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By MCN Editor editor@moviecitynews.com

SUNDANCE SELECTS TAKES US RIGHTS TO KEN LOACH’S THE ANGEL’S SHARE OUT OF CANNES

FOR IMMEDIATE RELEASE

CANNES (May 24, 2012) – Sundance Selects announced today from the 2012 Cannes Film Festival that the company is acquiring all US rights to THE ANGELS’ SHARE directed by Palme d’Or winner Ken Loach (THE WIND THAT SHAKES THE BARLEY) and written by Paul Laverty. The film was produced by Rebecca O’Brien (Sixteen Films) and executive produced by Pascal Caucheteux (Why Not Productions) and Vincent Maraval (Wild Bunch). The film stars Paul Brannigan, Siobhan Reilly, John Henshaw, Gary Maitland, William Ruane, Jasmin Riggins and Roger Allam.  The film had its premiere earlier in the week in competition at the Cannes Film Festival.

Loach’s bittersweet comedy follows Robbie, a Glasgow boy who is given one final chance to stay out of prison. When Robbie sneaks into the maternity hospital to visit his young girlfriend Leonie and hold his newborn son Luke for the first time, he is overwhelmed. He wants to prove to new family that he’s able to get on the straight and narrow. While doing community service, Robbie embarks on an adventure with a newfound friend to a whiskey distillery and discovers that turning to drink might just change his life.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “THE ANGELS’ SHARE was one of the supreme pleasures of the 2012 Cannes Film Festival.  It is a deeply felt, irresistible and often very funny story of redemption that could only come from the collaboration of Ken Loach, Paul Laverty, Rebecca O’Brien, Pascal Caucheteaux and Vincent Maraval. We’re honored to work withthem again and look forward to making this one of our most successful collaborations.”

Sundance Selects/IFC Films has a major presence at this year’s Cannes Film Festival.  The company announced yesterday it had acquired Ben Wheatley’s Directors Fortnight entry SIGHTSEERS.  They also came with four films screening at the festival:  Walter Salles’ competition film ON THE ROAD which the company recently acquired and will release jointly under IFCFilms and Sundance Selects, Cristian Mungiu’s BEYOND THE HILLS which is being released under the Sundance Selects label, Adam Leon’s SXSW-winner GIMME THE LOOT which is also being released under Sundance Selects and is screening in Un Certain Regard, and Rodney Ascher’s Sundance sensation ROOM 237 which was acquired for IFC Midnight and is screening at Director’s Fortnight.

This is the 4th time IFC Films/Sundance Selects have worked with Ken Loach.  Their previous collaborations include:  THE WIND THAT SHAKES THE BARLEYwhich won the Palme d’Or at Cannes and is the most successful release of his career in the US; IT’S A FREE WORLD which won the Best Screenplay at the Venice Film Festival; and LOOKING FOR ERIC.

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Carole Baraton of Wild Bunch on behalf of the filmmakers.

Sundance Selects is a sister division to IFC Films and IFC Midnight, and is owned and operated by AMC Networks Inc.

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About SUNDANCE SELECTS

Established in 2009 and based in New York City, Sundance Selects is a leading U.S. distributor of prestige films focusing on American independents, documentaries and world cinema.  In 2011, the division released the Academy Award® nominated Wim Wenders’ PINA; the year’s highest-grossing independent documentary, Werner Herzog’s CAVE OF FORGOTTEN DREAMS which won the Best Documentary Award from the New York Film Critics Circle, Los Angeles Film Critics Association and National Society of Film Critics among others, the second-highest-grossing independent documentary BUCK; and Abbas Kiarostami’s CERTIFIED COPY. Recent releases include Jean-Pierre and Luc Dardenne’s biggest commercial success, THE KID WITH A BIKE, Bess Kargman’s multiple Audience Award winner FIRST POSITION, Nanni Moretti’s WE HAVE A POPE, and Maiwenn’s CannesPrix du Jury winner POLISS. Recent acquisitions include Cristian Mungiu’s BEYOND THE HILLS, Olivier Assayas’s SOMETHING IN THE AIR and the Sundance documentary HOW TO SURVIVE A PLAGUE. The company will release Michael Winterbottom’s TRISHNA starring Frieda Pinto, SXSW Winner GIMME THE LOOT later this year, along with Walter Salles’ ON THE ROAD starring Garrett Hedlund, Sam Riley, Kristen Stewart and Kirsten Dunst which will be a jointrelease with IFC Films. Sundance Selects is a sister division to IFC Films and IFC Midnight, and is owned and operated by AMC Networks Inc.

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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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