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| 90 min. | Unrated |
Flickr Tag Error: Bad call to display set '72157621907336799'
| Photo Credits | ||
Toilet Photo Photographed by: Donna Ferrato Pictured: (Left) Carlos “cowboy” Alvarez (Right) Alex Lipsitz |
Ondi sitting on set Photographed by: Austin Wilkin Pictured: Ondi Timoner |
Pod People Potographed by: Donna Ferrato Pictured: (top) Theo Cerigo (Bottom) Nancy Smith |
Ondi shot with WLIP shirt Photographed by: Adam Roffman Pictured: Ondi Timoner |
Ondi on plane Photographed by: Rick Korzeniowski Pictured: Ondi Timoner |
Josh in Bunker Photographed by: Donna Ferrato Pictured: Josh Harris |
Pod Graphic & WLIP theatrical poster Created by: Eamon Madigan |
A Film by Ondi Timoner
Winner – Grand Jury Prize – 2009 Sundance Film Festival – US Documentary
Winner – Special Jury Prize – 2009 Karlovy Vary Film Festival – Documentary
Winner – 2009 Newport International Film Festival – Student Jury Prize
Permanent Collection – Museum of Modern Art (MoMA) – New York
FILM FESTIVALS
BOSTON FILM FESTIVAL 2009
FULL FRAME DOCUMENTARY FILM FESTIVAL 2009
HOTDOCS FILM FESTIVAL 2009
KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2009
LOS ANGELES FILM FESTIVAL 2009
MELBOURNE INTERNATIONAL FILM FESTIVAL 2009
NASHVILLE FILM FESTIVAL 2009
NEW DIRECTORS/NEW FILMS FILM FESTIVAL 2009
NEWPORT INTERNATIONAL FILM FESTIVAL 2009
SARASOTA FILM FESTIVAL 2009
SEATTLE INTERNATIONAL FILM FESTIVAL 2009
SILVERDOCS FILMS FESTIVAL 2009
SUNDANCE FILM FESTIVAL 2009
SXSW FILM FESTIVAL 2009
SYDNEY FILM FESTIVAL 2009
TRUE/FALSE FILM FESTIVAL 2009
SYNOPSIS
Ten years in the making and culled from 5000 hours of footage, WE LIVE IN PUBLIC reveals the effect the web is having on our society, as seen through the eyes of “the greatest Internet pioneer you’ve never heard of”, artist, futurist and visionary Josh Harris. Award-winning director Ondi Timoner (DIG! – which also won the Sundance Grand Jury Prize in 2004 – making Timoner the only director to win that prestigious award twice) documented his tumultuous life for more than a decade to create a riveting, cautionary tale of what to expect as the virtual world inevitably takes control of our lives.
Harris, often called the “Warhol of the Web”, founded Pseudo.com, the first Internet television network during the infamous dot-com boom of the 1990s. He also curated and funded the ground breaking project “Quiet” in an underground bunker in NYC where over 100 people lived together on camera for 30 days at the turn of the millennium. With Quiet, Harris proved how we willingly trade our privacy for the connection and recognition we all deeply desire, but with every technological advancement such as MySpace, Facebook and Twitter, becomes more elusive. Through his experiments, including a six-month stint living with his girlfriend under 24-hour electronic surveillance which led to his mental collapse, Harris demonstrated the price we pay for living in public.
DIRECTOR’S STATEMENT
Much of that cut was used in a segment of WE LIVE IN PUBLIC. “Quiet” was more about the artists and the event itself, but lacked any tie to all of us out in the world, outside of the bunker. It documented a moment of cultural history, but not the harbinger of things to come, not the food for thought that applies to all of us, as we watch WE LIVE IN PUBLIC.
About two years ago, I looked around and realized that what I had documented back then was a physical metaphor of how people would react to the Internet, which Josh predicted would eventually take over our lives. I finally saw what all of his work was about. I saw that what seemed nonsensical at times was part of a much bigger picture, which needed to be communicated to the world. Whether it was the neo-fascistic elements imposed at “Quiet” (which I later realized were done to raise the stakes and prove his point that people will do almost anything for fame), or his short animated piece “Launder My Head” – which he has always told me is at the core of his view on the future of media and the collective consciousness. Everything I’d been documenting clicked into place and I understood what this film could, and should, be. Since then, I have never had a clearer and unwavering vision of a film I was making. I was so excited I could think of nothing else. I suddenly realized, just as Josh says in the film, that I had been ‘picked for the gig.’
I think I didn’t grasp Josh’s vision at first because not only was his work ahead of its time and society, but he never articulated his choices in words: his choices seemed random to me, as well as to many others. It became my job to put all of the puzzle pieces I recorded since 1999 together and articulate Josh’s vision – and to construct and express universal meaning as I’d never had to do before. The themes the film explores are the challenges the virtual world creates, increasingly, to our physical lives and the tension between the public and private, with the advent of life online. It is incredible to look at this film which I began making less than a decade ago and realize how quickly the World Wide Web has taken over so much of our lives, with many of us spending at least half of our lives online.
While the Internet is a powerful, wonderful tool in many ways, the frightening aspect is our addiction to it. Imagine if the Internet stopped functioning for a month— how our generation, one which enjoyed life before there was an ‘online’— how would we cope without it? In a span of 10 years we have become dependent on it. Josh not only saw it coming and predicted its power over us, but he showed us how we would react to it. He is both a visionary and a walking cautionary tale. By looking at how he reacted to being raised by technology and then making himself the guinea pig of his own experiments by living in public online, we can see our own futures.
-Ondi Timoner
WE LIVE IN PUBLIC
Moviemaker.com
ONDI TIMONER EXPLAINS HOW WE LIVE IN PUBLIC
BY ANDREW GNERRE, MOVIEMAKER.COM | PUBLISHED JANUARY 21, 2009
Director Ondi Timoner describes the life of Josh Harris, the subject of her documentary WE LIVE IN PUBLIC, as a cautionary tale. “This is the story of the greatest Internet pioneer you’ve never heard of,” explains Timoner, “who experimented with the effects of technology on human behavior and sort of ruled Manhattan until he took it too far.
“How he took it too far was when he decided to rig his loft with 32 surveillance cameras and 60 microphones and announce to the world that he and his girlfriend were going to be the first couple to live in public and conceive a baby and all that in public. He essentially brought about his own nervous breakdown and sort destroyed himself by making himself the guinea pig.”
Having seen success at Sundance once before (her 2004 documentary DiG! won a Grand Jury Prize back in 2004), Timoner hopes to find similar success with WE LIVE IN PUBLIC as it contends in the U.S. documentary competition. A few days before her Park City premiere Timoner spoke with MovieMaker about why she sat on this movie for so long and how doing so gave her a chance to make two more documentaries in the meantime (DiG! and 2007’s cult expose JOIN US).
Andrew Gnerre (MM): How long ago did you start production on We Live in Public?
Ondi Timoner (OT): In 1999 I started officially making this film. Ten years ago.
MM:So how did it start?
OT: I met Josh by walking in to Pseudo on recommendation of my friend Jodi Wille, who is actually quite an incredible book publisher and just knows all the nooks and crannies of American society. She was just turned on from cult to outsider art to whatever—she’s a freak magnet, you know?
She knew about Pseudo and she said, “Hey, if you’re in New York and need to pick up some extra cash, you should just go to Pseudo, it’s this Internet television network.” What? (laughs)
Nobody had broadband so it was kind of this wild, eccentric thing. I went in—it’s the corner of Broadway and Houston—and it was just these state-of-the-art offices and studios and edit bays, just flush with dough.
I started shooting with Tanya [Corrin], his girlfriend at the time, on the “Cherrybomb” show, just for a few months while I was in New York. Then I went back to L.A., I was making a pilot for VH1 for a show I created for them called “Sound Affects.” I was off on that trip and Josh called me and said, “Are you interested, in documenting cultural history?” And I said, ‘What does that mean? What are you planning?’ He said, “Well, it’s over the millennium, it’s gonna last a month and I can’t tell you more than that, you’re just gonna have to come.” He said I could assess the situation and hire whoever I needed to document this event that he was going to throw. And what that was was the bunker: “Quiet: We Live in Public.” I showed up and I filmed that and it’s a segment of the movie, obviously. It was his physical metaphor of how the Internet would be in the future.
MM: And the movie covers events up until the present?
OT: Yeah. The thing about my movies is that I like to make real-life documentaries that actually unfold over time so you can watch them like a narrative and not know what’s going to happen next.
MM: No, definitely. DiG! seemed the same way; an actual documentation as opposed to a Michael Moore documentary, for instance.
OT: I love when they can unfold. They’re extremely taxing to do that way, though. It’s out of control. In this case it’s 5,000 hours of footage down to this feature-length film. It’s an absurd amount of work to try to carve a story out of documenting life. And in this case, instead of DiG! which was 2,000 hours, it’s 5,000 hours because my subject himself is as obsessed with documentation as I am. So what I didn’t film, he did. We’re talking about long play, extended play surveillance videos of every aspect of his life.
When he loses all his money and gets the call that he has a negative checking balance, he’s sitting on the toilet on camera in the movie. I didn’t film that, the surveillance camera did. So finding those gems and piecing them together into one, flowing film is definitely hardcore.
I shot DiG! and Join Us during We Live in Public and the reason I waited this long for We Live in Public is because technology and the Internet had to catch up to Josh Harris’ vision for it even to make any sense. Society was not there. I didn’t even know what the film was about in a lot of ways.
So what he did [with the bunker] was set up a sort of neo-fascistic environment where everything was free and it was a party. You could have free food and drinks for 30 days and a place to sleep and be at the center of it all and be on camera and be famous! But, you had to be interrogated and there was a neo-fascistic temple. You had to cede your privacy and sign away the rights to your image to be there. And you had to wear uniforms! You had to shower in public and go to the bathroom in public. And he was like, “You know what? No worries. Everybody is going to come because it’s free and you can be on camera. That’s how people are going to react to the Internet. At first they’re going to like it. They’re going to say it’s free and this is my chance to have 15 minutes of fame every day and before they know it, they will be exploited. Their data will be mined and they will be living in public. It will affect their lives and they will be trapped in virtual boxes.”
We’re halfway there, maybe more, in a short period of time. That’s what’s crazy about the movie is that it’s been nine, 10 years and look at this! Look at yourself in 1999 versus now and your dependence on the Internet. Which is an amazing tool, but if it cut out for a month, how would you feel? What would happen to your life?
MM: I wouldn’t be able to do my job.
OT: Correct. That’s the irony of this film. It’s like looking at ancient history 10 years ago.
MM: And that’s why it’s premiering now, because that’s where we are?
OT: It’s premiering now because I busted my booty! (laughs) No. It’s premiering now because I realized like eight months ago that absolutely right now is the time that we can all see the smoke on the horizon. If you don’t have a Blackberry you’re going out to buy one. If you’re not on Facebook you’re getting invitations to join every day. You’re virtual life is as important as your physical life—if not more so. It’s every day increasing. Every day it’s becoming more and more and more.
What’s amazing about Josh is that he’s a cautionary tale. That’s what makes him, like Anton from DiG!, an amazing subject to me, even though it’s hard to like him at times. The movie opens with him saying goodbye to his mother on her deathbed, over a videotape. He could not go see her. The only child of seven that would not go see his mother. He said goodbye to her virtually. Then it pulls out and it’s a YouTube video. He was so disconnected from real things, like love. What are happening to our social relationships now that we’re finding love online? It’s just food for thought.
MM: Now that you’ve been to Sundance a few times, do you come in with a different plan?
OT: Yes. I had no idea what was going on when I came here with DiG! in terms of the marketplace. DiG! came out at a time when the market was great. Now the market is terrible. I’ve already talked to my financial partners. This film cost a lot more money than DiG!, it’s not just me financing it anymore and I’ve got people that I really have a debt to to try and get their money back. If we can’t because of the prevailing situation, we’re just going to sell it right now. It’s like, never fear, the Internet’s here; we can self-distribute, we can hang onto it, we can push it around town. It’s not going to lose value. It’s a one-of-a-kind art piece and a highly entertaining film, I think.
I’m just excited to enjoy myself and share this movie with these people and hopefully the world, eventually.
Ondi Timoner
Writer/Director/Producer
Ondi Timoner — the only filmmaker to ever win the Sundance Grand Jury Price twice — graduated from Yale University cum laude and founded Interloper Films in 1994. She achieved worldwide critical acclaim with her feature length documentary, DIG! – which took home the Grand Jury Prize at the Sundance Film Festival (2004). Her short film, Recycle (2005), was a winner at the ICG Awards, and screened at both Sundance and Cannes.
Since DIG!, Timoner has also directed commercials for McDonald’s, State Farm, DeVry, the Army and Ford, which has helped her independently fund her latest film projects, JOIN US, released in 2007, and WE LIVE IN PUBLIC. Whether its rock music, religious cults, or the virtual world of the Internet, Timoner always takes the viewer deep into worlds they would never otherwise explore. Her iconoclastic work is noteworthy for telling stories that unfold over time with incredible access and emotional depth.
In March 2008, Timoner traveled to Ethiopia to shoot THE GREATEST GIFT, a short film for the non-profit organization, One Love Africa Schools. In October 2008, she returned to Africa, traveling to Ethiopia and Senegal, where she directed/produced two shorts for the prestigious annual show CNN: HEROES.
She is currently directing and producing COOL IT, a documentary which explores the issues of global warming from a socio-economic perspective as they relate to the immediate needs of the developing world. Timoner’s narrative directorial debut will be THE PERFECT MOMENT, about the controversial life and work of Robert Mapplethorpe, which she is set to produce through her company Interloper Films in partnership with Eliza Dushku and her company, Boston Diva. Interloper Films is also developing I THINK I KILLED A SORORITY GIRL, a narrative film that draws parallels between the gang life and frat life in South Central, Los Angeles.
Keirda Bahruth
Producer
Keirda Bahruth is a freelance producer / director based in Los Angeles. She began her career working on music videos for bands such as Jane’s Addiction and Jesus Jones before transitioning into the commercial world on ads for Toyota, Apple and many others.
A move to New York via Coppos Films teamed her up with legendary Saturday Night Live director Jim Signorelli, famous for his popular commercial parody sketches. Signorelli mentored Keirda and instructed her to shoot behind-the-scenes footage of life at SNL for the show’s 25th anniversary special, which gave her complete access to the inner workings of the show. SNL was an unlikely place to develop a taste for documentary filmmaking, and yet this was the
breeding ground for Keirda’s love of filming extraordinary people in their day-to-day lives.
After three full seasons at SNL, Keirda returned to Los Angeles and joined the nascent world of reality television, which had just begun to sweep the nation. She has directed and produced shows for NBC / Universal, Discovery Channel, E!, Fox, The WB and MTV.
In 2004, Keirda founded Shaker Films and began shooting her first documentary film titled BOB AND THE MONSTER. Keirda focused her attention on punk rock cult hero Bob Forrest, who was greatly admired by music legends such as Tom Waits and Joe Strummer, yet somehow wallowed in the outskirts of success as he colorfully and tragically undermined his own opportunities, eventually overcoming drug addiction to become a celebrated and inspirational
drug and alcohol counselor.
While filming BOB AND THE MONSTER, Keirda met director Ondi Timoner and they joined forces to produce the documentary feature WE LIVE IN PUBLIC. The two women put virtually everything on hold in order to take the film through an intensive production process that eventually led them to many successes, including a Grand Jury Prize win at Sundance 2009, an acquisition by MoMA, massive amounts of incredible press and a theatrical release.
Keirda is currently focusing full-time on BOB AND THE MONSTER, while developing her first narrative screenplay titled BIG TIME NOWHERE.
Joshua Harris
Joshua M. Harris is a professional artist. In his first corporate job, Harris was the Senior Videotex Analyst for International Data Corporation from 1985-1986. Following that position, he founded the online research firm Jupiter Communications in 1986, which went public in 1998 and was subsequently merged and sold. Harris founded Pseudo Programs, Inc. in 1994. Pseudo was, at the time, the world’s largest original producer of interactive streaming video programming.
In a shift from the virtual and technological world, Harris owned and operated Livingston Orchards, LLC., a commercial apple farm in Columbia County, New York from 2001 – 2006. He returned to the tech sphere in 2006, serving as the Chief Executive Officer of the Operator Exchange Corporation until 2007. Harris holds a bachelors degree in Communications from the University of California, at San Diego. Currently, Harris is the CEO of the African Entertainment Network based in Sidamo, Ethiopia.
