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By Ray Pride Pride@moviecitynews.com

Sundance World Premiere “UPSTREAM COLOR” Hits U.S. Theaters April 2013

ROR IMMEDIATE RELEASE

Filmmaker Shane Carruth Leads Creative Distribution Team

New York, January 15, 2013 – In a move reflective of the new creative distribution options available to artists, filmmaker Shane Carruth has confirmed that his company, erbp, will be distributing UPSTREAM COLOR theatrically in the U.S. The second film from the award-winning writer and director will open in New York at the IFC Center on April 5, before expanding in a platform release schedule in over 20 markets including Los Angeles, San Francisco, Seattle, Boston, Dallas, and Chicago. Digital distribution will follow in May with Cable VOD, iTunes, Amazon, YouTube, Hulu, Xbox, Sony Entertainment Network, VUDU and Netflix and DVD/Blu-ray–all in fluidity with the film’s theatrical expansion.

“As a filmmaker you try to make a compelling case for an audience to stick around minute by minute with what is on the screen,” said Carruth. “By also crafting the marketing we’re still doing that, still storytelling, but we’re trying to make a case for an audience to show up. Hopefully for viewers, framing the film this way and staying true to the film’s intent makes it a bit more of an intimate relationship.”

Shane’s creative team, which will be comprised of specific moving parts that equal a scalable distribution model, includes theatrical booker Michael Tuckman, publicists Susan Norget at Susan Norget Film Promotion and Alex Klenert at Prodigy PR, online strategist Roger Tinch, producer Casey Gooden, and the Sundance Institute’s #ArtistServices Project.

UPSTREAM COLOR debuts in U.S. Dramatic Competition Monday, January 21 before audiences at the 2013 Sundance Film Festival–a venue Carruth returns to years later after winning the 2004 Grand Jury Prize there for his first film PRIMER. The cult hit was recently re-released on the top digital retailers along with direct downloads from the film’s website. UPSTREAM COLOR will have its European Premiere at the Berlin International Film Festival in mid-February.

Last night UPSTREAM COLOR screened privately for an industry-only audience of theatre owners and programmers who attend the annual Art House Convergence in Utah, an event taking place days before the Sundance Film Festival begins.

The film, starring Amy Seimetz, is written and directed by Carruth, who also composed the original score, is the director of photography, and co-edited the film alongside fellow Sundance Film Festival 2013 alumni David Lowery. It was produced by Casey Gooden, Ben LeClair. and Meredith Burke.

Upstream Color Site /  Twitter @UpstreamColor / Facebook Dot Com Slash Upstream Color

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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