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Home , Absolutely Fabulous, Andrea Riseborough, Angela Bassett, A Lot like Love, Blackadder the Third, Blackeyes

World Premiere: 2010 Toronto International Film Festival 2010 Hamptons International Film Festival 2010 International Film Festival 2010 Truly Moving Picture Award winner

A Sony Pictures Classics Release

Release Date: 11/19/2010 (NY &LA) | TRT: 113 min | MPAA: Rated R

East Coast Publicity West Coast Publicity Distributor Falco Ink Block Korenbrot Sony Pictures Classics Erin Bruce Judy Chang Carmelo Pirrone Annie McDonough Melody Korenbrot Lindsay Macik 850 7th Ave, Ste 1005 110 S. Fairfax Ave, #310 550 Madison Ave, 8th Floor NY, NY 10019 , CA 90036 , NY 10022 212-445-7100 tel 323-634-7001 tel 212-833-8833 tel 212-445-0623 fax 323-634-7030 fax 212-833-8844 fax | FACT SHEET THE FIGHT FOR EQUAL PAY

Please Note: the Paycheck Fairness Act is scheduled to be voted on by the Senate on or around November 17th. This Act has been passed by the President and the House of Representatives. More information on this Act is below

The Good News • Women are the primary breadwinners in nearly 2/3 of American families • Women represent 47% of all American workers • 51.4% of all managers are women (that's up from 26% in 1980) • Between 1997-2007, the number of women-owned businesses grew by 44% (twice as fast as men-owned firms) • Women-owned businesses have created 500,000 jobs • The majority of college graduates are women

The Bad News • In this current recession, while American women have held on to more jobs than American men -- with families scraping by on the one paycheck women bring home -- because women are paid less, entire families are struggling to stretch the paycheck • During this recession, women's individual earnings have actually fallen, making it even harder for families to make ends meet on their one paycheck. • Women are still paid only 77 cents for every dollar paid to men. That's an increase from 59 cents in 1963 when Washington passed the Equal Pay Act -- that's only an 18 cent increase in almost 50 years!

Why do we need "The Paycheck Fairness Act?" • The Equal Pay Act prohibits sex-based wage discrimination, but it is antiquated and sorely in need of updating to include adequate remedies, tools for government enforcement and to address loopholes that have been created by bad court decisions over . • The Paycheck Fairness Act updates the Equal Pay Act to ensure that it can become an effective tool to address wage discrimination.

How would "The Paycheck Fairness Act" improve upon the Equal Pay Act? • The Paycheck Fairness Act protects employees from being fired for asking others about their pay and/or comparing it with their co-workers; i.e. - makes it difficult for employers to use retaliation against employees for questioning their pay. • The Paycheck Fairness Act makes it easier for groups to challenge employers about pay discriminations because individual employees mobilizing in a group are no longer required to be singled out or identified individually as a member of the group; i.e. -- protects identity of those protesting so not singled out for any retaliation by employers. • The Paycheck Fairness Act allows for employees who have successfully won any pay discrimination lawsuits to not only be financially compensated for back pay but also receive an additional financial reward settlement, "damages", for any pain and suffering

2 they accounted as a result of the pay discrimination, i.e. -- will make corporations re- evaluate their pay practices -- if they know there's a chance a suing employee might not just win back pay but also win a punitive award, they might be less likely to continue their wage discrimination.

President Obama supports Equal Pay for Women: • In 2009, his first act as President was signing the Lilly Ledbetter Fair Pay Act, which legally extends the statute of limitations for workers filing lawsuits claiming they were paid less based on their sex. • His administration has established the Equal Pay Task Force, which investigates violations of equal pay laws. • His Economic Recovery Plan includes several measures directed squarely at increasing opportunities and support for America's working women so that they can continue to grow, thrive and invest in our economy.

Pay Discrimination -- Not Just an Issue for Working-Class Women: Women of all levels of class, education, experience and expertise experience pay discrimination in the work place when compared to the pay scale of their male counterparts.

General Wage statistics based on most recent Census data: Women who worked full-time, year round in 2009 still made 23 cents less for every dollar earned by their male counterparts. This marks no change from 2008‘s wage gap and amounts to nearly $11,000 per year in lost earnings. The wage gap for women of color in 2009 was even more staggering than for women overall. When Black and Hispanic women work full-time, year round, they only make 62 and 53 cents, respectively, for every dollar their white, non- Hispanic male counterparts earn — this tiny amount is only a one cent increase over the 2008 earnings for Black and Hispanic women.

Comparison of college educated-women: For college-educated women, the gap emerges as soon as they graduate. A woman earns 5 percent less the first year out of school than a man who goes to the same college, gets the same grades, has the same major, takes the same kind of job with similar workplace flexibility perks, and has the same personal characteristics, such as marital status, race, and number of children. o Ten years later she'll earn 12 percent less (even if she has the same work experience). o That amount only grows over time.

American Association of University Women, Behind the Pay Gap

MBAs: Women lag behind men in both job level and salary starting from their first position post-business school and do not catch up. Even after taking into account

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experience, industry, and region, the report found women start at lower levels than men, make on average $4,600 less in their initial jobs, and continue to be outpaced by men in rank and salary growth. http://www.catalyst.org/publication/372/pipelines-broken-promise

Lawyers: Female lawyers earn only 74% that of male lawyers In law firms, there is a $2,000 gap between female and male associates. In law firms, female equity partners earn $66,000 less on average than male equity partners. http://www.pardc.org/Publications/SameGlassCeiling.pdf

Managers: While women managers made up 40% of all managers in 2007 (the most recent year for which data is available), they were paid only 81% of what their male counterparts were.

2010 GAO Report, Women in Management: Analysis of Female Managers’ Representation, Characteristics, and Pay

SYNOPSIS

When we think of ‗60s revolutionaries, the women of Dagenham don‘t fit the clichés – but these feisty, funny factory girls shook their world with spirit and courage, and achieved lasting social change (yes, even the grannies were ―girls‖ to the men of Ford management and their own labor union).

Based on a true story, Made in Dagenham portrays a decisive moment in that decade of upheaval, when the fight for equal rights and pay was led – unexpectedly – by ordinary working-class women with one foot in the kitchen, one foot on the factory floor, and ears glued to the pop coming over the radio and telly from far-off (19 kilometers and a world away). It‘s a vintage ―girl power‖ tale.

RITA O‘GRADY (, who played the tirelessly cheery heroine of Happy- Go-Lucky) is a young married mother, one of 187 women who work for the Ford Motor Company, the region‘s principal employer. Unlike their male counterparts in the automaker‘s gleaming new main facility, the women toil in a decrepit old 1920s plant with a leaky roof, pigeons flying overhead, and stifling sweatshop conditions in summer. Despite their highly specialized work sewing car seat upholstery, the women are classified as ―unskilled‖ labor and paid a fraction of the men‘s pay. After all, it‘s still a world where husbands – like Rita‘s man EDDIE (Danny Mays) – are the principal

4 breadwinners, and women are the backbone of the home and family. Their work and wages are secondary.

Still, camaraderie and plucky spirits get the women through the workday. Among Rita‘s and colleagues are CONNIE (), the shop steward and respected matriarch of the group, who copes with an ailing husband; BRENDA (), a vivacious twenty-something with a zest for letting loose and a beehive hairdo to match; and young SANDRA (Jamie Winstone) an aspiring model with looks whose sights are set on London (she introduces Mary Quant hot pants to Dagenham).

At first, Rita‘s no firebrand; she primarily sees herself as a wife and mother. When sympathetic union representative ALBERT () encourages the women to bring their grievances to Ford management, Rita is coaxed into attending a meeting along with Albert, shop steward Connie, and the patronizing of the union local MONTY (Kenneth Cranham), who instructs Connie and Rita to nod, smile, and let him do the talking.

What Rita expects to be simply a day out of work (complete with free lunch) turns into much more; Ford‘s Head of Industrial Relations PETER HOPKINS (Rupert Graves) brusquely tries to fob off the women‘s demands with minor concessions. Outraged by the lack of in the meeting, Rita surprises the room and herself by speaking out sharply, saying the women refuse to be ignored, and will plan a job action if they are not re-assigned ―skilled‖ and – here‘s the shocker – given pay parity with the male workers.

The issue of equal pay turns the women‘s grievance from a minor annoyance to a potentially explosive problem for Ford: if these 187 cogs in the wheel set a precedent, what will that mean to female Ford employees all around the globe? No one is more pleased with Rita‘s surprising show of backbone than Albert, who confides that his own mother worked herself into an early grave as an underpaid factory hand. Albert and Connie encourage Rita to step up to a leadership role, and she takes her small sisterhood of upholstery seamstresses out on strike – later expanding her campaign to other underpaid women throughout the union.

At first, Eddie and most of the other Ford workers are supportive of (if a bit amused by) the women‘s feisty stand. But as the women stay out on strike, the men begin to feel the impact: when the plant runs out of finished seat upholstery, they can‘t go on making cars (so much for ―unskilled‖) and the entire Dagenham facility is put on temporary closure. Men facing lay-offs and unpaid bills begin to turn against the striking ―girls.‖ As much as the strike is an inconvenient industrial action, it‘s also an assault on the social order, and men like Eddie, fielding the family‘s domestic chores as Rita runs around leading protests, struggle with conflicting feelings of pride and dismay at the women‘s newfound empowerment. Connie‘s husband (Roger Lloyd Pack), still suffering the psychic wounds of WWII, personifies the rift between the old society haunted by war and deprivation, and the new movements of daring liberation reaching all the way to Dagenham.

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An unexpected ally for Rita is found in Peter Hopkins‘ wife LISA () a fiercely intelligent Cambridge-educated woman who feels trapped by upper-middle-class domesticity and a husband who suggests she keep her opinions to herself. Lisa, who meets Rita by chance at the school that both their sons attend, encourages Rita to stick to her guns. Ford, meanwhile, sends an American hatchet man to quell this all-too-European show of labor unrest.

Despite attempts to dismiss Rita as the ―Revlon Revolutionary,‖ her fight for equality captures the public imagination, generating headlines around the country. As the women‘s campaign for equal pay makes it all the way to Westminster, they secure the most influential ally of all: (), Secretary of State for Employment and Productivity. Blunt, forceful, smart and progressive, Mrs. Castle sees women after her own heart in the strikers – but she must balance their demands with Ford‘s threats to take production out of the UK altogether.

Throughout the campaign, the women of Dagenham rely on their humor, common sense and bravado to stand together, take on their bosses and face an increasingly belligerent local community. Daring to stand up and push boundaries, they changed the rules of the game not only for factory workers but also for the rights and expectations of women everywhere.

Real Life: The strike by the Dagenham sewing machinists and Ford‘s subsequent settlement led to the introduction of an Equal Pay Act. It became law in 1970.

MAKING THE FILM

With a constellation of Britain‘s finest actors portraying a real-life triumph of the power of sisterhood, Made in Dagenham makes captivating drama from a little-remembered piece of social history. A true sense of camaraderie shines from the powerful ensemble cast and their work with the film‘s creators.

―The idea for Made in Dagenham came out of a program I‘d heard on Radio 4 called ‗The Reunion,‘‖ explains producer . ―The format of the show is to get together a group of people that had been involved in something special in the past. These women were on, talking about the strike of 1968. They had worked in appalling conditions in this factory. But, because they were a very small percentage of the workforce, Ford kept ignoring their requests – until they finally decided to fight back. I was fascinated by their story, and what struck me in particular was how innocent and unpoliticized they were. All they wanted was a fair deal. It was common sense rather than any kind of axe to grind.‖

Along with his producing partner , Woolley traveled to Dagenham to meet the women. ―They were great,‖ he grins, ―really funny. But it became very obvious after talking to them that it would be impossible to take just one of their

6 stories. Had we focused on just one of the women – her story, her husband, her kids –it would have been an invasion of her privacy. Anyway, we‘re making a film, not a documentary. So we created a character that represents a cross-section of two or three of the women, rather than one in particular. That‘s how we came up with Rita. She may be a fictionalized amalgam of several real people but we have kept true to the events. The strike did take place in this way and the women did meet Barbara Castle on that day. It‘s such an inspiring story.‖

With such strong source material, Woolley and Karlsen needed a writer and director who could capture the spirit of these indomitable women.

―We worked steadily with Ivory developing the script,‖ explains Karlsen, and he really nailed that milieu and moment in time.‖ The next step was hiring director . ―Nigel had actually grown up near Dagenham around the time of the strike,‖ says Woolley, ―so he knew the people and what the characters would be like. Also, we knew that he could direct a brilliant ensemble cast, as he had in Calendar Girls.‖

Meanwhile, Nigel Cole fell in love with the script as soon as he read it. ―I knew immediately it was my kind of film,‖ he smiles. ―It has the right mix of humor, comedy and drama that I always look for. I don‘t really do straight comedy because I like to have some meat and content to my films. And I don‘t do bleak, dark drama either: I‘m too flippant. So I like a mixture of warmth and comedy and strong drama and this is exactly that. And, for reasons I can never quite fathom, I‘m more interested in women‘s stories than men‘s.‖

FINDING THE FACTORY

When it came to finding a location, ―The factory is the backbone of the film,‖ explains Karlsen. ―The buildings at Dagenham have all gone, so we found this old Hoover factory in Merthyr Tydfil in Wales. It was perfect for the shoot because it‘s no longer a working factory. It used to employ five thousand people but, sadly, they have been closing it down over the past few months.‖ The effect on the local community in Wales has parallels with the struggle in the film.

―The heart of Merthyr has been ripped out,‖ agrees Cole. ―Thousands of workers are now unemployed, which got us all fired up politically, and reinforced the idea that this is an important story to tell. Filming in the factory was really helpful because everyone could feel what it would really be like to work in a place like this. We tried to employ as many local people as possible, and have about 50 local women playing striking women in the film. They also came to London for those scenes and really enjoyed it.‖

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CAST AND CHARACTERS

Sally Hawkins, who plays Rita, went to the site of the old factory in Dagenham as part of her research.

―It‘s really sad, like an old ghost town,‖ she says. ―But it‘s so interesting because that area is steeped in history. People flocked to Dagenham in the 1960s because of Ford. The factory created thousands of jobs. I like doing research so I wanted to meet the women, especially as the story and my character are so rooted in reality. The women were really lovely, and Billy Ivory‘s jumps off the page because he really captured their voices. To play Rita, I had to put myself in their way of thinking. It made me realize how lucky, as women, we are now. Women today have so many opportunities that these women certainly didn‘t.‖

For Hawkins, the 40-day shoot was a lot of fun. ―I made some really good friends on this film,‖ she smiles. ―That sense of female camaraderie and friendship is pretty rare on a film set and, on this one, it‘s so important. The women of the factory looked out for each other because they loved each other, and we tried to foster that relationship on set too. The other actresses are a bunch of lovely, brilliant women, who really embodied the parts and made them real. I have never laughed so much on set. And the men were great too: Danny Mays, who plays my husband, is really lovely and passionate about what he does. And Nigel Cole is just gorgeous: brilliant and funny. He was so willing to keep exploring and pushing us all. I was happy to have him steering the ship because need to have complete trust in the people you‘re working with and I had that on this set.‖

Andrea Riseborough, who plays Brenda, nods in agreement: ―Making the film was one of the most joyful and unique experiences I've had on set,‖ she says. ―This is the third movie Sally and I have made together and it is a joy to work with her always. The other women I hadn't worked with previously but very quickly we developed a close bond and all found ourselves becoming an extension of our characters behind the camera as the film progressed. Nigel Cole has a way of making each cast member, from principal to supporting artist, feel that their role is ultimately essential and that what we are making is vital and worthy. The opportunity of working with him is not something any actor should pass up. The feeling on set was one of purpose. We all felt that the story we were telling needed to be told and we were all going to do it as well as we bloody could.‖

For Riseborough, the opportunity to research the women of Dagenham and the history of the factory was invaluable.

―There are hours of archive footage from which to draw reference about the women, speaking both about their struggle at the time, and after the fact, all of which gives you an insight into not only their history but a clear picture of their physicality, speech and extraordinary nuances,‖ she explains. ―We visited en masse, and filmed in the estate in which they would have lived and had lessons in how to operate the heavy-duty machinery with which they sewed the car interiors. It was a fascinating and really valuable

8 experience. The work was hard and long and the women were at odds with their archaic, crumbling surroundings in the worst factory building on the plant.‖

Rosamund Pike, who plays Lisa, the wife of the factory boss, agrees that this is powerful story, which will undoubtedly tug at the heartstrings. ―The film will be very, very moving,‖ she says. ―Sally is absolutely brilliant as Rita. You‘re watching a woman pushed to her extremes. It‘s about a woman stepping outside her own box and exploring the limits of her fortitude, strength, courage and intellectual ability. She rises magnificently to the challenge, but not without some pain.‖

Pike felt very comfortable on set, having worked with several of the cast and crew before. ―The atmosphere was very familiar because a lot of the crew had been on or Pride & Prejudice,‖ she explains. ―It was like a family; a community. And Nigel is very supportive and committed. He knows what actors need and he takes the time to work things out. He likes things being a bit smudgy and real and I like that a lot. Also, he‘s very good with women. He understood that this was a film about women and the fight for equality, which is why my character is very important because she‘s middle class, so it shows the unity between women of different classes. He was keen that it wasn‘t just a working class struggle film.‖

For Jaime Winstone, who plays budding model Sandra, working in real locations, rather than studio sets, made all the difference. ―The locations we filmed in really gave us a sense of what it was like to be these women,‖ she explains. ―From the terrible conditions in the disused factory to the excitement of going to the Houses of Parliament. We could really feel the spirit of these women. We all adopted the accent and joked that we were like a right bunch of Fag Ash Lils.‖

The film‘s male cast was equally excited about their time on set. ―The gift that Nigel has is his ability to make everybody feel as important as each other,‖ explains , who plays Rita‘s husband Eddie. ―He‘s just completely and utterly passionate about making a really brilliant film. When you work closely with someone like that, it‘s infectious. The story is so inspiring: it‘s the original ―girl power,‖ and amazing to have such fantastic parts written for these brilliant female actresses. They had a real energy about them. They really clicked as a group and that will come through in the final product. But I was also in good company with the male actors: Bob Hoskins, Roger Lloyd Pack and Kenneth Cranham are legends, national institutions. So to have the opportunity to work with them is fantastic.‖

For Bob Hoskins, one of the most fun parts of the shoot was working with the real factory workers in Wales. ―It was wonderful being one of only very few men on set,‖ he laughs. ―When we filmed in the disused factory in Wales, the extras were real girls from the factory and they made such a fuss of me. They used to pinch my bum! These were women that had been made redundant from their factory jobs, so it was great that they could be a part of the film.‖

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Of his character, union representative Albert, Hopkins says, ―Albert‘s mother worked to death on very low wages. But when Albert encourages Rita to strike for equal pay, he knows the trouble it‘s going to cause and he knows what he‘s setting her up for. She‘s a very ordinary girl and she becomes this Joan of Arc character.‖

Miranda Richardson, who plays the inimitable Barbara Castle, Secretary of State for Employment and Productivity under ‘s government, says, ―At that time, there were hardly any women in government and, depending on how you look at it, flatteringly or unflatteringly, Harold Wilson described her as the best man in his cabinet. But unlike Thatcher, she had a great humanity about her and a great charm. She comes across as someone that is genuine, so you can believe that she has the best interests of society at heart. And what I really like about her is that, in the best sense, she was romantic, she hadn‘t lost the romance of her politics. There was a belief that things can change and should change.‖

THE STYLE

―Elizabeth Karlsen, my producing partner, and I were very, very keen on making the look of the film bright and summery, rather than going for a dour monotone look,‖ explains Stephen Woolley. ―We wanted to reflect the nature of these women. So, in terms of costume design, set design and lighting, we alongside Nigel wanted to reflect the women‘s brightly colored view of the world, and not the grimness of their reality. They lived in small council accommodation and worked tirelessly in harsh conditions, but they were used to it and they were happy. Nigel also wanted to show that, with the cinemascope feeling of the time.‖

Costume designer Louise Stjernsward describes Rita‘s wardrobe thus: ―In my mind, Rita is an intelligent woman caught in the never-ending chore of looking after two children and doing a skilled but underappreciated job,‖ explains Stjernsward. ―Her style is what she can afford, keeping things practical but, as the story progresses and she finds herself in the public eye, she pays more attention to her look and the fashion of the time. As her confidence grows she begins to dress in a more assertive and flattering way.‖

Even though the film is set in 1968, these were factory girls that lived in Dagenham, so the look is very different to the Carnaby Street cliché of the 1960s, so often portrayed in films.

―I did some research from photographs and magazines of the time,‖ says Stjernsward, ―but what really gave me a good insight to the Dagenham world was the TUC library and various magazines and newsletters of the Ford factory. I also liaised with the production designer, so that the colors I worked with would be in keeping with the style of the film overall. Rosamund Pike's character is of a different social class so that allowed for a more fashionable wardrobe than the others. Although as a suburban housewife, even she is not completely up-to-the-minute ‗‘.‖

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Not that Rosamund Pike was complaining. ―I got to wear some beautiful clothes,‖ she enthuses. ―There‘s a very prominent piece of wardrobe in the film because Lisa actually lends one of her dresses to Rita when she has to go to London to meet Barbara Castle. She has seen my character at the school gates, looking like this untouchable creature. She‘s dripping wet in the rain and I‘m sitting in style in my brand new Ford motor wearing this fabulous Biba dress. And I make her get in the car with me because I want to talk to her about our sons being bullied. Rita is always suspecting that there‘s going to be this uncrossable divide between us and I‘m continuously breaking that divide down and saying we‘re just the same. So, when she borrows this red Biba dress, it‘s a big moment because she finally comes to my house and asks for my help. It‘s a very, very cool dress and the costume designer Louise had it made from one of the Biba fashion books so that it looks pristine. A lot of the clothes were bought from Portobello and vintage places, so they were 1960s originals. But this dress was copied because it had to look brand new.‖

For Stjernsward, it was important to make sure that dress was absolutely right. ―Biba was such an iconic designer of that period,‖ she explains, ―reaching all social classes, so I chose the red frock with the Biba cut and stylish buttons, hoping it would work well for both women. The dress shows the ballsy courage of Rita to ask for it and wear it on such an important occasion for her.‖

As for Barbara Castle‘s wardrobe? ―We studied photos of her and, although she is not wearing a carbon copy of what she wore on that famous occasion, I tried to get a look that felt like Barbara but also worked for Miranda Richardson.‖

As Brenda, Andrea Riseborough relished embracing a look she would never normally wear: ―She certainly exposes a lot more flesh than I normally would outside of the confines of my own home,‖ laughs Riseborough. ―But I loved the look on her: the cheap psychedelic paisley patterned polyester shirts early on and the beatnik black wet-look Mac towards the end. What a costume gives to you when creating a character is priceless.‖ It wasn‘t just the wardrobe, but also hair and makeup that helped transform her into Brenda. ―She has a beehive, which speaks for itself,‖ smiles Riseborough. ―And her make-up is also on the milder side of tangerine, so not having been blessed with pigment myself, I'm not sure I'll be stealing her beauty tips any time soon.‖

Jaime Winstone‘s character, Sandra, is a model and, as such, has one of the most fun wardrobes in the film, much to Winstone‘s delight.

―The 1960s look is so cool,‖ she enthuses. ―I wasn‘t sure about the blonde hair at first but then, after I thought about it, I realized it was perfect. I actually like being put in the situation where you have to do something that you would never normally do. Everybody wanted to look like Twiggy in 1968, and Sandra wants to be a model so she would have been copying Twiggy‘s style. It‘s very much of the period. It helps you become the character. I would fall asleep in the make-up chair and then wake up as this 1960s chick.‖ Winstone also found a new respect for women of that era, who dedicated themselves to grooming in a way that would be unthinkable to many today.

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―When they go to London, Sandra tries to look sophisticated with the hoop earrings and her hair and make-up done especially,‖ explains Winstone. ―These women would set their hair in their rollers every night before going to bed, even though they were just going to work in a factory the next day. It‘s so impressive. Sandra is into fashion, she wants to be a model, so she works with the limited resources she has. These girls wouldn‘t have had very much , so the clothes aren‘t going to be the most luxurious pieces. But they still look amazing.‖

THE HISTORY

―At the time, the Ford factory in Dagenham was the largest factory in Europe,‖ explains director Nigel Cole, who thoroughly researched the history of the strike for Made in Dagenham. ―It‘s hard to believe just how huge it was, with some 55,000 men employed there, making half a million cars a year. In 1968, there were a small number of women employed in the factory as sewing machinists, sewing the car seats together. They had recently been downgraded in their pay structures as ‗unskilled‘ and they were furious about it. Understandably so, as they were more skilled than many of the men. So they went on strike. And the strike grew and grew and, because they weren‘t producing the car seats, it got to the point that Ford couldn‘t make cars anymore. They ended up bringing the entire factory to its knees. Thousands of men were laid off and it became a huge national crisis.‖

Now that we know how the story ended, it‘s easy to see how important the strike was. But, at the time, the women must have struggled with the enormity of what they were doing, especially when they lost the support of their husbands, fathers and sons – most of whom also worked in the factory.

―Initially, they had the men‘s support,‖ says Cole. ―Although the men were amused by the whole thing at first, as the women hadn‘t been on strike before. And, in those days, as indeed it is to this day, women‘s work was considered less important than men‘s work. But, as it got more serious and the men got laid off, some of them turned against the women. They felt as though they should just stand aside and let the men get on with their jobs.‖

Of course, ultimately, the women‘s actions changed not only their conditions within the factory, but women‘s rights nationwide.

―It got to a point where Barbara Castle, the leading female politician of the day, got involved,‖ continues Cole. ―She negotiated the settlement with the women and out of that came the Equal Pay Act 1970. So these ordinary women, who had never been involved in anything political in their lives, suddenly found themselves at the Houses of Parliament negotiating with a senior politician and bringing about a revolution in rights for women. It is an inspiring story and it‘s so great to feel like you‘re telling a story that needs to be told.‖

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Producer Stephen Woolley explains that the women‘s actions were in keeping with a year of huge political unrest and change. ―1968 was the year of the Paris riots and there was a heavy sense of change in the air,‖ he says. ―This little incident in Dagenham became a massive event. It started out as this fight to be recognized as skilled workers, but then they decided to go for equal pay with the men, and that‘s what really caused a stir. It had huge significance around the world. The big companies didn‘t like the idea that they would have to pay women the same amount as men.‖

One of the things that appealed to Woolley about the story is the innocence and honesty with which the women acted. ―They didn‘t have a clue as to the enormity of what they were doing,‖ he smiles. ―They weren‘t being calculated, and they weren‘t trying to buck the system. They could just see all these men, up and down the country, striking for far less reason than they had. The conditions they worked in were just horrible: this old factory with a broken roof that was freezing cold in the winter and boiling hot in the summer. They weren‘t given any of the rights that the men were given.‖

Having made 60s-set films before – notably Stoned, Scandal and Backbeat – Woolley was interested in making a film about the less glamorous side of that era.

―This film works as a reminder that, for many people, the 1960s were downtrodden and not particularly glamorous times,‖ he explains. ―Not to say that this is all doom and gloom. These women were a life force. They see the funny side of everything, despite everything they had been through. These women had endured the 1950s when there was still rationing. Their men had come back from war, having seen some horrible things and feeling incapable of working. Then things started to change in the 1960s when pop music took off and these now older, disenchanted men watched their children grow their hair and wear miniskirts. The women were holding things together, often having to deal with very feckless men. In Made in Dagenham, obviously the politics are there, but we didn‘t want to make a staunchly political film. Instead, it‘s about truth and personal stories of these women.‖

LITTLE KNOWN

On reading the script, much of the cast and crew was shocked that they had never heard the story of these women before, but in fact, many of the cast actually has a close personal connection to the story of the Dagenham women. ―I was ashamed that I'd not known more about the revolution born in Dagenham,‖ admits Andrea Riseborough. ―My own grandmother worked in a factory for most of her life, extremely underpaid.‖

Says Daniel Mays, ―I grew up in so I knew of the factory and some family members on my mum‘s side had actually worked there, but I didn‘t know anything about this story, so it was a really enlightening film to work on. It‘s a story that needs to be told and I‘m so pleased we got the opportunity to do it.‖

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Jaime Winstone is equally proud to be part of a film that tells such an important story, especially as it would have changed the lives of her immediate family. ―My mum worked in a factory and so did my Nan, in a sewing factory,‖ she explains. ―My Nan actually taught me to sew for this role! So I realized that sewing those seats is actually the hardest job in the factory. When the women went on strike, they realized they couldn‘t get men to do that job, because none of them knew how too. Yet the women were graded as ‗unskilled‘ and on the same rate of pay as the people that swept the floor. And the conditions that they were working in, with dead pigeons falling on them, were unbelievable. Meanwhile, the men were next door in the gleaming new factory. These women worked so hard and cared for their families. They must have been exhausted, and yet they carried on with this fight. It‘s inspiring. They didn‘t know the extent of what they were doing at the time. You look back know and it‘s revolutionary, but they couldn‘t have known at the time. They were a force of nature. Of course, equal pay is still an issue, and we‘re not there yet. But this is where it all started.‖

―I feel very lucky to be part of a film with such wonderful strong female characters,‖ says Sally Hawkins. ―It‘s actually incredibly rare. Sadly, equality is very much still a fight we‘re fighting. In the film industry – again – it‘s men calling the shots and it always has been. It frustrates me enormously. The message of the film is to keep pushing yourself, and keep challenging yourself. We all have that ability to find that voice inside us.‖

She smiles: ―As the women of Dagenham showed us, it‘s so important to fight for what you believe is right, even when it‘s scary.‖

ABOUT THE CAST

SALLY HAWKINS (Rita O’Grady)

Since picking up a string of awards, including the Best Actress in a Comedy or Musical Golden Globe, for her performance as Poppy in ‘s Happy-Go-Lucky, Sally has gone on to complete work on ‘s Never Let Me Go, Gurindar Chada‘s It’s a Wonderful Afterlife and most recently Submarine. Sally has also been cast in ―The Roaring Girl,‖ in which she will play Bernadette Devlin.

Sally made her first notable screen performance as Samantha in the 2002 Mike Leigh film All or Nothing. She also appeared as Slasher in the 2004 film Layer Cake. Further film credits include: Happy Ever Afters, An Education, Cassandra’s , Waz, Persuasion and The Painted Veil. Her first major television role came in 2005 when she played Susan Trinder in the BAFTA-nominated BBC drama ―Fingersmith‖, an adaptation of ' novel of the same name, in which she co-starred with , as she had in . Since then she has gone on to star in another BBC adaptation, Patrick Hamilton's ―Twenty Thousand Streets Under the Sky‖. Sally was the recipient of the RTS Best Actress Award and Golden Nymph Best Actress for her role as Anne Elliot in ITV‘s ―Persuasion‖

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Sally's appearances include ―‖ (2000), ―A Midsummer Night's Dream‖ (2000), ―Misconceptions‖ (2001),‖Country Music‖ (2004), and 's adaptation of Federico García Lorca's ―The House of Bernarda Alba‖ in 2005. In 2006, Sally appeared at the in 's ―The Winterling.‖

BOB HOSKINS (Albert)

Since beginning his career on the London stage in the late 1960‘s Bob Hoskins is one of the UK‘s most highly regarded acting talents. Reputable for his performances in both British and American productions with notable highlights including his roles in Who Framed , Mermaids, Hook, and Mona Lisa. It was Hoskins role as George in Mona Lisa that won him a Cannes Award, Best Actor Golden Globe, a BAFTA and an Academy Award nomination for Best Actor. Bob has recently appeared in Walt Disney‘s A Christmas Carol.

In 2009 Hoskins made a return to British television screens in the BBC1 drama ―The Street‖. Hoskins received critical acclaim for his role as a publican who stands up to a local gangster. Further television credits include; ―‖, ―David Copperfield‖, ―Pennies from Heaven‖ and ―‖.

Hoskins turned his hand to directing in The Raggedy Rawney, a project he also wrote, and Rainbow.

MIRANDA RICHARDSON (Barbara Castle)

Miranda recently appeared in feature films and . Her other film work includes Paris Je T’aime, Southland Tales, and the Goblet of Fire, Wah-Wah, The Phantom of the Opera, Enchanted April, and Empire of . Miranda has been the recipient of many awards over her career and received an Academy Award nomination, Golden Globe nomination and BAFTA win for Best Supporting Actress for Damage. Further nominations include a BAFTA nomination for Best Supporting Actress in The Crying Game, a SAG Award nomination for The Hours and a Best Actress nomination for an Academy Award, Golden Globe and BAFTA for Tom and Viv.

Miranda has received three BAFTA nominations for her television work; ―‖, ―A Dance to the Music of Time‖ and ―After Pilkington‖. She received two Best Actress Golden Globes for ―‖ and ―Enchanted April‖. Other TV credits include: ―Blackadder II‖, ―‖, ―‖, ―Old Times‖, ―Sweet As You Are‖, ―‖, ―‖ and ―The Life and Times of Vivienne Vyle‖.

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Miranda‘s theatre credits include ―Who‘s Afraid of Virginia Woolf‖ ( Theatre Royal), ―Insignificance‖ (Bristol New Vic), ―Edmond‖ (Royal Court Theatre), ―Orlando‖ ( Festival), ―The Play What I Wrote‖ (Wyndhams Theatre), ―The Designated Mourner‖ and ―‖ () and ―Grasses of a Thousand Colors‖ (Royal Court Theatre).

GERALDINE JAMES, OBE (Connie)

Geraldine recently appeared in major feature films: , directed by for Warner Brothers with Robert Downey Jr. as Sherlock and as Watson, and Alice in Wonderland, an adaptation of Lewis Carroll‘s story, directed by . Her other film work includes Gandhi, , The Wolves of Willoughby Chase, The Bridge, Prince of Shadows, Words Upon The Window Pane, The Testimony of Taliesin Jones, The Luzhin Defense and Calendar Girls. She won the Golden Lion for Best Actress at The for her performance in ‘s She’s Been Away.

Geraldine has been BAFTA-nominated four times for her television work; for ―Dummy‖, ―The Jewel in ‖, ―Band of Gold and Sins‖. Other TV credits include: ―Caught In A Trap‖, ―Phoo Action‖, ―City of Vice‖, ―The Last Enemy‖, ―Fairy Tales‖, ―The Time of Your Life‖, ―Heist‖, ―The Amazing Mrs. Pritchard‖, ―Ancient Rome‖, ―A Harlot‘s Progress‖, ―Jane Hall‖, ―‖, ―He Knew He Was Right‖, ―State of Play‖, ―Hearts of Gold‖, ―Hound of the Baskervilles‖, ―Crime and Punishment‖, ―White Teeth‖, ―Kavanagh QC‖, ―‖, ―A Doll‘s House‖ and ―Blott on the Landscape‖.

Geraldine‘s theatre credits include ―Victory‖ (Arcola), ―The UN Inspector‖ (National Theatre), ―The Cherry Orchard‖ and ―Home‖ (both for Stage Company), ―‖ (Royal Exchange Theatre), Sir Peter Hall‘s productions of ―Lysistrata‖ (Old Vic) and ―‖ (Phoenix Theatre and Broadway), ―Death and the Maiden‖ (Duke of York‘s), ―Cymbeline‖ (National Theatre) and ―The Faith Healer‖ (Almeida).

Geraldine was awarded an OBE (Order of the British Empire) in 2003.

ROSAMUND PIKE (Lisa Hopkins)

Rosamund Pike has quickly emerged as a contemporary and multifaceted actress having earned international acclaim for both her stage and film roles.

Pike is currently in production on David Frankel's comedy, The Big Year, where she will star alongside , Jack Black and in the Fox 2000 film. Earlier this year, Pike filmed the BBC movie, Women in Love.

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Pike will star in Barney's Version opposite , and . Premiering at the 2010 Toronto International Film Festival, the film is a love story which spans over 30 years and poignantly captures the life of the politically incorrect, irascible and fearlessly blunt, Barney Panofsky (Giamatti), and the women he has loved in his life. This fall, Pike will be seen in the dramatic film, Made in Dagenham opposite Sally Hawkins, Miranda Richardson and Bob Hoskins based on the 1968 strike at the Ford Dagenham car plant.

Pike starred in 's Academy Award® Nominated film, An Education, opposite Peter Sarsgaard and . Received well at the in 2009, An Education continued to garner critical acclaim with Academy Award, Golden Globe, BAFTA, Film Critics nominations, and a win for Best Foreign Film at Spirit Awards.

In 2004, Pike began work on Laurence Dunmore's film version of The Libertine opposite , playing the wife of the Earl of Rochester (Depp). Pike was recognized for her extraordinary performance, receiving the 2005 British Award for Best Supporting Actress. The film also starred and .

Pike was next seen starring alongside Kiera Knightley, and Dame in the film adaptation of the classic Jane Austen novel, , directed by . She earned critical acclaim and received a 2006 London Film Critics Award for her portrayal of Jane Bennett.

In 2007, Pike played opposite and in the New Line legal thriller, Fracture, directed by Gregory Hoblit. She also starred in Jeremy Podeswa's independent film, Fugitive Pieces, which opened the 2007 Toronto Film Festival. Pike starred in the Disney Film, Surrogates, opposite Bruce Willis and then segued to another independent film, Burning Palms, written and directed by Christopher Landon, the film depicts 5 darkly comic and controversial tales of life in Los Angeles. Cast in her first major film as an iconic at the age of 21, Pike starred opposite and in .

With starring roles in cinema, throughout her career, Pike continues to return to her roots in theater on the London stage. She has starred in ―Gaslight‖ at Theater in Patrick Hamilton's Victorian thriller, The Wyndhams Theater's production of ―Madame de Sade‖ opposite Judi Dench, and The Royal Court Theatre production of ―Hitchcock Blonde,‖ directed by Terry Johnson. With its enormous success, the play was moved to the Lyric Theater in London's West End. Pike also began 2010 by starring as the title role of the UK touring production of ―Hedda Gabbler‖ for which she received rave reviews for her performance.

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ANDREA RISEBOROUGH (Brenda)

Andrea has recently appeared in feature films Rock and Never Let Me Go. Her other film work includes Mad, Sad and Bad, Happy-Go-Lucky, Love You More, Magicians and Venus.

Nominated for a BAFTA for her portrayal of in ‘s ―Margaret Thatcher: The Long Walk to Finchley,‖ Andrea was also the recipient of the Broadcasting Press Guild and RTS Television Award for her performance in ―The Devils Whore‖. Further television work includes ―Party Animals‖, ―Whatever Love Means‖ and ―A Very Social Secretary‖.

Andrea‘s theatre credits include ―Ivanov‖ (Donmar), ―A Couple of Poor Polish Speaking Romanians‖ (), ―The Pain and the Itch‖ (Royal Court), ―Citizenship/Burn/ Chatroom‖ (National Theatre). Notably Andrea won the Award for her performance as Isabella in ―Measure for Measure‖ and as the title character in ―.‖

DANIEL MAYS (Eddie O’Grady)

Daniel Mays was born in Epping, Essex and trained at the Royal Academy of Dramatic Art. Since graduating in 2000, he has won widespread critical acclaim for roles in a diverse number of film, television and theatre productions.

Daniel first rose to prominence in 2001 when the British director Mike Leigh cast him in his film All or Nothing. Film Review raved about his 'incredible performance‘ and Hotdog added ―it‘s clear that Leigh has again found a new generation of first rate British actors, most notably Daniel Mays.‖ The same year, he also landed a role in Bay's Pearl Harbor.

In 2003, continuing his working relationship with Mike Leigh, Daniel starred alongside Imelda Staunton in the multi-award winning drama Vera Drake. Daniel memorably played Sid, who is forced to come to terms with his mother‘s life shattering secret. The film was nominated for 3 , 3 BAFTA Awards and 6 British Independent Film Awards including Best British Independent Film.

Daniel's career on stage has also earned many plaudits. In 2004, Ramin Gray cast him in Vassily Sigarev‘s arresting play ―Ladybird.‖ He later returned to the Royal Court in 2006 to star in back-to-back plays: ―The Winterling‖ by Jez Butterworth, and Simon Stephen‘s ―Motortown.‖

2005 saw Daniel filming ‘s A Good Year, opposite , and the powerfully religious Irish period drama Middletown, directed by Brian Kirk. The same year, he played the lead character of Carter Kranz in the BAFTA-nominated BBC 3 series ―Funland‖ in 2005. In the summer of 2006, Daniel filmed the role of Tommy

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Nettles in the multi-award winning Atonement, adapted from Ian McEwan‘s novel of the same name. Directed by Joe Wright and starring alongside James McAvoy and , Daniel's performance garnered critical praise. He went on to make Hippie Shake, opposite and , about the counter-culturalist Richard Neville‘s misadventures in London at the end of the 1960‘s.

2008 was a busy year for Daniel, as he made his latest appearance on stage in ―Scarborough‖ at the Royal Court and had a starring role in the hit movie, The Bank Job directed by and co-starring Jason Statham and . He also starred in the ITV drama ―Half Broken Things‖ and the BAFTA-winning Abi Morgan film ―White Girl‖ for BBC 2. He was also cast in Nick Love‘s remake of The Firm.

In early 2009, Daniel traveled to Los Angeles to make and Peter Jackson‘s big screen version of Tintin, slated for a 2010 release. He was also seen on Channel 4 in the hit ―Plus One‖ and starred in Channel Four's landmark trilogy of films, ―Red Riding‖.

Daniel‘s next project was the British thriller Shifty, released in April 2009. The film was nominated for five British Independent Film Awards ahead of its release, including one for Daniel in the Best Supporting Actor category, and the film premiered to a rapturous reception at the London Film Festival. Daniel garnered praise for his lead character Chris, who returns home to London to find his long-time friend () in despair with his life spiraling out of control. ―Mays, terrific in Red Riding, is even better here,‖ wrote of The Independent, while Total Film praised his portrayal as ‗terrific‘ and ‗particularly convincing,‘ and wrote his performance was ‗excellent.‘

JAIME WINSTONE (Sandra)

Jaime Winstone was born and brought up in London and first came to the industry's attention in 2005 playing Natalie in Saul Dibbs's award winning Bullet Boy. This success was quickly followed in 2006 by the multi-award winning realistic drama , directed by Menhaj Huda. Jaime stars as Becky, opposite Noel Clarke, in the story of of several teenagers growing up in , London. The film became the British movie box-office success of the year taking £1.2m in its opening .

Jaime's next feature film was Donkey Punch, directed by Oliver Blackburn. Jaime plays Kim who meets a group of young people at a nightclub in a Mediterranean resort. The party continues in to the night until things are brought to an abrupt halt when one of them dies in a freak accident, leading to suspicious arguments and a ruthless fight for survival. Donkey Punch was released in July 2008.

Also in late 2008, Jaime started work on ―Deadset‖ for Channel 4, written by Charlie Brooker. The series is a zombie horror thriller set in the Big Brother house, comprised of 5 episodes, which went out on E4 in October 2008 attracting an impressive 1.19 million

19 viewers with its first episode. Jaime played Kelly and the series was nominated for several TV BAFTA and BAFTA Craft Awards at the 2009 ceremonies.

Next, Jaime will be seen in Boogie Woogie, where she stars opposite , Alan Cummings and . The film had its premiere at 2009 The Edinburgh Film Festival and will be released later in the year.

Jaime also has two further films in production: Elfie Hopkins and The Gammons, a dark fantasy that she is also co-producing.

ROGER LLOYD PACK (George)

Roger recently appeared in feature films The Living Home of the Dead and Harry Potter and the Goblet of Fire. His other film work includes: Vanity Fair, The Young Poisoner’s Handbook, The Go-Between, The Hollow Reed, Interview with the Vampire, Princess Caraboo, Fiddler on the Roof, 1984 and .

Best known for his role as Trigger in ―‖, further television credits include: ―‖, ―‖, ―Doc Martin‖, ―Poirot‖, ―The Old Guys‖,‖ Longitude‖, ―What we did on our Holidays‖ and ―‖.

Roger was awarded British Theatre Association Drama Awards for Best Supporting Actor in ―Wild Honey‖ and ―One for the Road.‖ Further theatre credits include ―Dealers Choice‖ (Chocolate Factory/Trafalgar Studios), ―The Winterling‖ (Royal Court), ―Blue/Orange‖ (Crucible, Sheffileld), ―The Rocky Horror Show‖ (The Ambassadors Theatre Group), ―The Dark‖ (Donmar Theatre), ―Art‖ (David Pugh Ltd.), ―The Tempest‖ (Edinburgh Festival) and most recently ―Widower‘s Houses‖ (Royal Exchange, ).

JOHN SESSIONS (Harold Wilson)

John has an illustrious background in film and television. His film work includes The Good Shepherd, The Last Station, The Merchant of Venice, , High Heels and Low Lives and .

Sessions is best known for his comedy improvisation on television shows like ―Whose Line is it Anyway?‖ Further television credits include: ―Oliver Twist‖, ―‖, ―Gormenghast‖, ―The Key‖, ―Miss Marple‖, ―Absolute Power‖, ―‖, ―Daziel and Pascoe‖ and ―Randall and Hopkirk Deceased‖.

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KENNETH CRANHAM (Monty Taylor)

Kenneth has recently starred in feature films Valkyrie and Georgia. Other film credits include: Hot Fuzz, Layer Cake, Oliver, Gangster No. 1 and The Boxer.

His television credits include: ―Merlin‖, ―Tess of the D‘Urbervilles‖, ―Doc Martin‖, ―Afterlife‖, ―The Chatterley Affair‖, ―Rome‖, ―Oranges Are Not the Only Fruit‖, ―The Genius of Mozart‖, ―Rules of Engagement‖ and ―Canterbury Tales‖.

His theatre work includes: ―‖ (), ―Gaslight‖ (Old Vic), ―The UN Inspector‖ (National Theatre), ―School for Scandal‖ (Royal Shakespeare Co.), ―Fight‖ (National Theatre), ―‖ (Aldwych/Broadway), ―Loot‖ (Criterion) and ―Tibetan Inroads‖ (Royal Court).

RUPERT GRAVES (Hopkins)

Graves‘ illustrious film work includes roles in The Good Times are Killing Me, The Waiting Room, Intervention, Death at a Funeral, V for Vendetta, Rag Tale, Mrs. Dalloway, Different for Girls, The Madness of King George, A Room with a View and Intimate Relations. In 1996 Rupert was recipient of the Best Actor Award at the Montreal World Film Festival for Intimate Relations.

His TV credits include; ―Wallender‖, ―Garrow‘s Law‖, ―God on Trial‖, ―Midnight Man‖, ―Waking the Dead‖, ―Ashes to Ashes‖, ‗The Dinner Party‖, ―Clapham Junction‖, ―Spooks‖, ―Charles II‖, ―Forsyte Saga‖ and ―Take a Girl Like You‖. Most recently Rupert has filmed a guest lead in ―Law & Order‖ and is currently shooting ―Sherlock Holmes‖ and ―Single Father‖, both for BBC 1.

Graves‘ theatre credits include; ―Dumb Show‖ at the Royal Court, ―‖ at the Gielgud, ―The Importance of Being Earnest‖ at the Sheffield Crucible, ―‖ at the Comedy Theatre London, ―Les Enfants du Paradis‖ at the Barbican, ―A Midsummer Night‘s Dream‖ at the National Theatre, ―‖ at the Almeida Theatre, ―‖ at the Old Vic and Queens Theatre, ―‖ and ―‖ both on Broadway. Graves was nominated for a Best Actor Olivier Award for his role as Eddie in ―Hurlyburly‖ in 1997.

RICHARD SCHIFF (Robert Tooley)

Actor/Director has enjoyed a lengthy and acclaimed career in film, television and theater. Born in Bethesda, Maryland and raised in , Richard developed a passion for film and theater at a very early age.

Richard began his career in New York, where he founded and served as the Artistic Director of the Repertory Theater, and directed off-Broadway productions,

21 including ―Antigone,‖ starring . During this time, Richard also completed his Bachelor of Fine Arts degree in Theater at City College of New York (CCNY). Soon afterward, he earned a role his first feature independent film, Medium Straight, and went to Los Angeles to attend its initial screening. He started to receive offers of work from casting directors who saw the film and, before long, permanently moved to Los Angeles. He performed several plays with ‘ Actors‘ Gang, while landing roles in City Hall with and 's Seven with and .

Richard‘s extensive film credits now number more than 40, including the Oscar- nominated biopic Ray, as well as a wide-range of roles in films such as , Malcolm X, Lost World: Jurassic Park, People I Know, Forces of Nature, Lucky Numbers, Crazy in Alabama, Deep Impact, Hoffa, Living Out Loud, Doctor Doolittle, Heaven and The Hudsucker Proxy, among numerous others. His roles also include parts in independent films such as Civic Duty, one of the films that opened the esteemed Film Festival, Heaven, and Grace of my Heart.

His distinguished television career received recognition with the memorable role of dysfunctional father Barry Roth on ―Relativity‖, as well as many guest star roles on popular series including ―NYPD Blue‖, ―Ally McBeal‖, ―Murphy Brown‖, ―L.A. Law‖, ―The Practice‖, ―Chicago Hope‖, ―ER‖ and ―Roswell‖. Richard‘s television roles include his much-celebrated portrayal of White House Communications Director Toby Ziegler on ―The West Wing‖, for which he received the ―Best Supporting Actor‖ Emmy Award and garnered three Emmy nominations. Richard can next be seen on the FOX Network series ―Past Life‖.

Richard also has a longstanding career in theater, with many off-Broadway productions under his belt, including ―Underneath the Lintel,‖ which he performed at the George Street Playhouse in early 2006 and in London‘s Duchess Theatre in 2007. Other noteworthy stage performances include ―Blood, Love and Madness,‖ “The Lower Depths,‖ “Talking Minks,” “Plain Brown Wrapper,” “Dark Age‖ and ―Blues for Mister Charlie.‖ Richard won a Dramalogue award for his starring role as Goose in 's ―Goose and Tom Tom,‖ and an Ovation Award for his role in ―Urban Folktales.‖ Richard most recently starred in a production of Lanford Wilson‘s ―Talley‘s Folly‖ at the McCarter Theatre in Princeton, New Jersey.

In 2000, Richard received the prestigious Townsend Harris medal from CCNY for outstanding post-graduate achievement. Past recipients include author Upton Sinclair, actor Edward G. Robinson, and Dr. Jonas Salk. In 2004, CCNY granted him the honorary Doctor of Humane Letters degree, along with President Clinton and novelist Walter Moseley.

Most recently, Richard revisited his passion for directing, having helmed several episodes of ―The West Wing‖ and HBO‘s ―In Treatment‖, and is beginning work on the direction of a documentary project. Richard is married to film and television actress Sheila Kelley. They have two children together, Ruby Christine and Gus.

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NICOLA DUFFETT (Eileen)

Nicola has an extensive background in film, theatre and television work. Her most notable television work is comprised of regular parts in BBC One drama ―Eastenders‖ and Channel 5 soap opera ―Family Affairs‖. Further television credits include parts in ―Casualty‖, ―Doc Martin‖, ―‖ and critically acclaimed drama ―Stuart – A Life Backwards‖.

Film credits include parts in Mad Dogs and Englishmen, Food of Love, Howard’s End and Shooting Fish.

Nicola‘s theatre credits include ―‖ (‘s Park), ―A Midsummer Night‘s Dream‖ (Regent‘s Park), ―‖ (Wimbledon Theatre), ―‖ (Hackney Empire) and toured with ―Shakespeare through the Looking Glass.‖

LORRAINE STANLEY (Monica)

Lorraine has already amassed an impressive and varied array of credits over a relatively short career. Her Theatre work includes; ―Widower‘s Houses‖ at the Royal National Theatre and on Tour directed by , ―Gina in Care‖ at Haringey Theatre, ―Look at Me‖ on tour, ―Days of Significance‖ at the RSC directed by Maria Aberg, ―‖ at Shakespeare‘s Globe directed by Matthew Dunster and most recently ―Mine‖ directed by Polly Teale on Tour.

Her television work is extensive including; ―Nicholas Nickleby‖ (Company Television), ―‖ (Talkback Thames), ―Anybody‘s Nightmare‖ and ―Making Waves‖ (both by Carlton), ―London‘s Burning‖ (LWT), ―Eastenders‖, ―Casualty‖, ―Rehab‖, ―The Inspector Lynley Mysteries‖, ―Vivien Vile‖ and ―Waking the Dead‖ (all for the BBC), ―Trial and Retribution‖ (Le Plant Productions) and Adrien Shergold‘s ―He Kills Coppers‖ (Ecosse).

Her film credits include: Paul McGuigan‘s Gangster No. 1 (Film Four), Royalty (Wellington Films) and London to Brighton (LTB Films) both by Paul Andrew Williams, Eden Lake (Celador Films) and Jon Baird‘s Cass (Logie Pictures)

Her standout performance of Kelly in London to Brighton earned her a nomination for Best British Actress at the 2007 London Critics Circle Film Awards.

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ABOUT THE CREW

NIGEL COLE (Director)

Nigel Cole‘s first feature Saving Grace saw his career rise straight to the top and scooped him a British Independent Film Award for Best Director and Prize at the Sundance Film Festival. This was followed up with Calendar Girls, which was both a major success at the box office and critically acclaimed throughout the UK. Further feature film directorial credits include and 5 Dollars a Day.

Nigel has also directed a series of ―In the Wild‖ celebrity wildlife documentaries which include; ―Galapagos with ‖, ―Meg Ryan in Thailand‖ and ―Orangutans with ‖. The latter won him a Genesis Award for PBS Documentary of the Year. Further television credits include work on popular series ―‖ and ITV‘s medical drama ―Peak Practice.‖

WILLIAM IVORY (Writer)

William has written for both screen and theatre. His work includes Best Drama, ―Common as Muck‖, BAFTA nominated ―The Sins‖ and A Thing Called Love.

Further credits in theatre include ―The Retirement of Tom Stevens,‖ ―Bomber's Moon‖ and ―The Truth about Eric.‖

STEPHEN WOOLLEY (Producer)

Stephen Woolley has spent a lifetime steeped in movies and filmmaking. His career began in 1976 at the Screen on the Green cinema in , London where he tore tickets, sold ice cream, projected films and helped manage the cinema. After working with The Other Cinema, he programmed and subsequently owned The , his own cinema that won acclaim for its diverse, original and alternative programming. In 1982, Woolley launched Palace Video in partnership with Nik Powell, releasing titles such as and Mephisto. Establishing a theatrical arm a year later, Palace acquired, marketed and distributed some 250 movies from , Diva and Merry Christmas Mr. Lawrence to When Harry Met Sally.

During this period, Stephen Woolley's producing career flourished with a diverse range of critically acclaimed and successful films, including the controversial Absolute Beginners and Golden Globe®-nominated dance comedy Shag. Scandal, starring Joanne Whalley-Kilmer and attracted phenomenal critical acclaim and box office success on both sides of the Atlantic.

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Other Palace productions include The Big Man starring , A Rage in with and The Must Die starring .

Breakfast on Pluto, starring Cillian Murphy and Liam Neeson, has continued Woolley's long-term partnership with director , which began with in 1983. His other collaborations with Jordan include: The Miracle; The Butcher Boy; The Good Thief; the Oscar®-nominated The End of The Affair; Michael Collins; Interview With The Vampire; and Oscar®-winning The Crying Game, for which Woolley was awarded Producer of The Year by the Producer‘s Guild of America in 1992. Woolley also produced Oscar®-nominated Mona Lisa, which won numerous international awards. Stephen Woolley also has extensive executive producer credits, which include The Neon Bible, The Hollow Reed, Fever Pitch, Purely Belter and the acclaimed Little Voice starring Sir and .

Woolley was Chairman on the BAFTA film committee, on which he served for ten years and was instrumental in ushering in a new era of modernization and success at the British Academy. He is also a member of the American Academy. In 2005, Stephen Woolley made his directorial debut with Stoned. His recent projects as producer with Elizabeth Karlsen have included When Did You Last See Your Father?, Sounds like Teen Spirit, How to Lose Friends & Alienate People and Perrier’s Bounty.

ELIZABETH KARLSEN (Producer)

Elizabeth Karlsen co-founded Number 9 Films with Stephen Woolley in 2002 after a long collaboration together under the Palace Pictures and Scala Productions banners where she co-produced Neil Jordan‘s The Crying Game, nominated for six Academy Awards®, and produced ‘s Little Voice, which was nominated for six Golden Globe® Awards, an Academy Award® and six British Academy Awards®, including Best Picture.

At Number 9 Elizabeth‘s credits include , an international box office hit, starring and Judie Dench; Mrs. Harris starring and , which premiered at the Toronto Film Festival in 2005 and was nominated for a total of 12 Emmy, 3 Golden Globe Awards, 3 Awards and a Producer‘s Guild of America Award and for which was also the recipient of the Women‘s Image Network Award. Anand Tucker‘s When Did You Last See Your Father?, scripted by , starring and , which was selected by Edinburgh, Toronto and Telluride Film Festivals and nominated for 7 British Independent Film Awards; How To Lose Friends & Alienate People, the box office hit adaptation of ‘s memoir starring and the critically acclaimed, award-winning feature documentary Sounds Like Teen Spirit directed by Jamie J Johnson. Recent productions include Perrier’s Bounty starring Cillian Murphy, Jim Broadbent and released by Optimum Releasing / Studio Canal in 2010 following its Toronto International Film Festival world premiere and Made in Dagenham.

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Forthcoming Number 9 productions include an adaptation of ‘ Great Expectations by David Nicholls (When Did You Last See Your Father, Starter for 10, One Day); an original screenplay, Dusty: Goddess of the Sixties, a decade in the life of British soul singer , written by award-winning writer and playwright (Hunger, Chatroom); an adaptation of Taichi Yamada‘s ghost novella Strangers, scripted by multi award-winning playwright Conor McPherson (The Eclipse, The Weir) and directed by Oscar winner (, Red Riding); and The Lonely Doll written by (The Corpse Bride, Edward Scissorhands), starring and directed by E. Elias Merhige. (Shadow of the Vampire)

Elizabeth is Chair of the Board of Bird‘s Eye View, an organization dedicated to the celebration and support of international women filmmakers and a board member of the regional film funding body EM Media (This Is , Control). She was recently selected as one of sixteen women to take part in the Marie Claire/Prince‘s Trust ‗Inspire and Mentor‘ campaign.

JOHN DE BORMAN (Director of Photography)

John‘s credits include Last Chance Harvey, Miss Pettigrew Lives for a Day, Ella Enchanted, Hamlet, and Nigel Cole‘s features A Lot Like Love and Saving Grace.

His other credits include Hideous Kinky, which won the Evening Standard Best Technical Achievement Award and Academy Award nominated and BAFTA Best British Film An Education, where he was awarded the Best Cinematographer Award at Sundance 2009. John has additionally been nominated for a BAFTA Craft Award for Best Photography for Tsunami: The Aftermath.

In addition De Borman wrote, directed and photographed Outing, which received the Gold Award at the New York Film Festival for Best Short.

ANDREW MCALPINE (Production Designer)

Andrew McAlpine is an International Production Designer known mainly for his extensive work in cinema. However during his formative years he co-founded his own theatre company, Commonstock, with whom he collaborated for 7 years. He then expanded his skills by working with many others established Theatre and Opera Directors along with Choreographers such as , Richard Alston and Pip Simmons.

Having graduated with an MFA in Fine Arts, Andrew received a Gulbenkian grant to create some breakthrough work in Holography. The concept of illusion as has also lead Andrew to collaborate with other artists such as Juan Munoz at the Tate Modern, London, UK, and Architects Branson and Coates with whom he created Journey

26 through The Body, for the Millenium Dome. Recent projects are for sustainable Eco Hotels and with architects The Manser Practice with whom he is developing Rockflower.

Andrew is best known for the 35 Feature Films that he has made over the past 25 years; films such as Sid and Nancy directed by Alex Cox, directed by Jane Campion for which he won an AFI and BAFTA award, Clockers directed by and The Beach directed by , etc. Commensurate to these films he has designed many Commercials and Pop Promos. These mediums have allowed us to see Andrew's at its visceral best. As a New Zealander it's no surprise that gardening grows out of his heart and helps in healing today‘s anguish.

LIZZIE YIANNI GEORGIOU (Hair & Make-Up Designer)

Lizzie recently received a BAFTA nomination for Best Hair & Make-up Design for An Education. Her vast career includes work on many high profile and award-winning films and television including Atonement, Hotel Rwanda, ―The Trial of ‖ and Sleepy Hollow.

Lizzie was a make-up artist on the television adaptation of Alice in Wonderland, which received the Best Make-Up Award at the 1999 , and Chocolat, which was nominated for five Academy Awards and the BAFTA for Best Hair & Makeup.

Yianni Georgiou has worked with a vast array of stars including Diane Kruger, Keira Knightley, , James McAvoy, and .

LOUISE STJERNSWARD (Costume Designer)

Louise has had a number of prolific feature film credits that include ‘s Stealing Beauty and The Dreamers, ‘s All the Little Animals, Asif Kapadia‘s BAFTA award winning feature film debut The Warrior and Jonathan Glazer‘s multi-award winning .

Stjernsward has most recently worked on Creation about the life of starring and .

MICHAEL PARKER (Editor)

Michael studied Film and Photography at The Polytechnic of Central London. His editing career began at the BBC as a trainee assistant film editor at . As an assistant in the mid-seventies he worked on a succession of dramas including: ―Scum,‖ ―Smiley‘s People‖ (for which, as sound editor, he shared a BAFTA nomination for Best Sound), Sons and Lovers, ‘s Christabel and ; and on the Arts Program Arena.

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Michael crossed into BBC production as an Assistant Producer researching and directing on a variety of factual, mainly arts based programs.

Presently he crossed back to the cutting rooms to become an editor at BBC Ealing Studios, cutting documentaries including The Silk Road and the award winning The Dead, and The Grass Arena. Since going freelance he has edited a variety of TV dramas including ―Rebecca‖ and Jack Rosenthal‘s ―Eskimo Day‖; and feature films including the BAFTA winning East Is East, ‘ BAFTA nominated The House Of Mirth, Calendar Girls, Thunderpants, The Magic Flute, ‘s directorial debut Run Fat Boy Run, and most recently, the black comedy starring , and .

DAVID ARNOLD (Music by)

David Arnold began his motion picture career making short films with fellow enthusiast Danny Cannon, teaching himself to write, orchestrate and compose the scores for their projects. In 1993, he scored Cannon's feature film debut, The Young Americans, combining lush orchestration with Bjork's vocals for the title song ―Play Dead‖, which earned critical and commercial success. This led to the offer to score Stargate, Roland Emmerich's sci-fi film, which enjoyed box-office success and earned David Arnold his first BMI Award.

Since then, David Arnold has been recognized by the film industry as a talented and diverse composer, arranger and producer. He is the winner of nine BMI Awards for his music for Tomorrow Never Dies, , Die Another Day, Stargate, Independence Day, Godzilla, The Stepford Wives, Zoolander, 2 Fast 2 Furious and Casino Royale.

A multiple Grammy®-nominee, David Arnold won a Grammy® for Independence Day, the Ivor Novello Award for The World Is Not Enough, a Fellowship of the British Academy of Songwriters and Composers and the Royal Television Society Award for the title music for the UK comedy series ―Little Britain‖.

As composer for Casino Royale, David Arnold collaborated with Chris Cornell to write the title song ―You Know My Name‖. The piece was nominated for a Grammy® for Best Title Song For A Film, and won the Best Song prize at both the LA Critics Awards and the World Soundtrack Awards. David Arnold recently won the DOVE award for Best Instrumental Album for his score to the film Amazing Grace.

David Arnold's other notable scores include: Shaft, Changing Lanes, Hot Fuzz and the Bond film Quantum of Solace. Arnold‘s work can next be heard on the new Narnia adventure The Chronicles of Narnia: The Voyage of the Dawn Treader. He is also developing a stage musical with lyricist Don Black and producer Michael Kuhn.

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Away from the film world, David Arnold maintains a career as a successful record producer and songwriter, working with a wide range of contemporary artists including K.D. Lang, Pulp, Chrissie Hynde, Iggy Pop, Garbage, David McAlmont, Martina Topley- Bird, Natasha Bedingfield, , George Michael, Damien Rice, Paul McCartney, The Kaiser Chiefs and .

LUCY BEVAN (Casting Director)

Lucy has cast a number of prolific feature film credits that include Nanny McPhee and the Big Bang, St Trinian’s and St Trinian’s 2, The Disappearance of Alice Creed, Dorian Gray, An Education, Me and , The Duchess, The Golden Compass and The Libertine.

Lucy is also the Casting Director for The Gate Theatre in Notting Hill. Plays at The Gate include; ―Car Cemetery,‖ ―Hedda Gabler,‖ ―I am Falling,‖ ―The Internationalist,‖ ―Nocturnal,‖ ―‖ and ―State of Emergency.‖

LAURIE BORG (Line Producer)

Laurie Borg entered the film industry in 1982 working with UK producer David Puttnam on such projects as The Killing Fields and The Mission. He then proceeded to work on Mona Lisa, Queen of Hearts, The Tall Guy, The Commitments, Orlando, Sense and Sensibility and Little Voice.

Laurie has produced a number of independent UK features including Fanny and Elvis and Thanks for the Memories, working very closely with Nik Powell and Stephen Woolley at Scala Productions. Then after working on the likes of The Four Feathers, If Only, Asylum and Mrs. Henderson Presents, he has worked closely again with Woolley on When Did You Last See Your Father?, and How To Lose Friends & Alienate People.

Most recently, Laurie has produced the critically acclaimed and award winning Occupation in 2009, and he is currently working on Bel Ami starring .

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BBC Films presents UK Film Council presents In association with HanWay Films, BMS Finance and Lip Sync Productions A Stephen Woolley/Elizabeth Karlsen/Number 9 Films production In association with Audley Films

Directed by Nigel Cole

Produced by Elizabeth Karlsen and Stephen Woolley

Written by William Ivory

Executive Producer

Executive Producers Tim Haslam Norman Merry Paul White

Line Producer Laurie Borg

Director of Photography John de Borman BSC

Production Designer Andrew McAlpine

Editor Michael Parker

Music by David Arnold

Costume Designer Louise Stjernsward

Make-up and Hair Designer Lizzie Yianni Georgiou

Music Supervisor Karen Elliott

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Casting by Lucy Bevan

CAST IN ORDER OF APPEARANCE

RITA O‘GRADY Sally Hawkins BRENDA Andrea Riseborough SANDRA Jaime Winstone MONICA Lorraine Stanley EILEEN Nicola Duffett CONNIE Geraldine James ALBERT Bob Hoskins BRIAN Matt Aubrey EDDIE O‘GRADY Daniel Mays GEORGE Roger Lloyd-Pack DAVE MARGE Karen Seacombe MARTIN Thomas Arnold SHARON O‘GRADY Sian Scott GRAHAM O‘GRADY Robbie Kay MR. CLARKE Andrew Lincoln LISA HOPKINS Rosamund Pike GORDON MONTY TAYLOR Kenneth Cranham HOPKINS‘ SECRETARY Gina Bramhill GRANT Marcus Hutton HOPKINS Rupert Graves BARBARA CASTLE Miranda Richardson UNDERSECRETARY 1 Joseph Kloska UNDERSECRETARY 2 Miles Jupp FRANK Frank Baker ARTHUR HOROVITZ Philip Perry ROBERT TOOLEY Richard Schiff BARTHOLOMEW Peter-Hugo Daly ROGERS Simon Armstrong EMILY Matilda Cole ROSIE Romy Taylor PASSING VAN DRIVER Angus Barnett CHOIR MISTRESS Birgitta Bernhard REPORTER 1 Laurie Cannon

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REPORTER 2 William Ivory REPORTER 3 Nico Tatarowicz MAN ON BIKE Denis Gilmore VOICE OF AMERICAN BOSS KRONNFELD Mitchell Mullen HAROLD WILSON TREVOR INNES Matt King LISA HOPKINS‘ SON Noah Taylor UNION SECRETARY Victoria Watkins VICAR Craig Randall UNION CHAIRMAN David Bond WELSH UNION MAN Simon Nehan

And thanks to the Dagenham strikers background artistes:

KERI ASHMEAD MARIA BAILEY NICOLA BARLOW SARAH BARROW JULIE CADDELL PAMELA CHALLACOMBE GILLIAN DAVIES TINA EVANS HELEN EVANS SHEILA GLASS DONNA GRIFFITHS TINA HEWITT MARIA JEFFERIES JOANNA JOHNSON TARA JONES MARYSIA KAY MANDY KITTO MELANIE MAYBANK CAROL MICHAEL RHIANNON MORGAN HAYLEY MORGAN DEBBIE NASH LISA PRESTON ALLESANDRA PRITCHARD REBECCA PROBERT GLORIA RICCIO ROSE ROMAIN ALISON RUSSELL SMITH SASKIA SHEPHERD KAREN SLATER JACQUEE STOROZYNSKI-TOLL PATRICIA TERRY BEVERLY THORNE CHRISTINE TYLER SALLY WARREN ABIGAIL WILLIAMS SYLVIA WILLS

MUSIC CREDITS:

Israelites Wooly Bully Written by Dekker Written by Domingo Samudio Performed by Desmond Dekker Performed by Sam The Sham and The Aces And The Pharaohs Published by Universal / Island Music Used By Kind Permission of Ltd and Sparta Florida Music Group Ltd Carlin Music Corp Courtesy of Sanctuary Records Group Ltd Courtesy of Polydor Records Under license from Universal Music (United States) Operations Ltd Under license from Universal Music Operations Ltd

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BBC Radio 1 Jingle Tiger Written and performed by PAMS Written by Auger, Brian Albert Gordon / Courtesy of Jonathan Wolfert Sutton, Roger J Under license from JAM Creative Performed by Brian Auger Productions, Inc Published by Universal / Dick James Music Ltd Licensed courtesy of Fresh Fruit, a division of MiG Music

Sunday Will Never Be The Same Big City Written by Cashman, Terry / Pistilli, Gene Written by Walsh / Walsh Thomas Performed by Nicky Scott Performed by Spanky And Our Gang Published by Universal Music Published by Universal / Publishing Ltd MCA Music Ltd Licensed from Licensemusic.com ApS Courtesy of Island Def Jam An original Immediate recording Music Group Courtesy of Sanctuary Records Group Ltd Under license from Universal Music Under license from Universal Music Operations Ltd Operations Ltd

Green Tambourine All Or Nothing Written by Shelly Pinz / Paul Leka Written by Marriott / Lane Performed by The Lemon Pipers Performed by Small Faces Published by Minder Music Limited Published by Aviation Music Limited (P)1968 Sony Music Entertainment Inc Courtesy of The Decca Music Group Licensed courtesy of Sony Music Under license from Universal Music Entertainment UK Limited Operations Ltd

Paper Sun You Can Get It If You Really Want Written by Winwood / Capaldi / Written by Cliff Wood / Mason Performed by Desmond Dekker Performed by Traffic Published by Universal / Island Music Ltd Published by Universal / Island Music and Courtesy of Sanctuary Records Group Ltd © 1967 (Renewed) F.S. Music Ltd (PRS) Under license from Universal Music All Rights On Behalf Of F.S. Music Ltd Operations Ltd Administered By Warner-Tamerlane Publishing Corp. All Rights Reserved Courtesy of Universal-Island Records Ltd Under license from Universal Music Operations Ltd

Made In Dagenham Written by David Arnold and Performed by Sandie Shaw Published by Thrust Admin Music Ltd Administered by Bucks Music Ltd and Universal Music Publishing Ltd Courtesy of Universal Records

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