ListenToMeMarlon

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presents

A Passion Pictures product ion

L ISTEN TO ME MARLON

Written, edited and directed byStevan Riley

Produced byJohn Battsek

Produced byR.J. Cutler | George Chignell

Running Time: 97 mins

Press contact:Nancy WillenAcme PR1016 Pier Avenue Unit 2Santa Monica, CA 90405 [email protected] +1 310 963 3433 phone+13103960423 office

mailto:[email protected]:[email protected]:[email protected]


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Listen To Me Marlon

2015 Sundance Film FestivalPress Notes Page 2

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EXCERPT – MARLON BRANDO SELF-HYPNOSIS 1996 - original audio recording

“Listen to Me Marlon... This is one part of yourself speaking to another part of yourself. Listen to the

sound of my voice and trust me. You know I have your interests at heart... Just relax, relax, relax. I'mgoing to help you change in a way that will make you feel happier, more useful …. I want you to acceptwhat I say as true. What I tell you here and now is true.”

– Marlon Brando

THE FILM

With exclusive access to personal archive, this is the definitive Marlon Brandocinema documentary. Charting his exceptional career as an actor and extraordinarylife away from the stage and screen; the film will fully explore the complexities of theman by telling the story uniquely from Marlon’s perspective.

SYNOPSIS

Listen to Me Marlon is much less a factual recital of Brando’s acting career andpersonal life, than a creative odyssey into the mind and motivation of an enigma.Like an arch hypnotist Brando’s own voice lead the storytelling - there are nointerviewees, no talking heads, just Marlon guiding us into the padlocked recesses ofhis own memory, and through the story of his life.

In homage to the corkscrew personality of its subject, previously unheard audiotapes reveal witty and unexpected turns of Marlon’s thinking; dipping betwee n light

and dark, humour and self-psychoanalysis.

The non-linear approach leaps and drifts back and forth in chronology to helpillustrate memory’s haunting effect on the present. Visually the film conveys hypnoticstates and quixotic departures as we lose ourselves in Brando’s spoken daydreams,playful asides and confiding whispers.

As Marlon looks back on his legendary career, film clips are woven alongsidepersonal archive; the young Brando’s electrifying looks, raw performances andbrooding charm put us entirely under his spell, leaving no doubt why he onceskyrocketed to overnight stardom. In mid-life his meteoric comeback continues to

resonate, while the reclusive exile of later years offers up rare flashes of actingbrilliance from a waning supernova. The film draws narrative parallels betweenMarlon’s screen performances and personal life . And, as screen and real personabecome increasingly blurred, his entire life becomes the stage. Throughout, Marlonprovides a surprising range of insights – from his revolutionary methodology to hisrelationship with his father to his politics. What emerges is Brando’s intellectualintrospection, humour and sensitivity; a man in perpetual search for moral clarity.

The film’s undercurrent and final note will be one of celebration, a homage to acreative genius. The film is emotionally complex, revealing and insightful, butultimately playful and surprising, moving between harmonious and discordant notes

with eccentric virtuosity. Like Marlon himself.


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“It's taken me 70 years to refrain from doing things that were destructive towards me and others. And toresolve emotional conflicts and errant social behavior since I was a child”

– Marlon Brando


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LISTEN TO ME MARLON : THE MISSING ARCHIVE

Listen to Me Marlon is exceptionally placed to break the spell of silence, giving newvoice and unprecedented insight into its iconic subject.

Few realise that Brando hoarded a vast archive of personal audio materials over thecourse of his lifetime, now in the possession of the family estate and uniquely giftedto Passion Pictures for the production of this film.

Brando’s avowed intention before he died was to collate these materials into anofficial biography in film. Despite his devout dislike of self-publicity, his advancingyears nonetheless triggered an impulse to safeguard his own legacy. Necessarily hecommitted himself to this enterprise, unwilling to surrender such a delicateresponsibility to a third party. Plans were even afoot for him to become the subject ofhis own reality show.

But none of this was to be. Brando’s encroaching illnesses denied him his lastcontrolling wish, his life cut short in 2004. The archive however was preserved andkept, entrusted in his will.

Brando’s tacit hope was clear; that at a future date the archive would be put to itsintended use. With Listen to Me Marlon fate has finally come to pass. His voice willat last be heard and myth laid bare. It promises genuine revelation.

Listen to Me Marlon has been made with exclusive access to over 200 hours ofnever-heard-before audio tapes. Not only do these include Brando’s verbal studiesfor many of his famous film roles, but also a trove of his own intimate thoughts,recollections and insights.

Brando speaks explicitly and without guard. What is immediately apparent is howprofoundly curious and inquiring an intellect he possessed: an aspiring scholar andlifelong seeker of truth. Brando’s direct testimony fills the missing pieces of a hithertoill-formed jigsaw, capturing the essence and mood of the man and his character in allhis many complex shades and contradictions. Questions that have endured for over60 years will finally be answered. Who was the real Marlon Brando? What was histrue nature? His philosophy? For what did he stand? Which were the formative

experiences which sculpted his personality, and how were they brought to bear in hislife and work?

Listen to Me Marlon also presents itself as a revealing parable of modern timesovertaken by the cult of celebrity and fame. How does a youthful sex symbol copeinto old age with the pressures of celebrity culture – compared to those perhapsmore fortunate to have died young, such as James Dean or Marilyn Monroe? Whatpart did the media and we the public play in the psychological downfall of a man whoElia Kazan called “the gentlest person that I know”?


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“ Success took away my sanity... I searched but never found what I was looking for. Mine was aglamorous life but completely unfulfilling.”

- Marlon Brando

LISTEN TO ME MARLON : THE 3D HEAD

Marlon Brando had his face digitized in the 1980s by VFX supremo Scott Billups

using cutting edge software of the time called Cyberware.

Director Stevan Riley was told about the existence of the digital files by BrandoEnterprises and immediately decided he wanted to track them down. Stevan’sambitious vision was to create a bold, impressionistic - occasionally disconcerting – visual of Marlon, as never seen before.

The scans were tracked down by Billups, and cleaned up in California before beingshipped to Passion Pictures Academy Award winning CG animation studio. PassionPictures put their best animation team on the job and under Stevan’s guidance, theyused the original files and brand new techniques and software to create a stylised

animated version 3D head. The technique effectively maps facial movements, sothat the face directly corresponds to some carefully chosen sequences of Marlon’spersonal audio archive.

Stevan’s intention was to avoid pushing the image anywhere near photo-realistic. Hespecifically wanted the head to feel degraded or malformed and confused, coming inand out of focus to reflect Brando’s attempts to ‘find himself’. Stevan was similarlyspecific about which words he wanted to match, via MoCap, with Marlon’s audio.Towards the end of the film – there are five shots in total – the head becomes moresolid but never fully ‘whole’.

The final result presents an exciting and entirely unique element to the film, furtherenhancing the visceral intimacy of the film while granting the audience an entirelybrand new aspect of - and performance by - Marlon Brando.


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DIRECTOR'S STATEMENTFor Listen to Me Marlon I had the gift of exclusive access to a wealth of previously unseenand unheard personal archive.

What struck me most was the privilege of hearing Marlon’s own voice – his unguardedthoughts, ramblings, asides, anecdotes. This was something so immediately engaging andintimate. As if Marlon was at my shoulder.

For the purpose of research I went out to the States to meet as many people from Marlon'slife with whom he was close: family, friends, fellow actors; personal assistants and otherstaff. Conversations with all these people were extremely valuable and gave me a deepand rounded insight into Marlon's personality. It became clear however that Marlon's lifewas quite compartmentalised and many of his relationships ended up being separate fromone another. As such I came to detect different versions of Marlon Brando which revealedcertain knotty complexities and contradictions. This made me even more determined to

give voice to the only person truly qualified to reveal Brando's soul and essence - MarlonBrando himself.

I decided on a supremely distinct approach. Could the story of Marlon’s life be told entirely inhis own voice?

Marlon’s personal audio archive existed in countless different forms that Marlon hadmeticulously assembled throughout the course of his life - family recordings and otherprivate conversations; extensive creative notes that he made when preparing for film roles;endless intimations and notes to self; and even self-hypnosis tapes. We then chased downevery single interview that he'd ever given on TV and radio from sources worldwide, as wellas uncovering rare tape recordings that some print journalists had kept stowed away.

The process of piecing together Marlon’s voice required the patience and sensitivity of apsychoanalyst, and I had to be nimble enough to keep pace with the tangential whims of hiscreative mind. It was no small feat, made harder by the web of deception and mistruth spunby the media and Marlon himself. Breaking everything down into a digestible form fromwhich to build the narrative was also monumental task and took a couple of monthsalone. Once done, it allowed me to construct separate tracks of story which runconcurrently in the film, exploring all ages of Brando - Marlon the young boy from Nebraska;Marlon the actor; and Marlon the elderly man looking back on his life from his MulhollandDrive retreat.

Given that the film's key construction is the perspective of Marlon Brando himself, I wanted

to craft a cinematic landscape of Marlon's own thoughts and internal dialogue. The audio istightly coupled to the film's visual presentation. Carefully selected archive, graphic imageryand originally filmed material provide the palette. At times direct, other times abstract, theintention is that the audio-visual mix draw the audience into the workings of a conflictedmind. The passage may not always be smooth, alternating in time, space and mood toreflect Marlon's capricious nature. Suspicion and conviction swap places as we disentanglethe knots of a supremely intelligent and eccentric mind.

Listen to Me Marlon's biggest achievement will be to pull down the mask and reveal thetruth of Marlon's soul. I sincerely hope his legacy and dying wish will be complete. I hope hewould be proud of this film.

- Stevan Riley, January 2014.


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FILM TEAM:

Writer, editor & director –

STEVEN RILEYStevan's first film, Rave Against the Machine (Channel 4), uncovered the story ofmusical youth in war-torn Sarajevo, was awarded at nine international festivals. Rileyshot and edited his second film, feature documentary Blue B lood (Warner Bros)which was released in UK cinemas to widespread critical acclaim, featuring in theUK's top 20 best reviewed films of 2008.

Stevan went on to direct Fire in Baby lon which charts the glorious supremacy of theWest Indies cricket team through the 70s and 80s. 'Fire in Babylon' won a Griersonaward for Best Historical Documentary as well as a nomination for BestDocumentary at the British Independent Film Awards. It also won the UNESCO

Award for best feature documentary; Durban Film Festival Audience Award; theJamaica Film Academy Award for Outstanding international film; and the UK Focal Award for best use of footage in a cinema release. BBC film guru, Barry Norman,listed it in his ‘Top 10 Sports Films of all time’.

Stevan recently directed the first ever cinema documentary on the James Bondphenomenon Everyth ing o r Noth ing (MGM/UA). Featuring candid interviews fromthe key film makers; Bond stars and President Bill Clinton, it dramatically tracks thetwisting saga of how Bond has survived 50 years. Everything or Nothing was acritical success and has since led to Stevan directing a feature documentary onMarlon Brando for NBC Universal for 2014. Lis ten to Me Mar lon is the second

feature documentary Stevan has written, edited and directed.

Producer – JOHN BATTSEKJohn Battsek is one of the most prolific feature documentary production companiesin the industry. From conceiving and producing Academy Award-winning One Day inSeptember in 1999, Battsek has since been involved in over thirty high profiledocumentaries, including: Searching for Sugar Man (Academy Award winner2013); The Imp oster (BAFTA winner 2013); Restrepo (Academy Award nominated2011); Sergio (Academy Award shortlisted 2010) and The Ti l lman Story (Academy Award shortlisted 2011). In 2014, Battsek and Passion Pictures had four films

premiere at the Sundance Film Festival includingThe Green Prince

which openedthe festival and went on to win the Audience Award. In the same year, The GreatInvis ib le won the Grand Jury Prize at SXSW. In 2015, Passion launched three newfilms at the Sundance Film Festival - the company’s ninth successive year launchingnew films at the prestigious festival. The titles are: Stevan Riley’s Listen to MeMarlon - the definitive Brando cinema documentary uniquely told from his ownperspective; Ilinca Calugareanu’s Chuck Norr is Vs Commu nism a film about theunderground video phenomenon during Ceaucescu’s communist regime, andDouglas Tirola’s riotous Drunk Ston ed Bri l l iant Dead – the Nat ional Lampoo nStory . Battsek has been nominated three times for a PGA Award and was therecipient of 2013 prestigious Grierson Trustees Award for Outstanding Contribution

to Documentary.


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Producer - R.J. CUTLERR.J. Cutler is an American filmmaker, documentarian, television producer andtheater director. Last summer his feature film debut If I Stay (starring Chloe Grace

Moretz) was released by Warner Bros and MGM. Most recently, Cutler directed andexecutive produced the ABC drama pilot Members Only , written by SusannahGrant. Cutler's other work includes the documentary films, The War Room ; APerfect Candidate ; Thin ; The September Issu e and The World Acco rd ing toDick Cheney ; the documentary television series American High ; FreshmanDiaries and 30 Days ; and the prime time drama series Nashvi l le , for which hedirected the pilot and the second episode. Cutler’s first film, The War Room , wasnominated for an Academy Award and he is the recipient of numerous awardsincluding an Emmy, a Peabody Award, a GLAAD Award, two Cinema Eye Awards,and two Television Academy Honor Awards. In 2009, the Museum of Television andRadio held a four-day retrospective of his work.

Producer – GEORGE CHIGNELLGeorge Chignell is Head of Production for Passion Pictures where she works acrossall feature documentary output. Chignell co-produced Stevan Riley's Fire in B abylon which premiered at the London Film Festival in 2010; Stones in Exi le - directed byStephen Kijak and premiered at the Cannes Film Festival 2010 - and James Marsh'sProject Nim which premiered at the 2012 Sundance Film Festival as the openingdocumentary. More recently Chignell co-produced BAFTA and Academy Awardwinning Searching for Sugar Man , and produced Clare Lewin's Am A l i which wasreleased theatrically in the UK and US in 2014.

About ShowtimeSHOWTIME® is emerging as one of the premiere destinations for documentary

programming, developing films under the prestigious SHO: CLOSE UP® banner.

These documentaries offer an uncensored look at the lives and legacies of some of

the world’s most controversial figures. LISTEN TO ME MARLON and PROPHET’S

PREY join previous award winning SHO: CLOSE UP films THE WORLD

ACCORDING TO DICK CHENEY and RICHARD PRYOR: OMIT THE LOGIC.

Showtime Networks Inc. (SNI), a wholly-owned subsidiary of CBS Corporation, owns

and operates the premium television networks SHOWTIME®, THE MOVIE

CHANNEL™ and FLIX®, as well as the multiplex channels SHOWTIME 2™,

SHOWTIME® SHOWCASE, SHOWTIME EXTREME®, SHOWTIME BEYOND®,

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MOVIE CHANNEL™ XTRA. SNI also offers SHOWTIME HD™, THE MOVIE

CHANNEL™ HD, SHOWTIME ON DEMAND®, FLIX ON DEMAND® and THE

MOVIE CHANNEL™ ON DEMAND, and the network's authentication service

SHOWTIME ANYTIME®. SNI also manages Smithsonian Networks™, a joint venture

between SNI and the Smithsonian Institution, which offers Smithsonian Channel™.

SNI markets and distributes sports and entertainment events for exhibition to

subscribers on a pay-per-view basis through SHOWTIME PPV®.


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SHOWTIME

presents

LISTEN TO ME MARLON

A PASSION PICTURES PRODUCTION

A STEVAN RILEY FILM

Written, Edited & Directed byStevan Riley

Produced by

John Battsek

Produced by

R.J. Cutler

George Chignell

Co-Produced byUniversal Pictures Home Entertainment Content Group

Co-writerPeter Ettedgui

Co-Producer

Nicole Stott

Executive Producer

Andrew Ruhemann

Director of Photography

Ole Bratt-Birkeland

Production Designer

Kristian Milsted

Executive Producers for Brando Enterprises

Avra Douglas

Mike Medavoy

Larry Dressler

Jeffrey Abrams


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ROLLER CREDITS

Assoc iate Pro ducer

Olivia Percival

Assoc iate Edit or

Peter Ettedgui

1st Edit Assistant

Jeanna Mortimer

Arch ive Pro ducer f or Br ando Enter pris es

Austin Wilkin

Arch ive Prod ucers

Paul Gardner Helen Bennitt

Kate Coe

Arch ive Researcher s

Helena LewisEsther Bensadon

Research A ide

Alexander Fiske-Harrison

Music Supervisor

Gary Welch

Title and Motion Design

Blue Spill

1st Assistant Director

George Every

Camera Department

Focus Puller

Jason Walker

Grip

Kevin Foy

Grip Assistant

Frank Hellebrand

Digital Imaging Technician

Dan Carling

Jib Operator

David Cadwallader

Gaffer John Clarke

Electricians

Tony Buckthorpe Alex GibbonMark Gibbon

Darren JacksonNigel Little

Rigger

Chris Gough

Production Co-ordinator

Kate Parker

Production Assistant

Phoebe Young

Set Photographer

Abi Campbell

Art Department

Art Direct or

Rebecca Milton

Props Buyer

Eddie Hecht

Standby Props

Philip Bull

Graphic Designer

Joshua Douglas-Bagley

Tech Support

Tim Sargent

Art Department Assi stants

Katerina MichailNigel Selby

Set Construction

Philip Barber

Set Painter

Paul O'Neill

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Carpenters

David Sawyer Jerrard Moore

Jon BoylanJohn Jefferies

Props provided by

SuperhireMr & Mrs Allen Levy

Second Unit Camera Operators (UK)

Sam Blair

Chris Gent

Second Unit Camera Operator (USA)

Jean Bernard Rutagarama

VISUAL EFFECTS

Original VFX

Technical Director/VFX Supervisor Scott Billups

Technical Artist

Jon Greenhalgh

Cyberware Engineer

David Addleman

Cyberware Operator

Stephen Addleman

CG Production CompanyPassion Pictures

CG Executive Producer

Alex Webster

VFX Supervisor

Neil Riley

Head of CG

Jason Nicolas

Head of CG Production

Ryan Goodwin-Smith

CG Supervisor

Christian Mills

SFX Supervisor

Jamie Franks

CG Producer

Mariano MelmanKate Goodwin

CG Production Co-Ordinator

Suzanne Forward

CG Modelling

Alex HugetMattias Bjurstrom

CG Rigging

Morgan Evans

Lead Animator

Wesley Coman

Anim ators

Aldo GagliardiChris Welsby

Lighting / Rendering

Dan Adams

CG Editor

Anne Monnehay

CG Production Assistant

Kingsley Bailey

Performer

Robert Ashby

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FILM AND ARCHIVAL FOOTAGE

Images, audio and footage of Marlon Brando courtesy of

Brando Enterprises, L.P. and with thanks to the owners of

motion pictures, personal footage and photographs of

Marlon Brando

Special thanks to

Susan Mizruchi

Film Footage Courtesy of

Viva Zapata! Last Tango in Paris

Drums Along The Mohawk Burn!

Courtesy of Twentieth Century Fox The Missouri BreakThe Call of the Wild

The Godfather The Fugitive Kind

The Men Courtesy of MGMCourtesy of Paramount Pictures

The Wild One

Streetcar Named Desire On The Waterfront

Mutiny On the Bounty Mr Deeds Goes to Town

Superman Courtesy of Sony Pictures

Julius Caesar

Reflections in a Golden Eye City Lights by Charles Chaplin

The Formula Courtesy of 1931 Roy Export S.A.S & MK2

Casablanca

The Maltese Falcon Apocalypse Now

The Searchers Hearts of Darkness

Taxi! Hollow Men

The Public Enemy Courtesy of American Zoetrope

Dancing Lady

Grand Hotel Guys and Dolls

Gone with the Wind Courtesy of The Samuel Goldwyn Jr. Family TrustCourtesy of Warner Bros.

Candy

Bedtime Story One Eyed Jacks

A Countess from Hong Kong Courtesy of Brando Enterprises L.P.

The Night of the Following Day

Taza Son of Cochise

Courtesy of Universal Studios Licensing LLC

ARCHIVE

ABC News Australian Broadcasting Corporation Library Sales Academy of Motion Picture Arts & Sciences Academy Film Archive

AP Archive Archbuild/Associated RediffusionBuyoutFootage Cinecitta

Clips and Footage CNN

Robert Donnolla The Dick Cavett Show courtesy of Daphne Productions / Global Works ImagesMike Dunham-Wilkie Ella's Archive

ESPN Film ImagesFootage Farm Gaumont PatheGetty Images The Gilman Estate/Michael GilmanLarry Grobel INAITN Source Kino Library

Kevin McCarthy courtesy of The Winfield Works, Inc Thomas MumeyMaysle Films, Inc. NBCUniversal Archives

Net-Film NHK (Japan Broadcasting Corporation)Oddball Film and TV The Great Plains Motion Picture Co

Passion Planet Pond5Prelinger Archive Susan Salerno/Skip E Lowe

The Charles Rossi Collection, courtesy of Emily Rossi-Snooand Elena Rossi-Snook Seduced and Abandoned LLC

The Ed Sullivan Show courtesy of Sofa Entertainmen Harry Ransom Centre/University of TexaT3Media Unitel GmbH

J. Willard Marriot Library, University of Utah The WPA Film Library

White Rabbit Films

STILLS

Alamy AP ImagesBruce Ballenger Sid AveryEmilie Blincoe Howard BinghamCorbis Images Carol ChehSerge Kakou Edward Quinn

The Gordon Parks Foundation Getty ImagesThe Lisette Model Foundation The Granger Collection

Image Collect Graeme MitchellMilton Greene/The Archives LLC The Saul Leiter Foundation

Mary Ellen Mark KobalThe Metropolitan Museum of Art MPTVThe National Gallery of Canada Mirrorpix

Nat'l Geographic Cartographic Division/National GeographiCreative Luis Marden/National Geographic Creative

Press Association Images Timothy PerishoPhotofest Inc Philippe Halsman/Halsman Archive

Richard Avedon Rex FeaturesWalker Evans - Scala, Florence The Ronald Grant Archive

