By MCN Editor editor@moviecitynews.com

PRODUCER ANNE CAREY TEAMS UP WITH EPOCH FILMS TO EXPAND FILM AND TELEVISION DEVELOPMENT AND PRODUCTION

Posted Monday, February 28th, 2011 - Comments Off on PRODUCER ANNE CAREY TEAMS UP WITH EPOCH FILMS TO EXPAND FILM AND TELEVISION DEVELOPMENT AND PRODUCTION
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New York, NY (Feb 28, 2011) — Epoch Films, an award-winning commercial and film production company, today announced that it has entered into a strategic partnership with independent film producer Anne Carey (THE AMERICAN, ADVENTURELAND, THE SAVAGES) to significantly expand Epoch’s film and television operations.  The announcement was made by Epoch’s founding partner Mindy Goldberg.

Working closely with veteran producer Goldberg, Carey will help build Epoch’s development slate, identifying, developing and producing projects for Epoch’s roster of represented directors as well as outside filmmakers. Carey will also immediately tap Epoch’s new development fund that the company is committing to the expanded slate.

“Anne is among the best and brightest producers working in American independent film today,” said Mindy Goldberg.  “I am confident that by combining Anne’s taste and experience and Epoch’s access to talent and resources we will be an attractive partner for talented directors, writers and producers working in film and television.”

“Mindy’s reputation as a producer and businesswoman speaks for itself, and I am greatly looking forward to forging new filmmaker and talent relationships together and to making great films and television,” said Anne Carey. “I know that our blend of styles and experience will make Epoch Films an even more dynamic place.”

Epoch Films has previously developed and produced two award-winning feature films, JUNEBUG, directed by Phil Morrison, and GIGANTIC, directed by Matt Aselton. Epoch is currently developing the feature film LOW DOWN, scheduled to start filming in late 2011 with producers Albert Berger & Ron Yerxa (LITTLE CHILDREN, LITTLE MISS SUNSHINE) of Bona Fide Productions. LOW DOWN will be directed by Epoch Films’ partner and established commercial director Jeff Preiss.

Carey will also continue to develop and produce select projects outside of the partnership. These include Carey’s current projects, THEN WE CAME TO THE END, written by Joshua Ferris for director Lynn Shelton (HUMPDAY) with fellow producer Ted Hope on board; LAST NIGHT AT THE LOBSTER, written by Carlo Bernard and Doug Miro which Carlo Bernard will direct; and THE LISTENER, written by Jody Shields, which Malcolm Venville will direct.

Carey began her career in the William Morris Agency’s department of Literary Development. She later worked as the head of development and as a producer at Good Machine, Inc., and was partners at This Is That, Inc. with Ted Hope, Anthony Bregman and Diana Victor.  Carey was represented in the deal by UTA’s Rich Klubeck and David Flynn.

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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