By MCN Editor editor@moviecitynews.com

WEINSTEIN COMPANY BUYS DIRTY GIRL IMMEDIATELY FOLLOWING ITS FIRST TORONTO FILM FESTIVAL SCREENING

Posted Monday, September 13th, 2010 - Comments Off on WEINSTEIN COMPANY BUYS DIRTY GIRL IMMEDIATELY FOLLOWING ITS FIRST TORONTO FILM FESTIVAL SCREENING
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FOR IMMEDIATE RELEASE:
THE COMPANY ACQUIRES THE FILM FOR NORTH AMERICA, UNITED KINGDOM, FRANCE, AUSTRALIA, NEW ZEALAND, AND SOUTH AFRICA

13 September, 2010. The Toronto International Film Festival.   It was confirmed today that the Weinstein Company bought North American, United Kingdom, France, Australia, New Zealand,  and South African rights to Abe Sylvia’s thoroughly entertaining film, “Dirty Girl.”

The film stars Juno Temple, who by all accounts after its first screening is being called the breakout star of the festival, Jeremy Dozier, Milla Jovovich, William H. Macy, Mary Steenburgen, Dwight Yoakam and Tim McGraw. Written and directed by Sylvia, “Dirty Girl” is the story of Danielle (Juno Temple), the dirty girl of Norman High School. When her misbehavior gets her banished to a remedial class, she teams up with an innocent closet-case and together they head out on a road trip to discover each other and themselves through a funny and serendipitous friendship.

“I am thrilled to be part of such a sexy, edgy comedy that puts a modern spin on a coming-of -age story”, said Harvey Weinstein.  It’s great to be back in business with some old friends and join forces with new and exciting talent and filmmakers.”

“This is the jackpot in every way. We are elated that The Weinstein Company has so passionately embraced Dirty Girl,” said Jana Edelbaum and Rachel Cohen of iDeal Partners. “They are the right company to bring it into the world.”

The deal was negotiated by David Glasser, Peter Lawson, Laine Kline for The Weinstein Company, and Graham Taylor and Mark Ankner of WME Global on behalf of the filmmakers.  The Salt Company is handling international sales.

DIRTY GIRL was produced by Rob Paris, Jana Edelbaum and Rachel Cohen, with Ed Hart, Joan Huang, Christine Vachon, Pamela Koffler, Robert Bevan, Samantha Horley and Cyril Mégret serving as Executive Producers.

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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