Bari International Film Festival



PATH?, BBC FILMS, INGENIOUS MEDIA and BFI PRESENT A LEFT BANK PICTURES PRODUCTIONDIRECTED BY PHILIPPA LOWTHORPESTARRING KEIRA KNIGHTLEY ● GUGU MBATHA-RAW ● JESSIE BUCKLEYKEELEY HAWES ● PHYLLIS LOGAN ● LESLEY MANVILLE ● RHYS IFANS ● GREG KINNEARScreenplay by REBECCA FRAYN and GABY CHIAPPE Story Written by REBECCA FRAYN Produced by SUZANNE MACKIE and SARAH JANE WHEALEExecutive Producers ANDY HARRIES, REBECCA FRAYN, CAMERON MCCRACKENJENNY BORGARS, ROSE GARNETT, ANDREA SCARSO, NATASCHA WHARTONDirector of Photography ZAC NICHOLSON BSCProduction Designer CRISTINA CASALI Editor ?NA N? DHONGHA?LE ACE Costume Designer CHARLOTTE WALTERHAIR AND MAKE-UP DESIGNER JILLIAN SWEENEY Music by DICKON HINCHLIFFEcasting by NINA GOLDSHORT SYNPOSIS In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada, the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head.LONG SYNPOSIS It is 1970, and at the history faculty of University College London, SALLY ALEXANDER (Keira Knightley), sits before an all-male interview panel. As a woman, a single mother and a mature student, she senses the panel’s disapproval as she fights to be taken seriously as a candidate.Meanwhile, at a US army base in Vietnam, legendary entertainer BOB HOPE (Greg Kinnear) performs his slick stand-up routine for thousands of troops. He beckons the current Miss World onto the stage and the troops go wild. At the time, the annual Miss World beauty contest is the most watched television programme on the planet with over 100 million viewers. Back in London, ERIC MORLEY (Rhys Ifans) and JULIA MORLEY (Keeley Hawes), the husband and wife team behind the Miss World competition, are looking for an international star to host the upcoming show. They decide to offer the role to Bob. At home in LA with his long-suffering wife, DOLORES HOPE (Lesley Manville), a flirtatious Bob is ‘persuaded’ to accept the offer by his pretty young intern. Dolores is furious Sally attends the first meeting of the newly founded Women’s Liberation Movement where she encounters JO ROBINSON (Jessie Buckley) and her activist friends. Jo is scornful of Sally for, as she sees it, wanting to be part of the Establishment rather than fight to overthrow it. For her part, Sally dismisses Jo’s militancy as ineffective gesture politics. Later, Sally sees Jo spray-painting slogans over a sexist billboard ad; she also spots a couple of police officers approaching and intervenes, managing to save Jo from arrest. Although they approach the fight for equality from different angles, they are curious about one another, and Jo invites Sally to join her women’s group. Sally is delighted to be offered a place on the history degree course at UCL. But the reality of being side-lined as the only woman in her tutorials makes her delight short-lived. At home, with her conservative mother EVELYN (Phyllis Logan), her supportive boyfriend GARETH (John Hefferman), and her small daughter Abbie, a TV report on the upcoming Miss World competition inspires Abbie to parade around the room like a beauty queen. Sally is horrified at the influence of the event and determines to join Jo’s women’s group. The north London commune where the group is based is buzzing with debate over whether to demonstrate against the Miss World event. Sally asks how they’re going to make their objections known if they refuse to engage with the media (dismissed as part of the Establishment). The answer is for Sally to be roped into writing the copy for a fly-poster that will be pasted up around town. An anti-apartheid activist accosts Eric in the street, telling him that by allowing South Africa to enter only white contestants, Miss World is endorsing a racist regime. Eric, fearing a boycott, decides that this year they will include one white and one black contestant from South Africa. The Miss World contestants arrive in London and assemble at their hotel to have their vital statistics measured and to be assigned chaperones. The sassy, confident Miss United States, SANDRA ANNE WOLSFELD (Suki Waterhouse), and the cerebral Miss Sweden, MAJ CHRISTEL JOHANSSON (Clara Rosager), are amongst the favourites to win. Miss Africa South, PEARL JANSEN (Loreece Harrison), the hastily selected black South African, is overwhelmed by the occasion. A serene JENNIFER HOSTEN (Gugu Mbatha-Raw), the first ever Miss Grenada, recognises Pearl’s anxiety and goes to her rescue. She comments that participating in this hugely popular international event is a huge moment for them both. As media interest in the upcoming competition grows, the voices of protest intensify. Julia determines to modernise at least one aspect of the competition by recruiting a diverse panel of judges. One such appointment is the Prime Minister of Grenada, Sir Eric Gairy. The contestants, clad in swimsuits, gather to be introduced to the press. Pearl and JILLIAN JESSUP (Emma Corrin), the white Miss South Africa, pose together and Julia is obliged to deflect questions directed at them about apartheid politics back home. However, the majority of the press focus on the two favourites, Maj and Sandra, leaving Jennifer largely ignored. Sally and Jo learn that their fly-posters have caught the attention of the BBC, who are looking for a spokesperson from the Women’s Liberation Movement to appear on a current-affairs show to discuss Miss World. Jo volunteers a reluctant Sally. Eric rehearses all the contestants, walking them through their onstage moves and what will be expected of them on the night. His performance provokes mirth amongst many of the contestants although the sense of fun pales quickly for Jennifer and Maj. They slip away for a private chat and open up to one another about how they ended up competing in Miss World what they hope to achieve. Jennifer asserts that as a woman of colour there is far less media interest in her as a contestant but that just makes her more determined to win. Bob flies from LA to London accompanied by Dolores. As Bob flirts with an air stewardess, Dolores confides in one of Bob’s gag writers that the last time Bob hosted the event, he brought the winning girl home with him. On Robin Day’s TV show, a nervous Sally eloquently sets out the viewpoint of the Women’s Libbers: that their protest is not against the contestants but against the competition that objectifies them; and that a man’s value is not judged by the way he looks, so why should a woman’s? Although she is dismissed as a killjoy by her fellow panellists, the show is seen by Jennifer and Maj and by Julia and Evelyn; all are visibly affected by Sally’s words.Various women’s groups come together to plan their protest against Miss World. Jo and Sally decide to extend the protest from outside the theatre to within the venue itself with the intention of disrupting the live television broadcast, thereby putting their cause on the global map. To get into the event with a concealed arsenal of flour bombs, rattles, ink-filled water pistols and protest banners, they agree they will need to dress up as ‘normal’ women. Pearl confides in Jennifer that she has been threatened by the South African authorities that she won’t be allowed to return home if she speaks out against the regime. Jennifer wonders if attitudes will be different if Pearl were to win Miss World. Pearl laughs, saying no black woman is going to win. Evelyn is fuming when Sally returns home late from the planning meeting. She feels that Sally is ignoring her obligations as a wife and mother. Sally retorts that she is fighting to make the world a better place for Abbie, one where she need not be trapped in a ‘small’ domestic life. Evelyn takes that as a personal criticism of her choice to be a housewife - she storms out of her daughter’s flat. On the eve of the competition, another protest group decides to take advantage of the increased media presence. The Red Brigade, an anarchist group, sets of a bomb in a BBC van parked outside the theatre. Although no one is hurt, a concerned Gareth assumes that the resultant increase in security will persuade Sally to drop out of the protest. Sally is angry at Gareth telling her what to do but she is clearly nervous about the risk of arrest and the potential impact on both her family and her academic career. She visits Jo to share her doubts. But Jo’s resolve is set and she scorns Sally for having second thoughts. Julia visits Bob at his hotel room to reassure him that everything is under control notwithstanding the actions of the Women’s Libbers, the Red Brigade and the anti-apartheid protestors. As Women’s Libbers from all over the country march on the theatre, Sally sits at home trying to study but distracted by the sight of Abbie playing doctors and nurses. At the last minute, Sally arrives at the theatre, having decided to risk everything to fight for her daughter’s future. Jo remains unhappy about Sally’s flip-flopping but the other protestors are happy to welcome her back as they quietly take their seats in the auditorium and the Miss World show begins. The protestors sit in silence as the rest of the audience revels in the glamour of the event. The flamboyant national costume round is first, and those who are shortlisted return dressed in swimwear. When the contestants are told to turn around so that the judges can assess their behinds, Jo almost explodes, but Sally holds her back. As the judges deliberate, Bob Hope takes the stage. He denounces the protestors outside and delivers a series of sexist jokes that finally tip Sally over the edge. She leaps to her feet whirling a football rattle and shouting “Shame on you!”. In response protestors dotted around the auditorium jump up from their seats, unfurl banners and launch flour bombs at the stage. Sally has Bob in her sights as she takes aim with a water pistol before being wrestled to the ground by the police. Before the BBC has time to react and cut the transmission, 100 million people witness the show degenerate into chaos: Gareth and Evelyn stare at their TV screens in shock, whilst Dolores throws her head back and roars with laughter. Once the police have restored order and corralled the Women’s Libbers backstage, the broadcast resumes and Bob - having fled to his dressing room - is brought back on stage to complete the show. When Bob announces the final results, there is muted applause as Pearl is proclaimed runner-up; but there are gasps when the winner is announced – it is not bookies’ favourite Maj who takes the title but Jennifer, the first black woman to win Miss World. Backstage, Sally and Jo are being manhandled out of the building by the police. Sally begs to use the bathroom. She is taken aback when she steps into the room to find herself face to face with Jennifer. Jennifer remembers Sally from the TV interview. She takes the opportunity to respond to Sally, saying that as a black woman she looks forward to having Sally’s choices in life; and that she is proud to be a role model for women who might feel empowered by her win. Their conversation is interrupted as the police insist that Sally leaves for the station. Back at his hotel, a shaken Bob looks in vain for comfort from Dolores. Sally and Jo are reconciled as they share a police cell. Jo confides that she is pregnant and nervous about the effect of being wrestled to the ground by the police.The following day a despondent Julia and Eric review the headlines of the global press, each one dominated by news of the protest. The Women’s Libbers have succeeded in putting their Movement on the map. Sally and Jo are released pending trial. Sally is relieved to find not just Gareth and Abbie waiting to take her home but also Evelyn, who hugs her and acknowledges that she never used to listen to her mother either. In cards at the end of the film, accompanied by footage of the real women today, we learn that:Jennifer was hailed as a national hero in Grenada. She went on to study political science and international relations at university before becoming Grenadian High Commissioner to Canada; Sally and jo were found guilty of breaching the peace. Sally went on to become a Professor of Modern History at the University of London and Jo (having given birth five months after the trial) qualified as a midwife;Pearl went back to apartheid South Africa. She eventually fulfilled her ambition to become a singer. ABOUT THE FILMMISBEHAVIOUR tells the sensational true story of the disruption of the 1970 Miss World contest by the nascent Women’s Liberation Movement, an event which made headlines around the world. In the middle of one of the most popular TV shows in the world, watched by 100 million viewers, the Libbers spectacularly disrupted the broadcast. Not only that, when order was restored, against a backdrop of Anti-Apartheid demonstrations, the first woman of colour won the Miss World crown.MISS WORLD 1970“MISBEHAVIOUR is a film about the 1970 Miss World competition told from several, different points of view.” explains director Philippa Lowthorpe. “However, the primary focus is on two groups: the young women who were planning to take on the world through their disruptive behaviour, putting their message of liberation and equality on the map; and the young women who were competing in the beauty contest, who embraced the opportunity afforded them by Miss World and hoped to put themselves on the map in a different kind of way.” Producer Suzanne Mackie of Left Bank Pictures and screenwriter Rebecca Frayn both discovered this story in 2010 when they heard the BBC Radio 4 show The Reunion which brought together a number of the key people involved in the 1970 event. Participants included Sally Alexander and Jo Robinson, from the Women’s Liberation Movement, and Jennifer Hosten aka Miss Grenada, that year’s winner. “I was immediately struck by the richness of the various perspectives and how passionately held was everyone’s point of view,” Mackie remembers. “I was moved by the true story; by the scale of impact one event had on so many women.” She instantly felt this would make a great film. “I stopped everything I was doing,” recalls Rebecca Frayn when she heard the Radio 4 show, “and stood transfixed. I knew at once I had found my next project.”The script was developed over the next six years with Natascha Wharton at the British Film Institute. In 2016, Left Bank’s Andy Harries sent the script to Cameron McCracken, Executive Producer and Managing Director of producer/financier/distributor Pathe, who had enjoyed success with such politically engaged films as Pride, Selma and Suffragette: “The reason I responded so strongly to the script was that it didn’t take sides - it both celebrated and challenged all the women, both the activists and the contestants, and the different ways in which they chose to navigate a male dominated world. That felt fresh to me – fun, accessible and provocative.” Pathe brought on board BBC Films and Ingenious Media and introduced a new writer to the mix, Gaby Chiappe. “Rebecca had done a mountain of work gathering together all the material and pulling it into a filmable shape” explains Chiappe. “I was brought on board to finish that shaping and refining process. As a writer I was drawn to the seismic collision of such radically different ideologies and agendas, all at one event. You watch the footage and you can’t believe what you’re seeing.” “This story felt like a wonderful snapshot of what was happening in the world at that time.” says Mackie, “It was a moment of change. A socio-political landscape that witnessed the growing strength of the Civil Rights Movement, the Gay Rights Movement and the Women’s Liberation Movement.?The new world crashes against the old and this is captured on a stage in London watched by millions around the world.” ?Whilst researching the origins of the Women’s Liberation Movement, Rebecca Frayn was reminded that their demands included, “Equal pay for equal work, childcare on demand, contraception on demand and equal opportunities for education - really fundamental things which women didn’t have.” She continues, “It is easy to forget how few women there were in positions of power. At a time when only 2% of women were MPs, when married women were still addressed by their husband’s name and needed their husband's permission to borrow money, the Miss World show helped compound this dismal sense that a woman’s main value was to appeal to men. ?To make matters worse, 1970 was the year that The Sun began to feature a topless woman on Page Three.” Frayn recalls how this impacted on her as a child at that time. “For young girls, it created a very oppressive culture. Our horizons felt very curtailed.” She started to appreciate how much this group of young women activists achieved for subsequent generations. “It was important for me to tell that story, to honour those women, to look back and feel proud of them,” she concludes. Producer Sarah Jane Wheale cites, “the drive and bravery of these women to make a change,” as her inspiration whilst working on the film, plus “the huge effect that this action had on the women as individuals as well as on society as a?whole. Of course, I accept that sexism is still very much alive but the whole point of the film commemorating these individual women is to inspire us to do our bit to keep moving forward.”“Suddenly the Women’s Liberation protestors forced a global audience to question and challenge the morality of the competition,” remarks Mackie. “And within the uproar and confusion, the first woman of colour won Miss World. That for me is where the genius of the story lies – we are understandably shocked by how women were paraded and judged 50 years ago; however for the contestants, many of whom came from disadvantaged backgrounds, the competition provided a fantastic opportunity for them to expand their horizons and find job opportunities that would otherwise have been closed to them. And this message of beauty in diversity has never felt more important - you need only read the tweets from Michelle Obama and Oprah celebrating the black winner of Miss Universe last year”“The script is a mosaic of the experiences of all the women involved in the events of 1970,” says Mackie, “Rebecca and Gaby spun a fleet-footed narrative that touched on not just the activists and the contestants, but the Morleys and the Hopes, and through them explored such issues as race and female objectification, and the tension between a domestic life and a public career. Sally’s feminism being challenged by her mother was a stand-out scene for me. As were the scenes where we saw how two very different marriages were navigated by Dolores Hope and Julia Morley.” CASTING“Telling an ensemble story with conflicting points of view is always a challenge,” states Mackie, “particularly when trying to tell the story as fairly and as even-handedly as possible, striving to offer a perspective on and a context for the time.” Part of this challenge was the breadth of the casting required. She was delighted to collaborate with renowned casting director Nina Gold, having previously worked together on Netflix series The Crown.?“Having Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Keeley Hawes, Lesley Manville, Rhys Ifans and Greg Kinnear on board was amazing,” says Mackie. “Such a fine cast.”When she was approached to play Sally Alexander, a leading Women’s Liberation protestor with academic ambitions, Keira Knightley was struck by the multi-layered approach of the film. “What I really loved about the script,” she remembers, “is that it is told from three different points of view; it’s told from the point of view of the Women’s Libbers, it’s told from the point of view of Bob Hope - the host of that year’s Miss World - and it’s told from the point of view of the Miss World contestants.”Keira Knightley reflects on what motivated her character and the other protesters. “From the Women’s Lib point of view,” she remarks, “it was sexual objectification of women’s bodies; them walking out on stage, giving their vital statistics, people giving them marks out of 10, standing around for people to check out their derrieres.” We see that Sally is ultimately propelled into activism by watching her young daughter’s response to beauty pageants on TV. As Knightley notes: “The fact that this is family entertainment, that this is what every little girl is meant to aspire to be – that it’s simply about what they look like and not what they think or what they do – a new generation of women found this absolutely outrageous.”“I’ve always wanted to work with Keira,” says director Philippa Lowthorpe. “I think she is a very, very fine actress and she brings so much intelligence to the role. What was lovely for me was to use a free form of filming, with the camera moving around her. She brings not only a fantastic energy and intensity to her role but also brings out the shyness of Sally’s character. Sally is a self-effacing and very intelligent woman in real life, and I think Keira really captures that.”Jessie Buckley remembers what struck her about the project when she was cast as radical Women’s Lib activist, Jo Robinson. “The fact that the title is MISBEHAVIOUR just sounded like it could be a lot of fun whilst also delivering an important message.” “Jessie Buckley is a powerhouse,” states Lowthorpe. “She is full of enthusiasm, full of joy, full of wit. And she brings her character Jo to life very beautifully and the chemistry between Jessie and Keira was terrific.” Gugu Mbatha-Raw was cast as Jennifer Hosten, Miss Grenada - the winner of Miss World 1970. She recalls how she felt having read the script: “I was punching the air! It was so, so, so good. There is such humour and wit.” She concludes, “It would be really easy to dismiss the beauty queens as being victims, but for a lot of women Miss World was a platform and an opportunity, certainly for a woman of colour. It was a fascinating nexus of history where everything was colliding and there was a real shift in the culture, in the place of women in society and our perception of what is beautiful.” Keeley Hawes explains how her character Julia Morley fits into the film. “Julia and Eric run Miss World. Eric is a Simon Cowell type figure in the 1970s. They were huge in the world of entertainment and Julia was Eric’s business partner, as well as being his wife, and very much his equal.”When Hawes received the script, she was enthralled. “I couldn’t get enough of it,” she remembers, “partly because it’s true and I didn’t know about any of this, so that was really interesting, and it’s very funny. Philippa is just amazing. I have loved every second of working with her. To top it off I’m playing this woman who after Miss World, went on to raise an extraordinary amount of money for charity.” Rhys Ifans came on board to play Eric Morley whose company, Mecca, made such a huge success of Miss World. Ifans was also struck by the quality of the script, as he recounts. “It’s great writing; writing that’s got a great economy; writing that leaves space for you to invest character.”Another key casting task was to find the right actor to play Bob Hope, a mega star of the day. The film showed both the private man and the public performer: “Bob Hope was a challenge as he is such a well-known figure.” says Mackie, “Greg Kinnear has done a great job in depicting this icon with such depth and complexity. Yes, he was sexist and a philanderer, but you also get a sense of the depth of the relationship with his wife.” For his part, Kinnear adds, “I’ve played real life people before and it’s always a tricky balance of how much you want to emulate the person versus just letting it be. My job is to keep you staying in the film and the story and not get too caught up in the details.”?THE REAL WOMENThe filmmakers were fortunate enough to be able to meet with all the key women actually involved in the events of fifty years ago.SALLY ALEXANDER (Keira Knightley)“Sally is one of the most inspiring people I have ever met,” says Philippa Lowthorpe. “She is fiercely intelligent and massively articulate. One of the wonderful things about making this film is to have sat at Sally’s kitchen table and listened to her talk about this time.” Keira Knightley also appreciated getting to know the real Sally, as she relates. “I think humour always helps to address quite serious political subjects, but you can’t really make a film about the storming of the stage at the Miss World competition without it being quite funny. When you talk to Sally about it there’s always a kind of a wry smile. They had flour bombs and water pistols, and there is something inherently funny about that.”JO ROBINSON Jessie Buckley“She is this wild, northern, bolshie lass,” says Jessie Buckley of her real-life counterpart, Jo Robinson. “She is passionate about getting justice and equality for women, and about breaking down the prison walls of domestic duty in which she saw her mother and lots of other ‘60s women trapped. She wanted to make a new world for women, and she and her friends caused havoc!”For Phillipa Lowthorpe, “Jo is fantastic! You can really see the young Jo in the Jo of today. Jo’s sense of style, her purple hair, her spangly clothes, her fabulous Doc Martins. I think she is an incredible person. And also, a very thoughtful and serious person.” “She is a provocateur; she’s got a cheeky glint.” continues Buckley. “She’s emotional, she has a sense of humour and an intelligence and a spirit of rebellion even now which is so exciting. She’s still pushing the boundaries and pushing expectation, which is so fun. I feel really lucky to play someone like her. You learn from these kinds of women; they’ve been teaching us since the seventies.” Buckley adds, “To get a chance to tell her story is a real honour.” Buckley notes, “The most interesting thing that I learned from meeting Jo is that for her feminism is about motherhood. It was about getting justice for their mothers who they had watched stuck in this domestic life where they weren’t allowed to dream.” Jo had come from a very conventional background, gone to art school and then set up a commune where she lived like a family with other likeminded women. As Buckley concludes, “They were tearing down these walls and being imaginative about different ways to live.”JENNIFER HOSTEN Gugu Mbatha RawKey to the contestants’ side of the story is Jennifer Hosten. Philippa Lowthorpe comments, “Jennifer is a very interesting, very successful and very strong person; another inspiring woman. To have done what she has done, to be a trail-blazer for women of colour and become Grenada’s ambassador to Canada is incredible.”Lowthorpe was thrilled to work with Gugu Mbatha-Raw, as she relates. “She is a wonderful actress who brings such sensitivity to her portrayal of Jennifer. She did a lot of research, she met Jennifer, she went to Grenada, learnt all about her. She really imbibed everything to do with Jennifer. She brings a great depth to her portrayal and a real sense of Jennifer’s steely calm.” Gugu Mbatha-Raw remembers her research trip with Jennifer. “We had about four days in Grenada which was incredible. A really evocative experience to see it through her eyes, to see where she grew up, to hear stories from her childhood and her experiences there. That was a really invaluable and very inspiring way to get to know her.” She concludes, “She remembered everything very vividly; and to be able to have her reflections and also to then have the real footage and marry the two together into the essence of who this person was and is, was really interesting. “ERIC MORLEY Rhys IfansRunning the Miss World show, alongside his wife Julia, is Eric Morley, played by Rhys Ifans. “He created this huge empire that developed the competition from a holiday camp, pool-side event, to a global television show,” remarks Ifans. He continues, “For Eric, who was in the army, and for a generation who had known the suffering that comes from a world at war, Miss World was a fantasy of a perfect world where beauty is celebrated.” “My approach to Eric has been one of great affection,” says Ifans, “He was delicious to play…You can’t approach a role like this with any moral judgement or outrage. I think you see that throughout the script - especially with his relationship with his wife. It was a very modern partnership. Julia Morley was the power behind the organisation, and he held her in great esteem and respect. They were a team. Time and time again there are just delicious grey areas in the story. It’s in those grey areas where humanity lives.” JULIA MORLEY (Keeley Hawes)Julia has a commanding presence and one which truly resonated with Keeley Hawes. “Eric is a sort of Simon Cowell figure. Julia was Eric’s business partner, as well as being his wife, and very much his equal. I’m playing a woman who, after Eric’s death 20 years ago, took over the reins of Miss World and raised an extraordinary amount of money for charity. She was the one who recognised that the organisation had to change and that had to be about charity, not vanity.” THE WOMEN’S LIBERATION MOVEMENTIn the film, we witness the birth of the Women’s Liberation Movement at Ruskin College, the establishment that Sally Alexander attends in order to get the qualifications she needs to go to university. For Rebecca Frayn, “One of the essential questions I was interested in tackling is how a group of ordinary people can bring about social change.” She outlines the different approaches of the key characters:?“Sally yearns for a shift in the status quo. She sees the limited domestic role her mother is ‘forced’ into and resents it. But her instinct is to lobby for change from within, through her academic pursuits.” The story takes off when Sally meets Jo Robinson, whom Frayn describes as,?“a more anarchic and instinctive character who operates primarily from the heart and guts. Sally is galvanised to pursue a more action-based strategy which takes her out of her comfort zone and ends up getting her arrested. In a sense Sally and Jo represent the age-old tension between contrasting strategies to effect change - peaceful engagement versus direct action.” ?Philippa Lowthorpe adds that the assumption that the Women’s Liberation Movement was really well organised was far from the case. “It was a hotchpotch of women from all different backgrounds coming together wondering how they could make things different, asking how they could get a job, how they could be taken seriously? That’s what we were trying to do in the film: show the beginnings of these ideasGaby Chiappe interjects, “I think the women who protested were extraordinarily brave. Not just for the protest – though that goes without saying – but also for the way they were trying to live.” She concludes, “Asking those questions of yourself and your world doesn’t make for an easy life.”“In taking direct action, Sally and her fellow demonstrators helped launch the second wave of feminism in the UK,” states Frayn. “Those 50 or so women who invaded the Royal Albert Hall were absolutely instrumental in putting the Women’s Liberation Movement on the map.”?“It is a fascinating time period,” says Keira Knightley, “the fact that people were really trying to change the world. They were really trying to change people’s perceptions.” For producer Sarah Jane Wheale, it was great to have the protesters visit the set. She notes, “They fully engaged with the process.?It was amazing to see how?our cast responded to their real-life counterparts, making the experience enjoyable and?rewarding?for them all; a real highlight of the shoot.” ?Rhys Ifans also met the real protesters. “They were like a rock and roll band that are still together,” he jokes. “I think there’s was a really efficient, intelligent, creative act of protest.”Suzanne Mackie concurs. “It has been one of the most rewarding aspects of making the film to be able to get to know the real protesters. They are remarkable, they remain strong feminists and full of spirit, passion and humour.? Something we learnt very quickly from them was that whilst battling the serious issues of the feminist movement, they also developed life-long friendships despite their many differing backgrounds. We wanted to capture their optimism, courage, resilience and humour in the film as well as portraying their achievements.? The memories they shared with us has made our film the richer.”On the other side of the story exists the real contestants. The only moment in the film when any of those characters interact is in the pivotal moment when Sally by chance runs into Jennifer back stage. REAL CONTESTANTSRebecca Frayn discusses the juxtaposition of these two characters: “Jennifer and Sally represent very different perspectives,” she outlines. “Jennifer instinctively works within the existing system to improve her life, whilst Sally instinctively works to dismantle that status quo to improve hers.”?Philippa Lowthorpe makes the point, “The thing about Miss World is it gave some women an amazing opportunity to get out of their humdrum lives, to do something different and daring and out of the ordinary.” She adds, “It’s just a shame that they had to use their bodies and their appearance to get that opportunity.”Suzanne Mackie agrees. “We wanted to show how scarce the opportunities were for many women at that time, with no money, or connections or a university degree. It was very hard to travel, to be independent.”?Lowthorpe concludes, “It was very important in our film not to judge or criticise those women. We felt very passionately that all of the women should be treated with equal respect. Certainly, the Women’s Libbers at the time made it clear that they were hostile to the competition, not the individual competitors.”“It’s easy with all the glamour to forget that many of these girls were coming from countries that were very disadvantaged,” reminds Mbatha-Raw. “Just because they were coming all painted, with bright smiles and strutting around in swimsuits, doesn’t mean that they weren’t escaping horrific political regimes or complex political situations in their own countries.”In this respect, Philippa Lowthorpe notes the importance of Miss Africa South - Pearl Janssen - played by Loreece Harrison. In real life, Pearl had no further opportunities after her brief trip to London in 1970. “When she went back home, she went back to live under apartheid rule,” tells Lowthorpe. “Pearl had no freedom. It was really interesting in the film to look at that side of world politics as well as feminism and see what that meant for a young black woman.” Suzanne Mackie notes that it took some effort to track down Pearl in South Africa. “Bringing Pearl to London - for the first time since the events of 1970 - to see the film and meet Loreece and to reunite her with so many of the real people who were part of the Miss World event was a wonderful experience.” ?For Gugu Mbatha-Raw, the side of the film dealing with apartheid and what it means for a character like Pearl to be in Miss World had personal resonance. “My dad is from South Africa, grew up under apartheid and was a member of the ANC. For me, it’s very close to home,” she remarks. “The absurdity of the fact that in 1970 they had never had a black woman represent South Africa. Miss Africa South was an afterthought because of the pressure of the Anti-Apartheid Movement.” She concludes, “For me, those nuances really elevated the script, from it being a girl power movie to being something that had all these other political things going on under the surface.”PHILIPPA LOWTHORPEDespite the ensemble cast, it was important for the filmmakers that all the women be seen as individuals. “Philippa has brought out so many nuances and details in the film that really put us into the shoes of both sets of women,” asserts Gugu Mbatha-Raw. “Given our political climate today, it would be so easy to make the Libbers look like heroes and the beauty queens look like bimbos. She has done a great job of making it more complex than that.”“Even in the perceived superficial world of the beauty queens, it was important to Philippa that we saw them as real people with their own issues and problems,” says hair and makeup designer, Jill Sweeney. She adds, “It was fun seeing them without their hair pieces, lashes and makeup; glimpses of them behind the facade makes them real and brings them closer to the audience.”?“She’s keen on telling this story as truthfully as possible,” says Greg Kinnear. “But at the same time there are some really funny scenes. I love her tone.”“Philippa has a forensic eye for detail,” adds Rhys Ifans. “But on the other hand, there has been so much room to improvise. I’ve felt really free from the very beginning to just create and develop and let Eric evolve.”“Philippa is just amazing,” enthuses Keeley Hawes. “When people talk about working with her their faces light up!”The final word goes to Keira Knightley. “I love Philippa, I absolutely love her. She’s got an amazing presence and an incredible sense of calm and respect, which is very nice in a director.” the look of misbehaviour“To depict the real events of?Miss?World 1970,” notes Sarah Jane Wheale, “was always going to be a challenge. Our creative team did an incredible job. As we were dealing with very well-documented events, there was extensive source material, and every designer brought their own take to the project that felt right for the actors and the locations.”For hair and make-up designer, Jill Sweeney, “Researching the film was enormous fun as there was an awful lot of real-life footage, and interviews.” She continues, “I tried to be as true to the original characters as possible. It was interesting to talk to both Sally and Jo about their experiences of that time. This film was a make-up designer's dream come true. On the one hand the larger-than-life glamour of the seventies, with all its big hair and lashes, and on the other hand the unconventional wildness of the Libbers.” For costume designer Charlotte Walter the film brought back memories of watching Miss World as a child, as she relates, “It didn’t occur to me that it was derogatory to women. I just loved the glamour of the dresses and the national costumes, never thinking that 50 years later I would?be lucky enough to recreate them.” She continues, “The joy of designing costumes for 1970 is the amazingly wide variety of fashion looks. This enables you to create a huge array of different characters.”Walter’s costumes offer a fascinating portrait of the times as noted by Gugu Mbatha-Raw. “It has been really interesting with the clothes, with the swimsuits, looking at what they really did wear in those days, and how cuts have changed. Jennifer’s swimsuit was actually quite daring because she had cut outs on the sides (even if they’re not very flattering!). And it was great fun to see and wear the amazing outfits for the national costume parade.” “The girls loved dressing up in the national costumes,” says Walter. “I particularly loved Miss USA - and so did she!” More challenging was sourcing outfits for the swimwear round, as Walter remembers. “Having to find so many 1970s swimming costumes was challenging. We hired a large quantity, had Miss World’s made, and I found Miss Sweden’s in my mother’s wardrobe!” For Mbatha-Raw, “The clothes inform how you move and how restricted or free you feel.” She found her character’s styling to be a pleasure. “It’s an incredibly glamourous look,” she notes, “especially the hair, the nails, the jewellery, the eyelashes. I feel like I’m in drag!” In addition to her look, there was a focus on how a pageant contestant would carry themselves. “We had deportment lessons from a woman who used to run the Lucy Clayton Modelling School and used to give models of the era lessons in how to walk.” she remembers. “It’s all about making yourself seem more open and dainty.”Walter continues, “The pageant girls wear high fashion, brighter colours, mostly man-made fabrics; drip dry; no ironing!” By contrast, she says, the protesters wouldn’t entertain wearing these clothes. “They would buy second hand 1930s and 1940s mixed with a pair of loons, jeans, t-shirts and Afghan coats from Kensington Market,” Walter explains. “Even back then they would be aware that natural fabrics were beneficial to wear, maybe not because ecologically it’s better, but it’s hard for your body to breath in a bri-nylon dress. If they were lucky enough to have a bit more money, they would go next door to Biba and buy a pair of boots.”Jill Sweeney notes, “The juxtaposition of the Libbers to the contestants, needed to feel like an alternative choice, with their home-cut hair and chaotic style. Perfect in all their imperfections!” She continues, “Realism was the key, the odd dry lip, messy hair or added imperfection. It was the details that made them real, whilst not being a distraction to the audience.”Charlotte Walter concludes how much fun she had working on the project. “The joy of dressing so many modern girls in 1970s clothes was that they ALL loved the style and said they would go out in the clothes today.”Greg Kinnear appreciated the detail that the designers brought to the production, including the sets. “It’s surreal to be standing there,” he notes. “You really do feel like you’re in the moment. Like being in a real snapshot, taking you back in time.” He also commends Sweeney’s hair and make-up. “She has done an amazing job; just the detail, and not just the women, the men’s haircuts. Those mullets from the period just really take you to another place!” 50 YEARS LATERRebecca Frayn remembers, “We began work on the film in 2011 but finding a financier to bring it to the big screen proved tricky. Then Pathé, who have specialised in making films inspired by recent British social history, bought the script and literally a few months later the women's marches together with MeToo happened. Overnight the film had found its moment.”?“This story” adds Sarah Jane Wheale, “is as relevant now as it was in 1970.”Keira Knightley agrees there are still great strides to be made. “Sexual objectification of women still exists,” she notes, “and often women are still valued primarily for their looks. The only industry in the world where women are paid more than men is modelling. I think there is a conversation to be had over that.” Suzanne Mackie concurs, “It is thrilling that the film speaks so clearly to the extraordinary zeitgeist of our times.” Greg Kinnear offers, “I felt like the telling of this story was incredibly timely given everything going on in the world. To look back at this moment in history and think about it, and access it.” Rebecca Frayn concludes, “I think it’s really important to look back to the 1970s and celebrate second wave feminism and all that they did for us, introducing to the mainstream concepts like sexism and bringing the goals closer for contraception on demand, equal pay for equal work, childcare and equal opportunities for all.”Female led cast and crewAs well as women playing the leading roles, the production boasted an equally strong female crew. Suzanne Mackie notes, “It’s been thrilling to work with such top female talent, and to be working with so many leading female actors.? We were determined to bring as many women as possible to key crew roles and generally we managed to achieve this with most of heads of department being female.” She concludes, “The atmosphere on set was wonderful with everyone giving their very best creative work.”“It was very important to me that we had a mixed crew and that we had as many women working on this project as possible,” adds Philippa Lowthorpe. “That was a real pleasure. There are still very few women who get to make films or have their voices out there, so it was a real delight for me to be able to make this film. There is still a lot of prejudice in the film industry towards women directors. It’s getting a bit better, but the statistics show the number of women directors remains shamefully low.”Gaby Chiappe notes, “I have worked on two features now and both were directed by women with large numbers of women working behind the camera. So, to me it feels normal. However, across the industry as a whole I know it’s an anomaly. All that I can take from that is that I’ve been lucky and the industry needs to change.”“The fact that it’s the female gaze, I think that is what I really connected with,” concludes Gugu Mbatha-Raw. “I think there are so many beauty queen, Miss World movies you could make which would just play into the traditional misogynistic point of view, and I think it was the fact that it was a female writer, female director, and female producer that made the female gaze so strong.”THE MISBEHAVIOUR audience“I want them to go away feeling really inspired,” says Philippa Lowthorpe. “The film is not just a celebration of the Libbers, it’s a celebration of a common sisterhood and how we are stronger working together than fighting amongst ourselves. The film is equally about exploring women’s beauty, what it means. Do we own it as women, do other people own it, are you an object or a subject of your own life?” She makes a further point, “You also don’t have to be a woman to be inspired by this film. I think it’s about humankind and a kinder more tolerant society which embraces women and their many talents. And men can enjoy that just as much as women.” “I am beyond delighted that this story will finally be put in front of a modern audience since it is a largely forgotten chapter in feminist history,” says Rebecca Frayn.?“I really believe passionately that young women today need to understand their history. I hope it inspires both men and women to see how social change can be affected.”?For Gugu Mbatha-Raw, “I hope that they will be able to get into the characters’ shoes on all sides of the conversation. It’s a period drama of sorts, and hopefully people will be inspired to see how far we have come culturally in terms of the place of women in society, and the power that women have. I hope people will be inspired to take action in their own lives and to call out inequality when they see it.” Greg Kinnear adds, “The various storylines, touching on racism and sexism and what is appropriate and inappropriate for a woman at this time, it’s all there. I think the humour in this movie will go a long way to let you take a lot in and learn from it what you will.”“I want audiences to come away feeling that they have a choice in their own destiny,” says Jessie Buckley, “that nobody can set the limitations or boundaries around you. I want the audience to come away questioning what sisterhood, what motherhood, what being human, being a respectful person means to them. And how they can move it forward in the world that we live in now.” “In some ways a huge amount has been achieved,” interjects Gaby Chiappe, “by women like those involved in the protest, and by others who have keep shouting about injustices when the rest of the world is telling them that they’re being too loud, too angry, making too much of a fuss. But some things haven’t changed, and some have got worse. It’s always dangerous to think a fight is over. Rights get rolled back; freedoms get lost. I think I’d like a watching audience to leave feeling energised – and more engaged with shaping their own world – than when they went in.”For Sarah Jane Wheale, “If you have the chance to make a change, do it,” she offers. “You will never regret trying.” “Wherever your sympathies lie,” adds Keira Knightley, “I think the film will make you question your views. And that’s really interesting.” “I hope the film sparks debate,” Suzanne Mackie concurs. “And I hope the audience is moved and inspired by this amazing true story.”ABOUT THE CAST KEIRA KNIGHTLEY | Sally Alexander In 2019, Keira Knightley starred in Gavin Hood’s Official Secrets, opposite Matt Smith. It is true story of a British whistle-blower who leaked information to the press about an illegal NSA spy operation designed to push the UN Security Council into sanctioning the 2003 invasion of Iraq. Also, in 2019 she starred in Wash Westmoreland’s Colette, a film based on the real-life story of the titular Nobel prize-nominated writer who rebelled against male manipulation and abuse, of which she received glowing reviews for her performance. Knightley also starred in Berlin, I Love You, the anthology of shorts co-directed by 8 directors including Dianna Agron, Peter Chelsom and Fernando Eimbcke; as well as Disney’s The Nutcracker and The Four Realms co-directed by Lasse Halstrom and Joe Johnston, co-starring Morgan Freeman and Helen Mirren, in which she stars as the Sugar Plum Fairy. In 2014 Knightley was seen in Morten Tyldum’s The Imitation Game, co-starring opposite Benedict Cumberbatch. For her performance as Joan Clarke, she earned Academy Award, BAFTA Award, Golden Globe Award and Screen Actors Guild Award nominations in the category of Best Supporting Actress. Her work also includes a trio of collaborations with Joe Wright for films Pride and Prejudice, Atonement and Anna Karenina. Her critically acclaimed portrayal in Pride and Prejudice garnered her Academy Award and Golden Globe nominations for Best Actress in a Leading Role, and she was also nominated for a BAFTA Award and Golden Globe Award for her performance in Atonement. Knightley has also starred in the worldwide box office blockbuster hit Disney’s Pirates of The Caribbean, starring opposite Johnny Depp and Orlando Bloom. The franchise of films includes Pirates of The Caribbean: The Black Pearl; Pirates of The Caribbean: Dead Men’s Chest; and Pirates of The Caribbean: At World’s End; as well as the latest instalment, Pirates of The Caribbean: Dead Men Tell No Tales. Additional film credits include Patrice Leconte’s Innocent Lies; George Lucas’ Starwars: Episode 1 - The Phantom Menace; Gurinder Chadha’s Bend It Like Beckham; Gillies MacKinnon’s Pure; Richard Curtis’s Love Actually, Antoine Fuqua’s King Arthur; Francois Gerard’s Silk; Saul Dibb’s The Duchess; John Maybury’s The Edge Of Love; Mark Romanek’s Never Let Me Go; Massy Tadjedin’s Last Night; David Cronenberg’s A Dangerous Method; John Carney’s Begin Again; Kenneth Branagh’s Jack Ryan: Shadow Recruit; Lynn Shelton’s Laggies (Say When); Baltasar Kormakur’s Everest and David Frenkel’s Collateral Beauty. Knightley has appeared in numerous television series including Screen One, Doctor Zhivago, The Music Practice and Oliver. In addition to her work in television and film, Knightley has appeared on transatlantic stages. She made her West End theatrical debut in Thea Sharrock’s The Misanthrope for which she received a Laurence Olivier Award nomination for Best Actress in a Supporting Role. She went on to appear in Ian Rickson’s The Children’s Hour and made her Broadway debut in Even Cabnet’s Therese Raquin.GUGU MBATHA-RAW | Jennifer Hosten Gugu Mbatha-Raw is an award-winning actor of the stage and screen. Her stage performances include?Hamlet?(2009) alongside Jude Law in the West End,?Elsinore?in Denmark?and Broadway, and?Nell Gwynn?(2015), for which she was nominated for Best Actress at the 2015 Evening Standard Theatre awards.?In film,?Mbatha-Raw has starred in?Larry Crowne?(2011) alongside Tom Hanks, and period drama?Belle?(2013) for which she won Best Actress at the 2014 BIFA Awards. She has also starred in?Concussion?(2015) alongside Will Smith,?The Whole Truth (2016) starring Keanu Reeves and Renée Zellweger,?Miss Sloane?(2016) with Jessica Chastain,?Free State of Jones?with Matthew McConaughey and?Beauty and The Beast?(2017). In 2015, Mbatha-Raw was a BAFTA Rising Star nominee. In 2016 Mbatha-Raw starred in?San Junipero,?the only episode of Netflix anthology series?Black Mirror?to offer a happy ending. Starring alongside Mackenzie Davis, the episode had higher critical ratings than the show's other episodes and won two?Primetime Emmy Awards?in the?Television Movie?and?Writing for a Limited Series, Movie or Dramatic Special?categories.In 2018,?Mbatha-Raw starred in Disney’s blockbuster fantasy?A Wrinkle in Time?opposite Oprah Winfrey and Reese Witherspoon whilst also appearing in romantic tragicomedy?Cloverfield Paradox?and comedy drama?Irreplaceable You.?In April 2019, Mbatha-Raw played lead superhero in supernatural thriller Fast Color. In October 2019,?she also appeared in film drama?Farming,?based on the writer director Adewale Akinnuoye-Agbaje’s childhood, which tells the story of a young Nigerian boy, ‘farmed out’ by his parents to a white British family in the hope of a better future.In late 2019, Mbatha-Raw was be seen in Apple TV drama series?The Morning Show?also starring Jennifer Aniston, Reese Witherspoon, and Steve Carell; and?Motherless Brooklyn?alongside Edward Norton, Bruce Willis and Willem Dafoe. In 2020 Mbatha-Raw will play a lead role in?Summerland?alongside Gemma Arterton, directed by Jessica Swale. Furthermore, 2020 will see Mbatha-Raw appear alongside Angelina Jolie and Michael Caine in?Come Away,?the prequel to both Peter Pan and Alice in Wonderland. She has recently finished filming for her lead role in humanitarian drama?Seacole?which?follows the story of Mary Seacole, a Jamaican doctor who sought to work with Florence Nightingale during the Crimean War.JESSIE BUCKLEY | Jo Robinson Irish-born RADA graduate Jessie Buckley had her first starring role in Michael Pearce’s critically acclaimed Beast, co-starring with Johnny Flynn. The film opened to rave reviews in 2018 and Buckley won the most promising newcomer award at the British Independent Film Awards and Best British or Irish Actress at the Critics Circle Awards. She was selected to be one of BAFTA’s Break Through Brits and was nominated for the BAFTA Rising Star award in 2019. Buckley was also chosen as one of Screen International’s Stars of Tomorrow. In 2019, Buckley starred in Tom Harper’s Wild Rose alongside?Julie Walters and Sophie Okonedo, for which she earnt a Best Actress nomination at the British Independent Film Awards and won the Best Actress award for BAFTA Scotland. Buckley also starred in Judy alongside Renée Zellweger and appeared alongside Emily Watson and Jared Harris in the HBO/Sky Atlantic series Chernobyl. Upcoming films include The Voyage of Doctor Dolittle alongside Robert Downey Jr., and Ironbark alongside Benedict Cumberbatch. Buckley has recently shot Charlie Kaufman’s I’m Thinking of Ending Things with Jesse Plemons for Netflix. 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’s classic psychological thriller adapted for television by Fiona Seres, with a cast including?Ben Hardy?and?Charles Dance. In 2020, Buckley will star in the fourth series of Fargo. 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. Buckley 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.KEELEY HAWES | Julia Morley In 2019, Keeley Hawes was twice nominated at the British Academy Television Awards for her leading role in Netflix and the BBC’s Bodyguard, the first BBC drama series to score a Best Drama Series nomination in nearly 50 years at that year’s Emmy Awards. The series kept an average of 10.4 million viewers on tenterhooks, with the finale becoming the most-watched episode of any drama since records began. In 2020, Hawes is set to take on a multitude of highly anticipated projects. The first, Honour for ITV, tells the tragic and timely story of Banaz Mahmod, the heart-breaking true to life tale of the young Londoner murdered by her own family for falling in love with the wrong man.?She will also serve as executive producer in association with her production company Buddy Club. Hawes will be seen in Working Title and Ben Wheatley’s Rebecca, the adaptation of Daphne Du Maurier’s classic novel for Netflix, alongside Kristin Scott Thomas, Lily James, Armie Hammer and Ann Dowd. She is currently filming opposite Hugh Bonneville in a film about the Oscar-winner Patricia Neale and her husband author Roald Dahl, as they retreat to the English countryside to bring up their young family, where their relationship is put to the test by tragic events. Following that, she will then take the title role in Finding Alice, the second for her production company Buddy Club, a drama series for ITV about a woman who loses her husband in a freak accident only to find he has left her to unravel a trail of secrets, debt and criminality. She most recently finished filming Boys, from creator Russell T. Davies, a story that charts the lives of a group of young, gay men who find themselves caught up in the blooming AIDS epidemic of the 1980s, also set for transmission next year. As well as for Bodyguard, she was also in awards consideration for her supporting role in the BBC series Mrs Wilson, as well as for her much-loved role of Louisa Durrell in the hugely popular ITV series?The Durrells.?Following its success, ITV has also commissioned a documentary to celebrate the beloved series, entitled What the Durrells Did Next. Her further credits this year include Stephen Poliakoff’s semi-autobiographical six-part series for BBC Two, Summer Of Rockets, alongside Toby Stephens, Timothy Spall and Linus Roache; and the well-received Channel 4 comedy Year Of The Rabbit starring Matt Berry and Freddie Fox; plus Channel 4’s six-part period thriller Traitors, also available on Netflix. In 2016 she was seen in BBC thriller The Missing starring opposite David Morrisey. The series received wide acclaim and an overwhelming audience response. She was also seen as Queen Elizabeth in The Hollow Crown for the BBC alongside Benedict Cumberbatch, Dame Judi Dench, Hugh Bonneville and Sally Hawkins, in adaptations of Richard III and Henry VI Part 2. In 2015 she was seen in a three-part BBC/HBO adaptation of J.K Rowling’s novel The Casual Vacancy, alongside Michael Gambon and Rory Kinnear and Ben Wheatley’s film adaptation of JG Ballard’s book, High Rise alongside Tom Hiddleston, Jeremy Irons, Siena Miller and Elizabeth Moss. In 2014, she received acclaim for her role as Detective Inspector Lindsay Denton in Line of Duty, the police corruption drama series written by Jed Mercurio. Her other numerous roles on television include Spooks (BBC), Tipping The Velvet (BBC), Mutual Friends (BBC), After Thomas (ITV), The Best Man (ITV), Under The Green Wood Tree (ITV), Macbeth, Marple: The Murder Is Announced (ITV), Sex & Lives (BBC), The Murdoch Mysteries (ITV), A Knight’s Tale (BBC), Othello (ITV), Ambassadors (BBC2), The Tunnel (Sky Atlantic), Identity (ITV), Upstairs Downstairs (BBC) and Ashes To Ashes (BBC). Her mini-series credits include Wives and Daughters (BBC), Our Mutual Friend (BBC) and Karaoke (BBC). Other film credits include Mariah Mundi and The Midas Box from director Jonathan Newman, and Flashbacks of A Fool, Baillie Walsh’s debut feature, where she stars alongside Daniel Craig, Helen McCrory and Claire Forlani. She also starred in The Bank Job with Jason Statham, The Avengers, Complicity, A Cock and Bull Story and Death at A Funeral. Theatre credits include Rocket to The Moon at London’s National Theatre.PHYLLIS LOGAN | Evelyn Alexander Phyllis Logan is best known for playing Mrs Hughes in the award-winning television series Downton Abbey for six series from 2010 to 2015, which earnt her three Screen Actors Guild awards for Outstanding Performance by an Ensemble in a Drama series. In 2019,?she reprised her role for the film version which was released by Universal and became a box office hit. Further television credits include: Doctor Who, Girlfriends, Good Karma Hospital, Vera, Touch of Frost, Silent Witness, Spooks, Heartbeat, Holby City, Midsomer Murders and Lovejoy.? In 1983 Logan made her feature film debut in Another Time, Another Place for which she won the BAFTA for Most Promising Newcomer and was nominated for Best Actress. Further film credits include Nativity!, Mike Leigh’s Secret & Lies, and Peter Capaldi’s Franz Kafka’s It’s A Wonderful Life. Upcoming film roles include The Last Bus directed by Gillies MacKinnon, starring Timothy Spall.?? Recently in theatre, Logan starred in Switzerland, which originated at the Ustinov Studio in Bath before transferring to the West End in December 2018, which marked her West End debut. Further theatre credits are Present Laughter (Theatre Royal, Bath), Richard III (The Crucible, Sheffield), Minor Complications (Royal Court Theatre), Gaucho, Marvin’s Room, On the Edge, The Communication Cord and Threads (all for Hampstead Theatre). LESLEY MANVILLE | Dolores Hope Award-winning stage and screen actress Lesley Manville most recently returned to the big screen?in Ordinary Love,?starring alongside Liam Neeson, adapted from a screenplay by acclaimed Irish playwright Owen McCafferty. Manville is also set to star in Let Him Go with Kevin Costner and Diane Lane.In 2018, Manville starred in Paul Thomas Anderson’s highly acclaimed?Phantom Thread with Daniel Day-Lewis?for which Manville received both a?BAFTA and Academy Award?Best Supporting Actress nomination. Manville returned to the stage for?Long Day’s Journey into Night?at Wyndham’s Theatre?opposite Jeremy Irons, for which she went on to receive an Olivier Award Best Actress nomination having won the Olivier in 2014 for Ghosts.In 2019, Manville returned to the big screen in Disney’s iteration?Maleficent: Mistress of Evil. She returned to the BBC in the third and final season of the BAFTA award winning comedy?Mum?for which she has twice received a BAFTA Award nominated for Best Female Performance in a Comedy Programme. Manville has most recently returned to the BBC in World on Fire,?a?WWII drama, also starring Sean Bean and Helen Hunt.? Early 2020 will see Manville return to the stage alongside Hugo Weaving in The Visit, directed by Jeremy Herrin. She has also recently finished filming the second season of the Sky drama Save Me. The series will see Manville star alongside Lennie James, Suranne Jones and Stephen Graham. Other film credits include?Maleficent,?Hampstead, Romeo and Juliet, Mr. Turner, Molly Moon, A Five Star Life, Another Year, Ashes, Spike Island, Secrets & Lies, Topsy-Turvy?and?High Hopes.Manville’s extensive television credits?notably?include?Harlots,?River,?The Go-Between, Mayday, Cranford, North and South,?Fleming,?Bodily Harm,?The Cazalets, Other People’s Children, Real Women, Holding On, The Bite, Goggle Eyes, The Mushroom Picker, Top Girls, The Firm?and Grown-Ups. ??RHYS IFANS | Eric MorleyIn 2019, Rhys Ifans played John Daniel in On Bear Ridge at London’s Royal Court Theatre, shortly after the success of Patrick Marber’s newly directed adaptation of the timeless classic Exit The King at London’s National Theatre. In 2018, his compelling performance as Ebenezer Scrooge in A Christmas Carol at the Old Vic Theatre (also in London) and the fool in King Lear at the National Theatre saw him receive rave reviews across the board. In 2014, Ifans starred in the National Theatre’s one man show Protest Song; the play received excellent reviews across the board from both audiences and critics.Ifans’s recent film credits include Gavin Hood’s Official Secrets alongside Keira Knightley; also The Parting Glass, alongside Melissa Leo, Edward Asner, Anna Paquin, Cynthia Nixon and Denis O’Hare - a drama about a family dealing with their sister’s death, which premiered at the Edinburgh International Film Festival in August 2018. He will also star in Matthew Vaughn’s upcoming film The King’s Man. Other credits include Oliver Stone’s Snowden, alongside Joseph Gordon-Levitt and Shailene Woodley. James Bobin’s Alice Through the Looking Glass opposite Johnny Depp, Anne Hathaway and Helena Bonham Carter. Ifans is perhaps the most commercially known for his scene-stealing performance in Roger Michell's Notting Hill (1999) for this portrayal of Hugh Grant’s roommate Spike, where he starred opposite Julia Roberts and Hugh Grant. Ifans received a BAFTA nomination for Best Performance by an Actor in a Supporting Role. Additional credits include Dominion, directed by Steven Bernstein; Kevin Allen’s Under Milk Wood; Len And Company, directed by Tim Godsall; Judd Apatow's The Five-Year Engagement, opposite Jason Segel and Emily Blunt; Serena, directed by Susanne Bier and also starring Jennifer Lawrence and Bradley Cooper; Isabel Coixet’s Another Me; Marc Webb’s The Amazing Spiderman; Anonymous, directed by Roland Emmerich; the closing chapter to the Harry Potter franchise, Harry Potter And The Deathly Hallows; Noah Baumbach's dark comedy, Greenberg with Ben Stiller; The Boat That Rocked, starring Philip Seymour Hoffman; Shekhar Kapur's, Elizabeth: The Golden Age; Peter Webber's Hannibal Rising; Once Upon A Time In The Midlands, directed by Shane Meadows; Michel Gondry's comedy drama, Human Nature, where he starred opposite Patricia Arquette; Mike Figgis’s Hotel; Lasse Hallstr?m's The Shipping News; and Howard Deutch's comedy, The Replacements, where he starred alongside Keanu Reeves and Gene Hackman. On television, he played the role of Peter Cook in Terry Johnson's Not Only But Always, for which he won the BAFTA for Best Actor. He also appeared in Shakespeare Shorts; Trial and Retribution; The Two Franks; Judas and The Gimp; Night Shift; Spatz; Burning Love and Review. Ifans played the lead in Marc Evans's Sky Playhouse short Gifted. On the London stage, Ifans starred at the Donmar Warehouse in Patrick Marber's Don Juan in Soho, Robert Delamere's Accidental Death of An Anarchist and Michael Sheen's Bad Finger. He was seen at the National Theatre in Matthew Warchus' Volpone and in Roger Michell's Under Milk Wood; at the Duke of York Theatre he was in Hettie MacDonald's Beautiful Thing; at the Royal Court Theatre in James MacDonald's Thyesters; and at the Royal Exchange Manchester in Braham Murray's Smoke and Ronald Harwood's Poison Pen. GREG KINNEAR | Bob Hope Academy Award nominee and Emmy award winning actor Greg Kinnear most recently starred opposite Isabelle Hubbert and Marisa Tomei in Ira Sachs’ Frankie, which premiered at the 2019 Cannes Film Festival. This?marks?his second collaboration with the director following 2016’s critically acclaimed drama?Little Men. Other recent credits include Brian Banks alongside Aldis Hodge, based on the true story of an all-American high school football star attending USC who finds his life upended when he is wrongly convicted of a sexual assault. Kinnear was also seen opposite Chris Evans and Sir Ben Kingsley in Netflix’s The Red Sea Diving Resort, and starred as the title character in Phil, which marked his directorial debut. Kinnear has completed production on a variety of projects including Lee Daniels’s pilot Good People opposite Lisa Kudrow for Amazon.On the small screen, Kinnear is currently in production on CBS All Access’s adaptation of Stephen King’s post-apocalyptic novel, The Stand opposite James Marsden, Amber Heard and Whoopi Goldberg. Previously, he appeared in Amazon’s anthology The Twilight Zone for Jordan Peele and Jason Blum; the sixth season of Netflix’s award-winning political drama, House Of Cards opposite Robin Wright and Diane Lane, Amazon’s sci-fi anthology series, Electric Dreams, based on the works of Philip K. Dick; and in the Emmy-nominated HBO film Confirmation opposite Kerry Washington. In 2014 Kinnear starred in Fox’s US version of the popular Australian legal drama Rake, which follows the chaotic and comedic world of criminal defence lawyer Keegan Deane. In 2012, Kinnear’s guest starring role on the award-winning ABC hit-series Modern Family earned him an Emmy Award nomination in the category of Outstanding Guest Actor in a Comedy Series. His performance as John F. Kennedy in The Kennedys earned him an Emmy Award nomination for Best Lead Actor in a Miniseries or Movie and a Screen Actors Guild (SAG) Award nomination for Outstanding Performance by a Male Actor in a Television Movie or Miniseries. In 2006, Kinnear starred in Little Miss Sunshine. The critically acclaimed film received several Academy Award? nominations and Independent Spirit Awards wins, as well as the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture.In 1997, Kinnear starred alongside Jack Nicholson Simon in James L. Brooks' Academy Award nominated film As Good as It Gets. His performance garnered him an Academy Award nomination and he was named Best Supporting Actor by the National Board of Review. He was also nominated in the same category at the Golden Globes and the Screen Actors Guild Awards that year. Next, he co-starred in Nora Ephron's romantic hit comedy You’ve Got Mail with Tom Hanks and Meg Ryan. Kinnear made his feature film debut in the Sydney Pollack-directed remake of Sabrina, in which he co-starred with Harrison Ford and Julia Ormond. Additional film credits include Same Kind of Different As Me opposite Renée Zellweger; Brigsby Bear, which premiered at the 2017 Sundance Film Festival; Anchorman: The Legend Continues, the sequel to the 2004 hit comedy starring Will Ferrell, Steve Carrell and Paul Rudd; Heaven Is For Real; The English Teacher opposite Julianne Moore; Stuck In Love; Thin Ice opposite Alan Arkin and Billy Crudup; Douglas McGrath’s I Don’t Know How She Does It; Salvation Boulevard opposite Jennifer Connelly and Marisa Tomei; Paul Schrader's Auto Focus; Invincible opposite Mark Wahlberg; Richard Linklater's Fast Food Nation based on the best-selling book by Eric Schlosser; Paul Greengrass’s Green Zone; Ghost Town opposite Ricky Gervais; Feast of Love directed by Robert Benton and co-starring Morgan Freeman; Mike Nichols's What Planet Are You From? with Garry Shandling and Annette Bening; and a cameo role as Captain Amazing in Mystery Men; as well as The Matador; Bad News Bears; We Were Soldiers; HBO's Dinner With Friends; Someone Like You; Stuck On You; The Gift; Unknown; Nurse Betty; and Baby Mama. ABOUT THE CREWPHILIPPA LOWTHORPE | Director Philippa Lowthorpe is a multi award winning film maker who started her career directing documentaries before turning to film and television drama.??Her television credits include the hit BBC drama Call the Midwife. Lowthorpe was lead director on the first series in which in the opening episode gained the highest audience for any debut drama in the past decade. Lowthorpe also directed the Christmas special in 2013 which resulted in her first BAFTA award for directing. In 2018, Lowthorpe directed the critically acclaimed mini-series Three Girls for BBC which went onto win five BAFTAs including Best Mini Series and Best Director. Lowthorpe is still the only female director to have won this award.?Other directing credits include series two of The Crown,?Jamaica Inn, Cider with Rosie, The Other Boleyn Girl, Swallows and Amazons, and upcoming series The Third Day for Plan B Entertainment and HBO.?SUZANNE MACKIE | ProducerSuzanne Mackie’s career began in film where she originated and produced the hugely successful British films Calendar Girls and Kinky Boots, both of which went on to win awards and critical acclaim with both also spawning stage and musical versions in the wake of their international success.Kinky Boots was nominated for Best Screenplay at the British Independent Film Awards and also won the Best International Feature award at the Florida Film Festival. Whilst Calendar Girls was recognised at award ceremonies including the Golden Globes and the BIFAs. In 2009 Mackie joined Left Bank Pictures where she is responsible for both film and the wider development slate as Creative Director. She developed and was Executive Producer on four series of the BAFTA nominated series Mad Dogs which, after a successful run on Sky One in the UK, went on to be adapted for the US market. Film credits at Left Bank Pictures include Ayub Khan Din’s All in Good Time directed by Nigel Cole, and Clio Barnard’s Dark River.At Left Bank Pictures, Mackie has been at the forefront of ground-breaking TV. Working on projects such as YouTube's first UK originated drama Origin, and the BBC mini-series The Replacement which went on to win the Television Scripted Award at Bafta Scotland.?Forthcoming projects include the Netflix series Behind Her Eyes.As Executive Producer of the Netflix series The Crown since its inception, she is at the creative heart of one of the world’s most successful and innovative TV shows that has paved the way for global SVOD programming. The series has won global acclaim and awards including; the Golden Globe for Best Television Series and the Outstanding Drama Series award at the Primetime Emmy awards as well as BAFTA and RTS awards amongst many others. Suzanne Mackie is?an active member and supporter of the National Film and Television School, BFI, RTS and BAFTA. SARAH JANE WHEALE | Producer Sarah Jane Wheale has worked on some of the best known films and TV shows of the last 20 years.? She was the line producer for the television series Little Drummer Girl for the Ink Factory & AMC, starring Michael Shannon, Alexander Skarsg?rd and Florence Pugh. In film, her line producer credits include The Death of Stalin, directed by Armando Iannucci and The Aftermath, directed by James Kent and starring Keira Knightley. Wheale co-produced Mindhorn, directed by Sean Foley and starring Julian Barratt and upcoming film The Power for Sister Pictures and Amazon Studios. REBECCA FRAYN | Writer Rebecca Frayn is a screenwriter, filmmaker and novelist. Her third novel, Wild Things, a family drama with an environmental subplot set in Ibiza, will be published in 2020. Frayn’s other novels, One Life (Daily Mail Book Club Choice 2006) which tackles the emotional and ethical complexities of IVF; and Deceptions (Foyles Books of the Year 2010), a psychological thriller about a missing child. As a filmmaker, she has directed a wide range of critically acclaimed documentaries for Channel 4, the BBC, ITV, HBO and YouTube. Many of her drama projects have championed women’s stories and include the screenplay for Killing Me Softly, a BBC dranma about domestic violence; Whose Baby? an ITV drama she directed about fathers’ rights; and the screenplay for The Lady, about Aung San Suu Kyi, a feature directed by Luc Besson which won the International Human Rights Film Award in cooperation with Amnesty International in 2012. In 2008, she co-founded the environmental lobbying group Climate Action Now, and was nominated by the Evening Standard as one of the 100 Most Influential Environmental Campaigners of 2008. She is currently setting up an off-grid honey farm in Ibiza and putting together a feature documentary on rewilding, Wild at Heart.GABY CHIAPPE | Writer Gaby Chiappe was nominated for the Debut Screenwriter BIFA for her feature adaptation Their Finest, directed by Lone Scherfig, starring Gemma Arterton, Bill Nighy and Sam Claflin and produced by Wildgaze, Number 9 Films and BBC Films. She is currently adapting Michelle Paver’s acclaimed supernatural novel Dark Matter as a feature for Wildgaze and BBC Films, with director Francis Lee attached. Also for TV, Chiappe is developing an adaptation of the novel by Cecil Day-Lewis writing under the pen name of Nicholas Blake; The Beast Must Die for Scott Free and New Regency; and original script Petty Treason for Kindle and Lionsgate.Chiappe co-created and wrote with Alex Perrin an original six-part crime thriller series The Level, which was produced by Hillbilly TV, and transmitted on ITV1. Her other TV credits include episodes of BBC shows Shetland, for which she was nominated for the Scottish BAFTA writer award, The Paradise, Lark Rise to Candleford and Survivors.ZAC NICHOLSON | Director of PhotographyWith a career spanning over two decades, Zac Nicholson started in the industry as an assistant and worked his way up in the camera department. As camera operator he has collaborated with leading filmmakers such as Shane Meadows, Stephen Poliakoff and Tom Hooper.His first feature was Skeletons directed by Nick Whitfield, which won the Best British Feature in Edinburgh International Film Festival in 2019, and in 2011 was BAFTA nominated for Outstanding Debut.He went on to lens two episodes of the Emmy award-winning series Black Mirror: The Entire History of You with director Brian Welsh; and White Bear with director Carl Tibbets.Then followed a number of acclaimed television projects including Hugo Blick’s The Honourable Woman, starring Maggie Gyllenhaal; Dominic Cooke ‘s The Hollow Crown for Neal Street Productions; War Book with director Tom Harper; the mini-series Capital directed by Euros Lynn; and The Rack Pack, the first exclusive program for BBC iPlayer, on which he worked again with Brian Welsh. In 2015, Nicholson won a BAFTA Television Entertainment Craft Team Award for his work on The Sound of Music Live, directed by Coky Giedroyc.The same year he shot his first major feature film The Death of Stalin directed by Armando Iannucci, with whom he collaborated again in 2018 on The Personal History of David Copperfield.Further feature credits include: The Guernsey Literary And Potato Peel Pie Society by director Mike Newell; Red Joan starring Judi Dench and Kenneth Branagh’s Shakespeare biopic All Is True.He recently shot the family film A Boy Called Christmas with director Gil Kenan for Blueprint Pictures and StudioCanal.CHARLOTTE WALTER | Costume Designer BAFTA award-winning costume designer Charlotte Walter has designed extensively for film and TV, receiving particular acclaim for her work on Birdsong for Working Title/BBC, Shane Meadows’s This is England ’86, ‘88 and ’90; and Easy Virtue , directed by Stephan Elliott and starring Jessica Biel, Ben Barnes, Colin Firth and Kristen Scott Thomas.Walter’s film credits include Edward Hall’s Blithe Spirit, to be released in 2020; Red Joan, directed by Trevor Nunn and starring Dame Judi Dench for Trademark Films; The Guernsey Literary and Potato Peel Pie Society directed by Mike Newell for Amazon/Netflix; Andy Serkis’s Breathe; Their Finest directed by Lone Sherfig; Pride directed by Matthew Warchus; Warp Films’s Submarine directed by Richard Ayoade; Working Title’s I Give it a Year directed by Dan Mazar; Chris Morris’s Four Lions; I Capture the Castle directed by Tim Fywell; and A Mighty Heart and A Cock and Bull Story for Michael Winterbottom. Walter’s television credits include The Watchmen for HBO; Churchill’s Secret and Scapegoat directed by Charles Sturridge; Justin Chadwick’s Stolen for ITV; James Marsh’s Red Riding: 1980 and Turn of the Screw, Affinity and Half Broken Things for Tim Fywell.JILL SWEENEY | Make Up & Hair Designer As hair and make-up designer for feature films, Jill Sweeney has worked on Swallows and Amazons, also directed by Philippa Lowthorpe, Away, The List, 24 Hour Party People and The Parole Officer. Further films credits in the hair and make-up department include Mary Queen of Scots, Christopher Robin, The Theory of Everything, Hugo, The Other Boleyn Girl and Hellboy. In television, Sweeney’s credits include Philippa Lowthorpe’s Three Girls, The Miniaturist, Pale Horse, The Other One, Rovers, Cider with Rosie, Car Share and Common. CRISTINA CASALI | Production Designer Cristina Casali grew up in London and trained as a theatre designer before moving into designing for independent film and high-end TV drama.?Recently, Casali won her second BIFA Award for Best Production Design for The Personal History of David Copperfield starring Dev Patel. The first BIFA was for The Death of Stalin. She has also received a BAFTA nomination for her work on Red Riding in the Year of Our Lord 1974 for Revolution Films.?Casali continues to work successfully across award winning film & TV shows as varied as the feature Red Joan, starring Judi Dench, and Requiem a 6-part TV series for BBC One.?NA N? DHONGHA?LE | Editor Multi-award winning editor, ?na Ní Dhonghaíle ACE completed a degree in Film and Media Studies in her native Dublin, specialising in film editing at the National Film and Television School (NFTS) from 1995-1998.Ní Dhonghaíle’s editing career has since gone from strength to strength, earning her first of four BAFTA nominations in 2009 for the Abi Morgan's TV feature White Girl directed by Hettie Macdonald. Among her other television credits have been Ripper Street starring Matthew MacFadyen in the lead, The Missing for Company Pictures and Starz!, Wallander starring Kenneth Branagh, Les Misérables directed by Tom Shankland for the BBC and three episodes of the award winning series The Crown, in which Ní Dhonghaíle worked with directors Julian Jarrold, Ben Caron and Philippa Lowthorpe. Over a five year period, she co-directed and edited a documentary Invisible Man, for which she won the 2016 IFTA for Best Editing in Television. Ní Dhonghaíle has also received much recognition for her editing of the highly acclaimed BBC drama Three Girls, for which she has won the BAFTA award for Best Fiction Editing, the Technicolor Craft Award from Women In Film UK, the IFTA for Best Editing, the RTS Award for Best Editing of Fiction, the RTS West of England Award for Editing and the Televisual British Bulldog Award for Editing.Feature film credits include, Stan And Ollie with Steve Coogan and John C Reilly, directed by Jon S Baird, Rosie directed by Paddy Breathnach and written by Roddy Doyle, Kenneth Branagh's All Is True starring Ken Branagh, Judi Dench and Ian McKellan and has joined forces again with Kenneth Branagh on Death On The Nile which is in production.DICKON HINCHLIFFE | Composer Dickon Hinchliffe’s unique style of composition and arrangements developed from his classical study of the violin and song writing and recording in bands. A multi-instrumentalist - guitar, violin, piano, banjo - he is a founder member of the British band Tindersticks with whom he wrote orchestral arrangements, recorded numerous albums and toured worldwide.He began scoring films when French director Claire Denis asked Tindersticks to write the music to two of her films and following this he scored her acclaimed film Vendredi Soir. Hinchliffe then went on to score both American and British films beginning with the Grand Jury Prize winning Sundance film Forty Shades of Blue in 2004 for Ira Sachs.His next films were the Golden Globe nominated Last Chance Harvey and Cold Souls, directed by Sophie Barthes that premiered in competition at the 2009 Sundance Film Festival. He was then involved in his first collaboration with James Marsh on the highly acclaimed Red Riding – 1980.In 2010 Hinchliffe composed the score to the Sundance Grand Jury Prize winning film Winter’s Bone, directed by Debra Granik, which was nominated for four Oscars including Best Actress for Jennifer Lawrence and Best Picture. Later that year he scored Mitch Glazer’s Passion Play and the Michael Mann production The Texas Killing Fields, directed by Ami Mann. Hinchliffe worked with James Marsh again on the documentary Project Nim. The film premiered at Sundance in 2011. Later that year he scored the pilot of the HBO series Luck, directed by Michael Mann and Oren Moverman’s Rampart. Following on from this he scored James Marsh’s feature Shadow Dancer and then Ramin Bahrani’s At Any Price. Early in 2013 Hinchliffe scored Scott Cooper’s second feature film Out of the Furnace.In 2014 Hinchliffe scored Stephen Knight’s Locke starring Tom Hardy, a collaboration that continued when he scored season 3 of Peaky Blinders that was written and created by Knight. Collaborations with other directors include Michael Mann (Luck), Oren Moverman (Rampart), Scott Cooper (Out of the Furnace), Ramin Bahrani (At Any Price), Ricky Gervais (Special Correspondents), James Marsh (Red Riding, Project Nim, Shadow Dancer). Hinchliffe’s most recent film scores include Idris Elba’s Yardie, Debra Granik’s Leave No Trace and Frankie by Ira Sachs.Recently Hinchliffe has scored Geezer, directed by Lee Kirk, Special Correspondents, directed by and starring Ricky Gervais and Little Men the new film by Ira Sachs.NINA GOLD | Casting Director Nina Gold’s recent feature film credits include: The Two Popes; 1917; ?Star Wars: Episodes VII, VIII and IX; ?Mamma Mia 2- Here We Go Again; The Sense of an Ending; Bridget Jones’ Baby; The BFG; The Danish Girl; Far from the Madding Crowd; High-Rise; The Martian; Paddington and Paddington 2; In the Heart of the Sea; The Iron Lady; The Theory of Everything; The Imitation Game; The King's Speech and Les Miserables. ?She has cast eight films with Mike Leigh including Peterloo, Mr. Turner, Topsy-Turvy, Vera Drake and Another Year. Other films include Sightseers; Before I Go to Sleep; How I Live Now; Sunshine on Leith; Rush; Prometheus; The Counselor; Attack the Block; Jane Eyre; Hot Fuzz; Brothers of The Head; The Illusionist; Wild Bill; The World’s End; Shadow Dancer; My Week with Marilyn; Nowhere Boy; Bright Star and Eastern Promises. ?Television credits include eight seasons of Game of Thrones; three seasons of The Crown; Chernobyl; Brexit; Patrick Melrose; King Lear; The State; Wolf Hall; The Dresser; Marco Polo; London Spy; Restless; Any Human Heart; The Crimson Petal and The White. Other television credits include two seasons of Rome; The Red Riding Trilogy; Longford; The Devil’s Whore; John Adams and The Life and Death of Peter Sellers.Gold has won five Primetime Emmys for outstanding casting for her work on?John Adams, Game of Throne and The Crown. Gold has won five Artios awards for outstanding casting on The King’s Speech, My Week with Marilyn and most recently Game of Thrones and The Crown. In April 2016 she was honoured with a BAFTA Special Award for her outstanding contribution to casting over 100 television and film productions; the first time BAFTA has recognised a casting director with a special award.Directed byPhilippa LowthorpeScreenplay byRebecca Frayn andGaby Chiappe Story written by Rebecca Frayn Produced by Suzanne MackieSarah Jane WhealeExecutive Producers Andy HarriesRebecca Frayn Cameron McCrackenJenny Borgars Rose GarenttAndrea ScarsoNatascha WhartonDirector of Photography Zac Nicholson, BSCProduction Designer Cristina Casali Editor ?na Ní Dhonghaíle ACECostume Designer Charlotte WalterHair & Make-Up DesignerJill SweeneyMusic by Dickon HinchliffeCasting by Nina Gold ? ? ? ? ? ? CAST (in order of appearance)Sally Alexander?KEIRA KNIGHTLEY?Bob HopeGREG KINNEARArchie?DANIEL TIPLADYEva Rueber-StaierKAJSA MOHAMMAR?Professor DavidsonSTEPHEN BOXERBearded Marxist Professor?JUSTIN SALINGER?Jo RobinsonJESSIE BUCKLEYSarahRUBY BENTALLJaneLILY NEWMARKAbiMAYA KELLYGarethJOHN HEFFERNANSheilaJO HERBERT?Eric MorleyRHYS IFANSJulia MorleyKEELEY HAWES?Journalist 1ED EALES - WHITEJournalist 2JONATHAN RHODESDolores HopeLESLEY MANVILLEJoan BillingsEILEEN O’HIGGINSBob's SecretaryLAUREL LEFKOWMiss Gilboy?AMANDA LAWRENCELawrenceSAMUEL BLENKIN?JeremyNICHOLAS NUNNEvelyn AlexanderPHYLLIS LOGANNewsreaderROBERT IRONS?Dave?JOJO MACARISueALEXA DAVIES?Peter Hain?LUKE THOMPSONCliveMILES JUPPMrs DayPOLLY KEMP?Jennifer Hosten - Miss GrenadaGUGU MBATHA-RAWPearl Janssen - Miss Africa SouthLOREECE HARRISON?Sandra Anne Wolsfeld? - Miss USASUKI WATERHOUSE?Maj Christel Johansson? - Miss SwedenCLARA ROSAGERMrs McKenzie?BRIG BENNETT?MargaretKATY CARMICHAELJillian Jessup -Miss South AfricaEMMA CORRINReporterSAM ALEXANDER?HazelEMMA D’ARCY?Prime Minister GairyCLARENCE SMITH?Ambassador of IndonesiaTHOMAS SMARTMarjorie JonesCHARLOTTE SPENCERLord BlyRUPERT VANSITTART?Robin DayJOHN SACKVILLE?Anna - Air Hostess?LILY TRAVERSJennyISIS HAINSWORTHCatherineMARY HIGGINS?Head of Security?VICTOR GARDENER?BBC Broadcaster?NICHOLAS MURCHIEFloor Manager NevilleEDMUND DIGBY-JONESMichael AspelCHARLIE ANSONMairRIA ZMITROWICZJennifer Hosten AS HERSELFSally Alexander?AS HERSELFJo RobinsonAS HERSELFPearl JanssenAS HERSELFFirst Assistant DirectorTONI STAPLESUnit Production ManagerBETH TIMBRELLPost Production SupervisorPOLLY DUVALFinancial ControllerFREYA PINSENTProduction Sound MixerMARTIN BERESFORD AMPSSupervising Art DirectorSION CLARKEMusic SupervisorJEN MOSSSupervising Sound Editor & Sound DesignerNIV ADIRIFirst Assistant Camera?PETER BYRNESecond Assistant CameraABI CATTOCamera AssistantNATHAN LLOYD?Steadicam / Camera Operator?ROB CARTER?Camera OperatorLUKE REDGRAVEDIT?HARRY BENNETT-SNEWIN?Digital Lab TechnicianNIALL TODDScreenSkills Camera TraineePADDY?DRISCOLLVideo Playback OperatorPACU TRAUTVETTERGripsANDY WOODCOCKIAN OGDEN?Assistant GripSEAN KELLY?Script EditorKERRY GILL-PRYDEScript SupervisorCAROLE SALISBURYProduction SupervisorSCOTT EATONProduction Co-ordinatorDOROTHEE FREYTAGAssistant Production Co-ordinatorDANIELLA R BAGGALEYProduction AssistantCHELCIE HARMANRushes RunnerLIAM FRAMPTONDirector’s AssistantMARIA MOSSAssistant AccountantRAJNEET JABBALTrainee