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T H E E S C A P E

@ESCAPE_filmhttps://www.facebook.com/

A short film, running time: 18:04 mins

Written and Directed by ………………… Paul Franklin Produced by……………………………….. Jessica Malik Jessica Parker Cast………………………………………… Art Malik Julian Sands Olivia Williams Ben Miller Mimi Keene Ivo Burton-Franklin Associate Producer……………………….. Lorena Wright Executive Producer……………………….. Celine Haddad

Synopsis – Short (50 words)

An ordinary family man is offered the chance to live out his wildest fantasy, all he has to do is hand over everything he owns. What secrets are held in his heart and just what is it that we really dream about?

Synopsis – Full (250 words)

THE ESCAPE tells the story of Lambert, an ordinary man who receives an incredible offer from the mysterious Kellan: I can send you to the fantasy world of your choosing, all you have to give me is everything you own and ten years of your life. Is Kellan a charlatan? His claims seem unbelievable and the price is so high, but Lambert is clearly tempted.

Lambert returns to his family where the burdens of responsibility, domestic and professional, press in on him - is this what he seeks to escape? Lambert listens as his friend Mike talks enthusiastically about his divorce, does Lambert covet Mike’s claims of freedom? Time passes, Lambert and his wife Sarah watch as their daughter, Megan, heads leaves for university - later that evening, as the rain drums on the roof, Sarah mourns the changes in their lives and the passing of time. Lambert is deeply moved, finally showing the love that has been hidden for so long. Thunder rolls as the storm outside builds and from the room next door Lambert hears the cry of his son, Alby, who has woken from a nightmare of floods and abandonment. As Lambert comforts the child, reassuring him that he’ll never leave surely we feel certain that he won’t take Kellan’s offer now, will he?

THE ESCAPE looks at the layers of a man’s life and asks what do we really dream about?

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Art Malik in ‘The Escape’. Photo: Liam Daniel. Copyright: Pari Passu Films Ltd

Paul Franklin, Julian Sands and Ben Miller behind the scenes on ‘The Escape’. Photo: Liam Daniel. Copyright: Pari Passu Films Ltd

Paul Franklin, Writer/Director, Biography

Paul Franklin’s career as a filmmaker began whilst studying at art school in England where he worked with friends to make short films and animations. After graduation Paul combined his love of filmmaking with his interest in new emerging digital technologies and moved into the area of visual effects, working on films including The English Patient and the Harry Potter series. Paul's long-running collaboration with director Christopher Nolan produced the spectacular sequences featured in The Dark Knight Trilogy as well as Inception and Interstellar, both of which brought him Oscars and a host of other awards. Paul is now using his experience of cutting edge filmmaking to tell his own stories and THE ESCAPE marks his directorial debut.

Director’s Statement

Over the years I have been lucky enough to work with some wonderful filmmakers, creating amazing images to support their vision, but increasingly I wanted to put my own viewpoint on screen. THE ESACPE is based on a short story that I have loved for many years - it’s a story of a man who is perhaps becoming detached from his life, who yearns for something that his comfortable existence appears unable to give him. As my career in filmmaking developed and the stresses it placed upon my own family life became ever more apparent I realised that the story spoke strongly to me with a new and urgent voice. One day I was suddenly struck with a way into the story that could bring it to the screen, updating it for the contemporary world whilst retaining everything that I loved about the original. I wrote the script over an intense weekend and began to circulate it amongst my filmmaking friends - Jess Parker and Jess Malik responded strongly to the script and we began to plan how to make the film. As each member of the crew joined our expanding team I found that the vision for the film began to evolve into something that had it’s own life, building on the original source material, moving restlessly forwards until we finally completed the project. I am delighted that THE ESCAPE will have its world premiere at TriBeCa 2017 in New York City, the home town of the short story’s original author, Robert Sheckley.

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Paul Franklin Photo: Paul Franklin. Copyright: Paul Franklin

FILMMAKERS’  FAQ  

How  did  you  fund  your  film?  

We  (the  producers),  with  the  support  of  the  BFI,  have  been  developing  a  feature  film  project  with  Paul.    It  became  increasingly  clear  that  it  would  be  hugely  helpful  for  us  to  make  a  short  film  first  for  Paul  to  direct.    When  he  showed  us  the  script  of  THE  ESCAPE,  we  knew  this  was  the  perfect  project.    We  immediately  approached  the  BFI  and  CreaIve  England  for  funding  who  responded  very  strongly  to  the  script  and  agreed  to  fully  finance  the  film.  

We  were  absolutely  thrilled  that  Gail  Dana  Sheckley,  Robert’s  widow,  was  kind  enough  to  allow  us  the  opportunity  to  make  the  film  and  has  conInued  to  be  supporIve  throughout  the  filmmaking  process.  

How  did  Hans  Zimmer  and  Remote  Control  get  involved  in  the  music  for  your  film?  

Paul  has  previously  worked  with  Hans  Zimmer  on  Chris  Nolan’s  films,  Paul  discussed  the  project  with  Hans  at  an  early  stage  and  he  introduced  us  to  Andrew  Kawczynski,  a  composer  who  regularly  works  with  Hans  at  Remote  Control  in  Santa  Monica.    Paul  is  based  in  London  but  was  able  to  visit  California  several  Imes  during  post  producIon  to  work  with  Andrew  as  he  developed  the  score  in  conjuncIon  with  the  evolving  edit  of  the  film.    The  result  is  a  complex  score  that  is  by  turns  delicate,  lush  and  disconcerIng  -­‐  perfectly  in  tune  with  the  imagery  on  the  screen.  

Tell  us  some  more  about  the  director.  

Paul  Franklin,  a  double  Oscar  and  BAFTA  winning  VFX  supervisor,  is  making  his  directorial  debut  with  THE  ESCAPE.    Having  won  numerous  awards  for  his  work  with  Christopher  Nolan  over  the  last  decade,  notably  on  INTERSTELLAR  and  INCEPTION,  we  are  really  proud  to  present  Paul’s  first  work  as  a  director.  

What  was  the  source  material  behind  the  film?  

THE  ESCAPE  is  based  on  the  short  story  “The  Store  of  the  Worlds”  by  the  American  writer  Robert  Sheckley,  first  published  in  1959.    Sheckley  wrote  in  a  number  of  genres  but  is  primarily  known  for  his  science  ficIon  which  was  o^en  darkly  saIrical  and  humorous.    Robert  Sheckley  was  born  in  New  York  City  and  graduated  from  New  York  University  in  1951  -­‐  we  are  so  excited  to  be  giving  our  film  adaptaIon  of  Robert  Sheckley’s  amazing  work  its  world  premiere  at  TriBeCa  in  his  hometown,  New  York  City.  

How  did  you  cast  the  film?  

We  started  sending  the  script  out  early  in  2016  and  received  a  fantasIc  response,  eventually    assembling  a  wonderful  cast  including  Art  Malik  (True  Lies,  Sherlock,  The  Living  Daylights),  Julian  Sands  (Room  with  a  View,  Killing  Fields),  Olivia  Williams  (The  Sixth  Sense,  The  Ghost,  Rushmore)  and  Ben  Miller  (Death  in  Paradise,  Johnny  English).

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Are  there  any  significant  locaIons  in  the  film  that  mean  something  to  the  filmmakers?  

Much  of  THE  ESCAPE  is  shot  in  South  East  London  around  Greenwich  and  Blackheath  where  the  director,  Paul  Franklin,  has  lived  with  his  family  for  over  20  years.    The  use  of  locaIons  from  the  physical  landscape  of  Paul’s  life  gives  the  film  an  autobiographical  aspect  which  informs  the  development  of  the  characters,  taking  Robert  Sheckley’s  original  story  idea  and  making  it  deeply  personal.      

The  framing  scenes  in  Kellan’s  mysterious  office  were  shot  at  Trevor  Howsam’s  props  warehouse  in  West  London.    Quite  apart  from  being  filled  with  an  amazing  collecIon  of  extraordinary  objects  the  Victorian  era  building  has  a  strong  character  of  its  own.    Paul  had  wrigen  the  script  before  even  knowing  of  Trevor  Howsam’s  existence  -­‐  when  he  was  introduced  to  it  by  ProducIon  Designer  Morgan  Kennedy  for  the  first  Ime  he  immediately  realised  that  he  had  found  the  perfect  locaIon  for  the  scene,  as  if  it  had  sprung  to  life  directly  from  his  imaginaIon.  

Canvey  Island,  a  small  town  on  the  River  Thames  Estuary,  provided  the  unearthly  Idal  landscape.    It  was  fascinaIng  to  find  such  a  dramaIc  locaIon  so  close  to  London  -­‐  the  familiar  River  Thames  widens  out  unIl  it  is  several  miles  across  and  the  horizon  seems  to  stretch  on  forever.    At  low  Ide  shining  mud  flats  are  exposed,  piled  with  the  glistening  black  shells  of  mussels  and  bitumen-­‐covered  rubble,  designed  to  prevent  erosion  by  the  mighty  river.  

How  did  you  choose  your  cinematographer?  

Paul  met  with  a  number  of  potenIal  candidates  for  the  posiIon  -­‐  it  was  very  important  to  Paul  was  looking  for  a  partner  to  explore  and  illuminate  the  story,  someone  who  would  be  willing  to  operate  the  camera  themselves.    Paul  immediately  hit  it  off  with  Mick  Coulter  (Four  Weddings  and  a  Funeral,  Sense  and  Sensibility,  Love  Actually)  who  brought  an  elegance  and  sophisIcaIon  to  the  film  that  elevates  the  story.  

What  was  the  relaIonship  between  the  director  and  the  editor  like?  

Paul  had  previously  worked  with  Pani  Ahmadi-­‐Moore  on  a  test  for  a  feature  film.    Pani  brought  a  wealth  of  experience  to  the  cujng  room,  having  worked  previously  with  veteran  BriIsh  film  editor  Mick  Audsley  (My  BeauIful  Laundrege,  Harry  Poger  and  the  Goblet  of  Fire,  Everest).    Over  a  period  of  weeks  Paul  and  Pani  teased  out  the  complex  layers  of  THE  ESCAPE’s  narraIve,  refining  the  cut  in  conjuncIon  with  the  developing  score  and  visual  effects  work.  

How  did  the  director’s  experience  with  big-­‐budget  visual  effects  influence  the  film?  

From  the  outset,  we  (the  producers)  were  impressed  with  the  fact  that  Paul  first  and  foremost  wanted  to  make  a  good  film  that  tells  a  human  story  and  it  was  clear  from  Paul’s  script  that  he  wasn’t  going  to  rely  on  CGI  and  effects  to  carry  the  day  -­‐  the  film  would  live  or  die  by  the  quality  of  the  performances  and  the  depth  of  the  characters.      

Paul  worked  closely  with  independent  Visual  Effects  Designer  Shahin  Toosi  and  Oscar-­‐winning  Visual  Effects  Supervisor  Sara  Benneg  (EX  MACHINA)  of  Milk  Visual  Effects  to  create  the  spectacular,  but  restrained,  imagery,  so  crucial  to  the  story  of  THE  ESCAPE  

Paul  o^en  describes  his  visual  effects  style  as  “stripped  down”,  only  doing  what  is  absolutely  necessary  to  tell  the  story  -­‐  the  small  amount  of  effects  work  in  THE  ESCAPE  serves  to  enhance  and  extend  the  film’s  story,  not  to  dominate  it.

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Julian Sands during aerial filming behind the scenes on ‘The Escape’. Photo: Liam Daniel. Copyright: Pari Passu Films Ltd

Julian Sands in ‘The Escape’. Photo: Liam Daniel. Copyright: Pari Passu Films Ltd

Film Production Credits The Escape

Based on ‘The War of the Worlds’ by Robert Sheckley

Written and Directed by Paul Franklin

Produced by Jessica Malik

Produced by Jessica Parker

Cinematography by Michael Coulter BSC

Production Design by Morgan Kennedy

Edited by Pani Ahmadi-Moore

Music by Andrew Kawczynski

Costume Design by Charlotte Morris

Hair and Make Up Design by Karen Hartley

Associate Producer Lorena Wright

Executive Producer Celine Haddad

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First Assistant Director MATTHEW CARVER

Second Assistant Director DAN COX

CAST Lambert JULIAN SANDS Kellan ART MALIK Sarah OLIVIA WILLIAMS Mike BEN MILLER Megan MIMI KEENE Alby IVO BURTON-FRANKLIN Bearded Man STEVEN CREE Tough Looking Man TONY DENHAM News Reader ANGELA RIPPON

Art Director DAISY MASON Assistant Art Director MEG ROSS Poster Design REBECCA ROSE CAREY Art Department PA JACK WELLS

Steadicam Operator JOHN HEMBROUGH A Camera First Assistant GABRIEL HYMAN A Camera Second Assistant ROB HAWKINS DIT TOM ROGERS Camera Trainee JASON CHUA Drone Payload Operator KATYA NELHAMS-WRIGHT Drone Pilot in Command ADAM TURNER

Production Sound Recordist NIGEL ALBERMANICHE Boom Operator LEE SHARP

Script Supervisor LUCY NOBLE

Post Production Supervisor DAN BENTHAM

Visual Effects Designer SHAHIN TOOSI

Visual Effects Compositor JACQUELINE LOCKLEY Visual Effects On-set Stills Photographer ALISON WORTMAN

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Post Production Services by LIPSYNC POST Facility Director LISA JORDAN Senior Post Producer PAUL DRAY Colourist TOM RUSSELL Head of DI JAMES CLARKE DI Co-Ordinator ELIZABETH NEWSHAM Senior Online Editor WILL CHETWYND D-Lab Operators THOMAS WADDINGTON REUBEN YARWOOD JOSH KELLY KATIE CROFT Head of VT RICK WHITE VT Operators MARK LANGLAY-SMITH CALLUM GRANT

Sound by LIPSYNC POST Re-Recording Mixer ROB ACKERMAN Sound Effects Re-recording Mixer TUSHAR MANEK Dialogue and Sound Effects Assistant ROB ACKERMAN Foley UNIVERSIAL ADR Mixer JAMES DRAKE ADR Recorded at TECHNICOLOR

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Visual Effects by MILK VISUAL EFFECTS Visual Effects Producer SARAH WILLIAMSON Visual Effects Supervisor SARA BENNETT CG Supervisor NICO HERNANDEZ Head of Modelling SAM LUCAS Layout/Texture Lead NATASIA BOIS Lighting TD BASTIEN MORTELECQUE Compositor CARLOS FLOREZ Roto/Prep Artist TOMI GEORGE Tracking Lead AMY FELCH Tracker ROBERT NZENGOU-TAYO Editorial COLLETTE NUNEZ

Visual Effects by DOUBLE NEGATIVE LTD Visual Effects Coordinator MADDIE JOINT Storyboards DAN HEE RYU Concept Art JONATHAN OPGENHAFFEN Matchmover BENOIT VERMINET SCHUPPON Rotoscope Artist ADAM JACKSON Pipeline CHRISTOPHER KERR Studio KATE TYSOE Studio PETER HANSON Studio MILES DRAKE

Key Costumer MAIA HERZOG-LEE

Key Makeup & Hair Artist CAROLINE GREENOUGH

Production Coordinator ANETA CHALAS Assistant Production Coordinator BELINDA CUMMING Assistant to Mr. Franklin EMMA MOFFAT Third Assistant Director SAM ROOK Floor Runners JAMES BUDD LOUISE DAWSON MAX SMITH LAUREN VAN VEEN SILAS ELLIOTT

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Supervising Location Manager GEORGETTE TURNER Locations Assistant MATAT LEVIN

Production Accountant TANYA MELLOTTE

Chief Lighting Technician HARLON HAVELAND Lighting Technicians HUGH DONNELLY HARRY GAY DAVE SHERMAN Key Grip MARK MORLEY Assistant Grip REBECCA HORSBURGH

Property Master CHRIS ULUSELE Props TIM SILVERSIDES Armourer MATT STRANGE Props Buyer JACKI CASTELLI Prop Transport FILM FLASH TRANSPORT

Stills Photographer LIAM DANIEL

Transport Captain DEAN PORTER Driver PAUL BRAYBROOK Driver STUART ROWE Driver JIM CARSON Driver LEWIS DARLING

Chaperone DEBBIE GUSCOTT

Music Production Services … STEVEN KOFSKY Digital Instrument Design MARK WHERRY Sampling Team TAUREES HABIB RAUL VEGA DREW JORDAN Solo Violin CLAUDIO OLACHEA

Score Recorded and Mixed at REMOTE CONTROL PRODUCTIONS, SANTA MONICA CA

Titles Designed by PAUL FRANKLIN Main & End credits By LIPSYNC

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Visual Effects by MILK VISUAL EFFECTS and DOUBLE NEGATIVE LTD

Filmed on location in London and Canvey Island, England

The Producers would like to thank:

Jane Burton

Freya Burton-Franklin

Seth Burton-Franklin

Michelle Wright

Amelia Granger

Sheila Wickens

Mick Audsley

Andrew Lockley

Rob Curley

The Royal Parks

Kami Naghdi

Jennifer Parker

Luke Gornell

Matthew Kennedy

Paul Hillier

Trevor Howsam

Marcus Howsam

Lulu Roche

Stephen Kravitt

Gary "Gizza" Smith

Lucia Pallaris

The Helicopter Girls

Docklands Light Railway

The Cator Estate

Daniel Capel

Philip Richards

Andrew Boucher

Jo Withers

Harrison Miller

Lana Miller

Sonny Miller

Gina Malik

Sam Mumford

Arlo Mumford

Sudie Smyth

Aileen McIntosh

Charlotte Laing

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The Producers wish to extend a special thanks to

Milk Visual Effects

Double Negative Ltd

Trevor Howsam Ltd

Mission Digital

Arri

Panalux

Panavision

The Rivington Grill, Greenwich

Hans Zimmer

Will Cohen

Peter Hampden

Gail Dana Sheckley

David Gersh

Cora Palfrey

Lizzie Francke

For Creative England: Head of Film Caroline Cooper Charles Talent Co-Ordinator Alice Ramsey Finance Officer Lauren Summers

Camera Equipment by ARRI RENTAL Grips Equipment by PANAVISION UK Electrical Equipment by PANALUX UK

KODAK Motion Picture Products

Color and Prints by TECHNICOLOR ®

Made with the support of Creative England via the BFI NET.WORK

No person or entity associated with this film received payment or anything of value, or entered into any agreement, in connection with the depiction of tobacco products.

This motion picture is protected under the Copyright Laws of the United States and other countries throughout the world. Country of first publication: United States of America. Any

unauthorized exhibition, distribution or copying of this film or any part thereof (including soundtrack) may result in civil liability and criminal prosecution.

The story, all names, characters and incidents portrayed in this production are fictitious. No identification with

actual persons, places, buildings and products is intended or should be inferred.

Cover image: Julian Sands in ‘The Escape’. Photo: Liam Daniel. Copyright: Pari Passu Films Ltd

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