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THE STATEMENT

A Robert Lantos Production A Film Written by

Starring Jeremy Northam

Based on the Novel by

A Sony Pictures Classics Release 120 minutes

EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE ERIN BRUCE ZIGGY KOZLOWSKI ANGELA GRESHAM 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1005 SUITE 200 8TH FLOOR NEW YORK, NY 10024 , CA 90046 NEW YORK, NY 10022 PHONE: (212) 445-7100 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 445-0623 FAX: (323) 655-7302 FAX: (212) 833-8844

Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com THE STATEMENT

A ROBERT LANTOS PRODUCTION A NORMAN JEWISON FILM

Directed by NORMAN JEWISON

Produced by ROBERT LANTOS NORMAN JEWISON

Screenplay by RONALD HARWOOD

Based on the novel by BRIAN MOORE

Director of Photography KEVIN JEWISON

Production Designer JEAN RABASSE

Edited by STEPHEN RIVKIN, A.C.E. ANDREW S. EISEN Music by NORMAND CORBEIL

Costume Designer CARINE SARFATI

Casting by NINA GOLD

Co-Producers SANDRA CUNNINGHAM YANNICK BERNARD ROBYN SLOVO

Executive Producers DAVID M. THOMPSON MARK MUSSELMAN JASON PIETTE MICHAEL COWAN

Associate Producer JULIA ROSENBERG

a SERENDIPITY POINT FILMS ODESSA FILMS PICTURES co-production

in association with ASTRAL MEDIA

in association with TELEFILM

in association with CORUS ENTERTAINMENT

in association with MOVISION

in association with SONY PICTURES CLASSICS and BBC FILMS

MICHAEL CAINE PIERRE BROSSARD TILDA SWINTON ANNEMARIE LIVI JEREMY NORTHAM COLONEL ROUX ARMAND BERTIER JOHN BOSWALL FATHER LEO MATT CRAVEN DAVID MANENBAUM COMMISSAIRE VIONNET CIARÁN HINDS POCHON WILLIAM HUTT LE MOYNE NOAM JENKINS MICHAEL LEVY DAVID DE KEYSER DOM ANDRÉ JOHN NEVILLE OLD MAN EDWARD PETHERBRIDGE DOM VLADIMIR NICOLE COLIN SALMON FATHER PATRICE MALCOLM SINCLAIR CARDINAL OF LYON PETER WIGHT INSPECTOR CHOLET

At 5:00am, on June 29, 1944, in Rillieux-la-Pape, , seven Jews were executed.

This film is dedicated to those seven men and the 77,000 other French Jews that perished under German occupation and the Vichy Regime.

After France fell to Germany in 1940, the Vichy regime was set up under Marshal Pétain. In 1943, the Vichy government created a military force called the Milice to carry out the orders of the Nazi occupiers.

When the war was over, many of those involved were prosecuted for war crimes.

Some got away. A few rose to power.

SHORT SYNOPSIS

Set in modern day France, THE STATEMENT is the story of Pierre Brossard (Michael Caine) who, as a young man during World War II, committed a heinous crime. Brossard has never been brought to trial and has lived a peaceful and anonymous life sheltered by right-wing elements within the . A new investigation into his crimes is launched by an ambitious Judge (Tilda Swinton) and a scrupulous Colonel (Jeremy Northam). Even though Brossard manages to outwit the state investigation, he is simultaneously tracked by mysterious hit men. With two hunters on his heels, this Brossard must try to stay alive and find out who is after him. LONG SYNOPSIS

Dombey, France, 1944 – In line with Nazi commands, PIERRE BROSSARD (Michael Caine), a young officer in the Vichy Milice, gives the order for the execution of 7 Jews.

France, Present Day – DAVID MANENBAUM (Matt Craven), 42, has been hired to kill a man he can identify only through an old photograph to be Pierre Brossard. He is to leave a statement on the body citing this act as justice for the Jews of Dombey. He waits at a bar in the cote d’Azur, knowing that Brossard is due to arrive to pick up a letter. Recognizing Brossard, he follows him out of the bar and then by car into the deserted hillside. When David attempts to ambush him on the road to the Abbey de St Cros, the wily and quick Brossard manages to turn the tables and instead kills David, disposing of the body by rolling his car over a cliff into a ravine. Shaken by the encounter, Brossard realizes that he must find new shelter immediately. Aside from being protected by elements within the church, Brossard has also been helped by a group of former Vichy colleagues. He turns to his Vichy contact, COMMISSAIRE VIONNET (Frank Finlay), for guidance.

Meanwhile, in the Palais de Justice in Paris, JUDGE ANNEMARIE LIVI (Tilda Swinton) opens her investigation of Brossard who has now been charged with crimes against humanity. Annemarie explains to COLONEL ROUX (Jeremy Northam), whom she has enlisted to assist her, that they must be wary of everyone until they discover who has been sheltering Brossard for all these years. She also adds that she is determined to expose the church as an accomplice for providing BROSSARD with a safe haven.

Unbeknownst to Annemarie, David’s failure means that another hit man – MICHAEL LEVY (Noam Jenkins) – has been placed on Brossard’s trail. Michael’s sole contact with his employers is through a man named POCHON (Ciarán Hinds) who gives him instructions.

Through various intercepts, Annemarie and Roux advance their investigation to the point where they now believe that Brossard has been hidden by a secret group within the church called the Chevaliers and that a vigilante Jewish organization is trying to assassinate Brossard.

Annemarie’s diligence catches the attention of high government officials and she is called in to see MINISTER BERTIER (Alan Bates), an old family friend who nevertheless warns her against pursuing this matter. He threatens her with dire consequences. But ANNEMARIE LIVI is not so easily deterred.

Roux visits Brossard’s confessor and champion MONSIGNOR LE MOYNE (William Hutt) to whom just hours previously Brossard admitted his culpability in David’s death. Roux is unable to extract information from Le Moyne because Le Moyne defends Brossard as a man who once erred but has since become a repentant Christian.

As David’s body is discovered in the ravine near St Cros, Roux heads to the region to gather evidence from the local police. Annemarie, frustrated by the lack of answers, is determined to go public with Brossard’s photograph – convinced that the press coverage will force him out into the open. In one sense she proves to be correct as Brossard is turned away from some religious houses that are worried both about the newspapers and the new directive from the Cardinal de Lyon forbidding anyone to help Brossard. In another sense, however, this exposure drives Brossard into deeper hiding.

Brossard goes to the one place he knows no one will find him: the apartment of his estranged wife, NICOLE (Charlotte Rampling). Less than thrilled to see him, Nicole only allows him to stay when he threatens to harm her beloved dog.

The investigation by Annemarie and Roux as well as the instructions given to Michael point them all in the direction of an Abbey where, indeed, Brossard is hiding.

At the crack of dawn, with Michael waiting in a nearby car, Roux and Annemarie arrive with soldiers and a search warrant. Unluckily for them all, Brossard, with instincts sharpened from years of hiding, evades them at the last moment. In his haste, he abandons many of his personal effects and these serve as valuable clues for Roux and Annemarie.

Brossard hurries to the Bar Mathieu where he expects his usual stipend to arrive by post. At the bar, Michael waits in the toilet, hoping to kill Brossard. Brossard again is too suspicious and too quick, shooting MICHAEL before he can draw his gun. He escapes before Michael’s body is found and the police are involved.

Hunted from all sides, Brossard moves again – this time to the Priory of St Donat. In Brossard’s possessions, Roux and Annemarie discover a list of Abbeys with dates alongside. They also find an old photograph from 1944 showing Brossard and another young man. Could this young man be the octogenarian for whom Pochon works? Back in Paris, we see Pochon being scolded by an elderly gentleman who now commands that Pochon himself get rid of Brossard.

Brossard contacts his Vichy contact, the Commissaire, and learns that their mutual friend Pochon will meet him with a passport and everything needed to start a new life. Meanwhile, Roux and Annemarie plan another ambush – on the Priory of St Donat. Again, they are foiled by members of the church who help Brossard escape before they can search the Priory. They learn of the Commissaire’s connection to Brossard and send the police to arrest him. Under interrogation the Commissaire provides details for the rendezvous between Pochon and Brossard. Roux and Annemarie rush to the meeting place but are too late. POCHON has already executed Brossard, pinning the Statement to his chest.

It is, however, Brossard’s death that allows Annemarie to apprehend Pochon and through him, uncover the deeper conspiracy. HISTORICAL BACKGROUND PART I

THE NEW YORK TIMES ON THE NOVEL, THE STATEMENT by BRIAN MOORE

“A Question of Conscience” By Eugene Weber June 30, 1996

The German occupation of France and its factious fallout provide the raw material of Brian Moore's powerful new novel. Between 1940 and 1944, more than one in four of the 330,000 Jews living on French territory were deported. The majority were identified, arrested and shipped off by French administrators and the French police, without whose zealous cooperation German forces in France would have been unable to carry out the job. In a time of want, fear and national humiliation, few of the French cared about what happened to the Jews. While many individuals helped them (otherwise three in four would not have survived), many also denounced, pursued and robbed them. The drumbeat of official Vichy propaganda presented Jews as noxious parasites, and the church went along, fearing godless Communists more than godless Nazis. Some bishops -- and, in their wake, some priests -- denounced such injustice, but most Roman had other priorities. Objectively, the church, like its Vichy allies, shared in the vicious anti-Semitic policies of those dark years.

After 1944, when liberation brushed Vichy aside, a significant portion of the ecclesiastical establishment discovered treasures of Christian that had lain dormant in the preceding years. For them and many others, Communism was a greater crime than collaboration, and a lot of bloodstained thugs were sheltered and hidden, or smuggled out of the country. The moral quagmire that resulted provides tantalizing material not only for the historian but for the novelist -- particularly a novelist like Mr. Moore, who has spent his career exploring the complex and contradictory nature of religious and political devotion.

Mr. Moore's attention has been caught by the real-life situation of a man named . While still in his 20's, Mr. Touvier had headed the murderous militia's intelligence and operations unit for the Savoy and Rhone departments, fighting the Resistance and tormenting Jews. After the war, although convicted of treason and sentenced to death in absentia, he received priestly protection that enabled him to have a family and earn a living. In 1971, he was pardoned by President Georges Pompidou in the name of national reconciliation.

But the pardon raised a national outcry that affected not only "the torturer of Lyons" but more important figures: high officials who served the Fourth and Fifth Republics as they had served Vichy. One of these was Rene Bousquet, who as Secretary General for Police presided over Vichy's Jewish policy. Another was Maurice Papon, who had done well under Vichy and worked efficiently as General Secretary of the Gironde department to intern and deport Jews. Bousquet prospered as a banker, industrialist and supporter of François Mitterrand. Papon, inducted into the Legion of Honor in 1948 "for 18 years of public service," became the police prefect of Paris.

Compared with such men, Mr. Touvier was in the minor leagues. While they grew respectable, rich and powerful, he lived on faked papers, passed counterfeit bills, traded on the black market, informed for the police -- and became a groupie of Jacques Brel. But in June of 1944 Mr. Touvier had selected seven Jews to be shot as hostages, and this qualified as a crime against humanity, something that could not be wiped out by a presidential pardon. After dilatory court procedures and further years in hiding, Mr. Touvier was rearrested in 1989, tried, retried, convicted and finally sentenced to life in prison.

This is the background of the fascinating story told by Mr. Moore in The Statement, a roman à clef that can be read with equal suspense by those who know the context and those who don't. The Statement is Mr. Moore's 18th novel. All are good, some are superb, and this is certainly one of the most engrossing. Its antihero is Pierre Brossard, an old man on the run -- less from the police than from mysterious assassins. As time passes, Brossard's places of shelter grow fewer, his protectors more dubious, his escapes more narrow. Are the pursuers Jewish terrorists out to avenge past crimes or are they cat's- paws of more devious foes? Will Brossard outrun them? Can he outrun fate?

It is as if Mr. Moore has decided to flesh out a phrase the philosopher Joseph de Maistre wrote nine score years ago, in the aftermath of the French Revolution: "There is often in the circumstances that betray the most cunning scoundrels something so unexpected, so surprising, so unforeseeable that men who follow this kind of affair come to believe that human justice is not entirely without some supernatural assistance in seeking out the guilty."

The action never flags; the local color rings true throughout. And for readers like me, who often distrust the justice meted out by courts of law, Mr. Moore even manages a satisfying end. But what makes his thriller so thrilling is the fact that it pauses to re-create the self-examination and self-deception of its Catholic characters as they set about rationalizing, equivocating and justifying their actions -- as they try to reason their way through mazes of , responsibility and hypocrisy. Mr. Moore has always been good with still, small voices, as well as with the shriller questions of evading or facing obligations. This time his plunge into a host of troubled consciences cuts to the quick.

The Statement is a book to be read in one sitting. A straightforward shocker, a psychological thriller, a chase and travelogue through France, a religio- political conundrum -- any way you take it, this is first-class fare. HISTORICAL BACKGROUND PART II

THE VICHY REGIME

The following information about the Vichy Regime was excerpted from an entry found at Wikipedia. This is the time in history that is referred to in the film THE STATEMENT. The link to direct information follows.

Vichy France (French: Régime de Vichy or Vichy) was the French government of 1940-1944 that collaborated with the Nazis, on the opposite of Free French. It was established after the country had surrendered to Nazi Germany in 1940 (see also: World War II). It is named after the government's in Vichy, southeast of Paris.

The Germans had occupied Paris in mid-June 1940. The French leaders considered retreating to French territories in North Africa but the vice-premier, Henri Philippe Pétain, and the commander-in-chief, General Maxime Weygand insisted that the government should both remain in France and seek an armistice with the Germans.

Prime Minister Paul Reynaud resigned over the decision and President Albert Lebrun appointed the 84-year-old Pétain to replace him on June 16. Pétain began negotiations and on June 22 signed the surrender agreement with Germany. The key section of the agreement divided France into two zones - occupied and unoccupied. The Germans would control northern and western France and the entire Atlantic coast. The remaining two-fifths of the country would be administered by the French government with the capital at Vichy under Pétain. Furthermore, all Jews in France would be handed over to the Germans. The French Army was reduced to 100,000 men and the French prisoners of war would remain in captivity. The French had to pay the occupation costs of the German troops, and prevent any French people leaving the country. The and the government then broke off diplomatic relations on July 5.

The Third Republic was voted out of existence by the French National Assembly on July 10. The Vichy regime established the following day, with Pétain as head of state. Pétain was given the power to rewrite a new Constitution. This was never done. He instead put forth three Constitutional Acts that suspended the Constitution of the Third Republic of 1875. These Acts suspended Parliament and transferred all powers to himself. Pétain designated Pierre Laval as Vice-President and his designated successor on July 12. Pétain remained in this position until August 20, 1944. Liberté, Egalité, Fraternité (Freedom, Equality, Brotherhood), the French national motto, was replaced by Travail, Famille, Patrie (Labour, Family, and Country). Pétain's vice-presidents were Pierre Laval and Jean-François Darlan. Paul Reynaud was arrested in September 1940 by the Vichy government, and was sentenced to life imprisonment in 1941.

Joseph Darnand was head of the Vichy Milice, the wartime police. He had an SS rank and took an oath of loyalty to Hitler. The Milice was responsible for the suppression of the French Resistance and the Maquis as well as promulgating German race laws.

To counter the Vichy regime General Charles de Gaulle created France Libre (Free France), after his famous radio speech of June 18, 1940. Initially was ambivalent about de Gaulle and he dropped links with Vichy only when it became clear they would not fight. Even so the Free France headquarters in was rife with internal divisions and jealousies. The remaining French naval vessels were destroyed in Mers El Kébir harbour near Oran in July 1940 by the after Churchill found that the Vichy regime was prepared to hand them over to the Germans. In June 1941 the Australian Army and allied forces invaded Syria and Lebanon, capturing Damascus on June 17.

As part of and on order from the Vichy France government, French police officers rounded-up 13,000–20,000 Jews and imprisoned them in the Velodrome on July 16, 1942.

US President Franklin Delano Roosevelt continued to cultivate Vichy and promoted General Henri Giraud in place of de Gaulle. Even after the invasion of North Africa in 'Operation Torch', Admiral Jean François Darlan, who had arrived in Algiers a few days before 'Torch', became the French leader in North Africa rather than de Gaulle. After Darlan signed an armistice with the Allies in North Africa, Germany violated the 1940 armistice and invaded Vichy France on November 10, 1942. Darlan was assassinated on December 24, 1942 and replaced by Giraud, but he commanded very little loyalty. It took until 1944 for Roosevelt to agree to recognize de Gaulle as the leader of the French.

Despite the cooperation of the Vichy government, the German forces took control of southern France in November 1942 and the real power came into the hands of Laval. Following the Allied invasion of France, Pétain and his ministers fled to Germany and established a government in exile at Sigmaringen.

In 1945, many members of the Vichy government were arrested and some, including Laval and Darnand, were executed. Pétain was sentenced to death but the sentence was commuted to life imprisonment. Others fled or went into hiding, as late as 1993 René Bousquet was murdered and in 1994 Paul Touvier was convicted of crimes against humanity. The Vichy regime deported over 70,000 Jews to Germany and sent 650,000 workers to Germany to help their war effort.

For more information and links to more information about this time in history, check out the Wikipedia link below: http://en.wikipedia.org/wiki/Vichy_France

For more information about the Vichy Regime, including pictures and maps, please visit: http://www.sunderland.ac.uk/~os0tmc/occupied/vichy.htm

HISTORICAL BACKGROUND PART III

THE CATHOLIC CHURCH

There remains controversy surrounding the action or lack thereof on the part of the Catholic Church towards the persecution of the Jews throughout the Second World War. Though a number of clergymen in France spoke out against the Vichy regime in 1942, supposedly contributing to the survival of the majority of France’s Jewish population, numerous others supported the Vichy regime and its policies. Pope Pius XII himself spoke in a notorious radio broadcast in 1942 to publicly condemn the Nazi actions towards the Jews. This seems in line with Hitler’s 1933 statement that “there is no future with churches…one is either a Christian or a German. One cannot be both.” However, despite the fact that throughout the war the Vatican maintained its neutrality, Pius allowed Jews throughout to seek shelter within Catholic religious houses.

FRANCE -- 1946 - Present Day

1946 – Haj Amin el-Husseini, also known as the Mufti of Jerusalem, the instigator of violence against Jews who had close ties with the Nazis, lives for some time in comfort in a suburb of Paris with full knowledge of French authorities. Before he can be brought to trial, he flees to where he is granted asylum.

1963 – The sensational play, The Deputy, by Rolf Hochhuth severely criticizes Pope Pius XII for failing to act or speak out on behalf of the Jews during World War II.

1997 – The Roman Catholic Church in France apologizes for its silence during the French collaboration with the Holocaust. It is the first official admission by the French of their part in sending Jews to their deaths.

1998 – Pope John Paul releases a statement from the Vatican remembering the Holocaust and apologizes for the silence and lack of activity on the part of the Church.

1998 – French War Criminal Maurice Papon is found guilty of crimes against humanity at the age of 87. He is charged with complicity in the wartime arrests of hundreds of Jews and their subsequent deportation and death. He is sentenced to ten years in prison, ten years privation of all civic, civil and family rights, fined 4.6 million francs in reparations to the plaintiffs and stripped of all honors. Papon is the first senior official of the Vichy to be judged for crimes against the Jews despite the fact that he has had a long and successful career both during the Vichy Regime and later in the post-war republic. HISTORICAL BACKGROUND PART IV

PAUL TOUVIER

Paul Touvier was the only Frenchman to be convicted of crimes against humanity in 1994. Read the following excerpt from Wikipedia. The link to the entire selection follows.

Paul Touvier (1915 - 1996) is the only Frenchman to be convicted of war crimes against humanity. He was born on April 3, 1915 in Saint-Vincent-sur- Jabron, Alpes de Haute-Provence, in southwestern France.

Sympathetic to the ideas of Marshal Pétain, Touvier joined the "Milice", a pro- Nazi militia which collaborated with the Germans against the French underground. Touvier was eventually appointed head of the intelligence department in the Chambéry Milice under the direction of Klaus Barbie and in January 1944 became second regional head of the Vichy Government.

After the liberation of France by the Allied forces, Touvier went into hiding. On September 10, 1946, he was sentenced to death in absentia by the French courts for treason and collusion with the enemy. He was arrested in 1947 while trying to hold up a bakery shop but was able to escape.

By 1966, implementation of his death sentence was statute-barred on the twenty-year time limitation. Following this, attorneys for Touvier filed an application for a pardon asking for the lifting of the lifetime ban on leaving the country and the confiscation of goods linked to his death penalty. In 1971, French President Georges Pompidou granted him the pardon. Pompidou's pardon caused a public outcry that escalated when it was revealed that most of the property Touvier claimed as his own had in fact been property seized from deported Jews.

On July 3, 1973, a complaint was filed in Lyons Court against Touvier by Georges Glaeser charging him with crimes against humanity. Glaeser accused Touvier of ordering the assassination of seven Jewish hostages at Rillieux-la-Pape, near Lyons, on June 29, 1944, in retaliation for the murder the previous evening of Philippe Henriot, the Vichy Government's Secretary of State for Information and Propaganda. After being indicted, Touvier disappeared again but through his lawyers, years of legal maneuvering ensued until finally a warrant was issued for his arrest on November 27, 1981. However, it wasn't until 1989 that Touvier was found hiding in a monastery in Nice. After his arrest, further information came to light showing that he had been aided for years by the Catholic church hierarchy in Lyon and later by some of the right-wing Catholic clerics.

Besides the charge of the murder of the seven Jewish citizens, Touvier was suspected of having played a significant part in the execution of a prominent human rights leader and his wife, as well as being involved in several deportations of other Jewish citizens. During the two years following Touvier's arrest, twenty additional charges were laid by individuals and associations against him.

Paul Touvier was granted provisional release in July 1991 and his trial for complicity in crimes against humanity only began on March 17, 1994. On April 20th, a nine-person jury found him guilty and he was sentenced to life imprisonment. His 1995 appeal was rejected by the Court.

On July 17, 1996, Paul Touvier died of prostate cancer in the Fresnes prison hospital near Paris.

For more information and links about this selection, please visit Wikipedia at http://en.wikipedia.org/wiki/Paul_Touvier

For an article about the death of Paul Touvier follows, please click below http://www.english.upenn.edu/~afilreis/Holocaust/touvier-obit.html

For more information about Paul Touvier, please click to Nation Master below: http://www.nationmaster.com/encyclopedia/Paul-Touvier

For a French website that contains information and pictures of Paul Touvier, please click below: http://www.diplomatiejudiciaire.com/Nuremberg/Touvier.html

PRODUCTION BACKGROUND

Producer, Robert Lantos bought the rights to The Statement, written by the late Brian Moore, taking it from book to screen. Lantos describes the journey: “I had made a film called based on another one of Brian Moore’s novels so I knew he was writing this one. I pestered him until he gave me the manuscript and then I bought the rights to it before it was published.”

“Reading this book, there was no doubt in my mind that this would be a film that deserved to be made,” continues Lantos. Set in the present day, the story tackled some serious issues both from the past and the present. These themes attracted Lantos. “The complicity of certain elements of French society with anti-Semitic atrocities is one of those dark corners of history that The Statement will hopefully shine a light on.”

Lantos already realized that the story was extremely cinematic. “It’s a cat and mouse chase story with the structure and set up built within it. This is a man on the run whom the whole world wants to get. The question is who will get to him first.”

Impressed by Brian Moore’s powerful creation, Lantos searched for a writer to adapt the story who could enhance the themes so prevalent within it whilst retaining the thriller elements. It was a delicate balance and, to aim for success, Lantos turned to screenwriter Ronald Harwood. Harwood had previously explored the events and ramifications of the Second World War and The Statement brought a fascinating change of perspective. “I was attracted to The Statement by two elements,” explains Harwood. “First, the subject matter was central to much of my work - the Nazi period is one that haunts me - and second, I am greatly attracted to the thriller genre. I have never written a thriller before and in The Statement, the combination of theme and style seemed to me ideal.”

The Statement’s complexity and diversity required a talented filmmaker to condense all the elements and create a thriller accessible to audiences. With this in mind, Robert Lantos approached director Norman Jewison. “Norman Jewison is a brilliant, visual storyteller with political awareness and a social conscience. He makes thought provoking movies for mainstream audiences. He is exactly right for this project.”

“Betrayal is a subject that appears in a lot of my films and I think it’s something I’m fascinated with,” deliberates director Norman Jewison (THE HURRICANE, IN THE HEAT OF THE NIGHT, CINCINNATI KID). “This is someone (Brossard) who was involved in the murder of Jewish civilians during World War II in France, operating in support of the German forces, has committed this crime against humanity and has been on the run ever since. Then he is betrayed. And who is he betrayed by? By his . It’s also about hypocrisy.”

THE STATEMENT was not merely an easily discountable political thriller but distantly based on a number of real life cases and, as such, resounds with far greater strength than just another fictional story. Cast and crew were careful not to strike any specific political stance throughout the film but were also cognizant that they were addressing topics currently under debate on the world stage -- and it was this reality that would draw a more thoughtful, mature audience to the project. The lessons of history were recognized and remembered throughout THE STATEMENT.

Actress Tilda Swinton summarizes her experience of the film. “The film is about war crime and what more contemporary subject could we be making a film about? It’s a contentious and vulnerable thing for the audience to have questions asked all the time – who are you with, who are you sympathizing with?”

Producer, Robert Lantos is drawn to the international implications of the film. “The ongoing complicity in recent times of church and state in disguising some of what happened, in cleansing some of the bloodied hands so that some of those involved could live as innocents - those are stones people would rather leave undisturbed,” speculates Lantos. “Unlike any other kind of criminal, those who were often responsible for the murder of hundreds, thousands, get to live a perfectly normal life.”

Actor Michael Caine takes the debate further. “In any society, even in British society, there were people who were Nazis and I think this will draw attention to this fact, just in case there are any of them lurking around now.”

“This whole conflict has started to ask questions about what you call people if you don’t call people prisoners of war. Where do you draw the line about judging people’s history?” reflects Jeremy Northam. “I think it was Pompidou who said that we should forgive but never forget, which is a wonderful middle line to take. Just talking about the problems of defining terms in Iraq at the moment and then Afghanistan and Guantanamo Bay, I think there are elements of that to this story, the complications of defining areas of guilt and criminality in the past.”

“Things like this should never be forgotten,” concurs Alan Bates. “But I think when a lot of time has gone by, there should be a letting go. I don’t think this is only a French problem.”

Shooting THE STATEMENT not only allowed Norman Jewison to work with a top notch cast but also alongside his son Kevin Jewison, a professional director of photography residing in France.

Kevin Jewison remarks: “We knew we were basically doing a road picture. Brossard [Michael Caine] never meets Roux [Jeremy Northam] and Livi [Tilda Swinton]. One of the hardest things was how many different locations we had. We tried to keep things simple and have one look for Paris and one for the South. The South is a lot warmer, Paris is a little colder. One day, shooting the minister’s office in Paris, we had sun, cloud, rain and windstorms all in the same day. Just trying to keep the continuity was important.”

As the logistics of moving through a variety of locations remained a challenge in terms of continuity, in contrast it also brought out the resonance and the desperation of Brossard’s constant flight. “I’ve always found that to go where the incident took place,” explains Norman Jewison “you feel the vibrations, the reality of it and it puts everybody in the same ambience.”

THE STATEMENT further required the seamless combination of the present day pursuit with the explanatory flashbacks into Brossard’s past. Kevin Jewison describes the look they were trying to capture. “We knew we were going to do it in black and white and the first time it’s seen in the story, in the beginning, we treated that like real, kind of documentary, newsreel footage that someone would shoot during the war. Later, it’s the same footage but much more stylized, taken from Brossard’s perspective. And it progresses. Each time you come back to it, you recognize it but you’re seeing it in a different way.”

Most significantly it is a film that has many observations to make to the modern world. “This is definitely a film which is not seeking any sort of cheap or obvious answers, even though it’s working within conventions,” declares Jeremy Northam. “It’s a conventional film like a lot of drama is conventional. It has to be. It sets up expectations, which are then subverted or fulfilled, and within that there is tension. But he [Norman Jewison] doesn’t work to formula. That’s what’s refreshing about it. It’s up to the audience to come up with the answers rather than just providing them.”

CASTING

Jewison on Michael Caine: “People like him. When he plays a villain, someone like Brossard, who is guilty of an atrocity, we see in him, hopefully, our own human failings. When Michael plays villains, there’s a vulnerability there that the audience identifies with.”

“Besides,” laughs Jewison. “Michael just seems to get better with age – like good wine.”

“I now do pictures which only come under the heading of an offer I cannot refuse,” smiles Michael Caine. “It has to be really something for me to want to do it and this is a very, very entertaining thriller and an extraordinary story with great people. We have a great director and a great script with a wonderful cast. There was no way I could refuse it.”

On the other side of the pursuit of Brossard consists are two diverse individuals, Judge Livi and Colonel Roux. “This is not a typical buddy relationship,” explains Jewison. “They both have very strong egos and they have this clash of who’s right and what is going to be the modus operandi here.” The casting of these two roles was equally pivotal to the progression of the story and Jewison cast two of Britain’s most compelling actors – Tilda Swinton and Jeremy Northam – in this unusual partnership. “We are playing this film where French is English, therefore there are certain nuances that they bring to the part where you actually feel they’re French though they’re speaking English,” comments Jewison. “I think this calls for a certain sensitivity and I hired both of them for their intelligence.”

Tilda Swinton was drawn to the role of fiery judge Annemarie Livi primarily as it gave her the chance to work with one of her most revered directors. “Norman is a great classical director,” maintains Swinton. “It’s an enormous privilege to work with him, apart from the fact that he’s made a few of my favorite films. He directs the camera so classically, that’s an education in itself. How could I resist – Norman Jewison?”

“You have a level of confidence working with Norman, that he’s going to really watch and really listen and isn’t just wedded to the technical things,” echoes co-star Jeremy Northam. “I read the script and enjoyed it. It throws up interesting ideas and odd contradictions.”

The strength of the story coupled with Norman Jewison helming the project attracted a high quality supporting cast in the form of actors Frank Finlay, Sir Alan Bates, John Neville, Charlotte Rampling and Colin Salmon to name but a few. “The script just has a sort of resonance,” ponders Sir Alan Bates. “The people involved were hugely attractive to me. They were people I had never worked with before.” John Neville was also drawn to the powerful combination of script and director. “It’s a wonderful script and a very daring script. I know the man who wrote it and he’s a very good scriptwriter. Norman is an old friend and I’ve known him for a long time but the strange thing is that I’ve never been in a movie of his. I’ve admired many of his movies so this was the opportunity for me to be in a movie that he was directing as he is a very fine director.”

“I think we have a stunning cast,” concludes writer Ronald Harwood. “To have an actor like Sir Alan Bates in what is by no means a major role seems to me a great compliment to Norman Jewison.”

Jewison was thrilled with the level of acting talent involved in THE STATEMENT. “I’ve got two knights and a Companion of the Order of Canada so there are a lot of heavyweight people about. I don’t think I’ve ever had such an experienced cast to work with. When you work with British character actors over the age of 60, it’s a joy, it’s so rich.”

THE CAST ON THEIR CHARACTERS…

Michael Caine on Pierre Brossard

“THE STATEMENT is the pursuit of a Nazi war criminal through France in the modern day and I play the Nazi. Pierre Brossard is a religious fanatic, an ex- policeman. He hides in monasteries, he had a little network of sympathetic people in monasteries and they hid him. So the story is people trying to find me and me eluding them.

“Brossard is very much a narrow person but those people are always very narrow in their views. He knows what he’s supposed to do as a policeman, knows exactly what he’s supposed to do in his religion, and then thinks he knows what he’s supposed to do about people and unfortunately did it.

“The point about him is that he’s like everyone else because no man is a villain to himself. I know from all the biographers that Hitler was very fond of animals and children and he probably thought he was a very nice man. You have to play everyone for what they think about themselves and let the audience make their own decision. I[‘ve] always found religious fanatics very sorry for themselves and whenever one of them says he’s willing to die for his religion, what he means is that he’s willing to kill for it.”

Tilda Swinton on Annemarie Livi

“Annemarie Livi is the investigating, examining magistrate. She’s the 3rd magistrate to be brought in over the last 40 years. There’s been an attempt to bring Pierre Brossard to justice but it never quite worked before. She’s quite ruthless but there is a little bit of baggage in terms of her father having been a Jew. She has a Catholic mother and a Jewish father and there is certainly a sense of relentless determination to not only find Brossard but, more importantly, who has been hiding him for 40 years. That’s the real story – how is it possible for a man to hide for 40 years?

“She chooses to bring in the army because she doesn’t trust the police. There’s a sense that she doesn’t trust anybody. She’s so determined to get this arrest. She brings in the army, she brings in Colonel Roux and they’re sort of a classic mix. She’s full of emotion, the long view, a sense of the possibility of conspiracy and determined to go for justice, whatever that is, above all. She’s looking at the war and Roux is just looking at each battle.

“You have this man, this 70-year-old man who’s suffering, who’s alone and at one point Livi and Roux have a conversation about how lonely he must be. They’re lonely too and the whole quest is a very lonely business for everybody.”

Jeremy Northam on Colonel Roux

“Roux is a Colonel in the gendarmerie and he’s employed as a sort of henchman for Judge Livi. My point of view of Roux is that he’s very much ‘by the book.’ I imagine him to be someone who believes passionately in the supremacy of the state and the legitimacy of its rule and its structure. He’s not particularly overjoyed at being hauled into this case. Though there is a point where, instead of just fulfilling his actions dutifully, the pursuit of Brossard becomes something more instinctive and more passionate. Roux is faced by this wall of deceit and lying and, because he’s as respectful of the church as he is of the police or army or judiciary, it’s a betrayal of what he believes in.

“In terms of the partnership with Judge Livi; while we’re not diametrically opposed, we seem like chalk and cheese when we’re first together. Roux is not used to being subordinate to anyone else, unless it’s someone very senior in army or political circles and he’s faced with this fiery, hot-blooded, temperamental judge who speaks what’s on her mind. Part of him doesn’t quite agree with that approach – it’s not his way of dealing with things. I think he learns a certain amount from her passionate involvement with the case and I think she learns from his more measured, careful approach as we realize the depth of deception that’s been played out.”

Alan Bates on Bertier

“There is very little to say on Bertier because he’s such an enigma. I think his profession is to be that – political to the extreme. It would be impossible to know if he was trying to protect Brossard or not. You never quite know where he stands or who he is except for that one scene with Livi where he does reveal as much as he ever can, because I think he’s very fond of her. She’s part of his personal background. He wants to protect Livi because he thinks she’s got into something quite dangerous and on a personal level I think that bothers him a lot.”

John Neville on the Old Man

“My character doesn’t show that much on the page but he’s very, very important in that he is the villain, the arch villain, a very unpleasant, nasty man who’s done bad things. It’s a marvelous part to play as I think most actors enjoy playing villains.”

CAST BIOGRAPHIES

Michael Caine (Pierre Brossard) In a career that has spanned almost 50 years and over 90 films, Michael Caine has done it all, from dramas to comedies, action film thrillers to art house character pieces, television to stage work, and he’s always done it in a style all his own. The year 2000 may be the highlight of his life for not only did he receive his second Oscar (Best Supporting Actor - CIDER HOUSE RULES) but Queen II also honored him with a knighthood. Born Maurice Micklewhite, he is now forever Sir Michael Caine.

Some of his most memorable film roles have been those that have also garnered him a multitude of international prestigious honors: a New York Film Critic’s Best Actor Award for ALFIE; a Golden Globe Best Actor Award and a British Academy Award for EDUCATING RITA; a Golden Globe for Best Actor in a Comedy for DIRTY ROTTEN SCOUNDRELS; a Golden Globe for Best Actor in a Comedy for LITTLE VOICE; six Academy Award nominations (ALFIE, SLEUTH, EDUCATING RITA, and most recently THE QUIET AMERICAN) culminating in Oscars for Best Supporting Actor in both HANNAH AND HER SISTERS and CIDER HOUSE RULES.

Although Caine has made his mark as an outstanding actor, it should be noted that he is also an author, with the publication of his autobiography What's It All About?, together with a definitive Acting on Film book based on the highly successful series of lectures he gave on BBC Television. He is also a veteran having served in Korea in the National Service with the Royal Fusiliers.

From a childhood raised in poverty, Caine developed a fascination for cinema, an insatiable hunger for novels, performances at Theater, school plays and a taste for directing drama in a youth club, all of which stimulated his imagination and belief that he would one day be an actor.

The turning point in his film career came at the age of 30 in 1963 when he was given the role of effete, aristocratic Lieutenant Gonville Bromhead in the Joseph E. Levine production “Zulu.” He turned this supporting role into a starring one and, ever since then, Michael Caine has been a truly international star.

With THE STATEMENT, Michael Caine adds another stellar film to his already impressive filmography.

FILMOGRAPHY 1956 A HILL IN KOREA 1957 HOW TO MURDER A RICH UNCLE 1958 THE TWO-HEADED SPY 1958 PASSPORT TO SHAME 1958 CARVE HER NAME WITH PRIDE 1958 BLIND SPOT MICHAEL CAINE FILMOGRAPHY Cont’d 1961 FOXHOLE IN CAIRO 1962 SOLO FOR SPARROW 1963 WRONG ARM OF THE LAW 1964 ZULU 1965 THE IPCRESS FILE 1966 THE WRONG BOX 1966 ALFIE 1966 GAMBIT 1966 1967 HURRY SUNDOWN 1967 TONIGHT LET'S MAKE LOVE IN LONDON 1967 1967 WOMAN TIMES SEVEN 1968 THE MAGUS 1968 DEADFALL 1968 1969 THE ITALIAN JOB 1969 THE BATTLE OF BRITAIN 1969 TOO LATE THE HERO 1970 THE LAST VALLEY 1971 GET CARTER 1971 KIDNAPPED 1972 X, Y & ZEE 1972 PULP 1972 SLEUTH 1974 THE DESTRUCTORS (MARSEILLE CONTRACT) 1974 THE BLACK WINDMILL 1974 THE WILBY CONSPIRACY 1975 PEEPER 1975 THE ROMANTIC ENGLISHWOMAN 1975 THE MAN WHO WOULD BE KING 1976 THE EAGLE HAS LANDED 1976 HARRY AND WALTER GO TO NEW YORK 1977 A BRIDGE TOO FAR 1978 SILVER BEARS 1978 THE SWARM 1978 CALIFORNIA SUITE 1979 ASHANTI 1979 BEYOND THE POSEIDON ADVENTURE 1980 THE ISLAND 1980 DRESSED TO KILL 1981 THE HAND 1981 VICTORY 1982 DEATHTRAP 1983 EDUCATING RITA 1983 BEYOND THE LIMIT 1983 JIGSAW MAN 1984 BLAME IT ON RIO 1985 THE HOLCROFT COVENANT MICHAEL CAINE FILMOGRAPHY Cont’d 1985 WATER 1986 HANNAH AND HER SISTERS 1986 SWEET LIBERTY 1986 HALF MOON STREET 1986 1986 WHISTLE BLOWER 1987 THE FOURTH PROTOCOL 1987 SURRENDER 1987 JAWS: THE REVENGE 1988 WITHOUT A CLUE 1988 DIRTY ROTTEN SCOUNDRELS 1990 A SHOCK TO THE SYSTEM 1990 BULLSEYE 1990 MR. DESTINY 1992 1992 BLUE ICE 1992 MUPPETS CHRISTMAS CAROL 1994 ON DEADLY GROUND 1996 BLOOD AND WINE 1997 CURTAIN CALL 1997 1998 SHADOW RUN 1998 LITTLE VOICE 1999 DEBTORS 1999 CIDER HOUSE RULES 1999 CURTAIN CALL 2000 GET CARTER 2000 QUILLS 2000 SHINER 2000 MISS CONGENIALITY 2001 LAST ORDERS 2001 QUICKSAND 2002 THE QUIET AMERICAN 2002 AUSTIN POWERS IN GOLDMEMBER 2002 THE ACTORS 2003 SECONDHAND LIONS 2003 THE STATEMENT 2004 AROUND THE BEND

Tilda Swinton (Annemarie Livi) Easily considered one of ’s leading actresses, Tilda Swinton received worldwide acclaim for her role in Scott McGehee and David Siegel’s thriller THE DEEP END earning best actress awards from the Boston Film Critics, Las Vegas Film Critics and best actress nominations from the Golden Globes, Independent Spirit Awards, London Film Critics to list a small selection. Tilda Swinton’s chosen projects have always ranged across the spectrum from the high profile productions VANILLA SKY with , THE BEACH alongside Leonardo di Caprio, ADAPTATION with Nicholas Cage and YOUNG ADAM with Ewan McGregor to slightly more character driven parts in ORLANDO, BLUE, LOVE IS THE DEVIL, Tim Roth’s directorial debut THE WAR ZONE and POSSIBLE WORLDS. Tilda will next be seen in the THUMBSUCKER directed by and CONSTANTINE with Keanu Reeves.

FILMOGRAPHY 1986 CARAVAGGIO 1986 EGOMANIA 1987 FRIENDSHIP’S DEATH 1987 ARIA 1988 THE LAST OF ENGLAND 1988 L’ISPIRAZIONE 1988 DEGREES OF BLINDNESS 1988 ANDERE ENDE DER WELT 1989 WAR REQUIEM 1989 PLAY ME SOMETHING 1990 THE GARDEN 1991 THE NATURE MORTE:PARTY 1991 EDWARD II 1992 ORLANDO 1992 MAN TO MAN 1994 REMEMBRANCE OF THINGS FAST: TRUE STORIES VISUAL LIES 1996 FEMALE PERVERSIONS 1997 CONCEIVING ADA 1998 LOVE IS THE DEVIL 1999 THE WAR ZONE 2000 THE BEACH 2000 POSSIBLE WORLDS 2001 THE DEEP END 2001 VANILLA SKY 2002 TEKNOLUST 2003 YOUNG ADAM 2003 THE STATEMENT 2004 THUMBSUCKER 2004 CONSTANTINE

Jeremy Northam (Roux) Jeremy Northam has emerged as one of Britain's finest actors, consistently appearing on stage, television and in feature films. His stage work has included "" at the Olivier Theater and most recently "Certain Young Men" at the West End's Almeida . On television, Northam starred in Craig Zadan and Neil Meron's critically acclaimed CBS television biopic MARTIN AND LEWIS where he starred as opposite Sean Hayes' . Currently, he can be seen in theaters in THE SINGING DETECTIVE opposite , Robert Downey Jr., Katie Holmes and Robin Wright Penn for director Keith Gordon. In 2002, Northam starred in POSSESSION for director Neil LaBute, ENIGMA for director Michael Apted and for director , for which he and the cast won the 2002 Award for Outstanding Performance by the Cast of a Theatrical Motion Picture.

With THE STATEMENT, Jeremy Northam adds legendary filmmaker Norman Jewison to the impressive list of directors he has work with, including: David Mamet (THE WINSLOW BOY); Irwin Winkler (THE NET); Douglas McGrath (EMMA); (MIMIC); (AMISTAD); Oliver Parker (AN IDEAL HUSBAND); (THE GOLDEN BOWL); Michael Apted (ENIGMA); Neil LaBute (POSSESSION) and Robert Altman (GOSFORD PARK).

FILMOGRAPHY: 1992 WUTHERING HEIGHTS 1992 SOFT TOP HARD SHOULDER 1994 A VILLAGE AFFAIR 1995 CARRINGTON 1995 THE NET 1995 VOICES 1996 EMMA 1997 MIMIC 1997 AMISTAD 1998 THE MISADVENTURES OF MARGARET 1999 GLORIA 1999 HAPPY TEXAS 1999 THE WINSLOW BOY 1999 AN IDEAL HUSBAND 2000 THE GOLDEN BOWL 2001 ENIGMA 2001 GOSFORD PARK 2002 POSSESSION 2002 CYPHER 2003 THE SINGING DETECTIVE 2003 THE STATEMENT 2004 STROKE OF GENIUS

Charlotte Rampling (Nicole) Charlotte Rampling is beginning the fifth decade of a varied and rewarding film career. Currently, she can be seen in theaters in “Swimming Pool” for director François Ozon. She first worked with Ozon when she starred in his acclaimed film “,” for which she received a César and a European Film Academy Award nomination. Next, she’ll be seen with in Mike Hodges’ “I’ll Sleep When I’m Dead.”

