ALAIN SARDE & ROBERT BENMUSSA PRESENT
A FILM BY
ROMAN POLANSKI
BEN KINGSLEY JAMIE FOREMAN HARRY EDEN
LEANNE ROWE EDWARD HARDWICKE IAN MCNEICE MARK STRONG
BARNEY CLARK
Dauer: 130 Min.
Filmstart: 22. Dezember 2005
www.olivertwist-lefilm.com
www.olivertwist-derfilm.de
www.sonypictures.com/movies/olivertwist
FILMVERLEIH
MONOPOLE PATHÉ FILMS AG
Neugasse 6, Postfach, 8031 Zürich
T 044 277 70 83 F 044 277 70 89
monika.billeter@pathefilms.ch
http://www.pathefilms.ch/
MEDIENBETREUUNG
Esther Bühlmann
Niederdorfstrasse 54, 8001 Zürich
T 044 261 08 57 F 044 261 08 64
mail@estherbuehlmann.ch
Introduction
In 2002, Roman Polanski released his award-winning film of “The Pianist,” an amazing story
of suffering and pain in the Warsaw ghetto of World War II. It is also a story of survival.
When Polanski completed “The Pianist” – which was a very personal film for him because of
his childhood in wartime Poland – he was determined to make a totally different type of
movie. He wanted to make a family film aimed, in particular, at a young audience. Towards
this end, he and his producing partners, Robert Benmussa and Alain Sarde, began to read
scores of children’s books looking for the right story.
Eventually, it was Polanski’s wife who came up with the suggestion to make a new version of
OLIVER TWIST. Polanski quickly discovered that the real Dickens story hadn’t been told on
film since David Lean’s version in 1948 and Carol Reed’s musical “Oliver!” twenty years later
– nearly 40 years and two generations ago. The time was right.
Charles Dickens’ classic story of a young orphan boy who gets involved with a gang of boy
pickpockets in 19th Century London seems, on the surface, a long way from being children’s
entertainment. But this can be deceiving.
Roman Polanski is convinced that kids will love the fantasy elements contained within the
story. He says: “We are not going to strive for realism, quite the opposite. The characters in
this story are larger-than-life with the emphasis on their glorious humour and eccentricities.
This is a Dickensian tale in the truest sense, which means it is exuberant, intriguing and
timeless. And it is full of incident that is constantly surprising.
“Above all it is a tale for a young audience. My ambition is to make the film for my own
children. I read bedtime stories to them every night and I know what
enchants them and how they identify with the characters. In making OLIVER TWIST it is
important I don’t disappoint them.”
After an extensive search, Polanski chose 11-year-old London schoolboy Barney Clark in the
all-important title role. A student of the Anna Scher Theatre, a world-renown community
theatre in Islington, London, Barney has previously appeared in the film “The Lawless Heart,”
the British wartime television drama “Foyle’s War” and the television Court drama “The Brief”.
With Sir Ben Kingsley as Fagin, a host of talented British character actors have been cast to
play some of literature’s best known characters: Jamie Foreman is Bill Sykes; Leanne Rowe
is Nancy; Edward Hardwicke is Mr. Brownlow; Jeremy Swift is Mr. Bumble, the Beadle;
Frances Cuka is Mrs. Bedwin; Michael Heath and Gillian Hanna are Mr. and Mrs.
Sowerberry; Alun Armstrong is Mr. Fang; Andy De La Tour is the Workhouse Master with
Peter Copley as his assistant; Liz Smith plays an old cottage woman; and Mark Strong plays
Toby Crackit.
Among the boys, Harry Eden plays the Artful Dodger, Lewis Chase plays Charley Bates,
Jake Curran plays Barney and Chris Overton plays Noah Claypole.
The very experienced crew, most of who worked with Polanski on “The Pianist,” include
director of photography Pawel Edelman, production designer Allan Starski, costume designer
Anna Sheppard and editor Herve de Luze.
Directed by Roman Polanski from a screenplay by Ronald Harwood, the film is produced by
Robert Benmussa, Alain Sarde and Roman Polanski. An independent co-production by
R.P.Films of France, Runteam II Ltd. of the U.K. and Etic Films s.r.o. of the Czech Republic,
“OLIVER TWIST” started principal photography at Prague’s Barrandov Studio in July, 2004
and is scheduled to complete filming at the end of October. Co-produced by Timothy Burrill
(UK) and Petr Moravec (Cz), the film will be distributed in America and Canada by TriStar
Pictures and territory by territory in the rest of the world.
OLIVER TWIST (1838) - Historical Background
When Oliver Twist first began in serialized form in the monthly magazine Bentley’s
Miscellany in 1837, its subtitle was “The Parish Boy’s Progress.” For the first few
instalments, Dickens’ intention was to describe for his readers what it was like to be a
“parish boy” in the years following the passing of the new Poor Law Act of 1834. Dickens
would have seen the bill being hotly debated when he was a parliamentary reporter for the
Morning Chronicle, and he would continue to attack it in his fiction and journalism for the
rest of his life.
Prior to 1834, poor workers were given a tiny sum, or “dole,” by their parish to keep them
from starvation on their fixed agricultural wages. It was intended as emergency funds to tide
people over until they could get on their feet again. The infirm and unemployable were also
the responsibility of each parish. While there were many problems in the old system that the
new legislation was intended to redress, many people felt that the cure was much worse than
the disease. The new act, designed to prevent idle people from living off the community,
grouped parishes together into “poor law unions” and established “workhouses” (which
became known as “unions”); here, people with no other home or means of support were
housed and put to work for the parish.
Synopsis
Roman Polanski’s new version of Charles Dickens’ OLIVER TWIST is more of a children’s
story. Polanski and scriptwriter Ronald Harwood have retained the larger-than-life
characters and the humour from the original novel and it remains a thrilling tale of good
fighting against evil, packed with suspense, vitality and drama with a young boy at its centre.
In the end, good triumphs in the face of great adversity…..
Brought up in a pauper’s Workhouse, orphan Oliver Twist (Barney Clark) and the rest of the
boys are starving and cast lots to decide whom among them will ask for more gruel. Oliver is
chosen. At supper that evening, after the normal allotment, Oliver advances to the
Workhouse Master and asks for more.
Branded a troublemaker by Mr. Bumble (Jeremy Swift), the Workhouse beadle, and the
Board, Oliver is offered as an apprentice to anyone willing to take him. After narrowly
escaping being bound to a chimney sweep – a dangerous business where small boys are
routinely smothered being lowered into chimneys – Oliver is apprenticed to the undertaker,
Sowerberry ((Michael Heath).
Oliver fights with Noah Claypole (Chris Overton), another of the undertaker’s boys, after
being provoked about his dead mother. Unjustly beaten for his offence, Oliver makes his
escape and runs away to London.
On the outskirts of the city, tired and hungry, Oliver meets the Artful Dodger (Harry Eden)
who offers him a place to stay in London. Naive of life in London’s seedy underworld and
unaware of their real trade, Oliver is thrown together with a band of boy pickpockets run by
the sinister Fagin (Sir Ben Kingsley). He also meets the brutal Bill Sykes (Jamie Foreman),
his girlfriend Nancy (Leanne Rowe) and his dog Bull’s Eye.
One morning Oliver innocently goes out with the Dodger and Charley Bates (Lewis Chase),
another of Fagin’s boys, and witnesses their real business when the Dodger picks the pocket
of a gentleman, Mr. Brownlow (Edward Hardwicke). When Brownlow discovers the robbery
in progress Oliver is mistaken for the culprit and, after a chase which comes to an end when
he is felled by a hefty blow to the head, Oliver is caught and taken to the police.
While being questioned by the stern Magistrate, Mr. Fang (Alun Armstrong), a witness
proves Oliver’s innocence and the kindly Brownlow takes him to his home to recuperate. His
accuser becomes his benefactor and Oliver is treated well by Brownlow and his housekeeper
Mrs.Bedwin (Frances Cuka).
Meanwhile, Fagin and Bill Sykes are concerned that Oliver will betray them to the authorities
and they are determined to track him down and bring him back to Fagin’s lair.
Convinced of Oliver’s honesty, Brownlow sends him on an errand to pay a local merchant
five pounds and to return some books. But he is abducted by Sykes and Nancy in the street.
Brownlow, thinking that Oliver has run away with his money, concludes that Oliver was a
thief all along, as suspected by his friend Mr. Grimwig (Paul Brooke).
Back in the den of thieves, Oliver is tricked by Fagin to describe Brownlow’s house and its
valuable contents. Sykes and fellow criminal Toby Crackit (Mark Strong) force Oliver to
accompany them on an armed robbery at Brownlow’s house. They need a small boy to enter
a window and open the front door for the housebreakers. The robbery is foiled when the
household is alarmed and in the ensuing confusion, Oliver is shot. Bleeding badly with a
bullet in his upper arm Oliver is carried away by Bill Sykes who has every intention of
throwing him into the river. But it is Sykes who slips and falls into the fast-flowing water.
Toby takes Oliver back to Fagin’s where he is nursed back to health. Bill Sykes struggles
back to his place full of fever after his struggle in the river. He tells Fagin that they must get
rid of Oliver or all their lives will be forfeit. A sympathetic Nancy, fearful for Oliver’s life,
makes contact with Brownlow and arranges to meet him beneath London Bridge. But Fagin
has had Nancy followed and in a fit of rage Bill Sykes kills her.
Nancy’s friend Bet (Ophelia Lovibond) discovers the body and informs the police. The hunt
is on for Bill Sykes.
Brownlow is concerned for Oliver’s safety, even more so when he discovers that the police
have tracked Sykes and Oliver to Toby Crackit’s house in the London slums. As the police
move in, Sykes, using Oliver as a shield, scampers over sloping roofs pursued by the police
and a hostile crowd. Suddenly, distracted by his dog, Sykes slips and accidentally hangs
himself…
…Some time later, Oliver and Mr. Brownlow visit Fagin in Newgate prison where the thiefmaker is rapidly losing his mind. Despite all that has happened, Oliver feels sympathy for the
wretched man. Fighting tears, Oliver offers up a silent prayer before he and Brownlow leave
on a coach travelling towards a rising sun and the promise of a bright new day.
The Sets
Production designer Allan Starski’s has the responsibility of providing director Roman
Polanski with all the visual elements against which this classic story could be told. His
spectacular composite set of mid-19th Century London streets, constructed on the studio
Back Lot, is amongst the most ambitious ever conceived for a motion picture.
The enormous set contains five major streets and numerous market squares and side
streets. There is a slum area known as Jacob’s Island and a more up-market section called
Pentonville – both of which existed in Dickens’ time. The principal thoroughfare, Kings
Street, contains a number of shops, nine of which still exist in London today. They are
‘Paxton and Whitfield’ (Cheese Makers); ‘James Lock and Co.’ (Hatters); ‘James Lobb’ (Boot
Makers); ‘Berry Bros. and Rudd’ (Wine Merchants); ‘Floris’ (Perfumiers)l; ‘David Salmon’
(Fine Furniture); and ‘Robert Lewis’ (Tobacconist) – the first five are still entitled to display
above their doorways the prestigious sign ‘By Royal Appointment.’
Because of strict copyright laws, all the above-named shops had to give permission for their
names to be used in the film. Needless to say, all were delighted and most of them offered
the production genuine items of the period from their archives.
Starski and his supervising art director, Keith Pain, were fortunate in obtaining a map dated
1835 which contained the names and business of all the main shops of the time. They also
found a number of paintings that clearly showed the look of the period. Although the story is
set around 1837, Starski and Pain extended the period by a few more years, to the start of
the Industrial Revolution, so that they could put more into it.
Three months of research and design were followed by another three months of construction
by a skilled team of carpenters, plasterers and metal workers. A further two weeks were
required for painters to finish the job.
The set looks magnificent even when empty but when full with costumed extras (800 on
several occasions) and many horse-drawn carriages it really comes to life. It is in this myriad
of streets that Oliver watches the Artful Dodger and Charley Bates apply their pocket-picking
talent before being chased through the crowded streets by Mr. Brownlow and an angry mob.
Oliver is later treated with kindness in Brownlow’s grand home at Pentonville.
In stark contrast to the opulence of Pentonville and the crowded grandeur of Kings Street, is
the stench and squalor of Jacob’s Island, a slum area of London’s dockland where Toby
Crackit lives. It is over these rooftops that Bill Sykes tries to make his escape after killing
Nancy and where he meets his just reward.
The interior sets, too, are full of character. The most impressive is Brownlow’s house with its
grand style and genuine antique furniture. The bureau in the living room is genuine Georgian
worth about $50,000 (£28,000).
Then there is the interior of the workhouse, with the large dining hall to feed 100 boys, a
dormitory area, a huge workroom where men, women and children spend hours separating
oakum from old rope, a boardroom and corridors.
Fagin’s room is an attic at the top of a once splendid mansion that has now fallen into decay
and disrepair. The plaster from the mouldings and the architraves is chipped and falling
away, the wallpaper is torn and there is dust and cobwebs everywhere.
Bill Sykes and Nancy live on the top of a wooden tenement building in a really down-market
area of London. Bill just about survives by robbing and thieving – and he’s not particularly
good at that.
Toby Crackit’s lives on Jacob’s island in what was once a candle factory. Toby has moved
into the disused warehouse with scraps of furniture he has found along the banks of the
Thames and set it up against a background of candle-making machines.
‘The Three Cripples’ pub was initially a bone of contention. Political correctness of today
would not allow such a name but no such awareness was around over 150 years ago.
The interior of the Magistrate’s Court, Sowerberry the undertakers and Newgate Prison
complete the major sets constructed on the Stages.
The Film Makers
ROMAN POLANSKI – Director/Producer
Roman Polanski was born in Paris of Polish parents on 18th August, 1933. When he was 3
years old the family moved to Krakow. In 1941 Polanski’s father was deported to the
Mathausen labour camp in Austria, his mother to Auschwitz from which she never returned.
Polanski himself was subsequently taken in by a succession of Polish families. Of this period
in his life, Polanski recalls in his autobiography, Roman (1984), that movies became my
ruling passion – my sole escape from the depression and despair that so often overwhelmed
me’. After the war, Polanski was reunited with his father who later remarried. At the age of 14
Polanski took up acting, appearing in the theatre, on radio, and later in films.
In 1955 Andrzej Wajda cast Polanski in a small role in Pokolnie (A Generation) and later in
Lotna (1959), Niewinni czarodzieje (Innocent Sorcerers, 1960) and Samson (1961). He also
appeared in several other feature films including Ewa and Czeslaw Petelski’s Wraki (Sunken
Ships, 1957), Julian Dziedzina’s Koniec nocy (End of the Night, 1957) and Janusz
Morgernstern’s Do widzenia do jutra (See You Tomorrow, 1960). During this time Polanski
attended art school in Krakow, studying painting and graphics.
In 1955 he was accepted on the directing course at the Lodz film school. His first film, Rower
(The Bicycle, 1955), was based on his own experience of being robbed by a man wanted for
three murders. Unfortunately, due to blunders at the laboratory only half the film stock was
processed and the project was abandoned. Two years later Polanski created a stir in the
school with a sensational one-minute short, Moderstwo (A Murder, 1957). This and another
sketch, Usmiech zedbiczny (Toothy Smile) presaged the more disturbing themes of
Polanski’s outstanding films of the sixties and seventies. But his other short films at the Lodz
film school reveal a wider range of subject matter to which he brought an approach that was
often mischievous, witty and reflective. Of these Dwaj ludzie z szafa (Two Men and a
Wardrobe, 1958), a light-hearted avant-garde masterpiece, he made to order for the Brussels
Festival of Experimental Film and won a bronze medal. However, the most striking aspect of
these early shorts is their nostalgia, often critical, of which Lampa (1959) and his graduation
film Gdy spadaja anioly (When Angels Fall, 1959) are the most outstanding.
Because Polanski did not complete the theoretical thesis required by the school, he never
formally graduated. Nevertheless, ‘Kamera’, a production company, employed him as an
assistant director and, because of his fluency in French, he was given the job of assistant to
Jean-Marie Drot, a French director working in Poland, who was making a series of
documentaries on Polish culture. Polanski was also employed as an assistant to Andrzej
Munk on Zezowate szczescie (Bad Luck, 1960).
Between 1960 and 1961 Polanski worked in Paris where he directed and played in another
short, Le Gros et le Maigre (The Fat and the Lean). A year later he returned to Poland
determined to make his first feature film based on a script written by himself, Jakub Goldberg
and Jerzy Skolimowski. But approval by the authorities was delayed by bureaucratic red-tape
and so Polanski made another short, Ssaki (Mammals, 1962), financed illegally with private
money from Andrzej Kostenko, who was also the cinematographer, and Wojtek Frykowski.
In due course, Polanski started on his first feature, Noz w Wodzie (Knife in the Water, 1962).
Despite restricted domestic distribution and public condemnation by Wladyslaw Gomulka, the
First Secretary of the Polish communist party, the film was a huge success abroad, receiving
in 1963 an Academy Award nomination for Best Foreign Film.
Turning down an offer to remake the movie in Hollywood, Polanski chose to pursue his
career elsewhere. In Holland he shot La Riviere de Diamants, an episode of the portmanteau
film, Les Plus belles Escroqueries du Monde (The Most Beautiful Swindlers in the World,
1964). It was the first time he collaborated with the writer Gerard Brach.
Deeply impressed by Noz w Wodzie, the producer Gene Gutowski tracked Polanski down in
Munich and persuaded the young director to follow him back to England. In 1965, financed
by Compton Films, Gutowski produced Polanski’s first English language film, Repulsion, from
a screenplay by Polanski and Brach. The movie won the Silver Bear at the Berlin Film
Festival and propelled Polanski into a director of international importance.
Next came Cul-de-sac, a pet project of Polanski and Brach, shot on location on Holy Island,
which in 1966 won the Golden Bear in Berlin. This was followed in 1967 by an Anglo-
American co-production, a pastiche of vampire horror films, The Fearless Vampire Killers
also known as Dance of the Vampires. Polanski himself was brilliant in a cameo role and the
film starred Sharon Tate whom he later married.
Despite the movie being re-cut by the American co-producer and re-titled, Pardon Me, But
Your Teeth Are in My Neck, and failing at the US box office, Polanski was approached by
Robert Evans, the newly-appointed vice-president in charge of production at Paramount
Pictures, to direct Ira Levin’s Rosemary’s Baby. Released in 1968, the film is one of
Polanski’s finest and certainly one of his most commercially successful.
Tragedy struck in August 1969. Sharon Tate, then heavily pregnant, Wojtek Frykowski,
Abigail Folger and Jay Sebring were senselessly and brutally murdered in Beverly Hills by
the Manson gang. In mourning and deeply distressed, Polanski was unable to focus on work
and so abandoned a United Artist project, Day of The Dolphin, and the development of the
French novel, Papillon.
But in 1971, he returned to directing with Macbeth from a screenplay he had written with
Kenneth Tynan. The film was more successful in Britain than in the US, and Polanski
resolved to remain in Europe to direct Che? (What?, 1972), produced by Carlo Ponti. The
film failed both critically and commercially but Polanski followed it with his most critically
acclaimed movie, Chinatown, (1974), starring Jack Nicholson. The film received 11 Academy
Award nominations, including Best Director. Robert Towne won an Oscar for Best Original
Screenplay.
Polanski’s next project he describes as ‘a flawed but interesting experiment’, The Tenant
(1975) based on the novel Le Locataire by Roland Topor. Polanski not only directed but also
played the tortured central character, Trelkowski, a Pole with French citizenship, who
indulges in transvestism and whose descent into madness ends in suicide. The film is still the
subject of controversy, but regarded by many as a masterpiece.
On his return to the United States, Polanski was embroiled in a scandal in which he was
accused of having ‘unlawful intercourse with a female under the age of 18’, He pleaded guilty
and was committed to a diagnostic facility for psychiatric assessment. After being released
and without being sentenced he left the country.
Polanski settled in Paris and decided his next movie would be based on Thomas Hardy’s
novel Tess of the d’Urbervilles. Tess (1979), starring Nastassia Kinski, is the story of
innocence betrayed, seduction and of human behaviour governed by class barriers and
social prejudice. Recreating Hardy’s Wessex in France, Tess proved to be an outstanding
critical and commercial triumph, earning 6 Oscar nominations, again for Best Director, and
winning for Cinematography, Art Direction and Costume Design.
A long absence from the cinema was ended in 1986 when Polanski directed Pirates with
Walter Matthau, a comedy swashbuckler, which proved to be a dismal failure but he followed
it with Frantic (1988), a thriller set in Paris, starring Harrison Ford and Polanski’s future wife,
Emmanuelle Seigner.
Next came Bitter Moon (1992) based on a novel by Pascal Bruckner, uncompromising,
candid and funny, followed by the critically acclaimed Death and the Maiden (1994) adapted
from Ariel Dorfmann’s highly regarded play. In 1999, Polanski directed a thriller, based on
Arturo-Perez Reverte’s El Club Dumas. Re-titled The Ninth Gate, the film starred Johnny
Depp.
Having a decade earlier turned down an offer to direct Schindler’s List, Polanski happened
upon a memoir of the Warsaw Ghetto by Wladislaw Szpilman entitled The Pianist. An
autobiographical account of courage and survival in the face of inhuman conditions, The
Pianist allowed Polanski to explore his Polish roots and his own childhood experiences.
Unsentimental and objective, the film was universally acclaimed, winning many awards
including three Oscars, Best Actor for Adrian Brodie, Best Adapted Screenplay for Ronald
Harwood and Best Director for Roman Polanski.
ROBERT BENMUSSA – Producer
One of Europe’s most distinguished movie producers, Robert Benmussa has been involved
in many successful international films as either producer or executive producer. His list of
credits are as follows: Oliver Twist (2005) (producer), Mariage Mixte (2004)
(producer), Haute Tension (2003) (producer), Entre Chiens et Loups (2002) (producer), The
Pianist (2002) (producer), nominated for an American Oscar, and a European Film Award
and won a BAFTA Film Award and a Polish Eagle Award for ‘Best Film,’ Là-bas... Mon Pays
(2000) (executive producer), Les Enfants du Siècle (1999) (executive producer), K (1997)
(executive producer),
Les Menteurs (1996) (executive producer), La Vengeance d'une Blonde (1994) (executive
producer), Les Marmottes (1993) (executive producer), Le Grand Pardon II (1992)
(executive producer), Bitter Moon (1992) (executive producer),
Après l'Amour (1992) (executive producer), Pour Sacha (1991) (executive producer),
Gaspard et Robinson (1990) (executive producer), La Baule-les-Pins (1990) (executive
producer), L’Union Sacrée (1989) (executive producer), Man on Fire (1987) (associate
producer), Paroles et Musiques (1984) (executive producer).
ALAIN SARDE – Producer
The most prolific movie producer in France, Alain Sarde has been in charge of over 200
feature films, including the following: Oliver Twist (2005) directed by Roman Polanski, The
Pianist (2002) directed by Roman Polanski (nominated for an Oscar and a European Film
Award and winner of a BAFTA Film Award and a Polish Eagle Award as ‘Best Film’), Bitter
Moon (Lune de Fiel) (1992) directed by Roman Polanski, The Tenant (Le Locataire) (1976)
directed by Roman Polanski.
Life is a Miracle (2004) directed by Emir Kusturica, Vera Drake (2004) directed by Mike
Leigh, Confidences Trop Intimes (2004) directed by Patrice Leconte,
Mulholland Drive (2001) directed by David Lynch (AFI Film Award: ‘Movie of the Year’),
Straight Story (Une Histoire Vraie) (1999) directed by David Lynch,
La Pianiste (2001) directed by Michael Haneke, Ponette (1996) directed by Jacques Doillon,
Nelly & Monsieur Arnaud (1995) directed by Claude Sautet (nominated for a BAFTA Film
Award as ‘Best Film not in the English Language’), Une Histoire Simple (1978) directed by
Claude Sautet, La Crise (1992) directed by Coline Serreau, Nouvelle Vague (1990) directed
by Jean-Luc Godard, Prénom Carmen (1983) directed by Jean-Luc Godard, Un Dimanche à
la Campagne (1984) directed by Bertrand Tavernier (nominated for a BAFTA Film Award as
‘Best Foreign Language Film’), Le Choix des Armes (1981) directed by Alain Corneau,
Buffet Froid (1979) directed by Bertrand Blier, and Barocco (1976) directed by André Téchiné
TIMOTHY BURRILL – Co-Producer
One of Britain’s most experienced producers, Timothy Burrill earned his spurs as production
manager, production supervisor and associate producer on many international movies before
progressing to the top job. His credits over the past three decades include:
Oliver Twist (2005) (co-producer), San Antonio (2004) (co-producer), Double Zero (2004)
(associate producer), Swimming Pool (2003) (co-producer), The Pianist (2002) (executive
producer) (nominated for an American Oscar, and a European Film Award and won a BAFTA
Film Award and a Polish Eagle Award for ‘Best Film’), Vatel (2000) (co-producer), Mauvaise
Passe (1999) (co-producer), Bitter Moon (1992) (co-producer), L’Amant (1992) (coproducer), The Fourth Protocol (1987) (producer). Supergirl (1984) (producer), The Pirates of
Penzance (1983) (co-producer), Another Time, Another Place (1983) (executive producer),
Tess (1979) (co-producer), nominated for an American Oscar for ‘Best Picture,’ That Lucky
Touch (1975) (associate producer), Alpha Beta (1973) (producer)
PETR MORAVEC – Co-Producer
Petr Moravec is the Managing Director of Etic Films, which was founded in 1992 and is
based at Prague’s Barrandov Studio.
Etic Films have been involved with many international production over the past
twelve years including, in reverse order, “The Brothers Grimm,” “Chasing Liberty,” “A League
of Extraordinary Gentlemen” – Trailer, “A Sound of Thunder,” “Hart’s War,” “A Knight’s Tale,”
“Affair of Necklace,” “Ravenous,” “Les Miserables,” “Eighteenth Angel,” “Snow White in Black
Forest,” “Stand Back,” “Young Indiana Jones – Series III,” “Underground,” “Die Jahre der
Maurer,” “Hey Stranger,” “Young Indiana Jones – Series II” and “Young Indiana Jones –
Series I.”
RONALD HARWOOD – Screenplay
Born in South Africa, Ronald Harwood moved to London in 1951 to pursue a career in the
theatre. After attending the Royal Academy of Dramatic Arts, he joined the Shakespeare
Company of Sir Donald Wolfit, one of the last British ‘actor-managers’. From 1953 to 1958,
Harwood became the personal dresser of Sir Donald. He would later draw from this
experience in his play “The Dresser” and write a biography “Sir Donald Wolfit CBE: His Life
and Work in the Unfashionable Theatre.”
In 1960, he started a new career as a writer and would prove to be quite prolific, penning
plays, novels and non-fiction books. He also worked often as a screenwriter but he seldom
wrote original material directly for the screen, rather acting as an adapter sometimes of his
own work.
One of the recurring themes in Harwood’s work is his fascination for the stage, its artists and
artisans as displayed in the aforementioned “The Dresser,” his plays “After the Lions’ (about
Sarah Bernard), “Another Time” (about a gifted piano player), “Quartet” (about aging opera
singers) and his non-fiction book “All The World’s a Stage,” a general history of theatre.
Harwood also has a strong interest in the WWII period, as highlighted by the films “Operation
Daybreak,” “The Statement,” “The Pianist” and his play turned to film “Taking Sides.” Based
on true stories, the last two films feature once again musicians as their main characters.
Other screenplays penned by this distinguished writer include: “Private Potter,” “A High Wind
in Jamaica,” “Drop Dead Darling,” “Diamonds For Breakfast,” “Eyewitness,” “One Day in the
Life of Ivan Denisovich,” “Operation Daybreak,” “Evita Peron” (TV), “The Doctor and the
Devils,” “Mandela” (TV), “The Browning Version,” “Cry, The Beloved Country,” “The
Statement,” “Being Julia” and, most recently, “The Diving Bell and the Butterfly.”
His many awards include an American Academy Award for “The Pianist”, as well as
nominations for a BAFTA Film Award, a French ‘Cesar’ Award, a Golden Satellite Award and
a Polish ‘Eagle Award for the same film. He was also nominated for an Oscar, a BAFTA Film
Award and a Golden Globe for “The Dresser” and a BAFTA FILM Award nomination for “The
Browning Version.”
Harwood was made a Fellow of the Royal Society of Literature in 1974 and Commander of
the British Empire (CBE) in 1999. He was president of the international PEN Club from 1993
to 1997 after presiding the British section during the previous four years.
His comedy, “Quartet,” performed at the Albery Theatre, was nominated for a Laurence
Olivier Theatre Award in 2000 for ‘Best New Comedy.’
PAWEL EDELMAN – Director of Photography
Award winning cinematographer Pawel Edelman was born in Lodz, Poland and made an
immediate impact when his second film “Kroll” won the ‘Best Cinematographer’ award at the
1991 Polish Film Festival.
He furthered his reputation in his native Poland with films such as “Kroniki Domowe” (1997),
which again won him the Polish Film Festival’s ‘Best Cinematographer’ award, and “Pan
Tadeusz” (1999) for which he won the Polish ‘Eagle’ Award.
His international reputation was firmly established in 2002 when he lit “The Pianist”, Roman
Polanski’s harrowing story of the Warsaw ghetto of World War II.
For his work on this amazing film Edelman was nominated for an American Academy Award,
a BAFTA Film Award and a prestigious American Society of Cinematographers (ASC) Award
for ‘Best Cinematography.’ He also won a French ‘Cesar’ Award, a European Film award
and a Polish ‘Eagle’ Award in the same category.
His most recent credits include “Zemsta” (“The Revenge”), shot in the USA, a Television
production of “Hamlet” and the film “Ray.”
ANNA SHEPPARD – Costume Designer
An established costume designer in her native Poland where she worked as Anna
Biedrzycka through the ‘70s and ‘80s, Anna Sheppard moved to England in the late ‘70s.
After working with Anzieska Holland on “To Kill a Priest,” she became internationally
recognised when Steven Spielberg chose her to costume “Schindler’s List,” for which she
was nominated for an Oscar and a BAFTA Film Award for Best Costume design.
This painful period of history was revisited more recently when she designed the costumes
for Roman Polanski’s award winning “The Pianist,” her work being recognised with a Polish
‘Eagle’ Award and nominations for an Oscar and a French ‘Cesar’ Award.
Since “Schindler’s List” her career has been largely in the West, achieving a range of credits
including “Washington Square,” “The Wisdom of Crocodiles” and Michael Mann’s
contemporary drama “The Insider” starring Russell Crowe. She returned to the subject of
World War II when Steven Spielberg and Tom Hanks asked her to design the costumes for
their mini-series, “Band of Brothers.” Her recent credits prior to “Oliver Twist” were “Sahara,”
“Shanghai Knights” and “Around the World in 80 Days”, the last two with Jackie Chang.
ALLAN STARSKI – Production Designer
A hugely successful production designer in his native Poland, Allen Starski still resides in
Warsaw from where he travels the world to lend his talents to international film-makers.
In 1993 he designed the sets for Steven Spielberg’s “Schindler’s List,” for which he was
awarded an Oscar, a BAFTA nomination and the Los Angeles Film Critics Association Award
for Best Production Design.
In the past decade he has designed the sets for numerous international movies, the most
notable being “Washington Square,” the Polish film “Pan Tadeusz” for which he won the
Polish ‘Eagle’ Award, “The Body” and “The Pianist”, Roman Polanski’s award-winning story
of courage and survival in the Warsaw ghetto of World War II. His work on this production
won him a French ‘Cesar’ Award and another Polish ‘Eagle’ Award.
His recent credits prior to “Oliver Twist” were “The I Inside” and “Eurotrip”.
HERVE de LUZE – Film Editor
Entering the film industry as assistant to Henri Langlois at the French Cinematheque, Herve
de Luze became director of newsreels and short films for Gaumont Newsreels and, later,
music supervisor and music editor for an historical TV series made from stock-shots and
produced by Gaumont et Telecip.
He was sound editor on features : MARIE POUPEE (Joël SERIA),
DIABOLO MENTHE (Diane KURYS), MAIS OU ET DONC ORNICAR (Bertrand VAN
EFFENTERRE) and TESS Roman POLANSKI).
Following his work as film editor on numerous short feature films for directors Gérard MARX,
Olivier ASSAYAS, Jacques RICHARD, Arthur JOFFE, Jacques ROBIOLLES, Bogena
Horackova, Pascal KANE, Robert SALIS, Julien RASSAM and Virginie DESPENTES, his
feature film credits as film editor are: LA VILLE BIDON (Jacques BARATIER), ECLIPSE
SUR UN ANCIEN CHEMIN VERS COMPOSTELLE (Bernard FERIE), TESS ( Roman
POLANSKI ) recut of the final version and sound editing, JE VOUS AIME (Claude BERRI), 2
HEURES MOINS LE QUART AVANT JESUS-CHRIST (Jean YANNE), LE MAITRE
D’ECOLE (Claude BERRI ), TCHAO PANTIN (Claude BERRI), JEUX D’ARTIFICES
(Virginie THEVENET), PIRATES (Roman POLANSKI), JEAN DE FLORETTE (Claude
BERRI), MANON DES SOURCES (Claude BERRI), TO KILL A PRIEST (Agnieszka
HOLLAND), URANUS (Claude BERRI), CITY OF JOY (Roland JOFFE), BITTER MOON (
Roman POLANSKI), GERMINAL (Claude BERRI) nominated at the French Césars in 1996,
DEATH AND THE MAIDEN (Roman POLANSKI), LE GARCU (Maurice PIALAT), LUCIE
AUBRAC (Claude BERRI), ON CONNAIT LA CHANSON ( SAME OLD SONG ) (Alain
RESNAIS) French César for the best editor in 1998, ZONZON (Laurent BOUHNIK),
ASTERIX AND OBELIX AGAINST CESAR (Claude ZIDI), THE NINTH GATE (Roman
POLANSKI), LA DEBANDADE (Claude BERRI), LE GOÛT DES AUTRES ( THE TASTE
OF OTHERS ) (Agnès JAOUI) nominated at the French Césars in 2000, ESTHER KAHN
(Arnaud DESPLECHIN), LIBERTÉ OLÉRON (Bruno PODALYDES), LOIN (André
TÉCHINÉ), THE PIANIST (Roman POLANSKI), nominated at the Oscars and the French
César 2003 for best editing. Golden Eagle Award in Poland. 24 HEURES DE LA VIE D’UNE
FEMME ( 24 HOURS IN THE LIFE OF A WOMAN ) (Laurent BOUHNIK), CORPS A
CORPS ( BODY SNATCH ) (François HANSS), LE MYSTERE DE LA CHAMBRE JAUNE
(Bruno PODALYDES), PAS SUR LA BOUCHE (Alain RESNAIS), nominated for a French
César Award in 2004 for best editing, BIENVENUE EN SUISSE (Léa FAZER), LES SŒURS
FACHEES (Alexandra LECLERE), LE PARFUM DE LA DAME EN NOIR (Bruno
PODALYDES).
He is the author and director of a short film in 1984 : POSTE RESTANTE (Prix de Rome in
1985). He is also the author of two feature scripts: WAKJUNKAGA, original script written in
1987, and THE MAN WHO LIVED UNDERGROUND, adapted from a novel by Richard
Wright in 1990, and the director of commercials : CHEVIGNON, NOUGARO «MADE IN
USA »…
THE CAST
SIR BEN KINGSLEY – Fagin
Academy Award-winning actor Sir Ben Kingsley, who received his knighthood in 2001, plays
one of literatures most controversial characters with the role of Fagin in Roman Polanski’s
new version of “Oliver Twist.”
Born in North Yorkshire, England, Sir Ben became a member of the Royal Shakespeare
Company at the age of 24 performing important roles, including Demetrius in Peter Brook’s
production of “A Midsummer Night’s Dream,” which he reprised for a tour of US cities in
1971.
After making his film debut with a role in “Fear is the Key,” he returned to the stage with a
two-season tenure with the National Theatre, working with Peter Hall on productions of
“Volpone,” “The Cherry Orchard,” “The Country Wife” and “Judgement.”
His first major screen role, “Gandhi,” brought him the ‘Best Actor’ Academy Award and a host
of offers. He went on to appear in the film version of Harold Pinter’s play “Betrayal,” followed
by his first TV-movie, “Camille” (CBS), and the title role of “Silas Marner,” a BBS production
which aired on PBS’ ‘Masterpiece Theatre.’
In his first US film, “Without a Clue,” he played Dr. Watson to Michael Caine’s Sherlock
Holmes. He also starred opposite Helen Mirren in “Pascali’s Island,” a tale of intrigue set
against the fall of the Ottoman Empire. After earning a ‘Best Supporting Actor’ Oscar
nomination for his role of Jewish gangster Meyer Lansky in “Bugsy,” he played ‘The King’ for
a Phillips recording of the Rodgers and Hammerstein musical “The King and I” opposite Julie
Andrews.
After receiving a BAFTA Film Award nomination as ‘Best Supporting Actor’ for his
performance in Steven Spielberg’s “Schindler’s List,” he went on to deliver an exceptional
portrayal of the physician who once tortured Sigourney Weaver’s character in Roman
Polanski’s “Death and the Maiden.”
More recently, he received another ‘Best Supporting Actor’ Oscar nomination for his
acclaimed, scene-stealing performance as a British gangster in “Sexy Beast” and was
nominated for an Emmy Award with his role of Otto Frank in the ABC mini-series “Anne
Frank.” He also narrated the Steven Spielberg directed sci-fi film “A.I. Artificial Intelligence
In 2003, he co-starred with Jennifer Connelly in “House of Sand and Fog” as an Iranian
immigrant and received Academy Award and SAG nominations for ‘Best Actor’ as well as a
Golden Globe nomination for ‘Best Actor in a Dramatic Role’ and an Independent Spirit
Award nomination for ‘Best Male Lead.’ He recently completed leading roles in
“Thunderbirds,” “Suspect Zero,” “A Sound of Thunder” and “Mrs Harris.”
BARNEY CLARK – Oliver Twist
11-year-old Barney Clark was born on 25th June 1993 in London, England. He still lives
there with his Australian mother, his English father and younger brother. He holds dual
nationality.
Barney showed an early interest in performing, particularly when he was bought a puppet
theatre for Christmas at the age of three. He enjoyed telling stories and creating his own
shows for family and friends. At nursery school he had his first taste of greasepaint when
cast as the woodcutter in ‘Little Red Riding Hood,” the immortal line “chop, chop, chop”
comprising a first public-speaking performance. At primary school he showed an increasing
interest in drama and appeared in school nativity plays and other class shows performed for
parents. He was offered the part of Prince Charming in ‘Cinderella’ but chose to play instead
the evil stepmother because he thought it would be more fun.
To enrol in The Anna Scher Theatre, a world-renown community theatre in Islington, London,
is very difficult due to overwhelming demand, even to attend summer holiday workshops. So
Barney’s mum placed his name on their waiting list when he was only two years old. At the
age of six, in summer ’99, he was invited to try-out for an initial week but ended up doing four
consecutive weeks because he enjoyed it so much. He also attended the following three
summer schools prior to being invited to join a regular evening class in 2002.
A friend of the family co-wrote and directed the film “The Lawless Heart” and cast Barney in
the role of James, the son of the lead character, played by Bill Nighy. This took him on his
first location shoot in Essex during the winter of 2000. Although only a small part – the main
spoken phrase being “I want chips” – this fired his enthusiasm for more proper acting roles.
It also led to interest from an agent and various castings, particularly being considered for the
part of Reece Witherspoon’s son in a film version of “Vanity Fair.” Unfortunately, Barney was
considered too “sweet” for the role, a bit of a brat. His parents were keen for him not to be
involved in commercials or advertising – although he was offered auditions – primarily to
maintain his privacy and allow him to enjoy a natural growing-up experience.
In the spring of 2003, Joyce Nettles, a director of the Anna Scher Theatre, was involved in
casting the wartime television drama, “Foyle’s War” for ITV, starring Michael Kitchen. She
visited one of the children’s classes Barney attended and picked him to audition for a part in
an episode called “War Games”. He was cast as Tim, a lively and cheeky boy who, along
with another child, is taken under the wing of the character played by Honeysuckle Weeks.
The boys became embroiled in a storyline that uncovers a German spy operating as a
businessman. The climax of the drama sees the boys being chased and savaged by dogs
while trying to climb a wall and escape from the spy’s house where they had discovered
incriminating papers. Barney did ten days filming in the summer of 2003 and the series aired
in a prime Sunday evening slot during November of that year. Following the broadcast,
Barney was offered a number of auditions on the strength of his performance.
With a perfect attendance record at the weekly classes and his development as a young
actor, Barney was invited to join the Anna Scher Young Professional classes in September
2003. The young professionals are those actors identified by teachers who would benefit
from additional classes to develop the necessary craft-skills and attitude to guide them on a
route to professional acting. The classes are conducted twice weekly and require complete
commitment. Barney was amongst the youngest children invited to take these classes and
enjoys them immensely, although his current acting role in “Oliver Twist” precludes regular
attendances.
“Oliver Twist” - First Audition: This came about when Barney’s mum received a phone
call from his agent inviting him to audition for a film version of “Oliver Twist” to be directed
by Roman Polanski. On 16th December 2003 at the Pineapple Dance Studio in Covent
Garden, London, Barney attended the casting session. Nothing is heard and a further TV
drama beckons.
Once again Joyce Nettles is instrumental in a casting, this time for a new ITV court drama
called “The Brief”, starring British actor Alan Davies. The following day Barney is offered the
part of Zak Farmer, Alan Davies’ son, in the four-part series. Simultaneously, Barney is
offered a major role in “Rose and Maloney”, another ITV drama, playing the part of the
murdering lead character as a child in flashback sequences. Barney declined the role as he
was already committed to “The Brief.”
Ten days filming on location in London culminated in his theatrical fall from the upstairs
window of a Dockland flat onto the Thames riverbank below. This was the first occasion
where barney has a stunt double so he didn’t have to lie in the freezing winter mud and then
attempt his lines through chattering teeth. Another make-up job sees him in hospital with a
broken leg, the cast for which he still keeps at home. “The Brief” aired in April 2004 to one of
the best audiences for a new TV drama and prompted many calls from friends and
acquaintances praising his rapidly improving acting presence.
“Oliver Twist” - Second Audition: In late February 2004, a call came through asking
Barney if he remembered the Oliver audition before Christmas, which he obviously did.
They said they would like him to come in for a second audition at the home of the casting
director. So, on a freezing cold day after school, Barney and Mum, with little brother in tow,
trekked across London. They were late and Barney hadn’t learned his lines for the new
audition. Surprisingly, this was just what the casting director wanted; she said he would look
more natural if he wasn’t word perfect. The tape would be sent off to Roman Polanski and
we would hear back in two weeks.
“Oliver Twist” – Screen Test: Two weeks to the day the call came saying Barney was in
the frame for the role of Oliver and could he please go to Prague to meet with Roman and
do a screen test. He left on April 1st for Prague – could this have been an elaborate ‘April
Fool’s’ joke? He returned to London the following day excited and brimming with stories of
his adventures on set. They had cut his hair very badly, the authentic poor Victorian boy
look. He had been pushed through a window on the set so they could get a close-up of his
face. The way he described this to his parents the more apparent it became that he was in
with a serious shout for the main part. No time for dwelling on the matter, his parents told
him to assume nothing: the next day was the start of a family holiday and he needed to get
his hair re-cut properly so people wouldn’t think he had cruel parents.
“Oliver Twist” – Cast as Oliver: Barney went on a family holiday to Phuket, Thailand on
Saturday 3rd April. For the second time in a year their baggage was lost in transit, ironically
going by mistake to Sydney, Australia – his mother’s hometown. Two days later, on Tuesday
6th April, the lost luggage eventually arrives and the vacation starts with a vengeance.
However, that evening there is a call from Barney’s agent. He has been offered the part of
Oliver. The shooting will be over the summer but first the producers would like barney to
come to Paris and allow Roman Polanski to introduce his Oliver to the world’s press. Barney
accepts the part, hardly a surprise, and his parents agree to finalise details when they return
to England two weeks later. On their return, a deal is quickly agreed between the producers,
Barney’s agent and his parents.
“Oliver Twist” – The Paris Press Conference: Barney and his father travelled to Paris on
Sunday 25th April and meet for tea with Roman Polanski, the producers and their publicist. It
is agreed they will meet at Roman’s office the following morning prior to walking to the press
conference at a nearby hotel. Monday 26th April and at Roman’s office he shows Barney a
gold statuette and asks him if he knows what it is. Barney replies he thinks it is an Oscar.
Roman says he’d like Barney to win one of those.
The scene is set and for the first time the enormity of the role and the potential change in
Barney’s life became apparent. The press conference is a photo call followed by a question
and answer session with Roman and Barney. Roman tells the assembled press the film is to
be for children, something his own kids will love, and that it will be shot mainly at a studio in
Prague. It will be colourful, joyous even, and the main actors will be British. When Barney is
asked whether he has read the novel, Roman tells the press that a child of eleven cannot
read and enjoy Dickens. Barney confirms this, although he has read a children’s version of
the story and watched the film musical version from 1968 starring Mark Lester.
“Oliver Twist” – Rehearsals in Prague: Barney goes to Prague on Tuesday 6th July to
meet other cast members for a first script reading and have final costume fittings. On the
Thursday he returned to London. Friday 9th July was his last day at primary school; he’ll go
to secondary school in the autumn, and he left with his shirt signed by the whole class. He
also goes to what will be the last of his classes at Anna Scher’s until filming is over. On the
Saturday he said farewell to friends, some of who promise to visit him in Prague. An early
night beckoned in preparation for an early Sunday pick-up to go to the airport.
“Oliver Twist” – Filming: Sunday 11th July and Barney left London for what is planned to
be 15 weeks away from home. His father accompanied him, along with suitcases full of the
bits and pieces important to any eleven-year-old; his playstation, favourite DVD’s, toys and a
large number of schoolbooks – this will allow him to keep up his studies in preparation for
when he goes back to school. Monday was the first day’s filming and began with making
himself at home in his studio dressing room – complete with magnetic dartboard and
computer.
Filming started in earnest with the scene where Oliver arrives at the workhouse with Mr.
Bumble, the Beadle, to be paraded before the gluttonous board of directors. The set looked
fantastic and the crew made him feel at home. His schedule will be intense but, unlike
Victorian days, child employment laws are now strict. He will be chaperoned constantly and
have a maximum number of daily working hours, with regular breaks. Each day he calls
home and his family and friends visit each weekend.
Barney proposes to keep a daily journal during the filming in Prague.
JAMIE FOREMAN – Bill Sykes
Following in the footsteps of such distinguished actors as Robert Newton, Oliver Reed and
Tim Curry, the villainous Bill Sykes is now being played by Jamie Foreman, one of Britain’s
foremost character actors.
Forman has made guest appearances in all the leading British television series as well as
dramas like “First and Last,” “Love Story,” “Without Motive,” the roles of Ismail Kane in
“Micawber,” Jim in “Out of Control,” Keith Phelan in “Danielle Cable: Eyewitness,” Dave
Cutler in “Family” and Marky Brooker in “Family Business.”
On the cinema screen he has been seen as the Earl of Sussex in “Elizabeth,” the thuggish
constable in “Sleepy Hollow,” China MacFarlane in “Saving Grace,” the record producer in
“Remember a Day,” Brian Maitland in “Breathtaking,” Tony in “Goodbye Charlie Bright,”
Mickser in “I’ll Sleep When I’m Dead,” and the taxi driver in “The Football Factory.” His most
recent appearance was in “Layer Cake.”
MARK STRONG – Toby Crackit
Born in London, Mark Strong originally intended to pursue a career in law but after studying
for a year in Munich he returned to London to study English and Drama at university before
attending the Bristol Old Vic Theatre School. He has appeared in many British stage
productions, including several with the Royal Shakespeare Company and the Royal National
Theatre.
His numerous appearances in television drama include the roles of Inspector Larry Hall in
three series of “Prime Suspect,” Tosker (Terry) Cox in “Our Friends in the North,” Mr.
Knightley in “Emma,” Oblonsky in “Anna Karenina,” Len Davies in “The Jury,” Dr. Tolkin in
“Fields of Gold,” the Duke of Norfolk in “Henry VIII” and Harry Starks in the recent successful
television series of “The Long Firm.”
His recent big screen appearances include roles in “To End All Wars,” “Hotel,” “Superstition,”
“Heartlands,” “It’s All About Love” and the recently completed “Tristan & Isolde,” in which he
plays the part of Wictred.
LEANNE ROWE – Nancy
Stepping in the shoes of such performers as Kay Walsh and Shani Wallis, Leanne Rowe is
the latest actress to play the role of Nancy in Roman Polanski’s new version of Charles
Dickens’ classic story.
Following appearances on British television, some at a young age, Leanne came to
prominence with the role of Harriet in a 1996 episode of Enid Blyton’s “The Famous Five”
called “Five on Finniston Farm.”
This led to her being selected by director Franco Zeffirelli to play the role of Helen Burns in
his 1996 film of “Jane Eyre.”
Taking time off for scholastic studies, Leanne recently returned to acting with the role of
young warrior Siora in “Boudica” (“Warrior Queen” in the USA) and a major role in an
episode of the successful TV series “Where The Heart Is.”
HARRY EDEN – The Artful Dodger
14-year-old Harry Eden made a remarkable movie debut two years ago with the role of Paul
in “Pure,” a performance that won him two prestigious awards – The Manfred Salzgeber
Special Mention Award at the Berlin International Film Festival and the British Independent
Film Award as ‘Most Promising Newcomer.’ He was handpicked from more than 2,500 boys
for the role of Paul after auditioning 14 times.
He followed this with the roles of Russell Wade in the television production of “Real Men,”
Nibs in the film “Peter Pan” and Ben Heywood in “The Lazarus Child.”
He was previously seen on TV in episodes of “Lock, Stock…” and “Helen West.”
Harry received some training as an actor at the Sylvia Young Theatre School for children
and, coincidentally, knew he wanted to be an actor after watching a performance of Lionel
Bart’s musical, “Oliver!” and being inspired by the role of the Artful Dodger.
EDWARD HARDWICKE – Mr. Brownlow
The son of celebrated actor Sir Cedric Hardwicke, Edward Hardwicke received his dramatic
training at RADA and made his motion picture debut at the age of eleven with the role of
George in the 1943 production of “A Guy Named Joe.”
In a versatile acting career since then he has successfully divided his talents in film, on the
stage and on television in equal proportions. A one-time member of the National Theatre, he
has appeared in London’s West End on numerous occasions as well as starring in many
television dramas.
He quickly established a reputation as one of Britain’s finest character actors in films such as
“The Day of the Jackal,” “Shadowlands,” “Richard III,” “Photographing the Fairies,”
“Elizabeth,” She” and “A Lonely War.” His most recent role was that of Sam’s grandfather in
“Love Actually.”
MICHAEL HEATH – Mr. Sowerberry
Michael has 25 years of acting experience. Leading and supporting roles in television have
included both period and contemporary drama including regular roles in the series “Prince
Regent”, “By The Sword Divided,” “The Dorothy Sayers Mysteries”, “Love Story,” “Through
The Dragon’s Eye,” “ Columbus,” “ Moon and Son” and the single dramas “Pretorius,” “
Crisis,” “All The Fun Of The Fair,” “ She Loves Me” and “Henry IV.” Film work includes Les
Blair’s “The Nation’s Health.” He has played in several radio dramas, numerous repertory
seasons and a season with the National Theatre in Sir Peter Hall’s Oresteia company. West
End productions have included “Nightingale,” “ Blood So Cheap,” “ Silverlake,” “ Barnum,” “
Passion,” “Joseph And The Amazing Technicolour Dreamcoat,” “ Destry Rides Again” and
“Kings And Clowns.” A German speaker, he has also played several theatre seasons in
Austria including productions of “Carmen Negra” and “Cabaret,” which he also directed.
Michael is also a successful writer and composer, creating works for both the theatre and the
concert platform. “Lacrymosa” was a play commissioned for the Vienna Mozart bi-centenary
celebrations in which he also played the role of Mozart; his music-drama “Laura,” in which he
played the S.S. officer Strachen, has had two successful productions and he had a previous
portrayal of a Dickens character when he played Scrooge in his own new musical version of
“A Christmas Carol.” In addition to many individual songs and concert pieces, other
commissions have included the staged oratorio “Where The River Meets The Sea,” which
was written for performance in London’s Millennium Dome, and a choral setting of Martin
Luther King’s “I Have A Dream “ which is due for performance in Carnegie Hall in 2006. His
‘cello concerto will premiere in the Spring of 2005, played by the Elgar Chamber Orchestra
with Gregory Bennett Walmsley as the soloist, and he has a new musical comedy, “Silent
Star,” set in the twenties with a jazz-age flavoured score, which will star the comedian
Bradley Walsh and open at the end of 2005.
Although he divides his time equally between acting and writing, Michael’s first love is, and
always has been, film and it has long been an ambition to work with Roman Polanski –
something he has finally fulfilled with the role of the undertaker in the forthcoming “Oliver
Twist.”
GILLIAN HANNA – Mrs. Sowerberry
A doyenne of the British stage, Gillian Hanna has appeared with most of Britain’s leading
repertory companies following her debut performance at Dublin’s Gate Theatre. This was
followed by seasons with Liverpool’s Everyman Theatre, the Liverpool Playhouse, the
Sheffield Crucible and starring roles with the Birmingham Rep., the West Yorkshire
Playhouse, the Salisbury Playhouse, the Nottingham Playhouse and theatres in Newcastle
and Leicester.
She made her West End debut in “The House of Bernarda Alba” at the Lyric, Hammersmith
and went on to appear with the Royal National Theatre followed by a variety of roles at the
Royal Court Theatre.
Her many television appearances began in Ireland with Telefis Eireanne before moving to
England where she further established her reputation with leading performances in TV drama
as well as guest roles in more popular television series.
Moving to the big screen, she made her motion picture debut as ‘The Cook’ in “Wolves of
Willoughby Chase,” followed by roles in “Chicago Joe and the Showgirl,” “The Woman and
the Wolf,” “Les Miserables,” “Best” and “The Heart of Me.”
FRANCES CUKA – Mrs. Bedwin
After creating the part of Jo in Joan Littlewood’s British stage production of “A Taste of
Honey” in 1958, Frances Cuka went to America and reprised the role at the Booth Theatre
and on a tour of the United States.
An early member of the Royal Shakespeare Company, she appeared many times at
Stratford and in London playing leading roles in both classical and contemporary
productions. She regularly appeared at London’s Royal Court Theatre and subsequently
became a member of the Prospect Theatre Company and the National Theatre.
Following numerous guest appearances in television drama, she made her movie debut in
“Scrooge”, Ronald Neame’s musical version of Dickens’ “A Christmas Carol,” and went on to
appear in “Six Wives of Henry VIII,” “Watcher in the Woods,” “Mountain of the Moon,” “Afraid
of the Dark,” “Snow White in the Black Forest,” “The Man Who Held His Breath” and
“Swimming Pool.”