The Hobbit: Battle of the Five Armies

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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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire