Hubbry Logo
ThinkFilmThinkFilmMain
Open search
ThinkFilm
Community hub
ThinkFilm
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
ThinkFilm
ThinkFilm
ThinkFilm
View on Wikipedia
from Wikipedia

ThinkFilm (stylized as TH!NKFilm) was an American film distribution company founded in September 2001. It had been a division of David Bergstein’s Capitol Films since 2006.

Key Information

On October 5, 2010, five of Bergstein's companies in the film industry — Capitol Films, ThinkFilm, R2D2, CT-1, and Capco — were forced into Chapter 11 bankruptcy by a group of creditors led by the Aramid Entertainment film investment fund seeking payment for outstanding debts of $16 million.[1][2][3][4][5][6]

Films distributed

[edit]
Title Release date
Time Out March 29, 2002
World Traveler April 19, 2002
The Mystic Masseur May 3, 2002
The Dangerous Lives of Altar Boys June 14, 2002
The Last Kiss August 16, 2002
Love in the Time of Money November 1, 2002
Gerry February 14, 2003
Spellbound April 30, 2003
Overnight June 12, 2003
The Heart of Me June 26, 2003
Julius Caesar June 29, 2003
Teknolust August 22, 2003
The Gospel of John September 26, 2003
The Event October 3, 2003
Bus 174 October 8, 2003
Love, Sex and Eating the Bones March 5, 2004
Wilbur Wants to Kill Himself March 12, 2004
The Agronomist April 23, 2004
Still, We Believe: The Boston Red Sox Movie May 7, 2004
The Story of the Weeping Camel June 4, 2004
Festival Express July 23, 2004
Bright Young Things August 20, 2004
Going Upriver: The Long War of John Kerry October 1, 2004
Primer October 8, 2004
Born into Brothels December 8, 2004
The Assassination of Richard Nixon December 29, 2004
Mondovino March 23, 2005
Dallas 362 April 10, 2005
Tell Them Who You Are May 13, 2005
Genesis May 27, 2005
Kontroll
5x2 June 10, 2005
The Last Mogul: The Life and Times of Lew Wasserman June 24, 2005
Murderball July 22, 2005
The Aristocrats August 12, 2005
The Untold Story of Emmett Louis Till August 17, 2005
Where the Truth Lies October 2, 2005
Three of Hearts: A Postmodern Family October 19, 2005
Protocols of Zion October 21, 2005
I Love Your Work November 4, 2005
Lie with Me November 11, 2005
The Boys of Baraka November 30, 2005
Fateless January 6, 2006
The Zodiac March 17, 2006
The Big Question
When Do We Eat? April 7, 2006
95 Miles to Go
Down in the Valley May 5, 2006
The King
Loverboy June 16, 2006
Strangers with Candy June 28, 2006
I Like Killing Flies July 28, 2006
10th & Wolf August 18, 2006
Looking for Kitty September 1, 2006
Half Nelson September 22, 2006
Keeping Mum October 6, 2006
Shortbus October 20, 2006
Tideland October 27, 2006
Fuck November 10, 2006
Candy November 17, 2006
10 Items or Less December 1, 2006
Off the Black December 8, 2006
Funny Money January 26, 2007
Poor Boy's Game February 11, 2007
Glastonbury February 23, 2007
Gangsta Rap: The Glockumentary March 2, 2007
The Killing Floor March 14, 2007
Life Free or Die March 30, 2007
The TV Set April 6, 2007
A New Wave April 7, 2007
Zoo April 25, 2007
Avenue Montaigne April 27, 2007
The Dog Problem
The Wendell Baker Story May 18, 2007
The Trails of Darryl Hunt June 15, 2007
The Ten August 3, 2007
The Hottest State August 24, 2007
Self Medicated August 31, 2007
In the Shadow of the Moon September 7, 2007
Lake of Fire October 3, 2007
Before the Devil Knows You're Dead October 26, 2007
War/Dance November 9, 2007
The Walker December 7, 2007
Nanking December 12, 2007
Taxi to the Dark Side January 18, 2008
The Air I Breathe January 25, 2008
Alpha Male March 18, 2008
My Brother Is an Only Child March 28, 2008
Then She Found Me April 25, 2008
The Tracey Fragments May 9, 2008
Noise
Stuck May 30, 2008
Encounters at the End of the World June 11, 2008
Roman Polanski: Wanted and Desired July 11, 2008
Young People Fucking August 29, 2008
Good December 31, 2008
Incendiary February 6, 2009
Phoebe in Wonderland March 6, 2009
Five Dollars a Day April 24, 2009

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

ThinkFilm

View on Grokipedia
from Grokipedia
ThinkFilm (stylized as TH!NKFilm) was an American independent film distribution company founded in September 2001 by former Lionsgate executives Jeff Sackman, Mark Urman, Randy Manis, and Marc Hirshberg, following Lionsgate's decision to close its New York offices and relocate to . The company quickly established itself in the competitive indie film landscape by focusing on acquiring and distributing bold, provocative independent features and documentaries that often garnered critical acclaim and awards recognition. Notable releases included the drama Half Nelson (2006), starring Ryan Gosling in an Academy Award-nominated performance as a drug-addicted teacher, and Alex Gibney's investigative documentary Taxi to the Dark Side (2007), which won the Oscar for Best Documentary Feature. Other significant titles distributed by ThinkFilm encompassed Being Julia (2004), a period comedy-drama featuring Annette Bening's Golden Globe-winning role, and The Dangerous Lives of Altar Boys (2002), a coming-of-age story noted for its irreverent humor. In 2006, ThinkFilm was acquired by David Bergstein and Ron Tutor's Capco Group for approximately $25 million, which expanded its financing and production capabilities amid a growing slate of projects. However, the company encountered severe financial challenges, including unpaid vendors and distribution disputes, exacerbated by the broader turmoil in the independent film sector during the late . By 2008, ThinkFilm had ceased most operations, effectively shuttering after just seven years, though its library of films continued to be handled by subsequent entities. Despite its brief existence, ThinkFilm left a lasting impact on the indie film world through its innovative strategies and commitment to challenging content, with many alumni going on to found influential companies such as Long Shot Factory and Tajj Media, which assist filmmakers in securing subsidies and navigating distribution. The company's approach to amplifying voices in independent cinema continues to shape the industry's evolution toward more sustainable models for provocative storytelling.

History

Founding and Early Years

ThinkFilm was established in September 2001 as an independent art-house film distributor by a group of executives who had previously worked at Entertainment. The key founders included Jeff Sackman, a Montreal-born industry veteran who served as the company's first president and CEO, Mark Urman, who later became president, and other former staff such as Randy Manis and Marc Hirshberg. This formation came amid 's restructuring, including the closure of its New York offices, prompting the team to launch a new venture focused on the North American market. The company initially headquartered in , , with additional operations in New York, positioning it as a Canadian-initiated enterprise aimed at bridging U.S. and Canadian indie film ecosystems. Under Sackman's leadership, ThinkFilm quickly established a presence by emphasizing cross-border distribution strategies, leveraging the founders' experience in acquiring and releasing specialized content. From its inception, ThinkFilm adopted a business model centered on acquiring and distributing provocative, low-budget independent films and documentaries, often targeting niche audiences through festival circuits and targeted marketing. Early releases included Laurent Cantet's Time Out in 2002, a French drama exploring themes of unemployment and deception, alongside Merchant Ivory's The Mystic Masseur and Peter Care's The Dangerous Lives of Altar Boys. The company built an early reputation with acclaimed documentaries, notably acquiring Jeffrey Blitz's Spellbound—a 2002 film following young competitors in the National Spelling Bee—which premiered successfully at festivals like South by Southwest and earned an Academy Award nomination for Best Documentary Feature in 2003. This nomination, among other festival accolades, underscored ThinkFilm's emerging success in championing innovative nonfiction storytelling.

Growth and Acquisition

During the mid-2000s, particularly from 2005 to 2007, ThinkFilm experienced significant expansion through the acquisition of several high-profile independent films that achieved commercial success and critical acclaim. Notable releases included Murderball (2005), which grossed over $1.5 million domestically and earned an Award nomination for Best Documentary Feature. Similarly, Half Nelson (2006), starring , generated approximately $4.9 million in worldwide earnings and secured an Oscar nomination for Gosling in the category. These titles, along with the provocative drama (2006) that earned nearly $2 million domestically, contributed to ThinkFilm's growing reputation for championing bold indie content and generating Oscar buzz.)) In October 2006, ThinkFilm was acquired by the Group, a film financing and production entity led by David Bergstein and Ron Tutor, for approximately $25 million. Bergstein assumed the role of chairman, while co-founder Jeff Sackman initially retained his position as CEO before departing in April 2008; Mark Urman, another co-founder, then stepped in as president. This transaction also involved CapCo assuming several million dollars in ThinkFilm's debt, positioning the distributor for further scaling under new ownership. The acquisition facilitated ThinkFilm's integration as a division of the U.K.-based Capitol Films, which had purchased earlier in 2006 for around $30 million, thereby expanding its international reach while maintaining its dual headquarters in and New York. Under this structure, ThinkFilm handled domestic distribution for Capitol's lower-budget films (under $20 million), enhancing its slate with global projects and creating a broader network for indie releases. Operationally, the deal enabled ThinkFilm to increase its acquisition budget and focus on edgier, provocative content, with plans to add several $15-20 million films annually to its lineup and expand its distribution slate by up to 30%. This shift supported pre-buy opportunities for projects and reinforced ThinkFilm's strategy of targeting innovative independent fare.

Decline and Closure

By 2008, amid the global financial crisis, ThinkFilm encountered severe cash flow shortages under the ownership of David Bergstein, who had acquired the company in 2006. The distributor struggled with unpaid vendors and filmmakers, including six-figure debts dating back to 2007, prompting multiple lawsuits such as one from director seeking $1 million and rights reclamation for Taxi to the Dark Side. These issues reflected broader challenges in the independent film sector, where companies often expended more on minimum guarantees, prints, and advertising than they recouped at the . ThinkFilm's office closed that year, signaling an informal shutdown of most operations after the limited release of Taxi to the Dark Side, which won the Academy Award for Best Documentary Feature in 2008. The company's difficulties culminated in an involuntary Chapter 11 bankruptcy filing forced by creditors, with a federal judge granting the motion on October 6, 2010. ThinkFilm reported approximately $16 million in debts, primarily owed to the Entertainment fund, which had provided financing for investments. The proceedings transitioned to as creditors, including , sought to recover assets amid Bergstein's mismanagement. Key contributing factors included overexpansion through acquisitions and investments in underperforming projects, compounded by the indie market's contraction during and Bergstein's involvement in financial irregularities, such as contract breaches and that later led to his 2018 conviction for defrauding investors of over $26 million in schemes dating to 2011. Post-bankruptcy, ThinkFilm's film library was acquired by Orange Holdings, LLC, in a transaction controlled by Bergstein and business partner Ron Tutor, with the exception of the documentary Spellbound, whose rights were held by Zelus Film Holding Company, LLC. This dispersal marked the end of ThinkFilm as an operational entity, leaving a trail of unresolved claims from filmmakers and vendors.

Operations and Strategy

Distribution Model

ThinkFilm's distribution model was characterized by a "wily" approach to acquisition and release, targeting provocative and award-contending titles to maximize impact in niche markets. The company focused on films with strong festival potential, particularly those addressing controversial or socially relevant themes, allowing for low acquisition costs relative to high-reward outcomes through buzz generation. This differentiated ThinkFilm from major studios by emphasizing agility and targeted marketing over broad commercial appeals. Acquisition tactics centered on major festivals such as Sundance and the Toronto International Film Festival (TIFF), where ThinkFilm scouted for undervalued projects with breakout potential. For instance, at the 2004 Sundance Film Festival, the company acquired North American rights to Shane Carruth's low-budget thriller Primer shortly after its Grand Jury Prize win, capitalizing on post-festival momentum for a cost-effective deal. Similarly, ahead of the 2008 TIFF, ThinkFilm secured rights to Michael Winterbottom's Genova, demonstrating a pattern of festival-driven buys that prioritized films with critical acclaim and international appeal. This method enabled rapid decision-making and minimized financial risk by focusing on titles already vetted by industry tastemakers. Marketing efforts leveraged limited theatrical releases in key markets like New York and to build word-of-mouth and media attention before wider expansion. For example, ThinkFilm premiered films on a small number of screens in these cities to cultivate buzz among critics and audiences, as seen with select 2004 releases. The company was particularly adept at Oscar campaigns for documentaries and dramas, investing in aggressive promotions to secure nominations and elevate profiles, such as with the documentary No End in Sight. Handling controversial content was a hallmark, with films like Shortbus—featuring scenes—marketed to spark debate and free publicity, aligning with an indie strategy of turning provocation into promotional gold. ThinkFilm's relied on a mix of theatrical earnings, emerging video-on-demand (VOD) options, and international sales to sustain operations in the competitive indie space. Theatrical releases provided initial visibility and box-office returns in art-house circuits, supplemented by day-and-date strategies that paired cinema runs with ancillary platforms for quicker monetization, as in the case of Murderball. In 2005, the company launched an international sales division to handle foreign rights, debuting at and closing deals on multiple titles to diversify income beyond . This nimble, multi-stream approach allowed ThinkFilm to thrive in niche markets where larger distributors hesitated, though it proved vulnerable to financial pressures in the late 2000s.

Home Video Division

Velocity Home Entertainment was established in 2002 as a of ThinkFilm, focusing on releases and select post-theatrical distributions for the company's independent films. This division handled the ancillary market for titles following their theatrical runs, providing a dedicated channel for DVD packaging and marketing tailored to indie audiences. By separating these operations from broader theatrical strategies, Velocity allowed ThinkFilm to capitalize on extended content lifecycles beyond cinema exhibition. The division's operations emphasized high-quality DVD editions of key ThinkFilm releases, often incorporating bonus materials like director commentaries and behind-the-scenes footage to appeal to award-season viewers and collectors. For instance, the 2004 Oscar-winning documentary received a release in September 2005, complete with extras highlighting its production in Calcutta's . In the mid-2000s, Velocity began incorporating video-on-demand options through partnerships, enabling broader accessibility on emerging digital platforms amid the industry's transition from . Strategically, played a crucial role in bolstering revenue for ThinkFilm's low-budget indie slate, where often represented a substantial portion of total earnings—sometimes exceeding theatrical grosses for documentaries and dramas. Following ThinkFilm's 2006 acquisition by David Bergstein's Capco Films, the division integrated with Capco's international network to facilitate global deals, expanding reach for titles like beyond . However, by the late , Velocity encountered significant hurdles from rampant digital and the rapid pivot to streaming services, which eroded traditional DVD sales and added to ThinkFilm's mounting operational costs. These pressures, coupled with broader market disruptions, intensified financial strain on the operations by 2008.

Filmography

Award-Winning Releases

ThinkFilm's portfolio of award-winning releases underscored its role in elevating independent documentaries and dramas to critical acclaim, particularly through high-profile honors from the and . Among its most notable successes were two Oscar wins in the Best Documentary Feature category. Born into Brothels: Calcutta's Red Light Kids (2004), directed by Zana Briski and Ross Kauffman, won the Academy Award in 2005 for its poignant exploration of children in Kolkata's learning as a means of . The film, distributed by ThinkFilm, not only highlighted social issues but also demonstrated the company's knack for championing intimate, issue-driven narratives. Similarly, Taxi to the Dark Side (2007), directed by , secured the Best Documentary Feature Oscar in 2008, delving into U.S. military practices through the story of an Afghan driver's death in custody. This win further cemented ThinkFilm's reputation for handling politically charged content that resonated during the post-9/11 era. Key nominations also bolstered ThinkFilm's prestige, showcasing its support for emerging talent and diverse storytelling. Half Nelson (2006), directed by Ryan Fleck and starring as a conflicted , earned a 2007 Academy Award for , Gosling's breakthrough recognition that highlighted the film's raw portrayal of addiction and mentorship. In the documentary realm, The Story of the Weeping Camel (2003), a Mongolian-German production directed by Byambasuren Davaa and Luigi Falorni, received a Best Documentary Feature at the 2005 Oscars for its lyrical depiction of nomadic herders reconciling a rejecting mother camel with her colt. Likewise, Murderball (2005), co-directed by Henry-Alex Rubin and Dana Adam Shapiro, was nominated for Best Documentary Feature in 2006, offering an unflinching look at quadriplegic athletes competing in and challenging stereotypes of disability. Beyond Oscars, ThinkFilm's releases garnered significant festival and television honors that amplified their cultural reach. Primer (2004), written and directed by , won the Grand Jury Prize in the Dramatic category at the 2004 , praised for its low-budget ingenuity in tackling among engineers. This micro-budget triumph ($7,000 production) exemplified ThinkFilm's strategy of acquiring standouts with intellectual depth. Spellbound (2002), directed by Jeffrey Blitz, earned an Academy Award nomination for Best Documentary Feature in 2003 and won a News & Documentary Emmy Award for Outstanding Arts and Culture Programming in 2004, capturing the high-stakes drama of young spellers at the National Spelling Bee. The film's engaging profiles of diverse competitors contributed to its status as a feel-good indie hit. These accolades significantly enhanced ThinkFilm's standing as a tastemaker in independent cinema, particularly for documentaries, by spotlighting underrepresented voices and innovative narratives. The Oscar win for Born into Brothels led to expanded theatrical runs from 40 to over 100 screens, grossing more than $2 million domestically and boosting visibility for indie releases. Nominations like those for Spellbound ($6 million gross) and The Story of the Weeping Camel ($2 million gross) similarly drove post-award box office surges, reinforcing ThinkFilm's ability to transform festival discoveries into commercially viable projects that increased indie film accessibility. Overall, these successes helped solidify the company's influence in promoting talent and elevating the profile of independent storytelling amid a competitive distribution landscape.

Other Key Distributions

ThinkFilm's catalog extended beyond its award-winning titles to include a diverse array of independent and international films that garnered commercial success or cult followings. Among the notable releases was Primer (2004), a low-budget thriller directed by about two engineers who accidentally invent a time-travel device, which became an indie hit for its intricate narrative and intellectual depth, earning praise for its innovative storytelling on a mere $7,000 budget. Another key distribution was (2006), John Cameron Mitchell's explicit erotic drama exploring themes of sexuality and emotional connection in post-9/11 New York, which sparked cultural discussions on representation and artistic freedom despite its controversial unsimulated sex scenes. The film developed a dedicated following for its bold integration of humor, music, and intimacy, contributing to Mitchell's reputation as a provocative filmmaker. Commercial highlights included Murderball (2005), a documentary by Henry Alex Rubin and Dana Adam Shapiro chronicling the intense world of quadriplegic rugby, which grossed over $1.5 million at the domestic and broadened public awareness of adaptive through its raw portrayal of athleticism and resilience. Similarly, (2005), a documentary directed by and featuring over 100 comedians riffing on a infamous dirty , achieved status for its irreverent humor and insider appeal, resonating with audiences interested in stand-up comedy's subversive traditions. ThinkFilm also handled Sidney Lumet's late-career heist thriller Before the Devil Knows You're Dead (2007), starring and as desperate brothers plotting a , which received acclaim for Lumet's taut direction and the ensemble's performances, marking a significant dramatic entry in the company's portfolio. The distributor's final major release, Phoebe in Wonderland (2009), directed by Daniel Barnz and featuring as a girl navigating through an Alice in Wonderland school play, offered a poignant exploration of and imagination, closing out ThinkFilm's output on a note of emotional resonance. Over its operational years from 2002 to 2009, ThinkFilm distributed more than 50 films, showcasing a breadth that included international titles such as the Hungarian subway thriller (2005), directed by , which blended dark humor and suspense in a surreal underground setting to cult acclaim, and Atom Egoyan's (2005), a mystery starring and unraveling a comedian duo's dark past, noted for its atmospheric tension and period detail. The company's distribution scope focused primarily on U.S. theatrical releases, with some international handling facilitated through its affiliation with Capitol Films, allowing for targeted rollout of mid-budget indies to art-house audiences.

Legacy and Impact

Industry Influence

ThinkFilm's brief but intense presence in the independent film sector from 2001 to 2008 introduced aggressive tactics that reshaped acquisition and promotion strategies for indie distributors. The company pioneered high-stakes festival buying, committing substantial upfront payments—such as the nearly $2 million acquisition of at the 2007 —to secure rights to provocative titles. This approach, combined with controversy-driven marketing that leveraged edgy narratives to generate buzz, influenced subsequent players by demonstrating how smaller operations could compete in a studio-dominated market. For instance, ThinkFilm's model of using wit and targeted campaigns over large budgets echoed in the strategies of emerging companies like , which adopted similar nimble, festival-focused acquisition methods to build a reputation for bold indie releases. The distributor's activities underscored the potential for boutique labels to vie for major awards, proving that low-budget films could achieve Oscar contention and commercial viability in the volatile indie landscape. Releases like Half Nelson, which earned a nomination for , and , which won the 2005 Academy Award for Best Documentary Feature, highlighted how specialized distributors could elevate underdog projects to awards-season prominence. However, ThinkFilm's aggressive overleveraging—pouring resources into minimum guarantees and marketing amid fluctuating revenues—exposed inherent risks, contributing to its 2008 collapse during an industry-wide downturn and serving as a for the perils of financial overextension in indie distribution. On a broader scale, ThinkFilm fueled the indie boom by amplifying documentaries and socially charged narratives, fostering greater visibility for non-traditional storytelling in mainstream theaters. Its portfolio, including Oscar-winning docs like and Taxi to the Dark Side, helped normalize indie successes at the and awards, encouraging in diverse voices during a period of heightened interest in arthouse fare. Post-closure, the fallout from owner David Bergstein's financial scandals— involving fraud allegations and involuntary bankruptcy for affiliated entities like ThinkFilm—eroded trust in indie financing deals, prompting the sector to adopt more cautious structures and highlighting vulnerabilities in the ecosystem's reliance on speculative acquisitions. Culturally, ThinkFilm's emphasis on titles like elevated awareness of global social issues, such as child exploitation in India's red-light districts, by channeling proceeds to support educational initiatives for the featured children through the organization Kids with Cameras.

Alumni Contributions

Following the 2008 closure of ThinkFilm, its alumni dispersed across the independent film industry, founding or joining new ventures that sustained and expanded the art-house distribution landscape. A 2014 New York Times interactive feature, titled "The Children of ThinkFilm," documented this talent exodus, noting that by then, former employees had launched or contributed to over a dozen indie companies, collectively distributing more than 10 notable films and fostering a resilient ecosystem for specialized cinema. Jeff Sackman, a co-founder of ThinkFilm and its former president, drew on his prior experience as the inaugural president of to shape the company's aggressive acquisition and marketing strategies for indie titles. After leaving ThinkFilm in 2008, Sackman co-founded in 2019 with Berry Meyerowitz, where he serves as co-founder and focuses on North American and international releases of genre-driven independent films, including the horror-thriller (2020) and the crime drama Fresh Kills (2023). His Lionsgate-honed model of rapid theatrical rollouts and multi-platform deals influenced Quiver's approach to navigating streaming-era challenges. Mark Urman, another ThinkFilm co-founder who became its president in 2008, leveraged his expertise in film festivals and acquisitions—gained from earlier roles at Lionsgate—to champion documentaries and international features during his tenure. Post-ThinkFilm, Urman founded in 2009, serving as president and CEO until his death in 2019; under his leadership, the company distributed acclaimed titles such as Taika Waititi's (2012) and What We Do in the Shadows (2014), as well as Tom Shadyac's documentary I Am (2011). Urman's festival circuit savvy continued to benefit Paladin's strategy for elevating underrepresented voices in global cinema. Other prominent alumni included David Fenkel, a former ThinkFilm executive who co-established A24 in 2012, transforming it into a powerhouse for innovative indie releases like Spring Breakers (2013) and later Oscar winners such as Moonlight (2016). Daniel Berger, ThinkFilm's co-president, advanced to co-president at Oscilloscope Laboratories, where he oversaw distributions including the documentary If You Build It (2013). Michael Tuckman, a former ThinkFilm executive, launched mTuckman Media, handling titles like the Detroit-focused doc Detropia (2012). These efforts exemplified how ThinkFilm alumni seeded firms that prioritized bold, auteur-driven projects. ThinkFilm's enduring human legacy lies in its role as an incubator for talent, with alumni not only perpetuating art-house distribution but also adapting it to the rise of streaming platforms, ensuring diverse thrives amid industry consolidation. By , their collective ventures had already injected fresh energy into the sector, a influence that persists through companies like and today.

References

  1. https://www.hollywoodreporter.com/business/business-news/thinkfilms-bergstein-hollywoods-hot-seat-116861/
  2. https://www.hollywoodreporter.com/business/business-news/thinkfilm-at-5-140576/
  3. https://www.nytimes.com/2014/01/06/business/media/thinkfilm-a-short-lived-but-wily-distributor-still-influences-industry.html
  4. https://variety.com/2006/film/markets-festivals/thinkfilm-wrestles-half-nelson-rights-1117937048/
  5. https://www.hollywoodreporter.com/business/business-news/taxi-air-uncut-hbo-105423/
  6. https://variety.com/2007/film/awards/taxi-to-the-dark-side-1117977225/
  7. https://www.imdb.com/title/tt0340012/companycredits/
  8. https://variety.com/2001/film/news/thinkfilm-buys-sundance-premiere-altar-boys-1117957755/
  9. https://www.hollywoodreporter.com/business/business-news/thinkfilm-sold-capco-group-25-141290/
  10. https://www.nytimes.com/2008/06/26/movies/26thin.html
  11. https://www.hollywoodreporter.com/business/business-news/call-him-notorious-116990/
  12. https://www.nytimes.com/2019/01/17/obituaries/mark-urman-dead.html
  13. https://www.nytimes.com/interactive/2014/01/05/business/010613-the-children-of-thinkfilm.html
  14. https://variety.com/2008/film/features/jeff-sackman-leaves-thinkfilm-1117984122/
  15. https://www.cbc.ca/news/entertainment/u-s-financier-buys-canadian-indie-distributor-thinkfilm-1.604880
  16. https://www.theglobeandmail.com/report-on-business/rob-magazine/the-kid-stays-in-the-pictures/article18441163/
  17. https://variety.com/2002/film/features/thinkfilm-is-spellbound-1117873628/
  18. https://variety.com/2003/film/awards/academy-award-nominees-2003-1117880404/
  19. https://www.the-numbers.com/movie/Murderball
  20. https://www.the-numbers.com/movie/Half-Nelson
  21. https://www.boxofficemojo.com/title/tt0367027/
  22. https://www.the-numbers.com/box-office-records/worldwide/all-movies/theatrical-distributors/thinkfilm
  23. https://www.hollywoodreporter.com/business/business-news/capco-buys-thinkfilm-25-mil-140736/
  24. https://www.reuters.com/article/lifestyle/indie-studio-thinkfilm-sold-to-la-pair-idUSN25263588/
  25. https://www.screendaily.com/mark-urman-takes-over-from-sackman-as-thinkfilm-president/4038416.article
  26. https://www.latimes.com/archives/la-xpm-2008-aug-25-fi-thinkfilm25-story.html
  27. https://www.indiewire.com/news/general/producer-bergstein-acquires-thinkfilm-75854/
  28. https://variety.com/2006/film/markets-festivals/cap-s-doffed-again-1117952911/
  29. https://variety.com/2006/film/markets-festivals/upstarts-think-big-1117952514/
  30. https://www.indiewire.com/news/general/bergsteins-thinkfilm-faces-uncertain-future-186856/
  31. https://variety.com/2010/film/news/bergstein-distribs-in-bankruptcy-1118025282/
  32. https://www.thewrap.com/bergsteins-thinkfilm-capitol-films-declared-bankrupt-21507/
  33. https://deadline.com/2008/05/david-bergsteins-thinkfilm-sued-for-fraud-5892/
  34. https://www.justice.gov/usao-sdny/pr/film-producer-found-guilty-multimillion-dollar-investment-scheme
  35. https://deadline.com/wp-content/uploads/2011/04/trustees_report_of_investigation_20_april_2011_20110412164753.pdf
  36. https://news.bloomberglaw.com/ip-law/amazon-sued-over-streaming-of-spellbound-documentary
  37. https://www.screendaily.com/thinkfilm-acquires-sundance-winner/4017492.article
  38. https://www.screendaily.com/pre-toronto-buys-spc-takes-paris-36-thinkfilm-buys-genova/4040395.article
  39. https://variety.com/2004/film/markets-festivals/niche-slate-taking-its-place-at-b-o-gate-1117911230/
  40. https://www.nytimes.com/2006/10/28/movies/negative-publicity-is-the-new-hot-hype.html
  41. https://www.documentary.org/feature/they-no-longer-do-windows-forward-thinking-distributors-its-new-day-and-date
  42. https://www.indiewire.com/news/general-news/thinkfilm-expands-to-include-international-sales-unit-78352/
  43. https://homevideo.fandom.com/wiki/Velocity_Home_Entertainment
  44. https://variety.com/2004/digital/features/nl-to-distrib-thinkfilm-titles-1117909665/
  45. https://www.the-numbers.com/home-market/distributor/Velocity-ThinkFilm
  46. https://www.screendaily.com/thinkfilm-new-line-home-entertainment-sign-us-video-deal/4019905.article
  47. https://www.oscars.org/oscars/ceremonies/2005
  48. https://www.oscars.org/oscars/ceremonies/2008
  49. https://www.hollywoodreporter.com/business/business-news/thinkfilm-discovery-ride-taxi-136884/
  50. https://www.oscars.org/oscars/ceremonies/2007
  51. https://www.oscars.org/oscars/ceremonies/2006
  52. https://www.sundance.org/blogs/5-of-the-lowest-budget-sundance-films-ever-made-3/
  53. https://www.indiewire.com/news/general-news/thinkfilm-gets-sundance-jury-prize-winner-primer-79114/
  54. https://www.today.com/popculture/oscars-boost-documentary-firms-prestige-wbna7088175
  55. https://variety.com/2004/film/features/thinkfilm-studies-up-on-carruth-s-primer-1117900693/
  56. https://www.rottentomatoes.com/m/primer
  57. https://www.indiewire.com/news/general-news/shortbus-inks-north-american-deal-with-thinkfilm-uk-rights-go-to-the-works-76557/
  58. https://variety.com/2005/film/awards/murderball-1117934264/
  59. https://www.nytimes.com/2005/06/23/movies/a-joke-too-blue-to-repeat-and-the-movie-that-dares-to-tell-it-repeat.html
  60. https://catalog.afi.com/Catalog/MovieDetails/55182
  61. https://variety.com/2009/film/markets-festivals/phoebe-in-wonderland-1200473883/
  62. https://www.metacritic.com/movie/control-2005/
  63. https://www.latimes.com/archives/la-xpm-2005-sep-09-et-quick9.5-story.html
  64. https://variety.com/2007/film/columns/thinkfilm-comes-out-on-top-in-toronto-1117972414/
  65. https://filmmakermagazine.com/106677-remembering-mark-urman-1952-2019/
  66. https://www.hollywoodreporter.com/movies/movie-news/how-david-bergstein-scandal-could-181940/
  67. https://www.quiverdistribution.com/about
  68. https://variety.com/2019/film/news/mark-urman-dead-dies-film-distributor-1203107074/
  69. https://deadline.com/2019/01/mark-urman-mainstay-of-independent-film-business-dies-at-66-1202534442/
Add your contribution
Related Hubs
User Avatar
No comments yet.