D'apres de roman ei succes de Leo Tolstoy

Duree : 118 min. Sortie en salles : 23 novembre, 2012

Relations de presse : Annie Tremblay (514) 878-2282 # 4979 annie.trernblay@alliancefilms,com Gabble Corrente (514) 878-2282 # 4962 gabbie,corrente@alliancefilms.com Sophie Bilodeau (514) 878-2282 # 6821 sophie.bilodeau@alliancefilms.com

ALLIANCE VIVAFILM

presente

PHOTOS / DOSSIER DE PRESSE www.alliancefilmsmedia.com

EPK (Bande-annonce & extraits) hito://alliance-eok.miionet.com

na ic.arernna Table of Contents

I. Synopsis page

II From Novel to Screenplay to Unique Setting page 4

III. Company Convenes page 7

Friends and Family page 8

V. All The Stage is a World page 14

VI. Lights, Camera, and More page 18

The Looks of ove page 19

VIII Moving Images page 22

X. Afield page 25

X. About the Cast page 27

XI. About the Filmmakers page 34

Credits page 41

Synopsis

Anna Kare.nina is acclaimed director Joe Wright's bold, theatrical new vision of the epic story of love, stirringly adapted from Leo ToIstoy'S great novel by Academy Award winner T St d (Shakespeare in e). The film marks the third collaboration of the director with Academy Award -nominated actress Keira Knightley and Academy Award nominated producers Tim Bevan, Eric-Fellner, and Paul Webster, following their award-winning box office successes Pride & Prejudice and Atonement.

The creative team also includes cinematographer Seamus McGarvey (The Avengers), three-time Academy Award-nominated production designer Sarah Greenwood (Sherlock Holmes), film editor Melanie Ann Oliver (Jane Eyre), hair and make-up designer Ivana Prirnorac (Hanna), Academy Award-winning composer Dario Marianelli (Atonement), and two-time Academy Award-nominated costume designer Jacqueline Durran (Pride &Prejudice).

The timeless story powerfully explores the capacity for love that surges through the human heart, while illuminating the lavish society that was imperial Russia. The time is 1874. Vibrant and beautiful, Anna ICarenina (Ms. Itatigittley) has what any of her contemporaries would aspire to; she is the wife of Karenht (Jude Law), a high-ranking government official to whom she has borne a son, and her social standing in St. Petersburg could scarcely be higher. She journeys to Moscow after a letter from her philandering brother 0131onsky (Matthew Macfadyfan) arrives, asking for Anna to come and help save his marriage to Dolly (Kelly Macdonald). En route, Anna makes the acquaintance of Countess Vronsky (Olivia Williams), who is then met at the train station by her son, the dashing cavalry officer Vronsky (Aaron Taylor-Johnson). When Anna is introduced to Vronsky, there is a mutual spark of instant attraction that cannot - and will not - be ignored.

The Moscow household is also visited by Oblortsky's best friend Levin (Doirthnall Gleeson), an overly sensitive and compassionate landowner. Levin is in love with Dolly's younger sister Kitty (Alicia Vikander). Inopportunely, he proposes to Kitty but she is infatuated with Vronsky. Devastated, Levin returns to his Pokrovskoe estate and throws himself into farm work. Kitty herself is heartbroken when, at a grand ball, Vronsky only has eyes for Anna and the married woman reciprocates the younger man's interest.

Anna struggles to regain her equilibrium by rushing home to St. Petersburg, where Vronsky follows her. She attempts to resume her familial routine, but is consumed by thoughts of Vronsky. A passionate affair ensues, which scandalizes St. Petersburg society. Karenin is placed in an untenable position and is forced to give his wife an ultimatum. In attempting to attain happiness, the decisions Anna makes pierce the veneer of an image-obsessed society, reverberating with romantic and tragic consequences that dramatically change her and the lives of all around her.

A Focus Features presentation of a Working Title production. A Joe Wright Film. Keira ICnightley, Jude Law, Aaron Taylor-Johnson. Anna ICarenina. Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Ruth Wilson, Alicia Vikander. With Olivia Williams and Emily Watson. Casting by Jina jay, Dixie Chassay. Choreographer, Sidi Larbi Cherkaoui. Music by Dario Marianelli. Hair and Make-up Designer, Ivana Primorac. Costume Designer, Jacqueline Durran. Editor, Melanie Ann Oliver. Production Designer, Sarah Greenwood. Director of Photography, Seamus McGarvey, ASC, BSC. Co-Producer, Alexandra Ferguson. Executive Producer, Liza Chasin Based on the novel by Leo Tolstoy. Screenplay by Tom Stoppard. Produced by Tim Bevan, Eric Fenner, Paul Webster. Directed by Joe Wright. A Focus Features Release.

Anna Karenina FROM NOVEL TO SCREENPLAY TO UNIQUE SETTR1G

The enduring power of Leo Tolstoy's novel Anna Karenina is summed up by Anna Karenina director Joe Wright: "Everybody is trying in some way to learn to love."

Keira ICnightley, who stars in Wright's boldly theatrical new movie as Anna, comments, "The story is one we understand today because people still want something they cannot have, still come up against social blocks and rules, and still have trouble communicating emotions to each other."

Wright reflects, "When I read the book, it spoke directly to the place that I found myself at in life. You hope you are like one of the characters, and you realize that you have been like another of the characters. They are all perfectly true, and terrifyingly close."

It was Wright who approached his longtime collaborators Tim Bevan and Eric Feline., producers and co-chairmen of Working Title Films, about the potential of taking Anna Karenina to the big screen with their frequent leading lady Knightley starring.

"This was a huge novel, a great big love story that had been adapted before. We knew we needed to have a screenwriter who would bring something to the party," remarks Bevan. Academy Award-winning screenwriter and playwright Tom Stoppard was the only writer Wright had in mind to adapt the classic book.

Stoppard admits, "I was really keen to do it. It's true that I think of myself principally as someone who writes for the theatre. But I don't manage to come up with a full-length play all that often. While I enjoy doing film work of different kinds in-between, not every overture is as promising as Joe Wright directing a film of one of the great novels."

Bevan notes, "Tom read the book and looked at previous miniseries and film versions - including one in Russian. Anna Karenina is a rich tapestry containing many different themes and philosophies on the complexities of class, politics, moral behavior, and love - across hundreds of pages. There are interweaving, and interrelated, narratives and characters.

"We noticed that the previous adaptations had focused primarily on Anna, even though the novel is not only her story but also the parallel story of Levin, and realized that his progress enhances a very strong narrative."

Producer Paul Webster says, "Two arcs - Anna's and Levin's - meet in the middle of their trajectories across the human heart. One is tragic, and the other is uplifting."

Bevan adds, "Ian McEwan, the author of Atonement, said to me that he felt Levin-with-Kitty is the greatest love story in literature. Levin's story was slightly autobiographical for Tolstoy."

Wright says, "Tolstoy wrote the novel to be accessible in terms of its emotions. His analysis of motivation and character is so extraordinary, so acute. In our conversations, Tom and I realized that we both felt the same way about the characters."

With Stoppard, Wright explored every avenue of the story over many hours, stating that "this was an amazing opportunity to learn from a master. For me, every film is an education. Certainly Tom was well-versed in Russian history and culture and identity. We felt that we could get more to the heart of Anna, Levin, and all the characters by contemplating love among Imperial Russian society in the 1870s. I was also thinking about the movies in which Robert Altman masterfully interweaved intimate stories. The narrative threads we chose work as a kind of double helix, winding around each

other in a multistranded portrait of a community; for example, Oblonsky is a catalyst in both threads, as he is s brother in need of help and evin's friend trying to help."

Bevan ad "As Eric and I knowfrom g movie adaptations of a number of o over e years, the length and breadth of a novel cannot fe d in e for e duration of a feature film.

"But at around 130 pages, Tom's screenplay beautifully captures the essence of novel without compromising character or story, by illuminating that e e which runs throughout the novel: love, in all its forms"

Stoppard elaborates, ere is love, mother love, baby love, sibling love, carnal love, love of Russia, and so forth. The word 'love' is central to the book, and to our movie. decided not to work on including those parts of the novel that might be about something else. We are honoring the scope of the book."

Bevan realized that what was taking shape was "something big for the audience to delve into. They can disappear into a worldo emotion and character, 'ch I believe makes for great c` e

Academy Award nominee Jude Law, who plays read the script and found it "remarkable. I read it

own right . i it s so rich. In this adaptation, you never feel device; each character seemed very precisely dra

e crucial role of Anna's h b , Alexei ore I'd even tackled the book, and in its one character as being isolated as a

"The piece looks at e ent angles of love and relationships, honestly and openly and judgement. There is such an elegance to the way Tom writes dialogue. It's masterful scre en going from that to reading novel itself, I realized just how hard that must have been to do."

out

Webster remarks, `People in this story in and out of love, and in orde something you've also got to feel enlightened by it; there is a great deal of wit which helps to illustrate the story's points."

Stoppa.rd notes, "Tolstoy's book packs a hell of a the work"

By the spring of 2011, the script was ready and location scouting was taking place across Russia and the U.K Bevan remembers, "Going to the Tolstoy house near Moscow, after taking the night train there from St. Petersburg in the middle of winter was a fantastic trip that gave everyone a sense of Anna's own journey."

Yet Wright still found himself wanting to take his version of Anna Karenina in a new direction, rather than following in the footsteps of previous adaptations by filming at established Russian locations - or retracing his own footsteps in stately homes across the U.K. where he had previously filmed.

So it was that, some two months before the commencement of principal photography, the director made a bold decision to take a more theatrical approach in making an epic love story.

Webster says, "Joe never wants to make 'another period movie,' so when he made the decision to theatricalize Anna Karenina we were guaranteeing audiences a different take on this story than any other version they might have seen - and, an accessible one."

Recalling that two of his previous films were also not "another period movie," Wright reflects, "I like exploring the form and being expressive. One of the things I enjoyed about making Pride & Prejudice and Atonement was that each of those films had a large portion shot in one location - which in fact engendered a lot of creative freedom. I thought, if I could set Anna Karenina largely in one place, then what and where would it be?

to feel movedby in Tom's adaptation,

allop. It was daunting going in, but so enjoyed

"What came to me was a passage in [British historian] Orlando Figes" [2002 book] Natasha's Dance; A Cultural History of Russia where he's describing St. Petersburg high society as people living their

.

lives as if upon a stage. Figes' thesis is that Russia has always suffered from an identity crisis, not quite knowing whether it's part of the East or part of the West. During thep eriod Anna 1(ar written in and about, decided they were definitely part of Western and that w t they wanted to be cultured like the French."

Stoppard notes, "Here was a society that tried to be the equal of Paris M opera, literature, and all the arts."

1(nightley offers, "You had these people - a whole sodety - who were pretending to be something they weren't, all the time."

Wright adds, "Anna plays the role of being a dutiful wife up until the point where she meets Count Vronsky, but everyone else in her circle is always acting. So I realized, 'Okay, we could situate this film in a theatre:"

From there, the concept crystallized; to present St. Petersburg and Moscow's rarefied circles of the 1870s in all their theatricality, Wright decided that "the action would be taking place within a beautiful decaying theatre, which in itself would be omnipresent, a metaphor for Russian society of the time as it rotted from the inside. Yet we would also adhere to Tom's adaptation, with the story taking place oblivious to the artifice surrounding it.

"The producers had amazing faith in me, but the person I was most scared of telling about this was Tom because he'd written this script which was brilliant and perfect and set in the way he'd envisaged the film. At first he was nervous, but then he came 'round. I took his text and transposed it from reel locations to the stylized location; every single event and word in his adaptation was shot."

Stoppard remembers, "Joe told me he didn't want to alter the script - aside from the scene, or stage, directions - but at first I didn't know what I thought. He then came to see me with this scrapbook which contained the film as he now saw it. Seeing it, I put my money on him to pull this off."

Bevan comments, "We've all made movies that are 'period films.' But we make them because we are compelled by the characters, and by their world that can be created for a movie that an audience can explore. Our excitement hopefully translates to the screen.

"So a new approach to the telling, both in terms of Joe's aesthetic and Tom's adaptation, became this movie's raison d'être. With it, we follow Levin journeying into the real world, but Anna's odyssey is contained within the theatre."

"Contained," and yet visually expansive; the immense 1870s Russian theatre location was to come to life and transform before the eyes of the audience. Webster assesses the effect as "magical. You're going through doors into snowy landscapes, into mazes. The theatre space hosts an ice rink, a ball, an opera, a massive society soirée, and a horse race. This is a vast, sprawling movie.

"Everything springs from Joe's imagination; he has always been interested in crossing boundaries among theatre and film and theatrical presentation, always looking at finding new ways to explore them visually. Aesthetically, Anna Karenina is a leap forward for him."

Wright elaborates, "They dressed as French people and they read books on the etiquette of how to behave like a French person. Their ballrooms were often mirrored so that they could watch themselves and appreciate their own 'performances' as French people, and they were advised to keep one side of the mind French and one side Russian. The Russian side was always observing and

checking the French side to make sure that you were behaving, or 'performing,' correctly. Their whole existence became a performance with imported ideas of decorum, manners, and culture."

Wright reflects, "It was also a way to better express the essence of the narrative and to get to the essence of the scenes; I would be treating Tom's script in the way a theatre director would a play's text.

"The heart of the story is the human heart. I am forever fascinated by why and how love works, and how sincere we are as human beings with our emotions."

COMPANY CONVENES

When gearing up to make a movie, director Joe Wright is known for his intense preparation work. The filmmaker actively collaborates with many of the same talented craftspeople and actors from movie to movie, which creates a familiarity and the feeling of a company of players - an important personal and professional link to the world of theatre he grew up in with his own family.

For Wright, this familiarity is a vital part of his moviemaking* process. He reveals, "I find the whole process of making a film totally terrifying and so to have the support of people I feel loved and accepted by is really important; these are also people who I trust in terms of their creative and artistic sensibilities."

So it is that Anna Ilarenina marks Wright's fourth movie with Focus Features; his fourth with Working Title Films producers Bevan and Fenner; his third with producer Paul Webster; and his third with leading lady 1<eira ICnightley. This established creative team of Academy Award nominees, united on the previous successes Pride & Prejudice and Atonement, works collectively alongside the director to bring his vision to the screen.

Part and parcel of the team effort as well are Wright's permanent production designer Sarah Greenwood and set decorator Katie Spencer (who have also done the Sherlock Holmes movies); his regular costume designer Jacqueline Dtirran (Tinker, Tailor, Soldier, Spy); his frequent hair and make-up designer Ivana Primorac (Hanna); his past (and now present) film editor Melanie Ann Oliver (Jane Eyre); composer Dario MarleneIli, who won an Academy Award for Atonement; casting director Jina Jay and supervising location manager Adam Richards (both of Pride & Prejudice); and cinematographer Seamus McGarvey, who was Academy Award-nominated for Atonement and went on to shoot the record-breaking The Avengers.

Bevan sees this grouping as being of great benefit to the filmmaking process. He explains, "I think that Joe's very lucky because he's got an experienced team together that has the energy and the interest to explore and create new worlds with him.

"There's no doubt that they work very efficiently together as a team; when filmmakers tend to work with the same group of people there's a lot of shorthand - and a lot of the stuff that you tend to waste time with on other films just doesn't happen. So, hopefully, you can achieve greater things."

Given the preparation period, the brainstorming commences early and often. As with Atonement, Marianelli composed much of the music in pre-production, which in turn allowed the movie's integral and thrilling choreography to be rehearsed and fully imagined by Sidi Larbi Cherkaoui prior to filming as well. The producers' call went out to Richards to confer with Wright and Greenwood before, and while, scouting and securing locales ranging from Britain's vast Salisbury Plain to the manicured maze of the U.K.'s Hatfield House to Kizhi, a remote island in Russia.

Anna ICarenina was an epic production filmed over the course of 12 weeks on 100 different sets, across 240 scenes, with 83 speaking parts. More so than before, it was imperative that the team's latest production ran as a well-oiled machine. To supplement the meticulous research that Wright personally carries out, he actively encourages his cast and crew to do the same - and to bring their ideas to the table.

Webster says, "Joe immerses himself visual and literary research, nd takes es his team along for the himse vis the ride with everyone spending a lot of time researching and understanding world that they are entering into to tell the story."

In addition, Wright storyboarcls his films to visualize them in full, the majority of the time following them almost to the frame once the camera rolls; he prefers to shoot chronologically to build up the characters' emotions, yet he remains flexible and open to the seizing the moment.

With the actors, Wright embarked on an intense cast rehearsal period of several weeks. Tom Stoppard visited one day and spoke to the actors at length, articulating how love suffuses the story. The screenwriter corrunents, "It was like social intercourse, but we were talking about work. I tend to feel timid in the presence of actors, who I think are brave."

Beyond character development and interacting with their fellow cast members, the actors were educated about Russian cultural life of the time through research presentations and discussions to help inform their understanding of the world their individual characters existed within. These included a seminar with Orlando Figes. "We were lucky to have him," says Knightley. "His speaking to us and then our reading his great book helped us understand the period and the culture better."

In addition, cast members worked with dialect coach Jill McCullough. Some were required to learn physical skills, such as the riding of horses and how to handle weapons.

With the director and choreographer, the actors developed not only the dance sequences but also their individual character movements. As choreography is a vital element to the film's presentation, some two dozen professional dancers appear throughout Anna Karenina in a variety of different guises. These range from aristocrats at a ball and a soirée, to servants and wait staff, to exotic dancers at a decadent French bolte, to clerks in an office.

Every piece of preparation would contribute to a greater understanding of the story Wright wanted to tell. When the actors finally set foot on the theatre location, they did so with a familiarity not only for their characters but also for the surrounding people and society. Strengthening this feeling for actors and crew alike, they were joined by hundreds of Russians based in the U.K. who had been hand-picked as extras through an open casting call. Wright remembers, "Prior to shooting, we put notices in the Russian-speaking newspapers saying we were making Anna Karenina and were looking for Russian-speaking people to come and be in the film as extras. We thought maybe 200-300 people might turn up.

"Instead, when we arrived on the Saturday morning for the open casting, the line was twice 'round the block. We met over 1,000 people that day, and talked with each one individually. They were just extraordinary and wonderful, and a lot of fun. So the film is in fact filled with Russians, and there are a lot of big set pieces with vast numbers of people, and they gave it an authenticity that helped us in making our movie."

FRIENDS AND FAMILY

Film editor Melanie Ann Oliver states, "Joe Wright gives everyone the license and the confidence to go further, while through the performances he will keep the movie grounded."

With such a bold visionary approach to Anna Karenina, the director needed his cast to fully embrace the theatre concept, as they would be required to perform their roles with no self-awareness of the artifice surrounding them. Through their efforts, movie audiences would be engrossed in the classic story like never before, transported not just into 19th-century Russia but also within the characters' worlds.

1(eira beca

riightley reveals, "I've always loved I feel •takes me out of e present; f

a reading fantasy,

about pla "ch I love d

g it out on-screen -

ut this approach such a very e ent concept for this piece, not doing a safe adaptation - and vas so excited. Joe called me into office and had all these drawings up and explained it to d I thought, 'Let's go for it

he lead actress setting the tone, the rest of the cast rose to the challenge as well;producer Paul ebster notes, "They took the text, and Joe's more simple and classical approach, very seriously. ere could be no hint of self-consciousness, and no post-modern rationalization of the story. The

eatricality of the vision had to be of a piece with the seriousness of the actor's performances and .eir belief in their characters' arcs."

ude La "These are people ma world where they are able to play strange social games vithout de red by a sense of reality created an environment where we could step into hat or d."

Tim Bevan elaborati aristocratic society would have been wit:

"When private f are awakened, ca

Vhen we are first introduced to Anna which she plays a pivotal role, emotio

e high society of that time and place.

renina, her family, and the re artfully withheld as they

evocably to the surface over the course of e film, hearts and sou g reverberations throughout socie

observes, e perfect e, she's ' dame Karerin

d she and her husband hold a ce place in sociel a bolt of lightning - in the form other man - opens her up to anoti

ay of living, o oving, and of being."

Tom Stoppard remarks, ' e g happens to her whic which I would say she didn't even know about. She has no something has been missing."

aas never happened before, something ived a deprived life, but a life in which

ri ad "When you think of a love story, o and Juliet, or star-crossed lovers, or a love that overcomes obstacles. Yet that's not what this s or does. Tolstoy himself described War and Peace as his epic political novel and Anna Kai ni

being a domestic story. Meaning, s about

families and love - which are epic to us all

"The theatre setting enhances the idea that each individual is on show, performing their given role within society. As they watch those around them, they themselves are at the same time being observed. The principal characters' dilemmas are enhanced and heightened within the artificial environments, and the moviegoing audience will be compelled to use their imaginations."

The theatre setting notwithstanding, Wright was looking for actors who could be "naturalistic rather than stylized, although capable of both - even if their characters were not. I was excited to work with actors in a theatre context, and so in some ways they would be a 'theatre company."

Casting director Jina Jay enthuses, "There were so many rich characters - coming from a great novel - for actors to take on." Accordingly, Jay was able to secure estimable talent for even the smaller roles, but for the apex of the story's love triangle no search was ever undertaken; it was on their most recent picture together, Atonement, that Wright and Knightley had first had a conversation about the actress one day portraying Anna.

Wright was confident that Knightley could take on the emotionally complex character and make it her own. He reflects, "We've grown up in our movie work together, really. She works so hard, with such attention to detail. Keira is an incredibly strong woman, and utterly fearless - qualities that I wanted to play up in this movie."

Webster offers, "I thin only reinforced the the

Tolstoy himself began to eoffallinginlovein teofyourse spi

e character of ch ove

Webster states, and Keira bring out the best in each er We knew this was going to be the most demanding role of her career, and that she could fully embrace the challengesplaying ”

Wrightes, "While e e e she one of the most likable people you will ever meet, on-screen she is not aid to co s what the character requires. I'm proud of her for what she's done in our movie. She understands the darker places that someof us can go to, and that was definitely necessary for

St°11Pard opines, behaves badly some of the time, and anyone playing her has got to grab hold of this nettling aspect. Neither the novel nor our film is in the business of moral justification."

'ghtley read the novel anew as preparation, o her own feelings towards the character had evolved. She says, "I remembered the book as being just incredibly romantic with this extraordinary character. But in re-reading the novel just before we started filming, I found it magnificent but also much, much darker - and realized that there is the huge question of whether Anna Karenina is a heroine or an anti-heroine. I believe that was so even for Tolstoy. My copy got heavily marked up, and Joe and I were constantly questioning ourselves about Anna; we felt we should show the good and the bad, the kindness and the cruelty. discussed with Tom. I tried to understand Anna and capture her all, so Anna Karenina became the hardestproject I've done; knew I had to try to play her withoutg her 'toonice.'

"Stories like this one are lasting because they are studies on the human condition as a whole, here within one character. Anna is a great and fallible character, one who speaks to what makes us human; in her, you see the flaws, the heroics, and the terrifying emotions. You care about her, and can't help but a ' yourself."

Stoppard muses, In quite a number of upper-class aristocratic societies one could think of a fling, an adulterous affair, as being more or less sanctioned. This is not a particularly Russian phenomenon by any means; one could say it's not unknown in Britain.

"The difference between what Anna does and what umpteen other people of her acquaintance might have done or been doing, is that it's not a pleasant dalliance or a diversion. This woman was very young when she married, and has been married a good long time. For her, it is as though she is getting a late chance to live her real life. But doing so affects her standing in society. As it's said, 'She did worse than break the law, she broke the rules."

Bevan elaborates further on the complex iconic character who has divided opinion for generations, noting that "the reader and the viewer cannot help but be drawn to her story. You know that she is flawed, yet Anna is not necessarily a woman who one will instantly feel sympathy for. ICeira, in terms of her exploration of the character, brings a great deal of mature artistry to portraying her."

Law sought to do the same in playing the cuckolded older husband of Anna, altering his own physical appearance and conveying the quiet dignity and fortitude of a much-respected member of society.

Bevan marvels, "It was brave of Jude taking on the part of the older man, as it were. He dove into this character, and I feel that he and Tom have imparted a whole dimension to Karenin that isn't necessarily in the book. He's a more rounded character here, not just a cold fish."

The actor explains, "Karenin holds an influential position within government and is completely focused on his work - which he is good at. He has a strict moral code of honor and loyalty, and is spontaneous with neither his behavior nor his affections, even in the privacy of his own home with

family.his The significance of e s indiscretion has the power to jeopardize not only their marriagebut also the entire edifice of Russian society.

sympathetic to all the charactersthe story; you need to understand all sides, and that's part of why Tolstoy's novel is so beloved and still engenders discussion. To me, Karenin is ripe to have his heart broken. My feeling is that as far as Karenm sees it, he is offering everything that he should to the marriage. What he doesn't necessarily bring is passion and romance, and that is not necessarily something that's in him; it's probably the way he was brought up, and probably the way he observed his parents behaving. He is carrying his heart as best he knows it."

Stoppard notes, "Karenin is, fory people, the most sympathetic e of e triangle. We're the product of our experience and conditioning, and s Karenin. It's a slippery slope if you describe him as 'a dull man;' he is probably fascinating to other people in government when they are talking shop. The notion of service, to an empire itself supported by paperwork, is in Karenirt's bones."

aw ad"What's wonderful about the part is that you see slowly and gradually how his ulnerabilityawakens; he takes his eyes off his work, which is so much a defining part of him, and e human being comes out to fight for his wife and family. By the end, he's travelled quite an teresting journey."

Knightley remarks,"Jude and I both wanted to get at how there love between the couple; tragically she doesn't think there is, and he is unable to vocali7e it."

Law a "Those e not the easiest of scenes to play opposite another actor; Keixa and I took a lot of time to prepare with Joe, talking about the happier times in their marriage, so that we could push the emotions further on-set."

right ed to give Jude the space to shine, since I know t a great character acto he c seen him in a role like this in a while."

Aaron Taylor-Johnson was already on Wright's radar as a potential Count Vronsky, who opens Anna's eyes to passion but at too high a price. When Wright screen-tested the rising star in California with Knightley, he saw "someone who would commit to the part, coupled with a physicality that made Aaron perfect for the role of someone who is seductive but sensitive. Also, Aaron is slightly younger than Keira, and Vronsky is younger than Anna in the novel."

Webster says, "Aaron has natural aptitude for the camera, and he is ve see - just how little, or how much, he needs to do in a scene."

a attuned to what it needs

From the first, Taylor-Johnson was "hugely impressed" with his leading lady, as "I've never seen anyone put in as much preparation as she did for Anna Karenina Her copy of the book had color-coded stickers, and she would check scenes with the script. I also know that she spoke with people who have been to some of the depths that Anna goes to.

"As an actor, she will challenge you in the best way possible. She will be there for you 100%, including when it's your own close-up."

ICnightley praises Taylor-Johnson as being "an instinctual actor - and one whose instincts are pretty much bang-on every time."

Taylor-Johnson ascertains his character as being "from a privileged background, and he is an officer on his way up. But when he encounters Anna, his world changes dramatically; he's never seen anything like her, and it's extraordinary. He knows he has to have her and he uses his charm to engage her. He chases her even though she's a married woman; there was a societal allowance for mistresses and affairs, but you never left your husband or wife for someone else because that meant being shunned. Yet Vronsky is devoting his all to Anna; he adores her and he can't stop."

12

Stoppard says, t comes through in our fili very positive yis how V o es the lead theirrelationship. He is a romantic figure, a beau al boy."

Taylor-Johnson adds, "At first you just see his arroga e, but en you see how much he give up for her and how his confidence comes from ie heart. Joe and I discussed whether naïve or not; I kept saying, 'He's honest.' I can re a a lot about Vronsky, and because of that I fe could play him."

The parallel story of e s love for Kitty is gentler and more innocent than Anna's for Vronsky, ye it o falters under the scrutiny of society. Actor DOITIhriall Gleeson had auditioned for Wright, but it wasn'the performed the part of Levin at a table read - at which his empathetic take on the character pressed one and all - that the part suddenly became his. One facet of the material that the actor sought to convey was "the wry sense of humor shooting through it, which I appreciate; this story gets to the depths of what it means to be alive."

As GI son sees i "Le vin's idea of love is at same time very pure only this one person tolove; he's shooting for absolute ideal, which real life. But in the story, he is one of the only people who spends any ti very real place with love, one not based on artifice. That is mirrored in life, which is at a distance from St. Petersburg and Moscow s a He makes his life in the real world out in the countryside, and is i arming. He is outside sophisticated society.

d blinkered, he sees always compatible with

real world; he is in a e way he chooses to live his

'ay from the theatre, literally. fact very preoccupied with

"Even so, s caught between the aristocracy and the serfs; he's trying to find a home in nature while the woman he loves is in a place which is artificial to him, But they do have a true connection, which means to journey to try to win Kitty and bring her back to his real world. He realizes that she's an even e woman than he thought"

Kitty is played by up- o g Swedish actress Alicia lir, der, in her first English-language role. The role promised an emotio ii journey for V' der to undertake, with her character beginning as an innocent and radiant ue before experiencing heartbreak upon Vronsky's rejecting her and then coming to terms with

d love.

The actress' years of real-life training as a ballet dancer proved beneficial. She notes, worked with [choreographer] Sidi Larbi Cherkaoui to get into contact with the characters through movement. How Kitty walks or runs into a room at the start of the story and how she is in the last scenes, there's a complete difference. She proves herself to be very un-judgemental, considering her status in society, and this better prepares her for what comes later."

Bevan says, "Audiences may not have seen Domhriall or Alicia before, but they are excellent - and, as they are also young people like their characters, there is a freshness to their work."

"They complement each other," agrees Webster. "Alicia grasped the opportunity of this role with both hands, and Domhnall shows what a powerful actor he is."

Invited to reunite with the filmmakers and leading lady with whom he made Pride & Prejudice, BAFTA Award winner Matthew Macfadyen leapt at the chance to portray Oblonksy, Anna's brother. The actor enthuses, "Oblonsky is incorrigible; he's disarmingly direct and brings humor and warmth to the story as he tries to help the people he loves and cares about, particularly in attempting to be a matchmaker for his friend Levin.

"Oblonsky is one of those people who lights up a dinner party when they come in. He has a wandering eye. He likes the pleasures of the flesh, drinking and eating; to me, he was a very attractive character because he doesn't suffer from terrible introspection. I don't see him as 'a bad man,' and I hugely enjoyed playing this part - except for the moustache I had to grow."

"Matthewa hoot in this role,"enthuses Emmy Award-winning actress Kelly Macdonald, who signed on to play Dolly, wife of Oblonsky and sister-in-law to Anna. "He's played Oblonsky in just the right ay: charismatic, frustrating, lovable - and selfishly addicted to passion.'

The actress felt that she d tood Dolly's temperament, remarking that "Doily is married to a she adores, she's passionate about her family, and she's pregnant the time. She is completely happy with her lot in life before finding out about her husband's affair with the woman who is meant to be looking after their children.

s devastating for her when she realizes that she's been made a fool of and her relationship with whom she admires and with whom she shares a sisterly love, helps her. She refines her focus

on family. I feel that in the end Dolly resigns herself to his behavior; she loves her husband and she knows he loves her. But she is not brave enough to attempt what Anna does, which is to seek an independent life - one that no woman that time and place could really have."

As a Olivier Award winner, Ruth Wilson's stage experience made her particularly well- qualified for the movie's theatrical as Princess Betsy Tverskoy, the actress is resplendent in dramatic and exotic costumes amidst high-society artificiality.Wilson admits, "I had free rein from Joe to be more excessive than I would have been in a more traditional period drama It was great fun 0 work with [dialect coach] Jill McCulloughon Betsy's speaking voice.

oral conduct she represents a she exists in a world which is all

e a goldfish bowl for people trying

"Betsy also speaks to this film's themes of love, class, superficial level of love, lust, and desire; everything is for sho about beauty and image over anything substantial. Her soirée to appear rich and powerful, and real feeling is la kin Lc g.

Countess Vronsky, the cynical mother of Count Vronsky and his brother Alexander, is portrayed by Olivia Williams Having worked with Wright on Hanna, she was keen to rejoin him on Anna having found that "making a movie with Joe and his team is a genuine collaboration." Williams intrigued by her character, "an aging beauty - that's a phrase which Tom Stoppard put in directions - and to play her I decided to channel [Academy Award-winning actress] Peg

"There's subtext to my character's introductory scene with Anna; her foremost in ambition, with love a long way down the list. She feels she has a facade to maintal preserve a fabulous society history. There were many details that I worked out for the character with the costume and hair and make-up departments. But at one point Joe did have to tell me, 'Don't your subtext!"

Two-time Academy Award nominee Emily Watson was tapped to play Countess Lydia Ivanovna, who claims the moral high ground in disapproving of Anna's behavior. The actress opines, "Her fervor is probably repressed sexual energy, and she mistakes her own passion for Karenin for religious zeal. She sails about like a steam ship, and the costumes gave me that sense of posture.

"This story is so sophisticated, set in a time more valorous and chivalrous than our own, and we're doing it in a way which I found liberating."

Michelle Dockery, who had filmed a memorable cameo for Wright in Hanna just before coming to world attention in the television series phenomenon Downtan Abbey, appears in Anna Karenina as Princess Myagkaya, who is "one of the socialites within Betsy's circle. I love Joe's detailed way of working, and this was quite a fun character to play; she takes an interest in Anna and although I would like to think that she does it out of the goodness of her heart, I believe it's more that she likes being associated with a scandal!"

a e s

hi ge

otivation is trying to

Count Vronsky's brother Alexander Vronsky is played by French actor Raphael Personnaz, who joined the Anna ICarenina cast for his first English-language role. Personnaz saw his character as being

forward to seeing this ots of actors e but with Joe's

ovie even if usiasirt you

e d

orma o

minated by what his mother thinks and wa character as 'square.' I feel that Alexaru racter in a way. Yet at that period in Russia,

ost pie; in this story, Anna and Count Vro

the codes of s s word to me about have any love in his life, so he's a sad

)n't know t happiness and love were a goal for are exceptions."

Macdonald a great ens weren't in it. There are a number of en never feel like you are getting I s

dye.n adds sted in acto d their pr e s.

repo the rehearsals racters are. Joe leav eir process

E STAGE IS A WORLD

ve had, the a to 4)

±e set comfortable or happy accidents

orators conducted extensive research g of a period which was the twilight of an tagged for inspiration, were catalogued as

In the months of pre-production, Joe Wright and his co Russia and the society of e 1870s to gain an tmderstan empire. Hundreds of ua references, as well as image part of realizing the director's unique vision.

Tom Stoppard remained in close contact, visiting the directo remembers as one final big script meeting before we set o

The spectacular theatre setting coming together had to Production designer Sarah Greenwood and her team set out o conc highly divergent over the course of a three-month shoot.

seen on screen before. sign for what would be

Although various locations,including the condemned Alexaru isited d considered as filming sites, everyone reali7

scratch.Greenwood explains, "We had to build the theatre on a environment for us to be able to control it We had a lot of fantas

aP the age because

theatre in autosegio as t newedet ild from do tebubee bellt

London, we e

imagery to deploy.

"The overriding conceit of the setting of the dereli decaying, heading towards unrest under the rule of gilding was important to have. But everything wi

on its way out, ir gold leaf, so

came back from St. pap Petersburg noting that what might look like marble was actually plaster."

The overall inspiration was equal parts personal and aesthetic; Wright says, d in a theatrical environment, growing up around my parents' Little Angel [Puppet Theatre]. I also have a keen interest in early cinema, which emerged from theatre at the beginning of the 20th century; the design of early cinema screens emulated the theatre proscenium arch"

Paul Webster concurs, noting that "this approach of Joe's crosses boundaries, going back to the origins of cinema where the distinctions between theatre and film blurred; 'the theatre of dreams.

Wright reflects, "Aesthetically, this film is probably closer to my heritage than anything I've made before. The puppet theatre that I grew up with was a beautiful handmade world and we've tried for that within this film. The idea of the theatre being the whole world was how the puppet theatre felt to me as a kid."

The immense interior of the theatre set was built on C Stage at the U.K.'s storied Shepperton Studios -- the same stage which had hosted the wartime hospital scenes of Atonement. Of the set-ups within the

theatre set, three would be on the actual stage while the remainder der would be, van'ously, auditorium; on an upper

level; in corridors; in the foyer; and "backstage?'

It wasn't long before C Stage had to stay open round-the-clock, whether for filming or for building and then dismantling sets. Supervising art director Niall Moroney and Nick Gottschalk, the art director for the theatre set, coordinated efforts so that as soon as scenes were filmed, construction, painters, props, and lighting departments were at the ready - literally, waiting in the wings - to strike one elaborate set and create the next. "It became an elastic universe," praises Webster.

Transitions between scenes were abetted by huge painted backdrops on the main stage. This spectacular scenery includes St. Petersburg, Moscow, and the starry night sky at Betsy's soirée; and elaborate murals such as the clouds and cherubs which surround the beatific Kitty on stage when Levin fumbles his marriage proposal.

The various levels of the theatre indicated the social standing of the respective individuals frequenting them; the foyer, auditorium, and upper level were for the higher echelons of society, as was the corridor where the art exhibition takes place. Backstage became the salubrious French theatre, while the wings were where Oblonsky conducts his affair.

Matthew Macfadyen comments, "Given that the settings were in and around Russia, the whole theatre reminded me of where the Bolshoi Ballet might have performed."

The biggest set pieces, such as the ice rink, the ball, and the opera lent themselves well to the theatre space. For the races sequence, a paddock was placed in the center of the auditorium while those playing the upper classes were higher up and those cast as working-class people were at or below theatre stage level; even so, as it was impractical to have live horses and riders racing across the theatre stage, the racing scenes were filmed separately by the second unit and would be carefully worked in later by editor Melanie Ann Oliver and her department.

Oliver reveals, "Although Joe works very much in storyboards and with a precise shot list, I tend to try and not to look at them; my initial response to the rushes is an important hit I will never get again, and I tend to go by that. It's also one of the reasons I don't visit the set too much. The raw material of the rushes comes in and I work very fast, and then I sit back and consider the edits before getting Joe's feedback. I love identifying little gems or nuances in the takes, and he generously takes notice of my finds.

"What Joe has done is to redesign this story, yet the core the truths of it are still very much there, especially with Anna's affair and people's reactions to it, and the emotions and the primal feelings throughout. The way he uses sound is one of the layers that heightens the world of Anna ICarenina "

Tim Bevan notes, "Joe has the ability to create a world you can believe in -which is not something that every movie director can do - and he has the assureciness to know when to have the editor do a hard cut or not."

Wright remarks, "What we were going to be able to do away with here was, shots of carriages pulling up and exterior shots of palaces. That can become architecture rather than storytelling. We could hone in on the emotional beats of the scenes and the drama of the characters as played out by the actors."

Stoppard recalls, "A few days into shooting, I was shown about ten minutes of footage and I thought, 'This is working.' I called Joe and Tim to express my relief.

"When I visited the set weeks later and saw what the art department had achieved, it was mind-blowing. What months before Joe had described to me that was inside his head had been made real."

Owing to logistical necessities, the ice rink sequence was the first to be filmed within the theatre space. The company behind the U.K.'s Dancing on Ice television series was brought in to create a

spoke ice rink within the parameters of ea au :orium for a one-day shoot. The ice en allowed to melt away, so that e space could be readi [for x redressing.

cinematographer Seamus McGarvey, as the s o ible right explains, e concept is, mu

the environment, the audience is imm

In the visual approacrt progresses the trappin

acters are una e story and d'

orked out by Wright with of the theatre cease to be

e of their existence wi lief is suspended."

only e a character acknow which is the crossover

ey're in a theatre is the opening

Greenwood adds, and the narrative and

or, our we re dible dialogue

as a French theatre,

en quickly going to

uence unfolds as a bit of a

ese place e characters

Keira Knightley felt concept to set it a theatre was completely bri instinctively know that as soon as you enter a theatre you are required to use Your

"Your sense of space changes, and with all the changing sc definitely was so when filming the ice rink, or Betsy'sem that happened because of the nature o atheatre is reality is going to be suspended, and therefore you accept w

woulds we forget it i what with all the cha

d how we perceive a beingt it is depicted

a theatre; that eliers. But en eatre; we know

of the sets forming Part of e theatre did have to be built on other tages at Shepperton these udeci the prop room (which is the drawing room of the Oblonsky house), the paint frame(which

is the Oblonskys' dining room), and the fly floor, a platform at the side of the theatre stage (which became a train platform). The Karenin home in St. Petersburg was built on B Stage; the Grand Hotel, on D Stage. In all, four stages at Shepperton were used.

Greenwood says, "These sets had su of doors, which helped to make the through the theatre, walking up the s

y direct link to these other y, Anna's son Serozha's

e main stage softly illumiria

hitectural links echoing the theatre, such he same style on as seamless as possible." Once the characters move

case, along corridors, and through doors, they have a such as the long corridor at the Karenin home. Most a miniature version of the main theatre - with footlights

However, Greenwoodnotes, As oppo to being dilapidated, these sets y polished."

Katie Spencer, the set decorator whom has worked in tandem with Greenwood on all of Wright's films, elaborates, "St. Petersburg is much more classical and looking more to the West. So the Karenin home is highly regimented, and much less cluttered, than the Oblonsky house in Moscow. As such, it feels more like a conventional film set, though it is still conceived within a theatrical context; that is evident in the shape of the set, with receding prosceniums one way and another.

"The Oblonsky household was quite complex to decorate. They are aristocracy, but the father spends so much of their money - eating well, drinking well - that they are getting down on their luck, so there had to be a more naturalistic environment which worked for them. I was excited when our actors embraced the idea and fully inhabited the set."

The formality of the Karenin apartment is conveyed through marble flooring, hand-painted motifs on the walls, and darker colors. Heavy doors lead into a marital bedroom of deep colors and masculine style, which creates a claustrophobic and oppressive atmosphere that indicates the state of Anna and Karenin's marriage. Greenwood muses, "It's interesting; the men who visited the bedroom set would

7

ould be

ing like

the wails of the g destruction in

he audience, the

say, d love to sleep in a hote slightly unnerved by 't."

ere was a wonderfu became something

Some scenes in Karenin's study and Anna's boudoir do unfold wi latter fall away as Anna walks away from her e with her husb

Pointing up the insular natureo the e or d, and e theatre settings lack windows.

or

dii the theatre d and son, ea

description in Tom S oppard's at Karenin surrounds himself

g the immersion o

A scaled-down version of e theatre stage was built at• here that Count Vronsky and Oblousky meeto e off the theatre stage onto the train platform; when e hug the auditorium.

de e theatre entirely is the orld of Levin and h works in the fields alongside his se ants. He stens into if

'end Oblonsky and outside of Mosco

e m reai es he countryside in So

of Ad

'clocation scouting.

'dcot Railway Centre in o ds It is d sister, respectively, as they step down

train pulls in, it is effectively doing so into

country estate in Pokrovskoe, where he artifice of the theatre when he is with his otherwise prefers to live a truer existence

take place within sets but his exterior d and a landscape in Russia that

s hand burg. s interior

but sce uti

Acco y, to be was awful at e end, I was told on location] Sath do forget about thu

t incarnate Levin,, Domhnall Gleeson was tasked with learning "how to scythe. they're dangerous things, scythes, and I was ace fore

spent [filming By ge

is pretty g d. Now, that might have been lies, but e days ays w bury scything were incredible; when you're doing that digging with the blade you ilting who you are, you just .

e p In editing these scything scenes - to "make it have a musical rhythm, Russian propaganda films."

angerous cutting toots - Oliver was asked by Wright pie going back and forth. Joe also had me look at old

Even subtler themes and motifs were layered in by Greenwood and Spencer throughout; the pale blue wallpaper of Anna's small boudoir features snowflakes bringing to mind both the icy landscape of Russia and the coolness of her marriage. The gilded horse which appears within the set design is a symbol of Russia, as is the double-headed imperial eagle which is a badge of honor or Karenin.

The bird motif was also picked up by costume designer Jacqueline Durran and her department with birdcage-like undergarments for Knightley to wear indicating that even within Anna's own private quarters she is a beautiful, feathered creature trapped on display; this being the third occasion that the majority of the filmmakers and crew had worked with Knightley on a feature, they had an innate awareness of her physicality and how it could relate to the surroundings. Such intricate details as the style and shape of an antique chair were given consideration in conjunction with Ivana Prirnorac's hair and make-up design, to flatter Knig,htley's shoulders and décolletage.

Wright's childhood in the world of theatre and puppets influenced the dressing of the Oblonskys' drawing room, which features many delicate and ornate toys, most notably handcrafted alphabet blocks and a beautiful large-scale doll's house in which Anna sits with the Oblonsky children. Spencer remarks, "It's beautiful, and it signifies how family-oriented the Oblonslcys are - he is a philanderer, yet this shows how much his and Dolly's children mean to him."

Kelly Macdonald marvels, "That set was like Aladdin's cave! Every time I went in, I would notice something different."

oo the Oblonskys have six children, adadyeri reflects, "It mak ere arebilso e fabrico

Greenwood reve "The doll's house interior have looked like had -sized sets have been b parameters."

tive of what the Oblonsky house would ban our o the theatre set

Reversing the latter co s son Sero, Russian countryside and then morpbs into the journey to Moscow.

a which travels through a wintr sch takes Anna on her momentou

GI son says, "You might o ere set by having everyt in actuality the possibilities were endless because of everyone's unaginatio and constantly be surprised at e richness of etapestry."

or of photography Seamus M d worked with most of e

S collaborative o renina g

Though the vast majoritythe action takes place o e theatre Set, Wright res stylization e not as an embellishment, but a streamL g - getting everyone closer to characters. The sequences in Levin's farm, when he's not in s are shot on location and have a more traditional cinematic reali

"being JO the structure of the theatre and being based at Shepperton actually enhanced the film photographically for me. Firstly, I had a lot more control, certainly with lighting. I

able to again work very closely with Sarah and with Jacqueline Durran, this time to create something extraordinary from the ground up. Working in the theatre setting and the studio environment afforded a particular cohesion photographically - especially in getting the mise-en-scene Joe wanted. I wanted to convey how the feelings in the story are visceral and contemporary, yet still situate it in time and place.

as e lighting used is older in s

duration of the shoot, whi

'c lenses, which require slightly more light, and some of incorporating tungsten." Theatre-style lighting was rigged for the

required a dedicated operator on hand to control the lighting d IVIcGarvey's instructions, subtly shifting it from scene to scene to best en o ent as per Wri

emphasize the drama.

