By MCN Editor


New York (September 26, 2011) – The Weinstein Company (TWC) announced today the hiring of Stephen Bruno as president of marketing. Bruno’s new role is effective today. The announcement was made by TWC Co-Chairman Harvey Weinstein and COO David Glasser.

As president of marketing, Bruno will oversee and execute marketing campaigns and strategy for all theatrical titles. He will report to Harvey Weinstein and David Glasser in New York.

The current TWC marketing executive team will remain in place. Francois Martin, recently promoted to EVP of marketing operations & TV sales, will continue to oversee media in addition to his new television sales role. Jeff Elefterion, EVP of creative advertising, will head up creative exploration, and Bladimiar Norman, VP of marketing, will remain as lead on digital initiatives.

“The Weinstein Company is where I began my career in marketing under the leadership of Harvey and Bob, so I am especially honored to return in this capacity and extremely excited to be re-joining Harvey and David Glasser. I know that our team will rise to the challenge of developing and executing effective marketing campaigns for an exceptional release slate,” said Bruno.

Bruno most recently served as director of consumer marketing at HBO, where he ran advertising and promotional point on multiple original series as well as sports programming. At HBO, he helped garner record ratings for the returning seasons of “Curb Your Enthusiasm” and “Eastbound and Down.” He recently worked to craft the launch campaigns for the forthcoming series “Luck” and the return of the hit series “Game of Thrones.” Prior to joining HBO, he was vice president of marketing for TWC, where he played an integral role in the success of films such as Inglourious Basterds, A Single Man, Vicky Cristina Barcelona and The Reader. Said Weinstein, “We are very much looking forward to having Stephen back with us. His marketing knowledge, philosophies and expertise are second to none, and his forward thinking makes him the perfect fit to round out our dynamic leadership team.”

Added Glasser, “In this business, having top-notch leaders on our side is as necessary as having a great product as it relates to our success as a company, and Stephen is undoubtedly someone who will help us continue to move our company forward.”


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 films 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. Currently in release are I Don’t Know How She Does It; Our Idiot Brother and Apollo 18. Upcoming releases include Dirty Girl; 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® 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