By Ray Pride Pride@moviecitynews.com

Sony Pictures Classics Takes EON Int’l’s Latest, Slated For Toronto

SONY PICTURES CLASSICS ACQUIRES PAUL MCGUIGAN’S FILM STARS DON’T DIE IN LIVERPOOL

Sony Pictures Classics announced that they have acquired all rights in North America, Eastern Europe, Germany and Asia Pay Television to Paul McGuigan’s FILM STARS DON’T DIE IN LIVERPOOL. The film is premiering in Gala Presentations at the 2017 Toronto International Film Festival.

FILM STARS DON’T DIE IN LIVERPOOL stars Academy Award nominee Annette Bening, BAFTA Award winner Jamie Bell, Academy Award nominee Julie Walters, and Academy Award winner Vanessa Redgrave. The film reunites Sony Pictures Classics and Bening after BEING JULIA, for which Bening was nominated for an Oscar for Best Actress.

Based on Peter Turner’s memoir, the film follows the playful but passionate relationship between Turner (Bell) and the eccentric Academy Award-winning actress Gloria Grahame (Bening) in 1978 Liverpool.  What starts as a vibrant affair between a legendary femme fatale and her young lover quickly grows into a deeper relationship, with Turner being the person Gloria turns to for comfort. Their passion and lust for life is tested to the limits by events beyond their control.

Written by Matt Greenhalgh, FILM STARS DON’T DIE IN LIVERPOOL is produced by Barbara Broccoli of EON Productions and Colin Vaines of Synchronistic Pictures, executive produced by Stuart Ford, Zygi Kamasa, Paul McGuigan and Michael G. Wilson.

“We are thrilled that FILM STARS DON’T DIE IN LIVERPOOL will be released by Sony Pictures Classics.  We are happy to be working with Mike and Tom who share our passion for this film,” said Barbara Broccoli.

“Annette Bening in the role of a lifetime as an elusive personality whose dramatic true story defies belief. Supported to perfection by Jamie Bell, Julie Walters, Vanessa Redgrave and the rest of the cast, embodied by Paul McGuigan’s precise direction.  And then there’s producer Barbara Broccoli whose diligence over many years made it all happen.  Independent filmmaking doesn’t come better than this. It is a privilege to be involved in bringing this remarkable film to the public,” said Sony Pictures Classics.

WME Global negotiated the deal on behalf of EON Productions with SPC.  International territories are represented by IM Global.

ABOUT SONY PICTURES CLASSICS

Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world.  Barker and Bernard have released prestigious films that have won 37 Academy Awards® (33 of those at Sony Pictures Classics) and have garnered 163 Academy Award® nominations (137 at Sony Pictures Classics) including Best Picture nominations for WHIPLASH, AMOUR, MIDNIGHT IN PARIS, AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.

ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 142 countries. For additional information, go to http://www.sonypictures.com/.

ABOUT EON PRODUCTIONS

EON Productions Limited is the UK based production company that has produced the James Bond films since 1962.  Led by Michael G Wilson and Barbara Broccoli, EON has produced some of the most successful Bond films ever including SPECTRE and SKYFALL.  Wilson, Broccoli and EON have produced and executive produced independent film projects including, FILM STARS DON’T DIE IN LIVERPOOL, A SILENT STORM, RADIATOR and NANCY.  They have also co-produced and co-financed successful theatrical productions that have played in London and on Broadway, including Chitty Chitty Bang BangA Steady Rain, Chariots of Fire, Strangers on a Train, Othello, Once and The Kid Stays in the Picture.

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Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas