Dead man’s shoes 85: 1, 35mm, 86 minutes) a shane Meadows Film


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(1.85:1, 35mm, 86 minutes)

A Shane Meadows Film

Official Selection Toronto Film Festival 2004

Official Selection Tribeca Film Festival 2005

Official Selection Seattle Film Festival 2005

Distributor Contact: Press Contact NY: Press Contact LA:

Jeff Reichert Mary Litkovich Marina Bailey

Magnolia Pictures 123 Park Avenue Marina Bailey Film Publicity

49 West 27th, 7th Floor Hoboken, NJ 07030 1615 North Laurel Avenue 201

New York, NY 10001 (917) 572-4739 Los Angeles, CA 90046

(212) 924-6701 phone (323) 650-3627 phone

(212) 924-6742 fax


Richard (Paddy Considine) has always protected his simple-minded little brother Anthony (Toby Kebbell). When Richard leaves the rural village where they have grown up to join the army, Anthony is taken in by Sonny (Gary Stretch), a controlling and vicious local drug dealer and his gang of lads. Anthony becomes the gang’s pet and plaything. Seven years later, Richard returns to settle the score. One by one, he hunts down each member of the gang and executes them in increasingly elaborate ways as flashbacks reveal the extent to which his brother suffered at their hands. DEAD MAN’S SHOES is a genre-defying film blending horror, supernatural elements, comedy, and social realism. Set in a Midlands village, it explores the underbelly of contemporary rural Britain in communities where crime is unchecked and drugs, intimidation, and power games are blandly accepted as the fabric of daily life.

The Genesis
The character of Richard—part devil, part avenging angel, but mostly tortured individual—and Anthony, his innocent younger brother, came out of a conversation between actor Paddy Considine and director Shane Meadows. Both Shane and Paddy were appalled by the everyday atrocities that go unheeded in Britain’s small towns. In particular, at the age of 17, a close friend of Shane’s who had been bullied and was taking drugs, committed suicide. On returning 10 years later to the place where he had then lived, Shane discovered that his friend’s death had been forgotten. “There are a lot of small towns where these things go on, and although no one is directly responsible, crimes are forgotten,” says Shane. As Paddy puts it, “These terrible acts are buried and ingrained into the community but never addressed.”
They both started to wonder what would happen if someone was to confront these crimes. From this idea, they originally developed the comic story of a social worker avenging by night, dressed as a superhero. But something wasn’t working. “All of Shane’s films have been comedies,” says Paddy, “but the humor comes from situations, not wacky characters. We didn’t want to just construct a generic comedy or a generic thriller, we wanted to go where the idea took us.”
The more the character of the avenging angel developed, the darker and more brutal the story became. To some extent, Shane felt he’d run into a wall with the comedy genre. He explains, “We got half way through the original story [of DEAD MAN’S SHOES] and thought, firstly, it was really important to make a story about Richard and his brother Anthony, and secondly it would be much better to cover ground we’ve never covered. I’ve never had one murder in my films, let alone 10!”

Bypassing Development

Both Shane Meadows and Paddy Considine had experienced the way film projects can become stuck in pre-development and creative vision diluted. Both believed that, with a great idea, it was possible to make a film with a supremely quick turnaround.

DEAD MAN’S SHOES is the result of a five-year working relationship and long-term friendship between Shane Meadows and Paddy Considine, who met at college. Although A Room for Romeo Brass marked their first film venture together, the majority of their time has been spent creating their own low budget short films outside what Shane describes as “the rigmarole that is feature film development.” The shorts form a sketchbook of ideas, and Shane’s previous film, Once Upon A Time in the Midlands had originally grown from one of their skits.
Producer Mark Herbert of Warp films had worked with Paddy Considine on the Chris Morris BAFTA-winning short film My Wrongs 8245-8249 and 117, and Paddy introduced Mark to Shane. Mark is one of the few people to have seen their short film collaborations. Impressed by the cinematic potential of the work and Paddy’s stunning range of performance, Mark believed that with the basis of an idea, Shane directing and Paddy starring, a fresh, more vital approach to filmmaking could be achieved. The immediacy of their method jibed well with Warp’s ethos to make films that are essentially about individual creativity.

One of Shane’s principle incentives was to recapture the vibe and energy of his first feature 24/7, set in a boys’ boxing club. “I’ve been under more pressure than I’ve known for a long time. When I made 24/7 that was a landmark for me because I was so frightened! This had that same uncertainty. It wasn’t just about making a film for me, it was finding something I was worried I was about to lose.”

Mark was also frustrated as a producer by the huge amount of money he believed to be wasted on unnecessary production costs. “They’re too expensive. Just saying we can shoot with a small crew, with no lights etc, means we can shoot with a lot more freedom. I think it’s putting a support structure around the director that allows him to work in the best way he can, that is most important,” he explains. Financing was secured from Film Four, and EMMI (East Midlands Media Initiative).

The team set themselves limits regarding the amount of money they would need, the time spent writing the story, the casting and shooting. In total, DEAD MAN’S SHOES’ development lasted eight weeks, including the change of story. Key to this was the network of people who had unwavering faith in Shane’s vision. Both EMMI and Film Four were supportive of Paddy and Shane’s decision to change direction. Of the experience Shane says, “The thing that’s been most impressive for me is that people have trusted my gut instincts for the first time in my life. Anything that’s gone wrong has usually happened if I haven’t followed my instincts.”
With a 60 page script, with little dialogue and room for change, shooting took place over three weeks in the town of Matlock, Derbyshire, in the summer of 2002. The crew was kept to a bare minimum, with no trailers or toilets to transport from one location to another. Cast and crew were literally able to change location at a moment’s notice. If something wasn’t working, a scene could simply be returned to and re-shot. Additional time was saved by shooting with just one exceptionally fast film stock, 500 ASA, superfine grain, that could be used for both day and night shoots.
Mark describes the flexible approach to shooting: “On film sets, everything has been paid for, and if something’s not right, because everything cost a lot of money, you just go ahead and film. With DEAD MAN’S SHOES, if it wasn’t right, we’d just change it. Having a crew of 12 meant if you were in a location that seemed contrived and it wasn’t working, you’d know in a rehearsal. The location manager would go off find us somewhere else and 10 minutes later we’d go there in the van. There was a structure and schedule but we could always change them.”

The film was later honed in the editing suite. “I think that’s a problem with film, that there has to be this predefined way of working,” says Mark. “We’ve edited for months on this, because the film has been shaped in the edit.”

Casting and the development of the story

Casting is essential to the structure of any Shane Meadows film. For Paddy Considine, it was seeing the other non-professional actors in Shane’s short films that convinced him that acting was a real possibility. “Well, I wouldn’t be acting if it wasn’t for Shane Meadows and that’s the truth,” he says. “He’s got such a unique relationship with his actors because he’s very collaborative with them.”

Working within the framework of a loose script, DEAD MAN’S SHOES developed with the actors’ talent. They were kept on their toes as characters were dispatched, not according to the set plan of the script, but according to how interesting they were when shooting had begun. “You earn your own screen time,” says

Shane. Soz (Neil Bell), for example, was originally going to be killed off in the first act. “We did a scene with Neil Bell that was so hysterical, we thought ‘we can’t kill him! It’ll have to be somebody else’,” says Shane.

Originally cast in entirely different roles were Paddy Considine, Toby Kebbell (Anthony), Jo Forster (Jo), and Emily Aston (Patti). Jo and Emily had both worked with Shane on a commercial for The Sun newspaper while Toby came from a workshop at Carlton Television, where Shane had cast all of the boys from 24/7.

The untested talents of Toby Kebbell were a particular find, although he very nearly wasn’t cast at all. While Toby participated in the original workshop, the lead part of the young lad—then a very different character—had gone to someone else. When that actor pulled out thinking he couldn’t do it, Shane decided to give Toby a try. “This is where his instinct for casting comes in. Toby’s definitely got that ingredient and we’ll definitely be working together on something else,” says Paddy. Toby was originally cast as a wayward drug dealer before the story change. Concerning the relationship between his character Anthony and his brother Richard, Toby says, “It wasn’t forced brotherly love. It’s more like a friendship. My favorite is the scene where we’re sitting in the tires talking. It was all improvised. Paddy suddenly starts talking about this lad with a shitty arse. He feeds you so much which makes you give something back that he can feed on.”

The change of direction was particularly dramatic for Emily Aston who was recast as Patti, the local bad girl. “I got a call from Shane right at the beginning saying, ‘Emily, I just wanted to tell you there’s a sex scene’. I never get a nice part,” she jokes, “Always the cocky girl. Now it’s a thriller, and I’m taking my clothes off at the beginning. Which is great!”
The gang members Soz, Tuff, Herbie, Big Al, and Mark were also found through a workshop, and cast on the basis of their chemistry as a group. “We all let each other speak and got along and I think that’s why we ended up in the film,” says Neil Bell (Soz).
Gary Stretch, who plays the gang leader Sonny, was the last to be recruited. As the lead villain he was particularly difficult to cast, due to the strength of the other actors and Shane was nervous that he wouldn’t fit in with the gang. Gary eventually got the part due to his ability to get on with the lads.
“The casting of the gang was particularly important,” explains Paddy Considine. “Although they’ve all worked before, they had something to prove. They all had to get it; it was all up for grabs.” Gary Stretch concurs, “Shane is an unbelievably confident director, and so at ease with guys bringing things to the table.” Paul Hurstfield (Mark) adds “Working with Shane means that nothing’s set in stone. It’s a natural, living being that we’re creating as we go along.”

Several members of the cast of DEAD MAN’S SHOES hail from various non-traditional backgrounds. Gary Stretch (Sonny) is a former pro-boxer, while George Newton (Gypsy John) spent many years serving in the forces. “I’ve had a mad life myself and I seem to be drawn to like minded people,” elaborates Shane. “They may not be the most experienced actors but they bring the most in to the sessions. People who work best at improvisation seem to be the people who’ve had the wildest lives. They’re more prepared to let go.”

“Shane’s quite instinctive when he’s casting, he’s able to find unknown people and follow them through. I think he feels comfortable that way because he’s not dealing with ego. He’s dealing with people who are eager to do a good job,” adds Paddy. On Shane’s one-off relationship with his cast, Paul Sadot (Tuff) says, “Shane is portraying people and places that he knows. He’s not making it up. He’s not coming up from London and asking you to play a Northerner. You totally trust him.”
Shane Meadows’ unique way of working with actors developed from his early days as a filmmaker. In his student work the stars of Shane’s films ranged from college friends, people on the dole, single mums – anyone he knew who was willing to try acting. Shane found that everyone, given the right environment, is capable of a great performance.
His stories developed with actors improvising around a plot framework. The resulting work got at the essence of real life, with comedy and drama emerging from naturalistic situations, rather than a contrived structure. “I realized that with the right confidence people could give more than they’d ever show in a drama group or a rehearsal. I’ve gone back to that technique in this film. Not that the actors aren’t talented. But I’ve used that philosophy from eight or nine years ago, where putting a group of people together who trusted each other got incredible results, and I hope DEAD MAN’S SHOES has got the energy of some of that early work.”

A Special Atmosphere

Working with a small cast and crew in a little Midlands village meant that the atmosphere on set wasn’t quite like other films. For Shane it was a return to the family environment he’d experienced with his first feature, 24/7. “Because of the nature of the budget, it was very low key. There aren’t big trailers all over the place, but there’s a sense of community and family” he says. In fact there was a strong presence of actual family. Paddy’s nephews Matt and Craig were called in to play the little boys who give Richard a glimpse of goodness towards the film’s end. Most astounding were the multiple roles assumed by Louise Knight, Shane’s collaborator and wife, who in addition to co-producing and casting the film, worked on continuity. “It’s been a massive learning curve for everybody,” explains Louise. “To take all the constraints away from how you usually shoot a film has been wonderful.”

A lot of the people involved in DEAD MAN’S SHOES had never made a feature film before, as had been the case with 24/7. Toby Kebbell, for example, had only ever been seen in local theatre groups. Likewise Adam Tomlinson, the art director, came from the television series “Crossroads”. By giving people a chance, a much friendlier atmosphere was created with everyone willing to go the extra half mile. “When you’ve got 10 or 12 people on the bare minimum, but working harder than they’ve ever worked in their lives just to produce a film, that’s where I want to be,” says Shane.


by Shane Meadows, director of DEAD MAN’S SHOES.

I felt, in a way, as though I'd lost my way after my last feature film Once Upon a Time in the Midlands. I was desperate to get back to being honest with myself in my next film. I had already been feeling this way and then happened to take a trip back to Uttoxeter in Staffordshire, England, the town I grew up in. I was overwhelmed with sadness at what I saw there, and at some of the memories the visit jogged in me. We used to take a lot of drugs as we were growing up—there was nothing else to do to have fun—and some appalling tragedies happened as a result. A close friend of mine who had been bullied developed a drug problem and then committed suicide. I couldn't believe that, going back ten years later, he had been totally forgotten in the town; it was as if he had never existed. I was filled with anger against the people who had bullied him and pushed the drugs on him, and with despair at what drugs had done to that small community. What was done in the name of recreation had had such devastating results.

I started to wonder what might happen if someone chose to try to right the wrongs that had been done, instead of ignoring the terrible tragedy of it all. That is where the idea came from for Dead Man’s Shoes. I'm not violent and I've never enjoyed violence, but at the end of the day, the characters who get killed in Dead Man's Shoes are based on people I wanted to kill. It's true and I'm not going to lie about it. It was one of those environments where anyone who showed any kind of weakness was preyed upon, and that's pretty much what happened to my friend.

When I was younger some of the films which inspired me were Rambo: First Blood, which also provided the template of the returning soldier taking the law into his own hands, and Southern Comfort in which American National Guardsmen discover their savage inner selves whilst lost in Bayou country. The thing I remember about films like Death Wish was the fact that the Charles Bronson character uses such low-tech weaponry, like coins in a sock. I don't know why, but we respond to those kinds of things, and I have tried to do something similar with the violence in my own film.
What really attracted me to many of those films was that their central characters were almost like spokesmen for the dark recesses of our own minds. Me and Paddy Considine, the film’s star and co-writer, had a conversation about road rage, which I admit I suffer from. I've been in a car where somebody's cut me up and I've seriously wanted to follow them, pull out an axe, cut their vehicle into pieces and say, "Well, you'll never do that again, now will you?!" What actually happens is that I smile, put my hand up and drive home with all these poisonous thoughts running around in my brain. But at least I admit to those thoughts.
As I said, I'm not the kind of person who's going to act on these impulses. But nor do I allow them to fester inside myself anymore. I try to find a way of getting them out of my system. And film does that for me. But without film, without the catharsis that it offers, God knows what would happen.

- Courtesy FLM magazine.


Paddy made his startling film debut as the disturbing Morrell in Shane Meadow’s A Room for Romeo Brass. Since then he has notched up a string of film roles, including the broken, lovesick Alfie in Pavel Pawlikowski’s critically acclaimed tale of an asylum-seeker, Last Resort, for which he was awarded Best Actor at the 2000 Thessaloniki Film Festival.

After numerous supporting roles, Paddy played Rob Gretton in Michael Winterbottom’s 24 Hour Party People. In the summer of 2003 Paddy starred opposite Samantha Morton in Jim Sheridan’s In America. Paddy also featured in the BAFTA winning short film My Wrongs 8245-8249 and 117, directed by Chris Morris on which Paddy met DEAD MAN’S SHOES producer Mark Herbert. His more recent work includes roles My Summer of Love, Cinderella Man and Stoned.

Gary Stretch’s first career began when, as he recalls, “my father took me to meet a new friend called ‘discipline’ in a boxing gym.” As an amateur boxer he won every title he could before turning pro and achieving the world professional title. When holidaying in Los Angeles with an actor friend, his life was set on a new path. Gary stepped in to help an old lady who was being accosted by two men in a road rage incident. She was, it transpired, the world famous acting teacher, Janet Alhanti, who had trained Dustin Hoffman and Sydney Poitier. Though Gary originally declined her invitation to join her class he was turned around by witnessing Poitier recite poetry in one of her classes. “She said start Monday, and I never went home,” he says. Gary’s recent film credits include the thriller, A Good Night to Die, in which he starred alongside Deborah Harry, the dark comedy Dead Dogs Lie and Alexander opposite Colin Farrell.
“It’s very exciting. One of the things I’ve found when you’re working on a script, it gets really hard to invent new stuff on the material. We have boundaries, but things change. Every scene we rehearsed has its own life – islands in their own sea. I don’t think I’ve ever been so pleased with the work to date.”


Midlands local Toby Kebbell was discovered by Shane Meadows at a Carlton TV workshop where Samantha Morton had also developed her craft and Shane Meadows found the cast of his first feature, 24/7. DEAD MAN’S SHOES is Toby Kebbell’s first feature film role. He has since appeared in Alexander, and Woody Allen’s Match Point.

“Anthony is a young, slightly simple lad who gets taken advantage of. It’s just been beautiful to work on improv with a backbone.”


Jo Hartley has worked extensively in television with credits including “Bob and Rose”, “Hollyoaks”, and “Cold Feet”.

“My role is to give a different dimension to the film. It’s quite hard going. I show a family unit with my husband and my kids. Everything’s lovely. Jo’s a strong character, very stable and together. When Richard comes to the house and sees the family relationship it reminds him of him and his brother.”

Seamus O’Neill’s extensive career as an actor includes roles in “Auf Wiedersehen Pet”, “Prime Suspect” and “Emmerdale Farm”. In 2001 he appeared in the feature film My Kingdom, a reworking of King Lear, with Richard Harris and Vanessa Redgrave.
“Big Al is a loaf of a guy. Everyone else might have a few shots of tequila and this that and the other, he has the ability to stay with it. A big horse of a guy really. In his last scene he’s shot and drops like a sack of potatoes. I had to fall over about 15 times and eventually cracked a rib!”


Stuart Wolfenden’s TV credits include “Heart Beat”, “Coronation Street” and “Emmerdale Farm”.

“We didn’t know who was going to die first. It was secret. Originally Gary was to be the last to go… but he went first, Neil went second and I went last. Working with Paddy is unbelievable. He is such an unselfish actor. I ended up breaking down and crying. I wouldn’t have done it if he hadn’t fed me the line. It was his line that made me do it. It’s a moving scene. It’s quite weird dying!”


Paul Sadot has appeared in “London’s Burning”, “The Bill” and “Blue Peter”. In addition to his numerous TV and theatre credits he is a physical performer specializing in acrobatics, juggling and fire twirling, to mention a few of his skills. He was one of the first Capoeira instructors to qualify in the UK and runs schools in Manchester, Leeds, and Birmingham. DEAD MAN’S SHOES is his first feature.

“I’ve been doing the stunt driving in Dolly the 2cv. We had a laugh in it, but 5 big lads driving around over the speed humps on the estate… We did fly over them, I can admit it now!”


Paul Hurstfield came to acting quite late, though he was inspired to become an actor when, as a child, his father took him to see Zulu. Eventually he undertook classical training at drama school. He has worked extensively with the Young Shakespeare Company and has appeared in the BBC series “Miners”, and “Adams Apple” for Carlton. DEAD MAN’S SHOES is his first feature.

“Eight years ago Mark was heavily into the gang. His role is different because Richard comes to him when everybody else is dead. Working with Shane is completely different to my training. It’s been a long time coming and to do this sort of work is incredible.”


Emily Aston first became familiar to young UK audiences as a regular in the TV series “Children’s Ward”. Her long list of television credits includes “Oranges Are Not the Only Fruit”, “Holby City” and “Casualty”. Her feature film work includes Michael Winterbottom’s first feature film Butterfly Kiss, and Steve Coogan’s The Parole Officer.

“Patti’s quite crude. She’s not bothered, she just does it all the time. I never get a nice part, always the cocky girl.”


George Newton joined the armed forces in the early 1970s. He has served in South America, Cuba and the North Pole. He returned to London and moved back to the North of England after a spell in the police force.

“I’m not a trained actor. Shane Meadows has taught me a hell of a lot. The things I’ve done in life can be put into it and Shane knows that. I’m the first to get killed in the film. That was an excellent experience. I got beaten with an iron bar. I said to Paddy go for it with the bar, rather than swap the props. Obviously this is the sort of movie where realism is there. At the end of the day I felt I’d achieved quite a bit.”


Neil Bell trained at Oldham School of Performing Arts & Dartington College of Arts. His television work includes supporting roles in “The League of Gentlemen”, and “Coronation Street”. His feature film work includes Michael Winterbottom’s 24 Hour Party People, and Penny Woolcock’s The Death of Klinghoffer.

“It’s a young crew, people are enthusiastic. It’s like making a film with your mates.”


SHANE MEADOWS – Writer / Director

Raised in Uttoxeter England, Shane Meadows dropped out of school as a teenager. He embarked on a journey that took him from a clown’s assistant to a spell at steel erecting before eventually studying acting and photography. Disillusioned with the educational system, Shane volunteered at a local film centre in Nottingham and learned the craft of filmmaking. He borrowed a camcorder at weekends and taught himself a technique of making short films with his friends as actors. After producing a short film every month for a year, he was approached to direct the TV documentary “The Gypsy’s Tale” (1995). Meadows also wrote, produced, directed, edited and co-starred in the 60-minute film Small Time (1996).

