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Ray Pride

By Ray Pride Pride@moviecitynews.com

[PR] Sofia checks into the Chateau Marmont

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From The Plaza to the Tokyo Hyatt to Sunset Boulevard: “OSCAR-WINNING WRITER/DIRECTOR SOFIA COPPOLA TO MAKE SOMEWHERE WITH FOCUS FEATURES; STEPHEN DORFF TO STAR: Reuniting with the film company with which she made the Academy Award-winning hit Lost in Translation, writer-director Sofia Coppola will make her next movie, Somewhere, with Focus Features. Somewhere will star Stephen Dorff (soon to be seen in Public Enemies) and Elle Fanning (The Curious Case of Benjamin Button). Focus CEO James Schamus made the announcement today.
Ms. Coppola is also reteamed with Pathé, which will have rights to the film in France, Benelux, and Switzerland; and Tohokushinsa, which will hold rights to the film in Japan and select Asian territories. Medusa Film will have rights to Somewhere in Italy, where a portion of the filming will be done, and is lending production assistance. Focus will hold rights to the film in all other territories.
In addition to directing Somewhere from her original screenplay, Ms. Coppola will produce the feature with Roman Coppola (The Darjeeling Limited) and G. Mac Brown (Australia) through American Zoetrope. Harris Savides (cinematographer on Focus’ Academy Award-winning Milk) will be director of photography on the movie. Lost in Translation executive producers Francis Ford Coppola and Fred Roos and Marie Antoinette executive producer Paul Rassam will encore in the same capacities on Somewhere, which will be overseen for Focus by president of production John Lyons.
Somewhere will begin production on location in Los Angeles this summer. Somewhere is the story of Johnny Marco (to be played by Mr. Dorff), a bad-boy actor stumbling through a life of excess at the Chateau Marmont Hotel in Hollywood. With an unexpected visit from his 11-year-old daughter (Ms. Fanning), Johnny is forced to look at the questions we all must confront.


Ms. Coppola won the Best Original Screenplay Academy Award for Lost in Translation, which grossed over $100 million worldwide for Focus and was an Academy Award nominee for Best Picture. Ms. Coppola was also an Academy Award nominee for Best Director; she is one of only three women to ever have been nominated in the latter category. Her other films as writer/director include The Virgin Suicides, which she adapted from Jeffrey Eugenides’ novel, and Marie Antoinette, which won the Academy Award for Best Costume Design (Milena Canonero).
Mr. Schamus commented, “Lost in Translation remains among Focus’ most beloved movies, so we have long looked forward to making another picture with Sofia. Somewhere will have all the witty, moving, and empathetic qualities that characterize all her work.”
Ms. Coppola said, “I’m very happy to be back making a movie with Focus. I’ve wanted to film an intimate story set in contemporary Los Angeles, and I’m looking forward to working with Stephen Dorff and Elle Fanning.”
Focus Features and Focus Features International (FFI) (www.filminfocus.com) together comprise a singular global company, dedicated to producing, acquiring, financing, selling, and distributing original and daring films from emerging and established filmmakers – films that challenge mainstream moviegoers to embrace and enjoy voices and visions from around the world. The company’s flexible and nuanced approach to distribution allows it to support a wide range of films, from those geared to a single local market to worldwide hits. The company operates as Focus Features domestically, and as Focus Features International overseas.
Domestically, the Focus Features slate includes Cary Joji Fukunaga’s epic dramatic thriller Sin Nombre, winner of 2 awards at the 2009 Sundance Film Festival; writer/director Jim Jarmusch’s The Limits of Control, starring Isaach De Bankolé; Away We Go, directed by Academy Award winner Sam Mendes and starring John Krasinski and Maya Rudolph; Shane Acker’s animated fantasy epic 9, starring Elijah Wood and Jennifer Connelly and produced by Tim Burton and Timur Bekmambetov; Greenberg, the new film from writer/director Noah Baumbach, starring Ben Stiller; Academy Award-winning writer/directors Joel and Ethan Coen’s A Serious Man; and Taking Woodstock, the new film from Academy Award-winning director Ang Lee.
Focus Features and Focus Features International are part of NBC Universal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. Formed in May 2004 through the combining of NBC and Vivendi Universal Entertainment, NBC Universal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. NBC Universal is 80% owned by General Electric and 20% owned by Vivendi.

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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