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.

# # #

Leave a Reply

Quote Unquotesee all »

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire 

The Hobbit: Battle of the Five Armies