Spoiler Alert Press Notes

BASEMENT TAPES FILMS
PRESENTS
Starring:
Brad Zuhl DANIEL BARTKEWICZ
Harrison Kane LARS STEVENS
Walt Grambling JARRED KJACK
The Delivery Guy TONY MUI
Young Woman NICOLETTE CALLAWAY
Directed By David Rakowiecki
Written By David Rakowiecki
Produced By David Rakowiecki
www.spoileralertmovie.com
www.harrisonkane.com
www.thegeek-cave.com
Basement Tapes Films, 39 Valley Road, Madison, NJ 07940
Cell Phone: 551-208-2185, e-mail: [email protected]
THE STORY:
SPOILER ALERT is a black comic/revenge tale from first-time feature filmmaker David
Rakowiecki (pronounced Ra-cow-ski). Itʼs about Brad, the operator of a movie scoop
website and Harrison, a down on his luck film director who has squandered his artistic
abilities in pursuit of easy paydays. One night Harrison shows up on Bradʼs doorstep
looking to exact revenge upon him because he feels Brad and his website have ruined
his career. Chinese food, movie geek talk and murder ensue.
Featuring a cast that includes Daniel Bartkewicz (HAUNTED HAYRIDE, ONE BIG
HAPPY FAMILY), Lars Stevens (BUTTERFLY SCREAMS, NIGHTMARE) Jarred Kjack (AS
THE WORLD TURNS, GUIDING LIGHT) and Tony Mui (JADED, FANTASTA GIRL).
SPOILER ALERT is written, produced and directed by David Rakowiecki.
The story begins when Brad Zuhl (BARTKEWICZ), self-styled film geek and
webmaster of movie scoop site www.TheGeek-Cave.com, lets an interviewer (STEVENS)
into his apartment. The “interviewer” is, in fact, Harrison Kane, a film director that Brad has
relentlessly slammed for years on his website. Soon Harrison, Brad and Walt (KJACK),
Bradʼs best friend, are entangled in a power struggle (both physical and psychological).
Although all the characters are involved in filmmaking or want to be, Rakowiecki
feels this is not a film about making a film. “Thatʼs just the MacGuffin. Itʼs about the power
and possibilities of internet culture. When you operate in an arena (the internet) where
there are no rules and no consequences, you have to rely on your own moral compass to
guide you. And with no oversight itʼs possible to get away with murder. Or be driven mad by
the options. Itʼs also about the alarming trend of the focus grouping and ʻAmerican Idol-ingʼ
of our culture. More and more weʼre seeing artistic merit based on a majority vote and
creativity by committee. Popular culture is becoming so watered down that thereʼs less
and less room for individual, unique, out-of-left-field expression. But then you have this
explosion of creativity on the internet that isnʼt beholden to economic factors. The internet
is the new underground.”
THE BACKSTORY:
After writing 12 screenplays in 10 years, attending pitch festivals around the country
and doing o.k. in screenwriting contests, Writer/Director Rakowiecki realized he was not
getting any closer to his goal of becoming a filmmaker. “For example,” Rakowiecki says, “I
won 2nd place in the 2002 Hollywood Symposium Screenwriting Contest for my script 40
ACRES AND A MULE. The first place and third place winners had their scripts optioned but
mine wasn't.” He realized he needed to write something he could shoot himself. “I didnʼt
want to wait any longer for someone to give me permission to make a movie. Especially
because I didnʼt just want to be a screenwriter, I wanted to write and direct. I needed to
show confidence in myself by putting everything on the line to make a film I believed in.”
All these things coincided with Rakowiecki being laid off from his job as an advertising copywriter in 2003. “I used my severance and unemployment money to live off of that
summer while I wrote the script that became SPOILER ALERT. While I was searching for an idea
the first thing I did every day was check my favorite movie scoop websites. One day I said
ʻWhat if?ʼ What if a site relentlessly vilified one particular director and his work? How long
would it take to have an impact? Could it actually ruin someoneʼs career? And wouldnʼt it
be a convenient excuse for someone who was a bit paranoid, to blame his own downward
spiral on a website? Is it all in his head, or is there some element of truth to it? The internet
can create tremendous buzz around films, as well as tremendous backlash. What are the
responsibilities of those who have that kind of power?”
When Rakowiecki decided the website would be run out of a basement apartment in
Hoboken, New Jersey a lot of other story elements fell into place. “The basement set-up
led to the conceit of a one room film, the ʻholy grailʼ of low budget filmmaking. I could boil
the story down to its most basic components; one room, and three main characters. If I
could make it compelling, it would be a great way to make the most of my limited financial
resources. And it would also be the most rigorous example of the Aristotelian theory of the
unity of time and place. These guys literally canʼt leave the room and, as an audience,
neither can we.”
The first character he created was Brad, the web host who, thanks to the internet, is
enjoying the kind of power and status heʼs always dreamed of having. Next came the film
director, Harrison, who started out with good artistic intentions but has just taken a wrong
turn in his career. “They are almost two sides of the same coin; Brad the idealist and
Harrison, the lapsed idealist,” says Rakowiecki. “Neither one is a conventional hero or
conventional villain. I wanted people's empathy and loyalty to shift between the two lead
characters throughout the story. It was a difficult balancing act in the writing.” But the
writing had moments of sheer creative fun. “Some of the most fun I had was imagining the
world of the Geek-cave.com and the world of Harrison Kane, creating the history and
mythology of both guys. Especially the movie titles and taglines for Harrison's films. Bob
Buzas (graphic designer), did an amazing job of creating the posters and capturing the
vibe of the films. That level of detail leant authenticity to Harrison's career.” (see more
about Harrison Kaneʼs career at www.harrisonkane.com)
“Thereʼs definitely a lot of me in Harrison and Brad,” Rakowiecki continues. “A lot of
their dialogue is based on things that Iʼm passionate and concerned about. Things like the
power of the internet, pursuing your dreams, age-ism in our society (is it ever too late to
pursue your dreams?). Not to mention the focus-grouping and American Idol-ing of culture
to reach the lowest common denominator. Iʼve seen a lot of that in advertising and itʼs now
permeating more and more of society. Ultimately that group-think diminishes our culture by
taking out uniqueness and individuality of expression. If people take away some of that
from the film, great. But mainly I wanted to tell an exciting, entertaining story. So I took all
those ideas and wrapped them up in a fast moving tale of revenge.”
THE PRODUCTION:
Once the script was written Rakowieckiʼs first step was storyboarding the entire film.
He drew 500 frames, then put the storyboards into i-movie and created an animatic of the
entire film by adding music and doing all the voices himself to see how it would play.
Although financing the film himself, Rakowiecki thought the next step was finding a
producer. “There were a couple of times when I thought I'd found one and production was
going to get off the ground. But each time I was stymied by a producer backing out or disappearing on me. Which was maddening because I wasnʼt even looking to them for money.
Finally,” Rakowiecki says, “after over three years of script revisions, readings and flirting with
producers, I decided the only way the film would get made was if I got off my ass and produced it myself.”
“I took a lot of inspiration from DIY guys like Darren Aronofsky (PI), Joel Coen and
Ethan Coen (BLOOD SIMPLE), Kevin Smith (CLERKS), Richard Linklater (SLACKER),
Robert Rodriguez (EL MARIACHI), Joe Carnahan (BLOOD, GUTS, BULLETS & OCTANE),
Christopher Nolan (FOLLOWING) and Spike Lee (SHEʼS GOTTA HAVE IT). They all went
out and made their first films by hook or by crook,” Rakowiecki explains. “I knew I needed to
do the same.” That DIY spirit is also reflected in the name Rakowiecki chose for his production company; Basement Tapes Films. “Itʼs named after the famous home recordings Bob
Dylan and The Band made in their basement in Woodstock in 1967,” Rakowiecki says.
The next step was casting. “Casting was a blast,” Rakowiecki remembers. “I was
really impressed by how many talented non-union actors there are in New York. People who
just havenʼt had that one break yet. I wish I had 30 roles to cast because I hated to turn
down really talented people. But as in most casting situations it really came down to only
one person who could perfectly embody each part.”
Once the cast was in place a set was built on a stage in Brooklyn. Dan Pasky, the set
designer, laid out the floor-plan for the Geek-cave and the set was built and dressed in two
days. “Iʼd been accumulating furniture and props for almost two years as I was gearing up
for the shoot,” Rakowiecki says, “and I wound up needing every single item, as well as many
more that Dan found, in order to give texture to Brad Zuhlʼs world.”
SPOILER ALERT was shot on a tight, eleven day schedule, with no days off. “We averaged
8 pages a day and shot at an 11-1 ratio,” Rakowiecki says. Everything was shot handheld, in
HD, with a Panasonic HVX 200, utilizing a 35mm adapter and framing for a 2:35 aspect
ratio. The footage was dumped from P2 cards onto a hard drive at the end of each shooting
day (along with sound files). “After the 11 day shoot,” Rakowiecki says, “we had 17 hoursʼ
worth of footage to work with.”
“Shooting HD was great for this particular script,” explains Rakowiecki. “Since the
story is virtually real-time and is one long scene, shooting HD allowed actors to go with a
scene for as long as they were feeling it. If they were on a roll one scene could flow into the
next without cutting or resetting. We wouldnʼt have been able to do that with film. Though
there were times Chase Bowman, the DP and camera operator, probably wished we cut
sooner, instead of letting the camera roll for 8, 10 or 12 minute takes. Everything was shot
handheld and the 35 adapter wound up getting really heavy the longer the take went.”
When it comes to getting a low budget film off the ground, Rakowiecki has a tip for
aspiring filmmakers, “Wherever you live, get involved in your local film community. One
invaluable asset in production was my local New Jersey filmmakerʼs group, Exit 131
(www.yahoogroups.com/groups/exit131). They helped me find my Sound Mixer, Make-up
person and production insurance. You never know what kind of resources, advice and
references someone in your own state or town can provide to help you make your film. And
youʼll need all the help you can get.”
THE SETTING:
“The film is highly unusual in that 99% of it was shot in one room,” says Rakowiecki.
This was necessary not only budget-wise but also story-wise. “What could be more tense
than three people in one room that they canʼt leave?” asks Rakowiecki. The idea of shooting
an entire film in one room scared off some DP's. “People thought it would be uncinematic,
but there are certainly precedents in filmmaking,” explains Rakowiecki, “from LIFEBOAT and
ROPE (Hitchcock) to DEATH AND THE MAIDEN (Polanski) to TAPE (Linklater), though Iʼm
by NO MEANS including myself in the same universe as those directors. However, those
films proved you could do something with one location, a small group of actors and still be
interesting, engaging and entertaining. And after all, Aristotleʼs rules of drama specify characters in limited, enclosed space in real-time, so why is it so rarely done in film? The reason
given is it will be ʻun-cinematic.ʼ But as someone much smarter than me once said, the most
cinematic thing is the close-up and the human face. Working in such a restricted way puts a
huge burden on the actors but I had an extremely talented cast that could handle it.”
Chase Bowman turned out to be the perfect DP for the job. “Chase was great,” says
Rakowiecki. “He saw shooting in one room as a challenge and saw the possibilities of it,
rather than the limitations. He wasnʼt intimidated by it. And he brought in Blake (Eichenseer),
the gaffer, and together they created an amazing look on a miniscule budget.”
One of the keys to engaging the audience in a one room film was to create a believable environment. “As Brad says, his apartment is his fortress of solitude. Itʼs his Batcave
and within it he feels invulnerable,” Rakowiecki explains. “Dan Pasky, the set designer, totally understood this and came up with a floorplan and design for the Geek-cave that really
made the environment come alive. Danʼs designs, Chase's camerawork and great actors
ensured that we'd never get visually bored in the small space.”
THE CAST:
The success of any film relies heavily on the casting. When you have great actors
everything flows from that, and SPOILER ALERT was no exception.
“The role of Brad Zuhl was tricky. There are many sides to Brad that an actor
needed to truthfully portray. From the blustery to the vulnerable, from the aggressive to
the easily wounded. A guy who has created his own world and lives a good deal of the
time in cyberspace and inside his own head,” says Rakowiecki.
“When I was first e-mailed the sides for the character of Brad I experienced one
of those innate yet indescribable feelings one obtains from understanding something,”
Daniel Bartkewicz says. “I felt urges and reasons when I read this characterʼs words.
Brad had such a knack for speaking, and a really complex emotional history. His choices
and statements felt strong and interesting. When I finally received the entire script, I was
blown away.”
Casting Bartkewicz in the role of Brad turned
out to be fate. “Dan was a real last minute find,” says
Rakowiecki. “He had sent me his head shot, but he
looked about 15 years old. I was skeptical but asked
him to come in to read. He never responded to my
e-mail so I assumed he was booked on something
else. Then at the 11th hour he contacted me. I was
able to fit him into a packed day of casting and right
from his first reading his intensity and commitment to
the character gave me chills. While we were shooting
Dan not only lived up to my initial impressions of him
as an actor, but exceeded them.”
“Working on this film was one of the, if not the, best experiences I've had on a film
thus far. I was exposed to talent, both cast and crew, beyond my wildest expectations,”
Bartkewicz says. “There was so much heart and hard work put into this movie. David
allows you to make choices while still guiding you towards the characterʼs truth. He was
involved in nearly every aspect of filming. His writing is fine tuned, his vision is concise.”
“Harrison Kane needed to be a human being and not a cartoon,” Rakowiecki
remembers. “We needed to see the vanity and weakness that allowed him to be seduced
by the ʻdark sideʼ of success, fame and money, but then peel away those layers to see
the vulnerability and regret in his character. Lars Stevens nailed it from the first casting
session.”
“The script was well thought out and rich in character material,” Stevens says.
“And the chance to play a big-time Hollywood director that ʻbought in to his own hypeʼ
sounded like a lot of fun to me.”
“Lars showed a tremendous range and was able
to play Harrison as a fully rounded character and not
a caricature of a coked out film director. He
really showed the humanity of a talented man who
started out with pure intentions but lost his way,” says
Rakowiecki.
“During the filming Dan (Bartkewicz), Jarred
(Kjack) and I found more nuggets in the script which
helped color our environment and gave me more to
grow the human side of Harrison,” Stevens says. “In
other places David and Dan had the patience to let
Harrison broil at the breaking point. That gave
Harrison his texture.”
“Walt was the toughest part to cast because he
was truly a regular guy,” Rakowiecki says. “But a regular guy who was highly ambitious
and would do anything to achieve his goals. In fact, you are never quite sure what Walt's
really up to or why he does what he does. And that matched up perfectly with Jarred
Kjack. When you watch Jarred you have the feeling
something is going on under the surface that you
can't put your finger on. You never quite know
where you stand with him, which creates an
uneasiness, and that was perfect for the role of
Walt,” according to Rakowiecki.
“The film was well written in comparison to
other independent projects I've worked on,” Kjack
says. “Walt is an ordinary guy who gets stuck in an
extraordinary situation. My main goal was to keep
my motives clear and never get distracted by what
was going on around me.”
“The Delivery Guy needed to be able to
display a comedic touch, but also have a deadly
serious side. Tony Mui was a revelation,” says
Rakowiecki. “From the minute he walked in he just understood the part and owned it
completely. Heʼs so talented and so entertaining, heʼs definitely someone to watch for.
And we even wound up using the Chinese food bag he brought to his audition in the
shoot, we couldnʼt find a better one.”
“Working on the film was a blast,” Mui says. “The script was great, it allowed me
to display multiple personalities. I was able to throw my own style and flavor into the
contents. And the director gave us the freedom to explore these characters within
ourselves. He really did an amazing job in casting the perfect people for each character.”
“The part of the Young Woman was a small but crucial role,” Rakowiecki says.
“The look of the Young Woman was very important but even moreso was the way
Nicolette (Callaway) was able to make adjustments during her audition. I think sheʼs
going to make a great impression and be very memorable in this small part.”
“I was extremely lucky to assemble such a talented cast for a low budget, intense
shoot,” Rakowiecki says. “The creativity and commitment from all of the actors really blew
me away. It was particularly hard on Lars and Dan because they had to be ʻonʼ every
minute of every day during the 11 day shoot. Even though the script was broken down
into scenes, it's really one continuous 85 minute piece. So if we had scene 11 scheduled
on a particular day we would end up shooting scenes 9, 10, 11, 12 and 13. The actors
had to be extremely well prepared and ready for anything when the camera rolled.”
DANIEL BARTKEWICZ (BRAD ZUHL) – Daniel Bartkewicz trained for nine years
in the Meisner Intensive program at Actorʼs Playground and Actorʼs Training Institute. He
is equally comfortable working on stage or onscreen and has performed nonstop in off-off
Broadway theatre in New York City for over a year. Possessing a knack for multiple roles,
he was last seen as Mr. Slinger, Father and Bully in ʻLillyʼs Purple Plastic Purseʼ at the
Manhattan Childrenʼs Theatre. In that same vein, he also appeared as Robert, Father,
Grandfather and the Count in Christopher Durangʼs ʻdentity Crisisʼ, in addition to his work
as Swanson in Eugene OʼNeillʼs ʻIn the Zoneʼ, and Elgin in Le Wilhelmʼs ʻThe Voyeur and
the Widowʼ.
Bartkewicz recently completed work on a feature length horror film, HAUNTED
HAYRIDE, in which he plays the lead role of Billy. Other film credits include John in ONE
BIG HAPPY FAMILY, Chet Jenkins in the award winning student film THE ELECTIONIST,
as well as roles in JADED and NEW YORK LATELY. Bartkewiczʼs relentless drive to
work makes him an actor to keep your eye on.
LARS STEVENS (HARRISON KANE) – For the past ten years Stevens' body of
work has consistently grown and he is highly sought after by up-and-coming directors in
New York. In late 2008 Stevens will be seen in HENCHMEN. Stevens was last seen in
BUTTERFLY SCREAMS, which debuted at the Bruno Walter Theater at Lincoln Center in
Manhattan, and was attended by political and entertainment luminaries from the U.S. as
well as Europe and the Middle East. Prior to that he played a role in the hit web series
WE NEED GIRLFRIENDS, which was recently picked up by Darren Star Productions
(Sex and the City, Cashmere Mafia, Melrose Place) and given a script commitment by
CBS. Also this year, Stevens appeared in the series THE MINOR ACCOMPLISHMENTS
OF JACKIE WOODMAN and the film FEAR OF CLOWNS 2.
Stevens can also be seen in the award winning film NIGHTMARE, which won the
Austin Fantastic Fest Jury Award. He has appeared in several critically acclaimed
independent shorts, including INSIDE YOU, BEASTER, WITHOUT A CLUE and MY
IMAGINARY FRIEND LARS STEVENS, for which he earned a Best Leading Actor Award
from the 2 Week Movie Making Madness Competition 2005. He has also appeared in
over 20 other features and shorts.
JARRED KJACK (WALT GRAMBLING) – Jarred Kjack is originally from Walla
Walla, WA. He attended California State University, Fullerton, where he received his MFA
in Theatre & Film. Off-Broadway Credits include 'Edward II' at the 14th Street Theatre. His
performance was described by Duncan Pflaster of BroadwayWorld.com as “Fine Work."
He is a certified S.A.F.D. actor-combatant and recently finished shooting the independent
film GRAVEL. This recent A.F.T.R.A. member can also be seen on GUIDING LIGHT and
AS THE WORLD TURNS.
Kjackʼs Regional Theatre Credits include 'Reviving Ophelia', 'Witness for the
Prosecution', 'Alice in Wonderland', and 'A Christmas Carol' at the Cincinnati Playhouse
in the Park. 'Midsummer Nights Dream', 'Cyrano De Bergerac', and 'MacBeth' at the
Texas Shakespeare Festival, and 'Henry V', 'Loveʼs Labourʼs Lost' at The Kingsmen
Festival.
TONY MUI (DELIVERY GUY) – Born and raised in New York City, Mui studied
Business Management at the State University at New York in Stony Brook. During his 4
year tenure he appeared in school productions of 'China Night', 'Pusofest', and 'Spirit
Night'.
Soon after graduating, he broke into the movie industry as a background extra in
the 2005 Richard Donner film 16 BLOCKS. He followed that up with starring roles in
numerous student and independent short films, which include JADED, GENDER &
COMMUNICATION, HOW TO KEEP A MORON BUSY FOR HOURS and FANTASTA
GIRL, for which he portrayed the character Harry, a gay hair stylist by day and superhero
sidekick by night. Mui will also be seen in an upcoming digital short on APRESO.com.
Most recently he was featured in the CW television series Gossip Girl. Muiʼs marketability
has also landed him several commercial print ads with Sony and Microsoft.
NICOLETTE CALLAWAY (YOUNG WOMAN) - Nicolette Callway has a B.A. from
New York University with a focus on Gender & Sexuality. Her work spans theater, film, TV,
radio and commercials. Her theater work includes ʻA Midsummer Nightʼs Dreamʼ, ʻPride
and Prejudiceʼ, ʻInto the Woodsʼ, ʻThe Vagina Monologuesʼ, and ʻHairʼ with Houstonʼs
Donovoan Street Theatre. ʻTaming of the Shrewʼ and ʻCymbelineʼ at Brooklyn Repertory
and ʻdeCADEnceʼ with the Rising Sun Performance Company.
THE FILMMAKERS:
DAVID RAKOWIECKI (Director/Writer/Producer)
– Rakowiecki started in advertising writing award
winning TV spots for major brands including Heineken,
Amstel Light, Sprite and Converse (he won a regional
Emmy Award for a New England Shelter for Homeless
Veterans TV spot). But he found advertising creatively
unfulfilling and turned to writing screenplays. “Iʼve
always been a writer,” explains Rakowiecki, “from
doing my own comic books and short stories as a kid
(Iʼm a huge fan of Jack Kirbyʼs work at both Marvel
and DC), to writing TV and radio commercials. Writing
screenplays was the natural next step.”
Rakowiecki has written a dozen screenplays. Along
with SPOILER ALERT, they include DAN QUICK (an update of Don Quixote) which heʼd love to
do as his next project. 40 ACRES AND A MULE, which won second place in the 2002
Hollywood Symposium Screenwriting Competition. And WOODSHOP, the story Harrison
pitches to Brad and Walt in SPOILER ALERT.
He has attended New York Film Academy, where he wrote and directed the shorts
THE BOTTLE and FIVE CENT REFUND. After NYFA he wrote and directed an Olympicsthemed commercial for Heineken that was written up in the New York Times. Rakowiecki
has also taken lessons in guerilla improv technique at Upright Citizensʼ Brigade Theatre in
New York. He has a certificate in panda care from the Wolong Panda Research Center in
Wolong, China.
Rakowieckiʼs filmmaking influences include: Billy Wilder, Mike Nichols, Hal Ashby,
Robert Altman, Steven Spielberg and Paddy Chayefsky. Other influences are people
Rakowiecki calls “Originators”, people who have created something that is so indelibly a
part of our culture that we canʼt imagine a time when it wasnʼt there. People such as Jan
Wenner with ROLLING STONE, Lorne Michaels with SATURDAY NIGHT LIVE, Stan Lee
and Jack Kirby with the MARVEL COMICS UNIVERSE and William Gaines with MAD
magazine.
Rakowiecki would like to give a huge thanks to the support of his wife, Janie. “She
would drive me an hour to the set in Brooklyn at 5 a.m. each morning, as well as doing a
million jobs that I couldnʼt afford to hire anyone to do, all with amazing patience, humor
and grace. Plus a couple of times she baked her organic Amazing Jʼs Bear cookies for the
cast and crew,” Rakowiecki says.
CHASE BOWMAN (Director of Photography) – Originally from Philadelphia, Chase
now resides in Brooklyn. “I found Chase on Mandy.com after viewing all 270 DPʼs reels,”
Rakowiecki says. “His reel was great and he wasnʼt intimidated by the thought of shooting
an entire film in one room. He was also extremely knowledgeable, not only about the
technical aspects of cinematography and lighting but also about story, scene and
character.” Chase was last seen with a red mohawk and is currently so in demand that he
didnʼt have time to provide any other biographical info. Check out more of his work at
www.chasebowman.com.
DAN PASKY (Set Design) – Dan has designed sets for commercials as well as the
editorial world. Although SPOILER ALERT is his first film, Dan has been busy honing his craft
over the past 17 years, when he started out as an art director. Later Dan became a prop
stylist and has never looked back. Danʼs work has been/can be seen in countless national
magazines as well as a few television commercials.
Dan works with photographers, directors, and editors to ensure that the room/set
is read properly through the lens and reflects their vision. Dan is focused and absolutely
loves what he does. He owns an alpaca and lives just outside New York City.
RYAN STOBER (Editor) – In addition to his skills as an editor, Ryan is a total filmmaker (STAR TREK: BEYOND THE FINAL FRONTIER). He lives in Queens, NY. Learn
more about Ryan at www.imdb.com/name/nm1803604
Movie talk. Murder. Chinese food.
BASEMENT TAPES FILMS presents SPOILER ALERT
Starring DANIEL BARTKEWICZ LARS STEVENS
JARRED KJACK TONY MUI Featuring NICOLETTE CALLAWAY
Director of Photography CHASE BOWMAN
Editor RYAN STOBER Production Design DAN PASKY
Produced by DAVID RAKOWIECKI
Written and Directed by DAVID RAKOWIECKI
SPOILERALERTMOVIE.COM
Poster Design BOB BUZAS
©2008 David Rakowiecki. All rights reserved.
PHOTOS:
(Photography by Ashe Kazanjian,
www.memoryboxstudios.com)
Daniel Bartkewicz as Brad
Lars Stevens as Harrison
Tony Mui as The Delivery Guy
Nicolette Callaway as The Young Woman
Daniel Bartkewicz as Brad
Jarred Kjack as Walt
Tony Mui as The Delivery Guy
Writer/Director David Rakowiecki
BASEMENT TAPES FILMS
Presents
“SPOILER ALERT”
Written and Directed by
DAVID RAKOWIECKI
Produced by
DAVID RAKOWIECKI
Director of Photography
CHASE BOWMAN
Production Designer
DAN PASKY
Casting by
DAVID RAKOWIECKI
Edited by
RYAN STOBER
Sound Mixing and Editing by
BANG MUSIC, NEW YORK
DANIEL BARTKEWICZ
LARS STEVENS
JARRED KJACK
TONY MUI
NICOLETTE CALLAWAY
NATHANIEL JONES
MICHAEL POLOVSKY
CHRIS SOSKIN
MARKUS WINKLER
A
BASEMENT TAPES FILMS
Production
BASEMENT TAPES FILMS
Presents
“SPOILER ALERT”
First Assistant Director
JASON SHAHINFAR
Set Decorator
DAN PASKY
Sound Mixer
DAVID GROMAN
Cast
Brad Zuhl DANIEL BARTKEWICZ
Harrison Kane LARS STEVENS
Walt Grambling JARRED KJACK
The Delivery Guy TONY MUI
Young Woman NICOLETTE CALLAWAY
Internet Respondent NATHANIEL JONES
Internet Respondent MICHAEL POLOVSKY
Internet Respondent CHRIS SOSKIN
Internet Respondent MARKUS WINKLER
Eddie Goldsmith LYLE GREENFIELD
Mr. Chang
Crew
First Assistant Camera SETH JOHNSON
Boom Operator CARLOS HERNANDEZ
Chief Lighting Technician BLAKE EICHENSEER
Electrician OLIVER LARRY
Electrician MEG SCHROCK
Electrician JOHNNY SOUSA
Grip ADDA BIRNIR
Makeup and Hair Stylist CHRISTINA STOCKBERGER
Special Effects Makeup CHRISTINA STOCKBERGER
Carpenter CHRIS ARVIDSON
Production Assistant RYAN NUGENT
Set Photographer ASHE KAZANJIAN
Harrison Kane Poster Designs ROBERT BUZAS
Cookies by AMAZING JʼS
Filmed with
PANASONIC HVX 200 Camera and
Zeiss Prime Lenses
Filmed at Context Studios, BROOKLYN, NEW YORK
Special thanks to Janie Thomas for tea, cookies and sympathy.
Lyle Greenfield for solemnization.
Dave Koza for insight.
Copyright © MMVIII by David Rakowiecki
All Rights Reserved.
THE PERSONS AND EVENTS IN THIS MOTION
PICTURE ARE FICTITIOUS. ANY SIMILARITY TO
ACTUAL PERSONS OR EVENTS IS UNINTENTIONAL.
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OF THE UNITED STATES AND OTHER COUNTRIES.
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