By Ray Pride Pride@moviecitynews.com

OWN: OPRAH WINFREY NETWORK TO RELEASE OSCAR-WINNER BARBARA KOPPLE’S ‘RUNNING FROM CRAZY’ THEATRICALLY ON NOVEMBER 1

FOR IMMEDIATE RELEASE
September 10, 2013

Starring Academy Award-Nominated Actress and Advocate Mariel Hemingway

Los Angeles, CA – The acclaimed documentary “Running From Crazy,” the latest project from two-time Academy Award winner Barbara Kopple (“Harlan County USA,” “American Dream”), which world premiered at the Sundance Film Festival earlier this year, will be released theatrically on November 1, 2013, and will follow with a debut on OWN: Oprah Winfrey Network in 2014.

Hailed as one of the most distinguished families in American literature, the Hemingways have always exposed their brilliance while often living in the shadows of deep emotional struggle. Two-Time Academy Award winning filmmaker Barbara Kopple’s newest documentary focuses on Mariel Hemingway, a granddaughter of the legendary writer Ernest, as she explores her family’s disturbing history of mental illness and suicide.   As a child, Mariel grew up on the Hemingway family farm in Idaho, the same place her famous grandfather took his own life months before she was born. The youngest of the three sisters, Mariel followed her older sister Margaux into acting and modeling, while her oldest sister Muffet struggled with mental illness and drifted in and out of mental hospitals. Kopple’s bold film intertwines haunting archival footage of the three Hemingway sisters with scenes from Mariel’s life today as she seeks to live a rigorously healthy lifestyle to combat what appears to be a difficult family birthright. Mariel’s courageous journey of introspection and reflection allows her to view her family that has shaped her life through new eyes and, for the first time strive for peace and acceptance.

“Mariel courageously shares her family’s personal story with both heart and dignity in this extraordinary film told through the powerful lens of filmmaker Barbara Kopple,” said Sheri Salata, president, OWN. “Not only is it a compelling and inspiring film, but we also hope it can help encourage important conversations around the topic of mental illness and suicide prevention.”

“‘Running from Crazy’ gave me the incredible chance to delve into the rich and complex history of the Hemingways, a family who has left such an enduring mark on literature and culture.  My hope is that this film changes perceptions of the family, and also, more importantly, elicits a new compassion and understanding in how we treat those grappling with suicide or mental illness,” said Kopple. “For me, it’s a moving and powerful story that offers up hope and the sense that none of us are alone in our struggles.”

“Mental illness is overwhelmingly misunderstood and creates fear for so many. I’m hoping ‘Running From Crazy’ gives people permission to share their stories and know that they are not alone. Perhaps by sharing my life with others they will feel supported in speaking out and getting help,” said Hemingway.

“Running from Crazy” is produced by Cabin Creek Films for OWN: Oprah Winfrey Network.  Produced and directed by Barbara Kopple. Produced by David Cassidy. Executive producers are Barbara Kopple, Erica Forstadt, Lisa Erspamer and Oprah Winfrey. To watch the trailer for “Running From Crazy,” click here.

About OWN: Oprah Winfrey Network

OWN: Oprah Winfrey Network is the first and only network named for, and inspired by, a single iconic leader. Oprah Winfrey’s heart and creative instincts inform the brand – and the magnetism of the channel.  Winfrey provides leadership in programming and attracts superstar talent to join her in primetime, building a global community of like-minded viewers and leading that community to connect on social media and beyond. OWN is a singular destination on cable.  Depth with edge. Heart. Star power. Connection.  And endless possibilities.  OWN is a joint venture between Harpo, Inc. and Discovery Communications.  The network debuted on January 1, 2011 and is available in 85 million homes.  The venture also includes the award-winning digital platform Oprah.com.

 # # #

Comments are closed.

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin