Virginia Minnesota

Synopsis (Short)

Childhood friends Addison and Lyle reunite 15 years after a tragedy that robbed them of their mysterious and inspirational little friend Virginia. The three girls had lived at Larsmont Bluff, a forbidding lakeside mansion, which served as a private home for children from troubled families. After the tragedy, the home was forced to close, and Addison and Lyle were sent off to unsettled futures many miles apart. Years later, when the owner dies, they are summoned back to Larsmont for the reading of the will. Together again, Addison and Lyle reluctantly return to a place they vowed never to return. They embark on an illuminating overnight journey where they revisit painful memories and discover long-forgotten gifts Virginia had bestowed on them so many years before.

Synopsis (Long)

Separated for fifteen years by a childhood tragedy that has haunted them ever since, two young women—Lyle and Addison—are reunited at the place both vowed never to return. Lyle and her unusual companion, a “wandering robot” named Mister that she’s picked up on the latest of her never-ending road trips across country, returns to Minnesota’s Lake Superior coastline for the first time since the devastating incident that robbed her and Addison of their mysterious and inspirational little friend named Virginia.

Addison had fewer options than Lyle when the tragedy ended their time together at Larsmont Bluff – a private home for girls from troubled families. Lyle was shipped off to California to live with distant relatives, and instead of returning to her dysfunctional mother, Addison was sent to foster care until she aged out of the program and eventually succumbed to a life of dead-end jobs and small-town pettiness.

Lyle returns to Larsmont when the last surviving owner, Moira Phoebus, dies. It seems Mrs. Phoebus has something to share in her estate instructions, and the four girls who lived at the home when it closed in the aftermath of Virginia’s passing are summoned back to hear whatever might be revealed. When Lyle arrives, she learns that everyone but Addison has made the trip. Because all four girls must be present for the reading of the will, Lyle is forced back out on the road to track down stubborn Addison in Grand Marais – a quaint harbor town near the Canadian border.

Lyle arrives in Grand Marais in the midst of a festival celebrating the history and legends of Minnesota’s North Shore. After an awkward reunion, she convinces Addison to return to the site of their enduring nightmare, so they can close that chapter of their lives once and for all. What begins as a routine two-hour drive quickly turns into an oddly tumultuous and mystical overnight journey. Their unplanned adventures summon up poignant memories of Virginia and the powerful reminders of their days together, those innocent few years when anything seemed possible and the legends of the vast Lake Superior were as real as life itself. Addison and Lyle learn that the tragedy that sent them off on their own uncertain lives many years before had spawned an entirely new legend on Minnesota’s North Shore – one that would strip them of their guilt and change their lives forever.

DIRECTOR’S STATEMENT Daniel Stine

The inspiration behind Virginia Minnesota was drawn partly from stories my grandparents shared with me about a home they managed for boys from severely troubled families. I was struck by the sad reality of what those boys had suffered to bring them there but also by their determination and unique coping mechanisms—even if based in fantasy—and wondered if it gave them what they needed to keep their dreams alive and lead them into a “normal” adulthood. I am also inspired by locations and their ability to tell stories in themselves. On a trip a couple of years ago along Minnesota's Lake Superior coastline, I was impressed by the remote beauty and strong sense of history and folklore associated with the Iron Range region. I travelled through tiny towns and explored forested hiking trails with waterfalls and was moved by the haunting remnants of this region’s proud past. I knew I had found the ideal backdrop for my story, and as I developed the original concept, I felt it would be more powerful if told through the eyes and memories of two young women who had spent time as children in a similar home for girls. I wanted the film to also pay tribute to the stunning scenery and unique essence of the North Shore—the perfect locale for a mystical, poignant and humorous road trip into the past for my two main characters, Addison and Lyle. While the underlying theme of the story is based on a 15-year old tragedy that left these characters scarred and isolated, I didn’t want the movie to have a somber tone. I chose to focus on an uplifting message based on reconciliation, finding the truth and rediscovering a sense of childhood hope and wonder—long forgotten gifts that a little girl named Virginia had imbued in them before her untimely death. Virginia Minnesota is a drama-comedy with a compelling female-led cast, rich in images, music and a host of interesting, accessible characters, each of whom contribute to Addison and Lyle’s journey to recapture innocence and what it means to truly believe. Our tireless and dedicated crew was drawn from 10 states, with strong representation from Minnesota, which is an extraordinarily film-friendly state. Our two leads, Aurora Perrineau and Rachel Hendrix, developed great chemistry on set and together were the heart and soul of Virginia Minnesota. The supporting cast was superb, and each actor added a distinctly memorable layer to the story. My goal was to give the film as "big" a feel as humanly possible on a modest budget, and to accomplish this, I needed great cinematography and compelling music. Brazilian cinematographer Pedro Ciampolini, with whom I'd worked on two of my award-winning short films, was an easy choice for this project, and he delivered beautifully as I knew he would. I also wanted an original score to complement a collection of indie folk songs from artists I've admired for years. Our composer, Gary Dworetsky, who had worked under Hans Zimmer and Lorne Balfe, created a dynamic score, and the singer/songwriters who contributed their music truly gave this film an amazing soundtrack.

Virginia Minnesota Production Notes

Week 1: Duluth-Two Harbors

• Prep Days—Enthusiastic crew takes over the breakfast room at the Days Inn Duluth…art department, UPM work stations and impromptu meetings. Hotel staff very accommodating…so far. Cleaned out a truck full of costumes and props from the University of Minnesota-Duluth Theater Department. Aurora Perrineau finds the perfect Scandinavian beer wench outfit. Recognize quickly that we need a dedicated wardrobe supervisor…local PA won’t cut it on this project.

• Days 1 and 2—tough opening day with a remote outdoor location (Stanley Road, Two Harbors). Good support from Two Harbors police, but roadblocks were marginally effective. Bradley Hasemeyer turns in good comedic turn as the police officer. Aurora has change of mind about wearing her wig the rest of the movie—seemed like a good idea, but way too uncomfortable. Director Daniel welcomes the change! First of many interesting days with catering—restaurant take-out and eating by the side of the road. Day 2 much smoother as crew finds their rhythm. Changeable weather (sun then clouds) giving our lighting/camera crew challenges with scene continuity carryovers from Day 1. The airport runs commence in earnest as we pick up inbound actors (Jessica Miesel and Julia Keefe)flying in from and Spokane, respectively.

• Glensheen Mansion (Days 3,4,5)—Glorious setting at this historic estate on the shores of Lake Superior. Larsmont Bluff exteriors and horse stable scenes. First big challenge of the shoot right off the bat when the staff of Glensheen informs us that they have a wedding on the grounds on Saturday night, which was supposed to be day 6 of filming. This news comes despite our written location agreement that gave us access to film on Saturday. A schedule with zero flex time takes a big hit in week one!

Another surprise on first day when the horse we had hired (and coordinated with the on-site staff) for the stable scene with Lyle (Rachel Hendrix) and Hillman (Daniel Stine) shows up and the Glensheen manager informs us that we cannot bring the horse into the stable, as it is an historic site. Communication, communication….can never assume everyone is on board. Daniel makes a change on the fly…the stable will be empty…no horse. Turns out to be an even more poignant scene in . A planning and communications glitch forces a last-minute scene change, but this one works out fine. Little did we know at the time that Daniel would prove to be an amazing mental gymnast as a Director. Unexpected circumstances and bad weather would prove to be a daunting challenge, and how well he and the crew could improvise would be telling for the next 6 weeks.

Highlight of the week at Glensheen is the water scene with Director, DP and 9-year old Ava Justin (Young Addison) donning wet suits and plunging into the shallows of Lake Superior for a dramatic nighttime scene. Lots of safety and equipment coordination to pull this off. Fortunately, the water temperature of the lake was at least 10 degrees above normal for September. Underwater camera housing worked great as Pedro Ciampolini, our DP, captured some memorable images.

Week 2: Duluth Bed & Breakfast Week

• Cotton Mansion B&B served as the interior of Larsmont Bluff. Gorgeous Italian Renaissance building for so many great scenes with the “Larsmont girls”—present day and 15 years earlier. Crew did a magnificent job protecting the floors and interior décor of the house and the clean-up effort which began at 2 am on the final night of filming was truly Herculean.

• Ellery House B&B, a charming Victorian less than half a mile from Cotton Mansion, was the setting for Suzette’s (Addison’s mother) home. Susan Walters and Carl Palmer (“Bill”) flew in from LA and to join the cast for a 2-day shoot here. Meanwhile, we said goodbye to Jessica and Julia (“Brooke” and “Nakoda”)—two amazing and fun cast members who had wrapped all of their memorable scenes.

Week 3: The North Shore (Grand Marais)

• Our first big company move was two hours up the Superior coastline to the charming town of Grand Marais (population about 1300). Five long days of filming, interiors and exteriors. World’s Best Donuts, Drury Lane Books, Gunflint Tavern, North House Folk School, Grand Marais Marina and Campground were among the notable locations.

• Aaron Hill (Hunter) joined us for his turn as Hunter, Addison’s estranged boyfriend and boat-builder.

• The weather held until the next-to-last day of filming in Grand Marais. The nighttime outdoor festival and Viking boat scene (courtesy of the Hjordis schooner) was a virtual rainout. We got the boat scenes done, although on a shortened timeline, but Daniel was again forced into a major improvisation when it rained throughout the rest of the evening. The city had erected a large festival tent near the marina and it was the only shelter available to the cast and crew. We brought all the equipment into the tent while Daniel, the 1AD and DP huddled up for a one-hour strategy session. An entirely new scene was created and filmed, and we wouldn’t know how it would play until months later in post-production.

• We ended our days in Grand Marais on a high note with the boat burning scene at the marina and campground. Great support from the local volunteer fire department and a state environmental specialist who told us exactly how long we could let the fiberglass boat burn before it would begin emitting toxic fumes. Good way to wind up a busy and occasional stressful week on set.

Week 4: The North Shore (Silver Bay and Split Rock Lighthouse)

• Company move 2 took us down the coast 45 minutes to Silver Bay. On the way, we stopped for a short scene at Taconite Harbor, an iron ore ship-loading facility. Aurora and Rachel are on top of their game in this confrontational scene with a beautifully desolate backdrop of ghost town buildings and a sparkling Lake Superior. A familiar challenge with a road side shoot—no logistics or support (bathrooms, etc.) anywhere close by.

• The rest of the week (and the rest of the shoot!) was exclusively exterior filming, much of it at night. Hope became a top method of planning—tracking the perilous September weather patterns along Lake Superior became a daily obsession. Our timeline was tight, and we were already behind schedule after the Glensheen mix-up. Canceling a day due to weather was a real threat, which would have put us further behind. After a few close calls with storms that bypassed us to the north and south, we managed to stay on schedule and film every critical scene.

• Highlights—the “Johnny Darter” tour boat scenes, courtesy of Scenic Superior Cruises and Captain Jay Hanson. Aurora, who is susceptible to motion sickness, was nervous about her scenes underway on the choppy waters of the massive lake, but she toughed it out and did a great job. Rachel, no stranger to motion sickness herself, was more than happy that her scenes did not include time aboard the boat. The Split Rock Lighthouse scenes were challenging in a number of ways. Setting up all the moving parts of an outdoor concert scene and then relying on the support of a local “rent-a-crowd” to show up during a weeknight was a bit tenuous. We had anticipated a crowd of well over a hundred, but less than half of that showed up. Daniel and Pedro (DP) repositioned the cameras and shot angles to tighten the setting and make it appear that there was a much larger crowd during the dance scenes. The lighthouse manager cranked up the magnificent light at the end of the evening, giving us some unforgettable shots, but he could not approve the use of live fireworks. The fireworks display at the end of the Split Rock dance party had to be inserted in post production. Week 5: Across the lake to Wisconsin

• Another big company move, this time passing through Duluth and across the bridge to Superior, Wisconsin. We would spend the next 5 days at Camp Amnicon, a Lutheran church adventure camp in the woods. This is where the Wendigo monster scene and the Terrificarium scene with the amazing Eyas Younis playing the flamboyant role of Gabriel. Duluth-based scenic designer Jeff Brown created the Terrificarium pageant wagon and a team of local dancers and actors made up the traveling troupe depicted in this scene. The Terrificarium was Daniel’s way of honoring pageant wagons of long ago and the Shakespearean construct of “a play within a play.”

• We had no trouble using horses in this setting. Two horses (Buff and Rock) provided by a local family pulled the Terrificarium wagon and proved to be wonderfully patient extras in the movie.

• Daniel pulled another rabbit out of his directorial hat while at Camp Amnicon. Rain once again threatened to wash out a spooky scene in the woods involving the Wendigo monster. The monster outfit, worn by a stilt-walking actor, featured a mix of semi-authentic fur and latex, and was not designed to get wet. Daniel quickly adjusted the script and wrote in a comically scary indoor scene. The art department hustled to prepare the cabin and fireplace, while Daniel worked with Aurora, Rachel and the Wendigo (James Ouray) on the new scene and dialogue. The resulting scene was a great spirit-lifter for the crew and delivered one of the more scintillating scenes in the movie. In the end, the “locked” production script had to be unlocked several times, proving the value of flexibility and creative innovation. Indie filmmaking at its flawed best!

• Incredible and kind support from the staff at Camp Amnicon. Our crew was well fed and treated like royalty in the bunkrooms and cozy main cabins. No-one wanted to leave when we wrapped.

Week 6: Back in Duluth

• As October rolled around, we found ourselves back where we started in late August. We added two additional days of filming due to some astute planning and schedule adjustments by Daniel and our 1AD, David “DT” Thiennes. In order to accommodate the added days, we had to screen every crewmember to determine if they could stay with the production until the end, and all but two were able to do so.

• The beginning of week 6 was dedicated to a reshoot of a driving scene from week one and the waterfall/forest scene featuring Addison, Lyle and Ehawee, the Ojibwe women played to deadpan perfection by Korey Northrup.

• We returned to Glensheen for an additional 3 days of filming (including the lost day from week one) and survived some near-freezing nights that went until sunrise. Some high adventure on the final night of filming. Daniel and our DP (Pedro) were capturing some B-roll footage from a moving vehicle about an hour before we began filming at Glensheen. While they were filming from the car, a local observer called the police, thinking that the camera sticking out the window was a weapon. When Daniel and Pedro pulled into the parking lot of Glensheen, with the crew busy setting up nearby, three Duluth police cruisers roared into the lot and surrounded Daniel’s car. With guns drawn and spotlights focused on the car, the police ordered them to show their hands out the window. Once the truth was revealed, the police officers hung around for awhile chatting with Daniel and Pedro, both grateful that they had not been arrested or shot on the final night of principal photography. That was just the beginning of a long, cold finale for the Virginia Minnesota cast and crew. By early morning the next day, the cold drizzle had turned into sleet and snow, and the final emotional scene between Aurora and Rachel on the jetty proved to be a fitting end. Both actresses delivered perhaps their finest work under the harshest of conditions. The weather finally cleared as the crew loaded up, and as the sun rose on a chilly Friday morning, we all celebrated picture wrap after a roller coaster six week journey up and down the Lake Superior shoreline.

Takeaways and Lessons Learned

• No matter how tight your budget, make sure you schedule in flex time and additional shooting days. You cannot control the weather and you may not be able to avoid disruptions in your location agreements. The project can be in jeopardy if you have zero flex or make-up time. Money buys you people and equipment, but it must also buy you TIME to finish the movie. • An experienced 1st Assistant Director (1AD) is absolutely vital to staying on schedule and keeping the crew together and informed. The 1AD does not have to be a tyrant— diplomacy is key and his/her communications skills are key. • A Unit Production Manager must be great with the paperwork and running the production office, but he/she must also have strong leadership skills and an even emotional keel. The UPM hears all the back channel gossip from makeup, wardrobe, transportation, craft, PAs, etc. and must handle miscommunication, rumors and the seeds of petty discontent. • When planning your work day, keep in mind a 12-hour day does not mean 12 hours of filming. If it does, remember that the crew, particularly grip/electric, camera, art department are working additional hours for set-up and particularly tear down. A 12- hour day is usually a 14-hour day for much of your crew. If you aren’t paying them overtime and/or giving them reasonable days off (no successive 6 day work weeks) then you need to tone down your shooting schedule to ensure their 12-hour day means all of their duties are completed in that time. • Script Supervisor is key. Many low budget indies don’t resource this position, or do it with someone inexperienced. “Scripty” is essential! • Make sure to build in “surge” capability on your crew. Have a roster of stand-in crew for those days when you need more manpower (night shoots with additional lighting, complex scenes, split location days, or multiple actors involved). Additional grip/electric crew can be called in as needed, but more planning may be necessary for skill sets like make-up, wardrobe and art department. If you have many actors needing hair and makeup, you may have significant time delays if you don’t have sufficient makeup assets to get them prepped and in front of the camera on time. Don’t let you director and crew stand around waiting for actors to come out of makeup. • Lots of drivers and PAs! We had many times when we needed to send drivers to and from the airport to pick up or drop off actors. Sometimes essential personnel from the crew had to stop what they were doing to run errands or make airport runs. We quickly learned that dedicated drivers and other PAs were absolutely necessary to keep operations going. And make sure to give them the assets (phone, petty cash, etc) to get their jobs done. • Catering and food service (including craft) is hugely important. Make sure you know your team’s food preferences (allergies, etc) and plan your food service with care. Make sure you have a comfortable place for the cast and crew to eat on set whenever possible. They will endure • sitting on the ground or in their vehicles for awhile, but it is important to give them a decent place to sit and eat. • If you have a project with multiple company moves, your lodging plan (and costs) is very important. Hotels will eat up a large portion of your budget. Where you bunk your cast and crew is important—take care of them as best as you can, but do not underestimate how much you might spend on this critical aspect of production. • POST PRODUCTION: Plan and resource this very carefully before you even start filming. You may be able to get away with a pick-up team for many post production functions, but a detailed plan, adequate budget (post production specialists—editors, colorists, sound designers/mixers, composers, etc. tend to be WAY more expensive than your average production crew) is vital. An experienced post production supervisor may be a luxury, but without one, you may flounder and go through a very long, stressful and needlessly expensive post process. This individual must understand all of the technical functions and requirements and what it will take to get your film ready for a distributor.

BIOs VIRGINIA MINNESOTA

DANIEL STINE – Writer/Director

Daniel Stine is an Atlanta-based writer, director and actor. After graduating from the University of North Carolina-Greensboro, Stine wrote and directed (and appeared in) three short films (God and Vodka; Grape; The Championship Rounds). Collectively, his short films appeared in more than 50 film festivals, garnering over 30 awards in multiple categories, including Best Film, Audience Choice Award, Best Director, and Best Screenplay among others.

His debut feature film, Virginia Minnesota, is a drama-comedy, inspired by the remote beauty and folklore of Minnesota’s Lake Superior coastline and is loosely based on stories he heard from his grandparents who ran a home for neglected children. Virginia Minnesota hit the festival circuit in 2018 and has received numerous awards, including Best Hollywood Film (Hollywood Film Festival), Best Feature Film (Kew Gardens Festival of Cinema), Best Narrative Feature-MN Made (Minneapolis St Paul International Film Festival), and Best Drama-Comedy Feature (Indie Gathering International Film Festival). Stine is the co-founder of Rushaway Pictures, a family-owned independent film production company and has two other feature projects in development.

MIKE STINE—Producer

Mike Stine is a film producer and the president of Rushaway Pictures, an independent film production company out of Virginia and Georgia. He served as producer on Daniel Stine’s three award-winning short films (God and Vodka, Grape, The Championship Rounds) and his debut feature film, Virginia Minnesota.

HELEN STINE—Producer

Helen Stine is a film producer and author. She is co-founder of Rushaway Pictures, a family- owned independent film production company, and served as producer on two of Daniel Stine’s award-winning films – his short Grape and his debut feature film Virginia Minnesota. Helen’s novel, The Truthful Story is a work of literary fiction and has won numerous awards since its publication in 2016.

DANIEL STINE—Producer (See above bio)

GARY DWORETSKY—Composer

Gary Dworetsky is a composer, born and raised in New York. His music has been heard in films, video games, TV shows, and concert halls around the world. He's known for his film work on Transformers: The Last Knight, Fast & Furious 6, and Teenage Mutant Ninja Turtles: Out of the Shadows. He has worked on video game scores including “Assassin’s Creed III”, “Skylanders: Trap Team”, and “Beyond: Two Souls.” He collaborated with Director Daniel Stine on Stine’s feature film Virginia Minnesota and the short film Grape, which earned Dworetsky a nomination for the Domani Vision Award in the Short Form Score category. His concert music has been performed in Bucharest, Pyongyang, New York, and London.

PEDRO CIAMPOLINI—Director of Photography

Originally from São Paulo, Brazil, Pedro Ciampolini is a cinematographer with numerous film credits and has received awards from major film festivals, including Cannes International Film Festival, Leeds International Film Festival, Rhode Island International Film Festival, and Cleveland International Film Festival. In 2014, he shot a feature film produced by Disney Studios for the Bollywood market in India. He was the cinematographer for two of Daniel Stine’s award- winning films—the short film, Grape, and Virginia Minnesota, an independent feature film produced in Minnesota. Ciampolini is currently a director and cinematographer for commercials and TV series (HBO and Discovery).

MAIN CAST

AURORA PERRINEU (Addison)

Aurora Perrineau is known for her roles in Equals, Jem and the Holograms, Pretty Little Liars, Freaks of Nature, Truth or Dare, and Passengers, in which she appeared with Jennifer Lawrence. Aurora stars in the role of “Addison” in Daniel Stine’s feature film Virginia Minnesota and was recently honored for her outstanding performance by the Hollywood Film Festival.

RACHEL HENDRIX (Lyle)

Rachel Hendrix is known for her roles in the award-winning indie-drama October Baby and The Perfect Wave, as well as appearances in the acclaimed film, Christine and blockbuster, Allegiant. Rachel stars in the role of “Lyle” in Daniel Stine’s feature film Virginia Minnesota and was recently honored for her outstanding performance by the Hollywood Film Festival.

JESSICA MIESEL (Brooke)

Jessica Miesel is an actor and singer from Atlanta, GA and is known for her TV and film work in The Resident, The Purge, Office Christmas Party, and The Best of Enemies. She began singing classical music at age 8 and started acting in theatre at age 15, which led to a degree in musical theatre. Jessica has since found a career in film and television, particularly with comedy and improv. She plays the role of “Brooke” in Daniel Stine’s debut feature film Virginia Minnesota.

JULIA KEEFE (Nakoda)

Julia Keefe, a member of the Nez Perce Tribe, is a professional jazz vocalist and actor and has performed all over the U.S. and Europe, opening for legendary performers like Esperanza Spalding and Tony Bennett. Julia is originally from Seattle, WA and after graduating from University of Miami’s Frost School of Music, she spent time in Paris and Los Angeles, then returned to Washington State to teach jazz voice at Gonzaga University. She made her big screen debut as “Nakoda” in Daniel Stine’s feature film Virginia Minnesota.

SUSAN WALTERS (Suzette-Addison’s mother)

After growing up in Chamblee, Georgia, Susan moved to New York when she was 18. She started acting classes as well as modeling for Elite and landed several commercials while auditioning. Within a year, Susan was cast on Loving, a daytime drama for ABC. As soon as her contract ended, she did her first film and then moved to Los Angeles to begin a career in prime time television as well as film (Vampire Diaries, Teen Wolf, Elvis and Me, ). Susan appeared in Daniel Stine’s short film, Grape before playing the role of “Suzette” in his debut feature film, Virginia Minnesota.

EYAS YOUNIS (Gabriel) Eyas Younis is known for his work on Armed Response and on popular TV series such as Taken, Orange is the New Black, House of Cards, and Homeland. Originally from Jordan, Younis moved to in 2001 to get his MBA degree and paid for expenses by teaching ballroom dancing and martial arts. After working in several corporate positions, he became passionate about acting and was chosen for a role in a feature film in Jordan. After starring in a few more productions, he moved back to NYC in 2012 to pursue acting full-time. Younis plays the role of “Gabriel” in Daniel Stine’s feature film Virginia Minnesota.

AARON HILL (Hunter)

Born in Santa Clara, California, Aaron Hill is an actor known for his work in Transformers: Revenge of the Fallen, The Night Before, A Warrior’s Heart, and Greek. Hill plays the role of “Hunter” in Daniel Stine’s feature film Virginia Minnesota.

DANIEL STINE (Hillman)

(See above bio)

CARL PALMER (Bill)

Carl Palmer is known for his work in Dallas Buyers Club, Bloodline, Roots, and 99 Homes. He traded in his pursuit of law school for acting and went on to get a Master of Fine Arts degree from Cal Arts. After spending time in New York and L.A., he now permanently resides in New Orleans. In addition to numerous film and TV roles, he is also a veteran of over 50 Off-Broadway and major regional theatre productions. Palmer played the role of “Bill” in Daniel Stine’s feature film Virginia Minnesota. HAROLD PERRINEAU (Voice of “Mister”)

Harold Perrineau grew up in Brooklyn and studied music and theatre at the Shenandoah Conservatory. He is known for his film work in Romeo + Juliet, Reloaded, The Edge, 28 Weeks Later, and for roles in numerous TV series that include Claws, Lost, , and Oz. Perrineau starred in Stine’s award-winning short film The Championship Rounds and provides the voice of “Mister” the wandering robot in Daniel Stine’s feature film Virginia Minnesota.

END CREDITS (AS THE APPEAR ONSCREEN)

written & directed by Daniel Stine

produced by Mike Stine

produced by Helen Stine Daniel Stine

executive producers Chris Swain Debbie Swain David Swain Mary Swain

director of photography Pedro Ciampolini

production designer Preston Grant

edited by Benjamin Caro

original music by Gary Dworetsky

AURORA PERRINEAU

RACHEL HENDRIX

JESSICA MIESEL

JULIA KEEFE

SUSAN WALTERS

EYAS YOUNIS

AARON HILL

DANIEL STINE

CARL PALMER BRADLEY HASEMEYER EMMA REAVES

JOCELYN HANSON AVA JUSTIN KYLI NAULT

and HAROLD PERRINEAU as the voice of “Mister”

casting by RITA HARRELL, CSA JEN KELLEY, CSA

Unit Production Manager COURTNEY LUCZYWO First Assistant Director DAVID THIENES Second Assistant Director DAKOTA LADEN

CAST

Addison AURORA PERRINEAU Lyle RACHEL HENDRIX Brooke JESSICA MIESEL Nakoda JULIA KEEFE Suzette SUSAN WALTERS Gabriel EYAS YOUNIS Hunter AARON HILL Hillman DANIEL STINE Bill CARL PALMER police officer BRADLEY HASEMEYER Marcie EMMA REAVES Chloe / Virginia JOCELYN HANSON Young Addison AVA JUSTIN Young Lyle KYLI NAULT Mister HAROLD PERRINEAU Johnny Darter captain JAY HANSON boy on beach BRJEN JONES Ehawee KOREY NORTHRUP Wendigo JAMES OURAY Darla ANGELIQUE ROBINSON Chloe’s mother AMY SANDELIN Burke JOSH SCHWARTZ tavern singer LESLIE SANAZARO trumpet player DAWN WEBER singer on beach JAVIER TREJO terrificarium troupe performers JILLIAN FORTE ADAM SIPPOLA (AS DICK) NICOLE SIPPOLA MICHAEL FURO MATTHEW SMITH

CREW

director of photography PEDRO CIAMPOLINI production coordinator JOSH SCHWARTZ production designer PRESTON GRANT art director MIRANDA RHETT assistant art director JOHN CANO script supervisor ANDREW BJORKLUND first assistant camera EVAN STULC second assistant camera JACOB VELANDER 2nd unit director of photography KYLE MOE digital imaging technician/loader KADIE SPINKS day player camera department THOMAS AKSAMIT set photographers JOANN JARDINE BEN DETERLING key grip TRACY MAILLOUX best boy grip ANDREW DAMMER company grip ZACHARY GREEN additional grip JEFFREY BRANNON gaffer ALEX STEVENS best boy electric BEN LABRIE lighting technician ELI ROSS production sound mixer TROY BAKEWELL boom operator CHRISTIAN COLE wardrobe supervisor AMBER GIVENS key makeup/hair stylist MAGGIE SACKMAN assistant makeup/hair KACI WEGLEITNER EMILY HELLAND set construction supervisor JEFF BROWN set painter ASHLEY WERELEY Wendigo costume creator NICK REISINGER “Mister” designer/builder LUKE PAROBEK assistant production office coordinator LAURA TARZIERS locations/craft manager BRANDON COLE set driver AUDREY SWENSON key production assistant ALEX SCHROEDER production assistants BEN THORSON CONNOR HOPKINS TANNER WISEMAN THOMAS VANDENDOLDER JOE COHEN

associate producers KOURTNEY LYONS JESSICA BERGREN

casting by BIG PICTURE CASTING RITA HARRELL, CSA JEN KELLEY, CSA Minnesota casting VANESSA LARA

post production supervisor MIKE STINE post production coordinator RACHEL HENDRIX editor BENJAMIN CARO colorist JOHN CARRINGTON assistant colorist ALLEN BAKER post assistant GUNNER WILLIS post production sound supervisor RANDY GARMON re-recording mixer DAN SCHAEFER sound effects editor BRIT WARNER, M.P.S.E., C.A.S. composer GARY DWORETSKY orchestrator NATHAN CIARAMELLA music mixer RICHARD FURCH guitar GUY PRALL violin/viola ANDREW SMITH cello ANNE BERRY recording engineer HENRY SMITH score consultant LORI CASTRO ADR recorders SOUNDWORKS STUDIOS visual effects by STORMWALKER VFX supervisor ARTEM MIROSHIN digital painting MADIA BONDAREVA motion graphics ALEXEY KOENIG

final mastering/quality control VISION DIGITAL SERVICES, MARIETTA, GA

catering provided by VALENTINI’S VICINO LAGO, DULUTH, MN CAMP 61, BEAVER BAY, MN GALE CARLSON, GRAND MARAIS, MN BONNIE ARNCE, CAMP AMNICON, WI production equipment courtesy of TROY BAKEWELL CINEMECHANICS MOTION PICTURE CAMERA SERVICES LIGHTS ON MINNEAPOLIS TASTY LIGHTING SUPPLY GATOR GRIP AND LIGHTING

drone services courtesy of THE PICTURE FACTORY picture vehicles courtesy of MICHAEL DULINSKI payroll services provided by SOUND 80, MINNEAPOLIS, MN insurance provided by OTIS-MAGIE/RW LARSON INSURANCE COMPANY legal services provided by BLAKE IVERSON, FRIEDMAN IVERSON PLLC

“SUITCASE FULL OF SPARKS” BY GREGORY ALAN ISAKOV, J. WAGNER, RON SCOTT COURTESY OF SUITCASE TOWN MUSIC, INC.

“THE WHEEL” “SEE YOU SOON” WRITTEN AND PERFORMED BY JAVIER TREJO BY AUSTIN BASHAM COURTESY OF NETTWERK MUSIC GROUP

“SHOT OF ALCOHOL” BY PRATEEK KUHAD COURTESY OF PAGAL HAINA

“THESE THINGS DO NOT DEFINE YOU” “NEVER BEEN A CAPTAIN” WRITTEN AND PERFORMED BY LESLIE BY THE BARR BROTHERS SANAZARO COURTESY OF SECRET CITY RECORDS

“DANCE ALL NIGHT” COURTESY OF POND5

“ANOTHER MINUET IN G MAJOR”. “FEVER DREAM” AND “YACHT CLUB” BY GOLD CASIO COURTESY OF JINGLEPUNKS COURTESY OF MARMOSET, LLC

“LIGHT YEAR” BY GREGORY ALAN ISAKOV COURTESY OF SUITCASE TOWN MUSIC, INC.

“EVELYN” “OH, LOVE” BY GREGORY ALAN ISAKOV BY PRATEEK KUHAD COURTESY OF SUITCASE TOWN MUSIC, INC. COURTESY OF PAGAL HAINA

“DOLARHYDE (THE COLONEL’S SONG)” WRITTEN AND PERFORMED BY DANIEL STINE

WE WOULD LIKE TO EXTEND A VERY THANK YOU TO:

(2 side by side columns - 1ST Column) CHARLES AND BECKI SWAIN JERRY AND SANDI CROAN RIKI MCMANUS, UPPER MINNESOTA FILM OFFICE JANELLE JONES, CITY OF TWO HARBORS CHAMBER OF COMMERCE LEE RADZAK, SPLIT ROCK LIGHTHOUSE HISTORIC SITE THE MINNESOTA HISTORICAL SOCIETY MINNESOTA DEPARTMENT OF LABOR AND INDUSTRY THE STAFF OF GLENSHEEN HISTORIC ESTATE, DULUTH, MINNESOTA THE REGENTS OF THE UNIVERSITY OF MINNESOTA JIM AND JOAN HALQUIST, ELLERY HOUSE BED AND BREAKFAST, DULUTH, MINNESOTA KEN AND KIMBERLY APARICIO, COTTON MANSION BED AND BREAKFAST, DULUTH, MINNESOTA JEFF GECAS, GUNFLINT TAVERN, GRAND MARAIS, MINNESOTA JOAN DRURY AND GWEN DANFELT, DRURY LANE BOOKS, GRAND MARAIS, MINNESOTA DEE BRAZELL, WORLD’S BEST DONUTS, GRAND MARAIS, MINNESOTA THE STAFF OF CAMP AMNICON, SOUTH RANGE, WI (HANNAH DAMON, BRAD DAMON) “RHUBARBARA” COURTESY OF MARY SCHMITZ, CHUM DULUTH CITY OF TWO HARBORS, MN POLICE DEPARTMENT DAN WALKER, CITY OF TWO HARBORS ADMINISTRATOR MIKE ROTH AND MARY SOMNIS, CITY OF GRAND MARAIS SILVER BAY MARINA “JOHNNY DARTER” COURTESY OF JAY HANSON, SCENIC SUPERIOR CRUISES AND M/V WENONAH VIKING BOAT “HJORDIS” COURTESY OF NORTH HOUSE FOLK SCHOOL TERRIFICARIUM HORSES (“BUFF” AND “ROCK”) COURTESY OF CATHY CARLSON AND ROGER STALVIG JESSICA PAROBEK DEVON OGDEN ELIZABETH BRISSENDEN KRAIG DECKER, PARKS PERMIT COORDINATOR, CITY OF DULUTH T&E CONCERT SERVICES

(2ND Column) WENDIGO MONSTER ILLUSTRATION COURTESY OF FRANK VICTORIA MISHIPESHU ART COURTESY OF LUIS CARRASCO TACONITE HARBOR ENERGY CENTER AND MINNESOTA POWER KATIE KRANTZ, VISIT COOK COUNTY, GRAND MARAIS, MN DAVE BETTS, COOK COUNTY ENGINEER, GRAND MARAIS, MN STEVEN VEIT, NORTHWEST PLOW AND AUTO, DULUTH, MN DAVE TERSTEEG, GRAND MARAIS MARINA MATT NESHEIM, NORTH HOUSE FOLK SCHOOL GRAND MARAIS VOLUNTEER FIRE DEPARTMENT LAURA PIOTROWSKI UNIVERSITY OF MINNESOTA-DULUTH THEATER DEPARTMENT RICHARD ROSVALL COURTNEY SMITH KATHY WATTERS PASTOR JOEL ABENTH DEB LAFLEUR PAUL NORDLUND, SUPERIOR SIGN WORKS, GRAND MARAIS, MN CAROL HOFSCHULTE, SPIRIT GAS STATION, SILVER BAY, MN ALANA BUTLER BLACK WOODS GRILL AND BAR, DULUTH, MN BLACK WOODS GRILL AND BAR, TWO HARBORS, MN CARMODY 61, TWO HARBORS, MN BLUE WATER CAFÉ, GRAND MARAIS, MN SVEN AND OLE’S PIZZA, GRAND MARAIS, MN DARREN WAMPLER AND THE STAFF OF COMFORT INN, DULUTH SHERYL KOCHEVAR, IRON RANGE RESOURCES AND REHABILITATION BOARD (IRRRB) LEE ZIMMERMAN CALEB MONTPETIT CALEB “THE VIKING” MATTISON

SPECIAL THANKS TO SAG/AFTRA

SPECIAL THANKS TO MINNESOTA FILM AND TV

SAG-AFTRA logo

RED DIGITAL CINEMA PROFESSIONAL logo SNOWBATE logo

VISION DIGITAL SERVICES logo

©RUSHAWAY PICTURES, LLC ALL RIGHTS RESERVED

THE PERSONS AND EVENTS IN THIS MOTION PICTURE ARE FICTITIOUS. ANY SIMILARITY TO ACTUAL PERSONS OR EVENTS IS UNINTENTIONAL.

VIRGINIA MINNESOTA

DISTRIBUTED BY INDICAN PICTURES