Press Kit 1,7 Mb - American Autumn

AMERICAN AUTUMN
PRESS KIT
Over an intimate dinner, two couples in their forties unexpectedly welcome the visit of a friend that will turn
their lives upside down. American Autumn is a surreal melodrama that depicts small everyday catastrophes that threaten the gentle way
of life of the bourgeoisie.
DIRECTOR’S STATEMENT
I grew up in a big family, in a small town
in Tarragona, Spain. My mom is one of 10
siblings, and I as an only child, have always
been very tight with my uncles, aunts and
cousins, 40 of them in total. I remember
family reunions where conversations ranged
around various topics, and my only concern
was to not miss a thing and observe
how it affected each one of them. Those
days, when I was surrounded by adults
and troubles beyond my comprehension,
triggered my interest in conflicts between
grownups. I would dissect it as something
basic: feelings. I wanted to be an expert
in the topic, like a doctor, or a scientist,
that works with tools named People and
Emotions.
I started the screenplay after I got to New
York. I had already understood that what
is natural and basic is also complex, and it
fascinated me. American Autumn would be
my “first time.” The familiar frenzy of Kristin
Griffith and Diane Keaton in Interiors or
Nicole Kidman and Jennifer Jason Leigh in
Margot at the Wedding had been part of my
education during my teenage years. As the
child of divorced parents, I felt a connection
with the work of Noah Baumbach and early
Woody Allen. My mind was full of images
of people walking wrapped in big trench
coats through Central Park, surrounded by
mustard, camel and maroon colors... What I
feel as the American Autumn.
This aesthetic is part of my own definition
of beauty and I wanted my films to capture
it. I thought a lot about Nestor Almendrós…
One of my unfulfilled dreams is to have
worked with him. I credit him for my longing
of a time that I didn’t experience but feel as
mine.
I wanted to write about reunions gone sour
for broken families, groups of friends going
through bad times, something I have gone
through and know to well; although, I didn’t
want to film it in an obvious way, I believe
in the balance between reality and fiction.
Most times reality feeds from a magic or
surrealist concept, which allows you to
understand it through a new point of view
and I put in what I thought was funny and
touching.
I’m 22, technically a grown-up, still
surrounded by adults. We shot during 4
days in the winter of 2012 in New Jersey.
New York, December 22th, 2012.
2/10
CAST
Elias Comfort McConnell
Born 1985. Is an American actor from
Portland, Oregon. He has performed on Gus
Van Sant’s Columbine-based film Elephant.
Since Elephant, McConnell has worked on
Paris, je t’aime (2006) as Elie (segment “Le
Marais”) directed by Gus Van Sant, and in
House of Boys as Hippie Boy, by Jean-Claude
Schlim. He has also done modeling for
several fashion magazines.
3/10
CREW
Albert Moya
Director, Co-writer
I was born in Miravet, (Tarragona, Spain 1989)
from an early age I wanted to be able to
explain reality through visual images.
My mom, a sculptress, introduced me to art at
a very young age, and influenced by a father
figure, an orchestra director and musician,
I started taking musical theory, piano and
clarinet classes. My mom was a much better
piano player than I was, plus she also played
the saxophone and the tuba. We resembled a
one-man band.
While I was studying acting in Barcelona,
I worked as an assistant art director
on different projects, most of them in
advertisement, until I moved to New York City
to study film at the New York Film Academy.
American Autumn is my first film, where my
obsession with human relations and everyday
threats that surrounds them coexists.
“These Days” will be my next film.
Rob Leitzell Cinematographer, Producer
Born in Washington, D.C. and raised in
Seattle, Robert started his career working
with the emergent Court 13 Collective at
Wesleyan University before continuing his film
education in NYU’s Tisch School of the Arts
MFA program. His cinematography work has
been featured in American Cinematographer
and Cahiers du Cinema, his special-effects
work for Beasts of the Southern Wild was
a recent feature in Cinefex magazine, and
his music videos have received praise from
the MTV Video Music Awards and D&AD. He currently lives and works in New York,
shooting everything he can get his hands on
and looking for adventure.
4/10
Olga Miasnikova Production Design & Costumes
Olga Miasnikova was born in Siberia into a
family of mathematicians. Raised in NYC, she
pursued the arts. She attended the Fashion
Institute of Technology in NYC and Polimoda
in Florence and became fiercely interested in
the fine craftsmanship that goes into couture
fashion design. Upon graduation, she worked
for the late Alexander McQueen. Olga is now
a production designer and artist. She started
in film by designing music videos for MGMT,
the Ting TIngs, ASAP Rocky, Das Racist and
working on film projects with Pau Dalmasses,
Mike Birbiglia, etc. She lives in NYC and
works with husband and cinematographer
Rob Leitzell. Andrew Hafitz
Editor
Andrew Hafitz has been editing films since
1995. Along the way, he’s collaborated with
some of the leading directors in the New
York independent film scene, including Whit
Stillman (Damsels in Distress, 2012; The Last
Days of Disco, 1998), Lodge Kerrigan (Keane,
2004), and Larry Clark (Ken Park, 2002; Bully,
2001). Three of his films have premiered at
Sundance: Naomi Foner’s Very Good Girls
(2013), which explores a friendship tested
by romance; Braden King’s Here (2011), a
metaphysical road movie filmed on location
in Armenia; and Cruz Angeles’s Don’t Let
Me Drown (2009), an updated Romeo and
Juliet set in a post-September 11th Brooklyn
overflowing with fear and hate. Don’t Let
Me Drown went on to win audience and jury
at awards at many festivals, including Best
Film and Best Editing at the Woodstock Film
Festival in 2009. Andy’s documentary credits
include the street basketball movie Soul
in the Hole (1997), directed by Danielle
Gardner, and a number of David Schisgall
films including the feature The Lifestyle:
Group Sex in the Suburbs (1999) and the MTV
show “True Life: I’m in Iraq,” which won the
Edward R. Murrow Award for Best Network
News Documentary in 2005. A graduate of
Yale University with a degree in comparative
literature, Andy lives in Manhattan and Willow,
NY, with his wife, Robin.
Ben Thornewill
Composer
Born in Louisville and now living in Brooklyn
Ben Thornewill spends most of the year
touring nationally and internationally as lead
singer and pianist for his band Jukebox The
Ghost. He has written and recorded three
records with Jukebox The Ghost as well as
one solo record. A classically trained pianist,
he studied Jazz performance and classical
composition at The George Washington
University in Washington D.C. Thornewill
has composed music for an iPhone game,
commercials and pop groups. This is his first
foray into film scoring. Dan Romer
Music Consultant
Dan Romer is a New York born and raised
music producer, writer, mixer and film
composer based out of his studio in Brooklyn. Dan has produced albums for an array of
exciting artists such as Ingrid Michaelson,
Jenny Owen Youngs, Ian Axel, He Is We, April
Smith, Lelia Broussard, Cara Salimando and
Jukebox The Ghost. He is quickly establishing
a name for himself as an in-demand
producer/writer and one of the leading upand-coming production talents in the US.
In addition to his prolific production work Dan
is an accomplished film composer having
scored two award winning short films: Death
To The Tinman, and Glory At Sea, as well as
his debut feature Beasts of The Southern
Wild - winner of the Grand Jury prize at
Sundance, and the Caméra d’Or award at
Cannes 2012. 5/10
Jordi Labanda
Art Director
Jordi Labanda, fashion and advertisement
illustrator was born in Mercedes (Uruguay).
From the age of trhee he has lived in
Barcelona, although nowadays he lives and
works in New York City.
He is an internationally recognized artist
due to his exclusive style and his numerous
international collaborations with publications
such as Vogue Japan, Wallpaper*, Vogue
USA, Visionaire The NY Times Sunday
Magazine, Fanzine 137 and Apartamento.
Some of his corporative clients are, among
others, Moncler, Grand Marnier, Zara,
Vodafone, Adidas, Pepsi Light, Dior, Danone,
Nissan España or American Express. His
work has been exhibited in galleries and
museums from all over the World and part of
his work has been compiled in the best-seller
“Heyday” published by Editorial RM
Silvia Gonzalez Laa
Co-writer
Silvia González Laa (Madrid, 1973) has a
degree in Humanities and studied Screenplay
Writing. She worked as an editor and creative for
various advertising agencies (S,C,P,F, MDM,
SUMMA Comunicació, Central Creativa,
LOWE FMRG). In 2005 she founded
ESTUDIODECINE School and Production
Company SCP. She is the author and screenwriter of the
animated series “La Lua u el Món” and
“Energèdits” for Television of Catalunya
(“Enermanos” for TVE). She also wrote the
screenplays for the films: “Puro Teatro” and
“Kropotkin” for Fair Play Produccions; “Game
Over” for D’Ocon Films; and “Ikaros” for Muf
Produccions. She is the author of the original
idea of “Menú Degustación”, a film by director
Roger Gual for Zentropa Spain. She wrote and directed her first short film,
“As de Corazones”, with the support of
Isabel Coixet. She continues her career as
a filmmaker with “Being Here” produced by
Corte y Confección de Películas. Both short
films have been in many festivals and have
received numerous awards. “De Viaje” and
“Mudanzas” are her new short films.
Pomo Studio
Graphic Art Direction
POMO is a working group. Dedicated to
communication research. It is located in
Lorca (Milan). It mainly deals with graphics
and art direction. It consists of Alessandro,
Marco, Minister, Nicolò, President and other
unmentionables. It’s full of books. It does not
have color printers. It’s full of magazines.
Its foundations rest on a “mature” trail.
It’s always searching. It meditates
transcendentally. It tries to do as much as
possible. It hopes to rise. American Autumn
titles’ calligraphy is by Nicolò Giacomin, with
art direction by POMO.
Elena Gallen
Art Direction & Poster Design, Graphic
Design Consultant
Elena Gallen(1984) works with still and
moving images, words and graphics to
analyze and perform contemporary culture.
Artist and Art Director, she conceptualizes
on/off artistic and commercial work in the
fields of fashion, arts, music and editorial
design. With film studies and a deep
understanding of todays’ complex digital
landscape she develops avant-garde designs
in various formats, platforms and media. Most
recently she has been a jury of the LAUS
Awards and worked for directing collective
CANADA. Featured in fashion books and
magazines such as Nylon, Vice or Marie
Claire; her work has been exhibited in Spain,
France and Australia; and her limited editions
distributed in concept stores in Barcelona,
Paris, Naples, Moscow, Riyadh or Taiwan.
INTERVIEW:
Yolanda Muelas, editor in chief of Metal
Magazine, talked to the director in December,
while Albert was doing the finishing touches
to ‘American Autumn.’
BLEND OF FLAVORS WITH
TURNMOIL IN ESSENCE
I never think about age or aging. After all,
I keep telling myself age is but a number.
Feeling young or old is not set by the wrinkles
on your face; it has to do with your attitude
toward life, with your ability of dealing with
elements that don’t need to be in opposition
to one another, such as “experience,”
“continuing education” or “surprise.” So, I
rarely think about it when meeting someone
for the first time, and when I met Albert, about
three years ago, it wasn’t any different.
I don’t remember well where we met.
Probably through mutual friends. Around that
time he worked at El Delgado Buil, a gifted
and promising independent fashion label
from Barcelona that ended up closing due to
the economic crisis. I later learned he had
studied acting and also dabbled in music. His
appearance and demeanor, the conversations
we had and the examples he used, and the
way in which he lived his life made me think
he was in his late twenties when (as I found
out later on) in reality he had not even turn
twenty. Suffice it to say, I was surprised.
Now, as I have known him for a longer period
of time, his maturity doesn’t surprise me
anymore. Although it is funny to watch how
that same mature personality that fooled me
once, turns naive and makes him, if it’s even
possible, more adorable. It didn’t surprise
me at all that he left Barcelona to study
film making in New York City, and after just
one year abroad he is presenting American
Autumn his first short film not an easy task if
you think he was living in a foreign country
and hardly knew anyone. He says he loved to
be surrounded by adults when he was a child,
which might explain why he has decided to
tell a story about complex relationships acted
out by children. We talk about all of these, and
much more, during our relaxed conversation
where he introduces his new project. He
loves to tell stories. “Life is less boring if we
have stories to tell” he assures me. Albert has
plenty of stories to tell and what’s even better
the enthusiasm that’s needed to tell them.
6/10
American Autumn is your first short film.
How would you describe the experience?
It’s been intense! Like a long voyage (but
without leaving the set or the studio). I’ve
learned so much and I have planted the first
seeds during this journey.
Young people, including myself, have trouble
launching their own first projects. It’s been a
long process just to get to the pre-production
stage of American Autumn.
I studied acting, worked in fashion and art
direction, did some song writing, and finally
realized that a way to get all my interests
together would be to direct my own visual
pieces. I had never thought about it before: I
just got to that conclusion after experiencing
life and wanting to talk about those
experiences; it was kind of a need I had.
We are bombarded all day long, with crazy
amounts of information, and it generates fear.
We constantly ask ourselves if our “voice”
would be heard or if we will be able to carve
our own space here and now. This thought
was probably my biggest barrier. Also, a lack
of self-confidence that is difficult to achieve
when you are just 20 years old. You just have
to jump right into it if not you might end up
waiting for a “right moment” that will never
happen.
We actually met when you were working in
fashion and now you just finished directing
your first short film. Even though they
are two different mediums they are both
about telling a story. That’s what you enjoy,
telling stories?
Yes, always have. I know more or less how
everyday real life works, but I need fiction in
it, even if that fiction is telling a real life story
with small alterations to it. Life is less boring
if we have stories to tell. In cinema you can
always find creative or technical directors; I
feel closer to creative directors. My priority
is to show a story that people will see, not
to work with the best camera or achieve the
perfect light. While working in fashion I was
lucky enough to experience the romantic side
of it, developing a concept as an art form,
which was awesome. We created stories that
were based on fabrics, colors and textures.
Fashion was my first school.
7/10
At first glance American Autumn seems
one of those stories we have seen before in
movies: a story about relationships, mixed
feelings, unfaithfulness and jealousy.
However there are two elements that make
it stand out: one, the fact that even though
it’s a story about grown-ups it’s told by
child actors; and two, the analogy with a
dinner party that is about to take place.
Those two elements were always present
while developing the idea for the film?
Since day one, I knew I wanted to tell a story
about grown-up relationships acted out by
children. The story was just an excuse to
be able to engage in this experiment. The
structure of the dinner party/screenplay
developed from the culinary adventures in the
story.
Why did you decide to work with kids?
Could it be because it allows some
distance and helps the story be seen a
different way? By the way, you can’t help
smiling while watching those kids act and
talk as they do.
It was an organic process. While thinking
about the behavior and nature of the
characters in the film hiring child actors made
sense. That added a melancholic touch that
worked with the story, a yearning for a life
that has yet to be lived or that slipped away
too soon, making us question, “where does
reality end and the game start?”
The film is full of brazenness and oneliners, such as the one said by Trevor
“Sweetie, I hope your NYT dinner doesn’t
resemble this one at all.”
(Laughs) Right, irony and cynicism are key
elements in the screenplay.
With what character did you have the most
fun? I would love to see how the story
unfolds, to be able to meet Victoria.
I love Trevor. I understand people who have a
tendency to suffer unintentionally and in funny
ways. I have a friend who is just like him;
actually I jolted down notes about my friend
and used them for Trevor… I just hope he
never finds out about that!
The film is full of little details that set the
story in context. You mention Nan Goldin,
Lars von Trier, The New York Times, HBO,
Château Lafite 2005... I wonder if those
elements help you define your characters
or if they are defining you.
Since it’s a short film we are not able to find
out more about what the characters do for
a living, but they all have something to do in
creative fields. All the characters are based
on friends and family, people I know. Of
course, I haven’t actually drunk a bottle of
Château Lafite (laughs). Those references
help set a time and place that adds credibility
to the story.
How important is Lars von Trier’s work for
you and the way you understand film?
Lars von Trier had a deep impact during my
teenage years. I felt connected to his way of
telling stories without artifice; it seemed to be
closer to the reality I had experienced. I love
the raw way in which his characters and their
journeys are filmed. I admire him because he
is able to surprise every time in a classy way.
Plus he worked with Bjork, which is just so
cool. Also, the opening of “Melancholia” gives
me goose bumps. The weeding, the families,
all that frenzy that reminds us of “Festen.” It’s
the type of cinematic experience that I love.
And his actors are always superb.
Now that you mention superb actors, all
the kids in your film are fantastic. Can
you talk about the casting process; was it
difficult to find them? Had they all worked
in films before?
I signed up to all the casting webs. I would
call them up and meet them at home. I saw
more than 100 kids. It’s just crazy to see what
a harsh schedule some of those kids have
with castings calls and filming. Some of them
don’t go to school, they work all day and at
night they have a tutor that helps them with
schoolwork. It was also fun to work with them,
since some of the lines in the screenplay
were a bit “mature” for their age and liking,
such as “I just got my period,” they would
be embarrassed while saying it. Since day
one, I had a deep connection with the actors
I chose. I was looking for a certain maturity
level more than innate talent. I preferred and
8 year old capable of better understanding
the screenplay than knowing all the acting
tricks. (I ended up having a great relationship
with two of them.)
In your director’s statement you mention,
“I had already understood that what is
natural and basic is also complex, and it
fascinated me.” So true. Your first film
takes place in New York and you film with
children. What was the most complicated
aspect during shooting? Did you have a
moment were you could not take it any
longer, and wanted to jump ship?
The most difficult aspect was living in a
city where I hardly knew anyone. I had to
figure out how to build a team and start a
film project in a foreign country. Also, the
relationship with the parents/guardians of
some of the actors could be difficult. Seven
days before shooting started I had to find a
replacement for one of the actors, due to a
conflict with the mother. Those were some
crazy and intense seven days; at one point
I thought I would have to cancel the whole
shooting.
On the other hand, some actors, due to their
age, had trouble understanding the meaning
of the screenplay, who their characters
were and what was happening between the
characters. The mature and subtle comments
were hard to grasp, so we would talk about
being a grown-up and find examples for them
to see and understand. After that, they were
all able to understand the theme of the story.
Let’s go back to the beginning. How did
the idea for American Autumn spring to
mind?
I had the idea in mind while living in
Barcelona and didn’t know I would move to
NYC. Imagining children acting as grownups brought up interesting questions. While
I was writing the screenplay I had to move
to NYC. I started a film course in NY and
one of the assignments was a 20-minute
film so I decided to film American Autumn.
Once I started filming, after reworking the
screenplay, I realized that the story would
not have worked as well in Spain as it did in
New York. New Yorkers are obsessive, fussy,
neurotic and crazy about everything that
involves food and cooking. All those elements
influenced the screenplay of A.A.
8/10
Apart from casting the actors, was it
difficult to come up with the rest of the
team?
I was lucky enough to meet Rob Leitzell early
on. We met for coffee and I started talking to
him about the project. While I was heading
to our meeting, I could only think about the
MGMT music videos. Anywho, he loved the
idea and told me he wanted to be on board.
He has been a great support. Not only has
he worked hard as the cinematographer but
also as a producer of the film. He’s been a
key player for making it happen. Rob gave me
the confidence and assurance that I needed
in order for me to consider a project like A.A.
With him on board everything was easier. For
the rest of the team I just sent out a bunch of
emails to people I admired that lived in New
York, some of them replied and joined the
adventure.
Even though it’s your first short film
you have surrounded yourself of wellestablished people in the industry.
I really believe that happened because they
loved the idea. When Rob read the screenplay
for the first time he said, “it’s not that bad…”
and then I mentioned to him that children
would be playing the characters and all of a
sudden he loved it.
Tell me about Elias Comfort McConnell
who appears in your film. He’s the only
adult actor, and he plays a messenger, who
has no relation whatsoever with the rest
of the characters. I believe that is totally
intentional. Did the fact that he is a betterknown actor influence in your casting
decision?
It was important for the outcome of the story
to have an adult character appear at the end.
It leaves the last question in the air. I admired
Elias as an artist. He is also one of my friends
in New York and we wanted to work together.
You also work with Andy Hafitz, who edits
Larry Clark’s films. How did you meet him
and what did he add to American Autumn?
I actually met Andy when we were at a
crossroad. We had been working with an
editor that suddenly left the project and we
could not carry on. A producer friend of mine,
Lucas Joaquin, put us in contact. We called
him up and were lucky enough that he didn’t
have any projects lined up and he loved the
story. Andy has great professional experience
and added a level of maturity to the film.
Without him American Autumn would be just
another short film. His advice and opinions
have helped me a great deal.
You are an only child, but grew up
surrounded by a big family, full of cousins,
aunts and uncles. I can only imagine
you as a child surrounded by constant
family drama, which probably has been
of inspiration to you as well. Do you think
your first film has set the theme for your
future projects or will your next film be
completely different? I’m not talking
about working with child actors, but
about relationships and the conflicts that
surround them.
I believe that theme will always be present in
my work. Since American Autumn is my first
film, I wanted to focus on my interests, which
could eventually become my signature as a
director and reappear in my future films.
I am familiar with, and love to talk about
relationships and human connection; the
beauty of it all relies on as each day goes
by that you learn and discover new things,
be it because you have more life experience
or because of everything that you see that
surrounds you.
How did you establish the parallelism
between the different courses served on
a dinner party and the development of the
story?
Silvia Gonzalez Laa, co-author of the
screenplay, came up with that idea; I loved it
and decided to use it.
If you think about it, cooking is similar to
filmmaking: you need different ingredients
and how to use them properly in order to
achieve a good result. We know you can
direct, but how do you handle yourself in
the kitchen?
(Laughs) I would love to say I’m great but I’m
awful at it. Having said that, food is one of the
loves of my life.
The illustrator Jordi Labanda is the
art director and one of the executive
producers of your film. How was it working
with him? I love his still-life illustrations
that appear at the beginning.
Working with Jordi is great! No one but him
could be able to put into context this group of
friends and their daily whereabouts.
He just knew the type of characters I was
talking about in American Autumn, so it was
fun to see the sketches he would send to the
costume department. He filled up a Mood
Book with images from the late 70 to early
80, which I had never seen before, and were
so helpful in shaping the story.
We took an interesting aesthetic voyage
together that we both have enjoyed greatly.
His film knowledge is endless, so that really
helped while adapting different ideas into the
film, made everything dynamic and easy.
Talking about Labanda, you won’t mind
me asking if he had anything to do with
the writing of the screenplay? It’s just that
when Catherine says “The Château Lafite
from 2005 needs to breathe before being
served,” I couldn’t help but think of his
comic strips “De lo Last” for AB Magazine
at the end of the nineties…
It’s so funny you mention that. Actually once I
finished the screenplay I sent him a copy for
him to read. A couple of days later he sent the
screenplay back with a few notes on the side,
and one of them was the reference about the
Château Lafite. So we could say that is his
contribution.
Now that the film is finished, what will
your next steps be? Are you planning on
showing it at different film festivals?
Right now we are looking for a distributor that
will show it at film festivals and other media
outlets. We are trying to show the film in as
many countries as possible, so people have a
chance to watch it online, on TV or at a movie
theater.
Is it nerve wracking to show your work to
critics and audience? What do you hope
their reaction will be?
You are so immersed in the filming and
editing process that you tend to forget what
will happen next. When I started filming I
was much more restless… It’s better to just
let yourself go and wait and see the reaction
of the audience. I’m aware that the story
can generate discussion since children are
involved. I believe I might get asked why I
decided to use child actors; hopefully their
interest in my answer will be enough to make
me happy.
What can you tell us about your next
project?
It’s named “These Days” and it’s about the
eccentric relationship between a mother and
her son. It’s a 30-minute art film in which the
reality the characters live in takes place in
an everyday world that is equal parts surreal.
The purpose of the project is to allow the
different creative departments involved in it
experiment and work with a story that has no
sense of time or place. By doing so we are
creating a new scenario that is not only artsy
but also entertaining.
CREDITS
9/10
Director
Albert Moya
Sound Editor
Clémence Stoloff
Screenplay
Silvia Gonzalez Laa
Albert Moya (Story)
Sound Mixer
Luciano Vignola.
Daniel Lynas
Executive Producers
Alberto Amilibia
Jordi Labanda
Zac Darvish
Sound Guillermo Pena Tapia
Producers
Rob Leitzell Albert Moya
Music Consultant
Dan Romer
Recording Engineer
Meredith Mccandless
Cinematography
Rob Leitzell
Asst. Film Editor
Bohdana Smyrnova Production Design and
Costumes
Olga Miasnikova Title Design
Alessandro Cavallini & Marco
Cendron
Film Editor
Andy Hafitz
Calligrapher
Nicolò Giacomin
Score
Ben Thornewill
Illustrations
Jordi Labanda
Art Direction
Jordi Labanda
Food consultant
Laura Silverman
Set Decoration
Eva Tusquets
Location and Furnishings
Provided By
Christopher Knight
Hair & Makeup Kate Tsang
Joel Yapching
Script Translation
Ariadna Pedret
Script Supervision
Anastasia Frank
Subtitles
Marina Colorado
Key Production Assistant
Olivia Knoepfel
David Maryasin
Kids Wrangler
Kushya Sugarman
Grip
Matt Cooney
Elias Comfort McConnell as Elias Ivan Tomic as Trevor
Cleo Cohen as Pauline
Zeljko Tomic as Jerry
Madeline Lupi as Catherine
Kyle Donnery as Michael
Best boy
Valerio Vigo
Voice of Victoria Lieberman
Caroline Hochman
Art Asst.
Jessa Farkas
This film would not have been
possible without the invaluable
help of Carlos Aponte and
Christopher Knight
Gaffer
Tim Curtin
Wardrobe Asst.
Eva Tusquets Mimi Bai
AMERICAN AUTUMN
ELIAS COMFORT MCCONNELL, IVAN TOMIC, CLEO COHEN,
ZELJKO TOMIC, MADELINE LUPI, KYLE DONNERY
Original Score BEN THORNEWILL & DAN ROMER
Edition ANDREW HAFITZ
Production Design & Costumes OLGA MIASNIKOVA
Cinematography ROB LEITZELL
Art Direction JORDI LABANDA
Executive Producers ALBERTO AMILIBIA, JORDI LABANDA, ZAC DARVISH
Production ROB LEITZELL, ALBERT MOYA
Written SILVIA GONZALEZ LAA & ALBERT MOYA
Director ALBERT MOYA
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