Synopsis – An aspiring DJ looks to make it in the electronic music scene.

Director – Max Joseph

Starring – Zac Efron, Wes Bentley, Emily Ratajkowski

Check out the trailer:

  

Press Release:

From Warner Bros. Pictures and Studiocanal comes the romantic drama “We Are Your Friends.” The film marks Max Joseph’s (MTV’s “Catfish: The TV Show”) feature film directorial debut, and stars Zac Efron (“Neighbors”), Emily Ratajkowski (“Entourage,” “Gone Girl”), and Wes Bentley (“Interstellar,” “The Hunger Games”).
“We Are Your Friends” is about what it takes to find your voice. Set in the world of electronic music and Hollywood nightlife, an aspiring 23-year-old DJ named Cole (Efron) spends his days scheming with his childhood friends and his nights working on the one track that will set the world on fire. All of this changes when he meets a charismatic but damaged older DJ named James (Bentley), who takes him under his wing. Things get complicated, however, when Cole starts falling for James’ much younger girlfriend, Sophie (Ratajkowski). With Cole’s forbidden relationship intensifying and his friendships unraveling, he must choose between love, loyalty, and the future he is destined for.

The film also stars Jonny Weston (“Insurgent,” “Taken 3”), Shiloh Fernandez (“Evil Dead”) and Alex Shaffer (“Win Win”).
Joseph directed from a screenplay he wrote with Meaghan Oppenheimer, from a story by Richard Silverman. The producers are Tim Bevan, Eric Fellner and Liza Chasin, with Silverman, Olivier Courson, Ron Halpern and Nathan Kelly executive producing. Randall Poster (“The Wolf of Wall Street,” “Divergent” and “Insurgent,” “Spring Breakers”) is the film’s music supervisor.
Joseph’s behind-the-scenes creative team includes director of photography Brett Pawlak (“Short Term 12,” “Hellion”), production designer Maya Sigel (“TiMER” “Gun Hill Road”), editors Terel Gibson (“Phantom,” “The D Train”) and David Diliberto (“No Country for Old Men”), and costume designer Christie Wittenborn (“30 Minutes or Less,” “Me and You and Everyone We Know”).

“We Are Your Friends” is a Working Title Films production. It is being distributed in North America by Warner Bros. Pictures, a Warner Bros. Entertainment Company. Studiocanal, who financed the film, is distributing in France, the UK, Germany, Australia and New Zealand.

This film has been rated R by the MPAA for language throughout, drug use, sexual content and some nudity.
http://wayf-movie.com/

ABOUT THE PRODUCTION
Study Halls • SATs • Liberal Arts • Student Loans • Layoffs • Bailouts • Broken Dreams

This is not our future.

Find your sound—find your future.

Music permeates our lives. For many of us, a tune gets stuck in our head, we turn up the volume when a favorite song comes on or scramble to click on Shazam, or, quite often, we don’t even register the ambient sounds playing all around us; it’s simply the uninvited aural backdrop to our daily lives. Occasionally, the right song can spark a vivid memory of a particular time and place, grabbing our attention and instantly taking us back there. But for Cole, an aspiring DJ, music is his life, and it’s his search for his own, signature sound that is propelling him forward toward a future he alone can create.

“We Are Your Friends” stars Zac Efron as Cole, a young man trying to find his way out of one life and into another, knowing it’s his gift for making music that will determine just where life will take him.

Efron states, “What I loved about this story it that is says so much about what it’s like to be a young guy searching for himself, trying to get through life and fulfill big aspirations, big dreams, and all it takes to navigate through that. Nothing is just handed to Cole; he has to make it happen.”

The film’s director, Max Joseph, who also co-wrote the screenplay, was eager to put some of his own life experiences on the big screen, especially those so many of us share. “I’ve always wanted to do a film about kids graduating from high school or college and moving on with their lives. They’re on the precipice of adulthood and still trying to figure out in what direction they should go, amidst all the temptations we have when we’re young: sex, drugs, parties, cars. And because we all have a sort of ‘soundtrack’ to our life, setting it in the music world really adds to the energy of the film. I was excited by the possibilities.”

“We Are Your Friends” is set to the heart-pounding beats of a diverse soundtrack that includes Gryffin’s remix of Years & Years’ “Desire,” plus two all-new tracks, The Americanos’ “BlackOut,” featuring Lil Jon, Juicy J and Tyga, and Hook N Sling’s “Break Yourself,” featuring Far East Movement and Pusha T.

Working closely with the film’s music supervisor, the prolific Randall Poster, who has more than 100 feature films to his name, Joseph says, “What we set out to do was to make a contemporary coming-of-age movie set against the music of today’s world—dance, electronic, festival anthems, pop, trap, hip-hop and some EDM as well. We all worked hard to choose tracks that were not only best for the story but also contributed to a balanced mix of the many different genres that fit under the wide umbrella of dance/electronic music. The art of DJing is mixing disparate songs together seamlessly to create an emotional journey that you can dance to and I believe we’ve done that.”

Poster agrees. “We wanted to find music that spoke to the emotional dimensions of the characters and the journey they’re on, coupled with the ambition to help set time and place with music as well. Max is very attuned to what’s happening. Electronic music has really evolved over the last few years—there are elements of it in hip hop, in pop—and we wanted to have a variety of music in the film, but also use it to serve the story in a personal, humanistic way.”

The two first met after Poster saw a short film Joseph had made about the 10th anniversary of DFA Records. Poster was impressed, and reached out. “He’s a very talented and sensitive filmmaker who uses music very well. He asked me if I’d be interested in his next project, and I was intrigued by this story of a group of friends trying to figure out who they are and who they could be. They’re intimidated by people who have lived more advantaged lives than they have, and they have to summon up enough faith in themselves to take that next step forward.”

Just as music surrounds us all, providing that underlying pulse to our daily lives, Joseph wanted the film, with its intrinsic ties to music, to be infused with real-world artists, enhancing the authenticity of Cole’s experience, and the audience’s as well.
French artist Pyramid helped the filmmakers plot out Cole’s music. Joseph had heard his work on Spotify while writing the script and his song, “See You in the Other Side,” inspired, and is also featured in, a pivotal scene in the film. “Back when we were brainstorming as to who could make Cole’s music, I thought of Pyramid because his music is both electronic and very soulful, and has more than a hint of that French Touch sound that Justice helped pioneer in the mid-2000s,” Joseph recalls. “We reached out to a number of artists in regard to writing Cole’s track, but Pyramid, who is 26 and a bedroom producer from Paris—kind of the French version of Cole—responded immediately and was the most interested.”

Joseph and Pyramid traded ideas even before the movie went into pre-production, establishing a piano melody of Cole’s theme that they were able to have on hand during shooting and to find ways to work it into the movie. The filmmaker eventually brought the artist out to the Valley for inspiration, and there they worked for two intense weeks nonstop. “At the end of those two weeks, we had an amazing track that we both felt really underscored the emotional arc of the scene and of the movie,” Joseph says. “It was definitely a challenge turning the important sounds from Cole’s life into a song that not only worked as music, but had the soul and gravitas it needed to in order to pay off emotionally.”

DJ/music producer Jason Stewart—known as Them Jeans—consulted on the movie, taught Efron the art of DJing and producing music, and even stepped on stage to help out during filming. “I’ve always had an interest in working on music for films, so working with Zac and Max and Randy was a real treat. Hopefully it’s something I’ll be able to do more often,” he relates.

“I loved working with Jason,” Joseph says. “We share a common taste in music, which made the collaboration very easy and fun.”

Complementing all the songs in the film is a score by Segal, whom Joseph discovered while watching episodes of the UK show “Skins,” looking for acting talent. “The moment I started watching the first episode, I was completely floored by the score,” he says. “It was rich and full and also subtle, and added a psychological element to the lives of the characters.”

The director immediately downloaded the score and listened to it for days. Then, in London directing a commercial, he reached out to the artist. “He turned out to be a lovely, brilliant, kind-hearted kid named Matt Simpson, and we hit it off right away. For a long time, I wasn’t sure we were going to need a proper score in the film, since we had so many songs, but it started to become clear that we needed something to really tie all of the music together, so that the ride felt seamless, and so that we could get more into Cole’s head and feel what he was feeling.”

Much as he had with Pyramid, Joseph brought Segal out to L.A. “We only needed a few days together in the same room to sync up, and then he returned to London and worked on all the cues from there.

“I am really thrilled and proud of the collaborations with Pyramid, Segal and Them Jeans,” Joseph continues. “I love all three of those guys and their original music and DJ sets. They were all young, hungry, enthusiastic and willing to go the extra mile.”

In addition to all the work he did with DJs behind the scenes, Joseph asked DJs Dillon Francis, LA Riots, Dirty South, Nicky Romero, Alesso and Posso to appear in the film, alongside such Vine icons as Andrew Bachelor, a.k.a. King Bach, KC James and Brittany Furlan.

Francis even emceed for a huge crowd of extras for a pivotal scene in the film. “I love making music, it makes me happy and, for me, it’s really the meaning of life—besides treating people nicely and drinking beer,” he smiles.

The story was originally conceived by executive producer Richard Silverman. “My experiences in that world gave me the idea for a story featuring characters living in and around this iconic social movement, and whose lifestyles and passions really exemplify the broad range of music it encompasses,” he says.

Silverman took his original concept, which centered on an aspiring DJ who is mentored by a successful veteran of the club circuit, to producer Liza Chasin. “I love music festivals. I’ve seen the DJ with the laptop and equipment get up on stage and create the anthem for a generation, with thousands of people jumping to the beat. Richard’s idea spoke volumes about what’s happening out there today.

“Max also has his finger on the pulse of this subject,” she continues, “partially because of his work on MTV’s ‘Catfish,’ but also because of his commercials and viral videos for YouTube that are very much in touch with this universe.”
Joseph and fellow screenwriter Meaghan Oppenheimer expanded Silverman’s story into the screenplay. “The time I spent co-writing with Max was one of the most intense, rewarding and creative collaborations of my life,” Oppenheimer says. “We felt like we were given such an amazing opportunity to write about a specific time, place and generation, and ultimately just wanted to create something that would feel special and authentic.”

“All of Meaghan’s strengths as a writer were my weaknesses, so I thought it was a great fit,” Joseph says.

“From the very first time I read the script,” Efron remembers, “I related to it on a personal level. I knew each of these guys in this movie; it felt like it distinctly represented a group of my friends and tapped into my own journey, a chapter of my life. I was blown away by the characters and, of course, Max’s belief in the project. Like Cole with his musical track in the film, Max loves putting the pieces together. I’ve never had such fun working with a director.”
Sounds have soul—build them from scratch, find new ones…

Start listening to what the real world is trying to tell you.

In “We Are Your Friends,” Cole receives this important piece of advice from a veteran DJ, James Reed. While he’s had an artistic influence on Cole from a distance, it’s only after meeting him that Cole begins to look at his own work in a new light, and his other influences—his friends—in a different one.

Efron explains, “Cole was a really cool character to play. He’s one of four friends who have been through everything together, they’re very tight. But he is slowly beginning to progress in his DJ career, getting more serious about it and, thanks to the influence of this more experienced DJ, taking on bigger venues and getting closer to creating this one track, this puzzle he’s working through. He’s finding that his friends are sort of stuck in their old life and even self-destructive in certain ways, and he’s feeling like he has to choose between them and his passion for his music.”

“When I first learned Zac was interested in the movie, I thought of him for Mason, because that character is a true alpha and Zac is a movie star and a big presence,” Joseph reflects. “And while he is an extroverted person, he also has a thoughtful, pensive quality to him and I felt it would be interesting to see what he would do with Cole. The last part of his own adolescence was spent in the Valley with friends like these, so he already had ideas of how to relate to them.”

Cole is hoping that creating a musical track that will inspire a generation to dance to the beat will also carry him away from the “818”—a nickname for the Valley taken from its area code. Whether he’s able to carry his best friends along with him, well… “Cole is starting to realize that he’s not truly himself when he’s around his friends,” Efron observes. “He’s got their unconditional love, but he’s not following his heart. It’s when he’s behind the decks that a sense of freedom and purity comes out, when he feels at one with everyone around him. Music is really a uniting force and a DJ is the person who is at the helm of that, which is really cool.”

Prior to shooting, Efron entered into a period of extensive preparation for the role, training with Jason Stewart to learn the ins and outs of the trade. “DJing is hard, definitely much harder than I thought it would be,” the actor admits.
Despite the time constraints, Efron threw himself into the task. “I got decks so I could practice at home. Put away the video games and just spin. It was probably pretty annoying for my neighbors, but luckily I have cool neighbors,” he laughs.
Under Stewart’s tutelage, Efron began with the basics. “We started working our way through it,” Stewart says, “with Zac learning how to match beats and pick out music. From there, we began choosing the songs he would play during the filming process and making sure all the gear was exactly how it would be if I’m playing. I’m very meticulous about making sure everything is set just the right way, and Zac got in the habit of doing that.”

Efron also went to watch the pro at work. “He’d hang out and play a few songs to see what it’s like to actually DJ in the clubs. He’s a quick learner,” Stewart adds.
After a relatively short but intensive education, the actor began to feel more comfortable with his skills, and gained a great appreciation of the talent and creativity required to be among the top DJs in the scene. “It’s truly an art form. For me, I think the hardest part was style—the little things that enhance the song or alter it in a different way to make it your own.”
Among the various tricks of the trade Stewart passed along to his protégé are what he refers to as “the car test, the club test and the iPhone test. Zac’s character is struggling with producing his first track throughout the film, so I showed him some production tips. You make a demo, put it on your USB stick and play it in the club, see how the crowd reacts. In your home studio, you have these nice speakers, so everything sounds really great. But you also have to test it in your car and on your phone, with headphones—ways the general public is going to hear it—to make sure it sounds powerful and energetic everywhere.”
With Stewart in charge of Efron’s musical study, the only concern Joseph had about Efron portraying a DJ was the actor’s physique. “When I first met Zac, he was big and buff from doing ‘Neighbors.’ I explained to him that most DJs don’t eat well and spend all night long at their computers, not sleeping. And they don’t have perfect tans because they’re not out in the sun.”
Efron took the director’s description to heart and dropped almost 20 pounds before going in front of the camera. “As far as Zac’s dedication to the role went, I couldn’t have asked for more from anyone,” Joseph states.

Cole isn’t the only DJ character in the film, thus Efron was not the only actor to benefit from Stewart’s expertise. Wes Bentley plays Cole’s mentor, star DJ James Reed. Bentley entered into the project with more than a passing interest in the DJ/music scene.
“One of the things that attracted me to the film was that, from the time I was a kid, I was drawn to electronic music, house and techno and, for a time, created my own and DJed for a bit as well,” he says. “There were a lot of familiar traits in James that I could really identify with, so it seemed like a bit of destiny that this project crossed my path.”
In the film, arguably it’s also destiny that James meets Cole; Cole needs a guiding hand and, recognizing a younger version of himself, perhaps, compels James to take on that responsibility. Bentley explains, “For James, it’s an instinctual thing. Athletes always say they can tell when a guy can play as soon as he touches the ball. I think James catches that same feeling off of Cole, that he’s just got something that most others are missing. Something he once had before fame and fortune and life came along and he got bottled up. Of course, what’s hardest for him is that he’s aware of that.”
Under James’s sponsorship, Cole starts to get a taste of the life he’s set his sights on. He also catches the eye of Sophie, James’s girlfriend, and is torn between his growing attraction to her and his loyalty to his newfound adviser.
Emily Ratajkowski stars as Sophie, who not only lives with James, but acts as his assistant as well, a situation that runs smoothly until Cole comes on the scene. “Sophie is a very smart girl who didn’t have a lot of time to do all the fun things most people do in high school,” she surmises. “So when she got to Stanford, she worked really hard but also went a little crazy and needed to take some time off. She came to L.A. and met James and now I think she’s still struggling to find a direction or a purpose of her own.”
When Ratajkowski first read for the part, Joseph recalls, “She was doing interesting things with the lines and her expressions were subtle, but complex. There was a lot going on under the surface. Working with her, I was blown away, really impressed. She’s extremely professional and eloquent and her improvisational skills are excellent.”
“Emily is really lovely and she brought an easy confidence to Sophie,” Efron offers. “I think that’s what initially attracts Cole to Sophie, her sense of self, her strength, and maybe that she’s a kind of kindred spirit. He’s really taken with her, so he’s confused as to what to do when he finds out she’s with James.”

“I think Sophie and Cole are sort of on the same page in their lives,” Ratajkowski notes. “They’re both surrounding themselves with different kinds of people and different options, and trying to figure out where they fit in, and they are able to connect with each other because of that.”
Prior to making these new connections, Cole and his buddies—Ollie, Mason and Squirrel—have forged a friendship that began in grade school and endured into young adulthood. Like many of their peers, they are uncertain what direction their lives will take, but these Valley boys are sure of one thing: they want out, and they’ll do whatever it takes to make it over the hill to Hollywood.
With Efron cast as Cole, it was important to find three actors that audiences would believe to be his lifelong friends, so the chemistry had to be just so. Joseph immediately thought of Shiloh Fernandez for the character of Ollie, one of his and co-writer Oppenheimer’s favorite characters in the script. “We were always really excited to see Ollie come to life, and the moment Shiloh stepped into the room it was very clear that he just inhabited Ollie.”
“Ollie jumped off the page for me,” Fernandez smiles. “He was such a fun guy to play, the struggling actor, because all actors have to go through that at one point or another. But also to deal with the potential loss of friendship as people grow up and grow apart. I felt like the script really nailed that.”
Fernandez was also struck by the kinship he felt to his character. “I remember when I first moved to Los Angeles to become an actor. A lot of my friends lived in the Valley and just wanted to get over that hill, so it was easy to relate to; the idea of giving up that dream because it’s easier. Max really captured that feeling in the film.”
For the role of Mason, whom Joseph refers to as “the biggest alpha in a group of alphas,” the filmmakers cast Jonny Weston. “We had a really hard time finding Mason,” Joseph allows. “We needed someone to come in and out-power Zac in their scenes together, which is hard to do. Jonny came in at the eleventh hour, after just finishing ‘Insurgent,’ and it was clear as day he and Zac had the right connection. Jonny is a wild beast of an actor and gives off amazing energy in life and in the film.”
“Mason is completely upfront about the fact that he wants to be rich as hell,” Weston laughs. “He talks a lot about money and success, but his real goal is to bring people together, to have all his friends around him to enjoy it with him. He’s a very in-your-face kind of guy and he gets on people’s nerves, but his intentions are good. And it’s fun to play a bad boy.”

Like his character, Weston is a huge fan of the music festival scene, so researching his part was easy. “I’m obsessed! I love EDM and trap and this whole creative movement of powerful electronic music, so a lot of what Mason and his friends like to do in the movie, I’m doing in my life—dancing and partying at clubs and talking to promoters—but on the inside of the ropes.”
The fourth friend in the group, Squirrel, is a much calmer presence. Just as it had happened with Fernandez, Joseph says he knew Alex Shaffer was right for Squirrel upon first sight. “Alex was the first actor to come into the room that I felt really strongly about for that character.”
With Cole wanting to DJ, Ollie wanting to act and Mason wanting to be a big-time promoter, Squirrel seems to be less clear about his own path, though in some ways he’s the friend with the most clarity. Serving almost as the collective conscience of the foursome, Squirrel lends voice to the frustrations each of the friends feels at times, even if their actions go against them.
Shaffer elaborates, “Squirrel is the one who realizes that they’re not doing anything with their lives or contributing to society in any way. They promote clubs, scam with girls, party. But he’s tired of it. He wants to do something better and he’s the only one who’ll say so.”
In order to ensure the friends evoke the bonds of a lifelong attachment, Joseph put the actors through one final exercise prior to filming. “It was critical that there be a sense of shared history between these four guys,” the director emphasizes. “They’ve been friends since the fourth or fifth grade and that familiarity needed to be so clear it jumped off the screen.”
To achieve that closeness, Joseph rented a house deep in the San Fernando Valley, and the actors spent a long weekend there. “I had each of them bring an object that his character would bring with him, and I basically had them stay in character all weekend,” Joseph continues. “I filmed a lot of it. It was great to watch them all hang out, talking and sharing how excited we all were about the movie. It was a real retreat and they came out of it very bonded, each in their own way, and that added a lot of texture to the characters’ relationships.”
As the story progresses in the film, Cole’s friends have begun to make demands of him that he realizes might not be in his best interests. Among those, the pull of easy money they earn working the phones at a day job for a Valley mortgage company run by a man named Paige, played by Jon Bernthal. Alicia Coppola plays a single mother trying to stay afloat, whose circumstances come to Cole’s attention when it’s his turn to make a cold call.

Between filling the coffers and fulfilling their dreams, Cole and his friends all struggle, but ultimately it’s Cole who must come to terms with what course his own future is going to take, and who, if anyone, he is going to take along with him.
You guys wanna make real money, you wanna live and die in the Valley.
Los Angeles’s San Fernando Valley boasts as diverse a landscape as any suburban sprawl, with million dollar hillside homes and strip malls planted practically side-by-side, and every ethnic group and socioeconomic class contributing to the famed L.A. gridlock on the freeways running through it.
“I grew up in New York City,” Joseph relates, “and I had traveled all around the world with my parents as a young kid. When I was 18, I came to L.A. for the first time to visit a friend. He lived in Encino, and even after seeing all those international cities, I had never experienced culture shock the way I did when I got to the Valley. My friends were promoting at night clubs, cruising down the crowded freeways, and living this fast life, and I watched it all through a haze.”
“For the guys in this movie, there’s a sense that they really need to get over that mountain into the city in order to accomplish what they need to do,” Efron says. “That’s where the clubs are, that’s where the music is happening, that’s where they’re making money. Every trip over there is an adventure, there’s always this incredible sense of energy and anticipation of what the night’s going to bring—glamour, bright lights, cool clubs, great restaurants, the Sunset Strip and Hollywood Boulevard. When they drive over there, everything seems within reach. Then they wake up the next morning and they are still Valley kids.”
With no need to look elsewhere, the production for “We Are Your Friends” shot primarily in the Valley, as well as in some of nearby Hollywood and Downtown L.A.’s most popular hotspots, insinuating the characters into the flashy, frenetic world that beckons to them. Joseph worked with director of photography Brett Pawlak and production designer Maya Sigel to maintain as authentic an aesthetic as possible.
“I’m from Southern California,” Pawlak offers, “so to be able to shoot in the Valley—and it actually be the Valley, not subbing for something else—was exciting. And if you know the area at all, you know it gets really hot, so by letting the actors exist in that environment in a natural way, we played off the heat so hopefully even the audience will feel it.”

For an early scene, in which we get our first glimpse of the four friends working hard to promote a nightclub gig to college students, Efron, Weston, Fernandez and Shaffer spent an entire day among a group of extras, while the cameras caught them running up and down the steps of the library of California State University Northridge, handing out fliers under a sun that blazed over 100 degrees.
“Shooting at CSUN was a lot of fun,” Efron says. “We didn’t have any real lines, and most of the extras had no lines so they weren’t really able to speak back to us, but it was great to watch Jonny and Shiloh’s interactions with all the girls. My character was supposed to be a little more reserved, which I was happy about, ‘cause I don’t know how they do what they do. They were hilarious.”
The pool house where Cole lives with Mason was based on the place Joseph stayed during that first trip to L.A. Sigel says that she and the director went to look at the actual home. “It was much, much nicer than what made sense for our characters in the movie. There had to be a clear visual juxtaposition between their situation in the Valley and life on the other side of the hill.
“We searched for a long time to find the right house,” she continues, “one that had the desired look and feel but could also allow enough space for shooting multiple scenes. I think we saw every pool house/guest house available for rent in the Valley that summer. In the end, we chose a house in Van Nuys that we could shape into our pool house. Though it was spotless and white, we loved the yellow color of the exterior, the graphic quality of its lines, and the space and natural light that it provided. My department built walls inside the house to make it feel smaller, more claustrophobic, and give the guys an almost dorm-like living environment.”
They also drained the pool and built a fence to hide the green landscaping. “We wanted the house to reflect an area that has yet to fully recover from the recession. Mason’s family is struggling to make ends meet and Cole and Mason are constantly helping Mason’s dad with repairs and renovations. It’s a crumbling microcosm of the American dream—drought-ridden, no grass, no escape from the sun. My scenic painters aged the exterior of the house to make it look sun-bleached and weathered. We added years of history through paint as well as set dressing. The evolution of the boys’ friendship, interests and styles are all contained within that pool house.”
James Reed’s house in the hills is quite a contrast to the deeper part of the Valley where Cole lives. “James is like an older version of those boys; he came from nothing, lived the party life, and now he seeks peace and minimalism in his living environment,” Sigel illustrates, adding that to highlight the differences, “we chose a great location in Brentwood for James’s place, a sophisticated glass house on a hill. It was important to us that James be geographically situated above the city—you can feel the coolness, the breeze, see the reflections of the water from the pool bouncing into the house. We filled his home with classic, white, modern pieces to make for a very clean aesthetic and palette. We wanted to show that James is a collector of art and a real music lover. He’s the coolest, most cultured ‘grownup’ that Cole’s ever met.”
For James’s in-home studio, the production utilized a portion of a real recording facility in the Valley. “We used wall plugs and dressed the room to suit James’s experience and again, his specific taste, bringing in a vintage sound board from the `70s and other equipment we felt he would have to complement the use of a computer.”
Also at that location, the camera and lighting crew, Pawlak notes, “used color and light to illustrate the variations between that thick layer of smog you sit in down below and the clearer air you see up a little higher, like in Griffith Park or up the canyon, where you might actually realize we’re having a beautiful day.”
In addition to the rising temperatures, some of the sets presented a challenge to the camera team as well. Pawlak’s crew used rigs and cranes when necessary, however, he confesses, “I have a deep love for handheld camera work. But this was a project on which Max really wanted to explore a lot of different camera platforms. We went through the script, looking at each scene in order to get a sense of what they called for in camera and lighting, as you always do. And we used standard sticks and dollies and handhelds. But we also went outside the box a little bit, for instance, using a doggie cam body mount that we strapped to Zac for a scene at a gallery, the first time he goes out with James. He’s having a great night and that camera lets you really get his rather unique perspective of it.”
The gallery post-club party was created by Sigel’s team at an artists’ workspace, and was intended to give Cole his first taste of a more upscale lifestyle. The designer brought in art by Justin Fry, an artist whose pieces would work well with a clever and colorful animation sequence that would be added later. Adding to the fun, Joseph brought in real-life DJ duo Posso—Vanessa Giovacchini and Marylouise Pels—to spin. Giovacchini, who could easily be giving advice to the film’s lead character, says “The only way to be a really good DJ is to do it all the time; the more experience you have, the easier that gets.”

Also for Cole’s benefit, James takes him to the club where he goes to try out his own new material, to get back to his roots and gain the approval of the old-school crowd that goes there; a club in Silverlake was dressed and utilized for the scenes.
For the guys’ regular Thursday night gig, Sigel turned a real Hollywood club into the fictional Social, designing the graphics and interiors to suggest the various themes that word implies. “Social is where they go to hang out and to meet girls. It’s where Cole cuts his teeth as a DJ, but it also hints at some of the electronic music world’s origins in the rebellious punk rock and disco scenes,” she conveys. “We looked at clubs like The Hacienda and Paradise Garage for inspiration.”
As was his mission throughout the shoot, Joseph strove to make the performance scenes as realistic a representation of the music culture as possible. Thus the company wrapped with their biggest and most ambitious sequence in the film by staging a full-blown EDM block party in a parking lot in Downtown Los Angeles, in conjunction with Pioneer, who supplied all of the DJ equipment for the movie. Within hours of announcing the event on the internet, over 12,000 people had registered to be a part of the filming in order to witness Zac Efron’s character take to the decks as a DJ.
Pawlak says, “We had a few big set pieces, with a lot of moving parts, like the Summer Fest we shot Downtown, so logistically that presented some difficulties but we had a great crew to pull it all together.”
In addition to Jason Stewart and Dillon Francis, the filmmakers invited DJs Dirty South and Nicky Romero to the Summer Fest set. Says Dirty South, “I was super excited to be part of all this.”
Another creative challenge for Pawlak was the director’s mandate that the film work visually for the culture it’s meant for. “Audiences these days are much more attune to composition, color, everything—they’re all on Instagram, making little movies on Vine, changing filters on their phones to make things black and white or sepia,” Pawlak says. “In order to speak to a generation, you have to speak their language. We were going back and forth about shooting the film in 2.35, making it more of a cinema-style, but it really felt like the compositions we were going for lent themselves to a slightly taller frame, a 1.85, that’s closer to a square, like Instagram or your phone. So we threw that into the mix and hopefully people will enjoy the nod to that aesthetic.”
Sigel, in conjunction with Joseph and Pawlak, integrated an overall palette that maintained a graphic quality of neutrals within the frame, with a pop of unexpected color, again nodding to the origins of EDM. In that same vein, costume designer Christie Wittenborn enjoyed the opportunity to incorporate several different artistic influences into the characters’ wardrobes.
“I had so many genres coming together—skate culture, Valley-meets-Hollywood, clubs, the after-hours arts/warehouse party scene, and all of the outdoor concert stuff. It was really stimulating,” Wittenborn says.
Her inspiration for Cole, she says, was “effortless. He’s not trying to impress anybody with the way he dresses. He likes certain things, such as his favorite DJ shoes, which were black-and-gray checkered Vans. But that’s a pair of shoes that he’s had forever. They’re his lucky shoes, they’re special and he won’t DJ without them.”
Ollie, an aspiring actor, was one of Wittenborn’s favorite characters to dress. “Out of all the guys, he cares the most about his appearance. He has this kind of James Dean or Marlon Brando persona; he’s channeling old Hollywood. He’s the kind of guy who would wear a leather jacket in the 110-degree weather because it’s part of his outfit and he wouldn’t dare compromise his look.”
For the remaining two young friends, the designer says, “Squirrel is the most colorful one in the group, the one who matches his hat to his shoes and his T-shirt has to be right; Mason is a guy who’ll just pick something up off the floor and put it on. However, he is a very aggressive, animal-like character, and even sports a vivid lion tattoo on his chest, so we incorporated some animal print motifs in his wardrobe to bring that quality out.”
Emily Ratajkowski’s character, Sophie, is a conflicted young woman and her costumes had to reflect the many worlds she was trying to fit into. “She had so many different looks, from graphic prints to soft, flowy fabrics to very casual, very grounded. She’s trying to fit into places she’s not sure she belongs to, she’s young but dating somebody older, so all of this you see in her wardrobe.”
Wittenborn’s inspiration for the outfit Sophie wears to an EDM festival in Vegas was “a throwback to the Mod, swinging `60s era, with an accessory that’s almost Native American. You see everything at these events and it was an opportunity to have some fun with that.”
“When audiences see this movie,” says producer Liza Chasin, “I hope that they’ll feel like they’re in the middle of a music festival with 20,000 people around, hearts pumping and fists flying and jumping in unison to a communal high with these great characters.”
“It was always very important to us that the music have an emotional quotient to go along with the fun tracks to suit the locations and storylines and so forth, and in this age of remixing, I think we really captured a moment,” Randall Poster adds.

Efron believes that “music is made to bring people together, and this movie speaks to our generation; this is our music, it comes from us. We can create it and maybe we can change the world in some small way, and that’s really exciting.”
“Music is tribal, it can transport you, both emotionally and physically,” director Joseph states. “Like listening to a favorite song, I hope this movie will take audiences to another place, an exciting place, a place of truth. Because, just like Cole and his friends, we all want to find our own truth, listen to our own voice, stand on our own two feet and face a future of our own making.”

ABOUT THE CAST

ZAC EFRON (Cole) has proven to be one of Hollywood’s most promising talents, nurturing an impressive body of work that encompasses both film and television. He has received a wide array of accolades throughout his career, including ShoWest’s Breakthrough Performer of the Year award, the MTV Movie Award for Breakthrough Performance in 2008 and Best Male Performance in 2009, in addition to multiple Teen Choice and Kids Choice Awards.
Efron most recently wrapped production on “Mike and Dave Need Wedding Dates.” The hilarious comedy focuses on a pair of fun-loving, hard-partying brothers, Mike, played by Adam Devine, and Dave, played by Efron, who have well-earned reputations as a two-man wrecking crew at family celebrations. When their dad insists they bring dates to their sister’s wedding in Hawaii, the boys use Craigslist to find what they think is the perfect duo—Alice, played by Anna Kendrick, and her best friend, Tatiana, played by Aubrey Plaza. Hoping for a wild getaway, Mike and Dave soon learn they’ve more than met their match in the uproarious battle of the sexes.

Prior to that, Efron worked alongside Robert De Niro in “Dirty Grandpa,” where he portrays an uptight groom who, just before his wedding, is tricked into driving his vulgar former Army general to Florida for spring break. The film is scheduled for a January 2016 release. Later this year, Efron will reprise his role as Teddy in “Neighbors 2: Sorority Rising.” The highly anticipated sequel is scheduled to be released in May 2016.
Last year, Efron starred opposite Seth Rogen in “Neighbors,” a comedy about a couple with a new baby who face unexpected challenges when they move in next to a fraternity house. The film received rave reviews and had one of the highest openings for an R-rated comedy ever. Prior to that, Efron was seen in the romantic comedy “That Awkward Moment,” alongside Miles Teller, Michael B. Jordan and Imogen Poots. The film follows three friends who tackle the complications of modern day relationships. Efron also served as a producer on the film under his Ninjas Runnin’ Wild banner.

His additional credits include the historical drama “Parkland”; Ramin Bahrani’s independent drama “At Any Price”; Lee Daniels’ “The Paperboy,” alongside Nicole Kidman, John Cusack and Matthew McConaughey; “Liberal Arts,” an independent film written and directed by Josh Radnor; “The Lucky One,” a film adaption of the Nicholas Sparks novel; the animated film

Dr. Seuss’ “The Lorax”; Garry Marshall’s “New Year’s Eve,” alongside Michelle Pfeiffer, Robert De Niro, Halle Berry, Jessica Biel and Hilary Swank; “Charlie St. Cloud”; “17 Again,” opposite Matthew Perry and Leslie Mann; the Richard Linklater film “Me and Orson Welles”; and the box office smash summer film “Hairspray,” which won the Critics Choice award for Best Ensemble. His television credits include a recurring role on the WB series “Summerland” and guest starring roles on “The Suite Life of Zack and Cody,” “ER,” “The Guardian” and “CSI Miami.”
Efron became a household name with the launch of the 2006 Emmy Award-winning Disney Channel phenomenon “High School Musical.” He reprised his role as Troy Bolton, head of the basketball team, in “High School Musical 2,” which broke cable TV records, garnering 17.5 million viewers. Efron also starred in the feature film “High School Musical 3: Senior Year,” the third installment of the extremely successful franchise, which set a box office record as the highest grossing opening weekend total for a musical.
On stage, Efron starred in such productions as “Gypsy,” “Peter Pan,” “Mame,” “Little Shop of Horrors” and “The Music Man.”
In addition to acting, he established his own production company, Ninjas Runnin’ Wild, with partner Jason Barrett in 2010. Ninjas Runnin’ Wild has a first look deal with Warner Bros. and currently has several projects in development. “That Awkward Moment” marked their debut feature film.
A native of Northern California, Efron currently resides in Los Angeles.

EMILY RATAJKOWSKI (Sophie) is a model/actress quickly establishing herself as one of the most talked-about faces in fashion and film. Last year, she was seen in her first major movie role, playing Andie in “Gone Girl,” the David Fincher-directed adaptation of Gillian Flynn’s bestselling mystery novel. It was released nationwide on October 3, 2014, to critical, award and box office acclaim. Earlier this summer, she appeared as herself in the feature film “Entourage,” Doug Ellin’s big screen version of the hit HBO television series.
In February, Ratajkowski was revealed as one of the prestigious 2015 Sports Illustrated Swimsuit Issue models, coming off her 2014 rookie year for their 50th anniversary issue. She was the face of Revolve Clothing’s Spring 2014 fashion campaign and is currently the face of upscale Italian lingerie line, Yamamay.

Ratajkowski is also establishing herself as one of the fashion elite’s favorite cover girls. She has graced recent covers of GQ, shot by Michael Thompson, Cosmopolitan, shot by Eric Ray Davidson, and Carine Roitfeld’s CR Fashion Book, shot by Bruce Weber. She works frequently with other top photographers, including Ellen von Unwerth, David Sims, Mario Testino, and Mert & Marcus.
Ratajkowski shot to international fame in the summer of 2013 as the bombshell beauty at the center of Robin Thicke, Tip “T.I.” Harris and Pharrell Williams’ “Blurred Lines” music video, which garnered nearly 174 million views on YouTube.
Since being signed by FORD Models at age 14, Ratajkowski has worked continuously for clients such as Forever 21 and Nordstrom, and various swim and lingerie clients. She became recognized as a fashion model after shooting several campaigns and editorials with photographer Tony Duran. She has appeared in dozens of national and international magazines.
She was born in London and raised in Encinitas, California. Her parents are both artists; her father a painter and her mother an English professor and writer. Their careers lead Ratajkowski to live and travel throughout Europe at a young age, spending much of her time in Ireland and Spain.
JONNY WESTON (Mason) is a native of South Carolina who began his career in New York booking a featured role in the indie film “Someday This Pain Will Be Useful to You,” with Marcia Gay Harden. From there, he moved to Los Angeles, where he landed a series of independent features, including “Sugar,” “John Dies At the End,” which premiered in 2012 at Sundance, “Under the Bed,” and the IFC film “About Cherry,” with James Franco. His first leading role found him playing surfing legend Jay Moriarity opposite Gerard Butler in “Chasing Mavericks.”
Weston has quickly become one of Hollywood’s most sought-after leading men as he received rave reviews for his work in indie feature “Kelly & Cal,” opposite Juliette Lewis, which premiered at SXSW in 2014. He was recently seen in January of 2015 as the lead in the feature “Project Almanac,” produced by Michael Bay, and was also featured in “Taken 3,” opposite Liam Neeson and Maggie Grace. In March 2015, Weston joined Shailene Woodley, Theo James, Naomi Watts and Kate Winslet in “Insurgent,” the hit sequel to last year’s “Divergent.” He is currently in production on part three in the series, “Allegiant: Part 1,” and will next be seen on screen in the sci-fi actioner “Beyond Skyline.”

When not working, the actor enjoys surfing, off-roading, playing soccer, skateboarding and traveling.
SHILOH FERNANDEZ (Ollie) grew up in the small Northern California town of Ukiah. He moved to Los Angeles to pursue acting and continues to be one of Hollywood’s rising stars.
Fernandez co-wrote the independent drama/thriller “Queen of Carthage,” which stars Keisha Castle-Hughes, about an American drifter, played by Fernandez, who discovers a New Zealand singer and becomes obsessed with him. He also shot the independent thriller “Return to Sender,” with Rosamund Pike and Nick Nolte, about a nurse, played by Pike, living in a small town, who goes on a blind date with a man, played by Fernandez, who is not the person he says he is.
In 2013, he was seen in Zal Batmanglij’s “The East,” opposite Brit Marling and Alexander Skarsgård; “Evil Dead,” opposite Jane Levy; and “Syrup,” alongside Amber Heard. He also starred in “Deep Powder,” which premiered at the 2013 Tribeca Film Festival. His additional film credits include Catherine Hardwicke’s “Red Riding Hood,” also starring Amanda Seyfried and Gary Oldman; “Skateland,” for writer/director Anthony Burns, opposite Ashley Greene, which premiered in dramatic competition at the 2010 Sundance Film Festival and at the 2010 SXSW Film Festival; “Cadillac Records,” opposite Adrien Brody, Beyoncé Knowles and Jeffrey Wright; “Gardens of the Night,” alongside John Malkovich, Jeremy Sisto and Harold Perrineau; and, opposite Shailene Woodley, in “White Bird in a Blizzard.”
On the television side, Fernandez had a recurring role on the hit CBS one hour drama “Jericho.” His additional television work includes “The United States of Tara,” for Showtime, starring Toni Collette and produced by Steven Spielberg and Diablo Cody, as well as the popular CW series “Gossip Girl.” He also starred in the television movie “Crossroads: A Story of Forgiveness.”
Fernandez currently resides in Los Angeles.

ALEX SHAFFER (Squirrel) has already begun to make what will surely be an indelible mark on Hollywood with a continuous slew of diverse film roles, each of which he personalizes with a genuineness and honesty rare for a young talent.

Born and raised in New Jersey’s Hunterdon County, Shaffer was a two-time regional high school wrestling champion, with his only acting credit being a small part in a school performance of “The Pirates of Penzance” prior to making his feature film debut. It was his wrestling prowess that helped to win him a role in Tom McCarthy’s comedy “Win Win,” opposite Paul Giamatti, Amy Ryan and Bobby Cannavale. The film was featured at both the Sundance and SXSW film festivals in 2011, with Shaffer garnering critical acclaim for his breakout role.
Shaffer also starred in “The Lifeguard,” opposite Kristen Bell, Mamie Gummer, Martin Starr, Amy Madigan and David Lambert. The film centers on a former valedictorian, played by Bell, who quits her reporter job in New York and returns to her childhood home in Connecticut, where she finds work as a lifeguard. The film premiered in January at the 2013 Sundance Film Festival. His additional credits include the feature drama “Runoff,” and the upcoming thriller “Recovery.” He recently wrapped the feature “Youth in Oregon,” opposite Billy Crudup, Frank Langella and Christina Applegate.
The actor currently resides in Los Angeles.

WES BENTLEY (James) first gained recognition for his role in the Oscar-winning film “American Beauty,” in which he played Ricky Fitts, the soulful, artistic next door neighbor of Angela, played by Mena Suvari. He also portrayed game maker Seneca Crane in “The Hunger Games,” and co-starred in “Lovelace” as photographer Thomas.
Born in Jonesboro, Arkansas, Bentley participated in drama club and cultivated a specific interest in improvisational comedy while attending Sylvan Hills High School in Sherwood, Arkansas, where he founded an improv troupe with his brother Patrick Bentley and friends Damien Bunting and Josh Cowdery. At his mother’s urging, Bentley attended Juilliard School in New York after high school graduation, but only for a short period of time. Soon afterward, Bentley made his onscreen debut in Jonathan Demme’s “Beloved.”

Bentley’s recent films include Christopher Nolan’s science fiction film “Interstellar,“ and several independent features, including Terrence Malick’s “Knight of Cups,” with Cate Blanchett and Christian Bale; “Welcome To Me,” opposite Kristen Wiig and Will Ferrell; and “Amnesiac,” with Kate Bosworth, which premiered at the 2014 Sundance Film Festival. His earlier film credits include “The Four Feathers,” “P2,” “Ghost Rider,” “Dolan’s Cadillac,” and “There Be Dragons,” from director Roland Joffé.

In 2010, Bentley made his professional stage debut with Nina Arianda in David Ives’ award-winning play “Venus in Fur.”
Bentley makes his home in Los Angeles with his son Charles and wife Jacqui Swedberg.

ABOUT THE FILMMAKERS

MAX JOSEPH (Director/Screenwriter) makes his feature film directorial debut with “We Are Your Friends.” Joseph is a filmmaker who grew up New York, lives in Los Angeles, and shoots all over the world. Through some weird twist of fate, he became the on-screen cameraman, co-host and co-producer of the popular MTV series “Catfish,” which just finished airing its fourth season.

He has written, directed or produced over 64 short films, including commercials and web videos which have screened at such festivals as Sundance, Telluride, and SXSW.
Joseph has directed and edited award-winning commercials for such brands as Nike, Pepsi, Starbucks, TOMS and Toyota Prius. His PSA “Follow the Frog” was awarded a Cannes Film Lion at the Annual Cannes International Festival of Creativity. His work has been featured on YouTube, FunnyOrDie, and DailyMotion, and has accumulated more than 30 million views thus far.

MEAGHAN GALLAGHER (Screenwriter) most recently wrote on “Fear the Walking Dead,” for AMC. Next up, she will be writing a feature film for Temple Hill Entertainment and Fox 2000. Additionally, her script “The Remains” made the 2013 Blacklist.

RICHARD SILVERMAN (Story/Executive Producer) has over 35 years of combined experience in the entertainment, hospitality and specialty retail industries.
A native of Baltimore who grew up in New York, Silverman graduated from NYU in 1985, receiving his Bachelor’s Degree in Philosophy. Shortly thereafter, he began his career in the entertainment industry, where he provided artist management, music and video production, concert promotion, music publishing, and tour management services to a variety of well-known international entertainment artists and clients. He helped develop a record label, Acme Records, and film production company, Generation Films, in conjunction with Disney, and then co-founded a software firm called GEO-Emblaze that served entertainment multimedia companies such as Disney, Saban Entertainment (“Power Rangers”), and Simon & Schuster (educational software). Silverman has worked with such artists as George Michael, Prince, Dr. Dre, LMFAO, Martin Lawrence and Chris Rock, and also represented premier songwriters such as Diane Warren, over the course of his entertainment career.
In 1997, Silverman created one of the first specialty retail environments focused exclusively on the video game industry for Viacom’s Blockbuster Entertainment division. His “store-within-a-store” concept, branded GameScape, increased video game and related merchandise sales by over seven times, and was reported to be the most successful beta test in Blockbuster’s history. This concept was adopted by a number of other specialty retailers, including GameStop and Wherehouse Entertainment.

In 2001, Silverman started working in the hospitality industry, and was engaged to direct the repositioning and sale of the Aladdin Hotel and Casino in Las Vegas. Silverman was responsible for several entertainment and food and beverage concepts, and for marketing the property to a number of buyers, including the group that ultimately acquired the property and developed the Planet Hollywood concept that exists there today. After the sale, he continued to develop plans and concepts for Planet Hollywood, as well as The Las Vegas Hilton, the Desert Passage Mall and The Fairmont Hotel New Orleans. Among these ideas were nightclub and pool “day club” concepts, which were never executed previously in the Las Vegas market. He formed partnerships with a number of organizations, with the intent of bringing the Miami- and Ibiza-style nightlife to Las Vegas.

In 2007, Silverman became a key member of the restructuring and turnaround advisory team at the Grand Sierra Resort in Reno, Nevada. After overseeing the successful transfer of ownership, Silverman assumed operational control of the property, where he served in the capacity of President, CEO, and Chief Operating Manager, and was responsible for complete oversight of all functional area heads for over three years at the property. He developed and led various performance improvement and revenue enhancement initiatives at the property, oversaw its major renovation projects, and personally created new outlets and special events for the property.
Silverman has provided advisory services to the Yucaipa Companies, a premier Los Angeles-based investment firm that has completed over $30 billion in mergers and acquisitions.

Silverman has served on the board of directors for The Shriners Organization’s PGA charitable event in Las Vegas, as well as the board of St. Jude Children’s Hospital Organization.

TIM BEVAN (Producer) is Co-Chairman and Co-Founder of Working Title Films, one of the world’s leading producing companies, which he formed in 1984 and then partnered with the company’s co-chairman, Eric Fellner, in 1992. Working Title has made over 100 films that together have grossed over $6 billion worldwide. Their films have won 11 Academy Awards—for James Marsh’s “The Theory of Everything,” Tom Hooper’s “Les Misérables,” Joe Wright’s “Anna Karenina” and “Atonement,” Tim Robbins’ “Dead Man Walking,” Joel and Ethan Coen’s “Fargo,” and Shekhar Kapur’s “Elizabeth” and “Elizabeth: The Golden Age”—37 BAFTA Awards and prestigious prizes at the Cannes and Berlin International Film Festivals.

In 2013, Bevan and Fellner were awarded the Producers Guild of America’s David O. Selznick Achievement Award in Theatrical Motion Pictures, the PGA’s highest honor for motion picture producers. They have been accorded two of the highest film awards given to British filmmakers: the Michael Balcon Award for Outstanding British Contribution to Cinema at the Orange British Academy Film [BAFTA] Awards and the Alexander Walker Film Award at the Evening Standard British Film Awards. They have also both been honored with the CBE, Commander of the British Empire.
The company’s commercial and critical hits include “The Interpreter,” “About a Boy,” “Notting Hill,” “Elizabeth,” “Fargo,” “Dead Man Walking,” “Bean,” “High Fidelity,” “Johnny English,” “Billy Elliot,” “Four Weddings and a Funeral,” “Bridget Jones’s Diary,” “Bridget Jones: The Edge of Reason,” “O Brother, Where Art Thou?,” “Love Actually,” “Shaun of the Dead,” “Pride & Prejudice,” “Nanny McPhee,” “United 93,” “Mr. Bean’s Holiday,” “Hot Fuzz,” “Elizabeth: The Golden Age,” “Burn After Reading,” “Frost/Nixon,” “Atonement,” “Senna,” “Tinker Tailor Soldier Spy,” “Contraband,” “Anna Karenina,” “Les Misérables,” “I Give It A Year” and, most recently, “About Time,” “Rush,” “The Two Faces of January,” “Trash,” and “The Theory of Everything.”

Working Title’s upcoming release slate includes Baltasar Kormákur’s “Everest,” starring Jason Clarke, Jake Gyllenhaal and Josh Brolin; Brian Helgeland’s “Legend,” starring Tom Hardy and Emily Browning; Stephen Frears’ “Untitled Cycling Project”; “Hail Caesar!” their eighth film with Joel and Ethan Coen, starring George Clooney, Josh Brolin and Channing Tatum; Tom Hooper’s “The

Danish Girl,” starring Eddie Redmayne and Alicia Vikander; and Louis Leterrier’s “Grimsby,” starring Sacha Baron Cohen, Rebel Wilson, Isla Fisher and Mark Strong.

ERIC FELLNER (Producer) is the Co-Chairman of Working Title Films with partner Tim Bevan. Together they have made more than 100 films that together have grossed over $6 billion worldwide. Their films have won 11 Academy Awards, including Tom Hooper’s “Les Misérables,” Joe Wright’s “Anna Karenina” and “Atonement,” Tim Robbins’ “Dead Man Walking,” Joel and Ethan Coen’s “Fargo,” and Shekhar Kapur’s “Elizabeth” and “Elizabeth: The Golden Age,” and 37 BAFTA Awards and numerous prestigious prizes at the Cannes and Berlin International Film Festivals.
Fellner and Bevan have been honored with the Producers Guild of America’s David O. Selznick Achievement Award in Theatrical Motion Pictures, the PGA’s highest honor for motion picture producers. Fellner has been accorded two of the highest film awards given to British filmmakers: the Michael Balcon Award for Outstanding British Contribution to Cinema, at the Orange British Academy Film [BAFTA] Awards, and the Alexander Walker Film Award at the Evening Standard British Film Awards. They have also both been honored with the CBE, Commander of the Order of the British Empire.
The company’s commercial and critical hits include “The Interpreter,” “About a Boy,” “Notting Hill,” “Elizabeth,” “Fargo,” “Dead Man Walking,” “Bean,” “High Fidelity,” “Johnny English,” “Billy Elliot,” “Four Weddings and a Funeral,” “Bridget Jones’s Diary,” “Bridget Jones: The Edge of Reason,” “O Brother, Where Art Thou?,” “Love Actually,” “Shaun of the Dead,” “Pride & Prejudice,” “Nanny McPhee,” “United 93,” “Mr. Bean’s Holiday,” “Hot Fuzz,” “Elizabeth: The Golden Age,” “Burn After Reading,” “Frost/Nixon,” “Atonement,” “Senna,” “Tinker Tailor Soldier Spy,” “Contraband,” “Anna Karenina,” “Les Misérables,” “I Give It A Year,” “About Time,” “Rush,” “The Two Faces of January,” “Trash,” and “The Theory of Everything,” for which Eddie Redmayne recently won the Academy Award and the BAFTA Award for Best Actor, and which won the BAFTA’s Alexander Korda Award for Best British Film.
Working Title’s upcoming release slate includes Baltasar Kormákur’s “Everest,” starring Jake Gyllenhaal and Josh Brolin, due in theaters this fall.

LIZA CHASIN (Producer) serves as president of US Production at Working Title Films. A graduate of Tisch School of the Arts at NYU, Chasin began her career in the entertainment industry serving in various capacities at a number of New York-based production companies.
Chasin first joined Working Title in 1991 as director of development and was elevated to the role of vice president of production and development, becoming the head of the Los Angeles office and overseeing the company’s creative affairs in the United States in 1996.
Most recently, Chasin executive produced “The Theory of Everything,” starring Eddie Redmayne and Felicity Jones, inspired by Jane Hawking’s memoir Travelling to Infinity: My Life With Stephen Hawking. The film garnered Redmayne the Academy Award and the BAFTA Award for Best Actor, and won the BAFTA’s Alexander Korda Award for Best British Film.
She is currently in post-production on Joel and Ethan Coen’s “Hail, Caesar!,” starring George Clooney, Channing Tatum and Josh Brolin, and Tom Hooper’s “The Danish Girl,” starring Eddie Redmayne and Alicia Vikander. Working Title’s upcoming releases include “The Program,” Stephen Frears’ film about Lance Armstrong, starring Ben Foster; “Legend,” written and directed by Brian Helgeland and starring Tom Hardy; and “Everest,” based on the extraordinary true story of the 1996 disaster on the summit, directed by Baltasar Kormákur and starring Josh Brolin, Jason Clarke, Jake Gyllenhaal and John Hawkes. All three films are set for release this fall.
Among Chasin’s most recently released projects as executive producer is “Trash,” a film written by Richard Curtis and directed by Stephen Daldry, which is based on Andy Mulligan’s novella. Among the notable projects she has also executive produced are Richard Curtis’s “About Time,” starring Rachel McAdams, Domhnall Gleeson and Bill Nighy; Edgar Wright and Simon Pegg’s “The World’s End“; Tom Hooper’s “Les Misérables,” starring Hugh Jackman, Anne Hathaway and Russell Crowe; Joe Wright’s Academy Award-winning “Atonement, ” and “Anna Karenina,” featuring Keira Knightley and Jude Law; Asif Kapadia’s documentary “Senna”; Baltasar Kormákur’s “Contraband”; Tomas Alfredson’s critically praised “Tinker Tailor Soldier Spy”; Oliver Parker’s commercial success “Johnny English: Reborn”; Greg Mottola’s “Paul”; Paul Greengrass’s “Green Zone”; Kevin MacDonald’s “State of Play”; and Adam Brooks’ “Definitely, Maybe.”
Throughout her illustrious career, Chasin has been involved in the development and production of acclaimed films from many prolific filmmakers. Among her credits are Tim Robbins’ Academy Award-winning “Dead Man Walking,” Joel and Ethan Coen’s “O Brother, Where Art Thou?” and “Fargo,” and Roger Michell’s smash hit “Notting Hill.”

She also co-produced Sharon Maguire’s “Bridget Jones’s Diary,” Stephen Frears’ “High Fidelity,” Shekhar Kapur’s Academy Award-winning “Elizabeth,” Richard Curtis’s classic “Love Actually” and Paul and Chris Weitz’s “About a Boy.”
Chasin currently resides in Los Angeles with her husband and two daughters.

OLIVIER COURSON (Executive Producer) has built Studiocanal into a major European studio, among the leaders of feature film production, acquisition and distribution, and a leading international television studio with the acquisition of Tandem Communications and Red Production Company and the creation of SAM.
Among the many Studiocanal film productions Courson has developed: “Tinker Tailor Soldier Spy,” adapted from John Le Carré, produced by Working Title, directed by Tomas Alfredson and starring Gary Oldman, Colin Firth and Tom Hardy; the Coen brothers’ “Inside Llewyn Davis,” with Oscar Isaac, Justin Timberlake, Carey Mulligan and John Goodman, produced by Scott Rudin and awarded the Jury’s Grand Prize at the 2013 Cannes Film Festival; “Non-Stop,” directed by Jaume Collet-Serra, with Liam Neeson, Julianne Moore and Michelle Dockery; “The Gunman,” produced by Silver Pictures, directed by Pierre Morel with Sean Penn, Javier Bardem and Idris Elba; “Paddington,” produced by “Harry Potter” producer David Heyman, and starring Nicole Kidman and Hugh Bonneville; “Shaun the Sheep,” the famous sheep and his flock first seen in the Oscar-winning short film “A Close Shave,” produced by Aardman, the creators of “Chicken Run” and “Wallace & Gromit”; and the upcoming theatrical release Shakespeare’s “MacBeth,” starring Academy Award nominee Michael Fassbender and Academy Award winner Marion Cotillard.

RON HALPERN (Executive Producer) has been in charge of international productions and acquisitions for Studiocanal since 2007, overseeing its growth in international production and strongly contributing to the studio becoming a European major.
His past productions include BATFA-winning and Academy Award-nominated “Tinker Tailor Soldier Spy,” Joel and Ethan Coen’s “Inside Llewyn Davis,” awarded the Jury’s Grand Prize at the 2013 Cannes Film Festival, and world box office topper action thriller “Non-Stop,” to name a few.
Studiocanal’s recent releases include “The Gunman,” produced by Joel Silver, directed by Pierre Morel with Sean Penn, Javier Bardem and Idris Elba; “Paddington,” produced by “Harry Potter” producer David Heyman, based on the adventures of the most famous bear in the world, and starring Nicole Kidman and Hugh Bonneville; and also “Shaun the Sheep,” in partnership with Aardman Animations, bringing one of their most popular characters to the big screen.
Upcoming, they will release “Legend,” starring Tom Hardy as both of the notorious Kray brothers, and “MacBeth,” starring Michael Fassbender and Marion Cotillard. Prior acquisitions have included “The Place Beyond the Pines,” “Silver Linings Playbook,” “Moonrise Kingdom” and “The Imitation Game.”
Halpern also oversees the theatrical adaptations and productions of Studiocanal, notably “The Producers,” from Mel Brooks, “The Graduate” and “The Ladykillers.”
Before joining Studiocanal, Halpern worked for CBS SPORTS at three Winter Olympic Games. He holds a BA and an MBA from Columbia University.
NATHAN KELLY (Executive Producer) found his footing while assisting producers Scott Rudin and Georgia Kacandes. Since, he has line produced films for a number of remarkable producers and directors, which include: “Save The Date,” Joss Whedon’s “Much Ado About Nothing,” Destin Daniel Cretton’s “Short Term 12” and William H. Macy’s “Rudderless,” and served as unit production manager on Max Joseph’s “We Are Your Friends.”
Recently, Kelly completed work on Kelly Reichardt’s untitled film in Montana, and is in production on Elijah Bynum’s “Hot Summer Nights.”
BRETT PAWLAK (Director of Photography) came to “We Are Your Friends” after shooting the 2013 South by Southwest Grand Jury Prize-winner “Short Term 12,” directed by Destin Daniel Cretton. He also lensed “Hellion,” starring Aaron Paul and Juliette Lewis, which premiered at the 2014 Sundance Film Festival.
MAYA SIGEL (Production Designer) boasts a resume with over ten years of experience in feature films, commercials, music video and web content. She holds a B.A. from Brandeis University, and is a graduate of the MFA program in Production Design at the American Film Institute. Her feature film credits include Tribeca Film Festival favorites “TiMER,” “Beware the Gonzo” and, most recently, “Glass Chin,” starring Billy Crudup and Corey Stoll.
In 2011, “Gun Hill Road,” which she designed, was an official selection of the Sundance Film Festival prior to its theatrical release nationwide. Also in 2011, Sigel designed five commercials for a Google campaign that won the Gold Prize at the Cannes Lion International Festival.

Her recent feature credits include “Some Girl(s),” starring Adam Brody, Kristen Bell, Emily Watson and Zoe Kazan, and the upcoming “Shangri-La Suite,” a Blacklist script starring Ron Livingston, Luke Grimes and Emily Browning. She is currently wrapping production on the film “So B. It,” directed by Stephen Gyllenhaal and based on the novel by Sarah Weeks.
TEREL GIBSON (Editor) graduated from Emory University in 1997 and moved to New York, where he immediately set his sights on a career in film editing. He received his education working with some of the legends of the profession, collaborating on films such as “Little Miss Sunshine,” “The Cider House Rules” and “The Fighter,” among many others. As a lead editor, his credits include “The Kings of Summer,” “D-Train” and “Phantom,” among others.
DAVID DILIBERTO (Editor) is best known for his long association with Joel and Ethan Coen. He oversaw post-production on nine consecutive films with the Coens, including “Fargo,” “The Big Lebowski” and “O’ Brother, Where Art Thou?,” and served as associate producer on three films, including the Academy Award Best Picture winner “No Country For Old Men.”

Most recently, Diliberto completed work with Davis Guggenheim on his upcoming feature “He Named Me Malala.” His other works include films with directors Sidney Lumet, Lasse Hallström and Errol Morris, as well as legendary film editor Sam O’Steen.

“We Are Your Friends” marks Diliberto’s seventh collaboration with Working Title’s Eric Fellner and his 19th collaboration with Oscar-winning sound mixer Skip Lievsay.

CHRISTIE WITTENBORN (Costume Designer) has a love for film and costume design that started at a very early age, after she saw Cecil B. DeMille’s “The Greatest Show on Earth.” This sparked the quest to be a part of telling a story cinematically.

She studied Costume Design in college and worked at various art house theaters in her hometown of San Diego before moving to Los Angeles.

Wittenborn has designed for film, television and commercials, most recently for the film “Woodshock,” starring Kirsten Dunst and directed by Kate and Laura Mulleavey.

Her feature work includes “Dirty Grandpa,” starring Robert De Niro and Zac Efron and directed by Dan Mazer; “30 Minutes or Less,” starring Jesse Eisenberg, Danny McBride and directed by Ruben Fleischer; “The Future,” starring and directed by Miranda July; “The Details,” starring Toby Maguire and directed by Jacob Aaron Estes; and “Burning Palms,” starring Rosamund Pike and directed by Christopher Landon.

Her television works includes three seasons of “House of Lies” for Showtime, starring Don Cheadle.

She currently resides in Santa Monica, California.

STUDIOCANAL AND WARNER BROS. PICTURES Present A WORKING TITLE Production

CAST

Cole            ZAC EFRON

James            WES BENTLEY

Sophie            EMILY RATAJKOWSKI

Mason            JONNY WESTON

Ollie            SHILOH FERNANDEZ

Squirrel            ALEX SHAFFER

Paige            JON BERNTHAL

Mrs. Romero            ALICIA COPPOLA

Carl            WILEY PICKETT

Nicky            JON ABRAHAMS

Francine            MOLLY HAGAN

Sara            BRITTANY FURLAN

Mel            VANESSA LENGIES

Clarissa            REBECCA FORSYTHE

Joey            JOEY RUDMAN

Rebecca            KELSEY FORMOST

Mindy            SCARLETT BENCHLEY

Heather            DEVON BARNES

Valley Hater            ROB SILVERMAN

Preppy Guy #1            TIMOTHY GRANADEROS

Preppy Guy #2            RALEIGH ADAMS

Rabbi            KERRY STEIN

Rich Girl            AYDEN MAYERI

Art Party DJs            POSSO

King Bach            ANDREW BACHELOR

DJ Devin Andrews            DILLON FRANCIS

Bartender            CASEY JAMES

Dancer #1            DESI JEVON

Dancer #2            RAGON MILLER

Stunt Coordinators            MICHAEL GAINES

SIMON POTTER

Cole Stunt Double            CHRIS GRABHER

James Stunt Double            BRADY ROMBERG

Mason Stunt Double            JAMES PEYTON

Ollie Stunt Doubles            MATT RAMIREZ

Valley Hater Stunt Double            PAUL LACOVARA

Preppy Guy Stunt Double            WYATT CARNEL

FILMMAKERS

Directed by

MAX JOSEPH

Screenplay By

MAX JOSEPH & MEAGHAN OPPENHEIMER

Story By

RICHARD SILVERMAN
Produced by

TIM BEVAN

ERIC FELLNER

LIZA CHASIN

Executive Producer

RICHARD SILVERMAN

Executive Producers

OLIVIER COURSON
RON HALPERN
NATHAN KELLY

Casting by

COURTNEY BRIGHT and NICOLE DANIELS

Director of Photography

BRETT PAWLAK

Editors

TEREL GIBSON

DAVID DILIBERTO

Production Designer

MAYA SIGEL

Costume Designer

CHRISTIE WITTENBORN

Co-Producer

JOHANNA BYER

Music Supervisor

RANDALL POSTER

 

Unit Production Manager

NATHAN KELLY

First Assistant Director

ANTONIO GRAÑA

Second Assistant Director

LILLIAN AWA

Associate Producer

DAVID DILIBERTO

Re-Recording Mixers

SKIP LIEVSAY

AARON GLASCOCK

Visual Effects Editor

NEIL A. STELZNER

Original Score by

SEGAL

Cole’s music by

PYRAMID

Pool Party Set and DJ Technical Advising by

THEM JEANS

Additional DJ mixes by

SEGAL

For WORKING TITLE FILMS

Executive In Charge of Production            MICHELLE WRIGHT

Head of Business & Legal Affairs            SHEERAZ SHAH

Production Executive            SARAH-JANE ROBINSON

Financial Controller            TIM EASTHILL

Production Supervisor            JACK SIDEY

Legal Advisor, Business & Legal Affairs       BEATRICE GIBSON

Assistant to Tim Bevan            VICTORIA ENDACOTT

Assistant to Eric Fellner            GEORGIA POWNALL

Assistant to Liza Chasin            WILLIAM MURPHY

For STUDIOCANAL

Head of Physical Production            SANDRINE LEGRAND

Head of Business & Legal Affairs            VANESSA SAUNOI

VP International Marketing            EMILIE MARTEL

SVP International Production and Development            SHANA EDDY-GROUF

Art Director            SHANNON KEMP

Script Supervisor            LIZ TRAINOR

A Camera Operator            CHRIS ARATA

A Camera 1^st Assistant            NITO SERNA

A Camera 2^nd Assistant            JASON ALEGRE

B Camera Operator            KYLE KLUTZ

B Camera / Steadicam Operator            CHRIS IVINS

B Camera 1^st Assistant            ZACH GRABER

B Camera 1^st Assistant            MARCOS LOPEZ

B Camera 2^nd Assistant            OTIS SHERMAN

DIT            MATT KIRSCHNER

Techno-Crane Technicians            COREY CHECKETTS

JOHN CAMBRIA

Still Photographers            ANNE MARIE FOX

TONY RIVETTI, JR.

Production Sound Mixer            ROBERT EBER, C.A.S.

Boom Operator            SCOTT EDELSON

Utility Sound            ROCKY QUIROZ

Utility Sound / Music Playback            CHET LEONARD

Set Decorator            SIOBHAN O’BRIEN

Leadman            ROBERT FURE

On Set Dresser            KRISTINA KASMIN

Set Dressers            SHAWN SMITHSON

LEVI SMITH

Costume Supervisor            CHRISTINA MCALINDEN

Key Costumers            KIM SHEK

CASSANDRA PARIGIAN

Costumers            ALEJANDRO HERNANDEZ

LILY ACEVEDO

Make-Up Department Head            AURORA BERGERE

Make-Up Artist            AKIKO MATSUMOTO

HARUYO SAWADA

Hair Department Head            AUDREY L. ANZURES

Hair Stylist            NICOLE KIER

Chief Lighting Technician            TREVOR CRIST

Assistant Chief Lighting Technician            RAMIN SHAKIBAEI

Set Lighting Technicians            MATTHEW GARBER

SPENCER SCRANTON

RAYMOND BEERSINGH

Key Grip            STEVEN ALBOVIAS

Best Boy Grip            DILIP ISAAC

Grips            LUIGI CORTEZ

RINGO ENCISCO-BETANCOURT

EDDIE BARRAZA

JASON WEBSTER

Property Master            JEFF O’BRIEN

Assistant Property Masters            ADAM OLSZEWSKI

ATTILA KISS

Additional Assistant Property Master            STEVE WHITESIDE

Location Master            JARED KURT

Key Assistant Location Managers            PAUL PEDEVILLA

JORDAN SCHMIDT

DON MANN

Assistant Location Managers            GEORGE TASCH

JACK DENNY

Production Coordinator            RYCE HETHERINGTON

Assistant Production Coordinators            ALLISON FITZER

ELISABETH MILLER

Production Secretaries            LAUREN ROYAL MCDONALD

AMBER BAILEY

Second Second Assistant Director            JASON SUHRKE

Additional Second Second Director            KELLY STEVENS

Production Accountant            SUSAN ROYAL MCDONALD

Extras Payroll Clerk            JOHANNA FACTOR

Post Production Accountants            JENNIFER FREED

MALISSA HALLENBECK

TREVANNA POST, INC.

Art Department Coordinator            ROSE YOUMANS

SARA GHAFFAR

Supervising Sound Editor and

Sound Designer            AARON GLASCOCK

Additional Re-Recording Mixer            JOEL DOUGHERTY

Music Editors            DARRELL HALL

RON WEBB

Additional Music Editor            JOSH WINGET

Supervising Dialogue ADR Editor            CHRISTOPHER S. AUD

Sound Effects Editor            LAURENT KOSSAYAN

Foley Editor            EZRA DWECK

Foley Mixer            JOHN SANACORE, CAS

Foley Artists            HILDA HODGES

CHRISTOPHER MORIANA

Mix Technician            RYAN MURPHY

Re-Recorded at            WARNER BROS SOUND STUDIOS

Assistant Editor            KATE PRESCOTT

Post Production Assistant            JAMES DAYTON

Visual Effects by            STUDIO LOL

Visual Effects Artists            JULIAN PETSCHEK

SEAN BUCKELEW

JOSH SHAFFNER

Visual Effects by            PIXEL MAGIC

Visual Effects Supervisor            RAYMOND MCINTYRE, JR.

