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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
Hook Publicity
Jessica Uzzan
Mary Ann Hult
917-653-6122 tel
West Coast Publicity Block Korenbrot
Melody Korenbrot
Rebecca Fisher 110 S. Fairfax Ave, #310 Los Angeles, CA 90036
323-634-7001 tel
Distributor Sony Pictures Classics
Carmelo Pirrone Lindsay Macik
550 Madison Ave New York, NY 10022
212-833-8833 tel
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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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15
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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16
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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17
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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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
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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
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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
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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)
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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
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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.
# # # # #
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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
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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
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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