UNIVERSAL PICTURES Presents
In Association with RELATIVITY MEDIA
A WORKING TITLE Production
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.
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).
Love, Family and Time Travel:
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.
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:
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.”
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
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’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 andPeter 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.
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 inLondon’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.
Ginger Jenny CLEMMIE DUGDALE
Rupert HARRY HADDEN-PATON
Mary’s Father, Fitz MITCHELL MULLEN
Mary’s Mother, Jean LISA EICHHORN
Dans Le Noir Maitre D’ MARK HEALY
Theatre Deserter BEN BENSON
Theatre Judge PHILIP VOSS
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
Jeff (Newborn) JACOB FRANCIS
Jeff (5 months) JAGO FREUD
Jeff (2 years) OLLIE PHILLIPS
Jo (6 months) SOPHIE POND
Trudy (Party Guest) MOLLY SEYMOUR
Flirty Girl MATILDA STURRIDGE
Pret A Manger Server REBECCA CHEW
Judge GRAHAM RICHARD HOWGEGO
Jury Foreman KERRIE LIANE STUDHOLME
Stunt Coordinators JAMIE EDGELL
Stunt Performers NELLIE BURROUGHES
Written and Directed by RICHARD CURTIS
Executive Producers RICHARD CURTIS
Associate Producer EMMA FREUD
Director of Photography JOHN GULESERIAN
Production Designer JOHN PAUL KELLY
Costume Designer VERITY HAWKES
Music by NICK LAIRD-CLOWES
Hair and Makeup Designer CHRISTINE BLUNDELL
First Assistant Director MATTHEW PENRY-DAVEY
Production Sound Mixer ADRIAN BELL
Financial Controller DAN HILLSDON
Location Manager STEVE MORTIMORE
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
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
Assistants to Eric Fellner KATHERINE POMFRET
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
Location Assistant HANNAH LAMB
Location Scout ANDREW RYLAND
Location Assistant (Cornwall) MICHAEL MCDERMOTT
A Camera Focus Puller PETER BYRNE
A Camera Clapper Loaders BEN BROWN
Key Camera Grip RUPERT LLOYD PARRY
B Camera Operator/Steadicam
B Camera Focus Puller THOMAS HARDING
B Camera Clapper Loader ROSS ONIONS
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
First Assistant Editor HERMIONE BYRT
Second Assistant Editor BEN MILLS
Editorial Trainee JEANNA MORTIMER
Digital Dailies Operators LIAM DONAGHY
Postproduction Coordinator CHARLOTTE DEAN
Costumer Supervisor CELIA YAU
Assistant Costume Designer ELLEN CLARIDGE
Standby Costume MARTIN CHITTY
Costume Trainee ANGEL MIDDLETON WEDGE
Skillset Costume Trainee LOUISA THOMAS
Hair and Makeup Supervisor LESA WARRENER
Hair and Makeup Artists CHARMAINE FULLER
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
Assistant Postproduction Accountant POLLY WILBY
Property Master CRAIG PRICE
Property Storeman TONE GIBBS
Standby Propmen CHRIS CHANDLER
Dressing Propmen RODDY DOLAN
Dressing Property Driver JUSTIN ACKROYD
Additional Prop Hands CHRIS ALLEN
Standby Carpenter PETER STEWARD
Standby Rigger DARREN COOMBER
Standby Painters PAUL COUCH
Construction Manager JO HAWTHORNE
Construction Coordinator SEAMUS HAWTHORNE
Supervising Carpenter SIMON ROBILLIARD
Carpenters CIARAN DONNELLEY
Supervising Painter DEAN HAWLEY
Rigging Gaffer ROSS GRAINGER
Electricians HARLON HAVELAND
Generator Operator PAUL BATES
Rigging Electricians EMILY GRAINGER
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
Special Effects Assistant KAREN HOLT
Dialect Coach JILL MCCULLOUGH
Casting Associate ALICE SEARBY
Extras Casting KATE MCLAUGHLIN
Unit Publicist SARAH CLARK
Unit Stills Photographer MURRAY CLOSE
EPK Producer COLIN BURROWS
Health and Safety Advisor MICK HURRELL
Catering Manager STEVEN BARNET
Catering Assistants GRAHAM SAMUELS
Transport Captain JIMMY CARRUTHERS
Director’s Driver SIMON HUDNOTT
Unit Drivers WARREN DELUCE
Minibus Drivers JOHN BURDEN
Rushes Runners ANTHONY COYNE
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
VISUAL EFFECTS BY PRIME FOCUS WORLD, LONDON
VFX Line Producer RYAN DELANEY
VFX Coordinator NIDHI SETH
Compositors MARC HUTCHINGS
Digital Matte Painters NEIL MILLER
Digital Paint Artists GEORGE DOUGLAS
Digital Intermediate Provided by COMPANY 3 LONDON
Digital Colorist ADAM GLASMAN
Digital Online Editors EMILY GREENWOOD
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
Digital Film Technical Supervisor LAURENT TREHERNE
Sound Re-recorded at HALO POST PRODUCTION
Re-recording Mixers MIKE DOWSON
Mix Technicians SIMON HILL
Sound Facility Producers CAROLYNNE PHILPOTT
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
Foley Artists PETER BURGIS
ADR Voice Casting VANESSA BAKER
Main Titles by FRED AND ERIC
Legal Services HARBOTTLE & LEWIS
Auditors SAFFERY CHAMPNESS
Insurance AON/ALBERT G. RUBEN
Camera and Grip Equipment ARRI MEDIA
Lighting Equipment PANALUX
Rigging Equipment BLITZ HIRE
Tracking Vehicles BICKERS ACTION
Crane Services LEE LIFTING SERVICES
Action Vehicles Supplied by MOTORHOUSE HIRE
Walkie Talkies and Production Mobile
Location Security ABOVE THE LINE
Costumes ANGELS THE COSTUMIERS
Wigs Supplied by RAY MARSTON WIG STUDIO
Extras Casting MAD DOG CASTING
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
Music Clearances VICKI WILLIAMS
Music Licensing KRISTEN LANE, RIGHT MUSIC LIMITED
Additional Arrangements and
String Arrangements Performed by THE LONDON METROPOLITAN ORCHESTRA
Supervising Orchestrator TESSE GOHL
Additional Orchestration KATE ST. JOHN
Music Preparation JESSICA DANNHEISSER
Music Recorded at ABBEY ROAD STUDIOS
Recording Engineers FIONA CRUICKSHANK
Music Production Assistant ASHLEY EZ
“THE LUCKIEST (INSTRUMENTAL)”
Courtesy of Sony Music Entertainment, Inc.
“ALL THE THINGS SHE SAID”
(Sergey Galoyan, Trevor Horn,
Martin Kierszenbaum, Elena Kiper, Valeriy Polienko,
Courtesy of Interscope Records
Under license from Universal Music Operations Ltd.
(Dallas Austin, Keisha Buchanan, Mutya Buena,
Courtesy of Universal-Island Records Ltd.
Under license from Universal Music Operations Ltd.
(Brandon Flowers, Mark Stoermer,
Ronnie Vannucci, Dave Keuning)
Courtesy of Island Def Jam Music Group
Under license from Universal Music Operations Ltd.
Performed by Andrea Grant
(Andrew Cocup, Thomas Findlay, Irwin Pincus,
Claire Rothrock, Milton Yakus)
Performed by Groove Armada
Courtesy of Sony Music Entertainment UK Ltd.
Courtesy of GLM Music GmbH
Performed by Paul Buchanan
Courtesy of Newsroom Records
(Craig David, Trevor Henry,
Courtesy of Warner Music UK Ltd.
(Perry Bamonte, Simon Gallup, Porl Thompson,
Robert Smith, Boris Williams)
Under license from Universal Music Operations Ltd.
By arrangement with Warner Music Group film licensing
(Cornell Haynes, Kenneth Gamble, Bunny Sigler,
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”
Performed by Jon Boden (vocals, guitars, mandolins, fiddle),
Ben Coleman (electric violin), Nick Laird-Clowes (acoustic guitar),
(Lorenz Hart, Richard Rodgers)
Performed by Barbar Gough (vocals),
Sagat Guirey (guitar), Andy Hamill (bass),
(Edward Heyman, Victor Young)
Performed by Barbar Gough (vocals),
Sagat Guirey (guitar), Andy Hamill (bass),
(Mark DeBarge, Ashanti Douglas, Etterlene Jordan,
Irving Lorenzo, Marcus Vest)
Courtesy of I.G. Records Inc.
Under license from Universal Music Operations Ltd.
(Jimmy Fontana, Gianni Meccia, Carlo Pes)
Performed by Jimmy Fontana
Courtesy of Sony Music Entertainment Italy S.P.A.
(Níal Conlan, Ross McCormick,
Kieran McGuinness, Rónán Yourell)
(Mark Ronson, Amy Winehouse)
Performed by Amy Winehouse
Courtesy of Universal-Island Records Ltd.
Under license from Universal Music Operations Ltd.
Courtesy of Matador Records
By arrangement with Beggars Group Media Ltd.
Performed by Alexander Malter and Dietmar Schwalke
Performed by Christoph Bauschinger
“GOLD IN THEM HILLS (INSTRUMENTAL)”
Performed by Ron Sexsmith
Courtesy of Nettwerk Productions UK Ltd.
Performed by Nick Cave & The Bad Seeds
Courtesy of Mute Records Ltd.
“HOW LONG WILL I LOVE YOU”
Performed by Jon Boden, Christoph Bauschinger
PRESENTED IN ASSOCIATION WITH DENTSU INC. / FUJI TELEVISION NETWORK, INC.
Statue of Laurence Olivier by Angela Conner, shown with kind permission
Getty Images and Thinkstock
Westminster Special Events
Royal Borough of Kensington and Chelsea Film Office
London Underground Film Office
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
Mario Testino and Kate Moss
Martin and Charlotte Petherwick
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
Dolby Digital Logo DTS Logo SDDS Logo
MPAA Certificate # 48199 Logo
COPYRIGHT © 2013 UNIVERSAL STUDIOS
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.
MPAA Code Classification: R
Credits as of April 22, 2013