By Ray Pride Pride@moviecitynews.com

OSCILLOSCOPE EXPLORES LIFE AFTER TILLER

Acclaimed Doc Set For Awards Qualifying and Theatrical Release

(New York, NY) February 15, 2013—Oscilloscope Laboratories announced today that it has acquired North American rights to Martha Shane’s and Lana Wilson’s directorial debut AFTER TILLER. The film premiered last month at the Sundance Film Festival to universal acclaim. It is scheduled to screen next at True/False Film Festival in Columbia, Missouri. O-scope plans a nationwide theatrical release for the film followed by video-on-demand, digital, and home entertainment formats.

AFTER TILLER intimately explores the highly controversial subject of third-trimester abortions in the wake of the 2009 assassination of practitioner Dr. George Tiller. The procedure is now performed by only four doctors in the United States, all former colleagues of Dr. Tiller, who risk their lives every day in the name of their unwavering commitment toward their patients.

O-Scope’s Dan Berger and David Laub said, “Martha and Lana have created a moving and unique exploration of one of the most incendiary topics of our time, and they’ve done so in an informative, thought-provoking, and compassionate way. We were so impressed with their ability to present such a controversial issue with such respect and complexity, allowing the film to resonate equally for people both for and against the procedure.”

The filmmakers, Martha Shane and Lana Wilson said, “We are absolutely thrilled to be working with Oscilloscope, and look forward to launching the film with them. We made AFTER TILLER to shed more light, rather than more heat, on this issue, and know that Oscilloscope’s smart, sensitive approach will get it out to the widest audience possible.”

The film was written by Shane, Wilson, and Greg O’Toole and produced by Shane and Wilson. David Laub and Dan Berger of O-scope negotiated the deal with Cinetic Media on behalf of the filmmakers.

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, and Matt Ross’s 28 HOTEL ROOMS. Upcoming releases include the acclaimed documentaries TCHOUPITOULAS, by Bill and Turner Ross, and ONLY THE YOUNG, by Jason Tippet and Elizabeth Mims; Todd Berger’s IT’S A DISASTER, starring David Cross, Julia Stiles, and America Ferrara; and Matteo Garrone’s Cannes Grand Prix-winner REALITY.
###

Leave a Reply

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson