By Ray Pride Pride@moviecitynews.com

CHARLIE BRAVO O-SCOPE Oscilloscope Brings On Charlie Olsky As Head Of Publicity

(New York, NY) February 20th, 2013—Oscilloscope Laboratories announced today that it has hired Charlie Olsky as their new Head of Publicity.  Olsky, who comes off of four and a half years at Susan Norget Film Promotion, will oversee publicity on all current and future O-Scope releases and will report directly to O-Scope heads Dan Berger and David Laub.  At Norget, Olsky played an integral role on the campaigns for many acclaimed and award-winning specialty films, including Lars Von Trier’s MELANCHOLIA, Wim Wender’s PINA, Werner Herzog’s CAVE OF FORGOTTEN DREAMS, Sebastian Junger and Tim Hetherington’s RESTREPO, David France’s HOW TO SURVIVE A PLAGUE, Olivier Assayas’ CARLOS, Miranda July’s THE FUTURE, and Kelly Reichardt’s WENDY AND LUCY, which was released by O-scope.
“We are absolutely thrilled to welcome Charlie to the O-Scope family,” said Laub and Berger.  “He brings an amazing wealth of knowledge, experience, and creativity to the job and he’s the perfect person to bring some next-level shit to the Publicity Department.“
Olsky commented, “I couldn’t be more excited to bring my next-level shit to the O-Scope team, with its continuing commitment to championing the freshest, most stimulating films in independent cinema.”
O-Scope’s upcoming slate sees Matteo Garrone’s Cannes Grand Prix Winner REALITY, IT’S A DISASTER starring David Cross, Julia Stiles, and America Ferrera, and Slamdance Winner WELCOME TO PINE HILL.  They recently acquired three films out of the Sundance Film Festival: Andrew Dosunmu’s MOTHER OF GEORGE, Hannah Fidell’s A TEACHER, and Lana Wilson’s and Martha Shane’s AFTER TILLER.
Prior to his job at Norget, Olsky was a freelance journalist, serving as a regular contributor to Indiewire, Out Magazine and Frontiers Magazine.   He previously worked in independent film and television production and for both the Sundance and Tribeca film festivals.  He received his BA in English Literature (with a Film Studies concentration) from Oberlin College.
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ABOUT OSCILLOSCOPE LABORATORIES:

Oscilloscope Laboratories is a film production 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 Ezra Miller; 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; Scott Hamilton Kennedy’s Oscar-nominated documentary THE GARDEN; Dylan Southern and Will Lovelace’s LCD Soundsystem documentary SHUT UP AND PLAY THE HITS; Ron Fricke and Mark Magidson’s SAMSARA; Andrea Arnold’s WUTHERING HEIGHTS, Matt Ross’s 28 HOTEL ROOMS, and the acclaimed documentaries TCHOUPITOULAS by Bill and Turner Ross and ONLY THE YOUNG by Jason Tippet and Elizabeth Mims.  Upcoming releases include Keith Miller’s Slamdance Grand Prize Winner WELCOME TO PINE HILL, Matteo Garrone’s Cannes Grand Prix-winner REALITY, Todd Berger’s IT’S A DISASTER, starring David Cross, Julia Stiles, and America Ferrera; Rowan Athale’s WASTELAND, Andrew Dosunmu’s MOTHER OF GEORGE, Omar Mullick and Bassam Tariq’s THESE BIRDS WALK, Hannah Fidell’s A TEACHER, and Lana Wilson and Martha Shane’s AFTER TILLER.

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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

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
Ebiri On A Haunted House 2