By MCN Editor editor@moviecitynews.com

JUSTIN TIMBERLAKE AND AMANDA SEYFRIED STAR IN NOW

Posted Thursday, November 4th, 2010 - Comments Off on JUSTIN TIMBERLAKE AND AMANDA SEYFRIED STAR IN NOW
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THRILLER IS CURRENTLY IN PRODUCTION FROM WRITER-DIRECTOR ANDREW NICCOL

LOS ANGELES — New Regency has begun production on Andrew Niccol’s thriller NOW, starring Justin Timberlake and Amanda Seyfried.

Niccol, whose credits include the screenplay for The Truman Show, directs from his original screenplay. The film is produced by Eric Newman (Children of Men), Niccol and Marc Abraham (Children of Men). Executive producers are Andrew Z. Davis (Red Dragon), Kristel Laiblin (Children of Men) and Amy Israel (Shall We Dance).

NOW presents a world where time has become the ultimate currency. You stop aging at 25, but there’s a catch:  you’re genetically-engineered to live only one more year, unless you can buy your way out of it. The rich “earn” decades at a time (remaining at age 25), becoming essentially immortal, while the rest beg, borrow or steal enough hours to make it through the day.  When a man from the wrong side of the tracks is falsely accused of murder, he is forced to go on the run with a beautiful hostage.  Living minute to minute, the duo’s love becomes a powerful tool in their war against the system.  NOW shoots on location in and around Los Angeles, California.

Also starring is Cillian Muphy (Inception) as Timekeeper Leon, who enforces the corrupt system.  Co-starring are Vincent Kartheiser (“Mad Men”), Alex Pettyfer (I Am Number Four), Johnny Galecki (“The Big Bang Theory”), Olivia Wilde (Cowboys & Aliens) and Matthew Bomer (“White Collar”).

Twentieth Century Fox will release the film in 2011.

About Fox Filmed Entertainment

One of the world’s largest producers and distributors of motion pictures, Fox Filmed Entertainment produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of FFE: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Pictures and Twentieth Century Fox Animation.

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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