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Presents

Nowhere Boy

Production Notes

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Film4 and the UK Film Council present In association with Northwest Vision and Media and Lip Sync Productions

and HanWay Films

An Ecosse Films Production

A Sam Taylor-Wood Film

Nowhere Boy

Produced by Robert Bernstein

Douglas Rae Kevin Loader

Written by Matt Greenhalgh

Executive Producers Mark Woolley

Tessa Ross Christopher Moll

Jon Diamond Tim Haslam

Co-Producer Paul Ritchie

Co-Producers Matt Delargy James Saynor

Co-Executive Producers Harvey Weinstein

Bob Weinstein

Director of Photography Seamus McGarvey ASC, BSC

Editor

Lisa Gunning

Production Designer Alice Normington

Costume Designer Julian Day

Makeup & Hair Designer Jeremy Woodhead

Original Music by Will Gregory

Alison Goldfrap

Music Supervisor Ian Neil

Casting Nina Gold

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‘Mother.. you had me, but I never had you.’ Imagine John Lennon's childhood... Liverpool 1955: a smart and troubled fifteen year-old is hungry for experience. In a family full of secrets, two incredible women clash over John. Mimi, the buttoned-up Aunt who raised him, and Julia, the prodigal mother. Yearning for a normal family, John escapes into the new and exciting world of rock n' roll where his fledgling genius finds a kindred spirit in the teenage Paul McCartney. Just as John begins his new life, tragedy strikes. But a resilient young man finds his voice - and an icon explodes into the world. Sam Taylor-Wood’s debut feature, Ecosse Films’ Nowhere Boy, recounts the story of John Lennon’s teenage years. The film features rising star Aaron Johnson (Angus, Thongs and Perfect Snogging, Kickass) as John Lennon, Kristin Scott Thomas (The English Patient, I’ve Loved You So Long) as Lennon’s Aunt Mimi, Anne-Marie Duff (Notes on a Scandal, Shameless) as his mother Julia. The young Paul McCartney is played by Thomas Brodie Sangster (Love Actually, Nanny McPhee) with newcomer Sam Bell as George Harrison. The strong supporting cast includes David Morrissey (The Other Boleyn Girl, Captain Corelli’s Mandolin) playing Bobby Dykins, Julia’s long-term boyfriend, and David Threlfall (Elizabeth: The Golden Age, Master and Commander) as Mimi’s husband, George Smith. Nowhere Boy was produced by Robert Bernstein and Douglas Rae for Ecosse Films (Brideshead Revisited, The Waterhorse, Becoming Jane) and Kevin Loader (In the Loop, Venus, The Mother). Nowhere Boy is an Ecosse Films production in association with Film4, the UK Film Council’s Premiere Fund, NorthWest Vision and Media, Lip Sync Productions and Aver Media. The script was developed with the support of the UK Film Council’s Development Fund. Director Sam Taylor-Wood was nominated for a Palme d’Or at the 2008 Cannes Film Festival for her Film4 debut short Love You More, produced by her mentor Anthony Minghella. Her work as an artist and photographer is in many of the world’s most prestigious galleries. The screenplay was written by Matt Greenhalgh, winner of the BAFTA Carl Foreman Award in 2007 for Control. Oscar and BAFTA-nominated for his work on Atonement, Seamus McGarvey is Director of Photography, having also collaborated with Taylor-Wood on her short Love You More. McGarvey most recently shot Joe Wright’s new film The Soloist and his other notable credits include Oliver Stone’s World Trade Center and Stephen Daldry’s The Hours. BAFTA winner Alice Normington (Brideshead Revisited, And When Did You Last See your Father?) is Production Designer, with Julian Day (Control, Boy A, My Summer of Love) as Costume Designer. Nowhere Boy – Short Synopsis

Imagine John Lennon's childhood... Liverpool 1955: a smart and troubled fifteen year-old is hungry for experience. In a family full of secrets, two incredible women clash over John. Mimi, the buttoned-up Aunt who raised him, and Julia, the prodigal mother. Yearning for a normal family, John escapes into the new and exciting world of rock n' roll where his fledgling genius finds a kindred spirit in the teenage Paul McCartney. Just as John begins his new life, tragedy strikes. But a resilient young man finds his voice - and an icon explodes into the world

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Nowhere Boy – Long Synopsis Woolton, Liverpool, the mid 1950’s… rebellious teenager John Lennon lives with his Aunt Mimi and Uncle George. He’s a cheeky, irreverent adolescent over whom Mimi tries to keep a strict rein, despite John and best friend Pete Shotton’s efforts to get into trouble playing truant and ‘bus surfing’, among other things. George, on the other hand, is more of a soft touch and there’s a tremendous affection between him and John, which is cemented when George buys John his first harmonica and promises to teach him to play. They share a love of music and radio comedy: their fun-loving relationship contrasts with the constant raised eyebrow of Mimi. Everything changes when Uncle George has a heart attack and dies as he and John lark about together. The loss of George leaves an unfillable void in the house, but, as Mimi bluntly informs John when he turns to her for comfort, “we just have to get on with it, it’s just the two of us now.” After George’s funeral John’s cousin Stan asks him if he would like to meet his mother, the skittish red haired woman who made an appearance at George’s graveside earlier. John agrees and is shocked to realise that she lives less than are mile’s walk away from his Aunt’s house in Menlove Avenue. When he arrives, his mother Julia can hardly believe he is there at her door. She hugs him like he has never been hugged before; tight, almost too tight. He meets his younger stepsisters and is seduced by the lively house and life his Mum inhabits, a stark contrast to his home at Aunt Mimi’s. Julia is smitten by him too, and whisks him off to Blackpool for the day, where she introduces him to a brand new music from America, rock 'n' roll, and through the smoky haze of a pier Milk Bar tells him what it really means – Sex. Back at Julia’s house, her common-law husband Bobby comes home to see John and Julia laughing, singing, and dancing together. Unimpressed, he breaks up the party; John catches the mood and leaves, promising Julia he won’t tell Mimi about their crazy day together. Later, John dreams and sees flashes and images of a past he can’t make sense of; hazy figures, a seaside town, buried memories. Meanwhile, Mimi takes in a lodger, biochemistry student Michael Fishwick, to help around the house, and maybe set an academic example to John. But at Quarrybank School John's classes are consumed with his overactive imagination, cheeky wit, doodles and drawings and the production of his now infamous creation ‘The Daily Howl’ a satirical comic targeting his schoolteachers. John goes to see Julia again and gets a cool reception from Bobby. In spite of this, he and Julia take a trip to the local cinema where they watch newsreels of Elvis Presley, the phenomenon that has swept America and is now conquering Britain. Close-up, John realises the effect the man and the music have on women, including his Mother who’s like a giddy schoolgirl. On one of John and Pete's excursions from school to steal some vinyl from the local record shop, they realise they have stolen jazz and start to chuck the discs in the water at the docks. A Cunard Yank, (seamen/ship workers from Liverpool who travelled back and forth to New York and brought back US influenced music/fashion/culture to the city) stops them in their tracks and offers to swap the rest of their haul with an import he’s brought in fresh from New York City, 'I Put A Spell On You' by Screaming Jay Hawkins. John plays it to his mum; she is very impressed and loses herself in the music.

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Back at school one of John’s pranks gets him and his best mate Pete Shotton suspended for a week but, rather than face the wrath of Mimi, John intercepts the suspension letter and begs Julia to let him spend the week with her. She agrees and, seeing his growing interest in music, starts to teach him to play the banjo. He is impressed with her talent and lust for life and wants to learn everything he can from her. After the inevitable phone call from Quarrybank School, Mimi finds out John has been suspended and comes to find him at Julia’s house. Mimi is unceremoniously thrown out and Julia tells John he can stay. But later that night John overhears a strained conversation between Bobby and his mother and realises her mental vulnerability and the reason for Bobby’s concerns. He leaves his mother’s house the next day, awkward and in pain. Julia is similarly distraught. Back at Mendips John announces his intention to start a rock ‘n’ roll band. Mimi takes him to buy his first guitar and John consequently gathers his mates together in the boys toilets at Quarrybank school, assigns them their roles in his skiffle band and ‘The Quarrymen’ are born. We cut to their most famous early gig - at St Peter’s Church Fete - where the boys play to a genteel audience, including Julia, though John plays it cool with her. A young Paul McCartney watches them and is introduced to John and the boys in the church hall across the road. Paul not only plays the guitar better than any of them, he plays it left-handed. John does his best to remain unimpressed, but realises Paul’s potential. Soon Paul and John are regularly practising at Mimi’s, though she hastily consigns them to the porch to make their ‘music’. It is here during one of their sessions that Paul tells John that they really should write their own stuff if they are going to make any money. John sees that he is talking sense, he also finds out they have more in common than he first thought; Paul too has grown-up without a mother. In the meantime, John’s exams results arrive and Mimi is not impressed - she sells his beloved guitar. When John discovers what Mimi has done, he storms straight round to his mum’s house and demands the money to buy it back. Julia obliges and he gleefully returns to tell Mimi exactly who has bought it back for him. By this time the Quarrymen’s shows are starting to get more and more popular and Julia goes to all their gigs. She takes great delight in being backstage with the group, which starts to irritate John and some of the band. But Julia deflects his obvious discontent one night by announcing her intention to throw a big party at her house for John’s birthday; how can John refuse? On the bus on the way home from the gig Paul introduces John and the lads to a friend of his, George Harrison. He quickly impresses them with his guitar skills and his laddish charm and is welcomed into the group. The night of the party arrives and John is feeling fractious and still without answers to his ever increasing list of questions about his past. He knocks back a few drinks and starts to see everything his mother does as an annoyance. This growing frustration and anger comes to a head when as soon as they are alone outside the house he asks his Mother where his Dad is. Julia tells him little to satisfy him but enough to open the floodgates – all she says is that his father abandoned them and went off to sea. Not content with this scant explanation he storms off to Mimi’s house and as Julia follows to try and make peace, the three collide in a maelstrom of disclosure and confession. John has his answers and suddenly all his dreams and flashbacks make sense; a decision put to a 5-

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year-old boy, a mother who couldn’t cope and an Auntie ready and waiting to pick up the pieces. John flees the scene and tries to block out the truth by sinking into a drunken stupor. The next day he finds his Aunt tending to Uncle George’s grave and he announces his intention to move out because, it seems, Mimi and Fishwick appear to be closer than lodger and landlady. But John wants Mimi to know he still loves his mum despite everything they have all been through and wants them to remember they are sisters. John enrolls at Art College and finally discovers an outlet for his creativity. Mimi and Julia meet and make peace and, upon seeing them relaxing in deckchairs together in the garden one afternoon, John sees the real affection between them and is happy. His happiness is short-lived however when, as Julia is leaving Mimi’s house one day she is knocked over by a speeding car on Menlove Avenue. John is devastated and angry and at the funeral he lashes out at his friends before finally breaking down in McCartney’s arms, crying, “I was just getting to know her…she’s never coming back”. Bobby presents John with some money his mother saved for him and the band use it to make their first recording - a Paul McCartney composition entitled ‘In Spite Of All The Danger’. The pain is there to see on John’s face throughout, but the recording sets them on their way. John arrives at Mendips to tell Mimi he’s off to Hamburg with the latest incarnation of the group, and he needs her to sign his passport application. Mimi keeps up their usual banter though as she playfully says she can’t recall the name of his new band. They share an affectionate farewell and John walks away from Mendips with a promise to call her when he gets to Germany, which he did and continued to do so every week of his life thereafter.

“I wasn’t lovable, I was always Lennon” For Ecosse Films the idea of focusing a project on John Lennon had been in the pipeline for quite a while, but it was in a culmination of details and information from a number of books, other source articles and quotes by Lennon himself that the producers saw real potential for a great story, and one that had not been covered in any Lennon/Beatles films before. So ‘Nowhere Boy’ was born and the bones of a story began to take shape. Not of Lennon’s well renowned Beatles days and beyond, but instead the story of his teenage years in Liverpool and, significantly, his relationship with two incredibly powerful and influential women that shaped the icon Lennon was to become. Many key elements came from what John Lennon himself had to say about his childhood, the women who raised him, and the beginnings of his own musical odyssey. Quotes like: "If I’d had a better education, I wouldn’t have been me. When I was at grammar school I thought I’d go to university, but I didn’t get any GCEs. Then I went to art school and thought I’d go to the Slade and become a wonder. But I never fitted in. I was always a freak, I was never lovable. I was always Lennon!" "I lost my mother twice. Once as a child of five and then again at seventeen. It made me very, very bitter inside. I had just begun to re-establish a relationship with her when she was killed." “I used to say to my Auntie, 'You throw my fuckin' poetry out, and you'll regret it when I'm famous,'

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and she threw the bastard stuff out. I never forgave her for not treating me like a fuckin' genius or whatever I was when I was a child.” “They [teachers] torture and scare you for twenty odd years... then they expect you to pick a career.” “Surrealism had a great effect on me because then I realised that the imagery in my mind wasn't insanity. Surrealism to me is reality.” "I always was a rebel... but on the other hand, I wanted to be loved and accepted... and not just be a loudmouth, lunatic, poet, musician. But I cannot be what I am not." The key threads of the story emerged as the relationship between Lennon, his Aunt Mimi and mother Julia, his school days in post war Liverpool and his creative but unfocussed mind; the influence of the introduction of Rock ‘n’ Roll to UK shores and the genesis of ‘The Quarrymen’ right up to his first trip with the band to Hamburg which is where we leave him. Producer Robert Bernstein explains the instant attraction to the project. “I personally wasn’t a Lennon fan but I could certainly identify with the relationship he had with his mother which was cut short so early in his life, and for me that was a very strong emotional connection. As well as of course the birth of rock ‘n’ roll in this country and the lead up to the birth of the Beatles, so there’s a whole mixture of what makes an enticing project for a producer”. The next step was finding someone to take on the mammoth, and slightly intimidating, task of literally putting words into John Lennon’s mouth. For this Ecosse approached one of the hottest screenwriting talents in the UK to date, Matt Greenhalgh, who wrote the award winning Control, to write the script. “We thought long and hard about which writer should tackle the project,” Bernstein says, “and we’d seen Control and just thought Matt had the understanding of personalities in the music world, as well as an empathy with the Lennon background and story.” For Greenhalgh, who won the BAFTA for his Joy Divison biopic screenplay, it was a project he simply couldn’t say no to. “Ecosse got in touch with me after Control and asked me what I thought about this story, this triangle. I was immediately hooked and just said yes. It was pretty mad. Where John Lennon is concerned though, you really wouldn’t want to pass up an opportunity to do something about him. Just mention the name and certain images pop up. I was more intrigued that we would be telling a story about a John Lennon that hadn’t been seen or documented before, it was him as a kid. It’s always nice to think of characters as kids because you can actually create them - it doesn’t come with too much baggage. I think with John there’s so much stuff out there that anyone who comes to do a film about The Beatles’ later years is setting themselves up for a fall, but I felt confident I could write something original.” Bernstein and fellow producers at Ecosse were not disappointed. “I think he’s got an anarchic voice and he’s very emotional and raw in the way that Lennon was as a kid and an adult. Matt captured for us that sense of personality moving from boyhood to manhood and being on the cusp of the two sides and did it incredibly powerfully.”

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It helped Greenhalgh to visit some of the famous Lennon sights in Liverpool where a large amount of inspiration for his script came from. “You visualize everything when you’re writing, I think that’s the only way, otherwise you’re just looking at ink. So I acted the scenes out, I walked around Mendips, and Woolton, I went to St Peter’s Church Hall where John and Paul first met. I wanted to understand exactly what the locations were, it’s about imbibing, getting the look right, feeling the dialogue is right and trying to capture the way people spoke at the time. Once that’s all in place, the pictures come into your head.” Nowhere Boy, Somewhere Girl So they had their words, the next job in hand was finding a director to bring the young Lennon to life on screen. Little did Ecosse know they were the target of a missile named Sam Taylor-Wood who had come across the script and locked on to the idea of doing the project with a determination that was overwhelming. Following the success of her Palme D’or nominated short film Love You More Sam Taylor-Wood was inspired to take the next step to make a feature by long time friend and producer, the late Anthony Minghella. "Anthony Minghella was the one who inspired me to make the giant leap from making films that existed for art galleries to directing a feature. It was his interest in my artwork that started it all, and then we collaborated on my short film Love You More so he really encouraged me. He asked me if this was what I'd really like to do and I said it was; he gave me the confidence because he genuinely believed I could do it and told me so, which was exactly what I needed. Perhaps I would have come to it later, but I was almost waiting for something like that to happen, I wasn’t quite sure how to make the next jump. There had been a lot of talk about it and I’d had a few meetings with people but nothing grabbed me and pushed me in that direction until he did.” “I don’t think you could have half measures with a script like this”, Bernstein explains, “it was so arresting it was vital to get the right talent attached to it. Sam came to us and she was incredibly passionate about the story, which mirrored elements of her own life. She literally wouldn’t take no for an answer and that level of intensity was beguiling and so at a certain point you just have to use your instinct and say, lets go for it.” Taylor-Wood agrees. "There were many levels on which this film appealed to me. I felt I could understand where Lennon came from because of his creative mind and the occasional moments I border on thinking I might be mad because my mind never stops! I think also both of us had turbulent backgrounds so there were lots of parallels and many elements about the story I felt akin to." It was this connection and her dogged determination that eventually got Sam her wish. “Robert had to ask me to leave him alone and stop stalking him. I basically door-stepped Ecosse telling them to give me the job. Eventually I think they just couldn’t stand it anymore and gave me the green light.” Finding Lennon

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The next, and potentially most challenging step was finding their young Lennon. No easy task; or so they thought. “Nina Gold, the casting director, cast the net very wide”, explains producer Kevin Loader, “and it’s through this process that you’re faced with the decision of going down the route of finding the musician who can sing and play the guitar and hope he can act, or going with an actor and hoping he can learn, fast.” One of those actors was Aaron Johnson (Angus Thongs and Perfect Snogging, The Illusionist, The Thief Lord), someone who although not musically trained, had just the right mix of looks, swagger and charisma they were looking for. Kevin remembers the moment he first realised they had found their man, “I thought Aaron looked spookily like John Lennon, I’d seen him in Gurinder Chadha’s film Angus Thongs and Perfect Snogging, so I knew he was a good-looking boy, but I hadn’t realised then how much he could look like Lennon facially. He also managed to find that cockiness quite quickly even in the audition process; for me it was pretty instantaneous that he was our best candidate.” It took a couple of call backs before finally deciding on Aaron Johnson but much like Kevin Loader, Taylor-Wood was sure they had found their John. “I had an absolutely clear idea of who that person ought to be and I knew when Aaron walked in the room it was going to be him. He had a certain sensibility about him and a look that I knew was going to work. Though I saw him pretty early on so then had to see a hundred other people and go through the motions of making sure and satisfying everyone’s criteria, but I knew when I met Aaron absolutely in that instant it was going to be him.” Aaron remembers the day only too well, but not with quite the same conviction that he was the man they wanted. “I was filming KickAss at the time for which I was doing an American accent but then in my lunch breaks I was looking up footage of John Lennon and trying to get a sense of his accent. So at that point I was going from America to Liverpool and it was really giving my head a bit of a spin. I was nervous as hell and stumbling quite a lot but I’d remembered a certain line that Lennon had said in an interview and I just kept running that line in my head and speaking it out loud. They must have thought I was completely barmy because I wasn’t really looking up, I was just trying to do this line, keeping the accent and the mood he was in, but it just looked like I was talking to myself! So I just forgot about it after that, but then I got a call back and they offered me the role.” With the shadow of Lennon looming large Johnson found it intimidating but a challenge he rose to wholeheartedly. “It played on my mind quite a bit in the beginning because I didn’t want to put a foot wrong; I just thought to myself I really can’t mess this up. I felt I had to do him justice and do the best I could and forget about what other people might think. People are going to have their opinion, and whatever perception they may have of Lennon might not be what I’ve done and that’s fine. I just followed my instincts and with everybody’s help worked on it a lot. We worked as a team, a true collaboration, all focused on making it the best we could.” Producer Bernstein was full of admiration for the way Johnson approached the role, “It must have been quite intimidating for him. He had a dialect coach, he learned to sing and play the guitar; his commitment was amazing. He threw himself into it completely which, to be honest, he had to. Playing John Lennon isn’t something you can hide from, everyone’s going to be questioning and scrutinizing it. I think he’s done a great job and Yoko Ono saw the film and liked his performance very much which is a great endorsement.”

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John Lennon’s young life was dominated by two very influential women; his Aunt Mimi with whom John lived from around the age of 5, who encouraged him to do well at school and grow up as a nice middle class boy; the other, his mother Julia, whom the young John had vague but broken memories of and only rediscovers again at the age of 15, living only minutes down the road from him. More importantly, Julia was the woman who introduced him to rock ‘n’ roll and taught him to play the guitar, triggering in him the previously untapped genius for words and music that lay beneath. For the producers and Taylor-Wood, the key, having found their John, was finding the women to portray Aunt Mimi and John’s mother Julia – the women who shaped the Lennon the world would come to know and love. Anne-Marie Duff, up for the role of Julia, was desperate to get the part. “I thought the script was like nothing I’ve read before and I was really desperate to do it. I had that response you have when you first start acting and auditioning for things and you think, please let me get this job. I met up with Sam and auditioned properly for her and waited and waited with baited breath. Not only did I love the script, I also loved Julia so much. The interesting thing about her is she treads a line and she’s so dangerously attractive. She pushes the boundaries a lot of the time but actually she’s just a really good soul and I could see right into that the first time I read it. Anyone else who read for Julia probably felt the same.” “Anne-Marie gave everything to being Julia”, says Taylor-Wood, “and she really understood the delicate complications of her without going too far with it. Julia, from what I understand of her and what I’ve read, was probably misunderstood in the era that she lived. If she’d been in this era now, I think she’d have been my friend. She was this free-spirited lover of rock and roll and all things fun and wild. I think in that era it was very difficult for her to live the way she wanted to, and I think her environment probably suppressed her creative mind so she fed that into John. I think Anne-Marie played that absolutely flawlessly.” Unlike many of the cast and crew, Kristin Scott Thomas was not a Beatles fanatic before she came on board to play John’s Aunt Mimi. “I was never really that interested in ‘The Beatles’ as a phenomenon, which was probably a bit stupid because they’ve had such a huge influence on pop music. Then I saw this documentary on John Lennon, John Lennon in America, which made me really interested in him, and then this came along so it was good timing.” With her new found interest in the older Lennon, she found the story of how the boy became the man in Greenhalgh’s script equally fascinating. “I thought it was a really great story, a fabulous story and then I read a biography and dipped into a few others and I just loved his rebellious side and the fact he came from a very unordinary family, trying to be ordinary and then became such an extraordinary man himself; it was all very interesting.” Scott Thomas was also intrigued by the relationship between the sisters, Mimi and Julia, and the profound effect it had on the young John being part of what some would describe as a ‘love triangle’ between the three.

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“Mimi was the eldest of the sisters and had a real determined attitude in life. She had a very protective nature as far as Julia was concerned but just didn’t know what to do with her – as far as she was concerned, Julia was out of control. Mimi doesn’t approve of her lifestyle and John is just torn between the two of them I think.” Despite acknowledging Mimi’s toughness and determination, Kristin was eager for John’s Aunt not to be portrayed as too harsh. “I was very afraid they were going to turn her into this dry, mean, wicked witch person and I spoke to Sam about this because I felt very strongly that there was a great deal of affection between the two. I learnt that John Lennon and his aunt were in constant contact and spoke on the phone once a week right up until he died, and they would send each other tapes. He sent Mimi a machine for her to record messages for him to listen to, and he’d do the same so she would listen to his. He’d also been trying to get her to move to America but she wouldn’t go, so I knew there was something really loving between them.” As Anne-Marie Duff explains, the relationship between the three characters is a powerful one but one that most people with families can identify with in some shape or form. “The dynamic between the three of them is brilliantly complicated in the way that every family is absolutely screwed up, we’ve all got strange old relationships. But Mimi is convinced she’s doing the right thing and it was a very different time in terms of people taking children away from people. Basically Julia was living in a house with a man out of wedlock. For us now it’s nothing, there’s no crime there, but in the 1950’s it couldn’t happen. So Mimi shouldn’t be judged harshly because her heart is in the right place. John loved the bones of Mimi and it just shows you what a magnificent presence she was in his life and what a mother figure she was. Mother in all but name really, and that’s what’s so tough - he had two mothers and loved them equally I suspect in different and varying ways.” For Sam and producer Kevin Loader the roles of Mimi and Julia were central to the film. “In some ways those two female parts are the core of the movie,” explains Loader, “so it was really important to get those right. With Anne-Marie we kind of always knew it was her part anyway and that she was such a brilliant actress. It was a thrill to have her around; she just brings a kind of level of detail, commitment and performance that you can’t imagine when you read the words on the page. I don’t think we even met anyone else. Kristin we were thrilled to get to play Aunt Mimi because in some ways it’s a slightly different area than she’s tried before - playing an English woman in that class and period, so I think that was interesting for her. Also playing somebody who is so clearly in a parental role with a difficult teenager is something she hasn’t done before. I’m very thankful that Kristin read the part and knew that actually there was a lot more to it than some other people might have seen and brought all that knowledge to her performance. Apart from the fact that she’s great fun and wonderful to be around, she lifts everybody’s game and everybody wants to do their best work in front of Kristin - which is great.” To complement the two most powerful women in John’s life, were the men who lived with them; Julia’s common-law husband, Bobby Dykins and Mimi’s husband George Smith. Though relatively small, both played influential roles in the young John’s life in different ways. David Morrissey, star of the recent Red Riding Trilogy and numerous other TV dramas and films, explains that although John initially sees Bobby as a threat, it’s really because he has reservations about the new-found relationship between John and his mother and the potential damage it could cause them both.

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Morrissey grew up in Liverpool so found the story particularly familiar as he explains; ‘The thing about growing up in Liverpool as a young man walking around the streets was that they were the streets The Beatles had walked down. I knew the story really well so I tapped into it again. I think, in the period this film deals with, his formative years, and the tragedy that happens to him, we can see how that forged the character of the Lennon that we know. I think it’s a great period to concentrate on and a beautifully written script that’s come from it.” David Threlfall plays Mimi’s husband, John’s Uncle George Smith, whom John had a huge affection and love for. When George died suddenly of a heart attack, the young teenager was devastated. George left an important legacy as he bought John his first harmonica and harnessed his love of music. “Those two characters were absolutely essential”, explains Sam, “because really it was about one man whose death facilitated John’s journey, and then another man being almost an obstacle in front of where he wants to be. It was important to have someone as good as David Threlfall to play Uncle George because his death is really what kicks us off onto John’s journey to find his mother. Uncle George was the warmth and heart of that house, so you needed to feel his humour and love for John, and his loss, in order for us to go on the next journey. Then there’s Bobby, this charismatic sexy brute played beautifully by David Morrissey. There’s almost a rivalry and jealousy between him and John, in a way they’re both competing for Julia’s love.” Casting the Quarrymen Finding the right boys to play ‘The Quarrymen’ was a delicate process and, as Sam Taylor Wood explains, it was a not a case of finding lookalikes, it was more about finding people who could embody the spirit of the boys and the band. McCartney is played by 17 year old Thomas Brodie Sangster, (Love Actually, Nanny McPhee, The Last Legion, Triston & Isolde). Although he originally went for the role of Lennon, he felt he had more in common with the young McCartney. “I don’t really have the right features for Lennon, the right nose or face so they called me back to read for Paul with Aaron and we did a couple of scenes and after that they told me I’d got it. It was only afterwards that it kicked in, I’d have to portray somebody who’s been in the public eye since he was fifteen and everyone knows him really well. So you are restricted, you can’t make it your own. You can’t just do a scouse accent, you’ve got to do a Paul McCartney scouse accent, you’ve got to do the right things with your eyes and mouth and your eyebrows and so on. But it was something different I’ve never done before so first of all it was a bit scary but once I’d got into it, it was great.” Completing the line up of future Beatles featuring in the film is Sam Bell, a first time actor, who, despite originally going for the part of Paul McCartney, was very excited to be cast as a young George Harrison. “There’s no film of him of that age so I really just had pictures to go by. I’m playing him when he was 15 so I had to look quite young and make my voice quite high. I had to be George Harrison mad, looking at everything he did, watching footage of how he played guitar and everything. But it was fantastic and it just came naturally to me because he’s my favourite of The Beatles.” Another key role was John Lennon’s best mate at school and beyond, Pete Shotton, played by newcomer Josh Bolt. As a native Liverpudlian Josh had the advantage of a ready-made accent and

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a childhood surrounded by the history and culture of Lennon and The Beatles, but had little to go on when researching his character Shotton. “I looked on the internet to find out more about Pete and knew he’d written a book, so I found out bits and pieces that way, but I also found out he was very private, so I didn’t manage to talk to him. But I would still like to meet him at some point. So I suppose my portrayal of Pete is really as John’s right hand man; whatever John seemed to do, Pete copied him, though John was a bit cooler. I get the feeling that was what the relationship between them was like; they even had their own language. They were really close, even when John hit the big time they stayed friends right till the end.” Taylor-Wood was delighted with the casting for the roles. “We had to make a big decision, we couldn’t go down the lookalike road when we were casting. It was more important that someone embodied the spirit of, and could really get into the world of Lennon, McCartney etc rather than look identical. I’m really happy with the people we found; they were pretty spectacular. We were dealing with actors who weren’t musicians and musicians who weren’t actors, so it was a challenge, but a really fantastic one. I really loved working with them all, some of them are just really talented and are going to move on from working on this film, it’s exciting to be a part of that.” As some of the boys playing band members already had musical experience, it was their acting skills that needed honing. But for Aaron, one of the big challenges was learning to sing and play the guitar from scratch, a process he began weeks before the film started shooting. “I worked with our Music Tutor Ben Parker for about a month before we started working in the studio with the boys. At the time all they were doing was recording the songs The Quarrymen had done with the original instruments, the broom handle bass and washboard etc. And obviously these boys were musicians and I wasn’t, so I was pretty nervous going into the studio. But Ben was fantastic and made me feel more confident - he really looked after me in that respect. In the first studio session I felt a bit nervous around the guys, having to go ahead and play the guitar and sing, especially in front of people. But I knew it was just progress and at that stage we were only half way through preparation, but it broke the ice to get out there and just do it.” Johnson also got hooked on the music of the era. “The music was fantastic, Elvis and Buddy Holly, Wanda Jackson; I love listening to the music and dancing to it. It’s such a good rock ‘n’ roll rhythm I really enjoyed it; it was great fun. I actually kind of miss it, I really enjoyed the banter of the band and also chilling out in the studio and messing around with instruments and having a giggle and a sing.” Shooting ‘Nowhere Boy’...the look of the film.. Sam wasted no time in enlisting top cinematographer Seamus McGarvey, (The Soloist, The No1 Ladies Detective Agency, Atonement, World Trade Center, The Hours, High Fidelity, Butterfly Kiss, and many more), who has worked with her for over a decade on many of her projects including Love You More, as Seamus explains. “I’ve worked with Sam for about 12 years now and she’d always talked about moving into feature films. There was talk of her working on another feature project while I was working with Anthony Minghella in Botswana (on No1 Ladies Detective Agency) whom she was very close to. But Anthony thought Sam should do a short film before embarking on a feature for various reasons, one of which was seeing the whole mechanics of drama, but also as a way of helping the financing.

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So we made Love You More which was a great experience, and I think it was one of those films that was perfect for the dimensions of the medium. I loved the short and that very quickly led on to Nowhere Boy.” Despite being scheduled to work on another film, fate stepped in and McGarvey became available, as Sam explains. “It was a godsend that I had Seamus on this film because he was actually attached to do a different film so I guilted him into doing it! It was the same as with Robert (Bernstein), I kept phoning Seamus and saying ‘there’s no way you can’t do this, it’s my first film and you love John Lennon; you can’t not do it!’” As McGarvey says, having worked together for over a decade, they had an almost telepathic way of communicating on set and off. “It’s strange really the way we work, Sam loves a very silent set, so we communicate with sort of dolphin clicks to each other, it’s almost like a telepathic thing. I know the sort of photography and lighting style she likes. We prepped a lot of it in advance so when she sees something she doesn’t like if we’re setting up, she’ll let me know quickly; it’s nice that we can work so wordlessly. Most days we were travelling to work and home again in the same car, so having that opportunity to go through the script and plot the shot list for the next day when we were sitting in a traffic jam was great. That way of working when you’re relaxing at the end of the day when your mind is quite open is a nice way of establishing the next day’s work.” As well as seamless collaboration on a practical level, creatively they both had very clear ideas on how they wanted the film to look which wasn’t the gritty grey docu-drama style perhaps some people would expect from a film about post war Liverpool, as Seamus explains. “One thing we didn’t want to do was make a kitchen sink drama, just because we were depicting post war Liverpool during the depression of the 50’s, we still wanted to give it an allure. John had this fantastic energy and as a slingshot to send this man into the world he had to have something visually evocative with a sexy feel to it and that’s something we played with in terms of the look of the film.” For the producers and Sam it was important to shoot as much of the film as possible in Liverpool though one of the main problems was the transformation the city has undergone in the last 50 years or so. For producer Kevin Loader the biggest challenge was trying to film Liverpool as it would have been in the late 50’s. As he explains, “it’s almost impossible now to get a shot of even the Liver building because it’s hemmed in by beautiful new gleaming buildings some of which are still under construction. Saying that, the neighbourhoods in Woolton where John grew up are pretty leafy suburbs of Liverpool and are fundamentally unchanged – so we did manage to shoot quite a lot of the childhood scenes around Allerton and Woolton.” “The other glorious thing about Liverpool is that everybody there is very au fait with the story which is both a good and a bad thing. It sometimes felt like making a film about the early church – depending on who you talked to, you got the truth according to St. John or St. Mark because everyone in Liverpool you meet has had a cousin who was a friend of either John or Paul or an Auntie that went out with one of them when they were at school or whatever. Because of what the Beatles became it’s a place of pilgrimage for people from across the world now; so I think it’s right that the film made its own pilgrimage there.” Perfectly complimenting the look of the film was the costume design, by Julian Day (Control), who also wanted to create the feeling of the fun and vibrancy of 1950’s Liverpool rather than the dull, old look clothes can have in period pieces. “I read the script and started doing research, first of all

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about 1950s clothing, Lennon and ‘The Quarrymen’, then narrowing the search to Liverpool in the 1950s. There’s nothing wrong with duller colours, but this is a film about rock’n roll and about sexiness, it’s a fun exciting drama and I didn’t want it to look rain-sodden and dreary, which is sometimes how 1950’s films are seen.” He also had specific ideas of how Mimi and Julia would look and how their clothes would mirror their contrast in character. “We talked at great length in prep and talked to Sam and Seamus and decided that Mimi’s colours were blues, greens, browns and greys. The way I saw it she was the 40’s going into the 50’s and Julia was the 50’s going into the 60’s, wearing lots of colours and shades of red. We also liked the idea that when we see John at home he’s wearing almost 1940’s clothes with a bit of influence of the 50’s in blue and greys and greens. Then when he meets his mum she not only influences his musical taste but also his clothes sense, so there’s a shift in colour change and tone from his first meeting with his mum right through to the end.” When it came to deciding who would edit the film Sam looked no further than another protégée of Anthony Minghella. Lisa Gunning, who also cut Sam’s short, Love You More, says Minghella was a huge influence. “As a human being Anthony was a mentor on every part of my life, he taught me an enormous amount about film, how to watch things and experience things. He made me realise that as long as you are open enough you can pretty much manipulate anything to be anything you want in the cutting room. He had an incredible way of shaping and controlling film. I learnt everything from him.” Born largely out of the mutual trust and love for their friend, Minghella, Sam and Lisa had a real connection while editing the film as Lisa explains. “Sam is incredibly generous, she has a wonderful way of making you feel free and provided it’s not out of the realms of what her vision for the film is, she’s very open to suggestion. So I’ve really felt like I can get on with it, push the film as far as possible and be rigorous with the material and show her the result of it. Telepathy is part of the equation, we’ve got extremely similar tastes and I think she trusts me and the fact we have similar instincts on how the material should be treated.” On finishing the film Taylor-Wood has no doubt about whom it will be in honour of. “Without sounding too kooky, Lisa and I have had lots of moments where we can feel Anthony’s presence if you like. I think it’s because he’d be pretty happy about the two of us working together and he’d be happy to feel that he still has a part of it in a way, so I am absolutely dedicating this film to him.” When asked the inevitable question as to what ardent Beatles fans will think of the film Kevin Loader is quick to point out - “If you’re a John Lennon fan you’re going to be automatically interested in this film. What I would say is if you’re not a Lennon fan you’ll be just as interested. I think it’s about a very human predicament and a very interesting human situation about two women and a boy and the claims on that boy, the claims on one another and the emotional luggage that goes with all of that. I think that makes it a very compelling story, whether the boy is John Lennon or not. The fact that the boy involved is Lennon just makes it even more interesting because we know what he went on to do and become. But unlike a pure musical biopic, it’s not trying to tell you the career history of somebody. It’s trying to give you a very vivid sense of the emotional vertebrae that must have formed inside the man who became John Lennon while he was a teenager.” Head of FilmFour, Tessa Ross, is confident Sam Taylor-Wood has a long future as a director ahead of her and sure that, as a fellow colleague and friend of the Late Anthony Minghella, he would be

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incredibly proud of what she has achieved. “I think he would have thought she’d asked all the right questions and gone on all the right journeys, he was devoted to her and thought she was wonderful. It’s a really great shame that we’ve gone on this journey without him being able to be engaged with it but I think, looking to the future, she can do anything she wants. She has the energy, the foresight and the ambition but more than anything the curiosity to go anywhere she wants.” As a friend and colleague for over 12 years, Seamus McGarvey has nothing but admiration for Taylor-Wood. “All the time I’ve known Sam she’s had this verve and energy, this incredible forward motion and artistic dynamism, that I think she’s probably had all her life. Though this has maybe been exacerbated or underlined by the cancer battles she had some years back, I just know that my experience of working with her is that she is this incredible whirlwind of creative energy. She really seizes the day and you feel like she’s hurtling forward; it radiates to other people and people get a lot of energy from her. It’s quite amazing to witness.” On completion of her first feature, Sam feels a great sense of achievement, “I’m so proud of what we’ve all done to make this film, it’s a monumentally collaborative experience. I feel like we’ve done what I set out to do for the film and there’s nothing I would have changed about it at the moment if feels as strong as any film I could have made, so I‘m really happy with it.” NOWHERE BOY is an Ecosse Films production in association with Film4, the UK Film Council’s Premiere Fund, NorthWest Vision and Media, Lip Sync Productions and Aver Media. The script was developed with the support of the UK Film Council’s Development Fund and Icon Film Distribution will release the film in the UK on 26 December 2009. HanWay Films have international rights. Icon Film Distribution will release the film in the UK on 26 December 2009. The Weinstein Company are the US distributor. ________________________________________________________________________________ Aaron Johnson Born and raised in High Wycombe, England, Aaron Johnson attended the prestigious Jackie Palmer Stage School. At the age of 18, Johnson already has much experience and success under his belt. He played a young Edward Norton in the Oscar nominated and award-winning film The Illusionist, directed by Neil Burger. Johnson also starred alongside Jackie Chan and Owen Wilson in Shanghai Nights, as well as The Thief Lord with Caroline Goodall and Jasper Harris, and independent UK film Dummy. Johnson was last seen in Paramount Pictures’ coming of age comedy, Angus, Thongs and Perfect Snogging by British director Gurinder Chadha. He has also appeared in several popular UK television series, including Feather Boy, Family Business, Nearly Famous and Talk To Me. His next release is set to be The Greatest, starring opposite Pierce Brosnan and Susan Sarandon. Aaron recently finished filming Kick Ass, Matthew Vaughn’s adaptation of the Mark Millar comic book playing the lead role opposite Nicolas Cage and Christopher Mintz-Plasse.

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Anne-Marie Duff Anne-Marie Duff is an actress whose work spreads extensively over screen and stage. Anne-Marie took the National Theatre by storm in 2007 in the title role of Marianne Elliott's revival of ‘Saint Joan’ for which she won awards from the Evening Standard Theatre Awards, The South Bank Awards, The Critic Circle Awards and was nominated for an Olivier Award. She was also nominated for an Ian Charleson award for her Cordelia in Richard Eyre's ‘King Lear’ at the National Theatre and an Olivier for Howard Davies' ‘Collected Stories’ in the West End. Other notable theatre credits include ‘Days of Wine and Roses’ (Peter Gill) at the Donmar Warehouse and ‘War and Peace’ (Shared Experience). BAFTA nominated in 2005 for Shameless for her memorable role as Fiona in the Channel 4 series, this role also saw her win a Best Actress IFTA the year before. Two years later in 2007 she was again nominated for Best Actress BAFTA for her remarkable portrayal of Elizabeth I in Elizabeth - The Virgin Queen. Other television credits include Charles II (Joe Wright), Dr Zhivago (Giacomo Camtiotti) and Sinners (Aisling Walsh) for which she won a Best Actress awards at the Monte Carlo and Shanghai film festivals in 2002. Anne-Marie recently finished filming Margot the Amanda Coe film about one of the great dancers of our time– Margot Fonteyn, directed by Otto Bathurst. Her unforgettable portrayal of Margaret in Peter Mullan's Magdalene Sisters helped the film win the Best Film award in Venice and the Critics Choice at Toronto. In 2006 in Dominic Savage's Born Equal Anne-Marie played Sophie, a heavily pregnant woman fleeing her violent partner. She starred in French Film with Hugh Bonneville and Douglas Henshall which won Best Film at the Monte Carlo Film Festival and in John Crowley's film Is Anybody There? with Michael Caine and David Morrissey. She has worked alongside Helen Mirren and Christopher Plummer in the soon to be released The Last Station. Kristin Scott-Thomas Award winning actress Kristin Scott Thomas has become internationally renowned for her talent, elegance and commitment to her craft. Never shying away from challenging roles and determined not to repeat herself, Scott Thomas' body of work is an extraordinary collection of acclaimed film, television and theatre performances. Following Nowhere Boy, Scott Thomas will be seen in Partir which had its North American premiere at the 2009 Toronto International Film Festival; she has received rave reviews for her performance and the film has soared at the French Box office. By the end of 2009, Scott Thomas will have completed an additional three films: Sous ton Emprise for director Lola Doillon, Une Femme Parfaite for director Alain Corneau and Elle s'appelait Sarah for Gilles Paque Brenner. In 2008, she starred in Phillipe Claudel's French language film, I've Loved You So Long for which she received a Golden Globe, a Cesar and Bafta nomination, as well as winning the European Film Academy’s Best Actress award and the London Film Critics award for British Actress of the Year. On stage, Scott Thomas made her Broadway debut last fall in The Seagull in a performance for which she received outstanding reviews - Variety called her "transfixing", the NY Times "excellent". For the play's run at London's Royal Court Theatre, she won the Olivier Award for

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"Best Actress." Scott Thomas first won over audiences and critics worldwide with her Academy-award nominated performance in the late Anthony Minghella's The English Patient, where she starred opposite Ralph Fiennes and Juliette Binoche. Of her performance, Kenneth Turan wrote, Scott Thomas "gives a gorgeous and magnetic performance that adds unanticipated new dimensions to an already formidable talent." For her performance she was honoured by the National Board of Review, and was nominated for a Golden Globe, the BAFTA, and the Screen Actors Guild Award. Making her U.S. film debut in Prince's Under a Cherry Moon, Scott Thomas went onto receive great acclaim in Mike Newell's Four Weddings and a Funeral, for which she won a BAFTA award for Best Supporting Actress. Other notable credits include: Philip Haas' Angels and Insects; Richard Loncraine's Richard III; Brian DePalma's Mission Impossible; Robert Redford's The Horse Whisperer; Sydney Pollack's Random Hearts; Irwin Winkler's Life as a House; Roman Polanski's Bitter Moon; Paul Schrader's The Walker and Justin Chadwick's The Other Boleyn Girl, Easy Virtue, and Confessions of a Shopholic. In 2001, Scott Thomas was part of the ensemble for Robert Altman's acclaimed, Oscar-winning film winning film, Gosford Park. The cast, which also included Maggie Smith, Helen Mirren, Michael Gambon, Ryan Phillippe, Derek Jacobi, Alan Bates, Emily Watson and Bob Balaban, went on to garner numerous awards and nomination including The SAG and Broadcast Film Critics’ Awards for Best Ensemble. Fluent in French and having been a resident of Paris since she was 19, Scott Thomas has appeared in numerous French films, including Guillaume Canet's Ne le Dis à Personne (Tell No One) Francis Veber's Le Doublure (The Valet) and Pascal Bonitzer's Petites Coupures (Small Cuts). In television, Kristin Scott Thomas has starred in a number of admired mini-series and made for TV movies including Gulliver's Travels; Belle Èpoque; Body and Soul; Weep No More, My Lady and The Secret Life of Ian Fleming. Additional theatre credits include revivals such as Pirandello's As You Desire Me and Chekhov's Three Sisters for London's Playhouse Theatre. Scott Thomas was born in Southwest England, and in her teens enrolled in drama school at Paris's École Nationale des Arts et Technique de Théâtre. David Morrissey Born in Liverpool, David Morrissey studied at RADA in London. Upon graduation he appeared in various critically acclaimed television dramas such as Our Mutual Friend, Clocking Off, Holding On (which earned him a prestigious RTS nomination), the six part BBC political drama State of Play, (a role for which he received a BAFTA nomination,) and one of Channel Four’s most controversial dramas The Deal, in which he played Gordon Brown (directed by Stephen Frears). He subsequently won an RTS Award for his depiction of Brown. In 2006, audiences saw David in Viva Blackpool, a 90 minute programme for BBC1 based on his character in Blackpool, a hugely popular six-part BBC musical drama broadcast in October and November 2005, and David received the Best Television Actor Award at the Arena Awards. Most recently he was seen in Red Riding, a dark and powerful trilogy of interlinking films adapted from David Peace’s novels.

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His film work includes Hilary & Jackie, Some Voices, Born Romantic, Captain Correlli’s Mandolin, Miramax’s Derailed, Stephen Woolley’s Stoned, The Reaping, The Waterhorse: Legend of the Deep, The Other Boleyn Girl, and more recently Is Anybody There? alongside Michael Caine and Leslie Phillips. David has his own production company, Tubedale Films which co-produced Patrice Leconte’s film, L’Homme Du Train, starring Johnny Hallyday and Jean Rochefort. David Threlfall Probably best known for his role as Frank Gallagher in Channel 4’s long running comedy series Shameless, David Threlfall is one of the most popular actors in the UK today. He’s gained many credits for the role including Best Comedy Performance 2006, and Best Actor at the RTS Television Awards 2006. His other TV roles included Keith Moran in Spooks for the BBC, but his groundbreaking TV role was as Smike in The Life and Adventures of Nicholas Nickleby in 1983, for which he was nominated for an Emmy for Best Supporting Actor in a Limited Series or Special. This was a part David first played to great acclaim at the RSC in Trevor Nunn’s production of the same name for which he was nominated for a Tony as Best Featured Actor in 1982. His other theatre parts include Bolingbroke in ‘Richard II’, and Orgon in Tartuffe both at the National Theatre. David’s performance as Michael in ‘Someone Who’ll Watch Over Me’ at the Ambassadors Theatre in 2006 earned him Best Actor nomination for the Olivier Awards. Threlfall’s film credits include The Russia House, Master and Commander: The Far Side of The World, Hot Fuzz, and Elizabeth: The Golden Age. Thomas Brodie Sangster Thomas was born in London in 1990. He has appeared in various TV programmes, including Doctor Who and Hitler: The Rise of Evil as the young Hitler. His breakthrough film role came in Richard Curtis’ Love, Actually as budding young drummer and romantic Sam, alongside Liam Neeson. Other film roles followed including Tristan and Isolde, Nanny McPhee, The Last Legion and Pinocchio Lucignolo. Thomas has most recently featured in Bright Star by Jane Campion. Josh Bolt Josh started acting aged 13 when he mistakenly got sent to an audition for Much Ado About Nothing at the Liverpool Playhouse, and has never looked back. His part as Pete Shotton in Nowhere Boy is his second feature film role. His first was in The Be All And End All also starring Liza Tarbuck, which is currently doing the rounds in the Chicago, Toronto, Seville and Rome Film Festivals and is due for release early next year. Sam Bell Sam Bell was born in 1991 in Crewe and lives in Winsford, Cheshire. Aside from doing drama at school, his part as George Harrison in Nowhere Boy marks his first acting role. He is a talented musician however and started playing in a band at the age of 12 covering songs from the Beatles

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and The Kinks. His current band is called ‘The Targets’ and Sam is looking forward to combining his music skills with acting further in the future. Ophelia Lovibond Before moving into film Ophelia's first break came on television at the age of 12 in The Wilsons, after which she played Alice Langdon in Loving You (Granada), followed by the regular role of Rachel Barton in the series Single (Tiger Aspect) and Jade in Holby City (BBC). This was followed by roles in Nathan Barley (Talkback TV), Messiah (BBC), Lewis (Granada) and most recently, the regular role of Daisy in the series FM (Granada). Lovibond made her feature film debut as Bet in Roman Polanski's Oliver Twist. Over the past year, since graduating with a 1st at Sussex University, Ophelia has completed a number of feature films, including Shadows In the Sun, London Boulevard, and Chatroom alongside Aaron Johnson. She is currently shooting Noel Clark's new film 4321 in which she plays ‘Shannon’, one of four lead roles, which is due for release next year. Biographies Sam Taylor-Wood - DIRECTOR Sam Taylor-Wood was born in London in 1967, she graduated from Goldsmiths College and was identified as a member of the Young British Artist’s movement. She has had numerous worldwide group and solo exhibitions, including being nominated for The Turner Prize (1998) and winning the Most Promising Young Artist, at the Venice Biennale (1997) Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2007). In 2008, Taylor-Wood directed her first narrative short film Love You More written by Patrick Marber and produced by Anthony Minghella, which was screened in Main Competition for the Palme d'Or at the Cannes Film Festival. It was also nominated for a BAFTA in 2009. Nowhere Boy is her feature film directorial debut. Matt Greenhalgh - SCREENPLAY Matt Greenhalgh’s writing career began in his native Manchester where he wrote for magazines and newspapers, before embarking on screenwriting. He wrote first for TV, among others, Cold Feet and Clocking Off, for which he was individually nominated for a BAFTA for Best New Writer. Matt’s first feature screenplay was Control about the life of Joy Division frontman Ian Curtis, produced by Orian Williams and directed by Anton Corbijn. His screenplay won him the prestigious Carl Foreman BAFTA award. It was selected as the opening film for Director’s Fortnight Cannes Film Festival 2007, was Matt subsequently won the Silver Hugo for Best Screenplay at the Chicago Film Festival 2007, and was nominated for a BIFA for Best Screenplay. Matt has just completed production on his directorial debut, Acid Burn, a short film which he also wrote, starring Agyness Deyn and Matthew Beard.

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Seamus McGarvey – DIRECTOR OF PHOTGRAPHY Seamus McGarvey BSC, born 29 June 1967 in Armagh, Northern Ireland, began his career as a still photographer before attending film school at the University of Westminster in London.

On graduating in 1988 he began shooting short films and documentaries, including Skin, which was nominated for a Royal Television Society Cinematography Award, and Atlantic, directed by Sam Taylor-Wood, nominated for the 1998 Turner Prize.

In 2004 he was awarded the Royal Photographic Society’s prestigious Lumiere medal for contributions to the art of cinematography. His cinematography credits include World Trade Center; The Hours, for which he earned the Evening Standard British Film Award for Best Technical/Artistic Achievement; Sahara, for which he won the Irish Film and Television Award for Best Cinematography; Along Came Polly, High Fidelity, Enigma, The War Zone; Butterfly Kiss; The Actors; A Map of the World; Charlotte’s Web and Atonement, for which he received an Academy Award nomination (2008), an ASC Best Cinematography nomination, a BAFTA nomination (2008), the Technical Achievement award in the Evening Standard British Film Awards for 2007 and the 2008 Irish Film and Television Award for Best Cinematography.

Most recently he shot The No. 1 Ladies’ Detective Agency directed by the late Anthony Minghella and The Soloist for director Joe Wright in Los Angeles.

Douglas Rae - PRODUCER Douglas Rae formed Ecosse Films in 1988 to produce documentaries and arts programmes and in 1997 he executive produced his first feature film, Mrs. Brown, starring Dame Judi Dench. The film went on to win twelve major international awards including a BAFTA nomination for Producer of the Year and two Oscar nominations. His other production credits include Charlotte Gray starring Cate Blanchett, Becoming Jane starring Anne Hathaway and James McAvoy, Brideshead Revisited starring Matthew Goode and Ben Whishaw and The Water Horse, starring Ben Chaplin, David Morrissey and Emily Watson. Alongside Nowhere Boy Douglas has two further films currently in post-production. Pelican Blood is based on the novel by Cris Freddi and directed by Karl Golden (The Honeymooners), the film stars up-and-coming actors Harry Treadaway (Control) and Emma Booth (Hippie Hippie Shake). Also in post-production is Black Death, a medieval chiller starring Sean Bean and Eddie Redmayne (Tess of the D’Urbervilles). Douglas was named Scottish Filmmaker of the Year by Scottish Screen (1997), won the Scottish Icon Award for Innovation (2004) and was presented with the Silver Thistle Award for Outstanding Contribution to Scotland (2005). He was a member of the BAFTA Film Committee from 2007- 2009 and is currently on the board of Maggie’s Cancer Caring Centres charity. Robert Bernstein - PRODUCER Robert Bernstein joined Ecosse Films in 1994 to develop the drama department and subsequently became a director and partner in the company. Having developed the script for Mrs. Brown (1997), which starred Dame Judi Dench and went on to win twelve major international awards and two Academy Award nominations, Robert’s next role was to Executive Produce Charlotte Gray, starring Cate Blanchett.

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His production credits include Wilderness, about six young offenders who are ruthlessly hunted down by a mysterious killer whilst team-building on a remote island; Becoming Jane, starring Anne Hathaway and James McAvoy, The Water Horse, starring David Morrissey and Emily Watson and Brideshead Revisited starring Emma Thompson, Michael Gambon and Matthew Goode. Alongside Nowhere Boy Robert has two further films currently in post-production. Pelican Blood is based on the novel by Cris Freddi and directed by Karl Golden (The Honeymooners), and currently in post-production is Black Death, a medieval chiller starring Sean Bean and Eddie Redmayne (Tess of the D’Urbervilles). Robert has executive produced many hours of primetime television drama including the hugely successful BBC One series Monarch of the Glen, as well as McCready & Daughter; a two-part thriller Amnesia starring John Hannah for ITV; an adaptation of Thomas Hardy’s classic novel Under the Greenwood Tree starring Keeley Hawes and more recently My Boy Jack a two hour film about Rudyard Kipling and his son Jack during WW1, starring Daniel Radcliffe and Kim Cattrall for ITV1. Kevin Loader - PRODUCER Kevin Loader is one of the UK’s most established film producers. His most recent film was Armando Iannucci’s political comedy In The Loop, starring James Gandolfini, Tom Hollander, Peter Capaldi and Gina McKee. The next film to be released will be Sam Taylor-Wood’s Nowhere Boy. He has a production company with directing partner Roger Michell, Free Range Films, for which Michell has directed Venus from a script by Hanif Kureishi – for which Peter O’Toole achieved Oscar and Golden Globe nominations for best actor; Enduring Love, starring Daniel Craig and Samantha Morton, and The Mother, also written by Kureishi and starring Craig, which won the Europa Cinemas Label Prize at Cannes in 2004. Loader’s other recent productions include Alex de la Iglesia’s The Oxford Murders, Julian Jarrold’s Brideshead Revisited (also with Ecosse) and Nicholas Hytner and Alan Bennett’s The History Boys. His other notable credits include producing Captain Corelli’s Mandolin, which starred Nic Cage and Penelope Cruz, and English Civil War drama To Kill a King. Loader began his career in 1982 at the BBC, producing and directing documentaries, arts programmes, and television drama. His BBC productions included the award-winning mini-series Clarissa, The Buddha of Suburbia, and Holding On. Loader has also worked for Sony Pictures Entertainment and Le Studio Canal Plus as Manager of their London-based joint venture, The Bridge. He is Chairman of the Cheltenham Screenwriters’ Festival. Forthcoming productions include another Roger Michell / Hanif Kureishi collaboration, Weekend, as well as films written by Peter Berry, Richard Nelson and Emily Young.

End Roller Credits

Cast in order of appearance

John AARON JOHNSON

Mimi KRISTIN SCOTT THOMAS

Uncle George DAVID THRELFALL

Pete JOSH BOLT

Marie OPHELIA LOVIBOND

Marie’s friend KERRIE HAYES

23

Schoolmistress ANGELA WALSH

Pobjoy PAUL RITTER

Reverend RICHARD SYMS

Julia ANNE-MARIE DUFF

Stan JAMES JOHNSON

Young John ALEX AMBROSE

Julia (aged 8) ANGELICA JOPLING

Jackie (aged 6) ABBY GREENHALGH

Bobby DAVID MORRISSEY

Teacher RICHARD TATE

Cunard Yank CHRISTOPHER COGHILL

Boy with knife BEN SMITH

Fishwick ANDREW BUCHAN

Postman BAILLIE WALSH

Guitar shop guy SIMON LOWE

Len FRAZER BIRD

Rod JAMES JACK BENTHAM

Eric JACK McELHONE

Nigel DANIEL ROSS

Colin SAM WILMOTT

Ivan JOHN COLLINS

Paul THOMAS BRODIE SANGSTER

George SAM BELL

Alf COLIN TIERNEY

Cavern bouncer NIGEL TRAVIS

Café waitress LIZZIE HOPLEY

Percy Phillips DAN ARMOUR

Production Manager JENNIFER WYNNE

1st Assistant Director ALEXANDER OAKLEY

Script Supervisor SUSANNA LENTON

Location Managers JASON WHEELER

CHRIS WEBB

Art Director CHARMIAN ADAMS

Hairdresser PAUL MOONEY

Sound Mixers MARTIN TREVIS, C.A.S.

JOHN MIDGLEY

Post-Production Supervisor LOUISE SEYMOUR

Supervising Sound Editor SIMON CHASE

Re-Recording Mixer PAUL COTTERELL

2nd Assistant Director MARK HOPKINS

Crowd 2nd Assistant Director BRYN LAWRENCE

3rd Assistant Director LAURA WINDEBANK

Production Co-ordinator MONA BENJAMIN

Assistant Production Co-ordinator KELLY TAYLOR-DIAS

Production Accountant JOHN MILES

Assistant Production Accountant DAN BUDD

Accounts Assistant HELEN BINGHAM

Trainee Assistant Production Accountant ELIZABETH BRIZZELL

Assistants to Sam Taylor-Wood ZELDA PERKINS

BEN SPICER Assistant to Robert Bernstein & Douglas Rae ANNA GREEN-ARMYTAGE

Assistant to Kevin Loader LISA WILLIAMS

Production Assistant ANNA WILTON

FT2 Production Trainees RICHARD ROGAN

SHEERIN KHOSROWSHAHI-MIANDOAB

Casting Assistants KHARMEL COCHRANE

ROBERT STERNE

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Floor Runners DEXTER BRYANT AMANDA DUDLEY

GARETH EDWARDS SARAH KENYON

CATHY LORIMER JOSEY McNAMARA

Runner Drivers DEVIS DAMONTE ALEX JEFFREY

JOSS SPRY BEN QUIRK

FT2 Script Supervisor Trainee ERIKA ZECKSER OWEN

Choreographer LES CHILD

Dialogue Coach WILLIAM CONACHER

Tutors CAROLYN ALLEN

KAREN CARR

Script Researcher ROSALIE CAREW

Assistant Location Managers MICHELLE PIANCA

TOM WOODS

Unit Managers MARC PRICE

MARK WALLEDGE

Locations Scout ANDREW HOLT

Health and Safety Officers DAVID KING TAYLOR

ANNE SHANLEY

Focus Puller JENNIE PADDON

Clapper Loader DAVID MACKIE

‘A’ Camera Trainee CHRIS HAYDEN

‘B’ Camera Trainee LAURENCE WRIGHT

FT2 Camera Trainees WILLIAM MILMAN

DANIEL WEST

Video Operators DASH LILLEY

DYLAN JONES

Camera Operator / Steadicam PETER ROBERTSON

‘B’ Camera Operators PETE BATTEN MARK MILSOME

‘B’ Camera Focus Pullers HARRY BOWERS CARLOS DE CARVALHO

RAWDON HAYNE OLLY TELLET

AXEL ULRICH

‘B’ Camera Clapper Loaders BARNY CROCKER CHRIS DODDS

KATHERINE FILBY JON HURLEY

ALISON LAI IAIN MACKAY

Gaffer LEE WALTERS

Best Boy PAUL SHARP

Electricians PETER HARRIS ADRIAN MACKAY

TERENCE ROBERTS ADAM WALKER

Key Grips DAVE MAUND

GARY HUTCHINGS

Grip Trainee SIMON MUIR

Assistant Art Director JAMES COLLINS

Standby Art Director / Graphic Designer TIM BLAKE

Set Decorator BARB HERMAN-SKELDING

Production Buyer KIM FAHEY

Art Department Assistant ANNA THOMAS

Art Department Trainee JENNI CANWELL

Prop Master COLIN MUTCH

Chargehand Standby Props BRADLEY TORBETT

Standby Props RICHIE MAGENNIS

Dressing Props MARK GEESON MARK REYNOLDS

Storyboard Artist JONNY MEAKIN

25

Assistant Costume Designer SHAIDA DAY

Wardrobe Supervisor JANE MARCANTONIO

Standby Wardrobe LAURA SMITH

Wardrobe Trainee ANNA REYNOLDS

UK Film Council Wardrobe Trainee CHARLES ADESANYA

Hair & Makeup Artist LESLEY SMITH

Makeup Trainee HEATHER MANSON

Construction Managers STUART WATSON ROB BROWN

DOMINIC PIKE TONY O’HARA

Construction Supervisor LEIGH THURBON

Carpenters CHRIS BROUGH CAVIN DEMPSEY

GAVIN HOSLER PETER TAYLOR

CHRIS WHITE

Supervising Painter DAVE HAYNES

Painters PAUL BALE

JOHN HAYNES

STEVE MARQUISS

Stagehands EDDIE O’NEIL

NEIL ROBERTSON

Standby Carpenters TOM HIGGINS

JOSH JONES

Standby Painters LISA COLLINS

MARY-PAT SHEAHAN

HOD Rigger GRAHAM BAKER

Sound Maintenance SIMON BYSSHE

GEORGE TREVIS

FT2 Sound Trainee DASH MASON-MALIK

1st Assistant Editor STEVE HAREN

Additional 1st Assistant Editor BILLY CAMPBELL

Assistant Editor MARK KEADY

FT2 Editing Trainees SIMON BROOKS

EVE DOHERTY

Stills Photographer LIAM DANIEL

Unit Publicist CHARLES McDONALD

EPK Director ROSS CLARKE

EPK Producer TRACEY LARCOMBE

Stunt Co-ordinator ANDY BENNETT

Stunt Rigger DAVID REED

Stunt Performers ROB COOPER

ADAM KIRLEY

BELINDA McGINLEY

GORDON SEED

Post Production at LipSync Post

Senior Post Producer LISA JORDAN

DI at LipSync Post

Colourist STUART FYVIE

Assistant Colourist SCOTT GOULDING

Supervisor JAMES CLARKE

Senior D-Lab Operator DANIEL TOMLINSON

D-Lab Operators

CHRIS BENTLEY

ALBERTO BURON

26

Sound mixed at LipSync Post

Additional Re-Recording Mixer JAMES HARRISON

Assistant Re-Recording Mixer BEN TAT

Sound Editorial at Soundelux London

Sound Effects Editor JAMES HARRISON

Sound Consultant EDDY JOSEPH

Foley Editor KEVIN PENNEY

Foley recorded at Universal Sound

Foley Mixers PHILL BARRETT

SIMON TRUNDLE

Foley Artists PAUL HANKS

IAN WAGGOTT

ADR Voice Casting VANESSA BAKER

Teenage ADR Crowd EVERYMAN THEATRE, LIVERPOOL

Titles by LipSync Post

HOWARD WATKINS

JULIA HALL

PETER DICKINSON

OANA ELISEI

Visual Effects by LipSync Post

Visual Effects Supervisor ANGELA ROSE

Visual Effects Producer SAMANTHA TRACEY

Head of Visual Effects STEFAN DRURY

Digital Compositors LUKE BUTLER MATT FOSTER

STEPHANIE KELLY LAURA DUBSKY

BLAKE WINDER JOHN O’LONE

PHILIPPE LUDVIG

Senior Systems Engineer JON STANLEY

Systems Engineer YANNI GOUDETSIDIS

Technical Support RICK WHITE

Post Production Accountant MAXINE DAVIS

Unit Driver to Kristin Scott Thomas STEVE COOKE

Unit Driver to David Morrissey TERRY COLLINS

Unit Drivers ALAN BRISTOW SYMON BUTCHER

BRIAN KELLY DAVID GROSE

PETER SOTERIOU

Facilities Drivers DAVE CARTER JIMMY COUTTS

DAVE FISHER JAMES OTT

TATYANA GENOVA MARTYN FOARD

Unit Medics ELTON FARLA DAVE NICHOLAS

JON CARTER

Chef CLYDE LANE

Assistant Chefs TERRY PASKINS KATE BAILEY

STEVE JARVIS JOHN LANE

JAMIE ATKINS

For Ecosse Films

Financial Controller JEANINE EAST

Assistant Development Producer NICOLA STEAN

Office Manager SOPHIE FALKNER

Head of Legal EMMA STANYER

For UK Film Council

Head of Premiere Fund SALLY CAPLAN

Creative Co-ordinators AARON ANDERSON

NICK ATKINSON

27

Head of Business Affairs WILL EVANS

Head of Production Finance VINCE HOLDEN

Head of Production FIONA MORHAM

For HanWay Films

THORSTEN SCHUMACHER

SOFIA NEVES

JONATHAN LYNCH-STAUNTON

MATTHEW BAKER

RICHARD MANSELL

JAN SPIELHOFF

For Film4

Head of Development KATHERINE BUTLER

Head of Production TRACEY JOSEPHS

Head of Business Affairs HARRY DIXON

For Northwest Vision and Media

Head of Film TARA COOK

Liverpool Film Office KEVIN BELL

LYNN SAUNDERS Legal Services NATALIE BASS for

LEE AND THOMPSON

For Lip Sync Productions PETER HAMPDEN

For Bus Stop Films

Associate Producer JAYNIE MILLER

Camera Equipment PANAVISION

Originated on Motion Picture Film KODAK

FUJIFILM

Lighting Equipment PANALUX

Bond Company FILM FINANCES LTD

Auditors SHIPLEYS LLP

Production Legal Services SARA CURRAN

Insurance Brokers DEREK TOWNSHEND & SARAH FAHY

TOTALLY ENTERTAINMENT

Legal Advisor to Aver Media DAVID QULI

WIGGIN LLP

Negative Checks and Script TONIA COHEN

CAPELLO MEDIA SOLUTIONS

Publicity PREMIER PR

Accommodation BIG CITY RESERVATIONS

WEST TREND APARTMENTS

Accounts Services SARGENT-DISC

Action Vehicles 1st POSITION VEHICLES

BICKERS ACTION

Armourers BAPTY & CO

Caterers J & J INTERNATIONAL

Crowd Caterers BIG PORTION LOCATION CATERING

RED CHUTNEY

TELE-CATER

Costume Supplies ANGELS THE COSTUMIERS

CARLO MANZI

COSPROPS

MOVIE TONE FROCKS

Facilities MOVIE MAKERS

DIRECT FILM

Lighting Balloons AIRSTAR

28

Location Facilities and Supplies MAKIN MOVIES

SPOTLESS LOCATIONS

Minibuses MK TRAVEL

Photocopiers TCE DANWOOD Production Mobiles, Data Cards & Walkie Talkies AUDIOLINK

Wig Supplies ALEX ROUSE WIGS

Plant Hire CHARLES WILSON

Laboratory DELUXE LONDON

Laboratory Contact CLIVE NOAKES

Post Production Script FATTS

Music Director JOHN GOSLING

Music Producers EMRE RAMAZANOGLU

BEN PARKER

Recording Producer EMRE RAMAZANOGLU

Vocal & Instrumental Tutor

& Arranger BEN PARKER

Musicians (The Nowhere Boys)

Vocals & Guitar AARON JOHNSON

SAM BELL

Washboard WILL FRY

Piano & Vocals SAM SWALLOW

Drums EMRE RAMAZANOGLU

Guitar STEPHEN HODD

Guitar, Banjo & Vocals BEN PARKER

Piano NAT WOODCOCK

Tea Chest Bass & Guitar JIMMY SIMS

Guitar & Banjo PATRICK MURDOCH

Recorded at ASSAULT AND BATTERY

Assistant Engineers CATHERINE MARKS

SEAN COLLINS

ANDREA CONTINO

Music/Audio Restoration MATHEW LANE

Music Editor PETER CLARKE

Recorded at ABBEY ROAD STUDIOS

Orchestrated & Conducted by NICK INGHAM

Recording Engineer ANDY DUDMAN

Guitar SIMON ROGERS

Orchestra Contractor ISOBEL GRIFFITHS

Wild One

(John Greenan/Johnny O’Keefe/ Dave Owens) Published by ©1958 MPL Communications Inc.

Melody Lane Publications, Inc. Performed by Jerry Lee Lewis

Licensed from Licensemusic.com ApS Courtesy of Sun Entertainment Corporation

If I Knew You Were Comin’ I’d’ve Baked A Cake (Al Hoffman/Bob Merrill/Clem Watts)

Published by EMI Music Publishing Limited Al Hoffman Songs, Inc./Golden Bell Songs Licensed Courtesy of Decca Music Group Ltd

Under license from Universal Music Operations Ltd

Mr. Sandman (Pat Ballard)

Published by © Edwin H. Morris Co. Inc. (ASCAP) All rights administered by Warner Chappell Music

Publishing Limited Performed by Dickie Valentine

Licensed courtesy of Decca Music Group Ltd Under license from Universal Music Operations Ltd

Rocket 88 (Jackie Brenston)

Published by © Hill & Range Songs Inc. Used by kind permission of Carlin Music Corp

Performed by Jackie Brenston & His Delta Cats Courtesy of MCA Records Inc.

Under license from Universal Music Operations Ltd

Shake Rattle & Roll (Charles Calhoun)

Published by UniChappell Music Inc. (BMI) and Mijac Music (BMI)

All rights Administered by UniChappell Music Inc. Sub-Published by Campbell Connelly & Co Ltd in the

Hard Headed Woman (Claude De Metrius)

Published © Gladys Music Used by kind permission of Carlin Music Corp

Performed by Wanda Jackson

29

territory of British Commonwealth, Eire & South Africa Excluding Australasia, Canada

Performed by Elvis Presley (P) 1956 Sony Music Entertainment Inc.

Licensed courtesy of Sony Music Entertainment UK Limited

Licensed courtesy of EMI Records Ltd

I Put A Spell On You (Jay Hawkins)

Published by EMI Music Publishing Limited/EMI United Partnership Limited

Performed by Screamin’ Jay Hawkins (P) 1956 Sony Music Entertainment Inc.

Licensed courtesy of Sony Music Entertainment UK Limited

(Let Me Be Your) Teddy Bear (Bernie Lowe/Karl Mann)

Published by © Carlin Music Corp Performed by Aaron Johnson

Maggie May

(Wally Whyton) Published by Tro Essex Music Ltd Performed by Anne-Marie Duff

That’ll Be The Day (Jerry Allison/Buddy Holly/Norman Petty)

Published ©1957 MPL Communications Inc. Melody Lane Publications, Inc. Performed by Aaron Johnson

Rockin’ Daddy (Therman B Fisher)

Used by kind permission of Carlin Music Corp Performed by Eddie Bond & The Stompers

Licensed from Licensemusic.com ApS Courtesy of Sun Entertainment Corporation

Maggie May

(Wally Whyton) Published by Tro Essex Music Ltd Performed by The Nowhere Boys

Twenty Flight Rock (Edward Cochran/ Ned Fairchild)

Published by Campbell Connelly & Co Limited Performed by Sam Bell & Patrick Murdoch

Blue Moon (Richard Rodgers/ Lorenz Hart)

Published by EMI Music Publishing Limited/EMI United Partnership Limited

Performed by Aaron Johnson & Thomas Brodie Sangster

That’s All Right (Arthur Crudup)

Used by kind permission of Carlin Music Corp Performed by The Nowhere Boys

Movin’ N’ Groovin’ (Duane Eddy/Lee Hazlewood)

Published © 1959 (Renewed) Unichappell Music Inc. (BMI) Licensed courtesy of Warner Chappell Music

Publishing Limited Performed by The Nowhere Boys

Raunchy (Sidney Manker/William E Justis)

Used by kind permission of Carlin Music Corp and Hi-Lo Music Inc

Performed by The Nowhere Boys

Hound Dog

(Jerry Leiber/Mike Stoller) Published by Universal/MCA Music Ltd/

© Lion Publishing Co Inc And Duchess Music Corp.(BMI) All rights on behalf of Lion Publishing Co Inc. administered

by Warner Chappell Music Publishing Limited Performed by Big Mama Thornton

Courtesy of MCA Records Inc. Under license from Universal Music Operations Ltd

Love Me Tender

(Elvis Presley/Vera Matson) Used by kind permission of Carlin Music Corp.

Performed by Sam Bell

My Son John

(Sammy Fain/Carolyn Leigh) Used by kind permission of Moncur Street Music Ltd

Performed by David Whitfield Courtesy of Decca Music Group Ltd

Under license from Universal Music Operations Ltd

Be-Bop-A-Lula (Gene Vincent/Sheriff Tex Davis)

Used by kind permission of Carlin Music Corp Performed by Gene Vincent

Licensed courtesy of EMI Records Ltd

Hello Little Girl

(John Lennon/Paul McCartney) Published by Sony/ATV Music

Performed by Sam Bell

In Spite Of All The Danger

(Paul McCartney/George Harrison) Published by MPL Communications Ltd/Inc (ASCAP)

Performed by The Nowhere Boys

Mother

(John Lennon) Published by Sony/ATV Music Performed by John Lennon

Licensed courtesy of EMI Records Ltd

Soundtrack available on Sony Music

30

Additional incidental music by

John Gosling, Emre Ramazanoglu, Ben Parker, Ben Lee

Music thanks to:

Geithain Loudspeakers, Royer Microphones, Heil Microphones, Cranesong, Martin Guitars, EMF,

Sonny, Assault And Battery, Andrea Contino, Anna Whiting, Simon Rogers, Gerard McCann

STOCK FOOTAGE

ITN Source / Fox Movietone BBC Motion Gallery

With thanks to:

Yoko Ono, Rose Garnett, Baillie Walsh, Niall O'Brien, Summar Hipworth, Louise Stern,

Joe Wright, Pauline McLaughlin, Angelica Jopling, Jessie Phoenix Jopling, Adrian Sturges,

Murray Chalmers, Peter Watson, Brad & Kitty and everyone at Duck Lane

Filmed in Liverpool, London and Ealing Studios

With thanks to

Susanna White

This motion picture is protected under the laws of the United States and other countries. Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution.

This film is based on true events. However, certain details, dialogue, scenes and characters have been invented or adapted in the process of dramatisation of the film.

Worldwide Sales by HanWay Films

Collection Account Management by Fintage Collection Account Management B.V.

Made with the support of the UK Film Council’s Development Fund and Premiere Fund

Made with the support of North West Vision and Media through the Merseyside Film & Television Fund

and the Regional Attraction Fund

An Ecosse Films Production for Film4, the UK Film Council, North West Vision and Media and LipSync Productions LLP

© 2009 Lennon Films Limited Channel Four Television Corporation and UK Film Council. All Rights Reserved