By Ray Pride

Full-Service Distributor FilmBuff Establishes Midtown Manhattan Headquarters, Doubles Management Team, and Expands Annual Theatrical Slate

On the heels of the recent expansion of its management team and its rapid growth in theatrical releases, FilmBuff announced a move today of its headquarters toManhattan’s burgeoning NoMad district. The move comes during a banner year for the company, which recently released the documentaries Banksy Does New York and Winning: The Racing Life of Paul Newman,Sundance favorite The Strongest Man and partnered with Drafthouse Films on the genre hit Spring. FilmBuff has also recently partnered with major international brands on a number of high profile projects, including illy (A Small Section of the World) and Cole Haan (American Dream Project).

“This move is an exciting and important development for FilmBuff,” noted Janet Brown, CEO. “It is a testament to our evolution as a full-service enterprise and the success of our mission to deliver high quality, compelling stories to worldwide audiences through a wide array of platforms and devices.”

In recent years, FilmBuff has expanded its range of services to become a true end-to-end global sales and distribution solution both domestically and internationally for its content partners. FilmBuff now manages over 20 nationwide theatrical releases annually; recent titles include All This Mayhem, The Internet’s Own Boy and Adam Carolla’s Road Hard and the company will be releasing director Sam de Jong’s debut film Prince in partnership with Vice later this summer.  Earlier this year the company also ramped up its international television sales efforts, with the appointment of Scott Kaplan, SVP of Global Sales and expanded operational management by elevating Mickey Slevin, Head of Finance to Chief Operations Officer.  After the move to its new offices, FilmBuff will continue to build out its sales, marketing and technology teams.

“I am proud of the company Janet and her team have built,” said John Sloss, founder of Cinetic Media and co-founder of FilmBuff. “FilmBuff provides filmmakers with the most collaborative, transparent, and profitable distribution experience possible. This filmmaker-centric focus is at the heart of our law firm, Cinetic and FilmBuff, and this expansion gives each company more room to grow and meet the needs of our respective clients.”

FilmBuff has been a pioneer in the distribution of premium video content since it launched in 2008, and the company has grown its team to 15 industry experts across film distribution, sales, marketing and digital media. Working with a wide range of content creators — from freshman filmmakers to established producers to high-profile media entities – FilmBuff releases award-winning narrative and documentary films, as well as episodic television and shorts, via digital platforms, cable and satellite providers, pay TV, and broadcast networks.

About FilmBuff
FilmBuff is an award-winning full-service distribution company, with a focus on delivering high quality, compelling film and video to targeted audiences. Offering a comprehensive array of services and solutions for today’s evolving media landscape, FilmBuff partners with creative filmmakers, publishers and brand marketers to reach, engage and inspire viewers around the world. Connect with FilmBuff at and @filmbuff.

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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