A FFILM CYMRU WALES, EDICIS, SODA PICTURES, VISIT FILMS, BBC FILMS, S4C, BFI PRESENTATION
VOX PICTURES PRESENTS
A CRAIG ROBERTS FILM
JUST JIM STARRING EMILE HIRSCH AND CRAIG ROBERTS
INTERNATIONAL SALES VISIT FILMS 173 RICHARDSON ST. BROOKLYN, NY 11222 +1.718.312.8210 | WWW.VISITFILMS.COM
INTERNATIONAL PRESS TBC JUST JIM. A dark coming of age movie.
SYNOPSIS
Jim is a high school outcast. His only friend, Michael, has left him for the cool crowd. His crush doesn’t even know his name. When his dog runs away too, Jim has no one left. All that changes when Dean, a mysterious American with movie star good looks, moves into the house next door. Dean offers Jim friendship and a makeover to help him become the popular kid at school. When it turns out that Dean is hiding a dark secret, however, Jim is forced to question if his newfound popularity is worth it.
DIRECTOR’S STATEMENT
At the heart of this melancholy tale is the simple message of ‘just be yourself’.
JIM Jim has always been a strange kid. He emerged with his best friend Michael as the loners of the school until Michael was called up by the cool kids to hang out, leaving Jim on his own. Jim has always fancied Jackie so when Michael starts going out with her it’s devastating for him. Jim is a teenager frustrated with every aspect of his life. He’s constantly being bullied, his parents prefer his golden child sister and his old best friend is now snogging the girl of his dreams. Life sucks and it’s about to get a lot worse...
DEAN Dean is a psychopath who comes to Wales and preys on the weak and the weakest being Jim. He looks like a movie star and seems very calculated. His dress sense is styled on James Dean. Dean has studied what it is to be cool, he was once exactly the same as Jim and so Dean pushes Jim over the edge. In a weird way he’s sort of a good guy as he helps Jim achieve his resolve.
TONE The tone of this movie stems from the nihilistic town these characters live in. In the film Maesycwmmer is like a pointless creation, like somebody built it and left. There is little hope and the streets are paved with boredom. This is where the comedy stems from. I wanted the comedy to come from the awkward moments with Jim. He is our way into this town, he is our eyes. Donald has lost his mind, Beatrice has lost her mind, the Headmaster is in the process of losing his mind. Jim is the only normal one reacting to these people. They all have the emotion drained from their faces, they are robotic and have nothing left to give. It’s a dark comedy. The audience is supposed to laugh at the awkward situations, Donald jumping off the viaduct Beatrice talking about people in walls. When Jim reaches his highest point there is a tonal change, and the movie becomes more serious and surreal.
THEMES The main theme I explore in the film is the quality of existence. Jim has the idea that being cool is the answer to everything. No matter how old we are, everyone wants to be respected but it’s a big mistake to try to be someone or something we’re not just to impress others. If the film were to have a message it would be ‘just be your self’.
Loneliness is also a key theme. Jim is not very smart. Not as smart as he thinks he is. He wouldn’t be as lonely if he manned up. Pride comes in the way of stopping him. Loneliness comes from not being able to do anything. Not learning about life. When the young leave school there is nothing to do. The town is also full of depressed people who are stuck in limbo. Jim’s parents are happy because they have each other but everyone else is lonely. Growing up and becoming a man is the final theme. The killing is a metaphor for Jim becoming a man and the water is his rebirth. I want to leave the audience wanting to know what happens to Jim next.
SHOOTING STYLE We shot with an anamorphic lens to give a retro feel, using crash zooms and lots of tracking to keep it imperfect. The beginning uses a combination of static frames, locked off shots of Jim in the house, as everything in the town is at a standstill. At the start we used as little movement as possible but when Dean comes into the story, the movement becomes more rounded, like Dean. As the pace changes, the pace of the camera and the editing reflect this, giving the audience time to breathe after the intense first act. The middle act is more playful. Jim has a friend. Dean completely changes Jim’s look and gets him to have real fun. With the new friend comes a new energy, a more heightened experience - lots of 2-shots, like American movies. So we start with a loner movie, then it becomes a buddy movie and then reverts back to loner movie. At the end it goes back and the world is the same, but Jim has changed as a person and so he’s allowed into the frame. We understand that was the only thing that needed to happen, he manned up and we go back to normal. He is a hero as well as a villain. I wanted the film to have a timeless feel, so chose not to use phones or the Internet as these devices would be an easy escape route. Jim escapes with the cinema. His only ways to escape are through his computer game, which is his connection to Michael, or with a movie set in the 50’s, The Piper’s Revenge. He doesn’t know any new themes or trends; he’s stuck in an old world.
THE PIPER’S REVENGE The noir movie is symbolic for Dean. Dean is the Piper. He gets rid of the ‘rats’ in Jim’s life. The Piper is a killer who leaves behind a lit cigarette. Dean smokes in every scene. Dean moulds Jim into a version of himself. Perhaps Jim is the piper.
THIS IS A PERSONAL FILM The great thing about shooting this film in my hometown and at my old school is that it was very personal to me. JUST JIM is a reflection on what growing up in Maesycwmmer was like for me. If only I had a James Dean character to help me. Some of the moments in this movie actually happened, so it has been great to stay true to the locations and capture the town as it was to me when I was growing up. The town is filled with people who are happy to be living the life they have chosen, like Jim’s parents. This is what Jim eventually grows to learn and accept: that what happens will happen. If you are meant to be the loser at school 9/10 it’s probably best to just go with it.
INTERVIEW WITH CRAIG ROBERTS
HOW DID JUST JIM FIRST COME TO BE?
It was just the Cinematic scheme [Cinematic was set up by Ffilm Cymru Wales, the BFI, BBC Films, S4C and Soda Pictures to encourage emerging filmmaking talent from Wales]. I’d been writing stuff beforehand, nothing worth mentioning, and then I saw this scheme. It was two months until deadline and I was in America at the time, shooting something. I had some downtime so I just started writing, and sent it in. I was always writing to direct, not because I think I can write.
WAS IT STRANGE BEING PART OF THE SCHEME, GIVEN YOU’VE ALREADY BEEN TO HOLLYWOOD? Much as I’d done all that, when it came down to actually writing and directing, I hadn’t done anything. The acting wasn’t of any value. I was the least experienced person there. It was really scary, actually. The only experience I had was in reading scripts, I suppose. You kind of get a gist of it from that. The format of a script is very simple once you actually break it down.
HOW LONG DID IT TAKE YOU TO WRITE THE SCREENPLAY? I wrote the first draft in five days and it didn’t make any sense! It was 80 pages and that’s the draft I sent in. In the end I had 14 drafts. They took about six months. There’s no final draft. I was redrafting as we shot.
THEY SAY ‘WRITE WHAT YOU KNOW’, JUST HOW AUTOBIOGRAPHICAL IS JUST JIM? Events get pretty bizarre, so it’s not /that/ autobiographical! The first half is, definitely, just from being set in my hometown, and it’s based on my experience I had with a best friend. You know, you just grow apart from people and there’s nothing you can do about it. All the characters are based on people I know from my life. And, I suppose, my experience of trying to get with girls, which was pretty unsuccessful.
YOU CAST CHARLOTTE RANDALL AS YOUR LOVE INTEREST. SHE WAS IN THE DRAMA CLASS AT YOUR OLD SCHOOL, RIGHT? She’s never acted before. I went back a couple of months before we cast and she was in school at the time. I wanted to source as many people from the local areas as I could. So she was in school and she didn’t really do anything. She kind of didn’t want to be there, and that was interesting. And when I went back a month later, she wasn’t in school anymore, she’d left, so we had to hunt her down.
WHAT WAS IT ABOUT HER THAT CAUGHT YOUR EYE? She had strange coloured hair, which was cool. Also, just that she was nonplussed. Everyone else was very excited that we’d come in to cast a film, which is cool – it’s what I would have been – but she seemed not to care, maybe she did. She also looked like she belonged in Ghost World, which I love. Her character has two sidekicks in the film, and the sidekicks we cast were her actual best friends, to make her feel more comfortable on set.
HOW WAS IT FOR THE LOCALS OF MAESYCWMMER, HAVING THEIR SMALL TOWN OVERRUN BY FILM FOLK? They loved it! Nothing goes on in the town. It’s very small – two shops. Nobody walks the streets, everyone stays in their house. They were really behind it. There were days when loads of people were out watching us film. The place I used to get my sweets from, we shot there, and I actually got the shop owner in the film. She’s this lady called Jill and
she’s really funny.
HOW DID EMILE HIRSCH FIND BEING TRANSPORTED TO A SMALL WELSH TOWN? He’s from LA, which is a complete bubble of the industry, and he was extracted and taken to Wales, to Maesycwmmer, which is the complete opposite. There was nothing around him. He was stuck in a hotel in a golf resort, so all he could focus on was the part.
WHAT MADE YOU THINK OF EMILE FOR THE PART? I was speaking to David Gordon Green [who directed Roberts in the pilot of TV series Red Oaks] about casting the part, and I was adamant that I wanted an American to play it, much as the budget was so small. Brits are really good at playing Americans, but there’s still something different about an American, the way they carry themselves. The first act of Just Jim is so monotonous in the fact that this kid lives this life that is boring. When this American comes in, he really needs to make an impact. So I spoke to David, who had just done Prince Avalanche with Emile, and he said, “You should get Emile to do it.” I was like [disbelieving], “Yeah, sure.” I sent him the script and then I got a call from Emile saying he liked it. He loved the character. He kept calling him “Satan”, which I think he wanted to play.
WITH YOUR HOLLYWOOD CONTACTS, DID IT EVER CROSS YOUR MIND TO ASK SOMEONE LIKE JAMES FRANCO OR CHANNING TATUM TO PLAY THE ROLE? YOU’VE WORKED WITH THOSE GUYS… Franco was doing Of Mice And Men. But when I wrote the character, I had someone like that in mind – someone James Dean-esque, very charismatic, unpredictable. What Emile has is this ability to be /so/ serious, it’s really funny. Few actors have it. Joaquin Phoenix does it very well. Emile is extraordinary.
BY CONTRAST, THE CHARACTER THAT YOU PLAY IS STILL AND SUBDUED. IT’S AN UNGLAMOROUS ROLE… The glamour is all about the American. If I were this cool kid who was cracking great jokes, the American wouldn’t have as much impact. I always wanted the protagonist to blend into the scenery and not be anything. Just be ‘bleugh’. Before the American comes in, we try to neglect Jim as far as the camera is concerned. He never has a close-up that doesn’t involve somebody else in his shot. He’s never respected. He’s not even recognised. People think his name is Roger, when Roger doesn’t even exist! He’s the invisible man. Even his parents don’t think that much of him.
WAS IT TRICKY TO STAR WHILST ALSO DIRECTING? I was worried that it would come across that I’m trying to do some kind of Woody Allen thing, which I’m totally not. I’m mainly the lead because it was easier. We had a lack of money and a lack of time, so for me to play it was easier. And I am that kid in a way, so for me to play it makes sense. But it’s hard, really hard. I hate movies where there’s no preparation and it’s just thrown together and shot hand-held. I wanted to prep everything.
HOW DID YOU PREP? DID YOU STORYBOARD? We storyboarded main scenes. One thing we storyboarded was an end sequence, which we didn’t have the time to really do, so we cut it. My main prep was spending as much time as possible with the DP [Richard Stoddard] as he’s the one who’s going to make it look good. I sent him a bunch of films to watch and we just talked about it.
WHAT WERE YOUR INFLUENCES? YOU’VE MENTIONED JAMES DEAN AND GHOST WORLD. HOW ABOUT JOHN HUGHES, OR BILL FORSYTH? Definitely John Hughes. I find there’s a lack of innocence in cinema now, and as an audience we’re more sceptical. For instance, Ferris Bueller skips school and goes to an art gallery, and that scene’s badass. To impress people now, you have to burn a house down. Those movies were made at the right time. There’s a magic to the innocence of being a teenager. Bill Forsyth I didn’t think of, though Gregory’s Girl is amazing. The Loneliness Of The Long Distance Runner was a big influence, and also Billy Liar. Weirdly, The Conformist was an influence for the lighting. And then some David Lynch stuff – Twin Peaks and maybe Blue Velvet.
THE FIRST HALF OF JUST JIM IS NATURALISTIC. AND THEN, AS THE TONE DARKENS, SOME STYLISTIC TICS COME INTO PLAY… Yeah, I wanted to try something where the tone of the movie changes with the protagonist’s situation. It’s really interesting playing it to people and seeing their reaction, because if someone’s made to laugh for 45 or 50 minutes, and then there are no laughs after that, people don’t know how to feel. ‘Confused’ is a word that is frowned upon in film – for instance, Inherent Vice is a masterpiece but people don’t understand it so they don’t like it – and I just don’t get that. If you were to look at a piece of art and it was ambiguous, you’d be confused at first, so [what is the difference]…?
IT’S HARD TO PIN A TIMEFRAME TO THE FILM. IT ALMOST FEELS LIKE IT’S SET IN THE 1980’S… I wanted to stay away from using any technology because films that do that don’t really stand the test of time. You know it’s a modern film, and it dates really quickly – there’s a new iPhone every year. That’s why we kept it ‘80s.
NOW THAT THE MOVIE IS DONE AND DUSTED, HAVE YOU BEEN BITTEN BY THE DIRECTING BUG? It was fun being behind the camera. I definitely want to do more of it. I’ve been acting now for 12 years, so it was fun just to do something different. I want to tell stories and directing seems the best way to do it. I mean it’s the coolest job. You are the creator of the story. So I definitely want to do more stuff. But maybe not with me acting in it!
ABOUT THE CAST
EMILE HIRSCH - DEAN Emile Hirsch recently wrapped the film adaptation of Eleanor Henderson’s novel TEN THOUSAND SAINTS alongside a stellar cast that includes Ethan Hawke, Emily Mortimer and Julianne Nicholson. He is hot off the success of the critically acclaimed LONE SURVIVOR in which he starred opposite Mark Wahlberg, Taylor Kitsch and Ben Foster. In 2013 Hirsch starred in the Emmy-nominated miniseries BONNIE & CLYDE. Directed by Bruce Beresford, Hirsch played 'Clyde Barrow' opposite Holliday Grainger's 'Bonnie Parker', with William Hurt and Holly Hunter in supporting roles. Also in 2013 the SAG-nominated actor starred in PRINCE AVALANCHE opposite Paul Rudd, MOTEL LIFE alongside Stephen Dorff and Dakota Fanning and in TWICE BORN
opposite Penélope Cruz. Hirsch is probably best known for his breakthrough performance in INTO THE WILD and has also had starring roles in such films as KILLER JOE opposite Matthew McConaughey, MILK, opposite Sean Penn, as well as SAVAGES, SPEED RACER, ALPHA DOG, THE LORDS OF DOGTOWN, THE GIRL NEXT DOOR and THE DANGEROUS LIVES OF ALTAR BOYS.
CRAIG ROBERTS – JIM Craig Roberts has just finished shooting THE REVISED FUNDAMENTALS OF CARE- GIVING opposite Paul Rudd. He is soon to appear in feature KILL YOUR FRIENDS opposite Nicholas Hoult and will soon start shooting the new US series, RED OAKS. In 2014 he was seen in a major supporting role in BAD NEIGHBORS, opposite Seth Rogan, Zac Efron and Dave Franco, in 22 JUMP STREET alongside Channing Tatum and Jonah Hill and in 2013 alongside Jesse Eisenberg and Mia Wasikowska in The DOUBLE. Roberts was first seen in the critically acclaimed SUBMARINE directed by Richard Ayoade and was named Young British Performer of the Year at the Critics Circle awards in 2012. JUST JIM is his directorial debut.
ANEIRIN HUGHES – DAD A prominent television figure in Wales, Aneirin Hughes is seen opposite Rhys Ifans in DAN Y WENALLT, Kevin Allen’s Welsh language adaptation of UNDER MILK WOOD due for release later in 2015. Previous films include the Welsh productions Y SYRCAS (THE CIRCUS), CWCW, CROSSCURRENT, SOFT SAND BLUE SEA and CAMELEON and for television Y GWYLL/HINTERLAND, SONS OF LIBERTY, DAN Y WENALLT, UNDER MILK WOOD, ALYS, POBOL Y CWM, CARYL PARRY JONES SERIES, HOLBY CITY, CARWYN. EASTENDERS, CON PASSIONATE, HIGH HOPES, CONSENTING ADULTS, YOUNG DRACULA 1 & 2, JUDGE JOHN DEED from 2004-2007, SPOOKS, FAMILY AFFAIRS, THE DEPUTY, TAKE ME, SUMMER IN THE SUBURBS, THE ALCHEMIST, TRUST, KILLER NET and DROVERS GOLD.
NIA ROBERTS – MUM Nia Roberts has recently finished shooting Kevin Allen’s adaptation of Dylan Thomas’s UNDER MILK WOOD starring Rhys Ifans. Other film credits include PATAGONIA in which she played the lead, THIRD STAR, A SMALL COUNTRY, DADDY’s GIRL, SNOW CAKE and LOIS for which Roberts won a Welsh BAFTA for Best Actress in 1999. Roberts is also a familiar face on television, being seen most recently in Y GWYLL/HINTERLAND and appearing regularly in S4C’s TEULU. Other television credits include HOLBY CITY, DR WHO, COLLISION, HOTEL BABYLON, MIDSOMER MURDERS, CASUALTY and SCORE.
RICHARD HARRINGTON – HEADMASTER Richard Harrington’s career has spanned film, television, theatre and radio. Film credits include ELFIE JENKINS, THE SHOOTER, DADDY’S GIRL in which he played the lead, JOYRIDER, MATHILDE, SECRET PASSAGE and HOUSE OF AMERICA. For television POLDARK, Y GWYLL/ HINTERLAND, BURTON, LARKRISE TO CANDELFORD, CRASH, MIDSOMER MURDERS, LAND GIRLS, PENTALAR, COLLISION, MISSING, HOLBY BLUE, CASUALTY, BLEAK HOUSE, DALZIEL & PASCOE, SILENT WITNESS and SPOOKS and in theatre most recently in CORIOLANUS at the National Theatre of Wales.
MARK LEWIS JONES One of Wales’s most recognisable faces, Mark Lewis Jones has recently wrapped on THE LIGHT HOUSE, the second film to go into production from Ffilm Cymru Wales’ emerging talent scheme Cinematic. Film credits include STANLEY, TRESPASS AGAINST US, CHILD 44, CAUGHT IN THE ACT, THE OTHER BOLEYN GIRL, DADDY’S GIRL, TROY, MASTER & COMMANDER, SOLOMON AND GAENOR, PAPER MASK and THE SHELL SEEKERS. His extensive Television career includes PUPPY LOVE, 37 DAYS, TALKING TO THE DEAD, ATLANTIS, STELLA, GAME OF THRONES, FABULOUS BAKER BOYS, BEING HUMAN 3, SILENT WITNESS, MERLIN, CRASH, LAW AND ORDER, THE COMMANDER, THE PASION, TORCHWOOD, SMALL COUNTRY, WAKING THE DEAD, 55 DEGREES NORTH, MURDER PREVENTION TELL ME LIES, MURPHY’S LAW and SPOOKS.
ABOUT THE CREW
CRAIG ROBERTS – WRITER, DIRECTOR As Above.
ADRIAN BATE – PRODUCER Adrian has produced and delivered over 100 hours of Drama to all the major broadcasters in the UK working with a range of talent both in front of and behind the camera. He has co-produced with other European territories and the US. Previously Adrian has headed up Zenith Entertainment and Bill Kenwright’s Film Division. Award winning drama includes Cider With Rosie, Affinity, Two Thousand Acres Of Sky and Little Crackers. Adrian was awarded the David Puttnam Producer’s Award and is currently producing Craig Roberts’ directing debut theatrical feature film JUST JIM.
PIP BROUGHTON – PRODUCER For 15 years Pip worked as a theatre director, including Artistic Directorships of Croydon Warehouse, Paines Plough and Nottingham Playhouse. Since 1995 Pip has been working in film and television. Directing work has included several single films for Channel 4: BLOOD ON THE DOLE and SOFT SAND BLUE SEA and a bilingual feature set in West Wales, as well as many primetime drama series. As a producer, Pip was instrumental in the development of the Playhouse strand on Sky, of which she has now produced 17, working with first-time directors Idris Elba, Matt Smith and Polly Stenham; and acting talent including Juliet Stevenson, Stephen Fry, Stellan Skarsgaad, Ben Whishaw, David Harewood, Emma Thompson to name but a few; and writers Frank McGuinness, Eve Ensler, Mark Ravenhill, Jeremy Brock, Paul O’Grady and Sandi Toksvig. Pip has recently directed the acclaimed ‘Under Milk Wood’ with Michael Sheen, Jonathan Pryce, Matthew Rhys and Sir Tom Jones for BBC. She is joint producer of Craig Roberts’ directing debut theatrical feature film JUST JIM together with Adrian Bate. Together they own and run VOX PICTURES.
RICHARD STODDARD – DIRECTOR OF PHOTOGRAPHY Richard began lighting when he was asked to shoot BECOMING HUMAN in 2010, the BAFTA nominated spin off series for BEING HUMAN. In 2012 Richard shot the short film HER NEXT DOOR for director Sasha Ransome which won Best Comedy Short at
the London Short Film Festival 2012 and Best Short at the Anchorage International Film Festival 2012. Richard shot the final block of BEING HUMAN directed by Daniel O’Hara. He received a BAFTA Cymru nomination for his work as DOP on the acclaimed Y GWYLL/HINTERLAND (a Nordic Noir style police investigation series shot in West Wales by Fiction Factory Films). Richard recently completed shooting the feature length drama RIGHT BEHIND YOU for S4C Wales also directed by Gareth Bryn, as well as episodes of the series UNCLE for director Oliver Refson through Baby Cow Prods. He has recently wrapped on Craig Roberts’ directorial debut fiction feature film JUST JIM which stars (and was scripted by) Craig Roberts and Emile Hirsch.
STEPHEN HAREN - EDITOR Stephen has worked on feature films such as the award-winning THE LAST KING OF SCOTLAND and NOWHERE BOY, before becoming lead Editor on a range of film and TV productions. Recent Editor credits include upcoming feature GEEZER, BAFTA-nominated indie hit NORTHERN SOUL, and NINE KISSES, a series of short films for The New York Times Magazine.”
MICHAEL PRICE – COMPOSER
Michael Price is one of the UK’s most sought after composers. His work for film and television has been widely recognised, winning an EMMY award in 2014, and Royal Television Society, Music&Sound, and Televisual Bulldog awards as well as a BAFTA nomination and 2 further EMMY nominations for the critically acclaimed BBC series Sherlock, which he scores with David Arnold. He has composed for a number of feature films including Another Me, Inbetweeners 2, The Inbetweeners Movie, Delicious, A Fantastic Fear of Everything, Horrid Henry: The Movie, Cheerful Weather for the Wedding, Wild Target, Wild Child and The Mountain Within. Other TV work includes the ITV series Lightfields and the 12-part award-winning documentary series Beyond the Search. Prior to achieving acclaim as a composer himself, Michael enjoyed significant achievements as a music editor on a number of critically acclaimed films such as Peter Jackson’s The Lord of the Rings trilogy, Richard Curtis’ Love Actually, Bridget Jones: The Edge of Reason and Alfonso Cuaron’s Children of Men. As a music editor, Michael has been nominated for 4 MPSE Golden Reel Awards, winning in 2001 for The Lord of the Rings: The Fellowship of the Ring. Michael’s first film experience was as musical assistant, co-producer and arranger to the late Michael Kamen, with whom he collaborated for 5 years. During this time Michael worked on a number of exciting projects including X-Men, Band of Brothers, The Iron Giant, Metallica – S&M, and live concerts around the world. Michael has also arranged or written additional music on a number of major film projects, including Edgar Wright’s Hot Fuzz, Tinker, Tailor, Soldier, Spy, Casino Royale and Quantum of Solace.
CREDITS
CAST
DEAN
EMILE HIRSCH
JIM CRAIG ROBERTS
DAD ANEIRIN HUGHES
DONALD MARK LEWIS JONES
HEADMASTER RICHARD HARRINGTON
MUM NIA ROBERTS
JACKIE CHARLOTTE RANDALL
MICHAEL RYAN OWEN
MICHELLE SAI BENNETT
BEATRICE HELEN GRIFFIN
LEON MATTHEW AUBREY
JOHN TRYSTAN GAVELLE
WAYNE RICHARD LYNCH
SAMMY WILLIAM THOMAS
WAITRESS CLAIRE CAGE
GAVIN ASHLEY THOMAS-EVANS
JACKIE’S FRIENDS SHAWNA WORKMAN ALYS MASON
LEON’S DUDE JACOB TYLER
PARTY KID CALLUM HYMERS
BOY IN BED DARRAGH MORTELL
THE CLASS JOSH COLES PATRICK SMALLMAN MILES HARDING IEUAN REYNOLDS MORGAN COOPER IEUAN ROBERTS WILLIAM MASS HOLLIE O’LEARY ANGHARAD WILLIAMS ABIGAIL SHACKSON KELSEY BARRATT JAMIE COOK JOSHUA HAINES JOSHUA PRICE CURTIS DOWER BEN REES
CLIFF THE DOG ALFIE
CREW
WRITTEN & DIRECTED BY CRAIG ROBERTS
PRODUCED BY PIP BROUGHTON & ADRIAN BATE
CASTING SHAHEEN BAIG & AISHA WALTERS
LINE PRODUCER GARETH I.DAVIES
DIRECTOR OF PHOTOGRAPHY RICHARD STODDARD
EDITOR STEPHEN HAREN
PRODUCTION DESIGNER ARWEL JONES
COMPOSER MICHAEL PRICE
COSTUME DESIGNER SIAN JENKINS
HAIR & MAKE-UP DESIGNER MY ALEHAMMER
EXECUTIVE PRODUCERS ADAM PARTRIDGE, STEVE JENKINS, EDWARD FLETCHER, PAUL HIGGINS, GWAWR MARTHA LLOYD
1ST ASSISTANT DIRECTOR GERAINT HAVARD
2ND ASSISTANT DIRECTOR GARETH LEWIS
3RD ASSISTANT DIRECTOR CATRIN THOMAS
STUNT CO-ORDINATOR KEVIN MCCURDY
PRODUCTION RUNNERS SEIMON LEA, JAC JONES
LOCATIONS MANAGER BALI SHIDU
LOCATIONS ASSISTANT SUZI OVENS
ART DIRECTOR JULIA JONES
SET DIRECTOR HANNAH NICHOLSON
PROP MASTER STEVE FUDGE
STAND BY ART DIRECTOR CHRIS HOUSE
STAND BY PROPS MABEL RACK MATT TOOHER
ANIMALS SUPPLIED BY ROCKWOOD ANIMALS
ANIMAL HANDLERS MARTIN WINFIELD AND RHIAN WINFIELD
FIRST ASSISTANT CAMERA ANDREW BRADLEY
SECOND ASSISTANT CAMERA VICTORIA HARRIS
CAMERA TRAINEE ELLIOT SEBESTYEN-REGAN
STEADICAM OPERATOR MATT ALLSOP
DIT JOHNNY MASON
GRIPS JAC HOPKINS, DAI HOPKINS
GAFFER MARK HOLOWNIA
BEST BOY KIRI NICHOLETTS, KRIS FRANCIS
ELECTRICAL TRAINEE ALEX RIGERT-HARDEN
SOUND MAINTENANCE ANDY WALSH, ABDUL AMOUD, CHRIS GODING
COSTUME SUPERVISOR CARRIE WALLBANK
COSTUME ASSISTANTS HELEN ROGERS, AMY BARRETT
MAKEUP ASSISTANT
LUCY GRIFFITHS
MAKEUP TRAINEE LOUIS CAVELL
WORK EXPERIENCE TRAINEE SAM TIPPING
PRODUCTION ACCOUNTANT CLIVE WALDRON
PRODUCTION CO-ORDINATOR HEFIN REES
PRODUCTION OFFICE RUNNER ASHLEY ADAMS
SCRIPT SUPERVISOR ANNA NEYMAN
TRANSPORT JERRY LOCKETT
WATER SAFETY ADVISOR JAMES WILLIAMS
STILLS PHOTOGRAPHERS DEAN ROGERS, DEEJ TOKSVIG
GAME ANIMATION ADAM BUTCHER
LEGAL SERVICES TO VOX PICTURES ANWEN GRIFFITHS AT SHERIDANS
MUSIC LEGALS CHRIS PAGET
MUSIC CLEARANCES HANNAH DUNNELL
UNIT PUBLICIST OLIVIA JARVIS
ASSISTANT EDITOR JORDAN KOEN
COLOURIST THOMAS URBYE
ONLINE EDITOR MARK MALTBY
POST-PRODUCTION PRODUCER DAN MARBROOK
POST-PRODUCTION SUPERVISOR LAYLA BLACKMAN
POST-PRODUCTION SCRIPT SAPEX
POST-PRODUCTION SERVICES THE LOOK
SOUND DESIGN PINDROP
DIALOGUE EDITOR RODNEY BERLING
FX & FOLEY EDITOR ANDREW WHITE
RE-RECORDING ENGINEERS STEVEN PARKER, RICHARD LEWIS
FOLEY RECORDED AT EVERYTHING AUDIO, ELSTREE STUDIOS
FOLEY ARTIST PAULA BORAM
BATON ROUGE ADR RECORDED AT CELTIC MEDIA CENTRE
CARDIFF ADR RECORDED AT BANG POST PRODUCTION
FINAL MIX AT WB DE LANE LEA, LONDON
‘MAKING OF’ CREW LIAM GOUGH, RHYS JONES, JACK NICHOLLS
CATERING STEVE HIBBERT AT JUST PERFECT CATERING
CAMERAS SUPPLIED BY VMI
LIGHTING SUPPLIED BY FIREBUG LIGHTING
ACTION VEHICLES SUPPLIED BY TLO, ACTION 99 CARS
ACTION CAR DRIVERS LOUIE IRWIN, TIM REYNOLD
UNIT DRIVER J. HOLT
AUDITORS SHIPLEYS LLP, STEVE JOBERNS
UNDERWATER FACILITIES AQUATIC THEATRE
INSURANCE SERVICES BY MEDIA INSURANCE BROKERS LTD
ORCHESTRATOR AND MUSIC PREPARATION ANTHONY WEEDEN
MUSIC RECORDED & MIXED BY JOE RUBEL
ASSOCIATE MUSIC PRODUCER NICK HILL
MUSICIANS’ CONTRACTOR ANDREW BROWN
ORCHESTRA LONDON METROPOLITAN ORCHESTRA
ORCHESTRA LEADER TOM BOWES
DRUMS MIKE REED
GUITARS RAEL JONES, TOMMY ASHBY
BASS STEVE PEARCE
KEYBOARDS
MICHAEL PRICE
SCORE CO-ORDINATOR CATHERINE GRIEVES
RECORDED AT RAK STUDIOS
MUSIC EDITOR PIXEL
“DOMINO” PERFORMED BY TONY MARTIN
WRTTEN BY LOUIS FERRARI, JACQUES PLANTE & DON RAYE
COURTESY OF SONY MUSIC ENTERTAINMENT UK LIMITED
PUBLISHED BY SONY/ATV MUSIC PUBLISHING/EDITIONS BEUSCHER ARPEGE
“BAD PLACE” PERFORMED BY RALEIGH RICHIE
WRITTEN BY ANDERSON/BROAD/HERMAN
PUBLISHED BY CAPTAINLETSDANCE LTD / UNIVERSAL MUSIC PUBLISHING LTD / BMG RIGHTS MGT UK LTD / PEER MUSIC UK LTD
“LIFE AIN’T NO COMPETITION” PERFORMED BY / WRITTEN BY / PUBLISHED BY ANDY FAIRWEATHER LOW
WITH SPECIAL THANKS CHRISTOPHER COLLINS, DAVID GORDON GREEN, RICHARD AYOADE, THE PEOPLE OF MAESYCWMMR, THE PUPILS AND TEACHERS OF LEWIS SCHOOL PENGAM, ALISON ROBERTS, HAYDEN ROBERTS, CHELSEA ROBERTS, MARION ROBERTS, JOSS AGNEW, HARRY FERRIER, CRAIG HEYWORTH, DAVID THEWLISS, GAVIN NORRIS, BEN CURTIS, ANDREW DUNLAP, JACOB ANDERSON, LLYR MORRIS, LUKE JACOBS, PAUL JACKSON, BEN JENKINS, GERRY LOCKETT, CELTIC PROP HIRE, CHRISTINA TOM, ANGUS FINNEY, PETE WOOLDRIDGE AT THE WORKSHOP CARDIFF, MICHAEL ELLIOTT, ALISON STIRLING, BRIAN SWARDSTROM, JAMES COLLINGWOOD, CAMILLA YOUNG, KATE STADDON
CINEMATIC SUPPORT
ASIANTAETH FFILM CYMRU/FFILM CYMRU WALES + LOGO, THE NATIONAL LOTTERY THROUGH THE ARTS COUNCIL OF WALES + NATIONAL LOTTERY LOGOS ENGLISH AND WELSH
FOR FFILM CYMRU WALES:
CHIEF EXECUTIVE PAULINE BURT
HEAD OF CREATIVE SECTOR DEVELOPMENT HANNAH THOMAS
DEVELOPMENT EXECUTIVE TRACY SPOTTISWOODE
LEGAL SERVICES BREHON & CO., MARY BREHONY
CINEMATIC PROJECT MANAGER GREG MOTHERSDALE
FOR BFI DEVELOPMENT:
DIRECTOR OF LOTTERY FILM FUND BEN ROBERTS
DEVELOPMENT EXECUTIVE JAMIE WOLPERT
PRODUCTION MANAGER EMMA KAYEE
FILM FUND ASSISTANT KIMBERLEY SHEEHAN
HEAD OF PRODUCTION FINANCE IAN KIRK
BUSINESS AFFAIRS MANAGER VIRGINIA BURGESS
BUSINESS AFFAIRS EXECUTIVE JODIE ORME
DISTRIBUTION ANALYST SOPHIA NEVES
FOR BBC FILMS:
HEAD OF ACQUISITIONS SUE DEEKS
HEAD OF BBC FILMS CHRISTINE LANGAN
DEVELOPMENT EXECUTIVE BETH PATTINSON
MARKETING EXECUTIVE JACQUI BARR
LEGAL AND BUSINESS AFFAIRS EMMANUEL WHINNERY
FOR VOX PICTURES:
JULIA HART, GWIL HUGHES, NIAMH TUPMAN, JOE WILLIAMS, DAN KAY, KURT BETTLES AT CARSTON ACCOUNTING
FOR SODA PICTURES:
ACQUISITIONS & DEVELOPMENT MANAGER FRANCES HARVEY
THANKS TO THE PUPILS AND TEACHERS OF LEWIS SCHOOL PENGAM, CHRIS PARRY, HAYLEY INCE, ALEXANDRA THIE, CHRIS MACKINLAY, BRIAN SWARDSTROM, JAMES COLLINGWOOD, BARRY KIMM, LIVIA BORGHESE, BETHAN BREAN, CONNOR CALZAGHE, MOLLY CRAVEN, SAMUEL CREASEY, ANGHARAD DAVIES, BETHANY DAVIES, AIMEE DINEEN, FFION ESPLEY, CHRISTIAN EVANS, HARRY FERRIER, OLIVIA FORREST, FFION GAYLARD, EMILY GRABHAM, ALEX ROME GRIFFIN, IANTO GRIFFIN, PHILIP GRIFFIN, MILES HARDING, JILLIAN JAMES, CERI JENKINS, RACHEL KIRK, DEBBIE LEWIS, MEGAN LEWIS, TOMAS LEWIS, GEMMA MALONEY, MARIE MORRIS, NIAMH O’BRIEN, MEGAN OWEN, JACK PORTER, BEN PRICE, ARFON PRITCHARD, JASPER RAY, EVAN RHYS-COXLEY, MARY ROME, ELLIOT SLADE, LIAM TAYLOR, EHYS THOMAS, BECCY TYNSLEY, AIMEE WILSON, ZACHARY WINWOOD, EDWARD COACHES, CATHERINE GRIEVES AT HOT HOUSE MUSIC, THE BRYN MEADOWS HOTEL
A VOX PICTURES PRODUCTION FOR THE CINEMATIC SCHEME BFI BBC FILMS EDICIS FFILM CYMRU WALES SODA PICTURES S4C
INTERNATIONAL SALES VISIT FILMS
@JUST JIM PRODUCTIONS