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w w w . T h e Y E L L O W r o o m - F I L M . c o m

2012,  UNITED  STATES,  10:53  MINS.    HD  1.85:1  IN  ENGLISH,  W/ENGLISH  SUBTITLES    

A n A s s a l G h a w a m i P r o d u c t i o n Assal  Ghawami  

NYU  Tisch  School  of  the  Arts  Kanbar  Institute  of  Film  and  Television  721  Broadway,  Mailbox  47,  10th  Floor  

New  York,  New  York  10003  Assal@ghawami.eu  |  (917)  744-­‐6368

P r e s s C o n t a c t Chrissy  Keeley/  Public  Relations    

press@TheYellowRoom-­‐FILM.com  |  (973)  349-­‐0966  

S C R E E N E R L I N K http://www.TheYellowRoom-FILM.com/screener

PASSWORD: PRIVATE-SCREENING

S o c i a l M e d i a / W e b L I N K S http://www.fb.com/TheYellowRoomFilm  

 http://about.me/theyellowroom  

 

 

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I n t h e N e w s

March  2013  Review  by  Sarah  Seltzer  of  RHrealitycheck.org    

 

 

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April  2013  Review  by  Columnist  Leigh  Kolb  for  BitchFlick.com  

 

 

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W h a t P e o p l e a r e s a y i n g

       

“  Extraordinary  ”  — Tony  C.  Janelli,  Cinematographer    (Silence  of  the  Lambs,  Philadelphia)  

   “  It  is  so  rare  to  be  in  the  presence  of  significant  art    and  this  film  qualified.  ”  

— Prof.  Michael  Z.  Murphy,  Assistant  Professor,                Union  County  College  

   “  Assal  Ghawami  has  written  and  directed    

a  striking  short  film  ”   — Sarah  Seltzer,  Journalist  

RHrealitycheck.org    

“  Ghawami's  film  is  beautiful      I  found  myself  aching  for  more  then  10  minutes  ”  

— Leigh  Kolb,  Columnist              BitchFlick.com  

“  Beautifully  filmed    and  emotionally  stirring.”  

— Dr.  Cynthia  Singer,  Senior  Professor,    Union  County  College  

     

 

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S y n o p s i s

A  troubled  Pakistani  teen  seeks  help  from  a  Hispanic  medicine  woman  at  her  obscure  tenement  home.    There  she  must  live  with  another  woman  who  shares  her  own  delicate  secret.  

L o g l i n e

We  are  our  choices.    

D i r e c t o r ’s S t a t e m e n t  

When  I  first  spoke  to  others  about  making  The  Yellow  Room,  many  were  surprised  to  learn  about  ‘Ruda,’  a  medicinal  herb  that  women  have  used  for  centuries  to  end  their  unwanted  pregnancies.    I  had  recently  learned   of   the   herb,   from   a   newspaper   article   about   a   teenager   from  New   York   City,  who   had   taken  ‘Ruda’  when  she  was  six  months  pregnant.    After  taking  ‘Ruda,’  she  disposed  of  the  fetus  in  a  trashcan.  

Why   make   a   movie   about   a   drug,   used   to   have   illegal  abortions?  Why  bring   to   light  a  dark  secret  women  don’t  want  to  talk  about?  

One   man   that   I   spoke   to,   asked   what   the   debate   over  abortion   is   about   if   it   is   that   easy   to   have   an   abortion?  “Just  take  a  pill!  It’s  easy,  cheap  and  fast!”  

Because  nothing  that’s  cheap  and  fast  is  ever  easy.  

Throughout  the  entire  debate  among  pro-­‐choice  and  anti-­‐  choice   activists,   people   rarely   consider   the   experience  itself,   the   feelings   it   leaves   behind,   or   the   emotional  aftermath  of  the  decision  for  the  woman.    

Many  women  find  themselves  emotionally  damaged.    With  the  hostility  that  drives  the  political  climate  of   this   social   issue,   pro-­‐choice  women  may   find   it   hard   to   admit   that   abortions   can   leave   them  with  psychological  scars.  At  the  same  time,  anti-­‐choice  women  find  it  hard  to  acknowledge  that  there  may  be  times  when  no  life,  may  be  better  than  a  life  in  turmoil.  

The   Yellow   Room,   similar   to   “The   Yellow  Wallpaper,”   is   an   exploration   of   an   old   female   conundrum.  Either  be  trapped  by  patronizing  laws  when  wanting  to  take  control  over  your  own  body,  or  feel  trapped  by  guilt  as  a  result  of  the  decision.  

Freedom  is  relative  and  it  will  always  come  at  a  relatively  high  cost.  No  matter  if  you  are  pro-­‐choice  or  anti-­‐choice,  it's  the  women,  who  ultimately  deal  with  the  consequences.    

   

 

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Assal Ghawami | W r i t e r / D i r e c t o r

Born  in  Iran,  Assal  Ghawami  is  a  New  York  based  filmmaker  and  human  rights  activist.  She  grew  up  in  Germany  and  studied  acting  and  music  at  Folkwang  School  of  Performing  Arts,  while  majoring  in   journalism.   Assal   completed   her   BA   in   Media   and   Cultural  Studies  at  The  New  School  University  in  New  York  City.  She  spent  a   year   in   Portugal   studying   the   art   of   film   directing   and  Portuguese   language  as  a  DAAD  scholarship  recipient.  Assal  also  worked  for  WDR  News  Channel  and  ARD  in  Germany.  

Assal   is   a   young  woman  driven   to   use   film   as   a   tool   to   address  issues   concerning   the   social   injustices   facing   immigrants   and  women.    She  is  an  active  human  rights  advocate,  using  her  artistic  abilities  to  bring  some  of  these  issues  into  the  spotlight  in  hopes  of  aspiring  the  audience  to  engage  in  the  issue.      

Assal’s  debut  film,  “Sturm,”  received  nominations  and  an  award  for  best  directing  at  VGIK  International  Festival  Moscow.    Her  other  films  have  shown  at  numerous  international  film  festivals  across  the  globe,  including  Mexico’s  International  Film  Festival,  where  her  film,  “Ey  Pari  Kojai”  won  the  Bronze  Palme.  

S e l e c t e d F i l m o g r a p h y 2012 The Yellow Room

Kurz  und  Knapp  International  Film  Festival,  Zurich  2013  

2011 Ey Pari Kojai Mexico  International  Film  Festival:  Bronze  Palm  Award,  2012   Hamptons  International  Black  Film  Festival,  2011,   8th  New  York  Downtown  International  Short  Film  Festival  &  Audience  Choice  

Screening,  2011  

2011 Ali Smiling 8th  Detmold  International  Film  Festival,  Germany,  2012     NYU  Tisch  School  of  the  Arts  MOS  Festival  2011  

2009 Beistand in Bedlam New  Filmmakers  New  York,  2009  

2008 Sturm Mediawave  Visual  Arts  Festival,  Hungary,     Fec-­‐Cambrils  Reus  European  Film  Festival,  Spain.     Nominated  “Best  Film”  at  the  VGIK  International  Festival,  Moscow,     Arouca  Film  Festival,  Algarve,     AIP  Estudantil  Sony,  Lisbon,     “Best  Director”  -­‐  won  6th  Mostra  Internacional  de  Cinema  ESAP,    

2007 Margo Breast  Fest  Film  Fest,  Toronto.  2009  

2006 E-Ratio Bochumer  Video  Festival  ,  Germany    

 

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ALEX KEYES | P r o d u c e r

Alex  began  her  producing  career  at  Oxford  University  with  The  Oxford   Revue,   a   comedy   sketch   group   of   over   fifty   years'  history.   The   Oxford   Revenue   has   nurtured   the   careers   of  Rowan   Atkinson,   Dudley   Moore,   and   Michael   Palin.     Alex’s  next   projects   took   her   to   China,   where   she   worked   both   in  front   of   and   behind   the   camera   as   a   model/actress   and  member  of  production  staff.      

Alex   continued   to   pursue   producing   while   working   for   the  government   education   board   in   Japan,   creating   an   original  series,   Let's   Go   Eigo!,   which   was   screened   in   schools   across  the  country.    Most  recently,  Alex  has  produced  for  NYU  Tisch   graduate  productions,  including  Assal  Ghawami's  A  Yellow  Room,  and  Francesca  de  Sola's  Act  Two,  both  currently  in  consideration  at  major  festivals.  Alex  is  currently  enrolled  in  NYU’s  MFA/MBA  (Tisch/Stern)  Producing  Dual-­‐Degree  Program.      

 

Joseph Eulo | P o s t - P r o d u c t i o n P r o d u c e r

Joseph   Eulo   is   an   independent   writer,   producer,   and  director  working  and  studying  in  the  New  York  City  Area.      His  objective  is  it  to  make  a  difference  in  the  lives  of  others  through   film,   video,   and   community   projects,  which   center  on   cultural   awareness   and/or   current   social,   economic,   or  political  issues  facing  society.    

He   enjoys   collaborating   with   other   artists,   filmmakers,  actors,   and   producers   who   share   his   interest   in   creating  stories  that  entertain  and  educate.      

Currently,  Joseph  is  working  with  a  number  of  filmmakers  to  establish  an  organization  that  teaches  at-­‐risk  youth  the  craft  of  filmmaking.  The  purpose  of  the  organization  is  to  provide  young  people  an   alternative   means   of   creative   self-­‐expression,   a   medium   to   develop   a   personal   narrative,   and  ultimately  a  forum  to  give  voice  to  their  hopes,  their  fears,  and  their  dreams.  

In   2013,   Joseph   launched   IndieFILMsites.com,   a   company   providing   promotional,   web-­‐design   and  hosting   services   for   independent   filmmakers   and   their   projects.   Additionally   his   company   provides  affordable  web-­‐design,  photography,  editing,  and  videography  services  to  actors.    

Joseph  is  the  post-­‐production  producer  for  THE  YELLOW  ROOM,  and  the  executive  producer  for  A  DAY  IN  EDEN,  Assal  Ghawami’s  2nd  Year  NYU  film.

 

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Sheldon Chau | D i r e c t o r o f P h o t o g r a p h y

Born   and   raised   in   Los   Angeles,   Sheldon   grew   up   in   a  Cantonese   family   with   parents   that   fled   Vietnam   during  the  Fall  of  Saigon.  It  was  in  high  school  where  his  interest  in   films  began  developing  and  not  until   university  where  he  began  realizing  the  power  of  storytelling  –  particularly  inspired  by  his  parents’  tale  of  survival.    

After  completing  several  personal  films  about  himself  and  his   family,   as   well   as   gaining   experience   as   a  cinematographer   on   documentaries,   short   films   and  music  videos,  Sheldon   is  now  currently  pursuing  an  MFA  in  Cinematography  at  NYU  Tisch  School  of  the  Arts.  

 

Laura Dickens | So u n d D e s i g n e r & C o m p o s e r Laura   Dickens   is   a   Music   Technology   Graduate   Student   at  NYU's   Steinhardt   School   of   Culture,   Education,   and   Human  Development.     The   focus   of   her   degree   rests   largely   on  composition  and  sound  design  for  film  and  multimedia.      

Her  compositions  include  concert  works  such  as:    Bounce  for  solo  Harp  and  Four  Miniatures  for  solo  Cello,  an  original  score  for   Assal   Gawami's   short   film,   The   Yellow   Room,   as   well   as  many   short  works   for  electronics  and  new  media.    Currently  Laura   is   working   to   complete   her   thesis   on   algorithmic  composition  for  animation.    

   

 

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Sabba Hussain | a s S a n a z Sabba   began   acting   at   Stony   Brook   University   and   instantly  became   enamored   with   its   unique   cathartic   qualities   in  prompting   her   to   empathize   with   and   explore   the   personal  motivations  of  characters.    

Similar   to   the   themes   of   The   Yellow   Room,   her   experience  growing   up   as   a   first-­‐generation   Pakistani-­‐American   has  elicited  direct  confrontation  with  the  societal  clash  of  views  on  women  and  sexuality.    

When   she   is   not   acting,   Sabba   enjoys   creating  mixed-­‐media  artwork,  writing   or   can   be   found   outdoors:   skateboarding   or  

playing  Frisbee.  Sabba  has  contributed  to  various  student  films.    

Yvette Mercedes | a s t e r e s a Yvette  Mercedes  has  been  part  of  Strasberg   for  over  24  years.  She   has   an   acting   degree   from   the   University   of   Puerto   Rico.  Yvette  has  been  teaching  young  actors  at  Strasberg  for  over  20  years.    

Yvette   worked   stars   such   as   Natalie   Portman   and   Zack   Braff   in  Garden   State,   Andy   Garcia   and   Sidney   Lumet   in   Night   Falls   in  Manhattan,   Jack   Black,   Billy   Crudup,   Sean   Penn,   Dennis   Hopper,  Holly  Hunter  and  Samantha  Morton  in  Jesus’  Son,  and  Woody  Allen  in  Sweet  and  Low  Down.  

   

 alexandra manzano | a s a m y

Alexandra  is  an  alumnus  of  the  William  Esper  Studios   in  NYC,  where   she   studied   with   Terry   Knickerbocker.   She   has   done  work   on   TruTv’s   Forensic   Files,   as   well   as   voiceover   and  commercial  work.  

Theatrically,   she   has   performed   for   several   Spanish   theater  companies.  Since  she  was  a  young  girl   she’s  always  dreamed  of   being   an   actress.   Alex   remembers   watching   “Annie”   on  Broadway   as   a   child,   and   knowing   at   that  moment,   that   she  wanted  the  opportunity  to  entertain  others.  

   

 

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C r e d i t s

Executive  Producer  Alexander  Trebby    Based  on  “The  Yellow  Wallpaper”  by  Charlotte  Perkins  Gilman    PRODUCERS  Alexandra  Keyes  Assal  Ghawami  Richard  Salem  Joseph  Eulo    PRODUCTION  DESIGNER  Assal  Ghawami    ASSISTANT  DIRECTOR  Oscar  Hernandez  Yun  Liang  Alexander  Trebby  Alexandra  Keyes    ADDITIONAL  PHOTOGRAPHY  Dagny  Looper    ASSISTANT  CAMERA  Raisa  Bonnet    2nd  ASSISTANT  CAMERA  Dania  Bdair  

GAFFER  Stefon  Bristol  Dania  Bdair  Faraday  Okoro    SOUND  RECORDIST  Joyce  Booth  Marly  Hernandez  Cortes  Jorge  Murillo    BOOM  OPERATOR  Yun  Liang  Faraday  Okoro    SOUND  DESIGNER  Laura  Dickens    ORIGINAL  SCORE  BY  Laura  Dickens    SOLO  CELLIST  Luis  Alberto  Mercado    EDITOR  Assal  Ghawami    PUBLIC  RELATIONS    Chrissy  Keeley  Genna  Preston  

SPECIAL  THANKS  Ashley  Michael  Hoban  Stefon  Bristol  Dagny  Looper  Ting  Liu  Felipe  Vara  de  Ray  Reinaldo  Green  Yun  Liang  Kristina  Klebe  Dania  Bdair  Alexander  Trebby  Blake  Lyons  Asha  Spina  Faride  Rahmani  Anthony  Janelli  Larry  Gross  Kenneth  Friedman  Mick  Casale  Peggy  Rajski  Peter  Schneider  Alexander  Rockwell  Barbara  Schock  Jenn  Ruff  Lester  Cohen  Jay  Ananania  Keith  Davis  Seth  Wright  Henrique  Meyer  Handheld  Films  Post  Production  Center  NYU

 

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B e h i n d T h e s c e n e s

 

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W e b s i t e

The   Yellow   Room   website   will   feature   full  screen   video,   biographies,   photo   galleries,  and  interviews  with  the  director,  producers,  cast,  and  the  filmmakers.    

Fan’s   can   subscribe   to   film   news   and  updates   and   find   out   about   upcoming  screening  times  and  more.    

 

 

 

Biographies  

Photos  Galleries  

 

 

Videos  

Responsive  &  Visual  Design.  Can  be  viewed  on  mobile  devices.  

 

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Q & A a b o u t T h e Y e l l o w R o o m

Sarah  Seltzer  from  RH  Reality  Check  recently  spoke  with  Assal  Ghawami  about  her  influences,  why  she  decided  to  make  the  film,  and  more.  Sarah’s  full  review  can  be  found  here  http://goo.gl/V9VuI    

What  inspired  you  to  bring  the  themes  of  “The  Yellow  Wallpaper”  together  with  a  story  of  a  contemporary  back-­‐alley  abortion?  

I  read  an  article  about  a  woman  in  New  York  City  who  had  used  RUDA,  a  medicinal  herb,  to  end  her  pregnancy  and  then  had  gotten  rid  of  the  fetus  in  the  garbage.  It  was  shocking  to  me  that  any  woman  would  feel  forced  to  take  that  route.  

What  do  you  imagine  might  have  driven  your  young  protagonist  to  this  place?  You  mentioned  in  your  director’s  statement  “patronizing  laws.”  Is  this  someone  who  would  have  struggled  to  get  a  legal  abortion?  Why?  

Sanaz  is  an  immigrant  who  comes  from  a  conservative,  Muslim  upbringing.  A  friend  of  mine  worked  in  London  in  a  sexual  health  center  on  the  east  side  where  she  met  a  lot  of  girls  similar  to  Sanaz.  A  lot  of  the  patients  looking  for  help  at  the  center  had  often  tried  using  herbs  and  other  pills  before  they  finally  went  there  to  seek  professional  help.  The  fear  to  be  caught  by  relatives  and  friends  drives  them  into  taking  dangerous  health  risks.  In  other  cases,  the  problem  is  a  language  barrier,  lack  of  insurance,  or  an  illegal  immigration  status.  

What  about  Perkins’  iconic  feminist  story  resonated  in  particular?  

Following  the  public  discourse  about  reproductive  rights  is  like  watching  a  really  bad  B  movie:  The  characters  are  one-­‐dimensional,  the  plot  is  predictable,  and  their  performance  lacks  style  and  good  taste.  When  you  write  a  script,  you  look  at  a  character  from  all  possible  and  impossible  angles.  In  Gilman’s  short  story,  a  woman  is  kept  in  the  attic  by  her  husband.  He  prescribes  her  strict  isolation  in  order  to  treat  her  postpartum  depression.  She  starts  seeing  another  woman  behind  the  wallpaper  and  starts  tearing  the  paper  down  in  order  to  free  the  woman.  At  the  end  she  claims  the  woman  is  free,  and  so  is  she  when  she  steps  over  her  husband,  who  faints  in  shock.  In  a  way,  women  are  still  in  that  attic  that  Gilman  describes  in  her  story.  The  Yellow  Room,  similar  to  “The  Yellow  Wallpaper,”  is  an  exploration  of  an  old  conundrum.  Ultimately  it’s  the  women  who  deal  with  the  consequences,  no  matter  if  you  are  pro-­‐choice  or  anti-­‐choice.  I  just  want  people  to  look  at  the  debate  from  a  new  angle—from  the  eyes  of  the  woman  who  goes  through  with  the  experience  itself.  

   

 

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On  a  personal  level,  from  where  do  your  interests  in  both  the  classic  story  and  the  contemporary  health/political  issue  arise?  

My  whole  life  I’ve  been  surrounded  by  very  courageous  and  amazing  women,  including  my  mother  and  my  best  friends.  When  I  was  three  my  mother  left  Iran  and  my  father  and  build  a  new  life  for  us  in  Germany.  She  was  tired  of  the  macho  mentality  and  wanted  to  offer  me  a  more  liberal  lifestyle.  She  was  in  her  mid-­‐20s  then,  couldn’t  speak  German,  and  went  to  medical  school  while  raising  me.  Her  courage  and  discipline  have  always  been  a  source  of  inspiration  for  me  to  strive  for  something  bigger  than  myself.  It  infuriates  me  when  people  want  to  disempower  women  and  objectify  them  for  their  own  political  purposes.  

Very  few  films  actually  have  abortion  scenes,  and  yours  is  basically  one  long  abortion  scene.  Did  you  realize  you  were  breaking  a  taboo?  

I  don’t  believe  in  taboos.  They’re  made  by  people  who  don’t  want  to  face  reality.  The  truth  doesn’t  hurt  anybody.  Only  lies  do.  

Any  other  films  with  abortion  scenes  that  you’ve  seen  that  interested  you?  

4  Months,  3  Weeks  and  2  Days  from  2007,  about  two  young  women  in  Communist  Romania  who  prostitute  themselves  in  order  to  get  an  abortion  from  a  dubious  doctor.  I  remember  watching  it  and  praying  it  was  going  to  be  over  soon.  It  was  really  painful,  emotionally,  and  even  a  bit  physically.  Another  one  is  Revolutionary  Road  about  an  American  housewife  in  the  ’50s  who  wants  to  end  her  pregnancy  and  emancipate  herself  from  her  unfaithful  husband.  The  oldest  I  know  is  Where  Are  My  Children  from  1916.  After  a  woman’s  abortion  she  and  her  husband  have  to  live  an  unhappy,  childless  marriage.  In  all  of  these  films,  women  pay  a  high  cost  for  taking  control  of  their  own  lives.  Sad  that  not  much  has  changed  for  women  in  over  100  years  of  emancipation.  

Tell  me  about  the  setting—it’s  among  immigrants  in  a  tenement  house  with  a  courtyard  that  has  a  very  memorable  clothesline  with  laundry  hanging  outside.  How  did  you  imagine  it,  and  where  did  you  film  it?  

The  movie  was  shot  at  a  house  only  a  couple  blocks  away  from  the  Empire  State  Building  in  New  York.  In  the  script  I  had  originally  written  a  line  for  Teresa,  the  Hispanic  medicine  woman,  which  never  made  it  into  the  final  cut:  “Los  trapos  sucios  se  lavan  en  casa!”  (You  should  wash  dirty  laundry  in  your  own  house!”)  The  protagonist  finds  herself  in  the  courtyard  alone,  and  yet  we  can  feel  the  presence  of  the  women  who  have  come  before  her  and  the  ones  yet  to  come.  The  camerawork  is  intense  and  unusual,  making  me  as  a  viewer  feel  claustrophobic  and  panicky.  This  definitely  resonated  with  the  Gilman  story.  I  worked  very  closely  with  my  director  of  photography,  Sheldon  Chau,  to  create  a  subjective,  visceral  experience.  We  chose  to  shoot  the  entire  film  with  only  one  lens,  a  50mm,  which  conveys  the  sight  of  the  human  eye.  The  camera  creates  a  feeling  of  nausea,  dizziness,  and  confinement.  The  world  of  the  film  is  the  world  as  Sanaz  feels  it.  

   

 

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I  know  the  very  haunting  music  in  the  film  is  original.  How  did  that  collaboration  come  about?  

I  met  my  composer,  Laura  Dickens,  at  the  New  York  University  Film  School.  We  just  clicked  somehow  and  share  a  similar  sensibility  regarding  emotions  that  are  evoked  by  music.  It’s  funny  how  one  of  my  male  teachers  was  very  adamant  about  taking  the  music  out  of  the  film.  To  him  it  seemed  to  come  from  “different  place”  then  my  protagonist.  With  all  due  respect  to  his  opinion,  I  decided  that  the  music  is  200  percent  right.  

You  make  films  that  explore  issues  of  social  justice.  How  much  of  your  obligation  is  to  the  art  and  how  much  to  the  social  cause,  or  do  they  go  together?  

I  don’t  think  art  needs  a  cause,  but  every  social  cause,  hell  yeah,  needs  art!  People  are  so  brainwashed  by  preconceived  opinions  and  propaganda  made  by  politicians  and  lobbyists.  The  only  brain  function  most  people  use  is  their  memory,  in  order  to  remember  what  others  have  said,  thought,  done.  With  our  non-­‐stop  need  for  productivity  and  superiority,  we  don’t  invest  enough  time  in  originality.  Films  can  be  a  canvas  in  which  we  can  find  our  own  truth.  Art  encourages  free  thinking.  I  was  raised  very  liberal  by  my  mother.  She  grew  up  in  Iran  during  the  Shah  regime  so  she  raised  me  somewhat  anti-­‐authoritarian  because  of  her  own  upbringing.  

How  can  audiences  see  your  film,  beyond  the  trailer?  

We  have  film  screenings  coming  up  at  several  colleges  and  film  festivals.  Submissions  to  the  top-­‐tier  festivals  are  starting  now.  We  are  planning  a  one  time  online  screening  for  our  followers  on  March  31.  If  you  are  interested,  follow  us  on  our  Facebook  page.  After  the  film  festival  screenings  we  will  be  showing  the  film  in  more  public  locations  throughout  the  New  York-­‐New  Jersey  area.  

 

 

 

 

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T h e Y e l l o w R o o m ( 2 0 1 2 ) T R A I L E R  

URL:  http://www.theyellowroom-­‐film.com/Trailer2012    

T h e Y e l l o w R o o m ( 2 0 1 2 ) – S c r e e n e r ( ENGLISH SUBTITLES)

 

URL:  http://www.TheYellowRoom-­‐FILM.com/screen    PASSWORD:  PRIVATE-­‐SCREENING