Will - Production Notes - Vertigo Films

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
BROUBEKER MOUSSAOUI
Teenage Thieves
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
ROBERT COLLINS, IAN GLENISTER,
Electricians 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
BEN BARKER
Sound Effects Editors TOM SAYERS
DANNY FREEMANTLE
Foley Editor HUGO ADAMS
Assistant Dialogue Editor EMILIE O'CONNOR
Foley Artistes JACK STEW, ANDREA KING
LOUIS ELMAN AMPS MPSE
ADR Voice Casting
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
JOSEY MCNAMARA
Floor Runners
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
JASON HTAY, MARK WALLIS
Carpenters 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
FARNAZ DONOVAN
Assistant Accounts
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
MIKE BEAVAN, ROY CLARKE
Unit Drivers
JOHN DORAN, MARTIN BIRMINGHAM
GORDON FARMER
Mini-Bus Drivers
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
COLIN TOWNSEND
Electricians
TERRY TOWNSEND
Standby Props BART TUFT
ZANE MCGILL
Standby Carpenters
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
TUNÇ ERGÜDEN, MERT YILMAZ
Art Department Assistants
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
FRANCOIS-LOUIS DELFOLIE
Costume Assistants
LAURENCE CAINES
Gaffer THIERRY BAUCHERON
MOHAN VALMY
SIDNEY BAUCHERON
Electricians
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
Production Services Company FIRSTEP
ALICE CORDIE, EPONINE MAILLET
GAELLE RISCH, STEPHANIE VERON
DAMIEN BARILKO, NICOLAS BIAUGEAUD
MICHEL-ALEXIS CESBRON
MALEK HADDADI, SCHEMS HAFIZ
STEPHANE BOULAY
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
FRANCOIS KAMFFER, JAMIE WELSH
DI Conform Editors
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
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
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
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
Lee Stone and Rebecca Pick of
Legal Services for Galatafilm
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.
DOLBY DIGITAL
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ARRI MEDIA
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For the 96. You'll Never Walk Alone.
FUJI
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© 2011 Strangelove Films Limited and Madouc Holdings, Inc.