PADDINGTON Production Notes

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