Z

By MCN Editor editor@moviecitynews.com

“THE BEST EXOTIC MARIGOLD HOTEL” TO BEGIN PRINCIPAL PHOTOGRAPHY

John Madden to direct all star cast with Dame Judi Dench, Dame Maggie Smith, Tom Wilkinson, Bill Nighy and Dev Patel

LOS ANGELES, CA October 6, 2010 – Fox Searchlight Pictures President of Production Claudia Lewis and Participant Media President Ricky Strauss announced today that that principal photography for THE BEST EXOTIC MARIGOLD HOTEL will begin on October 10th in India. John Madden (SHAKESPEARE IN LOVE) will direct an all star cast in the comedy THE BEST EXOTIC MARIGOLD HOTEL from a script by Ol Parker and Deborah Moggach based on the novel by Deborah Moggach. The film will star Judi Dench, Maggie Smith, Tom Wilkinson, Bill Nighy and Dev Patel and be produced by Graham Broadbent and Peter Czernin of Blueprint Pictures. Fox Searchlight Pictures has worldwide rights and they will co-finance the film with Participant Media and Imagenation Abu Dhabi.

“We’re honored to have John at the helm of this film, a director with a deft hand in both comedy and drama,” said Lewis. “And to welcome back esteemed actors from the Searchlight fold such as Judi, Bill, Tom, Dev as well as the other members of our exceptional cast.”

Strauss said, “We’re thrilled to be partnering with Fox Searchlight for this amazing lineup of talent and a story that’s engaging, optimistic, funny and romantic, yet still manages to deal with the real issues that people today are facing everywhere.”

Madden said, “This is a gorgeous script – witty, moving and hilarious – with a wonderful feel for its subject – India. It’s rare to find one that traverses comedy, romance, and melancholy with such a lightness of touch and it’s proved to be a magnet for the cast of your dreams: actors I know and would want to work with in every film – Judi Dench, Tom Wilkinson; and actors I’d feel lucky to be in the room with – Maggie Smith, Bill Nighy, Dev Patel, and an amazing ensemble. It’s a great project about a world that defies all categorization. No one could come to India and not be changed by it.”

“We have the best of Britain’s actors, the incomparable John Madden directing, a fresh and funny script about ‘outsourcing’ retirement, and amazing partners in Fox and Participant. We’re very excited to get started,” said Broadbent.

THE BEST EXOTIC MARIGOLD HOTEL follows a group of British retirees who decide to “outsource” their retirement to less expensive and seemingly exotic India. Enticed by advertisements for the newly restored Marigold Hotel and bolstered with visions of a life of leisure, they arrive to find the palace a shell of its former self. Though the new environment is less luxurious than imagined, they are forever transformed by their shared experiences, discovering that life and love can begin again when you let go of the past.

The project will be overseen by Senior Vice President of Production Zola Mashariki and Creative Executive DanTram Nguyen for Fox Searchlight and Executive Vice President of Production Jonathan King and Creative Executive Angel Lopez for Participant Media.

Fox Searchlight Pictures is a specialty film company that both finances and acquires motion pictures. It has its own marketing and distribution operations, and its films are distributed internationally by Twentieth Century Fox. Fox Searchlight Pictures is a unit of Fox Filmed Entertainment, a unit of Fox Entertainment Group.

Participant Media (participantmedia.com) is a Los Angeles-based global entertainment company specializing in socially-relevant documentary and non-documentary feature films, television, publishing and digital media. Participant exists to tell compelling, entertaining stories that bring to the forefront real issues that shape our lives. For each of its projects, Participant creates extensive social action and advocacy programs, which provide ideas and tools to transform the impact of the media experience into individual and community action. Participant’s online Social Action Network is TakePart (takepart.com).

Leave a Reply

Quote Unquotesee all »

“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

Z Z