"The Wrecking Crew" Press Kit

Press Kit – page  1  
D  
 
A Documentary Film 
The press kit 
 
 
Denny and Suzie Tedesco                                  
Lunch Box Entertainment 
22640 Califa St. 
Woodland Hills CA 91367 
818.884.6654 
dennyted@mac.com 
http://www.wreckingcrewfilm.com 
 
Meyer Shwarzstein 
Brainstorm Media
280 S. Beverly Drive, Suite 208
Beverly Hills, CA 90212
p:310-285-0812
f:310-285-0772
info@brainmedia.com 
 
 
 
• From  Be My Baby  to  California Girls 
• From  Strangers In The Night  to  Mrs. Robinson 
• From  You've Lost That Lovin' Feelin'  to  Up, Up And Away 
• From  Viva Las Vegas  to  Mr. Tambourine Man 
 
What the Funk Brothers did for Motown…The Wrecking Crew did, only bigger, 
for the West Coast Sound. Six years in a row in the 1960’s and early 1970’s, 
the Grammy for “Record of the Year” went to Wrecking Crew member 
recordings.  
 
The Wrecking Crew played the Soundtrack behind the Dating Years of 38 plus million 
American Baby‐Boomers… 
 
And now, The Wrecking Crew film tells the story in pictures and oh, so 
glorious sound. All the favorite songs and the people who made them for you.  
 
 
 
         
“’The Wrecking Crew' is the best documentary yet 
about the recording scene.  I loved it.”  
Steve Miller, Gangster of Love 
 
 
           
    “A wonderful, touching and… hilarious film about the   
unsung stars of so many records that you carry in your 
heart.”  
Elvis Costello 
 
         
 
Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

THE FILM 
The Wrecking Crew is a documentary film that tells the story of the unsung musicians that 
provided the backbeat, the bottom and the swinging melody that drove many of the number 
one hits of the 1960’s. It didn’t matter if it was Frank Sinatra or Nancy Sinatra, The Monkees, 
The Byrds or The Beach Boys, these dedicated musicians brought the flair and musicianship 
that made The West Coast sound and American music the dominant cultural force not only 
here, but around the world. The film is fun, it is touching and it is a moving tribute to the music, 
to the times and to these secret power hitters of the West Coast recording scene.  
TARGET MARKET 
With a primary target market of some 35+ million native Baby Boomers1. The entirety 
of 72 million native Boomers comprise one third of all Americans above age 21. The film, 
targeting primarily (but not only) “leading edge” boomers, has a potential fan base that 
staggers the mind.  
 “Cohorts,” are generational groups that share like tastes and like mind‐sets. In 
fact, studies have shown that people in cohorts gravitate to the music that was 
popular during their “courting years.”  
 The musician have made this film an underground hit on music blogs around the 
world 
Background: 
According to Wikipedia.org:  
“The Wrecking Crew was a nickname (coined by the drummer Hal Blaine after the fact) given 
to a group of session musicians in Los Angeles, California, who earned wide acclaim in the 
1960s. They backed dozens of popular singers, and were one of the most successful "groups" 
of studio musicians in music history.  
 The Wrecking Crew's members typically had backgrounds in jazz or classical music, but were 
highly versatile. The talents of this group of 'first call' players were used on almost every style 
of recording, including television theme songs, film scores, advertising jingles and almost 
every genre of American popular music, from The Monkees to Bing Crosby.” 
Format: Mixed Footage, Archival, Film, Video and Digital Capture 
Production: Live Action, Historic Footage 
Genre: Music Documentary 
Producers: Denny Tedesco, Suzie Tedesco  
Director: Denny Tedesco 
Production Company: Wrecking Crew, LLC 
1
According to the Population Reference Bureau and US Census 2000. 76 million Boomers were born, 38 million of which were
Leading Edge boomers. 4 million boomers have died. When Canadian Boomers and global boomers are included, the target
market explodes. Current Boomer census, of course, counts immigrant Boomers as well, bringing 72 million to more than 79
million.

SCHEDULED RELEASE OF FILM 
 
ANTICIPATED DATE OF RELEASE: 
JANUARY 15TH, 2010 
AT THE NAMM TRADE SHOW 
IN ANAHEIM CALIFORNIA. 
 
The NAMM Show is one of the largest music product trade shows in the world, It is held every 
January in Anaheim, California at the Anaheim Convention Center. The January 2008 show had 
1,560 exhibitors and a record‐breaking 88,100 attendees. The NAMM Show is not open to the 
general public, only to members of the music trade and is for the International Music Products 
Association.  
 
There has been a buzz about “The Wrecking Crew” over the last two years in various music 
magazines, music blogs and amongst musicians around the world.  There is no better place to 
gain as much advantage as possible with this publicity and have thousands of people traveling 
back to their homes around the world discussing the film. 
NAMM SHOW GOAL: Private premiere screening for a charity – that helps musicians in need. 
 
THEATRICAL PLAN: 
A planed 20‐City Theatrical release would start the following week 
after Anaheim.  With careful planning we can time the release 
with monthly magazine articles as well as music events in certain 
cities that may have particularly high congregation of music lovers  
          
PBS: 
As a PBS premium pledge drive, the DVD will have another home 
for the demographics that it shares with PBS.  An older audience, 
documentary and music  
 
 
 

FOREIGN SALES: 
        We have been contacted by distributors around the    
        world including Japan and the BBC who would like to    
        distribute in their own territories.   
MARKETING PLAN AND GOALS OVER THE NEXT 6 MONTHS 
We hope to take the buzz and publicity that the film has garnered 
over the last 12 months in local communities and make a splash 
nationally in January 2010. 
BOOK RELEASE 
        Writer Ken Sharp and Denny Tedesco have combined efforts to  
        write the ultimate historical piece on these recordings and   
        musicians.  Between 13 years of interviews with Denny and Ken’s  
        work for the last two years, the book looks to be the ultimate  
        Coffee Book. 
 
        Below is the link to Ken’s latest book on Elvis He was hired by the  
        Elvis Folks to write a book 
http://smashdesigncompany.com/elvis/ 
 
SOUNDTRACK: 
The American Federation of Musicians said this is probably one of the biggest if not the biggest 
sound track for a 90 minute film.  With 131 music cues in the film, it is a piece of musical 
history.  
 
CD Compilation‐ 24 of the Director’s Favorite Tracks. 
 
LP‐Compilation‐With Vinyl LPs being re‐ released, it gives the true audiophile another way of 
hearing some of their favorite songs in the medium it was originally created for. 
 
 
 
 
 
 
 

 
 
WEB‐SITE: 
In a year of self‐promotion and although the film has not 
technically been released, we have still had nearly 100,000 unique 
visitors (First Time Hits) visiting “The Wrecking Crew” Web‐site.   
Every few weeks, we release a new outtake that helps promote 
the film and gather more and more names to our mailing list.  This 
is all from word of mouth, reviews, festivals, music and 
independent film blogs. 
NEWPAPERS, MAGAZINES, FACEBOOK, MYSPACE, AND BLOGS: 
With a three month lead, we will be able to focus our efforts to 
attract publicity through viral internet as well as traditional 
publications: 
LOCAL RADIO: 
        NPR, Oldies Stations, and local Talk Radio. 
Terri Gross and other well‐respected radio hosts would be 
approached with national press but only when the DVD is ready to 
be sold. 
 
This gives us another opportunity for live interviews with the 
Director or some of the musicians featured in the film to mention 
our sponsors names. 
 
KEARTH sponsored the Los Angeles Premiere of the WC last year.  
They had Crew interviews as well as ticket give‐aways.  Great 
week for WC publicity.  Hope to continue the relationship with 
other Oldies‐stations around the country. 
PUBLICITY:  50/50 RULE 
        We have been able to self promote and make lots of noise   
        by creating a rule of thumb called the 50/50 rule: 
Whenever we play a city, we make sure we notify 50 of the best, 
music stores (guitar, drums, sax, keyboards, etc.) recording 
studios, record shops‐(Vinyl and oldies shops are the best) and 
local coffee or artesian type cafes. 

We email them and send them posters and post cards asking for 
their help promoting the film.  With some high traffic music shops 
we can try to comp them a couple of tickets to thank them for 
their help. 
SEMI THEATRICAL: 
      Our goal is to release it theatrically to be able to create more buzz 
      and publicity among the communities that we visit over a six week 
      run.  This will help publicize the release of the DVD that may even  
      be on site to sell to audience members as leave the theater or  
      special engagement.   
 
        Small “special runs” at art house theaters around the country will  
        help us facilitate the theatrical part of our plan.  Some cities have  
        not had the chance to view the film as a community such as: 
Chicago, San Francisco, New York, Miami, Detroit, Boston, Boca 
Raton, Washington   D.C. Cincinnati, Milwaukee, Salt Lake City, 
Denver, Philadelphia, Pittsburgh,   Houston, Albuquerque, 
Minneapolis, Palm Springs, Atlanta, Memphis, and many more. 
 
        Other cities that had great success and we feel can easily return to 
        build on our brief visits are Los Angeles, New Orleans, Phoenix,  
        Nashville, Seattle, Buffalo, Orlando, Austin and Dallas. 
 
        Our main goals when choosing our city for a Special Engagement  
        or viewings is does it have a large community or reputation of  
        musicians  with love of music?   
 
EDUCATIONAL SALES: 
        Music schools around the country have created classes that deal  
          with 60s music as well as the music business of today.  Thousands  
              of music students will have the opportunity to buy the DVD for  
        themselves as well as the school making the film part of their  
        curriculum. 
DIGITAL DOWNLOADS: 
Net‐flicks, Amazon and iTunes, all give you the opportunity to download the film.  We hope we 
can also have the chance to create your own Wrecking Crew Download with your favorite hits 
of the 60s. 
 

NEED. SOME OF THE CAST OF CHARACTERS 
 
Tommy Tedesco and Carol Kaye 

     
 
 
Hal Blaine, Brian Wilson and Ray  Carol Kaye and Bill Pittman 
Pohlman 
     
 
   
The Hero Date for Phil Spector  Glen Campbell 
     
 
   
Don Randi  Plas Johnson 
     

  And
 
 
Denny Tedesco with his dad, 
Tommy Tedesco 
Larry Knechtel  many more… 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
    Just wanted to say what a great look   
the film is at an unknown and 
unforgettable part of American pop 
music history. To see the men and 
women, most often uncredited, 
behind the soundtrack of the 60s 
and 70s, and to share a little of their 
infectious camarederie, was the  
next best thing to being there in the   
room with Brian and Spector and  ACTOR/WRITER/SPINAL TAP MEMBER 
the rest. Good luck with it.  
‐ Harry Shearer‐ 
 
 
Denny Tedesco has given us an amazing look 
at a musical moment in history that 
everyone who loves rock and roll should 
see. 
‐Christopher Guest ‐ 
   
 
ACTOR/DIRECTOR/ SPINAL TAP MEMBER 

BIOGRAPHIES 
Hal Blaine may well be the most prolific drummer in rock and roll history. He's certainly played 
on more hit records than any drummer in the rock era, including 40 Number 1 singles and 150 
that made the Top Ten. Eight of the records he played on won Grammys for Record of the Year. 
He was the most in‐demand session drummer in Los Angeles during the Sixties and early 
Seventies, and a list of musicians he played with reads like a who's who of popular music. In 
1961, Blaine drummed on "Can't Help Falling in Love With You," one of Elvis Presley's most 
memorable sides, and he would play on Presley's film soundtracks throughout the Sixties. 
However, Blaine's best‐known affiliation is with producer Phil Spector, where he served as the 
percussive backbone of the "Wrecking Crew" the nickname that younger studio hands on the 
L.A. scene bestowed on themselves after the rock‐hating old‐timers complained they were 
"wrecking the business." 
 
Born in Niagara Falls, New York, Tommy Tedesco made his way to the West Coast where he 
became one of the most‐sought‐after studio guitarists between the 1960s and 1980s. Although 
Tedesco was primarily a guitar player, he was also qualified on the mandolin, ukulele, and the 
sitar as well as 28 other stringed instruments (though he played all of them in guitar tuning). 
He was described by "Guitar Player" magazine as possibly the most recorded guitarist in history, 
having played on thousands of recordings and recorded with the likes of the Beach Boys, Everly 
Brothers, The Association, Barbra Streisand, Elvis Presley, Ella Fitzgerald, Frank Zappa, Sam 
Cooke, Cher, and Nancy and Frank Sinatra. 
His credits include the themes to television's Bonanza, Green Acres, M*A*S*H, Batman, and 
Elvis Presley's '68 Comeback Special. He also performed for film soundtracks such as The French 
Connection, The Godfather, Jaws, The Deer Hunter, Field of Dreams, plus several Elvis Presley 
films.  
 
Throughout the 1960s Carol Kaye played bass on a significant percentage of records appearing 
on the Billboard Hot 100, although she was almost wholly unknown to the general public at the 
time. Kaye is noted as having played bass on many of the Beach Boys hit recordings, including 
“Good Vibrations,” “Help Me,” “Rhonda,” “Sloop John B” and “California Girls.” She also worked 
on Brian Wilson's ill‐fated but legendary Smile project (and was present at the "Fire" session in 
late November 1966 when Wilson reportedly asked the studio musicians to wear toy fire hats). 
Kaye's work also appears extensively on well‐known television and film soundtracks from the 
1960s and early 1970s. 
 
 
 
 
 

 
 
A driving force in Phoenix's explosive 1950s rockabilly scene and, after relocating to Los Angeles 
in the 1960s, Al Casey became one of Hollywood's top‐rank session musicians. As a guitar‐for‐
hire, Casey played on the No. 1 smashes "Good Vibrations" by the Beach Boys (1966), "These 
Boots Are Made For Walking" by Nancy Sinatra (1966), "Strangers In The Night" by Frank 
Sinatra (1966), and "Somethin' Stupid" by Frank and Nancy (1967). Not to mention the 
Association's 1967 No. 2 hit "Never My Love" or Nilsson's No. 6 "Everybody's Talkin'" from the 
movie Midnight Cowboy. Casey also spent a few TV seasons playing in the studio band on Dean 
Martin's NBC variety show. 
 
New Orleans native and life‐long Los Angeles resident, Earl Palmer was the most in‐demand 
percussionist in his hometown due to his powerful backbeat and mastery of second‐line shuffle 
rhythms. He was hired by bandleader Dave Bartholomew in 1947 after a stint in the army and 
recorded extensively with Bartholomew protege Fats Domino, Lloyd Price, Smiley Lewis and 
other New Orleans artists at the famed J&M studio. He also played on the seminal rock and roll 
recordings of Little Richard, who wrote in his autobiography that Palmer "is probably the 
greatest session drummer of all time."  
 
He's played on literally thousands of rock, jazz, R&B and soundtrack sessions over the years and 
his list of session credits includes artists as diverse as Ritchie Valens, Eddie Cochran, Ray 
Charles, Sam Cooke, Duane Eddy, Frank Sinatra, the Monkees, Bonnie Raitt, Johnny Otis, Neil 
Young and Elvis Costello. Though Palmer's first love was jazz, he laid the foundation for rock 
and roll drumming with his solid stickwork and feverish backbeat.  
 
Recruited by Capitol Records in the mid‐1950s, Plas Johnson also played on innumerable 
records by Peggy Lee, Nat "King" Cole, Frank Sinatra and others. He remained a leading session 
player for almost twenty years, averaging two sessions a day and playing everything from movie 
soundtracks to rock and roll singles. He played on many of the Beach Boys’ records, and was an 
integral part of a number of instrumental groups that existed in name only, such as B. Bumble 
and the Stingers. In 1963, he recorded the Pink Panther theme. Another solo for a well‐known 
television series was on The Odd Couple's theme music. Johnson was also used by Motown, and 
played on hits by Marvin Gaye, the Supremes and others. 
 
"Poor Side of Town" by Johnny Rivers. "Monday, Monday" by The Mamas and Papas. "They 
Long to Be Close to You" by The Carpenters. "Travelin' Man" by Ricky Nelson. "Bridge Over 
Troubled Water" by Simon and Garfunkel. "Aquarius/Let the Sunshine In" by The Fifth 
Dimension. 

What do these songs have in common? Besides being No. 1 hits on the Billboard pop charts, 
they all feature Louisiana native Joe Osborn on bass guitar. It is safe to say that if you were 
listening to the radio in the '60s and early '70s, then you were listening to Joe several times an 
hour, all day long. 
A longtime fixture in the Los Angeles area, Don Randi is best known as the proprietor of the 
North Hollywood club Baked Potato and for his longtime leadership of a popular 
fusion/crossover group, Quest. Raised in the Catskill Mountains of New York, Don was schooled 
in classical music lessons for 13 years. He moved to the Los Angeles in 1954. Since then he has 
been a busy studio musician, appearing on and writing for a countless number of motion 
picture and television soundtracks, commercials and pop albums. Randi recorded with such 
greats as Frank and Nancy Sinatra, The Righteous Brothers, Frank Zappa, The Beach Boys and 
was part of Phil Spector's Wall of Sound. 
 
 
 
 
I loved the film, thank you for bringing to light  
the story behind one of
the most important musical ensembles of the
modern recording era...
Chad Smith, Red Hot Chili Pepper
.
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
FILMMAKERS NOTES 
By Denny Tedesco 
What is the Wrecking Crew? 
 
In 1995 when my father, Tommy Tedesco was diagnosed with Terminal Cancer, I began this 
project I guess as a way of me dealing with what was going in our lives and at the same time out 
of a desire to let the world know about what impact he and his friends made in musical history.  
 
I had already completed a 30‐minute piece on my father with one of my Producers Jon 
Leonoudakis while we were students at Loyola Marymount University in Los Angeles. It played 
locally on KCET‐TV and I felt that I didn't need to do it again. But after a few years, my friends 
started to pull me aside and encouraged me to find a personal point of view. I was very 
reluctant at first and it took many years before I felt I could find a voice that made sense.  
 
At the start, I was vigilant with the interview subjects to "please say 'Tommy' instead of ‘your 
dad.' I really wanted to keep myself out of the picture but in the end, I came around and 
embraced it. The most difficult part was telling the story of the "Wrecking Crew" and at the 
same time telling my father's story. Finally a friend mentioned to me that you really couldn't tell 
one and not the other, so you might as well literally acknowledge it. Once we did that, it was 
easier and felt right.  
 
I never thought it would take this long. The first 2 years, I felt I had a lot of material and cut a 
14‐minute piece that I really liked which I was hoping to use to raise money to finish the film. 
But it was difficult to raise money from a 14‐minute clip.  
 
But in the end I look back now and realize that if I had finished the project after a couple of 
years, it would never have been the project that it is now. I think losing my father and putting 
space between the loss and now gave me more insight of what its like for these musicians.  
 
My dad, the guys and Carol Kaye, the sole female of the group, were at the top of their game at 
the right place and at the right time. They really don't have much to complain about. My dad 
was thrilled to be able to make a living playing guitar. To make a living at an instrument puts 
you in a small minority. But to record as many hits as they did, made them an even smaller 
minority.  
 
So when years pass by and you still have your chops as a musician and you're wondering why 
no one is calling, I think it takes its toll. My father always likened it to a baseball player. You 
have your time in the minors, you make it to the majors and then you slowly move on out while 
the new guys come in. That's how he broke in. It's part of the cycle.  
 
On the first day of shooting, I brought my father, Drummer Hal Blaine, Bassist Carol Kaye and 

Saxophonist Plas Johnson together for the first time in years. Earl Palmer was the other great 
drummer of the time and was supposed to be there but unfortunately he got sick. He was truly 
missed that day but I was able to interview by himself once he was better.  
 
Bringing musicians together is always an experience. I always loved listening to my father and 
his friends bullshit about anything and everybody. And at the same time, musicians have a 
certain dark sense of humor. So I set up a round table – inspired by Woody Allen’s “Broadway 
Danny Rose” ‐‐ and tried not to make it an interview. I would ask questions but they would take 
it for ten minutes and go to all kinds of places. It was gold.  
 
I started shooting it with 16mm. Our first shoot was a 2‐camera shoot on dollies for the round 
table. I continued shooting film for a couple of years before I realized that I better start 
shooting Video.  After I lost my father I wish that I had shot more interviews with him on video. 
I was thinking too much about aesthetics. I really wanted to finish on film.  
 
At the time, video cameras didn’t have the capabilities they do now. But then Mike Figgis asked 
me to shoot behind the scenes of his film, "Timecode." He suggested that I go out and buy the 
Canon XL and then use it to finish my film. So I shot with that camera for a while. Then a TV 
Land project came up and they needed it to be shot on the Panasonic 100A camera. So I went 
out and bought it. I wish I had it sooner. I love that camera. It looks great against the 16mm 
that I shot.  
 
Getting the session musicians to appear in the film wasn’t a problem. My dad had a great 
reputation.  So they were very welcoming. Hal Blaine is like my stepfather. He is such a great 
guy and very giving. My father loved him like a brother. I couldn't imagine doing this project 
without him. There is no way it would have come together. Carol and Plas were also very 
supportive and they have such great insight and honesty.  
 
Cher was among the first non‐Wrecking Crewmembers to respond to an interview request. 
Years ago, I worked on a music video of hers and when I asked her about her earlier records she 
had such great fond memories of my father, Hal, and Bill Pitman.  
 
My wife Suzie has been there from the beginning. She is so supportive and has great taste. As a 
TV Commercial Producer, she comes from the other spectrum of the business where larger 
budgets are the norm versus my projects that sometimes have 3 man crews or less.  She was 
able to pull in favors for free camera and lighting equipment when we needed it.  Most partners 
would have given up on the other after so much time and money was spent. She never did and 
for that, I am most thankful. 
 
My old college pal, Jon Leonoudakis, with whom I collaborated on the original 14 minute profile 
about my Dad, pestered and encouraged me to finish when I came to a standstill after my 
father passed and I wasn't going anywhere with it. Finally I asked him to come on as a Producer 

and that got me going again. It might not have ever gotten this far without him.  
 
A few years ago, the Editor Claire Scanlon came on for month for free. After a week, she really 
had a handle on the project. Sometimes it was difficult for me to explain exactly what I was 
trying to achieve and she found it. For a while she wasn't available so I worked with someone 
else and it didn't work out. Fortunately she became available between projects and we knocked 
it out. She's also very tough. When we banter, I have to really think about my reasoning to win 
an argument. She's an awesome editor and it wouldn't be as good as it is if it wasn’t for her. 
 
My brother, Damon and my mother who aren't producers but have also supported me in 
numerous ways. Damon is a music mixer and recorded the VO endless times without question 
or complaint. Whatever I needed he was there. He is part of the story as much as I am.  
 
Mom is the First Lady when it comes to support. She’s both a subject in the film and, when I 
had already tapped out on credit cards, she became an investor. When she saw the first cut, 
she broke down and cried. Interestingly, my mother never realized that she was going to be in 
the film. I asked, ‘Mom, what did you think I was doing there with a cameraman, and 
soundman?’ She thought it was for the family for years later. It was. 
 
My Directors of photography, Rodney Taylor and Trish Govoni, shot most of the material. 
Rodney and I worked on IMAX films together many years ago and he set the look for the film. 
Our goal was to make the musicians feel like they were 'Godfathers' especially during the round 
table discussions.  When Rodney was on the road shooting IMAX films, Trish, who is NY‐based, 
would stay an extra day or 2 whenever she had a job in LA and we would go out and shoot. I 
went to Rochester NY to shoot Gary Lewis and she flew herself to Rochester to help me there. 
Very cool lady.  
 
My sound man Mike Reilly was another guy that was always there for me. It was great having 
him there. He was another one that kept encouraging me not to give up.  
 
This project rapidly became a race against time. My father was dying and others had passed. I 
heard that Julius Wechter the great percussionist was sick. So I grabbed another cameraman 
friend, Vince Toto and we went out and shot him with Trombonist Lew McCreary. I didn't know 
at the time that Lew was also sick. Six months later both died within a week of each other.  
 
With over 100 songs in the film, licensing was the proverbial elephant in the room. But the 
record companies were very supportive when they were told that the project honored the 
musicians, the music and the artists. I would love to see some of this music reissued again and 
turned on to another generation. My daughter, Isabella is 9 years old and she knows all the 
songs through the film. She is the only kid in her class that can tell you the B‐side of “Be My 
Baby.”  
 

The Musicians Union has also been very supportive. They're bending over backwards to help 
me get the film done. It's all about their union members.  
 
At the end, I wish my father had seen a cut. Even the 14‐minute cut. He would have really loved 
it. I also wish I would have kept on interviewing him. 
 
Even though we are not released yet, I’m still interviewing these folks for the DVD.  I knew I 
couldn’t put everyone in the film, but I’ll have the chance to let their voices be heard on the 
DVD. 
 
When we went to the Rock and Roll Hall of Fame last year and showed 30 minutes, I took Hal 
with me. I hadn't showed him anything for years. Hal is one of those guys that have 1000 jokes 
constantly coming out of him. He is the greatest showman I’ve ever met. We showed the film to 
a packed audience and they gave us a standing ovation. After a couple of questions during the 
Q&A, Hal stopped and broke down crying. At first I thought he was joking, but I noticed the 
tears behind his sunglasses. He asked the moderator to start asking me questions and said, "I'm 
sorry that got to me. Seeing all my old friends there." At that point, I knew I was telling the 
truth.  
  
     Press Kit – page  18 
 
 
I hovered in the room near the ceiling as I

watched this inspiring movie about the
musicians who made the songs that
continue to lift me higher than ever. -
Nancy Wilson (Heart)
.
 
 

PRODUCTION COMPANIES 
Lunchbox Entertainment is the production company of record for The Wrecking Crew. 
Lunchbox Entertainment is owned by Denny Tedesco and Suzie Tedesco.  Lunchbox began as a 
company in 1988 when Denny started to collect Lunchboxes driving cross country with his then 
girlfriend…. Suzie Greene who now his wife of 20 years.  They produce commercials and info‐
mercials.   
 
Founded in 1995, Brainstorm Media is a sales agent and distributor of hundreds of 
independent movies in the United States. It has grown to become one of the most active 
suppliers of independent movies for television and is the largest independent aggregator of 
movies for VOD and new media in the US. The company has worked with all of the major 
studios and, in addition to its library sales, has licensed premieres to over a dozen different 
TV channels. Brainstorm Media is also active in financing and co‐production of movies and 
TV series in association with US distributors and broadcasters.  
PRODUCER, DIRECTOR 
Denny Tedesco 
As the son of Tommy Tedesco, one of the key guitarists in The Wrecking Crew, Denny is 
uniquely positioned to tell the story of The Wrecking Crew.  
 
Denny Tedesco grew up in Los Angeles and is an alumnus of Loyola Marymount University. He 
started his film career as a set decorator and featured actor on the film Eating Raoul. (for those 
who might not recognize him, he played the dead bodies in the garbage bags and the ‘Waiter’)   
 
He then traveled the world as a lighting technician and location producer for IMAX films. From 
the shark infested waters of Australia, to an exploding Volcano of Mt. Pinatubo (Philippines), 
and to the plains of Africa, he has filmed under the most challenging conditions. But nothing 
has ever challenged him more than bringing the story of his father, Tommy Tedesco and his 
friends to the big screen.  
 
The phrase "Labor of Love" may be over‐used, but in this case it was the only way to make The 
Wrecking Crew come to life. It took 12 years from beginning to end. Over the last decade, he 
has produced promos, videos and commercials for various companies and networks. Most 
notably in 2000, he produced the Academy Awards 'opening' with Billy Crystal and also the 
music video for Elton John's song, 'I Want Love,' directed by artist Sam Taylor Wood and 
starring Robert Downey Jr. 
 
 
 
 
EXECUTIVE PRODUCER 
Suzie Tedesco 
Suzie Tedesco trained as an agent’s assistant in London for 2 years before she moved to Los 
Angeles.  In LA, she continued in the representation business, working first at ICM, and then for 
a time for a personal manager in Los Angeles. 
 
1986 was an auspicious year for Suzie because she not only changed the direction of her career 
by moving in to the Production side of the film business but that was also the year she met 
Denny Tedesco. 
 
Suzie worked on many different motion pictures in various capacities after 1986, but she really 
found a great niche in working on TV commercials.  Suzie produced commercials with a wide 
variety of directors, making spots all over the US and the around world, and covering a vast 
array of products. Her versatility has been a hallmark of her work.  
 
In 2007 Suzie was made the Executive Producer of Argyle Brothers, a TV commercial production 
company.  
 
In between producing commercials and raising their children Tommy, Isabella & Rafael, she has 
also dedicated herself over the last 12 years to helping Denny fulfill his dream and vision of 
telling the story of her late father‐in‐law, Tommy Tedesco and that of his peers, the story of The 
Wrecking Crew. 
 
EXECUTIVE PRODUCER 
Meyer Shwarzstein - While at the Illinois Institute of Technology, Meyer showed early signs of
attention deficit disorder as he spent more time at the radio station than on his engineering
studies. With 3 years of a good college education under his belt (and no hope of graduating in 4
years), Meyer left to become General Manager of a small rock'n'roll magazine by guys who
didn't realize a 20-year-old really had no business in a job like that.
From then on, Meyer was hooked to the world of music and movies.
His love of technology continued to get him in trouble; he schlepped over the ice on Chicago's
South Side in an attempt to convince record stores to stock the first pre-recorded videocassettes.
He was then hired by a non-theatrical distributor because he knew what a videotape was and,
when he moved to LA in 1980, was hired by MGM to do something else he knew nothing about
- pay TV sales.
Meyer later moved to Atlantic Releasing where he eventually established its international
distribution division and has since worked at various companies including Image Organization,

where he oversaw worldwide distribution. Meyer started working in production and expanded
his kind of trial-by-fire education by starting Brainstorm Media in 1995.
Perhaps showing the first signs of growth, Meyer took to hiring people who actually know what
they're doing but he continues to frustrate them as he throws the company head-first into VOD,
interactive programming, and other unexplored territory. Everyone hopes Meyer will learn some
patience and his parents hope he'll earn a real degree one day. 
 
PRODUCER 
Jon Leonoudakis  
L.A.‐based Producer Jon Leonoudakis has nearly 30 years of experience working in film, video, 
and interactive media.  
 
Jon’s career spans from the hey‐day of music videos in the early 80s, through TV commercials, 
feature films, and documentaries. Over the past 20 years, Jon has focused on projects for 
museums and theme parks. He developed an expertise in designing and producing attractions 
and exhibits along with his skill‐set as a media producer.  Jon’s work has been seen by millions, 
on projects like “Backdraft” for the Universal Studios/Hollywood theme park, or “Monsters, Inc. 
Laugh Floor” at Magic Kingdom at Walt Disney World. 
 
Jon has produced immersive attractions and experiences for EPCOT, Disneyland, Pixar, The 
Seattle Science Fiction Museum and Hall of Fame, Kodak, The Kingdom of Saudi Arabia, 
Scotland, Brasil, Blue Note Records, Harrah’s National Automobile Museum, and high‐end 
national TV spots for Lincoln‐Mercury, Honda, and Mercedes‐Benz. 
   
PRODUCER/EDITOR 
Claire Scanlon 
Claire Scanlon's editing credits include the Emmy‐nominated "Cary Grant: A Class Apart," for 
Turner Classic Movies, "Bob Newhart: Unbuttoned" and "Carol Burnett: A Woman of Character" 
for the PBS series American Masters.  She also wrote and edited "Irving Thalberg: Prince of 
Hollywood" for TMC.  Claire directed, wrote and edited four episodes of the Discovery Channel 
show "Monster House."  She also edited "The Apprentice," "Top Chef" and is currently the 
Supervising Producer and Supervising Editor for the NBC series "Last Comic Standing."  Despite 
the director's insistence on only ordering food from the restaurant chain that bears his Given 
Name, working on The Wrecking Crew has been a wonderful experience for Claire. 
 

PRODUCER 
Mitchell Linden  
Mitchell has served as a Senior Vice President of Digital Media at The BBC (Technology), and in 
several companies focused on bringing video experiences to the web. Mitchell has enjoyed the 
opportunity to work with broadcasters and media organizations around the world to solve the 
challenges, and exploit the opportunities associated with producing, managing and distributing 
rich media over IP, terrestrial and satellite networks.  
 
At the BBC, ESPN, DirecTV, “3”, NPR and elsewhere, Linden helped to realize the 
implementation of some of the most innovative, transformational media projects in the world, 
all following a career directing and editing feature films, trailers, television, music videos and 
commercials in Hollywood.  Linden created programs for leading entertainment industry clients 
including Capitol Records, Entertainment Tonight, Columbia Tri‐Star, New Line Cinema, Thomas 
Dolby's Beatnik, ABC Disney, and E!  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

SOME OF THE SONGS THAT MADE ALL THE DIFFERENCE 
SONG TITLE LICENSED TO FILM  ARTIST 
A Little Less Conversation ‐  Elvis 
Be My Baby  The Ronettes 
California Dreaming  Mamas and Papas 
Danke Schoen  Wayne Newton 
Eve of Destruction  Barry McGuire 
Fools Rush In ‐  Ricky Nelson 
Good Vibrations  The Beach Boys 
Gypsies, Tramps and Thieves ‐  Cher 
He's A Rebel  The Crystals 
Indian Reservation  Paul Revere and The Raiders 
MacArthur Park  Richard Harris 
Mary Mary  The Monkees 
Mr. Tamborine Man  The Byrds 
Mrs. Robinson  Simon & Garfunkel 
Strangers in The Night  Frank Sinatra 
Surf City  Jan & Dean 
The Beat Goes On  Sonny and Cher 
These Boots Were Made For Walking  Nancy Sinatra 
This Diamond Ring  Gary Lewis & The Playboys 
Twisting The Night Away  Sam Cooke 
Up, Up and Away  5th Dimension 
Whipped Cream  Herb Alpert and the Tijuana Brass 
Wichita Lineman  Glen Campbell 
Windy  The Association 
You've Lost The Lovin' Feelin   The Righteous Bros. 
 
 

WRECKING CREW SOUND TRACK‐ CREDITS  113 SONGS 
 
 
 “Good Vibrations” 
Performed by: The Beach Boys 
Written by: Brian Wilson and Mike Love 
Courtesy of: Capitol Records 
Under License from EMI Film & Television Music 
 
“Be My Baby” 
Performed by: The Ronettes 
Written by: Jeff Barry, Ellie Greenwich and Phil Spector 
Courtesy of: Philies Records 
By arrangement with EMI Music Publishing 
 
“Danke Schoen” 
Performed by: Wayne Newton 
Written by: Milt Gabler, Bert Kaempfert and Kurt Schwabach 
 
“Mary Mary” 
Performed by: The Monkees 
Written by: Michael Nesmith 
Courtesy of: Warner Music Group 
By arrangement with Warner Music Group Film & TV Licensing 
 
“Let’s Go” 
Performed by: The Routers 
Written by: Larry Duncan and Robert Duncan 
 
“Whipped Cream” 
Performed by: Herb Albert’s Tijuana Brass 
Written by:  Allen Toussaint 
Courtesy of: Almo Properties 
 
 
 
 

“Let’s Dance” 
Performed by: Chris Montez 
Written by: Jim Lee 
Courtesy of: Jimmy Lee Productions 
By Arrangement with Nola Leone/Ace Music Services, LLC 
 
“Strangers In The Night” 
Performed by: Frank Sinatra 
Written by: Bert Kaempfert, Charles Singleton and Eddie Synder 
 
“The Alvin Show Theme” 
Performed by: The Chipmunks 
Written by: Ross Bagdasarian 
Courtesy of: Bagdasarian Productions 
 
“Up Up And Away” 
Performed by: The Fifth Dimension 
Written by: Jimmy Webb 
Courtesy of: Arista Records LLC 
By arrangement with SONY BMG MUSIC ENTERTAINMENT 
 
“Surfer’s Stomp” 
Performed by: The Marketts 
Written by: Mike Gordon and Joe Saraceno 
 
“California Girls” 
 
“Then He Kissed Me” 
Performed by: The Crystals 
Courtesy of: Philies Records 
 
 

 
“California Dreamin’” 
Performed by: The Mamas and The Papas 
Written by: John Phillips and Michelle Phillips 
Courtesy of: MCA Records 
Under license from Universal Music Enterprises 
 
“The Beat Goes On” 
Performed by: Sonny and Cher 
Written by: Sonny Bono 
 
“That’s Life” 
Performed by: Frank Sinatra 
Written by: Dean Kaye Thompson and Kelly Gordon 
 
“You’ve Lost That Lovin’ Feelin’” 
Performed by: The Righteous Brothers 
Written by: Barry Mann, Phil Spector and Cynthia Weil 
Courtesy of: Decca Records 
 
“These Boots Were Made For Walkin’” 
Performed by: Nancy Sinatra 
Written by: Lee Hazlewood 
Courtesy of the Law Office of Robert Finklestein 
 
“Mash TV Theme Song (Suicide Is Painless)” 
Written by: Johnny Mandel 
Courtesy of: 20th Century Fox Television Music 
 
“Dizzy” 
Performed by: Tommy Roe 
Written by: Freddy Weller and Tommy Roe 
 
 
 

 
“Twisting The Night Away” 
Performed by: Sam Cooke 
Written by: Sam Cooke 
Courtesy of ABKCO Music & Records, Inc. 
 
“This Diamond Ring” 
Performed by: Gary Lewis and The Playboys 
Written by: Bob Brass, Al Kooper and Irwin Levine 
 
“Windy” 
Performed by: The Association 
Written by: Ruthann Friedman 
 
“Comin’ In The Back Door” 
Performed by: The Baja Marimba Band 
Written by: Scott Turner 
Courtesy of: A&M Records 
 
“Out Of Limits” 
Performed by: The Marketts 
Written by: Michael Gordon 
 
“Baja” 
Performed by: Jack Nitzsche 
 
“Fools Rush In” 
Performed by: Ricky Nelson 
Written by: Rube Bloom and Johnny Mercer 
Courtesy of: Decca Records 
 

 “Capp This” 
Performed by: Frank Capp Juggernaut 
Written by: Nat Pierce 
Courtesy of: Concord Music Group, Inc. 
 
“Red Sails” 
Performed by: Tommy Tedesco 
Written by: Tommy Tedesco 
Under license Universal Music Enterprises 
 
“One Mint Julep” 
Performed by King Curtis 
Written by: Rudolph Toombs 
 
“Beach Blanket Bingo (Cue from the motion picture Beach Blanket Bingo)” 
Written by Les Baxter 
Courtesy of: Metro‐Goldwyn‐Mayer Music Inc. 
 
“Surf City” 
Performed by: Jan & Dean 
Written by: Jan Berry and Brian Wilson 
 
“Fun Fun Fun” 
 
“I Get Around” 
 
 
 
 

 
“Sloop John B” 
Written by: Brian Wilson 
 
“God Only Knows” 
Written by: Brian Wilson and Tony Asher 
 
“Pasta Nova” 
 
“The Moon Is Blue” 
Performed by: Ralph Marterie 
Written by: Sylvia Fine and Herschel Gilbert 
 
“Da Doo Ron Ron” 
Courtesy of Philies Records 
 
“He’s A Rebel” 
Written by: Gene Pitney 
Courtesy of Philies Records 
 
“River Deep, Mountain High” 
Performed by: Ike and Tina Turner 

 
“Mission Impossible Theme” 
Written by: Lalo Schifrin 
Performed by Carol Kaye 
 
“Warm Breeze” 
Written by: Sammy Nestico 
 
“Puerto Vallarta” 
Written by: Jack Nitzsche and Martin Cooper 
 
 
“Picnic, A Green City/Stone Soul Picknick” 
Performed by: The 5th Dimension 
Written by: Laura Nyro 
Courtesy of: Columbia Records 
Under license from Sony BMG Film & Television Licensing 
 
 “Taco Wagon” 
Performed by: The De‐Fenders 
Written by: Chuck Carroll, Tad Hutchinson, Scott McCaughey and Jim Spangster Courtesy of: 
Warner Music Group 
 
“A Little Less Conversation” 
Performed by: Elvis Presley 
Written by: Mac Davis and Billy Strange 
Courtesy of: RCA Records 
 
“Bang Bang” 
Performed by: Hal Blaine 
Written by: Hal Blaine, Nick Boldi and Ted Glasser 
 
 

 
“Basie” 
Written by: Ernie Wilkins 
 
“Binga Banga Bongo/Percolator” (Medley) 
Performed by: Terry Synder & The All Stars 
Written by: Terry Synder 
 
“Only You” 
Performed by: The Platters 
Written by: Buck Ram and Ande Rand 
Courtesy of MCA Records 
 
“Somethin’ Stupid” 
Performed by: The Sinatras 
Written by: Carson  Parks 
 
“Drummer Man” 
Written by: Murray Wecht 
Courtesy of Boots Enterprises, Inc 
 
“Pink Panther Theme” 
Performed by: Henry Mancini 
Written by: Henry Mancini 
Courtesy of: RCA Records 
 
“Kansas City” 
Performed by Conrad Janis 
Written by Leiber and Stoller 
Courtesy of Conrad Janis 
 
 
 

 
“When The Saints Go Marching In” 
Performed by Conrad Janis 
Courtesy of Conrad Janis 
 
“The Grease Partol” 
Performed by: Plas Johnson 
Written by Plas Johnson 
Courtesy of  Probe Music 
 
“Monkey Business” 
Performed by: Plas Johnson 
Written by Plas Johnson 
Courtesy of: Probe Music 
 
“Rockin’ Robin” 
Performed by: Bobby Day 
Written by: Leon Rene 
Courtesy of Lynn Adajian 
By Arrangement with Nola Leone/Ace Music 
 
“Lonely Bull” 
Written by: Sol Lachoff 
 
“Taste Of Honey” 
Written by: Ric Morrow and Robert Scott 
 
“Spanish Flea” (Live) 
Written by: Julius Wechter 
 
“No Matter What Shape (Your Stomach’s In)” 
Performed by: The T‐Bones 
Written by: Granville (Sascha) Burland 
 
 

 
“Mr. Tambourine Man” 
Performed by: The Byrds 
Written by: Bob Dylan 
 
“Come On Get Happy” 
Performed by: David Cassidy 
Written by Wes Farrell and Danny Janssen 
Courtesy of: Sony Pictures Television Inc. 
Under License from Sony Pictures Music Group 
 
“Old Town” 
Written by: Jack Nitzsche and Martin Cooper 
Courtesy of: Warner Music Group by arrangement with Warner Music Group Film & TV 
Licensing 
 
 “Everybody Loves A Clown” 
Written by: Snuff Garrett, Gary Lewis and Leon Russell 
 
“Sure Gonna Miss Her” 
Written by: Bobby Russell 
 
“Monday, Monday” 
Written by: John Phillips 
 
“Let The Sunshine In” 
Performed by: The 5th Dimension 
Written by: Arthur MacDermot, James Rado and Gerome Ragni 

“Aquarius/Let The Sunshine In” 
Performed by The Fifth Dimension 
Courtesy of Arista Records LLC 
 
“Topsy” 
Written by: Edgar Battle and Eddie Duncan 
 
“Cannonball” 
Written by: Duane Eddy and Lee Hazlewood 
Under License from Universal Music Enterprises 
 
“Love Will Keep Us Together” 
Performed by: Captain and Tennille 
Written by: Neil Sedaka and Howard Greenfield 
Courtesy of  A&M Records 
 
“Ooh Poo Pah Doo” 
Written by: Jessie Hill 
Under license fromUniversal Music Enterprises 
 
“Woman’s World” 
Performed by: Glen Campbell 
Written by Wayne Walker 
 
“Galveston” 
Written by Jimmy Webb 
 
“By The Time I Get To Phoenix” 
Courtesy of: Capitol Records Nashville 

 
“Wichita Lineman” 
 
“Gentle On My Mind” 
Written by: John Harford 
 
“Eve of Destruction” 
Performed by: Barry McGuire 
Written by: Phil Sloan 
 
“Lester Leaps In” 
Written by: Lester Young 
Performed by Tommy Tedesco 
Courtesy of  Desco Music 
 
“Oriental Flower” 
 
“Suelo Espanol” 
Courtesy of: Desco Music 
 
“Requiem for Studio Guitar Player” 
 
 

 
“Impressions of Hollywood Boulevard” 
 
“Dedicated To The One I Love” 
Written by: Ralph Bass and Lowman Pauling 
 
“Everybody’s Talking” 
Performed by: Harry Nilsson 
Written by: Fred Neil 
 
“Don’t Worry Baby” 
Written by: Brian Wilson and Roger Christian 
 
“Zorba The Greek” 
Written by: Mikos Theodakis 
 
“Sugar Town” 
Courtesy of: Boots Enterprises, Inc. 
 
“Everybody Love Somebody” 
Performed by: Dean Martin 
Written by: Sam Coslow, Kermit Lane and Irving Taylor 
Courtesy of The Dean Martin Family Trust under exclusive license to Capitol Records 
 
 

 
“San Francisco (Be Sure To Wear Flowers)” 
Performed by: Scott McKenzie 
Written by: John Phillips 
Courtesy of: Sony/BMG 
 
“Gypsies, Tramps and Thieves” 
Performed by: Cher 
Written by: Robert Stone 
Courtesy of A&M Records 
 
“MacArthur Park” 
Performed by: Richard Harris 
Under license Universal Music Enterprises 
 
“The Little Old Lady (From Pasadena)” 
Performed by: Jan & Dean 
Written by: Donald Altfield, Jan Berry and Roger Christian 
 
 “Guantanamera” 
Performed by: The Sandpipers 
Written by: Hector Angulo, Diaz Fernandez and Julian Orbon 
Courtesy of: A&M 
 
“Mrs. Robinson” 
Performed by: Simon and Garfunkel 
Written by: Paul Simon 
 
“Indian Reservation” 
Performed by: Paul Revere and The Raiders 
Written by: John Loudermilk 
 

 
“Hawaii Five‐O” 
Performed by: The Ventures 
Written by: Morton Stevens 
 
“Aquarius/Let The Sunshine In” 
 
“Stoned Soul Picnic” 
 
“A Little Less Conversation” 
Performed by Elvis Presley 
Courtesy of the RCA Records Label 
 
“The Pink Panther Theme” 
Performed by Henry Mancini & His Orchestra 
 
“Everybody’s Talkin’” 
Performed by Harry Nilsson 
 
 “Mrs. Robinson” 
Performed by Simon & Garfunkel 
Courtesy of Columbia Records 
 
“Indian Reservation 
 (The Lament Of The Cherokee Reservation Indian)” 
Performed by Paul Revere & The Raiders (featuring Mark Lindsay) 
Courtesy of Columbia Records 

 
“Being Green” 
(Joseph G. Raposo – BMI) 
© Jonico Music Inc. 
Performed by Ray Charles 
Courtesy of the Ray Charles Foundation by arrangement with the Ray Charles Marketing Group 
 
 
 
 
 
 
Much congratulations to you for
undertaking the project and for
delivering it in such a wonderful
way. For me it was educational,
entertaining and thoroughly
engrossing...
-Clive Davis-
 
 
 

FILM CREDITS‐ 
 
 
THE WRECKING CREW 
A Film by Denny Tedesco 
 
CREDITS 
 
Directed by 
Denny Tedesco 
 
Executive Producers 
Suzie Greene Tedesco 
Error! Contact not defined. 
 
