RTV Pictures - Road To Victory

Transcription

RTV Pictures
Presents
ROAD TO VICTORY
Written & Directed by
Mike Reilly
Based on a True Story
Starring
Mike Reilly
Julia Anderson
Poppi Reiner
Peter Abrams
RTV Pictures, LLC
Mike Reilly
1324 McClaren Drive
Carmichael, CA 95608
Ph: (916) 997-5494
Fx: (916) 283-6256
[email protected]
Visit the Official site at:
http://www.rtvfilm.com/
“Road To Victory is poignant, engaging, and remarkably
crafted. Performances and moments so moving, you will
feel this film long after the end credits.”
-Mark S Allen
CBS/CW Television Stations
“Road to Victory” - Copyright (C) 2007 RTV Pictures, LLC
SHORT SYNOPSIS
An injured college athlete, Elliot (Mike Reilly), falls for a stripper, Anna (Julia Anderson), but is unable to perform sexually. The relationship oscillates between tender and
cruel; issues of infidelity, along with doubts about his ability to father children arise, as
his on-field performance begins to decline, putting his draft status at stake.
With tension mounting between the couple, Elliot seeks help from his doctor, Dr. Kahn
(Poppi Reiner), only to be accused of taking steroids and prompted to deposit sperm to
secure a future child. Elliot soon meets Dr. Morino (Peter Abrams), and Elliot reluctantly learns to trust his physician again. Both Anna and Dr. Morino force Elliot to examine the choices that he is making, and in the climactic moments of the film, Elliot finally
reveals the missing piece of the puzzle, and is made to choose one more time.
Road To Victory is a thoughtful look at the role of gender in the patient / physician relationship, limits imposed on physicians by changes in the health-care industry, and even
the limits of drugs designed to replace the physicians. It asks the question of what level
of fidelity is acceptable in a relationship where sex isn’t possible. And lastly, it looks behind sensationalized media headlines over steroid abuse, at the human elements that
really drive athletes to succeed, and the price associated with the choices required to
achieve that success.
“Kudos to Reilly for tackling the subject of sexual dysfunction in a manner
that is respectful and enlightening. Reilly anchors the movie with a beautifully
modulated performance and has wonderful chemistry with Anderson who invests what could have been a clichéd character with dignity and intelligence.
ROAD TO VICTORY is a terrific movie and marks the debut of an intriguing
talent.”
- Ted Murphy
Murphy’s Movie Reviews
LONG SYNOPSIS
Road To Victory opens with 8mm home movies on a beach, capturing brief glimpses of a
young mother and father with their 2 year old son. The young boy plays in the sand, and
among his toys is a football. The image of his son with a football causes the father to
pick him up and hold him close, and we hear the voice over narration of a man reflecting
with regret. “One day, you will have questions for me. Questions that require answers, I
don’t want to give.”
Cut to the strip joint four years earlier, and the story begins.
On stage, a mysterious stripper, Anna, (Julia Anderson) commands our attention with
the lighting of a candle and outlining of her silhouette. She sets the candle on the tray of a
nearby cocktail server passing by, and the cocktail server weaves through the crowd to a
private room where she sets down a glass of water for our narrator, Elliot (Mike Reilly)
who is being pressured to partake in a lap-dance by his well-meaning, but over-zealous
friends Joseph Wein (Curtis Bechdholt) and Carol (Kaela Aryn).
A stripper finds her place in Elliot’s lap, as his voice over laments, “I wish I could tell
you that I am proud of all the success I’ve enjoyed in life…” And through a series of
match cut flash-backs between Elliot and Anna, we learn about each person’s back-story;
for Elliot his drive to recover from injury and succeed in his final year as a college football player so he can go pro, and for Anna, her heartache and objectification; the elements
that will comprise their arcs and ultimately bring them together.
It is not long before Anna and Elliot meet in the classroom, with a lecture on male potency and reproduction setting up the bigger picture in the background, and the two set up
a date. Cautious not to be sidetracked from his goals, Elliot is nevertheless won-over by
Anna’s tenderness and charm. It is not long before she breaks down his walls, and Elliot
realizes his feelings for Anna are real. It is time to consummate their relationship, the
mood is set, love is in the air, but…Elliot cannot perform. The star college quarterback, a
projected first round NFL pick, the Big Man On Campus- can’t get it up.
At this point the drama heats up, and the filmmakers are mindful of Elliot’s dilemma,
handling it with tact to display the tremendous internal conflict the dysfunction has created within Elliot, and Elliot’s road to victory begins.
As tension mounts between Elliot and Anna, Elliot seeks the help of his physician Dr.
Kahn, (Poppi Reiner) only to be accused of taking steroids. Prompted to deposit a
sperm sample to secure a future child, beaten and betrayed, Elliot travels from doctor to
doctor who cannot cure him, nor even accurately diagnose him, but are still quick to offer
him the common pharmaceuticals today’s male is being bombarded with. Elliot’s frustration with himself progresses to rage and finally despair.
But this is a journey for Anna as well. Anna’s frustration is reaching a boiling point, and
manifesting itself through humiliating pot shots at our hero, and she begins to question
the level of fidelity acceptable in a relationship where sex is not possible. But Elliot’s
patience with her, as well as his own steadfast determination to make finding a solution
his own responsibility, forces her to realize that he is much more than every man who has
ever objectified her. It is through Elliot that Anna is allowed her own dynamic arc. The
stripper with the hyper libido, in love with a man who cannot perform, the irony is overshadowed only by the drama, as Anna and Elliot are forced to redefine the meaning of the
word loyalty.
In desperation, Elliot finally stumbles upon one last doctor, Dr. Morino (Peter Abrams),
who has personal reasons for needing to cure his patients, and Elliot learns to trust his
physician. Through this trust Elliot regains his health, but in the climactic moments of
the film, Dr. Morino issues Elliot a life-changing ultimatum, and Elliot finally reveals the
missing piece of the puzzle, where he must choose between the dreams of the past, and
the needs of the future.
Road To Victory is a thoughtful look at the role of gender in the patient / physician relationship, limits imposed on physicians by changes in the health-care industry, and even
the limits of drugs designed to replace the physicians. It asks the question of what level
of fidelity is acceptable in a relationship where sex isn’t possible. And lastly, it looks behind sensationalized media headlines over steroid abuse, at the human elements that
really drive athletes to succeed, and the price associated with the choices required to
achieve that success.
“I'm giving Road To Victory four out of four stars. This movie draws you in
slowly and then keeps you involved until the end, and the ending is truly
poignant… The entire cast is very good, but Mike and Julia are both tremendous in their roles! The relationship is very different from anything I've seen
on film… It just doesn't get much better than this.”
- Brian Morton
Rogue Cinema
DIRECTOR’S STATEMENT (By Mike Reilly)
Director’s statements are a tall order. It took me three years of work and one hundred
minutes of film for me to articulate what I was trying to say. And now, by this point in
the production, even I am tired of listening to myself talk. I’d prefer to let the film speak
for itself.
The creation of Road To Victory has been both a rewarding and a punishing process. I
was nose-close to the project for quite a long time. As a director, one of the most difficult
challenges for me was to be loyal to the original ideas and intentions for the film, while
maintaining respect for all of the things that it evolved to be.
This film is a lot bigger than me. The ideas and the people that it centers around were
always that way, but the life given to this project in each phase of production was something that I did not anticipate, and constantly struggled to keep up with. There were so
many people who decided to come on board because they were excited about what we
were doing, that I was often overwhelmed by the amount of creative encouragement. I
am extremely grateful for this because my primary influences were not so much cinematic, as they were the contents of the script and the importance of the story. So, as we
started integrating the contributions from the three cinematographers, the actors, the art
department, our editor and composer, the film developed its own unique style along the
way.
I spent a good year writing, researching, and re-writing the script. I wanted it to be perfect. Constructing the shot list received an equal amount of attention. But at the end of
the day, I contend that my greatest success wasn’t so much that I held the film to a singular vision, but was able to engage so many people on a creative level, and keep those contributions flowing together.
We were extremely fortunate to have had such close access to the people the film is based
upon. The power of this film lies in its authenticity, and we made every effort to respect
that. With subject matters as controversial as sex, steroids, medicine, and infertility, it
wasn’t always easy to stay out of the audience’s way.
We had to be careful that we didn’t lose the film to campy humor or shock value. There
was also the constant dilemma of how much to show, and when, as we didn’t want to desensitize our audience. So, shooting the film was often a careful mix of determining
when to let the audience be voyeurs, and when to engage them.
(Q&A Between Producer Jonathon Kitchen and Writer/Director Mike Reilly):
INSPIRATION
1. What is the history of the project? Tell us about writing the script.
I never wanted to make a sports movie, and I am proud that the film has stayed true to the
script in this regard. Football was always meant to be a backdrop, just so we could have
the character of an athlete; someone with an innate drive that an audience could understand. Because this character not only needed to have something of life-changing importance at stake, but was going to have to rely on this drive to take him through a narrative
that would otherwise cripple most other people.
I had one of two primary sources of information, and knowing the real-life people that
provided the basis for this story, was one of them.
We were extremely fortunate to be offered access to first hand information on such a sensitive subject matter. It took a lot of homework to get this script right. It took quite a few
drafts to write because the subjects that the script addresses could have been taken in so
many directions, that many of them could have been their own movies.
Beyond “Elliot and Anna” themselves, we were able to interview the real Dr. Morino
(the only person whose name has not been changed), and the real “Dr. Kahn.”
Peter Abrams’ character, Dr. Morino, actually became not only a good friend of mine, but
a mentor as well. When I first approached him for an interview, (naturally with “Elliot’s”
permission), it was actually for a paper that I was writing for a class in neurobiology on
the relationship between hormonal health and emotions. In our first visit, I realized that
Dr. Morino was the type of doctor that I wanted to be. It’s not very common to meet a
role model so late in life, but he was definitely that.
His passion for healthcare made him a bit of nerd because he was always involved with
continuing education, which I immediately identified with from an academic perspective.
He was someone who could apply what he had learned in school to real world problem
solving. He was never one to let the FDA call the shots for him. He took his patients
healthcare personally. I once commented to him about how good it must feel to help so
many people. His reply was that more times than not, other than blood work, the only
way he knew a patient was cured was when they stopped coming to see him. There was a
real loneliness to that statement that I tried very hard to capture in the script, but ended up
even better in the movie. That’s the way it ends with Morino and Elliot. Elliot just nods
and walks out and we can tell from the look on Morino’s (Peter’s face) that he knows he
fought right, but the loneliness, the cost of that battle, is still there.
In any case, I think that he was glad to meet someone as young and naïve as I was. He
continued to field calls from me about the paper long after it was finished, and because
my health insurance at the time would cover office visits, I would use any excuse I had to
pick his brain about my own health.
About a year before I was to start med school, he met with me and informed me that he
was leaving medicine. His practice had gotten to the point where his ability to bill insurance companies was so limited, that only his more affluent patients could really afford the
care they needed. He had treated a number of patients for free, but health insurance companies wouldn’t pay for either the testing or the medications the patients really needed.
Countless other physicians would have been content to simply let the FDA, or Blue
Shield determine what tests and meds the patients needed and get (and they do), but Dr.
Morino was a little too smart for his own good; he knew that Viagra might be getting
some guys hard, but that their medical problems were a lot deeper than that. It really
haunted him to know that those types of instant-gratification results would be transient.
He told me that he was leaving medicine to write a book about it. He also counseled me
that if I really cared about helping people, not to be a doctor. His words both broke my
heart and opened my eyes at the same time. It was a combination of witnessing my
friend’s plight, as well as his admonishment, that inspired me to make this film.
ASSEMBLING THE TEAM
2. How did you end up forming your production team?
Preserving the integrity of the story was always the highest god. In order to do that with
a limited means production, we needed a group of people who were as committed as we
were. The best place to find people like this are those who are young in their career. The
majority of the crew that worked on this film were either still in film school, or fresh out.
No egos, no care about hours and pay, just a group of people who wanted to attach their
name to a quality project.
Since completing principle photography, we have had to out-source on several occasions,
and despite the experience of those we have hired and the financial compensation given
to them, nothing has even come close to comparing the level of pride in their work as the
crew that had worked 14 hour days for months on end for free to get this film made.
There was nothing glamorous about the shoot. We were either packed into small spaces,
or outside in the rain.
PRODUCTION PAIN
3. How many locations and shooting days did it take to make this film? Where was
the film shot and why did you choose these locations?
We shot on over 50 locations in Vancouver, B.C., Washington, Oregon, and California in
order to make this film. I really pushed the crew hard. I felt that despite the small scale
of the film, if it was going to feel authentic, then we really had to work hard to create the
world for these characters. Since we did not have money for sets, we shot each scene on
an actual location.
The benefit of shooting on location is that it looks real, and you have an immediate atmosphere for your actors, which I think is a truly great benefit to shooting on location.
The con of shooting on location is that the spaces can be somewhat constraining on what
you can do with your camera and actors. The other logistical problem is that your control
over the space is limited. You don’t always get as long as you want for a scene, or even a
set of scenes. You can also run into sound problems where the guy outside with the
lawnmower won’t lock it up because he’s got a job to do too.
In the end, I think that for this film, it was better to shoot on location. Performances were
the most important thing.
The other reason for so many locations was that it was a great concern of mine that the
film would turn into a talking head bore, and it is just part of my story-telling style to
write not only non-linearly, but also to implement cut-aways wherever I think applicable.
Sometimes cut-aways are so effective because even if they show exactly what the person
is talking about, watching people actually enact the description can belie the truth of
what‘s being said. There can be a lot of irony to it.
We not only shot in BC, but Washington, Oregon, and California. Since we didn’t have
sets, we traveled to where we had family in order to get the locations the film needed,
towing a U-Haul of grip and lighting gear behind us.
It was a severe pain in the ass to make a movie with football in it in Vancouver. College
football up there isn’t even high school football here in the US. I’m not being derogatory; it is just a cultural difference. So finding a location that could serve as a college
practice field was tricky. The other thing is that the football players were used to Canadian rules. While subtle to some people, it would immediately pop to an American audience.
The other issue was rain. Strangely enough, the rain actually makes for a rather appropriate motif for the film. Water, whether it be in the sound of the waves, where Elliot’s
journey begins and ends, or Elliot’s continual drinking of water (since he’s an athlete), the
symbolism of water was always important, as it is in stark contrast to Anna’s symbol of
fire, which begins the film with a match-strike. But with the addition of rain to all the
football scenes, it seems to have a great deal to do with Elliot’s attempt at cleansing. My
editor wasn’t too happy about being given the job of maintaining a consistency of rain,
but oh well. It looks cool.
The flipside of filming in Vancouver, was that there are quite a few Naturopathic physicians up there who understood the importance of the message in the script. Without their
help in supplying location, props, and doctors, we could not have made the film. There
were countless other equipment houses and locations in and around Van that more times
than not, let us use their place for free. We were in the right place at the right time.
We shot on 50 locations in BC, Washington, Oregon, and California.
Our crew literally slaved to make this happen.
CASTING THE CHARACTERS
4. Describe the casting process for this film.
Elliot (Mike Reilly):
Elliot was an extremely difficult role to cast and play for a myriad of reasons:
The first is that Elliot, the main character and protagonist, begins the film very withdrawn, and so the film relies on what we learn about his circumstances as well as his
Voice Over, to create an empathetic bond, rather than the character himself. Trauma victims are characteristically withdrawn, either from shock, or from fear of exposing themselves to new trauma. They are guarded and overly protective of whom they let into their
world. At the same time, they are also reaching out, trying to find someone to understand.
In Elliot’s case, his trauma is old and emotional, and new physical trauma from his head
injury, has jeopardized his chance to heal his old emotional wounds, a commitment he
made to his father as a child, in the hope that he could make things right. His lifestyle is
quite monastic: he spends most of his time by himself, solely committed to a singular
goal, but Anna’s entrance into his life touches him sub-consciously, gently reminding him
of an even greater promise he has made to himself.
Elliot had to be able to show tenderness and be needful without openly saying it, because
to say it would be a sign of weakness, especially to Anna, who is the source of so much
pain when her insecurity gets the better of her and she is cruel to him. That was a big part
of what the script was trying to say about the difficulty of being a male in today’s world.
In one particular sequence in the film, Anna tells Elliot that she doesn’t consider them to
be having a “real” relationship as long as they can’t have sex, and as such she feels no
obligation to stop stripping. The next scene finds him in the Dr.’s Office with Dr. Kahn, a
largely unsympathetic female physician who seems to draw her conclusions about Elliot’s
character, right or wrong, almost immediately.
When the following scene finds Anna and her Mom having a joke at Elliot’s expense, Elliot feels compelled to stand up for himself, but unaccustomed to being impotent, he
doesn’t know how to make his point without revealing his feelings of vulnerability. He’s
under attack and being forced to fight back only serves to remind him of how weak he
feels. This is of course followed by the ultimate humiliation when he is forced to ask
Anna, the same person who is stripping him of his manhood, for sexual help to collect a
semen sample. He has no choice but to cry for help to the same person who is hurting
him.
The reality is that he has no idea how to deal with the plight of his sexual dysfunction,
and he’s constantly trying different tactics to keep the problem from overwhelming him:
At first he remains outwardly confident, reassuring toward Anna. But as the problem gets
worse, he simply can’t bear the humiliation and he just shuts down. All the while he’s
hiding something from everyone which means he has to reach out in very guarded ways,
most notably to Anna. Yet, other times he projects onto Anna, and feels justified because
she began the relationship largely oblivious to the humiliation she caused him.
After Anna cheats on Elliot with Chris, we see a dark shift in Elliot’s character from despair to Rage, culminating in one of the most controversial lines in the film as he tells Dr.
Kahn that she is “the wrong sex for the job,” projecting not only his own insecurity, but
also his frustration that a female is physically incapable of empathizing with his plight.
This in turn serves as a catalyst for his expression of self-hatred at not only his physical
impotence, but also his torment of being impotent at finding a solution to his problem.
Certainly, the level of emotional volatility was always a challenge. Elliot might begin the
story withdrawn, but by the third act, he’s much more emotionally volatile, so much so,
that we see him oscillating between laughter (for this first time), to rage, to despair,
sometimes even within the same scene, to ultimately, acceptance.
Elliot also needed to be able to play football and look like someone who may or may not
have used steroids. We wanted someone who would not care about how they would be
perceived. Elliot often appears naked in this film, both physically and emotionally.
There is a great deal of metaphor to that which I felt crucial to telling this story. If this
story was going to be told right, then we needed to see whoever played Elliot at their basest vulnerability, even when it was ugly and hard to watch.
Anna (Julia Anderson):
Anna is the stripper who wishes to command Elliot’s attention through sexuality, and
when Elliot fails to perform, she lashes out at him, certain that he must not love her because she cannot understand the difference between being cared for and lusted after.
Casting Anna was the most difficult part to cast. We saw so many auditions, and we just
weren’t interested in having anyone other than Julia. Anna is such a tough character to
play. There’s almost a motherly quality about her love, not in an Oedipal sense, but in the
sense that when we see her actively decide to care for Elliot, she sets aside all of her own
needs to make it work.
On the other hand, Anna can also be incredibly vicious. We know from the flashback of
her back-story that opens the film, that this stems from a pre-defense against both objectification and rejection.
Furthermore, it was a huge concern of mine, that whoever played Anna would be able to
stand up to Elliot during the intense dialogue scenes. Not a bitchy diva, but a true toe to
toe of raw emotional intensity.
And like Elliot, Anna had to be played with both honesty and vulnerability. There are
times in the story, when despite the tough exterior, Anna has to let us in.
In the audition process, there were a few actresses that could get the tenderness, but for
all the rest, it was clear the Julia was the one. No one else came even close, and Julia did
a tremendous job.
Dr. Kahn (Poppi Reiner):
Wow. Where did she come from? Out of all the performers, I got to know Poppi the
least, but she is absolutely an incredible actress, as well as one of the warmest people you
could ever hope to meet. The great thing about Poppi is that when she came in to audition, she had only received sides up to this point, but she clearly understood everything
that wasn’t on the page.
As a director, I can say she’s wonderful because she immediately sifts through all of your
bullshit when you give her a direction, takes what’s useful, and makes it her own. She
wrote this great back-story for Dr. Kahn, that she had been forced to get an abortion when
she was in college. Since I was also the actor, she kept this from me, so I didn’t learn
about it until after the shoot. But when we got into the editing room, it was so clear that
there was so much going on behind every line, look, and gesture from her.
As an actor, I can tell you that she is incredibly comfortable to work with. She comes to
work focused, and works with you. There are not enough good things to say about Poppi.
Dr. Morino (Peter Abrams):
Peter was the only actor on the shoot that I had ever worked with before. He and I had
worked together on my short film, Artistic Anxiety, where I made him play this slimy
producer. He’s incredibly collaborative, and each time I work with him, he never fails to
make me a better director. I offered him the role of Dr. Morino before we even began
casting.
Peter loves rehearsal. He’s one of those actors who can never do a scene too many times.
Each time he does, he sinks into the role a little more, and manages to find some new
level of meaning or subtlety, whether it’s inflection in the delivery of the line, physicality,
or just his own internal beat.
Peter took Dr. Morino to heart. He challenged me on a lot of the writing for the scene,
and we spent a good three hours discussing and arguing the scene. He really wanted to
know Dr. Morino.
It’s funny, but when I wrote the scene, I saw Elliot coming more from a place of anger
than anything. But, after I was done work shopping with Peter, I sat down to finish the
re-writes and I felt this incredible emotional attachment to the scene.
On the day, things were not going too well, and I was really disappointed. It was one of
the few scenes that I was actually looking forward to acting in, and I was really excited to
be doing it across from Peter. After the third take, Peter quietly pulled me aside and mentioned that the scene seemed a little unfinished. Since we were cross shooting, I told him
I agreed, and that we would just stay there until the scene was finished. The last half of
the final Dr. Morino scene in movie is all from one take of improv between us. But, the
best improv comes when you are over-prepared, and I don’t think that improv would have
ever happened if Peter had not worked so hard with me in discussing what the scene
needed to be.
Peter is not only an actor he is also a stage director. He truly loves studying the craft of
acting. After pushing so many people so hard on the shoot, it was really nice to have
someone push me. I will always be grateful to Peter for that.
And to further sing Peter’s praises, the last shot of Dr. Morino is actually Peter’s idea.
We had just come out of that incredibly intense improv dialogue scene, and we were
about to wrap when Peter asked us if we had been able to see him playing with his ring.
We went in for one last close-up where we tilt from his finger on his ring, back up to his
face again. It’s the perfect ending to the scene. It really says everything about Dr. Morino that I wanted to say, and it says it simply.
Peter was also extremely helpful in casting the project. In fact, both Julia and Poppi were
his recommendations. He had such a large impact on the film. It feels strange that he
was only there for one day of shooting.
SCORING RTV: The Influence of The Music
5. I understand that you spent a long time working with the composer to create the
score, as well as finding the right music for the film. Why were these elements so
important to you?
The musical score was extremely important to us for a number of reasons, the biggest being emotion. Frank Darabont has a wonderful quote about music in his director’s commentary for Shawshank Redemption, when he says that without music, you have no emotion.
Music is an extremely manipulative tool in the post process, and there can be a real temptation to crutch on the power of well-made music. It was very important to us that the
film provide an emotional experience for the audience, and as you try placing different
types of music against your scenes, you find new emotions in different parts of the scene.
The difficult question is always whether or not the emotion that the music creates is appropriate not just to the scene, but the story as a whole.
Some scenes with difficult subject matter, which I thought would need music, actually
were most effective as silent as possible, such as the “Come In Cup” scene where Anna is
helping Elliot collect a semen sample to determine whether or not he’s fertile, while other
scenes such as the scene where Elliot is working out in his garage after he comes home
from work, was never a scene that I had ever imagined with score, but the scene actually
gained quite a bit of emotional intelligence and depth by adding score. So, in the end,
music is really just another story-telling tool.
There are scenes in the film that were shot and cut exactly as written, but the music
changed the tone of the scene entirely. A good example would be the “Combine” scene,
in which Elliot is trying out for a pro scout. At the time, we were working with one of
our composer’s, Danial Waltman, who’s powerful guitar work became the musical
themes of the film, and the energy of Danial’s guitar made us re-think the scene, and so
we added the slow motion, and as such the mood and the tone of the scene is distinctly
different.
In the opposite direction is the infamous “Infomercial Doctor” scene, where the doctor is
explaining the many unpleasant options to Elliot about how to treat his impotence.
Again, shot and cut exactly as written, but our editor Kris Newsom thought to add some
hip music with record-scratching sound FX, and the tone of the scene went from dramatic
to dark comedy, affording the audience a much-needed chance to laugh. When our com
poser Surque came into score the piece, he added a bass guitar, which added even further
to the comedy.
On that note, as good as Danial was, we were anxious to work with a composer with a
mid-eastern influence / background, because of some of the interesting percussive
rhythms, as well as the crying sounds inherent in the instrumentation, We were hopeful
that he or she could blend this type of sound into a more classical or American style
score.
We began working with Surque, and at the time, our temp music was primarily piano, but
he loved the themes from Danial’s guitar, and he suggested that the guitar might be a
more appropriate instrument for Elliot’s character because it was more masculine than
piano. He also felt that given the many emotional phases of Elliot’s journey, that the guitar would lend itself to being affected differently at various points in the film to represent
Elliot’s emotional state, and help drive his arc. He tried to balance the masculinity of the
guitar with the higher pitched, and more feminine strings of the viola, and that balance of
masculine and feminine was a motif that continued to be integrated in various ways into
the music of the film.
Ultimately, at the end of the film, we hear Elliot’s theme change from the masculine electric guitar that opens the film, to the much more feminine acoustic guitar, which is continued by the last two songs of the film by Sean Hayes. I will talk more about Sean’s
contributions in a moment.
The other wonderful thing about music in film is that you can echo a character’s theme in
a later scene, and just the music itself will have a new emotional meaning, hopefully representing some type of change within the character.
There’s a scene in the film where the audience is left wondering whether or not Anna has
cheated on Elliot with her ex-boyfriend, and the music transitions us home to her finding
Elliot asleep with the kids that he’s babysitting. It’s a moment of transformation for her
character, the music giving a sense of sadness and suspense to the moment where she
might have ruined the chance with the man she was meant to be with, and we hear this
same music echoed later again in the Cryo booth, only now it has a different meaning.
Because in this context, it conveys that she’s attempting to atone for past transgressions,
and the beautiful thing about the music, is that it really allows you to feel that sense of
remorse. It echoes her need for redemption. And because it’s Elliot’s pain that we are
seeing now, it helps to draw the parallell between these two characters, which is that they
both recognize a hidden pain in the other.
Surque offered us another nice addition to our attempts to maintain the motif of feminine
vs. masculine in the music, when he introduced us to Tehila Lauder. Tehila has an incredible voice, and that voice gave a real sense of empowerment and femininity to the
music found in the scenes with Anna in the Strip Club. The female vocals in the club are
later echoed by Danial Waltman’s male vocals on the football field.
One of the most difficult aspects of adding music to the film, was adding “pop” music, or
music with lyrics. It can be very tricky to add music with lyrics to a scene, as those lyrics
have an immediate effect on the sub-text of the scene; they can deepen the meaning of
what the audience is seeing, or they can create a sense of irony by contradicting what the
audience is seeing, and completely change the meaning of the scene.
We also wanted our lyrical music to have the same instrumental motifs we had established, such as male vocals and guitar.
This lead us to Sean Hayes, who’s lyrics depict a wide range of understanding for the
complexity of the human condition, while at the same time, his voice and guitar are full
of emotion.
When Sean released his album, Big Black Hole and the Little Baby Star, we met with him
to discuss using some of his music, and we learned that the album chronicles the ending
of one of Sean’s own long-term relationship, and the beginning of a new one. So the
breadth of emotion in his music for us to choose from off this album was quite diverse;
from horny and passionate to lonely and lost, to finally a sense of peace.
We use three of his songs as part of montages in the film, and his sexy and sultry "Tunraroundturnmeon" is the first piece of lyrical music used in the film, and it plays with the
scene with wonderful subtext, hinting at the conflict between the couple that is building.
The second song by Sean that we use is perhaps his most haunted and lonely song on the
album, which is Angel. In fact, his guitar is so sparse, it nearly sounds accapella. Sean
was actually kind enough to meet with us an record an alternate version to this song with
him humming, and once the humming was layered, that sense of loneliness gains a sense
of purpose, and so we used a mix of both in the film.
But the most spiritual song that Sean wrote was one called Same God. As the title of his
album insinuates (Big Black Hole and the Little Baby Star), there was a definitive “end of
the old, beginning of the new” theme to the album and as such, this particular song, Same
God, chronicles the cosmogonic cycle of life, death, and re-birth, which made it perfect
for a love-making scene, especially one where a man gives up his dreams for the sake of
a union with his wife. In Elliot, we can see the death of his old self, and in his place, he
is re-born through his son, who is left to resume the journey for him, hopefully benefiting
from the wisdom of his mistakes.
CINEMATOGRAPHY AND THE LOOK OF THE FILM
6. You had some interesting experiences with the equipment you used to shoot the
film. Can you tell us a bit about that?
We learned about cinematography on film. Our experience making shorts was on film.
So, the learning curve for digital (DV) was quite a steep one. Despite numerous camera
tests, after the first week of principle photography, we were still incredibly frustrated with
a lot of the limitations imposed on us by the medium. The frames felt really flat and undramatic. It was at that point that Todd Bell joined the cinematography team and suggested the use of edge lighting as a means for not only creating depth in the characters
faces, but to also increase some of the detail in the skin that would ordinarily be lost on
digital.
It was really scary in a lot of ways because we had been warned about the use of filters
on digital before blowing up to 35mm, or up-ressing to HD. So we made the decision in
pre-production to use only polarizing and neutral density filters when shooting out-doors
(you really can’t shoot digital exteriors without them unless it’s night), and otherwise implement any effects filters in post-production. I say this was scary, because to a group of
people who are used to lighting with light meters and getting what they want in camera,
we were now relying on a monitor as a lighting guide, and waiting until post to truly
achieve the look we were after, which carries its own set of perils such as the risk of increased noise, artifacting, and softening of the image. I always have to laugh when people tell me how much “easier” it is to shoot on digital. Anyone who says that either is
just repeating something they heard, or have never shot on both mediums.
The other major challenge was the 16 X 9 anamorphic lens we used. We knew from discussions with the post-houses that the further apart the aspect ratio was from 35mm the
greater loss of detail in the process. To help solve this problem, we purchased an anamorphic 16 X 9 lens adaptor for our Panasonic DVX100-A, which has a native lens of
4:3. What nobody told us was that the anamorphic lens Panasonic made for its DVX had
some severe critical focus issues. On a zoom of 0-99mm, we were lucky to get 50mm at
an exposure of 2.4. The first week of principle was excruciating, as we simply could not
figure out how to get the shots we wanted with the lens. We went back to Vancouver and
did some more research only to discover that we were back to Cine 101. If we wanted to
get on the long end of the lens, then in this case, it was up to us to provide more depth of
field through the use of light. When we wanted to get tighter, we had to dump more light
on the subject, so we could close down our apertures and get more depth of field.
Again, to a group of people who are used to film, being told to either stay on the short
end of the lens, or add more depth of field with the exposure was particularly frustrating
as digital already has so much depth of field. It had initially been our plan to stay on the
long end of the lens and shoot wide open to gain some degree of control over the depth of
field, but since it wasn’t in the cards, we decided to commit to the deep depth of field. It
really forced us to work extra hard, not only with our lighting to create dynamic frames,
but also with the art department to make sure the frame always looked balanced.
I wouldn’t want to ever have to do this again, but we were able to make it work. Basically, it changed the way we approached blocking the camera and actors.
Now, having said all that, the critical focus issues on the lens did provide a somewhat
more cinematic look to the film over-all. So, in the end, it may well have been worth all
the headaches.
7. How did the look of the film change in Post-Production?
We spent over 6 months color-correcting, roto-scoping, and adding composite imaging to
the film. All that time and pain, all with the hope that in the end, it’s invisible to the
audience. I like to think that we were successful.
Part of the trick that we learned for color correcting digital footage, was to try and give
the illusion of exposure latitude by desaturating the low end, and softening the luma
channel ever so slightly. It was also a common practice for us to crush our blacks, and
boost our mid-tones to help increase the contrast, as well as a slight overall desaturation
of the imagery to help get rid of some of the candy colors that seem to plague digital
footage.
Our editor and post-supervisor, Kris Newsom was extremely creative at coming up with
new ways for us to affect the footage, in order to help the audience distinguish between
past, present, and dreamscape.
AN ATYPICAL LOVE STORY
It was always my fear during the making of Road To Victory, that ultimately, it would ask
too much of the audience. Perhaps in some ways, it still does.
One of our greatest difficulties was making this type of romance / love story accessible to
an audience. It was arguably the single most difficult aspect of the story to convey.
The following quote was brought to my attention by Producer Jon Kitchen, and I think
that it describes, quite appropriately, the love story we tried so hard to tell:
“Good love is a few months. Of bliss, of nothing wrongs, of sparkle, of tight
gripping hands, of the inability to get close enough.
Bad love is a lifetime.
Bad love is the greatest test known to us. It is our most prized pain - so
sought after, so hard to find. Bad love is work, giving-in, compromise,
forgiveness, the unflinching support for another even at their most
humiliated, their most vulnerable. Bad love is not on television, at the
movies, on vacation, or at the bank. Bad love is not in the church, the
temple, or under the dome. Bad love is not all around us.
Bad love is what we find when we let go enough to actually be found by
someone else."
- By Matthew Good, Wednesday, February 14th, 2007
Elliot reflects these sentiments most aptly in what is perhaps the most vulnerable line in
the film, when standing naked and shouting, he is forced to admit the horrible truth behind why he stayed with Anna, and in spite of it, why he can’t leave her.
No one ever chooses to be at their most vulnerable. It is an emotional nakedness forced
upon us by circumstance. And when we are, the hardest thing to do is to accept help, to
reach out to another human being, and admit our innermost fears. The risk of rejection in
this state is far too great. It takes a special strength, a gentle persistence, and the kind of
patience known only to those who have been there, to climb the walls we put up to protect ourselves when this happens. It’s the kind of situation that breeds relationships no
one else but the two people involved seem to understand.
It’s en endless quandary; someone in pain who needs to reach out, but can’t. And the
other person trying to break in against defenses that only seem to get stronger with each
intrusion.
Road To Victory is that story of bad love.
ABOUT THE CAST
MIKE REILLY (Elliot)
Out of high school, Mike attended the University of Arizona, where he played football for
the Wildcats. As such, Mike was exposed first hand to much of the subject matter presented in Road To Victory. After sustaining an injury, Mike transferred to UC Davis,
where he studied both neurobiology and theatre. During this time, Mike coaches high
school football, interned under Andre Benoit, Strength Coach for the Canadian Luge and
Bobsleigh team, Paul Gagne, Strength Coach for the Canadian Speed Skating team, as
well as trained under world renowned strength coach and author, Charles Poliquin. Also
during college, away from sport, Mike was mentored by Academy of the Arts member
and lifetime Hollywood scriptwriter David Goodman. David personally assisted Michael
with the early drafts of Road To Victory. Following college, Michael began his first real
estate companies, which he later sold to finance film school and principle photography
for Road To Victory. Michael’s experience building and running a real estate company
have formed the foundation of his business knowledge, which has been expanded upon
quite considerably by his formal education as a Producer / Director at Vancouver Film
School, as well as his day and night hands on experience as Executive Producer of Road
To Victory. Mike’s directorial debut, the short film: Artistic Anxiety, was accepted to the
2005 LEO Awards Film Festival and 2005 Silver Wave Film Festival. Mike also served
as an Executive Producer on the short student film Mon Dieu, which was recently aired
on PBS.
JULIA ANDERSON (Anna)
As a young actor who has spent a great deal of time on stage, Julia was thrilled with the
opportunity to play Anna in Road to Victory. She was immediately drawn to the role and
to the project. Julia will always be grateful to Mike and Sam, for challenging her and allowing her to play in a story that they both hold so dear to their hearts. Julia is currently
in Vancouver honing her craft and continuing to grow as an actor and individual.
POPPI REINER (Dr. Kahn)
Poppi loves the fact that acting has given her the opportunity to perform many fun characters on stage, in film and on television. A sampling of the more zany roles includes: a
"swinger" on Cold Squad, a woman abducted by aliens on Stargate, and a female Victor
Lazlo in the lesbian version Of Casablanca. She has the dubious distinction of having
adopted her co-star, a pound kitten, on Animal Miracles. Her most rewarding (and challenging) role is that of mother to her two fabulous daughters, Sydney and Harley.
PETER ABRAMS (Dr. Morino)
Peter Abrams started acting in his early teens in Toronto. However, upon entering high
school, he decided to pursue other interests. 22 years later, after traveling and working in
many different countries, Peter returned to his original passion: acting. Since his return in
2000, Peter has played a variety of roles in Vancouver stage and screen productions. His
TV credits include Da Vinci’s Inquest and Cold Squad, and he has played both lead and
principal roles in many independent films.
Peter’s stage roles include, Slim in Of Mice and Men, Tyrone in The Blues, and Inspector
Hound in The Real Inspector Hound. Peter recently made his successful directing debut
(January, 2005) with Lawrence & Holloman. He also performs with Vancouver Playback
Theatre, an improv story-telling troupe that re-enacts memorable moments from people’s
lives, used for personal and organizational growth.
CLAY ST. THOMAS (Coach)
Clay had a fascinating 2004. He was the the ‘head vampire’ in the indie horror/thriller
Subhuman, landed a principal role in The Exorcism of Emily Rose with Laura Linney
and had a blast with his recurring role as the voice of the villainous ‘Flashman’ on Megaman: NT Warrior. And of course, his Road to Victory role as Elliot’s proud, protective
college football coach was a bit of karmic payback for a guy who couldn’t get arrested at
high school team tryouts…
KEITH D. HUMPHREY (Scout)
I feel very fortunate and blessed having been cast in Road to Victory. I have also been
fortunate having performed in 2 award-winning commercials and being nominated for
Best Actor in the short film “Line of Taxis”. The bonus here was being invited to its
screening during the International Festival of Cinema & Technology which was held at
the Sony Culver City Studios in Los Angeles.
WINSTON BRWON (Chris)
Although he initially dreamed of a professional football career, which was halted in college by an unfortunate leg injury, Winston quickly turned his focus to his other passion:
Acting. His slightly offbeat style has landed him recurring roles on TV series’ such as
Madison and Dark Angel, as well as several other notable TV guest appearances.
Throughout high-school Winston enjoy success in athletics (playing high-school basketball, football and soccer) as well as in the theatre program, but it was not until he started
acting that he was fortunate enough to combined his two loves; landing roles in several
sports films which include A Road to Victory. A Road to Victory is the third big independent project that he’s been a part of (the first two being Sam’s Lake and Tested) and
has enjoyed the freedom he’s been given to explore different ways of portraying his characters, which is something he rarely gets to do in television. As he continues to work on
camera, Winston has decided explore other facets of creativity by going back to the University of British Columbia to complete his English Degree.
CURTIS BECHDHOLT (Wein)
Curtis Bechdholt has appeared in over 30 T.V. shows, including Outer Limits, Cold
Squad and Millenium. He is most proud of playing one of the leads in the critically acclaimed film Rhino Brothers. Curtis's next project is a lead role in the horror film Ghostwoods.
ABOUT THE FILMMAKERS
MIKE REILLY (Executive Producer / Writer / Director)
Out of high school, Mike attended the University of Arizona, where he played football for
the Wildcats. As such, Mike was exposed first hand to much of the subject matter presented in Road To Victory. After sustaining an injury, Mike transferred to UC Davis,
where he studied both neurobiology and theatre. During this time, Mike coaches high
school football, interned under Andre Benoit, Strength Coach for the Canadian Luge and
Bobsleigh team, Paul Gagne, Strength Coach for the Canadian Speed Skating team, as
well as trained under world renowned strength coach and author, Charles Poliquin. Also
during college, away from sport, Mike was mentored by Academy of the Arts member
and lifetime Hollywood scriptwriter David Goodman. David personally assisted Michael
with the early drafts of Road To Victory. Following college, Michael began his first real
estate companies, which he later sold to finance film school and principle photography
for Road To Victory. Michael’s experience building and running a real estate company
have formed the foundation of his business knowledge, which has been expanded upon
quite considerably by his formal education as a Producer / Director at Vancouver Film
School, as well as his day and night hands on experience as Executive Producer of Road
To Victory. Mike’s directorial debut, the short film: Artistic Anxiety, was accepted to the
2005 LEO Awards Film Festival and 2005 Silver Wave Film Festival. Mike also served
as an Executive Producer on the short student film Mon Dieu, which was recently aired
on PBS.
SAMANTHA REINIS (Additional Direction / Associate Producer)
Sam Rienis Hails from Berkeley, California. After completing her bachelor’s degree in
Dramatic Arts at the University of California at Davis, she moved back to the bay area to
join the I.A.T.S.E, Local 16. For two years she worked through the union as a carpenter,
electrician, rigger, video up, stagehand and stage manager, where she enjoyed working
for a variety of productions from the stage to film.
Her credits include, the Rolling Stones LICKS world tour, Paramount’s TWISTED, and
Broadway’s hit musical WICKED! The Musical, Tony Award winning Russell Simmon’s
DEF POETRY JAM and many other conventions and trade shows. She has produced
over half a dozen shorts and written and directed two, and plans to write more. Currently
Ms. Reinis resides in Vancouver BC, while she is pursuing a career in Producing and
Film Production.
JONATHON KITCHEN (Producer / Assistant Director)
Jon was born and raised in Fredericton, New Brunswick. To date, he has completed a BA
(English) with a Minor in Fine Arts (Film Studies), at the University of New Brunswick
(2001). He has also been an active member, of both, the NB Film Co-op (1997-2000) and
the Capital Film Society (1996-1999). Jon has traveled throughout Canada, the US, Mexico, and Central America. Through those experiences, he has gained a genuine interest in
human rights and other cultures.
Jon graduated from the Vancouver Film School’s Film Production Program in 2004.
There he successfully produced the short documentary: "TREMOLO," (screened at the
2004 Detroit Docs International Film Festival and 2005 Silver Wave Film Festival), as
well as the 16mm short film, "Artistic Anxiety," (Screened at the 2005 LEO Awards Film
Festival and 2005 Sliver Wave Film Festival.) He has been 1st Assistant Director on numerous short films on both digital video (24p) and 16mm film. He also gained experience
in the camera department, given the role of 1st AC on two 16mm short films. Upon
graduating from VFS, Jon was brought on to help produce and 1st AD: “Road to Victory,” an independent feature film with RTV Pictures, LLC.
BRENT BUNTYN (Cinematographer / Associate Producer)
Brent Buntyn’s career began while getting his Bachelors degree in geography from
Southern Oregon University. While attending school in Ashland Oregon he discovered
the sport of whitewater kayaking and immediately fell in love. While experiencing some
of the most remote places in the U.S. he took along his camera to document the trips. At
the same time he met some of the most extreme kayakers in the world running some of
the largest waterfalls in the west. Out of those trips in 2001 Brent formed Ashland Mine
Productions, a production company specializing in whitewater kayaking films. As the Director, Producer, Editor, and co-Cinematographer, Ashland Mine Productions released
two films, “No Big Names I and II”. In 2003 No Big Names II went on to receive Kayaking Film of the Year from Paddler Magazine’s readers. The film also was accepted into
the Banff Mountain Film Festival in Banff, Alberta, and headlined the BMFF Reel Thrills
Tour. Following the success at Banff the film was also selected for Kendall Mountain
Film Festival (UK) and the Moscow International Festival of Mountaineering and Adventure Films.
In 2003 Brent was hired to assist on commercials for Jackhammer Films. Getting to be
around professional cinematographers urged him to go back to school for formal training.
In 2003 Brent was accepted to Vancouver Film School in Vancouver, B.C.. Specializing
in Cinematography allowed Brent to gain training and experience behind the camera.
Brent’s greatest accomplishments while in school were as Director of Photography on
three short films, “Artistic Anxiety”, “Celebration”, and “MonDieu”. He was also chosen
to Direct a short documentary entitled “Trash”. Brent graduated from VFS in October
2004 and was hired on to an independent feature film as the Director of Photography. The
film "Road to Victory" (currently in post) was a huge learning experience and has instilled confidence both technically and artistically as a DP.
TODD BELL (Cinematographer)
Todd Bell is a Cinematographer/Director currently living in Santa Cruz, Ca. After attending the Academy of Art film school in San Francisco, he went on to work as a
cinematographer/assistant director for Fox Racing Inc. in their film department helping to
make two motocross action sports films, Project MX and Throttle, both of which receiving Telly awards for their efforts. (Project MX-silver, Throttle-bronze)
During this same time he directed two music videos for the heavy metal band Chimiara,
(Pure Hatred, Sp lit) who he worked with in creating a full length feature documentary
called The Dehumanizing Process, which is about the writing, recording and touring of
the band’s latest album, The Impossibility of Reason. ( www.Chimaira.com/Dehuman )
Todd has also worked as Director of Photography on a series of commercial for Subaru
Primal Quest adventure races, and worked within the camera department as 1stAC, 2nd
AC, and loader on commercial and music video projects for such clients as: Footlocker,
Fry’s, Ming & FS, Pep Love, Metallica ect.
STEVEN DENEAULT (Cinematographer)
Steven Deneault was born in Montreal, Quebec and moved to Vancouver where he attended the Vancouver Film School in 2002. Their, he focused his studies on Cinematography and after graduating was hired on at VFS as a Cinematography Technical Assistant.
He has shot numerous short films on both 35mm and 16mm film and continues working
as an Independant Cinematographer in Vancouver, Canada. He was given the 2004 CSC
award for student cinematography for the short film "White Grease Paint". Steven was
also the Director of Photography on the short film "Alarium" which was awarded a Leo
(B.C. Film Award) as the best student production for 2004.
KRISTOFFER NEWSOM (Editor / Post Production Supervisor)
Kris’ involvement with media production began in 1995 with 3d computer animation and
graphic design. His experience with Macintosh computers combined with his skilled photography developed in him a talent for creating cinematic art. The advent of high-end
computer video editing software brought him further into the realm of professional media
creation. Having used a variety of different editing platforms, Kris has developed a mastery of Apple’s Emmy winning Final Cut Pro.
Although video and various other types of digital media have always intrigued Kris, he
has also come to explore the world of cinematography. Having studied Anthropology and
Film at HSU, Kris views cinema and digital media as one of the artistic keys to exploring
the human condition and touching the spirit of humankind.
PAT TATE (Art Director)
Patricia Tate, DA enjoyed a long career in theatre and dance before graduating from the
Film Program at VFS. Now, she aspires to combine the two art forms and work in the
genres of Film and Dance and Documentaries.
I consider myself extremely fortunate to have the opportunity to have a key position in a
feature film, right out of film school. RTV was the culmination of all I learned (and did
not learn) at VFS. It really prepared me to jump into the industry with confidence and
practical experience. RTV represents the reality of the business: the tension, conflicts,
doubts, torture, exhilaration, fun, pride, and most important, the business of relationships
and personalities.
Putting aside the turmoil and torture, I have to say that I gained an incredible respect for
all who committed themselves to the film. I can walk away knowing that I have friends
and colleagues for life. I can walk away knowing that we all were on the same playing
field: learning from our mistakes, growing because we took risks, and creating our passion. Life cannot be any better. Thanks, Mike and Brent and all the crew and cast.
FILM CREDITS
In Fond Memory of Pat Tate,
You will be remembered and missed.
Written & Directed by
Mike Reilly
Produced by
Mike Reilly
Jonathon Kitchen
Additional Direction by
Samantha Reinis
Associate Producers
Samantha Reinis
Brent Buntyn
Editor & Post-Production Supervisor
Kristoffer Newsom
Cinematography by
Brent Buntyn
Todd Bell
Steven Deneault
Assistant Director
Jonathon Kitchen
Art Directors
Pat Tate
Daren Sasges
Story Consultant
Samantha Reinis
Original Score Composed by
SURQUE
Lead Female Vocals
Tehila Lauder
Additional Score by
Danial Waltman
CAST
Elliot – Mike Reilly
Anna – Julia Anderson
Dr. Kahn – Poppi Reiner
Dr. Morino – Peter Abrams
Coach Jim Miller – Clay St. Thomas
Scout – Keith D. Humphrey
Chris – Winston Brown
Wein – Curtis Bechdholt
Carol – Kaela Aryn
Dr. Nyack – Dr. David Wikenheiser
Lab Tech – Michelle Brezinski
Professor – Maria Mancini
Bob (Club Manager) – Chris Anderson
Combine Doctor – Stacey Horsley
News Correspondent – Jessica Stowell
Julie – Kate Green
Stripper #1 - “Brooklyn”
Stripper #2 – “Emily”
Dr. Flout – Ryan Haneman
Dr. Grecco – Dr. Gerry Ramogida
Assistant Coach #1 – John Funk
Assistant Coach #2 – Phillip Reilly
Anna’s Mother (Voice) – Mary Black
Radio Personality #1 (Voice) – Tom Nelson
Radio Personality #2 (Voice) – Kris Newsom
High School Kid #1 – Alaina Hallett
High School Kid #2 – Don Anderson
College Kid – Brent Buntyn
‘Toddler’/Elliot’s Son – Kate Slutzy
CREW
Additional Camera Operators
Josh Kjorven
Scott Tester
Nathan Hollander
Andy Rydzewski
Patti Moore
Assistant Camera
Mike Kyu-Hyoung Kim
Sunhwa Kim
Makeup Artist
Courtnee Drobott
Production Sound
Chris Coulter
Jason Myer
Stephan Daniels
Key Grips
Gian Spina
Chris Bamford
Gaffers
Chad Galloway
Jack Schurman
Shari Bailey
Script Supervisor
Namhee Lee
Dance Choreographer
Jacqueline J. Stewart
Stunt coordinator
John Funk
Sound Editor& Designer
M.J.K
Digital Effects
Bart Stevens
Ian Schiller
Casting by
RTV Film Production Co. Inc.
Peter Abrams
Key Production Assistant
Matt Wells
Production Assistants
Stephanie Chapelle
Davin Takeuchi
Matt Smith
Elizabeth Johnson
Michael Bishop
Dave Beaumont
Joel Ross
Lighting & Grip Equipment supplied by:
Paladin Show Services
DTC Grip and Lighting
Production Insurance
Mark Callow Insurance
Legal Services
Sutton Law Center
Heenan Blaikie
Original Songs by Sean Hayes
“Calling All Cars”
“Alabama Chicken”
“Rattlesnake Charm”
“Turnaroundturnmeon”
“Angel”
“Same God”
“Rosebush Inside (Morees Bickham)”
Filmed on Location in:
Vancouver & Lower Mainland, British Columbia
Lake Oswego, Oregon
Sacramento, California
Lake Tahoe, California
Seattle, Washington
Copyright c 2007 RTV, LLC
All Rights Reserved

RTV Pictures - Road To Victory

Transcription

Similar documents

Bandyke Moving Pictures

Join us for a free screening of First Generation —

Film quiz 12 May 2011

Page 19 - Films - Magazine for the Arts

Naqsh Short Films

What Is TV Doing About Children`s Shows?

ULTRASONIC FILM SPLICER MICROFILM EQUIPMENT

REEL-Recovery-Film-Festival - Lifeskills Of South Florida

THE CREATION OF MEANING - Press Kit