For Once In My Life

A Story About Finding the Greatness—and Killer Soundtrack—Within Each of Us

www.4OnceInMyLifeFilm.com

Press Notes

A Musical Documentary, 90 Minutes This film is unrated

Released by OPS, Inc.

Sales Contact

Visit Films 89 5th avenue, suite 806, New York, NY 10003 - +1.718.312.8210 – info@visitfilms.com

Cinematical

"South by Southwest has a great history of introducing documentaries to audiences. Some have even ended up on the shortlist and final lists for Oscar. Of all the ones I have seen so far from this fest, one Oscar

will have a hard time avoiding is this film by Jim Bigham and Mark Moormann."

Fandango

listed within "The Five: Hottest Films Playing SXSW 2010" "Early buzz has this one pegged for a possible Oscar nod next year...."

KVUE-TV (Austin, TX)

"Doc Rocks SXSW"

Synopsis For Once In My Life is a documentary about a unique band of singers and musicians, and their journey to show the world the greatness—and killer soundtrack—within each of them. The band members have a wide range of mental and physical disabilities—as well as musical abilities that extend into ranges of pure genius. In a cinema verite style, the film explores the struggles and triumphs, and the healing power of music, as the band members' unique talents are nurtured, to challenge the world's perceptions. The Characters: Their personal stories are filled with setbacks, victories and—ultimately—growth as individuals. Perfection might become secondary to the joy of participation and sense of empowerment that shows on each musician's face. This disciplined group of men and women, with their own style of music, has much more to give than just a great sound. They offer inspiration and the message of music's nurturing powers for people with and without disabilities. The band proves to be an important life lesson of hope, courage and trust in humanity for all members and audiences alike. Intercut between concerts and rehearsals, individuals are revealed. The audience will understand Terry, the blind and damaged lead singer / saxophone player who was dropped at 14 months and never fully recovered mentally and physically, but definitely emotionally, as he is one of the most inspiring, positive persons alive. Christian, who has autism and is blind, is an incredible pianist. Although with a slight stutter, he eloquently describes his wishes to become a famous musician where the whole world will hear him play. Nancy is another main character with mental slowness. She is a soprano with a strong New York accent, and is seen running her own household where she is the main caregiver and breadwinner of her two older mentally handicapped siblings. Sam, the drummer, could not develop properly in his mother's womb, as she tried to conceal her pregnancy. With many physical and mental problems at birth he has grown into an entertaining but serious adult. The band has helped him to grow socially and contain his internal anger. He's recently proposed to one of the vocalists, Patricia, and together they have dreams of a life together and having a family. Other band members have problems with behavior and coping in general, and risk being removed from the band during this trying period of preparation for an important concert. The film shows the strong bond that drives them to work harder to prove themselves as musicians. The Journey: The film begins as the band has begun to venture out into new venues. The band was conceived and began playing music in 1996, within the walls of Goodwill Industries of

South Florida, where all members are employed. They started with one piano and have grown into an orchestra with voice, percussions, keyboards and a brass section. In 2003, the band recorded their first CD with donated time in a local studio. In progression, the band entertains audiences with concerts at veteran's homes, civic commitments and nursing homes. More recently, with an updated repertoire, the band played for a sold out crowd at the University of Miami in 2008 and recorded a new CD, and soundtrack for the film. In late 2007, a small group of filmmakers collaborated with the music director and Goodwill , to launch a film that would be seen across America. With over 23 million people with disabilities in our country, there is large potential for interested audiences. By April, news was received that Miami Mayor Manny Diaz and Emilio Estefan were coming to hear the band and it ended up in a great jam session which was taped, as well as more serious footage as they toured the facility where the band members work at Goodwill. From there, production took off as Mr. Estefan gave the film support with access to his music and his artists and Mayor Diaz invited the band to play at the Adrienne Arsht Performing Arts Center for the U.S. Mayor's Convention as key performers in June 2008. This concert performance became more than wished for or imagined by the band, with an evening to play for an audience of over 1000 people, made up of Mayors from 440 US cities, their families and the city's special guests. However, this was a concert to very prestigious audience, was beyond anything they had previously accomplished. The Spirit of Goodwill band is not an ordinary band and their unique challenges made the attempt to work on a professional stage as part of a much larger event, left the producers and director wondering to the last minute if the performance could actually be pulled off. With ongoing filming of the complications of getting through rehearsals, interviews, and the tensions of the build-ups and trials, the story takes shape. What has been accomplished is a documentary that offers inspiration and the message of music's nurturing powers for all people. “The Goodwill Band is a triumph of the spirit, a celebration of overcoming the odds, and a chance to rock out with the happiest musicians on the planet.”—The Miami Herald “The sounds that emanate from the band are enough to bring an audience to its feet and tears to the eyes.”—The Sun-Sentinel

Bios

Jim Bigham: Director / Producer Jim's feature film credits include Producer of feature film, SweetLand for which he received the 2007 Independent Spirit Award for best feature. Other feature film credits include Great Expectations, Jeepers Creepers, Bad Boys, Body Heat as well as hit TV series, Saturday Night Live, and other independent films. Some of his documentary credits include Grammy-nominated, Chasing the Dream, produced for Turner Network, several documentaries produced for the Hallmark Channel, and three documentaries running permanently in the New World of Coca-Cola Museum (2007). Jim's made-for-TV films include several music videos and the first Live Rock Concert behind the Iron Curtain in the late 80's. Jim is a graduate of the London Film School and is currently based in South Florida. Jim has produced hundreds of TV commercials in the U.S. and worldwide, and has been recognized for his work on feature films and documentaries. Mark Moormann: Director / Cinematographer A South Florida-based filmmaker with extensive directing and director of photography credits on documentaries, commercials, and music videos and branded content. His documentary work includes the Grammy-nominated Tom Dowd & the Language of Music, Once Upon a Time on South Beach, Hidden Rivers of the Maya and Blindsided. Moormann's wide-ranging body of work with recording artists and music producers includes studio shoots with Aerosmith, Stevie Ray Vaughan and Michael Jackson; interviews with Ray Charles, Eric Clapton, Les Paul, Ahmet Ertegun and Phil Ramone; and live performance shoots featuring Amy Winehouse, the Fratellis, the Bee Gees, Shinedown and Shakira. Mark's films have screened theatrically, at major film festivals (Sundance, Toronto), museums (Experience Music Project, Skirball Cultural Center and large-scale events (George Lucas' Skywalker Ranch for the National Academy of Recording Arts & Sciences). In October 1009 a clip from Mark's short doc "Electric Revolution" played at Madison Square Garden during the Rock 'n Roll Hall of Fame's 25th Anniversary concert. Amy Foote: Editor /Creative Director Editor of documentary films based in New York City. Editor: Finishing Heaven her latest documentary, will be aired September 2009 on HBO. Amy Co-Produced and was Associate Editor on Flying: Confessions of a Free Woman, a six hour documentary series directed by Jennifer Fox, airing for Sundance Channel, BBC, Arte, TV2 Denmark, SBS Australia, YLE Finland, SVT Sweden. Editor: THE LEAST OF THESE: Family Detention In America, distributed by Indie Pix and Snag Films. Amy worked as an Additional Editor on feature length documentaries: Nursery University, You Belong To Me, & Frozen River (awarded Sundance Grand Jury Prize in 2008). Amy has also worked as a website project manager on films and as a teaching assistant at The Edit Center, NY.

Javier Peña: Music Director / Creative Director Producer/Music Director, Javier Pena is the music program director of the Spirit of Goodwill Band since 1996. He studied music theory and piano at the Yamaha School of Music in Caracas, Venezuela. Looking for better opportunities to enhance his career, Javier moved with his family to the United States in 1995 and one year later began working for Goodwill Industries of South Florida. Javier is also an accomplished award-winning television producer and editor of feature stories, documentaries, spots and segments airing nationally on ABC, FOX, and NBC. Cathy Bigham: Associate Producer Cathy was partner, vice pres. of Miami based Oolala! Productions, producing short films and TV commercials nationally and internationally for 12 years. Cathy is a graduate of the University of Miami with a BA in Communications / Film and Video. Her career began in Miami's feature film industry, working on several Hollywood and Independent films. Cathy worked on staff as Production Manager at AFI Productions, and Executive Producer for Levinson Productions, managing many awarding winning commercial campaigns. Currently, Cathy has made her way into the world of grant writing, advocating for film, music and education programs to promote positive social change in our communities. Christina Vidal: Associate Producer Christina Vidal has worked in a variety of facets of television production and over a 24 year period she has produced numerous human interest features, live talk-shows, newscasts & entertainment pieces. She has worked for media giants such as Univision Network, Telemundo Network, CBS TeleNoticias, Warner- Amex & ABC and has collaborated in several award-winning documentaries and received Emmy nominations for her work.

An efilmcritic Q&A with Jim Bigham

SxSW '10 Interview - "For Once In My Life" director Jim Bigham http://efilmcritic.com/feature.php?feature=2989

by Jason Whyte (March 11, 2010)

“For Once In My Life” is entertainment and inspiration, laced together with an amazing soundtrack. The film is about a unique group of musicians, who have become a much-loved performance band in Miami, Florida. As audiences witness these musicians' personal stories, “For Once In My Life” will encourage them to look at other peoples' situations from different perspectives, viewing life as being the glass half full, never half empty.” Director Jim Bigham on the film “For Once In My Life” which screens at this year’s South By Southwest Film. Is this your first film in SxSW? Do you have any other festival experience? Do you plan to be in Austin for the screenings? Yes, this is the first time I have had a film at SXSW, and I'll be there for all of the “For Once in My Life” screenings. The band will attend the first screening, and we're really looking forward to that in particular. I've had experiences at other festivals with the film “Sweet Land”, which I produced with Ali Selim and Alan Cumming. It was well received in the festival circuit and eventually won a Spirit Award. Could you give me a little look into your background (your own personal biography, if you will), and what led you to the desire to want to make film? I've always loved photography, the visual arts and music, so I have been somewhat destined to follow this path. I could never see myself getting a desk job, like a banker. My training came from the London Film School, studying with a range of really knowledgeable professionals from the British film industry. From that experience, I think of myself as a hands-on filmmaker. I enjoy almost all aspects of the filmmaking process. Luckily, I've been fortunate, and have worked with some incredible director talents in both the commercial industry and some large-budget films, such as “Great Expectations”, “Bad Boys” and “Body Heat”, to name a few. I've been able to experience working with people with big-budget productions, as well as those on shoestring budgets, who are able to make both scenarios work. I am absolutely still learning and very much appreciate the advances in technology. They create many opportunities and keep me on my toes. Growing up, you were no doubt asked the eternal question “When I grow up I want to be a …” Finish this sentence, please! I think that part of me wanted to be a filmmaker so I wouldn't have to grow up. As life forced things like adulthood on me, I've made certain choices, and can say that I'd like to be the type of filmmaker whose films inform, inspire and entertain. If I can get that right, then also make a little profit, I'm on track.

How did this whole project come together? Mark Moormann, our co-director, asked me to check out a band that was working and playing music in a back room, in our local Goodwill's manufacturing plant. My wife and I went down to hear them play. After meeting the band and its director, Javier Pena, I was totally sucked in. The music blew me away. Everybody just gives so much. They've taught me so much, it's been a pleasure getting to know them and capture their great attitudes. What was the biggest challenge in the production of the movie, be it the script, principal photography or post-production stage? We wanted the film to be honest, not forced, and we wanted it to be entertaining and enlightening. Figuring out how to make the story engaging, while delivering a message, was difficult. So much of the film was made in the edit room. This is where the pacing was determined, and what elements went where, finding the balance of telling the main story and back stories, and then making the picture whole and enjoyable. Please tell me about the technical side of the film; your relation to the film’s cinematographer, what the film was shot on and why it was decided to be photographed this way. Shooting and lighting in a manufacturing plant, and recording sound in a band practice room has its challenges. Most important: with our subjects, we knew we would never get a second take. Early on we decided to keep photography very straight forward, with very much a cinéma vérité style. It is a story about the band and its members. Our job was to reveal them as naturally as possible. The camera needed to follow, not dictate the action.

Talk a bit about the experiences (festival or non-festival) that you have had with this particular film. Have you had any interesting audience stories or questions that have

arisen at screenings? If this is your first screening premiere, what do you hope to expect at the screenings of the film?

SxSW is our premiere screening in a public setting. So far, the biggest moment we've had was the day that we showed the film to the band members and their families. I stood in the back of the room watching their every move and reactions. It was amazing; they got the subtitles, they

laughed and there were tears. In the end, we got their complete approval. Their approval represents the most important audience award of all for us. We had their confidence and

approval to tell the world their stories.

