| The Brothers McMullen Grand Jury Prize, Sundance Film Festival 1995, Independent Spirit Award 1995, "Most Profitable Release of 1995, " Variety Magazine. Directed by: Ed Burns - Fox Searchlight Pictures. Director of Photography and Editor: Dick Fisher. Produced by: Ed Burns and Dick Fisher |
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| Dick Fisher: Producer, Director of Photography, Editor. |
| Awards |
| Grand Jury Prize - Sundance Film Festival - 1995 Special Jury Award Deauville Festival of American Film - 1996 Independent Feature Project Spirit Award - 1996 Producer's Guild of America - Golden Laurel NOVA - 1996 LI Film Foundation - Special Filmmaker Trophy - 1997 |
| "A terrific crowd pleasing comedy." Janet Maslin, The New York Times ". . . romantic, charming and engaging." Ken Turan, Los Angeles Times ". . . as wonderful as a good neighbor." The Hollywood Reporter "Two thumbs up . . .way up!" Siskel & Eber |
| The real story about BRANDY, EddieBurns1st film. http://www.geocities.com/Hollywood/Set/1091/brandy.htm |
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| For reel and availabiltiy call: (520) 907-1900 or email: [email protected] |
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| A romantic comedy of epic Irish American proportions, shot on a micro budget, THE BROTHERS McMULLEN launched the career of Ed Burns. The film was shot and edited on nights and weekends by Dick Fisher using the equipment and facilities of his company, Videography Productions, Inc. The film won the Sundance Film Festival Grand Jury Prize in 1995 as well as an Independent Feature Project Spirit Award, the Producers Guild of America, Golden Laurel Award, and a special jury prize at the Deauville (France) Festival of American Cinema. A box-office smash, it was the first film released by Fox Searchlight Films. |
| Young Ed Burns was working as a production assistant, at Entertainment Tonight. He had left Hunter College (part of City College of NY) without a degree but with a short film, HEY, SCO that had aired on Public TV after a showing at the Independent Feature Project�s (IFP) 1992 Independent Feature Film Market (IFFM). Dick Fisher�s production company Videography Productions, Inc. provided location production services to many broadcast programs, including Entertainment Tonight. While working there, Burns was assigned to work for Dick Fisher. They became friends, sharing a common interest in films and filmmaking. Dick was impressed with HEY, SCO, and Burns asked him to be Director of Photography for his first feature film, BRANDY. It was shot in 11 days on 16mm and stars, Julie Bowen, as an embittered young lover betrayed and abused by her ex-boyfriend, Stick, played by Eddie Burns. A rough-cut of the film was entered as a work-in-progress at the 1993 IFFM, but no buyer could be found. When it became apparent that BRANDY wasn�t going to sell, Dick decided to make another film with Burns. Together they watched the films of Woody Allen (with special attention to HANNAH & HER SISTERS, and MANHATTAN). They followed with interest the genesis of THE LAWS OF GRAVITY. (Coincidentally, co-star Edie Falco, auditioned for BRANDY!) They decided to make an episodic film with interconnecting stories. This would enable them to shoot the film on nights and weekends and avoid continuity problems. Dick supplied the crew, camera equipment, lighting, transportation, processing, and editing while Burns was responsible for getting raw stock. Over the next 8 months, on 22 shooting days, THE BROTHERS McMULLEN was put into the can. |
| There were days when a camera assistant could not be found; so, Dick worked without one. There was never a gaffer, a grip, or an electrician. Usually the whole crew fit in Dick�s car; the cast drove themselves to the locations. They shot at Dick�s apartment on the Upper Westside, Burns� apartment and his parent�s house on Long Island, and on the streets and in Central Park. If they were asked for a permit, Dick just showed his press pass and said they were shooting news promos. |
| After each scene was shot the footage went to DuArt Film Labs (where Dick�s company, Videography Productions had an account) and the film was processed and transferred to videotape. When time allowed Dick would rough cut the scenes using BetaSP linear editing equipment. By the summer of 1994, over 2 � hours of edited scenes were completed. |
| Dick, a musician and folk music fan, had an idea about adding a new dimension to the film with music. He convinced Burns that traditional Irish music would add an arty feel to what might be seen as a low budget soap opera. His friend and occasional soundman, Andrew Yarme, had a family friend, Seamus Eagan, who was an accomplished musician and had a CD on Shanakee Records, Traditional Music of Ireland. Using almost all of the tracks (which were instrumentals) they put together a 2 hour rough-cut and took it to the 1994 Independent Feature Film Market at the Angelica Theatre in New York City. So far the actually out of pocket expenses for the film was between $20-25,000, almost entirely for raw stock and processing. |
| Seamus Egan was finishing a new album A Week in January while the soundtrack for THE BROTHERS McMULLEN was being put together and additional tracks were taken. Sarah McLaughlin wrote lyrics to Weep Not for the Memories and called it, I Will Remember You, The Brothers McMullen Theme and recorded it for the soundtrack. Her later live release of I Will Remember You became a huge hit. |
| Amy Taubin, in her annual Village Voice overview of the IFFM (a year earlier CLERKS had made history in this way) wrote that Bob Hawke, a programmer for the Sundance Film Festival, had recommended THE BROTHERS McMULLEN to her and she loved it. Bob Hawke had seen both HEY, SCO, and BRANDY and had socialized with Burns during the market. Apparently he had become THE BROTHERS McMULLEN�s champion. The rough-cut was submitted to Sundance and became the last narrative film to be accepted for the 1995 Festival. |
| Being accepted to Sundance changed everything. James Shamus and Ted Hope of Good Machine offered their services as sales representatives, attorney John Sloss came on board, SoundOne, DuArt, and many other service providers offered open credit accounts to get the film done on time. Finally, 20th Century Fox called and offered a $35,000 advance for a first look/last offer deal. Dick locked himself in the edit room and cut the film down to 92 minutes. The experience at Sundance was magical. THE BROTHERS McMULLEN became the little film that could, adored by the audiences, and loved by the judges. |