By MCN Editor editor@moviecitynews.com

FAR RIGHT-WING AND NATIONALIST FRENCH POLITICIAN JEAN-MARIE LE PEN’S COMMENTS A DISGRACE TO FRANCE AND THE INTOUCHABLES; HARVEY WEINSTEIN DENOUNCES LE PEN’S STATEMENTS AS ‘REPULSIVE’ AND ‘BIGOTED’

New York, NY – March 1, 2012 – During a recent television appearance on France 3’s National French Journal, founder and former president of France’s National Front party Jean-Marie Le Pen, as no surprise to the French who’ve witnessed his past tirades, disgraces France by making this analogy comparing the country’s socially progressive current state to the circumstances in the film THE INTOUCHABLES. Le Pen is notorious for advocating that France be a closed community, and he sees this film as a representation of the progression that France is making – which he is vitally against.

“France is like this handicapped person stuck in this wheelchair, and we are going to have to wait for the help of these suburb youngsters and the immigration in general. I don’t subscribe to this point of view. It’s a movie, a novel. And we have to take it that way and not like an example for the future. It would be a disaster if France would find itself in the same situation as this poor handicapped person,” said Le Pen.

THE INTOUCHABLES directors Olivier Nakache and Eric Toledano chose to inspire audiences with this film and its true story by uncovering the philosophy that race, religion and class do not separate people and that they have nothing to do with the humanity of people and their potential for friendship and love.

The Weinstein Company Co-Chairman Harvey Weinstein denounced Le Pen’s statement.

“It’s not a surprise to hear such an intolerant statement from the man who founded and was president of the extreme-right, xenophobic, racist National Front party. Le Pen made a repulsive statement, representing a bigoted world view. And right now, Jean-Marie’s daughter, Marine Le Pen, is running for president of France as the leader of the National Front party — and she is fourth in the polls with almost 16% of the population intending to vote for her. That’s frightening to me, and I think it’s important to speak up and speak out against Le Pen and his ideas. That’s why I’m proud to bring THE INTOUCHABLES to American audiences. This movie is based on a true story, and it’s a funny, extremely entertaining illustration of how simple human connection trounces socioeconomic, religious and racial divides. “

THE INTOUCHABLES tells the true story of a wealthy, physically disabled risk taker, the picture of established French nobility, who lost his wife in an accident and whose world is turned upside down when he hires a young, good-humored, black Muslim ex-con as his caretaker. Their bond proves the power and omniscience that love and friendship can hold over all social and economic differences. It is the 2nd highest grossing film of all time in both France and Germany and will be released in the U.S. by TWC on May 25. It premieres tonight in New York at Rendez-Vous with French Cinema’s Opening Night at Alice Tully Hall.

JEAN-MARIE LE PEN’S NATIONAL FRENCH JOURNAL INTERVIEW (January 29, 2012)
http://www.youtube.com/watch?v=q7qQRNAAQvY

REACTIONS TO JEAN-MARIE LE PEN’S NATIONAL FRENCH JOURNAL INTERVIEW
http://leplus.nouvelobs.com/contribution/313678-comment-jean-marie-le-pen-attaque-intouchables-et-les-immigres.html

http://www.dailyactu.com/politique/jean-marie-le-pen-video-le-pen-critique-violemment-le-film-intouchables-7373.html

ABOUT THE WEINSTEIN COMPANY
The Weinstein Company (TWC) is a multimedia production and distribution company launched in October 2005 by Bob and Harvey Weinstein, the brothers who founded Miramax Films in 1979. TWC also encompasses Dimension Films, the genre label founded in 1993 by Bob Weinstein, which has released such popular franchises as SCREAM, SPY KIDS and SCARY MOVIE. Together TWC and Dimension Films have released a broad range of mainstream, genre and specialty films that have been commercial and critical successes.  TWC releases took home eight 2012 Academy Awards®, the most wins in the studio’s history. The tally included Best Picture for Michel Hazanavicius’s THE ARTIST and Best Documentary Feature for TJ Martin and Dan Lindsay’s UNDEFEATED. THE ARTIST brought TWC its second consecutive Best Picture statuette following the 2011 win for Tom Hooper’s THE KING’S SPEECH.

Since 2005, TWC and Dimension Films have released such films as GRINDHOUSE; I’M NOT THERE; THE GREAT DEBATERS; VICKY CRISTINA BARCELONA; THE READER; THE ROAD; HALLOWEEN; THE PAT TILLMAN STORY; PIRANHA 3D; INGLOURIOUS BASTERDS; A SINGLE MAN; BLUE VALENTINE; THE COMPANY MEN; MIRAL; SCRE4M; SUBMARINE; DIRTY GIRL; APOLLO 18; OUR IDIOT BROTHER; I DON’T KNOW HOW SHE DOES IT; SARAH’S KEY; and SPY KIDS: ALL THE TIME IN THE WORLD IN 4D. Currently in release are MY WEEK WITH MARILYN; THE ARTIST; THE IRON LADY; CORIOLANUS; W.E.; and UNDEFEATED. Upcoming releases include BULLY and THE INTOUCHABLES. Recently wrapped was SILVER LININGS PLAYBOOK, and currently in production is DJANGO UNCHAINED.

TWC is also active in television production, led by former Miramax Films President of Production and current President of Television Meryl Poster, with credits including the Emmy® nominated and Peabody Award winning reality series Project Runway, spin-off series Project Accessory and Project Runway All Stars, the VH1 reality series Mob Wives, and the critically acclaimed HBO comedy/crime series The No. 1 Ladies Detective Agency which also received a Peabody Award. The company is currently in pre-production on the martial-arts epic Marco Polo for Starz as well as production on the second season of Mob Wives and the newest installment in the series’ franchise Mob Wives Chicago. TWC additionally has 17 series in different stages of development, including The Nanny Diaries, being adapted for ABC by Amy Sherman Palladino (Gilmore Girls).

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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