By Ray Pride Pride@moviecitynews.com

MAGNOLIA PICTURES GETS “TOUCHY FEELY” FOR THE WORLD WITH LYNN SHELTON’S LATEST

Shelton And Magnolia Reunite Following Successful Collaboration On Hit Comedy “Humpday”

NEW YORK, NY (March 7, 2013) – The Wagner/Cuban Company’s Magnolia Pictures announced today that they’ve acquired world distribution rights to TOUCHY FEELY, the latest film from acclaimed writer/director Lynn Shelton.  The acquisition marks a reunion between Shelton and Magnolia, the distributor of Shelton’s hit 2009 comedy HUMPDAY in 2009.   TOUCHY FEELY, which made its world premiere in competition at the 2013 Sundance Film Festival, is Shelton’s follow-up film to the award-winning YOUR SISTER’S SISTER.

TOUCHY FEELY also marks the second collaboration between Lynn Shelton and Rosemarie DeWitt, who received an Independent Spirit Awards Best Supporting Actress nomination for her role in YOUR SISTER’S SISTER.   The talented ensemble cast of TOUCHY FEELY also includes Josh Pais, Ellen Page, Scoot McNairy, Allison Janney, Ron Livingston and newcomer Tomo Nakayama (of the indie rock band Grand Hallway).

A closely observed examination of a family whose delicate psychic balance suddenly unravels. TOUCHY FEELY centers on Abby (Rosemarie DeWitt), a sought after massage therapist and a free spirit, while her brother Paul (Josh Pais) thrives on routine and convention, running a flagging dental practice and co-dependently enlisting the assistance of his emotionally stunted daughter Jenny (Ellen Page). Suddenly, transformation touches everyone. Abby develops an uncontrollable aversion to bodily contact, which not only makes her occupation impossible but severely hinders the passionate love life between her and her boyfriend (Scoot McNairy.) Meanwhile, rumors of Paul’s “healing touch” begin to miraculously invigorate his practice as well as his life outside the office.

TOUCHY FEELY was filmed on location in Shelton’s hometown and urban muse of Seattle.   The film was produced by Steven Schardt.

“We are so happy to be working with the exquisitely talented Lynn Shelton again,” said Magnolia President Eamonn Bowles. “Her mastery of character and generous understanding of real human emotions is as great as anyone’s working in film today.”

“Who said you can’t go home again?   My experience with Magnolia on the release of HUMPDAY was magical, so I couldn’t be more thrilled that we have found the perfect distribution partners for TOUCHY FEELY,” said Shelton.  “We look forward to collaborating with Eamonn and their entire team to share the film with audiences everywhere.”

The deal for the film was negotiated by Dori Begley, Senior Vice President of Acquisitions at Magnolia, with Submarine and UTA on behalf of the filmmakers. Magnolia’s Christina Rogers will handle sales for the world.

 

 

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About Magnolia

Magnolia Pictures (www.magpictures.com) is the theatrical and home entertainment distribution arm of the Wagner/Cuban Companies, a vertically-integrated group of media properties co-owned by Todd Wagner and Mark Cuban that also includes the Landmark Theatres chain and AXS TV. Recent releases include Lars Von Trier’s Melancholia, Kevin Macdonald’s biopic Marley, David Gelb’s Jiro Dreams of Sushi, powerful hunger doc A Place at the Table, Craig Zobel’s Compliance, Lauren Greenfield’s The Queen of Versailles, the exciting noir-thriller Deadfall, and the Academy Award nominated A Royal Affair. Magnolia’s upcoming releases include Terrence Malick’s To The Wonder, Thomas Vinterberg’s The Hunt, David Gordon Green’s Prince Avalanche, documentaries No Place on Earth, Blackfish, Big Star: Nothing Can Hurt Me, Évocateur: The Morton Downey Jr. Movie, and many more.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas