By MCN Editor editor@moviecitynews.com

TWEET TO DECIDE WHO IN THE WORLD SEES “PARANORMAL ACTIVITY 3” FIRST!

Posted Wednesday, September 28th, 2011 - Comments Off on TWEET TO DECIDE WHO IN THE WORLD SEES “PARANORMAL ACTIVITY 3” FIRST!
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Paramount Pictures Launches First Ever Global “Tweet To See It First” to Kick Off the Eagerly Awaited Third Installment of the Thriller Franchise

Movie Will Premiere in 20 Cities Worldwide on October 18

HOLLYWOOD, CA (September 28, 2011) – In an unprecedented move, Paramount Pictures will debut PARANORMAL ACTIVITY 3 exclusively in cities where the most fans “Tweet To See It First”. This first ever of its kind campaign launched today at 8am PDT and is open to fans worldwide. PARANORMAL ACTIVITY 3 will premiere on October 18th in the top 20 cities with the most tweets, 3 days before the film’s global release.

“The support of this franchise from the online community is phenomenal. We again look to reward them for that support by offering them the chance to see it first, this time expanding our reach globally,” said Rob Moore, Vice Chairman of Paramount Pictures.

To vote, fans can go to www.ParanormalMovie.com and select their city from a global map, which will also serve as the point of entry to create a tweet with a special set of hash tags that link directly to twitter. Once a tweet posts, it counts as a vote. A leader board will show the top 20 global markets in real-time.

The “Tweet To See It First” competition is available to audiences worldwide and ends at 11:59 p.m. PDT on Thursday, October 13. The top 20 cities will be announced on Friday, October 14.

PARANORMAL ACTIVITY 3 is produced by Jason Blum, Oren Peli and Steven Schneider and directed by Henry Joost and Ariel Schulman from a screenplay by Christopher Landon. Follow PARANORMAL ACTIVITY 3 on Twitter at www.Twitter.com/TweetYourScream for audience reactions and important announcements.

About Paramount Pictures Corporation

Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands.  The company’s labels include Paramount Pictures, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films and Nickelodeon Movies.  PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group and Paramount Television & Digital Distribution.

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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