- Notes provided by Fox Searchlight -

This ain't no place for the weary kind This ain't no place to lose your mind This ain't no place to fall behind Pick up your crazy heart and give it one more try
--"THE WEARY KIND (theme from CRAZY HEART)"
Four-time Academy Award® nominee JEFF BRIDGES stars as the richly comic, semi-tragic romantic anti-hero Bad Blake in the debut feature film CRAZY HEART from writer-director Scott Cooper. Bad Blake is a broken-down, hard-living country music singer who's had way too many marriages, far too many years on the road and one too many drinks way too many times. And yet, Bad can't help but reach for salvation with the help of Jean (two-time Golden Globe® nominee MAGGIE GYLLENHAAL), a journalist who discovers the real man behind the musician. As he struggles down the road of redemption, Bad learns the hard way just how tough life can be on one man's crazy heart.
At the age of 57, Bad still lives his life out on the road, playing long-ago #1 hits in third-rate beer joints and bowling alleys to aging crowds as drunk and yearning as he is, while his fleeting fame slides into obscurity. The most he can hope for these days is to open a big concert for his young protégé, Tommy Sweet, who learned everything he knows from Bad --except Tommy, unlike Bad, managed to become rich and famous from it.
One gig blurs into the next until one night in Santa Fe when Bad meets a local journalist Jean Craddock and falls for her harder than usual. Bad promises nothing to Jean and, as a single mom with plenty of regrets, Jean knows she'd be a fool to believe even in that. Still, they continue winding up in each other's arms.
But can Bad, who can barely keep his own head above badly troubled waters, really take care of anyone else? His attempt becomes a gritty and witty portrait of a man coming to terms with his own starkly human limitations and a last chance for a sweet drop of redemption.
Fueled by country rock, CRAZY HEART features original songs from Grammy®-winning and Academy Award®-nominated composer and producer T Bone Burnett (WALK THE LINE, O BROTHER WHERE ART THOU?) along with the late Texas songwriter Stephen Bruton.
CRAZY HEART is based on the novel of the same name by Thomas Cobb. The producers are Scott Cooper, Robert Duvall, Rob Carliner, Judy Cairo and T Bone Burnett with executive producers Jeff Bridges, Michael A. Simpson, Eric Brenner and Leslie Belzberg. The production team includes director of photography Barry Markowitz, A.S.C, production designer Waldemar Kalinowski, film editor John Axelrad and costume designer Doug Hall.

"Country music is three chords and the truth."
-- Harlan Howard
Like a sly and tender country song, laced with equal parts passion, humor and trouble, CRAZY HEART is the portrait of a man who has lived hard, fast and recklessly, but still goes after the salvation of love when his heart gets what appears to be one last chance to redeem itself.
Writer, producer and director Scott Cooper - himself a Southerner steeped in the rollicking legends and bittersweet themes of country music - always saw CRAZY HEART's outsized lead character of Bad Blake as a mirror of the country heroes he grew up idolizing, in spite of their wildly unpredictable love lives and battles with their darker impulses. Bad might indeed have a "bad" streak
- he can be as ornery, irresponsible, intoxicated and ridiculous as they come - but he is equally a gifted storyteller, an unsinkable romantic, a soul in need, and a man who finally proves himself willing to chase after redemption when all seems lost.
Cooper was best known as an actor - he appears in 2010's GET LOW with Robert Duvall - when he first ran into Bad Blake in Thomas Cobb's novel Crazy Heart. He had been on the hunt for a raw and realistic country-music-themed project to write and direct for some time.
The book was critically acclaimed, with the New York Times Book Review saying "the milieu is as resonant as a steel guitar and the plot moves along without skipping a beat," and country star/novelist/politician Kinky Friedman writing, "The characters are cut cleanly out of America--the roadside West, the dance halls and beer joints, the occasional big concert . . .and the endless, eternal hotel rooms that are as close to home as any country singer ever gets... Bad Blake is a man you will not soon forget."
The character certainly carried a kick and abounded with potential, but as he sat down to write, Cooper faced the task of translating Bad Blake's mix of humor and sorrow into something that would feel resonant and exhilarating on screen, that would come across as funny and honest and that might illuminate in equal parts the sheer exuberance of his musical talent and the tough-to-escape lure of his demons.
In many ways, it came naturally to Cooper. "I grew up with this type of music, living in the same type of world that Bad Blake lives in. And being an actor, I understood the nature of a performance-driven story. I felt like if I couldn't do this, having grown up in the South, steeped in country rock, working as an actor, I was in trouble," he laughs.
Cooper let the character and the rich ironies of his almost-famous, perilously-conducted life guide the way. "What I really wanted to capture was the mixture of humor and pathos in Bad's life, and inject it with levity," he explains. "Bad is an old dog who doesn't know if he has any new tricks, a man who will always go through peaks and valleys but his story moves, in spite of that, towards redemption."
The urge to change is sparked in Bad by one of the sweetest romances he's ever encountered
- and here, too, Cooper wanted to evoke all the real and wild contradictions of relationships - the heat and the electricity that make those first moments of love so thrilling and the ways we still can find ourselves doing wrong by those we care about the most no matter how powerful the feelings.
When the script was finished, Cooper turned to another Southern actor and filmmaker who has long been a mentor to him: Robert Duvall, who himself won an Oscar® playing a down-and-out country singer in Horton Foote's beloved classic, TENDER MERCIES. Duvall's response changed everything.
"When you send a script to Robert Duvall and he says 'Yes,' that's pretty much all that you could ever dream about," muses Cooper.
It was far more than just a relationship that sealed the deal, however. The script's unerring vision of man trying to follow his untamed, hungry heart and its distinctly Southwestern flavor was right up the alley of Duvall's production company, Butcher's Run.
"Duvall and I have always been drawn to character-driven dramas," explains producer Rob Carliner, Duvall's partner in Butcher's Run. "But we don't often find scripts that portray characters as honestly and authentically as CRAZY HEART. It's a story that will resonate with an awful lot of people because it's about a true American artist who has issues with women and alcohol but through his love of music, tries to save himself."
Adds Duvall: "This film honors a great American tradition: country music, a world I know very well and am happy to be returning to after many years. The story reminded me of TENDER MERCIES, only Horton Foote took a more delicate approach. There's a wonderful roughness to it and it really gets to the hard living and a guy fighting with his demons. It's an age-old story in some ways but Scott Cooper looked at it freshly, and with a sense of truth and new dimensions people haven't seen before."
Coming on board soon after was producer Judy Cairo of Informant Media. "This script just jumped out at me," she recalls, "because it's about country music, which is part of my roots, but also because it's such an earthy, realistic, moving story. Every character in the film is somebody who is completely relatable and distinctly true to the American landscape."
Sums up Carliner: "People who love music are going to really enjoy this movie but I also think people who don't know or care about country music will enjoy Bad Blake's story just as much. It's a movie about real people and real life."
"Brand New Angel"T Bone Burnett And Stephen Bruton Write Bad Blake's Songs
The storytelling of CRAZY HEART started with the script, but that was truly just the beginning. Bad Blake is all about his music, which is why the songwriting of CRAZY HEART was as central as the storytelling - and had to be 100% real and believable as coming from inside the soul and experience of a well loved, if washed-up, country singer. There was no one better to do that than T Bone Burnett, who wrote many of Blake's songs along with the late Stephen Bruton.
"We knew that if we were going to take on a movie about a country singer, we had to get the music absolutely right," explains Rob Carliner. "That's why we wound up going to T Bone. Without him, this movie likely wouldn't have happened - and it could never have happened as authentically."
A legendary songwriter in his own right and a fervent champion of American roots music, Burnett has made his mark all over contemporary pop culture, on such indelible soundtracks as O BROTHER WHERE ART THOU? and WALK THE LINE, as well as a dizzying array of recordings for such diverse artists as Elvis Costello, Roy Orbison, Tony Bennett, k.d. lang, Alison Krauss, Counting Crows, the Wallflowers, Sam Phillips, Gillian Welch, Ralph Stanley, and the list goes on.
It took almost a year for the filmmakers to track down the almost always-engaged Burnett, but when Scott Cooper finally met with him, they hit it off instantly. Burnett came on board not only to write and produce the film's songs but as a producer.
He couldn't help but be drawn in by the hard truths and raw humor of Bad Blake's story. "And with Scott Cooper being a musician, having been on the road, and having a good ear, it seemed there was the potential to make a movie that would be authentic to the experience of being a musician."
It was Cooper, Burnett says, who convinced him he had to be part of the film. "He made me believe he could make a film that would stand the test of time. He's very knowledgeable about country music and the South and the whole world these characters inhabit."
Burnett, in turn, called on his long-time friend, the lauded guitarist, songwriter and record producer Stephen Bruton, whose songs were recorded by the likes of Kris Kristofferson, Bonnie Raitt, Hal Ketchum, Willie Nelson, Waylon Jennings, The Highwaymen, Johnny Cash, Jimmy Buffett and Martina McBride, among others, and who produced albums for such artists as Alejandro Escovedo, Marcia Ball and Jimmie Dale Gilmore. Bruton passed away of cancer at the tail end of production in May of 2009, working even as he pursued treatment.
"It is remarkable that Stephen's artistic force and spirit were so strong and so constant throughout the process even though he was fighting a difficult battle the entire time we were working," says Burnett. "He co-wrote most of the songs, played a lot of the score, coached the actors, and was on the set the entire shoot to make sure things were real. I think there is a lot of Stephen in Bad Blake. Stephen had lived that same life --in the extreme."
Bruton, indeed, felt a deep affinity for Bad, having spent much of his own life on tour buses rambling through roadhouses far from home. "It's an interesting life," Bruton said before his death. "Nothing but the performance is real. You're not responsible to anything you did yesterday and it's great for a while but it can easily become a state of arrested development. At some point, you have to walk through the looking glass."
Burnett, too, related strongly to the character. He was acutely aware that Bad is the kind of man who expresses himself best in verse-and-refrain, rather than conversations, especially the more intimate and revealing kind. "Bad says, 'I been blessed and I been cursed, all my lies have been unrehearsed,'" Burnett points out. "It would be extremely hard for Bad to say what he really thought in his actual life. Art is not a pretty sight. It is, however, all there in his songs. I think it is fair to say, the same holds true for the writers who wrote the songs."
But how could Burnett and Bruton channel Bad Blake musically? They knew they wanted him to be an original, not molded after any particular star, but did think in terms of influences. "Bad reminds me of some musicians I have known, but they should remain nameless," Burnett remarks. "Our thought for the music was to create a kind of alternate universe of country music. What might country music have sounded like if this thing had happened instead of that? We didn't want Bad to fit into any of the clear categories of country music as we know it these days. We put together a list of what Bad listened to growing up and worked from there."
That list included such artists (several found on the film soundtrack) as: The Louvin Brothers, George Jones, Lightnin' Hopkins and The Delmore Brothers, as well as Hank Williams, Lefty Frizzell, The Mississippi Sheiks, Jimmy Rogers, Skip James and Howlin Wolf, to name just a few.
Blake's most prominently featured songs in the film include "I Don't Know," which Burnett wrote with Bruton and calls a "cross between a Doug Sahm song and a Zydeco song"; "Hold On You," written with Bruton, John Goodwin, and Bob Neuwirth, which is used throughout the film as a theme in the score; and "The Weary Kind," that acoustic ballad which Bad Blake is writing throughout the second half of the film. "That song is the lesson he learned," says Burnett.
Then there is Bad Blake's biggest hit, made famous by New Country star Tommy Sweet: "Fallin' & Flyin'." That song emerged through synchronicity from an old tune Bruton had written.
Said Bruton: "The funny story with that song is that we were all writing at T Bone's house and Jeff Bridges was fixing to drive back home and T Bone was going off somewhere and Jeff said, 'What are you doing tonight?' I said 'I'm going where I shouldn't go and I'm doing what I shouldn't do.' And he goes 'That sounds like a song.' And I said 'It is.' So I sat down with the guitar just like that in the living room and started playing this song. Then T Bone said, 'That's the song we need.' And then we realized it was perfect for this character. It's about a guy going down and basically having a ball doing it. Sometimes falling really does feel like flying."
Throughout the process of writing the songs, a big inspiration for both Burnett and Bruton was Jeff Bridges' unwavering commitment to every nuance of the role. "Jeff influenced the writing of the songs in two ways-by who he was becoming and the way that person sounded; and by bringing in his great friend, John Goodwin, to write with us. John is the one who started off 'Hold On You,' which was the first piece we wrote for the film," Burnett explains.
The recording of the music for CRAZY HEART was as specific as the writing of the songs, eschewing modern digital techniques for the warmer, scratchier sound of analog recordings. Burnett explains: "We recorded analog music with analog equipment to be true to the period, and we also went back to the original analog masters for the source cues. The source cues were from CDs that had been made probably in the 80s with the terrible equipment they had at that time. When the new versions came in that had been made from the original masters, the difference in the reality of the world was profound. Scott was insistent that every aspect of this film be authentic, and this was one of the most important areas in which that authenticity had to be maintained."
To complete the film's nearly wall-to-wall music, Burnett populated the rest of the soundtrack with what he calls "authentic country music." "Every song we chose tells a different story," Burnett says.
"Fallin' & Flyin'" Jeff Bridges Immerses Himself In Bad Blake
Jeff Bridges is one of those chameleonesque actors who is perhaps better known for the indelible characters he has played than for his own persona. His memorably naturalistic performances include the charming Texan Duane Jackson in Peter Bogdanovich's THE LAST PICTURE SHOW (garnering his first Oscar® nomination for supporting actor); the irreverent Lightfoot, sidekick to Clint Eastwood's bank robber in Michael Cimino's THUNDERBOLT AND LIGHTFOOT (his second Oscar nomination); the computer programmer Kevin Flynn, imprisoned inside a computer in the groundbreaking TRON; the alien who crashes to earth in STARMAN (his third Oscar nomination and first for best actor); the lounge pianist Jack Baker in the seductive romance THE FABULOUS BAKER BOYS; the shock-jock talk radio host Jack Lucas in THE FISHER KING; the air crash survivor Max Klein in FEARLESS; the quintessential slacker Jeff Lebowski, aka "The Dude," in the Coen Brothers' THE BIG LEBOWSKI; U.S. President Jackson Evans in the political drama THE CONTENDER (which garnered a fourth Oscar nomination); the industrialist super-villain Obadiah Stane in the blockbuster IRON MAN; and, most recently, psychic Army Officer Bill Django in THE MEN WHO STARE AT GOATS.
With Bad Blake, Bridges would vanish once again into the skin of another man, exposing Bad's genius and flaws, his loneliness, foolishness and hopefulness, in the course of his unexpectedly life-changing romance with Jean Craddock.
"I think people are going to look at this as one of Jeff Bridges' signature roles," comments Rob Carliner, "one that you'll always associate with him."
For Scott Cooper, the role was always destined to be played by Bridges. "We knew from the beginning we wanted Jeff without question," he recalls. "He is one of America's finest actors. Every gesture he makes is earned; every thing he does is real. And I knew he was already a very talented musician."
Bridges says he was drawn like a magnet to the script. "Oh, there were so many wonderful elements to this one," he remarks. "Music, for one, comes to mind. I've been playing music since I was a kid so that was a big draw for me. I also loved Scott's script. We got along instantaneously and he's very talented. He knows country music backwards and forwards and his enthusiasm is contagious. Then there's Bad Blake, who is such a human guy. He's like all of us, with lots of positive qualities and plenty more faults."
He continues: "It was also a chance to work Bob Duvall, who is one of my favorite actors and with some old friends - T Bone Burnett, Stephen Bruton and our production designer, Waldemar Kalinowksi - who all worked on HEAVEN'S GATE together."
Bridges approached from a music angle first. Although he has been a serious musician for years, and has even recorded an album (BE HERE SOON in 2000), nailing Blake's particular mannerisms was key to the role, as was getting down the style of a man who was once a legend and now performs live as much as Bad Blake does. To immerse himself in that very particular world, Bridges spent days and nights working with T Bone Burnett and Stephen Bruton - playing and singing and soaking up atmosphere - until it was second nature to him. Only then did the character begin to instinctually emerge.
"Both the acting and the music need to be on an equal level - and they are," observes Carliner.
"Jeff could already play and sing, but he really studied hard to be Bad Blake," the late Stephen Bruton noted. "We tried to make his performances accurate to what a man who has been playing every night for 40 years would really be like, which was a very interesting challenge."
Adds Cooper: "Jeff had to perform in many different ways --when Bad is drunk, and when he is very sober and very somber. Ultimately, he did it all so delicately and beautifully that it became something iconic."
For Bridges, T Bone Burnett's hard-knocks style of support was invaluable. "I kind of went in wanting my hand held and T Bone didn't do much hand holding," he admits. "He said, 'go on fly, get out of the nest and do it.' It helped a lot that the songs were so terrific and created their own little Bad Blake country music world. You have that feeling you've heard them all before."
The character came to life through music, but also through his half-sly, half-terrified interplay with Jean Craddock, the journalist played by Maggie Gyllenhaal. "Bad and Jean are true star-crossed lovers," Bridges says. "It's that kind of boom, love at first sight with them. That's how it was when I met my wife so I kind of know how that goes. Jean's a great character and working with Maggie just transcended all my expectations."
But love is not necessarily enough for Bad to change his hard-living ways and his alcoholic hazes eventually bring their simmering romance to a boiling crisis point. "Playing drunk is full of traps," notes Cooper. "Most actors always over play it, but Jeff underplayed every single scene, every single emotion. I think everyone who sees him will think of Bad Blake in terms of someone among their family or friends in some way because it's that true a performance."
Bridges said that his approach to playing Bad's descent into addiction and bad behavior - and his struggle to get himself back --was to keep it ordinary. "I didn't want to build up the pressure of it," he says. "I wanted to always stay as relaxed as I could and just create that empty space where whatever is going to come out, has a chance to come out."
That seemed to be exactly what happened once production began. "This was just a wonderful role," Bridges summarizes. "Between the music, the acting and getting the chance to work with so many great players, it was one of the most intense, enjoyable experiences of my life."
"Hello Trouble"Maggie Gyllenhaal Brings Out Bad Blake's Crazy Heart
Bad Blake's life might have gone on just the way it always had - from one minor tour to the next, one soulful bar to the next, one hard drink to the next - if he never met Jean Craddock. But once he does, Bad is destined to try to be better than he ever has before.
Finding the right Jean was so vital to making Bad's love story feel real, that Jeff Bridges became very involved in the casting sessions, and it was Bridges who ultimately chose Maggie Gyllenhaal. Gyllenhaal has twice been nominated for a Golden Globe® - for her role as a mentally unstable employee in the Sundance Festival winner SECRETARY; and for her performance as an ex-con trying to start again in SHERRYBABY - and drew accolades as Gotham City lawyer Rachel Dawes in the blockbuster THE DARK KNIGHT. But it was the energy that emerged between her and Bridges that convinced everyone she had to be Jean.
"She and Jeff had tremendous chemistry the first time they met," says producer Judy Cairo of the choice. "Maggie is ageless...she's just an old soul. And she looks so perfect with Jeff. She has an earthiness, a rootedness to her that engenders great empathy."
Gyllenhaal instantly liked Jean and also felt she knew Jean. "She seems like a real person to me," she says. "Someone who is strong in some ways and yet knows she is weak in others, and that's what I look for in the people I play - that they feel real. That appealed tremendously to me."
In playing Jean she wanted to get at all the things that make Jean who she is: her charming naiveté as a new journalist; her fierce devotion as a single mother; her terror of getting her heart stomped on again; her tendency to be tempted by the excitement and pleasures of bad boys; and, most of all, her completely unstoppable feelings for Bad Blake.
"This movie can only work if you feel like Jean and Bad are completely crazy in love with each other," she says, "and despite the fact that he's much older and they might seem like improbable lovers, they're drawn to each other like magnets. You have to see that Jean is fighting through all of that to make decisions that are rational and reasonable . . . and she's having a really hard time with it."
Gyllenhaal also had to dig into what draws a woman to a man like Bad Blake in spite of all the brightly flashing danger signs. Although the actress herself is a big country music fan - drawn mostly to what she calls "old, folksy country" - she knew it was more than just Bad's talent and beautiful songs that would move Jean to take so many risks.
"I think Jean accepts a lot of these things in Bad because she herself is kind of drunk on love for him," she explains. "I also think there's a part of her that loves how it feels to be bad. But, she's a really emotional person and there are parts of Bad that are so wonderful, the way he cares for her son Buddy which really moves her, the way he's so loving with her, even when he's drunk. She just doesn't want to acknowledge that there's this gaping hole that will ultimately make it impossible for them to be together."
The fact that Gyllenhaal is a fairly new mother herself lent her further insight into the push-and-pull her character experiences between what's in her heart and what she knows she needs to do for her son.
"This is the first film Maggie's done since she had her baby," points out Judy Cairo. "So I think playing a character that has a young child who might be in jeopardy really hit home for her. It's something she called upon during those emotional scenes."
"I have played mothers before I was one," notes Gyllenhaal, "but I do think it's incredibly difficult to act like you're a mother if you're not. There are so many things I understand better now. For example, there's a little scene where I put Buddy to bed, and when I did that I was thinking how if my daughter were going to sleep in a strange bed in a place she didn't know after a plane ride, she would be having a hard time with it. That might not have occurred to me before."
Gyllenhaal's toughest scenes came at the climax of the film when Jean is forced into making a choice between Buddy and Bad. Even she was taken aback at her emotions. "When we shot the scene where Jean leaves Bad's house I was so much sadder and more upset than I knew I would be," she explains. "And when he comes back to her, I thought I would feel stronger in that scene than I did. I thought I would feel calm and resolved but instead, I knew there was that feeling in Jean of 'I wish he would touch me, I wish he'd push me over the edge here.' But of course he doesn't, he couldn't, and that was really hard."
Those scenes shattered every heart on the set, notes Scott Cooper. "Maggie is so raw and true that I couldn't have been any happier with how she played Jean," he says. "Maggie, much like Jeff, elevates the story with so much texture, flavor and emotion."
"The Weary Kind" The Supporting Cast of CRAZY HEART
While Bad Blake struggles to find paying gigs wherever he can these days, his former young protégé, Tommy Sweet, has hit the big time as a bona fide superstar in the New Country tradition, playing huge stadiums to adoring fans and living in a mainstream pop culture world Bad can hardly imagine. Tommy becomes at once a bitter thorn in Bad's side and his meal ticket when he hires Bad to write songs for his highly anticipated next album. To play Tommy, the filmmakers decided to go with a surprise cameo, which features a performance that Rob Carliner said is "completely unexpected."
Stephen Bruton said that he was especially impressed with the casting. "I always saw Bad and Tommy as being one guy trapped in failure and one guy trapped in success - and neither one can exist without the other, and that's the rub. You can see that there's deep admiration for each other and you see the paradoxes between them. And golly, this guy they cast can sing."
Rounding out the main cast is producer Robert Duvall, well known as an Oscar®-winning actor, taking on the role of Wayne Kramer, Bad's bar-owning friend, who helps him turn his life around when push comes to shove. "Wayne is the kind of friend who kicks your butt when he has to," says Duvall of the character.
Adds Scott Cooper: "Robert Duvall as Wayne Kramer is the story's moral compass. He's the one who is there for Bad through his trials and tribulations, who is there for him when no one else would be. Duvall plays that beautifully. In my opinion, he's one of America's greatest screen actors. Every take with him is so rich and so different. He's a virtuoso."
Also appearing in the film is lauded Texas and New Mexico based singer/songwriter Ryan Bingham, of Ryan Bingham & The Dead Horses, who plays Tony, leader of the back-up band that plays with Bad Blake at a bowling alley, and also wrote the song "The Weary Kind," written by Bad Blake in the film and performed live by Tommy Sweet.
Bingham was drawn to CRAZY HEART's authentic portrayal of life on the road. "There's an awful lot of guys just like this out there, playing amazing songs in roadhouse bars," he says. "It's a dislocated life - it's great in some ways and it's kind of romantic and at the same time it can be hard and nasty and mean. It's always pushing and pulling on your soul. It can eat you up and spit you out and sometimes it can welcome you at the same time. The film gets to a lot of that."
He also couldn't resist the company. "When you're offered the chance to sit around writing songs with T Bone Burnett and Stephen Bruton and then to sit on the set with Jeff Bridges and Robert Duvall it pretty much blows you away," he sums up. "It turned out that everyone was really nice and it was a real, good time."
"Color Of The Blues"Crazy Heart's Vision Of The New American West
Bad Blake's story unfolds in the rambling world he inhabits, rolling through Colorado, New Mexico and Texas, as he plays a variety of bars, clubs and even bowling alleys, traversing a geography filled with fragmented lives and the constant search for love lost or never found. Along the way, the film opens up a fresh view into the American West, which no matter how modern life becomes remains wild in many ways, full of dogged earnestness and rusty dreams.
"I wanted a really timeless quality to the film," explains Scott Cooper, "that naturalistic feeling of great 70s character films. Thematically, you have tough characters and tough situations, so the visuals have to counterpoint that."
To capture all that, Cooper collaborated with several accomplished artists, including cinematographer Barry Markowitz, renowned for his work on such films as ALL THE PRETTY HORSES, THE APOSTLE and SLING BLADE; production designer Waldemar Kalinowski, whose films include APPALOOSA and LEAVING LAS VEGAS; and costume designer Doug Hall (who worked with Markowitz on ALL THE PRETTY HORSES, THE APOSTLE and SLING BLADE).
Markowitz suggested that Cooper break out of the film's intimate interior scenes by balancing them with the solace of the landscape's endless skies and infinite vistas. "After all, we were shooting in some big country," remarks the cinematographer. "So we ended up shooting a lot of stuff outdoors, beautiful shots that had us up at three in the morning doing all the dirty work. The idea was to really open the story up."
"Barry's cinematography is just so beautiful," says Cooper. "He understood exactly what I was going for visually and he evoked all the right emotions."
Meanwhile Waldemar Kalinowski focused on over 25 locations in the Santa Fe and Albuquerque areas, drawn to a challenge he describes as "creating a classically beautiful slice of American life in an interesting new way."
In creating interiors for both Bad Blake and Jean Craddock, Kalinowski focused on back-story. "Remnants of their previous lives are visible in the story," he notes, "especially in Bad's house, which is a window into who he used to be and where he came from."
Along the way, he was inspired by the cast's performances. "The depth of character that Jeff was brining to Bad gave my whole department the inspiration to create a more complete and specific world," he says. "Maggie also had some very specific opinions about Jean's house, and I think both of them are actors who really think about where their characters live, where they come from and where they are going, so it was interesting to try to reflect all of that."
Working with practical locations with a down-home feel, the only set Kalinowski had to build was the bowling alley exterior where Blake meets Tony and The Renegades.
Two locations that added further to the atmosphere were Albuquerque's 12,000-seat outdoor amphitheatre, the Journal Pavilion, where Tommy Sweet appears in concert, and the Santa Fe Opera House, where the film's final scenes were shot.
The Journal Pavilion, one of New Mexico's premiere concert locales, was already booked solid when the production approached them about shooting Tommy Sweet in front of an enthusiastic crowd of country music fans. But the filmmakers were able to wrangle permission from Toby Keith to use the 10-minute breaks between set changeovers to shoot the sequence.
Through careful planning for camera placement and several dry runs in the afternoon before the big night, the production was able to capture both "Gone, Gone, Gone" and Bad and Tommy's "Fallin' & Flyin'" duet, with a second take for a steadicam pass.
The film's climactic moment, in which recovering Bad Blake runs into Jean Craddock one revealing last time, was shot at the Santa Fe Opera House, an architectural wonder with its sweeping balcony roof set in the middle of multi-chromatic Sangre De Cristo and Jemez Mountains. Stark, dramatic and full of moody life, it seemed the perfect place for star-crossed modern lovers to confront the future.
Sums up Kalinowksi: "The story of Bad Blake ends in this stunning beautiful, inspiring place where you see the main character's two worlds momentarily coming together one more time."
Like Kalinowski, costume designer Doug Hall was guided by character and by the long history of country music fashion. "I looked at a lot of old concert footage to get a sense of what people were wearing," he says. "I was also inspired by Richard Avedon's West Texas photography."
"For Bad Blake we wanted to evoke not just a look but a lifestyle," Hall explains. "Jeff paid a lot of attention to the details, like what he keeps in his pockets every day - guitar picks, a lighter, a few crumpled cigarettes. It was all based in the reality of this man's life. His version of Bad is striking looking but not necessarily a showman. He's a little more rough-edged and tumble-down."
For Maggie Gyllenhaal's Jean Craddock, Hall emphasized her role as a mother. "Being a mother is so important to Jean's character and that's something I think she identifies with. The hard part, of course, was making Maggie plain. Of course, she was just as specific and concerned with the clothes as Jeff was, and was a pleasure to work with."
The filming of CRAZY HEART was chock full of these kinds of small pleasures - from live musical performances that hit the sweet spot to minor details that built up to pure emotions - and that, sums up Judy Cairo, is what made it so special. She concludes, "This is a intimate character study with a great story that was lucky to draw an amazing cast of award-winning actors and filmmakers who created beautiful characters and dialogue and a whole world that didn't even exist just a few weeks before."
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ABOUT THE CAST
JEFF BRIDGES (Bad Blake) is one of Hollywood's most successful actors and is a four-time Academy Award® nominee. Bridges can currently be seen in the war comedy MEN WHO STARE AT GOATS, playing Bill Django a free spirited military intelligence officer who is the leader of a secret group of warriors in the army. He stars opposite George Clooney, Ewan McGregor and Kevin Spacey. Bridges last starred opposite Robert Downey Jr. in the Paramount Pictures/Marvel Studios blockbuster IRON MAN playing the character of Obadiah Stane.
He earned his first Oscar nod in 1971 for Best Supporting Actor in Peter Bogdanovich's THE LAST PICTURE SHOW co-starring Cybill Shepard. Three years later he received his second Best Supporting Actor nomination for his role in Michael Cimino's THUNDERBOLT AND LIGHTFOOT. By 1984 he landed top kudos with a Best Actor nomination for STARMAN. That performance also earned him a Golden Globe® nomination. In 2001, he was honored with another Golden Globe nomination and his fourth Oscar nomination for his role in THE CONTENDER, Rod Lurie's political thriller co-starring Gary Oldman and Joan Allen, in which Bridges played the President of the United States
He just wrapped production on Disney's sci-fi, action, thriller TRON LEGACY, a 3D high-tech adventure set in a digital world. He reprises the roll of Kevin Flynn and stars opposite Garrett Hedlund and Olivia Wilde for director Joseph Kosinski. TRON LEGACY is currently slated for a fall 2010 release.
He can next be seen starring opposite Justin Timberlake in THE OPEN ROAD as Kyle Garrett a legendary ballplayer trying to reconnect with his son while coming to terms with who they are and what kind of men they should be. The film is written and directed by Michael Meredith. Additionally, he is starring in A DOG YEAR for HBO Films/Picturehouse based on the memoir by Jon Katz and directed by George LaVoo who also wrote the screenplay.
Last summer he starred opposite Shia LaBeouf, as Geek a cantankerous washed-up surfer penguin in the Academy Award nominated SURFS' UP from Sony Pictures Animation. The same year he appeared in THE AMATEURS, a comedy written and directed by Michael Traeger, in which citizens of a small town, under the influence of a man in the midst of a mid-life crisis (Bridges), come together to make an adult film.
Prior to that he was in his second film for director Terry Gilliam titled TIDELAND where he played Noah, a drug addicted, has-been, rock guitarist as well as STICK IT for Touchstone Pictures playing the coach of a team of rule-abiding gymnasts.
The actor's multi-faceted career has cut a wide swathe across all genres. He has starred in numerous box office hits including Gary Ross' SEABISCUIT, Terry Gilliam's offbeat comedic drama THE FISHER KING (co-starring Robin Williams), the multi-award nominated THE FABULOUS BAKER BOYS (co-starring his brother Beau Bridges and Michelle Pfeiffer), THE JAGGED EDGE (opposite Glenn Close), Francis Ford Coppola's TUCKER: THE MAN AND HIS DREAM, BLOWN AWAY (co-starring his late father Lloyd Bridges and Tommy Lee Jones), Peter Weir's FEARLESS (with Isabella Rosselini and Rosie Perez), and Martin Bell's AMERICAN HEART (with Edward Furlong, produced by Bridges' company AsIs Productions). That film earned Bridges an IFP/Spirit Award in 1993 for Best Actor.
In the summer of 2004, he appeared opposite Kim Bassinger in the critically acclaimed THE DOOR IN THE FLOOR for director Todd Williams and Focus Features that earned him another IFP/Spirit Award nomination for Best Actor.
He played a major featured role in THE MUSE (an Albert Brooks comedy starring Brooks, Sharon Stone and Andie McDowell) he has also appeared in the suspense thriller ARLINGTON ROAD (co-starring Tim Robbins and Joan Cusack, directed by Mark Pellington) and starred in SIMPATICO, the screen version of Sam Shepard's play (with Nick Nolte, Sharon Stone and Albert Finney). In 1998, he starred in the Coen brothers' cult comedy THE BIG LEBOWSKI. Before that, he starred in Ridley Scott's WHITE SQUALL, Walter Hill's WILD BILL, John Huston's FAT CITY, and Barbara Streisand's romantic comedy THE MIRROR HAS TWO FACES.
Some of Bridges' other acting credits include HOW TO LOSE FRIENDS AND ALIENATE PEOPLE, K-PAX, MASKED AND ANONYMOUS, STAY HUNGRY, FAT CITY, BAD COMPANY, AGAINST ALL ODDS, CUTTER'S WAY, THE VANISHING, TEXASVILLE, THE MORNING AFTER, NADINE, RANCHO DELUXE, SEE YOU IN THE MORNING, EIGHT MILLION WAYS TO DIE, TRON, THE LAST AMERICAN HERO and HEART OF THE WEST.
In 1983 Jeff founded the End Hunger Network, a non-profit organization dedicated to feeding children around the world. Jeff produced the End Hunger televent, a three-hour live television broadcast focusing on world hunger. The televent featured Gregory Peck, Jack Lemmon, Burt Lancaster, Bob Newhart, Kenny Loggins and other leading film, television and music stars in an innovative production to educate and inspire action.
Through his company, AsIs Productions, he produced "Hidden in America" which starred his brother Beau. That television movie, produced for Showtime, received a Golden Globe nomination in 1996 for Best TV/Cable Film and garnered a Screen Actors Guild nod for Best Actor for Beau Bridges. The film was also nominated for two Emmy® Awards.
One of Jeff's true passions is photography. While on the set of his movies, Jeff takes behind the scenes pictures of the actors, crew, and locations. After completion of each motion picture, he edits the images into a book and gives copies to everyone involved. Jeff's photos have been featured in several magazines including Premiere and Aperture as well as in other publications worldwide. He has also had gallery exhibits of his work in New York at the George Eastman House, in Los Angeles, London and San Diego.
The books, which have become valued by collectors, were never intended for public sale but in the fall of 2003, powerHouse Books released Pictures: Photographs By Jeff Bridges,a hardcover book containing a compilation of photos taken on numerous film locations over the years, to much critical acclaim. Proceeds from the book are donated to the Motion Picture & Television Fund, a non-profit organization that offers charitable care and support to film-industry workers.
Several years ago, Jeff fulfilled a life-long dream by releasing his first album, Be Here Soon on Ramp Records, the Santa Barbara, CA label he co-founded with Michael McDonald and producer/singer/ songwriter Chris Pelonis. The CD features guest appearances by vocalist/ keyboardist Michael McDonald, Grammy-nominated Amy Holland, and country-rock legend David Crosby. Ramp Records also released Michael McDonald's album Blue Obsession.
Jeff, his wife Susan and their three children divide their time between their home in Santa Barbara, California and their ranch in Montana.
MAGGIE GYLLENHAAL (Jean Craddock) is one of the great young actresses of today. After receiving rave reviews out of the 2002 Sundance competition for her starring role opposite James Spader in Lion's Gate's SECRETARY, she went on to receive a Golden Globe® nomination for "Best Actress in a Comedy or Musical," an Independent Spirit Award nomination for "Best Actress," a Chicago Film Critics' Award for "Most Promising Performer," a Boston Film Critics' Award for "Best Actress," a National Board of Review Award for "Breakthrough Performance" and an IFP/ Gotham "Breakthrough Performance" Award.
Years later, back at Sundance in 2007, Maggie starred in SHERRYBABY which opened in theaters September of last year. The film was well-received by critics and garnered her second Golden Globe nomination, this time for Best Actress in a Motion Picture-Drama. Gyllenhaal was also nominated for a 2006 Independent Spirit Award for her role in Don Roos' HAPPY ENDINGS, opposite Lisa Kudrow and Tom Arnold.
Maggie was recently seen in the Warner Bros. box office hit DARK KNIGHT, directed by Chris Nolan and in Sam Mendes' AWAY WE GO. Next up will be THE BIG BANG with Emma Thompson.
In August 2006, Maggie was seen in TRUST THE MAN with Julianne Moore, Billy Crudup and David Duchovny and in Oliver Stone's WORLD TRADE CENTER with Maria Bello and Nicholas Cage. She also starred in Marc Forster's STRANGER THAN FICTION with Will Ferrell, Dustin Hoffman, Queen Latifah and Emma Thompson. In the past few years, she appeared in John Sayles' CASA DE LOS BABYS with Daryl Hannah and Lily Taylor and Mike Newell's MONA LISA SMILE in which Maggie co-starred with Julia Roberts, Julia Stiles and Kirsten Dunst. She was also seen in CRIMINAL with Diego Luna and John C. Reilly as well as Spike Jonze's ADAPTATION.
Also accomplished on stage, Gyllenhaal starred as Alice in Patrick Mauber's award-winning Closer at the Mark Taper Forum in Los Angeles for director Robert Egan, and previously at the Berkeley Repertory Theatre. She has also appeared in Anthony and Cleopatra at the Vanborough Theatre in London. In 2004, Maggie starred in Tony Kushner's play Homebody/Kabul, which ran in both Los Angeles and at B.A.M. Next, Maggie will be seen alongside Peter Sarsgaard and Mamie Gummer in Uncle Vanya by Anton Chekhov.
Maggie made her feature film debut in 1992, alongside Jeremy Irons and Ethan Hawke in WATERLAND. This was followed by a memorable performance as "Raven," the Satan-worshipping make-up artist in John Waters' quirky Hollywood satire, CECIL B. DEMENTED, which led her to a co-starring role in DONNIE DARKO, a fantasy-thriller about disturbed adolescence.
Gyllenhaal is a 1999 graduate of Columbia University where she studied Literature.
Veteran actor ROBERT DUVALL (Wayne) received his first Academy Award nomination as Best Supporting Actor for his role as Corleone Family legal advisor Tom Hagen in THE GODFATHER. In 1979, Duvall earned a second Oscar nomination as Best Supporting Actor for his role as the Custer-like Kilgore in APOCALYPSE NOW. The next year, he drew yet another Academy Award nomination, this time for Best Actor as the macho Marine pilot Bull Meechum in THE GREAT SANTINI. He was honored with the Academy Award as Best Actor for the 1983 release TENDER MERCIES. He was nominated again for THE APOSTLE (a film he wrote and directed), won a Golden Globe for STALIN and received a Globe nomination as well as his sixth Oscar nomination for A CIVIL ACTION.
Duvall made his screen debut in TO KILL A MOCKINGBIRD. In the now-classic motion picture, Duvall played the pivotal role of the mysterious, misunderstood Boo Radley.
His impressive roster of additional feature film credits also includes THE CHASE, COUNTDOWN, THE DETECTIVE, BULLITT, THE RAIN PEOPLE, TRUE GRIT, M*A*S*H, THX 1138, THE GREAT NORTHFIELD MINNESOTA RAID, JOE KIDD, THE CONVERSATION, THE GODFATHER PART II, THE EAGLE HAS LANDED, THE KILLER ELITE, NETWORK, THE SEVEN PER-CENT SOLUTION, TRUE CONFESSIONS, THE PURSUIT OF D.B. COOPER, THE NATURAL, LET'S GET HARRY, DAYS OF THUNDER, COLORS, RAMBLNG ROSE, FALLING DOWN, GERONIMO, WRESTLING EARNEST HEMINGWAY, THE PAPER, THE SCARLET LETTER, PHENOMENON, THE SIXTH DAY, JOHN Q, DEEP IMPACT, GONE IN 60 SECONDS, GODS AND GENERALS, OPEN RANGE, SECONDHAND LIONS, KICKING AND SCREAMING, LUCKY YOU and WE OWN THE NIGHT. Last year, he appeared in the holiday blockbuster FOUR CHRISTMASES.
Duvall formed Butchers Run Films so that he could become more actively involved in all aspects of film and television development and production. In June of 2006, its miniseries, "Broken Trail," aired on AMC to 10million viewers. "Broken Trail" garnered 16 Emmy nominations as well as 3 Golden Globe nominations, and a Directors Guild Award. The companys first co-production, A Family Thing in which Duvall co-stars, earned a Humanitas Award. He executive produced the TNT Original "The Man Who Captured Eichmann" in which Duvall portrayed the chillingly remorseless Nazi bureaucrat, Adolph Eichmann. In the beginning of 2001, he went to Argentina to direct, write, produce, and star in ASSASSINATION TANGO.
He will also be seen in the post-apocalyptic feature THE ROAD with Viggo Mortensen.
RYAN BINGHAM (Tony) is an American singer/songwriter born in Hobbs, New Mexico who spent part of his teen years on the bull-riding rodeo circuit before taking up music. His major label debut MESCALITO (Lost Highway, 2007) received very high praise by the press, as did his follow up release ROADHOUSE SUN (Lost Highway, 2009). Both albums were produced by former Black Crowes guitarist Marc Ford.
Bingham and his band, The Dead Horses (Matthew Smith/drums, Corby Schaub/guitar, and Elijah Ford/bass) have appeared on THE TONIGHT SHOW WITH JAY LENO, LATE NIGHT WITH CONAN O'BRIEN, AUSTIN CITY LIMITS, and most recently performed on THE LATE SHOW WITH DAVID LETTERMAN.
Ryan Bingham and the Dead Horses are currently touring the United States and Europe in support of their album.

ABOUT THE FILMMAKERS
SCOTT COOPER (Director/Screenwriter/Producer) Cooper is an actor, writer, producer and director.
Cooper's training as an actor began at the famed Lee Strasberg Institute in New York City. He has collaborated with his mentor, Robert Duvall, on four pictures including the upcoming Sony Pictures Classics release, GET LOW, which also stars Bill Murray and Sissy Spacek; AMC's Emmy and Golden Globe Award-winning BROKEN TRAIL, directed by Walter Hill; and the Warner Bros. Civil War epic, GODS AND GENERALS.
CRAZY HEART marks Cooper's first foray behind the camera as both writer and director.
Originally from Virginia, Cooper now resides in Los Angeles with his wife, Jocelyne, and his daughters, Ava and Stella.
THOMAS COBB (Based on the novel by) grew up in Tucson, Arizona and attended the University of Arizona and the University of Houston. He is the author of two novels, Crazy Heart (Harper and Row, 1987)and Shavetail (Scribner, 2008), and the collection of stories, Acts of Contrition (Texas Review Press, 2003).
Since 1987 he has been a professor of English/creative writing at Rhode Island College in Providence, RI, where he now serves as Director of Performing and Fine Arts. He lives in Foster, RI, with his wife, Randel, and a cat.
ROBERT DUVALL (Producer) - See Wayne Kramer in ABOUT THE CAST
Before arriving in Hollywood, the future Emmy and Independent Spirit Award-winning producer, ROB CARLINER (Producer), attended Princeton and the University of Michigan as a Russian Studies major, an education which came in handy during his first job as director Ivan Passer's interpreter during the acclaimed HBO telefilm "Stalin." While working on the film he met its star, Robert Duvall, who offered him a job at his then new production company based at Sony, Butcher's Run Films. Carliner started as Duvall's story editor then quickly advanced to development executive. Two years later, in 1995, the Oscar-winning actor Duvall called to say his producer was leaving the company and offered Carliner the reigns. At 25, Carliner suddenly found himself heading a production company for one of the industry's most esteemed performers.
In his new position at Butchers Run, Carliner immediately entered pre-production on the TNT telefilm, "The Man Who Captured Eichmann," which was nominated for two Emmy Awards. As co-producer, Carliner developed the material and supervised all aspects of the production while on location in Argentina for the two-month shoot.
After Carliner's successful producing debut, Duvall entrusted him to produce his long-time personal endeavor, THE APOSTLE. Duvall financed and directed his script, which he also starred in along with Billy Bob Thornton, Miranda Richardson, and Farrah Fawcett, while Carliner oversaw the $4 million production. Upon completion in September 1997, Carliner and Duvall took THE APOSTLE to the Toronto International Film Festival. A bidding war ensued among several distribution companies. October Films won, paying $5 million for the worldwide rights, a record for any film sold at that prestigious festival/film market. THE APOSTLE made over $20 million in domestic box office grosses and surpassed the $20 million mark in home video rentals.
In addition to receiving an Academy Award Nomination (Best Actor for Duvall), THE APOSTLE was nominated for six Independent Spirit Awards -the most of any film in '97. Carliner took home the award for Best Picture, while Duvall earned Best Actor and Best Director statues. Among the numerous accolades, including an Un Certain Regard screening at the Cannes International Film Festival and a private screening for President Bill Clinton at The White House, THE APOSTLE was named to over seventy-five critics' "Top 10" film lists for 1997, including Janet Maslin of The New York Times and Kenneth Turan of The Los Angeles Times.
In 2001, Carliner produced ASSASSINATION TANGO, a script Duvall wrote, starred in and directed. The story tracks an aging hit man in Brooklyn who travels to Buenos Aires to assassinate a general. Carliner worked closely with the film's executive producer, Francis Ford Coppola, on the Argentina-based production which co-starred Ruben Blades and Kathy Baker. ASSASSINATION TANGO premiered at the 2002 Toronto International Film Festival (Carliner's third film to receive its premiere there) and was released by MGM/UA in March of 2003.
In 2005, Carliner joined Duvall as executive producer on AMC's "Broken Trail," a 4-hour Western mini-series starring Duvall and Thomas Haden Church (SIDEWAYS). Directed by Walter Hill (48 HOURS, DEADWOOD), the two-part epic follows a veteran cowboy and his nephew as they drive five hundred horses from Oregon to Wyoming, their trail crossing with five enslaved Chinese girls.
"Broken Trail" premiered on AMC in June 2006, preceded by a private screening at The White House for President Bush (Carliner's second screening there). In addition, "Broken Trail" was the most-watched broadcast on cable that year and the second-most watched cable movie of all time, generating close to 10 million viewers. Carliner also received his first ever Emmy Award in 2007 for Best Miniseries, along with the picture's sixteen other Emmy nominations.
JUDY CAIRO's (Producer) films have garnered a Golden Globe®, the George Foster Peabody, the Christopher Award, IPA Satellite Awards and numerous Emmy nominations. Biopics and films about music pepper her body of work as a producer, among them ELVIS, the four-hour mini-series with three Golden Globe® nominations and a win for Jonathan Rhys Meyers; GLEASON, the story of comedian and actor Jackie Gleason; and THE BOY KING, the story of Martin Luther King, Jr. as a child, for which Judy worked closely with Coretta Scott King and Christine King Farris, Martin's sister, to portray accurately and emotionally the childhood influences which shaped Dr. King's life. The film was Cairo's first, and won the George Foster Peabody. She's currently developing ELLA, a biopic on the legendary "First Lady of Song" Ella Fitzgerald, and a drama based on the life of the "James Dean of Jazz," Chet Baker, among other projects in a broad slate at Informant Media.
Earlier in her career, Cairo honed her producing skills out in the field with a portable, 50-pound video recorder slung across her shoulder, trekking across the country and the world - Africa, China, Russia, Europe - producing and writing documentaries which examined life around the world: the famine in Burkina Faso, the prêt a porter in Paris, the everyday life of a Communist party member and factory worker in the Republic of Georgia. "I'm driven to find stories that will teach me something," she comments.
Cairo founded Informant Media, which develops, finances, and produces independent feature films, with partners Michael A. Simpson and Eric Brenner. CRAZY HEART is Informant's first offering.
Cairo was raised in the South (like Bad Blake), in a small town (like Jean Craddock) and graduated from University of North Carolina, Chapel Hill.
T BONE BURNETT (Producer, Music by) was born Joseph Henry Burnett in St. Louis, Missouri, and grew up in Fort Worth, Texas, where he first made records in 1965, producing Texas blues, country, and rock & roll bands and, occasionally, himself. In the early 1970s, he relocated to Los Angeles, where he still lives and works as a producer and recording artist. In 1975, he toured with Bob Dylan's Rolling Thunder Review tour before forming his own group, the Alpha Band, with other musicians from the tour.
Burnett returned to recording solo in the late 1970s and has gone on to record numerous critically acclaimed albums--including 1992's Grammy nominated Criminal Under My Own Hat--under his own name. He has written music for two Sam Shepard plays-Tooth Of Crime (Second Dance) and The Late Henry Moss --and composed music for a production of Bertolt Brecht's Mother Courage and Her Children by Chicago's Steppenwolf Theatre Company.
A prolific and versatile producer, T Bone Burnett has helmed highly successful recordings for Elvis Costello, Roy Orbison, Tony Bennett, k.d. lang, Alison Krauss, Counting Crows, the Wallflowers, Sam Phillips, Gillian Welch, and Ralph Stanley among numerous others. Burnett was musical director for the concert film, ROY ORBISON AND FRIENDS: BLACK AND WHITE NIGHT, which featured Orbison and an all-star band of Bruce Springsteen, Elvis Costello, Tom Waits, Bonnie Raitt, Burnett and many others.
In 2001, he served as Composer and Music Producer for the Coen Brothers' film O BROTHER, WHERE ART THOU?, scoring the film and producing a soundtrack of "old-timey" American music performed by musicians relatively unknown to the public at large. That soundtrack album became nothing less than a cultural phenomenon, selling nearly 9 million copies and dominating the Billboard album chart for more than a year. In 2002, Burnett took home four Grammy Awards: Producer, Album of the Year FOR O BROTHER, WHERE ART THOU?; Producer, Best Traditional Folk Album for Down From The Mountain; Producer, Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media for O BROTHER, WHERE ART THOU?; and Producer of the Year for his work on the above projects and Sam Phillips' Fan Dance.
He was Executive Producer, along with the Coen Brothers, of the DOWN FORM THE MOUNTAIN concert documentary, filmed at the Ryman Auditorium in Nashville in 2000. The success of that concert and film, along with the phenomenal success of the O BROTHER soundtrack, led to T Bone and the Coen Brothers producing two highly-successful concert tours featuring the music, musicians and spirit of O BROTHER, WHERE ART THOU?, DOWN FROM THE MOUNTAIN in 2002 and THE GREAT HIGH MOUNTAIN in 2003.
Burnett and the Coen Brothers joined forces again in 2002 to form DMZ Records, a joint venture with Columbia Records, and produced the new label's inaugural releases: a new album by the legendary bluegrass musician Ralph Stanley and the DIVINE SECRETS OF THE YA-YA SISTERHOOD soundtrack. DMZ has since released several critically-acclaimed soundtrack albums, produced or executive-produced by Burnett, including COLD MOUNTAIN (2003), A MIGHTY WIND (2003), CROSSING JORDAN (2003), and THE LADYKILLERS (2004), a personal favorite of T Bone's which reunited him with the Coen Brothers on a film for the first time since O BROTHER, WHERE ART THOU? One of his songs for COLD MOUNTAIN, "The Scarlet Tide," co-written with Elvis Costello and sung by Alison Krauss, was nominated for an Academy Award for Best Song and won the BAFTA (British Academy of Film and Television Arts) Anthony Asquith Award for Film Music.
He earned a fifth Grammy for his production on 2003's A Wonderful World album by Tony Bennett and k.d. lang.
He also wrote the score and several songs for the Wim Wenders and Sam Shepard film, DON'T COME KNOCKING, collaborating with Bono and Andrea Corrs and Cassandra Wilson, which was released in the spring of 2006. He recently served as Executive Music Producer for the highly-acclaimed Johnny Cash biopic, WALK THE LINE, produced the film's RIAA gold-certified soundtrack album and composed its score. Burnett's work on that film earned him another BAFTA nomination in 2006.
JEFF BRIDGES (Executive Producer) - See Bad Blake in ABOUT THE CAST
MICHAEL A. SIMPSON (Executive Producer) is a founding partner with Judy Cairo in Informant Media, Inc. an independent film financing and production company based in Los Angeles. Simpson and Cairo founded the company in 2008. "Crazy Heart" is the Informant's inaugural production.
Simpson is a writer, producer and director of feature films, television series, interactive programming, commercials and documentaries. His work has garnered George Foster Peabody, CINE Golden Eagle, CableAce, People's Choice, Houston International Film Festival, New York Film International Film & TV Festival and Emmy awards, as well as numerous nominations. As a writer and executive producer, he developed series for ABC, USA Network, TBS and HBO Independent Productions. As a writer, director and producer, Simpson created two groundbreaking original documentary series, "Portrait of America" and "The World of Audubon" for the Turner Broadcasting System. His debut feature film as a writer and director, "Impure Thoughts," was a dramatic finalist at the Sundance Film Festival. Film critic John Hartl, writing in The Seattle Times, called Simpson "one of the success stories of the American independent film movement."
Simpson previously served on the boards of ComEnt and its wholly-owned subsidiaries Odyssey Films and Double Helix Films. During his tenures on the boards, the companies provided financing for, and distributed internationally, more than 70 films including John Sayles' Academy Award-nominated "Matewan," Sidney Lumet's "Q & A," "Guilty By Suspicion," Blake Edwards' "Switch," "Cease Fire," and "1492," directed by Ridley Scott.
ERIC BRENNER (Executive Producer) is a partner in Informant Media, Inc., heading business operations, finance and strategic planning. Brenner has more than 15 years experience in media and finance. He began his career with Sandollar Productions ("Father of the Bride," "Sabrina," "IQ") in development. In 1999, Brenner formed Zephyr Entertainment to raise financing and arrange distribution for independent films. In 2002, Brenner started Global Direct Marketing Solutions Inc., a corporation that raised startup and expansion capital for some 20 businesses in the arenas of marketing, sales and media. Most recently, he organized the funding for a large online media company. Brenner's current focus is raising financing for Informant's slate of independent films.
Brenner is a graduate of Columbia University in New York City.
LESLIE BELZBERG (Executive Producer) began her career in film and television as an Associate Producer for the Academy award-winning documentary GENOCIDE, produced by the Simon Wiesenthal Center, now the Museum of Tolerance in Los Angeles.
Since then, Belzberg has had a long time working relationship with director John Landis for whom she produced the feature films, SUSAN'S PLAN, BLUES BROTHERS 2000, THE STUPIDS, BEVERLY HILLS COP III, INNOCENT BLOOD, and OSCAR. She also executive produced COMING TO AMERICA, and associate produced SPIES LIKE US, THREE AMIGOS, and INTO THE NIGHT.
In television, Belzberg and Landis created "St. Clare Entertainment" where they were responsible for executive producing HBO's "Dream On," USA Network's "Weird Science," Fox Broadcasting's "Sliders," Disney's "Honey, I Shrunk The Kids The Series," and the Action Adventure Network's "The Lost World."
In long form television, Belzberg produced the made for television mini series, "Category 6," "Day of Destruction," and "The Mow," "Spring Break Shark Attack" for CBS Network.
In the past several years she has had an ongoing working relationship as a consultant and Executive Producer or Producer with MTV Networks. She has produced ALL YOU'VE GOT, and SWEET 16: THE MOVIE, as well as co executive produced THE AMERICAN MALL. She acted as an Executive in charge of production on the recently wrapped TURN THE BEAT AROUND.
For Country Music Television, she produced BROKEN BRIDGES and executive produced BEER FOR MY HORSES, both starring Toby Keith, with a limited theatrical release by Roadside Attraction.
BARRY MARKOWITZ (Cinematographer) A.S.C. reunites with producer Robert Duvall after having first worked with him on the Oscar nominated THE APOSTLE. Markowitz' most notable films include the critically acclaimed Oscar nominated SLING BLADE and ALL THE PRETTY HORSES. Among his other feature film credits are TWO GIRLS AND A GUY, SONNY, DADDY AND THEM, PAPER HEARTS, TORN APART and A NICK IN TIME.
Markowitz has been fortunate enough to work with such first time actors and directors as Robert Duvall, Nicolas Cage, Billy Bob Thornton, Scott Cooper and Al Pacino.
WALDEMAR KALINOWSKI (Production Designer) recently designed Ed Harris' APPALOOSA, and an awards gathering Irish film KISSES for director Lance Daly. Prior to that, he and Andy Garcia collaborated on LOST CITY, a film set during the Cuban Revolution. His other projects include PATH TO WAR, John Frankenheimer's last film, STYGMATA for director Rupert Wainwright and DANCE WITH ME for director Randa Haines. His credits also include five films with director Mike Figgis: LEAVING LAS VEGAS, ONE NIGHT STAND, MR. JONES, LIBESTRAUM and INTERNAL AFFAIRS. Earlier in his career he designed Randa Haines' WRESTLING ERNEST HEMINGWAY, Clare Peploe's ROUGH MAGIC and Harold Becker's THE BOOST.
Apart from feature films, Kalinowski has designed numerous music videos, commercials, television projects and stage installations.
Born in Austria, raised in Warsaw, Poland, Kalinowski attended the University of Warsaw to study physics and mathematics. He received his Masters of Fine Arts degree from California Institute of the Arts.
Kalinowski's eclectic professional activities include a research project on heat and radiation shields for the first Lunar Lander in 1969, a series of performance-video installation in the mid-seventies, a seven year stint as a fashion and advertising photographer and a continuing acting career which began with a role in the 1978 feature HEAVEN'S GATE.
His wife, Florence Fellman, an art historian with a Masters Degree in 19th and 20th century European art, is his closest collaborator. Since 1984, the couple has worked together as a Production Designer/Set Decorator team on most of Kalinowski's projects. The couple have two children. Daughter Alexandra Paloma, an aspiring opera singer and son, Ariel Bonaventura, a poet and a writer.
JOHN AXELRAD (Film Editor) recently finished editing the romantic comedy THE BASTER for directors Josh Gordon and Will Speck. The Miramax Films movie stars Jennifer Aniston and Jason Bateman and will have a 2010 release. Before editing CRAZY HEART, Axelrad cut two films for director James Gray: TWO LOVERS (with Joaquin Phoenix and Gwyneth Paltrow) and WE OWN THE NIGHT (Joaquin Phoenix and Mark Wahlberg). Both movies premiered in competition at the Cannes Film Festival, in 2008 and 2007, respectively.
Earlier editing credits for Axelrad include James Gunn's SLITHER, a Universal Pictures release, and the horror/thriller THE MESSENGERS (directed by Danny and Oxide Pang) for Ghost House Pictures and Sony Screen Gems / Columbia Pictures.
In 2005, Axelrad edited BOOGEYMAN for Sony Screen Gems and was an additional editor in 1999 on David Koepp's STIR OF ECHOES, starring Kevin Bacon and Kathryn Erbe. In 2002, he edited the television pilot and 11 episodes of the series HACK for CBS.
Axelrad began his editing career mentored by some of the best editors in Los Angeles. He was assistant editor for Anne V. Coates, A.C.E. on OUT OF SIGHT, ERIN BROCKOVICH, and UNFAITHFUL. He assisted Debra Neil-Fisher, A.C.E. on UP CLOSE AND PERSONAL, and he was assistant to Bruce Green, A.C.E. on HOME ALONE 3 and WHILE YOU WERE SLEEPING. In between assistant jobs, Axelrad edited several independent feature films, a move that would allow him to leave the assistant world and later graduate to editing bigger-budget projects.
Renowned, Texas musician, STEPHEN BRUTON (Music by) had a long and distinguished career as a musician, songwriter and producer. He released five records as a solo artist, the last three for the New West Records label. As a lead guitar player Bruton was in high demand among legendary contemporaries including Kris Kristofferson and Bonnie Raitt. He recorded with Delbert McClinton, T Bone Burnett, Elvis Costello, Carly Simon, The Wallflowers, Sonny Landreth, Peter Case, Ray Wylie Hubbard and a slew of others. He produced records for Alejandro Escovedo, Marcia Ball and Jimmie Dale Gilmore to name a few. Bruton's songs have been widely covered as well, by artists including Raitt, Kristofferson, Willie Nelson, Jimmy Buffett, Johnny Cash, Waylon Jennings, Martina McBride and Patty Loveless.
Bruton, who passed away due to complications of an ongoing battle with throat cancer earlier this year, was creating music until the end of his life. He was most recently working on the upcoming Fox Searchlight Pictures film Crazy Heart. He co-produced the original soundtrack and score with his lifelong friend T Bone Burnett. Ultimately, Bruton was able to see the completion of the project before his death. He also collaborated with his mentor and friend Kris Kristofferson on Kristofferson's critically acclaimed Closer To The Bone, which would later be dedicated to him.
Born in Fort Worth, Texas, Turner Stephen Bruton grew up surrounded by music. His jazz drummer father ran a record store where Bruton was weaned on the musical classics from blues, country, jazz and pop to classical. By his teen years, Bruton and Burnett were laying down tracks in Burnett's makeshift home studio in between gigging with other pals like Delbert McClinton, all the while digging on musical giants like Freddie King and Ornette Coleman -who could be heard in the local clubs. Bruton sharpened his guitar chops playing high lonesome bluegrass by day and then soaked up some soul by grinding out the blues at night on the other side of town.
In 1970 Bruton made his way to Woodstock, NY. One night he headed down to Manhattan to catch a show by Kristofferson and was offered a gig, playing guitar in the rising songwriting star's band. That opportunity launched nearly two decades of regular roadwork with Kristofferson as well as touring with Bonnie Raitt, Christine McVie and others.
By the mid 1980s, Bruton returned to his Texas roots and settled in Austin, where he became a part of the city's thriving music community. Although he had produced an album with Burnett for Fort Worth legend Robert Ely and the song "Amnesia & Jealousy" for Burnett's Behind The Trap Door album, his production career began in earnest when Jimmie Dale Gilmore asked him to produce his major label debut, After Awhile.
Bruton debuted as a solo artist with What It Is in 1993. At the same time his songs also gained recognition and began to be recorded by such notable artists as Kristofferson, Raitt, Hal Ketchum, The Highwaymen, Willie Nelson, Waylon Jennings, Johnny Cash, Little Feat, Jimmy Buffett, Patty Loveless, Lee Roy Parnell and Martina McBride among others.
Bruton also built an impressive resume as a film and TV actor appearing in A STAR IS BORN with Kristofferson in 1976 and MAN OF THE HOUSE with Tommy Lee Jones. He's been seen in such films as CONVOY, SONGWRITER, HEAVEN'S GATE, MISS CONGENIALITY, SWEET THING and THE ALAMO as well.
DOUG HALL (Costume Designer) first worked with Robert Duvall on THE APOSTLE. His other notable credits as costume designer include MY ONE AND ONLY, A WALK TO REMEMBER, ALL THE PRETTY HORSES, AMERICAN HISTORY X and SLING BLADE.
Hall began his career in the film industry as an art director but soon switched to the wardrobe department. Among his other film credits are IRA AND ABBY, CONVERSATIONS WITH OTHER WOMEN, THE JACKET, POSTER BOY, WAKING UP IN RENO, DADDY AND THEM and THE CORRUPTOR.
CAST
Bad Blake Jeff Bridges Manager James Keane Barmaid Anna Felix
Jack Greene Paul Herman Bill Wilson Tom Bower Tony Ryan Bingham
Jo Ann Beth Grant Wesley Barnes Rick Dial Jean Craddock Maggie Gyllenhaal
Ann Debrianna Mansini Cowboy Jerry Hardy Buddy Jack Nation
Ralphie Ryil Adamson Bear J. Michael "Yak" Oliva Nick David Manzanares
Young Guy Chad Brummett Older Hispanic Man Jose Marquez
Nurse Le Anne Lynch Doctor William Marquez Wayne Robert Duvall
Jesus/Juan Richard Gallegos Steven Reynolds Brian Gleason Bartender Harry Zinn Security Guard Josh Berry Pat William Sterchi
Stunt Coordinator Al GotoRussell SolbergStunt Players Lloyd CatlettEd Duran
Unit Production Manager Alton Walpole First Assistant Director Kaaren Ochoa Key Second Assistant Director Chemen A. Ochoa
Line ProducerALTON WALPOLE
Associate ProducerGINA SCHEERER
Film EditorJEFFREY FORD, A.C.E.
Production Supervisor Dawn Todd
Camera Operators Barry Markowitz A.S.C. Lynn Lockwood Steadicam Operator Beau Chaput First Assistants Camera Timothy N. Walker Chip Byrd Second Assistants Camera Liza Bambenek Ryan Eustis Loader Frank Larson Technocrane Technician David Hammer Camera PAs Greg Byrd Taylor Myers Key Video Assist Dale G. Waseta Video Assist Free Bear Video Playback Frank Eyers
Chief Lighting Technician Steven LiteckyBest Boy Electric Sean Mallon
Lighting TechniciansTroy K. Anderson Jack C. Jones Steve B. Jones Lee Nakagawa
Key Grip Greg Hewett Best Boy Grip / Key Rigging Grip Trevor Howe Crane Operator Kurt Kornemann Dolly Grip Josh Steinberg
GripsMorgan Davis - Dwight Dollins Harland Espeset - Tobin Espeset Ian J. Hanna - Aubrey Husar Jonathan N. Lutes - Lea E. Miller Cody West - Sean Wright
Best Boy Rigging Grips Brian Malone James Threadgill Script Supervisors Joanna Kennedy Mamie Mitchell
Production Sound Mixer Bayard Carey
Boom Operator Jeff KnudsenUtility Sound Zac SneesbyMusic Playback Rodney Gurule
Art Director Ben ZellerArt Department Coordinator Lyn Gawron
Graphic Artist Gina ZaritskyArt Department Interns Mari KempesJean Harrison
Set Decorator Carla Curry Leadman Phil Shirey Buyer Mary Holyoke On Set Dresser Colin Zaug
Set DressersWil Albarez - Lance Cheatham Linda R. Gore - Graham Griswold Richard Hughes - Scott Plunket David Servoss - Juan Souter David J. Thompson - David Trujillo Robert Trujillo
Draper Evelyn Rios Zeller
Key Greens Christopher Martin Greens Foreman Thomas L. Caldwell Property Master David D. Bauman
Assistant Property Master Lawrence Tolle
Assistant Costume Designer Nancea CeoKey Set Costumer Aleah Ames
Set CostumersJennifer Gingery Michelle Duval Cherlyn Schaefer
Wardrobe Production Assistant Hillary Higgins
Department Head Make-Up Artist Tarra Day Key Make-Up Artist Sheila Trujillo-Gomez Make-Up Artist Danlee A. Winegar Department Head Hairstylist Geordie Sheffer Key Hairstylist Jennifer A. Santiago Hairstylists Mary Lampert Enid Arias
Special Effects Coordinator Scott HastingsSpecial Effects Foreman Danny Maldonado
Special Effects TechniciansBrett Cole - Joel Hobbie Mike Rogers - Adam Rosen Dusty Webb
Production Coordinator Elaine K. Thompson Travel Coordinator Cory Lynn Bol Production Secretary Tiffany Dyer
Production Accountant Barbara Long 1st Assistant Accountant Scott W. Herrick Payroll Accountant Amy S. Hawkins Accounting Clerk Lisa H. Jackson
Construction Coordinator Carl Zeller General Foremen Eric Arellanes Labor Forman Robert Vigil
PropmakersShawn Caffrey - Chris J. Gallegos Doug Gray - Randy Severs Angelo Tomarchio
Laborer Steven Fode Sign Writer Paul Harman Welder Doug Butts
Paint Foremen Randy E. Ortega Marcario Rivera Paint Gang Boss Patrick Boyles
PaintersRalph Diaz - Jose I. Mendoza Jesus Antonio Murillo - Nicole Sahd Alfredo Ventura
Second Second Assistant Director Sarah B. Lemon Add'l Second Second Assistant Director Marcia A. Woske Key Set Production Assistant Ismael "Mello" Martinez
Set Production AssistantsJon Baran - J.J. Dalton Sue Foley - Alina Gatti Colin Garza - Walter E. Myal
Assistant to Producers Wendy R. Kennedy
Office Production AssistantsNicole Auckerman Robert Anthony Brass Carlos Villareal
Studio Teacher Dia Hahn
Location Manager David Manzanares Assistant Location Manager Jason Wetter Location Scout Lorenzo Vigil
Transportation CaptainsRobert "Bear" Molitor Norman Marty Radcliff
Hot Air Balloon Company Santa Fe Balloons Balloon Pilot Johnny Lewis Chase Crew Darin Foster - Gregory Garcia Jeanne Hertz - Micki Lando-Brown
Set MedicsPaul "Cow" Baca Diane Minfa Dale O'Malley
Set Security by JLS Security
Production Catering by Reel Chefs Catering
Key Craft Service Donald L. Draper
Perry L. Coomans
Unit Publicist Louise A. Spencer
Unit Still Photographer Lorey Sebastian
L.A. Casting Associate Lindsay Graham
N.M. Casting Associate Marie A. Kohl
N.M.Casting Assistant Hannah MacPherson
Extras Casting Tina Kerr
Extras Casting Assistant Karin M. Aragon
Additional Editor Tom Cross
First Assistant Editor Kiran Pallegadda
Post Production Accountant Shea Kammer
Post Production Coordinator Rachel Varnell
L.A. Production Assistant Robert Vertrees
Supervising Sound Editors & Designers Andrew DeCristofaro, MPSE
Paula Fairfield
Sound Effects Editors Michael Payne
Paul Aulicino
Carla Murray
Dialogue Editors John C. Stuver, MPSE
Nancy Nugent Title, MPSE
Richard Alexander
Assistant Sound Effects Editor Patrick Cusack
Re-recorded at Todd-A O Seward
Re-recording Mixers Joe Barnett, CAS
Rick Kline
Mathew Waters
Additional Mixers Richard Alexander
Todd Beckett
ADR Mixer Troy Porter
Loop Group Joe Cappelletti - Al Rodrigo
Eddie Frierson - Kate Higgins
Marabina Jaimes - Carol Bachyrita
Cindy Robinson - Eric Gotthelf
Foley Artist Gregg Barbanell
Foley Mixer Lucy Sustar
Sound Recordists Robert Althoff
Jesse Johnstone
Additional Audio Support Kimberly Jimenez

Pat Stoltz Supervising Music Editor Fernand Bos Music Editor Adrian van Velsen
HD Dailies Colorist Greg Curry DI Producer Paul Lavoie Digital Conform Editor Eric Peterson DI Artist/Color Timer Walter Volpatto
Vocal coach for Jeff Bridges Roger Love
The Musicians
Drums Jay Bellerose Guitar, Mandolin Stephen Bruton Piano Thomas Canning Bass Dennis Crouch Squeeze Box Joel Guzman Pedal Steel Greg Leisz Guitar Buddy Miller Keyboards Patrick Warren Fiddle Sara Watkins
Tony and the Renegades
Vocals, Guitar Ryan Bingham
Bass Elijah Ford Guitar Corby Shaub Drums Matt Smith
Music Supervisor Jeff PollackMusic Consultant Larry JenkinsMusic Engineer Mike PiersanteMastering Engineer Gavin LurssenGuitar Technician Paul AcklingMusic Contractor/Production Coordinator Ivy Skoff
"Hold On You" "Hello Trouble" Written by Stephen Bruton, T Bone Burnett, Written By Orville Couch and Eddie McDuff John Goodwin, Bob Neuwirth Performed by Buck Owens Performed by Jeff Bridges Courtesy Of Buck Owen Enterprises
"My Baby's Gone" "Somebody Else" Written by Hazel Houser Written by Stephen Bruton and T Bone Burnett Performed by The Louvin Brothers Performed by Jeff Bridges Courtesy of Capitol Records
"I Don't Know" "Wesley's Piano" Written by Stephen Bruton and T Bone Burnett Written by Tom Canning Performed by Ryan Bingham Performed by Rick Dial
"Fallin' & Flyin'" "Searching (For Someone Like You)" Written by Stephen Bruton and Gary Nicholson Written by Murphy Maddux Performed by Jeff Bridges Performed By Kitty Wells Courtesy of Universal Music Enterprises
"I Don't Know" "Once A Gambler" Written by Stephen Bruton and Written By Sam Hopkins T Bone Burnett Performed By Lightnin' Hopkins Performed by Jeff Bridges Courtesy of Arhoolie Records
"Are You Sure Hank Done It This Way" "I Let The Freight Train Carry Me On"Written and Performed by Waylon Jennings Written by Alton Delmore,
Courtesy of Sony Music EntertainmentRabon Delmore and Sydney Nathan Performed by The Delmore Brothers Courtesy of Gusto Records, Inc.
"Color Of The Blues" "Joy" Written by George Jones and Written and Performed by Lucinda Williams Lawton Williams Courtesy of Universal Music Enterprises Performed By George Jones Courtesy of Gusto Records, Inc
"Fallin' & Flyin'" "Gone, Gone, Gone" Written by Stephen Bruton and Gary Nicholson Written by Ryan Bingham, T Bone Burnett and Stephen Bruton
"The Weary Kind (theme from Crazy Heart)" "If I Needed You" Written By Ryan Bingham and T Bone Burnett Written and Performed by Townes Van Zandt Performed by Jeff Bridges Courtesy Of Capitol Records Under License from EMI Films & Television Music
"Reflecting Light" "Mal Hombre"Written and Performed by Sam Phillips Written and Performed by Lydia MendozaCourtesy Of Nonesuch Records, Courtesy of Arhoolie Recordsby arrangement with Warner Music GroupFilm & TV Licensing
"Live Forever" "The Barnyard" Written by Billy Joe Shaver and Eddy Shaver Composed by Thomas R. Hopkins Performed by Robert Duvall Courtesy of Non-Stop Music
"Brand New Angel" "The Weary Kind (theme from Crazy Heart)" Written by Greg Brown Written By Ryan Bingham and T Bone Burnett Performed by Jeff Bridges
"The Weary Kind (theme from Crazy Heart)" Written by Ryan Bingham and T Bone Burnett Performed by Ryan Bingham
Soundtrack on

THE PRODUCERS WISH TO THANK:
Jocelyne CooperAva and Stella Cooper
Toby Keith

Eddie MontgomeryTroy GentryAndThe Montgomery Gentry BandAndy Bowers - Frank Bowers - Garrett James - Ernest Hammons - Edward KilgallonJames Matejek - Randy Sorrells
Tod EasonKris Rabie
"Standing O" by Rome and Gold CreativeCommissioned by the Bernalillo Country Art Board and Public Art Program
StetsonSouthern ThreadsHugo BossJewelry Design By Kathern KinseyConverseRay BanLuxotica Eyewear
The Film Commission of New MexicoThe City of Santa FeThe City of AbuquerqueLisa StroutJennifer SchwalenbergTobi Ives
The City of Los AngelesThe City of HoustonLighting Equipment Provided by Leonetti Company New MexicoChapman Dollies Provided by Leonetti Company New MexicoFilmed with remote cranes and heads from Panavision Remote Systems
Filmed with Panavision® Cameras & Lenses (logo)
Originated on Eastman Kodak Color NegativeDigital Conform by Keep Me PostedDigital Intermediate by FotoKem Digital Film ServicesColor by Fotokem
No. #45721
Kodak Logo

IATSE TEAMSTERS
The characters and incidents portrayed and the names herein are ficticious, and any similarity tothe name, character or history of any person is entirely coincidental and unintentional.
(C) 2009 Twentieth Century Fox Film Corporation and MTV Networks, a division of ViacomInternational Inc. in all territories except Brazil, Italy, Japan, Korea and Spain.(C) 2009 TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth CenturyFox Film Corporation and MTV Networks, a division of Viacom International Inc.
This motion picture photoplay is protected pursuant to the provisions of the laws of the UnitedStates of America and other countries. Any unauthorized duplication and/or distribution of thisphotoplay may result in civil liability and criminal prosecution.
This film is dedicated to the memory of Stephen Bruton
(C)2009 TWENTIETH CENTURY FOX. ALL RIGHTS RESERVED. PROPERTY OF FOX. PERMISSION IS GRANTED TO NEWSPAPERS AND PERIODICALS TO REPRODUCE THIS TEXT IN ARTICLES PUBLICIZING THE DISTRIBUTION OF THE MOTION PICTURE. ALL OTHER USE IS STRICTLY PROHIBITED, INCLUDING SALE, DUPLICATION, OR OTHER TRANSFER OF THIS MATERIAL. THIS PRESS KIT, IN WHOLE OR IN PART, MUST NOT BE LEASED, SOLD, OR GIVEN AWAY.