| Photos (See all 16 | slideshow) | Videos (see all 15) |
| Noah Taylor | ... | Lloyd Tate | |
| Paddy Considine | ... | Graham Purvis | |
| Craig Roberts | ... | Oliver Tate | |
| Yasmin Paige | ... | Jordana Bevan | |
| Sally Hawkins | ... | Jill Tate | |
| Darren Evans | ... | Chips | |
| Osian Cai Dulais | ... | Mark Pritchard | |
| Lily McCann | ... | Zoe Preece | |
| Otis Lloyd | ... | Keiron | |
| Elinor Crawley | ... | Abby Smuts | |
| Steffan Rhodri | ... | Mr. Davey | |
| Gemma Chan | ... | Kim-Lin | |
| Melanie Walters | ... | Jude Bevan | |
| Sion Tudor Owen | ... | Brynn Bevan | |
| Adrienne O'Sullivan | ... | Jackie | |
| Jonny Wier | ... | Malcolm | |
| Lydia Fox | ... | Miss Dutton | |
| Lynne Hunter | ... | Gene | |
| Claire Cage | ... | News Reporter | |
| Edwin Ashcroft | ... | Dafydd | |
| Andrew Phillips | ... | Rhydian Bird / School Boy | |
| James Alexander Hill | ... | School Boy | |
| Rikki Hall | ... | School Boy | |
| Tom Ryan | ... | School Boy | |
| James Jones | ... | School Boy | |
| Sophy Brady-Halligan | ... | The Watkins Twins | |
| Tanya Brady-Halligan | ... | The Watkins Twins | |
| Sarah Pasquali | ... | Woman Who Looks Nothing Like Jordana | |
| rest of cast listed alphabetically: | |||
| Mandy Kitto | ... | Audience member | |
| Ben Stiller | ... | Soap Opera Star (uncredited) | |
Directed by | |||
| Richard Ayoade | |||
Writing credits | ||
| Richard Ayoade | (written by) | |
| Joe Dunthorne | (novel) | |
Original Music by | |||
| Andrew Hewitt | |||
Cinematography by | |||
| Erik Wilson | (director of photography) (as Erik Alexander Wilson) | ||
Film Editing by | |||
| Chris Dickens | |||
| Nick Fenton | |||
Casting by | |||
| Karen Lindsay-Stewart | (as Karen Lindsay Stewart) | ||
Production Design by | |||
| Gary Williamson | |||
Art Direction by | |||
| Sarah Pasquali | |||
Set Decoration by | |||
| Cathy Cosgrove | |||
Costume Design by | |||
| Charlotte Walter | |||
Makeup Department | |||
| Paul Edmonds | .... | hair stylist: Sally Hawkins and Yasmin Paige | |
| Jennifer Harty | .... | makeup artist | |
| Tara McDonald | .... | hair designer | |
| Tara McDonald | .... | makeup designer | |
| John Munro | .... | makeup artist | |
| Corinne Bossu | .... | makeup artist: dailies (uncredited) | |
| Mary Cooke | .... | makeup artist: dailies (uncredited) | |
| Jessica Seen | .... | makeup artist: dailies (uncredited) | |
Production Management | |||
| Gisela Evert | .... | post-production supervisor | |
| Tracey Josephs | .... | head of production: Film4 | |
| Fiona Lamptey | .... | production manager: Film4 | |
| Fiona Morham | .... | head of production: UK Film Council | |
| Barry Ryan | .... | head of production: Warp Films | |
Second Unit Director or Assistant Director | |||
| Alex Bowman | .... | trainee assistant director | |
| Paul Cathie | .... | second assistant director | |
| Dom Channing-Williams | .... | third assistant director | |
| Joe Geary | .... | first assistant director | |
| Ian Hughes | .... | third assistant director (as Ian 'Pebbles' Hughes) | |
| Sarah Thomas | .... | trainee assistant director | |
Art Department | |||
| Philip A. Brown | .... | art department assistant: draughtsman | |
| Ian Cooper | .... | prop hand | |
| Peter Hallam | .... | property master | |
| Sophie Hervieu | .... | stand-by art director | |
| Kim Miles | .... | prop hand | |
| Ren&Ink | .... | scenic artist | |
| Chris Rosser | .... | assistant art designer | |
| Andy Smith | .... | construction manager | |
| Nic Stubbings | .... | dressing prophand | |
| Stuart Headley-Read | .... | standby propman (uncredited) | |
Sound Department | |||
| Martin Beresford | .... | sound mixer | |
| Oliver Brierley | .... | adr mixer | |
| James Feltham | .... | sound effects editor | |
| James Feltham | .... | sound re-recording mixer | |
| Alex Fielding | .... | assistant sound re-recording mixer (as Alexander Fielding) | |
| Nigel Heath | .... | sound re-recording mixer | |
| Lee Herrick | .... | adr editor | |
| Lee James | .... | sound maintenance | |
| Ben Norrington | .... | dialogue editor | |
| Keith Partridge | .... | foley editor | |
| Andy Sowerby | .... | sound trainee | |
| Adam Armitage | .... | additional sound effects editor (uncredited) | |
| Stuart Bagshaw | .... | foley editor (uncredited) | |
Visual Effects by | |||
| Magdalena Berglind | .... | visual effects coordinator: Framestore (as Magdalena Przezdziecka) | |
| Oliver Bersey | .... | visual effects artist: Framestore | |
| James Long | .... | visual effects data operator: Framestore | |
| Alix Ludlam | .... | visual effects artist: Framestore | |
| Savneet Nagi | .... | lead visual effects artist: Framestore | |
| Darran Nicholson | .... | visual effects artist: Framestore | |
| Paul O'Brien | .... | lead visual effects artist: Framestore | |
| Simon Whalley | .... | executive visual effects producer | |
| Will Yarrow | .... | visual effects artist: Framestore | |
Stunts | |||
| Ray De-Haan | .... | stunt coordinator (as Ray De Haan) | |
| Claire Hay | .... | stunt double | |
Camera and Electrical Department | |||
| Luke Chidgey | .... | video playback trainee | |
| Jon Garwes | .... | focus puller (as Jonathan Garwes) | |
| Andy Lowe | .... | gaffer | |
| Sarah Mahoney | .... | camera trainee | |
| Bashart Malik | .... | second clapper loader | |
| Lee Martin | .... | rigging gaffer | |
| Richard Philpott | .... | second camera operator | |
| Iwan Prys Reynolds | .... | focus puller | |
| Dean Rogers | .... | still photographer | |
| Shirley Schumacher | .... | second camera assistant | |
| Trevor Speed | .... | clapper loader | |
| Del Strachan | .... | grip | |
| John Davis | .... | clapper loader: dailies (uncredited) | |
| Richard Swingle | .... | clapper loader: dailies (uncredited) | |
| Matt Wilson | .... | additional electrician (uncredited) | |
Casting Department | |||
| Emma Stafford | .... | casting director: northern | |
Costume and Wardrobe Department | |||
| Carly Adey | .... | costume trainee | |
| Dan Summerville | .... | costume assistant (as Dan Sommerville) | |
| Hannah Walter | .... | costume supervisor | |
Editorial Department | |||
| Simon Bance | .... | digital intermediate recording manager | |
| Tonia Cohen | .... | negative checker: Capello | |
| Michele De Benedetti | .... | digital intermediate film scanning manager | |
| Julie Harding | .... | digital intermediate producer | |
| Myfanwy Harris | .... | digital intermediate producer | |
| Adam Inglis | .... | colorist | |
| Rob May | .... | on-line editor | |
| Mark Neale | .... | first assistant editor | |
| Jack Rhys Phillips | .... | assistant colorist | |
| Tony Ray | .... | digital intermediate executive | |
| Paul J. Wright | .... | digital intermediate supervisor | |
| Jules Zabbar | .... | post-production coordinator | |
| Katie Bullock-Webster | .... | post-production coordinator (uncredited) | |
| Sean Higgins | .... | digital intermediate assistant (uncredited) | |
| Rahat Kulshreshtha | .... | post-production assistant (uncredited) | |
Music Department | |||
| James Bellamy | .... | music editor | |
| Phil Canning | .... | music supervisor | |
| The Composers Ensemble | .... | musicians: orchestra | |
| Jake Jackson | .... | score engineer & mixer | |
| Chris Lewis | .... | composer assistant | |
| Alex Turner | .... | songs by | |
| Mary Wiegold | .... | musician contractor | |
| Mikael Carlsson | .... | soundtrack producer (uncredited) | |
Transportation Department | |||
| Tony Cosh | .... | facilities manager: Andy Dixon Facilities | |
| Janine H. Jones | .... | driver (as Janine Jones) | |
| Phoebe Vale Markham | .... | driver (as Phoebe Markham) | |
| Mark Murray | .... | driver: location minibus, Heritage Mini Bus | |
| Iolo Rhisiart | .... | driver | |
| Alex Williams | .... | driver | |
Other crew | |||
| Darren Agnew | .... | title designer: Framestore | |
| Emily Anderton | .... | production executive: UK Film Council | |
| Geraldine Atlee | .... | senior business affairs executive: UK Film Council | |
| Bethan Bannister | .... | investment executive: Wales Creative IP Fund | |
| Craig Barwick | .... | production accountant | |
| Natalie Bass | .... | additional legal work: Warp Films, Lee & Thompson | |
| Rachel Beardsley | .... | fund coordinator: Wales Creative IP Fund | |
| Mary Brehony | .... | legal services: Film Agency Wales, Brehon & Co | |
| Laurence Brown | .... | legal services: Warp Films | |
| Kathleen Butler | .... | head of development: Film4 | |
| Neil Calder | .... | completion guarantor: Film Finances | |
| Chris Collins | .... | senior production executive: UK Film Council | |
| J.B. Cosh | .... | caterer: Abadia Catering (as JB Cosh) | |
| Bethan Cousins | .... | fund manager: Wales Creative IP Fund | |
| Leonard Crooks | .... | head of New Cinema Fund: UK Film Council | |
| Kate Crowther | .... | production executive: Film Agency Wales | |
| Paul Dray | .... | lab contact: Deluxe London | |
| Illtud Llyr Dunsford | .... | liaison: Wales Screen Commission | |
| Joe Dunthorne | .... | script consultant | |
| Sam Dwyer | .... | archive researcher | |
| Sam Dwyer | .... | archive researcher: Stalkr | |
| Zoe Flower | .... | unit publicist: EM-Foundation | |
| Berenice Fugard | .... | head of acquisitions: Optimum Releasing | |
| Neil Gillard | .... | legal advisor: Coutts & Co, Reed Smith | |
| Gwen Gorst | .... | production runner | |
| Robin Gutch | .... | managing director: Warp Films | |
| Ruth Hodgson | .... | completion guarantor: Film Finances | |
| Steve Joberns | .... | auditor: Shippleys | |
| Gareth Jones | .... | post-production accountant | |
| Janine H. Jones | .... | runner (as Janine Jones) | |
| Jason Keatley | .... | assistant location manager | |
| Sharon Lock | .... | title designer: Framestore | |
| Louise Long | .... | legal and business affairs: Film4 | |
| Phoebe Vale Markham | .... | runner (as Phoebe Markham) | |
| Lisa Marsden | .... | insurance agent: Media Insurance Brokers | |
| Alex Marshall | .... | head of business affairs: Warp Films | |
| Alex Marshall | .... | head of business and legal affairs | |
| Matt McNally | .... | electronic press kit | |
| Alison Meese | .... | acquisitions manager: Optimum Releasing | |
| Christos Michaels | .... | legal services: Wales Creative IP Fund, Lee & Thompson | |
| Stephen Murphy | .... | head of legal: Optimum Releasing | |
| Adam Partridge | .... | talent development services: Film Agency Wales | |
| Danny Perkins | .... | c.e.o.: Optimum Releasing | |
| Rebecca Pick | .... | legal services: Wales Creative IP Fund, Lee & Thompson | |
| Keith Potter | .... | head of talent: Film Agency Wales | |
| Amanda Pyne | .... | production finance: UK Film Council | |
| Iolo Rhisiart | .... | runner | |
| Iwan Roberts | .... | location manager | |
| Carole Salisbury | .... | script supervisor | |
| Niall Shamma | .... | head of finance: Warp Films | |
| Hannah Simpson | .... | production coordinator | |
| Penny Skuse | .... | liaison: Wales Screen Commission | |
| Sue Bruce Smith | .... | head of commercial development: Film4 (as Sue Bruce-Smith) | |
| Hugh Spearing | .... | head of marketing: Optimum Releasing | |
| Stalkr | .... | archive research | |
| Emma Stevens | .... | dialect coach | |
| Kristy Thomason | .... | head of servicing: Optimum Releasing | |
| Jane Trower | .... | first assistant accountant | |
| Victoria Wheel | .... | production secretary | |
| Alex Williams | .... | runner | |
| Eva Yates | .... | assistant: Tessa Ross (uncredited) | |
Thanks | |||
| Dagny Ayoade | .... | special thanks | |
| Layide Ayoade | .... | in loving memory | |
| Lydia Ayoade | .... | special thanks | |
| Michael Cera | .... | special thanks | |
| Caroline Chignell | .... | special thanks | |
| Eric D'Souza | .... | special thanks | |
| Amina Dasmal | .... | special thanks | |
| Anne Henry | .... | thanks (as Anne Smith) | |
| Jen Kenwood | .... | special thanks | |
| Avi Korine | .... | special thanks | |
| Harmony Korine | .... | special thanks | |
| Shane Meadows | .... | special thanks | |
| Stephen Merchant | .... | special thanks | |
| Christopher Morris | .... | special thanks (as Chris Morris) | |
| Claire Nightingale | .... | special thanks | |
| Chris O'Dowd | .... | special thanks | |
| Simon Prosser | .... | special thanks | |
| Faisal A. Qureshi | .... | special thanks | |
| Philip Raskind | .... | special thanks (as Phillip Raskind) | |
| Laura Tunstall | .... | special thanks | |
| Jo Unwin | .... | special thanks | |
| Recent Posts (updated daily) | User |
|---|---|
| Horrible film | shaunalleman |
| What a sad, empty life people are living! | urena-2 |
| When is it set? | flashback_humour |
| The Title | john-hitchcock |
| The bath scene | cellallir |
| Similar Films?? | ctownfilm |
|
|
|
|
|
| An Education | The Last of the High Kings | Lymelife | American Beauty | Heavenly Creatures |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb UK section |
There's nothing better than walking into a screen to see the debut film by a writer and director one that you have only heard very little about and walking away 90 minutes later feeling more moved, entertained and uplifted by a movie than you have been in years.
Perhaps cinema-goers in the mid 1990s had this experience upon seeing Wes Anderson's first film Bottle Rocket. And maybe even those who witnessed Spike Jonze's big screen debut, Being John Malkovich, only a few years later will understand it too. However, for those of you who, like me, were too young to witness the birth of these auteurs of independent cinema then you don't have to worry, because Richard Ayoade's film Submarine is almost as good as both of them put together.
It tells the story of Oliver Tate who is caught at the junction between childhood and adulthood as he struggles with his first feelings of love, desire, heartbreak and must choose what path he wishes to take that'll define who he is for the rest of his life.
Sure, it may sound somewhat similar to all the coming-of-age stories that have hit the cinema recently, but what makes Submarine so special is Richard Ayoade's ability to capture the essence of growing up; the joy, the optimism and the tenderness alongside all the angst, confusion and depression too. I defy anyone to not see themselves plastered up on that silver screen in the film's opening as Oliver fantasises about the adoration and attention he'd receive if he died.
The ups and downs of this British comedy are mainly due to Ayoade's wonderful screenplay and direction that are touching yet never slip into sentimentality - he often playfully pokes fun at it in many cases but what also deserves credit are the poignant score by Arctic Monkey's singer Alex Turner, the cinematography that effortlessly shifts between comic framing and beautiful imagery and the note-perfect performances by the entire cast.
Craig Roberts plays Oliver Tate in a star-making performance that will surely see him become one of Britain's finest young actors in the next few years. His character is a complex, multifaceted one yet he is able to make it wholly believable. Similarly outstanding is Yasmin Page as his love interest Jordana. It's essential to the story that she is a mystery to Oliver for much of Submarine's opening half, only revealing the reasons why she is so rebellious, unromantic and mischievous in the final act, and Page brilliantly portrays this with a careful mix of enigma, seductiveness and humanity.
What also excels Ayoade's film from being just another British coming of age story is the stylishness of his direction. Presented in the fashion of a French New Wave film like Jules Et Jim or A Bout De Soufflé he gives Submarine an aurora of quirkiness and creativity that you rarely find in British cinema. The "kitchen sink" is gone and has been replaced by jump cuts, inventive sound design and a somewhat disjointedness.
This style, moreover, helps to complement the personality of our aforementioned protagonist who sees the world in a unique way to everyone else.
So what lies in the future for British cinema? Some could argue that it's the big dramas like The King's Speech, others could argue that it's the low budget affairs like Monsters and many will say that it's spectacles like Harry Potter. However, on the evidence that Richard Ayoade presents here, Submarine might just be a glimpse of the great things to come.