RUBY SPARKS Bona Fide Productions, Fox Searchlight Pictures' Comedy, Fantasy, Romance directed by Jonathan Dayton and Valerie Faris starring Paul Dano.
Copyright © 2012 Cinereach Productions, LLC. All rights reserved.
TM and © 2012 Fox and its related entities. All rights reserved.
BEASTS OF THE SOUTHERN WILD Fox Searchlight Pictures' Drama directed by Benh Zeitlin starring Quvenzhané Wallis, Dwight Henry, Levy Easterly, Lowell Landes.
Dwight Henry as "Wink" on the set of BEASTS OF THE SOUTHERN WILD.
FILM CLIP #2
"The Whole Universe"
FILM CLIP #1
"Was'nt No Time For Cryin'"
FILM CLIP #3
"We Stay Right Here"
FILM CLIP #4
BEASTS OF THE SOUTHERN WILD
TM and © 2012 Fox and its related entities. All rights reserved.
Fox Searchlight Pictures presents in association with Cinereach a Cinereach and Court 13 production in association with Journeyman Pictures ' Drama directed by
"Wink", Levy Easterly "Jean Battiste", Lowell Landes "Walrus", Pamela Harper "Little Jo",
"Miss Bathsheeba", Amber Henry "LZA", Jonshel Alexander "Joy Strong", Nicholas Clark "Boy with Bell", Joseph Brown "Winston". Screenplay by:
. Based on the stage play "Juicy and Delicious" written by Lucy Alibar. Produced by:
. Executive Producers:
, Paul Mezey. Producer:
. Music by: Dan Romer & Benh Zeitlin. RELEASE DATES: 12 DECEMBER 2012 (FRANCE) / 27 JUNE 2012 (USA)
HITCHCOCK Fox Searchlight Pictures' Biography, Drama directed by Sacha Gervasi starring Anthony Hopkins, Helen Mirren, Scarlett Johansson, Danny Huston.
ABOUT THE FILMMAKERS: BENH ZEITLIN (Directed By/ Screenplay By/ Music By) is a filmmaker, composer, animator, and founding member of Court 13. His award-winning shorts include EGG, ORIGINS OF ELECTRICITY, I GET WET, and GLORY AT SEA. He lives in New Orleans, Louisiana, with a pack of wild animals. LUCY ALIBAR (Screenplay By) is a playwright and storyteller from the Florida panhandle. Her plays include Juicy and Delicious (Collective Unconscious/The TANK), A Friend of Dorothy (Best Play Finalist, Montreal Fringe), Lightning/Picnic, Mommy Says I’m Pretty on the Insides, and Christmas and Jubilee Behold the Meteor Shower. Her work has been produced and developed at the Sundance Institute, Joe’s Pub, Williamstown Theatre Festival, HERE Arts Center, Ensemble Studio Theatre, Dixon Place, New Georges, Edinburgh Fringe, the Avignon Festival, and the Cherry Lane Theatre. Lucy is a member of EST/Youngblood, Jose Rivera’s Writing Group, and founder of the New Georges Writer/Director Lab. She is a Sundance Screenwriting Fellow, two- time finalist for the Heideman Award at Actor’s Theatre of Louisville, and winner of Young Playwrights, Inc. BEN RICHARDSON (Director of Photography) is an award-winning cinematographer, currently based in New York City. He won Best Animation at Slamdance 2010 for SEED, which he co-directed and shot. He was also director of photography on THE HUNTER AND THE SWAN DISCUSS THEIR MEETING, a Sundance 2011 official selection. Originally from the UK, Richardson lived for five years in Prague, where he met director Benh Zeitlin, with whom he subsequently worked as cinematographer on the multi-award-winning GLORY AT SEA. DAN ROMER (Music By) is an acclaimed engineer, producer, mixer and composer. His artist credits include Jenny Owen Youngs, April Smith, Ingrid Michaelson, Lelia Broussard, Ian Axel, He Is We, Cara Salimando and Jukebox The Ghost. He has scored the award winning short films GLORY AT SEA and DEATH TO THE TINMAN. BEASTS OF THE SOUTHERN WILD is his first full-length feature film project. STEPHANI LEWIS (Costume Designer) graduated from the University of New Mexico with a degree in Design for Performance, with an emphasis on Costume Design. Over the last 8 years she has worked in the design field in film and television as well as both professional and educational. Other design credits include costume designer on STINGRAY SAM, THE HISTORY OF FUTURE FOLK, and SEE GIRL RUN. Assistant Costume Design credits include THE PLACE BEYOND THE PINES, BLUE VALENTINE, COLD SOULS, SUGAR, CARRIES and more.
RUBY SPARKS Bona Fide Productions, Fox Searchlight Pictures' Comedy, Fantasy, Romance directed by Jonathan Dayton and Valerie Faris starring Paul Dano, Zoe Kazan, Antonio Banderas.
HITCHCOCK Fox Searchlight Pictures' Biography, Drama directed by Sacha Gervasi starring Anthony Hopkins, Helen Mirren, Scarlett Johansson, Danny Huston, Jessica Biel, Michael Stuhlbarg.
ABOUT THE PRODUCTION: “They gonna know: that once there was a Hushpuppy, and she lived with her Daddy in the Bathtub.” A spellbinding adventure set just past the known edges of the American Bayou, BEASTS OF THE SOUTHERN WILD follows a girl named Hushpuppy as she takes on rising waters, a sinking village, changing times, an army of prehistoric creatures and an unraveling universe that she bravely tries to stitch back together through the sheer force of spirit and resilience. The film, shot on location in the coastal parishes of Louisiana with local non-actors in the lead roles, came to the Sundance Film Festival a hand-made, fiercely imaginative underdog and left a runaway hit and winner of the coveted Grand Jury Prize as well as the Excellence in Cinematography Award. By the time that happened, the fictional “Bathtub” – a fantastical bayou neverland inspired by real Southern Louisiana communities where people persist against all odds to revel in life, no matter what comes – had taken on a life of its own in the hearts of many, unfolding with all the indescribable sights and untamed emotions of a dream in progress. Much like Hushpuppy’s survival in the midst of raging storms, both in the sky and her heart, the whole enterprise of BEASTS OF THE SOUTHERN WILD began as a pipe dream that became possible only through the commitment of a strongly united community. For director and co-writer Benh Zeitlin, who makes his feature debut after a series of award-winning shorts, including GLORY AT SEA, it started with a question that had been on his mind for a long time: why do people stay in the places they love, with the people they love, even when they know big trouble is on the way? “Daddy says brave men don’t run from their place.” “I’ve always been interested in holdouts,” says Benh Zeitlin. “Like why do people stay in a place that’s difficult to live in or that’s dangerous or that puts your life at risk? Why do people stand by their homes in times of disaster?” He found those same questions lingering on the underside of playwright Lucy Alibar’s stage play, “Juicy and Delicious,” about a ten year-old Southern boy who believes that his father’s coming death will coincide with the end of the world, complete with a rampaging army of prehistoric Aurochs. “I’ve known Lucy since we were 13 years old in playwriting camp together – and since then, I have always loved the humor in her plays and their mix of brutality and sweetness, the way her characters can be really harsh and yet, at their core, is a very heartfelt view of how people take care of each other,” he says. “‘Juicy and Delicious’ is about a boy who feels like the whole world is collapsing when his father is dying, and I felt there was a real connection between the emotions of a child losing a father and those of a community losing their place in the world. That had a lot of resonance for me and I wanted to find a way to take that story and expand upon it.” Once they joined forces, Zeitlin told Alibar he wanted to make the lead character a girl. Alibar recalls, “I was at a point where emotionally I could really be true to the things that we all think about -- your father, your parents dying, losing your land, being by yourself. The courage of the characters helped me have the courage to be really present and honest.” “Benh and I had a wonderful collaboration,” continues Alibar. “Everyone has horror stories of Hollywood, but this was different because it was so far outside the system. Benh understood that this was so personal to me and a story true to my own. He came to Georgia and hung out with my dad and would just write stuff down. It meant a lot to me that he wanted to really go that deep to get to the heart of it.” Alibar and Zeitlin began transplanting the story’s themes to the subsiding landscape of southern Louisiana — a place that prioritizes unadulterated joy and outsized appetites even as its towns fill with water and its bayou shores sink away. Zeitlin widened the film’s scope to portray the loss of place as well as person, as the slow demise of Hushpuppy’s father, Wink, finds a parallel in the demise of their beloved home: the slightly fantastical, yet hauntingly familiar, realm on the other side of the levee, known as the Bathtub. The Bathtub wasn’t quite based on any specific town, but rather it became a concentration of all the most exhilarating cultural elements of southern Louisiana in one place – all the rolling good times that stood to be taken away by the epic natural shifts going on in the region. “That’s what the Bathtub is – it’s the place on the other side,” says Zeitlin. “It’s a place that’s been cut off and left out the same way it’s been sort of geographically chopped off of America.” To put themselves at the front lines of what stood to be lost by these shifts, Zeitlin and Alibar collaborated on the script while residing in Pointe Aux Chenes, at the far end of the bayou where they would shoot. From there they could visit Isle de Jean Charles, a low-lying ridge of land that also lies beyond the protections of the levee system, in Terrebonne Parish, Louisiana. Isle de Jean Charles is home to a tight-knit community of about 90 people, many descendants of Cajun and Native American fishermen, who stay despite the imminent danger of floating into the Gulf of Mexico. “It’s one of the best examples I’ve seen of tenacious people keeping a place alive,” observes Zeitlin. “There’s a tragic side to it, and yet the spirit is not at all morose. It’s so much fun to be there, and there’s great food and it’s just glorious. That whole feeling really inspired the characters and their choices to keep celebrating life and to never abandon the people and places you care about.” As Zeitlin and Alibar began hammering out the story in a marina located literally where the road ends and the Gulf begins, the Bathtub turned into an original expression of that Louisiana ideal in which people from every conceivable walk of life all simmer in one spicy stew together. “In the Bathtub, age doesn’t divide people, religion doesn’t divide people, money and politics don’t divide people,” notes Zeitlin. “We wanted to take all those lines between people and pull them out so there’s nothing but unity in this community. This is not a literal interpretation of any place in Louisiana, but it is definitely inspired by Louisiana because you feel that potential here.” The inexhaustible spirit of the Bathtub gave birth to the spirit of Hushpuppy, the diminutive but mighty heroine who has to figure out how you can be fully there for the people and places you love even as they threaten to slip away. Part wild child, part ancient soul, she might have to worry about her very survival, but Hushpuppy learns to do it with an exuberance no one can take away from her. “The Bathtub accepts people and their flaws, and it’s a non-judgmental, non-divisive place that is about people caring for each other and Hushpuppy becomes the boiled down essence of that,” says Zeitlin. “She’s the tiny folk hero who is able to go up against obstacles you can’t possibly imagine.” Although the five bayous that extend south of Houma like fingers into the ocean – and the lifestyles of local shrimpers, crabbers and oilmen – were certainly fertile ground for their imaginations, from the outset Zeitlin and Alibar knew the Bathtub was going to be a step away from reality and more likely the realm of folk tales and fables. They were able to envision this world as the writing process overlapped with some premature location scouting. After Benh found an abandoned school bus and two rusty 15 foot oil drums in the back of Claude Bourg’s Cajun Country Stop, Hushpuppy had a home. But Zeitlin was always conscious that tying the film’s setting to any particular place or issue would diminish the impact of the story, and that removing any literal frame of reference would open it up to a wider, richer viewing experience. By the end of their stay in the marina, Zeitlin and Alibar had spun a huge tale in an alternate universe that probably could have used the resources of a $100 million blockbuster to build. Now they would have to tailor this giant world to a small budget -- one of many seemingly impossible challenges they tackled with gusto. Quvenzhane Wallis as "Hushpuppy" on the set of BEASTS OF THE SOUTHERN WILD. Photo Credit: Jess Pinkham. TM and © 2012 Fox and its related entities. All rights reserved.