THE UK FILM COUNCIL and BBC Films present in association with UNITED ARTISTS

A REVOLUTION FILMS PRODUCTION

A MICHAEL WINTERBOTTOM FILM

CODE 46
TIM ROBBINS
SAMANTHA MORTON

Written by Frank Cottrell Boyce

Directed by Michael Winterbottom

Produced by Andrew Eaton

Running Time: 92mins Certificate: tbc

Publicity information
Charles McDonald/Jo Falcon
Tel: 020 7636 2700
e-mail: charles@mcdonaldrutter
[email protected]

1
 SYNOPSIS

The near future. While investigating the creation of fraudulent ‘papelles’ (a

form of insurance cover, passport and visa rolled into one) at the Sphinx
Insurance company in Shanghai, husband and father William falls in love with
the worker he suspects, Maria Gonzalez. He does not report her. They spend
the night together. William returns to his wife and son in Seattle. When one
of Maria’s clients dies, while using a fake set of papelles, William is sent back
to Shanghai. Torn between his professional duty and his powerful love for
Maria, William must decide whether to risk his career and his marriage to be
with her.

The UK Film Council’s Premiere Fund presents in association with United

Artists and BBC Films a Revolution Films production of a Michael
Winterbottom Film CODE 46. Code 46 was developed with the support of the
MEDIA Programme of the European Union. CODE 46 stars Tim Robbins and
Samantha Morton and was directed by Michael Winterbottom, produced by
Andrew Eaton and written by Frank Cottrell Boyce. Executive Producers are
David M Thompson and Robert Jones. Directors of photography were Alwin
Kuchler BSC and Marcel Zyskind, editor Peter Christelis, production designer
Mark Tildesley, line producer Rosa Romero and the casting director was
Wendy Brazington. Music is by The Free Association.

2
ABOUT THE PRODUCTION

Ideas and Inspiration

Code 46 grew out of a series of conversations between director Michael

Winterbottom, producer Andrew Eaton and scriptwriter Frank Cottrell Boyce,
who had flirted for several years with the idea of making a science fiction film.
But not, as one might expect from the team which created “The Claim” and
“24 Hour Party People”, a science fiction film dominated by hardware,
futuristic sets and special effects. Instead, while being set in a recognisable
near-future with many parallels to our own time, it would combine elements
of a love story, a film noir thriller and Greek mythology, together with an
exploration of the emotional consequences of human cloning.

Now Code 46 is completed, the film-makers are still reluctant to see it pigeon-
holed as a straight science fiction picture. “If we’d described it as just a
science fiction film,” explains Michael Winterbottom, “the audience would
have been expecting something much more concerned with technology or
design, or with the differences between now and then. Our idea was to make
a love story set in the near future, in a world that is meant to be more of a
parallel to the world of today, but with the elements combined in a slightly
different way. “At the same time, Code 46 is also a modern version of a
classic film noir thriller. The detective, William (Tim Robbins), comes to
Shanghai to investigate a crime and falls in love with Maria (Samantha
Morton), the person who committed the crime.”

The idea of cloning introduced another level of emotional complication, the

possibility that in the near future it might be possible to meet and fall in love
with someone to whom one was genetically linked. This in turn took the film-
makers back to the classic Greek myth of Oedipus: “Our story became a more
mythic, abstract version of the idea that you can’t control who you love. What
was particularly attractive was the idea of taking a very ordinary love story,

3
one which everyone can recognise, but then pushing it to its extreme by
introducing the Oedipal taboo against sleeping with your mother. That was
the appeal of the cloning element, the idea that William could fall in love with
someone who is genetically identical to his mother, without his being aware
of it.”

Code 46 therefore became a classic story of doomed love, but with a crucial
genetic twist. “The original idea,” says producer Andrew Eaton, “was to tell
the story of a doomed love affair, in which two people are in love, but there is
a particular reason why they can’t be together. Brief Encounter, Casablanca
and The English Patient all have that shape. So that’s where the idea of
cloning came in, because our story became a modern version of the myth of
Oedipus, in which the incest is beyond William and Maria’s control.
“In the case of Code 46 it’s complicated by the fact that one of the reasons
that they fall in love is that they instinctively recognise that they’re from the
same DNA, but they can’t explain their attraction rationally. I think that that’s
very much in line with the idea of ‘soul mates’ in this day and age – the idea
that people fall in love and they can’t stop themselves.”

Scriptwriter Frank Cottrell Boyce was surprised to find unexpected echoes of

an earlier project: “The strange thing about William and Maria being
genetically related to one another is that it generates all these powerful
emotions that they can’t quite understand or control. They don’t really know
what those feelings are, and they don’t know what to do with them.
“I was actually thinking about William and Dorothy Wordsworth, who I’d
written about in my earlier screenplay for Julien Temple’s Pandemonium.
They were brother and sister but they grew up apart, so when they were
finally reunited, it created a lot of static and sexualised feelings which they
didn’t know how to cope with.”

Cottrell Boyce was excited by the idea of a pair of doomed lovers who, like
the characters in a Greek myth, find themselves at the mercy of an

4
ineluctable Fate. Also, there were intriguing parallels with modern ideas about
the ways in which some aspects of human behaviour are genetically
determined. “What makes all those Greek stories so compelling is the idea of
Fate. And as a society we’re now replacing the idea of Fate with the idea of
genes. People are going around saying, ‘I can’t help myself, it’s my genes
which are predisposing me to be fat, or angry, or in love, or whatever.”

Imagining The Future

Producer Andrew Eaton knew from the outset that creating a convincing
vision of the future on a moderate budget would be a major challenge. Even
if that future was meant to be just around the corner. One key strategy was
to ground Code 46’s imagined view of the future in the known present:
“There’s hardly anything in the film that doesn’t have some basis in current
fact. In the case of climate change and some of the technology, we’ve taken
a few leaps of imagination, but they’re not a million miles away from what
exists now. Probably the most fantastical element is the Empathy Virus, the
idea that you would be able to take a pill and then effectively read somebody
else’s mind. But everything else – global warming, the cloning of human
beings, the problems with cross-border travel - are just extrapolations from
the present.”

A significant background influence on Code 46 was Michael Winterbottom’s

experience of making his last film, In This World, which recorded the epic
journey undertaken by two young Afghani men from a refugee camp in
Peshawar, north-west Pakistan to London. “There was quite a lot in Code 46
that grew out of our experience of making In This World,” acknowledges
Winterbottom. “One important thing was the frustration of passports, visas
and all the bureaucracy that goes with travelling through a lot of different
countries - the problem of not having the right paperwork. That became part
of the back story, the need for papelles, the road-blocks and security, and the
difficulties of cross-border travel in general.”

5
Given the project’s limited resources and Michael Winterbottom’s preference
for filming on location, the idea of spending three-quarters of the budget on
futuristic studio sets in a studio was not an appealing one. On the contrary, it
was something that Winterbottom, producer Andrew Eaton and production
designer Mark Tildesley consciously wished to avoid. All three were sure that
this approach would pay dividends, not only financially but also aesthetically,
as Eaton explains: “Rather than spending £3 million building a Blade Runner-
style set, which would have meant imagining everything and then building it
from scratch, we decided to use ‘found’ spaces. Michael suggested going to
places like Shanghai and Dubai, which have this extraordinary, contradictory
architecture. In Shanghai there is Third World poverty in the shadow of some
of the most modern skyscrapers in the world. In Dubai there is the skyscraper
area of the city and then just behind it is the desert. It was those curious
juxtapositions which were interesting and attractive.”

All of which fitted perfectly with Winterbottom’s preferred way of directing: “I

like to be on location. For me, the story never really coheres until you know
where you’re filming, because the inter-action between the characters and
the environment is crucial. Most of my films are observational in some way,
so without a sense of the place, and how the characters react to each other
within that space, it’s hard for me to tell who the characters are going to be.
So to build a completely artificial futuristic world on studio sets would not
have worked, for me or for the film.”

It was therefore out of an imaginative extrapolation from this actual, tangible

sense of a contemporary urban reality that Code 46’s vision of the future was
born. As Michael Winterbottom is keen to make clear: “We said, Let’s imagine
that climate change means that areas that were once fertile are now desert,
so the area around Shanghai is a desert. Let’s imagine that the ozone layer is
depleted and people are afraid to go out in the daytime, so they work at
night. Also, let’s imagine that because of these changes, living outside of a

6
controlled urban environment is very hard, so everyone wants to live inside
the city. Which means that the cities are even more densely populated than
now, and in order to control that urban space you have to have some kind of
privatised visa system, which gives permission for some people to live in the
city. But only those who have the official papelles, which are printed in the
office where Maria works. Meanwhile, the disenfranchised people who have
no papelles live in the desert area, al fuera, beyond the city limits.”
Filming on location in Shanghai, Dubai and Jaipur might not seem the
cheapest way of envisioning the future, but Michael Winterbottom worked
closely with production designer Mark Tildesley and cinematographer Marcel
Zyskind (both of whom had had worked on In This World). Having scouted
the locations in advance, they were able to shoot quickly and efficiently.
Filming almost exclusively with available light, they were able to react to the
sights, sounds and textures of the urban settings.

Not that these spaces always seem as familiar as they should, because the
film makes extensive, inventive use of “creative geography”, often matching
the exterior or exit of a building in one well-known city with the entrance or
interior of a building in a different city. “We thought that the most interesting
thing to do,” says production designer Mark Tildesley, “would be to try to fool
the audience by taking the most interesting bits from each location. So you’d
have the impression that you were walking out of a door in one city, but
you’d actually end up walking out of it into completely different place,
somewhere else entirely.”

Initial plans to give the film’s interior sets, in particular the Sphinx insurance
agency offices where Maria works, a distinctly futuristic look were later scaled
back. The reason, says Mark Tildesley, was the possibility that they might
detract from the emotional core of the story, the love affair between William
and Maria: “At one point, we were going to have all sorts of screens with big
pictures of natural beauty, seascapes and stuff, which would help Maria and
her fellow the workers get through their day. But as the design of the film

7
evolved, we realised that it might be distracting to have lots of sophisticated
interiors with screens and all sorts of stuff going on.
“So in the end, we decided that it was more important to develop a consistent
emotional space than to create a gadget-ridden futuristic world. What Michael
needs, as a director, is a breathing space in which the drama can evolve; so
he won’t ever let you elaborate the design to the point where it is distracting
from the heart of the film.”

Although scriptwriter Frank Cottrell Boyce describes himself as “a bit of sci-fi

buff”, he too saw the logic of scaling back the obvious differences between
the imagined world of the future and the world we inhabit now. For, as he
points out, the future is not always what the science fiction novels, comics
and films promise it will be. And the changes which revolutionised our view of
the world have been at once less tangible and more far-reaching than the
ones which sci-fi pundits predicted: “In our lifetime the actual physical
appearance of the world hasn’t changed an awful lot. My generation grew up
reading Dan Dare comics and we thought that by now we’d all be going on
holiday to the moon, living in capsule apartments, driving futuristic cars and
flying around on our own personal jet-packs. But in fact, there have been
very few radical changes in transport or domestic living spaces in our lifetime.
“What has happened is that there have been huge changes in travel and
communication, and a massive mental change in our thinking about genetics
and human behaviour. When Michael and I started talking about Code 46, we
both thought that the next big change would be in the field of genetics. And
that it would have a huge effect. Also, like the Internet, its influence will be
largely invisible but also absolutely colossal.”

Casting

The casting of a straightforward two-handed love story is crucial. If there is

no chemistry between the two leading characters, in this case William (played
by Tim Robbins) and Maria (played by Samantha Morton), the audience will

8
not make the necessary emotional investment in their story. In an ideal world,
Michael Winterbottom would have liked to cast the two lead actors at the
same time, but when Samantha Morton expressed a keen interest in the Code
46 script, he grabbed her before someone else did. Morton loved the script
from the moment she read it:

“When I first read the script I couldn’t stop crying. I was thinking, ‘How cruel
life is sometimes, how beautiful life is, and how it’s sort of out of our hands.’
It’s such an amazing, one in a million love story. But it’s not mushy, like a
date movie, it’s a film for adults about love. It reminds you of what love is,
how you love your partner, and how it is a good thing to be in love.
“Maria doesn’t know she’s going to fall in love with this guy, William. You
wake up in the morning and you don’t realise what’s going to happen. When I
was little I used to sit on the bus on the way to college and think, ‘My
husband could be on this bus and I wouldn’t know it.’ And that’s the story of
Code 46, it’s telling you, you don’t know what’s around the corner.”

Tim Robbins committed to the project shortly afterwards, drawn to Code 46

by its unusual, science fiction-inflected take on a classic romantic scenario.
“What appealed to me about Code 46,” says the multi-talented Robbins, “was
the placing of a love story in this futuristic environment where genetics, DNA
and cloning have deconstructed romance. And like any good love story, at the
heart of it is the battle to continue that fiery passion, and to overcome
whatever obstacles are placed in front of you.”

Robbins also liked the fact that the happily married William’s battle with
sexual temptation had a professional as well as a personal dimension:
“William’s struggle had to be an internalised one, the kind that people who
are married go through when they’re exposed to sexual temptation. But
there’s something else working too. There’s got to be a deep frustration with
his work, because he wouldn’t betray his work like that if it wasn’t something
he was becoming sick of. William is at the end of his rope about his job. He

9
just can’t do it anymore. William works in a profession that controls
behaviour, and because of that he can’t ever possibly be free. So finding
Maria, and having this powerful attraction towards her, is like finding a
liberation away from the rules that he has imposed upon himself.”

Expanding on the same subject, Michael Winterbottom adds, “William is an

insurance investigator who’s come to restore order and punish crime. But in
the same moment he realises that it is Maria who is stealing the papelles, he
falls completely in love with her. So William is someone whose safe, organised
life is turned upside down by Maria, who has a completely different
perspective on life.
“Unlike William, Maria feels that rules are there to be broken. So not only are
their characters different, their entire philosophies are different. Maria thinks
that she’s doing the right thing by giving the papelles to her customers, which
allows them to take risks and do dangerous things. Whereas William’s
philosophy is that he’s doing the right thing by trying to prevent them from
taking such risks, especially without the appropriate insurance cover.”

Although there is an age difference of almost twenty years between William

and Maria, Robbins is adamant that the attraction between the two is not a
symptom of his middle-aged character’s mid-life crisis. On the contrary, their
incandescent love is determined by something much deeper: “OK, some 44-
year-old men go gaga over a 26-year-old girl and ruin their lives, but that’s
really more about getting old and a whole bunch of other insecurities. This is
a story about two people who feel a very strong attraction, and who are
meant to be together, but who can’t be because they share something which
is more than skin-deep - the same genes.

10
CAST BIOGRAPHIES

TIM ROBBINS
Tim Robbins made his acting debut in 1972 at the Theatre for the New City in
New York City. After graduating from UCLA, Tim made his professional debut
on television’s St. Elsewhere in the same year as he co-founded The Actor’s
Gang, an ensemble in its 22nd year for which Robbins serves as Artistic
director.

In 1992, Robbins received critical acclaim for his portrayal of the amoral
studio chief in Robert Altman’s The Player, a performance that earned him the
Best Actor Award at the Cannes Film Festival and the Golden Globe Award for
Best Actor in a Musical or Comedy. That same year, his starring performance
in Bob Roberts also earned him a Golden Globe nomination for Best Actor.

Other notable acting performances include The Shawshank Redemption for

which Robbins received a Screen Actors Guild Award nomination for Best
Actor, Robert Altman’s Short Cuts giving Robbins his second Golden Globe
Award, Tony Bill’s Five Corners, the Coen Brothers’ The Hudsucker Proxy,
Adrian Lyne’s Jacob’s Ladder and Ron Shelton’s Bull Durham and Michel
Gondry’s Human Nature. He recently filmed Clint Eastwood’s Mystic River, co-
starring with Sean Penn, for which he has just received and Academy Award
nomination for Best Supporting Actor.

Last year, Robbins performed in The Guys, a play about a fire captain who
lost eight of his men on September 11th. Robbins performed the play with
Swoosie Kurtz at the Flea Theatre in New York and at Lincoln Center with
Susan Sarandon. The play was then performed at the Actor’s Gang Theatre in
Los Angeles with Helen Hunt and at the Edinburgh Festival and the Abbey
Theatre in Dublin with Susan Sarandon.

11
As a filmmaker, Robbins wrote, directed and produced Cradle Will Rock,
which debuted to a standing ovation at the 1999 Cannes Film Festival. The
film, which chronicles the real-life drama behind the Orson Welles production
of Mark Blitzstein’s 1930’s musical, won the National Board of Review Award
for Special Achievement in Filmmaking and won Best Film and Best Director at
the Barcelona Film Festival.

Robbins also wrote, directed and produced the highly acclaimed film, Dead
Man Walking, adapted from the book by Sister Helen Prejean. Robbins
received the Best Screenplay Award from the Austin Film Festival for his script
and an Academy Award nomination for Best Director along with four awards
at the Berlin Film Festival, the Humanitas award and the Christopher award.
The film also earned a nomination for Best Actor for Sean Penn as well as the
Academy Award for Best Actress for Susan Sarandon.

Robbins made his directing and screenwriting debut with the award-winning
political satire, Bob Roberts, a “mockumentary” about a dubious right-wing
candidate’s race for the Senate. Robbins also starred in and co-wrote the
songs for this film which was nominated for a Golden Globe award and
received the Best Film, Best Director and Best Actor Award at the Boston Film
Festival, as well as Best Film at The Tokyo International Festival.

Robbins also executive-produced The Typewriter, The Rifle And The Movie
Camera, a documentary about filmmaker Sam Fuller, which won the 1996
Cable ACE Award for Best Documentary.

In 1982, Robbins co-founded the Actors’ Gang, the highly acclaimed and
respected Los Angeles theatre ensemble dedicated to the production of wild,
original and provocative theatre. He is currently its Artistic Director as it
celebrates its 22nd anniversary. The Actors’ Gang has received over 100
Awards including Dramalogue, L.A Weekly and Ovation Awards, and the
prestigious Margaret Hartford Award for “continued excellence.” Robbins

12
himself was honored with the LA Weekly Award for his direction of the Gang’s
debut production, a midnight performance of Ubu Roi, and earned a
nomination for Best Director from the Los Angeles Drama Critics Circle for the
group’s production of Brecht’s The Good Woman Of Szechuan. Most recently
The Gang has produced Mephisto, The Seagull, The Guys, The Exonerated,
Alagazam and Orlando, and has developed educational outreach programs in
the arts with local schools.
Robbins lives in New York City with his proudest accomplishments and finest
production to date.

SAMANTHA MORTON
Samantha Morton is best known to international audiences for her role in
Woody Allen’s Sweet and Lowdown, for which she received both Academy
Award and Golden Globe nominations for Best Supporting Actress.
Morton first came to the attention of film audiences as Iris in Carine Adler’s
Under the Skin, for which she received the Boston Film Critics’ Award as Best
Actress. She was also seen in Alison Maclean’s Jesus’ Son, opposite Billy
Crudup and following this she featured in Julien Temple’s Pandaemonium and
in Amos Gitai’s Eden.
Last year she starred in the title role in Lynne Ramsay’s critically acclaimed
Morvern Callar, which she followed with Steven Spielberg’s Minority Report
opposite Tom Cruise.
Most recently Samantha starred in Jim Sheridan’s In America, which
premiered at the Edinburgh Film Festival last summer and earned her an
Academy Award nomination for Best Actress.
She has just finished shooting Roger Michell’s Enduring Love opposite Rhys
Ifans and Daniel Craig.

OM PURI
Once described as “the finest actor of the post-Independence generation”,
Om Puri has appeared in more than 140 films, dividing his work between the
Indian cinema and English-language projects such as Richard Attenborough’s

13
Gandhi (1982), Mike Nichols’ Wolf (1994) and Roland Joffé’s City of Joy
(1992). More recently, he played liberal-minded Pakistani taxi driver Parvez in
Hanif Kureishi’s My Son the Fanatic (1997), and won a BAFTA Best Actor
award for his portrayal of the Pakistani patriarch George ‘Genghis’ Kahn in
Damien O’Donnell’s East is East (1999).

JEANNE BALIBAR
Before making her feature film debut in Arnaud Desplechin’s La Sentinelle
(1992), Jeanne Balibar worked extensively in the French theatre. Subsequent
film roles include: Jacques Rivette’s Va Savoir (2001), Raoul Ruiz’s Comédie
de L’Innocence (2000), Ça Ira Mieux Demain (2000), Benoît Jacquot’s Sade
(2000) and Oliver Assayas’s Fin Août, Début Septembre (Late August, Early
Summer) (1998). Her most recent film, Jean-Claude Biette’s Saltimbank
(2003), was shown in the Director’s Fortnight section of this year’s Cannes
Film Festival.

14
CREW BIOGRAPHIES

MICHAEL WINTERBOTTOM
DIRECTOR
Michael Winterbottom film credits include Butterfly Kiss (1994) and Go Now
(1995) which won Winterbottom his second Prix Europa. Jude (1995) with
Christopher Eccleston and Kate Winslet premiered at the Directors Fortnight
in Cannes and won The Michael Powell award for Best Film at the Edinburgh
Film Festival and The Golden Hitchcock Award at Dinard.

In 1996 he was in competition at Cannes with Welcome To Sarajevo. I Want

You (1997), competed at Berlin in 1998. These were followed by With Or
Without You, for Channel 4 Films and Miramax, and Wonderland which was
selected for competition at the 1999 Cannes Film Festival and played at
Edinburgh. Wonderland won the British Independence Film Award for Best
Film and was nominated for Best British Film at the 2000 BAFTA’s.

2001 saw The Claim which played in competition at Berlin. It was followed by
a return to official competition at Cannes in 2002 with 24 Hour Party People.

Michael returned to Berlin last year with In This World which won a total of
four prizes including the Golden Bear and Film Not In The English Language
at this year’s BAFTA Awards. He is developing Roddy Doyle’s A Star Called
Henry as well as a number of other titles.

He has also worked as an executive producer with his long time producer
Andrew Eaton through their company Revolution Films on Damien O’Donnell’s
follow-up to East Is East, Heartlands which was released in the UK in spring
2003 and Stephen Fry’s directorial debut Bright Young Things which was
released in the UK last October. With Andrew he is currently executive
producing Tracey Emin’s first feature Top Spot and The Stars’ Tennis Balls,
Stephen Fry’s adaptation of his novel. Additionally Michael Executive Produced

15
Resurrection Man, produced by Andrew Eaton and directed by Marc Evans in
1997.

ANDREW EATON
PRODUCER
In 1993 Andrew Eaton produced Family, a four part drama for the BBC,
written by Roddy Doyle. Shortly afterwards he and Michael Winterbottom,
who directed Family, formed Revolution Films. Through Revolution Films
Eaton and Winterbottom have collaborated on nine features. Go Now (1995)
won them a Prix Europa, Jude (1996), starring Kate Winslet and Christopher
Eccleston, premiered at the Directors Fortnight in Cannes and won the
Michael Powell award for Best Film at the Edinburgh Film Festival. This was
followed in 1997 by I Want You which premiered in competition at Berlin,
winning a special prize for Cinematography.

In 1998 Eaton and Winterbottom made With Or Without You and Wonderland
back to back. Wonderland was selected for competition in Cannes and played
at the Edinburgh International Film Festival in 1999. The film went on to win
Best Film at the British Independent Film Awards and was nominated for Best
British Film at the 2000 BAFTAs. In 2001 Andrew produced The Claim which
was selected for competition in Berlin. This was followed by 24 Hour Party
People which was also selected for competition in Cannes in 2002. In
February 2003 Michael and Andrew’s latest collaboration In This World won 3
prizes in Berlin including the Golden Bear and Film Not In The English
Language at this year’s BAFTA Awards.

Andrew has also worked as an executive producer with Michael at Revolution

on Damien O’Donnell’s follow-up to East Is East, Heartlands, which was
released in the UK in spring 2003, and Stephen Fry’s directorial debut Bright
Young Things which is due for release this autumn. With Michael he is
currently executive producing a number of titles including Tracey Emin’s first
feature Top Spot and Stephen Fry’s adaptation of his own novel The Stars’

16
Tennis Balls. He is also producing Roddy Doyle’s A Star Called Henry for
Michael to direct.

As well as his work with Michael Winterbottom, Andrew produced The James
Gang, directed by Mike Barker, and Resurrection Man with director Marc
Evans.

FRANK COTTRELL BOYCE

SCRIPT WRITER
Code 46 is Frank Cottrell Boyce’s fifth film with director Michael Winterbottom.
Their earlier collaborations were on 24 Hour Party People (2002), The Claim
(2000), Welcome to Sarajevo (1997) and Butterfly Kiss (1995). In between
Cottrell Boyce scripted Julien Temple’s Pandemonium (2000) and Alex Cox’s
Revenger’s Tragedy (2002). He recently worked with Annand Tucker on The
Railway Man (2003), having previously written the director’s Hilary and Jackie.
Cottrell Boyce’s most recent work was on Millions (2003), directed by Danny
Boyle.

ALWIN KUCHLER BSC

DIRECTOR OF PHOTOGRAPHY
Having photographed director Lynne Ramsay’s three short films - Small,
Deaths, Kill the Day and Gasman – Alwin Kuchler served as cinematographer
on her two features, Ratcatcher (1999) and Morvern Callar (2002). In 1999,
he photographed Kevin McDonald’s Oscar-winning documentary One Day in
September. Before Code 46, he had photographed Michael Winterbottom’s
The Claim (2000). His other credits include Peter Cattaneo’s Lucky Break
(2001), Damien O’Donnell’s Heartlands (2002) and Roger Michell’s The
Mother (2002).

17
MARCEL ZYSKIND
DIRECTOR OF PHOTOGRAPHY
Prior to Code 46 Marcel Zyskind shot Michael Winterbottom’s In This World.
He has also served in a number of different capacities on a variety of British,
Spanish, Swedish and Danish productions. These include 28 Days Later
(2002), 24 Hour Party People (2002), La Playa de los Galgos (The Beach of
the Greyhounds) (2002), Leva Livet (Days Like This) (2001) and Dancer in the
Dark (2000).

MARK TILDESLEY
PRODUCTION DESIGNER
Mark Tildesley worked with Michael Winterbottom on 24 Hour Party People
(2002), The Claim (2000), Wonderland (199) and I Want You (1998). Prior to
that he had designed Marc Evans’ Resurrection Man (1998) and House of
America (1997). His most recent credits are for Roger Michell’s The Mother
(2003) and Danny Boyle’s Millions (2003).

PETER CHRISTELIS
EDITOR
Having earned his first editor credit on Michael Winterbottom’s In This World
(2002), Peter Christelis returned to work on Code 46. He had previously
worked as an assistant editor on several earlier Winterbottom films, including
Butterfly Kiss (1995), Go Now (1995), I Want You (1998), and With or
Without You (1999). He served in the same capacity on Tim Roth’s directorial
debut The War Zone (1999).

NATALIE WARD
COSTUME DESIGNER
As well as Michael Winterbottom’s 24 Hour Party People (2002) and
Wonderland (1999), Natalie Ward has served as costume designer on Roger
Michell’s The Mother (2003), Damien O’Donnell’s Heartlands (2002), and,

18
most recently Andy Humphries’ Sex Lives of the Potato Men (2003), which
stars comedian Johnny Vegas and Mackenzie Crook.

THE FREE ASSOCIATION

MUSIC
Belfast-born composer David Holmes made his name as a DJ before releasing
his first solo album, The Film’s Crap, Let’s Slash the Seats (1995). Tracks from
this debut work were used on the soundtracks and trailers for films such as
David Fincher’s The Game (1997) and Meet Joe Black (1998). Since working
with producer Andrew Eaton on Marc Evans’ Resurrection Man (1998), David
Holmes has composed the music for Steven Soderbergh’s Out of Sight (1998)
and Ocean’s Eleven (2001). He also scored Buffalo Soldiers (2001). Together
with Steve Hilton, he is a founder member of The Free Association, which
combines live performance and film soundtrack work, while aiming to push
boundaries in both areas.

WENDY BRAZINGTON
CASTING DIRECTOR
Before Code 46, Wendy Brazington cast Michael Winterbottom’s five previous
films. She also cast Stephen Fry’s Bright Young Things (2003) and Damien
O’Donnell’s Heartlands (2002). Her next credit will be on Damien O’Donnell’s
Inside I’m Dancing (2004).

19
CAST AND CREW

CAST IN ORDER OF APPEARANCE

TIM ROBBINS WILLIAM
TOGO IGAWA DRIVER
NABIL ELOUAHABI VENDOR
SAMANTHA MORTON MARIA
SARAH BACKHOUSE WEATHER GIRL
JONATHAN IBBOTSON BOXER
NATALIE MENDOZA SPHINX RECEPTIONIST
OM PURI BACKLAND
EMIL MARWA MOHAN
NINA FOG WOLE
BRUNO LASTRA BIKKU
CHRISTOPHER SIMPSON PAUL
LIEN NGUYIN SINGER IN NIGHTCLUB
DAVID FAHM DAMIAN ALEKAN
JEANNE BALIBAR SYLVIE
TARO SHERABAYANI JACK
NINA SOSANYA ANYA
SHELLEY KING WILLIAM’S BOSS
TUYET LI APARTMENT SECURITY
BENEDICT WONG MEDIC
NINA WADIA HOSPITAL RECEPTIONIST
ESSIE DAVIS DOCTOR
TEO-WA VUONG TESTER
JENNIFER LIM TESTER WITH COUPLE
ARCHIE PANJABI CHECK IN
PAUL BARNES MAN IN CORRIDOR
NABIL MASSAD SUNGLASSES MAN
KERRY SHALE CLINIC DOCTOR

CREDITS
PRODUCTION CO-ORDINATORS RUTH BRESLAW
STEFFY MARRION
ASSISTANT CO-ORDINATOR GABRIELLE LE RASLE
PRODUCTION RUNNER TOM LEEBURN
PRODUCTION TRAINEE ANDREW GWYN DAVIES
ASSISTANT TO MICHAEL MELISSA PARMENTER
WINTERBOTTOM AND ANDREW EATON

PRODUCTION ACCOUNTANT JON DUNCAN

ASSISTANT ACCOUNTANT ROB SEAGER

20
1ST ASSISTANT DIRECTOR MIKE ELLIOTT
2ND ASSISTANT DIRECTOR ANTHONY WILCOX
3RD ASSISTANT DIRECTOR CHRIS STOALING
FLOOR RUNNER RHYS SUMMERHAYES
RUNNER LEWIS PARTOVI
UK CROWD ASSISTANT DIRECTOR CANDY MARLOWE

LOCATION MANAGER JONAH COOMBES

LOCATION ASSISTANT KIERAN BAINE
UNIT MANAGER JOSH YUDKIN
SOUND RECORDIST STUART WILSON
SOUND MAINTENANCE ORIN BEATON
SOUND ASSISTANT CHIA YU CHEE ‘RAM’
SOUND TRAINEE DARKO MOCILNIKAR
SUPERVISING SOUND EDITOR JOAKIN SUNDSTROM
RE-RECORDING MIXER TIM ALBAN, RICHARD DAVEY
EFFECTS EDITOR CHRISTER MELEN

SUPERVISING ART DIRECTOR MARK DIGBY

ART DIRECTOR DENIS SCHNEGG
ART DIRECTOR OVERSEAS DAVID BRYAN
SET DECORATOR MICHELLE DAY
STANDBY ART DIRECTOR CHRIS LIGHTBURN-JONES
DRAUGHTSMAN ROD GORWOOD
ASSISTANT ART DIRECTORS PAUL DRAKE
MARK LARKIN
GRAPHIC ARTIST CHARLIE COBB
FT2 ART DEPARTMENT TRAINEE GWEN MURRAY

MAKE UP & HAIR KONNIE DANIEL

LESLEY SMITH

COSTUME ASSISTANT KATE TOWNS

COSTUME MAKER ESME YOUNG

1ST ASSISTANT CAMERA SIMON TINDALL

2ND ASSISTANT CAMERA CHRIS CONNATTY
FT2 CAMERA TRAINEE SOPHY MILLINGTON
CAMERA TRAINEE JULIA CURTIN
CAMERA VAN DRIVER CLINT EDWARDS

PROPS MASTER NICK THOMAS

DRESSING PROPS CHARLIE MALIK

GAFFER REUBEN GARRETT

21
BEST BOY STEVEN MATHIE
ELECTRICIAN MATTHEW BUTLER
ELECTRICIAN PAUL HARRIS
ELECTRICIAN LEE CLEAL
ELECTRICIAN ADRIAN MACKAY
RIGGING GAFFER TONY MILLER
RIGGING PAT DALY

CONSTRUCTION MANAGER DAN CRANDON

CARPENTERS BEN GREEN
BRUCE BARNES
MARK WALLIS
JASON HTAY
SAM ABELMAN
TIM POWIS
PAUL HALTER
SCENIC PAINTERS JOHN BURGESS
JODY RAYNES
GILLIAN CAMPBELL
JOE WESTERN

POST PRODUCTION SUPERVISOR PETER BACH

SUPERVISING SOUND EDITOR JOAKIM SUNDSTRÖM

EFFECTS EDITOR CHRISTER MELÉN

FOLEY SUPERVISOR ANTHONY FAUST AMPS
FOLEY EDITOR MICHAEL REDFERN
FOLEY ARTISTS ANDI DERRICK
PETER BURGESS

RE-RECORDING MIXERS TIM ALBAN

RICHARD DAVEY

ASSISTANT EDITOR IAN BUCHAN

SLIDE & VIDEO PROJECTION DICK STRAKER

SVEN ORTEL
JOHN O’CONNELL
SPECIAL RAIN EFFECTS RICHARD CONWAY
TECHNICIAN NIGEL WILKINSON

DIGITAL SPECIAL EFFECTS BY SMOKE & MIRRORS LONDON

22
DIGITAL EFFECTS SUPERVISOR TONY LAWRENCE
DIGITAL EFFECTS ARTIST HANI ALYOUSIF
DIGITAL EFFECTS ARTIST JON BERRIDGE
DIGITAL EFFECTS ARTIST ISABELLA LANER
DIGITAL EFFECTS ARTIST RAOUL TEAGUE
DIGITAL EFFECTS ARTIST BEN TURNER
DIGITAL EFFECTS PRODUCER EMMA IBBETSON
DIGITAL EFFECTS CO-ORDINATOR PIERRE FLETCHER

3D ARTIST CHRISTIAN ANDERSSON

REBEKAH KING-BRITTON

PICTURE DELIVERABLES PEPPER

DIGITAL 2ND UNIT

DIRECTOR MATHEW WHITECROSS
CAMERA ANNE MARIE LEAN-VERCOE

DIGITAL 3RD UNIT

CAMERA ROGER EATON
CAMERA SEBASTIAN SHARPLES

SHANGHAI UNIT
PRODUCED WITH ASSISTANCE OF
SHANGHAI FILM STUDIO
PRODUCTION MANAGER CHARLOTTE ASHBY
ASSISTANT PRODUCTION MANAGER ZHANG JUN
NON-CHINESE EXTRAS CO-ORDINATOR MARIA BARBIERI
DIRECTOR’S INTERPRETER JUDY GONG
AD INTERPRETER DING YING
AD INTERPRETER TOMTOM LIU
CAMERA INTERPRETER KRISTA CHEN
ART DEPARTMENT INTERPRETER RACHEL BI
COSTUMES INTERPRETER MEG XIE
ACCOUNTS INTERPRETER HELEN WAN
ACTORS INTERPRETER CHRISTINE ZHANG
TIM ROBBINS’ VAN DRIVER ZHOU XIANJING
SAMANTHA MORTON’S VAN DRIVER SUN WEIHUA
PREVIA DRIVER YANG RENWEI
MERCEDES DRIVER JASON CAO
PRODUCTION DEPARTMENT CAR YAO LI

FOR SHANGHAI FILM STUDIOS

PRODUCTION EXECUTIVE JOHN ZHONG
PRODUCTION CO-ORDINATOR HELEN LI

23
LOCATION MANAGER LIN CHUXIONG
ART DIRECTOR ZHOU XINREN
ASSISTANT DIRECTOR XU WEIGUANG
PROP MASTER HUANG YUGUO
GAFFER SONG GUOZHEN
ASSISTANT LOCATION MANAGER YU YAQIANG
CONSTRUCTION CO-ORDINATOR TAO LEIPEI
COSTUME ASSISTANT XIAO YINGJUAN
PROPMAN JIN ZHIBAI
PROPMAN LU LIMING
PROPMAN PAN JIANMING
PROPMAN WANG CHENGLIANG
PAINTER JIN YAOZHONG
STANDBY CARPENTER CHEN TUQUAN
CAMERA GRIP SHEN GUOJUN
ELECTRICIAN ZHONG WEIBAO
ELECTRICIAN CAO LONGDE
ELECTRICIAN ZHOU RONG
CATERER WANG ZEMIN
PRODUCTION ASSISTANT ZHANG ZELIANG
PRODUCTION ACCOUNTANT YANG YUFENG
UK CREW VAN DRIVERS SUN WENHAO
XU XINLI
SFS VAN DRIVERS SHEN CHONGCHANG
ZOU JIE
CAMERA TRUCK DRIVER ZHANG ZHIYI
LIGHTING TRUCK DRIVER ZHAO HAIBAO
ART DEPARTMENT VAN DRIVER ZHOU YONGXIANG
SOUND VAN DRIVER LIANG FARUN
CATERING VAN DRIVER ZHU HAITANG

DUBAI UNIT
BAREFACE PRODUCTIONS
FIXER/PRODUCTION MANAGER YVETTE KIRSTEIN
PRODUCTION ASSISTANT GEORGINA HOCKLEY
2ND ASSISTANT DIRECTOR JOHN LOCKE
ART DIRECTOR MATILDA WAINWRIGHT
PROP MISTRESS VICTORIA ORLOVA
LOCATION MANAGER NASSER AHMED
STUNT CO-ORDINATOR RON OAKLEY
PRECISION DRIVER MILES PEARCE
GRIP CLINT COVEY
RUNNERS ALI IBRAHIM ALI
AMMAR MASOUD
CATERING SANDWICH EXPRESS
CREW BUS DRIVERS SUDHI DHARMA

24
 ZIYARAT SHAH
KENNETH MICHAEL
ARTIST DRIVERS ARUN PANDEY
MOHAMMED KHAN
MAKE UP VAN DRIVER DOPAL YADAV
CAMERA VAN DRIVER SUDHAKAR RANGARAO
SOUND VAN DRIVER ABU JAFFER

INDIAN UNIT
KAILASH PICTURE COMPANY
DIRECTOR OF KAILASH PICTURE KAILASH SURENDRANATH
COMPANY
PRODUCER OF KAILASH PICTURE ARTI SURENDRANATH
COMPANY
PRODUCTION MANAGER MR. ARUN
PRODUCTION ASSISTANT KITISHA GAGLANI
2ND ASSISTANT DIRECTOR SUJATA MELMANI
3RD ASSISTANT DIRECTOR PIKU AHUJA
LOCATION MANAGER HEMANT SINGH
LOCATION ASSISTANT RAM SINGH
GRIP GYAN CHAND KIKHI
ACCOUNTANT BHARAT SAWANT
RUNNER VIJAY MAJGE
RUNNER GURU JOSHI

ADDITIONAL UK CREW
ASSISTANT DIRECTORS CHARLIE WALLER
CAROLINE CHAPMAN
SARAH COOMBS
GRIP LUCHO ZUIDEMA
COSTUME ASSISTANTS TAJ CAMBRIDGE
LIZA BRACEY
SIAN COAKLEY
STEPHEN NOBLE

UNIT DRIVER (TIM ROBBINS) STEVE RODGERS

UNIT DRIVER (SAMANTHA MORTON) GEOFF HOLLAND
MINI BUS DRIVER LIAM ROPER

STILLS PHOTOGRAPHER PETER MOUNTAIN

ADDITIONAL STILLS SARAH LEE

CATERING LEILA MCALISTER

COOKS HARRY LESTER
SYLVAIN JAMOIS
CATERING ASSISTANTS ROSE POMEROY

25
 RACHAEL SILLS
CAITLIN ELFER
CAFFE MOBILE STEVE MILLS

SECURITY FOR TIM ROBBINS STEVEN HUGHSON

LOCATION SECURITY TEX JAMES

LOCATION SECURITY DARREN STOCK

HEALTH & SAFETY CHRIS CULLUM

CAMERA EQUIPMENT ICE FILMS

LIGHTING EQUIPMENT VFG BOW
AFM
AIRSTAR
SOUND EQUIPMENT TACET DIGITAL SOUND
EQUIPMENT HIRE
RICHMOND FILM SERVICES
STEADY-CAM EQUIPMENT GUBBI FILM – DENMARK
WALKIE TALKIES WAVEVEND

RUSHES LAB SOHO IMAGES

RUSHES JOHN TAYLOR
TONE DAVIES
LABORATORY CONTACT MARTIN MCGLONE

PRINTS BY DELUXE
NEGATIVE CUTTING SOHO COMPUTER MATCH

TRANSPORT SET WHEELS

HERITAGE
FIRST VEHICLE RENTAL
FACILITIES VEHICLES STUDIO WORKSHOPS

DIGITAL FILM MASTERING BY THE MOVING PICTURE

COMPANY
HEAD OF PRODUCTION MICHAEL ELSON
PRODUCERS MATTHEW BRISTOWE
BEGÕNA LOPEZ
COLOURIST MAX HORTON
ONLINE FILM EDITORS RICHARD ETCHELLS
THOMAS URBYE
FILM SCANNING KENNEDY DAWSON
JOHN COULTER
FILM RECORDING PAUL STOKER
RICHARD GAUSIS

26
 LESTER PARKER
JOSH SUTCLIFFE

MAIN TITLES AND CREDITS DESIGNED

AND PRODUCED BY
CENTRAL STATION TECHNICOLOUR

POST PRODUCTION SCRIPT SAPEX SCRIPTS

LEGAL SERVICES PROVIDED BY RENO ANTONIADES AND
NICOLE CARMEN-DAVIS
LEE & THOMPSON
INSURANCE SERVICES PROVIDED BY BOYD HARVEY
MEDIA INSURANCE BROKERS
COMPLETION GUARANTOR GRAHAM EASTON
FILM FINANCES
BANKING SERVICES LEE BEASLEY, RICHARD
PATERSON AND ALEX HUDSON
THE ROYAL BANK OF
SCOTLAND

FOR REVOLUTION FILMS

POLLY TAYLOR PRODUCTION EXECUTIVE
LAURA PHILLIPS MARKETING AND PUBLICITY
MARTYN RICHMOND PRODUCTION ASSISTANT

ALEX FULLER SYSTEMS SUPPORT AND

SOFTWARE DEVELOPMENT

MUSIC COMPOSED BY DAVID HOLMES AND STEVE

HILTON
MUSIC RECORDED AND MIXED BY HUGO NICOLSON
KEYBOARDS AND PIANO BY SCOTT KINSEY
DRUMS BY ZACH DANZIGER
GUITAR BY LEO ABRAHAMS
ADD VOCALS BY PATI YANG
ASSISTANT AT AIR CHRIS BARRETT
ASSISTANT AT THE TOWNHOUSE TIM ROE

27
WARNING SIGN NO WOMAN NO CRY
WRITTEN BY WRITTEN BY VINCENT FORD
BERRYMAN/BUCKLAND/CHAMPION/MAR USED BY PERMISSION OF
TIN FIFTY-SIX HOPE ROAD MUSIC
PUBLISHED BY BMG MUSIC PUBLISHING LIMITED/ODNIL MUSIC
PERFORMED BY COLDPLAY LIMITED/BLUE MOUNTAIN
LICENSED COURTESY OF EMI RECORDS MUSIC LIMITED.
LIMITED ALL RIGHTS FOR THE WORLD
ADMINISTERED BY RYKOMUSIC
LIMITED.

SHOULD I STAY OR SHOULD I GO MENINA E MOÇA

WRITTEN BY JOE STRUMMER AND MICK TRADITIONAL
JONES WRITTEN BY FAUSTO FRAZĀ0
PUBLISHED BY NINEDEN LIMITED AMÉRICO PINTO EDMUNDO
ADMINISTERED BY UNIVERSAL MUSIC BETTENCOURT
PERFORMED BY MICK JONES PUBLISHED BY SPA
ARRANGED BY JOSH HYAMS AND MARK
REVELL PERFORMED BY MILLA
JOVOVICH
SONG NO. 6 ROW ROW ROW THE BOAT
WRITTEN BY NORMAN COOK AND
ASHLEY SLATER TRADITIONAL
PUBLISHED BY UNIVERSAL MUSIC
PUBLISHING LIMITED
PERFORMED BY FREAKPOWER
COURTESY OF UNIVERSAL-ISLAND
RECORDS

LICENSED BY KIND OF PERMISSION

FROM THE UNIVERSAL FILM AND TV
LICENSING DIVISION

COMMONWEALTH GAMES SWIMMING FOOTAGE

LICENSED COURTESYOF BBC SPORT

SPECIAL THANKS TO
ISABEL BEGG LLOYD’S OF LONDON
JOSH HYAMS AND MARK REVELL FIONA NEILSON
JUMEIRAH INTERNATIONAL LLC ANITA OVERLAND
LORDS CRICKET GROUND JANE WRIGHT
ROBIN MCKIE
NUENDO UK
VIRGIN ATLANTIC AIRLINES

28
PRODUCTION EXECUTIVE FOR BBC JANE HAWLEY
FILMS

FOR UK FILM COUNCIL

PRODUCTION EXECUTIVE BROCK NORMAN BROCK
PRODUCTION EXECUTIVE LUKE MORRIS

HEAD OF BUSINESS AFFAIRS WILL EVANS

HEAD OF PRODUCTION FINANCE VINCE HOLDEN
HEAD OF PHYSICAL PRODUCTION FIONA MORHAM

DOLBY DIGITAL
DELUXE
KODAK

ORIGINATED ON MOTION PICTURE FILM FROM KODAK

DEVELOPED WITH THE SUPPORT OF THE MEDIA PROGRAMME OF THE
EUROPEAN UNION

INTERNATIONAL DISTRIBUTION THE WORKS

BBC FILMS

RECEIPTS COLLECTED AND DISTRIBUTED BY NATIONAL FILM TRUSTEE

COMPANY LIMITED

SUPPORTED BY THE NATIONAL LOTTERY THROUGH THE UK FILM

COUNCIL PREMIERE FUND

MPAA CERTIFICATE NO. 40188

OWNERSHIP OF THIS MOTION PICTURE IS PROTECTED BY

COPYRIGHT LAWS AND OTHER APPLCABLE LAWS, AND ANY
UNAUTHORISED DUPICATION, DISTRIBUTION OR EXHIBITION OF
THIS MOTION PICTURE COULD RESELT IN CRIMINAL
PROSECUTION AS WELL AS CIVIL LIABILITY
© CODE 46 FILMS LIMITED

29