the off hours

 THE OFF HOURS
A FILM BY MEGAN GRIFFITHS
TRT: 93 MINUTES – HD-CAM COLOR – ENGLISH – NOT RATED – Canon 5D digital
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SYNOPSIS
You're awake when everyone else is asleep. You're standing still as traffic is whipping by at 70mph.
Your off hours are spent trying to figure out why you're here, whether you want to stay, and how to leave.
In THE OFF HOURS, Amy Seimetz (TINY FURNITURE) alluringly commands the screen as Francine, a
waitress whose liberation from her mundane existence is long overdue. In the restless world of the night shift
at a highway diner, Francine's life consists of casual encounters and transient friendships. What she wants is
out of reach—or is it that she's lost track of wanting anything at all? When a banker turned big-rig driver
(BAGHEAD's Ross Partridge) becomes a regular, he sparks hope in Francine. As change begins to invade
the quiet diner, Francine is reminded that it is never too late to become the person she was meant to be.
Writer/director Megan Griffiths draws complex characters and stays true to them, respecting their
shortcomings and yearnings for connection. Lynn Shelton (HUMPDAY), Scoot McNairy (MONSTERS), Tony
Doupe (CRIMES OF THE PAST), Bret Roberts (THE VIOLENT KIND) and newcomer Gergana Mellin round
out the all-star indie cast of THE OFF HOURS.
DIRECTOR’S STATEMENT
THE OFF HOURS has been a labor of love for me for the past seven years. Though it has gone through
many incarnations, it was only when the final cast had assembled for the 2010 shoot that the film found its
legs. The actors, led by the amazing Amy Seimetz, breathe authentic life into their characters, all while
remaining faithful to the tone and style of the script. It is on their shoulders that this ensemble characterdriven drama rests, and they bear the burden with humor and humanity. Supported by the gorgeous work of
cinematographer Benjamin Kasulke, production designer Ben Blankenship and costume designer Rebecca
Luke, the performances resonate strongly against a bleak and lonesome industrial small town backdrop. I
couldn't be more proud of the work of the stellar cast and crew that came together to make THE OFF
HOURS. They truly justified the years spent it took to make this film happen.
— Megan Griffiths, Writer/Director
Q&A WITH WRITER/DIRECTOR MEGAN GRIFFITHS
Q: What inspired the general setting of THE OFF HOURS?
GRIFFITHS: The Northwest is where I live, so naturally I’m inspired by my everyday surroundings. We shot
the film in the early spring, which in Seattle is very moody, rainy and overcast. The weather and atmosphere
of the area really enhance the film’s themes of loneliness and yearning for connection while also adding
layers of texture and beauty.
The original inspiration for the script came when I was working the night shift at a film lab in Seattle many
years ago. I got very interested in the people who functioned primarily at night when most of the population is
asleep. I really wanted to explore the effect of this kind of isolation on people’s relationships and their
ambitions and dreams, so I began to write the script for The Off Hours.
Q: The concept of community plays a central role in the relationship between Francine and her boss Stu
along with her co-workers. It seems to speak to the desire to find family and acceptance.
GRIFFITHS: Working at night puts you in a very specific place within the social structure; you clock out only
to return home and go to bed when ninety-five percent of the population is waking up. It can be extremely
lonely and alienating. Yet there is this small subset of the population with whom you share your waking
hours—those people, the ones who gravitate towards being awake at those hours—they become your whole
universe. Over the course of her years at the diner, Francine has come to share a great portion of her life
with this unlikely assortment of people and she has created her own family structure within it.
Q: One of those people is Stu, played by Tony Doupé, who immediately dominates the film with his
simmering intensity. How and where did you find him?
GRIFFITHS: Tony is a Seattle actor and acting teacher at one of the universities here. He has played roles in
nearly every film shot in the area, and on television shows such as NORTHERN EXPOSURE and
LEVERAGE, which are shot in the Northwest. I’ve worked a lot as assistant director and when I met Tony on
a set in 2006 I was immediately impressed with his abilities as an actor. Since then, I’ve worked on several
other projects with him and really gotten a sense of his dramatic range. When I was talking to actors earlier
this year, Tony was one of the first people I approached. I always thought he’d be a good fit for Stu—I knew
he’d be able to really immerse himself and find this character’s humanity. Plus he’s an amazing person and
a complete pleasure to have on set. The set dynamic is incredibly important to me, so I really searched for
people who would enhance the production on a personal level, as well as professional.
Q: A lot of the characters’ interactions with Francine (Amy Seimetz) appear to have varying levels of
intimacy ranging from purely romantic to paternal. What went into building those nuances with the different
male actors, Oliver (Ross Partridge), Corey (Scoot McNairy) and Ty (Bret Roberts)?
GRIFFITHS: As a foster kid, Francine has never known traditional family, and so she tends to (usually
unconsciously) fill those gaps with the pseudo-family within her nocturnal diner world. Probably the most
complex example of this is her relationship with her foster brother Corey. Corey is this very abrasive, yet truly
vulnerable, person who wants something from Francine that she’s not able to give to him, just as Francine
yearns for something from Corey that he cannot provide. They really need each other, but may never find
satisfaction in what the other can offer.
Ty, on the other hand, is a very straight-forward relationship. He is a comfort to Francine without being a
burden. But ultimately, Ty is a person who is complacent with his place in the world. He has no ambition
and doesn’t encourage Francine to move forward.
Francine’s relationship with Oliver is one of those that you know isn’t the “right thing” for either character, but
in playing it out, each discovers something about themselves that they may not have otherwise realized.
Eventually it becomes very clear to Francine that another sexual relationship with a married man is not at all
what she needs. Francine has no shortage of sex in her life—what she’s really missing is trust and intimacy.
Oliver ends up being the one man in her life that fills that paternal role and allows Francine to finally value
herself.
3 Q: Speaking of Corey, some may recognize the actor Scoot McNairy from IN SEARCH OF A MIDNIGHT
KISS as well as from his buzzed-about role in MONSTERS. How did you cast him?
GRIFFITHS: I actually hadn’t seen much of his work before I cast him. Scoot was suggested by
writer/director Lynn Shelton, who plays Danielle in the film and is also a consulting producer. Lynn had met
him at the Spirit Awards when IN SEARCH OF A MIDNIGHT KISS won the John Cassavettes Award. I
watched some of his commercial work online and agreed with Lynn that Scoot would be right for Corey.
That’s literally the extent of what I had seen him do before cold calling him out of the blue and sending him
the script two and a half weeks before we started shooting. It was kind of a leap of faith for me at the time,
but one that paid off enormously. Scoot brought a huge amount of heart to the role of Corey and was an
incredible collaborator. I hope to work with him again and again.
Q: What’s your relationship like with Lynn Shelton (HUMPDAY) who appears as a consulting producer and
as Danielle in THE OFF HOURS?
GRIFFITHS: I’ve known Lynn for years and years. I was assistant director on her first feature (WE GO WAY
BACK) in 2006, and we’ve been friends ever since. The Seattle film community in general is a very mutually
supportive and intimate group of people. When Lynn came in and read for her character Danielle in THE
OFF HOURS I was really impressed with her skills as an actor—she’s very subtle and honest. Then when I
officially offered her the role, I also asked if she would want consulting producer credit because she had
always been (and continued to be) so incredibly supportive and helpful as an advisor and mentor throughout
the process. She introduced me to Amy Seimetz and Scoot, and was just extremely giving with her time and
always so enthusiastic about the project.
Q: The Seattle filmmaking community definitely seems to shine here.
GRIFFITHS: There are four movies in Sundance this year that were shot in Washington. We’ve had a couple
of strong years, especially given the success of Lynn’s film HUMPDAY. It’s an amazing city in which to be a
filmmaker. People are supportive at every level—fellow filmmakers, crew, cast, city organizations, vendors—
they all just really want to see our city produce good work, and they do whatever they can to help artists.
Hopefully our presence at this year’s festival will serve to further Seattle’s reputation as a place that truly
embraces independent film and boosts its own community.
Q: You shot on digital for THE OFF HOURS. What were you using?
GRIFFITHS: We shot on the Canon 5D, which I hadn’t used before. My goal was to find a camera that we
could use to get a high quality image and also be able to have good lens options. So many digital cameras
either require very expensive lens rentals, or have a built-in lens that needs an adapter to work with prime
lenses. With the 5D, you have a lot of less expensive, but excellent, lens options. The 5D also has a shallow
depth of field due to its large sensor, which I think enhances the look as well.
Q: The title sequence in THE OFF HOURS may be the best reason to shoot digitally since you capture the
sense of the area with what has to be no light. How did you pull that off?
GRIFFITHS: When the text starts appearing on screen, everything you see in that title sequence was shot by
our second-unit photographer and without any additional lighting equipment. Throughout the rest of the film,
we lit things more traditionally—for example, we used a whole grid of China balls to light the majority of the
diner scenes—but those opening credits were all just done with the available light from the practicals. So that
camera definitely allows you options in that sense.
Q: THE OFF HOURS received SSF certification making your film one of the first green-approved
productions. How did that happen?
GRIFFITHS: The Sustainable Style Foundation is an international organization that promotes sustainable
lifestyle choices. The SSFTag signifies that you have met the organization’s sustainability criteria and
received their stamp of approval. One of the co-founders of SSF is Rebecca Luke, who was also the
costume designer on the film. Rebecca and I have worked together in Seattle for years and we bonded on
4 our mutual frustration with the amount of waste that the average production creates. The amount of plastic,
paper, and building materials that enter the waste stream from film sets is completely depressing and
shameful. Rebecca and I have always wanted to do something about this and so we determined to use THE
OFF HOURS as an example of how, when properly structured from the outset, running a sustainable set is
very possible.
The whole idea was to make THE OFF HOURS like a test project for the crew—to challenge all of us to
really prioritize our efforts to make environmentally and socially responsible choices. We received a grant for
this from local arts organization 4Culture. Part of the 4Culture grant required that we make a presentation on
our findings to the general public, so we recently did an internal review and presentation. Comparatively
speaking, I think we were incredibly successful—we implemented electronic file sharing instead of printed
docs, provided reusable water and coffee mugs for the crew, recycled on set and in the production office,
eliminated most toxic waste and reduced energy needs by shooting digitally, used second-hand clothing,
props, set pieces and building materials which were donated at wrap, and much more. I hope to further
streamline the process on future productions. Hopefully one day, sustainable production will be the norm.
Q: THE OFF HOURS is not your only film at Sundance this year--you also produced Todd Rohal's THE
CATECHISM CATACLYSM, which was also shot in and around Seattle. What was the timeline of the
making of these two films? And how did you initially get involved working with Rohal?
The two films had drastically different timelines. I have been attempting to get THE OFF HOURS made for
about five years and the project has gone through many incarnations. Early in 2010, my producers and I
decided it was time to stop asking and start doing, and we greenlit ourselves. Once we decided to move
forward, the film came together very quickly. We had about five weeks of prep, a four-week shoot, and a
three-month post phase. I was able to submit a final, color-corrected and mixed cut to Sundance in
September.
Throughout the entire process I was being cheered on by my friend Todd Rohal, who I met when we
attended Ohio University School of Film together (I also 1st AD'd his first feature THE GUATEMALAN
HANDSHAKE). Todd has his own project that he's been working for years to get made (SCOUTMASTERS),
and so he knew first-hand how thrilled I was to finally be making my film. Towards the end of Summer Todd
realized that SCOUTMASTERS was not going to happen this year, so he decided to move forward on
another project, THE CATECHISM CATACLYSM.
Todd asked me if I might be able to produce his film, and since I was nearing the end of my own postproduction, I said yes. When he arrived in town for prep I spent one final day completing the mix for THE
OFF HOURS and then jumped into prep on THE CATECHISM CATACLYSM with Todd and producer Lacey
Leavitt (also a producer on THE OFF HOURS). The timeline for Todd's film puts THE OFF HOURS to
shame. We first discussed the idea in late August, by mid-September Todd was flying to Seattle, we had two
weeks of prep, a two-week shoot, and Todd and editor Alan Canant submitted the first assembly edit to
Sundance after only one week of post. The film was accepted into Sundance less than two months after we
wrapped principal.
Q: Both of your films were shot by DP extraordinaire, Benjamin Kasulke who seems to behind the camera for
nearly every major Seattle production. Could you explain a bit about what it is that makes him such an
incredibly talented and in-demand cinematographer?
GRIFFITHS: I have worked with Ben Kasulke on many, many films. Our first set-experience together was
Lynn Shelton's first feature WE GO WAY BACK, on which I was the 1st AD and Ben was the DP, but we
have known each other for nearly a decade. From first-hand experience, I knew Ben to be a hilarious and
very talented guy. His true gift on set is his willingness to allow the performances to take center stage.
Certainly he wants to make his films look perfect, but he also understands that without the performances,
beautiful images only go so far. He's incredibly good at keeping actors at ease and creating a very
comfortable and safe environment for them to perform in. He's done a lot of work on improvised films where
his work has, by necessity, had to be more run and gun. On THE OFF HOURS we found a great balance
between allotting time for both the performances and the more technical aspects, and as a result, Ben's work
is truly stunning.
5 Q: The film features some incredible original music. I understand there’s an interesting story behind your
collaboration with composer Joshua Morrison.
GRIFFITHS: When I approached Josh about scoring the film, he was in active military service completing his
final tour in the Middle East. He read the script for the first time while in Abu Dhabi and then sent word
through his manager that he really wanted to take the project on once he returned to Seattle. In May, just
after we wrapped principal photography on the film, Josh completed his stint as a Green Beret and medic
and became a civilian. The first thing he did upon his return to Seattle was to create the score for THE OFF
HOURS, collaborating with his longtime friend and fellow musician Jeramy Koepping. In some ways it
seems completely incongruous that a soldier would write such beautiful melodies infused with so much soul,
but the more I get to know Josh, the more I think that it is Josh's experiences overseas that lend the layers of
depth to his music.
6 Q&A WITH STAR AMY SEIMETZ (“FRANCINE”)
Q: How did you initially get involved with the film?
SEIMETZ: Megan approached me about the role and sent me a script. We had really long talks about it and
I was immediately very drawn to the project. I’m very attracted characters in movies who aren’t necessarily
privileged or live in parts of the US where we don’t normally see on screen; those are the films I most enjoy
watching. I loved the way that Megan described wanting to portray life in this extremely (literally and
figuratively) small town—I mean, my character’s entire world is stuck in this monotony of waiting tables at a
truck stop diner, every single night and yet her story is still so compelling. I knew Megan would be extremely
effective in capturing that tone and in re-creating a world that most of us have probably never experienced.
At the time I had been spending a lot of time in my hometown in Florida and there were a lot of characters
that reminded me of Francine—people who decide to give life some excitement by making not-so-good
decisions.
Q: So much of THE OFF HOURS revolves around Francine and the relationships she has with the (many)
men in her life. Could you talk a bit about working with Tony, Scoot, Ross and Bret?
SEIMETZ: As tough as Francine is, she’s a very sensitive person and because of that, a lot of the situations
she gets herself into had me both intrigued and fascinated, especially as I explored the depth of her
character throughout production. Yet, I ultimately chose to portray her as very sensitive.
I think in terms of listening to Stu and his problems and even with Corey, that both of those relationships
came from bonding on such a unique level that they were convinced no one else could understand each
other. The same is true for her and Ty—even though their relationship is more physical.
In terms of working with the actors, themselves, it’s easy to find meaningful relationships with actors who are
as talented as the cast of this film—I mean, you’re only as good as the people around you.
Q: A brunt of the production had to have been at night. Did that mold your interpretation of Francine?
SEIMETZ: The nighttime shift is not just an attitude. You hit this wall about four or five hours into shooting
and realize you’re only about halfway through your day. The rest of the time you’re floating in this dreamlike
space where you don’t even know how you’re functioning (but you must be somehow because you’re
working), which I think Megan captured very well.
In terms of going to sleep at seven in the morning and waking up at seven at night—there’s this really weird
sense of loneliness in working the night shift because there’s only this small group of people that are awake
at that hour. It can feel quite isolating because everyone else in the daytime world is functioning on a totally
different reality.
Q: You’ve been in quite a few films recently that are now making the rounds like OPEN FIVE, BITTER
FEAST and GABI ON THE ROOF IN JULY. But in THE OFF HOURS you stand out as a much stronger lead.
Was it tough to take on a larger role when you’re so used to working within a cast?
SEIMETZ: I haven’t really thought about it that much. I’m not sure if that’s a good or bad attitude to take, but
it’s the one I’ve adopted. I’m excited for the film and everyone involved at Sundance. But in terms of thinking
about it as my first leading role, well, HORRIBLE WAY TO DIE was ensemble-y too. I haven’t seen THE OFF
HOURS yet; I made this pact recently with myself because watching a film on the television for the first time
took all the excitement out of the films I was in.
So I stopped receiving DVDs of films I was in. I knew I’d see them all throughout the course of a festival,
even if not at a movie’s actual premiere. I started doing this with TINY FURNITURE and THE MYTH OF THE
AMERICAN SLEEPOVER. I didn’t want to watch them until their respective festival debuts. I’m so happy I
waited because seeing both of those movies for first time in a theater truly heightened the entire experience I
had with each project.
7 I told Megan I didn’t want to see this film until it was finished and entered in a festival, and I think it really
helped me. I can only talk about my place as a performer. Acting in my scenes, it just felt like an ensemble
piece based on the amount of people I was interacting with. Any performance feels important, but for your
character arc, in a piece like this with a larger role, you have the opportunity to develop the arc that much
further. In smaller roles you need to find that arc in minutes. I’m really excited to see it.
Q: What are you working on now that’s stealing you away from Park City so quickly?
SEIMETZ: I did an adaptation of a Jonathan Lethem story for PROMISCUOUS STORIES, which would be
an anthology of shorts. But they’re trying to find money to do that. I’ve been shooting THE PROXY in Atlanta
by Dan Bush, he was one of the directors on THE SIGNAL, and it’s a really interesting story. Later, I’m going
into Texas to shoot this movie POSSESSION with Mark Reeb, directed by Dan Cordal and written by
Jennifer Reeb. It’s a very intriguing film about a woman whose dad passes away leaving her his house, but
before his death he’s imposed a rule to never sell it because there’s all this water in the land that considered
to be spiritual.
8 CAST BIOS
Amy Seimetz – Francine
Amy Seimetz grew up in St. Petersburg, Florida, and studied film, English literature and art history at FSU
and NYU. She has spent time in Los Angeles, San Francisco, Florida and New York, as has worked in
independent film in a variety of capacities for many years. Seimetz has performed comedy for years along
with Ann Maddox (who appears in Sundance 2011 selection The Catechism Cataclysm) as Machu Picchu,
performing at Comedy Deathray, UCB, Comedy Store, and the HBO comedy fest in Las Vegas. She has
been a producer on several notable projects, including Medicine for Melacholy (directed by Barry Jenkins)
and Silver Bullets (directed by Joe Swanberg). As an actress she has appeared in Goran
Dukic's Wristcutters: A Love Story (Sundance 2006), Joe Swanberg’s Alexander the Last (SXSW 2009),
Lena Dunham’s Tiny Furniture (SXSW 2010), David Mitchell’s Myth of the American Sleepover (SXSW 2010,
Cannes 2010), Adam Wingard’s A Horrible Way to Die (Toronto 2010, winner "Best Actress" Fantastic Fest
2010), Joe Maggio’s Bitter Feast (LA Film Fest 2010), Megan Griffiths’ The Off Hours (Sundance 2011), and
Joe Swanberg’s upcoming Silver Bullets. She also wrote and directed a feature film entitled City on a Hill,
which took part in the 2009 IFP Director’s Labs. She continues to stay busy in all facets of production and
has several projects on the horizon as an actress, a producer, and a filmmaker.
Tony Doupé – Stu
Tony was in Megan's 2008 short film Moving and has a long and varied career as a Seattle character actor,
with roles in Butterfly Dreaming and Crimes of the Past, and appearances on “Leverage”, “Northern
Exposure”, and “The Fugitive”.
Ross Partridge – Oliver
Ross starred in the critically-acclaimed Duplass Brothers’ film Baghead, released theatrically by Sony
Pictures Classics after premiering at the 2008 Sundance Film Festival. He has also recently appeared in
Katie Aselton's film The Freebie (Sundance 2010). Ross wrote and directed the feature film Interstate 84,
starring Kevin Dillon and Clifton James, which was executive produced by Kevin Spacey and premiered at
the Toronto Film Festival. He is a co-producer on the Duplass Brothers upcoming film Do-Deca-Pentathlon,
and was also a producer for Trigger Street Productions, most notably on the award-winning documentary film
Uncle Frank and the PBS 9/11 documentary America Rebuilds. Upcoming projects include Steven Schardt
and Sean Nelson’s upcoming film Treatment, co-starring Joshua Leonard, The Lake Effect with Kay
Pannbaker, Devon Gummersal’s Low Fidelity, and Feed the Fish, alongside award-winning actor Tony
Shaloub.
Lynn Shelton – Danielle
Lynn has recently gained widespread acclaim for her hilarious and insightful comedy Humpday, which
premiered at Sundance in 2009 and has gone on to play in theaters internationally and earn Lynn a 2010
Film Independent Spirit Award. Since Humpday, Lynn has directed a web-series for MTV called $5 Cover:
Seattle as well as an as-yet-untitled project starring Mark Duplass, Rosemarie Dewitt and Emily Blunt. Lynn
is also serving as a consulting producer on The Off Hours.
Scoot McNairy – Corey
Scoot was nominated for Best Actor at the 2010 British Independent Film Awards for his work in the critically
acclaimed film Monsters from director Gareth Edwards. His film In Search of a Midnight Kiss, which he both
starred in and produced, won the John Cassavetes award at the 2009 Independent Spirit Awards. Scoot and
his longtime friend and Manager John Pierce formed The Group Films to actively pursue their independent
film dreams. Currently The Group Films is in pre-production on two projects, Frank and Cindy and The Last
Time I Made Straight A's.
Gergana Mellin – Jelena
Gergana began her career in Bulgaria as part of the Bulgarian Drama Theater. She also hosted the
Bulgarian Cabaret for over 150 live shows. Gergana relocated to the US and has since done multiple
independent films and theatre shows in Los Angeles, Seattle, and New York.
Bret Roberts – Ty
Since his film debut in the 2001 blockbuster Pearl Harbor, Bret has portrayed a wide range of characters,
from the Nightstalker to Jim Morrison. Recently, he has appeared in The Violent Kind (Sundance ’10) and the
forthcoming Everything Will Happen Before You Die, which he also produced.
9 CREW BIOS
Mischa Jakupcak – Producer
Mischa Jakupcak graduated from The London Film School and has been working in independent film in the
Northwest for the past five years. She has worked on over thirty feature films including Late
Autumn and The Ward and is currently producing features.
Lacey Leavitt – Producer
Lacey Leavitt is a Seattle-based producer whose credits include Todd Rohal's The Catechism Cataclysm
(also premiering at Sundance '11), Dan Brown's Your Lucky Day and Megan's short films Moving and Eros.
She is the board president for IFP/Seattle, the NW chapter of the nation's largest non-profit film organization.
Lacey co-directed and produced the award-winning roller derby documentary Blood on the Flat Track (Strand
Releasing) and is now a Rat City Rollergirl.
Joy Saez – Producer
Joy Saez resides in Los Angeles and serves as a freelance producer/line producer for Alter Ego Industries,
Inc. and Acquisitions Consultant for Shoreline Entertainment. She produced Annie Goes Boating (SXSW
'10) and Some Boys Don’t Leave (Tribeca '10 Winner "Student Visionary Award") starring Jesse Eisenberg
(Social Network).
Ben Kasulke – Director of Photography
Ben has shot a large number of recent festival favorites, including Humpday, The Freebie, Scout's Honor,
Brand Upon the Brain! and Megan's own short film Eros. Ben and Megan have been working together in the
Seattle film community for nearly a decade. In addition to The Off Hours, Ben also shot Sundance film
selections The Catechism Cataclysm and The Lie.
Ben Blankenship – Production Designer
Ben designed both Megan’s recent short films Moving and Eros. He has also worked on numerous national
commercials and Seattle features such as The Details (Sundance ‘11) and Late Autumn (Toronto ‘10).
Rebecca Luke - Costume Designer
Rebecca is an expert in the field of sustainable style and the co-founder of the international non-profit
Sustainable Style Foundation. She designed the costumes on The Immaculate Conception of Little Dizzle
(Sundance ’09), The Whole Truth, and Megan's 2008 short film Moving. The Off Hours received the SSF
Tag, the Sustainable Style Foundation’s seal of approval, due to our efforts to incorporate sustainability into
our production model.
Vinny Smith – Sound Design
Vinny Smith is a staple in the Seattle film community. He is a frequent collaborator with Lynn Shelton,
working in both production and post on her four features (We Go Way Back, My Effortless Brilliance,
Humpday, and Lynn’s most recent as-yet-Untitled project) and two web-series “What the Funny” and “$5
Cover: Seattle.” Vinny also worked on Megan’s short film Moving.
Joshua Morrison and Jeramy Koepping - Composers
Singer/Songwriter Joshua Morrison's debut CD, HOME, was handed to Megan at the very early stages of
development for THE OFF HOURS and it's rarely been off her playlist since. Josh, new to film scoring,
collaborated with long-time friend Jeramy Koepping (of Grand Hallway and Voyager One) to create the
beautiful and haunting music for the film. Josh has also just completed his 2nd album BUILDER, backed by
Jeramy and Matthew Brown (of Trespassers William).
10 CREDITS
THE OFF HOURS
Amy Seimetz
Tony Doupé
Ross Partridge
Scoot McNairy
Lynn Shelton
Gergana Mellin
Bret Roberts
Alycia Delmore
Madeline Elizabeth
Walter Dalton
Written and Directed by:
Megan Griffiths
Producers:
Mischa Jakupcak
Lacey Leavitt
Joy Saez
Consulting Producer:
Lynn Shelton
Executive Producers:
Garr Godfrey
Ed Kim
Chris Purkiss
Aron Michael Thompson
Lincoln Uyeda
Co-Producers:
Andrew Finnigan
Brooke Finnigan
Director of Photography:
Benjamin Kasulke
Production Design:
Ben Blankenship
Costume Design:
Rebecca Luke
Sound by:
Vinny Smith
Original Music:
Joshua Morrison
11 Jeramy Koepping
1st Assistant Director:
Gretchen Oyster
2nd Assistant Directors:
Mel Eslyn
Lacee Red
CAST (in order of appearance):
Francine
Bernadette
Stu
Jelena
Oliver
Ty
Corey
Levi
Dirty Trucker
Mandy
Ben
Eliza
Jenny
Danielle
Frank
Alonzo
Jim
Sick Old Man
Medic
Jesse
Trent
Chinese Restaurant Waitress
Nurse
Older Trucker
New Waitress
Concerned Trucker
Betty
Levi’s Radio Show Conspiracy Theory Panel:
Jesse’s Friends
Shoppers
Swing Cook
Truck Yard Supervisor
Truckers
Amy Seimetz
Alice Bridgeforth
Tony Doupe
Gergana Mellin
Ross Partridge
Bret Roberts
Scoot McNairy
Walter Dalton
Scott McKnight
Alycia Delmore
Ben Jakupcak
Eliza Jakupcak
Madeline Elizabeth
Lynn Shelton
Ron Carrier
Russell Hodgkinson
Gary Schuler
Floyd Reichman
Aron Michael Thompson
Calvin Reeder
Sean Nelson
Kate Bayley
Beth Andrisevic
Robert Power
Carol Sparer
Richard Carmen
Gail Harvey
David Lipson
Earl Prebezac
Nann Prebezac
Brady Hall
Carlos Lopez
Kimberly Chin
Kohen Chin
Beckett Chin
Deous Gennari
Sarah Morehead
Peter Flattum
Tom Fraser
12 Bar Patrons
Diner Customers
Production Designer
Art Director/Lead Man
Art Dept Coordinator
On-Set Dresser
Lead Scenic
Set Dressers
Howard Brown
Ian Tidwell
Chris Purkiss
Joy Saez
Raquel Werner
Carla Bailey
Lane Bailey
William Baker
Nancy Benton
Dixie Bernard
Marie Best
Felicia Brooks
Jeremy Butchart
Ravi Chandra
Linda Clark
Eric Cooper
Melody Cummings
Chad Czajkowski
Wynne Earle
Maury Erben
Sharyl Fisher
Nancy Frye
Misti Mae Givens
Josh Glaser
Garr Godfrey
Michael Goodwin
Brandon Green
Yulia Hancheroff
Kjell Hansen
John Kerr
Pearl Kline
Todd Lagestee
Jackie Lansing
Kristian Lowrie
Kim McCoy
Tamas McCoy
Frank Merritt
Emilio Reynoso
Donald Speirs
Kat Spitz
Rocky Wallace
Vaughn Wolfe
Jeff Zornes
Ben Blankenship
Lisa Hammond
Rachel Gray
Erin O. Kay
Nick Worsfold
Ann Berglund
13 Prop Masters
Props Assistants
Art Dept Graphics
Picture Car Wrangler
Sign Painter
Art Dept Assistants
Art Dept Interns
Alan Certeza
Chad Czajkowski
Amanda Davis
Cristen Frieszell
Indus Alelia
Erin O. Kay
Nia Martin
Dori Scherer
Tania Kupczak
Kjell Hansen
Sergio Niccoli
Andrea Bushdorf
Wynne Earle
Brandon Krebs
James Reeves
Ashley Russell
Rick Sell
Bethany Stowell
Brett Thomson
Shannon Weathermon
Raquel Werner
Darcey Zoller
Ian Van Der Werf
Victoria Kieburtz
Costume Designer
Costume Assistants
Rebecca Luke
Claudia Baker
Alison Kelly
Make-Up Consultant
Special Effects Make-Up
Dawn Tunnell
Jennifer Popochock
Director of Photography
2nd Unit DP
Steadicam/Jib Op
1st ACs
Benjamin Kasulke
Nathan M. Miller
TJ Williams, Jr.
Phil Anderson
Brie Cronkhite
Coty James
Kristjan Palsson
Brett Renville
Joe Jacobs
Paddy Evans-Winfield
David Morgan
Jason Ganwich
Elie Goral
Joe Jacobs
Ryan McMackin
Regan MacStravic
Nathan M. Miller
Noel Paul
Brett Renville
2nd ACs
Data Mgmt
Stills Photographers
14 EPK
Behind the Scenes
Gaffer
Additional Gaffers
Best Boy Electric
Electrics
Key Grip
Additional Key Grip
Best Boy Grip
Grips
Swing
Add’l Grips
Lynn Shelton
Nathan M. Miller
Dylan Stern
Wes Johnson
Nathan M. Miller
Jeremy Mackie
Ryan McMackin
Ryan Middleton
Mark Bueing
Kevin Cook
Ben Porter
Nate Pierson
Garrett Cantrell
Theresa Majeres-Gilliam
Shawn Bowlby
Niall James
Norm Tumolva
Art Reynolds
William Brody
Connor Hair
Josh Harmsworth
Brien Houston
Bethany Stowell
Sound Mixer & Boom Operator
Add’l Sound Mixers
Vinny Smith
Phil Andrade
Dave Richards
Locations Managers
Dave Drummond
Colin Plank
Prod Coordinator
Script Supervisor
Casting
Kat Ogden
Cheryl Cowan
Megan Griffiths
Lacey Leavitt
Cheryl Cowan
Lance Rosen, Rosen Lewis PLLC
Elizabeth Heile
Ivana Maric
JJ Frees
Line Sandmark
Nancy Frye
Vanessa Eng
Kjell Hansen
Mallory Smith
Jason Sondhi
Sean Walsh
Ben Rapson
Joe Jacobs
Casting Assistant
Legal Advisor
Business Consultants
Product Placement
Sponsorship Asst
Extras Coordinator
Volunteer Coordinator
Office PA’s
Social Networking
Website
15 Catering
Crafty Assistant
Key Set PA’s
Set PA’s
Trucking Contacts
Truck Drivers
Stunt Driver
Editor
Editing Consultants
Title Design
Visual Effects
Seasonal Goods
A Grand Affair
Marie & Peter Griffiths
Elves & Magic
Karn Junkinsmith
Sarah Roxy Crowe
Ilona Kelly
Lee Luna
Halilu Bala
Jamey Barr
Tony Becerra
Niles Compau
Allison Eckert
Kjell Hansen
Sonya Lea
Jenny Lentz
Rajesh Luke
Jacob C. Niehaus
Kristjan Palsson
James Reeves
Basil Shadid
Mallory Smith
Jared Thompson
Sarah Vest
Sean Walsh
Raquel Werner
Misty Mae Givens
Christie Wells
Don Wells
John Culhane
Chuck Farley
Don Holdren
Kevin Lanagan
Fred Lawson
Aaron Lee
Eric Muehlbach
Robert Power
Brad Randall
Ruben Rodriguez
Dennis Strong
Ben Blankenship
Megan Griffiths
Celia Beasley
Andy McAllister
Tania Kupczak
Noel Paul
16 Color by Modern Digital
Modern Digital Senior Colorist
Modern Digital Post Supervision
Modern Digital Post Producer
Sound Design
Music Supervisor
Music Composed and Performed by
Joshua Morrison Managed by
Grip & Electric Equipment Provided by
Camera Equipment Provided by
Steadicam & Crane Systems Provided by
Production Supplies Provided by
Office Space Provided by
Cast Housing Provided by
Editing Suite Provided by
Stu’s Art Created by
Street Rat Video Game Created by
Picture Trucks & Trailers Provided by
Picture Cars Provided by
Tim Maffia
Rich Fassio
Kathie McCallister
Vinny Smith
Van Riker
Joshua Morrison
Jeramy Koepping
Expanding Brooklyn
Single Source Grip and Lighting
Pacific Grip and Lighting
Joe Jacobs
Jason Knoll
Nathan M. Miller
Koerner Camera
APS Flying Cameras
IFP/Seattle
North by Northwest Productions
SoundVisual Productions
Alpha Cine Laboratory
The Sixth Ave Inn
Timothy Watkins
John Ohannesian
Joe Jacobs and Steve Snoey
Wells Trucking & Leasing, Seattle
Ben Blankenship
Erina Brown
Kevin Cook
Gaston Bros. Excavating
Jill Hazlitt
Trae King
Monica S. Newby
Northwest Ambulance
Providence Trucking, LLC
Christie Wells
This film would not have been possible without the support and assistance of the following:
Marie and Peter Griffiths
Sian Griffiths and Family
Dan and Sheryl Leavitt
Mike and Jo Jakupcak
Matt and Meg Jakupcak
Don Jensen and the staff of Alpha Cine Labs
Steve Snoey
Joe Jacobs
Joy Andrews
Caron Carlyon
Brandon Schmid
Ben Kasulke
17 The Art Department wants to thank the following for their generous assistance and support:
Bellevue Goodwill
Bernie and Boys Market
Daly’s Décor and Paint
Dave Blau Construction
The Great Hall @ Green Lake LLC
Laurel Ann Studio Lampshades
Seattle Goodwill
Seattle Mattress Company
Seattle Surgical Repair
Second Use
Total Reclaim
The ReStore
Sponsors:
AAAA Mini Storage
Angelos Ristorante
Cha Dao Tea
Custom Pure
DRY Soda co.
Field Roast
Fuze Beverages
Golem Copy Center
Grand Central Bakery
Guayaki Sustainable Rainforest Products
Lion’s Club Mints
Lizzie Parker Designs
MAC Cosmetics
Mighty O Donuts
Monterey Gourmet Foods
Noah’s Bagels
Oberto
Origins Organic Coffee
Premier Entertainment Services: Ward Larsen
Reininger Winery
Seasonal Goods Catering
Seventh Generation
SOMA Metromint Water
Snoose Junction
Sunrise Soya
Tangerine
Theo Chocolates
Tidbit Bistro
Tim’s Cascade Chips
Tofurky
Vessel Drinkware
Vitamin Water
18 Music:
“Albatross, Albatross, Albatross”
Written by Benjamin Verdoes/Matthew Dammer
Published by Which Doctors (BMI)
Performed by Mt. St. Helens Vietnam Band
http://www.myspace.com/mtsthelensvietnamband
Courtesy of Dead Oceans, by arrangement with Bank Robber Music
“In the End”
Written by Jason Dodson
Published by Homegrown (ASCAP)
Performed by The Maldives
www.themaldivesmusic.com
Courtesy of The Maldives
“Leaving Trails”
Written by Mt. St. Helens Vietnam Band
Published by Which Doctors (BMI)
Performed by Mt. St. Helens Vietnam Band
http://www.myspace.com/mtsthelensvietnamband
Courtesy of Dead Oceans, by arrangement with Bank Robber Music
“Commerce Street”
Written by Joshua Morrison
Published by Joshua Morrison (BMI)
Performed by Joshua Morrison
http://www.jmorrisonmusic.com/
Courtesy of Expanding Brooklyn
“Vampires”
Written by Andrew McAllister
Published by Andrew McAllister (BMI)
Performed by Conrad Ford
http://www.myspace.com/conradford
Courtesy of Tarnished Records
19