Jonas Ekdahl speaks about Evergrey’s Hymns for the Broken



Drummer Jonas Ekdahl discusses how Evergrey re-grouped and  made their latest recording Hymns For The Broken



Terry Wickham: What was the experience like to come together as Evergrey again?

Jonas Ekdahl: At first it was kind of scary. I took everything real slow, because I was afraid that we would end up where we left off. We had a bunch of meetings, almost like therapy sessions, where we cleared the air, so that we could start off fresh again. After that it felt very humble as well as exciting.

TW:  What did you do during the time you were away from Evergrey?

JE: Musically – I put my focus on the other band me and Henrik are playing in – called ‘DeathDestruction’. We toured and released two albums during that time. I also wrote a lot of music for myself.


Evergrey is left to right: Henrik Danhage (Guitars), Rikard Zander (Keyboard), Tom S. Englund (Vocals), Jonas Ekdahl (Drums) and Johan Niemann (Bass)

Evergrey is left to right: Henrik Danhage (Guitars), Rikard Zander (Keyboard), Tom S. Englund (Vocals), Jonas Ekdahl (Drums) and Johan Niemann (Bass)


TW:  While you were out of the band, did you ever miss being part of Evergrey?  Is it true absence makes the heart grow fonder?

JE: Eventually, yes. I started to write music that was in the Evergrey-vein, but I didn’t reflect at it the time. That came later on, when we would actually start writing the ‘Hymns for the broken’ album, and I showed up with 20 song ideas.

But the first time I felt that I missed Evergrey was when we had a bachelor party for our old bass player – Michael Håkansson. We surprised him and threw him in the rehearsal room and jammed for two hours straight and drank beer and whiskey. He hadn’t touched a bass for like, seven years or so. It was very nostalgic and only good vibes.

TW:  I absolutely loved Glorious Collision album, but there is something about the collective whole of a band.  Look, as good as Dream Theater is with drummer Mike Mangini, it’s not the same as when Mike Portnoy was in the band.  There’s a spark missing.  In filmmaking, Director John Carpenter  could never match the movies he made with cinematographer Dean Cundey (Halloween, The Fog, Escape from New York, The Thing and Big Trouble in Little China).  How do you feel about that in terms of Evergrey?

JE: I know what you mean. It’s a tough question, since Evergrey has had more member changes than a football team.  But I don’t think it’s up to me to answer that, feels more like a fan-based question. All I can say is that I’m really enjoying playing in Evergrey again. More than ever, to be honest. 

TW:  When you guys decided to re-group, was there an impetus in terms of the music or was it just strictly on social, business level?

JE: The intentions were just to make- and play music together again, and have fun. That’s it. It has nothing to do with business at all. And I think that shows pretty clear too.


TW:  To be honest with you, the lyrics on the album are really timely on a global level, as there are many of us struggling to get by on a daily basis.  I think it makes the album even more relevant than just your band reassembling.  Was that something you were aware of when writing the songs? 

JE: On some songs Tom wrote the lyrics at the same time as we wrote the music and other lyrics were written after the music was done. And it’s very timely, yes, since the album is dealing with the matter of exhaustion depression. Somehow people seem to be embarrassed discussing this, but I think it’s very relevant and very important to talk about it in the open because it’s getting more and more common that people suffer from things like way too much stress and exhaustion to depression and anxiety. I’ve experienced this too. To reveal yourself as depressed or anxious shouldn’t make you feel ashamed or guilty towards other people. But I know it does, considering how people try to make themselves look in the social medias for example.

TW:  Speaking of songwriting, did the band do it anything differently than you had in the past, in terms of how and who wrote the songs?

JE: No not really. The only difference was that we sent files to each other sometimes, which we never did before. It made things more flexible and available I guess.

TW:  What’s your favorite song on the album and why?

JE: I really like ‘Black Undertow’. The song really changes mood throughout the song, I like that contrast. And the chorus is really big and has a great hook.


TW:  As a drummer, was there something you wanted to accomplishment on this album musically or was it just about the songs?

JE: It’s always about the songs. And I try to play as musical as possible, all the time. If there’s not room for fancy fills and stuff – save them for later. They will have a bigger impact than playing on ten all the time. The only thing I had in mind was to always have a groove, no matter if I played double bass or just a simple back beat.

I recorded a lot of songs together with Johan, which was very cool. I think it gave everything a more lively kind of vibe. He’s an amazing bass player.

