By MCN Editor editor@moviecitynews.com

TWC ACQUIRES PETER HO-SUN CHAN’S MARTIAL ARTS, FILM NOIR EPIC, DRAGON (WU XIA), WHICH PREMIERES AT CANNES ON MAY 14TH

International Superstars Donnie Yen, Takeshi Kaneshiro and Tang Wei Co-Star in Action-Packed Tale of Crime, Family and Redemption

Studio Acquires Distribution Rights for the World Outside of Asia

New York, NY, May 11, 2011 – The Weinstein Company (TWC) announced today that it has acquired from WE Distribution the distribution rights for the world, outside of Asia and French speaking Europe, to the martial arts, film noir epic DRAGON (WU XIA).  TF1 are already confirmed to distribute the film in France.  The film will have its world premiere as part of the official selection at this year’s Cannes Film Festival.  A 2011 theatrical release is expected in the US.

http://www.youtube.com/watch?v=tiTjHVqCq_k&feature=player_embedded

Director Peter Ho-Sun Chan, is one of Asia’s most celebrated filmmakers, his critical and box office hits include award winning THE WARLORDS, which he produced and directed, and BODYGUARDS AND ASSASSINS, which he produced.  With DRAGON (WU XIA) Chan brings to the screen an action-packed tale of crime, family and redemption.

DRAGON (WU XIA) features a dynamic ensemble of internationally celebrated talent, led by action superstar Donnie Yen (BODYGUARDS AND ASSASSINS, IP MAN), a martial arts master, Yen is also the film’s action choreographer; Takeshi Kaneshiro (HOUSE OF FLYING DAGGERS, CHUNGKING EXPRESS) and Tang Wei (LUST, CAUTION, LATE AUTUMN).  The film marks the first film appearance in 17 years of the legendary Jimmy Wang Yu (ONE ARMED SWORDSMAN, THE CHINESE BOXER), who is widely credited as the first Hong Kong kung fu star.

Along with Chan, the stellar lineup behind the camera includes the rising young director of photography Jake Pollock (THE MESSAGE, MONGA), veteran director of photography Lai Yiu-Fai (INFERNAL AFFAIRS, 2046); legendary Hong Kong production designer Yee Chung Man (THE WARLORDS, CURSE OF THE GOLDEN FLOWER); and leading costume designer Dora Ng (BODYGUARDS AND ASSASSINS, LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN).

TWC has also acquired first option to remake rights for the film.

The announcement was made by TWC Co-Chairman Harvey Weinstein and Vice President of Acquisitions Dan Guando.

Said Chan, “During the production, Donnie was telling me that Wu Xia becomes more and more like a Weinstein movie. It’s no coincidence that Harvey likes the film. I am thrilled to work with Harvey and I think TWC is the best company to take this film to the US and international audience.”

Said Weinstein, “Peter Chan is a true artist and with WU XIA he has created a dream project, combining two of my favorite genres: film noir and martial arts.  Peter has been a friend for more than 10 years I could not be happier to be working with him on this film.”

Said Guando, “From the moment the film was announced, TWC has been excited about WU XIA.  It is set to be a martial arts classic that will redefine the genre.”

The deal was negotiated for TWC by Guando, Laine Kline, Executive Vice President Business and Legal Affairs, and Michal Steinberg, Senior Vice President Business Affairs and Acquisitions; and for WE Distribution by Katherine Lee, Executive Vice President.

WU XIA – SYNOPSIS

In the late Qing Dynasty, Liu (Donnie Yen) is a papermaker, leading a simple life with his wife Ayu (Tang Wei) and their two sons.  Into their remote village comes Detective Xu (Takeshi Kaneshiro), who is investigating the deaths of two bandits during a robbery.  Xu quickly realizes that the incident in question was no ordinary botched robbery – and his dogged inquiry threatens to dredge up the dark secrets of Liu’s buried past, threatening not only Liu and his family, but the entire village.

ABOUT THE WEINSTEIN COMPANY

The Weinstein Company (TWC) is a multimedia production and distribution company launched in October 2005 by Bob and Harvey Weinstein, the brothers who founded Miramax Films in 1979.  TWC also encompasses Dimension Films, the genre label founded in 1993 by Bob Weinstein, which has released such popular franchises as SCREAM, SPY KIDS and SCARY MOVIE.  Together TWC and Dimension Films have released a broad range of mainstream, genre and specialty films that have been commercial and critical successes, most recently Tom Hooper’s THE KING’S SPEECH, winner of four 2011 Academy Awards®, including Best Picture; Derek Cianfrance’s Academy Award®-nominated BLUE VALENTINE; and John Wells’ feature directorial debut, THE COMPANY MEN.  Since 2005, TWC and Dimension Films have released such films as GRINDHOUSE; I’M NOT THERE; THE GREAT DEBATERS; VICKY CRISTINA BARCELONA; THE READER; THE ROAD;  HALLOWEEN; THE PAT TILLMAN STORY; PIRANHA 3D; INGLOURIOUS BASTERDS; A SINGLE MAN; and 2011 Golden Globe® Best Foreign Language Film nominee THE CONCERT.   Upcoming releases include MIRAL, SPY KIDS 4, SCREAM 4, APOLLO 18, OUR IDIOT BROTHER, THE DETAILS and MY WEEK WITH MARILYN.  Recently wrapping are I DON’T KNOW HOW SHE DOES IT and COGAN’S TRADE.

TWC is also active in television production, with credits including the Emmy® Award-winning hit reality series “Project Runway,” the new VH1 series “Mob Wives,” and the critically acclaimed HBO comedy/crime series “The No. 1 Ladies Detective Agency.”  The company is producing two “Project Runway” spinoffs, “Project Runway: Masters” and “Project Runway: Accessories,” which are expected to debut in 2011.  The company currently has 17 series in different stages of development, including: “Marco Polo,” a scripted historical series about the great explorer; “The Nanny Diaries,” based on the hit book; and “The Mad Ones,” adapted from the Mafia novel of the same name.

# # # #

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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