By MCN Editor editor@moviecitynews.com

FOX SEARCHLIGHT PICTURES ACQUIRES “SHAME”

Posted Saturday, September 10th, 2011 - Comments Off on FOX SEARCHLIGHT PICTURES ACQUIRES “SHAME”
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Specialty Arm Acquires U. S. Rights

TORONTO, Ontario, Canada September 9, 2011 – Fox Searchlight Pictures Presidents Nancy Utley and Stephen Gilula announced today that the company has acquired U. S. rights to the intimate and provocative drama SHAME.  The film is directed by Steve McQueen, written by McQueen and Abi Morgan and stars Michael Fassbender and Carey Mulligan.  SHAME is a See-Saw Films production for Film4 and U.K. Film Council and produced by Iain Canning and Emile Sherman.  Tessa Ross, Robert Walak, Peter Hampden and Tim Haslam are executive producers with Bergen Swanson as co-producer.  HanWay Films is handling international sales.  The film is scheduled to be released in 2011.

“Steve McQueen’s courageous exploration of modern life’s extremes is breathtaking.  He has crafted an extraordinary film that probes some of the deepest and darkest issues ever portrayed on screen with amazingly gifted performances by Michael Fassbender and Carey Mulligan,” said Gilula and Utley.

“Fox Searchlight contacted us immediately after the screening in Telluride to tell us how much they loved the film. Their approach to marketing and distributing the film this year was incredibly detailed and impressive. We are excited to be working with them on a film that is sparking debate and a strong emotional reaction from audiences,” said Canning and Sherman.

“This is a brave statement and an important move by Fox Searchlight.   I am very happy they came on board to release Shame in the U.S.  It’s great to be working with a team that is so passionate about cinema,” said McQueen.

Brandon (Michael Fassbender) is a New Yorker who shuns intimacy with women but feeds his desires with a compulsive addiction to sex. When his wayward younger sister (Carey Mulligan) moves into his apartment stirring memories of their shared painful past, Brandon’s insular life spirals out of control.

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The deal was brokered by Fox Searchlight’s Executive Vice President of Worldwide Acquisitions Tony Safford, Senior Vice President of Business Affairs Megan O’Brien, Vice President of Acquisitions Ray Strache with Thorsten Schumacher and Claire Taylor of HanWay Films on behalf of the filmmakers.

Fox Searchlight Pictures is a specialty film company that both finances and acquires motion pictures.  It has its own marketing and distribution operations, and its films are distributed internationally by Twentieth Century Fox.  Fox Searchlight Pictures is a unit of Fox Filmed Entertainment, a unit of Fox Entertainment Group.

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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