Visual Effects Producer            RAY SCALICE

VFX Production Supervisor            VICTOR DIMICHINA

3D Artist            JORDAN ALPHONSO

Roto/Compositing Artists            PATRICK TRAHAN

DAN BRINEY

RICHARD LANDRY

Matchmover            JACOB KEBODEAUX

Graphics and Additional VFX by            NEIL A. STELZNER

Additional Compositing by            ALLAN DUSO

Pre-visual effects by            ADAM DOWBNAI

Additional VFX            GENTLEMAN SCHOLAR

VFX Executive Producer            LINDSAY BODANZA

VFX Producer            TYLER LOCKE

Designers            JORDAN LYLE

JANICE AHN

CG Supervisor            TIM HAYWARD

Animator            RYAN KAPLAN

CG Generalists            DAMON SNYDER

Compositors            SCOTT CRAWFORD

RYAN KAPLAN

Archival Producer            SAMANTHA POLAN

Digital Intermediate by            LIGHT IRON

Colorist            IAN VERTOVEC

DI Producer            KATIE YORK

Executive DI Producer            KATIE FELLION

DI Editors            MATT BLACKSHEAR

MANNY DUBON

DI Assists            DEVON MEADOWS

KEENAN MOCK

PAUL REHDER

HOMER REYES

PAUL SAGE

DI Management            MICHAEL CIONI

PETER CIONI

CHRIS PERISO

MARC VANOCUR

Engineering            RYAN MCKEAGUE

End Crawl by            DEVON MEADOWS

Mobile Dailies provided by            OUTPOST

Outpost Engineer            ETHAN SCHWARTZ

Outpost Supervisor            AARON KROGER

Unit Publicist            MICHAEL KLASTORIN

Assistant to Mr. Joseph            DANIELLE GILLCRIST

Assistant to Mr. Efron            ALLISON BELANGER

Mr. Efron Security            ERIC SORENSEN

BLACK BOX SECURITY INC

Extras Casting            RICH KING CASTING

RICH KING

DEREK JAMESON

Production Assistants

CHRIS FORTINO

KEVIN WELLS

CONRAD MASLEN

TINA MARTIN

LINDSAY STRACH

JESSICA KIVNIK

GEORGIA VELKES

JUSTIN LAREAU

EMILY Buckingham

RANA ZEYADA

DOMINIQUE DIAZ

JEN CLARK

KATE HENNESSY

ETHAN FENDER

CRYSTAL FLORES

MICHELLE JENSEN

JACOB GILBERT

ALYSSA GRUHN

Stand Ins            ROBERT DUNNE

MATTHEW CHASE

EDWARD FERRARI

NATASHA FLORES

Catering            ALEX IN THE KITCHEN, INC

Chef / Driver            ERICK HERRARTE

Chef Assistants            RICARDO NAVA

ALICIA AVCEDA

EMMANUEL LEON

MARLON UCEDA

Medics            RUBEN RICO

NIKI WEEKS

First Aid / Lifeguard            GEORGE HALE

Craft Service            MIGUEL DECAMPOS

Assistant Craft Service            ISMAIL CHINTAMEN

Craft Utility            JAY MIDDLETON

Music Consultant            RICHARD SILVERMAN

Piano Consultant            JON LEVINE

Research Consultant            MICHAEL NIKOLLA

Choreographer            KATRINA AMATO

Assistant Choreographer            CARLIN DALEY

Social Media Campaign Creator            ALEX GOROSH

Social Media Campaign Contributor            BRETT FALLENTINE

Transportation Captain / Coordinator            JARED ROBBINS

Drivers            JEFF ROBBINS

GIOVANNI CASTRO

STEVEN ULRICH

BRYAN LACHANCE

SEAN ERMAN

JAMES IVANOVICH

MARTIN PEREZ

GUY GRAVES

Security            VICTOR ZAMUDIO

Studio Teacher            MARA MARK

Legal Affairs            RAMO LAW PC

Attorney            ELSA RAMO

Attorney            TARA SATTLER

Legal Associate            TARA TONER

Clearances            INDIE CLEAR SCRIPT CLEARANCES

D.C. HABER CLEARANCES

Production Resources provided by            ANNE STIMAC

Production Insurance            ARTHUR J. GALLAGHER & CO.

Post Production services by            LITTLE DOOR

Co-Music Supervisor            NIKI ROBERTON

Music Clearances            JENNIFER REEVE

SONGS

 

Cole’s Memories

Written by Etienne Copin

Performed by Pyramid

Courtesy of Kitsune

The Drop

Written by Nicholas Weiller

Performed by Bro Safari

Courtesy of Bro Safari Music

We Are Your Friends

Written by Gaspard Auge, Xavier De Rosnay, Alexander MacNaghten, James Anthony Shaw, James Ellis Ford, Simon William Lord

Performed by Justice Vs Simian

Courtesy of Virgin Records Ltd.

Under license from Universal Music Enterprises

Ah Yeah So What (feat. Wiley & Elen Levon)

Written by Elen Menaker, Ilan Kidron, Will Sparks, Richard Cowie

Performed by Will Sparks

Licensed courtesy of Ministry Of Sound Australia

Break Yourself

Written by Anthony Maniscalco, Virman Coquia, Kevin Nishimura , James Roh, Terrence Thornton

Performed by Hook N Sling feat. Far East Movement and Pusha T

Courtesy of Interscope Records

Pusha T appears courtesy of G.O.O.D. Music

Under license from Universal Music Enterprises

You Know You Like It (Tchami Remix)

Written by Aluna Dewji-Francis, George Reid, William Grigahcine, Steve Guess

Performed by DJ Snake feat. AlunaGeorge

Courtesy of Interscope Records

AlunaGeorge appears courtesy of Island Records Ltd.

Under license from Universal Music Enterprises

Define

Written by Kaelyn Behr, Caleb Crinis, Ruslan Epoff, Dominic Louis Matheson

Performed by Dom Dolla and Go Freek

Courtesy of Sweat It Out Music Pty Ltd

See You In The Other Side

Written by Etienne Copin

Performed by Pyramid

Courtesy of Etienne Copin

By arrangement with Jean-Marie Caradec

Plaisir De France Reconstitution

Written by Alexandre Chatelard, arranged by Julien Barthe

Performed by Alexandre Chatelard

Courtesy of EKLER’O’SHOCK

Another Sky (The Magician Remix)

Written by Eric Harrison, Adam Tucker

Performed by Scenic

Courtesy of future classic.

By arrangement with Hidden Track Music

Something About You

Written by Alexander Burnett, Jessica Higgs, Hayden James Luby

Performed by Hayden James

Courtesy of Republic Records

Under license from Universal Music Enterprises

Sister Saviour (DFA Dub)

Written by Tim Goldsworthy, Luke Jenner, James Murphy, Vito Joshua Roccoforte, Matthew Safer

Performed by The Rapture

Courtesy of Republic Records Ltd

Under license from Universal Music Enterprises

Pushing On

Written by William Holland, Jimi Jules, Oliver Siebert

Performed by Oliver $ & Jimi Jules

License courtesy of Ultra Records, LLC

Yardcore

Written by Norman Darnell Howell, Horace Payne, Benwoit Tshiwala

Performed by Born Jamericans

Courtesy of The Bicycle Music Company

Need Your Lovin’ (Tiger & Woods Remix)

Written and produced by Marco Niemerski

Performed by Tensnake

Remixed and add. production by Tiger & Woods

Courtesy of Permanent Vacation

Songs Remind Me Of You (The Swiss & Donnie Remix)

Written by Richard X, Hannah Robinson

Performed by Annie

Courtesy of Smalltown Supersound

By arrangement with Joskim Haugland/Smalltown Supersound

I Think I Like It

Written by Theo Keating, Jean Frankfurter, John Moering

Performed by Fake Blood

Courtesy of Cheap Thrills

RIVA (Restart the Game)

Written by Cedric Steinmyller, Jerome Fagnet

Performed by Klingande feat. Broken Back

License courtesy of Ultra Records, LLC

Cole’s Ascend

Written by Michael David, Tyler Blake

Performed by Michael David, Tyler Blake

Courtesy of Innovative Leisure

How Can You Really

Written by Sam France, Jonathan Rado

Performed by Foxygen

Courtesy of Jagjaguwar

Younger (Kygo Remix)

Written by Salem Al Fakir, Magnus Lidehall, Vincent Fred Pontare, Seinabo Sey

Performed by Seinabo Sey

Courtesy of Virgin Records America

Under license from Universal Music Enterprises

911

Written by Dillon Francis, Nicolas David Mercier

Performed by Dillon Francis

Courtesy of Columbia Music

Desire (Gryffin Remix)

Written by Thomas Hull, Resul Turkmen, Michael Goldsworthy, Oliver Thornton

Performed by Years & Years

Courtesy of Interscope Records Ltd.

Under license from Universal Music Enterprises

I Like Tuh (feat. ILOVEMAKONNEN)

Written by Diamante Anthony Blackmon, Makonnen Sheran

Performed by Carnage

ILOVEMAKONNEN appears Courtesy of Warner Bros Records/OVO Sounds

By arrangement with Warner Music Group Film & TV licensing

License courtesy of Ultra Records, LLC

BlackOut (feat. Lil Jon, Juicy J, Tyga)

Written by James Corrine, Alex Schultz, Luis Rubio, Jordan Houston, Michael Stevenson, Jonathan Smith

Performed by DJ Felli Fel presents The Americanos

Juicy J appears courtesy of Columbia Records

By arrangement with Sony Music Licensing

Courtesy of Interscope Records

Under license from Universal Music Enterprises

Santeria

Written by Bradley Nowell, Eric Wilson, Floyd I. Gaugh IV

The Wind and The Dove

Written & Performed by Bill Callahan

Courtesy of Drag City

By arrangement with Bank Robber Music

I Can Be Somebody

Written by Erick Orrosquieta, Erin McCarley, Dennis Matkosky

Performed by Deorro feat. Erin McCarley

License courtesy of Ultra Records, LLC

Sunlight (feat. Years and Years) [Extended Club Mix]

Written by Stephen Fasano, Oliver Thornton, Mark Ralph

Performed by The Magician

Courtesy of Parlophone Records Ltd.

By arrangement with Warner Music Group Film & TV licensing

It’s Not Over (Dimitri from Paris Remix)

Written by Nicholas Millhiser, Alex Frankel

Performed by Holy Ghost!

Courtesy of DFA Records

By arrangement with Bank Robber Music

Something About You (Pete Tong Kingstown Remix)

Written by Alexander Burnett, Jessica Higgs, Hayden James Luby

Performed by Hayden James

Courtesy of Republic Records

Under license from Universal Music Enterprises

Soundtrack Available on

Interscope Records

Archival Footage provided by

Dangsters Dance Studio

Corbis Motion

Marquese Nonstop Scott

Getty Images

Prelinger Archives

Shutterstock

TerraServer/DigitalGlobe

Tomorrowland

VIA Films

John Mullen

Brite Blue Spot and/or Danny Roew

Wildlife footage courtesy of Shutterstock, Inc., Used by Permission

Titanfall Footage

Bellator courtesy of Spike TV.

© Bellator Sport Worldwide, LLC. All rights reserved.

Artwork Courtesy Of

“Atlantic Blue Montauk by Isack Kousnsky”

“Casper by Artist-Darrell Wilks”

“Squirrel Logo by Shelby and Sandy”

Pioneer DJ Summerfest

Pioneer Electronics (USA) Inc.

Matt Goldman

Crystal Ortiz-Worley

A-OK Collective

Anh Do

Paul Tao

IAMSOUND

Special Thanks

YouTube

Dan Attias

Dave Metzler

George Drakoulias

John Hamburg

Jeff Conrad

Eve Marson

Juan Maclean

Jonathan Galkin

Cameras by

Shadowcast Pictures, LLC

Movi Provided by

Freefly Systems

Camera Dollies by

Chapman/Leonard Studio Equipment, Inc.

DOLBY ® DIGITAL

In Selected Theaters

IATSE

MPAA

49926

© STUDIOCANAL S.A. 2015

ALL RIGHTS RESERVED

STUDIOCANAL S.A. IS THE AUTHOR OF THIS MOTION PICTURE FOR PURPOSES OF THE BERNE CONVENTION AND ALL NATIONAL LAWS GIVING EFFECT THERETO.

The characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any actual persons living or dead is entirely co-incidental and unintentional.

THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES AND OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.

WORKING TITLE

STUDIOCANAL

WARNER BROS.