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JONAH HILL AND CHANNING TATUM TO STAR IN COLUMBIA PICTURES’ “21 JUMP STREET”

Posted Wednesday, December 1st, 2010 - Comments Off on JONAH HILL AND CHANNING TATUM TO STAR IN COLUMBIA PICTURES’ “21 JUMP STREET”
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CULVER CITY, Calif., December 1, 2010 – Jonah Hill and Channing Tatum are set to star in a contemporary motion picture adaptation of 21 Jump Street, it was announced today by Doug Belgrad, president of Columbia Pictures.  Hill and Tatum are executive producers on the project, which will be directed by Phil Lord and Christopher Miller from a screenplay by Michael Bacall based on a treatment from Hill and Bacall.  Neal H. Moritz will produce the film with Stephen J. Cannell, who will receive posthumous credit. Commenting on the announcement, Belgrad said, “Jonah helped create a smart and funny vehicle that is tailor-made for him and Channing.  They are a perfect duo for this film and Phil and Chris have a terrific, accessible take on the material.  We love how this movie has come together and are very excited to begin production this spring.” Hannah Minghella and Jonathan Kadin are overseeing production for the film on behalf of the studio. An early hit for Fox Broadcasting, “21 Jump Street” focused on young cops with youthful appearances who work undercover in high schools and colleges.  The popular series starred Johnny Depp and several other young stars and hit home with the network’s key teen demographic from 1987-1991. JONAH HILL starred opposite Michael Cera in the acclaimed hit Superbad, which grossed nearly $120 million at the US box office.  He most recently starred in the Sundance Film Festival hit film Cyrus opposite John C. Reilly and Marisa Tomei and opposite Russell Brand in Get Him to the Greek.  He also recently lent his voice to two films for DreamWorks Animation, Megamind and How to Train Your Dragon.  Hill also appeared in Knocked Up, Funny People, The Invention of Lying, Forgetting Sarah Marshall, and The 40-Year-Old Virgin, and was heard in the animated film Horton Hears a Who!.  He made his screen debut in I Heart Huckabees. Hill also produced Sacha Baron Cohen’s controversial comedy hit Brüno.  Hill will next star opposite Brad Pitt in Columbia Pictures’ Moneyball and in David Gordon Green’s The Sitter for 20th Century Fox. CHANNING TATUM most recently starred in the hit Dear John and will next be seen in a comedic turn in The Dilemma, which will be released on January 14, 2011 and will then star in the Roman epic adventure, The Eagle, directed by Kevin Macdonald and released on February 11, 2011. He is also starring in Steven Soderbergh’s Haywire. He just wrapped production on The Vow with Rachel Mcadams.  He is repped by UTA, Management 360 and Hansen, Jacobson, Teller & Hoberman. PHIL LORD and CHRISTOPHER MILLER most recently wrote and directed the animated hit Cloudy with a Chance of Meatballs for Sony Pictures Animation.  Among their television writing credits, Lord and Miller served as co-executive producers on “How I Met Your Mother,” the Emmy-winning primetime sitcom that began airing on CBS in September of 2005; and executive producers of both “Awesometown,” featuring the comedy troupe The Lonely Island, and the “Phil Hendrie” pilot. The team also worked as consulting producers on “Jake in Progress” and Cracking Up, supervising producers on “Method & Red” and “Luis,” and staff writers on “Zoe, Duncan, Jack & Jane.”  The team also created, executive produced, and directed the MTV animated series “Clone High,” for which Lord also provided the voices of Principal Scudworth and Genghis Khan and Miller voiced John F. Kennedy and Mr. Butlertron.  Lord and Miller also played the recurring roles of Bill and Cliff, respectively, in “Caroline in the City.” About Sony Pictures Entertainment Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation.  SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 140 countries.  Sony Pictures Entertainment can be found on the World Wide Web at http://www.sonypictures.com.

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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