By MCN Editor editor@moviecitynews.com

MIMRAN SCHUR PICTURES ANNOUNCES NORTH AMERICAN DISTRIBUTION DEAL FOR HENRY’S CRIME WITH MOVING PICTURES FILM & TV

Posted Wednesday, November 17th, 2010 - 1 Comment »
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FOR IMMEDIATE RELEASE

Acquired by Maitland Primrose Group, film stars Keanu Reeves, Vera Farmiga and James Caan and premiered at the 2010 Toronto International Film Festival

Los Angeles, CA (November 17, 2010) – It was announced today that Maitland Primrose Group acquired the North American rights to HENRY’S CRIME, which will be distributed by Moving Pictures Film & TV (MPF&TV). The film made its debut screening at the Toronto International Film Festival where it premiered to critical and audience acclaim. The film stars Keanu Reeves, Vera Farmiga, James Caan, Fisher Stevens and Judy Greer. CAA negotiated the deal with Gary Hirsch and Ted Chalmers from Moving Pictures.

HENRY’S CRIME is based on an original screenplay from writer and executive producer, Sacha Gervasi (THE TERMINAL; ANVIL! THE STORY OF ANVIL) and David White, from a story by Stephen Hamel and Sacha Gervasi. The film is directed by Malcolm Venville (44 INCH CHEST). The film is produced by Company Films’ Stephen Hamel, Mimran Schur’s David Mimran and Jordan Schur, and Lemore Syvan. Firstar Films’ Scott Fischer, Sacha Gervasi, Mark Fischer, Cassian Elwes, Alison Palmer, Peter Graham, Stephen Hays, and GK Films’ Lisa Wilson serve as executive producers.

The romantic comedy follows Henry (Reeves), an ambitionless toll collector who is falsely accused of robbing a bank in Buffalo. Ending up in prison, he finds a street-smart friend and cellmate in Max (James Caan), who becomes his partner in crime upon their release. When Henry embarks on a bittersweet relationship with Julie (Farmiga), Henry begins to find his purpose and his destiny.

“This film went through a very unique development process, a deeply collaborative one between Keanu, Sacha and I,” says Hamel. “Once we pinned down a rather elusive, existential story, we were able to create something that most people can relate to, coming to a place in our lives where we question whether or not we’ve made the right choices.”

“Coming off of a strong AFM for Moving Pictures, we are thrilled to announce our acquisition of HENRY’S CRIME,” “We have been aggressively increasing the caliber and number of our acquisitions this year” said Margaret Tritch, President of Maitland Primrose Group. “We are excited to be closing out the year with a gem such as Henry’s Crime.”

“Getting involved in the distribution of projects like Henry’s Crime demonstrates ICAP’s steady growth in the media space and its ever increasing sales and revenue opportunities,” confirmed Gennaro Buonocore, Managing Director of ICAP Media, the leading interdealer broker whose media division encompasses Moving Pictures.

“We were excited to see the Toronto audience respond positively to HENRY’S CRIME, and look forward to working with Margaret, Ted and the team at Moving Pictures,” stated Schur. “Malcolm and Keanu assembled a stellar group of talent and filmmakers who created a film that is poignant, funny, timeless and authentic. We are proud of HENRY’S CRIME, and believe that audiences worldwide will respond to its charm.”

About Maitland Primrose Group
The Maitland Primrose Group is an international servicing and advisory company dedicated to a wide array of sectors, both financial and industrial. It operates as a reliable intermediary across a variety of geographical regions by bringing together producers of goods and services with end users, consumers and investors.

About ICAP MEDIA/Moving Pictures Film and Television
ICAP Media (IM) is a multi-faceted media company. Its parent company, ICAP Plc, is a publicly traded financial institution, listed on the London Stock Exchange (IAP.L). The Group’s mission is to provide audiences with ethically entertaining media products. IM holdings include both a US theatrical and distribution business and an international sales division, as well as Moving Pictures magazine that reports on the social, artistic and political elements that shape the world of movies; MovingPicturesMagazine.com, the online destination, and “Moving Pictures Live!,” a web and television series. The ICAP Media/Moving Pictures Film and Television offices are headquartered in the Santa Monica area of Los Angeles, CA.

About Mimran Schur
Mimran Schur Pictures, an independent motion picture production company, was co-founded by Jordan Schur and David J. Mimran in early 2009 for the purpose of producing exceptional films spanning all genres. The company’s first project, was the psychological thriller STONE, starring Robert De Niro, Edward Norton, Milla Jovovich, written by Angus MacLachlan (Junebug) and directed by John Curran (The Painted Veil, also starring Norton). The film premiered at the Toronto International Film Festival and was released by Overture in October. The company’s second project, HENRY’S CRIME, also premiered at the Toronto International Film Festival, and stars Keanu Reeves, Vera Farmiga and James Caan and is directed by Malcolm Venville. Mimran Schur is in development on several films including, PAWN SHOP CHRONICLES, based on a screenplay by Adam Minarovich, that Fred Durst will direct and the action-thriller FIVE AGAINST THE BULLET, from screenwriter Alex Litvak.

About Company Films
Company Films, dedicated to finding and creating powerful original stories that will stir people’s hearts, challenge their philosophies, and elevate the art of film. The company is located in Santa Monica, California and has been active since 2005.

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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “MIMRAN SCHUR PICTURES ANNOUNCES NORTH AMERICAN DISTRIBUTION DEAL FOR HENRY’S CRIME WITH MOVING PICTURES FILM & TV”

  1. Clubber Lang says:
    November 18, 2010 at 7:26 am

    this is marriage and divorce section……

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