By MCN Editor editor@moviecitynews.com

THE WEINSTEIN COMPANY LAUNCHES NEW LABEL TO BRING NEW CONTENT TO NEW PLATFORMS

Tom Quinn And Jason Janego Named As Co-Presidents, Will Pursue Expansion Of Innovative Distribution Strategies Into Marquee Business

New York (September 6, 2011) – The Weinstein Company (TWC) announced today that Tom Quinn and Jason Janego have joined forces with TWC Co-Chairmen Harvey and Bob Weinstein to create a new TWC label to bring new films and other specialty entertainment to audiences simultaneously across multiple digital and traditional platforms. Quinn and Janego will serve as Co-Presidents of the yet-to-be named label, which will be based in New York.  The announcement was made by TWC COO David Glasser.

Quinn and Janego were among the first in the film industry to explore the potential of emerging digital platforms and were in the vanguard of developing new strategies for alternative distribution during their tenures at Magnolia Pictures, where they were Senior Vice President and Head of Legal & Business Affairs, respectively.  In 2005, Magnolia became one of the first distributors to implement the day/date releasing, premiering Steven Soderbergh’s BUBBLE and Alex Gibney’s ENRON: THE SMARTEST GUYS IN THE ROOM simultaneously in select theaters and on DVD.  Over the next several years they expanded on the premium VOD/theatrical platform model with such films as James Gray’s TWO LOVERS, Neil Marshall’s CENTURION, Takashi Miike’s 13 ASSASSINS, Alex Gibney’s CLIENT 9 and FREAKONOMICS, the documentary based on the bestseller, enabling these specialty and independent releases to compete alongside studio content.

The new label makes TWC the first studio to premiere select titles across multiple platforms via immediate-access digital and traditional media and will bring TWC’s unique, high-quality films to larger audiences than ever before.  As Co-Presidents, Quinn and Janego will develop content and distribution strategies that move beyond the on-demand model, with a goal of establishing the new label as a marquee destination.  Quinn and Janego will oversee acquisitions, productions and distribution of label content.  Both will report to Harvey and Bob Weinstein and David Glasser in New York.

Quinn and Janego will be on-site at the 2011 Toronto Film Festival to begin scouting titles for the fledgling label.  It is anticipated that the label will release its debut title in the first half of 2012.

Said Quinn and Janego, “Our experience in digital distribution has been eye-opening and inspiring; we see it as a new frontier for studios and for independent filmmakers of every stripe.  It makes perfect sense that the godfathers of modern independent cinema, Harvey and Bob Weinstein, would be the first studio chiefs to launch a business dedicated to these new platforms, and we are thrilled to be working alongside them in this new venture.  We can’t wait to get going.”

Commented Harvey and Bob Weinstein, “It’s an exciting time in filmmaking; technology has made film a more democratic medium than ever, for artists and audiences.  There are just so many great movies being made all over the world, and the new digital platforms make it possible for more people than ever to see them.  We are thrilled about launching this new label with Tom and Jason at the helm: not only are they innovators with a deep understanding of all things digital, they’re two guys who love movies like we do.  In a lot of ways, this label is an expansion on the work we’ve been doing for more than 20 years, and with Tom and Jason aboard we think it will chart a path into the future.”

Added Glasser, “My tenure with TWC has coincided with seismic changes in the cinema landscape, particularly with respect to the digital revolution and the advent of new platforms for watching movies.  Our new label represents a forward-thinking approach to an evolving marketplace, and is a natural step for us as a studio built on specialty films.  Perhaps most importantly, it’s a realistic and exciting way to grow TWC as a studio while staying true to the love of film that is so strong in Harvey and Bob, and in our new partners, Tom and Jason.”

Previously, Quinn spent more than seven years at Magnolia Pictures as SVP and Head of Acquisitions.  He created Magnet Releasing, Magnolia’s genre arm, the Six Shooter Series, as well as the annual Oscar Shorts Program.  He’s acquired and distributed over 100 films including ONG BAK, MAN ON WIRE, THE HOST, WORLD’S FASTEST INDIAN, JESUS CAMP, LET THE RIGHT ONE IN, and WOMAN THOU ART LOOSED.  His recent films include: PAGE ONE, MELANCHOLIA, 13 ASSASSINS, HOBO WITH A SHOTGUN, TROLLHUNTER, FREAKONOMICS, CENTURION, I AM LOVE, MONSTERS, and FOOD INC.  His productions include: OUTRAGE, COCAINE COWBOYS 2, SPLINTER, and ABC’S OF DEATH.  Quinn is also a programmer, having worked for Philadelphia, Atlanta, Woodstock, and ActionFest, a festival he was instrumental in creating.  Prior to joining Magnolia, he was at Samuel Goldwyn for seven years, eventually becoming VP of Acquisitions, where he was responsible for acquiring RAISING VICTOR VARGAS and SUPER SIZE ME.  Quinn’s first industry job was working in domestic film publicity for Nancy Willen at Dennis Davidson Associates.

Prior to joining TWC, Janego had his own consultancy and legal practice focusing on the development of innovative strategies for the production, financing and distribution of content in all areas of the entertainment business.  In his career as an executive, lawyer, consultant, and producer’s representative, Janego has been involved with over 250 films.  Previously, he was the Chief Operating Officer at Big Beach Films, a New York-based production company whose credits include AWAY WE GO, IS ANYBODY THERE and SUNSHINE CLEANING.  Before joining Big Beach, Janego was Head of Business & Legal Affairs for Magnolia Pictures, Magnolia Home Entertainment, and Landmark Theatres, all of which are subsidiaries of the vertically integrated media company Wagner/Cuban Entertainment. Janego has also worked at Miramax Films and with the film sales company Cinetic Media. Earlier in his career, he was employed as an attorney in the legal department of the NBC television network and with Artemis Records. He also serves on the Committee on Film at the Museum of Modern Art.

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®, 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.  Currently in release are OUR IDIOT BROTHER and SPY KIDS 4:ALL THE TIME IN THE WORLD IN 4D.  Upcoming releases include DIRTY GIRL, I DON’T KNOW HOW SHE DOES IT, MY WEEK WITH MARILYN, THE ARTIST, THE IRON LADY and BUTTER.   Recently wrapped is 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 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.

# # # #

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