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HYSTERIA HITS SONY PICTURES CLASSICS

Posted Thursday, November 10th, 2011 - Comments Off on HYSTERIA HITS SONY PICTURES CLASSICS
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FOR IMMEDIATE RELEASE

NEW YORK (November 10, 2011) – Sony Pictures Classics announced today that they have acquired all US and South African rights to HYSTERIA.  The film is directed by Tanya Wexler from a script by the team of Stephen Dyer and Jonah Lisa Dyer.  A trio of women produced HYSTERIA- Forthcoming Films’ Sarah Curtis (MANSFIELD PARK, HER MAJESTY MRS. BROWN), Informant Media’s Judy Cairo (CRAZY HEART), and Beachfront Films’ Tracey Becker (FINDING NEVERLAND).

The film stars Academy Award® nominee Maggie Gyllenhaal (CRAZY HEART, NANNY MCPHEE RETURNS) and Hugh Dancy (ADAM, CONFESSIONS OF A SHOPAHOLIC) alongside Jonathan Pryce, Rupert Everett, and Felicity Jones and had its World Premiere at the 2011 Toronto International Film Festival.

HYSTERIA, a mischievously inspired romantic comedy, is based on the surprising truth of how Mortimer Granville came up with the world’s first electro-mechanical vibrator in the name of medical science.

“HYSTERIA is meant to be both funny and smart. It’s really a movie that says you are in charge of your own happiness,” says Director Wexler. “Sony Classics is the perfect company to unleash HYSTERIA into American movie theatres. They understand ‘smart and funny’ movies better than anyone else out there. They are just what the doctor ordered.”

“HYSTERIA is a winner on all counts. It is funny, fresh and warm. From director Tanya Wexler’s expert filmmaking to her accomplished production team (sets, costumes and cinematography are all impressive) to the great performances from the entire cast (Maggie Gyllenhal is at an all-time career best here), this is a movie audiences will embrace in a major way,” says Sony Pictures Classics.

The deal was negotiated by Cassian Elwes, with Elsa Ramo representing the producers.

ABOUT SONY PICTURES CLASSICS

Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world.

Barker and Bernard have released prestigious films that have won 27 Academy Awards® (23 of those at Sony Pictures Classics) and have garnered over 116 Academy Award® nominations (93 at Sony Pictures Classics) including Best Picture nominations for AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.

ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; digital content creation and distribution; worldwide channel investments; home entertainment acquisition and distribution; operation of studio facilities; development of new entertainment products, services, and technologies; and distribution of filmed entertainment in more than 100 countries. Sony Pictures Entertainment can be found at www.sonypictures.com.

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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