By MCN Editor editor@moviecitynews.com

Oscilloscope Laboratories Ups Dan Berger and David Laub; David Fenkel Moves to Consulting Role

FOR IMMEDIATE RELEASE

New York, NY (May 3, 2012)—Oscilloscope Laboratories announced today that Dan Berger and David Laub have been promoted to cooperatively oversee marketing, distribution and acquisitions. David Fenkel, who co-founded Oscilloscope and currently serves as its President, will be transitioning into a consulting role.

David Laub

“The crew at Oscilloscope are some of my favorite people – they are smart, hard-working, unpretentious and I love that they are as amped as I am about the films we get to put out,” said Adam Yauch, Founder and Head of Oscilloscope. “Thispromotion makes a lot of sense.  Dan Berger and David Laub have expanded their roles throughout the company over the years and have proven to be integral to our continued growth and success. These guys know their shit, and they have the utmost respect for filmmakers, which is at the core of O-Scope’s values. Fenkel has been a great collaborator and friend. We will all miss him in his previous role, but I’m glad he will remain a part of O-Scope and I know we’re both looking forward to seeing Dan and Laub kick some ass,nice-young-jewish-boy style.”

Fenkel says “It’s been over four years since we started and the company continues to get stronger and stronger.  And what a great slate for 2012.  I couldn’t be more excited for my friends Dan and David to be in positions totake O-Scope to the next level.  Adam has been an amazing partner and important mentor for me, both personally and professionally.  It’s been an honor to be involved with helping execute his vision for this unique and special company and I look forward to continuing my involvement.”

Berger has been at O-Scope from the beginning, where he has been Fenkel’s lieutenant in distribution, marketing and operations for over four years. Both he and Laub previously worked with Fenkel at NY-based THINKFilm, where they first collaborated with Yauch on distributing his film AWESOME I FUCKIN’ SHOT THAT! in 2006.  Laub has been handling acquisitions and distribution for O-Scope for the past three years.

Berger and Laub jointly stated “We’ve been trying to get rid of each other for years, but no one seems to listen.  Given that we have to work together, we couldn’t be more thrilled and grateful to be taking the reins at O-Scope.  Yauch and Fenkel have built something truly special and we are looking forward to taking it to the next level with the amazing team we have in place.  Mazel tov to all.”

Dan Berger

The company’s films have garnered six Oscar nominations in its first fouryears.  Oscilloscope will next release SHUT UP AND PLAY THE HITS, the LCD Soundsystem movie, SAMSARA, Ronald Fricke and Mark Magidson’s follow up to BARAKA, and Todd Louiso’s HELLO I MUST BE GOING, which received major acclaim out of the 2012 Sundance Film Festival.  Other upcoming titles includeRyan O’Nan’s BROOKLYN BROTHERS BEAT THE BEST, Andrea Arnold’s WUTHERING HEIGHTS , Matt Ross’ 28 HOTEL ROOMS, and Jeff Orlowski’s festival hit CHASING ICE.

About Oscilloscope Laboratories:

Oscilloscope Laboratories is a filmproduction and theatrical distribution entity launched in 2008 by Adam Yauch of Beastie Boys. Yauch modeled the company after the indie record labels he grew up around, choosing films and then releasing them with the same artistic integrity with which they were made.  The company, which is an extension of Yauch’s recording studio of the same name, has an in-house DVD distribution and production arm, and its paper packaging is reminiscent of the heyday of LP record jackets. All of the company’s plastic-free DVD packaging is printed on FSC Certified 80% post-consumer waste paper and produced in a carbon-neutral hydroelectric plant.  Previous and current releases include Lynne Ramsay’s Golden Globe® Nominated WE NEED TO TALK ABOUT KEVIN starring Tilda Swinton, John C. Reilly, and EzraMiller; Marshall Curry’s Oscar-nominated documentary IF A TREE FALLS: A STORY OF THE EARTH LIBERATION FRONT; Oren Moverman’s Oscar-nominated THE MESSENGER starring Ben Foster, Woody Harrelson and Samantha Morton; Kelly Reichardt’s MEEK’S CUTOFF starring Michelle Williams; Evan Glodell’s Sundance hit BELLFLOWER; Kelly Reichardt’s WENDY & LUCY starring Michelle Williams; Anders Østergaard’s Oscar-nominated documentary BURMA VJ; Kurt Keunne’s acclaimed documentary DEAR ZACHARY; Bradley Rust Gray’s THE EXPLODING GIRL starring Zoe Kazan; and Scott Hamilton Kennedy’s Oscar-nominated documentary THE GARDEN.  Upcoming films include Todd Louiso’s HELLO I MUST BE GOING (August 2012) Ron Fricke and Mark Magidson’s SAMSARA (August 24), Andrea Arnold’s WUTHERING HEIGHTS, Matt Ross’s 28 HOTEL ROOMS, Ryan O’Nan’s BROOKLYN BROTHERS BEAT THE BEST and Jeff Orlowski’s CHASING ICE.

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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