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