"KINDERWALD PRESSKIT 11.11.13"
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"KINDERWALD PRESSKIT 11.11.13"
WORLD PREMIERE FILMFEST MÜNCHEN, 2013 WRITTEN, PRODUCED AND DIRECTED BY LISE RAVEN CO-WRITTEN BY FRANK BRÜCKNER STARRING: EMILY BEHR, FRANK BRÜCKNER, MAX COVE, LEOPOLD FISCHER-PASTERNAK, LUDWIG FISCHER PASTERNAK, BRIAN MCCANN, RAPHAEL XAVIER, CORINNA BURNS, ANNA WATSON, DOUG GREENE, JARED MICHAEL DELANEY RUNNING TIME: 90 MINUTES OFFICIAL WEBSITE: WWW.KINDERWALDFILM.COM CONTACT: KINDERWALD FILM [email protected] +1 917. 426. 1119 KINDERWALD PRESS KIT v. 06.30.13 LOGLINE Two small boys vanished into the mountains in 1854, and their return becomes a brutal test of faith. SHORT SYNOPSIS Is all that we see or seem is but a dream within a dream? Pennsylvania 1854. German immigrant John Linden is responsible for his brother's widow Flora and her two young sons. When the little boys vanish into the mountains without a trace, the neighboring community first helps, then begins to suspect the young couple. Neither John nor Flora believes the boys are gone forever, until a brutal attack provokes a mysterious test of faith. pp.1 KINDERWALD PRESS KIT v. 06.30.13 DIRECTOR’S NOTES / PRODUCTION NOTES Q) What was your inspiration for KINDERW ALD? LISE RAVEN: KINDERW ALD began as the second part of THE KINDERW ALD TRILOGY, a trilogy of films inspired by fairy tales about children lost in the woods. I read Bruno Bettelheim’s 1976 book “The Uses of Enchantment: The Meaning and Importance of Fairy Tales,” and learned that children use fairy tales to process their fears, and prepare themselves for the future. I already knew about Aristotle’s idea that a society needs to watch tragedies as a way to purge the unhealthy emotions that have built up from living modern city life. “Tragedy is an imitation… of events inspiring fear or pity… effecting the proper purgation of these emotions.” I wanted to create a set of films that would be inspired by fairy tales about children, but be focused on the adults. This would allow the audience to purge themselves of fear and pity, and at the same time become better prepared for the future. In effect: Fairy Tales for Adults. Q) How did you come up with the story for KINDERW ALD? LR: I was researching the phrase “children lost in the woods,” when I discovered a folk story about The Lost Children of the Alleghenies, two young children who were lost in Western Pennsylvania in the mid 19th century. I realized “The Lost Children…” was a perfect setup for a ‘Hansel and Gretel’ inspired film. My co-writer and I put together an outline, referencing only the barest facts from the “The Lost Children…” but creating completely original characters. I already knew I wanted to work with two very talented German actors, Frank Brückner (who co-wrote KINDERW ALD) and Emily Behr – who I knew from the years I lived Berlin. I had worked with both of them before, and knew I could trust them absolutely to create memorable characters and deliver highly nuanced performances. With that in mind we decided to make the main characters German immigrants to America. pp.2 KINDERWALD PRESS KIT v. 06.30.13 There were also a number of themes I wanted to explore. I wanted to contrast a character that did not believe in anything, with one who had unwavering faith in God. And I wanted to prove them both wrong. At the same time, the spirituality had to take a backseat to the story. John and Flora had to be real people dealing with a terrible tragedy. The children were missing. Finding them was the most important thing to John and Flora, and the main idea of the film. I didn’t want the story to get bogged down with philosophical arguments. And finally, I knew I wanted to make my next film out in nature. Both Frank and I love nature camping and we saw this as an opportunity to write a film where we could live outside for a month or two. Q) What drew you to work with Frank Brückner and Emily Behr? LR) Frank Brückner has played a ‘tough guy’ onscreen before, but I have also seen his deep and soulful side. We wrote John Linden as a 19th Century man, bearing the weight of a huge responsibility on his shoulders. Frank showed us John’s burden and at the same time brought out his tenderness, which is what Flora is drawn to. Frank really loved working with Leopold (Leo) Fischer–Pasternak and Ludwig (Louie) Fischer-Pasternak, the two young boys who played the missing children. John was very harsh on the boys in some of the early scenes, and we all saw how painful it was for Frank to yell at Leo and Louie. I kept whispering in Frank’s ear “more…more…” encouraging him to be meaner. Leo and Louie were real troopers, they went along with it, and the moment we called ‘cut’ – they were all over Frank, giggling and laughing. He made them feel very safe, and I trusted him completely. John Linden is harsh at times, but he reveals his vulnerability, which is what the audience connects to. pp.3 KINDERWALD PRESS KIT v. 06.30.13 We wrote the role of Flora Linden for Emily Behr. She has played such a wide variety of roles that I knew she could bring out all the subtleties in Flora’s character. Emily showed us Flora’s grace but also revealed her fire. The audience must understand very early in the film that Flora is capable of great strength, or they will dismiss her as just a victim. Frank and Emily have known each other for many years and worked together many times in Berlin. They are both very skilled actors and they played John and Flora as two people just discovering each other. The love story of John and Flora is very moving because the audience realizes it before they do. Q) Where did you find the rest of your cast? LR: I moved from Berlin to Philadelphia in 2006 and discovered the city has a rich and vibrant theater scene. We’re 90 miles from New York City, but I’ve chosen to work exclusively with local actors in my last two films, and I knew from the very beginning I wanted to do the same on KINDERW ALD. I wrote a number of roles in KINDERW ALD with specific actors in mind. I prefer to cast actors that I have seen work live onstage rather than solely in films. My background is in dance, so I really watch how actors move. I have to believe their physical performance more than the lines they speak. It’s the same reason I don’t watch the video monitor on set. I stand right next to the camera and look at the actors. I want to feel the electricity in the scene. Otherwise I won’t know what to say to them… what to ask for… how to direct them. Brian McCann and Doug Greene, who play the antagonists, were a great inspiration. I had Brian in mind when I wrote the character of “Charles”, but I never told him that until after we finished filming. Once he agreed to be in the film I started looking for the right actor to play his partner, “Cal”. There needed to be a very special chemistry between the two men and when I bumped into Doug Greene I knew instantly he was the right one. He has a beautiful face and eyes that can go from volcano to glacier in an instant. pp.4 KINDERWALD PRESS KIT v. 06.30.13 Brian, Doug and I sat around drinking whiskey and talking about the characters, creating a huge backstory with a complicated relationship that played out on screen in small glances and gestures. They didn’t have much time onscreen but it was so powerful that I want to make an entire film just about their story. I fall in love with my characters, and my heart always breaks a little when the film is over and their stories end. I want them to keep having adventures. Anna Watson, the actress who plays the deaf mute woman with the baby, is a very talented German actress who moved to Philadelphia a few years ago. I wrote the role for her, but I knew I couldn’t have another character with a German accent, so I made her character deaf and mute. I wanted there to be one other woman in the story who “Flora” could connect with, however briefly. Anna and her husband and 3-month old son came up to set for a night. It was cold and rainy and they had to hike deep into the muddy woods, but they never complained. Anna and Emily connect in a very profound way onscreen, it’s one of my favorite moments in the film. Corinna Burns and Jared Michael Delaney (“Abbie Mathewes” and “Dennis Mathewes”) have worked together many times. I saw they had the kind of ease and familiarity that married couples do – and it played out nicely on the screen. Both of them have a keen wit and a sharp sense of humor - they kept the cast and crew in stitches during many of the long days and nights. I owe Jared a huge debt of gratitude for the stunning opening and closing shots of the film. We were preparing for a night shoot and he said I should take a look at the mist on the fields. I was inside a barn, deep in conversation with my Assistant Director, and I almost let it go… what a huge loss that would have been. I thought it would be difficult to cast the two little boys, but it turned out that my co-writer Frank Brückner knew a German teacher in Philadelphia who had two small sons, Leopold (Leo) and Ludwig (Louie) Fischer-Pasternak. Neither of the boys had any acting experience, which was even more attractive to me. I needed real little boys. I met with them a couple of times to play games and talk about the movie, and then I knew they would be perfect. pp.5 KINDERWALD PRESS KIT v. 06.30.13 Both Leo and Louie are super smart and they each have unique personalities that really filled out the costumes. They came up with a lot of the small games and little-boy things that Caspar and Georgie do in the film, and it helped so much to make them real live three-dimensional characters. I credit them with creating “Caspar” and “Georgie” -- we just followed them around with the camera and recorded what they did. They were fun to work with and as hard working and professional as the rest of the cast. Their parents were wonderful as well. I was so grateful they trusted us with their sons. The trick to working with children is to listen to them, trust and respect them, and never ever break a promise. When the boys said they needed a break, they were serious. Even if that meant Louie spent the next half-hour breakdancing on the riverbank to burn off all his extra energy. (…we’ve saved that one for the DVD extras.) Casting “Tim” was tricky. I needed an actor who could play a young 17 year-old, but who was actually over the age of 18 – so there would be no restrictions on the hours he could work. Max Cove was a referral from local theatre director. At our first meeting we sat outside in the pouring rain at a local café; it was very romantic. Max understood exactly what I needed from the character of “Tim” – an overgrown child with a very old soul. It’s always interesting to watch an actor play a character who is trying not to reveal their feelings. But it’s very hard to play an obsessive character without going over the top. Max held the reins with a very fine hand and I’m in awe of the deep yearning he brought out in “Tim”. The final actor I cast was Raphael Xavier, who played “Dr. Henry Lafayette”. I was looking for someone very special to play the role, and time was running out. About a week before we started shooting, I literally picked Raphael up on a subway train. I was on my way to a production meeting and I looked up and saw him across the train. There was both a grace and a power to the way he stood. I threw caution to the wind and asked him if he was an actor. He told me he was a dancer, so I gave him my card and asked him if he would meet with me to talk about the film. pp.6 KINDERWALD PRESS KIT v. 06.30.13 I love working with dancers because they understand how to deliver truthful emotion without dialogue. I never expected he would call… but he did. I didn’t know it at the time, but Raphael is a very well known Hip Hop Dance artist, with many credits as a singer, dancer and photographer. He is also one of the most generous and humble actors I have ever worked with. He created a character with great mystery and dignity, and he reached deep to find the truth in Dr. Lafayette. It’s pure joy to watch him onscreen. Q) Frank Brückner is both your co-writer and lead actor. Did he also have a hand in directing KINDERW ALD? LR: No. Not at all. As soon as the script was finished Frank stopped being involved as the “writer” and became the “actor.” He didn’t want to be the editing room and he didn’t even see the completed film until the world premiere in Munich. I can’t share the telescope with anyone else when I’m directing. I have to be the ship’s captain. I know exactly what I want, but at the same time I trust the actors and the DOP to give me options. Frank is an incredible writer and a very talented actor and he was happy to focus solely on being John Linden. I love directing; and it is a great privilege to have the responsibility to direct. But it is a responsibility. If you aren’t willing or able to take it on, then you can’t do right by the cast and crew. They put their life in your hands and you have to honor that every single second of every single day when you direct a film. pp.7 KINDERWALD PRESS KIT v. 06.30.13 Q) There is very little dialogue in KINDERW ALD. Why is that? LR: Lately I feel exhausted by dialogue. I created main characters that don’t speak very much because they don’t need words to communicate. They only speak when they have something meaningful to say. The people around them talk a lot, but a lot of that is smoke and mirrors. The sound design of the film was extremely important to me. With so little dialogue, I wanted the sound design to communicate the inner life of the characters. While we were preparing the film, I read an article about the Sound Design on Terrence Malick’s 1978 film “Days Of Heaven.” The article mentioned a set of “Psycho Acoustic Nature Recordings” -- field recordings of nature sounds that had been blended into the soundtrack. It took me a while, but I was able to dig up copies of those field recordings and get permission to use them. The incredible thing is that they were recorded in the early 1970’s in fields and forests one hour from where we filmed. We were able to use the sound of our actual location, 40 years before we filmed, when there was much less noise pollution. That really helps to sell the feeling of life in the 1850’s. We were also lucky that our location sound-recordist, Sean