Cassandra's Dream (2007)

Director:

Woody Allen

Writer (WGA):

Woody Allen (written by)

Release Date:

26 October 2007 (Spain)

Genre:

Crime | Drama | Romance | Thriller

Tagline:

How far will you go to make your dreams come true?

Plot:

The tale of two brothers with serious financial woes. When a third party proposes they turn to crime, things go bad and the two become enemies.

Plot Keywords:

Money | Hotel | Loan Shark | Loan | Sailboat

Cast

Ewan McGregor	...	Ian
Colin Farrell	...	Terry
Peter-Hugo Daly	...	Boat Owner (as Peter Hugo-Daly)
John Benfield	...	Father
Clare Higgins	...	Mother
Ashley Madekwe	...	Lucy (as Ashley Medekwe)
Andrew Howard	...	Jerry
Hayley Atwell	...	Angela
Sally Hawkins	...	Kate
Keith Smee	...	Terry's Track Mate
Stephen Noonan	...	Mel
Dan Carter	...	Fred
Richard Lintern	...	Director
Jennifer Higham	...	Helen
Lee Whitlock	...	Mike
Michael Harm	...	Estate Agent
Hugh Rathbone	...	Poker Player
Allan Ramsey	...	Poker Player
Paul Marc Davis	...	Poker Player (as Paul Davis)
Terry Budin-Jones	...	Poker Player (as Terry Budin Jones)
Franck Viano	...	Poker Player
Tommy Mack	...	Poker Player
Milo Bodrozic	...	Poker Player
Emily Gilchrist	...	Dora
Tom Wilkinson	...	Howard
Philip Davis	...	Martin Burns (as Phil Davis)
George Richmond	...	Bernard
Phyllis Roberts	...	Burns' Mother (voice)
Tamzin Outhwaite	...	Burns' Date
Cate Fowler	...	Angela's Mom
David Horovitch	...	Angela's Dad
Matt Bardock	...	Jaguar Owner
Jim Carter	...	Garage Boss
Tom Fisher	...	Nigel
Tom Fisher	...	Nigel
Paul Gardner	...	Bentley Salesman
Mark Umbers	...	Eisley
Maggie McCarthy	...	Servant
Richard Graham	...	Detective
Ross Boatman	...	Detective
rest of cast listed alphabetically:
Tom Clear	...	Photographer (uncredited)
Kenneth Edelson	...	Tim - Screenwriter (uncredited)
James Fiddy	...	Background (uncredited)
Scott Wickes	...	Local Businessman (uncredited)

Directed by
Woody Allen

Writing credits (WGA)
Woody Allen		(written by)

Produced by
Letty Aronson	....	producer
Nicky Kentish Barnes	....	co-producer
Brahim Chioua	....	executive producer
Charles H. Joffe	....	co-executive producer
Vincent Maraval	....	executive producer
Helen Robin	....	co-producer
Jack Rollins	....	co-executive producer
Stephen Tenenbaum	....	producer
Gareth Wiley	....	producer
Daniel Wührmann	....	executive producer

Original Music by
Philip Glass

Cinematography by
Vilmos Zsigmond

Film Editing by
Alisa Lepselter

Casting by
Patricia Kerrigan DiCerto
Gail Stevens
Juliet Taylor

Production Design by
Maria Djurkovic

Art Direction by
Nick Palmer

Set Decoration by
Tatiana Macdonald

Costume Design by
Jill Taylor

Makeup Department
Francesco Alberico	....	hair stylist
Sallie Jaye	....	hair designer
Sallie Jaye	....	makeup designer
Sharon Martin	....	makeup artist

Production Management
Tori Parry	....	unit production manager
Helen Robin	....	unit production manager

Second Unit Director or Assistant Director
James Chasey	....	third assistant director
Todd Embling	....	assistant director
Ben Howarth	....	first assistant director
Beatrice Manning	....	stand-in assistant director
Samantha Smith	....	second assistant director
Catherine Tyler	....	additional third assistant director

Art Department
Liz Ainley	....	production buyer
Mat Bergel	....	stand-by props
David Broadfoot	....	standby rigger
David Creed	....	construction manager
Chris Cull	....	property master
Jonathan Downing	....	dressing prop
Stuart Headley-Read	....	dressing props: dailies (as Stuart Read)
Ben Johnson	....	dressing props
Ben Johnson	....	dressing props
Dan Johnson	....	set dresser
Ray McNeill	....	prop storeman
Catherine Palmer	....	art department assistant
Elizabeth Palmer	....	props
Simon Riley	....	stand-by props
Sarah Stuart	....	stand-by art director
Ian Taylor	....	stand-by carpenter

Sound Department
Jorge Adrados	....	sound assistant
Esther Asiedu-Ofei	....	sound trainee
Ryan Collison	....	foley engineer
Lee Dichter	....	sound re-recording mixer
Peter Glossop	....	sound mixer
Matthew Haasch	....	foley supervisor
Robert Hein	....	sound
Sylvia Menno	....	dialogue editor
Shaun Mills	....	boom operator
Igor Nikolic	....	foley editor
Dave Paterson	....	sound effects editor
Jay Peck	....	foley artist
David Wahnon	....	sound editor

Visual Effects by
Paul Alexiou	....	visual effects film editorial: MPC
Matthew Bristowe	....	digital lab producer: MPC
Michelle Corney	....	visual effects producer
Qian Han	....	digital compositor
Martin Hobbs	....	head of production
Begoña Lopez	....	digital lab producer: MPC
Victoria Mowlam	....	visual effects coordinator: MPC
Miquel Ubeda	....	digital compositor: MPC London

Stunts
George Cottle	....	stunt double
Lee Sheward	....	stunt coordinator

Camera and Electrical Department
Alan Coates	....	generator operator
Ann Marie Crotty	....	camera trainee
Tony Goulding	....	electrician
Brian Greenway	....	central loader
Stewart Hadley	....	rigging gaffer
Keith Hamshere	....	still photographer
Paul Kelly	....	electrician
Alan Martin	....	gaffer
Shaun Mone	....	electrician
Dave Moore	....	best boy electric (as David Moore)
Luke Myslowski	....	daily grip
Peter Myslowski	....	key grip
George Richmond	....	Steadicam operator
George Richmond	....	camera operator: "a" camera
Jonathan 'Chunky' Richmond	....	first assistant camera: "a" camera
Alexandre Szabo-Fresnais	....	assistant camera
Rob Walton	....	electrician

Casting Department
William Davies	....	casting associate
Julie Schubert	....	casting assistant

Costume and Wardrobe Department
Karen Beale	....	costume stand-by
Tracey Millar	....	wardrobe mistress
Charlotte Sewell	....	assistant costume designer
David Wooton	....	wardrobe assistant

Editorial Department
Lorene Dewett	....	apprentice editor: dailies
Elise DuRant	....	assistant editor
Kate Rose Itzkowitz	....	assistant editor
Scott Kordish	....	post-production coordinator
Mark Neale	....	assistant editor: dailies
Morgan Neville	....	first assistant editor

Music Department
Nancy Allen	....	assistant music editor
Dan Bora	....	music engineer
Trevor Gureckis	....	score preparation
Jim Keller	....	executive music producer
Zoe Knight	....	music administrator: Dunvagen music publishers
Nico Muhly	....	score preparation
Suzana Peric	....	music editor
Michael Riesman	....	conductor
Christian Rutledge	....	music production coordinator
Alex Venguer	....	assistant music engineer
Stacey Wong	....	music intern

Transportation Department
Roy Clarke	....	transportation captain
Lee Isgar	....	driver: Ewan Mcgregor
Tony Jayes	....	driver: Colin Farrell
Llewellyn Thomas	....	camera car driver

Other crew
Sarah Allentuch	....	assistant: Mr. Allen
Kim Armitage	....	script supervisor
Daren Bailey	....	marine coordinator
Philip Ball	....	stand-in
Jack Birmingham	....	marine crew: second unit, marine
Kate Bone	....	location assistant
Finlay Bradbury	....	assistant location manager (as Finlay Pile)
David Campbell-Bell	....	assistant location manager
Bruno Cassoni	....	assistant director floor runner
Leah Chalk	....	health and safety
Miranda Colman	....	floor runner
Ian Creed	....	marine coordinator
Francesca Dowd	....	production coordinator
Richard Etchells	....	title designer (as Dickie Etchells)
Lucy Foulds	....	location coordinator
Synnöve Godeseth	....	assistant location manager
Michael J. Harker	....	completion bond company representative
Michael Harm	....	location manager
Lisa Heathcote	....	food stylist
Richard Hill	....	assistant location manager
Natasha Hook	....	unit nurse
Robert Karn	....	production assistant
Sage Lehman	....	assistant: Mr. Allen
Pietro Lorino Jr.	....	post-production accountant
Ciaran Moran	....	accounts trainee
Adrien Moscovici	....	production assistant
Kurt Munkacsi	....	assistant: Philip Glass
Louise O'Malley	....	production accountant
Lee Robertson	....	assistant location manager
Cassandra Sigsgaard	....	clearances coordinator
Kerry Smith	....	assistant accountant
Alice Syed	....	assistant production coordinator
Catherine Tyler	....	floor runner
Joan Washington	....	dialect coach
Ante Novakovic	....	assistant: Colin Farrell (uncredited)

Thanks
Carol Donaldson	....	grateful acknowledgment
Claudia Downes	....	grateful acknowledgment
Alberta Ferretti	....	grateful acknowledgment
Greg Johnson	....	grateful acknowledgment
Ella Moss	....	grateful acknowledgment
Emily Young	....	grateful acknowledgment

Production Companies

• Iberville Productions
• Virtual Studios
• Wild Bunch

Distributors

• A-Film Distribution (2008) (Netherlands) (theatrical)
• Albatros Film (2010) (Japan) (theatrical)
• Alfa Films (2008) (Argentina) (theatrical)
• Constantin Film (2008) (Germany) (theatrical)
• Festive Films (2008) (Singapore) (theatrical)
• Frenetic Films (2007-2008) (Switzerland) (theatrical)
• Golden Village Entertainment (2008) (Singapore) (theatrical)
• Scanbox Entertainment (2007) (Sweden) (theatrical)
• Serenity Entertainment International (2008) (Taiwan) (theatrical)
• TFM Distribution (2007) (France) (theatrical)
• Weinstein Company, The (2007) (USA) (theatrical)
• Weinstein Company, The (2008) (Australia) (theatrical)
• Weinstein Company, The (2008) (New Zealand) (theatrical)
• A-Film Home Entertainment (2008) (Netherlands) (DVD) (retail)
• Christal Films (2007) (Canada) (all media)
• Divisa Home Video (2008) (Spain) (DVD)
• Highlight Film (2008) (Germany) (DVD)
• Imagem Filmes (2008) (Brazil) (all media)
• Movie Bank (2008) (Netherlands) (DVD) (rental)
• On Pictures (2007) (Spain) (all media)
• Scanbox Entertainment (2007) (Finland) (all media)
• Scanbox Entertainment (2008) (Sweden) (DVD)
• Spentzos Films (2007) (Greece) (all media)
• Transeuropa Video Entertainment (TVE) (2008) (Argentina) (DVD)
• Weinstein Company, The (2008) (USA) (DVD)

Special Effects

• Effects Associates (special effects)
• Moving Picture Company (MPC) (visual effects)

Other Companies

• Bapty and Co.  armourer
• Casting Collective  extras casting
• Goldcrest Post Production London  sound transfer
• Lee Lighting  lighting
• Legacy Recording Studios  music recorded and mixed at
• Malde & Co.  auditors
• Media Safety  health & safety
• Midnight Transfer  cutting rooms
• Midnight Transfer  telecine
• Movie Lot, The  unit security
• Moving Picture Company (MPC)  titles
• Mr. Youngs Preview Theatre  rushes screening
• Orbit Digital  Avids
• Panavision UK  camera equipment provided by
• Professional Negative Cutting  negative cutting
• Reel Meals  catering
• Sound One  re-recording facility
• Technicolor  release printing
• Translux  facilities and trucks
• audiomachine  advertising

Also Known As:

MPAA:

Rated PG-13 for thematic elements, some sexual material and brief violence

Runtime:

108 min

Country:

USA | UK | France

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital (Mono)

Certification:

Canada:14A | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | Finland:K-11 | Portugal:M/16 | USA:PG-13 (certificate #43051) | Ireland:12A | Singapore:PG | Hong Kong:IIA | Sweden:7 | Taiwan:PG-12 | Netherlands:6 | Brazil:14 | Germany:12 | Argentina:16 | Australia:M | Peru:14 | Japan:G

Filming Locations:

7 Barlby Road, Kensington, London, England, UK

Company:

Iberville Productions

Trivia:

The third consecutive Woody Allen film to be made in the UK (after Match Point (2005) and Scoop (2006)), and the first one not to have any Americans in the cast.

Goofs:

Continuity: The ashtray and the cigarette pack keep appearing and disappearing on the table when Terry is eating with his whole family in the beginning of the movie.

Quotes:

[first lines]
Ian:Ah, she's a beauty! I mean, look her - she's not new, but she looks new. He said the engine needed work.
Terry:I could do the engine.
Ian:I can't believe he's asking so little. It's practically a steal.
Terry:John Anderson said we could keep it at his marina - free of charge - at least for a year till his son comes back.
Ian:Ah, here he comes. Don't show you're too eager or he won't budge on the price, all right?
Terry:Right.

Movie Connections:

References Bonnie and Clyde (1967)

Soundtrack:

Show Me the Way to Go Home

TIFF07, review 5: Being rescued is one of my wicked dreams…Cassandra's Dream

I went into the Toronto Film Fest screening of Woody Allen's latest movie Cassandra's Dream completely void of knowing anything about it. With no other preconception besides the fact that I really enjoyed Match Point, I sat down to see what was in store this time around. Would it be a comedy or a drama? Since his last entry, Scoop, was a comic one, which I have not yet seen, I was ready to be enthralled with a mystery of dramatic proportions. What a surprise, though, when around a quarter of the way through, this one turned from serious to amusing. I need to believe that the laughs are intentional because of the way in which the performers start to ham it up for the camera. No way would Woody allow that to happen if he didn't really want it to. Upon exiting the cinema—the glorious Elgin Theatre that reminded me a lot of Buffalo's own Shea's—many audience members seemed to be buzzing about whether they were laughing at good comedy or bad, over-the-top theatrics. I never second-guessed myself that the laughs were genuine and by doing so, I found that I loved this film.

Some of you may be aware that Allen had cast and started preproduction on a film directly before beginning Cassandra's Dream. For some reason the production fell through and was ultimately scrapped. No one knows if it was somehow reworked into the movie we see now, but I would guess that it was not. My first impression, once we discover the true impetus of the movie, was that this is Match Point with comedy. The plots of both follow a very similar path and the murder and guilt accompanied with it are one and the same. In the end, the only real difference between the two, besides the superficial supporting characters that are switched around, is the way in which both conclude. Whereas Match Point stays calm and methodical, Cassandra becomes very much a comedy of errors. It will really depend on your personal taste for which you feel succeeds more. Also, if you liked the first, you should like this new spin, but, if you disliked the first, you may find yourself enjoying this one because it seems to rectify a lot of what people criticized Match Point for.

Our entry point into the tale is with two brothers played by Ewan McGregor and Colin Farrell. The two come from a modest family, whose father is a restaurant owner attempting to get McGregor's character to take over the business for him, while Farrell works at a garage fixing cars when not betting at the neighborhood track. Allen does a wonderful thing with these characters as he casts both against type. McGregor is usually the heart on his sleeve type and sympathetic in nature while Farrell generally plays the ladies-man lothario who is not afraid of a little scrap. Both are completely flipped on their heads here with Ewan getting ample opportunity to be cool under pressure, seeing the big picture at all times and Colin showing some real nice range as the depressed and conflicted one, unable to wrestle with his conscience. Much like Terry Gilliam's Brothers Grimm with Matt Damon and Heath Ledger cast as opposites, I believe this change of pace helps build up the atmosphere needed for the laughs to work. Farrell's facial expressions are priceless and McGregor's attempts to stay afloat, while the world falls apart around him, is top-notch.

The story itself is straightforward, much like Match Point. Both brothers find themselves in trouble financially, one for gambling debts and the other for a woman (the beautiful Hayley Atwell). Only their rich uncle will be able to save them both, however, the time has finally come where his charity will need to be exchanged for something he desperately needs. It is the proposition from Uncle Howard, a wonderful acting job by Tom Wilkinson, which really sets into motion the underlying plot point that props up the rest of the film. What he asks is impossible, yet after some persuading and bouts with ego, both brothers take the plunge and find they can't deal with the pressure it causes.

Even though I found a few of Woody's metaphors a bit too heavy-handed—"what's your favorite Greek tragedy?" and the interpretations of dreams occurring left and right—I found the acting and plot progression to be spot-on. Both leads carry the film on their backs and without those performances would have left the whole thing behind to drown. While it could seem a tad lazy that Allen would pretty much rehash what he did two years ago, it is different enough to succeed on its own. Cassandra's Dream could be looked on as a very capable companion piece to Match Point, (I may even go so far as saying I liked it better), but it also shows that a little comedy can go a long way. Hopefully Woody will delve more into this mixture of theatre's two faces and show how working together can create some wonderful art as well.