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									The Devil and Daniel Johnston


            A Film By JEFF FEUERZEIG



      2005 Sundance Film Festival, Winner - Best Director




                   (USA, 2005, 109 minutes)
                                           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 Johnston's
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 Daniel's 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 Daniel's 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.
                                    PRODUCTION NOTES

       Daniel Johnston is an enigma, and a living breathing folk legend. Ever since
Simpsons creator and pre-eminent 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 rivalling
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 centring on his massive obsession with fame,
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-80s. 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 long-time 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 long-time collaborator and friend of Daniel's, Jad Fair.
       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
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 travelled 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-16 mm film. This decision guaranteed the highest quality result and the most
stable archival storage medium. From camera-original negative, the best looking film
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 centred 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 travelling 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 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
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-and-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.
                                       BIOGRAPHIES

       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 Centre 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
break-up 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 Cassavetes 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
1991); Sure Fire (1991), award winner at several major festivals; Frame-up (1993;
released as Jon Jost's Frame-up 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 5000 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 Cinémathèque. 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 Centre
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), 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 Iñárritu'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.
       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 Splendour, 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 honours 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.


        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.
                 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


          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


        Co-ordinating 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 CENTRE


            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


        "BROADWAY DANNY ROSE"
      ©1984 Orion Pictures Corporation
         Courtesy of MGM Clip+Still
                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"
          "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
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,
    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 JH 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)
          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


        "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 Dean Wareham
              THANKS:


   SARA ALLENTUCH, WOODY ALLEN
   SEÑOR AMOR, CAROLA ANDERSON
ARNER FUNERAL, CHAPELS, PETER ARNER
 JAMIE ASKIN, AUSTIN STATE HOSPITAL
AUTOMAT PICTURES, DAVID BAKER, DDS
     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
  MARIE JAVINS, MARY ANN JOHNSTON
 KEN KATKIN, KATY CHURCH OF CHRIST
    PETER KEMBER, RANDY KEMPER
       KEY CLUB, CRAIG KOON
  MC 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)


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


This motion picture is protected under the laws of the
United States and other countries. Any unauthorized
 duplication, distribution or exhibition may result in
        civil liability and criminal prosecution.


   Yip! Jump LLC is the author and creator of this
motion picture for the purpose of copyright and other
     laws in all countries throughout the world.


       COPYRIGHT © 2005 YIP! JUMP LLC
             ALL RIGHTS RESERVED

								
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