By MCN Editor editor@moviecitynews.com

SAMUEL GOLDWYN FILMS ACQUIRES ‘DIANA VREELAND: THE EYE HAS TO TRAVEL’ AFTER DAZZLING AUDIENCES AT VENICE AND TELLURIDE

Posted Friday, September 9th, 2011 - Comments Off on SAMUEL GOLDWYN FILMS ACQUIRES ‘DIANA VREELAND: THE EYE HAS TO TRAVEL’ AFTER DAZZLING AUDIENCES AT VENICE AND TELLURIDE
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FOR IMMEDIATE RELEASE

Toronto, CANADA (September 9, 2011) – Samuel Goldwyn Films proudly announced today that it has acquired all North American rights to DIANA VREELAND: THE EYE HAS TO TRAVEL directed by Lisa Immordino Vreeland, the wife of the late icon’s grandson.  This is her first film.

DIANA VREELAND: THE EYE HAS TO TRAVEL is an intimate portrait and a vibrant celebration of one of the most influential women of the 20th century, an enduring icon whose influence changed the face of fashion, beauty, art, publishing and culture forever. During her fifty year reign as the “Empress of Fashion,” she launched Twiggy, advised Jackie O and coined some of fashion’s most eloquent proverbs such as “the bikini is the biggest thing since the atom bomb.” She was the fashion editor of HARPER’S BAZAAR where she worked for 25 years before becoming editor in chief of VOGUE followed by a remarkable stint at the Met’s Costume Institute where she helped popularize its historical collections.

Goldwyn has slated a 2012 release.

Immordino Vreeland’s co-directors on the film are Bent-Jorgen Perlmutt and Frederic Tcheng both of whom edited VALENTINO: THE LAST EMPEROR.  Gloss Studio, Jonathan Gray and Mark Lee executive produced.

According to Samuel Goldwyn, Jr.: “Our team fell in love with this film and we had to have it.  Lisa has done a remarkable job capturing Mrs. Vreeland’s unique voice and magical life allowing Vreeland herself to guide us through her own fashionating adventures.  We can’t wait to bring this delightfully inspirational film to audiences everywhere.”

“I am so happy to have Samuel Goldwyn Films distribute the film. They are steeped in tradition and truly understand Mrs. Vreeland’s world.  I know the film is in the best possible hands and I couldn’t be more pleased,” said Immordino Vreeland.

Peter Goldwyn, Goldwyn’s Head of Acquisitions and Ian Puente, Goldwyn’s VP Business Development and General Counsel negotiated on behalf of Goldwyn with Josh Braun and David Koh of Submarine on behalf of the filmmaker.

ABOUT SAMUEL GOLDWYN FILMS

Samuel Goldwyn Films is a major, independently owned and operated motion-picture company that develops, produces and distributes innovative feature films and documentaries.  The company is dedicated to working with both world renowned and emerging writers/filmmakers and committed to filmed entertainment that offers original voices in uniquely told stories.  This is best exemplified by the Academy Award nominated THE SQUID AND THE WHALE and SUPER SIZE ME, AMAZING GRACE and Julie Delpy’s hit comedy 2 DAYS IN PARIS. Past Goldwyn titles include PRICELESS, a romantic comedy starring Audrey Tautou, Academy Award winner Claude Lelouch’s ROMAN DE GARE, the critically hailed ELEGY starring Academy Award nominee Penélope Cruz, HARRY BROWN starring Michael Caine and the box office smash FIREPROOF.  MAO’S LAST DANCER, directed by Academy Award nominee Bruce Beresford was one of the top grossing independent films of 2010. In addition to THE DOUBLE HOUR, this year’s slate includes THE WHISTLEBLOWER, a powerful, ripped from the headlines thriller starring Academy Award winner Rachel Weisz that premiered at last year’s Toronto Film Festival and is currently in theaters.

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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