IT FOLLOWS Directed by David Robert Mitchell
USA – 2014 – 97 minutes
Distribution Métropole Films Distribution 5360 St-Laurent Boulevard Montreal, QC H2T 1S1 t : 514.223.5511 f : 514.223.6111 e :
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Press Mélanie Mingotaud MingoTwo Communications 1908 Panet Street, suite 403A Montreal, QC H2L 3A1 t: 514.582.5272 e:
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SYNOPSIS For 19-‐year-‐old Jay (Maika Monroe), the fall should be about school, boys and weekends at the lake. Yet after a seemingly innocent sexual encounter she suddenly Uinds herself plagued by nightmarish visions; she can't shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.
With a riveting central performance from Monroe and a strikingly ominous electronic score by Disasterpeace, It Follows is an artful psychosexual thriller from David Robert Mitchell (whose The Myth of the American Sleepover premiered at Critics' Week in 2010). The Uilm also stars Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi, and Lili Sepe.
ABOUT THE FILM The Genesis of It Follows David Robert Mitchell had an auspicious debut in 2010 when his Uirst feature The Myth Of The American Sleepover, which he wrote and directed, premiered at SXSW and then went on to play Cannes Critics’ Week. Set in a seemingly timeless world, neither past nor present, Myth resonated with critics and audiences as a poetic depiction of teenage existence, in all its confusions and yearnings. The independent Uilm world was understandably surprised and excited when it was announced that Mitchell’s sophomore project would be a horror Uilm. It Follows is indeed terrifying at times, but it’s unmistakably a product of the same mind as Myth. “I guess it wasn’t a big leap for me in my head,” Mitchell said of the transition. “I love horror movies. I want to make a lot of different movies and I like the idea of playing with genre. I thought that it would be interesting to take the tone of Myth and imagine characters with a similar feel to them, and put them into a scary situation and see how they would react. I tried to portray them with genuine qualities like those I tried to give the characters in Myth – I didn’t think, oh, because it’s a horror Uilm that’s not necessary. I wanted them to be people that I cared about.” The characters in It Follows – all teenagers – feel notably akin to their precursors from Myth. Jay (Maika Monroe) is a college student living in the suburbs of Detroit. She has a close group of friends, including Yara (Olivia Luccardi), Paul (Keir Gilchrist), and her sister Kelly (Lili Sepe), all of whom will become endangered after Jay starts being followed by a nefarious supernatural presence of unknown origin. The germinating idea of the Uilm – of Jay being followed, slowly but consistently, by a monster – came from nightmares Mitchell had as a child. “I remember having nightmares where something is following you, and in the nightmare it’s sort of slow and persistent. In the dream I was at the school playground. I looked over across the parking lot and saw this other kid walking towards me. Somehow I knew this was a monster. Then I started running away. I would run down a whole block and wait a moment, and then it would step out and keep walking towards me. It’s about the idea that something is consistently coming after you and it always knows where you are. The nightmare always sat with me. Somewhere as an adult I had the idea to build it into a Uilm. I wrote it really quickly – it took about a week.” Mitchell is an admirer of horror cinema, and as the Uilm came together he and his key crew immersed themselves in numerous standbys of the genre. “I was watching Rosemary’s Baby, The Shining, some Cronenberg. Halloween, Creature From The Black Lagoon, Blue Velvet, Eyes Without A Face, The Thing, Invasion of the Body Snatchers. Those are things I was looking at. There’s also a little Hitchcock inUluence in terms of how we used subjective point of view. There were also some photographers whose work we looked at like Gregory Crewdson and Todd Hido.”
As It Follows began to come together, Mitchell was tasked with Uinding the actress to play Jay, an incredibly demanding role that necessitated lots of physical strength and emotional hysterics. He found his leading lady in Maika Monroe, who in recent years has appeared in At Any Price, Labor Day, and The Guest. “Maika read for the part and she was fantastic,” Mitchell related. “There was a vulnerability to her. There was a scene where my reaction to her was, ‘Oh my gosh, this poor girl.’ It went beyond what I put on the page. There was an intensity to her.” For Monroe, trusting Mitchell was easy due to his commitment to executing his vision for the Uilm. “I was impressed with how he spoke about the movie and how closely it touched him. When he sent over the information about what he wanted the Uilm to look like, I was blown away by how speciUic it all was, the details. I thought to myself, this guy is special. This guy is different from the rest. I was drawn to him and to the role.” Follows The Narrative of It It Follows opens with a virtuoso long take, involving numerous rotations of the camera as a young woman Ulees from an unseen threat. It situates the viewer in Mitchell’s stylistic world, which is comprised of complex camera movements. In fact, director of photography Mike Gioulakis said it was the most complex shot in the Uilm to capture. “The opening shot of the Uilm was a 360 degree pan with some zooms on about 50 feet of track. We rehearsed and rehearsed and got just a couple good takes in before there was no light. It was tense!” The complexity of the camerawork provides a dreamlike eeriness to the world as depicted; in other words, the surreal qualities of Mitchell’s nightmares carry through into the Uilm’s atmosphere. “We wanted to create an environment where the camera wasn’t telling you where to look all the time,” Mitchell explained. “Where you would be scanning the edges of the frame looking for something. The camera is a little distant. We wanted to suggest to the audience that they should be looking a little in the distance, wondering what’s out there. The idea is that things are out there and we’re not going to shout to you when something dangerous is approaching. There’s deUinitely a dreamlike quality to it.” As we come to meet Jay and her friends, that dreamlike quality is boosted by the fact that Mitchell portrays a world that is indistinguishable in its exact time period. “I wanted to create a world that isn’t completely real. This isn’t a period piece and it’s not a modern piece – it’s something different. I like to think of it as in its own time but with things that we are very familiar with.” Jay is in the early stages of a relationship with Hugh (Jake Weary), an older guy whom she clearly is attracted to, but has yet to form a deep bond. One night, after sleeping together in Hugh’s car, their relationship takes a dramatic turn. As Jay lounges in the backseat of the car, Hugh sneaks up behind her and knocks her out with chloroform. Later, as she wakes, she realizes she’s tied to a chair in an abandoned building, where Hugh explains that he doesn’t want to hurt her, but what he’s about to
tell her is so shocking that he had to tie her up so she would listen to him. Hugh explains that he’s being followed by a monstrous thing of some sort. This thing takes the form of various humans, sometimes known by the person being followed, sometimes strangers. Sometimes they appear naked, other times with clothing. Hugh explains that the thing starts following you after you sleep with someone whom is being followed by it, and the only way to stop being followed by it is to sleep with someone else. If it catches you, it will kill you. Jay, horriUied and shocked, remains there with Hugh as the thing starts to appear, in the guise of a naked woman, approaching them slowly. Jay and Hugh escape before it can catch them. The scene is shocking in its transitioning of the narrative from one of everyday teenage life to eerie horror. Mitchell wanted to portray Jay’s shock as naturalistically as possible. “I have always imagined Hugh was someone Jay hasn’t been seeing for very long, but she really likes him and they sleep together very quickly. I think she has genuine feelings for him. I think he genuinely likes her as well, though that may be in conUlict with the things that he does. What happens to Jay is overwhelming and ridiculous – it’s insane. We tried to portray how someone might actually feel in this situation, being overwhelmed and not knowing if this is real. But if you’re in this kind of a situation it’s going to become reality to you at some point.” Jay’s doubts and fears about what may or may not have happened continue to plague her in the aftermath of that evening, and she begins sharing her concerns with her friends who try to reassure her that everything will be Uine. However, as Jay continues to see the monster following her – at school, at home – she realizes that she has to Uind a way to kill it. With the help of her neighbor Greg (Daniel Zovatto), Jay and her friends retreat to Greg’s mom’s beach house to try to escape the monster and devise a plan. The monster ends up approaching them there and the teens take refuge in a shed on the beach, providing for one of the Uilm’s most anxiety-‐inducing sequences. Like everything else in the Uilm, Mitchell conceptualized this sequence down to the last detail. “Those shots and ideas are very planned and the feeling is there on the page. We spent a lot of time on that sequence. It was storyboarded, but it was modiUied due to the location and a lot of things on set, as is the reality of production. We did our best to get as much of the storyboards on camera, it’s really a logistical race to make sure there is enough time to do what is needed technically while balancing that with creative needs, giving the actors time for them to do what they need to do.” Monroe’s performance, of a character who is imperiled throughout much of the Uilm, is a standout, and one that was extremely demanding of the actress, both mentally and physically. “I really trusted David. ‘I don’t want to have to run into that wall again, but if you say we need it again, I’m going to!’ I remember shooting one of the pool scenes – ‘No Maika, we didn’t quite get it, you have to get pulled into the pool one more time.’ Probably one of the hardest scenes was going into the lake. It was freezing. But I enjoy that kind of stuff because it helped me feel like Jay. I deUinitely got bruised up. It was exhausting. And every day you get up six in the morning and do it again.” Monroe explained that the exhaustion of the shoot, combined with isolation she imposed on herself on the set, helped her better put herself in Jay’s beleaguered headspace. “Every
day I was either running for my life or screaming or crying. During the shooting day I was living in it. On set I would have my headphones in, listening to pretty dark music. It was very, very hard, but it was so worth it.” As the Uilm progresses, Jay and her friends try to deal with getting rid of the monster in a number of different ways. In one attempt to move on, Jay decides to sleep with Greg, as this will lead to the monster following him and leaving her alone. While Jay becomes involved with Greg, it becomes apparent that Paul, who was extremely close with Jay when he was younger, but has grown apart from her as they’ve aged, has strong romantic feelings for her. Jay’s complex relationship with Paul will come to provide the underpinning for a crucial event that occurs toward the close of the narrative. “Jay is a little older than Paul,” Mitchell explained. “They’re at a point where that tiny age gap has put distance between them. Paul is basically in love with her from a distance but he’s not close to her anymore, and she doesn’t see him the same way. Their relationship concerns whether they’re able to come together in some way or not. I think some of the jealousy he has is interesting.” While Mitchell is hesitant to say too much about the Uilm’s thematic content (of which there is much to parse), he does allow for certain interpretive possibilities regarding the sexual means by which the Uilm’s monster is both caught and released. “I think that some people will see the Uilm as an expression of people needing to be careful, to be moral about sexuality, and I think other people might see it other ways as well. You get this thing through sex, but hopefully you can get rid of it through sex too. Both points of view are fair. There are all kinds of anxiety at this point in a young person’s life – I can remember myself. These anxieties seem like pretty common things and it seemed interesting to me to exaggerate them to a life and death level.” Follows The Craft Of It It Follows features a rigorous style of formal camerawork, which Mitchell and cinematographer Michael Gioulakis intensely prepared for during pre-‐production. From the opening shot onwards, the Uilm is Uilled with many complex long takes that involve intricate camera movement. “David and I were fortunate enough to have time before production to go through the entire script together, planning the way we wanted to cover each scene,” Gioulakis related. “We had about a dozen meetings over the course of a couple months. David would come into each meeting with rough storyboards that he had drawn with a clear vision of how he wanted to approach each scene. It was a fantastic opportunity to be able to sit down and really think in depth about the best way to convey the mood, perspective, and look we wanted for the Uilm. The goal for most of the visual approach was to play things in wider shots, Uinding interesting compositions, and letting the scene play out with minimal coverage. We wanted to convey a very distant, sterile feeling to the camerawork, trying as much as possible to lessen the audience’s perception of a human presence behind the lens. There’s a certain eeriness to these shots, which helps create the setting for the world of It Follows. These also serve as a counter to subjective moments where we are handheld with Jay. We felt swapping from the objective lens, to seeing from Jay’s perspective, would help to
intensify some of the dramatic encounters with the ‘It.’” In his collaboration with the Uilm’s composer, Rich Vreeland (a.k.a. Disasterpeace), Mitchell was very speciUic about what sort of sound he was looking for – often using placeholder, or temp, tracks to give a sense of tone – while giving Vreeland the freedom to try different things. “David has a clear vision of his Uilm. This was my Uirst feature Uilm score, and I think his conUidence made the collaboration easier. He helped me to hit the ground running,” Vreeland said. “Temp scores often draw skepticism from composers. It can put the composer in an awkward place, where they are trying to improve on a piece that may already be working in a scene. I think in our situation though, it helped us to establish the language of the Uilm early and build a rapport.” In regards to creating the speciUic sound of the score, Vreeland added, “We tried to create electronic music that wraps the Uilm in a dark and beautiful environment. I created most of the sounds from scratch with a synthesizer, but I wrote most of the melodic material at the piano.” While most horror Uilms eschew long takes in favor of a more montage-‐heavy approach, Gioulakis embraced the idea of Uilling the Uilm’s long takes with dread. “Nailing the long takes was a dance between the timing of the camera, the background, and our talent. We relied on mostly natural or minimal lighting for these shots, focusing on lighting the environment and letting that craft the mood as opposed to lighting for faces. To me, these shots play a large role in creating the world for the Uilm and play against the typical way in which horror movies create suspense with cuts.” For editor Julio Perez IV, working with so many long takes presented a complex working situation. “Working with long takes can be a surprisingly complex calculus, involving different elements of technical prowess, performance, pace, and other unseen, mystical forces – i.e. what ‘feels good.’” Yet Perez was impressed with what Mitchell and Gioulakis were able to provide, visually. “David and Mike did an astonishing job of designing very speciUic shots for very speciUic moments. My process would be to see how I responded to each shot, each take. Which ones do I respond to in a visceral way? Which ones are more technically accomplished and so on? With pacing, it's a balancing act between ratcheting up tension with quicker edits versus staying on a shot a little longer in the hopes of amplifying a sense of dread.” For Mitchell, the craftsmanship involved in the Uilm all built toward producing a new piece of work that operated in a more dramatic register than Myth. “I knew we had to raise the level of intensity in certain moments. Myth is a Uilm where it never goes to that height. It’s doesn’t need to get to that height. With this one I knew it needed to.”
CREW BIOS WRITER / DIRECTOR DAVID ROBERT MITCHELL grew up in metro-‐Detroit and now lives in Los Angeles. His writing and directorial feature debut The Myth of the American Sleepover premiered at the SXSW Film Festival in 2010, winning a Special Jury Prize. The Uilm had its international premiere at the prestigious Cannes Film Festival in the Critics’ Week section, where it was one of only seven feature Uilms selected worldwide, and the only Uilm from North America. Other awards include the Prix du Jury at the Deauville American Film Festival in France and the American Indie Newcomer prize at the Munich Film Festival. The Myth of the American Sleepover received rave critical reviews, was distributed by IFC, and was listed as one of the top Uive Uilms of the year on “Ebert Presents: At the Movies.” PRODUCTION COMPANIES NORTHERN LIGHTS FILMS started in 2010 with the goal of providing equity Uinancing for promising and up and coming Uilmmakers. Northern Lights Films Uirst produced Matt Walsh’s High Road starring James Pumphrey, Dylan O’Brien, Matt L. Jones, Lizzy Kaplan, Rob Riggle, Joe Lo Truglio, and Ed Helms, which was distributed by Millennium Entertainment. In 2011, Northern produced The Brass Teapot starring Juno Temple, Michael Angarano, Alexis Bledel, and Bobby Moynihan. Teapot premiered at the Toronto International Film Festival in 2012 and was distributed by Magnolia Pictures. ANIMAL KINGDOM was founded in September 2012 to develop, produce, and Uinance feature Uilms, television and digital content. The company's Uirst feature, Destin Daniel Cretton's Short Term 12, was one of the most critically acclaimed Uilms of 2013. The Uilm won both the Grand Jury Prize and Audience Award at SXSW and was named one of the 10 best Uilms of the year by many, including New York Magazine, The Wall Street Journal, The Los Angeles Times, The Atlantic, Forbes, and E! Online. The Uilm currently carries a rating of 99% "fresh" on Rotten Tomatoes. TWO FLINTS is a newly formed production company founded by producing team Rebecca Green and Laura D. Smith, who met over a decade ago while assistants at Lionsgate and Ghoulardi Film Company respectively. It Follows marks their Uirst feature Uilm together. TWO FLINTS is currently in post-‐production on I’ll See You In My Dreams, co-‐written and directed by Brett Haley (The New Year). The Uilm stars the legendary Blythe Danner alongside Sam Elliott, June Squibb, Martin Starr, Rhea Perlman, Mary Kay Place, and Malin Akerman. The duo also produced the pilot presentation episode for the television show “Schitt’s Creek” with Anonymous Content and co-‐creator/star Eugene Levy, which was picked up by the Canadian Broadcasting Corporation for series in 2014. Rebecca and Laura were 2012 Film Independent Producing Lab Fellows with the feature project And Then I Go, currently in development.