Jason McCabe Calacanis
Jason McCabe Calacanis is the founder and CEO of Mahalo.com, a human-powered search engine. Prior to Mahalo.com’s launch in May 2007, he was an “Entrepreneur in Action” at Sequoia Capital, a position he held since December 2006.
In 2007, Calacanis partnered with Michael Arrington of TechCrunch to launch the TechCrunch40 conference, showcasing 40 of the world’s most promising startups on stage before an audience of Silicon Valley’s finest.
Calacanis co-founded and was the CEO of Weblogs, Inc., a network of popular weblogs that was sold to AOL in November 2005. Upon joining AOL, he was appointed Senior Vice President. In addition, he was named general manager of AOL’s Netscape.
Prior to forming Weblogs Inc., he was the founder of Rising Tide Studios, which sold its flagship publication to Dow Jones. As a leading thinker in the startup space, he frequently delivers keynotes at the largest tech conferences (CeBIT, LeWeb, DLD) and is regularly featured and quoted in media outlets including Charlie Rose, CNN, 60 Minutes, The New York Times, The Wall Street Journal and others.
WE LIVE IN PUBLIC CREDITS
WRITTEN AND DIRECTED
by Ondi Timoner
PRODUCED BY
Ondi Timoner
Keirda Bahruth
EXECUTIVE PRODUCERS
Sean McKeough
Vladimir Radovanov
EXECUTIVE PRODUCERS
John Battsek
Andrew Ruhemann
CO-PRODUCERS
Jeff Frey
Meagan Keane
ASSOCIATE PRODUCERS
Vasco Nunes
Austin Wilkin
Merritt Lear
EDITORS
Josh Altman
Ondi Timoner
ORIGINAL SCORE
Ben Decter
Marco d’Ambrosio
NARRATION
Ondi Timoner
ASSOCIATE EDITOR
Tchavdar Georgiev
MAIN CAMERAS
Ondi Timoner
Vasco Nunes
QUIET BUNKER CAMERAS
Andrew Bennett
Charles Cohen
Max Heller
Alexandra Lipsitz
Ondi Timoner
INTERROGATION ROOM CAMERAS
Adriana Ault
Denny Levy
SURVEILLANCE CAMERAS
Leo Fernekes
Kevin Centanni
LA INTERVIEW CAMERAS
Sean Kirby
Stoeps Langensteiner
Michael Pescasio
Cory Clay
Meagan Keane
Lincoln Lewis
Sivan Gurarieh
NYC INTERVIEW CAMERAS
Ondi Timoner
Vasco Nunes
Meagan Keane
NYC B-ROLL
Robert Rappaport
NYC ASSISTANT CAMERA
Denny Levy
TUNA HEAVEN CAMERA
Mark Benjamin
JUPITER & PSEUDO FOOTAGE COURTESY OF
Josh Harris
HARRIS FAMILY PHOTOGRAPHS COURTESY OF
Tom Harris
QUIET INSTALLATION ARTISTS
“Interrogation Room”
Ashkan Sahihi
”The Pods/Capsule Hotel”
Jeff Gompertz
”Temple of Fame”
Alex Arcadia
”Firing Range”
Alfredo Martinez
”Shower”
Alejandra Airaldi
Mariano Airaldi
Kurt Przybilla
ADDITIONAL WRITING
Josh Altman
Rick Korzeniowski
Keirda Bahruth
Jeff Frey
Tchavdar Georgiev
Rick Ballard
Austin Wilkin
FIELD PRODUCERS
Meagan Keane
Amanda Phillips
PRODUCTION MANAGER
M. Elizabeth Hughes
POST PRODUCTION SUPERVISOR
Scott Pourroy
ARCHIVAL RESEARCH
Austin Wilkin
ARCHIVAL CONSULTANT
Kristin Lesko
ARCHIVAL RESEARCH ASSISTANT
Caiti Hawkins
ADDITIONAL EDITING
David Timoner
Mel Rodriguez
WLIP.COM FOOTAGE RESEARCHER
Sandra Valdivieso
ONLINE AND EFFECTS PROVIDED BY
Demiurge
INFERNO ARTIST
Wolfgang Maschin
COLORIST
Bob Curreri
OFFLINE POST PRODUCTION SERVICES PROVIDED BY
Interloper Films Inc & Altar / Outsider Inc
INTERLOPER FILMS 1st ASSISTANT EDITORS
Eric Pritchard
Anton Salaks
Rachel Tejada
Merritt Lear
INTERLOPER FILMS 2nd ASSISTANT EDITORS
Jed Lackritz
Austin Wilkin
Aaron Green
Jordan Edwards
Chris Yogi
Sandra Valdivieso
Alexandra Lipsitz
ONLINE ASSISTANT EDITORS
Eric Pritchard
Rachel Tejada
INTERLOPER PRODUCTION COORDINATORS
Ryan Bowles
Ariane Minafar
Christin Mizelle
Sivan Gurarieh
Trey Astbury
Sebastian Hernandez
INTERLOPER OFFICE COORDINATORS
Lauren Ro
Ariane Minafar
Krista Killian
Christina Sahakian
Elizabeth Curry
Angela Snow
INTERLOPER PRODUCTION ASSISTANTS
Aaron Greene
Holly Anger
Justin Okin
INTERLOPER LOGGERS
Sandra Valdivieso
Aaron Green
INTERLOPER INTERNS
Elise Brown
James Morse
Mark Fitzgerald
Javier Montufar
Rebecca Flores
Ruben Pena
Andrew Gonzalez
Kevin Acevedo
Sasha Friedlander
Ryan Tanner
Adam Locascio
Veronica Chavira
Ashlee Cannon
Kevin Hughes
Katie Ullrich
PRODUCER FOR JOSH HARRIS 2007-2008
Marc Geiger
ATTORNEY FOR JOSH HARRIS 2007-2008
Mary Harding/William Morris Agency
PRODUCER FOR ALTAR FILM / OUTSIDER INC
Michael J. LaBellarte
POST COORDINATOR AT ALTAR FILM / OUTSIDER INC
Dana Anderson
Gwen Barker
ASSISTANT EDITORS AT OUTSIDER INC
Laura Madalinski
Peter Stepnowski
Kristin Yakutis
MAIN TITLE GRAPHIC DESIGN
Dave Eagle
MOTION GRAPHICS
Dave Eagle
Daily Planet
Scott Marvel
Lindsey Zimmerman
Pawn Shop Creatives
Richard Hirst
Sputnik Studios
Pasha Ivanov
Bill Sneed
Corrie Gorson
Rosemary May
PRODUCER FOR SPUTNIK STUDIOS
JS Hart
POSTER GRAPHIC DESIGN
Kristina Pedicone
Eamon Madigan
MUSIC SUPERVISOR
Liz Gallacher
MUSIC SUPERVISION EXECUTIVE
Alexandra Hill
MUSIC CONSULTANT
Josh Altman
SCORE SUPERVISOR
Terri D’Ambrosio
MUSIC EDITOR
Scott Johnson
MIX SUPERVISION
Joe Cassidy
Marco d’Ambrosio
ADR & MIX PERFORMED AT WILDFIRE STUDIOS
SUPERVISING SOUND EDITOR FOR WILDFIRE
Wade Barnett
CO-SUPERVISOR FOR WILDFIRE
Michael Farkis
RERECORDING SOUND MIXER FOR WILDFIRE
Steven Hollenbeck
SOUND ENGINEER FOR WILDFIRE
James Albert
ADR MIXER
Eric Thompson
ADR RECORDIST
Travis MacKay
SPECIAL THANK YOU TO WILDFIRE’S
Diana Blake
LOCATION SOUND
James Berek
Mark Patino
Jon Tendrich
Wyatt Tuzo
David Zuckerman
SOUNDTRACK RECORDING
Naked Goose Studios
ADDITIONAL VOICEOVER RECORDING
Rick Ballard
Bruce Witkins
LEGAL SERVICES
Vladimir Radovanov Esq.
