English - Rick Minnich

Transcrição

Press Kit
A Film by Rick Minnich
Produced by Olaf Jacobs
A production of
Hoferichter & Jacobs GmbH
HotDocs Toronto 2005
Official Selection
HOMEMADE HILLBILLY JAM
Press Kit
‘‘A musical romp through the Ozark Mountains with a
handful of rascally modern-day hillbillies’’
Hofericher & Jacobs GmbH | Film- und Fernsehproduktionsgesellschaft
Alte Schönhauser Str. 9 | 10119 Berlin | Tel +49-30-3087-4560 | Fax +49-30-3087-4566
Riemannstr. 52 | 04107 Leipzig | Tel +49-341-9839-665 | Fax +49-341-2618-639
[email protected] | www.hoferichterjacobs.de | www.homemadehillbillyjam.com
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Press Kit
CAST
BIG SMITH
Mark Bilyeu
Mike Williamson
Rik Thomas
Jody Bilyeu
Jay Williamson
vocals, guitar
stand-up bass, mouthbow, Sousaphone, vocals
mandolin, electric guitar, drums, vocals
keyboards, mandolin, vocals
washboard, spoons, clackers, tambourine,
drums, vocals
THE BALDKNOBBERS
Bill Mabe
Tim Mabe
Stubb Meadows
co-founder of show, used to play the dobro
Droopy Drawers, Jr. (comedian)
comedian
THE PINE RIDGE SINGERS
Larry “Dupe” Brown
Dottie Brown
Dana Bilyeu
Debbie Bilyeu
Larry Bilyeu
mandolin, vocals
guitar, vocals
guitar, vocals
guitar, vocals
banjo, electric bass
HOSEA BILYEU FAMILY
Rev. Hosea Bilyeu
Joy Bilyeu-Steele
Robin Rees
Debbie Bilyeu
guitar, vocals
vocals
vocals
vocals
THE WAYMAKERS
(parents of Big Smith)
Connie Bilyeu
Mark’s mother
Bobby Joe Bilyeu
Mark’s father
Gay Lea Thomas
Rik’s mother
Rick Thomas
Rik’s father
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Press Kit
Crew
Writer/Director
Co-Writer/Editor
Rick Minnich
Matt Sweetwood
Director of Photography
Axel Schneppat
Sound Recordist
Raimund von Scheibner
Executive Producer
Olaf Jacobs
Sound Design
Kai Schormann
Hans Schumann
Makks Moond
Title Design
Additional Editors
Online Editor
Salar Ghazi
Nelia Ibeh
Antje Wiechert
Production
Production Manager
Production Accountant
Hoferichter & Jacobs GmbH (Berlin/Leipzig)
Sibylle Mansour
Anne Stephan
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Press Kit
Logline
A musical romp through the Ozark Mountains with a handful of rascally
modern-day hillbillies.
Synopsis
Hillbillies haven’t died off; they’ve simply become neo-hillbillies. Three families
of musicians in the Ozark Mountains of Southwestern Missouri give new
meaning to the word “hillbilly.” Float down the backwaters, soak up some old
time religion, savor a washboard duel, and bask in the neon lights of the
pseudo-hillbilly showtown Branson. Lean back and merge into hillbilliness.
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Press Kit
Long Synopsis
In the mid-19th century a scrappy group of Scotch-Irish immigrants settled in
the Ozark Mountains of Southwestern Missouri. Stereotyped as poor, lawless
degenerates, these isolated hill folk over time became the butt of countless
jokes and earned themselves the name “hillbillies.”
In his feature documentary, German-based American filmmaker Rick Minnich
captures the rich and wonderful sounds of “neo-hillbilly” music by turning his
camera on three families of modern-day hillbilly musicians, each with their
own style and degree of success.
Although the 80 minutes are almost continually filled with terrific music, this is
not a concert doc, or even a historical one. The music and history are
presented to us in naturally occurring situations of family gatherings,
spontaneous jam sessions, kitchen talks, afternoon fishing trips, and bonfire
chats. Minnich (with cinematographer Axel Schneppat and co-writer and editor
Matt Sweetwood) constructs a unifying fabric of visual beauty with a rich mix
of natural sounds that immerses us in a locale that for many will seem as
familiar and yet as distant as the sound of the faraway train whistle that ends
the film.
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Press Kit
The story
Everyone’s got a notion about hillbillies: hicks from the sticks, The Beverly
Hillbillies, rednecks in beat up old pickups, illiterate in-breds. But what about
neohillbillies - the offspring of the original pioneers who homesteaded the
Ozark Mountains 150 years ago?
HOMEMADE HILLBILLY JAM follows three such families of modern-day
hillbillies in the Ozark Mountains of Southwestern Missouri back to the roots of
their
music-making
heritage.
Leading
the
pack
is
34-year-old
singer/songwriter Mark Bilyeu from the hillbilly band Big Smith
(www.bigsmithband.com), who have been shaking up the music scene in MidAmerica with energetic, self-ironic tales of life along Bull Creek with their
expansive hillbilly clan. All well-educated, modern-day hippies reared on
gospel and folk music, Mark and his cousins from Big Smith are refreshingly
anachronistic in today’s frenzied world, and a vivid reminder of the hellraising
antics of their bootlegging ancestors. While their sharp tongues and leftist
sympathies are an eyesore in this staunchly conservative, Baptist region, Big
Smith’s firm commitment to preserving their family’s musical heritage has
earned them accolades from fans of all persuasions.
In the Ozarks, blood runs thicker than water, and everybody appears to be
related to everybody else. Mark and his cousins are no exception. In 1959,
their relatives, the Mabes, were the first to found a show in nearby Branson.
Although The Baldknobbers started off as an authentic hillbilly show, the
Mabes and their offspring have long since gone commercial, joining in the
wave of flashy neon lights and stars and stripes that mark the Bible Belt show
town Branson. For Mark and Big Smith, who have been courted by more than
one Branson producer, The Baldknobbers represent their nightmare vision of
selling their souls and stagnating in a musical routine few Branson musicians
manage to escape. Today it is hard to imagine the tremendous influence The
Baldknobbers had on Mark and his cousins while they were growing up; Mark
claims to have seen the show over 100 times!
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Press Kit
The Pine Ridge Singers could not be a greater contrast to The Baldknobbers.
These distant relatives of Big Smith, who aren’t quite sure how exactly they’re
related (“You just say Bilyeu around here and everyone’s related somehow
…”) are clearly more hillbilly than anyone else in the film. Larry “Dupe” Brown,
the patriarch of the family, was born and raised in a log cabin in the Ozarks,
and is determined to keep the land in the family. When he’s not off feeding
the cows, he plays Jimi Hendrix imitations on his electric mandolin. Together
with his wife Dottie, daughter Debbie, son-in-law Dana, and grandson Larry,
Dupe plays at monthly gospel services at Pine Ridge Church in the Mark Twain
National Forest near the Taney / Christian County line. In their slightly
awkward but heartfelt manner, the Pine Ridge Singers embody a
rural gospel tradition which is becoming harder and harder to find.
HOMEMADE HILLBILLY JAM avoids an historical or socio-economic approach to
hillbilly culture in favor of an insider’s look at his family’s musical heritage.
Mark’s reflective, at times laconic manner, dark humor, strong attachment to
the land and his family, and his ambivalence about the times we live in set the
tone for the entire film.
Sumptuously shot on Super 16, and embellished by old photos and archival
footage, HOMEMADE HILLBILLY JAM relishes the ethereal textures of the rural
hillbilly world and the muted colors and ghostly bare trees of the hillsides in
late autumn. For the most part, we have avoided sit-down interviews in favor
of conversations and spontaneous exchanges before and after concerts, at
Thanksgiving, during a jam session in an old country church, around a bonfire,
etc. Although these conversations play an important role, it is the music which
propels us through the film, taking us from a Big Smith concert to a family
jam, into the world of gospel music, and off to the neon lights of The
Baldknobbers and Branson. Songs are not explained, but experienced in the
intensity of the musicians’ playing, in a fever-pitched washboard duel, in
Cousin Jay’s frenzied spoon playing, in Mark’s trembling tongue and
sundrenched face in an old schoolhouse while singing a folk song passed down
through the generations, and through the lyrics, which span twisted tales of
moonshining and adultery and heartfelt stories of faith and life as a modernday hillbilly in a rapidly changing world. HOMEMADE HILLBILLY JAM is a film
for the soul, a celebration of intense yet fragile emotions, a salute to the
hillbilly spirit, which refuses to die.
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Press Kit
Director’s statement
Although I am not directly from the Ozarks area, I spent my early childhood in
nearby Kansas, and took many trips to Branson and the Ozarks. Since my
parents relocated to Branson ten years ago, I have had numerous
opportunities to rediscover the region, which also led to the shooting of my
last film HEAVEN ON EARTH there. After immersing in the flashy lights of
Branson, I became curious about the surrounding areas, which Branson seems
to be slowly devouring. I also became intrigued by the close-knit family
structures, and what I had always perceived as a clichéd image of so-called
traditional values. Although HOMEMADE HILLBILLY JAM is clearly Mark’s story,
the film is a vehicle for exploring a question which fascinates me more and
more the longer I live outside the U.S.: What makes America so strong? The
answer we found while shooting appears to have little to do with military
might or the exaggerated displays of patriotism in Branson. Perhaps it is as
radical as it is simple: God, family, love of the land - and in the case of our
protagonists - music. In an increasingly complex, globalized world, where
modernday communication is isolating individuals behind their computers, cell
phones, and various gadgets rather than bringing them together, where
transience is the norm, and where intact families have fallen out of fashion,
the Bilyeus and Mabes are managing to transcend their very different world
views and political and religious beliefs and keep three generations together in
the Ozarks. Watching grandparents, aunts, uncles, and cousins singing
together and playing five guitars and washboard after a hearty Thanksgiving
meal is both oddly inspiring and anachronistic – like witnessing the last stand
of a family on the brink of extinction.
Rick Minnich
Berlin, April 2005
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Press Kit
Production Notes
When I set out to make a film about hillbillies, I had no real clue of what I was
getting myself into. Most people I talked to about the project had at least a
faint notion of what hillbillies are, but few could really put their fingers on
them. Are they merely barefoot fat guys in overalls with long beards? Or is
there more to them?
From the numerous trips I’d taken to the Ozarks over the past decade, I had
come to realize that the area offered a good amount of unexplored territory.
My curiosity was tinged with a bit of fear: I wasn’t likely to find shotgunwielding bootleggers anymore, but I could stumble upon a methamphetamine
lab and find myself in company whose acquaintance I would rather not make.
But then again, I hadn’t really set out to make a socio-cultural study about
hillbillies, but rather a music film.
As luck has it, I met one of Big Smith’s cousins, Joy Bilyeu-Steele, during the
shooting of my Branson film HEAVEN ON EARTH. She gave me a copy of Big
Smith’s first album, which I listened to with mild interest before banning it to
my shelf for nearly a year. When I gave it another listen, I was amazed at
what I heard. I knew immediately that there was a story to be told.
What struck me most about Big Smith is that they’re my contemporaries. I
knew from the outset that I wasn’t interested in making a film about old
hillbillies, but about my own generation. Here were five guys my own age (all
cousins, including two sets of brothers), who had clearly chosen what in
today’s world has become a radical path in life – to stick to their roots, and
adapt them to the world around them. They seemed to have the same
ambivalent attitude toward the past as I do: a longing for something enduring
which transcends the latest fads.
In some ways, HOMEMADE HILLBILLY JAM is a confession of my oldfashionedness. At 37, I’ve discovered that while I embrace a lot of modern
technology, I’ve lost nothing of my fascination for classical black & white
photography, for film grain, for the mechanics of film cameras, or – more
importantly for HOMEMADE HILLBILLY JAM – my love of acoustic instruments.
This very fascination turned out to be the dominant aesthetic element for this
project: the decision to shoot on film, which has become virtually unheard of
in today’s documentary world. It just felt right to use a dying, but vastly
superior medium to portray a world which seemed to me to be waning. I was
searching for rich, timeless, unsentimental images, and my cameraman and
long-time collaborator Axel Schneppat delivered more than I could have ever
imagined. It was he who insisted on waiting until the gorgeous autumn leaves
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Press Kit
had all but vanished before shooting the landscape shots in order to avoid
kitsch and to give the landscapes the ethereal quality I was looking for.
Not only did I aim to tell a story, but also to create an atmosphere in which
viewers could feel the crystal-clear waters of Bull Creek, smell the hay bales
being unloaded on Brown Mountain, feel like they’re sitting around a campfire
with Mark, etc. They should feel like they’re part of the family, and that the
Bilyeu family’s Thanksgiving dinner is also being served for them. Thanks to
Axel’s stunning camerawork, Raimund’s beautiful sound and Matt’s fine
editing, I think we succeeded at this goal. At least the reactions of audiences
so far suggest this.
Time and time again I feel incredibly privileged when total or near strangers
open up their lives to me, to the camera. While filming HOMEMADE HILLBILLY
JAM, this feeling was especially strong and grew from week to week.
At some point, Mark invited us to the family Thanksgiving at the “Mother
Ruby” house in Spokane, where his mom grew up, and which is now the focal
point of all family life. Thanksgiving has always been my favorite holiday, but
this year, I was in for a special treat. Not only did we get to taste the deer Rik
shot, along with countless other homegrown goodies, but we also got to spend
the afternoon listening to some amazing music-making like nothing I had ever
before witnessed. Everyone, literally everyone who walked through the door
broke into song. The family’s playlist encompasses hundreds of songs which
can be sung at the drop of a hat. The atmosphere was so cozy that we had to
remind ourselves we were there to film, and not simply to stuff our faces and
enjoy the music. It was a wonderful way to celebrate the end of our month’s
worth of shooting.
After seeing HOMEMADE HILLBILLY JAM at Lincoln Center last month, a wellknown documentary cameraman told me that I’m onto something, that I
should continue to follow my nose and delve deeper into Ozarks culture.
Maybe he’s right. In a sense, I feel like I’ve struck a goldmine in the heart of
America. Why aren’t more films coming from here? Why have the Ozarks
enveloped me to the extent that I continue to travel halfway around the world
to make films there? Sure, I have other stories to tell in other places, but I
have a feeling I’ll be returning to the Ozarks before long. Another story there
seems to be calling …
Rick Minnich
Berlin, December 2005
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Press Kit
About the Filmmakers
Rick Minnich, Writer/Director
Rick Minnich was born in Pomona, California in 1968, and grew up in Kansas,
Arizona, and California. After receiving his B.A. in English from Columbia
University in 1990, he relocated to Berlin, where he studied directing at the
former East German state film school HFF “Konrad Wolf.” His graduate thesis
film HEAVEN ON EARTH won the Babelsberg Media Prize for the best thesis
film (documentary) in Germany in 2001, the FIPA d’Or in Biarritz in 2002, and
numerous other prizes in the US and Europe. It also screened at the 2001
IDFA. Rick Minnich’s films have been broadcast on public television stations
throughout Europe, including ARTE, WDR, ORF, etc. HOMEMADE HILLBILLY
JAM is his third long documentary.
Olaf Jacobs, producer
Born in Leipzig, Germany in 1972. Commissioning editor for public TV station
MDR 1993-95. Writer, producer, and director of numerous reportage and TV
documentaries. Co-founder of film and television production company
Hoferichter & Jacobs, Inc. in 1996. Producer/co-director of TV doc. I NEVER
WANTED TO BE SO OLD: LENI RIEFENSTAHL (ARD) 2002. Latest production
BORDERLINE played at the Berlinale 2004. Executive Producer of the Master
Class Film of the European Film Academy.
Axel Schneppat, Director of Photography
Born in Rostock, Germany in 1971. Cinematography studies at the HFF
“Konrad Wolf” in Potsdam 1993-2000. German Cinematography Award 2000
for documentary HAVANNA, MI AMOR (Dir. Uli Gaulke). Numerous narrative
and documentary films with Uli Gaulke, Michael Schorr (most recent film
SCHULZE GETS THE BLUES won prize at 2003 Venice Festival and is being
released theatrically by Paramount Classics), and Rick Minnich. His films have
played at Cannes, Venice, Berlin, etc.
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Press Kit
Matt Sweetwood, co-writer / editor
Born in Kansas City, Missouri in 1971, currently lives in Potsdam, Germany.
Undergraduate studies in film at California State University San Diego.
Extensive experience as a writer / director in the US and Germany.
Screenplays include “The Jewish Santa Claus” (Edgar Reitz Filmproduktion,
Germany). Wrote and directed the documentaries “Liberty at War” (2003),
“The Story of Liberty” (2004), and the narrative short “Short on Water”
(2004).
Raimund von Scheibner, sound
Born in Berlin, Germany in 1966. Sound engineering studies at the HFF
“KonradWolf” in Potsdam-Babelsberg. Production sound and sound design on
numerous film and television projects including “Three Star Red” (Dir. Olaf
Kaiser), “Heirate mich” (“Marry Me” – dir. Uli Gaulke).
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Press Kit
Extended Bio-/Filmography of director Rick Minnich
14.6.1968
1988-90
1990
1991-1992
1995-2001
1993-97
since 1997
2002
2003
Born in Pomona, California
Internship at film distributor Kino International, NYC
B.A. in English literature from Columbia University, New York
Internship as camera assistant for Latvian TV in Riga
Graduate studies in the School of Film and Video at CalArts
Graduate Studies in the directing program at the Hochschule
für Film & Fernsehen “Konrad Wolf,” Potsdam-Babelsberg,
Germany
Free-lancer responsible for making documentary trailers for
Deutsche Welle TV in Berlin
Freelance film and translation work
Director of the SAT.1 series “So gesehen” (German TV) 30 x 3’
Participant in the Berlinale Talent Campus
Selected Filmography
1993
DELPHI 1830, experimental film, 16mm, color, 3'
1994
Next Time Everything Will Be Better ("Beim nächsten mal
wird alles besser") fiction, 16mm, col., 9'
1993-96
The Book of Lenins, doc., 16mm, col. & b/w, 24’
1996
Untitled Picture ("Bild ohne Titel"), fiction, 35mm, Dolby SR,
color, 4’, ARTE/HFF
1997
Good Guys & Bad Guys, doc., S16, Dolby SR, col., 73’,
HFF/ORB
2001
Heaven on Earth, doc., S16, Dolby SR, col., 52’,
HFF/Hoferichter / Jacobs GmbH
2005
Homemade Hillbilly Jam, doc. S16, col., 80’, Hoferichter &
Jacobs GmbH
in prep.
The journey through the invisible wall, doc. HD, col. & b/w
(ZDF das kleine Fernsehspiel, Red. Christian Cloos / Hoferichter
& Jacobs GmbH)
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Press Kit
Awards, Grants, Residencies (selection)
1992
German Academic Exchange Service (DAAD) grant
1995
Writer’s grant, Schloss Wiepersdorf, Germany; Best of Festival
Award, Short Attention Span Film and Video Festival, San
Francisco
1997
Honorable mention, Leipzig Documentary Film Festival; Rector’s
Prize, HFF “Konrad Wolf”
1998
Jury prize, Cinarchea Int’l Archeology Film Festival Kiel,
Germany; Bronze Plaque, Columbus Int’l Film & Video Festival
(The Chris Awards)
2001
Babelsberg Media Prize–Best Graduation Film (doc.) in
Germany
Hans W. Geissendoerfer Young Talent Award (Ger.)
Bronze Plaque, Columbus Int’l Film & Video Festival (The Chris
Awards)
Audience Award, Williamsburg Brooklyn Film Festival
Special Prize of the European Film Schools Jury, SEE Docs in
Dubrovnik
Nominated for the IDA/David L. Wolper Student Doc.
Achievement Award
Nominated for the German Cinematography Award
2002
FIPA d’0r (1st prize), FIPA TV Festival, Biarritz, France
2005
Prize of the State Film Service Rheinland-Pfalz, 22nd
Video/Filmtage Koblenz (Germany
2006
Artist residency at the Villa Aurora in Pacific Palisades,
California
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Press Kit
Production Facts
Title:
Homemade Hillbilly Jam (working titles: Neon
Hillbillies, Neobillies)
Shooting format:
Screening format:
Shooting ratio:
Super 16 (Arri SR2)
DigiBeta (PAL or NTSC), in planning: HDTV and 35mm
1:9
Length:
80 minutes (TV version: 52 minutes)
Shooting location:
Shooting period:
Ozark Mountains, Southwestern Missouri and
Lawrence, Kansas
November 4-28, 2003
Sound:
DAT, plus multi-track hard disk recordings of concerts
Editing systems:
Final Cut Pro HD (offline), AVID Adrenaline (online)
World Premiere:
24 April 2005, HotDocs Film Festival, Toronto
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Press Kit
Hoferichter & Jacobs
Gesellschaft für audiovisuelle Medien und Kommunikationstechnologien mbH
Profile
Hoferichter & Jacobs Company for Audio-visual Media and
Communications Technologies Ltd. was founded in 1996 by
Matthias Hoferichter and Olaf Jacobs.
The company produces audio-visual media starting from the
first idea, up to the final master tape, ranging from TV and
feature films to complete media packages.
The focus lies on journalistic films, TV features, reportage
and documentaries. It also produces image films and
develops materials and concepts for ambitious documentary
series. Following the establishment of a solid technological
and economical basis, the development and production of
fictional projects was added in 1999. In the future greater
priority will be given to this area.
