SWORD OF VENGEANCE Prod notes

Vertigo Films Presents
SWORD OF VENGEANCE
DIRECTED BY JIM WEEDON
PRODUCTION NOTES
RUNNING TIME: 86 mins
UK / 2014 / RELEASE DATE: TBC
INTERNATIONAL SALES: PROTAGONIST PICTURES
CONTACT: DAVID BARTHOLOMEW: [email protected]
1 A Film By Jim Weedon
SWORD OF VENGEANCE
Written By Julian Unthank
Story By Matthew Read
Music Composer Stephen Hilton
Music Supervisor Lol Hammond
Produced By Rupert Preston, Huberta Von Liel
Editor Tommy Boulding
Director Of Photography August Jakobsson IKS
CAST
2 Shadow Walker.……………..…………Stanley Weber
Anna………………….………...Annabelle Wallis
Durant…………………….……………Karel Roden
Treden………………………………...Ed Skrein
Osgar………..…………………….David Legeno
Romain………………………….Edward Akrout
Artus…...………………………….Gianni Giardinelli
Kenway..……………………….Nenad Pecinar
Eadric.…………………………Aleksandar Radojicic
Wann……..………………………….Vid Krkeljic!
Ware……..………………………….Boris Jager
Lucan……..………………………Peter Chaffey
Gaines….…………………………Ivan Markovic!
Herve….……………………….....Kazimir Barila
Vere …….…………….……………..Vanja Lazin
Sergeant At Arms 1…..…………… Nikola Krneta
Sergeant At Arms 2…..……………Dusan Kovijanic
Udela…..…………………………..Dijana Jovicic
Devyn..………………………… ...Ivana Jovanovic!
Cwen…………………………..Kristina Jovanovic
Marin.……….…………………………..Miša Beric!
Shaman… ……………………….Dejan Jovanovic!
Pestilence…….……………………..Vahidin Prelic!
Young Shadow Walker…..………Frederick Weedon
RIP Dave Legeno – 1963 – 2014
3 SYNOPSIS
After Victory at The Battle of Hastings in 1066, William the Conqueror,
set his army to the North of England to carry out a campaign of furious
destruction. It was known as the Harrowing of the North.
SWORD OF VENGEANCE is a historical action film, which tells the story
of The Harrowing of the North: The infamous genocide ordered by
William the Conqueror, to control the unrelenting Rebels of the North.
After the brutal slaughter of 100,000 inhabitants, armies killed off all
livestock and salted the earth; no crop or plants could grow for
decades to follow. The northern forests and lands laid in eerie, lifeless
devastation.
This was the cruelest and most senseless act of the feared Norman
invader and left desolation, desperation and crippling fear in its
wake. The daily fight for survival and food turned the area into a
dangerous and unwelcoming wasteland.
After years of slavery, a Norman Prince returns to the lost lands to seek
revenge on his father's murderer: his uncle, the ruthless Earl Durant. He
gains the trust of a band of exiled farmers and leads them into battle
against the Earl, exploiting them in his inexorable quest for revenge.
Can there be any redemption for his deep rooted rage and hatred or
has he lost his soul to vengeance.
4 The Harrowing of the North: a Great Medieval Massacre, 1069
A brief history:
“In his anger at the English barons, William commanded that all crops
and herds, chattels and foods should be burned to ashes, so that the
whole of the North be stripped of all means of survival. So terrible a
famine fell upon the people, that more than 100,000 young and old
starved to death. My writings have often praised William, but for this act
I can only condemn him.” Orderic Vitalis
Although it only took William of Normandy and his army one day to
defeat the English at the Battle of Hastings, it took far longer to secure
his position as King of England. Sporadic rebellions and threats of
foreign invasion were hallmarks of the early years of William’s reign and
prompted his greatest act of cruelty, known as the Harrowing of the
North.
The Rebellious English:
The Anglo-Saxon brother and earls, Edwin of Mercia and Morcar of
Northumbria, are notorious figures of medieval history. They had
unsuccessfully defended the north of England at the Battle of Fulford
Gate in September 1066, narrowly escaping death in the ensuing
slaughter. In the aftermath Morcar was replaced as the earl of
Northumbria, which is probably why neither earls fought at Stamford
Bridge or at Hastings. In early 1067, shortly after William’s coronation,
Edwin and Morcar swore loyalty to their new king but they did not keep
their promise for long…
In 1069, possibly because of William’s fiscal demands, or Morcar’s loss
of claim to Northumbria, the earls were in rebellion. They joined forces
with a Danish fleet and with England’s other claimant to the throne,
Edgar the Aetheling. Together, the rebels took York, sacked the city
and attacked the Normans who had recently settled there.
William Strikes Back:
On hearing the news from York, William reacted quickly and marched
north with his army. William was not just determined to crush this
rebellion but to deter the English, and the Danes, from rising again.
William’s response was to destroy. He began first with the city of York,
isolating his enemies and finally driving them out. His destruction did not
end in York, or even in Yorkshire. With his army he travelled around the
5 north of England, laying waste to anything and everything. The
Harrowing (as depicted here from the Bayeux Tapestry) is best
described by Orderic Vitalis, who captured the emotion and the horror
of William’s systematic ruin.
The Harrowing may have had the desired effect but there is evidence
to suggest that William may have deeply regretted the severity of his
actions. According to Orderic, William bared all on his deathbed:
“I persecuted the native inhabitants of England beyond all reason.
Whether nobles or commons, I cruelly oppressed them; many I unjustly
disinherited; innumerable multitudes, especially in the county of York,
perished through me by famine and sword…I am stained with the rivers
of blood that I have shed.”
6 ABOUT THE PRODUCTION
Director’s Notes by Jim Weedon
SWORD was an incredible challenge to realise in terms of making it
distinctly different from the norm of the current myriad of period action
dramas. From the start I was conscious of the fact that the film needed
to stand apart and to have a singular identity. The budget wouldn't
allow for us to compete with many of the studio productions of the
moment, but I also didn’t want to, what I wanted to achieve for the
audience was something equally arresting but in a completely new
realisation.
I have been a fan of the chambara style of Japanese samurai movies
since childhood, which was taken by Hollywood and reimagined in
many Westerns and Spaghetti Westerns. I was intrigued with the idea of
creating a medieval world that tonally sat within this style. Immediately
we gave the film a very distinct and unexpected look and style.
Huberta Von Liel approached me and asked if I was interested in
making a period revenge drama. I was incredibly interested in the
opportunity but also the fact that Vertigo Films allowed me total
creative control, a rarity in the film world.
Julian Unthank came onboard to develop the script with me,
immediately we stripped back the dialogue to a minimum, something
that was used a fair amount in Spaghetti Westerns. We didn't want the
film to fall into the standard cinematic tropes, although the script is a
basic premise of revenge we wanted the story to unfold in more
unexpected prose, especially the ending. I also wanted our hero to be
an antihero, rather than the man that saves the day. His character
although conflicted tries to atone for his sins but it comes too late,
however, his absolution from Anna in the final scene allows him to find
peace and solace from his chosen path of revenge.
The fact that we removed so much dialogue meant that the sound
had to work suitably hard to convey the unsaid. Both Roland Heap
(sound designer) and Stephen Hilton did an incredible job of creating
the sonic nature of the film. I wanted the audience to have a musical
roller-coaster ride as they witness the storyline unfolding. We really
pushed the sound design and musical approach to bring the visuals
into a very vivid but chambara life. Sound is integral to my commercial
work and something that always creates the unexpected in the visuals.
This can be the most rewarding and unexpected aspect of filmmaking.
The film needed to have a certain aesthetic to its overall look. I went
7 for a bleach bypass approach in the grading to achieve very little
colour in the film. To help this aim the wardrobe was specifically
designed to be muted, working with blues, greys and black, the only
real colour coming through is the inherent hues from the fur that the
heroes wore.
There where many aspects that I wanted to try to change in the
fighting styles. Often when watching medieval sword fights they
become tedious, clumsy and dull. Whereas the samurai films with their
shorter swords lent themselves to a much faster and action orientated
aspects in any given fight sequence. Employing this approach we
succeeded I hope in creating sword fighting sequences that were a lot
more arresting than just a long sword attack. I was constantly looking
for quick kills, sword slices that were hard and fast for the visual impact
and to give us the energy and excitement of the battles as the heroes
cut through cipher after cipher.
I wanted the film to also look and smell of the dark ages. Every aspect
of the film from locations to clothing had to look worn, beaten and
broken. I had shot some commercials in Serbia and found that they
had very talented crew in all departments. Milos Djukelic had just coproduced Ironclad 2 so was ahead in terms of the requirements we
needed to create this harsh an foreboding world.
We shot in Serbia for five, six-day weeks, in the middle of winter. The
weather was harsh, the environment unyielding, days and nights were
spent knee deep in mud that at dawn was dangerously frozen ice and
by mid morning a muddy mass that was equally harsh. I lost the half a
stone in four weeks just trying to wade through the mud every day. As
the film went on the weather got colder and colder to the point that it
snowed. This was a little unexpected but it looks incredible in the fight
sequence with the evil Lord Durant.
The toughest part of the shoot was the opening two days. Ridiculously
we decided to shoot the opening sequence, which involved rain FX,
horses, stunts, and prosthetics. It was the crew’s first two days together,
suddenly we are in the rain with actors who can't ride, horses that
won’t stand still, actors who are going into hyperthermia, and
prosthetic limbs that refuse to come apart properly, add in stunts that
could only be repeated three to four times, blood that wouldn't squirt
sufficiently and the opening crane move into scene that kept breaking
down. I did ask myself how the hell did I get into this mess. However it
turned out fine.
The editorial was an incredibly fast turnaround, so much so that I
tagged with the editor Tommy Boulding on two avids to maximise our
time on sequences, we would both work on specific scenes and then
8 swap them once we had got to a wall with it - this proved to be very
effective in exploring the more abstract elements in the film’s construct.
It also meant that Tommy could take more time on the more involved
sequences.
Overall I believe we have achieved what we had set out to do, to
create a world that stands apart in the realms of period dramas.
SWORD is exciting, unforgiving and relentless, it makes no apologies as
we are thrown into a world of dark times and dark deeds.
Enjoy. Jim Weedon.
Script by Julian Urthank
Despite spending my time writing for television, I’m a self-confessed film
geek; so when I was offered the chance to turn Matthew Read’s terrific
four-page outline into a feature length movie script, I grasped the
opportunity with both hands.
Although the final script was a long way from its source, I feel SWORD
OF VENGEANCE has kept its original essence and the concept of a
‘Visiting Angel’; the story of an unknown, often unnamed Stranger
coming to the aid of a beleaguered community, as most often found
in classic Westerns such as George Steven’s Shane, Clint Eastwood’s
Pale Rider and their Eastern counterparts, the chambara, ‘sword
fighting’ movies of Samurai Cinema.
I grew up watching Westerns on television on Saturday afternoons with
my cowboy obsessed father and three brothers, little knowing that
thirty-years later the genre’s values and conventions would become an
integral part of my writing SWORD OF VENGEANCE.
Because for a British writer, the medieval period is our equivalent of the
Wild West, an often mythologised, lawless frontier-land, where the
weak and the poor find themselves at the mercy of the strong and the
rich, and actions speak far louder than words.
The first few drafts of SWORD OF VENGEANCE were very much
developed around this classic Western archetype and later, when
director Jim Weedon came on-board, it was further developed under
his guidance to reflect the aesthetics of such classics of Samurai
Cinema as Akira Kurosawa’s Seven Samurai, Takashi Miike’s 13 Assassins
and Robert Houston’s Shogun Assassin.
9 Several drafts later and the script was handed over to Jim and
Producer, Huberta (Hubi) Von Liel, to do the hard part, turning ninetyor-so pages of assorted scribbling into an actual movie.
I was fortunate enough to be able to visit the set in Serbia and spend a
few days with the hard working cast and crew; everyone was
incredibly friendly and pleased to see me, although I think that was
mainly because it was December, freezing cold, and I was in
possession of a suitcase full of emergency hand warmers.
The highlight of the whole adventure though was arriving on set in
Serbia to find Hubi had made up a director’s chair for me with my
name on the back; for a film geek on the set of his first feature film,
that’s about as good as it gets.
Edit by Tommy Boulding
SWORD OF VENGEANCE was edited on AVID Media Composer. I cut
the film as they were shooting so I was based in the production office in
Belgrade while the crew were out in a freezing field somewhere. I took
great joy from regularly emailing members of the production team
pictures of radiators or warm cups of tea!
My two edit assistants were both Serbs and extremely hard working
and knowledgeable. They did such a great job of prepping every
day’s rushes that when I got into the office all I had to concentrate on
was putting a strong assembly edit together for Jim and I to work to
once we got back to the UK.
So after a hiatus for Christmas, Jim and I got to work on shaping the
assembly edit into something special. The edit provided a new
challenge for me due to the lack of dialogue in the film. But this was
something I relished, as we had to rely almost entirely on rhythm and
atmosphere to tell the story. I like to use (temporary) music and sound
FX from a very early stage when I am editing and this was particularly
useful in this edit with regards to feeling if a scene was working or not.
The rushes were so visual though that it was a joy to put together. The
biggest challenge by far was the end battle scene that we re-worked
a number of times until it became what you see in the finished film.
There were a lot of rushes to get through and we needed to give lots of
characters their time on screen but in the end I'm really pleased with
how it turned out. The film as a whole is something I'm very proud to
have been a part of.
10 ABOUT THE CAST
Stanley Weber (Shadow Walker)
Stanley is classically trained from the Conservatoire Nationale in Paris.
He has played the title role in France 2's Louis XV and appeared in the
critically acclaimed The First Day of the Rest of Your Life. Other credits
include Oliver Hirschbiegel's Borgia for Canal+, Iain Softley's Trap For
Cinderella, Claude Miller's Therese Desqueyroux with Audrey Tautou
and Thea Sharrock's Henry V for the BBC. Stanley has most recently
been seen in theatres playing the lead role in the independent feature,
Not Another Happy Ending which closed the Edinburgh Film Festival.
Annabelle Wallis (Anna)
Annabelle is fast becoming one of the most exciting and sought after
British actresses working today building up an impressive cv in both film
and television that showcases her versatility. Annabelle will soon be
seen in the lead role of the Warner Bros./New Line psychological thriller,
Annabelle. The film is 70’s set and tells the origin story of the ‘Annabelle’
doll first seen in the 2013 hit The Conjuring. The film is set for an October
release in both UK and US.
Annabelle will then be seen in the hugely popular and critically
acclaimed second series of Peaky Blinders written by Steven Knight
(Eastern promises, Locke). The series, which premiered last year on the
BBC sees Annabelle star opposite Cillian Murphy, Helen McCrory and
Sam Neill. Tom Hardy and Charlotte Riley have joined the cast for the
second series. In the six-part epic gangster story Annabelle reprises her
role as ‘Grace Burgess’ a beautiful young woman with a mysterious
past and dangerous secret. The Weinstein Company have picked up
the series for release in the autumn.
Annabelle has just been filming Louis Letterier’s next film Grimsby.
Annabelle takes the female in this crazy spy comedy starring Sasha
Baron Cohen and Mark Strong. The film is currently slated for a Summer
2015 release. Annabelle was seen earlier this year in Fleming; the fourpart biopic series for Sky Atlantic about Ian Fleming that saw in
Annabelle in the role of ‘Muriel’, the woman who inspired Ian Fleming
to create the ‘Bond girl’. Directed by Mat Whitecross the series saw
Annabelle co star alongside Dominic Cooper, Samuel West and Lara
Pulver. Her other recent TV credits include the role of ‘Jane Seymour’ in
the hit Showtime series The Tudors, alongside Jonathan Rhys-Myers and
Henry Cavill. Annabelle then went on to appear in another US series
11 Pan Am – the period drama that followed the pilots and attendants
who once made Pan Am the most glamorous way to fly. Annabelle’s
previous film credits include 2011 hit W.E., which was directed by
Madonna and co-starred the likes of James D’Arcy, Andrea
Riseborough and Laurence Fox. She also appeared in X MEN: First
Class, directed by Matthew Vaughan and starring James McAvoy and
Hugh Jackman.
Karel Roden (Durant)
Karel came from an acting family. After graduating from the Drama
Faculty of the Academy of Performing Arts in 1985 and a short period
with the Vinohrady Theatre, he joined the Cinoherni studio (Actor’s
Studio) in Usti nad Labem, along with other up and coming actors of
the same generation. In Prague he acted in the Prague City Theatres
and the Labyrinth Theatre, and has been a member of the Prague
National Theatre since 1992.
Television work includes: Terapie (HBO Czech Republic), The Wrong
Mans (BBC), Crossing Lines (Tandem Communications), Missing
(Upcountry Productions), The Philanthropist (Carnival Films and TV) and
Spooks (Kudos)
Film work includes: Still Waters (Carnaby International), SWORD OF
VENGEANCE (Saxon Films), Frankenstein’s Army (Dark Sky Films), Four
Sons (Pallas Film), Alois Nebel (Negativ), The Magical Duvet (ACE Post),
Lidice (Bioscop), A Lonely Place to Die (Carnaby International), Cat
Run (Lleju Productions), Habermann (Art Oko Film), Eye in the Wall
(ALEF), Orphan (Warner Bros), Holy Money (Daidalos Pictures), The Heir
the Apparent (Music Box Films), Rock n Rolla (Dark Castle Ent.), Mr
Bean’s Holiday (Working Title), The Abandoned (Castelao Films), The
Bourne Supremacy (Universal), Hellboy (Revolution Studios), Dead Fish
(Orange Pictures), Bulletproof Monk (Flypaper Press), Blade II (New Line
Cinema), 15 Minutes (New Line Cinema).
Ed Skrein (Treden)
Ed is to succeed Jason Statham in the highly anticipated reboot of the
Transporter franchise. Production began in June 2014. In the fall of 2013
he appeared as a series regular in Sky Atlantic’s 10-part new series The
Tunnel, directed by Hettie MacDonald and produced by Ruth Kenley
Letts, based on the exhilarating and hugely successful Swedish series
The Bridge. Ed’s past projects include Fox Searchlight’s The Sweeney,
directed by Nick Love, opposite Ray Winstone, Damien Lewis, and
12 Hayley Atwell and Ben Drew’s directorial debut Ill Manors in 2012. Ed is
a highly versatile artist, musician and actor. He was recently selected
as one of Screen International’s 2013 ‘Stars of Tomorrow,’ which
showcases the next generation of talent from the UK. Following a
degree in Fine Art, Ed successfully explored his passion for music. His
work as an MC has been released on Dented Records. He has
collaborated with a variety of artists and has toured throughout Europe
and on the UK festival scene.
Edward Akrout (Romain)
Edward Akrout was born in Paris and lives in London. He can be seen in
Film, Theatre and Television, as well as music videos and installations
around the world. Edward’s film credits include The Borgias (2011),
landing the role of Andrew in Swinging with the Finkels (20122), playing
the role of Louise the Dauphin in The Hollow Crown (2012) and Snake in
Roel Reine’s Western Dean in Tombstone (2013). Recently, Edward
landed the leading role in Ate Jong’s thriller, Love, Honor and Obey,
starring opposite Matt Barber and Megan Maczko.
Edward is a graduate of the highly acclaimed Paris-Sorbonne University
and LAMDA and is the Grandson of Air Commodore Anthony Norman
Davis.
Gianni Giardinelli (Artus)
Gianni Giardinelli was born in Paris. He landed his first role at the age of
10, for Patrick Braoudé, who cast him in the lead role Génial Mes
Parents Divorçent. After spending much of his childhood between
school and on film sets, he decided to leave school at 16, and pursue
a full time career in film. In 2000 he won the lead role, in the mini-series
La Vie Devant Nous, as well as writing one of the episodes. Whilst on
set, he met director Patrick Grandperret, who cast him in the Cannes
2006 winner Meurtrières. He then went onto work for the Canadian
director Sebastien Gordon, as well as being cast in commercials for Luc
Besson, Betrand Blier and Les Trakto.
His first role for the stage was in 2006 in Tristan Petitgirad’s Casting and
he then went onto star in Cortex by Nicolas Boukrief, and Des Poupées
et Des Anges by Nora Hamdi, in which his portrayal of a sleazy and
vicious talent agent, won him critical acclaim. Other credits include
Coursier directed by Hervé Renohand and the mini-series Mafiosa by
Eric Rochant, as well as starring in Abd Al Malik’s QuAllah Bènisse la
France and J'pleure pas by the sisters Agathe and Noelie Giraud.
13 As well as acting, Gianni writes, recently directed a short film and is
preparing a book of his photographic work, fro Brazil. This was also
exhibited for the first time in Paris, this summer.
About the Filmmakers
Rupert Preston/ Vertigo Films
Rupert joined Vertigo Films in 2004 as a partner. He is the CEO of all
Distribution activities and has also acted as a Producer on the kids
favourite Horrid Henry the Movie, Nicolas Winding Refn's Bronson, The
Sweeney, Pudsey The Dog: The Movie, the UK re-make of Pusher and
the Oscar nominated Ajami. He has acted as an executive producer
on all Vertigo films such as Streetdance, Monsters, The Football Factory,
It's All Gone Pete Tong and the upcoming Walking on Sunshine and
Monsters Dark Continent. Vertigo Distribution has released a wide
range of films including Springbreakers, Top Cat the Movie, Valhalla
Rising, Shrooms, A Good Woman, London to Brighton plus its own
productions like Streetdance 1 and 2, All Stars, Horrid Henry the Movie,
Bronson, The Football Factory, Monsters and Pudsey The Dog: The
Movie.
Prior to Vertigo he worked with Nicolas Winding Refn as a co-producer
/ executive Producer on Pusher 2 and 3 and Fear X. He also set up and
ran Metrodome Films, which released a diverse range of films including
Human Traffic, Together, Chopper, Chasing Amy and Buffalo 66.
Huberta von Liel/Vertigo Films
Having joined Vertigo working as a production assistant, Huberta von
Liel has risen through the ranks of the company to work on some of the
most successful and critically acclaimed of their productions including
Bronson, StreetDance 3D and Monsters. Huberta began her producing
career in 2010 with her short, Dead Happy (Alice Lowe) followed
by What If, a short film for the Cultural Olympiad (Noel Clarke). She
went on to produce a horror A Night in the Woods (starring Scoot
McNairy), viking epic Hammer of the Gods (Charlie Bewley) and the
English language remake of Nicolas Winding Refn’s Pusher (Richard
Coyle, Agyness Deyn). In 2013 Huberta produced the actioner SWORD
OF VENGEANCE (Stanley Weber) and in 2014 she produced Nick
Love's An American Project (Stephen Dorff and Eddie Griffin).
14 Jim Weedon (Director)
Jim is an exciting visual effects director with strong performance and a
great visual style.
Trained as an editor, Jim began his career in music videos editing for
such bands as Blur, U2 and Jamiroquai. He swiftly progressed into
editing features and has a long list of credits, including the Elysian Fields
sequences in Gladiator and the title sequence for Hannibal. He broke
into commercials soon after and in 2001 was awarded a D&AD Pencil
for Outstanding Editing on the Adidas campaign.
After a suggestion from Sir Ridley Scott, Jim started directing.
Jim is known for his attention to detail, distinctive visual style and the
importance of sound within his work. He won the BBC New Directors
Award with his film There Was a Man starring Jessica Hynes and in 2005
shot The Deal, a short film based on two men thrown together by fate,
which featured Lord Of the Rings star Bernard Hill.
His hard-hitting charity spot for the Motor Neuron Disease Association,
won Best Crafted Commercial of 2009 and Best Sound Direction at the
British Television Advertising Craft Awards as well as securing various
nominations for Best Visual Effects, Best Editing, Best Direction at the BTA
Craft, Clios, and Shark Awards. It combines intimate performance with
powerful visuals, seamless effects and flawless editing.
He also went on to win direction, cinematography and editing at the
London Film Awards for Metro Last Light, set in Moscow it’s an
apocalyptic tale of the last hours of life on earth. Other spots in the
tele-communication and corporate category have seen him work on a
much wider canvas, complete with sweeping landscapes, heavy CGI
and a vibrant visual palette.
Jim is currently working on sci-fi project called Tribes, a deadly game of
cat and mouse set onboard a space-station.
Julian Unthank (Writer)
Julian Unthank has written multiple episodes of New Tricks for the BBC
and is now writing his second and third episodes of the massively
popular Doc Martin for ITV.
He is the writer of the Oscar Shortlisted short film Love at First Sight
starring John Hurt and Phyllida Law, the film has won over a dozen
major awards including the Rushes Soho and the Royal Television
Society’s Best Short Film Award and the Raindance Film Festival’s
15 award for Best Film.
He is also currently developing Corruptible a five-part thriller for ITV
Studios and Bloody Heroes, a detective series for Scottish Television.
Represented by Norman North of The Agency, Julian has also written
for the BBC’s Robin Hood, ITV’s The Bill and Channel 5’s Family Affairs,
as well as having developed projects for many Film and TV companies.
A graduate of Bournemouth’s Institute of Art, Julian is a Visiting Fellow
at Southampton Solent University and regularly guest lectures on
scriptwriting at various Universities and Writers’ Festivals around the UK.
Tommy Boulding (Editor)
Tommy has been working as an editor for the past 10 years but it's only
in the last 2-3 years that he made an effort to get into film editing.
Tommy moved away from doing TV and online video work and started
cutting promos, marketing trailers and shorts for friends. One particular
success was Life Sentence, which won Best Short at the East End Film
Festival 2013.
Tommy’s first feature was a home entertainment title Green Street 3:
Never Back Down starring Scott Adkins. This was swiftly followed by I Am
Soldier starring Tom Hughes and Noel Clarke. Last year Tommy cut The
Anomaly – directed by Noel and starring Ian Somerholder and Brian
Cox. SWORD OF VENGEANCE was his fourth feature and he will soon to
be editing his fifth The Call Up – 2011 Brit List winner.
16 CAST
Shadow Walker
Anna
Durant
Treden
Osgar
Romain
Artus
Kenway
Eadric
Wann
Ware
Lucan
Baldwin
Gaines
Herve
Vere
Sergeant at Arms 1
Sergeant at Arms 2
Udela
Devyn
Cwen
Marin
Shaman
Pestilence
War
Famine
Young Shadow Walker
Beserker 1
Beserker 2
Beserker 3
Beserker 4
Beserker 5
Beserker 6
STANLEY WEBER
ANNABELLE WALLIS
KAREL RODEN
ED SKREIN
DAVID LEGENO
EDWARD AKROUT
GIANNI GIARDINELLI
NENAD PEĆINAR
ALEKSANDAR RADOJIČIĆ
VID KRKELJIĆ
BORIS JAGER
PETER CHAFFEY
DANIEL KOVAČEVIĆ
IVAN MARKOVIĆ
KAZIMIR BARILA
VANJA LAZIN
NIKOLA KRNETA
DUŠAN KOVIJANIĆ
MILICA JEVTIĆ
IVANA V. JOVANOVIĆ
KRISTINA JOVANOVIĆ
MISHA BERICH
DEJAN JOVANOVIĆ
VAHIDIN PRELIĆ
LUKA TODOROVIĆ
UROŠ VOJINOVIĆ
FREDERICK WEEDON
JANKO MILANKOVIĆ
NIKOLA MINČIĆ
HIVZO NEZIROVIĆ
DRAGOLJUB LEKIĆ CRNAC
BORISLAV BOGOSAVAC
RADOJE JELIĆ
17 CREW
Line Producers
Production Supervisor
Production Manager
Steady cam / B Camera
Operator
First Assistant Camera– A
Camera
Second Assistant Camera – A
Camera
First Assistant Camera – B
Camera
Second Assistant Camera – B
Camera
C Camera Operator
IVANA PANIĆ
MILOŠ IVOŠEVIĆ
LOUISE KILLIN
MILOŠ KVAPIL
MILOŠ KODEMO
IVAN KOSTIĆ
NENAD RISTIĆ
BRANISLAV ĆIRIĆ
MILOŠ RISTIĆ PALE
VLADIMIR ILIĆ VLADICA
DIT
MIODRAG POPOVIĆ MIŠKO
Video Assistant
LJUBOMIR ANASTASIJEVIĆ
Camera Assistants / Making
of Camera
ALEKSANDAR JAKONIĆ
DANIEL MATEIĆ
Set Decorator
Stand-by Art Director
Prop Buyer
Stand-by Prop Hand
Assistant Stand-by Prop Hand
Leadperson
Carpenter
Set Dressers
Painters
Assistant Painter
MINA BURIĆ
NATALIJA MARTINOVIĆ
JELENA MILINOVIĆ
ZORAN PETROVIĆ CRTANI
FILIP MARIĆEVIĆ
NEMANJA BJELOŠ KRESPO
DUŠAN PEŠIĆ
DOBRICA MILOŠEVIĆ
UROŠ STOJANOVIĆ
NIKITA ABRAŠKIN
NENAD GRČIĆ
STANIŠA SAVIĆ
DANILO NAĐ
PEĐA MAJSTOROVIĆ
18 Prop Maker
Art Department Assistant
Art Department Labourers
Art Department Trainee
Costume Supervisor
Assistant Costume Designer
Wardrobe
Seamstresses
Art Finisher
Make Up Artist
Make Up Artist Assistant
Crowd Make Up Artist
Key Hair Stylist
Hair Stylist
Key Prosthetic Make Up Artist
Prosthetic Make Up Assistant
Prosthetic Make Up Assistant
Second Assistant Director
KATARINA DRAGUTINOVIĆ ROCCELLA
BOJANA BARDIĆ
PREDRAG JORGAČEVIĆ GERA
MILOŠ RADUSIN
DRAGAN ĆORDA
MARKO RADUJKOVIĆ
NIKOLA STOJANOVIĆ
PREDRAG LUKIĆ
NENAD LUKIĆ
BOGDAN KUNDAČINA
RADOMIR LAZIĆ
BORIS ĐEKIĆ
SANJA BULAT
TIJANA JELISAVČIĆ
NEDA SPALAJKOVIĆ
NINA LAZAREVIĆ
MARIJA HARZ
DRAGANA MLADENOVIĆ
ZORAN KARADŽIĆ
MARIJA MARKOVIĆ
MIRA RADAKOVIĆ
RADMILA JAKŠIĆ
MIROSLAVA CVETKOVIĆ
ZORKA JEKOVIĆ
ARPAD PULAI
JELENA ANTANASIJEVIĆ
JOVANA LAZIĆ
ALEKSANDRA MITIĆ
JOVANA PETROVIĆ
ALEKSANDRA ZLATANOVIĆ
MARINA STOJANOVIĆ
JOVANA JOVANOVIĆ
JELENA SLAVUJEVIĆ
SENDY KUMALAKANTA LENARDIĆ
LANA RAKANOVIĆ
VUKAŠIN POPOVIĆ
BOJAN PIVAŠ
19 Third Assistant Directors
Third Assistant Director and
AD department supervision
AD department Trainee
Crowd Marshal
Crowd Marshal Assistant
Script Supervisor
Key Grip
Best Boy Grip
Grips
Gaffer
Best Boy Electrician
Electricians
Sound Recordist
Boom Operators
Production Co-ordinator
Assistant Production Coordinator
Assistant Production Coordinator
Production Assistant
On set Location Assistants
Finance and Production
Supervisor
Production Accountant
MARIA MAGUIRE
ALEKSANDAR SAVIĆ
MLAĐEN MINIĆ
MARIJANA BUDISAVLJEVIĆ
NIKOLA PETROVIĆ
DRAGOSLAV VULANOVIĆ SLAVA
VLADAN VIGNJEVIĆ
MARIJA STANOŠEVIĆ
LAZAR MILANOVIĆ
DRAGAN JOVIĆ
GORAN KOCIĆ
MARKO LEKOVIĆ
DALIBOR PAVLOVIĆ
VIKTOR MINIĆ
DEJAN MITIĆ
MARKO STAMATOVIĆ
MILOŠ JOVANOVIĆ
VLADIMIR VASILJEVIĆ
MILAN STOJANOVIĆ STOJKE
NEMANJA NOVIČIĆ
BRANKO RADOSAVLJEVIĆ
MIRJANA PETROVIĆ MIRJA
JANA BARAĆ
LJILJANA SANDIĆ
BOJAN PEROVIĆ
FILIP DEDAKIN
NEMANJA ĐORĐEVIĆ
DARKO AŠANIN
GORAN IVANOVIĆ
MARIJA ĐUKELIĆ
ALEKSANDRA RADOIČIĆ
20 Production Accountant
Assistant
Location Manager
Unit Manager
Additional Location
Manager/Location Scout
Stunt Coordinator
Stunt Rigger
Stunt Performers
Assistant Editors
On Set VFX Supervisor
Additional Special Effects
shots and Technical Support
Special Effects Supervisor
Senior Special Effects
Technician
BILJANA GAGIĆ
MATIJA ŠTRITOF
MILICA JOVANOVIĆ MINJA
NIKOLA ZOKIĆ
SLAVIŠA IVANOVIĆ
MILAN ALAVANJA ĐOLE
NENAD NINIĆ
NENAD TODOROVIĆ
DALIBOR KOSTIĆ
LUKA TODOROVIĆ
ALEKSANDAR GAJIĆ
OGNJEN RADULJICA
MIROSLAV BORKOVIĆ
VLADIMIR BOJIČIĆ
NENAD MLADENOVIĆ
Dylan Thompson
VLADIMIR ĐUKELIĆ
MUHAMED M’BAREK TOSKE
DUŠAN ĐEVIĆ
NEBOJŠA MIJOVIĆ
DRAGAN ŠOLAK
NEMANJA ĐORĐEV
ŽAMAL M’BAREK MAK
UK Casting Associate
Serbian Casting by
TOBY SPIGEL
JASMIN CVIŠIĆ
Armourers
BRANKO CVIJIĆ
RAJKO BAKIĆ
Animal Handler
Horsemaster
Riders
MILOŠ ĐUKIĆ
MARINA GUNJAČA
KATARINA ŠOLAJA
21 FILIP BROĆIĆ
KAZIMIR BARILA
BOJAN IVKOVIĆ
DARKO TOŠIĆ
UROŠ VOJINOVIĆ
IVAN MARKOVIĆ
DRAGOSLAV VUKOVIĆ
Unit Publicity
Stills Photographer on Set
Stills Art Photographer
Graphic Design Support
Craft & Catering
Unit Medic
Security
Transportation Captain
Unit Drivers
Truck Drivers
Genny Operators
Facilities Personnel
WAHIDA BEGUM
MARKO RUPENA
TIJANA VUKOVIĆ
BRANKO ROSIĆ
Restaurant “JERRY”
DR BRANKA MATIJAŠEVIĆ
“JELENA SISTEM”
UROŠ KARAULIĆ
GORAN BANJAC
MILOŠ ĐORĐEVIĆ
GORAN ŽIVANOVIĆ
DUŠKO KREKIĆ
ZORAN JOKOVIĆ
SRĐAN NOVAKOVIĆ
SLAVOMIR RISTIĆ
ANTONIO TOŠIĆ
ANDREJ DETIČEK
NENAD MADŽAREVIĆ
ĐORĐE RUNIĆ
MILOŠ MRĐA
DRAGAN MIĆIĆ
OGNJEN NONKOVIĆ
DRAGAN TRIFUNOVIĆ
RADE JANIĆIJEVIĆ
SVETOZAR RADOSAVLJEVIĆ
MILOŠ IVKOVIĆ
DUŠAN RISTIĆ
ŽELJKO PERIĆ
DRAGIŠA JOVANOVIĆ
22 Camera, Grip, Lighting
Equipment and Facilities
Vehicles supplied by
High Speed Camera
Equipment supplied by
Sound Equipment supplied by
Editing Equipment supplied
by
Radios
Post Production by
In-House Producers
DI Supervisor/Grading
VFX Producer
3D Artist
FX Artist
MEDIA PLUS
FILM TRAILER RENTAL
DREAMDUST
“MMM” & “Radio Integral”
THE POST REPUBLIC GMBH
Tolke Palm
Michael Reuter
Tobias Schaarschmidt
Philipp Weinrich
Cristiano Cesolari
Héctor Robles Fernández
Digital Matte Painter
Gordana Ristic
Compositing Artists
Ernest Dios
Gilberto Arpioni
Jack Dunn
Benoit Imbert
VFX Supervisor
Jean-Michel Boublil
Mixing Assistants
Markus Wurster
Rudá Cury Santana
Sound Post Production by
Supervising Sound Editor
Sound Designers
3D VIDEO SYSTEM
SOUND DISPOSITION
Roland Heap
Enos Desjardins
Udit Duseja
23 Roland Heap
Re-Recording Mixer
Dialogue Editor
Sound Editor
Foley
ADR Facility
ADR Recordists
ADR Artists provided by
Roland Heap
Marc Specter
Simon Haupt
Clemens Endress
Sound Disposition
Marc Specter
Roland Heap
Artemedia Loops Ltd
ON BEHALF OF VERTIGO FILMS
Chief Operating Officer
Head of Business and Legal
Affairs
Group Financial Controllers
Senior Management
Accountant
Post Production Accountant
Accounts Assistant
Head of Development
Development Assistant
Head of Production
Head of Sales
Head of Creative Media
In-House Editor
In-House Editor
Creative Assistant
PA to the Producers
In-house Post Production
Coordinator
Head of Television
Insurance by
JANE MOORE
KATHRYN CRAIG
MORGAN HABEDANK
FIONA TUOHY
JACK WELSBY
DWAYNE LAWSON
YOLIBETH RAMPINI
LOUISE ORTEGA
MARINA NIEL
LOUISE KILLIN
MICHAEL WAILES
GEORGE MYER
DOMINIC STABB
CHRISTOPHER KEY
JAMIE MOSSAHEBI
SOPHIE HUNT
ELISE MCMULLEN
HOWARD BURCH
BOYD HARVEY at MEDIA INSURANCE
BROKERS
ACB
24 Score Recorded and Mixed by
Instruments by
Stephen Hilton
Stephen Hilton
With Thanks to
Paul Gerstenberger
Srbija Šume
Institute for the Protection of
Cultural Monuments of the
Republic of Serbia
Beogradska Tvrđava –
Belgrade Fortress
JKP “ZELENILO” BEOGRAD
JKP “GRADSKA ČISTOĆA”
BEOGRAD
SP LASTA BEOGRAD A.D.
HOTEL HELVETIA BEOGRAD
SOCIETE GENERALE BANK
SERBIA
OPŠTINA SURČIN
GRAD BEOGRAD
Janet, Marc and Lauriane and
Chee-Lan
The Director Wishes to
Thank
My wife Sarah and my
children, Freddie, Jude, Rosie
and Jack
With Special Thanks to
Sean Gascoine
Sheila Fraser Milne
Kat Gosling
Kate Morrison
Dallas Smith
Lou Coulson
Kate Buckley
Lucy Hammond
Charlie Wilson
Charlotte Davies
25 Jessica Jackson
Ana Vujisic
Everyone at Vertigo Films and
Red Productions
The people of Serbia
SERBIAN FILM ASSOCIATION
[Logo]
FILMED ON LOCATION IN
SERBIA
International Sales by
Protagonist Pictures
Made in asociation with
Creative Skillset [LOGO]
SPONSORS
TOI TOI D.O.O
EXTREME INTIMO – JASMIL
D.O.O.
ŽA-JO KOMERC D.O.O.
The characters and events depicted in this photoplay are fictitious. Any similarity
to actual persons, living or dead, is purely coincidental
[VERTIGO FILMS LOGO] [THE POST REPUBLIC LOGO] [PROTAGONIST LOGO]
[SOUND DISPOSITION LOGO]
© Saxon Films Limited 2014
26