Press Releases Archive for September, 2012

THE WORLD’S END, THIRD COMEDY TEAMING DIRECTOR EDGAR WRIGHT WITH STARS SIMON PEGG AND NICK FROST, COMMENCES PRODUCTION

LONDON, September 28, 2012— Working Title Films and Big Talk Productions have commenced filming on The World’s End, the third installment of Edgar Wright’s trilogy of comedies, following the successes Shaun of the Dead (2004) and Hot Fuzz (2007).  The new movie is filming in the U.K. As with the first two movies in the…

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ANDREW GARFIELD AND DIRECTOR MARC WEBB SET TO RETURN FOR NEXT CHAPTER OF THE AMAZING SPIDER-MAN™

Andrew Garfield will return to the role of Peter Parker and Marc Webb is set to direct as Columbia Pictures prepares to begin production on the next installment of The Amazing Spider-Man.

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POST-TIFF, WELL GO USA ACQUIRES N.A. RIGHTS TO KOREAN BLOCKBUSTER THE THIEVES, FOR RELEASE OCTOBER 12

PLANO, TEXAS.  (September 27, 2012) — Coming off the North American premiere at the Toronto International Film Festival, Well Go USA has acquired all rights for the North American market to Korea’s summer blockbuster heist actioner The Thieves from Showbox / Mediaplex Inc.  The North American theatrical release is set for October 12. Written and directed by Dong-hoo Choi (Woochi,…

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Cinema Eye Honors Names 10 Finalists for 2013 Outstanding Short Film Award

FOR IMMEDIATE RELEASE: Camden, ME, Sept. 27, 2012 – Ten short documentary films from the U.S. and Europe have been named as finalists for the 2013 Cinema Eye Honor for Outstanding Achievement in Nonfiction Short Filmmaking.  The announcement was made on the opening day of the Camden International Film Festival (CIFF) in Camden, Maine.  CIFF…

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Reykjavík Fest Opens Thursday with Queen of Montreuil

PRESS RELEASE, SEPTEMBER 26, 2012 Reykjavík International Film Festival opens on Thursday with a screening of Queen of Montreuil by Sólveig Anspach in Harpa Music Hall. The festival runs for eleven days, until October 7th. The award ceremony takes place on October 6th. RIFF was founded in 2004, making this its ninth edition. Honorary guests include Dario Argento, Susanne Bier and Marjane Satrapi….

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EXCLUSIVE MEDIA ACQUIRES STAKE IN MILLENNIUM ENTERTAINMENT

MILLENNIUM TO PROVIDE HOME ENTERTAINMENT DISTRIBUTION FOR SELECTED EXCLUSIVE RELEASING TITLES Los Angeles, CA (Sept 25, 2012) – Exclusive Media Co-Chairmen Nigel Sinclair and Guy East and Millennium Entertainment and Nu Image Founders Avi Lerner and Trevor Short today announced that Exclusive Media has acquired a minority stake in US distribution company Millennium Entertainment. Under the…

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KINO LORBER ACQUIRES ALL US RIGHTS TO ALAIN RESNAIS’ YOU AIN’T SEEN NOTHIN’ YET, SOON TO PREMIERE AT THE 50th NEW YORK FILM FESTIVAL

New York, NY – September 25, 2012 – Kino Lorber is proud to announce the acquisition of all U.S. rights to Alain Resnais’ YOU AIN’T SEEN NOTHIN’ YET, a beautiful and poetic ensemble film about love and theater from the acclaimed director of LAST YEAR AT MARIENBAD and HIROSHIMA MON AMOUR – as well as…

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A24 PICKS UP SALLY POTTER’S GINGER & ROSA STARRING ELLE FANNING

Film will have a year-end qualifying run followed by an early 2013 release New York, NY (September 25, 2012) – A24 announced the acquisition of GINGER & ROSA, a provocative story about friendship and betrayal featuring a sensational performance by Elle Fanning.  The Sally Potter film had its world premiere at the Telluride Film Festival…

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THE WEINSTEIN COMPANY TO DISTRIBUTE LEE DANIELS’ THE BUTLER

MEGAWATT CAST BRINGS TO LIFE REMARKABLE STORY INSPIRED BY FORMER WHITE HOUSE BUTLER New York, NY – September 24, 2012 – The Weinstein Company (TWC) announced today that they have acquired U.S. rights from Butler Films to distribute THE BUTLER, directed by Academy Award nominated Lee Daniels (PRECIOUS). A Laura Ziskin Production, THE BUTLER is…

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PHASE 4 FILMS ACQUIRES U.S. AND CANADIAN RIGHTS TO ALEX GIBNEY’S THE LAST GLADIATORS

FOR IMMEDIATE RELEASE  Los Angeles, CA (September 20, 2012) – Berry Meyerowitz, President & CEO of Phase 4 Films, announced today that the company has acquired all U.S. and Canadian rights to Academy Award® winner Alex Gibney’s (TAXI TO THE DARK SIDE, ENRON) hockey documentary THE LAST GLADIATORS. Larry Weitzman, Jim Podhoretz and Gibney crafted…

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IFC FILMS TAKES NORTH AND LATIN AMERICAN RIGHTS TO NOAH BAUMBACH’S FRANCES HA

New York, NY (September 20, 2012) – IFC Films announced today from the 2012 New York Film Festival that the company is acquiring all North and Latin American rights to director Noah Baumbach’s FRANCES HA. Baumbach wrote the screenplay with Greta Gerwig who stars in the film. Mickey Sumner, Adam Driver and Michael Zegen co-star….

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LOUIS PHILLIPS JOINS FOCUS FEATURES AS EXECUTIVE VICE PRESIDENT, PHYSICAL PRODUCTION

 FOR IMMEDIATE RELEASE  LOS ANGELES, September 20, 2012 – Louis Phillips has joined Focus Features as the worldwide film company’s executive vice president, physical production. Focus president Andrew Karpen, to whom Mr. Phillips reports, made the announcement today. Mr. Phillips is based in Focus’ West Coast offices, overseeing physical production and post-production on all in-house…

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Robert Redford to Honor Roger Ebert at ‘Celebrate Sundance Institute’ Los Angeles Benefit in June 2013

For Immediate Release September 20, 2012 Los Angeles, CA — Sundance Institute today announced that its President & Founder Robert Redford will present journalist and film critic Roger Ebert with the Vanguard Leadership Award in recognition of his advocacy of independent cinema. The award presentation will take place at the third annual ‘Celebrate Sundance Institute’…

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Screen Media Acquires Media 8 Titles

FOR IMMEDIATE RELEASE  New York, September 19, 2012 – Screen Media has acquired exclusive distribution rights to the Media 8 Library. Screen Media will begin marketing the titles at the upcoming MIPCOM in October. “We’re very excited to be adding the Media 8 titles to our library, said Joseph Kovacs, President of Screen Media.  “Screen…

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2012 AUSTIN FILM FESTIVAL LINEUP ANNOUNCED

 DAVID CHASE TO PRESENT NOT FADE AWAY AS OPENING NIGHT FILM INCLUDING SILVER LININGS PLAYBOOK, THE SESSIONS,FLIGHT, QUARTET, THE SAPPHIRES, SHADOW DANCER, A LATE QUARTET, IT’S A DISASTER, THE FITZGERALD FAMILY CHRISTMAS, AND FREE SAMPLES AUSTIN, TX (Sept 19, 2012) ­ The 19th annual Austin Film Festival (AFF) announced today this year’s full feature-length film lineup. This list excludes the Closing Night Film, which will be announced along with…

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ATLAS ENTERTAINMENT PROMOTES ANDY HORWITZ AND JAKE KURILY TO VPs

FOR IMMEDIATE RELEASE                           Round of Promotions Will Also See Curt Kanemoto Move Up to Production Executive, With Rebecca Roven and Dan Wiedenhaupt Promoted to Creative Executives LOS ANGELES, CA, September 19, 2012 – Charles Roven, founder of Atlas Entertainment, announced today that Andy Horwitz,…

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KEY DATES ANNOUNCED FOR 85TH ACADEMY AWARDS®

September 18, 2012 FOR IMMEDIATE RELEASE BEVERLY HILLS, CA – The Academy of Motion Picture Arts and Sciences today announced key dates for the 85th Academy Awards season. The key dates are: Friday, November 30, 2012: Official Screen Credits due Saturday, December 1, 2012: Governors Awards presentation Monday, December 17, 2012: Nominations voting begins Thursday,…

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SONY PICTURES CLASSICS ACQUIRES THE PATIENCE STONE

FOR IMMEDIATE RELEASE                                           NEW YORK (September 16, 2012) – Sony Pictures Classics announced today that they have acquired U.S. rights to THE PATIENCE STONE.  The film, adapted from the award-winning novel of the same name…

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SONY PICTURES CLASSICS ACQUIRES WADJDA

FOR IMMEDIATE RELEASE                                           NEW YORK (September 15, 2012) – Sony Pictures Classics announced today that they have acquired all North American rights to WADJDA from Berlin-based Razor Films.  Written and Directed by Haifaa Al-Mansour, WADJDA…

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FILM SOCIETY OF LINCOLN CENTER APPOINTS KENT JONES AS DIRECTOR OF PROGRAMMING, NEW YORK FILM FESTIVAL AND ROBERT KOEHLER AS DIRECTOR OF PROGRAMMING, YEAR ROUND

FOR IMMEDIATE RELEASE New York, NY (September 13, 2012) – The Film Society of Lincoln Center, America’s pre-eminent non-profit film organization, announced today the appointment of Kent Jones as Director of Programming, New York Film Festival and Robert Koehler as Director of Programming, Year Round. As announced previously, after 25 years, Program Director and New…

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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