PRODUCERS REBECCA GREEN is currently in post-‐production on I’ll See You In My Dreams, co-‐written and directed by Brett Haley (The New Year). The Uilm stars the legendary Blythe Danner alongside Sam Elliott, June Squibb, Martin Starr, Rhea Perlman, Mary Kay Place, and Malin Akerman. In addition, Rebecca produced the feature Uilm It Follows, written and directed by David Robert Mitchell, which will premiere at the prestigious Cannes Film Festival in Critics’ Week 2014. Previously, Rebecca was the Manager of Producing Initiatives for the Sundance Institute and was a 2012 Film Independent Producing Lab Fellow with the project And Then I Go. Rebecca worked at Paramount Pictures as Vice President of Lynda Obst Productions and spent four years at Lionsgate. Rebecca has also worked for the Sundance and Los Angeles Uilm festivals and has spoken on panels for organizations such as UCLA, IFP, and Film Independent. Rebecca has a B.F.A from the University of North Carolina School of the Arts and serves as a board member of the Alumni West Steering Committee. LAURA D. SMITH is currently in post-‐production on the narrative feature Uilms I’ll See You In My Dreams, co-‐written and directed by Brett Haley and starring Blythe Danner, Sam Elliott, June Squibb, Martin Starr, Rhea Perlman, Mary Kay Place, and Malin Akerman, and Victor, a faith-‐based true story of addiction and redemption with Uilmmaker Brandon Dickerson. In addition, she is completing two documentary features: Holbrook/Twain: An American Oddysey, an inside look at actor Hal Holbrook and his famed one-‐man stage show "Mark Twain Tonight!" with Uilmmaker Scott Teems, and A Single Frame, an exploratory journey to Uind a refugee boy depicted in a powerful photograph taken during the 1998 Kosovo conUlict, also helmed by Dickerson. Previously, Laura produced the award-‐winning feature Uilms That Evening Sun, which garnered the Audience Award and a Special Jury Prize at its 2009 SXSW premiere, and Sironia. She also served as Co-‐Producer and Associate Producer on many notable independents. In 2012, She was selected to participate in the Film Independent Producing Lab with the project And Then I Go. Laura began her Uilmmaking career working under award-‐winning Uilmmakers Paul Thomas Anderson and Andrew Niccol and received a Bachelor of Arts degree from U.C.L.A. DAVID KAPLAN is an experienced producer, sales agent, and Uinance executive. His most recent projects include Short Term 12, Joe Swanberg’s Drinking Buddies, starring Olivia Wilde, Jake Johnson, Anna Kendrick, and Ron Livingston, and Gillian Robespierre’s Obvious Child, starring Jenny Slate. Prior to co-‐founding Animal Kingdom, David worked with veteran producer Christine Vachon (Mildren Pierce, Boys Don’t Cry, Shut Up and Play the Hits). ERIK ROMMESMO is a Uinance executive and producer. His most recent projects consist of Matt Walsh’s High Road with Dylan O’Brien, Rob Riggle, Joe Lo Truglio, and Ed Helms, and The Brass Teapot starring Juno Temple and Michael Angarano. Prior to co-‐founding Northern Lights Films, Rommesmo was a student at Southern Methodist University in Dallas, Texas where he studied Cinema and Spanish.
DIRECTOR OF PHOTOGRAPHY MICHAEL GIOULAKIS grew up in a musical household, which led him to attend the prestigious Interlochen Center for the Arts his senior year of high school to pursue his education and training for playing the trumpet. While there, his passion for Uilmmaking and photography grew, and after graduating he attended Florida State University to study photography. Mike has shot several feature Uilms, including Don Coscarelli’s John Dies at the End (2012 Sundance Film Festival, 2012 Toronto Film Festival, 2012 SXSW), Mike Ott’s Pearblossom Hwy (2012 Vienna Film Festival, 2012 AFI Fest, 2013 International Film Festival Rotterdam) and upcoming Lake Los Angeles, and Dustin Guy Defa’s Bad Fever (2011 SXSW). In between shoots, Mike likes to camp and explore the redwoods of Northern California with his rescue dog, Baxter. EDITOR JULIO C. PEREZ IV lives and works in Los Angeles, editing narrative and documentary features, but lately he's been poking his nose around New York as well. Some of his Uilm editing credits include The Myth of the American Sleepover (2010 SXSW; 2010 Cannes Film Festival), Something Real and Good, and This is Martin Bonner (Best of Next Audience Award Winner, 2013 Sundance Film Festival; 2014 Independent Spirit John Cassavettes Award Winner), Mistaken for Strangers (additional editing; OfUicial Selection 2013 Tribeca Film Festival), and Dior and I (OfUicial Selection 2014 Tribeca Film Festival). He is currently in post-‐production on David Robert Mitchell’s It Follows (2014 Cannes Film Festival), and BJ Perlmutte’s documentary, Havanna Motor Club. Julio has twice been invited to edit at the Sundance Institute's Directors Lab (2012 and 2013) and loves to wander around forests, deserts, and cities. ORIGINAL MUSIC RICH VREELAND has created 40 albums in a variety of styles, all under the name 'Disasterpeace'. After writing music for video games for many years, It Follows is his Uirst feature Uilm. PRODUCTION DESIGNER MICHAEL T. PERRY came to Los Angeles by way of the USC Theater Design Graduate program. After receiving his MFA, he started working his way up through the art department, from scenic painter to production designer, and most positions in-‐between. He has designed countless commercials for such brands as Porsche, Chevy, Progressive, Chrysler, and Coke, as well as designing Uilms and television in the US and internationally. Prior to working on It Follows, Michael designed Killer Elite starring Jason Statham, Clive Owen, and Robert DeNiro, where he oversaw art departments in Australia, the UK, and Jordan. He won an ICAD for Best Production Design for his work on a campaign for Heineken and has designed two Academy Award nominated short Uilms.
CAST BIOS MAIKA MONROE (‘Jay’), at just 20 years old, has already demonstrated her many talents on an international level. Maika exploded onto the scene in Ramin Bahrani's At Any Price, starring opposite Zac Efron and Dennis Quaid. The Uilm debuted to rave reviews at the Venice, Toronto and Telluride Film Festivals. She also starred opposite Emma Watson and Kirsten Dunst in The Bling Ring. Based on true events, the Uilm chronicles a group of fame-‐ obsessed teenagers who use the Internet to track celebrities’ whereabouts in order to rob their homes. Monroe was last seen in Labor Day, directed by Jason Reitman and also starring Josh Brolin and Kate Winslet, and her Uilm The Guest, directed by Adam Wingard, debuted at the 2014 Sundance Film Festival. She most recently Uinished production on A Relative Stranger, opposite James Badge Dale and Ethan Embry, and David Robert Mitchell's It Follows. In addition to her blossoming acting career, Maika is also one of the top ranked female kite boarders in the world. She has competed on an international level since 2009 and took second place at the 2012 Red Bull International Big Air Style competition. While acting takes up most of her time these days, she strives to keep one foot in Hollywood and one in the sand. KEIR GILCHRIST (‘Paul’) was born in London, England and lived in Boston and New York City before settling in Toronto, which is where he currently calls home. Keir has taken drama classes since he was very young and at the encouragement of a Toronto drama teacher, decided to pursue acting professionally. Keir starred in the critically acclaimed Showtime series “The United States of Tara” opposite Toni Collette and Jon Corbitt. Prior to that, he starred in the Fox television series “The Winner” opposite Rob Corrdry. He has also had many memorable guest appearances on shows including “Family Guy,” “Queer as Folk,” and “The Listener.” Some of Gilchrist’s Uilm credits include the title role of Peck in the feature Uilm Just Peck opposite Brie Larson, as well as The Rocker, The Egg Factory, and Dead Silence. Gilchrist starred in the Focus Features Uilm It’s Kind of a Funny Story from writer-‐ directors Anna Boden and Ryan Fleck (Half Nelson), opposite Zach GaliUianakis, Emma Roberts, and Viola Davis. Keir also starred in the mini-‐series “Delete” opposite Seth Green. The last year has been an incredibly busy one for Keir, shooting the independent Uilms Dark Summer as well as It Follows. Most recently, Keir shot the ABC pilot SEA OF FIRE and will soon commence shooting the independent Uilm Len and Company opposite Juno Temple and Rhys Ifans. DANIEL ZOVATTO (‘Greg’) made his feature Uilm debut in Innocence, an adaptation of Jane Mendelsohn’s best selling teen novel directed by Hilary Brougher for Killer Films. Daniel played the role of ‘Hirsch' opposite Linus Roache, Perry Reeves, Sophie Curtis, and Graham Phillips. Daniel was also the lead in the Chiller Network's Beneath, a horror Uilm directed by Larry Fessenden. 2014 has continued to be a busy one for Zovatto with the Sundance premiere of Lynn Shelton's Laggies, playing opposite Sam Rockwell, Chloe Grace Moretz, and Keira Knightley,
and a starring role in David Robert Mitchell's It Follows. Daniel can also be seen on the small screen playing memorable guest roles on ABC's “Marvel’s Agents of S.H.I.E.L.D.” and “Revenge.” JAKE WEARY (‘Hugh’) was introduced to the entertainment industry from an early age, having been raised by an award-‐winning daytime actress mother and actor/director father. Jake began following in their footsteps in his early teens with his Uirst role on his mom's hit soap opera show CBS' “Guiding Light.” After booking guest roles on shows such as NBC's “Law & Order: SVU” and “Law & Order: Criminal Intent,” he originated the role of 'Luke Snyder' on the CBS serial “As the World Turns,” eventually leaving the role to focus on school full-‐time. This year, Jake can be seen in David Robert Mitchell's It Follows, an ofUicial selection of the 2014 Cannes Film Festival, and Jordan Rubin's horror spoof Zombeavers, which premiered at the 2014 Tribeca Film Festival. Other notable Uilm appearances include Brett Simon's Assassination of a High School President and Kaare Andrews' Altitude. Recent television credits include a multi-‐episode arc on NBC's hit drama “Chicago Fire” and the Lifetime movie Escape from Polygamy. Jake currently lives in Los Angeles, where he also pursues his other passion of writing and producing his own music.
OLIVIA LUCCARDI (‘Yara’) blasted onto the scene in a memorably acerbic role on HBO's “Girls” and has since had a banner 2013 with supporting roles in feature Uilms including Frank Whaley's Like Sunday, Like Rain opposite Leighton Meester, Marc Lawrence's The Rewrite opposite Hugh Grant, and the cutting edge independent Uilm It Follows directed by David Robert Mitchell. In 2014, Olivia can be seen starring opposite Dakota Fanning in Gerardo Naranjo's yet-‐to-‐be-‐titled feature, where she will play Rebecca, a roadie who befriends Vienna (Dakota Fanning) as she travels on a journey of self-‐discovery while on tour with a punk band in the 1980s. This summer, Olivia can be seen on the new season of NetUlix's “Orange is the New Black.” Aside from acting, Olivia curates and produces an art program called THE QUARTERLY ARTS SOIREE at Webster Hall in the East Village of NYC. It’s an art collaborative of various mediums. LILI SEPE (‘Kelly’) Uirst came on to the scene in her debut Uilm, Spork, which premiered at the Tribeca Film Festival 2010. Since then, she has appeared in over 15 national commercials and can be seen in the independent horror Uilm It Follows, written and directed by David Robert Mitchell, which will premiere at the prestigious Cannes Film Festival in Critics’ Week 2014.
END CREDITS
IT FOLLOWS Written and Directed by David Robert Mitchell Produced by Rebecca Green Laura D. Smith David Robert Mitchell Produced by David Kaplan Erik Rommesmo Executive Producers Frederick W. Green Joshua Astrachan P. Jennifer Dana Executive Producers Jeff Schlossman Bill Wallwork Executive Producers Alan Pao Corey Large Mia Chang Co-‐Producer Robyn K. Bennett
Director of Photography Michael Gioulakis Production Designer Michael T. Perry Edited by Julio C. Perez IV Original Music by Disasterpeace Special Make-‐Up Effects Produced by Robert Kurtzman Costume Designer Kimberly Leitz-‐McCauley Casting by Mark Bennett
Maika Monroe Keir Gilchrist Daniel Zovatto Jake Weary Oliver Luccardi Lili Sepe
