Naomi Watts, Diana

Naomi Watts, Diana



 Starring: Naomi Watts, Naveen Andrews
Director: Oliver Hirschbiegel

Celebrated and adored by millions, she was the Queen of people's hearts, yet the bittersweet story of
the last man to truly capture hers has never before been told.

Princess Diana (double Academy Award® nominee Naomi Watts), at one time the most famous woman
in the world, inspired a nation with her generosity, compassion and kindness - and in her final years she
would meet the man who, in turn inspired her.

When Diana met Doctor Hasnat Khan (Naveen Andrews), she found someone who could see beyond the
exterior, to the vulnerable and complex woman underneath.

An incredible source of strength to her, it was during this relationship that Diana accomplished some of
her most rewarding and successful humanitarian work. As Diana fell in love with Dr Khan, she didn't just
feel like a Princess - but like the woman she truly was.

In a story that until now has remained untold, DIANA introduces a time in the Princess's life that was
uniquely important in shaping her final years, fulfilling her search for true happiness and sealing her

The film is directed by Oliver Hirschbiegel, and stars Naomi Watts and Naveen Andrews.

Diana will be released in cinemas nationally on October 10, 2013.

DIANA is a compelling portrait of Diana, Princess of Wales during the final two years of her life. The film
stars British-born Academy Award® nominated actress Naomi Watts (J. EDGAR, FAIR GAME, 21
GRAMS) who assumes the leading role of the eponymous and iconic princess. Naveen Andrews, best
known for his roles in THE ENGLISH PATIENT and the hit television series LOST, co-stars as Dr. Hasnat
Khan. Fellow Brits Douglas Hodge, Geraldine James, Charles Edwards and Juliet Stevenson round out
the supporting cast.

Masterfully directed by Oliver Hirschbiegel (Academy Award® nominated for DOWNFALL), the film is
based on a screenplay by the internationally acclaimed playwright Stephen Jeffreys (The Clink,
Libertine). The compelling love story charts how finding true personal happiness allowed Diana to
achieve her defining successes, as she evolved into a major international campaigner and humanitarian.

The film is produced by Robert Bernstein and Douglas Rae of Ecosse Films (NOWHERE BOY,
WUTHERING HEIGHTS, MRS BROWN). Matt Delargy and James Saynor (also of Ecosse) co-produce
alongside Paul Ritchie. Executive producers are Tim Haslam, Mark Woolley and Xavier Marchand.
Journalist and documentary filmmaker Kate Snell (Diana: Her Last Love) serves as associate producer.

The filmmakers have assembled an exceptionally talented and creative team to produce a truly
insightful and compassionate study of Diana's later years. Headed by Rainer Klaussman S.C.S,
(DOWNFALL, THE EXPERIMENT), the director's long-time collaborator and cinematographer, the team
includes: production designer Kave Quinn (TRAINSPOTTING), costume designer Julian Day (RUSH), hair
and make-up designer Noriko Watanabe (UNKNOWN, MEMOIRS OF A GEISHA), editor Hans Funck
(DOWNFALL) and composers David Holmes (HUNGER, OCEAN'S TRILOGY) and Keefus Ciancia (hit


The idea for DIANA was generated in-house at Ecosse Films several years ago. The story the
filmmakers wanted to tell was the love story between Diana and Dr. Hasnat Khan, a British Pakistani
heart surgeon. "It seemed to us that it was the key to understanding the last two years of her life," says
Bernstein. Although the producers knew they wanted to make the movie, they weren't confident they
could take it forward into development until the inquests had taken place into Diana's death. At the
inquest, Khan went on record confirming he had had a relationship with Diana. "He went into quite a bit
of dignified detail, which was extremely helpful to us in terms of deciding that that period in her life was
now history," explains Bernstein. "We decided now we could interpret that and make a film based on

From the outset, Bernstein wasn't interested in making a typical biopic about Diana. They set about to
make a film that focused on who Diana became in those last two years, rather than on the tragedy of
how she died. "If you're looking at a famous person's life you have to consolidate it into a specific time
period and through a key relationship, that is largely unknown, you can clarify the filmmaker's
interpretation of that person's life," he explains.

"Diana became herself in those two years and we're very lucky that that journey is tied up in a love
story," Bernstein adds. "Diana did a lot of good and was a pioneer in terms of bringing awareness to
landmine victims which is important to revisit. The way that she felt played a strong part in terms of her
ability to be more confident and become the woman she became at the end of her life. Hasnat was a
very key component towards that happening."

The producers approached Stephen Jeffreys, a prominent playwright and film writer to bring their story
to the screen. At the time they were already working with him on a film about Florence Nightingale.
"We wanted to work with Stephen because he's a fantastic writer of character and he's also a very
dexterous writer," Bernstein states.

The producers met with Jeffreys and presented him with a three-page story outline about Diana and
Khan. He went away and returned a few days later with pages of colored charts plotting the film's story.
"I remember poring over these charts with Ecosse and our researchers in the café at Waterstone's in
Piccadilly and thinking we had something special," he recalls.


Writing a script based on real people and events, and in particular, writing about one of the most famous
people in the world was something Jeffreys found challenging. "The crucial events of any such films are
the moments to which there were no witnesses, the private scenes, usually between two people where
no-one actually knows what happened. In these scenes I had to take off and fly using empathy and
imagination. This was the hardest part."

The filmmakers wanted to portray Diana's life as accurately as they could. Consequently the film is
heavily researched from archive and source materials and with consultants and people who had met
her. "Clearly there's some dramatic interpretation because we weren't always privy to what actually
happened behind closed doors, but in those scenes we try to go with what we felt the spirit of things
were," notes Bernstein.

In researching the screenplay, Jeffreys read an abundance of books and articles on related topics. Of
these, the most important was Diana: Her Last Love, by Kate Snell who became a consultant on the film.
The book, which Ecosse had optioned, deals directly with Diana's relationship with Khan and examines
the events with forensic skill. "Kate introduced us to certain people who were close to Diana and we
interviewed them which was extremely helpful," Bernstein recalls. "Certainly some of the insights in the
film come in part from her journalistic endeavors."

Jeffreys also read Sarah Bradford's Diana, "which gives by far the best account of the formation of
Diana's character," he says. Meeting Oonagh Shalney-Toffolo, one of Diana's healers, was also a great
privilege for the writer providing valuable insight into the spiritual aspects of Diana's character. "Finally
having lunch with David Puttnam in the House of Lords was very significant: he knew Diana well and told
me I caught her character accurately."


The next significant step for the producers was to find the film's director. "It's part of what we do, to cast
the director. It's a critical choice you make and we wanted to make the right choice," notes Bernstein.
Their search led them to Oliver Hirschbiegel, the Academy Award® nominated director of DOWNFALL,
a film they had watched several times. The producers recognized Hirschbiegel's ability to create drama
out of somebody globally famous. "He had already made one masterpiece about an icon, in this case an
evil icon, in the last days of his life. Diana is another icon and in her own way, she was stuck in her own

At the time the producers didn't think about whether Hirschbiegel was a British or non-British director.
"We just felt Oliver was the perfect director for this film," states Bernstein.

Hirschbiegel had heard of 'Princess Diana' but he wasn't at all familiar with the story they wanted to tell.
When he was first sent the script, he admits he didn't want to read it. "I wasn't interested in Princess
Diana but my agent told me that Stephen Jeffreys is a very fine writer so I read it. I was totally surprised
– ten pages in I was completely hooked and I got what I hadn't expected – a very exciting and touching
love story."

The script was basically written by the time the director came on board, but Hirschbiegel wanted to
increase the audience's awareness of the press and security surrounding her. "He was very astute about
the way a celebrity's life is constantly monitored and this, I think, increases Diana's sense of isolation and
emotional emptiness in the film," says Jeffreys.

Bernstein acknowledges having a German director made it interesting, as he didn't come with any
baggage or judgment. "I think that was of great benefit to us because we all had a collaborator who
was just going for the story and the subject matter, rather than worrying about the perception, the
history: all those sorts of things that we obviously have in the UK."

Hirschbiegel agrees that it helped him enormously in making the movie. "As a German, I'm not really
part of what's going on in this country and that helped me a great deal because I have a very clear
viewpoint. I felt I was able to make a film that's as authentic, honest and true as possible, without having
anything to fear."

In preparing for the film, Hirschbiegel did his own extensive research. He read the same books, studied
her videos over and over again and covered his walls with her photographs. "I met quite a lot of people
who were close to her but the most useful source was the photographs. It's the look, her posture, her
eyes, the way people look at her – they tell a million stories." Hirschbiegel also had access to a lot of the
personal letters Diana wrote and these became a precious source of information for him. "She wrote up
to six letters a day, describing the details of her situation: her thoughts and feelings. She was also a
phone maniac and she was very direct and would always express her emotions and how she felt."

The first thought Hirschbiegel had about Diana's character was that she was like an old-fashioned movie
star, in the vein of Marlene Dietrich. "She radiated a certain kind of energy that you only see in these
stars and, like all icons, she's wasn't perfect, but that's what makes them real and that's why people
adore them. The women of the world loved Diana."

The more Hirschbiegel researched Diana, the more he fell in love with her character. He describes her
as the most fascinating and complex character he has ever worked with. "She really was a game
changer. You marry into the Royal Family and there are two ways; you either play the game, which is
very isolating and not very fun for a woman, or you chose to be the rebel and sort of do it, but go against
it at the same time." That's exactly what Diana did and he admires her for it. "She was a rebel, so
insecure and afraid but at the same time she was a fighter and I loved that. Hasnat's grandmother
compares her to a lioness and that's exactly what she was."


The heart of the film is the rite of passage of Diana from a slightly depressed, lonely lady to somebody
who found fulfillment in her personal life, which extrapolated into her professional life. Within that story
is the love story between Diana and Khan.

"It's a beautiful love story," says Hirschbeigel. "It's important for people to know because there is
something very true, honest and real about their love. At the same time, it's like a fairy tale; the
common man from another culture falling in love with the most famous woman in the world. It teaches
us a lot, as any good story does."

In bringing her story to the screen, the director wanted to show as many sides of her character as
possible. He notes that like all icons, Diana had a very special existence, but that kind of existence can be
very isolating. Combined with a certain sense of paranoia, it made her life very difficult. "When we first
meet Diana at the start of the movie, her life has stalled. She's pretty isolated in Kensington Palace and
not yet divorced, so she's searching for a purpose," he says. To emphasize her loneliness he filmed many
private moments with Diana trapped in her apartment alone, doing everyday things which contrasts
greatly with her public life as a princess.

"When Diana meets Khan she understands the importance not just of giving love, for which she had an
extraordinary ability, but also of receiving it," explains Hirschbiegel. He follows their relationship to the
point where they realize that, although they are emotionally and spiritually attuned, their lives are not
compatible. "They had a very committed relationship but then ultimately there wasn't that final
commitment, and that's what we dramatize," notes Bernstein.

Hirschbiegel believes that Diana and Khan immediately recognized each other as soul mates. "They are
both what I call 'energy people.' They were both healers and were very perceptive of people's needs.
He's still a doctor and, although she never practiced it, I believe she had the same healing energy. All
the people I spoke to agreed that when she took someone's hand, she elevated that person."

The producers agree with this interpretation. "They both wanted to save people's lives and that's the key
component in our love story. Hasnat is a heart surgeon and is very dedicated to what he does and Diana
wanted to help people, so there was a raison d'être which drew them together."

"Who knows what would have happened if she were still alive today?" Bernstein asks. Hasnat said fairly
recently when he opened the hospital in Pakistan that Diana would've definitely been at his side as his
wife or married to somebody else. "This gives you the sense that from his point of view it wasn't
necessarily over, but he didn't have the opportunity to have a second chance and that is the tragedy of
this story," he says.


To portray Diana, the filmmakers looked no further than the British-born Australian actress Naomi
Watts, a two-time Academy Award® nominee for her leading roles in 21 GRAMS and THE IMPOSSIBLE.
"I don't know who else would have been right and who could have pulled it off," says the director.
"Naomi's an exquisite actress and is outstandingly good. She has the ability to be a chameleon. You know
it's her and at the same time it's definitely that character and in this case you're watching Diana. That's
an exceptional gift."

As an actress, Watts is better known for doing contemporary films. "This film is very near contemporary
so we need it to feel quite edgy and real. Naomi brings all of those qualities to the screen," says
Bernstein. "She's a very brave actress and her prior films have largely dealt with intense emotions. We
knew she had the real range of ability and courage to fulfill the role."

Additionally, it's important to the filmmakers that Watts is British. "Naomi was born in Britain and this
role is in her DNA. She remembers where she was the day Diana died and the impact it had on her and
the world. She just inhabits the role and her ability to capture Diana's voice is uncanny."

Deciding whether to take on such an iconic role was not easy for Watts. At the time they approached her,
she was in Australia filming ADORATION for director Anne Fontaine. "I struggled with the idea for some
time, obviously because she is the most famous woman of our time, and with that comes a lot of
pressure. Everyone feels they know her so I questioned whether I could ever claim her as being my own

The filmmakers continued to pursue her and she finally agreed to read the script. At the same time, she
began her own research and quickly discovered there was a lot about Diana she didn't know. This was
exciting for her. "I was definitely fascinated by the idea and I liked that this was a great love story. I
realized there was a lot I didn't know about her life, which was this relationship at the center of the

Very quickly, Watts became captivated by Diana's character. This was a role that encompassed
everything she looks for as an actress. "I like to play women who are complicated and full of
contradictions, and Diana was this and more. At times she was strong and rebellious: she could also be
happy, giggly, flirty, mischievous and incredibly wise. I'm interested in watching those kinds of women on
screen. I'm also drawn to these kinds of women in my friendships in life."

Taking on the role of Diana could not have been done without the right director providing her with a
safety net. Watts was already an admirer of DOWNFALL, which she describes as a masterpiece and a
brilliant piece of storytelling. "When I met with Oliver, I realized he had become completely obsessed
with Diana and entrenched in that world. We sat together and compared stories and I knew that taking
on this character was about trusting him and the screenplay completely." In Hirschbiegel's hands, she
believed the film would work. Several weeks later, she relocated to London to begin the process of
becoming Diana.


Watts immersed herself in research and training in preparation for her role. "I definitely prepared
more for this role than I have for any other character," admits Watts. During this time, Hirschbiegel
continued to send her endless little tidbits of information that he had come across, including the
perfume that Diana wore.

For Watts, the most important element in becoming Diana was the voice. "I had six weeks of hardcore
daily coaching with Penny Dyer (THE QUEEN, MY WEEK WITH MARILYN) before we started filming as
well as William Conacher (RAILWAY MAN, BILLY ELLIOT) coaching me on set. I just knew I had to get it
right," she says. "Diana's voice was something we all remember very well. She was aristocracy but it
wasn't that old-fashioned stiff upperlip. It was warm and modern and there was a breathiness to it,
which makes it sound more attractive. There was a lot to get right. Even my mother said to me, -Oh God. I
don't know if you'll be able to get that voice, Naomi!'"

The Panorama interview between Diana and Bashir was the greatest source of information that the
actress focused on. "I watched it over and over again and listened to the audio on a daily basis during the
weeks leading up to the shoot and during filming."

Watts used the interview to study Diana's voice, her mannerisms: the way she moved her face, her hair
and her eyes. She also used it to gain a deeper insight into her character and the more she listened, the
more she grew to admire her and understand why spoke out.

"I think her answers in that interview were brilliant. I know people have mixed feelings, but I think I
would have wanted to do the same thing, and I don't know if I could have been that courageous. Here
was a woman who went into that life at 19 with absolutely no preparation. I loved that she fought for
her happiness against all odds and I take my hat off to her."

Once pre-production commenced, Watts worked closely with Noriko Watanabe (MEMOIRS OF A
GEISHA, PORTRAIT OF A LADY) who designed her hair and make-up. Together with Hirschbiegel, they
pored over hundreds of photos of Diana taken between 1996 and 1997. The filmmakers agree that
although it was important to have a look that audiences would buy into, they didn't want Watts to
become a caricature. "Naomi is not a lookalike for Diana and that's not what we wanted," explains
Bernstein. "It's our interpretation and obviously the look is part of that interpretation."

Diana's hairstyles were some of the most photographed and documented in the world, and they defined
the different stages of her life. For Watts, her transformation began with the wig. "We have four wigs
because there were different lengths and colors between 1995 and 1997. This was quite tough during
filming as there were often four changes in a day," she says.

The next defining characteristic was Diana's nose. "Our noses are completely different so I wanted
something to make mine stronger without it being too distracting," she states. They tried several
different options, before deciding on one small prosthetic on the bridge of her nose.

Although the wigs and the nose were added, the director claims it was all in the eyes. This involved a
great deal of mascara and for the Bashir interview extra heavy eyeliner. Watts also shaved her
eyebrows to be more like Diana's. "The make-up was actually very simple, but there was always
something incredible about her eyes. They could change from being very shy and vulnerable to a
powerful eye contact that was almost confronting. Because of her eyes, the story could often be told just
with one look," she explains.

In addition to taking on some of the physical attributes, Watts had to train her face to move in the
opposite direction. "My face tends to go to the right but Diana's goes to the left and that's the side I had to
learn to use. It was actually quite difficult to train my face to work in the opposite way."

The costumes also played an important part in transforming the actress. Diana's wardrobe had been
documented as much as her hair and it's a big part of what people are familiar with.

Costume designer Julian Day (RUSH, NOWHERE BOY) focused on blocks of simple color in navy, black,
beige and cream. "In the last few years of her life, Diana became very simple in her style, very elegant
and classic. She wore a lot of shift dresses and didn't wear a lot of pattern," he says. "I chatted to Naomi
about what suited her and we talked about her look. It was important to marry the two together – what
suited her and what suited Diana. It's the idea of her style and elegance more than anything else."

Day approached various designers about reproducing some of the looks for the movie. Versace, one of
Diana's favorite designers, reproduced the exact blue gown that Diana wore to the Victor Chang event in
Sydney, Australia. Jacques Azagury, also one of Diana's favorite designers, lent them two of the dresses
that Diana actually wore. "Proportionally, they fit Naomi perfectly and we only had to alter it slightly,"
he notes.

Not all of her costumes are exact recreations of Diana's clothes. "What we have done is reproduce her
style rather than copy every item. Some people may like that and some may not but we are not making
a documentary. There are a lot of occasions when people don't know what she wore, so I took it as a
whole design, rather than reproducing individual pieces."

For the film's iconic scenes, the filmmakers felt the costumes had to match exactly because these
images have been seen so many times before. These include the Bashir interview, the Victor Chang
charity event and Diana's landmines crusade. "Because these scenes are so famous it was important
that the audience wasn't taken out of them," Day explains.


Naveen Andrews, who is originally from the north of India, was the filmmakers' first and only choice to
portray Khan. "Having seen his performances in THE ENGLISH PATIENT and the television series LOST,
we realized he had a great range," says Bernstein. "There's definitely a sympathy about how he goes
about his work."

Hirschbiegel adds that he was the first man he thought about when reading the script. "I thought back to
Minghella's THE ENGLISH PATIENT. Back then, I loved the love story between Naveen and Juliette
Binoche and it touched me more than the other stories. I thought to myself, 'I need that guy.' We were
lucky he was available."

Of all the characters in the film, Jeffreys notes that Khan was the most difficult to write. "He's very
resistant to publicity. I admire him enormously and my fervent hope is that he will appreciate being
restored to his rightful place in the Diana story," he says. The producers agree that portraying somebody
who is still alive, who is very private, is very tricky, but in the end, Andrews accomplished it perfectly. "I
think Naveen captured the essence of Hasnat entirely, with great charm, sensitivity and joie de vivre."
Andrews received the script from his agents and responded to the project immediately. "I wanted to do
a love story, something very pure, something close to David Lean's BRIEF ENCOUNTER. When I met
Oliver he seemed to have a grasp of the spiritual side of Diana-an awareness that suffuses his vision of
the love story and the piece as a whole."

Andrews was grateful to able to connect with people who know or knew the heart surgeon and were
happy to talk to him. Through them, he was able to get a feel for the kind of human being he was during
the time the movie was set. The few pieces of footage that existed, particularly an interview from years
later, were also very helpful to him. "Above all, I learned that Hasnat is utterly dedicated to his vocation
as a heart surgeon. He's also very masculine and seemingly free of the neurosis that afflicts most
modern men."

It had always been the filmmakers' intention to treat Khan with sensitivity and respect in bringing his
character to the screen. "It's a big deal to be creating a film that features him," acknowledges
Bernstein. Andrews shared this viewpoint. "Given that a lot of the cast are playing real people, we feel a
tremendous sense of responsibility towards them. I would like to think that this is a story they would
have wanted to be told."

Although the filmmakers know that Khan is aware of the movie, they acknowledge that they haven't had
a chance to meet with him. Hirschbiegel admits he would have found this very difficult. "I realize now
how tragic it must have been for him. Anybody who has ever been truly in love must know how it feels to
lose a loved one like that, and it's a very sad and painful thought. I know he is out there and will
probably see the film eventually, so I hope I did everything right."

Surrounding Watts and Andrews in DIANA is an ensemble of highly accomplished and talented British
actors. Douglas Hodge (Paul Burrell), Geraldine James (Oonagh Toffolo), Charles Edwards (Patrick
Jephson) and Juliet Stevenson (Sonia) assume these critical roles. In casting these actors, the
filmmakers were able to meet with some of the real people they were portraying which helped them
enormously, although the director stresses he didn't want to go for lookalikes.

"For Jephson, for example, I was looking for the right posture and vibe. The actual Jephson is more
heavy set." Charles Edwards, who was most recently seen on the award-winning series DOWNTON
ABBEY, agrees that he doesn't bear any physical resemblance to him. "It's the suggestions of him rather
than a slavish recreation," he says. Edwards responded to the film because it's a love story. "The other
thing I liked about it was that Charles and the Queen don't appear. It's the people you perhaps know
less about, other than her of course, that makes it a story worth telling."

When searching for the right actor to play Paul Burrell, although Hirschbiegel had uncovered some
negative press about him, he decided he wanted to cast someone likeable. "You have to remember that
Paul was, at the time, very important to Diana. He loved her and he must have been devastated when
she died."

Douglas Hodge, the Tony®-winning star of La Cage aux Folles was extremely cautious when he first
heard there was a film about Diana. "When I thought of Paul Burrell, I was even more cautious. But
then I heard that Oliver was directing, so I knew there would be a different take on it."

Once he began his research, Hodge was surprised how much had been written about Burrell and how
much he had generated himself. He discovered countless books, hundreds of hours of footage, videos,
interviews and even a reality television show. "I did watch it all but I'm not so interested in doing an exact
impersonation. I think what I am interested in is his devotion to her, his attention to detail, those kinds of

Although Geraldine James (GIRL WITH THE DRAGON TATTOO, SHERLOCK HOLMES) doesn't look at all
like Oonagh Toffolo, the director felt she hit the right note. He met Oonagh on several occasions and he
believes she will be happy with the casting. "Geraldine captured her warmth and spirituality perfectly,"
he says.

Not all of the characters are portraying real people. The Sonia character that Juliet Stevenson (TRULY,
MADLY, DEEPLY, BEND IT LIKE BECKHAM) plays isn't based on any one particular person. "It's actually
loosely based on various friends Diana had around her in those years, including her healer, spiritual
advisor and therapist. She's s a fusion of all of them," Bernstein explains.


NAOMI WATTS (Diana) was honored with an Academy Award® nomination in 2013 for Best Actress for
her performance in Juan Antonio Bayona's THE IMPOSSIBLE. She also earned Best Actress nominations
for a Golden Globe® Award, a SAG Award®, a Critics' Choice Award and received the Desert Palm
Achievement Actress Award at the Palm Springs International Film Festival.

Watts also earned an Academy Award® nomination for Best Actress for her role in Alejandro Gonzales
Inarritu's 21 GRAMS. The film also garnered Best Actress Awards from the Los Angeles Film Critics
Association, Southeastern Film Critics Association, Washington Area Film Critics and San Diego Film
Critics, as well as Best Actress nominations from the SAG Awards®, BAFTAs®, Broadcast Film Critics
and Golden Satellites. At the film's premiere at the 2003 Venice International Film Festival, she received
the Audience Award (Lion of the Public) for Best Actress.

Next up for Watts is the gritty drama SUNLIGHT JR., opposite Matt Dillon, which premiered at the
Tribeca Film Festival and the highly anticipated ADORATION, from director Ann Fontaine, which
premiered at The Sundance Film Festival earlier this year. Other recent film credits include Clint
Eastwood's critically acclaimed J. EDGAR, Jim Sheridan's DREAMHOUSE, Doug Liman's FAIRGAME,
which she received an Independent Spirit Award nomination for Best Supporting Actress and Tom

Watts has had an impressive list of movies since her acclaimed turn in David Lynch's MULHOLLAND
DRIVE. Her credits include Peter Jackson's epic remake of KING KONG, WE DON'T LIVE HERE
ANYMORE which she starred in and produced, THE ASSASSINATION OF RICHARD NIXON, David O.
Russell's I (HEART) HUCKABEES, Marc Forster's STAY, Gore Verbinski's THE RING and its sequel, THE
RING 2, Merchant Ivory's LE DIVORCE; John Curran's THE PAINTED VEIL, David Cronenberg's
drama/thriller EASTERN PROMISES and Michael Haneke's thriller FUNNY GAMES. Born in England,
Watts moved to Australia at the age of 14 and began studying acting. Her first major film role came in
John Duigan's FLIRTING.

Among her many awards and recognitions, Watts received the Montecito Award from the Santa Barbara
Film Festival in 2006 for her role in KING KONG, was honored by the Palm Springs Film Festival in 2003
for 21 GRAMS, and in 2002, was named the Female Star of Tomorrow at ShoWest and received the
Breakthrough Acting Award at the Hollywood Film Festival, both for her work in MULHOLLAND DRIVE.
She was most recently honored for her entire body of work at the 2011 Deauville Film Festival.

NAVEEN ANDREWS (Hasnat Kahn) is known for his role in JJ Abram's award winning hit series LOST. His
performance earned him the Best Supporting Actor nominations at the 2005 Emmy Awards and the
2006 Golden Globes Awards. His other television credits include THE BUDDHA OF SUBURBIA directed by
Roger Michell for the BBC.

His most recent film credits include Joel Silver's THE BRAVE ONE with Jodie Foster directed by Neil
Jordan and GRINDHOUSE for director Robert Rodriguez. In 1996, he starred in the critically acclaimed
film, THE ENGLISH PATIENT, with Ralph Fiennes, Kristin Scott Thomas and Juliette Binoche, for
writer/director Anthony Minghella. He began his career in London, where he studied at the Guildhall
School of Music and Drama, and currently resides in Los Angeles.

Diana will be released in cinemas nationally on October 10, 2013.

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