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Home , Anne Carey, Daniel Johnston, Fear Yourself, Half Japanese, Jad Fair, Jeff Feuerzeig

Director Jeff Feuerzeig , 2005 Sundance Film Festival, Winner - Best Director

EAST COAST WEST COAST DISTRIBUTOR Donna Daniels Public Relations Block- Korenbrot Sony Pictures Classics Donna Daniels Melody Korenbrot Carmelo Pirrone Emily Lowe Ekta Farrar Angela Gresham Ph: (212) 869-7233 Ph: (323) 634-7001 Ph: (212) 833-8833. Fx: (212) 869-7114 Fx: (323) 634-7030 Fx: (212) 833-8844 1375 Broadway, 4th Floor 110 S. Fairfax Ave, Ste 310 550 Madison Ave., 8th Fl. New York, NY 10018 Los Angeles, CA 90036 New York, NY 10022

Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com SYNOPSIS

Daniel Johnston, a manic-depressive genius singer/songwriter/artist, revealed in this portrait of madness, creativity and love.

“The Devil and Daniel Johnston” is a stunning portrait of a musical and artistic genius who nearly slipped away. Director Jeff Feuerzeig exquisitely depicts a perfect example of brilliance and madness going hand in hand with subject Daniel Johnston. As an artist suffering from manic depression with delusions of grandeur, Daniel Johnston¹s wild fluctuations, numerous downward spirals, and periodic respites are exposed in this deeply moving documentary.

As a reclusive teenager growing up in New Cumberland, VA, Johnston began showing signs of unusual artistic ability at an early age. He religiously recorded his thoughts and stories onto cassette tapes, directed intuitive Super- 8 films starring himself in multiple roles ala Peter Sellers, and created expressive comic book-style drawings and animation in the basement of his family's home. However, in the eyes of his fundamentalist Christian family, Daniel simply wasn't contributing to society in a useful or productive way. After running off on a moped and joining a carnival, he landed in Austin, Texas, broke and alone. It was there he began to hone his musical career, recording folk songs on a series of homemade, lo-fi cassettes, which Daniel handed out free to fans, friends and journalists in the early 80s. With the help of a timely break and the thriving Austin music scene, Daniel managed to secure a brief spotlight on MTV making him a minor celebrity. But just as he was beginning to make a name for himself, his inner demons began to surface and Daniel¹s ongoing struggle with manic depression became more and more evident in his songs and drawings.

“The Devil and Daniels Johnston” artfully melds current footage, vintage performances, home movies, and dozens of recorded audiotapes from Daniel's life. Testimony from supportive friends and a deeply committed family adds a rich layer to his personal history, but it is Daniel¹s poetic songs interwoven through out the film, that tell their own passionate, haunting, and truly unforgettable story.

Now in his mid 40s, Daniel Johnston has grown into a prolific visual artist. His expressions have earned him worldwide recognition and critical praise, producing international exhibits where he continues to sell his vibrant and intimate sketches. He has recorded over ten full length albums, and his supporters have included Nirvana lead singer Kurt Cobain, who was often seen wearing a Daniel Johnston t shirt, Matt Groening, The Butthole Suffers, Sonic Youth, noted Minutemen/FIREHOSE bassist Mike Watt, David Bowie, Tom Waits, Beck, The Flaming Lips, and an ever-growing international cult audience.

This is the story of talented and tormented Daniel Johnston, a manic-depressive genius singer/ songwriter/ artist, revealed in this portrait of madness, creativity and love.

2 PRODUCTION NOTES

Daniel Johnston is an enigma, and a living breathing folk legend. Ever since Simpsons creator and preeminent Daniel Johnston fan Matt Groening mused in his LA Weekly column years ago that “someone should make the Daniel Johnston documentary,” and Kurt Cobain declared him the greatest living songwriter, Daniel has long been considered as the ideal subject for a documentary feature. It has taken director Jeff Feuerzeig, and producer Henry S. Rosenthal to bring it to life. The Devil and Daniel Johnston unravels the persona of Daniel Johnston: songwriter, musician, performer, painter, cartoonist, manic-depressive, visionary, and artist.

Feuerzeig has been fascinated with the legend of Daniel Johnston since the late 1980’s and spent over a decade compiling clippings of the events of his life as they appeared in the press. Feuerzeig says, “Word was quickly spreading through the underground in 1988 about this amazing crazy kid from Chester, West Virginia who wrote hundreds of songs of unrequited love about a girl named Laurie who married an undertaker and recorded all of his albums on a cassette recorder in his basement. When I heard these songs for the first time and was exposed to the raw emotion in Daniel’s art - it truly touched me on a molecular level – and it has stayed with me since. It seemed that Daniel’s mental illness allowed him to tap into a place where the music and art he was creating was truly unfiltered and I found it mesmerizing. To say it caused an obsession would be an understatement.”

While the music and art were capturing Feuerzeig’s imagination, the Daniel Johnston soap opera (real and imagined by Daniel) was being played out in public in a way that was truly riveting. Feuerzeig had a theory that Daniel Johnston was the wizard behind his own curtain and his theory crystallized in 1990 when Daniel appeared on 91.1 FM WFMU in what is now considered to be a legendary radio broadcast rivaling Orson Welles’ War of The Worlds.

“Daniel had prepared an elaborate one hour radio special on his two cassette decks which he broadcast to the New York/New Jersey WFMU audience via telephone from the mental hospital in West Virginia. In this broadcast Daniel’s full mania was displayed in all its glory. Daniel delivered wicked sharp comedy skits where he did multiple voices of boys and girls, hilariously interviewed himself with more multiple voices, played multi-tracked skits centering on his massive obsession with fame,

3 promoted his new “gospel album” titled 1990, sang live over the telephone with Yo La Tengo for what would become a hit single of his signature song Speeding Motorcycle, and took phone calls from the listening audience.” One of the callers was director Jeff Feuerzeig. “I asked him if his song Funeral Home was taken from Bruce Springsteen’s Cadillac Ranch and Daniel admitted that it was. So, even our first exchange fourteen years ago was about deciphering Daniel’s art.”

This broadcast turned out to be the key to Daniel Johnston and truly formed the idea for the film. Feuerzeig says “I believed that if I could visually and through audio make a film as innovative as Daniel’s radio show – editing together all facets of Daniel’s mania, his life story, as well as showing the beauty and innocence of his art and music--that I would have a movie that was a true reflection of Daniel Johnston as well as myself.”

Flash forward to a sold out New York City Knitting Factory show in 2000 where Daniel Johnston appears live for the first time in his life, outside of his handful of shows in Austin, Texas in the mid 1980’s. Feuerzeig recounts, “Daniel appears as a prophet. He played a slew of new songs and was truly on fire. He had the entire crowd laughing and crying. Here was this fragile, tragic, bloated man, and he had aged as if he had lived a thousand lives and by some miracle had lived to come back and tell us the secrets of the ages. The voice was unmistakable, every crack and spittle-ridden plosive rendered the last musical decade as a folly of empty filler.”

Feuerzeig immediately called his longtime friend and Daniel Johnston admirer, producer Henry S. Rosenthal and asked him, “If he wanted to take a ride on the space shuttle.” After they had agreed to undertake this truly high-risk venture the first step was to contact Daniel Johnston. Feuerzeig was in Austin, Texas and called up Daniel’s ex-manager Jeff Tartakov, who he had contact with over the years as he had been tracking Daniel’s story. As luck would have it Daniel was playing a show in Austin the following night and Tartakov agreed to make the introduction. The following night Feuerzeig and Daniel met backstage for the first time and Feuerzeig laid out his intention of doing a feature-length documentary about Daniel and his life. Daniel quickly agreed as Feuerzeig had directed Half Japanese: The Band That Would Be King, a successful film about longtime collaborator and friend of Daniel’s, Jad Fair.

4 Feuerzeig has also always had an interest in the internal monologue in cinema, feeling that a heightened level of intimacy is achieved and the audience feels closer to the truth. This technique is at its best in films such as Badlands, A Clockwork Orange, Zelig, and Taxi Driver, where the viewer actually feels like they are inside a character's head and he/she is talking directly to the viewer without any filters.

“As a filmmaker, I have been trying to find a project to utilize an internal monologue in a new and innovative way. This became a reality when I discovered hundreds of hours of audio cassettes that Daniel had recorded of his entire life,” states Feuerzeig. “At my disposal were childhood arguments with his mother, audio verite' of his high school hallways, surreptitious recordings of his crushed college romance, secret telephone conversations, and -- the greatest find of all -- an audio letter campaign with his best friend that went on for years and acted essentially as an audio diary. With literally every key moment of Daniel Johnston's life and every emotion he felt available to me, I was able to assemble a deeply personal and satisfying narrative that displays Daniel's essence in all its naked glory. My journey of discovery was to take a ride on the fragile precipice of madness and genius and Daniel supplied me with the tools to take us there. It was a privilege to have gotten so close to a fire that burns so intensely.”

From the project’s inception, the highest degree of professionalism and sensitivity to the subject was considered. Feuerzeig and his crew began shooting in May 2001 by going to Daniel Johnston’s home in Waller, Texas. They spent three weeks there shooting in-depth interviews with Daniel and his parents Mabel and Bill. They filmed Daniel in his garage/studio, in his bedroom, in his backyard, in his church, in his town, and performing with his band, The Nightmares. Daniel’s father, Bill, now in his 80’s functions as manager and struggles daily with the minutiae of indie rock management. The crew captured definitive accounts of the famous Daniel Johnston stories with Roshomon-like perspectives from his family members. During the three weeks of shooting in Texas they dug deeper, pushed harder, mined more gold, and recorded it more beautifully and with greater fidelity than anyone has before. This shooting formed the bedrock of the project.

The production next shot Daniel in July 2001 in Los Angeles during two important events: a solo art exhibition opening at the legendary Zero One Gallery, and his headline performance at the Key Club in the heart of the Sunset Strip. These events

5 drew Hollywood luminaries like Matt Groening and Wild Man Fischer. The art exhibition sold out before the doors opened. The filming of the concert at the Key Club was done in high-contrast black and white in conceptual homage to Daniel’s spiritual mentor Bob Dylan in Don’t Look Back.

In December 2001, the production filmed in New York City amongst various backdrops such as Bellevue hospital, the Statue of Liberty, CBGB’s, The Bowery Ballroom, The Sunshine Hotel and the Port Authority, in order to recreate Daniel’s infamous trip when he ran amok and disappeared for two weeks, all the while living at the Bowery.

In October 2002, the production next traveled to Austin to film a series of important interviews with people who played crucial roles in the Daniel Johnston saga. Music journalists Ken Lieck and The Austin Chronicle editor Louis Black were among the interviews. Louis took them on a guided tour to the University of Texas campus creek where, in 1986, he helped pull a psychotic Daniel out of the water. They conducted extensive interviews with Daniel’s lifelong best friend, David Thornberry, and his wife Kathy McCarty, whose heartfelt interpretations of Daniel’s songs were released in 1994 on the album Dead Dogs Eyeball. They filmed musician and producer Brian Beattie in his studio taking the camera through his legendary sessions with Daniel. The final sequence of their efficient and jam-packed three day shoot is an interview with Butthole Surfer Gibby Haines while in his dentist’s chair receiving four fillings. Gibby recounts the fateful night of September 11, 1986 when an acid tripping Daniel attended a Butthole Surfer show, freaked out, and ended up hospitalized for the first of many times to follow. Periodically, drilled tooth dust billows from his mouth in what must be one of the most bizarre interviews ever filmed.

The production also filmed extensively in West Virginia, Maryland, Ohio, and Pennsylvania and again in Austin to interview Daniel’s former manager Jeff Tartakov, arguably the most pivotal character in the Daniel Johnston saga. They collected archive footage from around the world and feature Daniel leading a sing-along at a huge festival in Sweden. This footage opens the scope of the film by showing the tremendous international reaction to Daniel.

The commitment was made from the beginning to shoot in the luxurious format of Super-16mm film. This decision guaranteed the highest quality result and the most stable archival storage medium. From camera-original negative, the best looking film

6 prints and most beautiful video masters can be produced. The production mixes mediums by incorporating archival footage of Daniel’s life and performances to create a multi-layered narrative.

The Daniel Johnston story is multi-faceted and multi-layered, and is charged with hope and betrayal, beauty and grotesquery, pain and love. The Devil and Daniel Johnston promises to be a compelling event picture offering a portrait of a singular artist.

About Daniel Johnston

Put the name 'Daniel Johnston' into any internet search engine and you will find hundreds of pages about America's most unlikely pop phenomenon and 'outsider' visual artist. Johnston's career has spanned over three decades. He has spent the last twenty-three years exposing his heartrending tales of unrequited love, cosmic mishaps and existential torment to an ever-growing international cult audience, and as a result has been hailed as an American original akin to blues-man Robert Johnson and country legend Hank Williams.

Johnston was born in 1961 in Sacramento, California, the youngest of five children in a Christian fundamentalist household. Johnston started drawing at an early age, a long time before he took up music. However, he grew to appreciate artists such as John Lennon, Yoko Ono, Bob Dylan, Elvis Costello, Queen, Neil Young, the Sex Pistols and especially the Beatles, "When I was 19, I wanted to be the Beatles" says Johnston.

As a teenager, Johnston and his friends began to record their own cassettes and trade them amongst themselves. Unemployed and attending art classes sporadically, Johnston began to spend most of his time in his family's cellar, writing and recording songs. The cassettes he made there included 'Songs of Pain' and 'More Songs of Pain', both of which centered around his unrequited love for a woman named Laurie who ended up marrying an undertaker.

The aspiring cartoonist - whose playful, symbolic sketches have graced the covers of his releases - moved to Texas in 1983. At this time, the onset of manic depression had begun. Johnston stayed with his brother in Houston and then in San Marcos with his sister, where he recorded the seminal cassettes 'Yip/Jump Music' and 'Hi, How Are You?'. The latter was recorded in the midst of a nervous breakdown. Both were recorded on a $59.00 Sanyo mono boom-box and are quintessential of Johnston's desperate bid to get his creations out of his head and onto the record of human experience. Although lo-fi and amateurish in approach, these recordings are unflinchingly honest yet painfully beautiful.

For a short spell, Johnston joined a traveling carnival, selling corndogs. His five-month stint with the carnival left him in Austin, where he decided to stay. In the midst of that city's mid-eighties music scene, Johnston became a local legend. While he continued to hand out his cassettes for free, Austin record stores started selling them; in fact, they became best-selling local releases. Johnston's biggest break came when a camera crew from MTV's seminal 'Cutting Edge' show decided to feature Johnston. His appearance on the show made him a minor celebrity, and the music press in the US and abroad began to take note.

With the surprise success of Johnston's poignantly personal homemade cassettes, the independent label, Homestead, re-issued some of the cassettes on CD to a wider

8 audience in the early nineties. It was at this time that the disaffected grunge movement had begun and Johnston's unique lo-fi sound synched perfectly with the overall musical landscape earning accolades and name-checks from grunge heroes Nirvana, Sonic Youth and Pearl Jam. Kurt Cobain even wore a Daniel Johnston t-shirt to 1992's MTV Video Music Awards and members of Sonic Youth played on Johnston's Wayne Kramer produced '1990' album released on Shimmy Disc .

With songs included on Generation X film soundtracks such as 'Kids' and 'My So Called Life', Johnston found himself propelled into the mainstream and signed to Atlantic Records . At the time of signing to Atlantic, Johnston was suffering from severe depression. Johnston's old friend Paul Leary of the Butthole Surfers, who he first met in 1985, was drafted in as producer of the project. "Daniel had trouble playing. I wish he could have played every instrument, but he couldn't" says Leary in hindsight. Under enormous pressure to complete the album, Johnston drifted deeper into depression. The sessions resulted in the ironically titled 'Fun' album, which was released in 1994. Although 'Fun' was competently recorded, it lacked the 'human- ness' of Johnston's early cassettes. The sales of 'Fun' fell well below the expectations of Atlantic Records.

Following Atlantic Records 'perceived failure of 'Fun', Johnston was plagued by the fear Atlantic would drop him if he didn't produce another better selling album. There were long periods of time when Johnston never got out of bed and produced neither music nor art. As friend Brian Beattie remembers, "I'd say it was probably the lowest point in his life". In 1997, after a chilling performance at South By South West, where Johnston screamed to the audience, "we're all going to die!" and abruptly left the stage, Johnston was officially dropped by Atlantic.

Johnston returned to the Houston suburbs where he lives with his parents today. For the next three years he recorded with Brian Beattie of Austin band Glass Eye . Every four weeks or so, Beattie would spend two hours packing up a porta-studio, three hours driving to Johnston's house, four to five hours recording, then break it all down and drive back to Austin. Due to Johnston's ever-changing health, sometimes they would not even get one song recorded. Other times, says Beattie, "Johnston's genius antennae would shoot up into the sky, and a song that sounded like it had existed forever would come uninterrupted out of his mind and his hands".

In 2001, Johnston's first record in seven years (since 'Fun') was released on Gammon Records, entitled 'Rejected Unknown'. 'Rejected Unknown' was collected from the recordings Johnston had made with Beattie and was a return to the organic, free range Johnston. Although not as lo-fi as his early cassettes, it still remained genuine, honest and reflective of an individual talent. In the winter of 2002, Mojo magazine, selected the album for their '1000 Ultimate CD Guide'.

Not only is Johnston's musical career back on track, his visual art is blossoming too. Johnston's art has been exhibited in countless galleries around the world and he has become a permanent fixture in 'outsider' art books. His art is rooted deep in the

9 iconography of his childhood; comic books, monster movies, Bible stories and the Beatles. "His (Johnston's) fan base is the artistic cream of the crop, but he may never appeal to the masses, at least not in his lifetime. Van Gogh was admired and mentored by superstar artists like Gauguin. Later in history they were considered peers, even though during their lives, Van Gogh sold nothing and Gauguin was a celebrity. This could easily happen to Johnston as an artist and musician" says artist Ron English .

Daniel Johnston is 42 now. Within his oversized adolescent frame and incongruously mopped grey hair, lies a history of crash'n'burn volatility, which co-exists with prolific creativity in music and the visual arts. His output has been erratic, his career trajectory unpredictable, but Johnston continues to exert a powerful creative presence, despite the demons with which he is beset. As Dean Ween of Ween says, "most songwriters would have given anything to have written one song as good as any Daniel Johnston tune, and he has hundreds". Johnston's personal troubles have sometimes overshadowed his music legacy, but they have not derailed his prodigious talents.

Johnston is "feeling a lot better". "I'm on better drugs now, so it really makes a big difference" he says. Johnston can now be frequently found in recording studios, art galleries and on concert stages around the world. In 2002 he was invited by David Bowie to perform at the Meltdown Festival, Queen Elizabeth Hall, London, and the Lyon Opera Ballet commissioned New York-based choreographer Bill T. Jones to create 'Love Defined', a 25-minute piece set to six Daniel Johnston songs. Most recently Johnston played a handful of prestigious European festivals, such as Roskilde and Benicassim, along with three sold-out rare UK shows, in support of his critically acclaimed new album,'Fear Yourself' (released on Sketchbook ), a collaboration with Sparklehorse .

Johnston maintains the support of many fans, from Matt Groening (creator of The Simpsons ) and Johnny Depp to David Bowie and Kurt Cobain . Johnston is the musician's cult musician, whose music is appreciated for it's utter lack of artifice and the undeniable simple brilliance. A range of artists, such as Beck, Wilco, Sonic Youth, Yo La Tengo, Nina Persson (of The Cardigans ), Sparklehorse, Jad Fair, The Pastels, Zwan and Pearl Jam have all covered Johnston's songs in the past.

10 BIOS

Jeff Feuerzeig (Director) has created two major music documentaries, the PBS film Jon Hendricks: The Freddie Sessions and Half Japanese: The Band That Would Be King in addition to his work as a commercial director with Washington Square Films. Half Japanese was theatrically released by Tara Releasing and is distributed on video and DVD by Vanguard Cinema.

Henry S. Rosenthal (Producer) is currently San Francisco's most prolific producer of independent films. The Devil and Daniel Johnston (2005), a feature- length film about the famous musician and cult figure, is his eighth film invited to Sundance. Rosenthal’s long working relationship with legendary experimental filmmaker Bruce Conner resulted in the completion of LUKE (2004), a 22 minute work that premiered at the New York Film Festival. Rosenthal produced Off the Charts: The Song-Poem Story (2003) directed by Jamie Meltzer, broadcast nationally on PBS’ Independent Lens series, released on DVD by Shout! Factory, and distributed by Sony.

He collaborated with San Francisco based media artist Lynn Hershman Leeson, on her first feature-length film entitled Conceiving Ada starring Tilda Swinton, Karen Black and the late Timothy Leary. The film has won several awards and has been screened at over forty festivals including the Toronto, Sundance, Berlin, South by Southwest, and San Francisco International Film Festivals.

In 1996, he collaborated with director E. Elias Merhige (Shadow of the Vampire, Suspect Zero), whose experimental feature, Begotten, he represents, on a pair of music videos for the shock-rock band Marilyn Manson. Also in 1996, he worked with German filmmaker Monika Treut. Together they completed production on a segment of a feature film project for the Danish government entitled Danish Girls Show Everything. Other projects include: executive producing an instructional video for the San Francisco Psychotherapy Research Group entitled Center of the Storm, producing "The Beast," a first film by Rhoderyc Charles Montgomery that was the only U.S. short invited into the Main Competition at Cannes 1995; line-producing Karen Shakhnazarov's American Daughter, the first Russian feature shot in the United States since the breakup of the Soviet Union; producing Mod Fuck Explosion, a post-Godardian, semiotic teenage freak-out by writer/director Jon Moritsugu; and producing the second feature by Caveh Zahedi (whose previous feature, A Little Stiff, Rosenthal represents) called I Don't Hate Las Vegas Anymore, which is unique as the first Iranian-American comedy and the first film to conclusively prove the existence of God.

Rosenthal's close collaboration with the fiercely independent Jon Jost (recipient of the Independent Feature Project's John Cassavettes Award for Lifetime Achievement) resulted in the production of Rembrandt Laughing (1988); All the Vermeers in New York (winner of the Los Angeles Film Critics Award for the Best Independent Film of

11 1991); Sure Fire (1991), award winner at several major festivals; Frameup (1993; released as Jon Jost's Frameup by World Artists Home Video); The Bed You Sleep In (1993) premiered at Berlin and Sundance Film Festivals.

He is producing Bruce Conner's first feature-length film, The Soul Stirrers: By and By, a massive music documentary begun in 1983. Rosenthal also served as executive producer for Gregg Araki's breakthrough feature, The Living End.

Rosenthal has for the past seven years offered his production/consultation services to over 5,000 features, shorts, documentaries, industrials, music videos, commercials, and educational films and videos. He has also taught classes and lectured in producing independent films at San Francisco State University, UC Berkeley Extension, the California College of Arts and Crafts, De Anza College, City College, Academy of Art College, Film Arts Foundation, and the San Francisco Art Institute.

Since 1994, he has served on the board of directors of the Film Arts Foundation, the largest regional media arts organization in the country. He is also an Advisory Board member of the San Francisco Cinematheque. Through these media arts organizations Henry works as an advocate for the independent filmmaker.

Rosenthal has been involved with media since the age of thirteen, when he organized the first Elvis Presley Film Festival for Cincinnati’s Contemporary Arts Center in 1968. In 1975-76 he produced the Viacom cable television series Files: Things That Are Kept and Why and the Conceptual Video Minute. From 1977-79, Henry served as manager and drummer for CRIME, a legendary San Francisco-based proto-punk band that has re-formed and will tour in 2005. He was a founding member and composer with Other Music, an experimental music ensemble that performed a myriad of concerts and released two albums (which he co-produced). Rosenthal works from behind a desk that once belonged to James Brown and boasts the world largest collections of souvenir pennants and two-headed calves.

Ted Hope (Executive Producer) Ted Hope, together with partners Anthony Bregman and Anne Carey, founded the New York production company This is that, formed out of the production and development arms of Good Machine. Now in its third year, This is that has produced six films and will have several more in production in 2005. Its first release, Alejandro Gonzalez Inarritu’s 21 Grams (starring Sean Penn, Benicio Del Toro, and Naomi Watts), received two Academy Award nominations and five BAFTA nominations. Its next releases, Michel Gondry and Charlie Kaufman’s Eternal Sunshine of the Spotless Mind (starring Jim Carrey and Kate Winslet), Tod Williams’ The Door in the Floor (starring Jeff Bridges and Kim Basinger, based on a novel by John Irving) and John Waters’ A Dirty Shame (starring Johnny Knoxville, Tracey Ullman, Selma Blair, and Chris Isaak) have been equally groundbreaking.

12 Hope’s two latest productions have been selected for the 2005 Sundance Film Festival. Mike Mills’ Thumbsucker (starring Tilda Swinton, Vince Vaughn, Keanu Reeves, Vincent D’Onofrio, and Benjamin Bratt) is in the narrative competition, and Jeff Feuerzeig’s The Devil & Daniel Johnston in the documentary competition. Hope’s production, American Splendor, won the Grand Jury Prize at the 2003 Sundance Film Festival as well as the FIPRESCI Award at the 2003 Cannes Film Festival, the Critics prize at the 2003 Deauville Film Festival and was nominated for 5 Independent Spirit Awards, and one Academy Award. He has also executive produced two other Sundance Grand Jury Prize Winners: Edward Burns' The Brothers McMullen (1995) and Tom Noonan's What Happened Was. (1994).

In January 2005, Hope began work on his third collaboration with Nicole Holofcener, Friends with Money (starring Catherine Keener, Frances McDormand, Jennifer Aniston and Joan Cusack). His production of Holofcener's Lovely & Amazing netted six Spirit Award nominations (2003), the most of any 2002 release.

Hope also executive produced Todd Field’s In the Bedroom, which earned five Academy Award nominations in 2002 for Best Picture, Actress, Actor, Supporting Actress, and Adapted Screenplay. In addition, he received five Emmy nominations for Moises Kaufman’s hate crime docudrama, The Laramie Project (2001). Hope also produced the Cannes Critics' Prize-winning Happiness (1998), directed by Todd Solondz, which Hope and his partners at Good Machine released themselves when its distributor dropped the film.

Hope has produced, with James Schamus, many of Ang Lee's films including Ride With The Devil, The Ice Storm, Pushing Hands, the Academy Award nominated The Wedding Banquet and Eat Drink Man Woman. Hope got his start as a producer from his early collaborations with Hal Hartley, eight films in all, including Amateur, Simple Men, and Trust.

Hope has been awarded numerous honors and citations and has served on several film festival juries. He takes particular joy in first features, having produced fourteen of them and is credited with producing 50 films to date. Recently, Hope played a key role in the organization of the successful campaign in opposition to the MPAA’s Screener Ban.

Fortunato Procopio (Cinematographer) is a director of photography - cinematographer specializing in commercials and feature films. He is based in New York and Los Angeles. Fortunato has shot music videos and several hundred television commercials in the US and internationally including numerous parody commercials for Saturday Night Live. He has dozens of features, documentaries, shorts, and commercials to his credit, including a long-time collaboration with Jeff Feuerzeig.

13 Tyler Hubby (Editor) began taking photographs at age eight and making films at age ten. He is a graduate of the San Francisco Art Institute where he studied with filmmakers George Kuchar and Ernie Gehr. His photographs have appeared in Bizarre magazine. He has served as an editor for such films as Xenon Pictures’ Welcome to Death Row, and Usher, by cult director Curtis Harrington. He has been a curator for The Hollywood Sub-Cinema Conspiracy, which he co-founded with Eric Brummer. He currently lives in Los Angeles.

14 CREDITS

THIS IS THAT and COMPLEX CORPORATION present A HENRY S. ROSENTHAL production A film by JEFF FEUERZEIG

THE DEVIL AND DANIEL JOHNSTON

Director JEFF FEUERZEIG Producer HENRY S. ROSENTHAL Executive Producer TED HOPE Director of Photography FORTUNATO PROCOPIO Editor TYLER HUBBY

Additional Photography JEFF FEUERZEIG HARRY CLARK, JR. ROB FEATHERSTONE MATYAS ERDELY

Assistant Camera HARRY CLARK, JR. PETER DONAVAN CRAIG GROSSMUELLER DAVID LAYTON DONOVAN MLCOCH MATT PETROSKY ADAM SCHWARTZ

Production Coordinators NICOLE ACACIO CHRISTOPHER GERAGHTY MARK KRUMPER MARK MILLER MOLLI AMARA SIMON

Production Sound Recordists ETHAN ANDRUS WAYNE BELL ADAM JOSEPH DENNIS TOWNS

Grip/Electric GABRIEL AGUILAR KARL ALEXANDER JESSICA ATTEL KENT BAKER CASEY DUNN ROBERT FINLEY EDISON JACKSON WOODY LANG BOBBY LEWALLEN III BUZ MALOY TOM SHINN WILSON WAGONER JOHN WITMER

15 Production Assistants GABRIEL AGUILAR LEORA BACKER MATEO BOURDIEU MICHAEL BURKE JOHN CATES JASON DENNIS KEVIN DEWITT RODNEY ELLIOT STEVE HAHN SEAN HARPER DENNIS HOCKING ADAM HOLLANDER BEN KOBOS TAMARA MARCARIAN TONY MAZZUCCHI DONOVAN MICOCH LAWRENCE ONODA MARCOS V. PEREZ GEORGE S. ROSENTHAL MORGANNA THOMAS CHARLES YANG

Additional Editors JEFF FEUERZEIG ED FULLER

Assistant Editors BRETT McCARTHY NATHANIEL FREGOSO ANNE HALL

Visual Effects BIG RED PIXEL Lead 2D Artist JOSEPH BAILEY Lead 3D Artist JOHN KIRBY Compositor TARN FOX Visual Effects Supervisor ROBERT ROSSELLO Executive Producer JONAH LOOP

Super 8mm Transfer MODERN VIDEOFILM

Digital Intermediate POST LOGIC STUDIOS Digital Colorist MIKE UNDERWOOD Engineering HENRY BALL IQ Artist MATTHEW W. JOHNSON Film Scanning NELSON MAH Asset Management JOE MONROE Digital Restoration TIM GALLEGOS Coordinating Producer DAVID DONALDSON

Title Design CHARLES McDONALD

Graphic Design HANNA ROGERS TIMOTHY GEORGARAKIS CANDACE COLE ERIC MEYERSON

Art Department GREGG GIBBS JILL McGRAW KIARA GELLER CHRISTOPHER ROGERS

Plate Photography PETER MICHELENA

Still Photographs JOHNSTON FAMILY ARCHIVE YVES BEAUVAIS PAT BLASHILL JUTTA BRANDT JASPER DALEY MONICA DEE STEVE DOUBLE DAVID FAIR JEFF FEUERZEIG NILES J. FULLER TOM GIMBEL MICHAEL LAVINE MICHAEL MACIOCE RICK MAGEE J. McCONNICO MARK MILLER MICHAEL OCHS ARCHIVE DEB PASTOR SUSANNE SASIC JEFF TARTAKOV DAVID THORNBERRY

Audio Post Facilities BERKELEY SOUND ARTISTS THE SAUL ZAENTZ FILM CENTER Sound Designer JAMES LeBRECHT Supervising Sound Editor PATTI TAUSCHER Assistant Sound Editor ALISON SULTAN Re-recording Mixers DAN OLMSTED JAMES LeBRECHT Dolby Consultant DAN SPEERY

Legal GEORGE M. RUSH, ESQ. SUSAN BODINE Production Services COMPLEX CORPORATION Music Supervision And Clip Clearance THE RIGHTS WORKSHOP

Archive Footage Courtesy of JOHNSTON FAMILY ARCHIVE GUSTAF BRÄNNGÅRD JONATHAN DAYTON CHARLIE GRANBERG SVERRIR GUDNASON MARIE JAVINS RANDY KEMPER DEE MONTGOMERY TON VON GOOL

“SORRY FILMS” FLIPBOOK (1977) Daniel Johnston Animated by Shane Haas

“WOODSHOCK” (1985) Courtesy of Richard Linklater and Lee Daniel

LIVE BUTTHOLE SURFERS (CIRCA 1986) Jem Cohen and Adam Cohen, Camera

ACID TRIP ANIMATION Martha Colburn

“THE WEEK THAT WAS” (1988) Lee Ranaldo, Camera

“MY DINNER WITH DANIEL” (1988) David Fair

“1992 VIDEO MUSIC AWARDS” Courtesy of MTV Music & Media Licensing

Art Contributors JOHNSTON FAMILY ARCHIVE LOUIS BLACK JEFF BRIVIC DON GOEDE HENNING NASS GENE & KATHY PORTER JEFF TARTAKOV DAVE THORNBERRY

Additional Score WALTER WERZOWA

“SILLY LOVE” “CANDY APPLE” “THINKING ABOUT LOVE” “I LIVE MY BROKEN DREAMS” “SEE MY SOUL STRETCHED OUT TO THE SKY” “FUNERAL HOME”

18 “NEGATIVE SUPERMAN” “DON’T PLAY CARDS WITH SATAN” “WORRIED SHOES” “RUNNING WATER” “DO YOU REALLY LOVE ME?” “LIKE SHOWBIZ” “FRITO LAY” “LOVE WILL SAVE ME SOMEHOW” “DEVIL TOWN” Written and Performed by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing

“STORY OF AN ARTIST” “LAZY” “GRIEVANCES” “I HAD LOST MY MIND” “CHORD ORGAN BLUES” “DON’T LET THE SUN GO DOWN ON YOUR GRIEVANCES” “WALKING THE COW” “URGE” “DESPAIR CAME KNOCKING” “MY YOKE IS HEAVY” “PEEK A BOO” “MUSEUM OF LOVE” “I HAD A DREAM” “KEEP PUNCHING JOE” “WICKED WORLD” “SPEEDING MOTORCYCLE” “SORRY ENTERTAINER” Written and Performed by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Courtesy of Daniel Johnston

“SPIRIT WORLD RISING” “KING WEASEL” “DEAD DOG EYEBALL THEME” “TEARS STUPID TEARS” “MARCHING GUITARS” “CASPER THE FRIENDLY GHOST” Written and Performed by Daniel Johnston

19 Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Courtesy of The Johnston Family Archive

“DO IT RIGHT” Written by Jad Fair & Daniel Johnston Published by Sit Boy Girl Music (BMI) & Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Daniel Johnston and Moe Tucker Courtesy of Moe Tucker

“SOME THINGS LAST A LONG TIME” Written by Jad Fair & Daniel Johnston Published by Sit Boy Girl Music (BMI) & Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Daniel Johnston Courtesy of Shimmy Disc Records

“DO IT RIGHT” “SOME THINGS LAST A LONG TIME” Written by Jad Fair & Daniel Johnston Published by Sit Boy Girl Music (BMI) & Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Britta Phillips

“HEY JOE” “HONEY I SURE MISS YOU” Written by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Britta Phillips

“DESPERATE DAN” Written by Johnny Dankworth Published by EMI Longitude Music Co. (BMI) Performed by Johnny Dankworth Courtesy of EMI Film and Television Music

“VEGETABLE WHEEL” Written by Brian M. Beattie,

20 Kathleen Anne McCarty, Scott Marcus Published by Inguz Music (BMI) C/O BUG Music Publishing Performed By Glass Eye Courtesy of Beattie, McCarty, Marcus

“HEY JOE” Written by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Dean Wareham

“SWEAT LOAF” Written by The Butthole Surfers Published by Latino Buggerveil Music (ASCAP) Performed by The Butthole Surfers Courtesy of Latino Buggerveil Music

“RUDOLPH THE RED-NOSED REINDEER” Written by Johnny Marks Published by St Nicholas Music (ASCAP) Performed by The Three Suns Courtesy of RCA Victor Under license from BMG Film & TV Music

“WINTER WONDERLAND” Written by Felix Bernard & Richard Smith Published by WB Music Corp. (ASCAP) Performed by The Three Suns Courtesy of RCA Victor Under license from BMG Film & TV Music

“RUDOLPH THE RED-NOSED REINDEER” Written by Johnny Marks Published by St Nicholas Music (ASCAP) Performed by Daniel Johnston Courtesy of Daniel Johnston

“SILENT NIGHT” Written by Franz Xaver Gruber Arranged and Performed by Walter Werzowa Published by Musikvergnuegen (BMI)

“LA GAZZA LADRA OVERTURE” Written by Gioacchino Rossini Arranged and Performed by Walter Werzowa

“DANIELUTION” Written, Arranged and Performed by Walter Werzowa Published by Musikvergnuegen (BMI)

“AMAZING GRACE” Traditional, Performed by Daniel Johnston

“CARELESS SOUL” Written by J.H. Stanely Performed and Arranged by Daniel Johnston Published by Eternal Yip Eye Music (BMI)

“AT THE CROSS” Written By Isaac Watts Performed by The Katy Church of Christ Congregation

“IF I’D ONLY KNOWN” Written by Jad Fair Published by Sit Boy Girl Music (BMI) Administered by BUG Music Publishing Performed by Jad Fair and Daniel Johnston Courtesy of Jad Fair

“SPIRIT WORLD RISING” “TRUE LOVE WILL FIND YOU IN THE END” “HELD THE HAND” Written and Performed by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Courtesy of Shimmy Disc Records

“SOFTLY AND TENDERLY, JESUS IS CALLING” Written By Will L. Thompson and J. Calvin Bushey Performed by The Katy Church of Christ Congregation

“LITHIUM” Written by Kurt D. Cobain Published by EMI Virgin Songs, Inc. (BMI)

22 Performed by Nirvana

“TRUE LOVE WILL FIND YOU IN THE END” Written by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Sonic Boom Courtesy of Adasam Ltd

“MASTER OF PUPPETS” Written by Ulrich, Hetfield, Hammett, Burton Published by Creeping Death Music (ASCAP) Performed by Metallica Courtesy of Elektra Entertainment

“MY BAMBINA” Written and Performed by Nick Apollo Forte Published by Versatility Music (ASCAP) Courtesy of Nick Apollo Forte

“CRAZY LOVE” Written and Performed by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Courtesy of Atlantic Records

“WORLD WITHOUT ROCK AND ROLL” “MAN OBSESSED” Written by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Danny & The Nightmares

“SLOOP JOHN B” Traditional, Arranged and Performed by Walter Werzowa Published by Musikvergnuegen (BMI)

“I HAD A DREAM” Written by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by Kathy McCarty Courtesy of Bar None Records

“HONEY I SURE MISS YOU” Written by Daniel Johnston Published by Eternal Yip Eye Music (BMI) Administered by BUG Music Publishing Performed by the Nutley Brass Produced by Sam Elwitt Courtesy of Sam Elwitt All Rights Reserved

THANKS:

SARA ALLENTUCH WOODY ALLEN SEÑOR AMOR CAROLA ANDERSON ARNER FUNERAL CHAPELS PETER ARNER JAMIE ASKIN AUSTIN STATE HOSPITAL AUTOMAT PICTURES DAVID BAKER, D.D.S. JOSHUA BAUR BRIAN BEATTIE YVES BEAUVAIS WENDY BIRO-POLLARD ART BLACK LOUIS BLACK JOSH BLUM BOWERY MISSION RISHNONDA BREWSTER JEFF BRIVIC JERYL BRIVIC CHARLES BROHAWN LAURIE BROWN BUTLER AMUSEMENTS CBGB/OMFUG MATT CHESSÉ JASON COHEN JEM COHEN BRUCE CONNER CRITERION COLLECTION BRIDGET DAMRON JASON DAMRON DEDE DEVLIN GRAHAM DOLPHIN DAVID FAIR JAD FAIR KEMBER FEUERZEIG NICK APOLLO FORTE DON GOEDE MATTHEW GRIFFIN MATT GROENING CHRISTIAN HANLON GIBBY HAYNES ELIZABETH HERNDON PAUL HIBLER NICK HILL DAVID HIRSHLAND HOLE IN THE WALL

24 MARIE JAVINS MARY ANN JOHNSTON KEN KATKIN KATY CHURCH OF CHRIST PETER KEMBER RANDY KEMPER KEY CLUB CRAIG KOON M.C. KOSTEK KNIGHTS PORTA POTTY KNITTING FACTORY, NYC KRAMER DAVID LEAF BRAD LEE KEN LIECK JEN LILLY MARKUS LOBL KRISTIN LOEB TED LORSBACH EMILY MARCUS GREIL MARCUS KATHY McCARTY MICHAEL MEISEL THURSTON MOORE DAVID NEWSOME JULIEN NITZBERG ERIC PAPA LYNN PEARSON BRITTA PHILLIPS PIT FIRE PIZZA JOHN POCHNA LEE RANALDO SHELLY REED BOB REED JENNY REIFF MARK RICHARDSON CHRISTOPHER ROGERS SCOTT ROGERS LOU LOU ROSENTHAL DAVID SANFIELD TOM SCHARPLING ADAM SCHNEIDER JONATHAN SCHWARTZ STEVE SHELLEY MICHAEL SIMMONS MICHAEL HARPER SMITH SUNSHINE HOTEL JEFF TARTAKOV DAVE THORNBERRY GABRIELA TOLLMAN DEAN WAREHAM GLORIA WEISENBERGER BROOKE WENTZ WESTON STATE HOSPITAL WFMU 91.1 FM JEFFREY WILSON MIKE WOOLF DAVID WOLFSON PETER WRIGHT PETER ZAREMBA STATUE OF LIBERTY NATIONAL MONUMENT UNIVERSITY CHURCH OF CHRIST WASHINGTON SQUARE FILMS ZERO ONE GALLERY

Very Special Thanks THE JOHNSTON FAMILY

Kodak Motion Picture Film (LOGO) Post Logic (LOGO) Chapman Leonard (LOGO)

25 FotoKem (LOGO) Dolby Digital In Selected Theatres (LOGO)

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