lesmiserables productionnotes

8/13/2019 LESMISERABLES ProductionNotes

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UNIVERSAL PICTURES Presents

In Association with RELATIVITY MEDIA

A WORKING TITLE FILMS / CAMERON MACKINTOSH Production

A Film by TOM HOOPER

HUGH JACKMANRUSSELL CROWE ANNE HATHAWAY

AMANDA SEYFRIED

EDDIE REDMAYNEwith HELENA BONHAM CARTER

and SACHA BARON COHEN

Executive Producers ANGELA MORRISON

LIZA CHASINNICHOLAS ALLOTTF. RICHARD PAPPAS

Music by

CLAUDE-MICHEL SCHNBERGLyrics by

HERBERT KRETZMER

Screenplay byWILLIAM NICHOLSON

ALAIN BOUBLILCLAUDE-MICHEL SCHNBERG

HERBERT KRETZMER

Produced byTIM BEVANERIC FELLNER

DEBRA HAYWARDCAMERON MACKINTOSH

Based on Cameron Mackintoshs Production of the Original Stage MusicalBOUBLIL AND SCHNBERGSLES MISRABLES

Directed byTOM HOOPER

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Courfeyrac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRA FEEFeuilly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . GABRIEL VICKGran ta i r e . . . . . . . . . . . . . . . . . . . . . . .GEORGE BLAGDENJoly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HUGH SKINNERLesgles . . . . . . . . . . . . . . . . . . . . . . . . . . . . .STUART NEALProuvaire . . . . . . . . . . . . . . . . . . . . . ALISTAIR BRAMMERMadame Hucheloup. . . . . . . . . . . . . . . . .KATY SECOMBE

Army Ofcer . . . . . . . . . . . . . . . . . . . . . . HADLEY FRASERTurning Woman 1 . . . . . . . . . . . . . . . . . . . . LINZI HATELEYTurning Woman 2 . . . . . . . . . . . . . . . . . .GEMMA WARDLETurning Woman 3 . . . . . . . . . . . . . . . . . . . . . . . GINA BECKTurning Woman 4 . . . . . . . . . . . . . . . . . . . . . . .KATIE HALLTurning Woman 5 . . . . . . . . . . . . . . . . . . . . . . . .LISA HULLTurning Woman 6 . . . . . . . . . . . . . . . . . . . .ANDREA DECKTurning Woman 7 . . . . . . . . . . . . . . . . . JESSICA DUNCANTurning Woman 8 . . . . . . . . . . . . . . . . . . . KERRY INGRAM

Majordomo . . . . . . . . . . . . . . . . . . . . . . . JOHN WARNABYFather Mabeuf . . . . . . . . . . . . . . . . . . . . . . . .MIKE SARNECaf Barmaid . . . . . . . . . . . . . . . . . . . . . . . .FREYA PARKSMother . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELLIE BEAVENEnsemble At the End of the Day . . RICHARD BREMMER

ALEXANDER BROOKSELEANOR BRUCE

EMMA DUKESSTEPHEN MATTHEWS

PETER SARACENSEBASTIAN SYKESPHIL ZIMMERMAN

Ensemble Factory Women . . . . . . . . . . . .BESSIE CARTERHELEN COTTERILLTRICIA DEIGHTONMANDY HOLLIDAYCHARLOTTE HOPE

JACKIE MARKSSARA PELOSI

MARY ROSCOE AMELIA SCARAMUCCI

CAROLINE SHEENEnsemble Lovely Ladies . . . . . . . . . RACHAEL ARCHER

LORNA BROWN ANTONIA CLARKE

MARY CORMACKSONYA CULLINGFORDHOLLY DALE SPENCER

AMY GRIFFITHFANIA GRIGORIO

AMANDA HENDERS ALEXIA KHADI

LUISA LAZZARGEMMA ODUF

ROSA OREILL

AMY ELLEN RICHARDSOLIVIA ROSE-AAR

ROBYN MIRANDA SIMPSRACHEL STANLENANCY SULLIVA

REBECCA SUTHERLATABITHA WEB

Ensemble Master of the House. . . . . GERARD BENTATONY BIGNEL

MICHAEL CAHIRICHARD COLSO

KERRY ELLSIMON FISHER-BECK

SARAH FLINKELLY-ANNE GOW

JAMES GREENNICK HOLDE

CHRIS HOWEL

ALISON JIEATERENCE KEELMARTIN MARQU

SALLY MATEJEFF NICHOLSO

ADAM SEARLSIMON SHORTE

Ensemble Paris Beggars . . . . . . . . . . . .JULIET ALDERISEAN BUCKLE

VALERIES CUTKSPIKE GRIMSE

MATT HARROGEORGINA JACKSO

PERRY MILLWARPHIL PHILMA

JOYCE SPRINGEJULIE STAR

Ensemble Students . . . . . . . . . . . DOMINIC APPLEWHIMATTHEW CORNE

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ANDY COXONJONATHAN D. DUDLEY

RHIDIAN MARKCHRIS MILFORD

JAMIE MUSCATOJOSEPH PETERS

JONNY PURCHASE

DAVID ROBERTSSTEVEEE ROSS-DAVIESMATT SEADON YOUNG

JOS SLOVICKSAMUEL J. WEIR

Ensemble Turning Women . . . . . . . .SOPHIE HUCHINSONELLA HUNT

CLAIRE MACHINBRENDA MOORE

MISCHA PURNELL ANNETTE YEO

Ensemble Wedding Dancers. . JOSEPHINE DARVILL-MILLSJENNIFER ESSEX

VICKY EVANSEDWARD LEWIS FRENCH

NIGEL GARTONLYNN JEZZARD

NICHOLAS KEEGAN

STEVE KIRKHAMVANESSA LEAGH-HICKSIAN PARSONS

GEMMA PAYNECLINTEN PEARCE

CLAIRE PIQUEMAL AARON SILLIS

RACHEL STANLEYIAN WALLER

Stunt Coordinator. . . . . . . . . . . . . . . . . . . PAUL HERBERT Assistant Stunt Coordinator/Javert Stunt Double . . . . . . .

ROWLEY IRLAMValjean Stunt Double . . . . . . . . . . . RICHARD BRADSHAWStunt Performers . . . . . . . . . . . . . . . RACHELLE BEINART

ANDY BUTCHERMICHAEL BYRCHNICK CHOPPING

TONY CHRISTIANJONATHAN COHEN

ROB COOPEKELLY DEN

LEVAN DORAJAMIE EDGEL

DANIEL EUSTOBRADLEY FARM

SARAH FRANZ

DAVID GARRICDAVID GRAN

JAMES GROGAPAUL HEASMA

GARY HOPTROUGPAUL HOWEL

PAUL KENNINGTOMIKE LAMBE

PAUL LOW

TONY LUCKEKAI MART

KIM MC GARRITCHRIS NEWTODAVID NEWTO

JAMES PAVEIAN PEA

HEATHER PHILLI ANDY PILGR

MARCUS SHAKESHEMARTIN JAMES SHENTOCC SMIF

HELEN STEINWAY-BAILSHANE STEYRYAN STUAR

AARAN TOPHA ANDY WAREHA

REG WAYMENSIMON WHYMA

MARTIN WILDWILL WILLOUGH

BEN WRIGHSTEEN YOUN

CREW

Directed by. . . . . . . . . . . . . . . . . . . . . . . . . TOM HOOPEProduced by. . . . . . . . . . . . . . . . . . . . . . . . . . . TIM BEVA

ERIC FELLNE

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DEBRA HAYWARDCAMERON MACKINTOSH

Screenplay by. . . . . . . . . . . . . . . . . WILLIAM NICHOLSON ALAIN BOUBLIL

CLAUDE-MICHEL SCHNBERGHERBERT KRETZMER

Music by. . . . . . . . . . . . . CLAUDE-MICHEL SCHNBERG

Lyrics by. . . . . . . . . . . . . . . . . . . . . HERBERT KRETZMERBased on the Original Stage Musical. . . . . . BOUBLIL and

SCHNBERGS LES MISRABLESFrom the Novel by . . . . . . . . . . . . . . . . . . . VICTOR HUGOProduced on Stage by . . . . . . . CAMERON MACKINTOSHCo-Producer. . . . . . . . . . . . . . . . . . . . BERNARD BELLEWExecutive Producers . . . . . . . . . . . . ANGELA MORRISON

LIZA CHASINNICHOLAS ALLOTT

F. RICHARD PAPPASDirector of Photography. . . . . . . . . . .DANNY COHENBSCProduction Designer. . . . . . . . . . . . . . . . . . EVE STEWARTCostume Designer . . . . . . . . . . . . . . . . . .PACO DELGADOProduction Sound Mixer . . . . . . . . . .SIMON HAYES AMPSHair & Makeup Designer . . . . . . . . . . . . LISA WESTCOTTEditors . . . . . . . . . . . . . . . . . . . . . .MELANIE ANN OLIVER

CHRIS DICKENS ACEOrchestrations by. . . . . . . . . . . . . . . . . . . . ANNE DUDLEY

STEPHEN METCALFEMusical Director . . . . . . . . . . . . . . . . STEPHEN BROOKERMusic Producers . . . . . . . . . . . . . . . . . . . ALAIN BOUBLIL

CLAUDE-MICHEL SCHNBERG ANNE DUDLEY

Music Supervisor . . . . . . . . . . . . . . . . . BECKY BENTHAMRe-Recording Sound Mixers . . . . . . . . . . . ANDY NELSON

MARK PATERSONMusic Recorded and Mixed by . . . . . . JONATHAN ALLENSupervising Sound Editors. . . . . . . . . . JOHN WARHURST

LEE WALPOLEVisual Effects Supervisor . . . . . . . . . . . . . . RICHARD BAINChoreographer. . . . . . . . . . . . . . . . . . . . . . . . LIAM STEELCasting by . . . . . . . . . . . . . . . . . . . . . . . . . . . . NINA GOLDOriginal French Text by. . . . . . . . . . . . . .ALAIN BOUBLIL &

JEAN-MARC NATEL Additional Material by. . . . . . . . . . . . . . . . JAMES FENTON Adapted by. . . . . . . . . . . .TREVOR NUNN & JOHN CAIRDOriginal Stage Orchestrations by . . . . . . JOHN CAMERON

New Stage Orchestrations by . . . . . . . . . .CHRIS JAHNK Additional Stage Orchestrations by . . . . . . . . . . . . . . . . .

STEPHEN METCALFE aSTEPHEN BROOKE

Unit Production Manager . . . . . . . PATRICK SCHWEITZFirst Assistant Director. . . . . . . . . . . . . . . BEN HOWARTSecond Assistant Director . . . . . . . . . . . HARRIET WORT

Original London Production Produced in Association withthe Royal Shakespeare CompanyDirected by. . . . . . . . . . . .TREVOR NUNN & JOHN CA

25th Anniversary Production Directed by . . . . . . . . . . . . .LAURENCE CONNOR

JAMES POWEL

Associate Producers . . . . . . . . . . THOMAS SCHNBERFRANCESCA BUD

Additional Music by . . . . . . . . . . . . . . . . . . ANNE DUDLFinancial Controller. . . . . . . . . . . . . . . . . MICHELE TANLocation Manager . . . . . . . . . . . CAMILLA STEPHENSScript Supervisor . . . . . . . . . . . . . . . . . . .PAULA CASARSupervising Art Director . . . . . . . . . GRANT ARMSTROSet Decorator . . . . . . . . . . . . . . ANNA LYNCH-ROBINSConstruction Coordinator. . . . . . . . .MALCOLM ROBERVisual Effects Producer . . . . . . . . . . . . . . . . . . . TIM FIELPostproduction Supervisor. . . . . . . . . . . . . . .TIM GROVESupervising Music Editor . . . . . . . . . . . GERARD MC CANNMusic Editors . . . . . . . . . . . . . . . . . . . . . . ROB HOUSTO

JAMES BELLAM Additional Orchestrator, Music Editor and Programmer . .

RAEL JONEDialogue and ADR Supervisor . . . . . . . . . . . . .TIM HANDialogue Editor. . . . . . . . . . . . . . . . MATTHEW SKELDCo-Supervising Sound Editor. . . . . . . . . .STEFAN HENRMusical Staging . . . . . . . . . . . . . . . . . . . . . . . LIAM STEEDialect Coaching . . . . . . . . . . . . . . .VOX BARBARAE LHead Dialect Coach . . . . . . . . . . . . . BARBARA BERKEDialect Coach . . . . . . . . . . . . . . . . . . . . ELSPETH BROD

FOR WORKING TITLE

Executive in Charge of Production. . . MICHELLE WRIGProduction Executive . . . . . . . . SARAH-JANE ROBINS

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Head of Legal and Business Affairs . . . . . SHEERAZ SHAHFinance Director. . . . . . . . . . . . . . . . . . . . . .TIM EASTHILLExecutive Vice President Film U.K. . . .AMELIA GRANGERDirector of Legal and Business Affairs . . . . . . . . . . . . . . . .

EMILY MACKINTOSHProduction Supervisor . . . . . . . . . . . . . . . . .KATE FASULOProduction Coordinator . . . . . . . . . . . . . . . . . JACK SIDEY

Assistant Production Coordinator . . . NICHOLAS HATTON Assistants to Tim Bevan. . . . . . . . . . . . .CHLO DORIGAN

VICTORIA ENDACOTT Assistants to Eric Fellner . . . . . . . .KATHERINE POMFRET

OLIVIA NEWHOUSE

FOR CML

Finance Director. . . . . . . . . . . . . . . . . . . .RICHARD KNIBBCasting Consultant. . . . . . . . . . . . . . . TREVOR JACKSON

Casting Associate . . . . . . . . . . . . . . . . . .JAMES ORANGECasting Assistant . . . . . . . . . . . . . . . . . . .PAUL WOOLLERMarketing Consultant. . . . . . . . . . . . . . . . DAVID DOLMAN

Archivist . . . . . . . . . . . . . . . . . . . . . . . . ROSY RUNCIMANProduction Associate New York. . . . . . . . SHIDAN MAJIDI

Assistant to Cameron Mackintosh . . . . . . . . JANE AUSTIN Assistant to Nicholas Allott . . . . . . . . . . . CLAIRE MISTRY

Production Coordinator . . . . . . . . . . . . . . EVE SWANNELL

Assistant Production Coordinator . . . . . . HOLLIE FOSTER Assistant to Debra Hayward. . . . . . . DANIEL EMMERSON Assistant to Bernard Bellew . . . . . . . . . . .WILLIAM POYERProduction Secretary . . . . . . . . . . . . . . . . ANETA CHALASTravel Coordinator . . . . . . . . . . . . . . . . .CLARE WILLIAMSProduction Runners . . . . . . . . . . . . . . . . . . . ALEX TAYLOR

MONIQUE BROWNSecond Second Assistant Director . . . . . . . . . . . . . . . . . . .

DAN CHANNING WILLIAMSCrowd Second Assistant Director . . . . BRYN LAWRENCEEnsemble Second Assistant Director. . . .ADRIAN SARPLEThird Assistant Director . . . . . . . . . . . . . . . .GAYLE DICKIECrowd Third Assistant Director . . . . . . . . . . . .BEN QUIRKFloor Runners. . . . . . . . . . . . . . . . . LOTTIE BIRMINGHAM

OLIVIA PERCIVALNICK LAURENCE

ZOE MORGAN CHISWICKCast PA. . . . . . . . . . . . . . . . . . . . . . . . . . . . ROSIE COKERChoreographic Assistant . . . . . . . . . . . . . . .DAN WATSON

Assistant to Mr. Jackman. . . . . . . . . . . .IRVING MILGRO Assistant to Mr. Crowe. . . . . . . . . . . . . JOCELYN CLEAR Assistant to Ms. Hathaway. . . . . . . . . . . KERRY WAGNE Assistant to Mr. Baron Cohen . . . . . . . RHONDA GEORGLocation Managers. . . . . . . . . . . . . . . . . . . . . . .BEN PILT

RICHARD GEORGCHARLIE SOMER

DAVID SEATO Assistant Location Manager. . . . . . . REBECCA PEARSOUnit Manager . . . . . . . . . . . . . . . . . . . . . . BOBBY PRINC

Assistant Unit Manager . . . . . . . . . . . . . . . . TOM OSHELocations Assistants . . . . . . . . . . . . . . . . . . . BEN RYDE

CHRIS HANKEA Camera Operator . . . . . . . . . . . ZAC NICHOLSON ACOB Camera Operator. . . . . . . . . . . LUKE REDGRAVE ACOC Camera Operator. . . . . . . . VINCENT MC GAHON ACO

Second Unit Director of Photography . . . .MARTIN FOL Additional Camera Operators. . . . . . OLIVER LONCRA

SIMON FINNEA Camera Focus Puller . . . . . . . . . . . . . . PETER BYRNB Camera Focus Puller . . . . . . . . . . . . . . . .LEIGH GOLC Camera Focus Puller . . . . . . . . . . . . . . . JOHN EVAN

Additional Focus Pullers. . . . . . . . . . . . . . .NATHAN MAGRAHAM MART

ADAM COLE

IAN COFFETOM MC FARLINOLIVER TELL

SPENCER MURREA Camera Clapper Loader. . . . . . . . . . . ABIGAIL CATB Camera Clapper Loader . . . . . . . . . .MAX GLICKMC Camera Clapper Loader . . . . . . . . . . . ELLIOT DUPUCentral Loaders . . . . . . . . . . . . . . . . . . . . . . .BEN BROW

MORGAN SPENCE Additional Clapper Loaders . . . . . . . . .ROBERT GILMO

DAVID CHURCHYACamera Trainees. . . . . . . . . . . . . . . . . . . . .DAVID PEARC

DOMINIC CHEUNVideo Playback Operator . . . . . . . . . . GUY MC CORMAC

Assistant Video Playback Operator . . . CHRIS CAVANAGKey Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ALEX MOB Camera Grip . . . . . . . . . . . . . . . . . . . . .JODY KNIGHCentral Grip . . . . . . . . . . . . . . . . . . . . . . . .CHARLIE WACrane Grips . . . . . . . . . . . . . . . . . . . . . . . . . .NICK CUPA

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Crane Technicians . . . . . . . . . . . . .LAURENCE EDWARDSGEORGE POWELL

Trainee Grip . . . . . . . . . . . . . . . . . . . . . . . . PETER OLNEYGaffer . . . . . . . . . . . . . . . . . . . . . . . . . PAUL MC GEACHANBest Boy. . . . . . . . . . . . . . . . . . . . . . . . . . . . WILL KENDALDesk Op/Electrician . . . . . . . . . . . . . CHRIS GILBERTSONElectricians . . . . . . . . . . . . . . . . . . . . . . . . .THOMAS HYDE

THOMAS TANN ANDREW BAILEY

ANDREW ODRISCOLLRigging Gaffer . . . . . . . . . . . . . . . . . . . .ROSS GRAINGERRigging Electricians . . . . . . . . . . .EMILY-JANE GRAINGER

ALAN MC PHERSONJAMIE HUNT

CHARLIE COXROY FURNESS

Supervising Electrical Rigger . . . . . . . . . . . . . . GUY COPEChargehand Electrical Riggers. . . . . . . .PETER GRAFHAM

DARREN RASHBROOKStunt Rigger . . . . . . . . . . . . . . . . . . . LENNY WOODCOCKWire Supervisors . . . . . . . . . . . . . . . . . . . . . CLIVE GOBLEWire Assistants . . . . . . . . . . . . . . . . . . . . . . . . ROB HAYNS

BEN MAHONEYSCOTT SPEARPOINT

Key First Assistant Sound . . . . . . . . . . . . . ARTHUR FENN

First Assistant Sound . . . . . . . . . . . . . . .ROBIN JOHNSONMusic Sound Maintenance. . . . . . . . . . .PAUL SCHWARTZSecond Assistant Sound . . . . . . . . . . . . . . . .JAMES GIBBSound Trainee . . . . . . . . . . . . . . . . . . . . .DUNCAN CRAIGSound & Music Assistant . . . . . . . . . . . . . ANDREW ROWE

Art Directors . . . . . . . . . . . . . . . . . . . . . . . .GARY JOPLINGHANNAH MOSELEY

Standby Art Directors . . . . . . . . . . . . . . . . . . .BEN MUNROSARAH-JANE PRENTICE

Assistant Art Director . . . . . . . . . . . . . . . JANE HARWOOD Art Department Coordinator. . . . . . . . . . . . JULIA CASTLESenior Draughtsman. . . . . . . . . . . . . . . . . KETAN WAIKARDraugh t sman . . . . . . . . . . . . . . . . . . . . . . . . .GAVIN FITCHJunior Draughtsmen. . . . . . . . . . . . . . . . PATRICK HARRIS

SOPHIE NEILGraphics Artists . . . . . . . . . . . . . . . . . . . . . . .AMY MERRY

ANITA DHILLON Art Department Assistant . . . . . . . . . . . KRISTY PARNHAMBBC Skillset Art Department Trainee . . . . . . . . . . . . . . . . .

THEOFANO PITSILLID Art Department Trainee . . . . . . . . . . . . . . .CHRIS PETERStoryboard Artist . . . . . . . . . . . . . . . . DOUGLAS INGRA

Assistant Set Decorator . . . . . . . . . . . . . SARAH WHITTProduction Buyer . . . . . . . . . . . . . . . . . . . . JAMES HEND

Assistant Production Buyer . . . . . . . . . . CARRIE GARNPetty Cash Buyer . . . . . . . . . . . . . . . . . . . . KATIE TURNE

Product Placement and Clearances Coordinator . . . . . . . .CASSANDRA SIGSGAA

Greens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JON MARSONPETER HOOPE

Modelmakers . . . . . . . . . . . . . . . . . . . . . . . .LIZZIE BRAVFIONA GOURLA

LIZ PECCADI ROWLAN

ALICE SUTTO

EMMA SAUNDERCARA WALKEBarricade Construction . . . . . . . . . . . . LEON MC CARTH

ALAN CHESTERSTEPHEN CREW

JOHN CREWScenic Artists . . . . . . . . . . . . . . . . . . . . . . ROHAN HARR

NIGEL HUGHESTUART CLARK

Armourer Supervisor . . . . . . . . . . . . . . . . . . . JON BAKE

Armourer Coordinator . . . . . . . . . . . . . . .BEN ROTHWE Armourers. . . . . . . . . . . . . . . . . . . . . . . . . DAN OSBORN

KEN GARSIDSIMON NEVIL

LIAM BYRNDAVID MA

Production Accountant . . . . . . . . . JAMES RICHARDSOFirst Assistant Accountant . . . . . . . . . . . .CHRIS NORMA

Assistant Accountants . . . . . ANN ORMESHER JOHNSOCLAIR HANSOSOPHIE OLIVE

Accounts Assistants. . . . . . . . . . . . . HARRIET EASTGAOLIVER MITCHE

Vocal Coaches . . . . . . . . . . . . . . . . . . . . . . . JOAN LADEROBERTA DUCHA

CLAIRE UNDERWOOLIZ CAPLA

MARY HAMMONDLINDA KERN

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MARY MEYLANDOn-Set Pianists . . . . . . . . . . . . . . . . . . . ROGER DAVISON

JENNIFER WHYTECrowd Chorus Preparation. . . . . . . . .MICHAEL ENGLANDCostume Supervisor. . . . . . . . . . . . . . . . . MARCO SCOTTI

Assistant Costume Designers . . . . . . . . . . . . .SONIA ISLA SALLY TURNER

Crowd Costume Supervisor. . . . . . . . . . . . . . . TIM ASLAMCostume Department Coordinator. . . . . . .HELEN TURPINWardrobe Master . . . . . . . . . . . .MARCODE MAGALHAESPrincipal Standbys . . . . . . . . . . . . . . . . BRUNODE SANTA

LUCILLA SIMBARISHEARA ABRAHAMS

Costume Assistants . . . . . . . . LUCILLE ACEVEDO-JONESJANINE CUNLIFFE

ANA CUERDA HERMIDA

OLIVER SOUTHALLTRACY MC GREGORHARRIET KENDALLYVONNE DUCKETT

ANNETTE ALLENHENRY CHRISTOPHER

LINDA OREILLYJunior Costume Assistants . . . . . . . . . . . JESSIE GELPKE

CARLOS FONTANARROSA

Costume Trainees. . . . . . . . . . . . . . . . . . . . KIRSTY ALLENHARRY HEWITTBBC Skillset Costume Trainee . . . . . . . . . . . JASON AIREYCostume Buyers . . . . . . . . . . . . . . . . . . . .KAY MANASSEH

MIRANDA CLARKEHead Cutter (Ladies) . . . . . . . . . . . . . . MELANIE CARTERHead Cutter (Men) . . . . . . . . . . . .SHARON MC CORMACKCostume Makers . . . . . . . . . . . . .FELICITY CHRISTIAANS

SAM KEYTEGEMMA RASMUSSEN

MARCIA SMITHTRETHANNA TREVARTHEN

STEPHANIE HUAMHead of Breakdown . . . . . . . . . . . . . . . . . . JOHN COWELL

Assistant Breakdown Artists . . CAMILLA BARTHOLOMEWJOSE RUIZ DORADO

Crowd Hair and Makeup Supervisor . . . . .JULIA VERNONHair and Makeup Artists. . . . . . . . . . . . . . .KAREN COHEN

HELEN BARRETT

REBECCA COLJAN SEWEL

JANE WALKECARMEL JACKSO

Crowd Hair and Makeup Artists . . . .CHARMAINE FULLOIS MC INTOSHLAURA MORS

JULIE KENDRICCAROLYN COUSIN

MARALYN SHERMSHARON COLLE

NIK BUCEMMA SCOT

NIKITA RAProsthetics Makeup Designer . . . . . . KRYSTYAN MALLHair and Makeup Trainee . . . . . . . . . . . SARAH HAMILT

Crowd Hair and Makeup Trainees . . . . KIRSTY MC QUEENGEORGINA WHITT

BBC Skillset Hair and Makeup Trainee . . . . .LUCY ALLProperty Master . . . . . . . . . . . . . . . . . . . . . .TERRY WOOProperty Storeman . . . . . . . . . . . . . . . . . . .LEIGH BRYANChargehand Prop Dresser . . . . . . . . . . . . .JOHN BOTTONStandby Propmen . . . . . . . . . . . . . . . . . BILLY EDWARD

MATT WYLEMARK VENN-MC NEI

Dressing Propmen . . . . . . . . . . . . . . . . GERRY ATKINSOSTEPHEN DOYLTERRY WELLS, STERRY WELLS, J

Additional Propmen . . . . . . . . . . . . . . . . TERRY STINSOTERRY WOOD, J

MARK SMITStandby Carpenter. . . . . . . . . . . . . . . . ROBERT SANSOMStandby Painter . . . . . . . . . . . . . . . . . . . . . . .PETER EDGStandby Riggers. . . . . . . . . . . . . . . . . . .DAVID BRIMMI

GARY LAMBEStandby Stagehand . . . . . . . . . . . . . . . . CLIVE DRINKAConstruction Coordinator. . . . . . . . .MALCOLM ROBERConstruction Manager . . . . . . . . . . . . . . . . . ROB VOYSEConstruction Buyer . . . . . . . . .BRIGITTE WARD-HOLMHOD Carpenter. . . . . . . . . . . . . . . . . . .MARTIN HUBBAHOD Engineer/Metal Works . . . . . . . . . . . . . . NIGEL GRHOD Painter . . . . . . . . . . . . . . . . . . . . . . .DAVID MEEKIHOD Plasterer . . . . . . . . . . . . . . . . . . . . STEPHEN WATT

8


9/62

HOD Rigger . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN FIELDHOD Sculptor. . . . . . . . . . . . . . . . . . . JONATHAN MOOREHOD Stagehand . . . . . . . . . . . . . . . . . . . . . . KEITH SMITHSupervising Carpenter . . . . . . . . . . . . ARTHUR HOLLANDChargehand Carpenters. . . . . . . . . . . WAYNE HAMMOND

DARREN HAYWARDPAUL NOTT-MACAIRE

Carpenters . . . . . . . . . . . . . . . . . . . . . . . . . .RAY BARRETTDENNIS BOVINGTON

MARK BRADYWARREN BROWNE

DANIEL BYRNEMICHAEL DAVIS

ROSS DAVISWAYNE DAY

KEVIN DEARDON

RICHARD DENYERTREVOR DYER

JAMES GILBERTIAN GREEN

KEVIN HARRISROBERT JACKSON

STEVEN LAWSIMON MARJORAM

ROBERT MAY

DAVID MAYHEWPETER MAYHEWTOM MC CARTHY

KEVIN MC NEILJOSH ONEILLTOM ONEILL

ALEX ROBERTSROB SUTTON

LEIGH THURBONBARRY WELLER

DEAN WELLERJASON WEST

JOHN WHITBYCarpenter Improver . . . . . . . . . . . . .HARRY CAEN-REILLY

Apprentice Carpenters . . . . . . . . . . . . . . . . .BEN ANGLISSJOE GREGORY

HARRY WILSONChargehand Painter . . . . . . . . . . . . . . . . . JOHN ROBERTSPainters . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN CLOKE

JOHN DAYNE ALAN GOOC

LARRY GOOCMICHAEL GUNN

KAVIN HADARYL KIN

GEORGE ROBERT

STEVEN SIBLEDORIAN SMITJAY SOTHERA

MARCUS SPIVEMICHAEL WEAV

BRADLEY WOODBRIDPainter Improver. . . . . . . . . . . . . . . . . . . . AIMEE FRANC

Apprentice Painters . . . . . . . . . . . . . . ASHLEY NELHAMDANNY WELL

Painters Laborers . . . . . . . . . . . . . . . . . . . . . . DEAN BUDPAUL BUD

Chargehand Metalworker. . . . . . . . . . . . ANTHONY WASMetalworkers . . . . . . . . . . . . . . . . . . . . HISHAM EJJAYH

SID EJJAYHNORRIE HENDERSO

BRUCE MAYHESupervising Plasterers . . . . . . . . . . . . . . . STEPHEN PAGChargehand Plasterer. . . . . . . . . . . . . . DOUGLAS ALLA

Plasterers . . . . . . . . . . . . . . . . . . . . . . . . . ADRIAN AITK ALEX AITKOTIS BEL

JOHN BROWSTEVEN COO

ROBERT COOTECLIFF ETHERIDGMATTHEW GREE

ALAN HOPKINPETER LANGFOR

BEN LELLIOGEOFF LOWE

CHARLES POLLECUTONY PUT

JEREMY ROSTERRY SIBLEDEREK SMITGARY STOKEDAVID STOPP

9


10/62

JIM TAYLOR ANDY TOMBS

STEVE TRANFIELDDANIEL WATTS

BRIAN WHITEDOUGLAS WOODS

LAWRENCE WRIGHT

Plasterers Laborers . . . . . . . . . . . . . . . . . ROY HARWOODCALLUM HOOK

DAVID KELLYDAVID SILVERTON

BARRY WHITE Apprentice Plasterers . . . . . . . . . . . . . . . . . . . LEE BRYANT

GEORGE LEIGHCHARLIE WATTS

Supervising Rigger. . . . . . . . . . . . . . . . STEVEN SANSOM

Riggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WESLEY BAINWILLIAM BIMPSON

STEVE DEVLINGREG EVANS

ROBERT GURNEY AARON MUIR

MARK FOX POTTONMELVYN SANSOM

Apprentice Riggers. . . . . . . . . . . . . . . . . . JAMES LOVELL

JAKE RAINSLEY-SANSOMSupervising Sculptor . . . . . . . . . . . . . . . STEVEN HUNTERSculptors . . . . . . . . . . . . . . . . . . . . . . . . . JOEL BELSHAM

ANNIKA HELLGRENDAVID HERBERT

JODY KING-BROTHERS Assistant Sculptor . . . . . . . . . . . . . . . . ROB MULLENDER

Sculptors Laborer . . . . . . . . . . . . . . . DANIEL MUMMERYSupervising Stagehand . . . . . . . . . . . . . . . . GARY DAVIESStagehands . . . . . . . . . . . . . . . . . STEPHAN BATTERHAM

EDWARD COOKEJOHN MC NEIL

GERARD OCONNORMARTIN OCONNOR

EDDIE ONEILLDAN SMITH

DAVID SMITHConstruction Electrician . . . . . . . . . . . . . . . . . .PAT MILLER

Special Effects Supervisor . . . . . . . . . . . . . . . MARK HOSpecial Effects Floor Supervisor . . . . . JAMIE WEGUELSpecial Effects Senior Technicians . . PATRICK OSULLIV

DAVID HOLJAMES DAV

JOHN BOUNDMARK VANSTON

PAUL CLARDAVID WOOD

PAUL MC GUINNESHUGH GOODBOD

Special Effects Workshop Supervisor . .DICKON MITCHESpecial Effects Technicians . . . . . . . . . . . . . . . LEE HALE

HANNAH WILSONICOLE SAUNDER

Special Effects Assistant . . . . . . . . . . . . . . . KAREN HO

Co-Visual Effects Supervisor . . . . . . . . SEAN MATHIESVisual Effects Coordinator . . . .JENNIE MILWARD-OLIData Wrangler. . . . . . . . . . . . . . . . . . . . . .ADRIAN RATLPrevisualization Artists . . . . . . . . . . . . . JORGE DEL VAL

JULIEN FOURVECasting Associate . . . . . . . . . . . . . . . . . . ROBERT STERCasting Assistant . . . . . . . . . . . . . . . . . . . LAUREN EVANDouble/Stand-In for Mr. Jackman . . . . . . . . .TARIS TYLDouble/Stand-In for Mr. Crowe . . . . . . . . . .DAVID OLIV

Unit Publicist . . . . . . . . . . . . . . . . . . . . . . . . STACY MANStills Photographer. . . . . . . . . . . . . . . . LAURIE SPARHAEPK Producer. . . . . . . . . . . . . . . . . . . . . . . . . . PIP AYERHealth and Safety Advisor . . . . . . . . . . . . . .MICK HUREHealth and Safety Ofcer . . . . . . . . . . MALCOLM PEARFireman. . . . . . . . . . . . . . . . . . . . . . . . . . DEREK WARMAUnit Nurse . . . . . . . . . . . . . . . . . . . . . .MORAG WEBSTEPickpocketing Consultant . . . . . . . . . JAMES FREEDMA

Asset Manager/Green Coordinator . . . . . . . . . . . . . . . . . . .MARIA PIA FANGLIU

Transport Coordinator . . . . . . . . . . . . . . . . .DEAN MORAHOD Security . . . . . . . . . . . . . . . . . . . . . SEAN DESMONSecurity Guards . . . . . . . . . . . . . . . . . .ANDREW WHITIN

LEE SIMMONDVFX Editors. . . . . . . . . . . . . . . . . . . . . . . . . . JENS BAYL

TONY TROMBILLY CAMPBE

First Assistant Editors . . . . . . . . . . . . . . . . .ALEX ANST ALISON LUCY CART

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11/62

Second Assistant Editors . . . . . . . . . . ALEX KALMAKRIAN ANGUS MUNRO

LUCY MITRA Editorial Trainees . . . . . . . . . . . . . . . . . . . RUTH ANTOINE

DANIELLE EL HENDIPostproduction Coordinator. . . . . . . . NICHOLAS HATTONSupervising Music Editor . . . . . . . . . . . GERARD MC CANN

Music Editors and Programmers . . . . . . . . . . NEIL STEMPCHRISTOPHE BAUCHSCHINGER

MATT ROBERTSONDAVID HEARN

Assistant Programmer . . . . . . . . . . . . . . . . . . . . NICK HILLSound Effects Editors. . . . . . . . . . . . . . . . . .NIGEL STONE

DOMINIC GIBBSSAMIR FOCO

ALISTAIR HAWKINS

JOHN WARHURSTDialogue Editor. . . . . . . . . . . . . . . . . . .ALASTAIR SIRKETT

ADR Editor . . . . . . . . . . . . . . . . . . . . . . . . .PAUL CONWAY Assistant Dialogue Editor . . . . . . . . . . . . . . . . . .JAY PRICESupervising Foley Editor. . . . . . . . . . . . . . .KEVIN PENNEYU.K. Foley Artists . . . . . . . . . . . . . . . . . . . . SUE HARDING

JASON SWANSCOTTU.K. Foley Recordists. . . . . . . . . . . . . . KEITH PARTRIDGE

BILLY MAHONEY

Location Foley Recordist . . . . . . . . . . . . . . . . . TIM WHITELocation Foley Boom Operator . . . . . . . . . .NICK GILLETT Australia Foley Artist. . . . . . . . . . . . JOHN SIMPSONMPSE Australia Foley Recordist . . . . . . . . . . . . . . . PETER SMITH Australia Foley Facility . . . . . . . . . . . . . . .FEETN FRAMES ADR Voice Casting . . . . . . . . . LOUIS ELMAN AMPSMPSE

ABIGAIL BARBIER Additional Engineers . . . . . . . . . . . . . . . . . . . SAM OKELL

SIMON RHODES Assistant Engineers . . . . . . . . . . . . . . . . CHRIS BARRETT

FIONA CRUICKSHANKOLGA FITZROY

PAUL PRITCHARDMusic Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AIR STUDIOS, LYNDHURST HALL, LONDONMusic Mixed at . . . . . . ABBEY ROAD STUDIOS, LONDONOrchestra Contractor . . . . . . . . . . . . . .ISOBEL GRIFFITHS

Assistant Contractor. . . . . . . . . . . . . . . . . LUCY WHALLEYOrchestra Leader . . . . . . . . . . . . . . . . . . . . ROLF WILSON

End Titles Arrangement . . . . . . . . . . . . ADAM LANGSTMusic Preparation . . . . . . . . . DAKOTA MUSIC SERVICHarp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SKAILA KANGCello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVE DANIEPiano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANNE DUDLEMaster of the House Band . . . . . . . . . . . . . . .OLLIE LEW

MARCUS TIL

DAVE HARTLE Assistant Music Supervisor for Hot House Music Ltd. . . .

CATHERINE GRIEVVisual Effects by. . . . . . . . . . . . . . . . . DOUBLE NEGATVFX Producer . . . . . . . . . . . . . . . . . . . . . . . KATE PHILLVFX Supervisor Singapore . . . . . . NATHAN MC GUINNESVFX Producer Singapore . . . . . . . . .DARCIE MUANGM3D Supervisors . . . . . . . . . . . . . . . . . . ALISON WORTMA

DAN NEA

2D Superv i so r. . . . . . . . . . . . . . . . . . . . . . . . IAN SIMPSOFX Supervisor. . . . . . . . . . . . . . . FEDERICO FRASSINE

Associate VFX Producer. . . . . . . . . MATTHEW PLUMMVFX Line Producers . . . . . . . . . . . . . SAMANTHA TRAC

DARRYL VFX Coordinators . . . . . . . . . . . . . . . . . . . .ALICE INGH

KATIE BELNURUL KHAIRI

MICHELLE KUGIN

ADRIAN STEECG Sequence Leads . . . . . . . . . . . . . . . . STEPHEN ELLIROBERT DEA

TANIA RICHARBENJAMIN HUBE

Comp Sequence Leads . . . . . . . . .ALASTAIR CRAWFORJELENA STOJANOV

JOHN GALLOWAJULIAN GNAS

WALTER GILBERMatte Painting Supervisor . . . . . . . . . . LUDOVIC IOCHVFX Editor. . . . . . . . . . . . . . . . . . . REUBEN LLOYD- PAConcept Artists. . . . . . . . . . . . . . . . SIMON GUSTAFSSO

HOVIG ALAHAIDOYDAN HEE RY

RASMUS JORGENSEPrevisualization Coordinator . . . . . . . . . . AMIE WILLIAPrevisualization Artists . . . . . . . . . . EDUARDO SCHMID

THOMAS CARRIC

11


12/62

SOREN PEDERSENJENNIFER KITCHING

Lead Modellers. . . . . . . . . . . . . . . . . . . . . KEVIN HUDSONJOSHUA ROBINSON

Modellers . . . . . . . . . . . . . . . . . . . . . . TIMOTHY RUSSELL ALEXIS LEMONIS

DIRK LAMBERT

EFFANDI MOHAMEDDUNCAN KUAHTERENCE LAMYONG JIN KIM

EIJI KITADA NIZHEN PHANG

EDWARD LIMZHIHONG LEO

CHRIS HART

JUSTI ROMEROTexture Artists. . . . . . . . . . . . . . . . . . . . . . . . . . JAMES LEE

JIYOUNG LEESTELLA NGSHIHUA NG

LUAN NGUYENKRIS JASPER

Rigger. . . . . . . . . . . . . . . . . . . . . . . FERNANDA MORENO Animators . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN WIGGS

ALPER AKSITLead Lighting TDs . . . . . . . . . . . . . . .GEOFFREY COPPINRHYS SALCOMBE

JENNI EYNONLighting TDs . . . . . . . . . . . . AMANDA JOHNSTONE-BATT

CHRIS THOMASCORI CHAN

DANIEL BALDWINED PULIS

ERIC WONGJASON HUE

JOHN LAIJON CAPLETON

KATE CHOIKEZIAH BAILEY

MARK TAMNYMARTIN CUTBILL

MARTIN JOHANSSONMATTHEW ROBINSON

PETER OCAMPPIERSON LIPPARRACHAEL HEND

RICHARD SIMKROBERT CONNOSTEVEN KHOUR

SYLVIA KRATZSC

WILLIAM FOULSFX TDs . . . . . . . . . . . . . . . . . . . . . . . . . GARETH HARB

XAVIER LESTOURNEASHAUN ROT

TIMO-PEKKO NIEMINMATT SADLE

ANDRAS IKLAMENGDI WAN

Lead Matte Painter. . . . . . . . . . . . . . . . . . . . . . TIM CLAR

Matte Painters . . . . . . . . . . . . . . . . . . . .CEDRIC MENARCLAUDIA TORR

DICCON ALEXANDDONG HUN KAN

JASMINE WONKOUJI TAJIM

MFAIZAL KHAMNATHALIE MAT

NGOC HEN

NICK MARSHANIGEL WAGNEROMAIN BOUVAR

Lead Compositors . . . . . . . . . . . . . . . . . ALICE MITCHEDAVID MA

PETER MORAJULIA REINHAR

CHRISTOPH KELLERICHARD ROBERT

TREVOR YOUNJULIEN DUCENN

Compositors . . . . . . . . . . . . . . . . . . . AGUSTIN CAVALI ALEXANDRE GE

ANTONIO MEAZZBRETT STAPLETON-FREN

CHARLOTTE MERRCHRISTOPHER TAYLO

DANIEL CAIRNELLEN MI

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13/62

EMELINE TEDDERENRIK PAVDEJA

ERIC CHANFRANCESCA DARE

FRANCESCO COSATTIGARTH REILLYGRAHAM DAY

HELEN JOHNSONJAMIE MC PHERSON

JEAN-FRANCOIS LEROUXJESSICA SMITHJOEL BAUTISTA JOHN MOFFETT

JOHN OLONEJON URIARTEKAIHSIN CHIN

KRIS ANDERSONKUNAL CHINDARKAR

LIES VELDEMANMARC RICE

MARCIN KOLENDOMARTIN SIMCOCK

MARY STROUMPOULIMIKE BRAZELTONNAVEEN SHUKLA

NICOLAS CAILLIERNIK BROWNLEENIKI TURPIN

OLIVER HEINRICHOLIVIER RYARD

PATRICK BURKEPAUL SCOTT

PO YAN CHANRICHARD STAY

RODRIGO DORSCHRONAN CARR

SABINA BIHLMAIERSAPTARSHI CHAKRABORTY

SHAHIN TOOSISTEVEN MUANGMAN

TAMMY SMITHTONY MAN

VICTOR PEREZVINCENT CHANG

WARWICK CAMPBEWESLEY ROBERT

Matchmove Supervisors . . . . . . . . . BENJAMIN COURTMATTHEW SALISBU

SIMON PYNMatchmove Lead . . . . . . . . . . . . . . . . . . . . . . . . . . CAO YMatchmove Artists . . . . . . . . . . FABRIZIA BONAVENT

THOM CHANDAVID CH

LIAM COLLINTOM COUL

PETER DRISCOLJONATHAN FRAMMINGH

DANIEL GEORGIOFRANCIS LEON

TZE KEN LI

WILLIAM LVIKRAM MOH

LUAN NGUYEELAINE ORME

DIONE QUE AMARDEEP RATT

CHRIS RITVKEVIN SA

TIMOTHY SH

ANTON SMELIOT SPEEYANTI SURYA

TAYHWAH TANJONATHAN WEB

YING XIONHELGA YE

Roto/Prep Supervisor. . . . . . . . . . . . . . . . . CORINNE TEPrep Artists . . . . . . . . . . . . . . . . . . . . . . .ELHAM BINSEN

INDAH MARETJOEL AGUILA

JULIAN CHONLOUISE FONTILL

MICHELLE GOPHILIP SWAR

PRERANA JAISWARICKY CHEUN

SAM REETHOMAS STEINE

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14/62

Roto Lead. . . . . . . . . . . . . . . . . . . . . . . . . . HUI YING GOHRoto/Prep Artists . . . . . . . . . . . . . . . AARON NOORDALLY

ALEXANDER KIRICHENKO ALFRED ZHUO

AMIRAH BUSAIRI ANDREA CHUA

ANIRUDDHA SATAM ASHWINI PRABHU

BUN YUE CHOYCALVIN FONG

CAROLINA KOESNADICAROLINE CHAI

CHEOWHONG CHIA CHOON ONG

DANIEL DUWEDANIEL LEATHERDALE

DAVID SCHOTTDIANA WANG

ELISSAVET PANETA EWA LAURSEN

HAJI HASSANHIROKO UENO

JANICE CHANDRA KANIKA ANDREW

KEN YAPKROSS WONGLIONEL WONG

LUKE PARSONSMAX CHAN

MICHAEL LOWRYMICHAEL ROBERT-ALLEN

MORAY CALDWELLNEIL JIANORAN

NICHOLAS LIPETER WELTON

PHILIP SMITHRACHEL FOO

ROBIN WALSHSAMMY WU

SHRAMANA HALDARSOPHIE HILLSWAYNE CHAN

WILLIAM WONLighting and Rendering Supervisor . . . . . ELAINE KIERPipeline TD . . . . . . . . . . . . . . . . . . . . . . . . . JAMIE BRIENShader Writer . . . . . . . . . . . . . . . . . . PHILIPPE LEPRINCResearch and Development . . . . . . . . . . .PETER SUMNE

HARRY BIDDTED WAIN

JONATHAN STROU AARON CARE

ADRIAN JEAKIOLIVER JAME

AL CRATRACHEL BROO

MARIA BAROMUNGO PAY

SUNDAR KRISHNAMURT ALI DERWEES

Studio . . . . . . . . . . . . . . . . . . . . .ADAM JHANI-STEPHEERIC BACHTIA

KAT TYSOLAURIE PELLA

LISA WOOMATTHEW LEAC

MILES DRAKPETE HANSO

PHILIP PENDLEBUSAUYAN WON

VFX Editorial . . . . . . . . . . . . . . . . . . . . . . VALERIA ROCSIMON ARNOL

BENJAMIN CHUDHUHA IS

Onset Services . . . . . . . . . . . . . . . . . . . . . . CRAIG CRANKEN MC GAUGH

Visual Effects by. . . . . . . . . . . . . . . . . . . . . . . . . THE MILExecutive VFX Producer. . . . . . . . . . . . . . . . WILL COHVFX Producer. . . . . . . . . . . . . . . . . . . . . . . . . NICK DREVFX Line Producer . . . . . . . . . . . . . . . . . . LORNA DUMVFX Coordinators . . . . . . . . . . . . . . . . . . . . . NATALIE R

ALEX FITZGERAVFX Editors. . . . . . . . . . . . . . . . . . . . . . . . . MARK BRIG

ROBIN HINC

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VFX Supervisor. . . . . . . . . . . . . . . . . . . . . SARA BENNETT2D Supervisor. . . . . . . . . . . . . . . . . . . . . .GREG SPENCERCG Supervisor . . . . . . . . . . . . . . . NICOLAS HERNANDEZPrevisualization Supervisor . . . JEAN-CLAUDE DEGUARA Previsualization Artist . . . . . . . . . . . . JASON M AC DONALDLead Technical Director . . . . . . . . . DOMINIC ANDERSONTechnical Directors. . . . . . . . . . . . . . . DAVID HEMPSTEAD

JAN SCHUBERTFX TD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY GUESTModellers . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM LUCAS

ADAM DEWHIRSTTexture Artist . . . . . . . . . . . . . . . . . . . . . . . . . JEFF NORTHMatchmove Artists . . . . . . . . . . . . . .AMY CUTHBERTSON

JACOB FLINTDAVID JONES

Matte Painters . . . . . . . . . . . . . . . . . CHRISTOPH UNGERTURLO GRIFFIN

Compositors. . . . . . . . . . . . . . . . . . . . . MATT MC DOUGALHENNING GLABBART

THEAJODHARAN NAGARAJANCLEMENT HINGRAI

LUCIANO LOPESFRANK HANNA

BRYAN BARTLETTVINCE GOODSELL

JULIEN RECORDNEIL ALFORD

ELEANOR SUTTONSHIZUKA FUKUDA

LUKE SIKKINGTIM WALKER

PETER DUDLEYERI ADACHI

Roto/Prep . . . . . . . . . . . . . . . . . . . . . . .ELEANOR SUTTONIYI TUBI

SANDRA CHOCHOLSKA

Visual Effects by. . . . . . . . . . . . . . . . . . . . . . . . . . . UTOPIA Visual Effects Supervisors . . . . . . . . . . . . . STEVE STREET

JOHN LOCKWOODLead Compositor . . . . . . . . . . . . . . . BRUNO FERNANDESCompositors . . . . . . . . . . . . . . . . DAVID STDGE SJDIN

GUSTAF NILSSOLIAM SPENCE

NAVEEM MEDARA

Visual Effects by . .RUSHES POSTPRODUCTION LIMIDigital Effects Supervisors . . . . . . . . . . . . HAYDEN JON

JONATHAN PRIVE

Senior VFX Producers . . . . . . . . . . . . . . . .CARL GRINTLOUISE HUSSE

VFX Producer. . . . . . . . . . . . . . . . . . . . . . . . .PAUL JONEVFX Coordinator. . . . . . . . . . . . . . . . . CHRISTINE LEMVFX Support . . . . . . . . . . . . . . . . . . . SARAH BREAKWELead CG artist . . . . . . . . . . . . . . . . . . . . . .MARK PASCOCG Artists . . . . . . . . . . . . . . . . . . . . . . ALAN WILLIAMS

CRAIG TRAVMICHAEL DUON

LIAM HOFLA ANDY HARGREAV

CHRIS HUTCHISOCompositors . . . . . . . . . . . . . . . . . . . . . . . . SIMONE COCO

DAN ALTERMANOEL HARME

ELEANOR ROGER

Visual Effects by. . . . . . . . . . . . . . . . . . . . . . . . . LOLA V

CLIFF WELSBRIAN HAJE

TRENT CLAUROB OLSSONJOSH SINGER

JARROD AVALOMILES FRIEDMAEDSON WILLIAM

THOMAS NITTMA

Additional Visual Effects by . . . . . . . . . . . . . . . . . WEBv

Miniature Elements Unit

SFX Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . MIKE KESenior Technicians . . . . . . . . . . . . . . . . . . . MATT LOAD

TOBY STEWARROBIN SAUNDER

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Technicians. . . . . . . . . . . . . . . . . . . . . . . . . . . WILL WYATTTREVOR TROG WILLIAMS

NATHAN CHIDGEYTrainee Technicians . . . . . . . . . . . . . . . . . . . . JOHN MOSS

HOWARD MOOREOSKARS PANTELEJEVS

Caterer . . . . . . . . . . . . . . . . . . . . . . . . . . . . RED CHUTNEYDirector of Operations . . . . . . . . . . . . . . . FIONA GILBERTHead Chefs. . . . . . . . . . . . . . . . . . . . . TREVOR WILLIAMS

ADAM GILBERTPersonal Chef . . . . . . . . . . . . . . . . . . . JENNY PRITCHARDCraft Services . . . . . . . . . . . . . . . . . . . . . . . AMY DENNING

HONEY MONTAZEMIUnit Drivers. . . . . . . . . . . . . . . . . . . . . . . . . LEE EDWARDS

KEITH WHITHAM ALFIE CAIN

DANNY JARMANROB HEMPENSTALLNIGEL BIRTCHNELL

MARK CROWLEYRICHARD CAIN

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CHRIS POPHAMKITCH YOUNG

ALAN BRISTOWSIMON DENIS

MARK DILLIWAYKASH HAMEED

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BILLY PIDGLEYMinibus Drivers. . . . . . . . . . . . . . . . . . . CHRIS HAMMOND

NEVILLE YOUNKEN JONE

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Construction Driver . . . . . . . . . . . . KEITH BRESSINGTFacilities Captain . . . . . . . . . . . . . . . CHARLES MANNICamera Car Drivers . . . . . . . . . . . . . . . . . RONNIE KLO

MARTIN FOARCostume Truck Driver. . . . . . . . . . . . . . . . . JAMES EVANFacilities Crew . . . . . . . . . . . . . . . . . . . . . . . . . DAVE TA

JAMES CROWVICTOR WYNN

CARL MC GREEVE

FRENCH UNIT

Production Services in France Provided by . . . . . FIRSTECo-Producer. . . . . . . . . . . . . . . . . . . RAPHAL BENOLIProduction Manager. . . . . . . . . . . . . . . .MATTHIEU RUBProduction Accountant . . . . . . . . . . ASTRID MONARQSet Dresser. . . . . . . . . . . . . . . . . . . . . . . . . . DIDIER DAVPainter . . . . . . . . . . . . . . . . . . . . . . . . . . .YVES MOREAULocation Manager . . . . . . . . . . . . . . ARNAUD DUTERQ

Assistant Location Manager. . . . . . . . . . . . . JEREMY BA

Locations Assistant . . . . . . . . . . . . . . TIMOTHEE ASPEDirectors Driver . . . . . . . . . . . . . . . . . .DAMIEN CLEMECast Driver . . . . . . . . . . . . . . . . . . . . .STEPHANE MARTUnit Drivers . . . . . . . . . . . . . . . . . .SEBASTIEN GUERRI

RENAUD SCHIFBAUDOIN CREPATARA DREYFOUCIPRIANI ALEX

Cast Trailer Driver. . . . . . . . . . . . . . . . . . . .YOANN LAU

Makeup Trailer Driver . . . . . . . . . . . . . . . . . .MOISE LABWardrobe Trailer Driver. . . . . . . . . SEBASTIEN MICHEL

Aerial Equipment Provider Company . . . . . . ACS FRANHelicopter Pilot . . . . . . . . . . . . . . . . . . . . . .LUC POULLA

Aerial DOP/Operator . . . . . . . . . . . . . . . . . JIM SWANSO Aerial Focus Puller . . . . . . . . . . . . . . . . . . .FREDERIC VI

Main Titles and End Roller by. . . . . . . . . . .RUSHES MG

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Insurance . . . . . . . . . . . . . . . . . . AON/ALBERT G. RUBENCamera and Grip Equipment . . . . . . . . . . . . . ARRI MEDIA Lighting Equipment . . . . . . . . . . . . . . . . . .ARRI LIGHTINGRigging . . . . . . . . . . . . . . . . . . . . . . . . . . . BLITZ HIRE LTD.Crane Services . . . . . . . . . . . . . . . . . . . . . . . . ARRI MEDIA

ALPHA GRIP

Editing Equipment . . . . . . . . . . . . . . . . . . . . . . . . . SALONPostproduction Script Services . . . . . . DELUXE, LONDONWalkie Talkies and Production Mobile Phones . . . . . . . . . .

WAVEVEND RADIO COMMUNICATIONSLocation Security . . . . . . . . . . . . . LOCATION ASSIST U.K.Extras Casting . . . . . . . . . . . . . . . . . UNIVERSAL EXTRASChild Extras Casting. . . . . . . . . . . . . . . . BONNIE & BETTYFacilities and Technical Vehicles . . . . . . . MOVIE MAKERSInternational Shipping . . . . . . DYNAMIC INTERNATIONAL

TEAM AIR EXPRESSFilm Stock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KODAKRushes Processing. . . . . . . . . . . . . . . . . . .TECHNICOLORRushes Transfers . . . . . . . . . . . . . . . . . . . . . . COMPANY 3Digital Intermediate Provided by . . . . . . . . . . COMPANY 3Digital Colourist . . . . . . . . . . . . . . . . . . . ADAM GLASMANSmoke Operator. . . . . . . . . . . . . . . . . ANDREW MERLINODigital On-Line Editors . . . . . . . . . . . EMILY GREENWOOD

JUSTIN TILLETTRUSSELL WHITE

Digital Intermediate Head of Department . . . . . . . . . . . . . .PATRICK MALONE

Digital Intermediate Producers. . . . . .MARIE FERNANDESROB FARRIS

Digital Film Technical Supervisor . . LAURENT TREHERNEData Wrangler. . . . . . . . . . . . . . . . . . . . . . . . . DAN HELMESound Re-Recording Facility . .HALO POST PRODUCTION

SFX Pre-Mixing . . . . . GOLDCREST POST PRODUCTION ADR Recorded at . . . . GOLDCREST POST PRODUCTION

DE LANE LEA Mix Technicians . . . . . . . . . . . . . . . . . JOHNATHAN RUSH

SIMON HILL ADR Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK KRAY

ANDY STALLABRASSROB EDWARDS

PETER GLEAVEMARK APPLEB

Dolby Consultant . . . . . . . . . . . CHRISTOPHER QUEST

All music and lyrics through the courtesy of Alain BoublMusic Limited, and Editions Musicales Alain Boublil,

1980, 1984, 1985, 1986, 1987, 1988, 1990, 1991, 19921993, 1994 and 2012 Alain Boublil Music Limited,

and Editions Musicales Alain Boublil

The director would like to thank his parents, Meredith andRichard Hooper, Rachel Hooper, Ben Hooper andRoger Mortimer for introducing him to musicals.

With Thanks to

Mairie de Gourdon, Alpes-MaritimesHMSVictory

Portsmouth Naval BaseWinchester College

Old Royal Naval College, GreenwichThe Duke of Buccleuch & All at Boughton House

Chatham Historic DockyardBath Film Ofce

Michael Le Poer TrenchThe Osborne Family

Special thanks to all the casts and creative teams thathave kept LES MISRABLES so thrillingly alive on stagesince 1985, and everyone at Cameron Mackintosh for

their unstinting devotion to our darling Cosette.

PRESENTED IN ASSOCIATION WITH DENTSU, IN

FILMED ON LOCATION IN ENGLAND AND FRAN AND ON THE NEW RICHARD ATTENBOROUGH ST

PINEWOOD STUDIOS, ENGLAND.

THIS MOTION PICTURE USED SUSTAINABILITSTRATEGIES TO REDUCE ITS CARBON EMISSIO

AND ENVIRONMENTAL IMPACT.

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2012 Universal Studios. All rights reserved.

The characters and incidents portrayed and the namesherein are ctitious, and any similarity to the name,

character or history of any actual persons living or deadis entirely coincidental and unintentional.

This motion picture is protected under the laws of theUnited States and other countries and its unauthorizedduplication, distribution or exhibition may result in civi

liability and criminal prosecution.

Credits as of November 17, 2012.

NO. 48029

MOTION PICTURE ASSOCIATIONOF AMERICA

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Les Misrables is the motion-picture adaptation ofthe global stage sensation seen by more than 60 million people in 42 countries and in 21 languages around theglobe that is still breaking box-ofce records everywherein its 28th year.

Helmed byThe Kings Speech s Academy Award-winning director, TOM HOOPER, the WorkingTitle Films/CAMERON MACKINTOSH productionstars HUGH JACKMAN (The Prestige , upcomingThe Wolverine ), Oscar winner RUSSELL CROWE(Gladiator , A Beautiful Mind ), ANNE HATHAWAY(The Dark Knight Rises , The Devil Wears Prada ),AMANDA SEYFRIED ( Mamma Mia! , Dear John ),

EDDIE REDMAYNE ( My Week With Marilyn, The Other Boleyn Girl ), AARON TVEIT (televisionsGossip Girl Premium Rush ) and newcomer SAMANTHA BAwith HELENA BONHAM CARTER ( Harry Potterseries,Sweeney Todd ) and SACHA BARON COH( Hugo , Borat ).

Set against the backdrop of 19th-century Franc Les Misrables tells an enthralling story of brdreams and unrequited love, passion, sacriredemptiona timeless testament to the endof the human spirit. Jackman plays ex-prisonValjean, hunted for decades by the ruthless polJavert (Crowe) after he breaks parole. When V

Javert (RUSSELL CROWE) confronts Jean Valjean (HUGH JACKMAN) inLes Misrables .

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agrees to care for factory worker Fantines (Hathaway)young daughter, Cosette, their lives change forever.

With its storys bands of the disenfranchised joiningtogether to challenge corruption and demand change,Victor Hugos 150-year-old tale that inspired the worldslongest-running musical has never been timelier. Now,

Les Misrables brings its power to the big screen inHoopers sweeping and spectacular interpretation of thisclassic epic. With international superstars and belovedsongsincluding I Dreamed a Dream, Bring HimHome, One Day More and On My Ownthe showof shows is reborn as the cinematic musical experienceof a lifetime.

Adapted from ALAIN BOUBLIL and CLAUDE-MICHEL SCHNBERGs original stage musical, producedfor the stage by Cameron Mackintosh, the screenplay for

Les Misrables is by two-time Oscar -nominee WILLIAM NICHOLSON (Gladiator , Shadowlands ), Boublil andSchnberg, and HERBERT KRETZMER ( Les Misrablesin Concert: The 25 th Anniversary ). The music is bySchnberg, and the lyrics are by Kretzmer.

Working Title Films TIM BEVAN and ERICFELLNER ( Atonement , Notting Hill , Pride & Prejudice ,

Frost/Nixon ) produce the alongside DEBRA HAYWA(exective producer ofTinkerTailor Soldier Spy , Anna

Karenina ) and CameroMackintosh (the stages Miss

Saigon , The Phantom of theOpera , Cats).

The accomplished be hthe-camera team includes a wwho of expert craftspeople by Oscar -nominated direcof photography DANCOHEN (The Kings SpeechThis Is England ), Oscar -nominated production desiEVE STEWART (The Kings

Speech, Topsy-Turvy), editors MELANIE ANN OLI( Anna Karenina , Jane Eyre ) and Academy Award winneCHRIS DICKENS (Slumdog Millionaire , Paul ), as weas costume designer PACO DELGADO ( Biutiful , Bad

Education ). The music production and orchestratio by ANNE DUDLEY (The Full Monty , Tristan + Isolde )

while the orchestrations are by STEPHEN MET( Les Misrables in Concert: The 25 th Anniversary ) anthe live-singing recordings are by productionmixer SIMON HAYES ( Mamma Mia! , Prometheus ).

FILM SYNOPSIS ANDMUSICAL NUMBERS

1815, Toulon/Digne: After 19 years on the chgang (Look Down), Jean Valjean (Jackman)p24601is released by Javert (Crowe), the ofcharge of the convict workforce. As Valjean strumake his way from Toulon to Digne (Freedom Isin search of food, lodging and work, he discovean outcast, shunned by everyone. Only Bishop of Digne (COLM WILKINSON, who originarole of Valjean in London and on Broadway) tre

Valjean and his fellow prisoners in Toulon haul a massive ship into port.

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kindly, but Valjean, embittered by years of hardship,repays him by stealing the churchs silver candlesticks.Valjean is soon caught and returned, but is astonishedwhen the bishop denies the theft to the police to save him.Henceforth, Valjean decides to start his life anew (WhatHave I Done?).

1823 , Montreuil-sur-Mer: Eight years have passed,and Valjean, having broken his parole and vanished, hasused the money made from selling the bishops silver toreinvent himself as Monsieur Madeleinea respectedtown mayor and factory owner. One of his workers,Fantine (Hathaway), has a secret illegitimate child namedCosette to whose guardians she must send every francshe earns. The other women have discovered this, andwhen they think Fantine is behaving above her station byrebufng the factory foreman because of his advances,they demand her dismissal (At the End of the Day). Sheis thrown out without mercy. Fantine pleads with Valjeanto help her, but his attention is elsewhere.

Javert, now the inspector of police, hasappeared at the factory to see Madeleine.Although Javert thinks they may have met before, Valjean quickly informs him he is

mistaken. They are interrupted by a crashfrom outside, and they hurry out. There,Javert watches in amazement as Valjean liftsa cart, which has toppled onto a driver namedFauchelevent (STEPHEN TATE, a Londonstage Thnardier for several years). Theextraordinary show of strength reminds Javertof the convict Valjean, but he is not condentenough to say so.

Desperate for money to pay for herdaughters medicine, Fantine goes to thered-light district (Lovely Ladies), whereshe sells her beloved locket, her hair and herteeth, then joins the whores in selling herself(I Dreamed a Dream). Utterly degraded,she gets into a ght with a violent customerand is about to be arrested by Javert when the

mayor arrives and demands she be taken to the instead. Fantine tells Valjean that she was thrownhis foreman, that Valjean did nothing to help hthat her daughter is close to dying. Stunned, he pto go to the inn in Montfermeil, where her dauliving, and reunite her with her mother.

Later, Javert hears that the convict Valjeanwhas been hunting for eight yearshas been recaptuhe goes to see Madeleine to apologize for his susValjean conceals his shock and hurries home, prto leave before the mistake is discovered. Unable tinnocent man go to prison, Valjean bursts into the coto confess that he is in the fact the real Valjean, 24601 (Who Am I?). Valjean then goes to the hwhere he promises the dying Fantine that he will raise Cosette as his own (Take My Hand). Just asdies, Javert arrives to arrest Valjean. The two m(The Confrontation), but Valjean manages to esca

Javert leads his men through the streets.

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In Montfermeil, Young Cosette (newcomerISABELLE ALLEN) has been living (Castle on aCloud) with Monsieur and Madame Thnardier (BaronCohen and Bonham Carter), who horribly abuse her whilespoiling their own daughter, young ponine (newcomer NATALYA WALLACE). Keepers of an inn, they run a bawdy business, where they frequently pick the pocketsof their customers (Master of the House). Valjean nds

Cosette freezing in the woods by the inn and takes her back to her guardians, whereupon he pays the Thnardiersto let him take her away to Paris (The Bargain).

Just after Valjean and Cosette leave, Javert arrives,cursing the fact that Valjean has eluded him once more.As they make their way to Paris, Valjean is overwhelmed by the love he has for Cosette (Suddenly, written forthe screen), but there is no time for him to indulge in his paternal feelings. Javert is hot on their heels, and whenthey arrive in Paris, Valjean and Cosette seek sanctuaryin a convent. They nd it when they run straight intothe very man whom Valjean rescued from certain death,Fauchelevent. That night, Javert pledges to the sleepingcity that he will hunt Valjean until he is back behind bars (Stars).

1832 , Paris: Nine years later, the unrest in the cityhas been simmering because of the imminent death of

the popular leader General Lamathe only man in government whoshown sympathy for the poor citwho are dying in the streets. We fthe indomitable street urchin Gav(DANIEL HUTTLESTONE, West

production of Les Misrables ) as he jumfrom coach to coach, literally dancinthe heads of the elite (Look Downa group of politically minded stuled by Marius (Redmayne) and En(Tveit) as they gather in the strEnjolras rallies the crowd for supand a pretty young street girl, the grown ponine (Barks), gazes long

at Marius, clearly and desperately in love with himLater the same day, a street gang led by M. an

Thnardier sets upon Valjean and a beautiful woman, the grown Cosette (Seyfried), who arealms to the beggars. Marius catches sight of Cosehe cannot take his eyes off her. It is simply lovesight. Just then, Javert arrives and breaks up the bfails to recognize Valjean until the former priso

vanished. For her part, ponine reluctantly agreeMarius nd Cosette, for whom he only has eyes.As news of Lamarques death spreads throu

Paris, the students gather again to rally suppa revolution (Red and Black). However, Madistracted by thoughts of Cosette, as is Cosette of(In My Life). ponine guides Marius to CosetteLife/A Heart Full of Love), while her scurriloutries to rob Valjeans house. Valjean, convinced it iwho has come after him, tells Cosette they mustcountry. Cosette hastily scribbles a letter to Mariuhe will know where to nd her. She sees ponine her to give the note to Marius. ponine takes thand walks despondently through the lonely streets(On My Own), arriving at the apartment wherelives. Heartbroken, she keeps the letter but tells hCosette has gone to England.

Valjean is caught with the Bishop of Dignes silver candlesticks.

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Set to the ensemble song One Day More, we followthe many threads of the story: Valjean and Cosette as theyee, while Marius pines for Cosette and ponine grievesfor a love shell never know; Enjolras and the students prepare ammunition for the uprising, while Javert rouseshis forces and promises to suppress it. Marius leads the

students to the streets, and bolstered by the crowd, theyambush Lamarques funeral (Do You Hear the PeopleSing?) and make their call for the people to rise up. Asoldier lets off a round of ammunition, and the funeralexplodes into a riot. The students break away and race offto their home base, where they prepare to build a barricadeand to make their nal stand. Disguised as a boy, poninedecides to rejoin Marius there, and Javert, who has beenoperating undercover throughout the funeral, also arrivesat the growing barricade. Gavroche soon unmasks Javertstrue identity, and the spy is taken hostage by the students.

The barricade continues to grow, and therevolutionaries defy the warning by soldiers to give up.ponine is killed while protecting Marius (A Little Fallof Rain), but she just manages to give him Cosettesnote before she dies. Marius asks Gavroche to take aletter to Cosette, which is intercepted by Valjean. He

understands now that Marius and Cosette have fallen inlove, and knowing that the studentswont stand a chance, he goes insearch of Marius. Valjean gainsentry to the barricade and soon seesJavert held captive. Warning thestudents of snipers and proving hisallegiance, Valjean asks Enjolrasto release Javert into his custody.Valjean is given the chance to killJavert but shows him the mercydenied himself. The studentssettle down for a long night on the barricade (Drink With Me), andin the deadly quiet, Valjean praysto God to spare Marius (BringHim Home).

The next day, as Gavroche volunteers to go foammunition (Little People), the little boy is kilsoldier. The rebels now face a bombardment by thand in the onslaught, Marius is shot. Valjean carunconscious Marius away from the carnage, esinto the sewers. Enjolras and the few remaining

are killed. Javert walks through the bodies, surveying the victory of law over rebellion, bofcial does not nd Valjean until he sees a dr been lifted

Valjean pulls Marius through the sewers, anhe meets Thnardier robbing the corpses of thehe emerges from the gutter only to find Javert for him once more. Valjean pleads for time to Marius to the hospital, but Javert threatens to kif he attempts to escape. Valjean continues to w but Javert cannot pull the trigger. Javert lets Vgo, but unable to live knowing that his imm principles of justice have been broken, he leaps bridge to his death.

Marius, unaware of the identity of his rescuer, from the nightmare in his grandfather Gillenor(PATRICK GODFREY,The Remains of the Day ) home

Still weak, Marius returns to the caf where the

Fantine (ANNE HATHAWAY) is thrown out of Monsieur Madeleines factory in Montreuil-sur-M

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later replaced by Herbert Kretzmer, but he is still creditedfor giving the show some of its shape and form.

The rest is theater history. Les Misrables originally opened in London at the

Barbican Theatre on October 8, 1985, transferred to thePalace Theatre on December 4, 1985, and after 19 years

moved to its current home at the Queens Theatre on April3, 2004. When Les Misrables celebrated its 21st London birthday on October 8, 2006, it became the worlds longest-running musical, surpassing the record previously held byCats on Londons West End. In January 2010, the West End production broke another record by celebrating its historic10,000th performance. Seen by more than 60 million people worldwide in 42 countries and in 21 languages, Les Misrables has grown to become undisputedly one of theworlds most popular musicals ever, with new productionscontinually opening around the globe.

Explaining the phenomenon, Mackintosh reects:Les Misrables is one of the greatest social novels everwritten. Hugo created characters and wrote of situations both timeless and universal. When you add to that the power of Claude-Michel Schnbergs score, the brillianceof Alain Boublils original French lyrics, and the fantastic,

timeless style of Herbert Kretzmers writing, the successof the show can be easily understood.Over the years, Mackintosh had been

approached by multiple lmmakers totranslate the show into a lm. In fact, themovie rights had once been sold 25 yearsago, after the show opened to huge acclaimon Broadway, but the option lapsed andthe rights reverted to Mackintosh. The producer would wait, ultimately choosingto work with the U.K.s most prolic andesteemed production company, WorkingTitle Films. For their part, producers TimBevan and Eric Fellner had been interestedin producing a musical for some time, butit was a social encounter between Fellnerand NICHOLAS ALLOTT, the managing

director of Cameron Mackintosh Ltd., that triggerinterest in Les Misrables . Soon after, Bevan and Femet with Mackintosh, and conversations aboutadaptation of Les Misrables began in earnest.

It was a daunting task, provides Fellner, arguably the theaters greatest musical into a mu

the big screen. But with it came a privilege that winheriting greatly loved material and the opportwork alongside the people who had created the sh

Bevan, Fellner and Mackintosh all agreed thacrucial to keep the core group who had achievesuccess with the stage musical at the heart of theFrom the beginning, Boublil, Schnberg, MackinKretzmer remained very much involved in the pro

Until a director was chosen, the producers know how much of the original team would be pa process. It was decided, however, that a screenwrit be brought in to adapt their work for the screen. Sthe lmmakers initial meeting, William Nicholscharged with the task of penning the screenplayHayward, former head of lm at Working Title Filmreunited with the company to produce Les Misrablesalongside Bevan, Fellner and Mackintosh, expl

rationale: We instinctively knew Bill was the righWe had worked with him a number of times, so w

Javert stays on the hunt for his archnemesis, Valjean.

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his work intimately. As well as being a great dramatist, hehas a great understanding of music.

Nicholson, a two-time Academy Award nominee forhis work onGladiator andShadowlands , had previously

partnered with Working Title Films on the epic period piece Elizabeth: The Golden Age . Says Nicholson: I camealong with screen expertise to take the stage musical andnudge it into a cinematic one. Its been a fascinating job because I had seen the show many times and absolutelyloved it. The theater experience is so powerful and driven by the music, whereas lm is more naturalistic, forcingthe question of realism and credibility. It was my job tostrengthen the plotlines.

Mackintosh had a clear mandate from the start: Hedidnt want to put the show on lm; he wanted it to have alife of its own. Expounds Fellner: Our job was to validate itsexistence and lead an audience to want to see it, but to retainthe core of what this show isabsolutely at the heart of everysingle frame of the lm. We hoped we could maintain whatCameron describes as the DNA of what the show is andwhy it appeals to so many people throughout the world.

Fittingly, the stars were aligduring the search for a director. Ein this case, the director, Tom Hosought out the project even bthe astonishing global success oAcademy Award-winningThe Kings

Speech. When Hooper heard Nicholson, with whom he was woon another project, was also craftiadaptation of Les Misrables , he feready to tackle it. The director A light bulb went off in my hethought it a really interesting iHooper had not seen the showknew the music well and was intr by the period in which it was sewasted no time in going to seemusical. I saw it on a very hot dAugust. There were those three o

moments where the nerves in my spine were set and it was extraordinarily emotional. I was struckunbelievably addictive the melodies were. Havingonce, I could not get them out of my head. Claude

had tapped into something very deep with the mtheir patterns, the structures and the motifs.Around that time, Hooper met with Hayward, w

still Working Title Films head of production. It of those great serendipitous moments that Tom camus just at the time Nicholson had delivered the scrsays. He read it, loved it and knew he wanted to d

Agrees Fellner: Tom Hooper was our rst chowas the only director to whom we ever gave the scrand from the moment he signed on, it has been a ride. He is passionate, obsessive in the detail, inchard-working and deeply committed.

Hooper reects that he was drawn to the matmany levels: One of the things that was so excitindoingThe Kings Speech was the emotion it provokeaudiences around the world. It made me very muto make my next lm with a subject that would

Valjean embraces a very ill Fantine.

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even stronger emotions. Moved to tears while reading Nicholsons script on a ight from London to Los Angeles,Hooper knew that he had found his next lm. With thecombination of how the musical made me feel and theeffect the screenplay had on me, I thought there was anamazing opportunity to work in a very emotional way. I

was drawn to the combination of this extraordinary storyand the transcendence and pull of the music.In spite of the powerful material they were inheriting,

the lmmakers needed to go back to the storys originalsource to ll in some of the gaps that appear seamlesson the stage but would not be invisible on the screen.Says Hayward: The book has been a great inspirationfor Tom. It was a deceptively difcult adaptation, andwhenever we encountered problems, we went back to the book and the answers were there. Bringing in some of thegreat story elements to ll the gaps without affecting theoverall architecture and integrity of the score has beenone of the most enjoyable challenges as we embarkedupon the adaptation.

Hooper concurs: Its a colossal and masterful work,and it was a great joy to have an excuse to read it andgo back to it in adapting the material. The musical has

been interpreted in a unique way for lm. Its somethingCameron, Claude-Michel and Alain all empowered meto do from the beginning. They didnt just want a lmed musical; they wantedme to reinterpret it to make it work forlm. Thats one of the things that has been so exciting. Claude-Michels musicis so brilliant and Alain and Herbieslyrics so strong that they have allowed forthat interpretation. There is tremendouselasticity in the work, and like all greatliterature, the language allows you to playwith the meaning and the pace.

The rst draft of the screenplay that Nicholson wrote was divided into dialogueinterspersed with songs. Shares Hooper:All the new story material that Bill had

come up with and the story material I wanted to athe book, Bill wrote in the form of spoken dialogthe musical itself is through-sung. After a great thought and reection, I decided that I wanted tthe musicals through-sung form. I wanted to cralternate reality on film where people comm

through song. So at that point, we welcomed the moriginal creative teamClaude Michel SchAlain Boublil and Herbie Kretzmerinto the prcreating the screenplay as we asked them to writenew lyrics and create a new musical structure ansong [Suddenly] inspired by the spoken dialohad written. It was a hugely exciting moment whre-created the original conditions of the musicals in order to interpret it newly on lm.

There was another major attraction for Hoopehe considered a lmic adaptation of a fully throumusical. He explains: I wanted to take a risk something very different in a different genre. Fr beginning, what excited me was the idea of doinI dont think I would have done it if it turned out n possible to direct the lm live, because no matter hthe synchronization is of actors singing to playb

audience can tell that theres something unreal abdoesnt feel connected to what is occurring on the

Valjean admits that he is the real prisoner 24601.

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With Hoopers passionate assurance that the actorswould sing live, Mackintosh had no doubts that theyddiscovered the right director for the job. He comments:The only way you can make this music work is bycapturing it in the moment. That was one of the rstthings Tom said when he gave me the reasons why hewanted to do this. Plus, he loved the Les Misrables ofit. With most of the other directors Ive talked to over

the years, theyd say, I know how to do this song orthat song; what I dont know how to do is have Les Misrables sing. But that is what Victor Hugos novelis about; its about all of us, not just the story of JeanValjean and Javert. I knew the moment Tom had graspedthat, that this actually was the person who was goingto nd his own way of making the story and actually putting us all to work.

The Perfect Storm of Actors:Casting the Musical Epic

The lmmakers set out to nd what Hooper often refersto as the perfect storm of actors. Elaborates Fellner: Weneeded three things from our cast: star power, gifted actorsand accomplished singers, and we were blessed to hit amoment in time where that group of actors exists. The cast

that we see in the lm is pretty everyone we originally went after

Central to the story is the tionship between Jean ValjeanInspector Javert, which is mcomplex than the typical hero v

villain scenario. Released on pafter serving a 19-year sentenca petty crime, Valjean is brandeoutcast and shunned wherever heTwo decades of hard labor have thim into a man who hates the wand most signicantly, hates himAn act of mercy from a bishop, whe meets when he is rst released

prison, sets him on the path to redemption. Still,will spend his life running from Javert, a dedicarighteous police inspector who relentlessly pursuIts a particularly muscular story, reects Haywaclash between these two men through time is thethat drives the whole lm. Accurately casting thcentral characters was vital to the success of the e

Both Mackintosh and Hooper required the

cast to audition, and the director sat with Hugh Japproximately nine months before the lm was principal photography. Of the meeting, Hooper eIt was the most thrilling audition Ive ever donecommand of acting through the medium of scompletely extraordinary. He can access an emlife in himself through song almost more profounthrough conventional dialogue. He is so uent comfortable when he sings that one completely bits his rst choice of communication. He was tgrail for me, a genius at both acting and singing.

An incredibly charismatic performer of stascreen, the Tony Award- and Emmy Award-wJackman had wanted to do a movie musical fotime. The Australian actor shares Hoopers memoaudition: It lasted three hours. It was Toms rst wsession with the material, and it turned into a work

Fantine accepts her fate.

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was undoubtedly the most exhilarating audition of my life, but I eventually had to tell Tom I needed to go home and put my kids to bed.

Already a fan of the show, Jackman had seen Les Misrables three times and had in fact sung Stars duringone of his rst auditions just out of drama school. Valjean

is one of the greatest literary characters of all time, henotes. You follow him for a 20-year span, having beenreleased on parole as an ex-convict, to becoming mayorof a town, to becoming an outcast again. Throughout thattime, you see all the ups and downs, the pain and the ecstasythat life brings. He is incredibly human, remarkably stoicand powerful and, ultimately, completely inspiring. Hislife is truly epic.

Drawn as well to the universal themes of redemptionthat Hugos story evokes, Jackman says: Valjean isthe recipient of one of the most beautiful and touchingmoments of grace from the bishop and, in the shame ofthat moment, he decides to mend his ways and dedicatehis life and his soul to God and to being of service to thecommunity. He is constantly striving to be a better person,to live up to what he thinks God wants from him.

Known as an action star, Jackman has endured grueling

training regimens to play James Howlett, better knownto legions of fans as Logan/Wolverine. Still, discussingthe physicality of the part of Valjean, hesays: Ive never had a role require moreof me or take as much of a physical andemotional commitment. Valjean requiredeverything Ive done. All the things Ivedone leading up to this, whether it be onthe stage or in lm, I feel came togetherin this role. Its the role of a lifetime.

Jackman embraced the physicalchallenges and the changes required ofthe character as he goes from convict tooutcast to mayor over several years. Itwas decided to shoot the scenes of theconvict Valjean at the start of principal photography to allow Jackman to not

only lose weight, but also to grow his own bewas important to tell the story that he had been ifor 19 years, notes Jackman. I was surviving limited food, but Valjean was also known for his sso I was spending three hours in the gym. It was beginning. So committed was Jackman to the pa

hours before he shot the opening sequences of the performer also decided to go without water. This gthe hollowness and gauntness betting a convict o

As the lms lead, Jackman would go through wHooper and his fellow cast and crew, and the actohe cant think of another director with whom he wso: Toms a perfect match for the material. Hes a detail and history, as was Hugo. Hes incredibly sma complete grasp of the material and total condethe musical form. I think hes a great lmmaker,decided to take on the Mount Everest of lmmakiour fearless leader.

Once they had their Valjean, the lmmakerdetermined to find a performer powerful enoact opposite Jackman in the role of Javert. AcAward-winning actor Russell Crowe immediatelto mind. Hooper recalls: I didnt know Russ

such a commanding singer, or that he had starcareer in musical theater. He had this burning p

Young Cosette (ISABELLE ALLEN) nds hope in Montfermeil.

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to do a musical. We could not believe our luck that oneof the biggest movie stars on the planet and one of theworlds great actors was a passionate musical man with a background in music.

Unlike the majority of his co-stars, Crowe did not seethe show until after the lmmakers had approached him, but he understood its longevity right away. There were so

many powerful songs and themes with universal appeal,he says. Very quickly, Crowe became excited about thechallenge. It was something I wanted to do. I wanted tospend that time with music in my life, surrounded by it,which so much of my life has been.

Crowe, like Jackman, had no problem auditioning forHooper and the producers, and the call was set two monthsafter his initial meeting with the director. Explains Fellner:The actors understood auditioning was for their sake asmuch as ours. We wanted to make sure that they werecomfortable singing and acting, and condent they coulddeliver over a 12-week shoot.

The actor admits he took an unusual approach to thefollow-up. Recalls Crowe: I had this idea on the day ofthe audition that I should walk there, something I wouldhave done when I was starting out, when the audition was basically the difference between eating and not eating or

being able to pay the rent or not. It w blocks from where I was staying and prain. I had the opportunity to jump in but I knew if I did the audition wouldright. To the astonishment of the prodCrowe arrived at the audition soaked

skin. I dont think Id been more exabout playing a character since Johnin A Beautiful Mind .

Key to Crowes portrayal of legendary antagonist was fleshingJaverts motivation for why he dogtracks Valjean over the decades...andhe makes the ultimate sacrice for laorder. Reflects Hayward: It needeactor of immense skills to plumb the

of the character, as Russell has done, to understaultimately this man would take his own life.

Crowe offers some insight into the crucial dHayward mentions: Javert is a man with a very morality and a specic understanding of the way thworks: what is good and what is evil. When he iswrong, when a man he believes to be bad turns o

good, Javert is broken.As was true of his Valjean, Hoopers Javert wcommitted to bringing the character to life. R preparation for this role has been extraordinahe has been such an amazing person to work compliments Hooper. He has such ne intellect aan extraordinary amount to bring to storytelling, have so enjoyed and benetted from.

Echoing Jackman, Crowe recognizes the Hechallenge Hooper gave himself: Toms put everof his being into this. He worked seven days a wstill managed to keep himself balanced. Hes aguy; when he wants something, he wants it angoing to have it, but thats the kind of director yto work with.

Anne Hathaways connection with the projeclong before the lmmakers approached her to try

Madame Thnardier (HELENA BONHAM CARTER) and Monsieur Thnardier(SACHA BARON COHEN) try to exploit Cosette.

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the role of Fantine. When Hathaway was seven years old,Mackintosh had cast her mother in the U.S. national tourof Les Misrables as a factory girl; she also played Fantinea number of times during her time with the company.Truly, Hathaway had grown up with the music and loved it.Supplies Hooper: Annie is the female equivalent of Hugh

in terms of having that extraordinary facility at knowinghow to act through song. And its not just acting throughsong. Its acting inclose-up through song, the demands ofwhich make it quite different from performing on stage.

The actress was in good company with Jackman.Hathaway also spent a three-hour audition with Hooperand waited a month before she learned she had the partof perhaps the most tragic of characters in Hugos story.Forced into prostitution after she is thrown out of thefactory, her dissent into utter degradation is heartbreaking.She just wants love and to be free to love, explainsHathaway, but the heart she wants to share becomesdamaged and disregarded. The depth of Fantines sufferinggives life to the love you experience in the rest of the lm.

Hathaways dedication to the role was by all accountsextraordinary, and her physical journey, as well as theemotional one, was just as intense as Jackmans. Not only

did she choose to have her own haircut in the scene where Fantine sellsher tresses, the already slim actresslost a great deal of weight to makecompletely believable Fantines physical decline from, and ultimatelyher death because of, consumption.

Over the course of ve weeks, Ilost 25 pounds, relays Hathaway. Itwas very intense and very extremeand to be honest, if I had stoppedand really thought about what I wasdoing, it probably would have felttoo hard. I knew that I had an endmoment, and all I needed to do waskeep my spirits up and keep myfocus on that point. Im not method,

but I was playing a martyr. So any kind of sufferiwas going through I wouldnt feel it as suffering. have felt as she would, which was instant transform

While many musicals have good portions of d Les Misrables is almost completely through-sungwould prove an enormous challenge to the cast a

as production was underway. Hathaway and Hdiscussed that she would be singing live, and s prepared for the task. I was supportive of the singing it live, says the performer. There are mthat have a certain sensibility to them, where doinwouldnt make much of a difference. Its probablto have a track and do it that way. But when youstory this dramatic, where theres no dialogue to throughand where everything is so in the momea lot of pressure to have to sing all the time, but so spontaneous. Youre able to keep that and hoand explore that. Its a risk, but the benets outw potential cost.

The lmmakers had specic ideas about thewho should play Cosette and Marius, and in ASeyfried and Eddie Redmayne, the team founembodiment of the young lovers. I searched lo

Cosette holds on tight to her savior, Valjean.

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hard for my Cosette, sums Hooper. Known to audiencesfor her portrayal of Sophie, the young bride-to-be trying tond her real father in the global smash hit Mamma Mia! ,and more recently for her starring roles in Dear John and

Letters to Juliet , Seyfried delivered astonishing vocals thatdistinguished her from all others. On Hooper: Amandahas that amazing ability to command both disciplines, andon top of that she is mesmerizing on screen.

Seyfrieds exposure to Les Misrables rst happenedwhen she encountered the regional tour at age 11 inPhiladelphia. Then at 15, she played Cosette at a schoolrecital. Cosette is the main source of light, hope and lovein the story, says the actress. Theres a responsibility to bring this positivity to the role because it is so tragic in somany ways. Its a wonderful character to play. Shes so fullof life and possibility.

Eddie Redmayne has been a colleague of Hooperssince Hooper directed him in the television series Elizabeth

I . Encouraged by Schnberg, who knew Redmaynesocially, the actor decided to submit himself on tape to thelmmakers. For his audition, he sang Marius signaturenumber, Empty Chairs and Empty Tables. Redmayneelaborates: Id heard Tom was doing this. I was in atrailer in North Carolina playing a cowboy, and I recordedthe song on my iPhone. That was the start of the most

intensely rigorous audition procewas completely terrifying.

Hooper admits that he was thrto hear from his former actor: Thataped audition got me incredibly exEddie was my dream casting, and to

he could sing at that level was thefantastic discovery.Like Seyfried, Redmayne

discovered Les Misrables long befoHoopers lm was on his radar. Ithe show as a child, and I obseabout being Gavroche, he laughsa nine-year-old, I wanted to bestreet urchin jumping in and ou

barricades. He was beyond thrilled when he the part of Marius, the politically engaged swho is passionate about the inequality in Franready to fight for his cause when he falls in lovCosette. Redmayne describes the event as a and Juliet moment, which sends him spinning. incredibly special to be part of this.

The beautifully tragic ponine is played by

actress Samantha Barks, making her feature-lm this production. Barks starred as ponine in the production of Les Misrables (from June 2010 to J2011), and was handpicked by Mackintosh to prole in the 25th anniversary concert of Les Misrables athe O2 arena. After he saw her play the role in hernight at the Queens Theatre in Londons West E producer knew she was perfect to immortalize at the event. But, in fact, she was on Mackintoshsince she had competed in a reality televisioncalled Id Do Anything . In the show, she was one onalists in the search for an unknown lead to playin MackintoshsOliver!

Barks came in third, but eventually played NanU.K. tour of the show that opened in December 20she is currently starring in the U.K. tour ofOliver!, havin been given a leave of absence to appear in Les Misrables

ponine (SAMANTHA BARKS) is devastated by her unrequited love.

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It was on stage at the end of a performance in Manchesterthat Mackintosh announced shed won the role of poninein the lmic version of Les Misrables . She tweeted thatit was the most incredible moment of my life. Barksshares her connection to the classic gure: I only have tohear the opening two bars of On My Own, and it breaks

my heart. I feel so close to ponine. Ive traveled so farwith her. It makes me so proud to be playing her becauseshes such a beautifully written character.

Hooper and Mackintoshs fellow producers knewMackintosh had discovered a very special talent. SumsFellner about Barks time on the set of the lm: Samanthais a wonderfully trained theatrical singer, and you could just sit on the stage and listen to her singing On MyOwn all day.

Bringing their fascinating choices and respectivecomedic geniuses to the roles of the bawdy innkeepers-cum-professional thieves, Monsieur and MadameThnardier, are Sacha Baron Cohen and Helena BonhamCarter. The lm reunites Hooper with Bonham Carter,who was nominated for her second Oscar for her role asQueen Elizabeth inThe Kings Speech . As well, she sharedscreen time with Baron Cohen as Pirelli in director Tim

Burtons movie musicalSweeney Todd .Hayward offers the impact of these characters uponthe production: Monsieur and Madame Thnardier provide much needed comic relief. Withsuch demanding material, you have tohave moments of levity, and Cameronand the creators of the original stageshow knew this. Master of the Houseis one of the best-loved numbers in themusical. We did not have to look furtherthan Helena Bonham Carter and SachaBaron Cohen to nd that perfect comic pairing. The fact that they have both gotgreat voices was the icing on the cake.

The principal cast of Les Misrables isrounded out by American actor and risingBroadway star Aaron Tveit, who plays the

impassioned student revolutionary Enjolras. He i by youngsters Daniel Huttlestone (who played Gin the West End and is currently starring as theDodger, opposite Barks, inOliver! on tour) as GavrocIsabelle Allen (who is also playing the part in thestage production) as Young Cosette and Natalya

as Young ponine.Coming aboard in supporting roles are multipof the London stage. They include Colm Wilthe original Jean Valjean in the 1985 London anBroadway productions of Les Misrables , in the pivorole of the Bishop of Digne; FRANCES RUFFwho originated the role as ponine, for which sa Tony Award, as one of the Lovely Ladies; BCARVEL, winner of the 2012 Olivier Award turn as Miss Trunchbull in Matilda: The Musical (whicis about to repeat on Broadway), as Bamataboiknown star of stage and screen MICHAEL JIBSOfactory foreman; DANIEL EVANS, a two-time Award winner for Best Actor, most recently forSundayin the Park With George , as the pimp; KATY SECOMwho has played Mme. Thnardier at the QTheatre several times, as Mme. Hucheloup; KI

DONNELLY, who played Enjolras at the Queens as the student Combeferre; FRA FEE, who rstarred in Les Misrables at the Queens Theatre, as

Marius Pontmercy (EDDIE REDMAYNE) holds off the French soldiers.

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student Courfeyrac; CAROLINE SHEENwho recently played Fantine at the Queens Theatreleading actressKATE FLEETWOODwho pla

lesmiserables productionnotes

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