IMDb > Twelfth Night or What You Will (1996)
Twelfth Night or What You Will
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Twelfth Night or What You Will (1996) More at IMDbPro »

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Twelfth Night or What You Will -- Open-ended Trailer from Fine Line


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William Shakespeare (by)
Trevor Nunn (screenplay)
View company contact information for Twelfth Night or What You Will on IMDbPro.
Release Date:
25 October 1996 (USA) See more »
Before Priscilla crossed the desert, Wong Foo met Julie Newmar, and the Birdcage was unlocked, there was... See more »
Shakespeare's comedy of gender confusion, in which a girl disguises herself as a man to be near the count she adores, only to be pursued by the woman he loves. Full summary » | Add synopsis »
Plot Keywords:
1 win & 2 nominations See more »
User Reviews:
The height of autumnal wistfulness. See more (61 total) »


  (in credits order) (verified as complete)

Directed by
Trevor Nunn 
Writing credits
William Shakespeare (by)

Trevor Nunn (screenplay)

Produced by
Christopher Ball .... executive producer: Newmarket Capital Group LP
Mark Cooper .... line producer
Simon Curtis .... executive producer: BBC Films
Stephen Evans .... producer
David Garrett .... executive producer: Summit Entertainment N.Y.
Bob Hayward .... executive producer: Summit Entertainment N.Y.
Ileen Maisel .... executive producer
David Parfitt .... producer
Greg Smith .... executive producer
William Tyrer .... executive producer: Newmarket Capital Group LP
Ruth Vitale .... executive producer
Patrick Wachsberger .... executive producer: Summit Entertainment N.Y.
Jonathan Weisgal .... executive producer
Original Music by
Shaun Davey 
Cinematography by
Clive Tickner 
Film Editing by
Peter Boyle 
Casting by
Carl Proctor 
Production Design by
Sophie Becher 
Art Direction by
Ricky Eyres (supervising art director)
David Hindle 
Set Decoration by
Marianne Ford 
Costume Design by
John Bright 
Makeup Department
Christine Beveridge .... hair designer
Christine Beveridge .... hair stylist
Christine Beveridge .... key makeup artist
Eithne Fennel .... key hair stylist
Helen Johnson .... makeup artist
Barbara Taylor .... hair stylist
Elizabeth Yianni-Georgiou .... hair stylist
Elizabeth Yianni-Georgiou .... makeup artist
Production Management
Johnny Bamford .... unit manager
Second Unit Director or Assistant Director
Oscar Beuselinck .... second assistant director: second unit
William Booker .... assistant director
Emma Griffiths .... assistant director
Emma Pounds .... assistant director
Guy Travers .... assistant director
Art Department
Lee Betis .... painter (as Lee Betts)
Bobby Betts .... stand-by painter
Mark Brady .... stand-by carpenter
Anthony Caccavale .... painter
Julia Castle .... art department assistant
Martin Freeman .... carpenter
John Greaves .... storyboard artist
Rebecca Holmes .... assistant art director
Jonathan Hurst .... chargehand stand-by prop
Martin Kingsley .... property master
Colin Lovering .... scenic painter
Anthony McGee .... carpenter
John McGee .... carpenter
Daniel O'Regan .... carpenter
John O'Regan .... carpenter
Keith Pitt .... dressing props
Steven Sallybanks .... scenic artist (as Steve Sallybanks)
Anabel Yorke .... assistant to set decorator
Sound Department
Paul Cridlin .... boom operator
David Crozier .... production sound mixer
David Crozier .... sound editor
Diane Greaves .... foley artist
Joe Illing .... foley editor
Dominic Lester .... sound re-recording mixer
Mick Monks .... assistant sound editor
Robin O'Donoghue .... sound re-recording mixer
Alan Paley .... foley editor
Bob Risk .... supervising sound editor
Jack Stew .... foley artist
Peter Gleaves .... adr mixer (uncredited)
Special Effects by
James Davis III .... special effects senior technician
Jeremy Lovett .... special effects technician
Stefano Pepin .... special effects assistant
Visual Effects by
Courtney Vanderslice .... head of production: Cinesite
Aviv Yaron .... Compositor: Cinesite
Sarah Franzl .... stunts
Nick Gillard .... stunt coordinator
Derek Lee .... stunts
Lee Sheward .... stunts
Sarah Franzl .... stunt double: Imogen Stubbs (uncredited)
Camera and Electrical Department
Kenneth Atherfold .... grip (as Kenny Atherford)
Alex Bailey .... still photographer
Chris Bain .... camera trainee
Buddy Blackwell .... video assist operator
Roy Branch .... best boy
Paul Brinkworth .... grip
Dave Cook .... electrician
Dave Cook .... genny op
Steve Costello .... gaffer
Paul Cronin .... electrician
Wendy Dixon .... assistant still photographer
Jeremy Hiles .... camera operator
Philip Kenyon .... grip (as Phil Kenyon)
Nigel Kirton .... Steadicam operator
Mick Lay .... electrician
Rod Marley .... clapper loader
Pat Miller .... gaffer: effects unit
Dave Moore .... best boy
Jason Olive .... second assistant camera
Steve Roberts .... electrician
Peter Robertson .... Steadicam operator
Jonathan Sykes .... first assistant camera
Dean Thompson .... second assistant camera
Steve Tickner .... camera operator: second unit
Mike Valentine .... underwater camera operator
Peter Versey .... camera operator
Peter Versey .... camera operator: second unit
George Vince .... electrician
Tim Wooster .... camera operator
Jason Wrenn .... focus puller (as Jason Wren)
Costume and Wardrobe Department
Maurizio Basile .... costume assistant
Joe Hobbs .... wardrobe master
Yvonne Hobbs .... wardrobe mistress
Sue Honeybourne .... assistant costume designer
Marcus Love-McGuirk .... costumer
Berverley Webb .... costume assistant
Editorial Department
Tullio Brunt .... first assistant editor
Paul Ensby .... color timer
Mike Fraser .... negative cutter
Liz Roe .... second assistant editor (as Elizabeth Roe)
Music Department
Valerie Armstrong .... vocals
Peter Beamish .... vocals
Linda Byrne .... piano: soloist
Sarah Byrne .... supervising: copyist
Rita Connolly .... vocals
Shaun Davey .... additional orchestrator
Noel Eccles .... featured percussion
Brian Masterson .... music recordist
Des Moore .... guitar: soloist
Fergus O'Carroll .... additional orchestrator
Martin O'Connor .... accordion: soloist
Alan Smale .... orchestra leader
Fiachra Trench .... conductor
Fiachra Trench .... orchestrator
Denis Woods .... computer programmer: music department
John Woolf .... musical director
Transportation Department
Tony Bird .... transportation manager
Other crew
Libbie Barr .... script supervisor
Liz Barron .... financial controller
Grietje Besteman .... underwater double
Claire Chapman .... production associate
Cleone Clarke .... assistant to producers
Gillian Dawes .... production coordinator
Steve Dent .... horse coordinator
Karen Gilbert .... production assistant
Emma Hepple .... horse handler
Ian Hodson .... underwater double
Stuart Hopps .... choreographer
Jonathan Hurst .... stand-by person
Julie Linnane .... accounting assistant
Miara Martell .... location manager (as Martell)
Elisabeth Penrith .... stand-in
Nick Prideaux .... stand-in
Malcolm Ranson .... fight director
Margaret Teatum .... post-production accountant
Nick Turnbull .... stand-by person
Elaine Tyler-Hall .... assistant choreographer
Ben Kingsley .... narrator (voice) (uncredited)

