AFI Catalog of Feature Films
Detailed View of Movie
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Title: Boyhood

Production Company: IFC Films  
Production Text:
IFC Productions Presents
A Detour Film Production

Release Date: 11 Jul 2014
Premiere Information: Sundance world premiere at the Eccles Theater: 19 Jan 2014; Los Angeles and New York openings: 11 Jul 2014
Production Date: 2002--early-Oct 2013 in Texas
Duration (in mins): 164 or 166
PCA NO: 48994
MPAA Rating: R
Country: United States
Language: English

Physical Properties: Sd: Dolby® Digital in selected theatres
  col:

Producer: Richard Linklater (Prod)
  Cathleen Sutherland (Prod)
  Jonathan Sehring (Prod)
  John Sloss (Prod)
  Sandra Adair (Co-prod)
  Vince Palmo, Jr (Co-prod)
  Kirsten McMurray (Co-prod)
  Caroline Kaplan (Assoc prod)
  Anne Walker (Assoc prod)
Director: Richard Linklater (Dir)
  Cathleen Sutherland (Unit prod mgr)
  Vince Palmo, Jr (1st asst dir)
  Susana Jasso (2d asst dir)
  Kathleen Tull (2d asst dir)
  Mary Beth Chambers (2d 2d asst dir)
  Brian Franklin (2d 2d asst dir)
Writer: Richard Linklater (Wrt)
Photography: Lee Daniel (Dir of photog)
  Shane Kelly (Dir of photog)
  Tod Campbell (2d cam op)
  Brown Cooper (2d cam op)
  Ralph Watson (Steadicam op)
  Matt Harshbarger (Steadicam op)
  David McGill (Steadicam op)
  George Niedson (Steadicam op)
  Rob McGrath (1st asst cam)
  Adam Schwartz (1st asst cam)
  PK Munson (1st asst cam)
  Matt King (1st asst cam)
  Wes Turner (2d asst cam)
  Zach Sprague (2d asst cam)
  Chase Chestnutt (2d asst cam)
  Sam Pearcy (2d asst cam)
  Amanda Bruce (Loader)
  Kyle Osburn (Loader)
  Matt McGinn (Loader)
  Matt Lankes (Stills)
  Mark Mathey (Gaffer)
  Jon Lewis (Gaffer)
  Todd Smiley (Gaffer)
  Janet Jenson (Best boy elec)
  Tom Shinn (Best boy elec)
  John Spath (Best boy elec)
  Brad Keffer (Best boy elec)
  Spencer Pharr (Elec)
  Scott Conn (Elec)
  John Eschberger (Elec)
  Brandon Roberts (Elec)
  Joe Vasquez (Key grip)
  Ferrell Shinnick (Key grip)
  Ted Davis (Grip)
  Brad Allen (Grip)
  BJ Lewallen (Grip)
  Tim Travis (Grip)
  Balint Pinczehelyi (Grip)
  Chris Hamala (Grip)
  Michael Palmer (Grip)
  Tristan Shinnick (Grip)
  Leif Ulvog (Grip)
  Chris Cogswell (Grip driver)
  Rob McGreevy (Grip driver)
  Ian Quigley (Grip driver)
  Filmworkers Club Dallas (Film lab)
  Panavision Dallas (Panavision cam provided by)
  Gear Rental (Grip & lighting provided by)
  Chapman/ Leonard Studio Equipment, Inc. (Cam car & cam dollies by)
  Technicolor (Digital intermediate services )
Art Direction: Rodney Becker (Prod des)
  Chia Berry (Art asst)
  Stephanie Seeley (Art asst)
  Ellen Lampl (Graphic des)
Film Editor: Sandra Adair (Ed)
  Mike Saenz (Asst ed)
  Christopher Roldan (Asst ed)
  David Rosenblatt (Asst ed)
  Yusef Svacina (Asst ed)
  Chelsea Dinsdale Murphy (Ed intern)
  Daniel Fort (Ed intern)
  Justin Rhodes (Ed intern)
  Stuck On On, Austin, Texas (Post prod facility)
  Allison Turrell (DI prod)
  Parke Gregg (DI ed/Colorist)
  Parke Gregg (Digital compositor)
  Cinelicious (DI final film scanning)
  Paul Korver (Di film scanning supv)
  Reggie Diaz (DI film scanning prod)
  Tyler Fagerstrom (DI film scanning & editorial)
  Craig Rogers (DI film restoration)
  Nick Smith (Digital compositor)
  FotoKem (Avid editing systems provided by)
Set Decoration: Melanie Ferguson (Decorator)
  Aaron Statler (Leadman)
  Matt Miller (Set dresser)
  Andrew Schwartz (Set dresser)
  Wayne Sutton (Set dresser)
  Sef Tsaousis (Set dresser)
Costumes: Kari Perkins (Cost des)
  Lee Hunsaker (Set costumer)
  Stephanie Baskin (Set costumer)
  Karen Holley (Set costumer)
  John Smith (Set costumer)
Music: Randall Poster (Mus supv)
  Meghan Currier (Mus supv)
  Sam Butler (Mus consultant)
  Seaton Collard (Mus consultant)
  Paul Hosmer (Mus consultant)
  Ben Weaver (Mus consultant)
Sound: Ethan Andrus (Sd rec)
  Ben Lowry (Sd rec)
  Ben Lazard (Sd rec)
  Tom Sturgis (Boom op)
  Misty Conn (Boom op)
  Thadd Day (Boom op)
  Michael Swanner (Utility)
  Brown Cooper (2d cam op)
  Soundcrafter, Austin, Texas (Post prod sd services by)
  Tom Hammond (Supervising sd ed/Re-rec mixer)
  Wayne Bell (Dial ed)
  Susan Fitz-Simon (Dial ed)
  Justin Hennard (Dial ed)
  Glenn Eanes (Dial ed)
  Evan Dunivan (Dial ed)
  Korey Pereira (Dial ed)
  Justin Hennard (Eff ed)
  Miles Foster-Greenwood (Eff ed)
  Susan Fitz-Simon (Foley artist)
  Colin Rogers (Foley mixer)
  Susan Fitz-Simon (Foley ed)
  Evan Dunivan (Foley ed)
  Korey Pereira (Foley ed)
  Miles Foster-Greenwood (Foley ed)
  Roundabout Entertainment, Burbank (Foley rec services)
  Chris Erlon (ADR rec)
  Philip Menchaca (ADR rec)
  Jay Fisher (ADR rec)
  Phil Detolve (ADR rec)
  Digital Domain, Austin, Texas (ADR rec services)
  Synch Sound, New York (ADR rec services)
  Levels Audio, Los Angeles (ADR rec services)
  Keyland Sound, Austin, Texas (Printmastering stage)
  Soundcrafter, Austin, Texas (Audio post facility)
Special Effects: Justin Hennard (Eff ed)
  Miles Foster-Greenwood (Eff ed)
  Wayne Bell (Eff ed)
  Finland Finish, Austin, Texas (Visual eff)
  Jake Mendez (Title anim)
  Jake Mendez (Main & end credits)
Make Up: Darylin Nagy (Make-up/hair)
Production Misc: Beth Sepko (Casting)
  Laura Yates (Post prod supv)
  Stephen Light (Prod coord)
  Andrea Lazard (Prod coord)
  Jeff Guerrero (Prod coord)
  Brooke Satrazemis (Scr supv)
  Morgan Miles (Prod accountant )
  Molly Murray Bunner (Prod accountant )
  Jenni Wieland (Prod accountant )
  Kathleen Shaw (Prod accountant )
  Peter Atherton (Loc mgr)
  Robbie Friedmann (Loc mgr)
  Steve White (Loc mgr)
  Jose Hernandez (Loc mgr)
  Riley Malone (Loc asst)
  Mike Eaton (Loc asst)
  Jenny Mohr (Prod asst)
  Garin Sparks (Prod asst)
  John Reeder (Prod asst)
  Lauren Burckhard (Prod asst)
  Audra Hughes (Prod asst)
  George Dishner (Prod asst)
  Van Nguyen (Prod asst)
  Max Kruemcke (Prod asst)
  Farhaneh Shirazee (Prod asst)
  Film Fleet (Motion picture vehicles by)
  Sloss Eckhouse Lawco LLP (Prod legal counsel)
  Lisa A. Callif, Donaldson - Callif, LLP (Clearance counsel)
  Cinetic Media (Financing and distribution advisory services)
  2 Dine 4 Fine Catering, Austin, TX (Unit catering)
  Shane Reid Travel (Travel agent)
  Holly Adair (Addl crew)
  Julia Alexander (Addl crew)
  Angela Alvarez (Addl crew)
  Troy Anderson (Addl crew)
  Ashlyn Angel (Addl crew)
  Beatrice Bellino (Addl crew)
  Jennifer Bishop (Addl crew)
  Patrick Blackard (Addl crew)
  Kelly Bogdan (Addl crew)
  Mike Brennan (Addl crew)
  David Brink (Addl crew)
  Nate Brown (Addl crew)
  Amanda Bruce (Addl crew)
  Travis Carr (Addl crew)
  Aaron Castillo (Addl crew)
  Jeannette Chalker (Addl crew)
  Corbin Clem (Addl crew)
  Patrick Coate (Addl crew)
  Matt Cowan (Addl crew)
  Carla Curry (Addl crew)
  Tim Dallesandro (Addl crew)
  Garrett Danks (Addl crew)
  Wes Dixon (Addl crew)
  Andrew Draper (Addl crew)
  Michaela Farrell (Addl crew)
  Erin Ferguson (Addl crew)
  Toni Fletcher (Addl crew)
  Matt Fliehler (Addl crew)
  Leslie Frid (Addl crew)
  Pam Fuller (Addl crew)
  Chad Furrow (Addl crew)
  Eric Gerzymisch (Addl crew)
  Kat Gibson (Addl crew)
  Stan Gilbert (Addl crew)
  Mike Gillespie (Addl crew)
  Kayse Goodell (Addl crew)
  Victoria Gonzales (Addl crew)
  Kristopher Hardy (Addl crew)
  Shawn Harper (Addl crew)
  Courtney Harrell (Addl crew)
  Zach Heine (Addl crew)
  Erika Henderson (Addl crew)
  Dawn Hennessey (Addl crew)
  Tim Holt (Addl crew)
  Don Howe (Addl crew)
  Chip Huntington (Addl crew)
  Rob Janecka (Addl crew)
  Liv Kaplan (Addl crew)
  Jason Keene (Addl crew)
  Adam Kenitzer (Addl crew)
  Joe Kentspeth (Addl crew)
  Tamara Klindt (Addl crew)
  Andrew Lankes (Addl crew)
  Paul LeBlanc (Addl crew)
  Ken Lewin (Addl crew)
  Lauren Lindley (Addl crew)
  James Longmire (Addl crew)
  Jason Manzano (Addl crew)
  Ismael Martinez (Addl crew)
  Billy McCartney (Addl crew)
  Mack Melson (Addl crew)
  Scott Meyers (Addl crew)
  Kathy Miller (Addl crew)
  Matt Sean Miller (Addl crew)
  Jarrette Moats (Addl crew)
  Jeremy Mohler (Addl crew)
  Glen Moorman (Addl crew)
  Alina Morse (Addl crew)
  Chuck Murphy (Addl crew)
  Kimberly Murphy (Addl crew)
  Ed Navarro (Addl crew)
  CJ Neels (Addl crew)
  Trevor Nelson (Addl crew)
  Deana Newcomb (Addl crew)
  Bob Nichols (Addl crew)
  Ava Palmo (Addl crew)
  Shobie Partos (Addl crew)
  Lauren Pasternack (Addl crew)
  Martin Pederson (Addl crew)
  Jason Perrine (Addl crew)
  Monika Petrillo (Addl crew)
  Eric Pickett (Addl crew)
  Beth Puorro (Addl crew)
  Ronnie Reeves (Addl crew)
  Brice Reid (Addl crew)
  Robert Reynolds (Addl crew)
  Wally Rowell (Addl crew)
  Ethan Lee Sandler (Addl crew)
  Lucy Santamassino (Addl crew)
  Steve Sawhill (Addl crew)
  Melizah Schmidt (Addl crew)
  Pete Sharp (Addl crew)
  Dan Shaw (Addl crew)
  John Sheeren (Addl crew)
  Owen Shiflett (Addl crew)
  Eddie Shore (Addl crew)
  Dustin Siller (Addl crew)
  Scott Snyder (Addl crew)
  Graham Sonnenberg (Addl crew)
  Scott Streetman (Addl crew)
  Gay Studebaker (Addl crew)
  Nicole Tuegano (Addl crew)
  Steve Urban (Addl crew)
  Aaron Vyvial (Addl crew)
  Laura Walker (Addl crew)
  Desirae Wallace (Addl crew)
  Dustin Weaver (Addl crew)
  Britt West (Addl crew)
  Harrison Witt (Addl crew)
Stand In: Jeffrey Schwan (Stunts)
  Don Breneman (Stunts)
  Richard Hancock (Stunts)
  Dylan Hart (Stunts)

Music Text:
Song Text: “Yellow,” written by Guy Rupert Berryman, Jonathan Mark Buckland, William Champion, Christopher Martin, performed by Coldplay, published by Universal Music – MGB Songs on behalf of Universal Music Publishing MGB Lt., courtesy of Parlophone Records Ltd., by arrangement with Warner Music Group Film & TV Licensing; “Hate To Say I Told You So,” written by Randy Fitzsimmons, performed by The Hives from the album Veni Vidi Vicious ©2000, published by Songs and Stories publishing (Administered by Imagem Music), courtesy of Burning Heart Records/Epitaph Europe BV, Warner Bros. Records by arrangement with Warner Music Group Film & TV Licensing; “Oops I Did It Again,” written by Max Martin, Rami Yacoub, performed by Lorelei Linklater, published by Universal Music – Z Tunes LLC on behalf of Imagem Ltd., MXM Music AB Administered by Kobalt Music Publishing America, Inc; “Anthem Part Two,” written by Travis Barker, Thomas DeLonge, Mark Hoppus, performed by Blink 182, published by EMI April Music, Inc, on behalf of itself and Jolly Old Saint Dick, Beat Poet Music & HMMN Music, administered by Kobalt Music Publishing America, Inc, courtesy of Geffen Records, under license from Universal Music Enterprises; “Soak Up The Sun,” written by Sheryl Crow, Jeffrey Trott, performed by Sheryl Crow, published by Wixen Music Publishing on behalf of Cyrillic Soup Reservoir, 416, administered by Reservoir Media Management, Inc, courtesy of A&M Records under license from Universal Music Enterprises; Selected tracks provided by APM Music; “Whomping Willow And The Snowball Fight,” (from “Harry Potter and the Prisoner of Azkabam”), composed by John Williams, published by Songs of Universal, Inc on behalf of Warner Barham Music LLC, courtesy of Warner Bros. Entertainment Inc.; “Try Again,” written by Timothy Z. Mosley, Stephen Garrett, performed by Aaliyah, published by WB Music Corp., Reservoir Media Music/Black Fountain Music, courtesy of Blackground Records, under license from Reservoir Media Management, Inc; “My Good Gal,” written by Ketch Secor, performed by Old Crow Medicine Show, published by Blood Donor Music, administered by Spirit One Music, courtesy of Nettwerk Productions, Limited; "Could We," written by Chan M. Marshall, performed by Cat Power, published by Doorman Music/Mattitude Music, courtesy of Matador Records; “Rock And Roll (Part 2),” written by Mike Leander, Gary Glitter, performed by Gary Glitter, published by Palan Music Publishing Ltd.,(PRS) c/o BMG Rights Management (US) LLC, Universal Music Corp., on behalf of Universal/MCA Music Ltd., courtesy of Snapper Music PLC; “Split The Difference,” written by Ethan Hawke, performed by Ethan Hawke and Charlie Sexton; “Freaks Freaks!,” written by John Dust, Nazareth Nirza, performed by Pigeon John, published by Songs Music Publishing LLC, on behalf of itself and Pigeon John Publishing, Beat Junkie Vision, courtesy of Quannum Projects by arrangement with Bank Robber Music; ; “Do You Realize,” written by Wayne Coyne, Steven Drozd, Michael Ivins, Dave Fridmann, performed by The Flaming Lips, published by EMI Blackwood Music Inc. on behalf of itself and Lovely Sorts of Death Music (BMI), courtesy of Warner Bros. Records, by arrangement with Warner Music Group Film & TV Licensing; “Crank That (Soulja Boy)” Travis Barker Remix, written by Deandre Way, performed by Soulja Boy, published by Souljaboytellemmusic, courtesy of Interscope Records under license from Universal Music Enterprises; “I Held Onto My Pride And Let Her Go,” written by Dale Watson, performed by Dale Watson, courtesy of Dale Watson Music; “We’re All In This Together,” written by Matthew Gerrard, Bobbie Nevil, performed by Cassidy Johnson, published by Walt Disney Music Company, Inc; “Crazy,” written by Brian Burton, Thomas Callaway, Gian Piero Reverberi, Gianfranco Reverberi, performed by Gnarls Barkley, published by Chrysalis Music Ltd. (PRS) c/o BMG Rights Management (US) LLC, Warner-Tamerlane Publishing Corp., BMI on behalf of Warner/Chappell Music Publishing Ltd., Universal Music – Careers on behalf of Soundcast Music, courtesy of Warner Music UK/Atlantic Recording Corp., by arrangement with Warner Music Group Film & TV Licensing; “Hate It Here,” written by Nels Cline, John Chadwick Stirratt, Glenn Kotche, Mikael Jorgensen, Pat Sansone, Jeffrey Scot Tweedy, performed by Wilco, published by Nebsonic Music, Poeyfarre Music, Pear Blossom Music, Jorgenstormusic, These Four Songs, Words Ampersand Music, c/o BMG Rights Management (US) LLC, courtesy of Nonesuch Records by arrangement with Warner Music Group Film & TV Licensing; “One (Blake’s Got A New Face),” written by Ezra Koenig, Rostam Batmanglij, and Christopher Tomson, performed by Vampire Weekend, published by Vampire Weekend Music (ASCAP) courtesy of XL Recordings Ltd., by arrangement with Beggars Group Media Limited; “1901,” written by Frederic Moulin, Thomas Croquet, Christian Mazzalai, Laurent Mazzalai, performed by Phoenix, published by Ghettoblaster S.A.R.L., administered by Kobalt Music Publishing America, Inc, courtesy of Glassnote Records; “LA Freeway,” written by Guy Clark, performed by Ethan Hawke, published by Chappel and Co., Inc (ASCAP); “Lovegame,” written by Stefani Germanotta, Nadir Khayat, performed by Lady Gaga, published by Sony/ATV songs LLC, courtesy of Interscope Records under license from Universal Music Enterprises; “Desencabulada,” written by Luis Felipe Gama, Rodrigo Campos, performed by Luísa Maita, published by Cumbancha Music Publishing (BMI), courtesy of Cumbancha Music, license arranged by Fine Gold Music; “Good Girls Go Bad,” written by Kara Elizabeth Dioguardi, Jacob Kasher Hindlin, Kevin Rudolf, Gabe Saporta, performed by Cobra Starship Ft. Leighton Meester, published by Sunshine Terrace Music/BMG Bumblebee c/o BMG Rights Management (US) LLC, Warner –Tamerlane Publishing Corp., (BMI) on behalf of itself and Lion Aire Publishing, Sony/ATV Tunes LLC, Kevinthecity Publishing and J. Kasher Music EMI April Music Inc. on behalf of itself and Blast Beat Music, courtesy of Atlantic Recording Corp./ Fueled by Ramen by arrangement with Warner Music Group Film & TV licensing, Leighton Meester appears courtesy of Universal Republic Records under license from Universal Music Enterprises; “Lero Lero,” written by Luísa Maita, performed by Luísa Maita, published by Cumbancha Music Publishing (BMI), courtesy of Cumbancha Music, license arranged by Fine Gold Music; “Sous La Soleil,” performed by Major Boys feat. Aurélia, composed and written by Aurélia Ikor, P. Brunko, C. Bovet, M. Pisino, T. Borgas, Jaba Seiler, courtesy of Mouvance Records Switzerland; “Let It Die,” written by David Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, performed by Foo Fighters, published by Flying Earform Music on behalf of BMG Bumblebee c/o BMG Rights Management (US) LLC, Songs of Universal, Inc., on behalf of itself, MJ Twelve Music and I Love the Punk Rock Music/Universal Music Corp. on behalf of Living Under a Rock Music, courtesy of RCA Records by arrangement with Sony Music Licensing; “Radioactive,” written by Caleb Followill, Ivan Followill, Jared Followill, Matthew Followill, performed by Kings of Leon, published by Pistola/Sinderella’s Grass Slipper/McFearless Music/BMG Bumblebee/Coffee Tea or Me Publishing c/o BMG Rights Management (US) LLC, courtesy of RCA Records by arrangement with Sony Music Licensing; “Beyond The Horizon,” written by Robert Dylan, Hugh Williams, James Kennedy, performed by Bob Dylan, published by Shapiro Bernstein & Co., Inc. (ASCAP), Beinstock Publishing Company (ASCAP), on behalf of Redwood Music Ltd. (PRS), Special Rider Music, courtesy of Columbia Records, by arrangement with Sony Licensing; “Wish You Were Here,” written by David Gilmour, Roger Waters, performed by Savannah Welch, published by Warner-Tamerlane Publishing Corp (BMI) on behalf of Roger Waters Music Overseas Ltd., ©1975 Pink Floyd Music Publishers Limited administered by Imagem UK Limited; “Band On The Run,” written by Paul McCartney & Linda McCartney, performed by Paul McCartney & Wings, published by MPL Communications Inc., courtesy of MPL Communications, Inc; “Sunshine Day,” written by Solomon Amarfio, Francis Teddy Osei, Michael Tontoh, performed by Osibisa, published by Music Publishing International, USA Ltd., Osbisounds Ltd., and Original Flying Elephant/Red Steel Production (1996) courtesy of Red Steel Music/Flying Elephant; “Ryan’s Song,” written by Ethan Hawke, performed by Ethan Hawke, Ellar Coltrane, Lorelei Linklater, Jenni Tooley; “Telephone,” performed by Lady Gaga, courtesy of Interscope Records under license from Universal Music Enterprises; “Happy Birthday To You,” written by Mildred Hill, Patty Hill, published by Summy Birchard Company (ASCAP); “She’s Long Gone,” written by Dan Auerbach and Patrick Carney, performed by The Black Keys, published by McMoore McLesst Publishing (BMI) administered by Wixen Music Publishing used by permission, all rights reserved, courtesy of Nonesuch Records, by arrangement with Warner Music Group Film & TV Licensing; “Notre Dame Victory March,” written by John Shea, Michael Shea, published by Edwin H. Morris & Co., a division of MPL Music Publishing, Inc., (ASCAP); “Pout,” written by David Clark, Sam Dillon, performed by David Clark & Sam Dillon; “Helena Beat,” written by Mark Foster, performed by Foster the People, published by Simms Coffee and Tea Music Publishing (BMI), courtesy of Columbia Records by arrangement with Sony Music Licensing; “Suburban War,” written by Win Butler, William Butler, Régine Chassagne, Jeremy Gara, Tim Kingsbury, Richard Parry, performed by Arcade Fire, published by EMI April Music Inc., on behalf of EMI Music Publishing Ltd., courtesy of Merge Records by arrangement with Bank Robbers Music; “Old Black Crow,” written by Sean Tracey, performed by Austin Steamers, published by Crabgrass Music; “Gobbelins,” written by Sick, performed by Bruce Salmon, Wayne Sutton, published by Sick Wreck Creation Music (BMI); “Trojans,” written by Keith Jeffrey, Michael Jeffrey, Steven Jeffrey, Darren Sell, performed by Atlas Genius, published by Frog Head Records, courtesy of Warner Bros. Records Inc., by arrangement with Warner Music Group Film & TV Licensing; “I’ll Be Around,” written by Georgia Hubley, Ira Kaplan, James McNew, performed by Yo La Tengo, published by Roshashauna Music, Excellent Classical Songs, courtesy of Matador Records; “Não acorde o neném,” written by Moreno Veloso, Domenico Lancellotti, performed by Moreno Veloso, published by Esponja Edições, courtesy of Luaka Bop, license arranged by Fine Gold Music; “Em todo lugar voz boa,” written by Moreno Veloso, performed by Moreno Veloso, published by Esponja Edições, courtesy of Luaka Bop, license arranged by Fine Gold Music; “Cosa Boa,” written by Moreno Veloso, Domenico Lancellotti, performed by Moreno Veloso, published by Espinoja Edicoes, courtesy of Luaka Bop, license arranged by Fine Gold Music; “Que Mala,” written by Eddie Medina (AKA Freddy Fender), performed by Freddy Fender, published by Evangelina Huerta, courtesy of Arhoolie Records; “Hero,” written by Joe Keefe, performed by Family of the Year, published by Peermusic III, Ltd. (BMI) on behalf of Joseph Keefe Music, courtesy of Foty, LLC, under exclusive license to Nettwerk Productions, Ltd; “The Dog Song,” written by Marlon Sexton, performed by Charlie Sexton; “Summer Noon,” written by Jeff Tweedy, performed by Tweedy, published by Words Ampersand Music (BMI), administered by BMG Rights Management (US) LLC courtesy of DBPM Records; “Deep Blue,” written by Win Butler, William Butler, Régine Chassagne, Jeremy Gara, Tim Kingsbury, Richard Parry, performed by Arcade Fire, published by EMI April Music Inc., on behalf of EMI Music Publishing Ltd., courtesy of Merge Records by arrangement with Bank Robbers Music.
Source Text:
Music Composer: John Shea
  William Butler
  Solomon Amarfio
  Dan Auerbach
  Travis Barker
  Rostam Bartmanglij
  Guy Rupert Berryman
  T. Borgas
  C. Bovet
  P. Brunko
  Jonathan Mark Buckland
  Brian Burton
  Win Butler
  Thomas Callaway
  Rodrigo Campos
  Patrick Carney
  William Champion
  Régine Chassagne
  David Clark
  Guy Clark
  Nels Cline
  Wayne Coyne
  Thomas Croquet
  Sheryl Crow
  Thomas Delonge
  Sam Dillon
  Kara Elizabeth Dioguardi
  Steven Drozd
  John Dust
  Robert Dylan
  Randy Fitzsimmons
  Caleb Followill
  Ivan Followill
  Jared Followill
  Matthew Followill
  Mark Foster
  Dave Fridmann
  Luis Felipe Gama
  Jeremy Gara
  Stephen Garrett
  Stefani Germanotta
  Matthew Gerrard
  David Gilmour
  Gary Glitter
  David Grohl
  Ethan Hawke
  Taylor Hawkins
  Mildred Hill
  Patty Hill
  Mark Hoppus
  Georgia Hubley
  Aurélia Ikor
  Michael Ivins
  Keith Jeffrey
  Michael Jeffrey
  Steven Jeffrey
  Mikael Jorgensen
  Ira Kaplan
  Jacob Kasher Hindlin
  Joe Keefe
  James Kennedy
  Nadir Khayat
  Tim Kingsbury
  Ezra Koenig
  Glenn Kotche
  Domenico Lancellotti
  Mike Leander
  Luisa Maita
  Luísa Maita
  Chan M. Marshall
  Christopher Martin
  Max Martin
  Christian Mazzalai
  Laurent Mazzalai
  Linda McCartney
  Paul McCartney
  James McNew
  Eddie Medina
  Nate Mendel
  Timothy Z. Mosley
  Frederic Moulin
  Bobbie Nevil
  Nazareth Nirza
  Francis Teddy Osei
  Richard Parry
  Gian Piero Reverberi
  Gianfranco Reverberi
  Kevin Rudolf
  Bruce Salmon
  Pat Sansone
  Gabe Saporta
  Ketch Secor
  Jaba Seiler
  Darren Sell
  Marlon Sexton
  Michael Shea
  Chris Shiflett
  Sick
  John Chadwick Stirratt
  Wayne Sutton
  Christopher Tomson
  Michael Tontoh
  Sean Tracey
  Jeffrey Trott
  Jeff Tweedy
  Jeffrey Scot Tweedy
  Moreno Veloso
  Roger Waters
  Dale Watson
  Deandre Way
  Hugh Williams
  John Williams
  Rami Yacoub
Sung By: Coldplay
  The Hives
  Lorelei Linklater
  Blink 182
  Sheryl Crow
  Aaliyah
  Old Crow Medicine Show
  Gary Glitter
  Pigeon John
  Ethan Hawke
  Charlie Sexton
  The Flaming Lips
  Soulja Boy
  Dale Watson
  Cassidy Johnson
  Gnarls Barkley
  Wilco
  Vampire Weekend
  Phoenix
  Lady Gaga
  Cobra Starship
  Leighton Meester
  Luísa Maita
  Foo Fighters
  Kings of Leon
  Bob Dylan
  Savannah Welch
  Wings
  Osibisa
  Ellar Coltrane
  Jenni Tooley
  Lady Gaga
  The Black Keys
  David Clark
  Sam Dillon
  Foster the People
  Arcade Fire
  Austin Steamers
  Atlas Genius
  Yo La Tengo
  Moreno Veloso
  Freddy Fender
  Family of the Year
  Charlie Sexton
  Tweedy
  Paul McCartney
  Cat Power
  Major Boys feat. Aurélia

Cast:   Patricia Arquette (Mom [Olivia])  
    Ellar Coltrane (Mason [Jr.])  
    Lorelei Linklater (Samantha)  
  and Ethan Hawke (Dad [Mason, Sr.])  
    Elijah Smith (Tommy)  
    Steven Prince (Ted)  
    Bonnie Cross (Teacher)  
    Sydney Orta (Elementary school girl)  
    Libby Villari (Grandma [Catherine])  
    Marco Perella (Professor Bill Welbrock)  
    Jamie Howard (Mindy)  
    Andrew Villarreal (Randy)  
    Shane Graham (Neighborhood friend #1 )  
    Tess Allen (Neighborhood friend #2)  
    Ryan Power (Paul)  
    Sharee Fowler (Book trivia judge)  
    Mark Finn (Book release emcee)  
    Charlie Sexton (Jimmy)  
    Byron Jenkins (Barber)  
    Holly Moore (Mason's 4th grader teacher)  
    David Blackwell (Liquor store clerk)  
    Barbara Chisholm (Carol)  
    Matthew Martinez-Arndt (Lee)  
    Cassidy Johnson (Abby)  
    Cambell Westmoreland (Kenny)  
    Jennifer Griffin (Mrs. Darby)  
    Garry Peters (No Obama man)  
    Merrilee McCommas (Obama mama)  
    Tamara Jolaine (Tammy)  
    Jordan Howard (Tony)  
    Andrew Bunten (Bully 1)  
    Tyler Strother (Bully 2)  
    Evie Thompson (Jill)  
    Brad Hawkins (Jim)  
    Savannah Welch (College girl singer)  
    Mika Odom (Gabi)  
    Sinjin Venegas (Chase)  
    Nick Krause (Charlie)  
    Derek Chase (Charlie's friend)  
    Angela Rawna (Professor Douglas)  
    Megan Devine (Make out girl)  
    Jenni Tooley (Annie)  
    Landon Collier (Cooper)  
    Roland Ruiz (Enrique)  
    Grandpa Cliff (Richard Jones)  
    Karen Jones (Nana)  
    Gordon Friday (Pastor)  
    Tom McTigue (Mr. Turlington)  
    Sam Dillon (Nick)  
    Martel Summers (Beer pong guy)  
    David Clark (High school band singer)  
    Zoe Graham (Sheena)  
    Jesse Tilton (April)  
    Richard Robichaux (Mason's boss)  
    Will Harris (Sam's college boyfriend)  
    Indica Shaw (Hooper)  
    Bruce Salmon (Guitar player)  
    Wayne Sutton (Beat box)  
    Joe Sundell (Band member 1)  
    Sean Tracey (Band member 2)  
    Ben Hodges (Band member 3)  
    Daniel Zeh (Band member 4)  
    Chris Doubek (Guy in diner)  
    Andrea Chen (Sam's roommate)  
    Mona Lee (High school teacher)  
    Bill Wise (Uncle Steve)  
    Alina Linklater (Twin cousin 1)  
    Charlotte Linklater (Twin cousin 2)  
    Genevieve Kinney (Woman at party)  
    Elijah Ford (Jimmy's bandmate 1)  
    Kyle Crusham (Jimmy's bandmate 2)  
    Conrad Choucroun (Jimmy's bandmate 3)  
    Maximilian McNamara (Dalton)  
    Taylor Weaver (Barb)  
    Jessi Mechler (Nicole)  

Summary: Six-year-old Mason, Jr., lives in San Antonio, Texas, with his precocious older sister, Samantha, and single mother, Olivia. The children’s estranged father, Mason, Sr., has been in Alaska for over a year, pursuing a carefree life and budding music career. One day, Olivia announces her decision to return to college and despite Samatha’s protests, the family moves to Houston, Texas. There, “Grandma” Catherine takes care of the children while Olivia studies psychology at the University of Houston. Although Mason, Jr., fears his father will be unable to locate their new home, the elder Mason returns to Texas to re-establish his relationship with the children. They are reunited at Grandma’s house and he drives the youngsters away in his Pontiac GTO muscle car, intent on returning them to Olivia’s home for a chance to rekindle the affection of his former spouse. However, Olivia is displeased by the unannounced visit, and the children watch their father leave yet again. While Mason, Sr., continues to see his kids every other weekend, indoctrinating them with liberal politics and unstructured lifestyles, Olivia marries Professor Bill Welbrock, a wealthy Republican with two children of his own, Mindy and Randy. Not long after the honeymoon, Bill Welbrock’s alcoholism worsens, and he becomes abusive toward the children. As Olivia struggles to finish her degree, she is inattentive to the growing problem in her new family. When she realizes the extent of her husband’s misconduct and tries to restore a happy home, Bill beats her, and Mason, Jr., sees his mother trembling on the floor of the garage. That evening, Bill terrifies the family by smashing glasses and plates, and Olivia disappears. Demanding to know her whereabouts, Bill orders the children to hand over their cellular telephones to see if she contacted them. His rage increases when he discovers she locked their shared bank account and risks the kids’ lives by driving recklessly. Olivia returns to Bill’s estate and orders her children to leave with only the clothes on their backs. Mason and Samantha follow, but are reluctant to leave their stepsiblings behind. Olivia and the children live with a women’s shelter volunteer until Olivia finishes her degree and gets a teaching job at a college in San Marcos, Texas, leaving Mason, Sr., behind in Houston. However, the elder Mason remains in his children’s lives and takes his son on a camping trip to Big Bend Ranch State Park one weekend while Samantha stays home for a party. Back in San Marcos, Olivia hosts a Thanksgiving party for her students, and becomes infatuated with Jim, a handsome young Iraqi War veteran. Sometime later, Olivia and Jim marry and buy a foreclosed home to renovate. Jim gives Mason, Jr., a camera for his fifteenth birthday. Meanwhile, Mason, Sr., becomes a family man, marrying Annie, a devout Christian, and selling his muscle car to buy a minivan. With infant baby in tow, the couple takes Mason, Jr., and Samantha to Annie’s backwoods family home, and Mason gloomily reminds his father that the sports car was promised to him. Celebrating his birthday with Annie’s parents, Mason is gifted a Bible, a suit, and a twenty-gauge shotgun, but spends his time taking pictures. Back in San Marcos, Mason, Jr., grooms himself as an eccentric artist and voluntary social outcast. Although he is devoted to taking pictures, he is discouraged by his photography teacher, who warns that creativity does not pay the bills. Meanwhile, Olivia is deluged with real estate debt and divorces Jim, whose alcoholism has spiraled out of control. Young Mason, now a high school junior, finds a girl friend, Sheena, and they make love in Samantha’s Austin college dormitory room. The following year, his photographs of Sheena win a silver medal in a statewide art contest, and he is offered a university scholarship. However, Sheena complains about Mason’s depressive worldview and starts dating a college boy. After his graduation ceremony, Mason, Jr., now eighteen years old, returns home to a cheering crowd, including his mother, father, and Samantha. Taking the boy aside, Mason, Sr., and his brother, Uncle Steve, give Mason a pep talk about sexual relationships in college. Steve jokes that men should always use a condom during “break-up sex” and implies that Mason was a product of his father’s failure to do so. Later, in the kitchen, Mason, Sr., thanks Olivia for her struggle as a single mother and offers to loan her money, but his wallet is empty. Before Mason and Samantha leave for college, Olivia announces the house is sold and she is moving to a one-bedroom apartment. Therefore, the kids must sell or donate any childhood belongings they no longer wish to keep. She reminds them they are on their own now, and she is “kicking them out of the nest.” On Mason’s last day home, however, Olivia cries it is “the worst day of her life” because time passes too quickly, and she has nothing left for herself without the kids. Arriving at college, Mason’s roommate convinces him to eat a psychedelic mushroom and go for a hike to Big Bend with two beautiful coeds. As the effects of the drugs take over, Mason looks over the landscape he once visited with his father and reflects that people can only live in the present moment. 

 
Genre: Drama
  Biography
 
Subject Major: Children
  Family relationships
  Fatherhood
  Motherhood
  Parentage
  Texas
  Unmarried mothers
 
Subject Minor: Adolescents
  Alcoholics
  Alcoholism
  Artists
  Austin (TX)
  Battered children
  Battered women
  Camping
  College students
  Colleges
  Divorce
  Education
  High school students
  Houston (TX)
  Marriage
  Personality change
  Photographers
  Political activists
  Professors
  Psychology

Note: End credits state: "'Hostel,' courtesy of Screen Gems"; "'The Landlord,' courtesy of Funny or Die," and, "The Major League Baseball trademarks depicted in this motion picture were Licensed by Major League Baseball Properties, Inc."
       The picture was “Filmed on location in Austin, San Marcos, Houston, Alpine, and Terlingua/Study Butte, Texas and Big Bend State Park,” and, “The cast and crew wish to thank: Jeannie and Sam Irwin and family for having us back, over and over again; Joey Hudgins and family for having us back over and over again; Sul Ross University and Big Bend Ranch State Park for their warm support and hospitality.”
       Other acknowledgements include: “Additional footage: Harry Potter and the Chamber of Secrets by Scholastic Press; CBC/Documenting Reality Iraq footage; CNN Iraq footage; Disney’s Extreme Skate Adventure by Nintendo Game Boy; Wii Boxing by Nintedo.”
       The filmmakers give “Special thanks” to: “Café Josie, Book People, Antone’s, Dart Bowl, Sara and John Marler; Continental Club, Timberline Fellowship, Major League Baseball, The Houston Astros, University of Houston, San Marcos area Chamber of Commerce.”
       Among the logos featured at the end of the film that are not credited elsewhere are SAG-AFTRA ONE UNION and Nonesuch Records.
       As stated in a 22 Jan 2014 NYT Magazine article, writer-director-producer Richard Linklater had long been intrigued by making a film about childhood, portrayed over an extended period of time, but did not want to capture physical and emotional changes using different actors. In 2001, he came up with the plan to use the same actors and shoot the film in spats of several days, every year, over the course of twelve years. The first person Linklater shared the idea with was actor Ethan Hawke. At that time, the two had collaborated on various projects, including Before Sunrise (1995, see entry), which would later become the first film in a trilogy, following the relationship of two lovers—performed by the actors Ethan Hawke and Julie Delpy—over the span of eighteen years. The following two films were Before Sunset (2004) and Before Midnight (2013, see entries). Hawke immediately agreed to work on Linklater’s long-term enterprise, known in its early years as Untitled 12-Year Project, according to a 17 Jun 2014 Var article. On 24 Jun 2014, Var pointed to a greater connection between Boyhood and the Before trilogy, stating that Linklater and Hawke “felt sufficiently emboldened” to make Before Sunset, the second film in the series, after the Untitled 12-Year Project started principal photography in 2002.
       In a 17 Jun 2014 Var article, Hawke described the Untitled 12-Year Project as an unusual experiment that surprisingly started to work. Since it was unprecedented and unpredictable, the filmmakers decided to keep the film “a 12-year secret.”
       Alternate and working titles included Growing Up, The 12-Year Project, Childhood, Boyhood and Youth —a literary reference to Leo Tolstoy’s autobiographical trilogy—and lastly, 12 Years, which Linklater ultimately rejected upon discovering 12 Years a Slave, (2013, see entry) was nearing completion around the same time.
       When production began in 2002, the cast was not legally contracted to remain with the picture for the entirety of its shooting schedule. Various contemporary sources, including NYT Magazine and the 24 Jun 2014 Var noted that the actors went into the project with long-term, non-binding “commitments” which stated they would be available for filming in increments of three to fours days, each year, for twelve years. With four main characters established and a sophisticated knowledge of statistics, Linklater gambled the picture could be completed without the loss of the core family. Several sources noted the irony that the director’s daughter, Lorelei Linklater, was the only member of the ensemble to lose patience, and, at one point, asked her father to let her character, “Samantha,” die in the movie. The filmmaking team grew incrementally over the years, ultimately challenging Linklater to oversee 143 cast members and over 400 crewmembers.
       Knowing it would be impossible to maintain a single, static narrative over an extended period of time, Linklater scripted an overall, partially-autobiographical story, then spent several months each year “brainstorming” with the participation of the film’s main subject, actor Ellar Coltrane, as “Mason, [Jr.],” Patricia Arquette and Ethan Hawke, as “Mom” and “Dad,” and Lorelei Linklater. During these sessions, the actors augmented Linklater’s script outlines with personal experiences and natural dialogue. Although the outcome of the annual workshops were generally improvisational, the results were translated into fifteen-minute sections of completely scripted work, sometimes “pulled together” at the last minute, “as late as the night before shooting,” according to Var. Linklater initially planned to film ten minutes each year, ending up with a 120-minute movie, but after the first year he realized the project would unfold organically and did not want to restrict its evolution.
       As reported in the NYT Magazine article, Linklater intentionally declined to establish “the future” of the story as he wrote it, but had faith that the actors’ personal growth would create the arc of a cohesive narrative. In addition, he did not want to push his young actors to perform emotional scenes that were “too far ahead” of their natural development, or, in Linklater’s words, “impose anything on [Coltrane] that he hadn’t already been through,” such as drinking alcohol and sex. Coltrane, who began the movie as a six-year-old and finished when he was eighteen, told NYT Magazine that he became increasingly aware of his part in the film as he grew older, and gained confidence in his collaboration with Linklater. However, the borderline between fact and fiction was often unclear to Coltrane, who said it was difficult “to know whether or not I was reflecting the movie or the movie was reflecting me.” For example, a 23 Jan 2014 LAT article stated that in real-life, Linklater inspired Coltrane to pursue photography. In response, he scripted Coltrane’s fictional character, Mason, to be a photographer. In a 31 Jul 2014 Rolling Stone article, Coltrane reported that Linklater would ask him to produce “homework assignments to pull things out of my life,” such as writing journal entries after speaking to girls.
       Filming lasted in increments from 2002 to early-Oct 2013, as stated in a 24 Oct 2013 issue of Parade. According to a 17 Aug 2013 Backstage casting call, high school and restaurant scenes were currently underway in Austin, TX. On 4 Oct 2013, Alpine, TX’s Sul Ross State University’s newspaper, The Skyline, reported that “Boyhood, Inc.” was filming on campus 7 Oct 2013 in the Fletcher Residence Hall, as well as in front of the Morelock Academic Building. “Boyhood, Inc.” was not credited in the film. At that time, additional scenes were planned for Big Bend Ranch State Park in Brewster and Presidio Counties, TX.
       Along with complex logistics of screenwriting, casting, and production scheduling, financial backing was particularly challenging to secure. However, Linklater presented IFC Films with an overall master blueprint of the project and Sundance Selects/IFC Films president Jonathan Sehring championed the picture annually, convincing board members to continue giving Linklater $200,000 per year, or approximately $2.4 million, to finish the movie, as stated in the 24 Jun 2014 Var. The budget paid for 143 scenes, the 400-person crew, as well as one year of pre-production and an additional two years of post-production.
       Working within the IFC budget, Linklater chose to shoot on 35mm film, even though it was quickly becoming an outdated format during the twelve-year production. According to a 29 Jul 2014 Var column, Linklater determined that 35mm was the best tool to promote visual continuity, and his long-time editor Sandra Adair, cut the film after each shoot for three to four weeks, keeping the action current to its time frame. Adair noted that she and Linklater decided from the start that they wanted the time changes to be seamless and only identifiable by the obvious physical changes in the characters. The film did not include subtitles announcing shifts in years or locations.
       Another advantage to limited finances was Linklater’s ability to work free from the confines of a specified release date, and to continue the project without answering to executives. A 27 Jun 2014 HR article, which listed a budget of $5 million, explained that Boyhood represented a new trend in Hollywood filmmaking. Linklater’s lawyer, John Sloss, negotiated a contract with IFC that gave himself and Linklater “part ownership of the movie’s copyright,” and producer credits. As of 2014, traditional production deals usually included “points,” or a percentage of the film’s gross instead of ownership, thereby giving the director a share of film rentals, but no control over the future of the property. However, Linklater’s contract with IFC gave him decision-making power over the film’s release, marketing, allocation of revenues, and the choice about where and when to sell the movie. Much like real estate, part ownership of film libraries, copyrights, and film negatives could become enormously lucrative over time.
       In exchange for his contract, Linklater sacrificed a large part of his “upfront fee,” which was usually in the low-million dollar range. Observing an “inherent distrust of Hollywood accounting,” Sloss explained that filmmakers were most likely to take their fee upfront, but as studios’ financial records were becoming increasingly transparent, directors realized the long-term benefits of maintaining possession of their films. Sloss attributed the “aggressive platform release” of Boyhood to the fact that he and Linklater were part owners. In contrast, major Hollywood distributors normally opened independent features slowly, to build word-of-mouth and test audience reception.
       The film made its world premiere at Sundance Film Festival’s Eccles Theater on 19 Jan 2014 to critical acclaim. According to the picture’s 28 Jan 2014 Var review, Linklater came close to missing the Sundance screening, as end credits and music clearances were incomplete. Three days after the film’s national release in Los Angeles, CA, and New York City, a 14 Jul 2014 LAT article announced that Boyhood already grossed $359,000 at five sell-out theaters its opening weekend, with the “second-highest per-screen” average that year, following Wes Anderson’s The Grand Budapest Hotel (2014, see entry). IFC planned to expand Boyhood to ten markets starting 18 Jul 2014. Just over one month later, a 21 Aug 2014 Var article, which listed a production budget of $4 million, stated the film had already grossed $14 million domestically and approximately $9 million internationally. At that time, Paramount Home Media Distribution purchased domestic home entertainment rights for an undisclosed fee.
       Linklater completed eight films during Boyhood’s twelve years production: School of Rock, (2003, see entry), Before Sunset (2004, see entry), Bad News Bears (2005, see entry), Fast Food Nation (2006, see entry), A Scanner Darkly (2006, see entry), Me and Orson Welles (2008, see entry), Bernie (2011, see entry), and Before Midnight (2013).
       Boyhood was named one of AFI’s Movies of the Year and was nominated for five Golden Globe awards in the following categories: Best Director, Motion Picture (Richard Linklater), Best Supporting Actress in a Motion Picture (Patricia Arquette), Best Supporting Actor in a Motion Picture (Ethan Hawke), Best Screenplay, Motion Picture (Linklater), and Best Motion Picture, Drama.  

Note Credits: Geographic location: Texas United States
  Geographic location: Alpine Texas United States
  Geographic location: Austin Texas United States
  Geographic location: Houston Texas United States
  Geographic location: Brewster County Texas United States
  Geographic location: Presidio County Texas United States
  Geographic location: Big Bend Ranch State Park Texas United States
  Geographic location: San Marcos Texas United States
  Geographic location: Terlingua/Study Butte Texas United States

Source   Date   Page
Backstage   17 Aug 2013.   
Hollywood Reporter   21 Jan 2014.   
Los Angeles Times   23 Jan 2014   Calendar, p. 1, 14.
Los Angeles Times   11 Jul 2014   Calendar, p. 1.
Los Angeles Times   14 Jul 2014.   
New York Times   22 Jan 2014   p. 41, 64.
New York Times   10 Jul 2014.   
Parade   24 Oct 2014.   
Rolling Stone   31 Jul 2014   pp. 52-55.
The Skyline   4 Oct 2013.   
Variety   28 Jan 2014.   
Variety   17 Jun 2014.   
Variety   24 Jun 2014.   
Variety   28 Jan 2014.   
Variety   29 Jul 2014.   
Variety   21 Aug 2014.   

 
Advanced Search
Support our efforts to preserve hisotory of film
Help AFI Preserve Film History

© 2017 American Film Institute.
All rights reserved.
Terms of use.