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The FOCAL International Awards 2016



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Colleen Cavanaugh Anthony, Alexis Owens

Transparent - Title Sequence Season 2; The Big Short and MTV 'Tagline Here'   |   STALKR

Credit 1 - Title of Production: Transparent "Title Sequence" S2
Credit 1 - Production Company: STALKR
Credit 1 - Broadcast / Media Platform: Amazon Streaming Video

Credit 1 - Brief Synopsis: The opening credits for the second season of Amazon Prime's ground breaking program reference the deeper history of the indelible characters; the generations long journey of the Pfefferman family to find refuge, safe haven, a feeling of belonging. The delicate topics of gender identity, sexuality, feminism, family and emigration are all illustrated in this emotive 45 seconds.
Credit 1 - Reason for submission: STALKR worked with the production to unearth archival footage of stirring moments of LGBTQ people finding community in the early 20th Century Weimar Republic, as well as the solidarity of the 1970's women's movement across the United States, and World War II era immigrants embarking on a new life in America. We were able to license from collections that were previously unavailable commercially and tell a story about people who have often lived in obscurity.

Credit 1 - Researcher's Statement: The show was wrapped, the budget was closed. Everything was finished and ready for delivery. That's when Transparent creator Jill Solloway and co-producer Rhys Ernst decided they needed a new opening title sequence to reflect the themes of Season Two. We received a last minute call with an impossible task: one day of research, fully cleared footage of 1930s queer life in the Weimar Republic, Magnus Hirshfeld and the Institut fur Sexualwissenschaft, WWII emigration of European Jews to the U.S. and 1970s feminist movement. A key element of the creative was that every shot in the sequence must capture a person fully immersed in an experience, extreme intimacy was necessary. Knowing that fully cleared footage of these themes didn't exist, we convinced Amazon to let us present uncleared footage and unearth the information necessary to make their legal department comfortable with the selections. We spread a labor budget of three days over 5 weeks, working right up to the premiere date, during which we dove deeply into the lives of the visible subjects in these clips. Even though the archive libraries we worked with were all willing to indemnify the clips against any third party claims, Amazon was concerned both with right of publicity and false light claims. We had to know where every clip was captured and research the post-mortem publicity rights in each state or country to determine if their heirs had rights to their likenesses. It was also important to establish that the real life context of the clips didn't contradict the themes of the show. For instance, we worked with some excellent women's protest footage, but it turned out to be from an anti-nuclear rally, not a feminism rally, so the concern over false light made that unusable. This was a disguised blessing because the last minute scramble to replace that footage led us to the Sophia Smith Collection Women's History Archives at Smith College, an amazing resource of lesbian and feminist footage. By getting their archivist to return a phone call on a Sunday morning, and through passionate pleading and testimonial emails about the synergistic missions of the show, Transparent and the Smith Collection we were able to license two wonderful feminist protest clips from the esteemed Phyllis Birkby collection. These clips demonstrated both the fierce social political turmoil and the loving sisterhood of that movement. We reviewed death records of a shot of women on bicycles to discover whether they had any heirs, worked directly with Dykes on Bikes of San Francisco to identify riders in the 1973 Gay Pride Parade, conferred with German counsel to clarify their country's publicity rights for footage of the dancing girls from the 1920s, and scoured LGBT archives and trans community contacts to locate the beauty pageant contestants. Each new moment in the Season Two title sequence ties to a storyline in the historical journey of the Pfefferman family that plays out over the ten episode season. We worked to balance that narrative precision with the clearance and licensing requirements through every step of the process, working intimately with Rhys Ernst to replace clips that Amazon legal wouldn't approve without compromising his vision, and we worked closely with legal to pursue every avenue possible to allow Rhys to achieve the emotional impact this piece required.

Credit 1 - Name of Director/Producer or Production Manager: Victor Hsu
Credit 1 - Director/Producer or Production Manager's Statement: When Colleen and Alexis came on to work on the Transparent title sequence, they had a daunting task: locate a variety of archival footage spanning from the queer underground of Weimar Berlin to the women's movement of the 1970's. Not only did each clip need to be beautiful and compelling, but all footage needed to embody themes of intimacy, inclusion, family, and love while also being clearable-- which, depending on the source, often meant not showing faces. To add another paradoxical challenge, images from the LGBT underground of Weimar Berlin had all but been destroyed by the Nazis (which is ironically a plot point on this season of Transparent). Colleen and Alexis not only met the challenge head on, they went above and beyond to retrieve hundreds of obscure clips; they hunted down lost members of long gone organizations for leads and clearances, worked tirelessly through round after round of revisions, and were always focused on getting the best footage possible.
Their sensitivity and thoughtfulness in working with small archives and community members on sensitive LGBT content was first rate. They always came up with another option if we ran into a dead end. They were fully committed and personally invested. Their work on the Transparent title sequence was outstanding and it was a pleasure to work with them.

(Rhys Ernst, Creator, Transparent main title sequence)

Credit 2 - Title of Production: The Big Short
Credit 2 - Production Company: STALKR
Credit 2 - Broadcast / Media Platform: Theatrical Release

Credit 2 - Brief Synopsis: Staring Christian Bale, Steve Carell, Ryan Gosling and Brad Pitt, this feature film is about four outsiders in the world of high-finance during the mid 2000's pre housing market crash. In the lead up to the housing bubble bursting, these four capatalize on the big banks greed by betting against the market.
Credit 2 - Reason for submission: Over a period of months of deep archival research, STALKR brought key archival sequences to help tell the story of the financial collapse as written and directed by Adam McKay.

Credit 2 - Researcher's Statement: We worked closely with editor Hank Corwin and director Adam McKay to realize their vision for tying the story of the four bankers who capitalized on the imminent bursting of the housing bubble in 2008, to the regular Americans who were actually affected by all the financial industry shenanigans. We worked on this project in segments totalling nine weeks over five months. Initially, we were brought in early in the editorial process to source imagery from 2006-2008 leading up to the crash. The brief was wide open, leaving it up to us to define the cultural touchstones of that period. Soon we were brought back on to expand on our pre-recession perspective on a world of oblivious over-spending and excess in pop culture and everyday people's lives, as well as to craft a visual timeline from 1979 when banks first began bundling mortgages to the bubble bursting in 2008. At this point our involvement deepened to include imagery of post-collapse average Americans. The editor felt it was paramount to include these intimate touches to give humanity to the story so we combed through personal photo collections for images of struggling families, as well as professional photographers who captured abandoned, half-constructed housing developments, foreclosed homes and job lines. The clearance and licensing process was tricky and extensive. Paramount was uncomfortable working outside the realm of model released footage from known stock libraries like Getty and Corbis. While some of the brief was attainable through these traditional avenues, it was impossible to tell the full scope of human stories that Corwin and McKay envisioned without going beyond those bounds into individual, photo collections of "regular folks". It was vital that the images were authentic, human and emotional. Sourcing replacements was extremely difficult, as each image was selected for a complex balance of content, setting, and emotional impact. We had to convince the studio Rights and Clearances department to have trust in us to make this untested footage safe for their use. We worked up to the very last minute chasing people who worked at and patronized diners in rural Illinois, Texas and California, hula-hoopers at a backyard party in Michigan and a 4H counselor in Modesto, to name a few. This resulted in thirty-nine separate licenses and likeness releases signed. We corresponded directly with all of the independent individuals featured in the film regarding the use of their content, compensation and paperwork, very often holding nervous people's hands who were skeptical that a major Hollywood movie really wanted to use a photo of them. Ultimately we were able to satisfy both the creative vision of the director and editor and the legal and budgetary concerns of the studio

Credit 2 - Director/Producer or Production Manager's Statement: Every once in a while in this industry I have the honor of working with exceptional people who are true experts in their field. Colleen and Alexis are deserving of the highest level of recognition for the incredible mind blowing how did you pull it off job they did on the feature film, THE BIG SHORT. One of the most challenging aspects of making this film was searching for real, authentic, original stock footage that could relay an emotion and/or a period of time in history that the audience could grasp in less than 2 seconds and have a complete understanding of the journey the filmmakers were taking them on. Collen and Alexis's diligence, persistence, creativity and organization was a lifesaver when the picture was constantly changing and the filmmakers were pushing the envelope to find stock shots that have never been used before. They were always thinking outside the box and never gave up. They were able to clear the impossible at the eleventh hour and hunted people down for approval in ways the FBI would be proud. If there was a shot the director wanted and it didn't exist anywhere they would find someone to shoot it then they would license it (that's genius). They made contact with diner patrons in small towns and party goers at a backyard BBQ from a decade ago. They found a way to turn every "no" into "yes" again and again. They knew how to win the trust of people who were nervous about allowing their images to be used in a film by being gracious, honest and professional. They provided the filmmakers with the proper tools they needed to define and expand the narrative with new ideas and helped find the perfect visuals for the film. They miraculously cleared shots from the most random and far reaching sources and were able to negotiated licenses on a very tight budget. Studios don't not normally hire outsiders, but the editor, Hank Corwin, insisted on having STALKR be a part of the project and we could not have done this without them. They truly nailed it!!!

(Lisa Rodgers, Post Supervisor)

Credit 3 - Title of Production: MTV "Tagline Here"
Credit 3 - Production Company: STALKR
Credit 3 - Broadcast / Media Platform: MTV "Tagline Here"

Credit 3 - Brief Synopsis: "This is the description for a brand advertisement for MTV. This is the second sentence of the description for a brand advertisement for MTV." This cheeky meta re-branding for MTV shows, through oddly subversive footage clips, how utterly absurd and fun it can be to define--or in this case refuse to define--a brand. STALKR was tasked to find the most bizarre and random clips to match up to MTV's surrealist script written as an anti-commercial commercial, in order to show how relevant MTV still is in pushing boundaries and bending all the rules in a new generation of advertising.

Credit 3 - Reason for submission: Every image was selected for it's audacious, vibrant, and authentic meaning. By tapping footage from creative filmmakers around the world, we were able to deliver a unique execution of a great story that would have been impossible to tell any other way.

Credit 3 - Researcher's Statement: The visual requests for this spot were unusual and uncommon, but we took it on as a creative challenge because we wanted to see if we could succeed by reaching out to independent filmmakers and not be relegated to just the standard stock footage libraries due to budgetary constraints. How to show a series of oddball clips like goo and brain chips that together show meaning in meaning nothing at all? It turned out to be an amazing spot that won Adweek's Ad of the Day for its clever anti-ad sentiment. We worked closely with the director Ben Dickinson throughout the process, from early creative calls with the production company and MTV tweaking the copy, to searching for original, creative material over 15 days and 15 edits! We did all of the sourcing, licensing and clearance for 35 clips, most of which were independent filmmakers from all over the world that we found through video sharing sites such as Vimeo. We wanted to present things that have never been seen before so there was a high level of difficulty and finesse involved in working with people remotely who didn't have experience in licensing their material prior and having a language barrier and working over several time zones. We had an extremely tight three-week schedule from the job start date until the promo would air during the MTV Video Music Awards so it was a mad dash getting the masters and releases turned around in time but we came through. Out of the twenty individual filmmakers, we only had a couple of snags. One was a filmmaker in the Netherlands who said he had releases from the two models in the shot. He went on vacation and we found out that he did not have releases so we had to do a lot of detective work to find the women and were then able to get signed talent releases. The other tricky one was a filmmaker in Austin, Texas who was all excited about the project and then disappeared before signing all the paperwork so we ended up sending a local contact to his office several times to wait for him to show up and physically hand over the paperwork and get it signed. What an exhausting and exhilarating job it was! But very rewarding in that we had 100% involvement: from creative input, to sourcing all the material, to working with the director and editor in real time to replace shots and find new ones as the edit changed, to negotiating license fees so we stayed within the budget ($50k for a :60 second brand commercial), to putting independent material on our own license agreements, to collecting all paperwork (agreements, talent and property releases where necessary, W9s, W8-BENS,etc.) to getting countersignatures and returning to the individuals, to paying all fees related to the footage and recording each and every transaction in a spreadsheet to share with the client. The production company had no prior experience doing a stock job like this before so they relied on our expertise completely to pull it off. It is so rewarding when clients are able to put their trust in us and we can flourish and deliver the best possible piece!

Credit 3 - Director/Producer or Production Manager's Statement: "Earlier this year, Ghost Robot had the pleasure of working with Alexis Owens and Colleen Cavanaugh Anthony on a brand campaign for MTV. The campaign relied heavily on sourcing untraditional footage that could never be found by simply looking at stock libraries. Not only were they able to provide amazing creative output, but they were partners at every step of the process, allowing us to serve both our client and budget in the best way possible. Every member of our team including our producer, director, and editor thoroughly enjoyed the process and felt fully supported the entire time. They took all of the guesswork out of complicated clearance and copyright conversations and allowed us to focus on creating a spot that was recognized as outstanding work by the trades and other creatives in our field. "

(Mark DePace)

Jessica Berman-Bogdan (Global ImageWorks)

Cobain: Montage of Heck; Narcos   |   End of Movie LLC; Narcos LLC

Credit 1 - Title of Production: Cobain: Montage of Heck
Credit 1 - Production Company: End of Movie, LLC.
Credit 1 - Broadcast / Media Platform: All media

Credit 1 - Brief Synopsis: Kurt Cobain, lead singer, guitarist, and songwriter of Nirvana, remains an icon 20 years after his death. KURT COBAIN: MONTAGE OF HECK is a raw and visceral journey through Cobain's life and career with Nirvana through the lens of his home movies, recordings, artwork, photography, and journals.

Credit 1 - Reason for submission: KURT COBAIN: MONTAGE OF HECK is a feature length documentary film almost entirely created from the use of archive material. Jessica's research expertise and skills to bring in and then manage the vast amount of audio visual elements required for this project helped the success of the film.

Credit 1 - Researcher's Statement: Cobain: Montage of Heck was a fully sanctioned project. We had the full support of the Cobain estate and support of Nirvana's record company. As Archival Producer, I worked on the film for two years. I was the first person hired and I was still there to help close down the project. Over the past 15 years, the Director, Brett Morgen, and I have worked on many films together. Because Brett understands the unique challenges of archival-based filmmaking, he starts the archival research process in pre-production. My first assignment is always to source enough footage and other elements so by the time the production team is in place, there is plenty of material to screen and key story points are represented. I worked closely with Nirvana's record company to access to outtakes and unseen footage. I successfully arranged access to MTV and Rolling Stone Magazine's deep storage archives which contained even more unique and rarely seen materials. We knew the film would have access to the Cobain estate archives. The challenge here was the lack of a detailed inventory. We had no idea what we would find once we entered that archive. We literally catalogued thousands of items including; Kurt's journals, various artwork, a box of over 200 audio tapes and general ephemera. All of this material needed to be photographed and logged into the film's asset management system. The Cobain archive produced a treasure trove of material and had a profound impact on Brett. It provided both great inspiration and a wealth of production materials. There is a good deal of Nirvana footage on YouTube. My job was to not only get every frame of what we saw online but to develop strategic relationships that would ultimately uncover outtakes and even more footage that had not been seen or previously been available. I made contact with over 100 private individuals who had either personally produced and/or collected Nirvana footage. Most of the private individuals were not only protective of their materials; they were curiously very protective of Kurt Cobain himself. Most collectors I encountered were very hesitant to let anything out. One of the main challenges I faced was to gain the trust of these individuals. I contacted a few dozen photographers in both the US and Europe. We obtained their contact sheets so that we could assemble the greatest amount of photos to choose from. I reached out to commercial archives and broadcasters around the world. Nirvana in their few short years of existence was known in almost every country worldwide. I tracked down numerous reporters who, in the late 1980s or early 1990s, had interviewed Nirvana and/or Kurt for magazine articles to see if they retained the audio from these interviews. I convinced them to search their attic, basements and garages and then arranged to have whatever they found digitally transferred. This was challenging to say the least, but also extremely rewarding. Part of my Archival Producer responsibilities was to oversee and organize the thousands of assets, across all sources that were being brought in and to create the internal workflow that would ingest and manage all of the audio visual elements. I created seven (7) separate databases which were hosted online and therefore accessible in real time from any location. It was an especially challenging but necessary step since several key personnel were not all in one location - the production office was based in Los Angeles, I was on the east coast, and one of the key producer's was in Colorado. The final locked edit contained close to 3,000 individual elements in a variety of film and tape formats. In the end, we licensed material from over 100 different copyright holders. I was responsible for negotiating each licensing deal, securing every agreement and traficking all the paperwork through to full execution and paid status. During this process I interfaced with the legal team to make sure each agreement met their approval. Once the licensing deals were in place I was responsible for ordering master quality elements for every audio visual asset in the film. I was also tasked with making sure we stayed within budget and that everything was brought in on time. My last responsibility on the film was to create the production bibles - which on a film such as Cobain: Montage of Heck, is a small archive in and of itself.

Credit 1 - Director/Producer or Production Manager's Statement: Jessica Berman-Bogdan was the first hire on COBAIN: MONTAGE OF HECK, and one of the last to assist in closing down the production. In addition to being an acclaimed commercial director, Brett Morgen has been dubbed the "Mad scientist" of documentary filmmaking by the New York Times and has been directing, writing and producing groundbreaking documentary films for the past 15 years. He and Jessica first collaborated on THE KID STAYS IN THE PICTURE and have worked together on every film since. Brett has said that he "thinks of Jessica more like a cross between a cinematographer and a producer. I would never even think of doing an archival film if she wasn't available. She and her team can locate and find just about everything that we've asked for and beyond that, can negotiate the terms of the deals. When working on archival projects, you come across quite a few people who don't understand film and are weary of sending out materials which could represent their life's work. Jessica puts people at ease. They trust her, and for good reason. She treats archival materials with the greatest care." Jessica's work gathering archival material was instrumental to the shaping of the film. COBAIN: MONTAGE OF HECK was assembled almost entirely through the use of archival material, a huge proportion of which was found and obtained by Jessica; the process of making the film was one of reviewing the extant footage and understanding the story that it was telling, a process that would have been impossible without Jessica's efforts. She was able to locate and successfully bring in what we believe was close to all existing footage and audio of Kurt Cobain and Nirvana, obtaining the cooperation of many private individuals who had personal footage they either shot or controlled. She created and oversaw an asset management system which kept track of hundreds of hours of footage and audio from more than 100 sources, 7000 photos, and over 5000 items of assorted ephemera, ranging from personal items, to artwork, to journals. It was a herculean effort to track it all and then to oversee the ordering of masters and negotiation of licenses. It is a further testament to her skills that this was all managed remotely between Jessica's office in New Jersey and our production office in Los Angeles. We communicated on a daily basis throughout the production. Jessica was able to make magic happen continually throughout the production because of her vast experience and her deep relationships in the archive world. Her expertise and experience in rights and clearances were instrumental throughout and she worked closely with our legal team to get all the agreements to final execution in a timely and efficient manner. She pursued every lead to its conclusion and exercised great care in establishing the chain of title for each piece of material used and ensuring that due diligence was taken to find and obtain licenses from all applicable copyright holders. In sum, Jessica's labor, expertise, and judgment were of paramount importance in enabling us to create the best film possible.

(Danielle Renfrew Behrens, Producer)

Credit 2 - Title of Production: Narcos
Credit 2 - Production Company: Narcos LLC.
Credit 2 - Broadcast / Media Platform: All media excluding theatrical

Credit 2 - Brief Synopsis: NARCOS Season 1 was a 10 part scripted series produced by Gaumont Television for Netflix. Written by Chris Brancato and directed by José Padilha, Narcos is the true-life story of the growth and spread of cocaine drug cartels in Colombia and attendant efforts by U.S. DEA agents to meet the cartels head on in brutal, bloody conflict. Narcos centers on notorious Colombian cocaine kingpin Pablo Escobar (Moura), and the two DEA agents Javier Peña (Pascal) and Steve Murphy (Holbrook) sent to Colombia to capture and ultimately kill him. Produced by Gaumont and executive produced by Padilha and Eric Newman, Narcos premiered on Netflix in 2015.

Credit 2 - Reason for submission: Narcos Season 1 was heavily dependent on stock archival footage. Although scripted, the story is based on true events and needed to look and feel authentic. The use of footage throughout the series certainly helped to define the look and feel of the production and was an integral part of the storyline.

Credit 2 - Researcher's Statement
I was hired early in in pre-production while the scripts were still being written and before actual shooting began. Initial footage was to assist the writers in story development for fact checking and to write the stock footage sequences into the scripts. The footage was also utilized by the director and set designers (and I believe by some of the actors) to facilitate seamless integration of stock with originally shot material. From the beginning, the show was conceived to be a mix of archival footage and newly shot scripted material. Season 1 covered the buildup of Pablo Escobar and the drug cartels and ended with Pablo's imprisonment in 1991. I brought in almost every frame of available screeners from various archives in US and Europe that related to Pablo Escobar covering the mid 1980s through 1991. However, more challenging, was to obtain access to the Colombian broadcast archives and other footage sources within Colombia. To this end, I brought on a colleague who was fully bilingual and could engage with the Colombian archives. Additionally we had to navigate a complicated payment structure within Colombia before we could get screening materials. It took a good few months to establish a work flow and relationship, but in the end, we were successfully receiving footage out of Colombia on a regular basis. It was also my responsibility to set up a workflow and asset management system for all the footage and to insure proper procedures were followed to enable all the different departments (writers, editors etc.) to be able to access the footage. The production team was in various locations " the writers and editors were in Los Angeles, the director and the actors were shooting in Colombia and Brazil, and I was on the east coast. There were a variety of web connectivity issues and mostly for technical reasons, it was decided we would use google docs to manage the archival. Although it was not my first choice, we worked out a tracking system that proved very effective and easily workable for the variety of entities who needed to make use of it. I was on the project for close to one year - from early pre-production, through the production shooting and post production stages. The series ended up licensing footage from about 20 copyright holders. In addition to overseeing and managing all audio visual elements, I was responsible for negotiating the agreements, interfacing with the legal team for approval of all agreements and trafficking everything through to full execution and payment. Once the deals were all in place, my team was responsible for ordering all the master elements and bringing everything in on time and on budget.

Credit 2 - Director/Producer or Production Manager's Statement: Narcos Season 1 was heavily dependent on stock archival footage. Although scripted, the story is based on true events and needed to look and feel authentic. I brought Jessica in early in pre-production as the writers needed actuality footage to help develop scripts and for the director to prepare for filming the scripted sequences. Jessica and her team always delivered. Archival footage was used in a variety of ways throughout all ten episodes " from the creation of short mini docs, giving the viewer a first hand view of the true events that documented the rise and ultimate fall of Pablo, to a simple shot or two to set up a story point intercut with the dramatized footage. Jessica's thorough understanding of the subject matter played an integral part to our team. Collecting incredible images relating to the events surround Pablo's 13 year saga from sources around the world was an enormous undertaking. She brought in footage from dozens of commercial libraries throughout the world to meet very specific script requests . One of our main challenges was to get footage from sources inside Colombia and deal with multi-language challenges as well. Jessica organized an incredibly effective team who successfully navigated through the variety of hurdles and roadblocks and to successfully deliver a steady stream of materials throughout the production. I had worked with Jessica several years ago and she was the first person I called for this project with her expertise in managing a large production along with the complicated elements. Her ability to bring the audio visual in on time and on budget was crucial to the success of the project. We are now starting Season 2 and we are continuing to work together.

(Tim King, Producer)

Prudence Arndt, Deborah Ford

Free To Run   |   Point Prod / Yuzu Productions / Eklektik Productions

Credit 1 - Title of Production: FREE TO RUN
Credit 1 - Production Company: YUZU Productions
Credit 1 - Broadcast / Media Platform: Cinema release, ARTE, RTS, RTBF, PROXIMUS

Credit 1 - Brief Synopsis: Nowadays, millions of people run through the streets of New York, on the mountain trails of Switzerland, in Paris or Sydney, champions rubbing shoulders with unknowns. Yet just 50 years ago, running was an exclusive all-male sport reserved for top athletes competing in the stadium, whose rules were set by antiquated, sexist sporting authorities. How did we get from there to here? Via the stories of pioneering figures like Steve Prefontaine, Fred Lebow, Kathrine Switzer and the creators of the cult magazine Spiridon, FREE TO RUN takes us on an amazing journey, through five decades of the grassroots running movement.

Credit 1 - Reason for submission: The archive work on this film has been remarkable, lead by Prudence Arndt in NY (US sources) and Debbie Ford Gribaudi in Paris (covering the rest of the world) over 3 years. This global and international story of the running movement, gathering first hand testimonies and mostly forgotten archives had never been told so far, and could only be funded as a theatrical documentary. It's been a passion project for Pierre Morath, director, sports historian and former athlete himself, and for the 3 coproducers (France, Switzerland, Belgium). It took 8 years to be made. All archives are historically 100% accurate.

Credit 1 - Researcher's Statement: The film is made of a majority of archives, most of them very rarely seen. It covers a period from the 60s to today, uses 53 archives sources from 9 different countries, mixes amateur and professional sources, film, photo and video, and has requested 2 full years of complex archive research, clearing multiple layers of rights (event rights, athletes, TV stations, commentators voices), lost masters or contracts a real detective work, uncovering some never seen footage like the film of Kathrine Switer during the 1967 Boston Marathon. All archives were restored in HD when we could do a new scan.

Credit 1 - Director/Producer or Production Manager's Statement: The archive work on this film has been remarkable, lead by Prudence Arndt in NY (US sources) and Debbie Ford Gribaudi in Paris (covering the rest of the world and coordinating the whole) over 3 years. This global and international story of the running movement, gathering first hand testimonies and mostly forgotten archives had never been told so far, and could only be funded as a theatrical documentary. It's been a passion project for Pierre Morath, director, sports historian and former athlete himself, and for the 3 coproducers (France, Switzerland, Belgium). It took 8 years to be made.

(Fabrice Esteve, Producer)

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On the Night...

Kate Adie and Lord Puttnam

Lifetime Achievement Trophy

Kate Adie

Tony, Fiona, Bob

Ray Davies

Raelene and Lee

Jody Winterbottom

Robert and Jenny

Joe Lauro


Anne Johnson and ?

Jessica and Cathy

Raelene and Kev

? and Greg

Janet, Simon, Jo

Victoria Stable (middle)

Obi and guests

Bob, Kate, Tony, Clyde

Amanda Dantas and hostesses

Sue Malden

SKY team

Fremantle MediaArchive

Richard Melman and Simon Wood

Colleen and Alexis STALKR

Restoration team behind MARIUS

Tim Emblem-English (right)

Guests from Universal

Lucie and ?

Victoria, Julie and Susan

Antoine and Susanne

Maggi Cook

Stuart, Steve and Vero

Trevor Phillips

Kate and Denis

Margaret Bodde and Lord Puttnam

Jerry, Jessica, Cathy

Denis and Paul


Bob and Margaret


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Opening Ceremony 2016 Chair Sue Malden and Event Organiser Julie Lewis


Host Kate Adie


FOCAL Awards Promo