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Billy the Kid
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Billy the Kid (2007) More at IMDbPro »

Billy the Kid -- Open-ended Trailer from Elephant Eye Films


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"I'm not black, I'm not white, not foreign, just different in the mind. Different brains, that's all,"... See more » | Add synopsis »
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User Reviews:
Egomania on film See more (7 total) »


Penny Baker ... Herself
Billy P. ... Himself
Heather Pelletier ... Herself

Directed by
Jennifer Venditti 
Produced by
Bob Alexander .... executive producer
Lubov Azria .... executive producer
Danielle Di Giacomo .... associate producer
Chiemi Karasawa .... producer
Barnet Liberman .... executive producer
Jordan Mattos .... associate producer
Jennifer Venditti .... producer
Original Music by
Guy Blakeslee 
Liz Lysinger 
Christian Zucconi 
Cinematography by
Donald Cumming 
Film Editing by
Michael Levine 
Enat Sidi 
Sound Department
David Ellinwood .... dialog editor
Jay Peck .... foley artist
Tony Volante .... sound re-recording mixer
Damian Volpe .... supervising sound editor
Tomas Sanchez .... stunts
Camera and Electrical Department
Paris Kain .... camera operator: additional photography
Editorial Department
Jennifer Chiurco .... assistant editor
John Crowley .... colorist
Music Department
Samy Bardet .... music mixer
Christopher S. Parker .... music clearance
Other crew
Nina Day .... production coordinator (as Nina Day Chaudhuri)
Dana O'Keefe .... sales agent
Jaclyn Paris .... assistant to producer
Hayley Stahl .... intern
John David Allen .... special thanks
Ryan Donowho .... special thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
USA:84 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

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Fire in the StoveSee more »


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22 out of 129 people found the following review useful.
Egomania on film, 18 April 2008
Author: Michael Open from Belfast, NI

This film demonstrates the depths to which the documentary medium has sunk. Documentaries should be about exposing emotional and/or socio-political truth through reality. In the same way that it was Welles' tragedy to make 'Citizen Kane' as his first film, it is the documentary genre's tragedy that it was effectively created through 'Nanook of the North'. For many years, documentarists tried to keep pace with Flaherty, or, like Dziga Vertov, create an albeit inferior alternative.

Eventually, they gave up and succumbed to the talking head as the purveyor of truth. The only thing talking heads purvey is words, and words are not the prime medium of expression in cinema.

'Billy the Kid' the film is as sad a case as Billy the Kid the person. The film relies on obsessive immediacy in the same way that Billy relies on obsessive subjectivity. There is not, as far as I can remember, one time in the film where anything is communicated by the placement of the camera or the arrangement of the content of the frame.

With Flaherty, it is completely the reverse, it is difficult to find images that are not primarily giving us truth through the placement of the camera. Of course Flaherty *arranged* his films, he scripted them and they were 'acted', not made 'on the hoof'. But there is more emotional, and ontological truth in every scene in Flaherty's work than in the whole of 'Billy the Kid' and a hundred nonentities like it.

The film doesn't even try to be visually expressive. It is television and it has the same relation to the art of the cinema as an average magazine article has to the art of literature.

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