By Ray Pride Pride@moviecitynews.com

Veteran Publicist Adriene Bowles Joins Annapurna Pictures As President Of Publicity

[PR] Adriene Bowles has joined Annapurna Pictures as President of Publicity, it was announced today. Bolstering the company’s new marketing and distribution operation, Bowles will spearhead publicity and awards campaigns on behalf of Annapurna’s future releases as well communication initiatives for the company.

Bowles joins Annapurna from Focus Features where she served as President of Worldwide Publicity and Executive Vice President of Marketing, working on films such as Tom Ford’s NOCTURNAL ANIMALS, James Marsh’s THE THEORY OF EVERYTHING, Jean-Marc Vallée’s DALLAS BUYERS CLUB, Gus Van Sant’s MILK, Sofia Coppola’s LOST IN TRANSLATION, and Ang Lee’s BROKEBACK MOUNTAIN. Previously, she worked as Executive Vice President of Publicity & Marketing at USA Films.

Bowles will work closely with and report to Annapurna President Marc Weinstock and President of Marketing David Kaminow in the role.

“In building our marketing dream team, there was no better choice, than Adriene, who from day one, was at the top of our list to run publicity.  Her impressive background, passion, and strategic creativity, are unparalleled and I look forward to collaborating on the many campaigns to come.” Said Kaminow.

Weinstock added, “As Annapurna continues to grow, we truly could not be happier with the addition of Adriene. Her tenacity, leadership, and forward-thinking approach make her undeniably the perfect fit to oversee all aspects of publicity for the company.”

“I’ve always been inspired by the bold entrepreneurial and creative vision of Megan Ellison and what she’s creating at Annapurna. I look forward to working with Marc, David and the passionate team there to continue building the brand and bringing great movies to audiences around the world.” Said Bowles.

Bowles joins Annapurna as they prepare to release Kathryn Bigelow’s UNTITLED DETROIT PROJECT, the first film under their new full-service marketing and distribution operation. The Annapurna-produced film, a crime drama set against the backdrop Detroit’s 1967 riots, will hit theaters on August 4, 2017.

ABOUT ANNAPURNA PICTURES

Annapurna Pictures, founded by Megan Ellison, focuses on creating sophisticated, high-quality content that is critically and commercially conscious while still appealing to a diverse audience. By upholding Ellison’s vision to put filmmakers and artists first and preserve their authentic creative voices no matter the genre or medium, in 5 years, the company has garnered a total of 31 Academy Award nominations for their projects, including ZERO DARK THIRTY, JOY, THE MASTER, FOXCATCHER, and THE GRANDMASTER. Ellison is also one of only four honorees ever to receive two Best Picture nominations in the same year, with HER and AMERICAN HUSTLE both earning nods in 2014. Currently, Annapurna is in post-production on Kathryn Bigelow and Mark Boal’s UNTITLED DETROIT PROJECT, which it will release as its first distribution title on August 4, 2017. The company is also in production on Paul Thomas Anderson’s untitled new period film starring Daniel Day-Lewis and is developing the film adaptation of Maria Semple’s WHERE’D YOU GO, BERNADETTE, to be directed by Richard Linklater.  Annapurna’s most recent projects include Mike Mills’ 20TH CENTURY WOMEN, which was nominated for two Golden Globes and earned Mills a Best Original Screenplay Academy Award nomination, as well as SAUSAGE PARTY, WIENER-DOG, and EVERYBODY WANTS SOME, with THE BAD BATCH set for release by Neon in 2017. Additionally, Annapurna is partners with Boal on the company Page One, where they produced season two of the hit podcast SERIAL. Bigelow also directed and partnered with Annapurna on the animated short LAST DAYS, about illegal elephant poaching and the ivory trade.

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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