Press Kit the Village Barbershop Contact

PRESS KIT THE VILLAGE BARBERSHOP CONTACT

CHRIS FORD writer/director/producer 29 Amicita Avenue Mill Valley, CA 94941 (415) 317-1439 phone (415) 634-3099 fax [email protected] thevillagebarbershop.com

STEVEN G. KAPLAN RAINSTORM ENTERTAINMENT producer’s representative 212 Marine Street Suite 205 Santa Monica, CA 90405 [email protected] rainstormentertainment.com (818) 269-3300 cell (310) 496-0223 fax

Poster art and illustration courtesy of Sean Farrell. Sean designed the poster art for The Devil Wears Prada and is co-owner of Bald Guy Greeting Cards. THE VILLAGE BARBERSHOP REVIEW JOHN RATZENBERGER SHELLY COLE AND CINDY PICKETT THE VILLAGE BARBERSHOP

ADDITIONAL CAST SYNOPSIS Amos Glick Art Leroldi is terminal. Terminally irritable, that is. A small-time Reno barber stuck in George McRae a rut of haircuts, hot dogs and horse books, he lives every day like a warmed-over Josh Hutchinson version of the last. Hit with the unexpected death of his long-time business partner Laurellee Westaway and last apparent friend, he’s faced with losing the only thing in life he’s got left—his FILMMAKERS “man’s man” barbershop. To keep it, he’ll be forced to hire the last person on earth Chris Ford he’d ever want working there—a woman. More specifically, Gloria MacIntyre, a spit- Writer/Director fire young girl who suddenly finds herself unable to take Art’s no for an answer. This is Jason Newmark the humorous, sweet story of a fading old man who’s lost his way and a determined Co-Producer young woman looking to find hers. Two unlikely people offered a second chance in Scott Gragson one unlikely place—The Village Barbershop. Executive Producer

Ian Montgomery REVIEWS Editor “…This is precisely the sort of movie people who no longer go to movies often complain ‘they just don’t make anymore.’ The Village Barbershop is just as warm, Cliff Traiman Director of Photography humorous and ingratiating as it means to be, with solid work by all principal cast.” — VARIETY Natalie Sanfilippo Production Designer “With outstanding outings from Ratzenberger and Cole, The Village Barbershop lathers up a poignant piece of first-time filmmaking.” Michael Tremante — MOVING PICTURES MAGAZINE Score “Most of the time, The Village Barbershop is the little boutique movie at its finest; other Jihyun Kim times it’s the little boutique movie at its most crowd-pleasing.” Wardrobe and Makeup

— SAN JOSE METRO Bob Spector Brittany Shane Soundtrack THEVILLAGEBARBERSHOP.COM

C ONTACT ı CHRIS FORD ı 415 317 1439 ı [email protected]

GETTIN’ TO THE POINT (short) Art Leroldi is a fading Reno barber stuck in a rut of haircuts and horse books suddenly faced with a difficult decision. Give up the one thing he’s got left—his “man’s man” barbershop—or hire the last person on earth he’d ever want working there—a woman.

TAKIN’ A LI’L MORE TIME (long) Art Leroldi is terminal. Terminally irritable, that is. A small-time Reno barber stuck in a rut of haircuts, hot dogs and horse books, he lives every day like a warmed-over version of the last. Hit with the unexpected death of his long-time business partner and last apparent friend, he’s faced with losing the only thing in life he’s got left—his “man’s man” barbershop. To keep it, he’ll be forced to hire the last person on earth he’d ever want working there—a woman. More specifically, Gloria MacIntyre, a spitfire young girl who suddenly finds herself unable to take Art’s no for an answer. This is the humorous, sweet story of a fading old man who’s lost his way and a determined young

woman looking to find hers. Two unlikely people offered a second chance in one unlikely place— The Village Barbershop.

TRT: 99 MIN./LANGUAGE: ENGLISH/GENRE: DRAMEDY

C ONTACT ı CHRIS FORD ı 415 317 1439 ı [email protected] THE VILLAGE BARBERSHOP DIRECTOR’S STATEMENT

This film should still be in my desk drawer right now, a script shoved underneath a bunch of man junk and a Zip-lock™ bag full of dark chocolate that I keep hidden from my wife. But it’s not. It’s a film.

