By MCN Editor editor@moviecitynews.com

FOX SEARCHLIGHT PICTURES ACQUIRES REMAKE RIGHTS TO THE BENGALI DETECTIVE

FOR IMMEDIATE RELEASE

Specialty Arm Acquires Worldwide Remake Rights

PARK CITY, UT January 24, 2011 – Fox Searchlight Pictures President of Production Claudia Lewis announced today that the company has acquired worldwide remake rights from Native Voice Films to the entertaining original feature documentary, THE BENGALI DETECTIVE, directed by Philip Cox and produced by Giovanna Stopponi, Annie Sundberg and Himesh Kar.

“We adored this film and are delighted to have the chance to work with such entertaining, funny material. We were charmed by this story of a dedicated husband and self-made detective who dreams big,” said Lewis.

“We are thrilled that Fox Searchlight has fallen in love with our leading man Rajesh and his wild adventures as a detective in Kolkata.  Fox Searchlight has an amazing track record of bringing stories set in India to a worldwide audience, and we are excited to be sharing this journey with them,” said director Phil Cox and The Bengali Detective team.

In THE BENGALI DETECTIVE, Calcutta’s criminal underworld is explored by intrepid private eye Rajesh Ji.  Following both his investigations and Rajesh’s pursuit of his dream to dance on Indian TV, THE BENGALI DETECTIVE provides a look at modern India through the eyes of one of its most unlikely heroes.

The deal was brokered on Fox Searchlight’s side by Senior Vice President of Business Affairs Megan O’Brien with Andrew Hurwitz of Schreck Rose Dapello Adams & Hurwitz, LLP on behalf of Native Voice Films.  Creative Executive Richard Gold will oversee development for Fox Searchlight Pictures.

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

FOX SEARCHLIGHT PICTURES A UNIT OF FOX FILMED ENTERTAINMENT

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé