listen to me marlon

presents
A Passion Pictures production
LISTEN TO ME MARLON
Written, edited and directed by
Stevan Riley
Produced by
John Battsek
Produced by
R.J. Cutler | George Chignell
Running Time: 97 mins
Press contacts:
Nancy Willen
Acme PR
1158 26th Street #881
Santa Monica CA 90403
nancywillen@acmepr.net
(310) 963-3433
Charlie Olsky
Ryan Werner
555 West 25th Street, 4th Floor
New York, NY 10001
charlie@cineticmedia.com
(212) 204-7966
555 West 25th Street, 4th Floor
New York, NY 10001
Rtwerner@me.com
(917) 254-7653
Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 2
EXCERPT – MARLON BRANDO SELF-HYPNOSIS 1996 - original audio recording
“Listen to Me Marlon... This is one part of yourself speaking to another part of yourself. Listen to the
sound of my voice and trust me. You know I have your interests at heart... Just relax, relax, relax. I'm
going to help you change in a way that will make you feel happier, more useful…. I want you to accept
what I say as true. What I tell you here and now is true.”
– Marlon Brando
THE FILM
With exclusive access to personal archive, this is the definitive Marlon Brando cinema
documentary. Charting his exceptional career as an actor and extraordinary life away
from the stage and screen; the film will fully explore the complexities of the man by
telling the story uniquely from Marlon’s perspective.
SYNOPSIS
Listen to Me Marlon is much less a factual recital of Brando’s acting career and
personal life, than a creative odyssey into the mind and motivation of an enigma. Like
an arch hypnotist Brando’s own voice lead the storytelling - there are no interviewees,
no talking heads, just Marlon guiding us into the padlocked recesses of his own
memory, and through the story of his life.
In homage to the corkscrew personality of its subject, previously unheard audio tapes
reveal witty and unexpected turns of Marlon’s thinking; dipping between light and dark,
humour and self-psychoanalysis.
The non-linear approach leaps and drifts back and forth in chronology to help illustrate
memory’s haunting effect on the present. Visually the film conveys hypnotic states and
quixotic departures as we lose ourselves in Brando’s spoken daydreams, playful
asides and confiding whispers.
As Marlon looks back on his legendary career, film clips are woven alongside personal
archive; the young Brando’s electrifying looks, raw performances and brooding charm
put us entirely under his spell, leaving no doubt why he once skyrocketed to overnight
stardom. In mid-life his meteoric comeback continues to resonate, while the reclusive
exile of later years offers up rare flashes of acting brilliance from a waning supernova.
The film draws narrative parallels between Marlon’s screen performances and
personal life. And, as screen and real persona become increasingly blurred, his entire
life becomes the stage. Throughout, Marlon provides a surprising range of insights –
from his revolutionary methodology to his relationship with his father to his politics.
What emerges is Brando’s intellectual introspection, humour and sensitivity; a man in
perpetual search for moral clarity.
The film’s undercurrent and final note will be one of celebration, a homage to a creative
genius. The film is emotionally complex, revealing and insightful, but ultimately playful
and surprising, moving between harmonious and discordant notes with eccentric
virtuosity. Like Marlon himself.
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 3
“It's taken me 70 years to refrain from doing things that were destructive towards me and others. And to
resolve emotional conflicts and errant social behavior since I was a child”
– Marlon Brando
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 4
LISTEN TO ME MARLON : THE MISSING ARCHIVE
Listen to Me Marlon is exceptionally placed to break the spell of silence, giving new
voice and unprecedented insight into its iconic subject.
Few realise that Brando hoarded a vast archive of personal audio materials over the
course of his lifetime, now in the possession of the family estate and uniquely gifted to
Passion Pictures for the production of this film.
Brando’s avowed intention before he died was to collate these materials into an official
biography in film. Despite his devout dislike of self-publicity, his advancing years
nonetheless triggered an impulse to safeguard his own legacy. Necessarily he
committed himself to this enterprise, unwilling to surrender such a delicate
responsibility to a third party. Plans were even afoot for him to become the subject of
his own reality show.
But none of this was to be. Brando’s encroaching illnesses denied him his last
controlling wish, his life cut short in 2004. The archive however was preserved and
kept, entrusted in his will.
Brando’s tacit hope was clear; that at a future date the archive would be put to its
intended use. With Listen to Me Marlon fate has finally come to pass. His voice will
at last be heard and myth laid bare. It promises genuine revelation.
Listen to Me Marlon has been made with exclusive access to over 200 hours of
never-heard-before audio tapes. Not only do these include Brando’s verbal studies for
many of his famous film roles, but also a trove of his own intimate thoughts,
recollections and insights.
Brando speaks explicitly and without guard. What is immediately apparent is how
profoundly curious and inquiring an intellect he possessed: an aspiring scholar and
lifelong seeker of truth. Brando’s direct testimony fills the missing pieces of a hitherto
ill-formed jigsaw, capturing the essence and mood of the man and his character in all
his many complex shades and contradictions. Questions that have endured for over
60 years will finally be answered. Who was the real Marlon Brando? What was his true
nature? His philosophy? For what did he stand? Which were the formative experiences
which sculpted his personality, and how were they brought to bear in his life and work?
Listen to Me Marlon also presents itself as a revealing parable of modern times
overtaken by the cult of celebrity and fame. How does a youthful sex symbol cope into
old age with the pressures of celebrity culture – compared to those perhaps more
fortunate to have died young, such as James Dean or Marilyn Monroe? What part did
the media and we the public play in the psychological downfall of a man who Elia
Kazan called “the gentlest person that I know”?
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 5
“Success took away my sanity... I searched but never found what I was looking for. Mine was a
glamorous life but completely unfulfilling.”
- Marlon Brando
LISTEN TO ME MARLON : THE 3D HEAD
Marlon Brando had his face digitized in the 1980s by VFX supremo Scott Billups using
cutting edge software of the time called Cyberware.
Director Stevan Riley was told about the existence of the digital files by Brando
Enterprises and immediately decided he wanted to track them down. Stevan’s
ambitious vision was to create a bold, impressionistic - occasionally disconcerting –
visual of Marlon, as never seen before.
The scans were tracked down by Billups, and cleaned up in California before being
shipped to Passion Pictures Academy Award winning CG animation studio. Passion
Pictures put their best animation team on the job and under Stevan’s guidance, they
used the original files and brand new techniques and software to create a stylised
animated version 3D head. The technique effectively maps facial movements, so that
the face directly corresponds to some carefully chosen sequences of Marlon’s
personal audio archive.
Stevan’s intention was to avoid pushing the image anywhere near photo-realistic. He
specifically wanted the head to feel degraded or malformed and confused, coming in
and out of focus to reflect Brando’s attempts to ‘find himself’. Stevan was similarly
specific about which words he wanted to match, via MoCap, with Marlon’s audio.
Towards the end of the film – there are five shots in total – the head becomes more
solid but never fully ‘whole’.
The final result presents an exciting and entirely unique element to the film, further
enhancing the visceral intimacy of the film while granting the audience an entirely
brand new aspect of - and performance by - Marlon Brando.
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 6
DIRECTOR'S STATEMENT
For Listen to Me Marlon I had the gift of exclusive access to a wealth of previously unseen
and unheard personal archive.
What struck me most was the privilege of hearing Marlon’s own voice – his unguarded
thoughts, ramblings, asides, anecdotes. This was something so immediately engaging and
intimate. As if Marlon was at my shoulder.
For the purpose of research I went out to the States to meet as many people from Marlon's
life with whom he was close: family, friends, fellow actors; personal assistants and other
staff. Conversations with all these people were extremely valuable and gave me a deep and
rounded insight into Marlon's personality. It became clear however that Marlon's life was
quite compartmentalised and many of his relationships ended up being separate from one
another. As such I came to detect different versions of Marlon Brando which revealed certain
knotty complexities and contradictions. This made me even more determined to give voice
to the only person truly qualified to reveal Brando's soul and essence - Marlon Brando himself.
I decided on a supremely distinct approach. Could the story of Marlon’s life be told entirely in
his own voice?
Marlon’s personal audio archive existed in countless different forms that Marlon had
meticulously assembled throughout the course of his life - family recordings and other private
conversations; extensive creative notes that he made when preparing for film roles; endless
intimations and notes to self; and even self-hypnosis tapes. We then chased down every
single interview that he'd ever given on TV and radio from sources worldwide, as well as
uncovering rare tape recordings that some print journalists had kept stowed away.
The process of piecing together Marlon’s voice required the patience and sensitivity of a
psychoanalyst, and I had to be nimble enough to keep pace with the tangential whims of his
creative mind. It was no small feat, made harder by the web of deception and mistruth spun
by the media and Marlon himself. Breaking everything down into a digestible form from which
to build the narrative was also monumental task and took a couple of months alone. Once
done, it allowed me to construct separate tracks of story which run concurrently in the film,
exploring all ages of Brando - Marlon the young boy from Nebraska; Marlon the actor; and
Marlon the elderly man looking back on his life from his Mulholland Drive retreat.
Given that the film's key construction is the perspective of Marlon Brando himself, I wanted to
craft a cinematic landscape of Marlon's own thoughts and internal dialogue. The audio is tightly
coupled to the film's visual presentation. Carefully selected archive, graphic imagery and
originally filmed material provide the palette. At times direct, other times abstract, the intention
is that the audio-visual mix draw the audience into the workings of a conflicted mind. The
passage may not always be smooth, alternating in time, space and mood to reflect Marlon's
capricious nature. Suspicion and conviction swap places as we disentangle the knots of a
supremely intelligent and eccentric mind.
Listen to Me Marlon's biggest achievement will be to pull down the mask and reveal the truth
of Marlon's soul. I sincerely hope his legacy and dying wish will be complete. I hope he would
be proud of this film.
-
Stevan Riley, January 2014.
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 7
PRODUCER'S STATEMENT
When I first started trying to put the film together I went straight to Showtime as I knew
they had had some interest in Marlon a while back. From the very first meeting they
were completely reengaged with the subject and the potential of being involved in
making the film.
Once we had agreed to actually make the film together Showtime were incredibly
supportive and collaborative. Specifically they immediately bought into our ambition to
try to do something bold and original and when that developed into the idea that the
film be entirely in marlons voice they didn’t bat an eyelid. They just went for it with us
giving us full support and license to do whatever we felt was necessary in order to try
to make this approach work.
They were incredibly patient with us because the nature of making this film meant that
we weren’t able show anything at all for much longer than would normally be the case.
It gave all of us on the production side such confidence in what we were trying to do
to have the constant support from the team at Showtime, because the way we made
the film was something of a leap into the dark for us all and to know that people with
their experiences and skills were backing us all the way was a huge support and boost.
Once we were able to show them the film coming together, happily they were as
excited as we were by what they were seeing and the process of discussing the film
and working through their notes was always a very gentle and positive one. Ultimately
Showtime have proved to be a really wonderful partner tohave on this film, they have
from day one helped us follow through on our original ambition and vision for the film
and we look forward to enjoying the life of this film with them and hope to make more
films in collaboration with them too.
-
John Battsek, January 2015.
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 8
FILM TEAM:
Writer, editor & director – STEVEN RILEY
Stevan's first film, Rave Against the Machine (Channel 4), uncovered the story of
musical youth in war-torn Sarajevo, was awarded at nine international festivals. Riley
shot and edited his second film, feature documentary Blue Blood (Warner Bros) which
was released in UK cinemas to widespread critical acclaim, featuring in the UK's top
20 best reviewed films of 2008.
Stevan went on to direct Fire in Babylon which charts the glorious supremacy of the
West Indies cricket team through the 70s and 80s. 'Fire in Babylon' won a Grierson
award for Best Historical Documentary as well as a nomination for Best Documentary
at the British Independent Film Awards. It also won the UNESCO Award for best
feature documentary; Durban Film Festival Audience Award; the Jamaica Film
Academy Award for Outstanding international film; and the UK Focal Award for best
use of footage in a cinema release. BBC film guru, Barry Norman, listed it in his ‘Top
10 Sports Films of all time’.
Stevan recently directed the first ever cinema documentary on the James Bond
phenomenon Everything or Nothing (MGM/UA). Featuring candid interviews from
the key film makers; Bond stars and President Bill Clinton, it dramatically tracks the
twisting saga of how Bond has survived 50 years. Everything or Nothing was a critical
success and has since led to Stevan directing a feature documentary on Marlon
Brando for NBC Universal for 2014. Listen to Me Marlon is the second feature
documentary Stevan has written, edited and directed.
Producer – JOHN BATTSEK
John Battsek is one of the most prolific feature documentary production companies in
the industry. From conceiving and producing Academy Award-winning One Day in
September in 1999, Battsek has since been involved in over thirty high profile
documentaries, including: Searching for Sugar Man (Academy Award winner 2013);
The Imposter (BAFTA winner 2013); Restrepo (Academy Award nominated 2011);
Sergio (Academy Award shortlisted 2010) and The Tillman Story (Academy Award
shortlisted 2011). In 2014, Battsek and Passion Pictures had four films premiere at the
Sundance Film Festival including The Green Prince which opened the festival and
went on to win the Audience Award. In the same year, The Great Invisible won the
Grand Jury Prize at SXSW. In 2015, Passion launched three new films at the
Sundance Film Festival - the company’s ninth successive year launching new films at
the prestigious festival. The titles are: Stevan Riley’s Listen to Me Marlon - the
definitive Brando cinema documentary uniquely told from his own perspective; Ilinca
Calugareanu’s Chuck Norris Vs Communism a film about the underground video
phenomenon during Ceaucescu’s communist regime, and Douglas Tirola’s riotous
Drunk Stoned Brilliant Dead – the National Lampoon Story. Battsek has been
nominated three times for a PGA Award and was the recipient of 2013 prestigious
Grierson Trustees Award for Outstanding Contribution to Documentary.
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 9
Producer - R.J. CUTLER
R.J. Cutler is an American filmmaker, documentarian, television producer and theater
director. Last summer his feature film debut If I Stay (starring Chloe Grace Moretz)
was released by Warner Bros and MGM. Most recently, Cutler directed and executive
produced the ABC drama pilot Members Only, written by Susannah Grant. Cutler's
other work includes the documentary films, The War Room; A Perfect Candidate;
Thin; The September Issue and The World According to Dick Cheney; the
documentary television series American High;
Freshman Diaries and 30
Days; and the prime time drama series Nashville, for which he directed the pilot
and the second episode. Cutler’s first film, The War Room, was nominated for an
Academy Award and he is the recipient of numerous awards including an Emmy, a
Peabody Award, a GLAAD Award, two Cinema Eye Awards, and two Television
Academy Honor Awards. In 2009, the Museum of Television and Radio held a fourday retrospective of his work.
Producer – GEORGE CHIGNELL
George Chignell is Head of Production for Passion Pictures where she works across
all feature documentary output. Chignell co-produced Stevan Riley's Fire in Babylon
which premiered at the London Film Festival in 2010; Stones in Exile - directed by
Stephen Kijak and premiered at the Cannes Film Festival 2010 - and James Marsh's
Project Nim which premiered at the 2012 Sundance Film Festival as the opening
documentary. More recently Chignell co-produced BAFTA and Academy Award
winning Searching for Sugar Man, and produced Clare Lewin's Am Ali which was
released theatrically in the UK and US in 2014.
About Showtime
SHOWTIME® is emerging as one of the premiere destinations for documentary
programming, developing films under the prestigious SHO: CLOSE UP® banner.
These documentaries offer an uncensored look at the lives and legacies of some of
the world’s most controversial figures. LISTEN TO ME MARLON and PROPHET’S
PREY join previous award winning SHO: CLOSE UP films THE WORLD ACCORDING
TO DICK CHENEY and RICHARD PRYOR: OMIT THE LOGIC.
Showtime Networks Inc. (SNI), a wholly-owned subsidiary of CBS Corporation, owns
and operates the premium television networks SHOWTIME ®, THE MOVIE
CHANNEL™ and FLIX®, as well as the multiplex channels SHOWTIME 2™,
SHOWTIME® SHOWCASE, SHOWTIME EXTREME®, SHOWTIME BEYOND®,
SHOWTIME NEXT®, SHOWTIME WOMEN®, SHOWTIME FAMILY ZONE® and THE
MOVIE CHANNEL™ XTRA. SNI also offers SHOWTIME HD™, THE MOVIE
CHANNEL™ HD, SHOWTIME ON DEMAND®, FLIX ON DEMAND® and THE MOVIE
CHANNEL™ ON DEMAND, and the network's authentication service SHOWTIME
ANYTIME®. SNI also manages Smithsonian Networks™, a joint venture between SNI
and the Smithsonian Institution, which offers Smithsonian Channel™. SNI markets
and distributes sports and entertainment events for exhibition to subscribers on a payper-view basis through SHOWTIME PPV®.
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 10
SHOWTIME
presents
LISTEN TO ME MARLON
A PASSION PICTURES PRODUCTION
A STEVAN RILEY FILM
Written, Edited & Directed by
Stevan Riley
Produced by
John Battsek
Produced by
R.J. Cutler
George Chignell
Co-Produced by
Universal Pictures Home Entertainment Content Group
Co-writer
Peter Ettedgui
Co-Producer
Nicole Stott
Executive Producer
Andrew Ruhemann
Director of Photography
Ole Bratt-Birkeland
Production Designer
Kristian Milsted
Executive Producers for Brando Enterprises
Avra Douglas
Mike Medavoy
Larry Dressler
Jeffrey Abrams
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ROLLER CREDITS
Associate Producer
Olivia Percival
Associate Editor
Peter Ettedgui
1st Edit Assistant
Jeanna Mortimer
Archive Producer for Brando Enterprises
Austin Wilkin
Archive Producers
Paul Gardner
Helen Bennitt
Kate Coe
Archive Researchers
Helena Lewis
Esther Bensadon
Research Aide
Alexander Fiske-Harrison
Music Supervisor
Gary Welch
Title and Motion Design
Blue Spill
1st Assistant Director
George Every
Camera Department
Focus Puller
Jason Walker
Grip
Kevin Foy
Grip Assistant
Frank Hellebrand
Digital Imaging Technician
Dan Carling
Jib Operator
David Cadwallader
Gaffer
John Clarke
Electricians
Tony Buckthorpe
Alex Gibbon
Mark Gibbon
Darren Jackson
Nigel Little
Rigger
Chris Gough
Production Co-ordinator
Kate Parker
Production Assistant
Phoebe Young
Set Photographer
Abi Campbell
Art Department
Art Director
Rebecca Milton
Props Buyer
Eddie Hecht
Standby Props
Philip Bull
Graphic Designer
Joshua Douglas-Bagley
Tech Support
Tim Sargent
Art Department Assistants
Katerina Michail
Nigel Selby
Set Construction
Philip Barber
Set Painter
Paul O'Neill
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Carpenters
David Sawyer
Jerrard Moore
Jon Boylan
John Jefferies
Props provided by
Superhire
Mr & Mrs Allen Levy
Second Unit Camera Operators (UK)
Sam Blair
Chris Gent
Second Unit Camera Operator (USA)
Jean Bernard Rutagarama
VISUAL EFFECTS
Original VFX
Technical Director/VFX Supervisor
Scott Billups
Technical Artist
Jon Greenhalgh
Cyberware Engineer
David Addleman
Cyberware Operator
Stephen Addleman
CG Production Company
Passion Pictures
CG Executive Producer
Alex Webster
VFX Supervisor
Neil Riley
Head of CG
Jason Nicolas
Head of CG Production
Ryan Goodwin-Smith
CG Supervisor
Christian Mills
SFX Supervisor
Jamie Franks
CG Producer
Mariano Melman
Kate Goodwin
CG Production Co-Ordinator
Suzanne Forward
CG Modelling
Alex Huget
Mattias Bjurstrom
CG Rigging
Morgan Evans
Lead Animator
Wesley Coman
Animators
Aldo Gagliardi
Chris Welsby
Lighting / Rendering
Dan Adams
CG Editor
Anne Monnehay
CG Production Assistant
Kingsley Bailey
Performer
Robert Ashby
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FILM AND ARCHIVAL FOOTAGE
Images, audio and footage of Marlon Brando courtesy of
Brando Enterprises, L.P. and with thanks to the owners of
motion pictures, personal footage and photographs of
Marlon Brando
Special thanks to
Susan Mizruchi
Film Footage Courtesy of
Viva Zapata!
Drums Along The Mohawk
Courtesy of Twentieth Century Fox
Last Tango in Paris
Burn!
The Missouri Break
The Call of the Wild
The Fugitive Kind
Courtesy of MGM
The Godfather
The Men
Courtesy of Paramount Pictures
The Wild One
On The Waterfront
Mr Deeds Goes to Town
Courtesy of Sony Pictures
Streetcar Named Desire
Mutiny On the Bounty
Superman
Julius Caesar
Reflections in a Golden Eye
The Formula
Casablanca
The Maltese Falcon
The Searchers
Taxi!
The Public Enemy
Dancing Lady
Grand Hotel
Gone with the Wind
Courtesy of Warner Bros.
City Lights by Charles Chaplin
Courtesy of 1931 Roy Export S.A.S & MK2
Apocalypse Now
Hearts of Darkness
Hollow Men
Courtesy of American Zoetrope
Guys and Dolls
Courtesy of The Samuel Goldwyn Jr. Family Trust
Candy
One Eyed Jacks
Courtesy of Brando Enterprises L.P.
Bedtime Story
A Countess from Hong Kong
The Night of the Following Day
Taza Son of Cochise
Courtesy of Universal Studios Licensing LLC
ARCHIVE
ABC News
Academy of Motion Picture Arts & Sciences
AP Archive
BuyoutFootage
Clips and Footage
Australian Broadcasting Corporation Library Sales
Academy Film Archive
Archbuild/Associated Rediffusion
Cinecitta
CNN
Robert Donnolla
Mike Dunham-Wilkie
ESPN
Footage Farm
Getty Images
Larry Grobel
ITN Source
Kevin McCarthy courtesy of The Winfield Works, Inc
Maysle Films, Inc.
Net-Film
Oddball Film and TV
Passion Planet
Prelinger Archive
The Charles Rossi Collection, courtesy of Emily Rossi-Snook
and Elena Rossi-Snook
The Ed Sullivan Show courtesy of Sofa Entertainmen
T3Media
J. Willard Marriot Library, University of Utah
The Dick Cavett Show courtesy of Daphne Productions / Global Works Images
Ella's Archive
Film Images
Gaumont Pathe
The Gilman Estate/Michael Gilman
INA
Kino Library
Thomas Mumey
NBCUniversal Archives
NHK (Japan Broadcasting Corporation)
The Great Plains Motion Picture Co
Pond5
Susan Salerno/Skip E Lowe
Seduced and Abandoned LLC
Harry Ransom Centre/University of Texas
Unitel GmbH
The WPA Film Library
White Rabbit Films
STILLS
Alamy
Bruce Ballenger
Emilie Blincoe
Corbis Images
Serge Kakou
The Gordon Parks Foundation
The Lisette Model Foundation
Image Collect
Milton Greene/The Archives LLC
Mary Ellen Mark
The Metropolitan Museum of Art
The National Gallery of Canada
Nat'l Geographic Cartographic Division/National Geographic
Creative
Press Association Images
Photofest Inc
Richard Avedon
Walker Evans - Scala, Florence
Art Shay
Topham Picturepoint
Bob Willoughby
AP Images
Sid Avery
Howard Bingham
Carol Cheh
Edward Quinn
Getty Images
The Granger Collection
Graeme Mitchell
The Saul Leiter Foundation
Kobal
MPTV
Mirrorpix
Luis Marden/National Geographic Creative
Timothy Perisho
Philippe Halsman/Halsman Archive
Rex Features
The Ronald Grant Archive
Shaw Family Archives
Steve Schapiro
John Swope Trust
Time Life Inc
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POST PRODUCTION
2nd Edit Assistants
Joshua Fairbairn
Ed Harber
Chris Gent
Post Production Facilities
Molinare TV & Film Ltd, London
Post Production Managers
Alan Pritt
Charlotte Airth
DI Colourist
Gareth Spensley
DI Online Editor
Gareth Parry
DI Manager
Matt James
DI Co-Ordinator
Theresa Crooks
DI Conform Editors
Tim Drewett
Michelle Cort
Steve Owen
Tom Cairns
Johnathan Dickinson
Lizzie Newsham
Data Co-Ordinator
Mike Andrews
Data I/O Manager
Dave Kent
Re-Recording Mixer
George Foulgham
Assistant Re-Recording Mixer
Nas Parkash
Dialogue Editor
Claire Ellis
Sound Effects Editor
Tom Foster
Supervising Sound Editor
George Foulgham
Music Editor
Nas Parkash
Voice Over Artist
Regina Reagan
Additional graphics
Emma Thornton-Grant
Transcription Services (UK)
Bye Jones Productions
Production Accountant
Anne Davin, 101 Film and Television Accountants
Nyman, Libson, Paul
Production Insurance
Natasha Boyd, Media Insurance Brokers
Film Production Legal Services
Jonathan Blair, Simkins LLP
US Legal Counsel
SmithDehn LLP
Legal & Transcription Services
SmithDehn India Pvt Ltd
Post Production Script
Sapex Scripts Ltd
Co-Ordinator for Cutler Productions
Trevor Smith
Completion Guarantor
Film Finances
Ruth Hodgson
James Shirras
Tatiana Wait
Filmed on location at
West London Film Studios
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MUSIC
INFRA 1
Performed by Max Richter, Louisa Fuller, Natalia Bonner,
Nick Carr, Ian Burdge
and Chris Worsey
Written by Max Richter
Published by Mute Song Limited
Courtesy of Deutsche Grammophon
Under licence from Universal Music Operations Ltd
SHOOTING
Performed by Stefan Wesolowski
Written by Stefan Wesolowski
Published by Mute Song Limited
Licensed courtesy of Stefan Wesolowski
The Godfather Waltz
Performed by Elytron Productions
INFRA 2
Written by Nino Rota
Performed by Max Richter, Louisa Fuller, Natalia Bonner, Nick Carr, Ian Burdge
Published by Famous Records LLC / Sony / ATV Harmony
Courtesy of Paramount Pictures
and Chris Worsey
Written by Max Richter
Published by Mute Song Limited
Courtesy of Deutsche Grammophon
Under licence from Universal Music Operations Ltd
INFRA 3
Performed by Max Richter
INFRA 4
Written by Max Richter
Performed by Max Richter
Published by Mute Song Limited
Performed by Max Richter, Louisa Fuller, Natalia Bonner, Nick Barr, Ian Burdge
Courtesy of Deutsche Grammophon
Under licence from Universal Music Operations Ltd
and Chris Worsey
Written by Max Richter
Published by Mute Song Limited
Courtesy of Deutsche Grammophon
Under licence from Universal Music Operations Ltd
SLEEPER
Performed by Eluvium
THE JEWISH CEMETERY ON MOLLEGADE
Written by Matthew Cooper
Performed by Jóhann Jóhannsson
Published by Love With Its Course / House of Hassle
Publishing
Written by Jóhann Jóhannsson
By Arrangement with Bank Robber Music
Published by Mute Song Limited
Licensed courtesy of Temporary Residence Limited
Licensed courtesy of NTOV Records
SHE WAS HERE
OFTEN A BIRD
Performed by Rachel Grimes
Performed by the Wim Mertens Ensemble
Written by Rachel Grimes
Composed, arranged and produced by Wim Mertens
Publishing administered by Warner Chappell Music Ltd. on behalf of Usura
SPRL
Licensed courtesy of Wim Mertens Music, a Usura Music Label
Published by Mossgrove Music
Licensed courtesy of Metisse Music
LORETTO
Performed by Rachel Grimes
Written by Rachel Grimes
Published by Mossgrove Music
Licensed courtesy of Metisse Music
A WOMAN IN LOVE
Performed by Marlon Brando
Written by Frank Loesser
Courtesy of Frank Music Corp. (ASCAP)
Licensed courtesy of The Samuel Goldwyn Jnr Family Trust
ARCADE
Performed by Ólafur Arnalds
HERE, THEY USED TO BUILD SHIPS
Written by Ólafur Arnalds
Performed by Jóhann Jóhannsson
Published by Nettwerk One Music Ltd & EMI Music
Publishing Ltd
Written by Jóhann Jóhannsson
Licensed courtesy of Kudos Film & Television Limited (part
of Shine Group)
Published by Mute Song Limited
Licensed courtesy of NTOV Records
SARAJEVO
Performed by Max Richter
MUTINY ON THE BOUNTY
Published by Imagem Music Publishers Limited
Performed by The City of Prague Philharmonic Orchestra conducted by James
Fitzpatrick
Composed by Bronislaw Kaper
(p) BBC Licensed courtesy of BBC Worldwide
Published by by Primary Waves Songs/EMI Music Publishing Limited
Written by Max Richter
(p) 2004 Silva Screen Records Ltd.
THE TREES
Performed by Max Richter, Tilda Swinton, Louisa Fuller,
Natalie Bonner, John Metcalfe, Philip Sheppard and Chris
Worsey
IT WILL TAKE SOME TIME
Written by Max Richter
Published by Mute Song Limited
Courtesy of Deutsche Grammophon
Under licence from Universal Music Operations Ltd
Performed by Jóhann Jóhannsson
Written by Jóhann Jóhannsson
Published by Mute Song Limited
Licensed courtesy of NTOV Records
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UNA MATTINA
Performed by Ludovico Einaudi
OLTREMARE
Written by Ludovico Einaudi
Performed by Ludovico Einaudi
Published by Chester Music Ltd, by kind permission of Music
Sales Creative
Written by Ludovico Einaudi
Courtesy of Decca Music Group Limited
Published by Chester Music Ltd, by kind permission of Music Sales Creative
Under license from Universal Music Operations Ltd
Courtesy of Decca Music Group Limited
Under license from Universal Music Operations Ltd
SPRING 01
Performed by Max Richter, Daniel Hope, Kozerthaus
Kammerorchester Berliner
and Andre De Ridder
Performed by Stefan Wesolowski
Written by Max Richter
Written by Stefan Wesolowski
Published by Mute Song Limited
Published by Mute Song Limited
Courtesy of Deutsche Grammophon
Licensed courtesy of Stefan Wesolowski
KIDNAP
Under licence from Universal Music Operations Ltd
FYRSTA
Performed by Ólafur Arnalds
Written by Ólafur Arnalds
Published by Nettwerk One Music Ltd
Licensed courtesy of Erased Tapes Records
NEW BEGINNING
Performed by Deaf Center
Written by Erik K Skodvin & Otto A Totland
Published by Copyright Control
Licensed courtesy of Type Recordings
BLOODROOT
Performed by Rachel Grimes
Written by Rachel Grimes
Published by Mossgrove Music
Licensed courtesy of Metisse Music
JYAKU
Performed by Ryuichi Sakamoto + Taylor Deupree
Written by Ryuichi Sakamoto & Taylor Deupree
Published by Sony/ATV Tunes LLC & 12k Music / Touch Tones Music Ltd
Licensed courtesy of 12k
SONG TO THE MOON (Rusalka)
Performed by Lucia Popp
MURDER
Written by Jaroslav Kvapil & Antonín Dvořák
Performed by Stefan Wesolowski
Published by Bärenreiter Praha . r. o. & DILIA
Written by Stefan Wesolowski
Published by Mute Song Limited
Licensed courtesy of Stefan Wesolowski
DON’T GET ANY CLOSER
Performed by Eluvium
Written by Matthew Cooper
Published by Love With Its Course / House of Hassle
Publishing
By Arrangement with Bank Robber Music
Licensed courtesy of Temporary Residence Limited
copyright MB FILMS LTD 2015. All rights reserved
This motion picture is protected under the laws of the United
States, Canada and other countries, and its unauthorized
duplication, distribution, or exhibition may result in civil liability and
criminal prosecution.
SINGLE CARD
A PASSION PICTURES PRODUCTION
LOGO
PASSION PICTURES MOVING LOGO
SHOWTIME SECOND MOVING LOGO
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Listen To Me Marlon
2015 Sundance Film Festival
Press Notes Page 17
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