Aaron Taylor-Jo on observes, e' s is an ideal working relationship; Joe will know exactly which millimeter he wants the lens set on, and Seamus will get just the shot that Joe envisions."

On Atonement, Christian Dior stockings were used as a filter over the back of the camera lens for the 1935 section of the film; McGarvey reprised the technique to give Anna Karenina a beautiful glow. He comments, "When the stockings are on, they just blend into the celluloid and you get this nice blooming effect. It's lovely on the characters' skin.

"I opted to use another filter, a net filter, which on the one hand gives a sense of distance through the gauze of time. But it also smoothes over the edges, or the proximity that you have to these artificial environments. It's sort of blurred a little bit, which I think helps to create a more painterly look."

Wright is known for challenging himself, his cinematographers, and his cast and crew to successfully carry through complexly conceived camera movements; there are the Dunkirk beach tableau in Atonement and the tracking and fight sequence in Hanna, to name but two. For Anna Karenina, cameras

19

wiseevrien mounted o,nasrigtnseoyn the ice rink; aemcontnti:uous steadicam shot follows the Oblonsky family, and

entering a spectacular ballroom scene before embarking ern' exit eme.hget the dancer:

refuge ram; and thecamera takes Kitty's point of view when

and observing subtle nuances.

Also among ballroom challenges, the special effects and visual effects de artm engineered façade of a train engine and carriage to screech across the dance fleet with steam billowing from it. the

The latter was also one instance of how Wright and McGarvey preferred that stunning effects and visuals be crafted and achieved in-camera and on-set rather than in post-production. This entailed experimenting, whether dimming the lighting or using half-silvered mirrors. McGarvey elaborates, "I was like a kid in a photographic toy shop on this film. My great friend, Jack Cardiff, the cinematographer who died a few years ago, is my touchstone; I always look to what he did in films like The Red Shoes and Black Narcissus. He would push the boat out to explore, thinking about light and the properties of lenses and the structural aspects of celluloid itself.

"On Anna 'Carmine, we tried to enhance the image in a very physical way. The photography is not meant to be ostentatious; it's meant to have levity, to dance around and move with the drama."

Wright adds, "I found that the film became more cinematic because of the theatrical 'limitations' I had placed upon myself."

THE LOOKS OF LOVE

Always one of the most visually engaged of directors, Joe Wright "remains the most prepared director I've ever worked with," states Paul Webster. "The film is in his head. Then he crafts it shot by shot and scene by scene. Anna Karenina was highly storyboarded, even more so than the other movies we've done.

"He plots out every location - or, in this instance, set. Then, he shares all this information with the whole crew. Everything and everyone contributes to a greater understanding of the story being told. When things change during production, everyone is kept in the loop."

Jacqueline Durran remarks, "The image of every scene is already in Joe's mind, so your job is to find out what it is - and to try to fulfil his idea. He has pre-thought it all, but looks forward to using what you give him."

Anna Karenina's 19th-century setting notwithstanding, Wright asked Durran to ensure that Anna's costumes be in the style of 1950s couture, though still with the silhouettes of the 1870s. "Not having to be strictly in the one time period was liberating," says Keira Knightley.

Anna's image was to be one of pure luxury, befitting her status as a Russian aristocrat who wore French clothes. Durran notes, "Had nothing else in the production been stylized, we would have been out on a limb. But I knew this would fit in to the visual-feast approach within the theatre."

The costume designer's research included looking at French fashion plates Balenciaga and Dior, and period photographs; the other characters, with the exception of Princess Betsy, would hew closer to the story's time period. Durran comments, "I thought that Joe's idea was genius because a lot of 1950s couture was itself looking back to an earlier time. We looked at some images from the time next to fashion pictures from the 1870s and although they were eight decades apart, the two periods meshed together very well.

"We associate 1950s couture with chic elegance, and so this would be a signifier to the audience and a way in for them to the image Joe wants conveyed. With Anna, I did keep an 1870s skirt shape all the way through - while pushing the bodices in the direction of the 1950s. There is also a 1950s feel to

20

several of the other costumes, such as Anna's gray silk jacket - it's very much a 1950s jacket shape, with buttons down the front, although even this is paired with an 1870s skirt.

As on Atonement, Durran worked closest with Sarah Greenwood and Ivana Primorac, discussing

trtheecinkeswalled color palettes,

honed, exchanging

svlconatntc'hesbutia:nds.ref'Wereen:leiscusmates r:alveryThtleuny* gstatyoegdethonerth,"e states Primorac. "It's like we belong to the same department, and I'm finishing what they have started."

Durrart elaborates, i'Ivana and I will talk about hair and make-up in relation to costume and character. Sarah always has a sense of what the proportion of a given scene is shaping up to be. Joe is often at fittings at the beginning saying, 'I think this is the direction we should go in.'"

The direction Wright wanted Primorac to go in was to enhance Anna's sophisticated look with soft, dark curls unlike any of the other female characters; she was also to have make-up that would subtly exemplify her innate beauty.

Having memorably costumed Knight.ley in an iconic green dress for Atonement and in period garb in Pride & Prejudice, Durrett specifically discussed with the actress ways to support the look Wright was hoping to achieve. Durran comments, "Keira is ideal to dress, and so collaborative; she had good suggestions about adjusting things."

Primorac adds, "Keira has no vanity attached to herself at all; she doesn't care what she looks like, she just wants the character to look right."

Durran reports, "Anna's thematic scheme of color is dark, particularly with the red she wears at the beginning in the Kerwin home. What she wears becomes somewhat lighter in tone when she becomes enraptured with Vrortslcy, before returning to the darker hues as she becomes anxious and paranoid that his affections towards her have waned."

Among Anna's costume highlights is a sumptuous jet black taffeta ball gown which captivates Count Vronsky and all of society when she steals Kitty's thunder at the ball. 19505-inspired bodices with asymmetric fastenings, a swoop of taffeta around the neck, and a long tail folded into the bustle to extenuate the 1870s shape are evident in three of Anna's costumes: the cream dress she wears at the tea room, the dark red dress she wears at the film's climax, and the dark blue dress she wears at the races (the bodice of which is made out of denim).

At the ball, Knightley performed as Anna while adorned with sparkling diamonds worth $2 million, specially loaned to her by Chanel for the shoot.

The two men in Anna's love life have distinct styles reflecting their respective positions within society as well as their very different personalities. Count Vronsky's stylish uniforms are influenced by Russian uniforms of the period and are in shades of pale blue and pure white; tanderned with his blonde hair and blue eyes, he stands apart from the other men. Durrett reports, "We did pare the uniforms down a bit so that they became the essence of a Russian tunic."

Karenin's costumes have their origins in tsarist uniforms of the late 19th century. The designs were simplified for his character, illustrating his power and status within society. Durran remembers, "Jude Law latched onto the idea of removing details rather than adding them. We gave ICarenin a slight air of monasticism, playing on the idea at home with his dressing gown and nightshirt."

Law offers, "I think that first trip into wardrobe, and hair and make-up, is so rewarding because you all have these ideas to define what the character will look like. Yet you might not necessarily start to see him until you make the final leaps."

Primorac notes, "When it was all put together, I think it was quite far from Jude and very recognizable as the Karenin that's described in the book. We had gone over everything from the character's fingernails to his neck.

"As for partly shaving the head to make Icarenin balding, Jude responded to it better than I did; I was aware of how drastic it was going to be - lasting several months - but Jude was completely up for it."

21

Searching for the authentic life more than the other characters, Levin is clad in peasant-style clothing for scything scenes in the countryside - and a more polished look for his brief excursions into the societal whirl. "For the peasant wear, there were some book references," says Durran. "We did take license and mix northern Russia with southern Russia, a slight hybrid that stayed true to Levin."

"For the ladies, there were all these bustles," recalls Kelly Macdonald. "When my character was pregnant, I was gliding around like a snail. At least I didn't have to wear a corset because when you do it's, 'I won't be having quite so much at lunch."

Ruth Wilson muses, "These characters are being stretched and pulled, and the outfits indicate that as well! Jacqueline and Ivana and I discussed how Betsy was this submissive yet manipulative woman. With her look, she is being more dramatic than everyone else in the room."

Betsy stands out from the other female characters with elaborate hairstyles and make-up engineered by Primorac and her department, while Durran "was given a brief by Joe of, 'Let's investigate the idea of geisha for Betsy: S0 we converted I-870s shapes into Japanese ideas, and there came gam our marvelous link to 1950s couture because Balenciaga was always playing with the kimono neck. It was like a continuous circle."

The female dancers who recur on-screen throughout the society scenes, at the ball, and at Betsy's soirée, were dressed in distinct pastel colors with a tainted tint symbolizing the decay of the society they are a part of. Durran explains, "These particular sour pastels are reused scene after scene because within the theatrical environment, they become like a chorus. Had we filmed this conventionally, in stately homes, you might have thought, 'Why are those dresses out again? Too lazy to go get some more L. Durran]?"

Primorac's department was tasked with conveying each and every individual's place within society. This was no mean feat, given that the production called for dozens of speaking parts and hundreds of extras. She notes, "You have to give the characters a background that shows the viewer who they are and where they come from. The worlds of the rich and the poor are portrayed in this story, but you have to provide character traits atop that, and there were different groupings to tend to separately. Joe wanted the different levels of society to be visually accessible, so that meant coordinating everything from color palette to style of beards to buns on hair.

"Fortunately, the Russians embraced photography when that came in, so there was a lot to draw from; it was a very beautiful period to research. Some books were brought back to us straight from Russia. There were photographs of different levels of society."

Domhnall Gleeson recalls, "I'd see extras in extraordinary hair and make-up by Ivana and her team - and some of them would look wonderfully silly, because their characters were trying to be 'men about town."

The male dancers, as in a company during a theatrical performance, appear in various roles throughout the movie, sometimes in quick-change mode rivalling a stage show; green jackets are worn over their costumes when they are the clerks in Oblonsky's office, typing in choreographed unison, and they then swiftly don aprons to become waiters.

te servants, played by both n most invisible presence, as th shades of dove gray, from to

e and female dancers, class was in society; they

o to foe

ens silently as an Russian

ition from scene to e costumed in perioi

classDurran feels that servant as a

shoot was a it unfolding as so

MOVING IMAGES

he theatricality of Anna Karenina further emboldenedWrighto use music anc ore imaginatively - and more frequently - than they are traditionally used in movies

riusicals. Non-dance sequences were blocked out with choreographer Sidi Larbi orked closely with not only the director but also composer Dario Marianelli.

he latter, as part of process with Wright, is involved even o g starts ra e post-production phase. Wright movie, music was planned as dance scenes, musicians playing, or singers. Music needed to be prepared befor

e actors to learn the choreography, to mime instruments, and for singers to learn ti y and every '. Dario's composing before and during production helps with owe, ood o e actors, certainly for the movement of the camera.

choreography an aristocrats.

'the costumes combin hole fleet of people co

g beyond d imagined prepared a scene, then go onto the theatre se

particuiariy oo

o convey the

d be amazed at

her than solely clearly thand to allow

lines. But on

working with [Sidil Larbi ow], I was interested in not only stylizing the environments and e locations but also the performances well u o the extent of alienating the audience.

I'm always interested in human physicality, how we behave towards each other. I feel we do move a lot, so I like actors to be fully engaged. So we concentrated on blocking, how to refine it, and how to be more playful with it as well. That then establishes a rhythm, which comes through in the voices that e delivering the dialogue. Film is basically time and movement, so why not really think about that movement?"

Paul Webster remembers, "When we did Pride & Prejudice, of the two leads alone, Joe proved that he could o

the choreographic element is an even bigger p

with its village hall dances and the scen strate figures moving in space. In Ani of a more stylized work.

element was in Joe's mind from the outset; it preceded his theatticalized re-conception, but retaining that sensibility was able to heighten and permeate the film that much more, even in sequences that do not overtly involve dance."

With Marianelli and Cherkaoui, Wright discussed making Anna and Vronsky's interactions more dreamlike. The composer listened to Russian folk songs before working on arrangements and the accompanying vocals. "Yet, on this particular movie, Joe gave me a lot of room to experiment," notes Marianelli. "So those folk songs were really just starting points."

Webster observes, "In keeping with the general feel of the film, there is a contemporary edge to Dario's work here."

So it was that Marianeili wrote his "quite surreal takes" on a waltz and a mazurka for those sequences in advance of filming, allowing Cherkaoui time to plan out the attendant dances. The choreographer's unique style is theatrical and dynamic, making him a perfect fit for Anna Karenina. In a series of workshops with him, the main cast explored body language and developed the movement of their characters in relation to those around them, implementing a balletic approach to the drama from scene to scene; additionally, the cadre of trained dancers rehearsed their timed movements.

Marianelli reveals, "The music that you see musicians playing in a scene is at the same time part of the score, adding to its drama and emotion within the scene. Anna 'Carolina was a wonderful collaboration; I met with Larbi in Belgium to see what he was working out with the music. Larbi asked me to make a few changes, and then with Joe we identified where we could have some pauses and how we could restructure things around what Larbi was doing. It was a very much a three-way collaboration; Larbi would ring me up and say, 'Can you put eight more bars here?' or 'Could you take out four bars here?'

Cherkaoui adds, "It was ideal working with Dario, because his having written music beforehand helped me to create an atmosphere. His work overall inspired me; sequences such as the French can-can and the Cleopatra dance came to life thanks to the music."

Marianelli comments, "It was fun for us to put these Russian characters into a French theatre, where the run-down Folies Bergere plays out as if it's a German expressionist painter's nightmare."

On a more subtle note, for non-dance scenes, there was an overlay of choreography to achieve discreet but definitive movements; in depicting the master and servant relationships, the latter were conceived as appearing in a consistent but silent presence. They materialize almost magically when required, gliding into frame to dress members of the aristocracy who do not appear to even be aware of them.

Tom Stoppard clarifies, "The emancipation of the serfs has already occurred, in 1861, but a decree doesn't change society overnight; the habit dies very hard - and in a certain sense, never did, if you go to some remote villages in Russia now."

Dorrihriall Gleeson remarks, "Rehearsing the choreography, and standing there while other people brought our characters chairs and so forth created a guilt in my mind - which was so useful for playing my part, since Levin has money but wants to be on the side of the real people."

Wright notes, "Larbi's work with the actors was not only based on facial expressions of acknowledgement or lack of same, it was also about the connection and the distances between people, from how they touched to how they moved to how they held themselves."

Gleeson adds, "Alicia Vikancler and I did a lot of work with Joe and Larbi; she would play with my beard which I grew for the role, we would touch fingertips and create the physical connection that exists between Kitty and Levin. She was so graceful, because she trained as a dancer, and I did not. So what we did during this process came back to us in spades during filming, which helped."

Cherkaoui clarifies, "For some characters it was less about movement than for others. With everything is internalized, so Jude Law does less."

Law offers, "The workshops with Larbi were splendid, but I had to restrict my character o rigidity when everyone else was going along like flowing liquid."

By contrast, says Cherkaoui, "Vronsky is invasive in Anna's life, so Aaron Taylor-Johnson steps up and approaches her to get her to go over into another reality."

Taylor-Johnson took to the concept of applying choreography to his performance. The actor confides, "I prefer using physical movement to express emotions and feelings. That's where I feel most comfortable, so I was thrilled that we were being asked to convey so much in that way - and with dance, which is part of a lot of my favorite films.

"We had a lot of training with Sidi Larbi, and then he had a performance on at Sadler's Wells that we went to. It blew me away. There is an intimacy in his dance that's so delicate. Working with him was phenomenal, and the dances that he choreographed for Keira Knightley and I were beautiful."

24

For the ballroom sequence, all members of the main cast participated in intensive dance rehearsals i alongsde the company of professional dancers - so that their moves would look effortless and

natural on-screen, as their own characters would have ensured.

Matthew Ivlariadyert laughs, "The dance moves were very beautiful but fiendishly difficult to learn; even the professional dancers were saying, 'This is hard!'"

Cherlramti admits, "It took a lot of rehearsals for the actors to get comfortable so it felt easy for them, and felt like what their characters would do in their society."

Olivia Williams says, "One of the main differences between film and stage is that on stage you have to communicate with your whole body. Joe bridged this, so that we would be communicating gesture and movement of the whole body on film."

Tim Bevan feels that "there is a symmetry to the actors' movements that audiences will sense, without it being obtrusive. It fits right into the theatrical world that was being created."

Law notes, "We felt we were putting on this production. There was a sense of being a company before we had even started filming. It was a rewarding energy with which to begin a project; I've never felt stronger than I did on Anna Karenina about actors coming into their own with their roles, getting at what the director wanted them to fulfil."

Taylor-Johnson says, "It was not so different than blocking out scenes. But those weeks of preparation relaxed everyone, and we could move through scenes without speaking. Later, when we were shooting, Joe or Larbi would say, can remember what you did weeks ago; let's try and get that back into this scene:"

Wright did request that some of the movement shade into the unexpected, so that the music could gradually become more intense; camera movements and character movements would interweave as Anna and Count Vronksys dance becomes more feverish and intense, and the surrounding dancers become suspended in time as Anna and Vronsky move into a spotlight alone, dancing in their own private world.

Webster remarks, "The visual scheme in this moment becomes more delirious, reflecting what's happening to our characters."

Wright states, "It's a pivotal scene. From this point on in the story, nothing will ever be the same again for Anna. Larbi had choreographed it all, and Dario had composed all the music prior so that it all came down to shooting - three days of madness and beauty.

"The ball sequence was always going to be one of the great challenges for me on Anna Karenina because it's pure cinema. The physicality tells the story; there is practically no dialogue at all."

Melanie Ann Oliver, who had recently edited the Marianelli-scored Jane Eyre, notes, "I love to edit to music, especially when it's as strong as Dario's. But one day, Joe said to me, want you to cut the mazurka where Anna and Vronsky come together to a breathing track.' Editing is not just about the pictures; it's about how everything is cohering - and, sometimes, the power of silence."

Cherkaoui remarks, "It's been a new experience for me to see how you can lead the eye of the audience into things and out of things. I've never had that opportunity to such a degree.

"Joe gave me so much freedom to reinvent the waltz, so I could actually approach it in my own style, which was much more about using arms and hands. Knowing that he liked what I'd come up with, it was exciting to teach the actors to go into that flow as if they would know this dance - and it was in part based on one done at that time."

25

ey marvels, "Doing the ballroom enes w ok it to a whole new level and we got to work on these dance routines, which .tookweeks

hopefully bewaeenl<stanian. dThweeseekqs and were

absolutely exhausting - on both my knees and Imps! but a , and sequence ce isyso much a part of my character, and of Aaron's. He's in his white costume, I am in black, and Yang.

not a dancer and it's not cover what we did. Whether i been bi-fied."

ay I express myself. But say. a set piece, a dance piece, g weolvee end pi or a m i.

ce' doesn't quite e everything had

Webster co pieceso d have daunted established dancers, yet Ke a pulled them 0:

by sheer e of and excellent abi

Readying for Betsy's soirée proved intriguing for Ruth on. The actress reports,Creating something movement-based and not word-based, for a language among women in a high society gathering? Fans were used from the very first rehearsal - brilliant! Since we were not trained dancers Larbi took what we could give him as actors and created wonderfully detailed moves for

Marianeffi muses, e choreography choreographs a film. With Anna Kari between dance choreography and c' and it then permeates the rest of the

figuresof in space relates very much to the way the camera na, it as exciting to be able to explore aspects of a symbiosis

The dance sensibility is front and center in several scenes, exhilarating way."

ey concludes,"Understanding how to express your emotions through movementand t ho you could fit that into your character has given me a whole new of skills as an actor

AFIELD

Filming locations for the U.K included several well beyond Shepperton Studios.

The National Trust property Ham House, a 7 entury house situated in Richmond-upon-Thames alongside the river, became the setting for Vronsky's apartment scenes.

Exteriors for Karenin's rented summer house took place on the impressive grounds of Hatfield House in Hertfordshire, which dates from the Jacobean period; the manicured maze which Anna and her son Serozha play within is on-site

The residence of Nikolai, Levin's brother, which is put forth on-screen the top part of the theatre, was actually filmed in the attic of the historic Miller's House at 3 Mills Studios in East London.

The Moscow train station scenes were filmed at Didcot Railway Centre in Oxfordshire, where production designer Sarah Greenwood and set decorator Katie Spencer had earlier worked with Jude Law on Sherlock Holmes just three years prior; the original Great Western Railway Engine Shed was built in 1932 and it was this building that their department took over for a number of weeks, building the smaller replica of the theatre stage alongside the platform as well as hiring authentic steam trains for Keira Knightley and Olivia Williams to have their characters' tate-a- tate in. Supervising location manager Adam Richards notes, "Didcot has a very industrial feel to it, with a fantastic and gritty engine shed."

Exterior filming at Didcot on autumn evenings was done with layers of artificial snow and ice on and around the train and tracks, which had to be applied over a week prior to shooting; Didcot is accessible via train, freight container, and foot - and not by vehicle. The special effects department made use of everything from paper to paint to paraffin wax to create the wintry environment. Once filming at the site began, airborne foam flakes were sent billowing through the night by three wind machines to set a scene of near-blizzard conditions swirling around Anna when she briefly

26

disembarks from he train at Bologoye for some fresh air and Vronsky appears apparition-like, fro within a dense cloud of steam and fog.

Oblonsky and e ssnipe-shooting e in Pokrovskoe was filmed in the New Fores Hampshire.

Salisbury Plain, which lies within the southern England counties of e and Hampshire, is a chalk plateau spanning some 300 miles. Salisbury is known for its history and archaeology which dates from the Stone Age, most notably the prehistoric monument Stonehenge. Salisbury provided an idyllic countryside locale for Anna and Vronsky's woodland picnic. The crops-ready land also stood in for the Russian countryside, with Levinis haymaking scenes at Kashin filmed across the first few days of principal photography, which happened to be a few unseasonably hot days in September.

After principal photography had wrapped, a smaller unit travelled to Russia in February 2012 for a few days to film exterior scenes of Levin's house and region; this filming took place on IGzhi Pogost, a emote island near Lake Onega in the Republic of Karelia, Russia. While settlements and churches

were on the island as early as the 15th century, it was in the 18th century that two churches and a bell tower were built, and Kizhi is now a UNESCO World Heritage Site. There is an open-air museum with over 80 historical wooden structures, including buildings which were moved to the island in e 1950s for preservation purposes.

Le t sojourr ered by far the most adventurous travel of e entire shoot; cast took a flight from the U.K. to St. Petersburg, followed by an overnight a p and then a

six-hour drive to the formidable Lake Onega. Frigid temperatures ensured that filming took place in short bursts due to the risks to equipment and skin alike. Cast and crew braved the elements to stay overnight on the island, heeding the warnings not to walk alone outside after dark due to the presence of hungry wolves.

*c ds remarks, all part of keeping the location work real, but at that point we were preferring the excitement of being in the theatre."

27

Anna 1<arenina About the Cast

ICEIRA KNTIGI1TLEY (Anna Karenina)

Kelm Knightley earned Academy Award and Golden Globe Award nominations for novel, for

FocusElizabeth Bennet in Joe Wright's version of Pride & Prejudice, based on Jane Auste F Features and Working Title Films. Two years later, she was a Golden Globe and 13AFTA Award nominee for her performance as Cecilia Tanis in Atonement, again directed by Joe Wright and for Focus and Working Title, based on the novel by Ian McErAran.

The U.K. native made her television debut at the age of 6 in the telefilm Royal Celebration, directed by Ferdinand Fairfax. Her subsequent television credits included such telefilms and miniseries as The Treasure Seekers, directed by Juliet May; Coming Home, directed by Giles Foster; Oliver Twist; Doctor Zhivago, directed by Giacomo Campiotti; and Princess of Thieves, directed by Peter Hewitt, starring as Robin Hood's daughter.

Ms. Knightley landed her first feature film role at the age of 10, in Patrick Dewolf's Innocent Lies. She then starred in Nick Hamin's The Hole, with Thora Birch, and Gillies MacKinnon's Pure; and appeared alongside Natalie Portman in George Lucas' Star Wars: Episode I - The Phantom Menace.

Her breakout movie role was in Guxinder Quads Bend It Like Beckham, for which she won the London Critics' Circle Film Awards' British Newcomer of the Year prize. Audiences worldwide then took notice of her as the heroine Eli7abeth Swann in Pirates of the Caribbean: The Curse of the Black Pearl, directed by Gore Verbinski, in which she starred with Johnny Depp, Orlando Bloom, and Geoffrey Rush. She then reteamecl with the film's producer Jerry 13ruckheimer on Antoine Fuqua's King Arthur; and was part of the ensemble cast of Richard Curtis' Love Actually.

Ms. Knightley next starred opposite Adrien Brody in The jacket, directed by John Maybury, and as real-life bounty hunter Domino Harvey in Tony Scott's Domino, before reuniting with the Pirates of the Caribbean team on two sequels; the respective movies, Dead Man's Chest and At World's End, were again directed by Gore Verbutski.

Her subsequent movies have included The Edge of Love, which reteamed her with director John Maybury and which was scripted by Ms. Knightley's mother Sharman Macdonald; Francois Girard's Silk; Saul Dibb's The Duchess, for which she earned a British Independent Film Award (BIFA) nomination for Best Actress; Mark Romanek's Never Let Me Go, for which she was again a BIFA Award nominee; Massy Tadjedin's last Night; William Monahan's London Boulevard; David Cronenberg's A Dangerous Method, in which she starred as real-life psychoanalyst Sabina Spielrein; and, also for Focus, Lorene Scafaria's Seeking a Friend for the End of the World, in which she starred opposite Steve CarelL

She made her West End theatrical debut in Martin Crimp's translation of Moliere's comedy The Misanthrope, staged by Thea Sharrock at the Comedy Theatre in London, in December 2009. She received an Olivier Award nomination as well as an Evening Standard Award nomination for the Natasha Richardson Award. In January 2011, Ms. Knightley returned to the Comedy Theatre and starred in Lillian Hellman's The Children's Hour, staged by Ian Rickson.

She supports - among other charitable and humanitarian causes - Amnesty International, Comic Relief, and Women's Aid; and is a patron of the SMA Trust, which funds medical research into the children's disease Spinal Muscular Atrophy.

28

Jude Law is considered one of Britain's finest actors, with a we his credit.

and stage performances to

He received Academy Award nominations for his performances in Anthony Minghella's Cold Mountain and The Talented Mr. Ripley; the latter also earned him the BAFTA Award for Best Supporting Actor. He was also a Golden Globe Award nominee for both works, and again for Steven Spielberg's Al Artificial Intelligence.

Mr. Law first drew film industry and critical attention for his performance opposite Stephen Fry as Lord Alfred Douglas in Brian Gilbert's Wilde, for which he won an Evening Standard British Film Award. Among his many subsequent films have been Clint Eastwood's Midnight in the Garden of Good andEvil; Andrew Niccol's Gattaca; David Cronenberg's eXistenZ; Jean-Jacques Armaird's Enemy the Gates; am d endes' Road to Perdition, with Tom Hanks and Paul Newman; Anthony gYhaella's o

Breaking an Entering; David 0. Russell's I Heart Huckabees. Brad Silberlirtg's Lemony Snicket s A Series f Unfortunate Events, as narrator; Charles Sh er` Alfie; Nan' cy Meyers' hit comedy The Holiday, with

Cameron Diaz; Anthony Minghella's Breaking and Entering; Wong Kar-wai's My Blueberry Nights; Terry Gilliam's The Imaginarium of Doctor Parnassus; Fernando IVIeirelles' 360; Martin Sco e' multi- Academy Award-winning Hugo; and Steven Soderbergh's Contagion and upcoming The Bitter IrilTogether with Robert Downey Jr. and director Guy Ritchie, he made the worldwide box office. smashes Sherlock Holmes and Sherlock Holmes: A Game of Shadows.

He was producer on, and starred in, Kerry Conran's fantasy epic Sky Captain and the World of Tomorrow, with Gwyneth Paltrow and Angelina Jolie; and Sleuth, opposite Michael Caine, which Harold Pinter adapted from Anthony Shaffer's classic psychological thriller for director Kenneth Branagh.

Mr. Law shared a Screen Actors Guild Award nomination with his fellow actors from the ensemble of Martin Scorsese's The Aviator; and shared a National Board of Review award with his fellow actors from the ensemble of Mike Nichols' Closer.

He began hrs. career on the stage, acting with the National Youth Theatre at the age of 12. In 1994, he starred in Sean Mathias' staging of Les Parents Terribles, and was nominated for the Ian Charleson Award for Outstanding Newcomer. The play was then renamed Indiscretions for its Broadway run, where he received a Tony Award nomination. He later starred in 'Tis Pity She's a Whore and Dr. Faustus, both directed by David Lan, at London's Young Vic Theatre; Mr. Law was involved in the fundraising efforts for the major refurbishment of the Young Vic. In 2009, he starred in the title role of Michael Grandage's Donmar Warehouse staging of Hamlet in London's West End and then on Broadway, earning a second Tony Award nomination. In 2011, he starred in the Donmar production of Anna Christie in the West End, opposite Ruth Wilson of Anna Karerdna for director Rob Ashford; he received an Olivier Award nomination for his work. In the fall of 2013, he will return to the West End to star in the title role of Henry V, to be staged by Mr. Grartdage.

In 2007, France's film academy awarded Mr. Law a Cesar d'Honneur in recognition of his contribution to cinema; and the government of France named him a Chevalier de l'Ordre des Arts et des Lettres for his artistic achievements.

AARON TAYLOR-JOHNSON (VronsIcy)

Aaron Taylor-Johnson has made a significant impression on audiences worldwide with several memorable performances. In 2011, he was nominated for the BAFTA Awards' Rising Star Award.

The U.K. native came to prominence starring in the title role of Sam Taylor-Wood's Nowhere Boy, portraying John Lennon during the musician's turbulent teenage years. Mr. Taylor-Johnson's performance earned him a London Critics' Circle Film Award nomination for Young British

29

Performer of the Year; a British Independent Film Award (BMA) nomination for Best Actor; and the ; Empire Award for Best Newcomer. Screen International named him as one of its "Stars of

Tomorrow."

He next played the lead role in Matthew Vaughn's hit movie Kick-Ass, based on the Mark Millar comic and i i starring Nicolas Cage, Chloe Grace Moretz, and Christopher Mintz-Plasse; Mr. Taylor-Johnson will be reteaming with the cast and director to film a sequel in the fall of 2012

He was most recently seen as one of two male leads entangled in the Mexican drug war in Oliver Stone's Savages, starring alongside Taylor Kitsch, Blake Lively, Berikio Del Toro, and Sakna Hayek.

Flis. other movie work includes portraying the younger incarnation of Edward Norton's character in Neil Burger's The Illusionist; starring alongside Glenn Close and Ma Wasilcovislca in Rodrigo Garcia 's

Albert Nvbbs; playing opposite Carey Mulligan in Shana Festeis The Greatest; portraying the Young Charlie Chaplin in David I3obkin's Shanghai Knights, with Jackie Chan and Owen Wilson; Gurinder Cliadha's Angus, Thongs and Perfect Stiogging; Richard Claus' The Thief Lord, with Caroline Goodall and Jasper Harris. and Matthew Thompson's Dummy.

Mr. Taylor-Johnson has also appeared in several popular U.K. television series, including Feather Boy, Family Business, Nearly Famous, and Talk to Me. Raised in High Wycombe, he attended the prestigious Jackie Palmer Stage School.

KELLY MACDOTSTALD (Dolly)

A native of Glasgow, Scotland, Kelly Macdonald is known to audiences globally for her memorable portrayals in works from acclaimed filmmakers and storytellers.

In the fall of 2012, she will be seen starring in a third season of the hit television series Boardwalk Empire, from creator Terence Winter and executive producer Martin Scorsese. Her performance as Irish immigrant Margaret Schroeder has earned her Golden Globe and Emmy Award nominations, and she has won two Screen Actors Guild Awards, together with her fellow actors from the show, for Outstanding Performance by an Ensemble in a Drama Series. Ms. Macdonald previously won an Emm.y Award, and was a Golden Globe Award nominee, for her performance opposite Bill Nighy in David Yates' telefilm The Girl in the Café. The latter reteamed her with Mr. Yates and Mr. Nighy following their celebrated miniseries State of Play.

She previously won two Screen Actors Guild Awards, together with her fellow actors, for Outstanding Performance by a Cast in a Motion Picture; these were for Robert Altman's Gosford Park and Joel and Ethan Coen's No Country for Old Men. For her performance in the latter, she was also a BAFTA Award nominee, and won the London Critics Circle Film Award. She and the Gosford Park cast also shared the Critics' Choice Movie Award for Best Acting Ensemble.

Ms. Macdonald made her movie debut opposite Ewan McGregor in Danny Boyle's Trainspotting, for which she was a BAFTA (Scotland) Award nominee. Her subsequent films have included Coky Giedroyc's Stella Does Tricks; Des McAnuff's Cousin Bette; Shekhar Kapur's Elizabeth, in which she played alongside Cate Blanchett as the ill-fated Isabel Knollys; Gregg Arald's Splendor; Phil Joanou's Entropy; Mike Figgis' The Loss of Sexual Innocence; Hugh Hudson's My Life So Far; Raymond De Felitta's Two Family House, for which she was a Spirit Award nominee; Peter Capaldi's Strictly Sinatra; John Crowley's Intermission; Marc Forster's award-winning Finding Neverland; Michael Winterbottom's Tristram Shandy: A Cock and Bull Story; Kirk Jones' Nanny McPhee, with Emma Thompson and Colin Firth; The Merry Gentleman, opposite director Michael Keaton, for which she received an Evening Standard British Film Award nomination; Clark Gregg's Choke, for which she shared with her fellow actors an ensemble Special Jury Prize from the Sun.dance Film Festival; and David Yates' Harty Potter and the Deathly Hallows Part 2.

She recently gave voice to

e her

B o n studio s ea e a

female protagonist, by k d Brenda Chapman.

MATTHEW CFAD N Ob 0

Matthew adyen previously starred opposite Keira Knightley for director Joe Wri celebrated Pride & Prejudice, for ch he received a London Critics' Circle Film Award norninatlo.

His early films included Ben El on s Maybe Baby, with Hugh Laurie and JoelyRichardson; el Aptedis Enigma; Paul McGuigan 's The Reckonmg, and Brad McCann s In My Father's Den The latter attracted attention from the worldwide film industry, earning Mr. Macfadyen the New Zealand Screen Award and a British Independent Film Award (BEA) nomination for Best Actor.

Among subsequent ea es have been Ridley Scott's Robin Hood, as the Sheriff of Nottingham; Paul W.S.Anderson's The Three Musketeers, as Athos; Frank Oz's Death at a Funeral; Sharon e's Incendiary; and Ron Howard's Frost/Nixon, for 'ch he shared a Screen Actors Guild Award nomination with his fellow actors ensemble.

adyen was a drama scholar before being accepted to the famed Royal Academy oft DA). He graduated from RADA to join the innovative Cheek by Jowl theatre cninFaaHY, and

made his professional s s production of The Duchess of Malfi. e also F mined with the Royal Shakespeare Company(RSC), in Productions of A Midsummer Night's Dream and School for Scandal, and on international tours. In 1998, Mr. Macfadyen starred again with

k by Jowl, as Benediek in Much Ado About Nothing, opposite Saskia Reeves as Beatrice. The production "crossed the pond" to the US., playing at the Brooklyn Academy of Music In 1999, he was nominated for the prestigious RSC Ian Clarkson Award for Best ClassicalActor under 30. His stage work also includes Nicholas Hytner's National Theatre production of Henry IV, Pa and 2, starring as Prince Hal opposite Sir Michael Gairtbon's Falstaff; and the Vaudeville Theatre production of Private Lives, starring opposite Kim Cattrall for director Richard Ey

acfadyen was nominated for a Royal Tele role, Peter Kosminskys BAFTA Award-win= notable miniseries and telefilms, including Row Award nomination; James Hawes' Enid, opposite Hele Strangers; David Yates' liAFTA Award-winning The Way We Live Now; S ergio Pillars of the Earth; Michael Samuels' Any Human Heart; Little Dorrit and Criminal won a BAFTA Award; and, most recently, Ripper Street.

He is also ell-known to audiences worldwide for his portrayal of government agent Tom Quinn in the first three seasons of the long-running hit series MI-5 (titled Spooks in the U.K.). He starred on the acclaimed series alongside Keeley Hawes, David Oyelowo, and Peter Firth.

DOMHNALL GLEESON (Levin)

Domhnall (pronounced "Dough-null") Gleeson is familiar to audiences worldwide for his portrayal of Bill Weasley in the two Harry Potter and the Deathly Hallows movies, directed by David Yates. His other movie credits include the Coen Brothers' True Grit, opposite Jeff Bridges; Tom Hall's Sensation, with Luanne Gordon; James Marsh's Shadow Dancer, with Clive Owen and Andrea RLseborough; Pete Travis' Dredd, with Karl Urban; the Academy Award-winning short film Six Shooter, directed by Martin McDonagh; and Mark Romanek's Never Let Me Go, with Carey Mulligan, Andrew Garfield, and his Anna Karenina costar Keira Knightley. His current film project is, again for Working Title Films, Richard Curtis' About Time, in which he plays the lead role.

In 2006, Mr. Gleeson was nominated for a Tony Award in the category of Best Featured Actor for the Broadway production of Martin McDonagh's The Lieutenant of Inishmore, directed by Wilson Milam.

firsttor fits e starring

ore. He several he received a BAFTA

; Stephen Fol s Perfectca 's The

o which he

Formance also earned him a Drama League Citation (Excellence in Pe o ceand a Lucifie ortel Award

(Outstanding Featured Actor

He won the Rising Star and Best Actor Irish Film and Television Awards (U. IA) for performance in Nicholas Renton's When Harvey Met Bob, in which he starred as Sir Bob Geldof opposite Ian Hart as Harvey Goldsmith. He was also named as a Shooting Star at the 2011 Berlin International F' Festival

son is also a riter d director. He wrote and starred in the Irish television series Your Bad Sett and wrote and iirected the short films What Survive of Us (featuring his brother Brian) and Noreen, was presented at the 2011 Tribeca, Boston, San Francisco, and Newport Beach film festivals. Hi father, Brendan Gleeson, and brother Brian starred in Noreen.

RUTH SON(Princess Betsy TverskoY)

Ruth Wilson continues to prove her versatility ge, and television.

as the iconic ti thai ter f Jane Eyre, starring for director adaptation. Ms. Wilson's performance garnered her Golden

ons. She next starred in two telefilrns for director Stephen e younger incarnation of aggie Smith's character) and A Real land, directed by John Alexander; and on the cult television series

1960s show) and Suburban Shootout. Her most recent television work Elba on the acclaimed es Luther, for hich she received a

e unnervingly intelligent sociopath ice Morgan.

Ms. Wilson's stage care commenced in 2007 with s Philistines, directed by Howard Davies at the National Theatre and set in 1902 Russia. She next appeared on as e London stage Tennessee Williams' Stella in Rob Ashford's sold-out West End run of A Streetcar r Named Desire, for

'ch she an Olivier Award. After starring in Jenny Worton's adaptation of Ber 's Through a Glass Darkly, staged by Michael Attenborough at the Almeida Theatre, she reunited with Mr. Ashford to play the title role of Eugene O'Neill's Anna Christie. Starring opposite Jude Law of Anna Karenina in the Donmar Warehouse production, she was honored with her second Olivier Award.

She is currently filming Jerry Bruc efiner's highly anticipated production of Gore Verbinskd's The Lone Ranger, starring alongside Johnny Depp, Armie Hammer, Helena Bonham Carter, and Tom Wilkinson.

ALICIA VIICANDER (Kitty)

Alicia Vikander is a talent to watch in world cinema. She was named one of the Shooting Stars, representing her native Sweden, for the 2011 Berlin International Film Festival; and was named the Rising Star at the 2010 Stockholm Film Festival.

These honors followed her breakthrough performance in Lisa Langseth's Pure, which brought her a Guldbagge Award (Sweden's official film award, given annually since 1964 by the Swedish Film Institute), also known as the Golden Bug Award, for Best Actress. Ms. Vilcander's earlier acting credits include short films, miniseries, and television series.

Following Pure, she has starred in several features. These include Ella Lemhagen's The Crown Jewels, opposite another Shooting Star honoree (and Anna Karenina player), Bill Skarsgard; Nikolaj Arcel's A Royal Affair, which was honored at the 2012 Berlin International Film Festival with awards for Best Screenplay (Mr. Arcel and Rasmus Heisterberg) and Best Actor (Mikkel Boe Folsgaard), and which also starred Mads Mikkelsen; and, for release in the fall of 2013, Sergei Bodrov's The Seventh Son, with Jeff Bridges, Julianne Moore, Ben Barnes, and Olivia Williams of Anna ICarenina.

Her Susa Globe d. Polialc Summer The Prisorie

srole out of alue school White in the 2006 numseri

AFTA Award nomm.' a Capturing Mary (as ti

e miniseries Stria/ updating the classic

was her recurring role oppositi Satellite Award nomination

tie ad

JAMS (Countess Vronsky)

Olivia Williams has played notable roles in a number of memorable movies. These have included Roman Polartski's The Ghost Writer, opposite Ewan McGregor and Pierce Brosnan, for which she was named Best Supporting Actress by the National Society of Film Critics and the London Critics' Circle Film Awards; and Lone Scherfig's An Education, opposite Carey Mulligan. The latter film earned Ms. Williams a London Critics' Circle Film Award nomination as well as a shared Screen Actors Guild Award nomination with her fellow actors from the ensemble.

After completing her university studies, she spent two years at the Bristol Old Vic Theatre School before joining the Royal Shakespeare Company for three years. In 1997, Ms. Williams was chosen by 'rector Kevin Costner to star opposite him in the drama The Postman Subsequently, she played

opposite Bill Murray and Jason Schwartzman in Wes Anderson's acclaimed Rushmore; and appeared as Bruce Willis' wife in M. Night Shyamalan's blockbuster The Sixth Sense.

She has since appeared in a number of U.K. independent films, including Thaddeus O'Sullivart's The Heart of Me, for which she was honored with the British Independent Film Award (BIFA) for Best Actress; Peter Cattaneo's Lucky Break, for which she was art Empire Award nominee; and Mat Whitecross' Sex & Drugs & Rock & Roll, opposite Andy Serlds. Among her other movies are George Hickenlooper's The Man from Elysian Fields; P.J. Hogan's Peter Pan; Martin Donovan's Collaborator; and, also for Focus Features and Anna Karenina director Joe Wright, Hanna.

Ms. Williams' upcoming movies include 01 Parker's Now is Good, opposite Dakota Fanning; Academy Award-nominated filmmaker Ruairi Robinson's The Last Days on Mars; Sergey 13odrov's The Seventh Son, with Jeff Bridges, Julianne Moore, Ben Barnes, and Alicia Vikartder of Anna Karenina; and, also for Focus Features, Roger Michdl's Hyde Park on Hudson, in which she plays First Lady Eleanor Roosevelt to Bill Murray's President Franklin Delano Roosevelt.

On television, she has portrayed celebrated authors Jane Austen and Agatha Christie, respectively, in the telefilms Miss Austen Regrets (directed by Jeremy Lovering) and Agatha Christie: A Life in Pictures (directed by Richard Curson Smith); starred on Joss Whedort's cult favorite series Dollhouse; and guest-starred on such shows as Friends, Terriers, and Beck. She most recently starred on television as London's Mayor in City Hall, directed for 'Playhouse Presents" by Richard Loncraine.

Ms. Williams' West End stage work includes starring opposite Matthew Fox in the world premiere of the play In a Forest, Dark and Deep, written and directed by Neil LaBute, at the Vaudeville Theatre; and starring with Tom Hollander in Robin Lefevre's Donmar Warehouse production of John Osborne's The Hotel in Amsterdam.

EMILY WATSON (Countess Lydia Ivanovna)

One of the entertainment industry's most acclaimed actresses, Emily Watson came to the world film community's attention for her memorable performance in Lars von Trier's Breaking the Waves, which was her first movie. She received Academy Award, Golden Globe Award, and BAFTA Award nominations; won the New York Film Critics Circle award, National Society of Film Critics award, and the Felix Award for Best Actress; and was named British Newcomer of the Year at the London Critics Circle Film Awards.

Ms. Watson was again nominated in the Best Actress category at the Academy Awards, Golden Globe Awards, and BA_FTA Awards, and at the Screen Actors Guild Awards, for her portrayal of real-life classical cellist Jacqueline du Pre in Hilary and Jackie, opposite Rachel Griffiths and directed by Anand Tucker. The performance also earned her the British Independent Film Award (BIFA) for Best Actress.

Her other films include Philip Saville's Met roland, opposite Christian Bale; Jim Sheridan's The Boxer; Tim Robbins' Cradle Will Rock; Alan Parker's Angela's Ashes; Alan Rudolph's Trixie; Paul Thomas

Anderson's Punch-Drunk d Drag coa s e Proposition; ei;oonw' . ,c ,dimE' s I'Vah-VVali; Tim B voiceover, Julian es Separate Grant's

e; e

Tom Wilkinson; Burton s's Synecdoche, New York; Sophie Bartheso ' Cold Souls. J" s Oranges and Sunshine, for which w°asrn

as BestFilm Institute Award nominee and a

Lies, oa

Critics Circle le of Australia Award Actress; Steven Spielberes War Horse. d F' s sford Park, for which

Outstanding won. Screen Actors a

Cast in A d. of

and Robe

ensemble honored with the tor' P Performance by a MwarotionaspicPtuarrte f '

She was recently again a Screen Actors Guild Award and Golden Globe Award nominee, for h performance opposite Dominic West in the miniseries Appropriate Adult. Her portrayal of Janet Lea in the real-life tale also earned Ms. Watson a BAFTA Award.

Her upcoming features include Alejandro Monteverde's WWII drama Little Boy, with David Flenxie, Michael Rapaport, and Tom Wilkinson; and Some Girl(s), adapted by Neil Lallute from his play and directed by Daisy von Scherler Mayer.

A veteran of e London stage, Ms Watson's theatre creditsc ude Three Sisters, y from Sea, and The Children's Hour at the Royal National Theatre. She has worked extensively with the Royal Shakespeare Company, in such productions as Jovial Crew, The Taming of the Shrew, All's Well Ends Well, and The Changeling. In the fall of 2002, she starred at the Dorunar Warehouse in two shows concurrently, Uncle Vanya and Twelfth Night, both directed by Sam Me.ndes. These critically lauded productions also were staged at the Brooklyn Academy of Music in New York City.

since 1992, is one of world's

4

na en /la About Flimmake

OE WRIG

For feature o debut on Focus Features and Working Title F. Pride Prejudice, Joe Wright on A's Carl Foreman Award for Special Achievement by a British Director, Writer or Producer in eir First Feature Film. He was also honored with the London Critics' Circle Film Award for British Director of the Year and the Boston Society of Film Critics' award for Best New Filmmaker. Pride & Prejudice was nominated for five additional BAFTA Awards, four Academy Awards (including Best Actress [Keira Knightley]), and two Golden Globe Awards; and won a second London Critics' Circle Film Award, for Best British Supporting Actor (Tom Holland

His ond feature as director, also or Focus and Working Title, was Atonement. The film received AFTA Award nominations, including for his direction, winning BAFTA Awards for Best Film an

Best Production Design (Sarah Greenwood and Katie Spencer). Atonement received seven Academy Award nominations, including for Best Picture and Best Supporting Actress (Saoirse Ronan), winning the Oscar for Best Original Score (Dario Marianelli); and also received seven Golden Globe Award nominations, winning Globes for Best Picture [Drama] and Best Original Score. Among the picture's other honors were four Richard Attenborough Film Awards, including Film of the Year and Film Maker of the Year Wright).

He won his first BAFTA Award for e miniseries Charles The Power & The Passion (which aired the U.S. as The Last King), which he directed and which starred Rufus Sewell. The project won two additional BAFTA Awards, and was nominated for o e.

His prior director e another highly acclaimed miniseries,c drama Nature Boy (for which he was a BAFTA Award nominee), starring Lee Irtgleby; the miniseries Bodily Harm, starring Timothy Spall; and episodes of the television series Bob & Rose(which won several international awards).

Mr. Wright'srecent movies as director elude The Soloist, starring Jamie Foxx and Robert Downey Jr.; and, also for Focus Features, the sleeper hit Hanna. The latter reteamed him with actress Saoirse Ronan, who won the IFTA Award as Best Actress for her performance and also received London Critics' Circle Film Award and Critics' Choice Movie Award nominations. • al Brothers' original score for Hanna was nominated for an MTV Movie Award, and won the Los Angeles Film Critics Association's award for Best Score.

TIM BEVAN and ERIC FELLNER (Producers)

Working Title Films, co-chaired by Tim Bevan and Eric Fe leading film production companies.

Founded in 1983, Working Title has made nearly 100 films that have grossed over $4.5 billion worldwide. Its films have won six Academy Awards (for Tim Robbins' Dead Man Walking; Joel and Ethan Coen's Fargo; Shekhar Kapur's Elizabeth and Elizabeth: The Golden Age; and Joe Wright's Atonement), 30 BAFTA Awards, and prizes at the Cannes and Berlin International Film Festivals.

Mr. Bevan and Mr. Fenner have been accorded two of the highest film awards given to British filmmakers; the Michael Bakon Award for Outstanding British Contribution to Cinema, at the Orange British Academy Film [BAFTA] Awards, and the Alexander Walker Film Award at the Evening Standard British Film Awards. They have also both been honored with CBEs (Commanders of the Order of the British Empire).

35

Working Title enjoys ongoing and successful creative collaborations with filmmakers the Coen Brothers, Richard Curtis, Stephen Daldry, Paul Greengrass, Edgar Wright, and Joe Wright and actors Rowan Atkinson, Cate Blanchett, Colin Firth, Hugh Grant, Keira Knightley, and Emma Thompson, among others.

Its extensive and diverse productions (in addition to those mentioned above) have included Mike Newell's Four Weddings and a Funeral; Richard Curtis' Love Actually; Roger 14,4ichell's Notting Hill; both Bean movies (directed by Mel Smith and Steve Bendelacic, respectively); Edgar Wright's Shaun of the Dead and Hot Fuzz; Paul and Chris Weitz' About a Boy; Greg Mottolais Paul; Adam Brooks' Definitely, Maybe; Sydney Pollack's The Interpreter; both Bridget Jones movies (directed by Sharon Maguire and Beeban lUdron, respectively); Joe Wright's Pride & Prejudice; Baltasar Kormakur's Contraband, starring Mark Wahlberg and Kate liecldnsale; both Nanny McPhee movies (directed by Kirk Jones and Susanna White, respectively); both Johnny English movies (directed by Peter Hovvitt and Oliver Parker, respectively); Asif Kapadia's Semut, the company's first documentary feature, about legendary race car driver Ayrton Serma; Paul Greengrass' United 93; and Ron Howard's Frost/Nixon.

The success of the film Billy Elliot, directed by Stephen l)aldry, has continued on stage with Billy Elliot the Musical, directed by Mr. Daldry with book and lyrics by Lee Hall, and music by Elton John. The winner of 76 theatre awards internationally, the production is currently enjoying highly successful runs in London, Toronto, and on tour across America. It ran for over three years on Broadway, winning 10 Tony Awards in 2009 including Best Musical and Best Director. The show has previously played in Sydney, Melbourne, Chicago, and Seoul, South Korea. It has been seen by over seven million people worldwide.

Working Title's 2012/2013 slate includes Les Miserables, directed by Tom Hooper and starring Hugh Jackman, Russell Crowe, and Anne Hathaway; Edgar Wright's The World's End, starring Simon Pegg and Nick Frost; John Crowley's Closed Circuit, starring Eric Bans and Rebecca Hall; Hossein .Amini's Two Faces of January, starring Viggo Mortensen, ICirsten Dimst, and Oscar Isaac; Dan Mazefs I Give It a Year, starring Rose Byrne and Rafe Spall; the telefilm Many and Martha, directed by Phillip Noyce and written by Richard Curtis, starring Hilary Swank and Brenda Blethyn; and Ron Howard's Rush, starring Chris Heinsworth and Daniel 13riihl.

PAUL WEBSTER (Producer)

Paul Webster previously teamed with Tim Bevan and Eric Feltner to produce Anna Karenina director Joe Wright's Pride & Prejudice and Atonement for Focus Features and Working Title Films. Pride & Prejudice's many honors included four Academy Award nominations, among them a Best Actress nod for Keira Knightley. For Atonement, as producer Mr. Webster was an Academy Award nominee (with the film Oscar-nominated as Best Picture) as well as a BAFTA and Golden Globe Award winner (with the film winning those Best Picture prizes).

In 2004, he launched the movie division of Kudos Film & Television Ltd., one of Britain's premier television production companies. As head of film at Kudos Pictures until 2011, he produced L,asse Hallstrtim's Salmon Fishing in the Yemen, starring Ewan McGregor and Emily Blunt; Rowan Joffe's Brighton Rock, starring Sam Riley and Andrea Riseborough; Matthew Aeberhard and Leander Ward's documentary The Crimson VVing; and David Cronenberg's Eastern Promises, also for Focus.

As producer of the latter, Mr. Webster was a BAFTA, Genie (Canada's Oscars equivalent), and Golden Globe Award nominee; the film's star Viggo Mortensen was nominated for every major prize as Best Actor, including the Academy Award, and won the British Independent Film Award (BITA). Also for Focus, Mr. Webster executive-produced Kudos' Miss Pettigrew Lives for a Day, directed by Bharat Nalluri; and Walter Salles' award-winning The Motorcycle Diaries.

As the creator and head of Film4, the feature film arm of the U.K.'s Channel Four, he oversaw a slate of original productions from 1998 through 2002 that included such movies as Gregor Jordan's Buffalo

Beast for which Sir Ben Kingsley received Armstrong's Charlotte

ecelved an Academy sSoexyldierBs; je(z Butterworth's Birthday Girl; Gillian Gray. and Jonathan

Prior tto cafopnninacityg,FhilniFe sanuoptirseaniv, 11,4risees.dGwooedbswiterllwHausneliemtinyagd,Aanuwf dPardrjood-hriniwthiuttnyc.ivi“tiA.07.taldardgaentdfd:1,7(i::ThilascesptiA'oFneilnathmsr)e.eianfyuifform_uvem. over hetwllnay,searsThe-

English Patient, Gus V

jainee oGsraergliseiLriitgtiein' °Oteondehtel.;isar'perwteohidamucchesinudwcgwihocn-areethAihe Silver Lien Aw

ard

Pictures, 19theatrical94o—VesiliR°Yamdriedseoiri.isbBuir ndgur:Igd

which hehadtime.previh'eousprleydwucoerdkeeduchas

films as dbolthttinde. independently arG

as Niel smith's The entluy .1,orking Title Films '

g Hill) Gate . T began working '

dyan;atpdethtwieer tmhedvi

1970s,lerking at the company Palace. Mr.r,Wheabrsante Palace Fir es'. the

ce International

°

Festival. He subsequently

Prior

t e latter filmmaker as producer f The ilo Film

u London-based y oebox Films ( in ustrY in

the

• Through his ased cempan cinema* g in the

film industry on arm of

currently producing Knight

ucine. Hummingbird,

eature directorial ectorial debut on the movie, which stars Jason Statham

Sh

mid- the U.K.. production

t ' making ' with

is ' g his f reuniting with screenwriter Steven

Guy Eas

tern Wright), he is Knight Promises. Mr.

TOM s.rot-plutur (Screenplay)

Tom Stoppard was born in Zlin, Czechoslovakia and as a child moved to England, via Singapore and India, with his family. He began his working life in 1954 as a junior reporter on The Western Daily Press in Bristol.

In 1967, his first full-length play, Rosencrantz and Guildenstern Are Dead, was staged by the National Theatre. This play was followed by other award-winning works, including jumpers, Every Good Boy Deserves Favour (with Andre Previn), Travesties, Night and Day, The Real Thing, Hapgood, Arcadia, Indian Ink, The Invention of Love, The Coast of Utopia (a trilogy), and Rock 'it' Roll. His many stage adaptations and translations include Undiscovered Country (from Schnitzler); On the Razzle (Nestroy); Rough Crossing (Molnar); Henry IV (Pirandello); Heroes (Sibleyras); and The Seagull, Ivano v, and The Cherry Orchard (Cheldlov). He has won four Tony Awards and two Olivier Awards.

Mr. Stoppard has also written for radio, television and film. His screen credits include Brazil (directed by Terry Gilliam), bringing him an Academy Award nomination for Best Original Screenplay; Empire of the Sun (directed by Steven Spielberg), bringing him a BAFTA Award nomination for Best Adapted Screenplay; Enigma (directed by Michael Apted); and Shakespeare in Love (directed by John Madden), bringing him a BAFTA Award nomination and an Academy Award for Best Original Screenplay. He directed the movie version of his own screenplay of Rosencrarztz and Guildenstern Are Dead, which won the top prize, the Golden Lion Award, at the 1990 Venice International Film Festival.

He received a knighthood in 1997, and in 2000 was awarded the Order of Merit by Her Majesty the Queen.

LEO TOLSTOY (Novel)

Considered one of the world's greatest novelists, Leo Tolstoy (1828-1910) was also an accredited essayist and philosopher. He was born Lev Nikolayevich Tolstoy, 130 miles south of Moscow, the fourth child of Countess Maria Volkonsky (who died before his second birthday) and Count Nicolay Ilyich Tolstoy.

At the age of 16, Mr. Tolstoy enrolled in the University of Kazaan to study Arabic Literature, but failed to graduate. In the years following, he found solace in writing in his diary and correspondences with family members.

In the spring of 1851, he seized the opportunity to change his life by moving to the southern region of Russia with his brother, a solider in the White Army. He transformed his past writings and correspondences into fiction. His first novel, Childhood (1852), marked the start of a career as a well-read author. After serving in the military for several years, Mr. Tolstoy met and fell in love with Sofia

unending support of his wife, he threw himself into writing with AnctreYe'llia Behrsi known as y *th continuing success. The six volumes Son a They married in 1862 and had twelve children.. With the

of War and Peace were published in 1863. His other works revered worldwide included The Living Corpse, The Power of Darkness, and the unpublished but widely circulated novella Hadji Mtirad.

The epic novel Anna Karenina, published in serial form from 1873-1877, was written partly as an allusion to his own life. In 1879, he undertook Confession, an autobiographical story about his personal bouts with depression. Mr. Tolstoy also wrote a string of articles furthering his disagreements with the Russian Orthodox Church and government philosophies present in Moscow. After the publication of one of his articles, "Resurrection," in 1901, he was excommunicated from Russian Orthodox Church. His reputation only grew, and his works were widely read and studied; his followers developed a set of ideologies, "Tolstoyism," inspired by his beliefs. Upon his death, a simple burial was planned, but thousands attended the ceremony to pay their respects.

SEAMUS McGARVEY, ASC, BSC (Director of Photography)

As cinematographer of Atonement, also for Anna Karenina director Joe Wright, Seamus McGarvey received BAFTA, American Society of Cinematographers (ASC), and Academy Award nominations. He was also honored with an Irish Film and Television (IFTA) Award for career achievement.

His most recent movie as cinematographer was Joss Whedon's The Avengers, which is the third-highest-grossing movie of all time.

Mr. McGarvey was born in Armagh, Northern Ireland. He began his career as a stills photographer before attending film school in London. After graduating in 1988, he began shooting short films and documentaries, including Skin, for which he was nominated for a Royal Television Society Cinematography Award. He also photographed and directed over 100 music videos, for such artists as Coldplay, Paul McCartney, Dusty Springfield, The Rolling Stones, U2, and Robbie Williams.

In the late 1990s, Mr. McGarvey began his continuing association with Sam Taylor-Wood, lighting many of her installations, photographs, and films. The latter have included Atlantic, which was nominated for the Turner Prize; the short Love You More, starring Harry Treadaway and Andrea Riseborough; and the feature Nowhere Boy, starring Aaron Johnson of Anna Karenina.

His other features as director of photography include Joe Wright's The Soloist; Lynne Ramsay's We Need to Talk About Kevin, for which he was a British Independent Film Award (I5IFA) nominee and won an IFTA Award; Oliver Stone's World Trade Center, for which he was nominated for an IFTA Award; Gary Winick's Charlotte's Web; Stephen Daldry's The Hours, for which he won the Evening Standard British Film Award for Best Technical/Artistic Achievement; Breck Eisner's Sahara, for which he won an IFTA Award; John Hamburg's Along Came Polly; Stephen Frears' High Fidelity; Mike Nichols' Wit; Michael Apted's Enigma; Tim Roth's The War Zone; Alan Rickman's The Winter Guest; Michael Winterbottom's Butterfly Kiss; and Anthony Minghella's The No. 1 Ladies' Detective Agency.

In 2004, Mr. McGarvey was awarded the Royal Photographic Society's prestigious Lumiere medal, for contributions to the art of cinematography.

SARAH GREENWOOD (Production Designer)

Anna Karenina marks Sarah Greenwood's eighth collaboration with director Joe Wright; these have included Focus Features and Working Title Films' Pride & Prejudice and Atonement, both of which earned her Academy Award nominations. She won a BAFTA Award for her work on the latter, and shared an Evening Standard British Film Award for Technical Achievement. Their other projects

together have been Focus' Hanna; The Soloist; and the miniseries Nature Boy, Bodily Harm, and Charles II: The Power & the Passion (a.k.a. The Last King). She earned a BAFTA Award nomination for her work on the latter.

Her first BAFTA Award nomination was as production designer of Mike Barker's miniseries The Tenant of TAiildft11 Hall, for which she won a Royal Television Society Award.

. Greenwood's other credits as production designer include Focus Features' Miss Pettigrew Lives for a Day, directed by Bharat Nalluri, for which she was honored with a Hollywood Award; Robert Bierman's Keep the Aspidistra Flying (a.k.a. A Merry War); Patrick Marber's After Miss Julie, for the BBC; Sandra Goldbacher's The Governess; David Kane's This Year's Love and Born Romantic; Tom Vaughan's Starter for Ten, starring James ivIcAvoy, Alice Eve, and Rebecca Hall; and Guy Ritchie's two Sherlock Holmes movies, the first of which earned her an Art Directors Guild Award as well as a third Academy Award nomination.

After graduating with a BA from the Wimbledon School of Art, she designed extensively for stage productions and later joined the BBC as a designer. She has also designed for television commercials.

MELANIE ANN OLIVER (Editor)

Melanie Ann Oliver previously collaborated with Anna Karenina director Joe Wright as editor of the miniseries Bodily Harm and Bob & Rose, as well as the award-winning short films The End and Crocodile Snap.

She was honored with a BAFTA Award for her work as editor of Tom Hooper's tele-film Longford, starring Golden Globe Award winners Jim Broadbent and Samantha Morton. She also collaborated with the director as editor of the multi-Emrriy and Golden Globe Award-winning miniseries Elizabeth I, for which she was an Emmy Award nominee; the feature The Damned United, starring Michael Sheen and Timothy Spall; and the multi-Emmy and Golden Globe Award-winning miniseries John Adams, for which she was again an Emmy Award nominee as well as an American Cinema Editors (A.C.E.) Eddie Award nominee.

Ms. Oliver began her career as assistant editor, working on such films as Jane Campion's An Angel at My Table and The Portrait of a Lady; and Anna Campion's Loaded. Since then, she has been film editor on documentaries, television commercials, shorts, and features alike. Among her credits are Cassian Harrision's BAFTA and Peabody Award-winning documentary Beneath the Veil.

She has since been the film editor on such features as Sarah Gavron's Brick Lane; Jon Ainiers Creation, starring Paul Bettany and Jennifer Connelly; Richard Loncraine's telefilin The Special Relationship, starring Michael Sheen, Dennis Quaid, Hope Davis, and Helen McCrory; and, most recently, Focus Features' acclaimed Jane Eyre, directed by Cary Fukunaga and starring Mia Wasikowska and Michael Fassbender,

JACQUELINE DURRAN (Costume Designer)

Jacqueline Durran previously designed the costumes for Joe Wright's Pride & Prejudice and Atonement. Both Focus Features/Working Title Films movies earned her Academy Award and BAFTA Award nominations. Pride & Prejudice additionally brought her a Satellite Award; Atonement also brought her a Costume Designers Guild Award nomination, and an Evening Standard British Film Award for technical achievement (shared with the film's cinematographer and production designer).

She has also teamed with Joe Wright and Working Title on The Soloist; designed the costumes for Working Title's Nanny McPhee Returns, directed by Susanna White; and designed the costumes for Focus and Working Title's Tinker, Tailor, Soldier, Spy, directed by Tomas Alfredson. For her work on the latter, she was again a BAFTA Award nominee.

9

Her first feature as costume designer eLeigh's All or Nothing. She and Mr. Leigh have since collaborated on Vera Drake, for which Ms. Durran won the BAFTA Award for Best Costume Design; Happy-Go-Lucky; and Another Year.

Her other features as costume designer include David ack "e's Young Adam and Sally Potter's Yes.

Prior to those, Ms D s credits, s costume designer, include Mike s Academy Award-winning Topsy-Turvy; Simon West's Lara Croft: Tomb ; George Lucas' StarWars: Episode II - Attack of the Clones; and Lee Tarnahori's Die Another Day.

IVANA PRIMORAC (Hair and up Designer)

Ivana Primorac has been BAFTA Award-nominated for Best up and Hair five times, for her work on Tim Burton's a e and the Chocolate Factory and Sweeney Todd, both starring Johnny Depp and Helena Bonham Carter, Anthony Minghella's Cold Mountain, starring Jude Law, Nicole Kichnan, Academy Award winner Renee Zellweger; Stephen Daldry's The Hours, starring Academy Award winner Nicole Kidman; and Atonement, also for Focus Features and Working Title Films, which marked her first collaboration with Anna Karenina directorWright, followed by Focus' Hanna.

's

opposite gess; Rowan Joffe's Brighton Rock; Stephen Daldry's Extremely Loud 6' Incredibly Close and The Reader, starring Academy Award winner Kate Winslet; Justin Chadwick's The Other Boleyn Girl; Anthony ella's Breaking and Entering; M. Night Shyamalan's The Last Airbender; and Milo Forman's Goya's Ghosts, starring Natalie Portman and Javier Bardem. The latterearned her a Goya Award nomination.

She has also worked on such films as Peter Jackson's Academy Award-winning The Lord of the Rings: The Return f the King; Laurence Dmunore's The Libertine, starring Johnny Depp; M. Night Shy 's The Village; Patrice Chereau's Intimacy; Stephen Daldrys Billy Elliot; Ridley Scott's Academy Award-winning Gladiator; Tim Roth's The War Zone; Shekliar Kapur's Elizabeth; Kenneth Branagh's In the Bleak Midwinter (a.k.a. A Midwinter's Tale); Nancy Meckler's Sister My Sister; Chris Menges' Second Best; and Rosencrantz & Guildenstem Are Dead, written and directed by Anna Karenina screenwriter Tom Stoppard.

Most ently, Ms. Primorac was -up designer on the Tony Award-winning revival of Arthi tiller's Death of a Salesman, directed by Mike Nichols and starring Philip Seymour Hoffman.

DAR 0 MARIANELLI (Music)

For his original score of Joe Wright's Atonement (also for Focus Features and Working Title Films), Dario Marianelli won the Academy Award, the Sammy [Cahn] Award, and the Golden Globe Award; and was a BAFTA Award, Critics' Choice Award, European Film Award and double World Soundtrack Award nominee. He had previously scored the director's Pride & Prejudice (also for Focus and Working Title), for which he was an Academy Award, Ivor Novello Award, European Film Award, and double World Soundtrack Award nominee; and was honored with the 2006 Classical Brit Award for Best Score. Their third collaboration was on The Soloist.

Mr. Marianelli's film credits as music composer include two BAFTA Award winners, Michael Winterbottom's In This World (which also won the top prize at the Berlin International Film Festival) and Asif Kapadia's The Warrior. He has since reteamed with the latter director in scoring The Return and Far North.

inch Ms. orac has been the hair andmake-up designer include Jason Reitrnari Day for Focus Features, Lone s One Day, starring Anne Hathaway

His other film scores include the ones for Cary Fukunaga's Jane Eyre, also for Focus Features; Lasse Hallstrom's Salmon Fishing in the Yemen; Ryan Murphy's Eat Pray Love; Alejandro Amenabar's Agora;

0

Si

40

Neil Jordan's The Brave One; Kirk Jones' Everybody's Fine-' Bile Au s Goo B na, starring

Dennis Haysbert as Nelson Mandela; Terry Gilliam's The Brothers Grimm; James IvIcTeigue's V for Vendetta; Michael Caton-Jones' Shooting Dogs (a.k.a. Beyond the Gates); Peter Cattaneo's Opal Dream.

' Tim Fywell's I Capture the Castle; David Thewlis' Cheeky; Julien Temple's Pandaemonium; Philippa Collie-Cousins' Happy Now; and Paddy Breatimach's Ailsa, Shrooms, and I Went Down.

elatest film score is for Quartet, ed by Dustin Hoffman and written by Ronald Harwood, starrirg Maggie Smith, Tom Courtenay, Pauline Collins, and Billy Connolly.

SIDI LARBI CHE 0(Choreographer)

Sidi Larbi Cherkaoui made his professional debut as choreographer w he Wale's 999 contemporary musical saluting Jacques Br Anonymous Society, winning the Fringe F award in Edinburgh.

Among his y honors since have been the Special Prize at the BITEF FestivaBelgrade; the Promising Choreographer prize at the Nijinsky Awards in Monte Carlo, the Movimentos Award in Germany; and the lielpmarm Award in Australia. In 2008, London's S s Wells named Mr. Cherkaoui Associate Artist. In 2009, Alfred Toepfer Stiftung endowed him its Kairos European Cultural Prize in recognition of his artistic philosophy and his quest for cultural dialogue In 2008 and 2011, he was named Choreographer of the Year by the dance magazine Tanz.

He has worked with numerous theatres, opera houses and ballet companies. While his initial pieces - Rien de Rien (2000), Foi (2003), and Temps Fugit (2004) - were made as a core member of the Belgian collective Les Ballets C. de la B., he also undertook projects that both expanded and consolidated his a rtisti vision. Ook (2000) was born from a workshop for mentally disabled actors held by Theater Stap, in Turnhout, with choreographer Nienke Reehorst; D'avant (2002) originated from an encounter with longstanding artistic partner Damien Jalet as well as Juan Kruz Diaz de Garai° Esnaola and Luc Dtmberry of the Sasha Waltz company; and zero degrees (2005) was conceived with friend and fellow choreographer Akram Khan. From 2004 to 2009, Mr. Cherkaoui was based in Antwerp, where as an Artist in Residence at the theatre Het Toneelhuis.

In 2008, he premiered Sutra at Sadie s Wells. The award -winning collaboration with Antony Gormley and Shaolin monks continues to d to acclaim. Subsequently, after his first commissioned piece in North America, Orbo Novo (for Cedar Lake Contemporary Ballet), and a series of duets such as Faun (which premiered at Sadler's Wells as part of In the Spirit of Diaghilev) and Dunas (with flamenco danseuse Maria Pages), he launched his new company Eastman, in residence at deSingel ilernational Arts Campus and Het Toneelhuis.

The spring of 2010 saw Mr. Cherkaoui reunite with Damien Jalet and Antony Gormley to make Babel("'), the third part of a triptych that began with Foi and Myth (2007). That same year, he created Rein, a duet featuring Guro Nagelhus Schia and Vebjern Sundby; Play, a duet with kuchipudi danseuse Shantala Shivalingappa; and Bound, a duet for Shanell Winlock and Gregory Maqoma (as part of Southern Bound Comfort). At the 2011 Olivier Awards, Babe/(.°Tas) won Best New Dance Production and Outstanding Achievement in Dance (for Mr. Gormley).

2011 saw the creation of TeZukA, a piece for 15 performers about the works of Japanese manga master Osamu Tezuka, as well as Labyrinth, for the Dutch National Ballet. In 2012, he is creating Puz/z/e, with 10 dancers, the Corsican men's choir A Filetta, Lebanese singer Fadia Tomb El-Hage, and Japanese musician Kazunari Abe.

CAST IN ORDER OF APPEARANCE

Oblonsky MATTHEW MACFADYEN -

Matvey ERIC MacLENNAN

Dolly KELLY MACDONALD

Grisha Oblonsky THEO MORRISSEY

Liii Oblonsky CECILY MORRISSEY

Masha Oblonsky FREYA GALPIN

Tanya Oblonsky OCTA VIA MORRISSEY

Vasya Oblonaky BEATRICE MORRISSEY

Mile. Roland BATTIER

Annushka GURO NAGELHUS SCHIA

A

' E LAW

Korney CARL GROSE

MikhailSlyudin BRYAN

Vastly Lukich LUKE NEWBERRY

Countess Vronsky OUVIA WILLIAMS

Doorkeeper MICHAEL SHAEFFER

Levin DOMHNALL GLEESON

Elderly Waiter STEVEN BEARD

Kitty A

Prince Shcherbatsky PIP TORRENS

Princess Shcherbatsky SUS

Countess No ton ALEXANDRA ROACH -

Bunsov HENRYLLOYD-HUGHES

Vronksy AARON TAYLOR-JOHNSON

Nikolai DAVID WILMOT

Masha TANNTSHTHA CHATITRJEE

Guards Officer JOSEPH MACNAB

Stationmaster NICK HOLDER

Austrian Princess CLAIRE GREENWAY ..

Wheel Tapper MIKE SHEPHERD

Oblonsky's Servant ARTHUR NIGHTINGALE

Agafia BUFFY DAVIS

Kitchen'd GALA WESSON

Boris EROS VLJ1OS

KO

Kapitunich SAM COX

Petritsky MAX BENNEIT

Baroness HOLLIDAYGRAINGER

Princess Betsy y RUTh WILSON

Tuskevitch JUDE MONK MCGOWAN

Colonel Denim 0

EMILYWATSON Countess Lydia

Princess y DOCKER?

Princess Merkalova EMERALD FENNELL

s F S

Yashvin THOMAS0

Alexander Vronsky RAPHAEL PERSONNAZ

Makhotin BILL SKARSGARD

DELEVINGNE

Princess Soroidna Senior BODILBLAIN

Varya

Prince Tverskoy KENNETH COLLARD

Theodore STEVE EVEIS

Young Peasant CONOR McOkRRY

Stremov GILES ICING

Anns Doctor MARTIN WIMBUSH

Princesss Footman JAMES NORTHCOTE

Shopkeper D

Opera House Husband JAMIE BEAMISH

Opera House Wife SHIRLEY N

Opera House Manager ,

SIMON MULLER

Piano Prodigy 0

Baby Anya GRANT

Ball Dancers & French Theatre Dancers

NAVALA "NIKU" CHAUDHARI

AMBER YLE

DAMIEN FOURNIER

LAURA NEYSXENS

DANIEL PRUETT°

VEIIJORN SUNDBY

JENNIFER WHITE

PAUL ZIVKOVICH

Ball Dancers

MICHAEL BARNES

ANNA BJFIRE LARSEN

ANDREW MONAGHAN

ASHLEY JAMES ORW1N

PA

JACQUR

A JAY, D

JON 0

OUE

EVA DEWAELE SONJA FERRETEN

PIA DRIVER CLAIRE PIQUEMAL

NATASCHA FIRE

LINDA REMANL

WARD LEWIS FRENCH A REZNLKOVA

COURTNEY GARRAIT VALA RI.

FANIACRIGORIOU ON

0

HERRON TJLRIKA KINN SVENSSON

JACKSON TEERACHAI THOBUMRUNG

BLESS KLEPCMAREK ALJBERT VANDERLINDEN

V

A

JOANNA RUTH WENG

Unit

Productkin So