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PressContacts

ShelbyKimlick|MPRM|O323.852.4153|C310-310-9408|skimlick@mprm.com

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SHORTSYNOPSIS

Twenty-fiveyearsaftertheverdictintheRodneyKingtrialsparkedseveraldaysofprotests,

violenceandlootinginLosAngeles,LA92,anewfeaturedocumentaryfromNationalGeographic

DocumentaryFilms,immersesviewersinthattumultuousperiodthroughstunningandrarelyseen

archivalfootage.Producedbytwo-timeOscarwinnerSimonChinn(“ManonWire”)andEmmywinner

JonathanChinn(“AmericanHigh”)anddirectedbyOscarwinnersDanLindsayandTJMartin

(“Undefeated”),thefilmlooksattheeventsof1992fromamultitudeofvantagepoints,bringingafresh

perspectivetoapivotalmomentthatreverberatestothisday.

LONGSYNOPSIS

InNovember1991,aKoreanconveniencestoreownerconvictedoffatallyshootingAfrican-

AmericanteenagerLatashaHarlinswasgivennojailtimebyawhiteLosAngelesjudge.Sixmonthslater,

fourpoliceofficerscaughtonvideotapebrutallybeatingunarmedblackmotoristRodneyKingwere

acquittedofassaultbyapredominantlywhiteSimiValleyjury.TheKingverdictsparkedawaveof

violentprotests,lootingandarsonthatlastedseveraldaysandleftmorethan50peopledead,

thousandsinjuredandlargeswathsofLosAngeles—includingmanyKorean-American-owned

businesses—inruins.

Twenty-fiveyearslater,NationalGeographicDocumentaryFilmsexplorestheeventsleadingup

totheviolence,aswellasthechaosanddestructionthatensued,inthenewdocumentaryLA92.Told

entirelythroughstunningandrarelyseenarchivalfootage,thefilmcapturestheshock,disappointment

andfuryfeltbymanyAngelenos,particularlythoseintheAfrican-Americancommunity,followingthe

outcomesoftheback-to-back,highlypublicizedtrials.InthecaseoftheKingbeating,itwasthefirst

timethekindofabusemanyhadwitnessedorexperiencedatthehandsofLAPDofficerswasrecorded

andbroadcastfortheworldtosee,leavingsomewiththesensethatifjusticedidnotprevaildespite

suchgraphicevidence,itneverwould.

OnApril29,1992,thoseemotionsboiledoverintounbridledmayhemthatbeganinthe

predominantlyblackareaofSouthCentralLosAngelesandquicklyspreadtootherpartsofthecity.The

situationwasexacerbatedbytheslowreactionoffirstrespondersanddelaysindeployingNational

GuardtroopsbythenGovernorPeteWilsontosecurethearea.

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LA92offersarivetingglimpseofamajorAmericancityduringsomeofitsdarkestdays.Viewed

fromamultitudeofvantagepoints,thefilmbringsafreshperspectivetoapivotalmomentthat

reverberatestothisday.

LA92isproducedbyLightboxinassociationwithNationalGeographicDocumentaryFilms.For

Lightbox,producersareSimonandJonathanChinn.ForNationalGeographicDocumentaryFilms,the

executiveproducerisMattRennerandTimPastoreispresidentoforiginalprogrammingand

production.

ABOUTTHEPRODUCTION

In2016,withthe25thanniversaryoftheviolenceinLosAngelesapproaching—andangry

protestsoverpolicemisconductonceagaineruptingincitiesthroughouttheU.S.—award-winning

producersSimonChinnandJonathanChinnknewitwastherighttimetorevisitthetumultuousevents

of1992.

“TheLAriotshappenedaquartercenturyago,butwearestillstrugglingwiththerootcausesof

thoseriotstoday,”saysJonathanChinn.“It’sclearfromtheeventsthatoccurredinFergusonand

Baltimorelastyearthatasanationwearestillfindingourwayintermsofescapingthecycleofracial

oppression,policebrutality,socioeconomicinequality—andtheinevitableprotestthatresultsfrom

thesethings.”

TheChinns,cousinswhotogetherruntheprolificmultimediaproductioncompanyLightbox,

pitchedtheideatoNationalGeographicDocumentaryFilmsbycuttingtogethera“moodreel”of

archivalfootagefromtheperiod.“Thenextday,NatGeocalledustosaytheywereinterestedin

commissioningitasafeaturedocumentary,”saysSimonChinn,whowonOscarsforproducingthe

documentaries“SearchingforSugarMan”and“ManonWire.”

“SimonandJonathanareinsanelytalentedfilmmakers,expertsattellingprovocative,timely

storiesinunconventionalways,”saysTimPastore,presidentoforiginalprogrammingandproductionfor

NationalGeographic.“Asourcountrycontinuestowrestlewithracialinjustice,theLAriotsareas

relevantandasrawtodayastheywere25yearsago—weknewthey’ddothisstoryjustice.”

Todirecttheambitiousproject,theproducersturnedtoDanLindsayandTJMartin.“DanandTJ

arejustincrediblefilmmakers,”saysJonathanChinn,anEmmywinnerwhosecreditsincludetheFX

series“30Days”andPBS’“AmericanHigh.”“Theirfilm‘Undefeated’isamasterpieceofverite

documentaryfilmmaking.Theyapproachedthistopicwithsuchthoughtfulnessandartisticflairthatwe

knewthefilmwouldbeinverygoodhandsundertheircare.”

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LindsayandMartin,whohailfromRockford,Illinois,andSeattle,Washington,respectively,

hadn’tyetgraduatedhighschoolin1992.So,likemanyAmericans,theirpreviousknowledgeofthe

eventsofthatyearwasbasedmainlyontheirrecollectionsofafewiconicmomentstheyhadseenon

television.“MostofustendtoremembertheRodneyKingtape,theReginaldDennyincidentatFlorence

andNormandieandthe‘Can’tweallgetalong’speechthatRodneyKinggave,”saysLindsay.

Butwhenthepairsawthereeloflesswellknownfootageassembledbytheproducers,they

werestunned.“Iwasshockedtoseesomeofthoseimages,”saysLindsay.“LikethescenesofKorean

merchantsdefendingtheirbusinesses.AndthemomentwhenanAfrican-Americanstoreownernamed

ArtWashingtonpleadswithlootersandasksthemwhythey’redoingwhatthey’redoing.Thosewere

thingsIhadn’tseen.”

Thefilmmakerswereconvincedthatthepassionconveyedinvideoslikethosewouldtellthe

storyfarmoreeloquentlythananynarratoror“talkinghead”interviewscould.“Ourguidepostisalways

tofindtheemotionintheexperienceandimmersetheaudienceinitsotheycancometotheirown

conclusionsintellectuallyandemotionally,”saysMartin.“Ratherthaninterviewingsomeoneand

presentingthemastheauthorityonthesubjectmatter,ourintentionistoputtheviewerbackinthe

experienceandhavethemwrestlewiththeconflictingemotionsthecityandthecountryweregoing

throughatthetime.”

TheVideosThatSettheWorldonFire

Inanageofubiquitouscellphonecamerasandviralvideos,it’seasytoforgethow

unprecedentedtheimagescapturedbyGeorgeHolliday’sbulkycamcorderwerein1991.The31-year-

oldplumber’sfootageofaswarmofLAPDofficerspummelingaprone,unarmedmanwithkicksand

batonblowswasshownaroundtheclockbynewsnetworks—andtheworldcouldn’tlookaway.“Some

havedescribeditasthebirthofcitizenjournalism,”saysLindsay.

Theimpactofthatvideo,andanothertakenbyasecuritycamerashowingtheshootingof15-

year-oldLatashaHarlins,bolsteredthefilmmakers’convictionthattellingthestoryexclusivelythrough

archivalfootage,withnonarrationorinterviews,wasthebestwaytogo.

Now,asthen,therearewidelydivergentviewsaboutexactlywhathappened—andwhy,notes

Martin.Americansseetheeventsof1992throughtheprismoftheirowncultural,racialandpolitical

perspectives.“Thefactthateveninretrospectsomepeoplecallitan‘unrest’andsomepeoplecallita

‘riot’meansthere’snoconsensusonthenarrative,”hesays.“Sotellingthestorythroughavarietyof

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differentpointsofviewfeltlikeanhonestwayforviewerstodeveloptheirownunderstandingofwhat

transpiredduringthosesixdays.”

AYearofDetectiveWork

LA92featuresfootagefromavarietyofsources,muchofwhicheitherhasneverbeen

presentedpubliclyorhasbeenseenbyonlyasmallnumberofpeople.Thefilmmakerscredittheir

productionteamfordiggingupatreasuretroveofmaterialoverthepastyear.

AccordingtoLindsay,thetraditionalapproachofobtainingnewsandotherfootagefromvideo

archivesdidn’tfitwiththefilmmakers’goaloffindingfreshimagerythatwouldshednewlightonthe

events.“Thearchivehousesdidn’treallyunderstandwhatwewereattemptingtodowhenwefirst

madeourrequests,”hesays.“Theywouldsendusatapeoftheirmost-usedfootage,andwewerelike,

no,wewantALLtheactualtapes.Andthenmaybewe’dgettwotapeswithabitmoreextensive

footage.Soit’stakenafairamountofdetectiveworktogetwhatweneeded.”

Althoughtheeventsinquestionpredatedcellphonecameras,anumberofamateur

videographersdocumentedwhattheysawonhandheldcamcorders.Toobtainsomeofthatfootage,

thefilmmakersvisitedtheLosAngelesFirstAMEChurch,whichplayedacrucialroleinsupporting

victimsoftheviolence,andaskedparishionersiftheyhadanymaterialfromthetimeperiodtheywere

willingtoshare.

Theproductionteamalsocombedthroughlittle-seendocumentariesfromtheera,andeven

contactedthecameraoperatorscreditedinthosefilmstoseeiftheyhadadditionalunusedfootage.

“Sometimeswe’dgetluckyandtheresponsewouldbe,‘Ohyeah,IhavethesefiveothertapesthatI’ve

neverdoneanythingwith,wouldyouliketoseethem?’”saysMartin.

LosAngelespoliceandfiredepartmentvideosalsoprovedtobearichandessentiallyuntapped

sourceofmaterial.ThefilmmakersendedupworkingwiththeLosAngelesCityArchivesandshowed

employeestherehowtodigitizethetapesinitsstoreroomssotheycouldbesharedandused.

Martinemphasizesthatthefilmmakers’goalwasnotsimplytounearthrareorunseenfootage,

buttofindmaterialthatwouldofferviewersadifferentperspectiveontheeventsthatunfoldedinLos

Angelesinthespringof1992.Oneexampleisthevideofromcontemporaneousnewsbroadcastsfrom

LA-basedKorean-languagetelevisionstations.“Thosewhohavesomecursoryknowledgeoftheriots

mayremembertheimagesofarmedKoreanmerchantsdefendingtheirproperties,”heexplains.“But

there’snotalotofthesenseofhowthecommunitycommunicatedamongstthemselvestogettothat

place,orthefactthatthecommunityfeltabandonedbythepoliceandfiredepartment.Sowethought

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itwasimportanttobeabletotalkaboutthatthroughthepointofviewoftheKorean-American

communityinsteadof,say,CNN.That’soneofthethingswetrytodothroughoutthefilmforalotof

differentvoicesandcommunities.”

TheOtherTrial

AlthoughtheLosAngelesriotsareinextricablylinkedinwiththeRodneyKingtrial,another

tragiceventplayedakeyroleinthefrustrationandangerprecipitatingtheviolence:theshootingof

highschoolstudentLatashaHarlinsbySoonJaDu.ThekillingtookplacejusttwoweeksaftertheKing

incidentandinOctober1991,Du,aconveniencestoreownerfromSouthKorea,wasconvictedof

voluntarymanslaughter.Theverdictwasbasedinpartonsecuritycamerafootagethatshowedher

shootingHarlinsinthebackoftheheadasthe15-year-oldAfrican-Americangirlwalkedawayfromher.

ThejuryrecommendedDureceivethemaximum16-yearsentence,buttrialjudgeJoyceKarlinrejected

therecommendationandinsteadsentencedDutoa$500fine,400hoursofcommunityserviceandfive

yearsofprobation.

ThesentenceinfuriatedmanyAfrican-Americansandfurtherdeterioratedalreadystrained

relationsbetweenKorean-AmericanmerchantsandblackresidentsinSouthLosAngeles.“Whenwe

talkedtopeoplewholivedintheAfrican-Americancommunityatthetime,manysaidthattheLatasha

HarlinscasewasequallyifnotmoreimportantthantheRodneyKingverdict,”saysMartin.“Andgoing

throughthefootage,theamountofmaterialwherepeopleonthestreetduringtheriotsmention

LatashaHarlinsmadeitcleartousthatitwasanintegralpartofthestorythathadtobeaddressedin

thesamewayastheRodneyKingcase.”

ASadMerry-Go-RoundLA

Astheysiftedthroughthecopiousvideofootagetheygathered,theLA92filmmakerswerefirst

blownawaybytheenormousscaleandscopeofthedestructionthatengulfedlargeareasofAmerica’s

secondlargestcity.“Wewerealsostruckbytherawpowerofthewaypeopleexpressedthemselves

duringthosefewdays,”saysproducerJonathanChinn.“Everyemotionwasexpressed:anger,love,fear,

grief,hatred,compassion…andforatimetheneedlewaspinnedintermsoftheintensityofthose

emotions.”

Thematerialalsorevealedthewaysthepoliticalrealitiesofthetimeseemtohaveaffectedthe

outcome.“Itseemsliketherelationshipbetweenthefederalgovernmentandthelocalcommunitiesin

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LosAngeles—orratherthelackofanykindofhealthyrelationship—mayhaveaggravatedtheextent

oftheriots.”

Butperhapsthemostwrenchingdiscoverywashowsimilarthecycleofpoliceabuses,

communityangerandpublicviolenceofthepastresembleswhat’shappeningaquartercenturylater.

“I’vereadalotofhistory,andIrealizeditrepeatsitself,butIwasstillsurprisedatthespecificityofthe

repetition,hearingthesamephrasescomeoutofpeople’smouthsin1991and1992aswhatyouhear

onthenewstoday,”saysLindsay.“It’slikeasasocietywe’reonamerry-go-roundandtheonlything

thatchangesisthemusicandtheclothes.Hereweare25yearslaterandit’seerilysimilar.”

LA92isnotoneofthosedocumentariesthatadvocatesforspecificpolicychangesorvoter

initiatives.Rather,thefilmmakershopeitencouragesviewerstofeelempathyfortheperpetratorsof

theviolenceaswellasthevictims—whoinsomecaseswereoneandthesame.

Althoughheacknowledgeshecan’tputhimselfintheshoesofanAfrican-AmericanAngelenoin

1992,Lindsaysays,“Icanempathizewiththeangerpeoplemusthavefeltattheverdict.ButthenIlook

atwhathappenedtoReginaldDennyandIcan’tsaythatrandomviolencelikethatiseverokay.Soit’s

hardtosquarethoseresponses.Themoreweworkedonthefilm,themorewewantedittoreflectthat

inescapableconflictofemotions.”

Althoughthefilmmakersrecognizethatnosinglefilmislikelytochangepeople’sperceptions

aboutthenatureofsuchpolarizingevents,theyhopeitwillatleastinspirereflectionandconversation

abouttheconflictsthatcontinuetoflareupinAmerica’scities.

“Firstandforemostwewantaudiencestobemoved,regardlessoftheirpoliticsortheirfeelings

aboutwhowasrightandwhowaswrong,”saysSimonChinn.“Thegoalofthefilmisnottoanalyzeor

explainwhathappened,buttogetaudiencestofeelwhatitwasliketoactuallyexperiencethoseevents

fromtheinside.”

“Everyoneisgoingtoreadintoitandextractdifferentthingsfromthefilmbecausethey

inherentlybringtheirownideas,intellectandexperiencestoit,”addsMartin.“ButIhopeitencourages

peopletoengageinsomeformofdeeperthinkingasto,forinstance,whytheBlackLivesMatter

movementexists.Ialsohopetheexperienceofwatchingtheeventsunfoldthroughmultiplepointsof

viewshelpsreshapethewaypeopletalkaboutthismomentinhistorymovingforward.”

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ABOUTTHEFILMMAKERS

DANLINDSAYandTJMARTIN(Co-directors)havebeencollaboratingsince2007andareco-

directors,co-editorsandco-cinematographersofthefeature-lengthdocumentary“Undefeated.”The

filmpremieredatthe2011SXSWfilmfestival,whereitwaspurchasedbyTheWeinsteinCompanyfor

NorthAmericandistribution.In2012,thefilmwontheAcademyAwardforBestFeatureDocumentary,

makingMartinthefirstdirectorofAfrican-AmericandescenttowinanOscarforafeature-lengthfilm.

ThefilmwasalsonominatedforBestDocumentaryattheCritics’ChoiceAwardsandBlackReelAwards

andhaswonnumerousfestivalawards,includingtheSpecialJuryPrizeatDOCNYCandAudience

AwardsatIndieMemphisandtheChicagoInternationalFilmFestival.“Undefeated”alsohadthehonor

ofmakingitsinternationaldebutattheTorontoInternationalFilmFestival.

In2012MartinwaslistedonEbonymagazine’sPower100listalongsidePresidentBarack

Obama,ProfessorCornellWestandLeBronJames,tonameafew.Thatsameyear,Martinreceivedthe

awardforOutstandingAchievementinDirectingfromtheSeattleInternationalFilmFestival.

MartinandLindsayhavealsodirectedseveralshort-formpiecesacrossvariousplatforms,

including”MyFavoritePictureofYou.”Thatfilmhasscreenedatnumerousfilmfestivalsandhasbeen

featuredon“TheAtlantic”and“Dazed.”In2014itwaschosenasaVimeoStaffPickandnominatedfora

WebbyAward.

Ascommercialdirectors,theduohashavehelmedcampaignsforcompaniesasdiverseas

Facebook,Prudential,HoneyMaidandTheUnitedNegroCollegeFund.In2014Honeymaid’s“ThisIs

Wholesome”campaignandPrudential’s“ChapterTwo”campaignwereeachhonoredwithaGoldLion

attheCannesLionsFestival.

In2015MartingaveatalkatTEDxonOrcasIsland,Washington,titled“ReimaginingAmerica’s

CultureNarrative,”inwhichheusedhisownexperiencestodiscussraceanddiversityinthefilmand

televisionindustryandinthemedia.

LindsaywasbornandraisedinRockford,Illinois,andgraduatedfromtheUniversityofMissouri

in2001.MartinwasbornandraisedinSeattle,Washington,andgraduatedfromFairhavenCollegeat

WesternWashingtonUniversity,wherehestudiedAmericanculturalstudies.Heandhisdirecting

partnerarerepresentedatWilliamMorrisEndeavorandmanagedatPrincipato-Young.Commercially

theyarerepresentedbyFurlined.

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LIGHTBOX(ProductionCompany)isamultinationalmediacompanyheadquarteredinLondon

andLosAngelesfocusedoncreatinghigh-qualitynonfictionprogrammingforfilm,televisionanddigital

platforms.Itwasfoundedin2014bytwo-timeAcademyAwardwinnerSimonChinnandhisEmmy

award-winningcousin,JonathanChinn.

Priortoco-foundingLightbox,JonathanChinnworkedasoneofthemostrespectednonfiction

televisionshowrunnersintheU.S.,winninganEmmyforhisworkonthegenre-defining

series“AmericanHigh”(Fox/PBS)andtheTelevisionAcademy’sprestigiousHonorsAwardas

theexecutiveproducerandshowrunnerof“30Days,”whichbecameFX’shighest-ratedunscripted

series.Overthepast15years,hehasbuiltupaneclecticbodyofworkthatrunsthegamutfrom

documentarytoformattedreality,allunifiedbyasenseofauthenticityandcharacter-drivennarratives,

withcreditsincluding“TheResidents”(Discovery),“FreshmanDiaries”(Showtime),“KidNation”(CBS),

“HotelHell”(Fox)and“PushGirls”(Sundance).

SimonChinnisoneoftheworld’smostsuccessfulfeaturedocumentaryproducers,withtwo

AcademyAward-winningfilms,“ManonWire”and“SearchingforSugarMan,”tohiscredit.Hehas

producedorexecutiveproducedmanyothercriticallyacclaimedandcommerciallysuccessfultheatrical

documentaries,including“ProjectNim,”“TheImposter,”“TheGreenPrince”and,mostrecently,“My

ScientologyMovie,”starringLouisTheroux,whichwasthehighest-grossingBritishfeaturedocumentary

ofthepastyear.

SimonandJonathan’spartnershiprepresentsaseamlessmeldingoftwodistinctbutcompatible

backgroundsandastronglysharedcreativesensibility.Sinceitsfoundingin2014,Lightboxhasproduced

manynotableprojectsfortheU.S.,U.K.andinternationalfilmandTVmarkets,includingthe

groundbreakingeight-partseries“Captive”forNetflix;theESPN“30for30”filmaboutthe2006Duke

lacrossescandaltitled“FantasticLies”;twodocumentaryfilmsforXboxEntertainmentStudiosabout

thedigitalrevolution,“Atari:GameOver”and“TheThread”;theeight-partinvestigativeseries“The

Traffickers”forFusion;“InsideBritishVogue”forBBC,whichfollowedayearinthelifeof

theiconicfashionbible;and“TheRunner-Up”forEsquire,whichchronicledClayAiken’simprobableand

unsuccessfulrunforaU.S.congressionalseatinNorthCarolina.

UpcomingprojectsincludetheonlyauthorizeddocumentaryaboutlegendarypopiconWhitney

Houston,directedbyAcademyAward-winningdirectorKevinMacdonald;“Warchild,”afilmforChannel

4abouttheSyrianrefugeecrisistoldfromtheperspectiveofthreechildren;and“BareKnuckle

FightClub,”aco-productionwithC4andFXProductions.Drawingonitsuniqueandlongstanding

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relationshipswiththebestcreativetalentintheindustry,Lightboxcontinuestodevelopacclaimed

nonfictioncontentintherapidlychanginglandscapeofunscriptedprogramming.

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DirectedByDANLINDSAY&TJMARTIN

______________________________________________

ProducedByJONATHANCHINN&SIMONCHINN

______________________________________________

Producer

SARAHGIBSON______________________________________________

EditedByTJMARTIN

______________________________________________

EditedBySCOTTSTEVENSON

DANLINDSAY______________________________________________

MusicBy

DANNYBENSI&SAUNDERJURRIAANS______________________________________________

Co-ProducerBENPINER

______________________________________________

AdditionalEditingRYANLOEFFLERELIDESPRES

LineProducer

STUARTSCHWARTZ

ArchivalResearchBEATRICEREAD

ArchiveAssistant

BRANDONBURKHART

EditorialAssistantsJAMIEGARLAND

OTISKING

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AssistantEditorsCOLEWRIGHT

ERICEICHELBERGERJEFFELSTER

KEVINSTEVENS

PostProductionSupervisorLINDA'LINDY'JANOTA

ProductionCoordinator

ALNOWICKI

TitlesandGraphicsByTHEGLOSSARYDesigner/Animator:MATTHEWFREIDELLAnimationProducer:ALLIEDUNNING

PostProductionServicesProvidedByDIFFERENTBYDESIGN

DigitalIntermediateByCOMPANY3NEWYORK

Colorist:KATHRAISCHDIProducer:MARGARETLEWIS

TOMGEHRINGColorAssistant:DUSTINWADSWORTHHeadofProduction:NICKMONTONAccountExecutive:JIMGARDNER

CO3ExecutiveProducer:STEFANSONNENFELD

ArchivalConversionByPERFORMANCEPOSTTachyonOperator:TREVORGUINN

PostProductionSoundServicesProvidedByC.A.SOUNDINC.

Re-RecordingMixer:COLLANDERSONM.P.S.E.SoundEffectsEditor:MATTHEWSNEDECOR

DialogueEditor:DUNCANCLARKAdditionalEffectsEditor:MARKFILIP

FoleyArtist:JAYPECK/STEPPINGSTONEFOLEY

HeadofProductionforLightboxVANESSATOVELL

HeadofDevelopmentforLightbox

SUSANNAHPRICE

AssistantstotheProducersLAURENBRINKMAN

JOSIEBLAND

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ProductionAccountingMEDIASERVICESPRODUCTIONACCOUNTING

JASONMURRAY

ProductionLegalTONYDOHERTYRUSSELLSMITHSMITHDEHNLLP

BusinessAffairsSALLYSHELL

SpecialThanks

TODDDOWNING

ArchivalFootage&Stills

ABCABRAHAMTORRESASSOCIATEDPRESS

CONUSCNN

FOOTAGEWORKSGETTYIMAGES

GEORGEHOLLIDAYGLOBALIMAGEWORKS

HISTORICFILMSITN

JOURNEYMANFOOTAGEKABC7KBSKCALKCBSKCETKCOPKOMO

KOREADAILYKTLAKTTV

LANEWSSERVICELATIMES

LOSANGELESCITYARCHIVESLUCACELADA

NBCUNIVERSALARCHIVESODDBALLFILMSPETERPEARCE

POND5PRODUCER'SLIBRARY

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SANTAMONICAHISTORYMUSEUMSHUTTERSTOCKTEDSOQUI

TERRENCETHOMPSONTIMGOLDMAN

REGGIEBRUMFIELDUSCSPECIALCOLLECTIONS

WAZEE

ForNationalGeographic

ExecutiveProducersTIMPASTORE,MATTRENNERDevelopmentExecutivesALANEYRES,CHARLIEPARSONS

Business&LegalAffairsExecutiveBRANDONSLADELineProducerMEEGANNEEBUnitManagerNICOLEMILOS

ResearchManagerMARKLEVENSTEINProductionCoordinatorMATTSARSHIK

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