“I Wanted Them to Be Scared out of Their Minds.”

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“I Wanted Them to Be Scared out of Their Minds.” “I Wanted Them To Be Scared Out Of Their Minds.” – Judge Mark A. Ciavarella Presented by: SenArt Films www.KidsForCashTheMovie.com Runtime: 102 minutes Press notes as of: 1/13/14 PRESS NOTES CONTACTS ........................................................................................................ 3 ABOUT THE STORY ............................................................................................. 4 ABOUT THE PRODUCTION .................................................................................... 5 ABOUT THE KIDS .............................................................................................. 12 ABOUT THE FILMMAKER ..................................................................................... 15 CREDITS .......................................................................................................... 17 KIDS_FOR_CASH_Press_Kit_011314.docx Page 2 of 25 CONTACTS Press Contacts: New York - Los Angeles - Philadelphia/Pittsburgh/Erie- Emma Griffiths Sylvia Desrochers Michael Foell Emma Griffiths PR Big Time PR & Marketing Lisa Jefferson (917)-806-0599 - Cell (424) 208-3496 - Office Jesse Cute [email protected] (213)-840-2309 - Cell Allied Integrated Marketing [email protected] 2001 Market St., Ste. 510, Issue Related Press - Philadelphia, PA 19103 Marie Yeager Northeast Pennsylvania - (215) 496-0675 - Office Roda Creative Services Ruth Corcoran [email protected] (717) 699-2206 - Office Corcoran Communications [email protected] (717) 817-3333 - Cell 410 Crescent Road [email protected] [email protected] Wilkes Barre PA 18702 (570) 472-0365 – Office (570) 881-4172- Cell [email protected] Exhibitor Contact: Domestic Theatrical - Domestic Digital - Mark Urman Steve Beckman Amanda Sherwin Scott Kaplan SenArt Films Releasing Film Buff (212) 337-9500 (212) 463-6403 [email protected] [email protected] [email protected] [email protected] Sales Agents: Domestic - International - John Sloss Annie Roney Linzee Troubh Roco Films International Cinetic Media (415) 332-6471 (212) 627-9898 [email protected] [email protected] [email protected] SenArt Films Releasing, Inc. For more information: Jenny Kranson (212) 406-9610 ext 351 fax 212-406-9610 [email protected] KIDS_FOR_CASH_Press_Kit_011314.docx Page 3 of 25 ABOUT THE STORY KIDS FOR CASH is a riveting look behind the notorious scandal that rocked the nation. Beginning in the wake of the shootings at Columbine, a small town in Luzerne County, Pennsylvania elected a charismatic judge who was hell-bent on keeping kids in line. Under his reign, over 3,000 children were ripped from their families and imprisoned for years for crimes as petty as creating a fake MySpace page. When one parent dared to question this harsh brand of justice, it was revealed that the judge had received millions of dollars in payments from the privately-owned juvenile detention centers where the kids—most of them only in their early teens—were incarcerated. Exposing the hidden scandal behind the headlines, KIDS FOR CASH unfolds like a real- life thriller. Charting the previously untold stories of the masterminds at the center of the scandal, the film reveals a shocking American secret told from the perspectives of the villains, the victims and the unsung heroes who helped uncover the scandal. In a major dramatic coup, the film features extensive, exclusive access to the judges behind the scheme. KIDS_FOR_CASH_Press_Kit_011314.docx Page 4 of 25 ABOUT THE PRODUCTION KIDS FOR CASH is a riveting, non-fiction thriller about a judicial scandal that shocked America when it catapulted to the headlines in January of 2009. Set in the mountains of northeastern Pennsylvania, the film is an absorbing account of the serpentine events leading up to the scandal, as well as a richly detailed chronicle of the often-incredible revelations unearthed by the criminal investigation and extensive media coverage. Blending greed, corruption, betrayal of trust, abuse of power, and wrongful imprisonment in a manner almost novelistic in its twists and turns, it is one of those true stories that is, as the saying goes, “stranger than fiction.” But, what leaves an indelible impression on those who are initially attracted to the tale’s more sensational aspects is the fact that the victims of the corruption in question—all 3,000 of those who were betrayed, abused, and wronged—were children. Ironically, what caused the furor was not the fact that wholesale incarceration of adolescents and teens--most for non-violent crimes--had been taking place in Luzerne County for a number of years. Rather, it was the discovery that two of the presiding judges in the district—prominent and popular judges—had allegedly received more than $2.8 million in bribes (or, as they called them, “finder’s fees”), for sentencing these unfortunate children to privately-owned juvenile detention centers where some of them would remain for years. Almost immediately, the case came to be known as the “Kids for Cash” scandal because it appeared that the judges, Mark Ciavarella and Michael Conahan, had literally been selling these kids “up the river” for their own monetary gain. The story attained such notoriety that when producer-director Robert May decided to make a film about it, the title KIDS FOR CASH was the only logical choice. In a twist of fate, May, the producer of several acclaimed and honored documentaries, including the Oscar-winning “The Fog of War,” happens to make his home in the very region where the scandal erupted. As he recalls it, “my producing partner, Lauren Timmons, and I were in the midst of an extended story retreat on a fiction project when the scandal broke. Each day, we would pick up the local and national papers and read about what was happening right where I live. I was stunned to learn that these judges were accused of such heinous crimes involving children, especially since I probably voted for both of them!” May had never met either judge and admits he didn’t know much about them. What he does recall were their reputations. “I was aware,” he observes, “that both were celebrated within the community, and I knew that Ciavarella had campaigned on a zero-tolerance for crime platform which, at the time, I thought was a great thing.” May, like many other citizens of the post-Columbine school shooting era, believed that the only way to keep schools safe for his own children (who were 10 and 13 in 2009), was to strictly enforce regulations, and separate the “good” kids from the “bad” ones. “Prior to my immersion in this story,” he adds, “one of my own misconceptions was ‘if you do an adult crime, you should do adult time.’ I believed, like most other parents, that warning children about the dire consequences of doing something wrong would somehow keep them from doing it (i.e., ‘Just Say No!’), and I thought that having ‘zero tolerance’ for bad behavior would somehow motivate them to stay out of certain kinds KIDS_FOR_CASH_Press_Kit_011314.docx Page 5 of 25 of trouble. I actually believed that we could ‘scare them straight,’ and make them so afraid of getting punished that they would do anything to avoid it.” Judge Ciavarella was the very embodiment of these principles, and everyone, from police, to educators and school administrators, to the community at large, was aware of his policies and, in fact, embraced them. In January of 2009, when the federal government announced that Judges Ciavarella and Conahan agreed to plead guilty to “Honest Services Fraud” and “Tax Matters” for accepting the so-called “finder’s fees,” people were forced to see things in a new light. “It was only then,” May notes, “when money came into the picture, that the community questioned Ciavarella’s motivations for his widely-adopted policies. No one suspected corruption of this kind.” May recalls, “The community was shocked.” Such was the impact, that the scandal prompted an endless flow of front-page stories. “Newspapers were selling at rates not seen in decades,” May remembers. “It was the lead story all over television, and the all-news radio station in the area was suddenly overtaking the music stations in ratings.” The story began to spread beyond Luzerne County, and national and international media started to cover it as well, with some outlets calling it “the most egregious judicial scandal in history.” Like everyone else, May was riveted. “What became clear,” he says, “was that this was no typical ‘small town scandal,’ and what made it different from other judicial scandals was that this one involved children.” “For Lauren and me,” he continues, “the story of these children was a natural. They were the victims of whatever scheme or master plan had been developed by these two judges--judges who had been celebrated, elected by the community, and then revealed to be evil. When you ask yourself, ‘what kind of person would literally trade children for cash?’ you think of the sort of nefarious characters found in a Charles Dickens tale, or perhaps the darkest, most chilling crime stories, ‘ripped from the headlines,’ as the expression goes. A juvenile court judge accused of getting paid for every child he incarcerates? Yes, Dickens could have made this up, but instead, the story was unfolding right before our eyes, in real life.” Even though everyone was talking about this so-called “Kids for Cash” scandal, May noticed that few people were actually discussing how it could have happened. “How could such upstanding pillars of the community sink to such a low level?” he asked himself. “Was the entire community in on it? Could it be that the police were in on it, and the schools? Were they all making money on the backs of children? How could all of this happen without anyone catching on?” May needed to find answers to these questions and, as he recalls it, “from that moment on, the fiction film we’d been working on became less and less of our focus.” Clearly, he and Timmons had gotten hooked by the “Kids for Cash” scandal--not just as citizens, but as storytellers. They began to see it as a potential subject for a feature film; one that could capture an audience’s imagination just as it had captured their own.
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