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CROWHURST Production Notes - Draft 16/05/17 CROWHURST Production Notes - draft 16/05/17 Production Notes GREAT POINT MEDIA presents a STERLING PICTURES / SPLASH PAGE MEDIA production a SIMON RUMLEY film JUSTIN SALINGER in CROWHURST executive producer NICOLAS ROEG 1. INTRODUCTION 2. SYNOPSIS 3. DIRECTOR’S NOTES 4. SCREENWRITER’S NOTES 5. BIOGRAPHIES 6. CREDITS Great Point Media: [email protected] +44 (0) 20 3873 0020 Sterling Pictures: [email protected] +44 (0) 7956 529489 CROWHURST Production Notes - draft 16/05/17 1. INTRODUCTION A tragedy that is both grand and pathetic. In October 1968, Donald Crowhurst, a 35-year-old engineer and father of four, embarked on one of the last great adventures of the 20th Century. He was one of nine men who set out from the English coast that autumn as part of the Sunday Times Golden Globe Race, chasing to be either the first or the fastest man to circumnavigate the globe - single-handed and non-stop. But for Donald the dream turned into a nightmare. Tragic, heartbreaking and enthralling - CROWHURST is neither an apology nor an expose. It is a tribute to a brave man who was too proud to fail and too much alone to live. 2. SYNOPSIS In October 1968, Donald Crowhurst, a 35-year-old engineer and father of four, embarked on one of the last great adventures of the 20th Century. He was one of nine men who set out from the English coast that autumn as part of the Sunday Times Golden Globe Race, chasing to be either the first or the fastest man to circumnavigate the globe - single-handed and non-stop. But for Donald the dream turned into a nightmare. Tragic, heartbreaking and enthralling - CROWHURST is a tribute to a brave man who was too proud to fail and too much alone to live. CROWHURST Production Notes - draft 16/05/17 3. DIRECTOR’S NOTES Donald Crowhurst’s story is truly a unique one, combining British derring-do and proud flag- waving adventurousness with an intimate story of a dream gone very badly wrong. In the late 1960’s when men were landing on the moon, it seemed like nothing was impossible. Sir Francis Chichester had just sailed single-handedly around the world (stopping in Sydney for a well- earned quick rest) while Sir Chay Blyth and Sir John Ridgway rowed across the North Atlantic, all modestly brushing off these daring feats as being only marginally more dangerous than going to buy a pint of milk at the local shop. The idea that a man might sail around the world with as little experience as Crowhurst still seems vainglorious and crazy although, in reality, both the aforementioned Blyth and Ridgway also set out on the same Golden Globe race with equally little, if not less, experience. Crowhurst’s story is tragic not only because he (probably) committed suicide but also because he left behind a wife and four children. Yet here was a man who was ultimately neither hero nor anti-hero but in a strange way both because his reasons for entering the race were entirely admirable; he wanted to win the £5000 prize money so he could support his family and extricate himself from financial debt. Forget that he cheated and lied to the whole world, somehow his comeuppance still feels too excessive for what seemed more like a series of white lies rather than deceitful, harmful falsifications. Robin Knox Johnson (winner and only man to finish the race) famously said that history should not judge Crowhurst too harshly and this is something we have taken to heart in the film. With our modest budget, there was no way we’ll be able to compete with a larger production in grandiosity of scale and have massive Perfect Storm or White Squall type sea-spraying storm scenes. So artistry, imagination and suggestion came to the fore in telling this unique story in a unique way. The main thing we’ve concentrated on is the emotional and psychological journey that Crowhurst went on; the narrative is about a man on a boat after all, and during this journey there are a few highs and quite a few lows. Not only is his loneliness and isolation explored but also, the ultimate irony that as each of his competitors drops out, so he comes closer to winning - the last thing, it turns out, he ever wanted to happen. There’s something terribly British about cheating to come last yet, perhaps worse, is cheating to come last and actually failing and winning by mistake. When not concentrating on Crowhurst himself, we cut away to give the film a dynamism and pacing beyond its man-in-a-boat origins. The film is interspersed with descriptions of each of the other sailors, read by a BBC newscaster with maps to illustrate where they dropped out of the race. At the beginning of the story, after two sailors already crash out, Crowhurst humorously notes that he hasn’t even left home and he’s gone from 9th place to 7th. As the race progresses it becomes apparent that if the other contestants continue to drop out, then Crowhurst’s benignly cheating ways will have disastrous consequences for him. So, just by having these inserts, a great drama and tension is imbued into the film as the dawning realisation that disaster looms. To emphasise the Britishness of the situation and how important honour and the Empire were back in the 1960’s we took inspiration from Paul Thomas Anderson’s Magnolia where the whole cast sing Aimee Man’s ‘Wise Up’. From when Crowhurst departs to his final demise, we have various rousing and traditional British hymns/carols sung by various members of the cast - starting off with ‘Land of Hope and Glory’ when he leaves Teignmouth Harbour to The National Anthem when he realises his mission is in tatters. In between, we also have ‘Jerusalem, I Vow To Thee, My Country’ and ‘Silent Night, Holy Night’. The songs are sung by Crowhurst’s supporters but as his plight progresses they, bit by bit, fall away so that it’s only him singing with his family (him on his boat, them at home in England) and for one of the final scenes singing the National Anthem, it’s just Donald alone, on his trimaran. CROWHURST Production Notes - draft 16/05/17 Working alongside Nicolas Roeg during development on this project has been a terrific experience for me. Nic’s legacy to the art of film is enduring. Don’t Look Now, The Man Who Fell To Earth, Walkabout, Bad Timing, Eureka and the ultimate in filmed madness, Performance, all contain huge elements of the outsider, the alienated and the the horror and seduction of loneliness. Nic’s contribution to this film in terms of his support, influence and advice has been huge. The goal of the film has been to treat Donald as the honourable man that he was before leaving on his voyage; a dreamer, a man with a vision, a father and husband, and more than anything, a British underdog. I hope the audience will empathise with his situation, share his hopes and dreams and ultimately his horror at the crazy turn of events the race unpredictably took. In Justin Salinger (Everest, Heartless, Enduring Love) I cast an immensely powerful and captivating actor who completely projected Donald’s charm - perfectly capturing his affable optimism yet never letting go of that sense of being a dreamer with a tangible vulnerability. I’m very proud of this small but intense movie. It’s an incredible film about an incredible journey by an incredible man. - SIMON RUMLEY London 2017 CROWHURST Production Notes - draft 16/05/17 4. SCREENWRITER’S NOTES The first time I came across the story of Donald Crowhurst I was surprised to discover there hadn’t been a movie made about this remarkable man. Of course, the story is tragic, but I was struck by Donald’s determination, the drive that pushed him on against the odds – again and again. It brought back thoughts of the “plucky English”, born out of a time when the Empire had fallen and the UK was searching for its new place in the world. And, for me, Donald was the man that epitomised that. In researching his story, I came across many people with complicating views on Donald. Some say he was a cheat and a liar – but for me he was a man driven by ambition, dreams, and the pressures of the real world. He was a hero. Donald’s story is rich with passion, drama and suspense – every ingredient a story needs, but they came with a big problem when committing the tale to the screen: it was predominantly a film about a lone guy on a boat who slowly descends into madness as his dreams unravel. I didn’t want Donald spending most of the movie gazing into the middle-distance, talking into a tape recorder, so it took a little time to get a fresher approach. Finessing things with the director sharpened Donald’s inner journey into something highly visual, while being sympathetic and dramatic. I was delighted when Justin Salinger was cast as Donald Crowhurst. I had the good fortune to work with Justin on a previous movie and knew he was more than capable of portraying Donald’s rebellious spirit. I remember the first day I visited set, my first glimpse of Justin as Donald was while he was hunched over the radio on-board the boat, receiving a message that would destroy his life. While sitting on the quay side in Bristol, watching Justin on the monitor I was completely swept away to the middle of the Atlantic.
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