By mcneditor editor@moviecitynews.com

PRODUCER ANNE CAREY TEAMS UP WITH EPOCH FILMS TO EXPAND FILM AND TELEVISION DEVELOPMENT AND PRODUCTION

New York, NY (Feb 28, 2011) — Epoch Films, an award-winning commercial and film production company, today announced that it has entered into a strategic partnership with independent film producer Anne Carey (THE AMERICAN, ADVENTURELAND, THE SAVAGES) to significantly expand Epoch’s film and television operations.  The announcement was made by Epoch’s founding partner Mindy Goldberg.

Working closely with veteran producer Goldberg, Carey will help build Epoch’s development slate, identifying, developing and producing projects for Epoch’s roster of represented directors as well as outside filmmakers. Carey will also immediately tap Epoch’s new development fund that the company is committing to the expanded slate.

“Anne is among the best and brightest producers working in American independent film today,” said Mindy Goldberg.  “I am confident that by combining Anne’s taste and experience and Epoch’s access to talent and resources we will be an attractive partner for talented directors, writers and producers working in film and television.”

“Mindy’s reputation as a producer and businesswoman speaks for itself, and I am greatly looking forward to forging new filmmaker and talent relationships together and to making great films and television,” said Anne Carey. “I know that our blend of styles and experience will make Epoch Films an even more dynamic place.”

Epoch Films has previously developed and produced two award-winning feature films, JUNEBUG, directed by Phil Morrison, and GIGANTIC, directed by Matt Aselton. Epoch is currently developing the feature film LOW DOWN, scheduled to start filming in late 2011 with producers Albert Berger & Ron Yerxa (LITTLE CHILDREN, LITTLE MISS SUNSHINE) of Bona Fide Productions. LOW DOWN will be directed by Epoch Films’ partner and established commercial director Jeff Preiss.

Carey will also continue to develop and produce select projects outside of the partnership. These include Carey’s current projects, THEN WE CAME TO THE END, written by Joshua Ferris for director Lynn Shelton (HUMPDAY) with fellow producer Ted Hope on board; LAST NIGHT AT THE LOBSTER, written by Carlo Bernard and Doug Miro which Carlo Bernard will direct; and THE LISTENER, written by Jody Shields, which Malcolm Venville will direct.

Carey began her career in the William Morris Agency’s department of Literary Development. She later worked as the head of development and as a producer at Good Machine, Inc., and was partners at This Is That, Inc. with Ted Hope, Anthony Bregman and Diana Victor.  Carey was represented in the deal by UTA’s Rich Klubeck and David Flynn.

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“Just got back from Dark Shadows at the Lincoln Square IMAX (102′ wide screen, over 50 sears per row). I loved almost every second of it. What a shock. I can see why people under 49 hate it, and it’s not just because of its ’60s TV roots–it’s a very traditional, classic-style horror film: leisurely-paced, character-driven, beautifully designed (mostly real sets, not CGI), music used as a humorous or ironic underline, not particularly violent (there’s more blood in the 1970 version), perfectly cast with superb actors, and of course a nice sense of humor to balance the horror. No jump scenes, no teens sliced to pieces by some mask-wearing non-entity, just good old-fashioned story-telling. It’s more like Hugo than Hostel, and not just because it shares cast members and underperformed. And as for the much-derided third act: the complaints are horseshit. Everything that takes place in the climax is logically built up to in what precedes it. Yes, the werewolf is a surprise, but it shouldn’t be given the family history and that character’s behavior, and the explanation is eminently reasonable. In an era where Bridesmaids is considered award-worthy writing, it’s no surprise that many people have forgotten what a well-made script can be like. So fuck all the haters. Dark Shadows lived up to my expectations (no small feat), and should be seen by everyone who still appreciates quality, grown-up, Old Hollywood-style filmmaking. Cadavra has spoken.”
~ Cadavra on Dark Shadows

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GQ: Whose tuxedo did you wear on the red carpet here in Cannes?
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~ Stylin’ Tom Hardy

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