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By MCN Editor editor@moviecitynews.com

JULIUS NASSO AND TODD MOYER FORM WAKEFIELD INTERNATIONAL PICTURES

For Immediate Release

New Production Company Announces First Film: SQUATTERS

New York/Los Angeles, April 12, 2012–Veteran film producers Julius R. Nasso and Todd Moyer have partnered in a new film financing and production entity, Wakefield International Pictures LLC.  With offices in both Los Angeles and New York, the company plans to package, finance and produce as many as four to six films per year.

Nasso (NARC: SING YOUR SONG: UNDER SIEGE 2; FIRE DOWN BELOW) and Moyer (WILLIAM TELL 3D;  BARB WIRE; GEORGE AND THE DRAGON; VIRUS) have known each other for close to two decades, since Moyer was president of production for Seagal-Nasso films.

First up for Wakefield will be SQUATTERS, directed by Martin Weisz.  Julius Nasso, Todd Moyer and Cordula Weisz are producing the picture, which begins shooting next month.  Starring Thomas Dekker (MY SISTER’S KEEPER, ANGELS CREST and HBO’s CINEMA VERITE) and Gabriella Wilde (THE THREE MUSTEKETEERS; ST. TRINIAN’S II; DARK HORSE) the film starts production in Los Angeles in early May.  Frankie Nasso and Jeff Kranzdorf  will serve as executive producers. The film tells the story of a young homeless couple in Venice Beach who move into a mansion in the Pacific Palisades while the owners are on vacation.  When the owners come home early, things get complicated.

Moyer recalls, “When I read Justin Shilton’s script—one of the most powerful and beautiful I’ve encountered in years—I felt we just had to make this film.  I’ve known director Martin Weisz for many years and we are proud to support him and these terrific lead actors in this endeavor.” Screenwriter Shilton is best known as an actor for his roles in LITTLE MISS SUNSHINE and THE AVIATOR, among others.

Nasso added, “We’re pleased to be involved with such incredible material, and was hugely impressed with the readings of our two young leads. I think with such an excellent script, Dekker and Wilde have the chance to really embrace these roles and break out on the highest levels.  We believe the film has very broad demographic appeal and expect everyone from 15-80 will like it equally!”

For his part, director Martin Weisz directed THE HILLS HAVE EYES II and has directed more than 350 music videos for artists such as Puff Daddy, Korn, Live, Sisquo, Nickelback and Fuel.  He’s repped by Anonymous Content and is owner of Weird Pictures.  Weisz and Moyer have another film, DREAMT, in development.

Wakefield will be announcing more films in their 2012 slate in coming weeks.

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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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