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CHRIS MILLER BOARDS EXCLUSIVE MEDIA GROUP

Posted Wednesday, February 2nd, 2011 - Comments Off on CHRIS MILLER BOARDS EXCLUSIVE MEDIA GROUP
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FOR IMMEDIATE RELEASE

Los Angeles, CA (February 2, 2011) – Guy East and Nigel Sinclair, Co-Chairmen of Exclusive Media Group (“Exclusive”), announced today that the company has brought Chris Miller on board to serve as President of Film Finance Operations for Exclusive, and as the new President of Spitfire Pictures.

Miller makes the move to Exclusive after spending three years as the Head of Production for National Geographic Films Worldwide.  While at National Geographic, Miller worked on several other high profile projects including Peter Weir’s The Way Back, a co-production with Exclusive Films, as well as on The Last Lions, a new Natural History film event by world renowned filmmakers Dereck and Beverly Joubert, to be released in North America next month.  Prior to joining National Geographic, Miller in 2001 co-founded Visionbox Media Group and Visionbox Pictures, where he served as president for six years, creating original content in digital formats for the marketplace.  Over the six years at Visionbox, Miller and the company had a hand in such film productions as The Cooler, Never Die Alone, Believe In Me, L.A. Riot Spectacular, The Illusionist, The Matador, The Painted Veil, as well as acclaimed documentaries such as Darfur Now and Arctic Tale.

“Chris Miller’s track record in the film industry speaks for itself.  We think he is an amazing addition to our team,” say Sinclair and East.

Miller joins Tobin Armbrust and Matt Jackson within the Exclusive production team.  Armbrust remains Head of Production with a focus on the Hammer Films slate, and Jackson will continue to focus on the Exclusive Films slate.

Exclusive Media Group’s Hammer Films label is currently in post-production on James Watkins’ The Woman in Black, starring Daniel Radcliffe (of Harry Potter fame) with a screenplay by Jane Goldman (Kick Ass), based on the best-selling novel by Susan Hill. The company also produced Matt Reeves’ Let Me In starring Kodi Smit-McPhee, Chloe Moretz, Elias Koteas and Richard Jenkins (produced through the Hammer Films label, and released by Overture Films); and Peter Weir’s The Way Back starring Ed Harris, Jim Sturgess, Saoirse Ronan, Mark Strong and Colin Farrell (which Exclusive’s Newmarket Films distribution label released this month).  Exclusive also announced that the company will co-finance and co-produce George Clooney’s THE IDES OF MARCH, based on the award-winning play by Beau Willimon, and starring Clooney, Ryan Gosling, Paul Giamatti, Marisa Tomei, and Evan Rachel Wood. The film shoots in February. Additionally, Exclusive announced that the company will produce and fully finance the action comedy SO UNDERCOVER to be directed by Tom Vaughan (What Happens in Vegas) and starring Miley Cyrus in the lead role, as well as Kelly Osbourne, Jeremy Piven and Mike O’Malley.

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ABOUT EXCLUSIVE MEDIA GROUP (“EXCLUSIVE”)

Exclusive Media Group is a vertically integrated independent film studio which was founded by strategic investment group, Cyrte Investments, in May 2008. Exclusive comprises:

  1. Three development & production labels –

·         Exclusive Films, whose maiden production is Peter Weir’s The Way Back which is currently in theaters and who will also co-finance and co-produce George Clooney’s The Ides of March, and fully finance and produce the Miley Cyrus action comedy So Undercover.

·         Hammer Films, the iconic brand which has The Woman in Black starring Daniel Radcliffe in post-production, Let Me In in release and The Resident being readied for release.

·         Spitfire Pictures, which has become the specialist documentary film production house.

  1. US theatrical distributor – Newmarket Films.

3.     International Sales & Marketing Operation for in-house and third party product – Exclusive Films International.

  1. Exclusive Films International also monetizes a significant film library of over 550 film titles.

Exclusive is run by Co-Chairmen Nigel Sinclair and Guy East.  Sinclair also serves as Group CEO and President of Newmarket Films, East as Chairman of Exclusive Films International.  Simon Oakes serves as Vice-Chairman of the Group Board as well as President and CEO of Hammer.  Marc Schipper and Andy Mayson serve on the Executive Board, as COO and Managing Director/CFO respectively, overseeing the operations, finance and strategic development of the worldwide group  Exclusive’s strategy is to build a vertically integrated global film entertainment group which develops and controls its own intellectual property and exploits it on a cross-media basis in the digitally converged era.  Exclusive has an active development slate and produces, finances and markets 3-5 high-quality commercial feature films and documentaries per year under its three production labels.  Exclusive actively acquires further feature films for international distribution through Exclusive Films International, and for US theatrical distribution through Newmarket Films.  The Group also develops and produces projects for television and digital platforms. Exclusive continues to actively explore strategic expansion through M&A transactions and joint ventures – specific focus is on the acquisition of further high-quality film libraries and local territory distribution.

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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