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IFC FILMS ACQUIRES RIGHTS TO DON ROOS’ THE OTHER WOMAN FROM INCENTIVE FILMED ENTERTAINMENT

Posted Tuesday, December 28th, 2010 - Comments Off on IFC FILMS ACQUIRES RIGHTS TO DON ROOS’ THE OTHER WOMAN FROM INCENTIVE FILMED ENTERTAINMENT
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ROR IMMEDIATE RELEASE

Film Stars Natalie Portman and Lisa Kudrow

New York, NY (December 28, 2010) – IFC Films, the leading American distributor of independent and foreign films, announced today that the company is acquiring the rights to director Don Roos’ frank, funny and heart-wrenching drama THE OTHER WOMAN.  Produced by Marc Platt (NINE, WANTED) and Carol Cuddy (RACHEL GETTING MARRIED), and financed by Incentive Filmed Entertainment (BLUE VALENTINE, AREA 51), the film which stars Natalie Portman (BLACK SWAN), Scott Cohen (THE UNDERSTUDY), Charlie Tahan (I AM LEGEND), Lauren Ambrose (SIX FEET UNDER), and Lisa Kudrow (THE OPPOSITE OF SEX) will be released by IFC Films as an exclusive premium video-on-demand premiere on January 1, 2011 and will open theatrically in New York on Friday, February 4 at the IFC Center.

The deal was negotiated by Arianna Bocco, Senior Vice President, Acquisitions & Productions, and by Rena Ronson on behalf of the filmmakers.  Portman, Abby Wolf-Weiss, Rena Ronson, and Cassian Elwes served as executive producers on the project.

Families never turn out according to plan, and in THE OTHER WOMAN, Emilia (Portman) finds herself the shunned stepmother.  After winning Jack (Cohen) away from his wife Carolyn (Lisa Kudrow), she finds herself immersed in the cross-currents of a new hybrid family.  But shadowing Emilia’s every attempt to connect with her stubborn, precocious stepson William (Charlie Tahan) is the unbearable loss of a baby she and Jack had hoped would cement their new marriage.

President of IFC Films Jonathan Sehring said, “We at IFC Films are of course delighted to present a picture with poignant, emotional and relatable subject matter. Through Portman’s radiant performance, Emilia’s path from grief and helplessness to renewal, is a wonder to behold.  She headlines an ensemble of actors at the top of their game.”

Managing Director of Incentive Filmed Entertainment Clint Kisker said, “The Incentive team is exceptionally proud of this film and the incredible performance by Natalie Portman.  IFC Films has demonstrated a real passion and understanding for the story and characters and we could not be more pleased that the film is in their hands.”

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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, 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.

About INCENTIVE FILMED ENTERTAINMENT

Incentive Filmed Entertainment is an independent film production and financing company created in 2008 in collaboration between Screen Capital International, Aramid Entertainment Fund, and The William Morris Agency capitalized with $100mm including a $70mm revolving debt facility arranged by JP Morgan Chase.  Incentive’s recent pictures include, Blue Valentine starring Ryan Gosling and Michelle Williams (The Weinstein Company), Area 51 from director Oren Peli (Paramount) and Shark Night 3D directed by David Ellis (Relativity Media).

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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