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By Ray Pride Pride@moviecitynews.com

Posted Friday, May 9th, 2008 - Comments Off on PR: Lionsgate's Got Ollie's Dubya
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PR: Lionsgate's Got Ollie's Dubya

ewmag.050808.jpgHere’s EW’s telling of the unfolding tale. And now from over the transom:
“LIONSGATE CASTS VOTE FOR QED INTERNATIONAL’S BUSH BIOPIC W, DIRECTED BY OSCAR® WINNER OLIVER STONE
Studio Acquires Distribution Rights In North America, U.K., Australia, New Zealand
All-Star Cast Include Josh Brolin, Elizabeth Banks, James Cromwell, Oscar® Winner Ellen Burstyn, Thandie Newton, Jeffrey Wright, Scott Glenn, Ioan Gruffud
Set For Release October 17, 2008
SANTA MONICA, CA (May 8, 2008) – LIONSGATE® (NYSE: LGF), the leading independent filmed entertainment studio, announced today that in a deal with Omnilab Media it has acquired North American distribution rights from QED International to W, a biopic about President George W. Bush directed by Academy Award® winner Oliver Stone (WORLD TRADE CENTER, PLATOON, WALL STREET) from a screenplay by Stanley Weiser (WALL STREET). Lionsgate will also distribute W in the U.K., Australia and New Zealand. The announcement was made today by Lionsgate President of Theatrical Films Tom Ortenberg.
W stars Josh Brolin (NO COUNTRY FOR OLD MEN) as George W. Bush, Elizabeth Banks (SEABISCUIT) as Laura Bush, James Cromwell (THE QUEEN) as George Herbert Walker Bush, Academy Award® winner Ellen Burstyn (REQUIEM FOR A DREAM) as Barbara Bush, Thandie Newton (CRASH) as Condoleezza Rice, Jeffrey Wright (SYRIANA) as Colin Powell, Scott Glenn (THE BOURNE ULTIMATUM) as Donald Rumsfeld, and Ioan Gruffud (FANTASTIC FOUR) as Tony Blair. The film’s producers are Moritz Borman, Jon Kilik and Bill Block.
W begins production on May 12th in Louisiana. Lionsgate is releasing the film on October 17, 2008.
“It’s an honor to be in business with Oliver Stone, a brilliant and consistently adventurous filmmaker,” said Ortenberg. “With W, he again demonstrates his creative vitality and genius for speaking to our times.”
Commented Block, “W is in the most innovative hands with Lionsgate and Omnilab Media. With the backdrop of the election this fall, W will be an event picture that will be eagerly anticipated. Oliver Stone, Moritz Borman and myself could not be more excited about Lionsgate leading the charge this October.”
Christopher Mapp said, “We had a great experience with Lionsgate on THE BANK JOB, and we are delighted to reunite with them as we continue our strategy in investing in quality films that are made by innovative and unique storytellers.”
Said Stone, “The impact of George W. Bush’s presidency will be felt for many years to come. Despite a meteoric, almost illogical rise to power, and a tremendous influence on the world, we don’t really know much about Mr. Bush beyond the controlled images we’ve been allowed to see on TV. This movie’s taking a bold stab at looking behind that curtain. I’m real pleased that Liongate [sic] has the independence necessary to bring this provocative story to an American audience.”


Financing the film alongside QED are Omnilab Media, led by Christopher Mapp, David Whealy and Matthew Street; China-based Emperor Group, led by Albert Yeung and Feron Lau; Condor Films, led by Thomas Sterchi; and Global Entertainment Group, led by Johnny Hon, Adam Palin and Teresa Cheung.
The deal was negotiated for Lionsgate by Ortenberg, Wendy Jaffe, Executive Vice President Legal & Business Affairs, Acquisitions and Co-Productions, and Zygi Kamsa, Chief Executive Officer Lionsgate UK; for Omnilab Media by Managing Director Christopher Mapp, Executive Director Matthew Street and Executive Producer David Whealy; and for QED International by Bill Block, Chief Executive Officer, and Paul Hanson, Chief Operating Officer.
SYNOPSIS
Whether you love him or hate him, there is no question that George W. Bush is one of the most controversial public figures in recent memory. In an unprecedented undertaking, acclaimed director Oliver Stone is bringing the life of our 43rd President to the big screen as only he can. W takes viewers through Bush’s eventful life — his struggles and triumphs, how he found both his wife and his faith, and of course the critical days leading up to Bush’s decision to invade Iraq.
ABOUT QED INTERNATIONAL
QED is a Beverly Hills based independent film company that represents theatrical motion picture projects for sales and distribution in the worldwide marketplace. The company also acquires, develops, finances and produces its own motion pictures, either independently or in partnership with major studios, talent, and key foreign distributors.
QED Managing Partners include CEO, Bill Block; Senior Vice President, Worldwide Sales & Distribution, Kimberly Fox; Chief Operating Officer, Paul Hanson; and Vice President of Production, Elliot Ferwerda.
ABOUT OMNILAB MEDIA
Omnilab Media is an Australian and New Zealand based globally focused vertically integrated entertainment company involved in the production, visual effects, post production and financing of a diverse range of film and television properties. Amongst the funding deals recently concluded by Omnilab Media are THE BANK JOB (Charles Roven, Roger Donaldson, Jason Statham), and THE MESSENGER (Mark Gordon, Woody Harrelson, Ben Foster). Omnilab Media has also created a new digital film company with Kennedy Miller Mitchell to use groundbreaking digital storytelling, animation and visual effects. This will include HAPPY FEET 2, BABE 3 & MAD MAX 4 and a range of other blue-chip properties in development.
Christopher Mapp is Managing Director, Matthew Street Executive Director and David Whealy Executive Producer. www.omnilab.com .
ABOUT EMPEROR MOTION PICTURES
Emperor Motion Pictures (EMP) is the visual entertainment division of Emperor Group, a long-established Hong Kong corporation. The company produces feature films, TV series and other programming aimed at three distinct markets: local, Asian and international. It works within a broad range of genres, languages and budgets, with the sole connecting factor being its demand for quality. EMP is also developing its own videogame division to take advantage of the latest advances in home entertainment technology. The company also operates its own management company, which creates and executes career strategies for some of Asia’s hottest talents.
ABOUT LIONSGATE
Lionsgate is the leading independent filmed entertainment studio, winning the 2005 Best Picture Academy Award® for CRASH, and the Company is a premier producer and distributor of motion pictures, television programming, home entertainment, family entertainment and video-on-demand content. Its prestigious and prolific library of nearly 12,000 motion picture titles and television episodes is a valuable source of recurring revenue and a foundation for the growth of the Company’s core businesses. The Lionsgate brand is synonymous with original, daring, quality entertainment in markets around the globe.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon