Press Releases Archive for September, 2017

Academy Museum Gets $50 Million Gift From Cheryl And Haim Saban

RON MEYER TO LEAD NEWLY ESTABLISHED MUSEUM BOARD OF TRUSTEES The Academy Museum of Motion Pictures announces a landmark donation of $50 million from philanthropists Cheryl and Haim Saban. This commitment—the largest gift to the Academy Museum Campaign—brings the museum’s fundraising success to $288 million, nearly 75% of its $388 million goal. In recognition of…

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Louis C. K.’s Hot-Button Clandestinely-Produced Woody Allen Homage Gets November NY/LA Release

THE ORCHARD ANNOUNCES LOUIS C.K.’S “I LOVE YOU, DADDY” TO OPEN THEATRICALLY NOVEMBER 17 IN NEW YORK AND LOS ANGELES Comedy Stars Louis C.K., John Malkovich, Chloë Grace Moretz, Rose Byrne, Edie Falco, Charlie Day, Pamela Adlon, Helen Hunt, and Ebonee Noel Photo credit: Courtesy of The Orchard. Click here for artwork. NEW YORK (September 27, 2017) – The Orchard announced…

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Dee Rees Adapting Joan Didion Novel With Producer Cassian Elwes And Others

[PR] Award-winning independent filmmaker Dee Rees (Mudbound, Pariah) will direct the best-selling 1996 Joan Didion political thriller The Last Thing He Wanted from publisher Alfred A. Knopf.  Elevated’s Cassian Elwes (Dallas Buyers Club, Lee Daniels’ The Butler) optioned the book last year from Didion to develop it in partnership with Rees following their incredible collaboration on Mudbound, which premiered to standing…

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Sundance Institute Documentary Fund Awards Grants Across Nonfiction Formats

Los Angeles, CA — Projects and artists on the frontlines of nonfiction storytelling received nearly $2 million in grants from Sundance Institute, furthering their work across subjects and forms. Works originate in 26 countries and six continents, and teams include Academy Award nominees (Julia Reichert, Steven Bognar, Richard Rowley, Jon Else and David France), and first-time feature filmmakers (Cody Lucich, Sushmit Ghosh, Rintu…

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Scorsese Joins The Online “MasterClass” Gig

Academy® Award Winning Director Martin Scorsese’s First Ever Online Class The filmmaker behind GOODFELLAS, CASINO, GANGS OF NEW YORK, and THE DEPARTED talks about film and filmmaking on MasterClass.com SAN FRANCISCO, SEPTEMBER 22, 2017 – MasterClass, the premier online education platform, announced today that Academy® Award-winning filmmaker Martin Scorsese will have his first ever online class. The class is open…

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Mike Plante Named Las Vegas Film Festival “Captain of Strategy”

MIKE PLANTE JOINS LAS VEGAS FILM FESTIVAL AS CAPTAIN OF STRATEGY Las Vegas Film Festival and CineVegas to Partner on Presenting Films, Comedy, Independent Video Games and More 2018 Festival to Return to Brenden Theatres and Palms Casino Resort June 6 – 10 LAS VEGAS (September 21, 2017) – Seasoned film festival programming veteran Mike Plante returns to…

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FOCUS FEATURES ACQUIRES INTERNATIONAL RIGHTS TO LADY BIRD

TORONTO, CANADA, September 11, 2017 – Focus Features has acquired international rights to Greta Gerwig’s acclaimed directorial debut Lady Bird, company chairman Peter Kujawski announced today. A24 and IAC Films are partners on the movie.  Focus will be handling distribution in all territories outside of North America. Lady Bird has emerged as one of the biggest breakouts of the fall season,…

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Telluride Fest Looks Back At 44

Telluride, CO, September 11, 2017 – Telluride Film Festival (September 1-4, 2017), presented by the National Film Preserve, reflects upon a spectacular four-day celebration of diverse programming and special guests attended by more than 4,000 movie lovers. “This was my 44th Telluride Film Festival,” remarked co-founder and artistic director Tom Luddy. “I feel it was one…

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NEON AND 30WEST LAND DOMESTIC RIGHTS TO CRAIG GILLESPIE’S STANDOUT DARK COMEDY “I, TONYA”

Toronto, Canada (September 11, 2017) – In one of the most high-profile sales of Toronto International Film Festival, NEON and 30WEST are excited to announce they have landed domestic rights to Craig Gillespie’s much talked about dark comedy, I, TONYA which premiered here on Friday to both critical and audience acclaim. I, TONYA is an at times absurd,…

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Annapurna Adds $350 Million Credit Facility

[PR] – Annapurna, an independent entertainment company with film, television, and interactive verticals as well as an upstart marketing and distribution operation, has completed a $350 million revolving credit facility, it was announced today. The new line of credit will provide a firm financial foundation as the company continues to expand their enterprises and build its production,…

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Press Releases

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“I had this friend who was my roommate for a while. She seemed really normal in every way except that she wouldn’t buy shampoo. She would only use my shampoo. And after a year it’s like, “When are you going to buy your own shampoo?” It was her way of digging in her heels. It was a certain sense of entitlement, or a certain anger. It was so interesting to me why she wouldn’t buy her own fucking shampoo. It was like,“I’m gonna use yours.” It was coming from a place of “You have more money than me, I just know it”—whether I did or I didn’t. Or maybe she felt, “You have a better life than me,” or “You have a better room than me in the apartment.” It was hostile. And she was a really close friend! There was never any other shampoo and I knew she was washing her hair. And clearly I have a thing about shampoo, as we see in ‘Friends with Money.’ I had some nice shampoo. So I found that psychologically so interesting how a person can function normally in every way and yet have this aberrance—it’s like a skip in the record. It was a sense of entitlement, I think. I put that in Olivia’s character, too, with her stealing someone’s face cream.”
Nicole Holofcener

“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady