Written for the Screen

and Directed by Sofia Coppola

Production Notes

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Synopsis

The Beguiled is an atmospheric thriller from acclaimed writer/director Sofia Coppola.

The story unfolds during the Civil War, at a Southern girls’ boarding school. Its sheltered young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events.

A Focus Features presentation of an American Zoetrope production. Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning. The Beguiled. Music by Phoenix, based on Monteverdi’s “Magnificat.” Costume Designer, Stacey Battat. Film Editor, Sarah Flack, ACE. Production Designer, Anne Ross. Director of Photography, Philippe Le Sourd, AFC. Executive Producers, Roman Coppola, Anne Ross, Fred Roos, Robert Ortiz. Produced by Youree Henley, Sofia Coppola. Written for the Screen and Directed by Sofia Coppola. A Focus Features Release.

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About the Production

Having joined characters at their turning points in the 18th, 20th and 21st

centuries, director Sofia Coppola now journeys to the 19th century with The Beguiled, for which she wrote the screenplay adaptation from the novel of the same name by Thomas Cullinan.

Taking the trip with the Academy Award-winning filmmaker are collaborators new and returning both behind and in front of the camera. Coppola is reunited with two of her favorite leading ladies, Kirsten Dunst and Elle Fanning, and directs for the first time Golden Globe Award winner Colin Farrell and Academy Award winner Nicole Kidman. These screen veterans are backed up by an ensemble of teenage actresses who are making their marks in the industry.

The filmmaker’s team of artisans includes production designer Anne Ross, film editor Sarah Flack, and costume designer Stacey Battat, each of whom has made several movies with her; and Academy Award-nominated cinematographer Philippe Le Sourd, lensing his first feature with Coppola.

Laced with elements of a taut psychological thriller, the tale unfolds in 1864 – three years into the Civil War – and is tightly concentrated in and around a Southern girls’ boarding school in Virginia where a wounded Union soldier takes refuge.

Intrigued by the story of the 1971 film The Beguiled, directed by Don Siegel and starring Clint Eastwood, Geraldine Page, Elizabeth Hartman, and Jo Ann Harris, Coppola wanted to explore the theme of women isolated during the Civil War. In writing the screenplay adaptation, she went back to the book to tell the story from the female characters’ perspective for her film.

While there is tension – both sexual and otherwise – throughout the story, Farrell gravitated to what he deems an “extraordinary” script because “it looks at how whatever innocence has been maintained in a time of war can be lost. It also explores how the more animalistic aspects of human behavior can be provoked – and pervade – even when you’re not on the front lines.

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“The violence of the human heart is a timeless theme, no matter what period a story takes place in.”

Dunst remarks, “The story is Southern Gothic, with things bubbling under until they get to a boiling point and then an explosion happens. It’s not horror, but it feels like there is horror in it, with intensity and destruction – all made more compelling because this is happening among women.

“When Sofia told me about the idea a couple of years ago, my impression was that she was drawn to the subject matter of so many women together alone.”

Kidman comments, “I thought it was exciting to work with a group of women and then put Colin in the equation.

“I was so happy to support Sofia as a female director, and I always thought that she made such atmospheric movies in such a signature style. That was the main thing which drew me to working with her.”

Fanning adds, “Besides working with Sofia again, this was a reason for me to be part of The Beguiled: the women hold the power in this story – even though it’s set during the Civil War.”

The women’s wartime lives at the school are, as the story begins, heavily ritualized. Fanning notes, “They get up, they work in the garden at a certain time. There’s prayer, playing music, French lessons, dinner and bedtime. Until, everything gets shaken up; they take in the wounded soldier, and selfishness sets in.”

Ross elaborates, “It’s rare that you see a story about women during wartime, and about how they interact with each other; in The Beguiled, Sofia is exploring both their camaraderie and their isolation.”

Given the confines of the society the women have grown up – or are still growing up – in, research had to be part of the pre-production phase. Ross says, “We had to at least know what was historically accurate before making concessions towards telling a fictionalized story.

“But Sofia and I started out by doing what we do on every movie: share pictures, collect things that inspire us, make mood boards, and map out the scope of the film.” Inspirations ranged from the Australian drama Picnic at Hanging Rock to the portraiture of painter John Singer Sargent.

Le Sourd began preparing for The Beguiled “a full year before we began shooting. What struck me in the research, including looking at

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daguerreotypes, was how little strong color came through during the Civil War.

“Sofia and [producer] Youree Henley made the decision to shoot on film, which I appreciated, and we then opted for an older film aspect ratio of 1:66/1 so as to see more of the body language.”

The cinematographer worked closely with Battat and Ross on the movie’s palette, and on the practical implementations of same. As the story is set well over a decade before electrical lighting came into use, daylight was made use of for scene after scene. The natural light was supplemented by candles, which would have been kept on hand at – and also handmade at – the boarding school; and, on occasion, by modern studio lights.

Ross notes, “When McBurney [portrayed by Farrell] first shows up, the world he’s coming into is softer, with more pastels. As he’s with the women longer things become darker, reflecting the mood of the film.”

“I loved how contained the drama was, and there’s a bit of melodrama as well,” says Farrell, who had long wanted to make a movie with Coppola.

As it happens, when the filmmaker approached the actor with The Beguiled, he had only just completed production on another movie with Kidman. He quips, “Nicole and I are now each 50 percent of a small film repertory company.

“Nicole is a joy to work with. When she comes on the set, everyone gets a little bit better, from the actors to the electricians!”

“Everyone stands up straighter,” adds Fanning. “Especially when Nicole was being Miss Martha.”

With the cast in place to portray women of the South, a wider net was cast for research. Cursive writing lessons, utilizing a pen that had to be dipped in ink, were given. Demonstrations were held on how to apply and wrap a tourniquet. Rehearsals prior to shooting were conducted with the cast fully costumed in period garb.

Fanning reveals, “I’m from Georgia, so I’m connected to the values that these characters have been raised with. I’m very familiar with ladylike behavior.

“But during rehearsals we did have to see an etiquette coach, and a dance teacher who taught us dances of the time.”

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Farrell notes, “The interactions between the man and these women are all about social etiquette – until somebody steps out of their acceptable box. Then it’s no longer an emotionally curtailed environment. I didn’t see my character as having much etiquette, but Sofia asked me to meet with the etiquette coach as well, so I did.”

Several of the actresses were obliged to practice their accents, designated to specific states, for an hour daily – while marveling at how Kidman would retain Miss Martha’s voice. Kidman offers, “I did a very particular Southern accent, and I tried to keep that before and after takes at times.”

Oona Laurence, Angourie Rice, Emma Howard, and Addison Riecke were referred to as “the minors” because all four actresses – although already accomplished – were and are under 18 years of age. Friendship among the quartet was bolstered by their having school sessions together during production as well as carpooling to and from the daily shooting locations.

Furthering connections among them and forging a bridge between research and imagination, Coppola asked the younger actresses to write in journals daily, in-character, reflecting on their past – the families that they were sent away from – as well as their present, at the school. The filmmaker also gave the quartet materials detailing what young women of their age would have experienced during the Civil War.

Dunst elaborates, “Miss Martha is not only head of the school, she is also head of what has become a household. My character, Edwina, is like a minder for the girls. But with the War having gone on for so long, we’ve also become like mothers to them.

“Having strong actresses in every role makes the whole story more meaningful, and the relationships that more complicated, bringing life to every scene.”

Farrell marvels, “I was surrounded by extraordinary talented actresses. Since for a lot of the story my character is lying down, I had the best seat in the house – watching them work!”

The role of McBurney intrigued the actor with every emotional and/or physical twist and turn. Farrell says, “He’s somewhat narcissistic, yet he’s a good judge of people in that he reads what they need. He senses what they may find disdainful and stays away from that, going instead to their soft spot – whether it’s giving a kind word or being more reserved.

“Probably the only one he’s sincere with is Oona’s character, Amy. She is generous to him right away, but even this innocence is to be lost.”

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Dunst muses, “There is death in the story, but it’s also about how a person dies inside. I tried to give Edwina a big inner life, fill emotionally. Hers was a very different sensibility for me to play, and the opposite of who I am.”

Fanning notes, “For my character, Alicia, it’s an awakening to see a man up close. She’s at an age where she’s gotten a little bored, feels stuck. When she starts to wear her hair down and show her corset a little bit – that’s a big no-no. But she doesn’t anticipate how this flirtatiousness is going to have consequences.

“I liked playing someone going through that, and from this time period – a setting which I’d never been part of before.”

These two stars of previous Coppola movies became fast friends. Dunst reveals, “Elle and I literally finish each other’s sentences. I found a soul mate.”

Fanning says, “I love Kirsten. Some of the scenes were hard for us – because we couldn’t look at each other or we would start laughing!”

The production took Louisiana as its base, which delighted Riecke, who was born and raised in the state – although she would be portraying her character Marie with a Mississippi accent.

Coppola’s preference, as on her previous films, was to shoot at actual locations. So it was that, situated on-screen as the girls’ school the Farnsworth Seminary, is Madewood Plantation House, which audiences may recognize from its showcase in Beyoncé’s “Sorry” music video as part of her Lemonade.

A two-hour drive outside of New Orleans, Madewood was designed and built in the mid-19th century, although the Civil War would delay its completion. As in The Beguiled, the property was largely bypassed by the conflict itself. It is also well-situated against natural disasters; owner and proprietor Keith Marshall reports that “the walls are 24 inches of solid brick.

“It is one of the most perfect classical Greek revival mansions in America.” In addition to film and television productions, Madewood has hosted designers’ collections presentations and music festivals – and hosts guests as a bed-and-breakfast establishment. It is a National Historic Landmark mansion.

Key moments in the movie were filmed in and around Madewood, including the kitchen and dining-room sequences that convened all eight performers; and the shed scenes. The historic façade remained untouched, although

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Ross’ unit did have to do some planting and decorating out front to indicate some neglect occasioned by the War grinding on and the school’s population having been reduced.

Even so, Ross reports that the production was obliged “to find another house where we could work more inside and change décor and furniture, and do some minor painting, among other logistical things – ”

“— while being sure not to damage anything,” assures Fanning. “We all had to be very careful and respectful. The staircase was epic!” The privately owned home is located in New Orleans, and its interiors became the school’s parlor, music room, and bedrooms, among other scripted locations.

While the school mansion consists of the two locales – Madewood and the New Orleans residence – the production also did limited shooting at and around Evergreen Plantation and New Orleans’ City Park. The latter provided just the right setting for the opening sequence where McBurney is first discovered by Amy, with Coppola and Le Sourd finding inspiration in the forest scenes of the classic Rashomon.

For interiors at both main locales, Ross’ unit had to populate the Farnsworth Seminary with everything from Bibles to candelabras to musical instruments. For the dining scenes, the props department sourced vintage silverware – which it then tarnished, given that the school’s reduced head count and the wartime depletions have left no time for unessential tasks such as polishing the silver.

The gun in the house, kept by Miss Martha for protection, is a Whitneyville Dragoon, a .44–caliber revolver manufactured years prior to the Civil War and therefore appropriately contextualized as being previously owned by Miss Martha’s father. The overall mandate for the props department was “early 19th century,” since objects would have been retained and handed down. Books from the period were represented by reprint versions so as not to look their advanced actual age.

If the cast could step into history when surrounded by the props and locations, Battat’s department made it feel even more immediate for them with handmade costumes. Getting into the clothing helped everyone get into character. “Corsets every single day,” confides Fanning. “Our waists had to be measured each day because the skirts were made to fit. There were so many tiny buttons; you could not get dressed alone, and you could not get undressed alone…

“Wearing the corsets made you walk and hold yourself a different way. Stacey did a great job with all the soft and clingy skirts – they were washed

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to be really faded, since our characters would have had only so many outfits left in the house by that time.” Dresses were rendered even more pale by being left out in the noonday sun.

Kidman marvels, “I was fascinated by how Sofia put together the look of The Beguiled; she had such strong ideas for how it should look, including the costumes and sets – and she had to work within the parameters of the low budget.”

Production spanned only 26 days, with filming getting underway in late October 2016. Le Sourd operated his own camera, often with Coppola close at hand so she could speak directly with the actors as they did multiple takes of a scene. As a result, “we would make changes to a scene together,” notes the cinematographer.

Fanning remembers, “We had a party when the 100th roll of film was hit. It’s been a while since I worked on a movie that was shot on film.”

“With our cinematographer Philly and Sofia working in tandem, I would say that The Beguiled is the most aesthetically rich film that I’ve been a part of,” remarks Farrell. “The New World is pretty extraordinary visually but that is pure nature. The Beguiled is a lot more interiors and design.”

Le Sourd points out that “whether shooting interiors or exteriors, we would focus on the characters and not the backgrounds.”

Farrell adds, “There is an immense lack of tension on a Sofia Coppola set. It is a peaceful and even playful environment.”

Kidman says, “Sofia is so softly spoken and sweet and lovely to be around. Everyone has such respect for her.”

Dunst offers, “In moviemaking, there are no film sets like Sofia’s. She cultivates good energy so her vision comes to life; she does not second-guess herself, and she truly trusts her actors.”

Fanning reflects, “Sofia is very much in charge – she knows the shot she wants to get for a scene – but the set feels like a safe place where you can come up with and try things.”

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“There’s always a mystery between men and women;” Q&A with screenwriter and director Sofia Coppola

Q: You have said that you try to make personal films. What is personal about The Beguiled for you?

Sofia Coppola: With any movie, I never know until later on. Things I’ve seen, people I know become part of it.

But I’ve always been intrigued by how women interact, and I’ve seen how they can sometimes change when there’s a man around.

Q: Then is The Beguiled your return to a theme of female collectives, or communities, that have evolved or are evolving? In The Virgin Suicides, there are sisters in a community; in Marie Antoinette, there is a court that is its own world; and in The Bling Ring, there is a clique that ends up breaking laws.

SC: Yes, I’ve always been interested in observing the dynamics of a group – especially females. I feel that the dynamics between women can be very under-the-surface and subtle whereas men are more overt.

So I was drawn to this story because it was about a group of women – and it did remind me a little bit of The Virgin Suicides, with girls cut off from the world – and because I’d never really done a movie about women at varying ages at different points in their lives and how they all relate to each other. In the story, they each relate differently to the man.

Q: It’s four different age groups: Miss Martha, Edwina, Alicia, and the younger girls.

SC: They each have their own relationship to McBurney.

Q: When and how did you come across the source material of Thomas Cullinan’s novel The Beguiled?

SC: My friend and production designer, Anne Ross, had first told me about the movie The Beguiled, which I had never seen but which I knew was highly regarded. I watched it, and the story just kept staying in my mind – how it

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was weird and the turns were unexpected. I would never think to remake a movie, but I was curious so I got the book it was based on.

I thought, what about retelling the story from the women’s point of view? So The Beguiled would be a reinterpretation; the premise is loaded because power dynamics between men and women are universal. There’s always a mystery between men and women: “Oh, why did he say that?” [laughs]

Q: Did you consider changing the book’s setting?

SC: People said to me, “Oh, you could set it somewhere else.” But I was fascinated by the Civil War-era South, and at how women were raised at that time to be in relation to men to be delicate and attractive and to be good hostesses – their whole roles revolved around men, but then the men were gone…what was it like for them, left on their own to survive and to sustain?

Q: So this isn’t a remake but rather an adaptation, which you have done before. Was the book told from the male point of view?

SC: No, it’s written by a man but it’s told from the women’s point of view; each chapter is a different woman telling her story.

Q: What from the novel did you opt to play up, or, conversely, retire from this telling?

SC: There were some elements that I felt were over-the-top; even though the story is pretty heightened, I wanted it to feel as realistic and relatable as possible.

In the book, the soldier is Irish. When I met with Colin Farrell and heard his natural Irish accent, I thought it would be great to keep that and make McBurney even more exotic for the women. And we make reference to how he is a mercenary who was paid to take another man’s place [as a Union soldier]. But I wanted him to charm, that it not be obvious that he’s bad news. From the women’s point of view, it’s, “I want to believe him.” With Colin, that comes across.

Q: Right, watching them with him on-screen you do get this sense of…if not quite hope, then that maybe things won’t go bad and blow up.

SC: The women have to feel hope, especially Kirsten Dunst’s character of Edwina. For McBurney, he gets there and he’s in Heaven. They’re all tending to him, and dressing up for him.

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So, guys that are charming but who you probably shouldn’t trust even though you want to? I feel like everyone can relate to that. Everyone’s been there.

Q: In the 1971 movie, there was an African-American character, Hallie, portrayed by Mae Mercer. Did you consider her storyline for this telling?

SC: I didn’t want to have a slave character in The Beguiled because that subject is a very important one, and I didn’t want to brush over it lightly. This movie is about this one group of women left behind during the War.

Q: And there’s fewer girls at the school in your movie than in The Beguiled…

SC: The idea is that a lot of them left –

Q: You have Miss Martha mention that she’s sent many students home already.

SC: Yeah, so it feels even more abandoned.

Q: You mentioned that the story is heightened. Did you enjoy getting into the thriller elements of the plot?

SC: I was reminded of Misery, in that the man is the guest-slash-prisoner, a [1990] movie I had seen when it came out. So that was in the back of my mind. But it was challenging, because I’ve never done anything like this story – it’s outside of my comfort zone, but I’m still doing it my way. I had to push things more, because I’m usually restrained. It was fun to have a plot and a beautiful poetic setting together, which was new for me! [laughs]

Q: You have made other films set in times past. Since you wanted to keep the Civil War setting that the book had, what surprised you about that era which you learned about during research?

SC: I was surprised at how they lived when things were so scarce. We had a Civil War re-enactor teaching us how to do the medical applications of that time – Nicole Kidman learned about bandaging – and the handiwork, the embroidery; they had run out of paper and they were writing on the edges of books…

We read these manners books from the time; one example from them was that a woman is not supposed to take a compliment because that would encourage vanity. The role of the ladylike woman had to be played and accentuated. But these women grow tired of being messed with…

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Q: There was so much formality, including their addressing each other as “Miss” and then the first name. It makes the dialogue more lyrical…

SC: Yes, and I love that even towards the end of the movie, when they’re up to…things [laughs], they always have this veneer of ladylike gentility and small talk.

There is still a lot of etiquette from that time in the South today – and with such a flourish, too!

Q: What were some of your visual inspirations?

SC: It’s always a mix of things, from all over. We looked at Civil War portraits, but also William Eggleston’s photos from the 1970s of girls together. The film Tess. Hitchcock’s movies, for suspense.

Q: As the project was coming together, how did you decide on Philippe Le Sourd as your cinematographer? This is his first feature with you.

SC: I had worked with him before, on a few commercials. He is such an artist; I felt he could bring something beautiful to The Beguiled.

I was so happy to be able to shoot on film, with vintage lenses, because it’s getting more and more rare. The look of this movie had to be soft and gauzy, but also sun-drenched in a hot locale and with a lot of smoke. The characters are being stifled, including with sexual repression.

Q: That locale is quite tangible.

SC: Yes, a real location with oak trees and Spanish moss. Madewood [Plantation House] is a beautiful setting but it also has darkness underneath because of the history of its being a plantation.

I wanted to feel the insects, the lushness…The group can no longer keep the area groomed because there’s not enough of them and the groundspeople have left. So there are vines growing upwards, adding to the feeling of danger even though they’re keeping up lacy curtains and nice stuff inside. There’s this contrast: the house is very refined, and then nature outside is overgrown and wild.

And there’s the contrast between McBurney and the women: they’re in pastel dresses and then this dirty, ragged man arrives. They have lots of layers of clothes; they’re overheated, but they can’t wear sundresses. They’re always buttoned up in a hot temperature.

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[Costume designer] Stacey Battat and I did decide that the women would not be wearing the big hoop skirts any more; they’re just wearing the dresses without those. So the dresses look like ones that could be worn today; I wanted the costumes to feel true to the period but also relatable, authentic but also attractive to a modern eye.

Everything is so faded that palettes blend together, and they look even more like a unit of women. Stacey had never done a period movie before, so this was new to her.

Q: Like Anne Ross, she’s done multiple movies with you –

SC: Anne and I put together mood boards that Stacey and Philippe could look at so everyone was on the same page. Working with a team that I’ve known a long time, they get what I’m thinking about and there is a shorthand.

Q: That’s one reason you were able to shoot this movie in 26 days.

SC: And we had a good local team in Louisiana.

Q: Was your longtime editor, Sarah Flack, cutting early on?

SC: Yeah, Sarah was getting footage as we went, cutting as we were filming. It would have been nice to have had more time. But with low-budget filmmaking it’s, work as fast as you can.

Q: You had mentioned the insects on the property, and they’re part of the sound design of The Beguiled. There is very little music; it’s as if the score is the drumbeat of explosions sounding miles in the distance yet really not that far away.

SC: These lives are so stripped-down that it wouldn’t have made sense to have a big music score. I wanted to keep that minimal.

I thought it would be more tense for the audience, feeling how they were all stuck with the sound of the cicadas almost non-stop and those cannons in the distance. The War’s been going on a long time and it’s in the background; the women have come to be used to that.

Q: Like the characters, you notice the cannons until you don’t and then maybe you do again. Because it’s every day –

SC: It’s become their normalcy, part of the setting.

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Q: What made Nicole Kidman uniquely qualified to play Miss Martha as you had reconceived the character?

SC: I’ve loved Nicole’s performances – especially when she plays a little bit twisted, like in To Die For. I’ve always wanted to work with her, and when I was writing the screenplay I pictured her and that helped me. I knew she would bring a lot to Miss Martha, including humor and emotion. Nicole can play it so commanding that you know she’s in charge of the whole group.

Q: Very much so. In some of the scenes with McBurney it’s like Miss Martha is a general and he’s this visiting soldier.

SC: Yes. But I didn’t want the cliché of the scary headmistress. At all ages in this movie, the women are Southern beauties – although Miss Martha’s moment as a Southern belle has passed, and the parties are over. What’s become real for her is protecting these girls; she’s had to be strong in difficult times.

Q: You’re reteamed with Kirsten Dunst again – and all your movies have starring her have taken place in the past.

SC: I never thought about that before; it’s true.

Q: Although, she had a bit in The Bling Ring.

SC: A cameo, that doesn’t count. I enjoy working with Kirsten, so I had wanted to do something again with her.

Q: How is she so well-suited to portray women from different times, different places?

SC: Kirsten has a quality that makes her believable as being from another time. That’s not to say she can’t be contemporary, too. But when she is in a period costume I can believe that she is someone of the era.

For The Beguiled, I wanted her to play Edwina, the vulnerable schoolteacher, because she’s so not like that; the character is repressed and fragile, and that’s not Kirsten at all.

It was the same with having Elle Fanning, who is so sweet and big-hearted, playing a “bad girl.” I thought that would be fun. I like seeing actresses playing against what you would expect from them.

Q: How is Elle even more capable now as an actress than when you last worked with her, seven years ago, on Somewhere?

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SC: She was 11 when we did Somewhere, and it was wild that she was 18 making The Beguiled. She has the same personality, and is the same person – but a grown-up version. She still has all her childlike sparkle, and she’s so natural. I was impressed with her as an actress then, and now even more so.

Elle brings so much to playing Alicia, showing the character as vain and into herself. Alicia is aware of how she’s presenting herself, like when she spreads her skirt out as they all sit down with McBurney and she looks at him. In the book, the character has really been raised to catch a man.

Q: Elle is often surrounded by the film’s younger teen actresses. How did you come across the four of them, and cast them as a group?

SC: I had a great casting team. Having girls who were the characters’ ages was important. I wanted to be thorough; we met so many young actresses in that age range.

We then started putting pictures of actresses on a wall to see how they would look together, whether they might look too similar, so you wouldn’t get them mixed up. They also each had to have a strong personality and stand apart from each other. We started to put our favorites together, and see how they would work with each other. These four girls stood out.

Two of them, Oona Laurence and Emma Howard, had been on Broadway in Matilda; Oona would be able to sing, as Amy, and Emma, as Emily, looks like a portrait from the era the movie takes place in.

Angourie Rice is from Australia, and she is so talented; I had her play Jane as prissy. Addison Riecke, who plays Marie, is so funny. I didn’t realize until after I had met her that she is on a television show, The Thundermans, which my kids love.

They all worked well together. In the movie, I think you do feel that they’re a group.

Q: You emphasize the closeness further on-screen by showing several of the girls sharing a bed together.

SC: Yeah, we figured that the girls away from their families would be sharing a room and then someone would come and get into bed because it was scary in this big house. They’re kids, clinging together.

Q: Did you cultivate that among them, to foster a closeness?

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SC: Yes. We had a rehearsal period, so they took dancing lessons and etiquette classes and sewing instructions – what girls of that time would be doing. Spending time together on all these activities, they formed a bond.

During filming – especially when we were out at Madewood – they would all hang out and they became friends. They went out trick-or-treating together for Halloween in the town we were in.

Especially for a small cast and crew on a low-budget movie, I think there’s this camaraderie, or sleepaway camp, feel when you’re all on location because you’re not going back to your regular lives each night.

On The Beguiled, we were all staying at this Hampton Inn [hotel] and we’d be in the lobby in our pajamas. When we were shooting interiors at the home in New Orleans, there was a porch with a big long table and that ended up being where would hang out. Or in the backyard. Sweet atmosphere.

About the Cast

COLIN FARRELL (Corporal McBurney)

A native of Ireland, Colin Farrell has made movies around the world.

He won a Golden Globe Award starring for writer/director Martin McDonagh in In Bruges, also for Focus Features, which was an Academy Award nominee for Best Original Screenplay. He was recently once again a Golden Globe nominee for his performance in a movie Oscar-nominated for Best Original Screenplay, Yorgos Lanthimos’ The Lobster; and he also received European Film and British Independent Film Award nominations, among other accolades. Mr. Farrell has reteamed with Mr. Lanthimos for a new movie, The Killing of a Sacred Deer, which also reunites him with Nicole Kidman of The Beguiled.

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Born and raised in Castleknock in the Republic of Ireland, he is the son of former football (or, to the U.S., soccer) player Eamon Farrell and the nephew of Tommy Farrell, both of whom played for the Irish Football Club, Shamrock Rovers, in the 1960s. Mr. Farrell’s early teenage ambition was to follow in his father and uncle’s footsteps; however, his interest soon turned towards acting and he joined the Gaity School of Drama in Dublin. Before completing his course, he landed a starring role in Deirdre Purcell’s telefilm Falling for a Dancer, directed by Richard Standeven; a starring role in the BBC series Ballykissangel and a role in the Tim Roth-directed The War Zone soon followed.

Among Mr. Farrell’s many films since have been Joel Schumacher’s Tigerland (for which he won a London Critics Circle Film Award), Phone Booth, and (in a cameo) Veronica Guerin; Steven Spielberg’s Minority Report, for which he received an Empire Award nomination; Roger Donaldson’s The Recruit; Clark Johnson’s S.W.A.T.; John Crowley’s Intermission, for which he received a European Film Award nomination; Michael Mayer’s A Home at the End of the World, for which he won an Irish Film and Television Award; Oliver Stone’s epic Alexander; Terrence Malick’s acclaimed The New World; R0bert Towne’s Ask the Dust; Michael Mann’s Miami Vice; Woody Allen’s Cassandra’s Dream; Gavin O’Connor’s Pride and Glory; Terry Gilliam’s The Imaginarium of Doctor Parnassus; Danis Tanovic’s Triage; Neil Jordan’s Ondine, for which he won an Irish Film and Television Award; Scott Cooper’s Crazy Heart, with Academy Award winner Jeff Bridges; Peter Weir’s The Way Back; Seth Gordon’s Horrible Bosses, for which he was a Satellite Award nominee; Seven Psychopaths, which reteamed him with Martin McDonagh; John Lee Hancock’s Saving Mr. Banks; Liv Ullmann’s Miss Julie, opposite Jessica Chastain; and J.K. Rowling’s blockbuster Fantastic Beasts and Where to Find Them, directed by David Yates.

Mr. Farrell starred in the second season of the HBO series True Detective, broadcast in the summer of 2015, which marked his first project for American television.

NICOLE KIDMAN (Miss Martha)

Academy Award-winning actress Nicole Kidman first came to the attention of American audiences with her critically acclaimed performance in Phillip Noyce’s riveting Australian psychological thriller Dead Calm. She has since become an internationally acclaimed actress known for her range and versatility.

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She won an Academy Award, a Golden Globe Award, and a BAFTA Award, among other honors, for her portrayal of iconic author Virginia Woolf in Stephen Daldry’s The Hours.

Ms. Kidman’s first Oscar nomination came for her performance in Baz Luhrmann’s innovative musical Moulin Rouge!, for which she won her first Golden Globe Award; she was concurrently Golden Globe Award-nominated for her work in Alejandro Amenábar’s psychological thriller The Others.

She was again an Academy Award nominee for her portrayal in the drama Rabbit Hole, directed by John Cameron Mitchell, for which she also received Golden Globe, Screen Actors Guild, and Spirit Award nominations for Best Actress. The film was developed by Ms. Kidman’s production company, Blossom Films.

She was most recently an Oscar nominee for her performance in the empowering true story Lion, directed by Garth Davis, also receiving Critics’ Choice, Golden Globe, BAFTA, and Screen Actors Guild Award nominations; and winning an Australian Academy of Cinema and Television Arts (AACTA) International Award.

Ms. Kidman was nominated for an AACTA for her performance in Lee Daniels’ The Paperboy, and also earned Screen Actors Guild and Golden Globe Award nominations. Among her many other films is The Family Fang, directed by and starring Jason Bateman, which she also produced.

Ms. Kidman’s Blossom Films, alongside Reese Witherspoon’s Pacific Standard production company, produced the HBO limited series Big Little Lies, directed by Jean-Marc Vallée, which premiered in February 2017 to critical acclaim. She starred in the series alongside Ms. Witherspoon, Shailene Woodley, Laura Dern, Zoe Kravitz, and Alexander Skarsgård.

Also for HBO, Ms. Kidman portrayed famed war correspondent Martha Gellhorn in Philip Kaufman’s telefilm Hemingway & Gellhorn, earning Emmy, Golden Globe, and Screen Actors Guild Award nominations.

In theater, she made a highly lauded London stage debut in the fall of 1998 starring with Iain Glenn in The Blue Room, David Hare’s modern adaptation of Schnitzler’s La Ronde. Her performance brought her an Evening Standard Award as well as an Olivier Award nomination. She returned to the West End stage in 2015 to star in Anna Ziegler’s Photograph 51, for which she also received an Evening Standard Award.

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In January 2006, Ms. Kidman was awarded Australia’s highest honor, the Companion in the Order of Australia. She continues to serve as Goodwill Ambassador of the United Nations Development Fund for Women, UN Women, whose goals are to foster women’s empowerment and gender equality; to raise awareness of the infringement on women’s human rights around the world; and to end violence against women. Along with her husband, Keith Urban, she has helped raise millions of dollars over the years for the Women’s Cancer Program, a world-renowned center for research into the causes, treatment, prevention, and eventual cure of women’s cancer.

KIRSTEN DUNST (Edwina)

Earlier this year, with her fellow actors from Theodore Melfi’s Hidden Figures, Kirsten Dunst shared the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. Hidden Figures, which topped the domestic box office in January, was nominated for three Academy Awards including Best Picture, among other honors.

The Beguiled marks her fourth collaboration with Sofia Coppola, following her cameo appearance in The Bling Ring and her lead roles in The Virgin Suicides and Marie Antoinette; the latter film won the Academy Award for Best Costume Design.

Ms. Dunst will be making her feature directorial debut with The Bell Jar, on which she is also screenwriter. Adapted from Sylvia Plath’s classic novel, the film will star Dakota Fanning.

She previously wrote and directed the short film Welcome, starring Winona Ryder, which screened at the Sundance Film Festival; and co-wrote and directed Bastard, the short film starring Juno Temple and Brian Geraghty, which screened at the Tribeca and Cannes International Film Festivals.

Ms. Dunst recently won a Critics’ Choice Award, and was nominated for Golden Globe and Emmy Awards, for her starring role in the second season of the television series Fargo.

Her performance in Lars von Trier’s Melancholia earned her Best Actress awards from the Cannes International Film Festival and the National Society of Film Critics, among other accolades.

She got her start in the industry making television commercials from age 3. After over 50 commercials, Ms. Dunst made her film debut at age 6 in Woody Allen’s “Oedipus Wrecks” segment of the anthology feature New York Stories.

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Her breakthrough role was in Neil Jordan’s Interview with the Vampire: The Vampire Chronicles, starring alongside Tom Cruise and Brad Pitt. Ms. Dunst received her first Golden Globe Award nomination for her memorable performance in the film.

Among her many movies since have been, also for Focus Features, Michel Gondry’s Eternal Sunshine of the Spotless Mind, which won the Academy Award for Best Original Screenplay; Peyton Reed’s sleeper hit Bring It On; Sam Raimi’s blockbuster Spider-Man trilogy, for which she won two MTV Movie Awards; Gillian Armstrong’s Little Women; Joe Johnston’s Jumanji; Barry Levinson’s Wag the Dog; Andrew Fleming’s Dick; Michael Patrick Jann’s Drop Dead Gorgeous; Mike Newell’s Mona Lisa Smile; Cameron Crowe’s Elizabethtown; Leslye Headland’s Bachelorette; Walter Salles’ On the Road; Hossein Amini’s The Two Faces of January; Jeff Nichols’ Midnight Special; and, upcoming, Woodshock. The latter feature is directed by Rodarte designers Kate and Laura Mulleavy.

Ms. Dunst’s television work has included an acclaimed guest arc on the classic series ER. She also starred in, among other telefilm projects, Roger Young’s miniseries Ruby Ridge: An American Tragedy and the Holocaust drama The Devil’s Arithmetic, directed by Donna Deitch.

ELLE FANNING (Alicia)

The Beguiled marks Elle Fanning’s fifth film for Focus Features, following Tod Williams’ The Door in the Floor, opposite Jeff Bridges, Kim Basinger, and Jon Foster; Terry George’s Reservation Road, with Joaquin Phoenix and Jennifer Connelly; Anthony Stacchi and Graham Annable’s Academy Award-nominated The Boxtrolls, made by animation studio LAIKA; and Sofia Coppola’s Somewhere, which won the Golden Lion Award for Best Picture at the 2010 Venice International Film Festival. For her performance in the latter movie, Ms. Fanning received a Critics’ Choice Award nomination.

She was a Critics’ Choice and British Independent Film Award nominee for her performance in Sally Potter’s Ginger & Rosa, with Alice Englert. She won the Best Actress award at the 2014 Karlovy Vary International Film Festival for her performance in Jeff Preiss’ Low Down; in the autobiographical story she portrayed real-life writer and memoirist Amy Albany, opposite John Hawkes as Amy’s father, celebrated jazz pianist Joe Albany.

Ms. Fanning began her acting career at the age of two, starring opposite Sean Penn in Jessie Nelson’s I Am Sam as the younger version of the character played by her sister Dakota Fanning. Her first lead role was as the title character of Daniel Barnz’s independent feature Phoebe in Wonderland,

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in which she starred opposite Felicity Huffman, Patricia Clarkson, and Bill Pullman.

Her other films include Alejandro González Iñárritu’s Academy Award-nominated Babel, opposite Academy Award nominee Adriana Barraza; Cameron Crowe’s We Bought a Zoo; J. J. Abrams’ Super 8; Francis Ford Coppola’s Twixt; David Fincher’s multi-Oscar-winning The Curious Case of Benjamin Button, portraying the younger incarnation of Cate Blanchett’s character, opposite Brad Pitt; the blockbuster fantasy Maleficent, starring alongside Angelina Jolie and directed by Robert Stromberg; Jake Paltrow’s Young Ones; Nicolas Winding Refn’s The Neon Demon; Mike Mills’ 20th

Century Women; Ben Affleck’s Live by Night; Jay Roach’s Trumbo, opposite Academy Award nominee Bryan Cranston; and Gaby Dellal’s 3 Generations (a.k.a. About Ray), alongside Naomi Watts and Susan Sarandon.

Ms. Fanning will soon be seen starring for director John Cameron Mitchell in How to Talk to Girls at Parties, adapted from the Neil Gaiman short story of the same name, with Nicole Kidman of The Beguiled; in Shawn Christensen’s Sidney Hall, a world premiere at the 2017 Sundance Film Festival; and in the title role of Haifaa Al-Mansour’s Mary Shelley, as the iconic author.

OONA LAURENCE (Amy)

As one of four actresses who originated the role of Matilda on Broadway in Matthew Warchus’ celebrated staging of Matilda [The Musical], Oona Laurence shared a Tony Award for Excellence in Theatre. The show won four additional Tony Awards, among other accolades.

Now 14 years old, Ms. Laurence is known to filmgoers as well. In 2015, she was named one of Variety’s “10 Actors to Watch,” recognizing her breakout performance opposite Jake Gyllenhaal in Antoine Fuqua’s Southpaw. In the summer of 2016, she was seen on-screen in two sleeper hits, Jon Lucas and Scott Moore’s Bad Moms, with Mila Kunis; and David Lowery’s Pete’s Dragon, with Bryce Dallas Howard and Robert Redford.

She starred in the lead role alongside writer/director Ross Partridge in the award-winning independent feature Lamb.

Ms. Laurence has guest-starred on such series as Orange is the New Black, Law and Order: Special Victims Unit, and Blindspot.

ANGOURIE RICE (Jane)

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With an international career on the rise, 16-year-old Angourie Rice is an actress to watch. She will be seen worldwide in the summer of 2017 with Tom Holland in Jon Watts’ highly anticipated Spider-Man: Homecoming.

Her breakout feature film was the action comedy The Nice Guys, in which she starred alongside Ryan Gosling and Russell Crowe for writer/director Shane Black. The movie world-premiered at the 2016 Cannes International Film Festival and Ms. Rice was nominated for an Empire Award, among other accolades.

Her film work has also included starring roles in Jasper Jones, directed by Rachel Perkins; Nowhere Boys: The Book of Shadows, directed by David Caesar; and Zak Hilditch’s These Final Hours, for which she received Australian Film Critics Association and Film Critics Circle of Australia Award nominations.

Ms. Rice’s small-screen credits include guest appearances on Mako Mermaids, Hartman’s Solution, The Dr. Blake Mysteries, and Worst Year of My Life, Again!

She comes from a creative family, and began her career in Perth, Western Australia, giving performances in several short films and national television commercials. Ms. Rice first came to industry attention with her lead role in Mr. Hilditch’s short film Transmission, for which she was named Best Actress at the St. Kilda Film Festival.

ADDISON RIECKE (Marie)

13-year-old Addison Riecke showcases her talents on stage, television, and now film, as The Beguiled marks her feature debut.

She stars as Nora Thunderman on Nickelodeon’s hit series The Thundermans, which recently wrapped production on its fourth season. The live-action show, about a family of superheroes, was named Favorite TV Show at the Kids’ Choice Awards in 2016.

Born and raised in Covington, Louisiana, Ms. Riecke discovered her love for acting, singing, and playing musical instruments at age four. Gaining experience through a variety of camps and workshops such as the Kehoe-France Drama Camp, she was able to begin her career in both plays and musical theatre. She enrolled in the John Robert Powers Performing Arts Academy in Metairie, Louisiana, where the training she gained led to her successful audition for the International Presentation of Performance (IPOP).  In January 2012, she won a number of awards through IPOP’s convention. These accolades included Child Actor of the Year, Winner of Child Monologue,

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and Winner of Child TV Beauty Commercial. 

Her television work has also included national commercials for Lunchables and PlayStation, and her stage work has included 101 Dalmatian Kids. In addition to her acting and singing talents, Ms. Riecke also enjoys playing both the ukulele and guitar.

An anti-bullying activist, she participated in Custom Ink’s “Be Good to Each Other” campaign to support PACER’s National Bullying Prevention Center by designing an exclusive T-shirt with 100% of the profits from sales going to PACER.

In 2013, Ms. Riecke raised over $4,000 for the Red Cross, benefiting those impacted by Oklahoma tornadoes. In 2014, she donated her birthday gifts to patients at L.A. Children’s Hospital, and in 2015 she requested pet supplies in lieu of birthday gifts, for the St. Tammany Humane Society. Her charities of choice also include Holidays for Kids, Hartley’s Heart Foundation, Children’s Hospital Los Angeles, STARC, and the Food Bank of Covington. Additionally, she currently serves as the Child Ambassador for Kitty Bungalow, California’s only 100% feral cat rescue and socialization facility.

She recently raised over $10,000 for Write Brain Gives, the philanthropic initiative of Write Brain Books that gives underserved children and underfunded organizations the opportunity for self-expression, improved literacy, and inventive storytelling.

EMMA HOWARD (Emily)

16-year-old Emma Howard is an award-winning actress, singer, and dancer. The Beguiled is her first movie.

Television and/or streaming viewers know her as Becky Reynolds on the Emmy Award-winning Amazon Prime series Transparent.

On the Broadway stage, Ms. Howard originated roles in Matthew Warchus’ celebrated staging of Matilda [The Musical], which won five Tony Awards; and Leigh Silverman’s staging of Violet, starring Sutton Foster.

She has appeared in over 40 stage productions in her native Southern California with MET2, Canyon Theater Guild, E.S.C.A.P.E. Theater, Santa Clarita Regional Theater, Conejo Players Theater, High Street Arts Center, and Panic! Productions. She has been honored with National Youth Arts Award nominations as Outstanding Lead Actress in a Musical for playing the (male) title role in MET2’s production of Oliver! and as Outstanding Supporting Actress in a Musical for her role as Gertrude McFuzz in MET2’s

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production of Seussical; and by the Canyon Theater Guild as Best Supporting Child Actress in a Musical for playing Violet Beauregarde in a production of Willy Wonka and the Chocolate Factory.

A proud alumna of New York’s Broadway Artists’ Alliance, Ms. Howard is currently attending an arts high school, holding a dual Dance/Musical Theater major.

About the Filmmakers

SOFIA COPPOLA (Screenwriter/Director/Producer)

Sofia Coppola grew up in Northern California. After doing costume design on two feature films, she studied Fine Art at California Institute of the Arts.

She then wrote and directed the short film Lick the Star (which world-premiered at the Venice International Film Festival), followed by the feature The Virgin Suicides. Ms. Coppola wrote the screenplay for the latter film, adapting it from Pulitzer Prize winner Jeffrey Eugenides’ novel of the same name. The movie starred Kirsten Dunst, Josh Hartnett, James Woods, and Kathleen Turner. A world premiere at the Cannes International Film Festival, The Virgin Suicides subsequently earned her the MTV Movie Award for Best New Filmmaker.

Ms. Coppola’s next film, Lost in Translation, was her first with Focus Features, and screened at the Toronto, Venice, and Telluride Film Festivals. The movie brought her the Academy Award for Best Original Screenplay as well as Academy Award nominations for Best Director and Best Picture (in her capacity as producer). Lost in Translation stars Bill Murray and Scarlett Johansson won BAFTA Awards for Best Actor and Best Actress, respectively, among many other honors that the cast and crew received worldwide.

Her third feature as writer/director, Marie Antoinette, was based in part on Antonia Fraser’s biography Marie Antoinette: The Journey, and world-premiered at the Cannes International Film Festival. The movie, which Ms. Coppola also produced, starred Kirsten Dunst in the title role. The film’s costume designer, Milena Canonero, won an Academy Award for her work on the picture.

She then wrote and directed and produced Somewhere, her second movie with Focus Features. The movie starred Stephen Dorff and Elle Fanning, who received a Critics’ Choice Award nomination for her performance. In its world

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premiere at the 2010 Venice International Film Festival, Somewhere won the Festival’s top prize, the Golden Lion Award for Best Picture. Ms. Coppola was honored with a Special Filmmaking Achievement Award from the National Board of Review.

Her next feature as writer/director/producer was The Bling Ring, which she based on Nancy Jo Sales’ Vanity Fair article “The Suspect Wore Louboutins.” The movie world-premiered at the Cannes International Film Festival, and Ms. Coppola was honored at Women In Film’s Lucy Awards with its Dorothy Arzner Award for Directing.

In 2015, she co-wrote, executive-produced, and directed the hourlong holiday special A Very Murray Christmas, which received Emmy Award nominations for Outstanding Television Movie and Outstanding Music Direction. The show’s star, Bill Murray, was nominated for a Screen Actors Guild Award; and Ms. Coppola was nominated for a Directors Guild of America Award for her work on the project.

YOUREE HENLEY (Producer)

Youree Henley began his producing career on music videos and commercials. He was part of the creative teams at Propaganda Films and at The Directors Bureau for Roman Coppola and Mike Mills. At these production companies, he worked on a host of award-winning clips and campaigns.

His first feature was Sofia Coppola’s Somewhere, also for Focus Features, which the Golden Lion Award for Best Picture at the Venice International Film Festival. Mr. Henley was line producer on the movie, and went on to produce Ms. Coppola’s next feature, The Bling Ring.

His films as producer have also included Roman Coppola’s A Glimpse Inside the Mind of Charles Swan III; and 2oth Century Women, for Annapurna Pictures. Distributed by A24, the latter feature received a Best Original Screenplay Academy Award nomination (for its writer/director, Mike Mills) as well as Critics’ Choice and Spirit Award nominations for lead actress Annette Bening, among others. Ms. Bening was also a Golden Globe Award nominee for Best Actress [Musical/Comedy], and Mr. Henley shared a Golden Globe Award nomination as part of the movie being nominated for Best Picture [Musical/Comedy].

In April 2017, he was named one of Variety’s “10 Producers to Watch.”

ROMAN COPPOLA (Executive Producer)

Roman Coppola was an Academy Award nominee, Writers Guild of America

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Award nominee, and BAFTA Award nominee for Best Original Screenplay category as co-writer, with director Wes Anderson, of Focus Features’ Moonrise Kingdom. The film received accolades including the Gotham Independent Film Award for Best Feature, and their screenplay was honored by several critics’ groups. Mr. Coppola was a producer and co-writer on Mr. Anderson’s earlier film The Darjeeling Limited.

Mr. Coppola grew up in the world of filmmaking, and has developed his directing skills by working in multiple capacities – from sound recordist to cinematographer, from writer and producer to inventor.

He began his directing career with visual effects direction and second-unit direction on Bram Stoker’s Dracula, which garnered a BAFTA Award nomination for Best Special Effects. His first feature film, C.Q., world-premiered at the Cannes International Film Festival and was well-received critically. He has lent his talents as second-unit director to, among other films, Sofia Coppola’s Lost in Translation and Marie Antoinette; and Wes Anderson’s The Life Aquatic with Steve Zissou. His most recent feature as director and writer was A Glimpse Inside the Mind of Charles Swan III, starring Charlie Sheen, Bill Murray, and Jason Schwartzman.

He is also the founder and owner of The Directors Bureau (TDB), an award-winning production company. It is through TDB that Mr. Coppola has directed highly acclaimed and influential music videos, for such bands as The Strokes and Green Day; and commercials, for such clients as Coca-Cola, Honda, and The New Yorker. His work has earned him various industry honors, including a Grammy Award nomination and two MTV Video Music Awards. His stream-of-consciousness music video for Phoenix’s “Funky Squaredance” track was invited into the permanent collection of the Museum of Modern Art.

Mr. Coppola is a founding partner of the Photobubble Company, which markets a patented inflatable film enclosure; details can be viewed at www.photobubblecompany.com.

He is president of the pioneering San Francisco-based film company American Zoetrope. Among his producing credits are Sofia Coppola’s The Bling Ring and Somewhere (also for Focus Features), which won the top prize, the Golden Lion Award, at the 2010 Venice International Film Festival. He also produced On the Road, directed by Walter Salles, based on Jack Kerouac’s iconic novel. Mr. Coppola executive-produced Ms. Coppola’s A Very Murray Christmas, sharing with his fellow producers the show’s Emmy Award nominations for Outstanding Television Movie.

Mr. Coppola is an executive producer of Amazon’s hit series Mozart in the Jungle, and shared with his colleagues from the program a Golden Globe

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Award for Best Television Series [Comedy or Musical]. He has written and directed several episodes of the show.

FRED ROOS (Executive Producer)

Oscar-winning producer Fred Roos has worked on many of the important and seminal films of the past 50 years. His skill as a casting director led to his producing films by gifted moviemakers and starring great actors. The motion pictures that he helped shape include The Godfather trilogy; Star Wars and its descendants; The Black Stallion; Lost in Translation; and The Conversation. Future stars first recognized by his sharp eye included Harrison Ford, Jack Nicholson, Nicolas Cage, Al Pacino, and Richard Dreyfuss.

His longtime collaboration with Francis Ford Coppola brought Mr. Roos an Academy Award, for producing the Best Picture Oscar winner The Godfather Part II. Also with Mr. Coppola, he was again a nominee for producing Apocalypse Now; co-produced two more Best Picture nominees, The Godfather Part III and The Conversation, the latter of which won the top prize, the Palme d’Or, at the Cannes International Film Festival, as did Apocalypse Now; and executive-produced another Best Picture Oscar nominee, Sofia Coppola’s Lost in Translation, also for Focus Features.

Among the other features directed by Mr. Coppola on which Mr. Roos has been a producer are One from the Heart, The Outsiders, Rumble Fish, The Cotton Club, Gardens of Stone, Tucker: The Man and His Dream, the “Life Without Zoe” segment of New York Stories, Youth Without Youth, and Tetro.

Mr. Roos’ producing credits also include Jack Nicholson’s Drive, He Said; Carroll Ballard’s The Black Stallion; Wim Wenders’ Hammett; Barbet Schroeder’s Barfly; Agnieszka Holland’s The Secret Garden; and, as co-producer, Sofia Coppola’s The Virgin Suicides. He was executive producer on Ms. Coppola’s features Marie Antoinette, The Bling Ring, and Somewhere, the latter also for Focus Features.

He received a CableACE Award and an Emmy Award nomination as executive producer of the documentary Hearts of Darkness: A Filmmaker’s Apocalypse.

Mr. Roos produced Theodore Melfi’s St. Vincent, which was a Golden Globe Award nominee for Best Picture and for which Bill Murray and Naomi Watts received Golden Globe and Screen Actors Guild Award nominations, respectively.

He is currently executive-producing Music, War and Love, directed by Martha Coolidge; and Wonderwell, directed by Vlad Marsavin and featuring Rita Ora and, in one of her final roles, Carrie Fisher.

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Mr. Roos’ notable prior career as casting director encompassed such films as Richard Lester’s Petulia; Michelangelo Antonioni’s Zabriskie Point; George Cukor’s Travels with My Aunt; John Huston’s Fat City; Bob Rafelson’s Five Easy Pieces and The King of Marvin Gardens; Francis Ford Coppola’s The Godfather; and George Lucas’ American Graffiti and Star Wars, the latter as casting consultant.

PHILIPPE Le SOURD, AFC (Director of Photography)

Philippe Le Sourd received an Academy Award nomination as the director of photography on Wong Kar-wai’s The Grandmaster, starring Tony Leung Chiu-wai, Ziyi Zhang, and Chen Chang. His cinematography of the movie also brought him an American Society of Cinematographers (ASC) Award nomination, among other honors.

With over two decades of experience, Mr. Le Sourd’s diverse portfolio encompasses feature films, commercials, and music videos. His sense of vision and innate understanding of the art of filmmaking translate a director’s ideals into light, capturing the essence of a piece and conveying it to an audience.

Mr. Le Sourd’s films as director of photography have included Gabriele Muccino’s Seven Pounds, starring Will Smith, and short film Heart Tango, starring Monica Bellucci; Ridley Scott’s A Good Year, starring Russell Crowe and Marion Cotillard; Atomik Circus – Le Retour de James Bataille, directed by Les Frères Poiraud (the Poiraud brothers); Cantique de la racaille, directed by Vincent Ravalec; and Cédric Klapisch’s Peut-être, starring Jean-Paul Belmondo.

His creative abilities have been tapped by commercial production companies all over the world, for high-profile brands such as Nike, Lincoln, Christian Dior, Mercedes, Lancôme, YSL, Chanel, Calvin Klein, Apple, Louis Vuitton, and Smirnoff. Among the notable directors that he has made commercials with have been Alejandro González Iñárritu, David Lynch, Nicolas Winding Refn, John Hillcoat, Mark Romanek, Jake Scott, Dante Ariola, and Sofia Coppola.

Mr. Le Sourd’s music videos work has included collaborations with such renowned artists as Madonna, Isaac Hayes, U2, Alanis Morissette, Florent Pagny, Scratch Machine, and George Michael.

ANNE ROSS (Production Designer)

Anne Ross previously collaborated with writer/director Sofia Coppola as production designer of Focus Features’ Lost in Translation, for which she was

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an Art Directors Guild Award nominee and Somewhere; The Bling Ring; and A Very Murray Christmas.

Ms. Ross’ production design credits include Zach Braff’s Going in Style, starring Morgan Freeman, Michael Caine, and Alain Arkin; Gus Van Sant’s Restless; Noah Baumbach’s The Squid and the Whale and Margot at the Wedding; Natalie Portman’s short Eve; Jim Taylor’s short The Lost Cause; and music videos for such artists as R.E.M., The Strokes, and Air. She has also designed commercials for (among other top clients) Dior, Geico, Calvin Klein, and Adidas; her spot for Citibank won an Emmy Award for Outstanding Commercial.

SARAH FLACK, ACE (Film Editor)

Sarah Flack won a BAFTA Award, and was nominated for the American Cinema Editors’ Eddie Award and a Cinemarati Award, for editing Sofia Coppola’s Lost in Translation (also for Focus Features). She reteamed with the writer/director on Marie Antoinette, The Bling Ring, A Very Murray Christmas, and Focus Features’ Somewhere.

Ms. Flack’s first film job was as the production assistant on location in Prague for Steven Soderbergh’s Kafka. She went on to edit the director’s features Schizopolis, Full Frontal, and The Limey, for which she was nominated for an Online Film Critics Society Award.

She shared an Emmy Award and the American Cinema Editors’ Eddie Award with Robert Pulcini for their co-editing of the HBO feature Cinema Verite, directed by Shari Springer Berman and Mr. Pulcini.

Her additional credits as film editor include, also for Focus Features, Sam Mendes’ Away We Go, Michel Gondry’s Dave Chappelle’s Block Party, and Jim Simpson’s The Guys; Theodore Melfi’s St. Vincent (as co-editor); Peter Hedges’ Dan in Real Life; Trudie Styler’s Freak Show; John Polson’s Swimfan; Michael Showalter’s The Baxter; Edward Burns’ Looking for Kitty; Peter Glanz’s The Longest Week; and Mark Gibson’s Lush.

Ms. Flack graduated from Brown University with a B.A. in Political Science and in Semiotics/Film. After her aforementioned stint on Kafka, she began working as an apprentice and later as an assistant editor, with Claire Simpson (on Caroline Thompson’s Black Beauty and Robert Towne’s Without Limits); with Nancy Richardson and Pietro Scalia (on Desmond Nakano’s White Man’s Burden); and with Jill Bilcock (on Baz Luhrmann’s William Shakespeare’s ‘Romeo + Juliet’).

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STACEY BATTAT (Costume Designer)

Stacey Battat’s previous projects as costume designer with writer/director Sofia Coppola are A Very Murray Christmas, The Bling Ring, and Focus Features’ Somewhere.

Early in her career, Ms. Battat worked for iconic designer Marc Jacobs. She segued to working as a fashion stylist full-time, going on to amass a portfolio of work with such illustrious photographers as Dusan Reljin, Annie Leibovitz, and Brigitte Lacombe, contributing to Vanity Fair, GQ, W, and other publications.

Her career as a costume designer began when writer/director Zoe Cassavetes requested that she work on the independent feature Broken English, starring Parker Posey. She next designed the costumes for another independent film starring Ms. Posey, Mitchell Lichtenstein’s Happy Tears; for Scott McGehee and David Siegel’s Uncertainty, starring Joseph Gordon-Levitt and Lynn Collins; and Will Frears’ Coach, starring Hugh Dancy, Gillian Jacobs, and Mamie Gummer.

She was later costume designer on Richard Glatzer and Wash Westmoreland’s Still Alice, for which Julianne Moore won the Best Actress Academy Award; Shana Feste’s Endless Love and Country Strong, starring Gwyneth Paltrow, Tim McGraw, Garrett Hedlund, and Leighton Meester; Laurie Simmons’ My Art, starring Grace Dunham; Sam Levinson’s Another Happy Day and Cam Archer’s S—t Year, both starring Ellen Barkin; Scott McGehee and David Siegel’s What Maisie Knew, starring Ms. Moore; Peter Sollett’s Freeheld, starring Ms. Moore and Ellen Page; and Ned Benson’s The Disappearance of Eleanor Rigby, starring Jessica Chastain and James McAvoy.

Working in television, Ms. Battat designed the costumes for the pilot episodes of Girls, Mozart in the Jungle, Believe, and Z: The Beginning of Everything; and for the first season of How to Make It in America.

Ms. Battat attended New York City’s famed Fashion Institute of Technology, and is a graduate of the Hunter College School of Social Work.

PHOENIX (Music)

The four musicians who comprise Phoenix are a close-knit group of childhood friends from Versailles, France. Their record “Wolfgang Amadeus Phoenix” (2009) earned them a Grammy Award for Best Alternative Album. The album’s seven-minute-plus/two-part “Love Like A Sunset” track was heard in

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Sofia Coppola’s Somewhere, along with the original music that the group composed for the movie.

The members of Phoenix – who write and perform all their works – are guitarist brothers Laurent Brancowitz and Christian Mazzalai, bassist Deck D’Arcy, and vocalist Thomas Mars, who also sang the vocal on Air’s “Playground Love,” which was featured on the soundtrack of Ms. Coppola’s The Virgin Suicides. The song “Too Young” from the band’s debut album “Untitled” (2000) was used in Ms. Coppola’s Lost in Translation, and “Bankrupt!” (from their eponymous 2013 album) was included on the soundtrack of her film The Bling Ring.

For Ms. Coppola’s holiday special A Very Murray Christmas, Phoenix teamed with Bill Murray and Paul Shaffer to cover The Beach Boys’ “Alone on Christmas Day” in an on-camera performance.

Phoenix have released five albums to date, with their sixth, “Ti Amo,” coming out on June 9th, 2017.

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CastCorporal McBurney COLIN FARRELL

Miss Martha NICOLE KIDMANEdwina KIRSTEN DUNST

Alicia ELLE FANNINGAmy OONA LAURENCEJane ANGOURIE RICE

Marie ADDISON RIECKEEmily EMMA HOWARD

Captain WAYNE PEREConfederate Soldier MATT STORY

Cavalry Man JOEL ALBINStunts

Stunt Coordinator JEFF GALPINMcBurney Stunt Double LLOYD PITTS

Based on the Novel byTHOMAS CULLINAN

and the Screenplay byALBERT MALTZ and GRIMES GRICE

CrewWritten for the Screen and Directed by SOFIA COPPOLA

Produced by YOUREE HENLEYSOFIA COPPOLA

Executive Producers ROMAN COPPOLAANNE ROSSFRED ROOSROBERT ORTIZ

Director of Photography PHILIPPE Le SOURD, AFCProduction Designer ANNE ROSS

Film Editor SARAH FLACK, ACECostume Designer STACEY BATTAT

Music by PHOENIX

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based on Monteverdi’s “Magnificat”

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Sound Designer RICHARD BEGGSCasting by COURTNEY BRIGHT

and NICOLE DANIELS, CSA

Unit Production Manager ROBERT ORTIZFirst Assistant Director PAUL B. UDDO

Second Assistant Director STEPHEN LONANO

Art Director JENNIFER DEHGHANAssistant Art Director ALICE ALWARD

Set Decorator AMY SILVERSet Designer DAVE KELSEY

Property Master MICHAEL MARTINAssistant Property Master JORIN OSTROSKA

Props Assistant ASHLEY CLEMENTSLeadman MICHAEL JOHNSON

Set Dec Buyer JILL BROADFOOTOn Set Dresser ALIX PETROVICH

Set Dressers KENNETH CHAUVINWALTER DICKERSONPATRICK McGUIREROBERT MOORE, JR.JASON PERLANDERSHELLY SANCHEZ

“A” First Assistant Camera HECTOR RODRIGUEZ“A” Second Assistant Camera BRYCE VAN DER MARSHALL

“B” Camera Operator IAN LYNCH“B” First Assistant Camera AUSTIN ALWARD

“B” Second Assistant Camera ZACHARY BLOSSERLoader MELANIE GATES

Camera Utility JONATHAN ROBINSON

Production Sound Mixer PAUL LEDFORDBoom Operator RACHEL GRISSOM

Sound Utility CHARLIE MASCAGNI

Gaffer BOB BATESBest Boy Electric COREY ERWIN

Set Lighting Technicians JAMES FIRIOS

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MIKE GRACENATE SELEEJON TENHOLDER

JUSTIN WRIGHTRigging Gaffer VIC KEATLEY, IV

Best Boy Rigging Electric TEDD UNDERWOODRigging Electricians BRAD GREMILLION

BRANDON MORGANJASON PROWELL

Key Grip NICK LEONBest Boy Grip LEE McLEMORE

Dolly Grip GERALD J. AUTIN, JR.Grips JESSE GOODMAN

COREY KIRKLIG LEWIS PIERATT MELVIN WALKER RYLAND WITTEN-SMITH

Key Rigging Grip FRANKIE JONESBest Boy Rigging Grip ROWLAND EGERTON

Rigging Grips SCOTT CALCAGNOJADE MAGGIO DONALD ROTHROBERT SKUSE RYAN WATSON

Crane Tech MORGAN DAVISRemote Head Tech CRAIG RICE

Special Effects Coordinator MATTIE HARRISSpecial Effects Technician MARK LOWRY

Costume Supervisor JEN WASSONKey Costumer PATTY SPINALE

Costumer MARILYN BRUMSeamstresses COLETTE DE LACROIX

AURORA KNOXAger/Dyer SUSAN MAYES

Ager/Dyer (Los Angeles) JULIA GOMBERTCutter/Fitter MARGARET GUERRERO

Tailor LILIK ANTONYANCostume Buyer ANDREW SALAZAR

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Make-up Department Head STACY KELLYKey Make-up Artist KIMBERLY AMACKERAdditional Make-up MIA GOFF

Special Effects Make-up ELVIS JONESADAM WALLS

Hair Design ODILE GILBERT

Hair Department Heads SHANDRA PAGETONY WARD

Hair Stylist LAWRNELL BELL-RATTLER

Location Manager BATOU CHANDLERAssistant Location Managers JOE HAGG

DESIREE STEVENSONLocation Assistant TED VOORHIES

Production Accountant AMY AGZARIANFirst Assistant Accountant JENNIFER BROOKS

Second Assistant Accountant THUYVI NGUYENAccounting Clerk ADELE RICHARDSON

Payroll Accountant ANNE LOOSVELTPayroll Clerk LAUREL McGEHEE

Post-Production Accountant TREVANNA POST, INC.KELSEY SCHUYLER

Production Coordinator BERNADETTE J. GONZALESAssistant Production Coordinator BRYAN GARDINER

Second Second Assistant Director GERSON PAZ

Local Casting MEAGAN LEWISExtras Casting Coordinator BRENT CABALLERO

Extras Casting Assistant KELSEY WHITE

Unit Publicist DIANE SLATTERYVideographer JAMES WELCH

Still Photographer BEN ROTHSTEIN

Rehearsal Advisor CHRISTOPHER NEILActing Coach GRETA SEACAT

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Historical Consultant TIMOTHY PICKLESEtiquette Instructor BETTY RABE

Dialect Coach LIZ HIMELSTEIN

Assistant to Ms. Coppola CHRISTINA GAN

Assistants to Mr. Henley & Ms. Coppola MELINA HAYUMJEANNIE SUI WONDERS

Assistant to Mr. Farrell ALISON FORESTAssistant to Ms. Kidman RUSSELL BLANCHARD

Assistant to Ms. Dunst MARC UDDOAssistant to Ms. Fanning CRISTEN MARTEMUCCI

Set Production Assistants JASON CHANDLERJEAN DALSINSTEPHEN DANIEL WAYNE

Production Assistants THEO Le SOURDLOSEL YAUCH

Art Production Assistant MARIAN GAYOffice Production Assistants KARA FOX MOFFITT

RIEVE STANFORD

Construction Coordinator CHUCK STRINGER Construction Foreman MICHAEL AINSWORTH

Propmakers ROBERT GUILLOTJOHN SCHAEFERIRA STONE III

Plasterer PETER VANCOUTRENLead Greens RUSS DOYLE

On Set Greens ALEXANDER ELDIMIATIROB JOY AUSTIN LEVALLEY

Greensmen JEREMY DABOG JOSHUA JONES

Lead Scenic JASON OERTLINGScenic Foreman CECILE AYMAMIStandby Painter P. GAIL BRIANT

Scenics KELLY SMITH GREGORY WHITE

Transportation Coordinator WELCH LAMBETHTransportation Captain DARYLE BARTNEY, SR.

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Dispatcher VELVET BRASWELLDOT LAUREN WALTER-GREEN

Drivers DAVID ADKISONALEX ALLENLARRY ARCENEAUXOSCAR AUSTIN, JR.KEVIN BANKS CHRIS BARTHELEMY ZANDRA BATISTEEMMITTE BERGERONDONALD BERTRAND EMILE BLACKBURNEDWARD DORESYSTEVEN FUGLERDEVIN GREEN CALVIN HALLTRAMEKA HOWARDWAYNE JOLLALYONEL JORDANBRUCE LANELEROY MINORFARIN SMITHWILLIAM VARNADO JUNE WISCHLER

Legal Services SHEPPARD MULLIN RICHTER & HAMPTON LLPROBERT DARWELLNICOLE BAGOOD

Clearance Coordinator ASHLEY KRAVITZStudio Teacher LETITIA HOAASAsset Manager YVETTE BENNETT

Animal Wrangler DARRON CUNNINGHAMMedic JENNIFER BROWN

Key Craft Service DON DAKINAssistant Craft Service JOSH SAGE

Catering Chef CHRISTIAN GHERACatering Chef’s Assistants LEON DVORAK

LUIS MONTENEGROLEOMIL SALALILA

Script Supervisor SASHA VITELLI

Visual Effects Supervisor JOSEPH J. OBERLE

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Post-Production Supervisor JEFF ROBINSON First Assistant Editor ZACHARY A. SCHWARTZ

Post-Production Coordinator ANDREW K. RUOTOLORe-Recording Mix Facility WB SOUND NY

Supervising Sound Editor & Re-Recording Mixer RICHARD BEGGSCo-Supervising Sound Editor & Re-Recording Mixer ROY WALDSPURGER

Mix Technician PAUL TIRONEAssistant Sound Editor ALYSSA NEVAREZ

ADR Editor TONY MARTINEZSupervising Dialogue Editor JULIA SHIRAR

Assistant Dialogue Editor ERIC McALLISTERADR Mixer BOBBY JOHANSON

ADR Recordist MICHAEL RIVERAADR Coordinator TRICIA SCHULTZ

Foley Studio H5 FILM SOUNDFoley Editor HEATHER GROSSFoley Mixer PIETU KORHONENFoley Artist HEIKKI KOSSI

Film Processing by FOTOKEMProduction Services Manager MARK VAN HORNE

Senior Dailies Producer MARY CHAMBERLAINnextLAB Dailies Colorist DAN GARSHA

Digital Intermediate Services provided by TECHNICOLOR POSTWORKS NY

Colorist DAMIEN VAN DER CRUYSSENColor Assist RYAN DUFFY

VP Creative Services BEN MURRAYConformist KEITH JENSEN

DI Producers PETER BOYCHUKNATALIE WESTERFIELD

Data Managers STACEY LEECHAD RUPNARINESERGEY ZONTAK

Restoration MORGAN MILLERERIC LUSZCZNATE DAVISROSS HENDRICKSONBRIAN WOOSRAY GALLAGHER

DI Engineers RANDY MAIN

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ERIC HORWITZTechnical Operations Manager CARLOS MONFORT

SVP Theatrical Services CLARK HENDERSONAccount Manager for Focus Features LADD LANFORD

Title Design PETER MILES

Score Music Arranged by LAURA KARPMAN

On-Camera Music

“LORENA”Written by Henry D.L. Webster, Joseph Philbrick Webster

“AURA LEA”Written by William Whiteman Fosdick, George R. Poulton

“CONCERTO IN B MINOR (OP. 35)”Written by Oskar Rieding

“VIRGINIA BELLE”Written by Stephen Foster

THANK YOU

TPCROMY & COSIMA

FRANCIS & ELEANOR COPPOLABART WALKERBARRY HIRSCH

XAN CASSAVETESTAMARA JENKINS

FABRIZIO VITILOUIS LICARI ANNE BASU 

STEVEN SODERBERGH

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Camera provided by Panavision

This production participated in the New York State Governor’s Officeof Motion Picture & Television Development’s

Post-Production Credit Program

This motion picture used sustainability strategies to reduce its carbon emissions and environmental impact.

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Copyright 2017 Focus Features LLC. All Rights Reserved.

Focus Features LLC is the author of this motion picturefor purposes of the Berne Convention and all national laws giving effect

thereto.

The characters and events depicted in this photoplay are fictitious.Any similarity to actual persons, living or dead, is purely coincidental.

This motion picture is protected under the laws of the United States and other countries.

Unauthorized duplication, distribution or exhibitionmay result in civil liability and criminal prosecution.

MPAA Rating: R (for some sexuality)

Twitter: @BeguiledMovie#TheBeguiled

#VengefulBitchesFacebook:/BeguiledMovie

Instagram: @beguiledmoviewww.TheBeguiledMovie.com

A Focus Features Release

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