By MCN Editor


New York, NY – January 27, 2011New Video, a leading independent film and TV distributor, announced today that the Company has acquired THE FLAW ( for release across DVD, Cable VOD and digital distribution platforms, with plans for a limited theatrical run.

THE FLAW (, a new documentary directed by British filmmaker David Sington (In the Shadow of the Moon) made its U.S. premiere at the 2011 Sundance Film Festival and will be released under New Video’s Docurama Films brand later this year. The film is produced by Christopher Hird (The End of the Line), Luke Johnson, and Stephen Lambert of the film’s presenter, Studio Lambert.

The film’s title was inspired by former U.S. Fed Chairman Alan Greenspan’s acknowledgment that he’d found a flaw in his model of how the world worked, THE FLAW attempts to explain the underlying causes of the crisis in more depth than any documentary to date. The film tells the story of the credit bubble that caused the financial crash. Through interviews with some of the world’s leading economists, as well as Wall Street insiders and victims of the crash, the film presents an original and compelling account of the toxic combination of forces that nearly destroyed the world economy.

THE FLAW delves into one of society’s most pressing concerns with precision and intelligence,” said Mark Kashden, Vice President, Acquisitions, New Video. “We wanted to be sure David’s film reaches the widest possible audience through our multi-platform strategy.”

THE FLAW will inform the American public about what really has been happening,” said executive producer, Stephen Lambert.  “It explores inequality in America and makes the argument that wealthy folk tend to invest in financial assets and create financial bubbles. If wealth is less concentrated, there is investment in more mass consumption, which can build more fundamentally prosperous economies.  We’re delighted to be working with New Video as they have an unparalleled reputation for getting important independent documentaries to a wide audience.”

Within days of its first screening at Sundance, THE FLAW was being discussed at the World Economic Forum in Davos.  Sir Martin Sorrell of WPP Group, the advertising and marketing conglomerate, said in a big plenary session on Wednesday that he was struck by the film’s argument and that he believed “concentration of wealth, particularly in the United States, is a big issue.”

About New Video:

Celebrating its 20th anniversary, NEW VIDEO is a leading independent distributor of quality entertainment via DVD, Blu-ray, digital download, streaming, subscription and cable VOD. We are the proud home to A&E®, HISTORY™, Lifetime®, Major League Baseball®, Scholastic Storybook Treasures™, Arthouse Films, Tribeca Film, Docurama Films®, Plexifilm, and Flatiron Film Company®.  NEW VIDEO launched Docurama Films® in 1991 with the first feature documentary available on DVD: D.A. Pennebaker’s Bob Dylan: Dont Look Back. Twelve years and 250 award-winning, highly-acclaimed documentary titles later, Docurama continues to discover and release the greatest non-fiction films of our time while spreading the word about filmmakers who are taking the form to new heights.  Docurama’s catalog features all-time favorites like The Wild Parrots of Telegraph Hill and Andy Goldsworthy: Rivers and Tides. Recent releases include The End of the Line, Best Worst Movie and the Oscar®-nominated Gasland.

About Studio Lambert:

Studio Lambert is a fast-growing independent production company based in Los Angeles and London.  Chief executive Stephen Lambert is responsible for creating long-running multi-award-winning television programs in Britain and America such as Wife Swap, Secret Millionaire, Faking It, and most recently, the worldwide hit Undercover Boss which launched on CBS in February 2010 to an audience of nearly 40 million viewers.

Studio Lambert specializes in creating and producing non-scripted television programs and feature documentaries for the UK, US and international markets.  It launched in Soho, London, in March 2008 and six months later opened a US office in Culver City, CA.  It is produces television shows for CBS, Lifetime, VH1, Tru, Style and Travel Channel in the US and Channel 4, ITV and the BBC in the UK.

Studio Lambert’s US team is led by Eli Holzman, the former head and co-founder of Miramax Television.  Holzman created the award-winning hit Project Runway and also served as president of Ashton Kutcher’s Katalyst Films, where he developed and launched Beauty & the Geek”.

“The Flaw” is Studio Lambert’s first feature documentary.

Dartmouth Films:

Dartmouth Films was established in January 2008 to concentrate on making independent documentaries, pioneering new ways of funding and distributing them and encouraging new and emerging talent in the industry. It is run by former stockbroker and journalist Christopher Hird, who has more than twenty five years experience as a television reporter and producer. The Flaw is Hird’s third Sundance film – the previous ones being Black Gold (2006) and The End of the Line (2009). Dartmouth Films currently has more than half a dozen feature documentaries in development or production. In June this year it will be releasing in the USA, journalist John Pilger’s documentary – The War You Don’t See.

Hird is a former chair of the Sheffield International Documentary Festival, was the founding chair of The Channel Four BRITDOC Foundation and is a trustee of The Grierson Trust.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon