By MCN Editor editor@moviecitynews.com

Magnolia Pictures Takes World Rights to I’M STILL HERE

Posted Wednesday, July 14th, 2010 - Comments Off on Magnolia Pictures Takes World Rights to I’M STILL HERE
Be Sociable, Share!

FOR IMMEDIATE RELEASE
Wednesday, July 14, 2010
Magnolia Pictures Takes World Rights to I’M STILL HERE

New York – July 14, 2010 – The Wagner/Cuban Companies’ Magnolia Pictures announced today that it has acquired world rights to Oscar-nominee Casey Affleck’s directorial debut, I’M STILL HERE, a striking portrayal of a tumultuous year in the life of internationally acclaimed actor Joaquin Phoenix. With remarkable access, I’M STILL HERE follows the Oscar-nominee as he announces his retirement from a successful film career in the fall of 2008 and sets off to reinvent himself as a hip hop musician. Sometimes funny, sometimes shocking, and always riveting, the film is a portrait of an artist at a crossroads. Defying expectations, it deftly explores notions of courage and creative reinvention, as well as the ramifications of a life spent in the public eye.
Magnolia will release I’M STILL HERE on Friday, September 10th.
The deal was negotiated by Magnolia’s SVP Tom Quinn, Acquisitions VP Dori Begley and Head of Business Affairs Chris Matson, with Liesl Copland for WME Global.


About Magnolia Pictures
Magnolia Pictures (www.magpictures.com) is the theatrical and home entertainment distribution arm of the Wagner/Cuban Companies, a vertically-integrated group of media properties co-owned by Todd Wagner and Mark Cuban that also includes the Landmark Theatres chain, the production company 2929 Productions, and the high definition cable network HDNet. Magnolia’s recent releases include such critically acclaimed films as the Oscar nominated documentary Food, Inc, Oscar winner Man on Wire, James Gray’s Two Lovers, Luca Guadagnino’s I Am Love, Stephen Soderbergh’s The Girlfriend Expereince, Bong Joon-Ho’s Mother, Oscar-winner Alex Gibney’s Casino Jack and the United States of Money, Dagur Kari’s The Good Heart and Conor McPherson’s The Eclipse. Upcoming releases include the documentarian-dream-team omnibus, Freakonomics: The Movie, Neil Jordan’s Ondine, Bob Pulcini and Shari Berman’s The Extra Man, Tanya Hamilton’s Night Catches Us, the hard hitting nuclear weapons documentary Countdown to Zero, Leon Gast’s Smash His Camera, the stirring gospel doc Rejoice and Shout, and many more.
# # #

Be Sociable, Share!

Posted in Press Releases | Comments Off on Magnolia Pictures Takes World Rights to I’M STILL HERE

Comments are closed.

Quote Unquotesee all »

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