Feely, is completely enamored with sound. Whenever he had a free moment he was off recording something in the woods. Frank Brückner also loves the sounds of nature. He used to pull me aside on the set and tell me to listen to a particular bird or an insect. When we were doing the sound post-production he gave me a huge file of birds, crickets, rain, dawn and dusk recordings he had made on location. It added lovely layers to the sound design. Q) KINDERWALD has no interior shots. Was that intentional? LR: I had been looking for an opportunity to shoot an entire film outdoors for a few years. I was drawn to the idea of placing actors out in nature, and asking them to respond and react on a purely physical level to their environment. I had observed this in some of my previous films, when we encountered intense heat or cold on set, and I wanted to try it on a larger scale. pp.8 KINDERWALD PRESS KIT v. 06.30.13 My short film Neighbors, which is part one of the Kinderwald Trilogy, is set entirely inside a house. We filmed Neighbors during a heat wave in Philadelphia and the temperatures were in over 100° Fahrenheit (41-43 C.) That film takes place over one long night, but we filmed during the day and blacked out the windows with heavy trash bags. We couldn’t run the air conditioning because of the noise, so the heat and humidity inside the house were often stifling. The characters in Neighbors were experiencing an absurd situation that ended in an ugly argument and a physical confrontation, and the climate inside the house was very conducive to the reality of the story. KINDERW ALD seemed like the natural opportunity to try this again, as the story takes place in a time period devoid of modern and technical distractions. The characters – as well as the actors – would be at the mercy of the landscape, the wildlife and the weather. Of course we provided them a safe environment in which to experience this, because I knew that whatever challenges the actors faced, the crew would be facing as well. Rain or shine we were all in it together. We filmed every day, no matter what the weather, and the actor’s costumes, props and set evolved naturally. It poured rain, and the set turned into a sea of mud. The final week of filming there was a plague of stinkbugs that invaded the whole camp. Every time we filmed with lights at night huge Cicada Killer Wasps swarmed the set. Everyone just took it in stride. We knew we couldn’t control nature but experiencing it in all its glory was the point, after all. Q) You make a point in the credits of saying KINDERWALD is a Green film. LR) The entire cast and crew lived in an old rustic YMCA camp out in the woods along the Appalachian Trial, in Lancaster, Pennsylvania. It was very important to us that KINDERWALD had as little impact as possible on the environment. We hired a cook and ate all our meals in the dining room, using real plates, cups and silverware. Everyone had their own water canteen, and we brought huge jugs of fresh water to set so people could refill their canteens. On set, the snacks table was all fresh food, with no packaging. Frank Brückner really spearheaded the Green film idea. He said a film does not have to create a huge amount of garbage. All it takes is a little planning, and asking everyone to make a conscious effort. pp.9 KINDERWALD PRESS KIT v. 06.30.13 Q) KINDERWALD is set in 1854. Was it difficult to write a historical drama? LR: We set the film at a time when a wave of German immigrants had come to America to escape oppression at home. Following the “Revolutions of 1848” in the German states, a wave of political refugees fled to America. They became known as “The Forty-Eighters.” KINDERW ALD is a fascinating look at a country still trying to find itself, and who her people really are. 1854 was the period right before the Civil War. I saw a lot of parallels between the politics of that time and the current political climate in America. As we were writing KINDERW ALD, It was important to both Frank and me to reflect that in an organic way in the story, rather than making the film pedantic. The antagonists in the film make anti-immigration and anti-Catholic statements - which reflect the sentiments of the Know Nothing Party, who were very active in Pennsylvania in the mid 1800’s. The Know Nothing Party was a semi-secret American political movement that was empowered by popular fears that America was being overwhelmed by German Catholic and Irish Catholic immigrants. They called themselves The American Party, and they promised to purify America by curbing immigration and naturalization. The origin of the "Know Nothing" term was in the semi-secret organization of the party. When a member was asked about its activities, he was supposed to reply, "I know nothing." We didn’t make a point of naming Charles and Cal’s political affiliation, as they wouldn’t have announced it to anyone either. Abbie Mathewes is a “Good Christian Women”, but after she discovers Flora is Catholic she convinces the town to turn their backs on Flora and John. Antebellum Pennsylvania was also a “Free State,” with a strong Anti-Slavery Movement. “Dr. Lafayette” was able to travel freely, although he was always in danger of being kidnapped and smuggled across the border to Maryland to be sold as a slave in Baltimore. When Dr. Lafayette’s hand-printed book “The Science of Dowsing” turns up at Charles’ and Cal’s campsite, it implies that Dr. Lafayette met foul play at the hands of these unscrupulous and opportunistic men. pp.10 KINDERWALD PRESS KIT v. 06.30.13 Q) How difficult was it to make a period piece on a small budget. LR: Initially I was uncertain about making a period piece; we didn’t have a large budget, and I am not a big fan of what I call “dress-up movies” -- movies where the costumes are larger than the characters. I made the choice that the main characters in KINDERW ALD would own almost nothing, wear the same clothes for the entire film, and live out in the woods. I had seen the costumes as they were being made, and I imagined the actors dressed in a beautiful palette of purples browns and dark greens, ragged skirts and pants legs dragging in the mud, grubby hands and dirty fingernails, and once-clean white shirts turned mocha with streaks of dirt. Of course I was completely unprepared on the first day of shooting when the actors turned up to shoot the opening scene in their pristine clean and beautiful period costumes, looking like they stepped off the set of “Barry Lyndon”. Lenore Romas, the Production Designer, thought it was hilarious when I told her. “But I didn’t want to make a dress-up film!” I was very happy when the children’s costumes got filthy within the first hour and the adult’s costumes turned dusty and grimy a day later. Q) What were your visual inspirations? LR: Other films, of course. But I believe my choices are informed not so much by the films I’ve seen, but by how I remember them. Filmmaking is a very conscious process of working from the subconscious (images… sounds… impressions). I consciously avoided going back and watching some very relevant films until we had finished shooting because I didn’t want my impressions to be corrupted. I’ve worked with the same Director of Photography (Will DeJessa), Production Designer (Lenore Romas) Editor (Elyssa Cusimano) and Colorist (Chip Murphy) on my last three films. We make up our own language as we go along, and we create phrases to reference things we’ve seen or described to each other. Language begets language, and sometimes we can’t even remember the origin of something we refer to, because we made it our own on another film and now we’re using those films as references for our new work together. pp.11 KINDERWALD PRESS KIT v. 06.30.13 Q) You teach filmmaking. Has that changed the way you make films? LR: Teaching film has made me hyper aware of how to make a film… all the conventions and the nuts and bolts. The so-called ‘man behind the curtain’. My short film Neighbors was filled with filmmaking devices - it was very selfconscience filmmaking. With KINDERW ALD I didn't want to use filmmaking at all - what I really wanted was to bring the actors to set, have them become the characters and then have them actually experience and react to the situations they were put into. We would be like flies on the wall, recording it as it happened. I quickly realized for that to work, the actors could not be allowed to read the script. With a limited shooting schedule (only one month) and many actors only able to be up on set for a limited time, I understood it wouldn’t be possible with this film. But maybe on my next film. Q) KINDERW ALD is dedicated to NATE AND MILO. Who are they? LR: I have a very close friend who lost both his sons in terrible accidents. For a long time I’ve wanted to make a film about a man who was able to manifest a miracle and bring his sons back from the dead. This film is dedicated to my friend’s sons. pp.12 KINDERWALD PRESS KIT v. 06.30.13 THE KINDERWALD CREW LISE RAVEN – WRITER / DIRECTOR / PRODUCER Lise Raven’s first feature film, LOW , screened in over 30 international film festivals. In 1995 she helped found the SLAMDANCE FILM FESTIVAL, after which she wrote and directed three films for the SHOWTIME Cable network. In 2000 Raven moved to Berlin, Germany after being awarded the DAAD Berliner Künstlerprogramm Artist Residency in Film. While in Europe, Raven’s feature film project, ‘Snipe’, received development funding from the Irish Film Board. Raven was selected to develop the project at the prestigious MOONSTONE DIRECTOR’S LAB in Drymen, Scotland. In 2011 Raven worked with the Philadelphia Museum of Art to create a short video that screened in the ROBERTO CAPUCCI: ART INTO FASHION exhibition. KINDERW ALD is the second film in THE KINDERWALD TRILOGY, a trilogy of films that are inspired by fairy tales about children lost in the woods. The first film, Neighbors, (18 min.) was completed in April, 2013. STEPHANIE AYANIAN – PRODUCER Stephanie Ayanian is a filmmaker and educator. She is a partner and producer at Storyshop, a documentary production company in the Philadelphia area. She worked as a senior producer/director for Penn State Public Broadcasting where she was the producer and director of “Liquid Assets: The Story of Our Water Infrastructure”, for which she received the American Association of Engineering Societies Award for Journalism. She produced and directed the “Geospatial Revolution Project”, which was released episodically on the web and has screened worldwide. She teaches film producing at Drexel University. pp.13 KINDERWALD PRESS KIT v. 06.30.13 STEPHANIE’S EXPERIENCE MAKING KINDERWALD: KINDERW ALD brought together a diverse group of filmmakers to tell a quiet story set in the wilds of 1854 Pennsylvania. And it was truly a wild ride. A feature often takes years to get through research & development and preproduction, but with KINDERWALD, we did it in a few months. And that is a testament to Lise Raven's drive to tell this story. She flew in a lead actor from Germany, but also found great value in casting actors local to Pennsylvania. She found local crew members who were willing to live in the forest for a month. And together they persevered through harsh weather and a tight schedule. As a producer, I was mostly involved in the early stages of production. But on my few trips out to the camp, I found fierce conditions trying to be tamed by the filmmakers and actors. And in the rushes that I saw on these trips, I witnessed moments that make the entire endeavor worthwhile. I knew that Lise had something wonderful to mold into a unique tale of Pennsylvania life. ALEXANDRA NAVRATIL - CO-PRODUCER Alexandra (Ally) Navratil received her film start as a student of Drexel University in Philadelphia. While there she wrote, produced and directed a documentary, short film and assisted on numerous peer and administrative projects. After KINDERW ALD, Ally interned at KILLER FILMS. ALLY’S EXPERIENCE MAKING KINDERWALD: KINDERWALD. The name brings a whole new meaning to both work and camp. I could try to add up the hours we spent awake, but there were far more than the hours we spent sleeping. On set we were a proud rain-sleet-and-snow crew. We had an incredible story and were compelled to make sure it was told right. This was the first feature film in which I played a producing role. It was intense to say the very least. So this project, as can you imagine, is very near and dear to my heart... Being trusted with someone else's vision. It was an honor and incredibly illuminating experience. pp.14 KINDERWALD PRESS KIT v. 06.30.13 FRANK BRÜCKNER – CO WRITER Frank moved to Philadelphia in 2009 from Berlin, Germany, where he performed on screen, stage, radio and Fernsehen (TV). In addition, he toured with his bands, playing a bold array of original music. On top of writing and producing a number of short films (Interm ezzo, Seduced). Frank’s short stories were published in literature anthologies. Since arriving in Philadelphia, Frank has been working in film, television and onstage. He directed the one-woman show Teenager: Anne Frank for the Philadelphia Fringe Festival as well as acted in and directed five one-act plays for Philly’s Prim ary Stages. His short film A W onderful Day was shot in spring of 2013. In 2011 Frank co-wrote the first part of the KINDERWALD TRILOGY, Neighbors. His collaboration with Lise Raven on the script for KINDERW ALD is his first feature screenplay. (FRANK’S EXPERIENCES MAKING KINDERW ALD ARE IN THE CAST NOTES) pp.15 KINDERWALD PRESS KIT v. 06.30.13 WILL DeJESSA – DIRECTOR OF PHOTOGRAPHY William is from Philadelphia, Pennsylvania USA. Since graduating from Temple University (where he received a Bachelors degree in Film and Media Arts), William has worked on and for various short films, commercials, documentaries, music videos, a television network and a feature film. William began making films in his early teens and now at the age of 25, ‘KINDERW ALD’ is his first fulllength feature. DeJessa is a cinematographer with a style that favors the long take, wide aspect ratios, evolving shots, and dirty frames. William strived to show the wild beauty of the landscape while still capturing the intimacy of his subjects. As an artist William enjoys exploring the mash-up of analogue with digital media and the advantages or degradations of both. He strives to bring a sense of the real world into every frame. WILL’S EXPERIENCE MAKING KINDERWALD: To say this film brought the crew back to nature is an understatement. I remember while recruiting crewmembers I would tell them "We'll be living in the woods for a month!" I really doubt many of them took that literally. We went into this film knowing that we would never have the chance to reshoot, it was all or nothing, rain or shine… and frankly, I wouldn't have had it any other way. I've never been so lucky to work with such a tight knit crew. I felt like I was commanding a small army; nature was the battlefield and time was the enemy. There wasn't a single day we weren't fighting against the day or the night. We pushed through, even surviving what seemed like a monsoon. I really cherish the film set experience. It's an environment of very short and intense relationships with some of the most interesting people you'll ever meet. I will remember that month living in the woods for the rest of my life. pp.16 KINDERWALD PRESS KIT v. 06.30.13 LENORE ROMAS – PRODUCTION DESIGNER As a recent graduate from Temple University’s Film and Media Arts program, Lenore has designed several short films, including Coppermise (set in a 1960s suburban home), Vocabulary of the Mysteries (a hip-hop ode to a Greek myth), and her current project, A Man Full of Trouble (set in Alexander Hamilton's estate circa 1776). Lenore's passion for production design stems from her love of using color and design as mediums to tell a story. Whether she is designing on set or with the aid of a computer, her attention to detail and eye for composition has led to a strong portfolio of work. Lenore is also the Senior Graphic Designer at Defined Clarity, a design and technology firm in Philadelphia, where she crafts engaging and meaningful solutions in he realm of web and print design. Additionally, she has been making a name for herself in the post-production field of color correction, where she is able to enhance a film's visuals and deliver a precise color look. LENORE’S EXPERIENCE MAKING KINDERWALD: This was my first experience production designing a feature film, it offered me the unique experience of shooting outdoors in remote locations, braving the elements, and leading a team of talented set designers and costumers. KINDERW ALD centers around a family who has almost nothing except the clothes on their backs. Each character required only one costume each, but we were able to play with adding/removing layers of clothing, accessories, and caking on of dirt as they adapted to life in the forest. Additionally I had to dress a roster of supporting characters that hailed from different walks of life, each one bringing their own colors and quirks to the film's aesthetic. Establishing the color palate was one of the most exciting parts of preproduction. This was my first experience dying fabric, which allowed me to be super picky about my color choices. We enlisted the help of a fabulously talented seamstress, who collaborated in the design and custom creation of many of the garments. pp.17 KINDERWALD PRESS KIT v. 06.30.13 (LENORE ROMAS cont.) During production, living in the forest for a month provided a particular challenge, requiring lots of manual labor, ultimate organization and on-point collaboration between departments. Although we got to go home to our tentcabins each night, each intense shoot day (or night) felt like we were experiencing some of the physical and mental hardships the characters were going through which let us really 'get into character' when we were preparing the costumes and the set. ELYSSA CUSIMANO – EDITOR Elyssa has had an interest in editing most of her life, starting from watching her mother edit together videos as a child. Since graduating from Drexel University with a degree in Film and Video, Elyssa has edited numerous short films, music videos and content for broadcast. She is currently working for NewsNow, an online news source. ELYSSA’S EXPERIENCE MAKING KINDERW ALD: KINDERW ALD was the second feature I edited. We filmed in the deepest part of the forest, and the whole crew lived in the woods for a month, sleeping in tent-cabins with mesh siding. I had never been camping before, and I had to learn fast. I started the shoot with a fear of bugs, the dark, and ax-murderers (I was able to sleep at night because Lise Raven gave me a huge pair of scissors to put under my pillow ‘just in case!’), but by the time we wrapped I had conquered them all! pp.18 KINDERWALD PRESS KIT v. 06.30.13 THE KINDERWALD CAST EMILY BEHR (“FLORA LINDEN”) Growing up multicultural in both France and Germany, Emily Behr studied Art and Theater acting in Berlin. She made her theatrical debut in 1998 as Velvet in "Popcorn", a highly acclaimed play by Ben Elton. She since worked in numerous renowned Theaters in Germany and started a career in film as well in Spain, Ireland, France and Germany. KINDERW ALD is her first film made in the USA. EMILY’S EXPERIENCE MAKING KINDERW ALD: Making KINDERW ALD was not just making a film but it was a whole new experience in my career. I didn't really find the time to build any expectations, at that time I was so buried in work and bureaucracy. Three hours after I landed in the USA I disappeared in the woods of Pennsylvania for one month of shooting, totally insulated from civilization. Since I came a few days late there was no time for introductions or rehearsals. On the first night on camp I had to become “Flora Linden” in her city dress and several underskirts with a corset in the middle of an almost tropical climate. With time I would merge with the enchanted forest filled with toads waiting in front of my cabin every night to wish me good dreams. The spiders, and terrifying flying kittens (*) would demystify and become part of my new reality. Lise Raven led us through this adventure with her inexhaustible energy and perseverance. There was no time for coming back from planet KINDERWALD, with no any phone reception and barely any time between the scenes. In the end this made it much easier, no energy was wasted travelling between worlds.” (*) Emily’s flying kittens turned out to be Sphecius speciosus - often simply referred to as Cicada Killers W asps, a large digger wasp species that swarmed the cast and crew on night shoots, attracted by the film lights. pp.19 KINDERWALD PRESS KIT v. 06.30.13 FRANK BRÜCKNER (“JOHN LINDEN”) Frank was born in Frankfurt/Main and grew up on the Lower Rhine. He studied drama at the Mozarteum in Salzburg and received his MFA in Berlin. Before moving to Philadelphia he was an actor in Berlin for many years. Frank was nominated for the prestigious Friedrich-Luft-Preis / Play of the Year with Barry Keefe’s "Barbaren" and appeared in the award winning film and television productions „Sobre El Arcoiris“ (Spain/Germany), "Frem de Heim at" (Germany) and "Das Leben geht weiter / Life Goes On" (ARTE). Frank was in many German TV productions, amongst them "Zwei Tage Hoffnung" (ARD), "Der Am okläufer- Aus Spiel wird Ernst" (SAT.1) and "W olffs Revier" (SAT.1). Since he moved to the United States, Frank starred in a number