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By MCN Editor editor@moviecitynews.com

A&E INDIEFILMS INVESTS IN SUNDANCE ENTRY “CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL”

Film has its World Premiere Friday as part of the Park City at Midnight Section of the Sundance Film Festival

New York, NY (January 17, 2011) – Television rights to the upcoming Sundance premiere: CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL have been picked up ahead of its Sundance premiere by A&E INDIEFILMS as part of an investment in the project.  The film marks the directorial debut of Alex Stapleton and chronicles the incredible career and massive Hollywood influence of legendary director and producer, Roger Corman. Corman will be in Park City for the world premiere of the film this Friday, January 21. The film also features bold-faced “Cormanites” such as Jack Nicholson, Ron Howard, Jonathan Demme, Martin Scorsese, and many others. The film was produced and financed by Far Hills Pictures’ Stone Douglass and Taylor Materne.  Stapleton, Izabela Frank, Mickey Barold, and Jeff Frey also served as producers on the project.

The deal for CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL was negotiated by Molly Thompson, Vice President of A&E IndieFilms, with WME Global on behalf of Far Hills Pictures. Of the deal, Bob DeBitetto, President and General Manager of A&E Network and BIO Channel says, “Corman’s World is the preeminent retrospective of the life and career of one of Hollywood’s most prolific and influential filmmakers and we are pleased to partner with Stone Douglass and Taylor Materne to bring Alex Stapleton’s film to audiences around the world.” WME GLOBAL represents the film’s remaining available rights.

CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL marks the third major film coming out of Douglass and Materne’s Far Hills Pictures.  Company, which formed in August 2009, also produced the Magnolia Pictures release BARRY MUNDAY, and Martin Scorsese’s acclaimed doc  A LETTER TO ELIA.  Of the acquisition Douglass says, “A&E IndieFilms and Molly Thompson have an amazing history of distributing the highest quality documentaries.  They are the ideal partner for a film that celebrates the birth of independent filmmaking and its godfather, Roger.”  Far Hills is repped by WME Global.

CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL tracks the triumphant rise of the true “godfather” of independent filmmaking, Roger Corman. The single most prolific writer-director-producer, Corman financed hundreds of profitable low-budget films and helped launch the careers of Jack Nicholson, Peter Fonda, Dennis Hopper, Martin Scorsese, Francis Ford Coppola, James Cameron, and many more. With archival footage of American culture and countercultures from the 1950’s to present day, and dynamic interviews with alumni of Corman’s cutthroat school of filmmaking, Corman’s World takes us back to the days when Corman was King. The film also shows the rise of the recent Corman renaissance featuring Indiewood’s new school of filmmakers – including Quentin Tarantino, Paul W.S. Anderson and Eli Roth. And of course it follows Roger himself as he successfully continues to produce and distribute films outside the studio system the Corman way: fast, cheap and out-of-this-world!

Pic was executive produced by Jared Moshe, Rich Lim, Joshua Ray Levin, Polly Platt and Antonio Von Hildebrand. Executive producers for A&E IndieFIlms are Bob DeBitetto, Robert Sharenow, and Molly Thompson.

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About A&E IndieFilms

A&E IndieFilms is the feature documentary production arm of A&E Network.  A&E IndieFilms is committed to developing the work of outstanding independent filmmakers and helping them reach the broadest possible audiences.  A&E IndieFilms commissions, acquires and provides finishing funds for feature documentaries intended for co-branded theatrical release.  Films include the 2006 and 2007 Academy Award nominees for best Documentary Feature, MURDERBALL and JESUS CAMP; Nanette Burstein’s AMERICAN TEEN, which received the Directing Award at the Sundance Film Festival; Amir Bar-Lev’s MY KID COULD PAINT THAT; R.J. Cutler’s THE SEPTEMBER ISSUE; Amir Bar-Lev’s 2011 PGA Award nominee THE TILLMAN STORY and Alex Gibney’s 2011 PGA Award and DGA Award nominee CLIENT 9: THE RISE AND FALL OF ELLIOT SPITZER.

About Far Hills Pictures

Stone Douglass and Taylor Materne created Far Hills Pictures in August ‘09 as an independent financing, development and production entity.  Stone Douglass formerly ran STICK N STONE Productions where he financed and sold the independent feature, SPIN, which Universal released in the spring of 2010.  Far Hills Pictures’ first feature, BARRY MUNDAY was released by Magnolia Pictures in October of 2010. The film (based on the novel, LIFE IS A STRANGE PLACE by Frank Turner Hollon), stars Patrick Wilson, Chloe Sevigny, Judy Greer, Jean Smart, Malcolm McDowell, Billy Dee Williams, Colin Hanks and Cybil Shepherd.  Stone and Taylor also executive produced and co-financed A LETTER TO ELIA, which was co-written, directed and produced by Martin Scorsese. It aired on PBS ‘AMERICAN MASTERS’ in October 2010.

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2 Responses to “A&E INDIEFILMS INVESTS IN SUNDANCE ENTRY “CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL””

  1. Dewitt T. Wood Jr. says:

    To Whom It May Concern,

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    I’ve attached a peek at what my show will be like in PDF Format, without giving away to much, so I cover myself legally, until I get a face-to-face meeting set-up with a TV Network. Thank you for taking time out to help me.

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    (H)301-438-7405 (M)240-876-9976
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    Creator/Producer/Co-Host: Dewitt T. Wood Jr. Program Length: 1 hour
    Series , Special or Reality: Reality Show Weekly or Monthly: Weekly

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    Target Audience: Ages 18 to 49, with segments that will appeal to all ages, by involving Tweeter and
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  2. jiggly_phew says:

    Check out the movies that made Corman a legend and support him in the making of his next film: http://www.newhorizonspictures.com/b/2521325011

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“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

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