Electronic Press Kit

Transcription

Electronic Press Kit
SYNOPSIS
THE VILLAGE BARBERSHOP
SYNOPSIS
TRT: 99 MIN./LANGUAGE: ENGLISH/GENRE: DRAMEDY
Art Leroldi is terminal. Terminally irritable that is. A small time Reno barber stuck in
a rut of haircuts, hot dogs and horse books, he lives everyday like a warmed-over
version of the last. Hit with the unexpected death of his long time partner and last
apparent friend, he’s faced with losing the only thing in life he’s got left – his “man’s
man” barbershop. To keep it, he’ll be forced to hire the last person on earth he’d
ever want working there – a woman. More specifically, Gloria MacIntyre, a spitfire
young girl who suddenly finds herself unable to take Art’s no for an answer. This is
the humorous, sweet story of a fading old man who’s lost his way and a determined
young woman looking to find hers. Two unlikely people offered a second chance in
one unlikely place – The Village Barbershop.
C O N TA C T
C H R I S F O R D | 2 9 A M I C I TA AV E N U E | M I L L VA L L E Y
thevillagebarbershop.com
CA
94941 | 415 317 1439
DIRECTOR’S STATEMENT
DIRECTOR’S STATEMENT
This film should still be in my desk drawer right now, a script shoved underneath a bunch of man
junk and a Zip-lock™ bag full of dark chocolate I keep hidden from my wife.
But it’s not. It’s a film.
So how did that happen? What defining feature of my personality allowed it to get out? To escape
the drawer?
Umm…
I was naive.
Yep. Naïve. Completely clueless. Utterly unaware. A dope.
Seriously. It’s funny. You read all these “how to” books about making your first film, books that want
to fill you up and tell you everything, but nowhere in any of them does anyone mention the substantial benefits of not knowing anything. And for me, it was the not knowing of filmmaking that made the
not possible, possible.
So where did this journey of blissful ignorance start? Specifically, in the summer of 2004. At the time
I was a copywriter for a San Francisco advertising agency and we were shooting some commercials
with a guy by the name of Ed Burns. Ed, or Eddy as everyone seems to refer to him, makes independent films, knows everyone at Peter Lugar’s Steak House in Brooklyn, and is married to a supermodel. In other words, for an ad guy, or anyone else for that matter, shooting commercials with Ed
Burns is pretty cool.
Now commercial shoots aren’t like independent film shoots. Instead of looking to shoot five, six, and
seven pages a day, commercial guys are looking to shoot one. And usually it’s a short one. And on
top of that, the money spent on a single thirty second commercial could often times fund a single,
ninety minute feature film. Long story short, there was plenty of money, and plenty of money means
lots of time, and lots of time means lots of sitting around. Sitting around in casting. Sitting around
on the set. Sitting around at restaurants and park benches and hotel lobbies. And when you sit, you
talk, and when you talk, you talk about your wife and your kids and maybe after a few drinks you
even talk about a script you have in your desk drawer shoved underneath a bunch of man junk and a
Zip-lock™ bag full of dark chocolate you keep hidden from your wife.
“What’s it about?” someone asks.
“This fading old barber,” I answer back.
“What happens?” someone else says.
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“His partner dies and he has to hire this crazy young woman to help him save his man’s man
barbershop.”
Lots of polite chit chat. More drinks.
Not right for the studios. Not a script anyone would ever buy. Lots of me feeling stupid for bringing
up movies to real movie guys and saying stupid shit.
And then somebody, specifically Ed’s producer, Aaron, tosses off something like, “Why don’t you just
shoot it yourself?”
Now personally, I don’t know what the fuck Lubin was thinking. The guy doesn’t really drink and he’s
super grounded and seems to have everything under control, so as much as I wanted to, I couldn’t
toss of the comment as completely crazy. I had to actually think about it and consider it and mull it
just long enough for it to get under my skin.
And it stuck. It stuck hard.
It had occurred to me to write the script. It had occurred to me to put it down to try and write
something that was more “sellable.” But it had certainly never occurred to me to, “Just go out
and shoot it myself.”
But once Lubin said it, I knew that’s what I had to do.
And luckily, I had no idea how to do it, where I would start, how long it would take, or how hard it
would be. Because, luckily, I possessed the single most important personality trait a first time
filmmaker can have.
I was naïve.
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FILMMAKER BIOS
CHRIS FORD
writer/director/producer
There are very few things you need to know about me from a biographical standpoint.
I was born in California, but grew up Reno. My mom was a nurse and my father was in
law enforcement.
I graduated from Hunter Lake Elementary School, Swope Middle School, Reno High
School and the University of Nevada, Reno, in that order.
I am a group creative director at the advertising agency of Goodby, Silverstein & Partners in San Francisco. My last name is neither Goodby nor Silverstein nor am I a partner.
If given three hours to myself I would choose a movie over anything else, with the
possible exception of watching the Raiders play one of the few teams in the NFL they
could possibly beat.
I began writing The Village Barbershop in 1998 in response to overhearing a co-worker
much older than me say, “Some day I’m going to write a script.”
I decided to figure out how to make The Village Barbershop while shooting some
commercials with Ed Burns and his producing partner Aaron Lubin who casually, over a
Starbuck’s ice coffee, insisted it wasn’t that hard for a first time director to make his
first feature film. (For more details on that please view my director’s statement.)
Principal photography for said barbershop movie began seven days after Laddie
Richardson Construction cut the back half of my home off to begin what would end up
being a nine month remodel. This home, sans rear wall, is where my wife, Leslie, and
our two children, Cole and Cameran, lived while I spent our summer vacation from said
advertising agency going over-budget on said “not that hard to make” first feature film.
My favorite color is blue. I like Peet’s coffee. I have 67 pairs of tennis shoes. I’m 39 years
old. I can’t dunk. I’m right handed. I like pranks. I’m bad at sports with the exceptions of
golf and snow boarding. I’ve probably mispelled a word somewhere in this bio. And after
the whole home remodel/indie film summer vacation, I’m, unbelievably, still married.
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JASON NEWMARK
co-producer
In June of 2004 Jason Newmark received a call from Chris Ford. Chris said he thought
they should make the movie about the barbershop because some jokers from New
York he just shot some commercials with said it wouldn’t be that hard. Chris said
Jason should help him produce it.
At the time Jason wasn’t a producer. Jason was an editor. Nonetheless, he said yes.
And though he worked hard raising money and hard during preproduction and hard
during the shoot, it was that that simple, effortless “yes” he uttered that really had the
biggest impact on the film. Because what you need more than anything when you’re
making your first movie, even more than money, is another guy willing to saddle up
and ride into Commanche country with you.
Technically speaking, Jason has been involved in film and television for over ten years.
He got his start in community television in Reno, Nevada, in the early 90’s directing live
& taped shows, editing, as well as running studio and field cameras.
He then moved onto Boston where he was a production assistant on two feature films
- The Proposition and the indie hit Next Stop Wonderland - and later moved onto Los
Angeles where he worked as a production assistant on the ironically shot mostly in LA
film Waking Up in Reno with Billy Bob Thornton and Charlize Theron, and then as the
2nd 2nd Assistant Director on The Deep End with Tilda Swinton which filmed in
Lake Tahoe.
In-between his work on these films, Jason pursued his true love – editing. So when he
isn’t busy producing for The Village Barbershop, that’s what he does. He lives Reno
with his conservation biologist wife Jen and their two boys Zach and Zander.
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CLIFF TRAIMAN
director of photography
Cliff Traiman has been involved with The Village Barbershop since October 2006 when
he and his crackerjack team traveled to Reno to shoot the investor trailer. What you
won’t learn from his bio is the guy is as fast as he is fearless – not only will he put his
camera anywhere, he’ll move it six ways to Sunday while lighting on the fly in order to
get a director some ass-saving coverage, even with the AD yelling move on.
Beyond The Village Barbershop, Cliff works as a Director of Photography on comercial,
industrial and narrative productions and has shot several feature length films including
Broken Arrows (2005), Apartment 202 (2004), and Kung Phooey (2003), as well as the
2004 season of the nationally syndicated TV show, Ultimate Living.
Before becoming a professional cinematographer, Cliff was the Chief Lighting Tech on
Groove (2001) and Speakeasy (Project Greenlight 2 — 2002). He has been part of the
lighting and grip crew on films such as The Matrix II & III, The Game, What Dreams May
Come, Sphere, The Rainmaker, Ed TV, The Wedding Planner, and True Crimes.
He lives in Northern California and is a partner in the world famous Little Giant Lighting
& Grip Company.
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IAN MONTGOMERY
editor
Ian Montgomery cut The Village Barbershop. He cut it at his kitchen table. He cut it
at work. And he cut it in a small closet an unscrupulous real estate agent might refer
to as a home-office. He also cut it on Saturday and he cut it on Sunday, he cut it at
Barbary Post and he cut it in hotel rooms at night while Chris was in LA shooting
some commercials.
He is also Australian. Which is worth mentioning only because, like most Australians,
Ian seems to always have a proper perspective on life, which is quite good for
brooding directors who tend to worry too much about stupid shit.
Technically speaking, Ian has a Masters Degree in Film from the Australian Film School
– one of the world’s most highly regarded film schools. He has edited over 20 short
films, with screenings at such festivals as Sundance, Cannes, Venice, Palm Springs,
New York, Sydney, Melbourne and San Francisco.
He currently pays the bills and keeps a roof over his families head by cutting
commercially for clients such as EA Games, Sega, Comcast, Nationwide, Adobe,
and specs for Nike and Coke.
He lives in SF with his wife Steph and their two dogs.
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MICHAEL TREMANTE
composer
Michael Tremante began his film-scoring career working with Academy Award winning
composer Howard Shore. Michael’s credits with Mr. Shore include Associate Music Producer on Peter Jackson’s The Lord of The Rings: The Fellowship of The Ring
(2001), which won the Academy Award for Best Original Score and won a Grammy for
Best Score Soundtrack Album.
During his three-year tenure with Mr. Shore, Michael also worked as Music CoProducer on David Fincher’s Panic Room (2002) and David Cronenberg’s Spider (2002)
and assisted on Frank Oz’s The Score (2001) Tarsem’s The Cell (2000), James Gray’s
The Yards (2000) and Arnaud Depleschin’s Esther Kahn (2000). As a producer, Michael
has had the opportunity to record with orchestras around the world, including The
London Philharmonic Orchestra, The New Zealand Symphony Orchestra as well as top
session orchestras in Paris, New York and Los Angeles.
Since 2003 Michael has focused primarily on his work as a composer. His most recent
scores include Maxim Kovalsky’s Mere Formality (2003), Andre Sala’s Madison Rye
(2003), Angelo Guglielmo’s The Heart of Steel (2003), Carl T. Evans’ Walking On The
Sky (2004), Dan Elortigue’s Billy and The Kid (2004) and Dave Gebroe’s Zombie
Honeymoon (2004) which had it’s world premiere at the Hampton’s International
Film Festival in October 2004 and was featured in competition at the Slamdance
Film Festival in January 2005.
Michael’s current scoring projects include Joseph Singer’s What Profit A Man (2005)
and Derek Sieg’s Hard Attack (2005).
Michael’s educational background includes a bachelor’s degree in computer science
from Union College and a master’s degree in music performance from the Aaron
Copland School of Music at Queens College.
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NATALIE SANFILIPPO
production designer
Natalie grew up in Wisconsin. No, she never wore a cheese hat, unless that was the
extent of her attire.
After graduating from the University of Wisconsin, the former Badger decided to
broaden her horizons by wasting several months traveling around Europe.
Soon after exhausting her funds and half the male population of Portugal, Natalie
returned to the United States, where a chance meeting with Francis Ford Coppola
fueled her fledgling design career and led to a feature on the cover of the New York
Times Sunday Travel Section.
Soon after, Natalie moved to Southern California where she began work as a production designer on several independent features including The Still Life, Expired, Fool Me
Once, A Beautiful Life, and, of course, The Village Barbershop. In between features,
Natalie works on commercials and short films. She continues to travel internationally
as much as possible, especially Portugal.
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JIHYUN KIM
ccostume design/make-up
The Village Barbershop had close to 50 speaking parts. That’s 50 people who needed
to be brought to life, dressed, styled, and made up. And you know what? Ji always
got it right. Always. Each and every character she created make-up and wardrobe for
was spot on. From Art’s uniform of life, to Gloria’s funky, thrift-store sheik and Jacobi’s
70’s slim fitting suits, every character was better than the last. For a first time director
shooting six, seven and eight pages a day, it was an amazing gift I will never forget.
In a past life, Jihyun studied Computer Science at the University of British Columbia.
Today, she looks for projects with tight scripts and opportunities to develop character
roles. She relishes the research involved in breathing life into these two-dimensional
characters. “They become real people to me with their own unique past, present, and
future. Breaking down a script and developing characters is something I get great joy
out of doing. It’s my job to bring someone else’s vision to life and I pour my heart and
soul into doing so.”
Commercially, she has developed alliances with progressive advertising agencies such
as Goodby, Silverstein & Partners, Wieden & Kennedy and Cole & Weber United.
Jihyun was born in Seoul, Korea and raised in Vancouver, Canada. She currently
resides in San Francisco, CA, with her snowboard and beloved shoe collection.
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CAST BIOS
JOHN RATZENBERGER
art
An accomplished author, screenwriter, director, producer and multi-Emmy nominated
actor, along with well-earned credentials as an entrepreneur and humanitarian, John
Ratzenberger is known to international audiences as the host and producer of the hit
Travel Channel show, John Ratzenberger’s Made in America; the know-it-all postman
Cliff Clavin on Cheers; and as the only actor to voice a character in every film from the
Oscar-winning Pixar animation team. John’s website, www.ratzenberger.com, is poised to become a key source of business
advice and resources for entrepreneurs and industry veterans, as well as the leading
destination for business listings and shopping links to products that are made right
here in America.
John’s new non-profit organization, Nuts, Bolts, and Thingamajigs Foundation (nutsandboltsfoundation.org), is charged with reviving the manual arts and promoting
industry to children across America. John is an advocate of American invention and
ingenuity, which he discusses in his recent book, We’ve Got it Made In America: A
Common Man’s Salute to an Uncommon Country.
As National Walk Chairman for the Juvenile Diabetes Foundation, John has helped
raise over $100 million. John has earned the “Father of the Year” award from the
Father’s Day Council of America and received the Outstanding Role Model award
from the American Diabetes Association. Among other charitable endeavors, he was
the first and only person to row a boat nonstop for more than 16 hours and 45 miles
around Vashon Island in Washington State, raising funds and awareness for the
Special Olympics.
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SHELLY COLE
gloria
Shelly Cole spent her youth vagabonding around the country with stops in Oklahoma,
Florida, a lot of Texas, Seattle, Minneapolis, Alaska, and, ultimately, Los Angeles.
There, she landed her first acting role with the three year recurring part of Madeline
Lynn on the WB’s hit show The Gilmore Girls.
Shelly made her film debut as a lead in the feature film Prey for Rock-n-Roll, opposite
Gina Gershon and Drea De Matteo. Her performance as Sally, an edgy aggressive yet
youthful innocent that cleanses her soul by playing drums, garnered her accolades at
the Sundance Film Festival. Her performance was compared to “Shirley Temple meets
Keith Moon.” With the instruction of Malcolm Cross and hours of determination, Shelly
learned to play the drums in only four weeks for the role. Next, she starred along side
John Malkovich and Angelica Huston in Terry Zwigoff’s Art School Confidential.
Recent television credits include guest starring roles on shows such as Criminal Minds,
NCIS, E.R., Joan of Arcadia, Without A Trace, Cold Case, and CSI.
Shelly currently resides in Los Angeles, has a keen love for expensive champagne, and
loves all things super-hero.
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CINDY PICKETT
josie
A native of Oklahoma, Cindy started her acting career at the age of six playing a flower
girl in a high school production of Our Town directed by her father, Cecil Pickett. Her
family re-located to Houston, Texas when Cindy was 9, where her dad became a
legendary acting teacher, director, and coach to the stars. Cindy graduated as a
theatre major from the University of Houston, and worked in several productions at
the Houston Shakespeare Festival, as well as in repertory at Casa Manana Theatre.
After getting her Equity card, Cindy left Texas for New York City. She was there only a
month before landing a lead role in the Broadway musical Sunset directed by James
Coco, and a leading role on the soap opera Guiding Light. Within a year she met
legendary French film director Roger Vadim who made her into an international star
with his thriller Night Games.
Cindy moved to Los Angeles in the 1980’s to continue pursuing film and television.
She is probably best known for her role as Matthew Broderick’s mother in the feature
film Ferris Bueller’s Day Off. She was also a regular in the long running NBC series St.
Elsewhere, and the critically acclaimed series Call to Glory where she starred opposite
Craig T. Nelson and Elizabeth Shue. She has also co-starred opposite Carla Gugina in
the feature film Son in Law, starred with Kris Kristofferson in the political mini-series
Amerika, and starred the highly acclaimed mini-series I Know My First Name is Steven.
More recently, Cindy has completed co-starring in the feature film Sex and Death 101,
as well as co-starring in the Lifetime movie McBride, opposite John Larroquette. Her
recent television work has included guest starring roles on the NBC one-hour series
Medium, directed by David Arquette, and the CBS shows Cold Case, Ghost Whisperer,
and Without a Trace.
Cindy lives in Pacific Palisades with her two children where she enjoys tending to her
organic vegetable garden and watching her children grow.
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AMOS GLICK
jacobi
Amos first got interested in acting at The Cambridge School of Weston, an arty,
bohemian High School in Massachusetts. Later, at Earlham College, he studied
acting and improvisation with Len Mozzi. After moving to The Bay Area in 1990,
Amos began to volunteer and study with the Tony Award-winning San Francisco
Mime Troupe and got involved with the local improv scene through taking classes
with Jim Cranna (The Committee, National Theatre of The Deranged.)
After a brief stint in LA taking classes with The Groundlings and ACME Theatre, Amos
returned to San Francisco and became a collective member of the Mime Troupe. He
has appeared in 15 productions with the Troupe, performing all over the U.S. including
The Kennedy Center.
Other acting credits include roles with The Alternative Theatre Ensemble, SF Shakespeare Festival, Marin Shakespeare Company, The Tenderloin Opera Company and
The New Pickle Circus.
He can be seen in the films Opal and Around the Fire, with Devon Sawa, Tara Reed,
Eric Mabius, Stephen Tobolowsky and Bill Smitrovich, and on the television program
Nash Bridges, with Don Johnson and Cheech Marin.
Currently he can be seen as a clown in Le Rêve, a water/circus spectacle created by
Franco Dragone at the Wynn Casino in Las Vegas.
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GEORGE McRAE
george
George McRae studied theater and received a Bachelors of Fine Arts in Acting from
Emerson college, Boston in 1976.
Despite his degree, he went onto work in the photographic industry for almost 20
years as a printer, chemist, and architectural photographer for Gensler International,
one of the largest architectural and interior planning firms on the planet.
In the mid 1990’s George finally returned to his first love: acting. Since then he has
worked as a voice artist for companies like Sega, Nintendo, Broderbund and Mattel.
He is also continuously working as an improvisational artist, creating original characters for Murder Mystery theater companies across the San Francisco Bay area. He is
a regular on the stage as well, currently in a production of Chekhov farces at
PlayhouseWest, in Walnut Creek, CA.
In particular what attracted George to The Village Barbershop was the truth of the story
in relation to his own life. George’s grandfather was a Sicilian immigrant barber in
Cambridge, Mass., in the 1920’s. He owned the Harvard Barbershop which was
immediately adjacent to a shoe repair shop. Both his uncles became barbers keeping
the trade going until the 1980’s and this film was an opportunity for George to explore
his past and come to terms with many different facets of it.
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JOSHUA HUTCHINSON
rickert
In addition to playing Gloria’s no account trucker boyfriend, Rickert, Joshua can be
seen as a lead in the feature film The Full Picture, which he shot last year, along with
the film Mr. Gibb, shot in New York, with Tim Daly and Hayden Panettiere, produced
by Kevin Spacey and Trigger Street Independent; and costarring in the soon to be
released, My Bad Dad.
Some of his other films include, Die Mommie Die, staring Charles Busch (Sundance),
Attraction, opposite Gretchen Mol, Love Bites (Sundance), the lead in An Evening at H
(which won a Best Film award at the Barcelona International Film Festival), The
Rapture, and Little.
His TV credits include Angel, Charmed, and Roswell. He recently played to sold out
audience’s in the one-man show, The Santaland Diaries, written by David Sedaris.
Some regional theater credits include: South Coast Rep (The Triumph of Love), Laguna
Playhouse (American Buffalo), Arizona Theater Company (The Last Night of Ballyhoo),
Santa Fe Shakespeare (A Midsummer Nights Dream, Measure for Measure), Marin
Theater Company (Picnic), and International City Theater, where he received a Best
Ensemble award from Back Stage West for his role as Treat in Orphans.
Josh also works with the Rude Mechanicals Theater Company based in New York City.
He received an MFA from American Conservatory Theater in San Francisco and
currently resides in Los Angeles.
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DARON JENNINGS
colin
Daron Jennings appeared most recently as Mark Foster in the feature-length film The
Full Picture. In addition to his on-camera roles, including numerous commercials,
Daron performs frequently as a commercial actor and in theatrical productions. Daron
grew up in St. Louis, Missouri and received his BFA in Performance from Missouri
State University. He resides in San Francisco.
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FULL CREDITS
FULL CAST
Art
Gloria
Josie
George
Jacobi
Colin
Rickert
Gladys
Sprow
Kimmel
Rochelle
Emma
Jim
Wilson
Lanie
Chinese Father
Chinese Daughter
Teller No. 1
Teller No. 2
Mr. Quan
Mrs. Quan
Motorcycle Cop
Jail Clerk
Planned Parenthood Doctor
Stan
Naked Haircut Guy
Cross-dresser Applicant
Mullet Applicant
Warhol Wannabe
Hair Keeper Applicant
Ed
Johnny
Tony
College Kid
$5 Tipper
Waiting for Art #1
Waiting for Art #2
Richie
Deb
Amy
Wendy
Jenny
Dolly
Cal Neva Security Guard
C O N TA C T
John Ratzenberger
Shelly Cole
Cindy Pickett
George McRae
Amos Glick
Daron Jennings
Josh Hutchinson
Laurellee Westaway
Todd Brotze
Chandler Bolt
Samantha Weaver
Jackie Honea
Daniel Souza
Bob Saenz
Cindy Goldfield
Tom Luu
Meg Lee Ha
Jamie Davidson
Francisco Nunez
Kevin Kan
Gilda Kan
Sgt. Patrick Dreelan
Bettina Devin
Heather Mathieson
Chris Yule
Robert Anthony Peters
Jeffrey Rios
Eli Nelson
Peter Judd
Michael Kasin
Peter Quartaroli
Ed Holmes
Michael X. Sommers
Justin Lamb
Jesse Caldwell
Cary Silberman
David Abad
Cory DuVal
Deb Fink
Mackenzie Firgens
Liz Anderson
Courtney Black
Bettina Devin
Cam Newlin
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FULL CAST CONTINUED
King
Trailer Park Kid
Trailer Park Mom
Trailer Park Baby
Judge
Court Clerk
Cheap Customer
Radio Voice
Strip Club Patron
Strip Club Bouncer
Long-legged Stripper
Stripper #2
Anchor Baseball Announcer
Horse Race Announcer
Weather Announcer
Gloria’s Mom
Mom’s Boyfriend
Loop Group Performers
C O N TA C T
Luke Hoffman
Cole Ford
Leslie Ford
Cameran Ford
Kevin Blackton
Angie Christmann
Jesse Gillingham
Bob Belknapp
Jay Sprow
Dan Morgan
Amy Magyari
Jessica Fields
Wendy Damonte
Brad Walton
Rafi Kugler
Matt Johnson
Cindy Fluitt
Guy Seese
MJ Otto
Rafi Kugler
Guy Seese
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MAIN CREW
Written and Directed by
Chris Ford
Produced by
Chris Ford and Jason Newmark
Executive Producer
Scott Gragson
Director of Photography
Cliff Traiman
Editor
Ian Montgomery
Casting
Kris Nicolau (LA)
Michael Ching (SF)
Production Designer
Natalie Sanfilippo
Costume Designer
Jihyun Kim
Music by
Michael Tremante
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FULL CREW
Production Manager
John Bennett
First Assistant Director
John Bennett
Second Assistant Director
Cecily Jordan
Second Second Assistant Director
Diana Argos
Key Set PA
Andrew Bland
Production Coordinator
Jason Newmark
Assistant Production Coordinator
Sara Dosa
Production Coordinator (Reno)
Christine Whitmarsh
Production Assistant
David Ware
Clint Darquea
Production Intern
Big Caleb
Art Director
Luli Rafaelli Tepper
Property Master
Cheyenne Milne
Art Department Coordinator
Na Young Kim
Art PA
Jesse Bennett
First Assistant Camera
Tom Spingola
Additional First A.C.
Joe Rivera
Additional Gaffer
Damien Lucas
Gaffer
Joe Mendoza
Best Boy
Leonardo D’Antoni
Key Grip
Donovan Sell
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FULL CREW CONTINUED 2
Swing
Drew Nelson
Swing
Timothy Benton
Sound Mixer
Darcell Walker
Boom
Will Philp
Boom
Ben Greenwood
Boom
Nikolas Zasimczuk
Key Makeup
Jihyun Kim
Key Hairstylist
Jihyun Kim
Key Wardrobe
Jihyun Kim
Assistant Hair and Makeup
Julia Napier
Assistant Wardrobe
Ressie Walker
Assistant Wardrobe
Erica Dias
Assistant Wardrobe
Angela Neufeld
Assistant Wardrobe
Vasso
Location Manager
Jesse Gillingham
Transportation Captain
Jesse Gillingham
Art’s Mustang
Mike Meneghelli
Script Supervisor
Deborah Ashley
Paula Frankel
Craft Services
Ha!
C O N TA C T
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Catering
Cheryl Ritter
Casting Facility (LA)
Skirts Casting
Casting Assistant (LA)
Brandy Finmark
Casting (SF)
Grant Avenue Casting
Casting Assistant (SF)
M. Kay Robinson
Postproduction Editorial Services
Barbary Post courtesy of Bob Spector
Postproduction Supervisor
Kristen Jenkins
Assistant Editor
Daniel Truog
Opening Titles
Jenny O’Byrne
Postproduction Assistant
Alana Rees
Postproduction Picture Services
Spy Post Digital, San Francisco
Post Supervisor
Eric Hanson
Online Editor and Compositor
Kyle Gray
Assistant Editor Ashley Rodholm
Digital Intermediate Colorist
Chris Martin
Assistant Digital Intermediate Colorist Carey Burens
End Credits
Kyle Gray
Postproduction Sound Services a Lucasfilm Ltd. Company
Marin County, California
Skywalker Sound
Supervising Sound Editor Chris Gridley
C O N TA C T
CA
94941 | 415 317 1439
Rerecording Mixer Effects Editor Tony Sereno
ADR Editor Foley Artist Marilyn McCoppin
Foley Mixer Frank Aglieri-Rinella
Foley Recordist Foley Editor Christopher Barron
Digital Transfer Jonathan Greber
John Countryman
Engineering Services Machine Room Operator Sound Editing Facilities Steve Morris
Doug Ford
Sound Supervisor Josh Lowden
Additional Dialog Recording, L.A.
Lime Studios
Director of Operations
Bruce Horwitz
Scheduling
Jessica Locke
Recording Engineer
Dave Wagg
Assistant Engineer
Seanor Moore
Client Services
Brooklin Rogers
Breakfast Chef
Samantha Weiss
Bob Edwards
Ellen Heuer
Piotr Filipowski
Ron Roumas
Skywalker Ranch
C O N TA C T
CA
94941 | 415 317 1439
Additional Dialog Recording, SF
Crescendo Studios
Director of Operations
Jason Plunkett
Scheduling McKell Smith
Recording Engineer
Matt Wood
Assistant Engineers
Steve Engle-Borda
Taylor Higashi
Preproduction Facility
Teak Motion Visuals
Executive Producer
Greg Martinez
Preproduction Supervisor
Jan Frei
Raul Avila
Assistant Editor, Dailies
Jonathan Fookes
Graphic Artist
Viridiana Cervantes
Photoshop Artist
Nick Spahr
Additional Postproduction
James “Jimmy” Horner
Tanya “T-Money” Lesieur
Proofreader
Shannon Roy
Production Counsel
Richard J. Lee, Esq.
Music Supervisor
Bob Spector
C O N TA C T
CA
94941 | 415 317 1439
PHOTO CREDITS
PRESS KIT PHOTO CREDITS
L to R: John Ratzenberger as Art Leroldi and Amos
Glick as John Jacobi in The Village Barbershop.
Dir. Chris Ford. Image courtesy of Hot Shave,
LLC.
L to R: John Ratzenberger as Art Leroldi
and Shelly Cole as Gloria MacIntyre in The
Village Barbershop. Dir. Chris Ford. Image
courtesy of Hot Shave, LLC.
L to R: Shelly Cole as Gloria MacIntyre and
John Ratzenberger as Art Leroldi in The
L to R: Shelly Cole as Gloria MacIntyre and
Shelly Cole as Gloria MacIntyre in The
C O N TA C T
CA
94941 | 415 317 1439
L to R: Michael X. Sommers as Tony and John
Ratzenberger as Art Leroldi in The Village
Barbershop. Dir. Chris Ford. Image courtesy
of Hot Shave, LLC.
Amos Glick as John Jacobi in The Village
Barbershop. Dir. Chris Ford. Image courtesy of Hot Shave, LLC.
Robert Anthony Peters as Naked Haircut
Guy in The Village Barbershop. Dir. Chris
Ford. Image courtesy of Hot Shave, LLC.
C O N TA C T
CA
94941 | 415 317 1439
L to R: Courtney Black as Jenny and Josh
Hutchinson as Rickert in The Village
Barbershop. Dir. Chris Ford. Image courtesy
of Hot Shave, LLC.
L to R: Laurellee Westaway as Gladys and
Cindy Pickett as Josie in The Village
Barbershop. Dir. Chris Ford. Image
C O N TA C T
CA
94941 | 415 317 1439
ONE SHEET

Electronic Press Kit

Transcription

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