| Kate Ashfield | ... | Sadie MacGregor | |
| David Morrissey | ... | Richie MacGregor | |
| Peter Mullan | ... | Consultant | |
| Anthony Borrows | ... | Luke | |
| Sian Reeves | ... | Glenda | |
| Alan Stocks | ... | Alan | |
| Corinne S. Carter | ... | Midwife | |
| Alexis Tuttle | ... | Doctor at Birth | |
| Emma Lowndes | ... | Nurse at Birth | |
| Linda Bassett | ... | Nurse Nina | |
| Shauna Shim | ... | Nurse Janey | |
| Gerry Hinks | ... | Richie's Father | |
| Judi Jones | ... | Richie's Mother | |
| Caroline O'Neill | ... | Nurse Babs | |
| Archie Panjabi | ... | Niala | |
| rest of cast listed alphabetically: | |||
| Zara Bridget Bell | ... | Baby Luke | |
| Frasier Cordon | ... | Baby Luke | |
| Rebecca Jade Evans | ... | Baby Luke | |
| Joshua Freeman | ... | Baby Luke | |
| Rani Moorthy | ... | Registrar at Birth | |
| Bernard Nagle | ... | Sadie's Dad | |
| Sarah Raymond | ... | Temporary Nurse | |
| Leon Sellers | ... | Baby Luke | |
Directed by | |||
| Sarah Gavron | |||
Writing credits(in alphabetical order) | ||
| Rosemary Kay | writer | |
Produced by | |||
| Jeremy Howe | .... | executive producer | |
| Stewart Mackinnon | .... | producer | |
| Colin Pons | .... | production executive: SON | |
| Paul Ritchie | .... | line producer | |
| David Thompson | .... | co-executive producer | |
| Paul Trijbits | .... | co-executive producer | |
Original Music by | |||
| Dario Marianelli | |||
Cinematography by | |||
| David Katznelson | |||
Film Editing by | |||
| William Diver | (as Bill Diver) | ||
Casting by | |||
| Joyce Nettles | |||
| Michelle Smith | |||
Production Design by | |||
| David Munns | |||
Art Direction by | |||
| Sue Booth | |||
Costume Design by | |||
| Julian Day | |||
Makeup Department | |||
| Joyce Dean | .... | makeup designer | |
| Carly Green | .... | makeup assistant | |
Production Management | |||
| Sandra Shuttleworth | .... | production manager | |
| Matthew Vizard | .... | post-production supervisor: BBC Films | |
Second Unit Director or Assistant Director | |||
| Guy Barker | .... | third assistant director | |
| Simon Noone | .... | second assistant director | |
| Simon Turner | .... | first assistant director | |
Art Department | |||
| Beverley Gerard | .... | dressing props | |
| Rebecca Hemy | .... | stand-by art director | |
| Colin Mutch | .... | stand-by props | |
| Mike Roberts | .... | props master | |
| Natalie Shearer | .... | art department assistant | |
| Duncan Wheeler | .... | production buyer | |
Sound Department | |||
| Vicky Brazier | .... | dubbing editor | |
| Doug Cooper | .... | sound re-recording mixer | |
| Giancarlo Dellapina | .... | sound mixer | |
| Giancarlo Dellapina | .... | sound recordist | |
| Robert Farr | .... | sound re-recording mixer | |
| Kim Harding | .... | boom operator | |
| Tim Lewiston | .... | dubbing editor | |
Special Effects by | |||
| Tom Carruthers | .... | special effects | |
| Neill Gorton | .... | special effects | |
| Gustav Hoegen | .... | special effects | |
| Neil Morrill | .... | special effects | |
| Ian Morse | .... | special effects | |
Camera and Electrical Department | |||
| Jim Bishop | .... | focus puller | |
| Sara Deane | .... | clapper loader | |
| Michael C. Hawk | .... | grip | |
| Jakob Hire | .... | photography: second unit | |
| Alessandra Scherillo | .... | photography: second unit | |
| Otto Stenov | .... | gaffer | |
| Adam Suschitzky | .... | photography: second unit | |
| Dan Thomas | .... | best boy | |
| Per Tingleff | .... | photography: second unit | |
Casting Department | |||
| Beverley Keogh | .... | additional casting | |
Costume and Wardrobe Department | |||
| Mark Foster | .... | costume supervisor | |
| Lisa Phillips | .... | costume assistant | |
Editorial Department | |||
| Ergin Ahmet | .... | colorist | |
| Justinian Buckley | .... | assistant editor | |
| Cas Casey | .... | on-line editor | |
Music Department | |||
| Peter Fuchs | .... | score mixer | |
Other crew | |||
| Joanne Bendon | .... | assistant production accountant | |
| Emma Clarke | .... | senior executive: Film Council | |
| Douglas Cooper | .... | post-production accountant | |
| Katie Easton | .... | assistant to director | |
| Francesca Franklyn | .... | script editor | |
| Joanna Gueritz | .... | production executive: BBC | |
| Peta Inglesent | .... | post-production accountant | |
| Sarah Kaye | .... | production accountant | |
| Paul McGavin | .... | set runner | |
| Eliza Mellor | .... | production executive: BBC | |
| Helen Moran | .... | script supervisor | |
| Fiona Morham | .... | head of physical production for film council | |
| Mark O'Hanlon | .... | location manager | |
| Joe Oppenheimer | .... | production executive: BBC | |
| Colin Pons | .... | production executive: YMPA | |
| Howard Schuman | .... | story consultant | |
| Paul Sparrow | .... | production runner | |
| Andy Stebbing | .... | production coordinator | |
| Sam Whymant | .... | floor runner | |
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I found this story hugely moving from the outset. The story centers around 3 main characters. Sadie, the ever-loving, very devoted mother. Richie, her very caring partner, and Luke, their son.
Luke was born very prematurely, weighing only 1lb 4oz. It was doubtful that he was going to survive very long at all, but thanks to the will-power and caring of his mother Sadie, he seemed to be hanging in there. Sadie has an amazing connection to Luke, knowing instinctively when he's ill or unhappy. The whole film shows how determined one mother was to keep her son alive, at any cost, even that of her marriage or sometimes her mind. Excerpts from Sadie's diary are read, giving narrative to the tale. As well as showing small clips from Luke's later life, that'll never be. In the end though, there are some really hard decisions to be made. When Luke takes a turn for the worse, Sadie and Richie have to ask a stark question: What is this little life ultimately worth?
Amazing performances on such an achingly hard topic. Well done to Peter Mullan, whose tremendous effort as the caring Consultant really paid off. Giving this film a human edge that i didn't think was possible.