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For Attendees of the Marketing Seminar

of the OMPA Film Finance Forum October 13, 2012

Supplemental Material from presenter Lyla Foggia National film marketing & PR consultant (503) 622-0232

More than 150 films successfully launched to date

The secret sauce of an effective film campaign?

The Media Kit! One of the most common mistakes filmmakers make is to begin applying to film festivals, producer’s reps and distributors before their picture has been properly positioned for industry perception. Invariably, what happens is NOTHING – unless you are a major name, or have at least one in your cast. If this happens to you, simply stop the submission process and create your marketing tools, then go back to pitching your film. So what are these magical marketing tools that play such a pivotal role in shaping your film’s destiny? The bare essentials are your still photography, media kit, key art (what you see on a poster), website and trailer. Perhaps surprising, the most important tool in your arsenal is what I call the almighty media kit (also known as the press kit). What’s the big deal? This single instrument identifies and explains a film’s unique DNA to multiple audiences – from distribution executives to festival programmers and film critics. How? Through its elements: the synopsis, the director’s statement and/or Q&A , production notes, bios, and production credits. For documentaries, I often add a chronology of actual events, bios on the real-life people portrayed, fact sheets and fascinating trivia. After making a final selection of images from the still photography, I usually sprinkle them throughout the text, like photos appear in magazine articles. Creating the kit should be an organic process in which in-depth interviews are taped with the filmmakers, principal actors and department heads (cinematographer, production designer, etc.), then written journalistically without hype. You’ll have plenty of quotes to work with and the result can be a fascinating read. As a helpful guide, an effective media kit will ultimately answer these questions: What is this film about? What inspired it? Who are the filmmakers, and where did they come from? Who are the principal actors, and what is their background? Where did you film, and why? What decisions went into the way the film looks (photography, choice of locations, production design, costume design, hair and makeup)? What unique obstacles and special challenges (if any) had to be overcome? Keep in mind: building your marketing tools can take up to two months. By starting the process during principal photography (or before), there will be no delays once your film completes post. On the next page, you'll find links to online examples of media kits that I've written over the years for various clients or while serving as the unit publicist on productions. All are downloadable, so you will have them for future reference. © 2012 Lyla Foggia

MEDIA KIT EXAMPLES written and researched by Lyla Foggia Independent and Studio Productions Project DEEP GREEN:

Filmmaker Log Line Matt Briggs

Solutions to Stop Global Warming Now


We can fix this!

Link to DOWNLOADABLE media kit


Susan Hess Logeais

A poignant comedy about life, hot flashes and profound re-awakenings.



Doug Sadler

An inspiring story of human frailty and individual strength in the face of a fracturing American dream. &backgroundColor=%23313131

FEATURE FILM (Official Sundance entry)


Lane Nishikawa

They believed in their country when their country no longer believed in them. oggia?mode=window&backgroundColor=%23000000



Carl and Sharon Jameson

A wind-blown, rainsoaked Internet TV series from the hipster streets of counter-culture Portland, OR. WEB TV SERIES ?mode=window&backgroundColor=%23e9e9e9


Ron Howard and Brian Grazer

A young man finally meets the woman of his dreams, only to discover that she is a lady with a fin. ckgroundColor=%23517ca1



Gary Marshall

Every youngster needs an idol. Jeffery now has his. ow&backgroundColor=%23e9e9e9



John Badham

David Lightman has 27 hours and 59 minutes to find the man who taught JOSHUA how to think. de=window&backgroundColor=%23313131



J. Michael Straczynski

The first American television series presented as an epic saga—with a beginning, middle, and end, in the tradition of a igreat literary novel. de=window&backgroundColor=%23000000


A Tribute to REGIS PHILBIN’S 30 Years in Broadcasting

Michael Gelman

DAYTIME TELEVISION SERIES ersary?mode=window&backgroundColor=%23000000

For more information, call 503-622-0232

The Basics of Film Press Releases •

Headlines should include the title of the film and any Hollywood

“names.” •

Subheads are meant to carry the detail. I usually underline them.

Image (either of a well-known actor or scene from the film) should be imbedded at the top of the release. Make sure it’s 300 dpi with a file size of not less than 1 MG.

The first paragraph should include four things: any well-known cast names, the film genre, story one-liner, and director’s name.

The bare essentials of what else must appear… o

Big, juicy quote from the director


Capsule bios on the director and principal cast


Other credits at end

Essential “do’s” and “don’ts” o

Always put contact info at the end


Always distribute to media via email


Never attach anything – always copy and paste


Never use hype


Write it journalistically as “drop in” copy

FOR IMMEDIATE RELEASE – Portland, OR – April 13, 2009

Heather Harlow’s “Nous Deux Encore” to screen in Cannes Film Festival’s “Short Film Corner”

Portland filmmaker Heather Harlow will be heading to the Cannes Film Festival next month to screen her film, “Nous Deux Encore,” in the Festival des Cannes’ “Short Film Corner” showcase. The 17-minute film is also under consideration as an official selection in “Critic’s Week.” “Nous Deux Encore” was recently chosen as “Best Short” in the 32nd Portland International Film Festival. Narrated by former French television journalist Maxie Leoussis, who lived the story from 1971 to 1984, and captured visually through actual photographs, “Nous Deux Encore” is a compelling portrait of one couple’s profound passion for life and each other, recounted by Leoussis 22 years following her husband’s premature death. Tessa Papas, the Portland-based arts curator and former owner of the Chetwynd Stapylton Gallery, served as executive producer. Papas has known Maxie Leoussis since 1972, when they first met in the Greek fishing village of Ermioni, where Papas and her late husband, the renowned

political cartoonist and artist Bill Pappas, lived from 1971 to 1983. Over the next 12 years, the couples become close friends as the Leoussis’ visited from their home in Athens. Producer/director Heather Harlow met Maxie Leoussis in early 2008. Despite an almost fourdecade age difference, they hit it off immediately. “I just fell in love with Maxie the second I met her. She has such an incredibly vibrant energy about her that I knew I had a lot to learn,” says Harlow, who had lived in France for a year and spent time exploring Greece. “She has such incredible insight into love and life and happiness. It’s like she knows something that we don’t know. She’s figured it out.” The music for “Nous Deux Encore” (“Together Again”) is by Grammy-nominated Portland composer and recording artist Michael Hoppé. Jacob Pander, the director and co-writer of the award-winning feature film, “Selfless,” served as the cinematographer and editor of the film. *** Scientist-turned-filmmaker Heather Harlow began her career in 1999, in Northern Himalayan, India, filming interviews for a research study on the use of plants in traditional Tibetan medicine. Her unusual background includes an undergraduate degree in fine arts (photography) from the University of Oregon, and two masters degrees, in botanical sciences, conservation biology and ethnobotany, from the University of Hawaii. In 2002, she co-founded the non-profit Northwest Documentary Arts & Media and spent two years on the team that made the award-winning onehour documentary, Sun Gu Ja: A Century of Korean Pioneers, which traces the 100-year history of Korean immigration to the Pacific Coast. Harlow has worked on over 60 commercials, industrials and videos to date, and currently serves as the resident production manager for the Emmy-winning @Large Films, which produces commercial films and videos for such clients as Nintendo, Ubisoft, and AAA. Her extensive background in filmed entertainment includes serving as the associate producer on the Pander Bros.’ award-winning feature, Selfless; as a member of the team that cast Gus Van Sant’s Elephant and Paranoid Park and Hideo Nakata’s Ring II; as the production coordinator on such projects as Oregon Public Broadcasting’s “America’s History in the Making” and the Ben Folds’ music video, “Landed”; and the assistant producer of The Shins’ music video, “St. Simon.” Born and raised in Monaco, Maxie Leoussis began her career at Télé Monte Carlo, the first private television channel in Europe. Several yeares later, she moved to Paris to join a top-rated “60 Minutes”-style program, where she conducted in-depth interviews with major newsmakers

and celebrities, including Bridget Bardot. Before quitting her career to marry Greek businessman Yiannis Leoussis in 1971, she had become the first French television journalist to interview Jimi Hendrix and the last to cover Otis Redding in what would be his final concert before dying in a plane crash. During visits to the U.S., she had also produced and filmed two major television specials, including a hard-hitting look at drug-trafficking in America – which took her to such unlikely places as the campus of a top ten Ivy League university. Most recently, Leoussis has worked closely with the internationally-acclaimed multimedia artist André Heller on his extravaganza, “Afrika Afrika!” A Portland resident since 1984, Tessa Papas, who was born and raised in Kent, England, has spent her life in the visual arts. As one of America’s leading curators for art in commercial spaces, her work has been featured in such publications as USA Today, Travel + Leisure, Condé Nast Traveler, Self, and Details, as well as “The Today Show” and other network programs. From 1988 to 2003, Papas co-owned and managed the distinguished Chetwynd Stapylton Gallery in Portland, Oregon. She is also the co-author of four coffee table books, as well as a notable artist who has had solo exhibitions in Greece, Geneva, Jerusalem, and the U.S. The recipient of the 2008 Hospitality Design International Award for “Best Use of Art in a Hotel,” Papas has served as the curator of the art collections that form the central theme in five of the Provenance Hotels’ acclaimed properties: the Hotel Lucia and Hotel deLuxe in Portland, Hotel Max in Seattle, and Hotel Murano in Tacoma, Washington. ***

MEDIA CONTACT: Lyla Foggia Foggia Public Relations LLC (503) 622-0232

FOR MORE IMMEDIATE RELEASE – April 9, 2010 – Los Angeles, CA

Newport Beach Film Festival to present world premiere of “We Were Feared” Documentary about Orange County’s famed Cuckoo’s Nest and birth of slam dancing to screen on April 25th and 29th

The Newport Film Festival will host the world premiere of the documentary, “We Were Feared,” on Sunday, April 25, at 5:45 pm – with a repeat showing on Tuesday, April 29, at 9 pm. Both screenings will take place at the Edwards Island Theater at Fashion Island. “We Were Feared” chronicles the meteoric rise and fall of Orange County’s landmark Cuckoo’s Nest, the famed SoCal Punk Rock Club that became the birthplace of slam dancing and inspired the surf, skate and extreme sports culture of today. During the late 1970s, The Nest, as it was known, played host or was home to almost every influential and soon-tobe famous punk band – including Black Flag, The Ramones, Iggy Pop, TSOL, The Dead Kennedy’s, The Circle Jerks, Fear

and The Vandals…whose song, ‘The Legend of Pat Brown’ chronicles one of the more famous incidents at The Nest. It all began when Cuckoo’s Nest owner Jerry Roach, who was struggling to make ends meet, on a long shot turned his bar into a nightclub venue for punk rock enthusiasts. After developing a huge following, angry residents and politicians forced its closure, culminating in a standoff that drew national media attention by none other than Connie Chung. First explored in a short documentary, ‘Urban Struggle,’ the saga of The Nest and its owner Jerry Roach is one of the great untold stories of punk rock…until now. Among the era’s legends who will be present at the premiere will be Cuckoo’s Nest club owner Jerry Roach; The Vandals’ bassist and Kung Fu Records’ owner Joe Escalante; punk rock singer / songwriter and professional skateboarder Duane Peters; punk rock photographer Ed Culver; skateboarder Steve Olson; and former Social Distortion drummer Casey Royer. The Endurance Pictures production was directed by Jonathan W.C. Mills and produced by York Shackleton and Jerry Roach. Ivan Correa served as Executive Producer. Portrayed are Jerry Roach, Steve Olson, Casey Royer, Duane Peters, Joe Escalante, Mike Roche, Steve Soto, Tony Reflex, Randy Lewis, Arab, Greg Kuehn, Pat Brown, Jack Grisham, Derf Scratch, Henry Rollins, Connie Chung, Chuck Dukowski, Keith Morris, Ike Death, Damien the Omen, Ron Kaos, Marc Murder, Drew Blood, Elvis Kuehn, and Max Kuehn, among others. A feature film based on the stories surrounding the birth of the Southern California punk rock movement and the role that Roach and his venue had in it is currently in development, with the screenplay being penned by Endurance principal York Shackleton. Endurance Pictures is a diversified new generation entertainment and new media company that specializes in cutting edge viral marketing, new media technology application, quality cost-effective film production, and other ancillary services to the film and television industries. Upcoming projects include the feature films “Live Stream,” to be directed by Randal Kleiser, and “Caged In,” to be helmed by York Shackleton. The company previously produced “Kush,” distributed by Maverick Entertainment and nominated for Best Drama by High Times Magazine, and “Street,” starring Laura Ramsey, Vivica A. Fox, Toby Hemingway, and Theresa Russell. ***

MEDIA CONTACTS: Lyla Foggia Foggia Public Relations LLC (503) 622-0232

Ivan Correa President, Endurance Pictures Mobile 714-724-3551

FOR IMMEDIATE RELEASE – July 17, 2007 – Portland, OR

FILM BABY opens up self-distribution frontier for filmmakers Members now have one-stop access to Super D, Netflix, Cinema Now and Amazon CustomFlix – as well as wide exposure on Google Video, Ruckus Networks and Sony Connect PSP

Tired of waiting for your big theatrical or DVD break? Wondering how you’re going to repay your investors, so you can get on with your career? Film Baby – a spin-off of the legendary CD Baby – has opened up the self-distribution frontier for independent filmmakers through a series of groundbreaking partnerships. Besides providing a popular online channel to indie fans for DVD sales, Film Baby now gives member filmmakers direct access to Super D, Netflix, CinemaNow, and Amazon CustomFlix – representing a range of distribution opportunities that typically require representation by a professional sales agent. Among them, every Film Baby title with a barcode is now automatically available to over 2400 chain and independent music stores through Super D (one of the world’s largest wholesalers of DVDs). Furthermore, member’s films can receive immediate consideration for acquisition by Netflix and digital downloading through CinemaNow. Filmmakers set their own retail and wholesale prices (with the exception of downloads), while Film Baby facilitates and handles all the processing, shipping and collections – with full payments to members on a weekly basis. The only charge to members for the spectrum of services now offered is a one-time set-up fee of $39.95 per title and a flat commission of $4 per unit sold.

To support the growth of the independent film community, Film Baby has also set up promotional partnerships with Google Video, Sony Connect PSP and Ruckus Networks to provide members with additional marketing exposure to millions of potential new customers. A two-minute trailer/clip for each Film Baby title will be featured on Google Video with a direct link to its sales page. Members can also reach the coveted 18-to-35 key demographic by offering their films for download from Sony Connect to be played on Sony gaming devices PSP and PS3 and Ruckus Networks’ digital entertainment service to over 900 university campuses – both with direct links back to their Film Baby sales page. Based on the successful model that has allowed CD Baby to pay its members over $47 million to date, Film Baby makes it possible for filmmakers with marketing savvy to finally fully maximize earnings from alternative distribution. As an example, for a DVD sold through Film Baby at $19.95, a member would collect $159,500 for each 10,000 units sold; $1,595,000 for each 100,000 units; and $15,950,000 for a million units. Best of all, Film Baby’s services are non-exclusive. Filmmakers retain all rights to their work and can terminate their membership at any time. Filmmakers are paid each Monday for sales during the previous week, including through Film Baby’s distribution partners, and have instant access to their sales data 24/7. The one-time set fee of $39.95 per title includes a dedicated web page on Film Baby’s newlyupgraded site – featuring a two-minute trailer or clip for the film or video, a high-res scanned image of the DVD/video cover, a link to the official website, and all the descriptions, press coverage, critical reviews and bio information the member chooses to include. Film Baby also reports all sales to VideoScan, which collects and disseminates weekly sales data for the industry to The Hollywood Reporter, Los Angeles Times, New York Times, Billboard and other outlets. For more information about Film Baby services, visit * * * MEDIA CONTACT: Lyla Foggia Foggia Public Relations LLC (503) 622-0232

First-ever film on the history of Catalina Island to premiere March 8 on KOCE Award-winning “Hollywood’s Magical Island – Catalina” recounts why it became a mecca for film stars, music greats, and the thousands who arrived by boat each day LOS ANGELES – February 22, 2005 – Today, Catalina Island is a picturesque getaway that Southern Californians might visit once or twice in their lifetimes. In its heyday, thousands flocked to this once world-famous mecca in a single day – lured there by such attractions as the Big Band swing music of such legends as Glenn Miller, Benny Goodman, and Les Brown; the world premieres of the first talkie motion pictures; underwater kelp gardens found nowhere else in the world; and endless other man-made and natural wonders. What you don’t know about this quaint, 22-mile long, eight-mile wide oasis – located just 26 miles (or a one-hour boat ride) off the coast of Los Angeles – has been captured in an awardwinning documentary that will premiere on the PBS affiliate, KOCE, on March 8 at 7:30 pm. Narrated by Emmy-winning actor Peter Coyote, “Hollywood’s Magical Island – Catalina” presents the fascinating history of California’s own paradise isle through rare 16 mm footage, never-before-seen vintage photographs, and interviews with celebrities, island historians, and a Wrigley heir. “Hollywood’s Magical Island” received The Audience Award from the 2004 Temecula Film Festival. The film has also been showcased in the Marco Island (FL), Ojai, Big Bear Lake, Wine Country (Napa Valley), Pacific Palisades, and Newport Beach Film Festivals.

Filmed over a period of several years by first-time director Greg Reitman, who maxed out his credit cards to get the documentary made, “Hollywood’s Magical Island” takes viewers on a first-time journey through its unparalleled history – beginning in 1919, when self-made chewing-gum magnet William Wrigley, Jr., purchased a portion of the island sight-unseen in 1919, then bought up the rest for $2 million soon after arriving. Among those featured on-camera are: •

William Wrigley, Jr.’s granddaughter, Ada Wrigley Schreiner, in her first-ever interview.

Actor Gregory Harrison – a third-generation islander and son of the captain of the famous Glassbottom Boat that ferried tourists around Avalon Bay.

Tony Dow – one of our favorite childhood stars as Wally Cleaver on the classic series, “Leave it to Beaver” – who spent every summer there with his family.

Oscar-nominated actress Kathleen Quinlan, who was born in Avalon and returned each summer.

The late Les Brown in his last interview, talking about playing the famed Catalina Ballroom with his Band of Renown orchestra.

Fitness guru Jack LaLanne, who frequently visited during his body-building years.

Oceanographer and explorer Jean-Michel Cousteau, an admirer of how well the island has been preserved.

Surf guitar legend Dick Dale.

Veteran film producer A. C. Lyles, who was working for Paramount Pictures when buffaloes were imported to Catalina for the filming of Zane Gray’s “The Vanishing American” in 1924, and shot many of his own pictures there.

The late screen siren Peggy Moran, a cult favorite for her 1940 role in “The Mummy’s Hand,” who was a regular during the Big Band era.

“Hollywood’s Magical Island” takes viewers on an intimate journey through such history-making developments and moments as: •

The construction of the Sugarloaf Casino in 1920 – an eight-sided, steel-framed stucco structure designed to accommodate 250 couples at a cost $250,000 – which later became the world’s largest birdcage.

The discovery of the island’s real treasure in 1926, the clay deposits that were manufactured into the widely-known ‘Catalina tile,’ evident throughout Avalon.

The design and construction of the island’s world-famous landmark, the 140-foot circular Catalina Casino, unveiled in 1929 at a cost of $2 million – where, notably, gambling has never been allowed.

The first theater ever built for “talkies” – which later became an acoustical model for Radio City Music Hall.

The 15,000 square foot Avalon Casino Ballroom, where all the big band greats played to crowds of 6000 or more during the Golden Age of swing music.

The stunning art deco-style murals by artist John Gabriel Beckman, a designer of Grauman's Chinese Theater a year earlier.

The instrumental role that Catalina’s fleet of steamships played in transporting the hordes of tourists who visited from the mainland daily.

The advent of amphibious seaplane service to the island, launched in 1919 by Charlie Chaplin’s half-brother in a failed venture.

The 30-year history of Catalina as the spring training ground of the Chicago Cubs.

The unlikelihood of Ronald Reagan’s being signed to an acting contract, as a result of covering the Cubs on Catalina as a Chicago radio announcer.

Best-selling novelist Zane Gray’s famed fishing exploits as a member of the Catalina Tuna Club.

The trend-setting fashion influence of the Catalina Swimsuit Company.

The many death-defying contests that started up after 1927, including a crosschannel swim with a grand prize of $25,000.

Marilyn Monroe’s life as the wife of a serviceman stationed on the island during World War II – while she was still Norma Jean Baker.

About the Production “Hollywood’s Magical Island” marks the directorial debut of Greg Reitman, who also wrote and co-produced the Blue Water Entertainment Production with well-known casting director Mike Fenton. Reitman, now 33 years old, grew up outside New York City, and was headed to Emerson Film School when his father – owner of an executive search firm in the publishing industry – objected, insisting his son pick a more respectable profession. So he enrolled in international studies, graduated from the University of Massachusetts, then spent a year working in the sales department of the trade division at Oxford University Press – followed by a year in England as the multimedia manager for Simon & Schuster International. Ready for a new challenge, he moved to Australia and became a vice president of sales for META Group, selling information technology research to Fortune 500 companies. At the same time, he got his first hands-on experience in filmmaking from Tina Dalton, the award-winning wildlife documentary filmmaker whose work is frequently featured on the Discovery Channel and National Geographic. It was enough to inspire Reitman to transfer to META Group’s Los Angeles office, where he was put in charge of their Southern California operation. At the same time, he embarked on an intensive training program to learning filmmaking, A to Z. Besides reading every book published on the subject, he enrolled in UCLA’s

Extension certificate program – or which he attended classes five days a week for two years. After graduating, Reitman started planning his exit from META. He had made a lot of money, put away as much as he could, and now just wanted to bury himself in celluloid. As fate would have it, Reitman was on the verge of leaving META when he happened into a Malibu dive shop, where he saw a book on Catalina’s indigenous underwater kelp forests. A scuba diver since college, he had explored the waters of Australia’s Great Barrier Reef, the Florida Keys, Hawaii and Israel, yet never seen anything like this unique natural wonder. Intrigued, he hired a Harvard-educated researcher and paid her $500 to tell him more. She returned two weeks later with a 10-page report that included the history of the island. “I said, ‘Wow,’ this is a fascinating place!’” he recalls. Buoyed by the fact that no one had ever captured Catalina’s history on film before, Reitman resigned META, formed Blue Water Entertainment and visited Catalina for the first time. Fortunately, he feel madly in love with the island the moment he saw it – because he would spend the next several years racking up $50,000 in credit card debt, supplemented by a free Panavision package, film from Kodak and post-production services from Modern Video Film. “Documentaries are wonderful, but you do not make a living making documentaries,” Reitman says with a laugh. Even so, he’s hard at work on his next one. *** For more information, please contact: Lyla Foggia Foggia+Associates Public Relations (661) 259-6561

FOR IMMEDIATE RELEASE – Portland, OR – November 15, 2007

Laura Ramsey and Toby Hemingway star in “STREET” with Vivica A. Fox and Theresa Russell

Independent film by Los Angeles writer/director York Shackleton currently shooting on location in Portland Two of Hollywood’s fastest rising talents – Laura Ramsey and Toby Hemingway – are starring with Vivica A. Fox and Theresa Russell in York Shackleton’s edgy drama, “STREET,” about a troubled teen from the suburbs who unwittingly falls in love with a homeless drug addict, and how she copes with the harsh realities of being homeless. “This is the story of a girl who is dealing with a highly-protective and controlling mother,” says Shackleton, the Los Angeles-based writer and director who is currently shooting the film in Portland, Oregon, through November 30. “What happens is that the girl doesn’t really plan on running away, but she needs to get out. Then through a series of one unfortunate event after another, she ends up on the streets of Portland. And right when she wants to go home, this guy comes into her life. She doesn’t know it at the time, but he’s a struggling heroin addict. He’s very likeable, very charming, but at the same time,

highly manipulative. And the type of person she is –vulnerable and naïve – sets them up for a perfect match. So she decides to stay on the streets with this guy, and just when their love begins to blossom, he makes a very poor decision. I really wanted to expose what these kids go through and what they deal with.” Inspired by actual events, “STREET” was brought to Shackleton by producer Kristin Jensen, whose sister spent three years as a transient in the homeless subculture of Portland and other West Coast cities. At the same time, she kept a journal of the experience, which provided the filmmakers with the kind of detail that only someone who’s lived it would know. “I thought it was a story that really needed to be told,” says Jensen, pointing out that between 1.6 million and 2.8 million youth run away in a year, according to the National Runaway Switchboard organization. Laura Ramsey most recently completed filming in a starring role in DreamWorks’ “The Ruins,” due out next year. Her career breakthrough came last year in a shining performance as the love interest of Steven Strait in Renny Harlin’s supernatural thriller, “The Covenant,” for Sony Pictures’ Screen Gems. While still living in Wisconsin, she won a part in the film, “The Real Cancun,” from the producers of MTV’s “The Real World,” by beating out some 10,000 other aspiring actors. After moving to Los Angeles, Ramsey was discovered while waiting tables. Beginning with a half dozen episodes on the ABC sitcom, “The Days,” she went onto costar with Heath Ledger in Catherine Hardwicke’s (“Thirteen”) “Lords of Dogtown” for Sony Pictures and DreamWorks’ “She’s the Man,” opposite Amanda Bynes, among other films. Born in Brighton, England, Toby Hemingway grew up in rural Ojai, just north of Los Angeles. After performing on stage in high school, he was accepted into the American Academy of Dramatic Arts in New York. Following graduation, Hemingway relocated to Los Angeles and made his film debut in “The Covenant” in a principal role as one of the young warlocks – for which he worked opposite Ramsey in various scenes. In only his second film, Hemingway was selected to play a recovering heroin addict in “Feast of Love” by two-time Oscar-winning writer/director Robert Benton – allowing him to work with such veterans as Morgan Freeman and Greg Kinear. One of the most admired actresses of her generation, Theresa Russell was honored with the prestigious National Association of Theater Owners’ “Star of Tomorrow” Award in 1986. While studying acting at the Lee Strasberg Institute, she made her film debut in 1976 in “The Last Tycoon,” starring Robert De Niro. Among her biggest hits have been last year’s “Spider–Man 3” ($340 million worldwide box office), “Wild Things,” and her mesmerizing performance as a serial husband killer opposite Debra Winger in “The Black Widow.”

Actress Vivica A. Fox has been a sizzling success in such comedies as “Soul Food” and “Two Can Play That Game” – as well as the blockbusters “Kill Bill” (I and II) and “Independence Day,” among others. She was chosen as one of People Magazine’s “50 Most Beautiful People” in 1997 and as one of Black Men’s Magazine’s “10 Sexiest Women of 2001.” Among the many awards and nominations honoring her work, Fox won the Image Award for Outstanding Actress in a Drama Series for “1-800Missing” and an MTV Award for “Independence Day.” The son of Richard Shackleton, who wrote much of Lenny Bruce’s material, York spent his teen years as a champion snowboarder competing on the international circuit. Among other notable achievements, he was the innovator behind the now-popular ‘rodeo flip.’ By the late 1990s, Shackleton was appearing in national commercials for Mountain Dew and Taco Bell. At the same time, he began acting in independent films, eventually shifting over to producing and directing. After studying film at UCLA, he made his directorial debut with “Las Paraditas,” a feature documentary exposing the violence and corruption that surrounds the prostitutes of Tijuana, followed by “Kush,” starring Nick Annunziata, William Atherton, and Michael Bellisario. “STREET” is also being produced by Brett Cranford, a television veteran who served as the “The Gray Man” and unit production manager on Gus Van Sant’s “Paranoid Park.” Romeo Antonio and Lenny Shapiro are serving as executive producers of the Endurance Pictures production. Among the other key crew members are cinematographer Adam Silver; production designer Tyler Robinson; art director Nate Smith; costume designer Amanda Needham; and casting directors Kelly Wagner (LA) and Simon Hill (OR).

Photo Credit: Oliver Ogdel For set visits or high-res JPEGs, contact: Lyla Foggia Foggia Public Relations LLC (503) 622-0232


Jason Scott Lee, Mark Dacascos, Tamilyn Tomita and Yuji Okumoto to attend “ONLY THE BRAVE” screening in Los Angeles on May 7 Many of the stars of Lane Nishikawa’s “ONLY THE BRAVE” – including Jason Scott Lee, Mark Dacascos, Tamilyn Tomita and Yuji Okumoto – will be present at the May 7th screening of the film in the VC FILMFEST: The Los Angeles Asian Pacific Film & Video Festival. The event will take place on Sunday, May 7, at 2 pm at the Directors Guild of America, 7920 Sunset Blvd., West Hollywood, CA 90046. A Q&A with the director and cast will directly follow the showing. Tickets can be purchased online at or by calling the Festival Box Office at 213-680-4462, ext. 59. The Honolulu Star Bulletin recently called “ONLY THE BRAVE” “long overdue” and a “powerful, haunting feature.” The film is a searing portrait of war and prejudice that takes viewers on a haunting journey into the hearts and minds of the forgotten heroes of World War II – the all-volunteer, Japanese American 100th/442nd Regimental Combat Team. For more information about the film, please visit *** MEDIA A press kit and gallery of available JPEGs available at

For interviews or photos: Lyla Foggia foggia public relations (661) 259-6561


DVD release of “ONLY THE BRAVE” to be launched with premiere in Los Angeles

The motion picture that the Honolulu Star Bulletin called “long overdue” and a “powerful, haunting feature” and the Denver Film Society praised as a “gripping story” will debut into national DVD release with a premiere screening on September 8, 2007, to benefit several Japanese American non-profit organizations in Los Angeles, sponsored by the KYOCERA Corporation. This event marks the first stop on a 30-city national tour supported by Asian American communities. An official selection at 17 American film festivals in 2006, including the Starz Denver International Film Festival, “ONLY THE BRAVE” stars Jason Scott Lee, Mark Dacascos, Tamilyn Tomita, Yuji Okumoto, Jeff Fahey, Guy Ecker and the late Pat Noriyuki Morita in a searing portrait of war and prejudice that takes viewers on a haunting journey into the hearts and minds of the forgotten heroes of World War II – the all-volunteer, Japanese American 100th/442nd Regimental Combat


Team. Based on actual events, the film chronicles one of the most important, yet little known chapters of 20th century history. In 1941, when Japan attacked Pearl Harbor, there were 5000 Japanese Americans serving in the U.S. Armed Forces. Overnight, these second-generation citizens were stripped of their official duties – simply because they looked like the enemy. On the mainland, 120,000 innocent men, women and children were rounded up and swept into remote internment camps, where they would remain behind barbed wire for the duration of the war. Determined to prove their loyalty, the discharged Hawaiian Territorial Guardsmen of Japanese descent successfully petitioned the U.S. government to allow them to serve. These 1400 Hawaiian Nisei (second-generation Japanese Americans) became the 100th Infantry Battalion. In July 1943, after rigorous training, they were sent to North Africa, then Italy. Fiercely courageous, they suffered so many casualties the 100th was soon dubbed the “Purple Heart Battalion.” In June 1944, they were joined by the 442nd – comprised of Nisei volunteers from the internment camps and Hawaii – and proceeded to liberate five towns in Northern Italy. That September, they were shipped to Southern France and freed three more towns, before being recruited for what would become one of the top ten most important battles of World War II – the impossibly-dangerous rescue of the Texas “Lost Battalion.” Two hundred and seventy-five men of Texas’ 36th Division had been trapped for more than a week on a high plateau in France’s Vosges Mountains, surrounded by thousands of Nazis. When attempts by much larger regular-Army units failed to break through and were pulled back, the 100th/442nd was ordered to finish the job. Though their ranks were already decimated and the Nisei were unimaginably exhausted, they spent four days and nights in brutal uphill hand-to-hand combat – while suffering frostbite and trench foot so severe they could hardly walk. The Nisei saved 211 out of the 275 Texans, but suffered more than 800 casualties of their own. During two years of combat, their extraordinary valor resulted in an unparalleled 21 Medals of Honor, 9486 Purple Hearts, eight Presidential Citations, 53 Distinguished Service Crosses, 588 Silver Stars and 5200 Bronze Star Medals – making them the most decorated unit in American military history. Many of the film’s stars will be present to autograph the DVD at the 7 pm benefit screening on Saturday, September 8, at the Aratani Japan America Theatre, 244 So. San Pedro Street in downtown Los Angeles. A 2 pm screening, which will be subtitled in Japanese, is also scheduled. Tickets to either showing are $10 general admission; $8 JACCC members, seniors, students and groups of 10 or more. Admission free for U.S. Armed Forces veterans. Call (213) 680-3700 to purchase tickets. DVDs of “ONLY THE BRAVE” – which are being offered for the first time – can be purchased at both screenings or online at “ONLY THE BRAVE” marks the feature film directorial debut of Hawaiian-born playwright and actor Lane Nishikawa, who also appears in a starring role and has been called “one of Asian America’s


most compelling voices” by Academy Award-winning filmmaker Steven Okazaki. A Mission From Buddha Production, the film was produced by Karen Criswell, Eric Hayashi, and Jay Koiwai and funded in part by grants from the California Civil Liberties Public Education Program and donations from families of veterans who served in the 100th/442nd Regimental Combat Team and the Military Intelligence Service – spearheaded by the National Japanese American Historical Society. For more information, go to ***

MEDIA CONTACT A press kit and photo gallery of available JPEGs available at Lyla Foggia Foggia Public Relations LLC (503) 622-0232

A zany new comedy starring Alan Arkin to debut on October 21! Lauren Holly and Glenne Headly also star in “RAISING FLAGG,” filmed entirely in Oregon On October 21, 2005, Portland filmgoers will be the first in the nation to see the motion picture, “RAISING FLAGG,” starring Oscar-nominee and Tony Award-winner Alan Arkin in one of his funniest performances since the 1979 madcap hit, “The In-Laws.” In the zany comedy-drama, Arkin plays Flagg Purdy – a man so cranky and quirky that he will never be named Father of the Year. In fact, he’s lucky if the kids even visit. Lovable but stubborn to the core, Flagg becomes the victim of his own lofty principles when a minor disagreement erupts into a legal battle that he unexpectedly wins – but at a price he is unprepared to pay. While Flagg drives everyone around him crazy, coping with it all surprisingly turns the Purdy’s into a real family – for the first time ever. Filmed entirely in Oregon, “RAISING FLAGG” co-stars an extraordinary ensemble cast for an independent film – including Glenne Headly (the hilarious heiress who gets the best of con artists Michael Caine and Steve Martin in “Dirty Rotten Scoundrels”) and Lauren Holly (the

irresistible dumb blonde who drove Jim Carrey into a frenzied long-distance chase in “Dumb & Dumber”). The independent production was directed by award-winning Eugene filmmaker Neal Miller, features over 25 Northwest actors, and was made with the help of more than two dozen local film technicians. Among them are Production Designer David Sicotte, Line Producer Julia Cook, and Associate Producer Hardy James. Shot in and around the St. Helens area near Portland, “RAISING FLAGG” was produced by Neal and Nancy Miller, who also co-wrote the screenplay with Dorothy Velasco of Eugene. Neal Miller has been making independent films since 1976, many of them featured at major film festivals, including Sundance. Along the way, he was responsible for casting Darryl Hannah and Virginia Madsen in their first film roles, pairing Susan Sarandon and Christopher Walken in one of their most celebrated performances, and giving Joanne Woodward the opportunity to direct her first feature-length project. “RAISING FLAGG” will be raising cain in selected Regal theaters on Friday, October 21. For theater locations and more information about the film, please go to *** MEDIA CONTACT: Lyla Foggia foggia public relations (661) 259-6561

FOR IMMEDIATE RELEASE – October 7, 2009 – Portland, OR

Pander Bros.’ award-winning “SELFLESS” to play Cinema 21 on November 6 – 12

The Pander Brothers’ award-winning feature film, “Selfless,” is scheduled to play the Cinema 21 for a week, beginning Friday, November 6, 2009. Directed by Jacob Pander and produced by Arnold from their own original screenplay, the neo-Portland thriller is set in the heart of the trendy Pearl District, where ambitious young architect Dylan Gray shares a luxury condo with his beautiful fiancé while calculating his next brilliant career move as a rising design star in the ‘green’ high rise movement. What Dylan doesn’t know is that his perfect existence is about to unravel – the result of foolishly angering a convicted identity thief, dressed as a businessman, in an airport terminal. “Selfless” will be screen with “Radius,” the Pander Brothers’ first collaborative short, shot in 1986 at the end of the Cold War. The 7-minute film features Portland’s Burnside Bridge as a bold architectural abstraction as it opens and closes for a lethal-looking military vessel as it passes through what was once believed to be ground zero for a potential Soviet nuclear missile attack during the Cold War.

“Selfless’” theatrical debut caps an exciting year on the festival circuit. After winning Best Feature, Best Supporting Actor (Mo Gallini) and Best Screenplay at the 2008 BendFilm Festival, “Selfless” captured Best Cinematography (Kevin Fletcher) at the 2009 Albuquerque Film Festival and the award for Best Portland Narrative from the Seattle True Independent Film Festival. The film also received a coveted spot on the official ComicCon screening schedule last July. In August, Lightning Entertainment acquired all domestic rights (including theatrical, TV, VOD, DVD and Internet), allowing the brothers to now focus on their next feature. The Santa Monica-based distribution company’s current release slate includes Jada Pinket Smith's "The Human Contract,” the inspiring sports drama "Forever Strong,” the thriller "The Shortcut" from Adam Sandler's Happy Madison Productions, the coming-ofage comedy "Hey Hey, Its Esther Blueburger,” and the psychological thriller "Anamorph" starring Willem Dafoe. Official website: Starring Portland actors Joshua Rengert, Jen Hong and October Moore, along with Los Angeles screen veteran Mo Gallini, “Selfless” was shot by cinematographer Kevin Fletcher, a regional Emmy Award-winner. The film’s chilling score was composed by Keith Schreiner, known for his distinctively dark melodic soundscapes, and features vocals by Storm Large and songs by Portland’s Pink Martini and Dandy Warhols. “Selfless” marks the feature film debut for the brothers, who have developed a cult following as award-winning comic book illustrators and creators of such cult classics as GRENDEL: Devil’s Legacy and Triple X. Dubbed “a power duo of creativity” by SOMA magazine, their long collaboration has included music videos for Palm Pictures, the concept for Gus Van Sant’s “Runaway” video for Deee-Lite, three graphics novels, ten comic series and 15 stand-alone issues – such as the blockbuster titles Batman: City of Light and Batman: Apocalypse Girl – for Marvel, DC Comics and Dark Horse. Popular comic book author Matt Wagner spotted Arnold’s work in a Portland comic store and had independent comics company, Comico, sign the brothers to illustrate his GRENDEL: Devil’s Legacy series. Overnight, Jacob and Arnold went from “selling Christmas cards out of our shoulder bags” to flying back to the family homeland of Amsterdam to inspire their next project. The 12-issue series set a new sales record for an independent comic book, merited nominations for the coveted Eisner and Manning Awards, and scored the industry’s top fans-choice award for the duo.

Among other notable projects, the Pander Bros. created the Secret Broadcast comic book/companion audio CD tribute to pirate radio (which included electronica producers from throughout the U.S.); the first comic book designed to be read in any order: the Dark Horse mini-series, Exquisite Corpse; and their own epic Amsterdam

thriller XXX, also for Dark Horse (which Mondo 2000 hailed as “a comix masterpiece”).

After studying 16mm filmmaking at the Northwest Film & Video Center and serving as an apprentice editor on the 35mm feature, “Shadow Play,” Jacob launched his career as a director in 1992, when Frontier Records hired him to shoot the music video, Light in You, for Dharma Bums, which received extensive play on MTV. The Panders went on to conceive, direct and produce Hitting Birth’s Drive On, winner of a Oregon Cascade Award, and several electronica videos featured on MTV’s Amp. Soon after, they were hired by Palm Pictures in New York to create a series of music videos, featuring such international electronic artists as Howie B., Fantastic Plastic Machine, Spacer, and DJ Miku in a narrative through-line to tell an audio-visual story. Wired magazine called their talent for raw storytelling “a knack for cinematic suspense.”

Their 1995 cult classic, “The Operation,” took first place at the New York Underground Film Festival, 2nd place at the Chicago Underground Film Festival, and honors at festivals in Berlin and Copenhagen. Film Threat noted that The Operation was “the most unusual, inspiring and crowd-pleasing piece” in the NY Underground Film Festival. Wired described it as “the kind of video that can rewire your neural net,” and Northwest Film & Video Festival judge Dan Ireland told Willamette Week: “It’s like a 16mm version of going over Jupiter in ‘2001: A Space Odyssey!”

The Pander Bros.’ last comics collaboration was DC’s Batman: City of Light – which, coincidentally, featured Batman pitted against a mad, ego-driven architect. Their most recent graphic novel was Accelerate from Image Comics last fall. This July, in collaboration with co-writer Jon Vankin (The Greatest Conspiracies of All Time), Arnold released his long awaited pop-culture energy drink inspired adventure, TASTY BULLET, also from Image Comics. Official website:

For more information, go to: TWITTER: MYSPACE: BLIP.TV (“SELFLESS” TRAILER) :


MEDIA CONTACT: Lyla Foggia, Foggia Public Relations LLC (503) 622-0232

Skouras Films Acquires U.S. Rights to Doug Sadler’s “SWIMMERS” An early 2006 launch in major U.S. markets is planned for the award-winning film LOS ANGELES – October 19, 2005 – Skouras Films has acquired U.S. rights to Doug Sadler’s celebrated new motion picture, “Swimmers,” produced by Melanie Backer, David W. Leitner, and Michael Yanko. The company, headed by Tom Skouras, plans to launch the film in major markets in early 2006. The deal was negotiated by John Manulis of VisionBox Media and Skouras. Having premiered Sadler's debut film “Riders” in 2002, the Sundance Channel continues its strong support with “Swimmers,” taking pay television rights in a deal negotiated by Cinetic Media. The recipient of the Grand Jury Prize Award for Best New American Film from the 2005 Seattle International Film Festival, “Swimmers” debuted earlier this year in the Sundance Film Festival. The film has since appeared in the Hamburg, Vancouver, Galway (Ireland), Karlovy Vary (Czech Republic), Festroia (Portugal), Boston, Maryland, Maine, and Sidewalk Film Festivals. Showings are also scheduled for the Hamptons International Film Festival this Friday (10/21) and Sunday (10/23) – as well as the AFI Fest 2005, Denver International and Savannah Film Festivals in November. An inspiring story of human frailty and individual strength in the face of a fracturing American dream, “Swimmers” stars two-time Tony Award winner Cherry Jones, Shawn Hatosy, Robert Knott, Michael Mosley, Sarah Paulson, and Tara Devon Gallagher in her motion picture debut. Among the critical praise received to date, Reed Martin of USA Today called “Swimmers” “the most poignant and moving film I saw at Sundance 2005.” In his Hollywood Reporter review, James Greenberg hailed the picture as an example of the best of regional filmmaking, noting its “wonderful performances,” “sensitive photography” and “deeply-felt, human-scale

Skouras Films Acquires “Swimmers” -2story.” And Mike Sragow of the Baltimore Sun wrote that “Swimmers” “combines the unexpected humor and intimate emotionality of Carson McCullers with the lived-in working-class detail of director Mike Leigh.” “Every so often a special film comes along, one that grabs you and doesn’t let go until the last scene. ‘Swimmers’ is one of those pictures, and I’m thrilled to be working with Doug Sadler on his original and inspiring film,” says Tom Skouras. “I’m very pleased that ‘Swimmers’ will be released by a company whose principals have a long history of successfully presenting innovative and thought-provoking films,” says directorwriter Doug Sadler. “Given the consistently passionate audience reaction to ‘Swimmers’ at film festivals, the innovative release strategy Skouras has put together and Sundance Channel’s support, I find myself a member of a rare breed: the happy independent filmmaker.” “Swimmers” marks Tara Devon Gallagher’s feature film debut. The young actress has also been featured as one of the contestants in the documentary, “Mad Hot Ballroom,” and in the television children’s specials, PBS’ “Saagwa” and HBO’s “My Favorite Book.” Cherry Jones is the recipient of two Tony Awards for Best Actress (“Doubt” in 2005 and “The Heiress” in 1995), two Tony nominations (“A Moon for the Misbegotten” in 2000 and “Our Country’s Good” in 1991), as well as a Drama Desk Award in 2005 for “Doubt.” Her motion picture credits include Steven Soderberg’s “Ocean’s 12” and M. Night Shyamalan’s “Signs.” Robert Knott is a third-generation actor who recently co-starred in acclaimed director Robert M. Young’s “Human Error,” which debuted at Sundance last year. His previous credits include “Pollock” and “Hi-Lo Country.” Shawn Hatosy has starred in “Soldier’s Girl” (which appeared in both the Sundance and Tribeca Film Festivals), “The Cooler” (Sundance 2003) and “Dallas 362.” He also co-stars with Emile Hirsch, Sharon Stone and Bruce Willis in Nick Cassavettes’ “Alpha Dog,” which is set for release in early 2006. Earlier this year, Sarah Paulson co-starred with Jessica Lange in the Broadway production of “The Glass Menagerie,” and has appeared in a number of films, including “Down with Love” and “What Women Want.” Michael Mosley’s film work includes “Brother to Brother” (Sundance 2004) and the upcoming features “Building Girl” and “Room 314.” Kate Goehring has worked extensively on stage, particularly in regional theater, and starred in the first national tour of “Angels in America.” “Swimmers” writer and director Doug Sadler, who received his MFA from the American Film Institute, was named one of the “25 New Faces” to watch by Filmmaker magazine in 2001. The following year, his debut film, “Riders,” premiered on the Sundance Channel. In 2002 Sadler was invited to workshop “Swimmers” at the Sundance Institute’s Writing and Directing Labs. He lives in Maryland, where “Swimmers” was filmed.

Skouras Films Acquires “Swimmers” -3Producer Melanie Backer began her career as a story editor for New Line Cinema and has served as Glen Gordon Caron’s vice president of development. She previously produced the features, “The Amati Girls” and “Pumpkin” (Sundance 2002), and is currently working on film projects with the Oscar-winning producers Jeremy Thomas and Fred Roos. Producer D. W. Leitner has served as a director, cinematographer or producer on over forty documentaries and features – including five films accepted into competition at Sundance. Among them is the Academy Award-nominee “For All Mankind,” which also won Sundance’s 1989 Jury and Audience Awards for Best Documentary. Producer Michael Yanko has produced two successful feature films and helped finance and co-produce two off-Broadway shows. Veteran independent distributor Tom Skouras has been responsible for the release of over 200 motion pictures through his Skouras Films and former Skouras Pictures banners – including Joel and Ethan Coen’s “Blood Simple,” Lasse Hallstrom’s Oscar-nominated “My Life As A Dog,” Paul Schrader’s “The Comfort of Strangers,” Mike Newell’s “The Good Father” (starring Anthony Hopkins), and Mike Leigh’s “High Hopes.” In collaboration with Skouras, Kelly Neal will oversee “Swimmers” distribution and marketing. Neal has served in top level executive positions at Universal Classics, Skouras Pictures, Avco-Embassy and New World Pictures. He began his career as co-founder of Specialty Films, one of the first independent distribution companies on the West Coast.


“SWIMMERS” to open on June 16 at the Balboa and Elmwood Theaters Acclaimed film stars two-time Tony Award-winning Best Actress Cherry Jones and astonishing young newcomer Tara Devon Gallagher (“Mad Hot Ballroom”) A story of human frailty and individual strength in the face of a fracturing American dream as observed through the eyes of an 11-year-old girl, Doug Sadler’s “Swimmers” will open at the Balboa Theater in San Francisco and the Elmwood Theater in Berkeley on Friday, June 16, 2006. The critically-acclaimed motion picture stars two-time Tony Award-winning Best Actress Cherry Jones in her most prominent film role to date, Shawn Hatosy, Sarah Paulson, Robert Knott, and Tara Devon Gallagher, now 13, who lit up the screen in “Mad Hot Ballroom.”

“Swimmers” is director-writer Doug Sadler’s second feature film. A former professional actor, he studied at the American Conservatory Theater in San Francisco, before graduating with an MFA from the American Film Institute in 1995. Sadler was selected by Filmmaker Magazine in 2001 as one of “25 New Faces” to watch. In 2004, he was invited by The Sundance Institute to refine “Swimmers” at its prestigious Writing and Directing Labs, where he worked closely with such filmmakers as Robert Redford and Ed Harris. “Swimmers” debuted at the Sundance Film Festival in January 2005, where it became a finalist for the distinguished Humanitas Prize. It went on to win the Grand Jury Prize for “Best New American Film” from the Seattle Film Festival, “Best American Independent Film” from the Festroia International Film Festival in Portugal, “Best Actor” (Robert Knott) from the Cartagena Film Festival in Spain, and “Best Director” and “Best Narrative Feature” from the Savannah Film Festival. The film has also been an official selection at over a dozen international festivals, including in Germany, Ireland, and the Czech Republic. Following its Sundance premiere, James Greenberg of The Hollywood Reporter, wrote: “Before Miramax brought independent film to the multiplex and Sundance made it a national sport, American independent cinema was about regional filmmaking. Small, well-told stories rooted in a specific time and place. A rocky coming-of-age tale set along the Maryland coast, ‘Swimmers’ is that kind of film. Mature audiences looking for a deeply-felt, human-scale story should be given the chance to enjoy this one in theaters.” Chris Kaltenbach of the Baltimore Sun recently wrote that “Doug Sadler brings understated magic and beauty to his tale of a waterman’s family struggling to stay afloat in ‘Swimmers,’ a remarkable film that is both heartbreaking and hopeful with moments of sublime tenderness and welcome humor.” “Swimmers” marks the astonishing acting debut of a major new talent, Tara Devon Gallagher, in the pivotal role of Emma Tyler, whose passion for swimming is suddenly disrupted by an ear injury requiring expensive surgery. Gallagher’s only prior onscreen appearance was as one of the featured dance competitors in the hit documentary, “Mad Hot Ballroom.” Robert Knott – who previously co-starred in Ed Harris’ “Pollack” and Walter Hill’s “Wild Bill” – plays Emma’s father, a waterman struggling with the fact that his profession is teetering on the brink of extinction as the Chesapeake’s once-productive fishery spirals downward. Broadway legend Cherry Jones portrays Emma’s fiercely-determined mother, who has no choice but to become the emotional jetty that keeps the family from being swept away by financial crisis and outside influences. Jones won her second Tony Award for Best Actress last year in “Doubt,” and is currently starring with Ralph Fiennes in the Broadway revival of Brian Friel’s “Faith Healer.”

In “Swimmers,” Sarah Paulson tackles her most challenging film role to date as Merrill, the mysterious, kohl-eyed beauty who suddenly turns up in town in a desperate attempt to understand her own troubled past. As the story unfolds, Merrill and Emma – who is shattered by her own recent loss – form a delicate bond that becomes their sanctuary from the personal crises that threaten to drown both. As Merrill becomes an oasis for Emma, who feels invisible at home, she in turn finds herself growing ever more dependent on the unconditional friendship the child provides. Paulson co-starred with Jessica Lange on Broadway last year in “The Glass Menagerie,” and opposite Annette Bening in “The Cherry Orchard” at the Mark Taper Forum in Los Angeles this spring. Shawn Hatosy, co-stars in “Swimmers” as Emma’s brother, the town’s newly-installed police officer who first encounters Merrill wandering aimlessly at the bottom of an empty pool, then falls hard for the quixotic stranger. Hatosy previously co-starred in such independent films as “Outside Providence, and Nick Cassavetes’ “Alpha Dog,” which debuted at the 2006 Sundance Film Festival. The Balboa Theater is located at 3630 Balboa Street at 37th Avenue in San Francisco; 415221-8184; The Elmwood Theater is located at 2966 College Avenue in Berkeley; 510-540-6482. For more information about the film, visit ***

MEDIA CONTACT: A press kit and preview of available JPEGs is available at Lyla Foggia foggia public relations (661) 259-6561

Initial Delivery Items A. PUBLICITY MATERIAL 1. Key Art – Physical delivery of key art in fully layered photoshop files on CD. 2. Advertising/Publicity Material – All publicity which may have been prepared in connection with the Picture, but not less than one complete set of all advertising materials available, including, without limitation, press books, posters and publicity material. In addition, a written report of all additional photography in existence, including, without limitation, special shoots, photo agency art, etc. These materials may be delivered on CD or DVD. 3. Artwork Images - Physical delivery of fifty (50) or more color digital images of cast/characters as they appear in the film (no behind-the-scenes) with a corresponding index in English including appropriate captions identifying the subject and scene depicted in each digital image. Any and all approvals or other authorizations that may be required in connection with the use of said digital images will be secured and delivered. These materials may be delivered on CD or DVD. 4. Press Kits – Three (3) press kits which include a synopsis, production notes, biographies for key players, director, producer, screenwriter, and credit list of both cast and crew (and their English translations, if in a foreign language) 5. Electronic Press Kit – If available, delivery of EPK Materials on Digital Betacam Videotape.

B. DOCUMENTATION MATERIAL 1. E&O APPLICATION – Completed and signed application for Producer’s Errors & Omissions insurance (Distributor to supply form). 2. CAST/TALENT/PERSONNEL AGREEMENTS – Fully executed agreements for all cast, crew and other entities and related personnel who have been accorded paid advertising and/or screen credit. For any person listed in the billing block or main titles who does not have an agreement, please deliver a signed Certificate of Ownership (form to be provided by Distributor). ANY CAST/TALENT/ PERSONNEL AGREEMENT CONTAINING, WITHOUT LIMITATION, EXCLUDED AD OBLIGATIONS, PAID AD, KEY ART, OR ON-SCREEN CREDIT OBLIGATIONS, ARTWORK TITLE ENTITLEMENTS, CREDIT TIES, NAME AND LIKENESS APPROVALS OR OTHER RESTRICTIONS OR TIES SHALL BE DELIVERED TO DISTRIBUTOR WITHIN TEN (10) BUSINESS DAYS OF EXECUTION OF THIS ACQUISITION AGREEMENT. If there are no such credit obligations included in these agreements, they may be delivered at any time up to the Initial Delivery Date. (a) Cast/Talent/Personnel Agreements must include a waiver of injunctive relief, “work-madefor-hire” language, and allow for the use of name and likeness. If such agreements do not include the aforementioned language, Licensor will obtain signed Certificates of Ownership (form to be provided by Distributor).

(b) Composer Agreements shall include the above-mentioned language and provide for underscoring on an all media buy-out basis (Distributor to provide a Composer Certificate of Ownership upon Licensor’s request), and evidence of payment shall be delivered for each composer of underscoring for the Picture. (c) Agreements shall be delivered with an accompanying English translation if not in English originally. (d) In the event that the Cast/Talent/Personnel Agreements for the Picture do not meet the above requirements and Licensor delivers Certificates of Ownership, Licensor will also deliver the defective Personnel Agreements if these agreements include any credit obligations, artwork title obligations, name and likeness provisions, or any other provisions that would have any bearing on the creation of artwork or marketing materials for the Picture. 3. CREDIT INFORMATION – Statements and/or lists in English summarizing all contractual credit/likeness obligations applicable to the Picture, including, but not limited to the following. Credits must comply with all applicable guild and union requirements, and any and all guild related waivers or determination must be obtained prior to Delivery. LICENSOR MUST INFORM DISTRIBUTOR OF ANY EXCLUDED AD OBLIGATIONS, PAID AD, KEY ART OR ON-SCREEN CREDIT OBLIGATIONS, ARTWORK TITLE ENTITLEMENTS, CREDIT OR LIKENESS TIES, NAME AND LIKENESS APPROVALS, LOGO OBLIGATIONS, OR OTHER RESTRICTIONS, OBLIGATIONS, OR TIES RELATING TO THE CREATION OF ARTWORK OR MARKETING MATERIALS, WITHIN TEN (10) BUSINESS DAYS OF EXECUTION OF THE ACQUISITION AGREEMENT. (a) Screen Credits (i) A list of all contractual screen credit obligations. (If there is no contractual obligation to accord a certain credit which has been accorded on screen, the “obligation” should be stated as “Licensor’s Discretion”). (ii) A typed list of the final main and end credits as they ultimately appear on screen. (b) Paid Advertising Credits (i) Artwork title credit obligations, inclusive of proper positioning information. (ii) Billing block credit obligations, inclusive of proper positioning information. (iii) Excluded advertising credit obligations. (iv) Any and all logos that Licensor is contractually obligated to include below the billing block in paid advertising, together with the underlying agreements substantiating any logo obligations, such as Sales Agency Agreements and Financing Agreements. Any such underlying agreements shall be delivered to Distributor within ten (10) business days of

execution of the Acquisition Agreement. Logos must be provided on CD as “.psd” files in full color and B/W. (c) Key Art Obligations & Photograph/Likeness Approvals (i) A list of all cast members who are contractually entitled to appear in the key art and paid ads for the Picture, and/or whose contractual entitlement is tied to one or more other persons in the Picture, and/or who have been granted approval rights (as well as specifics regarding those rights) over the photographic images or artistic likenesses used in any artwork or marketing materials for the Picture (e.g. percentage of kills alone, percentage of kills with one other person, etc.). 4. STATEMENT OF THIRD PARTY RESTRICTIONS – If requested, a statement in English from Licensor listing all dubbing, subtitling, editing, cutting and any other third party restrictions applicable to the Picture of which Distributor and its licensees must be aware. 5. CHAIN OF TITLE (a) All documents evidencing proof of ownership and all documents evidencing proof of payment in connection with any transfer of rights (including, but not limited to, Writer Agreements, Option/Purchase Agreements, Assignments of Copyright; Assignments of Rights, etc) (translated into English if not in English originally); (b) A filed U.S. Copyright Registration form for the Screenplay. If this form has not yet been submitted to the US Copyright Office, please allow us to approve the filing beforehand in order to avoid the time and cost associated with incorrect filings. In the event that the endorsed registration form has not yet been received from the US Copyright Office (USCO), we will accept on a provisional basis a filing packet consisting of: •

a copy of the Form PA as filed, a copy of proof of payment, and a copy of the courier receipt evidencing date of submission. When received, a copy of the endorsed Form PA must be sent by Licensor to Distributor; or a copy of the Form PA as filed, a receipt from Thomson CompuMark or other filing agency evidencing date of filing, and a copy of proof of payment. When received, a copy of the endorsed Form PA must be sent by Licensor to Distributor; or a copy of the electronic Service Request Detail from the USCO reflecting the online filing of a Form CO (equivalent to the old Form PA), a copy of the e-mail payment confirmation, a copy of USCO bar-coded Deposit Copy Shipping Slip for Deposit Copies Sent to Accompany an Electronically Submitted Application, and a copy of the FedEx Airbill evidencing shipment of the DVD to the Copyright Office. When received, a copy of the endorsed Form CO must be sent by Licensor to Distributor.

(c) A filed U.S. Copyright Registration form for the Motion Picture. If this form has not yet been submitted to the US Copyright Office, please allow us to approve the filing beforehand in order to avoid the time and cost associated with incorrect filings. In the event that the endorsed

registration form has not yet been received from the US Copyright Office (USCO), we will accept on a provisional basis a filing packet consisting of: •

a copy of the Form PA as filed, a copy of proof of payment, and a copy of the courier receipt evidencing date of submission. When received, a copy of the endorsed Form PA must be sent by Licensor to Distributor; or a copy of the Form PA as filed, a receipt from Thomson CompuMark or other filing agency evidencing date of filing, and a copy of proof of payment. When received, a copy of the endorsed Form PA must be sent by Licensor to Distributor; or a copy of the electronic Service Request Detail from the USCO reflecting the online filing of a Form CO (equivalent to the old Form PA), a copy of the e-mail payment confirmation, a copy of USCO bar-coded Deposit Copy Shipping Slip for Deposit Copies Sent to Accompany an Electronically Submitted Application, and a copy of the FedEx Airbill evidencing shipment of the DVD to the Copyright Office. When received, a copy of the endorsed Form CO must be sent by Licensor to Distributor.

(d) Title Report dated within sixty (60) days of Delivery, and a Title Opinion, if available; (e) Copyright Report dated within sixty (60) days of Delivery; and (f) Two (2) original Certificates of Authorship. 6. IRS FORMS: • •

For domestic licensors, one (1) completed and signed original Form W-9. For foreign licensors, one (1) completed and signed original Form W-8BEN. Distributor will provide all foreign licensors with full instructions on how to correctly complete this form.

7. FACT SHEET: One (1) completed original Fact Sheet in English.

COMPLETE DELIVERY ITEMS A. FILM AND VIDEO MATERIAL: 1. Pre-Print Elements (a) Lab access to the 35mm fully assembled original negative, if available (b) Lab access to the 35mm Interpositive of the full feature, if available 2. Videotape Elements (a) Physical delivery of the following high definition (“HD”) videotape masters: For 1.85:1 or 1.78:1 films:

HD Cam SR 16:9 (1.33 side-matted) HD Cam SR 16:9 full frame (1.78) For 2.35:1 (or other scope measurement) films: HD Cam SR 16:9 (1.33 side-matted) HD Cam SR 16:9 full frame (1.78) HD Cam SR 16:9 (2.35) Each HD videotape master shall be recorded at 1080/23.98Psf. Each HD videotape master shall have the 2-track LT/RT printmaster on channels 1 and 2, and the 2-track LT/RT M&E on channels 3 and 4, and the 5.1 Printmaster on Channels 5-10. Textless backgrounds for the main, insert and end titles shall appear sixty (60) seconds after Picture in each videotape master. The textless backgrounds shall be color corrected to match the corresponding texted shots. (b) Physical delivery of a Digital Betacam NTSC broadcast quality 16×9 anamorphic videotape master (respecting the original aspect ratio of the film) and 4×3 1.33:1 master with stereo mix on channels 1 & 2 and separate music and effects on channels 3 & 4 and the textless background sections included after the Picture. These elements may not be conversions. (c) Physical delivery of the following Sound Elements on DVD-R, DA-88 or Magneto Optical Disc or Harddrive conformed to the final version of the Picture: Stereo 2 track Printmaster 5.1 Printmaster 5.1 M & E printmaster w/ Dialogue Guide on Ch. 7 and Optional 5.1 M & E printmaster w/ Dialogue Guide on Ch. 7 and Optional Audio on Ch. 8 Separate Dialogue, Music and Effects Stereo Stems Separate Dialogue, Music and Effects 5.1 Stems 3. Promotional and DVD Added Value Materials – Licensor shall deliver a minimum of twenty (20) minutes of added value materials for promotional purposes or for the DVD release, including, without limitation, all outtakes, deleted scenes, and trims, soundtracks (whether negative, positive or magnetic) produced for or used in the process of preparing the Picture, “Making of”/ “Behind the Scenes” featurettes, storyboards, interviews, alternate openings/endings, or commentaries. Additionally, Licensor shall deliver all added value materials resulting from any theatrical release of the Picture, whether inside or outside the Territory. Should Distributor elect to create extra commentary or other added value content in

connection with the video release of the Picture, Licensor shall cause the individuals listed in Paragraph 1 of the Agreement (i.e., the director, stars, and producers of the Picture) to render services in connection therewith. Delivery of A/V materials shall be on HDCam (if available) with Stereo Comp on Channels 1&2 and Separate Production audio and Music as .wav/.aiff files delivered on DVD. 4. Foreign Language Dub Versions – (a) If available, physical delivery of the Neutral Spanish (i.e. non-Castilian) overlay. (b) If available, free access to the Neutral French (i.e. non-Canadian) overlay. 5. SHOOTING SCRIPT (a) Physical delivery of the final shooting script of the Picture. (b) If available, physical delivery of the final shooting script of the Picture on disk. 6. DIALOGUE CONTINUITY/SPOTTING LIST Combined dialogue action continuity and spotting list containing all spotted dialogue, narration, sound vocals, all opening titles and complete end credits appearing in Picture, as well as a cutby-cut description of the action of the Picture in its final form, with footage and frame counts showing footage in, footage out and total duration of each line of dialogue (translated into English if not in English originally). B. TRAILER MATERIAL: 1. Videotape Elements (a) Physical delivery of a Digital Betacam NTSC broadcast quality videotape master with stereo mix (if applicable) on channels 1 & 2 and separate music and effects on channels 3 & 4 and the textless background sections (if applicable) included after the Picture. (b) Physical delivery of Sound Elements on DA-88 or Magneto Optical Disc conformed to the final version of the trailer, with separate Narration, Dialogue, Music, and Effects tracks. 2. Foreign Language Dub Versions – If available, free access to the Neutral Spanish (i.e. nonCastilian) overlay. 3. Foreign Language Dub Versions – If available, free access to the Neutral French overlay. 4. Dialogue Continuity/Spotting List – Required only if Distributor uses Licensor’s Trailer. Combined dialogue action continuity and spotting list containing all spotted dialogue, narration, sound vocals, all opening titles and complete end credits appearing in Trailer, as well as a cut-by-

cut description of the action of the Picture in its final form, with footage and frame counts showing footage in, footage out and total duration of each line of dialogue (translated into English if not in English originally).

C. DOCUMENTATION MATERIAL 1. MUSIC DOCUMENTATION (a) Music Cue Sheet – A Music Cue Sheet in English stating for each composition in the Picture: the title, the composer(s), publisher(s), copyright owner(s), performer(s), arranger(s), usage, performing rights society, timecodes indicating where each cue appears in the Picture (“ins” and “outs”), as well as the film footage and running time. (b) Music Licenses – Fully executed synchronization and master use licenses on an all media buy-out basis for each item of licensed music used in the Picture with the Term stated as “in perpetuity” and the Territory stated as “the world” for each license. Evidence of payment under each synchronization and master use license and composer agreement shall also be delivered. Licenses and Agreements shall be translated into English if not in English originally. 2. CERTIFICATE OF ORIGIN – One (1) notarized original of a Certificate of Origin. 3. MPAA RATING – A paid rating certificate from the Motion Picture Code and Rating Administration of America, Inc., no more restrictive than R. 4. GUILD AFFILIATION LETTER – A letter in English, signed by the producer or director of the Picture setting forth all United States and foreign guilds and unions whose members rendered services on the Picture (for specific guilds, see below). If none, then a letter in English, signed by the producer or director of the Picture setting forth that no members of any United States or foreign guilds and unions rendered services on the Picture. (a) SAG: If the Picture was produced under the jurisdiction of SAG: Completed copies of the SAG “Final Cast Report” covering all actors engaged on the Picture, including without limitation actors rendering singing, looping and “voice-over” services in post-production. (b) DGA: If the Picture was produced under the jurisdiction of the DGA: The name, social security number, loanout information (where appropriate) and job description of all DGA members engaged on the Picture; and the DGA approval of the final main and end title credits, signed by an authorized representative of the DGA. (c) WGA: If the Picture is subject to WGA jurisdiction: The name, address, social security number and loan-out information (where appropriate) for all writers receiving credit on the Picture; a copy of the final WGA notice of final determination or credit on the Picture, signed by an authorized representative of the WGA; and the WGA approval of the final main and end title credits, signed by an authorized representative of the WGA.

5. ADDITIONAL AGREEMENTS / STATEMENTS – As applicable, copies of all agreements and documents relating to the Picture not delivered as part of Initial Delivery delivered with an accompanying English translation if not in English originally, including, but not limited to: (a) Minor confirmations: If applicable, and to the extent required by applicable law, all talent agreements for all minors shall be confirmed by the court. In the event that court confirmation is not applicable, a letter from an attorney in the jurisdiction in which principal production took place stating that the agreements are valid, binding and enforceable under the laws of said jurisdiction shall be provided. (b) Nudity Riders: If applicable, all actors appearing partially or wholly nude on-screen, or in simulated sex scenes, must give written consent to such nudity. If Talent Agreements do not include nudity language, Licensor will obtain signed Nudity Riders (form to be provided by Distributor). However, if an actor is a member of the Screen Actors Guild (SAG), a SAG Nudity Rider must be provided even if language pertaining to nudity appears in Talent’s contract. (c) Clip Documentation: If clips from other films are used in the Picture, Licensor shall provide copies of all necessary Clip Licenses, or permissions granting the rights to use the clips in the Picture (translated into English if not in English originally), and a proof of payment for each clip used. Licensor shall also deliver a Clip Cue Sheet in English stating for each clip used in the Picture: the title of the original work, the licensor of the clip, the film footage and running time, and timecodes indicating where the clip appears in the Picture (“ins” and “outs”). (d) Releases – If requested, signed releases from all persons identified by name or likeness in the Picture, who do not have signed contracts. (e) Coverage – If requested, access to the original negative, answerprint, work picture, magnetic or digital soundtracks, filled music and effect tracks and the original sound recordings, of all alternative takes, cover shots looped dialogue lines and other materials (collectively referred to as “coverage”) for the purpose of re-transferring and / or conforming to rating requirements, broadcast standards and practices and censorship. (f) Dolby License – If applicable, a copy of the executed license agreement in full force and effect between the producer and Dolby Laboratories, Inc. in connection with the Picture, as well as a copy of the license with the appropriate digital entity (e.g. SRD, Sony Digital/SDDS or Digital Theater Systems). (g) Laboratory Access Letter – If delivering 35mm pre-print materials, Laboratory Access Letter in the form attached as Exhibit “E” to this Agreement, signed by the Licensor and each respective Laboratory and/or facility having possession of the preprint and sound materials for the Picture (all versions) and trailer(s), including film, sound and storage facilities. (h) Negative Cost Statement – If delivering 35mm pre-print materials, a one line statement in English of the final negative cost of the Picture and signed by an officer of Licensor or a completion guarantor.

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