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
"Twelfth Night" - USA (poster title)
See more »
Rated PG for mild thematic elements
134 min
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

In Twelfth Night, the character of Orsino is several years older than Viola. However, at the time of the film's release, Imogen Stubbs (Viola) was 35; 8 years older than Toby Stephens (Orsino), who was 27.See more »
Audio/visual unsynchronized: Feste's guitar playing for Cesario (Viola) and Orsino does not match up with the soundtrack.See more »
Malvolio:Some are born great, some achieve greatness, and some have greatness thrust upon them.See more »
Movie Connections:
Version of She's the Man (2006)See more »
O Mistress MineSee more »


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32 out of 39 people found the following review useful.
The height of autumnal wistfulness., 4 June 2003
Author: Tom May ( from United Kingdom

Reading Trevor Nunn's thoughts on his film, it is easy to conclude that they were lucky to obtain such sublime weather for the large duration of the filming, in November. The Cornwall locations are absolutely enchanting; showing an England so far from the urban norm these days. The beautiful natural light, with later dark contrasts, perfectly complements the jovial, winning mood of this Shakespeare comedy brought to screen: and, what is more, this is truly beyond any sense of 'heritage cinema', as Shakespeare's genius is retained.

Yes, it is all a very 'accessible' package, but much is unusual and distinctive to this film adaptation. Ben Kinglsey is perhaps the most glaring instance of a radical re-invisioning; his acting - stripped bare of artifice - is utterly compelling and keeps you watching his every mannerism. This Feste is an eccentric, multi-talented clown and performer, but he also bears words of cutting, melancholy truth. Indeed, both are wonderfully combined with the gorgeously sad scene of Staunton, Grant and Smith listening to his sad song: they listen and the words cut into their veneers. Loneliness is at their very core. What a brilliantly rounded comedy this is; balanced by melancholy - the inch-perfect awry note struck by Hawthorne's Malvolio appearing at the end - and good will - the comradely bonhomie that Grant and Smith are indeed shown to share.

Hawthorne and perhaps more surprisingly Mel Smith and Richard E. Grant really do a fine job and imbuing some real character in their parts; treading a line between broad comedic playing and human sadness. Along with Kingsley's career-best (? not seen too many of his films) performance, they lend this film its heart, and play very well against the wonderful settings. Mackintosh and Stubbs are I guess a little less compelling, but these roles are really difficult to carry off... nothing about them really lingers too long in the memory, like Kingsley's expressions, bizarre little pieces of dance and his pared-down delivery. Helena Bonham Carter is perhaps overly assured as the vain countess dame, Olivia: oh so archly bemused when faced by the cross-gartered, prancing Hawthorne, but generally Ms. Bonham Carter is very much in her usual, predictably petulant, period-costume mode. Which is probably being unfair; she does convince, at the end of the day.

Overall then, a wonderfully colourful delight, bearing the flavour of bright, melancholy late summer-into-autumn. A strange chill is cast by the compelling Kinglsey; a sadness that cannot be dispelled. This film has light amusement in addition to this real edge, and is ultimately a very affecting rendering of a bona fide Shakesperean classic.

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