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PANTELION FILMS, LIONSGATE, CIMA PRODUCTIONS, OLMOS
PRODUCTIONS AND SILENT GIANT ENTERTAINMENT PRESENT
Starring
GINA RODRIGUEZ, JENNI RIVERA, EMILIO RIVERA, NOEL G., KERRY NORTON, BRAXTON MILLZ, JOSEPH JULIAN SORIA, CHRISSIE FIT
WITH LOU DIAMOND PHILLIPS AND EDWARD JAMES OLMOS
DIRECTED BY: YOUSSEF DELARA, MICHAEL D. OLMOS
WRITTEN BY: YOUSSEF DELARA
PRODUCED BY: VICTOR RERAN
PRODUCERS: YOUSSEF DELARA, AMIR DELARA, MICHAEL D.
OLMOS, MICO OLMOS, EDWARD “E-DUB” RIOS
AND LISA “KHOOL AID” RIOS
RUNNING TIME: 1 HOUR 41 MINUTES
For Further Information Please Contact:
Publicity Carol Sewell Amy OrtegaPantelion Films Pantelion Films [email protected] [email protected] PH: 310.255.3667 PH: 310.255.5753
Synopsis
FILLY BROWN is an inspiring and gritty portrait of a young artist striving to find her
voice and seize her dreams without compromise. Majo Tonorio, aka, “Filly Brown” is a
young raw hip-hop artist from Los Angeles who spits rhymes from the heart. With a
mother in prison and a father struggling to provide for his daughters, Majo knows that a
record contract could be her family’s ticket out. But when a record producer offers her a
shot at stardom, she is suddenly faced with the prospect of losing who she is as an artist,
as well as the friends who helped her reach the cusp of success. Directed by Youssef
Delara and Michael Olmos, FILLY BROWN is propelled by an exceptional cast
featuring Lou Diamond Phillips, Edward James Olmos and the legendary Jenni Rivera in
her final on-screen performance. Fueled by a fierce hip-hop score, FILLY BROWN
heralds the arrival of Gina Rodriguez in the electrifying title role.
ABOUT THE PRODUCTION
THE INSPIRATION
Youssef Delara: I found myself at the Green Cottage one night, a small cave-like venue
with bleachers and a weather-beaten stage in West Hollywood, CA. An annex to Fairfax
High-school hidden away behind the bustle of the city, It’s a place where street poets,
rappers and dreamers come to spit verse. After my first show I was hooked. The poets
held an uncanny power over us, taking us on a journey. We laughed and cringed as they
dealt out word after word. I was intrigued by the idea of how words informed the world,
how that night they drew me and the entire audience into the mind of the artist. I left that
night with the idea of telling a story about a person who uses a lie to create her world.
When the basis of one’s word is built on lies it is unable to cause change or move people.
I think that’s why we gravitate to music that is honest, sometimes vulgar even, because
the truth is a magnet. I wanted to tell a story about a person’s journey to discovering
herself through their music.
Michael D. Olmos: for me the inspiration was the story. After reading Youssef’s first
draft, I was impressed with the seamless integration of drama and music. There was a
rhythm to the story. It was something we picked up on during development and were able
to continue in post, in the editing. It’s not noticeable unless you look for it - but the
rhythm informs the story even when there’s no music, there’s a beat in the pacing of the
cuts.
Youssef was very open to me diving into the story with him to take it deeper. I think we
both attack story as directors first, rather than writer first. We both see the movie “unfold
on page. We started on the process and dove into the world of these amazing characters,
this family, each trying to do what’s right for each other, yet each so out of touch with
their authentic self, and each so emotionally isolated from each other, that they’re on the
verge of destruction. The tension is electric; It’s a house built of cards on a foundation of
melting ice.
The themes of the story are powerful. Like every story there are multiple themes but the
core for Filly Brown is the tenant of being true to your self - of finding the authentic self.
It’s a theme we can all relate to - the universal theme of being who you are, of not having
to wear a mask to fit in, to be accepted for your uniqueness and difference rather than
being punished for them. For each character in the story, and each in their own unique
way, this is the transformation they must all make.
The statement the story makes is that once you find your voice, your “truth,” all problems
in your world either fall away or are manageable, solutions present themselves, you find
compassion, and you navigate life on your terms.
Parallel to this journey is the music journey of Majo (aka Filly Brown). The other side to
her character is that she’s a talented MC. Her talent is obvious to everyone, and as
opportunities open up, the sharks take notice. Everyone starts to see dollars and wants a
piece. It’s a tenuous journey for Majo, because deep down she is scared of her own talent.
She has not been able to trust in her abilities, and instead would rather “adapt” someone
else’s voice as her own. She’s scamming and hustling to make a buck, It’s a skill she
picked up from her parents. Like her personal life, her music life is a sham. It takes a
reckoning in her personal life for her to admit she’s a fake, and influence those around
her to see that they are too. That’s one of the most inspiring things about this character –
she’s a catalyst. Her journey sparks a reaction in you, and it resonates off screen.
Pulling it all together is hope. We did not want the story to fall into a deep, dark chasm as
some dramatic stories might chose. We wanted a light at the end for these characters. We
love them, we respect them, and we want to see them succeed at all costs. In the end It’s
not about whether they get there or not, It’s the glimpse of hope that resonates after the
film. Hope that they will remain honest with each other, and make it on their own terms.
The story is inspiring for us on many levels -- the story of the underdog -- the story of the
artist searching for an authentic voice; in many ways these are our stories. Bringing Filly
Brown to life, working with an incredible and talented group of actors and collaborators,
helped us find our authentic voices as filmmakers.
DEVELOPING THE FILM
The first priority we had as filmmakers was developing the story, focusing on the story
arcs of all the central characters, making sure every scene pulled the audience into the
psychological center of the story. In this case the center of the story is Filly (Gina). The
first way we did this was by situation- we cut out all extraneous exposition.
Every scene is a situation that informs story, that pushes an arc, that feeds back to the
central story, every choice affecting the central character so that even when you’re not
with her, the situation that is unfolding is so intensely affecting her that you are on the
edge of your seat. It makes it feel that our central character is in every frame of the film --
and she is, only sometimes it’s through the lives of the other characters.
Once the script was where we envisioned we presented it to our producing team. The
response was overwhelmingly positive, if cautious. Edward’s exact words were, “If you
can find the lead, I’m in. But good luck, because the whole film will depend on her - if
you can’t find her no one will buy the [reality] of the story.”
Casting the lead character, Filly Brown, was the next big challenge we tackled. Initially
we were hoping to find a rapper we could mold into an actor. By the time casting began,
Khool-Aid and E-Dub Rios of Silent Giant Entertainment had come onto the team. As
pioneers of Latin Hip Hop, they were tasked with guarding the authenticity of the music
and the world and they began right away by bringing in talented female MC’s as potential
leads. But the realization soon set in that our timetable was perhaps a little too ambitious.
Whether it was turning an MC into a credible actress or an actress into a credible rapper,
it was starting to look like it would take longer than anticipated.
Little did we know that a screening the summer before at LALIFF held our answer. A
couple of members of the team had been at the screening of “Go For It” and had seen
Gina Rodriguez in her amazing supporting role. Remembering that fearless performance,
we brought her in to audition She killed the dramatic part of the audition, and then broke
into an impromptu rap. We kept our composure, but we knew right away.
The final piece of the puzzle came together at the end of 2010. Everyone on the team had
been scouring for financing in the middle of the worst economic crisis since the Great
Depression when Kevin Smith came forward with enough guts and vision to take a
chance on our project. The moment Kevin (not that Kevin Smith) committed to financing
the film, we were officially in pre-production.
DIRECTING AS A TEAM
We decided to attack the directing job as a team. Why? Because we both wanted to direct
the movie and this was our solution. We have a very symbiotic working relationship
because our story telling aesthetic is very similar. We both are intensely loyal to our
instinct and intuition when it comes to creative choices, so we operate on a process based
on “allowing” – we’ll say: “okay, I know you’re not gonna like this, but let’s just allow
and see what happens.” It allows ideas into our creative space that we might both
instinctively deny at first, but now we can explore - sometimes our initial instinct was
right and other times it lead us into new territory we never even considered.
In the end the best idea that serves the story wins - because that’s what it’s about; the
entire process is about telling the best story we can. Bottom line. We work pretty well
together even when we disagree. We will follow each other’s line of thought through to
the end to try and understand each other’s ideas completely, in the end we can agree to
disagree - but if what’s on screen is better than what either of us originally imagined, then
the debate is over.
Getting to this working relationship was not easy. We developed it over the course of a
year working on Bedrooms. We each had input on each other’s stories all the way
through post-production. It was a tenuous process to say the least, but in the end we
developed a short hand in dealing with each other on a creative and personal level.
So, two directors - how does that work? Well, we came up with scenarios we’d gleaned
from other directing teams, but the thing is, most directing teams started out that way -
not us. We were two directors with our first features under our belts. Neither of us wanted
to give up any directing tool available to us. After much debate, the conclusion was that
we couldn’t have creative debates on set -- no time or budget for that. That part of the
process had to happen way before we got into production.
We decided to lock ourselves in an office and act out all the scenes, block, re-write,
create the visual style, and structure the entire film. We did this for two weeks. For some
of the bigger sequences and complicated scenes we created a shot list. Then later when
we had our locations, we went there and did the same thing. Then we did it again on the
tech scout with our department heads. Of course we also knew from experience that we
could throw out any planned approach to a scene, leaving the door open for spontaneity
and new ideas on the day.
The one caveat we had was that if either of us felt we did not “have it” on any scene we
could jump in and get the extra takes or coverage we wanted, so that when we got to post
we had those choices in the edit bay. Prep was everything -- by the time we got to set on
the actual shoot, we were of one mind. We spent six months together in the edit bay,
crafting the film – we’ve been working on the film for eleven months. It’s been one of the
most rewarding creative processes for us.
TELLING THE STORY
Being creators as well as fans of film, we wanted to really design the film with intricate
blocking, staging, and camera moves. We also knew from experience the limitations of
indie films. We opted for a cinema vérité style for the music component of the story. This
style was perfect for the energy of that world - at times highlighting the excitement and at
other times the chaos. It also created a thrust and movement for the story and propelled
the pace of the film.
For the family elements of the story we went with the more classic film style - sticks,
dollies (where possible) and choreographed blocking. This created a deceiving silence,
like the eye of a hurricane, because the subtext of the dialogue between the characters
created a sense of foreboding.
And of course - whenever we were running out of time, all bets were off. The focus was
to get as much coverage and takes in the can. The plus was that we had two cameras, and
shot with both cameras as much as we could. In the end we knew that we had to get as
much as we could in the can, because this was not the kind of production that could
schedule two weeks of reshoots to pick up anything we didn’t get the first time around.
This was it. Whatever we got was all there was.
Working with Ben Kufrin we did tests on the RED camera to set a look for the film. We
knew that it would be a de-saturated world- at one point Youssef wanted to shoot Black
& White -- but we settled on a look we felt fit the story. A de-sat look with a splash of
color that stood out, that not only highlighted the character central to the scene, but also
informed mood and story.
The great thing about the RED and working with Ben is that he lights for a specific look,
but he gives us enough latitude on the raw file so that we have choices when we get to
color correction. The technology really opens the creative doors. We shot 2:35 aspect
ratio, which allowed the characters to live in a wide frame. We wanted a feeling of
isolation by framing them in a wide canvas. We also played with the idea of power shifts
in scenes with conflicting characters -- we would change the angle on a character as the
scene progressed (low to high), to diminish or enlarge their presence accordingly. We
wanted to always make use of the language of the camera.
We had to create this same structure with the music. It had to play into this design - it had
to also create dramatic situations for the audience to position themselves in the story. The
music had to continually push the story to the emotional center of the characters. It had to
serve the story. It’s not an easy thing to do, because it can’t be on the nose unless it
becomes melodramatic. It has to be counterpoint; it has to take you into the emotional
center from a different direction than the dramatic thrust. This way the audience makes
an emotional discovery when you find the connection.
We were able to create this by always starting with a big story idea with the music, and
then distill it down, minimizing it into simple dramatic lyrics and sounds. We had a great
music team between Edward “E-Dub” Rios and Reza Sefinia. The two of them allowed
us to continually push the music into different directions as the film demanded. In the
editing room, the story dictates how it wants to be told, and you have to allow that
process in, you can’t fight it. As we continuously tried to steer the story into the center,
and adjust for this, the music also had to adjust. We made so many changes I think we
drove them crazy at one point, but to their credit they adjusted their own creative process
to serve the film. As you’ll see in the credits, we were all ingrained in the music creation
process - and our music team allowed us to explore.
MUSIC
After the critical issue of casting “Filly”, we knew that finding the right composer and
music supervisor would be the next critical factor in delivering the authenticity to
our characters’ world and driving the story home.
We wanted the music to create dramatic situations for the audience to position
themselves in the story, and continually push that story to the emotional center of the
character without becoming melodramatic. On top of that we had to mesh the dramatic
score intimately with the performance songs, the orchestral elements had to keep the grit
of Filly’s world whilst the hip-hop had to retain the drama of her story. Reza Safinia was
just the man to deliver that balance. Prior to his current incarnation as a composer/music
supervisor, Reza was a very successful record producer working with international pop
stars such as Kylie Minogue, and prior to that, he started his career in studios assisting in
sessions with some the biggest names in hip-hop such as Wu Tang and Terror Squad.
Reza created the seamless soundscape of the film by using common elements throughout
the score that could be reprised into different productions. The movie opens with his
unadulterated banger “Dream Big”, a pounding beat incorporating soaring strings and
mesmeric piano line, harking to the aspirations of our protagonist, that deconstruct into
the sobering score of the prison segment as the beat vanishes.
Elsewhere the score mutates into dark electronic tones, incorporating genres such as
dubstep, to reflect the aggression of the antagonist character Wyatt. The performance
songs also take a turn to urban pop as Filly’s career progresses under the guidance of the
Svengali Big Cee, who steers Filly away from her underground roots. As the music spans
the course of Filly’s career and character arc, so does the vocal delivery.
Reza drew on his experiences recording both the most underground of rappers, and the
most polished of pop stars, to coach Gina Rodriguez, in the different stages of Filly the
artist, and she excelled. Initially he had her just talk on the mic, about her life, about her
thoughts, whilst music was playing in her headphones, until she was so comfortable that
it became second nature and the talks turned into fluid raps. On “Dream Big” she sounds
as hard as she does effortless, with a sick street flow, on “Filly Brown” (Big Cee) she
sounds like a perfect urban pop princess. From a story telling point of view it was
important to get these extremes from Gina’s performance to show the artistic arc of the
“Filly Brown” character.
In the final scene of the movie, Filly’s been shamed, she’s lost her pop career, but she’s
found her family and found herself going full circle to her underground rapper persona.
Everything we’ve seen in the film culminates in the moment she faces her mother across
a prison glass window, rapping her heart out, her soul laid bare to the audience. The
scene starts with the orchestral score setting the emotional tone, capturing the family
dynamic, and as Filly finds her groove, a hard hip-hop beat introduces itself into the
climax of evocative strings. Once again the score and the hip-hop live in harmony as
Filly’s story resolves.
Reza was very lucky to be able to collaborate with a great team of artists and lyricists put
together by music supervisor, Edward “E-Dub” Rios. Rios is a founder of Silent Giant
Entertainment, an entertainment content production company, with a nationally
syndicated radio program for over ten years, Pocos Pero Locos, featured in the movie.
PPL, hosted by E-Dub and Lisa “Khool-Aid” Rios, has been deeply rooted in the English
speaking Hispanic marketplace, and is heritage for multiple generations of Latinos, due to
the fact that it is, and has been the only program of its kind in the country.
For Pocos Pero Locos, there was an importance in adding sprinkles of authentic lifestyle,
such as Manny’s tattoo shop and the integration of an online radio station, in order for the
movement’s core to devote their loyalty, and increase grassroots word-of-mouth and
natural discovery.
Integrating real-life musical artists from the PPL world was also a priority, so the team
called on support from long-time friends and music industry colleagues Jenni Rivera,
Chingo Bling, Baby Bash, Cuete Yeska, Braxton Millz, Funny Bones Crew along with
other artists that appear in film.
On April 16th, Milan Records will release the Original Music Album to "Filly Brown"
with the film’s score and songs featuring Gina Rodriguez, Braxton Mills and
Diamonique. The record will be produced by Reza Safinia and include tracks of original
music used in the film. Silent Giant Entertainment will be releasing The Original Motion
Picture Soundtrack to 'Filly Brown' with songs inspired by the movie, offering their take
on the underground Latin hip-hop scene.
DIRECTOR’S NOTES from Youssef Delara
Independent films are hard so laugh a lot. They are exhausting to endure but freeing to
your creative spirit. Here are a couple things I learned along the way. You don’t have to
have all the answers, or even act like you know what you’re doing, you just have to be
honest. You have to trust your vision in the moments it lets you down. Cop to your
mistake, openly in public, then everyone wants to help. People are generally nice that
way if you empower them. Work your tail off, because then you can call out anyone who
doesn’t. Don’t worry about your vision or personal stamp, everyone’s got one that’s
probably derived from everything they’ve ever seen. Just do what you think is cool. And,
this is big, listen to trusted friends, when they tell you It’s not as cool as you think it is.
This might sound obvious but you’d be surprised the acting up giving something up, even
something small, goes a long way. Sometimes you have to be a jerk, don’t worry about it,
just laugh it off
DIRECTOR’S NOTES from Michael D. Olmos
Filmmaking, for me, is about discovery and finding new connections; on a story level, on
an intellectual level and most importantly on an emotional level. I come from a diverse
cultural background, which, I think, has always given me a unique outlook on life. My
second favorite thing to do is to travel, meet new people and experience other cultures.
The more I do this, the more I see that we are all more alike than different, connected,
and film is one of our common currencies.
What I hoped to add to this project was my own unique, fingerprint to the story, and my
own unique worldview. I saw the character of Filly Brown as an avatar for everyone’s
rite of passage to find his or her own authentic self. Through this tenacious,
uncompromising, confused, desperate, deluded, compassionate, talented, reckless and
lovable character, a walking contradiction - brought to life by the original and
incomparable Gina Rodriguez - we were able to accomplish that goal.
Part of our discovery on this film, influenced by the music, was its operatic design. It
feels like a movement that builds to the last dramatic scene that is so emotionally
overpowering, that it drains you and revitalizes you in the same breath. We designed it so
that there are no close-ended scenes in the film. Each scene leads into the next - building
on the one before it, all the way to the final scene that ends in a crescendo. It’s still a
traditional three-act story, with turning points and a climax because of the dramatic
through line - but because of the musical structure to compliment it, it builds and builds
all the way to the end.
ABOUT THE FILMMAKERS…
YOUSSEF DELARA (Director, Producer, Writer) started out in the film industry as a
Visual Effects Associate on the highly successful Paramount Television series, “Star Trek:
Deep Space Nine” where he moved up to Visual Effects Supervisor before going on to
produce visual effects for “Star Trek: Voyager” as well as sequences for the popular “Star
Trek” feature films “Generations” and “Insurrection.” After a stint working on another visual
effects heavy television series, Universal Studio‟s “Burning Zone,” and two heavy visual
effects features, “The Karate Dog & Baby Geniuses 2”
Beginning in 2003, Mr. Delara devoted himself full time to his own projects, writing and
directing his first feature, English as a Second Language (ESL), in 2004 and 2005. The film
went on to win Best Feature awards at the Newport Beach, Boston Latino, Orlando Latino,
Portland Pine and the Santa Fe Film Festivals.
In 2009, Delara collaborated on his second feature, Bedrooms, co-producing and writing and
directing sections of the portmanteau film starring Julie Benz and Moon Bloodgood. Delara
also was the lead editor on the film. The film premiered on the Showtime Networks released
domestically and internationally in the fall of 2011.
In 2011, Delara directed “Filly Brown” with longtime friend Michael D. Olmos. “Filly
Brown” stars Gina Rodriguez, Edward James Olmos, Lou Diamond Phillips, Mexican
singing sensation, Jenni Rivera and tracks the journey of tough female rapper as she
transforms from underground street rapper to pop stardom. Delara wrote the screenplay and
was also the lead editor of this his third feature film. The film is set to make its world
premiere in Dramatic Competition at the Sundance Film Festival in January 2012.
MICHAEL D. OLMOS (Director, Producer) graduated from Columbia University in
NY (99) in Creative Writing and Contemporary American Literature. After graduating
Colombia, he joined the Sandford Misner Academy to study acting. While there he
attended Marlon Brando’s experimental acting class “Lying for a Living,” working in
scenes alongside such industry notable as Robin Williams, Sean Penn, Whoopi Goldberg,
Harry Dean Stanton, and of course Marlon Brando.
His first screenplay “After Hours,” participated at 2003 IFP Film Market’s Emerging
Narratives.
In 2005 he co-founded Chamber Six Productions, an independent film production and
comic book publishing company represented by WME. The company developed their
graphic novel SEED with Michael De Luca and writer John Ridley at Sony pictures.
Later that year he wrote, produced and directed SPLINTER for Dark Horse
Entertainment. He teamed with filmmakers Youssef Delara and Victor Teran on his
second feature BEDROOMS, where each directed a section of the ensemble film. The
team continued onto their third feature FILLY BROWN, directed by Olmos and Delara.
The Film is in Us Dramatic Competition for the 2012 Sundance Film Festival.
Currently he is the Vice President of Film for Olmos Productions at ABC/Disney where
he handles both creative and executive roles.
He is writing METTLE with renowned comic book author Bob Layton, a deconstruction
of the superhero mythos, producing an animated US/Mexico co-production in January,
and for his next feature film developing the story of pro female boxer Senisa Estrada,
who saved her father’s life by convincing him to become her trainer.
VICTOR TERAN (Producer) began his career in the film industry in 1996 as an
assistant and script analyst for Seven Arts Pictures where he learned the business of
independent film while working his way up to VP of Production, working most notably
on "Stander" and "The Believer."
While at Seven Arts he continued to pursue his own projects both as a writer and as a
producer and in 2004 he left Seven Arts to partner up with Youssef Delara to produce
their first feature film collaboration, “English as a Second Language.”
From 2005 to 2008, while continuing to write and develop his own projects, Mr. Teran
furthered his independent film education serving as VP of Physical Production for Sidney
Kimmel Entertainment where he worked on 18 mid-budget films including “Lars & The
Real Girl,” “Death at a Funeral,” “Charlie Bartlett” and “Synecdoche, NY.”
In 2009, Teran produced as well as wrote and directed (with Youssef Delara and Michael
D. Olmos) the portmanteau film, “Bedrooms,” starring Julie Benz and Moon Bloodgood.
The film premiered on the Showtime Networks and was released domestically and
internationally in the fall of 2011.
He is currently working on Cima Productions fourth feature film, “Snap,” which he wrote
and will co-direct with Youssef Delara in March, 2012
AMIR DELARA (Producer) is the CEO and Founder and Executive of Financing for
Cima Productions Inc. In 2001, Mr. Delara formed Cima as a commercial production
company specializing in Latino media and markets, to provide marketing and advertising
services for his various businesses as well as to outside clients. Having placed over four
million dollars in Spanish language television, radio and print advertising, Mr. Delara’s
Cima Productions has made a successful business of effective communication with the
Latino community. Always a hand on manager, Mr. Delara produced many of Cima
Productions advertising spots.
In 2003, Delara decided to employ his creative instincts and the infrastructure of his
marketing enterprise to expand into filmed entertainment targeted at the Latino American
community. Delara produced the company’s first independent feature film “English as a
Second Language”. The film went on to win Best Feature awards at the Newport Beach,
Boston Latino, Orlando Latino, Portland Pine and the Santa Fe Film Festivals and
premiered on the Showtime Networks and was distributed domestically and
internationally. Delara produced the company’s second feature Bedrooms starring Julie
Benz and Moon Bloodgood. The film premiered on the Showtime Networks and was
released domestically and internationally in the fall of 2011.
In 2011, Delara produced the company’s third feature film, “Filly Brown” starring Gina
Rodriguez, Edward James Olmos, Lou Diamond Phillips and Mexican singing sensation,
Jenni Rivera. The film is set to make its world premiere in Dramatic Competition at the
Sundance Film Festival in January 2012.
Delara is presently developing several other Latin themed projects for Cima’s future slate
of film including the heart-warming family film Marching Banda, an international
thriller El Paraiso De Dios and a romantic comedy Losing Jackie Perez.
MICO OLMOS (Producer) grew up with father Edward James Olmos and grandfather
Howard Keel on set. His career in front of the camera started at the age 9 with
performances in The Ballad of Gregorio Cortez, then Testament, Splinter, and Human
Error. During this time he also worked behind the camera, doing everything from PA jobs
to 2nd AD.
His passion for music lead him to the music business, working primarily in NY doing the
blues circuit and as a session musician. It was the perfect path to his current project. The
release of FILLY BROWN, this marks his first role as a producer on a feature film, with
an emphasis on the soundtrack.
EDWARD “E-DUB” RIOS (Producer, Music) & KHOOL-AID RIOS (Producer)
Silent Giant Entertainment is a label owned by Edward "E-Dub" Rios and Lisa “Khool
Aid” Rios, the creators and producers of the nationally syndicated radio shows, “Pocos
Pero Locos”, “SUBELO! Radio” and “Top Ten Celebrity Countdown”.
They have been at the forefront of the Latin Hip Hop movement for a decade as one of
the top Latin Hip Hop record producers. E-Dub & Khool Aid also founded the radio
syndication company, Radio Syndicate, Inc. that syndicates and distributes the above
mentioned programs. United Stations, founded by Dick Clark, is RS’s national
advertising sales arm.
SGE is spearheading the Latin Hip Hop movement and exclusively distributes the “Pocos
Pero Locos” compilation series based on the nationally syndicated radio show broadcast
in over 30 markets.
The compilations feature music by the top Latin Hip Hop artists: SPM, Lil Rob, Baby
Bash, NB Ridaz, La La, Chingo Bling, Mr. Shadow. SGE titles also include albums by
Mr. Shadow, Down aka Kilo, Spanish Fly, Slow Pain. SGE releases have achieved over
one million units sold, and a Billboard Latino music award for the single “Lean Like A
Cholo”.
BEN KUFRIN (Director of Photography) the son of a successful commercial still
photographer in Chicago, Cinematographer Ben Kufrin was practically born behind the
camera. He grew up assisting his father George and shooting his own subjects, having his
first published photo appear in a Chicago weekly magazine at age 10. During college,
Kufrin’s studies focused on art, film, photography and journalism which for a while lead
him to a profession in photojournalism for various news organizations like Chicago’s
Tribune and Sun-Times, Associated Press and United Press International.
Cinematography however remained Kufrin’s focus so after camera assisting and shooting
on various Chicago film productions, he moved to Los Angeles to further pursue his
passion for filmmaking. Since becoming a DP his work has taken him to locations on five
continents in film, and on television networks such as Showtime, Lifetime, Fox Family,
MTV, and PBS.
His cinematography in independent features like, Jimmy & Judy (Edward Furlong,
Rachel Bella, William Sadler) helped earn it a best feature prize at the 2006 San
Francisco Independent film festival. Kufrin’s almost exclusive use of hand held 35mm
camera work in ESL: English As A Second Language helped to garner that film a Best
Feature nod at the 2006 New York Latino Film Festival and an Outstanding Achievement
in Filmmaking Award at the Newport Beach Film Festival the same year before making
It’s network debut on Showtime.
Kufrin continues demonstrating versatility and range behind the camera as he was
featured in various 2009 issues of P3 Production Update, Widescreen Review, High Def
and KODAK’s InCamera magazines for his ground- breaking revival of the Techniscope
2-perf 35mm film format in conjunction with the digital intermediate finish for the
forthcoming feature, Curve of Earth . aka Happy In The Valley . That film took four top
honors at the December 2009 Monaco International Film Festival Angel Awards taking
home Best Feature Film, Best Ensemble Cast, Best Supporting Actress (Ursula Brooks)
and Best Actor (William Forsythe).
Kufrin followed up his partnership with "ESL’s" writer–director Youssef DeLara with
another Showtime network feature, Bedrooms, along with co-directors Michael D. Olmos
and Victor Teran. The ensemble drama features cast members Julie Benz (Dexter, Rambo
2008) and Moon Bloodgood (Eight Below, Terminator Salvation) among others. Most
recently Ben shot the feature, Filly Brown another collaboration with directors Youssef
DeLara and Michael D. Olmos. The hip-hop music-driven drama stars Gina Rodriguez,
Lou Diamond Phillips & Edward James Olmos and is an official U.S. selection for
dramatic feature at the 2012 Sundance International Film Festival.
ERIC BRODEUR (Editor) is a 'military brat' born in California, his family traveled
throughout Europe before settling in Pennsylvania. He graduated with a degree in
Computer Information Systems working for Fortune 100 companies, start-ups, and higher
education institutions in Philadelphia. But fueled by a strong desire to reconnect with his
childhood love for movies, he relocated to Los Angeles in the pursuit of a new career.
This journey led him to motion picture editing where his technology background was a
perfect fit for the digital cinema revolution and his creative ambitions.
He got his break in 2008 as an assistant editor on two independent features. During this
time he met writer/director Youssef Delara and joined the crew of Delara's second
feature, BEDROOMS, as a picture editor. Starring Julie Benz (Dexter), Moon Bloodgood
(Terminator Salvation), Xander Berkeley (24) and others, BEDROOMS won two Best
Feature awards and aired on Showtime. His next feature as picture editor, IJE THE
JOURNEY, a Nigerian-American film starring two of that country’s leading actresses,
Genevieve Nnaji and Omotola Jalade-Ekeinde, became one of Nigeria’s top grossing
films ever while winning awards for Best Editing and Best Feature.
Collaborating once again with directors Youssef Delara and Michael Olmos, Mr. Brodeur
returned as a picture editor on FILLY BROWN.
His assistant editor credits include THE SURROGATE, starring Helen Hunt (As Good
As It Gets), John Hakes (Winter's Bone), and William H. Macy (Fargo) also in U.S.
Dramatic Competition at the 2012 Sundance Film Festival. In addition, Eric has worked
on THE GREEN GODDESS, FINDING GAUGUIN, and two films by writer/director
Sebastian Gutierrez, ELEKTRA LUXX and HOTEL NOIR. ELEKTRA LUXX starring
Carla Gugino (Sucker Punch) and Joseph Gordon-Levitt (Inception) was in competition
at SXSW 2010, and nearing completion is HOTEL NOIR starring Carla Gugino, Rufus
Sewell (Dark City), and Malin Ackerman (Watchmen).
REZA SAFINIA (Composer) Reza Safinia is a composer raised in London and living in
LA. Prior to composing for film, he was a Universal Music songwriter and record
producer/engineer working with artists such as Kylie Minogue, Britney Spears and
Ms Dynamite. His work is a textured collage of his professional and personal
experiences, from his early years playing in rock bands to working as a Hip Hop engineer
at Jive Records’ Battery Studios in NYC.
A multi-instrumentalist with a decade of production expertise, Reza creates music, sound
design and the space in between with a three-dimensional approach: Orchestral elements,
ambient music and ethnic influences are fused with electronica/rock creating a tactile
sound serving the image. Acoustic performances blend seamlessly with industrial noise in
a space where even the most tweaked sounds retain an organic quality. Bands like
Radiohead and Nine Inch Nails inform Reza’s musical sensibility as much as composers
like Gustavo Santollalla and Clint Mansell, and every now and then there will be an echo
of his UK urban roots with some roaring dubstep bass.
Alongside his career in pop music, and composing, Reza has been deeply involved in
underground music also. He co-founded the UK indie label “Illa State Records”, which
played a pivotal role in the grime/dubstep movement through the release “It’s Not A
Rumour” by artist Akala: The “eclectic and polished debut” (The Times), with “raw
energy and outrageous talent” (BBC Music), was produced and co-written by Reza and
garnered Akala a prestigious MOBO award (beating fellow nominees Kanye West and
Busta Rhymes).
Reza’s compositions for film can be heard in Youssef Delara and Michael Olmos’ hip
hop driven feature “Filly Brown” to premier at Sundance 2012, and in last year’s
“Kinyarwanda”, an audience award winner at Sundance 2011. He has also composed
music for a number documentaries and TV, including ABC’s forthcoming “Final
Witness”.
KRYSTYNA ŁOBODA (Production Design) Recent feature film credits include: “Kill
Me, Deadly” a film-noir comedy starring Joe Mantegna and Kirsten Vangsness, “Stitch”
with Edward Furlong, “Shadows of the White Nights” with Christian Slater,
“Kerosene Cowboys” with Bill Pullman directed by Mario Van Peebles, and “Christina”
starring Avatar’s Stephen Lang. Before joining the ranks of independent film, Krystyna
began her career on the stage.
Her theatrical set and lighting designs have been seen on London’s West End, the
Edinburgh Festival, the International Scenography Quadrennial in Prague, and the World
Stage Design Expo in Toronto. As a student, she was honored with an Emmy Award for
the short film “The Elements.” She is a member of IATSE local 800, Art Director’s
Guild.
ABOUT THE CAST…
GINA RODRIGUEZ (Mara Jose “Majo” Tonorio aka Filly Brown) received a 2011
Imagen Award “Best Supporting Actress nomination for her breakout performance in
Lions Gate Films feature, GO FOR IT (also official Selections of The Boston Latino Int’l
Film Festival, The New York Latino Int’l Film Festival and The Los Angeles Latino
International Film Festival (where it received an Honorable Mention).
Chicago raised, Rodriguez is a graduate of NYU’s Tisch School of the Arts with 4 years
of theatre training at both the Atlantic Theatre Company and Experimental Theatre Wing,
working with both David Mamet and William H. Macy, and Experimental Theatre Wing,
under Rosemary Quinn.
