By Ray Pride Pride@moviecitynews.com

Slamdance Studios Launches Film Collection On Hulu

Posted Wednesday, January 28th, 2015 - Comments Off on Slamdance Studios Launches Film Collection On Hulu
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New Agreement Will Make a Selection of Slamdance Films Available for Viewers to Stream

Slamdance Film Festival’s commercial distribution enterprise Slamdance Studios has announced that independent flm lovers will be able to stream a selection of its flms on Hulu beginning today.

Combining visionaries of independent flm and Slamdance’s unique and trusted brand, 12 feature programs from Slamdance alumni will be available to stream at launch and new programs will be added monthly to Hulu. Hulu viewers will be able to stream the titles on tablets, smartphones, gaming platforms and other internet-connected devices. Viewers can access Slamdance Studios at http://www.hulu.com/companies/slamdance

Broaching subjects such as: an origin of major competitive sports, genre bending, the dissolution of marriage, rebel youth and the erosion of online privacy, Slamdance will debut with a wealth of diverse flms for Hulu viewers. Premiering in this collection is the short DIY about the world of do it yourself flmmaking that includes interviews with Chris Nolan, the Russo Brothers, Penelope Spheeris, and Rian Johnson.

Slamdance Film Festival has set its self apart in the world of indie flm as the only festival programmed “by flmmakers for flmmakers”. On several fronts its flm democracy has found success. Filmmakers who frst showcased their work at Slamdance have now generated over 11 billion dollars at the Box Offce (source: Box Offce Mojo) from acclaimed alumni: Christopher Nolan, Oren Peli, Marc Forster, and Anthony & Joe Russo, among others.

“If you want to see the best in true indie flmmaking come and experience Slamdance on Hulu,” said Peter Baxter, Slamdance President & Co-Founder.

Slamdance Studios’ new agreement with Hulu follows recent distribution success with Nicole Teeny’s Bible Quiz, winner of the Festival’s Grand Jury Prize that is now playing on Netfix. Slamdance’s ambition of showing its flmmakers work commercially online was initially seen when it became the frst festival to show part of its 2010 festival program online through a partnership with Xbox. The festival organization now receives over 7,500 submissions annually and unspools its 21st edition January 23rd-29th, 2015. The frst Slamdance programs available to stream on Hulu at launch will be:

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D.I.Y. (Directed by Peter Baxter, Ben Hethcoat & Eric Ekman) A documentary about the do it yourself flmmaking movement.

Bindlestiffs (Directed by Andrew Edison)
Three high school virgins, suspended on a bogus graffti charge, fee to the inner city in an attempt to live out the plot of The Catcher In The Rye – A book they have neither read or understand.

The First Season (Directed by Rudd Simmons)
A documentary about the trials and tribulations of a couple attempting to survive their frst season as dairy farmers.

Hybrid (Directed by Monteith McCollum)
A documentary about Milford Beeghly, a radical farmer in the 1930’s who pioneered the process of genetically enhanced crops – considered a madman, this documentary is a portrait of one man’s obsessive vision with plants.

American Jihadist (Directed by Mark Claywell)
Isa Abdullah Ali grew up in the ghettos of America’s capitol and was surrounded by physical and psychological violence. American Jihadist looks at what role violence and a lack of hope for the future play in the development of radicalism.

OK, Good (Directed by Daniel Martinico)
A character study of Paul Kaplan, an unremarkable actor whose increasing inability to communicate in situations where there’s no script slowly turns him into a ticking time bomb of inner rage.

Omaha (The Movie) (Directed by Dan Mirvish)
The story of a young man who returns home from a trip abroad to confront not just his peculiar family and friends, but also a pair of Colombian jewel thieves and a roving gang of Iowa kickboxers, culminating in a showdown at Carhenge.

Slam (Directed by Marc Levin)
The story of Ray Joshua, an original, gifted young MC trapped in a war-zone housing project known as Dodge City.

Stranger Things (Directed by Eleanor Burke & Ron Eyal)
Stranger Things is the story of an unexpected encounter which leads to a surprising friendship between a vulnerable young woman and a streetwise homeless man.

Terms And Conditions May Apply (Directed by Cullen Hoback)
This flm reveals the information corporations and governments are legally taking from you and the consequences of clicking “I accept.”

Tony (Directed by Gerard Johnson)
A thriller centered on a serial killer in a rundown London suburb.

Trailer Park of Terror (Directed by Steven Goldmann)
Six troubled high schoolers and their leader become lost after their bus crashes during a raging storm. They seeks refuge for the night in an abandoned trailer park, managed by a sexy woman, Norma.

Wild In The Streets (Directed by Peter Baxter)
An ancient football game is the lifeblood of an English market town and the origin of

soccer, rugby, and American football.

More Slamdance Festival Films will continue to be added throughout the year.

About Slamdance

Slamdance is a year-round organization and flm festival that serves as a showcase for the discovery and development of emerging independent talent and innovative flmmaking. Slamdance is the only festival programmed entirely by flmmakers and is a fertile ground for new flmmakers to begin their careers. The festival began as an alternative to the Sundance Film Festival in Park City, Utah and they continue to run concurrently.

Notable Slamdance alumni who frst gained notice at the festival include: Christopher Nolan (Interstellar), Oren Peli (Paranormal Activity), Marc Forster (World War Z), Jared Hess (Napoleon Dynamite), Lena Dunham (Girls), Benh Zeitlin (Beasts of the Southern Wild), Anthony & Joe Russo (Captain America: The Winter Soldier), Jeremy Saulnier (Blue Ruin), Seth Gordon (Horrible Bosses) and Lynn Shelton (Humpday). Box Offce Mojo reports alumni who frst showed their work at Slamdance have accumulated over $11.5 billion in the Box Offce to date.

Slamdance’s On The Road events and Slamdance Studios’ developing commercial distribution platform continue to increase opportunities for flmmakers both internationally and domestically. In partnership with Vimeo On Demand, Slamdance Studios is developing Slamdance 20, a collection of twenty festival award winning and audience favorite flms; titles include Matt Johnson’s The Dirties, Andrew Edison’s Bindlestiffs, and Daniel Martinico’s OK, Good. The 2014 On The Road tour was presented by CreativeFuture.

Over 2,500 submissions competed for prizes in the 2014 Slamdance Screenplay Competition. This year’s Grand Prize winner was the Original Teleplay Search For Life by Andrea Janakas, which was awarded a total of $7,000 in cash prizes. Submissions for the 2015 Slamdance Screenplay Competition will open on February 23rd.

2015 Slamdance Film Festival Sponsors include Digital Bolex, The International Fusion Doc Challenge, Directors Guild of America, Pierce Law Group, CreativeFuture, Writers Guild of America West, Different By Design, Carhartt, Festival Scope, Final Draft, Park City’s Treasure Mountain Inn, and Salt Lake City’s BlueStar Juice Bar & Cafe, Beehive Distilling, and Xmission. Slamdance is proud to partner with sponsors who support emerging artists and push the boundaries of independent flmmaking.

Additional information about the Slamdance Film Festival is available at www.slamdance.com

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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