By MCN Editor editor@moviecitynews.com

Radius-TWC Acquires BACHELORETTE

New York, NY, February 7, 2012 – The Weinstein Company (TWC) announced today that its new label, Radius-TWC, has acquired from Strategic Motion Ventures the North American distribution rights to the comedy BACHELORETTE, the debut feature from writer-director Leslye Headland. Adapted by Headland from her acclaimed stage play of the same name, BACHELORETTE had its world premiere in the 2012 Sundance Film Festival Premieres section. The film is the first to be acquired in the open marketplace by Radius-TWC, which was created in fall 2011 to bring new films and other specialty entertainment to audiences simultaneously across multiple platforms. The announcement was made by Radius-TWC Co-Presidents Tom Quinn and Jason Janego.

A raucous comedy about a group of friends who bring decidedly mixed feelings to the task of planning a wedding, BACHELORETTE stars Kirsten Dunst (MELANCHOLIA), Isla Fisher (CONFESSIONS OF A SHOPAHOLIC), Lizzy Caplan (“New Girl”), James Marsden (ENCHANTED), Kyle Bornheimer (SHE’S OUT OF MY LEAGUE), Rebel Wilson (BRIDESMAIDS) and Adam Scott (OUR IDIOT BROTHER). The producers are Adam McKay, Will Ferrell, Jessica Elbaum for Gary Sanchez Productions; and Brice Dal Farra, Claude Dal Farra and Lauren Munsch for BCDF Pictures. The executive producers are Gary Sanchez Productions’ Chris Henchy and BCDF Pictures’ Paul Prokop. The announcement was made by Radius-TWC Co-Presidents Tom Quinn and Jason Janego.

Commented Quinn and Janego, “Leslye has crafted a raging, stiletto-sharp comedy populated with an indelible cast of real characters. BACHELORETTE boldly goes to places BRIDESMAIDS and HANGOVER dare not. This is destined to be one of the most talked-about films of the year and we can’t think of a more fitting film for our new label.”

In a joint statement, BCDF & Gary Sanchez Productions, stated “We are excited to have the passion of Harvey and the Radius/TWC team of Tom Quinn & Jason Janego behind the fresh talent of Leslye Headland & her ground breaking film Bachelorette. They are the perfect team to partner with on this picture and we are thrilled to be in collaboration. Their vision & expertise will broadly carry this picture to American audiences.”

The deal was negotiated for Radius-TWC by Quinn and Janego and by CAA on behalf of the filmmakers.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch