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IFC FILMS TAKES NORTH AMERICAN RIGHTS TO DAVID MACKENZIE’S PERFECT SENSE

Posted Wednesday, January 26th, 2011 - Comments Off on IFC FILMS TAKES NORTH AMERICAN RIGHTS TO DAVID MACKENZIE’S PERFECT SENSE
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Park City, UT (January 26, 2011) – IFC FILMS announced today from the 2011 Sundance Film Festival that the company is acquiring North American rights to director David Mackenzie’s romantic thriller PERFECT SENSE, which had its world premiere in the Premieres section this week.  Directed by Sundance alum Mackenzie (who was at the festival in 2009 with Spread), with a screenplay by Kim Fupz Aakeson, the film reunites Mackenzie with star Ewan McGregor (who he directed in the critically acclaimed Young Adam).  The film, which was produced by Malte Grunert and Gillian Berrie, also stars Eva Green and Connie Nielsen.

PERFECT SENSE follows Susan (Green), an epidemiologist, who reemerges from an affair gone sour, and encounters a peculiar patient—a truck driver who experienced a sudden, uncontrollable crying fit. Now he is calm, but he has lost his sense of smell. Susan soon learns there are hundreds of people across the globe beginning to suffer strange symptoms, affecting the emotions, then the senses. The film offers a deeply moving proposition about the way the human race might weather a global pandemic.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “PERFECT SENSE is a beautiful and sexy love story brought to life by the wonderfully appealing performances of Ewan MacGregor and Eva Green.  We look forward to working with them and David Mackenzie to bring this haunting apocalyptic story of the world gone wrong to American audiences.”

“PERFECT SENSE is a film where you feel like hugging your dear ones after seeing it. I couldn´t imagine a better partner than IFC Films and we are very excited to see the reactions from the American audiences,” said Rikke Ennis, CEO, Trust Nordisk.

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Liesl Copland at WME Global on behalf of TrustNordisk and the filmmakers.

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About IFC FILMS

Established in 2000 and based in New York City, IFC Films is a leading U.S. distributor of quality talent-driven independent film.  Its unique distribution model makes independent films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes over the years have included My Big Fat Greek Wedding, Y Tu Mama Tambien, Touching the Void, 4 Months, 3 Weeks and 2 Days, Gomorrah, Che, Summer Hours, Antichrist, In the Loop, Antichrist, Wordplay, Cairotime, Joan Rivers: A Piece of Work, Tiny Furniture and Carlos.  Over the years, 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. IFC Films is a sister division to Sundance Selects and IFC Midnight, and is owned and operated by Rainbow 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