Born in England, Rampling made her film debut in ’s “The Knack, and How to Get It” (1965). She soon attracted international attention, opposite , in Silvio Narizzano’s “.” Working throughout her career by turns in France, England, and America, Rampling has appeared in a variety of international hits, including “The Damned;” “” for director ; “” opposite for director ; “Viva la vie!” for director ; and “The Wings of the Dove” for director Iain Softley.

Rampling received another César nomination for director Jacques Deray’s “On ne meurt que deux fois,” and was given an honorary César Award in 2001 for her body of work. In 2002, she was honored by the London Film Critics Circle with the Award for Outstanding Contribution to Cinema. She is also the recipient of an O.B.E. (Order of the British Empire) as well as France’s Legion d’honneur (Medal of Honor).

Working for Canadian director Norman Jewison in THE STATEMENT, Charlotte Rampling continues what has already been a successful international film career.

FILMOGRAPHY 1965 ROTTEN TO THE CORE 1966 GEORGY GIRL 1967 THE LONG DUEL 1968 SARDINE: KIDNAPPED 1969 THE DAMNED 1969 THREE 1969 WHAT’S IN IT FOR HARRY? 1971 VANISHING POINT 1971 ‘TIS A PITY SHE’S A WHORE 1971 THE SKI BUM 1972 ASYLUM 1972 CORKY 1973 HENRY VIII AND HIS SIX WIVES 1973 REVOLT OF THE CITY 1974 1974 CARAVAN TO VACCARES 1974 1975 FLESH OF THE ORCHID 1975 FAREWELL, MY LOVELY 1975 YUPPI DU 1975 FOXTROT 1977 ORCA 1980 THE PURPLE TAXI 1980 STARDUST MEMORIES 1982 THE VERDICT 1984 LONG LIVE LIFE 1985 HE DIED WITH HIS EYES OPEN 1985 SADNESS AND BEAUTY 1986 MAX MY LOVE 1987 1987 MASCARA 1988 D.O.A. CHARLOTTE RAMPLING FILMOGRAPHY Cont’d 1988 PARIS BY NIGHT 1989 REBUS 1991 HAMMERS OVER THE ANVIL 1993 ASPHALT TANGO 1994 TIME IS MONEY 1996 INVASION OF PRIVACY 1997 THE WINGS OF THE DOVE 1999 2000 SIGNS AND WONDERS 2000 TRIBUTE TO ALFRED LEPETIT 2000 ABERDEEN 2001 UNDER THE SAND 2001 THE FOURTH ANGEL 2001 SUPERSTITION 2001 SPY GAME 2002 SUMMER THINGS 2003 SWIMMING POOL 2003 I’LL SLEEP WITH I’M DEAD 2003 JERUSALEM 2004 VERS LE SUD 2003 THE STATEMENT 2004 TRILIOGY 2003 LE CHIAVI DI CASA

Noam Jenkins (Michael Levy) Canadian actor Noam Jenkins has been featured in a large selection of film productions. Amongst them is GOSSIP, STUDIO 54, EXTREME MEASURES directed by Michael Apted, WASHED UP, FUR, WISEGIRLS, JACK AND JILL, LUCK, BETWEEN STRANGERS, JOHN Q and HIGHWAYMEN. Jenkins has also taken on a variety of television roles in popular shows such as THE RELIC HUNTER, TOTAL RECALL, THE RAVEN, FX: THE SERIES, QUEER AS FOLK, EARTH: THE FINAL CONFLICT, FOREVER KNIGHT and THE ASSOCIATES. His theatre productions have included the roles of Jason in THINGS ARE FALLING ALWAYS, Dr. Faustus in FAUSTUS AN ATROCITY, Roland in THE HAUNTING and Gino in MY MOM WAS ON THE RADIO.

Matt Craven (David Manenbaum) Based in , actor Matt Craven is easily recognizable from his role as Dusty Rhodes in the successful drama – THE LIFE OF DAVID GALE for director . Craven’s forthcoming productions include THE CLEARING alongside and and TIMELINE with Paul Walker and . A selection of his previous film roles includes PAULIE, THE JUROR, CRIMSON TIDE, K-2, A FEW GOOD MEN, JACOB’S LADDER, BLUE STEEL, TIN MEN and MEATBALLS. Craven has also pursued a diverse television career ranging through the series LA DOCTORS, HIGH INCIDENT, AMERICAN GOTHIC, JUST MARRIED, SUMMER, HARRY and KANSAS. Amongst his theatre productions are THE NEST, CRACKWALKER, BLUE WINDOW, BUS STOP, PITS 1979 and RUDE NOISES.

Alan Bates (Bertier) Alan Bates began his acting career in the new English Stage Company at the and made his West End debut in 1956 at the age of 22. He followed this with Osborne’s LOOK BACK IN ANGER which launched both his career and spurred a lifetime performing a variety of stage roles by playwrights as varied as Pinter, Gray, Storey, Bennett, Shaffer, Stoppard, Chekhov, Ibsen and Shakespeare. His feature film debut was the classic THE ENTERTAINER where Bates played one of Olivier’s sons. More than fifty feature roles were to follow, amongst them are FAR FROM THE MADDING CROWD, WOMEN IN LOVE, the successful GEORGY GIRL, ZORBA THE GREEK, THE RUNNING MAN, WHISTLE DOWN THE WIND and his Academy Award nominated role in THE FIXER. More recently Bates has starred in the award winning ensemble piece GOSFORD PARK, THE MOTHMAN PROPHECIES, BERTIE AND ELIZABETH, THE SUM OF ALL FEARS and EVELYN alongside . He will next be seen in HOLLYWOOD NORTH and the mini series of SPARTACUS.

John Neville (Old Man) A greatly respected actor, John Neville has also been the Artistic Director of the , the Neptune Theatre in Halifax, the Citadel Theatre in Edmonton and the Nottingham Playhouse. Amongst his theatre credits, he has two opening seasons under the great Sir Lawrence Olivier in the plays THE BROKEN HEART and THE CHANCES and furthers the title role of CORIOLANUS under the direction of Sir Tyrone Guthrie. His other selected credits are SCHOOL FOR SCANDAL, DANCE OF DEATH BY A.STRINDBERG, , ARSENIC AND OLD LACE, , THE IMPORTANCE OF BEING EARNEST, ALFIE and TWELTH NIGHT. Neville’s screen credits range from SPIDER, HARVARD MAN, URBAN LEGEND, KILLING ME SOFTLY, REGENERATION, DANGEROUS MINDS and LITTLE WOMEN to ROAD TO AVONLEA, THE ROAD TO WELLVILLE and THE FIFTH ELEMENT.

In his extensive career, Neville has worked with many extremely well respected directors including , Jean-Luc Besson, Roland Joffe, Gillies Mackinnon, Istvan Szabo, and Alan Parker.

David De Keyser (Dom Andre) David De Keyser’s longstanding career spans film, television and theatre performances. Amongst his screen credits he counts the Istvan Szabo film SUNSHINE, ’s DESIGNATED MOURNER; a role that he first played on stage at the National Theatre, Ben Hopkins’ SIMON MAGUS with whom he also filmed THE NINE LIVES OF THOMAS KATZ, LEON THE PIG FARMER, A DRY WHITE SEASON, the Barbara Streisand success YENTL and ’s VALENTINO. Moving between comedy and drama De Keyser has starred in some of Britain’s best loved television productions such as POIROT, THE HOUSE OF ELLIOT, THE PROFESSIONALS, THE NEW AVENGERS, BETWEEN THE LINES, DOCTORS and more recently ORIGINAL SIN, THE GENTLEMAN THIEF, WAKING THE DEAD and CASUALTY.

Peter Wight (Cholet) With a theatre career as varied as it is prolific, actor Peter Wight has played in most of England’s prominent and productions including IVANOV, SLEEP WITH ME and WAITING FOR GODOT at the , THE SPANISH TRAGEDY, and HAMLET for the Royal Shakespeare Company, MOUTH TO MOUTH and NOT A GAME FOR BOYS for the Royal Court alongside other staged roles at the Manchester Royal Exchange, the , The Sheffield Crucible and the Hammersmith Lyric Theatre. His film credits include 3 BLIND MICE, THE GATHERING, SHINER, THE RETURN OF THE NATIVE, PERSONAL SERVICES and SECRETS AND LIES. On television he has starred in MIDSOMER MURDERS, THE PROJECT, THE PASSION, OUR MUTUAL FRIEND and JANE EYRE.

Colin Salmon (Patrice) Colin Salmon has reprised the part of Robinson in three Bond films – , and and has also been seen in a variety of other big screen roles in films as varied as RESIDENT EVIL, FANNY AND ELVIS, ALL MEN ARE MORTAL and CAPTIVES. Frequent appearances in both dramas and comedies from MURDER IN MIND, BEING APRIL, DINOTOPIA, JUDGE JOHN DEE to BAND OF GOLD, NO CHILD OF MINE, SILENT WITNESS and MURDER MOST HORRID make Salmon an easily recognisable face on British television.

John Boswall (Father Leo) John Boswall has played a host of theatre roles in some of the most respected venues in the UK ranging from BED and LE BOURGEOIS GENTIL HOMME at the National, HAMLET, and ANTONY AND at the , THE RIVALS, PRESENT LAUGHTER and THE SKIN OF OUR TEETH at the Royal Exchange to RICHARD III, KING JOHN and CYMBELINE for the RSC and DESTINY, SWEENEY TODD and PLENTY at the . Boswall’s television career has highlighted his diversity as an actor in a melange of comedy and drama such as TIME GENTLEMEN PLEASE, ALONE, DOCTORS, SUNBURN, CHANDLER & CO, STIFF UPPER LIPS, LOVEJOY, DROP THE DEAD DONKEY, MURDER MOST HORRID, DEMPSEY AND MAKEPEACE, SAPPHIRE AND STEEL and GENERAL HOSPITAL. His films are PITCH BLACK, HOTEL SPLENDIDE, WIND IN THE WILLOWS, THREE MEN AND A LITTLE LADY and WOODLANDERS.

Norman Jewison (Director, Producer) Norman Jewison has been a vibrant force in the motion picture industry for four decades. The filmmaker has been personally nominated for seven Oscars – Best Picture for THE RUSSIANS ARE COMING, Best Directing for IN THE HEAT OF THE NIGHT, Best Directing and Best Picture for FIDDLER ON THE ROOF, Best Picture A SOLDIER’S STORY, and Best Directing, Best Picture for . His films have received 46 nominations and 12 . He has also been nominated for three Best Director awards by the Directors Guild of America and has received many international honors as well. In 1999, Jewison received the prestigious Irving Thalberg Award at the Academy Awards.

Born in Toronto, Canada, Jewison completed a work/study program at the BBC in London before beginning his directing career at CBC in Canada. In 1958 Jewison moved to CBS in New York. His work there earned him 3 . His film debut was the 1962 comedy starring Tony Curtis. His first effort as an independent filmmaker was with Steve McQueen. Since then, Jewison’s films have covered a wide range of subjects and styles, from the sharp, pre- glasnost political satire THE RUSSIANS ARE COMING and the stylish gamesmanship of THE THOMAS CROWN AFFAIR to the sultry mystery of IN THE HEAT OF THE NIGHT and the angry irony of AND JUSTICE FOR ALL to the more recent 1999 Universal release THE HURRICANE starring .

Further successful Norman Jewison films are FIDDLER ON THE ROOF, JESUS CHRIST SUPERSTAR, ROLLERBALL, A SOLDIER’S STORY, MOON STRUCK, , OTHER PEOPLE’S MONEY and ONLY YOU totalling over 25 films in 40 years.

The last few years have seen Jewison busy as both director and producer. In 1992, he was awarded the Companion to the Order of Canada, the country’s highest civilian honor. In 1986, Jewison established the Canadian Film Centre, akin to the American Film Institute in the US. Recently, the Film Centre honored Jewison with its inaugural Lifetime Achievement Award.

FILMOGRAPHY 1963 40 POUNDS OF TROUBLE (director) 1963 THE THRILL OF IT ALL (director) 1964 (director) 1965 THE ART OF LOVE (director) 1965 THE CINCINNATI KID (director) 1966 THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING (director and producer) 1967 IN THE HEAT OF THE NIGHT (director) 1968 THE THOMAS CROWN AFFAIR (director and producer) 1969 GAILY, GAILY (director and producer) 1970 THE LANDLORD (producer)

NORMAN JEWISON FILMOGRAPHY Cont’d 1971 FIDDLER ON THE ROOF (director and producer) 1973 JESUS CHRIST SUPERSTAR (director and producer) 1973 BILLY TWO HATS (producer) 1975 ROLLERBALL (director and producer) 1978 F.I.S.T. (director and producer) 1979 AND JUSTICE FOR ALL (director and producer) 1981 THE DOGS OF WAR (producer) 1982 BEST FRIENDS (director and producer) 1984 ICEMAN (producer) 1984 A SOLDIER’S STORY (director and producer) 1985 AGNES OF GOD (director and producer) 1987 MOONSTRUCK (director and producer) 1989 JANUARY MAN (producer) 1989 IN COUNTRY (director and producer) 1991 OTHER PEOPLE’S MONEY (director and producer) 1994 ONLY YOU (director and producer) 1995 DANCE ME OUTSIDE () 1996 BOGUS (director and producer) 1999 THE HURRICANE (director and producer) 2003 THE STATEMENT (director and producer)

Robert Lantos (Producer) Robert Lantos’ extensive career as a producer encompasses 26 theatrical motion pictures and numerous television drama series, mini series and television movies. His films have won the highest honors at both the (Special Jury Prize for CRASH and Grand Prix for THE SWEET HEREAFTER) and Berlin Film Festival (Silver Bear for ExistenZ); have been nominated for Academy Awards (THE SWEET HEREAFTER), Golden Globes (SUNSHINE) and (SUNSHINE); and have won the Genie Award for Best Motion Picture four times (BLACK ROBE, THE SWEET HEREAFTER, SUNSHINE, ARARAT).

Robert Lantos is currently in post-production on directed by Istvan Szabo starring and . His most recent films include the critically acclaimed ARARAT, written and directed by and the Canadian box office hit MEN WITH BROOMS.

He founded and built Canada’s leading film and television company, Alliance Communications Corporation, of which he was Chairman and CEO until 1998 when he sold his controlling interest. He continues to make movies through his boutique production house Serendipity Point Films and has recently become a partner in the North American distribution company THINKFilm.

ROBERT LANTOS FILMOGRAPHY (Producer unless otherwise noted) 1976 L’ANGE ET LA FEMME 1977 IN PRAISE OF OLDER WOMEN 1980 YOUR TICKET IS NO LONGER VALID 1985 JOSHUA THEN & NOW 1991 BLACK ROBE 1994 JOHNNY MNEMONIC (Exec Producer) 1996 CRASH (Exec Producer) 1997 THE SWEET HEREAFTER 1998 STRIKE (Exec Producer) 1998 eXistenZ 1999 FELICIA’S JOURNEY (Co Producer) 1999 SUNSHINE 2000 STARDOM 2002 MEN WITH BROOMS 2002 ARARAT 2003 THE STATEMENT 2004 BEING JULIA

Ronald Harwood (Screenwriter) Ronald Harwood’s plays include A FAMILY, THE ORDEAL OF GILBERT PENFOLD (from Evelyn Waugh), THE DRESSER, TRAMWAY RD, THE DELIBERATE DEATH OF A POLISH PRIEST, INTERPRETERS, J.J. FARR, IVANOV (from Chekov), ANOTHER TIME, REFLECTED GLORY, POISON PEN, TAKING SIDES, THE HANDYMAN, EQUALLY DIVIDED, QUARTET and MAHLER’S CONVERSION. An original play for radio, GOODBYE KISS, was broadcast in November 1997.

His films include THE DRESSER (Academy Award Nomination for Best ), TAKING SIDES (XXIX Flaiano Film Festival Award for Best Screenplay) and THE PIANIST (Palme d’Or, 2002 Cannes Film Festival and 2003 BAFTA for Best Film). Ronald Harwood’s awards for THE PIANIST include the Academy Award for Best Adapted Screenplay, the National Society of Film Critics’ Award for Best Screenplay and the Founders’ Award from the Zaki Gordon Institute for Independent Filmmaking. He was also nominated for a BAFTA (Best Adapted Screenplay) and a César (Best Screenplay).

Ronald Harwood is also the author of several novels. His most recent, HOME, was awarded the Jewish Quarterly Prize for Fiction in 1994. He is the editor of The Faber Book of Theatre and the author of a history of the theatre, ALL THE WORLD’S A STAGE, which accompanied the BBC2 TV series he presented. He also wrote SIR CBE: HIS LIFE AND WORK IN THE UNFASHIONALBE THEATRE.

He was made Fellow of the Royal Society of Literature in 1974 and was Visitor in Theatre at Balliol College, Oxford in 1985. He was President of English PEN, 1989-1993, and President of International PEN, 1993-97. He is Chairman of the Royal Society of Literature. In 1996 he was appointed Chevalier de l’ordre National des Arts et des Lettres. In 1999, he was appointed a CBE. He was awarded an Honorary Doctor of Letters by Keele University in 2002.

FILMOGRAPHY 1962 PRIVATE POTTER 1965 A HIGH WIND IN JAMAICA 1966 DROP DEAD DARLING 1968 GIRL WITH A PISTOL 1968 DIAMONDS FOR BREAKFAST 1970 EYEWITNESS 1970 ONE DAY IN THE LIFE OF IVAN DENISOVICH 1976 OPERATION DAYBREAK 1983 THE DRESSER 1985 AND THE DEVILS 1991 CIN CIN 1994 THE BROWNING VERSION 1995 CRY, THE BELOVED COUNTRY 2001 TAKING SIDES 2002 THE PIANIST 2003 THE STATEMENT 2004 BEING JULIA 2005 OLIVER TWIST

Brian Moore III (Author of the novel, The Statement) Although Irish-born Canadian novelist Brian Moore lived in California for more than thirty years, he considered himself a Canadian writer and retained his Canadian citizenship. Because his formative years in Northern Ireland had a profound effect on him, many of Moore's works center on Catholicism and Irish themes. The Ransom Center's collection of Moore papers consists of typescript drafts, proofs, and contracts for many of his novels published since 1962 including An Answer from Limbo, Black Robe, , The Color of Blood, The Doctor's Wife, The Great Victorian Collection, Lies of Silence, The Magician's Wife, The Mangan Inheritance, , and The Statement. A brief stay in California in 1965 to write the script for 's led to permanent residence in Malibu where Moore wrote additional screenplays as well as novels. Screenplays well- represented in this collection are BLACK ROBE, filmed in 1991, CONTROL, GABRIELLE CHANEL, and STRANGERS. Moore also wrote articles for newspapers and magazines including Travel and Leisure, House and Garden, and among others, as well as book reviews. Brian Moore died in 1999.

Kevin Jewison (Director of Photography) Due to his father’s prominent career as a director, Kevin Jewison was fascinated by film from an early age and grew up on a variety of film sets where he first acquired his primary experience in the camera department. During his time as a camera operator, he worked on several Norman Jewison films including OTHER PEOPLE’S MONEY, ONLY YOU, and BOGUS. However, Jewison has also worked with a number of other celebrated directors on various projects ranging from on SLEEPLESS IN SEATTLE, Lasse Halstrom on WHAT’S EATING GILBERT GRAPE, Alek Keshishian on WITH HONORS, James Ivory on JEFFERSON IN PARIS, ’s CHAPLIN, and Davis Guggenheim for GOSSIP. Further operator credits are DICK, THE LADIES MAN, AMERICAN CUISINE, LAPSE OF MEMORY, CITIZEN X, and GLORY AND HONOR.

Since becoming a Director of Photography Kevin Jewison has filmed LA MENTALE, POLICE DISTRICT, LA VEUVE DE SAINT PIERRE (2nd Unit DP), UN PUR MOMENT DU ROCK AND ROLL, BOGUS (2nd Unit DP), and ALICE and his impressive work is extended by a number of commercial credits.

Jean Rabasse (Production Designer) Designer Jean Rabasse’s work has accumulated multiple awards for his production designs, including two Césars for THE CITY OF LOST CHILDREN, directed by M. Caro and J.P. Jeunet, and VATEL, directed by Roland Joffe, respectively. VATEL also earned Rabasse an Oscar nomination. He received a further César nomination for the 1997 film ASTERIX, directed by Claude Zidi. Amongst his other film designs is THE DREAMER for , VIDOCQ for Jean-Christophe Grange Pitof, JE M’APPELLE VICTOR, DELICATESSEN, LE BRASIER and LE COUP SUPREME. Rabasse has also designed the stage productions AVIS AUX INTERESSES, LES GARÇONS ET LES FILLES, LE COLLECTIONNEUR, DORA, LES GROSSES REVEUSES and DECODEX. As well as his numerous commercial credits for Yop, Gini, L’Oreal, Cegetel, Airbus and Lancôme, Rabasse was also the co-production designer for the opening and closing ceremonies for the Winter at Albertville in 1992.

Carine Sarfati (Costume Designer) French costume designer Carine Sarfati’s designs have been seen on the screen in the films MONSIEUR N., LES AMANTS DU NIL, VIDOCQ, SANS PLOMB, LE CRÉATEUR, L’INCONNU DE STRASBOURG, LA VOIE EST LIBRE, GIORGINO and GÉNIAL MES PARENTS DIVORCENT! Sarfati has also created the unique looks for the stage productions of a number of eminent directors. These include EMMY’S VIEW, LA CHAMBRE BLEUE and SKYLIGHT for David Hare, PIÈCE DÉTACHÉE for Alan Aykbourn, LA TERRASSE and L’AIDE MEMOIRE for Jean-Claude Carriere along with L’IDÉE FIXE, LE RETOUR, DELICATE BALANCE and LES CÔTELETTES.

Trefor Proud (Hair and Make-up Designer) As the Key Make-up Artist, Trefor Proud won both the 2000 Academy Award and 2000 BAFTA for his work on ’s TOPSY TURVY. Proud had already received a previous Emmy Award nomination for SNOW WHITE. Most recently he completed UNDERWORLD starring , OCTANE starring , and THE GOOD POPE starring . Proud has also worked on Lynne Ramsey’s MORVERN CALLAR starring , Peter Bogdanovich’s THE CAT’S MEOW, James Ivory’s THE GOLDEN BOWL with Kate Beckinsale and Nick Nolte, CLEOPATRA, and ’s worldwide success GLADIATOR alongside STAR WARS, BASIL, BENT, GOLDENEYE, FIRST NIGHT and LADY CHATTERLEY’S LOVER. Trefor is currently working on DEAD FISH starring .

Nuala Conway (Hair and Make-Up Designer) Amongst the artists Nuala Conway has worked with are Sam Neill, Mel Gibson, Michael Caine, , , John C. Reilly, , Rupert Graves, , Sting, , , Vincent Perez, Jonathan Pryce, , , Fran McDormand, Gabrielle Anwar, Sally Potter, Penelope Cruz and Azura Skye. As Hair and Make-up Artist Conway has worked on THE HOURS, THE ACTORS, QUILLS (for which she received a BAFTA nomination), THE IMPORTANCE OF BEING EARNEST, SHINER, (for which she won an Emmy award for Best Make-up for her work with Sam Neill), UP AT THE VILLA and PORTRAIT OF A LADY. Conway’s most recent work is on the eagerly awaited COLD MOUNTAIN, directed by and starring , and Renée Zellweger.

Stephen Rivkin, A.C.E. (Editor) Stephen Rivkin A.C.E. (Editor) was a co-editor on the Jerry Bruckheimer summer blockbuster PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL for director Gore Verbinski. He also co-edited ALI starring Oscar nominee for director , and the action thriller SWORDFISH starring , and for director Dominic Sena. Previously he worked with director Norman Jewison on THE HURRICANE for which Denzel Washington received an Oscar nomination, as well as BOGUS and ONLY YOU.

Other credits include IDLE HANDS, EXCESS BAGGAGE, ROBIN HOOD: MEN IN TIGHTS, BAT-21, and HOT DOG: THE MOVIE. Rivkin edited and was associate producer on the features YOUNGBLOOD and THE PERSONALS. He was a co-editor on the popular films NINE MONTHS, OUTBREAK, MY COUSIN VINNY, BAND OF THE HAND, and FIRE IN THE SKY.

Among Rivkin’s television credits are TNT’s Cable Ace Award- nominated NIGHTBREAKER, HBO’s THE COMRADES OF SUMMER and EL DIABLO as well as Lifetime’s WILDFLOWER and the CBS movie THE GIRL WITH THE CRAZY BROTHER, both directed by .

Andrew S. Eisen (Editor) Andrew Eisen first collaborated with director Norman Jewison as associate editor on BOGUS for New Regency. BOGUS is one of four projects that Eisen has worked on with fellow editor Steve Rivkin with the others being SWORDFISH, directed by Dominic Sena for Warner Bros., WOOLY BOYS, directed by Leszek Burzynski and OUTBREAK, directed by Wolfgang Petersen for Warner Bros. His other editing credits are EXTREME DAYS, Philip Noyce’s THE BONE COLLECTOR and CLEAR AND PRESENT DANGER, AVOCADO SEED, THE EIGHTEENTH ANGEL for Columbia Tri- star, Morgan Freeman’s BOPHA for Paramount Pictures and John Landis’ INNOCENT BLOOD.

Normand Corbeil (Composer) Normand Corbeil is rapidly establishing a reputation among top Hollywood filmmakers for his sweeping and evocative scores. Among Corbeil's feature film credits are Paramount's DOUBLE JEOPARDY and Warner Bothers' THE ART OF WAR. In 2003, Corbeil received his first Emmy Award nomination for his score for the event HITLER: THE RISE OF EVIL. His other television work includes the miniseries LIVING WITH THE DEAD and the TV movie THE PENTAGON PAPERS. Normand's upcoming feature is A DIFFERENT LOYALTY starring Sharon Stone and .