UNDER THE SKIN
 

 
 
A film by Jonathan Glazer
Written by Jonathan Glazer & Walter Campbell
Based upon the novel Under The Skin by Michael Faber
 
Starring: Scarlett Johansson
 
 
 
 
PUBLICITY CONTACT/ID-PR: A24 CONTACT:
New York National
Sheri Goldberg Nicolette Aizenberg
O: 646-723-3800 O: 646-568-6015
E: sgoldberg@[Link] E: Nicolette@[Link]
 
Los Angeles Regional
David Mortimer Lisa Richie
O: 323-822-4866 O: 646-568-6015
E: dmortimer@[Link] E: lisar@[Link]
 
 
 
TRT: 107 MIN. | U.S.A. | LANGUAGE: ENGLISH | COLOR
  

 
SYNOPSIS
 
 
From visionary director Jonathan Glazer (SEXY BEAST, BIRTH) comes a stunning
career transformation, a masterpiece of existential science fiction that journeys to the
heart of what it means to be human, extraterrestrial — or something in between. A
voluptuous woman of unknown origin (Scarlett Johansson) combs the highways in search
of isolated or forsaken men, luring a succession of lost souls into an otherworldly
lair. They are seduced, stripped of their humanity, and never heard from again.
 
 
Based on the novel by Michel Faber (The Crimson Petal and the White), UNDER THE
SKIN examines human experience from the perspective of an unforgettable heroine who
grows too comfortable in her borrowed skin, until she is abducted into humanity with
devastating results.
  

ABOUT THE PRODUCTION

 
For his third feature film, director and co-writer Jonathan Glazer had long set his sights
on Under the Skin, Michel Faber's otherworldly novel about a female alien named
Isserley who canvasses the Scottish Highlands in a tricked-out vehicle, abducting rugged
male hitchhikers and harvesting their muscle — a delicacy on her native planet — for the
intergalactic corporation that employs her. But many of the more specific details from the
novel never made it to the film version of UNDER THE SKIN after its long gestation
period. "I really connected with the idea of looking at the world through alien eyes,"
Glazer says. "That was the spark."
Producer James Wilson (SEXY BEAST, DANCER IN THE DARK, THE FULL
MONTY) describes the central journey of the film as one in which the protagonist — an
un-individuated alien life form — becomes infected with a sense of identity after
inhabiting a synthetic human body and experiencing a new world and its inhabitants
through human eyes. The result is an individuated self — the central essence of what it
means to be human. "Jonathan was singularly interested in the idea of point of view, of
re-seeing ourselves through the eyes of another," Wilson explains. "Almost like the
process we go through when we watch a nature documentary about animals. There was
something wonderfully suited to the medium of cinema about this, because point of view
is all about looking and hearing."
After reading the book only once — back when he was still working on his
previous feature BIRTH — Glazer composed an initial draft of the screenplay that was
more or less faithful to the novel. For a subsequent draft (co-written with Walter
Campbell) he preserved the central character and Scottish setting, but took serious
liberties with Isserley's treatment of her victims. In the novel, the alien protagonist lures
hitchhikers to a farm, where they are caged, fattened up with potatoes, mined for their
muscle fibers,
  

 
and ultimately released from captivity. In the movie, the humanized alien lures random
men into her van, ferries them to a nearby location, seduces them, only to leave them
suspended in a kind of otherworldly amniotic fluid until they resemble desiccated,
soulless husks.
Much of what was written in screenplay form, including pages of dialogue,
became unusable when Glazer experienced a breakthrough moment that would alter the
entire direction of the production. After casting Scarlett Johansson as the predatory
alien, and costuming her in femme fatale regalia, including cheap wig, heavy lipstick
and fur coat, Glazer adopted the radical technique of depositing the widely recognized
A-list actress incognito into civilian life on the streets of Glasgow — where she began
recruiting her prey from a wide swath of random citizens. (Willing participants later
signed release forms after becoming aware of the ruse; only a few people recognized
Johansson during production).
***
 
 
Thus the central idea of Glazer's UNDER THE SKIN became about disguising the
actress and dropping her into the real world, where she is left to mingle with and
manipulate its unwitting citizens for much of the film's running time. "Once you make
the decision that you're going to create a film in this way, you're simply dealing with the
logistics of how not to be spotted," Glazer explains. "It made the scenes very tense. You
could spend the day shooting with the best intentions and wind up with footage you
couldn't use. But I knew in my mind this was the best way to work for this particular
character and story." Director of Photography Daniel Landin (44 INCH CHEST, THE
UNINVITED) elaborates: "Jonathan was committed to not altering what was found —
whether footage or location — and this became no less intense than creating an artificial
world for UNDER THE SKIN. Our challenges become twofold: how to put our alien
character into this real environment without altering it, and how best to control that
environment within the frame."
  

 
To perfect the ruse, Glazer and his crew fashioned a bespoke camera system with heads
that were small enough to be hidden in various locations (inside a moving vehicle or a
crowded nightclub; on the streets of Glasgow) and positioned according to the action
required for coverage. When the crew walked away, Johansson stepped in, concealing
any evidence that a film was being shot. During the filming of a scene in which
Johansson falls in the street and is helped to her feet by passersby, Glazer experienced a
freedom he had never felt before on any set. "Conventionally, you'd have to lock off the
street, fill it with extras, block it, rehearse it, then shoot it," he explains. "Here, we
pointed our hidden cameras at the spot where she would fall, and we waited to see what
happened."
Johansson's character spends a good percentage of screen time driving aimlessly in
search of victims, something Glazer did not want simulated as in conventional
productions. He wanted her immersed in the function of driving, so he had his team
mount cameras inside the cab of the inconspicuous van driven by Johansson during much
of the film. "This way she could drive and we could film everything she did and
everything she drove past," Glazer explains. "We were photographing Scarlett and her
points of view simultaneously — the cameras almost became an extension of her own
eye."
The challenge here was finding a camera that could be both small enough to be
concealed, and at the same time capture uncompressed cinematic material. When it was
discovered that no such camera existed, Glazer and Landin reached out to Visual Effects
Supervisor Tom Debenham and his colleagues at London effects house One of Us to put
together the One Cam, which was developed over the year preceding the shoot. Small
16mm Schneider lenses were hidden within the reformed dashboard of the white van. All
eight cameras were hard-wired to a central data station in the rear of the van, where they
could be remotely switched on and monitored. "The cameras gave such good imagery
  

 
hat they became our preferred visual pallet," says Landin. "This footage superseded the
Alexa footage (shot with Zeiss Super Speeds), which we shot where the
terrain necessitated a more conventional and rugged camera."
Glazer likens the experience to taking film to the people, rather than people (or
actors) being brought onto a film's set to create the subsequent work. "It's a very exciting
scenario for a filmmaker, with the actor driving you around, and you in the back of the
van with the few crew members you need at your side," he adds. "It's intoxicating and
you can easily get lost shooting like that. Everyone on the street is unknown — they
could be dangerous. Anything could happen, or nothing could happen. But it's where the
film worked the best for me, putting Scarlett in disguise on the streets of Glasgow, as a
kind of Trojan horse."
Johansson for her part describes the experience as nothing less than intoxicating
because it allowed the very visible actress to go undercover in real life, undetected and in
an entirely unpredictable fashion. "You have to get all your ducks in a row so you don't
blow your own cover," Johansson explains of her process. "You also want to make sure
that each take includes something useful. There were moments — and these were truly
terrifying — when you felt like you couldn't do something, or you didn't know if a scene
was going to emerge out of nothing. You had no choice but to go with it, which is when
the scene would usually start to take shape."
***
 
 
What resulted was a kind of guerrilla Dogme production, in which anything could
happen — and often did — centering on a unique point of view that fuses both alien and
human perspectives into a bold cinematic vision. "I don't think any of us had worked this
way before," Johansson admits. "We all had to adjust to whatever came our way and
leave ourselves open to anything. Because of that, you allow yourself to be vulnerable in
a way that's terrifying and liberating at the same time."
  

 
Johansson was drawn to UNDER THE SKIN mainly out of a desire to work with Glazer
— she was a fan of his previous features SEXY BEAST and BIRTH. But as she became
immersed in the project, something more profound took root. "It was this idea of putting
on this other skin and completely transforming into someone unrecognizable," she
admits. "The trick was finding out how to do this without being recognized in a crowd.
Jonathan described it as a transformation from an 'it' to a 'she.' I think that's what the film
at its core is really about."
To prepare for the role, Johansson had to learn to drive on the opposite side of the
road as well as adopt a credible English accent, which she perfected in the days leading
up to production with the help of a voice coach, using a phonetic system of repeated
word fragments to hone her diction. Some of this recorded practice dialogue was
refashioned by Glazer as sound design in the opening scene of the film, as Johansson
adjusts to life in new human skin, struggling to make sense of a world that is entirely
foreign to her as her alien perspective melds with a human one. "It was a kind of
metamorphosis, but there was also something metaphysical about playing this character,"
Johansson explains. "It's hard to put your finger on it and that was part of its appeal for
me. This is not a genre movie. It's more along the lines of an Ingmar Bergman drama in
terms of its philosophical inquiry."
For additional casting, Glazer opted for non-professionals — indeed, most of the
so- called cast is comprised of random people on the street going about their daily
business. For the role of The Bad Man, the ominous motorcyclist who swoops in to
clean up after Johansson's mistakes, Grazer cast the professional road racer Jeremy
McWilliams. Two of Johansson's roadside pick-ups were scripted and cast, including the
deformed grocery shopper who is the only victim to escape from Johansson's clutches.
Most everyone else in the cast, with the exception of the Good Samaritan who rescues
and civilizes Johansson in the rainy Highlands and the brutal forestry official who
hastens her demise, was an unwitting participant — until they found themselves
characters in Glazer's covert
  

 
production. "We captured real life in different ways," Johansson adds, "by picking people
up in the van, driving through crowds, going shopping, going to a nightclub, eating in a
restaurant — all these scenes of life pivoting around this one character."
Debenham, for his part, describes this unique run-and-gun process as a kind of
heightened reality that made cast and crew alike experience filmmaking in invigorating
new ways. "We were all excited by the reality of shooting with multiple cameras — that
ability to have a sustained single performance and be able to action-cut around it and not
break the spell of Scarlett's performance, whether it was a single character navigating the
world or an interaction between more than one character," explains the Visual Effects
Supervisor. "Sometimes it was the thrill of capturing the reality of light entering a
moving vehicle — or the reality of moving through a space in time. Everything we're
already familiar with on a cinematic level becomes that much more intense when you
know that it's real and not staged. That was the goal of this, really."
***
 
 
From the film's inception, the rugged Scottish terrain was as powerful a component
in the alien protagonist's journey at the streets of Glasgow where she tracks her quarry.
The outdoor sequences needed to be as otherworldly as possible, considering the film's
unique point of view. "We wanted to show a landscape which was essentially unseen by
our protagonist, who intrinsically had no response to her surroundings," explains Landin.
"It was important that the camera’s gaze also subscribed to this objectivity. The
highlands can be brutal and spectacular in the same breath — the forest is both a rich
blanket enveloping and protecting, and a vicious thicket of shards and pits. By shooting
in winter, we exploited a low light and a pure and virtually monochromatic pallet
constantly slicked in moisture, across which our alien was a saturated pink outsider."
Locations were crucial in shaping the film's distinct visual language, a testament to
the scouting work of Location Manager Eugene Strange. The Scotland seen in the film
offers an alternate perspective to the conventional landscape: moors become hostile, a
beach
  

 
murderous. Even the picture-postcard castle visited by the protagonist in the company of
a human Good Samaritan threatens to dismantle the alien visitor. "Frequently we traveled
beyond the area known to locals, focusing on places generally overlooked by filmmakers
and tourists," explains Landin. "The winter conditions brought technical challenges, and
frequent dramatic changes in light were always throwing up new decisions to be made.
But using multiple cameras meant that we were able to have coverage of some unique
moments of natural and dramatic light."
Much of the cinematography in the Scottish Highlands was as stealth and secretive
as the Glasgow camera work. "Frequently we filmed at night in vast stretches of barely
lit roads, necessitating both enhancing existing street lighting, and in some cases
replacing long vandalized lampposts," explains Landin, "all the while maintaining a
naturalism that was required to ensure there was no noticeable presence of a film unit.
Scarlett was given the freedom to move within these environments without the
conventional limitations of a film set, and the other players within the film were
generally unaware of where the cameras were — if indeed they were aware they were
participating in a film at all."

***

As much a character in the film as the Scottish landscape or the alien protagonist
is the film's hypnotic, metronomic score by the first-time composer Mica Levi, whose
indie band Micachu & The Shapes is well regarded in rarefied music circles. Glazer had
shot and edited most of the film by the time music supervisor Peter Raeburn approached
him with scoring ideas. Raeburn played him composers like Zbigniew Preisner and Hans
Zimmer, but Glazer wasn't interested in a flashy Hollywood score from an established
name. On the contrary, he was looking for a young genius type composing in his or her
bedroom, someone who had not worked on a film score before who could create
something revelatory that would become the soul of the film.
  

 
Raeburn played Glazer some work by the 24-year-old Levi, who is classically trained and
had already performed concertos with the London Sinfonietta before she turned 21. Levi
was approached and came on board, working with Raeburn and Glazer in the studio for
months before a score began to take shape. Fast, frenzied strings combined with a
plodding piston-like undercurrent resulted in film music that both underscored and
refracted the central character's interior and exterior lives as she vacillates from wanton
seductress to shell-shocked automaton over the course of the film.
The score was heavily processed and textured through a bedroom technique Levi
employed on one of her mixtapes, Chopped and Screwed — which in turn derived from
the woozy, slowed-down beats of Houston hip-hop performers like DJ Screw, whose
musical output was frequently concocted under the influence of prescription codeine. The
score resembles nothing else in movies, an alien soundscape piped in from a parallel
dimension and made earthly through a human's idiosyncratic touch.
"From my perspective, the objective was transforming an imaginative, farfetched
story into a mundane and real one," Levi explains. "First and foremost you want to
convey that sense of unlikeliness at the heart of the story. Initially she seems a bit weird
as you go through these experiences with her — but it's also quite emotional because
she's the only thing you have to latch onto. You're experiencing the world through this
character, without any moral or philosophical intention. My job was to show the things
you can't see — to try and express her feelings, her experiences, of love, fear, hate,
confusion, curiosity."
  

 
For Glazer, the combination of sound, image and technique — placing Johansson in
disguise amid a random populace — resulted in a wholly unique filmmaking experience
that derived from the singular spark of wanting to examine feeling from an alien
perspective. "You start with that feeling, you grow images out to try and describe that
feeling, and then you try and turn those images into a story that holds together," Glazer
explains of his own process. "It wasn't like I sat down and said This is what I want to
achieve and this is how I'm going to get there — it didn't work that way on this film. It
started with something I felt, and then I wanted to see it. We reverse-engineered things in
a way."
  

 
ABOUT THE CAST & CREW
 
 
SCARLETT JOHANSSON
Tony and BAFTA winner and four-time Golden Globe nominee, Scarlett Johansson
recently wrapped up her second run on Broadway as Maggie in “Cat on a Hot Tin Roof.”
She played Barbara in Joseph Gordon-Levitt’s directorial debut DON JON, released in
late 2013. She also lent her voice to Spike Jonze’s sci-fi romance HER. Most recently
Johansson wrapped production on the Jon Favreau-directed comedy CHEF opposite
Robert Downey Jr., Dustin Hoffman and Sofia Vergara. Up next, she will begin
production on Luc Besson’s action-thriller LUCY, playing the title role opposite Morgan
Freeman. Also this year she completed production on CAPTAIN AMERICA: THE
WINTER SOLDIER, where she reprises her role as Natasha Romanoff/Black Widow;
she will reprise the role again next year when production begins on the follow up to
2012’s hugely successful THE AVENGERS. Johansson received rave reviews and a Best
Actress Award at the Venice Film Festival for her starring role opposite Bill Murray in
LOST IN TRANSLATION, the critically-acclaimed second film by director Sofia
Coppola. She also won a Tony for her Broadway debut in the Arthur Miller play “A
View from a Bridge,” opposite Liev Schreiber. At the age of 12, Johansson attained
worldwide recognition for her performance as Grace Maclean, the teen traumatized by a
riding accident in Robert Redford’s THE HORSE WHISPERER. She went on to star in
Terry Zwigoff’s GHOST WORLD, garnering a Best Supporting Actress award from the
Toronto Film Critics Circle. Johansson was also featured in the Coen Brothers’ dark
drama THE MAN WHO WASN’T THERE, opposite Billy Bob Thornton and Frances
McDormand.
Her other film credits include: HITCHCOCK, opposite Anthony Hopkins; WE
BOUGHT A ZOO for Cameron Crowe; the box office hit IRON MAN 2, the Weitz
brothers’ film IN GOOD COMPANY, as well as opposite John Travolta in A LOVE
SONG FOR BOBBY LONG which garnered her a Golden Globe nomination (her third
in two years)
  

 
and in Woody Allen's MATCH POINT, which garnered her fourth consecutive Golden
Globe nominee in three years. Other film credits include HE’S JUST NOT THAT INTO
YOU; VICKY CRISTINA BARCELONA; THE OTHER BOLEYN GIRL; THE
SPIRIT; GIRL WITH A PEARL EARRING (opposite Colin Firth); THE ISLAND
(opposite Ewan McGregor); Brian DePalma’s THE BLACK DAHLIA, Christopher
Nolan’s THE PRESTIGE, and THE NANNY DIARIES.
Her additional credits include Rob Reiner’s comedy NORTH; the thriller JUST
CAUSE with Sean Connery and Laurence Fishburne; and a breakthrough role at the age
of 10 in the critically-praised MANNY & LO which earned her an Independent Spirit
Award nomination for Best Female Lead. A New York native, Johansson made her
professional acting debut at the age of eight in the off- Broadway production of
“Sophistry” with Ethan Hawke, at New York’s Playwright’s Horizons.
 
 
JONATHAN GLAZER - DIRECTOR / CO-WRITER
After completing art school and a degree in theatre design at Trent Polytechnic, Jonathan
Glazer landed a job making film trailers. This led to music videos including Radiohead’s
Karma Police and Jamiroquai’s Multi-MTV award winning ‘Virtual Insanity’ video, TV
commercials and art projects. Glazer's feature debut was SEXY BEAST in 2000 and
went on to direct and co-write BIRTH in 2004. UNDER THE SKIN is Glazer’s first film
in nine years.
 
 
JAMES WILSON - PRODUCER
Wilson was a producer of Sophie Fiennes' THE PERVERT'S GUIDE TO IDEOLOGY,
Joe Cornish's ATTACK THE BLOCK, James Marsh's THE KING, and served as an
executive producer on Edgar Wright's SHAUN OF THE DEAD. He is currently in post-
production on Iain Forsyth and Jane Pollard's 20,000 DAYS ON EARTH with Nick
Cave. After studying at the University of Sussex and the American Film Institute, he
began his film career as a
  

 
production executive first at Fox Searchlight Pictures and then FilmFour, where he
worked on the a number of films including SEXY BEAST, DANCER IN THE DARK,
THE FILTH AND THE FURY, THE LAST KING OF SCOTLAND, BUFFALO
SOLDIERS, NIL BY MOUTH, THE ICE STORM, THE LOW DOWN and THE FULL
MONTY.
 
 
NICK WECHSLER - PRODUCER
Wechsler is an independent film producer whose producing credits are a distinctive and
award winning mix of independent and studio films. Recent films include MAGIC MIKE
directed by Steven Soderbergh, starring Channing Tatum and Matthew McConaughey,
and THE ROAD, an adaptation of Cormac McCarthy's Pulitzer Prize-winning novel,
directed by John Hillcoat and starring Viggo Mortensen, Charlize Theron and Robert
Duvall. Wechsler also produced THE COUNSELOR, written by Cormac McCarthy and
directed by Ridley Scott, starring Michael Fassbender, Brad Pitt, Cameron Diaz,
Penelope Cruz and Javier Bardem.
Additionally Wechsler is in post-production on SERENA, based on the novel by
Ron Rash and directed by Academy Award winner Susanne Bier, starring Bradley
Cooper and Jennifer Lawrence. Wechsler’s other producing credits include THE TIME
TRAVELER’S WIFE; WE OWN THE NIGHT, a Cannes Film Festival Palme d’Or
selection; THE FOUNTAIN, a Venice Film Festival Golden Lion selection; NORTH
COUNTRY for which Charlize Theron and Frances McDormand earned Oscar and
Golden Globe Award nominations; REQUIEM FOR A DREAM which earned an
Independent Spirit Award Best Picture nomination and an Oscar nomination for star
Ellen Burstyn; THE YARDS, a Cannes Film Festival Palme d’Or selection; QUILLS, a
Best Picture winner from the National Board of Review; EVE’S BAYOU an Independent
Spirit Award winner for Best First Feature; LOVE JONES, a Sundance Film Festival
Audience Award winner for Best Film; LITTLE ODESSA which won the Venice Film
Festival Silver Lion Award; THE PLAYER, a Golden Globe Award winner for Best
  

 
Motion Picture, Comedy; and DRUGSTORE COWBOY, which took Best Film honors
from the National Society of Film Critics. He was also an executive producer of SEX,
LIES AND VIDEOTAPE, which received the 1989 Palme d'Or Award at the Cannes
Film Festival as well as an Academy Award nomination for Best Original Screenplay.
 
 
WALTER CAMPBELL - CO-WRITER / EXECUTIVE PRODUCER
Walter Campbell has been a writer and art director in advertising for over 25 years.
Working with many of the world's most acclaimed directors and at some of the world's
best agencies, he is one of the most awarded creatives in the industry. He is now at
TBWA in London where he is developing scripts with colleagues from inside the agency
world and also directors with whom he has previously collaborated.
 
 
MICA LEVI – COMPOSER
Born in Guildford, Mica Levi was classically trained at school, leading to her winning a
scholarship to study composition at the Guildhall School of Music. During her time at the
latter she released her first mixtape "Filthy Friends" with producers and MCs including
Toddla T, Ghostpoet and Man Like Me. In 2009 she produced songs on DEL’s debut
album "GOB." It was at Guildhall that she met the band members — Raisa Khan and
Marc Pell — who would become Micachu and the Shapes. With the assistance of
producer Matthew Herbert, they made their critically acclaimed debut album "Jewellery"
(Rough Trade, 2009). Since then, in addition to creating its second album "Never," the
group has been extremely prolific: In 2011, using unorthodox, handmade instruments,
they collaborated with the London Sinfonietta — one of the world’s leading
contemporary orchestras — to release the album "Chopped & Screwed," recorded live in
front of an audience at King’s Place. Later that year Micachu and DJ/producer Kwes
released the second volume of their collaborative mixtape series "Kwesachu," which
featured artists such as Ghostpoet, Speech Debelle and DELS. (Volume One was released
in 2009 and featured The xx, Hot Chip and Metronomy). Mica was made an artist in
residence at London’s Southbank Centre in 2011, the youngest individual musician to
have ever been granted this unique role. UNDER THE SKIN is her first film score.
  

END CREDITS
 
IN ORDER OF APPEARANCE
 
Scarlett Johansson
Jeremy McWilliams
Lynsey Taylor Mackay
Dougie McConnell
Kevin McAlinden
D Meade
Andrew Gorman
Joe Szula
Krystof Hadek
Roy Armstrong
Alison Chand
Ben Mills
Oscar Mills
Lee Fanning
Paul Brannigan
Marius Bincu
Scott Dymond
Stephen Horn
Adam Pearson
May Mewes
Michael Moreland
Gerry Goodfellow
Dave Acton
Jessica Mance
 
 
 
Stunt Coordinator Gareth Milne
Stunt Performers Sian Milne
Peter Pedrero
Andy Merchant
Ian Pead
Rick English
Gary Connery
Gary Hoptrough
 
 
 
 
Production Manager Livia Burton
Production Coordinator Georgie Fallon
Assistant Production Coordinator Steven Little
Production Assistant Fergus Cook
Assistant to Jonathan Glazer Elizabeth Doonan
Assistant to Scarlett Johansson Meagan Rogers
Assistant to Nick Wechsler Felicity Aldridge
 
 
First Assistant Director Nick Heckstall Smith
Second Assistant Director Mark Murdoch
Third Assistant Directors Stephen Carney
Susie Lee Co-
Third Assistant Director Alex MacKay
Floor Runners Jack Ivins
Mark Rossi
  

Screen NETS A/D Trainee Grant Butler

Utility Stand-Ins Alan Smith
Jo Dutton
Elle Wilson
Second Assistant Director Rehearsals Mark Hopkins
 
 
Assistant Location Manager David Taylor
Unit Manager Brodie Pringle
Location Assistant Morven McPherson
Location Scouts Alison Young
Sean Barclay
 
 
Production Accountant Neil Cairns
Assistant Accountants Paul Zieleniec
Paul Imrie

Script Supervisor Claire Hewitt

A Camera Operator Stuart Howell

Steadicam Operator
A Camera Focus Puller Nathan Mann
B Camera Focus Puller Derrick Peters
A Camera Clapper Loader Simon Surtees
B Camera Clapper Loader Luke Coulter
Camera Trainee John MacTavish
Video Playback Operator Bob Bridges
Video Playback Assistant Stuart Bridges
Screen NETS Camera Trainee Lewis McInnes
Key Grip Sam Phillips
Grips Simon Thorpe
Steve Ellingworth
Tim Critchell
 
Data Lab
Digital Imaging Technicians Mark Purvis
Grant McPhee
Data Lab Technicians Chris Nunn
Jody Neckles
James Willett
Digital Imaging Technician Trainee Lewis McInnes
 
 
one-cam
Technical Supervisor Louis Mustill
Camera Engineer Arron Smith
Software Developers Ian MacKinnon
Colin Phillips
 
 
Production Sound Mixer Nigel Albermaniche
Boom Operator Andrew Quinney
Sound Assistant Bryn Duffy
 
Art Director Emer O'Sullivan
Standby Art Director Martin McNee
Assistant Art Director Nicki McCallum
  

Graphic Designer Philip Barrett

Art Department Assistant Helen Allingham
Screen NETS Art Department Trainee Marianne Gallagher
 
 
Props Buyer Craig Menzies
Assistant Props Buyer Carly Parris
Props Master Jim Elliot
Standby Props John Booth
Chris McMillan
Dressing Props Matt Mooney
Alan Harley
Roddy Garden
 
Carpenters Jamie McCallum
Brian Boyne
Painters Sam Curran
Iain Geddes
Jane Harvie
Paul Curran
 
Action Vehicles Design and Build MGM Cars
Action Vehicle Coordinator Ben Dillon
Assistant Action Vehicle Coordinator Paul "H" Smith
Action Vehicle Technician Terry Smith
Tracking Vehicles Bickers Action

Construction Manager Derek Fraser

HOD Greensman Roger Holden

Standby Greensmen Will Holden
Ollie Campbell
Greensmen Jon Colson
Gavin Johnson
 
 
Costume Supervisor Clementine Charity
Standby Costume Nat Van Halle
 
Make-Up and Hair Artists Helen Barrett
Jessica Cruickshank
 
 
Special Effects Asylum Model & Effects
Senior Special Effects Supervisor Mark Curtis
Senior Mechanical Supervisor Tony Skinner
Mechanical Live Action SFX Crew
Ken Batten Antony Turner
Sam Hue-Vashon Andrew Walsh
Ben Lewens David Plewis
Senior Prosthetic Supervisor Kate McConnell
Prosthetic Crew
Becky Cain Esteban Mendoza
Tom Curtis Sunita Parmar
Marianne Gallagher Annie Toop
Ian Jones Faye Windridge
Joe Yabsley
  

Modelmaking Supervisor Mark Ward

Modelmaking Crew
Paul Carter David Payne
Michael Cox John Pennicott
Frank Farman John Sims
Kerry Flynn Tsia Stuart
Marek Grochal Lee Sutton
Craig Leong Peter Tilbe
Ali McKay Roger Wotton
Toni Malyan Dan Wright
Jacky Wu
Mould Shop Supervisor Adam Sankey
Mould Shop
Eloise Anson Nigel Swift
Jenny Denham Francesca Walker
Andy Geddes Amanda Ward
Pyrotechnic Supervisor Paul Dunn
Pre-Vis Artists Conor Breen
Simon Allen
Sculptors Andy Garner
Jonathan Hateley
Roland Stevenson
Production Support Toni Maddox
Heidi Munn
Geraldine Purcell-Lynch
James Reynolds
Maria Smith
Dental Technicians Kevin Morris
Darren Grassby
Plowman Craven
3D Scanners 4D Max
 
Casting Associate Caroline Stewart
Casting Assistant Danny Jackson
Crowd Casting Caroline Stewart
 
 
 
Gaffer John Colley
Rigging Gaffer Vince Madden
Best Boy Paul Bates
Genny Operator Ross Grainger
Electricians Emily Grainger
Callum Milne
Donald Campbell
Arthur Donnelly
David Ritchie
David Wilson
 
Riggers Billy Wilson
Iain Harrison
Steve Howe
 
Wiremen Alex Wilmington
Simon Hillman
Paul Evans
  

Unit Drivers Driven Scotland

Driver to Ms Johansson Lee Isgar
Unit Drivers Andy Finnie
John Burns
Martin Auld
Ian McBain
Minibus Drivers Drew Moore
Alan Davidson
Stewart Brown
Drivers David Harrop
Stephen Harrop
 
Facilities Company Movie Makers
Facilities Captain Geoff Gowland
Facilities Drivers Carl McGreevey
Jefferson Gowland
Darrell Woods
 
Catering BBC TV Caterers
Chefs Charlie Duffy
Brendan Diver
Alexander Urquhart
Robert Halpern
Tommy Gibb
 
Health and Safety Advisor Alan Cousins
Unit Medic Services Star Nurses
Unit Medics Julie Falconer
Pauline More
Paramedic Fraser Tolmie
 
Personal Security to Ms Johansson Steven Caldwell
Security provided by Media Security Services
Lead Security Hugh McGurk
Security Drew McGurk
Andrew Ross
Don McInnes
Marc McCarthy
Martin Blytheway
 
LONDON STUDIO SHOOT
Standby Carpenter Tom Walker
Standby Props Paul Cutler
Stagehand Mike Scanlon
Art Department Assistant Georgina Gordon-Smith
Art Department Trainee Anna Smith
3rd Assistant Director Marilyn Edmond
Stand-ins Catherine Woolston
Adam Nowell
Louise McKusker
Clapper Loaders Gregoire Thevenot
Rana Darwish
Camera Trainee Alex Teale
Caterers Red Chutney
  

Adam Gilbert
Sylvie Nowik-Nowika
Rigger Metro Rigging
Damon Graham
Desk Operator Andy Mountain
Electricians Vinny Madden Jr
Bruno Martins
Robert Gavigan
Grips Malcolm Huse
Keith Mead
Unit Medic Phil Walton
Drivers Tina Faulkner
David Rush
Crane Technicians George Powell
Steve Hideg
Libra Head Technician David Freeth
Motion Control Technician Justin Pentecost
Stunt Riggers Dave Cronnelly
Tom Struthers
Animal Handler Trevor Smith
 
UNDERWATER SHOOT
Coordinator Trevor Evans
Camera Operator Mark Silk
1st Assistant Camera Danny Preston
2nd Assistant Camera Matt Wesson
Gaffers Bernie Prentice
Pip Keeling
Electricians Andy Duncan
Jason Lobb
Olly Crouch
Dive Supervisor Fred Woodcock
Divers Stuart Grosse
Dan Travers
Richard Gunner
Diving Doubles Josh Tuersley
Lenny Woodcock
Medic Geoff Smith
Catering Chrissie Saunders
 
 
2ND UNIT / ADDITIONAL PHOTOGRAPHY
2nd Unit Director Tom Debenham
1st Assistant Director David Gilchrist
Brian Horsburgh
 
PICK UPS
Production Mananger Mark Murdoch
Production Assistant Iain Canning
Art Department Assistant Imogen Toner
2nd Assistant Director Marilyn Edmond
3rd Assistant Director Laurie Mahon
Utility Stand in Stephanie Snowden
One Cam Director of Photography Tom Debenham
B' Cam Focus Puller Simon Surtees
  

A' Cam Clapper Loader Laura Dinnett

B' Cam Clapper Loader Alasdair Boyce
Camera Engineer Arron Smith
Camera Trainee Peter Tarran
Camera Car Driver Rob Snooks
Catering Guy Cowan
Costume Supervisor Nat Van Halle
Gaffer Alan Martin
Electrician Stuart Farmer
Key Grip Dave McAnulty
Assistant Grip David Littlejohns
 
Post Production Coordinator Katie Bullock-Webster
Assistant Editor Paul Dawber
Additional Assistant Editor Andy Hague
 
Design and Visual Effects One Of Us
Visual Effects Executive Producer Rachael Penfold
Visual Effects Supervisors Tom Debenham
Dominic Parker
Visual Effects Producers Chaya Feiner
Earle Stuart Callender
Senior Visual Effects Coordinator Laura Lynch
Visual Effects Coordinator Leila Nicotera
 
 
Visual Effects Data Wrangler Greg Fee
Visual Effects Editor Andy Hague
Element Shoot Coordinator Robert Timmins
 
 
Look Development / CG Supervisor Stephen Murphy
Senior Character TD Andrea Falcone
Effects TD Sam Swift-Glasman
Texture Artist Richard Hopkins
Cloth TD Adrian Pinder
3D Artist Samuel John Joseph Walsh
Effects Artist Dan Warder
Compositing Supervisor Petra Schwane
Digital Compositors
Jorge Canada Escorihueza Lewis Saunders
Lucien Fostier Abigail Scollay
Richard Frazer Tom Sparks
Andrew Hogden Victor Tomi
Jeanette Monero Pat Wong
Cecile Peltier Nicholas Zissimos
Emmanuel Pichereau Christophe Dehaene
Mike Pope
Digital Artists Barny Stoppard
Cristina Vozian
 
 
3D Camera Tracker Sarah Byers
Rotoanim Artists Christina Mandia
Ritchie Hoyle
Dan Moore
 
Systems Administrator Matt Power
  

Data I/O Operators Tomas Tombakas

Roland Watson
 
Visual Effects Consultant Tim Field
Additional Visual Effects WebVFX
 
Digital Intermediate by Dirty Looks
Colourist John Claude
Online Editor Gareth Bishop
DI Producer Helle Absalonsen
DI Technical Supervisor Tom Balkwill
 
Title Design Farrow
Mark Farrow
Gary Stillwell
 
Audio Post Production Services At Wave Studios Ltd London & Amsterdam
Supervising Sound Editor Johnnie Burn
Sound Effects Editors Ed Downham
Steve Browell
First Assistant Sound Editor Simon Carroll
Foley Editors Barnaby Smyth
Joe Mount
Foley Recordist Billy Mahoney
Foley Artists Jason Swanscott
Alissa Timoshkina
Margarita Osepyan
Dialogue Editor Jussi Honka
ADR Recordist Stuart St. Vincent Welch
Additional SFX Editor Alex Nicholls-Lee
Mix technician Ashley Smith Re-
recording Mixers Johnnie Burn
Steve Single
 
Re Recorded at Goldcrest Post Production
Technicolor Sound Services London
 
 
Publicity Jonathan Rutter
Premier
 
PMA Film & Television
EPK Producer Pip Ayers
EPK Director Tom Savage
 
Stills Photographer Niall O' Brien
 
 
 
Production Legal Services Lee and Thompson LLP
Reno Antoniades
Rebecca Pick
Completion Guarantor Film Finances
Neil Calder
Ruth Hodgson
Clare Hardwick
James Shirras
  

World Revenues Collected and Distributed by Freeway CAM B.V.

 
Production Auditing Steve Joberns
Shipleys LLC
 
 
Insurance Media Insurance Brokers Limited
John O'Sullivan
David Johnstone
 
Dialect Coach Paula Jack
Deborah Hecht
Storyboard Artist Adrian Marler
Creature Feature and Trainer David Stewart
Armourer Jim Elliott
Script Clearances Debbie Banbury
Payroll Sargent Disc Ltd
Camera Equipment Movietech
Lighting Equipment Panalux
Rigging Equipment Blitz Rigging Ltd
Cranes supplied by Arri Media
EPL Skylift
Genie Booms supplied by AFI Uplift
Data Lab Mission Digital
Location Equipment SP Locations
Radios Audiolink
Post Production Script Sapex
Additional Cutting Rooms The Quarry
Tor Adams
Avids from Hireworks
Lawrie Read
Stock Footage John Miles / Cooper Estate
Freementle Media
The Scottish Parliament
BBC Radio Scotland
 
On behalf of Film4
Development Sam Lavender
Business Affairs Harry Dixon
Production Tracey Josephs
Commercial & Brand Strategy Sue Bruce-Smith
 
For BFI Film Fund
Director of the Lottery Film Fund Ben Roberts
Senior Production and Development Executive Christopher Collins
Head of Production Fiona Morham
Director of Business Affairs Will Evans
Business Affairs Executive Sarah Caughey
Head of Production Finance Ian Kirk
 
 
 
On behalf of Silver Reel  
Irene Gall
Uta Fredebeil
  

Gerd Schepers
Gero Bauknecht
 
Legal services for Silver Reel provided by David Quli
Daniel Whybrew
of Wiggin LLP
 
On behalf of Creative Scotland
Development and Production Robbie Allen
Business Affairs Linda McClure
Legals Brehon & Co (Mary Brehony)
 

WORLDWIDE SALES BY FilmNation Entertainment

Music arranged by Mica Levi and Peter Raeburn

Music Supervisor Jay James
Orchestrator & Associate Music Producer Evan Jolly
Music Editor Gerard McCann
Score Engineers Luis Almau
Goetz Botzenhardt
Score Mixer Jake Jackson
Additional Score Mixer Simone Filiali
Technical Coordinator for Music Dan Gay
Technical Assistant Samuel Karl Bohn
Music Research Alex Benge
Julian Guidetti
Technical Programming Rael Jones
 
 
 
Score Recorded at Soundtree Studios
Score Mixed at Soho Sound Kitchen
 
Score Performed by Mica Levi
Vincent Sipprell
Oliver Coates
Max Baillie
Emma Smith
Eugene Feygelson
Anisa Arslanagic
Rebecca Gardiner
Max Ruisi
Charlotte Kerbegian
Harriet Scott
Laura Murphy
Marc Pell
Benjamin Griffiths
 
Fixer Bridget Samuels of Orchestrate
  

“Real Gone Kid” “Sandstorm”

Performed by Deacon Blue Performed by Darude
Words & Music by Ricky Ross Written by Virtanen / Salovaara
Published by Sony/ATV Music Publishing (UK) Ltd. Published by Universal Music Publishing MGB Ltd
Licensed courtesy of Sony Music Entertainment UK Licensed courtesy of 16 Inch Records
Limited
 
“C90”
Performed by Soundtree
Written by Almau/Raeburn
Published by Soundtree Music Publishing Ltd
Licensed courtesy of Nowever Records
 
 
 
In Loving Memory
Mark Mason Terry Smith
 
 
 
 
 
The filmmakers would like to thank
 
Milo Addica, Mark Ankner, Steve Begg, Angus Bickerton, Jenny Borgars, Chris Burn, Antonia Campbell Hughes,
Sally Caplan, Brian Coffey, Gary Connery, Andy Cooper, Chris Donnelly, Anna Duffield, Simon Duric, Ari Emanuel,
Julia Godzinskaya, Anne Marie Goldie, Carlos Goodman, Des Hamilton, Gerry Healy, Duncan Heath, Uel
Hormann, Steve Keys, John Laird, Sam Lavender, Bryan Lourd, Mark Mason, Natalie McConnon, Billy Mead,
Sandy Nelson, Anita Overland, Chris Penfold, Tanya Seghatchian, Kev Smith, Lesley Stewart, Alexander Stuart,
Jim Toth, Rick Yorn, Bart Walker
 
Academy Films, Elstree Film Studios, The Hilton Glasgow, Fraser Suites Glasgow, Audi, Yamaha, Ducati, North
Face
 
Family and friends
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

 
 
  

 
 
 

 
 
 
Filmed on location in England and Scotland
 
NO IDENTIFICATION WITH ANY PERSONS LIVING OR DEAD IS INTENDED
 
This motion picture is protected under the laws of the United Kingdom
and other countries. Unauthorised duplication, distribution or
exhibition may result in civil liability and criminal prosecution.
 
 
Developed with the assistance of Film4, a division of Channel Four Televsion Corporation
 
 
 
Supported by the National Lottery through Creative Scotland
 
 
(Creative Scotland Lottery Logo)
 
 
A co-production with Sigma Films

(Film4 Logo) (JW Films Logo)

(NVW Logo) (FilmNation Logo)

(Silver Reel Logo) (Lee & Thompson Logo)

 
Made with the support of the BFI Film Fund
 
 
 
 
Copyright 2013 © Seventh Kingdom Productions Limited, Channel Four Television Corporation
and The British Film Institute
 
 
 
All rights reserved