ETHEL
A Film by Rory Kennedy
TRT: 1:37:02
SUNDANCE FILM FESTIVAL SCREENINGS
DOCUMENTARY PREMIERES
Fri
January 20, 2:00 p.m. The MARC Theatre, Park City
Sat. January 21,
Sat. January 21,
Wed. January 25,
Thurs
8:30 a.m.
6:00 p.m.
Library Center Theatre, Park City
Screening Room, Sundance Resort
10:00 a.m. Holiday Village Cinema III, Park City – Press Screening
January 26,
Sat. January 28,
9:00 p.m.
Temple Theatre, Park City
6:30 p.m. Rose Wagner Performing Arts Center, SLC
Press Contacts:
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HBO DOCUMENTARY FILMS
ETHEL
SYNOPSIS
ETHEL is a feature-length documentary about the remarkable life of Ethel Kennedy, told
by those who know Ethel best: her family. Directed by her Emmy® Award-winning
daughter, Rory Kennedy, the film features candid interviews with Ethel and seven of her
children. The film is a personal portrait of Ethel’s political awakening, the life she shared
with Robert F. Kennedy, and the years following his death when she raised their 11
children on her own. Intimate, funny, and deeply moving, ETHEL offers a rare look inside
a political dynasty strengthened by family bonds, a compassion for others, and a wisdom
forged from both hardship and triumph. The film is scheduled to be seen on HBO in 2012.
For Immediate Release
ETHEL, FROM EMMY®-WINNING FILMMAKER RORY KENNEDY, OFFERS A
DEEPLY PERSONAL LOOK INSIDE THE KENNEDY POLITICAL DYNASTY
The HBO Documentary Films Feature Premieres
at the 2012 Sundance Film Festival
When the late Robert F. Kennedy was U.S. Attorney General, his wife,
Ethel, would sometimes take their children to the FBI Building to watch the
sharpshooters at target practice. It was fun for the kids, even though they risked
running into FBI Director J. Edgar Hoover, who disliked Robert Kennedy and didn’t
much care for children. So when Ethel came across a suggestion box there, she
didn’t hesitate to make one: “Get a new director,” she wrote on a piece of paper,
and slipped it in the slot.
ETHEL, a new film about the remarkable life of the Kennedy matriarch,
directed by her Emmy® Award-winning daughter, Rory Kennedy (Ghosts of Abu
Ghraib), is a treasure trove of such revealing and little-known anecdotes,
recounted by those who know Ethel best: her family. Essentially a decades-long
love story between Ethel and her late husband, it’s the first time a film has been
made about the Kennedys from inside the family and contains the first extended
interview Ethel has done in more than 20 years.
The feature-length documentary offers a personal portrait, based on candid
interviews with Ethel and her children, spanning Ethel’s political awakening, the life
she shared with Robert Kennedy, and the years following his death, during which
she raised their 11 children on her own. ETHEL will have its world premiere at the
2012 Sundance Film Festival.
Given the Kennedys’ place at the forefront of many of the historical events
of the modern era, the film’s narrative sweep is vast: from the McCarthy hearings
and the Civil Rights movement, to Vietnam and the anti-war movement, to the
assassinations of John F. Kennedy, Martin Luther King, Jr. and Robert Kennedy,
and beyond. The film offers a fascinating retelling of these well-known events from
a unique vantage point, never before given voice.
Weaving archival footage of world events with rare home movies and
dozens of personal photos, the film traces Ethel (born Ethel Skakel) and Robert’s
Irish Catholic roots, following them through their on-again, off-again courtship until
they married in 1950 and began raising a family. Ethel, now 83, is described by
one of her daughters as “the most fiercely competitive person I’ve ever met.” On
camera, she comes across as a force of nature, but also self-effacing and modest.
In addition, the film features a variety of exclusive interviews with her children —
Kathleen, Joe, Bobby, Courtney, Kerry, Chris and Max — with Rory, the youngest,
asking the questions.
Having grown up more interested in sports and horses than public affairs,
Ethel’s political conscience didn’t stir until she, Robert and the entire Kennedy
family poured themselves into John Kennedy’s various campaign efforts,
culminating in his presidential win in 1960. By then, she was hooked. She hosted
hugely popular tea parties to mobilize women voters, worked tirelessly on the
campaign trail and traveled the world with Robert after he was appointed Attorney
General — even though it meant disowning her conservative roots.
“I just totally put the Republican part behind me,” Ethel says, quipping that
her family thought she was “a little Communist.”
During a time when much of the country and world were in chaos and
upheaval, Ethel’s unflagging spirits and mischievous sense of humor were often
the perfect antidote to the stresses of Robert’s job. She had regular run-ins with
the police, earning speeding tickets and even a court appearance for “stealing” a
group of starving horses to save their lives. At many parties she hosted, she had
members of President John Kennedy’s cabinet pushed into the family swimming
pool.
“My father really had the weight of the world on him, and mummy was funny
and fun and full of laughter,” recalls Kerry Kennedy.
Ethel’s profound Catholic faith shines like a golden thread throughout the
film, as does her courage. She was inspired by Robert’s fearless commitment to
justice in his various political roles, whether he was helping to get Senator Joseph
McCarthy censured for his reckless red-baiting, going after labor racketeer Jimmy
Hoffa, or trying to put an end to racial segregation at the University of Alabama.
Following Robert’s lead, Ethel took pains to instill in their children the same
courage and sense of social justice. The kids went along on campaigns, sat in on
crucial hearings, and, when Robert Kennedy ran for senator for New York state,
were driven around the Bronx and Harlem so they could appreciate how lessprivileged people lived. No teachable moment was wasted.
From a very personal perspective, the film explores heartbreaking moments
in the family’s history that tested Ethel’s faith. John Kennedy’s assassination in
1963 unleashed, in Ethel’s words, “a tidal wave of grief.… It was six months of just
blackness.” Even more harrowing was her husband’s assassination, at age 42, in
Los Angeles five years later. Asked to comment on it, Ethel demurs, except to say
that her children — along with her faith — helped her get through it. “I'd wake up
every morning and imagine him up there with Jack,” she says, referring to the late
president.
“That’s carried her, I believe, through everything,” says Courtney Kennedy,
including the deaths of her sons David, in 1984, of a drug overdose, and Michael,
in 1997, in a skiing accident. Rory’s birth, six months after Robert’s death, also
helped with the healing, Ethel says.
One of the final sequences shows the film’s subject at the wheel of her
family’s sailboat, which is filled with her children and many of her 33 grandchildren,
cleaving through choppy ocean waters. In spite of all she has lived through, Ethel
Kennedy has somehow managed to stay afloat, moving forward through buffeting
winds and changing tides.
Just as John Kennedy’s death eventually moved Robert, until then always
somewhat in his brother’s shadow, to step up to a greater level of public service,
so Robert’s death eventually pushed Ethel to do the same. She founded the
Robert F. Kennedy Center for Human Rights and Justice to help carry on his work,
and has gone on human rights delegations all over the world. Today, many of her
children are involved in social justice work, a fact that’s often attributed to their
father’s influence, but as Rory reminds Ethel, Robert died when they were all very
young.
“You raised us, Mummy,” says Rory, implying that Ethel should also get the
recognition for their life’s choices. But she’ll have none of it. “I just don’t feel I can
take the credit,” she says. Then she adds, with a wisdom forged from both
hardship and triumph, “Nobody gets a free ride ... so have your wits about you,
and do what you can and dig in because it might not last.”
Rory Kennedy is an Emmy® Award-winning independent documentary
filmmaker, as well as co-founder and president of Moxie Firecracker Films. Her
films cover an array of issues ranging from poverty to politics to human rights. Her
work has been shown on HBO, A&E, MTV, Lifetime and PBS. Most recently,
Kennedy produced Killing in the Name, nominated for a 2011 Academy Award® for
Documentary Short and winner of the LA Shorts Fest 2010. Her latest directorial
project, The Fence, premiered on opening night of Sundance 2010 and debuted
on HBO in September 2010. In her career, Kennedy has directed and, or produced
more than 35 documentaries including Ghosts of Abu Ghraib (Primetime Emmy®
Award winner for Best Non Fiction Film, 2007); Thank You, Mr. President: Helen
Thomas at the White House; American Hollow; A Boy’s Life; and Pandemic:
Facing AIDS.
ETHEL is directed, produced and narrated by Rory Kennedy. The film is
edited by Azin Samari, with Mark Bailey as the writer and cinematography by
Buddy Squires. The producer is Jack Youngelson, the co-producer Veronica
Brady, with an original score by Miriam Cutler. The associate producer is Tina
Leonard. Executive producer: Sheila Nevins. Senior producer: Nancy Abraham.
###
HBO DOCUMENTARY FILMS
ETHEL
FILMMAKER’S STATEMENT
For as long as I can remember, when meeting someone for the first time, I often hear,
“You must be Robert Kennedy’s daughter.” It’s a nice thing to be told and of course it’s
true, but I always remind anyone who says this that I am also Ethel Kennedy’s daughter.
The fact is I never knew my father. He died when my mother was four months pregnant
with me, the last of their 11 children. And while my father’s legacy — his moral courage
and strength of purpose — touches everything I do, it’s my mother who raised me.
Making this film about my mother has been a rare privilege. How many of us have had the
chance to sit down with either one of our parents and ask him or her everything we’ve
ever wanted to know? Yet this is what I did, cameras rolling, over the course of five days
in the fall of 2010.
That my mother agreed to speak with me in this way was deeply meaningful. She had not
given an interview in more than 20 years, and she does not particularly like talking about
herself. So I was moved by her trust in me, just as I was daunted by the responsibility
such a trust entailed.
From the start, I knew that I wanted to capture some greater truth about who my mother is
— her love for my father and her faith in God, her crackling sense of humor and her
inexhaustible drive. I wanted to tell my mother’s story through the lens of her own
experience, but also to hear it from those who know her best — my brothers and sisters.
It was to be a film about her life with my father and her life after my father was gone, a film
about our family, but about more than that, too. After all, my parents’ history is intertwined
with our nation’s larger history — from the Cold War to the Civil Rights movement, from
the War on Poverty to the war in Vietnam. At its heart, I wanted the film to be a deep and
enduring love story about two people who were lucky to find each other, and who drew
strength from each other amid the extraordinary social upheaval that surrounded them.
Making this film has been quite an experience for me on a personal level. But part of my
hope is that, in sharing my mother’s story, others might take away their own insights —
something to be learned, maybe, about my mother or my family, or about our collective
American past.
HBO DOCUMENTARY FILMS
ETHEL
Q&A WITH THE FILMMAKER
Q: Why was it important for you to make this movie on your mother?
R: My mother is an extraordinary woman. I was excited about sharing her personal
history with a broader audience. And I did it in part to document her life for our family.
But she has lived a remarkable life – a life that is intertwined with our collective national
history. She has been on the front lines of many major events in American history. So
her story and that of my family, is, in many ways, an American story. I certainly learned a
lot in making this film – and I hope it has something to offer.
Q: Why did you choose to make this film now?
R: Sheila Nevins at HBO approached me about doing a documentary about my mother
and I was resistant at first because it’s my mother, it’s personal. But I also felt that my
mother has this amazing story and it would be a great opportunity to share this
remarkable person with the rest of the world. My mother hadn’t given an interview in
decades – she really dislikes them. So I thought she would never do it. I figured I would
just ask my mother and she would say no and I would tell HBO my mother said no. Then I
asked my mother and she said yes!
Q: You have already had a very long and prestigious career with 30-plus films of
varying topics, so how important was it for you to come to this personal subject at
this point of your career?
R: A large part of my interest in being a documentary filmmaker is in documenting the
world outside my own experience, whether that is poverty in Appalachia, torture at Abu
Ghraib, or the impact of the AIDS pandemic around the globe. I have never been very
interested in using the form to directly explore my own life.
Additionally, I don’t think I could have made this film 20 years ago when I was starting my
career, or for that matter even ten years ago. I think I needed to have a greater confidence
in my work, in my ability to shape this story and take it out into the world the way it
deserves. There’s a certain level of experience and confidence that I have at this point in
my career.
Q: The film is driven by an interview with your mother. Why did you choose to
interview your siblings as well? Were your siblings on board from the beginning?
R: I had initially conceived of the project as a single interview with my mother – an “in her
own words” type of film. Then as I became more familiar with the archival material, I
noticed that my siblings were always there – from the Hoffa Hearings, to the various
campaigns; from John F. Kennedy’s Inauguration as President to the integration of the
University of Alabama. The children played an integral role in all aspects of my parents’
lives, and I felt their perspective was important.
Also, there have been a number of films done about my family over the years that
included friends and associates who worked with my father, or perhaps writers or
journalists who covered my family. I wanted ETHEL to be a more intimate portrait, a film
not just about my family but from my family—a deeply personal perspective about the
events that shaped both us and our country.
Q: Most of your family participated in the film, including Kathleen, Kerry, Chris, Joe,
Bobby, Max and Courtney. Were they willing participants?
R: I didn’t put any pressure on my siblings to participate. I told them what I was doing and
I think they appreciated why I was doing it and almost all of them chose to contribute.
Q: Did your mother or siblings reveal anything to you during the making of this film
that you were unaware of? Was there anything new you learned?
R: Making this film about my mother and having the chance to sit down with her and my
siblings has been a rare privilege. How many of us have had the chance to sit down with
our parents or siblings and ask them everything we’ve ever wanted to know? And though
it was hard to do at points, I will always be grateful for that experience.
So what did I learn that was new? Well, I didn’t know that my mother used to bet on
horses when she was at college. Or that my father and siblings slid down the banister of
the White House the day Jack and Jackie moved in. I didn’t know that our pet seal Sammy
ate fish but spit out the eyes…So there were a few new facts I picked up along the way,
but the greatest gift was gaining a deeper understanding of my mother. She is an
incredible woman. I knew it going in, but have an even greater appreciation for her now.
Q: What did you find most challenging during the filmmaking process?
R: It was hard to do the interviews and ask sensitive questions of my mother and my
siblings. My family tends to live in the present and really doesn’t dwell on the past. There
is a profound sadness to our story, and it was hard to ask my family to revisit some of
these moments. That was the most challenging thing about making the film. Also, I felt a
greater responsibility with this film than I’ve had with any other film I’ve made, because it
is personal, because it is my family and, frankly, that was nerve-racking. I am really happy
it’s done.
Q: Was it hard to maintain an objective journalistic approach in making this film?
R: ETHEL is a “point of view” film, and it never pretends to be otherwise. I narrate the
film and clearly communicate to the audience that this is a daughter’s film about her
mother and family. I’m not pretending to make an “objective” film about Ethel Kennedy.
I’m making a very personal film about my family. The film is a very honest reflection of my
take on my family. My mother has had a long, full life — she’s 83 years old — but I’ve
compressed those years to 100 minutes. So there is a lot of stuff that’s not in there. I’m
sure the question will come up of why didn’t you cover this or that. Those questions are
inevitable, but at the end of the day, I have to make edits and choices — the film is true to
me.
Q: Has your mother seen the film, and did she ever ask to be part of the editing
process.
R: My mother saw the film after it was locked, but before it came to Sundance. She was
very sweet about it. I think, the truth is, there is always something fundamentally
uncomfortable about watching oneself on television. And probably I think she was cringing
the entire 100 minutes — there were a lot of moans and it was, I would say, not the
easiest screening I’ve ever done. And obviously, there was some difficult material for her
to watch. But ultimately, I think she felt that it was all handled well. I think she feels like
it’s a good film, an honest film, and she is grateful that I made it. But I don’t like to speak
for her, so best to ask her directly. Good luck.
She never asked for anything to be taken out or put in. I think there were things that she
would rather not have been in there, but she was very respectful and did not ask me to
take anything out, and I didn’t.
Q: As a filmmaker, was there a certain process or framework that you used to tell
the story? Talk a little about the archival material.
R: The first thing I did was to review footage that was stored and catalogued at the
Kennedy library, which included family footage and home movies, as well as general
archive material. We gathered and reviewed a good bit of the archive before doing the
interviews, because I felt that the footage would lead me to some of the questions that I
would want to ask during the interviews. I simultaneously read as many books as I could
about my mother and father.
Initially, I had imagined the film to be somewhat more balanced between present-day
footage and the archival, but the archival was incredibly rich. One of the things that was
striking in going through this footage, is that my mother was always there. Sometimes in
the background, sometimes the foreground, but always present. She clearly has a
perspective on a time period in American history that I think is extraordinarily unique. So
while the film focuses on my mother’s story, it is also a film about the many historical
events that she witnessed and played a role in.
Q: What do you want people to take away with this film? Beyond introducing your
mother, is there any kind of message? What do you want people to feel when they
walk out of the room?
R: From the start I wanted to tell my mother’s story through the lens of her own
experience, but also hear it from those who know her best — my brothers and sisters. It
was to be a film about her life with my father and her life after my father was gone; a film
about our family, but about more than that, too. My mother’s story is intertwined with our
nation’s larger history — from the Cold War to the Civil Rights movement, from the War on
Poverty to the war in Vietnam.
Part of my hope is that, in sharing my mother’s story, others might take away their own
insights — something to be learned, maybe, about my mother or my family, about raising
children, or perhaps something about our American past, and our collective humanity.
And also, that they maybe have a deeper appreciation of my parents’ enduring love story
(just as I do). They were two people who were lucky to find each other, and who drew
strength from each other amid the extraordinary social upheaval that surrounded them.
And I find that deeply moving.
HBO DOCUMENTARY FILMS
ETHEL
BIO
Rory Kennedy, Director
Emmy® Award-winning filmmaker Rory Kennedy has produced and directed over
35 celebrated documentaries, covering topics from the global AIDS crisis, human rights,
domestic abuse, poverty, drug addiction, and political corruption. Kennedy’s films have
appeared on HBO, PBS, Lifetime Television, A&E, Court TV, The Oxygen Network and
The Learning Channel.
In 1999, Kennedy’s HBO film “American Hollow,” the story of a tight-knit
Appalachian family, premiered at the Sundance Film Festival, launching an acclaimed and
prolific career and earning Kennedy the first of many Emmy® Award nominations.
Most recently, Kennedy produced “Killing In The Name”, nominated for the 2011
Academy Award for Documentary Short and winner of the LA Shorts Fest 2010.
Kennedy’s latest directorial project, “The Fence (La Barda)”, premiered at the 2010
Sundance Film Festival opening night celebration. It debuted on HBO in September 2010.
Before that, Kennedy produced and directed “Thank You, Mr. President: Helen Thomas at
the White House” for HBO, and produced the 2009 Sundance entry “Shouting Fire:
Stories from the Edge of Free Speech”. In 2007, Kennedy’s “Ghosts of Abu Ghraib”
premiered at the Sundance Film Festival and won the 2007 Primetime Emmy® Award for
Best Documentary.
Kennedy also directed and produced the Emmy®-nominated series “Pandemic:
Facing AIDS” for HBO. In 2003, she produced and directed “A Boy’s Life,” the story of a
young boy and his family in rural Mississippi. The film was awarded the Best
Documentary prize at the Woodstock Film Festival and was later broadcast on HBO. Her
2004 film “Indian Point: Imagining the Unimaginable,” a “what if” look at the catastrophic
consequences of a radioactive release at the Indian Point Nuclear Energy Center, located
just 35 miles north of midtown Manhattan. She executive produced “Street Fight,” about
the controversial 2002 mayoral race in Newark, New Jersey, which earned a 2006
Academy Award® Nomination for Best Documentary.
Kennedy maintains an active speaking schedule and has been the keynote
speaker for various lecture series, university events and community organizations, both
nationally and internationally. She was a surrogate speaker for Bill Clinton’s presidential
campaign in 1992 and for President Barack Obama during the primary and general
elections in 2008.
Kennedy has also spoken at a number of film-related events, including panels and
seminars at the Sundance Film Festival, the Doubletake Film Festival and the Museum of
Television and Radio. She has served as a judge for a number of festivals, including the
Sundance Film Festival and at the Tribeca Film Festival. She recently was honored with a
Lifetime Achievement Award from Full Frame Film Festival.
Kennedy is a member of the Academy of Motion Pictures Arts and Sciences
Documentary Branch, and is also a member of the nominating jury for the Primetime
Emmy Awards Exceptional Merit in Non-Fiction Filmmaking. In 2012, Kennedy joined the
Sundance Alumni Advisory Board.
A graduate of Brown University, Kennedy majored in Women’s Studies. Along with
acclaimed documentary filmmaker Liz Garbus, she is co-founder of Moxie Firecracker
Productions in New York. Kennedy lives in Los Angeles and Brooklyn.
HBO DOCUMENTARY FILMS
ETHEL
CREDITS
“ETHEL”
OPENING CREDITS
HBO OPENING ANIMATION “CLICK ON”
HBO DOCUMENTARY FILMS ANIMATION
Card 1:
HBO DOCUMENTARY FILMS presents
Card 2:
A MOXIE FIRECRACKER production
Card 3:
ETHEL
Card 5:
A FILM BY Rory Kennedy
END CREDITS
Card 1:
director, producer & narrator
RORY KENNEDY
Card 2:
editor
AZIN SAMARI
Card 3:
writer
MARK BAILEY
Card 4:
cinematographer
BUDDY SQUIRES
Card 5:
producer
JACK YOUNGELSON
Card 6:
co-producer
VERONICA BRADY
Card 7:
original score
MIRIAM CUTLER
card 1:
line producers
LISA REMINGTON
AMY SHATSKY
associate producer
TINA LEONARD
card 2:
senior archival producer
VERONICA BRADY
archival producers
CARRI FROLA
ANDY ZARE
archival researcher
ANNE CAMAS PHELAN
archival consultant
JUDY ALEY
card 3:
John F. Kennedy Presidential Library
and Museum
LAURIE AUSTIN
MARYROSE GROSSMAN
TOM PUTNAM
archival photo supervisor
LAUREN BARKER
archival photo researcher
ABIGAIL J. BEHRENDS
card 4:
assistant editor
BRYAN REESE
title design
RANDY BALSMEYER
BIG FILM DESIGN
post-production supervisor
LISA REMINGTON
card 5:
sound recordists
ROBERT FREEMAN
STEVE NEALEY
DAVID OBERMEYER
MARK ROY
BILL SHAMLIAN
ALAN TAVENER
additional cinematography
HASHEM SELPH
card 6:
gaffers
BILL FLANAGAN
SCOTT FROSCHAUER
MIKE LEE
STEVE NEALEY
ANTHONY SAVINI
hair & make-up
DEBRA ALBEE
EUGENIE FICHTNER MORGAN
LISA SKOJEC
set photographers
BART BARTHOLOMEW
KEN REGAN
card 7:
field production assistants
THOMAS BACHORZ
JILLIAN BANNISTER
production office assistants
JOSH CURRIE
FRANCESCA CYPHERS
JONATHAN DAVIS
TAYLOR JOHNS
TAJA PERKINS
BRADY WILSON
photo research assistants
EMILY DECKER
CAROLINA GARCIA
RILEY O’NEILL
EMMA ZIEGELLAUB EICHLER
card 8:
interns
NICK BROKAW
JASON BUSCH
CAMILA CHATEAU
EMILY CHEEVER
DYLAN HAYES
TANYA MATA
SARAH RIEGERT
DILLON PASCUCCI
JERRY WOLF DUFF SELLERS
transcription
KAREN CHILDS, BAM Transcription
JOSHUA CIAMPA
MOLLY HARRINGTON
CHRISTOPHER METCALFE
MELISSA RODRIGUEZ
copy editor
BARBARA CLARK
card 9:
offline facility
MOXIE FIRECRACKER FILMS
digital post finishing facility
CHAINSAW
Chainsaw post executive
MICHAEL LEVY
post finishing consultation
RANDY MAGALSKI
online editor
KEVIN O’DEA
Chainsaw senior assistant editor
CALEB KALDETZ
conform assistant editors
BENJAMIN LINDEMUTH-McROBIE
ERIC PRITCHARD
KATHRYN WEST
colorist
KRIS SANTA CRUZ
card 10:
post production sound services
PUGET SOUND, INC.
sound designer & re-recording mixer
JOE MILNER
foley recorded at
POST CREATIONS
foley mixer
KYLE BILLINGSLEY
foley artist
NOEL VOUGHT
narration recorded at
STUDIO G
narration recordist
STEVE SHEPHERD
card 11:
score producer
MIRIAM CUTLER
score mixer
LES BROCKMANN
score assistant/music prep
JEFF KRYKA
special thanks
STEVE BARTEK
card 12:
electric & acoustic guitars
IRA INGBER
mandola/nylon guitar
MATT CARTSONIS
acoustic and electric bass
CARL SEALOVE
harp
STEPHANIE BENNETT
strings
PASA DOBLE ENSEMBLE
woodwinds
CHARLIE ADELPHIA
piano/keyboards
LOUIS DURRA
card 13:
production consultant
SANDI WILLIAMS
computer consultant
MARK R. RUSSO
production insurance
MEREDITH WURZBACH
D.R. REIFF & ASSOCIATES
legal services
VICTORIA S. COOK, ESQ.
FRANKFURT, KURNIT, KLEIN & SELZ
ALAN S. WERTHEIMER, ESQ.
accounting services
BARRY KORNBLUM
H.S. POMERANTZ & COMPANY, LLP
card 14:
primary footage & photographs courtesy of
THE JOHN F. KENNEDY PRESIDENTIAL LIBRARY & MUSEUM
THE ETHEL SKAKEL KENNEDY PERSONAL COLLECTION
footage courtesy of
ABCNEWS VideoSource
ABBIE ROWE, NATIONAL PARK SERVICE, HARRY S. TRUMAN LIBRARY
ANDY FORD
ASSOCIATED PRESS
BETTMAN/CORBIS
BUDGET FILMS STOCK FOOTAGE
THE BUCHWALD FAMILY
CENTER FOR SACRAMENTO HISTORY, DCRA TV FILM COLLECTION
CLASSIC IMAGES
CONDE NAST ARCHIVE/CORBIS
STEVE SCHAPRIO/CORBIS
CORBIS MOTION
card 15:
CRITICAL PAST
CLYDE KELLER
CTV NEWS STOX
DEPARTMENT OF JUSTICE
DON WEST
DOUGLAS JONES/LOOK MAGAZINE COLLECTION/LIBRARY OF CONGRESS
DREW ASSOCIATES
EFOOTAGE.COM
ELIZABETH KUHNER ARCHIVES
THE EVERETT COLLECTION, INC.
FILM ARCHIVES, INC.
FRAMEPOOL
FRANK TETI FROM TETI/MILLER COLLECTION/JFK LIBRARY
BRIAN QUIGLEY/TIME & LIFE IMAGES/GETTY IMAGES
CHARLES H. PHILLIPS/TIME & LIFE IMAGES/GETTY IMAGES
YALE JOEL/TIME & LIFE IMAGES/GETTY IMAGES
ART RICKERBY/TIME & LIFE IMAGES/GETTY IMAGES
BILL EPPRIDGE/TIME & LIFE PICTURES/GETTY IMAGES
ED CLARK/TIME & LIFE PICTURES/GETTY IMAGES
card 16:
HANK WALKER/TIME & LIFE PICTURES/GETTY IMAGES
JOHN DOMINIS/TIME & LIFE PICTURES/GETTY IMAGES
LEONARD McCOMBE/TIME & LIFE PICTURES/GETTY IMAGES
PAUL SCHUTZER/TIME & LIFE PICTURES/GETTY IMAGES
RALPH CRANE/TIME & LIFE PICTURES/GETTY IMAGES
STAN WAYMAN/TIME & LIFE PICTURES/GETTY IMAGES
BERT MORGAN/GETTY IMAGES
SAUL LOEB/AFP/GETTY IMAGES
STEPHEN JAFFE/AFP/GETTY IMAGES
BACHRACH/ARCHIVE PHOTOS/GETTY IMAGES
FOTOSEARCH/ARCHIVE PHOTOS/GETTY IMAGES
VITTORIO ZUNINO CELOTTO/GETTY IMAGES NEWS/GETTY IMAGES
GENE FORTE/HULTON ARCHIVE/GETTY IMAGES
KEYSTONE/HULTON ARCHIVE/GETTY IMAGES
NEW YORK DAILY NEWS/GETTY IMAGES
RON GALELLA/WIRE IMAGES/GETTY IMAGES
ARCHIVE FILMS/GETTY IMAGES
PRELINGER/GETTY IMAGES
GEORGE BALLIS/TAKE STOCK /THE IMAGE WORKS
card 17:
GEORGE T. HENRY
GUGGENHEIM PRODUCTIONS, INC.
HARVARD UNIVERSITY ARCHIVES
HBO ARCHIVES
HISTORIC FILMS ARCHIVES, LLC
HONOLULU STAR-ADVERTISER
ISTOCKPHOTO
ITN SOURCE
JACQUES LOWE ESTATE
JOSEPH P. KENNEDY FOUNDATION
KOMO TV NEWS
KUNDHART PRODUCTIONS
LIBRARY OF CONGRESS, CARL VAN VECHTEN COLLECTION, LCUSZ62-109113
LIBRARY OF CONGRESS, PRINTS & PHOTOGRAPHS DIVISION, HABS, HABS DC,
WASH, 134-332
PAUL FUSCO/MAGNUM PHOTOS
BURT GLINN/MAGNUM PHOTOS
HENRI CARTIER-BRESSON/MAGNUM PHOTOS
MANHATTANVILLE COLLEGE LIBRARY
MARSELHA GONCALVES MARGERIN
card 18:
NATIONAL AIR FORCE MUSEUM
NBC UNIVERSAL ARCHIVES
NORTHERN LIGHT PRODUCTIONS
PAUL FAY/JFK LIBRARY
PENNEBAKER HEGEDUS FILMS
PETER S. VOGT
PRODUCERS LIBRARY
THOUGHT EQUITY MOTION
THOUGHT EQUITY MOTION/NATIONAL GEOGRAPHIC
THOUGHT EQUITY MOTION/CBS NEWS
THOUGHT EQUITY MOTION/BBC NEWS
TIME/LIFE
ESTATE OF STANLEY TRETICK, LLC
TURNER ENTERTAINMENT CO.
UCLA FILM & TELEVISION ARCHIVE
UNIVERSAL MEDIA STUDIOS
UNIVERSAL MEDIA, INC.
UNIVERSITY OF VIRGINIA LAW LIBRARY
card 19:
(left column)
THE WPA FILM LIBRARY
WARNER BROS. ENTERTAINMENT INC.
WATERKEEPER ALLIANCE
WILLAMETTE HUMANE SOCIETY
additional footage and photographs
BOSTON GLOBE
LIFE MAGAZINE
BILLY HOWELL
DEV O'NEILL
DON GANGLOFF
FRANCIS DI GENNARO
BILL STETTNER
card 19:
(right column)
“The Times They Are A-Changin’”
Performed by Bob Dylan
Courtesy of Columbia Records
By permission with Sony Music Licensing
“Singin’ in the Rain”
Performed by Gene Kelly
Courtesy of Turner Entertainment Co.