So how did that happen? What defining feature of my personality allowed it to get out? To escape the drawer? Umm…I was naïve. Yep. Naïve. Completely clueless. Utterly unaware. A dope.

Seriously. It’s funny. You read all these how-to books about making your first film—books that want to fill you up and tell you everything, but nowhere in any of them does anyone mention the substantial benefits of not knowing anything. And for me, it was thenot knowing of filmmaking that made the not possible, possible.

So where did this journey of blissful ignorance start? Specifically, in the summer of 2004. At the time I was a copywriter for a San Francisco advertising agency and we were shooting some commercials with a guy by the name of Ed Burns. Ed, or Eddy as everyone seems to refer to him, makes independent films, knows everyone at Peter Lugar’s Steak House in Brooklyn, and is married to a supermodel. In other words, for an ad guy, or anyone else for that matter, shooting commercials with Ed Burns is pretty cool.

Now, commercial shoots aren’t like independent film shoots. Instead of looking to shoot five, six and seven pages a day, commercial guys are looking to shoot one. And usually it’s a short one. And on top of that, the money spent on a single thirty-second commercial could often fund a single, ninety-minute feature film. Long story short, there was plenty of money, and plenty of money means lots of time, and lots of time means lots of sitting around. Sitting around in casting. Sitting around on the set. Sitting around at restaurants and on park benches and in hotel lobbies. And when you sit, you talk, and when you talk, you talk about your wife and your kids and maybe after a few drinks you even talk about a script you have in your desk drawer shoved underneath a bunch of man junk and a Zip-lock™ bag full of dark chocolate that you keep hidden from your wife.

“What’s it about?” someone asks. “This fading old barber,” I answer.“What happens?” someone else says. “His partner dies and he has to hire this crazy young woman to help him save his man’s man barbershop.” Lots of polite chit chat. More drinks. Not right for the studios. Not a script anyone would ever buy. Lots of me feeling stupid for bringing up movies to real movie guys. And then somebody, specifically Ed’s producer, Aaron Lubin, tosses off something like, “Why don’t you just shoot it yourself?”

Now personally, I don’t know what the fuck Lubin was thinking. The guy doesn’t really drink and he’s super grounded and seems to have everything under control, so as much as I wanted to, I couldn’t toss off the comment as completely crazy. I had to actually think about it and consider it and mull it over just long enough for it to get under my skin. And it stuck. It stuck hard.

It had occurred to me to write the script. It had occurred to me to put it down to try and write something that was more “sellable.” But it had certainly never occurred to me to “Just shoot it myself.”

But once Lubin said it, I knew that’s what I had to do. And luckily, I had no idea how to do it, where I would start, how long it would take or how hard it would be. Because, luckily, I possessed the single most important personality trait a first-time filmmaker can have:

I was naïve. THE VILLAGE BARBERSHOP FILMMAKER BIOS

*CHRIS FORD writer/director/producer

This is my first feature film and the first thing I’ve directed. Aside from that, there are few things you need to know about me from a biographical standpoint.

I was born in California, but grew up in Reno. My mom was a nurse and my father was in law enforcement. I graduated from Hunter Lake Elementary School, Swope Middle School, Reno High School and the University of Nevada, Reno, in that order.

I am a group creative director at the advertising agency of Goodby, Silverstein & Partners in San Francisco. My last name is neither Goodby nor Silverstein nor am I a partner, but I’ve been here for quite some time and it’s fun.

I began writing The Village Barbershop in 1998 in response to overhearing a co-worker much older than I say, “Some day I’m going to write a script.”

I decided to figure out how to makeThe Village Barbershop while shooting some commercials with Ed Burns and his producing partner, Aaron Lubin, who casually, over drinks of some kind, insisted it wasn’t that hard for a first-time director to make his first feature film.

Principal photography for said barbershop movie began seven days after Laddie Richardson Construction cut the back half of my home off to begin what would become a nine-month remodel. This home, sans rear wall, is where my wife, Leslie, and our two children, Cole and Cameran, lived while I spent our summer vacation from said advertising agency going over budget on said “not that hard to make” first feature film.

My favorite color is blue. I like Peet’s coffee. I have 67 pairs of tennis shoes. I’m 39 years old. I can’t dunk. I’m right-handed. I like pranks. I’m bad at sports with the exceptions of golf and snowboarding. I’ve probably misspelled a word somewhere in this bio. And after the whole home remodel/indie film summer vacation, I am, unbelievably, still married.

Yes, the third photo from the left is an order of Downtown Joe’s world-famous fish-shaped fish & chips. THE VILLAGE BARBERSHOP FILMMAKER BIOS

*JASON NEWMARK co-producer

In June of 2004, Jason Newmark received a call from Chris Ford. Chris said he thought they should make the movie about the barbershop because some jokers from New York who he just shot some commercials with said it wouldn’t be that hard. Chris said Jason should help him produce it.

At the time Jason wasn’t a producer. Jason was an editor. Nonetheless, he said yes. And though he worked hard raising money and worked hard during preproduction and hard during the shoot, it was that simple, effortless “yes” he uttered that really had the biggest impact on the film. Because what you need more than anything when you’re making your first movie, even more than money, is a guy who is willing to saddle up and ride into Commanche country with you.

Technically speaking, Jason has been involved in film and television for over ten years. He got his start in community television in Reno, Nevada, in the early 90s directing live and taped shows, editing film and running studio and field cameras.

He then moved on to Boston where he was a production assistant on two feature films—The Proposition (1998) and the indie hit Next Stop Wonderland—and later moved on to Los Angeles where he worked as a production assistant on Waking Up in Reno (ironically shot mostly in LA) with Billy Bob Thornton and Charlize Theron, and then as the second 2nd Assistant Director on The Deep End, with Tilda Swinton, which filmed in Lake Tahoe.

Inbetween his work on these films, Jason pursued his true love—editing. So when he isn’t busy producing The Village Barbershop, that’s what he does. He lives Reno with his conservation biolo- gist wife, Jen, and their two boys, Zach and Zander.

Among other things, Jason gave his hair for a cameo in the production. THE VILLAGE BARBERSHOP FILMMAKER BIOS

*CLIFF TRAIMAN director of photography

Cliff Traiman has been involved with The Village Barbershop since October 2006 when he and his crack team traveled to Reno to shoot the investor trailer. What you won’t learn from his bio is the guy is as fast as he is fearless—not only will he put his camera anywhere, he’ll move it six ways to Sunday while lighting on the fly in order to get a director some ass-saving coverage, even with the AD yelling to move on.

Beyond The Village Barbershop, Cliff works as a Director of Photography on commercial, indus- trial and narrative productions and has shot several feature-length films, including Broken Arrows (2005), Apartment 202 (2004), and Kung Phooey (2003), as well as the 2004 season of the nation- ally syndicated TV show, Ultimate Living.

Before becoming a professional cinematographer, Cliff was the Chief Lighting Tech on Groove (2001) and Speakeasy (Project Greenlight 2, 2002). He has been part of the lighting and grip crew on films such as The Matrix II & III, The Game, What Dreams May Come, Sphere, The Rainmaker, Ed TV, The Wedding Planner and True Crimes.

He lives in Northern California and is a partner in the world famous Little Giant Lighting & Grip Company.

Cliff Traiman did not give his hair for a cameo in the film, but he did an amazing job so we’re not complaining. THE VILLAGE BARBERSHOP FILMMAKER BIOS

*IAN MONTGOMERY editor

Ian Montgomery cut The Village Barbershop. He cut it at his kitchen table. He cut it at work. And he cut it in a small closet that an unscrupulous real estate agent might refer to as a home office. He also cut it on Saturday and he cut it on Sunday; he cut it at Barbary Post and he cut it in hotel rooms at night while Chris was in L.A. shooting some commercials.

He is also Australian. Which is worth mentioning only because, like most Australians, Ian seems to always have a proper perspective on life, which is quite good for brooding directors who tend to worry too much about stupid shit.

Technically speaking, Ian has a Masters Degree in Film from the Australian Film School, one of the world’s most highly regarded film schools. He has edited over 20 short films, with screenings at festivals in Sundance, Cannes, Venice, Palm Springs, New York, Sydney, Melbourne and San Francisco.

He currently pays the bills and keeps a roof over his family’s head by cutting commercially for clients such as EA Games, Sega, Comcast, Nationwide, Adobe, and specs for Nike and Coke.

He lives in San Francisco with his wife Steph and their two dogs.

Ian didn’t give his hair for a cameo in the film (it came that way), but he did do an amazing job cutting it. THE VILLAGE BARBERSHOP FILMMAKER BIOS

*MICHAEL TREMANTE composer

Michael Tremante began his film-scoring career working with Academy Award-winning composer Howard Shore. Michael’s credits with Mr. Shore include Associate Music Producer on Peter Jack- son’s The Lord of the Rings: The Fellowship of the Ring (2001), which won the Academy Award for Best Original Score and won a Grammy for Best Score Soundtrack Album.

During his three-year tenure with Mr. Shore, Michael also worked as Music Co-Producer on David Fincher’s Panic Room (2002) and David Cronenberg’s Spider (2002) and assisted on Frank Oz’s The Score (2001), Tarsem’s The Cell (2000), James Gray’s The Yards (2000) and Arnaud Desplechin’s Esther Kahn (2000). As a producer, Michael has had the opportunity to record with orchestras around the world, including the London Philharmonic Orchestra, the New Zealand Symphony Orchestra as well as top session orchestras in Paris, New York and Los Angeles.

Since 2003, Michael has focused primarily on his work as a composer. His most recent scores include Maxim Kovalsky’s Mere Formality (2003), Andre Sala’s Madison Rye (2003), Angelo Gug- lielmo’s The Heart of Steel (2003), Carl T. Evans’ Walking on the Sky (2005), Dan Elortegui’s Billy and the Kid (2004) and Dave Gebroe’s Zombie Honeymoon (2004), which had it’s world premiere at the Hampton’s International Film Festival in October, 2004 and was featured in competition at the Slamdance Film Festival in January, 2005.

Michael’s most recent scoring projects include Joseph Singer’s What Profit a Man (2005) and Derek Sieg’s Hard Attack (2005).

Michael’s educational background includes a Bachelor’s Degree in Computer Science from Union College and a Master’s Degree in Music Performance from the Aaron Copland School of Music at Queens College.

Michael had this photo taken specifically for my press kit. He probably didn’t want me to mention that. THE VILLAGE BARBERSHOP FILMMAKER BIOS

*NATALIE SANFILIPPO JIHYUN KIM* production designer costume design/makeup

Natalie grew up in Wisconsin. No, she The Village Barbershop had close to 50 never wore a cheese hat, unless that speaking parts. That’s 50 people who was the extent of her attire. needed to be brought to life, dressed, styled and made up. And you know After graduating from the University of what? Ji always got it right. Always. Each Wisconsin, the former Badger decided and every character she created makeup to broaden her horizons by wasting several and wardrobe for was spot on. From Art’s months traveling around Europe. uniform for life, to Gloria’s funky thrift- store chic and Jacobi’s 70s slim-fitting Soon after exhausting her funds and suits, every character was better than half the male population of Portugal, the last. For a first-time director shooting Natalie returned to the United States, six, seven and eight pages a day, it was where a chance meeting with Francis an amazing gift I will never forget. Ford Coppola fueled her fledgling design career and led to a feature on the In a past life, Jihyun studied Computer cover of the New York Times Sunday Science at the University of British Co- Travel Section. lumbia. Today she looks for projects with tight scripts and opportunities to Soon after, Natalie moved to Southern develop character roles. She relishes the California where she began work as a research involved in breathing life into production designer on several indepen- these two-dimensional characters. dent features, including The Still Life, Expired, Fool Me Once, A Beautiful Life, “They become real people to me with and, of course, The Village Barbershop. their own unique past, present and In between features, Natalie works on future. It’s my job to bring someone commercials and short films. She con- else’s vision to life and I pour my heart tinues to travel internationally as much and soul into doing so.” as possible, especially Portugal.

Art department and Wardrobe were underfunded and understaffed, but they never undelivered. Girls rule. THE VILLAGE BARBERSHOP CAST BIOS

*JOHN RATZENBERGER art

An accomplished author, screenwriter, director, producer and two-time-Emmy-nominated actor, along with well-earned credentials as an entrepreneur and humanitarian, John Ratzenberger is known to international audiences as the host and producer of the hit Travel Channel show, John Ratzenberger’s Made in America, the know-it-all postman Cliff Clavin on Cheers, and as the only actor to voice a character in every film from the Oscar-winning Pixar animation team.

John’s website, www.ratzenberger.com, is poised to become a key source of business advice and resources for entrepreneurs and industry veterans, as well as the leading destination for business listings and shopping links to products that are made right here in America.

John’s new non-profit organization, Nuts, Bolts and Thingamajigs Foundation (www.nutsandbolts- foundation.org), is charged with reviving the manual arts and promoting industry to children across America. John is an advocate of American invention and ingenuity, which he discusses in his recent book We’ve Got it Made in America: A Common Man’s Salute to an Uncommon Country.

As National Walk Chairman for the Juvenile Diabetes Foundation, John has helped raise over $100 million. John has earned the “Father of the Year” award from the Father’s Day Council of America and received the Outstanding Role Model award from the American Diabetes Association. Among other charitable endeavors, he was the first and only person to row a boat nonstop for more than 16 hours and 45 miles around Vashon Island in Washington to raise funds and awareness for the Special Olympics.

Perhaps the best thing about this movie is John’s surprising, quiet and dignified performance. THE VILLAGE BARBERSHOP CAST BIOS

*SHELLY COLE gloria

Shelly Cole spent her youth vagabonding around the country with stops in Oklahoma, Florida, a lot of Texas, Seattle, Minneapolis, Alaska, and, ultimately, Los Angeles. There, she landed her first acting role with a three year recurring part of Madeline Lynn on the WB’s hit show The Gilmore Girls.

Shelly made her film debut as a lead in the feature film Prey for Rock & Roll, opposite Gina Gershon and Drea De Matteo. Her performance as Sally, an edgy, aggressive yet youthful inno- cent who cleanses her soul by playing drums, garnered accolades at the Sundance Film Festival. Her performance was compared to “Shirley Temple meets Keith Moon.” With the instruction of Malcolm Cross and hours of determination, Shelly learned to play the drums in only four weeks for the role. Next, she starred alongside John Malkovich and Anjelica Huston in Terry Zwigoff’s Art School Confidential.

Recent television credits include guest-starring roles on shows such as Criminal Minds, NCIS, E.R., Joan of Arcadia, Without a Trace, Cold Case and CSI:NY.

Shelly currently resides in Los Angeles, has a keen love for expensive champagneand loves all things superhero.

Kris Nicolau of Skirts Casting in L.A. got me Shelly Cole. If there’s one favor I pay back in my life, this will be the one. THE VILLAGE BARBERSHOP CAST BIOS

*CINDY PICKETT AMOS GLICK* josie jacobi

A native of Oklahoma, Cindy is prob- Amos first studied acting and improvisation ably best known for her role as Matthew at Earlham College with Len Mozzi, then, Broderick’s mother in the feature film after moving to the Bay Area in 1990, Ferris Bueller’s Day Off. She was also a joined the Tony Award-winning San regular in the long-running NBC series St. Francisco Mime Troupe. Elsewhere, and the critically acclaimed series Call to Glory where she starred After a brief stint in L.A. taking classes opposite Craig T. Nelson and Elisabeth with The Groundlings and ACME Comedy Shue. She has also co-starred oppo- Theatre, Amos returned to San Francisco site Carla Gugino in the feature filmSon and became a collective member of the in Law, starred with Kris Kristofferson Mime Troupe. He has appeared in 15 in the political miniseries Amerika, and productions with the Troupe, performing starred in the highly acclaimed mini- all over the U.S., including The Kennedy series I Know My First Name is Steven. Center.

More recently, Cindy has co-starred in He can be seen in the films Opal and the feature film Sex and Death 101 and Around the Fire, with Devon Sawa, Tara in the Lifetime movie McBride, opposite Reid, Eric Mabius, Stephen Tobolowsky John Larroquette. Her recent television and Bill Smitrovich, and on the television work has included guest-starring roles program Nash Bridges, with Don Johnson on the NBC one-hour series Medium, and Cheech Marin. directed by David Arquette, and the CBS shows Cold Case, Ghost Whisperer and Without a Trace.

Josie was without a doubt the hardest role to cast. All I can say Amos is responsible for some of my favorite moments in the is thank God for Cindy Pickett. film, including the frame above where we meet him trimming his nose hairs. THE VILLAGE BARBERSHOP CAST BIOS

*GEORGE McRAE JOSH HUTCHINSON* george rickert

George McRae studied theater and In addition to playing Gloria’s no account received a Bachelors of Fine Arts in trucker boyfriend, Rickert, Josh can be Acting from Emerson college, Boston, in seen as a lead in the feature filmThe Full 1976. Picture, which he shot last year, along with the film Mr. Gibb, shot in New York Despite his degree, he went on to work with Tim Daly and Hayden Panettiere and in the photographic industry for almost produced by Kevin Spacey and Trigger 20 years before finally returning to his Street Independent; and co-starring in first love: acting. My Bad Dad.

Since then he has worked as a voice artist Some of his other films include, Die, for companies like Sega, Nintendo, Broder- Mommie, Die, staring Charles Busch, bund and Mattel. He is also continuously Attraction, opposite Gretchen Mol, Love working as an improvisational artist, Bites, An Evening at H (Winner Best Film creating original characters for murder at the Barcelona International Film mystery theater companies across the Festival), The Rapture and Little. San Francisco Bay Area. His TV credits include Angel, Charmed What attracted George to The Village and Roswell. He recently played to sold- Barbershop was the way in which the out audiences in the one-man show story related to his own life. George’s The Santaland Diaries, written by David grandfather was a Sicilian immigrant Sedaris. barber in Cambridge, Mass., who owned the Harvard Barbershop. The film was an opportunity for George to explore and better understand many different facets of his past.

The character’s name was George. The actor’s name was George. For his two scenes driving a bigrig Josh had five minutes of training. I was pretty sure someone was trying to tell me something. Unbelievably, no one was hurt. THE VILLAGE BARBERSHOP CAST BIOS

*DARON JENNINGS LAURELLEE WESTEWAY* colin gladys

Daron Jennings appeared most recently Laurellee Westeway transitioned from as Mark Foster in the feature-length film playing chronic virgins to retired hookers. The Full Picture. In addition to his on- In the past year she has portrayed camera roles, which include numerous sufferers of jiggly legs, acid-reflux and commercials, Daron performs frequently emphysema. At this point she looks in theatrical productions. Daron grew up forward to a promising future playing the in St. Louis, Missouri, and received his corpse at funerals. BFA in Performance from Missouri State University. He resides in San Francisco. OR

Laurellee Westaway is a graduate of the Neighborhood Playhouse in NYC. Upon returning to California she was a found- ing member of San Francisco’s One Act Theatre Company. She has also appeared in television and films, most recently The Village Barbershop and Opal.

If you ever meet Daron or Shelly, ask them how they I love Laurellee. Not only did she do a fantastic job, if you ever first met on the set. The circumstances defy belief. meet her on the street the first thing you will immediately realize is that she looks nothing like her character. THE VILLAGE BARBERSHOP FULL CAST

Art...... John Ratzenberger Gloria...... Shelly Cole Josie...... Cindy Pickett George...... George McRae Jacobi...... Amos Glick Colin...... Daron Jennings Rickert...... Josh Hutchinson Gladys...... Laurellee Westaway Sprow...... Todd Brotze Kimmel...... Chandler Bolt Rochelle...... Samantha Weaver Art’s Wife...... Jackie Honea Jim...... Daniel Souza Funeral Director...... Bob Saenz Jacobi’s Wife...... Cindy Goldfield Chinese Father...... Tom Luu Chinese Daughter...... Meg Lee Ha Teller No. 1...... Jamie Davidson Teller No. 2...... Francisco Nunez Mr. Quan...... Kevin Kan Mrs. Quan...... Gilda Kan Motorcycle Cop...... Sgt. Patrick Dreelan Jail Clerk...... Bettina Devin Doctor...... Heather Mathieson Stan...... Chris Yule Naked Haircut Guy...... Robert Anthony Peters Cross-dresser Applicant...... Jeffrey Rios Mullet Applicant...... Eli Nelson Warhol Wannabe...... Peter Judd Hair Keeper Applicant...... Michael Kasin Ed...... Peter Quartaroli Johnny...... Ed Holmes Tony...... Michael X. Sommers College Kid...... Justin Lamb $5 Tipper ...... Jesse Caldwell Waiting for Art #1 & # 2...... David Abad & Cary Silberman Richie...... Cory DuVal Female Joke Teller...... Deb Fink Amy...... Mackenzie Firgens Wendy...... Liz Anderson Jenny...... Courtney Black Dolly...... Bettina Devin Security Guard...... Cam Newlin King...... Luke Hoffman Trailer Park Boy...... Cole Ford Trailer Park Mom...... Leslie Ford Trailer Park Baby...... Cameran Ford Judge ...... Kevin Blackton Court Clerk...... Angie Christmann Cheap Customer...... Jesse Gillingham Radio Voice...... Bob Belknapp Strip Club Patron...... Jay Sprow Strip Club Bouncer...... Dan Morgan Long-legged Stripper...... Amy Magyari Stripper #2...... Jessica Fields Anchor ...... Wendy Damonte Baseball Announcer ...... Brad Walton Horse Race Announcer...... Rafi Kugler Weather Announcer ...... Matt Johnson Gloria’s Mom...... Cindy Fluitt Mom’s Boyfriend...... Guy Seese Loop Group Performers...... MJ Otto & Rafi Kugler

THE VILLAGE BARBERSHOP PRODUCTION CREDITS

Production Manager John Bennett Postproduction Picture Services Spy Post Digital First Assistant Director John Bennett Post Supervisor Eric Hanson Second Assistant Director Cecily Jordan Online Editor and Compositor Kyle Gray Second Second Assistant Director Diana Argos Assistant Editor Ashley Rodholm Key Set PA Andrew Bland Digital Intermediate Colorist Chris Martin Production Coordinator Jason Newmark Assistant Digital Intermediate Colorist Carey Burens Assistant Production Coordinator Sara Dosa End Credits Kyle Gray Production Coordinator (Reno) Christine Whitmarsh Production Assistant David Ware Postproduction Sound Services Skywalker Sound Production Assistant Clint Darquea A Lucasfilm Ltd. Company Production Intern Big Caleb Marin County, California Supervising Sound Editor Chris Gridley Production Designer Natalie Sanfilippo Rerecording Mixer Tony Sereno Art Director Luli Rafaelli Tepper Effects Editor Bob Edwards Property Master Cheyenne Milne ADR Editor Marilyn McCoppin Art Department Coordinator Na Young Kim Foley Artist Ellen Heuer Art PA Jesse Bennett Foley Mixer Frank Aglieri-Rinella Foley Recordist Christopher Barron Director of Photography Cliff Traiman Foley Editor Piotr Filipowski First Assistant Camera Tom Spingola Digital Transfer Jonathan Greber Additional First A.C. Joe Rivera John Countryman Additional Gaffer Damien Lucas Engineering Services Steve Morris Gaffer Joe Mendoza Doug Ford Best Boy Leonardo D’Antoni Machine Room Operator Ron Roumas Key Grip Donovan Sell Sound Editing Facilities Skywalker Ranch Swing Drew Nelson Sound Supervisor Josh Lowden Swing Timothy Benton Additional Dialog Recording, L.A. Lime Studios Sound Mixer Darcell Walker Director of Operations Bruce Horwitz Boom Will Philp Scheduling Jessica Locke Boom Ben Greenwood Recording Engineer Dave Wagg Boom Nikolas Zasimczuk Assistant Engineer Seanor Moore Client Services Brooklin Rogers Key Makeup Jihyun Kim Breakfast Chef Samantha Weiss Key Hairstylist Jihyun Kim Additional Dialog Recording, SF Crescendo Studios Key Wardrobe Jihyun Kim Assistant Hair and Makeup Julia Napier Director of Operations Jason Plunkett Assistant Wardrobe Ressie Walker Scheduling McKell Smith Assistant Wardrobe Erica Dias Recording Engineer Matt Wood Assistant Wardrobe Angela Neufeld Assistant Engineers Steve Engle-Borda Assistant Wardrobe Vasso Taylor Higashi

Location Manager Jesse Gillingham Preproduction Facility Teak Motion Visuals Transportation Captain Jesse Gillingham Executive Producer Greg Martinez Art’s Mustang Mike Meneghelli Preproduction Supervisor Jan Frei

Script Supervisor Deborah Ashley Production Assistant Raul Avila Paula Frankel Assistant Editor, Dailies Jonathan Fookes Graphic Artist Viridiana Cervantes Casting Facility (LA) Skirts Casting Photoshop Artist Nick Spahr Casting Assistant (LA) Brandy Finmark Additional Postproduction “Jimmy” Horner Casting (SF) Grant Avenue Casting “T-Money” Lesieur Casting Assistant (SF) M. Kay Robinson Proofreaders Shannon Roy, Sage Romano Production Counsel Richard J. Lee, Esq. Editor Ian Montgomery Music Supervisor Bob Spector Postproduction Editorial Services Barbary Post Postproduction Supervisor Kristen Jenkins Craft Services Ha! Assistant Editor Daniel Truog Catering Cheryl Ritter Opening Titles Jenny O’Byrne Postproduction Assistant Alana Rees THE VILLAGE BARBERSHOP PRESS KIT PHOTO CREDITS

L to R: John Ratzenberger as Art Leroldi Shelly Cole as Gloria MacIntyre in John Ratzenberger as Art Leroldi in and Amos Glick as John Jacobi in The Village Barbershop. Dir. Chris Ford. The Village Barbershop. Dir. Chris Ford. The Village Barbershop. Dir. Chris Ford. Image courtesy of Hot Shave, LLC. Image courtesy of Hot Shave, LLC. Image courtesy of Hot Shave, LLC.

L to R: John Ratzenberger as Art Leroldi L to R: Michael X. Sommers as Tony and Robert Anthony Peters as Naked Haircut and Shelly Cole as Gloria MacIntyre in John Ratzenberger as Art Leroldi in Guy in The Village Barbershop. Dir. Chris The Village Barbershop. Dir. Chris Ford. The Village Barbershop. Dir. Chris Ford. Ford. Image courtesy of Hot Shave, LLC. Image courtesy of Hot Shave, LLC. Image courtesy of Hot Shave, LLC.

L to R: Shelly Cole as Gloria MacIntyre and John Ratzenberger as Art Leroldi in L to R: Courtney Black as Jenny and John Ratzenberger as Art Leroldi in The Village Barbershop. Dir. Chris Ford. Josh Hutchinson as Rickert in The Village Barbershop. Dir. Chris Ford. Image courtesy of Hot Shave, LLC. The Village Barbershop. Dir. Chris Ford. Image courtesy of Hot Shave, LLC. Image courtesy of Hot Shave, LLC.

L to R: Shelly Cole as Gloria MacIntyre and Amos Glick as John Jacobi in The Village L to R: Cindy Pickett as Josie and John John Ratzenberger as Art Leroldi in Barbershop. Dir. Chris Ford. Image courtesy Ratzenberger as Art Leroldi in The Village Barbershop. Dir. Chris Ford. of Hot Shave, LLC. The Village Barbershop. Dir. Chris Ford. Image courtesy of Hot Shave, LLC. Image courtesy of Hot Shave, LLC.