Today’s guest post is from filmmaker Matthew Porterfield. Matt’s contributed before, and his feature PUTTY HILL opens tomorrow. We had the good fortune to screen it recently at our screening series and had a packed house that all stayed for the Q&A. Matt blends a variety of techniques, from documentary and observational camera, to the more experimental. A portrait of a small town but through a Nan Goldin-ish eye, it is not one to miss.
It’s been a long and winding road, but this week PUTTY HILL opens theatrically in New York City.
PUTTY HILL spent the last year touring festivals and was picked up along the way by Cinema Guild, who will handle all U.S. rights, beginning with a theatrical rollout on February 18th at Cinema Village. We’re very happy to be in such strong hands and feel confident that our timing is right: if Sundance is a barometer for the state of indie film, audiences are embracing stories about America outside the mainstream.
That said, it’s hard for a little film to get noticed without substantial buzz. I remember back five years, when my first feature, HAMILTON (2006), opened at Anthology Film Archives the same day HALF NELSON hit theatres. I went around the LES with my wheat paste and posters trying desperately to find some free space beside the ubiquitous Ryan Gosling, hoping to share some of that limelight. Or, I think of Stockholm, when HAMILTON played right after a sold- out screening of OLD JOY and I thought, this is good: a perfect double feature until OLD JOY ended and everyone left the theatre but me and 11 people (one of them Ryan Fleck). Point is: I like these movies and I think audiences that like these movies will like my movies.
So how do I connect with them?
