By Gregg Goldstein gcgoldstein@yahoo.com

Sony Pictures Classics Nabs North American and Latin American Rights to An Education in $3 Million Deal

By Gregg Goldstein
Sony Pictures Classics has nabbed North American and Latin American rights to An Education in a $3 million deal, following a winding series of deal moves since its Sunday premiere that had Miramax and Fox Searchlight in play.
With all the buzz about Searchlight’s low bid on the 60s coming-of-age saga An Education — first from Anne Thompson‘s blog late Sunday, then from THR late Monday — two important players were overlooked: Miramax and Sony Pictures Classics.
As every big indie exec attended the Sunday night screening of I Love You Phillip Morris starring Jim Carrey and Ewan McGregor, at least two titles were in play: the Saturday premiere sex comedy Spread (also co-repped by CAA and Endeavor – read about the possible sales impact from Ashton Kutcher‘s bodacious back end here – it’s expected to close soon) and the CAA-repped Education, which gained unexpected heat from a strong debut that afternoon.
Less than halfway through Morris, Miramax president Daniel Battsek and one of his execs bolted from their seats in the Eccles to pow-wow about Education. Like Searchlight (whose topper Peter Rice was also in the screening), they felt the high-seven-figure asking price was way too high.
By the time the Eccles screening ended, Miramax and Searchlight had backed off. But it was clearly a high priority if they were interested enough to leave one of the biggest marquee-name films of the fest (and a recipient of some great reviews, despite concerns over graphic gay sex scenes and drastic switches in tone).
By Monday night, the film’s agreed-upon market value was now back down to a Sony Pictures Classics-level price range. The company made some uncharacteristically early Sundance moves last year in similar situations when bidding wars failed to erupt, and Education is similar to several period/pedigree films they’ve handled before.
Any of the distributors could do a great marketing job – both Battsek and Rice know the film’s British milieu, that’s for sure – but all have to overcome having a talented cast with no boxoffice pull, taking a bit of a risk on quality. The last Sundance film led by its star Peter Sarsgaard, The Mysteries of Pittsburgh, just sold to Peace Arch… a year after its premiere here. But Nick Hornby’s script and Lone Scherfing’s script have drawn acclaim, and young newcomer Carey Mulligan’s breakout performance as a 16-year-old London girl swept off her feet by a British playboy could be marketed well in the right hands.
After buying stayed in a holding pattern, SPC swept into the lead, willing to outbid competitors that usually sign bigger checks. Endgame Entertainment (which recently sold its Chorus Line doc Every Little Step to Sony Classics) and BBC Films produced the film, which is expected to open this fall.

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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