Format: DV-CAM Running time: 44 mins Aspect ratio: 16/9 Edited on Adobe Premiere Visual Effects After Effects/3ds Max Music composed on Pro tools

STORY:

In occupied France, near the end of the second world war, Captain Jack Wilson (Ben Pavord) has been ordered to take his team of four British soldiers including his younger brother Pete (Jon Napier) to destroy a hidden fuel dump.
Before they can get there they make a startling discovery, an orphaned new born baby on a nearby farm. Now, Jack will ignore his orders to save the baby and mend old wounds and all whilst remembering the most important order of all - given to him by his brothers' wife...'Bring him home.'

PRODUCTION:

KATIE'S MISSION began life four years ago, but at the time it was an over-ambitious production: how could all the elements needed to create a convincing period film, including costumes, weapons and locations, not to mention actors capable of breathing life into the characters, be brought together in a cost-effective way. Hanover contacted the organisers of a large-scale World War II re-enactment battle, and access to period locations, weapons and costumes was suddenly a reality. Katie's Mission was a go.

Of course there was still much work to be done: six months of extensive pre-production followed, during which further location scouting took place, and authentic props, including radios and genuine WWII uniforms, were tracked down. This was followed by two months of rehearsal leading up to the five-day shoot in early July 2003.

One day of the shoot was dedicated to location work at the Severn Valley Railway in Kidderminster, which once a year takes visitors back in time with a '40s weekend. The circuit of stations is decorated with propaganda posters and advertising from the era, and staff dress in appropriate costume, thereby vividly recreating the war years.

Shooting took place in Portbury and Portishead, near Bristol, and caused headaches for the crew: "Filming a period movie in 2003 was hell for our shots," says assistant director Bex Woodward. "By the time you cut out houses and modern-day telegraph poles in the background you're not left with much to shoot with!"

For a key battle scene late in the film, re-enactment groups from across the country were contacted and gladly lent their time for the shoot; German troops were supplied by Kompanie 1, while the Allies were represented by the Allied and Axis Re-enactment Society. Regular special effects technician Mark Turner of MTFX was called in to handle bullet hits, explosions, wounds and fatal shootings, all of which adds realism to the final assault on a German bunker.

Paul Dudbridge, writer and director of the film, comments: "What interested me about telling this story was that the dilemma faced isn't about right and wrong, but right and right. The Captain who decides to disobey his orders is right to save the baby, but as his second in command points out, their real mission would save hundreds. Both men are right in their own way, so the story isn't just about battling the enemy but each other."

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