By Ray Pride Pride@moviecitynews.com

56 UP will open at New York’s IFC Center January 2013

First Run Features is proud to announce the release of

The latest installment in the ground breaking documentary film series known as THE UP SERIES

56 UP will open at New York’s IFC Center on Friday January 4th, 2013 with a national theatrical run to follow

Offering an extraordinary look at the unfolding of lives, THE UP SERIES has been called “an inspired, almost noble use of the film medium” by renowned film critic Roger Ebert.

In 1964, acclaimed filmmaker Michael Apted (Coal Miner’s Daughter, Gorillas in the Mist, The World is Not Enough, Chronicles of Narnia: The Voyage of the Dawn Treader) began his career as a researcher on a new experimental series for Granada TV called Seven Up, which explored the Jesuit maxim “Give me the child until he is seven and I will give you the man.” The original concept was to interview 14 children from diverse socio-economic backgrounds from all over England, to see whether a class system was in place. By asking the children about their lives and their dreams for the future, differences in attitudes and opportunity were witnessed.

For almost a half century, Apted has interviewed the original group every seven years, examining the progression of their lives. Now they are 56. From cab driver Tony, to schoolmates Jackie, Lynn and Susan and the iconoclast Neil, the present age brings more life-changing decisions and surprising developments. From success and disappointment, marriage and childbirth, to poverty and illness, nearly every facet of life is discussed with the group, as they assess whether their lives have ultimately been ruled by circumstance or self-determination.

About THE UP SERIES, Apted says: “This project has spanned my entire working life. It has been a unique and fulfilling experience, the one I treasure most in my career. I owe a debt to Granada for their five decades of unstinting support, to First Run Features for launching the films in the USA and sticking with us, but my biggest debt is to the participants for their commitment and courage in seeing it all through. It’s no small matter offering your life up for public appraisal every seven years to a large international audience. I’ve known them so long that they’re more like a family than fellow workers. Like a family, we’ve had our good times, our disagreements, but now, all but one of the participants are back for 56UP. I never know how each new film will turn out, except that it’ll be quite different from the last. 21 UP was full of hope, 28 was about children and responsibility, 35 was concerned with mortality when some were losing parents, and 49 had a sense of disappointment with lives maybe not fully achieved. Yet 56 is quite different again, which goes to prove, if nothing else, that our series mirrors life, and is always full of surprises.”

Michael Apted is of one of the most prolific directors of his generation. Since the 1960s, Apted has helmed an extensive list of feature films and documentaries. His feature films include Coal Miner’s Daughter, Gorky Park, Gorillas in the Mist, Thunderheart, Nell, The World is Not Enough, Enigma, Amazing Grace, and the third installment of C.S. Lewis’ The Chronicles of Narnia: The Voyage of the Dawn Treader. His most recent film Chasing Mavericks for Walden Media and Twentieth Century Fox, tells the true story of Jay Moriarity, the youngest person to surf Mavericks, a famous giant wave in Northern California.

Apted’s documentary credits include, the Boris Grebenshikov film The Long Way Home, Incident at Oglala, Bring on the Night, Moving the Mountain, Me and Isaac Newton, The Power of the Game, and his other longitudinal series Married in America I and II. He also directed the official 2006 World Cup Film. But among Mr. Apted’s most widely recognized documentary directorial achievements are his internationally acclaimed, multi-award winning sequels based on the original 7 UP documentary: 7 Plus 7, 21, 28, 35, 42 UP, 49 UP, and the recent 56 UP, which aired in May on ITV to much acclaim. In addition to his documentary and feature work, Apted has worked extensively in television, including directing the first three episodes of HBO’s epic series Rome.

Apted was born in England in 1941 and studied law and history at Cambridge University. He has received numerous awards and nominations for his extensive body of work, including a Grammy, British Academy Awards, a DGA Award and the International Documentary Association’s highest honor, the IDA Career Achievement Award. By the order of Queen Elizabeth II, Apted was recently made a Companion of the Order of Saint Michael and Saint George for his work in the film and television industries. Apted joined the DGA in 1978, was elected to the Western Directors Council in 1997 and became the Fifth Vice President of the National Board in 2002. He was elected President at the DGA biennial convention in June 2003. He served three terms as President of the Guild, which he concluded in July 2009. He became the Secretary-Treasurer of the DGA in 2011, and sits as a Governor of the Academy of Motion Pictures.

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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