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2333625-480060FOX SEARCHLIGHT PICTURES withBBC FILMS, TELEFILM CANADA, BORD SCANN?N NA h?IREANN/THE IRISH FILM BOARD, SODEC and BFI Presenta WILDGAZE FILMS/ FINOLA DWYER PRODUCTIONS / PARALLEL FILMS / ITEM 7 Co-ProductionProduced in Association with INGENIOUSIn Association with BAI RTE and HANWAY FILMSSAOIRSE RONANDOMHNALL GLEESONEMORY COHENwith JIM BROADBENTand JULIE WALTERSDIRECTED BYJOHN CROWLEYPRODUCED BYFINOLA DWYER &AMANDA POSEYSCREENPLAY BYNICK HORNBYBASED ON THE NOVEL BYCOLM T?IB?NCO-PRODUCERSPIERRE EVENMARIE-CLAUDE POULINEXECUTIVE PRODUCERSCHRISTINE LANGAN BETH PATTINSONTHORSTEN SCHUMACHERZYGI KAMASAHUSSAIN AMARSHIALAN MOLONEYDIRECTOR OF PHOTOGRAPHYYVES B?LANGER C.S.C.PRODUCTION DESIGNERFRAN?OIS S?GUINEDITORJAKE ROBERTSMUSIC BY MICHAEL BROOKCOSTUME DESIGNERODILE DICKS-MIREAUXMUSIC SUPERVISORKLE SAVIDGESOUND DESIGNER/SUPERVISNG SOUND EDITORGLENN FREEMANTLELINE PRODUCERCAROLINE LEVYCASTING BYFIONA WEIRRunning time 113 minutesBROOKLYN tells the profoundly moving story of Eilis Lacey (Saoirse Ronan), a young Irish immigrant navigating her way through 1950s Brooklyn. Lured by the promise of America, Eilis departs Ireland and the comfort of her mother’s home for the shores of New York City. The initial shackles of homesickness quickly diminish as a fresh romance sweeps Eilis into the intoxicating charm of love. But soon, her new vivacity is disrupted by her past, and she must choose between two countries and the lives that exist within.Fox Searchlight Pictures presents a BBC Films, Telefilm Canada, Bord Scannán Na Héireann/The Irish Film Board, Sodec and BFI presentation of a Wildgaze Films/Finola Dwyer Productions/Parallel Films/Item 7 co-production produced in association with Ingenious, in association with BAI RTE and Hanway Films, BROOKLYN. The film is directed by John Crowley from a screenplay by Nick Hornby based on the novel by Colm Tóibín and stars Saoirse Ronan, Domhnall Gleeson, Emory Cohen with Jim Broadbent and Julie Walters. The producers are Finola Dwyer & Amanda Posey; co-producers Pierre Even and Marie-Claude Poulin; and executive producers Christine Langan, Beth Pattinson, Thorsten Schumacher, Zygi Kamasa, Hussain Amarshi and Alan Moloney. The production crew includes director of photography Yves Bélanger, production designer Fran?ois Séguin, editor Jake Roberts, music by Michael Brook, costume designer Odile Dicks-Mireaux and music supervisor Kle Savidge. ABOUT THE PRODUCTION“It made her feel strangely as though she were two people, one who had battled against two cold winters and many hard days in Brooklyn and fallen in love there, and the other who was her mother’s daughter, the Eilis whom everyone knew, or thought they knew.”Colm Tóibín, BrooklynAn Irish immigrant must choose between two men, two countries and two destinies in a story of departures, longing and slow-simmering romance, tracing the unexpected journey of a young girl becoming a woman in America. Through the film’s contemporary lens, the story reels back to the refined rhythms of the 1950s as a post-WWII wave of newcomers was arriving on U.S. shores in search of prosperity. Colm Tóibín’s 2009 novel Brooklyn, one of the most acclaimed novels of the last decade, is adapted by screenwriter Nick Hornby (WILD, AN EDUCATION) and director John Crowley (BOY A). At the heart of the book’s power was a classic immigrant’s tale told in a voice that has rarely been heard. While there have been numerous stories of ambitious or desperate young men driven to seek their fortunes in America, the novel tells a different tale – one of a quiet, unassuming but luminous young woman called Eilis. Eilis has lived her whole life in tiny Enniscorthy, Ireland – where everyone knows everyone else’s business and then some -- when she is swept away to America, thanks to her sister, who wants to see her flourish. She arrives into the diverse tumult of Brooklyn already homesick, feeling like an exile. But as Eilis dexterously learns to adapt to life as a New Yorker, she meets a funny, sweet, charismatic suitor determined to win her devotion. Just as she seems on the verge of beginning a new life, a family tragedy brings her back to Ireland where she is pulled back into the life she left behind … and a decision that could affect her future forever. Caught between two different calls to her heart, Eilis confronts one of the most breathtakingly difficult dilemmas of our fluid modern world: figuring out how to merge where you have come from with where you dream of going. As for Eilis’ climactic decision, Hornby observes: “I think Eilis can see a life in America and she can see a life in Ireland, but she cannot maintain those two pictures at once. She knows you cannot square these two lives. So I think that’s how she momentarily manages to love two people at once, because they are in separate worlds. But ultimately, she has to live in just one.” Says Tóibín: “This is the secret history of two countries, of my country Ireland where over the last 150 years every family has lost one or two members, people who left and who never came back. But it’s also the secret history of the United States. These are the grandparents and great grandparents of today’s Americans. This is how they came. And this story has not often been told.” ADAPTING BROOKLYNColm Tóibín, the acclaimed Irish writer (The Blackwater Light Ship, The Master) who like the heroine of Brooklyn was born in Enniscorthy, Ireland but later moved to New York, has long been fascinated by family loyalties and divisions; the search for home and identity; and the ways women and men long for and cultivate the groundwork of love. The novel seemed to weave all these threads into a story about the transformative power of the immigrant experience. Though set in the 1950s and amidst the close-knit Irish community in Brooklyn, it also seemed to speak to a timeless need to answer two of the simplest, if most consternating, questions in life: where, and with whom, do we belong? In her review of the book, the novelist Pam Houston described it as a “classical coming-of-age story, pure, unsensationalized, quietly profound…there is only the sound of a young woman slowly and deliberately stepping into herself, learning to make and stand behind her choices...”The book delivered a rare portrait of the female immigrant experience – of a powerless young woman not only learning to navigate her new country but her complicated heart, survival and how to stand up for herself. The uniqueness of that viewpoint, one nearly lost, is what initially drew Oscar? nominated producers Finola Dwyer and Amanda Posey (AN EDUCATION), of London-based Wildgaze Pictures, to envision the novel on the screen. They were inspired by the idea of telling a seemingly familiar story from an unseen angle. “BROOKLYN is not only the story of an immigrant’s journey from Ireland to America, it is also Eilis’ journey of becoming the woman she wants to be,” says Posey. “It’s a story about a woman finding her true voice and finding her ability to choose, especially during a historical time when a lot of choices were restricted.” Adds Dwyer: “It’s also a very universal story, about the equal pull of home and wherever you end up making your adult life. You don’t have to be thousands of miles from home for that feeling to resonate. We all have places and people we have left behind.” They were fired up to move ahead, but Dwyer and Posey knew they faced a major hurdle right out of the gate: finding a screenwriter capable of bringing Tóibín’s work to a feature film for the first time. Was there anyone who could capture the story’s drama while keeping the understated lyricism intact that has made Tóibín so beloved as a writer? Fortunately, they felt they already knew just the person: Nick Hornby, with whom they had collaborated on the Oscar?-winning AN EDUCATION, the story of a 1960s English schoolgirl headed for Oxford but tempted by an entirely different kind of life. Hornby, a critically praised and popular novelist in his own right (High Fidelity, About A Boy, Juliet Naked, Funny Girl), had most recently adapted Cheryl Strayed’s memoir WILD. For Hornby, the resonance of BROOKLYN lay in Tóibín’s ability to capture the human heart when it is divided in its commitments – whether to country, family or a lover. “The way Colm depicts the pain of wanting to be in two places at once, it’s a beautiful balancing act -- and it seems to lend itself particularly well to film,” says Hornby. “I think if you identify with the characters in Pride and Prejudice you’ll identify with BROOKLYN – because at its heart, there is that same timeless choice a woman must make between very different kinds of young men.” Though naturally he hasn’t experienced the life of a mid-century immigrant, Hornby resonated personally with Eilis’ curiosity about a life that might break away from the confines of her small Irish village. “As someone who grew up in the suburbs and was counting the days until he could get somewhere else, I could identify with the essence of her journey,” he notes. Indeed, Hornby says the adaptation came quite organically, despite many thinking that turning Tóibín’s deeply internal prose into screen dialogue would be daunting. “Because Colm’s writing is very precise and he pulls away and leaves gaps, you might think it’s a very internal book, but it didn’t feel so internal to me,” the screenwriter explains. “What happens to Eilis actually seemed ripe for dramatization. I was interested in capturing this lovely mix of tones: the comic, the romantic and the tragic. Mostly I wanted audiences to go through the wringer with Eilis, to come to love her and the people around her and to be affected by her journey.” Hornby’s delicately contained but deeply romantic approach gratified the producers. “Nick really brought out all of the book’s many emotional layers and at the same time he brought out a lot of the humor,” says Dwyer. “Most of all, he brilliantly evoked Eilis’ voice.” Tóibín was especially pleased with Hornby’s adaptation. He says of his reaction: “I was really amazed at the clarity of it. Nick truly understood that the central emotion of the book is love, that it’s about someone being torn between possibilities – and that if you simply followed that idea through, as he did, that you would get something very pure.” JOHN CROWLEY: A PERSONAL POVWith such a nuanced novel and screenplay to work with, the next challenge was to match the material with a director who could come at it with a personal vision. John Crowley, best known for the BAFTA-winning drama BOY A, seems to have immediate insight into the material –since he, too, is an Irishman living outside Ireland, in his case having left his birthplace for England. Colm Tóibín felt a kinship right away due to Crowley’s familiarity with the emotions of leaving … and leaving Ireland in particular. “John has been through that experience of being from an Irish place, yet living under English skies, and moving between the two places, so as soon as we started to talk, it was clear this was something he understood,” the novelist says. “It was his life.” The novelist enjoyed watching the director be inspired by his characters. “John’s very careful and very precise about what he wants. But what he put most into this film was his heart. He’s kind, intelligent and funny, and all these things are on display in this film.” For his part, Crowley had read Tóibín’s novel long before there was a script, and been swept away by it purely as a consumer. Now, he saw it as offering the chance to evoke a time, a place and an unforgettable character who might enlarge the picture of the American immigrant experience. “Despite having an element of familiarity about it, BROOKLYN really felt to me like a side to the story that hasn’t been told,” the director comments. “Everyone knows about the earlier waves of European immigration, but the story of someone emigrating from 1950s Ireland to America is one of the least discussed aspects of what was happening in that period. The way Colm told the story was so un-melodramatic, yet so fantastically emotional. It’s a deceptively simple book but I actually think Eilis’ choice between two countries and two men is about as dramatic as it gets.” He also feels that the motif of leaving one world for another is as relevant now as it was in the 1950s. “This is a story about exile,” Crowley states. “When you leave a country and choose to live somewhere else, you’re no longer from that place, yet you’re certainly not from the place that you’ve chosen to live in either. So you become a member of a kind of third nation, a nation of exiles. Today, vast numbers of people in the world do not live in the country they were born in. The story of BROOKLYN as Colm wrote it, and then as Nick developed it and took it to a cinematic level with his screenplay, is completely truthful to that experience.”To Crowley, BROOKLYN also evinces a modern conception of love. “It’s a story that says love is complicated,” he muses, “and that the heart isn’t necessarily loyal to just one person; it can perhaps, unlike a head, conceive of loving two people simultaneously. Eilis’ choice between two men is also a choice for what kind of life she wants to lead. But she has trouble reconciling the fact that she has to almost cauterize one part of herself in order to do that. It costs her a lot emotionally, yet the only way for her in life is to keep moving forward. Love in this story is a very real force that can potentially be destructive or liberating depending on which way it bounces.” For the producers, Crowley’s vision of combining a sense of Old School romanticism with a 21st Century candidness was exciting. “In our first meeting, John described BROOKLYN as a modern fairy tale,” recalls Posey. “He felt that there was something archetypal about Eilis trying to reconcile her two halves. But he also brought this very real, very personal understanding of what that is like.” Crowley says he wanted to echo the stark grace of the novel and screenplay in his filmmaking -- by riding the thin line between grittiness and sentimentality, without giving way to either. “As in the book, I wanted the power of the story to quietly creep up on you,” he says. “I also wanted to bring out the humor and the scope. It’s not a story that is meant to be grandiose, but I think this story of one 1950s Irish girl contains within it the larger story of Europeans in America in the 20th Century.” Creating that power on screen required a very patient, hands-on directorial style. Finola Dwyer says that’s exactly what Crowley brought. “We knew this was going to be a real actors’ piece, and John is simply great with actors. He brought out astonishing performances from everyone.”EILIS, TONY AND JIM: AN OCEAN-SPANNING TRIANGLEBROOKLYN required an actress who could authentically embody Eilis with her quietly biting humor, keen intelligence and unfolding desire. Like so many unsung American immigrants, Eilis arrives as a modest, if highly capable, lonely girl about to undergo a profound personal transformation. Colm Tóibín says of Eilis, “I think in the book I was trying to build a character who wasn’t self-conscious; who didn’t spend her time looking in the mirror and wasn’t pushy, yet had beneath her a depth of feeling and almost a stubbornness at times. Everywhere Eilis goes people like her. But she has no real sense of how this is caused. She doesn’t do it deliberately.”The novelist also says of Eilis: “She is, in a way, happier in the shadows … so for me that was a more dramatic subject because even though she doesn’t naturally assert herself, by the end of the book she’s running the universe. She makes her way in the world in ways which are impressive but not loud.” The filmmakers searched for an actress who would allow the audience into the world of a young woman coming into her own, with gentle wit and determination, as well as one who could understand Eilis’ longing for Ireland. That perfect fit was Saoirse Ronan. Born in New York to Irish parents and raised outside Dublin, Ronan first found acclaim in Joe Wright’s ATONEMENT, garnering a Best Supporting Actress Oscar? nomination for her performance as Briony. She went on to starring roles in THE LOVELY BONES, HANNA and most recently Wes Anderson’s Oscar winning THE GRAND BUDAPEST HOTEL, all by age 20. Now entering her prime, she was ready to take on a complicated, emotionally demanding lead. Ronan says she felt an immediate, almost uncanny, affinity for Eilis as soon as she read the script. “Nick Hornby isn’t from Ireland, yet he managed to completely capture the spirit of the country. The writing was so beautiful, and so beautifully subtle,” she comments. “It felt close to my heart because it was about my people. It was the journey that my parents went on back in the ‘80s; they moved to New York and went through all these same things, even though it was a different era. The biggest hurdle anyone goes through in life is leaving the security of your family and your friends behind for something new.”Eilis’ dizzying feeling of being split between two worlds hit especially close to home for Ronan. She continues: “I’m very Irish in some ways but I have an American sensibility as well, as I was born in New York. I think that made the story even more emotional for me, because I have such a strong connection to both of these places, much like Eilis. Everything that Eilis goes through was exactly what I was going though at that point in my life, and I’m still going through now. So emotionally, it was extremely close to me.” Once on the set, those emotions were close to the surface and, though she carefully cultivated them, she notes that at times they carried her away. “I’ve previously always been someone who was able to separate myself at the end of the day, leave the story behind, just go home and be myself again. But there were times on this film that it was so realistic for me, and I was so deep into the character, that it would move me to tears,” she says. The mix of emotions that Eilis confronts – from confusion and grief to joy and devotion – was also an exciting challenge as Ronan calibrated the balance between them. “We would go from beautiful, heartbreaking, completely sad scenes to gorgeous, fun scenes to do,” Ronan notes. “Eilis is going through all these very natural things that human beings go through: grief, relationships, jobs, your relationship with your parents, independence. But I loved the subtleties of it. The challenge is that you can read so much into Eilis’s experiences and she could be played in a number of different ways. And it was also about balancing the drama of real life circumstances with the humor that people use to handle that drama, which is something that I know Irish people use an awful lot. We use humor as a way to deal with life and death. So it was about balancing all of that.” Ronan especially loved finding all the undercurrents in Eilis’ unfolding romance with Tony Fiorello. “With Eilis and Tony, it’s literally two completely different worlds colliding,” she observes. “The Fiorellos are not only Italian but they’re so American to Eilis. They’ve grown up in New York with that feisty attitude and she comes from rural Ireland, but luckily she’s got a bit of a fight in her too. Again, both sides use humor to communicate.” Similarly, she was intrigued by the sudden mood and perspective shift when Eilis returns to Ireland as more her own person. “She’s got this whole other life now that people in Enniscorthy aren’t aware of but as soon as she comes back, she kind of falls back into the pattern of her old life, allowing herself to be told what to do again. The difference is that she’s aware of it now, whereas she wasn’t before. And I don't know in a case like this if you ever know if you’ve made the right decision. I don’t think Eilis will ever know. But that is part of the beauty of her story.” The heart of BROOKLYN for Ronan lies in the re-defining of home. “I love the piece of advice Eilis passes onto the young girl near the end of the film -- that when you move away, you’ll feel so homesick you’ll want to die and there’s nothing you can do about it, apart from endure it, but it won’t kill you and one day the sun will come out and you’ll realize that this is where your life is. That gorgeous piece of writing means so much to any person who has ever left their home and family. Eilis needs to go through this incredibly happy, heartbreaking, exciting, scary journey in order to make this choice about where she feels she wants to be. And for me that’s what BROOKLYN is about. Your relationship with home is something you carry with you as move to different places in your life and endure different things. The trick is carrying it without letting it weigh you down.” Though he was aware of her talent, John Crowley was astonished by how many different charming and heartbreakingly honest facets Ronan brought to her performance. “It seems like this is the part that Saoirse has been waiting for,” he muses. “There’s an intersection between actor and role which happens, if you’re lucky, once in your career. It felt as if every word Saoirse spoke on set she could have been saying in reality. Her performance has an immediacy to it and an emotional depth that is astonishing. The role is completely hers.”Colm Tóibín was equally impressed by the way Ronan inhabited the character. “Saoirse has an extraordinary ability to suggest a great deal emotionally while doing very little. That’s a most fascinating quality to see, not only for people watching the film but for a writer because that’s what you always try to do on the page,” he comments. Tóibín goes on: “The camera loves her … you might not notice her in a crowd … but the minute she has to perform, something else emerges that’s catches the light. And I think Eilis has that quality too. In certain moments she really doesn’t want to be noticed, but the minute she’s needed or under pressure, light comes on her.” Finola Dwyer notes that this is a departure role for Ronan. “We all felt very lucky to have captured Saoirse at this particular moment. She’s been an outstanding child and teenage actress, but this is really her first role as a woman, and she has created an unforgettable and distinctive portrait of coming of age unlike any other,” says the producer.Ronan says she was able to go to such deep, raw places in part because of Crowley’s support. “John was so tuned in to everything that’s going on within one scene – emotionally he knows exactly how to map out where you should be. The script is beautifully simple in a way but John saw the complexities. He digs up all these secrets, in a way, that you’re let in on as you go along. And that’s what is so fantastic about working with John.” In the end, Ronan hopes Eilis will resonate for her quiet strength. “I hope that people look at Eilis as someone who becomes strong enough to choose the life she wants and feel proud of it,” she concludes. While casting Eilis was vital, it was equally important that her two suitors – one American, the other unexpectedly found when she returns to Ireland – be as alluring and true-to-life. To play the boyish plumber Tony Fiorello, who woos Eilis with bravado and tenacity despite her uncertainty, the filmmakers chose rising star Emory Cohen. Known for his roles on NBC’s “Smash” and Derek Cianfrance’s THE PLACE BEYOND THE PINES, this is his first major romantic lead. Cohen, who is a New York native, was drawn to the character as both a timeless symbol of youthful passion but also as a very real Italian immigrant who believes in the 1950s ideal that the measure of man is doing the best by the woman he loves. “Ultimately, I think this is a story that makes you think about a lot of things in life then and now,” he says. “What does it mean to love whole heartedly? What does it mean to be a good man? What does it mean to enjoy the simple things in life?” He also says it made him think about the notion of love at first sight. “When Tony sees Eilis, he’s hit by a lightning bolt. I read this line in Mario Puzo’s The Godfather that said when you get hit by a lightning bolt you can’t even go to sleep because you can’t get the girl out of your mind. So I thought about it like that. Tony sees love in that kind of way.” Cohen’s portrait of Tony was inspired by a number of cultural references, from the naturalistic Italian performances in THE BICYCLE THIEF to Marlon Brando’s working class character in ON THE WATERFRONT. He even took swing-dancing lessons so that he would feel confident in the life-altering moment when Tony first asks Eilis for a spin. Crowley says that on top of Cohen’s probing approach, that actor brought an unaffected instinct for charm. “From Emory’s first reading, it was immediately apparent he was our guy,” says the director. “He not only had the charisma and masculinity but also the vulnerability and authenticity.” There was also an immediate, palpable link between Cohen and Ronan, which was able to play out beyond words, in fleeting gestures and expressions. “Both Emory and Saoirse were so into their characters that the chemistry always flew,” Crowley observes. The magnetic contrast between Eilis and Tony appealed to Cohen. “There’s this very interesting kind of reversal where my character is open, adventurous and passionate but underneath all that there’s fear -- fear of losing Eilis. And I think in some ways she’s almost the opposite of Tony, where on the surface she can seem more rigid and cautious than Tony but underneath that, there’s a real spirit of freedom and knowing exactly what she wants to be… and it was kind of perfect because Saoirse is like the Queen of Ireland and I’m like this New York junkyard dog,” he laughs. The key to building their romance in a deliciously slow way was in knowing when to hold back. “Me, John and Saoirse were always figuring out how to not go too far, to keep some of the emotions in reserve, not letting it fully rip right away,” he points out. Dwyer saw in their performances the rawness of love in its earliest, most thrilling stages. “Watching them, I always really believed they loved being with each other. There’s a lot of humor between them and you sense not just physical chemistry but a meeting of the minds,” she says. Tóibín had a similar reaction to the pairing. “I thought ‘Oh wow, look at this guy. I know exactly how he’s going to win her, just by being so funny, so good, so innocent, and so sweet.’ She keeps looking at him for signs of darkness and there aren’t any, so I thought he was great.” If Tony Fiorello is sweetly seductive, his more provincial but gentlemanly Irish counterpart, Jim Farrell, had to be both an opposite attraction and a legitimate threat. That led to the choice of Domhnall Gleeson, who has been coming to the fore as one of the most versatile actors of a new generation with roles in ABOUT TIME, CALVARY, UNBROKEN, EX MACHINA and the much anticipated STAR WARS: EPISODE VII – THE FORCE AWAKENS. Gleeson knew he, too, had to find a subtle but visceral chemistry with Saoirse Ronan, to put the question mark in the audience’s mind. “Life in Brooklyn may offer Eilis more, but it was my job to make Jim seem worth staying in Ireland for,“ he says. “I really wanted to create a connection with Saoirse that you would feel is worth fighting for.” Like his castmates, Gleeson related to Eilis’ experience in his own way. “I think everybody’s known a sense of displacement at one time or another, of not having a clear home,” he says. “I’ve certainly been familiar with that at various times in my life -- and I thought it was captured brilliantly in this story. Then there’s a lot of romance and fun to the story, which is very appealing.” Crowley says that Gleeson’s take on the character brought out the bittersweetness of the story. “There’s a consummate intelligence to Domhnall,” says Crowley. “He thinks very deeply about all his roles and he brings an intensity and maturity to Jim that bounces beautifully off of Emory as Tony. It was so important that Jim and Tony occupy vastly different spaces, that they be totally opposite versions of men that Eilis could see herself with – and Emory and Domhnall brought completely different but equally compelling feelings that underline her choice.” THE SUPPORTING CASTSurrounding the triangle of Ronan, Cohen and Gleeson in BROOKLYN is a supporting cast featuring veteran and rising actors from both sides of the pond. In Enniscorthy, the cast includes Jane Brennan as Eilis’ lonely mother Mary; Fiona Glascott as Eilis’ sister Rose, who insists on her going to America; Eileen O’Higgins as Eilis’ Irish best friend Nancy; and Brid Brennan as the judgmental ‘Nettles’ Kelly. The Brooklyn portion of the story features Emily Bett Rickards, Eve Macklin and Nora-Jane Noone as Eilis’ colorful cohorts at her Brooklyn boarding-house as well as “Mad Men’s” Jessica Paré as Eilis’ polished department store boss. Taking two of the film’s key roles are revered British actors: Academy Award? winner Jim Broadbent (IRIS, MOULIN ROUGE!) portrays the émigré priest, Father Flood, who watches over Eilis in Brooklyn; and Academy Award? nominee Julie Walters (BILLY ELLIOT, EDUCATING RITA) is Mrs. Kehoe, the strict but savvy landlady of Eilis’ Brooklyn boarding-house. Broadbent’s fervor for the novel was instrumental in his attraction to the role of the man who arranges Eilis’ passage to America, then acts as her mentor when she is nearly laid low by homesickness. “BROOKLYN is a universal story of the search for a better life in all its conflicts,” he says. “It was both heart-breaking and heart-warming, but never sentimental. Very honest about people’s their vulnerabilities and strengths that I also found it gripping.” He describes Father Flood as “almost a social worker for troubled new Irish immigrants. He steps in to help Eilis when she first arrives, and they become good friends. There’s a real connection.” Walters was also a big fan of the novel and was thrilled to play the persnickety Mrs. Kehoe in all her shadings. “She has a house full of unmarried young girls and she rules them with a rod of iron,” she muses. “She is motherly but very strict. She allows no giddiness -- as she calls it. I think she wants to be a guide for these young women … but if you cross her, there’s no going back!” For Walters, whose mother was Irish, the film also hit home. “The voice for Mrs. Kehoe comes from my childhood,” she notes. “It’s a mixture of the nuns I was educated by, my mother, my aunts, my grandmother and people at church. It’s not one specific person, but it’s that memory of all the Irish women that I knew – and they all had such great energy.” John Crowley watched Walters completely inhabit Mrs. Kehoe’s mix of wit and unwavering values on the set. “I knew Julie had an Irish mother and thus I had a suspicion that she would know that woman inside out, and of course she did,” he says. “She knew who she was, right down to what her hair should look like and what she should dress like. Of course she’s a hysterically funny actress, but here she’s doing comedy in a very real way. It’s beautifully played.” FROM IRELAND TO BROOKLYN AND BACK AGAINBrought to life with the dreamlike shadings of a love poem, BROOKLYN unfolds in two distinctly atmospheric worlds: one amid the cloistered, muted beauty of Enniscorthy, Ireland and the other in the bustling chaos of New York’s Brooklyn, the frequent first stop of many immigrants to America. John Crowley set out to explore both with a team that includes cinematographer Yves Bélanger (WILD, DALLAS BUYERS CLUB), production designer Fran?ois Séguin (LUCKY NUMBER SLEVIN) and costume designer Odile Dicks-Mireaux (AN EDUCATION). Taking the production to Enniscorthy, a town of 10,000 inhabitants in the heart of County Wexford, was essential to capture the textures and meddlesome neighbors of Colm Tóibín’s story. “This is where I’m from,” says the author. “My parents were from Enniscorthy, my grandparents were from there … and it was lovely to see the film set in the very streets I was thinking about in the book.”Roaming through Tóibín’s stomping grounds, the place that made Eilis the person she is when she arrives in New York, equally inspired the actors. “It affects your performance when you get to experience the spirit of a place like Enniscorthy,” says Ronan. “Because the characters in BROOKLYN are so Irish and so grounded, it was really great for us to be around people who are like that in real life, who had the Enniscorthy accent and who had grown up there.” While portions of the American section of the film were shot amidst the iconic brownstone stoops of Brooklyn and on the shores of Coney Island, the filmmakers also found a stand-in for the 1950s version in Montreal, Canada, which also played an earlier vintage Brooklyn in the classic mob drama ONCE UPON A TIME IN AMERICA. In his cinematography, Yves Bélanger aimed to echo Tóibín’s writing with some of his most creative work to date, using stylized lighting and lyrical framing that speak both to the muted energy of the 1950s and to the ineffable longing Eilis experiences on both sides of the ocean. “Yves did a brilliant job, and I can’t imagine any other cinematographer who could have accomplished the kind of beauty he brought to this in such a short space of time,” says Dwyer. Likewise, production designer Fran?ois Séguin honed in on nostalgic details of the 1950s period but also on the different ambiances of an Ireland that still had a pre-war look in furnishings and décor, while Brooklyn was in the midst of rapid post-war change. In both locales, he focused on forging a visceral sense of place. “Fran?ois is super-talented,” says Dwyer. “Working with a wide range of sets in three different countries, he created a cohesive look that feels like one piece.” Also helping to recreate the era in the minds of actors were the beautiful clothes sourced and created by Odile Dicks-Mireaux to evoke the inimitable elegance and grace of 1950s New York. She was thrilled to step back into that era. “It was a complete pleasure to work with these characters,” says Dicks-Mireaux, “and there was so much craftsmanship and invention in the 1950s period.” Tóibín notes that he had very precise reasons for choosing that era, looking to explore that quiet but loaded moment between the tumult of WWII and the rapid social changes of the 1960s. “I wanted this to be a very private world, where I could really throw an intense gaze on a number of people whom might seem otherwise powerless – and put them in the limelight. Of course, no period is truly neutral, but this period is more neutral than most periods,” says the novelist. The early era of street photography, especially work by the mysterious Vivian Maier and iconic New York shooter Elliott Erwitt, inspired Dicks-Mireaux with their candid shots of transient city moments. However, she avoided even glancing at the couture of the era. “John’s specific edict was to not look at any fashion magazines because this is a story of real people – of working class girls trying to make their living in New York,” she explains. “In every aspect of the film, John wanted the look to be very natural and real.” Dicks-Mireaux especially enjoyed contrasting fashionable Brooklyn, of which Eilis is soon a part, with the more austere dress of Enniscorthy. “There was a huge difference between America and Ireland in those post-war years,” she explains. “The styles could not have been more distinct which is perfect for the story we’re telling. In America it was a time of rich color – reds, caramels and yellow ochres, pinks and pale colors – that just did not exist then in Ireland.” An equal contributor to the film’s transporting atmosphere is the music, led by an aching score from Michael Brook (INTO THE WILD, THE FIGHTER). There is also a transcendent musical moment -- when Eilis volunteers to serve Christmas lunch to downtrodden Irish immigrants, only to be enraptured by one homesick man’s stirring Irish lament. Colm Tóibín told Finola Dwyer and Amanda Posey that the unique voice of Irish singer Iarla ? Lionáird had been a particular inspiration to him while writing that scene. Inspired themselves, they approached ? Lionáird and were delighted to be able to bring him to Montreal to perform “Casadh an Tsúgáin” live on the set. ? Lionáird fully understood why it would impact Eilis so deeply. “It’s a love song, in which the repeating chorus talks about a man asking the woman to define in what way she’s connected to him,” he explains. “That resonates for Eilis, in that she’s connected to two worlds. In the song, the man is asking the woman ‘if you’re with me, you’re with me’ and he says ‘be with me in front of everybody, show everybody, be clear.’ She has to step into her own future and to decide what that is.” Ronan was as moved as Eilis is during the scene. “Through this incredible voice, Iarla was able to communicate every emotion that you go through when you’re away from home,” she says. EILIS’ DECISIONThe entirety of BROOKLYN builds to the life-altering decisions Eilis must make: between Tony and Jim, between Brooklyn and Ireland, between her past and what she wants for her future. Everyone involved knew from the start that the story hinged on the uncertainty of her ultimate choice. “Some people will agree with her choice and some won’t,” says Amanda Posey. “We knew what we wanted her to do as filmmakers, and John did too, but we also wanted the audience to make their own decisions. One of the beautiful things about the story is that it explores several different kinds of love. With Tony, Eilis experiences first love, yet with Jim there is a more grown up connection. Then there’s the love she has for her sister and mother, which are different kinds of love again. It’s really about how these varieties of love can both tear you apart and buoy you.” For Posey, Eilis’ decision is necessary if heart-breaking. “A part of growing up is realising that when you decide to go in one direction you’re closing a bunch of other doors. But I think Eilis finds herself finally knowing the right thing for her, even if it’s heart-breaking.”Adds Finola Dwyer: “At the end of the film, Eilis has a very clear future -- but you come away knowing that her decision was also a major sacrifice.” Saoirse Ronan felt that Eilis’ decision could truly have gone either way. “I can’t say if Eilis makes the right decision – I think they both offered her happiness,” explains the actress. “The beautiful and heartbreaking thing is that both these guys are equally wonderful. Jim is home and Tony is a new life. They’ve both got an awful lot to offer and she knows it.” Ultimately, Ronan says, she didn’t see the heart of the story as about which life Eilis chooses – but about who she becomes in the process. “To me, it’s all about her being grown up enough and mature enough to actually make her choice and follow it,” she concludes. Domhnall Gleeson feels similarly. “You often can’t know whether the decisions you’ve made are the right ones,” he points out. “But I think it’s important that Eilis truly has a choice now in her life, which she wouldn’t have if she had never gone to America.” For Jim Broadbent, the lasting poignancy of Eilis’ decision is that it provokes so many lingering questions. “The best thing about BROOKLYN is that the audience probably won’t know which way things will go -- and they won’t know which way they will want it to go,” he summarizes. ######ABOUT THE CASTSAOIRSE RONAN (Eilis Lacey) is best known for her starring role in the feature film ATONEMENT, directed by Joe Wright, in which she starred opposite Keira Knightley and James McAvoy. Ronan was 13 years old when she earned an Oscar nomination as well as Golden Globe and BAFTA nominations for the critically-acclaimed performance. Ronan is currently in production on the movie adaptation of Anton Chekhov’s THE SEAGULL directed by Michael Mayer. She stars opposite Annette Bening and Corey Stoll based on the play of the same name.Recently, Ronan was seen in Wes Anderson’s THE GRAND BUDAPEST HOTEL. The film also starred Ralph Fiennes, Adrien Brody, Jude Law, Bill Murray and Edward Norton. She also starred in STOCKHOLM, PENNSYLVANIA directed by Nikole Beckwith and also starring Cynthia Nixon which screened at the 2015 Sundance Film Festival. In Ryan Gosling’s directorial debut, LOST RIVER, Ronan starred opposite Christina Hendricks. The film held its premiere at the 2014 Cannes Film Festival. In 2013, she starred in Open Road Films’ THE HOST, the film adaptation of Stephanie Meyer’s popular novel. She also lent her voice in JUSTIN AND THE KNIGHTS OF VALOUR, an animation film directed by Manuel Sicilia which also stars Antonio Banderas. She was also seen in HOW I LIVE NOW, which premiered at the 2013 Toronto Film Festival. Directed by Kevin Macdonald, Ronan played the lead role of ‘Daisy’ opposite George MacKay, Tom Holland, and Harley Bird. Ronan was also seen in BYZANTIUM starring opposite Gemma Arterton and directed by Neil Jordan which premiered at the Toronto Film Festival in 2012. Ronan was seen in 2010 starring in Focus Features’ action-thriller HANNA, directed by Joe Wright. Ronan played the title character, a teenage girl trained from birth to be an assassin. The cast includes Cate Blanchett and Eric Bana. She was also seen in THE WAY BACK, directed by Peter Weir and starring Ed Harris, Colin Farrell and Jim Sturgess. Inspired by Slavomir Rawicz’s novel The Long Walk: The True Story of a Trek to Freedom, the film tells the story of a small group of multi-national prisoners who escaped a Siberian gulag in 1940 and made their way across five countries. In 2009, she starred in THE LOVELY BONES, directed by Peter Jackson, and based on the popular novel. Ronan was honored for the performance by the Santa Barbara International Film Festival and was nominated for a BAFTA Award in the Leading Actress category. 38 Among her previous credits are VIOLET & DAISY; CITY OF EMBER, starring Bill Murray, Tim Robbins, and Toby Jones; Amy Heckerling's I COULD NEVER BE YOUR WOMAN, starring Michelle Pfeiffer and Paul Rudd; Bill Clark's THE CHRISTMAS MIRACLE OF JONATHAN TOOMEY; and Gillian Armstrong's DEATH DEFYING ACTS, starring Catherine Zeta-Jones and Guy Pearce. Ronan currently resides in Ireland with her parents Monica and Paul.DOMHNALL GLEESON (Jim Farrell) is currently working on MENA, directed by Doug Liman. In January 2015 he appeared in Enda Walsh’s THE WALWORTH FARCE, directed by Seán Foley, starring alongside his father Brendan Gleeson and brother Brian Gleeson.This year he will next appear in THE REVENANT directed by Alejandro González I?árritu and JJ Abrams’ STAR WARS EPISODE VII: THE FORCE AWAKENS. Other recent credits include Alex Garland’s sci-fi film EX MACHINA, and the Coens’ adaptation of Louis Zamperini’s memoir UNBROKEN, directed by Angelina Jolie. His previous lead roles in film include Lenny Abrahamson’s FRANK with Michael Fassbender and Maggie Gyllenhaal, Richard Curtis’ ABOUT TIME opposite Rachel McAdams and Bill Nighy, and SENSATION, directed by Tom Hall. He received IFTAs for playing Bob Geldof in When Harvey Met Bob, Levin in Joe Wright’s ANNA KARENINA, and Jon in Lenny Abrahamson's FRANK.Supporting roles in film and television include John Michael McDonagh’s CALVARY, Charlie Brooker’s “Black Mirror” on Channel 4, Mark Romanek’s NEVER LET ME GO, Joel and Ethan Coen’s TRUE GRIT, the role of Bill Weasley in HARRY POTTER AND THE DEATHLY HALLOWS (I & II) directed by David Yates, and Martin McDonagh’s Oscar-winning short SIX SHOOTER. He also appeared in DREDD directed by Pete Travis, SHADOW DANCER directed by James Marsh, Ian Fitzgibbon's PERRIER’S BOUNTY, A DOG YEAR for HBO films opposite Jeff Bridges, Paul Mercier’s STUDS, Stephen Bradley’s BOY EATS GIRL, and John Butler’s YOUR BAD SELF, for which he co-wrote sketches with Michael Moloney. Domhnall’s work onstage includes Now or Later at the Royal Court, American Buffalo and Great Expectations at the Gate, Druid’s production of The Well of the Saints, Macbeth directed by Selina Cartmell, and Chimps directed by Wilson Milam at the Liverpool Playhouse. Domhnall was nominated for a Tony Award for the Broadway production of Martin McDonagh’s The Lieutenant of Inishmore. He received a Lucille Lortel Nomination and a Drama League Citation for Excellence in Performance for the same role. He earned an Irish Times Theatre Award nomination for his role in American Buffalo.Domhnall wrote and directed the short films NOREEN (starring Brendan and Brian Gleeson) and WHAT WILL SURVIVE OF US (starring Brian Gleeson). Domhnall also created Immatürity for Charity, comedy sketches shot with family and friends in aid of St. Francis’ Hospice. They're pretty weird and they're on YouTube.New York City native EMORY COHEN (Tony Fiorello) is one of Hollywood's fastest rising young stars. His stand-out roles include the troubled teen AJ in PLACE BEYOND THE PINES, starring alongside Bradley Cooper and Ryan Gosling, and in BENEATH THE HARVEST SKY as?Casper, a loyal friend who finds himself caught up in the illegal prescription drug trade in northern Maine, which screened at the 2014 Tribeca Film Festival. Cohen was most recently seen in THE GAMBLER in the role of Dexter opposite Jessica Lange, Mark Wahlberg and John Goodman. The film centers on a literature professor with a gambling problem who runs afoul of gangsters. The film was released in the U.S.A in December 2014. In 2015, Cohen will be seen in STEALING CARS opposite John Leguizamo, William H. Macy and Felicity Huffman in the role of Billy Wyatt. The film centers on a rebellious teenager who navigates his way through the juvenile court system. He will also be seen in BY WAY OF HELENA, in the role of Isaac, opposite Woody Harrelson, Liam Hemsworth and Alicia Braga. The film is about a Texas Ranger who investigates a series of unexplained deaths in a town called Helena. His past film and television credits include: NBC’s “Smash,” playing Leo, the son of Debra Messing’s character for two seasons, and FOUR, reviewed as “a remarkable and moving portrait of solitude.” The cast won “Best Performance in the Narrative Competition” at the Los Angeles Film Festival in 2013. Additional credits include TESS AND NANA, AFTERSCHOOL, LUCKY DOG, NOR’EASTER and HUNGRY GHOSTS.JIM BROADBENT (Father Flood) is an Academy Award, BAFTA, Emmy and Golden Globe-winning theatre, film and television actor, best known for roles in IRIS (for which he won Best Supporting Actor at the Academy Awards and the Golden Globes in 2001); MOULIN ROUGE (for which he was awarded the BAFTA for performance in a Supporting Role in 2001) and the International phenomenon the HARRY POTTER franchise. He was BAFTA nominated most recently for his role alongside Meryl Streep in THE IRON LADY (Phyllida Lloyd, 2011). He has since continued to appear in an eclectic mix of projects, including John S. Baird’s scurrilous Irvine Welsh adaptation FILTH; Roger Michell’s romantic comedy drama LE WEEKEND (for which he was nominated for a British Independent Film Award as Best Actor); and THE HARRY HILL MOVIE, in which he appeared in drag as a three-armed cleaning lady. More recently Jim has starred in Christopher Smith’s Christmas comedy GET SANTA; and Paul King’s critically acclaimed PADDINGTON, based on the beloved children’s books by Michael Bond. Jim also appears in Jalmari Helander’s action adventure Big Game, starring Samuel L. Jackson.Since his film debut in 1978, Jim has appeared in countless successful and acclaimed films, establishing a long-running collaboration with Mike Leigh (LIFE IS SWEET, TOPSY-TURVY, VERA DRAKE and ANOTHER YEAR) and demonstrating his talents as a character actor in films as diverse as THE CRYING GAME (Neil Jordan, 1992), BULLETS OVER BROADWAY (Woody Allen, 1994), LITTLE VOICE (Mark Herman, 1998); BRIDGET JONES’ DIARY (Sharon Maguire, 2001); HOT FUZZ (Edgar Wright, 2007); THE DAMNED UNITED (Tom Hooper, 2009) and CLOUD ATLAS (Tom Tykwer, Andy Wachowski, Lana Wachowski, 2012).Also honored for his extensive work on television, Broadbent most recently received a Royal Television Award and BAFTA nomination for his leading performance in “Any Human Heart” (based on William Boyd’s novel of the same name), and had previously been recognized for his performance in Tom Hooper’s “Longford,” winning a BAFTA and a Golden Globe, and his performance in “The Street” for?which he won an Emmy. ?His earlier role in “The Gathering Storm” (2002) had earned him Golden Globe and Emmy nominations. Other selected credits include “Birth of a Nation – Tales out of School” (Mike Newell, 1983); “Blackadder” (John Lloyd, 1983); “Only Fools and Horses;” “Victoria Wood: As Seen on TV;” “The Young Visiters” (David Yates, 2003); “Einstein & Eddington” (Philip Martin, 2008); “Exile” (John Alexander, 2011); “The Great Train Robbery” (James Strong, 2013). Broadbent recently completed filming alongside Ben Whishaw and Charlotte Rampling “London Spy,” an original production by BBC America.Having studied at the London Academy of Music and Dramatic Art, Broadbent has also appeared extensively on the stage, notably with the Royal National Theatre and the Royal Shakespeare Company. His work on the stage has seen him appear in acclaimed productions ranging from Our Friends in the North at the RSC Pit (directed by John Caird and written by Peter Flannery) and A Place with Pigs at The National (written and directed by Athol Fugard), through to Habeas Corpus at The Donmar (directed by Sam Mendes and written by Alan Bennett) and The Pillowman at The National (directed by John Crowley and written by Martin McDonah). JULIE WALTERS (Mrs Kehoe) is an award-winning British actress, who came to international prominence in the title role in EDUCATING RITA in 1983 opposite Michael Caine. This won her an Oscar? nomination as well as a BAFTA and Golden Globe award for Best Actress. Walters received her second Oscar? 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. Most recently, Walters has started production on the second season of “Indian Summers” and starred as Mrs. Bird in Paul King’s critically acclaimed PADDINGTON, based on the beloved children’s books by Michael Bond. 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) and MAMMA MIA!? (Phyllida Lloyd, 2008). 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 Critics’ 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 Oliver 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 Mo?t British Independent Film Awards, celebrating her extensive contribution to the British film industry. This was followed in 2014 by the prestigious BAFTA Fellowship Award.ABOUT THE FILMMAKERSWith a background as an award-winning theatre director, JOHN CROWLEY (Directed By) received critical acclaim and his first awards in film in 2003 with his first feature INTERMISSION, which starred Colin Farrell.? His subsequent work includes BOY A (2007, starring Andrew Garfield and Peter Mullan),?IS ANYBODY THERE? (2009, starring Michael Caine) and, most recently, episodes five and the finale of TRUE DETECTIVE season two, starring Vince Vaughn and Colin Farrell. He is currently directing Cate Blanchett and Richard Roxburgh in an adaptation of Chekov’s THE PRESENT for Sydney Theatre Company.Oscar-nominated producers FINOLA DWYER & AMANDA POSEY (Produced by) produced AN EDUCATION, written by bestselling author and screenwriter Nick Hornby, directed by Lone Scherfig and launching its star Carey Mulligan. AN EDUCATION was nominated for three Academy Awards (including Best Film), nine BAFTAs (including Best Film and Best British Film, winning Best Actress), six BIFAs (winning Best Actress) and won Best Foreign Film at the Independent Spirit Awards.Recently produced films include the feature documentary MY NAZI LEGACY which premiered at the Tribeca Film Festival in New York in April 2015 to outstanding reviews. Made in association with the BFI and BBC Storyville, the documentary follows international human rights lawyer Philippe Sands as he explores the family background of two sons of senior Nazis and the legacy of their fathers’ actions in WW2. It will be released in the US and UK this autumn.They are in pre-production on THEIR FINEST HOUR AND A HALF, a co-production with Number 9 Films that will shoot late summer 2015. Based on Lissa Evans’ novel, it has been adapted for the screen by Gaby Chiappe with Lone Scherfig directing a stellar cast that includes Gemma Arterton, Bill Nighy and Sam Claflin. A romantic drama with a difference set in the early 1940s THEIR FINEST HOUR AND A HALF combines the quick-fire repartee of a screwball battle of the sexes with the reality of filmmaking under threat of imminent invasion and London in the Blitz.?Dwyer and Posey produced A LONG WAY DOWN the adaptation by Jack Thorne of the best-selling novel by Nick Hornby. The film was directed by Pascal Chaumeil (HEARTBREAKER) and stars Pierce Brosnan, Toni Collette, Aaron Paul, Imogen Poots, Rosamund Pike and Sam Neill, and had its world premiere at the 2014 Berlin Film Festival.Dwyer produced Dustin Hoffman’s directorial debut QUARTET under her Finola Dwyer Productions banner, from a script by Oscar-winner Ronald Harwood starring Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins, Michael Gambon and Sheridan Smith. The film took over $60m globally.Dwyer’s previous producer credits include Iain Softley's BAFTA-winning debut BACKBEAT; Stephan Elliott's cult favorite WELCOME TO WOOP WOOP; Chris Menges' THE LOST SON; Sandra Goldbacher's award-winning and BAFTA-nominated ME WITHOUT YOU, starring Michelle Williams and Anna Friel; Antonia Bird's EMMY-nominated THE HAMBURG CELL; Stephen Woolley's feature debut STONED; Golden Globe, EMMY-nominated and BAFTA-winning “Tsunami: The Aftermath” by Abi Morgan, directed by Bharat Nalluri, starring Chiwetel Ejiofor, Tim Roth, Sophie Okonedo and Toni Collette which Finola produced for HBO/BBC. Finola has made films all across the globe, shooting in New Zealand, Australia, Thailand, Jamaica, the USA, Canada, Ireland, France, Germany, Spain, and Hungary.Dwyer made her theatre producing debut with Elling, starring John Simm. The sell-out West End run culminated in a Best New Comedy award and Olivier Award nominations including Best New Comedy and Best Actor. The Broadway production starred Brendan Fraser and Denis O’Hare. Dwyer is also the former Chair of the BAFTA Film Committee and a BAFTA Trustee.?Posey’s previous producer credits include FEVER PITCH, based on Nick Hornby’s best-selling memoir, which Hornby adapted, starring Colin Firth, as well as the US remake of FEVER PITCH for Fox 2000, adapted by Lowell Ganz and Babaloo Mandel, directed by the Farrelly Brothers starring Drew Barrymore and Jimmy Fallon; and FIVE SECONDS TO SPARE starring Ray Winstone and Andy Serkis. Amanda’s earlier credits include working with Stephen Woolley on Neil Jordan’s Oscar-winning THE CRYING GAME and INTERVIEW WITH THE VAMPIRE (starring Tom Cruise and Brad Pitt) followed by heading up film development at Scala Productions, for Stephen Woolley and Nik Powell.Dwyer and Posey also spearheaded The Story Works 2010/2011, an innovative screenwriters' initiative for ten UK writers, in conjunction with script editor Kate Leys and the Edinburgh International Film Festival, supported by Skillset. Masterclass speakers and mentors included Jane Campion, Ronald Harwood, Paul Greengrass, David Mamet, Christopher Hampton, John Madden, Will Davies, John Mathieson and Pietro Scalia.NICK HORNBY (Screenplay By) is an Oscar-nominated screenwriter and award-winning author. Prior to his most recent screenplay BROOKLYN, Hornby adapted Cheryl Strayed’s NY Times bestselling memoir into the film WILD, which was directed by Jean-Marc Vallée, and starred Reese Witherspoon and Laura Dern.? ?Nick was Oscar and BAFTA-nominated for his screenplay adaptation of Lynn Barber’s memoir AN EDUCATION, directed by Lone Scherfig and starring Carey Mulligan, Peter Sarsgaard, Dominic Cooper, Rosamund Pike and Emma Thompson, and he adapted his own memoir for the screenplay of FEVER PITCH starring Colin Firth.?Many of Nick’s international best-selling books have served as a rich stream of inspiration for filmmakers: the British film of FEVER PITCH was re-made by the Farrelly brothers, starring Drew Barrymore and Jimmy Fallon; HIGH FIDELITY was directed by Stephen Frears, starring John Cusack and Jack Black; ABOUT A BOY was directed by the Weitz brothers, starring Hugh Grant, Rachel Weisz and Toni Collette; and A LONG WAY DOWN was directed by Pascal Chaumeil, starring Pierce Brosnan, Aaron Paul and Toni Collette. ?Nick’s other novels include Slam (2007) for young adults (currently being developed as an Italian language feature by the makers of IL DIVO); How to be Good (2001); Juliet, Naked ?(2009); and his most recent novel Funny Girl was published by Penguin in the UK in November 2014, and by Riverhead in the US in February 2015.?As well as Fever Pitch (winner of the William Hill Sports Book of the Year Award), Nick has written several other works of non-fiction including; 31 Songs (shortlisted for the National Books Critics Circle Award in America) and The Complete Polysyllabic Spree, a collection of Nick’s book columns for the influential US magazine The Believer (also subscribed to worldwide) and to which he continues to contribute a bimonthly column. Nick is also a recipient of the EM Forster Award by the American Academy of Arts & Letters.?In November 2010, Nick co-founded the children’s writing charity The Ministry of Stories, located in East London, now expanding to other UK cities. ?COLM T?IB?N (Based on the Novel by) was born in Ireland in 1955. His novels are The South (winner of Irish Times/ Aer Lingus First Fiction award; shortlisted for the Whitbread First Novel Award); The Heather Blazing (winner of the Encore Prize); The Story of the Night (winner of the Ferro/Grumley Prize; shortlisted for the Prix Femina Etranger); The Blackwater Lightship (shortlisted for the Booker Prize, made into film starring Angela Lansbury and Dianne Wiest); The Master (winner of the LA Times Novel of the Year, the Dublin IMPAC Prize and the Prix du Meilleur Livre, shortlisted for the Booker Prize); Brooklyn (winner of the Costa Prize for Best Novel); The Testament of Mary (shortlisted for the Man Booker Prize) and Nora Webster (winner of the Hawthornden Prize and shortlisted for the Costa Novel of the Year). His play The Testament of Mary was nominated for a Tony Award for Best Play in 2013. His collection of stories Mothers and Sons won the Edge Hill Prize, and his second collection The Empty Family was shortlisted for the Frank O’Connor Award. Tóibín has twice been a Stein Visiting Writer at Stanford University; he has taught at the University of Texas at Austin, Manchester University and Princeton. He is currently Irene and Sidney B. Silverman Professor of the Humanities at Columbia University. He served on the Arts Council in Ireland between 2006 and 2013. He is Chairman of PEN World Voices Festival in New York and a member of the Board of Druid Theatre. Tóibín is a contributing editor at the London Review of Books, a member of the Royal Society of Literature and a Foreign Honorary Member of the American Academy of Arts and Letters. He has received honorary doctorates from the University of Ulster, University College Dublin and the University of East Anglia. His work has been translated into more than thirty languages.Born in Saint-Jean-d’Iberville and raised in Québec City, YVES B?LANGER (Director of Photography) moved to Montreal to study film production at Concordia University, where he became part of a new wave of Canadian cinema artists and also became bilingual. Beginning in 1989, he made his mark in the music video industry, working as cinematographer on rock and country videos, which in turn earned him commercial work. In 1995, he began shooting feature films and television shows; with directorial collaborators including Alain Desrochers, Louis Bolduc and Jean-Claude Lord. Telefilms that Bélanger filmed have included “The Growing Pains Movie,” reuniting the original series’ cast and directed by Alan Metter.? Among the feature films that he has been director of photography on are Alain Desrochers’ GERRY, WUSHU WARRIOR, CABOTINS, and LA BOUTEILLE [THE BOTTLE]; and Patrice Sauvé’s CHEECH, for which he received Canadian Society of Cinematographers (CSC) and Jutra Award nominations. Among the short films that he has been director of photography on are Tara Johns’ KILLING TIME, for which he was a CSC nominee, and Geoffrey Uloth’s WILDFLOWERS, for which he won a CSC Award. Another feature credit as cinematographer was Xavier Dolan’s emotional epic LAURENCE ANYWAYS, starring Melvil Poupaud and Suzanne Clément, who was honored at the 2012 Cannes International Film Festival for her performance. Bélanger was again a Jutra Award nominee for his work on the movie. More recently, Bélanger worked with Jean Marc Vallée on two films; DALLAS BUYERS CLUB starring Matthew McConaughey and Jared Leto, the winner of best cinematography at the Rome International Film Festival and three Oscars?; and WILD, starring Reese Witherspoon and Laura Dern. Bélanger has just completed his third collaboration with Jean Marc Vallée; DEMOLITION, starring Jake Gyllenhaal, Naomi Watts and Chris Cooper as well as SHUT IN, a thriller starring Naomi Watts and directed by Farren BlackburnA French-Canadian based in Montreal, FRAN?OIS S?GUIN (Production Designer) has designed feature films, television series and live theatrical stage productions all around the world. He has won five Genie Awards for Achievement in Art Direction from the Canadian Academy of Film and Television, and has been nominated twice more. Séguin has collaborated with director Fran?ois Girard on films such as THE RED VIOLIN and SILK, as well as on the Cirque du Soleil show, Zed, in Japan. He designed Cirque du Soleil’s Las Vegas show Michael Jackson: One, and travelled to China to design Dragon’s production of The Han Show. Feature film credits include LUCKY NUMBER SLEVIN and PUSH for director Paul McGuigan; Billy Ray’s SHATTERED GLASS; THE KARATE KID and THE MORTAL INSTRUMENTS: CITY OF BONES, for director Harald Zwart; and the Denys Arcand-directed JESUS OF MONTREAL and THE BARBARIAN INVASIONS. Séguin also designed the acclaimed Showtime television series “The Borgias,” for director Neil Jordan, which earned him an Emmy Award nomination for Outstanding Art Direction. JAKE ROBERTS (Editor) is a well-established editor who has enjoyed great success within the film and television industry. As a long-time collaborator with David Mackenzie and Sigma Films, Jake cut THE LAST GREAT WILDERNESS, PERFECT SENSE, YOU INSTEAD and STARRED UP which was nominated for Best British Independent Film at the BIFAs in 2013. Roberts recently collaborated with Lone Scherfig on THE RIOT CLUB featuring Douglas Booth, Max Irons and Sam Claflin for Blueprint Pictures.He has also edited several award winning short films including I LOVE LUCI which won the Scottish BAFTA Award for Best Short Film in 2011 and his television credits include the hugely popular “Misfits” series along with “Skins Redux” with director Charles Martin.? Jake also has co-editing credits on the feature films CITADEL, JUMP and DONKEYS which was nominated for Best Feature at the Scottish BAFTAs and recently did a polish on Ron Scalpello’s PRESSURE.MICHAEL BROOK (Music By) is a Golden Globe and Grammy nominated composer, producer and recording artist recognized for his unique style of composition that traverses ambient, world, Americana, electronic and orchestral territories. His work often contains unusual combinations of instruments, sounds and moods that create a powerful, unique and emotional impact. His music career began as a recording artist, guitar player, producer and collaborator, working with artists such as , Brian Eno, David Sylvian, Nusrat Fateh Ali Khan, The Pogues, on ground breaking labels such as 4AD and Peter Gabriel’s Real World Records. As his music began to be licensed in films such as Heat and Any Given Sunday, he developed an interest in composing for film and moved to Los Angeles from the UK in 1999. Among the more than 40 films that he has scored are THE PERKS OF BEING A WALLFLOWER, THE FIGHTER, INTO THE WILD, CHAVEZ, AN INCONVENIENT TRUTH and the Oscar? winning documentary UNDEFEATED.ODILE DICKS-MIREAUX (Costume Designer), who is fluent in French, studied theatre design at the Central School of Art and Design.? After leaving college she went on to work in fringe theatre with companies such as Pip Simmons and Belt and Braces.Dicks-Mireaux joined the BBC in 1979 as an assistant.? In 1982 she became a designer in her own right designing the costumes for the Award winning series “Blackadder” starring Rowan Atkinson.? Other BBC projects include Jon Amiel's “Silent Twins;” Angela Pope's “Sweet As You Are;” and Warris Hussein’s “Clothes In The Wardrobe” starring Jeanne Moreau, Joan Plowright and Julie Walters, for which she won an RTS Award for Best Costume Design. In 1996 Dicks-Mireaux left the BBC to work freelance, since then she has worked consistently in both film and television.? Television work includes “Great Expectations” for which she won a BAFTA Award for Best Costume Design; “Gormenghast” for which she was nominated for both BAFTA and RTS Awards for Best Costume Design; “The Lost Prince” for which she received an Emmy Award and an RTS Award for Best Costume Design; “The Deal” with director Stephen Frears; and most recently “The Hollow Crown, Richard II,” directed by Rupert Goold, with Ben Wishaw and Rory Kinnear, for which she was again nominated for a Best Costume Design BAFTA.Film credits include: BUFFALO SOLDIERS starring Joaquin Phoenix, Ed Harris and Anna Paquin, Stephen Frears’ DIRTY PRETTY THINGS starring Audrey Tautou and Chiwetel Ejiofor; Fernando Meirelles’ THE CONSTANT GARDENER starring Ralph Fiennes and Rachel Weisz, AN EDUCATION, her first collaboration with director Lone Scherfig, for which she received a BAFTA nomination, LONDON BOULEVARD, Roger Donaldson’s THE BANK JOB starring Jason Statham and Saffron Burrows and ONE DAY starring Anne Hathaway and Jim Sturgess. More recently, Dicks-Mireaux has worked on BEL AMI starring Robert Pattinson, Uma Thurman and Kristin Scott Thomas, QUARTET directed by Dustin Hoffman starring Maggie Smith, Tom Courtenay?and Michael Gambon, A LONG WAY DOWN directed by Pascal Chaumeil starring Aaron Paul, Toni Collette and Pierce Brosnan. Dicks-Mireaux has recently finished working on Ben Wheatley’s HIGH RISE starring Tom Hiddlestone, Jeremy Irons and Elizabeth Moss. KLE SAVIDGE (Music Supervisor) is one of the UK’s foremost music supervisors.13 is an impressionable age and it was the timely discovery of “Space Oddity” on her brother’s stereo that brought forth to Kle the realization of music’s power to evoke, lift and transform the space it occupies.Savidge arrived in the UK in 1990 from her hometown of Toronto, surmising somehow that she might find herself ever more engaged in the British soundtrack that informed her youth. Outrageously, she immediately found what she was looking for when she stumbled upon a nascent Creation Records and a certain Alan McGee who took her under his wing and made her his right hand woman for the next ten years. Savidge was at the center of a seminal movement in recent British pop history as a hopeful Noel Gallagher arrived in the Creation office with a demo tape that would change everything. Working with the acclaimed talents of artists such as Oasis, Primal Scream, Teenage Fanclub, Ride, My Bloody Valentine and Jesus and Mary Chain gave her extensive experience in all aspects of recorded music from the studio to post production.Savodge has always possessed a unique attraction to ground breaking music and, when Creation imploded in 2000, she embarked upon a career in music supervision, keen to branch out on her own in an area suited to her talents. She has since become a sought after and respected music supervisor, sourcing tracks and artists for unique performances. She has worked with first time directors David Schwimmer and Dustin Hoffman to established talents Susanna White, John Crowley and Pascal Chaumeil.CASTIn Order of AppearanceEilisSAOIRSE RONANPriestFather Matt GlynnMiss KellyBRID BRENNANMaryMAEVE MCGRATHMrs BradyEMMA LOWEShabby WomanBARBARA DRENNANTimid WomanGILLIAN MCCARTHYRoseFIONA GLASCOTTMary LaceyJANE BRENNANNancyEILEEN O’HIGGINSGeorge SheridanPETER CAMPIONGeorginaEVA BIRTHISTLEShip WaiterJAMES CORSCADDENMrs KehoeJULIE WALTERSPattyEMILY BETT RICKARDSDianaEVE MACKLINSheilaNORA-JANE NOONEMiss McAdamMARY O’DRISCOLLDorothySAMANTHA MUNROBartocci Customer #1JANE WHEELERMiss FortiniJESSICA PAR?Diner WaiterADRIEN BENNFather FloodJIM BROADBENTMr RosenblumAL GOULEMYoung ManMAX WALKERFrankie DoranIARLA ?’LION?IRDDoloresJENN MURRAYYoung Man At DanceELLIS ROCKBURNTonyEMORY COHENBartocci Customer #2ERIKA ROSENBAUMMrs FiorelloELLEN DAVIDLaurenzioCHRISTIAN DE LA CORTINAMr FiorelloPAULINO NUNESFrankie FiorelloJAMES DIGIACOMOMaurizioMICHAEL ZEGENBoy’s FatherTADHG MCMAHONBoy at City HallHUDSON LEBLANCCity Hall OfficialPAUL STEWARTJim FarrellDOMHNALL GLEESONMariaNIAMH MCCANNMr BrownDENIS CONWAYMrs FarrellKAREN ARDIFFMr FarrellGARY LYDONMrs Byrne?INE N? MHUIR?Girl On DeckMELLA CARRON1st Assistant DirectorCHARLIE WATSONPost Production SupervisorPOLLY DUVALFinancial ControllerLouise O’MALLEYMusic EditorYann McCulloughIRELAND UNITLine ProducerPATRICK O’DONOGHUE1st Camera AssistantNICOLAS MARIONSteadicam OperatorDANIEL BISHOP2nd Camera AssistantBRIAN DUNGANDIT / DownloaderPAUL DEANECamera Trainee / Video AssistantSARAH DUNPHYCamera TraineeJOHN MCCARTHYScript SupervisorROWENA LADBURYGafferJAMES MCGUIREGripPAUL TSAN2nd Assistant DirectorENDA DOHERTY3rd Assistant DirectorNICK THOMASExtras CoordinatorSTEPHEN KIRKAssistant Extras CoordinatorDENIS FITZPATRICKSound MixerBARRY O’SULLIVANBoom OperatorENDA CALLANSound TraineeSEAN O’TOOLEProduction AccountantSOPHIE TEBBITTAssistant AccountantEVELYN MCLOUGHLINAccounts TraineeSUSANN CHANDLERProduction CoordinatorJANE MCCABEUK Production CoordinatorABBY MILLSAssistant CoordinatorORLA HEFFERNANProduction TraineeCIAN BOYNEDirector’s AssistantKIERON WALSHEAssistant to Finola Dwyer CHARLOTTE CAWTHORNELocation ManagerGORDON WYCHERLEYAssistant Location ManagersGRANT BOBBETTBRENDAN O’SULLIVANCasting AssociateALICE SEARBYCasting AssistantSARAH WILSONArt DirectorIRENE O’BRIENStandby Art DirectorMELANIE DOWNESAssistant Art DirectorCHRISTINE FITZGERALDTrainee Art DirectorFIONA COONEYSet Decorator / BuyerJENNIFER OMANBuyerEMMA LOWNEYTrainee BuyerTHERESE O’LEARYGraphics DesignerPAUL BRADYBest BoySIMON MAGEEGenny OperatorPADRAIC O’FATHARTAElectricianBRENDAN DEMPSEYPractical ElectricianDAMIEN HEFFERNANAssistant Costume DesignerELLEN CRAWSHAWWardrobe SupervisorJUDITH DEVLINStandby Wardrobe AssistantKAREN RIGGCostume TraineesLAURA ANNE MOONEYB?BH?NN MCGRATHAssistant Make UpNIAMH O’LOANAssistant HairLORRAINE BRENNANProperty MasterNUALA MCKERNANStandby PropCHRISTINA BROSNANStandby AssistantDANIEL O’FLAHERTYDressing PropsPAUL HEDGES JNR.Dressing Props AssistantsMARK TIMMONSPAUL BOULTONStores PersonJANET HOLLINSHEADProps TraineesPAUL CAIRNDUFFDYLAN SCOTTProps Runaround DriverLIAM MAGUIRERoad CrewLIAM DOYLEConstruction ManagerNICKY MACMANUSConstruction ChargehandFEARGHUS MCHUGHSupervising CarpenterBRIAN TIGHECarpentersALAN FINGLASKRISTIAN TIGHELORCAN NOLANGAVIN HACKETTScenic ArtistNEVILLE GAYNORScenic Background ArtistsJOSEPH GAYNORDARREN KEARNEYPaintersNIALL KEARNEYNORMAN DUFFRiggerROBBIE CURRYStagehandRAY BOYLEConstruction DriverSTEPHEN PRESTONStandby CarpenterGRAHAM WATERSStandby PainterDANIEL LYONSStandby StagehandJASON ARKINSStandby RiggerJAMES DOYLETrainee Assistant DirectorsJESSICA WHELEHANDANIEL LLOYDKEITH BROWETTStand In / Trainee Assistant DirectorsCONOR FLANNERYROISIN EL CHERIFOLLIE KELLYMEGHAN MCLACHLANDialogue CoachBRENDAN GUNNSFX CoordinatorBRENDAN BYRNESFX TechniciansANDREW NOLANLIAM MCDONALDMARTIN FITZPATRICKTransport CaptainPAUL CULLENUnit DriversDAVID LEONMARTIN REILLYPETER THORNTONMinibus DriversCOLMAN SHARKEYEDWARD FORANFacilitiesIRISH FILM FACILITESFacilities ManagerNICO LINULFacilitiesPETER HILLJOHNNY FORTUNEMERVYN EWINGCamera Truck DriverGARY HAMILTONConstruction Truck DriverGAVIN MCGLASHANElectrical Truck DriverWILLIE COOLEYProps Truck DriverJAMES TANSEYParamedicANDREW WATERSHealth & Safety OfficerKEVIN KEARNSCateringLOCATER LTDCatering ManagerGARY WALSHChefMARIUS DZIKOCatering AssistantsDANIEL PATACHIEMANUEL BACREDINICOLETTA ROSORushes & Editing ServicesWindmill laneWindmill Lane Edit Assistantmartin fANNINGRushes AssistantEOGHAN MCKENNACANADA UNITLine ProducerNICOLE HILAR?GUYProduction ManagerDiane Arcand1st Camera AssistantNICOLAS MARIONSteadicam OperatorFran?ois Archambault2nd Assistant CameraMarie-Pierre GrattonData WranglerSimon Desrochers-LaplantePlayback OperatorVincent GouinCamera TraineeShawn Ann RibottiScript SupervisorROWENA LADBURYGafferEames GagnonKey GripAlain Desmarchais2nd Assistant DirectorBrigitte Goulet3rd Assistant DirectorKaven MacDonaldAdditional 3rd Assistant DirectorsEvelyne RenaudAnabelle BerkaniStéphane BylAD’s TraineeClaire BaumannSound RecordistClaude La HayeBoom OperatorFrancis PéloquinAccountantGuy AumondAssistant AccountantCharlene HodgeAccounting ClerkNo?lla TurbideProduction CoordinatorManon PayantUK Production CoordinatorABBY MILLSAssistant Production CoordinatorMarjorie CaronAssistant to John CrowleyElza KephartOffice RunnerNicolas PrivéUnit ManagerPatrick LegaultAssistant Unit ManagerSteeve LeblancSet PAChristian BourqueTruck PAMichel BilodeauProduction AssistantsKevin St MarseilleAndrée-Anne FaucherLocation ManagerGuillaume BlancLocation ScoutMichele St-ArnaudLocation Manager (boat)Micheline SylvestreAssistant Location ManagerAlexandre Piuze-GualminiPrincipals CastingLucie RobitailleNY CastingJIM CARNAHANExtras CastingJulie BretonDialogue Coach?Julia LenardonDance ChoreographerAndré ThéorêtArt DirectorRobert ParleAssistant Art DirectorGuy PigeonGraphic ArtistCarl LessardArt Department CoordinatorsDiane PagéHélène LamarreKey Set DecoratorLouise TremblayDecoratorManon ThomasAssistant DecoratorsIsabelle PoulinEmmanuelle FournierBest Boy ElectricPierre DaudelinGenny OperatorFranck Farina-Schroll1st Assistant ElectricConstant Lavallée2nd Assistant ElectricRoger RobichaudAdditional Assistant ElectricsCharles PéloquinDaniel GoyensRigging GafferPeter MathysRigging ElectricsDaniel VachonMicha?l OhayonBest Boy GripClaude Gervais1st Assistant GripEric LegendreGripDany PrévostAdditional GripsBenoit DaoustSamuel EusanioAssistant Costume DesignerCarmen AlieKey Extras Wardrobe MistressFran?oise LabelleExtras Wardrobe MistressSylvie DagenaisAssistant Extras Wardrobe MistressesChristelle Deforceville?milie MartineauDominique ThériaultJosée BoisvertDiane DaoustRunnerJulien LatendresseCostumes CoordinatorCatherine Filion-VilleneuveKey DresserManon GirardDresserCamille DemersKey Extras DresserJohn StoweAdditional Extras DressersGinette RégisMartine PicardAlbert GrégoireNiamh ButlerVéronique Le BlondKey Specialized Wardrobe TechniciansValérie Delacroix?milie MartineauFauve ParadisJonathan GirardNoémie PoulinAnne-Marie Kearns-DrapeauSeamstressesJosée ComeauNicole LangloisMake Up ArtistMarlène RouleauAssistant Make Up ArtistsMagalie MétivierEdwina VodaJulie MignotHairdresserMichelle C?téKey Extras HairdresserRocco StalloneAssistant HairdressersColette MartelMario HuotAdditional Production AssistantsCédric ArcandJean-Fran?ois HallAlexandra ElkinJean-Sébastien HouleLaura No?lAnne-Catherine BolducBrigitte DeshussesKeven P. ParentAlexandra MorinAlexandre BesnerLaurent UlrichUnit RunnerMartin FradetteProperty Master-On Set Prop MasterDenis HamelAssistant Set PropsCaroline DavignonAssistant Props BuyerAnie LeblancOn Set DresserStephan McKenzieSwing Crew #1Stéphane CaronFrédéric ChamorroSwing Crew #2Joao BaptistaFran?ois ArchambaultSwing Crew #3Douglas MacleanPascal TremblaySwing Crew #4David AmyotJean-Pierre RiverinSwing Crew #5Sébastien PerronPascal CanuelKey Scenic PainterOdette GauvreauScenic PaintersVincent RonseBrigitte C?téSara BélangerSouzan TawakulNatalja ScerbinaJean-Marc CormierMathieu Lévesque BlouinRenée BoulaisJér?me SincenneCraft PersonsRoland ChaputMichel DicaireEtienne PoulinAssistant Craft PersonJimmy LemayPicture Car CoordinatorRéal HamelAssistant Picture Car Coordinators?ric BraisStéphane BylDenis RaymondMaude BeaunoyerAssistant Captain DriverMarc-André GoyerDriversHélène ?mondRoger VaillancourtRené BrissonTania VeriAndrée RoyTony PelletierGabriel Fortin TaillonProduction VehiclesKiroulePicture CarsRéal Picture CarRushes Assistant EditorsGuylaine AllardGeneviève RobergeNEW YORK UNITProduction ManagerLINDSAY FELDMANProduction CoordinatorSCOTT BREDENGERDAccounts DepartmentCHRISTOPHER CONKLINGMATTHEW BERNABEIVisa ServicesSHERMAN KAPLAN AND BRIAN DINGLEPRODUCTION SERVICES PROVIDED BY ATLANTIC PICTURES, CHRISTOPHER MARSH AND DARREN GOLDBERG1st Assistant EditorLea MorEmentAssistant to Finola DwyerANNA KOCHPost Production CoordinatorCHRISTINA LEGKOVASound Design & Post Production bySOUND 24Sound Effects Editorsmark heslopdillon bennettSupervising Dialogue EditorGILLIAN DODDERS?Dialogue Editorsian morganemilie o'connor?Foley Recorded atShepperton StudiosFoley Editorpeter hanson?Foley Artistjack stewAssistant Sound EditorNicholas Freemantle?Re-recorded atpinewood studios?Re-recording Mixersian tapp, casadam scrivenerFoley Mixerglen gathardAssistant Foley Mixerjemma riley-tolchSound Mix Technicianjohn skehillADR recorded atGOLDCREST POST PRODUCTIONADR MixerMARK APPLEBYADR Voice CastingPHOEBE SCHOLFIELDVisual Effects byWINDMILL LANE VFXVFX SupervisorANDY CLARKEExecutive VFX ProducerCIARAN CROWLEYVFX ProducerCIARA GILLANVFX CoordinatorGILL RYDERStudioDARAGH CASEY2D ArtistsJOHN MCMAHONROB HARTIGANJENNY KEANE3D ArtistsTIM CHAUNCEYJAMES KENNYJunior ArtistsDAVE LEAHYSTACY MANGANKEVIN RYANPEARSE TOOMEYAdditional Visual Effects byMunkyVFX SupervisorGary BrownLead VFX ArtistFabio VonaVFX ArtistsRichie WhiteVFX ArtistMiguel AlgoraVFX Line ProducerGillian MackieProduction AssistantKate WarburtonTitles Design byMATT CURTISDigital Intermediate byMOLINARE TV & FILMDI ColouristASA SHOULDI Online EditorGARETH PARRYDI ProducerALAN PRITTMolinare Post Production CoordinatorCHARLOTTE AIRTHDI ManagerMATT JAMESDI CoordinatorFRANCOIS KAMFFERDI Conform EditorsTIM DREWETTMICHELLE CORTSTEVE OWENTOM CAIRNSJOHNATHAN DICKINSONLIZZIE NEWSHAMDI Online AssistantsBEREN CROLLKELVIN DALEYData Transfer OperatorsMIKE ANDREWSWILL CATTERMOLELEIGH MYERSFilm ConsultantLEN BROWNVFX Production ManagerFATEMEH KHOSHKHOUStills Photographer & EPK Director KERRY BROWNUnit PublicityPREMIER - JONATHAN RUTTERProduction NotesPATRICK REEDFOR WILDGAZE FILMS Associate Producer for Wildgaze FilmsBENNETT MCGHEEHead of DevelopmentJOSEPHINE DAVIESAccountantJOHN MORGANResearcherRAPHAEL VON BLUMENTHALFOR PARALLEL FILMS Co-Producer for Parallel Filmssusan mullEnProduction Assistantalison noLANAssistant to Alan MoloneyTOM PULLENFOR ITEM 7 Associate Producer for Item 7Jeannette GarciaCoordinatorMaria Gracia-TurgeonAssistant AccountantRoseline Lili EgoumeBusiness AffairsSam CoppolaFOR BBC FILMSSenior Business ManagerMichael WoodHead of Legal and Business AffairsZoe BrownLegal and Business Affairs ManagerNadia LachmanMarketing ExecutiveJacqui BarrLegal and Production AssistantRuth SandersPRODUCED WITH THE PARTICIPATION OF TELEFILM CANADA Carolle BrabantMichel PradierStephanie AzamSandra KarrJulie BlondinElsa GodinFOR IFBExecutive Producer for Bord Scannán na h?ireann / the Irish Film BoardRORY GILMARTINChief ExecutiveJAMES HICKEYDeputy Chief ExecutiveTERESA MCGRANEFOR BFIDirector of Lottery Film FundBen RobertsSenior Production and Development ExecutiveNatascha WhartonHead of ProductionFiona MorhamHead of Production FinanceIan KirkBusiness Affairs ManagerBen WilkinsonFOR INGENIOUSCharles AutyEleanor WindoTed CawreyLesley WiseBUSINESS AFFAIRS FOR INGENIOUS – DAVID QULIFOR SODECMonique SimardCatherine LoumèdeLaurent GagliardiJulie MorinWORLDWIDE SALES AND DISTRIBUTION: HANWAY FILMSMatthew BakerJustin KellyThomas MannAzi SaminganJan SpielhoffJonathan Lynch-StauntonClaire TaylorChiara Gelardin In Association with TSG ENTERTAINMENTCamera Equipment IrelandVAST VALLEYLighting Equipment IrelandCINE ELECTRICCamera, Grip & Lighting Equipment CanadaVISION GLOBALEAvid EquipmentSALON RENTALSPost Production ScriptFATTSDigital Negative and PrintsiDAILIESProduction Legal ServicesSHERIDANSJAMES KAY AND NICK MAHARAInsurance provided byGALLAGHER ENTERTAINMENT - KEVIN O’SHEACompletion Guarantor Services by FILM FINANCESGRAHAM EASTON, DAVID KORDA, JAMES SHIRRAS AuditorSHIPLEYS LLP - STEVE JOBERNSCollection Account Management byFINTAGE CAM B.V.Score Recorded atAbbey Road Studios, LondonEngineerSimon RhodesAssistant EngineersToby HulbertStefano CivettaConductorNick IngmanOrchestratorDavid Glen RussellMusic ProductionCraig ConardScored Mixed byRichard EvansOrchestra ContractorIsobel GriffithsAssistant Orchestra ContractorSusie GillisOrchestra LeaderPerry Montague-MasonLibrarianPhil KnightsViolin SoloistJulie RogersClarinet SoloistMartin RobertsonPiano SoloistTom CawleyAdditional Music Recorded atTemple Lane Studios, DublinProduced byJohn CartyEngineered byMichael Heffernan“Teddy O’Neill”TraditionalArranged by John CartyPerformed by John Carty, James Blennerhassett, Paul Gurney and Jim Higgins“Golden Jubilee”TraditionalArranged by John CartyPerformed by John Carty, James Blennerhassett, Paul Gurney and Jim Higgins“BoOlavogue”Written by Patrick Joseph McCallArranged by John CartyPerformed by John Carty, James Blennerhassett, Paul Gurney and Jim Higgins“Be Cool AKA Keep Cool”Written by A JacquestLicensed by Rockin’ MusicPerformed by Johnny Moore’s Three BlazersCourtesy of Ace Records Ltd.“Castle Finn”TraditionalPerformed by Caoimhín ? Raghallaigh and Fiachna ? Mongáin“Casadh an TSúgáin”TraditionalPerformed by Iarla ? Lionáird“Macushla”Written by Dermot MacMurroughPerformed by John McCormackLicensed courtesy of Naxos Rights Us Inc.“Silver Threads”Written by Hart Pease DanksPerformed by John McCormackLicensed courtesy of Naxos Rights Us Inc.“THE Stack of Barley”TraditionalArranged by John CartyPerformed by John Carty, James Blennerhassett, Paul Gurney and Jim Higgins“Yellow Rose of Texas”TraditionalArranged by John CartyPerformed by John Carty, James Blennerhassett, Seamus O’Donnell and Jim Higgins“Dynaflow”Written by Jack CooleyCourtesy of Embassy Music Corp./Music Sales CreativePerformed by John Carty, James Blennerhassett, Seamus O’Donnell and Jim Higgins“A Garden in the Rain”Written by Carroll Gibbons and James DyrenforthCourtesy of Chester Music Ltd. trading as Campbell Connelly & Co.Performed by John Carty, James Blennerhassett, Seamus O’Donnell and Jim Higgins“Five, Ten, Fifteen Hours”Written by Rudolph ToombsUsed by kind permission of Carlin Music Corp.Performed by Ruth BrownLicensed courtesy of Warner Music UK Ltd.“What’s It To You, Jack?”Written by A Jacquest and J CarterUsed by kind permission of Carlin Music Corp. and Lark Music Ltd.Performed by Linda HayesCourtesy of Ace Records Ltd.“Zing A Little Zong”Written by?Harry Warren and Leo RobinPublished by Music Sales Corporation and Four Jays Music Co., administered by peermusic (UK) Ltd. / Campbell Connelly & Co. Ltd.Performed by Bing Crosby and Rosemary ClooneyCourtesy of Jasmine Records“Jesu Joy of Man’s Desiring”Written by JS BachPerformed by David KellyCourtesy of De Wolfe Music“Canon in D”Written by J PachelbelPerformed by David KellyCourtesy of De Wolfe Music“My Wild Irish Rose”Written by Chancellor OlcottArranged by John CartyPerformed by John Carty, James Blennerhassett, Paul Gurney, Seamus O’Donnell and Jim Higgins‘Singing In The Rain’ poster and stills licensed byWARNER BROS. ENTERTAINMENT INC‘New York 1956’ imagery supplied byGETTY IMAGESClearances CoordinatorCHARLES EDWARDSWITH SPECIAL THANKS TORick Gekoski, Bob Sullivan, Jeremy Thomas, Dustin Hoffman, Chris Andrews, JenNIFER Lake & Donald Donovan, LISBETH SAVILL, ROGER & MARLIESE DONALDSONWITH THANKS TOADAM VENIT, Paul Lyon-Maris, Jenne Casarotto, Ben Roberts, DAN ALONI, RICHARD PAYTON & ANDREW MACKIE, Peter Sussman, CHARLES LAYTON, ALISON THOMPSON, LISA WOLOFSKY, SANDRA MARSH, Jennifer KAWAJA & Julia SerenY, Ronald Gilbert, Christina Piovesan, CHARLIE DIBE, Gayle Vangrofsky, ANDREW MCALPINE, RICHARD HOOVERT Bone Burnett, micah green, pietro scalia,John mathieson, stephen fussEnniscorthy Chamber of Commerce, Enniscorthy Town Council, Enniscorthy Gardai Siochana, Wexford County Council, Enniscorthy Athenaeum Committee, John O’Connor and Enniscorthy Enterprise Centre, O’Leary Estate Agents Enniscorthy, The Showgrounds Enniscorthy, St Aidan’s Cathedral and Parish Enniscorthy, St Mary’s Church and Parish Tagoat, all the businesses and residents of Castle Street, Court Street, John Street, Friary Hill and Lower Church Street Enniscorthy, Aerfast International, Movietone Frocks, Carlo Manzi Ltd, RTE Wardrobe Department, Father Matt Glynn, Paul Hand of Dublin Fire Brigade Museum, JOANNE BYRNE, Paddy Berry, Aoife Woodlock, Nicholas Carolan & Brigitte Bark, Irish Traditional Music Archive, DublinELA MAISON BIRKS (Donald Morneau), COMPAGNIE DE LA BAIE D’HUDSON (Catherine Durand), SOCI?T? DU VIEUX PORT DE MONTREAL, PATTISON, MINIST?RE DE LA CULTURE ET DES COMMUNICATIONS, SOCI?T? RADIO-CANADA, ESPACE, COSTUME INC., LES SERVICES BALDGORILLA INC., LOUIS RENE LAMARCHE OPTICIEN, SAVARD OPTICIENS, LES ENTREPRISES A & R BROCHU, Transport Desgagnés inc. and the crew boat of Camilla Desgagnés, AQPM, AQTIS, ACTRA, SPACQ, ARRQPRODUCED WITH THE SUPPORT OF INVESTMENT INCENTIVES FOR THE IRISH FILM INDUSTRY PROVIDED BY THE GOVERNMENT OF IRELAND.PRODUCED WITH THE PARTICIPATION OF SODEC SOCI?T? DE D?VELOPPEMENT DES ENTREPRISES CULTURELLES - QU?BECA UK / CANADA / IRELAND CO-PRODUCTIONFILMED ON LOCATION IN IRELAND, MONTREAL AND NEW YORKIn Memory of CLARE DWYER51708052358390005170805235839000517080523583900048044102338070004804410233807000PRODUCED BY BUN AND HAM PRODUCTIONS LIMITEDPRODUCED WITH THE FINANCIAL PARTICIPATION OF CR?DIT D’IMP?T CIN?MA ET T?L?VISION – GESTION SODECFUNDED BY THE BROADCASTING AUTHORITY OF IRELAND WITH THE TELEVISION LICENCE FEE232664062426850023266406242685002326640624268500 With the support of the Media Programme of the European UnionMADE IN ASSOCIATION WITH RTEThe events depicted in this film are fictitious. Any similarityto any person living or dead is merely coincidental.This motion picture is protected under the laws of the United Kingdomand other countries.??Unauthorised duplication, distribution or exhibitionmay result in civil liability and criminal prosecution.MADE WITH THE SUPPORT OF THE BFI’S FILM FUNDDEVELOPED WITH THE SUPPORT OF BBC FILMS No: 496733103245636460500 ? 2015 Twentieth Century Fox Film Corporationand TSG Entertainment Finance LLC.?2015 TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS RESERVED. PROPERTY OF FOX. PERMISSION IS GRANTED TO NEWSPAPERS AND PERIODICALS TO REPRODUCE THIS TEXT IN ARTICLES PUBLICIZING THE DISTRIBUTION OF THE MOTION PICTURE. ALL OTHER USE IS STRICTLY PROHIBITED, INCLUDING SALE, DUPLICATION, OR OTHER TRANSFER OF THIS MATERIAL. THIS PRESS KIT, IN WHOLE OR IN PART, MUST NOT BE LEASED, SOLD, OR GIVEN AWAY. ................
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