Lisa Calif
Paul Brennan
ACCOUNTANTS
David Butler & Joel Zeserson
Singer Burke & Company LLP
BOOKKEEPER
Riki Smith
DISTRIBUTION ADVISORS
Josh Braun/Submarine
John Sloss/Cinetic Media
GODFATHER
Micah Green
WEBCAM VIDEOS
| Ondi Timoner
Joaquim Doane Lucas Timoner Keirda Bahruth Rick Ballard Sedona Ballard Brett Bahruth Scott Pourroy Josh Altman Austin Wilkin Merritt Lear Grant Axton |
Gretchen Axton
Janelle Axton Jeanna Axton Nate Potter Sommer Villani Eric Pritchard Sandra Valdivieso Grace Menzel Morgan Menzel Thijs Menzel Louie the Lizard |
ARCHIVE FOOTAGE PROVIDED BY
| Getty Images
Corbis Motion BBC NBC News Archive Conus Archive Errol Morris |
Global Image Works
Oddball Film + Video Silverman Stock Footage Streamline Films MacDonald Films Ira Gallen (tvdays.com) |
PHOTO CREDITS FROM FLICKER
| jamesthephotographer
andrewdill goodwinlabs smcentral marten baston coachdanny dalegillard schoschie nano baston clf nirak mig cote robertnelson hbushra yngrich |
fabricio
ehecatzin pi-p qmnonic behdad cybe cote orsorama baston turkeyanne knmurphy larskjensen blake4tx eeslee82 livepine mattchang 53051890@N00 s_e_i jungleblog |
THANK YOU TO ALL THOSE KIND ENOUGH TO BE IN OUR FILM
| Josh Harris
Douglas Rushkoff Nacho Platas Stephanie Platas Jason Calacanis Cal Chamberlain Leo Fernekes Fred Wilson Josh White Jess Zaino Owen Bush David Hershkovitz Adeo Ressi Anthony Haden Guest Brett Brewer Tom Harris Jon Harris Tanya Corrin Jeff Gompertz Feedbuck Leo Koenig Gabriel Snyder |
Harold Kaufman
Max Heller Ashkan Sahihi Mangina Michael Portnoy Missy Galore Alana Heiss Zeroboy Donna Ferrato Gabrielle Penabaz Nico Haupt Dr. David Amron Jeffrey Deitch Abby Ellin Marc Geiger Robert Galinsky Gabriella Latessa Nikolas Van Egten Alex Arcadia Andy Morris Chris Dewolfe Nancy Smith Hilary Koob-Sassen |
THANK YOU TO OUR FAMILIES AND FRIENDS
| Joaquim Doane
Eli & Lisa Timoner David Timoner & Kelly White Rachel Timoner & Felicia Park-Rogers Owen, Benjamin, Genevieve, & Eitan Dana Buning Rick Korzeniowski Merritt Lear Joe Cassidy Anthony Tambakis Danica Radovanov Ralph Ramirez John De Young Catherine Keener Amy Berg Karen Black & Stephen Eckelberry David Moore & Dawn Fanning Eden Goldberg BucksBoys Josh Greenberg Jonathan Becker Non-Fiction Spots Loretta Jeneski Tom Harris Paul Crowder Mark Monroe Fotokem Eliza Dushku Bruce Goodrich Mitchell Block Ben Kantor Jodi Wille Chad Dollarhide Jennifer Sharpe Zeleke Gessesse Siri Chew Eliza Randazzo John Hofer Michael Pescasio P-Light Inc. Hadi Salem Jesus Hernandez Chaser LA Merchandising Kristine Van Galder B & H Company Micky Levy Dora Sanchez Doreen Wilcox Anonymous Content Rick Parker Miranda Lee Richards Clark Stiles Roxanne Daner Ludlow Kingsley Ali Brown |
Lucas Timoner
Nina Ritter Olivier Sultan Denny Levy Wendy Weiser Danielle Parsons Avanti DeMille Amy Peterson @ Avid In Motion Stephen Fromkin Marcel Valcarce Damon Robinson Denny Levy Rick Ballard Sedona Lin Ballard Diane Bahruth Maggie Williams Archie & Nancy Bahruth Richard E Ballard Jr Brett Bahruth Sommer Villani Maureen Harrington Nic Kersten Morgan Menzel Thijs Menzel Grace Menzel Robert & Sue Wilkin Arianna Wilkin Sarah Anthony Tracy Kelly Jessica Stockton Travis Stewart Jason Dravis Michael J. Katz Jim Hanas Fabian Lloyd Bill & Rosa Frey Barbara Straub David Zweig Jason Lieberman Jim Daniel Allison Asay Sowers Anne & Mordechai Altman Melissa Altman Jody & Cornelius Keane Massimo Pacchione Tom Dore Devon Keane Becky Butler Jennifer Patterson Crush Edit Dennis Ho KASSI Crews Demiurge Digital Jungle |
JOSH HARRIS would like to thank Marcel Duchamp, Ray Johnson:
The William Morris Agency
In loving memory of “Judgecal Chamberlain”
WE LIVE IN PUBLIC MUSIC CREDITS
“Head On”
Written by Jim and William Reid
Performed by Jesus and Mary Chain
Courtesy of Rhino Entertainment Company
By Arrangement with Warner Music Group Films and TV Licensing
Licensed by arrangement with Domino Publishing Co. Ltd.
“I Give It To you”
Written by Joe Cassidy
Performed by Soft Explosives
Published by Snissassa Music (ASCAP)
“Lovely Allen”
Written by Holy F. Music
Performed by Holy Fuck
Courtesy of Young Turks/XL Recordings Ltd.
Licensed by arrangement with Holy F. Music
“Stop!”
Written by Eric Adam Avery, Perry Farrell, David Michael Navarro & Stephen Andrew Perkins
Performed by Jane’s Addiction
Courtesy of Warner Bros. Records
By Arrangement with Warner Music Group Films and TV Licensing
Licensed by arrangement with EMI BLACKWOOD MUSIC, INC. All Rights Reserved
And IRVING MUSIC INC. on behalf of I’LL HIT YOU BACK MUSIC and EMBRYOTICMUSIC and SWIZZLESTICK MUSIC
“Television Set”
Written by Joel Plaskett
Performed by Joel Plaskett (as it appears on the album “LaDeDa”)
Courtesy of Songs for the Gang/Maple Music Recordings
“Into the Void”
Written by Trent Reznor
Performed by Nine Inch Nails
Courtesy of Interscope Records
Under License from Universal Music Enterprises
“Deceptacon”
Written by Kathleen Hanna, Johanna Fateman, and Sadie Benning
Performed by Le Tigre
Courtesy of Le Tigre Records
“Moonage Daydream”
Written by David Bowie
Performed by David Bowie
Courtesy of RZO Music
Published by Tintoretto Music (BMI) administered by RZO Music, Inc.,
Chrysalis Songs (BMI) and Screen Gems-EMI Music
“Saeglopur”
Written by Jon Thor Birgisson, Orri Pall Dyrason, Georg Holm & Kjartan Sveinsson
Performed by Sigur Ros
Courtesy of Geffen Records under license from Universal Music Enterprises
Licensed by arrangement with UNIVERSAL-POLYGRAM INT. PUBL., INC.
On behalf of UNIVERSAL MUSIC PUBL. LTD
“Gilligan’s Island”
Written by George Wyle and Sherwood Schwartz
Courtesy of TGH Records, LLC
Used by Permission of EMI U CATALOG INC. All rights reserved.
“Alina’s Place”
Written by Frederik and Lindefelt
Performed by Frederik
Courtesy of The Kora Records
Licensed by arrangement with House of Hassle
“I Turn My Camera On”
Written by Brit Daniel
Performed by Spoon
Courtesy of Merge Records by arrangement with Bank Robber Music
Published by PRECIOUS FLUIDS PUBLISHING (BMI) administered by Bug
“Wave of Mutilation”
Written by Black Francis
Performed by Pixies
Courtesy of 4AD Ltd.
Licensed by arrangement with: SONGS OF UNIVERSAL, INC.
ON BEHALF OF RICE AND BEANS MUSIC
“Virtual Insanity”
Written by JASON KAY, TOBY SMITH, STUART ZENDER,
DERRICK MCKENZIE, BUCHANNAN WALLIS and SIMON KATZ
Performed by Jamiroquai
Courtesy of Sony Music Entertainment (UK) Limited
By arrangement with Sony Music Entertainment
Used by Permission of EMI BLACKWOOD MUSIC, INC. All rights reserved.
