g The Film Panel Notetaker: March 2007

Friday, March 30, 2007

Music in Documentaries

3/29/07 Music in Documentaries
Covered creative decision-making and practical issues with finding music.

Ron Sadoff
(Moderator) is Director of the Film Scoring Program at NYU’s Steinhardt school.

Andy Teirste (Composer) magical, ingenious, superbly crafted work inspired by the rich and diverse folk roots of modern culture.

Alison Ellwood (Filmmaker)is a documentary director, producer and editor (Enron, The Smartest Guys in the Room).

Amanda Pollak (Filmmaker) has been producing and researching documentaries for Public Television since 1992 (PBS’ American Experience).

Christine Kozler has music clearance and licensing company LALA License servicing music licensing for film, TV, advertising and new media.

Conducted by the NYWIFT and co-sponsored by NYU Dept. of Journalism

Two main themes in the music in documentaries discussion was how music is an all-out collaboration and ultimately the cohesion for a film. I personally never assumed you could acquire music or get a score written just to then wash your hands of how it plays into your film, but each panelist had a film-music story that was relevant to the discussion.

I loved the set up of the event, which begun with watching relevant scenes and then discussing how the music came about logistically and creatively. Sometimes with copyright considerations and time and budget constraints, the score or soundtrack can be compromised.

At first, I felt a little lost for who was who on the panel. There were not tent cards identifying anyone and the moderator did not point out for whom he was reading the bio—and then just read the bio from off the page handed to us. Whatever comprehension issues I may have, I can read so that was a bit uninteresting. But what he did do really well was critique the music in the scenes technically and then define exactly how it served the scene—be it instrumentations, rhythms, or styles.

Andy Teirst had an enormous amount of experience and mature thoughts on the compositions in documentaries. He said that the subject of a documentary comes with its own culture, history and music— how much of this do one access for a particular sotry? How can the music be the connecting tissue? The tempo of the music helps serve as a rhythm for the edit. The clips he brought demonstrated this beautifully.

Amanda Pollack’s latest film was for PBS’ American Experience on the history of New Orleans music. They shared a scene about Tennessee Williams, where they had Irvin Mayfield improv trumpet as it played out. It was really awesome. For the other scenes, they were able to do this in addition to pulling from archival music that was brought to them.

Alison Elwood said it is tough to get attached to music emotionally, and then have to let it go for copyright reasons. But sometimes you lay it in just to communicate what you’re looking for. Her clip was a trailer for her next project, Plane Trap. The selection was eclectic and was clearly used just as placeholders, but that spawned a quick exercise of what sound a composer could pick out as the through thread and create the score from that.

Christine Kozler had an interesting perspective. She cited the famous Mad Hot Ballroom scene where the Rocky-themed ring tone interjected a scene perfectly, but then was hellacious to clear. Kozler was licensing music for EMI at the time. It was a turning point in her wanting to be on the licensing side along with the producer for Mad Hot Ballroom who was so persistent and annoying they just wanted to work it out so she would go away. I related to her a bit since I was an office manager at a boutique licensing company.

She went over a few terms we all should know about music licensing:

MFN (Most Favored Nations): a business practice than can affect all the terms of a license. It means that you cannot treat the owner or licensor of content less well than any other owner or licensor of content used in a similar manner.

Publishing: The copyright on the melody and lyrics.

Master: The recording of the song.

If you have the recording rights to a song, you also need publishing rights. Just because your friends do a cover of Thriller doesn’t mean you can use it; you still need the publishing rights cleared. Speaking of Michael Jackson, if you’re at all familiar with the brouhaha between him and Paul McCartney, it’s the fact that Michael got the publishing rights to Beatles music. It proved to be a good investment for him since selling off those rights for commercials are probably what’s paying the bills.

Anyway, Kozler pointed out that often, artists you approach for their already-recorded music don’t necessarily want their message mixed in with whatever message your documentary has in it.

There was a mention that PBS generally doesn’t have to heavily license music unless it goes to DVD, but I would confirm that.

Generally when clearing music for your documentary, it’s not too much to ask for 1 year worldwide festival rights. Then you’re in a chicken/egg situation if faced with HBO or theatre distribution. How does a musical artist commit to an agreement when many documentaries don’t have up-front deals? There’s no one way to really figure this out ahead of time.

Also, it’s high maintenance to need rights and licensing to music in your film because it’s an administrative mess for any distributor as it has to be tracked for years. It’s not even about the cost of the licensing but the nightmare to keep records of.

In the Q&A, I found an interesting moment of defining fair use. It is not fair use if you’re putting a piece of music in the documentary for theatrical release where people pay—it’s just NOT FAIR USE. In the Rocky-song example, commentary wasn’t on the song itself. It was enhancing the work and just can’t and won’t be viewed as fair use.

Music is costly to license and composing over music in the background of a pertinent scene is a nightmare. Ideally, public domain is the way to go. Composers, get your BMI/ASCAP rep to be your champion especially for international negotiations.


Thursday, March 29, 2007

2007 Tribeca Talks Panel Series Announced

The Tribeca Film Festival announced today its 2007 Tribeca Talks Panel Series. The Film Panel Notetaker will be at several of these panel discussions, so please be on the lookout for either me or my fellow contributor AMPeters during the series and at the overall festival. If you may be at any of the panel discussions, we welcome you to share your own notes. Hope to see you there.

Here's the schedule for the 2007 Tribeca Talks Panel Series:

If it bleeds, it leads. Blood, guts and severed limbs have historically been box office cash cows but as Capitol Hill turns up the heat on television violence, studios and filmmakers wonder…will the big screen be next on the chopping block?
PANELIST: Jim Steyer (CEO, Founder, Common Sense Media)

DATE: Thursday, April 26
TIME: 7 pm

They act. They write. They produce. And they direct. We sit down with some of Hollywood’s super hyphenates—those multi-tasking film stars who have become media conglomerates of their own.

PANELISTS: Eva Mendes (Live!, Hitch), Julie Delpy (2 Jours A Paris, Before Sunrise), Julia Stiles (Raving, Save The Last Dance,), Rosario Dawson (Kids, Descent) and Mary Stuart Masterson (The Cake Eaters, Fried Green Tomatoes)

DATE: Friday, April 27
TIME: 7 pm

Statistically, the person most likely to get attacked by a shark is the one with the most flesh exposed. Get tips like this and more when we sit down with some seriously adventurous filmmakers—those who immerse themselves in the elements, so that you don’t have to! Let’s compare scars.

PANELISTS: Josh Bernstein (Digging For the Truth) Les Stroud (Survivor Man) and Philippe Cousteau, Jr. (President, EarthEcho International, Ocean’s Deadliest).

MODERATOR: Boyd Matson (Wild Chronicles, National Geographic Today)

DATE: Saturday, April 28
TIME: 1 pm

Before, he was evil and my enemy; now, he is evil and my friend.
Alec Leamas, The Spy Who Came in From the Cold

Wondering what side that G-Man’s on? Or if she’s a sparrow? We join real life secret agents and the ones that play them to crack the code behind the public’s fascination with espionage on the big screen.

PANELISTS: Milt Bearden (CIA consultant on The Good Shepherd), Robert Baer (Syriana), and Doug Liman (The Bourne Identity, Mr. & Mrs. Smith)
MODERATOR: Christopher Isham (ABC News)

DATE: Saturday, April 28
TIME: 7 pm

Broken bones, torn ligaments, concussions. Tiki Barber’s tenure as the New York Giants' premier running back may prove to be the perfect training ground for a career in entertainment and news. Jonathan Tisch sits down with the master of rushing and receiving to discuss what the future holds for this neo-renaissance man.

DATE: Sunday, April 29
TIME: 1 pm

And they are not supposed to be. A recent study out of Stanford University suggests that women are not, well, funny. We beg to differ and our guests are hilarious proof.

PANELISTS: Rachel Dratch (Saturday Night Live), Rachael Harris (Notes From the Underbelly, Evan Almighty)

DATE: Sunday, April 29
TIME: 4 pm

Today, you are the master of your own domain, the creator, the conjurer. Whether in Beirut, Bangkok or Brooklyn, your audience is a webcam away. Our panel of web-celebs and content creators step out from behind their laptops to take a look at the revolution and responsibility of this socio-technological phenomenon and what it means for the future of creativity.

PANELISTS: Charles Leadbeater (Author, We-think, Up the Down Escalator) Brent Weinstein (President, UTA Online) Kathleen Grace (Co-Creator: The Burg), Jonathan Lethem (The Promiscous Materials Project, You Don’t Love Me Yet: A Novel), and Jerry Paffendorf (Electric Sheep Factory, Second Life).

DATE: Monday, April 30
TIME: 7 pm

From Blood Diamond and The Last King of Scotland to both real and fictionalized accounts of refugees in Sudan and Sierra Leone horrendous stories from the world's most devastated places have become a kind of cultural cache. Can the visibility afforded by pop culture actually create real-life change?

PANELISTS: Suliman Baldo (International Center for Transitional Justice), Ishmael Beah (A Long Way Gone: Memoirs of a Boy Soldier) Terry George (Hotel Rwanda, Reservation Road) Christopher Quinn (Director, God Grew Tired of Us) John Dau (God Grew Tired of Us, Director of Sudan Project, Direct Change, Inc.)

DATE: Tuesday, May 1
TIME: 7 pm

Three time Grammy® winner, multi-platinum musician, actor, record label executive and producer. Chris "Ludacris" Bridges is one of today's fastest rising screen talents. With critically acclaimed performances in Crash, Hustle & Flow and Law & Order SVU, Bridges is soon to be seen in the comedy film Fred Claus. He sits down with Vanity Fair's Lisa Robinson to talk about music, movies and more.

DATE: Wednesday, May 2
TIME: 7:30 pm

In my stars I am above thee; but be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon 'em. - Twelfth Night

Ah, to be famous. The money, the lifestyle, the paparazzi picking through your garbage cans….With the price tag on interviews, pictures, anything having to do with a celebrity growing higher each day, Tribeca Talks gets serious about fame. What drives it, who wants it and is it something you are born to have? Our panel of scientists and damage-control experts discuss the psychological roots behind the need to swivel necks and the collateral damage that comes with being a household name.

PANELISTS: Jake Halpern (Author, Fame Junkies), Robert Millman (Psychologist, Acquired Situational Narcissism) Bruce Dern (They Shoot Horses Don't They?, Things I've Said, But Probably Shouldn't Have: An Unrepentant Memoir), Janice Min (Editor In Chief US Weekly).
DATE: Thursday, May 3
TIME: 7pm

Alfred P Sloan Foundation presents:

Drawing on several new films at this years festival--Vitus, Nobel Son and Eye of the Dolphin--and such acclaimed movies as A Beautiful Mind, Proof, Good Will Hunting, The Aviator, March of the Penguins and more Tribeca Talks brings filmmakers and scientists together for an entertaining conversation about science in the movies.

DATE: Saturday, May 5th
TIME: 1 pm

On DVD: Brooklyn Independent Vol.1 (2007)

Brooklyn Independent Vol. 1 was just released on DVD through Indiepix. For a little background info, the Brooklyn Independent Film Series is run by Joe Pacheco. I attended a screening of Joe's documentary, As Smart as They Are, last year at the E.Vil City Film Festival. You can read all about that here. In the mean time, below you'll find info about the new Brooklyn Independent Vol. 1 DVD and how to order it. It has a great bunch of shorts, some of which I've seen at Barbes. Here's the Indiepix News Release:

IndiePix.net is elated to announce that after months of hard work, we are releasing the First Volume of the Brooklyn Independent Cinema Series. Joe Pacheco, the tireless curator of the Brooklyn Independent Cinema Series, has elected 10 stellar shorts film for this DVD compilation. They have all played at major festivals and won significant awards but, most importantly, they have played at Pacheco's screening series, which takes place every other Monday at Barbes, in the Park Slope neighborhood of Brooklyn.

