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Home , Alicia Vikander, Aml Ameen, Beatriz at Dinner, Claudine (book series), Colette, Denise Gough

PRODUCTION NOTES

Runtime: 111 Mins

Australian Publicity Contact: Transmission Films | Amy Burgess, National Publicity Manager [email protected]

THE CAST

Colette...... Willy...... Missy...... Sido...... Georgie Raoul-Duval...... Eleanor Tomlinson Jules...... Robert Pugh Veber......

THE FILMMAKERS

Directed by...... Screenplay by...... , Wash Westmoreland, Story by...... Richard Glatzer Produced by...... , ...... Pamela Koffler, ...... Michel Litvak, Gary Michael Walters Executive Producers...... Svetlana Metkina, Norman Merry, Mary Burke Co-Producers...... Caroline Levy ...... Ildikó Kemény, David Minkowski Director of Photography...... BSC Editor...... Lucia Zucchetti ACE Original Music by...... Thomas Adès Production Designer...... Michael Carlin Music Supervisor ...... Karen Elliott Costume Designer ...... Andrea Flesch Hair & Make-Up Designer...... Casting by...... Susie Figgis

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SHORT SYNOPSIS

Unconventional country girl Sidonie-Gabrielle has married charismatic egomaniacal man of letters, fourteen years her senior, known by the single name, ‘Willy.’ Through his auspices, Colette is introduced into the fecund world of the artistic demimonde in where her creative appetite is sparked. Ever quick to capitalise on talent, Willy permits Colette to write her only if she does so in his name. The phenomenal success of her series makes Willy a famous writer and Colette and Willy the first modern celebrity couple. Although they are the toast of the town, lack of recognition for her work begins to gnaw on Colette. Their marriage starts to internally combust, fueled by Willy’s infidelities and Colette’s growing interest in women - particularly her relationship with the non-conforming Marquise de Belbeuf - but emotionally and artistically, she cannot break free of him. On a downward slide, Willy resorts to increasingly desperate measures to pay his debts and sabotage his wife but Colette is developing resources of her own! Set at the dawn of the modern age, COLETTE is the story of a woman who has been denied her voice by an overbearing man, going to extraordinary lengths to find it.

LONG SYNOPSIS

After falling in love with and marrying a Parisian man of letters, widely known by the single name, “Willy” (Dominic West), Sidonie-Gabrielle Colette (Keira Knightley) is transplanted from the tranquil environs of rural, 1890s France to the bustling streets and flourishing salons of turn of the century Paris. Colette adapts to her new life and is absorbed into the intellectual, literary and artistic world of her husband, although she

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struggles to accept his extra marital affairs. Willy runs an editorial workshop, or factory, where a gaggle of ghost-writers produce fiction under his nom-de-plume. Eventually, Colette herself becomes one of Willy’s “”, penning a semi- autobiographical about a 15-year-old country girl named Claudine. On publication, it becomes not only a huge bestseller but an astonishing cultural sensation, defining a new archetype of the modern age - the teenager. Willy and Colette become the Belle Époque equivalent of a celebrity couple; their personal lives and their sexually adventurous scandals all fueling the subsequent novels. A marketing genius, Willy uses the brand of Claudine to sell ancillary merchandise - from candies to soap - but his refusal to acknowledge his wife’s authorship puts a tremendous strain on their marriage. Colette forms a relationship with the non- conforming aristocrat, the Marquise de Belbeuf or “Missy” (Denise Gough), who pushes her to claim her own artistic voice. But Willy is determined to keep his hold over her and use every psychological weapon in his arsenal to prevent her from breaking free. When she eventually does, he is eclipsed, and Colette is set on the path to becoming one of France’s most famous and beloved literary figures.

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ABOUT THE PRODUCTION

Sidonie-Gabrielle Colette has been a source of inspiration and fascination for countless readers ever since she first rose to fame — and infamy — in early 20th century France. Although Colette’s semi-autobiographical Claudine novels were ghost-written for her exploitative husband, Henry Gauthier-Villars (or ‘Willy’), she broke free of the relationship and became a sensation on her own terms. Chéri (1920) and (1944) were written under her own name and went on to become beloved novels, the latter of which was adapted into a now iconic musical by MGM in 1958. Unafraid to expose elements of her sometimes-scandalous personal life through thinly veiled fiction, Colette was, says writer/director Wash Westmoreland, “well ahead of the curve.” For almost two decades now, Colette has fascinated and inspired the Yorkshire-born Westmoreland. “For many years I worked with my partner Richard Glatzer, developing scripts and directing together,” he says. “We were co-writers, co-directors and life partners. It was around 1999, Richard started reading a lot of Colette - both her fiction and various biographies - and he got me reading her too. We realized there was a great movie in there, especially if you focus on her first marriage: It was a really pivotal time, the beginning of the modern age - a tectonic shift was happening in gender roles; women were demanding more power in all areas of life and men were resisting, with all their might. All that seemed to be represented through this marriage of two tremendous characters: Colette and Willy.” Eighteen years later, after achieving critical praise for bold and affecting dramas like Quinceañera (2006) and (2014), Westmoreland has finally brought Colette’s story to the big screen with his most ambitious movie yet, though it is also his first solo directing credit on a feature. Sadly, his partner Richard passed away due to complications from ALS on 10 March, 2015, just two weeks after he saw his Still Alice star win an Oscar for her brilliant performance as a woman suffering from early onset Alzheimer’s disease. “Colette is a fantastic story that I thought was so relevant,” says Pamela Koffler of , which produced Westmoreland and Glatzer’s previous two movies, as well as Colette. “I also felt it was about a very well-known artist whose real story I don’t think a lot of people truly know.”

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For producer Elizabeth Karlsen of , the story’s biggest appeal was that “it is a female-driven narrative, about a woman who was incredibly important in terms of the history of women’s literature and politics. She questioned social mores, sexuality, gender. She was a game-changer.” But, Karlsen adds, “it is funny as well, with a lot of wit and warmth.” It is certainly a subject that Westmoreland holds close to his heart, having developed it for so long in partnership with Glatzer. For Keira Knightley, the Oscar-nominated Westmoreland chose to embody Colette, his passion for the project was nothing less than inspiring. “Wash’s attachment to Colette is huge,” she says. “Huge, huge, huge. His love of her is absolute. I think he has a personal connection with her, and that level of passion is rare in a director — or in anyone really. Just the fact that he’d stuck with this project and he had this history with it… You couldn’t help but be impressed by that.”

WRITING COLETTE

Westmoreland and Glatzer travelled to France in the summer of 2001 to start writing the first draft of a script originally titled, “Colette and Willy”. The plan was to work in a Parisian apartment they’d borrowed from a friend, but when the pair arrived they found it had actually been rented out. “We didn’t have anywhere to stay, and then this other friend of ours said, ‘Oh, I have a little place in the country. It’s very isolated. You can go there if you want,’

Westmoreland relates. “It turned out to be a dilapidated 15th century manor house with a big mill pond and a bell tower - with bats in it! It was amazing. No internet, no TV. It was really off from technology. And so, in that silence we managed to write the first draft in 10 days. It came out very fast and very focused.” Westmoreland and Glatzer were careful not to announce they were working on a film about Colette. “Because, you know: who are these two outsiders coming into France, claiming this French national heroine?” laughs Westmoreland. But they did tell the friend who’d lent them the manor house, who then mentioned what they were doing to her aunt, who turned out to be close friends with Anne De Jouvenel — none other than Colette’s grand-daughter. “So the one person we mentioned it to in the whole of France led us to the controller of the Colette estate in one move,”

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Westmoreland marvels. “Next thing we know, we’re in Paris having a cup of tea with the Baroness De Jouvenel. We became friends with her and she’s blessed the project with the estate’s approval and given us the use of all the Colette writings that appear in the script. Which was obviously a huge gift.” Yet that didn’t make fine-tuning the script any less challenging for Glatzer and Westmoreland, a process that would take another 16 years and 20 drafts. “Every year we’d keep trying to hone down the story, because there was so much information, and often life doesn’t fall naturally into a nice, three-act structure. Figuring out how to tell the story in a way that worked as a feature film was a monumental task.” They took inspiration, Westmoreland says, from Colette herself. Namely the way she was unafraid to tweak, reorder and whittle the messy details of real life for the benefit of good drama. “Everything in the story is based on a true event, but sometimes you have to change some details in order for the story to work.” For example, they created more of an overlap between Colette’s break-up with Willy and the development of her relationship with Mathilde de Morny, Marquise de Belbeuf — known as Missy — a lesbian who adopted male dress and attitudes. “It worked narratively and conceptually for these two characters, Willy and Missy, to impact one another more directly.” As the script gradually evolved, Westmoreland and Glatzer wrote and directed three other films but, says Westmoreland, “Colette was always on our minds.” After Julianne Moore’s triumph at the , Westmoreland wondered what they should do next. Glatzer, whose condition was so advanced by now that he was hospitalised and could only communicate by using an iPad text-to-voice app with one of his toes, was certain of the answer: “C-O-L-E-T-T-E,” he slowly typed. “‘Okay’ I said, ‘This is what we’re doing next.’” Glatzer died just a couple of weeks later. “It was a very difficult, very dark time and I was in deep grief but the movie gave me something to focus on,” says Westmoreland. “I decided: ‘I want to make Colette to extend his legacy, and I want to use the connection I had developed with him to creatively and artistically shape this film in the present tense.” Naturally, Westmoreland felt the absence of his partner keenly, in the writing process as much as anything else. “I was just struggling on my own,” he admits. Producer Elizabeth Karlsen suggested to Westmoreland and Koffler that he consider taking on a new co-writer to help him reach the final draft. “I knew we had to tread

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very carefully, because it was so sensitive for him,” she says. “I know he was very nervous, because obviously that relationship with Richard had spanned two decades.” Westmoreland’s initial reaction was, “No, no, never. Not in a million years!” But Karlsen and Koffler gently persisted and asked him simply to look at a list of potential collaborators. “First person on the list was Rebecca Lenkiewicz,” recalls Westmoreland. As the screenwriter of Pawel Pawlikowski’s Ida, he was well aware of her work - the movie had been awarded the Best Foreign Language Film Oscar the same night as Moore’s win for Still Alice. “I loved Ida so much, so I was like, ‘Oh let’s meet’. I was in L.A and Rebecca was in , so we really had a Skype relationship for quite a few months. But we immediately started vibing on each other’s ideas. She brought so much to it, just untold inspiration, freshness, insights… a much-needed woman’s perspective. She was a tremendous collaborator. And still is.”

CASTING COLETTE

Unsurprisingly, the first conversation about casting the film concerned the title role. And it wasn’t exactly a long conversation. “Keira Knightley is an obvious choice for Colette,” states Westmoreland. “Because she has a combination of incredible intelligence, wit, and an innate understanding of playing period characters; she’s the right age to play a woman going from 19 to 34; and you can believe her as an author. Keira is one of the few people who combines all the qualities that Colette would need.” Koffler agrees wholeheartedly. “Keira projects a tremendous amount of intelligence and wit,” she says, “but I also think she was able to dial that down into the early Colette, and believably be this lovely, smart, nature-loving soul who could hold her own in Parisian society when that became her new world.” Karlsen says they went straight to Knightley, “and fortunately Keira said yes”. It helped, too, that the star is so popular in Colette’s homeland. “Taking on a French icon in an English-language movie is quite a terrifying challenge,” says Karlsen. “But Keira is adored in France, and she feels very European.” Westmoreland recalls his and Knightley’s first-ever conversation, which happened under rather tense circumstances: over FaceTime, at midnight, while he was at a party in Shanghai during the Shanghai Film Festival. “I’m like, ‘Oh my god, here’s Keira

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Knightley on my iPhone,’ and then I looked up in the corner of the screen and it said 20 percent battery. I was like, ‘Oh Hell, my whole life is just pivoting on this moment’. So I was talking and thinking even faster than usual, and we had this great, immediate connection. Then I looked up and saw I had two percent left, so I gave her the final pitch: ‘You will do this character better than anyone else alive’. And Keira said, ‘Yes! Why not? Let’s do it!’ and the phone died. I was just looking at a black screen in my hand, my jaw open, going: ‘I don’t believe that just happened’. Because it’s so unlikely that a star of her magnitude will agree to sign on so readily, so instantly…So that was a little miracle that happened.” And why was Knightley so keen to play Colette? She laughs, “I just thought she was cool.” Of course, it went deeper than that. “I thought she was really interesting, and I thought the relationship between her and Willy was fascinating. There was a real ring of truth to it that I felt like I, as a woman having been in relationships with men and having worked with men, could really tap into.” She and Westmoreland “clicked straight away,” she says, “He very much had a vision that was clear, and it was in the script, and was something we could all hold on to, and that was great.” The other crucial piece of casting was the character of Willy. It required an actor who could embody both Gauthier-Villars’ significant charms as well as his equally significant flaws. “Susie Figgis, our casting director, brought up Dominic West, who was doing Dangerous Liaisons in the West End at the time, so it was quite easy to go and see him and recognise an overlap with certain qualities Willy had: a sort of rambunctiousness, confidence and the famous charm, which Willy used to cover his despicable actions. It was a very inspired stroke of casting.” “You want an actor who won’t shy away from playing a character who’s not a great guy,” says Koffler, “but who’s so charming and witty and very smart and lovable in his own way. Dominic is just that incarnate.” West himself is not so sure of the similarity, however. “Most people don’t know who the hell Willy was, but those that do know he had quite a famous silhouette. He was bald, with a beard and a top hat and he was really fat. So I don’t know why they thought of me: svelte, young, athletic…” He laughs. West may share little with Willy physically, but there was so much faith in his ability to possess the spirit of Willy, it wasn’t deemed necessary to change his appearance with more than a false beard and a

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fat suit. “There was talk of me wearing a bald cap,” he says, “but then they just slicked my hair back and Wash went: ‘That’s it. We’ll do that.’” Colette is dominated by these two characters, but the fêted couple occupy a thriving and vibrant fin de siècle world of salons and music halls, and to populate it Westmoreland applied a bold and progressive casting philosophy. “I cast an actor who is a trans man to play a cisgender character — Jake Graf as Gaston De Caillavet — and I cast Rebecca Root, who is a trans woman as a cisgender woman [novelist ], which does not happen in period pieces and rarely ever happens in modern narratives,” he reveals. “I also cast Ray Panthaki, who’s Asian-British as Pierre Veber who was white in real life, as well as Johnny K Palmer, who is a black actor, to play another white historical figure, Paul Heon. Again, not a frequent occurrence in period dramas although it’s happened plenty of times the other way around! I just thought there’s something about the time of Colette that was about breaking rules, breaking conventional roles, and opening up the world - the casting of this movie should reflect that…and it just felt right.” The two most prominent supporting roles also needed to be carefully cast. Firstly, the part of Colette’s lover Missy, which went to acclaimed Irish stage actor Denise Gough — who was willing to cut her hair short for the role, despite being lined up to play Harper in on Broadway. “The strength of that performance is so important to understanding Colette’s transformation,” says Koffler. “We needed an actress with extreme chops to pair with Keira in that particular relationship, and Denise is like a thoroughbred. She’s so good. The real Missy was this very interesting combination of brave and self-actualising, but not wanting the spotlight. She’s a quiet but powerful presence in Colette’s life that showed her another way, and Denise was really able to get on that exact wavelength.” “Back then, it was an incredibly courageous thing for a woman to dress as a man - to embrace masculinity.” says Gough. “So Missy was really at the forefront of that movement. I wanted my first proper film role to be something that mattered..” For the role of Colette’s mother, Sido, Westmoreland chose celebrated actor Fiona Shaw, and the power of her performance is a true illustration of precise, perfect casting. “In terms of screen time, Fiona Shaw’s role is not massive, but the impact she has as Sido is enormous,” Karlsen explains. “In just a handful of scenes, the audience needs to understand how she realised she’d produced this daughter who was so different and

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had such great potential. I think Fiona is an instant read. She’s able to communicate with such economy the very strong presence of a character, and that’s what we wanted.”

COLETTE AND WILLY

Colette is the story of a marriage that at its core is exploitative but as with any relationship, there was more to the story. “You needed to see the complexity of their relationship for there to be a real movie here,” says Westmoreland. “The marriage ran the gamut - love, hate, tenderness, perversity, mentoring and rampant exploitation. And much of it played out in the public eye. Colette and Willy functioned in many ways as a modern celebrity couple.” “Clearly there was a great creative urgency to that relationship,” says Karlsen, “and that they both derived a lot from each other’s company. To see Colette go into it aged 18 with a significantly older man and then emerge from it as a young, successful woman who was fighting for agency and independence, that just seemed to be a really dramatic story.” While he lacked the creative writing talent of Colette, Willy was a highly innovative marketeer. He saw great commercial potential in the Claudine stories, and turned them into a brand with a wide range of merchandise, including perfumes, make-up and soaps, that, as Colette jokes in the film, made Claudine “literally a household name”. “He was a big celebrity at the time,” says Dominic West. “He was an impresario. He created a brand — hence the reason he’s got little statuettes all over his study — and he played a part in this theatre which was Paris at the turn of the 20th century, the centre of the world culturally.” It was he who encouraged Colette to use details and events from their own, personal life — including one episode in which they were both having an affair with the same woman — in the Claudine books. He embraced scandal, and understood how to manipulate publicity. “Willy was like Malcolm McLaren,” explains Westmoreland. “He believed the more outrageous they were, the more the public would lap it up. And for a while, it was commercially very successful. People were fascinated.”

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Colette and Willy lived “on the brink of modernity,” says Koffler. “He clearly saw that and felt it and had a very strong impulse to capitalise on it. And there’s a cost to that: someone’s exploited.” Willy is, West points out, “the villain of the piece. In many ways he’s a leech and a chauvinistic manipulator. But he’s incredibly likeable and very good company. So it’s trying to find that in the villainy.” Keira Knightly, however, doesn’t see him as the ‘bad guy’. “I don’t think Willy’s a villain,” she states. “I think you have to not hate him to understand why Colette stays with him as long as she does. I know quite a few people like him. They can behave horrifically and yet there’s a charm or there’s a humour that means they can get away with it — at least for a while.” But the film is less a ‘battle of the sexes’ than, as Karlsen puts it, the story of “a woman who could not be put down and stopped, so the structures of the patriarchy couldn’t contain her.” “She took some life decisions that were quite astonishingly radical,” says Westmoreland. “She’d go on stage as a way of claiming her voice. She’d reveal her left breast at the height of the play Flesh, at a time when women were still debating whether to show some ankle. Colette was fearless.”

COLETTE’S WORLD

Bringing the story of Colette and Willy to vivid life, and recreating Paris during the rich and remarkably eventful era of the Belle Époque, proved to be a great challenge for Westmoreland. Not only because it was his biggest film to date, but also because it was his first without Richard Glatzer at his side. “It was very hard, and a very emotional process,” he says. “It was particularly moving to see a scene come together that I know Richard wrote in 2001, with his lines and his words. But I didn’t feel excessively like I was on my own. I felt like I still had this Richard in my head who was contributing — and sometimes arguing with me! So I felt like it was an extension of the way we worked together, rather than a change of gears. “However, the demands of it were so much greater than anything we’d done before,” Westmoreland continues. “It’s not just about Willy and Colette’s relationship at

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in their apartment. It’s very much about how they affected the world. So they needed to go out to salons, they needed to walk down streets, they needed to go to theatres, she needed to perform in the music hall. There were all these things in the Colette story that expanded the budget, and it was a very challenging to stay within the budget. We were trying to make a film that looks like we had three times the money we had. Just filming a horse and cart trotting down the street in 19th century Paris requires the entire budget for our 2005 movie Quinceañera! So we had to always be very resourceful and figure out how to produce miracles on a daily basis.” To help him achieve these miracles, Westmoreland gathered a first-class team, including costume designer Andrea Flesch (The Duke Of Burgundy, The Childhood Of A Leader), director of photography Giles Nuttgens (Hell Or High Water) and production designer Michael Carlin (The Duchess, In Bruges). Carlin says it was invaluable to them all to have a director who was so deeply in touch with his subject. “He knows a tremendous amount about Colette and her life. Often as a designer I’m providing a lot of background information about where we are and what’s going on, but Wash came to the job incredibly informed, which was a big shortcut into everything.” Westmoreland and his team were able to reconstruct rural France in the English countryside of Northamptonshire and Oxfordshire, and naturally filmed in Paris itself — but only for a few days and for exterior shots which required many 21st century elements to be digitally removed. “There was no way we could have made a film in Paris even with twice as much money,” explains Carlin. “I think everyone was expecting to find a lot more ‘old Paris,’ but it’s just not there anymore. It’s almost there; you can look across the river and see the silhouette of the city. But you get in close and it’s very different.” So to fully realise their vision of the city from the 1890s through to the 1910s, he and Carlin found the ideal location in Budapest, Hungary, where they shot on location as well as Origo Studios, where they created Willy and Colette’s apartment. “There’s this very nice historical circumstance that, in the late 19th century, Budapest deliberately emulated Paris,” explains Westmoreland. “In the 1890s they redesigned the city along the Parisian model - with its own Champs Elysées known as Andrassy. And because of Hungary’s economic struggles, a lot of locations were not fixed up or refurbished, which was crucial. So we found we had access to acres of bygone aristocratic real estate that we could use for our interiors. They even have the

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Moulin Rouge in Budapest. It was copied from Paris’ , but half the size. But it hasn’t been redone like the one in Paris so it worked perfectly.” “Willy and Colette had a really colourful life,” adds Carlin, “so there are lots of theatres, lots of salons, lots of restaurants and cafés… We were adapting many different spaces in Budapest. And it’s easier making a metropolitan period film in a place like that. If you want to cover half an acre of street with fake cobbles and horse manure, then you can get permission to do it.” Keira Knightley loved the experience of shooting in Hungary. “It’s a beautiful country,” she says, “and we were really lucky to shoot there.” Her only complaint was the unbearable heat, with the capital hit by a 40-degree heatwave during the summer of 2017. “We were shooting a lot of day-for-night, so when you black out all the windows and light a lot of candles and you pretend it’s night-time, it gets infinitely hotter. The boys had it worse, though, because they were in tweed. And because Dominic was wearing a fat suit, they actually had to build him an entire cooling system in his costume, where he had to plug in a bag and it would pump round cold liquid to cool him down.” Beyond dealing with unexpectedly high temperature levels, recreating an era like the Belle Époque comes with its own creative pitfalls: it’s so well-known, there is the danger of veering into clichés like the can-can and the Folies Bergère. “There’s a certain ‘frilly’ image to the Belle Époque that feels a little cliched,” says Westmoreland. “What we wanted to do was bring out all the modern elements of the story and show the impact of new technologies. Our goal was to make a film that was set in the past but allowed the modern-day viewer to experience it as though it’s the present. So you feel the excitement of the inventions and the new ideas and the sense that Paris was the centre of the world, where all these incredible artistic personalities were flowering.” Westmoreland says he was particularly influenced by the films of German director Max Ophüls, such as Le Plaisir (1952) and The Earrings of Madame de… (1953). Not simply because Ophüls was “the grand master of the Belle Époque,” as he puts it. Westmoreland was more inspired by the way he presented his characters visually and captured them on camera. “His heroines will just glide through their scenes. Rather than having a big, wide shot of a ballroom, he’ll follow the character as they weave through the crowd. I thought: ‘this is how I’d like to show the world - perceiving it through our central character’s experience. So when Colette first goes to the salon in

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Paris, there’s a shot that took us a long time to construct, where she’s wandering around this salon seeing everything, that’s very much inspired by Ophüls.” Westmoreland’s kinetic visual approach required many specific demands of Carlin when it came to the set design, especially that of Willy and Colette’s apartment. “It’s a series of rooms that all interconnect, and there’s layers of windows between you and the characters,” says Carlin. “So it was designed to facilitate certain very particular camera movements following her and Willy, and accentuate key moments in the film.” Equally import to the story as the apartment and opulent salons were the music halls where Colette eventually performs. “There are four theatres in the film,” says Carlin, “so we had a lot of theatre sets to design, and a lot of backstage areas to design, which we built into existing theatres in every case.” A single theatre in Budapest would represent multiple theatres in the film. “When you’re in the front of the theatre you’re in Paris. When you’re in the backstage area and on the stage looking one way, you’re in Marseilles. And then when you’re walking through the foyer, you’re in . It was a real Rubik’s Cube.” One of the most difficult sequences to realise was the infamous Dream Of Egypt performance at the Moulin Rouge in 1907, during which Colette shared an on-stage kiss with Missy, sparking a riot in the audience. “That was the most challenging thing to shoot,” says Westmoreland. “We only had one day in there and the coverage was very extensive - you have to convey all the different tensions in the room while you’re seeing this very dynamic performance…and then it all explodes into a riot. We had a small all-woman orchestra, we had Egyptian god Anubis banging the gong up on one of the balconies, we had Keira and Denise doing the dance, we had about 150 period-costumed extras all crammed in there, and about 35 of those were people so we could get to start the fight. It was a big day.” It was a challenge for Knightley, too, who rehearsed the dance intensively with choreographer Alexandra Reynolds (performing to music written by composer Thomas Adès). “Keira just practiced and practiced,” says Westmoreland. “I don’t think she’s done anything as performative in terms of a dance piece on film before. But she aced it.” “It was a really mad dance,” laughs Knightley. “I come out of a sarcophagus, as you do. It was a really mental thing.” She reveals that she and Westmoreland took inspiration from the scene in Fritz Lang’s 1927 science-fiction masterpiece Metropolis where the robotic Maria (Brigitte Helm) makes her first appearance. “It’s really out

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there,” says Knightley. “She is semi-naked, and the movement is just nuts in it. So we said, ‘we should base it a little on that, because it would be interesting to do something that’s so crazy in the confines of what’s seen as a period film, a genre that has certain ways of behaving and certain styles that dances should be’. To break out of that, I thought, was really interesting.” During post-production, another crucial element of Colette’s world materialized in the score. Thomas Ades is one of the UK’s most esteemed composers and is well known for his ground breaking and contemporary orchestral pieces but he has never done a film score before. A long time friend of Westmoreland’s, Ades had become the go-to consultant for the music of the salons during the film’s prep period. “I would email Tom and say, “What would they be listening to in the salon..? What piece of music do you think would work for this sequence? And he always came back with the most fantastic suggestions.” As the conversation grew, the two naturally started to talk about the prospect of Tom taking on the score. “I didn’t want an anonymous anodyne period film score,” says Westmoreland, “Tom’s idea was that the music are out of the composers of the time - from Ravel to Saint Saens to Debussey to Satie. And it works beautifully - it shows the radical innovations that were taking place in music at the time.”

COLETTE NOW

The completion of Colette represents the conclusion of a long, emotional and personal journey for Wash Westmoreland. He’s held no other film project so close, for so long. Over the years, he and Glatzer even came to identify with their subjects, he admits. “I think whenever you write someone in a screenplay you find a way of relating to them. And for us as a pair of co-writers it was interesting to look at Colette and Willy as a writing relationship… Of course there was a squabble about who was Colette and who was Willy!” he laughs. “That one never got resolved…” There is no doubt that Westmoreland finds much to admire in Sidonie-Gabrielle Colette, and confirms she’s a source of inspiration in his own life. “She was a survivor. She just kept going. She broke through and stayed true to her artistic voice. Those are things I try to do. So I’d say I’ve learned a tremendous amount from Colette during this whole process.”

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He hopes the audience for his and Glatzer’s film will also find something to learn from. “Colette’s life is just a very inspiring story,” he says. “And I think stories can change the world. With Colette I feel like there’s an inspiration in it that’s very much in tune with today’s #metoo movement. It’s about a woman overcoming oppression and claiming her voice - the parallels are obvious.” “The struggle of the under-represented and the disempowered being heard is a big theme,” says Pamela Koffler. “Women have started to seize some power, and the story of who holds the power, and how that power causes the story to be written in a certain way, is what’s happening right now. I think our story is just another example of exactly that, but from a hundred years ago. And I think that will resonate.” “It’s a film about a woman finding a voice, and using that voice, and having an impact, and that does definitely feed into that discussion,” says Elizabeth Karlsen. In Colette’s case, the ownership of that voice was taken by her husband. With ‘Me Too’, women finally have a platform and are being listened to, and are being believed. So the two are definitely related. Plus, I think women are just starved of seeing themselves in all their brilliance and all their flaws on-screen.” Denise Gough agrees, “There are so many women in history who we know nothing about,” she says, “because their stories are not really seen as things that can sell movies. I’m seeing signs that sort of thing is starting to change.”

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CAST

KEIRA KNIGHTLEY – COLETTE

Keira Knightley is internationally renowned for her unbridled commitment to her art and for challenging herself with each new role.

In 2018, Keira will be seen in Wash Westmoreland’s COLETTE; James Kent’s THE AFTERMATH co-starring Alexander Skarsgard and Jason Clarke; BERLIN, I LOVE YOU, the anthology of shorts co-directed by 8 directors including Dianna Agron, Peter Chelsom and Fernando Eimbcke; as well as Disney’s AND THE FOUR REALMS co-directed by Lasse Halstrom and Joe Johnston, co-starring Morgan Freeman and in which she stars as the ‘Sugar Plum Fairy.’

Currently, Keira is in production on Gavin Hood’s OFFICIAL SECRETS; starring opposite Matt Smith.

Recently, Keira was seen in ’s , co-starring opposite . For her performance as ‘,’ she earned Academy Award, BAFTA Award, Golden Globe Award and Screen Guild Award nominations in the category of Best Supporting Actress.

Her work also includes a trio of collaborations with for films PRIDE ANDPREJUDICE; and . Her critically acclaimed portrayal inPRIDE AND PREJUDICE garnered her Academy Award and Golden Globe nominations for Best Actress in a Leading Role; and she was also nominated for a BAFTA Award and Golden Globe Award for her performance in ATONEMENT.

Keira has also starred in the worldwide box office blockbuster hit, Disney’s PIRATES OF THE CARRIBEAN, starring opposite and , starring as ‘.’ The franchise of films includes PIRATES OF THE CARRIBEAN: THE BLACK PEARL; : DEAD MEN’S CHEST; PIRATES OF THE CARRIBEAN: AT WORLD’S END; as well as the the latest instalment, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES.

Additional film credits include Patrice Leconte’s INNOCENT LIES; ’ STARWARS: EPISODE 1 - THE PHANTOM MENACE; ’s ; Gillies MacKinnon’s PURE; ’ , Antoine Fuqua’sKING ARTHUR; Francois Gerard’s SILK;

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Saul Dibb’s THE DUCHESS; ’s ; Mark Romanek’s ; ’s LAST NIGHT;’s ; ’s BEGIN AGAIN; ’s : SHADOW RECRUIT; ’s ; Baltasar Kormakur’s EVEREST and David Frenkel’s .

Kiera made her debut in the BBC TV series SCREEN ONE and went on to appear in several other BBC dramas, including , THE MUSIC PRACTICE and OLIVER.

In addition to her work in both television and film, Keira has appeared on transatlantic stages. She made her West-End theatrical debut in ’s , for which she received a Award nomination for Best Actress in a Supporting Role. She went on to appear in Ian Rickson’s THE CHILDREN’S HOUR and made her Broadway debut in Even Cabnet’s THERESE RAQUIN.

DOMINIC WEST – WILLY

DOMINIC WEST has successfully combined a career in both the UK and the U.S., with leading roles in international film, American television and on the London stage. After graduating from Trinity College and then from the Guildhall School of Music and Drama in London, West won the Ian Charleson award for Best Newcomer for his performance in Sir ’s production of .

A very successful film career soon followed with West winning leading roles in studio movies including 28 DAYS opposite ; MONA LISA SMILE with Julia Roberts; and THE FORGOTTEN with Julianne Moore. He also starred as Theron in Warner Bros’ 300. Further credits include CHICAGO, A MIDSUMMER NIGHT’S DREAM, TRUE BLUE, HANNIBAL RISING, ROCK STAR, THE PHANTOM MENACE, SURVIVING PICASSO AND RICHARD III.

In 2000, he won the role of McNulty in HBO’s , one of the most critically acclaimed television programs ever made in the U.S. The show ran for five seasons, with West directing an episode in the final season.

His theatre credits include ’s production of Harley Granville Barker’s THE VOUSEY INHERITANCE at the ; ’s West End production of in which he starred opposite Helen McCrory; and

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Trevor Nunn’s West End production of ’s most recent play, ROCK N’ROLL, which opened to huge plaudits at The in summer 2006.

In 2008 he played in ’s BAFTA-nominated television series THE DEVIL’S WHORE. He then went on to do Pedro Calderon de la Barca’s at the in London, followed by CENTURION directed by and also starring .

Dominic starred in the 2011 film THE AWAKENING, the box office hit JOHNNY ENGLISH REBORN, ITV’s critically acclaimed mini-series for which he won a TV BAFTA in May 2012, as well as THE HOUR by Abi Morgan for which Dominic was nominated for a Golden Globe. On the stage in 2011, West captivated audiences as the title role in at the , as well as sharing the stage with his “Wire” co-star in at the Crucible Theatre in . 2012 saw Dominic reprise his role as Hector Madden in the second season of THE HOUR and he starred in the new play at The Royal Court, THE RIVER which opened in October 2012.

In 2013 Dominic returned to Sheffield to appear in at The Crucible. He then went on to film as in a BBC4 drama, starring opposite as . 2014 saw the release of Matthew Warchus’ PRIDE which opened at the Cannes Film Festival too critical and audience acclaim, and alongside . He also appears in the Golden Globe Winning US series THE AFFAIR alongside , Maura Tearney and Joshua Jackson, which he reprised this summer. In 2015 Dominic completed filming on the feature film MONEY MONSTER directed by , in which he stars alongside , Julia Roberts and Jack O’Connell.

The start of 2016 saw Dominic finish his run alongside Janet McTeer in ’s LES LIAISONS DANGEREUSES directed by Josie Rourke for the Donmar Warehouse. He then went on to shoot Ruben Ostlund’s THE SQUARE before returning to the third season of the Showtime hit THE AFFAIR.

2017 has seen Dominic star opposite Alicia Vikander in the remake of .

DENISE GOUGH - MISSY

Irish actress Denise Gough made headlines dominating column inches in 2015 starring in Duncan MacMillan’s award-winning play, PEOPLE PLACES THINGS, which

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earned her an Olivier Award and a Critics Circle Theatre Award for ‘Best Actress’. Her central performance, hailed as a ‘tour de force’, united critics who heaped praise on her harrowing portrayal of a young addict in rehab. The play, directed by , transferred from the National Theatre to the West End Wyndham’s Theatre. It fast became the hottest ticket in town, so much so that it premiered in New York last year at St Ann’s Warehouse for a limited run from October 19 to November 19. It’s a role that firmly positioned Denise as one of the most promising actors of her generation.

Also in 2017, Denise returned to the National Theatre for a production of ’s multi-award winning two-part play ANGELS IN AMERICA (PART ONE: MILLENIUM APPROACHES AND PART TWO: PERESTROIKA) The play, set in the mid-1980s in the midst of the AIDS crisis and a conservative Reagan administration, shows New Yorkers grappling with life and death, love and sex, heaven and hell. The production is directed by Olivier and Tony award-winning director Marianne Elliott (THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME and WAR HORSE) and Denise starred opposite , Nathan Lane, James McArdle and Russell Tovey. The well-received production is moving to Broadway and will begin its 18-week run this spring at the Neil Simon Theatre with Denise returning in her role as “Harper Pitt.”

On the small screen, Denise played the lead role in BBC Two thriller, PAULA. Created by playwright and filmmaker Conor McPherson, in his first original television series, the revenge thriller follows the fallout in a young chemistry teacher’s life after a one- night stand. Directed by Alex Holmes, PAULA was shown as three 60-minute episodes. Denise was also seen in the BBC Two drama APPLE TREE YARD, an adaptation of Louise Doughty’s best-selling psychological thriller, written by Amanda Coe and starring and Ben Chaplin.

Denise’s television presence continued in ’s six-part mini-series GUERRILLA, released in April 2017 in the UK and US. The political drama set in 1970s London follows a couple as they free a political prisoner, start an underground cell and target the Black Power Desk, a secretive counter-intelligence agency that attempted to prevent black activism. Denise had a supporting role in a cast that included executive producer , Freida Pinto, Babou Ceesay and .

Also upcoming, Denise stars alongside in Simon Fellows’ feature film, STEEL COUNTRY. The film follows a small-town truck driver who turns detective when a young boy is found dead in a sleepy part of Western Pennsylvania. His investigations turn into an obsession to prove the boy has been murdered, leading to harrowing consequences.

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Denise’s multi-award-winning stage career is possibly her most impressive achievement to date. 2014 proved to be a pivotal year, as Denise starred in two highly successful productions. Starring alongside , Denise played the Cardinal’s mistress ‘Julia’ in Dominic Dromgoole’s production of , at the Theatre. At The Royal Court, Denise starred in a production of ADLER AND GIBB, a high concept satire on the cult of the artist. Under Tim Crouch’s direction, Denise received rave reviews for her portrayal of student lecturer ‘Louise’.

In 2012, her performance in the Lyric ’s production of DESIRE UNDER THE ELMS saw her win the ‘Most Promising Newcomer’ at the Critics Circle Theatre Awards. Denise also earned a nomination for the Evening Standard Theatre Awards ‘Outstanding Newcomer’ for her portrayal of Annie, in the ’s production of OUR NEW GIRL starring as an Irish nanny with a jealous envy for her host family. Denise’s other theatre credits include The Arcola’s production of THE PAINTER, Conor McPherson’s THE BIRDS, The Royal Court’s OH GO MY MAN and the RSC’s production of AHASVERUS.

Denise’s film credits include ’s , ’s JIMMY’S HALL and the BAFTA nominated ’71 from director Yann Demange. Her television credits include series three of the hugely popular and BAFTA nominated BBC drama, THE FALL starring and . Sky’s hit comedy STELLA, written by Gavin and Stacey and Ruth Jones (also starring) and NEIL GAIMEN’S LIKELY STORIES from director Iain Forsyth.

Outside of her theatrical career, Denise has been an enthusiastic supporter of ERA (The Equal Representation for Actresses) a collective of actresses that want to see women represented on screen, in television and theatre in equal measures as men.

FIONA SHAW - SIDO

Fiona Shaw (CBE) was born in and trained at the Royal Academy of Dramatic Art.

In film, she has worked with a number of international directors, including Alfonso Cuarón ( & THE PRISONER OF AZKABAN), (THE TREE OF LIFE) Bob Raffelson (MOUNTAINS OF THE MOON), Brian DePalma (THE BLACK DAHLIA), (THE BUTCHER BOY) and Jim Sheridan (MY LEFT

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FOOT). She is also known for her comedy performances in THREE MEN AND A LITTLE LADY, SUPER MARIO BROS. and UNDERCOVER BLUES.

In TV, most recently for her television performance on HBO’s .

Fiona has led a number of major productions in New York including, (), (London and Broadway, Tony Nomination), and recently TESTAMENT OF MARY.

In London, she has played in many iconic productions such as (London Critics Award Winner), (for which she won the Olivier for Best Actress and Evening Standard Award), and the controversial RICHARD II at the National Theatre.

Fiona was appointed as a Commander of the Order of the British Empire (CBE) in 2001 for her contribution to film and drama.

She has just finished filming LIZZIE which will launch next year.

ELEANOR TOMLINSON - GEORGIE RAOUL-DUVAL

Screen International Star of Tomorrow 2014, Eleanor Tomlinson was born in London and grew up in Yorkshire. Her acting career began in 2005 when she starred as ‘Little Daphne’ in the TV Movie, FALLING. The following year, Eleanor appeared as the ‘Young Sophie’ in the 2006 award winning film THE ILLUSIONIST alongside Jessica Biel and .

Eleanor furthered her film credits starring as ‘Jas’ in the 2008 hit teenage comedy drama ANGUS, THONGS AND PERFECT SNOGGING alongside Aaron Taylor-Johnson. In 2010, Eleanor played ‘Fiona Chattaway’ in Tim Burton’s Oscar and BAFTA Award winning ALICE IN WONDERLAND, alongside Johnny Depp, Helena Bonham Carter, Mia Wasikowska and . Further to this, Eleanor played ‘Agnes’ in BAFTA nominated TV Movie EINSTEIN AND EDDINGTON with and . Eleanor starred as the female lead, ‘Princess Isabelle’, in Brian Singer’s Hollywood blockbuster, , alongside Nicholas Hoult, Ewan McGregor and . Eleanor also featured in the Italian Golden Globe nominated crime drama, SIBERIAN EDUCATION opposite John Malkovich and as the lead in the STYRIA, opposite Stephen Rae.

