frozenfilm.com. This site promotes Frozen, written and directed by Juliet McKoen, with Shirley Henderson and Roshan Seth, produced by Mark Lavender, co-financed by Zentropa.
frozenfilm.com. Frozen, a film by Juliet McKoen with Shirley Henderson & Roshan Seth, and an outstanding line-up of supporting U.K. actors, produced by Mark Lavender, Frozen is selected for the London & the AFI Los Angeles 2004 film festivals. Described as a •strikingly beautiful debut featureę. Supported by Zentropa; Film London; North West Vision, Northern Film & Media and Scottish Screen.
 
Director/Writer – Juliet McKoen
After leaving university, Juliet McKoen entered the cutting rooms and trained as a film editor. She went on to produce over 120 short films by artists for C4, BBC2, and the Arts Council of England at the same time as making her own experimental shorts which won awards at several international festivals and toured internationally with the ICA Biennale

Following this, Juliet studied for an MA in Screenwriting and was awarded a place on the Carlton TV Drama Screenwriting Course. Her first feature script, Mermaids and Money Troubles, which was shortlisted for the Oscar Moore Screenwriting Prize, has recently been commissioned as a children’s book.

In 1997 Juliet set up Shoreline Films, a key digital production and training centre in the North West of England. In 2000, Juliet’s first narrative short, Mavis and the Mermaid, won the Kodak/BAFTA Short Film Showcase and the Worldfest Gold Special Jury Award and was shown at festivals worldwide. Her film Blood Sisters also won a Gold Award at Huston for experimental film.

Frozen is Juliet’s first feature length work.

Mark Lavender – Producer
A graduate of the London International Film School, Mark Lavender has worked in film and television as series producer, producer and director for ITV, BBC and Channel Four. His award-winning programmes have included drama shorts and drama documentaries. He is managing director of RS Productions and Liminal Films.

Mark has completed the European producer development scheme, EAVE and participated in Sources (managing its last visit to the UK) and The Film Business School.

“ I was immediately attracted to Frozen by the high quality of the writing – I loved its mystery and its circularity, and its strong universal themes of loss, love and obsession. This for me, along with its genre qualities, suggested the film would find a wide audience.”


Philip Robertson – Director of Photography
The Scottish born cameraman was trained at the prestigious Russian State Institute of Cinematography in Moscow. Nominated for Best Cinematography in Dramatic Competition at Sundance, Beyond the Ocean (2000) won a Kodak Vision Award for Cinematography and was Robertson’s first feature. He has also worked on various television projects including series Babyfather (2003).

“ Frozen was a challenging and exciting project to work on. Our approach was to respond to the landscapes in an attempt to fully capture their purity and stark beauty. When I read the script I immediately responded to it because I felt it was so highly visual, and gave a cinematic space to people and places rarely seen on film.”

Tim Barker – Sound Recordist, Designer and Mixer
Tim’s feature film credits include One for the Road (2004) as sound recordist and editor and Warrior (foley), which won the BAFTA for Best British Film in 2002. Short film credits include the animation Dog (2002), which won a BAFTA, and the BAFTA-nominated shorts J’taime John Wayne (2000) and The Tail of the Rat that Wrote (1999). He has worked on a number of art installations for Adam Chodsko, including Limboland (2000) and Plan for a Spell (2001).

“ It was a great opportunity to be able to complete the sound on Frozen from pre-production all the way to the final mix, as it’s rare to be able to do that. Being involved in that process meant I was able to immerse myself in the world of the script – you can collect little tiny atmospheric sounds on set knowing what you’re working towards, and weave them into the tracks later to create a seamless, detailed soundscape.”

Loren Slater – Production Designer
After graduating from Edinburgh College of Art Loren Slater was Assistant Art Director on Juliet McKoen’s short film Mavis and the Mermaid. Since then she has worked on short films as Art Director and on her own photographic, film and installation projects.

“ I was drawn to the film’s themes of reality and illusion, and spent a long time prior to the shoot discussing the film with Juliet and visiting Fleetwood. This was a great help to the challenge of making the recreated sets as naturalistic as possible, whilst still reflecting Kath’s state of mind in the colours and spaces. I am particularly happy with the CCTV images as we’ve managed to achieved something poignant which we spent much time discussing and imagining.”

Paul Endacott – Editor
Frozen editor Paul Endacott has edited films in various genres including Stephen Norrington’s action adventure Death Machine (1995) and John Henderson’s comedy Bring me the Head of Mavis Davis (1997). His television credits The Cops and Buried have both won BAFTAs, and he was nominated for Best Editing for the BBC drama As the Beast Sleeps.

“ I was attracted to Frozen not only by Juliet’s script but also by the fact that it seemed to be the kind of film that isn’t made much in this country anymore. It has a complex structure of reality and fantasy that made it an interesting challenge from my point of view – the film is more of a character study of its central figure rather than a traditional thriller.”

Guy Michelmore – Composer
Guy has composed many award-winning scores, most recently for the animation Tutenstein, for which he won an Emmy earlier this year. In 2004 he won Best Score at the Californian Independent Film Festival for his work on the film Fly Fishing.

“ The score Frozen was always going to be challenging. It needed to be simple yet powerful, passionate but also at times restrained. I decided to write for cello, piano and marimba, a trio which has a dark and lyrical sound.”

“ Cellist Justin Pearson and his stunning 17th century cello brought the score to life with passion and lyricism. The final piece in the jigsaw was the discovery of Elii Geba's haunting and unique vocal sound which was exactly what I needed to create a strange and otherworldy feel to the sands sequences.”