the village barbershop

Transcription

THE VILLAGE BARBERSHOP
JOHN RATZENBERGER: ART
SHELLY COLE: GLORIA
CINDY PICKETT: JOSIE
AMOS GLICK: JACOBI
GEORGE McRAE: GEORGE
JOSH HUTCHINSON: RICKERT
DARON JENNINGS: COLIN
LAURELLEE WESTAWAY: GLADYS
PRODUCER: CHRIS FORD
CO- PRODUCER: JASON NEWMARK
DIRECTOR OF PHOTOGRAPHY: CLIFF TRAIMAN
PRODUCTION DESIGN: NATALIE SANFILIPPO
COSTUME DESIGN: JIHYUN KIM
EDITOR: IAN MONTGOMERY
COMPOSER: MICHAEL TREMANTE
DIRECTED BY: CHRIS FORD
RUNTIME: 99 Minutes
16:9
Dolby5.1
TRAILER: http://www.montereymedia.com/independent/village_trailer.html
COPYRIGHT© MMVII HOT SHAVE, LLC
monterey media… a uniquely independent studio
QUOTES
“Simply touches the heart… a wonderful story with fantastic characters, The Village Barbershop
is a light drama that pulls at the heart-strings while providing plenty of miles along the way. If you
get a chance to catch this film, you will be glad you did.” – VideoViews.org
“This is precisely the sort of movie people who no longer go to movies often complain “they just
don’t make anymore.”…The Village Barbershop is just as warm, humorous and ingratiating as it
means to be, with solid work by all principal cast.” - Variety
“With outstanding outings from Ratzenberger and Cole, The Village Barbershop lathers up a
poignant piece of first-time filmmaking.” – Moving Pictures Magazine
“Most of the time, The Village Barbershop is the little boutique movie at its finest; other times it’s
the little boutique movie at its most crowd-pleasing.” – San Jose Metro
“The cinematography is spot on…the editing is often quite remarkable…John Ratzenberger and
Shelly Cole embody their characters and give the film all its charm.” – Film Threat
“The Village Barbershop is a testament to under-appreciated star power; a wish for a world in
which everybody knew John Ratzenberger’s name.” – The Warren Report
“3 Stars. Recommended.” – Video Librarian
SHORT AND LONG SYNOPSIS
GETTIN’ TO THE POINT (short)
Art Leroldi is a fading Reno barber stuck in a rut of haircuts and horse books suddenly faced
with a difficult decision. Give up the one thing he’s got left —his “man’s man” barbershop—or
hire the last person on earth he’d ever want working there—a woman.
TAKIN’ A LI’L MORE TIME (long)
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 every day like a warmed-over version of the last.
Hit with the unexpected death of his long-time business 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.
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 that 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 naïve. 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 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 on park benches and in
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 that
you keep hidden from your wife.
“What’s it about?” someone asks. “This fading old barber,” I answer.“What happens?” someone
else says. “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 then somebody, specifically Ed’s producer, Aaron Lubin, tosses off something like,
“Why don’t you just shoot it yourself?”
Now personally, I don’t know what the heck 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 off the comment as completely crazy. I had to actually think about it and consider
it and mull it over 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 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.
FILMMAKER BIOS
CHRIS FORD
writer/director/producer
This is my first feature film and the first thing I’ve directed. Aside from that, there are few
things you need to know about me from a biographical standpoint.
I was born in California, but grew up in 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, but I’ve
been here for quite some time and it’s fun.
I began writing The Village Barbershop in 1998 in response to overhearing a co-worker
much older than I 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
drinks of some kind, insisted it wasn’t that hard for a first-time director to make his first
feature film.
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 become 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 snowboarding. I’ve probably misspelled a word somewhere in this bio. And after
the whole home remodel/indie film summer vacation, I am, unbelievably, still married.
FILMMAKER BIOS
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
who 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 worked hard during preproduction and hard
during the shoot, it was 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 a guy who is willing to saddle up and ride into
Comanche 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 90s directing live and
taped shows, editing film and running studio and field cameras.
He then moved on to Boston where he was a production assistant on two feature films—
The Proposition (1998) and the indie hit Next Stop Wonderland—and later moved on to Los
Angeles where he worked as a production assistant on Waking Up in Reno (ironically shot
mostly in LA) with Billy Bob Thornton and Charlize Theron, and then as the second 2nd
Assistant Director on The Deep End, with Tilda Swinton, which filmed in Lake Tahoe.
Inbetween his work on these films, Jason pursued his true love —editing. So when he isn’t
busy producing The Village Barbershop, that’s what he does. He lives Reno with his
conservation biologist wife, Jen, and their two boys, Zach and Zander.
FILMMAKER BIOS
CLIFF TRAIMAN
director of photography
Cliff Traiman has been involved with The Village Barbershop since October 2006 when he
and his crack 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 crucial
coverage, even with the AD yelling to move on.
Beyond The Village Barbershop, Cliff works as a Director of Photography on commercial,
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.
FILMMAKER BIOS
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 that 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 L.A. 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 crap.
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 festivals in Sundance, Cannes, Venice, Palm Springs, New York,
Sydney, Melbourne and San Francisco.
He currently pays the bills and keeps a roof over his family’s head by cutting commercially
for clients such as EA Games, Sega, Comcast, Nationwide, Adobe, and specs for Nike and
Coke.
He lives in San Francisco with his wife Steph and their two dogs.
FILMMAKER BIOS
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 Co-Producer 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 Desplechin’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 (2005),
Dan Elortegui’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 most recent 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.
FILMMAKER BIOS
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.
JIHYUN KIM
costume design/makeup
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
makeup and wardrobe for was spot on.
From Art’s uniform for life, to Gloria’s
funky thrift store chic and Jacobi’s 70s
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. It’s my job to bring someone
else’s vision to life and I pour my heart
and soul into doing so.”
CAST BIOS
JOHN RATZENBERGER
art
An accomplished author, screenwriter, director, producer and two-time-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
(www.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 to raise funds and awareness for the
Special Olympics.
CAST BIOS
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 a 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 & Roll, opposite Gina
Gershon and Drea De Matteo. Her performance as Sally, an edgy, aggressive yet youthful
innocent who cleanses her soul by playing drums, garnered 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 alongside John Malkovich and
Anjelica 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:NY. Shelly currently
resides in Los Angeles, has a keen love for expensive champagne and loves all things
superhero.
CAST BIOS
CINDY PICKETT
josie
A native of Oklahoma, Cindy 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 Elisabeth Shue. She has also costarred opposite Carla Gugino in the
feature film Son in Law, starred with Kris
Kristofferson in the political miniseries
Amerika, and starred in the highly
acclaimed miniseries I Know My First
Name is Steven.
More recently, Cindy has co-starred in
the feature film Sex and Death 101 and
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.
AMOS GLICK
jacobi
Amos
first
studied
acting
and
improvisation at Earlham College with
Len Mozzi, then, after moving to the Bay
Area in 1990, joined the Tony Awardwinning San Francisco Mime Troupe.
After a brief stint in L.A. taking classes
with The Groundlings and ACME
Comedy 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.
He can be seen in the films Opal and
Around the Fire, with Devon Sawa, Tara
Reid, Eric Mabius, Stephen Tobolowsky
and Bill Smitrovich, and on the television
program Nash Bridges, with Don
Johnson and Cheech Marin.
CAST BIOS
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 on to work
in the photographic industry for almost
20 years before finally returning 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.
What attracted George to The Village
Barbershop was the way in which the
story related to his own life. George’s
grandfather was a Sicilian immigrant
barber in Cambridge, Mass., who
owned the Harvard Barbershop. The
film was an opportunity for George to
explore and better understand many
different facets of his past.
JOSH HUTCHINSON
rickert
In addition to playing Gloria’s no
account trucker boyfriend, Rickert, Josh
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 and produced by Kevin
Spacey and Trigger Street Independent;
and co-starring in My Bad Dad.
Some of his other films include, Die,
Mommie, Die, staring Charles Busch,
Attraction, opposite Gretchen Mol, Love
Bites, An Evening at H (Winner Best Film
at the Barcelona International Film
Festival), The Rapture and Little.
His TV credits include Angel, Charmed
and Roswell. He recently played to
soldout audiences in the one-man show
The Santaland Diaries, written by David
Sedaris.
CAST BIOS
DARON JENNINGS
LAURELLEE WESTAWAY
colin
Daron Jennings appeared most recently
as Mark Foster in the feature-length film
The Full Picture. In addition to his oncamera roles, which include numerous
commercials, Daron performs frequently
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.
Gladys
Laurellee Westeway transitioned from
playing chronic virgins to retired
hookers. In the past year she has
portrayed sufferers of jiggly legs, acidreflux and emphysema. At this point she
looks forward to a promising future
playing the corpse at funerals.
OR
Laurellee Westaway is a graduate of the
Neighborhood Playhouse in NYC. Upon
returning to California she was a
founding member of San Francisco’s
One Act Theatre Company. She has also
appeared in television and films, most
recently The Village Barbershop and
Opal.
PRODUCTION CREDITS
Production Manager
First Assistant Director
Second Assistant Director
Second Second Assistant Director
Key Set PA
Production Coordinator
Assistant Production Coordinator
Production Coordinator (Reno)
Production Assistant
Production Intern
Production Designer
Art Director
Property Master
Art Department Coordinator
Art PA
Director of Photography
First Assistant Camera
Additional First A.C.
Additional Gaffer
Gaffer
Best Boy
Key Grip
Swing
Swing
Sound Mixer
Boom
Boom
Boom
Key Makeup
Key Hairstylist
Key Wardrobe
Assistant Hair and Makeup
Assistant Wardrobe
Assistant Wardrobe
Assistant Wardrobe
Assistant Wardrobe
Location Manager
Transportation Captain
Art’s Mustang
Script Supervisor
Casting Facility (LA)
Casting Assistant (LA)
Casting (SF)
Casting Assistant (SF)
Editor
Postproduction Editorial Services
Postproduction Supervisor
Assistant Editor
Opening Titles
Postproduction Assistant
John Bennett
John Bennett
Cecily Jordan
Diana Argos
Andrew Bland
Jason Newmark
Sara Dosa
Christine Whitmarsh
David Ware
Clint Darquea
Big Caleb
Natalie Sanfilippo
Luli Rafaelli Tepper
Cheyenne Milne
Na Young Kim
Jesse Bennett
Cliff Traiman
Tom Spingola
Joe Rivera
Damien Lucas
Joe Mendoza
Leonardo D’Antoni
Donovan Sell
Drew Nelson
Timothy Benton
Darcell Walker
Will Philp
Ben Greenwood
Nikolas Zasimczuk
Jihyun Kim
Jihyun Kim
Jihyun Kim
Julia Napier
Ressie Walker
Erica Dias
Angela Neufeld
Vasso
Jesse Gillingham
Jesse Gillingham
Mike Meneghelli
Deborah Ashley
Paula Frankel
Skirts Casting
Brandy Finmark
Grant Avenue Casting
M. Kay Robinson
Ian Montgomery
Barbary Post
Kristen Jenkins
Daniel Truog
Jenny O’Byrne
Alana Rees
Postproduction Picture Services
Post Supervisor
Online Editor and Compositor
Assistant Editor
Digital Intermediate Colorist
Assistant Digital Intermediate Colorist
End Credits
Postproduction Sound Services
Supervising Sound Editor
Rerecording Mixer
Effects Editor
ADR Editor
Foley Artist
Foley Mixer
Foley Recordist
Foley Editor
Digital Transfer
Engineering Services
Machine Room Operator
Sound Editing Facilities
Sound Supervisor
Additional Dialog Recording,
Director of Operations
Scheduling
Recording Engineer
Assistant Engineer
Client Services
Breakfast Chef
Additional Dialog Recording,
Director of Operations
Scheduling
Recording Engineer
Assistant Engineers
Preproduction Facility
Executive Producer
Preproduction Supervisor
Assistant Editor,
Graphic Artist
Photoshop Artist
Additional Postproduction
Proofreaders
Production Counsel
Music Supervisor
Craft Services
Catering
Spy Post Digital
Eric Hanson
Kyle Gray
Ashley Rodholm
Chris Martin
Carey Burens
Kyle Gray
Skywalker Sound
A Lucasfilm Ltd. Company
Marin County, California
Chris Gridley
Tony Sereno
Bob Edwards
Marilyn McCoppin
Ellen Heuer
Frank Aglieri-Rinella
Christopher Barron
Piotr Filipowski
Jonathan Greber
John Countryman
Steve Morris
Doug Ford
Ron Roumas
Skywalker Ranch
Josh Lowden
L.A. Lime Studios
Bruce Horwitz
Jessica Locke
Dave Wagg
Seanor Moore
Brooklin Rogers
Samantha Weiss
SF Crescendo Studios
Jason Plunkett
McKell Smith
Matt Wood
Steve Engle-Borda
Taylor Higashi
Teak Motion Visuals
Greg Martinez
Jan Frei
Raul Avila
Dailies Jonathan Fookes
Viridiana Cervantes
Nick Spahr
“Jimmy” Horner
“T-Money” Lesieur
Shannon Roy, Sage Romano
Richard J. Lee, Esq.
Bob Spector
Ha!
Cheryl Ritter
PRODUCTION STILLS
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monterey media inc., a uniquely independent studio
monterey media inc., incorporated in 1979, it is a privately owned entertainment industry company specializing in the creation,
acquisition, distribution and sale of motion pictures and other programming. monterey media is actively engaged in all areas of
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Summer 2007 saw monterey media films on over 200 screens with Award-winning feature films including the poignant and
compelling Steel Toes starring Academy Award® nominated David Strathairn, the family film Eye of the Dolphin, the true crime
thriller Karla, based upon the infamous and notorious “Ken and Barbie killers”; and the critically acclaimed 10 Questions for the
Dalai Lama premiering with Landmark Theatres in San Francisco, Houston, Chicago and Berkeley and going on to play in over 75
cities nationwide.
2008 releases feature 7 Academy Award® nominated actors including the The Cry, based upon the urban legend which has terrified
Latinos for centuries; the 5 Dove Award-winning family treat When I Find the Ocean; the spiritual ‘tho dark Ripple Effect starring
Forest Whitaker and Minnie Driver; followed by Academy Award® nominated David Strathairn in The Sensation of Sight and the
beautifully crafted award-winning the Secrets from Israel’s premiere director Avi Nesher.
monterey is known for its creatively coordinated marketing strategies incorporating promotional alliances with such strategic partners
as Wal-Mart, Fisher Price, Pepsi Cola, American Express, Amnesty International USA, Make-A-Wish Foundation® of America,
Children’s Cancer Research Fund, KIDS FIRST!®, Days Inns, Habitat for Humanity, Greenpeace, the International Motorcycle
Shows, Healthy World Healthy Child, and Wahoo’s Fish Taco Restaurants.
monterey video
The monterey video division is the 2nd oldest independent video manufacturer and distributor in the United States, acquiring the
exclusive rights for all video markets to completed motion pictures or other programming. monterey is well known for its broad
marketing to all key retail, mail order and internet sites, schools and libraries, and specialty markets.
The versatile monterey video library encompasses unique feature films and documentaries as well as Multi-Platinum RIAA and ITA
Award-winning Grateful Dead concerts; prestigious films such as The Exonerated starring Susan Sarandon, Brian Dennehy, Danny
Glover and Aidan Quinn; celebrated sports programming including the Bruce Brown Films franchise of motorcycle films (On Any
Sunday) and surf films (The Endless Summer II); the most prestigious educational yet entertaining library of films adapted from
literature’s renowned authors combined with acclaimed performances from many of Hollywood’s greatest actors;, and note-worthy
children’s programming. In addition, monterey has the honor of being the first video market licensee of the American Film Institute.
In Independent features, monterey proudly distributes films with such distinguished actors as Susan Sarandon, John Ritter, Tommy
Lee Jones, William Hurt, Forest Whitaker, David Strathairn,
Brian Dennehy, Robin Williams, Blythe Danner, Danny Glover, among many others.
11/08
monterey media, inc. 566 St. Charles Dr. Thousand Oaks, CA 91360
phone: 805-494-7199 fax: 805-496-6061

the village barbershop

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