By MCN Editor editor@moviecitynews.com

SPC PICKS UP POLANSKI’S CARNAGE

Posted Thursday, April 14th, 2011 - Comments Off on SPC PICKS UP POLANSKI’S CARNAGE
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NEW YORK (April 14, 2011) – Sony Pictures Classics announced today that they will release Roman Polanski’s new film, CARNAGE, in North America. Polanski penned the script with Yasmina Reza, which is adapted from Reza’s 2009 Tony Award winning play God of Carnage. CARNAGE is produced by Said Ben Said (THE WITNESSES, THE GIRL ON THE TRAIN) and stars Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly. SPC expects an end of year release.

Sony Pictures Classics acquired the film from Said Ben Said and ICM’s Jeff Berg.

Polanski assembled an all-star crew to work on CARNAGE, director of photographer Pawel Edelman (THE GHOST WRITER, RAY, THE PIANIST), production designer Dean Tavoularis (THE NINTH GATE, THE GODFATHER, THE OUTSIDERS), editor Herve de Luze (THE GHOST WRITER, WILD GRASS, TELL NO ONE), costume designer Milena Canonero (DARJEELING LIMITED, MARIE ANTOINETTE, A CLOCKWORK ORANGE) and composer Alberto Iglesias (TALK TO HER, VOLVER, THE CONSTANT GARDENER, THE KITE RUNNER).

Set in contemporary Brooklyn, New York, CARNAGE centers on two pairs of parents one of whose child has hurt the other at a public park, who meet to discuss the matter in a civilized manner. However, as the evening goes on, the parents become increasingly childish, resulting in the evening devolving into chaos.

“In today’s world of moviemaking, Roman Polanski, his screenwriting partner Yasmina Reza, his cast, his crew, and his producer Said Ben Said represent the best of the best. We are so fortunate and pleased to bring CARNAGE, which promises to be an experience of intense emotion and hilarity, to the American audiences,” states Sony Pictures Classics.

Said Ben Said and Sony Pictures Classics last worked together on the film I’VE LOVED YOU SO LONG.

ABOUT SONY PICTURES CLASSICS

Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an
autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January
1992, which distributes, produces, and acquires independent films from around the world.
Barker and Bernard’s films are among the most prestigious films of all time. They have produced
24 Academy Award winners (21 of those at Sony Pictures Classics) and have garnered over 100
Academy Award nominations (72 at Sony Pictures Classics) including Best Picture nominations
for Capote, Howards End, and Crouching Tiger, Hidden Dragon.
Over the years, Barker and Bernard fostered relationships with many of the world’s finest
independent filmmakers including Robert Altman, Ang Lee, Richard Linklater, Guillermo del
Toro, Francois Truffaut, David Cronenberg, Jonathan Demme, Woody Allen, Walter Salles, Todd
Haynes, Nicole Holofcener, Errol Morris, Zhang Yimou, Wong Kar Wai, Ingmar Bergman, Neil
Jordan, Francis Ford Coppola, and David Mamet.
ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a
subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture
production and distribution; television production and distribution; digital content creation and
distribution; worldwide channel investments; home entertainment acquisition and distribution;
operation of studio facilities; development of new entertainment products, services, and
technologies; and distribution of filmed entertainment in more than 100 countries. Sony Pictures
Entertainment can be found at http://www.sonypictures.com

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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