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Eleanor starred as ‘Isabel Neville’ in the Golden Globe and Emmy nominated TV Series, THE WHITE QUEEN, a BBC drama about women caught up in the conflict for the throne in 15th Century . The series was also nominated at the 2014 People’s Choice Awards for ‘Favourite TV Movie/Miniseries’. Eleanor was individually recognised and nominated for the ‘British Breakthrough Actress’ Award for this role.

Eleanor’s other television credits include ITV’s POIROT, where she starred as murderer ‘Alice’ in the penultimate episode ‘The Labours of Hercules’, the children’s BBC TV series THE SARAH JANE ADVENTURES and THE LOST FUTURE alongside and Sam Claflin. She has also appeared on stage in I OUGHT TO BE IN PICTURES and in the televised play, THREE ORDINARY WOMEN for Sky Arts. Eleanor appeared in the TV mini-series DEATH COMES TO PEMBERLEY, in the role of Georgiana Darcy. The three-part series broadcast over the 2013 Christmas period on BBC One, where the first episode launched with 5.9 million viewers. Directed by BAFTA winning Daniel Percival, Eleanor starred alongside , Matthew Goode and Anna Maxwell Martin. In 2015, Eleanor was seen in the starring role in the short film, A STRANGER KIND, a surreal comedy horror directed by Oliver Murray.

2016 saw Eleanor starring in the first feature film from acclaimed director Ian Bonhote, ALLEYCATS, a high-octane, action/thriller exploring the underground world of illegal bicycle racing in London. Eleanor starred alongside John Hannah. ALLEYCATS premiered at the East End Film Festival’s Opening Night Gala.

Eleanor is best known for her leading role in BBC One/Masterpiece’s BAFTA award– winning adaptation of Winston Graham’s POLDARK. Eleanor stars as ‘Demelza’, the fiery servant who falls in love with Captain Ross Poldark (Aidan Turner), an Army officer who returns home to Cornwall from the American War of Independence to find his former life in tatters. The series is set in 18th century Cornwall. The first series won the Radio Times Audience Award at the British Academy Television Awards 2016 and Best New Drama at the TV Choice Awards 2015. Last year, Eleanor received a Golden Nymph Award nomination for Best Dramatic Actress at the Monte-Carlo Television Festival for her role as ‘Demelza’. POLDARK was also nominated for Best Dramatic Series. Eleanor is currently filming the fourth series of POLDARK. This year Eleanor will be starring in a CHRISTMAS POLDARK PARODY alongside and Jennifer Saunders. The show celebrated the 30th Anniversary of French and Saunders’ award winning BBC sketch show.

At the end of 2016, Eleanor lent her voice to Margy Kinmonth’s feature documentary REVOLUTION – NEW ART FOR A NEW WORLD which follows artists of the

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Russian Avant-Garde. Eleanor can be heard alongside Matthew Macfadyen, , James Fleet and Daisy Bevan.

This year Eleanor starred in , which tells the story of the final months and mysterious death of artist Vincent Van Gogh. Live action footage has been filmed and is being projected, frame by frame, onto canvas to be painted over in oils in the style of Van Gogh. A total of 60 painters are working to complete the 57,800 oil paintings making up the film. Eleanor stars alongside , Jerome Flynn, Chris O’Dowd, , and Aidan Turner. LOVING VINCENT has been recently nominated in the ‘Best Animated Feature’ for the Critics’ Choice Award 2018. It has also been nominated for ‘Best Motion Picture (Animated)’ for the Golden Globe Awards.

Eleanor has also joined the cast of BBC One’s adaptation of Agatha Christie’s ORDEAL BY INNOCENCE, which examines the psychology of innocence. Eleanor will star as Mary alongside , Morven Christie, Matthew Goode, Ella Purnell and Alice Eve. Eleanor will be starring in COLETTE opposite Dominic West, Fiona Shaw, Denise Gough and Keira Knightley.

ROBERT PUGH - JULES

ROBERT PUGH was born in , South , and trained at Rose Bruford College of Speech and Drama.

His extensive film credits include THE TICHBOURNE CLAIMANT, MASTER AND COMMANDER, THE LAST LEGION, ’s THE GHOST, ROBIN HOOD and HUNKY DORY.

Robert’s equally extensive television credits including TELLTALE, IN A LAND OF PLENTY, PRIME SUSPECT VI, NUREMBURG, LANGFORD, JUSTICE, THE WHITE QUEEN, , THE THIRTEENTH TALE, COMMON and ATLANTIS. He played series lead Judge Coburn in the BBC’s JUSTICE, starred in THE SHADOW LINE, MURDER, as Owain Glendower in Richard Eyre’s HENRY IV PART ONE, ORDINARY LIES, OUR LOVED BOY and DOCTOR FOSTER, all for BBC. Further TV credits include Craster in for HBO, Lord Wynnstay in ITV’s and Jacques De Molay in the forthcoming KNIGHTFALL for History Channel.

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Theatre roles include Vincent in SMALL CHANGE for Birmingham Rep, McMurphy in ONE FLEW OVER THE CUCKOO'S NEST at the Belgrade Coventry, Stanley in at Bristol Old Vic, RISE OF THE CLOUD and WELCOME HOME for Paignes Plough and he appeared in two acclaimed productions at the in London, as Chuck in THE ICEMAN COMETH and Helge in .

Robert’s writing credits include BLACKS & WHITES and HOW GRIM IS MY ALLY for The Old Red Lion Theatre, which he also directed; BALLROOM for the Theatre Royal Stratford East, which he later adapted into a two-hour film for HTV; WE ARE SEVEN the highly acclaimed thirteen-part drama series for HTV and the single drama BETTER DAYS, also for HTV. Most recently Robert co-wrote the BBC television film drama REG with Jimmy McGovern.

RAY PANTHAKI - VEBER

BAFTA 'Breakthrough Brit’ (2014), Ray Panthaki is a British Actor, Producer, Writer and Director, who in 2016 was listed by Raindance as one of the top ten actors/producers in the film industry.

As an actor, Ray has worked with filmmakers such as , and Gurinder Chadha. In 2016 Ray was seen in cinemas as the leading role in the Romantic Comedy ONE CRAZY THING, alongside Daisy Bevan. In 2013 on stage, he led the Royal Shakespeare Company’s production of 's THE EMPRESS, with a performance The Telegraph called ‘engagingly sparky’. His television credits include SPOOKS (2002), BLESSED (2005), (2014) and Scandi- Noir MARCELLA for ITV and , in which he plays the lead alongside .

Aside from acting, in 2006, Ray co-produced cult-hit, BIFA-nominated film KIDULTHOOD starring Nicholas Hoult and Aml Ameen. His film CONVENIENCE (2013), featuring BAFTA winners Vicky McClure and , which he also starred in and solely produced, picked up a BAFTA Cymru in 2014. The success of CONVENIENCE led to the film being acquired by Netflix.

As a director, Ray made his debut with the hard-hitting short film LIFE SENTENCE (2013) about the UK's knife crime epidemic. It went on to win 'Best UK Short' at the East End Film Festival and was subsequently long-listed for a BAFTA. LIFE

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SENTENCE was named by the BFI as one of their ‘Top Ten Films’ of the London Short Film Festival.

Ray has also had success as a writer, with his first TV series DOWN & OUT IN DALSTON optioned and has completed his original script JONESTOWN

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FILMMAKERS

WASH WESTMORELAND - WRITER/DIRECTOR

Wash Westmoreland's last film, the critical and box office success STILL ALICE, starring Julianne Moore was co-written and co-directed with his late husband Richard Glatzer. Released in 2015, the film garnered multiple awards, including a Golden Globe, Academy Award and a BAFTA for Best Actress, as well as the Humanitas Prize for Best Screenplay. Before that, their 2006 movie QUINCEAÑERA won the Audience Award and the Grand Jury Prize at the as well as the Humanitas Prize, and the Spirit Award. COLETTE, a project written with Glatzer, is the first feature film Westmoreland has directed solo. Originally hailing from Leeds, England, Westmoreland earned his college degree in Politics at the University of Newcastle-upon-Tyne, and soon after moved to America to pursue . He currently resides in Echo Park, Los Angeles.

REBECCA LENKIEWICZ - WRITER

Rebecca is an acclaimed playwright whose work has been performed all over the world. She was the first living female playwright to have an original play - the celebrated HER NAKED SKIN, which explored the suffragette movement - performed on the National Theatre’s Olivier stage. Other plays include: SOHO – A TALE OF TABLE DANCERS, THE NIGHT SEASON, SHOREDITCH MADONNA, THE PAINTER, THE TYPIST, THE INVISIBLE, and JANE WENHAM. Adaptations include AN ENEMY OF THE PEOPLE, GHOSTS, THE SOLDIER'S TALE, THE TURN OF THE SCREW, MISS JULIE, and .

Rebecca also writes for film and television. She co-wrote the film IDA with director Pawel Pawlikowski which won the Oscar in 2016 for Best Foreign Language Film, the BAFTA and the SPIRIT awards for the same category and the Best Film award at both the London Film Festival and the Warsaw Film Festival. She has recently written THE SEA CHANGE for to direct which will star Kristin, and Anya Taylor-Joy, co-written DISOBEDIENCE with Sebastian Lelio for Element, Braven Films and Film Four starring and Rachel McAdams, co-written COLETTE with Wash Westmoreland and Richard Glatzer for Killer Films, Number 9 Films and Bold, starring Keira Knightley, Dominic West and Denise Gough. She is now adapting GUNNARS DAUGHTER for producer Angeli MacFarlane/BFI and INTO THAT DARKNESS for Lenny Abrahamson to direct for Element Films. For TV she is adapting THE SECRET ROOMS for Scott Free/BBC for Kevin MacDonald to direct,

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PORTRAIT OF A LADY for Number 9 Films/ Red/BBC, NOONDAY for House/BBC and she is the showrunner under Steve McQueen on a BBC/Rainmark Films drama series. She has written extensively for radio. Her writing is vivid, intelligent and beautifully wrought with a fierce emotional charge.

PAMELA KOFFLER - PRODUCER

Pamela Koffler is an award-winning producer who in 1995 co-founded New York- based indie powerhouse Killer Films with partner Christine Vachon. Since founding Killer Films, she has worked with dozens of auteur filmmakers, producing many of the most celebrated American independent films including Academy Award® winners STILL ALICE, FAR FROM HEAVEN and BOYS DON’T CRY. Other credits include box office hit ONE HOUR PHOTO, the ground-breaking KIDS, HEDWIG AND THE ANGRY INCH, HAPPINESS, I SHOT ANDY WARHOL, DIRTY GIRL, THEN SHE FOUND ME and SAVAGE GRACE. In television, Koffler executive produced the Emmy® nominated film MRS HARRIS in 2005 and the Golden Globe winning miniseries, MILDRED PIERCE for HBO. In January 2017, Killer Films launched the scripted bio-series about the iconic Zelda Fitzgerald for Amazon Studios Z: THE BEGINNING OF EVERYTHING starring Christina Ricci, with whom Killer Films developed and produced the series.

Pamela runs an MFA program in digital storytelling with Vachon for Stony Brook University.

ELIZABETH KARLSEN - PRODUCER

Elizabeth Karlsen is an internationally award-winning producer, who co-founded the leading independent UK based Number 9 Films in 2002 with Stephen Woolley. Together they have produced some of the most celebrated independent films in the US and Europe including: (nominated for 6 Academy Awards®, 6 Golden Globe Awards and 9 BAFTA Awards) LITTLE VOICE (winner of a Golden Globe Award, nominated for 1 Academy Award®, 6 Golden Globe Awards and 6 BAFTA Awards) (winner of an Academy Award®, a BAFTA Award and nominated for 6 Academy Awards®), YOUTH (nominated for 1 Academy Award® and winner of 3 ), (nominated for 3 BAFTA Awards) and MRS HARRIS (nominated for 12 Emmy® Awards, 3 Golden Globe Awards and a PGA Award). She has had multiple films selected for competition in Cannes and premieres in international film festivals including TIFF, LFF and

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Sundance. Other work includes; , directed by Lone Scherfig; THE LIMEHOUSE GOLEM written by and directed by Juan Medina, , written by and directed by , THE NEON BIBLE directed by and BYZANTIUM directed by Neil Jordan.

In addition to film work, MADE IN DAGENHAM: THE MUSICAL opened in London's West End in 2014 starring Gemma Arterton.

Forthcoming releases include an adaptation of Ian McEwan’s best-selling Booker Prize short-listed novel ON CHESIL BEACH, directed by and starring two- time Academy Award nominee, Saoirse Ronan.

Elizabeth has served on the board of EM Media, The Edinburgh Festival and the advisory board of the NFTS Gala and as the chair of Women in Film and TV UK.

STEPHEN WOOLLEY - PRODUCER

Academy Award-nominated and BAFTA-winning producer Stephen Woolley, has produced and executive produced over sixty films in his storied career, including some of the most acclaimed and successful British and International films of the past three decades.

Born in London, Woolley began his career tearing tickets and projecting films at The Screen On the Green, in 1976.

In the late seventies, Woolley owned and ran his own repertory cinema The , in London – then “the hippest movie house in the world”. Woolley then launched Palace Pictures (1982-92) in partnership with Nik Powell, acquiring, marketing and distributing some 250 independent and European movies including: ; PARIS, TEXAS; DIVA; MERRY CHRISTMAS MR. LAWRENCE; BLOOD SIMPLE; WHEN HARRY MET SALLY; THE SNOWMAN and KISS OF THE SPIDER WOMAN. Executive Producer credits from this period include LETTER TO BREZHNEV, PURELY BELTER, LITTLE VOICE, HARDWARE, FEVER PITCH and 24:7.

At the same time, in 1983 Woolley’s long-term filmmaking partnership with director Neil Jordan began with . He went on to produce the multi Oscar-nominated trio MONA LISA starring , MICHAEL COLLINS

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starring Liam Neeson, THE END OF THE AFFAIR starring , as well as INTERVIEW WITH THE VAMPIRE starring and Brad Pitt, and the Oscar- winning THE CRYING GAME, for which Woolley was nominated for an Academy Award and was awarded Producer of the Year by the Producer’s Guild of America. Together they also made THE BUTCHER BOY, THE GOOD THIEF, HIGH SPIRITS, IN DREAMS, THE MIRACLE and BREAKFAST ON PLUTO. During that time, Woolley also produced the multi award-winning SCANDAL, ABSOLUTE BEGINNERS, A RAGE IN HARLEM, SHAG, THE BIG MAN, HARDWARE and BACKBEAT.

As co-founder of Number 9 Films alongside producing partner Elizabeth Karlsen, he recently produced CAROL, an adaptation of Patricia Highsmith's novel adapted by , directed by , starring and , as well as co-producing 's YOUTH starring and – both of which premiered at the 2015 Cannes Film Festival to critical acclaim. CAROL earned Rooney Mara a Best Actress award at Cannes and went on to receive six Oscar nominations, including Best Actress in A Leading Role and nine BAFTA nominations, including Best Film. YOUTH went on to win Best Film, Best Director and Best Actor at the EFA Awards and an Oscar nomination for Best Original Song.

Woolley’s previous Number 9 projects include BYZANTIUM, starring Gemma Arterton and Saoirse Ronan, directed by Neil Jordan; HYENA, by director Gerard Johnson; WHEN DID YOU LAST SEE YOUR FATHER? starring and ; HOW TO LOSE FRIENDS & ALIENATE PEOPLE starring Simon Pegg and ; SOUNDS LIKE TEEN SPIRIT; PERRIER’S BOUNTY starring ; Mike Newell’s GREAT EXPECTATIONS, adapted by David Nicholls and starring Ralph Fiennes and Helena Bonham Carter, and MADE IN DAGENHAM starring and Bob Hoskins, which was nominated for four BAFTAs and was adapted into a West End musical starring Gemma Arterton. In 2005, Woolley made his directorial debut with the acclaimed sixties biopic STONED, the story of Brian Jones, who founded the Rolling Stones.

In addition to film work, MADE IN DAGENHAM: THE MUSICAL opened in London's West End in 2014 starring Gemma Arterton.

Number 9’s most recent UK releases are an adaptation of Lissa Evans’ novel “Their Finest Hour and a Half”, THEIR FINEST, which premiered at the Toronto Film Festival in 2016, starring Gemma Arterton, Sam Claflin and Bill Nighy, and directed by Lone Scherfig and THE LIMEHOUSE GOLEM, which also premiered at TIFF in 2016,

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starring Bill Nighy, Olivia Cooke and Douglas Booth, and directed by Juan Carlos Medina.

Alongside COLETTE, Number 9’s most recent production ON CHESIL BEACH is an adaption of Ian McEwan’s novella of the same name, starring Saoirse Ronan and Billy Howle which had its world premiere at the 2017 TIFF and screened at the 2017 London Film Festival. The film will be released in June 2018.

Number 9 has several productions currently in development, including an adaption of Booker Prize-winner Graham Swift’s “Mothering Sunday” by British BIFA award- winning playwright and screenwriter (LADY ) and THE ASSESSOR by first time feature film writers and Shore Script winners, Mr. and Mrs. Thomas. Also in development is THE EMPEROR OF BATH centered around the three years that Haile Selassie spent in the city of Bath in the 30’s, and Phyllis Nagy’s (CAROL, MRS. HARRIS) biography of entitled SO MUCH LOVE.

Number 9 also has in development its first television adaptations, ’ A PORTRAIT OF A LADY, written by Rebecca Lenkiewicz (IDA) and Jemma Kennedy’s adaption of the Booker prize-winning “The Sea, The Sea” by Iris Murdoch.

Stephen has been a member of the American Academy for twenty-five years and was chairman of the BAFTA Film Committee for ten years.

CHRISTINE VACHON - PRODUCER

Christine Vachon is an Independent Spirit Award and Award winner who co- founded indie powerhouse Killer Films with partner Pamela Koffler in 1995. Over the past two decades, they have produced over 100 films and some of the most celebrated American indie features including: CAROL (nominated for six Academy Awards), FAR FROM HEAVEN (nominated for four Academy Awards), STILL ALICE (Academy Award winner), BOYS DON'T CRY (Academy Award winner), ONE HOUR PHOTO, KIDS, HEDWIG AND THE ANGRY INCH, HAPPINESS, VELVET GOLDMINE, SAFE, I SHOT ANDY WARHOL, and I’M NOT THERE (Academy Award nominated). In television, Vachon executive-produced the Emmy and Golden Globe winning miniseries MILDRED PIERCE for HBO. Other recent work includes: GOAT, WEINER DOG, WHITE GIRL and BEATRIZ AT DINNER. Killer Films recently produced Z: THE BEGINNING OF EVERYTHING starring Christina Ricci for Amazon Studios, as well as Todd Haynes’ latest film, WONDERSTRUCK. They will release 's latest feature, FIRST REFORMED in 2018.

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Vachon is also the director of the MFA program at Stony Brook University.

GARY MICHAEL WALTERS – PRODUCER

Gary Michael Walters is the Chief Executive Officer of Bold Films and is actively involved in all aspects of the company including production, development, distribution and finance.

Bold Films is an independent finance and production company dedicated to providing an artistic haven for creative talent. In early 2004, European industrial mogul Michel Litvak founded Bold Films along with Gary.

Gary serves as Executive Producer on all of Bold Films’ projects, including WHIPLASH, the winner of Sundance 2014’s Audience and Drama Jury Awards in addition to three Academy Awards, which was released by Classics and NIGHTCRAWLER, starring and Rene Russo, which was released by Open Road Films. Both films were recognized for their cinematic achievements with nominations for Golden Globe® Awards, Independent Spirit Awards, PGA Awards, WGA Awards, and SAG Awards.

Most recently Bold produced STRONGER starring Jake Gyllenhaal and Tatiana Maslany. Past Bold Films projects include the critically acclaimed DRIVE starring and , for which Nicolas Wending Refn won the Best Director Award at the 2011 Cannes Film Festival; the Golden Globe Nominated Robert F. Kennedy drama BOBBY, featuring a star-studded ensemble cast that included , Sharon Stone, Shia LaBeouf, Demi Moore and ; and action thriller NO ESCAPE, which starred Owen Wilson, and Lake Bell.

MICHEL LITVAK – PRODUCER

Michel Litvak is the Chairman of Bold Films.

Bold Films is an independent finance and production company dedicated to providing an artistic haven for creative talent. In early 2004, Litvak founded Bold Films along with Gary Michael Walters.

Michel serves as Producer on all of Bold Films’ projects, including WHIPLASH, the winner of Sundance 2014’s Audience and Drama Jury Awards in addition to three

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Academy Awards, which was released by Sony Pictures Classics and NIGHTCRAWLER, starring Jake Gyllenhaal and Rene Russo, which was released by Open Road Films. Both films were recognized for their cinematic achievements with nominations for Golden Globe® Awards, Independent Spirit Awards, PGA Awards, WGA Awards, and SAG Awards.

Most recently Bold produced STRONGER starring Jake Gyllenhaal and Tatiana Maslany. Past Bold Films projects include the critically acclaimed DRIVE starring Ryan Gosling and Carey Mulligan, for which Nicolas Wending Refn won the Best Director Award at the 2011 Cannes Film Festival; the Golden Globe Nominated Robert F. Kennedy drama BOBBY, featuring a star-studded ensemble cast that included Anthony Hopkins, Sharon Stone, Shia LaBeouf, Demi Moore and Martin Sheen; and action thriller NO ESCAPE, which starred Owen Wilson, Pierce Brosnan and Lake Bell.

CAROLINE LEVY - CO-PRODUCER

Caroline Levy worked in factual television on many award-winning documentaries for over 13 years, before crossing over to work in Film in 2000. Since then she has worked as a producer and line producer on a wide variety of films including , HORRID HENRY THE MOVIE, THE SWEENEY, WALKING ON SUNSHINE, EX MACHINA, BROOKLYN, THE LIMEHOUSE GOLEM, ON CHESIL BEACH, COLETTE and currently in production, RADIOACTIVE.

GILES NUTTGENS, BSC - DIRECTOR OF PHOTOGRAPHY

Giles was one of the youngest documentary film cameramen in the BBC working at Bristol until leaving to shoot his first feature for Film Four International in India at the age of 28. After followed several years working for Lucasfilm on the YOUNG INDIANA JONES series until he became the second unit DP for : EPISODE I THE PHANTOM MENACE.

Alongside this, he started his collaborations with shooting her trilogy; FIRE, EARTH AND WATER, which was nominated for the Best foreign language film Oscar. He also worked with David Mackenzie on the critically acclaimed YOUNG ADAM, and with the directing partners David Siegel and Scott McGehee on THE DEEP END, starring , which won best photography at the Sundance Film festival.

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His last film with David Mackenzie, his seventh, HELL OR HIGH WATER was nominated for an Oscar in best film category.

Other credits include: WHAT MASIE KNEW, with Julianne Moore; DOM HEMI NGWAY, starring ; and , also for David Mackenzie; MIDNIGHT’S CHILDREN from the best seller from ; YOUNG ONES from Jake Paltrow (also premiered at Sundance).

The latest pictures Giles has worked on are COLETTE, directed by Wash Westmoreland, and GRAIN, a dystopian epic shot in Turkey on black and white 35mm, due for release early 2018.

MICHAEL CARLIN - PRODUCTION DESIGNER

Production Designer Michael Carlin studied sculpture in Perth and Sydney and practiced as a fine artist before moving to London in the late 1980s to pursue a career in film.

He worked in various capacities on independent films such as 's THE COOK, THE THIEF, HIS WIFE AND HER LOVER; Richard Stanley's DUST DEVIL; and Iain Softley's BACKBEAT and designed music videos and commercials.

Michael’s first film as a production designer was on David Evans' 1997 adaption FEVER PITCH, starring Colin Firth. He’s worked on many films since then including Kevin Macdonald's THE LAST KING OF (2006); IN BRUGES for Focus Features and director Martin McDonagh in 2008, also starring and Ralph Fiennes, and THE EAGLE, his second collaboration with director Kevin Macdonald which he worked on in 2011. Whilst working with director on THE DUCHESS in 2008, which starred Keira Knightley and Ralph Fiennes, Michael received an Oscar Nomination for Best Achievement in Art Direction.

More recently, Michael has collaborated with Lasse Hallstrom on SALMON FISHING IN THE YEMEN starring Ewan McGregor and ; Mira Nair’s THE RELUCTANT FUNDAMENTALIST, and THE TWO FACES OF JANUARY with director Hossein Amini.

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He worked with Saul Dibb again in 2014, on THE SUITE FRANCAISE which was nominated for a Primetime Emmy. Michael then worked with Lasse again on A DOG’S PURPOSE (2017)

Michael worked on TV Movie OASIS with Director Kevin Macdonald and COLETTE, directed by Wash Westmoreland and starring Keira Knightley. He is currently in production for Working Title’s RADIOACTIVE, which is directed by Marjane Satrapi, as well as starring Oscar-nominated .

LUCIA ZUCCHETTI, ACE - EDITOR

Lucia Zucchetti has worked on some of the most creative and stylistically original British independent films. She began her career cutting Lynne Ramsay’s award- winning short films: SMALL DEATHS (Jury Prize, Cannes Film Festival 1996), GASMAN (Jury Prize, Cannes Film Festival 1998 and Scottish BAFTA for Best Short Film 1997) and KILL THE DAY (Special Jury Award, Clermont Ferrand Film festival 1997). Lucia went on to work with Lynne Ramsay on the award-winning feature films: RATCATCHER and MORVERN CALLAR.

Other credits from that period include Jamie Thraves’ THE LOW DOWN and Michael Radford’s THE MERCHANT OF VENICE.

In 2003 Lucia worked on John Crowley’s award-winning debut feature film INTERMISSION, and went on to cut his 2007 feature film BOY A, which won her a BAFTA Award for Best Editing. In 2013 she worked again with John on Working Title’s CLOSED CIRCUIT.

Lucia’s collaboration with began with THE DEAL, scripted by with cast as Tony Blair. She also worked on THE QUEEN, also scripted by Morgan and starring Helen Mirren, for which her outstanding work was recognized by the industry with BAFTA, American Cinema Editors and European Academy nominations. Lucia also edited MRS HENDERSON PRESENTS starring and CHÉRI starring Michele Pfeiffer.

In 2011 Lucia collaborated with director Tina Gharavi on the widely acclaimed I AM NASRINE, which was nominated at the BAFTA Awards for Outstanding Debut.

Lucia’s work followed with GAME CHANGE for US director Jay Roach, starring Julianne Moore and Woody Harrelson, which won the TV Program of the Year at the

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AFI Awards, The Critics’ Choice Television Award for Best Television Movie/Miniseries and received multiple Primetime Emmy Award wins and nominations; including Lucia’s own nomination for Outstanding Single-Camera Picture Editing for a Miniseries or a Movie.

In 2014 Lucia edited James Kent’s TESTAMENT OF YOUTH starring Alicia Vikander and for . In 2016 she went on to cut Susanna White’s OUR KIND OF TRAITOR for Potboiler Productions and Lone Scherfig’s THEIR FINEST starring Gemma Arterton and Billy Nighy.

Recent credits include Susanna White’s latest film WOMAN WALKS AHEAD, starring , and Wash Westmoreland’s COLETTE, with Keira Knightley, produced by Number 9 Films.

THOMAS ADÈS - COMPOSER

Thomas Adès is regarded by many as the leading international composer of his generation. cited him as one of the most accomplished musicians alive in the world today (2007) and the festivals devoted to his music range from London to Helinski, from Salzburg to Paris, from Lisbon to New York.

Adès has composed music in every genre: chamber, orchestra, vocal, choral, ballet and now film, but is perhaps most famously known for his . Powder Her Face was the first (1995) and it has now had around 100 productions worldwide. The Tempest was a Covent Garden commission, followed by The Exterminating Angel in 2016. The Met’s production of The Tempest on DVD won a Grammy in 2014.

Adès’ musical style is eclectic yet original, intense, bold and extreme, as well as being subtle – but primarily it is music that seems to relate to everyone. He may well be the most performed living composer of so-called ’serious’ music.

Adès’ musicianship first took flower as a pianist which led him to gain Second place in class of the BBC Young Musician of the Year when he was 18. He studied music at the Guildhall School of Music, and then achieved a double-starred first-class degree in composition from Kings College, Cambridge. He acquired a publisher when only 21 and was immediately appointed as a composer in residence to the Halle Orchestra. He quickly attracted the attention of Simon Rattle, who commissioned and championed his iconic work Aslya with both of his orchestras (the CBSO and the Berlin Philharmonic), as well as with EMI. Asyla was also taken on several world tours by

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Rattle and became the piece that gained the composer the prestigious Grawemeyer award in 2000. Other awards include the Leonie Sonning Music Prize in 2015, following Simon Rattle the previous year. His debut disc for EMI came in 1997 and was followed by many more – most of them garnering awards.

Although based in London, Adès’ reputation is particularly vivid in the US, where he is currently Artistic Partner with the Boston Symphony Orchestra and Artistic Director of Tanglewood Contemporary Programme. As a conductor he is associated with many of the world’s leading orchestras: The Concertgebouw, the Los Angeles Philharmonic, The London Philharmonic, the London Symphony, the BBC Symphony, and the CBSO. Adès’ career as a pianist and accompanist to major artists such as Ian Bostridge, has earned him an enviable reputation, and his abilities as conductor have led to more invitations than he can possibly fulfil but his composing remains at the forefront of his life and the stream of music he produces continues to delight and astonish his many followers as it embeds itself into our culture.

ANDREA FLESCH – COSTUME DESIGNER

Andrea Flesch is a Hungarian costume designer and stylist that has worked across a variety of feature films and television shows.

Based in Budapest, Hungary, Andrea started off as a wardrobe assistant on films such as Pál Sánder’s MISS ARIZONA (1988), and TRUST (1990), starring Martin Donovan and Adrienne Shelly.

By the mid 1990s Andrea was working as the costume designer on productions such as THE ZONE and GLOOMY SUNDAY. From there, Andrea went on to work on theatrical releases such as the four THE TULSE LUPER SUITCASES films, which were released throughout 2003/2004 and directed by Peter Greenway, MRS. RATCLIFFE’S REVOLUTION (2007), starring Catherine Tate, and OPEN GRAVE (2013), Gonzalo López-Gallego’s mystery thriller.

Andrea is best known for her work on THE DUKE OF BURGUNDY, which was released in 2014 and recognised by many awards ceremonies and film festivals, including the London Film Festival, Les Arcs European Film Festival and IndieWire Critic’s Poll. Andrea has also designed costumes for award-winning actors such as Robert Pattinson in THE CHILDHOOD OF A LEADER (2015).

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Andrea’s work in the television industry was recognised at the Canadian Screen Awards in 2016 & 2017 when she was nominated for Best Costume Design for her work on X COMPANY, a TV series that follows five ordinary young people who are recruited to work as agents in WWII.

Andrea’s most recent feature-length film that she worked across, BUDAPEST NOIR, was released in Hungary in 2017. Andrea has also just finished working on COLETTE, starring Keira Knightley, Dominic West and Eleanor Tomlinson.

IVANA PRIMORAC - HAIR & MAKE-UP DESIGNER

Ivana Primorac has been BAFTA Award-nominated for Best Make-up and Hair six times, for her work on Tim Burton’s CHARLIE AND THE CHOCOLATE FACTORY and SWEENEY TODD: THE DEMON BARBER OF FLEET STREET, both starring Johnny Depp and Helena Bonham Carter; ’s COLD MOUNTAIN, starring Jude Law, and Renée Zellweger; Stephen Daldry’s THE HOURS, starring Nicole Kidman; ATONEMENT, which marked her first collaboration with director Joe Wright, and ANNA KARENINA.

Ivana’s extensive and varied credits include Lone Scherfig’s ONE DAY, starring Anne Hathaway and Jim Sturgess; Rowan Joffe’s BRIGHTON ROCK; Stephen Daldry’s EXTREMELY LOUD & INCREDIBLY CLOSE and THE READER, starring ; Justin Chadwick’s THE OTHER BOLEYN GIRL; Anthony Minghella’s BREAKING AND ENTERING; M. Night Shyamalan’s THE LAST AIRBENDER; and Milos Forman’s GOYA’S GHOSTS, starring and Javier Bardem. The latter earned her a Goya Award nomination.

She has also worked on such films as Peter Jackson’s : THE RETURN OF THE KING; Laurence Dunmore’s THE LIBERTINE, starring Johnny Depp; Ridley Scott’s GLADIATOR; Tim Roth’s THE WAR ZONE; Shekhar Kapur’s ELIZABETH and Kenneth Branagh’s IN THE BLEAK MIDWINTER.

Ivana has worked as personal make-up artist to Nicole Kidman on Jonathan Teplitzky’s THE RAILWAY MAN and Oliver Dahan’s GRACE OF MONACO and to Kate Winslet on ’s LABOR DAY, Jocelyn Morrhouse’s THE DRESSMAKER and avid Frankel’s COLLATERAL BEAUTY.

Other credits include A LITTLE CHAOS for director , Morten Tyldum’s THE IMITATION GAME, starring Benedict Cumberbatch and Keira Knightley, Danny

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Boyle’s STEVE JOBS starring Michael Fassbender, Danny Boyle’s T2 TRAINSPOTTING starring Ewan McGregor and Robert Carlyle.

More recently she has been working on seasons 1 and 2 of the smash hit Netflix series THE CROWN, Danny Boyle's TRUST starring and Hilary Swank, and Joe Wright's DARKEST HOUR starring for which she has been nominated for a Critics' Choice award.

SUSIE FIGGIS - CASTING DIRECTOR

Susie Figgis, originally born in Kenya, is a London-based Casting Director who has worked with household names such as Tim Burton, Richard Attenborough, Mike Newell, Neil Jordan and Ken Loach.

One of the first feature films that Susie worked as a Casting Director on was Richard Attenborough’s 1982 GHANDI, where she cast the likes of and , a film that went on to win 8 Oscars and 5 BAFTAs.

Susie continued to work on major feature films throughout the rest of the 80s and 90s, including the likes of Neil Jordan’s THE COMPANY OF WOLVES (1984), MONA LISA (1986) CRY FREEDOM (1987), THE CRYING GAME (1992) INTERVIEW WITH THE VAMPIRE: THE VAMPIRE CHRONICLES (1994), as well as Roland Joffé’s THE KILLING FIELDS (1984), Richard Attenborough’s CHAPLIN (1992), Peter Cattaneo’s THE FULL MONTY (1997), Todd Haynes’ VELVET GOLDMINE (1998), Jeremiah S. Chechik’s THE AVENGERS (1998) and Tim Burton’s SLEEPY HOLLOW (1999).

Throughout the 2000s Susie worked as the Casting Director on major feature films including; Tim Burton’s CHARLIE AND THE CHOCOLATE FACTORY (2005), SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (2007), ALICE IN WONDERLAND (2010), DARK SHADOWS (2012) and MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN (2016). She also worked on films such as HARRY POTTER AND THE PHILOSOPHER’S STONE (2001), SON OF RAMBOW (2007) and also teamed up with Neil Jordan again to work on THE GOOD THIEF (2002) and BREAKFAST ON PLUTO (2005). In 2009 Susie cast THE YOUNG VICTORIA for which Emily Blunt was nominated for a BIFA, a Golden Globe and a London Critics Circle Film Award.

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As well as working on feature films, Susie also worked across award-winning TV series in the 2000s, including Neil Jordan’s THE BORGIAS (2011-2013) which ran for 3 seasons, and won multi-awards.

Susie has worked as the Casting Director on a number of films set to be released in 2018: Wash Westmoreland’s COLETTE, Roar Uthuag’s TOMB RAIDER, Mike Newell’s THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY, and and Dexter Fletcher’s BOHEMIAN RHAPSODY. Susie also cast Tim Burton’s DUMBO, starring Colin Farrell, Michael Keaton and , which is set for release in 2019.

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First Assistant Director JOE GEARY

Post Production Supervisor POLLY DUVAL

Production Supervisor JOANNE DIXON

Set Decorator LISA CHUGG

Choreographer ALEX REYNOLDS

Sound Recordist CSABA MAJOR

Supervising Sound Editors STEPHEN GRIFFITHS ANDY SHELLEY

Visual Effects Supervisor SHEILA WICKENS

Associate Editor FIONA DESOUZA

Co-Producers for Bold Films LISA ZAMBRI DOMINIC BUCHANAN

CAST In order of appearance

Colette KEIRA KNIGHTLEY

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Sido FIONA SHAW Willy DOMINIC WEST Jules ROBERT PUGH Matilde SLOAN THOMPSON Mme. De Caillavet ARABELLA WEIR Count Muffat MÁTÉ HAUMANN Veber RAY PANTHAKI Schwob AL WEAVER Lotte Kinceler VIRÁG BÁRÁNY Wague DICKIE BEAU Opera Singer KYLIE WATT Jeanne De Caillavet JANINE HAROUNI Gaston De Caillavet JAKE GRAF Bailiff JOE GEARY Rachilde REBECCA ROOT Ollendorff JULIAN WADHAM Georgie Raoul-Duval ELEANOR TOMLINSON Lily POLINA LITVAK Waiter ISTVÁN GYURITY Aspiring Actress KAREN GAGNON Second Actress ALEXANDRA SZÜCS AIYSHA HART Hungarian Countess KATINKA EGRES Missy DENISE GOUGH Photographer MARK GRIFFITH Paul Héon JOHNNY K. PALMER Meg SHANNON TARBET Young Claudine DORCAS COPPIN Sweetheart NATHANAËL BEZ Passer-by DAVID DELGADO SHORTER Theatre Manager RODERICK HILL Heckler ATTILA ÁRPA Second Heckler ALEXIS LATHAM Reporter PETER SCHUELLER Priest NICK SCUDAMORE Secret Lover ANITA GERA Flossy CAROLINE BOULTON Toby Chien LIFE

Production Manager FELICIÁN KERESZTES

Camera Operator GILES NUTTGENS Steadicam Operators MÁRTON RAGÁLYI ATTILA PFEFFER A Camera First Assistant Camera GYÖRGY HORVÁTH A Camera Second Assistant Camera LUKAS TRSO A Camera Trainee ANDRÁS PUCSEK B Camera First Assistant Camera ZSOLT ÉLIÁS B Camera Second Assistant Camera BALÁZS GELLÉN C Camera First Assistant Camera PÉTER FALUDI

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C Camera Second Assistant Camera DÁVID VIDÁCS

Digital Management Technician PÉTER ‘SOMA’ SOMLYAI Video Assist Operators GÁBOR NAGY SZÉKELY BÁLINT Cable Man CSABA MORVA

Script Supervisor ROWENA LADBURY

Gaffer BALÁZS VÁKÁR

Key Grip ATTILA SZÜCS Jr. Best Boy Grip VILMOS KESZLER Grips TAMÁS KOLLÁR GERGŐ VÁSÁRI BENCE BAKOS Remote Head Operator ZSOLT TESZÁRY Grip Trainee MÁRK KOMÁROMI Additional Grips MÁRTON SOLYMOSI

Second Assistant Director TOM BROWNE Floor Second Assistant Director ROXÁNA SZÁRISZ Crowd Second Assistant Director ANDRÁS KRUCSAI Third Assistant Director BENCE NAGY Set Production Assistant MÁRTON KATONA Cast Production Assistants DORA TAKÁCS BORBÁLA TÓTH Stand In / Set Production Assistants TAMÁS FELKAI IZABELLA SZABADKAI Set Interns GRÉTA HAMZA LILLA VINDICS Additional Set Production Assistants CSONGOR DOMBOVÁRI JÚLIA BÁRSONY DANIELLA JELI HEGEDŰS GÁBOR HORNEK ANDRÁS TALMÁCSI ÁGNES Crowd Marshall ZOLTÁN SEBESTYÉN

Boom Operators CSONGOR FAZEKAS ANDRÁS HORVÁTH CSABA ZUBONYAI

Assistant to Elizabeth Karlsen ASHLEY KING Assistant to Pamela Koffler & Christine Vachon SYDNEY FOOS Assistant to Stephen Woolley MARTHA HOOD Assistant to Wash Westmoreland VICTOR PAUL Assistant to Ms. Knightley BEATRICE BOWDON

Supervising Production Accountant DEAN SIPLING First Assistant Accountant GRANT WOLSTENHOLME Production Accountant VERONIKA KARA

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First Assistant Accountant TAMÁS BALÁZSI Payroll Accountants DORINA PAP GYÖRGYI BALOG Second Assistant Accountant LINDA PRESQUAR Cashier VERA INCZE

Assistant Production Manager ESZTER VOGEL Production Coordinator KATALIN SKUTS Key Travel & Accommodation Coordinator HELEN TURPIN Travel & Accommodation Coordinators SZILVIA MICZEK ÁGNES GECS Office Production Assistant MÁTÉ GAJDICS

Location Manager ARISZTOTELÉSZ STERGIU Assistant Location Manager RICHARD RÁCZ Location Assistants DÁVID FILLENZ KRISZTIÁN NÉMETH

Unit Manager CSABA BENEDEK Assistant Unit Manager ISTVÁN HÁRI Unit Assistants LEVENTE BALOGH ROLAND BIRTHA ISTVÁN MARSI BALÁZS SZÍL

Supervising Art Director KATJA ŠOLTES Art Directors RENÁTÓ CSEH HEDVIG KIRÁLY Standby Art Director ZALÁN SIPOS Draftspersons ZITA GALÁNTAI JUDIT BOZSIK Lead Graphic Designer CHRIS KITISAKKUL Graphic Designer ENIKŐ BOGNÁR Art Department Coordinator MÁRTA BARNA Art Department Assistant ANDRÁS AJTAI Additional Art Department Assistant ANDRÁS ÁGH

Production Buyer HANNAH GAWTHORPE Assistant Set Decorator NÓRA TALMAIER Buyer JÁNOS ZOVÁTH Assistant Set Decorator / Leadman ANDRÁS GAÁL Set Decorating Coordinator ANDREA VIDA

Key Prop Master ROY CHAPMAN Prop Master KRISZTIÁN GAÁL Assistant Prop Master DÁVID SZEKERES Property Storeman TAMÁS SZEKERES Assistant Property Storeman LÁSZLÓ KENDROVICS Dressing Props Chargehands JÓZSEF SZMETANA LÁSZLÓ KANYÓ Dressing Props GERGŐ HAJDÚ

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DÁNIEL NAGY PÁL CSICSMAN Additional Dressing Props TIBOR GYÖRGY LINTICS KRISTÓF TÓTH GYULA TÓTH ERIK VINCZE LÁSZLÓ KENDROVICS MÁTYÁS FÜREY ZOLTÁN DEÁK PÉTER PÁPAI ZSOLT GUZYBOVSZKY PATRIK BENKŐ ISTVÁN KOVÁCS ZOLTÁN JAKAB ROLAND KAVASZI NORBERT BRÁNYI ATTILA JANCSA GÁBOR SZABÓ MARTIN HENZSEL MÁTYÁS GUZYBOVSZKY DÁNIEL MIKÓ

Key Standby Props DAN CRAWSHAW Standby Props ANDRÁS GÁL GYULA NAGY ANDRÁS MARACSKÓ

Construction Manager JÓZSEF KISS Standby Carpenters CSABA DRÓTOS MARCELL KOLOZSI Construction Coordinator LÁSZLÓ KÁZMÉR NAGY-KARDOS

Special Effects Supervisor GÁBOR ‘GEGE’ KISZELLY Special Effects Technicians ÁDÁM SZLÁVY GERGÖ CSÓRI ÁRPÁD SIPOS GÉZA KOCSIS ATTILA GÓCZÁN LÁSZLÓ PINTÉR ATTILA VÁSÁRI

Best Boy GÁBOR IVÁNCSIK Electricians ANDRÁS KOVÁCS ATTILA KOLOZS KRISZTIÁN SZÁSZI GÁBOR KÖVÁRI ÁDÁM SKARDELI Dimmer Operators DÁNIEL TÓTH LÁSZLÓ BALOGH Balloon Operators CSABA DEBNÁR ISTVÁN MÉNKÜ

Rigging Gaffer ZOLTÁN LAKATOS Rigging Best Boy ÁBEL CSEKŐ Rigging Electricians ZOLTÁN BALGA ISTVÁN BANGA TAMÁS VARGA CSABA SZABÓ Practical Electrician ISTVÁN TÖRZSÖK Additional Electricians KORNÉL FISKOVSZKY

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PÉTER KRASKÓ GYÖRGY KISS TIBOR DJUROSKA Additional Rigging Electricians RÓBERT TÓTH DÉNES BALKÁNYI TAMÁS LENGYEL

Assistant Costume Designer ORSI RIDEG Costume Supervisor ESZTER ANTAL Ms. Knightley’s Key Dresser ESZTER HOLLER Mr. West’s Key Dresser RAJMUND SZÓRÁD Tailoring for Mr. West GÁBOR BIRTA

Crowd Supervisor FANNI MOLNÁR Set Costumer BLANKA HARASZTI Crowd Dressers KATA HORVÁTH ANDREA KOLOS ISTVÁN NÉMETH

Daily Dressers ORSOLYA MALUSTYIK MELINDA BÖNDI BOKOR LAURA SÁRA HAJDU LILI KŐMŰVES IMOLA BAGI FANNI DUKÁT ILDIKÓ ESEK ADRIENN HIBERT

Costume Makers ÉVA MAGYAR MÓNIKA GYÖKERESNÉ BIRÓ

Make Up & Hair Artists NATASHA KLIPP GEMMA HOFF Hair & Make-up Artist JUDIT HALÁSZ Crowd Make Up Supervisor SZILVIA HOMOLYA Crowd Hair Supervisor JÁNOSNÉ ‘BOGYÓ’ KAJTÁR Crowd Hair & Make Up Artists JUDIT HORNYÁK LÁSZLÓ SZALAY CSABA SZEVER MÁRIA SCHLISSER DÓRA HORVÁTH- KERTAI BETTINA MÁRTON ILDIKÓ ARADI GYÖNGYVÉR BARICZKI ANDREA BANKÓ RÓZSA POZSÁR GABRIELLA NÉMETH ÉVA KOLONTÁRY ÁGI KŐBER BARBARA BERKI NOÉMI VARRÓ JÚLIA VITRAI ÁGNES KŐBER ANNA TESNER BRIGITTA SZABÓ GABRIELLA VINCZE ERZSÉBET BALOGH ROZÁLIA SZEGEDI KATALIN GRŐGER RITA BALLA MÓNIKA STRAUSZ

Wig Maker

Casting Associate KIRSTY KINNEAR Hungarian Casting KATALIN BARANYI

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Supporting Artists Casting BALÁZS KOVÁCS

Transgender Consultant KRISTIENE CLARKE Dialogue Consultants PHILIP SICKER DIANE ZAHLER Historical Consultant JACQUELINE RIDING

Stunt Coordinator BÉLA UNGER Horse Masters LÁSZLÓ TÓTH BERNADETT WERNER

Additional Choreographer VIKTORIA JAROSS

Health & Safety Advisor JÁNOS PAPP Stand By HSA DÁNIEL PFALZER Unit Medic UNIVERSAL MEDICAL Construction HSA IMRE SZTUDVA Construction Medic ÁDÁM KIRÁLY Medical Coordinator RÉKA CSERNA

Transport Coordinator ERIKA BOGNÁR Transport Captains SOMA BENKE ANITA FÜLE Drivers to Ms. Knightley ZSOLT BÉCSI PÉTER NÉMETH Driver to Mr. West GYÖRGY MIHÁLOVICS Driver to Mr. Westmoreland FERENC BÉRES Unit Drivers GÁBOR FÖLDI GÁBOR ZUPKÓ ATTILA VOLENSZKI IMRE TAKÁCS MIHÁLY TÓTH ISTVÁN MOLNÁR ISTVÁN MILBICH ISTVÁN SULYOK ZSOLT DINNYÉS SÁNDOR KISS ZOLTÁN TÁNCZOS JENŐ KRISTÓF APOR VASS ATTILA KOSZTOLÁNYI JÓZSEF ZSIGA KÁROLY ROYKÓ NORBERT NAGY

Costume Dept. Driver BÁLINT EMMER Stand By Truck Driver ZOLTÁN BARTHA

Picture Vehicle Coordinator PÉTER BÁNÓ Assistant Picture Vehicle Coordinator ATTILA PAPP

HU Splinter Unit Director of Photography PETER WIGNALL Production Manager NÓRA FEHÉR Dolly Grip SÁNDOR TAMÁSI Best Boy GÁBOR BÁNRÉVI Jr. Sound Recordist SÁMUEL LEHOCZKI Video Operator BÁLINT SZÉKELY Stand By HSA DEZSŐ RÁCZ

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Unit Catering ORIGO CATERING Head Chef ZSOLT KUNERT Chef GYÖRGY SZILÁGYI Catering Coordinator FERENC PUSKÁS Caterers TAMÁS EKE ROLAND LAKATOS Craft Services SZABOLCS FÜSZFÁS ÁKOS PINTÉR JUDIT MOLNÁR Cast Chef VIKTOR EKLER

Insurance TAMÁS RÁKOS at SHOWRISK Legal Advisor MÓNIKA HORVÁTH Immigration Coordinator JÁNOS PRIHODA

Security ABOVE THE LINE SECURITY GINO BARONTINI DANIEL BURT

Digital Dailies POST OFFICE FILMS Dailies Supervisor DÁVID JANCSÓ Dailies Colourist LEVENTE SALMA

Camera & Lighting Equipment ARRI RENTAL Grip Crew & Equipment THE MOB GRIPS Rigging Equipment & Generators VISIONTEAM

HU Facilities Vehicles provided by ORIGO STUDIOS Facilities Coordinator LÁSZLÓ BAZSÓ Facilities Vehicle Operators CSABA GYÖRI PÉTER TÓTH Facilities Drivers JÓZSEF NÉMETH GYÖRGY JUNE ISTVÁN ZSIGRI JÁNOS OZVALDI Honey Wagon Operator ZOLTÁN POSZTOBÁNYI Genny Operator BÉLA BALÁZS Water Supply Operator LUKÁCS SZABÓ Set Cleaner KRISZTINA ESKENÁZI Security Coordinator GYULA KOLLÁR

UK UNIT

Steadicam Operator PAUL EDWARDS First Assistant Camera IAN COFFEY Second Assistant Camera MAIYA ROSE Camera Trainee ALFRED PLASKITT

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Video Playback Operator JAMES EDGECOMBE Data Wrangler LUKE WILLIAMS

Drone ANGUS BENSON BLAIR Aerial Camera Operator ADAM SCULTHORPE

Gaffer MARK TAYLOR

Key Grip WARWICK DRUCKER Assistant Grip JACK JACKSON

Third Assistant Director PAULA C. FRIAS Key Set PA CHRISTIAN PROCTOR Rushes Runner SEAN SEYMOUR Stand-in / Runner KATE SKELLERN TOM METCALFE

Sound Maintenance Engineer LEE THOMPSON Sound Assistant DARRYL PEAT

Assistant Accountant DEBBIE MOSELEY Cashier LEE DAVIS Accounts Assistant OAK AITKEN

Production Manager EMMA MALLETT Production Coordinator MARIANA MARSH Production Secretary ISOBEL BARNES Production Runner SACHA GARRETT Production Driver JACK HOLLIMAN

Supervising Location Manager RICHARD GEORGE Location Managers RICHARD LINDSAY ANDREW ELIOT Unit Manager JAKE SAINSBURY Location Assistant GREG TAFT

Art Director KATRINA MACKAY Art Department Runner ROSANNA WARCUP Assistant Set Decorator ZOE SMITH Petty Cash Buyer FELICITY HICKMAN

Property Storeman WILL BOTTON Dressing Props MAX BRADLEY Additional Dressing Props JAKE PYTHIAN ANTHONY RYAN GEORGE CLARK DALE WALTERS GLEN SIMMONS MARK SMITH STUART SILVER Standby Props JEVON EDWARDS

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Construction Manager GENE D'CRUZE Standby Carpenter TOM WALKER HOD Carpenter DANNY MARGETTS Chargehand Carpenter STEVE EELS Carpenters BRIAN STAGG DANNY THOMAS MARK WILKINSON ANDY FOX HOD Painter MARC BEROS Chargehand Painter RICHARD GRANT Painters GENE DAVID D’CRUZE JOHN MALHAM Drapery COLIN FOX

Best Boy DANNY GRIFFITHS Electricians SIMON ATHERTON TIM WILEY LUKE POCHETTY STEVE BLYTHE Genny Operator BRUNO MARTINS

Standby Rigger MICHAEL HENNAH Practical Electrician JULIEN WRIGHT

Costume Supervisor SIAN EVANS Costume Standby NADIA MERABTI Costume Assistant JESSICA INGRAM Additional Costume Assistants SARAH TOUYIBI ROBERT WORLEY SIMON LEWIS Costume Seamstress NICOLA DEMPSTER

Crowd Hair & Make-up Supervisor CHRISSIE WHITNEY Hair & Make-up Artist LAURA SOLARI Hair & Make-up Trainee ELEANOR TOMS

Health & Safety Advisor MICK HURRELL at JHA SAFETY Unit Medic TEAM SERVICES COLIN MILLS

Supporting Artists Provided by UNIVERSAL EXTRAS Voice Coaches HELEN ASHTON NEIL SWAIN

Animals BIRDS AND ANIMALS UK Horses THE DEVILS HORSEMEN Horse Master ADAM FRANCIS

Lead Driver JEFF HUDSON Drivers to Ms. Knightley JOHNNY O'NEILL JASON HARRIS Driver to Mr. Westmoreland RICH MADDOCK

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Unit Drivers STEVE RIVENELL TONY BLYTHE Unit Minibus Driver JAMES SWEENEY

Picture Vehicles provided by MICHAEL GEARY, MOTORHOUSE

Unit Catering FIRST UNIT CATERERS ALAN SPRINGFIELD

Security ESO SECURITY

Camera Equipment (UK) ARRI RENTAL Lighting Equipment (UK) PANALUX Video Equipment (UK) DIGITAL ORCHARD DIT Equipment (UK) MISSION DIGITAL Digital Dailies (UK) DIGITAL Drone footage by FLYING PICTURES

Facilities Vehicles (UK) FACILITIES BY ADF Facilities Captain ANTHONY JAMES Facilities Baseman ANDREW CLARKE Radios provided by AUDIOLINK

French Unit

French Production Services by MOVE MOVIE Move Movie Producer BRUNO LEVY Unit Production Manager SYLVIE PEYRE

First Assistant Camera CATHERINE GEORGES Second Assistant Camera DIANE PLAS Camera /Video Assistant LUDOVIC BEZAULT Gyro Remote Head Operator OLIVIER LEBLANC

Gaffer RENAUD GARNIER

Key Grip JEREMY STONE Plate Unit Key Grip GIL FONTBONNE Grips MAXIME FOULON AYME DOMINGUEZ Plate Unit Grip YOHAN LECOMTE

First Assistant Director DELPHINE BERTRAND Second Assistant Director AURIANE LACINCE Third Assistant Director HUGO LE GOURRIEREC “Colette” Stand In SOPHIE GORIOUX

Assistant Unit Production Manager PAULINE JARDEL Production Accountant FRANCOISE MOREAU

Location Manager AMAURY SERIEYE

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Assistant Location Manager YANNICK PANAROTTO Additional Location Manager MARIE HELENE LABRET Location Scouts COLOMBA FALCUCCI CAROLE REINHARD NICOLAS REBESCHINI Location Assistants MIKAEL DELEAU MATHIAS FAUCHEUX MANON GITSELS LÉONARD GOLDBLAT JEAN CHRISTOPHE LEBORGNE SYLVAIN MAIGNAN GRÉGORY MORO ROMAIN PLANQUE CLÉMENTINE VANIER

Supervising Art Director HÉLÈNE DUBREUIL Assistant Art Director THOMAS LEMIERRE Set Decorator STÉPHANE SARTORIUS

Construction Manager BERNARD BRIDON Stand By Construction MATHIEU CHATAIGNON FABIEN BOUEDO Stand By Carpenter THÉO CHERDO

Chargehand Painters JÉRÔME CLAVIER SAIDA KITAR Painter SARAH FAUGUET

Prop Dressers MATTHIEU HENRIOT SIMON LHOPITEAU KARINE MATHIEU SERGHEI POSTOLACHI KAPAYA TANTY LOKONGA

Electricians MICKAEL BONNET LOIC BOULADJAT Genny Operator JEAN PHILIPPE DESFARGES

Costume Supervisor NATHALIE CHESNAIS Dressers CAROLINE CONDAT GERMAINE D'HOFFELIZE LAURENCE NICOLAS JULIEN REIGNOUX

Crowd Hair Supervisor AUDE FIDON Crowd Make-upSupervisor SYLVIE GRECO Hair & Make-up Artists CLÉMENCE GAAG LINDA SCHWACH

Supporting Artist Casting ISABELLE KRAMRICK Supporting Artist Casting Assistant TOM HASHEMI

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Craft Services CHARLOTTE PILAIN NICOLAS TOROSSIAN

Post Production

Post Production Accountant TARN HARPER Assistant Post Production Accountant PENNY POWELL Trainee Assistant Editor FLORE JOUBERT Delivery Paperwork CHARLOTTE DEAN Post Production Coordinator ASHLEY KING

Music Editor PAUL CHANDLER

Sound and Digital Intermediate by LIPSYNC POST Head of Facility LISA JORDAN ASSISTANT POST PRODUCER FOR LIPSYNC SARAH MOROWA

RE-RECORDING MIXER ROBERT FARR ASSISTANT RE-RECORDING MIXER TUSHAR MANEK

FOLEY RECORDED AT UNIVERSAL SOUND FOLEY ARTIST PAUL HANKS FOLEY MIXER SIMON TRUNDLE FOLEY SUPERVISOR PHILL BARRETT

Colourist TOM RUSSELL Head of Digital Intermediate JAMES CLARKE Digital Intermediate Coordinator LIZZIE NEWSHAM Senior Online Editor WILL CHETWYND Digital Intermediate Assistants KATIE CROFT CESAR PILETTI MICHAEL HOPKINS GIANLUCA FERRARI Head of Technical Support RICK WHITE TECHNICAL OPERATORS ALEX CRONE ROBERT WAREING HEADS OF ENGINEERING JORDAN MALONGA LINDEN BROWNBILL

Visual Effects by LIPSYNC POST VISUAL EFFECTS PRODUCER PAUL DRIVER VISUAL EFFECTS EXECUTIVE PRODUCERS EMMA CUMMINS DAVID FOWLER UEL HORMANN CG ARTIST JEFF NORTH DIGITAL MATTE PAINTER DAVID GIBBONS LEAD COMPOSITORS LUKE BUTLER IVAN CIPRIANI GARTH REILLY Compositors RENO CICERO KRYSTAL GALLEY MICHAEL HARRISON

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TJ SINGH KAREN WAND EDITORIAL COORDINATOR JOHNNY BENN VISUAL EFFECTS EDITORS ANDIE DAVIES IAN GARLAND Systems Administrators CHRIS BURTON EMMANUEL CIRASA Pipeline Engineers RADEK CHLEBIEJ STEVEN KING KEITH PANG OLAF RAZZOLI

Titles Design By LIPSYNC DESIGN Head of Design HOWARD WATKINS Senior Designer JULIA HALL Designer Design Co-ordinator CHLOE TETU

Orchestrator & Conductor THOMAS ADÈS Score Producer VICTOR OLEGOVICH CHAGA Score Programmer and Editor VICTOR OLEGOVICH CHAGA Music Preparation and Additional Orchestration ANTHONY WEEDEN Orchestra Leader JACQUIE SHAVE Piano THOMAS ADÈS Orchestra Contractor LUCY WHALLEY FOR ISOBEL GRIFFITHS LTD Score Co-ordinator CATHERINE GRIEVES FOR FABER MUSIC LTD Score Recorded and Mixed by NICK WOLLAGE Protools Recordist ADAM MILLER Assistant ASHLEY ANDREW-JONES Score Recorded and Mixed at AIR STUDIOS, LONDON

Music Legal Services CHRISTINE BERGREN Assistant Music Supervisor MADISON WESTWOOD FOR HOTHOUSE MUSIC

“Down by the Salley Gardens” Written by William Butler Yeats and Herbert Hughes Performed by Kylie Watt “Arabesque” Written by Claude Debussy Performed & Arranged by Thomas Adès

Seguidilla and Duet: “Pres des ramparts de Seville” from “Carmen” Written by Georges Bizet Performed by Graciela Alperyn (mezzo-soprano), Giorgio Lamberti (tenor) and the Slovak Radio Symphony Orchestra conducted by Alexander Rahbari Licensed courtesy of Naxos Rights US Inc.

“Coppelia - Act I: Valse” Written by Leo Delibes Performed by the Slovak Radio Symphony Orchestra conducted by Andrew Mogrelia Licensed courtesy of Naxos Rights US Inc.

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Faust – Récitatif et Air des Bijoux, “Un Bouquet…O Dieu! Que de Bijoux” (Marguerite) Written by Charles Gounod Performed by Choeur et Orchestre National du Capitole de Toulouse, Michel Plasson Licensed courtesy of Warner Music UK Ltd Faust - Valse et Choeur,”Ne Permettrez-vous pas me belle Demoiselle” Written by Charles Gounod Performed by Choeur et Orchestre National du Capitole de Toulouse, Michel Plasson Licensed courtesy of Warner Music UK Ltd

“Étincelles in A Flat Major” Composed by Émile Waldteufel Performed by Alexandre Sorel Licensed Courtesy of Solstice Records, France

“Introduction and Royal March of the Lion” from “Carnival of the Animals” Written by Camille Saint-Saëns Licensed courtesy of CPM Classical

“Introduction and Royal March of the Lion” from “Carnival of the Animals” Written by Camille Saint-Saëns Arranged by Anthony Weeden

“Je Suis Pocharde” Written by Louis Byrec Performed by Yvette Guillbert Licensed courtesy of Puzzle Productions, France

“Children’s Corner, L.113:VI Cakewalk” Written by Claude Debussy Performed by Francois-Joel Thiollier, piano Licensed courtesy of Naxos Rights US Inc. “Children’s Corner, L.113: VI Cakewalk” Written by Claude Debussy Arranged by Anthony Weeden

“Gnossienne No. 1: Lent” Written by Erik Satie Performed & Arranged by Thomas Adès

“Moulin Rouge” Based on “Gnossienne No. 1: Lent” Written by Erik Satie Arranged by Anthony Weeden

“Dream of Egypt” Written by Thomas Adès

“Septet in E Flat Major, Op.65: IV Gavotte et Final: Allegro non Troppo, Animato” Written by Camille Saint-Saëns Arranged by Thomas Adès

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Unit Publicity FREUD COMMUNICATIONS Unit Publicists KATE LEE KERRY McGLONE

Stills Photographer ROBERT VIGLASKY

EPK PUSH THE BUTTON MEDIA EPK Producer TOBY JAMES EPK Cameraman THOMAS CURRIE

Avids Hires HIREWORKS Post Production Script FATTS Clearances and Neg Checking RUTH HALLIDAY, THE CLEARING HOUSE

For NUMBER 9 FILMS Head of Production JOANNA LAURIE Accountant JOHN MORGAN

For KILLER FILMS Head of Production DAVID HINOJOSA Coordinator BEN KULLER

For BOLD FILMS Head of Production JEFF STOTT Chief Financial Officer ROB MITCHELL VP Finance MARK SVENNINGSEN EVP Business & Legal Affairs KAREN BARNA Assistant, Business & Legal Affairs REBECCA RHEINER Outside Counsel for Bold Films MILES MOGULESCU Music Consultant RICHARD WALTERS

For LIPSYNC PRODUCTIONS PETER HAMPDEN PETER RAVEN ROBIN GUISE

For BFI Head of Lottery Film Fund BEN ROBERTS Head of Production FIONA MORHAM Development Executive KRISTIN IRVING Head of Production Finance IAN KIRK Business Affairs Manager CLARE COULTER

For MOVE MOVIE Production Coordinator JULIE LESCAT Production Assistant GÉRALDINE RAUZADAS Production Trainee RAPHAEL HERNANDEZ

International Sales by HANWAY FILMS MARIE-GABRIELLE STEWART JAN SPIELOFF

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TOM GRIEVSON NICOLE MACKEY MATTHEW BAKER JUSTIN KELLY ELIZABETH KORMANOVA MARK LANE

UK Production Legal Services SHERIDANS NICK MAHARA JAMES KAY

UK Financial Legal Services LEE & THOMPSON LLP CHRISTOS MICHAELS RENO ANTONIADES ANTONY SWIATEK

Legal Service for Lipsync LEE & THOMPSON LLP SAM TATTON-BROWN ANNABELLE DUCROS

Hungarian Production Services by PIONEER STILLKING FILMS Assistant to Ms. Ildikó Kemény TIMEA HUSZÁR

Completion Bond provided by FILM FINANCES SVP, Business and Legal Affairs LIEVE JANSEN Production Executive ALI MOSHREF Head of Post Production RUTH HODGSON Production Coordinator AMY JING

Insurances provided by GALLAGHERS KONRAD DOWLING

Tax Credit Services provided by GLOBAL INCENTIVES INC LEN PENDERGAST

Auditor SHIPLEYS LLP STEVE JOBERNS Collection Account Management by FINTAGE CAM B.V.

Production Financing provided by COMERICA BANK ADAM J. KORN Legal Counsel to Comerica Bank BABOK & ROBINSON, LLP CAROLINE RAUFI BARRY BABOK

Photographs courtesy of Collection Center d'études Colette Photographs courtesy of Roger-Viollet Permission courtesy of the Moulin Rouge

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Special Thanks to

ANNE DE JOUVENEL HUGHES DE JOUVENEL FOULQUES DE JOUVENEL LINDY KING ANDRÉ SCHMIDT ANGHARAD WOOD

NATIONAL FILM OFFICE – NATIONAL MEDIA AND INFO-COMMUNICATION AUTHORITY OF HUNGARY NATIONAL FILM FUND

The Director and Producers would like to thank

BOB ACKERMAN TYRA BANKS SAMIA BORDJI RICHARD BRENIN MEREDITH BRODY ROB CARLSON TOMMY CONTRERAS ZACH COX CHRISTOPH DANIEL JULIETTE D'ASSAY SUZIE DAVIES DAVID DELGADO SHORTER ALICIA FLAMENCO KEITH FULTON NICOLA GALLANI LAURA GOODFRIEND JACK HALBERSTAM TODD HAYNES NATALIE HITCHCOCK RICK JACOBS FIL JONES GREG KACHEL SUSAN KIRBY DAVID KODNER JOAN KODNER DENIS LENOIR TOBY MANNING MARGARET MCMANAMAN MICHAEL MCMANAMAN CYNTHIA MILLAR KEN MOK CLAIRE POLL MICHEL RÉMY-BIETH KELLY REICHARDT MARC SCHMIDHEINY BEE SMITH JOHN SYLLA NICK SHUMAKER DENIS WESTMORELAND GENE WESTMORELAND MICKO WESTMORELAND PETER WHITETLOCK

FILMED IN PARIS, BUDAPEST AND THE UNITED KINGDOM

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Made with the support of the BFI’s Film Fund

© 2017 Colette Film Holdings Ltd / The . All rights reserved.

Bold Films UK is the author of this motion picture for purposes of the Berne Convention and all national laws giving effect thereto.

This film is a dramatisation based on certain facts. Some of the names have been changed, and some of the events and characters have been fictionalised for dramatic purposes.

This motion picture is protected under the laws of the United Kingdom and other countries. Unauthorised duplication, distribution or exhibition may result in civil liability and criminal prosecution.

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