By MCN Editor editor@moviecitynews.com

FOX SEARCHLIGHT PICTURES ACQUIRES REMAKE RIGHTS TO THE BENGALI DETECTIVE

Posted Monday, January 24th, 2011 - Comments Off on FOX SEARCHLIGHT PICTURES ACQUIRES REMAKE RIGHTS TO THE BENGALI DETECTIVE
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FOR IMMEDIATE RELEASE

Specialty Arm Acquires Worldwide Remake Rights

PARK CITY, UT January 24, 2011 – Fox Searchlight Pictures President of Production Claudia Lewis announced today that the company has acquired worldwide remake rights from Native Voice Films to the entertaining original feature documentary, THE BENGALI DETECTIVE, directed by Philip Cox and produced by Giovanna Stopponi, Annie Sundberg and Himesh Kar.

“We adored this film and are delighted to have the chance to work with such entertaining, funny material. We were charmed by this story of a dedicated husband and self-made detective who dreams big,” said Lewis.

“We are thrilled that Fox Searchlight has fallen in love with our leading man Rajesh and his wild adventures as a detective in Kolkata.  Fox Searchlight has an amazing track record of bringing stories set in India to a worldwide audience, and we are excited to be sharing this journey with them,” said director Phil Cox and The Bengali Detective team.

In THE BENGALI DETECTIVE, Calcutta’s criminal underworld is explored by intrepid private eye Rajesh Ji.  Following both his investigations and Rajesh’s pursuit of his dream to dance on Indian TV, THE BENGALI DETECTIVE provides a look at modern India through the eyes of one of its most unlikely heroes.

The deal was brokered on Fox Searchlight’s side by Senior Vice President of Business Affairs Megan O’Brien with Andrew Hurwitz of Schreck Rose Dapello Adams & Hurwitz, LLP on behalf of Native Voice Films.  Creative Executive Richard Gold will oversee development for Fox Searchlight Pictures.

Fox Searchlight Pictures is a specialty film company that both finances and acquires motion pictures.  It has its own marketing and distribution operations.  Fox Searchlight Pictures is a unit of Fox Filmed Entertainment, a unit of Fox Entertainment Group.

FOX SEARCHLIGHT PICTURES A UNIT OF FOX FILMED ENTERTAINMENT

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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