Posts Tagged ‘Dope Body’


Friday, December 7th, 2012

We’re ecstatic to announce that Matt Porterfield’s new film, I Used To Be Darker, will premiere at the 2013 Sundance Film Festival in Park City, Utah, as part of the festival’s NEXT section, which highlights films “that stretch limited resources to create impactful art.” The film stars newcomers, Deragh Campbell and Hannah Gross, and musicians, Ned Oldham and Kim Taylor.

The screenplay was co-written by Amy Belk, who will collaborate with Porterfield on his next project, Soller’s Point. It was shot by cinematographer Jeremy Saulnier (Hamilton, Putty Hill, Septien, See Girl Run) and edited by Marc Vives (Putty Hill, The Ballad of Genesis and Lady Jaye). It was co-produced by the Hamilton Film Group, Nomadic Independence Pictures, and Steady Orbits. The soundtrack features music by Bill Callahan, Dope Body, Dustin Wong, Jana Hunter, Entrance Band, Amanaz and UGK, as well as original music by Ned Oldham and Kim Taylor.

Like Porterfield’s previous work, I Used To Be Darker is firmly grounded in narrative tradition while pushing outward and turning inward in surprising and formally adventurous ways. Taking a cue from 18th century modes of melodrama, it’s full of big emotions, broad gestures and song. But like the best cinematic realism it also finds time for the quotidian, posing questions of craft, utilizing formal devices that shatter the illusion of reality, while honoring the potential for naturalism inherent in working with a non-professional cast and real environments.

Sundance Screenings of I Used to be Darker

January 19, 3:00 P.M. Yarrow Hotel Theatre // Park City, UT
January 20, 6:00 P.M. Temple Theatre // Park City, UT
January 21, 9:00 P.M. Broadway Centre Cinema 6 // Salt Lake City, UT
January 22, 3:00 P.M. Holiday Village Cinema 2 (Press & Industry Screening) // Park City, UT
January 25, 9:00 P.M. Temple Theatre // Park City, UT

For more information, please contact Ross Clark or Carla Sacks at Sacks & Co., 212.741.1000, or


Monday, February 14th, 2011

To celebrate the opening weekend of PUTTY HILL in New York City, February 18th at Cinema Village, Matt Porterfield will be sitting down with special guests for post-screening conversations after every evening screening .

The weekend will culminate with a party at Lit Lounge Sunday February 20th, featuring the music of Co La, Dustin Wong, and Dope Body.

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Friday 2/18

Saturday 2/19

  • 12pm screening: conversation w/ Matt Porterfield and his dad, Gordon
  • 5pm screening: conversation w/ Jeronimo Rodriguez (NY1 News) and Matt Porterfield
  • 7pm screening: conversation w/ Richard Brody (The New Yorker) and Matt Porterfield
  • 9pm screening: conversation w/ Amos Poe (filmmaker) and Matt Porterfield

Sunday 2/20

  • 5pm screening: conversation w/ Amy Dotson (IFP) and Matt Porterfield
  • 7pm screening: conversation w/ Chris Keating (Yeasayer) and Matt Porterfield
  • 9pm screening: conversation w/ Jem Cohen (filmmaker) and the PUTTY HILL crew


Thursday, September 30th, 2010

DOPE BODY voted “Best New Band” in Baltimore City Paper:

“Holyfuckingshit, when Dope Body started playing sometime early last year, making blistering, inventive art-punk that is actually punk, we had no idea it would grow up to be the kind of force-of-nature the trio is now. You see this band play and it’s like a rush of something scraping all the cynicism and shit out of your veins and just leaving you smiling—because if a band can still make this kind of music, things might just be alright.” – CP


“Don’t get us wrong: We love that digital video is so affordable and responsive that bands can shoot and edit videos themselves and have them posted online quickly. But there’s still something romantic about film, especially when it’s used in a music video. First Mary Helena Clark’s gorgeously abstract and experiential video for Future Islands’ “As I Fall” reminded us that celluloid still has textures that DV can’t always approximate. And then Matthew Porterfield’s seismic collage for Dope Body’s “Enemy Outta Me” reminded us that there still exist some underground sounds that scream for grainy film images rather than smooth and flat DV polish.” – CP