PRESENTS TIME In Select Theaters October 9, 2020 | Worldwide on Amazon Prime Video October 16, 2020 81 mins | English | Rated PG-13

Directed by Garrett Bradley Produced by Lauren Domino, Kellen Quinn, Garrett Bradley

Amazon One/35 Leanne Hunt Catrice Armstrong [email protected] [email protected] Sara Del Negro Lauren Woulard [email protected] [email protected]

Acme PR (LA) Regional Press Nancy Willen Mike Jesson (East Coast) [email protected] [email protected] Emily McDonald Kyle Thorpe (West Coast) [email protected] [email protected]

Cinetic (NY) Digital Press Ryan Werner Clay Dollarhide [email protected] [email protected] Layla Hancock Piper Tina Theriot [email protected] [email protected]

TIME

Logline In this intimate yet epic love story filmed over two decades, indomitable matriarch Fox Rich strives to raise her six sons and keep her family together as she fights for her husband’s release from the Louisiana State Penitentiary, commonly known as Angola.

Short Synopsis Fox Rich is a fighter. The entrepreneur, abolitionist and mother of six boys has spent the last two decades campaigning for the release of her husband, Rob G. Rich, who is serving a 60-year sentence for a robbery they both committed in the early 90s in a moment of desperation. Combining the video diaries Fox has recorded for Rob over the years with intimate glimpses of her present-day life, director Garrett Bradley paints a mesmerizing portrait of the resilience and radical love necessary to prevail over the endless separations of the country’s prison-industrial complex.

Long Synopsis In 1997, Fox Rich and Rob G. Rich were newly married high school sweethearts trying to start a business in Shreveport, Louisiana, when a moment of desperation led to a botched bank robbery that landed them both in jail. Fox served three and a half years; Rob was sentenced to 60. When Fox emerged, she dedicated her life to getting her husband out of prison and raising their six boys. A model of strength and perseverance, her mantra is, “Family is everything and everything is family.” Fox has spent the last 21 years filing appeals, making phone calls, giving lectures, and serving as a vocal advocate for other families broken up by incarceration — while also running a business and caring for her children on her own. Through it all, she has documented their family’s life for Rob, creating a home-video archive of all the crucial moments he has missed as a father, footage that also reveals Fox’s remarkable trajectory from a vulnerable young woman to an indomitable matriarch, entrepreneur, and abolitionist. Combining Fox’s video diaries with contemporary glimpses into the family’s everyday routines, including court dates, collect calls, bimonthly visits to Angola and updates from judges and lawyers, director Garrett Bradley charts a life lived with fierce and unrelenting hope. Fox and her sons celebrate holidays, anniversaries and graduations, believing each year that the next one will be with Rob — and they continue, unwaveringly, in the face of disappointment. Time cross-cuts footage from the past and present, framing it with a lyrical voiceover from Fox and her sons to provide a uniquely intimate perspective into the long-term costs of incarceration: the children who grow up without fathers, and the mothers who are forced to become caregivers and legal experts all at once. It also reveals how families sustain themselves on sheer faith to prevail over the endless separations of the prison-industrial complex — a remnant of the legacy of slavery. The film’s gorgeous black-and-white cinematography and symphonic rhythm lend an epic quality to Fox and Rob’s story — a story not just of strife, but also of radical, resilient love. Time is directed by Garrett Bradley (Alone, America) and produced by Lauren Domino (The Earth Is Humming, America), Kellen Quinn (Midnight Family, Brimstone & Glory) and Garrett Bradley. Executive producers are Laurene Powell Jobs (The Price of Free, A Thousand Cuts), Davis Guggenheim (Waiting for ‘Superman,’ An Inconvenient Truth – 2014 Academy Award® winner for Best Feature Documentary), Nicole Stott (Searching for Sugar Man, Restrepo), Rahdi Taylor (Minding the Gap, I Am Not Your Negro) and Kathleen Lingo (Walk Run Cha Cha, 4.1 Miles). Co-executive producers are Jonathan Silberberg (Paradise Lost 3: Purgatory, “Iconoclasts”) and Shannon Dill (Inheritance, He Named Me Malala).

ABOUT THE PRODUCTION

My story is the story of over 2.3 million people in the United States of America who are falling prey to the incarceration of poor people and people of color. — Fox Rich

Garrett Bradley’s eye-opening new film, Time, is at once a paean to the power of familial love and a powerful indictment of the American justice system. Seen through the eyes of an extraordinary woman, this deeply personal look at the effects of incarceration on one American family ricochets back and forth in time as it chronicles a romance, a family and an unwavering quest for justice. The film earned Bradley the Best Director award in the US Documentary Competition at the 2020 Sundance Film Festival. Bradley began exploring the ways women learn to live with their partners’ imprisonment in the award-winning 2017 New York Times Op-Doc Alone. “Making that film was an opportunity to talk about incarceration from a feminist point of view, and specifically a Black feminist point of view,” explains Bradley. “The protagonist, Aloné, had no experience with what it meant to be in a long-term relationship with someone entering the system. My goal was to connect her with women of multiple generations who were at different stages of going through this same experience. I hoped this could be a way of addressing what seemed to be a common feeling of isolation and lack of support.” While looking for women in similar situations, Bradley was introduced to Fox Rich by Gina Womack, executive director and co-founder of Families and Friends of Louisiana’s Incarcerated Children (FFLIC). Fox and her husband, Rob G. Rich, (to be referred to together as FoxandRob hereafter) were newly married high school sweethearts trying to start a business in Shreveport, Louisiana. In 1999, Rob was sentenced to 60 years without the possibility of parole in the notorious Louisiana State Penitentiary (aka Angola), an almost unheard-of penalty for a bank robbery. Fox, who was the getaway driver, went to prison for three and a half years. When she emerged, she began her campaign to free Rob and expose the racial inequity entrenched in the American justice system. Bradley brought Fox and Aloné together, but ended up using only a small portion of their conversation in the short film. As she learned more about Fox and her ongoing quest, the director conceived of a sister film to Alone, an idea that eventually became her first feature- length documentary, Time. The Times started working with Bradley on Alone in 2017 and shortly thereafter she pitched the idea of making a short documentary on Fox and her family. “When Garrett introduced us to Fox in Alone, she immediately came across as a person who can both speak truth to power and engage audiences. So when Garrett suggested telling the story behind this powerful presence I was immediately intrigued with the idea for Op-Docs. When the project evolved into a longer film it felt like it was always meant to be because the story is so powerful,” says Kathleen Lingo, executive producer of Alone and Time for The New York Times. “Garrett’s preeminent talent is to harness emotion and visual artistry in the service of storytelling. She crafts her films around building intimacy, with her subjects and the audience, and that unique ability is what makes her a visionary. The Times is incredibly honored to be part of this film.” Producer Lauren Domino, who worked with Bradley on both Alone and her 2019 documentary short America, sees this film as a natural follow-up to Alone. “There is a need to showcase the vast experiences of the incarcerated and formerly incarcerated," says Domino. "Fox offers a refreshing view as a mother, abolitionist and champion for her people. She forces you to look beyond the statistics to take on a human perspective.” Bradley says when she began sharing the film she was surprised by some viewers’ reactions to Fox’s powerful persona. “It brought up important questions around Black excellence, and around how both familial and Black feminine strength, when given their full space and support, can challenge what has and has not been granted the right to be rendered on screen,” Bradley says. “The opportunity to have a dialogue with the family’s archive was also an exciting jumping off point for what collaboration can really look like, both from a narrative and aesthetic point of view. It really became a blending of perspectives, which can be complex and rewarding, particularly within the context of documentary filmmaking.” Time is one of the first films from Concordia Studio, founded by Academy Award- winning director Davis Guggenheim and Jonathan King in partnership with Laurene Powell Jobs’ Emerson Collective. Rahdi Taylor, Concordia’s Executive Vice President of Nonfiction Artists in Residence, suggested that her colleagues consider Bradley for their ambitious fellowship program based on the success of Alone. “It was clear that Garrett is a unique director,” says Taylor, who is also an executive producer of Time. “She combines the visual artistry of fiction filmmaking, the authenticity, intimacy and characterization of nonfictional narrative and the wildly imaginative landscape of the art world. She is a trifecta of a director who celebrates life, and particularly Black life, in a way that is rich and specific.” The executives at Concordia recognized almost immediately that they had found a very special talent in Bradley. “It was clear that the most important thing we could do was find a way to allow Garrett’s extraordinary vision to shine,” says Concordia’s President of Nonfiction Jonathan Silberberg. “We were able to provide a home where that creativity and imagination could be fostered, grow and become this one-of-a-kind project.” Nicole Stott, Concordia’s Executive Vice President of Nonfiction, says she responded most strongly to the film as a love story. “And not just the love story between Fox and her husband Rob, but also a story about the love between the entire Richardson clan,” she says. “It’s all based on the intimate relationships in this family, but within it is the huge issue of how to rewire the American prison-industrial complex. You feel the impact of mass incarceration even more keenly because you’ve been on an emotional journey with this family.” Guggenheim, who won an Oscar for An Inconvenient Truth and was nominated for an Emmy for “He Named Me Malala,” calls Bradley “a once-in-a-generation talent.” “From the beginning, it was obvious to us that she was a singular new voice,” he says. “She has reimagined what is possible in nonfiction filmmaking and pushed the form to new levels. When you watch this film, you know you are in the hands of a director who insists that you experience this movie on her terms. You quickly realize that this transcends the ‘issue film’ label. It connects to the current Black Lives Matter discussion but it’s also about the power of the human heart, and the courage, resilience and strength of a woman and a family that never gives up. Those are universal and will speak to everybody.”

Understanding Fox What we wanted to do more than anything was not fail. — Fox Rich

Producer Kellen Quinn’s introduction to Time was a rough cut he says was unlike any documentary he had seen before. “Garrett’s filmmaking approach ties the social question at its center to the story in a distinctive way,” he says. “The core social and political issues are enormously important and urgent, but the love story between FoxandRob is its heart. That and the enormous love the whole family has for one another make it both specific and universal. It expands how we think about injustice in the prison system and the people affected by it.” Bradley was uniquely equipped to tell the Richardsons’ story in a way that viewers will be able to relate to, says Domino. “Garrett is such a special human being. She views the world thoughtfully and with intent, always striving to understand different perspectives. She never tells you how to feel. She invites you into a world and allows you to make up your own mind. By focusing not on the crime that was committed, but on the effect it has had, a lot of people will be able to see themselves in their family’s story.” Quinn points out that Garrett’s interest in stories about Black life in the U.S. dates back to her earliest films. “She finds ways to explore questions of identity that dig in deep and are also aesthetically beautiful,” he adds. “Her work is in service of a deeper and richer understanding of these questions. In this film, her presence encouraged Fox to not only allow access to present-day events, but also to share her past in an extraordinary way. Garrett’s remarkable instincts made Time come together in a way that honors Fox’s strength and voice, but remain distinctly Garrett’s film.” Charismatic, expressive and poised, Fox is a commanding on-screen presence as we see her navigate life as a businesswoman, mother and activist. "But the extent to which this system affects every element of a family's life should not be underestimated," observes Bradley. "What we see in the 21 years that the film covers is how the Richardson family evolves under these pressures. While each of the family members finds their own way, they all share in the experience of performing perfection, a way of dealing with the world that's as much as about self-preservation as self-expression. The strength to move forward confidently in life knowing they are subject to constant judgment is a critically important way for Fox and her family to hold onto each other and develop themselves as strong, self-loving individuals."

An Enormous Surprise We had entered into a world that we would never forget. — Fox Rich Originally Bradley planned to make a 13-minute film for The New York Times Op- Docs spotlighting Fox’s situation as she fights for her husband’s parole. Rather than filming the family around the clock, the director had specific ideas about which aspects of Fox’s life she would need to capture. “Certain things were essential: her work, her relationship with her sons, motherhood and how she managed it, her spiritual life,” she says. “I’ve never been interested in being on someone’s heels every moment. I got to know the family’s routine and that informed where we needed to be.” Bradley says she walked away from production believing she had the footage she needed to make the short film she envisioned. And then Fox handed her an enormous surprise. Fox, it turned out, had for almost two decades been creating a video record of her life and her efforts to get Rob out of prison. She gave Bradley a trove of MiniDV tapes. “I was not aware of them while we were filming,” the director says. “When I watched them, it opened up a completely different world. They show Fox as she grows from a free-spirited young woman in her 20s to a confident, strong mother who has raised six sons largely on her own and with the support of her mother, Ms. Peggy. We see a revolution occur within her and understand multiple lifetimes within a single family.” After she reviewed the extraordinary footage, it became clear to Bradley she had enough material to make a feature film. The tapes also held a fuller, deeper picture of the Richardsons’ home life during a time when the family was younger, and all still living under the same roof. There are birthdays and holidays, family phone calls to Rob in Angola, graduations and the kinds of everyday family scenes that make up a life. They show six boys growing into proud, confident young men who never stop believing that their father will be returned to them. Archival footage also played an essential role in Bradley’s America, which deals in part with the lost legacy of Black filmmaking. Through these experiences, she has come to believe strongly in the importance of creating one’s own archive. “With America, I was thinking about all the films that have been preserved and archived as a result of the filmmakers themselves taking the initiative to donate them to the Library of Congress. Even when studios were throwing out silent films that they saw as no longer commercially viable, the Mary Pickford’s and Charlie Chaplin’s of the world had the foresight to preserve their work. Fox was doing the same thing for herself. Black and brown people, women in America particularly, cannot assume anybody else cares about our experiences or our stories. And so until the mainstream experience is an inclusive one, it’s critically important for us to represent and preserve our own stories. The alternative is to lose proof of our existence as we ourselves felt and experienced it.”

Connecting Past and Present I didn’t get away with nothing but my life. — Fox Rich

The wealth of unexpected material posed a new challenge for Bradley: how to create a cohesive whole from such disparate parts. Her filming had focused on Fox’s daily phone calls to lobby for Rob’s release, creating an extensive record of how Fox navigates the bureaucracy of the system. “I thought that’s what the film was going to be, a series of back-to-back phone calls over the course of two and a half years.” As it turned out, Fox had often filmed herself with her camera on her desk, a perspective Bradley had unknowingly mirrored. “I happened to have a lot of profile shots of her on the phone,” says the filmmaker. “The universe had stepped in and created this formal connection between the past and the present that I had no way of anticipating.” Bradley credits editor Gabriel Rhodes with helping her shape the film. “Time is not only my first nonfiction feature, it’s my first time working with an editor,” she says. “I’ve always edited my work myself, partly out of necessity, so I had developed my own visual language and storytelling somewhat outside of traditional forms or processes. I think one of the most exciting parts of this film was the collaborative process and bringing our two practices together in a way that was completely new to us both I think.” Rhodes’ previous work includes the Sundance Award-winning documentary Matangi/Maya/M.I.A, another film portraying decades in the life of an extraordinary woman that mixes newly shot and archival material. “Gabe has a brilliant mind that can see structure and arrangement almost like music,” says Bradley. “He built a narrative arc that honored the strength of Fox and her story as a way of talking about the political issues from a highly personal point of view. The visual element came after that and was about giving the footage breathing room and building an experience that was both aesthetically and emotionally resonant.” Time jumps back and forth chronologically while maintaining a fluid narrative and a clear throughline. “The most important thing was to make the film feel like a river, in perpetual motion, rather than a collage,” says Bradley. “We grappled with how to make aesthetic choices around the juxtaposition of the past and the present. I wanted it to feel interconnected and that there was little distinction between the two.” Adding to that timeless quality, the filmmakers decided to present the film in black and white. “There’s no distinction between the past and the present in our memories — memories are always present. I’m interested in that reality,” Bradley says. “I think it’s also worth noting that until color pictures became a possibility, black & white was the standard. We are still so young in our understanding of what is possible in filmmaking and I see no reason for us to feel beholden to any standard. Black & white or color, it should be a choice, not an expectation.” Making the film in black & white initially seemed like a radical choice to Quinn, but one he says proved extremely effective. “It was a wonderful way to make the materials mesh and move through time in a nuanced and poetic way. That choice paired with editing that is not linear creates a conversation between past and present.”

The Sounds of Time If it was gonna be, it was gonna be totally up to me. — Fox Rich

Most of the music selected by Bradley for Time is drawn from piano compositions by Ethiopian nun Emahoy Tsegué-Maryam Guèbrou, who was born in 1923 and now lives in Jerusalem. Classically trained in violin in Switzerland as a child, she later studied under Polish violinist Alexander Kontorowicz in Cairo. In the 1960s, she started focusing on religious music of the 6th century through the Ethiopian Orthodox Church. The pieces in the film's score are from sessions Guèbrou recorded in the 1960s to raise money for an orphanage. Guèbrou eventually developed her own musical language: jazz-inflected and timeless. While her training is in the Western classical tradition, she also draws on the ancient modal chants of the Orthodox Church for inspiration. “I stumbled upon her music on YouTube,” says Bradley. “She still plays today. When I read her story, I thought there was a beautiful synergy between her and Fox, both breaking new ground, both revolutionaries in their own way.” Additional music for the film was composed by Jamieson Shaw and Edwin Montgomery.

A Fierce Love Time is what you make of it. Time is unbiased. Time is lost. Time flies. This situation has just been a long time. A really long time. — Justus Richardson, FoxandRob’s son

Bradley is well aware of the statistics that indicate the degree to which Black people routinely receive longer sentences than white people charged with the same crimes. While African-Americans make up 13.4 percent of the US population, nearly half of prisoners serving sentences of 50 years or longer are Black. But the filmmaker’s goal was to focus on something far more personal and human than numbers. “We can talk about these things from a political and statistical standpoint,” she says, “and doing that is critical, but can also become abstract for some people. And the abstraction of this reality, the seemingly ‘invisible nature’ of its impact, is what has allowed it to become so strong. So I think in tandem with this effort it is also important to focus on the effects this reality has on families on the outside. I seek to engage the issue from an angle of love that also recognizes the attempted destruction of the Black family unit.” The film, says Quinn, is about the experience of time. “The title is both straightforward and poetic. It asks a lot of the viewer, but it gives even more. Time is a complex subject that can be experienced in many ways. In this case, it is a launching point and a framing device.” Time is what transformed Fox Rich from a young mother on her own to a successful career woman and a self-styled prison abolitionist, determined to not only free her husband but to also call attention to a system that victimizes the most vulnerable. Her boys have grown into thoughtful men who stand at her side in church, in court, at rallies and speaking engagements, as well as visiting their father at Angola. Along the way, they have become everything from Student of the Month to championship debater, aspiring dentist and criminal justice student. Throughout, Fox has said she didn’t do this for herself, she didn’t do it for Rob. She did it for what is most important to her: family. “As a Black woman, seeing another Black woman and a Black family on film displaying love and tenderness is moving and necessary,” says Domino. “That’s what makes it a special film for me. It explores the humanity of the experience of incarceration more deeply than the conventional media rhetoric, which focused on criminalization. Audiences from all different walks of life will be moved and I think awed by Fox’s courage and faith.” “We do need to protect people’s rights, even if they are incarcerated,” she continues. “But I hope in addition to the injustice of mass incarceration, people will talk about the power of love and how Fox has fiercely put love into action. As we are all coming to learn how difficult it is to not be able to touch your loved ones, to see them only at a distance, we need to remember that love not only provides hope and faith, it is a catalyst for change.” ABOUT THE FILMMAKERS

GARRETT BRADLEY (Director) works across narrative, documentary and experimental modes of filmmaking to address themes such as race, class, familial relationships, social justice, Southern culture and the history of film in the United States. Her collaborative and research-based approach to filmmaking is often inspired by the real-life stories of her subjects. For Bradley, this research takes multiple forms—deep dives into historical archives, in-depth dialogues prompted by Craigslist want-ads or an extended engagement with the communities and individuals she seeks to represent—and results in works that combine both scripted and improvisatory scenes. Bradley’s films explore the space between fact and fiction, embracing modes of working and of representing history that blur the boundaries between traditional notions of narrative and documentary cinema. Her rigorous explorations of the social, economic and racial politics of everyday life—its joys, pleasures and pains—are lyrically and intimately rendered on screen. Bradley has received numerous prizes which include the Sundance 2020 Best Director Award in the US Documentary Feature Competition for TIME and the Sundance 2017 Jury Prize for the New York Times OpDocs short film ALONE, which went on to be shortlisted for the 2018 Academy Awards®. Bradley’s work can be seen across a variety of spaces including her second unit directing work on Ava DuVernay's WHEN THEY SEE US. Bradley's first solo museum exhibition, "American Rhapsody", was curated by Rebecca Matalon at the Contemporary Arts Museum Houston. She has participated in two group shows, the 2019 Whitney Biennial, curated by Jane Panetta and Rujeko Hockley, and "Bodies of Knowledge" at the New Orleans Museum of Art, curated by Katie Pfohl. Her first New York solo exhibition, “Projects: Garrett Bradley” is organized by Thelma Golden, Director and Chief Curator, the Studio Museum in Harlem, with Legacy Russell, Associate Curator, the Studio Museum in Harlem.This exhibition, presented as part of a multiyear partnership between The Museum of Modern Art and the Studio Museum in Harlem, will feature a multichannel video installation, America (2019), a work organized around 12 short black-and-white films shot by Bradley and set to a score by Trevor Mathison and Udit Duseja. “Projects: Garrett Bradley” is scheduled to open Fall 2020.

KELLEN QUINN (Producer) is an independent producer and co-founder of Hedgehog Films along with Luke Lorentzen. Kellen’s credits include Garrett Bradley's Time (Sundance 2020 winner of Best Director, US Documentary Competition), Luke Lorentzen's Midnight Family (shortlisted for Documentary Feature Oscar; Sundance 2019 winner of Special Jury Award for Cinematography, US Documentary Competition), Daniel Hymanson’s So Late So Soon (True/False 2020) and Viktor Jakovleski's Brimstone & Glory (True/False 2017). In 2017 and 2018, Kellen participated in the Sundance Documentary Creative Producing Lab and Fellowship. In 2016, he was among six producers selected for Impact Partners’ Documentary Producers Fellowship. From 2012 to early 2020, he oversaw a curated program of short documentaries for Aeon Magazine. He now programs short films for Psyche, a sister magazine to Aeon. Before moving into producing, he was the deputy director of the Abu Dhabi Film Festival from 2009 to 2012, prior to which he worked in the Tribeca Film Festival's programming department from 2007 to 2009.

LAUREN DOMINO (Producer) is a writer and producer. She produced the short film Alone, which won the Short Film Jury Award in nonfiction at the 2017 Sundance Film Festival and was shortlisted as Best Documentary Short for the 2018 Academy Awards. Domino is also a creative producing fellow at the Sundance Institute. Her work as a producer includes The Earth Is Humming, Black Folk Don’t, Like and America, which premiered at Sundance in 2019. Domino has produced branded content and live events for The New Yorker, Elle magazine, the Oscars, Microsoft and Essence Festival. She co-hosts the podcast “The Secret Lives of Black Women,” which has been highlighted by The New York Times and Forbes.

GABRIEL RHODES (Editor) has edited documentary features such as And We Go Green (Cannes 2019), Matangi/Maya/M.I.A. (Special Jury Prize, Sundance 2018), Newtown and 1971. Three of his edited films—The Witness, The Tillman Story and Quest for Honor—were shortlisted for an Oscar®. He received his master’s degree in documentary film from Stanford University in 2000. Rhodes is currently based in Brooklyn, New York, with his wife and two sons.

JAMIESON SHAW (Composer) is an Australian composer, music producer and music editor who is currently based between Los Angeles, New York and Sydney. Working in both the film and music industries, Shaw specializes in combining the two worlds. Whether working on a film score or a pop song, he is obsessed with the emotional resonance of sounds. Shaw has worked on tracks for musical artists such as Nas, Michael Kiwanuka, Grandmaster Flash, Christina Aguilera and Kimbra. Shaw’s film and television credits include Harriet, “The Get Down,” The Report, Mad Max: Fury Road and The Great Gatsby, as well as countless international advertising campaigns.

EDWIN MONTGOMERY (Composer) is a composer and sound designer who works across film, television, video games and mixed media artworks. Montgomery has an enduring interest in the nexus that exists between the worlds of music, film, fine art, technology and gaming. He is known for his epic orchestral soundtrack to “Warhammer 40,000: Regicide” (nominated for Best Audio at the Australian Game Developer Awards), trailers for popular franchises such as “Game of Thrones” and “Ghost in the Shell,” and his live solo performances of original, multi-instrumental film scores, including rescoring Werner Herzog’s Fata Morgana. Montgomery has a background in classical composition and a master’s degree from the Australian Film Television and Radio School (AFTRS) in composing for the screen.

DAVIS GUGGENHEIM (Executive Producer) is a critically acclaimed, Academy Award- winning director and producer. His work includes Waiting for ‘Superman,’ It Might Get Loud and He Named Me Malala. His film An Inconvenient Truth, featuring former U.S. Vice President Al Gore, won the Oscar for Best Documentary Feature in 2007. Guggenheim directed multiple films for President Obama, including convention films in 2008, 2012 and 2016. He previously worked in television as a director and producer of the Emmy Award®-winning HBO series “Deadwood.” Guggenheim’s television directing credits also include episodes of “The Shield,” “Alias,” “24,” “NYPD Blue” and “ER.” In 2017 Guggenheim founded Concordia Studio, which is based in Venice, California. He currently serves as founder and chief creative officer of nonfiction.

NICOLE STOTT (Executive Producer) currently serves as executive vice president of nonfiction at Concordia Studio. She was previously head of documentary at Passion Pictures, one of the most prolific independent producers of theatrical feature documentaries in the international marketplace. Working alongside veteran producer John Battsek for over 13 years, Stott creatively helmed the company’s slate and produced some of the most acclaimed nonfiction titles of recent years. These credits include Academy Award and BAFTA winner Searching for Sugar Man, Emmy winner “Manhunt: The Inside Story for the Hunt for Bin Laden,” Academy Award nominee “Restrepo,” BAFTA Outstanding Debut Award winner The Imposter, Netflix Original three-part series “Five Came Back,” HBO’s critically acclaimed “The Final Year” and Peabody Award winner Listen to Me Marlon. Most recently, Stott served as executive producer on the three-part Netflix series “Inside Bill’s Brain: Decoding Bill Gates” and an anthology of five documentary films for The New York Times’ Op-Docs, From Here to Home (including Laura Nix’s 2020 Academy Award nominee Walk Run Cha-Cha). She also executive produced three new feature documentaries that premiered in U.S. Competition at Sundance 2020: Ramona S. Diaz’s A Thousand Cuts, Bill and Turner Ross’ Bloody Nose, Empty Pockets and Amanda McBaine and Jesse Moss’ Grand Jury Prize winner Boys State.

RAHDI TAYLOR (Executive Producer) spent 10 years at Sundance Institute, where she served as head of the Sundance Documentary Fund. In this capacity she traveled the globe to find, cultivate and finance creative, independent documentary features. Films supported include Academy Award nominees Minding the Gap; Hale County This Morning, This Evening; Fathers and Sons; Strong Island; Last Men in Aleppo; I Am Not Your Negro; Citizenfour; Cartel Land; and The Square. She previously held senior positions championing diverse independent films and filmmakers at Women Make Movies and California Newsreel. Taylor also sat on the board of directors of the Association for Independent Video and Filmmakers. The producer currently serves as EVP of nonfiction artists in residence at Concordia Studio.

JONATHAN SILBERBERG (Co-Executive Producer) is a creative producer, showrunner and executive producer with over 20 years of experience producing nonfiction films and series. He has worked on feature films and series for companies such as RadicalMedia, HBO, Netflix, Showtime, Imagine Entertainment, Participant Media, Sundance Channel, A&E and Discovery. His credits include Joe Berlinger and Bruce Sinofsky’s Oscar- and Emmy- nominated feature film Paradise Lost 3: Purgatory, Sundance Channel’s “Iconoclasts” and two National Geographic series, “Mars” and “Breakthrough.” Silberberg began his career at the storied documentary company Maysles Films and worked for many years with RadicalMedia. He currently serves as president of nonfiction at Concordia Studio.

SHANNON DILL (Co-Executive Producer) is an Academy Award-winning producer with 20 years of experience in feature documentaries and nonfiction television series. Before joining Concordia Studio she produced the Oscar-, BAFTA- and Emmy-winning feature film Free Solo, with directors E. Chai Vasarhelyi and Jimmy Chin. Over the course of her career Dill has produced several award-winning and critically acclaimed features including Grammy Award® winner Foo Fighters: Back and Forth and Emmy winners Inheritance, Running the Sahara, Price for Peace and He Named Me Malala, which was also shortlisted for an Academy Award. Dill currently serves as EVP of nonfiction physical production and operations at Concordia Studio.

CONCORDIA STUDIO (Production Company) is a talent-first studio, founded by Davis Guggenheim, Laurene Powell Jobs and Jonathan King, to produce and finance the most compelling storytelling with the most exciting creators. The company’s 2020 Sundance Official Selections in competition included Boys State (Jesse Moss, Amanda McBaine), which won the Grand Jury Prize for Documentary and will be distributed this year through Apple TV+ and A24; A Thousand Cuts (Ramona S. Diaz), which will be distributed by Frontline PBS; and Bloody Nose, Empty Pockets (Bill and Turner Ross), which screened at the 2020 Berlin International Film Festival and will be released by Utopia. Other recent work includes Davis Guggenheim’s “Inside Bill’s Brain: Decoding Bill Gates,” for Netflix; Matt Tyrnauer’s Sundance premiere Where’s My Roy Cohn?, for Sony Pictures Classics; Robert Greene’s Sundance premiere Bisbee ’17; Derek Doneen’s Sundance Grand Jury Prize winner The Price of Free, for YouTube Premium; and From Here to Home, a series of shorts including Laura Nix’s 2020 Oscar nominee Walk Run Cha-Cha.

THE NEW YORK TIMES COMPANY is a global media organization dedicated to enhancing society by creating, collecting and distributing high-quality news and information. The Company includes The New York Times, NYTimes.com and related properties. It is known globally for excellence in its journalism, and innovation in its print and digital storytelling and its business model. Follow news about the Company at @NYTimesPR.

The Times is actively developing and producing films and television series. Recent series include Modern Love with Amazon Studios, Diagnosis on Netflix, and The New York Times Presents on FX and Hulu. Additionally, The Times produced three feature documentaries that will be released this year: Father Soldier Son on Netflix, Time on Amazon, and Some Kind of Heaven released theatrically by Magnolia Pictures.

TIME

Directed by Garrett Bradley

Produced by Lauren Domino Kellen Quinn

Produced by Garrett Bradley

Edited by Gabriel Rhodes

Executive Producers Laurene Powell Jobs Davis Guggenheim Nicole Stott Rahdi Taylor

Co-Executive Producers Jonathan Silberberg Shannon Dill

Executive Producer Kathleen Lingo

Co-producer Dan Janvey

Cinematography by Zac Manuel Justin Zweifach Nisa East

Music by Jamieson Shaw and Edwin Montgomery

Sound Supervisor & Re-Recording Mixer Zack Howard

Sound Effects Editor Shaughnessy Hare

Foley Editor Gary Marullo

Foley Mixer James Howe

Foley Artist Joseph T. Sabella

Additional Re-Recording Mixer Martin Czembor

ADR Mixer Aidan Dykes

ADR Post-Production Services by Apex Post Production

Production Sound Dorian Celestain