By MCN Editor editor@moviecitynews.com

IFC MIDNIGHT GETS U.S. RIGHTS TO MICHAEL GREENSPAN’S ADRIEN BRODY STARRER WRECKED

Posted Friday, November 5th, 2010 - Comments Off on IFC MIDNIGHT GETS U.S. RIGHTS TO MICHAEL GREENSPAN’S ADRIEN BRODY STARRER WRECKED
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New York, NY (November 5, 2010) – IFC Midnight, the genre label of IFC Films, announced today that the company is acquiring US rights to Michael Greenspan’s directorial debut WRECKED from Entertainment One (eOne).  The psychological thriller, whose script was penned by Christopher Dodd, stars Adrien Brody (THE PIANIST, PREDATORS), Caroline Dhavernas (BREACH, HOLLYWOODLAND) and Ryan Robbins (WALKING TALL, PASSENGERS). Kyle Mann (CAPOTE, PUSH) developed, produced and financed the film (with Telefilm Canada) through his newly formed production shingle, Independent Edge, and Brody also served as an executive producer. IFC Films will release the film via IFC Midnight in Spring 2011.

In WRECKED, a man (Brody) awakens in a mangled car-wreck at the bottom of a steep cliff. He’s injured, his legs are trapped, and he has no memory of who he is or how he got there. His only company is a crackling radio reporting a violent bank robbery gone wrong and a corpse in the back seat with a wallet identifying him as one of the perpetrators. Confronted with overwhelming obstacles, both real and imagined, the man must discover his identity, and face the consequences of what that might be.

“WRECKED is the perfect film for IFC Midnight and its audience. Adrien Brody gives an incredibly intense performance here and Michael Greenspan is a remarkable new talent,” said IFC Films President of Entertainment Jonathan Sehring.

The deal for WRECKED was negotiated by Arianna Bocco on behalf of IFC Films, and by Ben Weiss of Paradigm and Charlotte Mickie from eOne Films International. Both Greenspan and Dodd are represented by Alex Lerner at Kaplan/Perrone Entertainment.

WRECKED has been sold already to an extensive list of worldwide territories including Canada (Alliance Films), the former Yugoslavia (Karantanija), France (Bac Films), Greece (Hollywood), India (Picture Works), Indonesia, Vietnam, Singapore  & Pakistan (Pt Parkit), Israel (United King), Korea (Korea Issue), Poland (Hagi), Portugal (VC Multimedia) and Taiwan (Catchplay).

The film made its worldwide premiere at the Abu Dhabi Film Festival. WRECKED was shot in remote wilderness locations in British Columbia.

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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, JOAN RIVERS: A PIECE OF WORK, CAIRO TIME 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.

About Entertainment One

Entertainment One (LSE: ETO) is a leading international entertainment company that specializes in the acquisition, production and distribution of film and television content.  The company’s comprehensive network extends around the globe including Canada, the U.S., the UK, Ireland, Benelux, France, Scandinavia, Australia, New Zealand and South Africa.  Through established Entertainment and Distribution divisions, the company provides extensive expertise in film distribution, television and music production, kids programming and merchandising and licensing. Its current rights library is exploited across all media formats and includes more than 20,000 film and television titles, 2,400 hours of television programming and 45,000 music tracks.

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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