PRESSURE

Production Notes

LOGLINE

Four deep-sea saturation divers stranded at the bottom of the Indian Ocean must fight for their survival and reach the surface.

SHORT SYNOPSIS

Four deep sea saturation divers become stranded 650ft below the surface of the Indian Ocean after disaster strikes their ship. With the air in their bodies compressed to withstand the depth, surfacing too fast without decompressing is unthinkable and will lead to almost certain death.

With their diving bell damaged, rescue uncertain and oxygen depleting they are forced to work together to fight for their survival and ultimately find a way back to the surface

LONG SYNOPSIS

Reaching the bottom of the Somali Basin, a four-man saturation dive team prepare for work, servicing an oil pipeline at the bottom of the ocean. Jones the smart rookie, Hurst the fast-living joker, Mitchell the leader and stickler for protocol, and Engel, enigmatic and remote, make their final checks before heading out, unaware of the severity of a storm above water.

Turbulence hits the bell, and the team are radioed to prepare for their ascent as the storm hits their support vessel above. Mid-ascent everything stops; the bell lurches and begins to free fall, hitting the bottom of the ocean, and leaving the bell systems operating on emergency support.

Engel swims out to assess the damage and discovers wreckage on the ocean floor; the ship is down. With no support boat above, they argue over the best way to ensure survival. Mitchell insists on securing the bell, but if the rescue boat does not reach them in time, they will die. Engel believes they should float the bell, but Mitchell worries about the structural integrity after the accident, insisting they wait. Danger lies all around; the near freezing water outside, unendurable for long without hypothermia setting in; the decompression sickness if they ascend, lungs rupturing in the most unimaginable pain; and on top of all this, the diminishing air supply, without which they will all die.

Hope comes in the form of radio contact with a Chinese ship requesting their co- ordinates but communication is lost and the peril persists. Mitchell takes charge, instructing Hurst to assist him in securing the bell. Mitchell’s umbilical gets snagged, cutting off his breathing gas and communication system. As he struggles to breathe, Hurst races towards him but is unable to detach the umbilical. The malfunctioning comms spark into action; Engel hearing Mitchell in danger dives into the water to drag Mitchell to safety back inside the bell. It quickly emerges that Hurst cannot use his hands properly – a side affect from years of diving – and has been unfit to do his job for some time.

Determined to prove his worth, Hurst sneaks out of the bell in an attempt to find the sunken ship and bring back vital breathing gas. Ignoring Mitchell’s orders to return, Hurst pursues the wreckage; running out of heat, he starts falling into the throws of hypothermia. Worried about the continuing waste on air, knowing it’s too late to save him, Jones makes the decision to turn off Hurst’s breathing supply.

Jones analyses a map of the seabed and determines that if they follow the pipeline, they will find emergency gas; Engel volunteers for the mission. Time and heat rapidly diminishing, he finally locates the canisters but exhausts his body to the limit. As Engel begins to lose the fight for life, Mitchell reacts fast, and swims out to help him, hauling both Engel and a canister back to the bell. Mitchell forces CPR to save the unconscious Engel, as he splutters back into life, gulping air into his starving lungs.

The radio crackles to life with contact from HMS Marlborough, but without co-ordinates the chances of the ship locating the bell by sonar is time conditional. In a desperate effort to make their location known, Mitchell swims towards the surface as far as his umbilical can reach holding a GPS beacon. Before he can activate the device he is engulfed by a swarm of jellyfish. Batting the creatures away, his hand slips, the beacon escapes before he has the chance to activate. Still determined, Mitchell takes a deep breath, ripping off his umbilical, and chases the disappearing beacon. Grabbing hold, he must remove his glove to activate it; he’s successful, but with his hand badly stung by the jellyfish, and his umbilical disconnected, he falls through the ocean to his death.

Now only Jones and Engel remain, awaiting further communications from HMS Marlborough. They have located the beacon, but it will still be hours before they can commence a full rescue, and there’s not enough breathing gas left. Engel makes the decision to float the diving bell. As it ascends the wreckage below snaps the umbilical, and the bell is stopped. The only option remaining is to swim to the surface, a near impossible dive. With only one helmet remaining, Engel demands Jones makes the dive, essentially giving up his life in exchange.

Trepidation and suspense set in as Jones makes the ascent, struggling to switch from his umbilical to a breathing tank. Engel guides Jones via the communications, and he finally breaks the surface. The rescue boat charges towards Jones and hauls his exhausted body into the hyperbaric chamber. The reality of the situation hits Engel, and he accepts his fate.

ABOUT THE PRODUCTION

Genesis

In March 2012, Jason Newmark and Laurie Cook – producers at Bigscope Films – discussed the idea of adding a feature to their development slate set at the bottom of the ocean. “It’s an isolated, technical place, where the odds of survival are slim,” says Jason, discussing the intrigue of the setting. At this point Jason suggested bringing on board Nick Chopping, a stunts co-ordinator and experienced diver who had previously worked with Jason on the feature HONOUR. During a meeting to brainstorm Nick suggested the idea of using a diving bell, which Laurie took back to Bigscope’s in-house researcher Louis Baxter. Louis set about researching everything to do with deep sea diving, with particular focus on commercial divers. Together with Bigscope, he developed a treatment titled PRESSURE LIMITS, which formed the bare bones for what would eventually become PRESSURE.

With Louis’ treatment at hand, Jason & Laurie approached the writer Paul Staheli, who had shown in previous work to be particularly good with writing around action and set pieces. Paul’s other commitments did mean that he was available only to deliver a first draft of the script, but Jason recounts it as “structurally smart and full of jeopardy”. Feeling confident with the tone set, he and Laurie set about attaching a director to bring a vision, and a writer to continue Paul’s work; it was at this point that Ron Scalpello and Alan McKenna became involved.

Around the time of Paul’s delivery of this first draft, Jason & Laurie had seen director Ron Scalpello’s first feature, OFFENDER, and immediately thought of him to be the perfect fit for PRESSURE. “There’s something about the way in which Ron can get right to the heart of the tension within a scene” recalls Jason, stating OFFENDER as “a brilliant piece of work”. There was also history, with Jason & Laurie previously involved in the development of another project with Ron, along with producer Alan McKenna whom Jason was also keen to get involved on PRESSURE. With a career in acting and writing, Alan saw PRESSURE as a real opportunity, finding it “the kind of genre piece that I found immediately exciting”.

With the need for someone to take over Paul’s work, Alan stepped into the role of writer, and began the second draft. Carrying with him the tone originally set, he commenced a full re-write, which saw a heavy period of research. “I just immersed myself, and kept asking more and more questions,” says Alan, who spent a lot of time speaking with various divers. One the struggles he did face was making sure the terminology and technical processes was on point: “I think [divers] all operate in different ways, so you then have to find a balance for what works for our story”.

Alan’s work on the script was solid: “everyone who we sent it to really engaged with it, and either wanted to track it very closely or just get involved” Laurie recalls. He and Jason had recently worked with Pinewood Pictures on a couple of projects, and with the state-of-the-art underwater facilities available at Pinewood Studios it was a great match for the project. Together with a strong interest from sales agent Embankment Films, PRESSURE quickly moved into production.

Characters & Casting

Four deep-sea saturation divers form the main cast of PRESSURE: Engel, Mitchell, Jones, and Hurst. “I wanted to play around with who they are as men, and what defines them as men” says director Ron Scalpello “it’s obviously a film about masculinity, and the definitions about masculinity in a modern world, and how that’s defined by post- feminist need to be a more altruistic man”. Ron had taken a hands-on approach once involved in the project, and fed into Alan a lot of what he wanted from the characters for the film. Colin Jones, casting director, reflects: “the script is unusual for quite a few reasons; it’s quite a masculine script… and not many actors involved, so it made it quite an unusual project to think about, but also very exciting”.

Danny Huston is Engel

Engel is a seasoned diver, with a dark history that haunts him throughout the film. His remote characteristics see him disengaged with his team members, and there’s a deep level of mystery that slowly unravels as the story progresses. Wanting to open the role up to a big American name, Colin thought of , who he describes as a “cult figure in a masculine world”. His agent was immediately on board, with Danny reading the script within the week. “I thought the script worked on so many different levels, and showed a lot of symbolism and metaphor” says Danny on his interest in the project; “it all made sense, and wasn’t difficult to say yes to”.

Matthew Goode is Mitchell

The character of Mitchell is another experienced diver, with thorough work ethic. “His through line and thoughts are always on faith, something above, something looking after you, and that’s what he abides by” says writer Alan McKenna “and whether that’s the company, his wife, or religion, he’s always looking to someone else slightly, but taking charge when given the mantle”. Alan was a key player in securing Matthew Goode in the role of Mitchell – the two had been acting in a film together when Alan mentioned the project, and upon reading the script Matthew was keen to be involved.

Joe Cole is Jones

Having previously worked with Joe Cole on OFFENDER, Alan and Ron developed the character of Jones with him in mind. As the rookie diver, the character required a level of vulnerability; a young husband with a baby on the way, Jones takes a step from boy to man over the course of the film, facing serious scenarios and making difficult decisions. “It’s very raw, some of the stuff that he’s shown us” says Matthew on Joe’s performance “I’ve been so impressed”. Joe states that the shaping of Jones is largely based around his junior role within the saturation team, not only technically but also emotionally, as he learns and decides what he wants to take from the older characters.

Alan McKenna is Hurst

Hurst is a troubled diver, having been in the water the longest of all the characters. He previously worked with Jones’ father [also a diver], and relates large amounts of his interactions with Jones back to this relationship. However, spending so much time in the water has taken a toll on his body, and has massive issues with his hands. This becomes apparent as the story progresses, but is touched on at the beginning of the film, as is his alcoholism, which is hinted as being a coping mechanism.

“That was my ambition, to be in it” says Alan [of PRESSURE] “it was the kind of genre piece I found immediately exciting as an actor”. Taking over as writer of the screenplay, Alan had the opportunity to really forge Hurst as a catalyst to the other characters emotions.

The Diving Bell

As the main set piece of PRESSURE, it was essential for the diving bell to be created in a way that would maintain the claustrophobic nature of the script. It was the idea of production designer Greg Shaw to create a two-piece set: the exterior piece for the underwater scenes, and the interior piece for the dry-for-wet set, both built from identical large septic tanks.

The exterior fiberglass build, weighing in at over 1.5 ton, was wrapped in a hooped steel roll cage and rigged with sixteen underwater heads. These would create the key lighting required for the underwater scenes involving the divers. Using U Stage at Pinewood Studios, it was constantly submerged and flooded with water; director Ron Scalpello states the constant fear of putting the set through such rigorous tasks, hoping that it wouldn’t fall apart under the strain.

The interior of the bell, on exact scale with the exterior, was designed in a way so that it could be taken to pieces to allow easier movement of cameras and crew within the tiny space. Suspended above the pool on F Stage at Pinewood Studios, the chains holding the bell were computer controlled; this helped the crew to create the necessary movements required to replicate the bell crashing to the ocean floor, as well as flooding the interior for the final scenes. The lighting design of the interior was also of upmost importance: with such a confined space, the naturally basic lighting system look of a diving bell was manipulated to echo the psychological state of the divers, lending itself to become a key story element.

The Shoot

PRESSURE began principal photography on U Stage at Pinewood Studios on the 19th August 2013. The underwater tank, the main component of this stage, is 20m long x 10m wide x 6m deep, kept at a consistent temperature of 31 degrees, with 14 tons of sand lining the bottom. A full separate camera crew, specializing in underwater photography, joined the main unit crew for this first week. The main cast all underwent medicals prior to the underwater shoot, and were trained to be confident for their underwater performances, including being able to disconnect their diving umbilicals themselves.

Dave Shaw, diving co-ordinator at Pinewood Studios, says he was lucky with how well the cast were able to play out their underwater sequences. Most scenes were carried out in real diving helmets, which Danny Huston describes “like putting on cement plastic bag and tying it tightly at the neck”. Once in the water, the weight of the helmets was lifted, and Matthew Goode recounts the feeling to be “what one would imagine walking on the moon would be”.

Following the first week on U Stage, the crew moved across Pinewood Studios to F Stage for the interior and dry-to-wet shoot for the next three weeks. With the interior shots taking place inside a set piece almost to scale of a real diving, the cast and crew lived through the claustrophobic reality of the film. “The diving bell… I grew to love it, and kind of hated it at the same time” says Ron – and the cast echoes his thoughts. “It’s not particularly enjoyable,” laughs Danny “but having said that, that experience really helped create the performances”.

After a successful shoot on the F Stage, the final scenes required a movement to location, which saw the majority of the main unit crew travelling to Aberdeen, Scotland. Here there were three main scenes to finalise: the cabin and deck of ship, both key to creating the space for the story, and the rescue that forms an essential part of the final climax.

Working with Director Ron Scalpello

Ron has had a long history in music-related filmmaking and journalism, having written for the likes of Dazed and Confused and directed many music videos and commercials. Having the project HERE COMES THE SUMMER previously in development with Bigscope Films, Jason and Laurie were familiar with Ron’s passion and energy. After catching his debut feature, OFFENDER, both were sure Ron was the person for the PRESSURE.

Alan, who has been working with Ron for 14 years, speaks highly of Ron’s work ethic: “he pushes everyone to get the best scene that he can, and the best script that he can”. Various members of the production team noted Ron for his meticulous efforts in pre- production, storyboarding as much as possible. Once on set, the actors found real connections with Ron, with Matthew stating [on working together] “it felt like a really good symbiotic relationship”.

Working with Writer Alan McKenna

Alan, who was bought on to the project originally in a producer capacity, was quick to take on the writing of the screenplay when the opportunity came up. He was particularly determined to get a true authenticity for the piece, with Nick Chopping stating “Alan has put a lot of time and research into the project to get the phrases as correct as possible”. What really struck a chord with the actors was how willing he was to take their notes on the characters, and apply them to the script. During prep, Alan would sit with the actors and Ron, going through the dialogue and scenes. Matthew describes Alan as presenting ‘a blueprint of the script’, being very open to collaboration to really have the actors know their characters. This didn’t take away from Alan’s writing style, for which he states that he likes to embody each character on their beats: “I was all the parts when I was the writer”.

BIOGRAPHIES

Danny Huston

Award-winning actor and director, Danny Huston is known for his versatility and dramatic screen presence. True to Huston form, Danny has a storied career both in front of and behind the camera.

This year, Huston has filmed the role of ‘Douglas Greathouse’ in MASTERS OF SEX for Showtime, and he co-starred in the critically acclaimed series, : COVEN, playing serial killer “The Axeman”, a sexy and dangerous saxophone player and love interest to Jessica Lange.

Huston starred in the role of ‘Ben Diamond,’ on the series helmed by Mitch Glazer, MAGIC CITY. He was honored for his role with a “Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television” nomination at the Golden Globe Awards in 2013.

Huston co-starred in , the directed and Weinstein Company film based on the true story of painter Margaret Keane and her manipulative husband Walter, who took credit for her artwork. Huston played the part of gossip journalist ‘Dick Nolan,’ also starring , , Krysten Ritter and Jason Schwartzman. This film is set to release in August 2014.

He also starred in the underwater thriller, PRESSURE, alongside Matthew Goode, Joe Cole and Alan McKenna, directed by Ron Scalpello for Newscope Films.

Huston’s film, THE CONGRESS opened the 45th Director’s Fortnight sidebar at the 2013 Cannes . Ari Folman’s THE CONGRESS is a half live action/half animation science fiction film inspired by Stanislaw Lem’s novel “The Futurological Congress.” The film is set in a dystopian society and explores the ramifications of technology. Huston is in the role of ‘Jeff Green’ where he convinces actress Robin Wright to sell her image to star in movies of the future. Huston starred in LIBERTADOR, for director Alberto Arvel Mendoza in Madrid. LIBERTADOR, a Spanish/Venezuelan coproduction, is a sweeping epic that follows the life of Simon Bolivar and his ultimate victory over the formidable forces of the Spanish Empire. One of the key leaders in the colonial struggle for independence of Latin America, Bolivar is one of the region’s most inspirational and influential figures to this day. Huston plays the fictional character of British financier ‘Martin Torkington,’ and early ally who is instrumental in bankrolling some of Bolivar’s military campaigns.

Huston also starred as ‘Whitfield Cook’ in Fox Searchlight’s HITCHCOCK. The film followed ’s (Hopkins) struggles during the filmmaking of his horror classic PSYCHO. Huston starred alongside , , Jessica Biel and Scarlett Johansson.

Huston starred in Jonathan Liebesman’s , reprising his role as ‘Poseidon’ opposite and Liam Neeson for Warner Bros. Huston also appeared in Simon West’s STOLEN, with Nicholas Cage, Malin Akerman and Josh Lucas for Millennium Entertainment. Huston also starred in two projects: opposite Sienna Miller and his nephew, and BOXING DAY. Both films are based on works of Tolstoy.

Known as a writer, director and producer, Huston got his start directing MR. NORTH starring Anthony Edwards, Robert Mitchum and his sister, . Later, Huston gave his breakthrough acting performance in the IVANSXTC and was nominated for Best Male Performance at the Independent Spirit Awards.

Huston’s other film credits include BIRTH (directed by ) opposite ; SILVER CITY (directed by ); ’s THE AVIATOR starring Leonardo DiCaprio, for which the ensemble cast was nominated for a 2004 Screen Actors Guild Award. The following year, Huston received the Golden Satellite Award for Best Supporting Actor for his performance as ‘Sandy Woodrow’ in Fernando Meirelles’ THE CONSTANT GARDENER and starred in the critically acclaimed Australian Western THE PROPOSITION (directed by John Hillcoat), alongside Guy Pearce and Emily Watson. MARIE ANTOINETTE (directed by ), CHILDREN OF MEN (director Alfonso Cuarón), FADE TO BLACK, in which he played directed by Oliver Parker, THE NUMBER 23 (directed by Joel Schumacher), THE KINGDOM (directed by ), 30 DAYS OF NIGHT (directed by David Slade), THE KREUTZER SONATA (directed by Bernard Rose), the comedy HOW TO LOSE FRIENDS AND ALIENATE PEOPLE (directed by Robert Weide), and he portrayed Samuel Adams in the award-winning HBO JOHN ADAMS and FOX blockbuster franchise X-MEN ORIGINS: WOLVERINE.

Released in 2011, Robert Redford’s THE CONSPIRATOR, with James McAvoy, Robin Wright and Kevin Kline, A MONSTER IN animation directed by Bibo Bergeron, and PLAYOFF directed by Eran Riklis based on the life of Ralph Klein, infamous Israeli basketball coach which garnished him the 2011 Best Male Lead Performance Award at the Montreal Film Festival.

Released in 2010, films included Martin Campbell’s thriller EDGE OF DARKNESS opposite Mel Gibson, and ’s ROBIN HOOD starring Russell Crowe and , and the fantasy-action Sngmoo Lee’s THE WARRIOR’S WAY with Kate Bosworth and Geoffrey Rush. In Barry Levinson’s HBO critically acclaimed award-winning YOU DON’T KNOW JACK, Huston portrayed ‘Geoffrey Feiger,’ Kevorkian’s lawyer, opposite .

Huston currently resides in .

Matthew Goode

Matthew’s recent screen credits include THE IMITATION GAME, SELFLESS, STOKER, BELLE, BURNING MAN, CEMETARY JUNCTION, LEAP YEAR, A SINGLE MAN, directed by Tom Ford, BRIDESHEAD REVISITED, and WATCHMEN.

Previous to this he has starred in THE LOOKOUT, COPYING BEETHOVEN, IMAGINE ME AND YOU, MATCHPOINT directed by , CHASING LIBERTY and SOUTH FROM GRANADA for Fernando Colomo. TV credits include THE GOOD WIFE, DEATH COMES TO PEMBERLEY, Stephen Poliakoff’s DANCING ON THE EDGE, POISON TREE, BIRDSONG, MY FAMILY AND OTHER ANIMALS, A MURDER IS ANNOUNCED, HE KNEW HE WAS RIGHT, INSPECTOR LYNLEY MYSTERIES, and CONFESSIONS OF AN UGLY STEPSISTER opposite Stockard Channing and Jonathan Pryce, directed by Gavin Millar.

Theatre credits include playing Ariel in THE TEMPEST and Moon in BLOOD WEDDING (Sue Lefton). Matthew Trained at Webber Douglas Academy of Dramatic Art.

Joe Cole

Since his training with the National Youth Theatre, Star of Tomorrow Joe Cole has gone on to earn critical acclaim across the board for his work in television, theatre and film. Last Autumn, he was seen in the BBC’s well received PEAKY BLINDERS as ‘John Shelby’, younger brother to Cillian Murphy’s ‘Tommy’, alongside a cast that also included and Helen McCrory. He is currently filming the second series, with Tom Hary as an addition to the cast. Series two will tx this Autumn.

In March, Joe was also seen in A LONG WAY DOWN, a film adaptation of Nick Hornby’s novel, alongside , Imogen Poots, and . He was also recently seen in the short film, SLAP, where he played the role of a cross-dressing boxer. SLAP won the award for ‘Best Short Film’ at the 2014 Edinburgh Film Festival.

Joe will soon feature in a number of highly anticipated projects, including PRESSURE, a Ron Scalpello thriller with Danny Huston and Matthew Goode. The film is about a group of divers who get stuck under water in their diving bell when a storm on the ocean surface sinks their mother ship. He has also been working on the independent film, THE FALLING, which tells the story of a troubled girl at the centre of a mysterious fainting epidemic spreading through her British all-girl school in 1969, a year when the whole world seems poised on the brink of change. Joe will play the character Kenneth, alongside and . Further to this, Joe has also completed filming crime thriller PETERMAN with , and Peter Bowles.

For film, 2012 saw the release of Revolver Entertainment’s OFFENDER in which Joe starred as the lead role of ‘Tommy’ in a contemporary tale of love, crime and retribution set in the brutal world of a young offender’s institute. Joe was singled out for his performance, one reviewer citing his turn as ‘nothing short of stunning’, another is quoted with ‘Cole is certain to make his name in this film and is definitely destined for great things’; Baz Bamigboye adds to this picking him as ‘the next big thing’. The film’s director Ron Scalpello says of him, ‘there’s no one in his age group who could have carried Tommy the way he did. I think he’s given one of the best young performances in years’. Joe also featured in Ol Parker’s well-received feature NOW IS GOOD alongside Dakota Fanning, , , Jeremy Irvine and Paddy Considine.

Joe has also been seen in CARGESE, directed by , one of a series of one-off dramas for the Sky Arts series PLAYHOUSE PRESENTS. Joe co-starred alongside and Avigail Tlalim and Sky Arts described it as "unique piece of poetic realism which mines the tragic seam of adolescent love and loss", with Joe singled out as “terrific as Stephen, by turns charming, enigmatic and brutally odd”. Joe was also seen in series 2 of BBC Two and BBC America’s multi-award-winning THE HOUR with Dominic West, and Romola Garai. In 2011, Joe was seen on our television screens in the BAFTA award winning British teen drama SKINS, taking on the role of ‘Luke’, a rebellious yet somewhat charming gang leader. Joe was commended for being “brilliant at unpacking the complexities of the character”. Joe’s other television credits include the BBC’s successful series COME FLY WITH ME, and five-part ITV drama INJUSTICE which aired in June 2011. In addition to this he featured in BBC Three’s well received pilot STANLEY PARK alongside Holliday Grainger and the award winning channel 4 series SKINS.

Joe starred as ‘Sam Baker’ in Mahalia Belo’s short film VOLUME IN 2012 which went on to win the Best Short award at the British Independent Film Awards. He also played the lead role in Mark Gutteridge’s short film ASSESSMENT, winner of the jury prize at Film Best of Boroughs Awards at BAFTA. Joe also played the role of ‘Benno’ in HAND, released by Gary Simpson films.

Joe’s career also expands to the theatre world. Most recently he was seen in the Bush Theatre’s highly praised productions of THE KNOWLEDGE/LITTLE PLATOONS, two new plays which formed part of the Schools Season. His other credits include POLLING BOOTH (Theatre 503), RELISH (National Youth Theatre), BRIXTON ROCK (Young Vic Theatre), BUS (Cockpit Theatre), TALKING TO BYRON (National Youth Theatre/Roundhouse Camden), TITS AND TEETH (national Youth Theatre/Soho Hotel), LATERS (Team Angelica/Drill Hall theatre), BIRDBOOT, TWELFTH NIGHT, OUR COUNTRY’S GOOD (Ilex Theatre), ACCTINGTON PALS, OUR BAD MAGNET, HELMET (Kingston Youth Theatre).

Joe is also currently writing and developing a project for television with .

Alan Mckenna

Alan has been acting in the TV and Film industry for over 20 years, and has appeared in numerous productions, on stage, in televison dramas, and Hollywood movies. He has worked alongside such industry heavy weights as , Julie Delpy, Heather Graham, James Purefoy, , Julie Walters, Andy Garcia, and .

Charlotte Davies at United Agents represents Alan Mckenna; recent credits include BELLE, PRESSURE, and HAPPY VALLEY.

Ron Scalpello - Director

Ron Scalpello started his career in music journalism at the tender age of seventeen, working for Sounds in the early 90’s interviewing, reviewing and hanging out with the likes of The Fall, Public Enemy and The Jesus and Marychain. After five years of front cover stories, Ron pursued his passion for film and studied for a BA in Film and Video whilst directing over twenty pop promos and writing for Dazed and Confused and Goal magazine; he then joined the BBC as an in-house director. Ron has since directed numerous promos, commercials & music videos including The Prodigy's "Voodoo People", and has won awards for his highly original and stylistic work including Best Director at the UK Promax for his commercial for Radio 5 Live.

Ron’s debut feature OFFENDER starring Joe Cole, English Frank & Kimberly Nixon, was released summer 2012 by Revolver. Aside from PRESSURE., upcoming projects include Ron’s original football-biz satire THE MANAGER for TV with Rogue Films and a remake of THE FOURTH PROTOCOL with Newscope.

Alan McKenna – Writer/Producer

Alan McKenna is a London based screenwriter, who specializes in thrillers, comedies, and adaptations.

Alan has written several feature scripts, including SLAMMER, a psychological prison thriller, SOMETHING CRIMINAL, a comedy about a depressed cop, and THE HURT, an Irish western that centers on a horrific real-life tragedy. He has also co-written a rite of passage drama, HERE COMES THE SUMMER.

Alan has a number of other scripts in development, including WORN, a cold-war thriller, TRAPEZE, a modern tragedy centering on three interlocking stories, and ONE, a futuristic crime thriller. He’s also working on a number of TV projects, including BROKEN PEOPLE, a six-part drama revenge thriller, as well as a true life World War II biopic.

Alan is represented as a screenwriter by Hannah Thornton at United Agents.

Jason Newmark - Producer

Whilst formerly a producer and shareholder at Dan Films, Jason produced the films TRIANGLE, SEVERANCE and CREEP. All three were written and directed by Chris Smith, and financed by companies including Icon International Entertainment, Pathe, and the UK Film Council. CREEP was a co-production with .

In 2011 Jason left Dan Films to set up Newscope films, where he has produced the thriller HONOUR, as well as the International Emmy-nominated Channel 4 political thriller SECRET STATE. He has since also established Bigscope Films, specialising in high concept, low budget genre films. Features produced to date include microbudget alien contact HANGAR 10, futuristic alien invasion documentary OUTPOST 37, and underwater survival thriller PRESSURE starring Danny Huston and Matthew Goode.

Currently in production is horror movie DON’T HANG UP, with Chris Smith’s noir thriller DETOUR starting pre-production in August. Also mooted for 2014 production is the remake of British political thriller DEFENCE OF THE REALM as well as A BOLLYWOOF TALE, the story of an English pet dog lost in , with Frederik du Chau (RACING STRIPES) to direct.

Laurie Cook - Producer

Laurie Cook began work as an Assistant Director in 2004, making the switch to development in 2007, script reading for Brilliant Films, Qwerty Films and Element Pictures. In 2010 he began working on the micro-budget film HANGAR 10 as a producer with Jason Newmark.

In 2011 Laurie joined Jason Newmark's Bigscope Films as Head of Development and a producer. PRESSURE was developed internally and formed part of an exciting, high concept, low budget development slate.

Pinewood Pictures – UK Distribution

Pinewood Pictures is the investment and content-owning vehicle of Pinewood Shepperton plc. As well as offering direct equity investment, Pinewood Pictures acts as fund advisor to both the Isle of Man Media Development Fund (£25m) and the Welsh Government’s Media Investment Budget (£30m).

Pinewood Pictures is able to offer flexible investment across gap, equity, pre-sale and tax credit lending, benefiting from the experience of its personnel in film and TV development, finance, production and distribution.

Pinewood Pictures also runs a successful UK distribution arm which has experience across a number of genres; releases include TT3D: CLOSER TO THE EDGE, CHICO & RITA, THE DISAPPEARENCE OF ALICE CREED and ME AND ORSON WELLES. Forthcoming releases include SPOOKS: THE GREATER GOOD, TAKE DOWN and PRESSURE.

Bigscope Films

Bigscope Films began business in January 2012, with a remit to develop and produce commercially positioned, high concept, producer-driven genre films that have an international sales appeal. Recently completed titles include micro-budget alien contact feature HANGAR 10, futuristic alien invasion documentary OUTPOST 37, which is due for release in America early 2015, and underwater survival thriller PRESSURE, directed by Ron Scalpello, starring Danny Huston and Matthew Goode. In post-production is the horror DON’T HANG UP, starring Gregg Sulkin, which is the first feature for VFX artists- turned-Directors Damien Macé and Alexis Wasjbrot.

Currently in development is the contained thriller THE SACRIFICE, to be directed by Ed Fraiman, monster horror SWIMMING HOLE with Special Effects Designer Paul Hyett attached to direct, and HERETIC, to be written by Tom de Ville and developed with the BFI.

Richard Mott – Director of Photography

Richard shot the BAFTA nominated short film THE ONE AND ONLY HERB McGWYER PLAYS WALLIS ISLAND, directed by James Griffiths, and the first series of the BBC3 comedy drama, HIM & HER, directed by Richard Laxton and produced through Big Talk Productions. He also shot the television drama HOLY FLYING CIRCUS, directed by Owen Harris and produced through Hillbilly Films for BBC4. Richard shot the feature films, SMALL CREATURES, directed by Martin Wallace, and Ron Scalpello’s debut feature, OFFENDER, produced by Gunslinger Films. He has recently completed Scalpello’s second feature PRESSURE starring Danny Huston and produced by Jason Newmark through Embankment Films.

Jake Roberts - Editor

Jake is a well-established editor, who has enjoyed great success within the film and television industry. As a long-time collaborator with David Mackenzie and Sigma Films, Jake cut THE LAST GREAT WILDERNESS, PERFECT SENSE, YOU INSTEAD and recently , which was nominated for Best British Independent Film at the BIFAs in 2013.

He has also edited several award-winning short films, including “I LOVE LUCI” which won the Scottish BAFTA Award for Best Short Film in 2011, and his television credits include the hugely popular MISFITS series, along with SKINS REDUX with director Charles Martin. Jake also has co-editing credits on the feature films CITADEL, JUMP and DONKEY’S which was nominated for Best Feature at the Scottish BAFTAs and recently did a polish on Ron Scalpello’s PRESSURE.

More recently Jake collaborated with Lone Scherfig on , featuring Douglas Booth, Max Irons and for Blueprint Pictures, and is currently working on BROOKLYN with director John Crowley, starring , Domhnall Gleeson, and Julie Walters for BBC Films.

Johnny Rayner - Editor

Johnny started late 2007 as a runner at an offline edit house called Speade, owned by Sam Sneade (SEXY BEAST, BIRTH). He immediately began building a showreel of music videos for upcoming artists like Professor Green, Tinie Tempah and Mumford & Sons. Over the next few years he progressed to assistant and then editor on their roster cutting commercials, film trailers, short films and music videos which attained him an opportunity to cut a feature; Ron Scalpello's first film, OFFENDER. He continues to mix his time between long and short form and has since worked on PRESSURE, along with In NO GREAT HURRY, a documentary about photographer Saul Leiter. He is currently about to begin cutting a new comedy drama for E4.

Ben Wallfisch - Composer

Benjamin made his scoring debut at the age of 24, composing the music for 's DEAR WENDY. This score earned him his first nomination as 'Discovery of the Year' in the 2005 World Soundtrack Awards and also a nomination for 'Best Original Score' in the 2006 Danish Film . His subsequent score, for Rupert Wyatt's suspense thriller THE ESCAPIST earned him a nomination as 'Best Original Film Score' in the 2009 Ivor Novello Awards and his second nomination as 'Discovery of the Year' in the 2008 World Soundtrack Awards.

The score for SUMMER IN FEBRUARY garnered Wallfisch his third nomination as ‘Discovery of the Year’ at the 2013 World Soundtrack Awards, following its release on Deutsche Grammophon to international critical acclaim, including Classic FM - "Wallfisch's lush score is sumptuously romantic and atmospheric” and Film Music Media - "This is wonderful writing executed masterfully. A truly beautiful score." The score was recently awarded ‘Best Score - Special Feature’ in the 2013 Hollywood Music in Media Awards.

Other recent features include the Lionsgate thriller HOURS starring Paul Walker and the Viking saga thriller from Vertigo Films, HAMMER OF THE GODS. Upcoming scoring projects include the Warner Bros/New Line production CRAWLSPACE, Relativity Media’s drama DESERT DANCER and Pinewood Film’s thriller PRESSURE.

Benjamin recently scored the BBC television original movie, THE THIRTEENTH TALE, produced by David Heyman (Gravity, Harry Potter) adapted for television by Academy Award-winning writer (Atonement), directed by James Kent (The White Queen), and starring . His score went on to be nominated as ‘Best Original Television Score‘ in the 2014 Ivor Novello Awards.

In 2013 Benjamin was invited by Academy Award winning composer Hans Zimmer to contribute additional music to his score for Steve McQueen’s Academy Award winning feature 12 YEARS A SLAVE.

Wallfisch is also known for orchestrating and conducting Dario Marianelli's Oscar® and Golden Globe® winning score for ATONEMENT and his Oscar® nominated scores for ANNA KARENINA and PRIDE AND PREJUDICE.

Benjamin regularly performs in concert and has conducted orchestras including the Los Angeles Philharmonic, London Symphony Orchestra, Philharmonia and Sydney Symphony Orchestra, performing in venues including the Hollywood Bowl, Sydney Opera House and London’s Royal Festival Hall and Barbican. Recent concert music commissions include major new pieces for the LA Chamber Orchestra and London Philharmonic. Classically trained, Benjamin obtained his Masters in composition from the Royal Academy of Music and was recently appointed an Associate of the Royal Academy of Music.

Lindsay Pugh

Lindsay has worked all over the world and has supervised many Hollywood productions, including MAMMA MIA, COLD MOUNTAIN, , and CHARLIE AND THE CHOCOLATE FACTORY.

Lindsay now designs costumes for television, commercials and film, working on many interesting independent films and television projects. She is currently filming a worldwide TV production with the Wachowskis.

Jenna Wrage

There are few make-up designers working harder than Jenna Wrage (pronounced ‘rage’). She has racked up an astonishing fifteen feature film credits in the last three years, and all who work with her are full of praise and eager to hire her again. Jenna has also co-created prosthetics and FX on most of her features, working alongside established Special Make Up FX designers & supervisors such as Paul Hyett, Dan Martin & John Schoonrad. And now with a BAFTA (Wales) nomination for 2013’s THE MACHINE she is starting to get the wider recognition she richly deserves.

Jim Imber

Jim has a TV and film career spanning 25 years. His projects have included multi award winning programmes such as HOLY FLYING CIRCUS and BLACK MIRROR as well as cult TV shows such as SPACED, BRASS EYE and BLACK BOOKS. Jim's more recent film work includes the upcoming KILL YOUR FRIENDS, starring Nicholas Hoult. He is currently in prep on A HUNDRED STREETS starring Idris Elba and .

Colin Jones

Colin's credits include Owen Harris' KILL YOUR FRIENDS with Nicholas Hoult, Neveldine & Taylor's GHOST RIDER 2 for Marvel, 's THE COSMOPOLITANS for Amazon Studios, JUSTIN & THE KNIGHTS OF VALOUR with and Saoirse Ronan, Nigel Cole's WEDDING VIDEO and Woody Allen's YOU WILL MEET A TALL DARK STRANGER.

Colin is currently working with directors Christopher Smith and Colm McCarthy.