GIRL WITH A PEARL EARRING
A film by Peter Webber
Production Notes
Running Time: 99 Min.
DISTRIBUTION:
Monopole Pathé Films AG
Neugasse 6, Postfach
8031 Zürich
Tél. 01 277 70 83
Fax 01 277 70 89
miriam.nussbaumer@pathefilms.ch
PRINCIPAL CAST
Vermeer
Griet
Van Ruijven
Maria Thins
Pieter
Catharina
Tanneke
Cornelia
Griet’s Father
Griet’s Mother
Maertge
Colin Firth
Scarlett Johansson
Tom Wilkinson
Judy Parfitt
Cillian Murphy
Essie Davis
Joanna Scanlan
Alakina Mann
Chris McHallem
Gabrielle Reidy
Anna Popplewell
FILMMAKERS
Director
Producers
Screenplay
Based on the novel by
Co-Producer
Director of Photography
Production Designer
Editor
Make-Up & Hair Designer
Costume Designer
Composer
Casting Director
Line Producer
Associate Producer
Peter Webber
Andy Paterson
Anand Tucker
Olivia Hetreed
Tracy Chevalier
Jimmy de Brabant
Eduardo Serra AFC, ASC
Ben van Os
Kate Evans
Jenny Shircore
Dien van Straalen
Alexandre Desplat
Leo Davis
Guy Tannahill
Anna Campeau
INTRODUCTION
GIRL WITH A PEARL EARRING was adapted by screenwriter Olivia Hetreed
from the much-loved and best-selling novel by Tracy Chevalier. The film stars
Colin Firth as Vermeer, Scarlett Johansson as Griet and Tom Wilkinson as
van Ruijven and marks the feature film debut of director Peter Webber. Andy
Paterson (Hilary and Jackie, Restoration) and Anand Tucker (director of Hilary
and Jackie) produce for Archer Street and Inside Track. Jimmy de Brabant is
co-producer for Luxembourg’s Delux Productions.
GIRL WITH A PEARL EARRING unravels the mystery behind one of Dutch
Master Johannes Vermeer’s greatest and most enigmatic paintings.
Seventeen year-old Griet (Johansson) is forced by family tragedy to become a
maid for the Vermeer family. As intimacy grows between master and servant,
disruption and jealousy spread within the ordered household and beyond,
fuelling a scandal which threatens to ruin them all.
Colin Firth has appeared in over forty films including Bridget Jones’s Diary,
Shakespeare in Love, The English Patient, Valmont and Pride and Prejudice.
Upcoming, he will be seen opposite Hugh Grant, Emma Thompson and Liam
Neeson in Richard Curtis’s romantic comedy Love Actually. He recently
wrapped production in the psychological thriller Trauma opposite Mena Suvari
and is currently in production on the highly anticipated sequel to Bridget
Jones’s Diary.
Scarlett Johansson is one of America’s most exciting new actresses. Cast by
Robert Redford in The Horse Whisperer at the age of 12, she went on to star
in Ghost World and The Man Who Wasn’t There. She stars opposite Bill
Murray in Sofia Coppola’s upcoming Lost In Translation. The strong
supporting cast includes Oscar ® nominee Tom Wilkinson (In the Bedroom),
Judy Parfitt (ER), Cillian Murphy (28 Days Later) and Alakina Mann (The
Others).
Peter Webber recently directed two critically acclaimed television dramas,
Men Only and Stretford Wives. Producers Andy Paterson and Anand Tucker
have collaborated with Webber for many years.
The prestigious technical crew includes Oscar ® nominated cinematographer
Eduardo Serra (The Wings of the Dove), production designer Ben van Os
(Orlando) and Oscar ® winning Hair & Make-up Designer Jenny Shircore
(Elizabeth).
Tracy Chevalier’s acclaimed novel Girl With A Pearl Earring has sold over two
million copies world-wide since it was first published in 1999.
GIRL WITH A PEARL EARRING is co-financed by Pathé Pictures with UK
Film Council. Pathé Distribution will distribute in the UK, France, Benelux and
Switzerland, with Lions Gate distributing in North America. International Sales
are being handled by Pathe International U.K.
SYNOPSIS
Delft, Holland ,1665. After her father is blinded in a kiln explosion, seventeen
year old Griet must work to support her family. She becomes a maid in the
house of Johannes Vermeer and gradually attracts the master painter's
attention. Though worlds apart in upbringing, education and social standing,
Vermeer recognises Griet’s intuitive understanding of colour and light and
slowly draws her into the mysterious world of his paintings.
Vermeer is a perfectionist, often taking months to finish a painting. His
shrewd mother-in-law, Maria Thins, struggles to maintain the family’s lavish
lifestyle on the income from his painstakingly meagre output. Seeing that Griet
inspires Vermeer, she takes the dangerous decision to allow their clandestine
relationship to develop.
Plunged into a chaotic Catholic household run by Vermeer's volatile wife
Catharina, surrounded by an ever-increasing brood of children, Griet is
increasingly at risk of exposure or worse. Twelve-year-old Cornelia, a
mischievous girl who sees more than she should, quickly grows jealous and
suspicious of Griet and is determined to cause trouble.
Alone and unprotected, Griet also contends with the attentions of Pieter, a
local butcher boy, and Vermeer's patron, the wealthy and lascivious Master
van Ruijven, who is frustrated that his money does not buy him control over
the artist. While Griet falls increasingly under Vermeer’s spell, she cannot be
sure of his feelings for her.
The Machiavellian van Ruijven, sensing the intimacy between master and
maid, gleefully contrives a commission for Vermeer to paint Griet alone. The
result will be one of the greatest paintings ever created, but at what cost.
GIRL WITH A PEARL EARRING
PRODUCTION STORY
From Page to Screen
The Inspiration
The Director – Peter Webber
Griet – Scarlett Johansson
Vermeer – Colin Firth
Pieter – Cillian Murphy
Re-creating Vermeer’s World – Design & Cinematography
In Conclusion…..
From Page to Screen
Producer Andy Paterson and his wife, screenwriter Olivia Hetreed, read Girl
With A Pearl Earring in manuscript a few months before its initial publication.
“It was a rare treat. I read it in one sitting, almost without breathing” says
Hetreed. “I fell in love with Griet; her quiet certainty, her determination to be
free in a world where that was almost impossible for a girl from her
background” adds Paterson. “The domestic setting is deceptive. I saw it as a
cinematic thriller from the start. And I loved the way Tracy had taken the few
known facts about Vermeer and created a perfect story about the girl who
inspired the painting.”
Paterson and his producing partner Anand Tucker (director of Archer Street’s
Oscar ® nominated Hilary and Jackie) set about persuading author Tracy
Chevalier to sell them the film rights. Though no-one could have predicted
what a world wide success it was about to become, there were already other
producers interested. “They were a good double act” Chevalier recalls, “They
convinced me they would be true to the spirit of the book.”
“Tracy was concerned that a film might turn out to be a Hollywood
melodrama”, Paterson continues, “but we were able to assure her that we
wanted to capture the story she had written. And specifically that Griet and
Vermeer would not end up in carnal bliss - we knew the erotic power of the
story lay in the fact that there could be no consummation.”
Hetreed worked with the producers on a treatment for the film. “The book is so
visual, so cinematic, a story all about seeing and painting, appearances and
reality, yet the voice of the novel is in Griet’s head,” says Hetreed. “I didn’t
want to use voiceover; it felt too modern, too self-conscious, so the challenge
was to find a different way to bring that inner voice to the screen.” Hetreed
and Tracy Chevalier got on well from the start. “We became electronic penpals” says Hetreed. “For me Tracy is the ideal author; sharing research,
positive about the transformation wrought on her work and yet able to step
back and allow me a free hand.” For Chevalier, “Olivia understood it all so
well and was able to develop themes further than I had taken them. She did
some things I wish I had done myself in the novel.” The relationship became
so strong that during the film’s post-production the two travelled to the Banff
Television Festival to present a Master class on adaptation. Both writers felt
as though they had been “inside each other’s heads”.
The Inspiration
The painting, Girl With A Pearl Earring, hangs permanently in the Mauritshuis
in The Hague in Holland. It is believed to have been painted in 1665/6, but
the true identity of its subject is unknown. Tracy Chevalier had a poster of it
on her bedroom wall since she was nineteen. “I was lying in bed one morning,
contemplating the girl's face, when suddenly I thought, ‘What did Vermeer do
to her to make her look like that, happy and sad at the same time?’ Within
three days I had the whole story worked out. It was effortless; I could see it all
in her face. Vermeer had done all my work for me.”
Says Paterson, “The story Tracy created perfectly fits the few known facts of
Vermeer’s world; his family and financial woes, his dependence on a patron, a
fascination with the camera obscura. A lovely example of how she used her
research is the sequence where Griet moves the chair. X-Rays reveal that
there was indeed a chair in the painting Woman With A Water Jug, but
Vermeer painted it out. Tracy took that idea and used it to drive Griet’s
character and build her relationship with Vermeer. So the novel is a fantasy,
but it feels so authentic. I have had conversations with heavyweight art
experts who now talk of Griet as if she really existed - that’s the ultimate
tribute to Tracy’s work. When we approached the Mauritshuis, the owners of
the painting, they were supportive of the project, and of course thrilled that in
Scarlett we had an actress who embodied the girl in the painting.”
The Director
The producers asked Peter Webber to direct the film. Paterson explains that
“although this is Peter’s feature film debut, we had already worked with him
for several years, first as an editor (he edited Anand Tucker’s first drama
Saint-Ex) and then as a documentary director – covering a diverse range of
subjects from Crash Test Dummies to Wagner.” His first dramas included the
controversial Men Only for Channel Four, charting a five-a-side football team’s
decline into debauchery and sexual violence. “Peter was always going to
make movies” says Paterson. “His knowledge of cinema is enviable, and it
took no time at all for actors of the calibre of Colin, Scarlett and Tom
Wilkinson to decide they wanted to work with him. Peter, Olivia and I all
started out in the cutting room and we share a fascination with the nature of
story-telling on film.“
For Webber, who had studied art history and was already fascinated by
Vermeer, the story has the essential elements for drama – money, sex and
power. He says, “Vermeer lived in a household full of noise and chaos. He
was under huge financial pressure to paint more and faster, to feed his family.
Yet his paintings achieve such tranquillity. I was thrilled by how Tracy’s story
reflected his work, how the intimate, the understated, somehow becomes
epic. Griet’s predicament is heart-breaking. The repressed romantic
obsession that builds between Griet and Vermeer inspires him to paint her –
but the perfection of that painting will lead to her downfall. She knows he will
be ruthless, understands that their relationship must be sacrificed if the choice
is between her and a truly great work. That understanding is, after all, what
drew him to her in the first place. The legacy of her time with Vermeer is one
of the greatest pictures ever painted.”
Griet – Scarlett Johansson
Casting the role of Griet, a seventeen year old girl from a sheltered home in
17th Century Holland was always going to be a challenge. Says Paterson, “it
was clear this was an extraordinary role for a young girl and we had a huge
amount of interest. The first time we met Scarlett she was a New York City
teenager on her way to a basketball game. Second time round, she had
become Griet.”
“Scarlett has been working in this business longer than I have,” says Webber,
“and although she is young in years she has an old soul. She has a force of
character and a face that you don’t often see on screen these days – she is
hypnotic to watch, like a silent movie star.”
Scarlett Johansson found the script immediately absorbing and beautifully
written. She explains, “It is so rare that you read anything that is worth the
time it takes to get through it. This stood out – it was glinting. Every actor
dreams of the chance to play a role like Griet – a character with such
repression that you are using your face and not your words to convey
emotions.” Johansson took the opportunity while filming in Delft to visit the
Mauritshuis Museum to see the real painting, Girl With A Pearl Earring. “She
is strange and intriguing. I felt she was just about to do something which
would tell us more about her and her life,” she says. Playing Griet, Johansson
was able to empathise with her hardships. “A servant’s life was hard labour,
and Griet was also trying to cope with new raw emotions. We first see her at
home, which she doesn’t want to leave, but she has to and is immediately out
of her element. She has no privacy – Vermeer’s wife Catharina is vicious and
unrelenting; the other maid is resentful; Maria Thins is always watching her;
and Vermeer lurks in his studio, refusing to engage with the rest of the
household. At the same time her relationship with her home is changing – she
is torn between two lives.” But Vermeer senses a connection with Griet. He
realises she sees physical things the way he does, and gradually allows her to
become involved in his work. “Their relationship becomes tender, through
their mutual involvement in his paintings,” explains Johansson. “At the same
time she is becoming involved with Pieter, the son of the market butcher. He
is a tradesman, goes to Church every Sunday and offers an enticingly simple
way of life that is familiar to her. He offers a mutual courtship that she could
so easily slip into, if she had not met Vermeer. With the painter she tastes a
kind of passion that is beyond her comprehension, and casts a shadow on her
previous life.”
Johansson hopes that Girl With a Pearl Earring will send the cinema audience
away with some kind of bittersweet feeling of hope, while recognising that
some of the most romantic feelings you have in your life come to nothing. She
says, “The raw emotion of a girl who is in love and not able to express it is
universal, because very often you can’t have what you love.”
Vermeer – Colin Firth
Colin Firth had not read the book when Paterson and Webber approached
him to play the artist Johannes Vermeer, but read the script and quickly
accepted the role. He says, “It felt refreshing. It takes itself seriously, which is
not a popular position in most films – it is safer to have your tongue in cheek
these days.” He regarded the role as an acting challenge. “Not a lot of big
things happen on the surface; the action is minimal, finely focussed drama,
which must be made interesting by the characters.” He adds. ”This has a
parallel with the work of Vermeer.”
Firth was intrigued by the man himself; “Not a lot is known about him. He
painted what modern critics could regard as clichés - images reflecting the
conventions of the time. But there is an even-handed moral kindness in those
paintings, showing humanity in equal terms to one another, whether milk-maid
or mistress. Of the 35 paintings known today, about 20 were painted in the
same corner of the same room. He lived in a lively household – eleven of his
children survived, but he painted serenity in his first floor studio. In 17 th
Century Delft artists were craftsmen who took their civic duties seriously –
they served apprenticeships, and had a union to protect their economic rights.
Long before the cult of the tortured rebellious artist took over, it was perfectly
possible to be a good citizen and husband and also be a great artist.”
In the film, Vermeer’s studio is a quiet retreat from a noisy household. Says
Firth, “He is resigned to being surrounded by people who don’t understand
what he does, and keeps his world separate. When he does allow someone in
for the first time he is intrigued that Griet has an eye for colour and
composition and forms a mysterious bond across a vast barrier of class and
age. He is sometimes pleased with what she has done, and sometimes
rejects it. He attempts to distance himself from intimacy – it is too complicated
for him. He doesn’t allow himself to focus on the foreground of paintings or
feelings for long, and so he doesn’t find the same level of engagement each
time they meet. So the relationship becomes torturous for both of them.”
Firth found Peter Webber keen to explore the effect of different nuances on
scenes. “Where a script is so affected by tone, a change of emphasis can
completely change the direction of a scene.” The actor points out parallels
between filming, and the work of Vermeer. “If you look at x-rays of his
paintings, you can see that he was prepared to begin with one idea and then
throw that away. This can happen on a film set. Working with a crew is a huge
collaborative effort. Everyone arrives in the morning and the challenge of the
day is to give life to the written word, but you have to be prepared to change
the ideas you brought with you that morning, in order to keep the energy and
carry the room. If you are in tune, you can feel that moment. It’s palpable.”
Firth emphasises that the film is not an art lesson. “It’s an exploration of how
powerful a relationship can be – like the intimacy between artist and model. A
painting is unveiled and disrupts a family.”
Pieter – Cillian Murphy
Irish actor Cillian Murphy takes the role of Pieter, the butcher’s son who courts
Griet. “He is a simple soul,” explains Murphy, “and spends much of the film
trying to catch and hold Griet’s attention. He represents the life she would
have expected to have, until she meets Vermeer. An alliance between Pieter
and Griet would be ordinary, whereas one between Vermeer and Griet would
be considered extraordinary. These people are trapped in the lives set out for
them.” Murphy was attracted to the idea of playing the foil to Vermeer’s world,
to show the audience the world that Griet is reacting against. As research he
spent time in a slaughterhouse, learning to hack meat convincingly, and had
to practice carrying an eviscerated pig. “At that time, painting was a craft and
butchery a trade. Although there is a class distinction, mainly because the
painter earns more than the butcher, both are professions, carried out with
passion and belief. Pieter believes in what he does, and he is good at it, so he
is happy with himself, and recognises that Griet may settle for that.” he says.
Girl With A Pearl Earring is Cillian Murphy’s first period film and he praises
Peter Webber’s approach to the genre. “He sees right to the core of the piece,
and deals with the emotions and contradictions of the characters. I had been
worried that I would get bogged down in historical details, but the production’s
commitment to getting things right was a huge help to providing the feeling of
the period, so that you can concentrate on the role. The script is so complex
and deeply layered - a page turner where you can’t guess what happens to
her.”
Re-creating Vermeer’s World – Design and Cinematography
“The scene is a familiar room, nearly always the same, its unseen door is
closed to the restless movement of the household, the window open to the
light. Here a domestic world is refined to purity,”
Lawrence Gowing: “Vermeer.”
“The look of the period is, of course, very well documented in the
extraordinary paintings of the Golden Age of 17th century Holland” says
production designer Ben van Os. “We conceived Vermeer’s house to give us
that sense of frames within frames so familiar from the paintings; a
passageway leading from the canal side into the courtyard and the ground
floor rooms connected by open doorways, leading the eye through the house
to give a feeling of space – and lack of privacy. Griet should always feel
watched.”
“Peter (Webber) and I also felt that many of the paintings gave an idealised
view. We took the decision to introduce a gritty reality, particularly to the
exterior scenes – filling the streets with livestock and mud.”
The interiors were divided into three distinct worlds. Griet’s family home is a
monochrome ordered Calvinistic abode in the poorer quarter; the Vermeer
family lives in lurid Catholic chaos with lots of paintings on the walls (Vermeer
was also a dealer who sold the work of others) and the vivid colours of
popery; his rich patron Van Ruijven’s world is opulent, with curiosities from
around the world. This is where the real power lies.
“I wanted the Vermeer house to be chaotic - downstairs” says Webber. “The
house was full of children and noise. It looked out onto a canal which must
have been very smelly. The main square with its taverns and markets was just
half a block away . Yet Vermeer created paintings which seem to define
tranquillity and perfection. So we were determined that the studio, the room
that contained that familiar, almost holy corner represented in so many of the
great paintings, should be the magical space. Up there is Vermeer’s private
world – a world which he gradually allows Griet to share because she alone
understands why it is special. Ben built gorgeous sets, but he is also a great
set dresser, making the world believable, lived in and totally convincing.”
Cinematographer Eduardo Serra used different film stocks for the different
worlds, capturing the rich dark colours of the downstairs of Vermeer’s house
and saving something for the painter’s studio. “The shooting schedule worked
in such a way that we saved Vermeer’s studio for last” remembers Paterson
“One day I was watching the stunning footage from elsewhere in the Vermeer
house and reminded Eduardo of the earlier discussions about saving such
beauty for the studio. He nodded that he hadn’t forgotten. And when I saw
what he did in the studio, it was breathtaking. He took it to another level
altogether.” “Eduardo’s work was quite extraordinary” adds Webber. “He had
decided how he wanted every frame to be lit and seemed able to achieve it
almost instantly.”
Serra adds, “I was happy we could shoot widescreen. It allows ‘in depth’
frame composition – frames within frames – as well as wide shots linking light
and shadow. Vermeer reproduced with obsessive accuracy the northern light
coming through his windows. To evoke the light of his paintings I didn’t do
anything unusual, I just built a big skylight outside the windows and tried as
much as possible to use it as the unique light source – I would have done the
same on a contemporary film”.
Dien van Straalen’s costumes were the final element in creating an authentic
world. “Most of the time you should hardly be noticing the costumes,” says
Webber. “Great costume designers make clothes that actors feel comfortable
in, and it helps create the feeling that you are inhabiting a real world.
Catharina’s costumes are exquisite and showy because that’s who she is, but
even she has to wear the same dress on a number of occasions to reflect the
financial burdens of the family. Dien’s triumph was to create costumes that
sub-consciously help in the telling of the story.”
In Conclusion…..
The filmmakers never underestimated the challenges of bringing a muchloved novel to the screen. “Reading a book is a private pleasure. Film is a
different medium, but we hoped that the millions of fans of the novel would get
something more out of the film, something that would reflect their imagination.
We wanted to make the film because it is a wonderful, mysterious, romantic
story, set in the 17th Century, but accessible to anyone today. Tracy’s story
cried out to be brought to life – and we couldn’t have dreamed of a more
creative, talented, passionate team of people both in front of and behind the
camera to help us realise it.”
JOHANNES VERMEER
(Painter)
1632-1675
The few known facts about the life of Johannes Vermeer come from legal
documents – marriage and birth certificates; sales notes and letters of debts;
the will of his patron.
Born in Delft in 1632, he was the son of innkeepers and spent all his life in this
town of 25,000 people. In 1653 he converted to Catholicism and married
Catharina Bolnes, a Catholic from a bourgeois family. They had eleven
surviving children, and lived in the house of Maria Thins, Catharina’s mother.
Vermeer joined the Guild of St Luke as a master painter, having completed an
apprenticeship and now able to work professionally as a painter. He was also
a dealer, selling the paintings of other Delft artists,
Vermeer’s studio was on the first floor of his mother-in-law’s house and it is
likely that most of his work was done here.
Vermeer’s death in 1675, at the age of 43, was probably from a stroke or a
heart attack, brought on by stress. His family was falling further and further
into debt as the war between France and The Netherlands caused the
collapse of the art market when the generous bourgeois patrons lost their own
wealth, and the rent from Maria Thins’ properties dried up.
Only 35 paintings attributed to Vermeer remain.
ABOUT THE CAST
COLIN FIRTH (Vermeer)
A classically trained British theatre actor, Colin Firth is a veteran of numerous
television and film roles. In 2001, he charmed American audiences when he
starred opposite Renée Zellwegger in the hit British comedy Bridget Jones’s
Diary. In the film he portrayed Mark Darcy, the man who rivaled Hugh Grant
for Bridget’s affections. He is infamous for his breakout role in 1995, when he
played Mr. Darcy in the BBC adaptation of Pride and Prejudice for which he
received a BAFTA nomination for Best Actor and legions of female admirers.
Later this year he will be seen in the Universal film Love Actually, written and
directed by Richard Curtis (About a Boy and Notting Hill). Colin appears in
the film with an outstanding ensemble cast including Hugh Grant, Emma
Thompson, Liam Neeson and Laura Linney.
Firth was recently seen in the Warner Brothers film What a Girl Wants,
opposite Kelly Preston and Amanda Bynes. In June, he wrapped production
on Warner Brothers’ psychological thriller Trauma opposite Mena Suvari.
In 2002, Firth was seen starring opposite Rupert Everett and Reese
Witherspoon in the Miramax Film, The Importance of Being Earnest. In 1998,
Firth starred in Shakespeare In Love, where he portrayed Lord Wessex, the
evil husband to Gwyenth Paltrow’s character. In 1997, he starred in A
Thousand Acres, with Michelle Pfeiffer and Jessica Lange, and in 1996, The
English Patient, opposite Kristen Scott Thomas and Ralph Fiennes. His other
film credits include Hope Springs, Relative Values, My Life So Far, The Secret
Laughter of Women, Fever Pitch, Circle of Friends, Playmaker, and the title
role in Valmont.
In 1989, he received the Royal Television Society Best Actor Award as well as
a BAFTA nomination for his work in the TV production Tumbledown. He was
nominated for an Emmy Award in 2001 for Outstanding Supporting Actor in
the critically acclaimed HBO film Conspiracy. His other television credits
include Windmills on the Clyde, Making Donovan Quick, Donovan Quick, The
Widowing of Mrs. Holroyd, Deep Blue Sea, Hostages, and the mini-series
Nostromo. His London stage debut was in the West End production of
Another Country playing Benett. He was then chosen to play the character
Judd in the 1984 film adaptation opposite Rupert Everett.
SCARLETT JOHANSSON (Griet)
Scarlett Johansson attained world-wide recognition for her performance as
Grace Maclean, the teen traumatised in a riding accident in Robert Redford’s
The Horse Whisperer.
Johansson will next star in four films. They are Sophia Coppola’s Lost In
Translation, (winning best actress at the Venice Film Festival) co-starring Bill
Murray, The Perfect Score, directed by Brian Robbins and Girl With a Pearl
Earring. She has just completed filming Shainee Gabel’s A Love Song for
Bobby Long, starring opposite John Travolta.
Scarlett recently starred in Eva Gardos’ autobiographical film An American
Rhapsody, Terry Zwigoff’s critically-acclaimed comedy Ghost World (a role
that earned her the Best Supporting Actress award from the Toronto Film
Critics Circle) opposite Thora Birch; Joel and Ethan Coen’s The Man Who
Wasn’t There, opposite Billy Bob Thornton and Frances McDormand and
Eight Legged Freaks for Roland Emmerich and Dean Devlin.
A New York native, Johansson made her professional acting debut at age
eight in the off-Broadway production of Sophistry at New York’s Playwright’s
Horizons. Her breakthrough role as Manny in the critically-acclaimed film
Manny and Lo, earned her an Independent Spirit Award nomination for Best
Female Lead.
Her additional credits include Rob Reiner’s comedy North, the role of Sean
Connery’s daughter in Just Cause, as well as appearances in If Lucy Fell and
Home Alone Three.
TOM WILKINSON (Van Ruijven)
Established as a stage and screen actor in Britain, Tom Wilkinson first made
an impression on American audiences as the steel-work supervisor turned
male stripper in The Full Monty, for which he received a BAFTA nomination.
He had already been seen as Mr. Dashwood in Ang Lee’s Academy Award ®
winning adaptation of Sense and Sensibility.
Following roles included the romantic lead in The Governess opposite Minnie
Driver, a comic role as “the money” in the multi-award-winning Shakespeare
in Love, (receiving a second BAFTA nomination), and his portrayal of a griefstricken husband and father in Todd Field’s In The Bedroom opposite Sissy
Spacek for which he received an Oscar ® nomination, a SAG Award
nomination and an Independent Spirit Film Award for Best Actor.
He next starred in Normal for HBO Films opposite Jessica Lange for which
he received stellar reviews and an Emmy nomination.
Tom Wilkinson will next be seen on the big screen in; Eternal Sunshine of the
Spotless Mind, written by Charlie Kaufmann, co-starring alongside Jim Carrey
and Kate Winslet, If Only, Gil Junger’s romantic comedy, with Jennifer Love
Hewitt, White on White directed by Roger Spottiswoode along side Willem
Dafoe and Alan Cumming, Compleat Female Stage Beauty directed by
Richard Eyre co-starring Billy Crudup and Claire Danes and A Way Through
The Woods with Emily Watson and Rupert Everett, Julian Fellowes’s
directorial debut. He starts filming Mike Barker’s next filmThe Good Woman
with Scarlett Johansson and Helen Hunt this November in Italy.
CILLIAN MURPHY (Pieter)
Irish actor Cillian Murphy is the star of the hugely successful 28 Days Later,
directed by Trainspotting’s Danny Boyle. Cillian first made his mark with a
stunning performance in Disco Pigs, both in the award-winning stage show
and the film version, directed by Kirsten Sheridan.
His major film and television credits include John Carney’s On The Edge,
William Boyd’s The Trench and most recently in the lead role in the drama
series The Way We Live Now.
Cillian was seen at the Edinburgh Festival this year playing Konstantine in
The Seagull for Peter Stein.
Murphy’s short film The Watchman, which he co-wrote with Paloma Beaza
was short-listed for the Turner Classic Movie Short Award.
His next screen appearance will be in John Crowley’s Intermission which is to
be released in November, then in Anthony Minghella’s epic Cold Mountain,
closely followed by Red Light Runners with Harvey Keitel and Michael
Madsen. He will be playing the lead role of Christy in Playboy of the Western
World for Garry Hynes at the Gaiety Theatre in Dublin from February to April
next year.
PETER WEBBER - Director
A self-confessed cinephile, Peter Webber made his first short film, The Zebra
Man, straight out of film school then worked as a film editor, beginning his
association with producers Andy Paterson and Anand Tucker on Tucker’s
drama debut, Saint-Ex, starring Miranda Richardson and Bruno Ganz.
As an award-winning documentary director his subjects ranged from Wagner
to crash test dummies via a series on the creatures of the deep oceans and
The Curse of the Phantom Limb.
Moving back into drama he directed Simon Russell Beale as Schubert and
explored the counter-culture of tunnel-dwelling road protesters in
Underground, before creating huge controversy with the Channel Four miniseries, Men Only, charting the decline into crime and debauchery of the
formerly respectable members of a five-a-side soccer team. In the interests of
fair play, his next drama The Stretford Wives, for the BBC, starred Fay Ripley
in a tale of women’s revenge on men.
To confirm his eclectic tastes and versatility, Webber’s next film will take him
away from Vermeer’s Holland to the gritty world of young pickpockets, grifting
in the heart of contemporary London.
ANDY PATERSON - Producer
Andy Paterson’s productions include the Oscar ® nominated Hilary and
Jackie, starring Emily Watson and Rachel Griffiths, and the Oscar ® winning
Restoration, starring Robert Downey Jr, Hugh Grant and Meg Ryan. With
Restoration and Girl With A Pearl Earring, he is probably the only producer in
history to have made two major feature films set in 1665, a distinction he
could not have foreseen as he commenced a physics degree at Oxford
University in the early 1980s.
His time at Oxford coincided with director Michael Hoffman, (with whom he
would go on to make five films), screenwriter Olivia Hetreed (who would
become his wife), and Hugh Grant. Together they made their first feature film,
the $40,000 Privileged, which was released theatrically in the UK and US and
launched many careers.
In 1990 he and Nick Kent produced the BAFTA winning documentary series
Naked Hollywood and formed Oxford Television Company which would go on
to become a major force in British factual television. After Hilary and Jackie,
Paterson, with director Anand Tucker and screenwriter Frank Cottrell Boyce,
decided to concentrate only on movies and started a new production company
Archer Street Ltd.
As well as running the film side of the British producers’ association, PACT,
for three years, Paterson has co-produced two films with Icelandic director
Agust Gudmundsson: Dansinn and The Seagull’s Laughter which was
Iceland’s foreign language Oscar ® candidate in 2002.
ANAND TUCKER - Producer
Anand studied film at Harrow before securing a much-sought after place on
the BBC’s Production Trainee Scheme in 1990. He made several
programmes for the BBC’s Music And Arts department before leaving to join
Andy Paterson’s Oxford Films and Television Company in 1992. There he
made a series of high profile documentaries including The Vampire’s Life, on
novelist Anne Rice, for which he was awarded the 1996 BAFTA Huw Wheldon
Award for Best Arts Programme. His drama debut came with Saint-Ex, based
on the life of Little Prince author and pioneering aviator Antoine de St
Exupery. The film starred Bruno Ganz and Miranda Richardson. He went on
to make the multi-award winning Hilary and Jackie for which Emily Watson
and Rachel Griffiths received Oscar ® nominations. Tucker was nominated
for the BAFTA Award for Best Director and won the British Independent Film
Award in the same category.
Alongside his producing role at Archer Street, he will shortly direct Shopgirl
starring Steve Martin and Clare Danes.
OLIVIA HETREED – Screenwriter
After reading English at Oxford University, and forming part of the small team
that made Hugh Grant’s first film, Privileged, Olivia worked as a film editor,
cutting major dramas for television, including Michael Winterbottom’s first full
length drama, Forget About Me.
She then wrote the screenplays for several highly prestigious ITV dramas,
including adaptations of The Canterville Ghost, What Katy Did and E.
Nesbitt’s The Treasure Seekers.
After completing Girl With A Pearl Earring, she wrote the first of BBC
Television’s series of contemporary stories based on The Canterbury Tales.
The series will be the centrepiece of the BBC’s autumn schedule, 2003.
She is currently adapting John Burnham Schwarz’s novel Reservation Road
for producers Andy Paterson and Anand Tucker.
TRACY CHEVALIER – Author
Tracy Chevalier was born in Washington DC and moved to England in 1984.
She studied creative writing at the University of East Anglia where she was
taught by novelists Malcolm Bradbury and Rose Tremain. Her first novel, The
Virgin Blue, was published in 1997.
She wrote Girl With A Pearl Earring during her pregnancy and delivered it two
weeks before her son was born in October 1998.
Falling Angels, a poignant tale of two families brought reluctantly together and
set around London’s Highgate cemetery, was published in 2001 to critical
acclaim.
Her latest novel, based on another famous artwork, The Lady and the Unicorn
was pubished in the UK this September and will be published in the US
January 2004.
EDUARDO SERRA AFC, ASC - Director of Photography
For his work on Iain Softley’s The Wings of the Dove, Eduardo Serra received
an Oscar ® nomination, a BAFTA award for best cinematography and a
nomination from the British Society of Cinematographers for the BSC award,
1998.
In an international career spanning more than twenty years, Serra’s credits
include many films for directors Patrice Leconte - including The Hairdresser’s
Husband, for which he was nominated for a César Award, and Claude
Chabrol – including his latest, The Flower Of Evil. Other award-winning films
were Vincent Ward’s Map of the Human Heart, for which he was nominated
for an Australian Film Institute Award, Michael Winterbottom’s Jude, for which
he won a Silver Frog at the Camerimage Awards, and M. Night Shyamalan’s
Unbreakable. Eduardo has just won the Best Cinematography Award for Girl
With a Pearl Earring at this years San Sebastian International Film Festival.
BEN VAN OS - Production Designer
A long time collaborator with Peter Greenaway, most notably on The Cook,
the Thief, his Wife and her Lover and The Baby of Macon. Ben van Os
recently designed Max, Menno Meyjes film about Hitler’s imagined struggle to
be recognised as an artist in Munich after the Great War, starring John
Cusack and Noah Taylor.
His other credits include Thomas Vinterberg’s It’s All About Love and Sally
Potter’s Orlando for which he was nominated for an Oscar ® and received the
Dutch ‘Golden Calf’ award for his achievements in production design.
KATE EVANS – Editor
Kate has worked with director Peter Webber on his controversial Channel
Four series Men Only and Stretford Wives, for the BBC. Previous credits
include Roger Michell’s Persuasion, My Night with Reg and Titanic Town,
and the celebrated BBC series The Buddha Of Suburbia, based on Hanif
Kureishi’s scripts.
JENNY SHIRCORE - Make-Up & Hair Designer
Jenny’s credits include Stephen Frears’ Dirty Pretty Things, Neil Jordan’s The
Good Thief, Roger Michell’s Notting Hill and Shekhar Kapur’s Elizabeth for
which she won an Oscar ®.
DIEN VAN STRAALEN – Costume Designer
Dien has collaborated with designer Ben van Os on several films including
Sally Potter’s Orlando, Peter Greenaway’s The Cook, The Thief, His Wife and
Her Lover and The Baby of Macon. She also collaborated with Greenaway on
Prospero’s Books and The Pillow Book. Before Girl With A Pearl Earring she
completed Max, starring John Cusack and Noah Taylor.
ALEXANDRE DESPLAT - Composer
Alexandre Desplat has scored more than 50 films as well as projects for TV
and theatre over the last 15 years. Born in Paris, Desplat began playing the
piano at age 6, the trumpet at age 8 and the flute at the age of 10. He studied
with Claude Ballif at the Paris Conservatory and with Jack Hayes in Los
Angeles for orchestration. He was nominated for two French Academy
Awards (The Césars) for his scores for Jacques Audiard’s Self Made Hero
(Un Heros Tres Discret) and Read My Lips (Sur Mes Levres) starring Vincent
Cassel. Other credits include Marleen Gorris' The Luzhin Defence starring
Emily Watson and John Turturro, Miramax Film’s The Advocate, starring Colin
Firth and Ian Holm from writer/director Leslie Megahey, Innocent Lies starring
Stephen Dorff and Gabrielle Anwar from director Patrick Dewolf and The
Revengers’ Comedies, starring Kristin Scott Thomas, Helena Bonham-Carter
and Sam Neill directed by Malcolm Mowbray. He also wrote the title music for
the multi-part feature 11’09”01 - September 11, which brought together 11
directors from around the world to create short films in response to the horrific
events of September 11th, 2001. The directors of those films included Sean
Penn, Alejandro González Iñárritu, Ken Loach, Danis Tanovic and Shohei
Imamura.
Desplat has conducted the London Symphony Orchestra, the Royal
Philharmonic Orchestra, the Czech Philharmonic and the Munich Symphony
Orchestra, among others. He has written songs for Kate Beckinsale,
Charlotte Gainsbourg, Michael Gambon, Catherine Ringer and Nadia Fares.
He lectures in film scoring at the Royal College of Music in London and at La
Sorbonne in Paris.
JIMMY DE BRABANT - Co-Producer
Jimmy de Brabant is CEO of Luxembourg’s Delux Productions. His
productions include Peter Greenaway’s The Pillow Book and Tulse Luper
Suitcases, selected in Official Competition at Cannes in 2003, Marcus Adams’
Octane, the Oscar ® nominated Shadow of the Vampire starring Willem Dafoe
and John Malkovitch and American Werewolf in Paris.
Cast Credits
Vermeer
Griet
Van Ruijven
Maria Thins
Pieter
Catharina
Tanneke
Cornelia
Griet's Father
Griet's Mother
Frans
Maertge
Lisbeth
Aleydis
Johannes
Baby Franciscus
Baby Franciscus
Paul the Butcher
Emilie Van Ruijven
Van Ruijven's Daughter
Wet Nurse
Apothecary
Model
White Haired Woman
Old Gentleman
Priest
Servant 1
Servant 2
Sergeant
Gay Blade
Stand-in for Colin Firth
Stand-in for Scarlett
Johansson
Stand-in for Tom
Wilkinson
Colin Firth
Scarlett Johansson
Tom Wilkinson
Judy Parfitt
Cillian Murphy
Essie Davis
Joanna Scanlan
Alakina Mann
Chris McHallem
Gabrielle Reidy
Rollo Weeks
Anna Popplewell
Anaïs Nepper
Mélanie Meyfroid
Nathan Nepper
Lola & Charlotte Carpentier
Olivia Chauveau
Geoff Bell
Virginie Colin
Sarah Drews
Christelle Bulckaen
John McEnery
Gintare Parulyte
Claire Johnston
Marc Maes
Père Robert Sibenaler
Dustin James
Joe Reavis
Martin Serene
Chris Kelly
Xavier Bouvy
Magali Dickes
Special Thanks
Melanie Johansson
Didier Mayeur
Crew Credits
Directed by
Peter Webber
Produced by
Andy Paterson
Anand Tucker
Screenplay by
Olivia Hetreed
Based on the novel by
Tracy Chevalier
Co-Producer
Jimmy de Brabant
Executive Producers
François Ivernel
Cameron McCracken
Duncan Reid
Tom Ortenberg
Peter Block
Daria Jovicic
Philip Erdoes
Nick Drake
Director of Photography
"Eduardo Serra AFC, ASC"
Production Designer
Ben van Os
Editor
Kate Evans
Make-Up & Hair Designer Jenny Shircore
Costume Designer
Dien van Straalen
Casting Director
Leo Davis
Music composed by
Alexandre Desplat
Line Producer
Guy Tannahill
Co-Producers
Matthew T. Gannon
Jason Constantine
Associate Producer
Anna Campeau
1st Assistant Director
Production Manager
Sound Engineer
Production Accountant
Dialect Coach
Camera Operator
Stills Photographer
Supervising Sound
Sean Cameron Guest
Bénédicte Humbel
Carlo Thoss
Maurice Landsberger
Andrew Jack
Mike Proudfoot
Jaap Buitendijk
Nigel Heath
Editors
Script Supervisor
Production Co-ordinator
Production Manager, NL
Unit/Set Manager
Production Accountant
Assistant
Production Secretary
Production Assistant
Assistant to Mr de
Brabant
London Contact
2nd Assistant Director
3rd Assistant Directors
Julian Slater
Natasha Coombs
Joanne Reichling
Jos van der Linden
Sébastien 'Bazooka' Peiffer
Sarah Trowse
Steadicam Operator
Focus Puller
Clapper Loader
Focus Puller,
2nd Camera
Additional Focus Puller
Video Playback Operator
Camera Trainee
Alf Tramontin
Wolfgang Wesemann
Alex Aach
Johnny Feurer
Boom Operator
Additional Boom
Operator
Sound Cableman
Dirk Bombey
Seppe van Groeningen
Set Designer
Art Director
Art Department
Co-ordinator
Art Department
Assistants
Todd Van Hulzen
Christina Schaffer
Karin van der Werff
Draughtsman
Fine Artist/Painting
Advisor
Fine Artist
Scenic Artist
Storyboard Artist
Drapers
Sculptor
Set Decorator
Props Buyer
Props Buyer, Paris
Stand-by Props
Peter Brown
Ambroise Gayet
Patricia Kretschmer
Kelly Howard-Garde
Béatrice Pettovich
Jim Probyn
Stefan Magnusson
Benny Ashoff
Mike Roberts
Max Jacoby
Esteban von Freeden
Ricardo Galvao
Stéphanie Rass
Robinson Savary
Claudio Campana
Licia Zappatore
Angela Castro
Nigel Hughes
Temple Clark
Annett 'Gogo' Golinski
Ank Van Straalen
Manuel Alves Pereira
Cécile Heideman
François Dickes
Sébastien Danos
Manu Demoulling
Assistant Stand-by
Props
Prop Maker
Alain Boucherie
Foreman Swing Gang
Swing Gang
Frank Lehnen
Luis Martinez
Nuno Goncalves
Michael Labuta
Fahir Hodzic
Olivier Nunninger
Walter Oliveira Pereira
Maximino Lousada
Emanuel Ferreira Perreira
Assistant Costume
Designer
Costume Supervisor
Wardrobe Assistants
Frank Gardiner
Wardrobe Trainee
Seamstress
Additional Seamstress
Miliners
Costume Makers
Klaus Bienen
Marielle Vos
Aleksandra Valozic
Magdalena Marczinska
Vesna Libric
Myriam Nagy
Marianne Sopjes
Katja Wolf
Fanny Kieft
Lilian Wadilie
Françoise Meyer
Uli Simon
Cheady Hanson
Jovana Sujdovic
Béatrice Denoel
Magdalena Labuz
Teresa Tria
Isadora Steyaert
Pip Hackett
Elizabeth van der Helm
M.P. mc Mahon
Marianne Leemans
Marie Thérèse Jacobse
Odile Gregoire
Pelger Van Laar
Marita Schoonheijm
Van Laar
Monique Flippo
Carla Kienhuis
Zoom
Hermien Hollander
Koos Glasbeek
Marcella Hamelinck
Hair & Make Up
Assistants
Crowd Make-up & Hair
Supervisor
Additional Crowd
Make-up & Hair
Key Grip
Grip Assistants
Crane Technician
Grip Assistant/
Grip Truck Driver
Gaffer
Best Boy
Electricians
Assistant Film Editor
Dialogue & ADR Editor
Foley Editor
Sound Effects Editor
Re-Recording Mixers
Anita Burger
Annabel Hill
Evelyne Sittig
Aurélie Elich
Chrissy Whitney
Viviane Nowack
René Jordan
Béatrice Stephany
Claudine Moureaud
Fredo Roeser
Cathy Folmer
Joël Seiller
Marlyss Huppert
Sandra Fanizza
Katja Weyand
Tony Turner
Netinho Ornei Nunes
Clayton Ramsey
Mark Russell
Lawrence Winter
Svet Hrouchoff
Claude Atanassian
Gilbert Degrand
Helder Alves Da Silva
Pierre Dermience
Kevin Dresse
Antoine Ducep
Mick Durlacher
Arnout Glas
Philippe Pesci
Jose Pinto De Jesus
Joe Tolen
Andrew Melhuish
Dan Morgan
Arthur Graley
Julian Slater
Nigel Heath
James Feltham
Post Sound Co-ordinator Faye Stevens
Foley Artists
Andi Derrick
Pete Burgiss
ADR Voice Casting
Louis Elman AMPS
Children's Loop Group
Claudia Paterson
Catriona Paterson
Sophie Timmis
Tamara Short
SFX Co-ordinator
SFX Foreman
SFX Technician
SFX Trainee
SFX Technicians
Alain Couty
Jean-Pierre Maricourt
Lawrence Michael
Fabrice Annicchiarico
François Gaubert
Roger Maricourt
Hubert Devinck
Bruno Bourlieu
Construction Manager,
Studios
Construction Manager,
Esch/Alzette
Construction Foremen
Eddy Klima
Boris Bartholomäus
Paddy Patterson
Reinhold Broil
Construction Co-ordinator Blandine Schmitt
Charge Hand
Bernard Ferrandis
Carpenters
Christophe Kirchbaum
Thierry Peroux
Michael Bernardy
François Mast
Thomas Bernardy
Jöel Mast
Franck Winterstein
Jérome Neurenhausen
Thomas Ferrandis
Patrick Guerbette
Franck Morisseau
Uwe Belke
Sébastien Thiry
Dieter Schmidt
Raphael Thiry
John Paul Gormley
Patrick Essex
Steve Lambert
Fabien Domange
Matthias Müller
Bertrand Renaud
Soren Koerber
Graham Mitchell
Jochen Vogt
Dave Chettleborough
Christian Seidel
Anton Weber
Carpenter/Plasterer
Mario Capezzali
Assistant Carpenter
Lionel Deutsch
Metal Workers
Enrico Petroni
Olivier Vasic
Stage Hands
Construction Driver
Construction Runner
Head Painter
Scenic Painter/
Stand-by Painter
Scenic Painters
Painters
Christian Belardi
Hervé Bellissent
Walter Oliveira Pereira
Mustafa Avdic
Ahmed Shouman
Danisio Silva
Edouard Pallardy
Rosie Stapel
Denis Chaboissier
Claude Lambert
Jean-Marc Acampo
Stéphanie Blondel
Catherine Thiriat
Jean-Marc Schollaert
Thierry Hoyoux
Renaud Acampo
Valérie Dodeigne
Barbara Prati
Laurent Shuster
Saesa Kiyokawa
Patrick Piron
Olivier Wojcik
Christophe Pigot
Marilyne Dodeigne
Patrice Houche
Michèle Belardi
Etiquette Consultant
Jane Gibson
Casting Associate
Casting Director,
Luxembourg
Casting Assistants,
Luxembourg
Extras Casting, Delft
Lissy Holm
Valérie Schiel
Extras Casting, Damme
Additional 2nd AD
Additional 3rd ADs
Myke Ismael
Stéphane Girten
Jarek Boerland
CFTV Casting
Kim Deschacht
Additional 3rd AD, UK
Ralf Eisenmann
Alex Brown
Sébastien Fernandes Tasch
Sarita Brown
Julian Stevens
Chaperone/Tutor
Tutor
Elizabeth Every
Charles Howes
Animal Wrangler
Willy Loedts
Additional Location
Manager, Damme
Additional Location
Manager, Delft
Location Assistants
Safety Divers/
Location Assistants
Jan Roos
Fransje Bannenberg
Steve Mannes
Christophe Marson
Olivier Neumuller
Joe Kotroczo
Bertrand Larrieu
Michael 'Indy' Whiting
Guillaume De Esteban
Olivier Printz
Christophe Pigot
Mohammed Chtati
Mauro Martinuzzi
Jose Carlos Goncalves Oliveira
Youcef Hani
Carlos Alberto Texeira
Ludovic Hipper
Medical Stand-by
Medical Stand-by, Esch
Philippe Poorters
Fernand Lemaire
Head of Facilities
Facilities Assistants
Mac McLean
Paul Thorley
Gaby Müller-Meyers, C/o LCF
Transport Captain
Colin Firth's Driver
Scarlett Johansson's
Driver
Tom Wilkinson's Driver
Drivers/PAs
Jean-Charles Cavasso
Kevan Willis
Eric Karolczak
Additional Drivers/PAs
Additional Drivers
Igor Pecirep
Trevor Hunt
Otfried Suppin
Thomas Sanne
Butch Mortimer
Didier Dujardin
Guy de Waele
Elly Stefansson
Studio Catering
Catering Supervisors
Restaurant 7ème Art
Thierry Parolin
Jerome Nowicki
Studio Manager
Studio Security/Laundry
Studio Security
Hugues De Maere
Ayman Shehata
Hans Kretschmer
Diana Stiegler
Jacqueline Hernandes
Maria Da Conceicao Pereira
De Sousa
Cleaning
Cleaning, Esch
Physicians
For Delux Productions:
Financial Officer
Production Finance
Manager
Salaries & Petty Cash
Assistant Accountant
For Pathé Pictures:
Head of Physical
Production
Legal & Business
Affairs Executive
Financial Director
Head of International
Sales
Dr. Adrien Kuntz
Dr. Nguyen Trong
Julien Joseph
Bob Bellion
Robert Longobardi
Carole Reding
Massimo Raschella
Susanna Wyatt
Pierre du Plessis
Simon Fawcett
Alison Thompson
Produced by Inside Track Productions on behalf of Pathé
For Ingenious Films:
Physical Production
Accounting
Legal
John Jaggon
Paula Jalfon
Alison Brister
For Lions Gate:
Business Affairs
Wendy Jaffe
Completion Bond
Guarantor
Film Insurance
Lawyers
Publicity
Production Auditors
Additional Post
Production Supervisor
Assistant Co-ordinator
Post Production
Film Finances
Garth Thomas
Media Assurance
Vincent Valentin
Fraser Bloom
Frank Bloom
McDonald Rutter
Linda Gamble
AGN Shipleys
Emma Zee
J & E Post Production
Cherie Power
Visual Effects by
Visual Effects Supervisor
Visual Effects Producer
Lead Compositer
Digital Artists
Film Editorial
Cinesite (Europe)
John Lockwood
Paul Edwards
Alex Smith
Simon Hughes
Shane Costar
Charles Darby
Kathy Wise
James Eggleton
Dan Victoire
Mitch Mitchell
Lorraine Johnson
Katja Hollman
John Benn
Second Unit Director
Andy Paterson
Title Design by
Director
Fig Productions
Richard Morrison
Digital Matte Artist
Digital I/O Support
Scanning & Recording
Opticals
Negative Cutting
Laboratory
Capital FX
Professional Negative Cutting
Technicolor
Paul Swann
Colour Timer
Peter Hunt
Post Production Facilities Goldcrest London
Film Stock
Kodak, Belgium
Fujifilm Motion Picture Film
Camera, Light & Grip
Equipment
Camera Crane
Steadicam
Stills Developing &
Processing
SFX Equipment
Stock Footage
E.F.F, NL
UK Transportation
Multi Media Transport
Louma UK
Alf Tramontin
Blow Up
SFX Factory
World Backgrounds
Paintings courtesy of;
Royal Cabinet of Paintings Mauritshuis, The Hague
Rijksmuseum Amsterdam
Bridgeman Art Library
Isabella Stewart Gardner Museum, Boston
Museum of Fine Arts, Boston
Herzog Anton Ulrich-Museum Braunschweig
Kunstmuseum des Landes Niedersachsen
Frans Hals Museum Haarlem
Sound Re-Recorded at:
Hackenbacker Audio Post
Production London
Music Orchestrated and
Conducted by
Alexandre Desplat
Music Recorded by
John Timperley
Score Performed by
Leader
Pro Arte Orchestra of London
Michael Davis
Music Recorded at Sony Studios
Assistant Engineers
Dave Clarke
Chris Young
Music Mixed at Abbey Road Studios
Engineer
Sam O'Kell
Orchestral Contractor
Colin Sheen
Special Thanks to:
Nick Marston , Peter Spens, Philip Steadman, Nicola Costaros, Lee Bye,
Moyra Lock, John Fletcher, Nick Wood, Kees Kroese, Alfred Sapse, Mariette
Halkema, Frits Duparc, Simon Robinson, Laurie Borg, Cat Villiers.
Thanks to Dutch & Belgium Locations:
Gemeente Damme, Ojv Koornbeurs Delft, Gemeente Delft
Developed with the support of the MEDIA Programme of the European Union
Produced in association with Wild Bear Films
Developed with the assistance of Intermedia and Film Four
Supported by the National Lottery through UK Film Council
An Archer Street/Delux Production
for
Pathé Pictures and Inside Track Productions
A United Kingdom/Luxembourg Co-Production
Filmed in the Grand Duchy of Luxembourg (Europe) under the Film Fund
Programme