Mongrel Media Presents

THE WOMAN IN THE FIFTH

A FILM BY PAWEL PAWLIKOWSKI BASED ON THE NOVEL BY DOUGLAS KENNEDY (83 min., France, Poland, UK, 2011)

Languages : French, English

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SHORT SYNOPSIS American novelist Tom Ricks (Ethan Hawke) arrives in Paris determined to renew a relationship with his estranged wife and daughter. When the longed-for meeting goes poorly, he ends up in a seedy hostel on the outskirts of the city. Unable to pay for his room and board, he agrees to work as a night guard at a warehouse for the proprietor (Samir Guesmin) and spends the hours writing elaborate, imaginative letters to his daughter. One evening, after he’s invited to a literary gathering, Tom meets Margit (Kristin Scott Thomas), an enigmatic translator whose magnetic presence and worldly manner intrigue the down-and-out author. She seduces him, haughtily dictating the time and place of their rendezvous in the Fifth Arrondissement. Their passionate affair coincides with a string of inexplicable events, and slowly Tom’s anxieties and inner torments begin to derange his sense of what’s real...

SYNOPSIS American novelist Tom Ricks (Ethan Hawke) arrives in Paris determined to renew a relationship with his estranged young daughter, Chloé (Julie Papillon), whom he is desperate to see. When the longed-for meeting goes poorly — he flees after his wife Nathalie (Delphine Chuillot) notifies the police that he has violated a restraining order—he ends up in a seedy hostel on the outskirts of the city. Unable to pay for his room and board, he agrees to work as a night guard at a warehouse for the dubious proprietor, Sezer (Samir Guesmin), though he has no idea what the vaguely criminal types who access the building at odd hours are doing there, or what, if anything, they might be hiding. Locked in a basement room with a bank of monitors, he spends the hours writing elaborate, imaginative letters to Chloé that center around a mystical forest, and later makes an unwise attempt to visit her at the schoolyard. Something of a curiosity back at Sezer’s café, Tom elicits the sympathy and amorous attention of Ania (Joanna Kulig), a Polish barmaid with an interest in poetry, and has unpleasant run-ins with his menacing, openly hostile hallmate, Omar (Mamadou Minté). Then one evening, invited to a posh literary gathering by an Englishlanguage bookseller who recognizes him from a dust-jacket photo, Tom meets Margit (Kristin Scott Thomas), an enigmatic translator whose magnetic presence and worldly manner intrigue the down-and-out author, more starved for love and comfort than sophisticated company. She seduces him, haughtily dictating the time and place of their rendezvous in the Fifth Arrondissement. Margit’s muse-like influence on Tom only deepens as she boldly encourages him to abandon all other priorities, including family, and focus on novel writing. But their passionate affair coincides with a string of inexplicable events—a murder, a disappearance—and slowly Tom’s anxieties and inner torments begin to derange his sense of what’s real...

DIRECTOR’S NOTE Disguised as a mystery thriller, THE WOMAN IN THE FIFTH is in effect a very precise description of a familiar condition. Tom Ricks wants it all - admiration, literary greatness, love, family - and he refuses to accept that all of these desires have a price and could be mutually exclusive. As Tom’s grip on reality weakens and the facts of his life begin to fuse with fiction, he slides into a nightmare from which there's no waking up. Our film dramatizes the mental disintegration of a man who fails to pay attention to the outside world, who lives in his own head and is totally incapable of understanding his true motives. It's a condition I'm familiar with and it's what first attracted me to the material. In that sense, Tom Ricks is not unlike the protagonists of my other films, from my first documentary MOSCOW TO PIETUSHKI to LAST RESORT. The Paris of this film is an unfamiliar and ambiguous landscape - a Paris of the mind. I wanted to achieve this sensation without any trickery or special effects, but by means of subtle stylization, i.e. through the choice of locations, framing, lighting, and a creative use of sound. I've employed such defamiliarization strategies in my previous films, but in THE WOMAN IN THE FIFTH, I went much further to turn Margit's apartment and Sezer's warehouse - where unspeakable things may or may not be happening - into a Lynchian netherworld reflecting the progressive derangement of our hero. Though the world of the film is stylized and dream-like, the acting needed to be as psychologically 'real' as possible. For the novelist hero I chose Ethan Hawke, an actor with a keen intellect and imagination – qualities that are simply impossible to act for those who don't have them. Ethan also happens to be a novelist in his own right and is totally at home with the creative struggles - the moments of euphoria and omnipotence and the pangs of anxiety and self-doubt - that afflict his fictional character. Ethan embodies the right balance between neurotic edge and irresistible boyish charm. It is key that the audience is in sympathy with our hero, even when it dawns on them that he is dangerously deluded. The elusive, timeless Margit is played by Kristin Scott Thomas - an actress who can be dark, maternal, tragic, erotic, ambiguous, romantic, urbane. For the role of romantic autodidact Ania, I've chosen the brilliant young Polish actress Joanna Kulig, who generated the right mixture of warmth, spontaneity, and demotic charm. As was the case in my previous films, the script for THE WOMAN IN THE FIFTH was a rather lean and stripped-down text. The idea was to give myself and the actors space to add texture to the characters and scenes during a lengthy process of workshops. The script was there to convey the shape, the feel, and the overall meaning of the piece, but the real “film-writing” for me began in rehearsals, location scouting, prep, and the actual filming. The film is a strange cultural hybrid: it is set in Paris, drawn from an American novel, played by a multi-national cast, and directed by a Polish filmmaker with a documentary background. The dialogue is spoken in French and English, languages in which I feel equally at home. My goal was to strike the right tone for the film - a precarious balancing act between

realism, absurdist comedy, and nightmare - and to stick to it with unswerving confidence. - - Pawel Pawlikowski

ABOUT THE PRODUCTION When Pawel Pawlikowski first read Douglas Kennedy’s novel The Woman in the Fifth, he was “looking for a starting point for a film that has its own internal logic.” Though the New York Times bestselling author’s romantic thriller wasn’t necessarily close to the Polish filmmaker’s world, he began to imagine how re-shaping the story of Tom Ricks, an American writer watching his life crumble while visiting the City of Lights, could accommodate his style and voice. “I was working on some original story ideas that were a little too personal, so I thought it would be great to make something that had nothing to do with me, in a way. Then I met Ethan, who happened to be in London, and I told him about the project. He said, ‘I’m up for that, let’s do it.’ I began to re-imagine the whole story in terms of an inner journey, and rewrote the script with that in mind.” Part of what fascinated Pawlikowski about the tale of a down-and-out university lecturer in Paris confronting the failure of his marriage and his writerly ambitions— and seeking to renew the connection with his young daughter—was how easily it accommodated the theme of psychological disintegration, which had interested the accomplished writer-director since his last feature, MY SUMMER OF LOVE. “I wanted Tom Ricks to be a complicated, duplicitous hero, not an everyman who happens to find himself in the wrong place at the wrong time. I wanted the problem to be him, not the world around him. That’s a radical change compared to the novel.” Pawlikowski’s efforts to establish the defining traits of his central character also influenced his stylized approach. “I wanted the film to obey the logic of a dream,” he says. “It starts in a realistic way, then the boundaries of reality gradually start to break down.” Ethan Hawke met Pawlikowski in London while performing in a Royal Court stage production of Shakespeare’s A Winter’s Tale. He says he was initially drawn to the set-up and tone of THE WOMAN IN THE FIFTH after discussing the project with Pawlikowski in New York, but neither he nor the director had any “preconceived notions” about Tom Ricks, who Hawke says, has become “one of my favorite roles.” It was only through an ongoing exchange of ideas and workshops that they were able to discover the character’s true nature and desires. “For me, this film deals with the torment surrounding one’s desire to be the father you always dreamt of being,” says Hawke. “That’s a subject I’m interested in right now. Everyone has his/her own idea of what it means to be an ideal parent. But you also have to juggle that with the constraints of everyday life.” This aspect of the story resonated deeply with Pawlikowski as well, who says, “The conflict between being creative—and therefore having an ego and involving your ego in your work—and being in love with a woman or trying to be a father means wanting incompatible things. A lot of us find ourselves in this kind of dilemma. That’s something that really drove me on this project.” For Pawlikowski, it was important that his lead actor be able to win the sympathy of an audience while at the same time communicate something darker and less reassuring. “It’s above all Ethan Hawke who makes this ambiguity work so well,” he

says. “By nature, he’s a warm, nice person, with a sort of adolescent candor—that’s what everyone likes about Ethan. I play on that and the image we have of him from his films. He has a simplicity that you want to follow, despite the signs which make us not trust him. And he’s an extraordinary partner for the other actors: he knows how to bring out the best in them, to put them at their ease. He never tries to hog the limelight.” Although THE WOMAN IN THE FIFTH has some of the trappings of a psychological thriller, Pawlikowski was less interested in exploring genre than in trying to depict a writer’s increasingly unstable frame of mind without veering into fantasy: “The hero’s emotional state is the prism. It’s through him that we perceive the world he moves through. I try to remain as naturalistic as possible, so as not to signpost through cinematic devices that something is not quite right. Events follow one another and gradually we move into the realm of the strange.” Location was crucial, since the atmosphere needed to reflect Tom’s inner turmoil in subtle, but effective ways. Setting the film in France, a country foreign to his American protagonist, accomplished part of this goal, but the real challenge for Pawlikowski was how to defamiliarize such an overused cinematic locale. “In Paris, it’s really difficult to find places that don’t illustrate a cliché, however hard they try,” he says. “Wherever I look here, there are cream colors, and lots of movement. It’s a densely populated city, difficult to manage during a shoot and hard to represent onscreen. I spent a lot of time with my set designer Benoît Barouh criss-crossing the city on his scooter to find unusual locations. I wanted Paris without it being ‘Paris.’ I wanted it to be a bit like Eastern Europe in the 1970s.” In the midst of deciding the look and feel and overall structure of the film, Pawlikowski also needed to cast the role of Margit, the enigmatic translator who becomes Tom’s lover and muse. He turned to the renowned European actress Kristin Scott Thomas, whose facility with languages and remarkable ability to project a variety of personas made her an ideal fit. “Margit is a cloud of mystery, without a clear story – even her nationality is uncertain. For an actor, that’s complicated. She’s fantastic to work with and courageous. She gave me everything I needed and more. She has great elegance in her working relationships.” Hawke concurs, saying, “For me, certain actors embody the very essence of cinema. Kristin Scott Thomas has that quality. She has that strange sensuality, that natural elegance. It’s an experience to act with someone like that. With her, everything seems easy. With others, you have to work really hard to get there. Her character is above all symbolic, and a lot of actors aren’t up for that.” Working with casting director Stéphane Batut, Pawlikowski then looked to fill the role of Ania, the Polish barmaid who casually befriends Tom and shows him unexpected tenderness, providing a counterpoint to the heavy-handed influence of Margit. Pawlikowski thought immediately of Joanna Kulig, a singer and stage actress he had previously auditioned and believed would be a natural, despite her lack of film experience, thanks to the elegance and precision of her body language. “I like the idea that each scene has to have a musical rhythm,” he says. “It’s not simply a matter of the meaning of the words. It’s about tempo, you have to find a certain swing. Joanna has that.” Hawke recalls that Pawlikowski’s directions to Kulig at one point were simply to “act like a mazurka,” marveling that “she understood exactly what he meant.” Given the variety of tonal environments, he sought to create—Sezer’s café, Margit’s mystery-shrouded flat, and the dingy, bulb-lit basement room where Tom surveils the exterior of a warehouse every night—Pawlikowski turned to his longtime

collaborator Ryszard Lenczewski to handle lensing on THE WOMAN IN THE FIFTH. During the shoot, the two friends discussed everything from color schemes and set lighting to nuances in performance. “He and I have a very strong understanding,” says Pawlikowski. “It’s rare for things to be that in tune. Usually, between a director and a director of photography, the roles are strictly separated. We work in symbiosis. He knows I’m very visual, and I can count on him to point out what he observed in the acting. He teaches too, at the school in Lodz. He’s made a lot of documentaries, so he’s got a wealth of experience, and he’s never lost his childlike passion for his craft. I work with him in the same way I work with an actor.” Hawke observed the close collaboration between Pawlikowski and his director of photography to achieve the melodious flow of each scene and says, “they were like an orchestra.” He compares their easygoing dynamic to that of “an old-school rock  group,  where  the 

words alone aren’t the most important thing.”  It was clear from the beginning, says Pawlikowski, that because the world of the film is so ambiguous and plaintive, he would need to add a bit of score to convey Tom’s tenuous mental condition. He brought in English composer Max de Wardener, with whom he’d previously worked on LAST RESORT, to write a few spare themes. After the sound mix was completed in Paris, Sylvain Morizet came in to help arrange the music. “My main instructions to Max,” recalls Pawlikowski, “were to come up with one or two haunting little melodies; I wanted the music to be seductive. MY SUMMER OF LOVE had a similar thing. He came up with two melodies I thought were great, but they were not disturbing, like in a horror movie. They were quite sweet and euphonious, but a little atonal here and there, like AN AMERICAN IN PARIS but a bit off. Producers always want more emotions, but I didn’t want them too explained. The goal was always to be on the tightrope—and that’s a good image for the whole film.”

Q&A WITH PAWEL PAWLIKOWSKI Q: What specific themes were you interested in exploring through this story? A: The conflict in a man who’s split between his need for love and family, and his narcissistic urge to create—to use reality for the sake of art. That affects a lot of people, including myself. So it’s something he can’t bring into line. He thinks he’s coming to Paris to repair his relationship and reconnect with his daughter, whom he idealizes and addresses [in letters] without actually understanding anything about her. She’s too young, and he projects a lot into her that’s clearly not there. At the same time, he’s got this demon that makes him want to write and transform everything into some kind of mental picture. These tendencies are difficult to reconcile in life: to love and give yourself totally to the other and also live out your creative desires and fantasies. Q: Tom Ricks is shadowed by violence throughout the film, which seems to have a metaphorical aspect as well. Does that relate to the artistic consciousness you spoke of? A: Violence comes out of anxiety, fear of the unknown, feeling vulnerable. Most artistic people are violent in some way, and violence comes out of frustration. I think it comes out of the inability to reconcile things that are pulling you in different directions. Some of the violence is directed against himself—he’s just very angry, I

suppose. At the same time, he’s very sweet. That’s one of the reasons I cast Ethan: he’s warm and likable. Not every actor can give you that without having to strain. Q: Tom inhabits two worlds: one is the well-heeled, pretentious Parisian literary scene, the other is a vaguely criminal netherworld—and he doesn’t belong to either one. He’s a stranger in a strange land, and he’s also a foreigner to himself. A: Exactly. He’s a consciousness cut off from its moorings. The world of the salon is shallow and inauthentic, and he’s obviously suffering in that crowd. Nor does he belong in the world where rough realities and material relations are crucial. So he’s completely cut off, and he’s holding onto this idea of love and his daughter, upon whom he projects some kind of idealistic innocence. She keeps him sane but it’s another source of insanity. Q: There is a correlation between the letters he writes and the dream imagery of a forest, which is almost a mystical place. You focus our attention on the life of that place, the beetles, bugs, spiders. A: It’s a kind of fairy tale he used to tell his daughter when she was little about a magical forest. But again it’s ambiguous, because that same forest becomes a scary trap, a bit of a nightmare. Everything in the film works both ways. It becomes a nightmare world full of hostile animals and a feeling of imprisonment. Q: How personal was this film for you? A: I’ve been interested in mental problems for a while. It’s affected my family—and me, personally—so it’s on my mind a lot. That shadow line, how everything can flip into its opposite and love can slide into something that’s a nightmare prison. I wouldn’t deal with these things head on. That’s why it’s interesting to make a film that’s thoroughly metaphorical and has its own poetics, without the histrionics of a film about mental illness. It’s very difficult to make a film about that without the actors letting themselves go, without being narcissistic about it. So I was interested in making something a bit more opaque and resonant of all sorts of things. Q: Is the film connected to grief that you’ve experienced? A: Yeah, definitely in some ways, but I don’t want to sentimentalize it. We all have some emotional core which energizes the whole enterprise, because why else would you make a film? There has to be some demon that propels you, some good emotional reason for doing it. Otherwise, you would spend two years of your life suffering through a technical exercise! [Laughs] Q: How did you go about creating the different stylized environments that Tom wanders through? A: There was a long process of looking at Paris slightly against the grain, not taking it a face value. I was a bit desperate at first because Paris is so self-evident. You look at it and think, What can I do to transform it? You know the texture of it already—the cafés, the creamy buildings. There’s very little contrast or strangeness, unlike London or Prague. So I spent a long time zig-zagging around Paris with my production designer on a Vespa looking for strangeness, like images from Poland in the 70s. [Laughs] Something that was Paris but not Paris, that could work both

ways. We took a lot of photos and rearranged them on a table, and then I rewrote the script in terms of what I found. I had a really great production designer, Benoît Barouh, who was tickled by this procedure. He’s one of these production designers who feeds off documentary reality, but who loves stylizing. I suppose that’s why he was keen to work with me. And then I brought my Polish cameraman, Ryszard Lenczewski, who’s tremendous. I took him to my favorite places and we took some more specific photos and did some tests and started building this slightly abstract world. Sezer’s café was in a derelict building and was practically created from scratch with bits and pieces found around Paris. The idea was to make the café feel naturalistic and real, but abstract at the same time. That’s something I do anyway, so it wasn’t the first time. Q: You also created very specific color schemes for each of those locations: cool blue tones for Ania’s flat, red saturated tones and sensual lighting for Margit’s, and green-gray hues for Sezer’s place. A: Green and red are complementary; we used them in MY SUMMER OF LOVE as well. The world of Sezer and that hotel café was slightly nightmarish and hellish, full of anxiety and some spiritual deprivation as well. Margit’s world’s starts out being cozy, warm, seductive, even maternal. Then it becomes a more hellish environment. It was meant to be a relief after the green world of the café, to enter Margit’s flat. That’s one of the ways we tried to make believable the fact that Tom’s character would want to go back there. Q: What did Ethan and Kristin bring to the workshops you conducted that amplified their characters? A: They brought emotional intelligence and know-how. We had some dialogue and scenes and just rehearsed. When something felt awkward or inauthentic or cumbersome, we thought, How else can we do it? So I was reinventing the film by means of the actors. Kristin did something heroic, playing somebody whose backstory or psychology we don’t know, really. She’s possibly a projection of the hero’s mind. How do you play that? Most actors would panic and run away. We worked on it by elimination—we had attempts at dialogue and little gestures. Sometimes we thought, That’s too concrete, too rich, too real, that’s too much information—it was like a tightrope at all times. How do we find a throughline for her that feels ambiguous, mysterious, but believable, and with its own energy so you go with it? She is a brilliant actress—I can’t imagine anyone else doing it. I think she enjoyed the role. Q: Joanna Kulig has done a bit of acting in Poland. How did you find her? A: She was in productions for the Slowacki Theater in Krakow, one of the best in Poland, and had done a couple of films, but she’s a relative newcomer. She’s also a singer. I saw her for another project I wrote for which I was casting, and she struck me as original, talented and fresh. When I was writing this, I generated the character for her, and also as a counterpoint to Margit, because she couldn’t be more of a contrast. They become the two women who pull Ethan in different directions. Joanna’s incredibly musical in her scenes. My way of working with her was trying to give a musical shape to each of her appearances. She waltzes in, pirouettes, then exits. It’s not dialogue-based, but more like a little performance with a beginning, middle, and end. And because there’s very little communication between her and the

hero apart from two scenes toward the end, they are like little performances. That method seemed to work quite well. Q: Samir Guesmi brought a lot of authenticity to the role of Sezer, the café owner. Where did you find him? A: I had a fantastic casting director in Paris, Stéphane Batut, who cast his net really wide— which I had asked him to do. Very often in England when you have casting directors, they obsess with the theater, whereas in France they look far and wide, or at least Stéphane did. Samir did a comedy film before this but as soon as he came in, you could see there was interesting energy. He had an amazing face and a kind of plasticity—and a great keenness to learn. I wanted everyone to be expressive. I didn’t want an average face. It was another discovery for me and a great pleasure for me to work with him. He definitely took the character to another level. In fact, all the characters—the policeman, people at the literary party—each one is a little work of art. It gave me real pleasure to make a film where nobody’s just functional. There’s a woman at the literary soirée who talks some nonsense about democracy, and she’s actually a famous intellectual in France, a TV personality whose views are diametrically opposed to what she’s saying. I just planted her in there, and she’s really expressive. I loved that. We were bursting out laughing when she was reading her lines, and there were many other funny moments we didn’t put in the film because it would have unbalanced it all. Q: There is an under layer of absurdist humor here and there, whether it’s around Tom’s disgruntled hallmate Omar, or the almost comically Gallic old lawyer Tom consults with about custody rights. A: He’s a real lawyer, by the way—but retired, and he had no acting experience! He’s got an amazing face, with a lot of presence. You get those kinds of absurdist nightmare elements in Kafka as well. The actor who plays Omar is a real rapper whose music we actually used in the film. He was quite expressive too. If you give such actors freedom, they come back with good stuff—and then you choose. Q: THE WOMAN IN THE FIFTH draws on different genre elements— psychological thriller, crime drama, romance—without embracing any of them completely. How does that differentiate this film from your two previous fiction features? A: I tried to make it without worrying about genre. There’s a guy lost in Paris, there’s a mystery woman, there’s a death, there is love, but the whole film was like a shot in the dark. The idea was, let’s give it its own momentum and not worry about genre signifiers. And that was scary because then you rely on the audience to be generous and watch it properly. But it’s also exciting because I’m so bored with watching films where I know what the game is immediately. If the film has its own poetics and seems to make sense, though we don’t quite know how, I like that. It’s what I want to see. As for my previous films, they all sit in kind of abstract environments, though they had a clear, naturalistic logic. As much as I can, I try to remove them from the here and now. They were happening in a three-dimensional world, instead of five dimensions. [Laughs] So this was different. Here there’s a strange mechanism, not love. I tried to create a slightly hypnotic atmosphere at the beginning. Some people will go on that journey with me and others will not, sticking to naturalistic expectations.

Q: Were there any source inspirations apart from the book? A: I grew up in a certain type of cinema, so I’m steeped in a certain tradition—I love Polanski in the ’60s, David Lynch, the Coen brothers. But I realized, when I thought of films like these, that they were too broad or too weird. There wasn’t one film that became a point of reference at all. Q: The film has a true multi-national character: the actors speak Polish, French, and English, and the story of the film itself, about an American in Paris, is another gesture of cultural hybridity. A: Well, what you want to avoid, because of production funds coming from different countries, is what they call the “Euro-pudding.” You know, I am a cultural hybrid myself: I’m Polish but I’ve lived abroad most of my life, since I was 14. I’ve never made a film in Poland. I spent a lot of time in Paris and somebody like Tom Ricks seems familiar to me. I totally relate to him. I selected materials which felt right for the film, and right for this world, but were also familiar to me. Nothing about the film is exotic to me. Nowadays Europe is pretty cohesive anyway. I speak French, so switching between languages is no big deal—it’s what I do anyway. I’d love to be making films in my backyard in Iran or Argentina, like others. But I live in some no man’s land between cultures—that’s my backyard. Q: How does your background in documentary inform what you do as a narrative filmmaker? A: When I was making documentaries, everyone was telling me, “Your images are so peculiar and stylized, you should be making fiction features.” That’s a misnomer— what they really meant is that there’s a particular world in my documentaries. I didn’t just record what’s out there in a verité manner. They were quite stylized and carefully edited and they have this slightly abstract quality, even though they deal with reality and quite dramatic situations. There was always a tendency toward the metaphorical and imagistic. What they gave me was a sense of freedom and the confidence to follow my nose. If something doesn’t feel real or expressive, let’s do something about it quickly. They gave me the courage and desire to sculpt things differently, to not be so formulaic and think on my feet, to make sure there’s life on screen—and some kind of poetry.

Q&A WITH ETHAN HAWKE Q: Since THE WOMAN IN THE FIFTH is suffused with ambiguity, there’s a real sense of discovery for a viewer; I imagine there must have been one for you as well in pinpointing how best to handle Tom’s conflicts and contradictions. A: I’ve never really had this kind of experience before: I wasn’t really sure what kind of movie we were making. Pawel came to see me in a play in London and we got along really well. He talked about the idea of Doug Kennedy’s book but was clear that it would just be a launching pad for his own, and I signed on to take this journey with him. We discovered the movie and the characters by diving into our own subconscious. The language and vocabulary of cinema is something he’s deeply immersed in. We had a lot of ideas about how to make the movie fun. It’s a portrait of madness, you know? And though it’s told from Tom’s point of view, he doesn’t see

himself that way or even understand his own failings. Normally in film you ask, Are the characters likable? Does it have a beginning, middle, and end? Those concerns weren’t really present in Pawel’s agenda. There was no genre he wanted to imitate. And it was incredibly exciting to work with him because of that. Q: How do you walk the tightrope between trying to serve a director’s vision and creating something of your own when embodying a character like Tom Ricks? A: Tom reminded me of a character I played when I was a kid. I kept thinking about Todd Anderson in DEAD POETS SOCIETY and the little [prep school] jacket I had to wear in that film. What would have happened to him 20 years later? I try to make a film as personal as possible, each time I go in front of the camera, even if it’s some corny entertainment movie. I like to have that going on, and it makes it interesting for an audience as well. Tom is a guy who’s reaching midlife and not sure he can go on or that he has the tools for how to grow into a fully mature adult. He’s hitting a crisis point—or at least that’s where we find him when the movie opens. Q: You’re a writer and novelist—and also a father—so his struggles must have resonated with you on many levels. A: Absolutely. I could really relate to Tom Ricks: early success, trying to figure out how to be [a better person]. We all have these ideas about how to be a parent before we have a kid, and then when you do have kids and get slapped against the daily nature of everything, it’s much more subtle than you imagined it to be. I tried to use that and put it into the movie. Pawel loves that - he really encouraged us to make this movie together, and that’s the fun of working with him. Q: Was there something in your first meeting with Pawel that you made you think: “This is a guy I can work with. He’s got good instincts.” A: To be totally honest, I was so blown away by the voice in MY SUMMER OF LOVE and LAST RESORT and how unlike other movies they were, I knew I wanted to work with Pawel before I even met him. So it was a relief when we did meet because we got along well. He and I are very simpatico about our love of cinema. We both feel slightly out of fashion in the kinds of movies we love. Q: Pawel likes to workshop with his actors to create characters and shape the story. How did that jibe with your own process? A: One of the things that’s unique about the way Pawel works is that we’d shoot for a period of time and then he’d take off for 10 weeks or so. Then he’d come back and rewrite the script based on what he learned in the editing. We didn’t “re-shoot” anything, or do different versions of the same scene. It was more like: “This character is interesting to me and I want to know more about him, so let’s write another scene for her.” Or “This character isn’t very interesting, so let’s cut that part of the story out.” Pawel and I worked really hard on my character. I went up to Oxford and we worked on the letter Tom was writing to his daughter, thinking it would be included in the movie. It wasn’t, but I think it helped us to know this guy’s inner life. It helped shape the editing of the movie, too. That’s the unpredictable part of collaboration, when you’re trying to discover a process. Pawel doesn’t have a rule sheet about filmmaking. He doesn’t have a shot list. He’s old school in his attempt to tell stories with, for lack of a better word, poetry. He doesn’t have any more of a game plan than John Ashbery does. He has things he wants to say, words he likes to

use, and expressions he chooses to articulate them, and then we would just go and play on set. It was fascinating. And it was also incredibly frustrating at times, because you would pour yourself into a scene and then he would decide he didn’t like it and we should scrap the whole thing—after you’d spent the day crying! Q: As an actress, Kristin was in a precarious position with this role because it becomes increasingly unclear whether she’s a projection of the author’s mind. A: Pawel’s really working in symbols and madness and love and death. It was really challenging. We came up with a lot of those scenes on the spot. What is a sex scene with that kind of character like? Well, it becomes more of a masturbatory scene, doesn’t it? I was so impressed with Kristin—she’s such a powerful presence. There aren’t many people who could embrace that. Q: The way Pawel shoots Paris is unlike anyone else... A: He makes Paris look like Bulgaria! [Laughs] Q: Was it different on the other side of the camera, too? A: Yeah, because the headspace was so different. It’s an anti-romance. I think Pawel enjoyed taking this dark, romantic study and placing it in the City of Lights. Because wherever you are in your head is where you are. You could live in Detroit and if you’re in love, the place is magical. And if you’re depressed, Paris can be bleak place. Q: Films about writers and artistic minds and the creative process often get it so wrong. Rarely do we get a strong sense of the inner life of an artist. A: The process of creativity is easy to glamorize to the point that it becomes ridiculous. You can show a boxer boxing, but how do you make a film about William Faulkner? What’s interesting about him is not his drinking and his relationships, but his poetry. Can you name any great films about enlightenment? There’s an endless library of books about spiritual awakening, but it’s kind of impossible to film, because it’s all happening inside, and so does real creativity. I think Pawel did a nice job of showing the torture of that experience. You sense the only way that Tom can do anything positive with his feelings is through art, because it’s not going to happen in his daily life. Q: The symbolic analogue to his writing process is a basement room that he’s locked into where there are some pretty unsavory things happening outside the door. A: Isn’t that fascinating? That’s where Pawel’s kind of a genius: Tom’s trying to find his inner muse and around him something horrible is happening that’s he’s complicit with. Maybe that’s a larger metaphor about trying to tell stories and win the Pulitzer when all around us is war and famine and the whole earth is falling apart. Or maybe it’s just that his life is outside that door—and it’s in a shambles.

ABOUT THE CREW PAWEL PAWLIKOWSKI Born in 1957 in Warsaw, Pawel Pawlikowski left Poland at 14, moved to London, Germany, Italy and finally settled in Great Britain. After studying literature and philosophy, he started his career directing documentaries, which are crowned by many prestigious awards. His transition to fiction came with medium-length film TWOCKERS in 1998. His debut theatrical feature film, LAST RESORT, earned international critical acclaim and remarkable receptions at numerous festivals. It was awarded a BAFTA for Most Promising Newcomer. His next film, MY SUMMER OF LOVE, won a BAFTA for Outstanding British Film of the Year, amongst a string of prestigious prizes. Between 2004 and 2007, Pawel Pawlikowski was a Creative Arts Fellow at Oxford Brookes University. He is fluent in six languages: his native Polish, as well as French, English, German, Italian and Russian. THE WOMAN IN THE FIFTH is his third feature film. Its worldwide premiere will be presented at the 2011 Toronto International Film Festival. Filmography Feature Films 2011 2004 2000

THE WOMAN IN THE FIFTH MY SUMMER OF LOVE LAST RESORT

Selected Documentaries 1998 CHARLIE CHAPLIN AND THE COSSACK GOLD 1994 TRIPPING WITH ZHIRINOVSKY 1992 SERBIAN EPICS DOSTOYEVSKY’S TRAVELS 1991 FROM MOSCOW TO PIETUSHKI 1989 VACLAV HAVEL

ABOUT THE CAST ETHAN HAWKE Ethan Hawke, born in 1970, is probably best known for his acting on film and stage. However, he is also an acclaimed screenwriter, film director, theater director, and novelist. He has starred in over 30 films, including DEAD POETS SOCIETY, BEFORE SUNRISE, BEFORE SUNSET, REALITY BITES, GATTACA, GREAT EXPECTATIONS, HAMLET, TRAINING DAY, BEFORE THE DEVIL KNOWS YOU’RE DEAD, and BROOKLYN’S FINEST. He has been nominated for an Academy Award as both an actor and a writer. On stage he starred in Lincoln Center’s Coast of Utopia, which was nominated for more Tony Awards than any play in history. He also starred in Jack O’Brien’s production of Shakespeare’s Henry IV, which won the Tony for best revival. Off Broadway he had a smash success in The New Group’s revival of David Rabe’s Hurlyburly. Recently, he has directed two plays for The New Group - Jonathan Marc Sherman’s Things We Want and Sam Shepard’s A Lie of the Mind. He has been nominated for a Drama Desk Award as both an actor and a director. He has directed two films – CHELSEA WALLS, which premiered at the Cannes Film Festival and THE HOTTEST STATE, which premiered at the Venice Film Festival. He has written two novels, The Hottest State and Ash Wednesday. Filmography 1985 1989 1991 1992 1993 1994 1995

1998

1999 2000 2001

EXPLORERS by Joe Dante DEAD POETS SOCIETY by Peter Weir DAD by Gary David Goldberg MYSTERY DATE by Jonathan Wacks WHITE FANG by Randal Kleiser A MIDNIGHT CLEAR by Keith Gordon WATERLAND by Stephen Gyllenhaal RICH IN LOVE by Bruce Beresford ALIVE by Frank Marshall FLOUNDERING by Peter McCarthy QUIZ SHOW by Robert Redford REALITY BITES by Ben Stiller BEFORE SUNRISE by Richard Linklater SEARCH AND DESTROY by David Salle GATTACA by Andrew Niccol GREAT EXPECTATIONS by Alfonso Cuaron THE VELOCITY OF GARY by Dan Ireland THE NEWTON BOYS by Richard Linklater JOE THE KING by Frank Whaley SNOW FALLING ON CEDARS by Scott Hicks TELL ME by Julie Delpy TAPE by Richard Linklater WAKING LIFE by Richard Linklater THE JIMMY SHOW by Frank Whaley

2004 2005 2006 2007 2008 2009 2010

TRAINING DAY by Antoine Fuqua BILLY DEAD by Keith Gordon TAKING LIVES by D.J. Caruso BEFORE SUNSET by Richard Linklater ASSAULT ON PRECINCT 13 by Jean-François Richet LORD OF WAR by Andrew Niccol FAST FOOD NATION by Richard Linklater BEFORE THE DEVIL KNOWS YOU’RE DEAD by Sydney Lumet CHELSEA ON THE ROCKS by Abel Ferrara WHAT DOESN’T KILL YOU by Brian Goodman LITTLE NEW YORK by James DeMonaco NEW YORK I LOVE YOU DAYBREAKERS by Michael and Peter Spierig BROOKLYN’S FINEST by Antoine Fuqua MOBY DICK THE WOMAN IN THE FIFTH by Pawel Pawlikowski

KRISTIN SCOTT THOMAS Award-winning actress Kristin Scott Thomas has become internationally renowned for her talent, elegance, and commitment to her craft. Never shying away from challenging roles and determined not to repeat herself, Scott Thomas' body of work is an extraordinary collection of acclaimed film, television, and theater performances. Scott Thomas received a Cesar Award nomination for her performance in Gilles Paque Brenner's SARAH’S KEY and was recently seen in Alain Corneau's CRIME D’AMOUR. She will soon appear in Declan Donnellan and Nick Ormerod's BEL AMI; Lasse Halstrom's SALMON FISHING IN THE YEMEN; SOUS TON EMPRISE, Alain Corneau’s UNE FEMME PARFAITE, and DANS LA MAISON. In 2010, Scott Thomas costarred in Sam Taylor Wood's directorial debut, NOWHERE BOY. For her performance, she received a Best Supporting Actress British Academy of Film and Television Arts Award nomination and a British Film Independent Award nomination. Last year, Scott Thomas appeared in Catherine Corsini's PARTIR. For her performance, Scott Thomas received a Cesar Award nomination for Best Actress. In 2001, Scott Thomas was part of the ensemble for Robert Altman's acclaimed, Oscar-winning film, GOSFORD PARK. Scott Thomas first won over audiences and critics worldwide with her Academy Award–nominated performance in the late Anthony Minghella's THE ENGLISH PATIENT, where she starred opposite Ralph Fiennes and Juliette Binoche. For her performance she was honored by the National Board of Review, and was nominated for a Golden Globe, the BAFTA, and the Screen Actors Guild Award. Making her U.S. film debut in Prince's UNDER THE CHERRY MOON, Scott Thomas went on to great acclaim in Mike Newell's FOUR WEDDINGS AND A FUNERAL, where she won a BAFTA award for Best Supporting Actress. Other notable credits include: Philip Haas' ANGELS AND INSECTS; Richard Loncraine's RICHARD III; Brian DePalma's MISSION: IMPOSSIBLE; Robert Redford's THE HORSE WHISPERER; Sydney Pollack's RANDOM HEARTS; Irwin Winkler's LIFE AS A HOUSE; Roman Polanski's BITTER MOON; Paul Schrader's THE WALKER and Justin Chadwick's THE OTHER BOLEYN GIRL, EASY VIRTUE, and CONFESSIONS OF A SHOPAHOLIC.

Filmography 1985 1987 1988 1989 1990 1991 1993 1994 1995 1996 1997 1998 1999 2002 2003 2004 2005 2007 2008 2009

2010

UNDER THE CHERRY MOON PRINCE THE MAN WHO LOVED ZOOS by Jean-Pierre MOCKY LOUNGE CHAIR by Jean-François AMIGUET A HANDFUL OF DUST by Charles STURRIDGE UNCONTROLLABLE CIRCUMSTANCES by Pierre JOLIVET HEADSTRONG by Carlo COTTI THE GOVERNOR’S PARTY by Marie-France PISIER THE BACHELOR by R. FAENZA IN THE EYES OF THE WORLD by Eric ROCHANT BITTER MOON by Roman POLANSKI FOUR WEDDINGS AND A FUNERAL by Mike NEWEL AN UNFORGETTABLE SUMMER by Lucian PINTILIE THE CONFESSIONAL by Robert LEPAGE ANGELS AND INSECTS by Philip HAAS THE POMPATUS OF LOVE by Richard Schenkman MISSION : IMPOSSIBLE by Brian de PALMA THE ENGLISH PATIENT by Anthony MINGHELLA RICHARD III by Richard LONCRAINE LOVE AND CONFUSIONS by Patrick BRAOUDÉ THE REVENGERS’ COMEDIES by Malcolm MOWBRAY THE HORSE WHISPERER by Robert REDFORD UP AT THE VILLA by Philip HAAS RANDOM HEARTS by Sydney POLLACK SMALL CUTS by Pascal BONITZER ARSENE LUPIN by Jean-Paul SALOMÉ MAN TO MAN by Régis WARGNIER THE VALET by Francis VEBER TELL NO ONE by Guillaume CANET 2 ALONE IN PARIS by Eric Judor and Ramzy Bedia LARGO WINCH by Jérôme SALLE LEAVING by Catherine CORSINI I’VE LOVED YOU SO LONG by Philippe CLAUDEL IN YOUR HANDS by Lola DOILLON NOWHERE BOY by Sam TAYLOR-WOOD LOVE CRIME by Alain CORNEAU SARAH’S KEY by Gilles PAQUET BRENNER THE WOMAN IN THE FIFTH by Pawel PAWLIKOWSKI BEL AMI by Dunkan DONNELLAN SALMON FISHING in the YEMEN by Lasse HALLSTRÖM

Main Credits Haut et Court and Film4 present in association with UK Film council A co-production with SPI INTERNATIONAL POLAND and THE BUREAU with the participation of CANAL + ORANGE CINEMA SERIES HAUT ET COURT DISTRIBUTION ARTIFICIAL EYE in association with MEMENTO FILMS INTERNATIONAL COFICUP – BACKUP FILMS LA BANQUE POSTALE IMAGE 4 SOFICINEMA 6 POLISH FILM INSTITUTE produced by CAROLINE BENJO CAROLE SCOTTA based on the novel by DOUGLAS KENNEDY screenplay PAWEL PAWLIKOWSKI director of photography RYSZARD LENCZEWSKI production designer BENOIT BAROUH editor DAVID CHARAP ETHAN HAWKE KRISTIN SCOTT THOMAS JOANNA KULIG SAMIR GUESMI

A film by PAWEL PAWLIKOWSKI The Woman In the Fifth

END CREDITS Tom Margit Ania Sezer Nathalie Chloe Laurent Omar Moussa Dumont Lorraine L’herbert Isabella Lieutenant Coutard Lawyer Lawyer's translator Teacher Lieutenant children unit Customs officer Margit's neighbour American writer 1 American writer 2 Passer-by

ETHAN HAWKE KRISTIN SCOTT THOMAS JOANNA KULIG SAMIR GUESMI DELPHINE CHUILLOT JULIE PAPILLON GEOFFREY CAREY MAMADOU MINTÉ MOHAMED AROUSSI JEAN-LOUIS CASSARINO JUDITH BURNETT MARCELA IACUB WILFRED BENAÏCHE PIERRE MARCOUX ROSINE FAVEY ANNE BENOIT GRÉGORY GADEBOIS from "la Comédie Française" DONEL JACKS’MAN LAURENT LEVY DOUG RAND TERCELIN KIRTLEY NICOLAS BEAUCAIRE

Original music

MAX DE WARDENER

1st assistant director

SYLVIE PEYRE

Costume designers

JULIAN DAY SHAIDA DAY

Casting directors

STÉPHANE BATUT ALEXANDRE NAZARIAN

Sound mixer

NICOLAS CANTIN

Sound re-recording mixer

JEAN-PIERRE LAFORCE

Sound editor

VALÉRIE DELOOF

Dialogue editor

AGNÈS RAVEZ

Executive producer

TESSA ROSS

Associate producer

SIMON ARNAL

Line producer

BARBARA LETELLIER

Co-producers

PIOTR REISCH SOLEDAD GATTI-PASCUAL

Production manager

SYBILLE NICOLAS-WALLON

Script supervisor 2nd assistant director 3rd assistant director Extras casting Assistant extras casting 1st assistant director (2nd unit) 2nd assistant director (2nd unit)

BARBARA CONSTANTINE JULIE GOUET YANN CHEMIN ESTELLE CHAILLOUX PABLO BARBETTI NICOLAS CAMBOIS THOMAS LAFFIN

Post-production supervisor Assistant editor Foley artists

CHRISTINA CRASSARIS ELSA FERNANDEZ PASCAL CHAUVIN FANCK TASSEL CLÉMENT LAFORCE MATTHIEU TIBI JACKY LEFRESNE

Sound re-recording mixer trainee Recording studio assistant Digital color grader Boom operators Sound assistant Boom operator (2nd unit) ADR boom operator Art director Set decorator Property master Set buyer Property buyer Art department trainee / illustrator Assistant property master Machinist rippers Machinist-ripper trainee Construction coordinator Carpenters Construction trainee Head painter Specialist painters

DOMINIQUE EYRAUD BAPTISTE KLEITZ MARIE MOUGEL THOMAS GASTINEL LIONEL LEBRAS CHRISTOPHE COUZON DEVI TIROUVANZIAM MICHEL CHARVAZ MURIEL CHINAL PASCAL VIGNIER ADRIEN ERNANDEZ RIA CHARVAZ TEDDY BAROUH MATHIEU CHATAGNON XAVIER MARTINS-BALTAR XAVIER DONTOT MICHEL ESCANDE CHRISTIAN GIORDANO FABRICE PARISY BERTRAND AUBERT RODOLFE GONZALEZ EMMANUELLE DUBARRY LOÏC JOLLY

Painter Painter trainee Upholsterers

Photo Kristin Scott Thomas

STÉPHANE GUFROY SÉBASTIEN HULOT CAROLE RACAMIER CHRISTOPHE POMMIE MARTIN TRONQUART OLIVIER CHOUTREAU MATHIEU CHATAGNON SIMON ANNAND

Key makeup artist Extra makeup artist Special effects makeup artist Key makeup artist (2nd unit)

GILL ROBILLARD CATHERINE VRIGNAULT ALEXIS KINEBANYAN FRANÇOISE CHAPUIS

Key hair stylist Extra key hair stylist Key hair stylist (2nd unit)

STÉPHANE DESMAREZ YONNEL BOGAERT FEROUZ ZAAFOUR

Extra wardrobe assistants

MARINE DEMOURY JULIEN HUMEAU

Costume supervisor (2nd unit) Wardrobe assistant (2nd unit)

VALÉRIE LE HELLO MARIA PAWLIKOWSKA

French dialogue coach Ethan Hawke

THÉO HAKOLA TANYA BLUMSTEIN ARABELLA HUTTER

French dialogue coach Joanna Kulig

ISABELLE JANNES-KALINOWSKI

Production accountants

Parking manager

ESPERANZA CASERO PAUL ONTENIENTE CATHY DUTHEIL ALAIN MOUGENOT NICOLAS DAVY REZA BOIRAHMADY STÉPHANE LEFEBVRE ROLAND BERTHEMY CLAIRE DELHOMME CHRISTOPHE HENRY CÉCILE MORIN PIERRE ALEXANDRE LÉONARD DORINE SIMON REZA BOIRAHMADY STÉPHANE LEFEBVRE CHRISTOPHE HENRY ALEXIA SÉGARD FURIO CONSTANTINO

Focus puller Loader Video assistant

MATHIEU LE BOTHLAN FRANÇOIS GALLET LUNA JAPPAIN

Property master (2nd unit) Set dressers (2nd unit)

Production secretary Unit manager Extra unit manager Location manager Assistant Location runners

Extras location runners Unit managers (2nd unit) Location runners (2nd unit)

Steadicam operator Focus puller (2nd unit) Loader (2nd unit) Video assistant (2nd unit) Still photographer Making-of director

RICHARD MERCIER LOÏC SAVOURE JULIEN BULLAT LAURE CANIAUX JEAN-CLAUDE LOTHER SIMON WALLON-BROWNSTONE

Gaffer Electricians

MICHEL SABOURDY SÉBASTIEN COURTAIN OLIVIER SARGATAL FRÉDÉRIC LOUSTALOT BRICE BAILLY VIRGILE REBOUL FABIEN LEDUC YANN QUEHEC PIERRE VERGNE

Additional electricians

Genny operator Key grip Grips Extra grips

Key grip (2nd unit) Grips (2nd unit) Stuntmen

Location scout 1st ad

ANTONIN GENDRE PASCAL DELAUNAY JAN GAGNAIRE GIOVANNI QUENÉ PHILIPPE CANU PIERRE GARNIER PHILIPPE GARNIER GEOFFROY HASSOUN BRUNO DUBET ÉRIC LARSENE ROBERT DENA PHILIPPE GUEGAN PASCAL GUEGAN GILLES CONSEIL ALAIN BIRCHLER

DENIS KRALJ EDITH ROUX Location scout unit manager KARINE PETIT Assistant location scout unit manager MANUEL TRISCHLER Visual effects MIKROS IMAGE Visual effects supervisor CÉDRIC FAYOLLE Graphic artist OLIVIER VEAU Film stock KODAK Camera equipment TSF CAMÉRA Lightning equipment TSF LUMIÈRE Grip equipment TSF GRIP CINESYL Sound equipment TOUTOUÏ Food service SOCIÉTÉ NOUVELLE FIGU JOACHIM FIGUERAS CRISTINA ARAUJO Car service CHRISCAR RESERVOIR AUTO

Communication service Travel agency Partnerships Security service Laboratory Project manager Chief operating Director of productions Dailies color grader Chimical color grader Dailies synchronisation Stock shot Digital laboratory Digital supervision Production Project manager Conformation Scanning / Film recording VFX Editing rooms shooting Final mix ADR ADR recording Foley Insurance Lawyers Bank Public relations Original Music Composed by Published by

SABBAH COMMUNICATIONS ABK6 INTERMONDE CASABLANCA – CATHERINE EMOND LVV SUNSHINE GSP ARANE MARINA LALOUX DANIEL PEREIRA LUC POURRINET SABRINA MATHOUX SOPHIE LUSTIÈRE DCA CATHERINE TOCHEPORT LE CHAINON MANQUANT MIKROS IMAGE MATHIEU LECLERCQ SOPHIE DENIZE BÉATRICE BAUWENS LAURENCE RAIMBAULT JEAN-BAPTISTE LE GUEN MIKROS IMAGE DUM DUM FILMS AUDITORIUMS DE BOULOGNE MOT POUR MO AUDITORIUMS DE JOINVILLE GOLDCREST NEW YORK AUDITORIUMS DE JOINVILLE DIOT BELLAN PIERRE SÉLINGER, SUSAN H. BODINE NATIXIS COFICINÉ NEUFLIZE OBC ANDRÉ-PAUL RICCI – TONY ARNOUX

Music supervisor Recorded at Scoring engineer Mixing at Scoring mixer

Max de Wardener Big Life Music Ltd/In All Seriousness Music Ltd Sylvain Morizet François Dru Abbey Road Studios Jonathan Allen Aquarium Studio Paul Chips

Musicians Cloud Chamber Bowls Guitar

Tom Skinner - Paul Clarvis - Dave Price Chris Morphitis

European Camerata Leader Harp Piano

Laurent Quénelle Bryn Lewis Catherine Edwards

Arranged and orchestrated by

Additional Music TOMASZÓW written by Julian Tuwim Composed by Zygmunt Konieczny Performed by Ewa Demarczyk & © Ewa Demarczyk PER LE PORTE DEL TORMENTO Georg Friedrich Händel (1685-1759) Sosarme, Rè di Media, HWV 30 "Per le porte del tormento" (Sosarme, Elmira) Sosarme: Alfred Deller (altus), Elmira: Margaret Ritchie (soprano) St. Cecilia Orchestra, Anthony Lewis by courtesy of M.A.T Music Theme Licensing Ltd. LA PLUS QUE LENTE (L.121) Debussy Performed by Alexis Weissenberg 1986 Deutsche Grammophon by courtesy of Universal Music Vision EINY by Hamid Al Shaeiry- Hesham Abbas. Written & composed by Antar Helal. & © Alam El Phan KÜRT KIZI – KECE KURDAN composed and performed by Aynur Dogan & © Kalan Muzik BLING BLING TOYS Willy L’Barge & © Minte Mamadou LUSTER by Max de Wardener Published by Soundslike Music / Bucks Music Group Ltd (PRS) MEYHANECI interpreted by Aynur Hashas & © Aynur Hashas The director wishes to thank Ethan Hawke - Macarena Jimenez-Naranjò - John Woodward - Éric Abraham Alfonso Cuaron The producers wish to thank Douglas Kennedy - Bertrand Faivre - Editions Belfond

Director and producers wish to thank Ryan Hawke - Laurent Grégoire - Iwona Ziulkowska - Frédérique Moidon - Stéphane Lieser - Frédérique Polet Rodolphe Belmer - Franck Weber - Manuel Alduy - Sarah Wickler - Sandra Mirimanoff - Lorraine Sullivan - Boris Duchesnay Emilie Georges - Tanja Meissner - Jean-Baptiste Babin - Joël Thibout - David Atlan Jackson - Hugues de Chastellux - Antoine Schneider Louisa Dent - Philip Knatchbull - Dominique Malet - Tahereh Khazrai - Didier Duverger - Silvia Laj - Jérôme Tonson - Anne Flamant Thomas Jamois - Claude Duvivier - Jean-Félix Lalanne - Gilles Gaillard LA MAIRIE DE PARIS - MISSION CINEMA – PARIS FILM Madame Sophie Boudon-Vanhille and Madame Monique Cabaret LA DIRECTION DES ESPACES VERTS ET DE L’ENVIRONNEMENT DE LA VILLE DE PARIS, Madame Pascale Truchon-Thierret LA PRÉFECTURE DE POLICE DE PARIS Service des Autorisations de Prises de Vues – Madame Sylvie Barnaud LA DIRECTION DES AFFAIRES SANITAIRES ET SOCIALES DE PARIS La Commission des Enfants du Spectacle - Madame Martine Barcala Avec l’aimable concours de la Ville de Paris et de la Société d’Exploitation de la Tour Eiffel. Association pour le rayonnement de l’œuvre de Monsieur Yves Saint Laurent Aéroports de Paris, Joëlle Bellec - Apple - Babcock Bioderma - Blackberry ® - Bugaboo – Cabinet L’Herminier, Madame Motte - Calipage - Doro Matra - Guerlain - Hôtel Les 3 Poussins Hôtel Arvor I.U.F.M - Librairie Le Petit Roi - Maratier - Montres Hamilton - Mr Mermazadeh - RATP - SIEMP - SNCF, Sophie Besse Le Souk - Volvo Automobiles France – SCI Paris Poissonniers Production design Abracadabra.net - Bonhomme de bois - Domaine Bertaud Belieu - Chateau Malescasse - Fischet - Kide Gallery - L’institut Hongrois La Librairie Polonaise - Packard Bell- Petit Pan - Philips - PMU – Zenitel Art Painters / Photographers : Agnès Lebeaupin - André Cervera – André Pierre Arnal – Claude Viallat – Francis Meyrie – Patrick Naggar – Gérard Traquandi Michel Sabourdy - Margit’s daughter’s picture : Agnès Barouh HAUT ET COURT Olivier Pasquier - Stéphanie Loriot - Julie Billy - Nicolas Voillard - Sabria Yahia Cherif - Geoffrey Postic SPI INTERNATIONAL POLAND Teresa Elwertowska - Katarzyna Kaczmarek - Ewelina Karkoszka THE BUREAU Bertrand Faivre - Vincent Gadelle

HAUT ET COURT DISTRIBUTION Laurence Petit – Marion Tharaud – Carolyn Occelli - Martin Bidou - Christelle Oscar FILM4 Harry Dixon - Sue Bruce-Smith - Sam Lavender - Tracey Josephs UK FILM COUNCIL Chris Collins - Jon Croker - Fiona Morham - Geraldine Atlee - Vince Holden An official French-Polish Co-Production A co-production Haut et Court – Film4 – SPI International Poland – The Bureau In association with UK Film Council with the participation of Canal + - Orange Cinéma Séries Haut et Court Distribution – Artificial Eye In association with Memento Films International Coficup – Backup Films La Banque Postale Image 4 Soficinéma 6 A Polish Film Institute Co-financed Production General Director - Agnieszka Odorowicz With the support of I2I a MEDIA Programme of the European Union Developed with the support of Cofinova 2 Based on the novel by Douglas Kennedy A film by Pawel Pawlikowski Made with the support of the UK Film Council’s Film Fund © Haut et Court – Film4 - UK Film Council – SPI International Poland Visa d’exploitation n°126.361 Dépôt légal 2011