Z

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.

 

###

 

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.

 

Leave a Reply

Z

Quote Unquotesee all »

Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

Z Z