COCKNEYS VS ZOMBIES
PRODUCTION NOTES
Cockneys VS Zombies will open in cinemas across the UK on 31st August 2012
Running Time: 88 mins. Certificate: 15
PLEASE NOTE that all reviews are embargoed for month of release or week of release depending on
your outlet and this embargo also included blogs, forums and social networking sites.
UK Press Contacts:
Diffusion PR
Laura Pettitt - Laura.Pettitt@diffusionpr.com
Abbi Broadbent - Abbi.Broadbent@diffusionpr.com
Images available at studiocanal.co.uk/press & picselect.com
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The Cast
Harry Treadaway
Andy McGuire
Rasmus Hardiker
Terry McGuire
Michelle Ryan
Katy McGuire
Ashley ‘Bashy’ Thomas
Mental Mickey
Jack Doolan
Davey Tuppance
Tony Gardner
Clive
Georgia King
Emma
Alan Ford
Ray McGuire
Honor Blackman
Peggy
Richard Briers
Hamish
Dudley Sutton
Eric
The Filmmakers
Directed by
Matthias Hoene
Produced by
James Harris & Mark Lane
Screen play by
James Moran
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Cockneys VS Zombies
COCKNEY
“A native of the East End of London, born within hearing of the ringing of the Bow Bells”
ZOMBIE
“A supernatural power or spell that according to voodoo belief can enter into and reanimate a corpse”
SHORT SYNOPSIS
The Bow Bells Care Home is under threat and the McGuire’s, Andy, Terry and Katy need to find some
way to keep their grandfather and his friends in the East End, where they belong. But, when you’re
robbing a bank, zombie invasions makes things a lot harder and let’s face it they need all the help they
can get when their bank robbing experts turn out to be Mental Mickey and Davey Tuppance.
As contractors to an East London building site unlock a 350-year old vault full of seriously hungry
zombies, the East End has suddenly gone to hell and the cockney way of life is under threat. Equipped
with all the guns and ammo they can carry, it’s up to the gang to save the hostages, their grandparents
and East London from zombie Armageddon.
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LONG SYNOPSIS
A London building site, the sky overcast and miserable, two workmen Davvers and Greg uncover an
ancient stone door, barring the entrance to a forgotten tomb, long ago “sealed by order of the King.”
They enter cautiously, shining their torches into the deep cavern. The silence is broken by a loud snap
as Greg steps on a skeleton’s arm. Looking around, the two men realise that this is only one of
hundreds of rotted and forgotten corpses, strewn across the tomb’s floor: a graveyard perhaps?
A faint groan draws our attention and it seems that they may have disturbed more than just dust as
behind them, a corpse slowly sits up and crawls towards them: the husk grabs Davvers and bites at his
neck, ripping away a chunk of flesh. Greg, in shock, tries to escape but is himself confronted by a
skeleton that begins to devour him, face first.
The invasion has begun.
For now, we leave the devastation behind and meet East End brothers, Terry and Andy Maguire: two
cockney geezers, inspecting a dilapidated old van they have just purchased. Crossing the road to their
car, Terry pulls Andy back from the path of an oncoming vehicle and we flashback with the brothers
through the many times where Terry has protected his wayward brother. Lost in this reverie, Terry
almost slams the car into Mental Mickey, resident East End nutter with a reputation for unprovoked
violence. Assured by Terry that they are still on for their mysterious meeting later that day, Mental
attests to his reputation, head-butting Terry’s car and leaving a dent in the bonnet, a habit acquired
since having a steel plate fitted in his forehead as the result of an injury sustained during the Iraq war.
Terry and Andy pull up outside an old people’s home and their 80-year old grandfather Ray steps out, a
real East End, no nonsense gentleman, frustrated by his increasing age and the changing world: “Get
the fuck out of it”, he yells at some loitering hoodies who swiftly depart. Rolling their eyes, Andy and
Terry unload their cargo: meals on wheels for the old folks of the Bow Bells Care Home. Nagging the
boys on their lack of ambition, we flashback to Ray’s time in World War II, a brave soldier singlehandedly finishing off Nazis left, right and centre and now resigned to a care home, forgotten by the
outside world.
Entering the home’s living room, we are introduced to the other residents: Doreen, Hamish, Eric, Peggy
and Darryl, who has just returned from selling his medication to the hoodies outside! A surveyor
interrupts the pensioner’s lunchtime and we learn that the care home is to be demolished in two short
weeks, much to the distress of its born and bred London residents who dread being sent away from the
city they’ve known all their lives. Ignoring his waiting lunch, Hamish peers out of the window with his
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binoculars, attempting to spy on a bikini-clad woman next door, and innocently observes “there’s
something funny going on at that building site”, as the camera pans over people in biohazard suits,
closing the area off and spraying chemicals everywhere.
Leaving the pensioners to their lunch, Andy and Terry pick up the waiting van: they have a plan.
Stopping at a bus stop, they pick up the first of their crew, the less than competent criminal
‘mastermind’, Davey Tuppance. Second is their cousin Katy, feisty and outspoken, with a vocabulary
clearly inherited from her grandfather but with a talent for breaking locks and hotwiring stolen cars. She
is less than impressed to find that Davey Tuppance will be accompanying them, pointing out “what sort
of an expert gets caught?”, recalling an armed robbery where Davey was so distracted by an attractive
barmaid that the gun was turned on him.
The four arrive at Mental Mickey’s lock-up who gets into the van, giving each of them a handgun. They
nervously drive off but are stopped from going further by swarms of rats coming from sewers and
drains, streams of them crossing the road from left to right: “where are they all going?” wonders Andy,
ominously. Undeterred, the group wait for the rats to pass and pull-up outside a bank as what they
intend to do becomes clear: a robbery. Unconvincingly disguised as builders, in high-vis jackets and
moustaches, they enter the bank.
Inside, they are about to reveal their weapons when the bank’s manager greets them, smiling and asks
“you’re here for the money then?” Flummoxed by how well things seem to be going, Terry decides to
bluff his way through, following the manager through to her office and ignoring Mental’s advice to “just
fucking shoot everyone.” Things however, soon unravel when the group is unable to provide the politely
requested money transfer forms and Davey’s moustache starts to droop. Mental decides to take charge
and aiming his shotgun at the manager’s head, demands that she give him all the money in the
building. She leads them down to the vault where they discover 2.5 million pounds waiting for them
which they quickly transfer into their bags.
They are elated at their success, running for the exit when they open the doors and are immediately
met by blaring sirens and police demanding their surrender. Crazed, Mental opens fire on the waiting
police while the rest of the gang take refuge back in the bank. Trying to regroup, from outside the
sounds of shooting, crashing cars and screaming can be heard. Suddenly, it all goes quiet. Unnerved,
Mental grabs two hostages, Emma and Clive, and proceeds to push them outside. They are met with
carnage: the streets are deserted, cars are on fire and abandoned, there are human body parts
scattered everywhere and a zombie sits on top of a car chewing a severed human leg! Stunned, they
grab the money and run, bundling into the van; hostages, bags and all.
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Back in the relative peace of the care home, three zombies suddenly lurch in from the garden. Panic
ensues and Ray takes charge, severing the head of the care home’s gardener, now a zombie, with his
very own alligator loppers. Meanwhile, Peggy grabs a lamp and shoves it into a zombie’s eye as the
pensioners make for the safety of the kitchen. They are surrounded and trapped, with all escape routes
blocked.
Pulling up at an abandoned warehouse, the gang are followed inside by a slow, lumbering zombie
which gets too close and latches on to Mental’s arm. He quickly dispatches the zombie, learning,
courtesy of Emma, that the only way to finish off a zombie is by shooting them in the head: doesn’t
everyone know that? Unfortunately, it’s too late and the zombie’s jaws remain clamped fast on Mental:
his fate is sealed and they all know that it can only be a matter of time.
In need of information, Terry and Katy head cautiously to the van’s radio and listen as an emergency
news bulletin announces that a mutated virus is spreading fast and that people should stay in their
homes while the threat is contained. Scared now, the group starts to unravel and begin to squabble:
Emma demands that she be set free, wanting to go and find her sister, inferring that they’re all too
selfish to appreciate the importance of family. Stung, the Maguire’s reveal that their motives for the
robbery were good intentioned, explaining that they wanted to use the money to keep their
grandfather’s care home open and him in London, where he belongs.
The pensioners are now in desperate need of help. Hamish, whom they feared had been finished off by
the zombies, has in fact missed the entire incident and is still snoozing, oblivious, in the garden. Not
wanting to alert the surrounding zombies, Ray tentatively calls to Hamish to run. Getting up, he is
immediately spotted by a waiting zombie and for the first time, realises the danger he’s in and heads for
the kitchen door as fast as he can. He slowly shuffles along and the zombie follows: the slowest chase
in the world! Ray again decides to take charge: he tips Eric out of his wheelchair “Gotta borrow your
wheels”, and rams the chair through the waiting zombies outside leaving the other pensioners to fight
off the zombies with a fire extinguisher a lump hammer and a packet of cornflakes. Ray loads Hamish
into the wheelchair and drives him back to the safety of the kitchen: the hero once more.
At the warehouse, the gang have their own problems: Mental has become a zombie and, with shotgun
still in hand, is staggering towards the bound hostages. Hearing the screams of Clive and Emma, Terry
kicks in the door and shoves Mental back. Katy instructs her cousins to finish him off and Terry shoots
at point blank range: “clang!” Mental staggers back but still stands as the bullet ricochets from the metal
in his skull, leaving a ragged hole in his forehead. Thinking fast, Terry remembers a grenade that he
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confiscated from Mental at the bank and shoves it into the zombie’s mouth. The grenade explodes and
pieces him are strewn across the floor.
Momentarily distracted by the explosion, Clive takes the opportunity to grab a shotgun and aim it at his
captors, unaware that three zombies have wandered into the building behind him. Believing Andy’s
warnings to turn around to be a trick, he is seized by the zombies and screaming, falls back, accidently
firing the gun and blasting Davey to the floor. Shot in the chest, he’s bleeding heavily: his eyes close,
he’s gone, shockingly fast. The group are stunned and at that moment Terry decides it’s time to leave
and save their grandfather, promising to take Emma to her sister.
Terry drives through the deserted streets and the gang realise the severity of the situation. Arriving at
Emma’s sister’s house, Emma and Terry head warily inside. Going up to her bedroom, we hear Emma
exclaim, “Oh, no” as she realises that her sister has been turned. Emma can’t bring herself to do what
she knows she must and quietly they close and lock the door on her lost sister.
Their car has now been surrounded by zombies, all wearing blue football scarves. Reluctant to leave
their only means of escape behind and despairing at yet another obstacle, the McGuire’s and Emma
can only watch as another group of decaying zombies round the corner, this time wearing red scarves.
The blue scarf zombies turn and start shuffling menacingly toward their football rivals: a lucky break for
the gang as they take the opportunity to sneak past the fighting zombies and pile into the car.
After a detour to the late Mental Mickey’s lock-up to borrow a few of his countless weapons, the
McGuire’s and Emma speed to the care home, rounding the corner in a big, red London bus they
commandeered for the rescue. Creating a diversion, Emma lures the zombies away while the others
climb up the fire escape and onto the roof of the building. Searching for a way in, they force open a
trapdoor and discover Ray and the others. Realising that climbing back down the fire escape is not an
option for the aged pensioners, they decide the only way out is via the front door and give each of the
pensioners a gun and explain how to use them.
Armed to the false teeth and with a mighty war cry, they burst out of the kitchen and force the zombies
back. They fire, taking zombies down left, right and centre, Darryl even beating one unsuspecting
zombie to death with his wooden leg, until they are outside. Driving a path through the zombie hoards,
Emma pulls up and the triumphant gang pile on and drive off, safe at last.
Spotting the stolen money, Andy and Terry are forced to come clean about the bank robbery to their
grandfather, trying to explain that they only did it to save the care home. Terrified of his reaction, the
boys are stunned when Ray tells them that he’s proud of them, risking prison to make sure him and his
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friends are taken care of. The tender moment is shattered when suddenly there’s a horrible grinding
sound and the bus slowly comes to a shuddering halt.
Agreeing that they should make for the river and find a boat, they all pile out of the bus and head for the
docks as a huge crowd of hungry zombies follow. Only just avoiding them, the group manage to find a
boat. Peggy tries to start the engine but is thwarted by the large rope still keeping them at the docks.
Knowing that whoever goes to untie the rope will surely be seized by the waiting zombies, it seems that
no-one is willing to sacrifice themselves until Ray jumps on to the dock before anyone can stop him and
sets the boat free. Surrounded by zombies, Ray is lost from sight: the others are stunned realising that
Ray has just given his life to save theirs.
Enraged, Andy, Terry and Katy jump ashore ready to avenge their grandfather. Hearing the roar of a
machine gun, bloody chunks suddenly erupt from the backs of the zombie hoards as they’re pushed
back by Ray’s machine gun fire: he’s alive! Running to their grandfather, the McGuire’s aim their guns
and dispatch zombie after zombie. Finally, they are met with the surveyor from the home, now a
zombie, and together, as a team, all four shoot him down and run for the departing boat. In her relief,
Peggy plants an enormous kiss on Ray, something she’s always wanted to do.
As the boat chugs down the Thames, hordes of zombies throng the banks and the East End streets
and our Cockneys wonder what will become of their beloved homes as helicopter gunships pass
overhead.
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BRINGING ZOMBIES TO LIFE: JOURNEY TO THE SCREEN
In 2008 producer, James Harris and director, Matthias Hoene, were working together on a horror serial
for Hammer Films, entitled Beyond the Rave in which a group of cockney ravers fight for survival
against a vampire coven. Noting the humour that came from pitting two no-nonsense cockney gents
against the supernatural, it was here that the inspiration for Cockneys VS Zombies was born: “they
were larger than life, brash characters and they had no fear and were full of bravado against the
supernatural which was very funny” notes Hoene. Certain that this unlikely character pairing of cockney
and zombie could work as a feature film, Harris then went to sales agent and co-producer Mark Lane
who quickly managed to secure full financing for the project.
Having a strong background in the horror-comedy genre, British screen writer James Moran
(Severance) was the perfect choice to develop the script alongside Hoene and together they created a
“memorable bunch of good, solid, mostly honest, salt of the earth Cockney family and friends." Very
aware that a title such as Cockneys VS Zombies may place them in B-Movie territory and keen to
emphasize that was not another ‘typical’ zombie movie; Moran developed a script focused on its
characters, their lives, trials and tribulations and created “a heartfelt, genuine story” about the
importance of family and community that the outside zombie hoards threaten to destroy.
DIRECTOR’S VISION
Cockneys VS Zombies is the feature film debut of Hoene, who comes from a commercials background
and won a Golden Lion in Cannes for his first commercial in 2001. Harris suggests that this experience
brings a lot of scale and vision to a project such as this, resulting in a cinematic and large-scale finish. “I
wanted to go for a very shiny, sexy view of East London” states Hoene, “to give it a really cinematic
look, in a way that it maybe hasn’t been shown before.” This is perhaps one of the most unique
elements of the film, taking the East End of London away from its typical representation as a gritty and
shady place. By using a wide-angled lens, he was able to create larger than life characters and a new
visualisation of the East End that rivals the dramatic and varied horror settings of American films.
Indeed, Hoene even likens the “swashbuckling adventures” of his cockneys to Disney’s Pirates of the
Caribbean and names it as one of the inspirations behind the endless adventures of his characters.
With a genuine passion for zombie films, it is clear to see that homage has been paid to the classic
films of the genre: Hoene cites Peter Jackson’s Braindead, widely seen as one of the goriest movies
within the horror-comedy genre, Evil Dead 2 and Dawn of the Dead as inspiration. More generally, the
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filmmakers attest to their love of British films, also naming Sean of the Dead and Lock Stock and Two
Smoking Barrels, satisfyingly referenced in the casting of Alan Ford, with its criminal elements as an
influence. Hoene, Harris and Lane were, however, keen to add to the canon with their own unique
offering and wanted to bring new elements to the genre: “I tried hard to find a genuine truth amongst
the canon and make it fresh” says Hoene, pointing out how the perspective of Cockneys VS Zombies
makes it stand apart from other films in the same genre. The choice of cockneys as the protagonists,
for example, never before seen in a zombie movie, is unique as is the East End setting. Equally,
although the film employs the classic slow, lumbering zombie, a fresh twist is added in the pairing of
OAP’s, who are even slower! Indeed, so unique is Cockneys VS Zombies that the filmmakers have
conceived of a whole new genre, dubbing their film an “adventure Zomedy.”
CREATING THE ZOMBIES
Creating the look of the zombies was also something Hoene felt strongly about, wanting to create a
“traditional look” that was immediately identifiable to horror fans. Noted effects and prosthetics
designer, Paul Hyett (The Descent, Storage 24) assisted in the development of the zombie look and
also felt that an old-school appearance was in order, applying extensive prosthetics to over 800 zombie
extras over the 4-week shoot, but notes that the look is subtle as “the film is set over a day so not too
much decay can take place.” A great deal of effort was made to ensure the zombies looked
appropriately terrifying and special contact lenses were even made for the zombies to wear. Further, to
help co-ordinate the zombie hoards, many of them volunteers, perhaps demonstrating the popularity of
the zombie genre, Movement Choreographer, Tristan Matthiea was brought on board to teach them
how to move properly, even creating a bespoke zombie instructional video that extras watched each
morning.
NOT JUST ANOTHER ZOMBIE MOVIE
Harris states that all zombie movies are “timeless” and always about character and situation rather than
the zombies and this film is no exception. Indeed, Hoene’s zombies represent not just the supernatural
but “an unstoppable force”, a plot device he has used, in this instance, to dramatize the change he has
seen throughout his fifteen years spent living in the East End of London. Often struck by industrial overdevelopment and the resulting destruction of traditional East End neighbourhoods, Hoene employs his
zombies to symbolise the overwhelming force of modernisation, encroaching on the lives of the
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characters. The theme of old versus new is constantly visualised through the location of the “new
developments of Canary Wharf and the Olympic area, contrasted against all the older, key landmarks
of East London.” Many scenes in the film deliberately focus on the East End of London in the
foreground with shiny, high-rise buildings in the background, epitomizing the struggle between old and
new. As Harris notes, there is an undeniable romanticism attached to the people and places of the East
End, particularly in British film, and it provides an iconic and unique setting for a film such as this.
The theme is further explored in the characterisation of the pensioners, standing for the traditional East
End values, and the younger generation, who come to realise the importance of protecting these ideals.
Significantly, the younger characters rob a bank in the hope of getting enough money to keep their
grandfathers care home open, soon to be demolished to make way for new, modern apartments. At the
end of the film two generations of the McGuire family come together to destroy the now zombified
surveyor, representing the triumph of traditional values over modernisation. The zombies are merely the
background to the real heart of the cockney’s touching story.
CASTING COCKNEYS
James Moran’s script demanded a memorable gang of cockney characters to bring the story of East
End survival to life. Before casting had even begun, Moran and Hoene sat down to write a wish-list of
actors they would ideally love to play the parts. The corner stone of the whole ensemble was Ray
McGuire, a role that was actually written with cockney legend Alan Ford (Lock Stock and Two Smoking
Barrels, Snatch) in mind, who accepted straight away, happy to have finally found a script in which he
could recognise himself and the way he spoke. Once Ford was on board, and with the support of
respected Casting Director, Colin Jones (John Carter of Mars, Get Him to the Greek) some truly great
British cast became attached to the project: also on the wish-list was sixties Bond girl Honor Blackman
(Goldfinger, Bridget Jones’ Diary) who despite her clipped tones is the most cockney, geographically
speaking, of the cast, having been born in Plaistow. The role of cheeky pensioner Hamish was taken by
British legend Richard Briers (The Good Life, Monarch of the Glen) who lent a great sense of integrity
to the project as well as a great deal of humour: “he transforms every scene and makes it magic” says
Hoene. Additionally, Dudley Sutton (Lovejoy, Outside Bet) takes on the role of Eric, who exclaimed
“now that’s what they call a title” when he received the script! The set of Cockneys VS Zombies
reunited many of these older actors who had worked on projects together many years ago and so the
camaraderie of the pensioners was soon established and merely imitated real life; as Alan Ford says
“it’s nice to be with old pals.”
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Despite the importance of the zombies to the film, Cockneys VS Zombies is really a story about family
and community and the casting of the McGuire family was crucial to the integrity of the story. Playing
the key roles of brothers Terry and Andy McGuire are up and coming British talents Rasmus Hardiker
(Your Highness, Lead Balloon) and Harry Treadaway (Control, Albatross) who’s undeniable talent and
on and off-screen rapport, bring to life the “two cockney chancers.” James Harris was particularly
pleased with the casting of Harry, and his ability to bring “a real sort of charming, loveable stupidity to
the character” that bought the brother’s relationship to life. East End regular, Michelle Ryan (Bionic
Woman, Eastenders), who’s acting background allows her to be “able to dispatch a zombie with great
ease”, plays feisty cousin Katy and completes the McGuire trio. Bringing up the rear is criminal ‘expert’
Davey Tuppance, played by Jack Doolan (Cemetery Junction) and Ashley ‘Bashy’ Thomas’ (The Man
Inside, Anuvahood) who gives a brilliantly unhinged portrayal of the character of Mental Mickey that
impressed cast and crew alike.
The camaraderie of the cast was crucial to the success of a fast-paced 6-week shoot that left no margin
for error. Harry Treadaway comments that it was a pleasure to come to work every day and be amongst
friends, describing a set full of laughter and fun that helped the group through a gruelling shooting
schedule. It was clear that cast and crew had a great deal of respect for one another and enjoyed
working together that is evident in the on-screen rapport that comes across in the finished film.
James Moran was keen to distance the film from the typical stereotypes of cockneys as “gangsters”
because audiences have seen this so many times before and wanted people to root for these
characters, even though they were robbing a bank! The critical motivation of the McGuire’s is family
and community and it’s this angle that makes them likeable and relatable. The film ends with an
emotional climax about the importance of family values and so it was crucial to cast the right actors who
could create this sense of unity and loyalty: “it’s a great ensemble” concludes Ryan.
HUMOUR VS HORROR
Hoene, Harris and Lane all individually attest to the fact that horror-comedy is one of the most difficult
film genres to do well as the two elements are so hard to harmonise. To combat this, Hoene decided to
concentrate on creating an honest film about cockneys in an unlikely situation, assured that humour
would result from “truthful observations” of reality. The humour of Cockneys VS Zombies is unforced
and comes from the situation rather than any deliberate gags or physical comedy, although these are of
course a part of it. Hoene suggests that they key to any good comedy, within any genre, is “to play
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everything real, don’t try to get laughs and it will come naturally via the characters and their
predicaments.” Hoene uses humour in the film as a device by which to highlight serious subjects
affecting modern society which is often impossible in other types of drama. As Hoene suggests, talking
about issues such as modernisation and the loss of community using humour, allows film makers to
deliver messages and make social commentary via the unlikely channel of horror films in an intelligent
and unobtrusive way.
A great deal of the humour of course is achieved in the unlikely paring of cockneys vs. zombies: a duo
never seen before in this genre. It is the characteristic bravado and bold reaction to a supernatural
force, such as zombies, that is so unexpected that facilitates humour. Indeed, says Lane, it doesn’t
even necessarily have to be cockneys facing zombies but anything supernatural, that is “always funny.”
Humour is further achieved by contrasting the characteristic slowness of the zombies against the
slowness of the pensioners; a particularly funny moment results from an incredibly slow chase scene
between Richard Briers, using a Zimmer frame and a zombie. Equally, the ineptitude of the key
protagonists in fighting off a traditionally useless foe leads to comedy. Hardiker also suggests that the
humour provides some much needed light relief, and that without it, Cockneys VS Zombies “could
easily be an extremely frightening thriller visually.”
Equally important is the blood and gore in the film, harking back to the inspiration provided by
Braindead, and central to any zombie film worth its salt. Hoene doesn’t disappoint and especially
delights in discovering new ways to finish off zombies, allowing his characters to explore new avenues
of violent possibility: Mental Mickey, for example, drop kicks a zombie baby over a bill board.
LAST WORD
As Alan Ford perfectly puts it, Cockneys VS Zombies “ain’t Chekov!” What it is, is an emotive story
about family and community, with a lot of laughs. Hoene describes it as “a gung-ho British adventure
movie” that will leave audiences feeling uplifted. It is a homage to the zombie films best loved by the
filmmakers that also succeeds in bringing something new and unique to the genre.
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CAST BIOGRAPHIES
HARRY TREADAWAY
Harry Treadaway was born in Devon in 1984 and moved to London when he was 18, where he enrolled
at The London Academy of Music and Dramatic Art.
In 2003, Harry made his professional feature film debut taking on the lead role in Film 4’s Brothers of
the Head, a story set in the 1970’s about conjoined twins exploited and thrown into the punk scene.
Written by Tony Grisoni, this demanding and highly unusual role saw Harry and Luke strapped together
for two months in a bid to physically transform themselves for the part. In addition to this Harry co-wrote
and recorded an album which the band played live in the film, subsequently leading Harry to be
nominated for ‘Most Promising Newcomer’ at the British Independent Film Awards. This was an
extraordinary debut and involved him losing two stone for the part earning him much critical praise and
already gaining cult status. “The Howe brothers are brilliantly portrayed by the real-life identical (but not
conjoined) twin brothers Harry and Luke Treadaway, who play their own instruments.” Stephen Holden,
the New York Times.
After leaving LAMDA in the Easter of his third year, Harry went straight into two high profile TV
programmes, starring alongside Lesley Sharpe in Afterlife and opposite David Tennant in Antony
DeEmmony’s Recovery. Learning to play drums for the role, Harry returned to the silver screen playing
musician Stephen Morris in Anton Corbyin’s award winning Control a biography of the troubled Joy
Division lead singer Ian Curtis.
In 2007, Harry’s return to TV came in the form of the Channel 4 series Cape Wrath (a.k.a.
Meadowlands in the US) starring alongside David Morrissey and Felicity Jones. Harry reprised his role
for 8 episodes and received praise for his detailed portrayal of a young man with Asperger’s Syndrome.
Now gaining momentum as a versatile and exciting young actor, Harry recently played the lead in
psychological thriller The Disappeared (2008) for which he received rave reviews. Playing the role of
Matthew Ryan, Harry embraced playing such a dark and troubled character. “Young lead Harry
Treadaway deserves a BAFTA.” Metro
Attracting attention from his work in the British Independent Cinema, Hollywood was taking notice and
Harry walked straight into City of Ember, produced by Tom Hanks, starring alongside Saoirse Ronan
with support from Bill Murray, Tim Robbins and Martin Landau. “I'm a little sick of the phrase "they don't
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make'em like they used to," because they obviously can and it's what Gil Kenan proves with his first live
action feature, City of Ember.” Movie Blog.com
A young Buzzcocks fan was Harry’s next role in Sam Taylor-Wood’s award winning Love You More; the
short film saw its world premiere at the Cannes Film Festival in 2008 enjoying a further screening at the
Telluride Film Festival later that year, prompting Alex Billington of firstshowing.net to say “Even after 5
days, it's still one of the most memorable things I saw.” At Sundance Sam Taylor-Wood won Short
Filmmaking Award – Honourable Mention, and at the Vila do Conde International Short Film Festival
the Prix UIP Vila do Conde Award (European Short Film).
Next Harry moved to Jordan to shoot Rowan Joffre’s BAFTA-nominated TV feature The Shooting of
Thomas Hurndall. Playing a supporting role opposite Stephen Dillane and Kerry Fox the plot follows the
parents of Thomas Hurdnall and their desperate quest to find out what happened to their son. Arriving
in Israel they expect to be treated with sympathy and consideration but instead are welcomed with
contradictory stories from eye-witnesses and a lack of co-operation from Israeli authorities, provoking
the devastated duo to initiate their very own investigation, despite the dangerous Open-Fire regulations
the Gaza army adhere to.
Harry’s theatre debut in came March 2009 at the Royal Court’s in Mark Ravenhill’s new play, Over
There. This was the first time he worked with his brother in four years, having turned down offers of
brothers parts, they couldn’t refuse a two-hander at the Royal Court. Due to its success, the play then
transferred to Berlin for a short run.
Harry starred alongside Michael Fassbender and Katie Jervis in Fish Tank, one of Britain’s most
exciting directors Andrea Arnold. The film won the prestigious Grand Jury Prize at Cannes after making
its debut there earlier this year. Harry plays a supporting role opposite Michael Fassbender and Katie
Jarvis. Already being named “The Best British Film of the Year”, by Jonathan Dean of Total Film, Time
Out Magazine’s Dave Calhoun went on to give it a tremendous five star review stating “It delivers in
spades attitude, humour, sadness, love, anger and hope.”
2010’s Pelican Blood was Harry’s next role which followed a story about the heart ache of a broken
relationship and the ways in which we cope. Harry has also starred the lead role opposite Lesley
Garrett in Iain Glan’s directorial debut Ghosts at the Duchess Theatre. Most recently Harry has been in
Ireland filming Hideaways where he will be playing the lead opposite Rachel Hurd Wood – which has
been taken to Tribeca Film Festival 2011.
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Following the success of Harry’s debut theatre performance, Harry again appeared at the Royal Court
to star in the new Nina Raine play; Tribes. Directed by Roger Mitchell.
In 2011, Harry starred in the BBC drama The Night Watch where he played the lead alongside Claire
Foy and Jodie Whittaker. Harry has currently completed filming a new TV-miniseries, Flight of the Stork
which is due out this year and is currently filming the new Johnny Depp and Helena Bonham Carter film
Lone Ranger.
RASMUS HARDIKER
A former member of the National Youth Theatre, Rasmus Hardiker, is perhaps best known for his
portrayal of Raymond in Steve Coogan’s sitcom Saxondale and Ben in the Jack Dee comedy Lead
Balloon. Other TV roles include appearances in the comedy film Magicians alongside Robert Webb and
David Mitchell and I Want Candy with Carmen Electra. Not just a comedy actor however, Rasmus has
also appeared in more serious roles including The Bill, New Tricks, a BBC adaptation of Shakespeare’s
Much Ado About Nothing and Lecture 21, a British-Italian film, appearing alongside John Hurt.
Rasmus provides voices for the BBC’s new series of The Octonauts. He also voices the lead character,
Spencer in Dude That’s my Ghost, soon to be seen on Disney XD and has just starting voicing the
characters of Gnasher, Curly, Bertie and others in the BBC’s new series of Dennis and Gnasher based
on the Beano comic strip Dennis the Menace.
Moving across to the US to appear as Courtney in popular US comedy Your Highness alongside Danny
McBride, James Franco and Natalie Portman, Rasmus is fast becoming one of the UK’s best-loved
comedy exports.
MICHELLE RYAN
Michelle’s film appearances have shown her ability to experiment with a diversity of roles, and she is
now adding the West End to her versatility. Stepping out on to stage Michelle has landed the role of
‘Sally Bowles’ in Ruth Norris’ Olivier-award winning production of ‘CABARET’ this autumn. She will star
alongside Will Young.
She recently completed filming the lead role of ‘Alexia Sinclair’ in ‘The Man Inside’, a feature written and
directed by Dan Turner, and she will next be seen in ‘Cockneys Vs Zombies’, a story about a gang of
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bank robbers fighting their way out of a zombie-infested London; Michelle stars with Honor Blackman,
Georgia King and Harry Treadaway.
Most recently audiences saw her in ‘Cleanskin’ directed by Hadi Hajaig alongside Sean Bean and
Abhin Galeya, and ‘Huge’ directed by comedian Ben Miller which premiered last year at the Edinburgh
Film Festival and starred Thandie Newton, Noel Clarke, Johnny Harris and Tamsin Egerton. She also
featured in the hugely successful and first ever YouTube film ‘Girl Walks into a Bar’ by director
Sebastian Guttierez in which she played the role of ‘Loretta’ opposite Rosario Dawson, Danny Devito
and Josh Hartnett. Last year she was seen in Noel Clarke’s directorial debut ‘4.3.2.1’ alongside Emma
Roberts and Noel Clarke and just recently in ‘Love’s Kitchen’ with Dougray Scott and Claire Forlani.
Michelle’s other film credits include the horror feature ‘Flick’ starring Faye Dunaway which was
nominated for the Raindance Award at the 2008 British Independent Film Awards. She also starred in
Sean Ellis' debut feature film based on his Oscar nominated short film, ‘Cashback’, starring Emilia Fox,
Shaun Evans and Sean Biggerstaff, as well as in the comedy ‘I Want Candy’ directed by Stephen
Surjik, in which she starred alongside Jimmy Carr and Carmen Electra.
For television, Michelle has also featured in numerous popular and prestigious series. She featured in
the role of the mysterious ‘Lady Christina de Souza’ in a one-off special of the hit BBC series ‘Dr Who’
and also took the lead role in ‘Mr Eleven’ a two-part romantic comedy for ITV, alongside Adam Garcia.
Michelle has also been seen in ‘One Night in Emergency’ for BBC Scotland, playing the character of
Lucy alongside Kevin McKidd and played a cameo role in the popular BBC 1 family drama, ‘Merlin’. Her
further television credits include the starring role of Jaime Sommers in NBC's drama series ‘Bionic
Woman’, a re-imagination of the popular 1970's TV series. She also appeared in ITV’s ‘Mansfield Park’
for ITV alongside Billie Piper, the BBC production of ‘Jekyll’, opposite James Nesbitt and Gina Bellman
and she starred in ‘Miss Marple: By the Pricking of My Thumbs’, part of the popular ITV series, with
Geraldine McEwan, Greta Scacchi and Anthony Andrews all appearing. Michelle is perhaps best known
for her portrayal of Zoë Slater in ‘EastEnders’, which she concluded in 2005. Prior to this her television
credits included ‘The Worst Witch’ (BBC) and ‘Burnside’ (Pearson TV).
On the stage, Michelle starred as Marge Sherwood in Raz Shaw’s stage adaptation of ‘The Talented Mr
Ripley’ to critical acclaim at Northampton’s prestigious Royal and Derngate Theatre. Michelle has also
appeared in the Toby Young and Lloyd Evans stage production ‘Who’s The Daddy’, playing ‘Tiffany the
Mole’, one of the lead female roles, in an outrageous portrayal of life at Britain’s foremost political and
literary magazine (The Spectator) during the Blunkett Sex’n’Visa scandal. She also took part in the ‘24
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Hour Plays’ at the Old Vic where she joined 40 internationally renowned actors, directors and writers
join forces to test their talents to create six short plays in just 24 hours. Other theatre work includes
roles at the London Palladium, Her Majesty’s Theatre and Millfield Theatre.
ASHLEY ‘BASHY’ THOMAS
British actor and recording artist Ashley Thomas trained at the BRIT school of performing arts as a
theatre student.
Ashley will soon be seen on the big screen as a lead in Kaleidoscope Film’s The Man Inside alongside
Peter Mullan and David Harewood, as well as playing a significant role in My Brother the Devil; both of
which are set for release in 2012.
Ashley recently starred in an episode of Charlie Brooker’s highly acclaimed Black Mirror Trilogy for
Channel 4.
He released his debut album, Catch Me If You Can, in June 2009, he also features on the platinum
selling album, Plastic Beach by the Gorillaz.
Noel Clarke, director and star of Adulthood first encountered Ashley from his street mix tapes, which
contained samples from Noel’s previous film Kidulthood. Clarke was so impressed by what he heard,
that he asked Ashley for a track to use on the official soundtrack for Adulthood, after which Clarke
asked Thomas to act as music supervisor for the project.
In 2010 Ashley played Rager in British Indy flick Shank. He then went on to star in Noel Clarke’s
Universal distributed 4321.
In April 2011, BBC Learning launched Off by Heart Shakespeare, a recital contest for secondary school
pupils. Ashley took on the role of Shylock from The Merchant of Venice and delivered one of the
character’s most memorable speeches; “To bait fish withal”.
Other film credits include The Veteran and Channel 4 short Resilience.
JACK DOOLAN
Jack’s numerous television appearances include Eastenders, Spooks, The Bill and the regular role of
Tyler in 4-series of the BBC comedy The Green Green Grass. He recently completed leading roles in
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Roughcut TV’s new sitcom pilot Fun Police and Objective TV’s new comedy pilot Kabadasses, both for
Channel 4.
Jack’s feature work includes the co-leading role of Snork in Cemetery Junction, directed by Ricky
Gervais and Stephen Merchant and James in Demons Never Die.
ALAN FORD
Trained at the East 15 Acting School, Alan Ford is perhaps best known today for his roles in Guy Ritchie’s Lock,
Stock and Two Smoking Barrels and Snatch. Other films roles include appearances in Exorcist: The Beginning,
British gangster film The Long Good Friday and a small role in the cult classic An American Werewolf in London.
Proving himself to be a talented comic actor, he has also appeared in Knowing me, Knowing you…with
Alan Partridge, The Armando Iannucci Show and every episode of the BBC dark comedy series Snuff
Box as a priest. A career characterised by longevity, Alan has had roles in TV classics including The
Darling Buds of May, Birds of a Feather, Waking the Dead and Law & Order.
Alan has also appeared in the music video of ‘For he’s a Jolly Good Fellow’ by Welsh band
Lostprophets and provided voice acting to the video game Fable 2. Alan can next be seen in the
forthcoming The Sweeney alongside Ray Winstone.
HONOR BLACKMAN
Film credits include the iconic role of Pussy Galore in Goldfinger, The Cat and the Canary, Something
Big with Dean Martin, Conspirator with Elizabeth Taylor and Richard Burton, Jason and the Argonauts,
Life at the Top, Moment to Moment, Quartet, So Long at the Fair, The Last Grenade, The Virgin and
the Gypsy, Shalako, To Walk with Lions, Bridget Jones’ Diary, and Colour me Kubrick, and the new
feature film Re-uniting the Rubins with Timothy Spall. Honor has also just filmed a cameo role in I,
Anna, with Charlotte Rampling and Gabriel Byrne.
Theatre credits include West End and national appearances with Wait Until Dark, The Deep Blue Sea,
A Little Night Music, The Way of the World, Heartbreak House, Lord Arthur Savile’s Crime, Foxtrot, The
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Sound of Music, Agnes of God, On Your Toes, Nunsense, The Life and Times of Yvette Guilbert,
School for Scandal, Old World, The Glass Menagerie, Mademoiselle Colombe, The Vagina
Monologues, The Play What I Wrote, My Fair Lady, The Kingfisher, Cabaret. Honor is currently
preparing her fifth own one-woman show.
Television credits include a feature length episode of Columbo with Peter Falk, and of course most
famously Cathy Gale in The Avengers and also Laura West in six series of The Upper Hand. Other
credits include The Armando Iannucci Show, comedy pilots Revolver, Sister Francis and Sound, guest
lead roles in Doctors, Midsomer Murders, The Royal, Summer Solstice, Doctor Terrible’s House of
Horrible, The American Embassy, drama/reality show The Verdict, Coronation Street, New Tricks and
Hotel Babylon.
Radio credits include Three Men on a Plane, She Fell Among Thieves, and All Passion Spent, The
Power of Life and Death for Woman’s Hour (all for BBC Radio 4).
Honor has also recorded poetry and verse on the new CD collection Words for You, which features
international stars of stage and screen and is currently a best-seller on Amazon.
RICHARD BRIERS
Richard Briers spent two years as a filing clerk and a further two years as a filing clerk in the RAF,
before he got himself a place at RADA.
For the last fifty years he has been one of England’s most versatile actors playing everything from
Shakespeare to pantomime. He has appeared in the West End in over twenty plays spanning Ibsen,
Shaw, Coward, Ayckbourn, Simon Gray and Ray Cooney. On stage, he has worked for Kenneth
Branagh playing Malvolio, Bottom, King Lear and Uncle Vanya. In 1998 he had a huge success in
Simon McBurney’s production of The Chairs with Geraldine McEwan, which went on to repeat its
success on Broadway. Theatre productions include the West End revival of Alan Ayckbourn’s Bedroom
Farce and a UK tour of The Tempest, directed by Patrick Mason and produced by Thelma Holt.
Richard has starred in several hugely popular television series including Ever Decreasing Circles and
the beloved The Good Life which has been seen in many countries all over the world. He appeared in
three series of Monarch of the Glen for Ecosse Films and BBC1, and starred in the acclaimed one-off
drama about elder abuse: Dad for the BBC.
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On film, Richard has worked extensively with Kenneth Branagh, appearing in Henry V, Much Ado About
Nothing, In the Bleak Midwinter, Swansong, Hamlet , Love’s Labours Lost and As You Like It.
He worked with PJ Hogan on Unconditional Love and Peter Pan.
Richard is married to the actress Ann Davies and they live in Chiswick. They have two daughters, Katy
and Lucy. He received an OBE in 1989.
DUDLEY SUTTON
Dudley has been an actor since 1957, appearing in dozens of films, plays, musicals and TV shows. He
also writes and performs comic verse and political poems and songs with linking biographical tales, for
Glastonbury, via Edinburgh and festivals and venues throughout the land. Recently he has appeared in
the seminal film The Football Factory, Love, The Musical at the Lyric Hammersmith, Romeo and Her
Juliet, at the Bristol Old Vic and God Don't Live On A Council Estate, a modern play at the Tap Theatre,
New Cross Gate. Dudley also featured in Outside Bet alongside Bob Hoskins and Adam Deacon earlier
this year. At 78, he still feels as if he is just starting out.
THE FILMMAKERS
MATTHIAS HOENE (DIRECTOR)
Matthias was born in Singapore, grew up in Berlin and studied in Sydney and London. The multicultural
environment he grew up in has informed his work and after directing a couple of award winning shorts
during his time at the renowned St. Martin’s College he was quickly signed up by Partizan, one of
London’s most highly awarded production companies (Eternal Sunshine, Be Kind Rewind).
His first directing assignment was a music video for Fatboy Slim and shortly after he directed his first
commercial, Club18-30 ‘Doggy Style’, which won a Golden Lion in Cannes. Since this, Matthias has
been directing award winning music videos, commercials and documentaries all over the world while
continuing to work on personal projects.
His thriller pilot for Content Film starring Josh Dallas (Thor) and Vincent Regan (Clash of the Titans) is
being packaged by Content film.
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Emotion and storytelling always comes first in Matthias’ work and his ability to imbue genre material
with heart as well as grit and to create visionary images, and push the envelope in filmmaking makes
him a director to watch.
JAMES HARRIS (PRODUCER)
James Harris began his career production managing low-budget British films such as Cold Earth,
Beyond the Rave for Puregrass Films and When Evil Calls for Gatlin Pictures. He went on to work for
Gumball 3000 Films, producing the television documentary Gumball 3000 Rally: 2007 Asia and Back
for Channel Four and production co-coordinating Love Long Live, an experimental film by the Oscar
nominated director Mike Figgis.
In 2009, James began to develop projects alongside production company Red Sparrow and
consequently line produced Psychosis, Reg Traviss’ follow up to his impressive feature debut Joy
Division, starring Buffy the Vampire Slayer’s Charisma Carpenter. Psychosis received a UK DVD
release through Lionsgate in 2010.
In 2010 James completed line producer duties on F, the critically acclaimed horror thriller
from Johannes Roberts, starring Eliza Bennett and David Schofield. Described by Empire as “Pulsing,
paranoid and downright eerie… a hoodie thriller with proper scares”, it received a UK theatrical release
from Optimum in 2010.
James has subsequently made the natural step into producing, working alongside Ronnie Thompson to
adapt and bring to life Screwed, his auto-biographical novel about working within the prison service,
with Reg Traviss once again directing.
Through his company, The Tea Shop and Film Company Ltd, James currently has several more
projects green lit for 2012 and is continuing to expand and develop their slate of films.
MARK LANE (PRODUCER)
Mark is a graduate of Surrey Institute of Art and Design, BA (Hons) Film Production.
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Joining UK sales company Velvet Octopus in 2006 as Sales and Marketing Executive, Mark worked
directly under veteran sales agent Simon Crowe. Mark represented international sales on multiple
territories and co-production interest on multiple titles including The Reef, The Secret of Moonacre and
Sand and Sorrow.
Mark then joined SC Films International in 2008 as Sales and Production Manager where he currently
oversees distribution and co-production interests as well as representing sales for multiple territories
including Latin America, Eastern Europe and others, on titles including The Romantics, Awaydays and
Retreat.
In 2010 Mark launched new production banner The Tea Shop & Film Company with James Harris,
running this alongside his position as Sales and Production Manager at SC Films International.
Through this partnership he has produced upcoming feature film Tower Block.
JAMES MORAN (SCREEN WRITER)
James Moran wrote the films Severance, Cockneys VS Zombies and Tower Block, and has written
episodes of Doctor Who, Torchwood, Spooks, Primeval, Crusoe and Spooks: Code 9. He has also
written several short stories set in the Doctor Who and Torchwood universe, a Highlander audio play for
Big Finish and the Streamy Award nomination web series Girl Number 9, which has screened on the
US Fearnet website and Australian TV. His next film to go into production is Silent Night of the Living
Dead.
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