Our Crew
Directed by .................................. Andrew McCardle
Produced by ................................. Matt Barone
Produced by ................................. Roger Mulligan
Produced by ................................. Andrew McCardle
Produced by ................................. Richard McGuire
Camera by .................................... Ellison Santos
Camera by .................................... Whitney Browne
Camera by .................................... Matt Barone
Sound Design by .......................... Luigi Porto
Sound Mixed by ........................... Vinny Alfano
Sound Elements by ...................... John Nathans
Sound Recorded by ...................... Dan Hirshon
Sound Recorded by ...................... Lexi Getzelman
Original Score by ......................... Silvio Buchmeier
Original Score by ......................... Tyler Gilmore
Visual Effects by .......................... Travis Spangler
Additional Recording by .............. Ivo Kolev
Additional Recording by .............. David Rosenberg
Additional Recording by .............. Derek Gunther
Production Management by ......... Gary Philip
Production Management by ......... Woody Pognon
On Set AD .................................... Duke Falconer
Set Photography by ...................... Dan Hirshon
Set Photography by ...................... Whitney Browne
Music Recording Prepared by ..... Alex Wakim
Music Licensing by ..................... Katy Mcilvaine
Post Coordinating by ................... Maryanne Braine
Props (Pastry) .............................. Kayisha Thompson
“So many friends and colleagues jumped on board to crew either for several key shoots or for the entire way. Above all the producer Matt Barone and actor/producer Roger Mulligan who were massively instrumental, it can’t be overstated. At times the crew consisted of many people and at times the crew was literally the three of us and those ‘skeleton crew’ sequences are honestly some of the best. They gave it their all and deserve all the credit in the world on this one.
I've never met someone so knowledgeable on history and philosophy in general, and especially New York history, as Richard McGuire who produced many of the film’s shoots and on into post as well, it could not have been made without his involvement. Ellison Santos, Whitney Browne, Matt Barone and I all took to the camera at various points, sometimes handing it off to execute various sequences and concepts, it was highly collaborative and each eye brought so much to the film’s feeling of varying perspectives.
The sound design is what really allows the film to sing in my opinion, and sound designer Luigi Porto transformed the film and it truly came alive with his work, what Luigi did here was to give the film its voice. John Nathans created many original sounds and Vinny Alfano oversaw the rest of post sound and fully mixed the film. He was with us almost a year in post and guided the process every step of the way, his contribution to the film can’t be overstated.
The score is, and always will be, one of the most crucial elements in the paint kit for cinema. With music comes the entire atmosphere. For a film like this with its separate worlds, it was crucial to have two very different voices speaking to us through the composition. For the main score the composer Silvio Buchmeier wrote and conducted the brilliant pieces that capture each of the tones of the material and aetherial segments.
The music for the film needed to feel like the dance of life. With Silvio’s score suddenly cement trucks or a woman walking her dog seem to be stepping in-time to the rhythm of the city and the flow of time. His music swells and recedes counterpoint to the roaring of city buses, the hum of cicadas in green-spaces, the shouts and sirens of the streets. All people and all moods fill these streets, and within his music are the triumphant horns of the elated ones and his melancholy strings finding the stillness of the ones who search.
When we descend into the digital, electronic artist Tyler Gilmore (BlankFor.ms) provides the synths and tones that transform the film. For the film’s final act, his slowly building, slowly burning composition brings us into that next dimension, filled with longing and humanity in a completely synthetic reality. The characters here, as real as fabrications could be, inhabit a digital dream and eventually a nightmare. The way the two scores fit together amazes me and each is incredibly strong on its own. For several key moments as well, many thanks to Giorgio Rossi for allowing us the use of Carlo Alberto Rossi’s incredible piece ‘Stradivarius”’.