By Ray Pride Pride@moviecitynews.com

IFC FILMS GETS U.S. RIGHTS TO YVES SAINT LAURENT L’AMOUR FOU

Posted Tuesday, November 23rd, 2010 - Comments Off on IFC FILMS GETS U.S. RIGHTS TO YVES SAINT LAURENT L’AMOUR FOU
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FOR IMMEDIATE RELEASE

New York, NY (November 23, 2010) – IFC Films, the leading American distributor of independent and foreign films, announced today that the company is acquiring the U.S. rights to Pierre Thorentton’s French documentary YVES SAINT LAURENT L’AMOUR FOU.  Produced by Kristina Larsen of Le Films du Lendemain and Hugues Charbonneau of Les Films de Pierre, the film will be released by IFC In Theaters in 2011.

Upon Yves Saint Laurent’s death, his life companion Pierre Bergé decided to sell their private art collection, a sale considered to be “the auction of the century”. Each object and art piece seemed to tell a story about their personal lives. This film, filled with rare material archives and exclusive images of their homes, tells their story through this “auction”: a story of love, art and ethics.

President of IFC Films Jonathan Sehring said, “All of us at IFC Films were intrigued by the story told in this film. While it documents a glamorous icon, it also carries themes of love and success, elements to make it a picture that appeals to all.”

Films Distribution’s Nicolas Brigaud Robert said: “Films Distribution has been involved in this project since its very beginning and we are extremely happy to have found IFC Films as our U.S. partner. They are the right people for this unique film which we know will touch the U.S. audience as it has touched people around the world already.”

The deal was brokered by Lizzie Nastro, Director of Acquisitions & Co-Productions for IFC with Nicolas Brigaud Robert of Films Distribution.

The documentary took home the Fipresci International Critics Prize for Special Presentations at the Toronto International Film Festival in 2010.

About IFC Films

Established a decade ago, IFC Films – a division of Rainbow Media’s IFC Entertainment – is the leading U.S. distributor of independent and foreign film.  Its unique day and date distribution model makes independent films available to a national audience by releasing them simultaneously in theaters as well as on cable’s On Demand platform and through Pay-Per-View, reaching nearly 50 million homes.  IFC Films’ “IFC Midnight” label, launched in 2010, offers the very best in international genre cinema, including horror, sci-fi, thrillers, erotic arthouse, action and more.  Some of the company’s successes over the years have included My Big Fat Greek Wedding, Y Tu Mama Tambien, Touching the Void, Me and You and Everyone We Know, 4 Months, 3 Weeks and 2 Days, Gomorrah, Che, Summer Hours, In the Loop, Antichrist, The Human Centipede, Cairo Time, Joan Rivers: A Piece of Work, and Wordplay.  IFC Films has worked with established and breakout auteurs, including Steven Soderbergh, Gus Van Sant, Spike Lee, Richard Linklater, Miranda July, Lars Von Trier, Gaspar Noe, Todd Solondz, Cristian Mungiu, Susanne Bier, Olivier Assayas, Jim McKay, Larry Fessenden, Gregg Araki, Jacques Rivette, Claude Chabrol, as well as more recent breakouts such as Andrea Arnold, Mia Hansen Love, Corneliu Porombiou, Joe Swanberg, Barry Jenkins, Lena Dunham, Aaron Katz, Daryl Wein and Abdellatif Kechiche.

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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