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GET LOW

Directed by Aaron Schneider

Screenplay by Chris Provenzano & C. Gaby Mitchell

A Sony Pictures Classics Release

Official Selection: 2009 Toronto International Film Festival

2010 Sundance Film Festival | 2010 South by Southwest Film Festival 2010 Tribeca Film Festival

Screen Actors Guild Awards® Nominee, Robert Duvall - Outstanding Performance by a Male Actor in a Leading Role

Running Time: 100 Minutes | Rated PG-13 US Release Date: July 30th

East Coast Publicity

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Melody Korenbrot

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Distributor Sony Pictures Classics

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323-634-7030 fax 212-833-8844 fax

Synopsis

Get Low is inspired by the true story of Felix ―Bush‖

Breazeale, who attracted national attention and the largest

crowd to assemble up to that date when he threw himself a

living funeral party in 1938 in Roane County, Tennessee.

For years, townsfolk have been terrified of the backwoods

recluse known as Felix Bush (Robert Duvall). People say he‘s

done all manner of unspeakable things -- that he‘s killed in

cold blood; that he‘s in league with the Devil; that he has

strange powers -- and they avoid him like the plague. Then,

one day, Felix rides to town with a shotgun and a wad of cash,

saying he wants to buy a funeral. It‘s not your usual funeral for

the dead Felix wants. On the contrary, he wants a ―living

funeral,‖ in which anyone who ever had heard a story about

him will come to tell it, while he takes it all in.

Sensing a big payday in the offing, fast-talking funeral home

owner Frank Quinn (Bill Murray) enlists his gentlemanly

young apprentice, Buddy Robinson (Lucas Black), to win over

Felix‘s business. Buddy is no stranger to Felix‘s dark

reputation, but what he discovers is that behind Felix‘s surreal

plan lies a very real and long-held secret that must get out. As

the funeral approaches, the mystery– which involves the

widow Mattie Darrow (Sissy Spacek), the only person in town

who ever got close to Felix, and the Illinois preacher Charlie

Jackson (Bill Cobbs), who refuses to speak at his former

friend‘s funeral – only deepens. But on the big day, Felix is in

no mood to listen to other people spinning made-up anecdotes

about him. This time, he‘s the one who is going to do the

telling about why he has been hiding out in the woods.

An 8-year labor of love for producer Dean Zanuck (Road to

Perdition), Get Low is directed by Aaron Schneider who makes

his feature debut after winning the Academy Award® for his

short, Two Soldiers, and written by Chris Provenzano (Mad

Men) and C. Gaby Mitchell (Blood Diamond). The behind-the-

scenes team includes Emmy Award-winning cinematographer

David Boyd, A.S.C. (Deadwood), Academy Award®-

nominated production designer Geoffrey Kirkland (The Right

Stuff, Children of Men) and twice Oscar®-nominated Costume

Designer Julie Weiss (Frida, Twelve Monkeys).

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About the Production

It is an American folktale that has been passed down by

storytellers for decades, spreading across distance and time to

take on the proportions of a larger-than-life legend: that of the

eccentric hermit known as Felix ―Bush,‖ who temporarily

came out of hiding to throw a grand funeral bash for himself --

while he was still very much alive and kicking. Now, the story

has taken on another incarnation: inspiring a motion picture

that peers behind the folklore to unfold the colorful drama of a

man‘s last-ditch quest for redemption.

Like many classic American yarns, the story of Felix ―Bush‖ is

based in truth. The real Felix ―Bush‖ Breazeale lived in

Kingston, Tennessee in the 1930s. Born into a prominent

Southern family, he was nevertheless renowned for his wild

and offbeat ways. For years, Felix famously dwelled

completely alone, refusing all company save for his beloved

mule, in the deep, deep woods. Then, suddenly, Felix decided

that, before he died, he‘d like to know in advance what people

were going to say about him after he was gone. Thus was born

his wild idea for a ―living funeral,‖ which would soon

command national attention.

To draw a crowd to this highly irregular memorial, Felix sold

lottery tickets offering his valuable plot of land as the prize;

and the ploy worked. In the end, it was said that as many as

12,000 ―mourners‖ from at least 14 different states showed up

on June 26, 1938 -- including a Life Magazine photographer

and major newspaper reporters -- to pay their respects to Felix .

. . . as he watched it all transpire. Afterwards, Felix explained

to the Roane County Banner: ―Just wanted to hear what the

preacher had to say about me while I am alive.‖

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The story has been told and retold since that day, and a few

generations later, screenwriter Chris Provenzano (Mad Men)

was at a Thanksgiving Dinner when the entertaining yarn was

spun once again, this time by his friend Scott Seeke - whose

grandfather-in-law, a retired undertaker, had been sharing the

tale of Felix‘s offbeat funeral for decades.

Provenzano, however, was more than just amused. He was

struck immediately by the magic, mystery and open questions

at the heart of the story. He wondered: Why had Felix done it?

What was he looking for? What terrible, gnawing secrets might

have driven him into his unusual backwoods life and what

might have suddenly urged Felix, late in life, to so openly and

urgently seek amends before it was too late?

Those questions lie at the heart of the screenplay Provenzano

and C. Gaby Mitchell (Blood Diamond) would ultimately

write, as they dug deeper into the legend and fictionalized the

facts that had been lost to time. (When it came to inner

motives, the real Felix ―Bush‖ had kept largely mum,

mentioning only in passing that there was a woman he wanted

whom he could never have.)

Imagining the background to Felix ―Bush‘s‖ story, Provenzano

and Mitchell carved out an array of both historical characters

(such as the Reverend Charles Jackson, who did indeed preach

at Felix‘s funeral party) and fictional characters (including the

morally challenged funeral home owner, Frank Quinn, and the

alluring widow, Mattie Darrow, whose undisclosed past with

Felix leads to shocking revelations of an unsolved murder),

each of whom is seeking the answer to why Felix is planning a

funeral . . . . and each of whom has his or her own reasons to

care about the outcome.

Felix himself was fully fleshed as a man filled to overflowing

with secrets and regrets, a tough, rugged , diehard individualist

whose seclusion and primal backwoods knowledge has won

him a supernatural reputation that has, up till now, allowed no

one to know his true heart. The resulting tale unraveled in the

tradition of big-hearted Southern storytelling – with its broad

cast of quirky, heartbroken characters; its haunting riddles of

the past; and its themes of thwarted love, unpunished crimes

and the longing for deliverance.

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When producer Dean Zanuck read the screenplay, he was taken

aback by its literary acumen and evocative Southern

atmosphere. He says: ―I thought the screenplay was very

unique -- unlike anything I had ever read before. The story and

its lead character of Felix were absolutely compelling, and I

was drawn in even further by the screenplay‘s themes of

reconciliation and forgiveness.‖

Along the way another filmmaker fell in love with the Get Low

screenplay: Aaron Schneider, an accomplished

cinematographer (Kiss the Girls) who had been searching for

the right project for his feature directorial debut. Schneider

had garnered global attention when he directed the Academy

Award® winning short, Two Soldiers -- based on William

Faulkner classic Southern story about two brothers preparing

for war – and had been looking for material of a similar

strength.

When Schneider read Get Low, he knew this was the project

he‘d been waiting for. ―It was a story that I felt a personal

connection to based upon my own life experiences,‖ he

explains. ―I think a director needs a personal connection to a

story‘s themes and overtones so that the movie has not only a

directorial point of view but also an emotional one. Get Low

had that for me.‖

He continues, ―I was moved by the idea of how a profound loss

early on in life can affect who we are and how we live out our

lives. I think the story touches on a very universal chord—that

the only meaningful way to live life is to ultimately engage

with the world and accept the love and forgiveness that‘s

offered to you.‖

Schneider‘s early meetings with Zanuck made it clear the two

shared a similar vision for the film. Schneider comments:

―Dean Zanuck was the only one I had to convince I could

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direct this script and I think he understood right away that I had

something personal and unique to offer both in the

development of the story and the telling.‖

Zanuck was impressed both with Schneider‘s cinematic eye

and his take on the film. He recounts: ―I was first introduced to

Aaron through a colleague who had seen Aaron‘s short, Two

Soldiers. After watching his film, and then meeting Aaron in

person and hearing his vision for Get Low, the choice was

clear: he was our director. His passion for Get Low was

infectious and his efforts to get the project off the ground were

inspirational.‖

Archival Article: "The Story of Oliver Springs, TN

And Its People, Vol III" By Snyder E. Roberts, pub

1984

Roane's Most Publicized Funeral

The Roane County Banner had leaked the news to the outside

world that 74-year old Uncle Bush Breazeale planned to have a

full funeral service on June 26, 1938 while he was still alive

and could enjoy it. The idea caught on. The power of the press

was soon in evidence as the news spread like wildfire nation-

wide. His "funeral" plan was reported nationally by the

Associated Press and the UP, and photographically by Life

magazine.

The funeral on June 26th attracted the largest crowd ever

assembled in Roane to that date; the estimates ranged from

eight to twelve thousand people. Cars from at least fourteen

states were backed up for two miles from the two Cave Creek

Baptist Churches built side by side (one Primitive, the other

Missionary) to highway #70. Enterprising John Cook charged

25 cents per car to park in his field. He was reported to have

taken in $300. Vendors from soft drink trucks did a flourishing

business. Hot dogs sold well. Knoxville and Chattanooga

florist shops sent floral offerings. By 2:00pm the crowd was in

place. The press was represented by reporters and cameramen

from the Knoxville News Sentinel and Journal, Chattanooga

Times, News and Free Press. Young Don Whitehead who was

to become a war correspondent and two-time Pulitzer winner

was there.

The funeral cortege was late due to the traffic jam along the

road. At last the Hawkins Mortuary (of Loudon County) hearse

arrived bearing the home-made walnut coffin, and Bush in the

front seat. The crowd was so eager to get a glimpse of him that

officers had difficulty in clearing a lane for the pallbearers to

carry the coffin to its place in front of the tent on the

Churchyard. Children were held high by their parents so they

could see. Ten persons fainted from the heat and excitement.

Uncle Bush was seated in front of his coffin dressed in a new

suit, shirt, tie, etc. donated by Halls of Knoxville. For a period,

he was the center of attraction for cameramen who took

pictures of him and the crowd.

Songs were sung by the Friendly Eight Octette of Chattanooga.

Fred Berry of Knoxville said "There's a Gold Mine in the Sky."

the Rev. Charles E. Jackson from Paris, IL, delivered the

funeral sermon. The festive atmosphere soon changed to fit the

solemn occasion. He said: "This service is not a bad idea.

Much good should come from a service divested of the usual

tears and heartaches. It gives us an opportunity to take thought

of tomorrow and anticipate the great adventure called death.

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Mr. Breazeale and I never intended anything but that this

should be a solemn service."

At the conclusion of the formal program, Bush shook hands

with a thousand or more friends and well-wishers. He

autographed many "official programs" by marking his *X*.

Bush said, "This will be my only funeral. It was the finest

sermon that I ever heard, and when I die there won't be another

one."

Bush Breazeale was Roane's greatest celebrity. A few days

later (July 4, 1938), he was dressed out in a Harriman

"Papermaker" baseball uniform and threw out the first pitch in

the double header between Harriman and Loudon. Shortly

afterwards, Robert Ripley featured Bush in his syndicated

column, and took Bush to New York City for a radio interview.

When Bush got back from New York, Mrs. Claude Johnson

said someone asked him, "Mr. Breazeale, how did you like

New York?" Bush replied, "Oh just fine. You know, they were

the finest folk, and treated me wonderfully, but to be honest

about it, their victuals wasn't worth a dern."

The Breazeale Family

The Breazeale family is one of the oldest and most prominent

in Roane History. The Breazeales came from SC to Knox

County, TN where Henry Breazeale was made Assistant

District Attorney in 1797, and was elected as the first County

Court clerk in Roane in 1801. He held this position for 34

years. His son, John Wood M. Breazeale, was an attorney, a

newspaper publisher, and Roane's first historian. He was the

author of "Life As It Is" written in 1842. The family has

produced many lawyers.

Felix "Bush" Breazeale was born June 29, 1864 on Dogwood

Road in Roane. He was one of eight children of Drury W. and

Sarah Littleton Breazeale. Bush was first cousin to the well-

known NY attorney, Martin Littleton, and to Mrs. Rachel

(Littleton) Vanderbilt, also of NY.

Bush never married. He said, "The one I wanted, I couldn't get,

and the ones I could get I didn't want." He made his home with

his parents until their deaths, and lastly with his nephew, Bert

Breazeale. He had lived the life of a farmer, and enjoyed fox

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hunting.

Felix "Bush" Breazeale lived another five years and died at the

age of 79 on February 9, 1943. Although Bush had not

requested another funeral, Mrs. Nancy Maxwell of Harriman

said, and Clarence Johnson of Cave Creek remembers, that a

small service was held on a very cold day before Bush was laid

to rest in the Cave Creek Cemetery located on a hill above the

two church houses.

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One Casket Attracts a Colorful Cast of

Characters: Casting GET LOW

To get Get Low off the ground, the filmmakers knew they

would need a highly skillful and creative actor in the lead role

of Felix – someone capable of making a character that seems

right out of a backwoods fable feel palpably real and alive.

They found that quality in Robert Duvall, one of America‘s

most diverse and adored actors, and winner of the Academy

Award® for his performance as a broken-down country singer

trying to turn his life around in Bruce Beresford‘s Tender

Mercies.

Duvall has long been drawn to richly flawed, complicated

characters and he immediately agreed to the role of Felix once

he read the screenplay. In fact, he says it reminded him of the

film that gave him his first big break: the American classic, To

Kill A Mockingbird, based on the beloved Southern Gothic

novel about the power of prejudice by Harper Lee, and adapted

for the screen by Horton Foote, who won the Academy

Award® for his work.

Duvall explains: ―The writing of this script reminded me of

my friend, Horton Foote, who recently passed away. There are

wonderful things to this script, things like you find in a Horton

Foote script—just with more of an edge. This movie offers a

deep slice of humanity, and with the great actors we have,

we‘ve tried to make it as real as possible.‖

He was also attracted to his character‘s unusual POV: a tough,

no-nonsense man‘s open-eyed, honest acknowledgement of his

encroaching demise and all that it might mean. Notes Duvall:

―I thought Felix was a very important part and a wonderful

character to do at this point in my career. Felix has been

maybe not such a great guy at various points in his life, but

now he‘s moved to ask for certain forgiveness at the end.‖

Sissy Spacek, another actor whose work has been a staple of

modern American filmmaking and an Oscar® winner for her

incisive portrait of Loretta Lynn in Coal Miner’s Daughter,

was also drawn to the film‘s writing. ―When I read the script, I

never knew what was going to happen next,‖ Spacek says.

―It‘s so NOT a formula film and the script had so much depth

— it‘s a great group of characters in this odd, peculiar story

that is really about something.‖

Spacek was especially moved by the journey of the strong,

independent widow, Mattie, the old flame who thinks she is the

only person on earth to have ever loved Felix, only to discover

the terrible and long-hidden reason he never fully loved her

back. ―My character really is the emotional center of the film,‖

she notes. ―There‘s a lot of unrequited love here with both

Mattie and Felix. It‘s kind of sweet and it‘s kind of sad that

these two people can‘t really see what‘s going on right in front

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of them. And for me, what was also quite amazing is that, at

my age, I get to be ‗The Girl.‘‖

The icing on the cake for Spacek was the chance to work so

closely with Robert Duvall. She comments: ―Robert Duvall

has embodied this character. When he came on set, he just was

Felix, which meant all I had to do was react to him. He was

fantastic—working with him was so easy.‖

Easy, but also intense, Spacek says. ―It‘s been very

combustible while we were making the film. Things happened

in the scenes that took us to places that we didn‘t really expect.

It just really felt like something different and wonderful.‖

Spacek also was thrilled to work with another member of the

cast – Bill Murray, the Oscar® nominated star whose work in

such films as Lost in Translation, Groundhog Day, Rushmore,

Broken Flowers and The Life Aquatic with Steve Zissou has

explored the borderlands where comedy and drama meet.

Murray takes on the vivid role of feisty, snake-oil salesman

Frank Quinn, of Quinn‘s Funeral Home, who matches wits

with Felix as he tries to make a mint off the ―living funeral,‖

while simultaneously attempting his own awkward stab at

connection. ―When I found out Bill Murray was playing Frank

Quinn, I just thought it was a stroke of genius because he

brings a whole new dimension of humor and emotion to this

character,‖ Spacek says.

Murray jokes that he was dragged out of idleness by the

screenplay. ―I really don‘t like to work, so it was a drag when I

read the script and it was really good,‖ he deadpans. ―Then I

saw the director‘s short and that was really good. I was

actually quite comfortable just going out to dinner but Dean

Zanuck and Aaron Schneider just wore me down and I knew I

had to do it. Plus, I figured I‘d get to find out what it‘s like to

work with Robert Duvall and Sissy Spacek.‖

That experience turned out to be inspiring. ―Robert is a

unique cat,‖ Murray observes. ―There‘s only one drum that‘s

marching in that head, so when you watch him work, he‘s just

a magnet. It was a lot of fun to watch him carry this relentless

confessional story all the way to its conclusion.‖

As for his relationship with Spacek, he demurs: ―I was kind of

hoping that I‘d end up with the girl in this movie, but you know

girls have trouble warming up to a funeral director—I don‘t

know why…‖

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While Murray‘s portrait of Frank Quinn is that of the morally

challenged American salesman – a guy who is just as likely to

sell you a car or a watch as a casket – he also notes that his

current job keeps prodding Quinn with the reminder that

nothing lasts forever, not even money. ―When you‘re talking

about funerals, you‘re talking about death,‖ Murray observes.

―This is a story about a man who knows he‘s about to die and

is trying to amend the errors of his youth. I guess the lesson of

this film is that the awareness of the inevitability of death can

change your life.‖

Perhaps that lesson hits home hardest with the film‘s youngest

main character: Buddy Robinson, Frank Quinn‘s kindhearted

apprentice and new father, who is driven to try to better

understand why Felix ―Bush‖ wants to throw himself a living

funeral. Playing the role is Lucas Black, who was last seen on

screen in Fast & Furious: Tokyo Drift, and is best known for

his role in the cult CBS series American Gothic.

Black was drawn to the character of Buddy and especially to

the way he grows so close to Felix in the midst of trying to pull

off the funeral. He notes that collaborating with Robert Duvall

on such a deep level was a dream come true. ―When I first read

the script, I knew Duvall was playing ‗Bush.‘ He‘s definitely

one of my favorite actors—just his demeanor, all the

charismatic things that he does. He fit perfectly in my mind and

once we started to work, I knew it was going to be really fun to

be a part of this great story.‖

Then there was his yin-yang relationship with Frank Quinn,

played by Bill Murray, whom Buddy simultaneously wants to

please and keep on the moral up-and-up. ―Bill brings a

different kind of edge to the story,‖ Black notes. ―It‘s good to

have a character that‘s like him, that gives the audience some

comedy—it really plays well for the story. Bill also likes to do

scenes in variety of ways which made each take fun because

we were always playing around with new ideas.‖

Rounding out the cast are Gerald McRaney, who is known for

his starring roles in such hit television series as Major Dad,

Simon and Simon and HBO‘s Deadwood, as the local Reverend

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Gus Horton; and screen veteran Bill Cobbs as the real-life

Illinois preacher Charles Jackson.

McRaney admits, ―The chance to work with Robert Duvall was

all I needed. When I was first starting out as an actor ages ago,

Robert Duvall was the benchmark—that was who you wanted

to be if you worked your tail off and were blessed with enough

talent—that was the goal—to be THAT good.‖

Once they had scenes together, McRaney says, ―The first day I

worked with him, I got so caught up watching him work that I

was out of the scene. I had to stop and start again because I

was so captivated just watching him work! It‘s so simple, so

honest, so real—it sort of takes your breath away.‖

As for Sissy Spacek, McRaney comments, ―She‘s spectacular

and she‘s someone who does it so simply and directly. I

worked with Henry Fonda and he said of himself that he

worked his tail off so that the audience wouldn‘t see the wheels

turning. I think Sissy does that, too. Not that it‘s easy, but by

the time it gets to the screen it just looks that way.‖

Finally, McRaney was equally taken with Bill Murray. ―Bill

has a very different approach to acting than some of the other

people in the cast, but there is that same sincere honesty about

what he brings to the character and to the role. It‘s like they

wrote this role for Bill Murray. They didn‘t; but he‘s perfect

for it.‖

McRaney summarizes: ―We had a wonderfully crafted script, a

great story, and fellow actors that we all felt extremely

fortunate to be in the company of. I think audiences will know

they are in for a treat as soon as they start to watch this movie.‖

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A 1930s Folk Tale Comes to the 21st Century:

SHOOTING GET LOW

With a folkloric screenplay and a stellar cast, the filmmakers

needed just one more element to allow Get Low to soar: an

authentic landscape to bring the story‘s dense, Appalachian

woods and New Deal-era towns come to life. Both Dean

Zanuck and Aaron Schneider agreed that production could only

take place on location in the historic reaches of the American

South.

Ultimately, the film was shot in Georgia. There, the

filmmakers were able to hunt up a very special collection of

locations that have changed little since the Great Depression,

including the small town of Crawfordville (population 572);

the Gaither Plantation, a historic (and allegedly haunted) 1800s

cotton plantation, in Covington; a beautiful old church near

Sparta; and Pickett‘s Mill Battlefield, a Civil War site and State

Park near Dallas, Georgia.

To carry out his vision, Schneider recruited an artistic team

headed by Oscar®-nominated production designer Geoffrey

Kirkland whose diverse work has included forays into both the

past and future in films such as The Right Stuff, Children of

Men and Bugsy Malone. Says Kirkland: ―We started in

Atlanta and set off, driving and driving, in search of 1930‘s

America.‖

Kirkland and Schneider worked closely with rising

cinematographer David Boyd -- who also worked on

Schneider‘s Oscar®-winning short, Two Soldiers, and has shot

for two of television‘s most acclaimed series, Friday Night

Lights and Deadwood – to forge a look for the film that honors

both the wildness of Felix‘s soul and the lure of civilized

contact that calls him back.

Also joining the design team was twice Academy Award®-

nominated costume designer Julie Weiss, whose films range

from Frida and American Beauty to Terry Gilliam‘s Twelve

Monkeys and the comedy Blades of Glory. Weiss says it was

more than the costuming challenges that drew her to the

project. "When I first read Get Low I knew how important it

was to be a part of this film. It was a chance to work with

Robert Duvall, Sissy Spacek, and Bill Murray – and a chance

to have everyday discussions about our observations on life

and how one might approach his or her own eulogy. The

experience was all about simple laughter drawn from the

memories of shared pain,‖ she concludes.

All of the film‘s design ideas and emotions would converge at

the crux of the story: the creation of Felix‘s famous funeral

party. To spark a festive atmosphere, the production recruited

the Grammy-nominated, Nashville-based band, the

Steeldrivers, to play their rootsy, Bluegrass soul on camera (the

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real Felix ―Bush‖ hired the Friendly Eight Octet of

Chattanooga to play the funeral.) The Steeldrivers were even

joined by music lover Bill Murray on his mandolin between

takes, further setting the mood.

To inspire locals to come out as extras for the large funeral

crowd scenes, the film‘s actors took a page right out of the

script – going on local radio to invite citizens of Georgia to

appear in the film in exchange for free food, raffled prizes and

a chance to meet the Academy Award®-winning cast. In the

end, over 600 people showed up at 5am on a crisp March

morning to bring Felix ―Bush‘s‖ service to life.

Although there were any number of potential snafus -- one day

the set was threatened by tornadoes; another day it was

snowing – cast and crew‘s unabated passion for the project

kept spirits high. To a person, everyone involved in Get Low

cites the movie as a deep bonding experience filled with the

very things Felix ―Bush‖ comes, at the last possible moment in

his life, to desire: the simple power of kindness, conversation

and communion.

Bill Murray says: ―Being an independent movie, everyone was

truly committed to this thing. We were thrown together very

intimately for a short time, but it was the gypsy mentality

where everyone pulls together and takes care of each other for

the time that you have. That happened on this movie – and it‘s

what I like best about the movie business.‖

That level of devotion and artistry made it all worth it for Dean

Zanuck, after eight years of trying to bring Get Low to the

screen. He concludes: ―All you ever hope for is to deliver a

satisfying movie-going experience for the audience. Between

an engaging story based on a real legend, a rich, complex

screenplay and an incredible cast, I think we‘ve made a

wonderful film.‖

# # # # #

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About the Cast

A leading man since the 1960s, ROBERT DUVALL (Felix

Bush) has specialized in taciturn cowboys, fierce leaders and

driven characters of all types. Respected by his peers and

adored by audiences worldwide, he has earned numerous

Oscar® nominations for his performances in The Godfather,

Apocalypse Now, The Great Santini and The Apostle. Duvall

won the Academy Award® as Best Actor for his role in Tender

Mercies, and later earned the Golden Globe for his

performance in the title role of HBO‘s Stalin. More recently,

Duvall was honored with the Golden Globe and Emmy Award

for his iconic portrayal of ‗Print Ritter‘ in AMC‘s Broken

Trail.

Duvall made his big screen debut in 1962, as the creepy ‗Boo

Radley‘ in To Kill A Mockingbird. He has gone on to star in

such classics as Bullitt, True Grit, M*A*S*H, The

Conversation, Network, The Natural, Colors, Days Of

Thunder, A Handmaid’s Tale, Rambling Rose, Wrestling

Ernest Hemingway, Phenomenon, A Civil Action, Open Range,

and Thank You For Smoking, among many others.

As a director and producer, Duvall got behind the camera for

his labor of love project The Apostle in which he also starred.

The film went on to earn many accolades, including being

named on over seventy-five film critics ‗Top 10 Films for

1997‘ lists, including the New York Times and Los Angeles

Times. He also wrote, produced and starred in Assassination

Tango.

Duvall was most recently seen as the ‗Old Man‘ in The Road,

based on the novel by Cormac McCarthy that stars Viggo

Mortensen.

FILMOGRAPHY

2010 GET LOW

2009 CRAZY HEART

THE ROAD

2008 FOUR CHRISTMASES

2007 WE OWN THE NIGHT

LUCKY YOU

2005 THANK YOU FOR SMOKING

KICKING & SCREAMING

2003 SECONDHAND LIONS

OPEN RANGE

GODS AND GENERALS

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2002 ASSASSINATION TANGO

JOHN Q.

2000 THE 6TH DAY

A SHOT AT GLORY

GONE IN SIXTY SECONDS

1998 A CIVIL ACTION

DEEP IMPACT

THE GINGERBREAD MAN

1997 THE APOSTLE

1996 SLING BLADE

PHENOMENON

A FAMILY THING

1995 THE SCARLET LETTER

THE STARS FELL ON

HENRIETTA

SOMETHING TO TALK

ABOUT

1994 THE PAPER

1993 WRESTLING ERNEST

HEMINGWAY

GERONIMO: AN AMERICAN

LEGEND

FALLING DOWN

1992 THE PLAGUE

NEWSIES

1991 CONVICTS

RAMBLING ROSE

1990 DAYS OF THUNDER

A SHOW OF FORCE

THE HANDMAID‘S TALE

1988 COLORS

1987 HOTEL COLONIAL

1986 LET‘S GET HARRY

BELIZAIRE THE CAJUN

WAYLON JENNINGS:

AMERICA

1985 THE LIGHTSHIP

1984 THE NATURAL

THE STONE BOY

1983 TENDER MERCIES

1981 THE PURSUIT OF D.B.

COOPER

TRUE CONFESSIONS

1979 THE GREAT SANTINI

APOCALYPSE NOW

INVASION OF THE BODY

SNATCHERS

1978 INVASION

THE BETSY

1977 THE GREATEST

1976 THE EAGLE HAS LANDED

NETWORK

THE SEVEN-PER-CENT

SOLUTION

1975 THE KILLER ELITE

BREAKOUT

1974 THE GODFATHER: PART II

THE CONVERSATION

1973 THE OUTFIT

BADGE 373

LADY ICE

1972 JOE KIDD

THE GREAT NORTHFIELD

MINNESOTA RAID

TOMORROW

THE GODFATHER

1971 LAWMAN

THX 1138

1970 THE REVOLUTIONARY

MASH

1969 THE RAIN PEOPLE

TRUE GRIT

1968 BULLITT

THE DECTECTIVE

COUNTDOWN

1966 THE CHASE

1965 NIGHTMARE IN THE SUN

1963 CAPTAIN NEWMAN, M.D.

1962 TO KILL A MOCKINGBIRD

18

BILL MURRAY (Frank Quinn) is one of the world‘s most

beloved film stars. He began his career as a member of the

National Lampoon Radio Hour, alongside Dan Aykroyd, Gilda

Radner and John Belushi, and soon rose to prominence with

them as one of the most popular members of NBC‘s Saturday

Night Live, winning the Emmy for Outstanding Writing in

Comedy in 1977.

He landed his first starring role in Meatballs, which marked the

beginning of an ongoing collaboration with director Ivan

Reitman and actor Harold Ramis. Murray went on to star in

such audience favorites as Caddyshack, Stripes, Ghostbusters,

and Ghostbusters II.

Murray has a string of comedic hits, including Scrooged,

Groundhog Day, What About Bob?, Mad Dog & Glory and

Tim Burton‘s Ed Wood. He also starred in critically acclaimed

dramatic roles for director Wes Anderson, including Rushmore,

The Royal Tenenbaums, The Life Aquatic with Steve Zissou and

The Darjeeling Limited. In addition, Murray starred in Jim

Jarmusch‘s Broken Flowers and The Limits Of Control.

In 2003, when Murray starred in Sofia Coppola‘s Lost In

Translation, he won the Golden Globe, the Independent Spirit

and BAFTA Best Actor Awards for his performance. In

addition, he was honored with a Best Actor Academy Award®

nomination for his portrayal as ‗Bob Harris,‘ the lonely movie

star stuck in Tokyo.

FILMOGRAPHY

2010 GET LOW

2009 FANTASTIC MR. FOX

THE LIMITS OF CONTROL

2008 CITY OF EMBER

GET SMART

2007 THE DARJEELING LIMITED

2006 GARFIELD: A TAIL OF TWO KITTIES

2005 THE LOST CITY

BROKEN FLOWERS

THIS IS AN ADVENTURE

2004 THE LIFE AQUATIC WITH STEVE ZISSOU

GARFIELD

2003 COFFEE AND CIGARETTES

LOST IN TRANSLATION

2001 SPEAKING OF SEX

THE ROYAL TENENBAUMS

OSMOSIS JONES

19

2000 CHARLE‘S ANGELS

HAMLET

GETTING G‘D UP

1999 SCOUT‘S HONOR

CRADLE WILL ROCK

1998 RUSHMORE

WITH FRIENDS LIKE THESE…

WILD THINGS

1997 THE MAN WHO KNEW TOO LITTLE

1996 LARGER THAN LIFE

KINGPIN

1994 ED WOOD

1993 MAD DOG AND GLORY

GROUNDHOG DAY

1991 WHAT ABOUT BOB?

1990 QUICK CHANGE

1989 GHOSTBUSTERS II

1988 SCROOGED

1986 LITTLE SHOP OF HORRORS

1984 THE RAZOR‘S EDGE

NOTHING LASTS FOREVER

GHOSTBUSTERS

1982 TOOTSIE

1981 STRIPES

1980 LOOSE SHOES

CADDYSHACK

B.C. ROCK

WHERE THE BUFFALO ROAM

1979 MR. MIKE‘S MONDO VIDEO

MEATBALLS

1976 NEXT STOP, GREENWICH VILLAGE

1975 SHAME OF THE JUNGLE

20

SISSY SPACEK (Mattie Darrow) has been one of the

industry‘s most respected actresses for more than three

decades. Her many honors include an Academy Award®, five

additional Oscar® nominations, three Golden Globe Awards

and numerous critics awards.

She first gained the attention of critics and audiences with her

performance in Terrence Malick‘s widely praised 1973 drama

Badlands, in which she starred opposite Martin Sheen. In

1976, Spacek earned her first Academy Award® nomination

and won a National Society of Film Critics Award for her

chilling performance in the title role of Brian De Palma‘s

Carrie, based on the Stephen King novel. The following year,

she won the New York Film Critics Circle Award for her work

in Robert Altman‘s Three Women.

In 1980, Spacek starred as ‗Loretta Lynn‘ in the acclaimed

biopic Coal Miner’s Daughter, winning the Oscar® and

Golden Globe Award for her performance. Spacek also swept

the New York Film Critics Circle, Los Angeles Film Critics,

National Board of Review, and National Society of Film

Critics Awards for her portrayal of the country music legend.

Spacek received another Golden Globe nomination the next

year for her work in Raggedy Man, directed by her husband,

Jack Fisk. She earned her third Oscar® and Golden Globe

nominations for her role in Costa-Gavras‘ 1982 drama Missing,

opposite Jack Lemmon, and her fourth Oscar® and Golden

Globe nominations for her work in 1984‘s The River, in which

she starred with Mel Gibson.

In 1987, Spacek received her fifth Academy Award®

nomination and won another Golden Globe and the New York

film Critics Circle Award for her performance in the dark

comedy Crimes of the Heart. Her most recent Oscar®

nomination came for her portrayal of a mother grieving for her

murdered son in the drama In the Bedroom, for which she also

won a Golden Globe Award, an Independent Spirit Award, and

an AFI Film Award for Best Actress. In addition, she garnered

Best Actress Awards from a number of critics‘ organizations,

including the Los Angeles, New York and Broadcast Film

Critics. Her work in In the Bedroom also brought Spacek two

Screen Actors Guild (SAG) Award nominations, one for

Outstanding Lead Actress and another for Outstanding Cast,

shared with the rest of the film‘s ensemble.

Spacek‘s other film credits include A Home at the End of the

World, The Straight Story, Blast From the Past, Affliction, The

21

Grass Harp, JFK, The Long Walk Home, ‘Night, Mother,

Marie, North Country, Nine Lives, Hot Rod, Lake City and

Four Christmases.

Spacek has also been honored for her work on the small screen,

where she has starred in several highly praised long form

projects. She received Emmy Award nominations for her

portrayal of ‗Zelda Fitzgerald‘ in Last Call and for her work in

Tommy Lee Jones‘ Western The Good Old Boys, as well as

SAG Award nominations for her performances in Midwives

and A Place for Annie. Her additional television credits

include If These Walls Could Talk, Beyond the Call, Streets of

Laredo, A Private Matter and most recently, a Golden Globe

nomination for Pictures of Hollis Woods.

FILMOGRAPHY

2010 GET LOW

2005 NORTH COUNTRY

NINE LIVES

2004 A HOME AT THE END OF THE WORLD

2001 IN THE BEDROOM

1999 THE STRAIGHT STORY

1997 AFFLICTION

1996 IF THESE WALLS COULD TALK

1996 THE GRASS HARP

1991 JFK

1990 THE LONG WALK HOME

1986 ‗NIGHT MOTHER

1985 MARIE

1984 THE RIVER

1982 MISSING

1981 RAGGEDY MAN

1980 HEART BEAT

COAL MINER‘S DAUGHTER

1978 VERNA: USO GIRL

1977 3 WOMEN

1976 WELCOME TO L.A.

CARRIE

1973 BADLANDS

22

LUCAS BLACK (Buddy Robinson) made his acting debut at

age 11, opposite Kevin Costner in Jon Avnet‘s The War. His

performance led him to being cast in CBS‘ series American

Gothic where he played ‗Caleb Temple‘ for the season.

He next went on to play opposite Billy Bob Thornton in Sling

Blade, as the young boy who compassionately befriends a

mentally handicapped murderer. He continued acting while

going to school, appearing in Rob Reiner‘s The Ghosts Of

Mississippi, Antonio Banderas‘ directorial debut Crazy In

Alabama, Rob Bowman‘s big screen version of The X Files

and All The Pretty Horses, opposite Matt Damon.

A native of Alabama, after Black graduated from high school

he went on to appear alongside Jude Law in Anthony

Minghella‘s Cold Mountain. He followed that performance

with leading roles in Killer Diller, Deepwater, Sam Mendes‘

Jarhead, and Friday Night Lights. He also starred in Fast &

Furious: Tokyo Drift.

Next up for the talented young actor is Legion, opposite Dennis

Quaid, and the starring role in Whiskey Beginnings: The Junior

Johnson Story.

FILMOGRAPHY

2010 GET LOW

LEGION

2006 THE FAST AND THE FURIOUS: TOKYO DRIFT

2005 JARHEAD

DEEPWATER

2004 FRIDAY NIGHT LIGHTS

KILLER DILLER

2003 COLD MOUNTAIN

2000 ALL THE PRETTY HORSES

1999 CRAZY IN ALABAMA

1998 THE X FILES

1996 GHOSTS OF MISSISSIPPI

SLING BLADE

1994 THE WAR

23

GERALD McRANEY (Reverend Gus Horton) is a highly

respected and talented character actor who easily transitions

between the stage, television and movies. He most recently

starred in the CBS drama Jericho, his fourth television series

for the network, and on HBO‘s award-winning series

Deadwood as ‗George Hearst‘, father of newspaper publisher

William Randolph Hearst. He also appeared this past season in

the Broadway production of Horton Foote‘s Dividing The

Estate. It is during his run in this play, that Robert Duvall

asked him to join the cast of Get Low after watching his

performance.

Recognized by fans around the world, McRaney spent eight

years as the irrepressible, yet immensely likable private

investigator ‗Rick Simon‘ on Simon and Simon. He went on to

become the nation's favorite U.S. Marine in Major Dad. A

further measure of his popularity is that both series continue to

be aired in reruns and DVDs of entire seasons of Simon and

Simon are currently in wide distribution.

McRaney was born in Collins, Mississippi. He became

interested in acting when he injured a knee playing football in

junior high school and found the only openings left were in the

drama club. Encouraged by his performances in school

productions, he went on to major in drama at the University of

Mississippi.

McRaney‘s first acting job when he moved to Hollywood was

in an episode of Night Gallery. He next followed it with four

appearances on Gunsmoke which then led to steady work in

television movies such as The Law, Roots II, and in many

series, including The Incredible Hulk, The Rockford Files,

Police Woman, Designing Women and How the West Was

Won, among many others.

McRaney, who is married to actress Delta Burke, is a founding

member of the Entertainment Industries Council, Inc., a non-

profit organization that addresses health issues such as drug,

alcohol, and tobacco use and addiction; firearm safety; human

trafficking; mental health and HIV/AIDS prevention. In that

role, he has testified before the Senate Subcommittee on

Investigations to obtain Senate endorsement of the group‘s

efforts.

FILMOGRAPHY

2010 GET LOW

2006 SAVING SHILOH

2002 HANSEL & GRETEL

2000 COMANCHE

1994 BLIND VENGEANCE

1993 MURDER IN THE NEIGHBORHOOD

1986 JACKELS

1984 THE NEVERENDING STORY

1977 THE BRAIN MACHINE

1969 NIGHT OF BLOODY HORROR

WOMEN AND BLOODY TERROR

24

BILL COBBS (Reverend Charlie Jackson) was born and raised

in Cleveland where his mother was a cleaning lady and his

father a construction worker. Prior to pursuing his passion of

acting, he was an Air Force radar technician, worked in office

products at IBM and sold cars.

In 1970, at age of 36, Cobbs left Ohio for New York to seek

work as an actor. He supported himself by driving cabs,

repairing office equipment, selling toys and performing odd

jobs. His first professional acting role was in Ride A Black

Horse at the Negro Ensemble Company. From there, he

appeared in small theater productions, eventually performing at

the Eugene O‘Neill Theater.

His first television credit was in Vegetable Soup, a New York

PBS educational series, and then he landed a role in The Taking

of Pelham One Two Three. Cobbs has since gone on to appear

in numerous films, including The Hudsucker Proxy, Things To

Do In Denver When You’re Dead, New Jack City, That Thing

That You Do!, Ghosts Of Mississippi, A Mighty Wind and the

blockbuster Night At The Museum, to mention a few.

FILMOGRAPHY

2010 GET LOW

STROLL

2009 STEADFAST

MY SUMMER FRIEND

BLACK WATER TRANSIT

THE TENANT

2008 THE DARK HORSE

THE MORGUE

THIS MAN‘S LIFE

2007 THREE DAYS TO VEGAS

2006 NIGHT AT THE MUSEUM

THE ULTIMATE GIFT

HARD LUCK

SENT

SWEET DEADLY DREAMS

2005 THE DERBY STALLION

RETURN TO SENDER

DUCK

SQUIRREL MAN

INNER DEMON

SOCIAL ED

THE FINAL PATIENT

2004 LOST

THE MORTUARY

25

2003 A MIGHTY WIND

2002 ENOUGH

SUNSHINE STATE

2000 VALESTA‘S PLACE

1999 RANDOM HEARTS

1998 I STILL KNOW WHAT YOU DID LAST SUMMER

HOPE FLOATS

PAULIE

1997 AIR BUD

SOULMATES

1996 GHOSTS OF MISSISSIPPI

THAT THING YOU DO!

FIRST KID

ED

1995 MAN WITH A GUN

FLUKE THINGS YOU DO IN DENVER WHEN YOU‘RE DEAD

CAPTIVA ISLAND

GOLDILOCKS AND THE THREE BEARS

TUESDAY MORNING RIDE

1994 THE HUDSUCKER PROXY

1993 DEMOLITION MAN

1992 THE BODYGUARD

ROADSIDE PROPHETS

1991 THE PEOPLE UNDER THE STAIRS

THE HARD WAY

NEW JACK CITY

1990 EXILED IN AMERICA

1989 THE JANUARY MAN

1988 BIRD

DOMINICK AND EUGENE

1987 SUSPECT

FIVE CORNERS

1986 THE COLOR OF MONEY

1985 COMPROMISING POSITIONS

1984 THE COTTON CLUB

THE BROTHER FROM ANOTHER PLANET

1983 SILKWOOD

TRADING PLACES

1979 THE HITTER

1978 A HERO AIN‘T NOTHIN‘ BUT A SANDWICH

1977 GREASED LIGHNING

1975 A BOY AND A BOA

1974 THE TAKING OF PELHAM ONE TWO THREE

26

About the Filmmakers

Halfway through his undergraduate studies at Iowa State

University, AARON SCHNEIDER (Director) transferred out

of Mechanical Engineering into the production program at

USC‘s School of Cinema-Television. Inspired by the work of

guest-lecturing cinematographers, he soon gravitated to the

visual craft of storytelling embodied in the role of

cinematographer. Upon graduation, he began a decade-long

career working in commercials and music videos,

encompassing such clients and artists as Nike, Mercedes,

L‘Oreal, Whitney Houston, Gwen Stefani and Michael

Jackson.

In 1995, Schneider was invited to photograph the ground-

breaking legal drama, Murder One for Executive Producer

Steven Bocho for which he earned an Emmy Award

nomination and was twice awarded the American Society of

Cinematographer‘s Award. In addition to numerous network

television pilots, Schneider went on to photograph feature

films, including Kiss The Girls, Simon Birch and 2nd

unit for

James Cameron on the worldwide mega-hit Titanic.

Schneider began his directing career in episodic television and

as Director/cameraman in television commercials and feature

films, including Universal‘s upcoming The Express. When

Schneider wrote and directed an adaptation of William

Faulkner‘s short story Two Soldiers, he won the Academy

Award® for Best Live-Action Short Film.

Get Low marks his directorial debut of a full-length feature

film.

FILMOGRAPHY

2010 GET LOW

2008 THE EXPRESS

2003 TWO SOLDIERS (Academy Award®, Live Action Short

Film) 2001 CYPRESS HILL: STILL SMOKIN‘

1998 SIMON BIRCH

DEEP RISING

1997 TITANTIC

KISS THE GIRLS

1995 THINGS TO DO IN DENVER WHEN YOU‘RE

DEAD

1990 DEAD GIRLS

WRITER‘S BLOCK

27

CHRIS PROVENZANO‘s (Screenwriter/Executive Producer)

work on AMC‘s acclaimed television series Mad Men earned

him a 2007 Peabody Award and the WGA Award for Best

New Series. His teleplay for ―The Hobo Code‖ received a

WGA Award nomination for Best Episodic Drama. Get Low

is the second feature film Provenzano has had produced; his

screenplay Thank You, Good Night was made independently.

Additionally, his work has been published in the Los Angeles

Times.

FILMOGRAPHY

2010 GET LOW

Justified (F/X)

2009 Defying Gravity (ABC)

2007 Mad Men (AMC)

2006 Heist (NBC)

2001 THANK YOU, GOOD NIGHT

C. GABY MITCHELL (Screenwriter/Executive Producer)

brings a wealth of experience and compassion to Get Low.

Known in Hollywood circles for his ability to rework

screenplays into viable movies, he has worked his magic on

such scripts as Seabiscuit, Oscar® nominated seven times,

including for Best Adapted Screenplay, and Ron Howard‘s

Cinderella Man, starring Russell Crowe, to name a few. For

Edward Zwick‘s critically acclaimed Blood Diamond, starring

Leonardo DiCaprio and Djimon Hounson, the multi-talented

writer received story credit.

FILMOGRAPHY

2010 GET LOW

2006 BLOOD DIAMOND

DEAN ZANUCK (Producer) began his early career in

Hollywood as a set production assistant on the films, Clean

Slate, Wild Bill and Mulholland Falls. He then worked as a

personal assistant for producer Brian Grazer during the

production of Apollo 13, before joining his father, Oscar®-

winning producer Richard D. Zanuck at The Zanuck Company

in 1995 as Vice-President of Development.

28

As Vice-President of Development, Zanuck oversaw

production on such films as True Crime, starring and directed

by Clint Eastwood, Rules of Engagement, starring Tommy Lee

Jones and Samuel L. Jackson, and the blockbuster Deep

Impact. He also served as production executive on Tim

Burton‘s Planet of The Apes, Big Fish, Charlie and the

Chocolate Factory and Sweeney Todd: The Demon Barber of

Fleet Street as well as last year‘s Yes Man, starring Jim Carrey.

As a producer, Zanuck discovered the graphic novel Road To

Perdition and ended up producing the multiple Oscar®-

nominated Road To Perdition, starring Tom Hanks and Paul

Newman that was directed by Sam Mendes. He also served as

Co-Producer on Reign of Fire, starring Matthew

McConaughey, and executive produced the television movie,

Dead Lawyers, starring Sean Patrick Flanery and F. Murray

Abraham.

FILMOGRAPHY

2011 LIBERTY LANE

2010 VOICE FROM THE STONE

CHICANE

GET LOW

2008 YES MAN

2007 SWEENEY TODD: THE DEMON BARBER OF

FLEET STREET

2005 CHARLIE AND THE CHOCOLATE FACTORY

2003 BIG FISH

2002 ROAD TO PERDITION (Academy Award® Winner, Best

Cinematography)

REIGN OF FIRE

2001 PLANET OF THE APES

1998 DEEP IMPACT

1996 MULHOLLAND FALLS

1995 WILD BILL

APOLLO 13

DAVID BOYD, A.S.C. (Cinematographer) grew up on four

continents, the son of an army officer. As a physics major at

the University of California, San Diego, he took a film studies

class for an easy four units and discovered he loved it.

Transferring to the Motion Picture/Television program at

U.C.L.A., upon graduation, he worked as a 2nd Camera

Assistant, Focus Puller, Camera Operator, and in 1998 became

a Director of Photography.

His credits include 2nd Unit photography on Cast Away and

Galaxy Quest, and the main units of Deadwood, 12 Rounds, the

series Friday Night Lights, and the Academy Award®-winning

short film Two Soldiers, directed by Aaron Schneider. Get

Low is their second collaboration.

Boyd was invited to join the American Society of

Cinematographers in 2006.

FILMOGRAPHY

2010 GET LOW

2008 12 ROUNDS

2008 KIT KITTREDGE

2007 FRIDAY NIGHT LIGHTS

29

2006 LENEXA, 1 MILE

2005 A QUESTION OF LOYALTY

2004 DEADWOOD

2003 TWO SOLDIERS (Academy Award®, Live Action Short

Film)

2001 JOY RIDE (2ND UNIT)

BUBBLE BOY (2ND UNIT)

2000 CAST AWAT

WHAT LIES BENEATH (Additional Photography)

1999 GALAXY QUEST (2ND UNIT)

GEOFFREY KIRKLAND (Production Designer) is an

Oscar®-nominated production designer, who recently won the

BAFTA for Best Production Design on Children of Men,

starring Clive Owen. He also designed the sets for the

basketball movie, Glory Road, produced by Jerry Bruckheimer,

and the independent horror spoof, Pig Hunt.

A long-time collaborator with Director Alan Parker, Kirkland

has worked on nine of his movies: The Life of David Gale,

Angela’s Ashes, Mississippi Burning, Birdy, Come See The

Paradise, Shoot The Moon, Fame, the Academy Award®-

winning Midnight Express and Bugsy Malone. For his work on

Bugsy Malone, Kirkland was honored with his first BAFTA

Award for Best Production Design.

Other credits for the UK-born designer include After the

Sunset, Desperate Measures, Space Jam, Renaissance Man and

The Right Stuff. For his work on The Right Stuff, where he

served as Production Designer, the design group shared an

Academy Award® nomination for Best Art Direction. In

addition, Kirkland served as the visual consultant on War

Games and production designer on the world-renowned long

format music video, Captain EO, starring pop icon Michael

Jackson.

FILMOGRAPHY

2010 GET LOW

2009 A CALL TO ARMS

2008 PIG HUNT

2006 CHILDREN OF MEN

GLORY ROAD

2004 AFTER THE SUNSET

2003 THE LIFE OF DAVID GALE

1999 ANGELA‘S ASHES

1998 DESPERATE MEASURES

1996 SPACE JAM

1994 RENAISSANCE MAN

30

1990 COME SEE THE PARADISE

1989 JOURNEY TO THE CENTER OF THE EARTH

1988 MISSISSIPPI BURNING

1987 LEONARD PART 6

1986 CAPTAIN EO

1984 BIRDY

1983 THE RIGHT STUFF

WAR GAMES

1982 SHOOT THE MOON

1980 FAME

FOXES

1978 MIDNIGHT EXPRESS

BUGSY MALONE

Esteemed, award-winning JULIE WEISS (Costume Designer)

has made a name for herself as an artist whose designs have

won recognition in every medium—stage, television and film.

She has been honored twice with the Academy Award®

nomination and multiple times with the Emmy for her work in

television and has received honors from Women in Film.

Her work as a costume designer began in New York with the

play, Elephant Man, for which she received a Tony

nomination. Other theater credits include plays at the Mark

Tapper Forum, Resident Designer at Phoenix Theater in New

York designing costumes for plays written by Christopher

Hampton, Richard Nelsen, Sam Shepard, Samuel Becket, and

William Shakespeare. Emmy Awards were received for The

Dollmaker with Jane Fonda and Woman of Independent means

with Sally Field. Mrs. Harris with Annette Benning and Ben

Kingsley, Evergreen, Little Gloria Happy At Last, and Liza

Minnelli: Life from Radio City Music Hall all received Emmy

Nominations for Best Costume Design.

Academy Award® nominations include Frida and Twelve

Monkeys. The Costume Designer Guild Award was given for

American Beauty and Blades of Glory. Other film credits

include A Simple Plan, Marvin’s Room, It Could Happen To

You, Searching For Bobby Fischer, Honeymoon In Vegas, The

Freshman, Steel Magnolias, Tequila Sunrise, F/X, Auto Focus,

Hearts In Atlantis, The Gift, Bobby, Hollywoodland, The

Missing, The Ring, Fun With Dick and Jane and Bette Davis

31

Costumes for Whales of August. She recently completed

Shanghai with John Cusack, Gong Li, Chow Yon Phat, and

Ken Wantabee. Teaching credits include being on the faculty

of Stanford University and serving as a visiting professor at

UCLA.

FILMOGRAPHY

2010 GET LOW

2009 THE TIME TRAVELER‘S WIFE

2007 BLADES OF GLORY

SLIPSTREAM

2006 BOBBY

HOLLYWOODLAND

2005 FUN WITH DICK AND JANE

2004 OXYGEN

2003 THE MISSING

2002 THE RING

AUTO FOCUS

FRIDA

2001 HEARTS IN ATLANTIS

2000 THE GIFT

GET CARTER

ISN‘T SHE GREAT

1999 AMERICAN BEAUTY

1998 A SIMPLE PLAN

FINDING GRACELAND

FEAR AND LOATHING IN LAS VEGAS

1997 THE EDGE

TOUCH

HERE DIES ANOTHER DAY

1996 MARVIN‘S ROOM

1995 TWELVE MONKEYS

1994 IT COULD HAPPEN TO YOU

1993 SEARCHING FOR BOBBY FISCHER

HOUSE OF CARDS

NAKED IN NEW YORK

1992 HONEYMOON IN VEGAS

FALLING FROM GRACE

1991 MARRIED TO IT

1990 THE FRESHMAN

1989 STEAL MAGNOLIAS

WICKED STEPMOTHER

1988 TEQUILA SUNRISE

1969

1987 CHERRY 2000

THE WHALES OF AUGUST

MASTER OF THE UNIVERSE

1986 F/X

1985 CREATOR

THE MEAN SEASON

1983 TESTAMENT

SPACEHUNTER: ADVENTURES IN THE

FORBIDDEN ZONE

1982 I‘M DANCING AS FAST AS I CAN

MR. SYCAMORE

32

Academy Award® Winner JAN A.P. KACZMAREK

(Composer) has written the scores for over 50 feature films and

documentaries including The Visitor, Unfaithful, Aimee and

Jaguar, War and Peace, Total Eclipse, Washington Square,

The Third Miracle and Lost Souls. His recent projects include

Hachi: A Dog’s Tale, directed by Lasse Hallstrom and starring

Richard Gere, and City Island, winner of the Audience Award

at Tribeca Festival, directed by Raymond de Felitta, starring

Andy Garcia.

He also wrote the score for the upcoming feature Leonie

starring Emily Mortimer from writer/director Hisako Matsui.

He began touring Europe in the 1970s with The Orchestra of

the Eighth Day. In 1982, Kaczmarek recorded his debut album,

titled Music for the End. He relocated to America in 1989 and

began composing for theatre, winning two New York theatre

awards in 1992. After his success for the stage, he returned to

film composition. In 2005, he won his first Oscar® for Finding

Neverland, as well as The National Board of Review‘s award

for Best Score. He was nominated for a Golden Globe and

BAFTA‘s Anthony Asquith Award for Achievement in Film

Music.

Currently, he is establishing the Rozbitek Institute in his native

Poland. The Institute will serve as a European center

encouraging creative work in film, theatre, music, and new

media.

FIMOGRAPHY

2010 GET LOW

2009 HACHI: A DOG‘S TALE

CITY ISLAND

HORSEMEN

2008 PASSCHENDAELE

THE KRAMAZOV BROTHERS

2007 HANIA

THE VISITOR

EVENING

2006 WHO NEVER LIVED

2004 FINDING NEVERLAND

2002 UNFAITHFUL

2001 EDGES OF THE LORD

QUO VADIS?

2000 LOST SOULS

1999 THE THIRD MIRACLE

HAK NAJMNIEG SWIATLA (Short)

33

1999 AIMEE & JAGUAR

1997 WASHINGTON SQUARE

BLISS

1996 DEAD GIRL

1995 TOTAL ECLIPSE

1994 FELONY

GOSPEL ACCORDING TO HARRY

1993 THREE OF HEARTS

DOPPELGANGER

1992 BIALE MAZENSTWO

1990 PALE BLOOD

1989 A HALÁLRAÍTÉLT

1986 GRA W SLEPCA

Internationally recognized as the world's most renowned Dobro

player, JERRY DOUGLAS (Additional Music by) undoubtedly

ranks amongst the top contemporary maestros in American

music. Douglas has garnered twelve Grammy® Awards and

numerous International Bluegrass Music Association awards,

and holds the distinction of being named "Musician of the

Year" by The Country Music Association (2002, 2005, 2007),

The Academy of Country Music (11 times), and The

Americana Music Association (2002, 2003), and was honored

as the 2008 Artist In Residence at the Country Music Hall of

Fame in Nashville, TN. In 2004, the National Endowment for

The Arts honored Douglas with a National Heritage

Fellowship, acknowledging his artistic excellence and

contribution to the nation's traditional arts, their highest such

accolade.

The Ohio-born Douglas was seduced by music early in life. As

a child growing up in Warren, Ohio, Douglas recalls lying on

the floor listening to his father's bluegrass band, a collection of

West Virginia coalfield refugees who'd come to work in the

steel mills of the Midwest. At eight years old, after a few years

of guitar, Jerry's father took him to a 1963 Flatt & Scruggs

concert, where he heard both of the men who put Dobro on the

bluegrass map: Brother Oswald Kirby and Uncle Josh Graves.

He was immediately attracted to the sound of the Dobro, and

he began playing the instrument in earnest soon after. "I just

liked the sound it made," he recalls. "It can be real lonesome,

or it can be really brash and percussive. It's such a vocal

instrument; you can do so many things on it, because of the

sustain and because there are all these different voices you can

get out of it."

Douglas adapted a Silvertone acoustic guitar to be played

dobro-style, and acquired his first real Dobro in 1966. By age

13, he was part of his father's West Virginia Travelers,

studying Graves and Kirby on record, and creating a new

vocabulary of Dobro licks by listening to the banjo, fiddle, and

guitar. His father's band mates "were great to let me learn how

to play and play in the band at the same time," Douglas says.

"They were good players, and I adapted a lot of stuff from their

instruments."

After several years of playing with his dad's group the West

Virginia Travelers, the 17-year-old Douglas joined the

pioneering new grass band the Country Gentlemen in 1973. In

1975, he became a member of the seminal J.D. Crowe and the

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New South, which also included future stars Ricky Skaggs and

Tony Rice. In 1976, Douglas and Skaggs co-founded the now-

legendary bluegrass combo Boone Creek. In 1979, Douglas

launched his solo career with his LP Fluxology, and became a

full-time member of the beloved family group the Whites. He

remained with the Whites until 1985, but still found time to

play on such now-classic albums as Emmylou Harris' Roses in

the Snow and Ricky Skaggs' Don't Get Above Your Raising.

By the time he left the Whites, Douglas had become

Nashville's busiest session Dobro player, while continuing his

solo career with such albums as 1982's Fluxedo, Under the

Wire (1986) Changing Channels (1987), Everything Is Going

To Work Out Fine (1987), Plant Early (1989) and Slide Rule

(1992). In the late '80s, he formed the acoustic super group

Strength in Numbers with Sam Bush, Béla Fleck, Edgar Meyer

and Mark O'Connor; the quintet debuted with 1989's landmark

recording The Telluride Sessions.

Douglas formed a trio with Russ Barenberg and Edgar Meyer

to record the 1993 album Skip, Hop and Wobble. The next

year, Douglas co-produced and performed on the all-star multi-

artist project The Great Dobro Sessions, for which he won a

Grammy for Best Bluegrass Album. In 1996, Douglas joined

Edgar Meyer and Indian musician Vishwa Mohan Bhatt for the

genre-bending experiment Bourbon and Rosewater, and

collaborated with singer-songwriter Peter Rowan on the album

Yonder. Douglas released his next solo effort, Restless on the

Farm, in 1998.

It was around that time that Douglas chose to abandon his

lucrative session career, which had ceased to offer new musical

challenges. "I did so many sessions for so long, and it wasn't

really doing anything for me anymore," he explains. "I was

making a fine living playing on other people's records, but the

music changed, and I didn't really like where mainstream

country was going. It started to really bother me, so I had to

stop."

At around the same time, Alison Krauss asked Douglas to fill

in on a Union Station tour. "The shows went so well that he

was offered a permanent slot in the group. I really love playing

35

with these people; it is a creative atmosphere and the music is

coming from all of us, so it is a dream gig." Since then, he's

managed to balance his Union Station work with his solo

career and a variety of collaborative efforts.

In addition to his groundbreaking work as a member of Alison

Krauss & Union Station, The Country Gentlemen, J.D. Crowe

& The New South, Boone Creek, and Strength in Numbers and

others, Douglas's musical brilliance has graced over 2,000

recordings by such distinguished artists as James Taylor, Paul

Simon, Ray Charles, Lyle Lovett, Elvis Costello, Garth

Brooks, Charlie Haden, Earl Scruggs, Phish, Emmylou Harris,

Bill Frisell, The Chieftains, and the eight million-plus selling

soundtrack to O Brother, Where Art Thou?.

Douglas‘s twelfth solo release, Glide, features nine

instrumental compositions and two tracks with standout vocal

performances by country music legends Travis Tritt and

Rodney Crowell, it is a follow-up to his critically acclaimed,

The Best Kept Secret (KOCH Records), and the 2007

collection, Jerry Douglas: Best of the Sugar Hill Years (Sugar

Hill Records). Glide portrays his adventurous and eclectic

musical palette as it incorporates elements of bluegrass,

country, rock, folk, Celtic, Scottish and New Orleans-inspired

music. Earl Scruggs, Sam Bush, Edgar Meyer, Lloyd Green,

Tony Rice, Carmella Ramsey and members of his touring band

including drummer Doug Belote, bassist Todd Parks, violinist

Luke Bulla and guitarist Guthrie Trapp support Douglas on

various tracks on his much-anticipated new album.

Whether he is touring with Elvis Costello & The Sugarcanes,

performing alongside Eric Clapton at the 2007 Crossroads

Guitar Festival in Chicago, on tour with his band opening for

Paul Simon (Fall 2006), appearing live on A Prairie Home

Companion, or playing his featured role with Alison Krauss &

Union Station, there is only one Dobro player who can voice

such a distinctive and familiar sound: Jerry Douglas. As he

continues his incalculable influence on bluegrass and its many

related genres, Douglas forges as a true pioneer in American

music.

# # # # #

36

Credits

Directed by

AARON SCHNEIDER

Screenplay by

CHRIS PROVENZANO

And

C. GABY MITCHELL

Story by

CHRIS PROVENZANO

&

SCOTT SEEKE

Produced by

DEAN ZANUCK

Produced by

DAVID GUNDLACH

Co-Producer

RICHARD LUKE ROTHSCHILD

Executive Producer

DAVID B. GINSBERG

Executive Producer

HARRISON ZANUCK

Executive Producers

C. GABY MITCHELL

JOEY RAPPA

ROBERT DUVALL

ROB CARLINER

OLIVER SIMON

DANIEL BAUR

ALAIN MIDZIC

BLERIM DESTANI

DARIUSZ GASIOROWSKI

BRAD & BRANDIE PARK

KONRAD WOJTERKOWSKI

SCOTT FISCHER

DON MANDRIK

CHRIS PROVENZANO

Associate Producers

LILY PHILLIPS

JUSTYNA PAWLAK

Cinematographer

DAVID BOYD A.S.C.

Production Designer

GEOFFREY KIRKLAND

Editor

AARON SCHNEIDER

Music by

JAN A. P. KACZMAREK

Music Supervisor

EVYEN KLEAN

Costume Designer

JULIE WEISS

Casting by

CRAIG FINCANNON, CSA

&

LISA MAE FINCANNON, CSA

37

K5 INTERNATIONAL

Presents

A ZANUCK INDEPENDENT PRODUCTION

In Co-Production with

DAVID GUNDLACH PRODUCTIONS

LARA ENTERPRISES

TVN

In Association with

BUTCHER‘S RUN FILMS

GET LOW

Unit Production Manager

Richard Luke Rothschild

First Assistant Director

Eric Tignini

Second Assistant Director

Hope Garrison

Additional Music by

Jerry Douglas

38

Cast

FELIX BUSH Robert Duvall

MATTIE DARROW Sissy Spacek

FRANK QUINN Bill Murray

BUDDY Lucas Black

REV. GUS HORTON Gerald McRaney

REV. CHARLIE JACKSON Bill Cobbs

CARL Scott Cooper

KATHRYN Lori Beth Edgeman

WKNG ANNOUNCER Linds Edwards

BONNIE Andrea Powell

TOM Chandler Riggs

GRIER Danny Vinson

GARY Blerim Destani

ORVILLE Tomasz Karolak

PHOTOGRAPHER Andrew Stahl

MR. FELDMAN Marc Gowan

BUSH‘S MULE Gracie