Producers 
Denny Tedesco 
Suzie Greene Tedesco 
Claire Scanlon 
Jon Leonudakis 
Mitchell Linden 
 
Director of Photography 
Rodney Taylor 
Trish Govoni 
 
Editor 
Claire Scanlon 
 
Sound Recording 
Mike Reilly 
Paul Marshall 
Damon Tedesco 
Brian “B‐Man” Bidder 
 
Music Supervisors 
Micki Stern 
Suzanne Coffman 
 
 
Music Consultant 

Russ Wapensky 
 
Associate Producers 
Michelle Sullivan 
Randy Kirk 
 
Graphics 
Rick Morris 
 
Online Editor 
Tom Moore 
 
Sound Design 
Re‐Recording Mixer 
Bob Bronow, CAS 
 
 
The Wrecking Crew 
 
Drums/Percussion 
Hal Blaine 
Jim Gordon 
Johnny Guerin 
Earl Palmer 
Jessie Sailes 
Sharky Hall 
 
Percussion 
Frank Capp 
Gary Colman 
Gene Estes 
Victor Feldman 
Emil Richards 
Julius Wechter 
 
Guitar 
Al Casey 
Dennis Budimer 
Billy Strange 
James Burton 
Glen Campbell 
Mike Deasy 

Barney Kessel 
Jerry Cole 
Lou Morell 
Don Peake 
Bill Pitman 
Louis Shelton 
Tommy Tedesco 
Howard Roberts 
Ben Benay 
David Cohen 
 
 
Bass 
Jimmy Bond 
Chuck Berghofer 
Carol Kaye 
Larry Knecctel 
Joe Osborn 
Ray Pohlman 
Lyle Ritz 
Arthur Wright 
 
Piano 
Leon Russell 
Larry Knechtel 
Al DeLory 
Dan Randi 
Piano Continued: 
Ray Johnson 
Lincoln Mayorga 
Mike Melvoin 
Mike Rubini 
 
Sax/Horns 
Gene Cipriano 
Steve Douglas 
Bill Green 
Plas Johnson 
Jackie Kelso 
Jay Migliori 

FILM FESTIVALS AND AWARDS 
 
International Documentary Association‐2008 
Nominated for Best Music Documentary 
 
SXSW‐PREMIERED  
 
Tallgrass Film Festival, Wichita, Kansas 
AUDIENCE AWARD 
 
BUFFALO/NIAGARA‐SOLD OUT  
AUDIENCE AWARD 
 
NASHVILLE INTERNATIONAL FILM FESTIVAL‐ 
CLOSING FILM‐SOLD OUT 2 SCREENS 
HONORARY MENTION FOR Impact of Music Award 
 
SEATTLE FILM FESTIVAL 
Golden Space Needle AUDIENCE AWARD 
 
ROME INTERNATIONAL FILM FESTIVAL 
BEST AMERICAN DOCUMENTARY  
 
AUDIENCE AWARD 
 
IDAHO INTERNATIONAL FILM FESTIVAL 
BEST DOCUMENTARY 
 
LOS ANGELES‐GRAND PERFORMANCES‐1800 PEOPLE 
“FILM THAT MATTERS” SERIES 
 
“DON’T KNOCK THE ROCK” FESTIVAL 
SOLD OUT 2 SCREENINGS 
 
DOCUWEEK‐ LOS ANGELES/NY 
Official Selection 2008 
 
RHODE ISLAND INTERNATIONAL FILM FESTIVAL 
1ST PLACE DOCUMENTARY 
   
Savanna International Film Festival 
STANDING OVATION AWARD 

 
Anchorage International Film Festival 
  Audience Award 
 
Barbados International Film Festival 
  Best Documentary 
 
Florida Film Festival 
  SOLD OUT 
 
Glasgow International Film Festival 
  Sold out 2 shows 
 
Northern Lights International Film Festival‐Newcastle 
   
Melbourne Australia 
SOLD OUT 
 
Calgary International Film Festival 
  Sold Out 
   
Mill Valley, CA 
SOLD OUT 2 screenings (added 3rd upon demand) 
 
Vancouver Canada 
added 4th screening upon demand 
 
New Orleans International Film Festival 
  Sold Out 
 
Lake Arrowhead International Film Festival 
  Bronze For Best Documentary 
 
Cleveland International Film Festival‐ 
  Film is sponsored by Rock and Roll Museum 
  SOLD OUT 
 
Hawaii International Film Festival 
 
Calgary International Film Festival 
  Sold Out 
 

Leeds International Film Festival England 
  Sold out 
 
St. Louis International Film Festival 
Sold out 
Cinestrat Docu Festival‐Spain 
 
Sedona International Film Festival 
  Sold out 
Spokane International Film Festival 
Sold Out 
 
In Edit‐International Music Film Festival Barcelona 
 
In Edit‐International Music Film Festival Chili 
 
Buenos Aires International Film Festival 
 
Berkshire International Film Festival 
 
         
“It was incredible! It had everything I wanted to 
see and more that I didn't expect. Tommy's humor 
drew you in and the lifelong respect for each other 
was so evident. Thank you for making this film 
because it shows that these legendary musicians, 
who we listen to everyday, are anything but 
invisible!!!”  
Peter Frampton 
 
 
           
    “Denny Tedsco's funny and heartfelt THE WRECKING  Audience Award   
CREW was at one time illuminating and familiar... The  Winner 
audience sang along at times, and nudged their dates 
every 5 minutes with an "I love this song." We had a 
great Q&A, and everyone left with a smile. One of the 
highest rated docs we have screened in a long time!”  
Beth Barrett, Programming Manager, Seattle 
International Film Festival   
Seattle International  
 
Film Festival 

&quot;The Wrecking Crew&quot; Press Kit

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Press Kit – page 1

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

I hovered in the room near the ceiling as I

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

Confidential, Copyright © 2009, Lunchbox Entertainment and FilmProfit, LLC

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"The Wrecking Crew" Press Kit

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Press Kit – page  1  