Cast & Crew Trailer Set Stills Reviews Web Links Show Times Synopsis Production Notes Technical Specs Because the Children are our Future some Other of Eberl’s friends and long-time colleagues joined the cast including Erick Avari (playing Arthur Dennison), Diane Delano (playing Lara Connor), Christopher Marquette (playing Tony), and Michael Welch (playing Max, a role that was later cut out of the film). The cast was rounded out by a solid list of actors, including John Rubinstein, Don McManus, Rosalee Mayeux, April Grace and Richard Riehle. It’s not a stretch to say that a 20-year old director had his work cut out for him in proving himself to a room full of seasoned actors. As Weber later confessed, he nearly calld his agent to see what he’d gotten himself into when he stepped on set the first day and found a young director leading a low-budget production. But his fears were soon quenched by Eberl and the rest of the crew’s professionalism, enthusiasm and preparation. The film was shot on super 16mm film, a creative choice by Eberl, who felt the slightly unpolished look of the format lent itself to the subtleties and themes of the film. Director of Photography Jim Timperman spent months of preparation with Eberl, meticulously planning shots — which helped the whole team pull off an ambitious and challenging shooting schedule that included 14 locations in 19 days with 39 speaking roles and more than 350 extras. “Luke’s enthusiasm really permeated the whole atmosphere of the set,” says Karuna. “After they saw him in action everyone from the cast right on down to the unpaid PA’s genuinely wanted to make a good movie for him, and worked extra hard to make that happen.” Page 1 (continued) Following production, Eberl settled into editing the 64,000 feet of footage into his final product. The six-month process was one of the challenging parts of the whole experience for Eberl, but it had it's perks as well, including supervising the sound design at Departure Studios in Hollywood. "I'd never had a real, studio-quality sound mix for any of my films before," says Eberl. "And the process was truly amazing. It brought a whole new level of artistry and depth of emotion to the film. It was great."