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Production Notes

Synopsis

Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers…

Filmed on location in , the U.K., and , the espionage thriller The Debt is directed by Academy Award nominee John Madden (). The screenplay, by & and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize.

The story begins in 1997, as shocking news reaches retired secret agents Rachel (played by Academy Award winner ) and Stephan (two-time Academy Award nominee ) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by because of the secret mission that they embarked on for their country back in 1965-1966, when the (portrayed, respectively, by [The Tree of Life, ], Marton Csokas [The Lord of the Rings, Dream House], and [, Clash of the ]) tracked down Nazi war criminal Dieter Vogel ( of Casino Royale and ), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait.

At great risk, and at considerable personal cost, the team’s mission was accomplished – or was ? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands.

Universal Pictures International and present a MARV Films production. A Film by John Madden. The Debt. Helen Mirren, Sam Worthington, Jessica Chastain, Jesper Christensen, Marton Csokas. With Ciarán Hinds and Tom Wilkinson. Casting by Michelle Guish. Hair and Make-up Designer, Daniel Phillips. Costume Designer, Natalie Ward. Music by . Edited by Alexander Berner. Production Designer, Jim Clay. Director of Photography, Ben Davis, BSC. Executive Producer, Tarquin Pack. Co-Producer, Mairi Bett. Produced by Matthew Vaughn, Kris Thykier, Eduardo Rossoff, Eitan Evan. Based on the film Ha-Hov written by & Ido Rosenblum. Screenplay by Matthew Vaughn & Jane Goldman and Peter Straughan, Directed by John Madden. A Focus Features Release.

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About the Production

After the Israeli feature film Ha-Hov [The Debt], directed by Assaf Bernstein and produced by Eitan Evan, opened in 2007, the thriller received four nominations for Israel’s equivalent. Evan credits the film’s having been sold for distribution to countries beyond Israel to “its original story, combined with the thriller plot about Mossad agents on a mission. Mossad is an institution, one of the for espionage and intelligence, and the film had an authenticity to it with regard to them.”

Producer Eduardo Rossoff took note of the film as being ideal for an English-language remake, tied to its unique two-tiered storyline revolving around 30-year-old secrets coming to light, and brought Ha-Hov to the attention of producer Kris Thykier.

Thykier was instantly intrigued. He recalls, “It was a spectacular story, and brilliantly acted. I did feel that there was an opportunity for a little more complexity and scale; I saw the potential of making a smart thriller that would be relevant to – and entertaining for – a world audience.”

After viewing the film, Thykier’s producing partner Matthew Vaughn agreed. As Evan spoke with Thykier by phone and then in person to finalize the new project, Vaughn started work on the script adaptation for the remake with his screenwriting partner Jane Goldman.

Six months later, the producers presented the script to Oscar-nominated director John Madden. He found the screenplay to be “offering a visceral narrative in which both the emotional and moral stakes are very high, coupled with depth in the characterizations. One’s engagement in the material deepens as the story becomes more complex and begins to exercise more of a grip. I was transfixed.

“I hadn’t seen the Israeli film when I read the script. I felt I needed to watch it – and I’m glad I did, but then I didn’t look at it again.”

Thykier says, “We were thrilled that John was interested, and we quickly started preparing the project with him. He is a genuine renaissance man, totally involved and committed from the start to making the material work as a movie.”

Madden began honing the script with screenwriter Peter Straughan. The director notes, “The level of narrative development in the material is unusual in that the audience is constantly kept guessing about just what’s going on – and we wanted to heighten that.

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“Assaf Bernstein and Ido Rosenblum’s script for the had an underlying foundation and structure that was solid, and Matthew and Jane had already developed the story in some interesting ways. But as Peter and I began to work on the story, we found new directions emerging. And the thematic emphasis of the film started to .”

Evan agrees, noting that “the new film involves the past much more than the present, and there is more action. The Debt also delves deeper into the psychology of the Israeli characters.”

Thykier observes, “With the script’s intelligence, and depth of character, we now had what I saw as a return to the 1970s thrillers that I had grown up on, like Three Days of the Condor and Marathon Man.”

With such actor-driven thrillers in mind, Madden knew that the cast “would be central to The Debt. Inevitably these characters would be close to us, often very close. We watch them making a choice, see it ripple through a lifetime, and witness its profound effects.”

Nowhere was this more important than with the lead character of Rachel Singer. The filmmakers needed an actress of a certain age to embody Rachel in 1997. She would have to be someone capable of conveying the uncertainty that haunts her, and embracing the physical challenges. With those prerequisites, Thykier states, “Who else could it be but Helen Mirren? We’d always thought of her for this role.”

Madden had previously directed Mirren in one of her celebrated telefilms. He notes, “That was a fantastic experience for me. Helen is an actress at the top of her game, and she likes to test herself. She is fearless. Helen responded immediately to the challenge of this material.

“Here’s a role which required her to intimate the wounds and the corrosive effect of events suppressed over 30 years. The tension and pain of a decision made long ago are evident; she literally bears a scar from what happened back then. All this has to come across amidst the pace and excitement of a thriller.”

Mirren comments, “Aside from wanting to work with John again and the fact that this was a good thriller story, I was interested in exploring the notion of how every action you take in life has a result, a consequence, and sooner or later you are going to have to face up to it.”

“Having learned to live with compromise, Rachel is finally realizing that it doesn’t always work. She is not a person who reveals much to anyone, not even to the daughter who has written a book about her and her colleagues. Rachel has buried her true emotions and has existed for many years on a superficial level, not confronting the depth of her real feelings about things. She finds she has to do that, and much more.”

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For that “much more,” Mirren rose to the occasion, learning the basic moves of krav maga, the renowned tactical defense skill that is rooted in hand-to-hand combat. Krav maga is the official self-defense system of the Israeli Defense Forces.

However, Mirren points out that “at this point in her life, Rachel is retired and hasn’t fought in some years, so I wanted to keep that realistic. While she was trained in krav maga, that was a long time ago. So when she is called upon to defend herself again, she’s far from a credible fighter.”

With their latter-day Rachel set, the filmmakers turned to casting the younger incarnation. Madden wanted to “not to be enslaved by the necessity to find a lookalike actress.

“But then we did find the perfect actress, who has an extraordinary physical affinity with Helen.”

Rising star Jessica Chastain was recommended to Madden “by an agent I trust, someone who didn’t even represent her.” Chastain had recently filmed The Tree of Life for director , who when phoned by Madden offered an overwhelmingly positive recommendation. “He was happy to talk forever about her,” Madden says.

Chastain remarks, “When I first read the script, I didn’t even see it as a thriller. To me, it was a drama and a love story. It was so good that I felt, ‘I have to be in this movie.’

“I wanted to work with John Madden because he works both in theater and film, and that’s what I like to do as well.”

The actress reveals, “I do a lot of research, and I went into my first meeting with John very prepared. I had found out that Helen Mirren and I are the same height, so I said, ‘Just to throw it out there…’”

Impressing the filmmakers with her grasp of the character, Chastain got the plum part. “She is magnetic to watch,” says Madden. “She elicits an emotional involvement from the viewer. There’s no equivocation in the choices she makes, and emotionally she is absolutely clear.

“Helen has exactly that same quality. You can see the tiniest change of mood flutter across her face. That kind of transparency is rare, and it’s a gift. The baton of Rachel passes effortlessly from one actress to the other.”

Unable to share the screen, “the two Rachels” instead met to compare notes well before filming began. Mirren and Chastain read scenes together and worked out shared characteristics that would resonate within the film.

Chastain remembers, “Helen and I got together in with [production dialogue

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coach] Joan Washington to work on Rachel’s voice. We also discussed gestures Rachel would make.”

Mirren adds, “We collaborated with John, and with the costume and hair and make-up departments as well. Between the two of us, Jessica and I came to a consensus about who we wanted this one person to be.

“In 1997, she is hidden, polished and reserved. But the younger Rachel is a very different person…”

Chastain notes, “Helen asked me about what I thought Rachel’s family history might be, and we talked about where perhaps Rachel would end up; it’s in the script, of course, but this way we could see that we were on the same journey.”

In 1965-1966, Rachel is the youngest member of the trio of Mossad agents sent to capture the war criminal Vogel. Thykier notes, “She has no experience as a field agent up to that point, and that has a significant effect on the way the story unfolds.”

The actress herself lacked experience in one key area; Chastain admits, “I could not be more different from a Mossad agent. Before The Debt, I had no idea how to even throw a punch; I had never been in a fight in my life.”

Accordingly, she trained with a krav maga expert four times a week for four months in before coming to London for rehearsal with her fellow actors. As a result, “she does all of her own fighting and stunts in the film,” Madden reveals.

Chastain reports, “I packed on a little bit of muscle, and, considering that I am a pacifist, I really enjoyed filming the fight scenes.”

Chastain’s on- and off-screen colleagues include Sam Worthington, who portrays David, the idealistic but conflicted Mossad agent who is drawn to Rachel almost immediately. Long before his star-making role in the record-breaking Avatar, Madden had spotted Worthington in the Australian independent feature Somersault. “Sam has this attractive, masculine, powerful presence but he also has a vulnerability,” comments the director. “I felt that he could capture the contrasts of David.”

Worthington was intrigued by the character’s moral conviction and emotional burdens. “David is a man who lost his entire family in the Holocaust, and is consistently questioning his own worth,” the actor states. “He dedicates himself to being an effective Mossad agent, as he feels he has the weight of a nation on him. With this mission, David’s idealism becomes at risk and he doesn’t know how to handle that.

“John pitched me the story while visiting me on a movie set, and he completely sold me on his vision of these three people who confront a monster but are then haunted for decades. This makes for quite a thriller, but of The Debt is the notion of living with repercussions for decades.”

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To play Stephan, the driven leader of the unit, the filmmakers cast Marton Csokas, whom Madden praises as “brilliant. He’s got this louche sexuality about him, and he brings a sense of danger and a neurotic energy to Stephan that creates a dramatic tension amongst the trio. It’s Stephan’s choices that drive the story.”

Csokas sees his character as being “a potent force, and fervent about bringing the Surgeon of Birkenau to justice. During the course of the story, he is tested by the claustrophobic situation that the agents find themselves in; it’s one born of ambition and passion. For me, Stephan was a juicy role in the exciting context of a resonant thriller.

“All of the characters in The Debt have their ambiguities; no one is black-and-white. They have their weaknesses and their strengths, they know both victory and failure.”

Madden felt that with these two men cast opposite Chastain, the story took on even more potential. He notes, “The next step was to develop the chemistry among them. On this film, beyond working on the text and doing some improvisation, we had to rehearse the unique physical component.”

So it was that, like Chastain, Csokas and Worthington underwent training for the krav maga sequences. The three actors trained together for nearly two weeks. Csokas offers, “Neither Sam nor myself became experts by any stretch of the imagination, so we looked after each other – and had our little codes to make sure neither of us got hurt.”

Fight/stunt coordinator Julian Spencer notes, “Krav maga moves are so fast that we had to work on slowing them down a little bit for the camera. Otherwise, the viewer would be left wondering, ‘What happened?’

“John Madden would allow me to step in and give my five minutes’ worth of notes to the actors, and then he would bring it all to life with them, incorporating the blocking.”

“That group discipline was a tremendous benefit,” says Madden. “They could hang out, while also getting in shape and up to speed for their fighting scenes together.”

Chastain says, “We worked as a team even when we were not on-set. In the car going to or from the set, we would be discussing scenes. We’d give each other ideas, and ask each other questions. Sam and Marton made me a better actor because they both work so hard. But they also have a great sense of play so, surprisingly, given the heavy subject matter, we laughed a lot – off the set.”

“They became very close,” Thykier says. “All three were full of energy, focus, and enthusiasm. Whether it was krav maga training or rehearsing dialogue to hone their accents, their shared work ethic drew them together.”

The shared history that binds David and Stephan to Rachel was borne out in the casting of Ciarán Hinds and Tom Wilkinson, both of whom had worked before with Helen

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Mirren. “This is in fact the sixth time that Ciarán has worked with Helen,” comments Madden. “They truly do have a long history together, and in this particular movie they bring a poignancy to their characters’ relationship.”

Hinds muses, “I seem to ambush Helen every five years or so. It’s enormously pleasing, and the experience is always compelling – for me, at any rate!

“I considered it a great honor to be in the company of Helen and Tom, and I’d heard how wonderful John was to work with, so I was thrilled when he asked me to play this role. He’s a great director.”

Mirren comments, “For the scenes that we share in The Debt, it was a great advantage to have worked with these two actors before.”

Approached to play the older Stephan, two-time Academy Award nominee Tom Wilkinson was drawn to the project by the prospect of reuniting not only with Mirren, whom he calls “a wonderful person,” but also with Madden, for whom he had starred in the Oscar-winning Shakespeare in Love. The actor remarks, “John’s very good with actors, but he also has a strong technical side – with the camera and the editing – and he always works hard on the script.

“With regard to this story, what interested me was, can one be redeemed after the endless duplicity of being a secret agent? There’s an element of a movie I did a couple of years ago, , in The Debt, and also of Sidney Lumet’s thrillers. When everything you do is accompanied by spin, all the common decencies we take for granted in our lives – all the morals, the ethics – are completely eroded away. So Stephan’s relationship with Rachel has gone distant – but he manipulates her anew, in a game with destiny that could be fatal.”

Wilkinson adds, “Marton and I spoke by phone about our character and where the script takes him, and we agreed that Marton would proceed with how he was going to play Stephan; since he was filming first, I later took a look at his scenes and worked further on the character with John. There was a certain continuity I was careful not to break.”

Worthington had also set his take on David. He says, “David is a quiet, controlled man who starts to explode and then he can’t put the lid back on. Actor to actor, I knew I could trust Ciarán to take it from there – whether he watched rushes of my scenes or not.”

Hinds says, “I did make sure to see a couple of scenes that Sam had completed. Of the two men in the equation, David is the more shy, more guarded one and he feels very uneasy once the mission is over. I concentrated on finding the soul, the essence of David some thirty years later, with his having been plagued by self-doubt all that time.”

To play “the Surgeon of Birkenau,” an almost unimaginable monster who has killed or maimed thousands, Madden sought a performer who wouldn’t ooze “evil on tap. We wanted an actor with whom the audience would not necessarily be familiar, about whom

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they could not make instant judgments. An actor of great power and subtlety. He also had to be fluent in German and English.”

Copenhagen-born Jesper Christensen met all the criteria to play Dieter Vogel. The actor was coming off of back-to-back turns as antagonist Mr. White in Casino Royale and Quantum of Solace, but Christensen saw The Debt as “a thinking man’s thriller with multiple layers. When I read the script, I wanted to see what happened next – and I didn’t see what was coming.”

Madden in turn was taken straight away by Christensen’s “craggy, intriguing face that is somehow ageless; he can look either 50 or 80, as needed.

“What Jesper also brought to the part was the ability to be not instantly or even consistently villainous but, rather, exhibit a paradoxical charm and tenderness. Making Vogel rounded was crucial; this is a man who has made accommodations for his deeds but over the course of the story runs a gamut of emotions.”

Christensen adds, “The man is so terrible that I didn’t have to make the audience any more disgusted with him than they already are. What I needed to do was to bring out his dimensions, the humanity that he does possess, and the rationalizations that he has built around his past.”

In their first meeting, Christensen spent hours with Madden reading through the script and working out a number of scenes, “displaying the kind of fearlessness and willingness that he went on displaying all the way through the making of the film,” comments the director. “Like Jessica, Jesper did all his own fighting and stunts, with spectacular results.

“When we were shooting, he endured the safe house scenes – where he would stay tethered for hours and hours on end – with tremendous grace. He would even do scenes where other actors would have said, ‘You don’t need me for this shot.’ At one point, I wrenched my own shoulder pulling him up from the floor!”

Christensen confides, “I would rather not do stunts myself, because I don’t recover that quickly any more. But, it’s my technique.”

Aside from utilizing the physical challenges to advance his character, Christensen concentrated on how “when the three agents are holed up in the safe house with Vogel, it becomes impossible for them to dehumanize him any longer. Before that, he was just a monster to them, someone who has done the most awful things; suddenly, he’s there with them and they are responsible for feeding and bathing him. So the moral stakes rise; now how they will treat this man?

“Vogel’s nature emerges as he constantly tests them, and cleverly works his way into the consciences of each member of the trio. As an actor, it was thrilling to play.”

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Two weeks of intense rehearsals were held at Ealing Studios; the setting of the safe house/apartment on a crumbling East Berlin block was built by production designer Jim Clay (BAFTA Award winner for Children of Men) and his department as a 360-degree environment, carefully following the script’s specifications to create a genuinely claustrophobic atmosphere for Christensen to interact with Chastain, Worthington, and Csokas. Minor adjustments were made with regard to blocking needs as well as for the characters being impacted by their environment.

Principal photography commenced in chronological order – with the safe house scenes filmed over three weeks – so that the actors could maintain the momentum from the rehearsals and better play out the festering tension between captors and captive.

Worthington notes, “It was our good fortune to be shooting in sequence – a great luxury to have in making a movie – and not having to suspend disbelief, given the tangible nature of the set.”

“It wasn’t unlike working in the theater,” says Csokas. “We would go into the studio and rehearse on the same sets every day. When the crew got in there with the lights and the cameras, it became more claustrophobic.”

“By the end, I wanted to kick the place down,” admits Worthington. “Just like the character, I didn’t want to be there any more.”

Chastain reflects, “I was kind of hoping that I wouldn’t like Jesper when I first met him in rehearsals; I even tried not to get to know him that well. But I found him to be absolutely lovely, and I thought, ‘Well, the scenes are going to be impossible to shoot now, because I really like this guy.’

“But he’s such a good actor that as soon as we got onto the safe house set, I just hated him; hated that he was there, tied to that radiator. I just wanted to get away. I would leave the set at night exhausted.”

Clay reveals, “The safe house set was inspired by a series of Francis Bacon paintings showing his lover’s final desperate moments. I had happened to see these at the Tate gallery – just after John Madden had sent me the script. It struck me that these paintings had a real relevance to Vogel; he is captured and tied up in a room, facing the moment of his truth and the abyss of mortality. We tried to create that atmosphere on the set, what with the dark walls and a black frame around the lone figure of Vogel, and [director of photography] Ben Davis conveyed that.

“We also tried to layer in a back story for the apartment itself, to give it color on the walls which suggested that the apartment once had happier days and a purpose, being occupied by young art students.”

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“You could have moved into the apartment,” marvels Thykier. “You’d look behind the doors and find what would be there; no detail was left to chance. As soon as everyone – cast and crew – saw what Jim and his department were building, the bar was set.”

The verisimilitude of the safe house set was enhanced by Clay’s team’s use of actual materials; distressed door and window frames, floors and tiles – much of which had been found at demolition sites visited as part of location scouting in Budapest. Clay notes, “My set decorator, John Bush, and I sought out all those dressing details, and shipped them back to London.

“We didn’t have to paint those elements. They had the natural decay of time, which lends an element of reality that is virtually impossible for even a skilled crew to achieve.”

The crumbling architecture in and around the set also underscores the corrosive effects of the lie that pervades The Debt. Worthington notes, “It certainly informed my performance. It was this little world that our characters are forced into with Vogel.

“We had to come in prepared. As a director, John shoots fast and trusts the actors, but he will push you in the right direction towards what he wants.”

The production then moved to the previously scouted Budapest, which had been judged capable of providing the textured background that would ably suggest East Berlin in the 1960s. Arriving in the city at the end of a particularly harsh winter, the production was able to take advantage of a cold and dampness that pervaded exteriors and kept the streets clearer than expected during daylight hours. The cast and crew’s endurance was tested by the long and freezing night shoots.

Most of the desired locations were grouped around one central area; these included the safe house exteriors, Vogel’s clinic, and a re-created Berlin Wall. Clay hastens to clarify that the latter “is not the iconic Berlin Wall that everyone came to know, but instead the block-and-concrete that was rather hastily thrown up during the period in the 1960s in which this part of the story is set. This was done in the areas where citizens had tried to escape.”

The “ghost station,” where the Mossad trio convenes to smuggle Vogel out of , was played by an actual train station in Istvantelek, just outside Budapest. The sequence was finalized for the script only after visits to the real-life location, with the specific geography and parameters carefully written in; the presence of an on-site bridge in particular allowed the filmmakers to maximize the locale’s potential. “One should do that more often, really, writing the script around a location,” offers Madden. “It worked out so well…

“…although coordinating the arrival of an actual train was a nightmare. But the scope and scale of the station added so much to the scenes, and not to the budget.”

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Six weeks later, cast and crew decamped to Tel Aviv, having been accepted as one of the few international productions to film in Israel in recent years. Evanstone Films, the of Eitan Evan, is based in Tel Aviv. Evan notes, “I was able to coordinate production services in Israel, so it was like wearing two hats.”

In recreating the , the filmmakers’ mandate was a sharp visual contrast between not only the decades but also between East Berlin and Tel Aviv, underlining the sense of the three characters having left the claustrophobic darkness of the safe house behind. While shooting on Tel Aviv streets, cinematographer Davis worked to get as much of the city on-screen as possible.

“For John, there was no question that it was important for the movie to film there, given its sense of place,” says Thykier. “The searing light and heat of Israel exposes the characters and leaves no place to hide. The notions of darkness and light were central to the story.”

Locations in Israel also included the scenic, Mediterranean-lit Dan Acadia Hotel, in Herzeliya on the Sea, where the book launch and other sequences were filmed, and where cast and crew and production offices were headquartered; and Lod’s Ben Gurion International Airport.

Mirren says, “In Tel Aviv, history and modernity co-exist. It’s an extraordinary city in a fascinating country.”

Evan reports, “With every kind of geography and climate, a highly developed , and well-trained crews, Israel is equipped for films of any size.”

Proving the producer’s point, four lines of a main road in Tel Aviv were closed for two days so that a crucial in-broad-daylight sequence involving stunt work could be realistically staged. “This took about six weeks to arrange,” says Evan. “But we got everybody in agreement – even the neighbors.”

The production then returned to Budapest, which this time doubled for the ; pivotal scenes were shot at Lipot, an imposing and eerie hospital building just outside Budapest.

Kris Thykier comments, “The Debt has an incredible cast acting out a story with an emotional complexity that will keep audiences on the edge of their seats as the characters’ fates unwind.”

John Madden concludes, “This is a thriller that keeps tightening the knot, with a sense that panic is just barely being held at bay.

“The film’s title has multiple layers: historical, political and personal. The Debt asks questions that we face daily; ‘What would I have done in this situation?’ ‘How would I have behaved in those circumstances?’ ‘What is the price I would – or will – pay?’”

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About the Cast

HELEN MIRREN (Rachel Singer) is one of the world’s best-known and most respected actors, with an international career spanning stage, screen, and television.

Her most celebrated role was as Elizabeth II in The Queen, for which she won the Academy Award for Best Actress, as well as the Golden Globe Award, BAFTA Award, and Award, among other honors around the world.

Ms. Mirren launched her career in London at the National Youth Theatre, playing Cleopatra. She joined the Royal Shakespeare Company and went on to star in a number of esteemed productions, including Troilus and Cressida and Macbeth. After leaving the RSC in 1972, her career took on a new direction when she joined renowned director Peter Brook’s theatre company and toured the world.

Her film career began with Age of Consent, but her breakthrough role arrived just over a decade later with the iconic gangster thriller The Long Good Friday. Subsequent films included Excalibur; the Irish romantic thriller Cal, for which she received the Best Actress award at the Cannes International Film Festival; The Cook, The Thief, His Wife & Her Lover; Some Mother’s Son, which she co-produced; Calendar Girls; and, for her husband Taylor Hackford, his films White Nights and Love Ranch.

She earned her first Academy Award nomination for her performance as Queen Charlotte in The Madness of King George, which also earned her another Best Actress award at the Cannes International Film Festival. A second Oscar nomination came for her role as the housekeeper Mrs. Wilson in ; she shared with her fellow actors with the Screen Actors Guild Awards’ top prize, for Outstanding Performance by a Cast in a Motion Picture, and won the Guild's Award for Outstanding Performance by a Female Actor in a Supporting Role. For her starring role as Sofya Tolstoy in The Last Station, she was nominated for the Screen Actors Guild, Golden Globe, Spirit, and Academy Awards.

Ms. Mirren has recently been seen on-screen in the hit RED, based on the WildStorm/DC comic book, as a lethal lady of the CIA; in The Tempest, as Prospera in a gender twist on the classic character; in Brighton Rock, based on the novel by , as a café owner turned amateur detective; and in Arthur, opposite Russell Brand, where she plays the near-indomitable nanny to Mr. Brand’s naughty playboy character.

On television, she starred in the iconic role of Detective Chief Inspector Jane Tennison, playing the character in seven acclaimed Prime Suspect that spanned 15 years. The portrayal brought Ms. Mirren two and three BAFTA Awards,

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among other accolades. Her most recent starring role was in the miniseries Elizabeth I, for which she won Emmy, Golden Globe, and Screen Actors Guild Awards.

Her other telefilm credits include The Passion of Ayn Rand, for which she won an Emmy Award; Losing Chase, for which she won a Golden Globe Award; Door to Door; and The Roman Spring of Mrs. Stone.

Her recent stage credits include Phedre, at the National Theatre in London and the New Shakespeare Theatre in Washington, DC; and, also at the National Theatre, Mourning Becomes Electra, which brought Ms. Mirren an Olivier Award nomination. On Broadway, she starred in A Month in the Country, for which she received a Tony Award nomination; and in The Dance of Death, opposite Sir Ian McKellen.

In 2003, Helen Mirren was appointed a Dame of the British Empire.

SAM WORTHINGTON (Young David) graduated from Sydney’s prestigious National Institute of Dramatic Art (NIDA) in 1998. Upon graduation, he starred in a production of Judas Kiss, directed by Neil Armfield for Company B at the Belvoir Street Theater.

Building upon his theater background, Mr. Worthington began working steadily in film and television. He made his feature film debut in Australian dance drama Bootmen, directed by Dein Perry, as Adam Garcia’s older brother; the performance garnered him an Australian Film Institute (AFI) Award Nomination for Best Actor. For his work opposite Abbie Cornish in Cate Shortland’s Somersault, he won the AFI Award for Best Actor – 1 of the 13 the movie won, marking the first-ever clean sweep of all categories in the AFIs’ history. Somersault also brought him a Film Critics Circle of Australia (FCCA) Nomination for Best Actor.

He starred in two acclaimed Australian shows: , which won an AFI Award for Best Television Drama Series, and The Surgeon, which was an AFI Award nominee as Best Telefeature or Miniseries.

He played small roles in two WWII movies, Gregory Hoblit’s Hart’s War and John Dahl’s The Great Raid; and lead roles in several more Australian features. The latter included Jonathan Teplitzky’s Gettin’ Square; David Caesar’s Dirty Deeds, with , , and ; Greg Mclean’s Rogue, with ; and Geoffrey Wright’s contemporary update of Macbeth, in which Mr. Worthington starred as the title character.

After an exhaustive casting search, selected him to star in Avatar. The epic fantasy adventure – the first of a trilogy – became a worldwide phenomenon and the highest-grossing movie of all time, with over $2.7 billion earned globally in theatrical release alone. The many honors accorded Avatar included 3 Academy Awards, 2 BAFTA Awards, and the Golden Globe Awards for Best Picture and Best Director.

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Mr. Worthington has starred in two other blockbuster hit movies; McG’s Salvation, opposite , and ’s Clash of the Titans. He is reprising his role of from the latter in the sequel , directed by .

Other recent and upcoming films in which he stars include Massy Tadjedin’s Last Night, opposite ; Asger Leth’s Man on a Ledge, with and ; and Ami Canaan Mann’s The Dark Fields, reteaming with Jessica Chastain of The Debt.

In 2010, with John and Michael Schwarz, Mr. Worthington founded Full Clip Prods. The company is producing original content for several mediums and platforms. Full Clip’s first graphic novel, Damaged, will be issued in the summer of 2011; feature films are in development; and the company has signed a first-look and development deal with NBCUniversal International, which is the international television production division of NBCUniversal.

JESSICA CHASTAIN (Young Rachel) attended the in City. While there, she starred in Romeo and . She soon commenced a professional stage career, and received glowing reviews for her performances in , at the Williamstown Theatre Festival, opposite Michelle Williams; and in Richard Nelson’s Rodney’s Wife, opposite , off-Broadway at Playwrights Horizons.

Her other stage credits include the Los Angeles Wadsworth Theatre production of , directed by and starring in the title role opposite . Extending the collaboration, producer Barry Navidi created a film version entitled Wilde Salome. Directed by Mr. Pacino, the feature includes behind-the-scenes footage as well as portions of the play. It will world-premiere at the 2011 Venice International Film Festival.

More recently, she starred as in , opposite Philip Seymor Hoffman and . The production, adapted and directed by , was performed in and off-Broadway; the latter stint was with the LAByrinth Theater Company and through NYC’s Public Theater.

Ms. Chastain made her screen debut in the title role of Jolene, directed by , opposite , , Dermot Mulroney, and Michael Vartan. The feature of the E.L. Doctorow short story earned her the Best Actress Award at the 2008 Seattle International Film Festival.

She will soon be seen starring in several highly anticipated films being released in 2011. These include Terrence Malick’s The Tree of Life, with and ; Ami Canaan Mann’s The Dark Fields, reteaming her with Sam Worthington of The Debt; ’ ; ’ , opposite ; and

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Tate Taylor’s The Help, adapted from ’s beloved novel of the same name.

Ms. Chastain recently completed filming ’s The Wettest County in the World.

Copenhagen-born actor JESPER CHRISTENSEN (Doktor Bernhardt/Dieter Vogel) is a veteran of world cinema, and has starred in a host of Danish films and television series.

His 25 years of theatre work included playing Alceste in The Misanthrope; Richard in Richard lll, as a one-man show; Faust in Faust; and Astrov in Uncle Vanya.

Mr. Christensen is best known to moviegoers worldwide as the mysterious villain Mr. White in the two most recent James Bond (played by ) blockbusters, ’s Casino Royale and Marc Forster’s Quantum of Solace.

His many other features include ’s Hamsun, , and forthcoming Truth and Consequence; ’s class-themed trilogy of The Bench, The Inheritance, and Manslaughter; Jean-Marc Vallée’s The Young Victoria, with ; ’s The Interpreter, alongside and Sean Penn; ’s Italian for Beginners; ’s Sofie; ’s telefilm Uprising; and ’s recently premiered Melancholia.

MARTON CSOKAS (Young Stephan) has an established career in both film and theatre. His feature credits include David Mackenzie’s Asylum, with Natasha Richardson and Ian McKellen; Paul Greengrass’ The Supremacy, opposite ; ’s Kingdom of Heaven; Christine Jeffs’ Rain; and ’s The Lord of The Rings:The Fellowship of the Ring and Best Picture Oscar winner The Lord of the Rings: The Return of the King.

Mr. Csokas’ (pronounced “choh-kahsh”) performance in ’s Romulus, My Father, with and Franka Potente, earned him the Australian Film Institute (AFI) Award and the Film Critics Circle of Australia Award. His recent film work includes playing Alice’s father in ’s blockbuster Alice in Wonderland; Julie Bertucelli’s The Tree, with Charlotte Gainsbourg; Yann Samuell’s L’âge de raison (Age of Reason), with Sophie Marceau; ’s South Solitary, with Miranda Otto; and ’s soon-to-be-released Dream House, with Daniel Craig, , and .

Onstage, he most recently played Orsino opposite Hall in Sir ’s staging of at the National Theatre in London. He has previously starred in productions of Who’s Afraid of Virginia Woolf?, at the Belvoir St. Theatre, which garnered him a Sydney Theatre Awards nomination for Best Actor in 2007; Arcadia, Julius Caesar, and Angels in America, all with the Auckland Theatre Co.; Antony and

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Cleopatra, for Theatre for a New Audience, in NYC; and the award-winning staging of Lillian Hellman’s The Little Foxes, at New York Theatre Workshop.

The Debt marks the sixth teaming of CIARÁN HINDS (David Peretz) with Helen Mirren, following Some Mother’s Son, directed by Terry George and co-produced by Ms. Mirren; Nigel Cole’s Calendar Girls; Peter Greenaway’s The Cook, The Thief, His Wife & Her Lover; John Boorman’s Excalibur; and David Drury’s miniseries Prime Suspect 3.

Also for Focus Features, Mr. Hinds starred opposite Frances McDormand in Bharat Nalluri’s Miss Pettigrew Lives for a Day; and made a cameo appearance alongside in Martin McDonagh’s In Bruges.

He began his acting career with The Glasgow Citizens Theatre, and was a company member for many years. In Ireland, he has performed with the Lyric Theatre in Belfast; the Druid Theatre in Galway; and at the Project and the Abbey in Dublin, where he last appeared as Captain Jack in Juno and the Paycock. At Dublin’s , he has appeared in The Field Day Company’s stagings of Antigone, The School for Wives, The Yalta Game; and, most recently, in Conor McPherson’s The Birds.

Mr. Hinds has toured internationally with Peter Brook’s company in The Mahabharata and has starred with and/or at the Royal Shakespeare Company, the Royal Court, the and the National Theatre. It was at the latter that he originated the role of Larry in Patrick Marber’s Closer, which he also played in the Broadway production. He returned to Broadway in 2007, in Conor McPherson’s The Seafarer.

Worldwide television audiences saw him as Julius Caesar in the series Rome; his portrayal was honored with an Irish Film & Television (IFTA) Award. This followed his starring roles in such telefilms and miniseries as David Thacker’s The Mayor of Casterbridge, for which he also an IFTA Award; and Robert Young’s Jane Eyre, opposite . He starred in the telefilm Above Suspicion, directed by Christopher Menaul, which has spawned several follow-ups.

Mr. Hinds’ many feature film credits include Thaddeus O’Sullivan’s December Bride; Pat O’Connor’s Circle of Friends; ’s Persuasion and Titanic Town; ’s Oscar and Lucinda; Chris Menges’ The Lost Son; ’s The Weight of Water; ’ Road to Perdition; Phil Alden Robinson’s The Sum of All Fears; ’s Veronica Guerin, for which he was an IFTA Award nominee, and The Phantom of the Opera; ’s Munich; ’s Miami Vice; Michael Apted’s Amazing Grace; Catherine Hardwicke’s The Nativity Story; David Mackenzie’s Hallam Foe; ’s Margot at the Wedding; ’s There Will Be Blood, opposite Academy Award winner Daniel Day-Lewis; John Boorman’s The Tiger’s Tail; Kimberley Peirce’s Stop-Loss; Andy Fickman’s Race to Witch Mountain; Todd Solondz’ Life During Wartime; and Conor McPherson’s The Eclipse, for which he was named Best Actor at the 2009 Tribeca Film Festival. Among other upcoming projects, he will shortly be seen in ’ globally awaited Harry

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Potter and the Deathly Hallows Part II and James Watkins’ The Woman in Black, with a screenplay adaptation by The Debt screenwriter Jane Goldman, both opposite Daniel Radcliffe; and in Tomas Alfredson’s Tinker, Tailor, Soldier, Spy. The latter’s screenplay adaptation is co-written by The Debt screenwriter Peter Straughan.

In 2010, Mr. Hinds was honored with the Dublin International Film Festival’s Career Achievement Award.

TOM WILKINSON (Stephan Gold) received an Academy Award nomination for Best Supporting Actor in ’s Academy Award-nominated Michael Clayton; and received an Academy Award nomination for Best Actor for his unforgettable performance opposite in ’s Academy Award-nominated . For the latter role, Mr. Wilkinson also received a BAFTA Award nomination; and won Spirit Award, a Special Jury Prize, and the New York Film Critics Circle award, among other honors.

He had previously won a BAFTA for his role in the 1997 British and international box- office sensation , directed by Peter Cattaneo; and garnered another BAFTA nomination the following year for his performance in the Best Picture Oscar winner Shakespeare in Love, which marked his first teaming with The Debt director John Madden. They have reteamed again on the soon-to-be-released The Best Exotic Marigold Hotel.

Mr. Wilkinson received Emmy and Golden Globe Award nominations for his courageous performance in ’s telefilm Normal, opposite . He subsequently won Emmy and Golden Globe Awards for the miniseries , in which he portrayed Benjamin Franklin; and garnered Emmy and Golden Globe Award nominations for Jay Roach’s telefilm Recount. He was a Screen Actors Guild Award nominee for the teleplay A Number, based on Caryl Churchill’s play and directed by James MacDonald. He most recently starred in the miniseries The Kennedys, as Joseph Snr.

Among his many other feature credits are Brian Gilbert’s Wilde; ’s The Governess; ’s Hour; ’s Ride with the Devil, Roland Emmerich’s The Patriot; Oliver Parker’s The Importance of Being Earnest; Peter Webber’s Girl with a Pearl Earring; Richard Eyre’s , Julian Fellowes’ Separate Lies, opposite and ; ’s Begins; ’s Cassandra’s Dream; ’s RocknRolla; ’s Valkyrie; Tony Gilroy’s Duplicity; ’s The Ghost Writer; ’s ; and Michel Gondry’s Eternal Sunshine of the Spotless Mind, also for Focus Features, and The Green Hornet.

An accomplished stage actor, Mr. Wilkinson has played the role of John Proctor in The Crucible at the ; the title role in at the Royal Court; and the role of Dr. Stockmann in the award-winning West End production of Enemy of the People, with . Additionally, he won the London Critics Circle Award

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for his performance in Ghosts; and starred in ’s production of My Zinc Bed, with .

His television work also includes BAFTA Award-nominated portrayals in Piers Haggard’s telefilm Cold Enough for Snow and the celebrated BBC miniseries Martin Chuzzlewit, directed by Pedr James. His other notable television credits include the teleplay , directed by David Thacker; and the telefilms The Gathering Storm, directed by Richard Loncraine, and Prime Suspect. In the latter, directed by Christopher Menaul, he starred opposite Helen Mirren of The Debt.

About the Filmmakers

JOHN MADDEN (Director) was born in Portsmouth and educated at Clifton College and Cambridge. He began his career as Artistic Director of the Oxford and Cambridge Shakespeare Company, later moving to the BBC to work in television and radio drama.

He moved to America in 1975 to develop radio drama with EARPLAY, the National Public Radio drama project. After winning the Prix Italia for directing Arthur Kopit’s Wings for EARPLAY, he subsequently directed the play for the stage at Yale and the National Theatre in London, and on Broadway. The latter company’s won the Tony Award for Best Actress in a Play, and Mr. Madden was a nominated for a .

His subsequent stage work included directing the Broadway premieres of Jules Feiffer’s Grown Ups and Christopher Durang’s Beyond Therapy, as well as Arnold Wesker’s Caritas. During this time, he taught in the acting and playwriting programs at the Yale School of Drama.

In 1984, Mr. Madden began to work extensively in film, directing for the BBC and for commercial television. His telefilms included Poppyland and , and the miniseries After the War.

He returned to America early in the next decade to make his first feature film; Ethan Frome was adapted by Richard Nelson from ’s novella and starred and . Mr. Madden’s next feature was Golden Gate, an original screenplay written by David Henry Hwang that starred and Joan Chen.

Back in the U.K., he directed the telefilm Prime Suspect: The Lost Child (the fourth in the series), which was his first collaboration with Helen Mirren of The Debt. His telefilm Truth or Dare, starring John Hannah and Helen Baxendale, won the BAFTA [Scotland] Award for Best Single Drama.

Mr. Madden directed [Her Majesty,] Mrs. Brown from Jeremy Brock’s original screenplay and starring and Billy Connolly. The film received 8 BAFTA Award

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nominations and 2 Academy Award nominations including Best Actress.

His next film, Shakespeare in Love, earned him an Academy Award nomination. The film won 3 Golden Globe Awards; 4 BAFTA Awards; and 7 Academy Awards, including Best Picture, Best Original Screenplay ( and Marc Norman), Best Actress (), and Best Supporting Actress (Judi Dench).

He then directed Captain Corelli’s Mandolin, adapted by Shawn Slovo from the bestselling novel by Louis de Bernières. The film starred , Penélope Cruz, Christian Bale, , and .

Mr. Madden staged David Auburn’s -winning play at the Donmar Warehouse, starring Gwyneth Paltrow. He subsequently directed the screen version, written by the author and Rebecca Miller; Ms. Paltrow starred with , , and .

He previously directed Killshot, adapted by from the Elmore Leonard novel and starring , Thomas Jane, Joseph Gordon-Levitt, and . Mr. Madden has just finished his new film The Best Exotic Marigold Hotel, based on Deborah Moggach’s novel These Foolish Things, and starring , , , Judi Dench, and Tom Wilkinson of The Debt.

MATTHEW VAUGHN (Screenplay) is a leading British filmmaker who has produced, written, and/or directed some of the most talked-about movies of recent years.

He began his career as producer with Guy Ritchie’s Lock, Stock and Two Smoking Barrels. The film was a worldwide, and won several awards including the London Critics Circle Film Award for Best British Film of the Year. He reteamed with the writer/director as producer of Snatch, which won a Special Recognition citation from the National Board of Review for Excellence in Filmmaking.

Through his production company MARV Films, Mr. Vaughn made his feature directorial debut with Layer Cake, which provided a breakout leading-man role for Daniel Craig. He next directed Stardust, the cast of which included and , and which he and writing partner Jane Goldman adapted from ’s graphic novel. He next produced Daniel Barber’s acclaimed feature directorial debut Harry Brown, starring .

Working from the celebrated comic book, he and Jane Goldman wrote the screenplay adaptation for Kick-Ass, which Mr. Vaughn directed and produced. The film version starred Aaron Johnson, Nicolas Cage, and Chloë Grace Moretz; a sequel is planned.

His new film as director, the origins saga X-Men: First Class, will be released worldwide beginning June 3rd, 2011.

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JANE GOLDMAN (Screenplay) is an acclaimed novelist and screenwriter.

As a novelist, she garnered accolades for Dreamworld, a thriller set against a sprawling Florida theme park hiding fantastical secrets. Among her nonfiction works is The X-Files Book of the Unexplained.

Ms. Goldman’s first screenplay was also her first collaboration with writing partner Matthew Vaughn; the duo adapted Neil Gaiman’s graphic novel Stardust into a feature script. Mr. Vaughn directed the movie, the cast of which included , , and .

The creative collaboration has continued apace, with the pair scripting the comics adaptation Kick-Ass and Mr. Vaughn directing the feature, which Ms. Goldman co- produced; with The Debt; and with Ms. Goldman’s work on the screenplay for X-Men: First Class. Mr. Vaughn has directed the latter, which stars James McAvoy and . Mr. Vaughn & Ms. Goldman are next plotting a second Kick-Ass movie.

Ms. Goldman adapted the screenplay for The Woman in Black from Susan Hill’s novel of the same name. The soon-to-be-released movie version is directed by James Watkins and stars Daniel Radcliffe and Ciarán Hinds of The Debt.

PETER STRAUGHAN (Screenplay) became a sought-after screenwriter when his script The Men Who Stare at Goats, adapted from Jon Ronson’s book, made the rounds. The script was subsequently filmed, with Grant Heslov directing and , Ewan McGregor, , , and starring.

His other credits as screenwriter include the production Sixty Six, directed by Paul Weiland and starring , , and Gregg Sulkin. He co-wrote the latter script with Bridget O’Connor, with whom he also wrote Mrs. Ratcliffe’s Revolution. The latter movie was directed by Bille Eltringham and starred . The third screenplay for the team was the adaptation of John le Carré’s Tinker, Tailor, Soldier, Spy; the soon-to-be released film, directed by Tomas Alfredson, stars , , , and Ciarán Hinds of The Debt.

Mr. Straughan adapted ’s memoir into the feature How to Lose Friends & Alienate People, which was directed by Robert B. Weide and starred Simon Pegg, , Megan Fox, and Jeff Bridges.

He recently wrote and directed the short film Gee Gee, starring David Morrissey and Elliot Cowan; and is currently adapting the book Second Lives, by Tim Guest, for director David Fincher.

Born and raised in Northeast , Mr. Straughan studied English at university, where he got into the drama society and wrote his first play. When he finished school, he continued writing for theater before expanding his literary output into radio, television, and film. His work for stage includes Bones, which has been published by

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Methuen and which premiered in 1999 at Live Theatre in Newcastle, London; and Noir, also published by Methuen, which premiered in May 2002 on the main stage at Newcastle Playhouse as the first-ever Live Theatre/Northern Stage Ensemble co- production.

His dramatic works for radio include Metropolis, for BBC Radio 4, which won the Prix Italia; and M, for BBC Radio 3, which earned Mr. Straughan his second Prix Italia.

MATTHEW VAUGHN (Producer) – Please refer to above bio.

KRIS THYKIER (Producer) is currently in post-production on two films: W.E., written and directed by Madonna and starring Abbie Cornish, , James D’Arcy, and ; and Ill Manors, written and directed by Ben Drew, a.k.a. Plan B. The latter movie stars , Natalie Press, and Anouska Mond.

Mr. Thykier launched his production company, PeaPie Films, at the end of 2009. Prior to this he was partnered with Matthew Vaughn in MARV Films. Whilst at MARV, the pair produced The Debt; Daniel Barber’s Harry Brown, starring Sir Michael Caine and Emily Mortimer; and two films directed by Mr. Vaughn and written by him and Jane Goldman. These were Kick-Ass, based on ’s (Wanted) best-selling graphic novel and starring Nicolas Cage, , and Aaron Johnson; and Stardust, the epic fairy tale starring Michelle Pfeiffer, Robert De Niro, and Charlie Cox. The films have grossed over $250 million at the worldwide box office.

Before moving into producing, Mr. Thykier was Vice Chairman of Freud Communications, one of the world’s leading marketing and PR companies. He was chiefly responsible for the growth and development of Freud’s media and entertainment business, which eventually became the biggest of its kind in Europe.

After studying at Tel Aviv University, EDUARDO ROSSOFF (Producer) finished his schooling in . He spent several years there working on television programs, with a concentration on news media. Fluent in six languages, he then began working in the film industry all over the world.

Amongst his production credits are George Kaczender’s Chanel Solitaire, which starred Marie-France Pisier as Coco Chanel; Clare Peploe’s Rough Magic, starring and Bridget Fonda; and writer/directors’ Isaac-Pierre Racine, Agusti Villaronga, and Lydia Zimmermann’s Aro Tolbukhin, which won seven Ariel Awards (Mexico’s Oscars equivalent).

Mr. Rossoff directed numerous commercials and music videos for the Mexican R&R band Mana before making his feature directorial debut with Ave María, which earned him the Best New Director and Best Director awards at the 2000 Havana Film Festival, as well as the Audience Award at the Newport Beach Film Festival. The film starred Damián Alcázar, Demián Bichir, and Ana Torrent; and received four Ariel nominations.

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He is currently in post-production on a Mexican feature that he adapted and directed, entitled Sangre de familia [Family Blood]. Based on the Juan José Rodriguez novel, the film stars Shalim Ortiz, Raúl Méndez, and Liz Gallardo. Mr. Rossoff also has the screen version of the novel Lions of Al Rassam in development; and will soon direct his next feature .

From 2004 to 2009, the Mexico City native partnered with Gussi in the distribution of movies in Mexico.

EITAN EVAN (Producer) is a graduate of economics and international relations from the Hebrew University in , as well as a graduate of the International Film School in London.

A long list of film projects and extensive service – head of the Producer’s Guild, member of the Israeli Film Fund as well as the Israeli Academy for Motion Pictures and Television – has situated Mr. Evan as a leader in the Israeli film industry. At the 2004 Israeli Film Festival in Los Angeles, he was honored with an award for Special Contribution to Israeli Cinema.

He produced The Summer of Aviya, directed by Eli Cohen, which won the Silver Bear Award at the 1989 Berlin International Film Festival and is regarded as a classic of Israeli cinema. Mr. Evan reteamed with the director on Under the Domim Tree, which won the Wolgin Award at the 1995 Jerusalem Film Festival and won the Artistic Excellence Award at the 1996 Santa Barbara International Film Festival.

He produced writer/director Shemi Zarhin’s Dangerous Acts, which won seven Israeli Academy Awards, and the duo reteamed on Bonjour Monsieur Shlomi. The second film was an even bigger success than the first, receiving a commercial release in theatres in the U.S, France, Singapore, and other countries. It also won several awards at film festivals globally. The pair’s most recent film together, Aviva, My Love, won six Israeli Academy Awards including Best Picture and Best Director; and was one of Israel’s top grossers of 2006.

Among Mr. Evan’s many other productions are The Philharmonic in Japan, which he also directed; Moshé Mizrahi’s Every Time We Say Goodbye, starring ; Ilan Moshenson’s The Wooden Gun; Nadav Levitan’s An Intimate Story; Nitza Gonen’s Family Secrets; Ze’ev Revach’s Mister Leon; and Oded Davidoff’s Clean Sweep, which won two Israeli Academy Awards.

His most recent films as producer are Ha-Hov [The Debt], directed by Assaf Bernstein, which was the basis for The Debt and which was nominated for four Israeli Academy Awards; and Lynn Roth’s The Little Traitor, adapted from the Amos Oz novel and starring and Theodore Bikel. His production company, Evanstone Films, is based in Tel Aviv.

MAIRI BETT (Co-Producer) established Skyline Films with partner Steve Clark-Hall

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over 25 years ago in Great Britain. Skyline started out producing documentaries and telefilms and has since expanded into feature film work all over Europe. In 2004, Ms. Bett was honored with the Production Management Award.

Ms. Bett’s early feature work was as production and/or post-production supervisor credits on such features as Gillies Mackinnon’s Trojan Eddie and Small Faces, and Richard Kwietniowski’s Love and Death on Long Island, starring John Hurt. She later became a line producer on such films as Nigel Cole’s Saving Grace; Milcho Manchevski’s Dust; Mark Mylod’s Ali G Indahouse, starring ; Laurence Dunmore’s The Libertine, starring ; and United 93, directed by Academy Award nominee Paul Greengrass.

She reteamed with the latter as co-producer of Green Zone, starring Matt Damon. Other movies that she has co-produced include Julian Jarrold’s Kinky Boots, starring Golden Globe Award nominee Chiwetel Ejiofor; Roger Donaldson’s The Bank Job, starring Jason Statham and Saffron Burrows; and, also for Focus Features, ’s Jane Eyre, starring and Michael Fassbender.

BEN DAVIS, BSC (Director of Photography) was previously the cinematographer on three films directed by The Debt producer and co-screenwriter Matthew Vaughn; Kick- Ass, Stardust, and Layer Cake.

His other film credits as director of photography include ’ Tamara Drewe; Daniel Barber’s Oscar-nominated short The Tonto Woman; Mikael Håfström’s The Rite; Gerald McMorrow’s Franklyn; Sharon Maquire’s Incendiary; Ol Parker’s Imagine Me & You; Peter Webber’s Hannibal Rising; and, also for The Debt director John Madden, the soon-to-be-released The Best Exotic Marigold Hotel.

Mr. Davis is currently at work on Jonathan Liebesman’s Wrath of the Titans, starring Sam Worthington of The Debt.

JIM CLAY (Production Designer) previously collaborated with The Debt director John Madden as production designer on Captain Corelli’s Mandolin.

He has notably worked with on several features, including Queen of Hearts, Copycat, and Tune in Tomorrow…This followed their teaming on the classic miniseries The Singing Detective, which earned Mr. Clay a Royal Television Society Award and a BAFTA Award nomination. He subsequently won a BAFTA Award for his work on Adrian Shergold’s miniseries Christabel.

His other feature credits as production designer include Alfonso Curarón’s Children of Men, for which he was honored with a BAFTA Award as well as an Art Directors Guild Award nomination; ’s Oscar-winning The Crying Game; ’ Love Actually; two U.K.-set films for Woody Allen, You Will Meet a Tall Dark Stranger and Match Point; ’s ; Richard Eyre’s Stage Beauty; Atom Egoyan’s Felicia’s Journey; Martha Fiennes’ Onegin; Pat O’Connor’s Circle of Friends;

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James Dearden’s A Kiss Before Dying; Mikael Håfström’s Shanghai; ’s The Trench; John Roberts’ War of the Buttons; and Paul and Chris Weitz’ About a Boy.

ALEXANDER BERNER (Editor) is currently completing his third collaboration with director Paul W.S. Anderson; The Three Musketeers, which is in 3D, follows their earlier successes Resident Evil and Alien vs. .

For his work on Tom Tykwer’s Perfume: The Story of a Murderer, Mr. Berner was honored with the German Film Award for Best Editing. His other feature credits as editor include Uli Edel’s The Baader Meinhof Complex, which was Oscar-nominated as Best Foreign Language Film; Roland Emmerich’s 10,000 BC; and Thomas Jahn’s Knockin’ on Heaven’s Door, starring Til Schweiger, which was a boxoffice smash in Germany.

THOMAS NEWMAN (Music) has composed memorable music that has earned him ten Academy Award nominations and five Grammy Awards.

He is the youngest son of Alfred Newman (1900-1970), the longtime musical director of 20th Century Fox and the composer of scores for such classic films as The Diary of Anne Frank and All About Eve. As a child, Thomas Newman pursued basic music and studies; at age 14, with his father’s passing, he felt charged with the desire to write.

He studied composition and orchestration at USC with Professor Frederick Lesemann and noted film composer David Raksin, and privately with composer George Tremblay. He completed his academic work at Yale University, studying with Jacob Druckman, Bruce MacCombie, and Robert Moore. The legendary Broadway composer Stephen Sondheim was a great mentor and champion.

A turning point in Thomas Newman’s career took place while he was working as a musical assistant on Reckless, directed by James Foley; he was promoted to the position of composer and thus created his first film score. He has since composed the music for nearly five dozen features, most recently George Nolfi’s The Adjustment Bureau. The ones that have brought him Academy Award nominations are ’s The Shawshank Redemption; Gillian Armstrong’s Little Women; ’s Unstrung Heroes; Sam Mendes’ Best Picture Oscar winner American Beauty, for which he won Grammy and BAFTA Awards, and Road to Perdition; Brad Silberling’s Lemony Snicket’s A Series of Unfortunate Events; ’s The Good German; and Andrew Stanton’s Oscar-winning animated movies Finding Nemo and WALL-E. He was a double nominee for the latter, in both the Original Score and Original Song (“Down to Earth,” with ) categories; and won two Grammy Awards, for Song and Instrumental (“Define Dancing”).

His title theme music for the acclaimed television series Six Feet Under brought him two Grammy Awards as well, respectively for his Instrumental Composition and Arrangement work. He was additionally honored with an Emmy Award for Outstanding Main Title Theme Music. Among his other notable television credits is the epic miniseries Angels in America, directed by , for which he was again a Grammy Award nominee.

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Thomas Newman has also composed for the concert stage, including the symphonic work Reach Forth Our Hands, commissioned in 1996 by the Cleveland Orchestra to commemorate the city’s bicentennial; and At Ward’s Ferry, Length 180 ft., a concerto for and orchestra commissioned in 2001 by the Pittsburgh Symphony. His latest concert piece was a 2009 chamber work entitled It Got Dark, commissioned by the acclaimed Kronos Quartet; as part of a separate commission by the Los Angeles Philharmonic, the work was expanded and adapted for symphony orchestra and string quartet, and premiered at Walt Disney Concert Hall in December 2009.

NATALIE WARD (Costume Designer) began her career working in the wardrobe department of such films as ’s I Want You and Roger Michell’s Notting Hill. She would soon become the costume designer on several films by those directors: Wonderland, 24 Hour Party People, and Code 46; and The Mother, Enduring Love, and Venus, respectively.

As costume designer, her other feature credits include Nigel Cole’s soon-to-be-released Rafta Rafta; Mikael Håfström’s 1408 and Derailed; ’s Breaking and Entering; Frank Oz’ Death at a Funeral; Damien O’Donnell’s Heartlands; Mark Herman’s The Boy in the Striped Pajamas; Joel Hopkins’ Last Chance Harvey; and Julian Jarrold’s [1974-set] segment of the Red Riding trilogy, for which she received a Royal Television Society Award nomination and won a BAFTA Award.

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Credits Cast

Tel Aviv 1997

Rachel Singer Helen Mirren Stephan Gold Tom Wilkinson David Peretz Ciarán Hinds Sarah Gold Romi Aboulafia Sarah’s Husband Tomer Ben David Sarah’s Son Ohev Ben David Mossad Agent Jonathan Uziel Publisher Elana Kivity Davenport Stephan’s Driver Eli Zohar Seminar Moderator Irén Bordán Berlin 1965

Young Rachel Jessica Chastain Young Stephan Marton Csokas Young David Sam Worthington Doktor Bernhardt/Dieter Vogel Jesper Christensen Frau Bernhardt/Nurse Brigitte Kren Man on Tram Bálint Merán Station Guard Christian Strassner Postal Worker Alexander Fennon Train Driver István Betz Border Guard Alexander Jagsch Tel Aviv 1970

Soldier András Szurdi Young Sarah Melinda Korcsog Party Guests Nitzan Sharron Adar Beck Ukraine 1997

Newspaper Receptionist/Kátya Kátya Tompos Kátya’s Boyfriend József Rácz Yuri Titov István Goz Babenko Registrar Igor Vovk Ivan Schevchuk Morris Perry Babenko Nurse Erika Szórádi

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Crew

Directed by John Madden Screenplay by Matthew Vaughn & Jane Goldman and Peter Straughan Based on the film Ha-Hov written by Assaf Bernstein & Ido Rosenblum Produced by Matthew Vaughn Kris Thykier Eduardo Rossoff Eitan Evan Co-Producer Mairi Bett Executive Producer Tarquin Pack Director of Photography Ben Davis, BSC Production Designer Jim Clay Edited by Alexander Berner Music by Thomas Newman Costume Designer Natalie Ward Hair and Make-up Designer Daniel Phillips Casting by Michelle Guish

Unit Production Manager Sasha Harris First Assistant Director Deborah Saban

Supervising Art Director Peter Francis Production Sound Mixer Peter Lindsay AMPS Fight/Stunt Coordinator Julian Spencer Production Accountant Will Tyler Post-Production Supervisor Tania Blunden

Production Dialogue Coach Joan Washington Script Supervisor Kim Armitage

Production Coordinator Polly Jefferies Assistant to Kris Thykier Pip Williams Assistant to Matthew Vaughn Leonie Mansfield Assistant to John Madden Nicola Sung Assistant Production Coordinator Hollie Foster Production Secretary Michael Mann Production Runner Peter Boothby

Second Assistant Director Olivia Lloyd Third Assistant Director Joey Coughlin Cast Liaison Charlotte Keating

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B Camera Operator/Steadicam Alastair Rae A Camera Focus Puller Sam Renton B Camera Focus Puller Clive Prior

Sound Maintenance Katharine Morath Video Assist Operator Jack Warrender

Gaffer David Smith Best Boy Sonny Burdis

Set Decorator John Bush Standby Art Director Peter James Art Department Researcher Veronica Falzon

Props Master Barry Gibbs Chargehand Dressing Props Roy Chapman Standby Props Mitch Niclas

Make-up/Hair & Prosthetic Designer Daniel Phillips Prosthetic Make-up Supervisor Kristyan Mallett Key Make-up Artist Jan Sewell Make-up Artist Csilla Horváth

Costume Supervisor Charlotte Sewell

Assistant Costume Supervisor Sunita Singh Wardrobe Master Tom Hornsby Costume Design Assistant Poli Kyriacou Wardrobe Assistant Louise Cassettari Costumes made by Pat Farmer Hilary Sleiman Chris Winter Esme Young

Location Accountant – Hungary Julian Murray Location Accountant – UK Sarah Stiff Location Accountant – Tel Aviv Paul Murphy Accounts Assistant Ingrid Simmonds Post-Production Accountant Tarn Harper Post-Production Assistant Accountant Linda Bowen

Legal Services – US Alison Cohen, Rob Pellecchia, and Gabriella Ludlow at Frankfurt Kurnit Klein & Selz PC Clearances Sarah Hughes at Hughes Clearances Clearances – Germany Matthias Braun Rechtsanwalt

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First Assistant Editor Nadia Naimi Second Assistant Editor Danny Salas Post-Production Coordinator Faye Morgan Assistant Post-Production Coordinator Charlotte Dean

Sync Dailies – Hungary Matyas Fekete Sync Dailies – UK Catherine Williams

Supervising Sound Editor Ian Wilson Foley Editor & First Assistant Sound Editor Robin Knapp Dialogue/ADR Editor Andy Shelley Sound Effects Editor Alastair Sirkett

Supervising Re-Recording Mixer Tim Cavagin Re-Recording Mixers Steve Single Craig Irving ADR/Foley Recordist Mark Lafbery Additional ADR Recordist Mark Appleby ADR Recordist – Jerusalem Mitch Clyman Foley Artists Ricky Butt Jack Stew ADR Voice Casting Louis Elman AMPS MPSE Abigail Barbier

Unit Publicist Stacy Mann EPK Pip Ayers Stills Photographer Laurie Sparham

London Unit Art Director Dominic Masters Storyboard Artist Temple Clark Picture Researcher Celia Barnett

A Camera Second Assistant Lewis Hume B Camera Second Assistant Katherine Spencer Sound Assistant Theotime Pardon Rushes Runner Ella Harris

Construction Managers John Bohan Tom Martin

Construction Crew Dave Lowery Bernie Mayor Eamon McLoughlin Danny O Regan David Smith Steve Transfield Clive Ward

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Best Boy Andrew Watson Electricians James Brown Carl Campbell Guy Minoli

Key Grip Kevin Fraser Standby Carpenter Garry Moore Standby Rigger David Gray Standby Painter Paul Whitelock Stagehand Alan Willson

Armourer Damien Mitchell Fight Coordinator – UK Peter Pedrero Krav Maga Advisor Nick Maison Stunt Coordinator Greg Powell Stunt Doubles/Performers Mark Archer Elaine Ford Danny Freitas Kim McGarrity Roy Taylor

Buyer Michael Standish Assistant Props Master Darryl Paterson Standby Props Dressing Prop Colin Ellis

Graphic Designer Laura Dishington

Special Effects by United Special Effects Special Effects Supervisor Stuart Brisdon Senior Special Effects Technician Mark Haddenham Special Effects Technician Nigel Wilkinson

Piano Coach for Marton Csokas Andrew Mckenna

Stand-In for Sam Worthington Steve Morphew Stand-In for Marton Csokas Samuel Smith Stand-In for Jessica Chastain Alexandra Nazarets

Transport Captain Rob Hempenstall Unit Drivers Trevor Atkin Symon Butcher Martyn Giles George Grohmann

Unit Nurse Julie Burnham Health and Safety Advisor Mick Hurrell

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Budapest Unit Hungarian Production Services Pioneer Pictures Ltd. Production Executive Ildikó Kemény

Production Manager Mária Ungor Production Coordinator Eszter Répássy Assistant Production Coordinator Zsófi Oblath Office Production Assistant Imre Suba

Location Managers Imre Légmán Kálmán Antal Assistant Location Manager Beáta Beliczai Unit Manager Richárd Szabó

Location Accountant Gabriella Fancsali Assistant Accountant Lajos Nagy Cashier Ágota Horváth

Art Director Csaba Stork Assistant Art Director Tünde Csáki Graphic Artist Alexandra Miklós Draftsperson Judit Csak

First Assistant Director Zsuzsa Gurbán Second Assistant Director Tamás Vass Set Production Assistants Szonja Szekerák Réka Kovács Second Unit Assistant Director Gergő Fülöp

A Camera Second Assistant András Szőke B Camera Second Assistant Kristóf Párdányi Central Loader Zoltán Dzsupin Camera Trainee Tamás Takács C Camera Operator György Réder C Camera First Assistant Camera Gusztáv Kirsch C Camera Second Assistant István Gottmann C Camera Continuity Dóri Simkó Second Unit Sound Mixer Attila Madaras

Second Boom Operator Péter Schulteisz Second Unit Boom Operator György Mihályi

Assistant to John Madden & Additional Casting Adrienn Lakatos Casting Services – Hungary Mari Makó German Dialogue Coach Christa Muller Russian Dialogue Coach Nurila Bíró

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Extras Casting by Sándor Dénes Tamás Kertész

Stunt Performers/Doubles Domonkos Párdányi Ferenc Berecz Gábor Duck Balázs Farkas Gergely Horpácsi Dóri Horávth Viktor Kovács Attila Móra Gábor Piroch Gáspár Szabó

Construction Manager József Kiss Construction Crew Csaba Vásári Irra Velazquez Painter Marc Beros

Wardrobe Supervisor Zsuzsa Stenger Dresser to Helen Mirren Brigitta Barkó Wardrobe Assistants Sándor Csajbók Péter Palotás Katalin Ujvári

Key Grip Imre Sisa Dolly Grip Lajos Simon Grips István Gyura Pál Perlaki András Pozsár

Gaffer Zsolt Büti Best Boy Károly Gaál Electrician/Best Boy Tibor Gazdig Electricians Gábor Inczédy Tibor Kecskeméti Sándor Major László Major

Special Effects Supervisor Gábor Kiszely Pyrotechnic Supervisor Gyula Krasnyánszki Pyrotechnician Attila Varsányi Armourer Béla Gajdos Special Effects Technician János Berki

Set Decorator Zoltán Horváth Buyer Andrea Balogh Props Master Dávid Breier Standby Prop Attila Kiss Chargehand Dressing Prop Kevin Wheeler Propmen József Hajdú Gábor Jakab Csaba Mitku József Ócsai Imre Sándor

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Picture Vehicle Coordinator Zoltán Szalay Assistant Picture Vehicle Coordinator Tamás Simon Transport Captain László Kiss

Health & Safety János Papp Viktória Papp Translator Krisztina Lelik

Medical Advisors Dr. János Gidai Dr. Zita Makói

Unit Base Operators Roland Birtha Guszti Kalán István Marsi Margit Törökné

Motor Home Operator Lukács Szabó Water Operator Norbert Bánusz

Genny Operators István Figlár István Hári

Security Csaba Benedek Zsolt Pereházy Security Coordinator József Németh

Caterers Gergő Bajczár Zsolt Bajczár Béla Dévényi Barbara Kaltner Andrea Kiss Gabriella Lovász

Drivers Sándor Vercz Edit Boroznaki István Márton Zoltán Bai János Spák Attila Kiss Bandi Filó István Bognár Sándor Horváth Mihály Gáspár András Grúz Zsolt Dinnyés Péter Dancsó Attila Czuni Ákos Zilber Gábor Czúni Pál Nyerges Jószef Vígh

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Tel Aviv Unit Production Service Company Evanstone Films Casting Services – Israel Esther Kling

Production Manager Gadi Levy Production Coordinator Michal Wintroib Production Secretary Meirav Adler Production Runner Chen Kesten

Location Manager Danny Ben Menachem Assistant Location Manager Elia Libman

Accounting Efi & Hanan Grinfeld Petty Cash Controllers Niva Even Galit Even

Art Director Ido Dolev Set Decorator Shunit Aharoni Vehicle Coordinator Alon Dahan

Second Assistant Director Robyn Glaser Third Assistant Director Shir Shoshani

Set Production Assistants Merav Nirpaz Ohad Oz Ella Tal Gal Kotzki David Matityahu Guri Lazar

A Camera Second Assistant Meir Arad Shaul B Camera Second Assistant Adva Shoua Central Loader Asher Cohen Video Assistant Beny Shasa C Camera Operator Amnon Zalait C Camera Second Assistant Eytan Ben Arieh Second Boom Alexander Epstine

Head Stunt Performer Dima Osmolovsky Stunt Performers Segey Balandinsky Alex Osmolovsky

Wardrobe Supervisor Inbal Shuki Dresser Michal Arbit Wardrobe Assistants Noga Preis Dana Yongulson

Make-up Artist Ziv Katanov

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Make-up Assistants Adi Chayat Sigalit Grao Renato Keren Simhon

Key Grip Guy Naaman Grips Izchak Ben Ariya Liad Berger Eli Cohen Elad Elbar Nir Harari Roey Mano Avihai Rohkin Moshe Shabat

Gaffer Avi Dasberg Best Boys Eli Turjeman Ezer Ketzev Electricians Benny Bargig Matan Geffen Itzak Levi Dror Piltz Evgeny Serov Amiram Snir

Propmen Eyal Bitterman Tamar Cassuto Ehud Gutterman Branko Mihalek Noa Polatchek Liron Rotman

Unit Nurse Sima Spinopolos

Transport Captain Eli Zohar Base Camp & Transportation Asaf Almagor Iftach Gabay Rafi Grabovitzki Yonatan Zaid Eldad Miller Amnon Livne Eli Ezra Benbenisty Shira Porat Ofer Nezer Tomer Baron Uri Abramson Ilan Sagiv Ilan Apple Gal Hen Avi Cohen Yitshak Saadi Yakov Malchin Haim Francis

Security Steve Balestrieri W Jack Buckner

Rushes Transfers COLORFRONT Production Supervisors Aron Jaszberenyi Mark Jaszberenyi

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Dailies Colorist Benedek Kaban Assistant Colorist Tamara Juristovszky Dustbusting Anna Salter Scanner Operator Laszlo Juhasz Production Coordinator Bori Bartucz Production Assistant Heni Kovacs Technical Supervisor Gabor Forgacs

Visual Effects by Double Negative Ltd. Visual Effects Supervisor Peter Chiang Digital Visual Effects Supervisor Jolene McCaffrey Visual Effects Producers Matt Plummer Natalie Stopford Visual Effects Editor Sam Lane Matte Painting Diccon Alexander Compositors Adam Hammond Ben Hicks Isaac Layish Ian Copeland Kris Anderson Walter Gilbert Tristan Myles Tahl Niran Luan Davis Roto Will Martindale Paul Scott Nick Chiang Match Moving Dan Baldwin Olle Rydberg 3D Elisabeth Gray Dan Andersen Stephen Thornhill Studio Peter Hanson Zelda Tinska Miles Drake Tech Jennifer Wood Mike Bryant Taz Lodder Adam Barnett

Visual Effects by Peerless Camera Company, London Digital Effects Supervisor Ditch Doy John Swinnerton Digital Effects Producer Diane Kingston Digital Effects Coordinators Laura Fitzpatrick Simon Gretton Nicky Walsh Lead TD Patrick Ledda

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Animators Francesco Canonico Daniel Jenkins Antony Loobey Emanuele Pescatori Jamie Tremelling Senior Compositors Paul Round Jim Russell Digital Paint Artist Stella Ampatzi Senior Roto Artist Martin Body Roto Artists Christopher Page Nicky Valsamakis Systems Administrators Mark Bradley Andrew Kingston Administrators Mason Jarratt Rosie Mennear Deepa Sebastian

Digital Intermediate by Technicolor Creative Services – London DI Colourist Asa Shoul Digital Intermediate Producers Begoña Lopez Matthew Bristowe DI Editor Jamie Leonard

Digital Scanning and Recording Ben Setterfield Dan Dolan Scott Liddle Joseph Boyle

Digital Restoration Jonathan Mann Charlotte Gray Emma Hulme Matt Baker Data Management Matthew Benns Clare Brody DI Consultant Matt Adams

UK Companies Legal Services Miles Ketley, Deepti Burton, and Margaret Parvin at Wiggin LLP UK Tax Advisors John Graydon and Moses Nyachae at Tenon Media Shippers Dynamic International Travel Agents Sky Media Travel Ltd. ET Travel

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Camera Equipment Arri Media UK Product Placement The Big Film Group Ltd. Mobiles & Radios Wavevend Radio Communications Ltd. Video Assist Equipment RT Video Grip Equipment Chapman Leonard Studio Equipment UK Light Facilities provided by Panalux Curtains and Drapes JD McDougall Ltd. Set Construction by Palace Scenery Rigging C & D Rigging Prop Manufacturers Creation Workshops Animals supplied by Birds and Animals UK Ltd. Props Breakaway Effects Ltd. Ancient Lights and Props Costumes supplied by Angels London Carlo Manzi Rentals Movietone Theaterkunst Hero Tailors Mr Eddie and Chris Kerr Jewellry supplied by Sophie Millard Omega (Swatch Group) Coleman Douglas Pearls Contact Lenses by The Reel Eye Company Dental Appliances Fangs FX Wigs by Alex Rouse Wig Co. Make-up Supplies Dermologica Caterers Bon Appetit Unit Transport Cine Film Cars Lays International Security provided by Thomas Dale and Associates Editing Equipment Digital Editors Postprod GmbH Rushes Transfers Arion Communications Film Laboratory Deluxe, London DVD Transfers Diva Pictures Sound Post-Production Facility Twickenham Film Studios Titles and Roller VooDoo Dog Post-Production Scripts Sapex Scripts

Hungarian Companies Production Audit Abacus-Consult Ltd. Tax Advisory Karoly Radnai

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Ernst & Young Hungary Hungarian Legal Services Cinego Kovari Tercsak Salans Electrical Equipment Sparks Lighting Additional Camera Equipment Vision Team – Arri Rental Partner Catering New Catering Facilities New Catering, PR Filmszerviz Medical Service Oxy-Med Film Laboratory Listo Videofilm Insurance Broker Showrisk

Israeli Companies Electrical Equipment FTS Additional Camera Equipment FTS – Arri Rental Partner Catering Avigail Catering Laboratory FDK Israeli Legal Services Tamar Krongrad at Yuval Levy & Co. Extras Casting Take 2

Music Orchestra conducted by Thomas Newman Orchestrations by J.A.C. Redford Music Scoring Mixer Tommy Vicari Orchestra recorded by Armin Steiner Music Editor Bill Bernstein Assistant Music Editor Michael Zainer Digital Audio Larry Mah Music Contractor Leslie Morris Music Preparation Reprise Music Services Audio Coordination George Doering Digital Coordination Ernest Lee Assistant Engineer Shin Miyazawa Music Recorded and Mixed at The Village, West Los Angeles

Orchestra Recorded at The Newman Scoring Stage, Los Angeles

Instrumental Soloists Steve Tavaglione George Doering Rick Cox Mike Fisher John Beasley

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“Ohne Dich” Written by Otto Sieben, Joachim Relin Courtesy of APM Music

“Leila” Written by Dol Dauber, Beda (Fritz Löhner-Beda) Performed by Bruno Majcherek Courtesy of Marlstone Music

“She’s Not There” Written by Rod Argent Performed by The Zombies Courtesy of Marquis Enterprises Ltd.

Based on the original motion picture Ha-Hov written by Assaf Bernstein & Ido Rosenblum and directed by Assaf Bernstein

Photographs courtesy of Micha Bar Am/Magnum Photos Archives Holocaust Museum The views or opinions expressed in this exhibit, and the context in which the images are used do not necessarily reflect the views or policy of, nor imply approval or endorsement by, the United States Holocaust Memorial Museum.

Special Thanks to Bridget O’Connor

Thanks to Adina Apartments, Budapest Russell Allen at Arri Media Jenne Casarotto, Jodi Shields, Brian Siberell Dan Acadia Hotel, Herzeliya, Israel Steven Noble, Jill Taylor and Jo Campbell Phil Raskind and Sarah Cairn The Sofitel, Budapest Craig Turner at Dynamic Cindy Blake, Adam Zuabi

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Filmed at Ealing Studios, London and on location in Budapest, Hungary and Tel Aviv, Israel.

Miramax Film Corp. prohibits the receipt of payment or anything of value in connection with, or entrance into any agreement in relation to, the depiction of tobacco products in films it produces.

Camera equipment supplied by Arri Media

Color by Deluxe

MPAA Certificate #45595

Copyright © 2010 Miramax Film Corp. ALL RIGHTS RESERVED.

This motion picture was created by Miramax Film Corp. for purposes of copyright law in the United Kingdom.

The characters and events depicted in this photoplay are fictitious. Any similarity to actual persons, living or dead, is purely coincidental.

Dolby Stereo SR/SRD/SDDS/DTS, in selected theaters

MPAA Rating: R (for some violence and language)

Aspect Ratio: 2:35/1 [Scope]

Running Time: 113 minutes

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