A young family moves to an isolated house which the wife has been hired to restore, only to discover that the previous owner is reputed to have murdered his wife.
Director:
Writer:
Photos and Videos
Cast
| Olivia Williams | ... |
Meg Hamilton
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| Matthew Modine | ... |
Alec Hamilton
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| Antonia Clarke | ... |
Penny Hamilton
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| Adam Thomas Wright | ... |
Harper Hamilton
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| Richard Dillane | ... |
Greg
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Howard Lee | ... |
Frank
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| Jonathan Jaynes | ... |
Sean Donnelly
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| Rebecca Calder | ... |
Isabella
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| Steve Oram | ... |
Nigel Lean
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| David J. Peel | ... |
Telephone Engineer
(as David Peel)
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| Mark Heenehan | ... |
Brad Mason
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Stephen Chance | ... |
Charles Kendrick Walker
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Directed by
| Nick Willing | ... | (directed by) |
Written by
| Nick Willing | ... | (written by) |
Produced by
| Charles Bates | ... | line producer |
| Michele Camarda | ... | producer (produced by) |
| Robert Halmi Sr. | ... | executive producer (as Robert Halmi Sr) |
| Robert A. Halmi | ... | executive producer (as Robert Halmi Jr) |
| Hugo Heppell | ... | executive producer |
| Jim Reeve | ... | executive producer |
Music by
| Simon Boswell | ... | (music by) |
Cinematography by
| Jan Richter-Friis | ... | director of photography (as Jan Richter-Friis D.F.F.) |
Editing by
| David Freeman | ||
Editorial Department
| Debbie Banbury-Morley | ... | negative checks: The Look (as Debbie Banbury Morley) |
| Tom Chandler | ... | first assistant editor |
| Mark Maltby | ... | online editor: The Look |
| Matthew Streatfield | ... | second assistant editor (as Matt Streatfield) |
| Tomas Tombakas | ... | second assistant editor |
| Thomas Urbye | ... | colourist: The Look |
Casting By
| Amy Hubbard | ||
Production Design by
| John Ellis | ||
Art Direction by
| Rebecca Mason | ||
Costume Design by
| John Lindlar | ||
Makeup Department
| Oonagh Bagley | ... | hair trainee / make up trainee |
| Molly Connors | ... | hair trainee / make up trainee |
| Carolyn Cousins | ... | make up artist |
| Ailbhe Lemass | ... | make up designer |
Production Management
| Karl Hall | ... | unit manager |
| Fergus Haycock | ... | production executive: Great Point Media |
| Mark Inglis | ... | trainee production manager |
| Tom Jenkins | ... | unit manager |
| Kok-yee Yau | ... | production executive: Great Point Media |
Second Unit Director or Assistant Director
| Jonathan Farmer | ... | first assistant director |
| Bruce H. Gill | ... | third assistant director (as Bruce H Gill) |
Art Department
| Thomas Barrett | ... | dressing props |
| Neirin Best | ... | art department assistant |
| Geoff Blackburn | ... | standby props |
| Faye Boustead | ... | standby art director |
| Dominic Byles | ... | standby props |
| Jeremy Duckham | ... | scenic artist |
| Greyham Feehily | ... | construction manager |
| Warren Flanagan | ... | concept artist |
| Wyn Jenkins | ... | set dresser (as Tudor Wyn Jenkins) |
| Matthew Wood | ... | dressing props (as Matt Wood) |
Sound Department
| Steve Browell | ... | ADR editor / dialogue editor |
| Doug Cooper | ... | sound re-recording mixer |
| Matthew Dawson | ... | ADR recordist: Vancouver |
| Peter Gregory | ... | sound assistant |
| Martin Ireland | ... | boom operator |
| Bradley Kendrick | ... | boom operator |
| Brian Milliken | ... | sound recordist |
| Jordan Milliken | ... | sound assistant |
| Markus Moll | ... | sound re-recording mixer (as Marcus Moll) |
| Bernard O'Reilly | ... | supervising sound editor |
| Keith Partridge | ... | foley engineer |
| David Sendall | ... | sound mix technician |
| Barnaby Smyth | ... | foley artist / foley editor |
| Andy Stallabrass | ... | ADR mixer |
Special Effects by
| Ben Ashmore | ... | special effects supervisor |
| Sam Hall | ... | special effects technician |
| Patrick Weir | ... | special effects technician (as Peter Weir) |
Visual Effects by
| David Fisher | ... | visual effects artist: Lexhag |
| Joshua Gotto | ... | visual effects artist: Lexhag (as Josh Gotto) |
| Alexis Haggar | ... | visual effects supervisior: Lexhag |
| Dan Marbrook | ... | visual effects producer: Lexhag |
| Dan Newlands | ... | visual effects artist: Lexhag |
| Ken Turner | ... | computer graphics supervisor: Lexhag |
| Ruth Wardell | ... | conform assistant: The Look |
Stunts
| Riky Ash | ... | stunt coordinator |
| Lee Bagley | ... | stunt performer |
| Zarene Dallas | ... | stunt performer |
| Riky Ash | ... | stunt double: Adam Thomas Wright (uncredited) |
| Lee Bagley | ... | stunt double: Matthew Modine (uncredited) |
| Zarene Dallas | ... | stunt double: Antonia Clarke (uncredited) |
Camera and Electrical Department
| Mike Archer | ... | gaffer |
| Steve Avison | ... | additional grip (as Stephen Avison) |
| Paul Berry | ... | rigger |
| Marc Campbell | ... | data imaging technician |
| Adam Conlon | ... | first assistant camera 'B' camera |
| Craig Hudson | ... | best boy |
| Anthony Hugill | ... | camera operator |
| Tom Lane | ... | second assistant camera 'B' camera (as Thomas Lane) |
| Cecile Mulombe Mbombo | ... | camera trainee |
| Keith McNamara | ... | first assistant camera 'A' camera (as Keith Mcnamara) |
| Ross McNamara | ... | second assistant camera 'A' camera (as Ross Mcnamara) |
| Adam Murphy | ... | electrician |
| Sam Okell | ... | trainee electrician |
| Mark Rickett | ... | electrician (as Mark Rickitt) |
| Guy Smith | ... | additional grip (as Guy Elliott Smith) |
| Matt Squire | ... | unit stills photographer |
| Ian Sykes | ... | electrician |
| Jamie Whitmarsh | ... | grip |
| Kane Williams | ... | data imaging technician |
| Phil Witcomb | ... | special stills photographer |
Animation Department
| Ken Turner | ... | animation supervisor: Lexhag |
Casting Department
| Hannah Cole | ... | casting assistant |
Costume and Wardrobe Department
| Sally Campbell | ... | costume assistant |
| Aisling Devlin | ... | costume assistant (as Aisling Bannon) |
| Fiona Greaves | ... | costume supervisor |
Location Management
| Mary Owen | ... | location manager |
Music Department
| Christoph Bauschinger | ... | music editor |
| Michael Connell | ... | music editor |
Script and Continuity Department
| Debbie Banbury-Morley | ... | script reports: The Look (as Debbie Banbury Morley) |
| Liz Briggs | ... | script supervisor |
| Vicki Johnson | ... | post production script: The Look |
Transportation Department
| Paul Burnett | ... | unit driver |
| Steve Dawson | ... | additional driver |
| Mark Jones | ... | unit driver |
Additional Crew
| Alison Balch | ... | head of international operations: Content Media |
| Judith Baugin | ... | head of international marketing: Content Media |
| Carol Blake | ... | tutor |
| Jamie Carmichael | ... | president: film division: Content Media |
| Patricia Carr-Wright | ... | chaperone |
| Libby D'Arcy | ... | vice president business affairs: Content Media (as Libby D'arcy) |
| Arlene de Cruz | ... | tutoring supplied by: CATS (as Arlene De Cruz) |
| Benedict Doran | ... | production office runner |
| Claire Drury | ... | floor runner |
| Kirsty Graham | ... | investment administrator: Screen Yorkshire |
| James Greenslade | ... | legal services: The Look: Simons Muirhead & Burton |
| Mike Hughes | ... | unit medic: Capricorn Security |
| Kelly Johns | ... | production secretary |
| Sally Joynson | ... | chief executive: Screen Yorkshire (as Sally Johnson) |
| Barry Kimm | ... | head of production services: The Look: PACT |
| Erick Kwak | ... | executive vice president business and legal affairs: Content Media |
| Will Marwood | ... | production accountant (as William Marwood) |
| Rachel McWatt | ... | unit publicist (as Rachel Mcwatt) |
| Ian Orledge | ... | unit medic: Capricorn Security |
| Maria Pavlou | ... | production co-ordinator |
| Emily Rhodes | ... | floor runner |
| Andy Ringrose | ... | chef: Campbell Wilson Catering |
| John Schmidt | ... | chief executive officer: Content Media |
| Lynsey Stewart | ... | production secretary |
| Andy Wallace | ... | chef: Campbell Wilson Catering |
| Geoff Webb | ... | chief financial officer: Content Media |
| Liz West | ... | contract manager: Screen Yorkshire: ERDF |
| Harry White | ... | head of international sales: Content Media |
Thanks
| Nicky Ball | ... | special thanks |
| Andrew Bancroft | ... | thanks |
| Frazer Brown | ... | thanks |
| Stuart Halshaw | ... | special thanks |
| Michael Hamilton | ... | special thanks |
| Richard Hartwig | ... | thanks |
| Douglas Kent | ... | thanks |
| Grant McPhee | ... | special thanks |
| Catherine Nickols | ... | special thanks |
| Rupert Nickols | ... | special thanks |
| Adam Rackoff | ... | thanks |
| Jeof Spiro | ... | special thanks |
| Chris Wilkinson | ... | special thanks |
Production Companies
- Content Media
- Great Point Media
- Screen Yorkshire
- Content Media (presents)
- Great Point Media (in association with)
- Screen Yorkshire (in association with)
- Pygmalion Productions (production)
- Sandover Productions
Distributors
- Channel 5 Television (2014) (United Kingdom) (tv)
- Koch Media (2015) (Germany) (DVD)
- Koch Media (2015) (Germany) (Blu-ray) (DVD)
- Wild Duck Productions (2021) (Spain)
Special Effects
- Future Effects
- Lexhag VFX (visual effects)
Other Companies
- ARRI Alexa Plus Camera Systems (filmed on)
- Aimimage / Ice Film (camera equipment provided by)
- Audiolink Radio Communications (walkie talkies)
- Barclays Bank PLC (production banking services: The Look)
- Best Western Crown Hotel Rotterdam (special thanks)
- Blackmagic Design (filmed on)
- Budget Car Hire Leeds (vehicle hire)
- CATS: Center for Academic and Tutorial Services (tutoring)
- Campbell Wilson Catering (catering)
- Capricorn Security (security services)
- Carlo Manzies (special thanks)
- Chaperones and Tutors (CATS) (tutoring supplied by)
- Consultancy Services (accounting & tax services: The Look)
- Content Media (international sales by: The Look)
- European Regional Development Fund (contract manager: Screen Yorkshire)
- Freeway CAM B.V. (world revenues collected & distributed by: The Look)
- Great Point Media (production executives)
- HNA Facilities (post-production facilities)
- HireWorks (post-production facilities)
- Lee Electrics (lighting equipment)
- Lexhag VFX (post-production facilities)
- Producers Alliance for Cinema and Television (PACT) (head of production services: The Look)
- Purple Crew (grip and lighting equipment)
- Quartz Insurance Brokers Ltd. (insurance services: The Look)
- Scotton Business Centre, Lingerfield (special thanks)
- Screen Yorkshire (funding)
- Sharpe Sound Studios (vancouver sound post production)
- Simons Muirhead & Burton (legal services: The Look)
- Tata Consultancy Services (accounting & tax services)
- The Lens Foundry (motion control unit)
- The Look (post-production facilities)
- Thomson Reuters (copyright search: USA: The Look)
- Uppercut Productions (camera equipment provided by)
- Warner Bros. De Lane Lea (sound post-production)
Storyline
| Plot Summary |
The Hamilton family moves into a large country house on the Yorkshire Moors to supervise its restoration from a dilapidated B&B to the original Victorian grandeur. When wife, mother, and renovation expert Meg Hamilton first loses her London team after an accident, then a local Yorkshire team is too superstitious to continue, she's forced to carry on alone. The discovery of a secret attic room, a Rosicrucian mosaic, a bricked-up root cellar, and many other unexplainable events gradually convince Meg, her husband Alec, and their children Penny and Harper, that they're renting not only the house, but also its original Victorian owners who died 150 years ago. But before they can escape, the house and its former occupants force them to spend one last, terrifying night under its roof. Written by India Andrews |
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| Parents Guide | View content advisory » |
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Did You Know?
| Trivia | The film was funded via Kickstarter. See more » |
| Goofs | At one point a telephone bell is heard ringing somewhere in the house but, when the woman finds the source, it's a Trimphone. Trimphones do not ring with a conventional bell sound but have a distinctive chirping tone. See more » |
| Movie Connections | References The Omen (1976). See more » |
| Soundtracks | Westminster Quarters See more » |