LORI CHEATLE (Producer/Co-Director) founded Hard Working Movies to produce innovative films with great stories. The films she’s produced or directed have screened theatrically, in festivals and on TV in over 35 countries, and have been broadcast on HBO, Showtime, PBS, The Sundance Channel, Starz, Channel 4 UK, CBC, Canal+, and on many other stations worldwide. 

Lori most recently produced 51 Birch Street (dir. Doug Block), a documentary co-production with HBO and ZDF/Arte, which was named one of the 10 Best Films of 2006 by The New York Times, the Ebert and Roeper Show, and the Chicago Sun Times. It was picked as Best Documentary of the Year by AARP Magazine and was on several year-end top documentary film lists, including the National Board of Review, Rolling Stone Magazine and the Boston Society of Film Critics. 51 Birch Street  premiered at the Toronto Film Festival and screened at dozens of international film festivals, before being released theatrically by Truly Indie. The DVD is released through Image Entertainment.

In documentaries, Lori co-produced Dashiell Hammett. Detective. Writer. (dir. Joshua Waletzky, featuring David Strathairn, Kathleen Turner) which was broadcast on the PBS series American Masters and is distributed by Koch-Lorber; From Swastika To Jim Crow (also co-directed) which aired nationally on PBS and was seen at over 100 festivals and other screenings including The National Civil Rights Museum, Lincoln Center, The Museum of African American Heritage and MoMA; and the feature documentary Summer In Ivye (dir. Daisy Wright and Tamar Rogoff), which is distributed worldwide by The Cinema Guild. Other credits include the web-based The D-Word: Essays In Documentary (Supervising Producer) a compilation of short films by documentary filmmakers; American Corner (Producer/co-director) a film about Vietnam-era veterans living on the Olympic Peninsula in Washington state; and Sidney Lumet: An American Director for Pacific Street Films, Paramount Pictures and Spelling Television.

Lori worked as Producer and Director of Production on fiction films, and for several years was head of the New York company Petrified Films.  She is currently producing several projects, including Live At The Fillmore East, a film about rock impresario Bill Graham and his legendary New York music hall, directed by Academy-award winner Leon Gast and renowned filmmaker/photographer Amalie R. Rothschild.

DAISY WRIGHT (Co-director/Editor) – A documentary filmmaker and editor, Daisy Wright’s long list of editing credits include two films by Hannah Weyer: the popular La Boda, which aired on the PBS series POV, and Escuela, which premiered on PBS after receiving the MTV award at the Doubletake film festival.

She most recently edited To Iraq and Back: Bob Woodruff Reports, a one-hour documentary chronicling ABC News Anchor Bob Woodruff’s recovery from a traumatic brain injury sustained while reporting in Iraq, and The New Asylums and Living Old, both for the PBS program FRONTLINE. The New Asylums received the 2006 Robert F. Kennedy Journalism Award’s Grand Prize.

Other films include the award-winning Bye Bye Babushka, for the directors Rebecca Feig and Mitchell Rosenbaum, Rediscovering Will Rogers for PBS American Masters, The Couple in the Cage (dir. Paula Heredia and Coco Fusco), and Summer in Ivye, which she also co-Directed.

Daisy has edited several network and Cable TV specials. Lalmba, for CBS Sunday Morning, was nominated for an Emmy Award. Other programs include including Call of the Wild, a one-hour Peter Jennings special for the ABC series In Search of America; Embryos in Limbo for the National Geographic Channel; Ushuaia for CNBC; and Ultimate Power, a one-hour program about the race for the Atomic bomb for the ABC series The Century. She produced and edited, with Peter Livingston, two 1-hour episodes of Paramedics, for The Learning Channel’s “Adrenaline Rush Hour”.  In addition, Daisy has worked as an editor on various television series, including City Artsfor PBS, Michael Moore’s TV Nation and Rock Candy for VH-1. 

VIRGINIA WILLIAMS  (Co-producer) has worked in production on feature films, documentaries and commercials for several New York production companies including Killers Films, Miramax, and Propaganda Films. 

In documentaries, Virginia recently directed a film about the avant-garde filmmaker and critic, Jonas Mekas, for the Lower East Side Biography Project and produced and directed two documentaries in Great Britain, Charuta and Mad Dogs And Scotsman.  Mad Dogs, a film that depicts the dwindling popularity and eventual closing of the oldest greyhound racetrack in Scotland, won a student British Academy Award (BAFTA) for Best Short Subject. 

Virginia is currently a director's agent for some of the country's leading commercial directors.

BRIAN RIGNEY HUBBARD (Director of Photograph) is a cinematographer working in narrative and documentary films, music videos and commercials. His credits include the 2006 feature film Marconi Brothers (with Brian Sexton III);  the feature comedy Bad Meat (dir. The Onion’s Scott Dikkers), starring Chevy Chase; Headstand, (dir. Lisa Robinson), which screened at Cannes, Telluride and Toronto film festivals; Baby (dir. Bridget Bedard), which aired on the Sundance Channel; Desire, broadcast on the Independent Film Channel; and the acclaimed Icelandic film Saviour, (dir. Erla Skuladottir).

Additional camera credits include Turn it Up (dir. Robert Adetuyi), released by New Line Pictures, and Showtime’s The Mudge Boy (dir. Michael Burke). His television credits include Riker’s High (Showtime), I Stop Writing the Poem (PBS) and American Standoff(dir. Kristi Jacobson, additional camera), as well as programs for The Learning Channel, Lifetime Television, HBO, Showtime and The Travel Channel.

Brian has also worked as DP on numerous promotional spots, commercials and music videos, for clients including the United Nations, the Sundance Channel, the David Letterman Show, and Kodak. For his work in commercials, Brian received a Cannes/2005 Advertising Award, an Emmy Award for Best PSA, and a Polly Award for best use of comedy in a political spot.