cards 20, 21, 22:
(Two columns, in three cards)
the producers wish to thank:
MADELYNE BAILEY
LYNDIE BENSON & KENNY GORELICK
KYMBER BLAKE
JOEL BUCHWALD
MARY ELLEN BUCKLEY
BILL CHASE
DAN COGAN
PRISCILLA COHEN
KRISTI & JOHN CUMMING
R.J. CUTLER
LYNN DELANEY
MAUREEN DELANEY
DIANE DEWHIRST
SEAN DONNELLY
AMBER DOW
GERALYN DREYFOUS
JESSE DYLAN
LESLIE DUNCAN FOTTRELL
KRISTIN DURIE
KATHERINE EVANS
MARY LOU EVANS
ROGER FAXON
REGINA FEILER
MARYANN FEIERSTEIN
SCOTT FROSCHAUER
LYLE GAMM
LIZ GARBUS
GINA GOLDMAN & WALTER SCHUPFER
ALLAN GOODRICH
GRACE GUGGENHEIM
JOSEPH HAKIM
MICHAEL HALATYN
CAROLE HARNOFF
EAMON HARRINGTON
MAGGIE HARRINGTON
SARANAH HOLMES
BILL HOOPER
SUSAN HORMUTH
PHILIP W. JOHNSTON
BETH & KENNETH KARMIN
BETH KENNEDY
MARY RICHARDSON KENNEDY
MOLLY KENNEDY
SHEILA KENNEDY
KIKI & TEDDY KENNEDY
VICTORIA GIFFORD KENNEDY
VICKI STRAUSS KENNEDY
BRIDGET KENNEDY-BAILEY
GEORGIA KENNEDY-BAILEY
ZACHARY KENNEDY-BAILEY
ERIC KULBERG
ABBY LIN
ALEXANDER J. LOPEZ
LISA MARGOLIS
KEVEN MCALESTER
MATTHEW MCALONIE
BRENDAN MCBREEN
SYDNEY & MICHAEL MCDONNELL
LORNA MCDONNELL
PETER MCKELVY
ROBYN MOORE
LEORA & PETER MORA
KELLY & RON MEYER
MARK POLLARD
MARY BETH POSTMAN
MEGAN PRASKA
ERIC PRITCHARD
JERI RICE
JINX RING
SARAH JOHNSON REDLICH & CHRIS REDLICH
PETER RIENECKER
CURT ROSLOFF
IKE SAUNDERS
EDWARD SAXON
MARTIN & JANET SHEEN
LARRY SHORE
MICHAEL SHULMAN
STEPHEN B. SKAKEL
VALERIE SKLAREVSKY
CHARLES STUART
DAVID TOWNSEND
LIS WHETTON
JESSE WEINRAUB
SHARON WERNER
KATHRYN WEST
DIANE WEYERMANN
MATTHEW WILDER
CHRISTINA A. WISKOWSKI
SUSIE WILSON
LAUREN ZIARKO
DODGE-CHROME
GOTHAM IMAGING
GREENWICH ACADEMY
PLANET GRANDE PICTURES
ROBERT F. KENNEDY CENTER FOR JUSTICE & HUMAN RIGHTS
card 24:
special thanks
KATHLEEN KENNEDY TOWNSEND
JOSEPH P. KENNEDY II
ROBERT F. KENNEDY, JR.
COURTNEY KENNEDY
KERRY KENNEDY
CHRISTOPHER KENNEDY
MAX KENNEDY
DOUGLAS KENNEDY
very special thanks
ETHEL SKAKEL KENNEDY
card 25:
for Home Box Office
senior producer
NANCY ABRAHAM
card 26:
for Home Box Office
executive producer
SHEILA NEVINS
card 27:
IN MEMORY OF GEORGEANN DOWDLE AND KARA KENNEDY
card 28:
COPYRIGHT © 2011 HOME BOX OFFICE, INC. ALL RIGHTS RESERVED. FIRST
PUBLICATION OF THIS MOTION PICTURE (SOUND RECORDING AND FILM):
UNITED STATES OF AMERICA 2011. HOME BOX OFFICE, INC. IS THE OWNER OF
THE COPYRIGHT IN THIS MOTION PICTURE.
THIS MOTION PICTURE IS PROTECTED BY THE COPYRIGHT LAWS OF THE
UNITED STATES OF AMERICA AND OTHER COUNTRIES. ANY UNAUTHORIZED
DUPLICATION, COPYING OR USE OF ALL OR PART OF THIS MOTION PICTURE
MAY RESULT IN CIVIL LIABILITY AND/OR CRIMINAL PROSECUTION IN
ACCORDANCE WITH APPLICABLE LAWS.
HBO CLOSING ANIMATION “CLICK OFF”