Who would you say is “the audience” for this film? Do you want to reach everyone possible or any particular type of filmgoer?

The goal has always been to entertain, inspire, and inform a universal audience. People with disabilities are the largest minority in the United States. When we consider this group, with their families, we should have a good-sized audience of interested participants to play to. A range of other people have been supportive as well, from faith-based organizations, to other groups of

people who have faced discrimination, such as the LGBT community. Our goal is to capture that unexpected viewer, to control their attention and change attitudes.

Who would you say your biggest inspirations are in the film world (directors, actors,

cinematographers, etc)? Did you have any direct inspirations from filmmakers for this project in particular?

The great American documentarian D.A. Pennebaker and company. I've had the opportunity to work with D.A. and his wife. I love their approach and technique. They were always in the back

of my head while we were making this film.

How far do you think you would want to go in this industry? Do you see yourself working on larger stories for a larger budget under the studio system, or do you feel that you

would like to continue down the independent film path? As long as I can get away with it, I would like to continue to move back and forth between the studio and independent worlds. Certainly, I like to have the independence to do what I want to

do. Yet, it really is nice to be involved in bigger projects, with larger scopes and resources.

If you weren’t in this profession, what other line of work do think you would be involved with?

I love boats, the sea, nature, history and culture, so my target is pretty broad. What I would hope is that it would require knowing some form of craft.

Please tell me some filmmakers, actors or other talent that you would love to work with,

even if money was no object. I have a couple of fiction and non-fiction projects with my writer/director friend, Ali Selim, which I

really hope can be made. Each project is very much in balance between their budgetary requirements and their commercial potential. Each has a strong human-driven story that will

play to broad audiences.

How important do you think the critical/media response is to film these days, be it a large production, independent film or festival title?

It's everything. So many great pictures don't get recognized and so much useless film does. Without a question, you need to consider media response and how to make it work for you

before you shoot frame one.

If your film could play in any movie theatre in the world, which one would you choose? The private screening room in the White House.

What would you say to someone on the street to see your film instead of the latest

blockbuster playing at the local megaplex? Well, I might take the same approach as I would if I were going to convince my daughter not to

eat junk food. I would tell them to watch this and you'll feel better afterward.

What would you say or do to someone who is talking during or conversing/texting on their cell phone while you’re watching a movie (if at your own screening or another movie

you attend)? Enjoy the film and the moment—the world outside will wait.

What do you love the most about this business of making movies?

It is the endless opportunity to have wonderful life experiences. My gauge or theory is, if you are on a set and within a couple hours something amazing has not happened, you are doing

something wrong.

No doubt there are a lot of aspiring filmmakers at film festivals who are out there, curious about making a film of their own. Do you have any advice that you could provide for

those looking to get a start? Make a film that's full of heart and a message. It's a tough business to make a buck in, so you

should love what you create and usually the audience will follow. Do it for the pleasure of telling a story—not for the money. I've tried both! Also, leave enough money for marketing and

distribution.

And finally…what is your all time favourite motion picture, and why? “For Once In My Life”! It is the best movie I'm selling this week.

This is one of the many films screening at this year’s South By Southwest Film in Austin, Texas

between March 12-20. For more information on the film’s screening, point your browser to www.sxsw.com/film.

An IndieWIRE Q&A with Jim Bigham

SXSW ‘10 | “For Once In My Life” Aims to Inspire http://www.indiewire.com/article/sxsw_10_for_once_in_my_life_aims_to_inspire/

by indieWIRE (March 3, 2010) A scene from "For Once in My Life."

Editor’s Note: This is one interview in a series profiling directors whose films are screening in the Narrative Competition, Documentary Competition and Emerging Visions sections at the 2010 SXSW Film Festival. Recipient of the 2007 Independent Spirit Award for best first feature, for his debut film “Sweetland,” director Jim Bigham premieres his new intimate documentary “For Once In My Life” at this year’s SXSW. “For Once In My Life” is the story of an inspiring group of people and their dream to make music. This documentary film follows the members of the Spirit of Goodwill Band while they prepare for the concert of a lifetime. As they navigate daily life, these twenty-eight musicians and singers, all with a wide range of severe mental and physical disabilities, display innate talent, humor and tenacity. “For Once In My Life” shatters preconceived notions of what it means to be disabled and reveals the humor, hope and the greatness within us all. [Synopsis provided by SXSW]

“For Once In My Life” Documentary Competition Director: Jim Bigham, Mark Moormann Producer: Jim Bigham Cinematography: Mark Moormann, Jim Bigham Editor: Amy Foote Music: The Spirit of Goodwill Band 89 minutes

Director Jim Bigham on returning to his roots while making “For Once In My Life”...

After graduating from film school in London in the 70’s, I thought of myself as a Jack-of-all-trades filmmaker. Since then I’ve been lucky enough to have the opportunity to work within film and TV, at different levels and formats—from being a production manager on “Saturday Night Live” in the 70s, to being production supervisor on big-budget films like “Great Expectations,” to being a producer on the Spirit Award-winning film “Sweet Land,” and then there’s about a 1000 commercials. While shooting “For Once In My Life,” I was reminded that bigger is not always better, as the most interesting footage we were getting was when the crew was small. Soon I found myself alone on the set with camera in hand, while recording sound. I was back to my roots. It was great.

Bigham on how he came to discover The Spirit of Goodwill Band… Mark Moorman, told me about a band that was playing in the back room of the local Goodwill’s manufacturing plant. My wife and I went down to check them out. It was love at first sight; we knew we had to make some type of film about this amazing group. At our first production meeting, our mission statement was to make a film that would attract as many eyeballs as

possible, and share the inspirational story. Making a profit was not a consideration. Now that the film is completed, the payoff exists in the lessons I’ve learned from the band members. It has been one of the great experiences in my life. Bigham on the type of film he tried to make… We knew from the beginning that the film might be considered as a depressing, pity-invoking film, about a subject on which most people would rather not dwell. Bottom line: we wanted to make a film that would entertain as it inspired. Audiences needed to see that this it isn’t about people who don’t have certain abilities, but about people who have the desire to succeed and are so very proud of their abilities. Glass half full rather than empty—all laced together with a killer sound track. We really wanted, and tried, to stay honest in our approach, and not make the characters into anything other than what they are. I wanted the band members to be able to convey their own stories without having to rely on the trapping of reality television. Many of the main characters have little or no verbal skills, so we relied heavily on a Cinéma Vérité approach to help reveal their backgrounds, struggles and their abilities. The next issue was to find an editorial pacing that would maintain people’s interest while we developed characters and moved the story forward. Amy Foote, our editor, did a great job in helping us finding that balance. What Bigham hopes audiences will take away from the film… The film tears down preconceived notions about what people with different abilities are capable of accomplishing. It is a reminder that success belongs to those who do something with what they have, rather than to those who have the most. The great Olympian Wilma Rudolph said “Greatness lies within each of us.” “For Once in My Life” is about finding that greatness. Bigham on his inspirations in directing “For Once In My Life”... The common-room scenes in Milos Foreman’s, “One Flew Over the Cuckoo’s Nest” were in the back of my head when I started hanging out in the band room. These are two entirely different groups of people, and the films have their obvious differences, but in both films, there is a focus on unique people, with very different realities and abilities, who excel at bridging their differences through various form of communication. Their interaction and methods of communication are fascinating to me. I really wanted to capture that on film. I learned so much being around the band members. They provided me a different view of life, cemented the true meaning of friends and family, and offered ways of interacting and communicating that are highly effective, but which were new and fascinating at the same time. To capture the stories, though, I turned to the work of my friends Chris Hedegus and D.A. Pennebaker’s “War Room.” Cinéma vérité at it’s finest. And on any future projects… A documentary profile on “What is a Lobbyist” and how they affect the average man—kind of an anthropological study in a Bambi vs. Godzilla setting. Who are they and how do they effect society?

A Q&A with Javier Peña, Music Director / Creative Director

Music Director & Creative Director Javier Pena has been the music program director of the Spirit of Goodwill Band since 1996. The band is thought to be one of the first performance bands in the United States, whose members have diverse mental and physical abilities. Originally from Venezuela, Javier studied music theory and piano at the Yamaha School of Music in Caracas, Venezuela, before moving his family to the United States in 1995. As he says in the interview, he had no experience working with people with disabilities when he applied for Goodwill's choir director job in 1996. They hired him, he turned their vision for a choir into a full-fledged performance band, and has been working with the band members ever since—teaching them music, friendship, and that (with hard work) dreams really do come true! How did you start working with the band? Did the Goodwill go to you or did you go to them? A friend told me about a part-time job as a choir director in Miami. Without any real knowledge about Goodwill, and no experience working with people with disabilities, I applied for the job. I began my work there in 1996. After several months of working with 8-to-10 members on voice, I started to notice a great sense of rhythm. I proposed creating a band and starting music training that involved instruments. Mr. Pastrana, Goodwill’s C.E.O., is a music lover and he loved the idea. He recognized that this type of training involving music and teaching new skills can be empowering for these individuals. By working on inner talent and ability and training through repetition, each individual became proficient. When we put it all together as a band, it was magic—all very unexpected. What challenges have you faced while working with the band? For the most part, the biggest challenge was obtaining a certain level of expertise. Since all of the musicians have very different abilities and challenges, they had to be taught differently. The musicians themselves actually taught me how to teach them. For instance, Godwin took my hands and placed them on his because that is how he's able to learn. Other situations involve extreme insecurities and so building trust and giving reassurances was most important with those members. Others don't speak verbally and it really taught me how music is a universal language and we learned to communicate and express through this vehicle. The instruments became like medicine for many individuals—it's truly an amazing thing to witness. One member doesn't speak but insists on calling me each week on my cell the night before practice to make sure I'll be there. I hear a muffled sound and know that it's Rita, and I assure her I'll see her in the band room tomorrow. . . How are band members chosen for the band? Can anyone join? Do you hold auditions? Each band member goes through an audition where we checked two things: their musical ear and their sense of rhythm. These are God-given talents we have no control over—we simply try to discover them and work with what we have. Just going through an audition is an extreme accomplishment for most. It teaches them to try things, to make goals. We give each person who wants to try the respect they deserve. The entire process takes about five minutes. Once the person passes the audition, he or she is asked what instrument they would like to learn. Sometimes we try more than one instrument until we find the perfect fit. Sometimes a person is playing well within a few months. You never know what to expect but you can imagine the confidence that's gained in a short period.

What have been the greatest rewards of working with the band? The greatest reward has been seeing them grow individually and as a group—not only as musicians, but as human beings. Each individual is a work of art from God’s hand, and that means they have great value. It is rewarding to see them enjoy themselves every time we play a song together, to get the recognition and respect from the audience, the respect every person deserves in this world. The band has helped socialize some of the members who had difficulties working with others in the past. They've had an opportunity to create friendships, and participate in something that has literally given them a voice. Plus—I love making music. There are always challenges. In this case, the rewards are always greater than any of the challenges. This isn't the only work you do. How do you balance? It is not always easy, but when you love what you do, you find ways to make it work. Going into the music room with the band is also therapy for me. I have a family and a full-time job that is very demanding. However, you need to get organized, set up your priorities, and sometimes make some sacrifices. I have a lot of support from my wife and my children, and that makes the entire difference. Being willing to do everything with all your heart not to please people, but to serve God through your work, is what helps me keep everything in balance, even when things are very challenging. Why did you want to see this film made? I wanted to see this film made to tell the world what people with disabilities—or any person period—can do when given an opportunity to succeed. It's very apparent to me that the band deserves that.

How did you choose the songs the band performs? I’m a big fan of American pop music and Latin rhythms. I like to choose songs that integrate all the band members, giving the opportunity to write arrangements where they all can participate. I discovered that the band likes to perform upbeat songs filled with energy and feeling, songs that are familiar to the people, classical hits everybody enjoys, putting in the band’s own style and signature. What was your role as creative director for the film? I've been directly involved in conceptualizing the process, drafting initial ideas for the film, lobbying internally, and recruiting outside filmmakers to participate in the project. Once the project was approved, I was involved in the process of deciding the overall structure and style of the film, choosing personal stories, and pre-selecting music for the film. I also produced and edited the trailer used to raise funds to make the movie. As production was underway, there was a lot of creative brainstorming involved. I selected and arranged the music performed by the band, and composed an original tune used in two scenes of the movie. I was involved arranging the soundtrack; over-dubbing and supervising the final mix of the music. I also collaborated with the editing of the film as an active contributor in this crucial process.

You are more than a bandleader and conductor. How would you describe what you do with the band? I think I’m an encourager and a mentor for them, a life coach if you will, and in some cases the father figure they missed. Having said that I by no means work alone. It is a complete team effort from all the people who work with me at Goodwill. This includes Omar Rodriguez, our brass instructor who has been with the band for ten years, and more recently, Lisa Velazquez, our voice instructor. We all work in conjunction with a group of counselors led by Silvia Riorda who is in charge of managing the work and recreational program.

This has been an amazing journey. What's next for the band? The White House, Carnegie Hall, and a trip to Europe! These are some of our dreams. Our band started with dreams that have become a reality. I'm a dreamer, because I believe that faith is the key that opens doors and make things possible.

Credits

directed by • Jim Bigham and Mark Moormann produced by • Jim Bigham

creative directors • Amy Foote and Javier Pena editor • Amy Foote

additional editor • Brian Bayerl music engineer • Philip Colodetti

associate producers • Cathy Bigham and Christina Vidal executive director • Lourdes Little

special thanks to • Dennis Pastrana and Goodwill Industries of South Florida

Cast (in order of appearance)

Javier Pena Terry Wigfall

Melissa Cason David Benitez Jary Pulgarin Juan Pulgarin

Christian Acosta Sam Collins

Nancy Spagnolo Godwin Lee

Secondary Cast (main character's family members)

Hector Pulgarin Clara Montes

Segundo Perez Ola Jones

Esperanza Benitez Dolly Collins

Patricia Taylor Anthony Spagnolo Diane Spagnolo

Mary Paniko Godfrey Lee Linna Lee

The Spirit of Goodwill Band Javier Peña

Omar Rodríguez Victor Pegorari Lisa Velasquez David Benitez Sam Collins Terry Wigfall

Christian Acosta Godwin Lee

Anthony Locke Melissa Cason

Rodrigo Gamboa Rita Roberts

Leonardo Sanchez Carlos Alvarez Jary Pulgarin Juan Pulgarin

Alejandro Rivera Henry Machado Celina Peguerro

Alex Perez Walter Anderson

Ellen Brant Andrew Haines

Rosanel Maldonado Patrick Mckoy

Nancy Spagnolo Denise Stroud Patricia Taylor

This film was made possible by a private foundation in honor of Walter and Judy Shipley and their enduring spirit of good will.

Special Thanks to: WJS Foundation

Mayor Manny Diaz Emilio Estefan

Coral Ridge Media Penelope Falk

Jennifer Fox Gill Holland

Ali Selim Juvencio Peña

Supporting Sponsors Leonard & Jayne Abess

Goodwill Board of Directors Goodwill Ambassadors

Bilzin Sumberg Wachovia Bank

Peacock Foundation Ryder Charitable Foundation Morrison, Brown, Argiz, Farra

KPMG BankUnited

Thatcher Foundation Florida Marlins

The Braman Family Foundation Dade Community Foundation

Dennis McNenney Mr. Drew Burnstine

Mr. Joe Lacher Calder Race Course

Larry Deets Charles Rosenberg

Jim Barker Rudy Kranys Jay Fraser

Miami Dade Dept of Cultural Affairs Betty Goodman

Ron Murfin James Spencer

Al Novak Bob & Penny Bromberg

Publix

Crew Mark Moormann Cinematographer Jim Bigham Additional Cinematographer Patricio Suarez Cameraman Brian Bayerl Cameraman Richard Samuels Cameraman

Bill Randall Cameraman Dan Earl Steadicam Ben Centoducatti Concert Cameraman Bruce Merlin Concert Cameraman Doug Milt Concert Cameraman Peter Yianilos Concert Sound Engineer Mathew Conrad Grip Victoria Amy Make up Tabi Barber Make up Julianna Bigham Production Assistant Javier Peña, Jr. Production Assistant Ed Boharic Location Soundman Steve Carlson Location Soundman Chris Cimaglia Location Soundman Scott Ouellette Location Soundman Michael Pisano Location Soundman Ray Rifice Location Soundman Miguel Olivera Live Sound Engineer Juan Carlos Vergara Live Sound Engineer & Recording Ronnie Torres Sound Recording Scott Hays Sound Engineer Philip Colodetti Music Mixer & Recording Engineer Arturo Morejon Recording Technician Sean Michael Olivera Recording Technician Jose Ramon Garcia Recording Technician Ben Stinson Video Tech Orlando Silva Technician Hernan Polo Technician Robert Hughie Still Photographer David Chaskes Transcription NewArt Miami Color Correction Tom Hammond Re-recording Mixer Joe Galdo Music Consultant Brian Bayerl Post-Production Supervisor Veronica Hennig Post-Production Asst./Translator Kim Froehringer Post-Production Asst. Whitney King Post-Production Asst. Dan Satorius Legal Services Aimee Lyde Credits George Goodridge Title Design The Rights Workshop Music Clearance Kim Connell Trailer Editor Casterwho.com Web Design

Additional Editing by The Edit Center NYC Takeshi Fukunaga

Zarah Knebel Sean MacBride Murray

Henry Kim Adriana Machado

Jim Warren Samantha Buck

Susan Forste Schalk Mouton

Isaac Urwin John Capetanakis

Doug Kay Stefan Gina

Sassie Freedberg Drew Boyd

Sheila Shirazi

Thanks to: AFI Filmworks Abby Aquirre

Adrienne Arscht Center for the Performing Arts After Hours Productions

Alan Oxman Ana Egge

Artisan Recorders Beatriz Gutierrez

Bessie Oster Bill Randall

Britney Wislow Waugh Calvary Chapel Ft. Lauderdale

Clark & Jesse Lyda Drim Enterprises

Estefan Enterprises Fernando Perez Forte Interactive

Gabriel Peña Greendoor Productions

Hal Wimmers Hector Padron

Iglesia El Buen Samaritano Jason Beaupied

Jeremiah Productions JoAnn Mathieu

John Quarquesso John Rabe

Jorge Hernandez-Toraño Ken Ellis

Kerthy Fix Lena Eberhart

Lommen Abdo Cole King Stageberg, PA Luanne Allgood Oolala Productions, Inc

Marcy Garriott Margarita Peña

Mark Nickelsburg Matt Clover

Miami Dade College, School of Entertainment & Design Technology Michael J. Schwartz

Midtown Video Melkis Urguelles Moving Pictures Patricio Suarez

Paul Barber Paul Kloss Pedro Bello Rachel Mills

Ray Sound & Video Rick Reynolds Shelley Berg

Sign One SonShine Creative

Soundcrafter, Austin TX SRO Productions

Steve Roitstein /Riot Music St. Paul Missionary Baptist Church

The Edit Center, New York, NY Unique Producers

University of Miami School of Music

Goodwill Staff: Dennis Pastrana, President & CEO

Bridget Pallango, Senior Vice-President Silvia Riorda, Vocational Services Manager Rosemary Mullins, Sr. Vice President Asst.

Diana Valencia, Vice-President Manufacturing

Goodwill Counselors Andrew Acebal

Lester Ayala Eduardo De La Cruz

Kathy Doucette Arelis Frias

Mercedes Lago Sonia Melendez

Charlie Moux Yanette Novoa Jose Orellana Laura Parodi Alicia Perez Marie Pierre

William Ramirez Martha Valle

Goodwill Educational Specialists Mayda Mendoza

Darling Arzu

Goodwill Floor Supervisors Karla Colon, Delores Edmonds, Elcides Fernandez, Dulce Gonzalez, Aleida Martinez, Vivian

Muñoz, Arsenia Pacheco, Francisca Sanchez

Goodwill Medical Team Peggy Williams, Elba Sanchez

Goodwill Wardrobe Carmen Lopez, Teresa Rodriguez, Aleida Martinez, Odalis Velazquez, Olga Gutierrez Raul

Delgado

Goodwill Cafeteria Staff Carlos Santamaria, Lois Chambers, Juana Mayer, Amparo Roque, Lillian Bencosme, Santa

Arias, Marie Altidor

Goodwill Support Staff Eduardo Calderin, Jose Correa, Jocelyn Goins, Ricardo Machin, Lavada Miller, Gines Olivares,

Celia Solano, Maria Triguero

Goodwill Transportation Michael Delgado, Rolando Sevilla

This film is dedicated to the 54 million people with disabilities living in America. It demonstrates what people with disabilities can do when given the

opportunity to develop their potential.

www.foronceinmylifefilm.com