PADDINGTON Production Notes
Transcription
PADDINGTON Production Notes
Presents PRODUCTION NOTES Publicity materials are available at: twcpublicity.com Running Time: 89 minutes MPAA Rating: Rated 'PG' for "mild action and rude humor” Publicity Contact: Pantea Ghaderi, [email protected] Introduction PADDINGTON follows the comic misadventures of a young Peruvian bear who travels to London in search of a home. Finding himself lost and alone at Paddington Station, he begins to fear that city life is not all he had imagined - until he meets the Brown family. They read the hand-written label around his neck (‘Please look after this bear. Thank you.’) and offer him tea, a name and a roof over his head. It looks as though Paddington's luck has changed - until this rarest of bears catches the eye of a sinister museum taxidermist who has an old score to settle... PADDINGTON is based on the best-selling and internationally adored series of children's stories by British author Michael Bond, from an original screenplay by filmmaker Paul King (BUNNY AND THE BULL). A Heyday Films and STUDIOCANAL production, PADDINGTON is directed by the twice BAFTAnominated King, produced by multiple award-winning David Heyman (GRAVITY, the HARRY POTTER series) and executive produced by Heyday's Rosie Alison (TESTAMENT OF YOUTH) and Jeffrey Clifford (NO STRINGS ATTACHED, UP IN THE AIR) and by Alexandra Ferguson (ANNA KARENINA). The cast of PADDINGTON is led by acclaimed British talent, Ben Whishaw (PERFUME, BRIGHT STAR) as the voice of Paddington, Hugh Bonneville (TV's "Downton Abbey", THE MONUMENTS MEN) as uptight patriarch Mr. Brown and Sally Hawkins (BLUE JASMINE, HAPPY GO LUCKY) as the kindly and free-spirited Mrs. Brown. Starring alongside them is Nicole Kidman (BEFORE I GO TO SLEEP, THE HOURS) as Millicent, a sinister taxidermist with her eye on Paddington, Jim Broadbent (THE IRON LADY, MOULIN ROUGE) as Mr. Gruber, antique shop owner and wise mentor, Julie Walters (the HARRY POTTER series, MAMMA MIA!) as Mrs. Bird, the Browns’ eccentric housekeeper, and Peter Capaldi (DR WHO, IN THE LOOP) as Mr. Curry, their crotchety, curtain-twitching neighbour. Rounding out this esteemed ensemble are Michael Gambon (THE KING’S SPEECH, the HARRY POTTER series) and Imelda Staunton (PRIDE, MALEFICENT), as the voices of Paddington’s Uncle Pastuzo and Aunt Lucy. The film also features Samuel Joslin (THE IMPOSSIBLE) and Madeleine Harris as the Brown children Jonathan and Judy, who welcome in the lost bear and find their own lives changed forever. Creative talent behind the camera includes Oscar-winning costume designer Lindy Hemming (THE DARK KNIGHT), Director of Photography Erik Wilson (TYRANNOSAUR, THE IMPOSTOR), Production Designer Gary Williamson (SUBMARINE) and the highly acclaimed British Visual Effects company, Framestore - which most recently collaborated with producer David Heyman on the critical and commercial smash hit, GRAVITY. PADDINGTON's beautiful score is composed by Nick Urata (LITTLE MISS SUNSHINE) and the film is edited by Mark Everson (ALAN PARTRIDGE). Following a preliminary shoot on location in Costa Rica in April 2013, Principal Photography on PADDINGTON commenced in September 2013. Comprising a 51-day schedule, the film was shot on location in and around central London, as well as on the iconic soundstages of Elstree and Leavesden film studios, where everything from the Natural History Museum's rooftops to the cosy interior of a Portobello Road antiques shop were recreated in stunning detail. STUDIOCANAL financed the film and will distribute PADDINGTON in the UK, France, Germany, Australia and New Zealand, as well as handling all other international sales rights. PADDINGTON will open in the UK on November 28th, 2014 and in all further STUDIOCANAL territories though December 2014. PADDINGTON will be released in North America by TWC-Dimension on January 16th, 2015. 2 A Bear Called Paddington The origins of a 21st century PADDINGTON Paddington Bear was first introduced to children in Michael Bond's 1958 book, A Bear Called Paddington and the subsequent Paddington Bear series has sold over 35 million copies and been translated into 40 languages. The antics of the little bear from Darkest Peru, whose perfect manners and good intentions frequently lead to comical mishaps and moments of high chaos, have captured hearts the world over and the stories are now internationally recognised as modern children’s classics. It's perhaps surprising that it has taken so long for Paddington Bear to be made into a film. Following several incarnations for the small screen - including a hugely successful 56-episode British television series which began in 1975, designed and directed by Ivor Wood for FilmFair with the distinctive narration of Michael Hordern - this particular PADDINGTON marks the very first time that author Michael Bond has given his blessing for his beloved characters to be brought to the big screen. Certainly, as David Heyman (producer of all 8 record-breaking HARRY POTTER films) explains, these are stories that have a modern-day relevance which is ready to be shared: "When I revisited the Paddington Bear stories - over 9 years ago now - I was immediately struck by how funny they were. They made me laugh, but equally, they moved me. Paddington is, in essence, a universal story about an outsider in search of a home – one that we ALL can relate to." Executive Producer Rosie Alison who instigated the idea of bringing Paddington to the cinema, has her own take on the appeal of the original stories to a 21st century audience: “Like David, I had read the stories of Paddington Bear as a child and I always loved the idea that you have London - the ‘big city’- and this polite, hat-raising, English-speaking bear just walking around, travelling on the underground, using the buses… That ‘fish-out-of-water’ aspect had always delighted me as a child and we felt it was ripe for modern cinema and a new generation.” Then came the task of finding the right filmmaker to bring Paddington to life. David Heyman says, “I had always been an admirer of Paul King’s work: his comic sensibility, his vivid imagination and his work with actors. I was watching his first film BUNNY AND THE BULL and was struck by one sequence in which the sets were essentially line drawings in the style of Ivor Wood’s Paddington TV series. Paul came in for a meeting and I discovered not only was he passionate about Paddington but he knew the stories and the various TV series better than I did! Those first conversations were so exciting and inspiring and so he joined us on the journey, developing the project, first working with Hamish McColl on a draft and then writing his own script.” Heyman continues, “Paul King is one of THE most exciting talents to emerge from the UK in recent years. He is like Paddington is so many ways—charming, polite, principled, full of heart, with a sense of wonder and yes, he also has a bit of a belly.” Please Look After This Bear. Thank You Taking a national treasure from page to screen Screenwriter Paul King explains how he adapted the Paddington stories into a feature film: “Like most people of my generation, I have very fond memories of Paddington from childhood. I grew up with the FilmFair animations and his teddy bear took pride of place in my bedroom, but it wasn’t until I revisited the stories as an adult that I asked why this particular character had so 3 entranced me. There’s no shortage of talking animals in children’s literature, but few have the enduring appeal of Paddington. For me, the secret lies in his label: “Please Look After This Bear. Thank you”. Despite this little bear’s outward calm and self-assurance, it tells us that inside, he is vulnerable and in need of help in a frightening new world. At some point in their lives, everyone has felt like an outsider. You don’t need to have been one of the evacuees who inspired the image of the lost soul sitting on a platform with a label around his neck, or to have escaped danger like Paddington’s friend Mr. Gruber, or to have crossed oceans like the Windrush immigrants who were settling in Notting Hill around the time Michael Bond wrote the first stories (and whose music fills our soundtrack). You only need to have had your first day at school or spent a night away from home to empathise with the little bear, lost and alone – and to me it is this that has made generations of readers’ hearts go out to him. Michael Bond and I were both keen that the narrative of the film didn’t interfere with the enjoyment of the stories in the books, which are familiar to so many. All the famous set pieces from the opening of the first book are in there, from his discovery at the railway station wearing nothing but a hat and label to a messy visit to the tearoom, his disastrous first encounter with a bathroom and trip into the underground. And while we meet Paddington earlier in the film than we do in the first book, our Paddington’s history is faithful to the background Michael Bond developed in later stories. But the fifth chapter of A Bear Called Paddington begins ‘Paddington soon settled down and became one of the family’ and I felt here there was space for a longer narrative. After this point, the Paddington stories are much shorter and more self-contained and it felt Paddington’s unexplored transition from calamitous outsider to one of the family was the perfect space for a film story, one that chimed with the heart of what makes Paddington such a special character. Like Oliver Twist before him, Paddington arrives in London as an orphan in search of a home. But while it takes Oliver a long time to find Mr. Brownlow, Paddington stumbles across the Browns almost straight away. However, getting a roof over one’s head and feeling at home are two very different things, and this is the journey he embarks upon in our film. The flip side of Paddington’s story is, of course, the transition the (initially reluctant) Browns make from spotting Paddington to welcoming him into their family. When we first met, I asked Michael Bond about Mr and Mrs Brown and he told me that they were inspired by his own parents. I asked him what their reaction would have been to seeing a scruffy young bear and he said “My mother would have wanted to give him a bath and my father would have worried about the paperwork.” These conflicting attitudes felt like a great source of drama, and Henry’s reluctance to get involved with the scruffy young cub reminded me of one of my favourite films, THE KID. The Little Tramp starts out as a very reluctant father. His first instinct is to unload the child (down the drain if need be). Like him, our Mr. Brown feels that Paddington isn’t their responsibility. He’s quite happy to leave the little bear sleeping in a bin if need be. He’s not a bad man – he just wants to get his family home safely – but this protective instinct has interfered with his better instincts towards strangers. By the end of THE KID, the Little Tramp would do anything for his adoptive child, and the rooftop chase at the end of the film is all the more heart-breaking because of the journey he has been on. Taking inspiration from this, I felt that Mr Brown could go on a journey every bit as transformative as Paddington, and that it would make the film much richer for it”. 4 Paddington Takes Off Casting iconic characters Production and distribution powerhouse STUDIOCANAL came on board to finance the project after reading Paul King’s script and casting began in earnest. The cast of PADDINGTON reads as a roll-call of the finest in acting talent, spanning film, television and theatre. Each of the principal cast are recognisable as many an iconic character, to generations both young and old. Hugh Bonneville (Mr. Brown) is perhaps best known as Robert Crawley, Earl of Grantham, in the multi-award winning TV drama, “Downton Abbey”. Taking on the role of a father once again in PADDINGTON appealed to Bonneville on several levels. “I remember having the books read to me and then reading them myself and falling in love with them. Paddington is a part of British culture, part of our DNA really. I read the script and saw how much of that DNA is preserved, even though it’s set in a contemporary world”. He continues, “It still has the flavour of the original books, which is so beautifully captured in Paul’s script. There’s also a great deal of humour running though the story – innocent, uproarious slapstick as well as clever wit – which will resonate with everyone, whether you are coming to the story with fresh eyes or as an unashamedly nostalgic parent, like myself.” As one of the first actors to come on board the project and highly aware of the public's love of the source material, Hugh felt very strongly the need to do justice to Bond's stories - but any initial concerns were very quickly forgotten: “Within about five seconds of meeting Paul and David about PADDINGTON, I was on board. I was struck by how much Paul understood Paddington - he IS Paddington! He is as innocent, wide-eyed and as delightful as our furry friend!” As Mrs. Brown, the wonderful Sally Hawkins, who was recently nominated for an Academy Award® for her role in Woody Allen’s BLUE JASMINE, effortlessly captures her character’s good nature and inability to resist a cry for help. Being the first to engage with the little bear all alone on the platform of Paddington Station, Mrs Brown’s family is swept along by her well-meaning actions, regardless of the consequences. Says Rosie Alison of the casting of Sally, “What we love about Sally is that she gives this very grounded performance. She talks to the bear just beautifully, as if he is a living, breathing creature. One believes in her and in turn, in Paddington.” Says Paul, “Hugh and Sally were a joy to work with. They are both tremendously accomplished writers as well as performers. For someone like me with a background in improvised comedy, it was hugely reassuring to know they wouldn’t feel straight-jacketed by the dialogue, and that together we could breathe life into the characters.” He continues, “Their performances are the bedrock of the film: comic but touching, real yet existing in a world where a talking animal can be accepted. It’s a delicate balance, and they hold it beautifully.” It’s perhaps every child’s dream to appear in a movie and newcomers Madeleine Harris and Samuel Joslin, cast as sparring siblings Judy and Jonathan Brown, took the experience in their stride. Through a long winter shoot in and around London, often on location and frequently filming through the night, Maddie and Sam more than matched the stamina of their seasoned co-stars. The strong connection that developed quickly between the fictional family members is evident on screen, as is the fun they clearly had working together. Bonneville is quick to praise his young co-stars “Maddie and Sam have got fantastic energy and real focus - they’re really on the button.” And he continues, “There is that famous phrase, ‘Never work with children or animals’. Well, I can make an exception in this case.” 5 With regards to portraying one of the most famous families in British literary history, Bonneville adds, “We had the luxury of three weeks of rehearsal in which Paul was determined that we should not only finesse the script but work on the characters and explore the relationships of the Brown family - which was invaluable. You rarely get to have that. So we had a lot of fun, playing around with the scenes, building up a strong family dynamic, which I hope comes across. The little ebbs and flows of family life are all there.” Rounding out the Brown household is the eccentric Mrs. Bird, played by Julie Walters. A distant relative who lives with the Browns and runs the household as a very tight ship, Mrs Bird is strict, but also compassionate - when she needs to be! Worldly-wise, she thinks nothing of a walking, talking bear crossing the threshold of 32 Windsor Garden and turning all of their lives upside down. Julie confesses to loving the prospect of working on another film which appeals whole-heartedly to the young - and to the young at heart. Certainly, knowing that David Heyman would once again be behind this adaptation must have been reassuring for Julie? “It was lovely to be asked back by David Heyman, because I had such a wonderful time on HARRY POTTER, you know, so it’s a real thrill to work with him again - and he’s a really nice bloke, apart from anything else!” Along with Mr. Gruber, played by the prolific British actor Jim Broadbent (another HARRY POTTER alumnus) and nosey next door neighbour, Mr. Curry (Peter Capaldi), the Browns are characters as familiar as Paddington himself to the generations of children that have grown up with these stories. However, a 21st century PADDINGTON required a villain that could challenge the most savvy of young audiences. Enter stage left Millicent, the evil taxidermist. Explains King, "Where Oliver Twist has to survive Fagin and Bill Sykes before he can find peace with Mr Brownlow, so I wanted an opposition for Paddington, someone who didn’t respond to ‘Please Look After This Bear.’ It struck me that for a young bear, the greatest opposition wasn’t someone who didn’t want him in the house, or even the street, but who felt that a bear only belonged in one place in London – the Natural History Museum!” Nicole Kidman, who has embraced playing the deliciously evil Millicent explains, "I grew up reading Paddington and always loving the bear and loving the way that he has to survive on his charm." Nicole admits however that taking on the role came with its complications: "I had to tell my daughters I wasn't playing Paddington Bear’s mummy - that I’m playing the person that’s trying to, you know, stuff the bear - which is just horrible!”. She continues, “But I loved the script so much, so that really was the driving force for me. That and the fact I'd been looking for something that my children could come and see and we could enjoy together." With the cast in place, several weeks of intense rehearsals began in September 2013 at Elstree Studios. From the outset, the desire of all involved was to deliver a PADDINGTON to the big screen for a whole new generation of fans, whilst remaining loyal to Bond's wonderful world. 6 Paddington Takes To the Road Aspects of Production - locations and set design Following a preliminary shoot on location in Costa Rica (which stood in for Paddington's birthplace, the jungles of Darkest Peru), the production got to work on securing some of London’s most iconic locations for central roles in the film's storyline, from Paddington Station in all its 19th century glory to the buzzing Portobello Market and the inner sanctum of the Reform Club, Pall Mall – all before we even touch on the fabulously majestic Natural History Museum. PADDINGTON provides a tourist trail of hidden gems and distinctive landmarks alike - Routemaster buses, black taxis and tube trains all feature in the comic chaos that seems to cling to Paddington as he attempts to navigate the big city. Despite shooting in such identifiable locations, the filmmakers felt it was important that their London wasn’t entirely real. David Heyman explains, “Our Paddington is more realistic than previous incarnations and is quite different from the teddy bear in some of the illustrations. But he’s still a talking bear – which is a fantastic notion in itself. We didn’t feel he could ever feel at one with a perfectly naturalistic London, so as well as bringing our Paddington into the real world, we also took our world towards Paddington.” Director Paul King elaborates: “The Paddington books have always been set in the era in which they have been written, which lends the series a wonderfully timeless quality. We wanted our world to work for people who read the first books, watched the animations – or for people who don’t know the character at all. London is a city where heritage and modernity co-exist in glorious confusion and the chance to make a timeless, heightened London where a talking bear could feel right at home was too glorious an opportunity to resist.” Gary Williamson, the film's Production Designer, had worked with Paul in the past on his feature film debut, BUNNY AND THE BULL. “Our starting point for PADDINGTON, in complete contrast to our last film together, was to create a ‘real’ world – it’s not the cardboard cut-out world of past incarnations of Paddington Bear – but a heightened reality where it feels perfectly natural to meet a talking bear.” Hence, we see in the film a whole host of recognisable, every-day locations tweaked and polished to give them a storybook quality. Alongside these are painstakingly detailed fictional interiors and façades, created specifically by Gary and his skilful team to represent the strange new world that Paddington encounters. Through Paddington’s eyes, this world is traditional yet modern, typically British yet dusted with international flavours and references. Paul says “Gary spent years working with Dennis Potter and is the master of creating sets that evoke the inner life of characters.” Paddington is an outsider, and a recurring motif in the film is how he finds himself looking into imaginary little worlds. Paul explains, “When he is in Peru, he gazes into a snowglobe of London, wondering what it might be like to live there. When he comes to London, he looks into a dolls’ house and wonders about the strange life the Browns have. When Mr. Gruber tells him his story, he peers into a toy train and wonders what his life might have been like. When he is at the Natural History Museum, he looks into the dioramas, perhaps contemplating what it would be like to be one of the specimens. It’s only at the end of the film, when he has found where he belongs, that he is able to break out of the doll’s house and run into the real world.” He has become an insider or, at least, one who is happy with his status as Peruvian and Londoner, Bear and Brown. The use of colour was key. Gary continues, “We set out to make it very strong visually and to use colour as a reference point for characters and therefore, their surroundings; Mrs Brown, Mr Brown, the children, Millicent - all have very specific colour palettes - which our costume designer Lindy Hemming echoes through their clothing, too”. 7 Paul adds “We watched THE UMBRELLAS OF CHERBOURG and were both struck by the use of colour to tell the story. You feel people are destined to be together because while they are wearing different colours, their costumes are accented with the other’s primary colour. You feel certain characters belong in certain locations and not others because their costumes fit – or don’t fit – with that environment. And you get a sense of their mood from how vibrant their wardrobe is. It’s subtly done, but it works wonders as a subliminal storytelling device.” Gary continues “But you have to liberate yourself from that to a certain extent, so that you are not restricted creatively - Paul and I worked hard to embrace colour as the filmmaking progressed, having fun with it and adding it where we wouldn’t necessarily have done so in our early designs.” Perhaps the biggest challenge for Gary was shooting outdoors and in public: “I can control the sets in a studio, but I can’t control London!” That said, the production was met with open arms at every turn, as this famous bear once more proved dear to the hearts of so many - enormously helpful leverage when it comes to closing a platform of a major train station, re-dressing stately homes, taking over national museums and filming at working shipyards! As the director is keen to point out, “Nothing was ever a problem, everyone did so much to accommodate us and help us and let us do all sorts of things that we really shouldn’t have been doing! Something in Paddington definitely brings out people’s most helpful natures.” The shooting locations proved an inspiration for the seasoned cast members as well as those new to filmmaking. As Hugh Bonneville explains, shooting through the night, for five consecutive nights, at the Natural History Museum in November 2013, was pretty special. “It lends an incredible atmosphere to the film I think - it’s a really crucial section of the story and to be in the museum itself gives it a real added bonus, a real sense of awe and wonder and danger and possibility....." The production literally took over this majestic building by night, shooting in the Grand Hall, the famous Dinosaur exhibit, the Mineralogy and Research rooms, the ornate corridors and even in the grounds of the building. Watch closely and even the well-known Diplodocus, ‘Dippy’, who greets thousands of visitors a day as they enter the museum, makes a cameo appearance in PADDINGTON. Taking this beautiful historic architecture as his inspiration, Williamson was then able to seamlessly create the 'fictional' aspects of this existing building - notably Millicent's taxidermy office complete with secret lair - as well as the climatic rooftop scenes, on the soundstages of Leavesden studios. The English weather was surprisingly kind to the film crew as they shot through the early winter months of 2013. Chalcot Crescent, in London's exclusive Primrose Hill, plays a starring role as Windsor Gardens, home to the Brown family and their crotchety next door neighbour, Mr. Curry. The residents of this picture-perfect London street were even treated to an early White Christmas when the entire crescent was covered in thick snow and fairy lights for two days in early November, for the final scenes of the film - complete with a live, 5-piece Calypso band. The on-screen music was a hugely important aspect of the film to Paul. “My wife introduced me to the ‘London is the Place for Me’ albums, which opened up a whole world of music I’d known nothing about. It felt so serendipitous that there was this glorious, joyful, funny and politically charged music being made by immigrants living in Notting Hill at the same time Michael Bond was writing about Paddington pottering down Portobello Road, and I was determined to involve it in the soundtrack.” Paul wrote to Damon Albarn, whose Honest Jon’s record label had released the ‘London is the Place for Me’ compilations. “I never really expected a reply, but I knew Damon loved the music and loved collaborating with musicians from different backgrounds. Thrillingly, he leapt at the chance.” 8 Damon and his collaborators at EWB assembled a group of London’s finest Caribbean performers, and the group spent a happy couple of days in the recording studio laying down the tracks that would eventually form the backbone of the score. Paddington On Screen Bringing Paddington to life with voice and visuals One of the most important decisions made by the filmmakers was that of the voice of Paddington. Anyone who has grown up with the stories or the various television incarnations of these classic tales will have their own opinion of just how a young Peruvian bear, who has learnt English from listening to gramophone records, should sound. It was a difficult task - but one with a very happy ending. By the spring of 2014, acclaimed British actor Colin Firth had been working on the project for some time. He had been involved during preproduction, rehearsing with the actors and in the early stages of post production he had gone into the recording studio to give his voice to several scenes. However, during those first months of post-production, director Paul King and Firth came to a difficult decision. King takes up the story: “It was a gradual realisation, on both sides really, that during the course of creating the bear, which took many, many months, that Colin’s voice simply did not fit. We all realised that Paddington required a lighter and younger voice - not quite so tall, dark and handsome!” Thus, it was decided - "over a cup of tea and a marmalade sandwich" as Paul puts it - that Colin would graciously and agreeably step away from the project. The search for a voice for Paddington took several weeks and many of the country’s finest acting talent read for the iconic role. In a rather traditional approach and perhaps taking his lead from Paddington himself, King wrote to the young British stage and screen actor Ben Whishaw, to ask if he would like to read for the role, having been an admirer of his work for many years. After one reading with Ben, Paul admits “I found myself hearing his voice whenever I thought of the bear”. “There’s an ‘otherness’ to Ben’s voice" he continues, "Paddington has learnt English from listening to old records on the gramophone, so has a somewhat old-fashioned, 'proper' accent, but at the same time, there's a lovely sort of woolly, furry quality which Ben brings to it.” It no doubt helps that Whishaw is such an accomplished actor - able to lose himself in the moment and utterly inhabit a character - be it human or ursine. Paul and Ben spent many weeks recording the voice of Paddington and dedicated a great deal of time to collectively ‘finding’ the bear in his full incarnation, as the animated character simultaneously took shape and finally came so vividly to life. A Bear is Born Paddington Bear is a character instantly recognisable by his battered red hat, his blue duffle coat and his quirky smile - and this iconic look was preserved by the filmmakers. As Rosie Alison confirms, “The original Peggy Fortnum illustrations from the late 1950s were definitely our key inspiration. We looked to combine these beautiful line drawings with references to real bear cubs. Our wonderful team at Framestore was then able to bridge the gap between the two, imaginatively and sympathetically. But there were a great many drawings and concepts along the way!" Paul King continues, "Peggy Fortnum’s Paddington looks much more like a real bear cub than later versions and is, to my mind, all the more appealing for it. Her Paddington has much more of a bear's 9 snout, he's more slender (than later versions) and to me felt much more like a bear cub than a teddy bear - in fact, like a slightly scruffy urchin." As Paul has admitted, Oliver Twist was a strong influence when developing the script and this reference point continued to be a visual inspiration for the overall ‘look’ of the bear. The process of 'creating' Paddington was, as one might expect, tremendously collaborative. This computer-generated and wholly animated bear - standing at 3’6” without his hat and 3’9” with it on needed to exist in a real world, alongside real people and places and this involved the vision and skills of many. The director, the producers, a team of 500 animators, compositors and VFX crew, as well as the more 'traditional' departments of Costume, Set and Lighting Design all played a significant part in bringing the bear to life. Every detail of the way Paddington looks, speaks and moves is of paramount importance if an audience is to successfully engage with him. Andy Kind (VFX and CG Supervisor) and Pablo Grillo, (Animation Director), along with the huge VFX team at Framestore, have been responsible for creating such fantastical characters as Dobby the House Elf and the Hippogriffs in the HARRY POTTER series. Andy found working on PADDINGTON more challenging than anything he had every worked on. “Designing a wholly computer-generated character is always very tricky - Paddington is entirely CGI and a very physical character, and how he interacts with the 'real world' is incredibly important in helping us believe in him - getting it right, down to the little details of the wind ruffling his fur, or his tummy wobbling as he walks, is crucial to making him entirely realistic within his environment." King cannot praise the huge team of collaborators highly enough; "There's a sense that because this kind of work is all done on computers, there's no artistry involved - but on the contrary, it's created by extraordinarily talented artists, who hand-finish every single frame. The precise angle of an eyebrow or the way the light glints off his eye at a certain moment can make or break a shot, and each of them go through literally hundreds and hundreds of revisions before we are all satisfied. It's enormously labour-intensive work which cannot be undertaken without a huge amount of love and dedication - I think the results have been quite extraordinary." Naturally, a great many elements came in to play in creating a 21st century Paddington, which would be loyal to Bond's imagination and also to Fortnum's earliest drawings, though at the same time contemporary and infinitely more 'real'. Animation Director Pablo Grillo and his team at Framestore found the simplicity of Paddington's original style - a battered hat and a duffle coat - a great help in building on the origins of the character. Input from the film's costume designer - the Oscar-winning Lindy Hemming - was also key, particularly if she had any plans to play with this iconic look. Says Lindy, "From the beginning I tried to approach it as if Paddington was a real character, because he is of course - and as a known character, he came with obvious demands and some pressure to get him just right. But I have to say, the same questions come in to play as for any character - for example, where has that hat come from? How well does it fit him and how does he wear it when he walks?" Interestingly, the decision was made by the filmmakers not to give Paddington Wellington boots – perhaps one of the most recognisable elements of his look over the years. The boots were actually introduced for the purposes of allowing the Paddington teddy bears to stand on their own two feet! It's worth noting however that the obligatory marmalade sandwich - on hand for emergencies - does remain firmly under Paddington's hat. As with Gary Williamson's production design, Hemming's costumes continued to explore the thematic use of colour, helping to anchor characters and their choices. "From the very beginning we 10 knew Paddington's primary colours were to be 'blue' (for the duffle coat) and 'red' (for the hat) and this is then linked to those he meets and the influence he has on them - particularly Mr. and Mrs. Brown. You start to weave these colours into their stories and into the children's, too, to illustrate aspects and traits of their parents within them." Paddington's influence on those he meets and the impact he has on the Brown family in particular is fascinating when explored via this use of colour and clothing. For example, uptight Mr Brown, who we initially meet in a very formal grey suit and blue tie, begins to wear a little more red and a more relaxed structure to his clothing as he warms to Paddington and re-kindles his relationship with his wife. With Paddington's distinctive look in place, King and Grillo worked extensively in pre-production as well as on set to begin to establish the way that Paddington would move. Working with the wonderful physical theatre performer, Javier Marzan, and with Cal McCrystal, the acclaimed theatre and comedy director - they filmed references for each scene that would be used by the animators to help define Paddington’s movement. To most effectively place this living, breathing, tumbling Paddington within his environment, a ‘stuffed bear’ model was created by Nick Dudman, which was used as a lighting reference for the VFX team, capturing the way Paddington’s fur caught the light as he interacted with ‘real’ performers and his tangible surroundings. As Grillo explains, "This film is an opportunity to generate a great comedy character - in the vein of Jacques Tati or Buster Keaton" and the VFX team had great fun marrying the character's inherent comedic charm with something childlike, not to mention bear-like. Agrees Paul King - "There's something completely ageless about Paddington - it seems to me he is part eight year old and part eighty - that's what's so charming about him: that he has the manners of a grown up, slightly out of his time and the enthusiasm of a rambunctious young boy!" The intention is that with PADDINGTON, the classic touches of humour and the display of good manners which define this Peruvian hero for so many readers, will be fully realised for a new generation. As Heyman is keen to point out, "It’s a contemporary story, using the most contemporary technology and we are creating our very own Paddington Bear, but our PADDINGTON is strongly in the spirit of what has come before”. Indeed, there are reassuringly familiar touches throughout the film and several of the comic mishaps will be instantly recognisable to those generations that devoured Bond's stories as children - with a few modern twists thrown in for a new generation. At the heart of the film however is a story that’s entirely ageless. As Rosie Alison points out, "Paddington is really the quintessential refugee and Paul has woven in all sorts of other echoes of the immigrant story. So we’ve very much got a portrait of London as this tolerant city where people are welcomed and can be different and still fit in and it's a journey we take with Paddington. It's a story about compassion, tolerance, empathy…and Paddington Bear sits very much in that tradition because it’s about the kindness of strangers and being open to understanding others". Perhaps Paul King best sums up the message of the film, as we see a somewhat disconnected family take in a stranger and have their lives upturned, then altered for the better: "Bad for their plumbing, good for their hearts - that's our tag line!" And what of Michael Bond’s thoughts on this big screen debut for his little bear? On the enduring appeal of Paddington for new generations and a modern audience, he explains “Over the years the world has speeded up, but Paddington still does everything at his own pace and people are envious of that - they love his optimism and enjoy his own peculiar logic.” He continues, "Paddington has been an important part of our family for almost sixty years now, and although he is well able to take care of himself, he is a very small bear and it’s a big world out there…” Having been fully involved in the process of making PADDINGTON over the last few years, the author is thrilled with the results. 11 “Ben Whishaw’s voice marries extremely well with the character of Paddington. Bears are said to fall on their feet and it is certainly true in Paddington’s very first film. The expertise of the Producers and Director, coupled with the warmth of the welcome he has received from all around, cast and technicians alike, has been so real and unsparing ……it is infectious!" ********* 12 Biographies – cast Ben Whishaw- the voice of Paddington Bear After graduating from the Royal Academy of Dramatic Art in Spring 2003, Ben went on to appear in ENDURING LOVE, a film adaptation of Ian McEwan's novel directed by Roger Michel and LAYER CAKE, a feature directed by Matthew Vaughan. In 2003, he also starred in the popular comedy-drama “The Booze Cruise” for ITV. Ben subsequently made his West End debut at the National Theatre in their stage adaptation of Phillip Pullman's His Dark Materials and starred as Hamlet in Trevor Nunn's electric 'youth' version of the play at the Old Vic, for which he has received tremendous critical acclaim and a Laurence Olivier nomination (2005). It was during this run that producer Bernd Eichinger and director Tom Tykwer discovered Ben’s extraordinary talent. Ben played the lead character Grenouille in the highly acclaimed film PERFUME which debuted in the UK in December 2006. Ben also shot a feature film called STONED, in which he plays Keith Richards from the Rolling Stones, released in 2006. In the same year, Ben also completed filming I’M NOT THERE, Todd Haynes film portrayal of Bob Dylan’s life alongside the likes of Cate Blanchett, Richard Gere and Christian Bale. Ben plays the young, poetic Dylan which was seen on screens in the fall of 2007. Ben also appeared on television in “Nathan Barley” from director Chris Morris for TalkBack Productions. Ben returned to the theatre for Katie Mitchell’s version of The Seagull at the National Theatre in the Autumn of 2006, for which he again received great reviews. Ben appeared in BRIDESHEAD REVISITED which was released to critical acclaim in September 2008. The film featured Ben as Sebastian Flyte, a young, troubled aristocrat. The project was directed by Julian Jarrold and produced by Robert Bernstein. In 2008 Ben also starred in the hugely popular BBC drama “Criminal Justice” which saw him pick up the award for best actor at the 2009 Royal Television Society Awards, ‘Best Actor’ at the International Emmy Awards 2009 and was nominated for ‘Best Actor’ at the 2009 BAFTA Television Awards. 2008 also saw Ben in The Idiot in which he played the lead at the National Theatre from the end of July. 2009 was another busy year for Ben seeing him star as poet John Keats in BRIGHT STAR. The film focused on Keats’ relationship with Fanny Brawne, played by Abbie Cornish. Ben then played the lead at The Royal Court Theatre in Mike Bartlett’s play Cock - a story which takes a candid look at one man’s sexuality and the difficulties that arise when you realise you have a choice. Ben then played Ariel opposite Helen Mirren and Russell Brand in THE TEMPEST. Ben went on to star as Freddie Lyon in “The Hour” for the BBC opposite Dominic West and Romola Garai. This was followed by the lead role alongside James Purefoy and Patrick Stewart in the BBCs adaptation of Shakespeare’s “Richard II” which was released in Summer 2012 and earned him a TV BAFTA. At the end of last year Ben replaced John Cleese as the new Q in the most recent Bond movie, SKYFALL alongside Daniel Craig and Ralph Fiennes. He will be reprising this role in the next Bond film, directed by Sam Mendes, due for release autumn next year. The beginning of 2013 saw the release of CLOUD ATLAS in which Ben starred alongside an all-star cast including Tom Hanks, Jim Sturgess and Halle Berry. Ben appeared on stage starring alongside Judi Dench in Peter and Alice which received rave reviews. 13 This year Ben played the dark and tragic character of Baby in Jez Butterworth’s Mojo in the West End. He can be seen in cinemas now in the sensationally moving independent film LILTING. It has just been announced that Ben will be playing the lead in the new exciting BBC spy drama, “London Spy” which he will begin filming in October 2014. Next year he can be seen on film alongside Colin Farrell and Rachel Weisz in the Sci-Fi thriller LOBSTER produced by the BFI film fund production company and he will star as Herman Melville in THE HEART OF THE SEA, a Warner Bros film about the whale attack that spawned Moby Dick. In 2015 Ben will also be seen playing alongside Meryl Steep, Helena Bonham Carter amongst others in the eagerly anticipated SUFFRAGETTE. Hugh Bonneville - Henry Brown Hugh Bonneville was a member of the National Youth Theatre, studied Theology at Cambridge and made his professional debut at the Open Air Theatre, Regent’s Park, in 1986, bashing a cymbal in A Midsummer Night’s Dream and understudying Ralph Fiennes as Lysander. He then spent several seasons with the National Theatre where he appeared in School For Wives, Yerma, Entertaining Strangers, Juno and the Paycock and played Charles Surface in The School for Scandal and the title role in The Devil's Disciple. He joined the Royal Shakespeare Company in 1991, appearing in Two Gentlemen of Verona, The Alchemist, 'Tis Pity She's a Whore, The Virtuso and Amphibians. He also played Laertes to Kenneth Branagh’s Hamlet. His work at the RSC brought him a nomination for The Ian Charleson Award. Other theatre includes Habeas Corpus at the Donmar, directed by Sam Mendes, and seasons at Colchester, Leicester Haymarket and Chichester. He also appeared in My Night with Reg (Criterion & Playhouse), Us and Them (Hampstead) and Cloaca (Old Vic, directed by Kevin Spacey). In recent years Hugh has become a familiar face to television audiences, with leading roles in “The Cazalets”, “Take a Girl Like You”, “Armadillo”, “Daniel Deronda” and “The Commander”. He appeared in the Emmy award-winning “The Gathering Storm” and played the poet Philip Larkin in “Love Again”. Other credits range from comedies like “The Robinsons”, “The Vicar of Dibley”, “Freezing”, “Rev” and “Getting On” to dramas such as “Diary of a Nobody”, “Tsunami: The Aftermath”, “Miss Austen Regrets”, “Five Days”, “Hunter”, “The Silence” and “Doctor Who”. The television mockumentary “Twenty Twelve” won a British Comedy Award (2011) and a BAFTA (2013) for Best Situation Comedy, Hugh being nominated two years running as Best Comedy Actor. The show also won Best Comedy at both the South Bank Sky Arts and the Broadcasting Press Guild Awards. “Mr Stink”, in which Hugh played the eponymous tramp, was nominated for a television BAFTA as Best Comedy in 2013. “Downton Abbey” has won 2 BAFTAs, 9 Emmys, 2 Golden Globes, as well as Broadcast and 2 National Television Awards. Hugh has received nominations for a Golden Globe and 2 Emmys for his performance as Robert, Earl of Grantham. The cast won Best Ensemble at the Screen Actors Guild Awards 2013, the first non-US show to do so. Hugh made his feature film debut in MARY SHELLEY’S FRANKENSTEIN in 1994, directed by Kenneth Branagh. He has since appeared in more than a dozen films, including NOTTING HILL, MANSFIELD PARK, STAGE BEAUTY, ASYLUM, SCENES OF A SEXUAL NATURE, MAN TO MAN, FROM TIME TO TIME, GLORIOUS 39, BURKE & HARE, THIRD STAR and SHANGHAI. In 2002 Hugh won the New Talent Award at the Berlin Film Festival and a BAFTA Best Supporting Actor nomination for his portrayal of the 14 young John Bayley in IRIS and in 2008 he won Best Actor at the Monte Carlo Film Festival for his performance in FRENCH FILM. He recently completed filming Grant Heslov and George Clooney's latest project, THE MONUMENTS MEN. In the mid 90’s, Hugh co-produced Beautiful Thing at the Duke of York’s Theatre and wrote Half Time with Christopher Luscombe, which he also directed. With BBC Films, Hugh has been developing his first feature as a Producer from a screenplay by Aschlin Ditta (SCENES OF A SEXUAL NATURE, FRENCH FILM, “The Catherine Tate Show”), based on Me: The Authorised Biography, the autobiography of journalist Byron Rogers. Filming is scheduled for September 2014. Hugh is a patron of the medical charity Merlin and also of the National Youth Theatre of Great Britain, Scene & Heard, Giant Olive Theatre Company, The Primary Shakespeare Company and The Centre Stage Academy. Sally Hawkins- Mary Brown Sally Hawkins is an acclaimed British actress, whose first lead film role in Mike Leigh’s HAPPY-GOLUCKY propelled her into the international spotlight with much critical praise. In 2008, this role won her a Golden Globe for Best Actress in a Comedy or Musical as well as a Silver Bear Award for Best Actress at the Berlin Film Festival. Hawkins' most notable films have included roles in AN EDUCATION (d. Lone Scherfig, 2009), MADE IN DAGENHAM (d. Nigel Cole, 2010) and SUBMARINE (d. Richard Ayoade, 2010). 2013 saw Hawkins star as Ginger in her best-known role to international audiences, opposite Cate Blanchett in Woody Allen’s critically acclaimed BLUE JASMINE, a role for which she received her first Academy Award® nomination for Best Supporting Actress as well as nods from the Golden Globes and BAFTA. Throughout her career, Sally has appeared in a variety of successful British film productions including Matthew Vaughan’s cult classic crime thriller LAYER CAKE in 2004, VERA DRAKE (d. Mike Leigh, 2004), NEVER LET ME GO (d. Mark Romanek, 2010), JAYNE EYRE (d. Cary Joji Fukunaga, 2011), GREAT EXPECTATIONS (d. Mike Newell, 2012) and most recently THE DOUBLE (d. Richard Ayoade, 2013). Hawkins’ range is also highlighted by her extensive work for television, with her first major role in the 2005 BAFTA-nominated BBC drama “Fingersmith” co-starring Imelda Staunton. Her appearances have also included the BBC adaptation “20,000 Streets Under the Sky” and ITV’s television film “Jane Austen’s Persuasion”, for which she was awarded a Golden Nymph Award. Having begun her career on stage, Hawkins has featured in various theatrical productions including Romeo & Juliet (d. Damien Cruden, Theatre Royal, York), The Cherry Orchard (d. Sonia Fraser, Theatre Royal, York), Much Ado About Nothing (d. Rachel Kavanagh, Regents Park) and The House of Bernarda Alba (d. Howard Davies, Royal National Theatre). Hawkins has also performed in numerous Royal Court Theatre productions, such as Jez Butterworth’s The Winterling in 2006 and in 2012, in the award-winning play Constellations opposite Rafe Spall (d. Mike Longhurst). In October 2010, Hawkins made her Broadway debut in Mrs. Warren's Profession (d. Mike Hughes, Roundabout Theatre, New York). 15 In 2014, Sally played Vivienne Graham in GODZILLA for Warner Brothers and was the recipient of the Glamour Film Actress of the Year Award. Nicole Kidman- Millicent Academy Award winning actress Nicole Kidman first came to the attention of American audiences with her critically acclaimed performance in Phillip Noyce’s riveting 1989 Australian psychological thriller DEAD CALM. Kidman has since become an internationally-recognized, award-winning actress known for her range and versatility. In 2003, Kidman won an Academy Award, a Golden Globe Award, a BAFTA Award and a Berlin Silver Bear for her portrayal of Virginia Woolf in Stephen Daldry’s THE HOURS. In 2002, she was honored with her first Oscar nomination for her performance in Baz Luhrmann’s innovative musical, MOULIN ROUGE! For that role, and her performance in writer/director Alejandro Amenabar’s psychological thriller, THE OTHERS, she received dual 2002 Golden Globe nominations, winning for Best Actress in a Musical. She was awarded her initial Golden Globe for a pitch-perfect, wickedly funny portrayal of a woman obsessed with becoming a TV personality at all costs, in Gus Van Sant’s TO DIE FOR, and has been nominated three additional times for her performances in Jonathan Glazer’s BIRTH, Anthony Minghella’s COLD MOUNTAIN, and Robert Benton’s BILLY BATHGATE. In 2010, Kidman starred opposite Aaron Eckhart in RABBIT HOLE, for which she received Academy Award, Golden Globe, Screen Actors Guild and Independent Spirit Award nominations for Best Actress. The film was developed by Kidman’s production company, Blossom Films. Kidman’s additional film credits include MARGOT AT THE WEDDING, THE GOLDEN COMPASS, Academy Award winning animated musical HAPPY FEET; JUST GO WITH IT, NINE with Daniel Day Lewis, Penelope Cruz and Marion Cotillard, AUSTRALIA, FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS, THE INTERPRETER, BEWITCHED, THE HUMAN STAIN, DOGVILLE, EYES WIDE SHUT, BIRTHDAY GIRL, THE PEACEMAKER, THE PORTRAIT OF A LADY, BATMAN FOREVER, MALICE, FAR AND AWAY and GRACE OF MONACO. She also narrated the documentary release (Sundance Grand Jury Award and Audience Award-winner), GOD GREW TIRED OF US, and also narrated the film biography of Simon Wiesenthal, I HAVE NEVER FORGOTTEN YOU. In October 2012, Kidman starred in Lee Daniel’s THE PAPERBOY with Matthew McConaughey, Zac Efron and John Cusack. Her performance earned her an AACTA, Screen Actors Guild and Golden Globe nomination. The following year she was seen in Chan-wook Park’s STOKER with Mia Wasikowska, Matthew Goode and Dermot Mulroney. Kidman was recently seen starring opposite Colin Firth in BEFORE I GO TO SLEEP. Upcoming films include QUEEN OF THE DESERT where she stars as the title character of Gertrude Bell with James Franco, Robert Pattinson and Damian Lewis. She most recently completed production on STRANGERLAND with Hugo Weaving and Joseph Fiennes, and THE FAMILY FANG with Jason Bateman, which her Blossom Films is producing. In theater, Kidman made a highly-lauded London stage debut in the fall of 1998, starring with Iain Glenn in The Blue Room, David Hare’s modern adaptation of Schnitzler’s ‘La Ronde’. For her performance Kidman won London’s Evening Standard Award and was nominated in the Best Actress category for a Laurence Olivier Award. In 2012, Kidman was seen in HBO’s “Hemingway and Gellhorn” alongside Clive Owen. Her portrayal as Martha Gellhorn earned her Emmy, SAG and Golden Globe nominations. In January of 2006, Kidman was awarded Australia’s highest honor, the Companion in the Order of Australia. She was also named, and continues to serve, as Goodwill Ambassador of the United Nations Development Fund for Women, UN Women, whose goals are to foster women’s 16 empowerment and gender equality, to raise awareness of the infringement on women’s human rights around the world and to end violence against women. Kidman has also lent her voice in support of the Women’s Cancer Program at Stanford with Dr. Jonathan Berek. Along with her husband, Keith Urban, she has helped raise millions over the years for the Women’s Cancer Program which is a world-renowned center for research into the causes, treatment, prevention, and eventual cure of women’s cancer. Julie Walters- Mrs. Bird Julie Walters is an award-winning British actress, who came to prominence in the title role in EDUCATING RITA in 1983 opposite Michael Caine. This won her an Oscar nomination as well as a BAFTA and Golden Globe award for Best Actress. Walters received her second Oscar nomination and won a BAFTA for her supporting role as the ballet teacher Mrs. Wilkinson in BILLY ELLIOT, directed by Stephen Daldry in 2000. Julie is perhaps best known internationally to young audiences for her role in one of the most successful franchises in big screen history, playing Mrs. Weasley in seven of the eight HARRY POTTER films. Over 30 years, Julie has appeared in countless British film productions, both highly successful and critically acclaimed, such as Roger Michell’s TITANIC TOWN in 1998 , CALENDAR GIRLS (d. Nigel Cole, 2003), Richard E. Grant’s WAH-WAH in 2005, DRIVING LESSONS (d. Jeremy Brock, 2006), BECOMING JANE (d. Julian Jarrold, 2007) and MAMMA MIA! (d. Phyllida Lloyd, 2008). Walters has also been honoured for her extensive work on television, recently coming fourth in the ITV network’s poll of the public’s 50 Greatest Stars in the UK. One of her first stand-out acting roles on TV was in the classic “Boys from the Blackstuff” (d. Phillip Saville,1982) and was followed by a string of significant dramatic and comedic roles, including and “The Secret Diary of Adrian Mole”, “GBH”, “The Wedding Gift” and “Pat and Margaret”. Through the late 1990s, productions included “Brazen Hussies” (d. Elijah Moshinsky, 1996), “The Ruby in the Smoke” (d. Brian Percival, 2006), as well as WGBH / PBS’s “Oliver Twist” (d. Renny Rye, 1999) “The Canterbury Tales” (d. Dermot Boyd, 2003) and the lead role of outspoken politician in “Mo Mowlam”. Julie is perhaps best known to British television audiences for her collaborations with Victoria Wood, appearing with her in the award-winning sitcoms “Wood and Walters”, “Acorn Antiques”, “Victoria Wood: As Seen On TV” and “Dinnerladies”. Having studied at the Manchester Polytechnic School of Theatre, Walters has also appeared extensively on the stage; in regional theatre, stand-up comedy and cabaret. Educating Rita (d. Mike Ockerent RSC Donmar Warehouse) launched her into the limelight earning her Variety and Critic’s Awards for Best Newcomer, she then went on to play Lady Macbeth (Leicester Haymarket Theatre), Judy in Last of the Haussmans (d. Howard Davies, The National Theatre), May in Fool for Love (d. Peter Gill, NT Cottesloe) which won her an Oliver nomination for Best Actress and Kate in All My Sons (d. Kate Keller, NT Cottesloe) for which she won the 2001 Olivier Award for Best Actress In 2013, Julie Walters was awarded the Richard Harris Award for Outstanding Contribution by an Actor at the Moët British Independent Film Awards, celebrating her extensive contribution to the British film industry. This was followed in 2014 by Julie receiving the prestigious BAFTA Fellowship Award. Peter Capaldi - Mr. Curry Peter is currently playing the 12th incarnation of television Time Lord “Dr. Who”. 17 Previous to this his most famous role had been as the Machiavellian spin doctor, Malcolm Tucker, in the television political satire “The Thick of It”. Peter has featured in numerous film, television and stage productions. His films include WWZ, IN THE LOOP, THE FIFTH ESTATE, MAGICIANS, SOFT TOP HARD SHOULDER, DANGEROUS LIAISONS, THE LAIR OF THE WHITE WORM and LOCAL HERO. His many television roles include “The Thick Of It”, “The Hour”, “The Devils Whore”, “Prime Suspect”, “The Accused”, “The Suspicions of Mr Whycher”, “Minder”, “Poirot”, “Crown Court”, “Skins”, “PeepShow”, “Torchwood” and many more. He appeared in the West End stage version of The Ladykillers in 2012, and numerous theatre productions including The Judas Kiss, Feelgood, Blood Brothers, John Paul George Ringo and Bert. Peter won the BAFTA for Best Male Performance in a Comedy in 2012 for “The Thick of It”. At the 2013 BAFTAS he was nominated for 2 awards: best Male Performance in a Comedy for “The Thick of It” and Best Supporting Actor in “The Hour”. He won Best Comedy Actor at the British Comedy Awards in both 2010 and 2012. As a writer and director Peter won the 1994 BAFTA and Oscar for his short film FRANZ KAFKA'S IT'S A WONDERFUL LIFE. He directed and appeared in two series of the award-winning hospital comedy "Getting On". He wrote and appeared in the feature film SOFT TOP HARD SHOULDER which won the audience award at the London Film Festival. His spoof documentary "The Cricklewood Greats" which he co-wrote, directed and presented was nominated for the Best Comedy Programme at the 2012 BAFTAs. Jim Broadbent- Mr. Gruber Jim Broadbent is an Academy Award®, BAFTA, Emmy and Golden Globe-winning theatre, film and television actor, best known for roles in IRIS (for which he won Best Supporting Actor at the Academy Awards® and the Golden Globes in 2001); MOULIN ROUGE! (for which he was awarded the BAFTA for performance in a Supporting Role in 2001) and the International phenomenon- the HARRY POTTER franchise. He was BAFTA-nominated most recently for his role alongside Meryl Streep in THE IRON LADY (d. Phyllida Lloyd, 2011). Since his film debut in 1978, Jim has appeared in countless successful and acclaimed films, establishing a long-running collaboration with Mike Leigh (LIFE IS SWEET, TOPSY-TURVY, VERA DRAKE and ANOTHER YEAR) and demonstrating his talents as a character actor in films as diverse as THE CRYING GAME (d. Neil Jordan, 1992), BULLETS OVER BROADWAY (d. Woody Allen, 1994), LITTLE VOICE (d. Mark Herman, 1998); BRIDGET JONES’ DIARY (d. Sharon Maguire, 2001); HOT FUZZ (d. Edgar Wright, 2007); THE DAMNED UNITED (Tom Hooper, 2009) and CLOUD ATLAS (Tom Tykwer, Andy Wachowski, Lana Wachowski, 2012). Also honoured for his extensive work on television, Broadbent most recently received a Royal Television Award and BAFTA nomination for his leading performance in “Any Human Heart” (based on William Boyd’s novel of the same name), and had previously been recognised for his performance in Tom Hooper’s “Longford”, winning a BAFTA and a Golden Globe, and his performance in “The Street” for which he won an Emmy. His earlier role in “The Gathering Storm” (2002) had earned him Golden Globe and Emmy nominations. Other selected credits include “Birth of a Nation – Tales out of School” (Mike Newell, 1983); “Black Adder” (John Lloyd, 1983); “Only Fools and Horses”; “Victoria Wood: As Seen on TV”; “The Young Visitors” (David Yates, 2003); “Einstein & Eddington” (Philip Martin, 2008); and most recently” Exile” (John Alexander, 2011). 18 Having studied at the London Academy of Music and Dramatic Art, Broadbent has also appeared extensively on the stage, notably with the Royal National Theatre and the Royal Shakespeare Company. His work on the stage has seen him appear in acclaimed productions ranging from Our Friends in the North (d. John Caird at the RSC Pit) and A Place with Pigs (d. Athol Fugard at The National), through to Habeas Corpus (d. Sam Mendes at The Donmar) and The Pillowman (d. John Crowley at The National). 19 Credits - crew Paul King-Director and Writer Twice BAFTA-nominated stage, television and film director and writer, credits include: 2014 PADDINGTON (feature film- director and writer) 2011 “Little Crackers” (TV Series- director of 2 episodes) 2011 “The Pajama Men: Last Stand to Reason” (TV Movie- director) 2010-2011 “Come Fly with Me” (TV Series- director of 6 episodes) 2009 “The Mighty Boosh Live: Future Sailors Tour” (Video- director) 2009 BUNNY AND THE BULL (feature film-director and writer) 2004-2007 “The Mighty Boosh” (TV Series- director of 20 episodes) 2007 “Dog Face” (TV Series- director of 5 episodes, writer of 2 episodes) 2007 “Under One Roof “ (TV Movie- director) 2005 “Boosh Music” (Video short- director) 2005 “Outtakes” (Video short- director) David Heyman-Producer David Heyman is the producer of acclaimed feature films including all eight of the Harry Potter series, GRAVITY and THE BOY IN THE STRIPED PYJAMAS. Additional credits as Producer and accolades include: 2016 THE LIGHT BETWEEN OCEANS 2015 TESTAMENT OF YOUTH 2014 PADDINGTON 2013 “The Thirteenth Tale” 2013 GRAVITY – nominated for the Oscar ™ for Best Picture and winner of the BAFTA for Best British Film 2011 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 2011 “Page Eight” – nominated for a BAFTA Televison award for Best Single Drama 2010 HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 2009 HARRY POTTER AND THE HALF-BLOOD PRINCE 2008 YES MAN 2008 IS ANYBODY THERE? 2008 THE BOY IN THE STRIPED PAJAMAS 2007 I AM LEGEND 2007 HARRY POTTER AND THE ORDER OF THE PHOENIX 2005 HARRY POTTER AND THE GOBLET OF FIRE 2005 “Threshold” 2004 HARRY POTTER AND THE PRISONER OF AZKABAN- nominated for the BAFTA for Best British Film 2002 HARRY POTTER AND THE CHAMBER OF SECRETS 2001 HARRY POTTER AND THE SORCERER'S STONE - nominated for the BAFTA for Best British Film 1999 RAVENOUS 1994 “Blind Justice” Rosie Alison-Executive Producer Credits include: 20 2016 THE LIGHT BETWEEN OCEANS (Executive Producer) 2014 PADDINGTON (Executive Producer) 2015 TESTAMENT OF YOUTH (Producer) 2013 “The Thirteenth Tale” (Executive Producer) 2011 “Page Eight” (Co-Producer) 2008 IS ANYBODY THERE? (Co-Producer) 2008 THE BOY IN THE STRIPED PAJAMAS (Co-Producer) Jeffrey Clifford- Executive Producer Credits include: 2016 THE LIGHT BETWEEN OCEANS 2011 NO STRINGS ATTACHED (Producer) 2009 CHLOE (Producer) 2009 UP IN THE AIR (Producer) 2009 POST GRAD (Producer) 2009 I LOVE YOU, MAN (Executive Producer) 2009 HOTEL FOR DOGS (Executive Producer) 2008 “Atom” (Producer - 5 episodes) 2006 9/Tenths (Executive Producer) 1998 THE BROKEN GIANT (Producer) 1998 SAFE MEN (Producer) Alexandra Ferguson- Executive Producer Credits include: 2014 PADDINGTON 2012 ANNA KARENINA 2011 TINKER TAILOR SOLDIER SPY 2010 BURKE AND HARE 2009 DORIAN GRAY 2008 EASY VIRTUE 2007 MAGICIANS 2006 DRIVING LESSONS Erik Wilson-Director of Photography Credits include: 2015 LOOMIS FARGO 2014 PADDINGTON 2014 20,000 DAYS ON EARTH 2013 “Nick Cave and the Bad Seeds: Jubilee Street” (Video short) 2013 THE DOUBLE 2012 NOW IS GOOD 2012 THE IMPOSTER 2011 “Alt faller sammen” (Short) 2011 “Comedy Showcase” 2011 “See Me” (Short) 21 2011 “Sk8rz” (Short) 2011 TYRANNOSAUR 2011 GEE GEE 2010 SUBMARINE Gary Williamson-Production Designer Credits include: 2014 PADDINGTON 2013 TRAP FOR CINDERELLA 2012 To Your Health (Short) 2011 Meeting Daddy (Short) 2010 “Little Crackers” 2010 SUBMARINE 2009 “Albert's Memorial” 2009 BUNNY AND THE BULL 2006 TWICE UPON A TIME 2005 WAH-WAH 2004 FRENCH SPIES 2003 “Alibi” 2003 “Thursday the 12th” 2002 “Ultimate Force” 2002 “Stranded” 2000 “A Likeness in Stone” 1999 MAUVAISE PASSE 1998 “Big Women” 1998 “Little White Lies” 1997 “Crime Traveller” 1996 “Cold Lazarus” 1996 “Karaoke” 1994 “Midnight Movie” 1993 “Lipstick on Your Collar” 1991 “Secret Friends” 1989 “'Allo 'Allo” 1989 “Screen One” 1987 “Foreign Bodies” 1987 “Bread “ Lindy Hemming-Costume Designer Credits include: 2014 PADDINGTON 2012 THE DARK KNIGHT RISES 2010 CLASH OF THE TITANS 2010 EDGE OF DARKNESS 2008 THE DARK KNIGHT – nominated for a BAFTA for Best Costume Design 2006 CASINO ROYALE 2005 BATMAN BEGINS 2003 LARA CROFT TOMB RAIDER: THE CRADLE OF LIFE 22 2002 DIE ANOTHER DAY 2002 HARRY POTTER AND THE CHAMBER OF SECRETS 2001 LARA CROFT: TOMB RAIDER 2000 THE MAN WHO CRIED 1999 THE WORLD IS NOT ENOUGH 1999 THE TRENCH 1999 TOPSY-TURVY – Oscar™ for Best Costume Design 1998 LITTLE VOICE 1997 TOMORROW NEVER DIES 1997 PRINCE VALIANT 1997 THE BRAVE 1996 BLOOD AND WINE 1995 GOLDENEYE 1995 FUNNY BONES 1994 SISTER MY SISTER 1994 FOUR WEDDINGS AND A FUNERAL KNIGHT – nominated for a BAFTA for Best Costume Design 1993 NAKED 1992 WATERLAND 1992 BLAME IT ON THE BELLBOY 1991 HEAR MY SONG 1990 LIFE IS SWEET 1990 THE KRAYS 1989 QUEEN OF HEARTS 1989 WHEN THE WHALES CAME 1988 HIGH HOPES 1985 MY BEAUTIFUL LAUNDRETTE 1985 WETHERBY Mark Everson -Editor Credits include: 2014 PADDINGTON 2013 ALAN PARTRIDGE- ALPHA PAPA 2012 “Mr. Stink” 2012 “Just Around the Corner” 2012 “Facejacker” 2011 “Come Fly With Me” 2010 BURKE AND HARE 2010 4.3.2.1 2009 “Peep Show” 2009 BUNNY AND THE BULL 2007 “The Mighty Boosh” Nick Urata- Composer Credits include: 2015 INDISCRETION 2015 FOCUS 23 2014 THE COBBLER 2012 WHAT MAISIE KNEW 2012 RUBY SPARKS 2012 GRASSROOTS 2011 CRAZY, STUPID, LOVE 2009 I LOVE YOU PHILLIP MORRIS Robin Saxen- VFX Producer Credits include: 2014 PADDINGTON 2013 WORLD WAR Z 2012 JOHN CARTER 2008 AUSTRALIA 2008 THE CHRONICLES OF NARNIA: PRINCE CASPIAN 2006 CHILDREN OF MEN 2006 SUPERMAN RETURNS 2005 HARRY POTTER AND THE GOBLET OF FIRE 2003 THE LORD OF THE RINGS: THE RETURN OF THE KING (Production Manager) 2002 GANGS OF NEW YORK (Production Coordinator) 2002 THE LORD OF THE RINGS: THE TWO TOWERS (Production Manager) 2000 THE PERFECT STORM (Visual Effects Coordinator) 1999 MAGNOLIA (Visual Effects Production Coordinator) 1999 STAR WARS: EPISODE I – THE PHANTOM MENACE (Visual Effects Coordinator) 1997 BATMAN & ROBIN (Visual Effects Coordinator) Tim Webber- Floor VFX Supervisor and Second Unit Director Credits include: 2014 PADDINGTON 2013 GRAVITY 2009 AVATAR 2009 WHERE THE WILD THINGS ARE 2008 THE DARK KNIGHT 2006 CHILDREN OF MEN 2005 LASSIE 2005 HARRY POTTER AND THE GOBLET OF FIRE 2004 THE LIBERTINE 2004 ENDURING LOVE 2003 LOVE ACTUALLY 1999 MANSFIELD PARK 1999 NOTTING HILL 1998 “Merlin” (Visual Effects Supervising Designer and Second Unit Director) Tim Burke – Floor VFX supervisor Credits include: 2016 TARZAN 24 2014 PADDINGTON 2011 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 2010 HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (Senior Visual Effects Supervisor) 2009 HARRY POTTER AND THE HALF-BLOOD PRINCE 2007 HARRY POTTER AND THE ORDER OF THE PHOENIX 2005 HARRY POTTER AND THE GOBLET OF FIRE 2004 HARRY POTTER AND THE PRISONER OF AZKABAN 2002 HARRY POTTER AND THE CHAMBER OF SECRETS 2001 BLACK HAWK DOWN 2001 A KNIGHT’S TALE 2001 HANNIBAL 2000 GLADIATOR 1998 BABE: PIG IN THE CITY (Digital Effects Compositor) 1998 ENEMY OF THE STATE (Digital Effects Supervisor and Lead Compositor) 1998 “Merlin” (Digital Effects Compositor) Pablo Grillo- Animation Director Credits include: 2012 DREDD (lead animator) 2012 MIRROR MIRROR (lead animator) 2010 HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (animation supervisor) 2010 PRINCE OF PERSIA: THE SANDS OF TIME (animation supervisor) 2007 THE GOLDEN COMPASS (lead animator) 2006 CHILDREN OF MEN (animator) 2005 HARRY POTTER AND THE GOBLET OF FIRE (animation supervisor) 2004 HARRY POTTER AND THE PRISONER OF AZKABAN (character animator) 2002 HARRY POTTER AND THE CHAMBER OF SECRETS (animator) 2002 DINOTOPIA (TV Mini-Series) (character animator) 25 PADDINGTON BEAR MAIN TITLES LIST As of 19th September 2014 STUDIOCANAL PRESENT In association with ANTON CAPITAL ENTERTAINMENT With the participation of AMAZON PRIME INSTANT VIDEO A HEYDAY FILMS PRODUCTION PADDINGTON Directed by PAUL KING Produced by DAVID HEYMAN Screenplay by PAUL KING Screen Story by HAMISH McCOLL and PAUL KING “Paddington Bear” created by MICHAEL BOND Executive Producers ROSIE ALISON JEFFREY CLIFFORD ALEXANDRA FERGUSON HUGH BONNEVILLE 26 SALLY HAWKINS with NICOLE KIDMAN and BEN WHISHAW as the voice of Paddington JULIE WALTERS JIM BROADBENT PETER CAPALDI MATT LUCAS . KAYVAN NOVAK MADELEINE HARRIS SAMUEL JOSLIN MICHAEL GAMBON IMELDA STAUNTON Casting by NINA GOLD and THEO PARK Director of Photography ERIK WILSON B.S.C Production Designer GARY WILLIAMSON Editor MARK EVERSON Music By NICK URATA Costume Designer LINDY HEMMING 27 Hair and Makeup Designer GRAHAM JOHNSTON 28