Included on the disc are the following films: TRUE STORY, Directed by Stephanie Via; GRAND LUNCHEONNETTE, Directed by Peter Sillen; BARBARA LEATHER, Directed by Seth Lind; LA VIE D'UN CHIEN, Directed by John Harden; EGG, Directed by Benh Zeitlin; JETTISON YOUR LOVED ONES, Directed by Ray Tintori; SPIN, Directed by Jamin Winans; PATTERNS, Directed by Jamie Travis; TWITCH, Directed by Leah Meyerhoff; and VACATIONLAND, Directed by Lance Edmands.

Ranging from a documentary about a historic lunch counter to a science fiction film in which a man transforms himself into a canine, these films all reflect unique, up-and coming visions on the independent film landscape. And the filmmakers have proven themselves artists to watch; Ray Tintori's new short, DEATH OF A TINMAN, and Jamie Travis' latest, THE SADDEST BOY IN THE WORLD, both played to raves at both Sundance and South by Southwest Film Festivals!

To order your copy of Brooklyn Independent Vol. 1 for a mere $19.95 visit http://www2.indiepix.net/film/2523

Wednesday, March 28, 2007

On DVD: Can Mr. Smith Get to Washington Anymore?

Frank Popper's documentary, Can Mr. Smith Get to Washington Anymore, recently became available on DVD. If you haven't already seen it, I highly suggest it.

I went to a screening of it last year in New York and took notes at the Q&A. Here are those notes again:

You can order the DVD on the film's website at:

Tuesday, March 27, 2007

14th Annual New York African Film Festival schedule of events

On Monday, April 9, I will attend and take notes at a panel discussion during the 14th Annual New York African Film Festival. Below are details for the entire festival:


Celebrating 50 Years of Independence and Cinema:

April 4th – April 12th; April 20th - 21st; May 25th -28th


As the fiftieth anniversary of the independence of Ghana— the first sub-Saharan African nation to gain Independence from colonial rule — 2007 marks an important milestone in Africa’s history. Co-presented with the Film Society of Lincoln Center, the 14th New York African Film Festival, will reflect this momentous anniversary by paying attention to cinema which engages the struggles for liberation; seeks to undo the cultural legacy of colonialism; and contributes to shaping the political, historical and cultural identities of relatively newly independent nations and cinemas in the intervening years. In addition to commemorating this milestone celebration with a selection of rare archival footage of early post independence nations, new works by talented directors who represent the future of African cinema will also be screened.

The festival runs at the Film Society of Lincoln Center’s Walter Reade Theater, April 4 through April 12. The second presentation of the NYAFF will be held at the Bronx Museum of the Arts , April 20 and 21. The festival concludes with screenings at BAMCinematek (Brooklyn Academy of Music) from May 25 through May 28.

2007 NYAFF Schedule:

April 4 – 12, 2007 Walter Reade Theater, Lincoln Center

April 20- 21, 2007 The Bronx Museum of the Arts

May 25 – 28, 2007 BAM Rose Cinemas, Brooklyn Academy of Music

The program for the 2007 African Film Festival will also include themes and highlights such as:

§ A panel discussion with notable African Diaspora scholars and filmmakers on Monday, April 9 will offer audiences and filmmakers alike the opportunity for further rumination on the complex and multifaceted role of cinema in post-colonial, national and pan-African liberation.

§ Recounting History Beyond Documentary—Films such as Jean Marie Teno’s The Colonial Misunderstanding and Rostov-Luanda by Abderrahmane Sissako, demonstrate the myriad ways African filmmakers have explored some of Africa’s complex historical issues outside the confines of traditional documentary cinema. Sissako, whose highly-acclaimed current release Bamako was a hit of the 2006 New York Film Festival, has been quoted as saying that Rostov-Luanda, (the precursor to Bamako), is his favorite film.

§ Mid-Career Retrospective—The progressive films of Burkinabè director Fanta Regina Nacro will be highlighted. Nacro’s feature, Night of Truth, is a raw fable that powerfully represents the tragedy of countless civil conflicts plaguing contemporary Africa.

§ “Ethiopia: Then and Now”—Ethiopian films will include 2007 Berlin Film Festival Crystal Bear Award and 2007 FESACO short film prizewinner Menged, by Daniel Taye Workou. Menged will be preceded by Ethiopian Campaign, a 1941 archival film on the return of Haile Selassie to Abyssinia after his exile during the Italian occupation.

§ “Women of Zimbabwe” —The films of female directors from Zimbabwe will include: Growing Stronger, by Tsitsi Dangarembga, which examines the lives of two very different but remarkable women living with HIV: ex-model Tendayi Westerhof and resilient AIDS activist Pamela Kanjenzana.

§ “Young Rebels”—The U.S. premiere of Meokgo & The Stick Fighter by South African director Teboho Mahlatsi is one of a short series from up-and-coming male directors.

§ “Hope in the Time of Crisis” —Rape as a weapon of war and divided families, the subjects of A Love During the War, (U.S. premiere and mention spéciale du jury, Vues d’Afrique and FESPACO 2005), are only some of the human right issues being taken up in this series, which is co-presented with the Human Rights Watch International Film Festival.

§ A Photography Exhibit - “African Cinema in Pictures,” an exhibition of photographs by Antoine Tempé and Stephan Zaubitzer, will be presented under the banner “Celebrating 50 Years of African Independence and Cinema” in the Frieda and Roy Furman Gallery at the Walter Reade Theater. The exhibit, open daily from March 19 through April 26 from 2 p.m. to 8 p.m., will feature Tempe’s black and white portraits of personalities from the African movie industry and Zaubitzer color images of the movie theaters of Burkina Faso.



Friday, March 23, 2007

Fair Use for Documentary Filmmakers – March 22, 2007

Notes from last night’s Fair Use for Documentary Filmmakers presented by NYWIFT are provided by guest notetaker AMPeters, director of NO Cross, NO Crown, timely and engaging feature documentary that examines whether New Orleans’ music and culture will survive the aftermath of Hurricane Katrina.

Fair Use for Documentary Filmmakers – March 22, 2007
What exactly is Fair Use and when is it fair to use it?
By AMPeters

Rachael T. Krueger: Moderator.

Laura Fleury: Senior Director of Non-Fiction and Alternative Programming at A&E.

Laura Malone: Vice President and Corporate Counsel at Getty Images.

Thea J. Kerman: Attorney for the entertainment, publishing, merchandising, toy and licensing industries.

Stacie O’Beirne: Entertainment Insurance Broker at DeWitt Stern Group.

Lesli Klainberg: Filmmaker and founder of the production company, Orchard Films who just produced documentaries for IFC, with Indie Sex: The Series.

Barbara T. Hoffman: Attorney specializing in art, entertainment and international intellectual property law.

I attended the Fair Use for Documentary Filmmakers program sponsored by New York Women in Film and Television at the Pen and Brush Club in NYC.

The event cost $10 for non-members and it was totally worth it. NYWIFT was organized, well-staffed, and not only gave you excellent reference material, namely the “Documentary Filmmakers’ Statement of Best Practices in Fair Use” brochure, but an Accompanying DVD produced by the Center for Social Media at American University. Since the issue is ever evolving and complex, the event was sold out and attended by a variety of first-time filmmakers and veterans alike.

It was moderated with Rachael Krueger who was cordial and accessible, but also ran the evening gracefully. It was also attended by Carey Graeber President of the Board at NYWIFT who I was too shy to chat with, but just seemed awesome from where I was sitting.

We started with Barbara Hoffman who launched the discussion with the key piece of Copyright Law on Fair Use, Section 107 (excerpt):

In determining whether the use made of a work in any
particular case is a fair use the factors to be considered shall include

(1) the purpose and character of the use, including whether such use
is of a commercial nature or is for nonprofit educational purposes;

(2) the nature of the copyrighted work;

(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and

(4) the effect of the use upon the potential market for or value of the copyrighted

Hoffman cited one of her own cases, Ringgold v BET which strangely was the exact opposite of what I’d assume anyone would discuss because an artist totally nailed the network for use of her art—and won. However, this was actually a great example because it set the stage for understanding how the court ruled in favor of the artist on counts listed above in Section 107.

As filmmakers or artists, we have the constitutional right to “promote the progress of science and useful arts”. When can one claim fair use and when should we pull back? I learned the following lessons.

1). As Laura Malone said: Nothing is set in stone. I’ll address some good rules of thumb, but by no means does this translate into some kind of legal advice. And though there are guidelines, get a lawyer when looking to sell your film. Period.

2). Thea Kerman made an excellent point that though these Best Practices are a great reference-- it’s not the law. And even though you may be able to declare Fair Use, you still need to get licenses for your music, performances, photographs and footage.

3). Lesli Klainberg was an excellent panelist because her series for IFC was heavy with material she had to clear, but also, she had the heartbreaking experience of having an award winning documentary not being seen by audiences due to issues with copyright. Her practical lessons were to stick to the thesis, be specific in the interviews about what material you’re going to need to see/hear and as a general rule: try not to use more than 2% of a whole film [in the case of using clips from films]. (By the way, this “rule” is an example #1—it’s not law, but an okay rule of thumb). Be diligent and specific about when you’re using what material and for how long. Track your efforts; get releases. Though every network has their own guidelines and requirements for clearance, cover your ass early and thoroughly.

4). Stacie O’Beirne was a great choice for follow up, because she’s an insurance broker for the industry and focused on E&O insurance—Errors and Omissions. I already knew this, but I would like to emphasize it here for you guys:

You really do not need to purchase
E and O insurance until you have distribution

But that does not mean that you shouldn’t follow Klainberg’s advice—in fact—you should. O’Beirne said that if you have a legitimate Fair Use-experienced lawyer on your side, whatever releases, licenses, best efforts track records, etc. etc. will enhance your chances of getting covered. Once covered by E&O, if you or your distributor is sued, you’re insured.

Paul from AIG was in the audience and noted that Trademark is a more aggressive animal when facing the potential for getting sued so watch out.

5). Laura Fleury represented and interesting aspect of this mess in that A&E are copyright holders as well as users. As you saw in Hoffman’s case, the artist needs to be protected as well and so the network takes a very conservative view in their licensing.

If you’re interested in public domain, these guys loved this chart . It’s an awesome at-a-glance start for what is available to you for free.

If you found some of the above lessons somewhat vague and with way too many variables… that would be because that’s the nature of copyright. Never ever assume that having no release or license is okay.

I found this to be intensely informative, especially as I’m posting my feature doc, NO Cross, NO Crown. I am looking forward to the Music Panel coming up since my film has many performances and songs; so obviously, I have tons of work to do.


Monday, March 19, 2007

Shooting People's Ingrid Kopp's notes from SXSW

Ingrid Kopp of Shooting People sent me the following links to notes she took at some of the panel discussions that took place at the 2007 South by Southwest Film Festival.

Among them are:
Blogging About Film


Which Niche is Which?

Thanks for taking such good notes, Ingrid!

If anyone else would like to share their notes, please send them my way and I will post them.


Monday, March 12, 2007

2007 Tribeca Film Festival Announces Selections for Competition, Spotlight, Encounters, Midnight, Discovery, and Showcase Sections & Family Film Fest

Noteworthy News
2007 Tribeca Film Festival Announces Selections for its Competition and Spotlight Sections

New York, NY [March 12, 2007] – The 2007 Tribeca Film Festival, presented by American Express, today announced the line-ups for its World Narrative and World Documentary Feature Film Competitions as well as its selections in the Spotlight category for the sixth annual festival, taking place April 25 – May 6, 2007.

For a complete list of films selected for Competition and Spotlight, go to:

2007 Tribeca Film Festival Announces Its Encounters and Midnight Sections and Links Two Special Events to Its Restored/Rediscovered Presentations

New York, NY [March 13, 2007] – In the second of three feature film program announcements, the 2007 Tribeca Film Festival, presented by American Express, today released the line-up for its Encounters, Restored/Rediscovered and Midnight sections and two special events offering innovative combinations of images and sound.
For a complete list of films selected for Encounters and Midnight Sections and the Restored/Rediscovered Presentations, go to:
2007 Tribeca Film Festival Announces Selections For Discovery, Showcase Sections and Family Film Festival
New York, NY [March 15, 2007] – The 2007 Tribeca Film Festival, presented by American Express, today announced the third and final group of feature film selections in its Discovery, Showcase and Family Film Festival selections, for the sixth annual festival, taking place April 25 – May 6, 2007.
For a complete list of Discovery & Showcase sections and the Family Film Festival, go to:

Sunday, March 11, 2007

Bloggers on the "How to Rawk at SXSW" panel discussion

Here's a list of links to some blogs that talk about the "How to Rawk at SXSW" panel discussion that took place on Saturday at the South by Southwest Film Festival in Austin, TX. Seems like it was a fun discussion. Wish I could be there.

LAist: http://www.laist.com/archives/2007/03/10/sxsw_day_1_the_how_to_rawk_panel.php


Shake Well Before You Use:

Listening Post:



Friday, March 09, 2007


Today, I am introducing a new feature on The Film Panel Notetaker called "Note"worthy News starting with the announcement of the newly formed Tomorrow Unlimited, LLC.

"Note"worthy News:


New York, NY, March 9, 2007 — Tribeca Enterprises, the parent company of the Tribeca Film Festival and Tribeca Cinemas, and former principals of RES Media Group announced today a new venture, Tomorrow Unlimited LLC. The new division will be led by CEO Karol Martesko-Fenster and COO John Turk, along with Jesse Ashlock, Jeremy Boxer, Khris Kline, and Sam Margolius, who have all worked together at RES Media Group, which Martesko-Fenster and Turk co-founded and operated for ten years.

“We are excited to be launching Tomorrow Unlimited with a team that has created successful global experiential platforms and media properties. We believe that Tomorrow Unlimited will resonate with an important audience,” said Craig Hatkoff, Co-founder of Tribeca Enterprises. “This new venture is an important component of Tribeca Enterprises’ plan to create a network of global multi-platform properties.”

The Tomorrow Unlimited team has an extensive history of successful and critically acclaimed ventures in the arena of emerging culture and creativity. As principals of RES Media Group, an events, print, and new media entertainment company focused on digital film and lifestyle, they cultivated a diverse creative community through the acclaimed global film festival RESFEST, the bimonthly print magazine RES, regular retail and promotional DVDs, and RESLAB, a production and marketing services division which offered integrated creative solutions to a wide range of clients. Previous ventures include independent film community stalwarts indieWIRE.com and Filmmaker magazine, pioneering dot-com business journal Silicon Alley Reporter, curatorial mp3 destination Epitonic.com, and the annual college music festival CMJ.

“Tomorrow Unlimited will give voice to the grassroots of emerging creative culture worldwide,” said Karol Martesko-Fenster, CEO of Tomorrow Unlimited. “The extraordinary efforts of young talents working with new tools and techniques, new communication technologies, new concepts in multimedia creation, and perhaps most importantly, a renewed sense of hope for the promise of creative culture, offers an open door to our collective future.”

Tribeca Enterprises
Tribeca Enterprises is a diversified multi-platform media company located in New York City. Established in 2003 by Robert De Niro, Jane Rosenthal and Craig Hatkoff , the company currently operates a network of branded entertainment businesses including the Tribeca Film Festival and Tribeca Cinemas. The Company's mission is to provide artists with unique platforms to expand the audience for their works and to broaden the access point for consumers to experience independent film and media.