By MCN Editor editor@moviecitynews.com

LU AND STEVENS REUNITE WITH SWARTZ AT STRATEGY

Posted Wednesday, October 19th, 2011 - Comments Off on LU AND STEVENS REUNITE WITH SWARTZ AT STRATEGY
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FOR IMMEDIATE RELEASE

New York, NY (October 19, 2011) – Strategy PR/Consulting founder and president Cynthia Swartz announced today that the company, a bi-coastal and full service entertainment public relations and consulting firm, has added two executives to its staff. Emily Lu, who is based in Los Angeles, has been appointed Director of National Publicity (overseeing all West Coast client work), and Lindsay Stevens, who is based in New York, will serve as a Manager of National Publicity.  Lu will report to Swartz as well as New York-based VP’s Elena Zilberman and Michael Kupferberg.  Stevens will report to Kupferberg and Zilberman.

“Emily Lu is one of the most respected and beloved film publicists in Los Angeles and we feel very lucky to have her joining us at Strategy.   I was incredibly impressed by Emily when I worked with her in the past, and am thrilled to be working with her again,” says Swartz.  “I am also very excited to be working again with Lindsay Stevens whose enthusiasm for publicity and for life cannot be matched.”

Lu spent the past year at Brigade Marketing where she worked on film release and/or festival campaigns for titles that include Lena Dunham’s “Tiny Furniture,” David Robert Mitchell’s “The Myth of the American Sleepover,” Tom Six’s “The Human Centipede 2 (Full Sequence),” Sean Durkin’s “Martha Marcy May Marlene,” Andrew Okpeaha MacLean’s “On The Ice,” Evan Glodell’s “Bellflower,” and Lynn Shelton’s “Your Sister’s Sister.”  Prior to joining Brigade, Lu worked with Swartz in the Entertainment Marketing Division at 42West on films titles that include Oren Moverman’s “The Messenger,” Ricki Stern and Annie Sundberg’s “Joan Rivers: A Piece Of Work,” and Sacha Gervasi’s “Anvil! The Story of Anvil.”  Lu began her career working with veteran publicist Carol Marshall.

Stevens began her career with time in the Entertainment Marketing Division at 42West and in the Talent Division at ID-PR.  She has worked on film release and/or awards campaigns for titles that include James Wan’s “Insidious,” Drake Doremus’ “Douchebag,” Peter Weir’s “The Way Back,” Luca Guadagnino’s “I Am Love,” Michael Winterbottom’s “The Trip,” and Doug Liman’s “Fair Game.”

Strategy PR/Consulting, which launched in September 2011, handles work across a broad spectrum of the entertainment industry including national film publicity campaigns; unit publicity; comprehensive awards campaigns; film festival oversight with a focus on acquisition titles; as well as filmmaker relations and corporate communications.  The company also has an alliance with Marc Schiller’s New York-based Electric Artists to oversee digital and online initiatives.  The company is currently handling bi-coastal campaigns for upcoming films that include Sam Levinson’s “Another Happy Day” (Phase 4 Films) starring Ellen Barkin and Demi Moore; Lynne Ramsay’s “We Need To Talk About Kevin” (Oscilloscope Laboratories) starring Tilda Swinton and John C. Reilly; Madonna’s “W.E.” (The Weinstein Company) starring Abbie Cornish and Andrea Riseborough; Gerardo Naranjo’s “Miss Bala” (Fox International Productions) starring Stephanie Sigman; Carl Colby’s “The Man Nobody Knew” (First Run Features); and Oren Moverman’s “Rampart” (Milliennium Entertainment) starring Woody Harrelson and Robin Wright.

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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