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INVESTMENT BANKER AND REAL ESTATE VETERAN MARIE ADLER LAUNCHES ENTERTAINMENT COMPANY ADLER PRODUCTIONS

Posted Wednesday, June 1st, 2011 - Comments Off on INVESTMENT BANKER AND REAL ESTATE VETERAN MARIE ADLER LAUNCHES ENTERTAINMENT COMPANY ADLER PRODUCTIONS
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Adler to Finance and Produce Up to Four Projects Per Year

Los Angeles, CA (June 1, 2011)—Investment banker and real estate veteran Marie Adler is launching Adler Productions, an entertainment company focused on the production and financing of up to four feature films per year in $5-25M budget ranges. Adler is currently assembling a team of elite professionals who will head the company’s production, development, and sales respectively. The first project that Adler will finance and produce is JOE DOGS, a crime thriller based on the Simon & Schuster best-selling novel Joe Dogs: The Life and Crimes of a Mobster written by Joseph “Joe Dogs” Iannuzzi (The Mafia Cookbook).

JOE DOGS is a thrilling true story of vice, crime and betrayal set along the Gold Coast of Florida in the 1970′s. This is the tale of Joseph Iannuzzi, an ex-mobster who ran “business” operations for the Gambino crime family in the state before an act of betrayal led him to join forces with the FBI in a risky undercover operation.

Adler is currently packaging the film and is out to directors and talent for a projected late autumn start date.  Adler has tapped into her vast network of high net-worth clients and contacts to build a film fund to finance the production of Adler Productions’ slate of projects. The company is currently building a content library that will be the basis for their film productions, with new projects to be announced in the coming months.

Iannuzzi’s The Mafia Cookbook (Revised & Expanded) was a New York Times Best Seller. He also wrote Cooking On The Lam.

Adler said, “The discipline I exercised in running American Financial Lending, Inc. and the conservative approach I used when underwriting is what kept my secondary market investors confidence in me. These are same principles I’m applying in picking our films, their budgets, the logistics of production and the scheduling.  Always keeping in mind the investors ROI and minimizing their risk while maintaining the integrity of the film.”

Adler will be CEO of the new operation, with their offices based in Burbank, CA. She founded American Financial Lending, Inc., 1999, a nationwide leader in the lending industry that within its first year generated an impressive loan volume of $272 million.  After three years, the company went on to have an astounding total volume of $56 billion and employ over five hundred people in 42 states.  Over the past 12 years her clients have included Fannie Mae, Freddie Mac, Chase Bank, Wachovia (previously World Savings), Interfirst Wholesale (a division of) ABN AMRO, GMAC, National City, Suntrust, Flag Star, Bank of America, Wells Fargo, HSBC, Indy Mac, and First Interstate Financial.

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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