PANTELION FILMS, LIONSGATE, CIMA PRODUCTIONS, OLMOS

PRODUCTIONS AND SILENT GIANT ENTERTAINMENT PRESENT

Starring

GINA RODRIGUEZ, JENNI RIVERA, EMILIO RIVERA, NOEL G., KERRY NORTON, BRAXTON MILLZ, JOSEPH JULIAN SORIA, CHRISSIE FIT 

WITH LOU DIAMOND PHILLIPS AND EDWARD JAMES OLMOS

DIRECTED BY: YOUSSEF DELARA, MICHAEL D. OLMOS

WRITTEN BY: YOUSSEF DELARA

PRODUCED BY: VICTOR RERAN

PRODUCERS: YOUSSEF DELARA, AMIR DELARA, MICHAEL D.

OLMOS, MICO OLMOS, EDWARD “E-DUB” RIOS

AND LISA “KHOOL AID” RIOS

RUNNING TIME: 1 HOUR 41 MINUTES

For Further Information Please Contact:

Publicity Carol Sewell Amy OrtegaPantelion Films Pantelion Films csewell@pantelionfilms.com aortega@pantelionfilms.com PH: 310.255.3667 PH: 310.255.5753

Synopsis

FILLY BROWN is an inspiring and gritty portrait of a young artist striving to find her

voice and seize her dreams without compromise. Majo Tonorio, aka, “Filly Brown” is a

young raw hip-hop artist from Los Angeles who spits rhymes from the heart. With a

mother in prison and a father struggling to provide for his daughters, Majo knows that a

record contract could be her family’s ticket out. But when a record producer offers her a

shot at stardom, she is suddenly faced with the prospect of losing who she is as an artist,

as well as the friends who helped her reach the cusp of success. Directed by Youssef

Delara and Michael Olmos, FILLY BROWN is propelled by an exceptional cast

featuring Lou Diamond Phillips, Edward James Olmos and the legendary Jenni Rivera in

her final on-screen performance. Fueled by a fierce hip-hop score, FILLY BROWN

heralds the arrival of Gina Rodriguez in the electrifying title role.

ABOUT THE PRODUCTION

THE INSPIRATION

Youssef Delara: I found myself at the Green Cottage one night, a small cave-like venue

with bleachers and a weather-beaten stage in West Hollywood, CA. An annex to Fairfax

High-school hidden away behind the bustle of the city, It’s a place where street poets,

rappers and dreamers come to spit verse. After my first show I was hooked. The poets

held an uncanny power over us, taking us on a journey. We laughed and cringed as they

dealt out word after word. I was intrigued by the idea of how words informed the world,

how that night they drew me and the entire audience into the mind of the artist. I left that

night with the idea of telling a story about a person who uses a lie to create her world.

When the basis of one’s word is built on lies it is unable to cause change or move people.

I think that’s why we gravitate to music that is honest, sometimes vulgar even, because

the truth is a magnet. I wanted to tell a story about a person’s journey to discovering

herself through their music.

Michael D. Olmos: for me the inspiration was the story. After reading Youssef’s first

draft, I was impressed with the seamless integration of drama and music. There was a

rhythm to the story. It was something we picked up on during development and were able

to continue in post, in the editing. It’s not noticeable unless you look for it - but the

rhythm informs the story even when there’s no music, there’s a beat in the pacing of the

cuts.

Youssef was very open to me diving into the story with him to take it deeper. I think we

both attack story as directors first, rather than writer first. We both see the movie “unfold

on page. We started on the process and dove into the world of these amazing characters,

this family, each trying to do what’s right for each other, yet each so out of touch with

their authentic self, and each so emotionally isolated from each other, that they’re on the

verge of destruction. The tension is electric; It’s a house built of cards on a foundation of

melting ice.

The themes of the story are powerful. Like every story there are multiple themes but the

core for Filly Brown is the tenant of being true to your self - of finding the authentic self.

It’s a theme we can all relate to - the universal theme of being who you are, of not having

to wear a mask to fit in, to be accepted for your uniqueness and difference rather than

being punished for them. For each character in the story, and each in their own unique

way, this is the transformation they must all make.

The statement the story makes is that once you find your voice, your “truth,” all problems

in your world either fall away or are manageable, solutions present themselves, you find

compassion, and you navigate life on your terms.

Parallel to this journey is the music journey of Majo (aka Filly Brown). The other side to

her character is that she’s a talented MC. Her talent is obvious to everyone, and as

opportunities open up, the sharks take notice. Everyone starts to see dollars and wants a

piece. It’s a tenuous journey for Majo, because deep down she is scared of her own talent.

She has not been able to trust in her abilities, and instead would rather “adapt” someone

else’s voice as her own. She’s scamming and hustling to make a buck, It’s a skill she

picked up from her parents. Like her personal life, her music life is a sham. It takes a

reckoning in her personal life for her to admit she’s a fake, and influence those around

her to see that they are too. That’s one of the most inspiring things about this character –

she’s a catalyst. Her journey sparks a reaction in you, and it resonates off screen.

Pulling it all together is hope. We did not want the story to fall into a deep, dark chasm as

some dramatic stories might chose. We wanted a light at the end for these characters. We

love them, we respect them, and we want to see them succeed at all costs. In the end It’s

not about whether they get there or not, It’s the glimpse of hope that resonates after the

film. Hope that they will remain honest with each other, and make it on their own terms.

The story is inspiring for us on many levels -- the story of the underdog -- the story of the

artist searching for an authentic voice; in many ways these are our stories. Bringing Filly

Brown to life, working with an incredible and talented group of actors and collaborators,

helped us find our authentic voices as filmmakers.

DEVELOPING THE FILM

The first priority we had as filmmakers was developing the story, focusing on the story

arcs of all the central characters, making sure every scene pulled the audience into the

psychological center of the story. In this case the center of the story is Filly (Gina). The

first way we did this was by situation- we cut out all extraneous exposition.

Every scene is a situation that informs story, that pushes an arc, that feeds back to the

central story, every choice affecting the central character so that even when you’re not

with her, the situation that is unfolding is so intensely affecting her that you are on the

edge of your seat. It makes it feel that our central character is in every frame of the film --

and she is, only sometimes it’s through the lives of the other characters.

Once the script was where we envisioned we presented it to our producing team. The

response was overwhelmingly positive, if cautious. Edward’s exact words were, “If you

can find the lead, I’m in. But good luck, because the whole film will depend on her - if

you can’t find her no one will buy the [reality] of the story.”

Casting the lead character, Filly Brown, was the next big challenge we tackled. Initially

we were hoping to find a rapper we could mold into an actor. By the time casting began,

Khool-Aid and E-Dub Rios of Silent Giant Entertainment had come onto the team. As

pioneers of Latin Hip Hop, they were tasked with guarding the authenticity of the music

and the world and they began right away by bringing in talented female MC’s as potential

leads. But the realization soon set in that our timetable was perhaps a little too ambitious.

Whether it was turning an MC into a credible actress or an actress into a credible rapper,

it was starting to look like it would take longer than anticipated.

Little did we know that a screening the summer before at LALIFF held our answer. A

couple of members of the team had been at the screening of “Go For It” and had seen

Gina Rodriguez in her amazing supporting role. Remembering that fearless performance,

we brought her in to audition She killed the dramatic part of the audition, and then broke

into an impromptu rap. We kept our composure, but we knew right away.

The final piece of the puzzle came together at the end of 2010. Everyone on the team had

been scouring for financing in the middle of the worst economic crisis since the Great

Depression when Kevin Smith came forward with enough guts and vision to take a

chance on our project. The moment Kevin (not that Kevin Smith) committed to financing

the film, we were officially in pre-production.

DIRECTING AS A TEAM

We decided to attack the directing job as a team. Why? Because we both wanted to direct

the movie and this was our solution. We have a very symbiotic working relationship

because our story telling aesthetic is very similar. We both are intensely loyal to our

instinct and intuition when it comes to creative choices, so we operate on a process based

on “allowing” – we’ll say: “okay, I know you’re not gonna like this, but let’s just allow

and see what happens.” It allows ideas into our creative space that we might both

instinctively deny at first, but now we can explore - sometimes our initial instinct was

right and other times it lead us into new territory we never even considered.

In the end the best idea that serves the story wins - because that’s what it’s about; the

entire process is about telling the best story we can. Bottom line. We work pretty well

together even when we disagree. We will follow each other’s line of thought through to

the end to try and understand each other’s ideas completely, in the end we can agree to

disagree - but if what’s on screen is better than what either of us originally imagined, then

the debate is over.

Getting to this working relationship was not easy. We developed it over the course of a

year working on Bedrooms. We each had input on each other’s stories all the way

through post-production. It was a tenuous process to say the least, but in the end we

developed a short hand in dealing with each other on a creative and personal level.

So, two directors - how does that work? Well, we came up with scenarios we’d gleaned

from other directing teams, but the thing is, most directing teams started out that way -

not us. We were two directors with our first features under our belts. Neither of us wanted

to give up any directing tool available to us. After much debate, the conclusion was that

we couldn’t have creative debates on set -- no time or budget for that. That part of the

process had to happen way before we got into production.

We decided to lock ourselves in an office and act out all the scenes, block, re-write,

create the visual style, and structure the entire film. We did this for two weeks. For some

of the bigger sequences and complicated scenes we created a shot list. Then later when

we had our locations, we went there and did the same thing. Then we did it again on the

tech scout with our department heads. Of course we also knew from experience that we

could throw out any planned approach to a scene, leaving the door open for spontaneity

and new ideas on the day.

The one caveat we had was that if either of us felt we did not “have it” on any scene we

could jump in and get the extra takes or coverage we wanted, so that when we got to post

we had those choices in the edit bay. Prep was everything -- by the time we got to set on

the actual shoot, we were of one mind. We spent six months together in the edit bay,

crafting the film – we’ve been working on the film for eleven months. It’s been one of the

most rewarding creative processes for us.

TELLING THE STORY

Being creators as well as fans of film, we wanted to really design the film with intricate

blocking, staging, and camera moves. We also knew from experience the limitations of

indie films. We opted for a cinema vérité style for the music component of the story. This

style was perfect for the energy of that world - at times highlighting the excitement and at

other times the chaos. It also created a thrust and movement for the story and propelled

the pace of the film.

For the family elements of the story we went with the more classic film style - sticks,

dollies (where possible) and choreographed blocking. This created a deceiving silence,

like the eye of a hurricane, because the subtext of the dialogue between the characters

created a sense of foreboding.

And of course - whenever we were running out of time, all bets were off. The focus was

to get as much coverage and takes in the can. The plus was that we had two cameras, and

shot with both cameras as much as we could. In the end we knew that we had to get as

much as we could in the can, because this was not the kind of production that could

schedule two weeks of reshoots to pick up anything we didn’t get the first time around.

This was it. Whatever we got was all there was.

Working with Ben Kufrin we did tests on the RED camera to set a look for the film. We

knew that it would be a de-saturated world- at one point Youssef wanted to shoot Black

& White -- but we settled on a look we felt fit the story. A de-sat look with a splash of

color that stood out, that not only highlighted the character central to the scene, but also

informed mood and story.

The great thing about the RED and working with Ben is that he lights for a specific look,

but he gives us enough latitude on the raw file so that we have choices when we get to

color correction. The technology really opens the creative doors. We shot 2:35 aspect

ratio, which allowed the characters to live in a wide frame. We wanted a feeling of

isolation by framing them in a wide canvas. We also played with the idea of power shifts

in scenes with conflicting characters -- we would change the angle on a character as the

scene progressed (low to high), to diminish or enlarge their presence accordingly. We

wanted to always make use of the language of the camera.

We had to create this same structure with the music. It had to play into this design - it had

to also create dramatic situations for the audience to position themselves in the story. The

music had to continually push the story to the emotional center of the characters. It had to

serve the story. It’s not an easy thing to do, because it can’t be on the nose unless it

becomes melodramatic. It has to be counterpoint; it has to take you into the emotional

center from a different direction than the dramatic thrust. This way the audience makes

an emotional discovery when you find the connection.

We were able to create this by always starting with a big story idea with the music, and

then distill it down, minimizing it into simple dramatic lyrics and sounds. We had a great

music team between Edward “E-Dub” Rios and Reza Sefinia. The two of them allowed

us to continually push the music into different directions as the film demanded. In the

editing room, the story dictates how it wants to be told, and you have to allow that

process in, you can’t fight it. As we continuously tried to steer the story into the center,

and adjust for this, the music also had to adjust. We made so many changes I think we

drove them crazy at one point, but to their credit they adjusted their own creative process

to serve the film. As you’ll see in the credits, we were all ingrained in the music creation

process - and our music team allowed us to explore.

MUSIC

After the critical issue of casting “Filly”, we knew that finding the right composer and

music supervisor would be the next critical factor in delivering the authenticity to

our characters’ world and driving the story home.

We wanted the music to create dramatic situations for the audience to position

themselves in the story, and continually push that story to the emotional center of the

character without becoming melodramatic. On top of that we had to mesh the dramatic

score intimately with the performance songs, the orchestral elements had to keep the grit

of Filly’s world whilst the hip-hop had to retain the drama of her story. Reza Safinia was

just the man to deliver that balance. Prior to his current incarnation as a composer/music

supervisor, Reza was a very successful record producer working with international pop

stars such as Kylie Minogue, and prior to that, he started his career in studios assisting in

sessions with some the biggest names in hip-hop such as Wu Tang and Terror Squad.

Reza created the seamless soundscape of the film by using common elements throughout

the score that could be reprised into different productions. The movie opens with his

unadulterated banger “Dream Big”, a pounding beat incorporating soaring strings and

mesmeric piano line, harking to the aspirations of our protagonist, that deconstruct into

the sobering score of the prison segment as the beat vanishes.

Elsewhere the score mutates into dark electronic tones, incorporating genres such as

dubstep, to reflect the aggression of the antagonist character Wyatt. The performance

songs also take a turn to urban pop as Filly’s career progresses under the guidance of the

Svengali Big Cee, who steers Filly away from her underground roots. As the music spans

the course of Filly’s career and character arc, so does the vocal delivery.

Reza drew on his experiences recording both the most underground of rappers, and the

most polished of pop stars, to coach Gina Rodriguez, in the different stages of Filly the

artist, and she excelled. Initially he had her just talk on the mic, about her life, about her

thoughts, whilst music was playing in her headphones, until she was so comfortable that

it became second nature and the talks turned into fluid raps. On “Dream Big” she sounds

as hard as she does effortless, with a sick street flow, on “Filly Brown” (Big Cee) she

sounds like a perfect urban pop princess. From a story telling point of view it was

important to get these extremes from Gina’s performance to show the artistic arc of the

“Filly Brown” character.

In the final scene of the movie, Filly’s been shamed, she’s lost her pop career, but she’s

found her family and found herself going full circle to her underground rapper persona.

Everything we’ve seen in the film culminates in the moment she faces her mother across

a prison glass window, rapping her heart out, her soul laid bare to the audience. The

scene starts with the orchestral score setting the emotional tone, capturing the family

dynamic, and as Filly finds her groove, a hard hip-hop beat introduces itself into the

climax of evocative strings. Once again the score and the hip-hop live in harmony as

Filly’s story resolves.

Reza was very lucky to be able to collaborate with a great team of artists and lyricists put

together by music supervisor, Edward “E-Dub” Rios. Rios is a founder of Silent Giant

Entertainment, an entertainment content production company, with a nationally

syndicated radio program for over ten years, Pocos Pero Locos, featured in the movie.

PPL, hosted by E-Dub and Lisa “Khool-Aid” Rios, has been deeply rooted in the English

speaking Hispanic marketplace, and is heritage for multiple generations of Latinos, due to

the fact that it is, and has been the only program of its kind in the country.

For Pocos Pero Locos, there was an importance in adding sprinkles of authentic lifestyle,

such as Manny’s tattoo shop and the integration of an online radio station, in order for the

movement’s core to devote their loyalty, and increase grassroots word-of-mouth and

natural discovery.

Integrating real-life musical artists from the PPL world was also a priority, so the team

called on support from long-time friends and music industry colleagues Jenni Rivera,

Chingo Bling, Baby Bash, Cuete Yeska, Braxton Millz, Funny Bones Crew along with

other artists that appear in film.

On April 16th, Milan Records will release the Original Music Album to "Filly Brown"

with the film’s score and songs featuring Gina Rodriguez, Braxton Mills and

Diamonique.  The record will be produced by Reza Safinia and include tracks of original

music used in the film.  Silent Giant Entertainment will be releasing The Original Motion

Picture Soundtrack to 'Filly Brown' with songs inspired by the movie, offering their take

on the underground Latin hip-hop scene.

DIRECTOR’S NOTES from Youssef Delara

Independent films are hard so laugh a lot. They are exhausting to endure but freeing to

your creative spirit. Here are a couple things I learned along the way. You don’t have to

have all the answers, or even act like you know what you’re doing, you just have to be

honest. You have to trust your vision in the moments it lets you down. Cop to your

mistake, openly in public, then everyone wants to help. People are generally nice that

way if you empower them. Work your tail off, because then you can call out anyone who

doesn’t. Don’t worry about your vision or personal stamp, everyone’s got one that’s

probably derived from everything they’ve ever seen. Just do what you think is cool. And,

this is big, listen to trusted friends, when they tell you It’s not as cool as you think it is.

This might sound obvious but you’d be surprised the acting up giving something up, even

something small, goes a long way. Sometimes you have to be a jerk, don’t worry about it,

just laugh it off

DIRECTOR’S NOTES from Michael D. Olmos

Filmmaking, for me, is about discovery and finding new connections; on a story level, on

an intellectual level and most importantly on an emotional level. I come from a diverse

cultural background, which, I think, has always given me a unique outlook on life. My

second favorite thing to do is to travel, meet new people and experience other cultures.

The more I do this, the more I see that we are all more alike than different, connected,

and film is one of our common currencies.

What I hoped to add to this project was my own unique, fingerprint to the story, and my

own unique worldview. I saw the character of Filly Brown as an avatar for everyone’s

rite of passage to find his or her own authentic self. Through this tenacious,

uncompromising, confused, desperate, deluded, compassionate, talented, reckless and

lovable character, a walking contradiction - brought to life by the original and

incomparable Gina Rodriguez - we were able to accomplish that goal.

Part of our discovery on this film, influenced by the music, was its operatic design. It

feels like a movement that builds to the last dramatic scene that is so emotionally

overpowering, that it drains you and revitalizes you in the same breath. We designed it so

that there are no close-ended scenes in the film. Each scene leads into the next - building

on the one before it, all the way to the final scene that ends in a crescendo. It’s still a

traditional three-act story, with turning points and a climax because of the dramatic

through line - but because of the musical structure to compliment it, it builds and builds

all the way to the end.

ABOUT THE FILMMAKERS…

YOUSSEF DELARA (Director, Producer, Writer) started out in the film industry as a

Visual Effects Associate on the highly successful Paramount Television series, “Star Trek:

Deep Space Nine” where he moved up to Visual Effects Supervisor before going on to

produce visual effects for “Star Trek: Voyager” as well as sequences for the popular “Star

Trek” feature films “Generations” and “Insurrection.” After a stint working on another visual

effects heavy television series, Universal Studio‟s “Burning Zone,” and two heavy visual

effects features, “The Karate Dog & Baby Geniuses 2”

Beginning in 2003, Mr. Delara devoted himself full time to his own projects, writing and

directing his first feature, English as a Second Language (ESL), in 2004 and 2005. The film

went on to win Best Feature awards at the Newport Beach, Boston Latino, Orlando Latino,

Portland Pine and the Santa Fe Film Festivals.

In 2009, Delara collaborated on his second feature, Bedrooms, co-producing and writing and

directing sections of the portmanteau film starring Julie Benz and Moon Bloodgood. Delara

also was the lead editor on the film. The film premiered on the Showtime Networks released

domestically and internationally in the fall of 2011.

In 2011, Delara directed “Filly Brown” with longtime friend Michael D. Olmos. “Filly

Brown” stars Gina Rodriguez, Edward James Olmos, Lou Diamond Phillips, Mexican

singing sensation, Jenni Rivera and tracks the journey of tough female rapper as she

transforms from underground street rapper to pop stardom. Delara wrote the screenplay and

was also the lead editor of this his third feature film. The film is set to make its world

premiere in Dramatic Competition at the Sundance Film Festival in January 2012.

MICHAEL D. OLMOS (Director, Producer) graduated from Columbia University in

NY (99) in Creative Writing and Contemporary American Literature. After graduating

Colombia, he joined the Sandford Misner Academy to study acting. While there he

attended Marlon Brando’s experimental acting class “Lying for a Living,” working in

scenes alongside such industry notable as Robin Williams, Sean Penn, Whoopi Goldberg,

Harry Dean Stanton, and of course Marlon Brando.

His first screenplay “After Hours,” participated at 2003 IFP Film Market’s Emerging

Narratives.

In 2005 he co-founded Chamber Six Productions, an independent film production and

comic book publishing company represented by WME. The company developed their

graphic novel SEED with Michael De Luca and writer John Ridley at Sony pictures.

Later that year he wrote, produced and directed SPLINTER for Dark Horse

Entertainment. He teamed with filmmakers Youssef Delara and Victor Teran on his

second feature BEDROOMS, where each directed a section of the ensemble film. The

team continued onto their third feature FILLY BROWN, directed by Olmos and Delara.

The Film is in Us Dramatic Competition for the 2012 Sundance Film Festival.

Currently he is the Vice President of Film for Olmos Productions at ABC/Disney where

he handles both creative and executive roles.

He is writing METTLE with renowned comic book author Bob Layton, a deconstruction

of the superhero mythos, producing an animated US/Mexico co-production in January,

and for his next feature film developing the story of pro female boxer Senisa Estrada,

who saved her father’s life by convincing him to become her trainer.

VICTOR TERAN (Producer) began his career in the film industry in 1996 as an

assistant and script analyst for Seven Arts Pictures where he learned the business of

independent film while working his way up to VP of Production, working most notably

on "Stander" and "The Believer."

While at Seven Arts he continued to pursue his own projects both as a writer and as a

producer and in 2004 he left Seven Arts to partner up with Youssef Delara to produce

their first feature film collaboration, “English as a Second Language.”

From 2005 to 2008, while continuing to write and develop his own projects, Mr. Teran

furthered his independent film education serving as VP of Physical Production for Sidney

Kimmel Entertainment where he worked on 18 mid-budget films including “Lars & The

Real Girl,” “Death at a Funeral,” “Charlie Bartlett” and “Synecdoche, NY.”

In 2009, Teran produced as well as wrote and directed (with Youssef Delara and Michael

D. Olmos) the portmanteau film, “Bedrooms,” starring Julie Benz and Moon Bloodgood.

The film premiered on the Showtime Networks and was released domestically and

internationally in the fall of 2011.

He is currently working on Cima Productions fourth feature film, “Snap,” which he wrote

and will co-direct with Youssef Delara in March, 2012

AMIR DELARA (Producer) is the CEO and Founder and Executive of Financing for

Cima Productions Inc. In 2001, Mr. Delara formed Cima as a commercial production

company specializing in Latino media and markets, to provide marketing and advertising

services for his various businesses as well as to outside clients. Having placed over four

million dollars in Spanish language television, radio and print advertising, Mr. Delara’s

Cima Productions has made a successful business of effective communication with the

Latino community. Always a hand on manager, Mr. Delara produced many of Cima

Productions advertising spots.

In 2003, Delara decided to employ his creative instincts and the infrastructure of his

marketing enterprise to expand into filmed entertainment targeted at the Latino American

community. Delara produced the company’s first independent feature film “English as a

Second Language”. The film went on to win Best Feature awards at the Newport Beach,

Boston Latino, Orlando Latino, Portland Pine and the Santa Fe Film Festivals and

premiered on the Showtime Networks and was distributed domestically and

internationally. Delara produced the company’s second feature Bedrooms starring Julie

Benz and Moon Bloodgood. The film premiered on the Showtime Networks and was

released domestically and internationally in the fall of 2011.

In 2011, Delara produced the company’s third feature film, “Filly Brown” starring Gina

Rodriguez, Edward James Olmos, Lou Diamond Phillips and Mexican singing sensation,

Jenni Rivera. The film is set to make its world premiere in Dramatic Competition at the

Sundance Film Festival in January 2012.

Delara is presently developing several other Latin themed projects for Cima’s future slate

of film including the heart-warming family film Marching Banda, an international

thriller El Paraiso De Dios and a romantic comedy Losing Jackie Perez.

MICO OLMOS (Producer) grew up with father Edward James Olmos and grandfather

Howard Keel on set. His career in front of the camera started at the age 9 with

performances in The Ballad of Gregorio Cortez, then Testament, Splinter, and Human

Error. During this time he also worked behind the camera, doing everything from PA jobs

to 2nd AD.

His passion for music lead him to the music business, working primarily in NY doing the

blues circuit and as a session musician. It was the perfect path to his current project. The

release of FILLY BROWN, this marks his first role as a producer on a feature film, with

an emphasis on the soundtrack.

EDWARD “E-DUB” RIOS (Producer, Music) & KHOOL-AID RIOS (Producer)

Silent Giant Entertainment is a label owned by Edward "E-Dub" Rios and Lisa “Khool

Aid” Rios, the creators and producers of the nationally syndicated radio shows, “Pocos

Pero Locos”, “SUBELO! Radio” and “Top Ten Celebrity Countdown”.

They have been at the forefront of the Latin Hip Hop movement for a decade as one of

the top Latin Hip Hop record producers. E-Dub & Khool Aid also founded the radio

syndication company, Radio Syndicate, Inc. that syndicates and distributes the above

mentioned programs. United Stations, founded by Dick Clark, is RS’s national

advertising sales arm.

SGE is spearheading the Latin Hip Hop movement and exclusively distributes the “Pocos

Pero Locos” compilation series based on the nationally syndicated radio show broadcast

in over 30 markets.

The compilations feature music by the top Latin Hip Hop artists: SPM, Lil Rob, Baby

Bash, NB Ridaz, La La, Chingo Bling, Mr. Shadow. SGE titles also include albums by

Mr. Shadow, Down aka Kilo, Spanish Fly, Slow Pain. SGE releases have achieved over

one million units sold, and a Billboard Latino music award for the single “Lean Like A

Cholo”.

BEN KUFRIN (Director of Photography) the son of a successful commercial still

photographer in Chicago, Cinematographer Ben Kufrin was practically born behind the

camera. He grew up assisting his father George and shooting his own subjects, having his

first published photo appear in a Chicago weekly magazine at age 10. During college,

Kufrin’s studies focused on art, film, photography and journalism which for a while lead

him to a profession in photojournalism for various news organizations like Chicago’s

Tribune and Sun-Times, Associated Press and United Press International.

Cinematography however remained Kufrin’s focus so after camera assisting and shooting

on various Chicago film productions, he moved to Los Angeles to further pursue his

passion for filmmaking. Since becoming a DP his work has taken him to locations on five

continents in film, and on television networks such as Showtime, Lifetime, Fox Family,

MTV, and PBS.

His cinematography in independent features like, Jimmy & Judy (Edward Furlong,

Rachel Bella, William Sadler) helped earn it a best feature prize at the 2006 San

Francisco Independent film festival. Kufrin’s almost exclusive use of hand held 35mm

camera work in ESL: English As A Second Language helped to garner that film a Best

Feature nod at the 2006 New York Latino Film Festival and an Outstanding Achievement

in Filmmaking Award at the Newport Beach Film Festival the same year before making

It’s network debut on Showtime.

Kufrin continues demonstrating versatility and range behind the camera as he was

featured in various 2009 issues of P3 Production Update, Widescreen Review, High Def

and KODAK’s InCamera magazines for his ground- breaking revival of the Techniscope

2-perf 35mm film format in conjunction with the digital intermediate finish for the

forthcoming feature, Curve of Earth . aka Happy In The Valley . That film took four top

honors at the December 2009 Monaco International Film Festival Angel Awards taking

home Best Feature Film, Best Ensemble Cast, Best Supporting Actress (Ursula Brooks)

and Best Actor (William Forsythe).

Kufrin followed up his partnership with "ESL’s" writer–director Youssef DeLara with

another Showtime network feature, Bedrooms, along with co-directors Michael D. Olmos

and Victor Teran. The ensemble drama features cast members Julie Benz (Dexter, Rambo

2008) and Moon Bloodgood (Eight Below, Terminator Salvation) among others. Most

recently Ben shot the feature, Filly Brown another collaboration with directors Youssef

DeLara and Michael D. Olmos. The hip-hop music-driven drama stars Gina Rodriguez,

Lou Diamond Phillips & Edward James Olmos and is an official U.S. selection for

dramatic feature at the 2012 Sundance International Film Festival.

ERIC BRODEUR (Editor) is a 'military brat' born in California, his family traveled

throughout Europe before settling in Pennsylvania. He graduated with a degree in

Computer Information Systems working for Fortune 100 companies, start-ups, and higher

education institutions in Philadelphia. But fueled by a strong desire to reconnect with his

childhood love for movies, he relocated to Los Angeles in the pursuit of a new career.

This journey led him to motion picture editing where his technology background was a

perfect fit for the digital cinema revolution and his creative ambitions.

He got his break in 2008 as an assistant editor on two independent features. During this

time he met writer/director Youssef Delara and joined the crew of Delara's second

feature, BEDROOMS, as a picture editor. Starring Julie Benz (Dexter), Moon Bloodgood

(Terminator Salvation), Xander Berkeley (24) and others, BEDROOMS won two Best

Feature awards and aired on Showtime. His next feature as picture editor, IJE THE

JOURNEY, a Nigerian-American film starring two of that country’s leading actresses,

Genevieve Nnaji and Omotola Jalade-Ekeinde, became one of Nigeria’s top grossing

films ever while winning awards for Best Editing and Best Feature.

Collaborating once again with directors Youssef Delara and Michael Olmos, Mr. Brodeur

returned as a picture editor on FILLY BROWN.

His assistant editor credits include THE SURROGATE, starring Helen Hunt (As Good

As It Gets), John Hakes (Winter's Bone), and William H. Macy (Fargo) also in U.S.

Dramatic Competition at the 2012 Sundance Film Festival. In addition, Eric has worked

on THE GREEN GODDESS, FINDING GAUGUIN, and two films by writer/director

Sebastian Gutierrez, ELEKTRA LUXX and HOTEL NOIR. ELEKTRA LUXX starring

Carla Gugino (Sucker Punch) and Joseph Gordon-Levitt (Inception) was in competition

at SXSW 2010, and nearing completion is HOTEL NOIR starring Carla Gugino, Rufus

Sewell (Dark City), and Malin Ackerman (Watchmen).

REZA SAFINIA (Composer) Reza Safinia is a composer raised in London and living in

LA. Prior to composing for film, he was a Universal Music songwriter and record

producer/engineer working with artists such as Kylie Minogue, Britney Spears and

Ms Dynamite. His work is a textured collage of his professional and personal

experiences, from his early years playing in rock bands to working as a Hip Hop engineer

at Jive Records’ Battery Studios in NYC.

A multi-instrumentalist with a decade of production expertise, Reza creates music, sound

design and the space in between with a three-dimensional approach: Orchestral elements,

ambient music and ethnic influences are fused with electronica/rock creating a tactile

sound serving the image. Acoustic performances blend seamlessly with industrial noise in

a space where even the most tweaked sounds retain an organic quality. Bands like

Radiohead and Nine Inch Nails inform Reza’s musical sensibility as much as composers

like Gustavo Santollalla and Clint Mansell, and every now and then there will be an echo

of his UK urban roots with some roaring dubstep bass.

Alongside his career in pop music, and composing, Reza has been deeply involved in

underground music also. He co-founded the UK indie label “Illa State Records”, which

played a pivotal role in the grime/dubstep movement through the release “It’s Not A

Rumour” by artist Akala: The “eclectic and polished debut” (The Times), with “raw

energy and outrageous talent” (BBC Music), was produced and co-written by Reza and

garnered Akala a prestigious MOBO award (beating fellow nominees Kanye West and

Busta Rhymes).

Reza’s compositions for film can be heard in Youssef Delara and Michael Olmos’ hip

hop driven feature “Filly Brown” to premier at Sundance 2012, and in last year’s

“Kinyarwanda”, an audience award winner at Sundance 2011. He has also composed

music for a number documentaries and TV, including ABC’s forthcoming “Final

Witness”.

KRYSTYNA ŁOBODA (Production Design) Recent feature film credits include: “Kill

Me, Deadly” a film-noir comedy starring Joe Mantegna and Kirsten Vangsness, “Stitch”

with Edward Furlong, “Shadows of the White Nights” with Christian Slater,

“Kerosene Cowboys” with Bill Pullman directed by Mario Van Peebles, and “Christina”

starring Avatar’s Stephen Lang. Before joining the ranks of independent film, Krystyna

began her career on the stage.

Her theatrical set and lighting designs have been seen on London’s West End, the

Edinburgh Festival, the International Scenography Quadrennial in Prague, and the World

Stage Design Expo in Toronto. As a student, she was honored with an Emmy Award for

the short film “The Elements.” She is a member of IATSE local 800, Art Director’s

Guild.

ABOUT THE CAST…

GINA RODRIGUEZ (Mara Jose “Majo” Tonorio aka Filly Brown) received a 2011

Imagen Award “Best Supporting Actress nomination for her breakout performance in

Lions Gate Films feature, GO FOR IT (also official Selections of The Boston Latino Int’l

Film Festival, The New York Latino Int’l Film Festival and The Los Angeles Latino

International Film Festival (where it received an Honorable Mention).

Chicago raised, Rodriguez is a graduate of NYU’s Tisch School of the Arts with 4 years

of theatre training at both the Atlantic Theatre Company and Experimental Theatre Wing,

working with both David Mamet and William H. Macy, and Experimental Theatre Wing,

under Rosemary Quinn.

Her television credits include, guest stars on ABC’s HAPPY ENDINGS, Fox/WBTV’s

JOHNNY ZERO, NBC’s LAW & ORDER, ABC Family’s 10 THINGS I HATE

ABOUT YOU, CBS/Bruckheimer’s ELEVENTH HOUR, recurring on Lifetime’s

ARMY WIVES, and co-starring on MTV’s made for television features MY SUPER

PSYCHO SWEET 16 (parts 1 and 2). Other films credits include: OUR FAMILY

WEDDING opposite America Ferrera, independent TINY DANCER directed by Eva

Husson, OSVALDOS (short film) directed by Randy Wilkins which screened in festivals

for ABFF, NY HBO Latino Film Fest, Chicago International Film Fest, naming Gina

winner of “Best Actor” award at the First Run Film Festival in NY and Osvaldos was

named one of the Five Best Shorts (which aired on HBO in Feb 2010).

JENNI RIVERA (Maria Tonorio) a Mexican-American singer/songwriter raised in

Long Beach, who has sold over 20 million albums worldwide. Rivera was nominated at

the 2003, 2008 Latin Grammys. A successful Regional-Mexican artist and entrepreneur,

including Divina Realty, Divina Cosmetics, Jenni Rivera Fragrance, Jenni Jeans, Divine

Music and the Jenni Rivera Love Foundation.

Jenni Rivera became the first female Banda artist to sell-out a concert at the world

famous Gibson Amphitheatre in Universal City, CA and most recently became the first

artist up-to-date to sell-out two back-to-back nights at the Nokia Theatre in Los Angeles,

California on August 6, 2010 and August 7, 2010. On August 6, 2010, Jenni Rivera was

named spokeswoman for the National Coalition against battered women and domestic

violence in Los Angeles.

A proclamation was given “officially naming” August 6 “Jenni Rivera Day” by the LA

City Council for all her charity work and involvement in the community. Jenni Rivera

was also the producer to her older daugher’s (Janney Marin) reality TV show on the cable

network MUN2, “Chiquis & Raq-C”, and is all around the world, and now stars in her

sequel/spin-off show called I Love Jenni. Filly Brown is Jenni’s film debut.

LOU DIAMOND PHILLIPS (Jose Tonorio) artistic versatility has allowed him success

in theatre, television and feature films as well as directing, writing and producing. He can

next be seen opposite Edward James Olmos in the film “Filly Brown” at Sundance 2012,

and on the new A&E series “Longmire” opposite Katee Sackhoff and Robert Taylor.

Phillips first came to the public’s attention when he starred as Richie Valens in “La

Bamba.” He then solidified his reputation in “Stand and Deliver,” for which he won the

Independent Spirit Award for Best Supporting Actor and received a Best Supporting

Actor Golden Globe nomination. Phillips also co-starred in Ed Zwick critically acclaimed

drama, “Courage Under Fire”, where he received strong reviews and a Blockbuster

Award for Best Supporting Actor. Recently he starred in “CHE”, alongside Benicio Del

Toro and Benjamin Bratt. Other notable film credits include “Supernova”, “Hollywood

Homicide”, “Young Guns”, “The Big Hit”, “Brokedown Palace” and “El Cortez.”

Phillips earned a Tony nomination for Best Actor, for his performance as the King of

Slam in the Broadway production of Rodgers & Hammerstein’s, “The King and I,” which

received six Tony nominations in all. He recently starred in the national tour of

“Camelot,” as King Arthur.

On television, next up for Phillips is a guest star role on the season premiere of the fourth

season of “Southland”. Earlier this year, he wrapped a recurring role on ABC’s “Cougar

Town” and the final season of the SyFy series “Stargate: Universe” alongside Robert

Carlyle and Ming-Na. Lou also had a recurring role on the hit CBS series “Numb3rs” as

“Agent Ian Edgerton” during its six year run. A few of his other memorable television

credits include: “Chuck”, “Psych”, “Law and Order: SVU”, “Wolf Lake”, “The Beast”

and “The Triangle.”

As director, Phillips most recently helmed the Hallmark Channel movie “Love Takes

Wing” in 2009. He made his directorial debut with the psychological thriller “Dangerous

Touch,” which he co-wrote for HBO. Lou has also directed episodes of “Resurrection

Blvd.”, “The Outer Limits”, and “The Twilight Zone.”

Phillips, originally born in the Phillipines, was raised in Texas. He currently resides in

Los Angeles with his wife Yvonne. He has four daughters Indigo, Grace, Isabella and

Lili.

EDWARD JAMES OLMOS (Leondro) has achieved extraordinary success as an actor,

producer and humanitarian. The Tony, Emmy and Academy Award Nominated actor, is

probably best known to young audiences for his work on the SYFY television series

“Battlestar Galatica” as Admiral William Adama. Although the series kept the actor busy

during its run from 2003 through 2009, it didn’t stop him from directing the HBO movie

“Walkout” in 2007, for which he earned a DGA Nomination in the Outstanding

Directional Achievement in Movies for Television category.

Olmos’ career in entertainment spans over 30 years. In that time he created a signature

style and aesthetic that he applies to every artist endeavor, often grounding his characters

in reality and gravitas. His dedication to his craft has brought him attention across the

industry, and with audiences worldwide.

Originally a musician, Olmos branched out into acting, appearing in many small theatre

productions until portraying the iconic El Pachuco in “Zoot Suit.” The play moved to

Broadway and Olmos earned a Tony nomination for the role, which he revised in the

1981 film version.

Olmos went on to appear in the films Wolfen, Blade Runner, and the Ballad of Gregorio

Cortez before starring in his biggest role to date, that of Lieutenant Martin Castillo in the

Iconic 80’s television series “Miami Vice” opposite Don Johnson and Phillip Michael

Thomas. During his time on the Michael Mann series, Olmos earned two Golden Globe

and Emmy Award nominations, resulting in a win from each.

In 1988, the actor was nominated for an Academy and won the Golden Globe for his

portrayal of Jaime Escalante in Stand and Deliver. He directed and starred in his first

motion picture, American Me, in 1992.

Other credits as an actor include the motion pictures My Family/Mi Familia; Selena,

which was a breakout film for Jennifer Lopez; and in the Time of Butterflies, in which he

played Dominican Republic dictator Rafael Leonidas Trujillo. In television, he enjoyed a

recurring role as U.S. Supreme Court Justice Roberto Mendoza in the NBC drama “The

West Wing,” portrayed a widowed father in the PBS drama American Family: Journey of

Dreams, and recently appeared in season six of the hit TV show Dexter, which was

nominated for a SAG award.

original title FILLY BROWN

starring GINA RODRIGUEZ

JENNI RIVERA

LOU DIAMOND PHILLIPS

EDWARD JAMES OLMOS

EMILIO RIVERA

NOEL G.

KERRY NORTON

directed by YOUSSEF DELARA , MICHAEL D. OLMOS

written by YOUSSEF DELARA

YOUSSEF DELARA, VICTOR TERAN, AMIR

story by DELARA, MICHAEL D. OLMOS

produced by VICTOR TERAN

producers AMIR DELARA

YOUSSEF DELARA

MICHAEL D. OLMOS

MICO OLMOS

EDWARD “E-DUB” RIOS

KHOOL-AID RIOS

director of photography BEN KUFRIN

edited by ERIC BRODUER, YOUSSEF DELARA

production designer KRYSTYNA LOBODA

casting TWINKIE BYRD

composer REZA SAFINIA

length 104 minutes

sound 5.1

picture RED

language English

CIMA PRODUCTIONS

OLMOS PRODUCTIONS

SILENT GIANT ENTERTAINMENT

Present

FILLY BROWN

Directed by: Youssef Delara, Michael D. Olmos

Written by: Youssef Delara

Story by: Youssef Delara, Victor Teran, Amir Delara,

Michael D. Olmos

Produced by: Victor Teran

Producers: Amir Delara, Youssef Delara

Producers: Michael D. Olmos, Mico Olmos

Producers: Edward “E-Dub” Rios, Khool-Aid Rios

Executive Producers: Edward James Olmos, Kevin Smith, Homa

Soroor

Gina Rodriguez

Jenni Rivera

Emilio Rivera

Noel G

Kerry Norton

Braxton Millz, Joseph Julian Soria, Chrissie

Fit

with Lou Diamond Phillips

and Edward James Olmos

Director of Photography: Ben Kufrin

Production Design By: Krystyna Loboda

Edited By: Youssef Delara, Eric Brodeur

Costume Designer: Jill Machlis

Music By: Reza Safinia

Music Supervisor: Edward “E-Dub” Rios

Casting By: Twinkie Byrd

Cast (in order of appearance)

Majo Tonorio Gina Rodriguez

Khool-Aid Khool-Aid Rios

Lala Lala Romero

Eddie Vargas Jorge Diaz

Maria Tonorio Jenni Rivera

Female Corrections Officer Francine Hinostrow

Male Corrections Officer Albert F. Herrera

Linda Resminé Atis

Leandro Chavez Edward James Olmos

Jose Tonorio Lou Diamond Phillips

Chuy Cuete Yeska

Memo Daniel Edward Mora

Mani Emilio Rivera

Tattoo Girl #1 Michelle Milan

MC Wyatt Joseph Julian Soria

DJ Santa Braxton Millz

MC Wyatt’s Bodyguard #1 Chino Brown

Ralphy Rene Rosado

Lupe Tonorio Chrissie Fit

Pocos Pero Locos Crew #1 O. Brown

Pocos Pero Locos Crew #2 Alex Puente

Pocos Pero Locos Crew #3 Nikki Diaz

Pocos Pero Locos Crew #4 Jesse Garcia

Pocos Pero Locos Crew #5 Concrete

Pocos Pero Locos Crew #6 Daniel Olmos

Rayborn Esparza Pete “Chingo Bling” Herrera

Amanda Hutchinson Kerry Norton

Karla Marie Faye Medina

Tito Juan Cervin

Nestor Brandon Martinez

Dance Crew #1 Greg Paguin

Dance Crew #2 Yury Mejia

Dance Crew #3 Nick Rodriguez

Dance Crew #4 Vernard Taylor

Dance Crew #5 David Talavera

Dance Crew #6 Sina Zivari

Dance Crew #7 Walter Artiga

Dance Crew #8 Lacy Keiko Omon

Dance Crew #9 Ricky Lopez

Neighbor#1 Dominique Hinestrosa

Neighbor#2 Joseph Zapata

Dezi B. Himself

Delivery Man David Bianchi

Lupe’s Interviewee Midget Loco

Big Cee Noel G.

Tattoo Artist Frutoso Mendoza

Ceaser Baby Bash

Ceaser’s Homie Nino Brown

Sam Jamie Bamber

Big Cee’s Engineer Mico Olmos

Majo’s Groupie #1 Damon Whitaker

Majo’s Groupie #2 M. Celeste Williams

Spanish TV Interviewer Sherly Amya

Filly Brown Music Video Dancer #1 Mariel Perez

Filly Brown Music Video Dancer #2 Leo Leon

E-Dub Himself

Wyatt’s Groupie Vida Guerra

Wyatt’s Enforce Martin Buelna

Wyatt’s Driver Jordan Rios

Hospital Nurse Lauren Rodriguez

The Dirty Mexican Zoe Himself

Big Cee Enforcer #1 Javier Buelna

Big Cee Enforcer #2 Malik Henderson

Prison Guard Harmon Ruby Wendell

Unit Production Manager: Sandra Varona

First Assistant Director: Trent Dempsey

Second Assistant Director: Bri Hervey

Additional First Assistant Director: Grimm December

Brooke Lemke

Script Supervisor: Laura Jean Bransky

“A” Camera Operator: Peter Schmitt

“B” Camera Operator: Ben Kufrin

Victor Bruno

Michael D. Olmos

Brad Cooper

First Assistant “A” Camera: Victor Bruno

First Assistant “B” Camera: Ivan Acero

Second Camera Assistant: Ivan Acero

DIT Download Tech: Monty Bass

Live Performance Lighting Director: Cameron Zetty

Jimmy Jib Operator: Kim Hahn

Sound Mixer: Martin Kittappa

Boom Operator: Paul Gonzales

Brandon Pert

Gaffer: Sonoko Shimoyama

Best Boy: Jeremy Mennel

Electricians: Bob Low

Sebastian Bueno

Key Grip: J. Aaron Stinde

Best Boy Grip: Raul Rivera

Grips: Ana M. Amortegui

Dennis Wong

G&E Swing: Igor Tochilnikov

Marlow Nuñez

Art Director: Jeffrey Simon

Set Decorator: Michelle Daniels

Set Dressers: Adam Strasser

Naoko Inada

Carpenter: David Mendoza

On-Set Costumer: Rosa Lopez

Additional Costumer: Amanda Sandrene

Key Make-Up Artist: Cintia Kumalo

Assistant Make-Up Artist: Christina Chilote

Transportation Coordinator: Jim Martell

Transportation Captain: Paul White

Driver: Josh Martell

Still Photographer: John Castillo

Casting Associate: Natasha Ward

Casting Assistant: German Legaretta

Extras Casting: Prime Casting

Extras Casting Director: Heather Sirota

Key Production Assistant: Zach Rasmussen

Set Production Assistants: Kristoffer McMillan

Adrian Cazares

Kirsten Gunnarshaug

Phillip Rogers

Christopher S. Jones

Tattoo Art Designer Danny Romo

Caterers: Michelle & Robert @ Too Tasty Catering

ADDITIONAL PHOTOGRAPHY UNIT

Gaffer : Stephane Gauger

Electric: Alexander Stathis

Key Grip: Ernesto Perez

Grip: Dennis Perez

Post Production Supervisor: Youssef Delara

Supervising Sound Editor: Trip Brock

ADR Supervisor : Ben Whitver

SFX Editors: Steven Avila

Peter Lago

Alexander Pugh

Dialogue Editors: Jackie Johnson

Bryon Speller

Foley Artists: Jim Bailey

Lorita de la Cerna

Foley Mixer: Greg Mauer

Foley Editor: Ian Shedd

ADR Mixer: Ben Whitver

Sound Engineers: Steven Utt

Owen Peterson

Casey Hansen

Re-Recording Mixer: Trip Brock

Loop Group: Bodie Olmos

Marisol Doblado

Rob Wuesthoff

Rezmine Atis

Valerie Garza

Main Title Designed and Produced By: Zack Young

VFX Supervisor/Compositor: Nick Young

Viral Producer: Sherly Amaya

Digital Intermediate By : Local Hero Post

Digital Intermediate Supervisor: Leandro Marini

Digital Intermediate Producer: Rain Valdez

Digital Intermediate Colorist: Michael Eaves

Digital Intermediate Tech Supervisor: Andrew Wahlquist

Conform Artist: Lee Hultman

Lighting, Grip, Lenses & RED camera support provided by Birns & Sawyer

Transportation Services by Zio Studio Rentals

Audio Post Production by Monkeyland Audio, Inc.

MUSIC

“Dream Big”

Performed By Gina Rodriguez, Braxton Tomasello, Chrissie Fit

Written By Gina Rodriguez, Reza Safinia (ASCAP) and Braxton Tomasello

Published By Gina Rodriguez, Rezbian Music (ASCAP) and Braxton Tomasello,

Courtesy Of Filly Brown, LLC

“Hurt So Bad”

Performed By Jenni Rivera, Edward James Olmos and David Salas

Written By Arthur Dominguez, Edward James Olmos, Mico Olmos, Chris Perez, Edward Rios, Jenni

Rivera and David Salas

Published By Arthur Dominguez, Beat Baker Music (BMI), Chris Perez Music (ASCAP), Edward

James Olmos, JR Divine Music (BMI), La Tuya Muzik (ASCAP) and Mico Olmos

Courtesy Of Silent Giant Entertainment

“Lost City”

Performed By Nino Brown feat. Chrissie Fit

Written By Mico Olmos, Edward Rios, Gilbert Ruedaflores and Reza Safinia (ASCAP),

Published By La Tuya Muzik (ASCAP), Mico Olmos, O.G.enius (BMI) and Rezbian Music

(ASCAP)

Courtesy Of Filly Brown, LLC

“I’m So Fly” (Wyatt Remix Version)

Performed By Fade Dogg and JJ Soria,

Written By Angel Mendoza Plata Jr. and Jose Javier Lopez

Published By El Cabeca Music (SESAC) and Angel Mendoza Plata Jr.

Courtesy Of Silent Giant Entertainment

“Night Nurse”

Performed By Carolyn Rodriguez feat. Baby Bash

Written By Arthur Dominguez, Leanard Jernigan, Mico Olmos, Edward Rios, Carolyn Rodriguez

Published By Arthur Dominguez, La Tuya Muzik (ASCAP), Leanard Jernigan, Mico Olmos and

Soulyrical Publishing (ASCAP)

Courtesy Of Silent Giant Entertainment

“Filly Brown” Radio Version

Performed By Gina Rodriquez

Written By Diamonique Noriega, Jose Javier Lopez, Edward Rios and Reza Safinia

Published By Niquemondia Music (ASCAP), El Cabeca Music (SESAC), La Tuya Musik (ASCAP),

Rezbian Music (ASCAP)

Courtesy Of Filly Brown, LLC

“Got Me”

Performed By Ese Daz feat. Nikki Diaz

Written By David Arellano, Jose Javier Lopez, Edward Rios, Monique Roque

Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP),

Monique Roque

Courtesy Of Silent Giant Entertainment

“Wisdom”

Performed By Gina Rodriquez

Written By David Bianchi, Youssef Delara, Mico Olmos, Edward Rios, Reza Safinia (ASCAP), David

Salas, Braxton Tomasello

Published By Beat Baker Music (BMI), David Bianchi, Youssef Delara, La Tuya Muzik (ASCAP), Mico

Olmos, Rezbian Music (ASCAP), Braxton Tomasello

Courtesy Of Filly Brown, LLC

"Im a Big Boy"

Performed by : Dezi B Written By Jullian Dezi Blanco and Daniel "Smokebeatz" Blanco

Published By Blanco Jullian Dezi (BMI), Blanco Daniel (BMI) Music Produced By Smokebeatz Courtesy

Of Smokebeatz/Street Science Entertainment L.L.C

“Filly Brown” (Rayborn Version)

Performed By Gina Rodriquez, Chingo Bling

Written By Pedro Herrera, Jose Javier Lopez, Diamonique Noriega, Edward Rios, David Salas, Reza

Safinia

Published By Beat Baker Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP),

Niquemondia Music (ASCAP), Pimpin Plumas (ASCAP), Rezbian Music (ASCAP)

Courtesy Of Filly Brown, LLC

“Get Away”

Performed by Braxton Millz feat. J. Black

Written By Braxton Tomasello and Justin Aleman

Published By Braxton Tomasello and Justin Aleman

Courtesy Of Silent Giant Entertainment

“Bottles”

Performed By Ese Daz

Written By David Arellano, Jose Javier Lopez and Edward Rios

Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP)

Courtesy Of Silent Giant Entertainment

“Nothing To Lose”

Performed By Ese Daz

Written By David Arellano, Jose Javier Lopez and Edward Rios

Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP)

Courtesy Of Silent Giant Entertainment

"Cold Muchacho"

Performed By Baby Bash feat. Low G & Big LA

Written By Ronnie Bryant, Steven Fay, Wilson Flores, Julian Triguero

Published By Steve Dang Publishing (ASCAP), Dulce Amor (ASCAP), Latino Velvet Music (ASCAP),

Julian Triguero

Courtesy Of Bashtown Music Group

“Filly Brown” (Big Cee Version)

Performed By Gina Rodriguez & Chrissie Fit

Written By Arthur Dominguez, Monique Noriega, Edward Rios, Reza Safinia (ASCAP)

Published By Arthur Dominguez, La Tuya Muzik (ASCAP), Niquemondia Music (ASCAP),

Rezbian Music (ASCAP)

Courtesy Of Filly Brown, LLC

“Clothes Off”

Performed By Braxton Millz

Written By David Arellano, Jose Javier Lopez, Edward Rios, Braxton Tomasello

Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP) and

Braxton Tomasello

Courtesy Of Silent Giant Entertainment

“Reflections”

Performed By Gina Rodriguez and Slow Pain

Written By Jose Javier Lopez, Larry Patino, Edward Rios, Reza Safinia

Published By El Cabeca Music (SESAC), Larry Patino, La Tuya Muzik (ASCAP), Rezbian Music

(ASCAP)

Courtesy Of Filly Brown, LLC

"This Is My Life"

Performed By Gina Rodriquez & Diamonique

Written By Diamonique Noriega and Reza Safinia

Published By Niquemondia Music (ASCAP) and Rezbian Music (ASCAP)

Courtesy Of Filly Brown, LLC