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Presents Written & Directed by Gary Lundgren

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Presents Written & Directed by Gary Lundgren Presents BLACK ROAD Written & Directed by Gary Lundgren (81 min. USA 2016) Press Contact Joma Films, Anne Lundgren c: 310-463-8619 f: 866-697-7485 [email protected] High-res images: blackroadmovie.com/pk A FUTURISTIC NOIR THRILLER from the writer-director of Redwood Highway & Calvin Marshall Set in the autonomous, rebel State of Jefferson in 2029, an ex-military cyborg risks his life to protect a mysterious woman from her dangerous ex. He's aided by his A.I. implant “Clyde” who proves partner and friend. THE STORY Set in the autonomous, rebel State of Jefferson in 2029, this futuristic thriller stars Sam Daly (The Office, Daly Show) as cyborg drifter Dylan Grant – a failed military experiment. He’s 100% human but is assisted by his artificial intelligence implant, “Clyde” (voiced by Andrew Wilson). Aimless and broke, Dylan urges Clyde to help him find work and a new beginning on the reckless but “free” Jefferson coast. After saving a mysterious woman's life outside a night club, Dylan is sucked into her dark world becoming her lover and accomplice. Going against Clyde’s wishes, Dylan and Lisa (Leilani Sarelle) plot to negotiate a financial settlement with her maniacal ex-husband Sterling (Simon Templeman) – a tech tycoon who’s developing unregulated warfare technologies and testing (on unsuspecting subjects) the hypnotic, addictive properties of the black root plant he grows on his private compound. If only Dylan can keep Lisa and Sterling from killing each other, he may just walk away with a small fortune and a new life – with or without Clyde’s help. This suspenseful and character-driven, slow-burn thriller is written and directed by Gary Lundgren (CALVIN MARSHALL, REDWOOD HIGHWAY), and was beautifully shot on the majestic Oregon coast by award-winning cinematographer Patrick Neary. Michelle Lombardo and Danforth Comins co-star. DIRECTOR’S STATEMENT In the fall of 2013, I wrote the first draft of BLACK ROAD while teaching a screenwriting course in the evenings. The idea was that such an arrangement might improve both disciplines. The writing turned out to be as difficult as ever, and the students’ frustration over their career of choice was especially palpable that term. I imagined their filmmaking future looming ahead like an endless, black road. They were upset about the economy and the job market – and they craved assurance that they would land on their feet. The film industry has always been a tough nut to crack, but this seemed like a new strain of disillusionment. As their professor, I felt powerless in my ability to encourage them about an industry that had imploded. But then I discovered from my academic colleagues that the problem was much more widespread and not restricted to filmmaking or the arts. We’re talking about a generation that experienced the trauma of 9/11 as children. This and other injustices had seemed to give them an innate sense of mistrust when it came to the adults running our country, let alone the film industry. It was this kind of wariness that my story’s main character gradually inhabited in my writing process. Dylan was already a cast-off drifter, but now he was charged with something more potent than apathy. He was anxious and bursting with pent-up anger. And he was determined to finally seize control and make something of his life. After World War II, film noir came along with its jaded protagonists trying to survive in a dark world. BLACK ROAD was inspired by a similar kind of desperation. For too many in this country, the American dream is an oasis that fades away as we race towards it. As an ex-military cyborg, Dylan has all the potential in the world, but he ends up an outcast scrambling to survive in a new society that over-promises and under-delivers. BLACK ROAD is a character driven mash up of classical noir conventions in a futuristic land of opportunity. If the libertarians ever get a petri dish like the State of Jefferson, I have to wonder if their ideological fantasies will inadvertently create a kind of paradise for some and new lows of evil and abuse for others. Like founding father James Madison once said, “If men were angels, no government would be necessary.” BLACK ROAD is also a genre film that is meant to be as entertaining as it is unsettling. And I hope that in its own small way it shows that an ideal government would go out of its way to meet its people in the trenches and work tirelessly to foster financial stability and meaningful work in their communities. PRODUCTION... ON A SHOE-STRING BLACK ROAD was filmed over twenty-one days on a shoe-string budget. It is the third feature made in Southern Oregon by the Lundgrens (Writer/Director Gary Lundgren and Producer Anne Lundgren.) Even after two successful films, they were faced with changing distribution models, a challenging financing landscape and shrinking budgets. Producer Anne Lundgren said, “The funding strategy for BLACK ROAD had to be creative. Initial funds were raised through Kickstarter from friends and family of the cast and crew and an incredibly supportive community. The rest of the funding came from a group of regional investors who invested in the team and in the hope of building a regional film economy.” The funding reflected a tapestry of generosity from friends and community. The budget was made up of sponsor donations, in-kind services, Kickstarter funding, and investor equity. Most of the food for the shoot was donated by local restaurants. Brammo donated use of their Empulse electric motorcycle, the Ashland Springs Hotel sponsored hotel rooms for out of town actors, and the equipment was donated. In addition, BLACK ROAD is a cast-and-crew owned movie made up of a tiny team many of whom have worked together for over ten years. Subtle futuristic visual effects were created by Pete Evans and a small team. The hypnotic original score by John Morgan Askew and sound design by David Raines were completed over many months. After traveling with their last two films for over a year on the festival circuit, the Lundgrens decided to take BLACK ROAD straight to market. Upon completion of the film at the end of 2015, BLACK ROAD is set for a limited theatrical and concurrent VOD release in 2016. FILMING IN OREGON Lundgrens Release “Black Road”, Their Third Movie Filmed in Southern Oregon Utilizing a vast array of locations, including beaches, mountains, rivers, lakes, restaurants, retirement communities, universities, a minor league ballpark, city streets, campgrounds, redwoods, winding roads, and the Great Cats World Park, Gary and Anne Lundgren have leveraged the beautiful landscape and ease of shooting in Southern Oregon on three feature films. In addition to great locations, their third feature, BLACK ROAD, benefited from partnerships with members of the Southern Oregon community, including Brammo Electric Motorcycles, the Neuman Hotel Group and multiple local restaurants and equipment houses. The Lundgrens have always been drawn to the area. In 2007, they traveled from Los Angeles to film their first feature, CALVIN MARSHALL (starring Steve Zahn). This college-aged baseball film was shot at Southern Oregon University and Harry & David's professional-sized baseball field. Since then, the filmmaking infrastructure in the region has grown, and Ashland was recently named #1 Town to Live and Work as a Filmmaker by MovieMaker Magazine. Films made in Southern Oregon include Kelly Reichart’s NIGHT MOVES and Reese Witherspoon’s WILD. After a great experience with local crews and locations, the Lundgrens moved their production company, Joma Films, to Ashland permanently. In 2012, they made REDWOOD HIGHWAY, the story of a 75 year-old woman walking alone for 80 miles between Grants Pass and the coast. It was filmed at over 40 locations in 19 days across 200 miles and 4 counties. The ease of navigating Southern Oregon with minimal traffic and supportive communities made the arduous schedule a possibility. BLACK ROAD is set in the State of Jefferson, the mythical joining of Northern California and Southern Oregon. It was filmed completely in the Rogue Valley and on the beach at Arcadia Vacation Rentals between Brookings and Gold Beach. “The community has been incredibly supportive,” says Producer Anne Lundgren who also worked as the Ashland Location Manager and liaison between the city and the production company for the 2013 production of WILD. “We love living and making movies here. We have a talented crew that we’ve worked with for many years. There are plenty of great local restaurants and hotels to house guests due to the strong tourism industry. The landscape is beautiful, and the locations are accessible, varied and numerous. And people are still proud that movies are made in their town. It’s a wonderful place to raise our family, and we plan to make movies here for many years to come.” ABOUT THE CAST SAM DALY (Dylan) comes from a family that has been acting for four generations. His parents are actor Tim Daly and actress Amy Van Nostrand. His aunt is actress Tyne Daly. Sam’s TV credits include roles on “The Office”, “Madam Secretary”, “Murder in the First”, “90210”, “Hart of Dixie”, “Hot in Cleveland”, “Grey’s Anatomy”, and “Ben & Kate” among others. Sam recently finished shooting an “Adult Swim” pilot opposite Jason Alexander. Sam’s films credits include supporting roles in RED TAILS (produced by George Lucas), JUSTICE LEAGUE: THE FLASHPOINT PARADOX, REDWOOD HIGHWAY, MURDER 101, and THE EDUCATION OF CHARLIE BANKS. Sam is featured in the upcoming feature AFTER DARKNESS. He can also be seen with his father Tim Daly in the comedy web-series “The Daly Show” (which has received 500,000+ hits).
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