By MCN Editor editor@moviecitynews.com

ABC BANS COMMERCIAL SPOT FOR THE WEINSTEIN COMPANY’S COMEDY OUR IDIOT BROTHER

Posted Thursday, August 25th, 2011 - Comments Off on ABC BANS COMMERCIAL SPOT FOR THE WEINSTEIN COMPANY’S COMEDY OUR IDIOT BROTHER
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Network Refuses To Air Spot, Prompting Studio To Cut New Red Band Trailer For Film In Advance Of August 26 Opening

New York, NY, August 25, 2011 – The Weinstein Company (TWC) announced today that ABC has refused to broadcast the commercial spot for its new comedy OUR IDIOT BROTHER,  unless TWC makes specified cuts.  The ad is already airing in its current form on other broadcast and cable networks.  The action has prompted to TWC to cut a new red band trailer for the film.

Commented TWC Co-Chairman Harvey Weinstein, “We’d like to dedicate our new red band trailer for OUR IDIOT BROTHER to censorship everywhere.  Enjoy!!”

An ensemble comedy about three sisters and an incurably optimistic sibling, OUR IDIOT BROTHER was a breakout hit at the 2011 Sundance Film Festival.  It is directed by Jesse Peretz and stars Paul Rudd, Elizabeth Banks, Zooey Deschanel, Emily Mortimer, Steve Coogan, Hugh Dancy, Kathryn Hahn, Rashida Jones, Shirley Knight, T.J. Miller and Adam Scott.  The screenplay is by Evgenia Peretz and David Schisgall.

OUR IDIOT BROTHER opens nationwide on Friday, August 26th.

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, including Tom Hooper’s THE KING’S SPEECH, winner of four 2011 Academy Awards(r), including Best Picture.  Since 2005, TWC and Dimension Films have released such film 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; BLUE VALENTINE, THE COMPANY MEN; MIRAL; SCRE4M; and SPY KIDS 4: ALL THE TIME IN THE WORLD IN 4D.  Upcoming releases include OUR IDIOT BROTHER, APOLLO 18, DIRTY GIRL, I DON’T KNOW HOW SHE DOES IT, MY WEEK WITH MARILYN and THE ARTIST.   Recently wrapped is COGAN’S TRADE.

TWC is also active in television production, with credits including the Emmy(r) Award-winning hit reality series “Project Runway,” the new VH1 reality series “Mob Wives,” and the critically acclaimed HBO comedy/crime series “The No. 1 Ladies Detective Agency.”  The company is producing three “Project Runway” spinoffs, “Project Runway All Stars,” “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.

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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