By MCN Editor editor@moviecitynews.com

Sundance Institute Artist Services Program Expands Self-Distribution Opportunities

For Immediate Release

April 11, 2012

Participating Independent Filmmakers Can Now Make Their Films Available on:

Microsoft Xbox │ SnagFilms │ Sony Entertainment Network’s Video Unlimited service │ VUDU

Agreements Continue with:

iTunes │ Amazon Instant Video │ Hulu │ Netflix │ SundanceNOW │ YouTube

Los Angeles, CA — Keri Putnam, Executive Director of Sundance Institute, today announced that the Institute’s Artist Services program has expanded to include four additional platforms and storefronts on which Institute-supported artists can make their work available to the public. New agreements with Microsoft Xbox, SnagFilms, Sony Entertainment Network’s Video Unlimited service and VUDU complement existing relationships with iTunes, Amazon Instant Video, Hulu, Netflix, SundanceNOW and YouTube. Films will be available this summer on the platforms and storefronts announced today.

The Artist Services program provides Institute artists with exclusive opportunities for creative self-distribution, marketing and financing solutions for their work. Since the program launched in January 2011, more than $1.8 million has been raised for Institute artists via Kickstarter and 13 films are now accessible by the public on a variety of platforms and storefronts (for a full list of titles and where they are available, visit www.sundance.org/nowplaying).

“Audiences are accessing independent films via a range of platforms and storefronts, which speaks to the need for filmmakers to make their work available in a variety of ways,” said Keri Putnam, Executive Director of Sundance Institute. “Beyond that, the more options we’re able to offer our filmmakers, the better able they are to customize their self-distribution programs and work towards individual goals for their films.”

These deals were structured and negotiated by the law firm of O’Melveny & Myers, which has generously provided pro bono legal services and built the legal framework for the Artist Services program and participating filmmakers since its inception.

Putnam noted, “The truly unique structure of agreements crafted by O’Melveny & Myers through the Artist Services initiative provides our filmmakers with the tools they need to explore self-distribution opportunities and work towards independent, sustainable careers.”

New Video® is the exclusive aggregation partner for distribution across all portals participating in the Artist Services program. The Artist Services initiative is made possible by The Bertha Foundation.

Sundance Institute Artist Services

Launched in January 2011, the Artist Services program provides Sundance Institute artists with opportunities for creative self-distribution, marketing and financing opportunities. Leading digital rights aggregator New Video handles licensing, encoding, delivery and accounting on behalf of filmmakers. The Sundance Institute Artist Services initiative is made possible by The Bertha Foundation. O’Melveny & Myers generously provided pro bono legal services for the program. www.sundance.org/artistservices

Sundance Institute

Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, I Am My Own Wife, Light in the Piazza and Angels in America. Join Sundance Institute on Facebook, Twitter and YouTube.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé