Why Go DRM-Free? 6 Reasons To Start

We want to make sure you have the best gift in the best form to give all your friends, family, and loved ones this holiday season.  That's why we put DARK HORSE up in a DRM-free form.  You can order it now right here.  We respect you -- and we want you to still love us in the morning after the magic of the first time has gone.  Get up and ride again.  Giddyapp! It makes me wonder: when will DRM-free be the usual way?  Sure you can get Dark Horse on iTunes or on Amazon but why not order it in a form that you can put on all your devices.  You know you will want to watch it again and again.

Here's 6 reasons why everyone should release there work DRM-free:

  1. -DRM is a false sense of security.  People that are determined to not pay for your film will find a way, no matter what restrictions you put in place.  
  2. -DRM-free enables you to take advantage of social activity on-line and in the real world.  There is always an element of sharing that happens with art and entertainment, and social networks have made it that much easier and created more opportunities for filmmakers to find an audience.  You need to be part of the ongoing dialogue happening around your film, and instituting restrictive DRM limits that.
  3. -The only people who lose with DRM are your customers.  Why hurt people who have already given you money?
  4. -Giving customers the option of DRM-free shows you trust and respect them, and want them to enjoy your work with the least restriction possible.  This is a critical part of positively building your audience.
  5. -DRM-free files are the most compatible, and can be played flawlessly on any device, any platform, and anywhere in the world.  It's also much easier to implement features like subtitles and commentary tracks using available open standards.
  6. -By using open, DRM-free standards, you ensure your files are future proof and will never be incompatible with future technology.

I hope you will help build this list.  Many thanks to Adam Klaff of VHX.tv for getting it started.

Ask Me Anything: Wed 12/19 at 1PM EST

In celebration of DARK HORSE's Online VOD (via VHX) release, some of the actors & I are doing a AMA (AskMeAnything) via Reddit on Wed 12/19 at 1PM EST. Please get your questions ready and join in. We are on the schedule here: http://www.reddit.com/r/IAmA/

The film will be available online at $9.99 starting Wednesday. DRM free. Perfect Holiday gift!

Todd Solondz Is In San Francisco To Talk To YOU!

Yes Dark Horse in galloping around the bay this weekend.  And I know you want to know where you can meet our jockey.  Put on your pink polo and bring your action figures.

TODD SOLONDZ IN PERSON: filmmaker Todd Solondz will speak at select opening weekend shows:

Q&A Friday (7/20) at the EMBARCADERO after the  7:35
And an intro prior to 9:40 pm

SATURDAY , 7/21 , at the CAMERA 3 in SAN JOSE ( Q&A AFTER the 3pm only )

SATURDAY , 7/21 , SHATTUCK in BERKELY Q&A after the 5:40pm show and
Intro to the 7:50pm 

SUNDAY , 7/22, the San Rafael Q&A After the 7pm only.      

PLEASE JOIN US!

DARK HORSE Saddles Up More Some More Love

As we gallop into our 3rd week of release, the critics are still beckoning the audiences to come along for the DARK HORSE ride.  We are happily eating their hay in Providence, RI, Chicago, Long Island, and of course New York City.  If this keeps us I am going to run out of good horse puns...  Check out what the crickets are chirping. Roger Ebert, Chicago Sun Times : "Dark Horse" (3.5 of 4 Stars)

"Abe is the latest in a gallery of walking wounded populating the films of Todd Solondz, who has never met a character he didn't dislike. And "Dark Horse" is another of his portraits of anguish in suburbia, joining "Welcome to the Dollhouse" and "Happiness." There are times when it is dark humor, and then times when it is simply dark. But there is something more going on here, something deeper and more … hopeful?"

John Anderson, Newsday: "DARK HORSE Plays Irony Well"

""Are you for real?" Miranda asks Abe, after his proposal has registered. "I mean, you're not being ironic? Like performance art?" "Dark Horse" is certainly being ironic. Which doesn't mean it isn't a fully realized performance -- or art, of a rather perverse variety."

Michael Phillips, Chicago Tribune: "DARK HORSE Director Finds Humanity In Unsympathetic Lead " (3 of 4 Stars):

"In a compact, wittily humiliating 84 minutes, "Dark Horse" does a smart thing: It transforms from realism into a string of dreamscapes taking place in Abe's imagination, involving the sex life of his fellow office worker (Donna Murphy, on the money) and other bittersweet fancies."

Whitney Matheson, Pop Candy, USA Today: "With DARK HORSE, Solondz Issues Another Darkly Comic Tale"

" While it's not the feel-good movie of the year, fans of the director wouldn't expect such a thing. Solondz, however, does succeed in making thoughtful commentary on the fleeting nature of youth, and our desperate need to be loved."

You can read more of our early critic love here.

UPDATE Sunday 6/24

Brett Harrison Davinger, California Literary Review: "Dark Horse Is A Contender"

"Dark Horse isn’t your typical man-child comedy. It’s something greater, more honest, and significantly more powerful."

Hollywood Chicago: "Todd Solondz Brilliantly De-Constructs Man-Child Pathology":

“Dark Horse” brilliantly deconstructs Abe’s “man-child” pathology, exposing the frailties within his good-natured façade and barley concealed rage."  

TimeOut Chicago:"4 out of 5 stars"

"Dark Horse insists you look past its caricatures and see human beings-- it is the director’s tersest, most troubling study of desperation."

A Wonderful Round-up Of DARK HORSE Cricket Love

You have a baby. You think it is beautiful. You watch it walk out into the world the proud father, but as it steps down the path a bully or two throws some bricks. He gets fired from a job. Maybe crashes a car. Gets dumped. Makes you wonder if you are delusional. Maybe he is sorta of ugly after all? But the nice thing about producing movies, is after you unleash your hard work on the festival circuit, you get another chance when you release it to real audiences. Sure we had some mixed reviews, but we also got a HUGE AMOUNT OF LOVE. And we were the #1 per screen box office average of all debuting films. Our little pony "trounced" the competition.

Can't help but notice some trends. All three outlets that dare to feature our city's name as theirs in full, share the same recognition: go see the movie. That's The New York Times, The New Yorker, and New York Magazine. Here at the pony rides, we call that a Dark Horse New York Trifecta Of Love.

Also check out how both the legendary stalwarts renown for their general dislike of most cinematic output, Mr. Hoberman & Mr White, also agree that you should saddle up to the Solondz corral. 'nuff said.

NEW YORK TIMES, by AO Scott
http://movies.nytimes.com/2012/06/08/movies/todd-solondzs-dark-horse-stars-jordan-gelber.html
‘Mr. Solondz brilliantly — triumphantly — turns this impression on its head, transforming what might have been an exercise in easy satirical cruelty into a tremendously moving argument for the necessity of compassion.’

NEW YORK MAGAZINE, by David Edelstein
You should see it not just for the sake of Solondz and Hope, but for the sake of American independent cinema. It’s that vital.’
http://hollywoodandfine.com/reviews/?p=5033

CITY ARTS (May 29, 2012) / “Zombie Mantra.” By Armond White.
http://cityarts.info/2012/05/29/zombie-mantra/
"if Dark Horse was indeed produced on stage rather than as an independent film, it would probably receive enormous acclaim"

SALON.COM (Tuesday, June 5, 2012) / “Todd Solondz: I’m Judd Apatow’s dark side.” By Andrew O’Hehir.
http://www.salon.com/2012/06/06/todd_solondz_im_judd_apatows_dark_side/singleton/
DARK HORSE "clearly among his (Solondz's) funniest & most affecting "

TABLET MAGAZINE (Thursday, June 7, 2012) / Positive review by J. Hoberman in, “Solondz’s Schlubs - The funny, sad Dark Horse adds a creepy loser in love to the director’s catalog of misanthropes.” By J. Hoberman.
http://www.tabletmag.com/jewish-arts-and-culture/101722/todd-solondzs-sad-comedy
"With its lovingly detailed caricatures, fondness for extreme scenarios, and snarky nerd’s-eye view of ordinary misery, cinema Solondz is a successor to the underground comix of the 1970s."

TIME.COM (Thursday, June 7, 2012) / “Summer Arts Preview: This Season's Must-See Films, Shows, Art and More.”
http://entertainment.time.com/2012/06/04/summer-arts-preview-this-seasons-must-see-films-shows-art-and-more/slide/dark-horse/#dark-horse
"Solondz’s most endearing film, his gentlest triumph."

WNYC.com (Thursday, June 7, 2012) / Ran Ian Buckwalter’s positive NPR review.
http://www.wnyc.org/npr_articles/2012/jun/07/dark-horse-love-among-the-deeply-damaged/
"as yet another installment in Todd Solondz's career-long examination of the lust for love and security among the deeply damaged... a newfound maturity in his work, told through the story of a man desperately in need of growing up."

MOVIELINE.COM (Thursday, June 7, 2012) / Positive review, “Todd Solondz Spins a tale of an unlovable but compelling loser in Dark Horse.” By Allison Willmore.
http://movieline.com/2012/06/07/review-todd-solondz-spins-a-tale-of-an-unlovable-but-compelling-loser-in-dark-horse/

6/23/12 UPDATE: The love continues to come:

Roger Ebert, Chicago Sun Times : "Dark Horse" (3.5 of 4 Stars)

"Abe is the latest in a gallery of walking wounded populating the films of Todd Solondz, who has never met a character he didn't dislike. And "Dark Horse" is another of his portraits of anguish in suburbia, joining "Welcome to the Dollhouse" and "Happiness." There are times when it is dark humor, and then times when it is simply dark. But there is something more going on here, something deeper and more … hopeful?"

John Anderson, Newsday: "DARK HORSE Plays Irony Well"

""Are you for real?" Miranda asks Abe, after his proposal has registered. "I mean, you're not being ironic? Like performance art?" "Dark Horse" is certainly being ironic. Which doesn't mean it isn't a fully realized performance -- or art, of a rather perverse variety."

Michael Phillips, Chicago Tribune: "DARK HORSE Director Finds Humanity In Unsympathetic Lead " (3 of 4 Stars):

"In a compact, wittily humiliating 84 minutes, "Dark Horse" does a smart thing: It transforms from realism into a string of dreamscapes taking place in Abe's imagination, involving the sex life of his fellow office worker (Donna Murphy, on the money) and other bittersweet fancies."

Whitney Matheson, Pop Candy, USA Today: "With DARK HORSE, Solondz Issues Another Darkly Comic Tale"

" While it's not the feel-good movie of the year, fans of the director wouldn't expect such a thing. Solondz, however, does succeed in making thoughtful commentary on the fleeting nature of youth, and our desperate need to be loved."

And if you want to hear it from the horse's mouth, here's some interviews with Mr. Solondz:

FILMMAKER MAGAZINE (Thursday, June 7, 2012) / Todd Solondz interview, "'Dark Horse' Writer/Director Todd Solondz." By Livia Bloom.
http://www.filmmakermagazine.com/news/2012/06/dark-horse-writerdirector-todd-solondz/

Love All The DARK HORSE Love

And by LOVE I mean celebrity Twitter Love...

Come See DARK HORSE (And Win A Chance To Have Dinner With Todd Solondz)

See Dark Horse THIS WEEKEND and you could earn a dinner for 2 with Director Todd Solondz! For your chance to enter, simply buy a ticket to any screening of Dark Horse the Angelika between Friday 6/8 and Sunday 6/10. After the film, leave your ticket stub and email address in the box next to the poster in the Angelika's main lobby. Two lucky recipients will be picked at random to have dinner for themselves and one guest!

AO Scott & NYTimes LOVES "Dark Horse"!

Wow. When you love cinema and know how privileged you are to spend your life and labor creating work you love, how can you not give your all to your films? Even still, when you've worked hard, compromised your fees, dealt with errors and mistakes, problem people and people problems, you don't always know it was worth it. Nothing tells you that it was like a good review in your hometown paper, particularly when your home is New York City. I am thrilled with the love that has been bestowed upon our film DARK HORSE. We open today, at The Angelika in NYC. One screen. Hopefully we will play for months. Hopefully this review will fill the seats. Wow. Wow. Wow.

It's nice when something you've worked years on, sacrificed a chunk of your fee on, that you've chosen to distribute, goes off and gets one of BEST REVIEWS EVER from AO Scott & the NY F'n Times!

http://movies.nytimes.com/2012/06/08/movies/todd-solondzs-dark-horse-stars-jordan-gelber.html#

"Mr. Solondz brilliantly — triumphantly — turns this impression on its head, transforming what might have been an exercise in easy satirical cruelty into a tremendously moving argument for the necessity of compassion."

Maybe I Should Leave Film, And Go Into Theater...

"if Dark Horse was produced on stage rather than as an independent film, it would probably receive enormous acclaim, like Mike Nichols’ current rehash of Death of a Salesman or shows like Other Desert Cities and The Lyons. But Solondz’s film does what those plays don’t; he dramatizes the spectacle of Abe’s lack of self-consciousness, the moral perspective that contemporary culture drowns out."

So says Armond White in City Arts in a great review of Todd Solondz's DARK HORSE. Our screening tonight at the Film Society Of Lincoln Center is sold out, but there's always are a few seats to be sold twice to the lucky few who show up empty-handed. The film opens in NYC on Friday at the Angelica. As wise as White is, there's one thing in his review that may not be clear, DARK HORSE is still very much a comedy (as wise as it is too)>

Film Society at Lincoln Center and Double Hope Films Present: Indie Night Screening Series - DARK HORSE - Wednesday June 6th

Dear Film Friends,

I think you know of my passion & commitment not just for indie film but also to the community that supports it -- and that community is you! You also probably recognize that I feel independent non-corporate culture is under siege and we have yet to determine a clear path out. I trust that you, like me, have the faith and hope that by keeping the big picture in focus, we can maintain cinema as a cultural force & social activity at the top of everyone's list.

So what the hell does this have to do with seeing a good movie next week you ask?

You probably know I have enjoyed a long producing relationship with Todd Solondz and his films. In the past (on the film HAPPINESS for example), my partners & I had to buy his work back from the distributors to make sure it could reach an audience. These are different times, but perhaps even more stark.

I have gone to greater lengths (although perhaps not as celebrated) than ever before to make his new film accessible in the most appropriate & fullest of ways for our community. I have chosen with DARK HORSE to extend the producer's job description still further, and produce the distribution. I am in no way doing it myself. We've pulled together an incredible team to make this happen. You might have read about that already here.

I confess: distribution is brutal. But it is going to be worth it. If we love indie culture, we can't just give it away for the privilege of putting it in front of an audience. We are focusing on theatrical first, generally holding onto the rights, and trusting the community will support it.

I love this film. It is Todd’s most accessible film yet. To quote Todd "I suppose I just wanted to see if I could make a movie without rape, pedophilia, or masturbation. I always think it's important to challenge oneself." Have no fear though: it is still very much a Solondz joint, populated with damaged souls, dark humor, and delightfully depressing antics. As usual, the actors' work is amazing to watch. As he did with Paul Giamatti and Phillip Seymour Hoffman, Todd has launched a star of a wonderfully particular sort with Jordan Gelber. Tony Award-winner Donna Murphy is transcendent and complex. Selma Blair, Justin Bartha, Mia Farrow, and Christopher Walken not only deliver the greatness you'd anticipate from them, but do so in unexpected ways.

In many ways, I am betting the future of film on this movie and how we are handling it. With your support, maybe we will win the good fight. Thanks for joining us on the battle lines. Culture is always worth a little risk…

Order tickets: www.filmlinc.com/films/on-sale/dark-horse Watch the trailer here: www.darkhorsemovie.com/trailer.html Like DARK HORSE on Facebook: www.facebook.com/darkhorsemovie Check out the website: www.darkhorsemovie.com Follow DARK HORSE on twitter: @darkhorseabe

See you Wednesday June 6th at 8:00 PM at the Elinor Bunin Monroe Film Center at the Film Society of Lincoln Center.

Q&A after the film with Todd Solondz!

Wed, June 6 8:00 PM Elinor Bunin Monroe Film Center 144 W. 65TH St New York, NY 10023

Please mark your calendars for upcoming Indie Night screenings: Tuesday, July 17, 2012, 8 PM: KID THING Wednesday, August 1, 2012, 8 PM: FRANCINE Wednesday, September 5, 2012, 8 PM Wednesday, October 17, 2012, 8 PM Wednesday, November 14, 2012, 8 PM Wednesday, December 19, 2012, 8 PM

Most sincerely, and forever hopeful about film,

Ted

Allow Me To Take YOU To Venice To Experience DARK HORSE

It's pretty crazy how fast everything moves these days. We are able to leap countries and time to find what we missed continents away. Today DARK HORSE has it's press and industry screening in Toronto. Tomorrow is the North American Premiere. But I know how to make you feel like you are with us. Let me take you to Venice...

My flight out of Venice was evidently the only one that left for the United States on Tuesday. Our film DARK HORSE premiered there to a very nice standing ovation the night before. I arrive here to find interviews and press conference clips already up online. Check it out (and of course I rant a little bit). You even get to see the photo call and a NEW clip at the end!

Want more press conference? More Todd? There's a bit of a spoiler in this one, although it is more philosophical spoiler than actual content.

You really should have been with us on the red carpet. I couldn't resist photographing a smooch with my wife there, and well, "they" caught it:

Even our entrance at the screening is posted.

If it is specifics you want, here's Selma Blair talking about working with Todd:

Jordan Gelber offers up his view of the collaboration with Mr. Solondz (6.5 min) and then Selma adds a bit more of her perspective (6 min.):

I am sure there is more to find. But I have to say there's a particular pleasure getting to relive your pleasures moments after you've had them.

Solondz Shoots HORSE

Ah, every movie has a good story behind it...  But for now I can only provide you our official release:

Todd Solondz Shoots Star-Studded ‘Dark Horse’ This Fall in New York

Critically acclaimed Indie auteur Todd Solondz (Welcome to the Dollhouse, Happiness, Storytelling), fresh off the success of Life During Wartime (winner of the best screenplay award at the Venice Film Festival), is rolling cameras on his latest feature, Dark Horse, with an all-star cast featuring Justin Bartha, Selma Blair, Mia Farrow, Jordan Gelber, Donna Murphy and Christopher Walken.  Dark Horse commenced principal photography on Monday, October 11th, 2010.

Veteran independent producer Ted Hope is producing under the banner Double Hope Films, his new Gotham-based production company. In addition to over sixty other films, Mr. Hope produced Mr. Solondz's Happiness andStorytelling. Derrick Tseng, who collaborated with Mr. Solondz on Life During Wartime and Palindromes is co-producing. Goldcrest Films has climbed aboard Dark Horse to ride herd on international sales.

Mr. Solondz helms the tale of Abe (Jordan Gelber), a 30-something who lives with his parents, reluctantly works for his father (Christopher Walken), and avidly collects toys. When Abe isn’t playing backgammon with his mother (Mia Farrow), he’s trying to romance Miranda (Selma Blair), another 30-something who has moved back in with her parents after her literary/academic career crashed. Out of desperation, Miranda agrees to marry Abe, and the two begin to plan their life together. But, just when it looks like things are starting to go right for Abe, everything goes horribly wrong.

Mr. Solondz exclaimed: "I am so lucky and grateful to have financing, and such a wonderful cast and crew, and on top of that to be reunited with producers Ted Hope and Derrick Tseng."

"We would drop whatever we were doing to get a chance to collaborate with Todd again.  He is one of a kind and always delivers both a unique film and a fun shoot," said Mr. Hope & Mr. Tseng.

Ms. Blair was thrilled to be rejoined with Mr. Solondz on the picture. "Todd has long been one of my favorite writers and directors, so this is the biggest gift I could be given right now. To work with him again is heaven,” said Ms. Blair. “He has such a sensitivity that it makes all of our jobs so much easier. It is rare to have a director so specific and brilliant in all his choices.”

Goldcrest Films International Executive Director Nick Quested was also elated about his company’s involvement with the project. "Goldcrest's close involvement across the financing and production of this wonderful project gives us the perfect opportunity to show what support we can offer to extraordinary talent like Todd and Ted," said Mr. Quested.

As is consistent with Mr. Solondz’s awardiwinning scripts, Dark Horse has corralled an ensemble of the highest pedigree.

Christopher Walken (Jackie, Abe’s dad) won an Academy Award and the New York Film Critic's Circle Award for his performance in The Deer Hunter. Mr. Walken also received an Academy Award nomination and won BAFTA and SAG awards for Catch Me If You Can. He has appeared in such films as Annie HallPennies From Heaven,The Dead ZoneAt Close RangeBiloxi BluesKing of New YorkMan On FireMan of the YearWedding Crashers, HairsprayTrue RomancePulp Fiction, and Batman Returns. He was recently nominated for a 2010 Tony Award for his performance in A Behanding in Spokane. International Creative Management negotiated the deal on behalf of Mr.Walken.

Mia Farrow (Phyllis, Abe’s mom) has appeared in such memorable films as Rosemary’s BabyThe Great GatsbyDeath on the Nile, as well as numerous Woody Allen films, including Hannah and her SistersCrimes and Misdemeanors, and Alice.  In 2008, she appeared in Michel Gondry’s Be Kind Rewind.  Ms. Farrow has been a high profile advocate for children's rights, working to raise funds and awareness for children in conflict-affected regions, predominantly in Africa. Judy Hofflund and Laura Berwick at The Hofflund Company negotiated Ms. Farrow’s deal.

Selma Blair (Miranda, Abe’s girlfriend) first catapulted to prominence with her breakout comic performances inCruel Intentions and Legally Blonde.  She followed those films working with a diverse body of directors including Guillermo Del Toro (HellboyHellboy 2: The Golden Army), Robert Benton (Feast of Love), and John Waters (A Dirty Shame).  This is her second film with Mr. Solondz, following her performance in the award-winningStorytelling. Leslie Siebert at Gersh and Troy Nankin at Global Creative negotiated the deal for Ms. Blair.

Having beat out far better known names for the hotly contested lead of Abe, Jordan Gelber follows in the footsteps of relative-unknowns-turned-stars cast by Mr. Solondz on a list that numbers Philip Seymour Hoffman and Paul Giamatti. Mr. Gelber was most recently seen in HBO’s Boardwalk Empire, appearing in the first three episodes under the direction of Martin Scorsese and Tim Van Patten. Jordan is no stranger to great directors, having worked with Sidney Lumet (Before the Devil Knows You’re Dead), Penny Marshall (Riding in Cars with Boys), Tony Scott (The Taking of Pelham 1,2,3), Roger Michell (Changing Lanes) and Jim McKay, the writer/director of 2004 Sundance entry Everyday People, for which Jordan was nominated for an IFP/Gotham Award for Breakthrough Acting. On stage, Jordan is perhaps best recognized for originating the role of Brian in the Tony Award-winning Avenue Q, for which he received an Outer Critics Circle Award. Paul Reisman at Abrams Artists negotiated the deal for Mr. Gelber.

Fresh from his success as the lead of the Tony-nominated farce, Lend Me a Tenor, Justin Bartha plays Abe’s brother Richard.  Mr. Bartha is perhaps best known for his role as the wise-cracking Riley Poole in the National Treasure franchise, and for his turn as the lost groom pals Zach Galifianakis, Bradley Cooper and Ed Helms are desperately searching for in the 2009 blockbuster The Hangover.  But he also loves the independent world, and showed his range this year in the well-received Sundance drama, Holy Rollers, with Jesse Eisenberg.  He is currently in production on The Hangover 2. Mr. Bartha is rep’d by George Freeman at WME Entertainment and Evelyn O’Neill at Management 360.

Donna Murphy, playing Abe’s father’s secretary Marie, is an accomplished and respected actress who has been building a career of striking range and diversity. Ms. Murphy has won two Tony awards, three Drama Desk awards, a Daytime Emmy, and appeared in such films as The Nanny Diaries, Spiderman 2, and The Door in the Floor. Innovative Artists’ Ken Lee and Brookside Artist Management’s Emily Gerson-Saines negotiated the deal on behalf of Ms. Murphy.

Aasif Mandvi, who plays Miranda’s semi-ex-boyfriend Mahmoud, is a correspondent on Comedy Central’s The Daily Show with Jon Stewart. Mr. Mandvi is the recipient of the 1999 OBIE Award for his critically acclaimed play,Sakina’s Restaurant. His feature film, Today’s Special, which he co-wrote and stars in, is being released in theaters November 19, 2010. Recent features include The Last AirbenderGhost Town, and It’s Kind of a Funny Story, which is currently in theaters. International Creative Management negotiated the deal on behalf of Mr. Mandvi. He is managed by Sweet 180.

Zachary Booth, playing Abe’s easygoing cousin Justin, is a rising star in film, television, and theater. He has appeared in Ang Lee’s Taking Woodstock and Peter Sollett’s Nick and Norah’s Infinite Playlist as well as onDamages and Royal Pains. He is currently starring in the New York Premiere of Edward Albee’s new Me, Myself & I. Stephen Hirsh of Gersh and Laurie Smith of Smith Talent Group negotiated the deal on behalf of Mr. Booth.

Independent Spirit Award-nominee Andrij Parekh (Blue Valentine, Cold Souls) is the cinematographer, Alex DiGerlando (The Answer Man, Pretty Bird) is the production designer, Kevin Messman (Life During Wartime, Palindromes) is the editor, Kurt and Bart (It’s Kind of a Funny Story, Step Up 3D) are the costume designers, Ann Goulder (AdventurelandThe Nanny Diaries) and Gayle Keller (Welcome to Academia, Life During Wartime) are the casting directors, and Atilla Salih Yücer (Kick Ass, 3 Backyards) is the first assistant director.

Mr. Solondz is a favorite of the critics: his 1996 Welcome to the Dollhouse won the Grand Jury Prize at the Sundance Film Festival; his 1998 Happiness won the International Critics Prize at the Cannes Film Festival and was nominated for a Golden Globe Award for Best Screenplay; and his most recent film Life During Wartimewon the best screenplay award at the Venice Film Festival in 2009.

Ted Hope is the co-founder of Good Machine, This is that, and, most recently, Double Hope Films, his new production company. His most recent production was Super, one of the hits of the recent Toronto Film Festival and the first sale there this year. He has produced over sixty films, including three Sundance Grand Prize winners and the first features of Alan Ball, Michel Gondry, Hal Hartley, Nicole Holofcener, and Ang Lee. He blogs atHopeForFilm.com and co-founded the Indie Film review site HammerToNail.com.

In addition to Life During Wartime and Palindromes, Derrick Tseng has co-produced films for award-winning directors Robert Altman, Steve Buscemi, David Gordon Green, Brad Anderson, and Kevin Smith, including Tanner on TannerLonesome JimAll the Real GirlsHappy Accidents, and Chasing Amy.

Goldcrest is a fully integrated film company providing finance, production, international sales, rights management, and award-winning post-production facilities to major US studios and renowned film companies around the world. Established in 1977, Goldcrest has financed, produced and/or distributed over 100 titles that have won numerous prizes including 19 Academy Awards and 28 BAFTAs. Celebrated titles include GandhiThe Killing FieldsThe MissionChariots of FireA Room with a View, and All Dogs Go To Heaven.

Dark Horse is shooting in Westchester and Long Island, New York this October and November.

Life During Wartime is currently in theatrical release and available on IFC On Demand.

Adventureland: What We Wanted From The Script

Part 3 (of 3) of the NY Film Academy Discussion on Greg Mottola's ADVENTURELAND is predominately on the script and what we wanted to do with it. Towards the very end I get around to talking about a new micro-budget culture that is emerging and the hopes I have for it.

It Could Be Getting So Much Better All The Time #7: Demand The Auteurs!

Mike Ryan, producer of the lowest budgeted film ever nominated for an Academy Award, producer & co-conspirator of both Todd Solondz's and Bela Tarr's latest opi, frequent contributor to Hammer To Nail, and all around opinionated mofo and raconteur (bless his bbq & bourbon lovin' soul) had this to rant:

For me one of the scariest aspects about the future state of indie film is not the problems connected to distribution (though they are formidable and problematic for other reasons) but instead I am most worried about the future DEMAND for the auteur driven films that I love. I am not into film because I like to sit and watch moving photographs of talking heads, I like cinema that gives me drama in a form that is unique, specific and distinct from any other medium. Most movies really are just filmed radio shows, driven by talk, and that's not why I am into the film medium. The problem is not just getting true auteur driven cinema made but the problem is about maintaining the demand for that kind of cinema. Unfortunately the types of 'solutions' you are proposing do not address that aspect of the problem. In fact ,watching 'films' on computers or, god forbid, hand devices, will only further reduce film literacy and increase demand for these types of 'filmed radio shows' that play best on tiny screens. For me 'indie film' is not a business model that worked for twenty years because films were made for cheap and sold high. For me indie cinema is about artists expressing themselves in a way that was NOT overtly commercial. The 'decline' did not just start last year, in my opinion it started with SEX LIES AND VIDEOTAPE, a generic filmed soap opera that was made cheap sold high and shifted the 'success' criteria from individuality and formal innovation to box office numbers.
So my 'solution' would be more connected to maintaining/creating an appreciation for the true cinema experience. I would like to see that arts funding (Redford mentioned that he hopes that Obama may be arts friendly) be earmarked for cinema programs in local museums/libraries. This means projecting actual film prints of both classic art house films and contemporary work by true cinema auteurs, in the style of the rep theaters of old.

I do believe that trends move in a dialectic counter swing pattern: the current generation of 18-25 year olds are buying more vinyl than ever before, this is the first generation in which parents did not own a record player and so the kids have become curious and have discovered the joys of uncompressed music. Yes indeed an acoustic guitar sounds very different on a record than compressed on an MP3 and consequently small record stores across the country are hauling the old crates out of the basement as cd inventory decreases. Likewise, Starbucks announced massive layoffs yesterday, stores all over the city are closing and yet MUD COFFEE and other indie coffee store fronts are doing great business. Untill Starbucks came to NYC it was hard to find a decent strong cup of coffee, Starbucks raised the bar on coffee literacy and that allowed other places like MUD, who serve way better coffee than Starbucks, to prosper. Likewise Tower records on Broadway closed and the tiny specialty store OTHER MUSIC is still open.

So I am hopeful that in the future age of VOD DOD on your IPOD the demand for true cinema will return. In my dreams Bela Tarr will be recognized as the living God that he is and demand for his films to screen will increase because it CANNOT be seen on a computer or hand device. But , I still think we need a little help from big bro to keep cinema alive while we weather this transition period so my 'solution' would be in directing government art money toward local cinema museum/library screening clubs.