BLANKCITY

USA – 2010 – Documentary – 94 min – Color / B&W – Dolby Digital – HD – English

DISTRIBUTOR ANDPRESS CONTACT:

Shane O’Sullivan E2 FILMS 46 Nichols Court 10 Cremer Street London E2 8HR e2films@gmail.com Ph: 020 7613 2639

a film by Céline Danhier

INSURGENT MEDIA PRESENTS A PURE FRAGMENT PRODUCTION IN ASSOCIATION WITH SUBMARINE ENTERTAINMENT

www.blankcityfilm.com

US THEATRICAL RELEASE APRIL 6, 2011

Premiere @ IFC Center, New York, NY

UK THEATRICAL RELEASE MARCH 2, 2012

Premiere @ ICA, London

SYNOPSISBefore HD there was Super 8. Before Independent Film there was Underground Cinema. And before New York there was... well, New York. Once upon a pre-Facebook time, before creative communities became virtual and viral, cultural movements were firmly grounded in geography. And the undisputed center of American—some would say international—art and film was New York City. In particular, downtown Manhattan in the late 1970’s and 80’s was the anchor of vanguard filmmaking.

BLANK CITY tells the long-overdue tale of the motley crew of renegade filmmakers that emerged from an economically bankrupt and dangerous period of New York history. It’s a fascinating look at the way this misfit cinema used the deserted, bombed-out Lower East Side landscapes to craft daring works that would go on to profoundly influence Independent Film today. Unlike the much-celebrated punk music scene, this era’s thrilling and confrontational underground film movement has never before been chronicled.

Directed by French newcomer Celine Danhier, BLANK CITY captures the idiosyncratic, explosive energy of the “No Wave Cinema” and “Cinema of Transgression” movements. Stark and provocative, the films drew name and inspiration from the French New Wave; as well as Film Noir, and the works of Andy Warhol and John Waters. Filmmakers such as Jim Jarmusch, Eric Mitchell, Beth B, Charlie Ahearn, Lizzie Borden and Amos Poe showcased the city’s vibrant grit, and bore witness to the rising East Village art and rock scenes and the birth of hip hop. Short, long, color or black-and-white, their stripped-down films portrayed themes of alienation and dissonance with a raw and genuine spirit, at times with deadpan humor or blurring lines between fiction and reality. From Amos Poe’s enigmatic The FOREIGNER to James Nares’ comedic ROME 78 to Beth B & Scott B’s political BLACK BOX -- the No Wave Movement was as varied as it was lively.

Made on shoestring budgets, in collaboration with the pioneering musicians as well as visual artists, performers, and derelicts that ruled Downtown, No Wave films are the documents of this community—and of a legendary-but-fleeting moment in history. Although several filmmakers later gained fame with more accessible Indie offerings such as Jim Jarmusch, Susan Seidelman and Steve Buscemi, the volatile, fast and furious No Wave Cinema itself burned out quickly.

Breaking onto the scene in 1984, “Cinema of Transgression” auteurs Nick Zedd, Richard Kern, Tommy Turner, and Casandra Stark incorporated the harsher realities of sex, violence and drugs into their films. Drawing from the legacy of Kenneth Anger and Jack Smith, the Cinema of Transgression manifesto heralded shock value and outlandish humor to attack political, sexual and aesthetic mores. The film titles alone, including Go to Hell, Submit to Me Now, or They Eat Scum, conjure graphic immediacy. The Wall Street Journal denounced the movement, and theatres banned the films. When these works screened outside New York, they were frequently met with protest, and occasionally confiscated. Once the Cinema of Transgression had gained notice and notoriety, the movement rapidly disintegrated, torn apart by jealousy, resentment, and recklessness.

Time Out calls BLANK CITY a “who’s who primer” for the last 30 years of Downtown culture. Danhier crafts an oral history of No Wave Cinema and the Cinema of Transgression through compelling interviews with the luminaries who began it all. Featured players include acclaimed directors Jim Jarmusch and John Waters, actor-writer-director triple threat Steve Buscemi, Blondie’s Debbie Harry, Hip Hop legend Fab 5 Freddy, and Thurston Moore of Sonic Youth. Fittingly, the punk rock that galvanized the scene is now the soundtrack to BLANK CITY: Patti Smith, Television, Richard Hell & The Voidoids, The Contortions, The Bush Tetras, and Sonic Youth.

BLANK CITY is a love letter to New York, a cultural portrait of Manhattan in the days of cheap rent and cheap drugs-- before Reagan, big money, and gentrification forever altered the fabric of the city. With ample footage from seminal, seldom-seen works of No Wave Cinema and the Cinema of Transgression, it is an homage to the filmmakers who made Downtown a breeding ground for the avant-garde. Though a look back, the heart of BLANK CITY does not live in the past, it is utterly contemporary. In this new age of digital democracy, the maverick spirit of the New York Underground has risen again. The Do-It-Yourself ethos, audacious storytelling, and sense of urgency guiding No Wave and the Cinema of Transgression are more relevant and inspiring than ever.

Straight people were trying to escape NY. The only people who wanted to come to NY were like freaks and crazy people.

JAMES CHANCE

Nick Zedd with camera - Courtesy of Nick Zedd

INTERVIEW WITH CÉLINE DANHIERQ: What captivated you about this subject?

CD: I always have been fascinated with New York. When I was very young and living in Paris, I first discovered New York when watching Martin Scorsese’s AFTER HOURS. The city seemed so strange and so dark and also so attractive. So, I always felt drawn to New York of that time. Gradually I became familiar with the music scene, the no wave bands and the punk scene but I still wasn’t really aware of the underground movies made in New York from the late 70’s, and onwards. Except Jim Jarmusch’s early films I knew of but that was about it. When I started to see some of the movies at a chance screening in Paris of an Amos Poe or Eric Mitchell film, it only made me more curious about the films of this era. And I would find many of the musicians I already knew and loved either acted in the films or made the soundtracks or even directed the films themselves. But it was very difficult to locate the films and so I knew I had to find out more.

Once I moved to New York, I hunted down more films and the more I saw the more, I felt inspired. These films had a brutal sincerity that captured not only the landscape of NY and some of the music from the period I was looking for, but also a certain spirit, an energy. The filmmakers weren’t using actors but real people and they were improvising from scripts and designing their sets and making their clothes. It was this energy that I think really made me want to go out and make my own film–- BLANK CITY.

And, these films did also launch the careers of some of my favorite independent film icons, such as Jim Jarmusch and Steve Buscemi, as well as created this alternative idea to Hollywood filmmaking in terms of financing, production or distribution. But I do think it’s really that energy, that attitude of creativity with no boundaries that will hopefully inspire future filmmakers to come.

Q: What inspired the style and format of your documentary?

CD: I wanted the people in the film to tell the story their own way and the way they lived it. Initially the idea was to make a film in the style of Legs McNeil’s book “Please Kill Me”. As the Director, I would just help weave the stories together and in a sense, put the puzzle pieces in place. When making the documentary, first and foremost, I really loved the free form style of a lot of these movies, almost blurring that line between fiction and documentary. James Nares’ Rome ’78 or Eric Mitchell’s Underground USA really helped me get into that state of mind. While BLANK CITY is a bit different being a documentary, I wanted the visuals to be very loose and free flowing to capture that energy. Also, I looked back at other documentary films that I’ve always loved like Godard’s Sympathy for the Devil or F for Fake from Orson Wells.es.

I wanted to try to keep that attitude of the period but also help to introduce some of these filmmakers, artists and musicians to hopefully a wider audience. It was such a unique period in NY because there were just so many art forms happening at once - not to mention personalities like Basquiat, Warhol, Jack Smith, Keith Haring or even Madonna - and a lot of really inspiring music, art, writing and film came out of that. You could never cover all of it in one film, but I was hoping to bring to light one of the lesser known aspects of that period which was the filmmaking. And through the filmmaking I think you get a great sense of what it was like to be a youthful creative personality at that time.

Q: How did you research the film?

CD: The film has been about 2 and a half years in the making. It took time because there were so many people I wanted to interview. We actually ended up interviewing 40 people by the end. When I started out, I didn’t have any production company behind the film, there was just one American Express card and a lot of determination. We were all also working full time jobs during the week.

So, over the course of two years, we interviewed people like Jim Jarmusch, James Nares, Eric Mitchell (who was very hard to find!), Sara Driver, Vivienne Dick, James Chance, Steve Buscemi, Richard Kern, Nick Zedd, John Waters, Thurston Moore, Debbie Harry, Fab 5 Freddy, Charlie Ahearn and more! We wanted to interview as many people as we could find so we could really tell an accurate story. Sometimes I would interview somebody, and they’d lead me to the next person and say, “hey you should talk to Bette Gordon or James Nares” – and then they’d give me a phone number or email address. I let the documentary unfold in that way, kind of organically. To help figure out who to interview in the first place and which films would be best to include, I had read Jack Sargeant’s book “Deathtripping” about the Cinema of Transgression filmmaking movement and he appears in my documentary as well. As we were working on the film, books started to get published and come out that related to the topic - like Thurston Moore and Byron Coley’s book on No Wave. The books would be more focused on the music but there’d always be some mention of the films too. Also, we were lucky to get access to some great resources in New York, like Jonas Mekas’ Anthology Film Archives or the NYU Fales Library.

The whole period was cinematic.DEBBIE HARRY

Steve Buscemi & Mark Boone Jr. in Eric Mitchell’s The Way It Is.

Q: What film clips and music did you use?

CD: We tried to find films that really represented the period. And for music it was the same idea. But what was so unique about these films and the music is that even though there might have been a shared aesthetic or a do-it-yourself attitude and lack of technique – they were all very different. So I tried to include some of the short films, the feature films, some that were black & white and some in color. Some of the movies had more of a narrative while some were much more loose. Some of the music was very noisy or very dance-y. So, I really wanted to represent a cross section and show all the variety.

Through making this film, I have constantly been introduced to new films and also music from the period. I was a huge fan of James Chance and the Contortions, Lizzy Mercier Descloux, the Bush Tetras, Patti Smith, etc. Then, I discovered others like Liquid Liquid, Glenn Branca or imPLOG which was really exciting.

Dan Selzer, who became the music supervisor on the documentary, is definitely an expert in the music of the period (he’s a DJ and also runs the Acute Record Label) and he helped introduce me to a lot of new stuff. One thing I particularly like about all of the music was the diversity of sound that you get. This was also the time that Hip Hop first emerged and then you have disco or electronic music mixing with punk – as well as the noisier more minimal no wave stuff - but they all have that same raw energy. Q: What was your process in creating the documentary?

CD: I moved to New York a few years ago (my brother was already living here) and it was only after a couple weeks I realized I wanted to make this film. I was very lucky because I quickly met my producer / co-conspirator Aviva Wishnow and then I met Vanessa Roworth – who is a very gifted editor, musician and artist and together we got to work. Although I had to go back to Paris for a while, from France I actually was able to begin tracking down the people I eventually interviewed in BLANK CITY. Although New York has changed a lot since the “No Wave” or “Cinema of Transgression” film movements, we kept the same filmmaking philosophy as much as possible -- doing everything very collaboratively and on the fly with no money. Today though, the “Do it Yourself”’ sensibility is completely tied up with the economic factors of living in NY so filmmaking is much more of a struggle. Some days it would be so hard to find a crew when there was no money. But, if you have the passion for it, I think you can do it and find a way even if it does take a couple years and you have to hold down several day jobs in the meantime. A

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And, I was also able to do it because of all the digital technology around us. Editing and picking up HD cameras now is easier and cheaper than ever. It almost mirrors the way the filmmakers in my documentary picked up Super 8 cameras. Q: Do you think the energetic, experimental and arty New York of the late 70s still exists? Where can it be found today?

CD: Today, New York is a place where art becomes a great struggle to create because it’s simply so expensive to live here.

Perhaps that struggle creates something better. Who’s to say? The “DIY” sensibility still exists but is completely tied to the economic reality. A lot of people have found a way moving further and further out into Brooklyn or other boroughs.

But, I do think that some cities, like Berlin or Detroit, are simply cheaper to live and that helps create an inherent ability to create and a different kind of attitude. The title BLANK CITY to me is about that very idea. The documentary might start off being about a kind of punk “blank generation” specifically in New York City where anything could happen, but, in the end, I actually see the documentary as being a story

about creativity and collaboration that could have happened or might still happen in

any city -- like a blank slate. The title almost refers to a fill-in-the-blank location. Perhaps Kansas City. Or

Mexico City. Who knows? The momentum and passion for film

or art or music can happen anywhere around the world --

just as long as there’s that sense of urgency.

Musician James Chance, Filmmaker/Actor Eric Mitchell and Artist/Filmmaker James Nares - Courtesy of Marcia Resnick

Céline Danhier (Director) made her transition into film after receiving a master’s degree in Law from the Sorbonne. Danhier became involved in producing while working at Paris-based independent production house, Les Enragés. She was a member of the avant-garde theater group La Compagnie Vapeur and founded a DJ collective, for which she also made her own experimental short films. After moving to New York in 2006, Danhier began as an art director for various photo shoots before moving on to directing runway shows. She moved between fashion and film before starting up her own production. Danhier’s grasp of the various aspects of film extends from the practical to the purely aesthetic, and she brings a unique individualist approach to everything she does. This has all been brought to bear on her feature directorial debut.

Céline Danhier

Filmmakers Scott & Beth B, filmmaker Diego Cortez, Musician/Actress Lydia Lunch, Actor Johnny O’Kane, Actor Bill Rice, and Musician/Actress Adele Bertei - Courtesy of Marcia Resnick

Aviva Wishnow (Producer) started out in film distribution at a handful of notable New York independent film companies and international sales agents. Over the past 10 years, she consulted at Sierra Pictures (Mother’s Day, Passion Play, Big Fan) as well as worked in business affairs at Kimmel International (Charlie Kaufman’s Synecdoche, New York, Frank Oz’s Death at a Funeral and Academy Award nominee Lars and the Real Girl) and GreeneStreet Films International (Once in a Lifetime, In the Bedroom) among others. Prior to moving to New York, Wishnow assisted in programming the CineVegas International Film Festival after graduating from Oberlin College with highest honors in 2000. Wishnow’s most recent projects are quite varied and include both documentary and fiction films from burgeoning international filmmakers.

Directors of Photography:Ryo Murakami, an award-winning cinematographer and native of rural Japan, possesses a compelling visual style stemming from his training in still photography and work on numerous features, shorts, music videos and documentaries over the past decade. Murakami was the Director of Photography on documentary Run For Your Life which premiered at the 2008 Tribeca Film Festival. Other recent projects include acclaimed documentary Unearth, airing on French & American TV and Buttons, a favorite at the Brooklyn International Film Festival. His music video “Throwin’ Shapes” was selected as most viewed on MTVu.com. He also contributed to the U.N.-World Health Organization series, “Wisdom Years” to be broadcast in over 40 countries. Murakami is a graduate of Brooklyn College’s film program and Citrus College’s photography program. Residing in Brooklyn, Murakami currently is editing his directorial debut In The Dark, about the lives of workers in Firestone’s rubber plantation in Liberia.

Peter Szollosi constantly strives to capture the color and vibrancy of life through compelling imagery while simultaneously revealing his subjects’ inherent character. He trained as a newsroom editor in Melbourne Australia and has worked as Director of Photography on films for BBC, PBS America, Animal Planet, including commercial campaigns for GUCCI, Alexander Wang, ALDO and the Melbourne International Jazz Festival.

Vanessa Roworth (Editor and Producer) combines her extensive background in production design and contemporary art history to the table. For the past several years she has worked at a boutique design studio in Manhattan whose clients include Chanel and Estee Lauder. Before making her move to NY, Vanessa worked at the CineVegas International Film Festival as assistant editor for the Youth In Film project, a program giving teens in Las Vegas the opportunity to create film and an outlet to show their work. Vanessa’s independent work includes digital short films, installations at various New York galleries as well as original music compositions. BLANK CITY is her first feature.

Dan Selzer (Music Supervisor) co-runs Acute Records, a small reissue record label that focuses on post-punk / no wave music from the late 70s and early 80s. He is also a graphic designer and printer, and can occasionally be found DJing. Influenced by early 80s NY, when punk and disco, new wave and hip-hop all co-existed on the dancefloor, Dan began DJing loft parties in Brooklyn. He started his first weekly party, Transmission, in 2000 at Plant Bar with members of the band The Rapture. During its 3 year run, it was mentioned twice in the Village Voice’s “Best of NY” issues and recommended by Spin Magazine. His next residency, Alldisco, helped pioneer the disco revival in NY. Dan has DJ’d all over NYC and in select cities worldwide (LA, Montreal and London). In 2005 a mix CD recorded with Mike Simonetti from Troubleman/Italians Do It Better was released on the RVNG label and quickly sold out. He has made occasional appearances on WFMU and WNYU and has a regular show called Pyjamarama on the internet at Viva-Radio.com. More information can be found at http://www.acuterecords.com/blog and http://www.danselzer.com

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Andrew Karsch (Executive Producer) has experienced a varied career, dividing his time between the world of motion pictures, politics and several tech ventures with partner Steven Johnson.

Mr. Karsch worked both as a producer and executive with United Artists for many years, and subsequently took on running companies for both William Randolph Hearst III and Sidney Kimmel. Among his producing credits are the Academy Award nominated Best Picture, The Prince of Tides, The Emperor’s Club, Princess Cariboo, The Rachel Papers, Curtain Call, and Town and Country. While at the American Film Institute, he produced Night’s at O’Rears which won first prize at the USA Film Festival and screened at the New York Film Festival to considerable critical acclaim.

In the political field, Mr. Karsch worked for many years with Sen. Edward M. Kennedy running his Campaign for the U.S. Senate seat in 1976, and consulting on subsequent elections. Additionally, he served as the Senator’s “Issues and Media Director” during his 1980 Presidential Campaign. Mr. Karsch currently lives in the beautiful Brooklyn Heights neighborhood in New York with his wife and two small children where he continues to work on motion pictures, while also overseeing his hyper-local online company, ‘Outside.In’. His political work remains at the forefront of his concerns as he continues to advise on campaigns for several candidates as well as for foundations, most notably, The Robert F. Kennedy Memorial. During the last Presidential Campaign, Mr. Karsch, working with “Rock the Vote”, designed and implemented the largest youth registration drive in history, registering 2.64 million new voters primarily between the ages of 18-30. This was largely accomplished by utilizing and optimizing an array of new Tech resources such as Facebook, MySpace and Twitter.

Aside from BLANK CITY, Mr. Karsch recently produced the critically acclaimed film Conviction starring Hilary Swank and Sam Rockwell which was released in the US by Fox Searchlight in October 2010.

The start of the new year has also brought the launch of “Insurgent Media” with partners Erik Gordon and Fisher Stevens which Mr. Karsch refers to as “easily his most exciting and ambitious venture to date.” Insurgent will actively participate in both existing and emerging media while concentrating on the production and distribution of a healthy slate of both documentaries and features each year.

Fisher Stevens (Executive Producer) is an actor, director and producer. He has appeared in over 40 stage productions including the Tony Award-winning Torch Song Trilogy, Brighton Beach Memoirs and Carousel. He has appeared in over 30 motion pictures including The Flamingo Kid, Reversal of Fortune, Short Circuit, Hackers, The Marrying Man, Awake and upcoming The Experiment, and Henry’s Crime. On television he was a regular on Early Edition for CBS and Key West for Fox. Other appearances include: Friends, Frazier, Numbers and Lost.

He co-founded Naked Angels theater company in 1986 which is currently represented on Broadway with Geoffrey Naufft’s Next Fall, and he co-founded GreeneStreet Films in 1996, where he directed Just a Kiss and produced/executive-produced over 15 films including 5-time Academy Award-nominated In the Bedroom, A Prairie Home Companion, Swimfan and the acclaimed documentary, Once in a Lifetime. Two years ago he produced and co- directed the Independent Spirit Award winner for Best Documentary, Crazy Love, and recently produced the 2010 Academy Award-winning documentary The Cove. He recently formed Insurgent Media with Andrew S. Karsch and Erik H. Gordon.

Erik H. Gordon (Executive Producer) is the CEO of ErGo Ventures, a personal, private investment vehicle seeking to make investments in products, people and ideas about which Erik has a particular personal passion.

He is also the chairman of the New Colony Group, Inc., a commercial astronautics firm that he founded in 2001. NCG provides project finance and project management services to consortia of government and private entities requiring access to outer space. The firm is currently engaged in several multi-year, multi-billion dollar projects ranging from research and development and manned and unmanned exploration to communications, commercialization and industrialization. Headquartered in New York City, NCG’s engineering facilities are located in Torrance, California.

Prior to NCG and ErGo, Erik was a strategy management consultant for Bain & Company, Inc. in Boston and London. He graduated Harvard College with honors and received a medal for national service and intellectual achievement from President George Bush at a White House ceremony. The Gordon family co-owns Angelo, Gordon & Company, one of the world’s largest privately held investment companies. The firm and its wholly-owned subsidiaries deploy approximately $20 billion of equity capital around the world in disciplines ranging from private equity, real estate, and distressed situations to arbitrage and long-short equity strategies. Erik lives in New York City and spends most of his leisure time eating well.

Nothing is sacred. Sense of humour is an essential element. All values must be challenged. Any film which doesn’t shock isn’t worth looking at.CINEMA OF TRANSGRESSION MANIFESTO

Josh Braun (Executive Producer) runs Submarine Entertainment, a hybrid sales and production company, specializing in documentaries as well as feature films.

Josh Braun was an executive producer on David Cronenberg’s Oscar and Golden Globe nominated A History of Violence, based on John Wagner’s graphic novel. The film was released by New Line and had its worldwide premiere in competition at the 2005 Cannes Film Festival. Braun is a producer on the feature film adapation of John Wagner’s graphic novel “Button Man”, recently set up at Dreamworks. Mr. Braun recently produced House of the Devil directed by Ti West and exec produced the documentary features Seamless, Easy Riders, Raging Bulls (a BBC/Trio coproduction), among other films and TV shows. Some of the films represented by Mr. Braun have included: 2010 Oscar Winner The Cove, 2009 Oscar Winner Man on Wire, 2010 Oscar Nominees FOOD Inc and Burma VJ, Valentino The Last Emperor, The Eclipse, Humpday, The Art of The Steal, When You’re Strange, POLANSKI: Wanted and Desired, Forty Shades of Blue, Soul Power, Werner Herzog’s Encounters at the End of the World, My Kid Could Paint That, In the Shadow of the Moon, Deliver Us From Evil (2006 LA Film Festival Best documentary winner and Oscar nominee), the Oscar nominated docs Spellbound and Supersize Me, DIG! (the 2004 Sundance documentary grand jury prize winner) and others.

Mr. Braun previously worked with Fremantle Media an international television distribution and production company. As the company’s Senior Vice President and head of sales from 1991 to 1999 Braun was responsible for sales, production, co-productions and acquisitions.

Dan Braun (Executive Producer) runs Submarine Entertainment, a hybrid sales and production company, specializing in documentaries and feature films alongside co-founder Josh Braun. Submarine Entertainment has represented a vast slate of films including the 2009 Oscar winner Man on Wire and nominee Encounters at the End of the World, 2010 Oscar winner The Cove and nominees Food Inc and Burma VJ as well as Valentino the Last Emperor, Polanski: Wanted and Desired, My Kid Could Paint That, In the Shadow of the Moon, and the Oscar nominees Spellbound and Supersize Me.

Mr. Braun’s producer credits include the feature documentary Blank City which premiered at the 2010 Berlinale, Kill Your Idols released by Palm Pictures and the IFC specials Focus on Bill Murray and Focus on Jim Jarmusch.

In addition to his work in film, Dan Braun was consulting editor and writer for the Creepy Comics series re-launch published by Dark Horse. The Creepy Archives won the Eisner Award for best Archival Collection in 2009. Prior to his work in film and publishing, Mr. Braun was creative director at TBWA Chiat/Day where he led the award winning Absolut Vodka ad campaign among others.

A scene from Amos Poe’s The Foreigner

Insurgent Media (Distributor) was founded by Andrew Karsch, Erik Gordon and Fisher Stevens. The company is currently producing a slate of character-driven fiction and non-fiction films, as well as structuring several innovative approaches designed to maximize both emerging and existing opportunities in production, acquisition and distribution. BLANK CITY will be their first release.

CREDITSDirector Céline DanhierProducers Aviva Wishnow Vanessa RoworthExecutive Producers Josh Braun Dan Braun Andrew Karsch Fisher Stevens Erik H. GordonCo-Producers Anish Savjani Vincent Savino Sabine Rogers April R. Loutrel

FEATURINGAmos PoeAnn MagnusonBecky JohnstonBeth BBette GordonCasandra Stark MeleCharlie AhearnDazeDebbie HarryEric MitchellFab 5 FreddyGlenn O’BrienJack SargeantJames ChanceJames NaresJim JarmuschJG ThirlwellJohn LurieJohn WatersKembra Pfahler

Lizzie BordenLung LegLydia LunchManuel DeLandaMaripolMichael McClardMichael OblowitzNick ZeddPat PlacePatti AstorRichard KernSara DriverScott BSteve BuscemiSusan SeidelmanTessa Hughes-FreelandThurston MooreTommy TurnerVivienne Dick

Cinematography Ryo Murakami Peter SzollosiEditor Vanessa RoworthMusic Supervisor Dan SelzerSound Claire HoughtalenMain Titles & Visual Design Orna BradshawMotion Graphics Deepak Chetty Matthew BrewsterVisual Effects Nicholas VranizanEnding Credits Nate Milton Vanessa RoworthNY Production Manager Nathan CollinsAdditional Camera Ian Bloom Jason Grisell James McCusker Abigail Spindel Daniel Grossman Harrison Owen Adam KurlandGaffer Darren FrohlichAdditional Gaffer Nicole EmmonsAdditional Sound Michael Reilly Marcin Tyszka Abe Dolinger Marc Orleans Key Makeup Artists Eve Laure Wrembel Audrey LefevreAdditional Makeup Delphine Danhier Sonia Traikia

Los Angeles UnitSegment Cinematographer Sinisa KukicAdditional Camera John Tanzer Monty BucklesSound Recordist Chico NadalInterviewer Amy CarrelliAdditional Makeup Annette Chaisson

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Melbourne UnitSegment Cinematographer Peter SzollosiSound Recordist Tristan ColemanProduction Assistant Gregory Szollosi

Minneapolis UnitSegment Cinematographer Dan HundleySound Recordist Matt HunstadProduction Assistant Token Media

Assembly Editor Peter SzollosiAssociate Editor Naneen PaglieriAssistant Editors Lars Lindahl Ann OrenHD Mastering PostworksColor Correctionist Ira SchweitzerPost Project Manager JD MarlowRe-Recording Mixer Eric Offin, Tandem NYSound Editor Damian VolpeDialogue Editors Branka Mrkic-Tana, MPSE Dan KorintusAudio Mixing Facility Gigantic StudiosResearch, Rights & Clearances Andrea C. FreyMusic Consultant Dan BraunMusic Clearances Aisha CohenLicensing Coordinator Megan GaliziaProduction Counsel Adam DavidsLegal Services Frankfurt Kurnit Klein & Selz PC - Iddo I. Arad, ESQ.Assistant to Director Nathan CollinsProduction Assistant Stephen PortillaPost Production Assistants Trevar Cushing Nick Alden Cory Dross Sarah Silver

FILM CLIPS fromThe Blank GenerationUnmade BedsThe ForeignerThe Long Island FourSleepless NightsBlack BoxG-MANThe OffendersTrap Door VortexVarietyEmpty SuitcasesDeath of an Arabian WomanParades of CrazyWe Are Not to BlameWrecked on Cannibal IslandThe Deadly Art of SurvivalWild StyleKidnappedUnderground U.S.A.The Way It IsFlaming CreaturesArm and HammerBlockPendulumRampRome ‘78Steel RodStudio PendulumSuicide? No, MurderWaiting For the WindPermanent VacationStranger Than ParadiseStranger Than Paradise in Cleaveland

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Mary Paul Go Go DancePesceadorStilwendVincent Gallo as Flying ChristAlien PortraitContortionsKing BlankMinus ZeroDowntown 81The Bogus ManGeek Maggot BingoGo To HellKiss Me GoodbyePolice StateThey Eat ScumWar Is Mentrual EnvyWhy Do You Exist?The Wild World of Lydia LunchWhoregasmDeath Valley 69The Evil CameramanFingeredGoodbye 42nd StManhattan Love SuicidesMy NightmareThe Right Side of My BrainThe Sewing CircleSubmit To MeSubmit To Me NowX is YYou Killed Me FirstSleepwalkYou Are Not ISmithereensBaby Doll

Men In OrbitHell Is YouMultiple ManiacsCornellaBorn In FlamesJudgement DayIsm IsmCatch a Beat

PHOTOGRAPHS byAllan Tannenbaum Julia GortonAmos Poe Julian VolojAnde Whyland Lisa GenetBob Gruen Lisa KahaneBobby Grossman Marcia ResnickClayton Patterson Martha CooperDavid Godlis MaripolEugene Merinov Patty HeffleyJim Jocoy Stephanie Chernikowski

ARCHIVAL FOOTAGE ofAnya Phillips Jean-Michel BasquiatBill Rice Klaus NomiCookie Mueller Patti SmithDavid Wojnarowicz Richard HellJack Smith

NY LOCATIONSBar 9 The Beatrice InnBowery Hotel The DoveFusion The Glasslands GallerySidecar The PorchSmith and Mills The Ten BellsStudio 814

ORIGINAL MUSIC byEcce Homo featuring Nicholas Ray and Walter Steding

MUSIC byA Band Liquid LiquidBeirut Slump Live SkullBush Tetras Loose JointsContortions Lydia LunchDeanna Durbin MARSDetails At Eleven Patti SmithDNA Rat At Rat RGlenn Branca Richard Hell & The VoidoidsGlorious Strangers SnatchGray Sonic YouthGustav Holst Teenage Jesus & The JerksIke Yard TelevisionImpLOG The BloodsJames Chance The DanceJayne County The Del-ByzanteensJeff & Jane Hudson The FeeliesJohn Lurie The StaticLee Ranaldo UT

NymphomaniaRat TrapWhere Evil Dwells Beauty Becomes The BeastGuerillere TalksLiberty’s BootyShe Had Her Gun All ReadyFly

INSURGENT MEDIA PRESENTS A PURE FRAGMENT PRODUCTION IN ASSOCIATION WITH SUBMARINE ENTERTAINMENT

JIM JARMUSCH DEBBIE HARRY “BLANK CITY” STEVE BUSCEMI JOHN LURIE FAB 5 FREDDY THURSTON MOORE RICHARD KERN LYDIA LUNCH AMOS POE

ERIC MITCHELL JOHN WATERS JAMES NARES ANN MAGNUSON BETH B SCOTT B JAMES CHANCE NICK ZEDD

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