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JULIUS NASSO AND TODD MOYER FORM WAKEFIELD INTERNATIONAL PICTURES

Posted Thursday, April 12th, 2012 - Comments Off on JULIUS NASSO AND TODD MOYER FORM WAKEFIELD INTERNATIONAL PICTURES
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For Immediate Release

New Production Company Announces First Film: SQUATTERS

New York/Los Angeles, April 12, 2012–Veteran film producers Julius R. Nasso and Todd Moyer have partnered in a new film financing and production entity, Wakefield International Pictures LLC.  With offices in both Los Angeles and New York, the company plans to package, finance and produce as many as four to six films per year.

Nasso (NARC: SING YOUR SONG: UNDER SIEGE 2; FIRE DOWN BELOW) and Moyer (WILLIAM TELL 3D;  BARB WIRE; GEORGE AND THE DRAGON; VIRUS) have known each other for close to two decades, since Moyer was president of production for Seagal-Nasso films.

First up for Wakefield will be SQUATTERS, directed by Martin Weisz.  Julius Nasso, Todd Moyer and Cordula Weisz are producing the picture, which begins shooting next month.  Starring Thomas Dekker (MY SISTER’S KEEPER, ANGELS CREST and HBO’s CINEMA VERITE) and Gabriella Wilde (THE THREE MUSTEKETEERS; ST. TRINIAN’S II; DARK HORSE) the film starts production in Los Angeles in early May.  Frankie Nasso and Jeff Kranzdorf  will serve as executive producers. The film tells the story of a young homeless couple in Venice Beach who move into a mansion in the Pacific Palisades while the owners are on vacation.  When the owners come home early, things get complicated.

Moyer recalls, “When I read Justin Shilton’s script—one of the most powerful and beautiful I’ve encountered in years—I felt we just had to make this film.  I’ve known director Martin Weisz for many years and we are proud to support him and these terrific lead actors in this endeavor.” Screenwriter Shilton is best known as an actor for his roles in LITTLE MISS SUNSHINE and THE AVIATOR, among others.

Nasso added, “We’re pleased to be involved with such incredible material, and was hugely impressed with the readings of our two young leads. I think with such an excellent script, Dekker and Wilde have the chance to really embrace these roles and break out on the highest levels.  We believe the film has very broad demographic appeal and expect everyone from 15-80 will like it equally!”

For his part, director Martin Weisz directed THE HILLS HAVE EYES II and has directed more than 350 music videos for artists such as Puff Daddy, Korn, Live, Sisquo, Nickelback and Fuel.  He’s repped by Anonymous Content and is owner of Weird Pictures.  Weisz and Moyer have another film, DREAMT, in development.

Wakefield will be announcing more films in their 2012 slate in coming weeks.

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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