By MCN Editor editor@moviecitynews.com

PHASE 4 FILMS MAKES THE MOVE TO VOD: VIDAL SASSOON AND BROTHERHOOD TO GO DAY AND DATE

Los Angeles, CA (February 10, 2011) – Berry Meyerowitz, President & CEO of Phase 4 Films, announced today that the company has officially entered the video-on-demand (VOD) space.  This new endeavor for Phase 4 launches officially with the day-and-date theatrical and VOD release of several films including: Craig Teper’s VIDAL SASSOON THE MOVIE, a revealing and inspirational portrait of the iconic hairdresser who changed the world with a pair of scissors; the SXSW Audience Award-winner BROTHERHOOD, directed by Will Cannon and starring Jon Foster and Lou Taylor Pucci; and the documentary IRANIUM from director Alex Traiman about the Iranian nuclear threat and the ideology fueling the Iranian regime.  In addition to theatrical openings in major cities, the films will be available on demand in more than thirty million homes via several of the largest cable providers in the United States.

“As an independent film company in the year 2011, being in the video-on-demand space is an integral aspect of connecting our films with audiences,” says Meyerowitz.  “We still stand behind the theatrical model and believe for many of our films that it will always make sense. We also acknowledge that more and more people are now watching films on VOD at home. We have Vidal Sassoon being interviewed in many high profile national outlets so it is only fair that people who watch the interviews and then want to go and see the film, can do so without having to wait weeks or even months on end for the film to arrive in their market.”

In addition to the above mentioned day-and-date theatrical and VOD titles premiering in the weeks ahead, Phase 4 is launching an extensive slate of exclusive VOD World Premieres, as well as day-and-date VOD/DVD titles launching in the coming months, including Emily Young’s VERONIKA DECIDES TO DIE starring Sarah Michelle Gellar and Erika Christensen, based on the popular novel by Paulo Coelho (The Alchemist), and the new Steve Austin starring action film KNOCKOUT.

VIDAL SASSOON THE MOVIE opens this Friday (February 11) in New York at the Village East and will simultaneously be available nationwide on demand.

BROTHERHOOD opens next Friday (February 18) in Dallas at the Angelika and will simultaneously be available nationwide on demand.

IRANIUM opened this week and is available nationwide on demand.

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About Phase 4 Films

Phase 4 distributes feature films and special interest content across all media in North America.  The company’s recent slate included Brigitte Berman’s documentary HUGH HEFNER: PLAYBOY, ACTIVIST AND REBEL; THE FREEBIE starring Dax Shepard; 50 DEAD MAN WALKING, starring Sir Ben Kingsley and Jim Sturgess; and Matt Tyrnauer’s acclaimed VALENTINO: THE LAST EMPEROR.  Phase 4 will soon release the SXSW Audience Award-winning film BROTHERHOOD, starring Jon Foster and Lou Taylor Pucci; and the feature documentary, VIDAL SASSOON THE MOVIE, director Craig Teper’s revealing, and inspirational portrait of the iconic hairdresser who changed the world with a pair of scissors.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato