Compliments of Major Case, here's an article announcing a possible release date for "The Narrows" as well as a distributer:
CINEDIGM TOUTS DISTRIBUTION DEAL WITH INDIE
March 3, 2009 By Ryan Nakashima
LOS ANGELES -- Digital cinema technology is being touted as a way for independent filmmakers to bypass the major studios.
Morristown, N.J.-based Cinedigm Digital Cinema Corp. said Tuesday it had agreed to distribute up to 15 movies from Olympus Pictures LLC through 2015 at a cost below what studios typically demand.
Santa Monica, Calif.-based Olympus agreed to pay for most of the advertising and the cost of digital file transfers, by hard drive or satellite, in exchange for a larger share of the box office gross than is standard industry practice.
"It's akin to self-distribution," said Olympus Chief Executive Dean Vanech. "It allows us to control our destiny better."
Cinedigm has been rolling out digital projectors in theaters nationwide, funded by payments from major movie studios.
It can increase its reach from a few screens to 5,800 quickly in the case of a home run like Fox Searchlight-released "Slumdog Millionaire," said its chief executive, Bud Mayo.
But its larger goal will be to fill a niche that major studios are neglecting with their recent decisions to pull back from the independent film market, he said.
"What we're really aiming at is a lot of singles," Mayo said. "That's a market that's underserved by the majors."
The first picture to be released under the deal will be "The Narrows," which debuted at the Toronto Film Festival last year. It is expected to be shown in 15 to 20 major U.S. markets in June.
A digital-movie and event-screening service is also run by National CineMedia Inc., a joint venture that handles pre-roll ads for several movie-theater companies.
Once again, thanks for posting the link, AL. I like this site and have it bookmarked already. When it is finished, I will enter my zip code, find out where it is playing in my area, and make my plans to see it. It looks like a really good story with a fine cast in a location filled with flavor.
I am so excited, this is showing in Charleston on Sunday! I bought my ticket for it today. It is showing at 3:15pm, I have to work a 12 hr night shift sat. and sun. so I will be seriously sleep deprived Sunday night, but it will be worth it. ;D
The Charleston International Film Festival returns They Do It Right by Dan Conover
The Charleston International Film Festival April 23-26 Terrace Theater 1956D Maybank Hwy., James Island (843) 762-9494 www.charlestoniff.com
When the second year of the Charleston International Film Festival (CIFF) gets underway Thursday, most people in the audience at the Terrace Theater will be hoping for a fun evening at the movies.
But for the filmmakers and screenwriters whose projects made this year's cut, the goals are different: Win, make new contacts, and move on. The festival is the busiest four-day schmooze-blitz on the local independent calendar of film fests. Charleston's event is one of hundreds that have cropped up around the U.S., but the prizes, screenings, and after-parties in this never-ending festival circuit all carry real-world consequences for people in the movie business.
Ask Charleston screenwriter Marcia Chandler Rhea. She and writing partner Margaret Ford Rogers took first-runner-up in the 2008 CIFF screenwriting contest for a script they optioned to a Hollywood producer last month. This year, they're back with a new script and a higher profile.
"Festivals are a great way to attract attention, and one of the things they do at the Charleston festival very well is promote their award winners," Rhea says. "And lo and behold, you do get phone calls."
Back to the audience. Cinemaphiles attend festivals for a chance to rub up against movie people, to meet directors and producers, to stand in a popcorn line with someone vaguely famous. But for a film festival to attract the kinds of stars that audiences crave, organizers need to offer filmmakers enough of a career payoff to make attending an out-of-town event worth their while.
Charleston's previous attempts at film festivals didn't generally deliver in those areas. But local filmmaker Brad Jayne says last spring's maiden voyage of the CIFF far exceeded expectations, attracting plenty of talent and providing the swank social scene that's important in the entertainment industry. Which means this year's festival starts with greater credibility and higher expectations.
It also means more films (more than 60, up from about 40 last year), more panels (two free discussions, plus a video-editing workshop), two new sponsors, and a second screen at the Terrace.
"You can have a successful festival as long as you have an audience," says co-founder Summer Spooner, a Long Beach, Calif., resident and full-time entertainment producer who came to town in 2008 to launch the CIFF after running the Beverly Hills festival for four years. "California is so saturated with film festivals, and so the audience is ho-hum."
The Charleston audience seemed hungry in comparison. There are so many film festivals these days "because people think they're easy to do," Spooner says. "And the truth is, you have to put in a lot of time."
Spooner sweats the details, literally rolling out the red carpet and trying to make sure the recognition the winners receive at Sunday's awards gala feels more substantial than a plate of vulcanized chicken and some chintzy certificate.
"I've always had a thing for film festivals, and after doing this for a few years, you begin to see what you like and what you don't."
Filmmakers appreciate the touches.
"What I can tell you is that it's been put together very well," Jayne says. "I've been to film festivals from all tiers, and (the Charleston producers) do it up right."
Cut to the films. Rhea says she thinks the Charleston festival makes an effort to promote local talent, a goal that Brian Peacher, the festival's local co-founder, confirms. In addition to Jayne, South Carolina filmmakers Jesse Berger, Nate Mallard, Farrah Hoffmire, John Barnhardt, David Walton Smith, Chris Weatherhead, Carolyn Bevacqua, and Devin Dukes are represented.
But the vast majority of the program comes from out-of-state sources, culled down from more than 500 submissions, and there's an art to selecting and combining blocks of films.
It's impossible to pick the highlights in advance, but there are several eye-catching blocks. Thursday opens with inventive shorts (look for Jayne's Search on opening night), and the 7 p.m. Friday block stands out with the feature-length horror film Dying Breed and the 18-minute Canadian piece Next Floor, named Best Short Film at Cannes. The 4 p.m. Saturday block delivers a lineup of six short horror and suspense films, followed by the East Coast premiere of the intense drama Anytown, plus a 9 p.m. block called Cartoons from Hell that helps give this year's lineup a darker edge. [pink]The East Coast premiere of the provocative short Interpretation at 3:15 on Sunday sets the stage for The Narrows, a mob-themed feature film starring Vincent D'Onofrio.[/pink]
Local tourism has been generally downbeat, but none of the festival's organizers are going out of their way to lower expectations. If anything, the mood around the event seems optimistic, with local talent voicing the eternal hope that a string of successes could boost the Lowcountry's film scene.
"It's hard to gauge (the festival's national reputation) right now, because we're so new," Spooner says. "We were mentioned in Variety last year, but there are so many oodles of film festivals. I consider us one of the best new festivals."
Raising the festival's profile should be a priority, she says, "but the most important thing right now is finding good movies and packing those theaters."