A Strangelove Films and Galata Films Production

W I L L

Production Notes

DAMIAN LEWIS BOB HOSKINS

KRISTIAN KIEHLING PERRY EGGLETON AS WILL

Directed by Ellen Perry Screenplay by Zack Anderson & Ellen Perry

Produced by Taha Altayli, Ellen Perry, Zack Anderson, Mark Cooper, Muharrem Gulmez, Mustafa Karahan Stephen Moffitt, Timothy Nicholas,

& Stewart Till

Synopsis Eleven-year-old Will Brennan is Liverpool FCs biggest fan. At his boys' school in England, Will's love and knowledge of The Beautiful Game even outshines his football-obsessed mates. But life is turned upside down when his long-absent father, Gareth, reappears with tickets to the 2005 Champions League Final in Istanbul. But before the two can start anew, Gareth dies suddenly, impossibly -- this time leaving Will forever. Searching for a sliver of meaning in a world that seems to have abandoned him, Will runs away to Turkey to honour his father’s memory and to be with his beloved Liverpool F.C. En route, and needing help, Will befriends Alek, a former Yugoslavian football star who abandoned the game after a tragic event during his country’s civil war. Despite his initial reluctance, Alek finds himself inspired by Will's heroic journey and agrees to take him to Istanbul. And thus this unlikely pair of underdogs takes to the road, battling fate and fortune in a desperate bid to prove to themselves that it’s never too late to dream. About The Production Ellen Perry on: What was the origin of the story? My co-writer and fellow producer Zack Anderson was watching TV one night in San Francisco and saw highlights of some barren, soggy mostly empty stadium in England somewhere. There were a few hundred shirtless fans singing the Chumbawumba song, “I get knocked down, but I get up again, you’re never gonna keep me down!” He was fascinated by their primal energy and, as a huge American sports fan, the spark was lit. After discussing many possible narratives, we decided to try and make it more than a typical sports movie, and give it some cultural resonance beyond the pitch. That was five years ago. And we’ve been writing and singing and dancing ever since. Why did you choose Liverpool FC and the 2005 Champions League Final? The match at Ataturk Stadium where Liverpool came from three goals down to beat A.C. Milan on penalties was epic, operatic, impossible but also true. The more we learned about it, the more it seemed the perfect setting for and culmination of Will’s journey. Emotional, exotic, and watched by hundreds of millions worldwide – this was a massive stage on which we wanted to tell an intimate story of one boy’s loss and redemption. But beyond the ’05 Final, Liverpool FC has a special relationship with its fans. Its anthem, “You’ll Never Walk Alone” encapsulates Will’s story, and exhorts one and all to never give up, to never quit on your friends and family, to always strive to be your best. That’s not a bad outlook. Of course there are many other big clubs in Europe and around the world. But Liverpool made the most sense. The Istanbul Final made even greater sense. And having King Kenny Dalglish appear both as a distant memory and also in the flesh was like a gift from the heavens. How did you find ‘Will’ and why did you choose Perry Eggleton? We worked with the brilliant and indomitable Dan Hubbard of Hubbard Casting in London. We saw hundreds of boys from all over the UK, with different accents, looks, and personalities. There were some very good candidates, but Perry had a special shine the second he walked through the door. He also was naturalistic, had perfect rhythm and pitch, and possessed a wonderful memory. And when we had him read a difficult scene with Damian, Perry didn’t hold back. It was very emotional and raw. His

combination of natural talent and willingness to be vulnerable impressed us, as well as his ability to listen and work with the script and director. Though he had no film experience, and only a little on stage as part of the mob in Oliver, his work ethic and talent were the critical deciding factors… as well as that special shine! What was it like filming in Turkey and at the Ataturk Stadium? Turkey was amazing, picturesque. We first filmed in a little village outside of the city of Bursa. It had steep cobblestoned streets and ancient Ottoman-style houses. The villagers sold fresh bread and raspberries in the main square. Even when we were shooting at 3 a.m., there were no complaints for what must have been many sleepless citizens. We shot at a few different locations in Istanbul, as well as at Ataturk Stadium. At Ataturk, the big challenge was how to keep our thousand extras content and in the positions we wanted, beneath a blazing sun and with huge language barriers. Of course we had Turkish assistant directors and producers, but trying to coordinate that many people in a very compressed timeframe was very challenging. Let me stress that the extras, staff and assorted others were tremendously supportive and eager to help. Given that we only had three days at Ataturk, after a gruelling 40-day shoot, of six-day weeks with strict British children’s hours, our crew and cast were exhausted. But we kept up the frantic pace and achieved our goals. Obviously the hospitality, kindness and talent of our Turkish partners, crew, actors and extras made the impossible, possible. We cannot thank them enough, and cannot wait to shoot in Turkey again. Real life Footballers: how did you get Gerrard, Carragher and Dalglish involved? Once we got official approval from Ian Ayre, LFC’s Manager Director, Paul McGrattan worked tirelessly to sign up the players and Kenny. Paul both acts in the film (as Slick Rick, the tout outside Ataturk) and is an associate producer. He’s born and raised in Merseyside, and is good friends with Gerrard, Carragher and Dalglish. Still, with the players’ schedules and Kenny in high demand at the World Cup in South Africa, it was no small feat to attach them. Gerrard and Carragher are Liverpool natives, and Kenny is a legend after his superstar career there both as player and manager. Their close ties to the Merseyside community helped, as did the fact that WILL is a family film that celebrates the passion of ordinary people and underdogs everywhere, not just football fans. Finally, it was Dan Hubbard who introduced us to Paul in the first place, a vital link for which we are eternally grateful. How was it shooting and being on set with the footballers? Were there fans on set? The players and Kenny were sensational. As they are used to playing to packed stadiums, both Gerrard and Carragher were on England’s 2010 World Cup squad (which Gerrard captained), and their coolness showed. We shot Gerrard and Carragher in Liverpool in one day. There were many football fans amongst our crew, but we kept it all professional and focused on the work. This was a film shoot, not an autograph session. That said, a few people did ask for pictures and autographs, and the players happily obliged. Kenny Dalglish came to Istanbul for his scenes. He was also a model of decorum, and delightful to work with. I remember one of our crew members saying, “I found myself looking at King Kenny’s legs, and thinking, Wow, the King’s legs.” The crew member had grown up a huge Liverpool fan, and Kenny was his idol. We had some idea of the stardom of Kenny (as well as Steven and Jamie), but witnessing it firsthand was something else. They are as big as rock stars, but also exceptional human beings. As we had a lot of boys on the set both as actors and extras, it was especially gratifying to see how patient and kind the players and Kenny were with the youngsters. What is the message behind the film you would like audiences to take away from Will’s journey?

There’s an old saying: Instead of complaining about the darkness, light a torch. We are not naive optimists. We recognize the pain and pathos that too often dominates the world. But we wanted to make a film that inspired and respected our audience. We wanted to add our modest light to the sum of light. In fact, I’d have to say that we think about WILL more in terms of experience than message. Hopefully the audience will experience joy, sorrow, excitement, fun, mystery, danger and redemption – and then also beauty; the beauty of the unexpected; the beauty of the trees and the stars and a stranger lending a helping hand for no reason that he believes it’s the right thing to do. In that sense the experience becomes the message: original storytelling that treats each character with love, which discusses humankind’s shortcomings but somehow manages to end on a positive note. So perhaps that’s our message: hope, love, respect for all people and cultures and dreams. Like it or not, we are all in this together – so let’s celebrate the magic of our brief lives by telling entertaining stories that echo in our hearts and souls like cathedral bells – and thus WILL’s song can be construed as an ode to joy, a celebration of faith, a coronation of the underdog in all of us… so that we may be, however briefly, heroes too. Interview with Damian Lewis ‘Gareth’ What attracted you to the film? I was just asked and I like it immediately I liked it. I liked the role itself which is always where you start from then I liked the piece more broadly and Ellen and Zack who wrote it. There’s no magical formula for accepting a film, or at least not for me, you just sense your way towards accepting it or saying no and passing on a film. How does your character fit into the film? I play Will’s dad, Gareth. Gareth is a Scouser, he works on an oil rig, he’s a working class lad, married very young and had this beautiful little boy and then sadly his wife dies which rips him apart and he’s really unable to function and fails totally as a Dad. Will is taken off at that point and put in a foster home ran by Nuns. We meet Gareth again coming back at the beginning of the film to start a new life again with his son and reignite their relationship. Does it help having kids of your own when playing a character like this? Yeah it does actually. I think about my son, I’ve played parents before I’ve had kids and some quite emotionally challenging roles. I’ve often wondered since what it would have been like had I had kids when I played them but you know mostly I’m an actor that engages the imagination rather than goes to real life so but I do think about my own son when I’m filming this, interestingly. Is Gareth based on anyone? He’s not really based on anyone specific but I’m a Liverpool fan and was drawn to the film for different reasons – one of them being that I’d get to meet Steven Gerrard! I’m a Londoner, I’m not a Scouser but I’ve always supported Liverpool FC. Liverpudlians are very quick in terms of their vocal patterns, they’re very quick witted, they’re cheeky and I tried to find elements of that. Was it challenging for you? Well it is because I’m not Liverpudlian and it sounds rather facile but I enjoy accents and it alters you as a character. You have to alter your own rhythms and patterns of speech, your own physicality if needs be. So it is a challenge but I enjoy a challenge and that’s part of it as well. How was it working with Ellen? It’s been great. She’s got enormous drive and conviction but she’s very sweet, she’s nervous and anxious that it does well. She’s incredibly collaborative whilst knowing absolutely what she wants from the film. It’s her first drama feature film, she’s made two very well received documentary films and

there’s a difference between filming fictional narrative than there is to filming documentaries but she seems to me to have a handle on it and people have responded positively to the script. How was the atmosphere on set? I loved it and working with Bob Hoskins and Alice Krige was a real treat, I find myself sitting next to them and turning to them and saying ‘this is a real pleasure to be working with you, this is really great’ What’s emerging is a film about a little boy, Perry, who is a little angel of a boy – he’s enchanting but he’s got a little bit of the artful dodger about him as well. He’s a real character, he’s a find. He’s magical. Interview with Bob Hoskins ‘ Davey’ How would you describe your character? He’s a pub landlord, he deals with a pub full of people which are pretty rough some of them and he has to deal with them. He can handle himself, he’s an old softie really. There is no harm in him. He’ll have a fight but emotionally he has nothing to back it up with you know. How was it working with Perry? He’s extraordinary he’s never had a lesson in his life and he’s a complete natural. This is his first film and he’s never done anything, a little bit of theatre I suppose and he’s brilliant, he’s wonderful and it’s a joy to work with him, it really is. Do you have any advice for a young actor like Perry? The only advice I would give to any actor is don’t study too much because it takes away the element of reality because none of us know what’s going to happen next. If you practice it too much the audience become aware that you know what’s going to happen next. Do you still love acting as much as you did when you first started? Yeah I do, it’s a great game, it’s a nice thing to do and all the little nasty things inside you, and you get to express them you know what I mean. I played the Pope once and I had to be good and I found a seed of goodness a little tiny seed of goodness and bled it to death. But it’s much easier playing ‘nasties’ because you get to get rid of it all, I’d probably be a serial killer if I wasn’t an actor. Are you still learning? Still stealing, If I see something on telly or on a film or on stage I’m like ‘I’ll have that’. I’m still stealing, that’s basically what it is about learning – you steal. You don’t borrow – you never give it back. How was it working with Ellen? Ellen’s very intense and very sort of concentrated and very clear on what she wants and that’s good in a director, that’s terrific in a director – if you can get that in someone who knows what they want it’s half way there. Are you a football fan? When I was a kid my uncle had two daughters and he was an Arsenal fanatic and he used to drag me every Saturday morning to the Arsenal match and the stands. All I saw of football was peoples knees because they were all standing up so I never saw any of it and it turned me right off turned me right off of sport actually unfortunately. How was it working with Damian? He’s great, again he’s a natural you know. He’s doing a Liverpool accent which is not his own which he does it very well. He’s lovely to work with. He’s spot on, he’s lovely. It’s like dancing, It doesn’t matter what I do and it doesn’t what he does its what we do together that’s a relationship. It’s a natural relationship that you would find in any human being. He’s very much a human being.

Interview with Kristian Keihling ‘ Alek’ How did you get cast? I sent in an audition tape as I really wanted to be in the film. From the first moment Ellen and I met I knew I could trust her completely. It’s one of those rare things, usually it takes a long time. She is precise, she sees the whole film, she has a vision. Tell us about Perry… Young man Perry is the most amazing person I’ve ever met in my life, he’s 12 and he carries the whole film on his shoulders and he does it with such grace and he worked so hard. Our first meeting was quite special, I remember we met in a drama school and it was the first rehearsal we ever had and our first meeting. We were both very shy, and I just told him I am in the same state as you. That broke the ice. He is so strong but also so sensible at the same time. It’s a very special combination. He’s fun to have around, he’s hilarious and above all he’s a great actor. He is a very natural actor. We bonded very quickly and I think it’s an amazing thing, it’s like the end of Casablanca, it’s the start of a beautiful friendship! Tell us about Ellen.. Ellen is someone who knows exactly what she wants and she has this amazing ability to assemble a team, to assemble a cast and a crew. She knows what she wants and she has this talent for bringing people together. She also has very high energy. There are not many women directors in the film business, because it’s so difficult but she’s fearless. I adore her for creating what she has with Zack. She’s directed it, written it and raised the money. She’s a one woman wonder! Did you have to do a lot of research for your role? When I got this part I couldn’t believe it, I kept pinching myself, it sank in days later so I started to get scared, it was such a big task so I immersed myself in research. My character is from Bosnia and it was one of the worst affected areas during the war, so it was very important to do the research. Did your research contribute? Yeah, I tried to find out what was this war? What was it about? Who was in the right who was in the wrong? But that was very naive because if you’re in a War situation it’s not black and white. What is your character, Alek’s, back story? Alek had been a professional Footballer. Shortly before the Bosnian civil war broke out he had his first contract with a professional team and he’s doing very well, he’s very talented and on his way up. Then of course the Civil War broke out and so he stopped playing for a while, he played a bit during the war as he was staying put though it was under siege. Many people left the country, he didn’t and then after 1 or 2 years of waiting for the War to stop, many players and clubs got together to staged illegal games between themselves in safe areas and that’s where Alek excelled himself as a player but also as a guy who committed himself to football and got the whole thing going. Then after the War when his team got his sponsorship back he started again and was just about to join a club abroad like Liverpool and this thing happens with the boy and I’m not able to play anymore. How does your character fit in to the story? I like to call him the driver, the pilot that gets Will, the hero of the story, to the Champions League final in Istanbul. Alek literally drives the car. And he is the guide and friend, and he is a father figure to Will. Did you find it challenging? I’m Latvian so that’s my first language and then I learned German as my second language and a bit of Russian but English is not my first language so that is obviously challenging to work in a language that’s a bit further away from you than your mother tongue and of course this part, the script and the lines, it’s so brilliantly written that it makes it easier.

Interview with Perry Eggleton ‘Will’ How long you been acting for? A year. How did you get into it? It started with me going to see a stage school but I didn’t like it so I walked out. They came running out the door saying “has Perry got an agent?” and we said no so we went back in and signed with the agency. Three days later I had an audition for Oliver so we did that, I got the part and then I had an audition for WILL. I had to be pulled out of Oliver early so I could do this and well here I am. Do you prefer theatre or film? Film. How was your audition for WILL? My audition was definitely not my favourite bit of the film at all, that was tough, but I did it and I’m here! I had to learn 3 or 4 scenes of the film and then deliver them to Ellen. Do you find learning your lines easy? Learning lines has definitely been easy, I don’t find learning things that I want to know difficult but things that I don’t enjoy I can’t remember at all. How was it working with Ellen? Ellen is really good at what she does and actually makes it enjoyable for everybody. If you could be in any time of movie what would it be? I would be in an action movie. What were the tough and fun scenes? The tough scenes for me have been all the big emotional scenes but the fun ones have definitely been when we were in Ramsgate. It was my favourite because that was about as close to an action film as I’m going to get. What was it like working with Kris? It’s probably been the best part of the film, he’s a really nice guy and it’s been great fun working with him. What do you take away from this film? Kids can do things by themselves. It proves that if you follow your dreams you always get to where you want to go. Interview with Jamie Carragher, Steven Gerrard and Paul McGratten How did you get involved in WILL? Steven: The film was first mentioned to me through the football club and we got excited when we heard about the script and went from there really. Jamie: Same sort of thing, Ian is the commercial director of the club and I think the people organising the film got in touch with him and it’s gone from there. The game was a very special game and I’m sure in years to come there’ll be things popping up about that match and as I said this is a small bit of the film but I still feel it will do well. How was acting for you? Steven: It was difficult for me because you’re out of your comfort zone, it’s not natural to be but the more you do you get a little bit more comfortable and you get some good tips off the director, how to do it properly and try your best.

Are you going to take up acting after football? Steven: I’d need an awful lot of lessons to make my acting good! I’m giving it my best so we’ll see how it turns out. Jamie: I’ll be staying in football I think, Perry will go on to bigger and better things though. Steven: I think it’s really difficult for us. We’re outside of our comfort zone. We’re comfortable with a ball and playing football Jamie: Well not all time! Steven: No not all the time! The standard of acting by Perry has shown us the way – I really hope he goes all the way to the top. Your friend is in the film as well? Steven: Yeah a really good friend Paul McGratten is in the film, he plays a ticket tout in the movie. How’s it going to be going back to Ataturk where it all happened? Paul: I’m really looking forward to it, I mean I’ve followed Liverpool all around the world and it was probably the best night of my life as I’m sure it was Steven and Jamie’s. To be back there and doing something I’ve been trying to do for years in my biggest role with the biggest budget is amazing. Steven: The good thing for us is Paul always comes watch us play a game and if we haven’t played well he has a go at us and tells us what we’ve done wrong so now the shoe is on the other foot, the pressure is on Paul to deliver and do well in this film or I’ll be giving him some criticism! Can you talk about the Champions League final in 2005 because what happened in that match is what the whole film is about – never giving up. Steven: Yeah well that’s why I think we’re here as well, we are just so proud of that night. It gives a great message out to kids to never give up even if you’re being beaten by a load of goals or anything that life throws at you, you can turn it round if you keep trying Jamie: A lot of football films are hard to re create when you watch them on film and I think it’s good that this film is about the journey and how they got there, we all know what happened in the game. I think everyone’s seen it a million times so I think we all know now so it’s good to have a little bit of it in the film. Paul: They’ll never get tired of talking about it. Interview with Kenny Dalglish How did you get involved in the film? I got a phone call from Paul McGratten who said that Steven and Jamie were doing a bit so did I want to come in it? He explained a little bit about it and said obviously it’s coming back to Istanbul for a young lad who couldn’t get a ticket and could I help out so I said it’s not a problem I’ll have a go. Actually I don’t think I did my homework, I didn’t anticipate what I was letting myself in for, I got sent a script and I never read it and then I got sent an e-mail and I never read it so it was my fault really! I didn’t know there were so many words to come out of my mouth for the movie. But, as I say it’s really interesting to see how a movie is made. It’s about a little boy who hasn’t had the best life and he come out to see a little bit of excitement from football. It’s not really about football, it’s about life and I’m sure a lot of people can relate to the story themselves. Is WILL your first film? First and last, might as well get them both in at one time! The cast and crew have been patient with me because it’s not something I feel too confident with, having to learn lines and speak lines but the good thing is they allow you to have a bit of licence yourself and use words I am more accustomed to using than what is in the script but that mean the same thing. And it is Ellen Perry’s first fiction film too She’s been very helpful to everybody on set, she’s very calm and as I say she gives you a little bit of license to do what you feel most comfortable with as long as it doesn’t affect the point of the scene. She makes people feel comfortable.

How was working with Perry? He’s brilliant the wee boy, he never fluffs a line he just gets everything out perfectly and on he goes. It must be difficult for a young boy, I mean he’s 11 years of age, it takes a lot of concentration. It’s a great effort from his parents as well to come out and make sure he’s well looked after and cared for so they give him the proper support. From what I’ve seen if it’s anything to go by, I’m sure if he wanted to be an actor he’s made a fantastic start to his career. Why do you think football means so much to the fans and why are they so passionate? Football fans in general but Liverpool fans in particular are very passionate. It’s always been a football club that’s enjoyed fantastic support for over 40 years now. I think you get attached to something and you go into it and love it and you don’t want to let go. If there’s an opportunity you have to go along and support it. It’s an awful lot of peoples dream to put on a football shirt of a team that you support. Equally when you’ve worn the shirt you can continue to be a fan, it’s just a community thing and the feeling of being wanted and the feeling of being part of something. Football has always been fantastic family fun.

Liverpool FC & The 2004/2005 Champions League Liverpool FC are one of the most successful clubs in English footballing history, they have won 18 League Titles, 5 European Cups, 7 FA Cups, 7 League Cups and 3 UEFA Cups. Liverpool FC have a reputation for having the most dedicated supporters, travelling far and wide to see the team play in Europe and never giving up on the team even when defeat seems inevitable. The Champions League final in May 2005 is regarded as one of the greatest comebacks in sporting history, with the team delivering a most spectacular second half performance to win the game. Having beaten Chelsea in the semi-finals, with a controversial goal from Luis Garcia, Liverpool faced AC Milan in their first Champions League final for 20 years. The final took place at the Attaturk Stadium in Istanbul, Turkey on Wednesday 25 May 2005. AC Milan were 1 – 0 up after 1 minute and by half time had increased the score to 3 – 0. Any hope of winning seemed dashed for Liverpool FC but in the second half, the captain Steven Gerrard and the supporters in the stands pushed the side to an unexpected come back. Within 15 minutes the score was 3 – 3 and it soon seemed to be the Liverpudlians’ night. The score stayed at 3 – 3 when the final whistle blew and after 30 minutes of nail biting extra time the outcome was to be decided by a penalty shoot out. With goalkeeper Jerzy Dudek on fine form and Hamann, Cisse and Smicer on target Liverpool won the game 3 – 2 on penalties. Steven Gerrard lifted the Champions League Cup to the delight of Liverpool FC fans across the world. Cast Biographies Damian Lewis ‘Gareth’ Damian Lewis’ extensive film credits include The Escapist, Stormbreaker, Chromophobia, Friends and Crocodiles for director Stephen Poliakoff and Keane. He will next be seen in David Gordon Green’s Your Highness, co-starring James Franco, Danny McBride, Zooey Deschanel and Natalie Portman. On television Lewis is best known for his award winning performance in the Steven Spielberg and Tom Hanks produced HBO series Band of Brothers. Also on television he has starred in Life for NBC Universal, Much Ado About Nothing and Warriors for the BBC, Confessions of a Diary Secretary, The Forsyte Saga and Hearts and Bones.

On stage Lewis has performed for the National Theatre in Pillars in the Community, the Almeida Theatre in Five Gold Rings, the Donmar Warehouse in Into the Woods and in Cymbeline and Much Ado About Nothing for the Royal Shakespeare Company. He most recently starred in The Misanthrope opposite Keira Knightley in the West End. Bob Hoskins ‘Davey’ One of the UK’s best loved actors, Bob Hoskins has worked with a vast range of directors and has been nominated for numerous awards. He has starred in A Christmas Carol and Who Framed Roger Rabbit? for director Robert Zemeckis, Mrs Henderson Presents for director Stephen Frears, Last Orders for director Fred Schepsi, A Room for Romeo Brass and Twenty Four Seven for director Shane Meadows, Nixon for director Oliver Stone, Hook for director Steven Spielberg, Brazil for director Terry Gilliam and The Cotton Club for director Francis Ford Coppola. He was nominated for an American Academy Award for Best Actor for his role in Mona Lisa and was nominated for a BAFTA award for Best Actor for The Long Good Friday. On television he has starred in The Street, The Wind in the Willows, David Copperfield and Pennies from Heaven for the BBC. Hoskins has also worked with director Jonathan Miller in The Beggar’s Opera and Othello. Hoskins directed the film My Father the Liar, and directed and co-wrote, with Nicole de Wilde, The Raggedy Rawnwy. He also directed Tales From the Crypt for HBO. He was most recently seen in Made in Dagenham co-starring Sally Hawkins. Kristian Kiehling ‘Alek’ Kristian Kiehling’s film credits include Terra Nova, I Want Candy and Pura Vida Ibiza. On UK television he has appeared in All the Small Things, The Bill, Waking the Dead. On German television Kiehling has appeared in Uber Den Wolken, Traumschiff and Unser Charly for ZDF. As well as Die Armen Millionare and Die Wache for RTL. Kiehling has also performed on stage in London, Stuttgart and Koln. For the Royal Court Theatre he starred in Oxford Street, in Stuttgart he appeared in Paradies, My Love and The Killer In Me is The Killer In You and for the Schauspielhous in Koln, he performed in Graf Oderland, Schattenjungs, Leonce und Lena and Du, Lach Nicht. Perry Eggleton ‘Will’ Perry Eggleton is 12 years old and lives in Peacehaven, East Sussex. He recently joined the Sylvia Young Agency, and made his West End debut in Cameron Mackintosh's production of 'Oliver!' at the Theatre Royal, Drury Lane. WILL is Perry’s screen debut. Alice Krige ‘Sister Carmel’ Alice Krige began her film career by appearing in the American Academy Award winning Chariots of Fire, she has subsequently starred in King David, Barfly, See You In the Morning, Star Trek: First Contact, Reign of Fire, Solomon Kane and The Sorcerer’s Apprentice. On television she has starred in Six Feet Under and Deadwood for HBO, The Line of Beauty and Waking the Dead for the BBC and Persuasion.

Krige has performed to great acclaim on the stage, as Cordelia in King Lear and Lear, The Tempest, The Taming of the Shrew and Cyrano de Bergerac for the RSC and appeared in Venice Preserved at the Almeida. Brandon Robinson ‘Richie’ Brandon Robinson is 13 years old and lives in Loughton, Essex, with his mother Donna and 5 year old sister René. He grew up in Hackney and has been a member of the Young Actors Theatre since he was 7 years old. Brandon was immediately taken on by Young Actors Theatre Management and was soon offered his first job as a mischievous child in a music video for Get Cape Wear Cape Fly. He followed this up with a lead role in the student graduation film A Bedtime Tale, where he displayed a real talent for comedy, leading to roles in the feature films Speed Racer and Cass, and the short film Sports Day 3D, starring Mark Benson. Recently Brandon had a lead role in the comedy short Skateboards and Spandex, and appeared at the Soho Theatre in various parts in an NFTS Graduate Showcase directed by Deborah Bruce. Kieran Wallbanks ‘Simon’ Kieran Wallbanks is 13 years old. His television credits include Holby City, The Legend of Dick & Dom and the forthcoming Lime Pictures drama Army Kids for CBBC. WILL marks Kieran’s feature film debut. Crew Biographies Ellen Perry - Director, Producer and Co-Writer Produced, directed and wrote the feature documentary, The Fall of Fujimori, which premiered at the Sundance Film Festival. The film, a cinematic portrait of fallen Peruvian dictator Alberto Fujimori, has garnered numerous accolades. A.O. Scott, of the New York Times, called it, "Excellent” and "Extraordinary.” Nominated for an Emmy for Best Feature Documentary, The Fall of Fujimori was also nominated by the Writers Guild for Best Documentary Screenplay and was an official selection at over 30 film festivals worldwide. The film was awarded the CINE Golden Eagle, Grand Jury Prize at the Independent Film Festival of Boston, Special Jury Prize at the Milan International Film Festival, Director’s Choice at the Biografilm Festival, and Audience Choice at the Toronto International Latin Film Festival. The Fall of Fujimori screened in over 40 television outlets worldwide, including BBC’s Storyville and PBS’ P.O.V. Ellen Perry's first feature documentary, Great Wall Across The Yangzte, aired nationally on PBS. Narrated by Martin Sheen, the critically acclaimed film tells the story of the Three Gorges Dam currently under construction in China. She attended the University of Southern California School of Cinema/Television Production. Zack Anderson – Producer and Co-Writer Zack Anderson was an award-winning copywriter before going on to start his own marketing boutique, Modo Futuro. He sold his company, and turned to film and television full time, where he quickly sold a pilot to the FX Network; a screenplay to an independent producer; a script to Miramax; and was nominated by the Writers Guild of America for Best Screenplay for co-writing the political documentary, The Fall of Fujimori, which premiered at the 2005 Sundance Film Festival. Fujimori received rave reviews from A.O. Scott in the N.Y. Times, was deemed a must-see by Kenneth Turan in the L.A. Times.

Managed by Ron Mardigian, Zack has a degree in History from Harvard University. Oliver Stapleton – Director of Photography Oliver Stapleton’s numerous film credits include Don't Be Afraid of the Dark, The Proposal, The Waterhorse, Buffalo Soldiers, One Fine Day, Kansas City, Restoration, Earth Girls Are Easy and Absolute Beginners. He has worked extensively with directors Lasse Hallstrom and Stephen Frears. He was the Director of Photography on Hallstrom’s films The Hoax, Casanova, An Unfinished Life, The Shipping News and The Cider House Rules. For Frears he was the Director of Photography on The Hi-Lo Country, The Van, The Snapper, Accidental Hero, The Grifters, Sammie & Rosie Get Laid, Prick Up Your Ears and My Beautiful Laundrette. Mark Cooper – Producer Mark Cooper has spent the last 15 years producing feature films for both US Studios and the Major Independent sector. He line produced Shakespeare in Love, which won 7 Academy Awards, including Best Film. He also produced, Wing’s of a Dove, The Madness of King George, Much Ado about Nothing, Chocolat, Proof, Derailed and Amazing Grace, proving that the UK can produce good quality films within a tight budget. Most recently he Co-produced The Other Boleyn Girl for Sony, a film shot entirely on HD. These films have given him the opportunity to work with directors like Lasse Hallstrom, Kenneth Branagh, John Madden, Iain Softley and Michael Apted. Mark has recently returned from setting up a project in China with Simon West which was an extraordinary experience. He has also filmed in America and in many countries in Europe. In his youth, Mark was an aspiring actor working in television, film and theatre, including several years with The Royal Shakespeare Company before moving behind the camera. Taha Altayli – Producer Taha Altaylı is a medical doctor of six years of training in medicine at the Cerrahpasa Medical Faculty in Istanbul led to a year of specialisation in psychiatry at Justus-Liebig University, Giessen, Germany. He founded TA group on 2003. TA Group is an umbrella structure involved in different business sectors in Kazakhstan since 1994. TA Group operates in three main business sectors; 1) Finance and Advisory, 2)Construction (General Contractors,Ready Mix Concrete), 3) Energy (Investment, Electricity Trading) . He is chairman of the board of TA group. His love and dedication to art inspired him to establish Galatafilm with Muharrem Gulmez and whose first production The Lost Songs of Anatolia is a documentary about music and culture of Anatolia. Mustafa Karahan – Producer Mustafa Karahan (M.A. Economics, MBA), started his career in trading financial products and switched to trade and corporate finance. He is currently board member of many companies in different businesses including construction, real estate development, hotel management, finance, energy and film production. He was involved in production of a musical documentary by Nezih Unen, Anadolu’nun Kayıp Sarkilari. He is currently a partner and a board member of Galata Film. His current clientele and solution partners in entertainment business include; Sinefekt A.S., Mr. Ergun Gunduz of Kultist Artwork Studio on production of animated films, Iskender Paydas Productions, Alper Erinc Music Production, Zoom Corporate Entertainment Consultancy & Production Co. In addition to his professional experience, he is involved in fine arts as a professional painter since 2000. He has presented more than 200 paintings in four personal and one joint exhibition and

created/performed in a live video/music/installment show in 2008. He also performed as a guest DJ in various clubs in Istanbul through 2001 – 2004. Muharrem Gulmez – Producer Muharrem Gülmez is a producer/director who has been in the film industry since 1990. He has received wide acclaim for many projects both nationally and internationally. As a feature film director, he debuted with The International which received a number of prestigious accolades including ‘Best Film’, ‘Best Actor’, and ‘Best Actress’ from the Istanbul Film Festival primarily and many other festivals in Turkey. On an international scale, the film returned home with such successes as ‘Best Director’ and ‘People’s Awards’. The last TV serial he produced topped the ratings for two years receiving many awards. Muharrem Gülmez is revered in Turkey as a highly successful producer/director with a unique aesthetic and visual understanding acquired from Fine Arts training combined with 20 years of experience. Timothy Nicholas – Producer Timothy Nicholas is the owner of Centrespur Corporate Services Limited ("CCSL"). CCSL has been involved in the financing of films since 1980. He has represented major private and corporate investors in the film industry as well as having acted acting for a large number of the US Majors and international production and distribution companies. Stewart Till – Executive Producer Stewart Till CBE is the head of Icon Films (UK). He was the Chairman of the UK Film Council from 2004 to 2009. From 2003 to 2006 he was Chairman and Chief Executive Officer of UIP, the world's largest film distribution company, with offices in 35 countries, and was responsible for the international theatrical distribution of Paramount, Universal and Dreamworks' films. Previously Mr.Till was President of PolyGram Filmed Entertainment. Mr.Till joined PFE at its inception in 1992 and played an integral part in building the company into the first fully integrated global producer and distributor of films in 60 years. At PFE, Mr.Till oversaw the international marketing and distribution of successful films such as Notting Hill and Four Weddings And A Funeral, and acquired hits such as Trainspotting, The Usual Suspects and Angela’s Ashes. Stephen Moffitt – Executive Producer Stephen Moffitt helped pioneer the field of computer graphics at Silicon Graphics (SGI) from 1986 to 2009 and was instrumental in the development of computer technology that heralded the age of CG in Hollywood films such as Terminator II and Jurassic Park. Mr. Moffitt collaborated with Ellen Perry on “Great Wall Across the Yangtze” (2000) and “The Fall of Fujimori” (2005), serving as Executive Producer on both films. He is a partner in Strangelove Films (USA) and secured development and pre-production funding for “Will”. Mr. Moffitt recently founded a technology start-up that will produce advanced visualization technology, powering online multiplayer games and future interactive cinema. He has a degree in Neuroscience from Brown University. James Merifield – Production Designer James Merifield is an Emmy award winning Production Designer. His credits for television include Little Dorrit (for which he won the Emmy for Outstanding Art Direction for a Miniseries or Movie, shared with Paul Ghirardani, art director, and Deborah Wilson, set decoration), Gideon’s Daughter, Friends & Crocodiles, The Life and Adventures of Nicholas Nickleby and Lady Chatterley. His feature film credits include Brighton Rock, The Walker, Another Life, Circus and Tom’s Midnight Garden.

Lindsay Pugh - Costume Designer Lindsay Pugh’s credits as a Costume Designer include Deep And Crisp And Even, Ding Dong, Through the Window, Let It Snow, How Do You Want Me?, Goal and Goal II. As Costume Supervisor her credits include Quantum of Solace, Mamma Mia, Munich, Charlie & the Chocolate Factory, Closer, The Village, Stepford Wives, Cold Mountain and The Hours. Christine Blundell - Hair & Make Up Designer Christine Blundell is an Oscar and BAFTA winning Hair & Make Up Artist. She recently worked on William Monahan’s London Boulevard with Keira Knightley and Colin Farrell, and John Landis’s Burke and Hare. Her other recent credits include Sherlock Holmes, The Boat That Rocked (aka Pirate Radio), Eastern Promises on which she was Personal Make-up Artist to Naomi Watts, And When Did You Last See Your Father, Sunshine, Casino Royale (hairdressing supervisor), Closer, on which she was Personal Make-up Artist to Natalie Portman, Finding Neverland, for which she was BAFTA-nominated, and The Constant Gardener. She has collaborated nine times with director Mike Leigh on Life is Sweet, Naked, Secrets and Lies, Career Girls, Topsy-Turvy, for which she won an Oscar and a BAFTA for Best Make-up, All or Nothing, Vera Drake, for which she received a BAFTA nomination, Happy-Go-Lucky and most recently Another Year. Strangelove Films Strangelove Films is the creative partnership between Ellen Perry, Zack Anderson and Steven Moffitt. They have made three films: the award-winning documentaries GREAT WALL ACROSS THE YANGTZE, THE FALL OF FUJIMORI, and now WILL. Strangelove writes, produces and directs its own material, focusing on heartfelt tales that resonate with global audiences. They are currently developing a stage play about a mythical meeting between two of the history greatest minds, an animated musical, and a Latin American thriller. Galata Films Galatafilm was founded in 2010 by Taha Altaylı and Mustafa Karahan and then Muharrem Gulmez joined to team, to unite their highly developed experience in the film and finance industries. Entering the industry with the documentary The Lost Songs of Anatolia, Galatafilm cemented its place within the industry with the project Will. Galatafilm is currently preparing two feature films to be screened in 2011. With respects to its founding, philosophy, and structure, Galatafilm is determined to support any project that has something to say regardless of religion, language or race.

CAST (In order of appearance)

Gareth DAMIAN LEWIS Davey BOB HOSKINS Nancy REBEKAH STATON Simon KIERAN WALLBANKS

Will PERRY EGGLETON Finch MALCOLM STORRY

Sister Carmel ALICE KRIGE Ritchie BRANDON ROBINSON

Sister Noell JANE MARCH

Will's Mum KAREN CREAN Young Will FINLAY WRIGHT-STEVENS

Kenny Dalglish HIMSELF Lenny NEIL MASKELL

Clive Tyldesley HIMSELF Chinese Woman CONG WANG

Chinese Man TIEN SHUE Alek KRISTIAN KIEHLING

Bosnian Man STANISLAS STANIC First Detective MICHAEL MCKELL

Second Detective MARK DYMOND Serge RALPH AMOUSSOU

Melgut PASCAL LAURENT Crepe Maker PHILIPPE BEAUTIER

Teenage Thieves BROUBEKER MOUSSAOUI YOHANN GAINCHE

News Reporter FREYA BERRY Mathieu NICOLAS CHAGRIN

Broker VINCENZO NICOLI Truck Driver RECEP ATMACA

First Nun JULIA SAINT PAUL Barney JOHN MAY

Fitzy NEIL FITZMAURICE Cook MURAT SEREZLİ

Liverpool Fans TRACY DAVIES, MARK EGGLETON US Newsreader GLENN WRAGE

Abu Dhabian Newsreader ZINA BADRAN Indian Newsreader RAVI AUJLA

Chinese Newsreader CRYSTAL YU Italian Newsreader BRUNO BILOTTA

Short Policeman İHSAN İLHAN Tall Policeman SUAT ŞENOCAK

Edina Bilic ŞULE KAHRAMAN Avdo Bilic BRANKO TOMOVIC

Mina CANAN ERGÜDER Mirsad GÖKHAN DERELİ

Mrs Osmanovic LIZ DANIELS Zeno BURAK ER

Villager CEVAT AKMAN Ali GEORGE ANTONI

Mustafa JOE FERRERA British Announcer LEE CLARK

Slick Rick PAUL MCGRATTAN Jamie Carragher HIMSELF

Steven Gerrard HIMSELF

Associate Producer PAUL MCGRATTAN

Production Manager SARA DESMOND

First Assistant Director ALEX OAKLEY

Post Production Supervisor JEANETTE HALEY

Financial Controller SHRUTI SHAH

Location Manager JASON WHEELER

Supervising Art Director PAUL GHIRARDANI

Buyer/Set Decorator DEBBIE WILSON

Property Master PETER HALLAM

Construction Manager DAN CRANDON

Camera Operators SIMON BAKER, SIMON FINNEY

Gaffer LARRY PRINZ

Story Consultant ESTHER SHAPIRO

Script Supervisor JO BECKETT

Production Sound Mixer DANNY HAMBROOK

Visual Effects Supervisor ADAM GASCOYNE

Post Production Financial Controller FINTAN O'BRIEN

Stunt Coordinators GARY ARTHURS, ANDY BENNETT Standby Art Director KAT LAW

Graphic Designer KELLIE WAUGH Art Department Runner PEDRO MOURA Art Department Trainee LUISA URIBE

Mobile Maker OSCAR MERIFIELD

A Camera Focus Puller SHAUN COBLEY A Camera Clapper Loader IAIN MACKAY

Key Grip DAVID APPLEBY Grip JIM CROWTHER

Camera Trainee WILL MORRIS B Camera Focus Puller RENE ADEFARASIAN

B Camera Loader TOBIAS MARSHALL

Boom Operator ADAM LASCHINGER Sound Assistant NIC GILLET

Costume Supervisor CIARA MCARDLE

Key Costumer ADAM ROACH Costume Runner MARTIN CLARKE

Make-Up & Hair Artists LESA WARRENER, CHLOE MEDDINGS

Assistant Editors LORENE DEWETT, JEREMY HUME

Additional Editing MARTIN WALSH, DEREK BURGESS

Production Coordinator SAMANTHA BLACK Assistant Production Coordinator BOO MOTJUOADI

Assistant to Ellen Perry & Zack Anderson ALEX HODGSON

Assistant to Mark Cooper DAVID LOBATTO

Assistant to Timothy Nicholas LARA ANGUS

Production Secretary HANNAH ANDREWS Production Runner KEVIN BAULCOMB

Rushes Runner TOM POOK Post Production Coordinator ALEXANDRA MONTGOMERY

Shipping Coordination NIGEL IVEY, MEDIA WORLD LOGISTICS

Best Boy MARK THORNTON

Rigging Gaffer JASON MARTIN

Electricians ROBERT COLLINS, IAN GLENISTER, WILL SHEFFIELD

Genny Operator JONATHAN SPENCER Electrical Rigger JOHN FENNALLY

Props Storeman JO VINTON

Dressing Propsmen IAN COOPER, KIM MILES Standby Propsmen SHAY LEONARD, NICK STUBBINGS

Special Effects Supervisor STUART BRISDON

Visual Effects Producer TIM CAPLAN

Visual Effects Artists

MERVYN NEW, KAVEH MONTAZER KIM RANZANI, IAIN READ, JIM BOWERS JESUS GARRIDO GUISADO BRONWYN EDWARDS

Match Move Artist ANTHONY CHADWICK

VFX Coordinator NOGA STEIN

Title Design MATT CURTIS, AP

Sound Supervisor GLENN FREEMANTLE Sound Designer NIV ADIRI

ADR & Dialogue Editor GILLIAN DODDERS

Sound Effects Editors BEN BARKER TOM SAYERS DANNY FREEMANTLE

Foley Editor HUGO ADAMS Assistant Dialogue Editor EMILIE O'CONNOR

Foley Artistes JACK STEW, ANDREA KING

ADR Voice Casting LOUIS ELMAN AMPS MPSE ABIGAIL BARBIER

ADR Mixers (London) MARK APPLEBY, ROB EDWARDS GOLDCREST POST

Foley Mixer ED COLYER

Assistant Foley Mixer GLEN GATHARD Foley Recorded at SHEPPERTON STUDIOS

Re-Recording Mixers MIKE DOWSON, RICHARD PRYKE CAS

Assistant Re-Recording Mixer ADAM SCRIVENER Coordinator for Pinewood/Shepperton ALISON VINER

Re-Recorded at PINEWOOD STUDIOS

Second Assistant Director MARK HOPKINS

Third Assistant Director ANDY MADDEN

Floor Runners JOSEY MCNAMARA CATHY LORIMER

Workshop Supervisor TIM POWIS

Studio Supervisor BRUCE BARNES Supervising Scenic Artist DEREK COWIE

Standby Carpenter DAVE CREED Standby Rigger STEVE HOWE Standby Painter PAUL COUCH

Stagehand PAUL RIGBY

Carpenters JASON HTAY, MARK WALLIS DAN MARSDEN, ROBLE NOBLE ALEX WELLS, SAM WELLS

Painters LARA MURRAY, DORIAN MILLMAN JONATHAN ROONEY

Location Managers (Additional MARK GRIMWADE, PAT KARAM

Photography UK) Assistant Location Manager (UK) MICHELLE PIANCA

Unit Manager (UK) CHRISTIAN DEVOS Location Security MAKIN' MOVIES

Storyboard Artists JONATHAN MILLWARD, TONY CHANCE

Sketchbook Illustrator ROHAN HARRIS Illustrator JOHN HALE

First Assistant Accountant PAUL MURPHY

Assistant Accounts FARNAZ DONOVAN JOE DOWNS, LOUISSA MCINTOSH

Unit Publicist SOPHIE GLOVER

Stills Photographer & EPK KERRY BROWN

Tutor JACQUI GREEN Doubles for Perry Eggleton MITCHELL DAVIES, JUDE WRIGHT

Double for Brandon Robinson CHE ROOD Chaperones to Perry Eggleton LUCINDA EGGLETON, MARK EGGLETON Chaperone to Mitchell Davies TRACY DAVIES

Chaperones to Jude Wright RUTH WARRIOR, CHRISTINE WARRIOR Double/Stand-in for Kristian Kiehling (TK) OZKAN AKTUG

Acting Coach for Perry Eggleton BRYN WILLIAMS

Casting Associate GEMMA SYKES

Unit Medic ELTON FARLA Action Vehicle Coordinator MICHAEL GEARY

Action Vehicle Drivers TONY HANSFORD, TIM COMPSON

Unit Drivers MIKE BEAVAN, ROY CLARKE JOHN DORAN, MARTIN BIRMINGHAM

Mini-Bus Drivers GORDON FARMER ROB MACKNIGHT, WAYNE CLARKE

Unit Base Facilities Manager GEOFF EDWARDS for LOCATION FACILITIES

Grip Truck Driver STEVE MEEKS Construction Truck Driver EDDIE SAUNDERS

Costume Truck Driver ALAN JONES Camera Car Driver KEN PRICE

Catering RED CHUTNEY

Head Chef STEVE CLARK Chefs BARRY FALL, JAMES HEALY

Kitchen Assistant LEWIS BUCK

Director of Photography ALAN STEWART

Camera Operator SAM GARWOOD Focus Puller BRIAN GREENAWAY

Clapper Loader JASON DULLY Grip NICK RAY

Video DAN SIMPSON Sound TIM WHITE

1st Assistant Director ANDREW MCEWAN Floor Runner VAUGHAN STEIN

Location Manager TIM MAWS Gaffer DAVID SINFIELD

Electricians COLIN TOWNSEND TERRY TOWNSEND

Standby Props BART TUFT

Standby Carpenters ZANE MCGILL BILLY BENNETT

Costume CHARLOTTE KAY Make-Up AGNES LEGERE

Unit Nurse DAWN MIDGELEY

Line Producer ALEX SUTHERLAND Production Manager BERK BENGÜ

Production Coordinator EMiNE SOYDANYAVAŞ Production Accountant PINAR İŞBİLEN

Assistant Production Accountant SERDAR ATİK

Production Assistants BUĞRAHAN ŞEN, CAN TÜMERK, ALP GİRAY UĞURLU

Office PA MERT GİDER Office Runner ATILLA TANINMIŞ

Location Manager YUSUF CHABAN Art Director DENIZ GÖKTÜRK

Assistant Art Director EKİN İZAT Standby Assistant DORUKHAN ERDOĞDU

Set Painters AYKUT AYAZTUNA, ERKAN KARAHAN

Art Department Assistants TUNÇ ERGÜDEN, MERT YILMAZ ERKAN İNANÇ, ERAY BİNTAŞ

1st Assistant Directors ASLI SAĞ, YAĞIZ AKAYDIN 2nd Assistant Director HASRET ARPACI 3rd Assistant Director MEHEMET PARMAKSIZ

2nd Unit Director of Photography AHMET KASAPOĞLU B Camera Focus Puller S. EMRE BAŞARAN

B Camera Clapper Loader CANER SEN Clapper Loader VEFİK KARAEGE

Camera Trainee ONUR ARABACIOĞLU Camera Assistant CENK ÖZER

A Camera Grip HASAN ORMANLAR B Camera Grip HAKAN YAMAÇ

Grips ADNAN AYDIN, BORA KAAN TAYLAN UMUT EKİNCİ, BAHRİ UZUN

Casting Director HARİKA UYGUR Casting Assistant MERVE HACIOĞLU

Costume Supervisor SEDA ORSEL

Costume Assistants

SEZİN KOLCU, FERAH DOĞAN GİZEM KARAKAYA, ZELAL CANTÜRK CAN TUĞCUOĞLU, NALAN PİŞIRİCİ ELÇİN DÜLGEROŞLU, ÖZGE ATASOY

Gaffer ALİ SALİM YAŞAR Best Boy ÖZGÜR BAŞARAN

Lighting Assistants A. İLKER ÖZÇELİK, MEHMET PARLAK KAYHAN ŞEN, MUSTAFA ESİN HÜSEYİN KOÇ

Make-Up Artist EBRU KIZILTAN Make-Up Assistant HİKMET KARAMAN

Sound Assistant BAYCAN AKÇAYÖZ Transport Manager BILGE SABRİ IŞIL

Customs Clearance Contact ASAF YALMAN Catering TURKUAZ

Line Producer RAPHAEL BENOLIEL

Production Manager ANTONIN DEPARDIEU Assistant Production Coordinator ANGELIQUE BOSIO

Production Accountants BERNARD LAMY, ASTRID MONARQUE Graphic Designer GEORGES KAFIAN

Art Director/Set Decorator HELENE DUBREUIL Prop Master OLIVIER CRESPIN Prop Buyers NICOLAS BRECHAT, ANTONIO NOGUEIRA

Art Department Runner SAMUDRIKA ARORA Co-1st AD GIL KENNY

1st AD, Second Unit DIMITRI VERET 3rd AD AURORE COPPA

Production Assistants

MALLORIE BALLESTRA, ANNE-FRANCE BOURGEOIS AURELIEN CHAILLOU HELENE FABRE FANNY GOINEAU ANNE GUGUEN INDIA SALVY GUIDE MARIE MEZERAY ANNE LANCO MARGOT SEBAN ELISE VOGEL STEPHANE BONNEVILLE GARY BROCAUD JEAN GHESQUIERE NICOLAS REBESCHINI

2nd Unit Director of Photography VINCENT GALLOT 2nd Unit Focus Puller SOFIA OLSTORPE

2nd Unit Clapper Loader JULIEN ANDREETTI B Camera Focus Puller SEBASTIEN LECLERCQ

B Camera Clapper Loader MARYLINE TOURET Extras Casting Director SAMIA FADLI

Extras Casting Assistant FREDERIQUE-CHARLOTTE VERET

Costume Assistants FRANCOIS-LOUIS DELFOLIE LAURENCE CAINES

Gaffer THIERRY BAUCHERON

Electricians

MOHAN VALMY SIDNEY BAUCHERON JEAN-CHRISTOPHE DUWEZ BENJAMIN PREVOST

Genny Operator PASCAL BAYZE Key Grip CYRIL KUHNHOLTZ

2nd Unit Grip THIBAUT GUENOIS

Grips ARNAUD IMBERT, CHRISTIAN MARTINELLO JULIEN MOINE, PHILIPPE JANOIS

Location Manager TIMOTHEE TALANDIER Assistant Location Managers SERGE DESFILLES, FANETTE BOISOT

Facilities ROBIN PLESSY, MORGAN CLUETT Upholsterer (Citroen DS) SEVERINE DEPYE

Sound THEOTIME PARDON

Unit Drivers

ALICE CORDIE, EPONINE MAILLET GAELLE RISCH, STEPHANIE VERON DAMIEN BARILKO, NICOLAS BIAUGEAUD MICHEL-ALEXIS CESBRON MALEK HADDADI, SCHEMS HAFIZ STEPHANE BOULAY

Production Services Company FIRSTEP

Post Production Facilities MOLINARE, LONDON Post Production Manager LAURA METCALFE

Colourist GARETH SPENSLEY Online Editor NICK ANDERSON DI Supervisor MATT JAMES

Supervising DI Conform Editor STEVE KNIGHT

DI Conform Editors FRANCOIS KAMFFER, JAMIE WELSH TIM DREWETT,

Digital Film Technicians MIKE ANDREWS, MICHELLE CORT DI Consultant ANDY RICHARDS

Film Consultant LEN BROWN

Orchestra Conducted by CHRIS DAVIS OBE Choir Conducted by JEREMY SUMMERLY

Music Orchestrated by NIGEL CLARKE Programming MICHAEL CSANYI-WILLS

Music Supervisor ALISON WRIGHT Music Editor JOHN WARHURST

Score Recorded at ABBEY ROAD STUDIOS, LONDON Mixed at AIR-EDEL STUDIOS, LONDON

Score Recording and Mixing Engineer RUPERT COULSON Assistant Engineers LEWIS JONES & LEWIS MORISON

Orchestra Leader CARMINE LAURI Duduk DIRK CAMPBELL

Soprano solo ILONA DOMNICH Cimbalom GREGORY KNOWLES

Viola da Gamba NUNZIATINA DEL VECCHIO

Music Preparation JILL STREATER, GLOBAL MUSIC SERVICE

Assistant to Chris Davis BRIAN BENNETT Assistant to Michael Csanyi-Wills TOM MUNDELL

With special thanks to JAMIE BARCLAY & SAMIA BOUSBAINE Music Consultant IAN NEIL

Runaway (Del Shannon/Max Crook)

Published by Mole Hole Music(BMI)/Appoline Avenue

Music (BMI) Belton Street Music (BMI)

Administered by Bug Music Performed by Del Shannon

Master Recording licensed by Bug Music o.b.o. Mole Hole Records

You'll Never Walk Alone (Richard Rodgers & Oscar Hammerstein II)

Published by Williamson Music, an Imagem Company

Performed by Gerry & The Pacemakers Licensed Courtesy of EMI Records Ltd

Additional performances by The London Symphony Orchestra

& Oxford Camerata Conducted by

Chris Davis and Jeremy Summerly

Lélio ou le retour à la vie Op 14b

Composed by Hector Berlioz Performed by the London Symphony

Orchestra and Oxford Camerata Conducted by Chris Davis and Jeremy

Summerly. Piano: John Alley and Michael Csányi-

Wills

Impossible

(Lyrics by François Llenas & Georges Lourier

Music by René Denoncin) © Editions Métropolitaines and Editions

Universelles Published in the UK & Eire by Catalyst

Music Publishing Ltd. Performed by Marie Jose

Space Age Love Song (Michael Score/Alister Score/

Frank Maudsley/Paul Reynolds) Published by Imagem Music

Performed by A Flock Of Seagulls Courtesy of BMG Rights Management UK

Under exclusive license to Sony Music Entertainment UK Ltd

Laboratory Services SOHO FILM LAB, LONDON

JON GRAY DELUXE, LONDON CLIVE NOAKES

Camera Equipment ARRI MEDIA Lighting ARRI LIGHTING

Film Stock FUJI Editing Equipment HIREWORKS

Post Production Script FATTS Walkie Talkies supplied by WAVEVEND

Production Insurance Provided by MEDIA INSURANCE BROKERS LTD

Travel SKY TRAVEL, MEDIACOM Rights/Clearances BELLWOOD MEDIA

Completion Guarantor FILM FINANCES

Production Legal Services Supplied by Tim Johnson, Owen Oliver and Emily Mackintosh of FIELD FISHER WATERHOUSE LLP

Legal Services for Galatafilm Lee Stone and Rebecca Pick of LEE & THOMSON

Auditors Steve Joberns of SHIPLEYS LLP

Football Consultants LEON ANGEL, BILL CLARKE MEMED DJEMMAL, SERGE KOTCHOUNIAN

Filmed on location in GLOUCESTERSHIRE, WILTSHIRE, DORSET, HERTFORDSHIRE, OXFORDSHIRE,

KENT and at ELSTREE FILM STUDIOS, LONDON, England

PARIS, France. CUMALIKIZIK, BURSA and ISTANBUL, Turkey

The Production wishes to gratefully acknowledge the support of IGK Law firm

HSBC Private Bank (UK) Limited MISCHCON de REYA, HAZLEMS FENTON

With very special thanks Sir Timothy Ackroyd, Sasha Alexander, Robert Mailer Anderson, Crawford Anderson-Dillon, Jordan Bayer, Davina Belling, Lowell Blank, Geoffrey Bunting, Richard Btesh,

Imogen Church, Pete Czernin, Jim Davies, Doug Denoff, James Dove, Christian Heyer, Maurice Janco, Patrick Kack-Brice, Henri Kamerling, Steve Kenis, David Korda,

Alan Lawson, Matt Leipzig, Steve Levine, Xavier Llongueras, Doug Lowell, Duncan Macrae, Nick Manzi, Ron Mardigian, Nicola Miner, Sarah Morrissette, Christian Nickel,

Desmond O'Reilly, Clive Parsons, Clark Peterson, Edoardo Ponti, George Price, Victoria Raiser, Peter Rizzi, Joe Rogers III, Kath Robinson, Martin Salomon

David Sefton (Laytons), Giles Stibbe, Keld Strudahl, Rob Stuart, Nigel Wilson-Dykes, Lyn Winter, Leo Wong, Sue Woodward, Tim Woodward, David Yearsley, Teddy Zee

The Producers would also like to thank Liverpool Football Club

Ian Ayre, Don Jones of Liverpool TV, Ken Lewis The Liverpool Supporters, The People and City of Liverpool

Kevin Fullalove, Toni Golding, Adam Forshaw, Scott Williams, Alan Dixon, Andy MacKenzie, Gareth Penman, Christine Penman, Alan May, Jamie May, Joseph Scattergood, Anthony Davies, Mark Scattergood, Bobby Southern,

Jamie McHugh, Thomas Carney, Carolyn Waite, Wayne Cudick, Bernard May, Steven Melia, Peter Carney, Epstein House, Ministry of Culture and Tourism of Turkey,

Atatürk Olympic Stadium Extrait du Spectacle Melgut - Cie Friches Theatre Urbain,

Christopher Wride - Tours de Notre Dame, Faber Music Hire Library, Paris Select, The People and Village of Cumalikizik, Turkey

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.

For the 96. You'll Never Walk Alone.

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© 2011 Strangelove Films Limited and Madouc Holdings, Inc.