After Stephen Woolley—producer of The Crying Game, A Company Of Wolves and Interview With A Vampire—saw Shane’s eclectic mix of short films he signed Meadows to write and direct the BBC-financed 24/7 (1997). Shot in black and white, the film centered on Bob Hoskins’ attempts to rescue the disaffected youths of a town by opening a boxing club. The film won him the FIPRESCI award at the 1998 Venice Film Festival as well as many other festival prizes.

Turning down offers from Hollywood, Meadows opted to complete his Midlands trilogy. His next film, A Room for Romeo Brass (1999) was a dark and comic rites-of-passage story featuring an impressive debut performance from Paddy Considine. With huge critical acclaim and a clutch of awards, the film has gone on to be a British cult classic.

The final part of his trilogy, Once Upon A Time in the Midlands, is Meadows’ comedic homage to the Spaghetti Western genre, in which a man returns to The Midlands to try to win back his ex-girlfriend. This film was selected for Director’s Fortnight at the 2002 Cannes Film Festival and was picked up by Sony Classics for the United States.

PADDY CONSIDINE – Writer / “Richard”
See Cast Biographies.

Mark Herbert started to work with Warp Films in 2002. My Wrongs 8245-8249 and 117, directed by Chris Morris and produced by Mark, was their first production and it won a BAFTA for Best Short Film in 2003. Prior to this, Mark produced the critically acclaimed first series of Peter Kay’s “Phoenix Nights”. The series was broadcast in 2001 and was nominated for Best Comedy at the RTS and Broadcast Awards and has gone on to sell over 500,000 copies on VHS and DVD.
In 2001 Mark also co-produced the feature film Dream by the Swedish writer of My Life as a Dog, Reidar Jonsonn.
Mark’s freelance career started as a Location Manager with credits including Little Voice, Brassed Off, Blow Dry, and Among Giants.

Mark is currently Executive Producer on a DVD album by award winning director Chris Cunningham that includes his own musical compositions and new films. Also in development is a feature film project with Chris Cunningham and a feature by Jarvis Cocker.

Mark Herbert is also developing a comedy series with Shane Meadows, writer Paul Fraser, and Johnny Vegas which will go into production in 2004.

DANIEL COHEN – Director of Photography

Daniel Cohen’s long list of credits includes cinematography for the feature film Dead Babies (1999), music videos for Blur and Mull Historical Society, and commercial work for Ministry Of Sound and Durex. He was director of photography on Warp Film’s first production, My Wrongs 8245-8249 and 117, which also starred Paddy Considine. In 2003 he also worked on the features Only Human and the British horror film, Creep.

Dead Man’s Shoes is the first feature film for 27-year-old art director Adam Tomlinson. His television experience includes working as art director on Carlton Television’s “Crossroads”, and as an assistant working on “Hollyoaks”. He is currently art directing the BBC’s upcoming “Grease Monkeys”.


Chris Wyatt has been working as an editor and sound editor for over 20 years and is a great advocate of Final Cut Pro, the technology used to edit this feature. His feature credits include Prospero’s Books, The Cook, the Thief, His Wife and Her Lover and Max. He also edited the award winning documentary The Lost Children of Berlin which was produced by Steven Spielberg. Chris is currently editing the third installment of Peter Greenaway’s The Tulse Luper Suitcases.


Celia Haining has been working as an editor and assistant editor since 1993. Her credits as assistant editor include the feature films Twelve Monkeys, The Full Monty, Elizabeth, The House of Mirth, The Road to Perdition, Dirty Pretty Things and Calendar Girls. Short films she has edited include several by award-winning writer/director Susannah Gent in the early 1990s, one funded by the BFI and one for Fuji competition. In 2003, in addition to her work on DEAD MAN'S SHOES, she also edited “Heart Thief, a

short dance film for Channel 4, “Imelda Marcos of Bethnal Green, a short about a young girl's dysfunctional homelife, and “No Deposit No Return, a short romantic comedy for Rocliffe. She is currently editing a Sky television drama series entitled “Dream Team”.

Dead Man’s Shoes is Lucas’ first experience of editing a feature film. Based in Nottingham, he had a wealth of experience making shorts and in 2003 was the assistant editor on Chris Cooke’s One for the Road.

BARRY RYAN – Line Producer
Barry began working with Warp Films in 2002 when he line produced the BAFTA winning My Wrongs 8245-8249 & 117. Prior to working with Warp Films, Barry had worked on a variety of television and film projects as floor manager, location manager and production manager as well as producing for Cargo Film a number of award winning shorts and the low-budget feature, Jelly Dolly.
Barry is currently looking after business affairs at Warp Films and is developing a feature film project with Warp to be directed by Jarvis Cocker.



Warp Films is the sister company of Warp Records, the Sheffield based label which released The Aphex Twin, and Squarepusher among others.

Their approach to filmmaking mirrors their music policy, namely to support artists with individual visions, providing a platform for left-of-centre projects. Warp envisioned the revolution that happened in music 12 years ago, with the accessibility of better equipment allowing artists to lay down tracks in their bedrooms, being mirrored in filmmaking. The rise of digital technology in film that allowed people to shoot cheaply and edit anywhere has contributed to this.

Warp’s first project was the Chris Morris BAFTA winning short My Wrongs 8245-8249 and 117, released on DVD last year. DEAD MAN’S SHOES is the company’s first feature film.

In the words of producer Mark Herbert, “Warp films are about having a voice. I hate manufactured indie or manufactured pop—anything that feels like you’re doing something just to fill certain criteria. The ethos isn’t a set of rules, it’s about not worrying about commercial influences or ticking the right boxes and becoming mainstream. No one process is right or wrong.”

EM Media is the regional screen agency responsible for shaping a vibrant media future across England's East Midlands.

People. Organisations. Projects. Businesses. These are the fundamental elements of the sector we operate in. These are the vehicles for our investment decisions. Talent, creativity, ideas, achievement and ambition are, however, the cultural assets we invest in. These assets are the lifeblood of a vibrant, progressive media region.

EM has invested in and backed numerous projects, including Chris Cooke's debut feature One For The Road (One for the Road Productions), the feature film Anita & Me written by Meera Syal (Take 3 Partnership, UK Film Council and BBC Films) and In Denial of Murder (Hat Trick Productions).


FilmFour, headed by Tessa Ross, is Channel 4 Television's feature film division. It both develops and co-finances films and is known for working with some of the most exciting talent in the UK

Touching The Void, Sexy Beast, East Is East, The Crying Game, Trainspotting, Four Weddings and a Funeral and Elizabeth are just a few of the hundreds of titles developed and financed by Channel 4's film arm since its inception in 1982.



Paddy Considine


Toby Kebbell


Gary Stretch


Stuart Wolfenden


Neil Bell


Paul Sadot

Big Al

Seamus O’Neal

Gypsy John

George Newton


Paul Hurstfield


Jo Hartley


Emily Aston


Craig Considine


Matt Considine


Andrew Shim


Arthur Meadows

Gill Meadows

Neil Dodd

Ben Dodd

Jordan Dodd

Lauren Dodd

Jenna Winter

Super 8 Footage

Pauline Herbert, Mark Herbert, John Farrar, Morris Hemingway, Sandra Hemingway, Darren Hemingway, Wayne Hemingway

Hannah Hemingway



Shane Meadows


Mark Herbert

Screenplay by

Paddy Considine and Shane Meadows

Additional Writing

Paul Fraser

Line Producer

Barry Ryan


Louise Knight

Executive Producers

Steve Beckett

Peter Carlton

Will Clarke

Tessa Ross


Richard Knight

First AD


Second AD

Lisa Butler

Third ADs

Daemian Greaves

Steve Watson


Louise Knight

Production Co-ordinator

Rachel Robey

Production Assistant

Mary Burke

Production Accountant

Pat Mee

Production Trainee

Sarah Hancock

Casting Director

Carol Crane

Director of Photography

Danny Cohen

Focus Puller

Lucie Seymour

Clapper Loader

Andy Hill


Chris Wyatt

Lucas Roche

Celia Haining

Sound Recordist

Stephen Haywood

Sound Assistant

Dave Heels

Art Director

Adam Tomlinson

Art Department Assistant

Rosie Jones


Lizzie Broadley


Theresa Hughes


Mark Clayton

Stunt Co-Ordinator

Rod Woodruff

Rushes Runner

Dean Baker

David Finnigan

2nd Unit

Director of Photography

Zak Nicholson

Focus Puller

Matt Shaw

Nathan Mann


Leon Lockley


Dave Ainley

Art Director

Gavin Lewis

49 west 27th street 7th floor new york, ny 10001

tel 212 924 6701 fax 212 924 6742


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