By MCN Editor editor@moviecitynews.com

IFC MIDNIGHT TAKES U.S. RIGHTS TO EVAN KELLY’S DIRECTORAL DEBUT THE CORRIDOR

Posted Monday, November 21st, 2011 - Comments Off on IFC MIDNIGHT TAKES U.S. RIGHTS TO EVAN KELLY’S DIRECTORAL DEBUT THE CORRIDOR
Be Sociable, Share!

FOR IMMEDIATE RELEASE

New York, NY (November 21, 2011) – IFC Midnight announced today that the company is acquiring U.S. rights to first-time director Evan Kelly’s sci-fi thriller THE CORRIDOR. The film, with a screenplay by Josh MacDonald, (FAITH, FRAUD AND MINIMUM WAGE) stars Stephen Chambers, James Gilbert (THE TUDORS, SAW 6) and David Patrick Flemming. Craig Cameron (TOUCH AND GO) and Mike Masters (REEL ZOMBIES) produced the project, which was shot in Halifax, Nova Scotia with funding from Telefilm Canada and Nova Scotia Film.

THE CORRIDOR won both the Gold Audience Choice award for Best Canadian Film and AMD award for screenplay at Fantasia 2011. The film also won Best Feature at the Rhode Island International Horror Film Festival. Chambers was additionally the recipient of the Best Actor award at Tulsa International Film Festival.

In THE CORRIDOR, Tyler Crawley’s mother has recently passed away, and she’s taken a piece of her son’s mind with her. Tyler has had a complete breakdown. When his friends try to help, one of them finds himself with a knife through his hand, landing him in an institution. Now, nearly one year after his mother’s death, he is being released. In an attempt to rebuild lost friendships, Tyler’s friends arrange for a weekend getaway at his mother’s old country house. There they will scatter her ashes, bond and heal. Things spiral into hell when the group encounter something in the woods nearby, an energy field of some sort, a corridor possibly between dimensions, or something else. They don’t know what it is, but standing inside it makes them feel damn good. Stronger, smarter, healthier than they’ve ever felt. It also kicks a sting into their senses. Their hearing, vision, smell and taste sharpen, but also something else. The corridor has given them a window into each others’ minds, and with that, into each other’s jealousies, resentments, fears and neurosis. Tempers flare. Confusion builds. Violence explodes, again and again. Terrifyingly random acts begin to occur.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “THE CORRIDOR is crafty and fun horror sci-fi thriller that we think is a perfect addition to our IFC Midnight slate.  We’re thrilled to be in business with Evan Kelly, Mike Masters and our friends at XYZ Films.”

Noted Masters: “As a longtime genre supporter, I’ve always been a big fan of IFC Midnight and we’re pleased to join their already strong lineup.”

The deal for the film was negotiated by Jeff Deutchman, Director of Acquisitions & Productions for Sundance Selects/IFC Films with Nate Bolotin at XYZ Films on behalf of the filmmakers.

IFC Midnight is a sister division to IFC Films and Sundance Selects, and is owned and operated by AMC Networks, Inc.

*                      *                      *                      *

About IFC MIDNIGHT

Established in 2010 and based in New York City, IFC Midnight is a leading U.S. distributor of genre entertainment including horror, science-fiction, thrillers, erotic art house, action and more.  Its unique distribution model makes independent genre films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes have included Tom Six’s controversial horror film The Human Centipede (First Sequence), Johnnie To’s Hong Kong revenge thriller Vengeance, and James Gunn’s Super starring Rainn Wilson, Ellen Page and Kevin Bacon. Upcoming IFC Midnight releases include Alexandre Courtes THE INCIDENT and Adrian and Romero Garcia Bogliano’s PENUMBRA. IFC Midnight is a sister division to Sundance Selects and IFC Films, and is owned and operated by AMC Networks, Inc.

# # #

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on IFC MIDNIGHT TAKES U.S. RIGHTS TO EVAN KELLY’S DIRECTORAL DEBUT THE CORRIDOR

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