Accounts AssistantFLORENCE PINSENTSecond Assistant DirectorJO TEWCrowd Second Assistant DirectorMARK JOHNSTONEThird Assistant DirectorJAMES REIDCrowd Third Assistant DirectorAMY KINGBase PACSILLA TORNALLYAYSet PAsVLAD CIRDEIUSAM COURTNEYStand-InLAURA SOUTHALLCrowd PAsCALLUM SAMPSONSINEAD DOHERTYAssistant to Ms KnightleyBEATRICE BOWDONFirst Assistant SoundLEE JAMESSecond Assistant SoundJULIAN BALEScreenSkills Sound TraineeELEANOR RUSSELDialect CoachWILLIAM CONACHERDeportment CoachJEAN BROKE SMITHArt DirectorHOLLY MORPETHStand-by Art DirectorPADDY PADDISONAssistant Art DirectorsGUY BEVITTEMMA PAINTERDraughtspersonLAWRENCE BARFORDGraphic DesignerLOUIS BURNETTAssistant Graphic DesignerMATILDA CRASTONGraphics AssistantELLE MCKEEArt Department AssistantINDIGO RUMBELOWSet DecoratorCLAUDIA PARKERLocation Set DecoratorJANE DUNDASAssistant Set DecoratorCLAIRE PORRIT Set Decorating AssistantMARIE ISABELProduction BuyerDAN PITTPetty Cash BuyerELIN STONEStoryboard ArtistRACHEL GARLICK?Prop MasterEWAN ROBERTSONProperty StorepersonNATALIE FORSYTHEChargehand Dressing PropsNICK MILNERDressing PropsDAN PYETONY KNIGHT ?BOB THORNEAARON GILBERTJAKE MOYNIHAN ?GARY LOCKETrainee Dressing PropsJOSEPH LOCKGEORGE PRICEAdditional Dressing PropsSTACEY WATTSPAUL BETTSELLI FRANCISSAM GLENStand-by PropsDOUGLAS GLENGARI BACONCostume SupervisorHANNAH WALTERAssistant Costume DesignerKATE EDENPrincipal Stand-byJASON MARSHALL ANNA SPENCER LIZZIE MOUL?Crowd Wardrobe MistressAMY POLLITT Crowd Stand-byELENA TABORRACrowd CostumiersHANNAH WARREN?MARTIN CLARKE?FLISS WYATTPAUL YEOWELLSALLY CREES?KATHRYN AVERY?HOLLY ROSENTHAL?Costume TraineeKATIE ROGERSCostume MakersALIDA HERBSTROBERT SUTHERLANDMARIA GOMEZ PATINO?KATHLEEN NELLISHair & Make Up SupervisorDEBBI SALMONCrowd Hair & Make Up SupervisorBARBARA TAYLORHair & Make Up ArtistsROWENA DEANSARAH JOHNSONHair & Make Up JuniorFRANZISKA ROESSLHUBERCrowd Hair & Make Up ArtistsRENATA GILBERTMORAG SMITH?ANITA BURGEREMMA BAILEYCrowd Hair & Make Up JuniorsLAURA TOWNSEND BEARD?NABEEL HUSSEIN?DANA DEGAN?ScreenSkills Hair & Make Up TraineeANGIE WHITEHair & Make Up TraineeKATIE WALLISConstruction ManagerRUSS DALYCarpenter ChargehandPETE STAMMERSJULIAN WEAVERCarpentersIAN DAVIECHRIS WESTWOODRAFF PEREIRAPainters' ChargehandRACHEL ATHERTONPaintersTESS SCOTTMATT AMOSAMANDA WADDINGTONKATE BUTNERLabourersLORCAN STANILANALEX BERCHERTStand-by CarpenterANDREW "WIGGY" SMITHStagehandSAM CROWLEYGafferJONNY FRANKLINBest Boy?TOM GUYRigging GafferMARTIN TAYLORElectricians?WESTLEY AGUISWILL SHEFFIELDJERDAN TAYLORJOHN MALANEYGenny OpDAVIE MAYESRigging ElectriciansLARRY DEACON?ROBERT COLLINSGAVIN OGDENJAMES PELHAMDesk OperatorDAN WALTERSPractical Electrician?JULIAN WILSONHOD RiggerTONI KELLYRiggerCRAIG "RADISH" TAYLORLocation ManagerTOM HOWARDAssistant Location ManagersJACK LEARYHARRIET WHARTONAdditional Assistant Location ManagersPHILIPPA SUTCLIFFEMARIALUCIA APICELLAUnit ManagerLAUREN CHAMBERSUnit AssistantGAVIN FISHERLocation AssistantDANIEL LEEBODYAdditional Location AssistantJAKE DAYLead SecurityTIM SMARTSecurity TeamROY WILLIAMSRON BIRDADAM WAINETONY SINGHSTUART SUMPTONJOSH RENSHAWStunt CoordinatorSARAH FRANZLStunt Double Keira KnightleyBELINDA MCGINLEYStunt Double Jessie BuckleyLUCY ALLENStunt PerformersJAMES GROGANLLOYD BASSMATT DA SILVAJOE PAXTONCasting AssociateLUCY AMOSCasting AssistantSACHA GARRETTUnit MedicADRIAN WILKINSONLead DriverRICH MADDOCKDriver for Ms KnightleyJOHNNY O’NEILLUnit DriversLOUISE CORNWALLHUSEYIN PEHLIVANFERGUS COTTERTOMAS PIEKUSMARK RIMPOADDITIONAL UNITSSecond Unit Director of Photography SAM RENTON ?Additional Camera OperatorJOHN ELLIS EVANSAdditional First Assistant CameraDORA KROLIKOWSKAAdditional Second Assistant CameraJACK SANDSJESSICA SAUNDERSVideo Playback AssistantMATHEW LESTERAssistant Script SupervisorHARRIET BAKERSpecial Effects byALL EFFECTSSpecial Effects SupervisorCHRIS REYNOLDSSpecial Effects TechnicianALISTAIR POULTERFirst Assistant EditorIZABELLA CURRYAdditional First Assistant EditorJO DALESecond? Assistant EditorCARLY BROWNSupervising Dialogue / ADR EditorGILLIAN DODDERSSound DesignerBEN BARKERSound Effects EditorsDANNY FREEMANTLEROBERT MALONEAssistant Sound EditorsDAYO JAMESNICK FREEMANTLEJULIA BARKERRe-recording MixersNIV ADIRI CASBRENDAN NICHOLSONSound Re-recorded atPINEWOOD STUDIOSMix TechniciansANDREW CALLERHELEN MILESMix Operations ManagerJAMES DOYLEFoley MixerJEMMA RILEY-TOLCH CASFoley EditorLILLY BLAZEWICZFoley ArtistsZOE FREEDREBECCA HEATHCOTEADR RecordingMOLINAREADR MixerJAMES GREGORYADR Voice CastingSYNC OR SWIMVisual Effects byUNIONVisual Effects Supervisor?SIMON HUGHESVisual Effects ProducerZAFAR JANJUADFX SupervisorDILLAN NICHOLLSVisual Effects Executive Producer?TIM CAPLANVisual Effects On-Set Supervisor?TASKIN KENANVisual Effects Line Producer?PAUL O'HARAVisual Effects Co-Ordinator?JOLIEN BUIJSCG Lead?NOEL O'MALLEYCG Artists?ALEXANDER HATOM HURDMATT MOULTDmp/Environment Artists?JASMINE SARAISJONATHAN WANNYN?Fx Artists?MICHELE FABBROMARCELO SOUSAMatchmove Artists?DOM MAIDLOWVICKY STUARTLead CompositorNICHOLAS ZISSIMOSCompositorsANDREA ACETOLINDSEY LO PRESTIRALPH DUBBERCALLUM MCNULTYERDEM G?N?LAYJOSE ALBERTO PINOJAKE GREENHANNAH SORNAYVICKI JUHASZCHRISTOPHER TANGRoto Artists?JOANNA BARCIKOWSKATOM MORTELETTETORD TONNESENVisual Effects Pipeline Developer?PETE MEDROW?Junior Visual Effects Pipeline Developer?RHYS FERNANDES?Visual Effects System Administrator?NISHET SHAH?Junior Visual Effects Pipeline Administrator?MATTHEW ALDRIDGE?First Line Support?CLARICE VEIGAKEVIN YUENVisual Effects Editorial?ROBIN HINCH?EVELYN MINANGO?JACK QUIBEN?Data I/O?DAN SMITH?Runners?CAMERON BUTLER?JORDAN MILLERTitles byTHE MORRISON STUDIODigital Intermediate provided by?MOLINAREDigital ColouristVANESSA TAYLORDigital Intermediate ManagerSTEVE KNIGHTDigital Intermediate CoordinatorKARL BARNES-DALLASDigital Intermediate ProducerMARIE FERNANDESConform EditorJAKE DAVIESOnline EditorRICHARD CRADICKPublicityPREMIER?Unit PublicistsNICKI FOSTERJONATHAN RUTTERUnit Stills PhotographerPARISA TAGHIZADEHEPKPUSH THE BUTTONEPK ProducerTOBY JAMESEPK CameraHUGO CURRIEMinibus Transport by?STAGELEFT?TRANSPORT LTDCar Hire?BTCPicture VehiclesTLO FILM SERVICES LTD?Action Vehicle Co-ordinatorROB HOLLOWAYSecurity provided byMOVIE GUARD SECURITYHealth and Safety1ST OPTION SAFETYRigging Medics provided BbyISLAND MEDICAL SERVICESCostume Hire & MakesANGELS COSTUMESCaterers?FAYRE DO’SHead ChefPAUL NEWBURYExtras CastingTHE CASTING COLLECTIVETWO 10 CASTINGSALLY KING CASTINGMAD DOG CASTINGFacilities Vehicles provided byON SET FACILITIESFacilities CaptainCHRIS FREEBase FacilitiesDEBBIE FREECamera Truck DriverDAVE JONESCamera EquipmentPANAVISIONDIT EquipmentMISSION DIGITALVideo EquipmentDIGITAL ORCHARDLighting EquipmentPANALUX?Grip EquipmentCAMERA REVOLUTIONVintage CamerasCINEPHONICS, JON WAYREON THE AIR LTD, STEVE HARRISPowered Access MachineryMEDIA HIREWalkie-TalkiesAUDIOLINKStudio Facilities & Production OfficesTWICKENHAM STUDIOSAvid HiresSALON RENTALSEdit Suites, BristolFILMS AT 59Post Production ScriptFATTSDolby Technical EngineerROB HUCKLEContact Lenses byVEILED OPTICSOn Set OptometristsTHE REEL EYE COMPANYWigs byCAMPBELL YOUNG ASSOCIATESALEX ROUSE WIG COProsthetics byARJEN LLCConstruction Services byROBUST DESIGN LTDFor PATH?Director of Business AffairsPIERRE DU PLESSISFinance DirectorJAMES CLARKEHead of Physical ProductionFIONA MCGUIREHead of Theatrical DistributionLEE BYECreative ExecutiveSHONA COLLINSSOPHIE GLOVER, JOHN MCGRORY, AMINA MUNEER, JACK MYLES, CONSTANCE STRIDE, WAIHUN TANG, FAITH TAYLOR, LLOYD VANSON, DANIELA VIZUETEFor BBC FILMSHead of Legal and Business AffairsGERALDINE ATLEEHead of Production and FinanceMICHAEL WOODHead of CommunicationsEMMA HEWITTDevelopment ExecutiveSAM GORDONLegal and Production AssistantRUTH SANDERSFor ROCOCO FILMS AND INGENIOUS MEDIA?NADINE LUQUE?AGAR FORJANJAMIE JESSOPBEN MALONEVAISHALI MISTRYSELIN SALIHCHANCHAL PANWARPABLO CARRERAFor BFIDirector of Film FundBEN ROBERTSScript ConsultantMARILYN MILGROMHead of Production?FIONA MORHAMHead of Production FinanceIAN KIRKDirector of Legal and Business AffairsCLARE COULTERFor LEFT BANK PICTURESChief Operating OfficerGRACE WILSONCommercial DirectorCHARLIE GOLDBERGDirector of ProductionHILARY BENSONProduction ExecutiveCHRIS LAHRExecutive in Charge of Post ProductionRACHAEL ELLISProduction CoordinatorsRICHARD TODDJESS LEECH Assistant to Andy Harries & Suzanne MackieCHARLOTTE FITZGERALD Post Production AssistantSOPHIE BADMAN ConsultantJENNIFER HOSTENSouth African Production Services provided byMOONLIGHTINGProduction Legal ServicesWIGGIN LLPALEXANDER LEABETH WYLLIEED CHALKClearances & Neg CheckingKELLIE BELLE BROCKETPost Production Delivery PaperworkCAITE NI'CEILEACHAIRArchive ProducersLIZZIE EVES FOR FOURTH DRAWERVICTORIA STABLEInsurances provided byARTHUR J. GALLAGHERInsurance BrokerJAMES FOXNIKKI THORNHILLAuditorsSHIPLEYS LLPSTEVE JOBERNSLAUREN WHITERODBankCOUTTSCompletion Bond Services provided by FILM FINANCES, INC.World Revenues collected and distributed by FREEWAY CAM B.V.Score Recorded atABBEY ROAD STUDIOS & AIR STUDIOSScore Recorded & Mixed byPETER COBBIN & KIRSTY WHALLEYScore Mixed atSWEET THUNDERDrums Recorded atEASTCOTE STUDIOS BY GEORGE MURPHYArrangements byDICKON HINCHLIFFEConducted bySIMON HALEOrchestra Contracted & Lead byLUCY WILKINSMusic Preparations byRICHARD SIDWELLVocals byALISON GARNER & GINA FOSTERDrums byRALPH SALMINSMusic EditorTIMERI DUPLAT“RESPECT”“I’M ALIVE”Performed by Aretha FranklinPerformed by Johnny ThunderWritten by Otis Redding and Anquette AllenWords and Music by Tommy James and Peter LuciaPublished by Universal Music Publishing Limited on behalf of Irving Music, Inc &Published by EMI Longitude MusicCotillion Music Inc. (BMI). All rights on behalf of Cotillion Music Inc. administered by Warner/Chappell North America LimitedCourtesy of Warner Music UK LimitedCourtesy of Warner Music UK Limited“REQUIEM – DIES IRAE”“LA BAMBA”Performed by Antonio PappanoPerformed by Caterina Valente & Edmundo RosWritten by Giuseppe VerdiWritten by Edmundo Ros and Bernard EbbinghouseCourtesy of Warner Music UK LimitedPublished by Chappell Music Limited (PRS) and Palace Music Co., Limited (PRS)All rights administered by WB Music Corp.“COUSIN JENNIFER”Courtesy of Decca Music GroupPerformed by Tobago & D’Lime?Under licence from Universal Music Operations LimitedWritten by Slinger Francisco (a.k.a. The Mighty Sparrow)? Railroad Town Music/Zalytron MusicCourtesy of RedFire Music Ltd and Laurian Consultancy LtdDOLBY ATMOS IN SELECTED THEATRESIMAGES AND FOOTAGE USED UNDER LICENCE FROM GETTY IMAGES and GETTY IMAGES / BBC MOTION GALLERY KINOLIBRARYPA ARCHIVE / PA Photography of Jo Robinson bySALLY FRASERThe Producers would like to thankTELEGRAPH MEDIA GROUP LTDREACH PUBLISHING SERVICES LIMITED EXPRESS SYNDICATIONDESIGN MAGAZINE COURTESY OF THE DESIGN COUNCILTI-MEDIA LIMITEDMIRRORPIXTHE MANAGEMENT AND STAFF AT NEW WIMBLEDON THEATRETHE MANAGEMENT AND STAFF AT THE COLUMBIA HOTELJB LOCATIONS LTD?JODI MOORE AT ISLINGTON FILM OFFICECAMPBELL YOUNG?ASSOCIATES WIG COMPANYTHE ROYAL PARKSJW CREATIVE?PAUL EDMONDS HAIR KNIGHTSBRIDGEELISHA BLAKESALLY FRASER SHEILA ROWBOTHAM PEARL JANSSENJULIA MORLEYGARETH STEADMAN JONES ABIGAIL THAWPETER HAIN STEVE DOUGLAS FELIX CANNWith Special Thanks toSUE FINCHJENNY FORTUNE JANE GRANTCATHERINE MCLEAN MAIR TWISSELLSARAH WILSON AND TO THE MANY OTHER WOMEN WHO TOOK PART IN THE MISS WORLD DEMONSTRATION OF 1970 AND HELPED PUT THE WOMEN’S LIBERATION MOVEMENT ON THE MAPFilmed on location in London, Hertfordshire, Buckinghamshire & SurreyTHE EVENTS PORTRAYED IN THE FILM ARE BASED ON TRUE EVENTS. SOME ASPECTS OF THIS PORTRAYAL HAVE BEEN FICTIONALISED FOR DRAMATIC PURPOSES. THE CHARACTERS PORTRAYED HAVE ALSO BEEN FICTIONALISED FOR DRAMATIC PURPOSES, AND ANY RESEMBLANCE BETWEEN THEM AND ACTUAL LIVING INDIVIDUALS SHOULD NOT BE INFERRED.The financiers and producers of this film did not receive any payment or other consideration, or enter into any agreement, for the depiction of tobacco products in this film.Ownership of this motion picture is protected by copyright and other applicable laws, and any unauthorised duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability.International SalesPathé InternationalMARIE-LAURE MONTIRONI?MAYALEN DE CROISOEUIL, AGATHE TH?ODOREDEVELOPED BYLEFT BANK PICTURES and PATH?A LEFT BANK PICTURES PRODUCTIONFORPATH?, BBC, ROCOCO FILMS AND BFIPATHEBBC FILMSINGENIOUS20TH CENTURY FOXLEFT BANK PICTURESMADE WITH THE SUPPORT OF THE BFI’S FILM FUND? PATH? PRODUCTIONS LIMITED, BRITISH BROADCASTING CORPORATION AND THE BRITISH FILM INSTITUTE 2019DISTRIBUTED BY PATH?? ................
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