Hoferichter & Jacobs owns modern production equipment
and also functions as a service provider for other production
companies, agencies and broadcasters.
Clients include television broadcasters ARD, ARTE, 3sat,
Deutsche Welle, ZDF, Sat 1, ProSieben, as well as local
public German television broadcasters MDR, RBB. In
addition to that Hoferichter & Jacobs has worked together
with many international film and television production
companies, publishing houses, distributors, advertising
agencies and business enterprises.
Olaf Jacobs functions as the executive manager of the
company.
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Press Kit
Press comment
(selection)
“… another quirky insight into an America that most Americans would barely
recognize.” – Stephen Dalton, The Times (London):
http://entertainment.timesonline.co.uk/article/0,,14931-1801988,00.html
“…as a film that documents, reveals and clarifies misconceptions through
heart-felt portraits, Homemade Hillbilly Jam passes the test of a great
documentary.” – Mike Armitage, Chart Attack (Toronto):
http://www.chartattack.com/DAMN/2005/04/2711.cfm
“Minnich (with co-writer and editor Matt Sweetwood) constructs a unifying
fabric of visual beauty with a rich mix of natural sounds that immerses us in a
locale that for many will seem as familiar and yet as distant as the sound of
the faraway train whistle that ends the film.” – Milton Tabbot, Indielink:
http://www.ifp.org/content/noncms/ny/nyindielinknov05.pdf
“…the film depicts religion and family and the Ozarks in the most sympathetic,
and least hokey way imaginable. Thank you, thank you, thank you.” – Paul
Sturtz, Director, True/False Film Festival, Columbia, Missouri
“… rich journey through a cultural legacy.” – Jonny Leahan, Indiewire
http://www.indiewire.com/movies/movies_050407doc.html
“…vibrant, well-shot doc …” (4 of 5 stars) – Jason Anderson, Eye Weekly, Toronto
http://www.eye.net/eye/issue/issue_04.21.05/film/hotdocs.html
“… Minnich’s beautifully shot film celebrates Missouri’s Ozark countryside and
the way music can transcend confilicting attitudes, to bring and hold
generations together …” – Friends of American Old Time Music & Dance
“…an excellent documentary film …” – Dee Hallett, British Bluegrass Association
http://www.eye.net/eye/issue/issue_04.21.05/film/hotdocs.html
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Press Kit
Awards
Prize of the State Film Service Rheinland-Pfalz at the 22nd Video/Filmtage,
Koblenz, Germany, Nov. 2005
Festivals / Additional Screenings
2005
HotDocs, Toronto, Canada, April 2005 (world premiere)
Sheffield International Documentary Festival, UK, Oct. 05 (european
premiere)
Hot Springs Doc. Film Festival, Hot Springs, Arkansas, Oct. 2005 (opening
night film; U.S.premiere)
Independents Night, Walter Reade Theater, Lincoln Center, Nov. 2005
Gene Siskel Film Center, School of the Art Institute of Chicago, Dec. 2005
2006
Reel Music Fest, NW Film Center, Portland, Jan. 2006
Big Sky Documentary Film Festival, Missoula, Feb. 2006
True/False Film Festival, Columbia, Feb. 2006 (Closing-Night-Film)
Sheffield International Documentary Festival on Tour, Feb. – March 2006
Cleveland International Film Festival, March 2006
RiverRun International Film Festival, March 2006
Norwegian Documentary Film Festival in Volda, April 2006
Atlanta International Documentary Film Festival, April 2006
USA Film Festival in Dallas, Texas, April 2006
Trenton Film Festival, New Jersey, May 2006
Television Broadcasts
YLE Teema, Finland (for 2006)
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Press Kit
Contacts
Production Company
Hoferichter & Jacobs GmbH
Alte Schönhauser Str. 9
D-10119 Berlin, Germany
Tel. +49-30-3087-4560
Fax. +49-30-3087-4566
Riemannstr. 52
D-04107 Leipzig, Germany
Tel. +49-341-9839-665
Fax. +49-341-2618-639
Email: [email protected]
www.hoferichterjacobs.de
World Sales
Telepool GmbH
Sonnenstr. 21
D-80331 München, Germany
Tel. +49-89-558760
Fax: +49-89-55876188
www.telepool.de
Internet
www.homemadehillbillyjam.com
www.hoferichterjacobs.de
www.rickfilms.de
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English - Rick Minnich

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