By MCN Editor editor@moviecitynews.com

HOBO WITH A SHOTGUN INAUGURATES FIRST LOOK WITH ALLIANCE FOR RHOMBUS

Posted Thursday, January 20th, 2011 - Comments Off on HOBO WITH A SHOTGUN INAUGURATES FIRST LOOK WITH ALLIANCE FOR RHOMBUS
Be Sociable, Share!

ALLIANCE FILMS UNVEILS FIRST LOOK DEAL WITH RHOMBUS MEDIA & PREMIERES HOBO WITH A SHOTGUN IN SUNDANCE

Alliance pre-emptively acquires Sundance titles including The Son of No One, The Troll Hunter, The Guard and Flypaper

19 January 2011, MONTREAL:  Alliance Films, one of the top five international independent filmed entertainment companies in the world which also encompasses Momentum Pictures (UK) and Aurum Productions (Spain) have inked a first look deal with producer Niv Fichman’s (The Red Violin, Blindness) Rhombus Media.  The distribution deal will utilize Alliance’s distribution pipeline with the company’s collaborating on all stages of production including development, casting, marketing and financing.

Alliance Films and Rhombus Media have partnered on films such as The Red Violin, Silk, Passchendale, Blindness and most recently HOBO WITH A SHOTGUN, which stars Rutger Hauer (Blade Runner) and Gregory Smith (The Patriot, Everwood).  HOBO WITH A SHOTGUN is set to make its world debut at the Sundance Film Festival as part of Midnight at Park City and was initially a trailer made to promote the release of Quentin Tarantino & Robert Rodriguez’s feature Grindhouse. HOBO WITH A SHOTGUN is the second of Grindhouse’s trailers to be turned into a feature film, the first being Machete.

Alliance Films will release the film in Canada and the UK (via Momentum Pictures), TF1 will be handling international sales and Magnolia Pictures will release in the U.S.

“Rhombus Media has a brilliant reputation for sourcing and developing award-winning material and we’re delighted to cement our relationship with them,” says Xavier Marchand, President of Worldwide Distribution of Alliance Films. “Furthermore, we’ve built a strong slate of acquisitions in advance of Sundance and look forward to unveiling them around the world this coming year.”

Commenting on the deal Niv Fichman said: “We have worked with Alliance for over a decade and are now fully integrated in every step of the process from initial development to final release.  I can not imagine a better and more seamless producer/distributor relationship anywhere.”

Alliance Films has made a number of acquisitions in advance of Sundance on titles such as:  Dito Montiel’s (A Guide to Recognizing Your Saints, Fighting) feature THE SON OF NO ONE, starring Channing Tatum and Al Pacino for Canada and Spain (Aurum); THE TROLL HUNTER from director Andre Oderval for Canada and the UK (Momentum Pictures); THE GUARD which stars Brendan Gleason and Don Cheadle for Canada; and from the writers of The Hangover, Jon Lucas and Scott Moore’s FLYPAPER, directed by Rob Minkoff starring Patrick Dempsey and Ashley Judd for Spain (Aurum).

Current and upcoming films where Alliance Films has an equity position or otherwise enabled projects to be financed include:  The King’s Speech, The Woman in Black, Safe, Area 51, Weekender, Goon, The Moth Diaries, Insidious and The Bay.

Current and upcoming theatrical releases include: The King’s Speech (Canada & UK), The Fighter (Canada & UK), Blue Valentine (Canada), Chalet Girl (Canada & UK), Sofia Coppola’s Somewhere (Canada), The Way Back (Canada & Spain) and Red (Spain).

# # #

About Momentum Pictures and Alliance Films

Alliance Films, Inc. is one of the top five international independent filmed entertainment companies in the world. A leading multinational distributor, co-financier and producer of filmed entertainment, its member companies, Alliance Films and Alliance Vivafilm (Canada); Momentum Pictures (UK) and Aurum Productions (Spain), offer integrated delivery of content in all media.

Strategic partnerships includes exclusive distribution rights with Relativity Media in Canada and UK, Focus Features, The Weinstein Company, CBS Films and Newmarket Films in Canada , as well as ongoing relationships with Summit, FilmNation, Newmarket, Exclusive Media, IM Global, Mandate, Wild Bunch, Constantin Films, EuropaCorp and Nu Image in all 3 territories.

On the production front, strategic partnerships include: a feature film co-production and acquisitions deal with Italy’s Medusa Film; a first-look deal with Iain Canning and Emile Sherman’s See-Saw Films, which yielded the lauded feature THE KING’S SPEECH; the production joint venture with IM Global, Automatik run by Brian Kavanaugh-Jones; and a five-picture deal with PARANORMAL ACTIVITY producers Oren Peli, Jason Blum and Steven Schneider with upcoming titles that include Barry Levinson’s The Bay and James Wan’s INSIDIOUS.

About Rhombus Media

Rhombus Media is renowned the world over for its high-quality feature films, TV drama series and performing arts programmes. Since it’s inception in 1979, Rhombus has released over 200 productions that have been consistently acclaimed by critics and audiences all over the world. Rhombus films have received literally hundreds of awards, including numerous Genies, Geminis, Emmys, Golden Pragues and an Oscar.  Some of the company’s more notable projects include The Red Violin, Last Night, The Saddest Music in the World, Clean, Snowcake, Silk, and more recently Fernando Meirelles’ Blindness and Paul Gross’ Passchendaele.  Rhombus produced Hobo with A Shotgun along with Whizbang Films and Yer Dead Productions.  The film stars Rutger Hauer and will be unleashed at Sundance in January.

# # #

Be Sociable, Share!

Posted in Movie City News, Press Releases, Sundance Curated Headlines, Sundance Film Festival | Comments Off on HOBO WITH A SHOTGUN INAUGURATES FIRST LOOK WITH ALLIANCE FOR RHOMBUS

Comments are closed.

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