Film Credits

Richard Linklater's Detour Filmproductions functions as a sort of extended family, a conglomeration of the best and brightest of Austin's burgeoning independent film community. As such, subUrbia is the fourth project in which Linklater has collaborated with his close-knit, supremely talented inner circle, and the results speak for themselves - Detour's achievements have become legendary.

Anne Walker-McBay, Linklater and Bogosian

Producer Anne Walker-McBay was educated at the University of California, and began working with Linklater on Slacker. In addition to her role as line producer, Walker-McBay was enlisted to perform the difficult task of finding more than one-hundred Austin residents to perform in the film (and did so perfectly).

For Dazed & Confused, Walker-McBay came aboard as co-producer. Still a fundamental member of the creative team, she searched all over Texas for local talent who could convincingly play 1976 teenagers. In the Slacker tradition, Walker-McBay discovered one of the young stars, professional subversive Wiley Wiggins, aimlessly wandering along an Austin street.

Walker-McBay next produced Before Sunrise, and currently manages Detour Filmproductions. She's a tireless professional, always planning fifty moves ahead, and has been instrumental in getting every Detour project off the ground, from omnibus technical and creative support on Slacker, to negotiating the return of Linklater-Discovery-Turned-Hot-Hollywood-Property Matthey McConughey for their next film, The Newton Boys.

Executive Producer and Independent Film Icon John Sloss could probably be considered an honorary Detour member, having closely collaborated with Linklater throughout the years and executive-produced Before Sunrise.

Sloss is the head of the Sloss Law Office P.C., a law firm providing counsel in business transactions for the entertainment, sports and media industries. He has represented clients in all aspects of motion picture financing, production and distribution. He represents a large number of producers, directors and writers, including Linklater, Whit Stillman, Maggie Greenwald, Kevin Smith, Larry Clark, Christine Vachon, Tom Kalin, Michael Almeleyda, the makers of Hoop Dreams, and Rob Epstein and Jeffrey Freidman, the makers of the Academy-award winning documentaries The Life and Times of Harvey Milk and Common Threads. He has also served as Executive Producer on John Sayles City of Hope, Passion Fish and The Secret of Roan Inish, as well as Maggie Greenwald's The Ballad of Little Jo.

Lee Daniel, A.S.C.

Linklater also shares a strong creative bond with his fourth-time Director of Photography, Lee Daniel - he has yet to work with anyone else, and has expressed no desire to do so. Both avid cinephiles, Linklater and Daniel co-founded the Austin Film Society (which was pretty much responsible for the advent of the city's independent film industry), leading to their work together on Slacker.

Daniel has proven to be an eminently gifted cinematographer, with a unique, straightforward-yet-vibrant style that perfectly compliments Linklater's trademark "Gods-eye-view" approach. Clearly self-assured and confident in their aesthetic, the two elevate their artwork to new heights in subUrbia, resulting in one of the most stylishly rendered films of the decade - there isn't a single wasted frame.

Since the age of fourteen, Daniel has created short personal films, experimental and multi-disciplinary works. Along with his work with Detour, his professional credits include the PBS specials The hunt for Pancho Villa and America's War on Poverty, as well as the feature film And God Spoke and more than one-hundred commercials, music videos and industrials.

Having moved to Austin in 1991, it wasn't long before her skills earned Editor Sandra Adair a place inside Detour Filmproductions, where she worked on both Dazed & Confused and Before Sunrise.

A twenty-year film industry veteran, Adair's credits include the independent features Smoothtalker, The Telephone and The Hollow Boy, as well as a dramatic presentation for PBS' American Playhouse, an environmental documentary entitled Redwood SummerThe Boys... A Tribute To Laurel and Hardy, a compilation film for The Disney Channel. She also served as second editor on the Paramount Picture release Internal Affairs, and won the Gold Special Jury Award at the Houston Internation Film Festival.

Production designer Catherine Hardwicke initially thought her first Detour job would be a breeze - an entire film shot outside a convenience store. How hard could it be to find a convenience store? Very hard, apparently. Most of the megacorps were unwilling to allow their names to be used, so she set out on the task of converting an empty mini-mall on Austin's south side. "We took everything out, repainted, redecorated, put up signs and fifty-four eight-foot tubes of flourescents and neon," she says.

Hardwicke received her training as an architect at The University of Texas at Austin. She received a Cable Ace nomination for art direction on the HBO series "Sessions," as well as a Joseph Jefferson Award for scenic design. Her screen credits include Tank Girl, Tombstone, Posse, Freeked, Passed Away, Car 54, Where Are You?, Mr. Destiny, I'm Gonna Get You Sucka and Tapeheads.