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Ray Pride

By Ray Pride

[PR] Music Box Films launches video label

Chicago, IL (December 3, 2009)– Chicago-based Music Box Films has announced the launch of their newly-formed home video arm, Music Box Films Home Entertainment. The announcement was made today by principals, Ed Arentz and William Schopf. Music Box Films_logo_6667.jpegBest known for the release of TELL NO ONE, the top grossing foreign film of 2008 and the best-selling foreign language DVD in 2009, Music Box Films Home Entertainment plans to self-distribute 10-12 releases in the U.S. throughout the next year. The first releases are the critically acclaimed French films SHALL WE KISS and SERAPHINE, set for February 23 and March 23 street dates.
“Music Box Films has become a true force in independent cinema,” said Ed Arentz, Managing Director of Music Box Films. “We are thrilled to be in a position to take the next step and have our home entertainment division bring these incredible films directly to the retail marketplace.” The label has also appointed industry veteran Brian Brown to head sales operations. According to Brown, “joining Music Box Films as Director of Sales is a great opportunity to continue a legacy started with New Yorker Films to bring critically acclaimed international films to the marketplace.

Among the other initial titles set for release through Music Box Films Home Entertainment include the critically acclaimed German film, CLOUD 9 and THE GIRL WITH THE DRAGON TATOO, one of the most talked-about international films of 2009 based on Stieg Larssson’s best-selling “Millennium” trilogy of novels.
About Music Box Films
Founded in 2007, Music Box Films serves the viewing interests of sophisticated US movie audiences in select cinemas nationwide, on DVD and Blu-Ray, on cable TV and on emerging VOD delivery formats. With a focus on foreign-language cinema, Music Box’s release of Guillaume Canet’s TELL NO ONE was the most popular foreign-language film of 2008. Music Box Films is independently owned and operated by the Southport Music Box Corporation which also owns and operates The Music Box Theatre, Chicago’s premiere venue for independent and foreign films.

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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