Directed by Bryn Higgins
Written by Oliver Veysey
Produced by Oliver Veysey / Bill Curbishley
Starring Ella Purnell, Edward Bluemel, Jordan Stephens, Georgie Henley With Nigel Lindsay, Jo Hartley and Jason Flemyng
Access All Areas will have it World Premiere at Edinburgh International Film Festival. Running time: 94 min / Certificate: TBC For all publicity enquiries please contact: [email protected] / 020 7247 4171
Twitter & Instagram: @aaathefilm facebook.com/accessallareasthefilm GO FOR THE MUSIC. GO FOR YOUR LIFE
An unlikely gang of teens escapes from their dysfunctional parents to an island music festival to lose themselves in the crowd and find themselves in the music.
SHORT SYNOPSIS
When hapless Heath gets caught up in Mia’s desperate bid for freedom, it catapults them and their friends on a wild road-trip to the Isle of Sounds festival whey they lose themselves in the crowd and find themselves in the music. Nothing goes to plan, but if they can get hold of some tickets and survive the crowds, toilets, aerial acrobats, chaos, Swedish hipsters, as well as the unwelcome appearance of their maniacal parents, it promises to be an unforgettable weekend.
SYNOPSIS
A long, hot summer is coming to an end.
Whispers of a comeback performance by the legendary artist Kurtz are all over town, and aspiring musician Heath is desperate to make it to the Isle of Sounds festival to see it. But Heath is going nowhere. While his friends are moving on and moving away, he’s stuck caring for his unpredictable mum Libby, and scrubbing pans to support them both.
Mia has no time for anybody, certainly not her increasingly unhinged father Mack, and least of all Heath, whose affections have been long unrequited. Since the death of her mum, her home has become a war zone. So Mia does what all teenagers do in that situation: she parties every night and refuses to come home.
Something has to give.
When Heath gets caught up Mia’s bid for freedom, it catapults them and their friends on a wild pilgrimage across beautiful British countryside to the greatest show on earth.
But, having recently lost his wife, Mack isn’t going to let go of his daughter easily and he doesn't trust Heath not to lead her into more trouble. He kidnaps Libby from her meditation among the fairies, and sets out to thwart their kids’ escape plan, not knowing that he’s about to embark on his own hallucinogenic voyage of self-discovery.
On arriving at the party island, the Mia and Natalie flirt their way to a set of VIP wristbands and leave their unfortunate male companions in the dust. Deserted by his friends, and with fifty thousand terrifyingly loud revelers standing between him and the comeback that might never happen, Heath goes in search of his hero Kurtz. But he should be careful what he looks for…because you never know what you may find.
Over one unforgettable weekend, nothing will go to plan for Heath and his friends. But if they can survive the crowds, the toilets, the aerial acrobats, the chaos, the Swedish hipsters, the unwelcome appearance of maniacal parents, and an apocalyptic backstage encounter with a rock legend, then their lives will never be the same.
ABOUT THE PRODUCTION
How do you make a film about a music festival without taking an entire film crew into the midst of 60,000 dancing, partying kids? You can’t.
“The writer in me has always thought, ‘what an exciting thing to try and do, to make a film at a music festival’” laughs writer and producer Oliver Veysey. “And it was only when I put my producer’s hat on that I discovered how challenging it was going to be!”
Every summer, fields all over the country fill with thousands of revellers who make their own pilgrimages to experience the mad, muddy magic of the British festival. Events like Glastonbury, Bestival, Reading and Leeds bring people together from all walks of life, creating pop-up cities that turn a single weekend into a transformational experience.
“When I was 17 I hitchhiked to Glastonbury” says Veysey. “And for a period of time I went to 10 festivals a year. It was a big part of my life, and my friends’ lives.”
With documentaries like Woodstock (1970), Glastonbury (2006) and All Tomorrow’s Parties (2009) only ever seeing the crowd as vox pops, Veysey knew that no one had ever really managed to capture the feeling of being at a festival – let alone used it as a backdrop for a dramatic movie.
Co-producing The Railway Man in 2013 with The Who’s manager, Bill Curbishley, Veysey started trading festival stories when he heard the perfect set-up for his script.
“Obviously Bill’s been involved in music his whole life, but he told me the story of how his daughter went to her first festival. She was 16 at the time and she begged him to go until he said, ‘okay, you can go, but this young man is going to come with you’– and he found her a chaperone. He told this guy, ‘you’re going to take my daughter to her first festival and if anything happens to her you’ll answer to me’. So off they went, the boy terrified and the girl mortified… They went in and within a matter of hours the girls had ditched the boys and the next time anyone saw Bill’s daughter she was on the shoulders of some random guy in the mosh pit of the main stage… on the BBC.”
Mixing Curbishley’s story with his own, and bringing the rock legend on board as his co- producer, Veysey wrote Access All Areas as the ultimate festival experience – a feel good road trip with an emotional, dramatic heart that was going to be set, staged and shot right in the middle of a real festival.
Taking the idea of the ‘pilgrimage’ as his cue, Veysey’s script told the story of multiple journeys, and multiple generations. Just as Heath and Mia have their own problems to work out, so too do Libby and Mack – with everyone in the film searching for something they’ve lost along the way. Access All Areas might be a freewheeling festival film, but it’s always anchored by its characters. Knowing how delicate this balance was going to be, Veysey knew he needed a director who understood both sides of his story – leading him to director Bryn Higgins.
“Bryn really understood what I was trying to do,” explains Veysey. “We really connected in terms of the energy and what it needed to feel like. He’s a very assured director and he knows exactly what he wants. He understands music, he understands the characters and he really knows how to tell a story.”
“As ever, you start with the script,” adds Higgins, who went from Casualty 1909 and Privates, to Black Mirror and 2014’s hard-hitting epilepsy drama Electricity. “I thought Access All Areas was a very characterful, warm script. It was always meant to be a film that gives the experience of going to a festival, but it obviously had to have a great story at the heart of it. It’s a good strong family drama, but at the same time it’s never soft or easy. So it was the script that attracted me first, and then the pedigree behind it.”
Describing the film as a “feel good road movie for two different generations”, Higgins’ own love of music made signing on an easy decision.
“Honestly I can say this is one of the most fun films I’ve done,” he says. “Of course it was a big challenge, and of course there was a lot of interesting things that we had to overcome, but it’s a kind of win-win. It’s a film with a lovely character led script, it’s a film that involves the challenge of shooting in a real festival, and above all it’s about music – and to me, those are three fantastic things to be able to take on. You’re building a world from scratch when you make a feature and this was a great world to build. It was an excuse to have a lot of colour, a great deal of music…”
MUSIC AT THE HEART OF IT ALL
Picking a soundtrack that includes everyone from Faithless, Tame Impala and Future Islands to John Holt, Royal Blood and Disclosure – and capturing live performances from The Who and Underworld – music is at the heart and soul of the whole film. The soundtrack to rival any film released this year will be released on Universal Records.
Veysey says “the film carries you away and immerses you for a time in the festival, and the music plays a crucial role in that”.
“At most festivals there’s 20 odd stages playing at once,” explains Higgins. “My own kids are listening to stuff that I wouldn't even have listened to back in the day – so the whole music world is better now than ever. Everybody listens to everything and the soundtrack had to reflect that. So I got to listen to all kinds of new bands. For a brief moment I was quite hip!”
A UNIQUE LOCATION
Shooting exteriors in and around Bristol, with road scenes shot all over the South West, the biggest challenge early on was securing a real festival to double as the fictitious Isle of Sounds. Needing a major event that offered the kind of crowd, as well as the variety of different areas, backdrops and locations needed to stage the bulk of the film’s action, there was only ever one choice for the film’s producers.
“It was obviously a mountain of logistical challenges, but Bestival was the only festival we approached,” explains Veysey. “I’d been to the festival a few times before and I was already a big fan. For me it’s the most beautifully designed, well thought out experience and the best looking festival by far. Josie da Bank designs it – and Rob [da Bank] curates the music – and they’ve done a really wonderful job. It’s a film set that we could just never afford on our budget, so we approached them early on and they were both really into the idea. And then we started to figure out what it would really take to shoot in a crowd of 50,000 people…”
CHARACTERS AND CAST
But before the tents started going up, the film’s producers needed to find a strong young cast to fill them. “We wanted this film to feel very British,” says Veysey. “The music festival experience feels so ingrained in our society, so it was a conscious choice to try and work with British actors.”
Finding four young actors from four very different backgrounds to fill the main friendship group, the rising stars of Access All Areas are as unique as their characters. “The script is very clear in the way it delineates each of the four characters, so it was really nice to cast the young kids as different types – four different flavours,” says Higgins. “They all came with really good decisions, and I think they’re all amazing”.
First up was casting Heath – the angsty hero of the story whose quest to find Kurtz shapes the events of the whole film. Turning to 23-year-old Edward Bluemel, an actor straight out of drama school with no screen credits to his name, Veysey believes they’ve found one of Britain’s next biggest stars.
“Edward had nothing on his CV and that was incredibly exciting,” he enthuses. “I feel really lucky that we’ve given him his first job because I think we’re going to see a huge amount out of him in the future. He’s a wonderful, wonderful actor. He just instinctively knows what it takes to be a screen actor and you can’t take your eyes off of him.”
“It’s been a bit of baptism of fire, in the best possible way,” laughs Bluemel, since going on to star alongside Olivia Williams and Mark Benton in ITV’s The Halcyon. “Learning what it’s like to act in the middle of 30,000 Missy Elliot fans is a bit of a challenge! But Heath is such a great character to play, it’s been an incredible experience”.
Describing his character as “wise beyond his years”, Bluemel was drawn to the complex relationship Heath has with his mother, played by Jo Hartley. “Heath takes himself very seriously,” he says. “He’s grown up being far more of an adult than a child. He’s looked after his mum, who’s a complete loose cannon, and he’s channelled all of his frustration into music and into the worship of his idol, Kurtz. He puts himself through a lot of obstacles to get where he’s going.”
The flip-side to Heath (and to Bluemel) is Mia, brought to life by 21-year-old Ella Purnell – already a big-screen veteran after the likes of Never Let Me Go, Kick-Ass 2, Maleficent and Miss Peregrine’s Home for Peculiar Children.
With Purnell turning in a remarkably nuanced performance as the troubled teen who deals with her mother’s death by doing everything she can not to think about her emotions, it was a casting decision that almost didn't happen.
“I wanted a holiday!” laughs Purnell. “I’d already done two movies that year and I didn't want to do anything else for a bit. But then I read the script and it was the weirdest script I’d ever read. It was mental. So I skyped Bryn to find out a bit more and as soon as I got off the call I thought, I have to play this character.
“Mia is intriguing. I’ve never played anyone quite as strong as this. I’ve played a lot of damsels in distress – girls that need rescuing by a handsome prince – but this damsel nicks the prince’s bike at the start of the film!”
With the daunting prospect of having to learn how to play the piano, the guitar, how to sing three songs and ride a motorbike in two weeks, Purnell threw herself into the role and impressed everyone on set.
“I think Ella, having that experience on films, was great because she plays a fairly rebellious character who’s got all sorts of problems dealing with the death of her mum – and I really admire the way she didn't try to get any sympathy from the audience,” says Higgins. “She didn't play it soft or hurt, but you still sympathise with her – and I think that took some really good thinking.”
Next up was Leon – the joker of the pack who starts the film as Heath’s nerdy best friend and ends up being completely transformed by the festival. Needing someone who could play Leon for laughs without losing his oddball charm, the producers turned to 24-year-old Rizzle Kicks star Jordan Stephens.
A Brit School alumni who’s been proving himself in the spotlight since he started the platinum selling hip-hop act Rizzle Kicks with Harley Alexander-Sule in 2006, Stephens is still new to acting. Debuting in E4’s 2014 drama Glue, before going on to a number of smaller roles in film and TV (including a cameo in last year’s Rogue One: A Star Wars Story), Stephens wanted to get involved as soon as he heard the film was shooting at Bestival – an event he headlined in 2012.
“I wanted to get involved because I like projects that attempt to do things that haven’t been done before,” he says. “I’ve seen one film set at a festival, which was Woodstock, but obviously that was so stylised. So trying to capture a modern day festival – without a fake set – I don't think that’s been done before. And then I found out that Missy Elliot was headlining that year and that sold me because I knew I’d get a free ticket…”
Geeking out on set whenever he bumped into anyone he’d seen on TV, and laughing at Higgins for wearing a baseball cap and parker and “looking too much like a film director”, Jordan found a lot of himself in his character.
“Leon is a nerd who’s really into his music and then the festival sort of awakens him and turns him into a bit of hippie,” he says. “And that’s pretty much the same transformation that I’ve undergone over the last four years. There’s definitely a lot of Leon in me. I read the scenes and I felt like I knew what Leon would do because there’s a part of me that’s totally him. Even if we don’t like the same music…”
With music playing such an important role in the film, all the cast made personalised playlists to get into their characters: Jordan picking minimalist EDM and obscure Pixies demos, Ed choosing Joy Division and Tangerine Dream, Ella picking Sia, and Georgie Henley defining Natalie in “sugary electro acid pop”.
Rounding off the group as the excitable, fun-loving party girl Nat – 22-year-old Henley was chosen against type. Known to audiences since the age of 10 when she debuted as Lucy in the blockbuster Chronicles of Narnia trilogy, she’s not usually associated with characters who wind up on drunk one-night stands on a tour bus.
“Nat is just mental. She’s batty,” laughs Henley. “I was so excited to play something so different from other characters I’d played. I loved the script – unfortunately it’s quite rare to find a script that depicts teenaged life in a real, raw sense and the group dynamic between these four characters was just so amazing. Nat and Mia are the ultimate troublesome twosome – they’re like chalk and cheese but they absolutely adore each other. I think of Natalie as a sparkly hurricane!”
Thrown together under the most extreme filming conditions, all four actors quickly bonded as a group – a tribute to the sense of fun and good-feeling that filled the set, but a fact made all the more surprising given their real life differences.
“You can’t not bond at Bestival. But we’re all so remarkably similar to our characters it’s insane,” laughs Purnell. “Jordan’s the mental one, Georgie has zero inhibition and Ed’s a bit more reserved. You’ve also got Jordan from the Brit school, Ed from drama school, Georgie from Cambridge and me just floating around after finishing my A-Levels. So we’ve all got the personalities to match our schools!”
With the kids in place, the producers turned their attention to the older generation, picking veteran British character actors Jo Hartley and Nigel Lindsay as Libby and Mack, Quadrophenia legend Phil Daniels as the festival ferryman and Lock, Stock and Two Smoking Barrels and X-Men star Jason Flemyng as the mythical musician Kurtz.
“It’s a film about teenagers, but it’s also about the parents,” says Higgins. “I think people like Jo and Nigel are fantastic actors – and they did a brilliant job under all sorts of conditions. Jason’s just lovely to work with. He’s done a hundred something films but he comes with this enormous focus. Same with Phil Daniels. It was great to have him as a nod to Quadrophenia, but he’s also a great actor and his concentration on the day is amazing.”
Playing Mack with a fine balance of tightly wound aggression and innocent vulnerability, Lindsay (Scoop, Four Lions) was drawn to his character’s complex arc in the script. “Mack’s wife died, not too long ago,” he explains. “He’s left with a daughter who’s struggling to get over it, and he’s struggling to get over it himself. He’s completely closed down as a human being and his daughter has rebelled accordingly. But there’s a lovely journey for Mack. As he chases Mia on her own journey he finds something for himself too.”
Partnered with Jo Hartley as Heath’s unstable mother Libby, it’s Lindsay’s last act transformation as Mack that gives the film its biggest emotional pull – mirrored by Libby’s confessional reunion with her son.
“Libby is a magical character,” says Hartley. “She’s got quite a few sides to her. She’s possessive with Heath and she looks after him, but she can switch that relationship around in an instant.”
Raving about the strength of Bluemel’s debut performance in their tough scenes together, Hartley joins all the veteran cast members in applauding the four main leads. “It’s so great to see young talent delivering like that,” says Flemyng. “It’s not exact science and it’s not easy. You’ve got to do the work, and when you’re that age sometimes it’s hard to do the work because you’ve got other things on your mind – especially when you’re making a film in a music festival…”
ACCESSING ALL AREAS
50,000 people. 18 stages. 88-acres of partying, drinking, dancing and madness. It might not sound like the best environment to shoot a feature film, but Higgins made sure he came prepared.
“I drew on my TV experience, particularly my early work when I made a lot of documentaries and filmed in war zones…” he laughs. “Obviously it’s their festival – it’s not our movie set. So when it came to taking a fairly big drama unit into an environment that you have no control over, honestly, I found it fun. We had a lot of, interaction, shall we say, with ordinary young people – but for me, having done docs, it’s all those accidents that make everything work.”
Not that luck didn't play a part either. Shooting in the late summer of 2015, the crew managed to avoid the rainfall that so often turns British festivals into mud baths – getting a weekend of near perfect weather.
Using a second unit to try and distract the crowd, extensively rehearsing each scene backstage, and making sure everyone was wired with radio mics so they could hear their cues (and find each other), the crew only had three intensive days and nights to shoot more than half the film.
“Obviously if you’re shooting at a festival, trying to shoot a drama with dialogue and actual scenes, you have no control. So you go in with a certain mindset.” explains Higgins. “I think we planned it very well because we have a wonderful DOP and a fantastic Steadycam operator, so we came away with a sense that we bossed the festival rather than the other way around. It’s definitely not just running around grabbing stuff at a festival – the scenes take place and they’re staged and they worked. So it was planning, and then sometimes you just went with the flow when odd things happened…”
Odd things like losing one of the cameras on the last day of the festival. “It just got trapped by the crowd!” laughs Higgins. “Boy Better Know were on and you just couldn’t move. So we lost part of the crew for a while. Again, it informs the quality and the vibe of the film in a really nice way. There was absolutely no point getting stressed. I had already lost my voice on day two!”
Shooting in and around the festival is one thing, but pushing the actors – and a camera crew equipped with a large camera, a set of anamorphic lenses, a boom mic and a lighting rig – straight into a main stage crowd is another matter entirely. Buffering the actors with a small group of extras, the small unit launched themselves from the back of the crowd to the front barrier.
“You can’t prepare for that,” says Higgins. “That’s a real crowd watching the end of Jungle’s set. All credit to Ed Bluemel – I don't think he even knew that this isn’t really how you make films! He really went for it, and [cinematographer] Tony Slater Ling and the camera guys just hurled themselves through this crowd. It was mad, but there’s such a huge visual canvas to draw upon that you can’t ignore it”.
For Veysey, who got to see his script turned into reality with a cast of 50,000 people, the whole experience was made up of a series of unforgettable moments of madness.
“There was a scene when Jordan is being lifted out of the crowd by an aerialist and it’s a live stunt that you only get to do once,” he remembers. “We had five cameras rolling and 10,000 kids dancing to their favourite DJ at 2am – and we’re trying to cue Jordan, cue the aerialists, cue the cameras and make it all work. I’d love to say that was a one off, but we attempted that kind of stuff about three times a day. And we pulled it off”
Aside from one occasion when the scheduled band didn't show up on the main stage and an entire crowd scene had to be scrapped and replaced on the fly, the whole production went remarkably smoothly for such an uncontrollable shoot.
“I’ll never forget standing by to shoot Heath running through the main stage crowd on the Saturday night,” says Veysey. “Everyone – the whole cast and crew, bar the Steadycam operator – was dancing. We fed off the energy of the festival. It was a great moment.”
But more of a problem than staging the film’s big set-pieces in the middle of a live mosh pit were the smaller scenes that took place out of the crowd – in areas where the cast (and the camera) could be more easily spotted by the punters.
“A lot of people thought we were the news,” laughs Henley. “You’re dealing with a lot of drunk people, a lot of high people.”
“It was insane,” adds Bluemel. “You had to nail your take because you knew you’d only get one or two. And it was pretty hard to do anything with Jordan without someone shouting a Rizzle Kicks lyric in the background!”
Arguably though, it's those hardships and happy mistakes that make up anyone’s perfect festival experience – the very thing that drew the entire cast and crew to the project in the first place, wanting to recreate their own magic memories on film.
For Bluemel, it was the time he got lost at Big Chill and for Stephens it was turning up at Reading without a wristband two days before he started college. Purnell remembers begging adults to buy her booze when she was too young to get to the bar herself – and Henley remembers missing her favourite bands at Leeds because she was stuck in the mud. The older generation have even more seasoned stories to tell – Jo Hartley climbing trees at Spike Island, Nigel Lindsay driving to Reading without a licence and Jason Flemyng giving a bare- footed Pete Doherty a piggy back over the mud to Kate Moss’s trailer.
“To me, music festivals are a kind of modern day pilgrimage for kids and adults,” says Higgins. “All to be taken away from ordinary life, perhaps to be transported and maybe transformed. You come back looking the same but you’re always a different person.”
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CAST BIOGRAPHIES
ELLA PURNELL – ‘MIA’
Ella was recently seen starring in Tim Burton’s feature MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN opposite Eva Green and Asa Butterfield. She will soon be seen in the feature film CHURCHILL opposite Brian Cox and Miranda Richardson, and the independent film UFO with Gillian Anderson.
Ella’s film debut was in Mark Romanek’s NEVER LET ME GO playing the young Keira Knightley, and she went on to play the young Angelina Jolie in MALEFICENT. She starred opposite Clive Owen in INTRUDERS, and also featured opposite Aaron Taylor-Johnson and Chloe Grace Moretz in KICK-ASS 2.
She was chosen as one of Screen International Stars of Tomorrow 2010.
EDWARD BLUEMEL – ‘HEATH’
Edward Bluemel graduated from the Royal Welsh College of Music and Drama and was named the winner of the prestigious Spotlight Prize for acting last year. ACCESS ALL AREAS marks his debut feature film performance in the lead character of Heath. He features in Jaume Collet-Serra’s upcoming action-thriller film THE COMMUTER starring alongside Liam Neeson. Recently, Edward played Jacob Hamilton in ITV’s new flagship drama, ‘The Halcyon.’
His stage performances include roles in The Winter’s Tale, Strange Orchestra, Longing and Animal for the Richard Burton Theatre Company, King Lear for RWCMD and Mercury Fur for Company of Sirens.
He is now starring in the West End in Love in Idleness.
GEORGIE HENLEY – ‘NAT’
George Henley recently graduated from Cambridge University where she read English Literature, whilst starring in and directing multiple ADC Theatre productions, including working with the famous Footlights Dramatic Club.
Georgie has been acting since an early age, appearing in 2005 in THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE aged 10, for which she won the Phoenix Film Critics' Society Award for Best Performance by a Youth Female in a Lead or Supporting Role. She reprised the role of Lucy Pevensie in the subsequent installments of the series, PRINCE CASPIAN in 2008 and THE VOYAGE OF THE DAWN TREADER in 2010.
In 2006, she starred in the BBC adaptation of Jane Eyre, and more recently was seen in feature films PERFECT SISTERS and THE SISTERHOOD OF NIGHT.
JORDAN STEPHENS – ‘LEON’
Jordan Stephens is an actor and musician from Brighton. As half of the English hip-hop duo Rizzle Kicks, Jordan, together with Harley Alexander-Sule, has achieved phenomenal success with their debut platinum-selling album Stereotypical and second album Roaring 20s. Jordan made his acting debut two years ago to rave reviews in E4’s drama series GLUE, which was followed by his debut feature film role in ACCESS ALL AREAS. Since then, Jordan has been seen in ALLEYCATS alongside Eleanor Tomlinson, and has appeared in numerous television productions, including ‘Uncle,’ ‘The Last Panthers,’ and ‘Drunk History UK.’ Jordan can most recently be seen in ROGUE ONE: A STAR WARS STORY as Corporal Tonc.
As part of Rizzle Kicks, Jordan has worked on various soundtracks, including SHAUN THE SHEEP MOVIE, LAS VEGAS and most recently on WHY HIM? starring Bryan Cranston and James Franco.
JO HARTLEY – ‘LIBBY’
Manchester-born Jo Hartley has appeared in some of the UK's most cutting edge films and dramas. Starting her professional career in Shane Meadows' DEAD MAN’S SHOES with Paddy Considine and Toby Kebbell, she has since starred alongside Julie Walters in THE JURY, Damian Lewis and Vicky McClure in STOLEN, and John Simm and Joanne Froggatt in MOVING ON. Perhaps her most famous role has been the warm and lovable Cynth in the multi award-winning THIS IS ENGLAND.
In 2016, Jo appeared in the highly acclaimed EDDIE THE EAGLE as the mother of Eddie, played by upcoming talent Taron Egerton. Directed by Dexter Fletcher and with a cast that included Hugh Jackman, Christopher Walken and Keith Allen, the film captured the hearts and imaginations of audiences all over the world. The same year she also starred in LIFE ON THE ROAD alongside Ricky Gervais, who revisits his career-defining character David Brent ten years on from ‘The Office.’
Jo also recently starred in PREVENGE, the BFIA-nominated serial killer comedy directed by Alice Lowe, and is currently shooting ‘Bliss,’ a love triangle with a twist, with Stephen Mangan and Heather Graham for Sky Atlantic.
JASON FLEMYNG – ‘KURTZ’
Jason Flemyng began his career as a television actor, starring in the American series ‘The Chronicles of the Young Indiana Jones’ in 1992, and subsequently in ITV’s ‘Doctor Finlay’ throughout the first half of the 1990s. He is perhaps best known for his late-90s and early 2000s crime thriller feature film roles, particularly the cult Guy Ritchie titles LOCK, STOCK, AND TWO SMOKING BARRELS and SNATCH, as well as Matthew Vaughn’s LAYER CAKE.
More recently he has appeared in THE CURIOUS CASE OF BENJAMIN BUTTON, KICK-ASS, X- MEN: FIRST CLASS and SUNSHINE ON LEITH.
Jason has recently directed the feature film EAT LOCAL, a black comedy vampire movie.
NIGEL LINDSAY – ‘MACK’
Nigel Lindsay is a British actor. He has worked extensively with the National Theatre, the Royal Shakespeare Company, the Donmar, Almeida and the Royal Court and in the West End where he has twice played Nathan Detroit in Guys and Dolls and was nominated for an Olivier Award for his performance as Shrek in the original London production of Shrek the Musical at Theatre Royal Drury Lane. He has also won a Whatsonstage Award as Best Supporting Actor opposite Sir Antony Sher in Arthur Miller’s Broken Glass and played Bolingbroke opposite David Tennant in Richard II at the Barbican.
His films include the BAFTA-winning FOUR LIONS, for which he was nominated for a British Comedy Award; Woody Allen’s SCOOP; and ALAN PARTRIDGE: ALPHA PAPA. Recent television includes his portrayal of Sir Robert Peel in the ITV series ‘Victoria;’ ‘The Devil You Know,’ an HBO pilot directed by Gus Van Sant and produced by Jenji Kohan; ‘You, Me, and the Apocalypse’ (NBC/Sky); series one of ‘The Tunnel’ (Sky); series two of ‘Rome’ (HBO); ‘Spooks,’ and the penultimate ‘Poirot.’ Forthcoming productions include series regular in ‘Unforgotten II’ and ‘Innocent’ (both ITV), as well as ‘White Gold’ (BBC). Nigel will reprise his role in the second series of ‘Victoria,’ which starts filming in 2017.
CREW BIOGRAPHIES
OLIVER VEYSEY – Writer/ Producer
ACCESS ALL AREAS is written and produced by Oliver Veysey. Veysey was recently a producer on THE RAILWAY MAN, starring Colin Firth and Nicole Kidman. As co-founder of Camden Film Company, Veysey is one of the UK’s next-generation of producers, working with a diverse range of exciting up-and-comers alongside world-class established talent. He has projects in the works with Lionsgate, Archer Street Films, the British Film Institute and BBC Films.
BILL CURBISHLEY – Producer
Bill Curbishley is a veteran band manager, music and film producer, best known for his work with the legendary bands The Who and Judas Priest, as well as musicians Jimmy Page and Robert Plant. He has been involved in the music industry since the 1970s, a career which he began by managing tours for The Who among other artists, as well as producing their live performance and feature films, most notably TOMMY, BUDDY’S SONG, and QUADROPHENIA. Most recently, Bill has worked on THE RAILWAY MAN, starring Colin Firth and Nicole Kidman, which he produced together with ACCESS ALL AREAS’ Oliver Veysey.
BRYN HIGGINS – Director
ACCESS ALL AREAS is Bryn Higgins’ third feature after the darkly comic transgender romance UNCONDITIONAL (EIFF 2012) and the critically-acclaimed ELECTRICITY (London FF 2014). He has also directed and produced various television series since the 1990s. He has been nominated for a BAFTA for Originality for his thriller THE KING OF CHAOS in 1998, and has worked with Charlie Brooker on the cult dystopian future series ‘Black Mirror.’
TONY SLATER LING – Director of Photography
Tony Slater Ling BSC is an award winning UK-based cinematographer and director with over 50 film and TV credits. He is known for high-end, award-winning single- and multi-episodic dramas such as ‘Eric & Ernie,’ ‘Lucan,’ ‘Mad Dogs,’ ‘Appropriate Adult,’ ‘In The Flesh,’ ‘The Casual Vacancy,’ and award-winning feature films YASMIN and SUMMER.
He is currently concentrating on feature films, recently completing DIRT ROAD TO LAFAYETTE with his regular collaborator Kenny Glenaan, and is currently filming the feature film FUNNY COW with his other regular collaborator Adrian Shergold.
JANE SPICER – Costume Designer
Jane Spicer is a costume designer with over 20 years of experience in television drama and feature films. She started her career as a costume assistant for the BBC between 1989 and 1995, and has since gone on to create costumes for a variety of programmes, set from Ancient Greece to the modern day. For the past eight years, she has specialized in large scale period and fantasy costume series. She is perhaps best known for her work on BBC’s ‘Atlantis’ series, for which she had created over 1500 separate costumes, all handcrafted by her together with her carefully chosen workshop.
Jane’s other television credits as costume designer include the recent Sky production of ‘Fungus the Bogeyman,’ ‘Merlin,’ ‘Clay,’ and ‘The Colour of Magic,’ which follow her costume assistant work on programmes such as ‘Law & Order,’ ‘Pride & Prejudice,’ ‘Blackadder,’ and ‘Poirot.’
Her feature film credits as costume designer include 9 DEAD GAY GUYS and THE WEDDING TACKLE, and she has worked within the costume departments on films such as EMMA, MISS MARPLE, and THE RECKONING, among others.
MURRAY MCKEOWN – Production Designer
Murray McKeown is an experienced British production designer working on independent films. He is best known for his work on WILD BILL and the critically acclaimed KIDULTHOOD and ADULTHOOD, and is currently filming EYE AND PRIZE, the debut feature from writer and director Oliver Cane.
GARY FORRESTER – Editor
Gary Forrester is a dynamic and diverse editor moving between commercials, feature documentaries, and feature films. His varied style has seen him cut award-winning commercials for the likes of Audi, Mercedes, Fifa, Nike and Samsung, and his work within documentaries has taken him to Burma, Syria, Morocco and India, with his films screening at festivals around the globe.
Recently, he cut the award-winning feature documentary RADIOMAN, directed by Mary Kerr, about a former homeless man who turned to movies to escape poverty and ended up starring in over 100 films and befriending the likes of George Clooney, Johnny Deep, Meryl Streep, Whoopi Goldberg and Matt Damon. The film won the Grand Jury Prize at Doc NYC and played at festivals worldwide. 2014 saw Gary edit TIGER HOUSE, a home invasion thriller for Glassman Films and Altitude Entertainment, directed by Thomas Daley and starring Kaya Scodelario (THE MAZE RUNNER), Ed Skrein (THE TRANSPORTER) and Dougray Scott (MISSION IMPOSSIBLE 2). In 2016, he edited two films: SLUMBER, a supernatural horror starring Maggie Q and directed by Jonathan Hopkins through Goldcrest Films, and ACCESS ALL AREAS, both due for release in 2017.
ROB DA BANK / EARWORM MUSIC – Music Supervisor
Robert John Gorham, known as Rob da Bank, is an English DJ and co-founder of the Bestival music festival on the Isle of Wight. As a BBC Radio presenter, he ran a show on BBC Radio 1 before moving to Radio 6, where he supported new leftfield music and various unsigned acts.
Under his company Earworm, which he set up in 2014, he has supervised music for various BBC drama programmes, including From Here to There, and has created original compositions for the new HBO show ‘The Leftovers,’ as well as various Channel 4 shows. Earworm were Music Advisors on Andrea Arnold’s American Honey.
A Camden Film Company Production in association with NUA ENTERTAINMENT “ACCESS ALL AREAS” ELLA PURNELL EDWARD BLUEMEL GEORGIE HENLEY JORDAN STEPHENS with NIGEL LINDSAY JO HARTLEY and JASON FLEMYNG CASTING BY VICTOR JENKINS CDG, CSA KELLY VALENTINE HENDRY CDG, CSA MUSIC SUPERVISOR EARWORM MUSIC ORIGINAL MUSIC ROGER GOULA COSTUME DESIGNER JANE SPICER EDITORS GARY FORRESTER MARK DAVIS PRODUCTION DESIGNER MURRAY MCKEOWN DIRECTOR OF PHOTOGRAPHY TONY SLATER LING BSC EXECUTIVE PRODUCERS NEIL UTLEY NICKY UTLEY PRODUCED BY OLIVER VEYSEY BILL CURBISHLEY WRITTEN BY OLIVER VEYSEY DIRECTED BY BRYN HIGGINS
First Assistant Director ANDY GRADWELL
Supervising Location Manager ANDY ELIOT
Make-Up & Hair Designer JEMMA CARBALLO
Post Production Supervisor EMMA ZEE
Supervising Editor JON HARRIS
CAST in alphabetical order
Caliban I-KAY AGU Aisha SAFIA ALMAGHRABI Sleazy Local JAMES ASHTON Heath EDWARD BLUEMEL Neil the Suit CAVAN CLERKIN Himself ROB DA BANK Trevor (Security Guard) MARC DANBURY Ferry Master PHIL DANIELS Xavier ARNAS FEDARAVICIUS Pete Kurtz JASON FLEMYNG Tommy (Bar Manager) DEREK FROOD Guitarist PETE GARDINER Robbie BOBBY GORDON Libby JO HARTLEY Natalie GEORGIE HENLEY Mack NIGEL LINDSAY Spiritual Simon BOBBY LOCKWOOD Gordon JORDAN LONG Lyra SIMONE MCAULLAY Mia ELLA PURNELL Wen LUKE ROBERTS Mrs. Cousins PENNY RYDER Aussie Surfer MITCH SMART Leon JORDAN STEPHENS Caravanserai DJ ROBERT WILSON
Performances by THE WHO UNDERWORLD LA SALAMI XYLEROO AMBLING ART LOVERS
Stunt Co-ordinator ELAINE FORD Stunt Performers LUCY ALLEN GARY GRUNDY JUDE POYER
Art Directors PAUL HARVEY Set Designers ALAN PEARSON Set Decorator/Production Buyer CAMILA HIGGS Graphics Artist SARAH WARREN Additional Graphics SAM DAVIS Art Department Assistant PENELOPE CANNELL Steel Fabrication STEVEN ‘WILBUR’ WILCOX
First Assistant Camera SHIRLEY SCHUMACHER Second Assistant Camera JOANNE SMITH Camera Trainee NICK BAKER
Steadicam SIMON WOOD CHARLIE COWPER
2nd Camera Operator STEVE BROOKE SMITH 2nd Camera First Assistant Camera MANI BLAXTER PALIWALA 2nd Camera Second Assistant Camera JECERY ROSINI JAMES CHESTERTON Additional Camera Trainees BEN MANKIN CHAI ROLFE RHODRI WYN DAVIES
Script Supervisor GEORGINA HIGGINS Stills Photography ANDRE PATTENDEN
Production Coordinator HELEN BATER Assistant Production Coordinator DAWN SMITH Production Assistant BECCA OLD Assistant to Producer HANNAH STEPHENS ISLA URE Production Runner CAT OSWALD
Managing Director of Trinifold ROBERT ROSENBERG Assistant to Bill Curbishley COOKIE BRUSA Assistants to Neil Utley CHLOE AUKER JEMMA BROWN
Second Assistant Director TONY CARTER Third Assistant Director ALISON WHEARTY Additional Third Assistant Director ED RIPLEY Floor Runners NOEMIE JACOUT SCOTT JONES JOSH STEPHENSON LEWIS WETHERICK Additional Floor Runners SASKIA HEFES SHEENA PATEL Bestival Co-ordinator LAURA MCINNES
Location Manager TOBY ELIOT Location Assistant LEXTON CHAUVET Location Scout RICHARD LINDSAY Location Fixer CHARLOTTE TRUSLER
Production Sound Mixer CHRISTIAN JOYCE Boom Operator ROSS ADAMS
Production Accountant JON MILLER 1st Assistant Accountant ANDREW MACLEAN
Costume Supervisor AMY TAPPER Costume Standby SAMANTHA KENT Costume Trainee LUCY THAXTER Costume Dailies HOLLY HAMBLIN ANITA JOYCE SARA MORGAN ROSANNA STALBOW RACHEL HINDER LOIS MORDECAI MARIA ONEGA LIBBY IRWIN
Make-Up Supervisor SAMANTHA DENYER Make-Up Artist CHARLOTTE CLARK Make-Up Trainee NAOMI SPURR Make-Up Dailies JESSIE WESTON KATE MEDLAND MARIE DEEHAN
Gaffer ALEX SCOTT Best Boy Electric PETE SCOTT Electricians RORY GRIERSON RICHARD SCOTT JACK CREW DANIEL McCOLE BRENDAN GAGE MARTIN HEALEY RIC TOMBS SAM ALTERSKYE-KNGHT DELROY HIGGINS KEITH ‘TEFF’ JAMES-HARRISON ANDREW TRUCKLE CLIVE SCOTT
Key Grip DOUG E NEWTON Assistant Grip DYLAN NEWTON Additional Assistant Grip ALEX KELLEHER Jimmy Jib Operators ALWYN DAVIES BERNIE TOTTEN
Standby Props FLETCHER JARVIS Prophand HARRY MEADS
Construction ROCK CITY TOM GIBBS TOM HOPPER BEN MINORS WHITE YOHAN CHIPPIT TOM WILLIAMS RYAN CUNNINGHAM KYLE LEWKOWICZ Painters JO BROWNE SIOBHAN RAW TIM HOPPER
Casting Associates VICKI THOMSON ALEX IRWIN Unit Medic IAIN BELL
Unit Publicist KEELEY NAYLOR EMFOUNDATION EPK MyMovies EPK Camera Operators ANTHONY TOMBLING JR MICHAEL ROLT
Clearances MEDIA SCRIPT CHECKS Health and Safety Advisor TOM HANNON
Security KEVIN ‘BEANO’ BARNES JAY LOSASSO MARC CORNISH JACK DENNIS MICHAEL BRUMBY
Transport Captain TIM MUNCHAUSEN Drivers NICK HODGES SVEN HAYWARD KEITH SMITH JAMIE VOWLES GERRY HOLMES RICH COLLINS KEITH LEWIS
Facilities Drivers TRACEY IREDALE MARK FRAYLING
Catering WEST COUNTRY FILM CATERING Executive Chef DICK CONISBEE Head Chef ROSS CONISBEE Catering Assistant YOLA KNAPIK
Catering at Bestival BURR GRILLS Head Chef RYAN BURR
Bestival Arts Producer KIRSTY HENDERSON Bestival Production Company LARMAC LIVE Port Stage Manager ALICE FAVRE Port Lighting Designer JONATHAN GODSMARK Port Showcaller JAY MOBBS-BEAL Aerial Company and Riggers FIDGET FEET Crane Company ISLAND CRANE HIRE Dancers AREA 51 Caravanserai Designer PETE BATEMAN
BESTIVAL’S CARNIVAL PARADE Created with the support of ARTS COUNCIL ENGLAND & NATIONAL LOTTERY In collaboration with SHADEMAKERS and BESTIVAL
CARNIVAL TROOPS Troop Leader AREA 51 DESIGN LTD PIPPIN WOOD ARTEMIS PRODUCTIONS BARRY HAN BATALA PORTSMOUTH LEE BAGSHAW CARNIVAL COLLECTIVE KATE DARACH CIRQUE BIJOU FLORENCE FITZGERALD DANCE VIBEZ ANN ABE EMERGENCY EXIT ARTS BEN RAINE IOW POLICE CADETS UNDER SHADEMAKERS KINETIKA BLOCO TAMZYN FRENCH MANDINGA ARTS CLAIRE HORTON MR WILSON SECOND LINERS WILL LENTON NEW CARNIVAL COMPANY C J SLANN PRESTON CARNIVAL JANE BLACKBURN QUTURE/HELEN DAVENPORT HELEN DAVENPORT SHADEMAKERS SHARON GEORGE SINK THE PINK JAMIE TAGG SPANDY ANDY KIM JACOBSEN THE PARLOUR MARIA BRACHER UTOPIA MASS JUDITH BROWN VIP PUPPETS ROWAN WATTS
First Assistant Editors JP JAMES SHEEN STEVENS THY QUACH JO DALE VICTORIA BALE
Post Production Paperwork MICHELLE MULLEN
SOUND RE-RECORDED AT HACKENBACKER STUDIOS - LONDON Re-Recording Mixers NIGEL HEATH ALEXANDER FIELDING Assistant Re-Recording Mixers BRAD REES ARAN CLIFFORD PHILIP MOROZ Dialogue Editors ALEX SAWYER JAMES FELTHAM Sound Effects Editor BEN CHICK ADR Mixers OLIVER BRIERLEY ALEXANDER FIELDING Foley Engineer CIARAN SMITH Foley Editor STUART BAGSHAW Foley Artists RUTH SULLIVAN GARETH JONES
ADR Voice Casting PHOEBE SCHOLFIELD Loop Group SYNC OR SWIM
Title Design by MATT CURTIS
DI Grade by MOLINARE TV & FILM LTD. DI Colourist ASA SHOUL DI Coordinator STEVE KNIGHT
DI Producer KATIE SHAHROKH DI Conform Editors JOHNATHAN DICKINSON LEIGH MYERS STEVE OWEN EMILY JOHNSON DI Delivery DAVID GRIFFIN DI Online Editor LAURENCE THRIPP
Visual Effects by OUTPOST VFX LTD VFX Supervisor ELENA ESTEVEZ SANTOS VFX Producer DANNY DUKE VFX Production Coordinators DHAVAL MALAVIA MARTA RODRIGUEZ Compositors WILL EVANS ASIER APARICIO DAVE SADLER COPPARD ELOI MARTORELL GIORGIO PITINO
Archive Research SAM DWYER & GORDON KING
Original Music Performed by ROGER GOULA Recordist and mix engineer IAN WOOD Musical Director for Hidden Gems MATTHEW SIMMS ‘Gentle Hour’ produced and mixed by DAVE ERINGA Vocal coach SALLY HERBERT
“Elephant” “Blackheath” Performed by Tame Impala Performed by Palace Written by Kevin Parker & Jay Watson Written by Leo Wyndham, Rupert Turner, Published by BMG Rights Management UK Will Dorey, Matt Hodges Ltd., a BMG Company Published by Beatnik Publishing Courtesy of Modular Recordings Courtesy of Polydor UK Ltd. Under license from Universal Music Under license from Universal Music Operations Ltd. Operations Ltd
“Baggy” Performed by Jordan Stephens, Herman “Uptown Baby” Stephens, Tommy Danvers Composed by: Jonathan Charles Phillips Written by Jordan Stephens, Herman Gorse, Matthew John Moore Stephens, Tommy Danvers Courtesy of Juice Music / EMI Production Courtesy of Wildhood Music
“Lovesick” Performed by Mura Musa “Soft Like Clay” Written by Alexander Crossan Performed by Beaty Heart © Published by MOS Publishing Limited Written by Beaty Heart (Charlie Rotberg, Administered by Kobalt Music Publishing Joshua Mitchell and James Moruzzi) Ltd Published by Nusic Sounds Courtesy of Polydor UK Ltd. Courtesy of NUA Entertainment Under licence from Universal Music Operations Ltd
“Electric" Performed by Alice Jemima Written by Alice Jemima, Benjamin Weaver, “When the Night Comes” Jamie Norton Performed by Ella Purnell Published by Sunday Best Music / Domino Accompanied by Sally Herbert Publishing Company Ltd. / EMI Music Written by Dan Auerbach Publishing Ltd. Courtesy of Sunday Best / [PIAS] Published by Hour Box Music (BMI) “Hong Kong Garden (String intro)” Performed by Siouxsie And The Banshees “Pictures In The Sky” Written by Susan Ballion, John McKay, Performed by Hyde & Beast Kenneth Morris & Steven Severin Written by John Fiddler Published by Chrysalis Music Ltd., a BMG Published by Sony/ATV Music Publishing Company. (UK) Ltd Licensed courtesy of Domino Publishing Co Licensed courtesy of Tail Feather Records / Ltd (PRS) Big Life Management Ltd Courtesy of Polydor UK Ltd. Under license from Universal Music Operations Ltd
“I Want You” “Ali Ba Ba” Performed by Marian Hill Performed by John Holt Written by Samantha Gongol / Jeremy Lloyd Composed by John Holt Published by Universal/MCA Ltd. Published by Chester Music Limited trading Courtesy of Photo Finish / Republic Records as Sparta Florida Music Group Under license from Universal Music Courtesy of Sanctuary Records Group Ltd., Operations Ltd a BMG Company.
“This Girl”
“Sunshine” Performed by Kungs vs Cookin’ on 3 Burners Performed by Xylaroo Written by Lance Richard P.Mason Written by Coco and Holly Chant Published by Universal Music Publishing Ltd. Licensed courtesy of Sunday Best Music BMG Rights Management UK Ltd., a BMG Publishing/Domino Publishing Co. Ltd, Company. Courtesy of Sunday Best Recordings / PIAS Courtesy of Universal Music France [still checking with Sunday best Under licence from Universal Music Operations Ltd
“Make Me Feel Better” (Klingande Remix) Performed by Alex Adair “Turn The Music Louder (Rumble)” Written by Alex Adair, Nickolas Ashford, Jens Performed by KDA (feat. Tinie Tempah & Maiwald, Valerie Simpson, Cedric Steinmyller Katy B). Published by Sony/ATV Music Publishing Remix & Additional Production by Shadow (UK) Ltd, EMI Music Publishing Ltd / Ultra Child Music Publishing Europe AG (SUISA) Written by Kris Di Angelis / Patrick Okogwu Licensed courtesy of Sony/ATV Music / Kathleen Anne Brien. Publishing (UK) Ltd Published by Ministry of Sound Publishing Courtesy of Virgin EMI Records Ltd. Ltd / EMI Music Publishing Ltd / Sony / ATV Under licence from Universal Music Music Publishing. Operations Ltd Courtesy of Ministry of Sound
“Insomnia 2.0 (Avicii remix)” “Baba O’Riley” Performed by Faithless Performed by The Who Written by Ayalah Bentovim, Maxwell Fraser Written by Peter Townshend & Rollo Armstrong Published by: Fabulous Music Ltd. Published by BMG Rights Management UK Copyright: 1971 Ltd., a BMG Company / Champion Courtesy of. Fabulous Music Ltd. Management & Music Ltd / Universal
Publishing MGB Ltd. Courtesy of Sony Music
‘Mystic Prism’ “Rez (Bassnectar Remix)” Written by Adam Forkner as originally Performed by Underworld performed by White Rainbow Written by Rick Smith, Karl Hyde & Darren Licensed courtesy of Domino Publishing Co Emerson Ltd. Published by Mute Song Limited Appears courtesy of Kranky, Ltd. Courtesy of OM records
“You Lovely You (Bobby Love Remix Radio Edit)”
Performed by Young Wolf Hatchlings "O B 1" Written by Jarrel Young, Waqaas Hashmi, Performed by Jagwar Ma Ian T W Lefeuvre, Marco Difelice, Mus Written by Jonathan Ma, Gabriel Navidzadeh Galleryac, Joseph Colero, Thomas Knox Published by Sony/ATV Music Publishing Darcy (Australia) Pty Ltd Published by Young Wolf Hatchlings Inc, Courtesy of Marathon Artists/ Mom + Pop/ Third Side Music Inc, Future Classics Courtesy of Universal Music Canada Under license from Universal Music Operations Ltd
"Little Monster" Performed by Royal Blood "Symphony No. 2 in E Minor, Op. 27: III. Words and music by Michael James Kerr and Adagio” Ben Thatcher Composed by Sergei Rachmaninoff © Warner/Chappell Music Publishing Ltd Performed by National Symphony (Prs) Orchestra of Ireland conducted by All Rights Administered By WB Music Corp. Alexander Anissimov. Licensed courtesy of Warner Music UK Ltd Courtesy Naxos Rights US Inc “Bang That” Performed by Disclosure “Anniversary” Written by Howard John Lawrence, Guy Performed by Georgie Henley & Ella Purnell William Lawrence, Julian Shamou Written by Ronnie Lane Published by Universal Music Publishing / Published by Slim Chance Music In The Mind Of A Madman Music Administered by Perfectly Formed Songs Ltd Courtesy of Island Record Ltd Under license from Universal Music Operations Ltd
“Loving You’ ft. Lulu James” “Raw Gold” Performed by Lane 8 and Lulu James Performed by Beaty Heart Written by Daniel Goldstein and Irene Lulu Written by Beaty Heart (Charlie Rotberg, Mollel Joshua Mitchell and James Moruzzi) Published by Just Isn’t Music, and BMG Published by Nusic Sounds Rights Management a BMG Company Courtesy of NUA Entertainment Courtesy of Anjunadeep
“'When The Poet Sings' Performed by LA. Salami Writen by 'Lookman Adekunle Salami (100%)' “Batucada Brazil” Published by Sunday Best Music/ Domino Composed and performed by Savasana Publishing Company Limited Courtesy of Beatbox Courtesy of 'Camouflage Recordings’ and Sunday Best / [PIAS]
Big Red Machine' “Start Again” Performed by Aaron Dessner & Justin Performed by The 100 Year War Vernon Words and music by Kevin Savigar & Paul Written by Aaron Dessner & Justin Vernon Freeman Published by Ingrid Stella Music (ASCAP) / All Rights On Behalf Of Big Deluge Music BMG Rights Management UK Ltd., a BMG and Savigar Strikes again Music. / Paul Company. Freeman Music / Sadeyes Publishing Licensed courtesy of 4AD Ltd / The Red Hot Ascap. Organization Administered by WB Music Corp. / Wixen By arrangement with Beggars Group Media UK Limited Self released "Seasons (Waiting On You)”
Performed by Future Islands “Gentle Hour” Written by Samuel T. Herring, John Welmers Performed by Edward Bluemel, Ella Purnell, & William Cashion Matthew Simms, Published by Ideas For Housecrafts Sean Genockey, John Hogg, Kamil Bartnik (administered Mute Song Limited) & Dave Eringa Licensed courtesy of 4AD Ltd Written by Peter Gutteridge By arrangement with Beggars Group Media Published by Estate of Peter Gutteridge Limited
“I Got U” (Feat. Jax Jones) Performed by Duke Dumont Written by Timucin Aluo, Adam Dyment, Jerry Duplessis, Wyclef Jean, “Happy” © Published by Funky Wonton Performed by It Hugs Back Administered by Kobalt Music Publishing Ltd Written by Matthew Simms Published by BMG Rights Management UK Published copyright control 2012 Ltd., a BMG Company. /EMI Music Courtesy of Matthew Simms Publishing Ltd, Sony/ATV Tunes LLC Courtesy of Virgin EMI Records Ltd. Under license from Universal Music Operations Ltd
Archive footage The Who: Live in Hyde Park courtesy of Eagle Rock Entertainment Underworld: Live in Berlin with kind permission of Underworld and Electronic Beats
Insurance INTERGO ACJ PAUL HILLIER LESLEY BURGESS RICHARD LIGHTLEY Production Lawyer FRASER BLOOM
Camera Systems by ICE FILM Lighting By PKE LIGHTING Tracking Vehicles GRIP SERVICES LTD. MARTIN PETERS PAT WORSFOLD Facilities Vehicles VISION FACILITIES Unit Medic supplied by ROWAN MEDICAL Post Production Scripts by FATTS
With Special Thanks to Nicky & Isabella Veysey Catalina Curbishley & Max Moya Lola & Natalie Higgins Andy Paterson David Joseph, Marc Robinson, Adam Barker Josie & Rob da Bank, Ben Turner, Simon Astall
The producers thank for their assistance: SS20, Over The Moon Tents, RS Studios, Steel Monkey, On the Run Touring, The Tea Birds, Bristol Costume Services, Lindo Guitars Bristol, Ace of Sprays Bristol, The Rock Shop Bristol The Bass Guitar Gallery Soho Screening Rooms Itch Film NUA Motors
Access All Areas was made possible with the support of Mario Ttakoushis Raj Balasuriya Dave Smith Colin Norton Phil Cunningham Grahame Chilton Rupert Swallow Ken Acott Martin Gowing Keith Barber David Bryan Patrick Tilley Barry Cook Gary Humphreys Jeremy King James Malzer Mark Swan Paul Hardcastle Harry Collins Hubert Cole
The characters and incidents portrayed and the names in this film are fictitious and any similarity to the name, character or history of any actual persons living or dead is entirely coincidental and unintentional. No persons, companies or products shown or mentioned in the film have endorsed this production.
© 2016 CAMDEN FILM CO. LIMITED ALL RIGHTS RESERVED