JACKRABBIT

Section: Viewpoints Directed by: Carleton Ranney

Written by: Carleton Ranney and Destin Douglas

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SYNOPSIS

When a friend's suicide leaves behind a mysterious computer drive, a fringe hacker and accomplished computer technician come together to decipher the message left in his wake. First-time filmmaker Carleton Ranney effortlessly combines a low-fi aesthetic with an intensely ambitious sci-fi story, creating a work that manages to satisfy as both a retro throwback and a forward-thinking indie drama.

TRT: 100 minutes

Country: USA

Language: English

WORLD PREMIERE

 

INSIDE JACKRABBIT

A Conversation with Carleton Ranney (writer/director), Josh Caras (Simon), Ian Christopher Noel (Max), Ashley Connor (Director of Photography) and Wil l iam Hatch Crosby (Production Designer)

Q: Jackrabbit is a sci-fi thriller set in a dystopian future that concerns the attempts of two hackers – Simon and Max. They must solve the mystery of their best friend Eric’s death. In the process they begin to realize that an alternative to their dystopian world may exist somewhere beyond the limits of their enclosed city. How did the film initially come together? Carleton Ranney: I had been reading a lot about Aaron Swartz, the internet activist. WikiLeaks had just started to break, at the time. It got me interested in the idea of making a film about hackers. Growing up, one of my favorite movies was War Games. So Jackrabbit started out with wanting to do something that was sort of like a Hollywood movie you might find on VHS somewhere. I wasn’t really thinking about the limitations of independent filmmaking. When we showed people the script they would say, this reads like a fifty million dollar movie. But I always knew I wanted to keep the futuristic world on the periphery of the images. The film is about the characters, these two guys and their relationship. I knew that that would transfer well to an audience because the movie is so much about the limits of information that our characters have in the world that they're in. Ashley Connor: We knew we had to make Austin feel otherworldly. We wanted the frame to be tight, constricting, to mimic this system in which the characters are living. It was important to Carleton that we were traditional up to a point, but he was always encouraging of me getting a bit strange and being bolder. Q: So how did you all tackle the challenge, physically, of constructing this futuristic world on the indie-film budget you had to work with? Ashley Connor: To really transform Austin, we made a conscious decision to not add a lot of context to the frames. We avoided recognizable areas and instead went to outlying neighborhoods. Until we got to the desert, and then my main objective was to make the film feel like a western. It has an almost green-screen look to the end and I wanted to showcase the landscape and use a lot of deep focus. These boys who have been cooped up in their tiny world suddenly have space around them, it's a necessary shift. Having a limited budget just means being more creative with your resources. I find that the challenges are the best part of shooting. Wil l iam Hatch Crosby: I was fortunate enough to be involved with the planning of Jackrabbit from its very early stages, which allowed me to work with Carleton and Destin during the writing phase to conceptualize a world that was visually interesting and different from our world, but still doable within our budget. It started with a thought experiment. We tried to imagine what life would be like if the technological infrastructure that connects the various parts of the world had crashed during its early stages. We wanted to leave the time period of the film ambiguous, but for me it was helpful to think of it as an alternate

 

present, in which a catastrophic event, "The Reset", had occurred in the late 80's/early 90's, forever changing the sociopolitical landscape of the earth.

I grew up in Austin with Carleton and Destin, so a big part of our plan was always to shoot in Austin, which allowed us to take advantage of a large network of family and friends. But it also posed a challenge from a design standpoint because Austin is currently a very healthy and thriving city, which is basically the opposite of our vision for City VI. So we had to be very careful and meticulous about the locations we chose to shoot in. We did not have enough money to do large scale sets for most of the movie, so finding pre-existing locations that felt cohesive and told the right story was. I came down to Austin from Brooklyn about a month and a half before we were scheduled to begin shooting and immediately started driving around town looking for interesting places to shoot. Q: How did you approach the world of smaller items, of props? Wil l iam Hatch Crosby: We chose a few key props that we thought could really sell the universe we were envisioning, and saved the majority of our budget to spend on those moments. We tried to avoid showing logos and any products that looked new or mass produced, because we wanted it to feel like nothing new had been created since "The Reset". People burn their trash in barrels because there is no waste management infrastructure. Distressing and aging all the clothes and surfaces in the movie was a big part of it. The art team and I were constantly running around sanding, scraping and staining all the props and sets to make them look older and sadder. Q: The film shares some affinities with plenty of sci-fi dystopian classics, like Dark City or The Matrix. Were those films influential to you? And what was it about the idea of working in a dystopian register that interested you? Carleton Ranney: It’s interesting because The Matrix and Dark City are very similar. I feel like they definitely must have been somewhere in my subconscious while we were writing and making the movie. I think there's a lot of movies that did that during the process. It goes back to Philip K. Dick and William Gibson, who are definitely major influences. What’s interesting about dystopian stories is showing characters holding on to a glimmer of hope amidst it all. I think it's inherent to the human being to have that. It’s inherent in the human condition to believe and hope in something. We have to have that, otherwise, what's the point. I find that it’s in the toughest of times where the human condition really proves itself. Q: It seems like Max is a big part of how the narrative provides that hope. Ian Christopher Noel: To me Max is the most hopeful character in the entire film. He lives on the fringe of this society because he rejects the VOPO-System state. Everyone else in City VI is trying to make normal lives for themselves, but Max refuses to participate because he believes there is something better - he has faith, even if there is no proof. When he meets Simon, his life opens up and he slowly starts to see that these fragmented pieces of the puzzle are all bringing him closer to the truth about the world that he knew in his heart all along.

 

Q: Josh, how do you think Simon makes it through the day without becoming depressed at the state of the world? Josh Caras: I think Simon keeps the world at bay by submersing himself in computers and tinkering away at machines. He’s a person who chooses to not look too deeply into the world. He prefers futzing with gadgets. He’s grown up in this world and doesn't have much to compare it to, so he prefers to keep his mind and hands occupied than question. Q: Carleton, how did Josh and Ian come to be involved in the film? Carleton Ranney: Well, Josh had been in a short that I had done, my thesis film. So I've known Josh for a long time. We’re good friends and he’s a phenomenal actor. Ian I met a few years ago through some good friends of mine that work in film. I thought, this guy is incredible, he's going to be a movie star. I felt very fortunate to have met both of them and we’ve become really great friends. So I'd been wanting to direct a feature, I knew they wanted to act in a feature, and often in the writing process I have people in mind. So, this script was written for them. I knew their abilities as actors and their strengths, so the characters were definitely molded to support that. Q: Ian, how did you approach playing Max? Ian Christopher Noel: In the leadup to the shoot, Carleton and I discussed Max at length and came to realizations about him together. At first I was getting so wrapped up in the angst and pain of Max, I'm going to guess there are definitely a great deal of outtakes from the film where Max is extremely glum. For the month leading up to the shoot I was isolated and spending most of my time alone so I had to recalibrate and get out of my head a bit. Because Max did drugs my knee-jerk reaction was to start losing some weight to express his general unhealthiness in the physique. But after about a week I realized that was a mistake. Max is a much stronger person then I thought initially and so I wanted to present that in his frame. So I started working out like crazy and I gained about 10 pounds (not all of it muscle because Max eats a lot of junk too). I wanted him to have a much more intimidating stature then I naturally do. Q: Josh, how did you approach playing Simon, bearing in mind that his loyalties are somewhat divided between VOPO and his allegiance to Max and their potential resistance? Josh Caras: In regards to his relationship with Max, I don't think Simon is operating from a framework with subversion on one end and establishment on the other. Like many scientific types Simon is pretty obtuse about the societal implications of his work. I think he is genuinely disinterested with politics and unaware of any potential moral turpitude on VOPO's part. He is so immersed in how their operation works technically that he doesn't even notice that what they're doing is wrong. He really wants to find out what happened to Eric, and really wants to help Max do that. Q: It’s interesting that, from the start of the film, we know that Simon works at VOPO, the corporation that has authoritarian rule over the dystopian world of the film. Even though he’s also potentially working against it in his hacking work with Max.

 

Carleton Ranney: The key was to introduce that first, get the cat out of the bag. Here's Simon, he's going to work for these guys. The idea was to establish Simon, you see him get the job and then we establish why he has this job through his situation with his father. It seemed like a dramatic angle, having him playing for both sides, but starting with VOPO first. Q: The VOPO environment feels extremely futuristic and sci-fi, and there’s clearly a high production value in its aesthetic. How did you construct that environment? Wil l iam Hatch Crosby: The VOPO room was one of the most exciting and challenging sets of the film. We had long discussions about how it would look. I wanted it to stand out from the rest of the spaces in the film, but still feel like it was part of the same world. We thought of it as the inside of the super computer that powers and maintains the various utilities and surveillance systems throughout City VI. I wanted to have an actual screen as the main interface between Simon and the code. I think this helps it feel more realistic, despite the other surreal aspects of the set.

As far as the actual execution of the set goes, we literally built it in Carleton's parents’ garage. We made seven 4'x8' wooden wall flats and cut out the repeating vertical slits for light to shine through using a jigsaw. We rigged LED light strips behind all of these little slits and could control the color of light they put out using a remote. We painted all the walls black because I wanted the visual focus of the room to be the repeating lights and not the walls themselves. I also wanted the room to feel ambiguous in terms of size and materials, so black helped to disguise the fact that it was actually a small wooden octagon in a garage. We moved around the flats depending on what camera angle we were doing. Simon's suit was actually a leather motorcycle suit and a gas mask that I added some extra wires and LEDs to. Q: When we’re introduced to Max, it’s in a starkly different setting – he’s just scraping by in his existence. What do you see his mindset as being as the story begins? Carleton Ranney: I think Max, all along, has the belief that there's something wrong about the world that he lives in. But I think he's idle because he's afraid that maybe there's nothing out there. He has a fear of the unknown. He’s stuck. The cryptic video messages that have been left for him by his best friend, Eric, the hacker who commits suicide as the film opens, these are just ways of Eric breathing life back into Max, in a way. Eric is giving Max a chance to find the answer he’s been looking for. Q: It’s interesting that it’s Simon, who works for VOPO, who becomes Max’s ally in figuring out a way out of the VOPO-ruled society they live in. Ian Christopher Noel: Max knows that Simon is duplicitous, so he is well aware of Simon's nature and his motives. But Max knows that Simon is a powerful ally to have because of his connections with VOPO so he has to keep him close, but simultaneously, at arm’s length, because they're such different people. But as the story goes on and Max and Simon spend more time together trying to figure out the truth, Max is reminded of his hacker buddy Eric and sees that spark and Simon. Max realizes that Simon might be the only person left in City VI that he could ever call a friend.

 

Q: As Simon and Max begin working together to figure out Max’s computer-based clues and, perhaps, find a way out of their enclosed city, City VI, they delve into something of an underground resistance. We see this most clearly when they go to an abandoned building called “The Palace” that houses dissenters. How did you conceive of that space? Carleton Ranney: The idea of The Palace, narratively, was a place where I would say the resistance, but also the disaffected youth of City VI go to get a release. A place where people are always there, you know, staying out past curfew. A hub, a hideaway, from City VI. Q: Their time at The Palace ends up leading them to Grace (Joslyn Jensen), a woman who might help them unlock the mystery of what Eric was up to, a mystery that could perhaps provide them with a way out of City VI. But the time that Simon and Max spend with Grace is also quite touching – they spend a quiet evening together once curfew takes effect, and Simon and Grace dance together. A lot of humanity comes through in that sequence. Carleton Ranney: Grace was a really interesting idea in playing with dramatic structure. So much of the film is giving the audience so much information, it's a very intense thriller. We wanted to have a third character come in and sort of break up tension with the guys and allow them to open up, to talk about what's going on between them. Also, the idea with Grace's character was to get a sense of what it's like for another citizen in City VI. The audience will get to experience what it's like to just live in this city and be a part of this world. I think in that scene you also get a sense of, for the first time, both Max’s and Simon’s relationships to Eric and how important those are to each of them. Q: The film approaches its climax as Max and Simon make their way out of City VI and into the desert, unsure of what they will find there. What do you think Max is expecting? He’s the one who leads the charge, in the end. Carleton Ranney: I think Max truly believes there’s someone out there. I think he believes he’s going to get out there and he's going to join this movement to contact the outside world. Simon asks him that question when they're in the van before they get there, he says, Max, what do you think is out there? And I think Max really believes that he's going to join this movement and form the resistance. Q: Much of the film, and especially the section in the desert, has a lovely dusty, weathered look. How did you achieve that effect? Ashley Connor: I don't really shoot for post, I believe committing to a look while you're shooting always creates a richer image. We knew we were shooting on the Alexa so I suggested finding a vintage set of lenses and these old Russian Lomo primes fell into my lap. They're a bit softer, have a creamy texture and the bokeh on certain lenses gets this crazy ninja star shape. Plus, Communist era lenses felt appropriate for the subject of the film.

 

CAST BIOS

REED BIRNEY – PAUL BATESON Reed is an industry veteran, with over 30 years of experience in both screen and theater acting. He made his Broadway debut in 1977 in Albert Innaurato’s smash hit GEMINI, and his notoriety continues today - in 2011, he received a Special Drama Desk Award honoring his thirty-six years of work as an actor. Reed made his film debut in Arthur Penn and Steve Tesich’s FOUR FRIENDS, and has appeared in many notable films, including Clint Eastwood’s CHANGELING, MORNING GLORY, Jeff Lipsky’s TWELVE THIRTY, and with Kristen Wiig in THE GIRL MOST LIKELY. He is Rep. Donald Blythe on the hit Netflix series, “House of Cards” and will be seen as Patti LuPone’s husband in an upcoming episode of “Girls.” He recently starred on Broadway in Hailey Feiffer’s new play, I’m Gonna Pray For You So Hard, and was nominated for a 2015 Tony Award for his work in Casa Valentina.

JOSH CARAS – SIMON

Josh Caras was born in Guam and raised in Connecticut. His career was jump-started when he landed the starring role in BUGCRUSH, which took home the Grand Jury Prize at The 2006 Sundance Film Festival. Since then he has since had many prominent roles in both movies and TV, including GRACIE (2007), ASSASSINATION OF A HIGH SCHOOL PRESIDENT (2008), Law and Order: SVU (2007), Army Wives (2010), Boardwalk Empire (2013), and Veep (2013). Carleton cast Josh in his short film “Slasher,” where the two developed an immediate artistic connection and lasting friendship. Josh is proud to be a part of Jackrabbit at the 2015 Tribeca Film Festival.

IAN CHRISTOPHER NOEL – MAX

Ian Christopher Noel is a New York-based actor and a graduate of The Mel Hoppenheim School of Cinema in Montréal. Ian starred in Francesca Mirabella’s short-film Mistakes Were Made, featured at the Atlanta Film Festival and awarded Best Short at The Catskills Film Festival. Ian starred in the black comedy OTHER PEOPLE, which played at LA Film Fest 2013. He is currently is post-production on a web series he directed, starred in and co-wrote called “Lonely Town!”. Ian has also completed a feature script which he will direct and star in. As one of JACKBABBIT's lead characters, MAX was written specifically for Ian, combining his unique mix of intensity and dry humor.

JOSLYN JENSEN – GRACE

 

Joslyn Jensen is an actor, writer and musician, born and raised in Seattle, WA. For her work in her first feature film, WITHOUT (2012), she won the Best Actress Award at the Marrakech International Film Festival and the Mar del Plata Film Festival, also receiving special jury prizes from the Florida Film Festival and Slamdance Film Festival. Other films include: MALORIE’S FINAL SCORE, DOUGLAS BROWN and FUNNY BUNNY. Joslyn lives with her dog in Brooklyn, New York.

CREW BIOS

CARLETON RANNEY – WRITER/DIRECTOR Carleton Ranney was born and raised in Austin, Texas. At 17, he was labeled a “movie maker to watch” by the Austin Chronicle and MovieMaker magazine. A graduate of the School of Visual Arts in New York City, his thesis film, "Slasher, premiered at the Austin Film Festival, and went on to play at the 2010 Cannes Film Festival. Having spent several years directing music videos and developing various screenplays, "Jackrabbit" is Carleton's feature directorial debut. DESTIN DOUGLAS – WRITER/PRODUCER Destin Douglas was a recipient of the Olin Fellowship for Creative Writing at Wesleyan University, where he graduated with degrees in English and Film Studies. In addition to writing and developing his own projects, Destin has spent the past years working in the New York production world, crewing on several major independent releases including "Opus Jazz," "Martha Marcy May Marlene," and the Academy Award-nominated "Beasts of the Southern Wild."

REBECCA ROSE PERKINS – PRODUCER

Rebecca Rose Perkins began her film career with internships at Killer Films in New York City and Senator Films in Berlin. After graduating from the University of Virginia, Rebecca began working on studio films for Warner Brothers, Columbia Pictures, and Walden Media, including three years closely assisting director Gil Kenan on the Academy Award-nominated “Monster House.” Rebecca then moved into commercial production at The Directors Bureau, working with a roster of directors that included Sofia Coppola, Mike Mills and Patrick Daughters. Rebecca recently produced her first feature film, “Jackrabbit” (Tribeca Film Festival Official Selection 2015), a scifi thriller, and has several other projects in development. Rebecca works as a commercial and film producer, splitting her time between New York, LA and Austin.

JOE STANKUS – PRODUCER/EDITOR

 

Joe Stankus is a filmmaker, script-reader, and motion picture projectionist currently living in Brooklyn, New York. A graduate of Wesleyan University, Joe cut his teeth by providing script coverage for Darren Aronofsky's Protozoa Pictures, interning at Parts & Labor Films and working in production offices for movies like Ang Lee's TAKING WOODSTOCK. Since that time, Joe has produced and directed several narrative and documentary shorts, the latest of which premiered at the 2014 Independent Film Festival of Boston. ASHLEY CONNOR – CINEMATOGRAPHER Ashley Connor was born and raised in Los Angeles but now calls New York City home. Ashley photographed Josephine Decker's BUTTER ON THE LATCH and THOU WAST MILD AND LOVELY, which had their dual premiere at the 2014 Berlinale and, most recently, her work on Alison Bagnall's FUNNY BUNNY premiered in competition at this year's SXSW. Shooting a wide array of music videos, shorts, and feature films, her work has also screened at the Tribeca Film Festival, the Maryland Film Festival and AFI Fest, to name a few. In November of the 2014, The New Yorker's Richard Brody singled out Ashley's work as the "best of 2014" alongside Darius Khondji and Fabrice Aragno.

WILL HATCH CROSBY – PRODUCTION DESIGNER Will Hatch Crosby is a Production Designer and Artist based in Brooklyn, New York. Will grew up in Austin, Texas, along with Carleton and Destin, where he started making films at an early age. After graduating from Parsons School of Design in New York City with a degree in Illustration, Will began freelancing in the film industry as a set dresser and scenic artist. Over the last four years he has worked on numerous short and feature films, television shows, commercials and music videos. Will’s experience designing within a limited budget, along with his eye for texture and detail, make him a key asset in creating and executing JACKRABBIT’s unique world. WILL BERMAN – COMPOSER Will Berman is a songwriter, producer and composer. A life-long musician, Will has been touring and recording as a drummer with MGMT since 2005. He has songwriting credits on their gold re- cord “Electric Feel” and played drums, guitar and percussion on their album Oracular Spectacular. He has collaborated live and in recording with R. Stevie Moore, Violins, Television Personalities, Beck and The Flaming Lips, among others, also touring as the lead guitarist for Bosco Delrey on various US and European tours. Will has produced several records with artists such as Diego Garcia and Bambis, and has an extensive list of commercial clients. When he’s not touring with his bands MGMT and Kuroma, Will lives in Brooklyn, NY.

DREW DOWNES – VISUAL EFFECTS SUPERVISOR Drew Downes has established himself as one of the industry’s finest Flame artists and VFX Supervisors. With over sixteen years of VFX experience, Drew has honed his craft with companies such as MassMarket NY, Mesh22/The Lab Sydney, Post Modern Sydney, MPC UK and MPC NY as well as experience as an editor, camera assistant, broadcast design, and creating cinema trailers for feature films. He has created work with notable directors such as Adam Berg,

 

Patrick Daughters, Paul Hunter, Mr. Hide and many more.

END CREDITS

unit production manager Rebecca Rose Perkins

first assistant director Joe Stankus

CAST

(in order of appearance)

eric ross- Ryan Dailey surveillance man (voice)- Alex Hodgins

homeless man- Boots Wooten mrs. Ross- Cinda Donovan

simon- Josh Caras intercom (voice)- Rebecca Rose Perkins

vopo supervisor- Joe Howes jared- David Munch-Lunch paul bateson- Reed Birney service leader- Kirk Hunter

service extras- Jaryd Carrusco Christine Crosby Giselle Munoz

Chester Skorupa max- Ian Christopher Noel

simon's father- Robert Ansley concerned woman- Susan F. Hargis

ed- Steven King max's neighbor- Sarah Coltman

sick toddler- Lily Jones ivan the landlord- Hal Schneider

cynthia greyerson- Jennifer Cumberbatch stephen greyerson- Graham Cumberbatch

laura gates- Alexandria Payne vopo employees- Omarr Cantu

Joshua Daniels John Peterson

vopo workman- John McCain checkpoint guard #1- Heath Allyn

checkpoint guard #2- Booker Warren patrolwoman- Regina Chen dream girl- Cameron Covert

patient- Joseph Valentino grace- Joslyn Jensen

 

cadillac man- Wilfredo Ruiz grace's cat- Lil Thing

abbey- Abby Hall creepy guy- Todd Andrews

max's mom (voice)- Peggy O'Leary ominous man- Kevin Kinkade running man- Riley O'Bryan

vopo photographer- Will Hatch Crosby former vopo employees- Rusty Kelley

Heather Howes tom (voice)- Logan Cunningham

tom- Frederick W. Perkins glack gloves karl- Steven C. O'Leary

CREW

Gaffer- Sam B. Jones Key Grip- Tim Curtin

Grip & Elecric Intern- Sam Smalling Grip & Elecric Intern- Jarryd Carrusco 1st Assistant Camera- Lauren Pruitt

2nd Assistant Camera/DIT- Riley O'Bryan Additional Photography- Sam B. Jones

Additional Photography- Tim Curtin Sound Mixer- Jarrett Depasquale Boom Operator- Geo Robinson

Boom Operator- Will Short Script Supervisor- Kera Dacy

Art Direction- Alan Lampert Art Direction- Olivia Peebles

Property Master- Johnny Matlock Set Decorator- Christine Crosby

Costume Designer- Virginia Safer

Wardrobe Distresser- Olivia Peebles Wardobe Assistant- Sarah Wyman

Additional Costume Design- Kayla Viani

Key HMU- Jessica Isam

Catered By- Charles Heidrick Assistant Caterer- Louisa Nyman

Assistant Editor- Tyler Mager

Lead VFX Artist- Drew Downes CG Artist- Brendan Fitzgerald

Motion Graphics R&D- Jacob Munkberg

Sound Designer- Colin Alexander Re-recording Mixer- Colin Alexander

Assistant Sound Editor -Franklin Vaughan

DI Finishing- Outlier Post

 

Colorist- Nat Jencks

MUSIC "Atrophy of Three"

Written By: Fade Kainer Performed By: Statiqbloom Produced By: Fade Kainer

"Memento Mori" “The Prom" Written By: Diego Barreiro Written By: James W. Moritz II Performed By: Delta Venus Performed By: James W. Moritz II Produced By: Will Berman Produced By: James W. Moritz II

All other tracks written and performed by Will Berman

Stock video courtesy of The Preminger Archives - "Threads of Technology"

The filmmakers would like to thank all of their friends and family without whom this movie would not be possible.

EXTRA SPECIAL THANKS

ACL Live Alan Canant Amy Dotson Anne Kelley Anne Kelly

Austin Film Society Austin School of Film

Becky Liljenwall & ELF Betsy Spiegel

Bob Logan Bruce Bundy Casey Green Chris Crosby

Dan Schoenbroun Ecomass

Emily Farnham Frances Douglas

Gil Kenan Goodwill Computer Museum

Gourmands Hadley Perkins Holly Herrick IFC Center

Jack & Suzy Ranney Jacob Forman

Jaime Buehl-Reichard James Moritz Jane Perkins

 

Jeremy Konner John McCain Jonny Rogers Karen Kahan Kate Lyn Sheil

Leslie Robertson Lisa Worley

Liz & Hairam Sibley Louise Hanks

Marc Berman & Betsy Stone Marcus Savino

MariBen Ramsey Marsha Caven Matt Klammer

Matthias Grunsky Michael Tully Oyster Boys

Paradise Factory Pastor Steve Manning

Peter Gardere Pool Family

Rachel Taylor Richard Linklater Richard Misiura

Rosie's Diner Uhland Rusty Kelley

Sibley Cousins St. Stephens Episcopal School

Star Tech PC Steve Collins Steve Roberts Steven Schardt Susan Stover

Sweet Home Baptist Talia Lugacy

The Horseshoe Lounge Texas Film Commission

Tipps Iron & Steel Tom Hall

Tom Hatch Turner Wimberley

Will Files Zach Mandinach

Zach Treitz

With support from IFP

Camera Provided By Blue Ribbon Media

Lenses Provided By Samuel Baumel Grip & Electric Equipment By Ben Oliver of Aduro Film

Mixed at Rumble Studios in Brooklyn

 

Filmed on location in Austin, Alpine, and Marfa, TX

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