By MCN Editor editor@moviecitynews.com

Paddy Considine’s Tyrannosaur To Strand

Posted Friday, February 11th, 2011 - Comments Off on Paddy Considine’s Tyrannosaur To Strand
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February 11, 2011 – PROTAGONIST PICTURES today announced that it has concluded its North American sales on Paddy Considine’s critically acclaimed debut feature Tyrannosaur, to Strand Releasing for the US and to D Films for Canada. The film screens at the European Film Market this week.

The deals were closed following the film’s world premiere at Sundance, where it walked away with two major awards (World Cinema Directing Award, Dramatic, and World Cinema Special Jury Prize, Dramatic, for Breakout Performances by Peter Mullan and Olivia Colman).

The film has also sold since Sundance to Wild Bunch for Benelux, and Front Row Filmed Entertainment for the Middle East. Distributors already in place include Optimum Releasing for the UK, Madman for Australia and New Zealand, and Non Stop Entertainment for Scandinavia.

Writer-director Paddy Considine, who made his name in front of the camera (Dead Man’s Shoes,  Red Riding Trilogy, The Bourne Ultimatum), previously wrote and directed the short film Dog Altogether for Warp Films, winning the Best Short Film BAFTA and BIFA awards as well as the Silver Lion award at Venice in 2007.  Dog Altogether starred both Peter Mullan and Olivia Colman and introduces the story which Tyrannosaur now continues.

Joseph (Peter Mullan) is a man plagued by violence and a rage that is driving him to self-destruction. As his life spirals into turmoil a chance of redemption appears in the form of Hannah (Olivia Colman), a Christian charity shop worker. Their relationship develops to reveal that Hannah is hiding a secret of her own. The film also starts Eddie Marsan (Happy Go Lucky).

The sales deals were negotiated by Ben Roberts, Charlotte Van Weede and Simon Osborn for Protagonist, Jon Gerrans and Marcus Hu, Co-Presidents for Strand Releasing; Jim Sherry, President and CEO for D Films; Pim Hermeling CEO for Wild Bunch Benelux; and Gianluca Chakra, CEO and Managing Director for Front Row Filmed Entertainment.

Tyrannosaur is produced by Diarmid Scrimshaw, who has worked with Considine on several projects including his award-winning short Dog Altogether for Warp Films. Scrimshaw has produced most of the visual content for the Arctic Monkeys including their feature-length concert film Arctic Monkeys at the Apollo directed by Richard Ayoade.

Tyrannosaur is a Warp X and Inflammable Films presentation, backed by Film4, the UK Film Council, Screen Yorkshire, Optimum Releasing, EM Media, Madman and Nonstop 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