Her television credits include, guest stars on ABC’s HAPPY ENDINGS, Fox/WBTV’s
JOHNNY ZERO, NBC’s LAW & ORDER, ABC Family’s 10 THINGS I HATE
ABOUT YOU, CBS/Bruckheimer’s ELEVENTH HOUR, recurring on Lifetime’s
ARMY WIVES, and co-starring on MTV’s made for television features MY SUPER
PSYCHO SWEET 16 (parts 1 and 2). Other films credits include: OUR FAMILY
WEDDING opposite America Ferrera, independent TINY DANCER directed by Eva
Husson, OSVALDOS (short film) directed by Randy Wilkins which screened in festivals
for ABFF, NY HBO Latino Film Fest, Chicago International Film Fest, naming Gina
winner of “Best Actor” award at the First Run Film Festival in NY and Osvaldos was
named one of the Five Best Shorts (which aired on HBO in Feb 2010).
JENNI RIVERA (Maria Tonorio) a Mexican-American singer/songwriter raised in
Long Beach, who has sold over 20 million albums worldwide. Rivera was nominated at
the 2003, 2008 Latin Grammys. A successful Regional-Mexican artist and entrepreneur,
including Divina Realty, Divina Cosmetics, Jenni Rivera Fragrance, Jenni Jeans, Divine
Music and the Jenni Rivera Love Foundation.
Jenni Rivera became the first female Banda artist to sell-out a concert at the world
famous Gibson Amphitheatre in Universal City, CA and most recently became the first
artist up-to-date to sell-out two back-to-back nights at the Nokia Theatre in Los Angeles,
California on August 6, 2010 and August 7, 2010. On August 6, 2010, Jenni Rivera was
named spokeswoman for the National Coalition against battered women and domestic
violence in Los Angeles.
A proclamation was given “officially naming” August 6 “Jenni Rivera Day” by the LA
City Council for all her charity work and involvement in the community. Jenni Rivera
was also the producer to her older daugher’s (Janney Marin) reality TV show on the cable
network MUN2, “Chiquis & Raq-C”, and is all around the world, and now stars in her
sequel/spin-off show called I Love Jenni. Filly Brown is Jenni’s film debut.
LOU DIAMOND PHILLIPS (Jose Tonorio) artistic versatility has allowed him success
in theatre, television and feature films as well as directing, writing and producing. He can
next be seen opposite Edward James Olmos in the film “Filly Brown” at Sundance 2012,
and on the new A&E series “Longmire” opposite Katee Sackhoff and Robert Taylor.
Phillips first came to the public’s attention when he starred as Richie Valens in “La
Bamba.” He then solidified his reputation in “Stand and Deliver,” for which he won the
Independent Spirit Award for Best Supporting Actor and received a Best Supporting
Actor Golden Globe nomination. Phillips also co-starred in Ed Zwick critically acclaimed
drama, “Courage Under Fire”, where he received strong reviews and a Blockbuster
Award for Best Supporting Actor. Recently he starred in “CHE”, alongside Benicio Del
Toro and Benjamin Bratt. Other notable film credits include “Supernova”, “Hollywood
Homicide”, “Young Guns”, “The Big Hit”, “Brokedown Palace” and “El Cortez.”
Phillips earned a Tony nomination for Best Actor, for his performance as the King of
Slam in the Broadway production of Rodgers & Hammerstein’s, “The King and I,” which
received six Tony nominations in all. He recently starred in the national tour of
“Camelot,” as King Arthur.
On television, next up for Phillips is a guest star role on the season premiere of the fourth
season of “Southland”. Earlier this year, he wrapped a recurring role on ABC’s “Cougar
Town” and the final season of the SyFy series “Stargate: Universe” alongside Robert
Carlyle and Ming-Na. Lou also had a recurring role on the hit CBS series “Numb3rs” as
“Agent Ian Edgerton” during its six year run. A few of his other memorable television
credits include: “Chuck”, “Psych”, “Law and Order: SVU”, “Wolf Lake”, “The Beast”
and “The Triangle.”
As director, Phillips most recently helmed the Hallmark Channel movie “Love Takes
Wing” in 2009. He made his directorial debut with the psychological thriller “Dangerous
Touch,” which he co-wrote for HBO. Lou has also directed episodes of “Resurrection
Blvd.”, “The Outer Limits”, and “The Twilight Zone.”
Phillips, originally born in the Phillipines, was raised in Texas. He currently resides in
Los Angeles with his wife Yvonne. He has four daughters Indigo, Grace, Isabella and
Lili.
EDWARD JAMES OLMOS (Leondro) has achieved extraordinary success as an actor,
producer and humanitarian. The Tony, Emmy and Academy Award Nominated actor, is
probably best known to young audiences for his work on the SYFY television series
“Battlestar Galatica” as Admiral William Adama. Although the series kept the actor busy
during its run from 2003 through 2009, it didn’t stop him from directing the HBO movie
“Walkout” in 2007, for which he earned a DGA Nomination in the Outstanding
Directional Achievement in Movies for Television category.
Olmos’ career in entertainment spans over 30 years. In that time he created a signature
style and aesthetic that he applies to every artist endeavor, often grounding his characters
in reality and gravitas. His dedication to his craft has brought him attention across the
industry, and with audiences worldwide.
Originally a musician, Olmos branched out into acting, appearing in many small theatre
productions until portraying the iconic El Pachuco in “Zoot Suit.” The play moved to
Broadway and Olmos earned a Tony nomination for the role, which he revised in the
1981 film version.
Olmos went on to appear in the films Wolfen, Blade Runner, and the Ballad of Gregorio
Cortez before starring in his biggest role to date, that of Lieutenant Martin Castillo in the
Iconic 80’s television series “Miami Vice” opposite Don Johnson and Phillip Michael
Thomas. During his time on the Michael Mann series, Olmos earned two Golden Globe
and Emmy Award nominations, resulting in a win from each.
In 1988, the actor was nominated for an Academy and won the Golden Globe for his
portrayal of Jaime Escalante in Stand and Deliver. He directed and starred in his first
motion picture, American Me, in 1992.
Other credits as an actor include the motion pictures My Family/Mi Familia; Selena,
which was a breakout film for Jennifer Lopez; and in the Time of Butterflies, in which he
played Dominican Republic dictator Rafael Leonidas Trujillo. In television, he enjoyed a
recurring role as U.S. Supreme Court Justice Roberto Mendoza in the NBC drama “The
West Wing,” portrayed a widowed father in the PBS drama American Family: Journey of
Dreams, and recently appeared in season six of the hit TV show Dexter, which was
nominated for a SAG award.
original title FILLY BROWN
starring GINA RODRIGUEZ
JENNI RIVERA
LOU DIAMOND PHILLIPS
EDWARD JAMES OLMOS
EMILIO RIVERA
NOEL G.
KERRY NORTON
directed by YOUSSEF DELARA , MICHAEL D. OLMOS
written by YOUSSEF DELARA
YOUSSEF DELARA, VICTOR TERAN, AMIR
story by DELARA, MICHAEL D. OLMOS
produced by VICTOR TERAN
producers AMIR DELARA
YOUSSEF DELARA
MICHAEL D. OLMOS
MICO OLMOS
EDWARD “E-DUB” RIOS
KHOOL-AID RIOS
director of photography BEN KUFRIN
edited by ERIC BRODUER, YOUSSEF DELARA
production designer KRYSTYNA LOBODA
casting TWINKIE BYRD
composer REZA SAFINIA
length 104 minutes
sound 5.1
picture RED
language English
CIMA PRODUCTIONS
OLMOS PRODUCTIONS
SILENT GIANT ENTERTAINMENT
Present
FILLY BROWN
Directed by: Youssef Delara, Michael D. Olmos
Written by: Youssef Delara
Story by: Youssef Delara, Victor Teran, Amir Delara,
Michael D. Olmos
Produced by: Victor Teran
Producers: Amir Delara, Youssef Delara
Producers: Michael D. Olmos, Mico Olmos
Producers: Edward “E-Dub” Rios, Khool-Aid Rios
Executive Producers: Edward James Olmos, Kevin Smith, Homa
Soroor
Gina Rodriguez
Jenni Rivera
Emilio Rivera
Noel G
Kerry Norton
Braxton Millz, Joseph Julian Soria, Chrissie
Fit
with Lou Diamond Phillips
and Edward James Olmos
Director of Photography: Ben Kufrin
Production Design By: Krystyna Loboda
Edited By: Youssef Delara, Eric Brodeur
Costume Designer: Jill Machlis
Music By: Reza Safinia
Music Supervisor: Edward “E-Dub” Rios
Casting By: Twinkie Byrd
Cast (in order of appearance)
Majo Tonorio Gina Rodriguez
Khool-Aid Khool-Aid Rios
Lala Lala Romero
Eddie Vargas Jorge Diaz
Maria Tonorio Jenni Rivera
Female Corrections Officer Francine Hinostrow
Male Corrections Officer Albert F. Herrera
Linda Resminé Atis
Leandro Chavez Edward James Olmos
Jose Tonorio Lou Diamond Phillips
Chuy Cuete Yeska
Memo Daniel Edward Mora
Mani Emilio Rivera
Tattoo Girl #1 Michelle Milan
MC Wyatt Joseph Julian Soria
DJ Santa Braxton Millz
MC Wyatt’s Bodyguard #1 Chino Brown
Ralphy Rene Rosado
Lupe Tonorio Chrissie Fit
Pocos Pero Locos Crew #1 O. Brown
Pocos Pero Locos Crew #2 Alex Puente
Pocos Pero Locos Crew #3 Nikki Diaz
Pocos Pero Locos Crew #4 Jesse Garcia
Pocos Pero Locos Crew #5 Concrete
Pocos Pero Locos Crew #6 Daniel Olmos
Rayborn Esparza Pete “Chingo Bling” Herrera
Amanda Hutchinson Kerry Norton
Karla Marie Faye Medina
Tito Juan Cervin
Nestor Brandon Martinez
Dance Crew #1 Greg Paguin
Dance Crew #2 Yury Mejia
Dance Crew #3 Nick Rodriguez
Dance Crew #4 Vernard Taylor
Dance Crew #5 David Talavera
Dance Crew #6 Sina Zivari
Dance Crew #7 Walter Artiga
Dance Crew #8 Lacy Keiko Omon
Dance Crew #9 Ricky Lopez
Neighbor#1 Dominique Hinestrosa
Neighbor#2 Joseph Zapata
Dezi B. Himself
Delivery Man David Bianchi
Lupe’s Interviewee Midget Loco
Big Cee Noel G.
Tattoo Artist Frutoso Mendoza
Ceaser Baby Bash
Ceaser’s Homie Nino Brown
Sam Jamie Bamber
Big Cee’s Engineer Mico Olmos
Majo’s Groupie #1 Damon Whitaker
Majo’s Groupie #2 M. Celeste Williams
Spanish TV Interviewer Sherly Amya
Filly Brown Music Video Dancer #1 Mariel Perez
Filly Brown Music Video Dancer #2 Leo Leon
E-Dub Himself
Wyatt’s Groupie Vida Guerra
Wyatt’s Enforce Martin Buelna
Wyatt’s Driver Jordan Rios
Hospital Nurse Lauren Rodriguez
The Dirty Mexican Zoe Himself
Big Cee Enforcer #1 Javier Buelna
Big Cee Enforcer #2 Malik Henderson
Prison Guard Harmon Ruby Wendell
Unit Production Manager: Sandra Varona
First Assistant Director: Trent Dempsey
Second Assistant Director: Bri Hervey
Additional First Assistant Director: Grimm December
Brooke Lemke
Script Supervisor: Laura Jean Bransky
“A” Camera Operator: Peter Schmitt
“B” Camera Operator: Ben Kufrin
Victor Bruno
Michael D. Olmos
Brad Cooper
First Assistant “A” Camera: Victor Bruno
First Assistant “B” Camera: Ivan Acero
Second Camera Assistant: Ivan Acero
DIT Download Tech: Monty Bass
Live Performance Lighting Director: Cameron Zetty
Jimmy Jib Operator: Kim Hahn
Sound Mixer: Martin Kittappa
Boom Operator: Paul Gonzales
Brandon Pert
Gaffer: Sonoko Shimoyama
Best Boy: Jeremy Mennel
Electricians: Bob Low
Sebastian Bueno
Key Grip: J. Aaron Stinde
Best Boy Grip: Raul Rivera
Grips: Ana M. Amortegui
Dennis Wong
G&E Swing: Igor Tochilnikov
Marlow Nuñez
Art Director: Jeffrey Simon
Set Decorator: Michelle Daniels
Set Dressers: Adam Strasser
Naoko Inada
Carpenter: David Mendoza
On-Set Costumer: Rosa Lopez
Additional Costumer: Amanda Sandrene
Key Make-Up Artist: Cintia Kumalo
Assistant Make-Up Artist: Christina Chilote
Transportation Coordinator: Jim Martell
Transportation Captain: Paul White
Driver: Josh Martell
Still Photographer: John Castillo
Casting Associate: Natasha Ward
Casting Assistant: German Legaretta
Extras Casting: Prime Casting
Extras Casting Director: Heather Sirota
Key Production Assistant: Zach Rasmussen
Set Production Assistants: Kristoffer McMillan
Adrian Cazares
Kirsten Gunnarshaug
Phillip Rogers
Christopher S. Jones
Tattoo Art Designer Danny Romo
Caterers: Michelle & Robert @ Too Tasty Catering
ADDITIONAL PHOTOGRAPHY UNIT
Gaffer : Stephane Gauger
Electric: Alexander Stathis
Key Grip: Ernesto Perez
Grip: Dennis Perez
Post Production Supervisor: Youssef Delara
Supervising Sound Editor: Trip Brock
ADR Supervisor : Ben Whitver
SFX Editors: Steven Avila
Peter Lago
Alexander Pugh
Dialogue Editors: Jackie Johnson
Bryon Speller
Foley Artists: Jim Bailey
Lorita de la Cerna
Foley Mixer: Greg Mauer
Foley Editor: Ian Shedd
ADR Mixer: Ben Whitver
Sound Engineers: Steven Utt
Owen Peterson
Casey Hansen
Re-Recording Mixer: Trip Brock
Loop Group: Bodie Olmos
Marisol Doblado
Rob Wuesthoff
Rezmine Atis
Valerie Garza
Main Title Designed and Produced By: Zack Young
VFX Supervisor/Compositor: Nick Young
Viral Producer: Sherly Amaya
Digital Intermediate By : Local Hero Post
Digital Intermediate Supervisor: Leandro Marini
Digital Intermediate Producer: Rain Valdez
Digital Intermediate Colorist: Michael Eaves
Digital Intermediate Tech Supervisor: Andrew Wahlquist
Conform Artist: Lee Hultman
Lighting, Grip, Lenses & RED camera support provided by Birns & Sawyer
Transportation Services by Zio Studio Rentals
Audio Post Production by Monkeyland Audio, Inc.
MUSIC
“Dream Big”
Performed By Gina Rodriguez, Braxton Tomasello, Chrissie Fit
Written By Gina Rodriguez, Reza Safinia (ASCAP) and Braxton Tomasello
Published By Gina Rodriguez, Rezbian Music (ASCAP) and Braxton Tomasello,
Courtesy Of Filly Brown, LLC
“Hurt So Bad”
Performed By Jenni Rivera, Edward James Olmos and David Salas
Written By Arthur Dominguez, Edward James Olmos, Mico Olmos, Chris Perez, Edward Rios, Jenni
Rivera and David Salas
Published By Arthur Dominguez, Beat Baker Music (BMI), Chris Perez Music (ASCAP), Edward
James Olmos, JR Divine Music (BMI), La Tuya Muzik (ASCAP) and Mico Olmos
Courtesy Of Silent Giant Entertainment
“Lost City”
Performed By Nino Brown feat. Chrissie Fit
Written By Mico Olmos, Edward Rios, Gilbert Ruedaflores and Reza Safinia (ASCAP),
Published By La Tuya Muzik (ASCAP), Mico Olmos, O.G.enius (BMI) and Rezbian Music
(ASCAP)
Courtesy Of Filly Brown, LLC
“I’m So Fly” (Wyatt Remix Version)
Performed By Fade Dogg and JJ Soria,
Written By Angel Mendoza Plata Jr. and Jose Javier Lopez
Published By El Cabeca Music (SESAC) and Angel Mendoza Plata Jr.
Courtesy Of Silent Giant Entertainment
“Night Nurse”
Performed By Carolyn Rodriguez feat. Baby Bash
Written By Arthur Dominguez, Leanard Jernigan, Mico Olmos, Edward Rios, Carolyn Rodriguez
Published By Arthur Dominguez, La Tuya Muzik (ASCAP), Leanard Jernigan, Mico Olmos and
Soulyrical Publishing (ASCAP)
Courtesy Of Silent Giant Entertainment
“Filly Brown” Radio Version
Performed By Gina Rodriquez
Written By Diamonique Noriega, Jose Javier Lopez, Edward Rios and Reza Safinia
Published By Niquemondia Music (ASCAP), El Cabeca Music (SESAC), La Tuya Musik (ASCAP),
Rezbian Music (ASCAP)
Courtesy Of Filly Brown, LLC
“Got Me”
Performed By Ese Daz feat. Nikki Diaz
Written By David Arellano, Jose Javier Lopez, Edward Rios, Monique Roque
Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP),
Monique Roque
Courtesy Of Silent Giant Entertainment
“Wisdom”
Performed By Gina Rodriquez
Written By David Bianchi, Youssef Delara, Mico Olmos, Edward Rios, Reza Safinia (ASCAP), David
Salas, Braxton Tomasello
Published By Beat Baker Music (BMI), David Bianchi, Youssef Delara, La Tuya Muzik (ASCAP), Mico
Olmos, Rezbian Music (ASCAP), Braxton Tomasello
Courtesy Of Filly Brown, LLC
"Im a Big Boy"
Performed by : Dezi B Written By Jullian Dezi Blanco and Daniel "Smokebeatz" Blanco
Published By Blanco Jullian Dezi (BMI), Blanco Daniel (BMI) Music Produced By Smokebeatz Courtesy
Of Smokebeatz/Street Science Entertainment L.L.C
“Filly Brown” (Rayborn Version)
Performed By Gina Rodriquez, Chingo Bling
Written By Pedro Herrera, Jose Javier Lopez, Diamonique Noriega, Edward Rios, David Salas, Reza
Safinia
Published By Beat Baker Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP),
Niquemondia Music (ASCAP), Pimpin Plumas (ASCAP), Rezbian Music (ASCAP)
Courtesy Of Filly Brown, LLC
“Get Away”
Performed by Braxton Millz feat. J. Black
Written By Braxton Tomasello and Justin Aleman
Published By Braxton Tomasello and Justin Aleman
Courtesy Of Silent Giant Entertainment
“Bottles”
Performed By Ese Daz
Written By David Arellano, Jose Javier Lopez and Edward Rios
Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP)
Courtesy Of Silent Giant Entertainment
“Nothing To Lose”
Performed By Ese Daz
Written By David Arellano, Jose Javier Lopez and Edward Rios
Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP)
Courtesy Of Silent Giant Entertainment
"Cold Muchacho"
Performed By Baby Bash feat. Low G & Big LA
Written By Ronnie Bryant, Steven Fay, Wilson Flores, Julian Triguero
Published By Steve Dang Publishing (ASCAP), Dulce Amor (ASCAP), Latino Velvet Music (ASCAP),
Julian Triguero
Courtesy Of Bashtown Music Group
“Filly Brown” (Big Cee Version)
Performed By Gina Rodriguez & Chrissie Fit
Written By Arthur Dominguez, Monique Noriega, Edward Rios, Reza Safinia (ASCAP)
Published By Arthur Dominguez, La Tuya Muzik (ASCAP), Niquemondia Music (ASCAP),
Rezbian Music (ASCAP)
Courtesy Of Filly Brown, LLC
“Clothes Off”
Performed By Braxton Millz
Written By David Arellano, Jose Javier Lopez, Edward Rios, Braxton Tomasello
Published By 110 South Music (BMI), El Cabeca Music (SESAC), La Tuya Muzik (ASCAP) and
Braxton Tomasello
Courtesy Of Silent Giant Entertainment
“Reflections”
Performed By Gina Rodriguez and Slow Pain
Written By Jose Javier Lopez, Larry Patino, Edward Rios, Reza Safinia
Published By El Cabeca Music (SESAC), Larry Patino, La Tuya Muzik (ASCAP), Rezbian Music
(ASCAP)
Courtesy Of Filly Brown, LLC
"This Is My Life"
Performed By Gina Rodriquez & Diamonique
Written By Diamonique Noriega and Reza Safinia
Published By Niquemondia Music (ASCAP) and Rezbian Music (ASCAP)
Courtesy Of Filly Brown, LLC