UNIVERSAL PICTURES Presents
In Association with RELATIVITY MEDIA
A WORKING TITLE Production
DOMHNALL GLEESON
RACHEL MCADAMS
BILL NIGHY
TOM HOLLANDER
MARGOT ROBBIE
Executive Producers
RICHARD CURTIS
LIZA CHASIN
AMELIA GRANGER
Produced by
TIM BEVAN
ERIC FELLNER
NICKY KENTISH BARNES
Written and Directed by
RICHARD CURTIS
ABOUT
TIME
Genre: Comedy
Cast: Domhnall Gleeson,
Rachel McAdams, Bill Nighy,
Tom
Hollander, Margot Robbie
Written and Directed by: Richard
Curtis
Produced by: Tim
Bevan, Eric Fellner, Nicky Kentish Barnes
Executive Producers: Richard Curtis, Liza Chasin
At the age of 21, Tim Lake (Domhnall Gleeson) discovers he can
travel in time…
The night after another unsatisfactory New Year party, Tim’s
father (Bill Nighy) tells his son that the men in his family have always had the
ability to travel through time. Tim
can’t change history, but he can change what happens and has happened in his
own life—so he decides to make his world a better place...by getting a
girlfriend. Sadly, that turns out not to
be as easy as you might think.
Moving from the Cornwall coast to London to train as a lawyer, Tim
finally meets the beautiful but insecure Mary (Rachel McAdams). They fall in love, then an unfortunate
time-travel incident means he’s never met her at all. So they meet for the first time again—and
again—but finally, after a lot of cunning time-traveling, he wins her heart.
Tim then uses his power to create the perfect romantic proposal,
to save his wedding from the worst best-man speeches, to save his best friend
from professional disaster and to get his pregnant wife to the hospital in time
for the birth of their daughter, despite a nasty traffic jam outside Abbey
Road.
But as his unusual life progresses, Tim finds out that his unique
gift can’t save him from the sorrows and ups and downs that affect all
families, everywhere. There are great
limits to what time travel can achieve, and it can be dangerous too. About Time is a comedy about love
and time travel, which discovers that, in the end, making the most of life may
not need time travel at all.
Richard Curtis is the writer of TV shows
such as Not the Nine O’Clock News, Blackadder, Mr Bean and The Vicar of
Dibley. His movies include Four Weddings and a Funeral; Notting Hill; Bridget Jones’s Diary; and Love
Actually and The Boat That Rocked,
which he also directed. Most recently,
he co-wrote the screenplay for War Horse.
Production
Information
For more than three decades, filmmaker RICHARD CURTIS has crafted his signature voice in the world of movies
and television, giving audiences unforgettable characters who have alternately allowed
us to laugh at our ever-so-human foibles and to share a tear at the
extraordinary journeys that accompany our ordinary lives.
Curtis began to hone that voice as the writer of classic television shows
such as Not the Nine O’Clock News, Blackadder, Mr Bean and The Vicar of
Dibley. When he moved along to the screen,
Curtis took worldwide audiences by welcome surprise with his writing in the
tender, poignant comedy classics known as Four
Weddings and a Funeral, Notting Hill
and Bridget Jones’s Diary. This experience set the stage for his directorial
debut, the global blockbuster Love
Actually, followed by his love letter to’60s pop music, The Boat That Rocked, which he also helmed.
Now, with About Time, Curtis gives us his most personal film to date.
At the age of 21, Tim Lake (DOMHNALL GLEESON of Anna Karenina, Harry Potter and the Deathly Hallows: Part 2) discovers he can travel in time…
The night after another unsatisfactory New Year party,
Tim’s father (BILL NIGHY of The
Best Exotic Marigold Hotel, Love
Actually) tells his son that the men in his
family have always had the ability to travel through time. Tim can’t change history, but he can change
what happens and has happened in his own life—so he decides to make his world a
better place...by getting a girlfriend.
Sadly, that turns out not to be as easy as you might think.
Moving from the Cornwall coast to London to train as a
lawyer, Tim finally meets the beautiful but insecure Mary (RACHEL MCADAMS of Mean Girls,
The Notebook, The Vow). They fall in love,
then an unfortunate time-travel incident means he’s never met her at all. So they meet for the first time again—and
again—but finally, after a lot of cunning time traveling, he wins her heart.
Tim then uses his power to create the perfect romantic
proposal, to save his wedding from the worst best-man speeches and to save his
best friend from professional disaster. But
as his unusual life progresses, Tim finds out that his unique gift can’t save
him from the sorrows and ups and downs that affect all families,
everywhere. There are great limits to
what time travel can achieve, and it can be dangerous, too.
About Time is
a comedy about love and time travel, which discovers that, in the end, making
the most of life may not need time travel at all.
The film co-stars
TOM HOLLANDER (Pirates of the Caribbean:
At World’s End, Pride & Prejudice)
as Harry, Tim’s tortured playwright landlord, and MARGOT ROBBIE (television’s Neighbours, upcoming The Wolf of Wall Street) as Charlotte,
the previous love of Tim’s young life.
Curtis has assembled
a behind-the-scenes team that includes director of photography JOHN GULESERIAN (Like Crazy, Breathe In), production designer JOHN PAUL KELLY (The Other Boleyn Girl, The Guard), editor MARK DAY (Harry Potter series, The Girl in the Café), costume designer VERITY
HAWKES (Snatch., Inkheart) and composer NICK LAIRD-CLOWES (Fierce People, The Silent Army).
Collaborating with
writer/director/executive producer Curtis are producers TIM BEVAN (Les Misérables, Rush) and ERIC FELLNER (Les
Misérables, Love Actually), who
have produced all of Curtis’ films, alongside NICKY KENTISH BARNES (Salmon Fishing in the Yemen, About a Boy). They are joined by Curtis’s fellow executive
producers, LIZA CHASIN (Contraband, Les Misérables) and AMELIA GRANGER (Anna Karenina, Les Misérables).
ABOUT THE PRODUCTION
Love,
Family and Time Travel:
From
Script to Screen
The genesis for About Time ignited
from a conversation that Curtis had with a friend about what they would do if
they were told that they had only 24 hours left to live. “We both decided that we’d want a very normal
day at home with the family, doing the things you normally do,” recalls
Curtis. “I thought it was an interesting
observation, and the next step was how I would be able to incorporate this into
a movie. It would have to be about
someone who could manipulate their final day or manipulate their life in some
way to enable them to come to that conclusion.
That’s when I thought about time travel.”
Curtis says that About Time is
an evolution for him, as his early work very much focuses upon the
relationships among friends. He shares:
“Four Weddings is, in many ways, as
much a film about friendship as it is about love. There were a lot of friendships in Love Actually as well.” Naturally, Curtis’s interest in human
dynamics evolved as he grew older. “With
my mum and dad passing away within the last five years, and with my children
all growing up, I am a family man most of all.
This film has as much to do with a brother and sister, a father and
mother as it has to do with love. And, of
course, when two people fall in love, they are finally going to turn into a
mother and a father, and you see that happening during the course of the film.”
The comedy reunites Curtis with Working Title producers Tim Bevan and Eric
Fellner, for the eleventh time in 25 years.
Remembers Bevan: “We did our first film together in 1983 called The Tall Guy. All of Richard’s films have a lot of
familiarities, but are always breaking new ground. The authenticity of a Richard film is that it
will make you laugh, cry and think. About Time returns to the ‘Curtisian’
world in the same vein as Love Actually,
Notting Hill and Four Weddings and a Funeral, but this feels more grown-up and more
reflective. He set out to make a movie
to reflect on the good and bad things in life and to make you appreciate what’s
in front of you.”
Although Fellner finds it difficult to believe that they’ve spent a
quarter of a century creating work together, he’s similarly impressed by his longtime
friend’s evolution as a filmmaker. He
notes: “Richard never settles for good.
He pushes himself as an artist to best his previous work, and audiences
respect that drive. His stories are so
deeply personal, so intimate that it’s impossible not to be drawn into them. I appreciate that he finds humour in the
pathos of our everyday experiences and makes the humdrum extraordinary.”
While love and family
were integral in the creation of Curtis’s vision, the time-travel aspect would
make scripting a very calculated endeavour.
Curtis was careful to make sure rules were in place for Tim and his dad
as they travel through time, so as to make the film’s concept less fantasy and
more endearing. So, what exactly are
those rules? The first is that time
travel may not happen before a man in this family is 21. The second is that one must go into a small
dark place—such as a cupboard, closet or wardrobe—clench his fists and think of
the specific time, date, place and address of where he wants to go. The third is that he can only go to an event
in his own past that he can remember; he can’t go into the future or way back
into history. The fourth? Every decision he makes will have
ramifications on his future.
Producer Nicky Kentish Barnes adds that she admired the unorthodox narrative
put forth by the film’s writer/director.
She says: “About Time is very
autobiographical, in a sense; it’s bits of Richard’s life all put together in a
beautiful and well-crafted story. The
story is very emotional; we had grown men crying on reading the script. It is a slight, sort-of-magic realism with
the time-travel aspect, but it adds to the emotional content, rather than
feeling that it’s taking you out of the story.”
With the shooting script locked, Curtis and his producers set about the exciting
task of finding a young couple who could give voice to his words, along with a
set of family and friends to populate this unique world.
Feeling Loved Up:
Casting About Time
From the start, the producers and casting director FIONA WEIR knew performer
Domhnall Gleeson would be ideal for the role of the time-traveling Tim Lake. However, he did quite shock them upon
introduction.
In the midst of filming Anna
Karenina, Gleeson arrived at a meeting with Curtis, sporting a head of long
hair and bushy beard. Laughs Curtis of
the meeting: “At first, Domhnall was very difficult to cast. He turned up with this enormous orange beard,
and he looked like a 35-year-old Russian autocrat. It was hard for me to imagine what he
actually even looked like, but in the end it was an easy decision. He has a lot of the qualities I most love in
an actor and actually has them as a human being. He has doubt, high spirits and optimism, and
he is very funny.”
His rugged exterior aside, producers were keen on the Irish actor joining
the production as their lead. Compliments
Bevan: “Domhnall is a brilliant young actor and has the ability to be extremely
dramatic and very funny, which is a very unusual combination.” The producer didn’t mind that his lead,
heretofore best known for his pivotal role in the Harry Potter series, was an unorthodox choice. Bevan continues, “It’s refreshing to see a
new face playing a lead in a Richard Curtis film—a different face and not a
posh boy—he gives the film a whole different feel.”
The minute About Time begins,
audiences see Tim as a normal fellow.
He’s a slightly confused, but very likeable hero, who is going through
his life with the same level of confidence the majority of ordinary people can
muster. “You love Tim’s character from
the beginning,” reflects Kentish Barnes.
“You want him to succeed when he meets the love of his life.”
When Gleeson first read the script, he laughed aloud, which he took as
quite the promising sign. Reflects the
performer: “It was sweet relief reading the script. It had so much to say about a way of living
your life that I found valuable and beautiful.
That was Richard’s introduction to the film for me, and that was what I
tried to keep close to my heart while we filmed.”
With Gleeson onboard the production, filmmakers moved forward in casting
the role of Mary, the young American woman with whom Tim falls in love, marries
and starts a family. Because of Rachel
McAdams’ busy schedule, the filmmakers weren’t certain she would be able to
join the production. Little did they
know, however, that she adored the script.
Curtis was thrilled that an actress of McAdams’ calibre had signed onto
the film. He muses: “Rachel is someone, who
every time I’ve seen her in a film, I have melted with this sense of comfort
and love. We were certainly lucky to get
her.”
Bevan agrees that McAdams was absolutely perfect for the role,
commending, “Rachel has that great girl-next-door quality. She has the beauty, the humour and the wit, but
she also has the ability as an actress to make whomever she is playing against
look equally as great.”
McAdams recalls what drew her to the part: “I enjoyed the script
immensely and loved what it was about.
It was quite moving with a very simple, but so meaningful moral of the
story, and I loved all the characters. I
knew that signing onto a Richard Curtis film was just a good package deal; he
does these things so well. He is very
generous with his spirit and brings so much of himself to the project.”
The performer appreciated that the expatriate was as complex as her
on-screen love, sharing, “Mary’s got this funny mix of confidence and total
insecurity. But then she meets Tim, and
she just blossoms. He ushers her in the
direction she was meant to go in, and the puzzle pieces fit, finally.”
For the seasoned young performer, working with Gleeson was a surprising
joy. She enthuses: “It’s been wonderful
to watch Domhnall transform from the younger Tim to the older Tim. He has this endless energy for physical
comedy, and his comedic timing is impeccable.
He always seems to find humour. Domhnall
is so grounded, so rooted in the character, and he makes everything matter.”
Her leading man, Gleeson, returns the kind words: “Rachel brings this
gorgeous honesty to her character. She’s very funny, and she brings
something that is pure and uncomplicated in the best possible sense. It
was joyous being on set with her all the time.”
In casting the role of Tim’s Dad, filmmakers turned to a veteran of
Curtis’s films: much-feted performer Bill Nighy, first introduced in a Curtis’s
role as a washed-up rocker in Love
Actually. “Tim’s Dad is a strange synthesis
of a lot of people I’ve met,” explains Curtis.
“There’s a lot of my feeling about my father in the role, and it was a
fun idea to have Bill play the part. To
cast a friend you actually love in that part was a great pleasure.”
About Time marks Nighy’s fourth project with Curtis, as the
men have also partnered on The Boat That
Rocked and The Girl in the Café. “I love working with Richard,” states Nighy,
who offers a bit of perspective on Tim’s Dad.
“My character can travel through time, and the lesson he has learned in
his life is to keep things simple and treasure the normal things. What counts is tenderness, love and respect
between yourself and other human beings.
All those things sustain him.”
While he is the most studied actor in the cast, Nighy gives credit where
credit is due. He states: “Rachel and
Domhnall complement each other in their spirit and their general tone of their
performances. They are very impressive
people and actors.”
Opposite Nighy’s character, LINDSAY DUNCAN took the role of Tim’s Mum,
the matriarch of the family—a woman who curiously styles herself on the
Queen. “Apart from her dress scenes,
she’s great,” muses Duncan. “She is the
anchor of the family and very centred.
The way she goes about life is rather refreshing and admirable. She has made her choices, and she gets on with
it.”
Duncan echoes her cast through her commending of Curtis’s style: “Richard
gets to your heart. You do cry when you
read his scripts; you cry about falling in love, and you cry about people’s
pain as well. This film is all about
everyday things that people deal with: living their lives, loving people,
wanting people and suffering from loss of loved ones.”
Her on-screen son has words for her work. “Bill and Lindsay
were just ideal parents,” recalls Gleeson. “They are so
wonderful and genuine, and as actors it made it a nice environment to be with
them all the time. I had seen them in films and knew they were brilliant,
but I was not prepared for just how easy it would be to be surrounded by
them. Richard was very clever in the way that he assembled the
cast. It made the family feel very real, and I was very happy in their
company and felt really loved up.”
To join the company as Harry, Tim’s easily angered landlord in London, the
filmmakers asked Tom Hollander—so remarkable as the arrogant rector, Mr Collins,
in 2005’s Pride & Prejudice,. “When you first leave home, you always end up
living with people you least want to live with,” notes Curtis. “So I thought it would be fun that, when Tim
leaves home, he should end up with the least pleasant man in the world. The great joy about Tom is that he’s very
good at being very bad and nasty, but underneath the swear box that he’s
playing is a wonderful man.”
Hollander reciprocates Curtis’s words: “Richard is a sweet-natured man
with boundless energy and always has time for people individually. He is a very special chap who has his own
idealism about the world. That is what
informs the good-hearted, loving nature of his romantic comedies. At least, that’s what he told me to say.”
Young actress LYDIA WILSON was brought aboard to play Tim’s beloved sister,
Kit Kat, who has a very intricate role in Tim’s life. She turns out to be the only person, outside
of his father, with whom Tim shares his time-traveling abilities. Wilson, who previously had a part in Mark
Romanek’s Never Let Me Go and had
appeared in the television series South
Riding, brilliantly infuses chaos into Tim’s sometimes-futile attempts at
an orderly existence. His efforts to try
and rescue her from her myriad bad decisions influence the course of his life
with Mary and their children.
Rounding out the cast is Margot Robbie who plays Tim’s first love,
Charlotte, a young woman who enters Tim’s life when he’s discovered he can time
travel. Explains Curtis: “When Charlotte
stays with the Lakes over that summer, Tim utilizes his time-travelling
abilities to redo every situation and make it perfect with Charlotte. But it never eventuates that way, despite his
efforts.”
RICHARD CORDERY was chosen to play Tim’s simple-minded but well-meaning
uncle, while JOSHUA MCGUIRE and WILL
MERRICK play Tim’s best friends. VANESSA
KIRBY was brought on as Mary’s best friend, and TOM HUGHES as Kit Kat’s ne’er-do-well
boyfriend.
Brilliant character actors RICHARD E. GRANT and the late RICHARD
GRIFFITHS also make appearances in the film, playing leads in Harry’s play. This scene proved one of Curtis’s most challenging
and fun days. Says Curtis: “It was tricky
having three Richards on the set, as when anyone said ‘Richard’ we never knew
which Richard it referred to.”
Of the cast, Kentish Barnes sings their praises: “There is not a crack in
our cast. They’re all absolutely
brilliant, and they’re exceptionally great people as well, so we’ve achieved
over 100 percent on that one.”
Making the World a Better Place:
Locations and Design
About Time began its nine-week shoot in June 2012, filming for
three weeks in Cornwall, five weeks on location in London and a week at Ealing
Studios.
Originally, when Curtis penned the script, he had Scotland in mind for
the location of the Lake family home.
However, filmmakers did not have luck securing a suitable house in that
country, so they moved along to Cornwall.
Curtis and the producers began to assemble a stellar below-the-line team
to bring their vision to life.
Production designer John Paul “JP” Kelly had never worked with the
writer/director before and was pleased to find out the similarities between
Curtis and his films. Shares Kelly: “Richard
believes the world should be a better place, and this film is very much about that. It’s close to his mantra: If you look at the
day the right way, you can make it a good day or one as tough as you want. He has got an incredible positivity, and he’s
very inclusive with his family and his work, which is quite unusual.”
Similarly, Kelly had a specific vision when searching for the location, desiring
a house that had to be believable and complement the charm and magic of the
story. Curtis also had
expectations. He explains: “I wanted to
be able to see the sea from the window; this was very important. I had it in my mind that when dad was talking
to his son you were able to see the sea through the window.”
About Time begins in the house in Cornwall where Tim and his
family have always lived. Reflects
Curtis: “Then it keeps returning there, as life does when you’re engaged, when
you have a child, when people get sick.
The home symbolizes growing up, losing people and gaining people.”
The Lake home that the team discovered was a privately owned 1850s house
in Porthpean, with a garden overlooking the sea and its own path down to the
beach. Truly, it could not have been
more perfect to incorporate Kelly and Curtis’s vision. The majority of the scenes including the
family were filmed at this home.
Other locations used by the production in Cornwall were the fishing
village of Portloe—for the exterior wedding scene and the sequence in which the
congregation travels up the country path in the storm; St Michael Penkevil church,
for the wedding scene; and Vault Beach in Gorran Haven, for the simple moments
in which the family has its afternoon tea on the beach.
“Cornwall is the most wonderfully idiosyncratic, welcoming place,”
enthuses the writer/director. “What was
great was that Cornwall turned out to have all the qualities, both socially and
visually, that I wanted from the house, as well as the surrounding areas. It has its own unique character and is a
beautiful part of the country.”
Prior to filming, Curtis took Gleeson and McAdams to the restaurant Dans
Le Noir in London, which is where their characters meet for the very first
time. The restaurant is completely in
the dark and customers are guided and served by blind staff. While an experience for the senses, not all
the patrons were thrilled. “I found it
terrifying,” recalls McAdams. “You don’t
know where the exit is. You don’t know
what people are doing around you, and you have no idea what’s on your
plate. I brought that experience into
the scene for my character. Mary is not
very comfortable and not secure about the whole scenario. When she meets Tim, he is a kind of rock, a beacon
for her. She is grateful to hit it off
with another person and be able to rely on someone in the dark.”
Time’s Dress Code:
Costumes of the Comedy
For About Time, costume designer Verity Hawkes was given the unlikely
task of dressing time travellers.
Recalls Hawkes: “For Tim, we had to show the progression from young and
unconfident to older and more confident.
You see the progression in his choice of clothing, that it’s less thrown
together. We didn’t want to lose any of
his character as he got older. He had to
keep the charm he always had.”
Dressing McAdams as Mary was a collaborative experience for Hawkes and the
performer. Notes Hawkes: “I didn’t want
Mary’s wardrobe to be a series of fashion plates. Mary’s much more of a real character, so we
worked together at finding the balance of showing her kooky side and originality. Rachel cared about what Mary should wear, as
well as when she should wear it and why.
She was totally onboard and supportive.”
Creating the look for Wilson’s whimsical Kit Kat, Verity took the
scripted direction that Tim’s sister should always wear some item that was
purple. “It was quite a joyous process
finding every single purple item that you could,” the designer laughs. “Kit Kat is kind of thrown together, so each
outfit was quite fun to put together.
She’d wear the quirky combinations of things.”
One character Hawkes didn’t imagine she’d be dressing over the course of About Time was the Queen herself. However, that was required when it came time for
Tim’s Mum’s outfits. As she fancies the
Queen as the perfection fashion icon, that’s the way she would be dressed. Ends Hawkes: “Lindsay is very beautiful, but
she doesn’t look anything like the Queen…so we came to quite a good compromise
on her costumes.”
****
Universal Pictures presents—in
association with Relativity Media—a Working Title production: Domhnall Gleeson,
Rachel McAdams, Bill Nighy in About Time,
starring Tom Hollander, Margot Robbie. The
casting is by Fiona Weir, and the music is by Nick Laird-Clowes. The comedy’s costume designer is Verity
Hawkes, and the editor is Mark Day. About Time’s production designer is John
Paul Kelly, and its director of photography is John Guleserian. The associate producer is Emma Freud, and the
executive producers are Richard Curtis, Liza Chasin, Amelia Granger. The film is produced by Tim Bevan, Eric
Fellner, Nicky Kentish Barnes. About Time is written and directed by
Richard Curtis. ©2013 Universal
Pictures. www.abouttimemovie.com
ABOUT THE CAST
DOMHNALL GLEESON (Tim)
was chosen as one of Variety’s 10
Actors to Watch in 2012 and was named a Breakthrough Performer at the Hamptons
International Film Festival. Gleeson
most recently completed filming Lenny Abrahamson’s Frank, in which he plays the lead role of Jon, alongside Michael
Fassbender. He will next play Caleb in
Alex Garland’s Ex Machina.
Gleeson’s recent projects include Charlie Brooker’s TV
miniseries Black Mirror for Channel 4
and Joe Wright’s Anna Karenina,
alongside Keira Knightley, Jude Law and Alicia Vikander.
Gleeson’s other projects include Tom Hall’s critically
acclaimed Sensation; Pete Travis’ Dredd; James Marsh’s Shadow Dancer; the Coen brothers’ True Grit, opposite Jeff Bridges and
Josh Brolin; Mark Romanek’s Never Let Me
Go, alongside Carey Mulligan and Andrew Garfield; Ian Fitzgibbon’s Perrier’s Bounty; and David Yates’ Harry Potter and the Deathly Hallows: Part 1
and Part 2. His additional film work includes HBO Films’ A Dog Year, opposite Jeff Bridges; Studs; Boy Eats Girl; and the Oscar®-winning short Six Shooter.
Gleeson’s theater work includes Selina Cartmell’s Macbeth, Alan Stanford’s Great Expectations, Wilson Milam’s Chimps, Garry Hynes’ Well of the Saints, Patrick Mason’s She Stoops to Conquer at the Abbey
Theatre and Mark Brokaw’s American
Buffalo at the Gate Theatre.
Gleeson’s television credits include John Butler’s Your Bad Self, for which Gleeson also
served as part of the writing team, and Kieran Carney’s The Last Furlong.
In 2006, Gleeson was nominated for a Tony Award in the
category of Best Featured Actor in a Play for the Broadway production of
Milam’s The Lieutenant of Inishmore. Other honors for the same role include a
Lucille Lortel Award nomination for Outstanding Featured Actor and a Drama
League Citation for Excellence in Performance.
Gleeson won an Irish Film and Television Academy Award for his
performance in Nicholas Renton’s When
Harvey Met Bob, in which he starred as Sir Bob Geldof, opposite Ian Hart as
Harvey Goldsmith. Gleeson was named
Shooting Star at the 2011 Berlin International Film Festival.
In addition to acting, Gleeson is a writer/director whose
short film, Noreen, was featured at
the 2011 Tribeca, Boston, San Francisco and Newport Beach film festivals. Gleeson’s father, Brendan, and brother,
Brian, co-star alongside Gleeson in the film.
RACHEL MCADAMS’ (Mary)
transformative performances have established her as one of Hollywood’s most
sought-after and respected actors.
McAdams’ 2013
has been very busy. First up was
Terrence Malick’s To the Wonder,
opposite Ben Affleck, Olga Kurylenko and Javier Bardem, which was
released in April. The romantic drama centered
on a man who reconnects with a woman from his hometown after his marriage to a
European woman falls apart. The film premiered at the 2012 Venice International
Film Festival and then screened at the Toronto International Film Festival. McAdams can be seen in Brian De Palma’s Passion,
opposite Noomi Rapace. In the film, an
ambitious advertising executive plots revenge after her boss and mentor steals
her idea. Passion, which made its world premiere at the 2012 Venice
International Film Festival and then went onto the Toronto International Film
Festival, is set for a limited U.S. release in August. In addition, McAdams recently wrapped
production on Anton Corbijn’s A Most Wanted Man, starring opposite Philip Seymour Hoffman.
McAdams will
soon begin production on Cameron Crowe’s next film, opposite Bradley Cooper and
Emma Stone. The film is set to begin
production in October. Additionally, she
will lend her voice to a character in The Little Prince, alongside James Franco and
Jeff Bridges.
Recently, McAdams
starred in three box-office hits from three very different genres: Sherlock
Homes: A Game of Shadows, in which
she reprised her role as Irene Adler, opposite Robert Downey Jr.; the
romantic drama The Vow, alongside
Channing Tatum; and Woody Allen’s Midnight in Paris, which earned McAdams a Screen
Actors Guild Award nomination for Outstanding Performance by a Cast in a Motion
Picture, alongside Owen Wilson, Kathy Bates, Adrien Brody, Marion Cotillard,
Carla Bruni and Michael Sheen. The film also
won a Golden Globe for Best Screenplay—Motion Picture and earned nominations
for Best Motion Picture—Comedy or Musical, Best Director—Motion Picture and
Best Performance by an Actor in a Motion Picture—Comedy or Musical. It was also nominated for four Oscars®,
including one win for Best Writing, Original Screenplay. Midnight
in Paris is Allen’s highest-grossing film to date.
McAdams’ film
credits include Morning Glory, opposite Diane Keaton and Harrison Ford; Guy Ritchie’s Sherlock
Holmes; The Time Traveler’s Wife; Neil Burger’s The
Lucky Ones; Married Life, which premiered at the
2007 Toronto International Film Festival; The Family Stone, opposite Keaton and Sarah Jessica
Parker; Wes Craven’s Red Eye,
opposite Cillian Murphy; Wedding Crashers, opposite Owen Wilson, Vince Vaughn and Christopher Walken;
Nick Cassavetes’ The Notebook,
opposite Ryan
Gosling; and Mean Girls.
In
2005, McAdams received ShoWest’s Supporting Actress of the Year Award as well
as Breakthrough Actress honors at the Hollywood Film Awards. In 2009, she was named ShoWest’s Female Star
of the Year.
McAdams
was born and raised in a small town outside of London, Ontario. Involved with
theater while growing up, she went on to graduate with honors from York
University with a BFA in theater.
BILL NIGHY (Dad) is an award-winning
actor of the stage and screen. Nighy
received a BAFTA Film Award, a London Critics’ Circle Film Award and an Evening
Standard British Film Award for his performance as an aging rock star in
Richard Curtis’ 2003 hit ensemble romantic comedy, Love Actually. Nighy won a
Los Angeles Film Critics Association Award for his collective work in Love Actually, AKA, I Capture the Castle
and Lawless Heart.
Nighy was recently seen in Jonathan Liebesman’s Wrath of the Titans, Bryan Singer’s Jack the Giant Slayer and Len Wiseman’s remake of Total Recall. He can next be seen in I, Frankenstein, with Aaron Eckhart.
Nighy was recently seen in Jonathan Liebesman’s Wrath of the Titans, Bryan Singer’s Jack the Giant Slayer and Len Wiseman’s remake of Total Recall. He can next be seen in I, Frankenstein, with Aaron Eckhart.
Nighy’s long list
of film credits includes Wild Target,
with Rupert Grint and Emily Blunt; Curtis’ The
Boat That Rocked, with Philip Seymour Hoffman; Singer’s Valkyrie, with Tom Cruise; Richard
Eyre’s Notes on a Scandal, for which
he earned a London Critics’ Circle Film Award nomination; Underworld, Underworld:
Evolution and Underworld: Rise of the
Lycans; Fernando Meirelles’ The
Constant Gardener, for which he earned a British Independent Film Award
(BIFA) nomination for Best Supporting Actor; Lawless Heart, which brought him another BIFA nomination; and Still Crazy, for which he won his first
Evening Standard British Film Award.
Nighy was unrecognizable as the tentacled pirate captain Davy Jones in Pirates of the Caribbean: Dead Man’s Chest
and Pirates of the Caribbean: At World’s
End. He has lent his voice to
several animated features, including Flushed
Away.
Born in England,
Nighy began his career on the British stage and has since earned acclaim for
his work in plays such as David Hare’s The
Vertical Hour, Pravda and A Map of the World. He has performed in plays by other leading
dramatists, including Tom Stoppard, Harold Pinter, Brian
Friel, Anton Chekhov and Peter Gill. He received an Olivier Award nomination for
Best Actor for his performance in Joe Penhall’s Blue/Orange. On Broadway, he
starred in the 2006 premiere of The
Vertical Hour, directed by Sam Mendes.
Also well-known
for his work on the small screen, Nighy recently earned a Golden Globe Award
nomination for Best Actor for his performance in the BBC television movie Page Eight, directed by Hare and
produced by Harry Potter producer
David Heyman. Nighy has worked several times
with director David Yates, including the acclaimed BBC project State of Play, for which he won a BAFTA
TV Award for Best Actor. Yates also
directed him in the BBC telefilm The
Young Visiters and HBO’s The Girl in
the Café, which brought Nighy a Golden Globe Award nomination for Best Performance
by an Actor in a Mini-Series or a Motion Picture Made for Television. He later won a Golden Globe in the same
category for his performance in the 2005 telefilm Gideon’s Daughter. His
television work includes dozens of guest-starring roles and long-form projects,
including the one for which he first gained attention: 1991’s The Men’s Room.
In March 2012,
Nighy starred in The Best Exotic Marigold
Hotel to much critical acclaim. The
film smashed the UK box-office,
beating The Woman in Black for the
No. 1 spot. Boasting a stellar British
cast, including Dames Judi Dench and Maggie Smith, Tom Wilkinson, Celia Imrie and Dev Patel, the film opened to rave reviews in
the U.S. later that year.
TOM HOLLANDER (Harry)
co-created and starred in the BBC 2 television comedy series Rev, with James Wood. Hollander has been nominated twice for the
British Comedy Award, the Royal Television Society Award and the BAFTA TV Award
for his performance. Woods and Hollander
previously worked together on Simon Curtis’ Freezing.
Hollander
began his acting career in theater working with Cheek by Jowl in Declan
Donnellan’s production of As You Like It;
Jonathan Kent’s Tartuffe and King Lear. He’s also appeared in Ian Rickson’s Mojo, at the Royal Court Theatre;
Phyllida Lloyd’s The Threepenny Opera and
Robin Lefevre’s Laurie at the Donmar
Warehouse. On Broadway, Hollander played
Lord Alfred Douglas in David Hare’s The
Judas Kiss, opposite Liam Neeson and directed by Richard Eyre, and Joe
Penhall’s Landscape with Weapon, directed
by Roger Mitchell, at the National Theatre.
He recently played the Chandebise/Poche double in Eyre’s acclaimed
production of A Flea in Her Ear at The Old Vic.
Hollander
has made many appearances in film and on television. He was awarded the London Critics’ Circle British
Supporting Actor of the Year Award and the Evening Standard Peter Sellers Award
for Comedy for his role in Joe Wright’s Pride
& Prejudice. He also worked with Wright in Hanna and The Soloist. Other feature
film credits include Pirates of the
Caribbean: Dead Man’s Chest; Pirates
of the Caribbean: At World’s End; Robert
Altman’s Gosford Park; The Libertine; The Lawless Heart; A Good
Year; Stephen Poliakoff’s The Lost
Prince and Cambridge Spies.
Hollander
recently played the bullied minister, Simon Foster, in Armando Iannucci’s In the Loop and Monty Banks in
television’s Gracie!, with Jane
Horrocks, for which he was nominated Best Supporting Actor at the 2011 BAFTA TV
Awards.
Having
captivated audiences in Australia with her gripping on-screen presence, MARGOT ROBBIE (Charlotte) is quickly
emerging as a breakout television and film star in the U.S.
Robbie recently wrapped
production on Martin Scorsese’s The Wolf of Wall Street in which she
stars as the female lead opposite Leonardo DiCaprio. Based on Jordan Belfort’s memoir of the same
name, the film tells the story of a New York penny stockbroker (DiCaprio), who
served 20 months in prison for refusing to cooperate in a large securities-fraud
case involving corruption on Wall Street, the corporate banking world and mob
infiltration. Starring as DiCaprio’s
wife, Robbie is joined by an all-star cast including Matthew McConaughey, Jonah
Hill, Rob Reiner, Jean Dujardin, Jon Favreau and Kyle Chandler. The crime-drama is set for release by
Paramount Pictures on November 15, 2013.
Robbie is currently in
production on Saul Dibb’s World War II drama Suite française, alongside Michelle Williams,
Matthias Schoenaerts, Ruth Wilson and Kristin Scott Thomas. The Weinstein
Company will release the film in 2014.
Robbie was recently cast to
star in Glenn Ficarra and John Requa’s Focus, opposite Will Smith, for Warner Bros. Pictures. The film will begin shooting this fall in New
York, New Orleans and Argentina.
Robbie made her U.S. debut
in 2011’s critically acclaimed ABC series Pan Am. The period drama
depicted the lives of the pilots and flight attendants who once made Pan Am the
most glamorous way to fly. Robbie
starred as Laura, a runaway bride, who fled a life of domestic boredom to take
to the skies. The series was created by Jack Orman (ER, Men of a Certain Age), and
also starred Christina Ricci.
In Australia, Robbie is most
recognized for her role as Donna Freedman on the television soap opera Neighbours, which chronicles the lives of the
residents of Ramsay Street in the fictional Australian suburb of Erinsborough. Her role garnered her two Logie Award
nominations for Most Popular New Female Talent and Most Popular Actress.
Robbie was born and raised
on the Gold Coast of Australia and eventually moved to Melbourne when she began
acting professionally, at the age of 17. She currently resides in Los Angeles.
ABOUT THE FILMMAKERS
RICHARD CURTIS (Written and
Directed by/Executive Producer) was
born in New Zealand in 1956 and raised in the Philippines, Sweden and the UK. He has now lived in London off and on for more
than 35 years. Curtis began writing
comedy after leaving Oxford University in 1978.
He had worked with Rowan Atkinson there—and continued to do so. His first job on television was writing for
the topical sketch show Not the Nine
O’Clock News for the BBC. He then
went on to write The Black Adder series, a situation comedy
set in four different eras of British history, always starring Rowan Atkinson
in a different amusing haircut. The last
three series were co-written with Ben Elton.
During
these years, Curtis, Atkinson and Elton staged two comedy revues in London’s West End and
Curtis wrote his first film, The Tall Guy. The film was directed by Mel Smith and
starred Jeff Goldblum and Emma Thompson, in her first film. It was produced by Working Title, the
production company with whom Curtis has worked
with since.
Back
on television, Curtis and Atkinson began working on Mr. Bean, and continued for some years to make intermittent programs starring the man in the tie who says very little. Mr.
Bean has become one of the world’s most famous comic creations. In 1993, Curtis wrote Bernard and the Genie, a wholesome Christmas fantasy, which starred
Lenny Henry and Alan Cumming. In
December 1993, Curtis was awarded the Writers’ Guild of Great Britain Award for
Top Comedy Writer.
Curtis’
second film, Four Weddings and a Funeral,
was directed by Mike Newell, produced by Duncan Kenworthy and starred Hugh
Grant and Andie MacDowell. It was
released in March 1994. The film won a
French César, an Australian Film Institute Award and the BAFTA Award for Best
Film. At the Academy Awards®,
the film was nominated for Best Writing, Screenplay Written Directly for the
Screen, and Best Picture.
Curtis’
next film, Notting Hill, which
starred Julia Roberts and Grant, was released in May 1999. At the time of its release, it was the
highest-grossing British film ever.
Curtis
was co-writer of Bean, which starred
Atkinson, and the award-winning screenplay Bridget
Jones’s Diary, which starred Renée Zellweger, Colin Firth and Grant.
In
2003, Curtis wrote and directed Love
Actually, a story about many different kinds of love set during the
Christmas season. The film featured 22
leading characters, including Firth, Grant, Thompson, Bill Nighy, Liam Neeson,
Martin Freeman and Billy Bob Thornton. He
was also co-writer of Bridget Jones: The
Edge of Reason.
In
2005, Curtis wrote the G8 Summit drama The
Girl in the Café for HBO and the BBC, which starred Nighy and Kelly Macdonald. The drama won three Primetime Emmy Awards,
including Made for Television Movie. In
the meantime, he had been writing The
Vicar of Dibley, a sitcom about a female vicar in a small English village. The Black
Adder and The Vicar of Dibley
were voted the 2nd and 3rd most popular British sitcoms
of all time.
In
2008, Curtis co-wrote The No. 1 Ladies’ Detective Agency, with
Anthony Minghella. That same year,
Curtis wrote and directed The Boat That
Rocked, a comedy about a 1966 pirate radio station. In 2011, he co-wrote the screenplay for
Steven Spielberg’s War Horse.
In
2012, Curtis wrote the BBC/HBO television movie Mary and Martha, about two mothers who lose their sons to malaria. The film was directed by Phillip Noyce and
starred Hilary Swank and Brenda Blethyn.
Curtis
is co-founder and vice-chairman of Comic Relief, the organization that runs Red
Nose Day and Sport Relief in Britain. He
began the charity after a trip to Ethiopia during the 1985 famine. Since 1988, Curtis has co-produced the 14 live
nights of Comic Relief for the BBC.
Comic Relief has made more than $1 billion for charity projects in
Africa and the UK.
Curtis
was a founding member of the Make
Poverty History coalition and worked throughout 2004 and 2005 on the
campaign, in addition to Live 8,
which concentrated on trade justice, more and better aid, and debt cancellation
for the world’s poorest countries.
Curtis
was executive producer of Idol Gives Back
for American Idol in April 2007,
which raised more than $75 million for projects helping the poorest children
and young people in the U.S. and Africa. Idol
Gives Back received the 2007 Governors Award at the Primetime Emmys.
Curtis
is married to Emma Freud. Together, they
have a daughter, Scarlett, and three sons, Jake, Charlie and Spike. In 2000, Curtis was made a Commander of the
Order of the British Empire. In 2007, he
was awarded a BAFTA fellowship.
Working Title Films, co-chaired by TIM BEVAN (Produced by) and ERIC FELLNER (Produced by) since 1992,
is one of the world’s leading film production companies.
Founded in 1983, Working Title has made more than 100
films that have grossed more than $5 billion worldwide. Its films have won 10 Academy Awards®
(for Tom Hooper’s Les Misérables, Joe Wright’s Anna Karenina and Atonement,
Tim Robbins’ Dead Man Walking; Joel and Ethan Coen’s Fargo; and Shekhar
Kapur’s Elizabeth and Elizabeth: The Golden Age, 35 BAFTA Awards
and numerous prestigious prizes at the Cannes and Berlin international film festivals.
Bevan and Fellner have been honored with the Producers
Guild of America’s (PGA) David O. Selznick Achievement Award in Theatrical
Motion Pictures, the PGA’s highest honor for motion picture producers. They have also been accorded two of the
highest film awards given to British filmmakers: BAFTA’s Michael Balcon Award
for Outstanding British Contribution to Cinema, and the Evening Standard
British Film Awards’ Alexander Walker Film Award. Bevan and Fellner have been honored as Commanders
of the Order of the British Empire.
Working Title’s extensive and diverse productions have
included Mike Newell’s Four Weddings and a Funeral; Richard Curtis’ Love
Actually; Stephen Daldry’s Billy
Elliot; Roger Michell’s Notting Hill; Mr. Bean and Mr. Bean’s Holiday (directed by Mel
Smith and Steve Bendelack, respectively); Edgar Wright’s Shaun of the Dead
and Hot Fuzz; Paul and Chris Weitz’s About a Boy; Greg Mottola’s Paul;
Adam Brooks’ Definitely, Maybe; Sydney Pollack’s The Interpreter;
Bridget Jones’s Diary and
Bridget Jones: The Edge of Reason (directed by Sharon Maguire and
Beeban Kidron, respectively); Joe Wright’s Pride & Prejudice and Atonement; Baltasar Kormákur’s Contraband,
which starred Mark Wahlberg and Kate Beckinsale; Nanny McPhee and Nanny McPhee and the Big Bang (directed
by Kirk Jones and Susanna White, respectively); Johnny English and Johnny English Reborn (directed by Peter
Howitt and Oliver Parker, respectively); Asif Kapadia’s Senna, the
company’s first documentary feature, about legendary race car driver Ayrton
Senna; Paul Greengrass’ United 93; and Ron Howard’s Frost/Nixon
and upcoming Rush, starring Chris
Hemsworth and Daniel Brühl.
The success of the film Billy Elliot has
continued on stage with Billy Elliot the Musical, also directed by
Daldry with book and lyrics by Lee Hall and music by Elton John. The winner of 76 theater awards
internationally, the production is currently enjoying highly successful runs in
London and Toronto and a tour across North America. It ran for more than three years on Broadway,
winning 10 Tony Awards in 2009, including Best Musical and Best Director. The show has previously played in Sydney,
Melbourne, Chicago and Seoul, and has been seen by more than seven million
people worldwide.
Working Title’s upcoming slate includes Edgar Wright’s
The World’s End, starring Simon Pegg and Nick Frost; John Crowley’s Closed
Circuit, starring Eric Bana and Rebecca Hall; and Hossein Amini’s The Two
Faces of January, starring Viggo Mortensen, Kirsten Dunst and Oscar
Isaac.
NICKY KENTISH BARNES (Produced
by) has been Woody Allen’s UK co-producer four times, collaborating with him in
2005 on Match Point, with Scarlett
Johansson and Jonathan Rhys Meyers; Scoop
with Johansson, Hugh Jackman and Allen; Cassandra’s
Dream, with Colin Farrell and Ewan McGregor; and, in 2009, You Will Meet a Tall Dark Stranger, with
Antonio Banderas, Josh Brolin, Anthony Hopkins and Naomi Watts.
Most
recently, Kentish Barnes produced the highly acclaimed television series Dancing on the Edge, directed by Stephen Poliakoff and starred Chiwetel Ejiofor,
Matthew Goode and John Goodman. Kentish
Barnes co-produced Lasse Hallström’s Salmon
Fishing in the Yemen, which starred Ewan McGregor and Emily Blunt.
Kentish
Barnes’ additional producing credits include Mark Evans’ psychological thriller
Trauma, which starred Colin Firth; Paul
and Chris Weitz’s About a Boy, adapted
from Nick Hornby’s novel of the same name, which starred Hugh Grant, Toni
Collette and Rachel Weisz; Mel Smith’s High
Heels and Low Lifes, which starred Minnie Driver and Mary McCormack for Walt
Disney Pictures; and John Henderson’s Loch
Ness, which starred Ted Danson and Joely Richardson.
Kentish
Barnes’ co-producing credits include Paul McGuigan’s Gangster No. 1, which starred Paul Bettany and Malcolm McDowell;
Oliver Parker’s An Ideal Husband,
which starred Rupert Everett, Cate Blanchett, Julianne Moore and Minnie Driver;
and Mark Joffe’s The Matchmaker.
Kentish
Barnes began her film career in 1985 with Merchant Ivory Productions working on
A Room With a View, followed by Maurice, both directed by James
Ivory. She then began line producing on
films, including the television movies Heart
of Darkness, directed by Nicolas Roeg, and The Adventures of Young Indiana Jones: Treasure of the Peacock’s Eye,
directed by George Lucas. Kentish Barnes
served as the production supervisor on The
Young Americans, which starred Harvey Keitel and Thandie Newton.
LIZA CHASIN (Executive Producer) has
served as the president of U.S. production at Working Title Films since 1996. Chasin is currently in preproduction on
Stephen Daldry’s Trash, written by Richard Curtis and based on
Andy Mulligan’s novel; and James Marsh’s
Theory of Everything, written by Anthony McCarten and inspired by Jane
Hawking’s memoir “Travelling to Infinity: My Life With Stephen.”
Slated
to be released this year are Edgar Wright and Simon Pegg’s The World’s End, and John
Crowley’s Closed Circuit, both of which she executive produced.
Chasin
most recently executive produced Tom Hooper’s Les Misérables, which starred Hugh Jackman, Anne
Hathaway and Russell Crowe, and Joe Wright’s Anna Karenina, which starred Keira
Knightley and Jude Law. Both were
released last year. Prior to those, Chasin executive produced Asif Kapadia’s
highly acclaimed documentary Senna; Baltasar
Kormàkur’s Contraband; Tomas Alfredson’s critically acclaimed Tinker Tailor Soldier Spy; Oliver
Parker’s Johnny English Reborn; Greg Mottola’s Paul; Paul
Greengrass’ Green Zone; Kevin
Macdonald’s State of Play; Joe
Wright’s Academy Award®-winning Atonement; and Adam Brooks’ Definitely,
Maybe.
Throughout her illustrious career, Chasin has been
involved in the development and production of acclaimed films from many
prolific filmmakers. A few of her credits
include Tim Robbins’ Academy Award®-winning Dead Man Walking;
Joel and Ethan Coen’s O Brother, Where Art Thou? and Fargo, and
Roger Michell’s smash hit Notting Hill. She co-produced Paul and Chris Weitz’s About
a Boy, Sharon Maguire’s Bridget Jones’s Diary, Stephen Frears’ High
Fidelity, Shekhar Kapur’s Academy Award®-winning Elizabeth and Richard Curtis’ classic Love
Actually.
A graduate of Tisch School of the Arts at New York
University, Chasin first joined Working Title in 1991 as director of development.
She was then promoted to vice president
of production and development, becoming the head of the Los Angeles office and
overseeing the company’s creative affairs in the U.S. Prior to joining Working Title, Chasin worked
for several years in various production capacities at New York-based production
companies.
AMELIA GRANGER (Executive Producer) is executive vice president of film
at Working Title Films and runs the UK side of the company’s development slate,
working across both development and production.
Most recently, Granger has served as executive producer on the upcoming Closed Circuit, starring Eric Bana and
Rebecca Hall, and has worked closely on Working Title releases, including Les Misérables, Anna Karenina, I Give It a
Year, Tinker Tailor Soldier Spy
and the upcoming The Two Faces of January.
Granger joined Working Title in 1994 and has
worked in various production and development positions in the company. During her career at the company, she has
also been instrumental in establishing Action!, the company’s prestigious
intern-training program. Prior to her career at Working Title and in the
film industry, Granger worked for Condé Nast in Paris and London.
Composer and
musician NICK LAIRD-CLOWES (Music
by) has been involved in composing music for film and documentaries, producing
the score for Adam Brooks’ The Invisible
Circus, which starred Cameron Diaz, as well as Griffin Dunne’s Fierce People, which starred Diane Lane
and Donald Sutherland. Laird-Clowes
served as music consultant on Bernardo Bertolucci’s The Dreamers.
Laird-Clowes
composed the music for Nick Broomfield on his award-winning film The Battle
for Haditha and the Greenpeace documentary, A Time Comes. He then worked
on various political documentaries, including Peace vs Justice and The
Enemy Within for the UK’s Channel 4.
As lead singer and
principal songwriter of The Dream Academy, Laird-Clowes enjoyed worldwide
success in the mid ’80s with songs including “Life in a Northern Town” and “The
Love Parade.” The band’s music was
featured in the John Hughes cult-classic films Ferris Bueller’s Day Off and Planes,
Trains and Automobiles. In addition, The Dream Academy worked with Diane
Keaton on her directorial debut, Heaven.
Laird-Clowes has
collaborated on songs with both Brian Wilson and David Gilmour, notably
contributing lyrics to Pink Floyd’s “The Division Bell.”
In 1999,
Laird-Clowes released the critically acclaimed album “Mona Lisa Overdrive”
under the pseudonym Trashmonk for Alan McGee’s Creation Records.
A 25 song “Best of
The Dream Academy” album is due for worldwide release in 2014. Laird-Clowes continues to write and record
songs for future release.
VERITY HAWKES (Costume
Designer) trained as a theater designer at Wimbledon College of Art, always wanting
to specialize in costume for film and television. Hawkes began her career as an assistant
working with directors such as Danny Cannon and Paul Anderson, before moving
into designing television for writers such as Jack Rosenthal and directors
including Simon West and Charles McDougall.
In
1999, Hawkes designed Guy Ritchie’s Snatch. She worked again with Ritchie on Revolver
in 2005. Recent features include Trap
for Cinderella, her second film with Iain Softley, having previously
designed the costumes for Inkheart in 2008.
Hawkes
currently divides her time between designing feature films and high-end commercials
for directors, including Johnny Hardstaff, Rocky Morton, Daniel Kleinman, Chris
Palmer and Duncan Jones.
About Time is MARK DAY’s
(Editor) second collaboration with
Richard Curtis, having worked with him on The Girl in the Café,
which starred Bill Nighy and Kelly Macdonald, and earned Day a Primetime Emmy Award
nomination for Outstanding Single-Camera Picture Editing for a Miniseries or a
Movie.
Day won two BAFTA Awards for
Best Editing for David Yates’ television dramas State of Play and Sex
Traffic, and was nominated for a Royal Television Society Award for Best
Tape and Film Editing—Drama for Yates’ The Young Visiters.
Day’s feature film credits
include collaborating with Yates on the last four Harry Potter features: Harry Potter and the Deathly Hallows:
Part 1 and Part 2, Harry Potter
and the Half-Blood Prince and Harry Potter and the
Order of the Phoenix; David
Blair’s Mystics; Paul Greengrass’ The Theory of Flight; and John Schlesinger’s The Tale of Sweeney Todd.
Most recently, Day worked
with director Robert Redford on The Company You Keep, which starred Shia
LaBeouf and Redford.
Day is currently working on
the upcoming Ex Machina, written and
directed by Alex Garland, due for release in 2014.
JOHN PAUL
KELLY (Production
Designer) was born and educated in Ireland before moving to London to complete
a BA in architecture at Kingston University.
Kelly then attended the Royal College of Art (RCA) in London where he
graduated with an MA in design for film and television.
Since
leaving the RCA in 1993, Kelly has lived and worked from the UK. He has won a BAFTA Award and a Primetime Emmy Award
for his work.
Kelly is
currently filming James Marsh’s Theory of
Everything, which tells the life
story of Stephen Hawking, for Working Title.
Kelly’s most recent feature film credits include
Fernando Meirelles’ 360, which
starred Anthony Hopkins and was filmed in London, Vienna and Paris; John Michael McDonagh’s feature film
debut The Guard, which starred
Brendan Gleeson and Don Cheadle; and
Justin Chadwick’s The Other Boleyn Girl,
which starred Natalie Portman, Scarlett Johansson and Eric Bana, for Sony
Pictures. Kelly’s previous work includes
Roger Michell’s Oscar®-nominated Venus,
which starred Peter O’Toole, and Enduring
Love; Charles Sturridge’s Lassie;
Michael Winterbottom’s Tristram Shandy: A
Cock and Bull Story, based on Laurence Sterne’s novel; Tim Fywell’s I Capture the Castle; Paul Greengrass’ Bloody Sunday, which won the Golden Bear
at the Berlin International Film Festival in 2002 and the Audience Award at the
Sundance Film Festival; Julian Farino’s The
Last Yellow; and Shane Meadows’ Twenty
Four Seven, the FIPRESCI Prize at the 1997 Venice Film Festival. The first feature film that Kelly designed was
Carine Adler’s Under the Skin, which
won Best New British Feature at the Edinburgh International Film Festival and
the International Critics’ Award at the Toronto International Film Festival in 1997.
Before becoming a production designer, Kelly was the
art director on a number of films in Ireland, including The Last of the High Kings and Trojan
Eddie.
Kelly’s
numerous television credits as production designer include HBO’s recent
adaptation of Caryl Churchill’s A Number,
and such major BBC period-costume dramas as Farino’s Byron, for which Kelly was nominated for the Royal Television
Society’s Television Award for Best Production Design—Drama in 2004; Tim
Fywell’s Madame Bovary; Stephen
Poliakoff’s Shooting the Past, which
won the 1999 Prix Italia and Best Drama Serial at the Royal Television Society Awards
and for which Kelly was again nominated for the Best Production Design Award;
and the highly acclaimed The Lost Prince,
for which he won the 2004 BAFTA Award for Best Production Design and 2005
Primetime Emmy Award for Outstanding Art Direction for a Miniseries or
Movie. Directed by Poliakoff, The Lost Prince also won the Primetime Emmy
Award for Outstanding Miniseries that same year.
JOHN GULESERIAN (Director of
Photography) was the cinematographer on Drake Doremus’ Like Crazy,
winner of the Grand Jury Prize at the 2011 Sundance Film Festival. Guleserian recently worked again with Doremus
on Breathe In, which starred
Guy Pearce and Felicity Jones and premiered at the 2012 Sundance Film
Festival. His upcoming projects
include Brian Horiuchi’s Parts Per Billion, starring Rosario
Dawson, Josh Hartnett and Gena Rowlands, as well as Kate Barker-Froyland’s
Song One, starring Anne
Hathaway. Guleserian studied cinematography at the American Film
Institute in Los Angeles and Columbia College Chicago. He currently resides in Los Angeles.
—about time—
CAST
Tim DOMHNALL
GLEESON
Mary RACHEL
MCADAMS
Dad BILL
NIGHY
Kit Kat LYDIA
WILSON
Mum LINDSAY
DUNCAN
Uncle D RICHARD
CORDERY
Rory JOSHUA
MCGUIRE
Harry TOM
HOLLANDER
Charlotte MARGOT
ROBBIE
Jay WILL
MERRICK
Joanna VANESSA
KIRBY
Jimmy Kincade TOM
HUGHES
Ginger Jenny CLEMMIE
DUGDALE
Rupert HARRY
HADDEN-PATON
Mary’s Father, Fitz MITCHELL
MULLEN
Mary’s Mother, Jean LISA
EICHHORN
Polly JENNY
RAINSFORD
Aunty May NATASHA
POWELL
Dans Le Noir Maitre D’ MARK
HEALY
Theatre Deserter BEN
BENSON
Theatre Judge PHILIP
VOSS
Prompter TOM
GODWIN
Bhattie QC PAL
ARON
Tina CATHERINE
STEADMAN
Wedding Priest ANDREW
MARTIN YATES
Posy (Newborn) VERITY
FULLERTON
Posy (1 year) VERONICA
OWINGS
Posy (2 ½—3 years) OLIVIA
KONTEN
Posy (5 years) SARAH
HELLER
Boy Posy JAIDEN
DERVISH
Jeff (Newborn) JACOB
FRANCIS
Jeff (5 months) JAGO
FREUD
Jeff (2 years) OLLIE
PHILLIPS
Jo (6 months) SOPHIE
POND
Jo (1 year) SOPHIE
BROWN
Trudy (Party Guest) MOLLY
SEYMOUR
Flirty Girl MATILDA
STURRIDGE
John TOM
STOURTON
Pret A Manger Server REBECCA
CHEW
Court Clerk JON
WEST
Judge GRAHAM
RICHARD HOWGEGO
Jury Foreman KERRIE
LIANE STUDHOLME
Defendant KEN
HAZELDINE
Jazz Singer BARBAR
GOUGH
Busker JON
BODEN
Young Tim CHARLIE
CURTIS
Stunt Coordinators JAMIE
EDGELL
LEE
SHEWARD
Stunt Performers NELLIE
BURROUGHES
STEPHANIE
CAREY
RAY
DE-HAAN
PAUL
HEASMAN
DAVE
HOLLAND
GARY
HOPTROUGH
ROB
HUNT
TINA
MASKELL
BELINDA
MCGINLEY
CHRIS
NEWTON
DAVID
NEWTON
SEON
RODGERS
CREW
Written and Directed by RICHARD
CURTIS
Produced by TIM
BEVAN
ERIC
FELLNER
NICKY
KENTISH BARNES
Executive Producers RICHARD
CURTIS
LIZA
CHASIN
AMELIA
GRANGER
Associate Producer EMMA
FREUD
Director of Photography JOHN
GULESERIAN
Production Designer JOHN
PAUL KELLY
Editor MARK
DAY
Line Producer TORI
PARRY
Costume Designer VERITY
HAWKES
Music by NICK
LAIRD-CLOWES
Hair and Makeup Designer CHRISTINE
BLUNDELL
Casting by FIONA
WEIR
First Assistant Director MATTHEW PENRY-DAVEY
Production Sound Mixer ADRIAN BELL
Financial Controller DAN HILLSDON
Location Manager STEVE MORTIMORE
Script Editor EMMA FREUD
Script Supervisor ZOE MORGAN
Supervising Art Director DAVID HINDLE
Music Producer STEVE MCLAUGHLIN
Music Consultant NICK LAIRD-CLOWES
Postproduction Supervisor TANIA BLUNDEN
Postproduction Accountant TARN HARPER
FOR WORKING TITLE:
Chief Operating Officer ANGELA MORRISON
Executive in Charge of Production MICHELLE WRIGHT
Production Executive SARAH-JANE ROBINSON
Head of Legal and Business Affairs SHEERAZ SHAH
Finance Director TIM EASTHILL
Senior Legal and Business Affairs
Executive EMILY MACKINTOSH
Production Supervisor KATE FASULO
Production Coordinator JACK SIDEY
Assistants to Tim Bevan CHLOÉ DORIGAN
VICTORIA
ENDACOTT
Assistants to Eric Fellner KATHERINE POMFRET
OLIVIA
NEWHOUSE
Production Coordinator POLLY JEFFRIES
Production Coordinator ADAM HUGHES
Production Secretary ROSANNA EDEN-ELLIS
Assistant to Richard Curtis SARAH MCDOUGALL
Set Assistant to Richard Curtis MOLLY SEYMOUR
Assets/Green Assistant STELLA SCOTT
Production Runner (Cornwall) YUSOOF PATEL
Key Second Assistant Director CHARLIE REED
Co-Second Assistant Director (Crowd)JOE
BARLOW
Third Assistant Director DOMINIC CHANNING WILLIAMS
Floor Runner PHOEBE
MARKHAM
Base/Floor Runner LAURA JACKSON
Additional Third Assistant Director BEN QUIRK
Script Supervisor Trainee ALANA MARMION-WARR
Location Manager (Cornwall) CARN BURTON
Assistant Location Managers LYNSEY COSFORD
LUCY
WILLIAMS
Location Assistant HANNAH LAMB
Unit Manager ALEX
DARBY
Location Scout ANDREW RYLAND
Location Assistant (Cornwall) MICHAEL MCDERMOTT
A Camera Focus Puller PETER BYRNE
A Camera Clapper Loaders BEN BROWN
ABI
CATTO
Key Camera Grip RUPERT LLOYD PARRY
B Camera Operator/Steadicam
Operator ALASTAIR
RAE
B Camera Focus Puller THOMAS HARDING
B Camera Clapper Loader ROSS ONIONS
Camera Trainee JESS WRAY
Assistant Grip/B Camera Grip PHIL HEALE
Video Playback Operator STEPHEN LEE
Assistant Video Assist MARTYN CULPAN
Digital Imaging Technician MUSTAFA TYEBKHAN
C Camera Operator DAVID ROM
C Camera Focus Puller SAM RAWLINGS
C Camera Loader ALISON LAI
Boom Operator THOMAS HARRISON
Sound Assistant JENNIFER ANNOR
Art Director (Cornwall) SAM STOKES
Standby Art Director EMMA MACDEVITT
Assistant Art Director REBECCA WHITE
Assistant Art Director (Cornwall) ANTONIA ATHA
Graphics Art Director KATHY HEASER
Graphics Assistant KELLY WAUGH
Art Department Assistant ALICE SUTTON
Storyboard Artist DAN MASLEN
Concept Artist STUART CLARKE
Set Decorator LIZ GRIFFITHS
Production Buyer BEVERLEY BUTCHER
Assistant Set Decorator ANTONIA GIBBS
Petty Cash Buyer SARAH ASHCROFT-LEIGH
Home Economist VENETIA SHINN
Drapes and Marquee Mistress SUSIE “DRAPES” MEDCALF
Product Placement and Clearances PHILIP BALL
CASSANDRA
SIGSGAARD
First Assistant Editor HERMIONE BYRT
Second Assistant Editor BEN MILLS
Editorial Trainee JEANNA MORTIMER
Digital Dailies Operators LIAM DONAGHY
JAMES
OSBOURNE
Postproduction Coordinator CHARLOTTE DEAN
Costumer Supervisor CELIA YAU
Assistant Costume Designer ELLEN CLARIDGE
Standby Costume MARTIN CHITTY
LAUREN
CLARIDGE
EMMA
HEATH
Costume Trainee ANGEL MIDDLETON WEDGE
Skillset Costume Trainee LOUISA THOMAS
Hair and Makeup Supervisor LESA WARRENER
Hair and Makeup Artists CHARMAINE FULLER
AGNES
LEGERE
MONICA
MACDONALD
Hair and Makeup Trainee SCARLETT MCPHERSON
Hair and Makeup Junior ALEX JOYCE
First Assistant Accountant CHIKA ANISIOBI
Second Assistant Accountant EWAN TAYLOR
Assistant Accountants DEBORAH LEAKEY
DAVINA
PEM
JOEL
ROGERS
Assistant Postproduction Accountant POLLY WILBY
Property Master CRAIG PRICE
Property Storeman TONE GIBBS
Standby Propmen CHRIS CHANDLER
ANDY
FOREST
MARK
SINDALL
Dressing Propmen RODDY DOLAN
NEIL
GRIFFITHS
MIKE
SYSON
Dressing Property Driver JUSTIN ACKROYD
Additional Prop Hands CHRIS ALLEN
CHRIS
FELSTEAD
EWAN
ROBERTSON
BOB
THORNE
STUART
WALPOLE
Standby Carpenter PETER STEWARD
Standby Rigger DARREN COOMBER
Standby Painters PAUL COUCH
JONATHAN
ROONEY
Construction Manager JO HAWTHORNE
Construction Coordinator SEAMUS HAWTHORNE
Supervising Carpenter SIMON ROBILLIARD
Carpenters CIARAN
DONNELLEY
LES
HALL
EDDIE
MURPHY
MARK
OVERHALL
Stagehand MICHAEL
WEBB
Supervising Painter DEAN HAWLEY
Painters PHIL
HAWLEY
BEN
LOBB
Rigger CHRIS
GOUGH
Gaffer PAUL
MCGEACHAN
Best Boy WILL
KENDAL
Rigging Gaffer ROSS GRAINGER
Electricians HARLON
HAVELAND
TOM
HYDE
Generator Operator PAUL BATES
Rigging Electricians EMILY GRAINGER
STEVE
KITCHEN
ANDREW
NOLAN
IAN
ROBSON
ROY
ROWLAND
Electrical Rigger GUY COPE
Car Crash Director LEE SHEWARD
Special Effects Supervisor MARK HOLT
Special Effects Floor Supervisor JAMES DAVIS
Senior Special Effects Technicians JOHN BOUNDY
DAVE
HOLT
PATRICK
O’SULLIVAN
MIKE
TILLEY
JAMIE
WEGUELIN
Special Effects Assistant KAREN HOLT
Dialect Coach JILL MCCULLOUGH
Casting Associate ALICE SEARBY
Extras Casting KATE MCLAUGHLIN
Stand-ins DANIEL
COX
HENRIETTA
FULLER
Unit Publicist SARAH CLARK
Unit Stills Photographer MURRAY CLOSE
EPK Producer COLIN
BURROWS
Health and Safety Advisor MICK HURRELL
Unit Medic DAVID
MORLEY
Caterers BON
APPETIT
Catering Manager STEVEN BARNET
Chef NEIL
SAMUELS
Catering Assistants GRAHAM SAMUELS
JASON
RICKFORD
Transport Captain JIMMY CARRUTHERS
Director’s Driver SIMON HUDNOTT
Unit Drivers WARREN
DELUCE
LEE
ISGAR
TERRY
REECE
DEWI
RICHARDS
ROB
SMITH
Minibus Drivers JOHN BURDEN
PAUL
DELUCE
CHRIS
HAMMOND
Rushes Runners ANTHONY COYNE
DAVID
WARE
Facilities Captain PIOTR WALCZAK
Camera Car Driver GRAHAM MAIN
Costume Truck Driver GRAHAM HILL
Hair and Makeup Driver RONAN WALDRON
Facilities Driver RICHARD BUNTING
Standby Prop Driver DENNIS LAW
Head of Security CHRISTIAN DE VOSS
Security STEVE
COLE
ANDY
MCLEOD
DEAN
SKINNER
NEVILLE
SMITH
VISUAL EFFECTS BY PRIME FOCUS WORLD,
LONDON
VFX Supervisor JON THUM
VFX Producer TIM
KEENE
VFX Line Producer RYAN DELANEY
VFX Coordinator NIDHI SETH
Compositors MARC
HUTCHINGS
SALVADOR
ZALVIDEA
Digital Matte Painters NEIL MILLER
SULLIVAN
RICHARD
Digital Paint Artists GEORGE DOUGLAS
GREGORY
KALAINTZIS
ALESSANDRO
SALIS
VFX Editor CAMERON
SHARP
Digital Intermediate Provided by COMPANY 3 LONDON
Digital Colorist ADAM GLASMAN
Digital Online Editors EMILY GREENWOOD
JUSTIN
TILLETT
Digital Online Junior Editor RUSSELL WHITE
Digital Intermediate Head of
Department PATRICK
MALONE
Digital Intermediate Producer ROB FARRIS
Digital Intermediate Assistant Producer CHERYL GOODBODY
Digital Intermediate Assistants PETER COLLINS
AURORA
SHANNON
Digital Film Technical Supervisor LAURENT TREHERNE
Data Wrangler DAN HELME
Sound Re-recorded at HALO POST PRODUCTION
Re-recording Mixers MIKE DOWSON
JONATHAN
RUSH
Mix Technicians SIMON HILL
JO
JACKSON
Sound Facility Producers CAROLYNNE PHILPOTT
DAVID
TURNER
Supervising Sound Editor JAMES MATHER
Sound Effects Editor JED LOUGHRAN
Dialogue Editor MICHAEL MAROUSSAS
Foley Editor LUKE
O’CONNELL
Re-recording Foley Engineers LUKE BROWN
GLENN
GATHARD
Foley Artists PETER BURGIS
SUE
HARDING
JASON
SWANSCOTT
ADR Mixers MARK
APPLEBY
PETER
GLEAVES
ADR Voice Casting VANESSA BAKER
Main Titles by FRED AND ERIC
End Roller by FUGATIVE
Legal Services HARBOTTLE & LEWIS
Auditors SAFFERY
CHAMPNESS
Insurance AON/ALBERT
G. RUBEN
Camera and Grip Equipment ARRI MEDIA
Lighting Equipment PANALUX
DIT Equipment 4K LONDON
Rigging Equipment BLITZ HIRE
Tracking Vehicles BICKERS ACTION
Crane Services LEE LIFTING SERVICES
NATIONWIDE
PLATFORMS
Action Vehicles Supplied by MOTORHOUSE HIRE
Walkie Talkies and Production Mobile
Phones AUDIOLINK
Location Security ABOVE THE LINE
Costumes ANGELS
THE COSTUMIERS
CARLO
MANZI
Wigs Supplied by RAY MARSTON WIG STUDIO
Greenery FILMSCAPES
Extras Casting MAD DOG CASTING
UNI-VERSAL
EXTRAS
Child Extras Casting and Licensing ANNA KOSKA/SALLY KING LIMITED
Facilities and Technical Vehicles TRANSLUX INTERNATIONAL
Truck Hire LAYS
INTERNATIONAL
Prop Transport FOUR SEASONS RTS LIMITED
Payroll Services SARGENT DISC
Digital Dailies SIXTEEN 19
Editing Equipment HIREWORKS
Postproduction Script Services SAPEX SCRIPTS
ADR Recorded at GOLDCREST POST
Music Editors CHRISTOPH BAUSCHINGER
MICHAEL
CONNELL
Music Clearances VICKI WILLIAMS
Music Licensing KRISTEN LANE, RIGHT MUSIC LIMITED
Piano SALLY
HEATH
Additional Arrangements and
Percussion STEVE
WRIGHT
String Arrangements Performed by THE LONDON METROPOLITAN ORCHESTRA
Conducted by ANDY
BROWN
Supervising Orchestrator TESSE GOHL
Additional Orchestration KATE ST. JOHN
Music Preparation JESSICA DANNHEISSER
Music Recorded at ABBEY ROAD STUDIOS
AIR
LYNDHURST STUDIOS
BRITISH
GROVE STUDIOS
MAGIC
MOUNTAIN STUDIOS
NORTHPOLE
Music Mixed at NORTHPOLE
Recording Engineers FIONA CRUICKSHANK
JASON
ELLIOTT
PAUL
PRITCHARD
Music Production Assistant ASHLEY EZ
“THE
LUCKIEST (INSTRUMENTAL)”
(Benjamin
Folds)
Performed
by Ben Folds
Courtesy
of Sony Music Entertainment, Inc.
“ALL
THE THINGS SHE SAID”
(Sergey
Galoyan, Trevor Horn,
Martin
Kierszenbaum, Elena Kiper, Valeriy Polienko,
Ivan
Shapovalov)
Performed
by t.A.T.u.
Courtesy
of Interscope Records
Under
license from Universal Music Operations Ltd.
“PUSH
THE BUTTON”
(Dallas
Austin, Keisha Buchanan, Mutya Buena,
Heidi
Range)
Performed
by Sugababes
Courtesy
of Universal-Island Records Ltd.
Under
license from Universal Music Operations Ltd.
“MR.
BRIGHTSIDE”
(Brandon
Flowers, Mark Stoermer,
Ronnie
Vannucci, Dave Keuning)
Performed
by The Killers
Courtesy
of Island Def Jam Music Group
Under
license from Universal Music Operations Ltd.
“I
WILL ALWAYS LOVE YOU”
(Dolly
Parton)
Performed
by Andrea Grant
“AT
THE RIVER”
(Andrew
Cocup, Thomas Findlay, Irwin Pincus,
Claire
Rothrock, Milton Yakus)
Performed
by Groove Armada
Courtesy
of Sony Music Entertainment UK Ltd.
“LULLABY”
(Vlado
Grizelj)
Performed
by Etna
Courtesy
of GLM Music GmbH
“MID
AIR”
(Paul
Buchanan)
Performed
by Paul Buchanan
Courtesy
of Newsroom Records
“WHAT’S
YOUR FLAVA?”
(Craig
David, Trevor Henry,
Anthony
Marshall)
Performed
by Craig David
Courtesy
of Warner Music UK Ltd.
“FRIDAY
I’M IN LOVE”
(Perry
Bamonte, Simon Gallup, Porl Thompson,
Robert
Smith, Boris Williams)
Performed
by The Cure
Courtesy
of Polydor Ltd.
Under
license from Universal Music Operations Ltd.
By
arrangement with Warner Music Group film licensing
“DILEMMA”
(Cornell
Haynes, Kenneth Gamble, Bunny Sigler,
Antoine
Macon)
Performed
by Nelly featuring Kelly Rowland
Courtesy
of Universal Records (U.S.)
Under
license from Universal Music Operations Ltd.
“HOW
LONG WILL I LOVE YOU”
(Mike
Scott)
Performed
by Jon Boden (vocals, guitars, mandolins, fiddle),
Ben
Coleman (electric violin), Nick Laird-Clowes (acoustic guitar),
Sam
Sweeney (fiddle)
“WHERE
OR WHEN”
(Lorenz
Hart, Richard Rodgers)
Performed
by Barbar Gough (vocals),
Sagat
Guirey (guitar), Andy Hamill (bass),
Tim
Herniman (saxophone)
“WHEN
I FALL IN LOVE”
(Edward
Heyman, Victor Young)
Performed
by Barbar Gough (vocals),
Sagat
Guirey (guitar), Andy Hamill (bass),
Tim
Herniman (saxophone)
“FOOLISH”
(Mark
DeBarge, Ashanti Douglas, Etterlene Jordan,
Irving
Lorenzo, Marcus Vest)
Performed
by Ashanti
Courtesy
of I.G. Records Inc.
Under
license from Universal Music Operations Ltd.
“IL MONDO”
(Jimmy Fontana, Gianni Meccia, Carlo Pes)
Performed
by Jimmy Fontana
Courtesy
of Sony Music Entertainment Italy S.P.A.
“PETARDU”
(Níal
Conlan, Ross McCormick,
Kieran
McGuinness, Rónán Yourell)
Performed
by Delorentos
Courtesy
of Delo Records
“BACK
TO BLACK”
(Mark
Ronson, Amy Winehouse)
Performed
by Amy Winehouse
Courtesy
of Universal-Island Records Ltd.
Under
license from Universal Music Operations Ltd.
“LIVED
IN BARS”
(Chan
Marshall)
Performed
by Cat Power
Courtesy
of Matador Records
By
arrangement with Beggars Group Media Ltd.
“SPIEGEL
IM SPIEGEL”
(Arvo
Pärt)
Performed
by Alexander Malter and Dietmar Schwalke
Courtesy
of ECM Records
“GREEN
HEART”
(Christoph
Bauschinger)
Performed
by Christoph Bauschinger
“GOLD
IN THEM HILLS (INSTRUMENTAL)”
(Ron
Sexsmith)
Performed
by Ron Sexsmith
Courtesy
of Nettwerk Productions UK Ltd.
“INTO
MY ARMS”
(Nick
Cave)
Performed
by Nick Cave & The Bad Seeds
Courtesy
of Mute Records Ltd.
“HOW
LONG WILL I LOVE YOU”
(Mike
Scott)
Performed
by Jon Boden, Christoph Bauschinger
PRESENTED IN
ASSOCIATION WITH DENTSU INC. / FUJI TELEVISION NETWORK, INC.
WITH THANKS TO:
Statue of Laurence
Olivier by Angela Conner, shown with kind permission
Chicago Tribune
Corbis Images
Getty Images and
Thinkstock
The Independent
The Telegraph
Westminster
Special Events
Royal Borough of
Kensington and Chelsea Film Office
London Underground
Film Office
National Theatre
The Honourable
Society of Lincoln’s Inn
Map used with
permission of Geographers’ A-Z Map Co. Ltd
and with kind
permission of Ordnance Survey
“Matilda”
illustration with kind permission of Quentin Blake
Gorky Park © 1983 Eagle Associates. All
Rights Reserved. Courtesy of MGM Media Licensing
Scene from High Plains Drifter courtesy of
Universal Studios Licensing LLC
WITH SPECIAL THANKS TO:
Richard Griffiths
Richard E. Grant
Mario Testino and
Kate Moss
Neville Butch
Martin and
Charlotte Petherwick
Perree and Neil
Barnes
Filmed on location
in London and Cornwall, England and at Ealing Studios, London, England
THIS MOTION
PICTURE USED SUSTAINABILITY STRATEGIES TO REDUCE ITS CARBON
EMISSIONS AND
ENVIRONMENTAL IMPACT
GREEN IS UNIVERSAL
LOGO
Dolby Digital Logo DTS Logo SDDS
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MPAA Certificate # 48199 Logo
COPYRIGHT © 2013
UNIVERSAL STUDIOS
All Rights
Reserved.
Animated Universal Studios Logo © 2013
Universal Studios
Universal Studios
is the author of this motion picture for purposes
of the Berne
Convention and all national laws giving effect thereto.
THE CHARACTERS AND
EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS.
ANY SIMILARITY TO
ACTUAL PERSONS, LIVING OR DEAD, IS PURELY COINCIDENTAL.
THIS MOTION
PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES
AND OTHER
COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR
EXHIBITION MAY RESULT IN CIVIL LIABILITY AND
CRIMINAL PROSECUTION.
Working Title Logo
MPAA Code Classification: R
Universal Tour Tag
Credits as of April 22, 2013
