Five Minutes of Heaven (2009)
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- R
- 1h 29min
- Drama, Thriller
- 27 Feb 2009 (Ireland)
- Movie
- 10 wins & 12 nominations.
- See more »
Photos and Videos
Complete, Cast awaiting verification
Mark Ryder | ... |
Young Alistair - 1975
(as Mark Davison)
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Diarmuid Noyes | ... |
Andy - 1975
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Niamh Cusack | ... |
Alistair's Mum - 1975
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Mathew McElhinney | ... |
Stuart - 1975
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Conor MacNeill | ... |
Dave - 1975
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Paul Garrett | ... |
Alistair's Dad - 1975
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Kevin O'Neill | ... |
Young Joe - 1975
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Gerard Jordan | ... |
Jim - 1975
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Paula McFetridge | ... |
Joe's Mum - 1975
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Gerry Doherty | ... |
Joe's Dad - 1975
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Luke O'Reilly | ... |
Brother Dan - 1975
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Luke McEvoy | ... |
Brother John - 1975
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Aoibheann Biddle | ... |
Sister 1 - 1975
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Ruth Matthewson | ... |
Sister 2 - 1975
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Carol Moore | ... |
Susan - 1975
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James Nesbitt | ... |
Joe - 2008
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Barry McEvoy | ... |
Joe's Chauffeur - 2008
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Liam Neeson | ... |
Alistair - 2008
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Richard Orr | ... |
Alistair's Chauffeur - 2008
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Richard Dormer | ... |
Michael - 2008
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Pauline Hutton | ... |
Sharon - 2008
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Andrea Irvine | ... |
Sarah - 2008
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Katy Gleadhill | ... |
Fiona - 2008
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Paul Kennedy | ... |
Sound Recordist - 2008
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Jill Crawford | ... |
Cathy - 2008
(as Juliet Crawford)
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Anamaria Marinca | ... |
Vika - 2008
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Jonathan Harden | ... |
David - 2008
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Lalor Roddy | ... |
Landlord - 2008
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Daniel McClean | ... |
Liam - 2008
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Emma Neill | ... |
Katie - 2008
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Stella McCusker | ... |
Stephanie - 2008
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Amber O'Doherty | ... |
Kirsty - 2008
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Louis Rolston | ... |
Former UVF Commander - 2008
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Rest of cast listed alphabetically: | |||
Bernadette Dobbin | ... |
Nurse (uncredited)
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Mickey Mason | ... |
Young man on street (uncredited)
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Ryan McParland | ... |
Passer By (uncredited)
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Directed by
Oliver Hirschbiegel |
Written by
Guy Hibbert | ... | (screenplay) |
Produced by
Ed Guiney | ... | executive producer |
François Ivernel | ... | executive producer (as Francois Ivernel) |
Marshall Leviten | ... | line producer (as Marshall Levitan) |
Andrew Lowe | ... | executive producer |
Cameron McCracken | ... | executive producer |
Don Mullan | ... | associate producer |
Eoin O'Callaghan | ... | producer |
Patrick Spence | ... | executive producer: BBC |
Paul Trijbits | ... | executive producer |
Stephen Wright | ... | producer |
Music by
Leo Abrahams | ||
David Holmes |
Cinematography by
Ruairí O'Brien | ... | director of photography (as Ruairi O'Brien) |
Editing by
Hans Funck |
Editorial Department
Colin Coull | ... | filmout supervisor: Windmill Lane |
Andschana Eschenbach | ... | assistant editor |
Jessica Felton | ... | digital intermediate faciiities coordinator |
Dave Hughes | ... | digital intermediate colorist |
Tim Morris | ... | digital intermediate supervisor |
Shane Murphy | ... | digital intermediate on-line editor |
Dan Roberts | ... | additional editor (uncredited) |
Casting By
Georgia Simpson |
Production Design by
Mark Lowry |
Art Direction by
Gillian Devenney |
Costume Design by
Maggie Donnelly |
Makeup Department
Jilly Green | ... | hair stylist (as Jill Green) |
Lorna McSloy | ... | additional hair assistant |
Paula Moore | ... | additional hair assistant |
Conor O'Sullivan | ... | special makeup effects artist |
Laura Pollock | ... | makeup trainee |
Pamela Smyth | ... | hair designer / makeup designer |
Production Management
Mark Devlin | ... | production manager |
Damien Glenholmes | ... | unit manager |
Miranda Jones | ... | post-production supervisor |
Andrew Reid | ... | head of production: Northern Ireland Screen |
Faye Ward | ... | head of production: Ruyby Films |
Second Unit Director or Assistant Director
Sean Roe Curran | ... | additional assistant director |
Lynne Davison | ... | additional assistant director |
Darren Fee | ... | second assistant director |
Jack Hamill | ... | additional assistant director |
Peter Nightingale | ... | first assistant director |
Samantha Ross | ... | third assistant director |
Richard Wilson | ... | trainee assistant director |
Art Department
James Barr | ... | property master |
Conor Bradly | ... | additional construction |
Sean Bradly | ... | additional construction |
Diarmuid Corr | ... | art department: daily |
Michael Cullen | ... | handprops |
Cole Doherty | ... | construction manager |
Shea Doherty | ... | additional construction |
Raymond Ginnane | ... | carpenter (as Ray Ginnane) |
Sian Alaw Jones | ... | design assistant (as Sián Alaw Jones) |
Sean McAliskey | ... | additional construction |
Felix McCrudden | ... | additional painter |
Lisa McDiarmid | ... | standby art director |
Keiran McElvanna | ... | additional construction |
Neil McNally | ... | dressing props |
Christopher Moore | ... | standby props |
Alan Nixon | ... | standby carpenter |
Sarah Speers | ... | production buyer |
Paul Stewart | ... | additional props |
Sound Department
Mark Appleby | ... | adr mixer |
Alan Collins | ... | sound facility director: ardmore sound |
Caoimhe Doyle | ... | foley artist |
Steve Fanagan | ... | foley editor |
John Fitzgerald | ... | adr mixer / re-recording mixer |
Fionán Higgins | ... | dialogue editor (as Fionnan Higgins) |
Ronan Hill | ... | sound mixer |
Simon Kerr | ... | sound maintenance |
Paul Maynes | ... | adr mixer |
Terry McDonald | ... | sound trainee (as Terence McDonald) |
Jean McGrath | ... | foley mixer |
Jon Stevenson | ... | supervising sound editor |
Alex Hudd | ... | sound consultant: dolby (uncredited) |
Special Effects by
Kevin Byrne | ... | special effects supervisor |
Visual Effects by
Mike Branton | ... | base-light assistant: Windmill Lane |
Marie A. Jones | ... | datascan producer: Windmill Lane (as Marie Jones) |
John Kennedy | ... | visual effects supervsior: Windmill Lane |
Stunts
Brendan Condren | ... | stunt double: Mr. Nesbitt |
Joe Condren | ... | stunt coordinator |
Tommy Sheen | ... | stunt double: Mr. Neeson |
John Sheridan | ... | stunts (uncredited) |
Paul Valentine | ... | assistant stunt coordinator (uncredited) / stunt rigger (uncredited) |
Camera and Electrical Department
Raymond Carlin | ... | crane technician (as Ray Carlin) |
Hugh-Thomas Cavanagh | ... | additional best boy (as Hugh Thomas Cavanagh) |
Dermot Coleman | ... | generator operator: London |
Noah Eli Davis | ... | additional clapper loader (as Noah Davis) |
Bryan Drysdale | ... | steadicam operator |
Nicky Fitzgerald | ... | rigging gaffer |
Andy Gardner | ... | clapper loader |
Howard Gibson Steele | ... | gaffer (as Howard Gibson-Steel) |
Conor Hammond | ... | focus puller |
Glynn Harrison | ... | grip |
Roy Harrison | ... | additional grip |
Christopher Hill | ... | still photographer |
Steffan Hill | ... | still photographer |
Gary Hutchinson | ... | standby rigger |
Davie Mayes | ... | gaffer: second unit |
Carlo McDonnell | ... | additional electrician |
Eugene McVeigh | ... | cameraman: epk |
Roger Tooley | ... | steadicam operator |
Ruth Woodside | ... | camera trainee (as Ruth Greer) |
Costume and Wardrobe Department
Kerry Gooding | ... | additional costume |
Lauren Hanna | ... | costume supervisor |
Heather Long | ... | additional costume |
Edel McCarron | ... | costume assistant |
Location Management
Nicola Bailey | ... | additional locations (as Nicola Bailey-James) |
Robert Boake | ... | location trainee |
David Cooke | ... | additional locations |
Trevor Currie | ... | additional locations |
Catherine Geary | ... | location manager |
Stephen Hanley | ... | additional locations |
Sarah Hills | ... | additional locations |
Music Department
Jane Bridgeman | ... | music clearance supervisor |
Script and Continuity Department
Lynda Marshall | ... | script supervisor |
Transportation Department
Jeff Brown | ... | driver: facilities |
Maurice Brown | ... | driver: Mr. Nesbitt |
Alan Crozier | ... | facilities chief |
Dermie | ... | driver: facilities |
Walter Hawthorne | ... | driver: Mr. Neeson |
Paul McCausland | ... | camera car / driver / transportation |
John McDowell | ... | action vehicle coordinator |
Lee McFadden | ... | driver: facilities |
Gavin McGlashan | ... | driver: facilities (as Gavin McGlashin) |
Michael Thompson | ... | driver: facilities |
Phillip Wiggans | ... | driver: facilities (as Philip Wiggins) |
Ryan Marshall | ... | unit driver: dalies (uncredited) |
Additional Crew
Monika Agorelius | ... | electronic press kit |
Yasu Asami | ... | assistant: Paul Trijbits, Ruby Films |
Matt Bannister | ... | publicist: BBC |
Jonathan Blair | ... | legal services: Big Fish Films, Simkins |
Michelle Burns | ... | additional production |
Mark Byrne | ... | representative: Bord Scannan na hEireann/Irish Film Board |
Una Carlin | ... | publicist: BBC |
James Clarke | ... | finance director: Pathé |
Louise Cornally | ... | production finance executive: Element Pictures |
Rowena Crofts | ... | production assistant |
Suzi Crofts-Fawsitt | ... | production pooch |
Sean Roe Curran | ... | set production trainee (as Sean Curran) |
Lorraine Denis | ... | production trainee (as Lorraine Dennis) |
Pierre Du Plessis | ... | business affairs: Pathé |
Donal Geraghty | ... | production accountant |
Anna Graham | ... | assistant: Mr. Neeson |
Robert Gyle | ... | armorer |
Paula Heffernan | ... | assistant to directors: Element Pictures |
Aaron Hendriks | ... | additional accounts |
Joe Hendriks | ... | assistant accountant |
James Hickey | ... | legal services: Matheson Ormsby Prentice |
Ruth Hunter | ... | legal services: Matheson Ormsby Prentice |
Kevin Jackson | ... | head of drama: BBC Northern Ireland |
Geraldine Jeffers | ... | publicist: BBC |
Steve Joberns | ... | auditor: Shipleys |
Christina Jules | ... | financial controller: Ruby Films |
Moyra Lock | ... | head of marketing: Northern Ireland Screen |
Linda Martin | ... | head of finance: Northern Ireland Screen |
Jennifer McAufield | ... | production executive: BBC |
Michael McCartney | ... | animal handler |
Stephen McDonogh | ... | legal services: BBC |
Fiona McGuire | ... | physical production: Pathé |
Damian McParland | ... | legal services: Northern Ireland Screen, Millar McCall Wylie |
Tim O'Shea | ... | legal services: Big Fish Films, Simkins |
Ailsa Orr | ... | head of programmes: BBC Northern Ireland |
George Pank | ... | legal: Pathé |
Simon Perry | ... | representative: Bord Scannan na hEireann/Irish Film Board |
Joan Purvis | ... | legal services: BBC |
Anne Quinn | ... | production coordinator: Northern Ireland Screen |
Laura Rees | ... | additional production |
Michael Ritchie | ... | production associate |
Mike Runagall | ... | international sales: Path*eacute; |
Emma Scott | ... | representative: Bord Scannan na hEireann/Irish Film Board |
Bronagh Taylor | ... | additional production |
Ian Thomson | ... | publicist |
Richard Williams | ... | chief executive: Northern Ireland Screen |
Susie Wright | ... | funding programmes coordinator: Northern Ireland Screen |
Andy Brunskill | ... | assistant to executive producer (uncredited) |
Juliette Caron | ... | french subtitles by (uncredited) |
Huma Khan | ... | legal post production (uncredited) |
Thanks
Toby Babst | ... | thanks |
An Dorthe Braker | ... | thanks (as Ann Dorthe Braker) |
Bernd Eichinger | ... | thanks |
Joe Griffin | ... | particular thanks |
Mechthild Holter | ... | thanks |
Alistair Little | ... | particular thanks |
Production Companies
- BBC Film
- Big Fish Films
- Bord Scannán na hÉireann / The Irish Film Board
- Element Pictures (in association with)
- Northern Ireland Screen
- Pathé!
- Ruby Films
Distributors
- BBC Northern Ireland (2009) (United Kingdom)
- Element Pictures Distribution (2009) (Ireland)
- IFC Films (2009) (United States) (theatrical)
- Pathé (2009) (France) (theatrical)
- Bir Film (2009) (Turkey) (limited)
- Madman Entertainment (2009) (Australia)
- Odeon (2009) (Greece)
- Teleview International (2009) (Lebanon) (Middle East)
- BBC Two (2009) (United Kingdom) (tv)
- Cinemax (2009) (Hungary) (tv)
- MPI Home Video (2010) (United States) (Blu-ray)
- Benelux Film Distributors (2010) (Belgium) (theatrical)
- Benelux Film Distributors (2010) (Netherlands) (theatrical)
- Distribution Company (2010) (Argentina) (theatrical)
- Argentina Video Home (2010) (Argentina) (DVD)
- Fine Films (2010) (Japan) (DVD)
- IFC Films (2010) (United States) (DVD) (for MPI Home Video)
- Film1 (2011) (Netherlands) (tv) (limited)
- Koch Media (2011) (Germany) (DVD)
Special Effects
- Windmill Lane Pictures (visual effects)
- Team FX (special effects)
Other Companies
- ARRI Film & TV Services (edit equipment)
- Allied Irish Bank (banking services)
- Ambutran (health and safety services)
- Angels the Costumiers (costumes and wigs)
- Ardmore Sound (adr recording)
- Ardmore Sound (sound re-recorded at)
- Business Affairs (legal services: BBC)
- City Office Solutions (photocopier and fax)
- DLK Kirkpatrick Fuji (film stock)
- Enterprise Rent-A-Car (hire vehicles)
- Film Finances (completion bond)
- Freeway CAM B.V. (world receipts collected by)
- G&H Film & TV Services (facility vehicles)
- Goldcrest Post Production London (adr recording)
- H&W Rigging (rigging)
- Hyperactive Broadcast (post-production facilities)
- Kodak (film stock)
- Matheson Ormsby Prentice (legal services)
- Media Insurance Brokers (MIB) (insurance)
- Michael Simkins (legal services: Big Fish Films)
- Millar McCall Wylie (legal services: Northern Ireland Screen)
- Northern Ireland Science Park (production office)
- Panalux (lighting)
- Panavision (camera crane)
- Production Depot (camera equipment provided by)
- Production Depot (camera equipment)
- Red Moon Business Supplies (stationery)
- Sargent Disc (accounting software)
- Sashaze & Dealers Agency (supporting artists)
- Shipleys (auditors)
- Shoot Communications (walkie talkies and mobile phones)
- Shoot NI (cell phones and walkies)
- Simply Good Food (catering)
- Strand Security Services (security)
- Technicolor (release printing)
- The Clearing House (script clearances)
- The Mill (film out)
- Wall 2 Wall (cleaning)
- Windmill Lane Pictures (digital intermediate)
- Yellowmoon (adr recording)
Storyline
Plot Summary |
In February, 1975, in Northern Ireland, seventeen year-old UVF member Alistair Little kills the catholic Jimmy Griffin in his house in Lurgan in front of his younger brother Joe Griffin. Alistair is arrested and imprisoned for twelve years while Joe is blamed by his mother for not saving his brother. Thirty-three years later, a TV promotes the meeting of Alistair and Joe in a house in River Finn, expecting the truth and the reconciliation of the murderer and the victim who actually seeks five minutes of heaven. Written by Claudio Carvalho, Rio de Janeiro, Brazil |
Plot Keywords | |
Taglines | To face the future, they must face the past. See more » |
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Parents Guide | View content advisory » |
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Did You Know?
Trivia | Liam Neeson was raised a Catholic and portrays a Protestant. James Nesbitt was raised a Protestant and portrays a Catholic. See more » |
Goofs | Little's photograph of Griffin's family changes between shots. In some scenes it has a border and in others it doesn't. See more » |
Movie Connections | Featured in Top 10 Liam Neeson Performances (2012). See more » |
Soundtracks | A Glass of Champagne See more » |
Quotes |
Alistair Little:
[talking to TV camera]
For me to talk about the man I have become, you need to know about the man I was. I was 14 when I joined the Tartan gangs and I was 15 when I joined the UVF. At that time, don't forget, there were riots on the streets every week; petrol bombs everyday, and that was just in our town. When you got home and switched on the TV, you could see what was happening in every other town as well, and it was like we were under siege. Fathers and brothers and friends were being killed in the streets, and the feeling was, we all have to do somethin'. We're all in this together and we all have to do somethin'. Alistair Little: The thing you have to remember, what you have to understand, is the mindset. Once you have signed up to terror, and joined the organization - the group - your mind closes right down. It becomes only *our* story that matters, not their story - the Catholics. It's only *my* people that are being killed, and here suffering and that need looking after. Catholics being killed? Doesn't enter your head. And so when I went up to Sammy, our local commander, and told him I wanted to kill a Catholic man, it wasn't a wrong thing for me to do. In my head, it was the proper, the just, the fair, the good thing to do. And so, it was easy. Alistair Little: When I got to the house, there was a boy in the street. I didn't expect him to be there, but, there he was. I only looked at him for a moment because I had a job to do, but if I had known that he was Jim's brother, I would have shot him as well. It was in the mindset. It was tit-for-tat, and perhaps one more - why not? That's what it was like. I was only 17. I'd seen my people fighting ever since I was a wee boy. You'd take sides with your friends as a boy, but we weren't just throwing stones over the fence, we were shooting guns. What I want to tell people - what society must do - is to stop people getting to the point where they join the group. Because when you get to that point it's too late. No-one's gonna stop you. No-one's gonna change your mind. And once you're in, you will do anything. You will kill anyone on the other side, because it's right to do it. Once your man has joined the group, society has lost him. And what he needs to hear are voices on his own side, stopping him before he goes in. There were no voices on my side, not on my side of the town, not in my state. No-one was telling me anything other than that killing is right. It was only in prison when I heard that other voice. And the Muslims now, you know the kids now are like I was then. They need to hear those voices now, stopping them from thinking that killing is good. They need *their own* people to say "no". That's where they need to hear it, and that's where I would put my money - on making those voices heard in every mosque in the country. Alistair Little: When I got home, my mother and father were watching the TV, and it came on the news that the man I had shot was dead. I was so excited, I couldn't wait for when I would get my congratulations. Sammy was going to come knocking at my door, he was going to lead me out into the street and proudly walk me into the bar, and everybody was gonna stand up and applaud. Me? I would've shot anyone for that. And that is why I talk to anybody who would listen now, to tell them to stop boys like me thinking that to shoot an innocent, and a decent man in the head, is a good thing. See more » |