By Ray Pride



The Academy Award®-Nominated Producer Proves Instrumental In Building Atlas’ Business Across TV & Film


(LOS ANGELES, CA) May 30, 2018 – Today, Atlas Entertainment’s Founder/CEO Charles Roven announced that the company has elevated longtime executive and veteran producer, Richard Suckle, to the position of President, effective immediately.  In his new role, Suckle will work closely with Roven to guide the direction of the company, mentor its creative executives and continue producing acclaimed projects.

“Richard is an incredible producer and has been an invaluable asset in the 26 years that he has been a part of the Atlas family,” said Roven, “I admire his impeccable taste and his commitment to growing Atlas. I feel incredibly fortunate to have the opportunity to continue working with him in a greater capacity.”

Suckle added, “I am honored to expand my role at the company and to partner alongside Chuck, who I deeply respect as a colleague, mentor and friend.  Atlas has been my home for many years and I am thrilled to continue collaborating with our incredibly talented team here in a more meaningful way.”

An Academy Award®-nominated and Golden Globe®-winning producer, Suckle, along with Roven, produced David O. Russell’s critically acclaimed box office hit, American Hustle. The film won three BAFTA awards and was nominated for ten Academy Awards® including a Best Picture nomination. It also received seven Golden Globe® nominations, winning three including Best Motion Picture – Comedy or Musical. Most recently, Roven and Suckle produced Patty Jenkins’ Wonder Woman, which was the highest-grossing live-action movie directed by a woman and was nominated for the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures by the PGA. Additionally, the pair produced David Ayer’s Suicide Squad, which is one of the 100 top-grossing films of all time. Roven and Suckle have also been involved in producing branded, franchise properties like the $275-million-plus worldwide box office hit Scooby-Doo, and its sequel, Scooby-Doo 2: Monsters Unleashed.

Suckle has been instrumental in growing Atlas’ presence on the television front.  He is an executive producer on Syfy’s 12 Monkeys, based on the 1995 Academy Award®-nominated Atlas-produced film of the same name, which will return for its fourth and final season on June 15, 2018.  He also brought the upcoming true-crime, scripted anthology series Dirty John to Atlas, which is currently in pre-production and stars Connie Britton and Eric Bana.  The series, which received a two season, straight to series order from Bravo, is set to premiere in last quarter of 2018.

Suckle joined Atlas in 1992 as Roven’s assistant and quickly moved up the ranks— becoming a producing partner of Roven’s.  Prior to joining Atlas, Suckle gained experience in the music industry at public relations firm Shore Fire Media, where he worked with Grammy® Award-winning artists Wynton Marsalis and Bruce Springsteen.  Suckle started his career on Broadway at the general management firm Gatchell & Neufeld, working on Andrew Lloyd Webber’s Aspects of Love and the Tony® Award Winners Lettice & Lovage and City of Angels.

The Atlas team further includes longtime producer Alex Gartner and executives Andy Horwitz, Curt Kanemoto, Rebecca Roven Oakley, Topher Rhys Lawrence, Madison Weireter, Melinda Whitaker, Robert Amidon and Elise Iglesias.

Currently, Atlas is in production on J.C. Chandor’s Triple Frontier, starring Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund and Pedro Pascal and produced by Roven, Gartner, and Horowitz, which will be released by Netflix, as well as Wonder Woman 2, which Roven is producing and Suckle and Roven Oakley are executive producing for Warner Bros.

Since its inception, Atlas Entertainment has produced tent pole films, independent features, and television shows— collectively generating billions of dollars in revenue. At the global theatrical box office, Atlas’ films have earned over $2 billion in 2016 and over $1.6 billion in 2017.


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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch