Rating: PG (Mature themes)
Running time: 101 minutes
In cinemas: January 13
A Film Colony production
JAN AP KACZMAREK
Director of Photography
Based Upon The Play
The Man Who Was Peter Pan
by ALLAN KNEE
RICHARD N GLADSTEIN
The boundless imagination of the man behind Peter Pan and the poignancy of his journey combine in
this emotional tale inspired by events in the life of Scottish author James Mathew Barrie. In Finding
Neverland, director Marc Forster (Monster's Ball) and an accomplished cast including Johnny Depp,
Kate Winslet, Dustin Hoffman and Julie Christie take a fictional look at the creation of Peter Pan, the
classic of children's literature that speaks directly to the child in all of us. Finding Neverland traverses
both fantasy and everyday reality, melding the difficulties and heartbreak of adult life with the
spellbinding allure and childlike innocence of the boy who never grows up.
It all begins as successful Scottish playwright JM Barrie (Johnny Depp) watches his latest play open
to a ho-hum reaction among the polite society of Edwardian England. A literary genius of his times but
bored by the same old themes, Barrie is clearly in need of some serious inspiration. Unexpectedly, he
finds it one day during his daily walk with his St Bernard Porthos in London's Kensington Gardens.
There, Barrie encounters the Llewelyn Davies family: four fatherless boys and their beautiful, recently
widowed mother (Kate Winslet).
Despite the disapproval of the boys' steely grandmother Emma du Maurier (Julie Christie) and the
resentment of his own wife (Radha Mitchell), Barrie befriends the family, engaging the boys in tricks,
disguises, games and sheer mischief, creating play-worlds of castles and kings, cowboys and
Indians, pirates and castaways. He transforms hillsides into galleon ships, sticks into mighty swords,
kites into enchanted fairies and the Llewelyn Davies boys into The Lost Boys of Neverland.
From the sheer thrills and adventurousness of childhood will come Barrie's most daring and
renowned masterwork, Peter Pan. At first, his theatrical company is sceptical. While his loyal
producer Charles Frohman (Dustin Hoffman) worries he'll lose his shirt on this children's fantasy,
Barrie begins rehearsals only to shock his actors with such unprecedented requests as asking them
to fly across the stage, talk to fairies made out of light and don dog and crocodile costumes.
Then, just as Barrie is ready to introduce the world to Peter Pan, a tragic twist of fate will make the
writer and those he loves most understand just what it means to really believe.
ABOUT "FINDING NEVERLAND"
Director Marc Forster was looking for something magical when Academy Award- nominated
producer Richard Gladstein brought him David Magee's screenplay for Finding Neverland. Forster
was immediately drawn to the story, which imagined the circumstances and emotions behind the
creation and evolution of Peter Pan a tale that has touched millions all over the world.
Inspired by JM Barrie's real-life friendship with the Llewelyn Davies family, Finding Neverland is
infused with the same themes that make Barrie's play of Peter Pan so resonant: the wonder of the
imagination, the nostalgia for childhood innocence and the longing to believe in something more
enchanted than everyday life.
"I saw the film as a story about the power of a man's creativity to take people to another world, and
about the deep human need for illusions, dreams and beliefs that inspire us even in the face of
tragedy," comments Forster. "For me, it is about the transformative power of imagination - being
able to transform yourself into something greater than you are, even if nobody believes in you."
For Richard Gladstein, Finding Neverland presented "a unique opportunity to create a film
combining intimate personal and emotional drama with incredible bursts of imagination and
invention." He adds: "It's a story for the child and adult in all of us."
David Magee's screenplay for Finding Neverland was adapted from award-winning playwright Allan
Knee's stage play The Man Who Was Peter Pan, an imaginary series of conversations between
Barrie and the Llewelyn Davies boys. Producer Nellie Bellflower had seen the play at a local theatre
workshop and immediately optioned it, bringing it to Magee. Notes Bellflower, "Allan Knee's play
was an incredibly moving story of a man who becomes a father figure to these young boys and then
guides them through terrible tragedy. I had always loved Peter Pan and Allan's play was a fantastic
jumping-off point for exploring the creation of Peter Pan and its universal themes."
Notes Magee: "The screenplay I wrote is not a factual retelling of what happened to James Barrie
when he wrote Peter Pan. I wanted to tell a story about what it means to grow up and become
responsible for those around you. I hope people see the film as a respectful tribute to Barrie's
creative genius and come away with a feeling that as human beings, we can grow up without losing
all aspects of childhood innocence and wonder."
Magee also found that the story became ever more emotional and personal as he wrote. "My first
child was about to be born when I started working on this material, and my father was coming to
the end of his life after a long battle with cancer, so I was really thinking intensely about what it
means to grow up and to become aware that time really is chasing after all of us," he explains.
"For me, this story is about a man who is starting to face these issues in his own life."
Magee continues: "As a writer, I was also interested in exploring how one's own life inspires art
and how art in turn informs our lives. There is this notion that creative people hold onto their
childhoods longer than the rest of us, but there are moments throughout our lives that weigh on us
heavily that we need to explore through storytelling and art. Barrie's brilliance in Peter Pan is that
he expressed both the joy in childhood and just how bittersweet it is when you have to leave it
behind. He took this very real and universal experience and made it something magnificent and
At the suggestion of then Miramax executive, Michelle Sy, Nellie Bellflower sent a draft of the
screenplay to producer Richard Gladstein. At this point, Sy contacted Gladstein and the project was
set up at Miramax. The screenplay was developed and the search for the right director began. The
search took a fateful turn when Gladstein saw an early screening of Marc Forster's award-winning
Monster's Ball, which told a harrowing love story between a prison guard and a criminal's widow with
tenderness and raw emotion. Says Gladstein, "The depth of character and subtlety in all the
performances convinced me that Marc would bring something unique and special to the project."
As they developed the screenplay and began to search for a cast, Gladstein notes that the
filmmakers found inspiration in some of Barrie's own words. "Barrie wrote an important bit of
direction to his actors, saying 'All characters, whether grown-ups or babes must wear a child's
outlook as their only important adornment.' This principal guided us in the creation of the film," says
Gladstein, "and we even wrote it, as a sort of prologue, into several drafts of the screenplay so that
all the actors and crew understood the intention."
Central to Finding Neverland is Johnny Depp, the recent Golden Globe winner and Oscar nominee,
who as much as any leading modern actor, seems to have kept his own childlike spirit vibrantly alive.
Says Marc Forster of Depp: "Johnny is perfect to represent a man who never wants to grow up
because you can see that he has this very accessible child inside him from the choices of movie roles
he makes. He brought something very special to the role, underplaying it in a way that really pays
homage to the man we both believe Barrie wanted to be."
Depp also found his way into his role by working with a voice coach on an authentic Scottish brogue,
which he employs with the quiet air of a man who on some levels will always remain an enigma.
"Johnny brings out a natural sense of mystery in his portrayal of Barrie, sparking the audience's
curiosity about what's happening in Barrie's mind," notes Richard Gladstein.
Depp particularly enjoyed how the story of Finding Neverland is propelled by the undercurrent of
unspoken love between his character and Kate Winslet's - a love that never becomes a typical
romance. "The film never seems to go quite where you expect it go," he says. "It never turns into a
sentimental love story of two people destined to be together or that sort of thing. Instead, it's a much
more complicated and moving relationship between two people who need each other on a level that's
really beyond explanation or words."
Most of all, though, Depp was drawn to the role by the magic of the Peter Pan story itself. "It's truly a
work of genius," he says. "It's a masterpiece of imagination, and the result of the most remarkable
inspiration. It's one of those rare perfect things in the world that will always be with us and this was a
wonderful opportunity to explore where such a powerful story might have come from."
For Kate Winslet, working with Johnny Depp really drove home the film's idea that anyone can tap into
the spontaneity and adventure of being a child again. "Johnny was so able to be a child on the set that
it was sort of like working with five children for me! He made me and the boys constantly laugh with his
cleverness which is exactly what we needed to create the spirit of the story."
Winslet, a three-time Oscar nominee (for Sense and Sensibility, Titanic and Iris) is no stranger to
Peter Pan territory. She played Wendy in a theatre production when she was just 15 years old and
has always been intrigued by the fantastical universe of Neverland. When she read the script for
Finding Neverland it was Sylvia du Maurier, the fiery bohemian mother of a brood of charming young
boys in a time of great formality, who captured her fascination.
"The character of Sylvia is such an interesting person," she notes, "because she's a very modern
mother in an era when the view of children was just starting to change. Most people still believed
children should be seen and not heard, and children were typically kept away from the adult life in the
household. Sylvia does things differently, and she reflects a change in how children were raised.
She's very involved in her children's upbringing and she encourages them to be free spirits. I love the
fact that she's such a nonconformist."
Winslet continues: "But Sylvia is also a recent widow, so there's a lot of buried grief and anger in her,
and I think that's part of what makes James M. Barrie so intriguing to her. He's this larger-than-life
character who couldn't be more different from most of the men she meets in her social circle. She's
really magnetically drawn to this man, not because he seduces her, but because he welcomes her
into his incredible fantasy world. I do believe at the end of the day, this is a love story, but it's about the
love between Barrie and a whole family."
Though there aren't volumes written about Sylvia du Maurier's life, as there are with Barrie, some of
the real Sylvia's letters and writings have survived. Winslet was moved to learn that one aspect of her
story that is entirely true is that she made the decision not to be treated for her cancer. Sylvia wanted
to protect her sons by shielding them from her debilitating health and keep them from seeing her
suffer through drawn out and painful treatments. "I think it was the most extraordinary act of bravery,"
says Winslet. "She wanted life to continue as normal and she wanted to slip away quietly. It's an
amazing sacrifice to have made for her children."
For Marc Forster, Winslet was a revelation in the role. "She's a mother herself so she has this
wonderful ability with the kids to embrace them and yet also be very down-to-earth. There's a real
physicality to her as a mother that was very important to me; especially because when she ultimately
passes, you really feel the children's immense sense of loss."
Another character who plays a unique role in Barrie's creation of Peter Pan is that of Charles
Frohman, the wealthy American impresario who stood by Barrie through much of his career, and finds
himself backing an entirely unconventional fantasy play he fears will be a failure. The real Charles
Frohman - known as "the Napoleon of drama" - was famed for his ability to develop new talent and
was associated not only with Barrie but with such major writers as Oscar Wilde and W. Somerset
Maugham. He was also noted for bringing to the fore such Broadway stars as John Drew, Ethel
Barrymore, EH Sothern, Julia Marlowe, Maude Adams, and Henry Miller. (Tragically, Frohman died at
the height of his career when the ocean-liner Lusitania was sunk by a German submarine. Echoing
Peter Pan his final words were reported to be "Why fear death? It is the most beautiful adventure in
Academy Award-winner Dustin Hoffman took on the role of Frohman in part so he could work with
both Forster and Depp. "I saw Monsters Ball and have wanted to work with Marc Forster ever since. I
also knew that James Barrie was going to be played by Johnny Depp and I think he's one of our
greatest young actors. He has a quality that I highly admire - he tries everything in his power not to be
a star. He takes chances on the roles he chooses and eludes being a pin-up, despite being so
Hoffman was also intrigued by Frohman's profound commitment to making an artist's dreams come
true, no matter how risky. "What interested me about Frohman is that he's quite hesitant and reluctant
to produce Peter Pan, a play with fairies, pirates and crocodiles that he can't imagine will be accepted
by sophisticated London goers-goers. Yet Frohman was the rarefied producer who had the ability to
sense genius and who understood that, by definition, genius is excelling at doing something that
hasn't been done yet, something in which the artist goes out on a limb. He let Barrie take a risk, and it
paid off for the whole world."
One of the most demanding roles in the film is that of Barrie's lonely wife, Mary, played by Radha
Mitchell, who previously collaborated with Marc Forster on Everything Put Together. Mitchell found
great empathy for Mary as a woman trapped in a difficult marriage. "Mary can seem cold but she's just
angst-ridden because she's in love with a man whom she can't connect to no matter how hard she
tries," says Mitchell. "I wanted to make her perspective more clear and really show how frustrated she
is by this gulf between her and her husband. I already knew that Marc as a director is someone who
never plays to stereotypes. He wants performances to be very real and naturalistic, which was a
wonderful challenge with Mary."
And then there are the four young boys with whom Barrie leaves his everyday reality for a place
where fairy tales and legends come to life. From the beginning, the filmmakers knew that casting the
Llewelyn Davies boys would be key. After extensive auditions, they were able to narrow the search
down to a few dozen exceptional young actors. Then, instead of holding individual readings, the
filmmakers had groups of boys read together in search of that certain volatile chemistry - a mix of
rivalry and closeness - that occurs between real siblings.
"It was very important that the boys get on together just like a real family, since I wanted very natural
performances from them," notes Forster. "The boys we chose are all very special and gifted. Each
one came to the set with a rare depth and sensitivity - as well as a sense of fun - which made telling
this story so much easier." Adds Kate Winslet: "The boys often felt like young men rather than
children to me because they were so very intelligent, professional and warm - even Luke Spill, who's
six years old, was sharp as a button."
For his part, Johnny Depp did his best to bring out the mischief hiding just beneath their professional
manners. "You'd expect that these little boys would be climbing the walls on a movie set, but they had
incredible concentration and focus. In fact, sometimes we had to loosen them up," Depp explains.
"For the dinner party scene, for example, Marc and I planned in advance that I could use my fart
machine at certain moments. We hid the machine under the table and waited until the boys' close-ups
and then I just started nailing them, and it worked like a charm."
Producer Richard Gladstein was particularly impressed with Freddie Highmore, who plays Peter, the
ever-so-serious namesake of the boundlessly playful character he will soon inspire. "Peter is the
principal child in the film and I think Freddie is pure magic," says Gladstein. "He was the first actor that
read for Marc and I and he defined the character. We went on to see a few others but by the end of the
day we knew we found our Peter. He's created the role the way an adult actor would in a really
mysterious, rich and emotional way."
Highmore had a tremendous grasp of the story and his role inside of it. He explains: "Peter is always
thinking about his father and he doesn't think it's right that Barrie should come in and take over. But
then Barrie shows him things he didn't know - like that he can write. Peter isn't really like Peter Pan
because he's ready to grow up. Actually, I think Barrie's the child who never grew up because he was
always taking the boys off and playing pirates and cowboys and stuff. No matter what he says, Barrie
is the real Peter."
All the boys - including Joe Prospero who plays Jack, and Nick Roud who plays George - had a blast
with the endless make-believe, dressing-up and swash-buckling that the roles required. Sums up
Prospero; "It was really fun to be in this movie. Every day we were pirates or cowboys and we got
soaked and knocked over and just had a really good time."
Bringing more fun to the cast are two hip young British comedians, Paul Whitehouse (The Fast Show)
and Mackenzie Crook (best known to Americans as Gareth on The Office) as Barrie's stage
managers. Notes Richard Gladstein: "Paul Whitehouse and Mackenzie Crook are wonderfully trained
comedic performers and they, along with Johnny and Dustin create a kind of light, imaginative, secure
other world inside the walls of the theatre, where they're able to be wonderfully free, playful and
Finally, making a special guest appearance in the cast is Laura Duguid, JM Barrie's real-life
god-daughter and the daughter of Nico, the youngest of the real-life Llewelyn Davies boys. She plays
the small but vital role of the goer-goer who at the party following Peter Pan's premiere suggests that
young Peter Llewelyn Davies must be the real Peter Pan only to have Peter point to Barrie and reply:
"But I'm not Peter Pan, he is." Duguid was just nine years old when Barrie died. Nonetheless, she has
unforgettable memories of spending time with him as a child.
REALITY MEETS IMAGINATION:
THE LOOK OF "FINDING NEVERLAND"
The unique design of Finding Neverland bridges two utterly different worlds: linking the prim and
proper reality of turn-of-the-century London with that of an imaginary realm of outrageous dreams
and infinite possibility. Throughout every element of the production design, the costumes, the
photography and the lighting, the two worlds play off one another, and sometimes play tug-of-war,
making for a distinct look that is just beyond the everyday, yet never entirely out of reach.
Production designer Gemma Jackson explains: "There were a lot of different things in the mix on
this story, but always we had in a mind a very strong magical element laid over the equally
compelling reality of it. Marc was quite adamant that he didn't want a heavy-duty period film that
got caught up in historical details. So we looked at far more than just re-creating 1904, and made
it our mission to also capture the very essence of a world where imagination explodes outward
from real life."
Academy Award-nominated costume designer Alexandra Byrne was similarly excited by the
challenge of doing something unlike any previous project. "It's rare that a costume designer gets
to combine reality with fantasy - you're usually doing one or the other - so it was quite thrilling," she
says. "For many of the real-life outfits, I began with trips to museums to look at actual pieces and
at paintings of the period to get the right weight and weave for the fabrics. On the other hand, for
Neverland, it was all about going out on a limb and creating something right out of a child's
dreams. It's sheer fantasy but with just a touch of the Edwardian influence.
Byrne drew from both the more buttoned-up English fashions of the time - subjecting Kate Winslet
and Radha Mitchell to the acute discomforts of turn-of-the-century corsets
-- but also the freer clothing styles a progressive family like the Llewelyn Davies sported with
looser smocks, jaunty berets and knickerbockers for the boys. Then, for the playtime scenes,
Byrne left reality behind with fanciful fairy wings, pirate breeches and Indian headdresses.
Director of photography Roberto Schaefer also worked to interweave the real world with a world
that for all practical purposes can't be photographed: the world of the inner imagination. Says
Schaefer: "Marc Forster allowed me a lot of freedom to explore how to give a sense of being
inside a man's imagination in my own visual way, and I really appreciated that."
Schaefer worked in close collaboration with Kevin Tod Haug, the Visual Effects Designer on the
film. "We started from the idea that we were going to try to show what life looks like through the
eyes of an inventive writer who's not entirely here with the rest of us - he's off in his imagination
somewhere!" Haug explains. "We wanted there to be a tinge of something fantastical or slightly
strange surrounding Barrie. In the scenes with fantasy elements, we combined little bits of
animation, CGI and photography of the real actors to create something like a dream. My particular
specialty is impossible camera moves and things that look as through they're all live-action or real,
and yet in fact are combinations of CGI and multiple camera moves. This was key to creating the
The film was shot in England, often at authentic locations including central London's legendary
Kensington Gardens as well as the historic Saville Club and the 19th Century Brompton
Cemetery. The scenes at the Duke of York's Theatre were all filmed at the historical Richmond
Theatre in Surrey, a lavish turn-of-the-century stage which was built in 1899 and refurbished to its
original splendour in the 1990s.
But the most excitement came in creating a place that never really existed yet many feel they have
visited: Neverland, the enchanted isle of idyllic forests and lagoons, which was built from scratch
on sound stages at Shepperton Studios.
Richard Gladstein explains how the filmmakers approached it: "Prior to showing Neverland, all of
the fantasies and imagined scenes take place in Barrie's mind. However, with Neverland, we tried
to create a place where everyone discovers their creativity and imagination." He continues: "We
wanted it to be wild and beautiful, a fantasy world that each of the characters can see - and
hopefully every one in the audience can too. It's a place that can become whatever you want to
be, whether it's Barrie's version of Neverland or Sylvia's or Peter Davies' - or yours."
In creating this world of enthralment the entire production team was encouraged by Marc Forster to
experiment any way they wanted to - no risk was considered too crazy. "There were never any real
guidelines as to what was wanted - it was just up to us to come up with ideas, which was a
wonderful challenge," explains Gemma Jackson. "The designs I came up with were really based on
my own fantasies and memories of childhood, and a sense of capturing a kind of infinite world that
goes on and on without end."
Costume designer Alexandra Byrne also drew on myths and fairy tales - but with a real-life twist.
"The designs for the fairies, for example, are full of whimsy and mysticism, but they are also based
on an extraordinary evening dress of the period that I came across," Byrne explains. "This is what
we did throughout: worked from the period and expanded it outward into an imaginary universe."
Meanwhile Robert Schaefer was inspired by the mercurial English weather in his lighting design
for Neverland. "I wanted to give Neverland a very dreamy feeling and the weather gave me some
interesting ideas. Whenever we were shooting exteriors, we had to battle the constant changes of
it being cloudy one minute, then sunny the next, then pouring, then cloudy, sunny, cloudy and so
on. Then, one day while we were waiting for the weather to clear, I realised there is a kind of
otherworldly charm to the sky when it's filled with these rolling clouds that darken and lighten, and
I tried to bring a bit of that to the stage when we filmed the Neverland sequences. We wanted it to
have that touch of natural magic."
PETER PAN: THE PLAY
For years, children and adults alike have fallen in love with JM Barrie's world-renowned play Peter
Pan, Or The Boy Who Wouldn't Grow Up, which celebrates its 100th anniversary in December
2004. The legendary tale follows the adventures of the Darling children - Wendy, John and
Michael - as they journey to a far-off land where fairies exist, anyone can fly and magic and
mischief of all kinds abound in an Eden where time itself is suspended. It was said that at the
opening performance of Peter Pan an audience of mostly adults clapped so exuberantly to
register their belief in fairies it caused the actress playing Peter to burst into tears. Shouts for
curtain calls lasted late into the night.
Right from the start, Barrie lets the audience know that things are going to be a bit fantastic as he
introduces a family that, despite leading fairly typical Edwardian London lives, has a dog for a
nanny who makes the family beds with her teeth! Soon, the children receive a most unusual visitor
in their Bloomsbury apartment: a boy named Peter Pan, hunting for his lost shadow, who claims to
have completely avoided growing up. Like his fairy companion, Tinker Bell, Peter can fly and
teaches the exhilarating skill to the three Darling children. Having learned to believe in the
impossible, the children soar off with Peter Pan to his island paradise: Neverland.
On the island of Neverland, the Darlings meet the Lost Boys, Peter's band of child warriors who,
along with a tribe of Indians, are battling against the cutthroat pirate, Captain Hook. After Wendy
takes on the role of mother to the Lost Boys, Hook captures her and her new family. In one of the
play's most famous scenes, Wendy is saved from "walking the plank" by Peter's bravery and Hook
is eaten by his nemesis, a ticking crocodile who once swallowed a clock, as good triumphs over evil
Back at the nursery, the Darlings' parents are waiting with the window open, searching forlornly
for their missing children. Peter tries to prevent the children from returning, but they succeed in
getting home. And though, as Peter has warned them, they are destined to grow up and grow old,
they will carry with them the wonder and magic of their experience forever.
From its opening night at the Duke of York's Theatre on December 27, 1904, Peter Pan was an
instant cultural phenomenon and drew acclaim for its innovative and unprecedented staging
involving audience interaction. It also was clear that there was much more to the story than just a
child's grand adventure. Through its Broadway premiere on October 20, 1954 (with Mary Martin in
the title role) and still today, the play's themes resonate equally with adults and children, and the
combination of irresistible storytelling and timeless relevancy has made it a classic of literature -
read as avidly in nurseries as in universities - for a hundred years and counting.
The story of the Darling children's flight into Neverland pits childish innocence against pirate evil
but also fantasy against reality, freedom against middle-class propriety, and unbridled adventure
against the comforts of family and home. To this day, critics and literary experts continue to
debate Barrie's intentions- and whether he felt that, in the end, not growing up was a triumph or a
bittersweet tragedy in the modern world.
For Marc Forster, the most inspiring part of Peter Pan is the one that has inspired Finding
Neverland - as he puts it, "that a great story can take audiences as far as their imaginations will
THE LEGACY OF PETER PAN
Once JM Barrie wrote it, Peter Pan took on a life of its own, becoming not just a popular play and
then a beloved novel (published as Peter and Wendy in 1911) but a part of the public imagination.
Passed down from generation to generation, the story has woven itself into the consciousness of
children and adults in Europe, America and beyond.
The legacy of Peter Pan includes:
The birth of children's literature as a popular commercial genre. Although there previously
was a long tradition of children's literature beginning with adaptations of Robinson Crusoe
and The Arabian Knights, Barrie's novel of Peter Pan sparked a revolution in literature,
proving that child readers were just as vital a market as their parents.
The word "Neverland," which is now included in the American Heritage Dictionary, defined as
"an imaginary and wonderful place; a fantasy land."
The name Wendy, which was invented by JM Barrie based on an associate's young
daughter, Margaret Henley, who, unable to pronounce an "R," used to call Barrie "my
fwendy." Though Margaret died at age six, she lives on in the character of Wendy, who
also inspired many parents to name their girls after her.
An enduring fashion style: "The Peter Pan collar," a name that came to represent the large,
rounded collars that boys of the period often sported.
Thousands of theatrical stagings, a Broadway musical, numerous films and television shows,
an animated classic, a beloved Disney theme park ride, and a Peter Pan statue in
Kensington Garden, among other incarnations.
A tradition of cross-gender casting for the role of Peter Pan. The first actress to play Peter
Pan was 37 year-old Nina Boucicault, sister to the play's first director, whose casting
started a trend. It wasn't until 1982 that a male was first cast as Peter Pan in England. The
role continues to be sought by actors of both sexes.
Millions of dollars for the Great Ormand Street Children's Hospital in England. The copyright
for Peter Pan was bequeathed by Barrie to the hospital, which over the years has used the
substantial proceeds to treat countless needy children.
JM BARRIE'S LIFE AND TIMES: A BRIEF INTRODUCTION
In 1904, when it first hit the London stage, Peter Pan took audiences' breath away. In part, this was
because no one had ever seen anything quite like it before - a thrilling, uninhibited celebration of the
sword-rattling fantasies and unlimited hopes of childhood. It was the height of Edwardian England, the
so-called golden age of elegance and formality, yet JM Barrie's story captured the mood of a young
century on the cusp of radical change. Barrie's Peter Pan became the symbol of a key change in how
society viewed childhood. No longer did the Victorian concept of children as icons of simple moral purity
seem to work. In its place came the notion of children as fun-loving, mischief-making heroes and
heroines of their own questing adventures. Barrie hoped to keep this view of childhood foremost in the
eyes of the world.
Yet, as the 20th Century raged on, the world became a place in which children would often be forced to
grow up far too quickly, or never truly experience childhood at all. Against this grim backdrop, Peter Pan
also struck a chord, serving as a poignant warning to a society rushing headlong into maturity -
providing a welcome reminder of the importance of never losing the child-like ability to dream, to
imagine and to escape, no matter the complexities and violence of a new age.
JM Barrie always yearned for a world in which playfulness and whimsy would always triumph over
seriousness and propriety. (In his memoir about his mother, Margaret Ogilvy, he wrote: "Nothing that
happens after we are twelve matters very much.") Perhaps this is because he himself had a chaotic and
interrupted childhood, which sparked his fascination with just why and how people grow up. Born a
weaver's son in Scotland in 1860, Barrie was forever shaken by the death of his brilliant older brother
David in a skating accident when Barrie was only six and his brother 13. To comfort his grief-stricken
mother, Barrie tried to take his brother's place, even imitating David's posture and whistling habit - and,
most eerily, wearing his brother's clothes. Remarkably, the diminutive Barrie claimed that as soon as he
reached the age at which his brother died, he himself stopped growing.
Indeed, throughout his life, Barrie seemed perpetually caught in the limbo between childhood and
adulthood. Even in appearance, he was slight and boyish with a whispery, youthful voice. Nonetheless,
until he wrote Peter Pan Barrie was considered a consummately adult author, known for his biting satire
and sharp observations of a class-riven society. Part of a celebrated circle of writers that included
Rudyard Kipling, Thomas Hardy, HG. Wells and Robert Louis Stevenson, this childlike man was one of
the leading intellectuals of his day. He was also the most successful and richest playwrights of his
generation, publishing over forty plays - many of which were major hits on the London stage - as well as
six novels, seven works of non-fiction and numerous collections.
There is little doubt that Barrie was more comfortable around children than adults, and in our
post-Freudian world, Barrie's interest in other people's children has occasionally been mis-construed.
However, Michael Emrys, president of the JM Barrie Society, notes: "Historians and biographers of JM
Barrie agree that nothing improper ever occurred." Andrew Birkin, Barrie's primary biographer (JM
Barrie and The Lost Boys) believes Barrie's relationship with the Llewelyn Davies boys was sparked by
Barrie's longing to be an authentic father figure to the boys and to win the love of Sylvia.
The most persuasive repudiation of these questions about Barrie came from the youngest of the five
Llewelyn Davis boys, Nico Davies, who eventually came to live with Barrie and regard him as a father.
As Andrew Birkin notes in his biography of Barrie, Nico was quite unequivocal on the subject: "Had he
had these leanings in however slight a symptom, I would have been aware. He was an innocent - which
is why he could write Peter Pan."
JM Barrie passed away in June of 1937 at the age of 77, but Peter Pan has never grown old. Having
inspired numerous films, a television mini-series and a Broadway musical - not to mention countless
budding young imaginations - the story continues to be beloved in the 21st Century.
THE LLEWELYN DAVIES FAMILY
JM Barrie first met the Llewelyn Davies children in London's Kensington Gardens with their nanny
Nancy Hodgson, while he was taking his daily walk with his St. Bernard, Porthos. When Barrie
met them, there were only three Llewelyn Davies boys: George (age 5), Jack (4) and Peter (1).
The two youngest boys, Michael and Nico, were born later.
Though Barrie had many friends in the park, these boys were to become his favourite playmates
by far, and he would become theirs. To keep them in a perpetual state of laughter and
wonderment, Barrie performed magic tricks, wiggled his ears and eyebrows and dressed Porthos
in costumes. He also began to spin elaborately fanciful stories involving magical islands, Indians,
pirates and fairies that enraptured the boys and ultimately inspired Barrie to write something
unlike anything he'd ever written before.
It was only after first befriending the Llewelyn Davies children that Barrie met their mother at a
New Year's Eve party. He was immediately entranced. Said to be astonishingly lovely and
charming, the glamorous Sylvia du Maurier was the daughter of renowned artist and novelist
George du Maurier and the aristocratic heiress Emma du Maurier (played by Julie Christie in the
film). Her extended family was one of the most socially connected and artistically accomplished in
all of London. Barrie wrote of Sylvia shortly after meeting her at a dinner party: "She is the most
beautiful creature I have ever seen."
At the time, Sylvia was married to the lawyer Arthur Llewelyn Davies. In a bold breach of protocol,
however, Sylvia welcomed Barrie into their family home. He became a frequent visitor, and
heedless of appearances, travelled on holidays with the family. Barrie was so involved in the boys'
lives that he even paid their private school tuition. Best of all, when they summered together at his
country house at Black Lake, he and the children played out elaborate pirate adventures that
Barrie later recalled as the highlight of his life.
Throughout their early friendship, Barrie began to tell the boys stories about Peter Pan, an impish
and mystical "eternal child" who was created out of all the qualities Barrie admired most about the
boys: their spontaneous joy, their unending sense of play, and their mischievous freedom.
Meanwhile, feeling betrayed by Barrie's obvious and inconceivable love for another woman's
children, Barrie's wife Mary began an affair with a writer friend Gilbert Cannan, eventually
divorcing Barrie in 1909 so she could marry Cannan.
During this entire period, the Llewelyn Davies children were also cared for by their stern but
devoted nurse, Nancy, who also would inspire Barrie: he turned her into the character of Nana,
the dog/housekeeper who keeps a watchful eye over the Darling family in Peter Pan.
Although Barrie's play of Peter Pan was first performed in 1904 to the delight of the Llewelyn
Davies boys, Barrie continued to revise and expand the story for a number of years, during which
a number of tragedies befell the Llewelyn Davies family.
First, in 1907, the boys' father Arthur died following an agonising bout with cancer that devastated
the entire family. Although Arthur had been suspicious of Barrie at first, the two men became very
close at the end, and Barrie spent every day at Arthur's bedside, comforting the children and
Sylvia. He also began to provide much of the family's financial support.
There is some evidence that Barrie may have intended to marry Sylvia after Arthur's death -
perhaps even going so far as to buy an engagement ring - but then she too was afflicted with
cancer, which she kept secret from the boys to spare them more pain.
Sylvia died in 1910, six years after the premiere of Peter Pan, but it is said that Barrie was working
on the novel version of the play, Peter and Wendy - which emphasises the heartbreaking choice
between worldly time and timelessness that Wendy is asked to make - by Sylvia's bedside as she
faded. For Barrie, nothing was more devastating than watching his surrogate family fall apart.
After Sylvia died, JM Barrie became the unofficial guardian of the five Llewelyn Davies boys, then
aged seven to seventeen. Though he provided for them handsomely and lavished them with
attention, their lives as grown-ups were also fraught with tragedy. George, was killed in the trenches
of World War I; Michael, who hoped to be a writer, drowned at age 20 while studying at Oxford; and
Peter committed suicide at the age of 63, many years after Barrie's death. None are alive today.
ABOUT THE CAST
Johnny Depp (Sir JM Barrie)
Johnny Depp has earned both critical and popular acclaim for his work in a variety of memorable
roles in unique feature films. Recently he received an Academy Award nomination, a Golden
Globe nomination and a Screen Actor's Guild award for his tour-de-force portrayal of Captain Jack
in Jerry Bruckheimer's hit action-adventure Pirates of the Caribbean: Curse of the Black Pearl.
Depp also starred opposite Antonio Banderas and Salma Hayek in Once Upon A Time In Mexico.
Depp's credits include the period crime thriller From Hell opposite Heather Graham, Blow
co-starring Penelope Cruz and the romantic comedy Chocolat with Juliette Binoche. The actor
also starred in Tim Burton's Sleepy Hollow, his third collaboration with the director. He will reunite
with Burton for Charlie and the Chocolate Factory.
Other credits include The Astronaut's Wife and The Ninth Gate. In 1998, Depp starred in Fear and
Loathing in Las Vegas, based on the Hunter S. Thompson novel, with Benicio Del Toro and
directed by Terry Gilliam. Next, he will star in the period drama The Libertine opposite Samantha
Hailed as the best actor of his generation for his performance in Tri-Star Pictures' Donnie Brasco
co-starring Al Pacino and directed by Mike Newell, Depp has also starred in Dead Man, a western
set in the late 1800's directed by Jim Jarmusch. In Don Juan DeMarco, Depp starred as a man
convinced he is the world's greatest lover opposite legendary actors Marlon Brando and Faye
It was his compelling performance in the title role of Tim Burton's Edward Scissorhands that
established Depp as one of Hollywood's most sought-after talents and earned him a Best Actor
Golden Globe nomination. He was honoured with a second Golden Globe nomination for his
portrayal in Benny & Joon, an offbeat love story in which he co-starred with Aidan Quinn and Mary
Stuart Masterson. Depp was reunited with Tim Burton for the critically acclaimed Ed Wood, the
story of one of this country's most eccentric B-movie directors.
His performance in this film garnered Depp his third Best Actor Golden Globe nomination. Other
films include What's Eating Gilbert Grape directed by Lasse Hallström which starred Depp in the
title role, and Arizona Dream, directed by Emir Kusturica, in which he starred with Jerry Lewis and
Faye Dunaway, and he also starred in Paramount's Nick of Time directed by John Badham.
The Kentucky-born actor grew up in Florida where he developed an early interest in music.
Joining a rock band named Kids, Depp found considerable regional success, eventually following
the group to Los Angeles.
When the band broke up shortly thereafter, he turned to acting on the advice of a friend. It wasn't
long before Depp landed his first major acting job in Nightmare on Elm Street. He went on to earn
roles in several other films, including Slow Burn and the Academy Award-winning Platoon. Depp
then won the role that would prove to be his breakthrough, as undercover detective Tim Hanson
on the popular Fox television show 21 Jump Street. He starred on the series for four seasons
before segueing to the big screen in the lead role of John Waters' Cry Baby.
Depp starred and made his feature directorial debut in The Brave, a film based on the novel by
Gregory McDonald. Depp co-wrote the screenplay with his brother D.P. Depp.
Kate Winslet (Sylvia Llewelyn Davies)
English-born actress Kate Winslet grew up in a family of actors and began performing for British
television when she was thirteen. At the age of seventeen, she made her name internationally in
Peter Jackson's feature film Heavenly Creatures. She followed that in 1995 with her role as
Marianne Dashwood in Ang Lee's Sense and Sensibility. Kate received her first Academy Award
nomination for this performance and was also nominated for a Golden Globe. She then went on to
win the BAFTA and the Screen Actors Guild Award.
In her next film, she co-starred with Christopher Eccleston in Michael Winterbottom's Jude and
then as Ophelia in Kenneth Branagh's Hamlet. She then went on to appear as the amazing Rose
in James Cameron's Titanic opposite Leonardo DiCaprio. At the age of 22, Kate received her
second Academy Award nomination for this role, and the honour of being the youngest actress
ever to be nominated for two Academy Awards.
In 1997 Kate starred as Julia in Hideous Kinky directed by Gillies MacKinnon, and in 1998
co-starred with Harvey Keitel in Jane Campion's comedic drama Holy Smoke. She also starred in
Philip Kaufman's period drama Quills along with Geoffrey Rush, Joaquin Phoenix and Michael
Most recently, Kate co-starred in the Richard Eyre production of Iris. In her performance
portraying a young Iris Murdoch, Kate received Golden Globe and Oscar nominations. She then
starred in Michael Apted's Enigma, a spy drama about code breakers during early World War II
period and The Life of David Gale with Kevin Spacey. She also starred in recently released
Eternal Sunshine of the Spotless Mind with Jim Carrey.
Julie Christie (Mrs. Du Maurier)
Academy Award-winner Julie Christie recently completed a role in the third instalment of the
beloved Harry Potter series in Harry Potter and the Prisoner of Azkaban.
The daughter of an India-based British tea planter, Christie was born in Chukua, Assam, India and
grew up on her father's tea plantation. Educated in England and on the Continent, she planned to
become an artist or linguist before enrolling in the Central School of Speech Training in London.
She first stepped on stage with the Frinton Repertory of Essex in 1957, sealing her professional
fate for the next four and a half decades.
In 1963, while performing a recurring role in the popular British TV series, A for Andromeda,
Christie made her film debut with a small part in Crooks Anonymous. After her performance in The
Fast Lady, director John Schlesinger gave her a supporting role in Billy Liar, which won attention
from the critics and a subsequent supporting part in his 1965 feature Young Cassidy. Later that
same year, Schlesinger made her a star by casting her in the title role of the drama Darling which
earned her a Best Actress Oscar and a BAFTA award.
Christie's star continued to rise when David Lean picked her as Lara in his classic Doctor Zhivago.
She followed this with a dual role in Francois Truffant's Fahrenheit 451, then teamed again with
Schlesinger to star in Far From the Madding Crowd and played the title role in Richard Lester's
She reigned as one of the films world's premiere leading ladies throughout the 1970's in such films
as The Go-Between, Nashville and Don't Look Now. During this period, she also starred with
Warren Beatty in three seminal films of the decade: McCabe and Mrs. Miller, which earned her
another Academy Award nomination, Shampoo and Heaven Can Wait.
Christie's subsequent credits include Dragonheart, Kenneth Branagh's Hamlet and Afterglow for
which she received her third Oscar nomination in 1998.
Radha Mitchell (Mary Ansell Barrie)
Radha Mitchell is building a career as one of Hollywood's newest leading ladies with an upcoming
Woody Allen film, and roles opposite Denzel Washington, Will Ferrel, Josh Hartnett, and Johnny
Depp. Mitchell is best known for her performances in Phone Booth opposite Colin Farrell, Pitch
Black with Vin Diesel and High Art.
Mitchell has a starring role in Man on Fire opposite Denzel Washington where she plays the
mother of a missing child who has been kidnapped. She has previous experience working with
director Marc Forster. In 2000 she starred and produced the Independent Spirit Award nominated
film Everything Put Together.
Mitchell plays the title character in Woody Allen's new Fox Searchlight film Melinda and Melinda,
opposite Will Ferrel. She is currently shooting Petter Naess' film Mozart and the Whale, written by
Ron Bass (Rain Man), starring opposite Josh Hartnett.
Most recently she starred opposite Colin Farrell in Joel Schumacher's Phone Booth. Mitchell
starred in the box-office hit Pitch Black opposite Vin Diesel. The actress gave a memorable
performance as Syd, the young editorial assistant who falls in love with Ally Sheedy's heroin
addicted photographer character in Lisa Cholodenko's critically acclaimed drama High Art. Her
role in Emma-Kate Croghan's romantic comedy Love and Other Catastrophes was highly praised
at both the Cannes and Sundance film festivals.
Other recent film credits include When Strangers Appear with Josh Lucas, the independent
feature Dead Heat opposite Keifer Sutherland and Anthony LaPaglia, Nobody's Baby with Gary
Oldman and Skeet Ulrich, and Rodrigo Garcia's Ten Tiny Love Stories. On television, she starred
with Hank Azaria and Donald Sutherland in NBC's critically acclaimed mini-series Uprising for
director Jon Avnet.
Born and raised in Melbourne, Australia, Mitchell began her career acting in Australian television
and film while still in high school.
Dustin Hoffman (Charles Frohman)
A two-time Oscar winner and seven-time nominee, Dustin Hoffman is distinguished as one of the
cinema's most acclaimed leading actors.
Hoffman caught the world's attention for his role as Benjamin Braddock in Mike Nichol's Academy
Award-nominated film, The Graduate. Since then, he has been nominated for six more Academy
Awards, for such diverse films such as Midnight Cowboy, Lenny, Tootsie (a film he also produced
through his company, Punch Productions), and Wag the Dog. Hoffman won the Oscar in 1979 for
his role in Kramer Vs. Kramer and again in 1988 for Rain Man.
Hoffman is currently in production on Jay Roach's Meet the Fockers, the sequel to Meet the
Parents, opposite Ben Stiller, Robert De Niro, Barbara Streisand, Blythe Danner and Teri Polo.
The film is about the hell that breaks loose when the Byrnes family meets the Focker family for the
first time. Hoffman plays Mr. Focker, the father of Gaylord Focker (Ben Stiller).
Hoffman will star in David O'Russell's comedy I Heart Huckabees, with Jude Law, Naomi Watts,
Mark Wahlberg, Lily Tomlin and Jason Schwartzman which opens on October 15th, 2004. He will
next lend his voice to Frederik Du Chau's animated film, Racing Stripes. Hoffman joins the
ensemble cast which includes Frankie Muniz, Mandy Moore, Michael Clarke Duncan, Whoopi
Goldberg, Steve Harvey, Patrick Stewart among many others.
Hoffman starred in Gary Fleder's Runaway Jury opposite John Cusack, Gene Hackman and
Rachel Weisz, James Foley's Confidence opposite Edward Burns and Rachel Weisz and Brad
Silberling's Moonlight Mile opposite Jake Gyllenhaal and Susan Sarandon.
His other film credits include: Little Big Man, Straw Dogs, Papillon, All the President's Men,
Marathon Man, Straight Time, Agatha, Ishtar, Dick Tracy, Billy Bathgate, Mad City, Hero,
Sleepers, Sphere, American Buffalo, Hook, and Outbreak.
On stage, Hoffman has had an equally impressive career. His first stage role was in the Sarah
Lawrence College production of Gertrude Stein's Yes is for a Very Young Man. His performance
in this play led to several roles Off Broadway for which he won the Obie and Drama Desk Award
for Best Actor. His success on stage caught the attention of Mike Nichols, who cast him in The
Graduate. In 1974, Hoffman made his directorial debut with All Over Town. In 1984, Hoffman
garnered a Drama Desk Award for Best Actor for his portrayal of Willy Loman in the Broadway
revival of Death of a Salesman which he also produced. In addition to starring in the Broadway
production, a special presentation aired on television and Hoffman won the Emmy Award.
Additionally, Hoffman received a Tony Award Nomination for his role as Shylock in The Merchant
Venice which he reprised from his long run on the London Stage.
As a producer, Hoffman produced Tony Goldwyn's feature film A Walk on the Moon starring Diane
Lane, Viggo Mortensen, Liev Schreiber and Anna Paquin. He executive produced The Devil's
Arithmetic which won two Emmy Awards.
Hoffman was born in Los Angeles and attended Santa Monica Community College. He later
studied at the Pasadena Playhouse before moving to New York to study with Lee Strasberg.
Eileen Essell (Mrs. Snow)
Essell is an accomplished 81-year-old actress in film, television and theatre although she did take
an unusual path. After working in theatre for 13 years, she met her playwright husband and
decided to settle down and have a family. He died seven years ago and two years later, she took
a part in a play by a family friend and was "discovered" by an agent. She has worked steadily
since. The English native has appeared in Mark Boyd's film, Ali G in Da House and was featured
in Danny DeVito's Duplex. She recently began production on Tim Burton's Charlie and the
Chocolate Factory where she will be reunited with Depp and Highmore. Her television work
includes appearances on The Bill, Doctors and Dotcomedy for Thames, BBC, and Channel 4
respectively. Essell's stage work was last seen in Hedda Gabler for director Braham Murray, King
Kong's Daughter and The Girl With Roses. Prior to her acting career, Essell taught drama at The
Central School of Music and Drama and at The City University.
Freddie Highmore (Peter Llewelyn-Davies)
Freddie's short but illustrious career began at age six when he played Helena Bonham Carter's
Scottish son in Women Talking Dirty. He then travelled to the jungles of Cambodia to play a
French boy who adopts a young tiger cub in Jean-Jacques Annaud's Two Brothers, in which he
starred along side Guy Pearce. Most recently he starred opposite Kenneth Branagh in Five
Children & It.
He is currently filming Tim Burton's Charlie and the Chocolate Factory at Pinewood Studios,
England, in which he plays the title role of Charlie. The film once again teams him with Johnny
Freddie lives in London with his parents and brother and is a keen soccer fan, avidly following the
fortunes of his favourite team, Arsenal.
Joe Prospero (Jack Llewelyn Davies)
Joe Prospero is 14 years old and lives in West London. Through his association with Young 'Uns
Agency, Joe has worked extensively in film, television and theatre. The highlights of his television
career include playing the leading role of 'Edward' with Albert Finney in My Uncle Silas, and the
lead 'Dillon' in Ian Hislop and Nick Newman's BBC1 Sitcom, My Dad's the Prime Minister - the
second series of which shoots this summer. Joe has also appeared in the BBC's acclaimed
modern day adaptation of Chaucer's Canterbury Tales, with Jonny Lee Miller in The Pardoner's
Tale, with John Thaw in the ITV drama The Glass, and in several episodes of the popular police
drama The Bill. For the cinema, Joe has appeared with Steven Berkoff and Simon Callow in Hans
Christian Andersen and has appeared as 'Luke' in Hanif Kureshi's Intimacy. In the West End, Joe
played 'Michael Darling' in the Savoy Theatre production of Peter Pan, which starred Anthony
Head as 'Captain Hook'.
Nicholas Roud (George Llewelyn Davies)
Nicholas was born on the May 16th 1989. He lives in a small village just outside Dover. He lives
with his younger brother Elliot who is 6 years old and his older sister Jessica who is 17 years old.
His parents are Simon and Claire Roud. He attended the village primary school, Lydden primary.
It was here that he discovered he enjoyed performing. He loved doing all the school productions.
The music and drama teacher that discovered his talent and enthusiasm for performing,
encouraged him to join an after school drama group. At the age of 8, he joined Imagination
Theatre Group. Here he put on many productions and had the opportunity to audition in London
for West End productions. At the age of 9, an audition finally paid off and he landed himself his first
professional acting job in London's West End, playing poor baby in Andrew Lloyd Webber's
Whistle down the Wind. He played the part for 6 months in the Aldwich Theatre. The following
year he was offered another part in the West End in The Beautiful Game in the Cambridge
Theatre. At the age of 11, he decided he wanted to do television and film as well as theatre and he
consequently joined the Doreen English 95 Agency. With this he went to television and film
auditions and got his first television part playing 'Sydney' in the BBC's Ghost Hunter. He played an
Elizabethan ghost going on adventures through time machines and escaping from the ghost
More recently, he has played 'Ronald' in Island at War for ITV and has done three radio plays for
BBC Radio 4. He has just started playing the part of 'Terrance' in a new CBBC program, The
Playground. He is hoping to continue his career in acting.
Luke Spill (Michael Llewelyn Davies)
Luke is eight years old and lives with his parents, Elizabeth and Richard, in Warwick, England. He
has two older sisters, Charlotte and Nicola, and an older brother, Robert. After filming Finding
Neverland, Luke lived with his family in Italy for a year, living in San Gimignano, a small medieval
town in Tuscany, and attended the local Italian school. Luke loves sports, especially cricket, rugby
and soccer. He also supports Arsenal Football Club. Luke's less active pastimes include playing
chess, learning to play the piano and fighting "Pokemon" on his Gameboy. Luke has developed
an independent taste in music, his favourite being the Red Hot Chilli Peppers, which he plays at
top volume! One of his passions are animals. He has two cats, a tortoise and a goldfish, which he
recently won at a fair. He particularly loves dogs, having overcome his fear of them through
working with Sophie on the set of Finding Neverland. Luke's latest achievement is having been
voted Form Captain for his class at school; he attends Warwick School. Finding Neverland was
Luke's first experience of professional acting; he thoroughly enjoyed it and hopes to do more.
ABOUT THE FILMMAKERS
Marc Forster (Director)
With the critical and commercial success of Monster's Ball in 2001, director Marc Forster solidified
himself as a director at ease with the metaphorical and lyrical language of cinema. With the
recently completed Stay, Forster continues to foster that reputation. Stay, starring Wean
McGregor, Naomi Watts, and Ryan Gosling in a reality-bending thriller about a psychologist
whose suicidal client makes bizarre predictions that begin to come true.
It was Marc Forster's unique creative vision that led him to be tapped to direct the Award-winning
Monster's Ball, which over the years had become infamous as one of the best scripts floating
through Hollywood. Though only his third feature, Monster's Ball received two Oscar nominations
- with Halle Berry winning for Best Actress. Teeming with raw emotion and quiet intensity,
Monster's Ball offered a powerful glimpse into the encumbering legacies of family and race, loss
and redemption, as well as commanding performances by Berry, Billy Bob Thornton, Heath
Ledger, Peter Boyle and Sean Combs. In the delicate balance of narrative economy and visual
lyricism, Forster rendered a film of unflinching honesty, full of characters struggling to transcend
the compromises of their condition.
The seeds of Forster's moody, reflective aesthetic were sown in his second film, Everything Put
Together, which he also co-wrote. A creeping, subversive piece of psychological horror about a
woman (High Art's Radha Mitchell) who finds herself alienated and haunted after her newborn
baby dies of Sudden Infant Death Syndrome, Everything Put Together premiered at the 2000
Sundance Film Festival before earning Forster the Movado Someone to Watch/Independent
Born in Germany and raised in Switzerland, Forster came to the U.S. in 1990 to attend NYU Film
School, graduating in 1993. After completing two documentaries for European television, Forster
moved to Los Angeles, where he soon made a name for himself based on the offbeat appeal and
popularity of his first film Loungers. An absurdist musical about four wannabe lounge singers,
Loungers won the Audience Award at the 1996 Slamdance International Film Festival. Forster
currently resides in Los Angeles.
Richard Gladstein (Producer)
Richard Gladstein is the president and founder of the Los Angeles based motion picture
production company FilmColony, Ltd. Formed by Gladstein in May 1995, FilmColony is
committed to working with a broad range of distinct filmmakers to tell compelling and unique
stories. In addition to the many projects in development at various studios, following is a list of
completed films that Gladstein has been associated with.
Gladstein was Executive Producer of the Danny DeVito directed film, Duplex, a satirical black
comedy about a young couple, played by Ben Stiller and Drew Barrymore, who buy a duplex in
Brooklyn, only to be tortured by their elderly upstairs tenant
Released in Spring-2003, Levity, tells of the dramatic journey a man takes as he attempts to
resolve his dark past. It was written and directed by Ed Solomon, produced by Gladstein, and
starring Billy Bob Thornton, Morgan Freeman, Holly Hunter, and Kirstin Dunst. Levity had its world
premiere as the Opening Night film at the 2003 Sundance Film Festival.
The Bourne Identity, the spy thriller, was produced by Gladstein, directed by Doug Liman and
stars Matt Damon, Franka Potente, Chris Cooper and Brian Cox.
Gladstein is most proud of having produced The Cider House Rules, which was nominated for
seven Academy Awards in 2000, including one for himself for Best Picture. Michael Caine won an
Oscar for Best Supporting Actor and John Irving won for his screenplay adaptation of his own
best-selling novel. The film was directed by Lasse Hallström and stars Tobey Maguire, Charlize
Theron, Delroy Lindo, Paul Rudd and Michael Caine.
Gladstein has additional Producer credits for She's All That, Hurlyburly and 54.
He has Executive Producer credits for Jackie Brown, The Crossing Guard, Pulp Fiction, The
Journey of August King and Reservoir Dogs.
Prior to the formation of FilmColony, Gladstein served as the Head of Production for Miramax
Films, from 1993 thru 1995, supervising the company's motion picture development and
production slate. While there, he was the Executive Producer of Quentin Tarantino's Pulp Fiction,
Sean Penn's The Crossing Guard, and John Duigan's The Journey of August King. He supervised
the productions of Robert Altman's Ready to Wear, Wayne Wang's Smoke and Blue in the Face,
David O. Russell's Flirting with Disaster, Robert Rodriguez's From Dusk ‘Till Dawn, Gary Fleder's
Things to do in Denver When You're Dead and Four Rooms, the ensemble film from
writer/directors Alison Anders, Alex Rockwell, Robert Rodriguez and Tarantino.
Prior to joining Miramax, Gladstein was Vice President of Production and Acquisitions at LIVE
Entertainment from 1987 thru 1993. During those years, he was involved in the production and
acquisition of such films as Bob Roberts, King of New York, Light Sleeper and The Bad Lieutenant,
as well as serving as Executive Producer of Reservoir Dogs.
Previously, Gladstein was the Director of Acquisitions and Distribution for Angelika Films in New
York and prior to that, worked freelance on various television and film productions in New York.
Gladstein and his wife Lauri, a musician, reside in Los Angeles with their son Milo.
Nellie Bellflower (Producer)
Nellie Bellflower founded Keylight Entertainment, a New York based film company, in 2001. Her
next feature is Miss Pettigrew Lives For A Day.
Ms. Bellflower's former company, Birnam Wood, was founded in 1996. She produced and
directed several Off-Broadway plays (Summer Share, Women In Heat, et al.), and a new play
series Champagne & Sunset at the John Drew Theatre at Guild Hall in East Hampton, featuring
new works by Christopher Durang, Murray Schisgal, Tom Dulack, David Magee, and Ron
Before directing and producing, Nellie guest-starred as an actress in many television series and
David Magee (Screenwriter)
Currently, David is completing work on The Tiger's Apprentice, the first film in a franchise
involving a boy in San Francisco who discovers he has magical powers; and Miss Pettigrew.
Most recently, David wrote the films Gesar, a CGI epic based on the Tibetan legend of a young
warrior who brings a thousand year war to an end; and Lord of the Nutcracker Men, a World War
I epic for Jane Startz, currently in development.
Magee also wrote the screenplay for the action-adventure film Crisis Four, based on the novel by
international best-selling author Andy McNabb, and co-wrote the comedy-drama Natasha with
Italian film director Giacomo Campiotti (BBC's Doctor Zhivago).
While David originally trained as a theatre actor and director, he sharpened his writing skills by
re-writing other people's work - completing audio abridgments of nearly 80 novels over five years,
including bestsellers and notable authors in virtually every genre. In addition, he wrote audio plays
for twelve children's books and a skiing travelogue before writing his first stage play, Buying the
Farm, which was staged at the 42nd Street WorkShop in New York, and subsequently performed
at Guild Hall in East Hampton.
David originally studied theatre directing at the Hartford Stage as the assistant to Artistic Director
Mark Lamos, working on productions of Doll House with Mary McDonnell and David Strathairn,
The Gilded Age with the Acting Company, Pericles with Angela Bassett, The Stick Wife with Earl
Hindman and Lois Smith and Morocco with Kier Dullea, before appearing himself in Hamlet with
Richard Thomas in the title role.
As an actor, David has appeared in regional theatres throughout the country, cropped up on
several soap operas, and in the film Crossings. In addition to stage work, David has directed
audiobook readings, including an audio version of I Never Had it Made: The Jackie Robinson
Story, narrated by Ossie Davis. He also performed several characters in the audio version of
Lewis and Clark, by Ken Burns, which subsequently received an Audie Award, the industry's
recognition for best multi-voice audiobook of that year.
David received his BA in Theatre Directing and Stage Design from Michigan State University and
his MFA in Acting from the University of Illinois, where he also taught acting and voice to
undergrads. He first studied theatre at Northwestern University's National High School Institute,
and returned to Northwestern after college as a faculty associate at NHSI for a summer before
moving to New York. He has also taught art upon occasion, which he studied both in college and
at the New York Art Student's League. He studied filmmaking at New York University's Intensive
Film Workshop in 1998.
He is married to Emmy-winning television Music Director, Pamela Magee.
Allan Knee (Playwright)
Allan Knee has written for stage and film. His play Syncopation won the American Theatre Critics
Award after premiering at the Long Wharf Theatre and George Street Playhouse. It has played
throughout the United States and Canada, and most recently at the Asolo in Sarasota, Florida,
directed by Gus Kaikkonen. His musical version of Little Women (lyrics by Mindi Dickstein, music
Jason Howland), won a Richard Rodgers Musical Theatre Award, and will open next season at
the Shubert in New Haven, Connecticut, directed by Susan Schulman. Among his other works are
Shmulnik's Waltz, Santa Anita ‘42 and Sholem Aleichem Lives, which toured with Theodore Bikel.
For PBS he wrote the four-part adaptation of The Scarlet Letter. Allan is a graduate of the Yale
School of Drama. (2003)
Gary Binkow (Executive Producer)
A native of Detroit, Michigan, Gary Binkow has been working in the entertainment industry for the
past eighteen years. He spent four years at FilmColony where he first discovered the script for
Finding Neverland. While heading up project development there, Mr. Binkow was responsible for
setting up a number of high profile projects including the New York Times #1 Best Seller, The
Nanny Diaries. In addition, Mr. Binkow has produced numerous Independent films. Some of those
include: Kill the Man starring Luke Wilson, Hail Caesar with Samuel L. Jackson and Robert
Downey, Jr., A Million to Juan with Paul Rodriguez and Edward James Olmos and comic spoof
Plump Fiction to name a few. He began his career in New York where he worked in On-Air
promotion for MTV.
Binkow currently runs Salient Media, an entertainment marketing and production company.
He is the proud husband to Karen, the most forgiving wife on the planet and father of two
gorgeous and naturally gifted kids, Luke & Chase.
Neal Israel (Executive Producer)
As a director, writer, script doctor, and/or producer, Neal Israel has been involved in over twenty
Trained in the Broadway theatre as an assistant to legendary director, George
Abbott, Neal went on to direct actors like Michael Douglas and Raul Julia off-Broadway.
He came to Los Angeles, worked as an executive at both ABC and CBS before making his
breakthrough in independent film, Tunnelvision, which helped launch the careers of Chevy Chase,
John Candy, and producer Joe Roth.
After writing for Steve Martin and producing his television specials, he became known as
the father of the institutional comedy genre.
He co-created the Police Academy series of films, wrote and directed the monster hit, Bachelor
Party starring Tom Hanks, worked with Amy Heckerling on the Look Who's Talking film series,
wrote Real Genius for Martha Coolidge and directed Breaking the Rules.
For television, he has directed and or produced countless hours of highly rated Movie's of the
Week. His latest, National Lampoon's Thanksgiving Reunion, starring Brian Cranston and Judge
Rhinehold was seen on TBS last fall.
His voluminous episodic directing credits span everything from The Wonder Years to Clueless to
Judging Amy to Lizzie McGuire and the HBO series Mind of the Married Man.
Last year he was co-executive producer of Miracles, a dramatic series on ABC.
He is currently executive producing and directing an untitled series starring Howie Mandel which
will premiere on Bravo later this year.
In addition, he is producing a sequel to his acclaimed hit Bachelor Party and writing his next
feature, Good Impression for Maverick Films.
Israel has received an Emmy nomination, a WGA Award, an International Broadcast Award, and
a Clio for his commercial work.
Roberto Schaefer (Director of Photography)
Having majored in conceptual and installation art and minored in photography at art school,
Roberto moved into motion picture production and eventually cinematography while remaining an
avid traveller. Roberto has travelled throughout seven continents for adventure and work, filming
documentaries, commercials and movies in places as varied as Mauritania, Ethiopia, New Guinea,
Russia, Peru, Tahiti, Australia, and Europe.
He began his cameraman career shooting feature news for most of the major European news
channels on film and video. Moving on to TV commercials and feature films in 35 and 16 mm,
Roberto has on occasion returned to video to experiment in new media. These projects have
included Johnny Mnemonic- cineactive, an Interactive CD-Rom, and the Mini DV feature film
Everything Put Together for director Marc Forster. He continues to jump between TV commercials
and feature films. In 2001 Roberto collaborated with Marc Forster for the 3rd time with Monster's
Ball.. Since then they have filmed Stay starring Ewan MacGregor, Ryan Gosling and Naomi Watts.
Together, they are in early preparation for Stranger Than Fiction.
Roberto also shot the first film for new director Tom Anton, At Last in spring of 2004 in New
Jan AP Kaczmarek (Composer)
Jan A. P. Kaczmarek came to the United States from Poland as an artist of tremendous
international reputation. Since his arrival in 1989, Jan has established a truly unique voice in film
Educated as a lawyer, Jan abandoned his planned career as a diplomat, for political reasons, to
write music that expressed his country's growing demands for freedom of expression. The major
turning point in his life, he says, was a period of intense study with avant-garde theatre director,
Jerzy Grotowski. This collaboration led to Jan's composing for the highly politicised underground
theatre, and then for a mini-orchestra of his own creation, The Orchestra of the Eighth Day, which
performed during strikes
against the Communist government in the Solidarity Movement of the early 1980's. "Playing and
composing was like a religion for me," Kaczmarek explains, "and then it became a profession."
The Orchestra of the Eighth Day began touring Europe in the late 1970's completing eighteen
major tours. They appeared at the Venice Biennale and the International Music Festival in Karlovy
Vary, Czechoslovakia, where Jan won the Golden Spring Prize for Best Composition. He is also a
five-time winner in Jazz Forum's Jazz Top Poll.
Jan came to the United States to look for an American label to distribute the Orchestra's latest
recording. He saw an opportunity to expand his horizons and accepted offers to compose for
Chicago's Goodman Theatre and Los Angeles' Mark Taper Forum. Subsequently, Jan won an
Obie and a Drama Desk Award for his music for the New York Shakespeare Festival's 1992
production of John Ford's Tis Pity She's A Whore. Newsday called Jan's score "undulating with a
hypnotic force that gets under your skin," while a critic at the New York Times found it worthy of
the films of Bernardo
Bertolucci and Luchino Visconti.
However, it was not until his collaboration with director Agnieska Holland on her film Total Eclipse,
(Leonardo DiCaprio, David Thewlis), that Jan came to the attention of the American film
community. His score for Total Eclipse garnered critical attention and he went on to score three
more films for Agnieska Holland. Jan's career continued to gain momentum as the roster of
directors who sought him out to compose for their films expanded. That list now includes, Janusz
Kaminski (Lost Souls) and Adrian Lyne
Jan is now living in the Los Angeles area but keeps close ties to his native Poland. He recently
purchased an 18th Century estate there that he is transforming into an institute for film and music,
which will be called Rozbitek. He hopes to draw independently spirited talent from all over the
globe to participate in workshops and seminars
culminating in an annual festival. A Sundance of the East is how he likes to think of it.
Gemma Jackson (Production Designer)
Gemma Jackson's career started with a Bachelor of Arts degree in Painting from Saint Martin's art
school in London. This was swiftly followed by a postgraduate in theatre design, which led to eight
years of intense designing for the stage. She was finally lured into becoming a Production
Designer for film and over the past twenty years has designed films with many directors in a huge
range of locations. These include:
Bridget Jones' Diary for Sharon McGuire, The Borrowers for Pete Hewitt, Iris for Richard Eyres,
The Winslow Boy for David Mamet, Bridget Jones: The Edge of Reason for Beeban Kidron, A Far
Off Place for Mikael Saloman, The Miracle for Neil Jordan and Paperhouse for Bernard Rose.
Matt Chessé (Editor)
Matt Chessé comes to film editing, from commercial editing, which he was led to by a love of film,
literature and music. Raised in the San Francisco Bay Area, by a family of actors, painters and
puppeteers, his education began on his father's knee where he was schooled in the three Ss;
Spike (as in Jones) Salinger (as in JD) & Sturges (as in Preston)! Formal education came with a
degree in English Literature, which supported his first dream of becoming a writer. Freelance work
on film crews immersed him in the nurturing Bay Area film community, and drew him towards his
other love, film. Emigrating to the belly of the beast, Los Angeles, he found his way back to
storytelling, though not on paper. He trained under editor Angus Wall, at commercial shop Rock,
Paper, Scissors, and was mentored by veteran commercial editor David Lee and film editor
Lauren Zuckerman. Honing his chops, he cut everything he could get his hands on, until a
collaboration with Director Marc Forster led to his first feature Everything Put Together, a
well-received Sundance selection. Their next film, Monster's Ball won Halle Berry the Academy
Award for Best Actress, making Oscar History. Between features, Chessé returns to the
commercial world, and continues to cut anything he can get his hands on. His mother would be
happy to know that all those countless hours watching films, reading books and listening to
records finally paid off, and are now tax deductible. His current job allows him to synthesise all of
his passions into one goal, telling the story.
Kate Dowd (Casting)
Kate started her career in New York at Young and Rubicam and then at Manhattan Theatre Club
where she was the Casting Associate from 1983 to 1986. It was here that she worked with several
visiting British directors and writers. It was this work that led her to her move to England where
she began working in the London Theatre. She worked at the Royal Court and the National
Theatre and shortly thereafter began working on feature films. Her first film, Map of the Human
Heart, required casting in France. This consequently led to a move to Paris where she spent six
years working mostly on studio pictures with European casting requirements and also with foreign
directors and producers doing their first films in English. Her credits during this period include:
The Barber of Siberia, (Nikita Mikhalkov), Sabrina, (Sydney Pollack), Moulin Rouge (Baz
Luhrmann),The Beach (Danny Boyle) and Elizabeth (Shekar Kapur). She then moved back to
London in 1999. While in London, she worked as the Miramax UK Casting Consultant for two
years. Her London credits include: Tristan and Isolde, Empire (mini series), Pirates of the
Caribbean, The Bourne Identity, Gangs of New York, Triple X and The Mummy Returns.
Alexandra Byrne (Costume Designer)
Byrne has worked as a costume designer for numerous films, television series and commercials.
She has not only had her hand in costume design, but set design as well. She is known for her
work in the film Elizabeth I for which she earned an Academy Award nomination in 1999 and won
the International Film Critic Award. Byrne garnered both an Oscar and a BAFTA nomination in
1997 for Best Costume Design in Hamlet.
Her accolades are not limited to film, as she won an RTS Award in 1995 and a BAFTA Award in
1996 for the television series Persuasion. She also earned a BAFTA nomination in 1993 for
Buddha of Suburbia.
Byrne most recently finished working as a designer on the upcoming film Phantom of the Opera.
SIR JAMES MATTHEW BARRIE JOHNNY DEPP
SYLVIA LLEWELYN DAVIES KATE WINSLET
MRS. EMMA DU MAURIER JULIE CHRISTIE
MARY ANSELL BARRIE RADHA MITCHELL
CHARLES FROHMAN DUSTIN HOFFMAN
PETER LLEWELYN DAVIES FREDDIE HIGHMORE
JACK LLEWELYN DAVIES JOE PROSPERO
GEORGE LLEWELYN DAVIES NICK ROUD
MICHAEL LLEWELYN DAVIES LUKE SPILL
SIR ARTHUR CONAN DOYLE IAN HART
'PETER PAN' KELLY MACDONALD
MR. JASPERS (USHER) MACKENZIE CROOK
MRS. SNOW EILEEN ESSELL
MR. SNOW JIMMY GARDNER
GILBERT CANNAN OLIVER FOX
'NANA'/MR REILLY ANGUS BARNETT
'SMEE' TOBY JONES
'WENDY' KATE MABERLY
'JOHN' MATT GREEN
'MICHAEL DARLING' CATRIN RHYS
'HOOK'/LORD CARLTON TIM POTTER
'MRS. DARLING' JANE BOOKER
STAGE MANAGER PAUL WHITEHOUSE
SARAH CATHERINE CUSACK
EMMA KALI PEACOCK
COTTAGE DOCTOR ROBERT OATES
HOSPITAL DOCTOR NICHOLAS PRITCHARD
DOCTOR BRIGHTON JONATHAN CULLEN
STAGE WORKER RAYMOND WARING
THEATRE PATRON 1 LAURA DUGUID
THEATRE PATRON 2 SEVAN STEPHAN
THEATRE PATRON 3 ROSIE EDE
THEATRE PATRON 4 RICHARD BRAINE
THEATRE PATRON 6 TOBIAS MENZIES
SET MOVER TONY WAY
STAGEHAND MURRAY McARTHUR
CHARLOTTE BIRMINGHAM CORA HARRISON
JACK BIRMINGHAM SACHA JANES
CHELSEA CARPENTER KEELY JANE
LUCIANO CUSACK STELLA KING
SERAFINA CUSACK JAKE ROCHE
CLAUDIA DAVIDSON MOLLY WHITEHOUSE
NOAH HARRISON SOPHIE WHITEHOUSE
LUCY ALLEN PAUL HEASMAN
JIM DOWDALL TONY LUCKEN
DAVE FISHER DINNY POWELL
SARAH FRANZL ALAN STEWART
WRITTEN BY SIR ELTON JOHN AND BERNIE TAUPIN
PERFORMED BY SIR ELTON JOHN
PRODUCTION MANAGER TIM PORTER
1ST ASSISTANT DIRECTOR MARTIN HARRISON
2ND ASSISTANT DIRECTOR FINN McGRATH
3RD ASSISTANT DIRECTOR ROSIE NEWALL
PLAY SEQUENCES DIRECTOR PHILIP FRANKS (*contractual)
CHOREOGRAPHER JONATHAN BUTTERELL
LOCATION MANAGER EMMA PILL
UNIT MANAGER JAMES GRANT
PRODUCTION COORDINATOR FRANCESCA CASTELLANO
ASSISTANT PRODUCTION COORDINATOR POLLY LEACH
SCRIPT SUPERVISOR CATHY DOUBLEDAY
PRODUCTION ACCOUNTANT JIM HAJICOSTA
ASSISTANT PRODUCTION ACCOUNTANTS DAN PALMER
PRODUCTION ACCOUNTANT TRAINEE STEPHANIE GILLIVER
STUNT COORDINATOR LEE SHEWARD
SPECIAL EFFECTS SUPERVISOR STUART BRISDON
STAND-INS JAMES CHASEY
STEADICAM / B CAMERA OPERATOR PETER CAVACIUTI
A CAMERA FOCUS PULLER JOHN JORDAN
A CAMERA CLAPPER LOADER TIM BATTERSBY
B CAMERA FOCUS PULLER MARK MILSOME
B CAMERA CLAPPER LOADER HARRY BOWERS
CAMERA TRAINEES NIKI ROBERTON
GAFFER JOHN HIGGINS
BEST BOY ELECTRIC KEVIN EDLAND
RIGGING GAFFER WAYNE LEACH
SUPERVISING RIGGER PAUL WELLSTEAD
ELECTRICIANS EUGENE GROBLER
DOLLY GRIP PETE MYSLOWSKI
GRIP LUKE MYSLOWSKI
TECHNOCRANE TECHNICIAN IAM TOWNSEND
ART DIRECTOR PETER RUSSELL
ASSISTANT ART DIRECTORS ROSIE HARDWICK
JUNIOR DRAUGHTSMAN/STANDBY DEAN CLEGG
ART DEPARTMENT ASSISTANT CHARLIE COBB
ART DEPT RUNNER LOIS HOPWOOD
CONCEPT ARTIST DENIS RICH
GRAPHIC ARTIST CAROL KUPISZ
SCENIC ARTISTS HOWARD WEAVER
SET DECORATOR TRISHA EDWARDS
SET BUYER FERGUS CLEGG
PROPERTY MASTER TOM PLEYDELL-PEARCE
STANDBY PROPS WILLIAM CANN
DRESSING PROPS PETER BURDEN
PROP MAKER ROHAN HARRIS
WARDROBE SUPERVISOR MARION WEISE
ASSISTANT COSTUME DESIGNERS JEREMY TURNER
WARDROBE MASTER ANDREW HUNT
WARDROBE ASSISTANTS VICCI CLARK
COSTUME PROP MAKER IVO COVENEY
ASSISTANT COSTUME PROP MAKER REBECCA HARTNOLL
COSTUME ASSISTANT LOU DURKIN
COSTUME DEPARTMENT RUNNER TAMSIN WRIGHT
HAIR AND MAKE UP
CHIEF HAIR AND MAKE UP DESIGNER CHRISTINE BLUNDELL
MR. DEPP'S HAIR AND MAKE UP NATHALIE TISSIER
HAIR AND MAKE UP ARTISTS KEVIN ALEXANDER
PRODUCTION SOUND MIXER DAVID CROZIER
BOOM OPERATOR JOHN CASALI
SOUND ASSISTANT JAMES HARRIS
SOUND TECHNICIAN KEENAN WYATT
ASSISTANT TO MR. MARC FORSTER JEMMA KEARNEY
ASSISTANTS TO MR. RICHARD GLADSTEIN TONIA WRIGHT
ASSISTANT TO MR. GARY BINKOW SHARRA STENDE
ASSISTANTS TO MR. HARVEY WEINSTEIN DAVID GREENBAUM
ASSISTANTS TO MR. JOHNNY DEPP MATHIAS BOCQUILLON
ASSISTANT TO MS. KATE WINSLET EMMA LESLIE
ASSISTANT CHOREOGRAPHER AIDAN TREAYS
LOCATION ASSISTANT REBECCA CHAMBERS
LOCATION RUNNER FINLAY PILE
PRODUCTION RUNNER BJORN JOHNSON
CROWD ASSISTANT DIRECTOR JOANNA CROW
FLOOR RUNNERS CHARLIE WALLER
CASTING ASSISTANT VICKY WILDMAN
CONSTRUCTION MANAGER RAY BARRETT
ASSISTANT CONSTRUCTION MANAGER/
HEAD CARPENTER KEVIN HARRIS
STEPHEN CHALLENOR ROLAND COYNE
RICHARD DAVIES TREVOR DYER
STEPHEN EDE JOHN NEW
JOHN SYMONS DANNY THOMAS
JOHN THORPE PAUL WATERMAN
STEPHEN WHITWORTH COLIN WRIGHT
HEAD PAINTER ADRIAN START
PAINTERS DOUGLAS REGAN
STANDBY PAINTER PERRY BELL
SUPERVISING STAGEHAND JOHN DYER
STAGEHANDS KENNETH LANGRIDGE
STANDBY STAGEHAND PAUL LADD
SUPERVISING RIGGER PAUL WELLSTEAD
RIGGER STEVE BRILL
STANDBY RIGGER PETER GRAFFHAM
STANDBY CARPENTER STEPHEN JOHN MCGREGOR
TRANSPORTATION COORDINATOR GARY BIRMINGHAM
DRIVERS JOHN HOLLYWOOD
POST PRODUCTION SUPERVISOR CORY MCCRUM-ABDO
1ST ASSISTANT EDITOR MEAGAN JAMES
POST PRODUCTION ASSISTANT ROBIN GONSALVES
POST PRODUCTION EXECUTIVE LINDA BORGESON
SOUND EDITING PHAZE UK
DIALOGUE AND ADR EDITOR DANNY SHEEHAN
SOUND DESIGN AND FX MATTHEW COLLINGE
FOLEY EDITOR JAMES MATHER
MUSIC EDITOR CHRISTOPHER KENNEDY
TEMP MUSIC EDITOR CURT SOBEL
RE-RECORDING MIXERS LORA HIRSCHBERG
RE-RECORDING FACILITY SKYWALKER SOUND
EDITORIAL FACILITY CREW CUTS
ADR RECORDING DE LANE LEA
TODD AO VINE STREET
ADR MIXER RON BEDROSIAN
ADR RECORDER BRIAN BASHAM
ADR VOICE CASTING LOUIS ELMAN AMPS
FOLEY RECORDING SHEPPERTON STUDIOS
FOLEY ARTIST PETER BURGESS
FOLEY MIXER EDWARD COLYER
TITLES HOWARD ANDERSON
NEGATIVE CUTTER JASON WHEELER FILM SERVICES
DAILIES BY DELUXE LONDON
DIGITAL INTERMEDIATE BY E FILM
TECHNICAL DIRECTOR BILL FEIGHTNER
DIGITAL COLOR TIMER STEVEN SCOTT
DIGITAL INTERMEDIATE PRODUCER TERRA BLISS
DIGITAL MOTION PICTURE LABORATORY SERVICES
ACCOUNT EXECUTIVE SHERYL GOODHEAD
HIGH DEFINITON SERVICE COORDINATORSANDRE TRÉJO
VICE PRESIDENT OF ENGINEERING TERRY BROWN
HIGH DEFINITION COLOR TIMER TED BRADY
HIGH DEFINITION ENGINEER DAVID REGISTER
VISUAL EFFECTS DESIGNER KEVIN TOD HAUG
VISUAL EFFECTS PRODUCER LESLIE MCMINN
LEAD TECHNICAL DIRECTOR JAM ABELANET
SENIOR TECHNICAL DIRECTOR STEPHANE NAZE
TECHNICAL DIRECTORS JOHNNY ALVES
PRODUCTION MANAGER VALERIE DELAHAYE
VFX PRODUCER CHRISTOPHE CHAVEROU
VFX COORDINATOR CHRISTELLE BALCON
VISUAL EFFECTS PRODUCER HAL COUZENS
VISUAL EFFECTS SUPERVISOR PAUL RIDDLE
TECHNICAL DIRECTOR MARTIN HILL
3D ANIMATORS JESPER KJOLSRUD
DIGITAL COMPOSITING ARTISTS JEREMY HATTINGH
MATTE PAINTER NEIL MILLER
VISUAL EFFECTS EDITORIAL ANDY HAGUE
STUDIO MANAGER PETE HANSON
LOST BOYS STUDIOS:
VFX PRODUCERS MARK BENARD
VFX COORDINATOR TONY POWER
DIGITAL COMPOSITING ARTIST KEVIN GENZEL
MUSIC PRODUCED BY JAN AP KACZMAREK
SCORE RECORDED AND MIXED BY RAFAL PACZKOWSKI
ORCHESTRATION BY KRZYSZTOF HERDZIN
JAN AP KACZMAREK
MUSICIANS CONTRACTED BY COOL MUSIC LTD, LONDON
ASSISTANT TO JAN A.P. KACZMAREK ENIS ROTTHOFF
EXECUTIVE IN CHARGE OF MUSIC RANDY SPENDLOVE
CONDUCTOR NICK INGMAN
CONCERT MASTER CLIO GOULD
PIANO SOLO LESZEK MOZDZER
ACCOUSTIC GUITAR & MANDOLIN JOHN PARICELLI
CELESTE JOHN LENEHEN
ACCORDION EDDIE HESSION
RECORDERS PAMELA THORBY
BOYS CHOIR LONDON ORATORY SCHOOL SCHOLA
MUSIC RECORDING STUDIO SONY STUDIOS, LONDON
SCORE MIXED AT LANSDOWNE RECORDING STUDIOS,
WRITTEN BY SIR ELTON JOHN AND BERNIE TAUPIN
PERFORMED BY SIR ELTON JOHN
COURTESY OF MERCURY RECORDS LIMITED
PUBLISHED BY ROUGE BOOZE INC (ASCAP)
HAPPENSTANCE LIMITED (PRS)
ALL RIGHTS ADMINISTERED BY WB MUSIC CORPORATION (ASCAP)
MEDIEVAL AND RENAISSANCE FANFARE NO. 7
COMPOSED BY DAVID MARSHALL (PRS)
PUBLISHED BY STUDIO G LTD (PRS)
COURTESY OF PROMUSIC
UNIT PUBLICIST CLAUDIA KALINDJIAN
UNIT PHOTOTGRAPHER CLIVE COOTE
MS MITCHELL'S DIALECT COACH BARBARA BERKERY
UNIT NURSE JUDE EDWARDS
TUTOR MATTHEW HOGDEN
ANIMAL TRAINERS BIRDS & ANIMALS
CATERER FAYRE DO'S
PRODUCTION ATTORNEYS ROSALIND LAWTON
CAMERA EQUIPMENT ARRI MEDIA
PRODUCTION LIGHTING EQUIPMENT LEE LIGHTING
TRANSPORTATION FACILITIES FILM FLOW
TRAVEL DISNEY TRAVEL
THE TRAVEL COMPANY
PAYROLL SERVICES AXIUM
INSURANCE SERVICES AON RUBEN
WITH ENORMOUS GRATITUDE TO
GREAT ORMOND STREET HOSPITAL FOR CHILDREN
& KIT PALMER
VERY SPECIAL THANKS TO
GILLIAN & COLETTE CHESSÉ
JAMES V HART
THE KING FAMILY
THAD SPENCER and ASCHE&SPENCER
AMBASSADOR THEATRE GROUP
VIRGIN ATLANTIC AIRLINES
FILMED ENTIRELY ON LOCATION IN ENGLAND
AND AT SHEPPERTON STUDIOS
FOR MILO . . .