"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
+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.
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
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
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
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
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.
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
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
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
(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
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
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
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
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
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
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
LEOPOLD FISCHER PASTERNAK
LUDWIG FISCHER PASTERNAK
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
Cast (in order of appearance):
Dr. Henry Lafayette
LUDWIG FISCHER PASTERNAK
LEOPOLD FISCHER PASTERNAK
JARED MICHAEL DELANEY
JANETTE TOTH MUSSER
pp.28 KINDERWALD PRESS KIT v. 06.30.13 JESSICA GULD
JERRY KING MUSSER
Deaf Woman’s Child
Second Unit Camera
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
Production Office Associate
pp.29 KINDERWALD PRESS KIT v. 06.30.13 Set Photography
DONNA KULP, KIRA KULP
YMCA CAMP SHAND
LANCASTER FAMILY YMCA
STEPHEN SOMERS and KARIN VIOZZI
LANCASTER COUNTY DEPARTMENT OF PARKS AND RECREATION
THEO PARKER NATURAL AREA – STEWART’S RUN
NATIONAL PARK SERVICE
RANGER CHRISTINE ALMERICO
RANGER NORMAN FEIL
PA DEPARTMENT OF CONSERVATION AND NATURAL RESOURCES
FRENCH CREEK STATE PARK
JAMES H. TWEARDY ASSISTANT PARK MANAGER
pp.30 KINDERWALD PRESS KIT v. 06.30.13 PENNSYLVANIA GAME COMMISSION
LAND MANAGEMENT SUPERVISOR
SOUTHEAST REGION OFFICE
PENNSYLVANIA POWER AND LIGHT
AVISTA CUSTOM THEATRICAL
ANYTHING BUT COSTUMES
MANHATTAN WARDROBE SUPPLY
Period Props Loaned by
Vehicles Provided by
ENTERPRISE CAR RENTAL
Horses Provided by:
WILBERT “DUBBY” and JENNY
Period Weapons Provided by
AVISTA CUSTOM THEATRICAL
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
ANNE MARIE FISCHER
BARBARA EGGER MALDONADO
BEN RYAN AND THE RYAN FAMILY
CHRISTINA HERTZ - HERTZCO
pp.32 KINDERWALD PRESS KIT v. 06.30.13 CHRISTINE VACHON
CORNERSTONE BED AND BREAKFAST
CONGRESSMAN ROBERT A BRADY
D. G. YUENGLING & SON, INC.
DINSMORE AND SHOHL
DITA BARON HOEBER
ED’S BUFFALO WINGS & PIZZA
ELKE WEBER MOORE
ELOA SOUZA FIGARO
ENTERPRISE COMMERCIAL TRUCKS LANCASTER, PA
ERIN HARTIN, G-TECHNOLOGY
pp.33 KINDERWALD PRESS KIT v. 06.30.13 FIRST LADY OF PENNSYLVANIA SUSAN CORBETT
FLORA AND JOSEPH CUSIMANO
GERALD VAN WILGEN
GERMAN SOCIETY OF PENNSYLVANIA
GREATER PHILADELPHIA FILM OFFICE
ERIN JACKSON WAGNER
HARDY VON AUENMUELLER
HEATHER A. BROWN
JEFFREY B. ROTWITT AND DIANE ROTWITT
JOANNA HUSS AND JOHN HUSS
JOCELYN TARQUINI MOTTER
JOHN BLICKENSDERFER AND BARBARA BLICKENSDERFER
JOHN M ROSENBERG
pp.34 KINDERWALD PRESS KIT v. 06.30.13 JOHN NAVRATIL
KAREN D. SELLERS
LA’LLI HAIR LOUNGE – ARDMORE
LANCASTER FAMILY YMCA
LANCASTER FILM COMMISSION - JAY INGRAM
LANCASTER COUNTY DEPT. OF PARKS AND RECREATION
LILLIAN E. VISALLI
MANFRED WEISS AND JENNIFER WEISS
MARCELLA “MARCIE” SIEGEL
MARIA TERESA RODRIGUEZ
MARYANN PYZIKIEWICZ MARSICO
MINI OF THE MAINLINE
pp.35 KINDERWALD PRESS KIT v. 06.30.13 MIRIAM VANDERLAAN
NANCY AND BILL BARTON
P. JOHN PAULSON
PAMELA SACKETT AND DANIEL SACKETT
PAUL D. WEISS
PENNSYLVANIA COUNCIL OF THE ARTS
PENNSYLVANIA DEPARTMENT OF COMMUNITY & ECONOMIC DEVELOPMENT
PHILADELPHIA BREWING COMPANY
P.A. REPRESENTATIVE TIM HOLDEN
RACHEL A. CORNMAN
pp.36 KINDERWALD PRESS KIT v. 06.30.13 SAG/AFTRA
SENATOR ROBERT P. CASEY
SUSANA BORGES GOMES
SYNTONIC RESEARCH, INC.
TECH KAH LIM
US CONSULATE GENERAL BERLIN
US EMBASSY BERLIN
US SENATOR PAT TOOMEY
UTZ IN PAULSBORO
YARDS BREWING COMPANY
YMCA CAMP SHAND
U.S. SENATOR ROBERT P. CASEY, JR.
U.S. SENATOR PAT TOOMEY
pp.37 KINDERWALD PRESS KIT v. 06.30.13 “OVERLAND”
Courtesy of mobygratis.com
“DAWN AT NEW HOPE, PA”
Courtesy of Syntonic Research, Inc., of Texas
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”
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
Fiscal Sponsorship provided by Fractured Atlas
KINDERWALD WAS MADE WITH NO PLASTIC WATER BOTTLES,
NO DISPOSABLE CUPS, NO DISPOSABLE CUTLERY AND NO
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