PATHÉ PICTURES presents in association with the UK FILM COUNCIL and BBC FILMS a
MISSION PICTURES PRODUCTION produced in association with INSIDE TRACK
A DANNY BOYLE FILM
Director: Danny Boyle
Producers: Andrew Hauptman
Writer: Frank Cottrell Boyce
Co-Producer: Tracey Seaward
Executive Producers: Francois Ivernel
David M Thompson
Director of Photography: Anthony Dod Mantle
Production Designer: Mark Tildesley
Editor: Chris Gill
Music By: John Murphy
Costume Designer: Susannah Buxton
Make-Up/Hair Designer: Roseann Samuel
Casting Directors: Gail Stevens CGD
For: Annie Teresa Meheran
And Patrick Francis Boyle
When a railway heist goes wrong, an enormous bag of money falls from the sky into the hands
of Damian and Anthony. There's only one thing to do - spend it like there's no tomorrow…
because in 12 days' time Britain converts to the Euro and all sterling heads for the incinerator.
But how can a 7 and 9-year-old hope to spend a cool quarter of a million quid in just over a
week? Anthony's plans create a black market in the school playground, while Damian wants to
help the poor - if he can find any. Oh, and the train robbers want their money back.
Will they manage to spend the money before it's worthless? Will the school authorities discover
what's going on? Or will the robbers get there first?
For more information and screening enquiries please contact Greenroom Digital:
Victoria@greenroom-digital.com / firstname.lastname@example.org
Tel: 020 7426 5700
Millions synopsis by Frank Cottrell Boyce
Britain is about to enter the Euro zone. Special secure trains criss-cross the country loaded with
old money on its way to the incinerator, and new money on its way to the bank.
Meanwhile, the Cunningham family - Dad (Ronnie) and his two sons, Damian (8) and Anthony
(10) - have just moved to a new house. Anthony is very materialistic and is interested in the
investment potential of their new home. Damian is very pious and dreams of saints.
One morning, Damian is in his cardboard den - or hermitage as he calls it -
down by the railway, when he is almost squashed flat by a huge flying sports bag. This turns
out to be full of money. £229,320. Unfortunately it's all in sterling so it is only good for another
12 days, when the old currency will become worthless.
Damian is convinced that the money has come from God (who else would have that kind of
money?) and that it is some kind of sign or challenge to him to do good. Unfortunately he
makes the great mistake of telling Anthony all about it. Anthony understands money a lot better
than Damian does. So while Damian goes about trying to find poor people to help with the
money, Anthony goes on a spree. At school he buys power, influence, body guards, along with
a new Game Boy, SP2, BMX Shogun Nude bike, and... well the list goes on all the way up to a
house, which he tries to buy for his investment portfolio.
During the course of this orgy of spending we realise that the boy's mother
has recently died and perhaps suss that the extremity of their characters is perhaps a reaction
to their bereavement.
As it turns out, it's just as difficult for Anthony to spend the money on himself as it is for
Damian to save the World. The two boys become increasingly frustrated and increasingly
conspicuous. They come to the attention of a community policeman and Damian even goes so
far as to try and enlist the help of the lady charity worker who comes to the school collecting
small change for WaterAid. Her name is Dorothy.
Anthony stops him just in time. He knows that the money has come from a
notorious and well- organised robbery which involved sneaking a man onto one of the money
trains and having him discreetly chuck suitcases of cash out at various slow bends along the
What he should perhaps have realised is that the original robbers would be
looking for their missing money.
It's not long before Damian's railway side hermitage comes under the gaze
of a terrifying figure, one of the robbers. Anthony manages to put the man off the scent briefly
but by the time the school nativity play comes around, the man is on their trail and Damian who
is playing St Joseph has to make a getaway while the three kings are singing their song. In his
place, the real St Joseph miraculously appears in his place to cover Damian's tracks.
Damian tries to hide in the old house. But - alone and terrified - he hears someone at the door
and screams. It's his Dad, who has worked out where Damian has gone. And so Dad - to
Anthony's fury - finds out about the money. Even worse, Dad tells Dorothy.
And so Dad, Dorothy and the boys head off to Manchester to change as much of the money as
possible. A growing intimacy develops between Damian and Dorothy and between Dorothy and
Dad. A new (wealthy) family seems to be forming.
Meanwhile, however, the robber has sussed everything and warns Damian that he will be
coming to collect the newly-changed cash late that night. With no choice, Damian agrees to
help him, but keeps this from his family and Dorothy.
That night, the family and Dorothy celebrate the arrival of the new money by bringing in all
their goods to the living room and they paper the walls with leftover, now-defunct £10 notes.
Damian begins to see that his Dad and Dorothy are starting to fall in love, which only adds to
the stress he's already feeling as a result of the robber's impending visit.
Later that night, the doorbell rings, waking Damian. A queue of people, all drawn by tales of
Damian's generosity, has formed and a line of beggars and charity workers snakes from their
doorstep right down to the end of the street, all asking for money. While Dad tries to deal with
them, Damian creeps away, taking the remaining money down to the railway where he intends
to burns it. Unaware that Damian has gone, the burglar creeps into the spare room where he
encounters a surprised policeman, who promptly arrests him.
At the railway line, as Damian watches the notes burn, he is visited by his mother. Damian is
despondent but she reassures him and gives him some advice for the future. She reveals that
she is now a saint and that Damian was her miracle. As she kisses him goodbye, Damian turns
to see that Anthony has been watching. It wasn't just a vision; Anthony saw her too.
The next day, the family mull over the events of the night before. It turns out that Dorothy,
Dad and Anthony have each pocketed a wedge of the new money for themselves. Shamed by
Damian's reproving looks, they pool their resources and discover that they still have quite a bit
left. With the money, they invest in charities around the globe - buying a big magical ending for
mir·a·cle (m r -k l) n.
1. An event that appears inexplicable by the laws of nature and so is held to be
supernatural in origin or an act of God: "Miracles are spontaneous, they cannot be
summoned, but come of themselves" (Katherine Anne Porter).
2. One that excites admiring awe.
"There are two ways to live your life. One is as though nothing is a miracle. The other is as
though everything is a miracle." - Albert Einstein
A USER'S GUIDE TO SAINTS. #1: NICHOLAS OF MYRA (UNKNOWN TO C 246 BCE)
The Bishop Of Myra, which is now modern Turkey, Nicholas was a very kind and generous man,
most famous for the way in which he helped the needy. This aid could take the form of money,
as it when he anonymously gave three bags of gold to a father who was so poor he was about
to sell his daughters into prostitution. Perhaps Nicholas' best-known miracle was the
resurrection of three young boys who were murdered, chopped up and pickled in a vat of brine.
This led not only to the creation of the Santa Claus legend, but also to his becoming, amongst
other things, the patron saint of children, coopers, grooms, mariners, pawnbrokers, poor
people, shoe shiners, spinsters and students.
PART ONE: DIVINE INSPIRATION
As all filmmakers know, there is no such thing as a patron saint of filmmaking - and if there
were, their effigies would loom high over every film set across the globe. Indeed, when writer
Frank Cottrell Boyce first conceived the idea that would become Millions, he had no idea it
would even become a movie at all, much less that it would be the experience of a lifetime.
It grew out of a conversation Cottrell-Boyce had with producer, Graham Broadbent, shortly
after the two had collaborated on Michael Winterbottom's eastern-European conflict drama
Welcome to Sarajevo. But although the writer is a father of seven, it was actually Broadbent
who suggested that this should be a film about children. "Seeing Frank at home with his own
family made me realise how fantastic he was with kids," says Broadbent. "He encourages their
most imaginative view of the world and I sensed this would make for a unique viewpoint. I
knew he'd make these characters extraordinary, individual and wonderful and we finally hit
upon the idea of having two children who come across a million pounds from a robbery."
Cottrell-Boyce, perhaps most famous for his script for Michael Winterbottom's Manchester music
scene comedy 24 Hour Party People, says that Broadbent's suggestion struck a chord. "I'd
always liked the idea of writing a film that my children could enjoy," he explains. "As a man
with many children, I spend most of my time in the company of people who think they are
pirates, or saints, or are suffering some kind of colourful delusion, rather than mixing with
filmmakers, so it was quite easy for me to tap into that energy. The characters in Millions are
actually quite sane compared to some of my own children! A couple of mine are yet to discover
that the Middle Ages is over, so I do spend quite a chunk of my day with people waving
cutlasses and wearing helmets".
The team worked on the script on and off for quite some time, seeing it through various
different drafts. "It's actually impossible to describe how much fun I had writing this script,"
says Cottrell Boyce. "It was like coming home. I loved writing about children, I loved the fact
that it was set near where I live and I loved the fact that we could create a story about how
magical and complicated people really are."
"We always knew we had a good idea and some wonderful writing," says Broadbent, "but we
probably only had about half of a really good script. About two years ago I had a general
meeting with director Danny Boyle. I remember saying to him, that if he was a brave man, he
should take a look at it, even though it was by no means ready. He did and he called me within
a couple of days and said he really liked it and wanted to talk further."
Having established himself with edgy, adult movies such as Shallow Grave, Trainspotting and
The Beach, Boyle knew this project would be a departure and possibly a risk. But as fate would
have it, Boyle was in the precise mood for that challenge. "I'd just made a couple of small films
for TV in my home town Manchester," the director explains, "and I wanted to work there again.
Graham sent me the script and I thought the idea was absolutely captivating. I was also very
keen to work with Frank, who comes from a long line of amazing writers from the North West.
He was someone I'd always admired; there's a combination of warmth and originality in his
writing that's a bit special."
There was also a more personal reason for Boyle's interest. "Like Frank, I've got kids as well,"
he says, "and that was a very big factor. When you have kids you want to do something for
them, or event based on them. And my kids are getting quite old, so I thought I'd better get on
and make something they could legally watch!"
Even so, he insists that Millions is not quite the departure that some might think. Although the
film centres on a robbery, the drama here lies in how the boys react to the money: what they
will do with it and whether it truly can ever bring happiness. It was the latter that captured his
"Some people wouldn't think so," he says, "but I do think all of my films are life-affirming in
some way. There's an energy about them and I am very optimistic like that. The idea that you
can have faith in people - and they will then keep faith in someone else - is all you can do,
really. And I believe that. But it's hard to express that without sounding like a total fucking prat!
But it's true. I do believe it and I wanted to make a film about that. Frank and I never talked
about it in a specific way, but it was always there in our two personalities."
The script still needed work - indeed, at that time, it was a period piece set in the 60s - but
Boyle kept pushing it forwards and brought out the real essence of the story. "We worked on it
relentlessly," he says, "until the only scene that remains from the original is the central robbery
The heist also allowed for more tension in the script, since one of the robbers, a shady Bill
Sykes figure known only in the script as 'Kangol' (now in the credits as 'The Poor Man'), is hard
on the trail of the missing money. "The minute you see the money arrive, you know that
someone's going to be after it, because that's the language of cinema," says Cottrell Boyce. "I
wanted the person after it to appear like your worst paranoid nightmare or a little boy's bogey
man - like in Raising Arizona, where the character is after him and you never really know
whether he's dreaming it, because it cuts from dream to reality. I wanted that intense fear that
you only experience as a child."
Although the writing process took around five years from original conception, it was not beset
by the usual production difficulties and, unusually for a British movie, had little problem finding
funding. "It was quite simple, really," says producer Andrew Hauptman. "We knew we had a
really good script and a world-class director that everyone wanted to work with. A lot of people
were waiting for the script to be ready, but we already had a relationship with Pathé and
Francois Ivernel from Pathé was extremely aggressive in his pursuit of the project. He's a huge
fan of Danny. He basically said he'd commit to green-lighting it and true to his word, we sent
him the finished script, he read it overnight and the next day there was an offer on the table.
We'd met with other financiers in between, but really felt Pathé were first pas the post and full
Looking back over the five years, Broadbent is now surprised to see how quickly the project
evolved, as if helped along by unseen forces. "Frank and I had worked on many drafts over a
three-year period. Frank just kept on writing it and we kept meeting up every few months.
Frank even said to a colleague, just after we'd got Danny Boyle interested, 'Oh this is just our
lunch club, we're never going to make it.' As we completed the last shot of the film, I went up
to Frank and reminded him that it had been quite a lunch club. He burst into tears."
A USER'S GUIDE TO SAINTS. #2: FRANCIS OF ASSISI (1181-1226)
A reformed character, Francis Bernardone was a former street-fighter and soldier who
converted to Christianity after receiving a message from Christ while serving a prison sentence
in Perugia. Francis devoted his life to helping the sick and working with animals and two years
before his death, while meditating in the Apennine Mountains, he developed the signs of the
stigmata. The patron saint of families, he also benefits animal welfare societies, ecologists,
environmentalists, lace-makers, needle-workers and zoos.
PART TWO: THE FANTASY THAT BECAME A REALITY
Although it takes place in a very recognisable, not-so-far-away Britain, Frank Cottrell Boyce's
script was unusual in many ways. On the surface, its two lead characters, Damian and Anthony
Cunningham (Alex Etel and Lewis McGibbon) are two suburban northern brothers, whose
mother has died in tragic circumstances, although we never learn how. Anthony is a regular lad
of his age, into Playstation, bikes, Nikes and football game Subbuteo, but Damian is a quieter,
more thoughtful boy, visited by visions of saints who help him deal with the problems caused by
the stolen money. Clearly, this mystical element needed careful nurturing and one of Danny
Boyle's earliest comments after reading the script was the need for truly extraordinary children
in the lead roles. If the project was going to work, Boyle needed unknowns with movie star
quality and charisma.
Casting commenced in September 2002 and the process was extensive. It was always intended
that the film would be set in Liverpool and the North West of England, so the search covered
children's agents and children's drama groups across the whole region as well as schools and
open auditions. "We went into a process of what casting directors call 'kissing frogs'," says
Boyle, "where you have to see thousands of kids before somebody emerges who you hope will
be your prince. You can't go ahead until you've got the right kid. Normally you get the green
light and start the casting, but with a film like this you can't start until you've got the kids. I
should add, in this day and age, that I never kissed any of the children."
The casting team finally came across young actor Lewis McGibbon to play the older boy,
Anthony, who has firm ideas about the value of money and how it should be spent. "Lewis'
audition was very strong," says producer Graham Broadbent, "and you could see he really knew
where he was in the role." Adds Boyle, "He's a fantastic actor for such a young guy. He had
timing, knew what acting was and had crossed the barrier from total innocence to knowing
what it was about. I thought that was a great attribute for that particular character because
Anthony is someone who has one foot in childhood and the other foot in the modern world."
Indeed, McGibbon certainly had a handle on Anthony. "The money changes him," he says. "He's
just a boy, but when his brother finds all the money, Anthony literally takes it over and in the
end it takes over the house, really. He recognises how the money changes him and it takes him
over. Basically I think he's quite greedy - he just wants all the money. If I had the money, I'd
buy my Mum a villa in Portugal, I'd buy my Dad a really big Jeep, I'd buy my sister whatever
she wants and I'd buy myself a big house with a massive widescreen TV and a Playstation and
all the Playstation games in the world."
Damian, however, proved much harder to find, simply because the character is so young.
"None of the boys we saw of that age are truly actors yet," says Boyle, who needed someone
who could capture Damian's innocence, naivety and beatitude. In keeping with the nature of
this project, Alex Etel came out of nowhere, a complete novice who was discovered amongst
the weekly audition tapes that would arrive in the production office. Boyle instantly loved his
look. "I remember when he walked into the room, even before he opened his mouth. I had to
stop myself from thinking, 'That's him.' But he was the one I wanted from the beginning and I
stuck with that."
Lewis and Alex went through around five auditions before they were finally selected very close
to the start of principal photography. "Danny's instincts paid off" says Broadbent "Alex has the
face of an angel and he's every bit the movie star too."
Etel himself is not quite the cherub he appears to be on screen. "I think Damian's a bit of a
weirdo," he says. "He sees saints and things that other people don't see and spends a lot of
time reading and talking about the saints, which I think is very strange." However, Etel certainly
seems to share Damian's propensity for day-dreaming. "If I had that much money," he says,
"I'd buy a big car and a big house with a swimming pool, which I'd fill with strawberry jelly and
a big house boat."
It says something about the film's casting that the two boys hit it off instantly and a strong
bond has since developed between them, both as actors and otherwise. "Lewis has become like
a big brother to me," says Alex. "We've not really had any bad times," confirms Lewis. "He
comes round to mine and we play on the Playstation together and I try to help him out a bit as
acting is new to him - he was just picked out of school, so I've explained things about filming
when he didn't understand."
The core cast was rounded out by Jimmy Nesbitt, who plays the boys' father, Ronnie. "Jimmy is
such a communicator," says Boyle. "I think that goes straight to the audience and he has an
immediacy that you believe him and you just want him to talk to you about anything. That
seemed perfect for this part."
When Boyle sent him the script, Nesbitt was rather surprised by its tone. "When I first read it, I
was surprised to find it was written by Frank, as I think it's true to say that some of his previous
work has been quite dark. Knowing it came from the minds of Frank and Danny could have led
one to believe that this one would be dark too. Instead what they've created is magical. Frank
has a lot of children, so he's well placed to write for children and he does it in a magnificently
fresh and totally real way. The film is very warm, deeply emotional but isn't overly sentimental."
Indeed, it's a testament to Frank Cottrell Boyce's screenplay that Ronnie's character, though
poignant, never overshadows the two boys' story. "Ronnie is dealing with the death of his wife,
adapting to being a single Dad and moving on to a new life," says Nesbitt. "But although Frank
doesn't ignore the tragedy in their situation, he doesn't tug at your heartstrings or overly play it
up. Ronnie has to get on with life and he can't really stop to think about it too much as he's too
busy getting the boys up and off to school in the morning and being both their mum and their
dad. The way he deals with it is often funny and very touching."
The final piece of this family jigsaw was actress Daisy Donovan, who plays Dorothy, the charity
worker who stumbles into their life by accident and somehow never leaves. Again, Boyle
decided to follow his instincts. "As soon as we started writing her role, Daisy just popped into
my head," he says, "just as Jimmy Nesbitt popped into my head for the part of Ronnie. You
should always try and follow those instincts up. For Dorothy, I wanted someone left field who
just bounces in with this enormous energy to her, very refreshing and slightly barmy. And of
course, Daisy is also a fantastic actress."
Cottrell Boyce, was particularly pleased with the casting of Nesbitt and Donovan as the
grown-ups of the piece, "I envisaged me as the father character," he says, "being exasperated,
preoccupied and kind of swamped by other people's fantasies and I think Jimmy was perfect
casting because he can carry it so well with such charm. Daisy was perfect too, because we
needed a character who could keep you guessing, so that you don't know whether she's good
or bad or whether she has her own agenda. As an actress, Daisy's very mercurial when you
watch her in her TV programme and when we were creating the character of Dorothy we
always said she was a kind of Daisy Donovan character, so it was fantastic when we actually
got her, because we were using her as the template."
Donovan was quick to intuit that her character is as much defined by Ronnie and his boys as
anything else. "Dorothy's basically quite lonely," she says. "She kind of lives the life of a
travelling sales woman, except it's for charity and when she meets Ronnie she sees a twinkle in
his eye and sees the prospect of this little ready-made family of three men - two little ones and
a grown up one. Ronnie kind of charms her and she hitches a lift into their life."
A USER'S GUIDE TO SAINTS. #3: CLARE OF ASSISI (1194-1253)
After hearing Francis Of Assisi praying in the streets, Clare turned her back on her wealthy
upbringing and joined a convent, where she founded The Order Of The Poor Ladies and ran it
for 40 years. Clare was selfless in her friendships and would tend to everyone's needs, no
matter how small. Later in life, she would become too weak to attend masses; instead, an
image of service would miraculously appear on the wall of her room. As a result, she is
considered the patron saint of television, as well as goldsmiths, laundry workers and
PART THREE: DREAMS THAT MONEY CAN BUY
The revelation that the money is stolen comes as a bombshell to the impressionable Damian. "I
thought it was a miracle," he laments, "but it was just robbed." Nevertheless, as well as
providing the impetus for the story, the stolen money gave the filmmakers licence to explore
the idea of money: what it is, what it represents and what it can really buy.
During pre-production, Broadbent was intrigued by the way children would deal with these
questions. "When we were doing the auditions, the casting director asked quite a lot of the kids
what they'd do if they had a million pounds," he recalls. "The responses were amazing. Some
had no concept of that amount of money, some said they'd buy ten CDs and others said they'd
buy a car, or an island, but very few had any real sense of what that sort of money means."
Through the two boys, Boyle's film plays out society's push-and-pull attitude towards money, to
great comic effect. "Damian simply wants to give it away to good causes, charities and poor
people," says Hauptman, "and so he spends his time stuffing huge amounts of money in poor
people's letterboxes or charity boxes. Anthony, being that bit older, is more aware of avarice
and greed and what money can really buy." Neither, however, gets their way. Notes Boyle,
"The film shows how difficult it is for both of the boys to achieve their wishes, either to spend it
quickly on consumer luxuries or desirables or on the other hand to redistribute it."
Perhaps unsurprisingly, during the pitching stage, Cottrell Boyce found it harder to explain
Damian's attitude to the money than his older brother's. "To me," he says, "Damian seems like
a perfectly normal child. But I'd have to sit in these script meetings with film executives who
wanted me to explain why he was as he was. Loads of kids are like him, they talk to themselves
all the time, they're not quite living in the same world as us and often think they're a knight, a
footballer or a pilot. In this case, Damian just happens to think he's a saint."
In creating Anthony, Cottrell Boyce presents an equally motivated child, albeit one from a
completely different sphere. But although they seem to be extreme, they are inextricably bound
by the loss of their mother and together present an almost complete, tough-to-break unit.
"They've both got that fantastic thing you have when you're about eight or ten years of age,"
he says, "when you're at the top end of your school, before you go to big school and you've got
that feeling of being able to do absolutely anything. Anthony is kind of greedy and wicked, but
there's something very attractive and endearing about his swagger. Damian's got a similar
swagger, but it's because he thinks he's the equal of Saint Clare or Saint Nicholas!"
It is this richness of personality that gives Millions its depth. "When you originally describe the
script, it could easily sound like some fluffy little British movie that will tug at your heartstrings
and then make you giggle," says Cottrell Boyce. "But Danny has made it so much bigger. He
was involved enough to take on all its themes, like the saints, heaven and money. The film
looks at what money can actually do. The two boys really come to understand what a vast and
complicated thing money is and how it completely takes them over and kind of swamps them.
What the boys are really wishing for is something that can't be bought. It's interesting to have a
story that allows you to harness all the excitement of money and all the danger it brings."
Boyle agrees that this is very much the heart of the film. "I think the spirit of the film is about
trying to see if goodness is possible in, not so much a cynical world, but one in which people
are very self-protecting," he says. "Like Britain especially. It was to try and see if it's possible to
make a film about an act of generosity."
A USER'S GUIDE TO SAINTS. #4: ST ROCH (1295-1327)
Roch was a 14th Century French nobleman who adopted the causes of the poor at al young age
and contracted the plague during a pilgrimage. Despite effecting several miraculous cures, Roch
contracted the disease himself and was nursed back to life by a dog that fed him food stolen
from its master's table. On his return home, he was arrested on espionage charges and, after
being tended to by an angel for five years, died in jail. He is, rather surprisingly, the patron
saint of dogs, but if you're a bachelor, diseased cattle, an invalid, a plague sufferer, a surgeon
or a tile-maker, he's definitely worth a prayer or two.
PART FOUR: THE NORTH - A BRIGHT AND SHINING STAR…
With the breakout success of his directorial debut Shallow Grave and its follow-up,
Trainspotting, Danny Boyle proved that British film talent was not simply to be found in a
square mile of London's Soho district. In fact, he identified a thirst for such stories around the
UK. "If you look at the films that work with the public here," he says, "with the exception of
Guy Ritchie's and Richard Curtis' films they're usually from outside London. And they're usually
from strong industrial areas. We tend not to watch country films, we tend to watch city films
and I think that's where the stories are and where the drama is. There's something much more
defined about it. London's like a snowball, picking up people as it rolls on and it's quite difficult
to stop it and define something. But I think you can do it in places like Liverpool and
Manchester. Just think of Sheffield and The Full Monty."
And with Millions, he was keen yet again to explore an area of Britain known and inhabited by
many yet rarely seen on the screen. Since Cottrell Boyce is from Liverpool and Boyle is from
Manchester, they decided to settle on a place in between. "Normally in Britain, we either make
films about the upper classes, in period dramas, or we make them about the working classes,"
explains Boyle. "But actually the vast majority of people live in places like the one we tried to
make this film about, on a new estate. That's where a lot of people live and I thought that was
where the movie should be honed. I didn't want to set it in Manchester or Liverpool, I wanted it
to feel like one of those satellite areas that so many, many, many people live in and are yet
ignored. Films usually aren't made about them. So we went from town to town between
Liverpool and Manchester and finally we found the perfect estate in Widnes.
Now, in British cinema history, the north of England has traditionally been relegated to the
status of supporting character in a string of dour, kitchen-sink dramas of the 60s, shot in
mournful backed white. But in Millions it comes into its own as a bright, vibrant place, where
natural beauty contrasts with sophistication and modernity.
"The challenge was to make the film look full of colour and light," says Boyle. "It's easy to slip
into a different kind of realism of the north because I think the colour and life are to do with the
spirit of the people, because the humour of the people of the north is really special." Adds
Broadbent, "Danny worked very hard in terms of formulating how the film would look. He
wanted it to be bright, optimistic and new, portraying an image of Britain going forward."
To transform the images in his head into moving pictures, Boyle turned to cinematographer
Anthony Dod Mantle, with whom he collaborated on the visually groundbreaking 28 Days Later,
which was shot on high-definition video. Boyle and Dod Mantle took a similar approach to
Millions and constantly convened to discuss fresh ways to photograph the film at every stage.
The fact that the events of Boyle's film occur in the run-up to Christmas posed something of a
problem for Dod Mantle. "It's kind of schizophrenic because it's a winter film, but we've shot in
summer doing sixty per cent of the film in exterior day sunshine. We also shot a small
percentage of the film in the studio." Despite frequent light changes on its Liverpool and
Manchester locations, Dod Mantle worked hard to create a strategic colour palette for the film,
which would enable him to make last-minute tweaks and enhancements in post-production.
But although Boyle and co were keen to give the North its dues, the characters themselves
were an integral part of the colour scheme. "We did a lot of tests to choose the colour of the
kids' tops and we visited a lot of schools near where we were filming," says Boyle. "We went to
this one school and I saw this mixture of yellow and blue and I thought that's just perfect for
the film. I knew that Anthony would make it burst into life and it was a great key that our
production designer, Mark Tildesley, could use to bounce off."
But despite this apparent spontaneity, Boyle and Dod Mantle and Boyle had very specific ideas
for the characters themselves and the particular worlds in which they live. "For instance," says
Dod Mantle, "Danny and I had aspirations about visual horizons for the father Ronnie as he
tries to create a new role and a new life for the boys. Damian's a more spiritual character and
as he encounters the saints I wanted his colours to be more muted and gentle. Anthony is a
potential materialist, so I've tried to frame him and colour him in a certain way because I feel
he's attracted by bright, violent colours. His eye-line and expression are much more brutal too
as he looks towards camera - he looks hard and has his own passport for survival - while
Damian is far more gentle and serene as he looks up to the camera. This is a boy who's
searching for something."
The result is a vibrant, lustrous and even magical film (in the purest sense of the word), quite
unlike anything attempted in the north ever before. "The film was not going to be pallid or
muted at all," says Hauptman. "It was going to take risks."
A USER'S GUIDE TO SAINTS. #5: JOSEPH (1st Century BC - 1st Century BCE)
Little is actually known about Jesus Christ's adoptive father except that he was a carpenter of
humble stock. Some reports claim that he was in his eighties when he became betrothed to
Mary, although it seems more likely that he was in his early twenties. Nevertheless, Joseph was
wise for his years and was respectful of his wife-to-be, even before he knew the child she was
bearing, that was not his, was actually the son of God. Joseph is a mysterious character in the
Bible and no words are directly attributed to him. However, he remains a character endowed
with great faith because of his willingness to listen to the words of God. And to this end, he
extends his patronage to cabinet-makers, confectioners, expectant mothers, house-hunters,
married people and unborn children.
PART FIVE: A WORLD OF WONDER
There's an old show business tenet that recommends you should never work with children or
animals, but then again, that saying basically favours the business rather than the show. Danny
Boyle, on the other hand, enjoyed the experience immensely and has nothing but praise for his
young stars. "The thing about working with kids is that you learn so much," he says. "I've learnt
more as a director working on this film than on anything else. You learn about acting, about
presenting stories and you can see those kids grow as they take in information. They're so
hungry for knowledge, even if it sometimes appears they're bored and want to get back to their
Playstations. By the end of the shoot I could see a huge difference in them. We got to a stage
where they didn't need any telling."
Meanwhile, for cinematographer Anthony Dod Mantle, the chance to step into a child's mind
offered more of an excuse to rip up the rulebook and experiment. "It's an excuse to play," he
corrects, "and if you have a director who wants to play too, like Danny, that can be amazing."
Boyle affirms that this was his intention: to make the experience as rich as he could for
everyone and not just the viewer. It's an old adage that says a happy set makes for a terrible
film, but Millions is an exception to that rule. "I wanted it to be an emotional experience," says
Boyle. "I really felt that very, very strongly from early on. I wanted it to be a generous film, in
the way that it was made and also in the way that its spirit conveyed itself. A spirit of
generosity, which isn't very fashionable."
"Danny's fantastic in two ways," says producer Graham Broadbent, "he communicates his
passion to the crew, meaning that the crew will go way beyond what they'd normally do on a
film. But he also puts a huge amount into achieving what he wants and he was truly amazing to
watch with the children. He really knew how to get on their level and to inspire them. He
worked really hard to build a relationship with them and he loved them and they loved him.
According to Frank Cottrell Boyce, Boyle came into his own during the scene in which Damian
takes part in his school's nativity play, "Danny sang the Christmas carol Little Donkey to the
young extras to get them in the mood," he says. "He sang it totally off-key and I hope that
wonderful moment will be on the DVD extras, because it's just extraordinary how off-key he
could be and still be breathing! He wasn't just a bad singer, it was like he was doing the mating
call of some other-worldly being!"
Boyle was very much aware of this scenario and he embraced it. "As a director, sometimes you
try and be as big a kid as possible," he says. "I loved making this film because this time there
was a reasonable excuse. Nobody was looking at me thinking, 'Uh-oh, he's completely lost it
now.' They thought I just was trying to make the kids feel at home..."
But despite this apparent clowning and not-so-serious behaviour, the film told its makers plenty
about the lives and minds of children today - even Dod Mantle, who has a young son of his
own. "Look at Alex," he says. "Here's a young boy who has obeyed no conventional acting
rules," he explains. "He's eight years old and a bit of a wild card, so he just stands there in front
of you and does what he does - which for me is wonderful. I've done a lot of documentaries
where you're forced to be spontaneous and in this case, Danny as a director and I as a
cinematographer, both wanted to be spontaneous and try to find both a vibrancy and an insight
into that irrational world in his little head."
This was part of Boyle's plan from the outset. To ensure that the film was an organic
experience he invited Cottrell Boyce on set for the whole shoot and encouraged his input. He
even cast him as the teacher who organises the school nativity play and tries, with little joy, to
direct Damian as St Joseph. "That's a little scene from Hollywood," grins Boyle, "struggling with
star actors. They say it should be done one way, you think it should be done another and you
have to compromise. "
Cottrell Boyce's presence created an interesting dynamic. Although he and Boyle have very
different views on spiritual matters, they both shared a common objective. Explains Boyle, "It's
a film about faith, but not in a strictly religious sense. Frank remains a practising Catholic, and
I'm not, and I think that's why it has religious overtones but it isn't actually about religion.
Frank didn't want it to be about religion either because he doesn't proselytise for it or anything
like that, it's a personal thing. It's about having faith in people really, rather than ideology or
Which brings us back to the beginning. Though the film deals with saints, marvels and even
miracles, its message says more about the inquisitive and thoughtful minds of our young than
the scriptures. "The film was made by a believer and an atheist, and yet the idea of faith is
really strong. It's not necessarily religious," he says, "it's just saying if you believe in your
dreams they will work for you in the end. And sometimes they really do come through." Which,
fittingly, may just be the story behind this extraordinary production too.
About The Cast
Nesbitt recently received huge acclaim for his role as civil rights activist Ivan Cooper in Paul
Greengrass' 'Bloody Sunday' and won Best Actor at the British Independent Film Awards and
the Stockholm Film Festival. Other recent film credits include Peter Cattaneo's 'Lucky Break',
Dudi Appleton's 'The Most Fertile Man in Ireland', Declan Lowney's 'Wild About Harry', Coky
Giedroyc's 'Women Talking Dirty' and Kirk Jones' 'Waking Ned'. His other numerous films
include Konrad Kay's 'Jumpers', Mike Barker's 'The James Gang', Michael Winterbottom's
'Welcome to Sarajevo', 'Jude' and 'Love Lies Bleeding', Mary McGuckian's 'This is the Sea', Peter
Chelsom's 'Hear My Song' and Marc Evans' 'Resurrection Man'.
His theatre credits include 'Paddywack' at the Longwharf in the United States, 'Darwin's Flood'
at the Bush Theatre in London, 'Translations' at the Birmingham Rep, 'Up on the Roof' at the
Theatre Royal, Plymouth, 'Hamlet' at the Leicester Haymarket and 'Una Pooka' at the Tricycle.
Nesbitt has starred in a number of long-running television series including four series of 'Cold
Feet' for which he has won Best Comedy TV Actor at the British Comedy Awards, two series of
'Playing the Field' and two series of 'Ballykissangel'. Other television credits include BBC
productions of 'Miller's Tale' and 'Passer-by', 'Wall of Silence', 'Murphy's Law', 'Touching Evil',
'Soldier Soldier', 'Go Now' and 'The Young Indiana Jones Chronicles'.
Trained at the London Academy of Music and Dramatic Art, Donovan is best known in the UK
for her Channel 4 television shows 'Daisy Daisy', 'Does Doug Know' and 'The 11 O'clock Show'
in addition to the BBC 1 series 'My Family'.
Her theatre credits include 'The Woman Who Cooked Her Husband' opposite Alison Steadman
at the New Ambassador's Theatre in London's West End and 'On The Razzle' at the Chichester
A second series of Donovan's 'Daisy Daisy' was recently aired on Channel 4 to fantastic reviews.
In the summer of 2000, after attending a number of EuroKids Drama Workshops in Cheshire in
the north-west of England, Lewis McGibbon's talent for improvisation and drama shone through.
In September 2000 he appeared as a background artist in 'Coronation Street', 'Merseybeat'.
In December 2000 Lewis was selected for a lead role in 'Merseybeat' as well as modelling for
catalogues and appearing as a background artist in 'Cold Feet' and 'Stan the Man', taking a
featured role in 'Nice Guy Eddie' as well as appearing in a TV commercial for the 'Shreddies'
MILLIONS marks nine-year old Alex Etel's acting debut.
The extensive search for Damian took director Danny Boyle and his casting team across the NW
of England. Following one of many open casting calls Alex Etel was discovered during a casting
call for junior boys at his school in Gatley, Cheshire in the north-west of England.
The Poor Man
An accomplished film, TV and theatre actor, Christopher Fulford first collaborated with director
Danny Boyle on theatre productions of 'Salonika' (Royal Court Theatre) and 'Two Planks and a
Passion' (Greenwich Theatre).
Fulford's extensive TV credits include a number of acclaimed dramas including Alan Clarke's
'Made in Britain', 'Cracker', 'Inspector Morse', 'Scarlet and Black, 'Prime Suspect 6', 'The
Sculptress', 'Moll Flanders', 'The Fix', 'Tom Jones', 'Hornblower', 'Spooks', 'Servants', 'Goodbye
Mr Chips' and 'The Brief'.
Feature film credits include Richard Eyre's 'The Ploughman's Lunch', David Hare's 'Wetherby',
Mike Hodges' 'A Prayer for the Dying', Paul Greengrass' 'Resurrected', Bernard Rose's Immortal
Beloved, Bedrooms and Hallways, Jill Gillespie's 'De-tox' and Mike Figgis' 'Hotel'.
About The Filmmakers
Boyle's most recent project, the critically acclaimed horror film '28 Days Later' has been a huge
box office hit both in Europe and the United States. His first feature was 'Shallow Grave' for
which Boyle won Best Director at the San Sebastian and Dinard Film Festivals. The film also
won Best Film at Dinard and the BAFTA Alexander Korda Award for Outstanding British Film. His
second feature 'Trainspotting' is considered by many to be a milestone in recent British cinema
and has become one of the highest grossing British films of all time. Boyle's other feature films
are 'The Beach' starring Leonardo DiCaprio and 'A Life Less Ordinary' starring Ewan McGregor
and Cameron Diaz.
Boyle's work in television includes as Alan Clark's controversial 'Elephant,' (as Producer),
'Strumpet', 'Vacuuming Completely Nude in Paradise' and the series 'Mr Wroe's Virgins' for
which he was BAFTA nominated.
Boyle's career started in the theatre with productions such Howard Barker's 'Victory', Howard
Brenton's 'The Genius' and Edward Bond's 'Saved' which won the Time Out Award. Boyle has
also directed five productions for the Royal Shakespeare Company.
Feature Filmography - Director
28 Days Later (2002)
Strumpet (TV, 2001)
Vacuuming Completely Nude in Paradise (TV, 2001)
The Beach (2000)
Alien Love Triangle (short feature, 1998)
A Life Less Ordinary (1997)
Shallow Grave (1994)
Frank Cottrell Boyce
Cottrell Boyce's previous writing credits are 'Code 46' starring Tim Robbins, '24 Hour Party
People', 'The Claim' for which he was nominated for a British Independent Film Award,
'Welcome to Sarajevo' and 'Butterfly Kiss' all directed by his long-time collaborator Michael
Other writing credits include Anand Tucker's Oscar® nominated 'Hilary and Jackie' for which he
was BAFTA and Golden Satellite nominated as well as Tucker's 'St Ex', Alex Cox's 'The
Revengers Tragedy' and Julien Temple's 'Pandemonium'.
He also devised and wrote the popular children's comedy cartoon series 'Captain Star'.
Andrew Hauptman is the Chairman and President of Mission Pictures. He has deep experience
in all aspects of the entertainment industry: as producer, as executive, and as director of many
companies covering the production, distribution and exhibition businesses. His producing credits
include 'Safe Men' written and directed by John Hamburg, 'Millions' directed by Danny Boyle,
and John McKay's 'Piccadilly Jim'. He has also served as executive producer on a number of
Hauptman previously worked with Universal Studios in London and played a key role in the
oversight of its international operations, focusing primarily on the music and filmed
entertainment groups. During this period, he worked to oversee the international operations of
Universal Music Group, United International Pictures, CIC Home Video, United Cinemas
International and Universal Pictures.
Hauptman also serves as Chairman and Chief Executive Officer of Andell Holdings, a private
investment organization with worldwide interests in numerous sectors. He serves as a member
of the Board of Directors of Dick Clark Productions Inc, Koor Industries Ltd, Elizabeth Arden Red
Door Salons and numerous philanthropic organizations. He previously served on the Board of
Loews Cineplex Entertainment.
Graham Broadbent was co-founder of Mission pictures with Andrew Hauptman and
Damian Jones. Highlights of films Broadbent produced whilst at Mission
include Danny Boyle's Millions, Peter Hewitt's Thunderpants, and Piccadilly
Jim, scripted by Julian Fellowes and starring Sam Rockwell, currently in
Prior to Mission Broadbent ran Dragon Pictures a production company he
established with Damian Jones in 1995 in London and Los Angeles. Here
Broadbent produced Michael Winterbottom's acclaimed Balkan war drama Welcome
To Sarajevo, selected for competition at Cannes 1997 and voted in Time
magazine's Top Ten Films of 1997 and by the American National Board of
Review as an 'Outstanding Film of 1997'.
During a prolific five years at Dragon he also produced Michael Radford's
Dancing At The Blue Iguana, World Premiere at the Toronto Film Festival,
Some Voices, nominated for a BAFTA award for director Simon Cellan Jones.
Sara Sugarman's Very Annie Mary, winner of the Sundance 1998 Film Makers
Award for Best Script. Gregg Araki's Splendor, World Premiere at Sundance
Film Festival 1999. A Texas Funeral, Premiered at the Venice Film Festival
1999 and The Debt Collector.
Damian Jones was a co-founder of Dragon and Mission Pictures. He has produced over a dozen
films that include 'Gridlock'd', 'Welcome to Sarajevo', 'Some Voices', 'Splendor', 'Dancing at the
Blue Iguana', 'A Texas Funeral', 'Very Annie Mary', and 'Thunderpants'. He also executive
produced 'Piccadilly Jim' for Mission Pictures and is currently producing 'Alphamale' with Trudie
Styler under his new banner DJ FILMS.
After starting her career as a theatrical agent, Tracey Seaward went on to research and
production manage a number of documentaries.
Seaward went on to associate produce 'Separation' with Rosanna Arquette and David Suchet
and to co-produce 'Widow's Peak' starring Mia Farrow, Joan Plowright and Natasha Richardson,
Thaddeus O' Sullivan's 'Nothing Personal' and 'Serpent's Kiss'.
Seaward produced 'Nora' starring Ewan McGregor and went on to co-produce 'The Good Thief'
starring Nick Nolte, directed by Neil Jordan.
In 2001 she produced Stephen Frears' multi award winning 'Dirty Pretty Things' for BBC/Celador
and Miramax. Seaward's next project is 'The Constant Gardener' for 'City of God' director
Anthony Dod Mantle DFF
Director of Photography
Dod Mantle has collaborated with director Danny Boyle on his previous projects
Vacuuming/Strumpet for the BBC and the hugely successful film '28 Days Later' for which he
won the European Academy Award for Cinematographer of the Year 2003.
He is best known for his contribution to the Dogme filmmakers collective and has worked as
cinematographer on three on the most influential films that the movement has produced:
Thomas Vinterberg's 'Festen' which won Dod Mantle a Danish Film Academy Award (a 'Robert')
for best cinematography, 'Mifune' which was won the Silver Bear in Berlin and Harmonie
Korine's 'Julian Donkey Boy' for which Dod Mantle was nominated at the Independent Spirit
His latest collaboration with Von Trier is a trilogy beginning with the ground breaking 'Dogville',
and followed by 'Manderlay'. Dod Mantle also worked with Vinterberg on his most recent
feature 'It's all About Love' for which he won another 'Robert'.
Other credits include 'De Største Helte/The Greatest Heroes' for which Dod Mantle received a
Danish Academy Award nomination for Best Cinematography and won a Special Prize for
Cinematography in Madrid, Lotte Svendson's 'Bornholms Stemme/Gone With the Fish',
Caecclia's Trier's 'Nønnerborn/Agnus Dei' for which he received an Danish Academy Award
nomination for Best Cinematography, Birger Larsen's 'Sweethearts' (Oscar® nominated for Best
Foreign short), Niels Gråbols' 'Det Store Flip/Wild Flowers', Lasse Spang Olsen's 'Operation
Cobra', Carsten Rudolph's 'Menneskedyret/The Beast Within' which won the Danish Film
Academy Award for Best Cinematography and Philip Gröning's 'Die Terroristen/The Terrorists'.
MILLIONS is designer Mark Tildesley's second collaboration with director Danny Boyle for whom
he had previously created the post apocalyptic world of '28 Days Later'. Tildesley has amongst
his other feature credits Roger Michell's BAFTA nominated production 'The Mother', alongside a
variety of Michael Winterbottom's productions including 'Wonderland', '24 hr Party People', 'The
Claim' and 'I Want You'. Tildesley's other credits include 'Old New Borrowed Blue' and Marc
Evans' 'House of America' earned him the Welsh BAFTA for Best Design.
He is presently working on 'City of God' director Fernando Meirelles' 'The Constant Gardener.'
Gill previously collaborated with Danny Boyle on the feature film '28 Days Later' and the
television dramas 'Strumpet' and 'Vacuuming Completely Nude in Paradise'.
Gill has worked extensively in television, his most recent credits including BBC productions of
'Canterbury Tales', 'Cambridge Spies', 'Crime and Punishment' for which he won the RTS Award
for Editing. His numerous other credits include BBC productions of 'All the King's Men' and
'Great Expectations' for which he was EMMY and RTS Awards nominated, 'Never Never' for
which he was RTS Award nominated, 'Touching Evil' which brought him an RTS Award for Best
Editing and 'Touching Evil II' for which he was RTS Award nominated and the acclaimed series
'Cracker', for which he was RTS Award nominated.
As well as collaborating with Director Danny Boyle on '28 Days Later', 'Vacuuming Nude in
Paradise' and 'Strumpet' composer John Murphy has a wealth of experience composing for films
as varied as: John Crowley's 'Intermission', Michael Caton-Jones' 'City by the Sea', Guy Ritchie's
'Snatch' and 'Lock, Stock and Two Smokin' Barrels', Stephen Frears' 'Liam' and Gary Sinyor's
'Friday after Next.'
John Murphy became a session musician at age 15 and made his film debut with 'Leon the Pig
Farmer' at age 23 since when he has become one of Britain's most prominent film composers.
Buxton previously collaborated with Danny Boyle on 'Alien Love Triangle', 'Vacuuming Strumpet'
and 'Mr Wroe's Virgins' for which she won a BAFTA. Her numerous other film credits include
Metin Huseyin's 'Anita and Me' and 'It Was an Accident', Patrick Harkins' 'The Final Curtain',
Harry Hook's 'All For Love', Phil Agland's 'The Woodlanders', Brian Trenchard Smith's 'Britannic',
Imogen Kimmel's 'Secret Society', Richard Spence's 'Different for Girls', Suri Krishnamma's 'O
Mary this London', Caroline Roboh's 'Gare au Male', Don Boyd's 'Twenty-One', Mai Zetterling's
'Scrubbers', Chris Petit's 'Radio On' and Franco Rosso's 'Nature of the Beast'.
For television, Buxton has worked on BBC productions of 'Tipping the Velvet', 'Shooting the
Past' for which she won the 1999 RTS Award for Best Costume Design, 'Nature Boy', 'Murder in
Mind' and 'A Tour of the Western Isles'. Other television credits include Channel 4's 'Second
Generation' and 'The Investigator', LWT productions of 'Blonde Bombshell', 'Wuthering Heights'
and 'Jane Eyre' as well as productions of 'The Turnaround', 'Adrian Noble's Shakespeare
Workshop' and 'Common as Muck'.
Samuel's numerous feature film credits include Julian Fellowes 'A Way
Through The Woods', Paul Morrison's 'Wondrous Oblivion', John McKay's 'Crush' and
'Metroland', Marleen Gorris' 'The Luzhin Defence', Nigel Cole's 'Saving Grace', Ben Hopkins'
'Simon Magus', Chris Menges' 'The Lost Son', Willard Carroll's 'Tom's Midnight Garden', Jeremy
Thomas' 'All the Little Animals' and David Blair's 'Tabloid'
Her television credits include Nick Renton's 'Uncle Adolf', Ben Ross' 'RKO 281' for which she was
nominated for an Emmy for Best Hair Design, Patrick Lau's 'The Fragile Heart,' 'Danielle Cable',
'The Project', 'Swiss Family Robinson', 'The Turn of the Screw', 'Agatha Christie's 'Poirot'-1930s'
for which Samuel won the BAFTA Award for Best Make-Up and Hair Design, and 'A Village
Mission Pictures is the film production company created by Andrew Hauptman in 2001. The
company has a presence both in Los Angeles and London with the goal of producing
high-quality features for a worldwide audience. It moved its headquarters to Los Angeles in a
restructuring last year and has since become one of the more active independents in the
Mission's productions to date include Peter Hewitt's THUNDERPANTS for Pathé,
Danny Boyle's MILLIONS, to be released this fall by Fox Searchlight, and John McKay's
PICCADILLY JIM (starring Sam Rockwell and written by Julian Fellowes), which is currently in
post-production. The company has a significant slate that is being developed.
Mission Pictures is managed by Andrew Hauptman and his senior executive team led by Tracy
Falco and Bret Magpiong.
Tracy Falco, Senior Vice President of Development and Production, is involved, alongside
Hauptman, in the oversight, development and production of all of Mission's projects. Falco
joined Mission following six years with Ted Demme's Spanky Pictures where she worked on a
slate of films that included BLOW, A LESSON BEFORE DYING and ROUNDERS. Prior to that she
worked with Richard Lovett at CAA. She has also been a contributing editor to JANE magazine
Bret Magpiong currently serves as Senior Vice President and Head of Business. Bret previously
worked for Haim Saban's Saban Capital Group, Sid Sheinberg's The Bubble Factory, and the
Entertainment Group at Price Waterhouse Coopers.
Damian Alex Etel
Anthony Lewis McGibbon
Ronnie James Nesbitt
Dorothy Daisy Donovan
The Poor Man Christopher Fulford
Community Policeman Pearce Quigley
Mum Jane Hogarth
St Peter Alun Armstrong
St Francis Enzo Cilenti
St Joseph Nasser Memarzia
St Clare Kathryn Pogson
St Nicholas Harry Kirkham
Gonzaga Cornelius Macarthy
Ambrosio Kolade Agboke
Leslie Phillips Leslie Phillips
Estate Agent James Quinn
Head teacher Mark Chatterton
Damian's Teacher Toby Walton
Nativity Teacher Frank Cottrell Boyce
Surveyor Christy Cullen
Eli Gunnar Winbergh
Jerome Christian Pedersen
All Saint 3 Guy Flanagan
Tricia Philippa Howarth
Keegan Billy Hyland
Graham John Nugent
Terry Steve Garti
Maria Alice Grice
Fairclough Dale Stringer
Sweet Shop Owner Warren Donnelly
Big Issue Seller 1 Emily Aston
Big Issue Seller 2 Denny James Smith
Scruffy Young Man Nicky Evans
Cashier 1 Bina Patel
Cashier 2 Lisa Millett
Pizza Hut Waiter Neville Skelly
Bright Eyed Young Man Daniel Weyman
Applicant 2 Tara Moran
Young Santa Woman Jo Hicks
1st Assistant Director Richard Styles
2nd Assistant Director Carlos Fidel
Production Manager Lisa Parker
Production Co-Ordinator Kate Penlington
Assistant Production Jaynie Miller
Producer's Assistant Asha Radwan
Production Assistants Nina Boardman
Production Accountant Louise O'Malley
Assistant Accountant Kerry Smith
Accounts Trainees Lisa Symonds
Focus Puller Simon Tindall
Clapper Loader Chris Connatty
Camera Trainee/ Matilda Smith
2nd Unit Loader
Grip John Rundle
2nd Grip Mark Jones
CCTV Operator Alan Grant
Camera Car Driver Haggis Bryson
Script Supervisor Zoe Morgan
Standby Rigger Lee Howarth
Standby Carpenter Peter Johnson
Sound Mixer Dennis Cartwright
Boom Operator Chris Cartwright
Supervising Art Director Mark Digby
Set Decorator Michelle Day
Art Director Denis Schnegg
Assistant Art Director Charlie Cobb
Standby Art Director Chris Lightburn-Jones
Standby Props Arwell Evans
Assistant Prop Buyer Kate Thomas
Draughtsman Rod Gorwood
Art Department Assist Kathryn Pyle
Scenic Artists Whetton & Grosch
Model Makers Angela Day
Assistant Costume Designer Caroline McCall
Standby Costume Vikki Illing
Costume Maker Maggie Scobbie
Assistant Costume Maker Sharon Waldron
Make-Up Assistant Kerry Scourfield
Make-Up Hair Trainee Lisa Parkinson
Children's Drama Coach David Johnson
3rd Assistant Director Caroline Chapman
Floor Runner Helen Lister
Ad/Drivers Scott Davenport
Crowd Assistant Directors Shanna Baynard
Location Manager Beverley Lamb
Unit Managers Michael Harm
Location Assistants Anna Lee
Location Scout David Myatt
Gaffer Thomas Neivelt
Best Boy Andy Cole
Genny Operator Wayne Mansell
Electricians John Welsh
Prop Master Nick Thomas
Storeman Charlie Malik
Props 'Runaround' Butch Scott
Dressing Props Adrian Platt
Construction Manager Steve Branch
Carpenters Anthony O'Hara
Painters John Elsworth
1st Assistant Editor Mark Eckersley
2nd Assistant Editor Ali Awad
Post Production Supervisor Alistair Hopkins
Post Production Accountant Tarn Harper
Post Production Assistant Seb Loden
Supervising Sound Editor Glenn Freemantle
Sound Effects Editor Tom Sayers
Dialogue Editor Gillian Dodders
ADR Mixer Paul Carr
Additional ADR Mixer Mike Stewart
Foley Editor Philip Bothamley
Foley Artist Jason Swanscott
Foley Recording Mixer Kevin Tayler
Music Editor Hugo Adams
ADR Crowd Recording Mixer Sandy Buchanan
Assistant Sound Editor Susan French
Re-recording Mixers Graham Daniel
Visual Effects Supervisor Peter Bach
Special Effects Richard Conway SFX:
Richard Conway and Nigel Williamson
Stunt Coordinator Julian Spencer
Stunts Andy Smart
Lyndon Stuart Hellewell
Casting Associate Maureen Duff CGD
Casting Assistant Claire Saunders
Publicity DDA Public Relations Ltd
Unit Publicist Julia Finn
Stills Photographer Giles Keyte
EPK Feasible Films
Unit Nurse Paul Kenny
Construction Nurse Peter Kemp
Transport Coordinator Keith Wignall
Unit Drivers Robert Dutton
Minibus Drivers Arthur Kearley
Catering Little Red Courgette:
Facilities Transport Captain Martin Lucas
Genny Driver Stan Smith
Production Office Driver Jack Evans
Costume Truck Driver Mark Oxley
Set Tutor Karen Carr
Chaperones Nikki Etel
MODEL & ANIMATION UNIT
Model Unit DOP Marcus Robinson
Camera Assistant Beth MacDonald
Animatronics and Animation
Models by Neal Scanlan Studios
Creative Supervisor Neal Scanlan
Model Unit Assistant Pete Woodhead
Assistant Director Ellena Harris
Model Maker Assistants Vincent Abbott
2nd Unit Director Mark Tildesley
2nd Unit Director of Photography Daf Hobson BSC
Additional Director of Photography Brian Tufano BSC
1st Assistant Directors Martin O'Malley
2nd Assistant Director Anthony Wilcox
3rd Assistant Directors Steve Murphy
Floor Runner Eran Creevy
Location Manager - Newcastle Neal Hirst
Camera Operators Nigel Walters BSC
Focus Pullers Richard Bevan
Clapper Loaders Ben Appleton
Steadicam Paul Edwards
Camera Trainees James Kendall
Assistant Grip Marcus Moody
Gaffer Chris Dowling
SoundMixer Stuart Wilson
Boom Operators Tristan Anika
Electricians John Atwood
Script Supervisor Polly Hope
FOR PATHÉ PICTURES
Head of Physical Production Susanna Wyatt
Legal and Business Affairs Pierre du Plessis
Financial Director Simon Fawcett
Head of International Sales Alison Thompson
FOR INGENIOUS FILMS
Physical Production Paula Jalfon
Accounting John Jaggon
Legal Alison Brister
Sale and Leaseback Financing for Ingenious Films: Peter Touche Lesley Wise
FOR BBC FILMS
Production Executive Michael Wood
Business Affairs Isabel Begg
Head of Rights & Commercial Affairs Jane Wright
FOR MISSION PICTURES
Head of Business Keren Misgav
UK Head of Development Sophie Meyer
Development Executive Ed Rubin
Associate Producer Katie Goodson
Special Visual Effects and Animation CLEAR
Visual Effects Exec Producer Greg Caplan
Visual Effects Co-Ordinator Moriah Sparks
Visual Effects Producer Steve Garrad
2D Lead Operator Adam Gascoyne
2D Operators Melissa Butler-Adams
Flame Operator Simon Huhtala
Smoke Operator Aleks Ugarow
3D Lead Animator Ollie Nash
3D Operators Josh George
Engineer Chris Eborn
Title Design Jonathan Hicks
Digital Film Mastering by The Moving Picture Company
Head of Production Michael Elson
Producers Matthew Bristowe
Colourist Jean-Clement Soret
Online Film Editors Dickie Etchells
Film Scanning Kennedy Dawson
Film Recording Paul Stocker
Cutting Rooms De Lane Lea
R-recorded at Shepperton Studios
Deluxe Laboratory contact Clive Noakes
Stills Processing Blowup
Sound Editing Reelsound
Neg Cutters Cutting Edge
Rushes Syncing Sprockets and Bytes
Editing Equipment London Editing Machines Ltd
Telecine Arion Communications Ltd
Sound Transfer Syncspeed Post Production
Post Production Script Fatts
Insurance Provided by Aon / Albert G.Ruben
Completion Bond Film Finances Inc
Legal services provided by Olswang:
Clearances & Product Placement Bellwood Media Ltd
Health & Safety Production Safety Services Ltd -
Security Step-Up Security Services
Payroll Axium Ltd
Music Supervisor Karen Elliot
Music mixed at Chaos Studios and Scream Studios
Score Mixer and Producer Doug Trantow
Score Orchestrator Steve Bernstein
Score Conductor Adam Stern
Score Contractor Simon James
Score Performed by The Seattle Symphony Orchestra
Orchestral Score Recorded by Reed Ruddy
Vocals by Northwest Boychoir
Choir Conductor Joseph Crnko
Russian Choir Murfski, Trantovski and Damion
Score Recorded at Studio X, Seattle
Written by Joe Strummer & Mick Jones
Performed by The Clash
Courtesy of Sony Music Entertainment (UK) Ltd
Published by Nineden Ltd administered by Universal Music Publishing Ltd
Music by Matthew Bellamy, Dominic Howard and
Chris Wolstenholme. Lyrics by Matthew Bellamy
Performed by Muse
Produced by Rich Costey and Muse
Engineered by Rich Costey and Walley Gagel
Courtesy of Warner Strategic Marketing UK
(P) & (C ) Taste Media Ltd 2003
Published by Taste Music Ltd
La Petite Fille de la Mer"
Written by Vangelis
Performed by Vangelis
Courtesy of Polydor Ltd
Licensed by kind permission from The Universal Film & TV
Published by EMI Music Publishing Ltd
Written by Aro Barrosa
Peformed by S-Express
Licensed courtesy of BMG UK & Ireland Ltd
© 1939 by Irmaos Vitale, Brazil
© 1939 by Southern Music Publishing Co Inc NY
© assigned 1942 to Peer International Corporation, NY
"Deck the Halls"
Performed by The Northwest Choir
Arranged by Joseph Crnko
Written by Rojotua and Loxatus
Performed by El Bosco
Licensed courtesy of EMI Records Ltd
Published by EMI Music Publishing Ltd
Music by Matthew Bellamy, Dominic Howard and
Chris Wolstenholme. Lyrics by Matthew Bellamy
Performed by Muse
Produced by Paul Reeve, John Cornfield and Muse
Engineered by John Cornfield
Courtesy of Warner Strategic Marketing UK
(P) & (C ) Taste Media Ltd 2003
Published by Taste Music Ltd
"Who Wants To Be A Millionaire?"
Written by Keith Strachan and Matthew Strachan
Courtesy of Lusam Music Ltd
Published by Lusam Music Ltd
Clips courtesy of Celador Productions
Written by Patty and Mildred Hill
Published by EMI Music Publishing Ltd
"Carol of the Bellls"
Performed by The Northwest Choir
Arranged by Joseph Crnko
"Who Wants To Be A Millionaire?"
Clips courtesy of Celador Productions Ltd
Liverpool City Council; Liverpool Film Office, Widnes East Lancashire Railway; English Welsh &
Scottish Railway; Network Rail; North West Vision Manchester Film Office; Halton Borough
Council; Sefton Leisure Services, Coast & Countryside; The Residents of Liverpool & Widnes;
Jack Spriggs; David Henshawe; Colin McKeown; Sheila Brown; Russell Allen; Philip Cooper,
Sinead Moran, Three Mills Studio, Selfridges, Lasenza.com; Iwantoneofthose.com, and Tommy
SPECIAL THANKS TO
Graham Easton, Sue Greenleaves, Eric Seaward, Simon Dicketts, Ditton Primary School,
Charlotte Cottrell MA Water Aid, Friberg Fine Art Inc and Arnold Friberg
Jennifer Gill and Amy Gill
With love and thanks Steve Branch
May 1957 to December 2003
Filmed on Location in Liverpool, Manchester & Widnes
Camera, Grip & Lighting Equipment Supplied by
COLOR BY DELUXE
The characters and incidents portrayed and the names herein are fictitious and any similarity to
the name, character or history of any actual persons living or dead is entirely coincidental and
World revenues collected and distributed by Freeway CAM BV
Pathé International - International Sales Agent
Developed with the assistance of the National Lottery through the UK Film Council Development
Fund and with the support of the MEDIA Programme of the European Community
supported by the National Lottery through the UK Film Council
Pathé Logo, BBC Logo,
UK Film Council Logo, Inside Track Logo
Mission Pictures Logo, MEDIA logo
Produced by Inside Track 1 LLP on behalf of Pathé
A Mission Pictures Production
For Pathé Pictures and Inside Track
© Mission Pictures Limited 2004
Distributed by Pathé