What Do The Critics Say?

"The Disappearance of Alice Creed, unveiled a year ago in Toronto, is a grim, toxic, psychological British thriller, brimming with surprises, that always manages to be quite a bit more than it appears on the surface. Director J. Blakeson, in an exciting feature film debut, assembles the details of his own screenplay like the pieces of a complex jigsaw puzzle. Even after the three characters reveal their secrets, he keeps the audience guessing. The timing of each scene is perfect, the actors splendid." Rex Reed NEW YORK OBSERVER "This astounding low-budget indie film is bolstered by great acting, a cleverly conceived script and sure-handed directing. It marks the full feature debut from writer-director J Blakeson. The acting is top drawer in this three-handed drama. Arterton takes the extremely daring title role while often appearing nude. She demonstrates emotions ranging from vulnerable and miserable to crafty, desperate and brave. Her future appears unlimited as she ascends the ladder of Hollywood stardom." Keith Cohen THE MOVIE GUY "Every so often, once or twice a year, a film shows up that is a gem of intense character and tight, near perfect dramatic construction. For these factors, one would look back to "A Simple Plan," "The Lookout" and "Hard Candy" as examples. Blakeson's spectrum of survival gambits with three actors, a room and a couple of other locations never releases its grip on tension and your gut." Jules Brenner CINEMA SIGNALS "The twists are disarming and the surprises keep coming in this superb thriller that keeps us on tenterhooks from start to finish. The simple yet brilliant plot that writer / director J Blakeson constructs involving a kidnapping, morphs into a psychological tour de force in which relationships teeter on a knife's edge. The fact there are only three characters in the entire film adds to the intensity." Andrew L Urban URBAN CINEFILE

"Following Godard’s advice that "all you need for a movie is a gun and a girl," J Blakeson’s feature debut is as spectacularly suspenseful as it is deceptively simple. He uses a kidnapping scenario to show off his impressive hand at writing, mise-en-scene and direction." Alice Tynan CONCRETE PLAYGROUND "Tight as a three hander can be, the film pushes us to the edge of our seats from the start and never lets up. Gradually, as the full story is revealed, new elements are introduced to add complexity and new layers of conflict. But the least audiences know in advance the higher their adrenaline flow is going to be. Taut, tense and thrilling, this film is a little beauty." Louise Keller URBAN CINEFILE "Sounds fairly simple, but Blakeson has a fiendish way of twisting around his plot and characters. This is a three-actor, one-set drama that would almost work as a stage play." Robert W. Butler KANSAS CITY STAR "Like a dirty glass of water that turns out to be cheaply potent gin, “The Disappearance of Alice Creed” is a thoroughly nasty bit of business, with an unexpected twist. But by deliberately limiting his movie to a few settings and only three speaking roles, Blakeson makes everything look cold, clean and deliberate, the product not of a strict budget but a minimalist mind. A jolting little thriller, as sharp and nasty as a switchblade. Stephen Whitty NEWARK STAR-LEDGER "If you like a good twist, then this is the next film you must see. Your eyes will be glued to the screen, wondering what unexpected plot developments lay ahead. I realise the subject matter might be confronting for some but if you’re prepared to give it a go, I think you’ll find The Disappearance Of Alice Creed a very interesting movie." Matthew Toomey ABC RADIO BRISBANE

The Inside Story The genesis of the script for The Disappearance of Alice Creed comes from a rather unlikely source. "I’m a big fan of Billy Wilder," says writer and director J Blakeson, "and of that idea he used of taking one moment from a film and basing an entirely new film on that one moment; as when he based The Apartment on one moment from Brief Encounter." Wilder’s inspiration for his acerbic 1960 classic famously derives from a scene in Lean’s film, in which a friend, Stephen, loans out his flat to Alec for an illicit tryst with Laura. Fascinated by this minor character’s situation, Wilder used Stephen as the basis for The Apartment’s C.C. Baxter (played by Jack Lemmon). ‘Obviously this is a very different movie. "But I thought that was a neat way of getting inspiration, and I knew I wanted to write a very contained film. So I was actually watching Ron Howard’s "Ransom" and in between all of the phone calls to the police and the wire taps and the chases, there’s one scene where you see a member of the gang caring for the kidnap victim, which got me thinking about the kind of relationship that could form in such an intense situation. I started writing, and that was the beginning of it. Ultimately I wanted to create a kidnap movie in which you see nothing of the kidnap itself, or any of the standard things you’d usually see in this kind of film." With a mind to directing the film himself, the taut, streamlined nature of Blakeson’s screenplay for "The Disappearance Of Alice Creed" is also the result of some self-imposed restrictions. "I knew from that experience that if I was going to write something for me to direct, I needed to pare things down considerably, so I set myself some rules: that eighty percent of it would take place in one location and that it would have no more than three characters. And those rules were a real inspiration to me, because they forced me to think about how to get the most out of this setup, and ultimately that meant really developing the characters." Busy with his developing career as a screenwriter and shooting another low-budget short, a dark two-header entitled "The Appointment", Blakeson put the Alice Creed screenplay away in a drawer, until a potential commission to write a psychological thriller came along. "I sent in Alice Creed to my agent as evidence that I could write something in that genre, and she really liked it and suggested we send it out. So lots of people read it, I got a lot of meetings, but nobody wanted to make it at that time." Then the screenplay found its way to CinemaNX, "who liked it but didn’t really think it was their thing: until I mentioned that I was thinking of changing the ending; at which point they became more positive." To oversee what was going to be a very tightly scheduled operation, CinemaNX went to Adrian Sturges (2008's "The Escapist"). "I’d had a general meeting with CinemaNX because they’d seen my previous film, liked it and wanted to see if we might find something to work on together," Sturges recalls, "I’d also known Josie Law, CinemaNX’s head of development, for a long time and she had read J’s first draft which she passed on to me and I really liked it, so then they went away and decided to make it. So we entered into a process of very rapid development, coupled with a commitment to shooting the film early in 2009. I read the script in September and we went into production in February, which is unusually fast but a testament to how interesting the script was to people." Having struggled for so long to get a feature made, the sudden turnaround took J by surprise. "It was bizarre because it hadn’t been easy to get to that point, but as soon as we did, it all happened extremely quickly." However, for producer Adrian Sturges ("Love You More"), the accelerated pace of development and production was not entirely unfamiliar. "I’d actually had a very similar experience on my last film in some ways, because if you choose to be a bit crazy and try to make a film just after Christmas, you get the benefit of a lot of people who are not currently working on anything else because the industry’s quiet at that time. As a result we got a really good crew together. So, yeah, it was tough, but I was really pleased with the quality of the cast and crew we were able to assemble." With only three characters in the entire film, the success of casting process for "The Disappearance of Alice Creed" became even more crucial. As Blakeson observes, the pressure was on to "get the right three people, and the right combination of people." "We knew we had to get very distinctive actors, because it was the casting which would be the trigger for the greenlight," Sturges said. So began a search for the three people who would take on the roles of Alice, Vic and Danny; a search that was concluded only a couple of weeks before the cameras were due to roll. "In a way it was liberating," Blakeson offered, "it was horrible, but it was liberating. It meant that if anyone was busy in February they were off the list." Despite the time and pressure, the end result was to everyone’s satisfaction. "We had a really great casting director called Lucy Bevan, who did a fantastic job. And we definitely got the right three people," Blakeson concludes, "because they’ve been amazing and given everything." The role of Alice was quite a departure for 2009 Empire Award winner Gemma Atterton. "I’d just come off this big action/adventure movie where I’m playing a princess. So I wanted to do something completely different." However different it may have been, there was no doubt in anyone’s mind about Gemma’s suitability for the role. Sturges recalls, "Gemma was the first person we saw, and she was amazing. We were just very lucky to catch her between these big juggernaut films she’s been working on." Blakeson was equally enthused. "She came in and read, and within about twenty seconds I was thinking Let’s hire her now. Right now." Reading the script, Gemma knew this would be the challenge she was looking for. "This was psychological, very modern and really full on. It was such a page-turner." Alice’s personal situation, too, provided some interesting contrast for Atterton, who played Strawberry Fields in "Quantum of Solace"(2008). "She’s different to me in that she’s from quite a well-off background. But she’s cool: really feisty. When you first see her you think she’s a complete victim, but she turns it around; she’s intelligent and has get up and go, so that’s why I identified with her." Atterton admits to having been daunted by the intensity of Alice’s ordeal, which involves going through things most people have never had to experience. "One of the things that attracted me to the film originally was the physical aspect of the performance, because I did a lot of physical theatre before I started in film. Being tied up, being restricted, those things completely inform what’s happening emotionally, which is really helpful. So sometimes when the camera’s not on my whole body I’ll still insist that I’m completely tied up, just because it does help that feeling of panic or claustrophobia." In spite or perhaps because of the dark nature of "The Disappearance of Alice Creed", Atterton ("St. Trinian's") revealed the experience proved rewarding. "Wow, if I’ve done this, I can do anything now." Although the search for Alice Creed was over, the search for Vic would take a little longer. "Casting Vic took a little bit longer, partly because we modified our thought process about the character," Sturges explained. Eddie Marsan came to mind in part because he and Adrian had worked together before on a short film and had stayed in touch. Adding to the connection was Eddie’s previous work with CinemaNX on Richard Linklater’s "Me and Orson Welles" and Philip Ridley’s "Heartless". "I got a phone call from Marc Samuelson," 2004 & '08 British Independent Film Award winner Marsan ("Vera Drake" & "Happy-Go-Lucky") recalls. "I’d just dropped my kids off at school, and Marc said 'Eddie, would you like to make it three films in the Isle of Man in a year?'’ So when I read the script and saw how good it was, I knew that with a good Director of Photography and a good company like CinemaNX behind it and with Adrian producing I’d be in good hands." "It was great to collaborate again," Sturges says. "What’s brilliant about him is that he’s a real actor’s actor." "Vic’s a great part," says Marsan (who peviously played a Police Inspector in "Sherlock Holmes" and a Reverend in "21 Grams") of his role. "He’s in one sense the senior of the two kidnappers. He’s the one who’s planned everything and he’s the most experienced, but he’s also the more volatile of the two." Finding the right actor for the role of Danny proved by far the longest and most difficult part of the process. The search for the right actor right down to the wire. "We said we wanted a young Colin Farrell, and that was quite hard to find. We’d cast Gemma, and we’d cast Eddie, which was great, but with two weeks before the shoot we still hadn’t cast Danny," Blakeson ("The Descent: Part 2") recalled. "It’s quite a difficult role and we saw a lot of people that weren’t right," Sturges adds. It was only when Martin Compston’s name came up in their continued discussions that something seemed to click. It clicked when Blakeson remembered he had seen Compston in "Sweet Sixteen" and "Red Road". The director thought Compston "was brilliant in "Red Road", but he was up in Scotland so he sent down a video audition which we thought was very good, but we wanted to seehim together with Gemma, to see how they worked together. When they read together it worked brilliantly, so that was that." This ideal piece of casting nearly passed them by, however. Compston recalls: "I was actually thinking about going to America when I got the script through," "and in a way I wasn’t keen to read it because I thought with Gemma and Eddie being involved, I’m going to be really disappointed if I don’t get this part and I’ll end up going to America on a bit of a downer. Then I read it and knew I really wanted the part." How would the 2002 BAFTA Scotland Award winner for "Sweet Sixteen", sum up his character? "The best way to describe Danny is probably as a manipulative little fucker! It’s a cracking part for a young guy to play. He’s not the master criminal, Eddie’s character is running the show it seems and Danny is just a lackey." The speed of the shooting the film, was undoubtedly aided by the decision to shoot in HD rather than on film. "We certainly had a ton of footage, which is obviously one of the results of using HD," says Sturges, "but that’s great for the actors because you can let the camera run and see what happens. This is my first film on HD, and it changes things a lot, but I’m really happy with the results." The director also agrees, that shooting in HD was both a new and positive experience. "It gives you such a cinematic look and the best thing about it is that what you see on the monitor as you shoot is pretty much what you’re getting, so there’s less left to chance. I just had to get on with making it and trust more in my instincts." What's It All About?

Two men, one in his twenties, the other nearer forty, are intensely focused on the task at hand. On a suburban street, these two ex-cons are about to kidnap a young woman. Danny, the younger, nervier of the two, is relying on the more experienced Vic, to realize their plan to make a mint from a ransom demand. Their hostage is Alice Creed, daughter of a rich businessman, chosen by Danny as their passport to a better life. Terrified and immobile at first, it soon becomes clear that Alice is not about to let her captors use her as capital without putting up a fight. As determined to escape as the ex-cons are to succeed, she enters into a battle of wills which strains the already fractious relationship between the crims. With the deadline for the exchange drawing near, all three will be brought close to breaking point, as the two mens foolproof plan descends into a desperate struggle for survival.

The Verdict "Those who love a tense, taut, engaging, edge of your seat thriller will find themselves highly rewarded by J Blakeson's "The Disappearance Of Alice Creed". This edgy, adult thriller, that plays with a cast of only three, is populated with major accomplishments. First on the list is J Blakeson. As well as making his feature film directorial debut, he also wrote the screenplay. It's one filled with twists and turns that will grab your attention from start to finish. Then there's D.O.P Philipp Blaubach and composer Marc Canham. Their superb skills are what defines every frame of the film. Blaubach graduated from The London International Film School in 1998, where, as a student, he received the Eastman Kodak Commercial Award. It led to an invitation to participate in a Cinematography Masterclass in Budapest. While this is only his fourth feature film, his previous works have been rewarded with: the Orange Film Four Award, Berlinale Talent Award and the ICA 'Trick of the Eye' Outstanding Cinematography Programme. Since 2001, Marc Canham has made his presence felt (either as composer, collaborator, producer or performer) on the soundtracks of numerous top videogames, sales of which total more than sixty five million units worldwide. "The Disappearance Of Alice Creed" marks his feature film debut. His stunning compositions permeate the film. This is most evident in the mood-building opening sequence. Those who play the three characters in the film, deserve to be applauded for their effort. Twenty four year old Atterton's performance as Alice Creed, will provide audiences with an opportunity to see just how talented she is. Marsan is more than suitably menacing as Vic while Compston plays Danny as an emotive chameleon. Superb British production. 4 1/2 STARS." Who Is Playing Who?

Gemma Arterton Martin Compston Eddie Marsan

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Alice Creed Danny Vic

The Production Team

Director Writer Producer Original Music D.O.P. Film Editor Casting Production Design Art Direction Costume Design Makeup Designer

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J Blakeson J Blakeson Adrian Sturges Marc Canham Philipp Blaubach Mark Eckersley Lucy Bevan Ricky Eyres Sally Black Julian Day Sarita Allison

Run Time 105 minutes Rated MA15+ [AUST] Copyright ©2010 - Icon Distribution - All Rights Reserved ©1999-2010 The Movie Pages & impact Internet Services. All Rights Reserved. Protected by Australian and International Copyright. Trademark Laws and Intellectual Property Rights apply.