Presents

Starring: Jessie Buckley, Julie Walters, and Sophie Okoneda

Directed By: Tom Harper Written By: Nicole Taylor Runtime: 101 minutes Rating: R

FESTIVALS

2018 Toronto Film Festival 2019 Chattanooga Film Festival 2019 SXSW 2019 Dallas International Film Festival 2019 Tribeca Film Festival 2019 Capital City Film Festival 2019 Annapolis Film Festival 2019 Philadelphia Film Festival 2019 Martha’s Vineyard Film Festival 2019 Independent Film Festival Boston 2019 Newport Beach Film Festival 2019 Orcas Island Film Festival 2019 Phoenix Film Festival 2019 Bentonville Film Festival 2019 Minneapolis St. Paul Film Festival 2019 Montclair Film Festival 2019 Women + Film Festival 2019 Berkshire Film Festival 2019 San Francisco International Film Festival 2019 Provincetown Film Festival

SHORT SYNOPSIS:

Jessie Buckley delivers an unforgettable, star-making performance as Rose-Lynn Harlan, a rebellious country singer who dreams of trading the working-class streets of Glasgow for the Grand Ole Opry of Nashville. Complete with an expert performance by Oscar-nominee Julie Walters and an electrifying soundtrack performed by Buckley, WILD ROSE is a joyous human story steeped in music, courage, and achieving your dreams - no matter how far away they may appear.

LONG SYNOPSIS:

Jessie Buckley delivers an unforgettable, star-making performance as Rose-Lynn Harlan, a rebellious country singer who dreams of trading the working-class streets of Glasgow for the Grand Ole Opry of Nashville.

Fresh out of prison, Rose-Lynn juggles her menial job, two children, and committed mother, expertly portrayed by Oscar-nominee Julie Walters, as she pursues her bold ambition of a one- way ticket to musical stardom. With the support of her boss (Sophie Okonedo), Rose-Lynn embarks on a life-changing journey that challenges her sense of self and helps her discover her true voice.

Complete with an electrifying soundtrack performed by Buckley, WILD ROSE is a joyous human story steeped in music, courage, family, and achieving your dreams - no matter how far away they may appear. After all, all you need are three chords and the truth.

A CONVERSATION WITH DIRECTOR TOM HARPER

How did this project come your way?

I had just come back from Texas, where I was working in Austin and listening to a lot of country music, both live and on the radio. I was meant to be doing something on my current project, The Aeronaut, but it was coming together slowly. My friend, the producer Faye Ward, called and she asked if I wanted to read this project that at the time was called Country Music, and seeing as I had been listening to so much country music, I said why not? Within a couple of pages, I fell in love with the script, and the character Rose-Lynn Harlan, and I knew exactly who should play her. I told Faye, we've got to make this, and as soon as possible.

You were reconnecting with Jessie Buckley after working together on War & Peace. How did she stand out in your eyes?

In life you occasionally stumble across people who you not only think are wonderfully talented, but you also connect with personally. Early on in War & Peace we realized we inspired one another and could get the best out of each other, and so when that project ended, we both started looking for something else to work on. Wild Rose came along at just the right time.

When did you know she could sing?

She sang actually in War & Peace. It's a classical piece, and the character of Marya Bolkonskaya in general couldn't be more different than Rose-Lynn Harlan — in terms of the music, it's on the opposite end of the spectrum. So, we knew she was musical, and I knew she could sing, but I didn't know that she could sing country music.

Why else was Jessie Buckley right for the part of Rose-Lynn Harlan?

By page two, as I was reading the script, I knew it had to be Jessie, and I knew I could only make the film with her — because if Rose-Lynn isn't cast perfectly, the film wouldn't work. You wouldn't be able to bring it to life or make it work in reality because it's such a difficult part, finding someone who's feisty that can have the kind of charisma to lead you through some of the tough decisions she makes. Rose-Lynn isn't particularly likeable at times, so you need someone that's going to be able to take an audience on a journey and convey the brilliant musicality she has as well, I think that's few and far between in terms of available actors.

There is also a very strong mother-and-daughter component to this movie, how did you go about casting Julie Walters?

We were pretty lucky overall in terms of the casting, it very rarely happens like this. Julie was the first person we went to for Marion, and Faye and I met her for a cup of tea. She was a little bit hesitant, despite loving the script. I think she knew that it was quite close to the bone for her. There was something of her own relationship with her mother, her being an actress, and what her mother wanted for her in life, and how that changed over time. But she loved the idea of playing the role. She got along with Jessie from the very beginning and when two actors stimulate each other and get on as well as they did, it makes the process very easy.

Sophie Okonedo also stands out in the casting, as Susannah, Rose-Lynn's employer...

I'd worked with Sophie before on my feature War Book and she's a brilliant actress — because her range is so great, she can play tough characters that go through a big emotional upheaval. But when I worked with her, I saw this other side to her, she also has gravitas, and lightness, and humor, and a wonderful sparkle to her. Where she's really fantastic is her ability to make everything grand and believable. There's a slight danger with a role like Susannah in Wild Rose in that it feels slightly peripheral, so it needed someone very honest and open who could ground that role, and I think she does that fantastically.

How did the child actors get along with Jessie?

When working with child actors, you need to be responsive to their needs, particularly with someone like Adam, who played Lyle, and who had never done a movie before, he was only six years old when we filmed. He only had a limited amount of time on set, and an even shorter attention span, so we had to construct certain days and scenes around him, enabling him to give his best performance. Sometimes that would mean we would improvise a scene, or Jessie and Daisy, who plays her daughter, would slip into character beforehand and jump right into the scene, and Adam would follow along. Sometimes they did it more rigidly, giving more specific instructions, depending on his mood at the time. We had to be open to what would give the child actors the best environment in order for them to do their best work, which is true for any actor. It's about reading the energy of the room and adapting your filming style to the demands of the scene.

Glasgow is a strong presence in this movie. What was your familiarity with the city prior to filming there?

Our writer, Nicole Taylor, is from Glasgow, and has a close relationship with the city. I've been there a few times in my life, but I never spent a great deal of time in the city. So it was interesting, knowing the script so well, but not knowing the city as well as I knew it from the story. Being an outsider, I think you can bring a different perspective than someone who knows a place intimately. Because Nicole knew it so well, it made us a nice duo, seeing it more objectively from my perspective. It's a place that's very infectious, it's easy to slip into life there. And it's quite friendly, with lots of great beauty — wherever you go, you can see the surrounding countryside. But it's also teeming with life and creativity, all the things you'd want from a big city. It's a special place, despite all the rain.

What was your knowledge of country music prior to this film? Were you a fan?

Like most people, I had a good awareness of some country music —surface stuff, like Johnny Cash and Dolly Parton, but I didn't have any great insider knowledge, other than the fact that I had somehow wound up working in Texas, and it had gotten into my bones. It's always a music that I've responded to and loved, but the journey of this film has only increased my love for country music...

One doesn't expect country music to flourish in a place like Glasgow — describe the incongruity.

Once you scratch the surface, it doesn't seem incongruous for a couple of reasons. First of all, there's a large and healthy country music scene in Glasgow, but when you go even deeper, you realize the roots of country come from Celtic music and came over with immigrants from Scotland and Ireland a couple of centuries ago. If you listen to Celtic music now, or country music, or bluegrass, certain elements, including the instrumentation, are very similar. Once, when I was in Nashville, checking out a gig there, and Jessie was in Glasgow watching a jam, we sent videos to each other of what we were watching, and while there were strong local inflections, the similarities were quite apparent.

What was it like directing Jessie's vocal performances?

At the time, you're going to work, and doing your best to realize the script, and capture the magic of the singing — you're immersed in it, and you're working together as a team to reach these places of magic, but very occasionally you step out of yourself, and remind yourself, wow, this is why we do what we do, so that when the magic happens, and reveals itself, you can feel like you were there when it happened.

What do you think this movie is trying to say?

You can't separate your hopes and your dreams from your responsibilities — and in order to be a well-rounded person, and reach your potential, you have to marry the two. You can't do one without the other...

A CONVERSATION WITH SCREENWRITER NICOLE TAYLOR

How did this story come together in screenplay form?

The character of Rose-Lynn Harman popped into my head about ten years ago, she just started chatting, I could hear her voice in my head, she felt real, and I knew everything about her — it was less like writing a character and more like transcribing the words of a real person, she just lodged inside of me, and I knew I had to write about her.

Where did the country music aspect of the story come in — are you a fan?

I've been a massive country fan since I was 12 or 13 — and it was extremely uncool to be into country growing up in Glasgow, it was the love that dare not speak its name. But there was a subculture of country music in Glasgow, including a version of the Grand Ole Opry on the south side of the city, I used to go there when Nashville stars came to town, I'd queue up at the stage door. My friends were into Blur and Oasis, and I was going to see Lyle Lovett, Mary Chapin Carpenter and Garth Brooks. It was an obsession — I felt the same as Rose-Lynn does about country music.

Who is Rose-Lynn Harlan in your own words?

The very first line I ever wrote about this girl is that she's "thrillingly, glitteringly alive, more alive than you," and that's how I think of her — she's an incendiary spark, but she's also got the germ of self-destructiveness in her; she's chaotic, and slightly cracked, but when she's singing country, she's coherent to herself, that's how she can express herself emotionally, and understand herself. The rest of the time she's got the emotional intelligence of a brick. But she's this live wire — someone who's irresistible and electric.

This is also a mother and daughter movie. Describe the dynamic between Rose-Lynn and Marion...

One of the reasons I wrote this story is because there's an argument at the heart of it between mother and daughter with a for and against on either side — it's perfectly valid for Rose-Lynn to want to pursue her talent and it's perfectly valid for Marion to want her to settle down and take responsibility for her kids. I didn't know the answer to the question What does Rose-Lynn deserve? But once you've got kids, does that mean you have to settle down and put away your dreams? The relationship between Rose-Lynn and her mother, and to an extent between Rose- Lynn and her own daughter as well, made for three generations of women who can't talk to each other. And that's something I had a lot to say about, because it's quite a common thing for Glasgow women. Theirs was a dynamic I had in my head from the beginning and wanted to explore.

Describe the dynamic between Rose-Lynn and her employer Susannah...

Every British film has some aspect of class in it and this one is no different. When you're talented like Rose-Lynn, it's not that difficult to find people who want to mentor you; it's also not that difficult to find people who are charmed by your charisma. Whether or not that person can really see you, and therefore help you, becomes a deeper question. There’re always those people who are kind of bored in life, who are up for laundering their boredom through whatever you've got going on, so that was a relationship I wanted to explore between Rose- Lynn and Susannah, two women of different classes.

Glasgow, your birthplace, is a strong character in this movie. What makes it cinematic in your opinion?

What I love about Glasgow is the way people speak, there's a natural, deadpan funniness, an unwillingness to suffer fools, and a real lack of sentimentality, so I just love writing Glasgow dialogue. As for writing the city, it's just such an interesting place; it's the second city of the Empire, with tons of Victorian architecture. But the spirit of the people just permeates the look of the place, it's hard for me to describe it, because I'm from there, but I think Tom just captured the look of the place, its rhythms. It's an exciting and spontaneous place to be, and the light is so specific there, it's very white...

This is Jessie Buckley's breakout turn, and she more than delivers in this movie. What was it like to see your character brought to life by this gifted actor?

When I described Rose-Lynn as "thrillingly, glitteringly alive," that exact thought crossed my mind the first time I met Jessie, I was agape, because I couldn't believe this person existed — she looks so much like Rose-Lynn, with her red hair, her energy, her spark. And then when I heard her sing, I knew this long odyssey had come to an end. To this day, it's one of the most exciting moments that's ever happened in my career — that this character that's felt more real to me than friends and family suddenly takes form after so many years. She also brought her own special warmth to the character, along with that incredible voice. It was a relief to pass it over to her, and such fun, because she's a wonderful person, and a talented actor and singer.

Julie Walters brings a unique kind of motherhood to this role. What was it like watching Marion come to life in her hands?

To me, there's no better actor in the world to play an emotionally constipated person than Julie Walters — she did it in Educating Rita, she did in Billy Elliott, and this woman needs no dialogue in order to convey exactly what she's feeling. So, for a character who is unable to talk about her feelings, who has all these undigested emotions, you simply could not do better than Julie Walters. We were so lucky to get her, and she and Jessie had a lovely chemistry.

This is your first feature film — what are some of the major differences in writing material for the big screen?

As far as my actual approach to writing, there is no difference. I like to do one project at a time, and I like to dissolve myself into it utterly, even if it takes years. I always say it's like writing from the inside out until the characters feel completely real to me. Everything around my writing process is totally different, the major thing with an indie film being that you never know whether it's going to get made. It's the Wild West — one minute you've got the money, the next minute you don't; then you've got the director, then you don't. Whereas in television, once you've got the green light, you just get on with it. I enjoy them both, but I knew that Rose- Lynn deserved a film, and I knew I had to write it as a film.

From the writer's perspective, what is this movie trying to say? What are some of its key themes?

One of the themes revolves around the notion of home. So many people have had the experience, as I have myself, of feeling like you have to leave where you come from in order to be who you are, because if you're not allowed to want the things that you want, then how can you ever be yourself? It's this notion of getting away and blooming someplace else, like Rose- Lynn thinks she'll do in Nashville. But as so many of us have discovered, if you want to create something, if you want to write a screenplay or make a film, or just be your whole, coherent self, then you have to reconcile where you come from with where you are trying to go in life.

This is also a movie about being true to your dreams versus taking responsibility...

Wild Rose is almost an anti-wish fulfillment story in that it's more interested in examining the reality than the dream itself. Those TV talent shows have been popular here for years now, and I always used to watch them thinking, I'm so much less interested in the dream than I am in the reality — because what's it actually like to be that talented only to have to go home at the end of the night to a flat with your mom, who wants you to be a hairdresser, or maybe you've got existing responsibilities. Everyone dreams in the context of responsibilities, and I thought to myself as I was writing this, what does that feel like from the inside?

Were you aware of Jessie Buckley's career prior to her work in this movie?

I became aware of her when Tom Harper read the first two pages of the script and knew immediately who could bring Rose-Lynn to life, and then I saw a clip of Jessie singing — and that was it. I've watched everything she's done since, but before we met through Tom, I wasn't aware of her earlier performances.

What was it like to watch Jessie fill Rose-Lynn with that amazing voice?

It's pure unalloyed joy, every time I hear her sing it does that thing that country music has done to me since I was 12 years old. As I say in the movie, it gets what's in there out — it's not just that she's got this beautiful voice, the way Jessie expresses feelings through music is exactly how I imagined Rose-Lynn was able to do it. Jessie is also unvarnished, her singing is pure, and it's got that thing that the best country music voices have, something called honey in the brains. I can't get enough of her singing! I'm a total groupie — every time she does a gig in London or Glasgow, I'm there.

You also wrote songs together for the movie... did you find that kind of writing easy?

It was hard to take myself seriously at first because I felt like I was an imposter. Jessie is super musical, and she's from a musical family, so she's great at everything, whereas I'm a very basic drum-kit player. But I had a few ideas for songs because they were written from Rose-Lynn's point of view, so that's how we started writing. Once I loosened up and chilled out, the songs just came, because Jessie and I both knew Rose-Lynn so well, it came easily to us. For about six months, she would sit in my living room with some musicians and go to it — it was a way of not letting go of the character even after the film had wrapped.

CAST

JESSIE BUCKLEY, Rose-Lynn Harlan

Irish-born RADA graduate Jessie Buckley’s TV performances include the role of Princess Marya in BBC hit-adaptation of Tolstoy’s epic novel WAR AND PEACE and starring opposite Tom Hardy in historic drama series TABOO. In 2018 she worked alongside Stephen Campbell Moore, Ben Miles and Jessica Raine in the BBC One drama series THE LAST POST written by Peter Moffat and appeared in the BBC One adaptation of THE WOMAN IN WHITE, Wilkie Collins’ classic psychological thriller adapted for television by Fiona Seres with a cast including Ben Hardy and Charles Dance. This April she will be seen in the HBO / Channel 4 series CHERNOBYL for Sister Pictures alongside Emily Watson.

In 2018 Jessie had her first lead role in Michael Pearce’s critically acclaimed film BEAST, co- starring with Johnny Flynn. The film opened to rave reviews and Jessie won the most promising newcomer award at the British Independent Film Awards. Jessie was also chosen as one of Screen International’s ‘Stars of Tomorrow’ and was selected to be one of BAFTA’s ‘Break Through Brits’. Other pending nominations for her role in BEAST role include the BAFTA ‘Rising Star’ award and ‘Best British or Irish Actress’ for the Critics Circle Awards.

In 2019 Jessie will be seen as Rose-Lynn Harlan, the leading role in Tom Harper’s WILD ROSE alongside Julie Walters and Sophie Okonedo. She will also appear in JUDY alongside Renee Zellweger and THE VOYAGE OF DOCTOR DOLITTLE alongside Robert Downey Jr.

Theatre credits include taking part in two productions simultaneously as part of the Kenneth Branagh Theatre Company’s inaugural season: the first, as Perdita in Branagh’s THE WINTER’S TALE; and the second as Muriel in HARLEQUINADE. Jessie starred as Miranda in Jeremy Herrin’s THE TEMPEST, opposite Roger Allam (which was released as a film). Further theatre credits include: A LITTLE NIGHT MUSIC at the Menier Chocolate Factory; as Princess Katherine opposite Jude Law in HENRY V; and as Constanze in AMADEUS, alongside Joshua McGuire and Rupert Everett at the Chichester Festival Theatre.

JULIE WALTERS, Marion

Julie Walters is an award-winning British actress, who came to prominence in the title role in EDUCATING RITA in 1983 opposite Michael Caine. This won her an Academy Award® nomination as well as a BAFTA® and Golden Globe® award for Best Actress. Walters received her second Academy Award® nomination and won a BAFTA® for her supporting role as the ballet teacher Mrs. Wilkinson in BILLY ELLIOT, directed by Stephen Daldry in 2000. Julie is perhaps best known internationally to young audiences for her role in one of the most successful franchises in big screen history, playing Mrs. Weasley in seven of the eight Harry Potter films.

Over 30 years, Julie has appeared in countless British film productions, both highly successful and critically acclaimed, such as Roger Michell’s TITANIC TOWN in 1998, CALENDAR GIRLS (Nigel Cole, 2003), Richard E. Grant’s WAH-WAH in 2005, Driving Lessons (Jeremy Brock, 2006), BECOMING JANE (Julian Jarrold, 2007), MAMMA MIA! (Phyllida Lloyd, 2008) and A SHORT STAY IN SWITZERLAND (Simon Curtis, 2009) for which she won an international Emmy Award.

Walters has also been honoured for her extensive work on television, recently coming fourth in the ITV network’s poll of the public’s 50 Greatest Stars in the UK. One of her first stand-out acting roles on TV was in the classic ‘Boys from the Blackstuff’ (Phillip Saville,1982) and was followed by a string of significant dramatic and comedic roles, including and ‘The Secret Diary of Adrian Mole’, ‘GBH’, ‘The Wedding Gift’ and ‘Pat and Margaret’. Through the late 1990s, productions included ‘Brazen Hussies’ (Elijah Moshinsky, 1996), ‘The Ruby in the Smoke’ (Brian Percival, 2006), as well as WGBH / PBS’s ‘Oliver Twist’ (Renny Rye, 1999), ‘The Canterbury Tales’ (Dermot Boyd, 2003) and the lead role of outspoken politician in ‘Mo Mowlam’. Julie is perhaps best known to British television audiences for her collaborations with Victoria Wood, appearing with her in the award-winning sitcoms ‘Wood and Walters’, ‘Acorn Antiques’, ‘Victoria Wood: As Seen On TV’ and ‘Dinnerladies’.

Having studied at the Manchester Polytechnic School of Theatre, Walters has also appeared extensively on the stage; in regional theatre, stand-up comedy and cabaret. EDUCATING RITA (Mike Ockerent RSC Donmar Warehouse) launched her into the limelight earning her Variety and Critic’s Awards for Best Newcomer, she then went on to play Lady Macbeth (Leicester Haymarket Theatre), Judy in LAST OF THE HAUSSMANS (Howard Davies, The National Theatre), May in FOOL FOR LOVE (Peter Gill, NT Cottesloe) which won her an Olivier nomination for Best Actress and Kate in ALL MY SONS (Kate Keller, NT Cottesloe) for which she won the 2001 Olivier Award for Best Actress.

In 2013, Julie Walters was awarded the Richard Harris Award for Outstanding Contribution by an Actor at the Moët British Independent Film Awards, celebrating her extensive contribution to the British film industry. This was followed in 2014 by Julie receiving the prestigious BAFTA® Fellowship Award.

In 2015, Julie returned to television with the role of Cynthia Coffin in the British drama ‘Indian Summers’, for Channel 4; in the same year, she appeared in the Academy Award® nominated film Brooklyn, in a role which won her a BAFTA® nomination for Best Supporting Actress.

Julie most recently appeared in PADDINGTON 2 and FILMSTARS DON’T DIE IN LIVERPOOL, and in 2018, she has appeared in MARY POPPINS RETURNS, opposite Emily Blunt and Ben Whishaw. In 2019, Julie appears in WILD ROSE with Jessie Buckley.

SOPHIE OKONEDA, Susannah

Tony Award winning and Academy Award nominated actress Sophie Okonedo was born in London and trained at the Royal Academy of Dramatic Art. Sophie has worked in a variety of media including film, television, theatre, and audio drama. She received an OBE in the 2010 Queen's Birthday Honours and received a CBE on 26th February 2019 by Her Majesty The Queen.

Sophie began her film career in 1991 in the British coming-of-age drama YOUNG SOUL REBEL before appearing as Wachati Princess in ACE VENTURA: WHEN NATURE CALLS (1995) and Stephen Frears' DIRTY PRETTY THINGS (2002). She received an Academy Award nomination for Best Supporting Actress for her role as Tatiana Rusesabagina in the 2004 film HOTEL RWANDA. Sophie also received a Golden Globe nomination for the miniseries TSUNAMI: THE AFTERMATH (2006) and BAFTA TV Award nominations for the drama series CRIMINAL JUSTICE (2009).

In 2002 Sophie played the role of Jenny in Danny Brocklehurst's BAFTA nominated episode of Paul Abbott's series CLOCKING OFF. The following year saw Sophie starring in DOCTOR WHO: SCREAM OF THE SHALKA, a webcast based on the BBC television series Doctor Who as Alison Cheney, a companion of the Doctor. As well as providing the character's voice, Sophie's likeness was used for the animation of the character.

In 2006 Sophie played the part of Tulip Jones in the film STORMBREAKER and appeared as Susie Carter in the BBC/HBO two-part series TSUNAMI: THE AFTERMATH. The following year Sophie received a Golden Globe nomination for Best Actress in a Mini-Series/Television Movie for her performance. In 2007 she appeared as Nancy in the television adaptation of OLIVER TWIST. In 2008 Sophie played alongside Queen Latifah, Jennifer Hudson, Alicia Keys and Dakota Fanning as May Boatwright, a woman who struggles with depression, in the film THE SECRET LIFE OF BEES. The following year she starred opposite Sam Neill and Alice Krige as Sandra Laing in SKIN, and portrayed Winnie Mandela in the BBC drama MRS. MANDELA broadcast in January 2010.

In 2010 Sophie portrayed Liz Ten (Queen Elizabeth X) in the BBC TV series DOCTOR WHO episodes "The Beast Below" and again briefly in "The Pandorica Opens". Further TV credits include: BBC series EXTRAORDINARY WOMEN (2011), mini- series THE SLAP (2011), SKY1 series SINBAD (2012), BBC One mini-series MAYDAY (2012), and BBC One mini-series THE ESCAPE ARTIST (2013).

In 2013 Sophie starred in sci-fi feature AFTER EARTH alongside Will Smith, Jaden Smith, and David Denman. The story takes place in the near future, when an environmental cataclysm forces the human race to abandon Earth and settle on a new world, Nova Prime. In 2014, Sophie played the role of Philippa in Tom Harper’s drama WAR BOOK. Over the course of three days, eight government aides and the Defence Secretary participate in a war-game which has taken place regularly among British civil servants since the 1960s, as a way to help them formulate government procedure in the event of nuclear war. She made her Broadway debut in the 2014 revival of A RAISIN IN THE SUN and won the Tony Award for Best Featured Actress in a Play for her portrayal of Ruth Younger.

In March 2016 Sophie performed in Scott Rudin’s production of Arthur Miller's THE CRUCIBLE on Broadway. The revival, which was set during the Salem witch trials in the 1690s, starred Ben Whishaw as John Proctor, Sophie as Elizabeth Proctor, Saoirse Ronan as Abigail Williams, and Ciaran Hinds as Deputy-Governor Danforth. Her critically acclaimed portrayal of Elizabeth Proctor won her a nomination for Best Performance by an Actress in a Leading Role in a Play at the 2016 American Theatre Wing’s Tony Awards.

Sophie also appeared in Peter Moffat's new political thriller UNDERCOVER where she played the lead character Maya, a defence lawyer who tries to finally uncover the truth of an old miscarriage of justice, while her husband Nick (played by Adrian Lester) goes to any lengths to conceal the truth about his own past. The series aired on BBC America in November 2016. Sophie starred as Queen Margaret in the BBC One series THE HOLLOW CROWN: THE WAR OF THE ROSES, episodes “Henry VI Part 1”, “Henry VI Part 2”, and “Richard III”. She appeared alongside Benedict Cumberbatch, Dame Judi Dench, and Phoebe Fox. The series aired in the US on PBS in December 2016.

In April 2017, Sophie was seen alongside Damian Lewis in a new production of Edward Albee’s THE GOAT. Directed by Ian Rickson, the revival was performed in the West End at the Theatre Royal Haymarket.

Last summer, Sophie played Kanga in Disney’s live-action film, CHRISTOPHER ROBIN. The film sees a grown-up Christopher Robin reunite with his old friend, Winnie The Pooh. Sophie starred alongside Ewan McGregor, Hayley Atwell, Chris O’Dowd, Toby Jones and Peter Capaldi.

In September 2018, Sophie starred in ANTONY AND CLEOPATRA at the National Theatre alongside Ralph Fiennes. Directed by Simon Godwin, the production saw Sophie win Best Actress at the Evening Standard Theatre Awards, What’s On Stage Awards and Critics Circle Awards. Sophie has recently been nominated in the ‘Best Actress’ category at the Olivier Awards 2019 for her portrayal of Cleopatra. Also in September, Sophie was seen in BBC One’s WANDERLUST, alongside Toni Colette and Steve Mackintosh.

In February, Sophie starred in UKTV’s FLACK. Sophie played the role of Caroline; a witty and brazen publicist in the comedy series, which aired on W channel. Sophie starred alongside Academy Award winner Anna Paquin.

This Spring, Sophie has starred in two feature films. The first, Tom Harper’s WILD ROSE; a heartwarming story of a country musician from Glasgow who dreams of becoming a Nashville star. Sophie stars alongside Julie Walters and Jessie Buckley. WILD ROSE premiered at the BFI London Film Festival and Toronto International Film Festival last year. The film was released in the UK on 19th April and 10th May in the US.

The second feature film, HELLBOY, was the the third instalment of the HELLBOY movie franchise, based on the Dark Horse comics. Directed by Neil Marshall, Sophie played the role of Lady Hatton opposite David Harbour and Milla Jovovich. HELLBOY was released on 19th April. On the small screen, Sophie most recently played Tessa Kendrick in Channel 4’s CHIMERICA, which sees a photojournalist who travels to China to find the mysterious man who was photographed in front of a tank in Tiananmen Square twenty years ago.

FILMMAKING TEAM

TOM HARPER, Director

Tom Harper was born and brought up in North London. He started out making award winning short films, before moving on to direct a range of UK television drama including MISFITS (2009, E4), THIS IS ENGLAND ’86 (2010, Channel 4), and PEAKY BLINDERS (2013, BBC2 / Netflix).

In 2016, Tom directed all 6 episodes of WAR & PEACE for BBC1, starring Paul Dano, Lily James and James Norton. The series gained rave reviews, a BAFTA nomination for best drama series, and topped ratings with The Telegraph calling it “the greatest costume drama of the decade”.

Tom’s feature film work includes THE SCOUTING BOOK FOR BOYS (2010), THE WOMAN IN BLACK: ANGEL OF DEATH (2015), and WAR BOOK (2015), which opened the Rotterdam International Film Festival. His most recent feature, WILD ROSE – starring Jessie Buckley, Julie Walters and Sophie Okonedo – was released in the UK in April 2019 to widespread critical acclaim. It will be released in the US on 10th June.

Tom is currently working on THE AERONAUTS, a feature film starring Eddie Redmayne and Felicity Jones for Amazon Studios, which will be released in November 2019.

NICOLE TAYLOR, Screenwriter

Nicole Taylor wrote BBC1's mini-series THREE GIRLS which won five BAFTAs in 2018, including for best writer. “Searingly compelling drama” – The Times - “This is what TV is for”.

Prior to that her BAFTA nominated single drama THE C WORD was produced for BBC1 and she has also written on series ranging from THE HOUR to SECRET DIARY OF A CALL GIRL.

Nicole is originally from Glasgow and now lives in London. She’s been a huge country music fan since Garth Brooks kissed her 14-year-old cheek. WILD ROSE is her first feature, and she co- wrote the original soundtrack with Jessie Buckley.

FAYE WARD, Producer

Faye Ward is one of the UK’s most prominent producers. Faye founded TV & film production outfit Fable Pictures with backing from Sony Pictures Television in 2016, after the success of SUFFRAGETTE written by Abi Morgan and directed by Sarah Gavron, starring Carey Mulligan, Helena Bonham Carter and Meryl Streep. Before founding Fable, Faye was also part of the producing team on series 1 of the multi-award-winning Netflix series THE CROWN.

Fable’s first film STAN & OLLIE premiered in the prestigious closing night slot of the London Film Festival, was released in cinemas in early 2019 and received 3 BAFTA nominations and a Golden Globe nomination. Written by Jeff Pope (Philomena, Little Boy Blue) and directed by Jon S. Baird (Filth), the film stars Steve Coogan and John C. Reilly as beloved comedy duo Laurel and Hardy and was made with the support of BBC Films and eOne.

Spring 2019 will see the international theatrical release of WILD ROSE starring rising star Jessie Buckley, Julie Walters and Sophie Okonedo, written by Nicole Taylor (Three Girls) and directed by Tom Harper (War & Peace, Peaky Blinders) for eOne, BFI, Creative Scotland and Film4. The film premiered at Toronto International Film Festival in 2018 to rave reviews.

A new film from Faye’s long-standing collaboration with director Sarah Gavron is currently in post-production. Written by award-winning playwright Theresa Ikoko and Claire Wilson (The Little Drummer Girl), the film features a cast of dynamic, newly-discovered, first-time acting talent.

Fable’s slate includes: JOAN & JACKIE, a series about iconic sisters Joan and Jackie Collins written by Penelope Skinner; SAINT MAZIE, a mini-series starring Academy Award nominee Helena Bonham Carter, based on a book by Jami Attenberg and adapted by Clara Brennan; MR LOVERMAN adapted by Rachel DeLahay from the novel by Bernardine Evaristo; comedy series FRANKIE MACKIE written and created by George Kay for Channel 4; plus projects with a roster of emerging and established British talent including Moira Buffini, Nathaniel Price and Yann Demange. Previously, Ward worked at Ruby Film & Television alongside Alison Owen. Under the Ruby banner she produced the BBC’s Golden Globe nominated series DANCING ON THE EDGE, written and directed by Stephen Poliakoff, and an adaptation of Nigel Slater’s memoir TOAST adapted by Lee Hall and directed by S.J. Clarkson. For Channel 4 she has produced DOUBLE LESSON starring Phil Davies and written and directed by George Kay.

Other credits include: Co-producer on JANE EYRE directed by Cary Fukunaga starring Michael Fassbender and Mia Wasikowska and Associate Producer on Stephen Frears’ TAMARA DREWE, FIVE MINUTES OF HEAVEN directed by Oliver Hirschbiegel and the multi award winning television adaptation of SMALL ISLAND for the BBC, directed by John Alexander and starring David Oyelowo.

CAST CREDITS In order of appearance Rose-Lynn JESSIE BUCKLEY Prison Officer 1 MATT COSTELLO Prison Officer 2 JANE PATTERSON Prison Officer 3 LESLEY HART Prisoner 1 CAROL PYPER RAFFERTY Prisoner 2 NATALIE McCONNON Eileen MAUREEN CARR Elliott JAMES HARKNESS Marion JULIE WALTERS Lyle ADAM MITCHELL Wynonna DAISY LITTLEFIELD Amanda LOUISE McCARTHY Line Dance Teacher ALLISON SIMPSON Jackie JANEY GODLEY Brian the Opry Barman BRIAN McQUADE Alan CRAIG PARKINSON Marion’s Friend MARGARET MAcKENZIE Cleaning Lady 1 MARIANNE McIVOR Cleaning Lady 2 CAROLYN CALDER Cleaning Lady 3 NATALI McCLEARY Mary DOREEN McGILLIVRAY Susannah SOPHIE OKONEDO Rory RYAN KERR Nell NICOLE KERR G4S Guy DAVID McGOWAN Neighbour Man MARTIN DOCHERTY Sam JAMIE SIVES Solicitor KERN FALCONER Judge BENNY YOUNG Train Passenger TRACY WILES Guy on Train JOSH WHITELAW Virgin TrainsStaff HELEN KATAMBA BBC Receptionist MARYAM HAMIDI Mark Hagen HIMSELF Bob Harris HIMSELF Ashley McBryde HERSELF Nurse GEMMA McELHINNEY Doctor ATTA YAQUB Kirsty VANYA EADIE Drake Motel Owner SONDRA MORTON Roanne the Waitress ASHLEY SHELTON Wyatt ROBIN DAUGHERTY Ryman Security Guard J. THOMAS BAILEY

THE JAGGY NETTLES Colin ALY MACRAE Ivor PHIL CUNNINGHAM Joe ALY BAIN Stuart STUART NISBET Eric BEN NICHOLLS Neill NEILL MAcCOLL Roy CHRIS VATALARO Andy ANDY MAY

NASHVILLE BANDS Guitar & Vocal KACEY MUSGRAVES Guitar & Backing Vocal KYLE RYAN HURLBUT Pedal Steel Guitar BRETT RESNICK Bass ADAM KEAFER Drums SCOTT QUINTANA

Fiddle & Clog Dancing HILLARY KLUG

Fiddle ROSS HOLMES

Production Manager CLAIRE CAMPBELL

First Assistant Director STEPHEN CARNEY

Production Sound Mixer COLIN NICOLSON

Post Production Supervisor NADIYA LUTHRA

Music Supervisor KAREN ELLIOTT

Band Leader NEILL MAcCOLL

Script Supervisor MARNIE PAXTON-HARRIS

First Assistant Camera HARRY BOWERS Second Assistant Camera STEFAN KRZYSIAK Camera Trainee JOSH ROWE Video Assistant ALAN McLEAN Digital Imaging Technician GRANT McPHEE Digital Media Technician BEN McKINSTRIE

Grip DAVID CLARKE Grip Assistant RONAN DEVLIN

Second Assistant Director ZOE SMITH Third Assistant Director LIAM SHAW Assistant to Tom Harper JACK PETERS Floor Runners AMY HOGARTH HARRY MEDLAND JAMES WARD Stand-in Runner MANDY MURPHY

Sound Maintenance COLIN GREGORY Sound Assistant THAYNA McLAUGHLIN

Art Director POLLY STEVENS Standby Art Director MARTIN McNEE Production Buyer JANICE MAcRAE Petty Cash Buyer KATIE JOHNSTON Art Department Assistant ANNA TOFFOLO

Assistant Costume Designer KATHRYN TART Costume Supervisor HARRIET EDMONDS Principal Costume Standby RACHAEL LOW Costume Trainee LORNA STIRLING

Hair & Make-Up Supervisor FREDA ELLIS Make-Up Artist to Julie Walters CHRISSIE BAKER Creative Skillset Make-Up Trainee BETH FOLEY Hair Colourist ANNA KESBY Hair Extensions HADLEY YATES

Production Accountant ISABEL CHICK Assistant Accountant KIRSTIN WHITE Accounts Assistant LESLEY-ANN HALLS

Production Coordinator PAULA FLEMING Assistant Production Coordinator AMY MAcILRAITH Production Secretaries PRIYA BHAKTA LEWIS WARDROP Production Assistants ANNA ALEXANDER LAURA FLEMING Production Intern ESTHER BATTERHAM

Assembly Editor RICHARD SMITHER

First Assistant Editors KELLY ALLUM MATT STREATFIELD Additional First Assistant Editor CRAIG FERREIRA Post Production Coordinator ROBERT PLATT-HIGGINS

Prop Master PAUL CAMPBELL Chargehand Dresser RYAN CLACHRIE Standby Props SHAUN PATTON STUART ANDERSON Dressing Props ANDY PRATT Prop Storeman STEVE “BOUNTY” WADE

Gaffer WAYNE KING Best Boy Electrician GRANT McLEAN Electricians GREIG WILSON DAVID WILSON Standby Rigger DAVID WHEELER Standby Carpenter JOHN WATT

Construction PAUL BURNS ANGUS WEST Scenic Painter CAROLINE DONEY Painter JOHN HUGHES

Location Manager MARTIN HENDERSON London Location Manager AMIE TRIDGELL Unit Manager PAUL ROBBINS Assistant Location Manager AMY PALIN TUNE Location Assistant GORDON KEEN

Casting Associates CAROLINE STEWART Casting Assistant ROSS BARRATT Dialect Coach CAROL ANN CRAWFORD Movement Consultant DELPHINE GABORIT

NASHVILLE UNIT First Assistant Director SCOTT RORIE Second Assistant Director SUSAN McGUIRE Second Second Assistant Director JOE MAY Unit Production Manager TAMERA BROOKS Production Services STRAY DOG FILMS Production Coordinator AMANDA CURTIS Second Camera Assistant TRACY FACELLI Digital Imaging Technician ARMAND HOLMES Camera Assistant ELYSIA PEREZ Gaffer JON LEWIS Best Boy Electric MIKE BEATTY Key Grip DARRYL WILSON Best Boy Grip JIM GORDON Grips JOSEPH CROWLEY - CHRISTOPHER JOHNSON JUSTIN SULHAM Sound Mixer GRANT JOHNSON Boom Operator CLAY HOWARD Props / Art Department FRANK GRAY Set Decorator SHEILA BARTLETT On Set Dressers RYAN ROWE - KIM LAKE MATTHEW MICHAEL - JOSH ROBERTSON JEFF WILSON Scenic Painter KAREN SCHNEIDER Costume Supervisor LEEANN RADEKA On Set Costumers JILL OTTE SHELLEY McCABE Hair ANNA ALDRICH Make-Up SANDY JO JOHNSTON Location Manager MARK RAGLAND Assistant Location Manager SYDNEY LUNN Location Assistant KAYLA COURTNEY Office Production Assistant CAITLYN RAGAN Set Production Assistants CONNOR KING - ABBY REED COLTER ANGEL - TRENT LANHAM Utility HEATHER MITCHELL HUTSON Transportation JOHN WITHERSPOON Camera Truck THOMAS NORRIS Casting KIM PETROSKY

Re-recorded at BOOM POST LONDON Supervising Sound Editor LEE WALPOLE Sound Effects Editor SAOIRSE CHRISTOPHERSON Dialogue Editor JEFF RICHARDSON Foley Recordist ANNA WRIGHT Foley Artist CATHERINE THOMAS ADR Recordist GIBRAN FARRAH Re-recording Mixers STUART HILLIKER LEE WALPOLE Assistant Re-recording Mixer RORY DE CARTERET Bookings Coordinator THEA HASALM Studio Manager NICKY POULTON Glasgow Crowd Booker KENNY BLYTH Glasgow ADR Studio SAVALAS SOUND Edinburgh ADR Studio CANONGATE STUDIOS London ADR Studio BOOM POST LONDON ADR Voice Casting JAY BENEDICT Loop Group SYNC OR SWIM

Visual Effects by LIPSYNC POST Visual Effects Producer MARTIN GABRIEL Visual Effects Coordinator JACQUI MARCHANT-ADAMS Screen Insert Graphics by LIPSYNC DESIGN Head of Design HOWARD WATKINS Senior Designer JULIA HALL Designer TOM BURKE Design Coordinator CHLOE TETU

Additional VFX Artist KARINA STEFANISINA

Additional VFX INVISIBLE ARTS COLLECTIVE WILL HARDWICK - STEPHANIE STAUNTON JOHN HARDWICK

Online, Additional VFX and Colour Grade by TIME BASED ARTS Post Production Executive Producer TOM JOHNSON Post Production Producer CHRIS ALIANO Colourist SIMONE GRATTAROLA Colour Grade Assistants MYLES BEVAN - MAX FERGUSON-HOOK VFX Artists BEN STONEHOUSE - LINDA CIENIAWSKA

Online and Conform by LIPSYNC POST Head of Facility LISA JORDAN Assistant Post Producer SARAH MOROWA Head of DI JAMES CLARKE DI Coordinator LIZZIE NEWSHAM Online Editor BEN NORTH DI Assistants KATIE CROFT - CESAR PILETTI MICHAEL HOPKINS - GIANLUCA FERRARI Head of Technical Support RICK WHITE Technical Operators ALEX CRONE - ROBERT WAREING JORDAN MALONGA Head of Engineering LINDEN BROWNBILL

Titles Designed by MATT CURTIS

Post Production Dailies BLAZING GRIFFIN Head of Post Production DAVID FREW Technical Lead ROSS MAcRAE Facility Manager LUCY FOWLER Facility Coordinator MAIRI MAcDONALD

Publicity ENTERTAINMENT ONE Production Notes JO FARRUGIA Unit Stills Photographers MARK MAINZ AIMEE SPINKS EPK GALEFORCE TV

Unit Drivers JAMES “JAS” BROWN - DAVID LOVE JEFF WARREN - JAMES MAY Minibus Drivers MARC MILLS - YOUNES MOHAMMED PAUL ASHBY Camera Driver ALEC DRUMMOND Grip Driver RAY PERKINS

Health & Safety Consultant GLYNN HENDERSON Health & Safety Advisor TONY McKINNON Unit Medics STEF SWIATEK DEIRDRE WALSH

Camera Equipment Supplier TAKE 2 - OPTICAL SUPPORT Helicopter & Drone Filming FLYING PICTURES - ROAVR Lighting Supplier PANALUX On Set Radios & Mobile Phone Supplier WAVEVEND Facilities ADF - SKYEMORE RVS - HEATHER HEPBURN Facilities Captain DAVY McPHERSON Security Provided by MEDIA SECURITY SCOTLAND Lead Security HUGH McGURK Catering CHORLEY BUNCE Head Chef PETER CROSS Chefs STEPHEN ASHTON - MARK BUNCE CARL LEWIN Post Production Script FATTS Subtitles and Audio Description by ENGINE HOUSE MEDIA SERVICES & BAD PRINCESS PRODUCTION Script Clearances by SARAH HUGHES Music Clearances by CLEARANCE UNLIMITED Music Legal Advisor JACKIE JOSEPH Image Clearances by V&A IMAGES Stock Footage ISTOCK Insurance Provided by MEDIA INSURANCE BROKERS BOYD HARVEY Collection Agent Services FREEWAY CAM B.V. International Sales by EONE/SIERRA Production Finance Provided by COUTTS & CO. STEVE LANSDOWN Legal Services for Coutts & Co Provided by REED SMITH LLP MICHAEL MAXTONE-SMITH Production Legal Services Provided by WIGGIN LLP CHARLES MOORE - ALEXANDER LEA MELISSA FROST

Completion Bond Services provided by EUROPEAN FILM BONDS A/S and DFG DEUTSCHE FILMVERSICHERUNGSGEMEINSCHAFT Production Executives SUDIE SMYTH PETER LA TERRIERE Business Affairs WILF VARVILL Legal Services to the Completion Bond NICKI PARFITT & JOHAN EWING LEE & THOMPSON LLP

For ENTERTAINMENT ONE EVP Production and Acquisitions LARA THOMPSON EVP Content Strategy and Operations HEIDI SCHEELINE EVP Marketing RACHEL CADDEN EVP Business & Legal Affairs SPYRO MARKESINIS Business & Legal Affairs NADIA LACHMAN Production Consultant KATE FASULO SVP Finance MONIQUE JONES VP Finance EVELYN LABONTE

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

For CREATIVE SCOTLAND Head of Screen NATALIE USHER Production Executive ROBBIE ALLEN Business Affairs MARK WILSON Legals NEIL GILLARD, WIGGIN LLP

For FILM4 Head of Film4 DANIEL BATTSEK Deputy Head of Film4 SUE BRUCE-SMITH Commissioning Executive JULIA OH Development Executive BEN COREN Marketing and Distribution Executive HANNAH SAUNDERS Press and Publicity Manager PHIL CAIRNS Production Executive NICKY EARNSHAW Senior Legal and Business Affairs Executive DONNCHADH McNICHOLL

For FABLE PICTURES Head of Development HANNAH PRICE Assistant Producer CLARK CREWE Production Assistant ANURADHA HENRIQUES Accountant HEENA SACHDEVA Post Production Consultant LOUISE SEYMOUR

For GLOBE SOUNDTRACK & SCORE MARC ROBINSON ADAM GARDINER LUCIE AVERY

For ISLAND RECORDS DARCUS BEESE JON TURNER CLAIRE SUGRUE GUILLERMO RAMOS

Music Consultant IAN BROWN

Live Music Recording Engineer IAIN HUTCHISON Studio Recording Engineer STUART HAMILTON Live Sound Engineers CHRIS GOMMERSALL KEVIN O’NEILL PA Hire ADLIB Rehearsal Guitarist CHRIS MORPHITIS

Nashville Live Music Recording Engineer ROB DENNIS Nashville Live Sound Engineer ALEX MOORE

Pedal Steel Guitar & Dobros MELVIN DUFFY STUART NISBET Guitars SIMON JOHNSON Fiddle LAURA CARRIVICK Banjo JOHN BREESE Bass BEN NICHOLLS Score Mixer RUPERT CHRISTIE Additional Music by MELVIN DUFFY- SIMON JOHNSON STUART NISBET Music Recorded at THE LIMES STUDIO & LIVINGSTON STUDIOS Music Mixed at THE RED ROOM

“Country Girl” “Walking After Midnight” Written by Andrew Innes, Bobby Gillespie, Gary Written by Alan Block, Donn Hecht Mounfield, Martin Duffy Performed by Jessie Buckley & James Harkness Performed by Jessie Buckley Published by Sony/ATV Acuff Rose Music Published by EMI Music Publishing Ltd

“Wrong Side of Memphis” Written by Matraca Berg and Gary Harrison “(I Never Promised You A) Rose Garden” Performed by Trisha Yearwood Written by Joe South Published by Universal/MCA Music Ltd. and Performed by Lynn Anderson Warner-Tamerlane Publishing Corp. (BMI) Published by Sony/ATV Songs LLC All rights on behalf of Warner-Tamerlane Courtesy of Sony Music Entertainment Publishing Corp. administered by Licensed courtesy of Sony Music Entertainment Warner/Chappell North America Ltd. UK LTD Courtesy of MCA Records Inc. Under licence from Universal Music Operations Ltd

“I’m Moving On” Written by Hank Snow

Performed by Jessie Buckley Published by Carlin Music Corp

“Angel From Montgomery (Remastered Version)” “It Wasn’t God Who Made Honky Tonk Angels” Written by John Prine Written by J.D. Miller Performed by Bonnie Raitt Performed by Kitty Wells Published by Sour Grapes Music, Inc. (ASCAP) Published by Peer International Corporation and Walden Music Inc. (ASCAP) Courtesy of MCA Records Inc. All rights administered by Warner/Chappell Under licence from Universal Music Operations North America Ltd. Ltd Licensed courtesy of Warner Music UK Ltd

“Peace In This House” “BBC Radio 2 Jingles 2013” Written by Doug Gill and Angela Kaset Written by Capps, Blair, Melville Smith, Wish, Performed by Jessie Buckley Plant and Godfrey Published by Peacehouse Music (BMI), Published by Gibbs Music Services Ltd/ BBCW administered by Eleven Eleven Music Group Music Publishing and Ten Ten Music Group, Inc Used Courtesy of the British Broadcasting Administered by Kobalt Music Publishing Ltd. Corporation

“Outlaw State of Mind” Written by Ronnie Bowman, Chris Stapleton and Jerry Salley “In No Time At All” Performed by Jessie Buckley Written by Kim Richey and George Ducas Published by Sony/ATV Tree Publishing, Performed by Craig Parkinson Den What Music (SESAC)(admin. By ClearBox Published by © 1995. Mighty Nice Music (BMI) Rights) Administered by Bluewater Music Services Corp. By arrangement of ClearBox Rights, LLC. and Used by Permission. All Rights Reserved. and WB Music Corp. (ASCAP) and Ken Tucky Music Universal Music Publishing Ltd. (ASCAP)

All rights on behalf of WB Music Corp. and Ken Tucky Music administered by Warner/Chappell North America Ltd.

“Girl Goin’ Nowhere” Written by Ashley McBryde and Jeremy Bussey “Born To Run” Performed by Ashley McBryde Written by Paul Hardy-Kennerley Published by Universal/MCA Music Ltd., The Performed by Jessie Buckley Song Factory and Beejo Fetch Publishing Ashley Published by Concord Music Publishing McBryde appears courtesy of Atlantic Records/ Warner Music Nashville

“Solitary Thinkin’” Written by Waylon Payne Performed by Lee Ann Womack “Alright To Be All Wrong” Published by © 2009 Tiltawhirl Music (BMI) - Written by Nicole Taylor, Jessie Buckley, Simon A division of Carnival Music Group. Johnson and Ian W Brown Used By Permission. All Rights Reserved. Published by Copyright Control Courtesy of MCA Nashville Performed by Jessie Buckley Under licence from Universal Music Operations Ltd

“Don’t Cry and Drive” “Postcards In Heaven” Written by: Simon Johnson, Ian W Brown & John Written by Ian W Brown McLaughlin Performed by The Little Blue Numbers Performed by The Little Blue Numbers Published by Copyright Control Published by Copyright Control

“Cigarette Row” Written by Nicole Taylor Jessie Buckley, Simon “Le Petit Chat Gris” Johnson, Ian W Brown & Marli Harwood Written by Hillary Bevels Klug Performed by The Southern Companion Performed by Hillary Bevels Klug Published by Copyright Control / Tile Yard Music Limited.

“High Time” Written by Shane McAnally, Luke Laird and Kacey Musgraves Performed by Kacey Musgraves Published by Smack Songs LLC “Covered In Regret” Administered by Kobalt Music Publishing Ltd., Written by: Nicole Taylor Jessie Buckley, Simon Universal/MCA Music Ltd. and Johnson & Ian W Brown Warner-Tamerlane Publishing Corp. (BMI) and Performed by The Little Blue Numbers 351 Music (BMI) Published by Copyright Control All rights on behalf of Warner-Tamerlane

Publishing Corp. and 351 Music administered by Warner/Chappell North America Ltd. Courtesy of Mercury Nashville Under licence from Universal Music Operations Ltd

“When I Reach The Place I’m Going” “When I Reach The Place I’m Going” Written by Emory Gordy and Joe Henry Written by Emory Gordy and Joe Henry Performed by Wynonna Judd Performed by Jessie Buckley Published by Sony/ATV Tree Publishing and Published by Sony/ATV Tree Publishing and Cool Hand Music Cool Hand Music Administered by Kobalt Music Publishing Ltd. Administered by Kobalt Music Publishing Ltd. Licensed courtesy of Curb Records, Inc.

“Glasgow” “Robbing the Bank of Life” Written by Mary Steenburgen, Caitlyn Smith and Written by Nicole Taylor, Jessie Buckley, Simon Kate York Johnson and Ian W Brown Performed by Jessie Buckley Published by Copyright Control Published by Universal/MCA Music Ltd., Performed by Jessie Buckley © Year of the Dog Music Courtesy of Budde Music UK and Songs of the Corn (BMI) and Warner-Tamerlane Publishing Corp. (BMI) All rights on behalf of Songs of the Corn and Warner-Tamerlane Publishing Corp. administered by Warner/Chappell North America Ltd.

“That’s The View From Here” Written by Nicole Taylor, Jessie Buckley, Simon Johnson and Ian W Brown Published by Copyright Control Performed by Jessie Buckley

Film Score Published by Globe Soundtrack & Score, a Division of Universal Music Operations Limited

The copyright in the sound recordings of the film score is owned by Globe Soundtrack & Score, a Division of Universal Music Operations Limited

Soundtrack Album scheduled for release by Island Records, a Division of Universal Music Operations Limited Soundtrack Mixer RAY KENNEDY

Producers wish to thank Leo Abrahams, Josh Appignanesi, Dr Frances Baawuah , Devorah Baum, Drew Bennett, Martina Boyce, Dominic Cooke, Dr Tessa Davis, Isobel Docherty, Hannah Farrell, Rose Garnett, Scott Getley, Greenock Prison, Tony Hall, Rosemarie Hayden, Dr Lowri Hughes , Lindy King, Gabrielle Ludzker, Paul Lyon-Maris, Dorothy Macpherson, MAC Cosmetics, Tom McKay, Dan McRae, Norman Merry, Lynsey Miller, Daniel Pagan, Joe Phillips, Scott Robinson, Martin Scott, Poppy Sebag-Montefiore, Radhika Shukla, Jade Statt, William Stuart, Celia Taylor, Eric Taylor Ivor Taylor, Mandy Taylor, Richard Taylor, Virginia Taylor, The Taylors, Josh Varney, Sophie Vickers, Carolyn Vincent, Michael Ward, Vince Wild, Michael Winter, Richard Wootton & The Drivers at Glasgow City Cars

Filmed on location in Glasgow, London and Nashville

The events depicted in this movie are fictitious. Any similarity to any person living or dead is merely coincidental.

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.

Growth Fund Location and Recce Support – Creative Scotland Screen Commission

Developed in Association with

Made with the support of the BFI’s Film Fund

© Three Chords Production Ltd/The British Film Institute 2018