Synopsis: As a former London constable, Nicholas Angel (Simon Pegg) finds if difficult to adapt to his new assignment in the sleepy British village of Sandford. Not only does he miss the excitement of the big city, but he also has a well-meaning oaf (Nick Frost) for a partner. However, when a series of grisly accidents rocks Sandford, Nick smells something rotten in the idyllic village.
Cast: Simon Pegg, Nicholas Angel - Nick Frost, Danny Butterman - Jim Broadbent, - Timothy Dalton, Simon Skinner - Bill Nighy, - Stuart Wilson, - Edward Woodward, - Paddy Considine, - Alice Lowe, Tina - Jim Broadbent, Inspector Frank Butterman - Paddy Considine, DS Andy Andy Wainwright - Billie Whitelaw, Joyce Cooper - Edward Woodward, Tom Weaver - Rafe Spall, DS Andy Cartwright - Olivia Colman, PC Doris Thatcher - Paul Freeman, Rev. Philip Shooter - Martin Freeman, - Steve Coogan, - Bill Bailey, - Julia Deakin, - Kenneth Cranham, - Patricia Franklin, - Anne Reid,
Michael Phillips - Chicago Tribune FILM REVIEW: HOT FUZZ By Michael Phillips Chicago Tribune Movie Critic 3 stars In its climactic village assault, the English comedy "Hot Fuzz" risks becoming the excessive, slow-mo-slaughter affair it's satirizing. But the best of it is a riot - a "Bad Boys II" fireball hurled with exquisite accuracy at a quaint English town peopled by Agatha Christie archetypes. On the strength of "Shaun of the Dead," his droll zombie bash, the spot-on "Don't Scream" trailer in "Grindhouse" and now this, director Edgar Wright is one of the four or five contemporary directors of comedy worth watching. He is now officially ready to leave the genre mashup game behind him, for the sake of his own development. But in "Hot Fuzz," he and his stars, Simon Pegg (a geekier Daniel Craig) and Nick Frost (amiable English sheepdog, without the hair) nail the essential, greasy Michael Bay cooler-than-thou law enforcement attitude, which isn't traditionally British in the least. It's inherently funny seeing the sneers and explosions relocated, against their will, to the land of amateur theatricals and errant swans. The results, including a splendid first hour, put most American cop-movie spoofs to shame. Despite the gore and the fetishized automatic weaponry, "Hot Fuzz" has a relatively low body count. Certainly it has nothing on Bay's schlockular oeuvre, particularly "Bad Boys II," a film that comes in for highly detailed analysis here. So does the Keanu Reeves/Patrick Swayze bauble "Point Break," another favorite of action movie fan Officer Danny Butterman (Frost), who partners with Nicholas Angel (Pegg), a fierce, by-the-book London copper recently transferred to the model Gloucestershire village of Sandford. To Angel, Sandford comes across as a strange mixture of Brigadoon and the town in "The Wicker Man." Jim Broadbent plays the jolly Sandford police chief who's constantly serving cake and telling Angel to go easy on the underage pub regulars; Timothy Dalton oozes don't-trust-me vibes as the local supermarket manager; Edward Woodward, who starred in the original "Wicker Man," is the head of the local village improvement association, whose primary mission is to rid the main street of an unwanted Living Statue. When several of the locals start dying under mysterious circumstances, Angel's inquiries are met with an eerie calm. As in "Shaun of the Dead," director Wright displays his dazzling skill with pointlessly kinetic montage. An act as simple as two cops going to the local pub and ordering a couple of pints becomes an occasion for BAM-WHAMMP-GUNNNGGG sound effects and hyperactive editing rhythms. Later in the picture, after the bodies have piled up, the velocity of "Hot Fuzz" shifts from the quaintly provincial to full-on John Woo. (One of the best running gags, the officers' pursuit of the swan, is like a bookend to Woo's own cinematic obsession with doves, backed by fireballs.) It is here, in the final 20 minutes of this two-hour, one-minute comedy, that "Hot Fuzz" goes a bit fuzzy. You sense Wright and the gang feeling the need to deliver the big wows for a bona-fide action audience. (It worked; the film is already a huge hit in England.) Even "Shaun of the Dead," which was 20 minutes shorter than this one, grew a bit tiresome. It's still well worth seeing. Pegg and Frost make a peerless comedy team, and you rarely catch either of them acting funny. Pegg in particular is terrific, part "NYPD"-era David Caruso, part raging action twit. He could even become a star of Bad Boysian-style action thrillers if he isn't careful, and if he's in thrall to the right (or wrong) agent. "Hot Fuzz" Directed by Edgar Wright; screenplay by Wright and Simon Pegg; photographed by Jess Hall; edited by Chris Dickens; music by David Arnold; production design by Marcus Rowland; produced by Nira Park, Tim Bevan and Eric Fellner. A Rogue Pictures release. Running time: 2:01. MPAA rating: R (violent content including some graphic images, and language) Nicholas Angel - Simon Pegg Danny Butterman - Nick Frost Frank Butterman - Jim Broadbent Simon Skinner - Timothy Dalton
- Notes provided by Rogue Pictures. -
Synopsis The biggest smash of the year in the U.K. (where it had the sixth-biggest opening of all time for a comedy), Hot Fuzz is the action-packed new comedy from the makers of the hit movie Shaun of the Dead. Nicholas Angel (Simon Pegg) is the finest cop London has to offer, with an arrest record 400% higher than any other officer on the force. He's so good, he makes everyone else look bad. As a result, Angel's superiors send him to a place where his talents won't be quite so embarrassing -- the sleepy and seemingly crime-free village of Sandford. Once there, he is partnered with the well-meaning but overeager police officer Danny Butterman (Nick Frost). The son of amiable police chief Frank Butterman (Jim Broadbent), Danny is a huge action movie fan and believes his new big-city partner might just be a real-life "bad boy," and his chance to experience the life of gunfights and car chases he so longs for. Angel is quick to dismiss this as childish fantasy and Danny's puppy-like enthusiasm only adds to Angel's growing frustration. However, as a series of grisly accidents rocks the village, Angel is convinced that Sandford is not what it seems and as the intrigue deepens, Danny's dreams of explosive, high-octane, car-chasing, gunfighting, all-out action seem more and more like a reality. It's time for these small-town cops to break out some big-city justice. Written by Pegg and director Edgar Wright, Hot Fuzz reteams Pegg and Frost alongside a killer cast. In addition to Oscar winner Jim Broadbent, the stellar lineup of talent includes Paddy Considine (In America), Timothy Dalton (The Living Daylights), Martin Freeman (The Hitchhiker's Guide to the Galaxy), Paul Freeman (Raiders of the Lost Ark), Bill Nighy (Pirates of the Caribbean: Dead Man's Chest), Lucy Punch (The Class), Anne Reid (The Mother), Billie Whitelaw (The Omen), Stuart Wilson (The Mask of Zorro), Edward Woodward (The Equalizer), and plenty of surprises! A Rogue Pictures presentation in association with StudioCanal of a Working Title production in association with Big Talk Productions. Hot Fuzz. Simon Pegg, Nick Frost, Jim Broadbent. Casting Director, Nina Gold. Music by David Arnold. Costume Designer, Annie Hardinge. Editor, Chris Dickens. Production Designer, Marcus Rowland. Director of Photography, Jess Hall. Line Producer, Ronaldo Vasconcellos. Executive Producer, Natascha Wharton. Written by Edgar Wright & Simon Pegg. Produced by Nira Park, Tim Bevan, Eric Fellner. Directed by Edgar Wright. A Rogue Pictures Release.
About the Production Stoking Hot Fuzz Growing up in the small U.K. city of Wells in Somerset, Edgar Wright was an inveterate watcher of cop movies. The young man often stayed up through the night to catch an action-packed "fuzz" picture, because, Wright now admits, "I didn't have a video recorder until I was 17. I did have a particular fixation with the cop films; the Dirty Harry films -- particularly the first one -- and other gritty `60s and `70s films, as well all those `80s films like Lethal Weapon and Die Hard." The then-amateur filmmaker parlayed all his appreciation and knowledge into a cop movie called Dead Right, made when he was just 18. Over a dozen years later, the long arm of the celluloid law once again grabbed hold of the now-professional director's creative impulses. At the time, Shaun of the Dead, the 2004 "rom zom com" [i.e., "romantic zombie comedy"] that Wright and Simon Pegg co-created, following up their award-winning collaboration on the U.K. sitcom Spaced, had become a worldwide sleeper hit (including in the U.S., as the inaugural release of the then-newly formed Rogue Pictures). Accolades (including BAFTA Award nominations) and a wealth of U.K. and U.S. fan support made the movie's success all the sweeter. "The enthusiasm was overwhelming," Pegg recalls. But Wright and Pegg wondered what they and the rest of the movie's creative team should do for their next move -- and their next movie. A number of ideas came up before Wright realized that he could now put on-screen his "boyhood fantasy of the kind of excitement and action that I never saw, as a child in a town where that s-t never happens. Simon and I both grew up in the West Country; I'm from Somerset and he's from Gloucester. After making Shaun of the Dead in North London, where we live now, it seemed appropriate that we make a British movie in the area where we grew up." So it was that the duo set out to do for the Action Movie what Shaun of the Dead had done for the Zombie Movie. That is, to filter a particularly American genre through a distinctly British perspective -- and with equal parts humor, mayhem, and affection. "There's a great tradition of British crime films, with gangsters -- but hardly any British cop movies, so that's what we wanted to address," elaborates Wright. "So few of what British cop movies there are actually use the iconography of the uniformed policeman. People from other countries say, `Oh, they're so cute with their helmets and isn't it funny; they haven't got any guns.' So we thought, how do we a) make a big British genre movie about British bobbies [i.e., uniformed policemen] kicking some ass, and b) get lots of guns into the picture?" Pegg adds, "We wanted to combine `bobby' and `cool' -- not just in the same sentence, but in the same movie." Cop action would be even bigger -- and bigger-budgeted -- than zombie action. Wright and Pegg had successfully pitched Shaun of the Dead to Working Title Films as "Richard Curtis shot through the head by George Romero." For Hot Fuzz, their concept of "bringing Jerry Bruckheimer/Joel Silver carnage to picture-postcard England" went over comparably well. Nira Park, who produced Hot Fuzz with Working Title's Tim Bevan and Eric Fellner and had earlier produced both Shaun of the Dead and Spaced, reports, "Simon and Edgar pitched the idea verbally, Working Title got behind us from the beginning and said yes straightaway, and they started writing." First, though, came a period of intensive research -- during which Pegg and Wright made their way through a list of some 200 cop movies, happily re-watching their favorites for inspiration. Wright laughs, "It was great buying DVDs from HMV and knowing that you can genuinely claim them at tax time!" The required viewing spanned several decades; the `70s (such as Electra Glide in Blue, The Super Cops, Freebie and the Bean...), the `80s (such as 48 HRS., To Live and Die in L.A., Lethal Weapon, Die Hard...), the `90s (such as Point Break, The Last Boy Scout, Hard Boiled...), the `00s (Bad Boys II) -- and, from the U.K., the 1950 classic The Blue Lamp. As the screenwriters' DVD collections grew more extensive, so too did the one maintained by Police Constable [PC] Danny Butterman -- the character Pegg and Wright specifically crafted for their Spaced and Shaun of the Dead teammate Nick Frost. Danny, however, is drawn most fervently to Point Break and Bad Boys II. "There's a bit where Danny and my character, Nicholas Angel, are watching Bad Boys II and something that Martin Lawrence says in that movie has relevance to what's going on in ours," explains Pegg. "So when we wrote the script, we put in a bit including Martin Lawrence's clip where he says `This s--t just got real' -- like he's commenting on our plot!" But the script for Hot Fuzz really began taking shape after Pegg and Wright shadowed real-life police officers in London, Somerset, Gloucestershire, Dorset, and Wiltshire, among other U.K. locales. Wright says, "After touring about fifteen rural stations and interviewing police officers, we interviewed lots of cops in London as well." "Everyone was so helpful and candid," informs Pegg. "Lots of details came out that surprised us." Many of those non-London police officers' interviews yielded details that made it into the movie, from the case of the escaped swan to the hierarchy of sugary snacks which late-to-work officers are forced to buy. Fortified now by not just DVDs but anecdotes and facts gleaned from research, the duo commenced screenwriting. They initially worked out what Pegg calls the "willfully labyrinthine" plot on a series of index cards and a flipchart in the London office of Park's production company Big Talk. Park remembers, "The producer in me thought, `How are we going to be able to do this?' -- a lot of characters, a lot of location work outside London. But I was determined that we would be able to; there was no point in setting out to make a big British action movie and make a small British action film." The distractions of London soon proved too numerous for to Pegg and Wright to hone the script, and they soon retreated to a rented flat in Wright's home city of Wells. "There was no internet and no phone," reveals Pegg. "We had to concentrate." It Takes a Village The script for Hot Fuzz ultimately called for some 50 speaking -- and several non-speaking -- roles to be cast. But for the buddy-cop duo of Nicholas Angel and Danny Butterman, there was never any doubt who would fill those shoes -- Simon Pegg and his real-life best friend (and best man) Nick Frost, together again after Shaun of the Dead. And why not? "They're just a brilliant pair on-screen," marvels Wright. "Their chemistry is at the center of Hot Fuzz, even more so than in Shaun. In cop movie tradition, they're not buddies all the way through; Nick's character likes Simon's from the beginning, but it isn't initially reciprocated..." Frost notes, "You know, now that Simon is married, I don't get to see him as often. So when someone says, `Do you want to spend four months with your best mate,' it's always going to be a `yes.'" Pegg enthuses, "Nick was always a part of the equation, always always. He's our secret weapon. It's very easy to write for Nick. I always thought he was the funniest guy I knew. He's a very natural talent, and we have a really good on-screen relationship in that we are best friends and can bounce off each other so well." Although Frost wasn't directly involved in the scriptwriting process, he was kept in the loop by Pegg and Wright throughout, and was able to make key contributions. "Simon and Edgar are quite happy for me to come in with suggestions. I came up with the name Danny Butterman," reveals Frost. "I said I would only do the movie if I could call him Danny Butterman. It was a name I'd been thinking of; I wrote it down a while ago. It has a nice Hobbit feel to it." The son of genial Sandford police chief Inspector Frank Butterman (played by Academy Award winner Jim Broadbent), Danny is a likable but naïve young officer, a huge action movie buff who has never seen real-life action but would like to. "Jim Broadbent said that he'd never seen a more enthusiastic man than Danny; he's enthusiastic about being alive," laughs Frost. "He loves his dad and his village, and there's no crime so he doesn't have to work hard, and he gets to wear a uniform. When Nicholas Angel comes to Sandford, Danny sees in Angel everything he always wanted to be." Other actors from Shaun of the Dead were invited to join up for the new movie; there are also surprises in the roll call of the cast, and not all of them are credited -- including an Oscar-winning filmmaker. Most gratifyingly, the filmmakers realized their dreams to cast venerable U.K. actors as prominent Sandford villagers. Happily, their first choices for each role were up for the project. And what first choices they were; "icons we adore," as Wright says. "I'm proud of our ensemble in this movie." Timothy Dalton, whose Prince Barin portrayal in Flash Gordon is a personal favorite of Wright's, remarks, "When I read the script, I realized that I'd never read anything like it before; I jumped at it. I said to Edgar during filming of this one sequence, `This is more fun than anything I ever did on a Bond movie.'" Accordingly, the actor, who plays supermarket manager Simon Skinner in Hot Fuzz, performed his own stunts for that sequence, a car chase which Wright calls "the most fun part of the shoot by far; I'm lying in the back of a police car with its door off, watching a tiny TV monitor of what was being filmed, going down a road at eighty miles an hour, with grit and mud going all over my face because the door is open!" Dalton adds, "Making this movie was also a thrill because of the people I was working with; even if we'd not worked together before, we are all part of our British industry." Paul Freeman, cast as Sandford's reverend, says, "It grew more amazing every time anyone was added to the cast list. Edgar and Simon could quote lines from everything we'd all done. "Weeks into the shoot, Edgar sidled up to me and said, `Paul, I want to ask you a question about Raiders of the Lost Ark...' I said, `It's [about] the fly, isn't it?' He said, `Yes, how did you know?' And I said, `Because everybody always asks about the fly [crawling into his mouth, while he remained in-character, on-screen].'" Pegg marvels, "I remember one day in the green room just looking around and going, `There's Mrs. Baylock from The Omen [actress Billie Whitelaw], Belloq from Raiders of the Lost Ark [Freeman], and The Equalizer [Edward Woodward]' -- I was in geek heaven!" Frost adds, "With Jim Broadbent in particular, I kind of behaved around him how you would behave around an attractive girl that you fancy; I couldn't really look at or talk to him at first. But the rehearsal period did let us see these people as other actors; you'd see them looking over their sides [i.e., script pages] and think, `oh I do that too.'" Billie Whitelaw, whose Hot Fuzz character of Joyce Cooper works at the local inn, confides, "I've never found acting an easygoing profession to be in, and yet I've been doing it since I was eleven. I find it rather scary, and actually I had retired and hadn't worked for about four years. But I'm a great admirer of Nick and Simon, and Edgar was brilliant and very very patient. And every actor in this movie was what I call an actor's actor. It was lovely." Pegg reveals, "The idea was that in Sandford, alongside the police, you also have the busybody Neighbourhood Watch Alliance, made up of the village elders. We gave many of them names that relate to outdated country professions; Hatcher, Shooter, Skinner, Reaper, Weaver, etc. We wanted to build up a sense that it was a village that people never left, that their ancestors had lived there for generations and been those original artisans. The two detectives played by Paddy Considine and Rafe Spall are just as much a part of this tradition, however much they seek to distance themselves from it. We wanted to reinforce the sense that Angel had entered a place steeped in incestuous tradition." In the latter regard, Edward Woodward (who plays Neighbourhood Watch Alliance head Tom Weaver), while reading what he termed the "perfectly written" Hot Fuzz script, was reminded of another film he had done. He recalls, "The attitude that the Watch Alliance members have towards Sandford is the attitude a number of residents of any village have. When I walked in to meet with Edgar, I said, `You know, this script isn't a copy in any way, but it has echoes of -- ' and he said, before I could say it, `The Wicker Man.' When you're coming up on your seventy-sixth birthday, and somebody is a fan of a movie you did over thirty years ago and asks you to be in their movie...that's rather flattering." Broadbent notes, "I was hugely impressed with Simon and Edgar; they don't leave anything to chance, these chaps. They're not only very funny and clever, but they care about everything down to the smallest detail. Any question you come up with, they've considered it and thought it through. Yet they were also open to suggestions. "I was in a great position on Hot Fuzz because my character -- who's very `hailfellow-well-met' -- is in the police force, so I got to work with the talented younger actors playing the policemen. Then there were also the villagers, who were played by older actors of my age whom I've known for a long time. I had my foot in both camps, which was a real treat for me." A real treat for the director was that, although Hot Fuzz started filming in London in March 2006, the bulk of the shoot (mirroring the trajectory of the movie) took place in a beautiful West Country location -- Wells, where he grew up. Wright claims that this hadn't been his intention...well, "subconsciously, maybe, when Simon and I were writing the movie there the geography started to make sense. Wells is a city and the fictional Sandford is a village, so we were making it look smaller than it really is. But it was ideal for us, being there." Indeed, with its cathedral, twice-weekly market, and cobbled streets, Wells was the perfect choice to stand in for the initially tranquil Sandford, but Wright initially feared that it wouldn't be a viable choice. "I thought it would be too expensive," he confides. "It's quite a tourist destination and so I thought it would be too difficult. We went on a location scout in 2005, looking for places. But, happily, Wells was the one that was the most receptive." Things also came full circle for the director in that Dead Right, the hourlong cop movie he had made as a teenager, had been lensed "in some of the same locations as Hot Fuzz." Production designer Marcus Rowland and his team set about trying to "make Wells look more idyllic and fanciful than it already is. Everything is done up in very muted brown and green, traditional English countryside colors. The London police scenes have a colder, very blue feel." Once filming moved to Wells, the production crew -- many of whom, like Rowland, have worked with the team since Spaced and/or Shaun of the Dead, strengthening a familial feeling on-set -- frequently had to shut down portions of the town square (often for as little as ten minutes at a time) and surrounding streets to shoot major set pieces. These ranged from a pivotal church fair scene requiring masses of extras, to action sequences and shootouts galore to Pegg on horseback. "We never ever had the entire town square locked off, although we tried," says Wright. "I'm really pleased with how the scenes cut together and I believe that when the spectators who were there see the movie, they will go, `Wow, when did they shoot that? They must have done that on a Sunday morning when we weren't there.'" An unusually wet spring pushed filming back by several days. "That's the real reason why they don't make action movies in Britain," grumbles Wright. "I may make my next film totally indoors, or in Arizona." Still, Park offers, "Wells was incredibly welcoming. There was also the occasional tourist who would go up to Simon or Nick, because they were in costume, and ask about parking restrictions. Nick would just stay in character, saying, `Well, you can park there between midday and 2 P.M.' "We had a big open casting session in the town hall to find our 50 villagers, who would be in all village scenes. Separately, members of the local am-dram [i.e., amateur drama] society were used as well." During filming, Wright encountered old friends, former classmates and teachers, and visiting parents. He says, "Some of them are in the movie, and we did an open audition at my old school, which was really nice. My old drama teacher appears in a shot with Simon's mum and my mum, which at one point was going to get cut out. Simon said, `You can't do that, it's my mum's cameo.' I said, `It's doubly worse for me than it is for you.' Thankfully, the shot stayed in, and there were no tears at Christmas." Wright reflects, "I did get to see parts of Wells I'd never seen before. And one day, when we were filming atop St. Cuthbert's Church, we were doing all these amazing crane shots. I'd never been up 200 feet on the church tower; from up there, I could see the house I lived in as a kid. "On the first shooting day there, we were doing a night shoot right in the middle of the town square. At 11 P.M., people were still watching the filming. But by midnight, it was completely deserted. Not only no people but also no cars. It was so weird being back in your hometown with it feeling like a massive set because there was nobody there!" Getting Locked and Loaded The filmmakers' modus operandi for Hot Fuzz was to plunder genre conventions -- and then upend them. This is established at the beginning of the movie, when Simon Pegg's character Nicholas Angel gets transferred to Sandford because he is just too good at his job. Edgar Wright says, "In many seminal cop movies, an officer gets demoted or sent away because they f--ked up or killed somebody. So we wrote this cop character whose arrest record is 400% higher than any of his other officers in the Met[ropolitan London Police] and, rather than being commended for his efforts, he's sidelined." Similarly, instead of the usual three-act structure employed by most action movies, Wright and Pegg split Hot Fuzz into two very distinct sections; the first features deliberate restraint and focuses on inactivity, as Angel is forced to deal with missing swans, church fairs, and a village in which nothing of any note seems to happen...save for a few suspicious deaths. The second half of the film, in which Angel takes arms against a sea of troubles, shifts into top gear with car chases, explosions and John Woo-esque gunplay. Wright clarifies, "We didn't want to destroy the idyll of the gentle English countryside by going too over-the-top right from the start; the tone shifts slowly. The film is also structured around the development of Simon and Nick Frost's characters' relationship. "The big dramatic shift actually happens before the mayhem kicks in; Danny encourages Angel to join him in watching Point Break and Bad Boys II back-toback and, because it's late, they both fall asleep in front of the second DVD. I liked the idea that, even though they're asleep, the Michael Bay-isms of that movie are permeating their subconscious. After that point, Angel becomes more like a badass cop!" Wright and Pegg sum up the narrative's evolution from quaint British murder mystery into explosive American-style action movie with a defining descriptive phrase -- "popcorn logic." "It's Bruckheimer's Law," says Pegg, referring to top movie producer Jerry Bruckheimer (Bad Boys II et al.). "We're always very thorough about the logic of the plot, about how everything has to be feasible. But with popcorn logic, we allow for how a lot of action movies demand that you suspend your disbelief a little bit more. Reality gets heightened so, at times, we do things in the movie that are purposefully unlikely; flying through the air for ten seconds firing guns, for example. And the climax is just crazy; it's like a video game, where there are lots of levels Angel and Danny have to blast through before reaching the Big Boss." Sedate though the first half of the movie may be, Wright's directorial style is not. "He never fails to amaze me. `He's a machine, and he absolutely will not stop!'" marvels Pegg, quoting The Terminator. "The amount of rigs we had on this movie -- I'd never seen so many. We had a camera on a rickshaw, we had a camera on a Segway, like the one Gob rides in Arrested Development... "Edgar's always trying to evolve his style. He's done some fabulous stuff with flashbacks in Hot Fuzz, including that classic Brian De Palma approach where -- in, say, Dressed to Kill -- you revisit a scene you've seen before but this time you notice something else in the shot that you didn't the first time." De Palma isn't the only director that Wright pays homage to in Hot Fuzz; there are bows to everyone from Dario Argento to Tony Scott studded throughout the movie. Wright explains, "I re-immersed myself in all my favorite cop and action movies and shot Hot Fuzz in that style, so this small-town story is given the expansive big-screen feeling of a Michael Mann film." Also amped up in this telling are the most ordinary aspects of police work. "When we interviewed police officers and asked what the one part of the job is that you never see dramatized on film, they all said `the paperwork!'" laughs Wright. "When you go into these stations, for any offense -- be it major or minor -- you see policemen hunched over desks, filling out endless forms. So there is a lot of paperwork depicted in Hot Fuzz, but it's done Man on Fire-style! In terms of the visuals, the idea was to take the quite mundane aspects of police work and try to make them look really flashy and muscular." Also thinking in muscular terms, what with the movie's action sequences of car chases, fistfights, gunplay, horse-riding, and general athleticism, Pegg knew that Hot Fuzz would present something of a physical challenge for him. Not that this realization necessarily occurred to him while writing it with Wright; "when you write, you're just writing specifically from the point of view of a particular character," Pegg explains. "Later, when I was doubled up in agony because I'd strained my quad muscles running down the street, I was thinking, `You f--king bastard! Why did you write this ten-mile chase sequence for Angel!'" So as not to be completely incapacitated by the scripted action, Pegg did get into shape for filming; he embarked upon a regimen that required the attention of no fewer than three personal trainers and went on a strict diet that forbade him from eating after 8 P.M. during production. "I actually had it written into his contract," confides Nira Park. "But Simon got completely obsessed, and during the course of filming he lost weight; his costumes kept having to be taken in." During location shooting in Wells, Pegg also decided to run, every morning, the two miles from the rented cottage he shared with Frost to production headquarters. Frost, on the other hand, decided that for his character, a strict physical regimen was not a necessity, and made the daily commute by car. "I would wave to Simon as we drove past," he recalls. "And I never once stopped to give him a lift!" Frost's minimized preparation also found him disregarding a list of movies that Wright and Pegg had given him to watch; "I saw Bad Boys II -- and that was it," he admits. "I did talk to Somerset policemen about crime there; they told me about a low-speed tractor chase." For Pegg, playing Angel posed the biggest challenge of his career -- and not just because of the physical demands. He notes, "I couldn't rely on any of my tricks with him, because Angel's not goofy; he's absolutely focused all the time. You don't see him smile until halfway through the film; he's like a robot. You could argue that in Shaun I was just doing a different version of Tim [from Spaced], or more accurately a version of myself, whereas with Hot Fuzz it's a total change." Jim Broadbent offers, "Simon set the tone for the acting for the rest of us. It's very funny the way Angel takes everything so seriously, and Simon played it straight down the line." When it came time for the serious business of learning to handle guns, Pegg and Frost both knuckled up. "I love rough-and-tumble," Frost says. "I've been practicing being an action hero for 25 years, so this felt great. I always try to take things in stride, but having two handguns, wearing a flak jacket, and having your best mate beside you -- well, you can't help but walk with a swagger." Frost and Pegg grew fond enough of their guns to christen them Emma and Sarah. The movie itself was christened Hot Fuzz early on. Pegg laughs, "It's Edgar's title; he wanted it to sound a `70s movie. Fuzz and Super Fuzz had already been taken decades earlier, so..." Wright adds, "It's also a tribute to the two-word titles of the `80s and `90s that often detailed the spirit of the film, if not the plot; Sudden Impact, Lethal Weapon, Die Hard -- all brilliant examples. But the further you dive into the bargain bin, there's Double Team, Cold Heat...I will be proud to add Hot Fuzz to the top of that pile!" The bargain bin will have to wait a while, as Hot Fuzz opened at #1 in the U.K. and Ireland in February 2007 to the biggest numbers of the year so far. The opening weekend numbers were the sixth-biggest ever for a comedy in the U.K. and Ireland. Wright says, "I hope that people in other countries enjoy our attempt to take the Yanks on at their own game. Having worked in this genre now, I've come out of it with even more respect for directors like Michael Bay who can marshal enormous action scenes. Also, I would love it if police recruitment went up because of our movie." Pegg adds, "Hopefully, we've done even more for cops with Hot Fuzz than we did for zombies with Shaun of the Dead, and given audiences a two-hour romp." Park notes, "One audience member said, `It's like a fantastic U.S. action movie and a very funny English comedy had a great baby together!' Well, I suppose that's the response we were hoping for." Frost reports, "After I watched the movie for the first time, I spent about half an hour on the phone babbling about our high-octane cop-athon!"
About the Cast SIMON PEGG (Nicholas Angel) Actor/screenwriter Simon Pegg's breakthrough success was the Channel 4 sitcom Spaced. He co-wrote and starred in (with Jessica Stevenson) the show, which was directed by Edgar Wright. A second series was commissioned before the first had even been broadcast. The show was nominated for Best Sitcom, and he for Best TV Newcomer, at the British Comedy Awards; and also received BAFTA, Montreux, and International Emmy Award nominations. He and Edgar Wright then co-scripted the feature Shaun of the Dead, in which he starred as Shaun. The picture opened in the #2 position at the U.K. boxoffice and went on to become a sleeper hit in the U.S. Mr. Pegg was honored with the Peter Sellers Award for Comedy, from the Evening Standard British Film Awards. Among other accolades, Shaun of the Dead was nominated for two BAFTA Awards, including Outstanding British Film of the Year; and won the British Independent Film Award for Best Screenplay. In the past year, Mr. Pegg has filmed lead roles in David Schwimmer's Run, Fat Boy, Run; Jake Paltrow's The Good Night; and Jean-Baptiste Andrea's Big Nothing, starring alongside David Schwimmer. Additionally, he scripted the English-dialogue track for Christopher Nielsen's Norwegian animated epic Free Jimmy and recorded one of the lead voices. His other feature film credits include J.J. Abrams' Mission: Impossible III; Paul McGuigan's The Reckoning; and Michael Winterbottom's 24 Hour Party People. Aside from Spaced, Mr. Pegg has starred on television in the dramas Final Demand and Laugh Until You Die; as a series regular on such sitcoms as Faith in the Future and Asylum (which marked his first collaboration with Edgar Wright and Jessica Stevenson); in guest appearances on Doctor Who and I'm Alan Partridge, among other shows; and in the sketch series Big Train (for which he received an RTS nomination for Best Entertainment Performance). His other notable television appearances include the "Steal Away" episode of Tube Tales, and the classic miniseries Band of Brothers. NICK FROST (PC Danny Butterman) Nick Frost came to prominence in the award-winning Channel 4 sitcom Spaced, playing the character of gun-mad Mike Watt -- a character he had originally created to amuse his real-life best friend Simon Pegg. In addition to teaming the two friends, the show also marked Mr. Frost's first collaboration with Edgar Wright, and the trio went on to make the hit movie Shaun of the Dead. Ever since, Mr. Frost has become one of the U.K.'s most sought-after comedy actors. He has hosted two series of his own for Channel 5 (Danger, 50,000 Volts and Danger, Incoming Attack); appeared in the C4 sitcom Black Books; starred in Spine Chillers and Man Stroke Woman (both for the BBC); and played the lead in the BBC sci-fi comedy series Hyperdrive. His other movie credits include Julian Jarrold's Kinky Boots. JIM BROADBENT (Inspector Frank Butterman) Jim Broadbent won the Academy Award and the Golden Globe Award for Best Supporting Actor for his portrayal of John Bayley, opposite Judi Dench, in Richard Eyre's Iris. Among his many other films are Terry Gilliam's Time Bandits and Brazil, Mike Newell's The Good Father and Enchanted April, Neil Jordan's The Crying Game, Woody Allen's Bullets over Broadway, Richard Loncraine's Richard III and The Gathering Storm (for HBO, which brought him another Golden Globe Award nomination as well as an Emmy Award nomination), Mark Herman's Little Voice, Baz Luhrmann's Academy Award-winning Moulin Rouge! (for which he won a BAFTA Award); Martin Scorsese's Gangs of New York, Stephen Fry's Bright Young Things, Sharon Maguire's Bridget Jones's Diary and Beeban Kidron's Bridget Jones: The Edge of Reason; Mira Nair's Vanity Fair; Andrew Adamson's The Chronicles of Narnia: The Lion, The Witch and The Wardrobe; Iain Softley's upcoming Inkheart; and Anand Tucker's soon-to-be-released And When Did You Last See Your Father?, in which he stars opposite Colin Firth. He has collaborated several times with Mike Leigh, starring for the filmmaker in Life is Sweet, the Academy Award-winning Topsy-Turvy, Vera Drake, and the short feature A Sense of History (which Mr. Broadbent also wrote). The two have also teamed on stagings of Goosepimples, Ecstasy, and Clay. Mr. Broadbent began his career as an assistant stage manager at the Regent Park Open Air Theatre. In addition to the previously mentioned stage work as an actor, he has starred in Sam Mendes' Donmar Warehouse production of Habeas Corpus. Richard Eyre directed him in the Royal Court production of Kafka's Dick and in the National Theatre production of The Government Inspector. He was a longtime member of the National Theatre of Brent, appearing in productions of The Greatest Story Ever Told, The Complete Guide to Sex, and The Messiah. More recently, he starred in the Royal National Theatre stagings of The Pillowman and Theatre of Blood. He has also made several appearances on television over the years, ranging from Tales of the Unexpected to Blackadder to The Street to the acclaimed recent telefilm Longford (directed by Tom Hooper). PADDY CONSIDINE (DS Andy Wainwright) Paddy Considine most recently starred in the title role of The Half Life of Timofey Berezin, with Radha Mitchell and Steven Berkoff, directed by Scott Z. Burns. He will next be seen in Paul Greengrass' The Bourne Ultimatum, alongside Matt Damon and Julia Stiles; and has just completed his directorial debut, on the short film Dog Altogether, starring Peter Mullan. His other film credits include Jim Sheridan's In America (for which he shared a Screen Actors Guild Award nomination with his fellow actors); Ron Howard's Cinderella Man; Stephen Woolley's Stoned; Koldo Serra's Backwoods; and Michael Winterbottom's 24 Hour Party People. In 2005, Mr. Considine starred in two successful British independent features, Dead Man's Shoes and My Summer of Love. He co-wrote the former with director Shane Meadows (for whom he had previously starred in A Room for Romeo Brass). Dead Man's Shoes earned him British Independent Film Award nominations for both Best Screenplay and Best Actor; a London Film Critics Circle Award nomination for Best Actor; and the Evening Standard British Film Award for Best Actor. Dead Man's Shoes was also nominated for the BAFTA Award for Outstanding British Film of the Year. Writer/director Pawel Pawlikowski's My Summer of Love brought Mr. Considine a British Independent Film Award nomination for Best Supporting Actor. He had earlier starred for the filmmaker in Last Resort, for which he was named Best Actor at the Thessaloniki Film Festival. My Summer of Love, in which he starred opposite Natalie Press and Emily Blunt, won two Evening Standard British Film Awards; the top prize at the Edinburgh International Film Festival; and the BAFTA Award for Outstanding British Film of the Year. The native of Burton-Upon-Trent has also starred in Christopher Morris' BAFTA Award-winning short film My Wrongs 8245-8249 and 117. TIMOTHY DALTON (Simon Skinner) Timothy Dalton's four-decade career as an actor has encompassed success in film, theater, and television alike. He made his screen debut in Anthony Harvey's classic The Lion in Winter, starring alongside Katharine Hepburn, Peter O'Toole, and Anthony Hopkins. Among his many other films are Ken Hughes' Cromwell; Robert Fuest's Wuthering Heights; Charles Jarrott's Mary, Queen of Scots; Michael Apted's Agatha; Mike Hodges' Flash Gordon; Freddie Francis' The Doctor and the Devils; Joe Johnston's The Rocketeer; and, as James Bond, John Glen's The Living Daylights and Licence to Kill. On the stage, Mr. Dalton has played extensively for the Royal Shakespeare Company (RSC) as well as The Prospect and Old Vic Theatre companies. In London's West End, he has starred in the lead roles of William Shakespeare's Romeo and Juliet, Love's Labours Lost, King Lear, Henry IV Parts I & II, Henry V, The Taming of the Shrew, Antony and Cleopatra; and Eugene O'Neill's A Touch of the Poet. In the U.S., he performed Love Letters with Whoopi Goldberg. Most recently, he played at The Royal National Theatre in Nicholas Hytner's staging of His Dark Materials. His work in television includes several notable miniseries. Among them are the BBC's Jane Eyre, directed by Julian Amyes (praised as the best screen adaptation of the Charlotte Bront novel); Lawrence Carra's Antony and Cleopatra (adapted from the Shakespeare play); Geoffrey Sax' Framed (written by Lynda La Plante); and the epic Centennial (based on the James A. Michener novel). ANNE REID (Leslie Tiller) Anne Reid was a BAFTA, British Independent Film, and European Film Award nominee for her performance in the title role of The Mother, which earned her the London Film Critics Circle Award. She starred opposite Daniel Craig in the film, written by Hanif Kureishi and directed by Roger Michell. Her other films include Stephen Frears' Liam; Richard Kwietniowski's Love and Death on Long lsland; (in voiceover) Nick Park's Academy Award-winning short [Wallace & Gromit in] A Close Shave; and Tom Kalin's upcoming Savage Grace, starring with Julianne Moore. Ms. Reid found fame in the top-rated U.K. television show Coronation Street, on which she starred for a decade. She was also a series regular on such hit shows as Dinnerladies and Life Begins. Her many other television credits include two different roles in two miniseries adaptations of Bleak House, two decades apart; and guest appearances on such shows as Doctor Who and Dalziel and Pascoe. RAFE SPALL (DC Andy Cartwright) Rafe Spall previously worked with Edgar Wright and Simon Pegg on Shaun of the Dead. He was most recently seen on-screen in Ridley Scott's A Good Year, opposite Russell Crowe. His other film credits include Lexi Alexander's [Greene Street] Hooligans and Alex De Rakoff's The Calcium Kid. Mr. Spall's notable telefilm and miniseries credits include James Hawes' The Chatterley Affair; Bill Eagles' Dracula; Brendan Maher's Wide Sargasso Sea; Sam Hobkinson's The Romantics; Dominic Savage's award-winning Out of Control; the most recent Cracker mystery, directed by Antonia Bird; and Andrei Konchalovsky's remake of The Lion in Winter, with Glenn Close and Patrick Stewart. Mr. Spall has also appeared on stage, including in productions of The Knight of the Burning Pestle (at the Young Vic); Just a Bloke and One with the Oven (both at the Royal Court Theatre); A Prayer for Owen Meany (at the National Theatre); and Nicholas Nickleby (at the Lyric Hammersmith). BILLIE WHITELAW (Joyce Cooper) Billie Whitelaw started acting at the age of eleven, on radio, and later joined Joan Littlewood's Theatre Workshop company. In 1960, she won the Variety Club's Best Actress Award. As a member of the National Theatre Company, she played opposite Laurence Olivier in Othello, and in productions of Hobson's Choice and Trelawney of the Wells. Ms. Whitelaw's enduring association with the works of Samuel Beckett began in 1964 with the National Theatre production of Play. She also appeared in Come and Go (at the Royal Festival Hall); Not I (in multiple productions, including as a filmed short); and Happy Days, the latter directed by Mr. Beckett himself (at the Royal Court Theatre). In 1976, the playwright directed her in Footfalls, which he had written for Ms. Whitelaw. In 1981, she first performed onstage in the United States, with Mr. Beckett's Rockaby. She returned in 1984 to inaugurate the Samuel Beckett Theatre in New York with a triple bill of Beckett works (Enough, Footfalls, and Rockaby) directed by Alan Schneider. Chris Hegedus and D.A. Pennebaker's hourlong documentary Rockaby detailed the preparations for the latter staging. She also performed the trio at the National Theatre and the Riverside Studios in London; the Mark Taper Forum in Los Angeles; and the Adelaide Festival, on tour in Australia. She later performed in three of the playwright's works (Eh Joe, Footfalls, and Rockaby) for airing on U.K. television. Ms. Whitelaw's many other stage appearances include David Mercer's After Haggerty; Michael Frayn's Alphabetical Order, and Simon Gray's Molly. For the Royal Shakespeare Company, she appeared in The Greeks and Passion Play. More recently, she returned to the National Theatre to star in Christopher Hampton's Tales from Hollywood, which won the Evening Standard Comedy Award; and starred in Edward Albee's Who's Afraid of Virginia Woolf at the Young Vic. Her telefilm and miniseries credits include Silvio Narizzano's Poet Game (opposite Anthony Hopkins); Napoleon and Love (opposite Ian Holm); The Sextet (for which she won a BAFTA Award); Philip Saville's The Cloning of Joanna May; and Jim Goddard's A Tale of Two Cities. Ms. Whitelaw made her film debut in 1953. Her notable early movies include Val Guest's Hell is a City (for which she earned her first BAFTA Award nomination) and Mr. Topaze (directed by and starring Peter Sellers). She won a BAFTA Award for her work in two features, Charlie Bubbles (directed by and starring Albert Finney) and Roy Boulting's Twisted Nerve. The former also earned her the National Society of Film Critics award for Best Supporting Actress. Her many other films include Alfred Hitchcock's Frenzy; John Boorman's Leo the Last; Stephen Frears' Gumshoe; Bud Yorkin's Start the Revolution Without Me; Christopher Petit's An Unsuitable Job for a Woman; (in voiceover) Jim Henson and Frank Oz' The Dark Crystal; Merchant Ivory's Maurice; Jim O'Brien's The Dressmaker (for which she won an Evening Standard Award); Peter Medak's The Krays (for which she received a BAFTA Award nomination); Philip Kaufman's Quills; Matthew Vaughn's soon-to-be-released Stardust; and, particularly memorably, Richard Donner's The Omen (1976). The latter performance brought her an Evening Standard Award as well as a BAFTA Award nomination. In 1991, she was made a CBE (Commander of the British Empire). Her autobiography Billie Whitelaw...Who He? was published in 1996. EDWARD WOODWARD (Tom Weaver) Edward Woodward's career as an actor has spanned plays, musical theater, recordings, television series, and movies. He joined the Royal Shakespeare Company, and played (among other roles) Mercutio in Romeo and Juliet; Laertes in Hamlet; Thaliard in Pericles; and Don Claudio in Much Ado About Nothing. He later starred in Rattle of a Simple Man in the West End and on Broadway, and was chosen by Noel Coward to star on Broadway in High Spirits, the musical adaptation of the play Blithe Spirit. Mr. Woodward's West End stage appearances over the years have also included Cyrano de Bergerac (in the title role) and The White Devil, both for the National Theatre under Laurence Olivier; [A Tale of] Two Cities (for which he won the Variety Club Award for Best Performance in a Musical); The Beggar's Opera (as Macheath); Private Lives; Babes in the Wood (at the London Palladium); and Richard III (at the Ludlow Festival). More recently, he played the title role in Leonard Preston's play Goodbye Gilbert Harding. Of his television work, he is best-known for two enormously popular series in which he starred -- Callan and The Equalizer. The U.K. espionage drama Callan ran for five years, earning him a BAFTA Award and spawning a follow-up film of the same name (directed by Don Sharp) and a telefilm sequel (Wet Job, directed by Shaun O'Riordan), both with Mr. Woodward reprising his role of David Callan. A decade later, the U.S. action drama The Equalizer, in which he played Robert McCall, ran for four years. He won a Golden Globe Award, and was a multiple Emmy Award nominee, for playing the latter character. His other notable television work includes the documentary World War II (his narration of which earned him an Emmy Award); the series Common As Muck and The New Professionals; headlining three The Edward Woodward Hour specials; portraying F. Scott Fitzgerald in A Dream Divided; playing Sherlock Holmes in Hands of a Murderer (directed by Stuart Orme); playing Simon Legree in Uncle Tom's Cabin (directed by Stan Lathan, and for which Mr. Woodward received a CableACE Award nomination); starring opposite Laurence Olivier in his production of Saturday, Sunday, Monday (directed by Alan Bridges); Clive Donner's telefilms A Christmas Carol (1984) and Arthur the King (a.k.a. Merlin and the Sword); starring on Alfred Hitchcock Presents (for which he received an Emmy Award nomination); and, most recently, the miniseries Five Days (soon to air in the U.S.; directed by Otto Bathurst and Simon Curtis). Of his film work, he is best-known for his lead roles in two classic movies -- Bruce Beresford's `Breaker' Morant (which brought him an Australian Film Institute Award nomination) and Robin Hardy's The Wicker Man (1973). His other notable films include Peter Glenville's Becket; Richard Attenborough's Young Winston; and Bruce Beresford's Mister Johnson. He has recorded twelve solo albums (three of which have gone gold), in addition to the `Breaker' Morant soundtrack album (from which the single "Soldiers of the Queen" went onto the charts) and the Two Cities cast album. Mr. Woodward has been honored with an OBE (Order of the British Empire).
About the Filmmakers EDGAR WRIGHT (Director; Screenplay) Edgar Wright has been making comedy films since he was 14 (among them a short entitled Rolf Harris Saves the World). His creative streak continued through his college years. There, with the help of his school friends he made a no-budget feature-length film, A Fistful of Fingers. The Western spoof was shown on the Sky Movies pay-cable network and played in limited theatrical release. He was 20 years old at the time. The feature paved the way for his entry into television comedy. He directed sketches on Mash and Peas, and then directed and co-wrote Asylum. The latter was where he first joined forces with Simon Pegg. Mr. Wright next worked on several more comedy series, including Alexei Sayle's Merry-Go-Round; Is it Bill Bailey; and Sir Bernard Chumley's Stately Homes. He also directed an episode of Murder Most Horrid and the 1998 French and Saunders Christmas special. With the creation of the television show Spaced, he returned to his creative roots and strengthened his collaboration with Simon Pegg and Jessica Stevenson. The first series of Spaced, which was shown on Channel 4 in 1999 and earned nominations at The British Comedy Awards as well as at the BAFTA Awards, was an immediate hit. The unique visual style of his direction was singled out by critics. The second series of Spaced was an even bigger success, picking up BAFTA and International Emmy Awards nominations. He returned to directing features and reteamed with Simon Pegg to co-write and direct Shaun of the Dead, which was a sleeper hit worldwide and earned several honors. These included two BAFTA Awards, including Outstanding British Film of the Year; and won the British Independent Film Award for Best Screenplay. Mr. Wright has also helmed a number of music videos and commercials, gaining nominations for Best New Director and Best Rock Video at the Creative Artist Design (CAD) Awards in 2003. SIMON PEGG (Screenplay) Please refer to bio in About the Cast section. NIRA PARK (Producer) Cited in 2005 by Variety as one of "Ten Producers to Watch" and by the U.K. Film Council as one of the "Breakthrough Brits," Nira Park co-chairs and oversees the independent production company Big Talk Productions in London. She set up Big Talk in 1995, after running the U.K. production company The Comic Strip for several years. She has since produced comedies, dramas, and documentaries. Her notable projects include three series of the television comedy Black Books, which brought her two BAFTA Awards, among other honors; and (in her third collaboration with Working Title) Ringan Ledwidge's Gone, with Amelia Warner, Shaun Evans, and Scott Mechlowicz, which was recently released in the U.K. In her previous collaborations with Edgar Wright and Simon Pegg, she produced both series of the BAFTA, Montreux, British Comedy and International Emmy Award-nominated television comedy Spaced; and the award-winning sleeper hit movie Shaun of the Dead. The latter earned Ms. Park two BAFTA Award nominations; the Alexander Korda Award for the Outstanding British Film of the Year, and the Carl Foreman Award for the Most Promising Newcomer of the Year. Among other accolades, Shaun of the Dead won the British Independent Film Award for Best Screenplay. In addition, she has collaborated with Damien Hirst on his multimedia works. TIM BEVAN and ERIC FELLNER (Producers) Working Title Films, co-chaired by Tim Bevan and Eric Fellner since 1992, is Europe's leading film production company, making movies that defy boundaries as well as demographics. Together, Messrs. Bevan and Fellner have made more than 80 films that have grossed over $3.5 billion worldwide. Their films have won 4 Academy Awards (for Tim Robbins' Dead Man Walking, Joel and Ethan Coen's Fargo, and Shekhar Kapur's Elizabeth), 24 BAFTA Awards (including ones for Richard Curtis' Love Actually and Mike Newell's Four Weddings and a Funeral), and prestigious prizes at the Cannes and Berlin International Film Festivals, among other honors. Earlier this year, United 93, directed by Paul Greengrass, won two BAFTA Awards (including Best Director) and was nominated for two Academy Awards (including Best Director). Messrs. Bevan and Fellner were recently made CBEs (Commanders of the British Empire). They have also been honored with two of the highest film awards that are accorded British filmmakers; the Michael Balcon Award for Outstanding British Contribution to Cinema, at the Orange British Academy Film [BAFTA] Awards, and the Alexander Walker Special Award at the Evening Standard British Film Awards. Working Title was founded in 1983. In addition to those films mentioned above, the company's other worldwide successes include Mike Newell's Four Weddings and a Funeral; Richard Curtis' Love Actually; Roger Michell's Notting Hill; Mel Smith's Bean; Sydney Pollack's The Interpreter; Peter Howitt's Johnny English; Joel and Ethan Coen's O Brother, Where Art Thou?; Chris and Paul Weitz' About a Boy; both Bridget Jones movies (directed by Sharon Maguire and Beeban Kidron, respectively); Joe Wright's Pride & Prejudice; Stephen Daldry's Billy Elliot; Kirk Jones' Nanny McPhee; and the first Edgar Wright & Simon Pegg movie, Shaun of the Dead. Working Title has also enjoyed long and successful creative collaborations with writer/director Richard Curtis; actors Rowan Atkinson, Colin Firth, Hugh Grant, and Emma Thompson; and the Coen Brothers, among others. In addition to Hot Fuzz, Working Title's 2007 slate includes Shekhar Kapur's The Golden Age, the long-awaited follow-up to the celebrated Elizabeth, starring Cate Blanchett, Clive Owen, Geoffrey Rush, and Samantha Morton; Steve Bendelack's Bean II, in which Rowan Atkinson reprises his unforgettable Mr. Bean characterization; Ringan Ledwidge's Gone, with Amelia Warner, Shaun Evans, and Scott Mechlowicz; Adam Brooks' Definitely, Maybe, starring Ryan Reynolds, Isla Fisher, Derek Luke, Abigail Breslin, Elizabeth Banks, and Rachel Weisz; and Joe Wright's highly anticipated Atonement, adapted from the book by Ian McEwan and starring Keira Knightley, James McAvoy, and Romola Garai. Billy Elliot director Stephen Daldry and screenwriter Lee Hall successfully reunited for a stage musical version of the award-winning film, with newly composed songs by Sir Elton John. The production, marking Working Title's debut theatrical venture (co-produced with Old Vic Prods.), opened at London's Victoria Theatre in May 2005 to glowing reviews and continues to play to packed houses. The hit production garnered nine Olivier Award nominations and won for Best New Musical. Preparations are now underway to take Billy Elliot to Sydney, and then in 2008 to New York. NATASCHA WHARTON (Executive Producer) Natascha Wharton joined Working Title Films, Europe's leading film production company, in 1993. In 1999, she set up the company's low-budget division WT², with the purpose of providing an energetic and creatively fertile home for key emerging U.K. film talent. Its first film, Stephen Daldry's Billy Elliot, was released in 2000 and became an international success. The film grossed over $100 million worldwide, earned three Academy Award and two Golden Globe Award nominations, and was named Best Feature at the British Independent Film Awards. The division has since made ten films, including Mark Mylod's Ali G Indahouse, starring Sacha Baron Cohen, which was a smash in the U.K.; Marc Evans' acclaimed thriller My Little Eye; Damien O'Donnell's Rory O'Shea Was Here, which won the Audience Award at the 2004 Edinburgh International Film Festival; and the award-winning Edgar Wright & Simon Pegg sleeper hit Shaun of the Dead. In June 2005, Ms. Wharton expanded her purview beyond WT² to encompass running a varied slate of Working Title productions, at all budget levels. RONALDO VASCONCELLOS (Line Producer) Ronaldo Vasconcellos' current project as line producer is Focus Features' In Bruges, starring Colin Farrell and Brendan Gleeson. The darkly comedic suspense thriller is the new film from Academy Award-winning writer/director Martin McDonagh. He previously collaborated with the Hot Fuzz team as line producer of their hit Shaun of the Dead. Mr. Vasconcellos has been working in U.K. film production for over two decades. Among the other features he has line-produced are Agnieszka Holland's Copying Beethoven; Andrew Niccol's Lord of War; Lynne Ramsay's Morvern Callar, Shane Meadows' A Room for Romeo Brass, and Guy Ritchie's Lock, Stock and Two Smoking Barrels. He has also been a producer on telefilms and documentaries; among the latter, Barrie Gavin's Verdi, A Life in Two Parts, for the BBC via his own Vasconcellos Prods. He enjoyed a long collaboration with director Ken Russell, beginning as a production assistant on Gothic; becoming associate producer on Salome's Last Dance; line-producing The Lair of the White Worm and The Rainbow; and producing Whore and The Insatiable Mrs. Kirsch, among others. JESS HALL (Director of Photography) Jess Hall's latest feature credit as cinematographer is Garth Jennings' Son of Rambow: A Home Movie, which was a sensation in its world premiere at the 2007 Sundance Film Festival. Among the other films he has shot are Bronwen Hughes' Stander, starring Thomas Jane; Rupert Sanders' short D Minus; John Malkovich's shorts Hideous Man and Strap Hanging; and Jeremy Dyson's The Ciccreones. He has shot music videos for such artists as Massive Attack, All Saints, Eagle Eye Cherry, and Martine McCutcheon. Mr. Hall has won several awards for his lensing of television commercials. These include Cannes' Gold Lion (for Guinnness' "Evolution") and Silver and Bronze Lions (for Adidas and VW ads, respectively). Among the many other spots he has filmed are ones for Stella Artois, Barclays, Citron, FCUK, DHL, Stella McCartney, and Tetley Bitter. Directors that he has collaborated with on these commercials include Daniel Kleinman, Chris Palmer, Ringan Ledwidge, and Rupert Sanders. MARCUS ROWLAND (Production Designer) Marcus Rowland previously worked with the Hot Fuzz creative team as a production designer on the television series Spaced and the movie Shaun of the Dead. He works as production designer on an average of fifty commercials a year. His clients have included M&S, Halifax, Debenhams, Carlsberg, Mini, Abbey National, Pizza Express, Lancôme, and Virgin Mobile. Also for television, Mr. Rowland has worked extensively with Peter Richardson and The Comic Strip. CHRIS DICKENS (Editor) Working with the Hot Fuzz creative team, Chris Dickens edited both series of Spaced as well as the feature Shaun of the Dead. The latter marked the first of three Rogue Pictures movie he has edited; it was followed by Don Mancini's Seed of Chucky, and now Hot Fuzz. Mr. Dickens' subsequent feature editing credits include Danny Cannon's Goal! and Gone (directed by Ringan Ledwidge). His many U.K. television drama and comedy editing credits include Declan Lowney's telefilm Cruise of the Gods; and Lenny Blue, Lucky Jim, and At Home with the Braithwaites. ANNIE HARDINGE (Costume Designer) Annie Hardinge was costume designer on the television show Spaced and then partnered with the creative team for movies, with Shaun of the Dead and now Hot Fuzz. She has designed the costumes for several other features, including Working Title's Ali G in Da House (starring Sacha Baron Cohen and directed by Mark Mylod); Paul Weiland's Roseanna's Grave; Andrew O'Connor's soon-to-bereleased Magicians; and David Schwimmer's upcoming Run, Fat Boy, Run, which again reunited her with Simon Pegg. For television, Ms. Hardinge has worked on the series Extras, Black Books, Little Britain (for which she has won three RTS Awards and been nominated for two BAFTA Awards), The Royle Family, The Vicar of Dibley, The IT Crowd, and Blackadder, among others; such telefilms as Tony Smith's Sweet Nothing; and various commercials. DAVID ARNOLD (Music) David Arnold won a Grammy Award for scoring Roland Emmerich's blockbuster Independence Day. He has scored multiple James Bond features. These include Martin Campbell's Casino Royale, which introduced Daniel Craig in the role; and the Pierce Brosnanstarring Die Another Day (directed by Lee Tamahori), The World is Not Enough (directed by Michael Apted), and Tomorrow Never Dies (directed by Roger Spottiswoode). He has also produced and co-written original songs for several of these Bond films. Additionally, Mr. Arnold won the coveted Ivor Novello Award (from the British Academy of Composers and Songwriters) for his score of The World is Not Enough; and recorded an album, "Shaken and Stirred: The David Arnold James Bond Project." Among the other films for which he has composed the original scores are Michael Apted's Amazing Grace and Enough; John Singleton's Four Brothers, Baby Boy, and Shaft; Roland Emmerich's Godzilla and Stargate; Roger Michell's Changing Lanes; and Ben Stiller's Zoolander. Mr. Arnold has also co-written and produced songs for such artists as Aimee Mann, Pulp, Chrissie Hynde, Iggy Pop, Garbage (with whom he collaborated on the main title theme of The World is Not Enough), Natalie Imbruglia, and the Cardigans' Nina Persson.
Produced in association with Ingenious Film Partners 2 LLP Cast (in order of appearance) Nicholas Angel SIMON PEGG Met Sergeant MARTIN FREEMAN Met Chief Inspector BILL NIGHY "Not" Janine ROBERT POPPER Bob JOE CORNISH Dave CHRIS WAITT Bernard Cooper ERIC MASON Joyce Cooper BILLIE WHITELAW PC Danny Butterman NICK FROST Roy Porter PETER WIGHT Mary Porter JULIA DEAKIN Underage Drinker # 1 TOM STRODE WALTON Underage Drinker #2 TROY WOOLLAN Underage Drinker #3 RORY LOWINGS Sergeant Turner BILL BAILEY Rev. Philip Shooter PAUL FREEMAN Greg Prosser TREVOR NICHOLS Sheree Prosser ELIZABETH ELVIN Dr. Robin Hatcher STUART WILSON Amanda Paver LORRAINE HILTON Butcher Brothers KEVIN and NICHOLAS WILSON Simon Skinner TIMOTHY DALTON Inspector Frank Butterman JIM BROADBENT DS Andy Wainwright PADDY CONSIDINE DC Andy Cartwright RAFE SPALL Sergeant Tony Fisher KEVIN ELDON PC Bob Walker KARL JOHNSON Saxon SAMPSON PC Doris Thatcher OLIVIA COLMAN Tom Weaver EDWARD WOODWARD The Living Statue GRAHAM LOW Annette Roper PATRICIA FRANKLIN Leslie Tiller ANNE REID James Reaper KENNETH CRANHAM Tim Messenger ADAM BUXTON Technician MATT LOADER Prosthetics Supervisor TRISTAN VERSLUIS Workshop Crew Build Supervisor NICK MARTIN Technicians JENNY BOWES 28 Peter Ian Staker STEPHEN MERCHANT The Swan ELVIS Mr. Treacher TIM BARLOW Peter Cocker BEN McKAY Michael Armstrong RORY McCANN Tina ALICE LOWE George Merchant RON COOK Martin Blower DAVID THRELFALL Eve Draper LUCY PUNCH Arthur Webley DAVID BRADLEY Heston Services Clerk COLIN MICHAEL CARMICHAEL Mrs. Reaper MARIA CHARLES Aaron A. Aaronson ALEXANDER KING Crew and Credits Directed by EDGAR WRIGHT Produced by NIRA PARK, TIM BEVAN, ERIC FELLNER Written by EDGAR WRIGHT & SIMON PEGG Executive Producer NATASCHA WHARTON Line Producer RONALDO VASCONCELLOS Director of Photography JESS HALL Production Designer MARCUS ROWLAND Editor CHRIS DICKENS Costume Designer ANNIE HARDINGE Hair & Makeup Designer JANE WALKER Music by DAVID ARNOLD Music Supervisor NICK ANGEL Casting Director NINA GOLD Associate Producer KAREN BEEVER Production Manager JAMES BIDDLE Post-Production Supervisor TANIA BLUNDEN First Assistant Director MIKE ELLIOTT Second Unit Director JEREMY LOVERING Location Manager BEN GLADSTONE "A" Camera/Steadicam Operator PETER ROBERTSON Sound Recordist RICHARD FLYNN Art Director DICK LUNN Stunt Coordinator PAUL HERBERT Production Accountant RACHEL PLOSE Post-Production Accountant TARN HARPER Visual Effects Supervisor RICHARD BRISCOE Supervising Sound Editor JULIAN SLATER
29 Re-Recording Mixer NIGEL HEATH First Assistant Editor CATRIONA RICHARDSON Additional Editing by JONATHON AMOS For Working Title Films Chief Operating Officer ANGELA MORRISON Executive in Charge of Production MICHELLE WRIGHT Head of Legal & Business Affairs SHEERAZ SHAH Production Executive SARAH-JANE ROBINSON Chief Financial Officer SHEFALI GHOSH Financial Director TIM EASTHILL Development Executive Vice President of RACHAEL PRIOR GRÁINNE McKENNA Legal & Business Affairs Legal & Business Affairs Executive LUCY WAINWRIGHT Executive Coordinator ANN LYNCH Legal & Business Affairs Manager CHRISTINA ANGELOUDES Assistant Production Coordinator JESSICA FORTE Development Coordinator Assistant to Tim Bevan HANNAH FARRELL CHLO DORIGAN Assistant to Eric Fellner ALIZA JAMES Music Coordinator VICKI WILLIAMS For Big Talk Productions Development Executive JESS WEETCH Senior Assistant to HELEN VARTY Nira Park and Edgar Wright Junior Assistant to KEVIN PROCTOR Nira Park and Edgar Wright Production Coordinator NICKY EARNSHAW Assistant Production Coordinator CUONG DANG Script Supervisor SUSANNA LENTON Assistant Production Accountants DAVID BLANK MARIE DONG Assets Administrators MAREE GECKS EMILY ELGAR Trainee Assistant Accountant KAY DI REZZE Second Assistant Director ANTHONY WILCOX Third Assistant Director DAN CHANNING-WILLIAMS Key Set Runner ZOE LIANG
30 Base Runner LAURA WINDEBANK Production Runners ALEX PRITCHARD JAMES CRESTANI RUTH KEY Stand-Ins/Set Runners JOSS CROWLEY WILLIAM "LIAM" ROPER Assistant Location Manager TOM STOURTON Unit Manager JOHN DAVID GUNKLE Locations Assistant ASHA SHARMA Location Scouts PHILLIP GATES AMIE TRIDGELL FT2 Script Supervisor Trainees SAMANTHA BARBER KATRINA BARTON CAROLINE BOWKER "A" Camera Focus Puller CARLOS DE CARVALHO "A" Camera Clapper Loader CHRIS DALE "B" Camera Focus Puller RAWDON HAYNE "B" Camera Clapper Loader IAIN MACKAY FT2 Camera Trainee CHRIS McALEESE Kodak Look Management Operator TOM BALOGH Video Assist Operator NICK KENEALY Aerial Cameraman JEREMY BRABEN "A" Camera Grip NICK RAY "B" Camera Grip ANDY EDRIDGE Stills Photographer MATT NETTHEIM Standby Art Director RICHARD FIELD Assistant Art Director MICHAEL SMALE Graphic Designer JENNY BOWERS Storyboard Artists OSCAR WRIGHT JONATHAN MARIS Draughtsman DARYN McLAUGHLAN FT2 Art Department Trainees REBECCA THOMAS HELEN MORGAN Set Decorator LIZ GRIFFITHS Prop Buyer ROSY THOMAS Assistant Prop Buyer SYREETA MAKAN Propmaster DAVID "SPRINGER" HORRILL Storepersons PENNY WHITE JASON BROWN Dressing Propmen KEVIN DAY PETER WOODS OLIVER VAN DER VIJVER Standby Propmen SEGAN FRIEND SHAY LEONARD
31 Boom Operator ANNABEL ACQUAVIVA Cable Maintenance CHARLOTTE GRAY Post-Production Coordinator AISHA BICKNELL VFX Editor STEVE MERCER Second Assistant Editors KATHRYN MOREY BEN RENTON Assistant Costume Designer PHIL LESTER Wardrobe Supervisor SHEENA GUNN Costume Assistants JANINE MARR AARON TIMPERLEY JULIE MERRITT DAN SUMMERVILLE CHARLIE KNIGHT SARAH WARD Hair & Makeup Artists CANDICE BANKS TONY LILLEY Additional Hair & Makeup Artists TRISHA CAMERON DARREN LONG DEBBIE TAYLOR KATE THOMPSON EVE WIGNALL Armourers RICHARD HOOPER CHARLIE BODYCOMB GREG CORKE Action Vehicles Coordinator MARTIN ALDERDICE Action Vehicles Assistant PAUL HUTCHINSON Main Unit Gaffer ANDREW DUNCAN Second Unit Gaffer STEVE FOSTER Rigging Gaffer BERNIE PRENTICE Electricians MIKE PARSONS ROY BRANCH Construction Manager BRIAN DOWLING Standby Rigger TONI KELLY Standby Carpenter TOM WALKER Stunt Performers LUCY ALLEN RICHARD BRADSHAW MICHAEL BYRCH STUART CLARK NICK CHOPPING SIOBHAN COUGHLAN JAMIE EDGELL BRADLEY FARMER SARAH FRANZL ROWLEY IRLAM
32 IAN KAY KIM McGARRITY ANDY MERCHANT WAYNE MICHAELS PETER MILES JAMIE MILLINGTON MARK MOTTRAM DANIEL NAPROUS CURTIS RIVERS SEON ROGERS LEE SHEWARD C.C. SMIFF TONY VAN SILVA Casting Assistants STEPHEN MOORE ROBERT STERNE HAYLEY WILLIAMS Extras Casting Coordinator KATE RUDGE Dialogue Coach NEIL SWAIN Choreographer ELEANOR FAZAN Children Licensing SALLY KING ANN KOSKA Researchers AMY FLANAGAN NORA MEYER Unit Publicist DIANE KELLY Behind the Scenes/Blogs DAN MUDFORD Second Unit Director of Photography PETER FIELD Additional Filming ASHLEY ROWE Director of Photography VFX Director of Photography SIMON MARGETTS Additional First Assistant Directors GARETH TANDY JACK RAVENSCROFT CHARLIE LEECH NATHAN HOLMES Additional Third Assistant Director SAMAR POLLITT Additional Script Supervisors RUTH ATKINSON JULIE BROWN CATHY DOUBLEDAY SUE FIELD Additional Camera Operator SIMON BAKER Additional Focus Pullers TIM BATTERSBY DEAN THOMPSON JOHN GAMBLE DEAN MORRISH
Additional Clapper Loaders SOPHIE WILSON JENNIE PADDON DANNY SMITH SKY SHARROCH PAUL WHEELDON CHARLIE WHITAKER SARAH WOODWARD Additional Video Assist Operator STEPHEN LEE Electricians FRANK COX MARTIN COX STEVE DAVIS FRANK DAWSON MARTIN DUNCAN TONY FENNER ANDY GARDNER TONY GOULDING ADAM HARRIS DAVID HARRISON PIP KEELING CHRIS POLDEN ROB STEWART Additional Grips MALCOLM SMITH TERRY WILLIAMS BILL GEDDES STUART GODFREY ADRIAN McCARTHY Additional Standby Propman ED BARKER Additional Standby Rigger GUY COPE Additional Standby Carpenters PAUL OAKMAN DAVE ENGELMAN Additional Riggers BRIAN GRIFFITHS PAT KILLEEN GEORGE HOBBS MARK RICHARDS DANNY WEBSTER Scenic Painter RACHEL ATHERTON Special Effects by Artem Lead Supervisor MIKE KELT Shoot Crew Senior Technicians HARRY BRYCE MIKE WILD DOUG McCARTHY
MARIA CORK CRAIG FALCO CHRIS FITZGERALD ALEX WALKLATE Mould Supervisor JIM BONES Technicians LENE DALEBRATEN SIMON SCALES SFX Equipment RICK JOTLE Miniatures Crew Build Supervisor PETER SIMONS Pyrotechnics PAUL GORRIE Senior Technicians MATT LEWIS MIKE WALL Technicians BRENDA BUIJS JESSICA LEE MARIE PARSONS Trainee Technicians GRAHAM CAMPBELL RAY WIDDOWSON Digital Visual Effects by Double Negative Visual Effects Producer STEVE GARRAD Visual Effects Coordinator SONA PAK Artists PETE BEBB ANDREW CHAPMAN MIKE FOYLE MARCUS HINDBORG PETER HOWLETT SERENA LAM LUKE LETKEY FRED PLACE SCOTT PRITCHARD IAN SIMPSON RICHARD STAY MARK TRAN-TRAMBLE SHARON WARMINGTON Digital Matte Painting IMERY WATSON Additional Digital Visual Effects by LipSync Post Machine BaseBlack
Digital Intermediate by Framestore CFC Colourist ASA SHOUL Additional Colourist BRIAN KRIJGSMAN Producer SARAH MICALLEF Production Manager MIKE MORRISON Conform Editors CHARLIE HABANANANDA STUART NIPPARD DAN VICTOIRE ANNABEL WRIGHT Scanning and Recording Manager ANDY BURROW Data Operators DAVID JOHNSTON SIMON WESSELY Retouch and Restoration LOUIE ALEXANDER ADAM HAWKES AARON LEAR NICK STANLEY O'DEAN THOMPSON Editorial GAVIN ROUND
Sound Re-Recorded at Hackenbacker Audio Post-Production Dialogue/ADR Editor DAN MORGAN Sound Effects Editor MIKE FENTUM Sound Designer CRAIG BUTTERS Foley Editors ARTHUR GRALEY ALEX JOSEPH Foley Artists ANDI DERRICK PETE BURGIS Assistant Re-Recording Mixer OLIVER BRIERLEY Audio Post Coordinator ANNA BILLINGTON 36 Transport Captain BARRIE WILLIAMS Director's Driver ANDREW McARTHUR Unit Drivers OREST ANDRIJIW KEVIN BRADLEY COLIN GOFFIN GEOFFREY HOLLAND NICK KENYON IAN WOTHERSPOON Camera Truck Driver CHRIS "KIWI'" PARKER Wardrobe Truck Driver COLIN STEPHENSON Makeup Trailer Driver CLIVE "BOD" STONE Standby Props Truck Driver GARY DAVENPORT Utility Driver JAMES EVANS Minibus Drivers DAVE HOCKEY GILL KING JASON KING STEVE STENTAFORD Rushes Driver DEAN TYLER Grip Truck Drivers DEAN MACEY JOHN D'ARCY Props Driver BRIAN TAME Health & Safety Advisor MICK HURRELL Fireman ROGER KENDALL Unit Nurse MORAG WEBSTER Paramedics A & E MEDICAL SERVICES PIONEER MEDICAL SERVICES Catering ALL ENGLAND CATERING Additional Catering THE EVENT TEAM Caterers DENZEL ROBBINS GAYNOR FITZGERALD GOULD ANDY "CHEFFY" SOUTHEY BALA LASHMI Catering Assistant HORACE BECKFORD Camera and Grip Equipment ARRI MEDIA Lighting Equipment ARRI LIGHTING Sound Equipment RICHARD FLYNN RICHMOND FILM SERVICES Steadicam Equipment OPTICAL SUPPORT Video Assist Equipment SL VIDEO Cherry Pickers LOXAM ACCESS Lighting Balloon LEELIUM Video Playback COMPUHIRE Walkie-Talkies WAVEVEND Tracking Vehicles BICKERS ACTION
37 Action Vehicles TLO FILM SERVICES Helicopters HELICOPTER FILM SERVICES Pilot IAN SMITH Greenery PALM BROKERS Costumes Supplied by ANGELS THE COSTUMERS Animals AMAZING ANIMALS Horses STEVE DENT Dog Handling SUE DARCEY Facilities MOVIE MAKERS Transportation SET WHEELS Laboratory TECHNICOLOR Telecine MIDNIGHT TRANSFER Post-Production Facility GOLDCREST POST Negative Cutting CUTTING EDGE Title Design OSCAR WRIGHT Titles by VooDooDog Insurance AON/ALBERT G. RUBEN Product Placement and Clearances BELLWOOD MEDIA Script Clearance MARSHALL/PLUMB RESEARCH ASSOCIATES INC. Payroll Services SARGENT-DISC Music Executive in Charge of Music KATHY NELSON for Universal Pictures Additional Music MICHAEL PRICE Orchestrated and Conducted by NICHOLAS DODD Music Editor DINA EATON Assisted by ROBIN WHITTAKER STUART MORTON Recorded and Mixed by GEOFF FOSTER at AIR LYNDHURST, LONDON Assisted by CHRIS BARRETT NICK CERVONARO Programming by STEPHEN HILTON MATT ROBERTS Programming and Tech ROB PLAYFORD Additional Noise Programming ALEX NUTTON Music Prep by GLOBAL MUSIC SERVICES Orchestra Contractor ISOBEL GRIFFITHS Auricle Programmer CHRIS COZENS Music Consultants KIRSTEN and CHARLES LANE on behalf of RIGHT MUSIC LIMITED
"Goody Two Shoes" (Adam Ant, Marco Pirroni) Performed by Adam & The Ants Courtesy of Sony BMG Music Entertainment (U.K.) Ltd. "Sgt. Rock (Is Going To Help Me)"(Andy Partridge) Performed by XTC Courtesy of EMI Records Ltd. "Down On Bond Street" (Thomas McCook) Performed by Tommy McCook and The Supersonics Courtesy of Sanctuary Records GroupLtd. "Kick Out The Jams" (Jeff Jarrett, Don Reedman) Performed by Tub Thumper Courtesy of Focus Music International Ltd. "Lethal Weapon 3 Trailer Score" (John Eric Alexander) Performed by John Eric Alexander Courtesy of Activateyourimage Inc. "Lovefool" (Nina Persson, Peter Svensson) Performed by Dick Breeze, Emma Dance, David Goodall, Diane Leach, Tim Lee, George Marsh, Lucy Punch,David Threlfall, Bernard Usher, Clive Weatherley & Jonathan Whitehead "Romeo And Juliet" (Mark Knopfler) Performed by Dire Straits
"Nostalgia" (Frank Comstock) Performed by Frank Comstock Courtesy of Boosey & Hawkes Music Publishers Ltd. "Village Green Preservation Society" (Raymond Davies) Performed by The Kinks Courtesy of Sanctuary Records GroupLtd. "Baby Fratelli" (John Lawler) Performed by The Fratellis Courtesy of Universal-Island Records Ltd. Under licence from Universal Music Operations "Slippery Rock `70s" (Nigel Fletcher, Robert Woodward) Performed by Stavely Makepeace Courtesy of Peermusic (U.K.) Ltd. "I Can't Control Myself" (Reg Presley) Performed by The Troggs Courtesy of Mercury Records Ltd.Under licence from Universal Music Operations "Night Of Fear" (Roy Wood) Performed by The Move Courtesy of Onward Music Ltd. "Blockbuster" (Mike Chapman, Nicky Chinn) Performed by Sweet
Courtesy of Mercury Records Ltd.Under licence from Universal Music Operations & Warner Bros. Records By arrangement with Warner Music Group Film & TV Licensing "Solid Gold Easy Action" (Marc Bolan) Performed by T. Rex Courtesy of Wizard (Bahamas) Ltd. Under exclusive licence from Demon Music Group Ltd. "Hostage Situation" From the motion picture Bad Boys II(Trevor Rabin) Performed by Trevor Rabin Courtesy of Columbia Pictures Industries, Inc. "Village Green" (Raymond Davies) Performed by The Kinks Courtesy of Sanctuary Records Group Ltd. "Happy Birthday" (Mildred Hill, Patty Hill) Performed by Jim Broadbent, Olivia Colman, Kevin Eldon, Karl Johnson, Simon Pegg & Edgar Wright "Avenging Angel" (Robert Rodriguez) Performed by Robert Rodriguez and Carl Thiel Courtesy of Rocket Racing Rebels Publishing L.P. Courtesy of Sony BMG Music Entertainment (U.K.) Ltd. "Foot Chase" From the motion picture Point Break(Mark Isham) Performed by Mark Isham Courtesy of IntermediaFilm Distribution "Fire" (Arthur Brown, Vincent Crane, Peter Ker, Michael Finesilver) Performed by The Crazy World of Arthur Brown Courtesy of Gowmonk Inc. U.S.A. & Canada & Polydor Ltd. (U.K.) Under licence from Universal Music Operations "Dance With The Devil" (Phil Dennys, Michael Hayes)Performed by Cozy Powell Courtesy of EMI Records Ltd. "Heston Services" (Robert Rodriguez) Performed by Robert Rodriguez and Carl Thiel Courtesy of Rocket Racing Rebels Publishing L.P. "Caught By The Fuzz" (Gareth Coombes, Daniel Goffy, Michael Quinn) Performed by Supergrass Courtesy of EMI Records Ltd. "Solid Gold Easy Action" "Here Come The Fuzz" (Marc Bolan) (Philip Hernandez, Chris Maxwell, Performed by The Fratellis Jon Spencer) Courtesy of Universal-Island Records Performed by Jon Spencer Ltd. & The Elegant Too Under licence from Courtesy of Jon Spencer Universal Music Operations
Soundtrack available on Cherrytree Records/Interscope Records Photographed on Kodak Film Some Vehicles Supplied by Volkswagen Bad Boys II and Silent Rage Courtesy of Columbia Pictures
Footage and Stills From Point BreakCourtesy of Twentieth Century Fox, Intermedia Film Distribution Limited and Paramount Home Entertainment (Japan) Limited. All Rights Reserved. Still taken from One Tough BastardProvided through the courtesy of Lionsgate Hero and the Terror, Death Warrant, and Walking TallAll Rights Reserved. Courtesy of MGM Clip+Still Supercop (C)Miramax Films. Photo: Butch Belair/Courtesy of Miramax Film Corp.
DVD cover from Extreme Prejudice (C)1987 Canal+ DA., courtesy of StudioCanal Image The Enforcer, Hard to Kill, and Sudden ImpactLicensed by Warner Bros. Entertainment Inc. With Thanks To Russell Allen The Barn Theatre Greg Barrett Dave and Chris Bassett Sgt. David Cartwright Philip Cooper Felix Cornish The Crown at Wells DCI Stuart CundyDermalogica Simon Davies Maurice Day Guillermo Del Toro Keith Donahue Matt Dravitzki Alex Duxbury Nick Eckland Keith Faulkner The Globe Carnival ClubHatfield House Charlotte Hatherley Colin Hibberd Phil Hines Alex Hope Peter Jackson Garth Jennings PC Andy Leafe LG Electronics The Little Theatre DS Stuart Lutes Paul Machliss The Metropolitan Police Service Mill Hill Nurseries Paul Mitchell Moles Brewery Sinead Moran Tommy Moran Andrew Nash The National Trust, Ashridge Greg Nicotero Sgt Andy Noble Ordnance Survey Mark Osmater Debra Pallet Pashley Bikes Gill Pegg Katy Pegg Maureen Pegg Sgt. Andy Pritchard PC Martin Roddy Robert Rodriguez The Royal Standard of England Pub St Cuthbert's Church Scarlett Sheriff Somerfield Supermarkets Quentin Tarantino Ron TaylorTommy Traylen Liz WebbWells Film Centre Jason Wingrove Peter Wild Jim Wilson Chris Wright Lesley Wright PC Steve Wyatt And our very special thank you to the people of Wells, Somerset Filmed on location in London and Wells, Somerset The characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any actual persons living or dead is entirely coincidental and unintentional. This motion picture is protected under the laws of the United States and other countries and its unauthorised duplication, distribution or exhibition may result in civil liability and criminal prosecution. (C)2007 Universal Studios. All Rights Reserved. Aspect Ratio: 2:35/1 [Scope] Dolby SR/SRD, in selected theaters Running Time: 121 minutes MPAA Rating: R
(for violent content including some graphic images, and language)