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ALECIA MOORE JOINS DIRECTOR STUART BLUMBERG’S THANKS FOR SHARING

Posted Monday, October 3rd, 2011 - Comments Off on ALECIA MOORE JOINS DIRECTOR STUART BLUMBERG’S THANKS FOR SHARING
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Film’s All-Star Cast Also Includes Mark Ruffalo, Tim Robbins, Gwyneth Paltrow, Patrick Fugit, Joely Richardson, and Josh Gad

New York, NY (October 3, 2011) – Class 5 Films and Olympus Pictures announced today that Alecia Moore has been brought on board to co-star in writer-director Stuart Blumberg’s dramedy THANKS FOR SHARING. Blumberg, who was previously nominated for a 2010 Academy Awardâ for his THE KIDS ARE ALL RIGHT screenplay, will direct Moore in an ensemble cast that also includes Mark Ruffalo, Tim Robbins, Gwyneth Paltrow, Joely Richardson, Patrick Fugit and Josh Gad. Principal photography for THANKS FOR SHARING began in New York City in late September, and Moore joins the cast today.

The project is being produced by William Migliore and David Koplan for Class 5 Films, where Blumberg also serves as partner, and Leslie Urdang, Dean Vanech and Miranda de Pencier for Olympus Pictures, which is solely financing the film. Edward Norton will serve as executive producer.

THANKS FOR SHARING is a dramatic comedy about a group of unlikely friends brought together through their shared determination to recover from sex addiction and forge meaningful relationships for the first time in their lives.

Moore, who has had eleven Top Ten hits on the Billboard Hot 100 charts and won three Grammy awards, has her first featured role on the big screen. She plays Dede, a kindred spirit to Gad’s character, Neil.

“Alecia could not be a more ideal fit for this role,” notes Blumberg. “She carries with her just the right combination of heart and edginess for the part of Dede, and we’re incredibly excited to share her acting talent with audiences.”

Voltage is exclusively handing foreign sales for THANKS FOR SHARING, with Graham Taylor of WME and Rena Ronson at UTA co-repping the film for domestic sales.

ABOUT CLASS 5 FILMS

Class 5 Films has produced the feature films LEAVES OF GRASS, THE PAINTED VEIL and DOWN IN THE VALLEY. They produced the HBO documentary BY THE PEOPLE: THE ELECTION OF BARACK OBAMA, which followed President Obama through the 2008 Presidential race.

ABOUT OLYMPUS PICTURES

Olympus Pictures founded by Leslie Urdang and Dean Vanech in 2008 has produced ADAMdirected by Max Mayer with Hugh Dancy and Rose Byrne, RABBIT HOLE directed by John Cameron Mitchell for which Nicole Kidman’s performance was nominated for an Academy Award, Mike Mill’s BEGINNERS with Ewan McGregor and Christopher Plummer, and THE ORANGES with Hugh Laurie, Leighton Meester, Catherine Keener, Oliver Platt and Alison Janney set to be theatrically released in 2012. Olympus is currently filming the Andrew Adamson directed MR PIP, a New Zealand co-production.

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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