Art Shay Shaw Family ArchivesTopham Picturepoint Steve Schapiro

Bob Willoughby John Swope TrustTime Life Inc

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POST PRODUCTION

2nd Edit Assistants

Joshua FairbairnEd Harber Chris Gent

Post Production Facilities

Molinare TV & Film Ltd, London

Post Production Managers

Alan PrittCharlotte Airth

DI Colourist

Gareth Spensley

DI Online Editor

Gareth Parry

DI Manager

Matt James

DI Co-Ordinator

Theresa Crooks

DI Conform Editors

Tim DrewettMichelle CortSteve OwenTom Cairns

Johnathan DickinsonLizzie Newsham

Data Co-Ordinator

Mike Andrews

Data I/O Manager

Dave Kent

Re-Recording Mixer

George Foulgham

Assis tant Re-Recor ding Mixer

Nas Parkash

Dialogue Editor

Claire Ellis

Sound Effects Editor

Tom Foster

Supervising Sound Editor

George Foulgham

Music Editor Nas Parkash

Voice Over Artist

Regina Reagan

Addi tion al grap hics

Emma Thornton-Grant

Transcription Services (UK)

Bye Jones Productions

Production Accountant

Anne Davin, 101 Film and Television AccountantsNyman, Libson, Paul

Production Insurance

Natasha Boyd, Media Insurance Brokers

Film Production Legal ServicesJonathan Blair, Simkins LLP

US Legal Counsel

SmithDehn LLP

Legal & Transcription Services

SmithDehn India Pvt Ltd

Post Production Script

Sapex Scripts Ltd

Co-Ordinator for Cutler Productions

Trevor Smith

Completion Guarantor

Film FinancesRuth Hodgson

James ShirrasTatiana Wait

Filmed on location at

West London Film Studios

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MUSIC

INFRA 1

Performed by Max Richter, Louisa Fuller, Natalia Bonner,Nick Carr, Ian Burdge SHOOTING

and Chris Worsey Performed by Stefan WesolowskiWritten by Max Richter Written by Stefan Wesolowski

Published by Mute Song Limited Published by Mute Song LimitedCourtesy of Deutsche Grammophon Licensed courtesy of Stefan Wesolowski

Under licence from Universal Music Operations Ltd

The Godfather Waltz

Performed by Elytron Productions INFRA 2

Written by Nino Rota Performed by Max Richter, Louisa Fuller, Natalia Bonner, Nick Carr, Ian Burdge

Published by Famous Records LLC / Sony / ATV Harmony and Chris WorseyCourtesy of Paramount Pictures Written by Max Richter

Published by Mute Song LimitedCourtesy of Deutsche Grammophon


INFRA 3

Performed by Max Richter INFRA 4

Written by Max Richter Performed by Max Richter

Published by Mute Song Limited Performed by Max Richter, Louisa Fuller, Natalia Bonner, Nick Barr, Ian Burdge

Courtesy of Deutsche Grammophon and Chris WorseyUnder licence from Universal Music Operations Ltd Written by Max Richter

Published by Mute Song LimitedCourtesy of Deutsche GrammophonUnder licence from Universal Music Operations Ltd

SLEEPER

Performed by Eluvium THE JEWISH CEMETERY ON MOLLEGADE

Written by Matthew Cooper Performed by Jóhann Jóhannsson

Published by Love With Its Course / House of HasslePublishing

Written by Jóhann Jóhannsson

By Arrangement with Bank Robber Music Published by Mute Song Limited

Licensed courtesy of Temporary Residence Limited Licensed courtesy of NTOV Records

SHE WAS HERE OFTEN A BIRD

Performed by Rachel Grimes Performed by the Wim Mertens Ensemble

Written by Rachel Grimes Composed, arranged and produced by Wim Mertens

Published by Mossgrove MusicPublishing administered by Warner Chappell Music Ltd. on behalf of Usura

SPRL

Licensed courtesy of Metisse Music Licensed courtesy of Wim Mertens Music, a Usura Music Label

LORETTO

Performed by Rachel Grimes A WOMAN IN LOVE

Written by Rachel Grimes Performed by Marlon BrandoPublished by Mossgrove Music Written by Frank Loesser

Licensed courtesy of Metisse Music Courtesy of Frank Music Corp. (ASCAP)Licensed courtesy of The Samuel Goldwyn Jnr Family Trust

ARCADE

Performed by Ólafur Arnalds HERE, THEY USED TO BUILD SHIPS

Written by Ólafur Arnalds Performed by Jóhann Jóhannsson

Published by Nettwerk One Music Ltd & EMI MusicPublishing Ltd

Written by Jóhann Jóhannsson

Licensed courtesy of Kudos Film & Television Limited (partof Shine Group)

Published by Mute Song Limited

Licensed courtesy of NTOV Records

SARAJEVO

Performed by Max Richter MUTINY ON THE BOUNTY

Written by Max Richter Performed by The City of Prague Philharmonic Orchestra conducted by James

FitzpatrickPublished by Imagem Music Publishers Limited Composed by Bronislaw Kaper

(p) BBC Licensed courtesy of BBC Worldwide Published by by Primary Waves Songs/EMI Music Publishing Limited

(p) 2004 Silva Screen Records Ltd.

THE TREES

Performed by Max Richter, Tilda Swinton, Louisa Fuller,Natalie Bonner, John Metcalfe, Philip Sheppard and Chris

WorseyIT WILL TAKE SOME TIME

Written by Max Richter Performed by Jóhann JóhannssonPublished by Mute Song Limited Written by Jóhann Jóhannsson

Courtesy of Deutsche Grammophon Published by Mute Song LimitedUnder licence from Universal Music Operations Ltd Licensed courtesy of NTOV Records

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UNA MATTINA

Performed by Ludovico Einaudi OLTREMARE

Written by Ludovico Einaudi Performed by Ludovico Einaudi

Published by Chester Music Ltd, by kind permission of MusiSales Creative

Written by Ludovico Einaudi

Courtesy of Decca Music Group Limited Published by Chester Music Ltd, by kind permission of Music Sales Creative

Under license from Universal Music Operations Ltd Courtesy of Decca Music Group LimitedUnder license from Universal Music Operations Ltd

SPRING 01

Performed by Max Richter, Daniel Hope, KozerthausKammerorchester Berliner

KIDNAP

and Andre De Ridder Performed by Stefan Wesolowski

Written by Max Richter Written by Stefan Wesolowski

Published by Mute Song Limited Published by Mute Song Limited

Courtesy of Deutsche Grammophon Licensed courtesy of Stefan Wesolowski


FYRSTA

Performed by Ólafur Arnalds NEW BEGINNING

Written by Ólafur Arnalds Performed by Deaf Center Published by Nettwerk One Music Ltd Written by Erik K Skodvin & Otto A Totland

Licensed courtesy of Erased Tapes Records Published by Copyright ControlLicensed courtesy of Type Recordings

BLOODROOT

Performed by Rachel Grimes JYAKU

Written by Rachel Grimes Performed by Ryuichi Sakamoto + Taylor DeupreePublished by Mossgrove Music Written by Ryuichi Sakamoto & Taylor Deupree

Licensed courtesy of Metisse Music Published by Sony/ATV Tunes LLC & 12k Music / Touch Tones Music LtdLicensed courtesy of 12k

SONG TO THE MOON (Rusalka)

Performed by Lucia Popp MURDER

Written by Jaroslav Kvapil & Antonín Dvoř ák Performed by Stefan Wesolowski

Published by Bärenreiter Praha . r. o. & DILIA Written by Stefan WesolowskiPublished by Mute Song Limited

Licensed courtesy of Stefan Wesolowski

DON’T GET ANY CLOSER

Performed by EluviumWritten by Matthew Cooper

Published by Love With Its Course / House of HasslePublishing

By Arrangement with Bank Robber MusicLicensed courtesy of Temporary Residence Limited

copyright MB FILMS LTD 2015. All rights reserved

This motion picture is protected under the laws of the UnitedStates, Canada and other countries, and its unauthorized

duplication, distribution, or exhibition may result in civil liability andcriminal prosecution.

SINGLE CARD

A PASSION PICTURES PRODUCTION

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