TW:  The music video for “King of Errors” is pretty amazing piece of filmmaking.  How did you find the filmmaker who did it and talk about the shooting of the video.

JE: This idea has been around for ten years, but we didn’t get a permission to get up on that crane until now. We got together with director Patric Ullaeus, who is a great friend that has done every Evergrey video since ‘A touch of blessing‘ in 2004. He recorded our DVD as well. So we go way back. He always gets what we want to do and deliver our visions on video. And he somehow makes us look good on camera. He’s just amazing to work with!

TW:  Where was the music video shot?  Was it close by where you guys live?

JE: We shot the video in Gothenburg, where we live. The crane is kind of a landmark of the city. The nature shots were done outside Gothenburg, on the country side.


TW:  Looking back on the catalog of your Evergrey albums, what would you say about each one that comes to mind now? 

The Inner Circle

JE: The first album I ever recorded. We basically lived in the studio for 8 months- writing and recording that album.  A lot of fun and a lot of hard work and late hours. But that goes for all of these albums.

A Night to Remember (DVD/CD)

JE: One of the proudest moments of my life. 10 years after it’s release and it still looks and sounds great. The bonus material is awesome as well. The DVD reached #1 on the Swedish DVD chart, and it also got a Swedish Grammy nominee. We lost against ABBA…

Monday Morning Apocalypse

JE: The first time I got to work with a producer. A new, different and a great experience. I recorded the drums in 2 1/2 days. An underrated album in my opinion.


JE: A dark album in many ways. The darkest of all Evergrey albums. The band was kind of…torn, I guess. There was a lot of frustrating and stressful stuff going on while writing and recording this album. Looking back at it, I’m actually impressed that we managed to make the album as great as it is.

Hymns for the Broken

JE: So much positive energy and good vibes. A lot of fun, and a lot of playing. Being back together again we discovered that we all had matured since ‘Torn’, and we have another respect for each other now, musically.

TW:  Obviously you are aware that I choose Hymns for the Broken as one of the Best Albums of 2014.  How has the response been for it been and the band’s reaction to what people are saying?

JE: Yes, thank you very much for that!

The response has been totally overwhelming. The reviews has been better that we ever could expect. Album of the month in so many magazines and webzines, and now ‘Hymn.’ starts to get these ‘Album of the year’ announcements… Unbelievable!

And the reactions from our fans have been insane! People love the album, and me and Henrik has got so much love and compliments for being back it’s almost hard to realize that people care so much for Evergrey, and that we actually matter to people. It makes me so humble, I can’t express that enough.


TW:  What is Evergrey planning for 2015 and when can we expect to see Evergrey tour the United States?

JE: We’re doing the shows we feel like doing. We’re not gonna do 200 shows for the sake of it, we rather just do the right shows for us. We have a couple of summer festivals lined up, we some touring plans as well, but nothing I can confirm right now.

TW:  Jonas – thank you for getting back together in Evergrey.  You are one of my Top-3 Favorite bands and the latest album is another stellar release in the band’s ever-growing list of superior work.

Thank you, that means a lot!  Cheers, and thank you for reading

To Live Is To Die cast & crew. Left to right 1st row; Terry & Madison Wickham. 2nd row; Ronnie, Tamara Gorkin, Mitch, Joe. 3rd row Stacy, Inga, Joyce McLoughlin, Frank Bartell (kneeling down), Joseph Biondi, Chrissie Pace. 4th row; Rich Schiano, Kia Ward, Jason Alvino, Lou Trapani @ Valley Stream State Park, New York

To Live Is To Die

On November 19, 1989 Terry directed his 14th amatuer music video (a music video done without artist’s permission, telling a story to a song).  This time he tackled Metallica – “To Live Is To Die” off And Justice For All.

To Live Is To Die cast & crew. Left to right 1st row; Terry & Madison Wickham. 2nd row; Ronnie, Tamara Gorkin, Mitch, Joe. 3rd row Stacy, Inga, Joyce McLoughlin, Frank Bartell (kneeling down), Joseph Biondi, Chrissie Pace. 4th row; Rich Schiano, Kia Ward, Jason Alvino, Lou Trapani @ Valley Stream State Park, New York

To Live Is To Die cast & crew. Left to right 1st row; Terry & Madison Wickham. 2nd row; Ronnie Pina, Tamara Gorkin, Mitch, Joe. 3rd row Stacey Brody, Inga, Joyce McLoughlin, Frank Bartell (kneeling down), Joseph Biondi, Chrissie Pace. 4th row; Rich Schiano, Kia Ward, Jason Alvino, Lou Trapani @ Valley Stream State Park, New York

The video was shot on Long Island in 6 1/2 hours at the Wickham’s apartment in Elmont, Valley Stream State Park and Trapani home in Oceanside, New  York.

"To Live Is To Die" was the 1st video Terry & Lou Trapani worked together on.  2 Months later (January 1990) Lou would photograph "Oh Father" video for Terry.  This picture was taken in the Wickham's apartment in Elmont, New York

“To Live Is To Die” was the 1st video Terry & Lou Trapani worked together on. Two Months later (January 1990) Lou would photograph “Oh Father” video for Terry. This picture was taken in the Wickham’s apartment in Elmont, New York

The video was shot by Lou Trapani.  Special Make-up Effects were done by Jason Alvino and Joseph Biondi.

Joseph Biondi & Jason Alvino prepare Frank Bartell for his shower demise.  Joey & Jason became known as "The Frog Brothers" named derived from the movie LOST BOYS. They had started working with Terry almost exactly 1-year before starting on MADAME RED.  This would be the 1st of 3 films that Frank Bartell would act in for Terry.

Joseph Biondi & Jason Alvino prepare Frank Bartell for his shower demise @ the Wickham’s apartment in Elmont, NY. Joey & Jason became known as “The Frog Brothers” a nickname derived from the movie LOST BOYS. They had started working with Terry almost exactly 1-year prior on MADAME RED (November 25, 1988) and were huge contributors working on numerous productions including DOUBLE FANTASY, OUT OF TOUCH and EVIL STREETS.

The story involved six young women getting revenge on their cheating boyfriend’s by killing them in violent, gory ways (electrocution in the shower, throat slashing, hanging by rope, knife to the gut, rifle gunshot and pistol gunshot the head).  It’s a theme that was carried over from Terry’s film Madame Red and believe it or not made for a fun shoot with everyone getting into it.

The girls of "To Live Is To Die" left to right; Joyce McLoughlin, Chrissie Pace, Tamara Gorkin, Inga, Stacy. Madison Wickham is not in the photo but was the other girl in the video @ Valley Stream State Park

The girls of “To Live Is To Die” left to right; Joyce McLoughlin, Chrissie Pace, Tamara Gorkin, Inga, Stacey Brody. Madison Wickham is not in the photo but was the other girl in the video @ Valley Stream State Park

Terry directs Frank Bartell for his shower death.  Terry was going to acting school @ HB Studios in Manhattan with Frank and led to them working together on this video, "Oh Father" music video and Frank would play one of the leads in Terry's feature film OUT OF TOUCH.

Terry directs Frank Bartell for his shower death @ the Wickham’s apartment in Elmont, NY. Terry & Madison were attending acting school @ HB Studios in Manhattan with Frank, which led to them working together on not only this video, but “Oh Father” music video.  7 months later Frank would play one of the leads in Terry’s feature film OUT OF TOUCH.

Joey Biondi & Jason Alvino set up the effect in the shower of Frank's character @ Wickham's apartment Elmont, NY

Joey Biondi & Jason Alvino set up the shower effect  of Frank Bartell’s character @ Wickham’s apartment Elmont, NY


Lou Trapani films Frank Bartell's electrocution in the shower @ Wickham's apartment in Elmont, NY
Lou Trapani films Frank Bartell’s electrocution in the shower of Wickham’s apartment in Elmont, NY


Inga & Rich Schiano @ Valley Stream State Park.  Rich was discovered by Madison & Terry @ Tower Records in Carle Place.  Rich has appeared as an actor in MADAME RED, DOUBLE FANTASY, "Oh Father" music video, "Slip Her The Big One" music video, "Fetish" Music Video, OUT OF TOUCH and the episode "Stalk" in the movie EVIL STREETS.

Inga & Rich Schiano @ Valley Stream State Park. Rich was discovered by Madison & Terry @ Tower Records in Carle Place. Rich has appeared as an actor in MADAME RED, DOUBLE FANTASY, “Oh Father” music video, “Slip Her The Big One” music video, “Fetish” Music Video, OUT OF TOUCH and the episode “Stalk” in the movie EVIL STREETS.


The Guys of "To Live Is To Die" left to right; Mitch, Rich Schiano, Kia Ward, Ronnie Pina (front kneeling), Frank Bartell (leaning down in back) and Joe @ Valley Stream State Park

The Guys of “To Live Is To Die” left to right; Mitch, Rich Schiano, Kia Ward, Ronnie Pina (front kneeling), Frank Bartell (leaning down in back) and Joe @ Valley Stream State Park


Anomaly Screen Grabs 23

Anomaly Trailer

ANOMALY Trailer Shoot
West Babylon/Babylon/Lindenhurst/Copiague, NY November 10 & 11, 2007

Saturday November 10th & Sunday 11th weekend was the most enjoyable experience I’ve had as a filmmaker so far.  There were many reasons for this.

Anomaly Screen Grabs 23

Getting Sean McGinn back as my Director of Photography was the biggest key.  All the work we do on a movie is for what gets captured on film.  So the DP position is paramount to the film being done right.  With Sean, we have now worked together on four films.  He understands my vision and can see the same picture in his head as I do.  This is not something that’s automatic between a director and DP.  Maybe even more importantly Sean expands the thought process & energy to capture the pictures we “see” and is able to use the tools of his trade; lights, lens and locations to make it happen.  On top of this, Sean’s personality is ego-free even though he’s accomplished quite a bit at this point.  Sean won an Emmy for one of his documentaries and he shot the International Award-Winning film for me WASHINGTON ROAD.  People like working with Sean because he is a tremendous worker, completely dedicated and always friendly.  That’s unbeatable combination.

This shot was done two months later in January by Sean McGinn from a high point in Atlantic Highlands, New Jersey, which overlooks Sandy Hook in the distance.

This shot was done two months later in January 2008 by Sean McGinn from a high point in Atlantic Highlands, New Jersey.  This perspective overlooks Sandy Hook in the distance.

1st Assistant Camera Chris (George) Kishore and 2nd Assistant Camera Alex Fernandez were critical in helping Sean do his job.  They came with needed experience working with cinematography equipment.  Chris and Alex dove in immediately setting up lights, the camera crane and other tools of our shoot.  They always did things in the most efficient way possible and helped allow Sean to actually enjoy this shoot.  They took turns operating the boom mic and Alex will be taking on the job of Visual Effects artist during our post-production phase.  Chris also played “The Ghost” (sorry Kato) in one scene. I really liked working with these guys.

Liz McKendry had the responsibility of having to do the first scene this weekend as well as on the shoot done back in May.  Liz was more than up for the challenge each time as she brought incredible enthusiasm.  For this shoot, two examples of her turbo charged energy was when she was doing the scene where she pounds on “Monica’s” door.  First she came into “Monica’s” so enthused, she slipped on the floor.  Then after knocking on door for all the takes (including the long 5 minute insert shot) a large purple bruise surfaced on her index finger.  Liz makes it clear she relishes the chance to play “Jodie” and has read the entire ANOMALY feature film script at least 4 or 5 times.

Daisy Taveras made most of the crew’s eyes water when doing her first scene on Saturday.  This scene was the one where “Monica” stumbles out of her bedroom, barely able to walk after being attacked by a ghost.  Daisy got the physicality of the scene but what she really nailed was Monica’s emotional state.  Daisy’s performance affected all of us, as she was able to convey the hurt & helpless “Monica” felt as she told “Jodie” what happened.  I also found it really interesting to listen to Daisy speak, as she has a lower sounding voice, especially if you combine her accent to go along with the emotionality of the scene.  Daisy was funny Sunday night when she got the giggles during the car dialogue scene with Chelsea Switzer (“Betty”).


Martha Velasquez was absolutely the right person to play “Officer Karen Langer.”  Not only is Martha stunningly beautiful, but she’s got a sweet personality and is not a prima donna.  After watching and listening to Martha act the whole weekend (she was in four scenes) I told her that her delivery and screen presence reminds me of Sigourney Weaver.  What I found particularly interesting about Martha was that onscreen she comes across as somewhat fearless, when in reality she is a bit of a Fraidy Cat.  There was one moment Saturday night were we were doing a long lens shot looking into “Officer Langer’s” police car, when the spooky shape of “The Ghost” is seen standing staring at her in the woods close by.  It was getting a little late, it was cold and we where outside.  Mike Porciello was backlit, standing motionless within the trees, which everyone felt looked creepy.  Anyway, Martha was really getting into doing the scene, when our Gaffer Kato Peragine tapped her on the shoulder through the open window on her driver’s side door.  This caused Martha to let out a scream that made everyone stop what they were doing.  We all got a laugh out of that one.  Well, maybe Martha didn’t think it was so funny.

