finding neverland

Finding Neverland









Rating: PG (Mature themes)

Running time: 101 minutes

In cinemas: January 13

Miramax International

Presents

A Film Colony production

JOHNNY DEPP

KATE WINSLET

JULIE CHRISTIE

RADHA MITCHELL

And

DUSTIN HOFFMAN





FINDING NEVERLAND

KELLY MACDONALD

IAN HART

EILEEN ESSELL

PAUL WHITEHOUSE

FREDDIE HIGHMORE

JOE PROSPERO

NICK ROUD

LUKE SPILL



Casting by

KATE DOWD



Associate Producer

TRACEY BECKER



Music by

JAN AP KACZMAREK



Costume Designer

ALEXANDRA BYRNE



Editor

MATT CHESSE



Production Designer

GEMMA JACKSON



Director of Photography

ROBERTO SCHAEFER



Co-Producer

MICHAEL DREYER





Executive Producers

BOB WEINSTEIN

HARVEY WEINSTEIN

MICHELLE SY





Executive Producers

GARY BINKOW

NEAL ISRAEL



Based Upon The Play

The Man Who Was Peter Pan

by ALLAN KNEE



Screenplay by

DAVID MAGEE



Produced by

RICHARD N GLADSTEIN

NELLIE BELLFLOWER



Directed by

MARC FORSTER

FINDING NEVERLAND



Synopsis







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

special."

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

life.")



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

handsome."



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

creative."



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

right effects."



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

once again.



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

go."

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

Morton.



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

Dunaway.



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

Caine.



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

Petulia.



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

of

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

Depp.



Freddie lives in London with his parents and brother and is a keen soccer fan, avidly following the

fortunes of his favourite team, Arsenal.

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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

hunter.



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

Spirit Award.



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

McClarty.



Before directing and producing, Nellie guest-starred as an actress in many television series and

films.



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

full-length films.



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

Orleans.



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

composition.



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

(Unfaithful).



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.

CAST



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



ORPHANS

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

EDEN HARRISON



STUNT PERFORMERS

LUCY ALLEN PAUL HEASMAN

JIM DOWDALL TONY LUCKEN

DAVE FISHER DINNY POWELL

SARAH FRANZL ALAN STEWART



"PETER'S SONG"

WRITTEN BY SIR ELTON JOHN AND BERNIE TAUPIN

PERFORMED BY SIR ELTON JOHN





PRODUCTION



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

JASON POTTER

PRODUCTION ACCOUNTANT TRAINEE STEPHANIE GILLIVER



STUNT COORDINATOR LEE SHEWARD



SPECIAL EFFECTS SUPERVISOR STUART BRISDON



STAND-INS JAMES CHASEY

GEORGINA SAYER

JAN DENHAM

ADRIAN LOBB



CAMERA



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

ERIN STEVENS

GAFFER JOHN HIGGINS

BEST BOY ELECTRIC KEVIN EDLAND

RIGGING GAFFER WAYNE LEACH

SUPERVISING RIGGER PAUL WELLSTEAD

ELECTRICIANS EUGENE GROBLER

DAVID SINFIELD

JOHN TURNER

BRIAN McGIVERN



DOLLY GRIP PETE MYSLOWSKI

GRIP LUKE MYSLOWSKI

TECHNOCRANE TECHNICIAN IAM TOWNSEND







ART



ART DIRECTOR PETER RUSSELL



ASSISTANT ART DIRECTORS ROSIE HARDWICK

PHIL HARVEY

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

ROBERT DUGDALE

DEREK COWIE

SET DECORATOR TRISHA EDWARDS

SET BUYER FERGUS CLEGG

PROPERTY MASTER TOM PLEYDELL-PEARCE

STANDBY PROPS WILLIAM CANN

CAMPBELL MITCHELL

DRESSING PROPS PETER BURDEN

RICHARD KELLOWAY

PETER POTTER

GARY MARTIN

PROP MAKER ROHAN HARRIS



WARDROBE



WARDROBE SUPERVISOR MARION WEISE

ASSISTANT COSTUME DESIGNERS JEREMY TURNER

SHARON LONG

WARDROBE MASTER ANDREW HUNT

WARDROBE ASSISTANTS VICCI CLARK

LEE CROUCHER

JENNY HAWKINS

NICK ROCHE-GORDON

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

LESA WARRENER

NURIA MBOMIO



SOUND



PRODUCTION SOUND MIXER DAVID CROZIER

BOOM OPERATOR JOHN CASALI

SOUND ASSISTANT JAMES HARRIS

SOUND TECHNICIAN KEENAN WYATT



ASSISTANCE



ASSISTANT TO MR. MARC FORSTER JEMMA KEARNEY

ASSISTANTS TO MR. RICHARD GLADSTEIN TONIA WRIGHT

JORDAN ROTER

ASSISTANT TO MR. GARY BINKOW SHARRA STENDE

ASSISTANTS TO MR. HARVEY WEINSTEIN DAVID GREENBAUM

ERIC ROBINSON

BENJAMIN FAMIGLIETTI

EMILY FEINGOLD

ASSISTANTS TO MR. JOHNNY DEPP MATHIAS BOCQUILLON

CHRISTI DEMBROWSKI

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

ANDY MANNION

CASTING ASSISTANT VICKY WILDMAN



CONSTRUCTION



CONSTRUCTION MANAGER RAY BARRETT

ASSISTANT CONSTRUCTION MANAGER/

HEAD CARPENTER KEVIN HARRIS



CARPENTERS

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

MATTHEW START

MICHAEL WEAVER

STANDBY PAINTER PERRY BELL

SUPERVISING STAGEHAND JOHN DYER

STAGEHANDS KENNETH LANGRIDGE

KEITH WESTON

STANDBY STAGEHAND PAUL LADD

SUPERVISING RIGGER PAUL WELLSTEAD

RIGGER STEVE BRILL

STANDBY RIGGER PETER GRAFFHAM

STANDBY CARPENTER STEPHEN JOHN MCGREGOR



TRANSPORTATION



TRANSPORTATION COORDINATOR GARY BIRMINGHAM

DRIVERS JOHN HOLLYWOOD

LEE ISGAR

STEVE MITCHARD

JOHN NICHOL

JOHNNY OTT

TERRY REECE

SIMON SAUNDERS

ALAN SMITH



POST PRODUCTION



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

BRANDON PROCTOR



RE-RECORDING FACILITY SKYWALKER SOUND

EDITORIAL FACILITY CREW CUTS



ADR RECORDING DE LANE LEA

PACIFICA SOUND

GOLDCREST

HACKENBACKER

TODD AO VINE STREET

ADR MIXER RON BEDROSIAN

PAUL ARANOFF

ADR RECORDER BRIAN BASHAM

ADR VOICE CASTING LOUIS ELMAN AMPS

FOLEY RECORDING SHEPPERTON STUDIOS

FOLEY ARTIST PETER BURGESS

ANDI DERRICK

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

LASER PACIFIC

ACCOUNT EXECUTIVE SHERYL GOODHEAD

HIGH DEFINITON SERVICE COORDINATORSANDRE TRÉJO

CHAD GUNDERSON

VICE PRESIDENT OF ENGINEERING TERRY BROWN

HIGH DEFINITION COLOR TIMER TED BRADY

HIGH DEFINITION ENGINEER DAVID REGISTER

VISUAL EFFECTS



VISUAL EFFECTS DESIGNER KEVIN TOD HAUG



VISUAL EFFECTS PRODUCER LESLIE MCMINN



BUF:

LEAD TECHNICAL DIRECTOR JAM ABELANET

SENIOR TECHNICAL DIRECTOR STEPHANE NAZE

TECHNICAL DIRECTORS JOHNNY ALVES

LAURENT MAKOWSKI

NICOLAS CHEVALLIER

PRODUCTION MANAGER VALERIE DELAHAYE

VFX PRODUCER CHRISTOPHE CHAVEROU

VFX COORDINATOR CHRISTELLE BALCON



DOUBLE NEGATIVE:

VISUAL EFFECTS PRODUCER HAL COUZENS

VISUAL EFFECTS SUPERVISOR PAUL RIDDLE

TECHNICAL DIRECTOR MARTIN HILL

3D ANIMATORS JESPER KJOLSRUD

JENNY STRAND

XAVIER ROIG

DIGITAL COMPOSITING ARTISTS JEREMY HATTINGH

CHARLIE NOBLE

TOM ROLFE

SEAN DANISCHEVSKY

YOKO ISHIGURO

ALEX IRELAND

MATTE PAINTER NEIL MILLER

VISUAL EFFECTS EDITORIAL ANDY HAGUE

JENNIFER WOOD

MATT SHAW

STUDIO MANAGER PETE HANSON



LOST BOYS STUDIOS:

VFX PRODUCERS MARK BENARD

ROULA LAINAS

VFX COORDINATOR TONY POWER

DIGITAL COMPOSITING ARTIST KEVIN GENZEL



MUSIC



MUSIC PRODUCED BY JAN AP KACZMAREK

SCORE RECORDED AND MIXED BY RAFAL PACZKOWSKI

ORCHESTRATION BY KRZYSZTOF HERDZIN

MAREK SZPAKIEWICZ

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

HELEN KEEN

BOYS CHOIR LONDON ORATORY SCHOOL SCHOLA

MUSIC RECORDING STUDIO SONY STUDIOS, LONDON

SCORE MIXED AT LANSDOWNE RECORDING STUDIOS,

LONDON



"PETER'S SONG"

WRITTEN BY SIR ELTON JOHN AND BERNIE TAUPIN

PERFORMED BY SIR ELTON JOHN

COURTESY OF MERCURY RECORDS LIMITED

PUBLISHED BY ROUGE BOOZE INC (ASCAP)

AND

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

EMMA WILLIAMS



TUTOR MATTHEW HOGDEN



ANIMAL TRAINERS BIRDS & ANIMALS

SALLY SOUSA

JULIE TOTTMAN



CATERER FAYRE DO'S



PRODUCTION ATTORNEYS ROSALIND LAWTON

KAREN HOGARTY



CAMERA EQUIPMENT ARRI MEDIA

PRODUCTION LIGHTING EQUIPMENT LEE LIGHTING

TRANSPORTATION FACILITIES FILM FLOW

PRODUCTION EQUIPMENT

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

RENEE CHABRIA

GILLIAN & COLETTE CHESSÉ

LAURA DUGUID

MICHAEL EMYRS

JANE EVANS

LAURI GLADSTEIN

JULIE GOLDSTEIN

JOHN HADITY

JAMES V HART

ROBERT LOUIS-DREYFUSS

MERYL POSTER

THE KING FAMILY

THAD SPENCER and ASCHE&SPENCER

&

AMBASSADOR THEATRE GROUP

RICHMOND THEATRE

VIRGIN ATLANTIC AIRLINES



FILMED ENTIRELY ON LOCATION IN ENGLAND

AND AT SHEPPERTON STUDIOS







FOR MILO . . .