FOX SEARCHLIGHT PICTURES



2362200-48006000FOX SEARCHLIGHT PICTURESPresentsIn Association With TSG ENTERTAINMENTA FREE RANGE FilmRACHEL WEISZSAM CLAFLINHOLLIDAY GRANGERIAIN GLENPIERFRANCESCO FAVINOSIMON RUSSELL BEALEVICKI PEPPERDINEWRITTEN FOR THE SCREENAND DIRECTED BYROGER MICHELLBASED ON THE NOVEL BYDAPHNE du MAURIERPRODUCED BYKEVIN LOADEREXECUTIVE PRODUCERROGER MICHELLDIRECTOR OF PHOTOGRAPHYMIKE ELEY, BSCPRODUCTION DESIGNERALICE NORMINGTONFILM EDITORKRISTINA HETHERINGTONCO-PRODUCERANITA OVERLANDMUSIC BYRAEL JONES COSTUME DESIGNERDINAH COLLINCASTING BYFIONA WEIRHYPERLINK ""pressRated PG-13 Running time TBD minutesPublicity Contacts:Los AngelesNew YorkRegionalKrishel CoultrupSteve MoreauIsabelle SugimotoTel: 310.369.4327Tel: 212.556.8246Tel: 310.369.2078krishel.coultrup@steve.moreau@isabelle.sugimoto@A dark and layered romance, MY COUSIN RACHEL tells the story of a young Englishman who plots revenge against his mysterious and beautiful cousin, believing that she murdered his guardian.? His feelings become complicated as he finds himself falling helplessly and obsessively in love with her.Fox Searchlight presents, in association with TSG Entertainment, a Free Range Film, MY COUSIN RACHEL. The film is written for the screen and directed by Roger Michell, based on the novel by Daphne du Maurier and stars Rachel Weisz (YOUTH, THE CONSTANT GARDNER), Sam Claflin (THE HUNGER GAMES: MOCKING JAY), Holliday Granger (CINDERELLA), Iain Glen (“Game of Thrones”), Pierfrancesco Favino (RUSH), Simon Russell Beale (INTO THE WOODS) and Vicki Pepperdine (GOODBYE CHRISTOPHER ROBIN). The producer is Kevin Loader (THE LADY IN THE VAN) with Michell as executive producer and Anita Overland (FAR FROM THE MADDING CROWD) as co-producer.The behind the scenes team includes director of photography Mike Ely (THE SELFISH GIANT, GREY GARDENS), production designer Alice Normington (SUFFRAGETTE), film editor Kristina Hetherington (“The Crown”), music by Rael Jones (OASIS: SUPERSONIC), costume designer Dinah Collin (THE GHOST WRITER, THE BOURNE SUPREMACY) and casting by Fiona Weir (BROOKLYN). MY COUSIN RACHEL was written in 1951 by Daphne du Maurier, whose outstanding work often combines suspense, passion and shockingly modern psychological portraits of men and women in intriguing and sometimes obsessive relationships. So cinematic was her writing that Alfred Hitchcock made films from three of her novels: JAMAICA INN, THE BIRDS and REBECCA. Nicolas Roeg’s psychological horror masterpiece DON’T LOOK NOW is also based on a story by du Maurier.On publication MY COUSIN RACHEL instantly became one of du Maurier’s most popular books and 20th Century Fox snapped up the film rights, going straight into production with two of the hottest stars of the day, Richard Burton and Olivia De Havilland. Released in 1952 the film garnered four Oscar? nominations and a Golden Globe Award for the young Burton as “New Star of the Year.” Steeped in a wonderfully powerful atmosphere of desire and suspicion, the book tells the story of a rather naive young bachelor struggling to determine if his deceased guardian’s charming widow is either the woman of his dreams… or a cold-blooded killer and inheritance-chasing gold-digger. But when Rachel eventually arrives to visit the estate of her late husband, Philip meets a woman who seems nothing like the black-hearted poisoner of Ambrose’s deathbed ravings. Key to Michell’s adaptation is his decision to fully embrace the novel’s thrilling ambiguity, the spell of which du Maurier never breaks. The story is the search for the truth, a search that delightfully torments the reader, torments Philip … and still continues to haunt the film’s final moments. “I think if you absolutely know one way or the other what Rachel has done, the story doesn’t work,” says Michell. “It’s exciting to make a film where part of the fun is knowing that people will leave the theatre debating… did she or didn’t she? I hope people love the mystery of that as much as I do. And I hope they enjoy going on a rollercoaster-ride with a this ill-matched couple who are thrown into a kind of emotional washing machine and find themselves churned about as they try to puzzle out each other’s motives, assumptions, values, each other’s sense of truth.” “I think for Philip, Rachel feels like she comes from another world. And in a way, she really does. She’s from a distant and exotic country. Her language, her clothes, her appetites, her understanding of the world are utterly foreign to him. She’s beautiful, articulate, fun, and completely disrespectful of stuffy contemporary convention. The book is set in the 19th Century, but written in 1950. So I think of it as a kind of post-Freudian version of Jane Austen, if you will. On one level it’s a period thriller about falling in love and family estates and so on, but on another, it’s conversation about sexuality, about women’s freedom in a man’s world, about issues of women’s power. I wanted Rachel to feel in part like a woman from 2017 who parachuted into that world … the woman who fell to earth” Michell’s long-time producing partner Kevin Loader was impressed by the way the writer-director sprinkled seeds of doubt throughout the screenplay and used them to explore the gulf between romantic dreams and the realities of how power, money and social rules are tied up in relationships. “The idea of the ‘mysterious outsider’ is so universally resonant, and a great narrative hook on which to build a film,” Loader notes. “What emerged from Roger’s adaptation is a taut psychological thriller that's full of observations on the nature of romantic love, infatuation and sexual relations between men and women, especially in closed societies. And it leads to a climactic moment, shrouded in ambiguity as to who is culpable and who is not."Loader was also struck by how completely contemporary Rachel seemed in Michell’s adaptation, chafing against the constrictions of 19th century English manners. “Rachel is a very modern woman stuck in a rather antiquated, provincial world. I think part of the reason Philip and others find her so difficult to comprehend is because she’s not like anyone they’ve met before,” says Loader. “She’s headstrong, she plays her cards quite close to her chest and she takes pleasure in her own sexuality. All of these were quite shocking ideas for 1839. I think that tension is something Daphne du Maurier was thinking about in the 1950s and that’s why it’s just as resonant now.”Before taking the leap, it was vital to both Michell and Loader to get the blessing of Daphne du Maurier’s estate, and they were gratified to find her family highly enthusiastic about this particular adaptation. Grace Browning, du Maurier's granddaughter, says: “Roger is a well-respected filmmaker, and the fact that he was adapting the book himself was interesting to me. When I found out Rachel Weisz was attached, I felt she couldn't be more right for this part. She brings such truthfulness to all the characters she's ever played. Du Maurier was brilliant at writing women characters; there's such depth to all of them, and I think any actress would relish the chance to play one.” THE MYSTERY OF RACHELComing to England in the wake of her husband’s unexpected death, Rachel soon has the whole of Ambrose Ashley’s estate flummoxed, enthralled by her behaviour and at times shocked by it. It would take an actor equally alluring and confounding to showcase those contradictions in a believable way.Academy Award? winner Rachel Weisz is known for giving highly nuanced performances in a wide range of film roles, from THE CONSTANT GARDENER to THE DEEP BLUE SEA and THE LOBSTER. “Rachel (Weisz) was able to bring a haunting quality to the story, which is really the key to the whole film. You just don't ever know for certain whether the character of Cousin Rachel is guilty or not. Rachel (Weisz) carries that off brilliantly. In one moment she’s charming, and in the next she’s furious but still seems as if she is hiding something. Every one of those moments is played with conviction," says Michell.For her part, Weisz remembers that as soon as she finished the script she urgently called Michell to ask him: is she or isn’t she innocent? His answer was galvanizing: “Roger told me he didn’t know and he didn’t want to know for sure. I thought that would be very exciting to explore and it made me really want to do this project,” says Weisz. The chance to work with Michell was also a draw for Weisz. "I've always wanted to work with Roger, as I've been a fan for a long time. I found that he’s a director who really searches to find out what makes actors tick. He's always gentle and kind, but he’s exacting. He knows precisely what he wants, and he also likes things to be surprising. There's nothing rigid or boring about the way he works,” she describes. Weisz embraced both the light and dark facets of her character equally, never giving one sway over the other. On the one hand, she approached Rachel as a woman who arrives in England still reeling from her husband’s death, only to find herself a fish-out-of water in a new culture. But she was also playing a woman caught off guard by her attraction to her late husband’s heir.“She’s just lost her husband, travels to this farm, his house, that he’s been telling her about, and there she meets this man who is the spitting image of what her husband would have looked like 20 years ago –young and handsome, and at first, there’s something quite magical about it all,” observes Weisz. At the same time, Weisz plays Rachel as defiantly independent and cagey about her Italian past. Focused on forging a financial future for herself, she toys with Philip’s all-consuming affections and shows no interest in doing things the conventional way, even when she knows society disapproves. ‘She’s quite bohemian and exotic and very sexually liberated for her times,” Weisz points out. “She’s aware that to others she comes off as transgressive and provocative because she has her own ideas about the way in which a woman should be allowed to live. She’s definitely not going to be content to be owned by a man and be treated as a piece of property.”Rachel also has secrets, both financial and personal, that seem to hang over everything. “The whole fun of the film is to trying to figure out whether Rachel can be trusted, and I just love that the story is equally weighted both ways. I think it will divide people on the question of whether or not Rachel is up to no good,” says Weisz. “That’s what makes it such an unusual love story and so compelling and haunting. It asks how much do you really ever know a person and can your impressions of someone go completely, devastatingly wrong?” For Kevin Loader, Weisz’s carefully shaded performance is the engine that drives the mystery. "Rachel Weisz IS Cousin Rachel,” he says. “We needed someone who would be believable as an Englishwoman with an Italian background, who could be seen as exotic, highly intelligent and fiercely in charge of her own destiny. But she also had to have a visible vulnerability, a deep sense that her material circumstances had changed and she has to have an impenetrable sadness on the inside. There are few actresses who could have combined all those things as well as Rachel has." For actor Pierfrancesco Favino, who plays Rachel's Italian confidant Rainaldi, Weisz has a rare ability to act like a mirror, allowing different audience members to see her actions in different ways, which was the heart of the challenge in playing Rachel. “You can so easily project your own feelings and perceptions about what Cousin Rachel is doing onto Rachel Weisz, which gives the audience tremendous space for mystery,” Favino concludes. FROM REVENGE, TO MAD LOVE, TO FEAR As a sheltered orphan most of his life, with no mother or sisters to guide him, Philip Ashley is a man with little experience with women when he meets Cousin Rachel. He’s lived a life of isolation on his adoptive cousin’s estate and though he initially intends to seek retribution against Rachel, she instead ignites in him a longing he’s never even known possible, a longing so intense he then becomes unsure he can trust it. To play the part of Philip, Roger Michell was in search of one of a new generation of emotionally complex British actors, someone who could traverse seamlessly from vengefulness to romantic ecstasy to the most doubt-ridden torment. “We watched a lot of films and Sam Claflin just popped out as exceptionally appropriate,” the writer-director remembers. “We asked him to do a couple of screen tests and he was incredibly persuasive. He's sensitive, he's smart, but he's also youthful and vigorous. He's got the lot."Claflin has been rapidly rising since he came to the fore in ME BEFORE YOU, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES and as Finnick O’Dair in THE HUNGER GAMES series. For producer Kevin Loader, he brought two conflicting qualities essential for Philip Ashley: "He had to have an almost puppy-like boyishness but also a charming manliness, and Sam has the facility to play both. A husband and a father in real life and a very together young person, he can be very strong and magnetic but he also has a natural boyishness about him. He was just perfect for this innocent and naive young man who knows nothing about women.” Claflin found the character full of fascination. “I’ve loved playing Philip and entering his very ambiguous world,” he says. “I feel I’ve been pushed and challenged in new ways.” He especially enjoyed taking Philip through 180-degree shifts in his thinking about Rachel. “Initially, Philip suspects Rachel of foul play, and he comes in with a lot of judgement against her,” notes Claflin. “He's made his mind up that he despises her before he even meets her. But he’s slowly bewitched by her, due to her mysterious nature, and because she’s different to any of the women that he knows, though he doesn’t know many women at all. Soon, she has this incredible intriguing hold over him.”Claflin admits he developed his own ideas about the truth of Rachel, but notes that Michell did not want to discuss them even for a second. “Right from the beginning Roger said ‘I don’t even want to know your theories. I want to leave it to the audience to decide.’ And that’s really what drew me to the film. I’m so excited to hear other people’s thoughts about what really happened. I hope it’s the kind of story where you can get lost within it and leave the theatre asking questions.”While he was exploring the many facets of Rachel, Claflin was also diving into the life of a country farmer, taking lessons not only in horseback riding but also wielding a scythe and ploughing fields. Says Kevin Loader: “Sam showed incredible dedication to fully inhabiting every aspect of Philip.” Daphne du Maurier's granddaughter, Grace Browning, also found herself moved by the way Claflin’s performance acutely captured du Maurier’s Philip, a na?ve young man swept up by emotions he’s never experienced. "I think Sam brings the innocence that is essential to the role of Philip, and you completely believe that he could be manipulated by Rachel,” she concludes. QUESTIONING RACHEL: THE SUPPORTING CASTAs Philip is swept off his feet by Cousin Rachel and starts to support her financially from Ambrose’s accounts, those who were close to Ambrose and are protective of Philip watch his behaviour with mounting dismay and anxiety. Among those most upended by his sudden obsession with Rachel is Louise, Philip’s confidante since childhood, who has long harbored her own unrequited crush on him. Rising star of both screen and stage Holliday Grainger – known for her roles as Lucrezia Borgia in Showtime’s THE BORGIAS and as Estella in Mike Newell’s GREAT EXPECTATIONS – plays Louise as a loyal friend who tries to protect Philip even as her own heart is breaking. "Louise is secretly, desperately in love with Philip, and she’s really been his one true friend on the estate, until Cousin Rachel turns up and changes everything,” says Grainger. “There's always been trust and affection and a fun camaraderie between Louise and Philip, so when Louise sees that Rachel is having so much influence over him it’s very upsetting and concerning to her."Grainger notes that Louise is another person confounded by Rachel, finding herself unsure of how much of her feelings are based in envy and how much in the perceived danger Rachel poses to Philip. “I think Louise is insanely jealous of Rachel,” Grainger confesses. “Rachel is so beautiful and alluring – and she doesn’t play by the same social rules that everyone else feels they must in their village. Rachel has this kind of wry, knowing smile and she makes fun of their traditional English ways. I think that’s what everyone falls for. But Louise is the one person who doesn’t allow herself to fall for Rachel’s charms believing that her charms could be a form of manipulation.” Kevin Loader tells how Grainger evoked the deeply relatable emotions of a lonely young woman trying to be good and kind while her dreams are clearly being shattered. “Holliday has an amazing ability to transform in the moment,” he observes. “So you see her laughing and being close with Philip, and then at the same time you see her deep pain that he’s going off on this other course.” Rachel Weisz was also taken with how Grainger expressed mixed feelings towards her character. "Holliday is a fantastic actress. She has grace, wit, intelligence, great beauty – and I really believed her,” says Weisz. “Louise does not trust my character, and every scene I'd look over at Holliday and she'd be looking at me like she just wanted to remove me from the room, and it was so real.” Louise’s father is Nick Kendall, played by Scottish actor Iain Glen (“Game of Thrones”), who serves both as Philip's godfather and the legal guardian of Ambrose's estate. Glen describes Nick Kendall as “trying to look after Philip's more youthful impulses. He sees Philip as quite hot headed, but he also knows Philip is much adored by his daughter Louise. So Kendall tries to be the steady head - a kind, stalwart man who looks after Philip's best interests."But what exactly are Philip’s best interests when it comes to Rachel? Glen observes, “Kendall’s feelings towards Rachel ebb and flow during the course of the story in a way that I think mirrors the audience. There's great passion in the air, there's great unpredictability and suspense, but Kendall is the one trying to keep a clear view as to what is actually unfolding."Writer/Director Michell was delighted to have his first opportunity to collaborate with Glen. "I've always wanted to work with Iain,” offers Michell, “and we were very lucky to get someone of his stature to play Kendall. He and Holliday Grainger are very important bricks in the construction of the entire film."Adds Loader: "Iain Glen brings a benign goodness that shines out of him, so you feel his affection for Philip, but you also see a steely interior, and consequently it's pretty obvious when he disapproves of Philip's actions. He has to be the counter balance to Philip's impetuous obsession with Rachel.”Rounding out the main cast is one of the story’s most shadowy characters: Rachel’s Italian compatriot and lawyer, Rainaldi, whose true role in her life is a mystery that begins to eat away at Philip.Italian actor Pierfrancesco Favino (RUSH, WORLD WAR Z, NIGHT AT THE MUSEUM) relished the opportunity to play Rainaldi. He explains: "What I like about this movie is that you never completely know what's real and what's not. With such an ambiguous character as Rainaldi, you have to play it between the lines, which for an actor is tremendous fun."Says Michell, “Rainaldi is cunning, he's threatening, and he’s charismatic, but he always has a strange ambivalence about him, which fits what I wanted to do with the story so well. He's a really marvellous actor.”Adds Loader: "Rainaldi is right at the core of the ambiguity. He is possibly a rogue and possibly having an affair with Rachel and he's a foreigner that nobody trusts -- and yet it's all carried off with a kind of dazzling smoothness on the surface."A DARK ESTATE, A DANGEROUS COASTTo bring the detail and beauty of the 19th century to life, Roger Michell worked with a close-knit team of collaborators, including director of photography Mike Ely, production designer Alice Normington and costume designer Dinah Collin. Exactly when the novel is set is unclear: Michell chose to place his screenplay in the late 1830s, just on the brink of the radical and rapid changes of the Victorian Age. That is between Austen and Dickens and just before the coming of railways that would so alter rural English society. “This allowed Roger to use to explore a society on the cusp of transition,” observes Kevin Loader. “He set the film at the very beginning of the industrial revolution, when change is just starting to encroach on the countryside.”Casting the estate was nearly as involving an enterprise as casting the main characters, since it too had to have a strong, mystery-laden personality. Ultimately, the filmmakers settled on Surrey’s West Horsley Place in the southeast corner of England. This sprawling medieval house, constructed between the 16th and 18th centuries, had not been touched for many decades so it had both the decrepitude and the potential that was needed to create an estate that transforms with Rachel’s arrival. The filmmakers had made a serendipitous find. It turns out that West Horsley Place was about to be renovated by a new owner, the historian and broadcaster Bamber Gascoigne and that meant production designer Alice Normington and her team had relatively free rein before the new construction began.Explains Normington: "Unlike National Trust houses, where you're governed by a lot of rules, Bamber runs this, so we had so much freedom. He was amazing to us, and this great house gave us an exciting blank canvas on which to create."Normington set out with passion to create Philip’s mud-crusted, dusty surroundings and then to bring them to life with Rachel’s sudden and disruptive entrance. Loader comments: “West Horsley is really a big farm house, which is exactly what we needed. It allowed us to transform it from a house that was largely occupied by men, dogs and mud before Rachel arrives to a place that feels much more civilized, and with a lightness of touch, as Rachel's influence takes over."He adds: "This was a beautiful and brilliant opportunity to get a historic house that had yet to be restored and have freedom with it, at least up to a point. The Mary Roxburghe Trust that owns the house, and Bamber, who chairs the trust and inherited the house, allowed us to treat it as a kind of ancient standing set. Its incredible texture would have been impossible to reproduce."Adds Roger Michell: "We were all really surprised when we set foot inside it for the first time. We all rather fell in love – the spirit of the place was so alive and raw.” For du Maurier's granddaughter, Grace Browning, the house was everything she imagined it could be reading the novel. "When I read the book, this is exactly the house that I pictured in my mind,” she offers. “It was a welcome relief to see how brilliantly the house fit the book."Most of all, Normington wanted to create a big impact when Rachel arrives. “I felt things should feel very basic and primitive in Philip’s countryside world, so that Rachel’s arrival with all her mysterious ideas from the world-at-large feels enormous and life altering.” One of Normington's favorite sets in the house is Rachel's bedroom, which Normington describes as "the only room in the house where there is any sign of a woman”. She continues, “The rest of the house is very male-dominated, so we gave this room a strong femininity, though in a dark, mysterious way. We started with the wallpaper, as dark chinoiserie was very popular then in women's boudoirs. It gives us a decorative feel and introduces the blue theme. That started in the novel, and it was always known as the blue room, but I also thought blue was the right color for Rachel."Other locations include Newington House, south of Oxford, which stands in for the home of the nouveau riche Kendall family; Stockers Farm in Rickmansworth where the stable blocks were located; and Old Amersham, a 13th Century village in Buckinghamshire, where all the town scenes were filmed. The Italian sequences at the beginning of the film were shot in Arezzo and Florence. For the coast itself, the production journeyed to Devon, renowned for its sandy bays and steep cliffs. “The beauty of Devon was perfect for exploring the relationship to the sea to that is so important to all of Daphne du Maurier’s writing,” says Loader. The ambience of the locations captured the imagination of the cast as well. Rachel Weisz concludes: “Everything was so authentic. It gave us something real to build the emotions around, rather than polished, fake set pieces.” That same authenticity extended to Dinah Collins’ evocative mid-19th century costumes. Collins dove into research, uncovering a period in England when both men’s and women’s clothing were becoming more practical and workmanlike as the industrial revolution began to churn. As Cousin Rachel was a new widow in the throes of mourning, she could only travel with a few items to England. So Collins dressed Weisz in a spare series of black frocks throughout much of the film that give her a strong but mysterious look. Then she added a range of details. “Cousin Rachel doesn’t have a lot of clothing with her, but she has lots of accessories,” explains Collins, “including her shawl, her riding cape and lots of lacy headwear that contributes to her exotic feel.” One vital item on Collins’ mind from the start was the family heirloom necklace that Philip gifts to Rachel, setting off shock around the estate. In search of a memorable and unusually evocative piece, the costume designer was inspired by a 19th century portrait she’d seen. “Roger had written it as a choker in the script but this was a portrait of a woman wearing a very simple pearl drop that was so elegant,” she recalls. Collins worked closely with a British jeweller to create a similar style of necklace for the film. “We found the most amazingly beautiful pearls, and they look fantastic on Rachel’s skin,” she muses. Collins also enjoyed creating a contrast with Holliday Grainger’s Louise, who wears a brighter, tweedier palette. “Roger wanted her to feel a bit like a tomboy but also fresh and flowery,” notes the designer. Pierfrancesco Favino adored the costumes Collins created for Rainaldi, and the way they highlight the contrast between Rainaldi and the more conventionally dressed Philip. "Rainaldi looks immaculate next to Philip’s rough country man. His look was very carefully studied and so well designed it really helped to create the mystery surrounding the character,” Favino explains. Mystery was one element central to every detail of MY COUSIN RACHEL. Sums up Loader: “MY COUSIN RACHEL is one of du Maurier’s most psychologically sophisticated works. It really taps into all the discomforts of the mind, into our deepest emotions of love and death and their accompanying fears. There had to been an uneasiness beneath the surface throughout the film and that is why it was such great raw material for everyone to work with, both cast and crew.” DAPHNE DU MAURIER (1907 - 1989)She was one of the most popular writers of her times, capturing the zeitgeist, but Daphne du Maurier was also ahead of her times, and continues to be a major influence on modern novelists today– her novels show how the most gripping thrillers, no matter how packed with romantic intrigue, natural forces and adventure, can also illuminate our most private emotions, complex relationships and the power of the past. Like many of her female characters, du Maurier was herself a bold woman who lived on her own terms. She was born in 1907 into an artistic family -- the granddaughter of famed caricaturist George du Maurier and the daughter of well-known stage actors George du Maurier and Muriel Beaumont. Raised amongst all manner of creative types, du Maurier’s frequent family visitors while growing up included J.M. Barrie, creator of Peter Pan, and novelist and screenwriter Edgar Wallace who wrote KING KONG, helping to further ignite a very eager and daring imagination. By the time du Maurier was in her teens she was already getting short stories in print. In 1931, she published her debut novel: The Loving Spirit, the story of three generations of love and loss in a Cornwall family under the spell of the sea. This was followed by a string of major literary successes including Jamaica Inn and Rebecca, both of which would become films directed by the rising master of suspense, Alfred Hitchcock. Now a household name and the highest-paid author of the day – male or female -- du Maurier continued to enjoy tremendous popularity with her novels Frenchman’s Creek, Hungry Hill, Mary Anne, The Scapegoat, The Glass Blowers, The Flight of the Falcon, The House on the Strand and Rule Britannia. My Cousin Rachel was her 8th novel and one of her most talked-about, defining the sharp edge of her insight into the hidden human psyche and the complicated lives of smart, strong women for which she is now known for. Though she was often mislabelled as a romance writer, du Maurier’s refusal to come down on one side or the other of Rachel’s guilt or innocence made the book something quite rare in its time – and helped to showcase the nervy modernism and psychological depths of her writing. Today, du Maurier’s writing is instantly definable to her many fans. Rachel Weisz elaborates: "du Maurier’s stories always have a tightly coiled plot, a thriller-like component, mystery and most especially very strong, interesting women. That’s what makes them still so cinematic.” Actor Iain Glen observes: "I think it's brave writing. You could easily pen Rachel’s story so that it would fall clearly on one side or the other. Du Maurier didn’t do that. Instead, like the very best writing, she puts the onus on the audience as to what to think and feel about it."Grace Browning, Daphne du Maurier's grand-daughter hopes that this new screen version will re-introduce the pleasures of du Maurier to some and bring her books to a new generation. "I think there's much more depth to her writing than many people initially think. She hated that after Rebecca she was tainted with the romantic novelist moniker. Many of her short stories are incredibly dark -- you'd never think they'd been written by her. Her common themes are jealousy, deception, the motivation of people and her characters,” Browning sums up. “They are human themes that are always relevant and I think that's why people keep reading her work.”# # # # # ABOUT THE CASTAcademy Award-winning actress RACHEL WEISZ (Rachel) was recently seen in Yorgos Lanthimos's 2015 Cannes Jury Prize winner, 'The Lobster', opposite Colin Farrell. Her numerous upcoming films include: 'Denial', directed by Mick Jackson, 'Deep Water', directed by James Marsh and alongside Colin Firth, 'Complete Unknown', directed by Joshua Marston opposite Michael Shannon, Kathy Bates and Danny Glover, and Derek Cianfrance’s 'The Light Between the Oceans' with Michael Fassbender and Alicia Vikander. Weisz also serves as producer on a number of upcoming projects including 'Radiator', a darkly comic examination of family life, marriage, age and love, directed by Tom Browne. Additional film credits include, Paolo Sorrentino’s 'Youth', Alejandro Amenabar's ancient Egyptian epic 'Agora', Rian Johnson's international con man adventure 'The Brothers Bloom', Peter Jackson's 'The Lovely Bones', Adam Brooks' romantic comedy 'Definitely Maybe', Larysa Kondracki’s indie political drama 'The Whistleblower', Francis Lawrence's hit thriller 'Constantine', Darren Aronofsky's sci-fi/romantic fantasy adventure 'The Fountain', Stephen Sommers' 'The Mummy' and 'The Mummy Returns', Tony Gilroy’s 'The Bourne Legacy' and Sam Raimi’s 'Oz: The Great and Powerful'. In 2005 Weisz earned a Screen Actors Guild Award, Golden Globe Award and the Academy Award for Best Supporting Actress for her performance in Fernando Meirelles' film adaptation of the best-selling John le Carre novel, 'The Constant Gardener'. In 2012 she received a Golden Globe Best Actress in a Motion Picture Drama nomination for her highly acclaimed performance in Terence Davies' 'The Deep Blue Sea', a film adaptation of Terrence Rattigan's play. Her performance in this independent film also earned her Best Actress awards from The New York Film Critics Circle, and the Toronto Film Critics Association. In the Fall of 2016, Weisz will star in the off-Broadway production of The Public Theater’s 'Plenty'. David Leveaux will direct Weisz in the lead role of the drama which is set in the years following World War II. The play centres around a former secret agent (Weisz) and the fallout her wartime experiences have on her life over the course of two decades following the war.Since graduating from LAMDA (London Academy of Music and Dramatic Art) in 2009 SAM CLAFLIN (Philip) has worked on a number of prestigious projects. Claflin was most recently seen in Lone Scherfig’s THEIR FINEST starring alongside Gemma Arterton and Bill Nighy. Claflin has also recently finished filming JOURNEY’S END in which he plays Captain Stanhope in the screen adaption of R.C. Sheriff’s WWI classic play. Claflin is currently filming Jennifer Kent’s psychological thriller THE NIGHTINGALE, a sequel to the sinister horror film THE BABADOOK starring alongside Aisling Franciosi.Prior to this, Claflin was seen in the lead role of ‘Will’ opposite Emilia Clarke in the film adaption of Jojo Moyes bestselling book Me Before You. 2015 saw him star as ‘Finnick Odair’ for the last time in THE HUNGER GAMES: MOCKINGJAY – PART 2 reprising the role he played in THE HUNGER GAMES: CATCHING FIRE and THE HUNGER GAMES: MOCKINGJAY - PART 1 opposite Jennifer Lawrence, Liam Hemsworth and Josh Hutcherson.2014 was a huge year for Claflin with a number of projects out in cinemas. Sam starred in Lone Scherfig’s film THE RIOT CLUB, based on the London stage play Posh alongside Max Irons, Douglas Booth and Holliday Grainger, which premiered at the Toronto Film Festival. Also released was LOVE, ROSIE. This film version of Cecilia Ahern’s novel Where Rainbows End saw Claflin star with Lily Collins. Earlier in the year Sam appeared opposite Jarred Harris in Hammer Horror film THE QUIET ONES.In 2012 Claflin played the role ‘Prince William’ alongside Kristen Stewart, Charlize Theron and Chris Hemsworth in box office hit SNOW WHITE AND THE HUNTSMAN, which he will follow up with a small role in THE HUNTSMAN: WINTER WAR. The previous year he made a name for himself as youthful missionary ‘Philip’, the romantic lead in PIRATES OF THE CARIBBEAN: ON STRANGER TIDES.Claflin has also starred in a number of outstanding television projects. In 2013 he was seen on screens opposite Hilary Swank in Richard Curtis’ BBC One drama “Mary & Martha,” which was shown to coincide with Red Nose Day and to raise awareness about malaria in Africa. In 2012 Claflin played ‘Jack’ in “White Heat” an epic drama for the BBC charting the lives of seven friends from 1965 to the present day. He starred in UNITED alongside David Tennant, Dougray Scott and Jack O'Connell. In this film for the BBC, Sam played the talented footballer Duncan Edwards in the tragic story of the Munich Air Crash of 1958, which killed and injured a number of members of the Manchester United team.In 2010 Sam was seen in the hit Channel 4 mini-series “Pillars of the Earth” based on Ken Follett’s novel of the same name alongside Eddie Redmayne, Hayley Atwell and Ian McShane. Sam also starred in the critically acclaimed adaptation of William Boyd’s “Any Human Heart” for Channel 4 which won a BAFTA Award for ‘best drama - serial’. Sam played the younger years of lead character ‘Logan’, sharing the role with Jim Broadbent and Matthew Macfadyen. The same year Sam also appeared in THE LOST FUTURE, a sci-fi adventure in which he played ‘Kaleb’ alongside Sean Bean and Annabelle Wallis.Last year, we saw HOLLIDAY GRAINGER (Louise) in Craig Gillespie’s THE FINEST HOURS in which she played the female lead alongside Chris Pine and Casey Affleck. The Disney adaptation of Casey Sherman and Michael J. Tougias’s book is based on a true story about a coast guard rescue attempt in the 1950s. 2016 also saw Grainger in the BAFTA winning HOME a short-film by Daniel Mulloy highlighting the refugee crisis. HOME was released to coincide with World Refugee Day, 20th June and is supported by the UN Refugee Agency. 2017 will see the release of Weinstein’s TULIP FEVER in which Grainger plays ‘Maria’ opposite Dane DeHaan, Alicia Vikander and Jack O’Connell. Grainger is also set to star in the BBC’s adaptation of JK Rowling’s “Comoran Strike”. Alongside Tom Burke, the duo star as private investigators searching for the answer behind a London model’s mysterious suicide. This 7-part mini-series is set to TX later this year.2015 saw Grainger star in the much awaited BBC adaption of LADY CHATTERLEY’S LOVER in the role of ‘Lady Chatterley’. March last year saw Holliday in Kenneth Branagh’s critically acclaimed adaptation of CINDERELLA as one of the stepsisters. The film also starring Lily James, Cate Blanchett and Richard Madden is a visually stunning re-telling which was a huge box office success worldwide. In 2014, Grainger was seen in Lone Scherfig’s film THE RIOT CLUB, based on the London stage play Posh, alongside Sam Claflin, Max Irons and Douglas Booth. Grainger was also seen in one of the titular roles, ‘Bonnie Parker’, in the mini-series “Bonnie & Clyde” opposite Emile Hirsch. Television audiences also saw Grainger in the third series of Sky Atlantic’s hugely successful series “The Borgias,” as she returned to her lead role of ‘Lucrezia Borgia’ alongside Jeremy Irons.Past film credits have seen Grainger in the pivotal role of ‘Estella’ in the critically acclaimed feature adaptation of the Charles Dickens classic GREAT EXPECTATIONS directed by Mike Newell. Prior to this Grainger was seen alongside a stellar cast including Jude Law and Keira Knightley in ANNA KARENINA. Grainger also played the role of ‘Suzanne Rousett’ in BEL AMI, a film drama in which she starred alongside Robert Pattinson.Grainger first garnered attention when she played the role of ‘Emily’ in THE SCOUTING BOOK FOR BOYS, the film previewed to critical acclaim at the London Film Festival. In the same year, she played the role of ‘Mollie’ in Pat Holden’s feature AWAY DAYS. She was also seen in a much lauded adaptation of Charlotte Bront?’s JANE EYRE alongside Dame Judi Dench and Michael Fassbender. Grainger’s extensive television portfolio includes the BBC’s drama “Five Daughters” as well as her role as ‘Sharon Bilkin’ in “Above Suspicion.” She also starred as ‘Dirty Debbie’ in the BBC Three pilot “Stanley Park” and has also taken on roles in “Demons” (ITV), “Merlin” (BBC), “Robin Hood” (BBC), “Any Human Heart” (Channel 4) and “Blue Murder” (ITV). Grainger was also recognized for her character of ‘Charlie Cooper’ in a one-off television adaptation of Kate Long’s novel “The Bad Mother’s Handbook” opposite Catherine Tate and Robert Pattinson in this popular comedy drama. Grainger made her stage debut in the four-handed play Dimetos alongside Jonathan Pryce, Anne Reid and Alex Lanipekun. Grainger played the role of ‘Lydia’ in Athol Fugard's 1975 tale of a reclusive engineer harbouring a destructive passion for his niece. Most recently on stage she has been seen in The Three Sisters at the Southwark Playhouse. IAIN GLEN (Kendall) graduated from RADA in London, winning the Bancroft Gold Medal. ?His past theatre work includes Uncle Vanya (The Print Room), The Crucible (RSC/West End – Nominated for Best Actor Olivier Awards), Hedda Gabler (Almeida/West End), A Streetcar Named Desire (National Theatre), The Blue Room (Donmar / Broadway – Olivier Best Actor Nomination,? Winner Drama League Award), Martin Guerre (West End- Olivier Nomination for Best Actor in a Musical), Henry V (RSC - Evening Standard Nomination), Macbeth (Tron Theatre), Hamlet (Bristol Old Vic – Ian Charleson Award), and Road (Royal Court).Iain’s film credits include THE IRON LADY, the RESIDENT EVIL series, EYE IN THE SKY, SONG FOR A RAGGY BOY, and TOMBRAIDER. He won Best Actor at the Evening Standard Film Awards for his roles in MOUNTAINS OF THE MOON, FOOLS OF FOURTUNE, and SILENT SCREAM (also won the Silver Bear for Best Actor at the Berlin Film Festival).On television, Iain regularly recurred on “Downton Abbey” (Won SAG Award for Best Drama Series Ensemble), “The Diary of Anne Frank,” “Prisoner’s Wives,” “Breathless,” and “Cleverman.”? He also starred as the lead character of the “Jack Taylo”r series for all six television films on Ireland’s TV3. ?He can currently be seen on TV as Ser Jorah Mormont on HBO’s wildly popular “Game of Thrones.”? ?PIERFRANCESCO FAVINO (Rainaldi) was born in Rome on August 24, 1969. He graduated from the Accademia Nazionale Silvio d’Amico and studied with Luca Ronconi.Some of his notable films include: THE LAST KISS and BACIAMI ANCORA directed by Gabriele Muccino, LA SCONOSCIUTA directed by Giuseppe Tornatore, SATURNO CONTRO directed by Ferzan Ozpetek, DA ZERO A DIECI directed by Luciano Ligabue, EL ALAMEIN directed by Enzo Monteleone, L’UOMO CHE AMA directed by Maria Sole Tognazzi, LE CHIAVI DI CASA directed by Gianni Amelio, ROMANZO CRIMINALE directed by Michele Placido, COSA VOGLIO DI PI? directed by Silvio Soldini and LA VITA FACILE directed by Lucio Pellegrini.His foreign film and TV productions include: THE CHRONICLES OF NARNIA: PRINCE CASPIAN directed by Andrew Adamson, MIRACLE AT ST. ANNA directed by Spike Lee, ANGELS & DEMONDS and RUSH directed by Ron Howard, WORLD WAR Z directed by Marc Forster, “Marco Polo” (Netflix), and UNE M?RE directed by Christine Carrière.He was more recently seen in L’INDUSTRIALE directed by Giuliano Montaldo, A.C.A.B. directed by Stefano Sollima, POSTI IN PIEDI IN PARADISO directed by Carlo Verdone, ROMANZO DI UNA STRAGE directed by Marco Tullio Giordana, SENZA NESSUNA PIET? directed by Michele Alhaique, SUBURRA directed by Stefano Sollima and LE CONFESSIONI directed by Roberto Andò.Favino has received the following awards for his roles in film and television: Nastri d'Argento, Golden Graal, David di Donatello, Ciak d'Oro, Premi Internazionali Flaiano, Maximo award RomaFictionFest.VICKI PEPPERDINE (Mrs. Pascoe) is perhaps best known for her role as “Dr. Pippa Moore” in BBC’s “Getting On” which she co-created and co-wrote with Jo Brand and Joanna Scanlan. Twice BAFTA TV award nominated for writing, Vicki has also won five awards for the sitcom, including Royal TV Society and British Comedy Awards. She was executive producer on the recent US adaptation on HBO, appearing in season three as her UK character Dr Moore.?Vicki recently starred as ‘Fiona’ in Julia Davis’s BAFTA nominated “Camping” for Sky and has just finished filming Channel 4’s comedy “The Windsors” in which she plays ‘Princess Anne.’ Vicki plays Mrs Michelson in BBC 1’s upcoming “The Woman in White.”Numbered among her many theatre credits are?The School for Scandal at The Barbican Theatre, The Winter’s Tale for Theatre de Complicite, The Day After Tomorrow at the Royal National Theatre,?and?Beauty and the Beast at The Young Vic.?ABOUT THE FILMMAKERSThe son of an English diplomat, ROGER MICHELL (Written for the Screen, Directed by, Executive Producer) was born in South Africa and as a child lived in Beirut, Damascus and Prague. He started directing plays at school before going on to Cambridge where, in 1977, he won the Royal Shakespeare Company’s Buzz Goodbody Award at the National Student Drama Festival and a Fringe First Award at the Edinburgh Fringe. Michelle has directed plays at the National Theatre, the Old Vic, the Lyric Hammersmith, the Donmar Warehouse, Hampstead, the Royal Court, the Almeida, in the West End, on Broadway and elsewhere. For six years, Michell was Resident Director at the Royal Shakespeare Company in Stratford and in London. In the early 1990s, Michelle began directing for film and television. His work for television includes the award-winning miniseries “The Buddha of Suburbia,” marking the first of his many collaborations with writer Hanif Kureishi; documentaries for the BBC; and a number of commercials. His latest work for television includes “The Lost Honour of Christopher Jeffries,” which won both BAFTA and RTS Awards for Best Mini Series and a Best Leading Actor BAFTA accolade for Jason Watkins and “Birthday,” starring Michell’s wife Anna Maxwell Martin and Stephen Mangan, winning the best single drama award at FIPA in Biarritz.Michell’s features as director have included PERSUASION, which starred Amanda Root and Ciaran Hinds, for which he won a BAFTA; MY NIGHT WITH REG, adapted by Kevin Elyot from the latter’s play; TITANIC TOWN, winning awards at both Emden and Locarno, and for which Julie Walters received an IFTA Award nomination; NOTTING HILL, starring Julia Roberts and Hugh Grant, for which he received the Evening Standard British Film Awards’ Peter Sellars Award for Comedy and an Empire Award; CHANGING LANES, starring Ben Affleck and Prism Award nominee Samuel L. Jackson; THE MOTHER, which won the Cannes Europa Award and for which Anne Reid was honoured by the London Critics’ Circle Film Awards; ENDURING LOVE, for which Michell received the Directors Guild of Great Britain Award, European Film Award, and British Independent Film Award (BIFA) nominations as Best Director; VENUS, the winner of best film at the Seville Film Festival, and for which Leslie Philips won the BIFA as Best Supporting Actor starring opposite Peter O’Toole, who himself was nominated for an Academy Award and Golden Globe for Best Actor; MORNING GLORY, starring Rachel McAdams, Harrison Ford, and Diane Keaton; HYDE PARK ON HUDSON, starring Bill Murray as FDR, a role for which he received a Golden Globe nomination; and LE WEEK-END, starring Jim Broadbent, who won the Best Actor award at the San Sebastián International Film Festival and Lindsay Duncan, who won the BIFA for Best Actress. The film also garnered a BIFA nomination for Best Screenplay for Hanif Kureishi.KEVIN LOADER (Produced by) is one of Britain’s most experienced film and television producers. His most recent film work includes producing Armando Iannucci’s political drama THE DEATH OF STALIN. He also acted as Executive Producer on Benedict Andrews’ first feature film, UNA.Loader’s early career was at the BBC, starting in news and current affairs before making arts programs for strands such as “Arena” and “Omnibus,” before setting up and being managing editor of “The Late Show.” He moved to BBC Drama in 1990. His productions there over six years included the award-winning mini-series “The Buddha of Suburbia” and “Clarissa.” He was Executive Producer on a range of BBC dramas, including the award-winning series “Holding On,” “The Tenant of Wildfell Hall,” “Our Friends in the North” and “The Crow Road.”He left the BBC in 1996 to run a film company for Sony Pictures and Canal+, The Bridge. His first feature film as producer was CAPTAIN CORELLI'S MANDOLIN, starring Nicholas Cage, Penelope Cruz and John Hurt. Subsequent producing credits include Armando Iannucci’s Oscar-nominated IN THE LOOP, Sam Taylor-Johnson’s NOWHERE BOY, Andrea Arnold’s WUTHERING HEIGHTS, Julian Jarrold’s film version of BRIDESHEAD REVISITED, and ALPHA PAPA: THE ALAN PARTRIDGE MOVIE. THE LADY IN THE VAN, a huge hit at the UK box office, marked Loader’s second collaboration with Nicholas Hytner and Alan Bennett after he produced 2006’s film of Bennett’s award-winning play THE HISTORY BOYS. Loader and Michell’s Free Range Films, has produced most of Michell’s British films over the past fifteen years, including LE WEEK-END, starring Jim Broadbent and Lindsay Duncan; VENUS, for which Peter O’Toole received his final Oscar nomination; THE MOTHER, starring Daniel Craig and Anne Reid; the film of Ian McEwan’s ENDURING LOVE; and HYDE PARK ON HUDSON, starring a Golden Globe-nominated Bill Murray as FDR. The pair also made the ITV Drama “The Lost Honour of Christopher Jeffries,” which won both Bafta and RTS Awards for Best Drama Serial in 2015.He is currently in development on several new projects with Michell, as well as Armando Iannucci’s DAVID COPPERFIELD, and Morgan Matthews’ “Gypsy Boy”.MIKE ELEY, B.S.C. (Director of Photography) began his career working on high profile documentaries, then moved into features and television drama. In 2000, he works on Ken Loach’s THE NAVIGATORS and then in 2002, he shot the documentary feature TOUCHING THE VOID with director Kevin McDonald, winning a BIFA Award that year for Best Technical Achievement.He has collaborated many times with director Susanna White, most notably on BBC’s “Jane Eyre,” for which Mike received an Emmy Award nomination and won the RTS Award for Best Cinematography, In 2007, Eley shot the HBO film “Grey Gardens” with director Michael Sucsy, for which he earned his second Emmy nomination. In 2009, he re-teamed with Susanna White for the feature film NANNY MCPHEE RETURNS and then again worked with White in 2011 for the BCC/HBO production of “Parade’s End,” garnering his third Emmy award nomination. His most recent collaboration with the director is the upcoming WOMAN WALKS AHEAD.In 2012, Eley shot Clio Barnard’s acclaimed feature THE SELFISH GIANT, for which he won a Best Cinematography Award from the Dinard Film Festival. Eley’s work on THE LOST HONOUR OF CHRISTOPHER JEFFERIES earned him both BAFTA and RTS awards.Recent credits include the two-part BBC film THE OUTCAST, directed by Iain Softley, and Simon Aboud’s feature THE BEATIFUL FANTASTIC. ALICE NORMINGTON (Production Designer) is an award-winning production designer, whose vibrant career spans over two decades.Normington’s impressive resume includes television projects such as “The Woman in White” for the BBC, for which she received the BAFTA Award for Best Production Design in 1998. She has also worked on the BBC’s “Great Expectations,”, which also garnered her a BAFTA nomination and won the RTS award for best production design . Normington was awarded a third BAFTA nomination for her work on ‘White Teeth’ (2003) for Company Pictures. Other television credits include ‘The Secret World of Michael Fry’ (2000), a co-production between Endor Pictures and C4, and ‘Birthday’ (2015) for Sky, starring Stephen Mangan.Normington’s work in film includes Anand Tucker’s Hilary and Jackie (1998), which was nominated for two Academy Awards, as well as several BAFTAs. Further film credits include John Madden’s PROOF, starring Gwyneth Paltrow, Jake Gyllenhaal and Anthony Hopkins, Julien Jarrold’s BRIDESHEAD REVISITED, staring Emma Thompson, Ben Wishaw and Matthew Goode and the four-time BAFTA nominated NOWHERE BOY directed by Sam Taylor-Johnson and staring Aaron Taylor-Johnson and Kristin Scott Thomas.Most recently, Normington has worked on Lone Sherfig’s THE RIOT CLUB and Sarah Gavron’s SUFFRAGETTE, for which she recently won the European Film award 2016 for best production design starring Meryl Streep, Helena Bonham Carter and Carey Mulligan.She has recently teamed up again with Lone Scherfig on THEIR FINEST. Alice has worked on numerous commercials all over the world alongside her work in film and TV drama .KRISTINA HETHERINGTON (Film Editor) is a BAFTA award winning editor who has enjoyed great success collaborating with some of the industries finest directors within both film and television.In 2010, Hetherington edited Philip Martin’s MO starring Julie Walter which was met with a wealth of critical acclaim and won her the BAFTA Award for Best Editing Fiction/Entertainment. This was to be the start of a number of collaborations with Philip Martin including cutting his feature film JAPAN IN A DAY, the series “Agatha Christie’s Poirot: Murder On The Orient Express,” WALLANDER and Working Title’s BIRDSONG starring Eddie Redmayne for which she received another BAFTA nomination for Best Editing: Fiction in 2012. Other editing credits include Aisling Walsh’s THE ROOM AT THE TOP, Stephen Frears’ LIAM for the BBC, Brian Percival’s NORTH & SOUTH and Susanna White’s Emmy nominated “Parade’s End” starring Benedict Cumberbatch and Rebecca Hall.In 2013 she cut the feature LE WEEK-END starring Jim Broadbent and Lyndsay Duncan which was the start of a fruitful relationship with director Roger Michell. Shortly after she worked again with Roger on THE LOST HONOUR OF CHRISTOPHER JEFFERIES written by Peter Morgan with Jason Watkins in the title role, for which she won an RTS West Craft Award. She then went on to cut his a television film “Birthday” starring Anna Maxwell Martin and Stephen Mangan based on the play by Joe Penhall.2015 saw Hetherington cut director Chris Smith’s DETOUR for Dan Films starring Ty Sheridan and Emory Cohen and then two episodes of the highly praised Netflix original series “The Crown” working alongside Philip Martin again and director Stephen Daldry.Hetherington is currently working on Julian Farino‘s “The Child In Time” for the BBC starring Benedict Cumberbatch.ANITA OVERLAND’s (Co-Producer) most recent work includes FAR FROM THE MADDING CROWD directed by Thomas Vinterberg and starring Carey Mulligan, Matthias Schoenharts, Michael Sheen and Tom Sturridge. Prior to this Anita Co-Produced RUSH directed by Ron Howard and starring Chris Hemsworth and Daniel Bruhl, THE IRON LADY directed by Phyllida Lloyd, with an Oscar and BAFTA winning performance by Meryl Streep. Overland produced the RED RIDING TRILOGY of films for Andrew Eaton at Revolution Films. Prior to Red Riding, she co-produced THE YOUNG VICTORIA starring Emily Blunt, Michael Winterbottom’s A MIGHTY HEART starring Angelina Jolie and TRISTRAM SHANDY starring Steve Coogan.Overland previously produced IN THIS WORLD which won the Golden Bear at the 2003 Berlin Film Festival and Best Film in a foreign language at the BAFTA’s. she also produced award winning TV series “The Book Group,” and “The Tribe” for Director Stephen Poliakoff. In 1994, she produced a short film SYRUP, which won the Cannes Jury prize and was nominated at the BAFTA’s and 1995 Oscars. Overland’s line producing credits include BREAKING AND ENTERING for director Anthony Minghella, THE CLAIM and WONDERLAND, SIMON MAGUS and MY SON THE FANATIC. Before her career in feature films, she produced many award winning commercials and music videos.DINAH COLLIN’s (Costume Designer) costumes have featured in some of the most seminal television dramas and films for over the past two decades. Perhaps her most well know television work was in the BBC’s 1995 version of ‘Pride and Prejudice’, for which she won an EMMY Award for Best Costume. She’s also won a BAFTA for BBC2’s ‘Portrait of a Marriage’. In 2016, Dinah’s work was seen on the big screen in ‘Dad’s Army’ a film remake of the classic British sitcom, staring Catherine Zeta-Jones and Bill Nighy and most recently ‘The Infiltrator’ starring Bryan Cranston and Diana Kruger which hits cinemas in September. Dinah recently finished production on the period mystery ‘My Cousin Rachel’ directed by Roger Michel.RAEL JONES (Music By) is a composer and multi-instrumentalist, based in London. Sony Classical released Jones’ score to the Weinstein Company feature SUITE FRAN?AISE, starring Michelle Williams, Kristen Scott Thomas and Sam Riley and directed by Saul Dibb. The film is based on the Irène Némirovsky novels about the German occupation in France, with a stunning orchestral and piano score recorded and mixed at Abbey Road Studios. Jones is currently writing for Hulu & ITVs 8-part series “Harlots,” set in the 18th Century brothels of London, and written, directed and produced entirely by women. The boldly anachronistic soundtrack mixes heavy electronica and stoner rock genres, reflecting the present-tense experiences and rebellious nature of the women depicted in the program. His other scores include SUPERSONIC, the Oasis feature documentary from the producers of the Oscar winning AMY; the TV adaptation of Zadie Smith’s NW directed by Saul Dibb, the coming-of-age drama “Kids In Love,” starring Cara Delevingne and Will Poulter, and the feature documentary STILL THE ENEMY WITHIN about the British Mining strikes of the 1980s. Jones has also contributed additional music for the four series of the BBC’s hit drama “Sherlock,” working with composers David Arnold and Michael Price. He was nominated for an Emmy for his work on the series in 2016. Other Additional Composition credits include EVEREST, HORRID HENRY: THE MOVIE; and ISLAND. Creatively and technically adept and flexible, Jones has adopted many roles on feature films including: Music Producer, Orchestrator, Music Editor, Music Programmer and Session Musician. Jones worked on Tom Hooper’s film adaptation of LES MIS?RABLES as Additional Orchestrator, Music Editor and Music Programmer, for which he won a Golden Reel Award at the 2013 MPSE Awards in LA. Other notable film credits include STEVE JOBS, THE DANISH GIRL, ALAN PARTRIDGE, THE INBETWEENERS MOVIE and HYDE PARK ON HUDSON (as Music Editor), and WILD TARGET and WILD CHILD (as Music Producer). Jones has a very strong musical background, rooted in classical training from the age of 6. He graduated from the Tonmeister Course with First Class Honours, winning both available prizes for Composition. His writing stems from improvisation and live performance, and he is a highly accomplished player of many instruments: from Piano, Guitars and Drums to quirkier items like Autoharp and Musical Saw. Never one to shy from the limelight, Rael regularly plays gigs around the UK, including touring and TV appearances as a guitarist with Guillemots front man Fyfe Dangerfield, as well as with his own band Thumpermonkey. He has also appeared on BBC “One’s Junior Apprentice,” as a composer working with the finalists. Jones released a solo instrumental album Mandrake last year to critical acclaim.RachelRACHEL WEISZPhilipSAM CLAFLINLouise HOLLIDAY GRAINGERKendallIAIN GLENRainaldiPIERFRANCESCO FAVINOCouchSIMON RUSSELL BEALESeecombeTIM BARLOWJohnBOBBY SCOTT FREEMANWellingtonTRISTRAM DAVIESParson PascoeANDREW HAVILLMrs. PascoeVICKI PEPPERDINEMary PascoePOPPY LEE FRIARBelinda PascoeKATHERINE PEARCEDoctorROY SAMPSONAdamADAM LOXLEYJoshuaANDREW KNOTTYoung LadALEXANDER ARNOLDGeoffreyCARL McCRYSTALGabrielDORIAN LOUGHWilliamTOBIAS BEERTessHARRIE HAYESTimothyCHRIS GALLARUSSingerNEILL MACCOLLPig FarmerWILF WALTERSMarket GirlMARGARET MICHELLPhilip at 2CORIN CHATWINPhilip at 4SPARROW MICHELLPhilip at 6AUSTIN TAYLORPhilip at 10LOUIS SUCStunt CoordinatorLEE SHEWARD Stunt PerformersJAMIE EDGELL KIM McGARRITYMATT CROOKPETER OLIVANTROB JARMANSEON ROGERSUnit Production ManagerNICOLA MORROWFirst Assistant DirectorBARRIE McCULLOCHSecond Assistant DirectorTOM RYESupervising Art DirectorCHARMIAN ADAMSArt DirectorANDREA MATHESONStandby Art DirectorSOPHIA STAPLETONSet DecoratorBARB HERMAN-SKELDINGAssistant DecoratorHANNAH WILLSSet Decorator BuyerHANNAH SPICELead DresserPETER WOODOn-Set DressersTIAGO LISBOAANTHONY PARNELLConcept ArtistsJONATHAN HOULDINGELO SOODECalligraphyDEBORAH HAMMONDGraphic ArtistsKELLIE WAUGHSARAH PASQUALIResearcherPHILIP CLARKArt Department AssistantsJELLE REBRYWILL SMITHFood StylistLISA HEATHCOTEFirst Assistant CameraIAN COFFEYOLIVER DRISCOLLSecond Assistant CameraMAIYA ROSELUKE SELWAY“B” Camera / Steadicam OperatorSIMON BAKERCamera TraineeISABELLA ALFONZODigital Intermediate TechnicianJOHN PAXTONVideo Playback OperatorCAMERON DAVIDSONStills PhotographerNICOLA DOVEUnit PublicistsCHARLES McDONALDCLAUDIA KALINDJIANProduction Sound MixerDANNY HAMBROOK, AMPSBoom OperatorCHRISTOPHER DEVLINSound AssistantLEE THOMPSONProperty MasterDAVID HORRILLProperty BuyerJAMES HENDYProp StoremanNEAL KIRKE On-Set PropertySHAY LEONARDSTUART HEADLEY-READProphandsGILES BROWNANTONY PARNELLPost Production SupervisorLOUISE SEYMOURFirst Assistant EditorJO-ANNE DIXONSecond Assistant EditorCHARLIE THORNEAdditional Assistant EditorANDY JADAVJISupervising Sound EditorDANNY SHEEHANGafferPAUL MURPHYBest Boy ElectricGARY HAYLERGenny OperatorsDARREN O’LEARYElectriciansNICK POWELLCHRIS BARROWSEAN DAVISTOBY FLESHERGARY NAGLERJOHN TRUCKLE HOD RiggerGRAHAM BAKERStandby RiggerLIAM DAYKey GripSERGIO BERNUZZIBest Boy GripASHTON LUNNAssociate Costume DesignerRICHARD COOKECostume SupervisorJENNA McGRANAGHANSet CostumiersELIZABETH MOULAILSA WINDSORCostume AssistantsHELEN FELSTEADYANNICK GONDRANALISON LEWISCostume DriverANDREW HUMPHREYCostume BreakdownVICTORIA HALLAMCostume TraineesALICE COX-MORTONCAROLINE FOLEYHair & Make-up DesignerMARESE LANGANProsthetics DesignerBARRIE GOWERHair & Make-up ArtistsKAY BILKRENATA GILBERTAdditional HairdresserJULIO PARODIJunior Hair & Make-up ArtistFRANZISKA ROESSLHUBERCrowd Hair & Make-up SupervisorBARBARA TAYLORCrowd Hair & Make-up ArtistLUCY GARGIULOCrowd Hair & Make-up JuniorCHARLOTTE WHITEWigmakerCAMPBELL YOUNG ASSOCIATESLocation ManagerHARRIET LAWRENCEAssistant Location ManagerLYNSEY COSFORDUnit ManagerDAVID POWELLLocation AssistantsOLIVER BRADBURYPHILIPPA SUTCLIFFELocation ScoutsJONATHON LAWRENCEPAUL TOMLINSONEMMA WOODCOCKCasting AssociateSARAH WILSONProduction CoordinatorVICTORIA ZALINAssistant Production CoordinatorFIONA HARPERProduction SecretarySHANA BAHProduction AssistantELLIOTT COBLEYSpecial Effects SupervisorCHRIS REYNOLDSSenior SFX TechniciansANDY COLLINGSMIKE CROWLEYGRAHAM HILLSMAT HORTONSFX TechnicianALISTER REYNOLDSConstruction ManagerROB BROWNHOD CarpenterLEIGH THURBONOn-Set CarpentersPAUL HOUSECHRIS BROUGHSAM WELLSALEX WELLSSTEVE WILSONGAVIN HOSLERHARRY FULBROOKHOD PainterGUY RUTTEROn-Set PaintLISA COLLINSDANNY MONTAGUEJOHN DAVIESMATT AMOSMATT PARSONSJIMMY ALSOPRAMSI JABBURAL BAKERLANCE SMITHNICK PEARCEStagehandRICKY ALSOPHOD PlastererJAMIE CHURCHOUSESupervising PlastererRAY CHURCHOUSEConstruction First AidLINDSEY WILKINSONHead GreenspersonLUCINDA McLEANAssistant to Mr. Michell & Mr. LoaderCHARLOTTE HILLFinancial ControllerRACHEL PLOSEFirst Assistant AccountantBETTY AINSLIEAssistant AccountantsAMANDA FERNIEJOANNA SANDERSAccounts AssistantHARMEEK SAANDALAccounts ClerkJOVAN AUGUSTIN ST. VILLEPost Production AccountantMAXINE DAVISCrowd Second Assistant DirectorSANDRINE LOISYThird Assistant DirectorDAN COXSet Production AssistantsMARLON BEYER RIEGERNATALIE WRIGHT-CELLACALLUM SAMPSONBase Production AssistantDAVID O’NEILLCast Production AssistantsKIRSTY BARHAMLUKE CARROLLAnimal WranglersA-Z ANIMALSA1 ANIMALSCatering byRED CHUTNEY – FIONA GILBERTChefGRANT CUNNINGHAMFirst AidMORAG WEBSTERLighting Equipment supplied byPANALUX LTD.Transportation CaptainBARRIE WILLIAMSTransportationGRAHAM ASHLEYHASSAN BLALFERGUS COTTERPETER HERSTJEFF HUDSONSTEPHEN RIVENELLLOUISE CORNWELL Minibus DriverTONY GREENVisual Effects byUNIONVFX SupervisorADAM GASCOYNEVFX ProducersTIM CAPLAN NOGA ALON STEINVFX Line Producer IN?S LI YINGVFX CoordinatorZAF JANJUACG Supervisor LUCA ZAPPALACompositing SupervisorJASON HALVERSONLead Compositors IAIN READDILLAN NICHOLLS2D ArtistsOLIVIA BERESFORDTJ DHALIWALTIAGO FARIASHANI HERMONITASKIN KENANALASDAIR McNEILLMERVYN NEWSUSANNA RICCIODAVID SINGERLINDA SPAGGIARIDAN VICTOIREJENNY WANLEWIS WRIGHTFX ArtistsMARU OCANTOSADAM REDHEAD3D Artists GARETH STEVENSONVIVIANE D’ALLAGNOLLINDSEY LO PRESTIJAMIE SCHUMACHERJAVIER ARGENTECamera TrackNOEL O'MALLEYALEXANDER HASILVIO CASTAGNA MUSCELLARAFAEL MARTINSEMANUELE FERNESIRoto ArtistsANDREA ACETOINES BONECAATTILA GASPARETZJAKE GREENCALLUM McNULTYMATTEO OLIVIERICRISTINA SERELLIVFX System Administrator NISHET SHAHVFX EditorEDD GAMLINVFX Coordinator AssistantELLIOT MANDERProduction AssistantLISA DOWNEY-DENTVFX RunnerAMY DENNY-GUERINPost Production CoordinatorROBERT PLATT-HIGGINSSound Editing services provided byPHAZE UKSound DesignPAUL CARTERDialogue / ADR EditorMATT DAVIESFoley EditorOSKAR VON UNGEFoley ArtistBARNABY SMYTHFoley RecordistKEITH PARTRIDGERe-Recording MixersPAUL COTTERELLPAUL CARTERDANNY SHEEHANSound Mix TechnicianRACHEL PARKADR RecordistMARK APPLEBYADR Voice CastSYNC OR SWIMMain & End Titles byHOWARD WATKINSJULIA HALLDigital Intermediate and Re-Recording byGOLDCREST POST PRODUCTIONDigital ColouristADAM GLASMANDigital On-Line EditorsSIN?AD CRONINDANIEL TOMLINSONRUSSELL WHITEHead of ProductionROB FARRISDigital Intermediate ProducerSHAUN RICHARDSDigital Intermediate Assistant ProducerGEMMA McKEONDigital Intermediate Assistant ColouristMARIA CHAMBERLAINDigital Intermediate AssistantsGEORGINA CRANMERLAWRENCE HOOKDigital Intermediate TechnologistLAURENT TREHERNEAdditional Music by JEREMY SAMS Score Orchestrated byRAEL JONES & ANTHONY WEEDENScore Conducted byANTHONY WEEDENOrchestral LeaderJONATHAN MORTONOrchestra Contracted byHILARY SKEWESScore Recorded & Mixed byJAKE JACKSONScore RecordistLAURENCE ANSLOWScore Recorded & Mixed atAIR LYNDHURST STUDIOSMusic EditorAL GREENTemp Music EditorTONY LEWISSecond Unit DirectorKEVIN LOADERDirector of PhotographyMICHAEL WOODFirst Assistant DirectorsDAN CHANNING WILLIAMSZOE LIANGFirst Assistant CameraFRANCESCO FERRARIBRAD LARNERMILOS MOOREKey GripsPETE MYSLOWSKICOLIN STRACHANCranes and Dollies byALPHA GRIPSLocation Manager – DevonCARN BURTONProduction Services in Italy provided byMESTIERE CINEMA SRLLine ProducerENRICO BALLARINProduction ManagerSIMONETTA DI FRESCOUnit ManagerCLAUDIO LULLOProduction CoordinatorREBECCA BOOTH Production SecretaryMARIA PARISI Production RunnerDUCCIO SCHEGGIProduction AssistantsSERENA BUZZI SARA MORETTITransportation ManagerMASSIMILIANO ROCCHETTI Transportation AssistantMARCO FERRERIAccountantBERNARDO GALLI PayrollIVANO LEPSCKYThird Assistant DirectorALESSANDRA FORTUNAArt Director / Set DresserGIULIA BUSNENGO Dressing PropsFRANCESCO POSTIGLIONE COSIMO GIANNUZZI FABRIZIO BIANCHI Dressing Props AssistantsDANIELE BIGNAMI SIMONE MIGLIORINI EMANUELE GERMANOPainterAZZURRA POLIPainter AssistantCOSIMO FREZZOLINIBuilderBERNARDINO NARDONILocation ManagerLEONARDO SEMPLICI Assistant Location ManagerSEBASTIANO VENTURAFacilities ManagerGIUSEPPE MUSCAS Facilities AssistantALESSANDRO BARTOLOMMEISteadicam OperatorALEX BRAMBILLA Video AssistantELENA TORELLI Camera TraineeNICOLA PETRALIA Sound AssistantMATTIA BIADENE GafferSTEFANO MARINO SparksLEONARDO BELTRAME GIANNI GENTILI ALESSANDRO BERTUCCI MASSIMILIANO ALAGIAKey Lights RiggerPAOLO SARTORILights RiggersMATTEO CAOCCI TOMMASO COPPETTA MATTEO ZIROLDIKey GripMARCO ALZETTA GripsANTONIO VIOLA ENRICO FABRIS SERGIO DI TERLIZZI DAVID LISI MARCO MASTROFRANCESCOKey Grip RiggerWERNER BACCIU Grip RiggersNICOLA ZANGRANDO TOMMASO BARATTO CRISTIANO GALZERANOSpecial EffectsMAURIZIO CORRIDORI FRANCO RAGUSAStunt CoordinatorFRANCESCO PETRAZZI Stunt RiggerDEVIS MOCCI Stunt DriverMASSIMILIANO BIANCHIHorse MasterPALMIRO NAGNI Horse DriversSERGIO FALASCA MAURIZIO NENCINIHorse GroomsCARLO ANTONIONI MARCO NAGNIDog HandlerCAROLINA BASILE - MP DOG STARCostume AssistantIRENE AMANTINI Make-up AssistantALESSANDRA BIANCHIHealth & Safety AdvisorFRAMINIA SRL NurseCLAUDIA BUSIInsurance CINESICURT? INTERNATIONAL SRL“LANCASHIRE”Written by H. Smart“DER WINTER IST VERGANGEN”TraditionalPerformed by Poppy Lee Friar & Katherine PearceArranged and Produced by Neill MacColl & Kate St. John“GOD REST YE MERRY GENTLEMEN”Traditional“THREE RAVENS”Traditional LyricsMusic by Neill MacCollArranged and Produced by Neill MacColl & Kate St. John“FLAXLEY GREEN DANCE”TraditionalArranged by Dave Shepard & James Delarre“BANISH MISFORTUNE” Traditional“PRELUDE AND FUGUE IN G MAJOR”Written by Johann Sebastian BachTHE PRODUCERS WISH TO THANK THE FOLLOWING FOR THEIR ASSISTANCETHE MARY ROXBURGHE TRUSTWHP FARM AND THE ESTATE OF GEOFFREY CHICKENTHE NATIONAL TRUSTFLETE ESTATE TOSCANA FILM COMMISSIONCOMUNE DI AREZZOFRATERNITA DEI LAICI, AREZZOCOMUNE DI FIRENZECHIESA EVANGELICA RIFORMATA SVIZZERA, FIRENZETHE FAMILY OWNER OF VILLA PALMIERI, FIRENZE PALAZZO CORSINIPALAZZO GONDIMUNICIPALIT? DI ANGHIARIFilmed entirely on location in England and ItalyALEXA LENSES AND CAMERASPROVIDED BY ARRI Approved No 50809Copyright ? 2017 Twentieth Century Fox Film Corporation and TSG Entertainment Finance LLC.ANIMAL SAFETY AND WELFARE WAS MANAGED ON SET AT ALL TIMES. Twentieth Century Fox Film Corporation did not receive any payment or other consideration, or enter into any agreement, for the depiction of tobacco products in this film.The events, characters and firms depicted in this photoplay are fictitious. Any similarity to actual persons, living or dead, or to actual events or firms is purely coincidental.Ownership of this motion picture is protected by copyright and other applicable laws, and any unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability.?2017 TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS RESERVED. PROPERTY OF FOX. PERMISSION IS GRANTED TO NEWSPAPERS AND PERIODICALS TO REPRODUCE THIS TEXT IN ARTICLES PUBLICIZING THE DISTRIBUTION OF THE MOTION PICTURE. ALL OTHER USE IS STRICTLY PROHIBITED, INCLUDING SALE, DUPLICATION, OR OTHER TRANSFER OF THIS MATERIAL. THIS PRESS KIT, IN WHOLE OR IN PART, MUST NOT BE LEASED, SOLD, OR GIVEN AWAY. ................
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