Nolan’s love for all things James Bond is no secret, but while appearing on BBC Radio 4’s Desert Island Discs series (h/t Digital Spy), the illustrious filmmaker set the record straight: he currently has no plans to helm a Bond film, and believes the franchise is in capable hands thanks to long-time producers Barbara Broccoli and Michael Wilson.
Both executives were instrumental in securing Daniel Craig for one last movie – his fifth wielding the license to kill, no less. That’s likely had a knock-on effect on Christopher Nolan’s own desire to direct 007, given he’d rather recruit an entirely new cast in order to pump some fresh blood into one of cinema’s time-honored franchises.
I won’t be the man.
Gus Van Sant could easily be the most anonymous person in the room when Screen International meets the filmmaker at Sundance Film Festival. Far from ostentatious, and with his dog at his feet, it is the expression that gives him away — like a 1960s surfer dad caught in the headlights of today.
Decked out in a plaid shirt and jeans in a converted media lounge in Park City, Van Sant gives nothing away about how he feels Don’t Worry, He Won’t Get Far On Foot went down at its Sundance world premiere several days earlier. In fact, there was generous applause at the Eccles Theatre and U.S. critics have been mainly supportive.
Now Van Sant’s latest feature heads to Berlin, where FilmNation handles international sales and a broader audience will sample his tribute to late quadriplegic cartoonist John Callahan, which glides between acerbic character study and observational comedy. Van Sant had known Callahan’s drawings and began hanging out with his fellow Portlander when Robin Williams optioned Callahan’s book circa 1997, and they began to map out an adaptation. “He didn’t live very far — it was only 10 blocks,” Van Sant mumbles, breaking into a fleeting smile when someone brings his Australian Shepherd puppy. “We went on trips. He liked to go in a cab that could take his wheelchair and go to a restaurant on the beach.”
Directed by Peter Farrelly, and co-starring Mahershala Ali and Linda Cardellini, “Green Book” has sold to leading distributors in multiple major territories such as Germany (eOne), Japan (Gaga), France (Metropolitan), Italy (Leone) and Latin America (Sun Distribution).
Set in a pre-Civil Rights movement Deep South, “Green Book” will be put through Amblin Partners output deals in China (Alibaba), South Korea/Vietnam (C.J. Entertainment), India/Pakistan/Indonesia (Reliance) and the U.K., Australia/New Zealand Benelux and Spain, where eOne holds an Amblin output deal.
Nordisk will release in Scandinavia and Lev in Israel as part of Participant Media output deals.
Written by Farrelly, Nick Vallelonga and Brian Currie, “Green Book” has also been sold by Lionsgate Intl. to Taiwan
Set in a Brooklyn loft which becomes a repository of memories, Fanning’s debut was unveiled Monday at London’s Curzon Mayfair Cinemas as a side event during London Fashion Week. The short is the 15th title in the Miu Miu Women’s Tales series launched in 2012 in tandem with the Venice Days section at the Venice Film Festival. It will screen at Venice later this year.
“Hello Apartment” is written by Liz Hannah, a co-writer of Steven Spielberg’s “The Post,” who in a statement said it is about “reliving your past while going through what’s happening in your life now, in one space.” Fanning noted that it “was inspired by my first home, where I still live,” calling it “a shrine
Spotlight Pictures has acquired worldwide sales rights excluding Brazil to crime thriller hit The Operation and is in talks with buyers at the Efm.
The story is based on true events surrounding the massive corruption investigation known as Car Wash that involved executives at Brazilian state-run oil giant Petrobras and went as high as the government.
“We are extremely excited to be working with Spotlight,” producer Tomislav Blazic added. “Spotlight’s keen understanding of both genre and global value of the film, made them an ideal partner.”
“The production level achieved on this film, naturally, sets it apart from the rest,” Spotlight director of acquisitions Pictures Walter Moura said. “Tomislav made an incredible job at telling this real story which has and is affecting a huge nation. The Operation, promises to deliver to other distributors the success it was in Brazil, grossing over $6m in box office.”
Moura and Blazic
Us-based De Angeles Films has expanded its financing deal with Toronto genre distributor and sales agent Raven Banner Entertainment.
The new deal will enable Raven Banner to offer competitive Mg’s for production, worldwide acquisitions, and sales titles.
“We are expanding on the very successful relationship we’ve built with Raven Banner over this past year,” De Angeles managing partners Gregor Habsburg and Jacquelyn Frisco said.
“As a producer and as a distributor, Raven Banner, has shown an unparalleled level of commitment to its filmmakers, it’s market and it’s product. We are not changing what we do, or how we do it – we will simply be doing more of it.”
De Angeles’ film production credits include Coffee, Kill Boss, 3D horror-comedy Hellbenders, which the company co-produced, and horror title June.
“We are confident this expanded relationship with De Angeles will empower us,” Raven
Inspired by a Norwegian folk tale, the film follows the epic journey of Espen, the 17-year-old son of a poor farmer, who sets off with his brothers to rescue a princess from a troll known as the Mountain King to collect a reward and save his family from ruin. The film was written by Aleksander Kirkwood and Synnove Horsdal.
The movie was acquired for Latin America (California Filmes); France (Seven Sept); Italy (Videa); Spain (Art Mood); Germany, Austria, German-speaking Switzerland (Telepool); Japan (Interfilm); and China (Hgc Entertainment).
More sales were inked for Russia, Ukraine and Kazakhstan (Capella Film); the Czech Republic and Slovakia (Cinemart); Turkey (Euromedia); Korea (Activers Entertainment); Croatia (Discovery Film & Video); Estonia (Estin Film); and Malaysia and Vietnam (Red Pictures).
“The Ash Lad” opened in Norway in September and turned out to be a
1. “Edith+Eddie,” Laura Checkoway, Thomas Lee Wright
2. “Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon
3. “Heaven is a Traffic Jam on the 405,” Frank Stiefel
4. “Knife Skills,” Thomas Lennon
5. “Traffic Stop,” Kate Davis, David Heilbroner
Best Supporting Actor
Best Supporting Actress
Foreign Language Film
Animated Feature Film
Makeup and Hairstyling
Live Action Short
Georgia Hirst (Vikings), Danny Kirrane (Games Of Thrones), Manpreet Bambra (Free Rein), Maria Volk (Wolf Creek 2) and Kamal Angelo Bolden (Chicago Fire) will lead the cast of Ravers, Bernhard Pucher’s horror which commenced shooting at Pinewood Studio Wales yesterday.
The project comes from London-based production outfit Iron Box Films, which is led by Pucher as creative director with CEO Raimund Berens, who will produce with Michael Dobbin. Exec producers are Colin Brown, chair of Iron Box’s financing arm Iron Box Capital, and Deepak Sikka from The Works.
The screenplay is written by Pucher and Luke Foster. The story follows an illegal rave in a factory that turns into a nightmare due to contaminated energy drinks.
The project will shoot at Pinewood Wales for six weeks.
Raimund Berens, CEO of Iron Box Capital commented: “Iron Box is delighted to have supported this production from its very earliest development. We are confident
Warning: this articles contains spoilers for Lady Bird
The teen movie is an often raucous affair: embryonic sexual stirrings, combative parent/child relationships and the heart-tugging turbulence of post-adolescent friendship – which is why it is surprising to find Greta Gerwig’s directorial debut, Lady Bird, such a quiet and understated film. But there is perhaps something about Gerwig’s delicacy of touch that lends clarity to one of the film’s most resounding themes: its unapologetic feminism.
The central character (Saoirse Ronan) – unsatisfied with her comparatively drab given name, Christine – precociously assumes the alias Lady Bird. She dresses in thrift-shop clothes, has clumsily dyed pink hair and dreams of leaving what she deems the cultural wasteland of Sacramento, California, and her claustrophobic Catholic high-school
The presence of several eye-catching packages helped to bolster spirits at the Efm, although the chasm between the haves and have-nots remains as wide as ever.
Buyers who could afford the most desirable commercial product from the blue-chip sales companies responded enthusiastically to Lionsgate International’s John Wick: Chapter 3, Sierra/Affinity’s Official Secrets and Front Runner and Kung Fury from Bloom.
There was plenty of interest too in Late Night, The Aeronauts and The Personal History Of David Copperfield from FilmNation, STXinternational’s Finest Kind and The Marsh King’s Daughter, Voltage Pictures’ Roland Emmerich epic Maya Lord, and The Exchange’s Drew Barrymore comedy The Stand-In.
Studiocanal’s Mia And The White Lion has sparked activity, as have TrustNordisk’s competition selection U-July 22 and Protagonist’s Sundance hit The Kindergarten Teacher, among others. UK buyers in particular seemed happy to get their
Her previous critically acclaimed and award winning series of documentaries: “Justice,” “Behave” and “Hills of Pleasures” are, in the words of Variety’s Jay Weissberg, an “essential trilogy on the Brazilian justice system.” It should come as no surprise then, that the recent impeachment trial of the country’s first female president, Dilma Rousseff, was too irresistible a subject not to chronicle.
Ramos has always been uncompromising in the way she tells her stories, and to that end frequently finds financial backing in familiar partners with hands-off attitudes. In the case of “The Trial,” however, the time between the idea and the start of filming, one week, was too short to pursue traditional means of financing one of her films. The involvement
The film is a follow-up to his 2003 hit “Cell Phone,” which was a wry social comedy in which the extramarital affair of a media executive is exposed by his careless use of modern technology.
Having previously considered going to a Hollywood scripter for the new project, Feng has instead set Liu Zhenyun as the writer. A workable draft is set to be delivered by the end of the month.
A regular Feng collaborator, Liu was the screenwriter on the original “Cell Phone” and was most recently writer of “I am not Madame Bovary.” He was wrote the book that was turned into Feng’s famine drama “Back to 1942,” and was supervising producer on “World Without Thieves.”
The original “Cell Phone” was released shortly after the deregulation of the film industry in China, when affluence was rising sharply, and when Chinese
The Oscar-winning actor Geoffrey Rush was involved in a confrontation that left a female cast member “visibly upset” at a party following the 2015 Sydney Theatre Company production of King Lear, according to allegations in newly released court documents.
On Tuesday the federal court in Australia published a previously suppressed document filed by Nationwide News – a subsidiary of News Corp – in its defence of defamation proceedings brought by Rush against the newspaper publisher.
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