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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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray