Night Moves

By Ray Pride Pride@moviecitynews.com

ENTERTAINMENT ONE EATS UP THE US RIGHTS TO JIM MICKLE THRILLER WE ARE WHAT WE ARE

CRITICALLY ACCLAIMED SUNDANCE FILM ACQUIRED BY eONE FOR U.S. THEATRICAL DISTRIBUTION

 

LOS ANGELES/TORONTO – January 26, 2013 – Entertainment One (“eOne”) has acquired the U.S. rights to Jim Mickle’s suspenseful horror thriller WE ARE WHAT WE ARE for a theatrical release planned for later this year.  The film premiered to major critical acclaim this week at the 2013 Sundance Film Festival.

In WE ARE WHAT WE ARE, a re-imagining of the 2010 Mexican film of the same name, Jim Mickle paints a gripping and gruesome portrait of an introverted family struggling to keep their macabre traditions alive.

A seemingly wholesome and benevolent family, the Parkers have always kept to themselves, and for good reason. Behind closed doors, patriarch Frank (Bill Sage, “Boardwalk Empire”) rules his family with a rigorous ferver, determined to keep his ancestral customs intact at any cost.  As a torrential rainstorm moves into the area, tragedy strikes and his daughters Iris (Ambyr Childers, THE MASTER) and Rose (Julia Garner, MARTHA MARCY MAY MARLENE) are forced to assume responsibilities that extend beyond those of a typical family.  The film also stars Michael Parks (DJANGO UNCHAINED), Kelly McGillis (STAKELAND), Nick Damici (STAKELAND), Wyatt Russell (THIS IS 40) and newcomer Jack Gore.

WE ARE WHAT WE ARE was written by Mickle and Damici.  The two previously collaborated on the screenplays for Mickle’s first two features, MULBERRY STREET and STAKELAND (winner of the “Midnight Madness” Audience Award at the 2010 Toronto International Film Festival).

WE ARE WHAT WE ARE was produced by Rodrigo Bellott, Andrew D. Corkin, Linda Moran, Nicholas Shumaker and Jack Turner.

“We’re so very excited to add WE ARE WHAT WE ARE to our US slate,” said Dylan Wiley, VP Theatrical Marketing and Distribution, eOne Films North America. “Jim Mickle’s talent was obvious in MULBERRY STREET and STAKE LAND, but this film fulfills his vision on a whole new level and will put him in his rightful place among the masters of genre filmmaking.  It will be our pleasure to introduce him to an even wider fan base and we’re confident that audiences will eat up the film.”

“On behalf of the incredible cast and crew of WE ARE WHAT WE ARE, I’m extremely pleased to team up with eOne on a theatrical release and beyond.  The response at Sundance has been amazing and we look forward to continuing the journey with our new partners in crime,” said Jim Mickle.

The deal was negotiated by Mark Ankner and Christine D’Souza for WME Global, Andre des Rochers for Gray Krauss Stratford Des Rochers LLP, Emilie Georges for Memento Films International and Sejin Croninger, VP Worldwide Acquisitions for eOne.  As previously announced, eOne also acquired rights to WE ARE WHAT WE ARE in the UK, Canada, France, Scandinavia and South Africa.  Memento Films International is handling international sales.

WE ARE WHAT WE ARE is expected to hit theatres in the US in late 2013, adding to eOne’s exciting upcoming US lineup which includes; Brian de Palma’s PASSION and Sergio Castellitto’s TWICE BORNThe team is also looking forward to making additional acquisition announcements in the coming weeks.

 

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About Entertainment One

Entertainment One (LSE:ETO) is a leading international entertainment company that specializes in the acquisition, production and distribution of film and television content.  The company’s comprehensive network extends around the globe including Canada, the U.S., the UK, Ireland, Benelux, Spain, France, Scandinavia, Australia, New Zealand, South Africa and South Korea.  Through established Entertainment and Distribution divisions, the company provides extensive expertise in film distribution, television and music production, kids programming and merchandising and licensing. Its current rights library is exploited across all media formats and includes more than 35,000 film and television titles, 2,700 hours of television programming and 45,000 music tracks.

 

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato