A Big Country”
(Adamson/Brzezicki/Butler/Watson)
Published by EMI 10 Music Ltd. © 1980
Performed by Big Country
Courtesy of Mercury Records (London) Ltd
Under license from Universal Music Operations Ltd
“Debaser”
(Thompson)
Published by Universal / MCA Music Ltd
Performed by Pixies
Licensed courtesy of 4AD Ltd (P) 1997
By arrangement with Beggars Group Media Limited
“La Fanette”
(Jacques Brel)
Published by Editions Gérard Meys
Performed by Shawn Elliott & Wolfgang Knittel
Licensed courtesy of Sony Music Entertainment
Inc
“Ace Of Spades”
(Clarke/Kilmister/Taylor)
Published by EMI Music Publishing Ltd.
Motor Music Ltd. © 1980
Performed by Motörhead
Licensed courtesy of EMI Entertainment World
Inc
“Fisherman’s Blues”
(Scott/Wickham)
Published by Dizzy Heights Music Publishing Ltd
and Blue Mountain Music
All rights on behalf of Dizzy Heights Music
Publishing
Administered by Warner/Chappell Music Ltd
Performed by Emilia Clarke
Produced and arranged by Tony Gibber
Licensed courtesy of Torchlight Music
“Comin’ Back”
(Greenwood)
Published by EMI Music Publishing Ltd. © 2001
Performed by Citizen Cope
Courtesy of DreamWorks (US)
Under license from Universal Music Operations
Ltd
Music Score produced and published by Atlantic Screen Composers Limited
Soundtrack album available on www.buythesoundtrack.com
LABORATORY
DELUXE
36
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37
STOCK FOOTAGE COURTESY OF
BBC MOTION GALLERY, GETTY IMAGES
ERICK MORILLO & MARQUEE LAS VEGAS
SPECIAL THANKS TO
ROSALIE SWEDLIN
JENNI KONNER
LENA DUNHAM
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SUE LATIMER
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THANKS TO
CLIVE MCGREAL
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GALERIE FERRERO, NICE,
GARETH MORGAN
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THANKS TO THE FOLLOWING FILMING
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HAIR AND MAKE-UP THANKS TO
BAMBOU RESTAURANT REPRESENTED BY
38
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VILLE DE GRIMAUD, VILLE DE LE-PLANDE-LA-TOUR,
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COSTUME THANKS TO
WILLIAM AND GEORGE TAILORS,
GABICCI,
FRED PERRY, HARRY’S OF LONDON,
JEFFERY WEST, AGENT
PROVOCATEUR,
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OF FENDI
FILMED ON LOCATION IN THE UNITED KINGDOM, FRANCE, MOUNTAIN VIEW
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OWNERSHIP OF THIS MOTION PICTURE IS PROTECTED BY COPYRIGHT LAWS
AND OTHER
APPLICABLE LAWS OF THE US AND OTHER COUNTRIES AND ANY
UNAUTHORISED DUPLICATION, DISTRIBUTION OR EXHIBITION OF THIS
MOTION PICTURE COULD RESULT IN CRIMINAL PROSECUTION AS WELL AS
CIVIL LIABILITY.
39
Approved No. 48573
TWENTIETH CENTURY FOX FILM CORPORATION DID NOT RECEIVE ANY
PAYMENT OR OTHER CONSIDERATION, OR ENTER INTO ANY AGREEMENT, FOR
THE DEPICTION OF TOBACCO PRODUCTS IN THE FILM.
© 2013 TWENTIETH CENTURY FOX FILM CORPORATION.
©2013 TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS
RESERVED. PROPERTY OF FOX. PERMISSION IS GRANTED TO NEWSPAPERS
AND PERIODICALS TO REPRODUCE THIS TEXT IN ARTICLES PUBLICIZING THE
DISTRIBUTION OF THE MOTION PICTURE. ALL OTHER USE IS STRICTLY
PROHIBITED, INCLUDING SALE, DUPLICATION, OR OTHER TRANSFER OF THIS
MATERIAL. THIS PRESS KIT, IN WHOLE OR IN PART, MUST NOT BE LEASED,
SOLD, OR GIVEN AWAY.
40