Anomaly Screen Grabs 16

Chelsea Switzer moved from the east coast to St. Louis on November 6th, only to fly back to New York four days later to be a part of our production.  That showed real commitment on her part, which in turn made me raise the level of my game.  Chelsea has a real calming feel to her aura.  There is a certain easiness you feel being around her and that translated on the screen as well.  I thought she made the scene where “Betty” listened to her answering machine really natural and believable.  Then when she did the scene with Daisy in the car, I was convinced they were friends.  We were lucky to get her involved on this project before she moved.

Anomaly Screen Grabs 22

Lindsay Drew returned to play “Paula Walker.”  Lindsay has a nice contrasting look compared to the other girls.  Lindsay is the shortest and most curvaceous member of the ANOMALY cast and looked terrific again.  She did a nice job switching gears during the scene where she gets a visit from an unwanted visitor at the door to her home.  If you haven’t heard of Lindsay before (she is a signed folk/pop singer), I’m confident you will be a fan of hers after seeing her in the trailer

Paula made the crew totally at home again with her organized focus on making the behind the scenes warm & cozy and making sure we kept on time.  All of the cast made a point to tell me how much they appreciated Paula making them laugh and how showed she always a concern to make them feel at home on the set.  Paula surprised me be having a candle lit cake to celebrate my Birthday.  I guess she wanted to make my Birthday extra special because I was making a film, doing the thing I like doing the most.  She was right and I love her for it.  Paula also agreed to let me use our house as the final shooting location, which I was very thankful for.

Ellen Trapani was under the weather but didn’t let that stop her from being attentive to logging all the shooting details and being her gracious self.  Her husband, Paul Trapani, also must be thanked for allowing us to use their home.  We shot half our weekend at Ellen & Paul’s.  We used almost the entire house.  On this shoot one room was the make-up room, while we shot two scenes in their living room, one in their kitchen and two scenes upstairs.  In May we shot scenes in the upstairs bedroom, downstairs bathroom so basically we used almost their entire house.

Kathleen Connolly and Jaclyn Lui are the two best Make-up Artists I’ve worked with.  They handled all make-up and hair.  Though they had never met prior to the shoot, they worked together as if they had been partners for years.  They made our cast look spectacular.  I really appreciated the amount of work they both did arriving on the first shooting day before anyone else, then working to get each girl’s hair and makeup just right.  They also came to me with ideas on how to make each girl look distinctly different based on each character.  After completing the initial make-up, they took their portable make-up tool kit belts and gave attention to each cast member in between takes.  Kathleen and Jaclyn will be my make-up artists of choice on all future shoots.

Gaffer Kato Peragine and his sons Michael & Joe were huge assets for our production.  They ensured we had everything covered electrically and helped Sean & his team prepared lights & camera into action.  These three guys worked tireless, kept the cast & crew light on their feet and made things more pleasant.  The only problem I had was determining who Michael was and who Joe was. It seemed like every time I guessed the name, I was wrong.  There is no doubt we were in good hands with our Gaffing crew.

Janette Pellegrini is the first professional Still Photographer I’ve had involved on one of my productions.  Janette would work around the set finding the best places to take pictures.  She even got the opportunity to help make the “Jodie” kitchen scene work as the “blower.”  It’s not at all what you may be thinking.  Janette acted as the ghost who spoils “Jodie’s” attempt to light a candle. Some of her stellar photos are here (her pictures are copyrighted with year & date).

Kevin Austin played had the vital role of picking up all food from the different restaurants who donated meals to our shoot and picked up people from the train station.  Kevin mentioned that he filled up his gas tank twice so you know he put some miles on his car driving all over to help us the way he did.

Mike Porciello was also valuable to our team as he acted in the aforementioned scene as “The Ghost” and helped too many ways to list here.

The teamwork and camaraderie stood out big time during this shoot.  I’ve never worked at a regular job that had the extraordinary positive spirit the cast and crew displayed.  People were busting their humps and enjoying every minute of it.  I credit that to the character of everyone involved.



The Trailer for AMOMALY was shot on Friday May 18th and Saturday May 19th. The shoot went incredibly well even though a few curve balls were thrown at the production.

Terry says, on Friday morning Liz McKendry came in and did the bubble bath scene playing Jodie Newman. “Liz was very enthusiastic and looked terrific in the scene. The ghost costume that Paula purchased worked much better than I anticipated. Kevin Austin did a fine job of making the ghost creepy.”

Friday evening, Daisy Taveras performed the scene playing Monica getting molested by the ghost. “Daisy brought tremendous sensuality to the scene and true touch of terror. What Daisy did affected the whole crew. This scene was not easy for Kevin as the ghost because he was in the costume, under the sheets and couldn’t see a thing. But we had a lot of fun doing this scene.”

Saturday brought some difficulties, Terry admits, “Not getting the ambulance from the fire department, which was set a month prior to the shooting, made things pretty intense during the morning/mid-day. But this forced me to change the scene. I re-wrote the scene an hour and a half before our call time. I gave the actors the heads up so they’d be ready and they definitely responded. This pressure really stirred our creative juices as the scene turned out better because there was more character development and dramatic conflict between the characters.”

Rain came down throughout this first scene shot Saturday night, which made DP Orville Herry a little nervous about the equipment getting wet. But the positive result was the atmosphere the rain created on film. “The entire crew pulled together and ignored the water & cold temperature to go for it. Paula did a wonderful job making sure we had a couple canopies & tarps to use as shelter between takes. Ellen Trapani was very valuable working as Continuity, Clapper and Terry’s Assistant. Lenny Viviano & Eric Press helped set up things and a surprise phone call from Steve Jones all proved vital to this shoot. “We were having some difficulty getting the generator to work smoothly but Steve’s cell call with Lenny was like a message from heaven and Kevin joined in to help solve the problem.”

“I don’t know if you can work with a better actor than Brian Townes. To get ready for the scene where Brian was playing Geoff Sykes, who’d been hit by a car, Brian found a patch of dirt on the ground, rolled around to get dirty. At one point, he had Kevin drag him across the ground to stain his wardrobe. I’ve never seen anyone do anything remotely like that. Then while Brian was on the cold pavement, he constantly asked me to make sure he was bloody, bruised and wet. I really admire that kind of dedication. The whole cast & crew was impressed with Brian’s performance.”

Lindsay Drew brought everything I was looking for in the character Paula. She was caring, passionate and beautiful. I’m really glad that I didn’t rush and settle for someone else in the part.”

Cornelius Jones gave needed contrast to the scene in  his character’s attitude and tone of voice. To me, he made the scene much more interesting because he went against what the other characters wanted to do to help Geoff.”

The second scene shot on Saturday night was the opening scene for the trailer. ” I liked the chemistry between Ed Bergtold, Brian, Rick Toscano and Vinnie Petrosini. The guys really ironed out the scene and nailed it. We actually finished a ½ hour early.”

Orville Herry did a commendable job as Cinematographer. “Orville captured little nuances of some of the films I had referenced for this shoot and he did work pretty much non-stop. He had some good help from his AC Erin Hurson and Gaffer John Mele Jr. The cinematography team is always the backbone of the principal photography. Without them we don’t have a movie. I look at them like the offensive line of a football team. They set it up so that the actors and the rest of the filmmaking team can excel. I can’t thank them enough for their hard work.”

The only real negative thing from Saturday night was that Make-up Artist Tina Esposito had to leave abruptly because her boyfriend’s father passed away right before we started shooting Saturday night. “Tina was a real asset to the production not only in doing the make-up but she helped any many other ways paying attention to little details. We send the best to her and her boyfriend’s family during this trying time.”

Terry has moved into the next phase of production having Editor Sean McGinn run off the footage onto DVD. “I’ll be spending the next week or two logging all the footage and making my notes for the editing. Then I will get together with Sean who will edit the film. It’s always exciting to see what Sean will bring to the table.”

We also must thank the wonderful establishments that helped support our production.  These include:

November shoot:

All American Hamburger Drive-In – Massapequa, NY
Bertucci’s Brick Oven Pizzeria – Melville, NY Corner Galley – Massapequa, NY
Gino’s Pizza – Massapequa, NY
Home Depot – Farmingdale, NY
Olive Garden – Massapequa, NY
Starbucks – Farmingdale, NY
Subway - Copiague, NY
TGI Fridays – Massapequa Park, NY

May shoot:

Bagelman – Copiague, NY
Subway – Copiague, NY
Kurt’s Deli – Lindenhurst, NY
Outback – Lindenhurst, NY
Home Depot – Copiague, NY
Classic American - West Babylon, NY
Cold Stone Creamery - Babylon, NY
Dunkin Donuts – Copiague, NY
Starbucks – Massapequa, NY
Quizno’s – Lindenhurst, NY
TGI Friday’s – Massapequa Park, NY