of short and independent feature films. He recently completed the romantic comedy "A Wonderful Day" (USA). FRANK’S EXPERIENCE MAKING KINDERW ALD: I never have any expectations before I start shooting a film or rehearsing a play. But I did know that I would have to get up in the wee hours of the morning for an entire month. We slept in open wooden cabins, protected only by a roof and mosquito screens. I loved falling asleep in my bunk bed, tired from a day of shooting only to get up a few hours later in the early morning and hear the sounds of the wakening woods. When it rained, the water hammered on the roof, when the fog was wafting through the trees, all our sheets and clothes were damp. Living outside for one month, exposed to the elements, almost like my character "John Linden", made the story very tangible to me. "John" is not the most accessible, the most likeable guy. He doesn't talk that much. But nobody in KINDERW ALD does. He is not what you would call "an open book". Yet, there are many things about him I could relate to -- His loyalty and his skepticism, for instance. John doesn’t believe in God. He thinks God was invented by people, not the other way around. I could relate to the fact that John believes in himself. pp.20 KINDERWALD PRESS KIT v. 06.30.13 (FRANK BRÜCKNER cont.) When I wrote the character of John Linden, I wasn’t thinking about how I would play him. I was thinking about what men in this era went through and how others perceived them and how they thought about themselves. As a writer I wrote scenes where John is very harsh to the children, but as an actor it was hard to yell at them when I could see how upset they were. Guns are pretty heavy... I wore a wonderful Colt Navy 1851 replica, in a solid leather holster. Wearing "John's" costume forced me - and at the same time gave me the freedom - to move like him. After a few weeks, however, I became a little self-conscious, because we had agreed to not wash our costumes for the entire shoot, for the sake of greater authenticity. Midway through the filming I had to ask the wardrobe mistress to secretly wash my shirt because I couldn’t stand the stench anymore. Back then people were used to the smell, they didn’t notice it because everyone smelled like that. Our modern noses have become very civilized. Fortunately there was still more than enough grime and sweat left in the shirt and nobody was the wiser. Lise Raven is everywhere, and she is very good wherever she is. I've never seen anyone who could run on coffee, rice cakes and two hours of sleep for a month and still be brilliant. As a director she has a great way to communicate with actors and meet their individual needs. For example, I am a very hands-on kind of actor- give me too much "inner child experience" talk and I will switch off. Lise's directions are small, but palpable and crucial. "Just look at him as if he just blew cigarette smoke into your face"- and she got the facial expression she wanted! Will DeJessa in a great DOP and he is great at capturing beauty. He knows his craft and he is an artist with great visions and ideas. He had a strong hand in the look of KINDERW ALD. Working with him always felt like he was another character in the story, another actor -- not visible, but present in a very organic way. pp.21 KINDERWALD PRESS KIT v. 06.30.13 MAX COVE (“TIM CALDER”) Max grew up just outside of Philadelphia, in Bucks County, Pennsylvania, before attending Northwestern University where he earned his B.A. in Theatre. Since graduating in June 2012, Max has been seen in numerous theater productions including the Philadelphia premiere of Bloody Bloody Andrew Jackson. Max also portrayed the iconic role of Peter Pan in the latest New York reading of the new musical Lost Boy, written by Kevin and Kelly Milnes. Max makes his feature film debut in KINDERW ALD. MAX’S EXPERIENCE MAKING KINDERW ALD: Working in the middle of the woods in Lancaster for a month was such a nice change of pace from the craziness of everyday actor life in the city. This was my first feature film, but working with Lise and our incredible crew, headed by our Cinematographer, Will DeJessa, made it feel like I had done something like this many times before. Lise is a pure delight. She can be a real goofball, but she is also brilliant, caring, and open to any ideas her actors may have. All of the filming happened outdoors and we shot a lot of scenes in the freezing cold early morning or the freezing cold river or creek. But no matter what, Lise always made sure we felt safe at every turn. I will always remember standing in the forest at 4 am, wrapped head to toe in silver Mylar Space Blankets, (Mylar emergency blankets) laughing and telling jokes while we waited to shoot. I really appreciated the support I felt throughout the filming experience. I never heard anything negative or criticizing from Lise, the crew, or even the cast. For a young, up-and-coming actor, it meant the world to me to work with the caliber of talent I had the fortune of being surround with during KINDERWALD. pp.22 KINDERWALD PRESS KIT v. 06.30.13 LEOPOLD FISCHER-PASTERNAK (“CASPAR LINDEN”) Leo was born in 2004. He likes to daydream and his favorite colors are orange and red. He loves blueberry pancakes, people with a sense of humor, and his parents. This is his first film. LEO’S EXPERIENCE MAKING KINDERW ALD: It was good to be living out in the forest eating soup and bread. Making KINDERW ALD was sort of like camping. Sometimes I forgot that Emily and Frank weren't even my real family and sometimes I almost forgot it was just a movie, like when “John” was being a little harsh. I was not very happy about that, but “Flora” was usually nice and soft. It was hard not to look at the camera, but Will really helped us. We did a lot of silly stuff with Lise, not during the movie, but in our free time. When I was playing Caspar it was hard sometimes just to act both normal and old-fashioned at the same time. The story is a little sad, but it was fun working on the film. LUDWIG FISCHER-PASTERNAK (“GEORGIE LINDEN”) Louie was born in 2006 and he likes sports. This is his first film. LOUIE’S EXPERIENCE MAKING KINDERWALD: It was fun playing Georgie, although I had to carry a giant heavy pot, and sometimes we had to film things many times. The hardest part was not looking at the crew, but Lise was really nice, and I liked watching Will film things with those big cameras. Working with Frank and Emily was happy and sad. I didn't like when I had to fight with Emily to take the shovel away, but I liked Frank's dirty trousers with the belt and the fake dead rabbits attached to it -- and I really liked when we played in the water at the creek. pp.23 KINDERWALD PRESS KIT v. 06.30.13 RAPHAEL XAVIER (“DOCTOR HENRI LAFAYETTE”) Raphael Xavier is a professional breaker/dancer, rapper, music producer, comedian, photographer, author and multifaceted artist. He is known for reinvigorating the B-Boying community in Philadelphia. He started choreographing dance with the Brandywine School of Ballet in 1995. He then became recognized as a theatre artist when he joined Rennie Harris Puremovement, the longest running Hip-Hop dance company, in their production of Rome & Jewels in 1997 as Tybalt. He would continue on to become a core member of the RHPM Company and is now an alumnus. He has received many awards and recognition for his choreographic work from 1999 to the present and for various projects he has worked on including: music recordings and compositions, film, and photography. Raphael gives lectures and dance classes internationally on Hip-Hop and it’s history. He is currently exhibiting his photographs and completing ‘No Bicycle Parking’ a photo book of abandoned bicycles around the world from 2000-2013. RAPHAEL’S EXPERIENCE MAKING KINDERWALD: I didn’t know what to expect from making Kinderwald. I had been on several big movie sets in Hollywood and I thought it was going to be the same old thing, but the professional environment on a small set surprised me. I was made to feel like I was important. That experience put me in a place that allowed me to let go a bit and become more open for my character. The woods added something mysterious and timely about Kinderwald. I felt like I was really in the 1800’s with nothing but woods, rocks and water. No signs of any modern activity. And that also helped me get in the mood for the character of Dr. Lafayette. I wish there was more of him because he is mysterious in a way. An 1800’s black man... free? Think about that. And he is a Doctor? I still think about him and where did he come from and how was he able to navigate during those times. pp.24 KINDERWALD PRESS KIT v. 06.30.13 (RAPHAEL XAVIER cont.) Lise was a good director for me. I needed that. She made me feel comfortable and allowed me to run with the character. She would say, “Be mysterious but not “Lucky Charm s!” She let me be free with the dialogue, challenged my direction and helped me to explore the character mentally. (Lucky Charm s’ refers to the leprechaun in the Lucky Charms Breakfast Cereal advertisements. It was very important to both Raphael and Lise Raven that Dr. Lafayette be real and not a cartoon character.) CORINNA BURNS (“ABBIE MATHEWES”) Corinna is a Philadelphia-based actress who has performed with many area theatre companies, including the internationally acclaimed Pig Iron Theatre Company (PAY UP! and ISABELLA), as well as The Arden Theatre (AUGUST: OSAGE COUNTY), Inis Nua Theatre Company(LITTLE GEM, PUMPGIRL), and Theatre Exile(THE ENGLISH BRIDE), among others. She stars in the short film IRINA, directed by Michael Johnston, which recently won the Allied Pixel Silver Award at the 2013 Media Film Festival. Most recently she starred in the dark comedy film, “A MAN FULL OF TROUBLE.” CORINNA’S EXPERIENCE MAKING KINDERW ALD: Stiff corsets that make me feel very upright, heavy skirts and boots dragging through the muddy woods, catching on briars in the meadow - tall trees and distant gun shots - stink bugs and chipmunks and walking sticks and salamanders - joking with friends from the city in our period costumes, flashing the cell phone hidden tucked into my stocking - the darkness of the woods at night, the long walk to the bathrooms flash-lighted and bug-sprayed bodies asleep in the barn in little piles while others stay awake all night distressing costumes - good food and everyone on their MacBook Pros in the dining hall - watching trashy movies on the editing equipment with the crew - and rain... pp.25 KINDERWALD PRESS KIT v. 06.30.13 JARED MICHAEL DELANEY (“DENNIS MATHEWES”) Jared is a Philadelphia, PA-based actor who has appeared in films like "Universal Sign" and "Headspace." He has appeared regionally in theaters across the country and Off-Broadway at 59E59 Theaters. Jared is Associate Artistic Director of Inis Nua Theatre Company, dedicated to producing contemporary plays from Ireland, England, Scotland & Wales. Inis Nua recently produced Jared's first full-length play "The Hand of Gaul.” JARED’S EXPERIENCE WORKING ON KINDERWALD: My experience working on "Kinderwald" was truly a blast. The good nature of the entire cast and crew made it a joy and the opportunity to work on such an engaging period piece, with a director of the caliber of Lise Raven, was a treat. (It was Jared who originally said, “KINDERW ALD is a fascinating look at a country still trying to find itself, and who her people really are.”) pp.26 KINDERWALD PRESS KIT v. 06.30.13 CREDITS FOR NATE AND MILO LISE RAVEN Writer/Director/Producer FRANK BRÜCKNER Co-Writer KINDERWALD EMILY BEHR FRANK BRÜCKNER MAX COVE LEOPOLD FISCHER PASTERNAK LUDWIG FISCHER PASTERNAK BRIAN McCANN DOUG GREENE RAPHAEL XAVIER CORINNA BURNS JARED MICHAEL DELANEY STEPHANIE AYANIAN Producer ALEXANDRA NAVRATIL Producer WILLIAM DeJESSA Director of Photography LENORE ROMAS Production and Costume Designer ANGIE ELWELL Hair, Makeup and Special FX ELYSSA CUSIMANO Editor SCOTT WAZ (CAS) Supervising Sound Editor CHIP MURPHY Colorist First Assistant Director FINDLAY ZOTTER pp.27 KINDERWALD PRESS KIT v. 06.30.13 Second Assistant Director SALVATORE SCIORTINO Script Supervisor CHRISTIAN ARNEY Art Director JULIA ECKENRODE Location Sound/Boom Operator Boom Operator Additional Sound/Boom SEAN FEELY JOHN GROSS RYAN FARBER Cast (in order of appearance): Georgie Linden Caspar Linden Flora Linden John Linden Tim Calder Abbie Mathewes Dennis Mathewes Dr. Henry Lafayette Charles Layton Calvin Rivers GCB #1 GCB #2 LUDWIG FISCHER PASTERNAK LEOPOLD FISCHER PASTERNAK EMILY BEHR FRANK BRÜCKNER MAX COVE CORINNA BURNS JARED MICHAEL DELANEY RAPHAEL XAVIER BRIAN McCANN DOUG GREENE JANETTE TOTH MUSSER JANÉT WOOD Furnace Workers CHRISTIAN ARNEY JOHN GROSS SALVATORE SCIORTINO PETER MARSH ANTHONY TRIGILIO Local Townspeople COLIN ANDERSON CHARLENE BAIR RICHARD BAIR CARLA BARTLETT GRAYSON BARRETT PATTY BENZ COREY BORCHERS ROBERT BRINSON PRISCILLA DEJESSA TYLER GARRISON pp.28 KINDERWALD PRESS KIT v. 06.30.13 JESSICA GULD JACQULIN HYNES DAVID KREISER JERRY KING MUSSER TAYLOR LALIBERTE DOUG REESOR LAURA REESER NICOLE SPRANGER TOM VECCHIOLLI RANDY ZOTTER Deaf Woman Deaf Woman’s Child First AC ANNA WATSON LOU WATSON MICHAEL THACKRAY ANGEL LUGO KYLE MAACK Second Unit Camera ZACK AURON MIKE THACKRAY Steadicam Operator MIKE THACKRAY Gaffer Key Grip Swing Grip Jib Operator Wardrobe ZACHARY AURON JOHN GROSS IAN BRUNELL WILLIAM McNULTY NADHYA SANCHEZ NAJEE HAYNES FOLLINS Original Costumes Created By REGALIA COSTUMERS, JANÉT WOOD Sound Facility: RECORDED AT PHILADELPHIA POST Re-Recording Mixer JOHN BAKER Assistant to Producer JAKE KINDLON Production Office Associate SLAVA GARMASH pp.29 KINDERWALD PRESS KIT v. 06.30.13 Set Photography Catering CAROLINE BRIMBERRY NATALIE CAKE DONNA KULP, KIRA KULP Interns: KENDALL CURRIER JOHNO FAHERTY SLAVA GARMASH JOHN LARUSSA ANTHONY MAROTTA LIAM MOORE Locations: YMCA CAMP SHAND LANCASTER FAMILY YMCA CHRIS SMITH SCOTT MAILEN TOM KOCKER ANDY STICK ABI MAILEN CORNWALL FURNACE STEPHEN SOMERS and KARIN VIOZZI LANCASTER COUNTY DEPARTMENT OF PARKS AND RECREATION THEO PARKER NATURAL AREA – STEWART’S RUN NATIONAL PARK SERVICE HOPEWELL FURNACE FRANCES DELMAR RANGER CHRISTINE ALMERICO RANGER NORMAN FEIL PA DEPARTMENT OF CONSERVATION AND NATURAL RESOURCES FRENCH CREEK STATE PARK JAMES H. TWEARDY ASSISTANT PARK MANAGER ERIC BROWN pp.30 KINDERWALD PRESS KIT v. 06.30.13 PENNSYLVANIA GAME COMMISSION BRUCE METZ LAND MANAGEMENT SUPERVISOR SOUTHEAST REGION OFFICE PENNSYLVANIA POWER AND LIGHT JANET SCHULTZ ROBERT HAMILTON RYAN FAMILY Props: SERVICES Period Costumes: AVISTA CUSTOM THEATRICAL ANYTHING BUT COSTUMES MANHATTAN WARDROBE SUPPLY HISTORICAL EMPORIUM GENTLEMEN'S EMPORIUM BLOCKADE RUNNER EBAY Period Props Loaned by PRISCILLA DEJESSA Vehicles Provided by UHAUL ENTERPRISE CAR RENTAL PHILLY CARSHARE IAN ABRAMS Horses Provided by: HARRIS WILBERT “DUBBY” and JENNY Period Weapons Provided by SERVICES AVISTA CUSTOM THEATRICAL Weapons Training: DENNIS KEOGH DARLENE AND DAVID ROSIERE ED AND CARLA BARTLETT pp.31 KINDERWALD PRESS KIT v. 06.30.13 SPECIAL THANKS KINDERWALD WOULD NOT HAVE BEEN POSSIBLE WITHOUT THE SUPPORT AND ENCOURAGEMENT OF THE FOLLOWING: ARNOLD AND EVA LABBY ALLEN SABINSON ALBERT TEDESCO ALEX SURER ABELCINE ANDREA MACKIN ANDREW SUSSKIND ANGIE MCCLOSKEY ANNE CHERICONE ANNEGRET SCHWIENING-SCHERL ANNE MARIE FISCHER ANNETTE HÄUSLER ANNA SCHEER ANNAMARIE HAMUTH ANTHONY TRIGILIO ARIANE FISCHER ARTHUR NERSESIAN BARBARA EGGER MALDONADO BEATE RENNER BEN RYAN AND THE RYAN FAMILY BEN WONG BENJAMIN SLUSARCZYK BETHANY JACOBSON BIMBO BAKERIES BRIAN MCNAMEE BRIAN MACKIN BOB HAMILTON BORIS NAVRATIL BRETT FUSCO BRIGITTE BRÜCKNER BRUCE GRAHAM CABOT CHEESE CARMEN CHERICONE CARRIE HAMPEL CATALIN HRITCU CHELSEA O'ROURKE CHIEMI KARASAWA CHRISTINA HERTZ - HERTZCO CHRIS SPAETH pp.32 KINDERWALD PRESS KIT v. 06.30.13 CHRISTINE VACHON CICIONE BEER COMMENWEALTH CIDERS CORNERSTONE BED AND BREAKFAST CONGRESSMAN ROBERT A BRADY DANA HENNING DARREN BARRETT DARREN RICHARD DAVE CULVER DAVID BANY DAVID FELDMAN DAVID DENEEN DAVID LEE DAVID JONES DAVID MILLER DAVID SCHWARTZ DAVID ODELL DAVID RECHTSCHAFFEN DAVID WEISS DEBORAH CRAWFORD DEBORAH GALSON DENIS CHERICONE DENNIS BAUER DENNIS KEOGH D. G. YUENGLING & SON, INC. DIANE BUSUTTIL DINSMORE AND SHOHL DIRK PAASCHE DITA BARON HOEBER DOROTHÉA OTTO ED’S BUFFALO WINGS & PIZZA EDGAR BÖHME EDMUND COHEN ELIZABETH FROST ELIZABETH SCHUB ELKE WEBER MOORE ELOA SOUZA FIGARO EMILY KANNER ENTERPRISE COMMERCIAL TRUCKS LANCASTER, PA EOIN MOORE ERIC ROTH ERIN HARTIN, G-TECHNOLOGY EUGENE LUCIW EVE HURFORD EVE POMERANCE EVELYN MOLDANADO pp.33 KINDERWALD PRESS KIT v. 06.30.13 FIRST LADY OF PENNSYLVANIA SUSAN CORBETT FLORA AND JOSEPH CUSIMANO FLORIAN BORCHMEYER FRACTURED ATLAS FRANK HOEBER FRANK HUDEC GÉRALDINE GOSSARD-FUSCO GERALD VAN WILGEN GERARD HOOPER GERMAN SOCIETY OF PENNSYLVANIA GREATER PHILADELPHIA FILM OFFICE SHARON PINKENSEN JOAN BRESSLER NICOLE GILES NICOLE SHINER ERIN JACKSON WAGNER GET-KINETIC GIANMARCO CILLI GREGORY WOLMART GUIDO ALFS HARDY VON AUENMUELLER HEATHER A. BROWN HUGHES WINBORNE IAN ABRAMS INDIEGOGO INSOMNIA COOKIES JACKIE BOROCK JAMES MCKISSICK JAMES PASTERNAK JAY RAPPAPORT JAMIELYN SHELDON JANELLE KAUFFMAN JANET SHULTZ JEANNE FISHER JEFFREY B. ROTWITT AND DIANE ROTWITT JENNIFER BALLOW JENNY DELLER JETRO J.N. DAUTERICE JIM WHITE JOANNA HUSS AND JOHN HUSS JOCELYN TARQUINI MOTTER JOHN AVARESE JOHN BLICKENSDERFER AND BARBARA BLICKENSDERFER JOHN KING JOHN M ROSENBERG pp.34 KINDERWALD PRESS KIT v. 06.30.13 JOHN NAVRATIL JOHNO FAHERTY JONATHAN SCHRODER JOSH BEISLER JOSHUA MCILVAIN JUDITH LENTZE JULIO OH KATHLEEN ANDERSON KAREN CURRY KAREN GUNNISON KARIN KELLY KARIN KUENSTLER KARIN LABBY KAREN D. SELLERS KARL NUSSBAUM KATRINA YEAGER KATY JELSKI KENNETH HARTZELL KRISTIN DIPASQUO KURT KAPEGHIAN KYLA WEST LA’LLI HAIR LOUNGE – ARDMORE LAILA AHMADINEJAD LANCASTER FAMILY YMCA LANCASTER FILM COMMISSION - JAY INGRAM LANCASTER COUNTY DEPT. OF PARKS AND RECREATION LAURA BENNETT LILLIAN E. VISALLI LISA VISCO LOUISE CARROLL MALCOLM KURIN MANFRED WEISS AND JENNIFER WEISS MARC HELWIG MARC BAUMANN-KURSCHINSKI MARCELLA “MARCIE” SIEGEL MARIA TERESA RODRIGUEZ MARITA BÖHNING MARYANN PYZIKIEWICZ MARSICO MARY CAVALLARO MATT DESIDARIO MATTHEW KAUFHOLD MICHAEL WALTERS MICHELLE GARB MICHELLE HOLWOOD MICHELLE NAVRATIL MINI OF THE MAINLINE pp.35 KINDERWALD PRESS KIT v. 06.30.13 MIRIAM VANDERLAAN MONIQUE HESSELING MORGAN FITZPATRICK NADJA BLEIBER NANCY AND BILL BARTON NATALIE CAKE NGUYEN TRINH NICOLE ROSEN OLIVER HÖLCKE DON CAMPBELL PABLO BERGER PAGE PARTAIN P. JOHN PAULSON PAMELA REISCHAUER PAMELA SACKETT AND DANIEL SACKETT PANERA BREAD PATRICK NERSESIAN PAUL HAZLETT PAUL D. WEISS PETER BARTSCHERER PETER MIRAGLIA PÉTER PALÁTSIK PETER SURRENA PETRA KOTTSIEPER PENNSYLVANIA COUNCIL OF THE ARTS PENNSYLVANIA DEPARTMENT OF COMMUNITY & ECONOMIC DEVELOPMENT PHILADELPHIA BREWING COMPANY PHILADELPHIA DISTILLING PIFVA PPL PRISCILLA DEJESSA P.A. REPRESENTATIVE TIM HOLDEN RACHEL A. CORNMAN RAINER BRÜCKNER RACHEL UDELL RICHARD CARROLL RICH HAMILTON RICH MACH RICH MENDOZA RICH WATSON ROBERT THOMAS ROSALIND SUTKOWSKI ROSANNA BERARDI ROSE MAPE RUFUS MARVEL RUTH HARP pp.36 KINDERWALD PRESS KIT v. 06.30.13 SAG/AFTRA SALLY BANY SANDY STEWART SARA NEIDORF SENATOR ROBERT P. CASEY SHARON WALKER SHIVANTHI ANANDAN SIGURD BEMME STEFFANIE GILLSTRAP STEVE OTROSHKIN SUSANA BORGES GOMES SUZANNE CILLI SYLVIA GAROIAN SYNTONIC RESEARCH, INC. TAMMY AGESEN TED ARTZ TECH KAH LIM TERRY MURPHY THOMAS BARTELS TIMO KARGUS TOM FANELLE TONY PEMBERTON TONY TOFANI TRADER JOE’S TRENTON DONAUSCHWABEN TRISH KELLY US CONSULATE GENERAL BERLIN US EMBASSY BERLIN US SENATOR PAT TOOMEY UTZ IN PAULSBORO VIDEO SMITH WHOLE FOODS WILLIAM MCNULTY WOLFGANG GABLER YARDS BEER YARDS BREWING COMPANY YMCA CAMP SHAND YVONNE LEACH ULLA RAPP U.S. SENATOR ROBERT P. CASEY, JR. U.S. SENATOR PAT TOOMEY ZHENYA KIPERMAN pp.37 KINDERWALD PRESS KIT v. 06.30.13 “OVERLAND” by Moby Courtesy of mobygratis.com “DAWN AT NEW HOPE, PA” Courtesy of Syntonic Research, Inc., of Texas “TINTINNABULATION” Courtesy of Syntonic Research, Inc., of Texas “DUSK AT NEW HOPE, PA” Courtesy of Syntonic Research, Inc., of Texas “KEIN SCHÖNER LAND IN DIESER ZEIT” Abendlied Written by Anton Wilhelm Florentin von Zuccalmaglio Performed by Emily Behr Cameras and Lenses Provided by: GET-KINETIC Grip Electric Equipment Provided By: LOCATION LIGHTING Special Thanks to Drexel University Department of Cinema and Television for Cameras, Lighting and Grip Equipment Hard Drives Provided By G-TECHNOLOGY Production Insurance Provided By: CNA Greater Philadelphia Filmmakers, a program of the Greater Philadelphia Film Office, is a proud fiscal sponsor of this film. Additional Funding Provided by PIFVA/The Philadelphia Independent Film and Video Association. pp.38 KINDERWALD PRESS KIT v. 06.30.13 Additional Funding Provided by Drexel University, Office of Research. Fiscal Sponsorship provided by Fractured Atlas KINDERWALD WAS MADE WITH NO PLASTIC WATER BOTTLES, NO DISPOSABLE CUPS, NO DISPOSABLE CUTLERY AND NO DISPOSABLE PLATES. MAKE GREEN FILMS. "KINDERWALD FILM, LLC" is the author of this motion picture for the purpose of copyright and other laws. This motion picture is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unauthorized duplication, distribution and/or exhibition of this motion picture may result in civil liability and criminal prosecution. Characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person is entirely coincidental and unintentional. No animals were harmed in the making of this film. © 2013 KINDERWALD FILM, LLC pp.39