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RED FLAG RELEASING ACQUIRES “THE GREEN WAVE”

Posted Wednesday, August 3rd, 2011 - Comments Off on RED FLAG RELEASING ACQUIRES “THE GREEN WAVE”
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FOR IMMEDIATE RELEASE

“THE GREEN WAVE” To Open Theatrically in North America in June of 2012

Los Angeles – August 3, 2011 – Red Flag Releasing announced today that it has acquired “THE GREEN WAVE,” written and directed by Ali Samadi Ahadi and produced by Jan Krueger and Oliver Stoltz.  The film world premiered at the Sundance Film Festival, and screened at the Washington DC International Film Festival, the Seattle International Film Festival and the Human Rights Watch Film Festival.  Red Flag will theatrically release the film around the third anniversary of the Iranian elections in June of 2012.

THE GREEN WAVE is a powerful film documenting the populist protests in Iran following the suspicious victory of Mahmoud Ahmadinejad over progressive candidate Mir-Hossein Mousavi in the Iranian presidential elections on June 12, 2009.  Cell phone videos posted on the internet, Twitter messages and Facebook reports, as well as animation and interviews with prominent human rights advocates and exiled Iranians bear witness to the brutal attacks by government militia in their efforts to squelch the protests that followed.  Ali Samadi Ahadi’s documentary is a highly contemporary chronicle of the Green Revolution, and a memorial for all of those who believed in freedom and lost their lives for it.

The film’s release will include theatrical, OnDemand, DVD, and digital download channels. Visit Film’s Ryan Kampe and Red Flag Releasing’s Paul Federbush negotiated the deal.

Iranian-born director and author Ali Samadi Ahadi previously directed the documentary LOST CHILDREN in co-production with Oliver Stoltz, which won the UNICEF Award and Al Jazeera Award, among others.  In 2009, Ahadi also directed his first feature film, SALAMI ALEIKUM.

“We are happy to be working with Ali Samadi Ahadi and proud to present THE GREEN WAVE.  This provocative film chronicles the Iranian uprising that was the catalyst for the Arab Spring currently sweeping the region.  It shouldn’t be forgotten,” said RFR’s Paul Federbush.

“”THE GREEN WAVE” is the most personal film I have ever made. It deals with a theme that I have followed closely over the past two years (even in my dreams) and influences my everyday life. So I am very thankful to see that the film will have a theatrical and DVD-release in the US through Red Flag Releasing. It is my hope the film helps create a dialogue about the most important movement for decades in the near and Middle East,” said Ahadi.

About Red Flag Releasing

Red Flag Releasing (RFR) is an independent distribution company owned by Paul Federbush and Laura Kim. The former Warner Independent Pictures executives shepherded films such as March of the Penguins, Good Night, and Good Luck and Paradise Now. Federbush also worked as a production executive on Slumdog Millionaire. As a marketing/awards consultant, Kim worked most recently on Restrepo and Winter’s Bone.  RFR’s first release, 8:The Mormon Proposition won the 2010 GLAAD Media Award for Best Documentary.  RFR will release David Weissman’s Sundance favorite We Were Here on September 9, 2011.

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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