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). Sam won the best actor award in the 2012 NYC Avant Garde Festival. His regional theater credits include works in Williamstown, off-Broadway and Los Angeles.

ANDREW WILSON (Voice of Clyde) is an actor from Dallas who is known for ’s RUSHMORE (1998), (2001) and (1996). In addition to Gary Lundgren’s CALVIN MARSHALL (2009), he’s had roles in Mike Judge’s IDIOCRACY (2006) and Drew Barrymore’s WHIP IT (2009). He is currently appearing in BASTARDS (2016) with Ed Helms and his brother as well as SYNCHOLE (2016), directed by Ben Foster. In 2014 he directed the award winning short film SATELLITE BEACH with his brother . Andrew brings a caring human quality to the A.I. personality “Clyde” in BLACK ROAD (2016).

LEILANI SARELLE (Lisa) was born on September 28, 1966 in Los Angeles County, California as Leilani Sarelle Figalan. She is an actress, known for BASIC INSTINCT (1992), BARBARIANS AT THE GATE (1993) and DAYS OF THUNDER (1990). She has also guest starred on TV shows “Glee”, “The Unit” and “The Mentalist”.

SIMON TEMPLEMAN (Sterling) is an English actor known for his roles as Kain in the video game series “”, Jacob Danik, the main antagonist in the video game “Dead Space 3”, and as Teyrn Loghain Mac Tir in “: Origins”. Simon recently starred as Teddy Gramatica on Seasons 4 and 5 of “House of Lies”. He is also known as Simon Templeton. He is a series regular on “The Neighbors”, an ABC sitcom. Templeman also gained fame playing the Angel of Death on the TV series “”.

MICHELLE LOMBARDO (Sarah) was recently a guest star on AMC'S “Mad Men” and will next be seen in the feature SKY opposite Diane Kruger. Michelle wrapped the lead in Angela Robinson's GIRLTRASH and was last seen in John Stockwell's ROADKILL opposite Paz Vega. She is most know for recurring roles on the Showtime series “Californication” and the HBO series “Entourage”. She was in the independent feature CALVIN MARSHALL opposite Steve Zahn and Jane Adams which premiered at the Austin Film Festival and had a supporting role in REDWOOD HIGHWAY starring Shirley Knight and Tom Skerritt. Other credits include Marshall Herskovitz and Ed Zwick's “Quarterlife”, and Sony's CLICK.

DANFORTH COMINS (Bruce) is an actor at the world-renowned Oregon Shakespeare Festival in Ashland, where his roles have included Hamlet in "Hamlet", Benedick in "Much Ado about Nothing", Edmund in "Long Day’s Journey into Night", Bobby Kennedy in "The Great Society", Stanley Kowalski in "A Streetcar Named Desire", and Mark Anthony in "Julius Caesar" among many others. Danforth's film credits include BLACK ROAD, REDWOOD HIGHWAY, WALK-IN, SHALE and INDIGO.

ABOUT THE FILMMAKERS

GARY LUNDGREN (Director) Before writing and directing BLACK ROAD, Gary Lundgren wrote, directed and edited the feature REDWOOD HIGHWAY starring Shirley Knight and Tom Skerritt. Mr. Lundgren's directing debut was the 2010 award winning baseball comedy CALVIN MARSHALL, starring Alex Frost and Steve Zahn. An alum from Art Center College of Design in Pasadena, Mr. Lundgren has written and directed many types of filmed entertainment, including music videos, short films, television and commercials. In 2011, Mr. Lundgren was the editor of the feature films WALK-IN and Ben Shelton's WAKING which stars Skyler Caleb and Tim Daly. In 2013 he edited the international version of Susan Saladoff's award winning documentary HOT COFFEE for HBO. And most recently Mr. Lundgren edited the ivory trade documentary WHEN GIANTS FALL for Director Leslie Griffith which will be released in 2016. Mr. Lundgren's production company Joma Films is based in Ashland, Oregon where he works with his wife and producer Anne Lundgren.

ANNE LUNDGREN (Producer) is an independent film producer living in Ashland, Oregon. In addition to working on music videos and national commercials (including recent ones for Hewlett-Packard and Leica Geosystems), she produces narrative features and consults on film production, distribution and marketing. Ms. Lundgren started her career developing Project Management systems in the emerging telecommunications industry. Ms. Lundgren is currently on the Board of Southern Oregon Film and Media and has produced the features, CALVIN MARSHALL (2010), REDWOOD HIGHWAY (2014), and BLACK ROAD (2016).

PATRICK NEARY (Cinematographer) is an established filmmaker with over two decades of experience working in all formats of film and video. Director of Photography credits include feature, corporate and commercial work for Apple, HP, the Disney Channel, Animal Planet, Turner Entertainment, Fox Television, Atlantic Records, Microsoft, Kraft Foods, REI and other national clients. Patrick's recent film credits include BLACK ROAD, REDWOOD HIGHWAY and the critically acclaimed CALVIN MARSHALL and LIGHT OF MINE. Awards include finalist for best cinematography (REDWOOD HIGHWAY, 2014; CALVIN MARSHALL, 2010; and LIGHT OF MINE, 2011) and award for best cinematography (THE LEEWARD TIDE, 2006). Television work includes nationally-syndicated series “Food for Thought”, “Animal Exploration” with Jerod Miller, “Critter Gitters”, and second unit TV movie work for Disney Channel and Animal Planet.

CREDITS

Directed by GARY LUNDGREN Produced by ANNE LUNDGREN Edited by BRENT STREEPER Screenplay by GARY LUNDGREN Cinematographer PATRICK NEARY Music by JOHN MORGAN ASKEW Sound Designer DAVID RAINES Visual Effects by PETE EVANS Production Designer DAVE MARSHALL Costume Designer CLAUDIA EVERETT Hair & Makeup MEREDITH ROBERTS

CAST (in order of appearance) Dylan Grant SAM DALY Sterling Clark SIMON TEMPLEMAN Bruce DANFORTH COMINS Barking Dog WHISKEY Clyde ANDREW WILSON Green Mohawk MIKE ESTES Frank KEVIN KENERLY Sarah Grant MICHELLE LOMBARDO Guitarist TWANISSA COX Keyboardist LEOPOLDO CRUZ Young Sarah KENDAL GOBEL Young Dylan HUGH G. MEYER Dogs in Park COCOA KEVIN Miranda FLANNERY LUNDGREN Abby DANIELLE KELLY Lisa Clark LEILANI SARELLE Eddie KENAJUAN BENTLEY Young Lisa BEKAH GRACE Young Sterling JIMMY LEAVENS Desdemona Jones JASMINE KARCEY Campbell Walter DAVE MARSHALL Grandpa DOUGLAS ROWE Dr. Paul DAN DONOHUE White Horse MR. T Black Root Chickens BUTTER MRS. PLEASANT Jogger LISA MICHELON Sarah’s Baby STRIDER STORM Golden Retriever LEON Body Double! TODD WILSON!

Executive Producers JAMES JONES MARCUS HERITAGE KATHLEEN HERITAGE MIKE DUBOSE Co-Executive Producers KAREN CARNIVAL JACK GIBBS DANA GREAVES GARY KOUT TODD WILSON Co-Producers TROY HEMMERLING LUIS RODRIGUEZ CHRISTINE SHEAKS AMY VAN NOSTRAND Associate Producers GINNY AUER HENRY BATAILLE LAUREL DRYLAND CATHERINE LASSESEN ROBERT MACLELLAN NORM MALMBERG JACK MONTAGUE GEOFF WHITMAN First Assistant Camera ROCKY GARROTTO Second Assistant Camera TODD WILSON Sound Mixer JASON LENNART ANDERSON Gaffer JOHN W. NICHOLS Key Grip LEVI ANDERSON Car Rigging WILLY NEMETH Camera Operator / Steadicam PATRICK NEARY MOVI Operator / 2nd Unit Camera TODD WILSON Aerial Camera Operator CHRIS VANDERSCHAAF Still Photographers MARK ARINSBERG MARY WILKINS-KELLY Assistant Director ANNE LUNDGREN Catering Manager GINNY AUER Location Manager RANDY GRANSTROM Production Assistants JEFFREY STAR RON HUFFSTUTTER Property Master DAVE MARSHALL Special Effects & Wigs MEREDITH ROBERTS Art Director JASMINE KARCEY Set Dressers JASMINE KARCEY LISA BYRNE PARKER MILLS Prop Fabrication, Casting, Painting KEVIN CHRISTMAN JASON HUTCHINS TONY CHAVEZ Clyde Design & Fabrication MEREDITH ROBERTS

Prop Consulting DAVE MAX ERIC HILLEARY DAVID KIRK WEST Rotoscope / Digital Artist JAE BEALENA Compositing JAE BEALENA BRENT STREEPER Music Produced, Recorded and Mixed by JOHN MORGAN ASKEW Additional Musicians KYLEEN KING (VIOLA) MICHELLE LOMBARDO (VOICE) Voice Recordings RED ROCKETS GLARE RAYMOND RICHARDS Color by SHAPESHIFTER POST Colorist BRUCE GOODMAN Titles BRENT STREEPER Re-Recording Mixer DAVID RAINES Sound Editor LEON SMITH Mixed at WARNER BROTHERS SOUND Songs Written by JOHN MORGAN ASKEW Songs Published by MINIATURA (ASCAP) Songs Performed by SERIES70

This film was produced in cooperation with the Screen Actors Guild.

This film was made possible in part with the support of the Oregon Governor’s Office of Film & Television and the Indigenous Oregon Production Investment Fund.

Filmed in Southern Oregon.

Copyright © 2016 BLACK ROAD LLC All Rights Reserved.

PRAISE FOR REDWOOD HIGHWAY & CALVIN MARSHALL Previous Work by Writer / Director Gary Lundgren

REDWOOD HIGHWAY (2014) “A low-key charmer with a large-souled performance at its center. Knight manages to be alternately feisty, astringent, stubborn and wonderfully open to experience. Le Gros delivers a subtle, multifaceted portrayal. In fact, almost all of the performances achieve perfect pitch. This is a tribute to Lundgren’s direction, and his excellent use of the serene Oregon locations.” -HOLLYWOOD REPORTER

“Downright charming….At one point in the indie drama…Tom Skerrit’s wry, kind widower lays his head on star Shirley Knight’s shoulder in a way that is somehow bold, gentle, funny and sexy. ...It’s the unforced acting providing the most nourishment.” -LOS ANGELES TIMES

"A perfectly fine walkabout through the scenic roadways and nearby woods of southern Oregon, Redwood Highway delivers in high spirits and fine thesping.” -VARIETY

“Gentle drama has integrity without feeling caught up in its own nobility.” -MINNEAPOLIS STAR TRIBUNE

“Knight shines in this contemplative, unrushed road movie on foot, with a rare, respectful focus on the existential despair of an older woman. And a solitary journey that is a female take on voyaging through those woods that are lovely, dark and deep.” -NEWSBLAZE

“Shirley Knight gives a winning lead performance, and the film captures the beauty of Southern Oregon landscapes.” –OREGONIAN CALVIN MARSHALL (2010) "Captures the way a timely hit in a softball game or a small gesture in a local bar becomes an indelible, fixed point in our memories." -THE NEW YORK TIMES

"Steve Zahn gives a career-best performance in this low-key gem. Lundgren's screenplay beautifully juggles the story's alternately comic and poignant elements and renders all three main characters with surprising depth." -THE HOLLYWOOD REPORTER

"A fabulous movie about how life can be so cruel, but how all that bile can disappear with just one kiss." -FILM THREAT

"A moving portrait of small-town life and the fallout from unrealized dreams." -THE NEW YORKER

"Lundgren's light touch gives this classic coming-of-age film its distinctive ring. A scruffy, sweet ode to managing youthful expectations." -THE VILLAGE VOICE

"Good-natured but not overly sentimental, "Calvin Marshall" has thoroughly realized characters and unforced comic moments about the irrepressible charms of the obliviously self-deluded." -THE NEW YORK POST

"Lundgren has crafted an effective human drama that gives each character the space and time to develop and grow, to rise and fall (and rise again), to be who they really are. The independent film world could use more like it." -HAMMER TO NAIL