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By MCN Editor editor@moviecitynews.com

GK FILMS AND INFINITUM NIHIL’S THE RUM DIARY LANDS AT FILMDISTRICT

JOHNNY DEPP STARS
FilmDistrict to release October 28

NEW YORK, March, 29, 2011 – It was announced today at CinemaCon, by Bob Berney, President, Theatrical Distribution that FilmDistrict will release “The Rum Diary,” based on the early Hunter S. Thompson novel that was ultimately published in 1998. It stars Johnny Depp and will be released on October 28, 2011. The film is directed by Bruce Robinson (“Withnail and I”) from his own screenplay and also stars Aaron Eckhart, Amber Heard, Michael Rispoli, Richard Jenkins and Giovanni Ribisi. “The Rum Diary” is produced by Infinitum Nihil, the production company headed by Depp and Christi Dembrowski, along with Graham King and Tim Headington. Anthony Rhulen and Robert Kravis also produce.

“The Rum Diary” tells the increasingly unhinged story of itinerant journalist Paul Kemp (Depp). Tired of the noise and madness of New York and the crushing conventions of late Eisenhower-era America, Kemp travels to the pristine island of Puerto Rico to write for a local San Juan newspaper run by the downtrodden editor Lotterman (Jenkins). Adopting the rum-soaked lifestyle of the late ‘50s version of Hemingway’s “The Lost Generation,” Paul soon becomes entangled with a very attractive American woman, Chenault (Heard) and her fiancée Sanderson (Eckhart), a businessman involved in shady property development deals. It is within this world that Kemp ultimately discovers his true voice as a writer and integrity as a man.

“Hunter S. Thompson became close with Johnny Depp during the filming of “Fear and Loathing in Las Vegas” and showed Depp the unpublished manuscript for The Rum Diary,” says producer and FilmDistrict co-founder Graham King. “I am extremely proud to bring this novel to film and to honor Hunter’s legacy.”

Peter Schlessel, CEO of FilmDistrict and President of GK Films, says, “The Rum Diary” is a special project for all of us here, as it is a true collaboration between both of our entities. Depp gives an extraordinary performance in this remarkable adaptation.”

“Robinson directed one of my favorite films, “Withnail and I” – combine that with Hunter S. Thompson and it’s a match made in celluloid heaven,” says Bob Berney, President of Distribution, FilmDistrict.

“The Rum Diary” is a GK Films, Infinitum Nihil and Film Engine production produced by Johnny Depp, Christi Dembrowski, Anthony Rhulen, Robert Kravis, Tim Headington and Graham King.

About FilmDistrict
FilmDistrict is a multi-faceted acquisitions, distribution, production and financing company focusing on wide release, commercial pictures. Founded in September by Graham King and Tim Headington’s GK Films, in partnership with Peter Schlessel, the company’s films include INSIDIOUS, April 1; SOUL SURFER, April 8; DRIVE, Sept. 16; and LOCKOUT, February 24, 2012. For more information, visit filmdistrict.com.

About GK Films
Graham King launched GK Films in May 2007 with business partner Tim Headington. Most recently, GK Films produced the animated tale “Rango,” directed by Gore Verbinski and produced with his Blind Wink Productions for Paramount Pictures, “The Town,” written and directed by Ben Affleck for Warner Bros., and “The Tourist,” directed by Florian Henckel von Donnersmarck and starring Angelina Jolie and Johnny Depp.

The company is currently in post-production on the 3-D adventure film “Hugo Cabret,” directed by Martin Scorsese set for release through Paramount Pictures on November 23rd 2011, an untitled love story, written and directed by Angelina Jolie, the crime drama “London Boulevard,” starring Colin Farrell and Keira Knightley and written and directed by Academy Award®-winning screenwriter William Monahan and “The Rum Diary” starring Johnny Depp and produced with Depp’s production company, Infinitum Nihil.

GK Films has announced several projects in development including the screen adaptation of “Jersey Boys,” the untitled Freddie Mercury story starring Sacha Baron Cohen and written by Peter Morgan and a reboot of the successful action franchise,“Tomb Raider.”

Previous GK Films releases include “Edge of Darkness,” and the three-time Academy Award® nominated “The Young Victoria.”

In 2010, Graham King and Tim Headington launched a new division, GK-TV. Run by President Craig Cegielski, GK-TV is dedicated to the development, production and worldwide distribution of television programming. GK-TV’s miniseries “Camelot,” set to premiere on Starz on April 1, 2011, stars Joseph Fiennes and Eva Green.

GK Films, in partnership with Peter Schlessel, formed FilmDistrict, a multi-faceted studio that encompasses acquisitions, distribution, production and financing on wide release commercial pictures. The company will theatrically distribute several films per year.

GK Films can be found at http://gk-films.com

About Infinitum Nihil
Infinitum Nihil was formed in 2004 and enjoys a production deal with GK Films. The two companies have produced the forthcoming film The Rum Diary starring Johnny Depp and written and produced by Bruce Robinson, as well as Hugo Cabret directed by Martin Scorsese and set for release on November 23rd through Paramount Pictures. Additionally, Infinitum Nihil and Graham King are in pre-production on Dark Shadows for Warner Brothers with Johnny Depp set to star with Tim Burton directing.

Infinitum Nihil and GK Films share a number of films in development for Warner Brothers, including Shantaram, based on the book by Gregory David Roberts and adapted by Eric Roth; Attica adapted by Linda Woolverton and to be directed by Sam Fell; Gordon Dahlquist’s The Glass Books of the Dream Eaters and the Tom Robbins classic Fierce Invalids Home from Hot Climates adapted by Eric Aronson.

Infinitum Nihil is also developing the Nick Tosches book In The Hand of Dante as well as journalist-author James Meek’s The People’s Act of Love.

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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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