Films Film Directory Shortbus | Shortbus |
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| Friday, 14 December 2007 | |
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Director: John Cameron Mitchell RENT IT NOW AT Netflix.com Running time: 101 minutes IMDB: http://www.imdb.com/title/tt0367027/
Synopsis
ABOUT THE FILM John Cameron Mitchell’s SHORTBUS explores the lives of several emotionally challenged characters as they navigate the comic and tragic intersections between love and sex in and around a modern-day underground salon. A sex therapist who has never had an orgasm, a dominatrix who is unable to connect, a gay couple who are deciding whether to open up their relationship, and the people who weave in and out of their lives, all converge on a weekly gathering called Shortbus: a mad nexus of art, music, politics and polysexual carnality. Set in a post-9/11, Bush-exhausted New York City, SHORTBUS tells its story with sexual frankness, suggesting new ways to reconcile questions of the mind, pleasures of the flesh and imperatives of the heart.
SYNOPSIS Sofia, the sex therapist, has been faking it for years with her husband Rob. The film opens as James and his long-term boyfriend Jamie come to Sofia as clients to discuss a recent development in their relationship. James has suggested that they open up their sexual relationship to other partners, and the adoring Jamie is reluctant but willing to give it a try. In their session, roles reverse as Sofia admits her own problem which catapults her onto a far-flung quest for her own personal consummation. Three important characters orbit these two couples. Severin is a dominatrix prostitute/artist who lives in a tiny industrial storage unit. She has never experienced a deep, lasting relationship and loneliness is taking its toll. Severin offers to help Sofia find her orgasm, and in return, Sofia will give Severin free therapy to help her in her quest for connection. Meanwhile, Ceth falls for James and Jamie – not separately, but as a couple. He pursues the idea of a monogamous three-way relationship with them. Caleb lives in an apartment with a grandstand view of James' and Jamie's apartment. He is shocked by the arrival of Ceth, seeing him as a danger to James' and Jamie's “perfect” relationship. He sets out to eliminate that threat. All the characters converge on Shortbus, a modern-day weekly salon in the Parisian Gertrude Stein tradition. The salon takes place in the Brooklyn loft/domicile of host Justin Bond, who carefully fosters a communitarian sanctuary of art, music, politics and sex. It's in the shelter of this sanctuary that all our characters begin to understand how to answer the question: “Am I to be alone or am I not?”
JCM Interview John Cameron Mitchell
“EXPIATION AND REDEMPTION” An interview with John Cameron Mitchell about Shortbus It was some years ago now, but can you identify the project's starting point? In the years I was making Hedwig, I welcomed the fact that movies were exploring sexually frankness again, as some had in the 60’s and 70’s, but I regretted the fact that most of the new ones were so grim and humorless. Sex seemed just as connected to negativity as it was for, say, Christian conservatives. I guess it’s understandable. I was brought up in a strict Catholic/military environment where sex was the scariest thing imaginable, which, of course, made it fascinating. I decided to make a New York-style, emotionally-challenging comedy that would be sexually frank, thought-provoking and, if possible, funny. It would not necessarily seek to be erotic; instead, it would try to use the language of sex as a metaphor for other aspects of the characters' lives. I’ve always regarded sex as something knitted from the nerve endings connected to every part of a person’s life. I think that if you watched two strangers having sex you could make some very good guesses about them--from what their childhood was like to what they had eaten for lunch that day. At the same time, I wanted to create a film where the characters and script were developed through group improvisation, inspired by the disparate techniques of John Cassavetes, Robert Altman and Mike Leigh. I also knew I wanted the piece to center around a modern-day multi-sexual underground salon, inspired by Gertrude Stein’s Parisian model and contemporary New York City salons that I had experienced in the last few years--smorgasbords of art, food, friendship and sex—everything you need in life.
So how did you set about making the film possible? Producer Howard Gertler, Casting Director Susan Shopmaker and I sent out an open casting call early in 2003. We avoided agents and stars – stars don’t have sex. I’d envisioned a years-long workshop process, and stars don’t generally do that either. Instead, we solicited interviews (we didn’t have money for ads) in various alternative periodicals inviting anyone who was interested – experienced actors or not--to go to our website, read about what we were trying to do and send in audition tapes. I suggested that on their tapes they talk about a sexual experience that was emotional meaningful to them. I encouraged them to put anything on there that might help us get to know them. More than half a million people visited the website, and nearly 500 people, mostly from North America, sent in tapes. Some talked to the camera, some made short films, some sang songs, some jerked off. We chose about forty people for the callback audition stage. We had very little money and they all flew themselves in. Everyone was told that the auditions would involve improvisation but nothing sexual--I didn’t want to scare the horses. I wanted an in-depth audition process where the actors were creative partners and trust could be built. Around that time I was throwing a monthly party (called “Shortbus” – before we named the film) for friends. I was trying to create a junior high school dance atmosphere – without any club attitude. Friends and I would DJ extremely eclectically – I specialized in slow-dancing. So I threw a Shortbus party for the forty finalists. We had a game of “spin the bottle” with a hundred people. It broke the ice. The next day, all the hung-over actors watched each others’ audition tapes together in the same room. It was nerve-wracking, because some of the tapes were very personal. But it let everyone know that we were all in this together. Also, we only had a few days together and I had to quickly ascertain who was sexually attracted to whom, i.e., who had the potential to play couples in the film. We had a secret ballot and everyone had to rate everyone else on a scale of one to four, so we’d have some information about compatibility. It was all very strange, and kind of fun. We ended up with a gigantic wall chart – a cross-referenced grid showing who was attracted to whom. The number of permutations was impressive and it was a real timesaver. We brought together the people who had rated each other with "fours" for the first improv auditions. It quickly became clear who were the natural actors, trained or not. We wanted people who could improvise off a written script while maintaining a strict scene structure. It’s different from pure improv; it's more like paraphrasing. We were seeking intelligent, charismatic people who could interact well with others. Divas were eliminated. I cast the most interesting and compatible actors and immediately began our first improv workshop. We would figure out the characters and story together.
How did you arrive at the specific characters and issues which are explored in the film? By the time we got to our initial five-week improv workshop, we had raised a little money from friends (including the musician/activist Moby) to pay the actors and put them up. We sublet a loft in the Lower East Side and started with simple theater improv games; we watched films, played whiffleball and went bowling. We moved on to complicated improvs using interesting character/story elements that had come up in the audition tapes and the callbacks. I had read books about Mike Leigh’s and Cassavetes’ script creation processes and we adapted a few of their methods. We developed the characters’ backgrounds, secrets, and desires. We’d stage “press conferences” where the actors would be interrogated as their characters. We videotaped all the rehearsals so when the workshop was over I had plenty of material to work with when I started on the screenplay. The actors were, in effect, generating the characters and their struggles. I used this information to develop the plot and explore themes into a traditional script. That became our structure: we’d workshop/rehearse for a few weeks, then I’d work on the script for a few months, then back to workshop, then more writing. We alternated like that for 2 1/2 years until the financing came through. By the time we shot, the script was tight and we were as comfortable with each other as anyone could be. During the workshops, we did a few sexually-oriented “closed set” improvs but not many. Some actors were immediately comfortable sexually, others needed time. Each had his/her own needs, and I wanted them to find their own way of approaching the sex. Many wanted to save it for the camera, a strategy which paid off in many ways (all orgasms in the film are real except one and I’m not telling which!). My cinematographer, Frank DeMarco, sat in on rehearsals – sexual and not – to put everyone more at ease. Once an actor suggested that, to make her more comfortable, we all doff our clothes—camera operator and all. We did and it worked. My constant refrain to the performers (and to myself) was “I’ll never ask you to do anything you don’t want to do, but I’ll always ask you to challenge yourself.” I encouraged the actors to bring up insecurities as soon as they arose, so we could nip them in the bud. There was much discussion of sex safety. Not to say there weren’t a lot of nerves during shooting, but it was a wonderfully rewarding process for both cast and crew and we all remain good friends.
How did you arrive at the character of James as a filmmaker? Is there some autobiographical nuance there? That idea came partly from the actor himself, who documents his life photographically. In addition, Jonathan Caouette, director of “Tarnation,” (who has a cameo in the film) was an inspiration for James. As far as my own autobiography goes, my father was the military commander of the US sector of West Berlin right before the Wall fell, and my mother's a Scottish-born artist. It was a very Catholic upbringing –including boys’ Benedictine boarding school in Scotland. So I grew up in a religious, military, artistically-encouraging, but pretty erotophobic environment. And I was gay. All those variables helped to create Hedwig and Shortbus. Yes, the film is pushing against some boundaries here in the States. And I enjoy doing that. It's saying “Why not explore sex in an American film in a context that can be, I hope, amusing and thoughtful? Why should these things be so frightening to us?” Of course, I understand why we can be frightened on a personal level – but, as a friend, Dan Savage, once reminded me: “Sex is certainly something to be afraid of, but not something that can be avoided.” I also recognize how the fear of sex--or really the fear of any substantive connection –in American culture leads directly to unhappiness, conflict and violence. I see an increasing prudishness in American cinema (just as in American government) that I'd like to call attention to with this film. As it increases, this prudishness builds up tension and periodically vents itself in bizarre and tedious ways--one way is through the increasingly joyless and formulaic porn that floods the internet, porn that is now the primary sexual education system for American young people. Because of that, young people seem to approach sex from a niche-market point of view. “I am a top, I am a bottom, I am a twink, I am a daddy, I am barely legal, I am shopping, I am selling, I am not enjoying this and I’m not respecting anybody in the process.”
Was it hard to square the film's careful, intricate structure with the co-creation element? As I mentioned, I worked on the screenplay between workshops. The workshopping was necessary to (a) create a way of working with the actors and (b) make sure the characters/scenes/dialogue made sense to them. I always listen to my actors. They often know best. They’d tell me if I was trying to force characters into something that wasn’t believable. Here’s an example of how we worked to keep the balance of structure and freedom. Take the post-coital scene between Sofia and her husband when she discusses her non-orgasmic client, Cheryl. That scene developed out of an improv – I codified it in a written scene made up of, say, twenty lines of dialogue which corresponded to twenty acting beats – beats that the actors agreed made sense to them. When we rehearsed, the actors would read the written scene silently to themselves, then they’d put the script away and perform the scene from memory. They didn't have time to memorize anything, so the lines changed each time we ran through the scene. We repeated the scene until they had memorized the sequence of 20 beats, never the verbatim lines. I’d tell them, “I’ll fire you if you say the lines as written.” We shot in exactly the same manner. No two takes had identical dialogue. This required some fancy footwork from my fantastic picture editor, Brian Kates.
The animation inserts are very different from what Emily Hubley gave you on Hedwig, and they make it a very New York film by insisting on the precise geography of the city ... Well, the script required a city-wide blackout, and a real blackout was not possible on our budget. My first idea was to shoot a scale model of the city. This was also too expensive so I went to John Bair, an animator who’d done some digital work on Hedwig (he did the “follow the bouncing wig”). I think he succeeded wonderfully with a lovely hand-made, painterly touch. In fact, he scanned a lot of his own paintings and used it for the 3d surfaces. It was pretty much a one-man job. It made sense to use animation for other scenes. The face of the Statue of Liberty seemed right for the beginning – with the lyric “Is you is, or is you ain’t my baby?” being sung over it. A lot of us have been asking her that lately.
Aside from Anita O'Day singing “Is You Is…?”, the songs are all originals? There is a lot of music from people who appear in the film. I wanted it to be a family affair--and I want people to hear their lovely work. There’s also stuff from well-known indie bands like Animal Collective, Azure Ray, The Fever and The Ark. Yo La Tengo did some gorgeous score work for us. There are five new songs by the extremely talented Scott Matthew – he's the bearded guy who sings in the salon. He also wrote the last song, “In the End” which Louis Schwadron arranged into a massive orchestral suite with string quintet and marching band.
Are there real-life prototypes for the Shortbus salon? Yes, there are/were weekly New York salons in people's homes where all those elements blend. One very influential one for me was called “Cinesalon,” run by a friend of ours, Stephen Kent Jusick – he's the guy who plays the Sex Room maitre d’. He would show 16mm films, serve blondies (and condoms), and encourage group sex later in the evening. He also hosted a few “Sex-Not-Bombs” parties, which inspired the eponymous room in the film. We actually shot the salon in a Brooklyn queer artists’ collective called DUMBA where Shortbus-style events runneth over (though neighborhood rents are skyrocketing – and its survival is in doubt). The salon’s name, Shortbus, refers to the traditional American yellow school bus. Most “normal” kids rode in the long yellow bus. Children with “special needs” – the disabled, the emotionally-disturbed, the abnormally gifted – rode the shorter yellow bus, because there weren’t so many of them. A lot of people I hang out with feel to me like they were familiar with the short bus in one way or another. New York is a distillation of much of the best of America (as well as some of the worst) but, for me, the Shortbus salon is a representation of the best of New York. New York has traditionally offered sanctuary to the nation’s most ambitious outcasts. But the city has lately become much more expensive; artists and young people are being priced-out. A few grizzled, increasingly-isolated nonconformists are clinging to their tiny, rent-stabilized apartments. I wanted our salon to make a stand for old New York, for chosen family values: the values of Walt Whitman, Garcia Lorca and punk rock. I hope it will always be a locus of connection and transformation, where everyone--from a shy bookish college girl to a seen-it-all tranny cabaret singer, even a washed-up former mayor--can atone for their real and imagined sins and redeem themselves by creating beautiful things with their friends and lovers. Finally, what does it mean to have Severin's client ejaculate on an abstract expressionist painting? Well, having the cum hitting the painting and then disappear into it, it's kind of like the film. Most people tell me that they’ve forgotten about the sex by the time the film is over. It's just another brushstroke in the characters’ lives. That's why we must cum upon the painting. - John Cameron Mitchell New York-London, March 2006
Filmmakers
ABOUT THE FILMMAKERS John Cameron MITCHELL (writer/director) directed, wrote and starred in the film "Hedwig and the Angry Inch," for which he received the Best Director and Audience awards at the 2001 Sundance Film Festival and the Grand Prix at Deauville. The film was honored as Best Directorial Debut by the National Board of Review and the L.A. Film Critics Society. John was also nominated for a Golden Globe as Best Actor. He was executive producer of Jonathan Caouette’s "Tarnation." He has directed music videos for the bands Bright Eyes and Scissor Sisters and is presently working on two scripts: "Nigh" (a children’s story cowritten with Julian Koster) and "Oskur Fishman."
Howard GERTLER and Tim PERELL (producers): Besides SHORTBUS, Process’ upcoming releases include Bart Freundlich’s "Trust The Man," starring David Duchovny, Julianne Moore, Billy Crudup and Maggie Gyllenhaal, to be released by in August 2006. Process is currently developing projects for 2006 with directors such as Joel Hopkins ("Jump Tomorrow"), David Jacobson ("Down In The Valley," "Dahmer"), Ziad Douieri ("Lila Says," "West Beirut"), and Eric Mendelsohn ("Judy Berlin").
Brian A. KATES (A.C.E) editor) is an award-winning feature film editor. His credits include George C. Wolfe's "Lackawanna Blues" (for which he won an ACE Eddie Award), Lee Daniels' "Shadowboxer," Nicole Kassell's "The Woodsman," Moises Kaufman's "The Laramie Project," Danny Hoch and Mark Benjamin's "Jails Hospitals & Hip-Hop," Jim Fall's "Trick" and the student Academy-Award-winning short film "Tree Shade," directed by Lisa Collns. He was Jonathan Caouette's co-editor on "Tarnation," which was also his first collaboration with John Cameron Mitchell. Kates grew up in Teaneck, New Jersey, and studied film production and Judaic Studies at New York University. >
Frank G. DeMARCO (director of photography) has worked with some of the most visionary directors in independent film, including Tom DiCillo on his new feature "Delirious" and Jay Chandreskar on "Beerfest." He photographed both of John Cameron Mitchell's features and both of his music videos too.
Jody ASNES (production designer) has lent her talents to commercials, features and television projects as diverse as SHORTBUS and Orlando Montiel's "A Guide to Recognizing Your Saints." Her past credits include Good Machine's iconic "Trick" (directed by Jim Fall, shown at Sundance 1999) and Josh Sternfeld’s "Winter Solstice (shown in Tribeca Film Festival, 2004). She has an art history background, is fluent in Spanish and has worked on films in several Latin American countries.
Kurt and Bart (costume designers) have worked extensively and iconoclastically in both fashion and film, collaborating with such image-makers and celebrities as Steven Klein, Herb Ritts, Patrick Demarchelier, Courtney Love, Britney Spears and Pink. In addition to working on SHORTBUS, they have recently designed for Hilary Brougher's Sundance award-winning "Stephanie Daley," starring Tilda Swinton and Ambler Tamblyn. http://www.kurtandbart.com
John BAIR (animator) has worked as an animation/visual effects supervisor, art director and lead animator on numerous film, music video, documentary and broadcast projects for over a decade. Throughout his career he has focused his efforts on the continuous evolution of artistry in conjunction with new technologies. He is currently Creative Director and Head of CG at Edgeworx in New York City. His clients have included A&E, Bravo, The Discovery Channel, Disney, ESPN, MTV, National Geographic, Nickelodeon, PBS/NOVA, Peter Jennings Productions, Saturday Night Live and the Sci-Fi Channel.
Yo La Tengo (original score) were formed at the end of 1984 by Georgia Hubley and Ira Kaplan. James McNew joined in 1991. They have released over a dozen albums, most recently the anthology Prisoners of Love. Their music has appeared in many films. In 2005/2006, in addition to their work on SHORTBUS, they have scored Junebug, Game 6, Octave and Old Joy. They are currently at work on a new record scheduled for release in September 2006.
Awards Athens International Film Festival 2006 Won Audience Award - Dramatic John Cameron Mitchell
Chlotrudis Awards 2007 Nominated Chlotrudis Award Best Movie
Gijón International Film Festival 2006 Won Best Art Direction Jody Asnes Best Screenplay Motion Picture John Cameron Mitchell Nominated Grand Prix Asturias Best Feature John Cameron Mitchell
Glitter Awards 2007 Won Glitter Award Best Actor: Paul Dawson
Gotham Awards 2006 Nominated Best Ensemble Cast Sook-Yin Lee Paul Dawson Lindsay Beamish PJ DeBoy Raphael Barker Peter Stickles Jay Brannan Justin Bond
Independent Spirit Awards 2007 Won Producers Award Howard Gertler Tim Perell Also for Pizza (2005).
Zurich Film Festival 2006 Won Golden Eye Best New Feature Film John Cameron Mitchell
CastCast
Sook-Yin Lee ... Sofia
Paul Dawson ... James
Lindsay Beamish Severin
PJ DeBoy ... Jamie
Raphael Barker Rob
Peter Stickles ... Caleb, the Stalker Jay Brannan ... Ceth Alan Mandell ... Tobias, the Mayor Adam Hardman ... Jesse, the John Ray Rivas ... Shabbos Goy
Bitch ... Bitch / Shortbus House Band
Shanti Carson ... Leah, the Beautiful Couple Justin Hagan ... Brad Jan Hilmer ... Nick, the Beautiful Couple Stephen Kent Jusick ... Creamy
Yolonda Ross ... Faustus Jocelyn Samson ... Jid (as JD Samson)
Daniela Sea ... Little Prince Miriam Shor ... Cheryl
Rachael C. Smith ... Zoey (as Rachael Cyna Smith) Derek Jackson ... Derek Paul Oakley Stovall ... Magnus Lex Vaughn ... Bucky Justin Bond ... Himself David Pittu ... Jacuzzi Hunter Jeff Whitty ... Jacuzzi Hunted Mickey Cottrell ... Dead Man in the Jacuzzi Mary Beth Peil ... Ann (Our Lady of the Gutter) Bradford Scobie ... Dr. Donut Murray Hill ... Murray Hill Ethan Eunson-Conn ... Sex-Not-Bombs Room D.J. Jonathan Caouette ... Blondie-Grabber Rachel Friedman ... Yenta Voice (voice) Reg Vermue ... The Albino Tanya Gagné ... The Wau Wau Sister Adrienne Truscott ... The Wau Wau Sister Dirty Martini ... Dirty Martini Timmy Young ... Mikey / Oglesby the Puppet The World Famous *BoB* ... The World Famous *BOB* Eric Gilliland ... Eric Gilliland Jasper James ... Jasper Grace Kahng ... Suicide Nurse Ralph Gunderman ... Radio Announcer (voice) Nate Calkins ... Shortbus House Band Christine Choi ... Shortbus House Band Paul Festa ... Shortbus House Band / Sextra Peter Gingerich ... Shortbus House Band Scott Matthew ... Shortbus House Band Louis Schwadron ... Shortbus House Band Jeanette Seidman ... Shortbus House Band Matt Way ... Shortbus House Band Jeannann Seidman ... Shortbus House Band Brent Alberghini ... Sextra Ashley Balavender ... Sextra Jonathan Bastiani ... Sextra John Caffery ... Sextra
Anthony Cefala ... Sextra Aeran Doron ... Sextra Patrick Egan ... Sextra Cat Erickson ... Sextra Feva ... Sextra Colin Fitzpatrick ... Sextra Michael C. Freeland ... Sextra Shawn Frenté ... Sextra Pamela Giaroli ... Sextra Joseph Gross ... Sextra Christopher Hamblin ... Sextra Timothy Heber ... Sextra Sienna Horton ... Sextra Bel Jordan ... Sextra Joseph Keckler ... Sextra Bré Kelly ... Sextra Kenneth Lang ... Sextra Lapis Luxury ... Sextra Erin Markey ... Sextra Janie Martinez ... Sextra Kelly McKay ... Sextra Jesse Miller ... Sextra Kristen Munchheimer ... Sextra Nicole Pasulka ... Sextra Carlo Quispe ... Sextra Emma Rander ... Sextra David W. Robinson ... Sextra Jesse Sanford ... Sextra Frank Susa ... Sextra Tristan Taormino ... Sextra Matt Thomas ... Sextra Layard Thompson ... Sextra Colten Tognazzini ... Sextra Jorge Torres ... Sextra Lix Velvet ... Sextra Will D. Ware ... Sextra Isabelle Woodley ... Sextra Leopard Zeppard ... Sextra Kris Anton ... Hungry March Band Jason Candler ... Hungry March Band Jon 'Corn Mo' Cunningham ... Hungry March Band Luca Fadda ... Hungry March Band Emily Fairey ... Hungry March Band Julie Hair ... Hungry March Band Michele Hardesty ... Hungry March Band
Jen Emma Hertel ... Hungry March Band John Heyenga ... Hungry March Band Ben Holtzman ... Hungry March Band Richard Hutchins ... Hungry March Band Sebastian Isler ... Hungry March Band Joseph B. Keady ... Hungry March Band Quince Marcum ... Hungry March Band Ben Meyers ... Hungry March Band Anders Nelson ... Hungry March Band Greg Schneiderman ... Hungry March Band Sasha Sumner ... Hungry March Band Samantha Tsisktinas ... Hungry March Band Sara Valentine ... Hungry March Band Theresa Westerdahl ... Hungry March Band Okkon Yokoyama ... Hungry March Band rest of cast listed alphabetically: Harry Slattery ... Piñata Boy Fast Ali ... Party Girl (uncredited) Create a character page for: ?
Directed by John Cameron Mitchell
Writing credits (WGA) John Cameron Mitchell (written by)
Produced by Wouter Barendrecht .... executive producer Alexis Fish .... executive producer Howard Gertler .... producer Morgan Higby .... associate producer (as Morgan Higby Night) Pamela Hirsch .... co-producer Richie Jackson .... co-executive producer John Cameron Mitchell .... producer Tim Perell .... producer Bobbi Thompson .... co-executive producer Michael J. Werner .... executive producer Neil Westreich .... associate producer Richard Wofford .... associate producer
Original Music by Yo La Tengo
Cinematography by Frank G. DeMarco
Film Editing by Brian A. Kates
Casting by Susan Shopmaker
Production Design by Jody Asnes
Set Decoration by Sarah McMillan
Costume Design by Kurt and Bart
Makeup Department Jill Astmann .... additional makeup artist Davion Edwards .... additional hair stylist Fabian Garcia .... key hair stylist Maya Hardinge .... key makeup artist Julia Lallas .... additional makeup artist Dionne Pitsikoulis .... additional makeup artist Amanda Ross .... additional makeup artist
Production Management Ramsey Fong .... unit production manager: second unit Michael Romero .... production supervisor Matthew Shapiro .... post-production supervisor
Second Unit Director or Assistant Director Sarah Rae Garrett .... second assistant director Karen Kane .... first assistant director
Art Department Hilary Basing .... art department intern Hilary Basing .... art department production assistant James Bednark .... art production assistant James Capolarello .... art department intern James Capolarello .... art department production assistant Benji Cox .... art department production assistant Yolan Fisher .... assistant property master Carl Li .... art/props assistant JoJo Li .... art production assistant Elizabeth Minot .... set dresser Jacquelyn Moses .... art department production assistant Julio Palma .... set dresser Kyle Salvatore .... on-set dresser Heather Wellik .... art department production assistant Bentley Wood .... property master
Sound Department Leslie Bloom .... foley artist Benjamin Cheah .... sound designer Ryan Collison .... foley engineer Mark Corbin .... adr recordist Anguibe Guindo .... additional boom operator John Gutierrez .... boom operator Lora Hirschberg .... sound re-recording mixer Ken Ishii .... production sound mixer Jay Peck .... foley artist Brandon Proctor .... sound re-recording mixer Jeff Pullman .... additional boom operator Jac Rubenstein .... supervising adr editor Jac Rubenstein .... supervising dialogue editor Chris Stangroom .... adr recordist Gregg Swiatlowski .... assistant sound Damian Volpe .... adr recordist Joe White .... boom operator
Visual Effects by John Bair .... animator John Dowdell .... 2K digital intermediate colorist Peter Heady .... 2k digital intermediate editor Peter Heady .... EFX artist
Stunts Manny Siverio .... stunt coordinator
Camera and Electrical Department Elliott Breeden .... assistant videographer Michael Burke .... assistant camera Sung Rae Cho .... first assistant camera Doug Foote .... first assistant camera Jack Foster .... electrician Bob Izzo .... key grip Paul McCarthy .... gaffer Paul McCarthy .... gaffer Jim Mickle .... additional grip Joseph Paolini .... third grip Ryan Samul .... best boy grip Makario Sarsozo .... additional camera operator Lee Vickery .... additional assistant camera JoJo Whilden .... still photographer Zenfeek .... additional electrician
Casting Department Judy Bowman .... casting associate Meredith Jacobson .... extras casting Erica Palgon .... casting associate
Costume and Wardrobe Department Olivia Mori .... set costumer Shelby Saboy .... wardrobe assistant
Editorial Department Hedia Maron .... post-production intern Ali Muney .... assistant editor Trina Rose .... editorial assistant Marin Sander-Holzman .... associate editor Stan Sztaba .... negative matcher Mike Trinker .... digital intermediate editor Ethan Weinstock .... post-production intern
Music Department Nancy Allen .... music editor Michael Hill .... music supervisor
Other crew Matthew Amenta .... production assistant: first team David Bizgia .... pre-production assistant Elliott Breeden .... production assistant Elliott Breeden .... workshop assistant Brian Cantaldi .... production accountant Carol A. Compton .... script clearance James Coppola .... extras coordinator Tristan Cowen .... craft service Jeremy Crane .... assistant production coordinator Ryan Davis .... workshop assistant Patricia de Paula .... production coordinator Andrei Diakov .... assistant: Howard Gertler Nikki Ellis .... background crew Steve Faughnan .... assistant location manager Eric Gerdts .... office production intern Peter Heady .... finishing artist Diane Hounsell .... script supervisor Blake Leyh .... pee & vibrator consultant Derek J. Manganelli .... location assistant Angel O. Mendez .... office intern Jasmine Mohamed .... office production assistant Jennifer Quesenbery .... location scout Will Schluter .... production assistant Louis Schwadron .... assistant: John Cameron Mitchell Collin Smith .... location manager Jesse Spellman .... intern Raymond Willis .... production assistant Terri Yuan .... i Intern
Thanks Miguel Arteta .... very special thanks Francis Ford Coppola .... thanks Douglas Coupland .... thanks David Cronenberg .... thanks Atom Egoyan .... thanks Bart Freundlich .... thanks Matthew Herrmann .... thanks Anne Hubbell .... thanks Moby .... special thanks Julianne Moore .... thanks Yoko Ono .... thanks Jeremy Podeswa .... thanks Patricia Rozema .... thanks Michael Stipe .... thanks Gus Van Sant .... thanks Share It!                |
