By MCN Editor editor@moviecitynews.com

Legendary Academy Award®-Winning Motion Picture Director/Producer Steven Spielberg Presents The Critically Acclaimed Epic Adventure WAR HORSE

On Blu-ray™, DVD, Digital and On-Demand, April 3, 2012

BURBANK, Calif., February 21, 2012 – Legendary Academy Award®-winning motion picture director/producer Steven Spielberg presents the critically acclaimed and multi Academy Award®-nominated epic adventure “War Horse” on Blu-ray™, DVD, Digital and On-Demand, April 3. This newest home entertainment release not only enthralls viewers once again with its visually stunning and emotionally heartwarming story on the Blu-ray, but also offers an unprecedented look into the making of the film by Spielberg himself.

The extraordinary journey of courage and friendship as seen through the eyes of one unforgettable horse named Joey and his miraculous journey to find his way back home, “War Horse” is a must own contemporary classic for everyone’s home entertainment collection. Spielberg’s renowned creative passion and artistry not only shine throughout the film but are also evident in all the fascinating bonus features included exclusively on the Blu-ray disc.

The premium 4-Disc Blu-ray Combo Pack in particular allows viewers to explore the filmmaking process and storytelling adventure though a special 60 minute documentary (named “A Filmmaking Journey”), created by Spielberg, that offers a never-before-seen inside look into the making of “War Horse.” Additional bonus features include a behind the scenes look at Spielberg’s Award-Winning “Dream Team” – the film’s scoring session with five-time Oscar-winning composer John Williams, the editing room with three-time Academy Award winning film editor Michael Kahn, the sound room with seven time Oscar-winning sound designer Gary Rydstrom, and a look through Producer Kathleen Kennedy’s lens as she shares photos she took during the filming and recounts her discovery of “War Horse.”

“War Horse,” which received Academy Award nominations for Best Picture, Best Original Score, Best Art Direction, Best Sound Editing and Best Sound Mixing, will be available to own and for in-home viewing as follows:

· 4-Disc Blu-ray Combo Pack = $45.99U.S./$52.99 Canada

· 2-Disc DVD Combo Pack = $39.99 U.S./$46.99 Canada
· 1 Disc DVD = $29.99U.S./$35.99 Canada
· High Definition Digital = $39.99 U.S./$46.99 Canada
· Standard Definition Digital = $ 29.99U.S./$ 35.99 Canada
· On-Demand = Please check with your television provider or favorite digital retailer for pricing

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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